…feels a little off here and there. I’m at a disadvantage as I haven’t yet seen Steven Spielberg‘s The Fabelmans (Universal, 11.11), which Feinberg and a few others are calling the Best Picture front-runner, and I haven’t seen Martin McDonagh‘s The Banshees of Inisherin (Searchlight, 10.21) either. And we all understand that things are always a little bit vague at this point and that Feinberg will sometimes err on the side of generosity around this time, etc. But I can at least insert my own spitball projections and hold my finger to the wind, etc. Boldfaced italics indicate serious HE faith.
Feinberg Frontrunners:
The Fabelmans (Universal) — HE agrees that Spielberg’s Amarcord is a Best Picture nomination shoo-in. Boil it all down and the basic reactions are that (a) it’s a good, approvable film for cineaste devotionals — the sentiments all fall under the umbrella of positive, supportive, affectionate, Belfast-y, etc. But the serious rocket-fuel enthusiasm seems restricted to the performances by Michelle Williams and Judd Hirsch plus a cameo from a certain fellow who needn’t be named at this point. Everyone adores the final scene.
Top Gun: Maverick (Paramount) — Likely to be nominated for the money it made and for affirming the widespread belief that Joe and Jane Popcorn adore grade-A, woke-free entertainment values.
Everything Everywhere All at Once (A24) — A likely Best Picture nominee, but an infuriating Matrix-y multiverse film (over-plotted, superficially trippy, all that hammering, on-the-nose exposition). The only blessing, really, is that excellent ending. The absence of invisible elements (i.e., things that are there but not precisely identified or explored) is a huge issue. Where would this movie be without the shallow enthusiasms of Millennials and Zoomers?
The Banshees of Inisherin (Searchlight) — Hoping to see it soon.
Women Talking (UAR) — Not a chance. Strictly for glum-faced wokester elites.
Elvis (Warner Bros.) — Liked and respected for the most part, or at least sporadically enjoyed. But truly loved by no one + everyone hated Tom Hanks‘ Colonel Tom.
Glass Onion: A Knives Out Mystery (Netflix) — Not a serious Best Picture suggestion.
The Woman King (Sony) — Good, energetic, well-crafted, respected. Might be nominated for political reasons, but most certainly won’t win.
She Said (Universal) — Positive word-of-mouth for a smart, engaging, urban #MeToo film. Doesn’t quite deliver those Spotlight-ish undercurrents, I’ve heard. but crisp, urgent and well-ordered.
Tár (Focus) — A dynamic, first-rate, high-style fascination piece. A chilly mood trip about a steely, not-entirely-there character whom you can’t really “read”, but that’s what gets you at the same time. Elusive and chilly but carried by Cate Blanchett‘s mesmerizing performance. Too cold to win.
Major Feinberg Threats (i.e., Scott has his doubts)
Till (UAR) — Danielle Deadwyler‘s performance is the all of it.
Close (A24) — Brilliant, searing tragedy of innocence destroyed. Pre-pubescent terrain but devastating.
Triangle of Sadness (Neon) — Not as good as The Square.
Good Night Oppy (Amazon) — Nope.
The Whale (A24) — Haven’t seen it.
Empire of Light (Searchlight) — Excellent yesteryear vibes, fascinating drama. awesome Olivia Colman performance.
Armageddon Time (Focus) — Get past the James Gray shrug factor and it grows in your head. Gets better every time I think back on it.
Living (Sony Classics)
HE’s bottom line: The Fabelmans, Top Gun: Maverick, Everything Everywhere All At Once, She Said, Tar, Close, Empire of Light, Armageddon Time (8)
