Oscar Bait 2022 - 2023

What in the 90s mediocre TV movie is The Son? It makes a complete caricature of teenage depression for the sake of cheap, Oscar-baity melodrama. Aided no less by Zen McGrath, a budget Timmy, being capable of hardly anything beyond 2 facial expressions. I am not very familiar with Florian Zeller's work but I am puzzled how the people behind The Father could have dropped the ball so easily.
It’s so mad, because ‘The Menu’ is exactly my sort of movie on paper, but I just found it a bit blah. Like a less good ‘Ready or Not’ based around food. I thought the comedy was well executed. But I feel like Anya Taylor Joy plays herself in every movie. Miss Flo, she is not. She doesn’t have the range.
I could not have loved The Menu more. Truly the year’s best comedy; I found myself laughing or hollering at almost every moment, the twists kept me gagged, and the entire winning cast understood the camp-packed assignment. I really had no clue how they would wrap it up, and I appreciate that they leaned into the ridiculousness of the entire thing. One of the most abashedly fun films I’ve seen in ages.
Aftersun is lovely and interesting. Great filmmaking but a bit too understated for American awards. Will do well at the BAFTAs though, I imagine.

I kept waiting for something to happen and then it just … didn’t. I thought it was building to something, but it wasn’t. It really just was 90 mins of people on holiday.


Indie Spirit noms:

Best Feature

“Bones and All”
“Everything Everywhere All at Once”
“Our Father the Devil”
“Women Talking”

Best Director

Todd Field, “TÁR”
Kogonada, “After Yang”
Daniels, “Everything Everywhere All at Once”
Sarah Polley, “Women Talking”
Halina Reijn, “Bodies Bodies Bodies”

Best First Feature

“Emily the Criminal”
“The Inspection”
“Palm Trees and Power Lines”

Best Lead Performance

Cate Blanchett, “TÁR”
Dale Dickey, “A Love Song”
Mia Goth, “Pearl”
Regina Hall, “Honk for Jesus, Save Your Soul”
Paul Mescal, “Aftersun”
Aubrey Plaza, “Emily the Criminal”
Jeremy Pope, “The Inspection”
Taylor Russell, “Bones and All”
Andrea Riseborough, “To Leslie”
Michelle Yeoh, “Everything Everywhere All at Once”

Best Supporting Performance

Jamie Lee Curtis, “Everything Everywhere All at Once”
Brian Tyree Henry, “Causeway”
Nina Hoss, “TÁR”
Brian d’Arcy James, “The Cathedral”
Ke Huy Quan, “Everything Everywhere All at Once”
Trevante Rhodes, “Bruiser”
Theo Rossi, “Emily the Criminal”
Mark Rylance, “Bones and All”
Jonathan Tucker, “Palm Trees and Power Lines”
Gabrielle Union, “The Inspection”

Breakthrough Performance

Frankie Corio, “Aftersun”
Gracija Filipović, “Murina”
Stephanie Hsu, “Everything Everywhere All at Once”
Lily McInerny, “Palm Trees and Power Lines”
Daniel Zolghadri, “Funny Pages”

Best Screenplay

“After Yang”
“Catharine Called Birdy”
“Everything Everywhere All at Once”
“Women Talking”

Best First Screenplay

“Bodies Bodies Bodies”
“Emily the Criminal”
“Fire Island”
“Palm Trees and Power Lines”

Best Cinematography

“Neptune Frost”

Best Editing

“The Cathedral”
“Everything Everywhere All at Once”
“Marcel the Shell with Shoes On”

Robert Altman Award

“Women Talking”

John Cassavetes Award

“The African Desperate”
“A Love Song”
“The Cathedral”
“Holy Emy”
“Something in the Dirt”

Best Documentary

“A House Made of Splinters”
“All That Breathes”
“All the Beauty and the Bloodshed”
“Riotsville USA”

Best International Film

“Leonor Will Never Die”
“Return to Soul”
“Saint Omer”


...Jamie Lee Curtis?

Haven't got the chance to watch Bones & All yet but I'm happy for the attention Taylor Russell has been getting


Eh the only ones I'd highlight from the film were Yeoh and Ke Huy Quan really, Hsu was kinda... bad when she had to play the campy villain and Curtis barely has a character
Watched The Fabelmans last night and loved it. It's very sentimental (sometimes to a fault) and a bit too long, but Williams, Dano and Rogen all managed to break my heart in different ways. The young cast is also great but of course Gabriel LaBelle is the one who really holds the whole movie together.

The movie just feels alive, there's no other way to describe it. The camera work, the score, the genuine joy and pain in it. There are three specific scenes I cannot stop thinking about:
1. The scene where the parents are telling the kids about the divorce and there's a split second where you see Sammy picturing himself filming his family's devestation.

2. The entire sequence at prom, particularly the reactions to Sammy's ditch day picture and the final conversation with his bully.

3. The big David Lynch cameo and that visual gag at the end. Might be my second favorite closing shot of the year (the final shot in Tár is my number one).
Indie Spirit noms:

Dale Dickey, yes! A Love Song is one of two hidden gems this year alongside Montana Story. Bleecker continuing to drop the ball in promotion and awards campaigning for the second year in a row. I can at least be glad Spirit recognized someone from one of them!