Too Little Time, Too Little Money, too much of a good thing....

In years past, I have sometimes managed to see all five films nominated for Best Picture by the Academy of Motion Picture Arts and Sciences before the Oscar telecast. Sometimes fewer. This year I’ve seen five pictures the Academy nominated as “best,” but there are ten nominations.  Really?  Ten?  The Academy actually thinks ten films are that good?  I’ve got my skeptical face on. 

While not impossible, it’s unlikely I’ll see five more movies by February 26^th. I’m certain to see at least one more, however. I’m going to see Hugo next and capture all six films in the best direction category.

 

It’s hardly appropriate or possible for me to pick the Academy’s “best picture” out of their lengthy list.  Of course, I’m not a member of said Academy, so I’ll say what I please, and I just can’t hold it all in any longer. In consideration of the 2011 nominated films, I’ve seen

~         Moneyball

~         The Descendants

~         Midnight in Paris

~         The Tree of Life

~         The Artist

I enjoyed all of these movies to varying extents.  The only ones I’d consider for such a subjective title as “best picture of the year” are Midnight in Paris and The Artist. 

Of the remaining films the Academy nominated, perhaps there should be an award for Worst Advertising.  The only one I may see in the theatre instead of waiting for cable/DVD is The Help, and that only because Viola Davis and Octavia Spencer make it sound interesting when they speak about the film.  The trailers do not.  

Of the movies I’ve seen that the Academy chose to nominate:

 

Moneyball is a solid story well told, riveting to those of us who enjoy the leisurely sport played by the boys of summer.  The film is initially paced rather like the game of baseball, however.  While this worked for me (it seemed apt), I believe it would be too slow for most moviegoers to call it “best picture.”

The Descendants is lacking in obstacles the protagonist can overcome.  He cannot overcome death.  In this sweet family film, existing relationships are strengthened and one’s lost due to an accident, but a movie without surprises is a movie without drama.    

 

 

Midnight in Paris is a delightful, imaginative, witty and swell film.  The characters in all time zones are full of life and zest and literary jokes, the performances are marvelous, and Woody Allen is back on track.  Nevertheless, it won’t win because it’s too clever, and too literary.

The Tree of Life is fascinating and magnificent, but it goes into lala-metaphysical-land too many times.  As a woman said exiting the theatre when I saw it, “that was gorgeous, but what the f--- was it?”  I liked it better than she did, and as I look back on it I can certainly comprehend this nomination.  The Tree of Life was a very powerful film.  However, it is a rather exclusive one, so it’s only “best” for a few.

The Artist is imaginative even when it’s referential, nostalgic and clever and sweet and dramatic and funny.  Maybe all screenwriters should first write a scenario without dialogue so they can learn plotting and pacing and character development; all without words, without voices.  Plus, there’s the dog. 

Unless my viewing of Hugo this week throws all my figuring awry, I’m going with The Artist for best EVERYTHING because it made me so very happy.  (Full review to come.)

~ Molly Matera, signing off, grateful to have a job, but wishing for more awake-time to see everything out there.