I don’t have any strong arguments against Ramin Setoodeh‘s Variety piece about the apparent likelihood of Boyhood winning the Best Picture Oscar (“12 Reasons ‘Boyhood’ is the Frontrunner for Best Picture“). I would only add another reason why people might want to give Richard Linklater‘s film a double-down vote or, perhaps, vote for a Best Picture contender with a little more sting and snap (Birdman, A Most Violent Year, Gone Girl) or one with a bit more social gravitas (Selma).
That reason is Likely Voter’s Remorse, or the vaguely embarrassed feeling that many Academy members feel today (whether they admit it or not) about having voted for The King’s Speech, The Artist, Chicago or Crash, to name but four. Who out there will admit to being genuinely proud of the Academy’s embrace of these films as Best Picture winners? Just because “it’s a shitty year for the Oscars,” as one Academy member confided to Setoodeh, doesn’t mean that a soft, squishy, not-bad-but-not-great film has to win Best Picture.
Emotional default impulses always age badly, but tough, flinty films only get better with the passing years. Vote accordingly.