Sneaky Sunday Post: OSCAR SNUBS!

I’ve been spending the past week or so discussing my personal views on the Best Picture nominees for tonight’s Oscars, so for today, I thought I’d do a little post about the movies/actors/directors who I personally feel got snubbed for this year’s awards. LET’S GO!

1.) Hostiles / Christian Bale / Max Richter
Okay, I’m biased, and I’ll own up to it. I love Christian Bale. But man, his performance in this film was phenomenal – his transformation over the course of the film from vengeful and hate-filled to less hate-filled and somewhat softer is done with exceptional face-acting. As in, you watch his face, you get an entire story and see the full scope of his emotions without any spoken dialogue at all. I love Denzel Washington too, but I would have nominated Bale over him this year. The score by Max Richter is also great, as is the cinematography. Hostiles is an above average film with above average performances (not only from Bale, but Rosamund Pike too) and I’m stunned that this film didn’t get so much as a single nomination in any category. It’s better than a lot of other recent westerns, but maybe it just slipped through the cracks this year…

2.) Wind River / Jeremy Renner (kinda) / Ben Richardson / Taylor Sheridan
The fact that this film was not nominated for ANYTHING is probably the biggest Oscar snub since Daft Punk didn’t even get nominated for the Tron: Legacy soundtrack. It’s a CRIME, I TELL YOU. It’s easily Jeremy Renner’s best performance to date (would have given the 5th nom to Bale over him, but Renner over Washington… regardless, none would beat Oldman, DDL, Kaluuya or Chalamet) and the cinematography is stellar. The opening sequence of the girl running in the snow is hauntingly beautiful, yet also conveys the terror of her situation. Sheridan would have been a dark horse in the directorial race, but I would have liked to see him get a nod. I suppose this film being snubbed is unfortunatelyappropriate, given the source material and the stats given at the end of the film… but for real, my friends. If you haven’t seen Wind River, or it fell off your radar because it isn’t getting the same buzz as the award-nominated films, TRUST ME – give it a chance. I was unexpectedly blown away by how powerful this film and its message are.

3.) Wonder Woman / Patty Jenkins
It was a long-shot, but Patty Jenkins delivered the best DCEU movie to date (the TDK films don’t count, as they are in a different universe) and has gotten a lot of much-deserved praise for it, but I would have loved to see her get a directing nod. Wonder Woman would not have been as great a success as it was without her vision, and would have loved a Best Picture nod too, as unlikely as it was to happen.

4.) Murder on the Orient Express / Kenneth Branagh’s mustache
I mean… this film deserved at least a costuming nod, right? Or production design. Say what you want about the film itself, it was gorgeous to watch. And that mustache turned in one of the finest follicle performances of the last decade, at least!

5.) Logan / Hugh Jackman
Yeah, sure… Logan got the adapted screenplay nod. That’s all well and good, and a positive step forward for comic book films in the awards race, which have stalled considerably since the era of Nolan’s groundbreaking Dark Knight Trilogy. But damn, this movie might not only be be Jackman’s best turn as Logan/Wolverine, I’d say it’s his best performance ever. He was phenomenal. I would have given the 5th Best Actor nom to him over Bale, which means a lot coming from me…

6.) The Big Sick
I was elated to see this film garner a Best Original Screenplay nod, but surprised that it didn’t get any other nominations. I honestly think it deserved a Best Picture nomination – we could have had 10 nominees! That would have been a nice even number!

And there we have it! Any snubs you feel like I missed? Feel free to share! And stay tuned tomorrow afternoon (it might not be at 1PM due to my work schedule, but we’ll see) for my Oscar Recap / Reaction!

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Best Picture Countdown #1: Call Me By Your Name

“We rip out so much of ourselves to be cured of things faster than we should that we go bankrupt by the age of thirty and have less to offer each time we start with someone new. But to feel nothing so as not to feel anything … what a waste!” – Michael Stuhlbarg as Mr. Perlman, Call Me By Your Name (2017)

Dir. Luca Guadagnino
Starring: Armie Hammer, Timothée Chalamet, Michael Stuhlbarg, Amira Casar, Esther Garrel, Victoire Du Bois
Rating: R
Runtime: 2hr 12min

Call Me By Your Name follows 17-year-old Elio Perlman (Chalamet) and his evolving relationship with his father’s grad student assistant, Oliver (Hammer) over a summer in Northern Italy in the early 80’s. As their emotional and physical intimacy develops, Elio learns valuable lessons about sexuality, relationships, and the warring sweetness and grief that comes with love.

