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jezfletcher · 7 years

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Oscars 2018

Can you believe that this year I managed to see every single Oscar-nominated film? I'm actually kind of impressed with myself. It's no small undertaking, especially because due to schedules of a toddler-related nature, in 2017 I had much less opportunity to watch films regularly. I did get out every now and again, and I took time off work to attend the Sydney Film Festival, which was a helpful event, in the end, with regards to my Oscars viewing. But mostly, these 44 feature films and 15 shorts were watched in the past month or so. Anyway, for the first time ever, here's my writeup of all the Oscar-nominated films of the past year, in order from my favourite to least favourite:

1. On Body & Soul (A Teströl és Lélekröl)

Directed by Ildikó Enyedi

Leading the pack this Oscars year is perhaps something of an unexpected entry. This is Hungary's submission for the Best Foreign Language Oscar, which I happened to see at the Sydney Film Festival earlier in the year. At that festival, it both took out my own personal Film Of The Festival, and was awarded the top competition award, the Sydney Film Prize. And there's a strong reason for that, because this is a wonderful, haunting film. It tells the story of two emotionally lost, and perhaps incomplete individuals, who connect when they discover that they've been sharing dreams at night. It's an odd premise, made odder by the unconventional nature of the characters, but it's utterly endearing and compelling at the same time. A lot of this is to do with director Ildikó Enyedi's style. She manages to make the film seem both ephemeral and engaging—I was drawn into the world with a kind of unforgiving compulsion, and yet when I was there it was alien, pushing me away. And so I revelled in it. The cinematography helps here too, with DP Máté Herbai finding beauty in both the dreamscape of the snowy forests where the two protagonists meet, and in the industrial brutalism of the slaughterhouse where they work. Overall, I found it a truly quite brilliant film, and it holds a very worth place at the top of this list. It might be a bit outside the tastes of the Academy voters, but for me I think it would be an excellent winner of the Foreign Language Oscar.

2. Lady Bird

Directed by Greta Gerwig

This had so many promising elements to me, and it was with something of a sigh of relief that I finally saw it and enjoyed it as much as I did. This is indeed a great film made of great parts, and there's much to be said about how good it is in its depth. The eponymous Lady Bird (Saoirse Ronan, an actress I always love on screen), is a high school senior, looking to escape from Sacramento when she goes to college next year. But she faces the fact that this is a less financially viable option than going to nearby UC Davis, and incredible pressure from her borderline abusive mother (Laurie Metcalf). There's so much to unpack in what could easily be a mediocre coming-of-age story. The layers in the family dynamics are rich, as is the development of the school world around Lady Bird. Her on-screen relationships, with first Danny (Lucas Hedges) and then Kyle (Timothée Chalamet) are achingly real, and touched with nostalgic regret. It feels like Greta Gerwig has put something really personal up on screen. Whether or not that's true is beside the point—she has managed to craft something that feels so real anyway. Nothing is out of place, and the characterisation is so believable that you feel following any one of these people would result in a fine film. That's honestly such a sign of quality for me. So yeah: I loved it. I'm aware it's the kind of film (black comic family drama, anyone?) that I'm kind of destined to love. But the fact that it ended up so good is wonderful—it really beat my expectations.

3. Get Out

Directed by Jordan Peele

I was so pleased when this got a nod for Best Picture at the Oscars this year. It's the kind of cult hit that could very easily be overlooked. Perhaps not without some consternation from fans; but it's the kind of thing that could happen and it would fit neatly into the Academy's narrative. If you don't know the story, I won't say much except that it starts off with a young black man (Daniel Kaluuya) travelling to meet his girlfriend's parents for the first time (played brilliantly by Bradley Whitford and Catherine Keener). It's a satire of race relations in a really quite astoundingly way, unpredictable to some extent because, oh yes, it's a horror movie too. This is the kind of film that you feel breaks down some kind of invisible barrier in filmmaking—something that's been there and has stopped films like this being made before, just because you didn't realise there could be a film like this. Now to be fair, what I probably call an "invisible" barrier is probably very apparent to someone with a different cultural background. Which is why we need films from diverse directors, and Jordan Peele's first effort here is genuinely, genuinely brilliant. (Just as an aside, I notice that my top three films this year are from two women and a person of colour—so it's not just that I feel like diversity should be improved for its own sake, although it should, it's just that I really, really like films like these. What else are we missing out on for the sake of another reboot of King Kong?) Anyway, long story short: this is a fabulous film, and one that you really just need to see to experience. It was probably one of the most clever things I've seen on screen this year, or in several years, and it's well worth your time.

4. Three Billboards Outside Ebbing, Missouri

Directed by Martin McDonagh

I feel like the top four films have each been brilliant in their own inimitable way—like they're very much the top contender each in a different category. The way that they've ended up sorted is more about the intrinsic value in each category than comparing like-for-like films. Three Billboards probably falls into something like the "fun" category, which to anyone who's seen the film might consider an odd choice, since it deals with the aftermath of a murder, and explores themes of racism, grief and anger. But there's so much to enjoy here in Martin McDonagh's brilliant screenplay, which I feel is easily the equal to his previous hit In Bruges, a film that was one of my very favourite films the year it came out. It not only establishes a complex interaction of characters in this small town, but it provides a brilliant vessel for his stars to shine. Frances McDormand is rightly considered the frontrunner for Best Actress this year, and she gives an uncompromising performance as a woman driven by grief-fuelled vengeance. Sam Rockwell is also extremely good, oozing into his character with a charm that's compelling and disturbing. It feels like he's having a really good time with this character, which is equally enjoyable and worrying. This is not to mention amusing digressions from the likes of Peter Dinklage, John Hawkes and Caleb Landry Jones. Most importantly though, there's an arc to the tale here which manages to swing around the attitudes and motivations of these characters, while never letting them be anything other than anti-heroes. The character development is undeniable, but even as you empathise with them onscreen, you're constantly aware that they are still at heart horrible people. Compelling, undoubtedly, which is what makes the film so enjoyable, but morally corrupt in some way or another. This is true almost up until the very end of the film, when just a sliver of something human is tantalised. Yeah, I really, loved this film. Apparently, it's seen a fair bit of backlash since its release—I've read some of the critiques of it, and I just have to say I disagree. But that's the good thing about movies right? I'm going to love some, you're going to love others. For me, Three Billboards Outside Ebbing, Missouri was a treat.

