AP – The Academy Awards honour many things in movies but not some of the most important. Ahead of the Oscars, AP Film Writers Lindsey Bahr and Jake Coyle make selections for their own awards – some more offbeat than others.
BEST ACTUALLY SUPPORTING PERFORMANCE: Cory Michael Smith in May December
Sometimes the best truly supporting performances are the ones that will never, ever get the “awards push,” like the brilliant Cory Michael Smith as Georgie Atherton in May December.
With his subtly manic energy, sad smile and that awful bleached hair, his is that kind of undeniable presence who steals both scenes he’s in and also completely upends everything we’ve come to understand so far. But this is how awards season works and something that only our awards strategist friends can justify.
BEST HAIRSTYLE: Gwen’s upside-down ponytail in Spider-Man: Across the Spider-Verse
There are, no doubt, more elegantly styled heads of hair among this year’s Oscar nominees.
But no ‘do could match the gravity-assisted beauty of the ponytail that hangs suspended in the air when Gwen (Hailee Steinfeld) and Miles (Shameik Moore) sit together, clung to the underside of cornice, gazing out at an upturned New York in Spider-Man: Across the Spider-Verse.
For a topsy-turvy, canon-breaking film series, Gwen’s upside-down ponytail points the way.
BEST DUO ACT: Jeffrey Wright and John Ortiz in American Fiction
As great as the whole ensemble is in Cord Jefferson’s incisive drama, the movie is never better than when Wright and Ortiz are matched together. When Wright’s frustrated novelist Monk Ellison meets with his agent Arthur (Ortiz), American Fiction sparkles with the comic interplay of two character-actor greats. Give these guys a sitcom and I’d watch six seasons.
BEST CAMEO: Margot Robbie in Asteroid City
Wes Anderson’s Asteroid City got a raw deal this year with zero nominations (maybe he’ll win his first Oscar for his Henry Sugar short ).
One performance in a sea of great ones that really made an impact was a true cameo that’s saved for the very end: Margot Robbie as the actor whose scene as Jason Schwartzman’s dead wife was cut for time.
She gets only a few minutes, to remind her would’ve-been co-star of their would’ve-been lines, dressed in Elizabethan garb a balcony away. It is an emotional gut punch of the best kind, brief and perfect.
BEST FACE: Willem Dafoe in Poor Things
Willem Dafoe’s face is already a work of art, but Poor Things turns it into a Munch-esque masterpiece.
His scarred Dr Godwin Baxter, whose deformities come from experiments performed on him, is like a fusion of mad scientist and wounded victim. He’s Frankenstein and Frankenstein’s monster, in one.
BEST STUNTS: Mission: Impossible: Dead Reckoning Part One
It remains wild that the film academy still doesn’t recognise stunts, but we can here.
Mission: Impossible – Dead Reckoning Part One isn’t the underdog in this category but that doesn’t make what they did any less impressive. The obvious “best” is the cliff jump, which most of us know by now that Tom Cruise did himself. But I’m also partial to the Rome car chase in which Cruise and Hayley Atwell try to escape capture in a creaky, vintage Fiat 500 while handcuffed together.
BEST USE OF EARTH WIND AND FIRE’S ‘September’: Robot Dreams
September has probably been heard in a hundred movies and at a billion weddings, but the best animated feature nominee Robot Dreams uses the disco classic to perfection. In a movie that is strikingly grown-up about a relationship between a dog and robot, all of the joy and nostalgia of September has never been more moving. It sends you out of the theatre humming “The bell was ringin’, oh, oh / Our souls were singin’.”
MOST STYLISH: Priscilla
This is perhaps a silly superlative to give to a movie that was easily one of the strongest adaptations of the year, taking what was essentially a young woman’s diary entries and making something evocative and profound without the use of first-person narration.
The thoughtful style of Sofia Coppola’s film helps make this point, transporting audiences into this intoxicating and dreamlike wonderland of the most beautiful clothes and glamorous settings with the biggest star of the time, and guiding us along with Pricilla to the realisation that it is also a nightmare.
BEST SCENE: The Trinity Test in Oppenheimer
I don’t love everything about Christopher Nolan’s epic but I think the Trinity Test scene is a sequence that will be taught to film students for generations.
It’s not just the explosion itself, which was accomplished with old-school moviemaking techniques like forced perspective (doing something small but making it seem big). It’s the rumbling tremors of the moments that follow, when Oppenheimer, after hearing that the bomb has been dropped on Hiroshima, is greeted by a flag-waving gymnasium audience.
Oppenheimer’s face is horrified, reckoning with what he’s wrought. The crowd turns grotesque and ashen. A girl (played by Nolan’s daughter) shrieks. Here is the real thunder of Oppenheimer.
BEST DREAM BALLET: Barbie
Last year had so much great dancing, from the sweaty club scenes in Passages, to the wedding line dance in The Iron Claw, Jeff’s silly moves in Bottoms, Bella Baxter’s broken doll euphoria in Poor Things, M3GAN’s boogie and, of course, the end of Saltburn. But the trophy goes to Greta Gerwig’s euphoric I’m Just Ken dream ballet, a sequence she fought to keep in that is also the best in the film.
BEST HAT: Michael Fassbender’s bucket hat in The Killer
Meticulous movie hitmen have long worn stylish hats. Think of the fedora of the protagonist of Le Samouraï. The assassin of David Fincher’s The Killer, though, wears a bucket hat. It’s just as much a silhouette, but he looks more like a dopey tourist than a stone-cold killer.
That’s much the point for a movie about murder in increasingly anonymous times. – Lindsey Bahr & Jake Coyle
