The Oscars are Over, But Which Best Picture Nominee Was the Best?
2017 boasts an array of thought-provoking films to make you weep—whether from emotional catharsis or sheer boredom. 2017’s Oscar nominations all rely heavily on realism, depicting life in its mundane glory and focusing on weighty issues such as racism, death, poverty, and bullying. Intrigued by the diversity in this year’s Best Picture category, I set out to review all nine films nominated for Best Picture. Armed with popcorn and soda, I spent two weeks binge-watching the Best Picture nominations and immersing myself in cinematic splendor. Uncensored and unabashed, these are my personal. May the best film win!
Arrival (2016): One star If you enjoy watching films in which absolutely nothing happens, look no further—Arrival is just the film for you! When twelve mysterious spaceships touch down on earth, it’s up to linguistics professor Dr. Louise Banks (Amy Adams), and theoretical physicist Ian Donnelly (Jeremy Renner) to decipher the elusive alien language and learn why these squid-like extraterrestrials came to earth. Bogged down by slow pacing, one-dimensional characters and a lifeless script, Arrival falls short of its potential.
Moonlight (2016): Two stars Moonlight chronicles the life of Chiron, a sensitive African-American man who struggles to claim his identity in a rough Miami neighborhood. Broken up into three chronological chapters, from childhood to adulthood—Little, Chiron, and Black—the plot builds in the first two chapters, focusing on Chiron’s struggle to fit in with his peers, but falls apart in the third chapter when we are introduced to adult Chiron, an underdeveloped character with no sense of purpose. The film had the potential to make a powerful statement about anti-bullying or the importance of self-identity, but dull performances and pacing issues cost it that chance. Still, Moonlight has received critical acclaim and could win Best Picture. Hell or High Water (2016): Three stars Hell or High Water follows the criminal escapades of Tanner (Ben Foster) and Toby Howard (Chris Pine), two brothers who resort to robbing banks in order to save their family's ranch in West Texas. Foster and Pine’s portrayals as the morally ambiguous Howard brothers are entertaining and complex, challenging viewers to root for the criminals one minute, and the wise-cracking Texas Rangers the next (Jeff Bridges & Gil Birmingham). Filled with car-chases and a final violent show-down, the film doesn’t fit the criteria for most Oscar movies. Only the gritty cinematography and stark realism sets Hell or High Water apart from your average “shoot-em-up” film. Hacksaw Ridge (2016): Four stars Hacksaw Ridge tells the true story of Desmond Doss (Andrew Garfield), a religious man who enlists as a medic during World War II and earns the Medal of Honor for his heroic acts at the Battle of Okinawa, without killing a single man. Garfield is convincing as Doss, the soft-spoken—albeit naïve—hero of the film. While Doss’ refusal to kill may seem illogical to some viewers, it’s easy to sympathize. He believes so strongly in his principles that he refuses to carry a gun. Directed by Mel Gibson, the film is unsurprisingly steeped in religious sentiment. Doss’ religious beliefs are mentioned throughout the film, but they are not the main focus. Even if you aren’t a fan of faith-based films, you can appreciate Gibson’s brilliant filmmaking and his eye for realism. While Hacksaw Ridge is unquestionably a contender for Best Picture, I wouldn’t predict a big win because the film does not explore any controversial themes or make a strong statement. La La Land (2016): Four stars The darling of the 2017 award season, La La Land follows the rise and fall of jazz pianist Sebastian (Ryan Gosling) and aspiring actress Mia (Emma Stone); two artistic souls who connect based on their dreams of pursuing their passions, but must decide what is more important—their love of art or love for each other. La La Land pays homage to classic musicals of Hollywood’s golden age, from the vivid cinematography of 1950’s musicals, to charming dance numbers reminiscent of Fred Astaire and Ginger Rogers.
La La Land absolutely deserves the fame that it has garnered since its debut, but is in danger of becoming the most overrated film of 2016. La La Land won big at the Golden Globes may win at the Oscars, but I think a more underrated film deserves Best Picture.
Fences (2016): Four stars Adapted from the stage play, Fences takes place in 1950’s Pittsburgh, and focuses on a working-class African-American man’s struggle to raise a family, keep his marriage intact, and come to terms with his life’s events. The film features dynamic performances from Denzel Washington as Troy, and Viola Davis, who plays Troy’s nurturing wife Rose. The film’s strength is the raw dialogue between Troy and the supporting characters, who engage in some of the most honest dialogue to grace the screen in years. Adapting a stage play to film is no easy task but Washington’s skillful direction demonstrates that he is not only a gifted actor, but a master film-maker—making Fences a formidable competitor for Best Picture. Manchester by the Sea (2016): Five stars After the death of his brother, Lee Chandler (Casey Affleck) becomes the reluctant guardian of his teenage nephew, Patrick (Lucas Hedges), and is forced to return to his hometown and deal with his tragic past. Powerful performances come from Affleck and Hedges, whose characters silently deal with their loss together; Lee and Patrick don’t cry it out or lean on each other for support, but engage in darkly humorous conversations about funeral arrangements and burial to cope with their loss. Manchester by the Sea doesn’t shy away from awkward moments; from excruciatingly long pauses to obscenity-filled dialogue, the film’s brutal realism mirrors life itself. Haunting performances from Affleck and Hedges and an engaging script make Manchester by the Sea a serious contender for Best Picture. Hidden Figures (2016): Five stars Hidden Figures tells the untold story of the brilliant team of African-American women who helped NASA send man to space. The film revolves around Katherine G. Johnson (Taraji P. Henson), Dorothy Vaughan (Octavia Spencer), and Mary Jackson (Janelle Monae), three talented mathematicians whose intelligence and ambition allowed them to cross the gender and racial lines of 1960s to help America accomplish one of the most incredible feats in modern history. Superb performances from Henson, Spencer and Monae place Hidden Figures in the running as a likely winner for Best Picture. Lion (2016): Five stars Perhaps the most underrated film nominated this award season, Lion is a hidden gem. Based on the true story of Saroo Brierly (Sunny Pawar & Dev Patel), the film recounts Saroo’s journey after an accident displaces him 1,500 miles from his family in rural India to distant Calcutta. Saroo struggles to survive on the street until he’s adopted by a compassionate Australian couple. Plagued by childhood memories, Saroo sets out 25 years later to find the family he lost. Lion is my personal pick for Best Picture. Few films have left an impact on me after the credits rolled but Lion moved me in a way that had me thinking about Saroo’s story days later. Stellar performances from both Sunny Pawar and Dev Patel and powerful storytelling make this underdog a clear winner.