CallMeByYourName2017Of all 9 nominees for Best Picture at the Academy Awards this year, Luca Guadagnino’s coming-of-age drama about a sensual summer in Italy hit the hardest, spoke the loudest, and shone the brightest. It rocketed to the top of my personal list the moment I stepped out of the theater and has remained there ever since, though it wasn’t the last nominated film I saw. Upon reviewing all the nominees, Call Me By Your Name felt like the most well-rounded film; the music, the cinematography, the directing, the acting, the visuals, and the writing all combined for an utterly compelling cinematic experience, and I think it deserved more than the 4 nominations it received.

This film’s premise isn’t overly complicated – at the basest level, it’s a summer romance. And yet, it is so much more. Call Me By Your Name is an exploration into the complexities of human sexuality, a celebration of first love and savoring every sweet moment before an inevitable goodbye, and each small moment or movement – whether it be dancing in the streets,  yearning for watch-hands to tick faster, a long bicycle ride in the balmy heat of summer, or the music of a piano soaring through a room for an audience of one – bears significance. This film is a warm sweater on a rainy day, a dip in a pool beneath the scorching sun, a snapshot of a happy memory pinned to a cork board, and the sort of movie that invokes emotion without trying too hard to jerk at the heartstrings.

Gary Oldman is a juggernaut in the Best Actor category for his portrayal of Winston Churchill in Darkest Hour, and has been collecting hardware all season, but I am actually pulling for underdog Chalamet to pull out a win. His performance as Elio was breathtaking, even in moments of silence. He perfectly captured and expressed the feelings of being young, in love, and uncertain – my heart broke when he called his mother near the end of the film and asked, “Can you come get me?” with his back hunched and voice breaking. Honestly, I think he deserves the award for the last two minutes/credits sequence of the film alone. Even if he doesn’t win, a thousand gold stars to him. A THOUSAND, I SAY.

The chemistry and rapport between Hammer (who was unjustly snubbed for a Best Supporting nod, if you ask me) and Chalamet sold the romance 100%; their interactions felt genuine, their conversations natural, their hesitations understandable, and the evolution of their feelings for one another was an earnest, well-paced, and nicely developed journey, not just a mechanical “point A to point B to point C” narrative. It’s refreshing in a romance to see the less confident, more nerve-wracked person (Elio) being the one to initially make a move, contrasting with Oliver’s internal conflict over whether or not to act on his feelings due to the potential complications – a small subversion of genre expectations. The ups and downs of their relationship unfold with authenticity and passion and reveal both the positives and negatives of a consuming summer love and how it can make a heart soar, or sink, depending on the circumstances.

The rest of the cast is also excellent in their roles, especially Stuhlbarg as Mr. Perlman. His speech to Elio in the last third of the film is, in my opinion, the most poignant and powerful piece of writing (and one of the overall best acting feats) seen onscreen in all of 2017. If you glean nothing else from this film, that quote – the one I put in at the top of this post – is a message that should be taken to heart, and called upon when grief seems to usurp all other feelings.

For moments like that, and for several others, I’m predicting a Best Adapted Screenplay victory for James Ivory’s adaptation of Andre Aciman’s novel. When a screenwriter takes care of the characters and manages to add their own flair while remaining faithful and doing justice to the source material, even if they must make changes, it’s obvious that a lot of attention and care has gone into the effort. Ivory’s screenplay is superb; jam-packed with emotion and moments that linger in the mind and heart, and his words, combined with the excellent performances, made the characters feel alive. Even the smallest statements, the most subtle looks or phrases or movements, the softest sighs or simplest glances, have power in this film, and the writing is a huge part of that. I also think – like Martin McDonagh for Three Billboards – that Gudagnino was snubbed for a Best Director nom, but whatev… nothing to be done about it now.

I’m rooting for Sufjan Stevens to take home the Best Original Song award for his song “Mystery of Love,” but it’s probably going to get downed by The Greatest Showman‘s “This is Me,” or Coco‘s “Remember Me” – which is fine, because those songs are total jams. Regardless, I look forward to seeing Sufjan perform the song on Sunday night.

If Call Me By Your Name takes home the gold for Best Picture tomorrow night, I will actually scream and jump up and down in my living room, and I don’t even care if my neighbors get pissed. This film is a triumph – the kind of film you want to embrace and carry its warmth with you for as long as you can, or recall in moments of grief. It might be considered a long-shot in all categories but one, but this masterpiece deserves the highest honor on Oscar Night, and I’m really hoping that it emerges as the champion – but even if it doesn’t, it’s still my top film of 2017.