5. The Insult (L'insulte)

Directed by Ziad Doueiri

It was a good year for the Foreign Language oscar this year, and in another iteration, a film like this could well be on top. It tells the tale of two men, one a Lebanese Christian, deeply into fundamentalist and nationalistic politics, and the other a Palestinian refugee living in Beirut. After a minor incident involving one of them splashing water on the other, a series of escalating encounters pushes them into the courts, and finally onto the national stage. It's almost a comic film. It's certainly some kind of dark satire at least, which allows you to forgive the almost ridiculous ways in which it progresses, eventually becoming a lightning rod for simmering racial tensions in Lebanon. It's almost requisite of films coming out of the Middle East that they deal with tensions such as these, but often they are not done nearly as well as in Doueiri's work here. Moreover, for a film that's mostly set in a courtroom, it manages to plumb great emotional and narrative depths. It launches into politics, history and racism. It feels like an educational as well as an entertaining experience. This is only possible because it's always grounded in a kind of empathetic portrayal. While one of our players is clearly the Good Guy, and the other the Bad Guy—there's always enough light let in to the performances such that you can at least see the Bad Guy's point of view, which makes the redemption of sorts towards the end seem like a possibility. Overall, this was a really well crafted and very engaging film. As I said, it's up against some stiff competition this year, but overall, it was a thoroughly worthwhile experience, even if it's not going to get my nod in its category.

6. The Big Sick

Directed by Michael Showalter

A fine film, with a really sparkling script taken right out of the lives of the two screenwriters, Emily Gordon and Kumail Nanjiani (who stars, effectively, as himself in the film). Kumail is a stand-up comedian who meets Emily (Zoe Kazan) after a set, and the two embark on a torrid relationship. But when Emily is forced into a medically-induced coma, Kumail has to deal with his emotions regarding what could have just been a fling. Add to the mix Kumail's efforts in avoiding his traditional Pakistani family's attempt to find him an arranged bride, and his wavering relationship with Emily's parents and you have a fine film. Emily's parents, by the way, who he meets for the first time at Emily's hospital bedside while she's comatose, are genuinely wonderfully portrayed on screen by Holly Hunter and Ray Romano. It's an unusual kind of romantic comedy, which is stronger for the fact that it's based in such a true and fertile emotional place. They can layer on the comedy as much as they like, because there's such a perfect tragic core at its heart. It's never going to be seen as flippant. And this allows for those wonderful moments where scenes turn on a dime—one minute you're laughing uproariously, the next you're wincing in pain. It's a fine film to be able to do all of this, and I very much appreciate the skill with which this is executed. This is one of the films that I'd be very happy to get a surprise nod for screenplay, notwithstanding I probably have other films above it that I liked more overall.

7. Blade Runner 2049

Directed by Denis Villeneuve

I was extremely impressed with this film. It's a fine film in its own right, but more impressively, it was a film that managed to survive the weight of expectations from being the sequel to a science fiction classic. This is undoubtedly due, at least in part, to the work of the always fine Denis Villeneuve, who is a director I will follow into battle nowadays. He's doing such interesting work, and conducting an ensemble like this is no mean feat. He has excellent assistance, of course, and there's a reason why this is nominated in categories like Production Design and Cinematography. It manages to be both a coherent part of the original film's ethos, but also a bolkd new step. In many ways, I actually found this to be a more enjoyable film than the original. And this is despite the fact that close to three hours in length, this film is undoubtedly slow in places. But you forgive it. You wallow in this world. You wallow in the characters and the andante-paced story. This is a better filmn for its world-building than for its plot (much, I might add, like the Phillip K. Dick source material). I enjoyed it a great deal in any case, and I was perhaps a little awed at how they managed to so pull off something like this. I feel like I'm deeply skeptical of the recent Hollywood tradition of launching remakes, reboots, sequels and spin-offs. But a film like this shows that occasionally, maybe it works. I just hope that they see that as a testament to the crew involved in this film, and not the intrinsic quality of just reheating the old.

8. Coco

Directed by Lee Unkrich and Adrian Molina

I think this is the best Pixar film in some time, and as always when a Pixar film is good, it's due to its emotional depth. This tells the story of a young boy who wants to be a musician, and is accidentally sent to the land of the dead right before Diá de los Muertos. He has to find a way to return to the land of the living before the celebration. It's a fine film, and one that feels like it respects and embraces the Mexican traditions of the festival. Indeed, it has a depth that, to me as an outsider, felt like it was honouring these traditions, in a way that allowed me to understand them better. It manages to do this with a family-friendly story, and plenty of style, drawing on the skeletal folk traditions of the festival. It's also an emotional film, and by the end, you feel as though it's been building up everything for the emotional sucker punch. This is something that Pixar can do extremely well when the elements are right. A fine return to form after a few films that I don't think I even saw, and by all accounts were not very good. Pixar is a long way from the time when everything they produced was a hit, but with films like Coco, they show that they've still got it in them when they want it.

9. I, Tonya

Directed by Craig Gillespie

The story of Tonya Harding and Nancy Kerrigan is one that I vaguely remember from my childhood. It was a big news story at the time, but one that just got morphed and twisted over time. I, Tonya is the film that plays very much on the mythology of the attack on Nancy Kerrigan, providing a fractured but painfully sympathetic portrayal of its title character. I honestly found this film quite distressing in a bunch of ways. This is the second film on this list with an abusive mother-daughter relationship, but this is significantly more challenging, especially thanks to the powerhouse performance of Allison Janney as Harding's mother. This relationship is brutal, but so is Harding's co-dependent relationship on her violent husband Jeff (played by an unrecognisable Sebastian Stan). Margot Robbie too is extremely good in the lead role, although she makes the (perfectly valid) choice to make Harding less than ideally sympathetic. It's the right choice for the film, but it does add more of a grind to watching it. But it's a better portrayal, you feel, for who Harding was. When I first came out of this film, I wasn't actually sure if I'd liked it or hated it. But it's stuck with me to such a degree that I can't help but elevate it to a position like this in the list. I think, in the end, it's a very clever film, and manages to portray Tonya Harding in a way that might be very difficult to do in a more traditional milieu.

10. A Fantastic Woman

Directed by Sebastián Lelio

A really quite wonderful film, A Fantastic Woman tells the story of an aspiring singer (Daniela Vega), who struggles with the death of her partner, 30 years her senior, and the suspicion with which she is viewed by her partner's family after his death. In many ways, it's a fairly straight down the line drama. It uses the conflict between Marina and her partner's family as the backdrop to explore some issues, especially around transgender identity, but it's not shoving messages down your throat. Instead, it takes Vega's performance as Daniela in a very staid and understated way. This is all very intentional of course. It emphasises the fact that all Marina wants to do is to live her life. To be able to grieve over the death of her partner. To be not treated with suspicion, or subjected to brutality and degradation. She's just normal, but that makes her fantastic. Overall, I very much enjoyed this film. It was extremely well made, and fills out the field in an already packed and genuinely very good Foreign Language category this year. Again, this could have done well in another year.

