Look...do not get me wrong. After reading about this year's nominations for the 2019 Academy Awards, I was immediately thrilled about two items:
1. Ryan Coogler's "Black Panther" was one of the eight nominees for BEST PICTURE, certainly notable for being the first superhero themed film to receive such recognition but also, because it was undeniably one of the very best films of 2018 regardless of genre.
2. Secondly, Writer/Producer/Director Spike Lee, was FINALLY nominated in the category of Best Director, this time for his superior helming of "BlacKKKlansman," also an exceedingly well deserved Best Picture candidate. This long overdue recognition serves as Lee's very first nomination in this category after 30 plus illustrious years as one of America's finest filmmakers, in my opinion.
But aside from those two nominations, this year's nominations felt to be overly predictable, in ways that were more than deserved and other, which dishearteningly felt like the result of excessive studio campaigning rather than an honest representation of what the very best cinema that 2018 had to offer--and for my time and money, 2018 was an exceptional year at the movies.
It is of no secret to me that the Oscar season possesses more than its share of elements that are akin to a horse race rather than a celebration of cinematic art. but there felt to be something different in the air this time around. I guess it is a certain obviousness to the behind the scenes wheeling and dealing that is leaving a bad taste in my mouth, especially as aspects of the film industry and the world of how films are even being distributed and viewed have changed dramatically.
With the eight Best Picture nominees, I have currently seen five--"Bohemian Rhapsody," "The Favourite," "A Star Is Born" as well as the aforementioned "Black Panther" and "BlacKKKlansman." "Green Book" I had missed due to personal issues between Thanksgiving and Christmas and I just haven't gotten myself to "Vice" just yet but hopefully, with their nominations, I'll now be able to catch up with both of those.
And then...there's Alfonso Cuaron's "Roma."
"Roma," which was partially financed by Netflix, is indeed a heavy hitter critically and now with the Academy as it is standing tall with 10 nominations. It is the film that I wish to see the most out of the nominated films and especially because of its critical acclaim as well as my status as a fan of Cuaron's stellar cinematic work.
But, I have not seen the film as I do not have Netflix, the platform upon which the film is currently streaming, and also because its theatrical release has been even less than scant, with no theater screenings at any theater whatsoever in my city of Madison, WI. For Netflix, regardless of whether the film wins Best Picture or not, it is a win-win situation for them as they can now become a major player against both the traditional and independent studio systems as well as continuing to claiming an exclusivity for their platform by having the product that you can only go to them to even see--an aspect that, as far as I am concerned, dilutes the art as well as the shared experience of the cinema as an art form!
I resent not being able to see "Roma" at this time, frankly because I do not wish to feel forced into purchasing something I do not need just to watch one movie. Or two movies, for that matter as The Coen Brothers' "The Ballad Of Buster Scruggs," a second Netflix exclusive, nominated for Oscars but a film I have been unable to see due to the lack of a theatrical release.
I do bring this grievance up for the following reason: It is the irony of a streaming service, a corporation not remotely interested in making movies or the theater experience, arriving with the very motion picture that only an exclusive group of people can see at a time when the movies and movie going experience are existing at a particularly precarious period for filmmakers and audiences regarding which films are available and which films are even being made. For how can one really celebrate the art and artistry of the movies when one is unable to even see what is being held up as representative of the very best the movies have to offer in a given year?
And then, on the opposite end, is "Bohemian Rhapsody" truly the very best the movies has to offer?
Yes, I know that so many of you loved "Bohemian Rhapsody" and that you were not alone as it was indeed a box office smash and it took some surprise major wins at this year's Golden Globes. But for me, I can honestly think of 20 films that I felt represented a certain greatness (all will be revealed on this site soon), as well as better leading performances than Rami Malek's (honestly, Ethan Hawke's career best performance in "First Reformed" should have been recognized).
For that matter, I have read similar criticisms towards "Green Book," again which I am unable to speak towards as I haven't had the chance to see it yet. But, I am concerned that we have a couple of popular but flawed films representing "THE BEST" when there were some truly great, exciting and downright audacious features that have not been recognized at all (Academy, you really dropped the ball by not showing "Eighth Grade," "The Hate U Give," "Won't You Be My Neighbor" and especially "Sorry To Bother You" some love).
Then, there were the typical Academy oddball moves regrading their snubs. Like, why were Bradley Cooper, Peter Farrelly and for the love of Pete, Ryan Coogler not nominated in the Best Director category for their work on "A Star Is Born," "Green Book," and "Black Panther" respectively? It is not as if the films directed themselves!
Furthermore, where were the female directors this year?
But of course, there was good news.
For instance, and aside from "Black Panther" and Spike Lee, I was happy to see all three actresses--Olivia Coleman, Emma Stone and Rachel Weisz--all rightfully nominated for "The Favourite." I was thrilled that the great Sam Elliot finally received his first ever nomination, again, rightfully so, for his work in "A Star Is Born." The severely under-represented "If Beale Street Could Talk" from Writer/Director Barry Jenkins was otherwise correctly represented in the Best Adapted Screenplay category as well as for Best Original Score, which was so rapturously composed by Nicholas Britell.
Apples and oranges...apples and oranges...but even so, there is a ho-hum quality to the nominations overall, when they could have been more exciting and well rounded.
Hopefully the host-less Oscar telecast on February 24, 2019 will provide some excitement.
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