HERE’S WHY THE ‘SUPERSTORE’ SERIES FINALE WAS PRETTY PERFECT

When America Ferrera decided to leave SUPERSTORE last year, it was disappointing. Even though it’s always been an ensemble show, she was the face of the series when it first began—the hook that drew me to SUPERSTORE initially. Sure, the show could go on without her. The other characters were definitely developed enough to continue as a solid ensemble. So one made one’s peace with Ferrera’s departure. Yet, season five ended abruptly, as the COVID-19 pandemic forced production to stop prematurely, and we didn’t get a proper goodbye. Thankfully, Ferrera decided to give the show and its audience that, as she returned for a proper exit in the first two episodes of season six. And so America Ferrera’s Amy Sosa packed her bags and went off to work for Cloud 9’s parent company, Zephra, at their headquarters in California, also ending her relationship with Jonah. It was a break-up that seemed rushed and forced, with a very ‘manufactured’ reason—Amy not being ready to build a future with Jonah. 

It was only after all this that NBC announced that this would be the final season of the show. It was likely because the entire cast's contracts would be due for renewal, and salaries would need to be renegotiated, which the network might not have wanted to do. However, it was quite apparent that the producers/showrunner didn’t have everything in place to wrap up the show properly. So the season continued, as any other would, with the regular workplace comedy. The team was shuffled around, with Glenn and Dina becoming co-managers, and Cheyenne becoming floor supervisor. Aside from that, it was business as usual at Cloud 9—as usual as it could get during a global pandemic, which was very much included in the show’s narrative.

Portraying the pandemic was a great idea, to begin with, because even during the strictest pandemic-driven lockdowns around the world, when everything was closed, it was the grocery stores and supermarkets that always stayed open. So like other supermarket employees in real life, even the employees of Cloud 9 never had ‘work from home’. And the show did a fantastic job of bringing some humor into a tough situation, while every other show that portrayed the pandemic quite understandably showed the grim side of things. SUPERSTORE, however, has never made things distasteful, even while managing to not have things get to serious or depressing. They’ve always excelled at that, with humor tactfully infused into matters of labor unions, race, disability, immigrant issues… and now even a global healthcare crisis. It was a very impressive season, despite Amy’s exit, even though she was missed. The writing and treatment of the show was good enough for it to go on for another two or three (maybe shorter) seasons at least. Yet the show had to end.

We didn’t see any signs of the show coming to an end, as one often does. There’s usually a signaling of a major turn that marks the beginning of the end, but not with SUPERSTORE. It was only in the episode before the two-part finale that such a turn was alluded to. We found out that Zephra was planning to close stores. And then there was Amy Sosa, on the phone, confirming what Cheyenne had heard. Meanwhile, Jonah had also been stalking Amy on social media with some help from Sandra, to let us know that Amy was still very much on Jonah’s mind. It was clear that the show did this just so the inevitable Jonah-Amy reunion in the finale wouldn’t seem to be coming out of nowhere (not that they needed to remind us that he hadn’t completely moved on). 

Finally, the first of the two-part finale was all about everyone trying to help prevent the store from closing, with Amy visiting from California to lend some ‘Zephra insider’ assistance. Jonah and Amy coming face-to-face again was so awkward—in a good way. America Ferrera and Ben Feldman have had the right chemistry for all kinds of scenes from day one of the show. Ultimately, though, severed feet or no severed feet, it seemed like Zephra had already decided to shut the store and open a ‘fulfillment center’ in its place. Amy decided to go down with the ship, and resigned in solidarity with her Cloud 9 family, and also from having gone off Zephra, one might imagine. 

The second part of the two-part finale was the final wrap, sending characters off on their next chapters after Cloud 9’s closing, and giving us some closure. Was it all rushed? Sure, definitely! It was too much to happen in just 43 minutes of the double-episode finale. And one had to make peace with the fact that everyone, barring a handful, was going to lose their job, without putting up much of a fight. Yes, these guys haven’t always been successful in going up against corporate in the earlier seasons, with the unionization and all falling through. And Zephra had been running a tight ship since they'd taken over. But the Cloud 9 folks had always put up a fight, even with trying to help Mateo escape from immigration officials in what was one of the best episodes of the show. So yes, it would have been more fitting to see some kind of resistance from them against Zephra—perhaps a 'wrongful termination' lawsuit, based on some loophole or something. If they had a few more episodes, or maybe even a short additional season to wind things up properly, they could have done it in a way that didn’t feel rushed. I mean, in just one season, Amy left, the store management changed, Amy returned, the store shut down, and everyone got on with their lives.

