The main problem with this year’s Oscars is, I haven’t seen half of the ruddy films. Some of them because I didn’t want to (I’ve heard nothing but praise for Dunkirk and Darkest Hour, but I was never in the mood for trawling through WW2 nostalgia when they were at the flicks – more fool me), and some of them because I couldn’t get to the ruddy cinema to see them (Shape of Water and Bladerunner:2049, which I would have loved to have seen, but was too busy being interesting somewhere else (well, down the pub)). The only one I’ve seen is Get Out, and that was ruddy great.
The problem with the Oscars is, they only tend to value the films which came out recently, or which were critically lauded. Well, apart from Kong: Skull Island in the Visual Effects category. The thing is, the live action Ghost in the Shell was a massive pile of cak, but the visual effects blew my freakin’ mind. It should have AT LEAST got a nomination, even if the film sucked the big balls of destiny. But it didn’t. Critically slated (for obvious reasons), it was cast into the pit of Rubbish Film Hell, never to be seen again, despite the merits of its visual effects.
Here’s another thing. Coco won the best animated film award, but it’s re-tread of The Book of Life. Now, I haven’t seen Coco, and it could blow The Book of Life out of the water, but The Book of Life was an incredibly well put together film which wasn’t even nominated when it came out. Was it the Pixar sheen which gave Coco it’s respectability?
If you look at the list of nominees, it’s the same old films in the same old categories. There’s very little variation; very little kudos to the lower budget end of the spectrum (Get Out, aside), and even though there’s more diversity in the make-up of the nominees it still feels pretty un-diverse as regards the breadth of films released in the 2017/18 window.
I remember reading an article about how the people who vote for the Oscars are a pretty craggy old pile of rattling bones, and since their memory spans maybe limited to what log they laid in the toilet the previous night, it stands to reason that the only films which would stick in their memory were what they’d just seen the other day. Which is why it could be that Get Out had so little kudos in the final tally. It came out in January of last year. That’s far too long ago for your average Oscar-voting member to remember.
Where were the truly independent films? Moonlight may have won it last year, but now it was the time for the Big Budget Knobs to come out of the trousers of cinema and start waggling in the faces of voters, so the indies got shucked to the side and forgotten.
These things tend to go in loops. One year – nothing but Brit actors nominated. Next year – hey, it’s low budget time! In the end, the Oscars are a big clusterfuck of smarm. Everyone knows (well, me) that Oldman should have got the Oscar for Tinker, Tailor, Soldier, Spy, even if he literally skinned Churchill (who was eugenicist, let’s not forget) and wore the fucking like a Halloween suit. Copycatting is not Oscar worthy.
Not that it amounts to a pile of piss at the end of the day, as all of these films will end up on a 2 for 1 offer at HMV in a few months’ time. Ah, the fleeing nature of awards…