11. The Florida Project

Directed by Sean Baker

I quite enjoyed Sean Baker's debut film Tangerine, but this film is a broadening of his artistic style, and ends up being a much better film for it. It once again focuses on a group on the edges of society, this time a community of people who live in gaudy motels on a highway strip just outside of Disneyworld in Florida. It's largely told through the eyes of the children who live here, in particular Moonee (Brooklynn Prince), who are left to explore their surroundings without much in the way of supervision—providing a surprisingly raw look at where a child's imagination will take them without boundaries. Supporting are the characters of Moonee's mother (Bria Vinai) and the manager of the motel in which they live (Willem Dafoe, who rightly earned his Oscar nomination for this film). It's in turns depressing and uplifting, as we see the struggle of the parents (who are by no means the sugar-coated ideal of noble poverty), and the ways in which the children learn to survive and to flourish. It does have the same kind of jerky cinematography that characterised Tangerine, although that was filmed on iPhones, but here there's still a sense of weird, garish beauty to the uber-kitsch motels and strip-malls of Florida. Somehow it works. It's a really interesting film, and certainly one that I feel as though I can recommend wholeheartedly—something I couldn't necessarily do with Tangerine. Sean Baker has certainly shown with this film at least that he's a director to watch in the future, and I'll certainly be doing that.

12. Loveless

Directed by Andrey Zvyagintsev

This was the very last film I saw for the Oscars this year, so had the honour if wrapping up all the feature films. Like Zvyagintsev's other films, it's a chilly, minimalist affair, but like all of his previous ones it has an emotional impact that you'd not expect from its spare production. In this film, a family is undergoing a divorce. Both husband and wife have new partners waiting for them—one pregnant, one rich, aloof and used to their life as it is right now. Custody of their son would be a burden on either of them, and neither of them wants to accept him. Then, the son disappears. What follows is a typically emotionally bare and brutal undertaking from the director. It's almost merciless in its depiction of characters without warmth of spirit, and the consequences this eventually brings upon them. It's eerily beautiful too, set in the starkness of Moscow highrises and long snowy banks. Like the emotions it conjures, there's a bleakness to it, ably assisted by a minimalist soundtrack. I think this is maybe not as good as Zvyagintsev's pervious film Leviathan, because I enjoyed the more overt political overtones there. This is still a political film, without a doubt, but its politics are more cached in the environment that creates characters like this. That is, it's one level removed from an explicit exploration of societal corruption. But it's still an excellent film, and a film which shows the Foreign Language award this year as an extremely strong category. Whichever film ends up winning, it's had to take on some impressive competition.

13. The Post

Directed by Steven Spielberg

I won't spend a lot of time on this film, but suffice it to say that I found it an enjoyable, by-the-numbers outing from Spielberg, helped by the always competent performances from Meryl Streep and Tom Hanks. I feel like Meryl Streep has a common thread running through her performances, and yet in every one I've seen she seems unlike all the others. Here, her performance as the insecure publisher of a major newspaper manages to tap into that sense of inner strength she always has, but layers it with a timorous quality which is surprisingly engaging on screen. It helps as well that there's a good story to tell here—it's not the story of the breaking news of the Pentagon papers, but more how it was specifically dealt with within the Washington Post. This is more entertaining than it would have been to see how the story was originally broken open (the Post was not the paper to originally get the story). But yeah, it's a fine film, very enjoyable and very by the numbers. With a cast of such established actors, and an old-hand director like Spielberg at the reins, it was unlikely to be anything else.

14. Call Me By Your Name

Directed by Luca Guadagnino

This was a fine, very stylistic film, which used its setting to great effect, and tells a tentative love story in an oblique way. Timothée Chalamet is Elio, the son of a classics professor (Michael Stuhlbarg). Over the summer, a student of his (Armie Hammer) comes to work at their Italian villa, and a romance ensues between Elio and the much older student. It's set as a love story, and it mostly manages to avoid the questionable nature of the relationship by showing it in a very sympathetic and delicate light. Elio pursues Oliver, not the other way around. Oliver and Elio embrace consent at every step of the way. And they have the tacit approval of Elio's parents. Indeed, the absolute highlight of the film is Stuhlbarg's speech to his son towards the end of the film, where he shows wisdom and compassion that made me hope that I could one day be as good a father as he is. The fact that Stuhlbarg is not nominated for an Oscar for supporting actor, for that speech alone, is a travesty. Overall, it's a fine film, if not one that rocketed to the top of my list, which I feel a very similar film in style, tone and content could have. But a very worthy film nonetheless.

15. Mudbound

Directed by Dee Rees

This was a quite beautiful film, surrounding two families, one white, one black, in rural Mississippi after World War II. It's a well-crafted portrayal of racial segragation, but also of surprising friendship in the younger generation. This is, of course, contrasted with the older tensions, especially the savage portrayal of the elderly patriarch of the McAllan family from Jonathan Banks. The film doesn't shy away from the harsh truths of this world. It's also exquisitely shot, with broad vistas of the rural landscape, and claustrophobic interiors, used to great thematic purpose. It's no wonder that this managed a nomination for Best Cinematography. Overall, I enjoyed it a great deal. It was a very skillfully crafted piece of cinema that is very much worth your time.

16. Star Wars: The Last Jedi

Directed by Rian Johnson

Undoubtedly more divisive that the film that came before it, The Last Jedi is also a film that I found myself embracing less wholeheartedly than I did The Force Awakens. But it's one of those films that you most likely have to let percolate. A film that you should probably watch a second time and appreciate more than the first. Like its predecessor, it does follow a lot of the same storyline as the original trilogy. Rey, separated from her friends, and seeking the ways of the Jedi with an old master. But also like The Empire Strikes Back, this seeks to break new ground, and it certainly manages to do that. Much has been said about the humour in this film, especially about whether it detracts from the mood of the franchise. But this is just one of the ways in which this film succeeds. More than anything, it needed to break from The Force Awakens. TFA was the film it needed to be. It needed to soothe nerves after the prequels. It needed to get back to the traditional lore. And it did this in a very safe way—too safe in some ways, in that it almost copied the exact storyline of A New Hope. The Last Jedi manages to avoid that. It is at least the first steps into doing something different, and that is what was needed from this film. Rian Johnson may be facing some backlash now, but I think in the course of history, this will be seen as a necessary and pivotal film in the franchise.

