These Unique Oscars Had Their Moments, But There Just Wasn’t Enough Of The Promised ‘Love Flick’ – Deadline


While it was this year’s pandemic Oscars streamers who hoped to break into the big categories, it was ultimately the mainstream big studios – mainly through their specialty divisions – that ruled on the day of the 93rd Academy Awards. .

Netflix had the most wins with seven, but the biggest escaped again. It must be disappointing in a year where streaming was the way people viewed suitors, but Netflix’s biggest hope, the formidable The Chicago 7 trial was excluded, and leader appointed 10 times Mank was victorious only in cinematography and production design. Still, Netflix has gradually collected more wins each year, and with 36 nominations, by far the most, it may take that as a consolation prize.

Oscars: “Nomadland” wins the award for best film, actress and director; Anthony Hopkins wins Best Actor award: full list of winners

Instead, it was Disney that showed the value of its acquisition of Fox, and in particular Searchlight – which won Best Picture, actress Frances McDormand and director Chloe Zhao for. Nomadland. It scored Searchlight’s impressive fifth overall win for Best Picture (and by extension a fourth for Disney, if you count the three it got when owning Miramax). It wasn’t a huge surprise as this movie had been a favorite all season since winning in Venice in September. Add two wins for animated Pixar Soul, and it was a great evening for the House of Mice.

ABC; Chris Pizzello / Pool

Searchlight’s strategy of playing at festivals and expanding its visibility for eight months has paid off, as has Sony Pictures Classics’ management of The father, following a more traditional theatrical model in a very difficult landscape to do just that. It grabbed Best Adapted Screenplay and Best Actor Anthony Hopkins, a little upset by the late Chadwick Boseman. Both studios have delayed the official release of these two big winners until February, the last possible date to qualify in this extended 14-month season, which Warner Bros. also did with the last-minute release of Judas and the Black Messiah following her Sundance debut in January, earning victory in the supporting role of Daniel Kaluuya and Best Song for their efforts. Universal’s Focus chose the original screenplay for Promising young woman to kick off the night, which means a near-sweep of the night’s top eight studio prices. Only A24, with Minari The Best Supporting Actress victory for Yuh Jung-Youn shattered the rambling indie model, but again, streamers were left out of the top eight places altogether.

What does that mean? Tomorrow is likely to be another day, and not all the money in the world necessarily brings home gold. Just look at Frances McDormand who just won her third Oscar with virtually no in the countryside (and she picked a fourth as the film’s producer and apparently didn’t even bother to go backstage to speak to the press). She’s just short of matching Katharine Hepburn’s record of four Academy Awards for Best Actress, ironic since Hepburn not only never campaigned, but didn’t show up at any of those 12 Oscar ceremonies. during which it was nominated and / or won. By the way, Frances, thank you you for using your time to defend the cinematic experience by theaters, something that should have been a lot more prevalent on this show.

I have to admit that even though it was clear Nomadland was going to win the award for Best Picture and Director, I didn’t think the Academy was going to take another McDormand victory so soon after his second just three years ago. It was a very competitive lead actress race and could have gone either way, so maybe the Best Picture winner really helped here.

Father Nomadland

Sony Pictures Classics; Projector Pictures

The wins mimicked those of the BAFTAs for the film just two weeks ago, marking the first time in seven years that the best Oscar film matched BAFTA, which also signaled Hopkins’ potential victory, but some have it. canceled because he’s a guy from UK. Both organizations, AMPAS and BAFTA, have done a lot to try and achieve diversity, and as many of tonight’s Oscar winners, nominees and presenters certainly attest, at least this effort is paying off. We had an Asian woman becoming only the second woman to win Best Director and a Korean becoming the first to win an Oscar in Acting (and on top of South Korea’s Parasite sweep last year). Then there was Kaluuya’s supporting victory marking the first interim British Black winner and then many more overnight triumphs in the DIY and shorts categories that can be After encouraging as a sign that the industry offers new opportunities.