At the end of the day though, the moving-on that we did get was pretty perfect. Even if they’d taken a more gradual approach, I would’ve still wanted this ending. Everyone got to say goodbye to the store nicely. The collective viewing of the interview videos was a great way to do it. It also helped some of them get onto their next chapters. Mateo was hired by Glenn, and Amy decided not to give up on a future with Jonah. We all knew there was unfinished business between them, so it was perfectly understandable that it would only take an instant for them to open up their hearts and give it another shot. And then the epilogue was everything! The montage against the backdrop of Garrett’s voice-over, making the final Cloud 9 announcement, was moving and sweet. It was good to see everyone finding their next thing—be it Dina and Sandra running the fulfillment center with Marcus and Justine, or Glenn opening his hardware store, with Cheyenne and Mateo. Amy got another job as an executive, Jonah got into politics, running for city council, as they built a life together and expanded their family. Dina and Garrett stayed together, while Mateo and Eric got married. And they all stayed a close-knit Cloud 9 family, even after they go off on their separate paths, as we saw them together at the barbecue in Glenn and Jerusha’s backyard. (Which was Lynette’s house in DESPERATE HOUSEWIVES, by the way, in case that red tree house didn’t give it away.) Even Carol, Justine, Sayid, Janet and Nia were invited. 

All the while, SUPERSTORE kept alive the hilariousness we’ve loved about it for six seasons, with Cheyenne and Bo being as they were, with the washing machines, and the transition shots that show customers doing weird things in the store** (including the subtle revealing of who was placing the severed feet). Even everyone talking about Jonah’s love-life vis-à-vis Amy’s return, during that staff meeting, had me in splits. It was a perfect finale in most ways that count, and a sweet goodbye indeed, as Cloud 9’s lights went off for the last time.  

**I was later reminded that the girl on the potty in one of the aisles was a throwback to a an interstitial from the show's pilot, which featured the same girl, only much younger. She happens to be the daughter of show creator Justin Spritzer, who also made a cameo in the finale, as the customer whom Glenn hugs. 

THE OSCARS 2021: SURPRISES, DISAPPOINTMENTS, HITS AND MISSES

A fairly unpredictable set of results, and a very different show itself, the 93rd Academy Awards left quite a bit to be desired. But I will commend the organizers and the Academy for pulling it off in times like these. Here are the key highlights of the awards and what was lacking

 

The starkest difference between the Oscars, as we know the event, and this year’s edition was the venue itself. While the Dolby Theatre (formerly known as the Kodak Theatre) has also evolved over the decades, the basic richness that it presents has stayed intact—at least in the way it looks on-screen. Other TV events, such as AMERICAN IDOL’s Hollywood week, and even AMERICA’S GOT TALENT, look more premium because of this venue. And the look of the theater at the Oscars is usually phenomenal. This year though, probably because of the limited audience this time, the organizers wanted a more intimate venue, and they decided to have the main show at Los Angeles’ Union Station. The art deco venue was quite charming and had a character of its own, but it lacked the grandeur of the Dolby Theatre, which was missed sorely. It kind of made the Oscars look like a preliminary event, such as the nominees’ luncheon.

A VERY LONG SHOW, DESPITE THINGS THAT WERE LACKING

The smaller venue, and the more intimate gathering should have also been reflected in the duration of the main event, but it went on for three hours and an extra 15 minutes. Especially with the original song performances shown during the pre-show, and with the lack of a host, it seemed unnecessarily long. While the decision to go without a host hasn’t had a huge impact in the previous two editions of the Oscars, this year, I think a host would have been good. I think with things so different this time, they would’ve done well to have an emcee as a hook for the audience throughout the event. Instead, the show went on—for really long. This was in part due to the freedom given to winners to take their time with their acceptance speeches, which was quite respectful and polite. However, with some people, it is a good idea to give them limited time—and a faint music to signal time running out—because not everyone is naturally inclined to keep things concise. And speaking of music, I really did miss a live orchestra. A DJ behind a console just wasn’t very ‘Oscars’ in my opinion. I mean, if you’re organizing an event with a live audience, getting everyone tested for COVID and all, across gatherings in other remote locations as well, why cut corners when it comes to having a full orchestra of musicians!

PRESENTATIONS THAT KEPT THINGS INTERESTING

There was however, a little game where audience members were quizzed about songs that may or may not have been nominated in the past. It seemed a little random as the only such break in the midst of the proceedings. Yet, Glenn Close doing that little dance was everything. The presentations themselves were not too bad. It was sweet how presenters such as Riz Ahmed, Laura Dern and Reese Witherspoon had little personal anecdotes to share related to the categories they were announcing. Regina King was a strong way to start, with her big stage presence. Riz Ahmed did well with his interactive introduction of the live-action short category, asking the audience if their careers began with short films, to drive home the point that short films can set strong foundations. Angela Bassett’s presentation of ‘in memoriam’ lent the moment some liveliness—a celebration of the departed artists rather than mourning them. And it was good to see the Dolby Theatre briefly, when Bryan Cranston presented one of the humanitarian awards. I wonder why they didn’t present both together, with Viola Davis presenting Tyler Perry his humanitarian award later in the show.

