Best Picture Showcase 2017, Day Two

February 26th, 2017

Yesterday was day two of the Best Picture Showcase, and featured back-to-back screenings of the remaining five Oscar-nominated films: Moonlight, Lion, Hacksaw Ridge, Arrival, and Hidden Figures. (I previously reviewed the first four films.)

Moonlight follows a young man living in a poor neighborhood in Miami though three vignettes occurring at different stages of his life. I understand this is probably the next-most-likely victor after La La Land, and I understand why. It was an interesting character study with strong performances.

Lion stars Dev Patel as a young Indian man who was adopted by an Australian couple as a young child following the failure of all attempts to track down his family after he becomes separated from them. 25 years later, he uses modern technology to try locating them again. It’s based on a true story, and while I don’t know how faithful it is to the actual events, the ending credits feature photos and footage of the real people portrayed and I was struck by how similar the actors portraying them looked.

I am very sentimental and I found Lion’s story to be very emotionally affecting; I was in tears at the end of it. I thought there were a few strange editing choices, and some character’s motivations were hard to scrutinize in a few scenes, but it was still very good overall. Incidentally, it reminded me a great deal of Pixar’s Finding Dory, also released last year, and which also had me bawling.

Hacksaw Ridge is Mel Gibson’s war movie about a conscientious objector during World War II who saves the lives of many fellow soldiers despite his personal refusal to carry a weapon. In many ways, it was a quintessential Mel Gibson movie: jingoistic, brutally violent, and featuring a deeply religious main character. While the violence was extremely graphic, I did not think it was gratuitous; it was in service of a point about the brutality of war. However, I did feel the movie had other flaws: I usually don’t have a good ear for detecting phony accents, but Hugo Weaving’s American accent was completely distracting every time he appeared onscreen. The dialogue was ridiculously hokey, though that’s most apparent during the beginning of the film; it actually turns around a bit once Vince Vaughn appears as an over-the-top drill sergeant, a genuinely funny character. Probably my biggest criticism is the cartoonishly simple and stereotypical portrayal of the Japanese soldiers. I suppose on some level I should expect that from an American film about World War II, but I would also expect an Oscar-caliber film to have more nuance and thoughtfulness.

Arrival was the movie I was most looking forward to, and it did not disappoint. It’s a science fiction film about a linguist recruited to help in communicating with an alien race following the arrival on Earth of several extraterrestrial crafts. It’s based on the Ted Chiang short story “Story of Your Life,” which I actually read last year in anticipation of the then-upcoming film adaptation. While the story is nominally about alien contact, there’s a much deeper personal story about the linguist, played in the film by Amy Adams, which I dare not say anything about lest I spoil the joy in allowing viewers to discovery it on their own. I’ll note only that, after reading the short story, I was skeptical that it could be faithfully adapted for film, and I am in awe of how effectively the makers of this film did so. Even the elements that were changed for the film, such as the increased focus on international tension, were done in service of the story and did not feel artificial or forced. Arrival is captivating, complex, and rewarding. I suspect it also holds up to multiple viewings—having read the short story, I picked up on various elements of the film’s story that would have come across differently to a viewer without that foreknowledge. While I don’t expect it to actually win the Best Picture Oscar, Arrival is my personal pick for the best film of 2016.

Finally, Hidden Figures is the story of the black women who worked at NASA as mathematicians, playing crucial roles in several critical missions during the Cold War space race, a time when people of color were highly marginalized. It was a good movie about an important subject, but I couldn’t help but feel it was a shallow, sanitized “Hollywood” version of events. There’s an early line of dialogue which references the year in a very self-conscious way, and another scene in which one of the women blows up at her boss over her treatment. She’s completely in the right, of course, but it’s hard to imagine such a scene playing out that way in real life at the time—it seems more like a moment contrived to elicit cheers from modern viewers. Maybe I’m wrong—as with Lion, I don’t have a good idea of how accurately this film portrays the real events—but it doesn’t feel genuine to me. Again, it’s a good, enjoyable film, but I see little in it that raises it to the level I would expect of a real Best Picture contender.

On the whole, 2016 was a good year for films. Even if I thought some of the nominees were not quite worthy of the honor, I enjoyed all nine of them.



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