This year’s Best Picture slate at the Academy Awards is unusually impregnable. The 10 nominees are coherent, varied, and well-deserved.
has unveiled its nominations for the 98th Academy Awards, ushering in with them the annual ritual of online grievance and bickering about what the Academy has gotten right or wrong. This year’s Best Picture slate, however, is unusually impregnable.
The 10 nominees are coherent, varied, and well-deserved. There are no glaring acts of political box-checking masquerading as taste and no gratuitous “important” film nominated out of partisan proclivities. And while a few respectable contenders fell just short , it’s difficult to argue that some unseen titan was left out in lieu of a lesser work., or worse, to insist it is being hoisted up by the Academy’s “woke” contingent as the culture-war cudgel du jour, tantamount to wrapped in vintage horror packaging. If viewers feel compelled to staple a victimhood narrative onto that, it says more about them than the movie’s merits., which earned only eight nominations in 1940 and continues to tower over most of the Academy’s supposed giants. The expanded Best Picture lineup continues to yield the salutary effect of affording the Academy room to honor movies that are actually fun. And in that respect, it’s encouraging to see a film such asmovie and unlikely to stir the hearts of the voting committee amid trepidation over the future of cinema following the tech company’s absorption of Warner Bros. Discovery.nonchalantly cheating, charming, and racing his way toward glory; it is precisely the sort of experience that justifies leaving the comforts of the couch for a movie theater — and if the Academy is serious about “saving cinemas,” this is the kind of film it ought to reward., in which Timothée Chalamet’s uncompromising aspirations for greatness and his natural knack for self-promotion make the performance feel borderline autobiographical. Interweaving humble beginnings, raw talent, entrepreneurship, and unnerving ambition, Safdie crafts a uniquely American story.One Battle After Another — his “love letter to radicals,” as I called it in my review. It is unquestionably well made and impeccably acted. But where celebrates and uplifts the American story, Anderson’s opus subverts it, casting immigration enforcement officers as terrorists while romanticizing the actual terrorists, those who bomb courthouses and rob banks, as tantalizing revolutionaries. I would love nothing more than to be wrong, but recent history suggests the Academy rarely votes for America. Beltway Confidential blog. He is a software engineer, holds a master’s degree from the University of Toronto, and writes about wine at America’s deal boom signals real economic confidence
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