Oscar Nominations
Best Actor (Chalamet)
Best Original Song
Best Adapted Screenplay
Best Picture

For my full review of Call Me By Your Name from earlier this year, click HERE!

Best Picture Countdown #2: Three Billboards Outside Ebbing, Missouri

“This didn’t put an end to shit, you fucking retard; this is just the fucking start. Why don’t you put that on your Good Morning Missouri fucking wake up broadcast, bitch?”Frances McDormand as Mildred Hayes, Three Billboards Outside Ebbing, Missouri (2017)

Dir: Martin McDonagh
Starring: Frances McDormand, Sam Rockwell, Woody Harrelson, Lucas Hedges, Peter Dinklage, etc.
Runtime: 1hr55min
Rating: R

Three Billboards Outside Ebbing, Missouri follows Mildred Hayes (McDormand) as she utilizes three billboards to air her grievances with the local police department over the unsolved murder of her daughter. Her desire for vengeance puts her at odds not only with the police, but with her own family and others in the town.

Whooo boy, this one was tough!

Three_Billboards_Outside_Ebbing,_Missouri.png

I’m going to say this straight up, although Three Billboards Outside Ebbing, Missouri was only my second favorite Oscar-nominated film this year… I do think it is going to win Best Picture. And that would be a 100% justified victory, because this film is incredible.

As a personal anecdote about how powerful this film is, my father – who does not get into awards shows or artsy/indie films to the extent that I do – asked me to tell him when the Supporting Actor, Lead Actress, and other relevant categories were announced during the BAFTAs so he could watch, and he cheered out loud when “my boy!” Sam Rockwell won the Golden Globe. He is actively rooting for this film and continues to praise it whenever it pops up in conversation. Also, when I saw this film with my parents, we were the only people in the film aside from one other man, who I’m 75% sure snuck in without paying. That’s a crime, considering how brilliant this movie is. We also call it “Three Billbos” in my house, because that’s what the marquee said when we were at the theater, but I digress…

Sam Rockwell is, as far as I’m concerned, a lock for Best Supporting Actor. I don’t think it’s even a contest. I have never, ever in my life had such a back-and-forth, rollercoaster of a reaction to a film character, and it’s all down to Rockwell’s performance. I went from thinking Dixon was a moron, to hating him, to really hating him, to kind of liking him, to rooting for his success, to feeling ambiguous about him, and so on. Though Harrelson turns in a spectacular performance as Willoughby, he’s easily eclipsed by his co-star – though the moments their characters share onscreen are a treat to witness.

Similarly, I consider Frances McDormand the front-runner for Best Actress – she perfectly executes the simmering rage of a mother out for vengeance over the cruel, unsolved murder of her daughter, spitting vitriol at anyone who would try to impede her mission, yet she also shows the vulnerability and heartbreak of a woman who has suffered an unimaginable loss and is still trying to piece together the fragments of her life. There are moments – as with Dixon – where I didn’t like Mildred, either because of some heartless jape she says, or something she does that seems more vindictive than justified, and also moments where I wanted her to torch the entire town to ashes or reach through the screen to pat her shoulder. She is the heart of this film and carries it on her shoulders, in her fury, her pain, her moments of delinquency, and her emotional struggle. The nuanced characters and the emotionally-layered performances of the actors are a major strength of this film – but it’s also a testament to the writing.

Martin McDonagh’s screenplay is rife with dark humor, sharp dialogue and a relevant social commentary, unpredictable and jaw-dropping moments, cutting insults and heart-wrenching expressions of pain and soul-stirring explosions of anger, and characters that pop off of the screen like real, breathing people. Even the side characters, like James (Dinklage), are distinct and have memorable lines and scenes. This film is poignant, dark, and the type of narrative that will illicit emotions that you might not want to feel, but the powerful, lingering message it delivers is one that deserves and demands to be heard and seen. If it doesn’t win Best Original Screenplay, I’ll be surprised – and I think McDonagh was totally snubbed for Best Director. The “window” scene with Dixon and Red was pure cinematic gold – I was actually squirming in my seat through the whole thing, and I think my pounding heart left bruises on my ribs.

