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The Oscars Honored Mediocrity When They Had Real Chances To Be Bold
Peter Farrellys Green Book is not a bad film. It notably features two great performances from two fantastically talented actors, playing two engaging and charismatic characters, and even when its being rote and obvious its not really boring (most movies could probably avoid narrative lulls by having their leads engulf an entire pizza folded in half).
What Green Book is also definitely not, however, is a great film but you wouldnt be able to tell that from results at the Oscars tonight. According to the Academy of Motion Picture Arts and Sciences, there was no better feature released in 2018, as voters supported it in enough numbers for it to win the groups highest honor: Best Picture. Its a decision that was met with immediate controversy, as social media erupted in protest following the reveal from presenter Julia Roberts, but in truth, it was probably a result we all should have seen coming. This is just the latest example of the Academy celebrating and elevating mediocrity when it has the chance to be bold and revolutionary.
The approach that Green Book takes to its story is so tired and overdone that its a named trope: the white savior narrative, traditionally defined by a Caucasian protagonist guiding a person of color through a tumultuous ordeal while having the opportunity to learn something about themselves and race relations. This is a spot on description of the journey taken by Tony Lip and Dr. Don Shirley in the new Oscar winner, and its not a movie to deviate from the formula either. It operates the same as any of them, with two hours of basic pabulum that concludes on self-congratulatory terms and shallow lessons.
The reason we should have seen this coming, however, is not only because the Oscars love mediocrity (coughThe Kings SpeechcoughThe Artistcough), but because they clearly love rewarding white savior narratives. Arguably the most famous example and one that has been brought up a lot the last four months is Bruce Beresford's Driving Miss Daisy winning Best Picture in the year that Spike Lees Do The Right Thing was eligible (but not nominated). But thats hardly the only example. Movies like Edward Zwicks Glory, John Lee Hancocks The Blind Side, Kevin Costners Dances With Wolves and more all won major awards from the organization while featuring all the same familiar themes, and now Green Book is just continuing the trend.
What sincerely adds to the frustration here is that 2018 was a year immensely rich with creative and engaging stories about racial identity the best of which are leagues better than Green Book. Two were also competing in the Best Picture category, as Spike Lees BlackKklansman is a funny, searing, and sharp stranger-than-fiction tale that packs a remarkable gut punch, and Ryan Cooglers Black Panther is an epic and fascinating border debate wrapped inside of a comic book blockbuster.
But they are far from the only titles that deserved to be nominated ahead of the Peter Farrelly movie. George Tillman Jr.s The Hate U Give and Carlos Lpez Estrada's Blindspotting, for example, are both intensely powerful films about shooter bias and the polices use of deadly force along racial lines with radically different tonal and stylistic approach. Boots Rileys Sorry To Bother You was one of the most inventive films of the year, taking a fantastical angle examining the influence and significance of race in the darkest sides of capitalism. These are unique, dynamic, intrepid works, and none of those adjectives can be applied to the most recent Best Picture winner.
Going further, putting the subject matter of race aside there are still countless films better deserving of the Oscar recognition, and that obviously includes some (but not all) those that were also nominated for the top prize. Yorgos Lanthimos The Favourite is a brilliant clash of style and substance with both great humor and surprising depth; Adam McKays Vice is a remarkably ambitious and creative expose of one of the most mysterious, influential and dangerous figures of the last century; and Alfonso Cuarons Roma is a beautiful and understated look at what is generally an invisible class of our society. (And lets not ignore that there really should be a direct correlation between Best Director and Best Picture at the very least in the form of nominations in both categories.)
Compared to all those other titles, Green Book was the obvious safe choice: the movie that wasnt going to create any waves because it was built to be non-controversial (obviously discounting the on-going backlash), and Academy members could feel good about themselves voting for it because its superficially progressive. As a picture-perfect middle-of-the-road choice, it surely also benefited from the democratic system, as any or all ballots for any of the dark horses cancelled each other out, leaving it to lead the vote count. The system in place is one that consistently lets mediocrity hold sway, and this year is just another example.
Theres definitely a lot from tonights Academy Awards that fans can celebrate, from the well-earned victory for Spider-Man: Into The Spider-Verse in the Best Animated Feature category, to Olivia Colmans wonderful and surprising Best Actress win for The Favourite. Unfortunately, the result of the Best Picture race has left a bad taste in our mouths, but at the very least we can be happy about one thing: at least it wasnt Bohemian Rhapsody.
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Roughly five times, while watching Karyn Kusama's Destroyer, I needed to remind myself that this was Nicole Kidman I was watching on screen.That's how thoroughly and convincingly the elegant, distinguished Oscar winner plunges into the dark and devastating role of hollowed-out L.A. detective Erin Bell in this gritty police procedural.
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Nicole Kidman Kicks and Slams Her Way Into The Oscar Race With The Brutal Destroyer Sep 09, 2018 Admin Movies 0 Roughly five times, while watching Karyn Kusama's Destroyer , I needed to remind myself that this was Nicole Kidman I was watching on screen.
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