17. Marshall

Directed by Reginald Hudlin

This was just good old-fashioned filmmaking, and I genuinely enjoyed it a good deal. A courtroom drama, set in the civil rights era, it focuses on one of the early cases of Thurgood Marshall, who goes on to become the first African-American Supreme Court Judge. It's a serviceable but predictable kind of plot, but it's told with style and charm, and pulled off with good performances from Chadwick Boseman and Josh Gad. The production design is also quite lush—it pulls together a sense of period in a kind of effortless way, more like the films released in the 90s and 00s than the fussier style of today. I enjoyed it a good deal. It's not a truly great film, but it's certainly one which entertained me for its length. And honestly, there are a great number of films, like many of these below, which fail to do that.

18. The Shape Of Water

Directed by Guillermo del Toro

This is a very odd film to be getting the kind of reception it has. Let me say straight off the bad that it's an exceptionally well-crafted film. It has an amazing ensemble cast. del Toro has an excellent sense of style, and an undeniable eye for the unusual. But I did find myself equivocal about the film overall. To some extent, this comes down to the plot, which is a little like a cross between a 50's sci-fi B-movie and Oh No, Willy Didn't Make It And He Crushed Our Boy. But this is hidden behind layers and layers of production design, and of del Toro's sense of fantastical whimsy. Disappointingly, I like all of the actors who are up for Oscar nominations for this film, but I didn't particularly like them all that much in this particular film. Sally Hawkins is perhaps more of the exception, as she manages to put together a remarkable performance without speaking a word. Still, I think that if this film does take out Best Picture, I'll be scratching my head a bit. It's not only that it's not the pick that I would have chosen, I feel as though it's really not the pick that the Academy would have chosen. So, who knows, maybe that's a good thing.

19. Roman J. Israel, Esq.

Directed by Dan Gilroy

OK, speaking of odd films, here's a corker. Directed by Dan Gilroy as a follow to his excellent debut Nightcrawler, this is something of a vessel for Denzel Washington to show his range. He plays the titular Israel, a socially awkward man, but a brilliant lawyer, who struggles to find a place for himself after the death of his legal partner. It's a weird film, but one that I found myself enjoying in spite of myself. Partially, this is due to watching Denzel Washington. He's a fine actor in any role, but in one with such neuroses to play with, it's something of a master class. But the film surrounding this performance is in some senses not worthy of it. You get the feeling that without Denzel Washington, this film would have just been a stinker. Plot-wise it's somewhat pedestrian, and it kind of meanders only as much as it needs to to create new situations for this character to react to. It's nowhere near as plot driven or engaging as Gilroy's previous outing. But that's what it's here at the Oscars for, right? For Denzel Washington, as always. And here, at least, I'm very happy to see him. This is indeed a fine performance from him—indeed, despite everything, it might be one of his better performances. And he does carry this film enough to get it this high in my list. Despite its flaws, I did like it.

20. Strong Island

Directed by Yance Ford

So here, finally, we have the first documentary feature. And it's a fine film, and a deeply personal one, surrounding the investigation of the murder of a young black man, who, it turns out, was the filmmaker's brother. Usually, I'm less likely to enjoy documentaries that don't have a sense of journalistic detachment to them. But here, the pain and the intimacy with which we are told this story through Ford's eyes, and the eyes of his family, more than makes up for the lack of perspective. This is an emotional journey, but it's one that's told with a firm hand on the tiller. Ford never relinquishes that sense of objective filmmaking in order to editorialise. He's well aware that the story itself is evocative enough. In the end, it's a good documentary. It's not one of the best documentaries I've seen in recent years, but it's certainly the best of this year's bunch.

21. Victoria & Abdul

Directed by Stephen Frears

I enjoyed this film a great deal. It's a surprisingly charming film about the relationship between an elderly Queen Victoria and a young Indian Muslim whom she takes on to teach her Urdu and about Islam. It's a sweet film in many ways, and lavishly produced, with good performances from Judi Dench and Ali Fazal in the title roles. It paints a rather sympathetic portrayal of Victoria as well—as someone who is fascinated by the Indian subcontinent, which she is Empress of, but of which she is largely ignorant. In this, there's a touch of cultural imperialism though. We see the favour with which Victoria treats her Indian friend without seeing the implications of the British Raj on the people of India. It's very much a film for a white audience, that chooses not to engage very much with the more difficult topic. But as a piece of fluff disconnected with these things, it's quite enjoyable. It was a film I saw on a plane, and it's just the right kind of film for me in that situation. It doesn't require a lot of attention, and it's somewhere between light-hearted and truly emotional. In the end, it is what it is, and that was fine.

22. Dunkirk

Directed by Christopher Nolan

It's undeniable that this was a fairly impressive outing from Nolan. But to me this was a technical achievement more than it was a great film. Telling a sequence of only peripherally related tales surrounding the British evacuation of Dunkirk, it very much manages to illustrate the epic scope of the operation. But that's pretty much all it is. I really didn't much at all get the sense of compelling narrative in this. I mean, it's there, in each of the individual threads, and to some extent you do care about these characters. But it's all done with such an eye for the broader scope that none of the individual stories seem to matter all that much. To some extent, that's probably the idea, or at least the inevitable end result of such a film. It is about the larger picture much more than it is about the individual stories, even though the tapestry is woven from those stories. Sadly, it failed a little as an engaging picture for me, even though the visuals and the technical expertise required to put a film like this on the screen is quite extraordinary. So I'll continue to respect Nolan as a director. He definitely has the skills to pull off difficult things. But I'm kind of hopeful that this trend of his to the wider and wider epic won't mean that he's given up on the more engaging, intimate and plot-driven films of his early career. We'll wait and see.

23. The Square

Directed by Ruben Östlund

An interesting but ultimately overly precious film, about the curator of a major Swedish art museum as he prepares for a new installation, while also trying to track down his stolen wallet and phone. It has a number of different threads, and there's a bunch of rather bombastic pretention thrown into the mix, including an extended scene at an art fundraiser where a man acting like a Bonobo ape is let loose on the crowd as a piece of performance art. These are all stylistic choices that Östland makes which imbue the film with a sense of added pretense. All of this makes the film less immediately engaging than it might be. It deliberately obfuscates at times, becoming more like the art you feel it's satirising than it does a coherent picture itself. But there's still things to enjoy in it. Overall, I found it relatively engaging. I feel some of the choices were made for the wrong reasons though, and it ended up being a worse film than it might have been.

