OSCARS 2024 recap
The year of “Barbenheimer” concluded with one of the best and best-paced Oscars ceremonies in recent history. Of course, there were ups and downs … even an awkward Best Picture finale (which isn’t far off from becoming a tradition). Despite the bumps, the show served up plenty of entertainment for movie lovers and very few surprises for followers of the awards circuit.
Talk show host (and overall nasty comedian) Jimmy Kimmel returned as emcee, and his opening monologue set the tone with very little political commentary (other than his support of industry unions) – an approach that most presenters and winners maintained throughout, with only a couple of exceptions. The ceremony was what it should be: a celebration of the year in movies. And as my “Best of 2023” showed, it was an excellent year for a wide variety of film genres.
My favorite movie of the year, OPPENHEIMER, was the night’s big winner with 7 Oscars, including Best Picture. Christopher Nolan’s film is quite an achievement, juggling history, a deep roster of actors, and an era that now seems foreign to most people under 40. However, this film is only half of the “Barbenheimer” label, and the BARBIE faction delivered the showstopper thanks to sparkly pink suit attired Ryan Gosling and his rousing “I’m Just Ken”. It was the kind of spectacle and audience participation moment that will go down in Oscars lore.
There were plenty of other moments worth mentioning. How about Robert DeNiro and Jodie Foster both being nominated again – just like in 1976 (48 years ago for TAXI DRIVER)? Best actress nominee Sandra Huller starred in two foreign language films that were both nominated for Best Features this year. The Academy made the absolutely brilliant decision to replace clips of each acting nominee with a short tribute given live by a previous winner in the category. Let’s hope this tradition is back to stay as it lends an air of intimacy and professionalism. The evening’s first announced winner, Da’Vine Joy Randolph (THE HOLDOVERS), had one of the most heartfelt and emotional responses one will ever witness at an awards show. Hands down, my two favorite scripts of the year won both writing categories, Original (ANATOMY OF A FALL) and Adapted (AMERICAN FICTION). Billie Eilish and her brother and co-writer Finneas O’Connell gave a nice performance (with Barbie pink backlighting) of their nominated and ultimately winning song, “What was I Made For?”.
Comedy kicked in when nominees Emily Blunt and Ryan Gosling offered a tribute to Stunt performers in the form of a competitive rivalry between OPPENHEIMER and BARBIE (their two movies). Two other comedy bits also stood out, one for falling so flat. Presenters Melissa McCarthy and Octavia Spencer pushed an unfunny gag based on Chippendale/Chip ‘n Dale, while John Cena nailed it in his faux-streaker bit. In a touching moment with a comedy background, Robert Downey Jr became the first former “Saturday Night Live” cast member to win an acting Oscar, and his long-overdue recognition reinforced his real-life comeback (thus overshadowing Jimmy Kimmel’s went-too-far monologue attack). The show ended with three of the final four “big” awards going to OPPENHEIMER (Actor, the humble Cillian Murphy; Director, the brilliant Christopher Nolan; and Best Picture). The extraordinary performance Emma Stone gave in POOR THINGS was justly rewarded with the Best Actress award.
As for surprises, I missed out on two winners in my predictions. In the Special Effects category, GODZILLA MINUS ONE bested my pick MISSION: IMPOSSIBLE – DEAD RECKONING PART ONE, and for Cinematography, Hoyte Van Hoytema (OPPENHEIMER) edged out my choice, Rodrigo Prieto (KILLERS OF THE FLOWER MOON). The latter film, directed by Martin Scorsese, was shut out despite ten nominations, (remarkably) making it the esteemed filmmaker’s third film to go O-for-10 at Oscar. Many expected Lily Gladstone to take home the award for Best Actress in a Leading Role, and as important has her performance was to the film, I remain solid in my belief that Emma Stone’s Oscar-winning performance was transformative and will stand the test of time.
Overall, I would rate the presentation as pretty darn good, and fitting for a year that featured so many fine films (and, perhaps not coincidentally, so few superhero movies). TV ratings were up, and we hope the Academy can actually stimulate some box office action, rather than exist for the sole purpose of critical bashing. And yes, acting legend Al Pacino gave us a near-MOONLIGHTING disaster as he skipped the listing of nominees and just blurted out “Oppenheimer” to end things. This is one trending tradition that could be skipped and no one outside of the media would mind.
Posted by David Ferguson 
Greetings again from the darkness. If only the transformation brought on by puberty were half as soft and cuddly as the giant Red Panda in this latest from Pixar, imagine the reduction in slammed doors and the increase in dinner table conversations between parents and young teenagers. Writer-director Domee Shi won an Oscar for her excellent animated short film BAO (2018), and has collaborated with co-writer Julia Cho for the director’s first feature. It seems reasonable to assume that much of what we see on screen is taken from their own adolescent experiences, as well as those of countless others.
Movie Reviews from the Dark 