THE BEST ACCEPTANCE SPEECHES

Perry delivered one of the better acceptance speeches of the night, with his anecdote about how he helped a woman in need with some shoes to ‘take her feet off the ground’, eventually urging everyone to do away with hate, and help people take their feet off the ground. Emerald Fennel was a breath of fresh air when she won the Oscar for adapted screenplay for Promising Young Woman. Winning the supporting actor Oscar for Judas and the Black Messiah, Daniel Kaluuya was whimsical and weird and made us all laugh, with the way he said he was going to party that night, and also giving his parents credit for his existence (and win), mentioning the sex that they had had in order to have him. His sister’s and mother’s reactions, watching from the gathering in London, was priceless!

However, the best acceptance speech of the night was by Yuh-Jung Youn, who won the supporting actress Oscar for Minari. Prior to this event, she had stolen the show at the BAFTAs and at the Critics’ Choice Awards before that, with her endearing acceptance speeches, so I was really looking forward to seeing her accept her Oscar. She said it was nice to meet presenter Brad Pitt, and thanked Hollywood. Then she acknowledged the greatness of her fellow-nominees, saying that it didn’t feel right that they were in competition for playing completely different parts in different movies, and that she was simply “luckier than” the others, or that maybe it had something to do with American hospitality towards a Korean actress. She gave a shout-out to fellow-nominee Glenn Close, who was the senior-most actress in the category this time. And she thanked her sons, who ‘made her work’ (probably meant ‘encouraged’ her to work), with this win being a result of that.

THE NEW OSCAR WINNERS—HIGHLIGHTS AND DISAPPOINTMENTS

It was indeed great to see powerful and moving performances such as Kaluuya’s and Youn’s being awarded. I was very happy that Anthony Hopkins won for his stellar performance in The Father. And Emerald Fennell deserved her original screenplay win for the gripping Promising Young Woman. Most other wins were also due, such as the excellent film editing and sound of Sound of Metal being recognized, or the soundtrack of Soul and the screenplay of The Father being rewarded. I was, however, disappointed that my two favorite awards season movies this year—The Trial of the Chicago 7, and One Night in Miami…—didn’t win anything. And they were such good and strong films, even objectively-speaking. Other winning highlights included Chloé Zhao becoming (only) the second woman to ever win for directing, while Frances McDormand won her third Oscar and became the actress with the second-most wins for lead actress, after Katharine Hepburn (who won four).

With a few disappointing results, and a slightly underwhelming show overall, there were a few high points that kept things relatively interesting. I look forward to, hopefully, a more ‘regular’ Oscars taking place at the Dolby Theatre next year. I would also appreciate it if they go back to announcing the directing and best picture categories at the end of the show, after the lead actress and actor winners are awarded. I also hope we can go back to the cinemas this year to watch the films that will be in consideration next year.

And, while we hope for better times ahead, here’s a complete list of this year’s Oscar winners.

Best motion picture of the year

The Father

Judas and the Black Messiah

Mank

Minari

Nomadland

Promising Young Woman

Sound of Metal

The Trial of the Chicago 7

 

Achievement in directing

Another Round | Thomas Vinterberg

Mank | David Fincher

Minari | Lee Isaac Chung

Nomadland | Chloé Zhao

Promising Young Woman | Emerald Fennell

 

Performance by an actress in a leading role

Viola Davis in Ma Rainey's Black Bottom

Andra Day in The United States vs. Billie Holiday

Vanessa Kirby in Pieces of a Woman

Frances McDormand in Nomadland

Carey Mulligan in Promising Young Woman

 

Performance by an actor in a leading role

Riz Ahmed in Sound of Metal

Chadwick Boseman in Ma Rainey’s Black Bottom

Anthony Hopkins in The Father

Gary Oldman in Mank

Steven Yeun in Minari

 

Performance by an actress in a supporting role

Maria Bakalova in Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan

Glenn Close in Hillbilly Elegy

Olivia Colman in The Father

Amanda Seyfried in Mank

Yuh-Jung Youn in Minari

 

Performance by an actor in a supporting role

Sacha Baron Cohen in The Trial of the Chicago 7

Daniel Kaluuya in Judas and the Black Messiah

Leslie Odom, Jr. in One Night in Miami...