24. Loving Vincent (animated)

Directed by Dorota Kobiela & Hugh Welchman

Another impressive technical achievement, this is a gorgeous film, with every frame of animation a separate oil painting, painted by one of a massive team of artists. It tells the aftermath of Vincent Van Gogh's death, as investigated by the son of one of Van Gogh's friends. The narrative is pretty much not the point of the film—they do manage to craft something that is enough to keep things plodding along, but really you can enjoy this film just by looking at it. Interestingly, the film had to be produced pretty much twice, because the action is performed first by live actors (the likes of Douglas Booth, Saoirse Ronan, Aidan Turner and Chris O'Dowd), was then printed on canvas, and overpainted with oils, all in the style of Van Gogh. It's a mind-boggling effort. In some respects it's not a film that should ever have been made—the fact that it has been, no matter what the half-baked plot was, is the really interesting story here.

25. The Breadwinner

Directed by Nora Twomey

This was another quite beautiful film, traditionally animated in beautiful form from the same studio that did The Secret of Kells and Song of the Sea, both of which were also nominated in the Best Animated Feature category. This film is set in Afghanistan, between the war with Russia and the US invasion, when the country is under Taliban control. Parvana is a young girl who has a gift for telling stories, one of which runs through the film in pieces. When her father is arrested by the Taliban, she disguises herself as a boy so as to be able to perform work and support her family. It's a sad film in many ways, but it shows a great deal of what's good in life as well, even in pretty dark circumstances. Parvana's gift of story is an illustration of the way such tales can invigorate, and sooth. The animation is good, as it has been in all this studios films, traditionally animated, or at least animated in a 2D style. And the story here is both more mature and engaging than in their previous efforts that I've seen. Overall a good film. My limited engagement with animated films drops this as low as it is, but honestly, there are many animated films that would not do nearly as well as this has.

26. Phantom Thread

Directed by Paul Thomas Anderson

I was quite disappointed with how low this has ended up, but it's a position that it warrants, despite the fact that it has much of Paul Thomas Anderson's charm and craft all over it. Daniel Day-Lewis plays Reynolds Woodcock, a prominent but eccentric fashion designer who lives in a difficult co-dependent relationship with his sister (Lesley Manville). When he begins a relationship with a waitress, Alma (Vicky Krieps), she has to adapt to his eccentricies, the rancour of his sister, and life in the tortured world of fashion. It's an elaborately crafted film, and to some extent feels like an academic exercise that PTA has given himself. It's fussy in its production, in a way that matches well the personality of its leading man. The music is a highlight from Johnny Greenwood, and stands apart as one of the films greatest strengths. The other strength of course is the presence of Daniel Day-Lewis. He's a chameleonic actor, to the extent that I honestly don't at all know what a base-level Daniel Day-Lewis performance is like. He completely reinvents himself for every role, and this one—a difficult one, no doubt—is performed with that same complexity and grace. It's disappointing in some ways that it so failed to connect with me. There were lots of good elements, but they did not combine into something holistically interesting. It was, altogether, too particular, too pleased with itself, or too exacting of its audience for me to embrace.

27. Wonder

Directed by Stephen Chbosky

Wonder tells the tale of a young boy with facial deformities (Jacob Tremblay) as he makes the transition from home schooling to being integrated into a traditional middle school. It looked like absolute shchmaltz. But in fact, there was a surprising amount of depth and heart to the film, and a sophistication of thought that made it rise above its shonky premise. There's something surprisingly human about the whole thing, not due to the pathos, but due to the combination of pathos and humour. It is rather optimistic throughout, but it steers away from melodrama and sentimentality. In some senses it rides above its premise, to provide more of a straight family drama. This is accentuated by good performances from Julia Roberts and Owen Wilson, and in particular from Jacob Tremblay and Izabela Vidovic as his sister. The focus on other members of the family, and the wider ensemble helps to promote this. Indeed, the film ends up bearing some resemblance to Chbosky's previous film, the excellent The Perks of Being A Wallflower. It doesn't have the same depth, or the same fluency of character, but Chbosky obviously knows what he's doing in this domain. So it's a surprising effort for a film I expected to dislike a great deal. It's a better outing than it sounds, and ends up, while still not an excellent film, quite good at delivering on its premise.

28. Icarus

Directed by Bryan Fogel

This is a very, very odd film. It's a documentary that starts out with the filmmaker, Bryan Fogel, trying a social experiment to see if he can get away with using performance enhancing drugs for an amateur road cycling race. In pursuit of this, he meets Grigory Rodchenkov, a Russian scientist in charge of his country's anti-doping agency, and the two devise a doping schedule for the director. But the director doesn't know what he's found, because in the middle of filming, Russia's anti-doping scheme is revealed, and Rodchenkov is unveiled as the mastermind behind it. From that point, the documentary pivots and becomes the first-hand story of Rodchenkov turning whistle-blower against his former colleagues, and the revelations of the conspiracy which seem to go to the very top of the Russian government. Fogel is thrown in the deep end to this one. This is not the documentary he was going to make, and neither is he the right director for it—he's hanging on for dear life as the story unravels in front of him. To his credit, he manages to ride it out, and we get a credible and quite engaging story out of it. But there are places where it's quite dicey. He does have the unfortunate habit of trying to put himself too squarely into the middle of the action, a fault that seems common in mediocre documentarians, but given the initial premise of the film, we can at least see why he does it. In the end, there's a really very compelling story in this documentary. The fact that it's told the way it is is the result of luck more than skill on the part of the filmmakers. But it's also luck for us—we get to see the story unfold in a way that we would have missed otherwise. And that's worth something.

29. The Disaster Artist

Directed by James Franco

I'd seen The Room several years ago, and if you haven't it's worth the hype. It is truly a masterpiece of appallingly bad cinema. So I was quite intrigued to see the story behind it, however it was filtered by James Franco. And it is a rather interesting, if quite silly story. The main event here is the characterisation of the star of The Room, Tommy Wiseau. He's a man steeped in mystery—somehow exceptionally wealthy, destined to be an actor, but with very little talent, and zero sense of self-awareness. Somehow though, Franco manages to make him a sympathetic character—the central figure in a tragedy perhaps. It's a soft touch, and easily the best thing about the film. The rest, however, is serviceable but never inspired. The script is only mediocre as far as I'm concerned, despite its nomination for Best Adapted Screenplay, and only manages to provide the main beats of the plot without a great deal of humour or panache. In the end, it's an okay film. I certainly had some fun with it, but it's hard to recognise it as much of a sterling piece of cinematic history. That honour remains solely with The Room.

