The nominations for the 2023 Academy Awards have been announced, with 10 films vying for Best Picture. Everything Everywhere All at Once led the way with 11 total nominations, with The Banshees of Inisherin and All Quiet on the Western Front close behind with 9 nominations each.
Take a look back at what CultureMap’s film critic, Alex Bentley, had to say about each of the nominees (listed below in alphabetical order) when they were originally released. This year’s Oscars ceremony will take place on Sunday, March 12.
All Quiet on the Western Front (not reviewed)
The epic anti-war German film, available to stream on Netflix, has been gaining steam on the awards circuit in recent weeks, also earning 14 nominations for the British Academy film awards, the most among films nominated there. With nine nominations at the Oscars, it’s a serious contender to win not just International Feature Film, but Best Picture as well, a la Parasite.
Avatar: The Way of Water
There’s no denying that everything in the long-awaited Avatar looks spectacular, from the Na’vi to the different animals of the world to the abundant water. But writer/director James Cameron has also employed the high frame rate of 48 frames-per-second, giving everything a hyper-real look that, at least for this critic, does not make for a great viewing experience. Also, for a film that’s 3 hours and 12 minutes long, you’d think there would be plenty of time to devote to all aspects of the story, but somehow that isn’t the case. Though it’s nominated for Best Picture, its best chances of winning lie in the three other technical nominations.
The Banshees of Inisherin
Written and directed by Martin McDonagh, this film reunited him with his In Bruges stars Colin Farrell and Brendan Gleeson for one of the funniest movies of the year, and also one of the saddest. The film is spectacular in its ordinary nature, with the story centering around Gleeson’s character ending his longtime friendship with Farrell’s character for seemingly no reason. All four main actors – Farrell (Best Actor), Gleeson (Best Supporting Actor), Barry Keoghan (Best Supporting Actor), and Kerry Condon (Best Supporting Actress) – earned nominations, and McDonagh was nominated for both directing and writing, making this film one of the favorites.
One of those love-it-or-hate-it type movies, the latest from writer/director Baz Luhrmann didn’t hit the sweet spot for this critic, mostly because its focus was more on Colonel Tom Parker (Tom Hanks), and not Elvis (Austin Butler) himself. That meant much more time for Hanks to deliver one of the worst performances of the year. Butler earned his Best Actor nomination, as there are times when he is absolutely electric. But there’s a reason that six of its eight nominations are in technical categories – the story doesn’t live up to Butler’s performance.
Everything Everywhere All at Once
On the other end of the spectrum from Elvis is Everything Everywhere All at Once, a film that knew how to use its flashiness in much better ways. Featuring a breathtaking lead performance by Michelle Yeoh (who earned her first-ever nomination), the return of ’80s kid star Ke Huy Quan (favored to win for Best Supporting Actor), and polar opposite performances by Jamie Lee Curtis and Stephanie Hsu (both nominated for Best Supporting Actress), the film was as wild and weird as it was emotional. With a couple of surprise nominations, including Best Musical Score and Best Song, it seems destined for a lot of wins.
The most personal movie ever from writer/director Steven Spielberg (nominated in both categories), The Fabelmans is a lightly-fictionalized chronicle of Spielberg’s childhood, where he caught the bug of filmmaking and endured his parents’ disintegrating marriage. With seven overall nominations, including Best Actress for Michelle Williams, a surprise Best Supporting Actor nomination for Judd Hirsch (who’s in the film for less than 10 minutes), and another nomination for Best Score for the iconic John Williams (who now has 52 – !! – lifetime nominations), it would be unwise to discount this film’s chances at taking home the top prize.
If ever a film was defined by its lead actor, it’s Tár, featuring a towering – and now, Oscar-nominated – performance by Cate Blanchett as world-renowned – but fictional – conductor Lydia Tár. The first film in 16 years from writer/director Todd Field (nominated in both categories), it is notable for how much time it devotes to setting up Tár as a character. Though the story is set in the rarefied world of classical music, it has a grounded nature that keeps it balanced. The film is nominated for seven total Oscars, but its best chance at a win lies with Blanchett, who’s the heavy favorite.
Top Gun: Maverick
My personal No. 1 movie of the year, the long-gestating sequel to 1984’s Top Gun delivered everything you could want out of a summer blockbuster and more. Even though it it essentially offers up the greatest hits from the original in a slightly repackaged manner, it does so in a spectacular manner. Even though you’d expect its five nominations aside from Best Picture (which gives star Tom Cruise, who also served as a producer, his first Oscar nomination in 24 years) to be technical ones, it was also nominated for Best Adapted Screenplay, an indication that its story was equal to its visuals.
Triangle of Sadness (not reviewed)
A black comedy that takes aim at the obliviousness of wealthy people, Triangle of Sadness is only nominated in three categories, but they’re three big ones – Best Picture, Best Director (Ruben Östlund), and Best Original Screenplay (Östlund). Unlike some of the other films in this category, it was not among the best-reviewed movies of the year, but it’s clear that Östlund has his supporters in the writer and director wings of the Academy, so one or two wins are not out of the realm of possibility.
Although it was one of my top 10 movies of the year, Women Talking is perhaps the least likely film among the 10 nominated to be in this category, as it only has one other nomination, Best Adapted Screenplay for writer/director Sarah Polley. Set almost entirely in a barn loft on a Mennonite compound as a group of women decide how to fight back against abusive men, it is a true ensemble film, with no actor truly standing out among the others. Still, with award-winning actors like Rooney Mara, Jessie Buckley, and Claire Foy leading the way, it deserves to be recognized among the year’s best.
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