Paul Raci in Sound of Metal

Lakeith Stanfield in Judas and the Black Messiah

 

Adapted screenplay

Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan | Screenplay by Sacha Baron Cohen & Anthony Hines & Dan Swimer & Peter Baynham & Erica Rivinoja & Dan Mazer & Jena Friedman & Lee Kern; Story by Sacha Baron Cohen & Anthony Hines & Dan Swimer & Nina Pedrad

The Father | Screenplay by Christopher Hampton and Florian Zeller

Nomadland | Written for the screen by Chloé Zhao

One Night in Miami… | Screenplay by Kemp Powers

The White Tiger | Written for the screen by Ramin Bahrani

 

Original screenplay

Judas and the Black Messiah | Screenplay by Will Berson & Shaka King; Story by Will Berson & Shaka King and Kenny Lucas & Keith Lucas

Minari | Written by Lee Isaac Chung

Promising Young Woman | Written by Emerald Fennell

Sound of Metal | Screenplay by Darius Marder & Abraham Marder; Story by Darius Marder & Derek Cianfrance

The Trial of the Chicago 7 | Written by Aaron Sorkin

 

Achievement in cinematography

Judas and the Black Messiah | Sean Bobbitt

Mank | Erik Messerschmidt

News of the World | Dariusz Wolski

Nomadland | Joshua James Richards

The Trial of the Chicago 7 | Phedon Papamichael

 

Achievement in film editing

The Father | Yorgos Lamprinos

Nomadland | Chloé Zhao

Promising Young Woman | Frédéric Thoraval

Sound of Metal | Mikkel E.G. Nielsen

The Trial of the Chicago 7 | Alan Baumgarten

 

Achievement in sound

Greyhound | Warren Shaw, Michael Minkler, Beau Borders and David Wyman

Mank | Ren Klyce, Jeremy Molod, David Parker, Nathan Nance and Drew Kunin

News of the World | Oliver Tarney, Mike Prestwood Smith, William Miller and John Pritchett

Soul | Ren Klyce, Coya Elliott and David Parker

Sound of Metal | Nicolas Becker, Jaime Baksht, Michelle Couttolenc, Carlos Cortés and Phillip Bladh

 

Achievement in production design

The Father | Production Design: Peter Francis; Set Decoration: Cathy Featherstone

Ma Rainey’s Black Bottom | Production Design: Mark Ricker; Set Decoration: Karen O’Hara and Diana Stoughton

Mank | Production Design: Donald Graham Burt; Set Decoration: Jan Pascale

News of the World | Production Design: David Crank; Set Decoration: Elizabeth Keenan

Tenet | Production Design: Nathan Crowley; Set Decoration: Kathy Lucas

 

Achievement in costume design

Emma | Alexandra Byrne

Ma Rainey’s Black Bottom | Ann Roth

Mank | Trish Summerville

Mulan | Bina Daigeler

Pinocchio | Massimo Cantini Parrini

 

Achievement in makeup and hairstyling

Emma | Marese Langan, Laura Allen and Claudia Stolze

Hillbilly Elegy | Eryn Krueger Mekash, Matthew Mungle and Patricia Dehaney

Ma Rainey’s Black Bottom | Sergio Lopez-Rivera, Mia Neal and Jamika Wilson

Mank | Gigi Williams, Kimberley Spiteri and Colleen LaBaff

Pinocchio | Mark Coulier, Dalia Colli and Francesco Pegoretti

 

Achievement in visual effects

Love and Monsters | Matt Sloan, Genevieve Camilleri, Matt Everitt and Brian Cox

The Midnight Sky | Matthew Kasmir, Christopher Lawrence, Max Solomon and David Watkins

Mulan | Sean Faden, Anders Langlands, Seth Maury and Steve Ingram

The One and Only Ivan | Nick Davis, Greg Fisher, Ben Jones and Santiago Colomo Martinez

Tenet | Andrew Jackson, David Lee, Andrew Lockley and Scott Fisher

 

Achievement in music written for motion pictures (Original score)

Da 5 Bloods | Terence Blanchard

Mank | Trent Reznor and Atticus Ross

Minari | Emile Mosseri

News of the World | James Newton Howard

Soul | Trent Reznor, Atticus Ross and Jon Batiste

The hypnotizing and haunting, yet lively and uplifting scoring of Soul became the extraordinary backdrop of the film. And I think it’s going to win for it.

 

Achievement in music written for motion pictures (Original song)

‘Fight for you’ from Judas and the Black Messiah | Music by H.E.R. and Dernst Emile II; Lyric by H.E.R. and Tiara Thomas

‘Hear my voice’ from The Trial of the Chicago 7 | Music by Daniel Pemberton; Lyric by Daniel Pemberton and Celeste Waite

‘Husavik’ from Eurovision Song Contest: The Story of Fire Saga | Music and Lyric by Savan Kotecha, Fat Max Gsus and Rickard Göransson

‘Io sì (seen)’ from The Life Ahead (La Vita Davanti a Se) | Music by Diane Warren; Lyric by Diane Warren and Laura Pausini

‘Speak now’ from One Night in Miami... | Music and Lyric by Leslie Odom, Jr. and Sam Ashworth

 

Best animated feature film of the year

Onward

Over the Moon

A Shaun the Sheep Movie: Farmageddon

Soul

Wolfwalkers

 

Best international feature film of the year

Another Round | Denmark

Better Days | Hong Kong

Collective | Romania

The Man Who Sold His Skin | Tunisia

Quo Vadis, Aida? | Bosnia and Herzegovina

If the Academy has recognized its directing among every film in consideration overall, one can safely say that Another Round has an edge over the others in this category.