30. The Boss Baby

Directed by Tom McGrath

By any account, this should have been the worst film of the Oscars. This is surely one of the most awful premises for a movie ever, right? Secretly, our protagonist Tim's new baby brother is a business executive, sent on a secret mission to infiltrate his family, and steal secret plans on a new kind of puppy. Can you hear me gagging already? So how does this manages to twist itself into a heartwarming parable about family, and in particular brotherly love? I suspect this is because it draws on the source material, a picture book by Marla Frazee, a medium not suited to convoluted backstory of the kind that sickened me in this film. But the emotions it evokes are relatable. A new child is brought into the family, which disrupts the status quo in a way that the existing child resists and resents. But over time, almost without realising it, they grow to love one another. The way this tale is framed within the film is almost inconsequential. Yeah, there's some silly plot involving stealing secret plans from PuppyCo. And there are a number of set pieces surrounding the chase and execution of this plot. But that's certainly not what got me. In the end, admittedly, this is still something of a silly film, and its position here isn't great. But for a film that should have been a Giant Novelty Shoe-in for worst film of the Oscars, it endeared itself to me in a way I really wasn't prepared for.

31. Faces Places (Visages, Villages)

Directed by Agnès Varda & JR

A fairly interesting but also perplexing documentary about the surprising friendship that arises between veteran French director Agnès Varda and young photographer JR, whose shtick is pasting massive versions of his photography on forgotten architecture. Together, the two of them travel around France, finding unusual places to exhibit JRs next piece of artwork, which Varda muses on her life, and reflects on her many triumphs and regrets. Largely the film revolves around the friendship that blooms between the two co-directors. But it's a very understated piece, with little in the way of conflict, or even much that's revelatory. The only real human emotion which sneaks in is saved until near the end of the piece, when Varda takes JR to meet her old friend Jean-Luc Godard. The rest is staid, and a little perplexing, but never unbeautiful. It's more a pictorial of JR's art though than anything really resembling a story. And that makes it a harder film to swallow than it really should be. As a result, this is languishing towards the back end of the list, and honestly, that's a bit of a shame.

32. Logan

Directed by James Mangold

People kind of raved about this film, calling it an impressive departure from the regular superhero storyline. While it's true that it is a departure from the regular superhero fare, it doesn't necessarily follow that it hence deserves a rave. The world has changed from the X-Men universe we know. The mutations which caused superhero powers have seemingly stopped, Professor Xavier is now crippled by his mental powers, and is cared for in a bunker by a bitter, resentful Wolverine. But of course, their life is not destined to just peter out without a sound, and they get dragged into a conspiracy that requires their intervention once again. Don't get me wrong: this is significantly more interesting than most of the superhero films that are trotted out year after year. But after the unusual set-up, and some bleaker than normal cinematography, this really does become a lot like another superhero film. At its core, it can't escape that, and when it devolves into long tracts of choreographed fight sequences, I'm much less interested. So yeah, I can perhaps see why this was regarded with critical interest. But at the same time, it didn't do much for me.

33. Beauty and the Beast

Directed by

Not a great film, admittedly, and to some extent warranted some of the criticism thrown at it. It is, after all, not far from a shot-for-shot live-action remake of Disney's classic animated version—a version which is rightfully regarded as a triumph. But because it's based on such solid material, there is a good deal of charm to it. Emma Watson's Belle is engaging in her role, although as people have said, she's not an incredible singer, meaning that her songs are only so good. The rest of the cast (which is surprisingly good), do a serviceable job, but at every moment you're comparing them to the animated versions of themselves, and the comparison is rarely favorable. Perhaps the exception is Luke Evans as Gaston, who manages to be suitably and consistently smarmy, and Josh Gad as LeFou, who manages to elicit some sympathy from the audience. In the end, it was better than it might have been. And it's not as good as the original. While you might look at it and say "it didn't fail in its attempt", you might equally ask "why was the attempt made in the first place?".

34. Darkest Hour

Directed by Joe Wright

I had a bunch of problems with this film. Telling the days of the early turbulent reign of Winston Churchill's prime-ministership, it focuses on the difficult future facing Britain in WWII, when victory was so far from assured that a Nazi invasion seemed inevitable. Notwithstanding Gary Oldman's believable mimickry of Churchill, the film concerned me in a bunch of different ways. It sought to give insight into the difficult decisions of government—which in this case involved outright lying to the people of the country, and nationalist propaganda designed to help the war effort at the cost of transparency. But in so doing, the film seemed to canonise such efforts. This is the cost of winning a war, it stated, and the ends justify the means. Worse is the fact that the seeming pivotal moment when Churchill seeks the approval of the common man (a sappy sequence set on the London Underground) is played off as the moral basis of the film. Everyone, it seems, approves of the job Churchill is doing. They support the war effort. They support the need for austerity. They are optimistic about Britain's chances, because Britons have the backbone to win a fight, jolly what. The film portrays Churchill as buoyed by this, despite the fact that in the narrative of the film these people only think this due to the propaganda Churchil himself is spouting. The whole sequence made me very cynical, and it underlined all of the thematic issues with the film elsewhere. If it were a better made film overall, I'd perhaps even consider it dangerous to some extent. But I think that it might only be remembered as a vessel for Gary Oldman, who's apparently one of the favourites to take out the Best Actor nod. And maybe that's fine as its legacy.

35. Abacus: Small Enough to Jail

Directed by Steve James

This wasn't a terrible documentary, but it was one that was drawn out for too long. It tells the story of the Abacus bank, a small American operation set up to appeal to the Chinese community in that country. Unlike any of the other banks which were caught up in the aftermath of the global financial crisis, Abacus was the only bank whose directors and management were charged with crimes. The documentary follows the trials, and tells the story of the how they ended up in the situation they did. It focuses less on the impact of the GFC on all the other banks, and I think misses an opportunity to take more of a swing at the big players. Instead, it focuses on how unfair it is that Abacus was targeted, rather than how unfair it is that Abacus was the only bank targeted. The other issue I have with the film is that the middle section is severely over-extended. To be fair, if it were not, the film itself would be much shorter—and it's not an overly long film as it is, so it may have not even been classified as a feature film if it were not extended in this way. But there's a great deal of time spent focusing on the family's and directors musing on what's going to happen in the trial, without much in the way of narrative thrust. In the end, it's only so good. I liked the concept behind it, but the delivery and execution meant that this fell a long way down the list.

