.tnyfrontrow unpacks the outliers on this year’s Oscar slate—and what they reveal about the biases of the Academy’s acting branch.
reflects his own far-reaching vision of the American characters they play in his films.) With “To Leslie,” Morris’s concept for the film works against its substance; his view of the performance gets in the way of the role. If the acting branch has thrown its weight behind a feature-length sample reel, it suggests the underlying reality of the business: that the chutzpah is inseparable from the art.,” is something of the inverse of “To Leslie.
The tape, a physical trace of the crucial events, is the most moving element of “Aftersun.” But Wells, in dramatizing the time that young Sophie and her father spent together on that trip, approaches the events not with a sense of discovery but with a sense of certainty, seemingly turning up each card with foreknowledge and offering viewers bits and pieces to assemble on their own.
What’s more, the tone of the scenes is uniform, and relentlessly dewdrop—the audiovisual-dictionary definition of “poignant.” Mescal is directed to match a character who is more traced than observed; the movie sets up moments that are meant to foretell his self-harm, that are planned to serve the grown Sophie as signposts, missed at the time, of mental illness.
Unfortunately, the movie defines James strictly by the horrific incident that caused his affliction, and that has left him emotionally damaged, too. He’s something of Lynsey’s benefactor, and the thinness and impersonality of the role—a near-void that Henry fills with his hearty, vital presence—renders it close to that of the trope of the Magical Negro.
The nomination of “All Quiet on the Western Front” as one of the ten Best Picture nominees, as a Netflix film with a scant theatrical release, is something like the macho counterpart to the acclaim for “To Leslie.” This new adaptation—by the German director Edward Berger, of Erich Maria Remarque’s—is ploddingly literal, which doesn’t mean that it sticks strictly to the novel but that it feels methodical, with no second level of ideas or symbols.
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