Oscar wins for Chloe Zhao, Yuh-Jung Youn, Daniel Kaluuya and ‘Ma Rainey’s Black Bottom’ make history, but diversity in Hollywood remains a work in progress


As for the series itself, it was a gaming effort under circumstances that you would like no producer to succeed, and it’s remarkable that this zoomless trial worked. Kudos to Steven Soderbergh, Stacey Sher and Jesse Collins for devoting themselves to some semblance of an elegant Oscar show that was live and not a glorified “webinar”, as Soderbergh put it last week. If as a production it lacked the fun of the Covid Emmys or the fun of the Grammys, the way it was set up in the new Union Station venue was a design triumph (thank you, David Rockwell) in a world that requires attention. social distancing. But as the night wore on it got terribly tiring with the speeches, yes many of them were heartfelt (rather than the normal litany of “thank you”), which seemed to have no time limit (even with interpretations). songs relegated to the previous one pre- show that the Oscars show lasted about 17 minutes on the three-hour plan). The In Memoriam segment went way too fast with music far too jazzy to get emotionally recorded. It made me sad.

The hype that the show would make you feel more like watching a movie than a TV show was completely lost to me unless the movie was My dinner with André, it was about two guys talking for a few hours. Comedy was lacking, but Lil Rel Howery, who hosted the pre-show, hijacked the Oscars for a pretty fun trivia contest that led to none other than Glenn Close (now with 8 failed nominations tied with Peter O’Toole as the Oscar’s biggest loser.) Steal the show with his knowledge of Da Butt, and even get paged (I don’t care if that was pre-planned). Tyler Perry was also a real highlight demonstrating how to deliver a speech when he received one of two Jean Hersholt Humanitarian Night Awards, the other at Dolby for a moving tribute to the heroes’ staff and noble work. cinema and television. Fund on the occasion of its 100th anniversary. It is certainly an unusual Oscar night where it takes not one, but two presentations by Jean Hersholt to deliver the memorable moments. Oh, and Yuh-Jung Youn once again demonstrated how to deliver a delicious acceptance speech like she’s been doing all season.

Oscar Brings Back Glamor With In-Person Red Carpet – Photo Gallery


But the placement of the best film award before the two main actor categories were a real headache, as it ended in a disappointing ending when Joaquin Phoenix ran through the names of the nominees for best actor, opened the envelope, announced Anthony Hopkins, said that the Academy would accept because he wasn’t. t there, then abruptly ended the show. The producers were probably betting that Boseman would win for Ma Rainey’s black background and that it would be a moment that would give the night its emotional high. Obviously this was not the case. The only other time I remember that they didn’t save the best picture for last was in 1972 when Charlie Chaplin received an honorary Oscar and they knew nothing could have surpassed that. monitoring the victory for the best film of The French connection. Now this worked, but unfortunately it failed, and it turned out to be doing Sir Anthony a disservice.

Diane Warren and Laura Pausini

Finally, there was definitely a pretty surprising missed opportunity to truly be something the world needs right now: a show to remind us why we love movies. Why AMPAS didn’t put more effort into truly championing the theatrical experience and the need to come back to see these films in a movie theater is a mystery to me. McDormand did, but I expected more – and I guess theater owners probably were too – but this Oscar show used fewer music videos, new or old, than anything in memory. An exciting segment presented by Matthew McConaughey with interviews of theater workers returning to work, and clips from a multitude of great new films were cast on the pre-show, as were the aforementioned and moving performances by the nominees of the song, and not one foot of which was replayed when the best song category came in late in the Oscars show.

And why none of the categories of actors were showing us music videos – including Boseman’s, for that matter – so audiences could see why those performances were nominated. We actually saw more of the next year West Side Story redo that any of this films of the year. The middle of the show also got bogged down when the majority of craft categories focused on more speak on the nominees than to even show us an extract of their work. This idea was born when they announced that they were interviewing all the nominees to find out more about their “journey”. It just didn’t work in the long run, although the intention was certainly admirable.

The Oscars this year of all years should have been a big global publicity for films and the need for them – and big giant screens to show them – in our lives. I brought my “love of cinema”. I don’t feel like the 93rd Academy Awards quite made it.

Until 1994, Covid be damned. I’m still optimistic Oscar will get his mojo back, just like the industry he’s staying for. the symbol of excellence.

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