36. Baby Driver

Directed by Edgar Wright

A rather silly film, directed with panache and a sense of style, but ultimately one which really just had me giving a bunch of sideeye. Let's talk about the good bits. The music, which provides almost the rhythmic thrust of the film, is universally excellent. It's an eclectic mix of any number of pieces, usually drawn from the lesser-known back catalogues. And there's a kind of anti-establishment style to the film, especially the driving sequences, which are, in turn aided by the pumping soundtrack. But the story is weak, and the characterisation is even more so. These folks are comic-book cutouts—which, you feel, would fit the style of the movie—but instead it just creates a sense of detachment which means that I personally never felt involved in the world. I just didn't care about anyone. It's also not aided by the performances of the leads. Kevin Spacey phones in a "look, I'm Kevin Spacey" doddle, and Ansel Elgort is just numbingly bland in the title role. Some pleasingly uncharacteristic menace comes from John Hamm and Jamie Foxx, but they're not the main focus of the film, so their presence is only sporadically helpful. I ended up just feeling alienated from the film. It didn't do anything to really draw me in at all, and as a result, I ended up not caring. Worse, the stylistic embellishments ended up feeling a bit like an ego trip for Edgar Wright—the film hadn't earnt them, and given it had fundamental problems, it came across as wank.

37. Last Men in Aleppo (doc)

Directed by Feras Fayyad

This film suffered a lot from the fact that I'd seen The White Helmets the year before, which covered the same group of Syrian volunteers whose job is to rescue survivors from bombed buildings. The two films were produced by different people, so there's not necessarily the sense that one is just a richer adaptation of the other. This one, however, does have the advantage of being able to delve more deeply into the lives of the people around the White Helmets. In particular, there's a fair amount of time spent looking at the children who are rescued, often finding themselves orphaned, and their ongoing relationship with the people who rescued them. But I'll admit my attention was wavering at points through the film, largely because I felt like I'd heard about this before. This probably means that I was missing out on a deeper experience than I got from The White Helmets. That's probably a shame.

38. War for the Planet of the Apes

Directed by Matt Reeves

I've really enjoyed this film series. I particularly liked the original, which had a really wonderful exploration of the worldbuilding in the first Planet of the Apes film. And I was then very pleasantly surprised by the follow up Dawn of the Planet of the Apes, for adding an interesting moral ambiguity into the inevitable conflict between the apes and the humans. But this film I found to be easily the weakest of the lot. In some ways, that's not unsurprising. The trilogy needed a cap at the end of it, and it was trying to wrap things up in a way that was meaningful. But that, to some extent, came at the expense of this particular film—it may have helped the series as a whole, but not this specific episode in it. It's also much less a film that's interested in exploring the ethos of the world, or even necessarily the development of the relationship between the humans and the apes. It's a war film, by necessity, and that has a limited appeal to me. There are good parts, as there have been throughout the series, including the visual effects, and Serkis's performance as Caesar. But there's only so much that can help. This is not one of the big picks for me.

39. The Greatest Showman

Directed by Michael Gracey

This is this year's La La Land, the high concept musical (with songs from the La La Land team, no less), that ends up being very silly at times. And while it would be very easy to eviscerate this for all that's wrong with it, there were enough good parts to it that I'm infiriatingly feeling the need to defend it. Really, in broad strokes, this is not good. The concept and script are very poor, and so obvious in places that I thought I was going to do damage to my optic nerve by rolling my eyes so much. Hugh Jackman is predictable, and Michelle Williams is actively bad in this. But whereas La La Land rode or fell (it definitely fell) on the performances of its two leads, this is much more of an ensemble piece, and parts of the ensemble save it. In particular in this film, the subplot surrounding the romance between Zac Efron and Zendaya is told with an emotion and subtlety that has no place in a film like this. These two actors are easily the best thing about the film, and they really provide some heart to a film that's otherwise lacking it. It's also true that the set pieces and the musical numbers are put on the screen with a style that other recent musicals have severely lacked. That's not to say it survives its overall crumminess, but there are a lot of people (not including the leads) who are working very hard to make this film a success. And apparently, it is indeed a success. This has been a surprising hit at the box office, despite the panning it's got critically. And that's not necessarily a bad thing. There's definitely a place for films like this, and musicals in general. And who knows, perhaps if they keep making them, eventually we'll get one that's actually good.

40. Guardians of the Galaxy Vol. 2

Directed by James Gunn

I really don't much see the appeal of this film franchise. I think partially it's due to missing the appeal of the now blandly handsome Chris Pratt. He used to have a kind of schlubby charm in the days of Parks & Recreation and Her. But now he's just conformed to the mould of vague action-hero leading man. This is particularly true in this volume of Guardians of the Galaxy, which I found much more lacking in the humour that at least set the first episode apart. It's possible that this is just due to the fact that the first episode was different from the other standard comic-book films being churned out, and this is not significantly different from Vol. 1. But still, it matters because our expectations were somewhere for this film, and the end result is something that's just not that innovative any more. I still think that the best part of both of these films is Dave Bautista's Drax, who this time has an amusing relationship with an empathic alien. The dynamics between the rest of the group is less interesting this time—there's manufactured tension, but very little of the natural friction you got when this rag tag bunch were thrown together. And the story? Was there much of a story? Yes and no. Yes, there was a story. No, I didn't care about it, and to be honest, the story is not what this film franchise's strength is. The fact that they tried to ratchet up the plot to impossible levels with excessively high stakes is testament to the fact that they kind of know it too. So yeah, I didn't much like this, and to be honest, I'm actually going to groan if I have to watch the third instalment. There's definitely going to be a third instalment, but if possible, I'm going to give it a miss.

41. Ferdinand

Directed by Carlos Saldanha

You know what was bad? Ferdinand was bad. It's also the kind of film that I'm really skeptical about. Despite the fact that it's built on an apparently beloved children's book, it has all the hallmarks of a film that was designed by a committee. It tells the tale of a bull who decides he doesn't want to fight in the arena, despite the fact that that's what he's been bred to do. Yeah. And it kind of does that. I guess. But it's really quite bad in everything perhaps that kind of idea. There are just so many parts that stand out as the handiwork of some producer who said "we haven't had anything funny in a while, could we maybe add a dance competition for no reason at all?". The animation is also halfway between the beautiful and the comic, but it's neither one nor the other. As a result, it feels as though it's just half-baked. I understand the desire to have a slightly less realistic vibe to a cartoon, but it gels poorly with the backgrounds, for instance. The best part of the film is the characterisation and performance from Kate McKinnon's neurotic goat Lupe, who is genuinely quite amusing and endearing in equal measures. But having a bright spot like this just kind of makes things like the trio of stereotyped Swedish horses stick out as awkward all the more. Yeah, not a big film. This is the kind of animated film that for quite a while made the entire category my least anticipated section to sit through. But films like Coco, Loving Vincent and even god-forbid The Boss Baby have shown that the kind of film like Ferdinand really shouldn't cut it any more.