Though Burwell is an underdog for Best Score, I actually like his score the best of all the nominees – regardless, I don’t think he’ll win, but it does make me excited to hear more from him in future films. Film Editing is up in the air, but I’m predicting at least three wins for Three Billboards…and maybe four, if it can edge out the rest in the close race for Best Picture. And if the awards season trend continues as it has been, Three Billboards just might take it home.
Oscar Nominations
Best Supporting Actor (Harrelson)
Best Supporting Actor (Rockwell)
Best Actress (McDormand)
Best Original Screenplay
Best Film Editing
Best Original Score
Best Film

Best Picture Countdown #4: Lady Bird

“The only thing exciting about 2002 is that it’s a palindrome.”Saorise Ronan as Christine “Lady Bird” McPherson, Lady Bird (2017)

Dir: Greta Gerwig
Starring: Saorise Ronan, Laurie Metcalf, Tracy Letts, Lucas Hedges, etc.
Runtime: 1hr33min
Rating: R

Lady Bird is a coming-of-age dramedy about a California teen in her senior year of high school in early post-9/11 America. As she endures the emotional turmoils and personal explorations that come with growing up and preparing to leave the nest, Lady Bird (Ronan) also must handle a rollercoaster relationship with her mother (Metcalf).

Lady_Bird_posterOverall, this film is a delightful look into the life of a teenage girl who is unsure of who she is at a pivotal time in her life, and desperately wants to find her place in the world – she wants to leave her hometown in order to do so, though other forces might compel her to stay. There are countless notable coming-of-age films already out there and more coming every year, but Lady Bird still feels fresh and original. It’s not afraid to let the heroine fail on occasion, make mistakes, or look foolish, and doesn’t sugarcoat painful realizations, but it’s still so easy to root for Lady Bird as she deals with the trials of falling in love, making new friends/potentially losing old ones, and waiting eagerly by the mailbox for college acceptance letters. Bu the film’s high point is the relationship between Lady Bird and her mother, Marian – it will make you want to call your mom and apologize for all the bullshit you put her through in your angsty teen years, and she might have some things to atone for, too. I mean, I saw it with my mom (who has, on more than one occasion, told me to stop dragging my feet) so I got to skip a step afterward… I just had to turn to my left and say, “sorry for not sleeping through my alarm and forcing you to drive me to school so often,” when the credits rolled.

Saorise Ronan masterfully delivers a moody, angst-filled, yet charming and hopeful performance as the titular character. I was once a teen girl myself and recognized a lot of my own “strife” in Lady Bird’s struggles and triumphs, and though her antics might be seen as silly at times or her behavior as irrational, Ronan’s genuine portrayal of a girl seeking her purpose and place in the world is undeniably grounded in reality. I’d love to see her take home the Oscar for Best Actress – been rooting for her since the Atonement days – but I’m not sure she can edge out one actress in particular. Metcalf also turns in a marvelous performance as Marian, Lady Bird’s mother, and their interactions with one another are so up-and-down, yet it’s clear how much they care for one another, even as they trade hurtful insults or are mired in tense silences. I found myself agreeing with her in some moments, yet decrying her passive aggressive comments in others – her nuanced performance is perfect for this role, and a wonderful complement to Ronan’s. In the continuous take where she’s driving off after taking her daughter to the airport, her face reveals a collage of raw, genuine emotion, and the transformation is simply spectacular. I’d love to hear her name read out on Sunday night for Supporting Actress.

Greta Gerwig’s directorial debut is visually stunning, poignant, full of heart, and well-balanced in its focus, but unless the del Toro train stops rolling, it’s doubtful she’ll take home the gold. Her screenplay is sharp, witty, laden with realistic conversations (Kyle’s dialogue is so convincing it’s almost painful to hear, because anyone who grew up in that era definitely knew a Kyle or two) but in such a close race, it’s difficult to predict who will emerge victorious on March 4th. I just know that no matter the result, I won’t be disappointed, and Gerwig is a personal favorite.

Lady Bird is an undeniable success and highly deserving of the accolades it has already received and the nominations still pending, but even though its wonderful, I’m not predicting a Best Picture victory on Sunday night. Regardless, this film should be celebrated and I am excited to see more storytelling and directing from Gerwig in the future.

Oscar Nominations
Best Director (Gerwig)
Best Original Screenplay (Gerwig)
Best Actress (Ronan)
Best Supporting Actress (Metcalf)
Best Film

Best Picture Countdown #5: Dunkirk

“There’s no hiding from this, son. We have a job to do.” – Mark Rylance as Mr. Dawson, Dunkirk (2017).