 

Best documentary feature

Collective

Crip Camp

The Mole Agent

My Octopus Teacher

Time

 

Best documentary short subject

Colette

A Concerto Is a Conversation

Do Not Split

Hunger Ward

A Love Song for Latasha

 

Best animated short film

Burrow

Genius Loci

If Anything Happens I Love You

Opera

Yes-People

 

Best live-action short film

Feeling Through

The Letter Room

The Present

Two Distant Strangers

White Eye

OSCARS 2021: ALL PREDICTIONS FOR THE 93RD ACADEMY AWARDS

The Academy of Motion Picture Arts and Sciences recently released the 93rd Oscars’ ‘all-star cast’, with a promo that spoke of the event like a motion picture itself. We also know that the event will take place over multiple locations. There will be physical attendance of nominees and presenters at the main venue, but there will also be some people connecting remotely. It’s going to be a hybrid sort of event I gather. 

As for the results, I suspect that a few of the strongest emerging frontrunners will make their Oscar acceptance speeches from their homes and hotel rooms, despite so many categories being quite unpredictable this year. For instance, last year, we all knew it would be Joaquin Phoenix for Joker, Renée Zellweger for Judy, Laura Dern for Marriage Story and Brad Pitt for Once Upon a Time in Hollywood. They had won everything leading up to the Oscars. For many years before even—barring a few exceptions—we knew who all were going to win the acting Oscars. This year though, the only acting nominee who enjoys a largely unchallenged lead like that is Daniel Kaluuya, who’s won practically every award that he’s been nominated for, for Judas and the Black Messiah. So that’s one predictable outcome we’ll see this Sunday. Let’s take a look at the rest.

 

SHOULD WIN, WILL WIN

I have some strong opinions about some of these films, all of which I have managed to watch. So I shall offer my picks of which films should win, while predicting the films that will.

 

Best motion picture of the year

The Father

Judas and the Black Messiah

Mank

Minari

Nomadland—WILL WIN

Promising Young Woman

Sound of Metal

The Trial of the Chicago 7—SHOULD WIN

Nomadland was a sweet film—endearing, heartbreaking, and even funny, while reflecting a sense of isolation and loneliness a lot of us have experienced this past year. So it would probably be nice to see the Academy awarding a movie so strong on quiet and simple, yet layered storytelling—more on the lines of Moonlight than any other recent best picture winners. However, no other best picture-nominated film had me gripped and in awe like The Trial of the Chicago 7 did. It was invigorating and powerful, and so well-written, with a tremendous set of performances, sharp directing, and extremely socially relevant. So I really do think …Chicago is more deserving. And it might just be the dark horse in this race. I’ll tell you why I think so.

The best picture winner is decided by all the voting members of the Academy, and its largest branch is the actors’ branch. The people who decide the Golden Globes, the Critics’ Choice and others are not Academy voters. However, the actors of the SAG-AFTRA membership (who are also Academy voters) voted for …Chicago 7, at the SAG Awards earlier this month, despite Nomadland having won other major awards up until then, including the PGA (Producers’ Guild) award for best picture. Now the PGA is often considered to the most indicative of the best picture outcome at the Oscars. Yet, just last year, the PGA gave it to 1917, while Parasite won at the Oscars. Three years ago, the PGA gave it to La La Land, and everyone knows that film did not win at the Oscars. So, even though Nomadland’s chances are high, don’t be too sure that the actors’ branch won’t prefer The Trial of the Chicago 7. Yes, they chose it for its acting ensemble at the SAGs, but that award is often considered as a best picture equivalent. And in the polls, …Chicago 7 isn’t that far behind Nomadland.

Moreover, the best picture’s ‘preferential ballot’ system—of multiple rounds of counting ballots’ lower-ranked films, until the top-ranked film secures a clear majority of over 50 percent—may work in the favor of pictures that aren’t frontrunners in most voters’ minds, but are very likely to be in their top three or four ranks. In the additional rounds of counting, second-, third-, or fourth-choice films could catch up to secure the majority before the top-ranked film of the first count can. As for whether a film can win without even being nominated for directing—sure it can! The Trial of the Chicago 7 could pull an Argo (2012), for which Ben Affleck was not nominated for directing, but the film still won best picture. So you never know!