42. All the Money in the World

Directed by Ridley Scott

What a disappointing film. It's a disappointing film because it's so unconscionably dull. Telling the story of the kidnapping of the grandson of J.P. Getty (Christopher Plummer, taking over the role that had been completed by Kevin Spacey), and Getty's refusal to pay the ransom, I'm kind of bored just thinking back on it, to be honest. Once again, we have Michelle Williams in a role that's just yawningly pedestrian. She fails to breathe any life into it at all aside from doing her vague stony-faced monologuing. And across from her is Mark Wahlberg who at least inhabits his role—but it's a role he's done so many times before that we don't really care about seeing him do it again. But mostly, I just found this film chilly, cold and overly boring. It's unpleasant in other ways too—it has that feeling of ennui that envelops me when watching the excessively wealthy. I just don't care. Moreover, it's the kind of indulgent thing that people like Ridley Scott probably thinks people like me want to watch. Which I think just means the producers of films like this are out of touch. Mostly, this feels like it only even got a nod for an Oscar as a giant Fuck You to Kevin Spacy. Plummer is fine in the role that earns him his Best Supporting Actor nomination, but not better than a bunch of other people that could have taken his place (Michael Stuhlbarg in Call Me By Your Name should be kicking some walls watching this performance). And had it not been for that I probably never would have watched this. I suspect I would have been the better for it.

43. Kong: Skull Island

Directed by Jordan Vogt-Roberts

Now we're into the serious garbage. Second bottom film of this year's Oscars is this mess from director Jordan Vogt-Roberts. You know him, right? He's exhibit 12 on Hollywood's parade of let's give a major Hollywood franchise to some white male director who's had one successful indie film, while women with illustrious careers are still seen as too much of a risk. He's the next version of Colin Trevorrow in other words, which should strike fear into your heart. Also stacked against this is the fact that it's a(nother) reboot of King Kong, just focusing on the attempts to investigate his home of Skull Island. Like many reboots of classic action films, it misses all of the moral questions of the original, and instead puts on screen a story which is a loosely connected selection of Things Blowing Up Sampler Pack, Vol. 12. The plot? It almost doesn't matter. A bunch of shit happens on Skull Island. Kong is an enemy, but then not an enemy. John C. Reilly pulls out an inappropriate Dewey Cox impersonation, while the story devolves into worse than B-movie territory. OK, to be fair, this is only nominated for visual effects. And these are indeed good. But that's like saying that this is a beautifully decorated cake made of dogshit. All of the pretty piping work in the world doesn't make you want to consume it. Worst is that this was apparently both a commercial and critical success, and is feted to launch yet another shared-universe franchise. That's kind of awful, because I don't want to have to watch another film like Kong: Skull Island.

44. Molly's Game

Directed by Aaron Sorkin

Bottom of the pile this year is a film that's probably not technically the worst film I've seen (Kong: Skull Island owns that), but the one that just pissed me off the most. And it was Aaron Sorkin's directorial debut Molly's Game. It was awful. In fact, it got more awful the more I thought about it. It is almost completely, 100%, unrelatable in any way shape or form. Telling the true story of a young woman (Molly Bloom, played by a lacklustre Jessica Chastain), who starts a high-stakes poker game for the rich and famous, and is subsequently indicted for it. I mean, are we meant to have sympathy for this character? Are we meant to identify with the group of soulless people she surrounds herself with, in particular the callous movie star played by Michael Cera, who's supposedly based on Tobey Maguire. They're all completely unpleasant in one way or another. But the worst part of this train wreck of a film is the fact that you can sense Sorkin's fawning admiration for Molly Bloom. Sorkin has shown himself to be kind of a nasty character in real life, and the fact that he picked this as his directorial debut is telling. And the way he puts in on screen just emphasises all of the ways in which I found the story deeply unpleasant. I wouldn't be surprised in the slightest if in real life, a slimed-up Sorkin found himself a regular at Molly's table. It would then make this whole films something of an ego-trip (or moreso than it is already), and that very much fits in with my impression of Sorkin nowadays. Yeah: I hated this film. It's the kind of hatred that can only really mature and develop over time. It's a rich and full-bodied kind of hatred, that has had the benefit of reflection and deep thought. It's the kind of hatred that easily beats out the kind of knee-jerk hate I have for films like Kong: Skull Island. It's kind of beautiful in a way. Well, there you have it. A full rundown of all the feature films at the Oscars. But we're not done yet. We also have the truly wonderful short films to look at. I'm not going to write these up individually, but here they are in order from my favourite to least favourite:

DeKalb Elementary (live action)

The Silent Child (live action)

Heaven is a Traffic Jam on the 405 (documentary)

Watu Wote (live action)

The 11 O'Clock (live action)

Garden Party (animated)

Traffic Stop (documentary)

Revolting Rhymes (animated)

Lou (animated)

Heroin(e) (documentary)

My Nephew Emmett (live action)

Negative Space (animated)

Knife Skills (documentary)

Edith & Eddie (documentary)

Dear Basketball (animated)

As always, these were excellent, and a set of films which are honestly worthy of as much time as the Best Picture nominees. I highly recommend watching the Short Film categories at the Oscars every year, but this year's were particularly good. The top film, DeKalb Elementary, is honestly the most affecting piece of cinema I've seen at this year's Oscars, in either the short or long form. And of course, it wouldn't be my write-up without me giving my hot tips for the winners. I say hot tips, but don't rely on these for predictions. These are how I would vote if the Academy would answer my damn phonecalls and give me a ballot for the awards. As always, I've limited my votes to just the nominees in each category, so while I would like to vote for Ferdinand for Best Foreign Language Film, I can't. Best Picture: Lady Bird Best Director: Greta Gerwig (Lady Bird) Best Actress: Frances McDormand (Three Billboards) Best Actor: Daniel Kaluuya (Get Out) Best Supporting Actress: Allison Janney (I, Tonya) Best Supporting Actor: Sam Rockwell (Three Billboards) Best Original Screenplay: Lady Bird Best Adapted Screenplay: Mudbound Best Animated Feature: Coco Best Foreign Language Film: On Body and Soul Best Documentary Feature: Strong Island Best Documentary Short: Heaven Is A Traffic Jam on the 405 Best Live Action Short: Best Animated Short: Garden Party Best Original Score: Phantom Thread Best Original Song: "Mystery of Love" (Call Me By Your Name) Best Sound Editing: Blade Runner 2049 Best Sound Mixing: Dunkirk Best Production Design: The Shape of Water Best Cinematography: Blade Runner 2049 Best Makeup and Hairstyling: Wonder Best Costume Design: Phantom Thread Best Film Editing: Dunkirk Best Visual Effects: Blade Runner 2049

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