Dir: Chris Nolan
Starring: Mark Rylance, Cillian Murphy, Tom Hardy, Kenneth Branagh, Fionn Whitehead, James D’Arcy, Harry Styles, etc.
Rating: PG-13
Runtime: 1hr 47min

Dunkirk is a war film that utilizes three different perspectives (land, air, and sea) and a trio of timelines to depict the events of the Dunkirk evacuation during WWII. Over the course of the film, the three viewpoints gradually sync up and the characters collide with one another as a brave fleet of civilian boats seeks to rescue the stranded soldiers.

This film is probably higher on my list than on most, but it’s not just because I’m a Chris Nolan fangirl with a penchant for war films. I mean, as much as I admire him, I don’t think he’s going to take home the Best Director award, though I was pleased to see him get his first nod. I’m actually stunned he’s never been nominated before, but that’s a convo for another time…

Dunkirk_Film_posterOne of the film’s greatest strengths is in what it lacks: dialogue. The tension builds in conjunction with the cinematography, sound effects, and pulse-pounding music, not the words and conversations of the characters. The whine of the planes and the rat-a-tat of dogfights, the crashing of bombs on a beach, the yells of frazzled soldiers and the unnerving creak of a ship about to sink, all combine with the vivid imagery of bleak sands, the dour grey of a morning sky, the bobbing of civilian ships forging a path across the waves, and a shivering soldier stranded on floating debris. Seeing this film in IMAX was a cinematic experience unlike any I’ve seen before, and I was so engrossed the entire time I forgot to eat my candy – something I can safely say has never happened before. This film came out in wide release months ago, long before most of the other nominated films, and I can still clearly visualize several scenes because of how much of an impact they had and how brilliantly they stood out onscreen.

While the entire cast is great, Dunkirk is truly an ensemble effort; I found myself invested in each character’s journey, as a significant portion of time is spent on each of the three perspectives, giving each story the chance to unfold without feeling rushed or drawn out. The timelines weave in and out from one another, but do not come together until the very end, which forces the viewer to put some pieces together and heightens the suspense in crucial moments. And the presence of Harry Styles isn’t a major distraction.

As immersed as I was by the performances and atmosphere of this film – and the apparent historical accuracy in comparison to Darkest Hour – I doubt it will take home the ultimate award on March 4th. I’m not putting money on Nolan either, though Dunkirk might be the best example of his directing chops to date. It’s a dark horse for Best Cinematography, but I actually have another favorite in mind for that race, and though it’s my personal favorite for Original Score (as in, Zimmer’s score seriously enhanced the film, arguably more so than the others) I don’t see it taking that one home either. But, as with the BAFTAs, I think it has an excellent shot at the other technical awards, both sound mixing and sound editing, and has a good chance at film editing as well.

The events of WWII have been depicted countless times across various media and in countless films over the years, but Dunkirk still manages to present something refreshing and new. Nolan may get flak for being “pretentious” and “cerebral” with his films (the end of Interstellar comes to mind…) but in this outing, his experimentation with new narrative styles, his striving for authenticity, the intense focus on visual elements, and the reliance on generating an intense atmosphere with limited dialogue and mostly nameless characters is a cinematic triumph worth seeing on the big screen, and well-deserving of a Best Picture nomination.

Oscar Nominations
Best Director (Nolan)
Best Cinematography
Best Original Score
Best Production Design
Best Sound Mixing
Best Sound Editing
Best Film Editing 
Best Picture 

My full review of Dunkirk from July 2017 is available HERE

Best Picture Countdown #7: Get Out

“I mean, I told you not to go in that house…”Lil Rel Howery as Rod Williams, Get Out (2017)

Dir: Jordan Peele
Starring: Daniel Kaluuya, Allison Williams, Bradley Whitford, Catherine Keener
Runtime: 1hr43min
Rating: R

Get Out follows black photographer Chris Washington (Kaluuya) as he goes on a weekend trip to meet the family of his white girlfriend, Rose (Williams). But as he spends time with her family and their affluent, somewhat bizarre friends, Chris discovers that this visit might involve more than he bargained for.