 

Achievement in directing

Another Round | Thomas Vinterberg

Mank | David Fincher

Minari | Lee Isaac Chung

Nomadland | Chloé Zhao—SHOULD WIN, WILL WIN

Promising Young Woman | Emerald Fennell

Chloé Zhao is winning here. She’s won everything so far this awards season. And she’s done such a tremendous job with Nomadland, treating the subject matter with sensitivity, giving it the tenderness that it needed, with an effective smattering of lighter moments even with the raw appeal of its realism.

 

Performance by an actress in a leading role

Viola Davis in Ma Rainey's Black Bottom—WILL WIN

Andra Day in The United States vs. Billie Holiday

Vanessa Kirby in Pieces of a Woman

Frances McDormand in Nomadland

Carey Mulligan in Promising Young Woman—SHOULD WIN

It’s anyone’s game here really. Andra Day won at the Globes, Carey Mulligan was the Critics’ Choice, Viola Davis won the SAG Award, and Frances McDormand was awarded the BAFTA. The SAG voters overlap with the Academy voters the most. So it seems like Davis will be the Academy’s choice here.

Viola Davis is a powerhouse performer—an actress extraordinaire. She’s outstanding at everything she does. However, in Ma Rainey, while her delivery was effective, it was more ‘staged’ if you will. One can probably attribute that to the directing, by George C. Wolfe, who seemed to have gone for a more over-the-top appeal, which was probably an attempt to capture the essence of the source material—a stage play. On the other hand, Carey Mulligan’s delivery in Promising Young Woman was a lot more nuanced, yet made for a captivating and haunting presence on screen, and I believe that she should be awarded for carrying the film with such aplomb. Yet, this award has only been given to one black performer (Halle Berry, for Monster’s Ball, 2001), which was 19 years ago. And given the recent political climate in America, and the #BlackLivesMatter movement, I think the Academy voters will seriously consider leaning accordingly. 

 

Performance by an actor in a leading role

Riz Ahmed in Sound of Metal

Chadwick Boseman in Ma Rainey’s Black Bottom—WILL WIN

Anthony Hopkins in The Father—SHOULD WIN

Gary Oldman in Mank

Steven Yeun in Minari

The late Chadwick Boseman has won everything so far, except for the BAFTA. However, his performance in Ma Rainey, in particular, was over-the-top, as the directing probably demanded. Moreover, his role was more of a supporting role, as the film didn’t rest on the shoulders of his character. His nomination and inevitable win seem like more of an honorary gesture really, which is fine, since he was a very talented actor. However, it makes one wonder about all the other greats who have died in the past… Those who probably deserved honorary gestures and awards, but didn’t receive them because they didn’t have a picture under consideration for awards out in the year that they died.

On the other hand, there’s Sir Anthony Hopkins, who was fantastic in The Father. He portrayed the confusion, the panic, the indignation and even the delusional amusement of someone descending into dementia, with sheer bafflement. Some are calling it one of his career’s best performances, and we all know that Hopkins has a greater volume of acclaimed work than many actors who have lived. He should win this, but I don’t think he will.

 

Performance by an actress in a supporting role

Maria Bakalova in Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan

Glenn Close in Hillbilly Elegy

Olivia Colman in The Father

Amanda Seyfried in Mank

Yuh-Jung Youn in Minari—SHOULD WIN, WILL WIN

Yuh-Jung Youn wasn’t a frontrunner initially this awards season, losing to Jodie Foster (The Mauritanian) at the Globes, and Maria Bakalova at the Critics’ Choice. But then Youn won at the SAG Awards, and then the BAFTAs. And she stole hearts all over, with her endearing and funny and earnest acceptance speeches. At the BAFTAs, she even said she was honored to have the approval of the British people who are such snobs about what they like. And she was terrific, of course, as the grandmother in Minari—equally funny and moving. So I think I’d definitely like to see her being awarded, especially because Yuh-Jung Youn accepting an Oscar is sure to be worth watching.

 

Performance by an actor in a supporting role

Sacha Baron Cohen in The Trial of the Chicago 7

Daniel Kaluuya in Judas and the Black Messiah—SHOULD WIN, WILL WIN

Leslie Odom, Jr. in One Night in Miami...

Paul Raci in Sound of Metal

Lakeith Stanfield in Judas and the Black Messiah

Like I said earlier, Kaluuya’s the only clear favorite among all 20 acting nominees this year, having won everything else. And he was really the best part of the film. He delivered impassioned speeches, frustration, angst, and everything with amazing conviction. Kaluuya stole every scene and even made me forget he was British in real life.

