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Oscar picks

Oscar Noms 2025: Gems & Duds

03/14/2026 by leah@carygrantwonteatyou.com Leave a Comment
Photo of Rose Byrne from If I Had Legs I'd Kick You


Hamnet. Can I say a performance like Jessie Buckley’s is good if it’s just one misery scene after another? I don’t know these characters enough to feel invested in them. The pacing is all wrong. I looked at my watch countless times. What were the slow-mo shots of trees and berries for? I didn’t cry. If I hadn’t known these were depictions of real people, I would have rooted for the plague. This is not the sign of a good movie.

Song Song Blue feels a bit like a Lifetime movie despite the great performances (especially Hugh Jackman’s). The timeline is very misleading. But I thought it affecting, which is more than I can say for Hamnet.

One Battle After Another. It’s an action movie. It’s a satire. It’s a comedy. And it all works. Fantastic acting, biting commentary about the current moment (not easy to pull off), an actually original car chase. the star-making turn of Teyana Taylor. It’s a movie I instantly wanted to rewatch despite its length. I don’t always like Paul Thomas Anderson. But he nailed this one.

Sinners. This is a daring movie. It’s inventive and thoughtful and metaphorical and just new. I don’t think it all works, especially the end. I might give the Oscar to Ryan Coogler anyway because this is a deeply creative film, and I believe directors who pull off something less polished but interesting deserve the accolades. The main reason I wouldn’t give this film the Oscar is my biggest surprise: I don’t think Michael B. Jordan is good in it.

This discovery has been a shock for me, someone who has loved him since his stunning performance in The Wire, who adored him even his small roles (Lie to Me). Who watched a superhero movie for him, loved Creed because of him. But here’s the thing: If you’re playing twins, I should be able to tell them apart. And I was so far from being able to do so that I nearly wrote down which person was wearing what so that I’d stop confusing the characters. Consider this: Tatiana Maslany played so many clones in Orphan Black that I couldn’t count them, and when acting as the main four clones, I could tell when one of them was pretending to be another. Jordan is nearly always good, but I found his performance dull here, even if he hadn’t muddled the storyline by not building enough distinctions between the two men. All the other performances — especially those of Wunmi Mosaku and Delroy Lindo — are memorable.

Sentimental Value. I really loved this film. Affecting, understated and simple, with characters so believable to me — especially the relationship between the two sisters — that I instantly felt invested. Stellan Skarsgård is great in it, even better than Sean Penn with his brilliant portrayal of the villain in One Battle After Another. Renate Reinsve is moving and subtle in it, but I liked the performance of Inga Ibsdotter Lilleaas even better. She plays the more grounded sister who is trying to keep the family together. She’s lovely in it.

Marty Supreme. I don’t know how to feel about this film. Timothée Chalamet is mesmerizing in the role, but as a movie, I don’t know. It gets boring in the middle, and I’m not sure what we come to in the end. The very end is terribly cliché. There’s sadly little ping pong. All the character’s hustles flow together and aren’t really hustles at all. The real person the film is based on seems far more interesting than the character drawn here. I enjoyed most of it, but I’m not sure I can call this a good film.

Blue Moon. I enjoyed this little character study. It’s more of a play than a film, but Ethan Hawke — who has never been my favorite star — is quite good in the role. As far as character studies, this is far more interesting than Marty Supreme.

If I Had Legs I’d Kick You. I’m a big fan of this little fever dream of a film, and Rose Byrne’s was the most stunning performance of all of those I saw this year. More nuanced than Buckley’s and Reinsve’s. Better than any of the men’s performances. By turns funny and heartbreaking and deadpan, Byrne’s acting is something to watch. She won’t win. But she should.

So there you have it: my views on the nominees I’ve seen so far. I’d love to hear others’ thoughts!

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Posted in: 2020s films, Action & Sports Films, Comedies (film), Drama (film), Oscars, Uncategorized Tagged: Hamnet sucks, Oscar picks, Rose Byrne deserves the Oscar

2018 Oscar Best Pics Ranked (of the Five I’ve Seen)

02/25/2018 by leah@carygrantwonteatyou.com Leave a Comment

It’s that time again, time to get irritable with the Academy and argue with their choices. This year I thought they did pretty well. Though I haven’t seen Dunkirk yet, I’m glad they’re finally giving Christopher Nolan credit; his ability to capture a place (real as well as fictional) is extraordinary. And the Get Out choice is particularly merited (and surprising given their history). I was too annoyed by There Will be Blood to watch Phantom Thread, but will catch Call Me by Your Name. (Unfortunately, the flat previews didn’t drum up the motivation to watch it in advance.) Everyone who has viewed it has told me Darkest Hour doesn’t deserve the nomination, and I’m annoyed that it and Phantom Thread shut out the deserving I, Tonya. Of those up, here are my rankings:

Tied for 1: Get Out & Three Billboards:

Get Out. Of all those I’ve seen this year, this film entertains the most. What a joy to see a horror movie that is also a satire on racism. The film works on so many levels. I don’t like horror, but the previews hooked me, and as a long-time Jordan Peele fan, I had to check it out. It should be required viewing for everyone in this country, as it beautifully captures how a surface liberalism enables people to ignore their own privilege. Peele has managed to bring mainstream the message Peggy McIntosh gave to academics. Few would be able to deliver such a crucial theme without heavy-handedness. Peele manages to do so with humor.

Three Bilboards Outside of Ebbing, Missouri. It’s difficult for me to choose between this film and Get Out, as Three Billboards reflects on grief and revenge in such an insightful, interesting way, and the plot keeps me guessing throughout. The characters are all shades of gray, and Frances McDormand embodies the most simultaneously badass and complex female lead since Thelma and Louise. (That she deserves the Oscar is so obvious I feel no need to write about it). Actually, I would have given Peele the best film and Martin McDonagh the best director, but that’s impossible since he’s been shut out. (I’ve been intrigued by his strange ability to blend religion, compassion, strangeness and humor since In Bruges, and this is his finest film.) Both this movie and Get Out have stayed with me since I viewed them, and both are remarkable for what they’re saying about grief and justice, and for their extreme level of originality. And unlike the last film on my list, both are beautifully edited, with perfect endings.

3. Ladybird. How fun to see a high school film given credit! While I don’t find it as memorable as the first two, and it’s a smidge too long with some unresolved threads, it’s a strong, character-driven film, with a great turn by Laurie Metcalf as the loving but difficult mother. Both prickly and heartwarming, as a teenage angsty film should be.

4. The Post. I’ve already gone on about this film at length. I enjoyed it. It’s inspiring and informative. It features strong performances. But it falls into the Spielberg ending trap, which undoes some of its effectiveness. And as someone who doesn’t live in one of the few cities where it actually arrived in December, I resent that a big-budget movie I can’t watch until January counts as a 2017 film.

1055. The Shape of Water. Here’s a question for you: Why is acknowledging some humanity in a bigoted cop racist (in Three Bilboards) according to critics, but it’s perfectly acceptable to equate racism, homophobia, and resistance to amphibian-human sex? Comparing animals to people of color is a favorite racist pastime. The most offensive homophobes claim bestiality is next in line after homosexuality; this film comes along and suggests they’re right, and no one minds. It’ll probably get the Oscar. So much for the Academy getting over their #Oscarssowhite shame.

I don’t think the director realized this was what he was implying, as there’s a tunnel vision to this film that suggests he wasn’t thinking much at all (unlike my number 1s). As a fan of Pan’s Labyrinth, I was disappointed in the heavy-handed quality of this later film. The villain is comically evil,  without even the humanity a superhero franchise would give him (and from what I hear of Black Panther, Marvel is proving itself far more sophisticated character-wise). And the heroine is so smitten with desire that it doesn’t occur to her to drive beyond the five blocks of her home to give her love a greater chance at survival. The amphibian-man I’m supposed to root for has nearly zero traits (this is a far cry from the highly lovable ET or even Splash‘s shy mermaid). I was impressed with the creation of his form; why not give equal attention to what’s beneath?

It must be noted that I’m a fan of classic film, and resented the time allotted to celebrating them (and the longing it gave me to be watching those instead). When I’m refraining from looking at my watch because I know the end thirty minutes before it arrives, I know my verdict–a bad Splash (hardly a stellar film)–is correct. Yes, the movie is beautiful, and I know I don’t give enough credit to world building if the character development is weak. But some cleverness in that world building is required (I enjoyed the Mad Max series, which is not exactly praised for character development). In five years, no one will remember this film, unlike his haunting Labyrinth. But you know what they will remember? Three Billboards. And Get Out.

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Posted in: 1990-current films, Oscars Tagged: Get Out and Three Billboards deserve win, Martin McDonagh robbed, Oscar picks, Why The Shape of Water sucks

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