For the Oscars, 2018 was a great year. With films from a variety of genres represented — everything from “The Post” to “Get Out,” it felt like anyone’s game. Guillermo del Toro’s “The Shape of Water” eventually reigned supreme, and even for someone like myself who felt on the fence, there were no qualms to be had with his victory.
2019 is a different story altogether. There’s a recurring theme amongst these films — political commentary in the face of a divided nation. Sometimes this commentary works, but often it feels unnecessary and detracts from the enjoyment. For these nominees, it’s a bit of both. Don’t get me wrong, these are all good films. The list just pales in comparison to prior years.
“Black Panther”
I’ll spark the obvious conversation — why isn’t “Infinity War” on this list instead? The film not only has a more cohesive plot and compelling villain, but the CGI is miles ahead of its nominated counterpart. Josh Brolin’s motion-capture performance alone is worth more than “Black Panther” in its entirety, and I’m left scratching my head. Next thing we know, “Captain Marvel” will be nominated instead of “End Game.”
Max Rothenberg | Argonaut
“BlackKklansman”
Spike Lee’s latest is an interesting dive into the ‘70s and the history of the Ku Klux Klan. While culturally relevant and incredibly timely, the film’s ending leans too heavily toward seemingly desperate political commentary and jarring tonal shifts. It’s an important and captivating watch but is held down by strange editing and thematic choices.
“Bohemian Rhapsody”
Rami Malek is a great actor. This thought is the only aspect of “Bohemian Rhapsody” I still remember, which sums up the film well enough. From poor green screen effects to unnecessary montages, these two hours felt as if they were made for television. This is a biopic which can’t quite find its footing, and when a best picture nominee holds a 59 percent on Rotten Tomatoes, the general public agrees as well. I agree this film was made not for fans of the band members, but fans of the music itself.
“The Favorite”
Yorgos Lanthimos’ latest film consistently feels like a parody of 18th-century royalty and customs. The film’s message is strange, just like the constant tracking shots and the fisheye lens used to film. It’s cliche and often over the top, but a relatively interesting ride nonetheless. Yet, while it’s definitely a breath of fresh air, an argument can now be made that stale air may be better. This wasn’t my Favorite.
“Greenbook”
“Greenbook” came hot off the press from Gondor in 2018, and … I actually enjoyed it? It’s a road trip movie elevated by the cast’s incredible chemistry and interactions, and could potentially replace National Lampoon as my favorite in the genre. Viggo Mortensen delivers an incredible performance as the bouncer-turned-driver for an African-American pianist, and despite my best efforts, around the 90-minute mark, I started to forget he was Aragorn. This was actually worth the price of admission.
“Roma”
I have a love/almost-love relationship with “Roma.” Hate seems like too strong of a word, as the film is incredibly good and innovative. Hailed worldwide as a masterpiece of cinematography, it’s hard to deny Alfonso Cuaron’s talent for the craft. My biggest gripe instead turns to the repercussions of such a serious composition. This isn’t a film I would watch again unless it was for a film study class, as there isn’t much actual enjoyment to be found. There’s incredible appreciation for the art form and the somber, moving story, but boy is it depressing and often even hard to sit through.
“A Star is Born”
A star was definitely born with this film, and it’s Lady Gaga’s acting career. Gaga perfectly portrays Ally’s rise to fame and stardom alongside her lover’s continual spiral toward disaster. This is the definition of an emotional roller coaster, albeit one accompanied by a third act that doesn’t quite reach the same level of excitement. I felt like I was cruising down the highway toward Pullman, then out of nowhere was hit by a never-ending school zone forcing me to 25 miles per hour.
Despite my personal qualms with the ending, the soundtrack continues to impress and Bradley Cooper’s directorial debut can be described as a success.
“Vice”
In Adam McKay’s “Vice,” Christian Bale once again proves he can carry a mediocre film to success. What should have been a documentary released 25 years from now somehow surfaced as a poorly edited, narration-driven “comedy drama” about Dick Cheney — with Steve Carrell also playing what seemed to be himself.
Further held back by a bizarre, fourth-wall breaking ending and more nonsensical tonal shifts, this is another nominee lacking a clear vision.
As mentioned by a friend after viewing the film, the most interesting segment involves Cheney not washing his toothbrush after using it. What are the implications here?
Max Rothenberg can be reached at [email protected] or on Twitter @theRothenberg