[NoHo Arts District, CA] – This month’s Mike Peros movie and TV reviews on “My Two Cents About the Oscars, and a Few Recommendations.”
The 95th Academy Awards have come and gone, and you know, they were pretty entertaining overall, to the extent that even though it was a long show (three hours and twenty-one minutes, by my watch) it didn’t seem as long as some shows of recent vintage. One may quibble about some of host Jimmy Kimmel’s quips (especially some of the early ones, and I’m not just talking about Robert Downey’s nose), but several were amusing and occasionally quite funny. Kimmel’s bit with John Cena came with a good punchline and later, thanks to a former President, Kimmel shared an early review. Besides Kimmel, the presenters did well with the requisite and occasionally inspired banter (Emily Blunt and Ryan Gosling’s “Barbenheimer” rivalry; Kate McKinnon and America Ferrera and the Best Documentary). Of course, Ryan Gosling’s performance of “I’m Just Ken” from Barbie was a highlight and nonstop delight, including the homages to both Busby Berkeley and Marilyn Monroe (and her immortal ‘Diamonds are a Girl’s Best Friend’ number). Perhaps the most inspired (and sustained) notion of the evening was in reviving the practice of having previous winners in the acting categories paying tribute to the nominees, including Rita Moreno’s “America” tribute to America Ferrera, Nicolas Cage praising Holdovers nominee Paul Giamatti and what lengths each would resort to for his art, and Tim Robbins accidentally calling Supporting Actor nominee Robert de Niro the ‘winner.’
In terms of the winners and losers, let’s face it, there was relatively little suspense. Oppenheimer was a shoo-in in several categories, Poor Things took home many “technical’ awards, but I must say, I was happy when Emma Stone took home Best Actress in what was a very strong category. I was also impressed (and ecstatic) that Godzilla Minus One took home the Best Visual Effects Oscar…it would be nice if one were able to see it…somewhere. I mean, do we now have to wait for the next Godzilla flick to be on the end of its run. Seems so unfair—surely there’s room for some good old-fashioned Godzilla competition. (The competition can be nasty, leave us not forget, we’re dealing with Godzilla here, and he ain’t always the good guy.)
Enough of this praise—what did Oscar get wrong? Two things, as I see it. First is relegating the honorary awards to an earlier show at another venue, then mentioning the recipients (in the corridor, no less, as winner Billie Elish glided by) and the QR code (!) that one may use to access those awards. For crying out loud, make room, make room, on the broadcast, for a dignified mention and perhaps an excerpt from their speeches—instead of rendering these lifetime achievers almost invisible. The other is that “In Memoriam” segment. Gratis, you’re not going to include everyone. Someone is going to be hurt (among the living, I mean) about some perceived slight. But why hide those being memorialized on a recessed screen, behind swirling dancers who are either distracting or squarely in front of those you might wish to see and identify. It makes no sense…and it certainly casts a pall on the evening, in ways that were not intended.
And that’s it for my two cents about the Oscars. I would like to recommend Anatomy of a Fall, which I caught rather late in the game. Justine Triet’s drama about a husband’s mysterious death and the trial of his wife becomes a multi-layered drama about guilt, displacement, betrayal, and the elusive nature of truth. Thanks to a nicely textured performance by Best Actress nominee Sandra Huller, the viewer remains in doubt about the possible outcome, while being riveted all the way. Aided and abetted by fine work from Milo Michado-Graner as her blind, sensitive son, Swann Arlaud as her friend and lawyer, and Messi as Snoop (the family dog), it’s worth seeking out in the theaters or on your streaming service.
Also, if you’ve got a spare forty minutes, do take that time to see the winner of the Best Short Documentary Award, The Last Repair Shop. It’s a beautifully crafted work about music students in Los Angeles public schools—and the repair shop that tends to their instruments. We see the stories of the young artists and the older artisans—and the love and passion (and struggles) that inform all that they do. It packs an emotional wallop—you’ll want to see it again. But see it first—then watch it again!