In many categories this year, there’s an expected winner, but some of the biggest categories this year are as tight as a coin flip. (Anyone who’s confident in the Best Picture winner for 2017 hasn’t done enough research.)
So what should you expect to see win tonight? What should you go with for your Oscar pool? Grab your homemade ballots and read on…
Amongst my critic friends, a consensus emerged a month or two ago declaring 2017 to have been a great year for movies. I didn’t agree. I tend to judge (modern) years’ film quality by how many movies make the cut for my end-of-year article — that it, how many 4½- and 5-star movies there are. And based on that, I’d been feeling like it had been a rather weak year.
Tomorrow, my Best Movies of 2017 article goes online, guiding you through the 16 movies from last year to seek out for the best there was to offer at cinemas. But what about Get Out? Or Lady Bird? Or whatever god-awful sequel the Transformers series is on now?
Here’s all the rest. I didn’t see as many as in years prior, but I still made sure to catch all the big and important ones I could. If you saw it, odds are, it’s on here.
No analysis (yet). No rambling pretence. Here they are, in all their glory: the 90th Academy Award nominations.
This morning at the crack of dawn, a half-dozen of Hollywood’s elite will announce to the world the nominations for the 90th Academy Awards. What movies can you expect to be up for the treasured trophies this year? It’s a more contentious year than most, but while the winners are likely to hold some unpredictable surprises this year, it’ll be the same batch of movies showing up in category after category.
In a just world, Frances McDormand would have the cult-like adoration other living legends like Meryl Streep and Helen Mirren do. Her performances are consistently things of brilliance. When the movies are weak, she’s the best thing about them; when they’re strong, it just makes her up her game.
Between her performances in Blood Simple, Mississippi Burning, Fargo, Almost Famous, Wonder Boys, North Country, and Olive Kitteridge, it was incredibly unlikely she could give a performance that surpassed them all. Then Martin McDonagh wrote Three Billboards Outside Ebbing, Missouri.
Rotten Tomatoes is a fickle creature. It’s easy to think that because the site aggregates all the major reviews for a film and give a percentage of good reviews, it’s an accurate read on a movie’s reception.
Here’s the thing, though: Since they only attach a “fresh” or “rotten” label to each review, scores can look inflated when people universally land somewhere near the middle.
If 100% of critics feel a movie’s just not quite good enough to recommend, it gets a 0% rating on Rotten Tomatoes. Conversely, all it takes is every critic saying “it’s not bad” or “it’s worth watching once” for a movie to look like cinematic perfection.
Hey, unrelated question: Did you see Lady Bird got 100% on Rotten Tomatoes?