 

Adapted screenplay

Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan | Screenplay by Sacha Baron Cohen & Anthony Hines & Dan Swimer & Peter Baynham & Erica Rivinoja & Dan Mazer & Jena Friedman & Lee Kern; Story by Sacha Baron Cohen & Anthony Hines & Dan Swimer & Nina Pedrad

The Father | Screenplay by Christopher Hampton and Florian Zeller

Nomadland | Written for the screen by Chloé Zhao—WILL WIN

One Night in Miami… | Screenplay by Kemp Powers—SHOULD WIN

The White Tiger | Written for the screen by Ramin Bahrani

This one should go to One Night in Miami… It was an out-and-out writer’s film, with more resting on the content of dialogue than anything, even more than the delivery of the dialogue. And it succeeded in heaps, giving us an engaging and invigorating imagining of the conversation that may have taken place in that motel in Miami. However, given its lack of a best picture nomination, I think the Academy will not go for it. Nomadland seems to be the favorite in this category, based on its previous wins, so I think that’s the way the Academy will go.

 

Original screenplay

Judas and the Black Messiah | Screenplay by Will Berson & Shaka King; Story by Will Berson & Shaka King and Kenny Lucas & Keith Lucas

Minari | Written by Lee Isaac Chung

Promising Young Woman | Written by Emerald Fennell—SHOULD WIN, WILL WIN

Sound of Metal | Screenplay by Darius Marder & Abraham Marder; Story by Darius Marder & Derek Cianfrance

The Trial of the Chicago 7 | Written by Aaron Sorkin

The Academy are known to give a screenplay award to a best picture frontrunner that won’t win the big prize. In this category this year, all five are also best picture nominees. Promising Young Woman, though is a film that deserves to be recognized for its brilliance in storytelling that is nuanced, and sensitive, and funny in parts, while also being chilling with its dark humor, all the while keeping us at the edge of our seats. It’s arguably the best-written film among these five, and since it’s not winning best picture, I believe the Academy will give the Emerald Fennell this one.

 

Achievement in cinematography

Judas and the Black Messiah | Sean Bobbitt

Mank | Erik Messerschmidt

News of the World | Dariusz Wolski

Nomadland | Joshua James Richards—SHOULD WIN, WILL WIN

The Trial of the Chicago 7 | Phedon Papamichael

Nomadland was all about the visual presentation of not just the beautifully barren landscape shown, but also being a strong lens through which we saw the many quiet moments that captured the poignancy of Fern and her story. The cinematography was an absolute triumph with its success in showing us all of the above. Nomadland deserves this more than any other award it’s nominated for, in my opinion. And I suspect the Academy will opine similarly.

 

Achievement in film editing

The Father | Yorgos Lamprinos

Nomadland | Chloé Zhao

Promising Young Woman | Frédéric Thoraval

Sound of Metal | Mikkel E.G. Nielsen—SHOULD WIN, WILL WIN

The Trial of the Chicago 7 | Alan Baumgarten

In Sound of Metal, the compilation of visuals, synchronized with the rhythm of what we hear—and its irregularity—creates an impact that is disturbing, and provoking. From the snappy editing to dishevel the kitchen counter of the protagonist’s mobile home to using cuts to portray his visual perspective while we hear what he hears, the film editing is used effectively to challenge our senses. And the Academy members often love to be challenged.

 

Achievement in sound

Greyhound | Warren Shaw, Michael Minkler, Beau Borders and David Wyman

Mank | Ren Klyce, Jeremy Molod, David Parker, Nathan Nance and Drew Kunin

News of the World | Oliver Tarney, Mike Prestwood Smith, William Miller and John Pritchett

Soul | Ren Klyce, Coya Elliott and David Parker

Sound of Metal | Nicolas Becker, Jaime Baksht, Michelle Couttolenc, Carlos Cortés and Phillip Bladh—SHOULD WIN, WILL WIN

It’s literally in the name of the film, but that’s not why Sound of Metal will win achievement in sound. It’s because of how effectively sound is used as a tool in the narrative, to convey audio perspective, of what can be heard by whom and how. The use of sound or the lack thereof are also executed outstandingly, with deafening silences, and pitch irregularities to put us in the protagonist’s head, as he readjusts to his corrected hearing. If there was ever a film for which sound played such an integral part, Sound of Metal is it. And I’m sure I wasn’t the only one who heard it.

 

Achievement in production design

The Father | Production Design: Peter Francis; Set Decoration: Cathy Featherstone—SHOULD WIN

Ma Rainey’s Black Bottom | Production Design: Mark Ricker; Set Decoration: Karen O’Hara and Diana Stoughton

Mank | Production Design: Donald Graham Burt; Set Decoration: Jan Pascale—WILL WIN

News of the World | Production Design: David Crank; Set Decoration: Elizabeth Keenan

Tenet | Production Design: Nathan Crowley; Set Decoration: Kathy Lucas

While sound was the most important tool in Sound of Metal, the use of physical spaces becomes an integral part of conveying the illusion of truth and the betrayal of perspective for a man questioning his reality in The Father. Every inch of furniture shifted, every alteration in the hues of the walls was by design, and the production designer and set decorator of The Father painted a disturbing and alarming picture in the film’s poignant narrative. However, Mank’s triumph in creating lavish spaces portraying Hollywood in the 1930s and 40s, and giving them depth in black and white—which often flattens a frame—is commendable. And I believe the Academy will reward that.