Teaser_poster_for_2017_film_Get_OutJordan Peele impresses in his directorial debut – some shots and sequences in this film are downright Kubrickian in atmosphere and scope, especially the basement scenes. I felt tense just watching the interactions of the characters and the various uncomfortable and downright creepy situations. The screenplay is also unique and features an original plot with fresh twists; this doesn’t feel like a story that’s been told a thousand times, a pitfall that plagues so many films in the same genre. It features realistic horrors with a surreal twist, amplifying genuine situations through a horror-based lens, thus keeping the film grounded and making it feel real. Obviously, the film also contains a relevant and timely social commentary that feels both refreshing and necessary, especially for a film of this genre. It also is the type of film that keeps the viewer guessing; I kept trying to figure out how all the visual hints (deer antlers, anyone?) and the little cues in the dialogue were going to lead up to some kind of big reveal, and was not disappointed in the least as the plot fell into place.

The acting is great all around, but especially Kaluuya as Chris. The hypnotism scenes in particular, where he displays genuine terror and helplessness, make the stakes feel brutally intense. Overall, Kaluuya portrays the everyday sort of protagonist that is easy to root for and relate to, as he is refreshingly capable and reasonable – not the type of horror film character who makes stupid decisions and more or less deserves to be chainsawed in the face or whatever. I definitely wanted him to GET OUT, one might say – but, though his stellar performance earned an Oscar nod, I don’t think he’ll be able to edge out the competition. Allison Williams also turns in an excellent performance, and Lil Rel Howery, playing the most likable TSA agent of all time, supplies enough laughs to weave levity into the plot.

Admittedly, I’m not a horror person, so I likely wouldn’t have seen this film if it hadn’t been nominated for Best Picture. Keep your Jasons and your Michael Myerses and your Freddies away from me. But Get Out is horror done right, and done well – though if you seek out horror movies for outlandish scenarios, absurd monsters, and escapism, this isn’t the film for you. I did find myself wishing this film were a bit longer, with more layers to the characters and the story, and deeper exploration into the history of the Armitage family – but simultaneously, I think the lighter exposition is a strength, as it would be all too easy for the film to go overboard with the explanations and make the plot drag. The screenplay is a triumph; Get Out feels like an elongated Twilight Zone episode, with enough subtly terrifying moments and jarring twists that force the viewer to think through and analyze each instance of discomfort and fear.

I wouldn’t mind seeing Peele take home the gold for his screenplay or his directing, but the competition is going to be fierce, and the same goes for all the other awards this film is up for. But even if it doesn’t emerge victorious on March 4th, Get Out was a well-deserved success for all involved, and I look forward to seeing future projects from Kaluuya and Peele.

Oscar Nominations
Best Director (Peele)
Best Original Screenplay (Peele)
Best Actor (Kaluuya)
Best Picture 

Best Picture Countdown #9: The Post

If we don’t hold them accountable, who will?” – Tom Hanks as Ben Bradlee, The Post (2017)

Based on the true story of the controversial revelation and handling of the confidential Pentagon Papers, which detail the United States’ involvement in the Vietnam War, Steven Spielberg’s 2017 film The Post follows Washington Post heiress Katharine Graham as she grapples with the decision of whether or not to put her paper in the line of fire for the sake of journalistic integrity and truth, or preserve her friendships and relationships with those entwined with the Nixon administration.

On a surface level, political thriller The Post checks all the boxes. You’ve got Tom Hanks. You’ve got Meryl Streep. You’ve got Steven Spielberg. You’ve got John Williams. You’ve got early 70’s fashion. You’ve got a relevant message that rings true in today’s controversy-mired and volatile political system. And yet, even with such a stacked team of people working behind it, The Post is simply fine. It’s a thriller, but not an edge-of-your seat, suspense-laden thriller.

The_Post_(film).pngBut that’s not to say it is undeserving of the nominations and awards it has garnered thus far, or that because it checks off all those boxes, it automatically gets award nods. I found myself invested by the plot of this film, especially knowing that it is rooted in true events of American history. There was a lot about the history of this era that I was unaware of, as American History classes in high schools today tend to shy away from events that might skew perceptions of our government. Each member of the cast delivers capable, if not career best performances; Streep, Hanks, and Bob Odenkirk in particular nail their roles. For her role as Katharine Graham, Streep is also nominated for Best Actress, and though she certainly deserves recognition – her emotional turmoil and struggle to assert her leadership is convincing and, at times, heartbreaking – I think a couple of other names in the Best Actress category turned in stronger performances this year.

Overall, The Post is a film worth watching and is one of the most socially and politically poignant films to come along in recent years, but in the race for Best Picture, it falls a little shy of the competition. Of all the nominees, I’d rank The Post the least likely to take home the gold on March 4th, but it’s still a solid entry and one of the top films of 2017.

Oscar Nominations:
Best Picture
Best Actress (Streep)