 

 

ONLY PREDICTIONS

Now I haven’t watched every film in each category that follows, so I can’t objectively have an opinion about which film should win. So I shall only predict the ones that will win for these.

 

Achievement in costume design

Emma | Alexandra Byrne

Ma Rainey’s Black Bottom | Ann Roth—WILL WIN

Mank | Trish Summerville

Mulan | Bina Daigeler

Pinocchio | Massimo Cantini Parrini

It may be easier to design beautiful costumes and style them well, but to bring out the imperfections in garments and accessories, while helping paint a solid picture of the era and inform the characters and how they carry themselves is an achievement. Ann Roth will win because of it.

 

Achievement in makeup and hairstyling

Emma | Marese Langan, Laura Allen and Claudia Stolze

Hillbilly Elegy | Eryn Krueger Mekash, Matthew Mungle and Patricia Dehaney

Ma Rainey’s Black Bottom | Sergio Lopez-Rivera, Mia Neal and Jamika Wilson—WILL WIN

Mank | Gigi Williams, Kimberley Spiteri and Colleen LaBaff

Pinocchio | Mark Coulier, Dalia Colli and Francesco Pegoretti

Likewise with the makeup. While getting the look right the makeup and hair people for Ma Rainey got the smudging of liner and kohl right. The greasy faces and the sweaty décolletages, the hair and everything were all just perfectly done.  

 

Achievement in visual effects

Love and Monsters | Matt Sloan, Genevieve Camilleri, Matt Everitt and Brian Cox

The Midnight Sky | Matthew Kasmir, Christopher Lawrence, Max Solomon and David Watkins

Mulan | Sean Faden, Anders Langlands, Seth Maury and Steve Ingram

The One and Only Ivan | Nick Davis, Greg Fisher, Ben Jones and Santiago Colomo Martinez

Tenet | Andrew Jackson, David Lee, Andrew Lockley and Scott Fisher—WILL WIN

If there was one award that Tenet could win, hands-down, it’s visual effects.

 

Achievement in music written for motion pictures (Original score)

Da 5 Bloods | Terence Blanchard

Mank | Trent Reznor and Atticus Ross

Minari | Emile Mosseri

News of the World | James Newton Howard

Soul | Trent Reznor, Atticus Ross and Jon Batiste—WILL WIN

The hypnotizing and haunting, yet lively and uplifting scoring of Soul became the extraordinary backdrop of the film. And I think it’s going to win for it.

 

Achievement in music written for motion pictures (Original song)

‘Fight for you’ from Judas and the Black Messiah | Music by H.E.R. and Dernst Emile II; Lyric by H.E.R. and Tiara Thomas

‘Hear my voice’ from The Trial of the Chicago 7 | Music by Daniel Pemberton; Lyric by Daniel Pemberton and Celeste Waite

‘Husavik’ from Eurovision Song Contest: The Story of Fire Saga | Music and Lyric by Savan Kotecha, Fat Max Gsus and Rickard Göransson

‘Io sì (seen)’ from The Life Ahead (La Vita Davanti a Se) | Music by Diane Warren; Lyric by Diane Warren and Laura Pausini

‘Speak now’ from One Night in Miami... | Music and Lyric by Leslie Odom, Jr. and Sam Ashworth

‘Speak now’ is relevant, has a call to action, and speaks to present times in its theme and lyric. And it also sounds very contemporary and catchy with its current, yet distinctive sound.  

 

Best animated feature film of the year

Onward

Over the Moon

A Shaun the Sheep Movie: Farmageddon

Soul—WILL WIN

Wolfwalkers

Soul’s won at all the awards, and enjoys other nominations, so this one’s a no-brainer.

 

Best international feature film of the year

Another Round | Denmark—WILL WIN

Better Days | Hong Kong

Collective | Romania

The Man Who Sold His Skin | Tunisia

Quo Vadis, Aida? | Bosnia and Herzegovina

If the Academy has recognized its directing among every film in consideration overall, one can safely say that Another Round has an edge over the others in this category.

 

Best documentary feature

Collective

Crip Camp

The Mole Agent

My Octopus Teacher—WILL WIN

Time

 

Best documentary short subject

Colette

A Concerto Is a Conversation—WILL WIN

Do Not Split

Hunger Ward

A Love Song for Latasha

 

Best animated short film

Burrow

Genius Loci

If Anything Happens I Love You—WILL WIN

Opera

Yes-People

 

Best live-action short film

Feeling Through

The Letter Room—WILL WIN

The Present

Two Distant Strangers

White Eye