Each calendar year ends with a flurry of excellent movie releases, all designed to be considered as outstanding examples of the art in time for the Oscar deadline in January and secondary awards such as the Golden Globes, BAFTA, and Venice Festival.
This results in enormous interest in the nominated films – the so-called Oscar Buzz.
This year is no exception. Film lovers caught up in that buzz are doubtless hurrying to see, either in theatres or online, films that they might otherwise have ignored.
Movie patrons aren’t necessarily going to agree with the final Oscar choices. Indeed, there are several reasons why this might be the case, including the fact that the 10,000 members of the Academy are often tempted to vote for films made by the studio with which they are most associated.
Then, too, huge amounts of money are spent by the film studios on advertising campaigns aimed at the Academy, in the hope that this will sway members to vote for a particular movie. Of course in the end personal taste will often determine a person’s choices for Oscars.
Though I have not seen all the films nominated this year, my choice for the Best Actor award is Colin Farrell, who stars in my choice for the Best Movie award, The Banshees of Inisherin. And, since I always find it puzzling that the award for Best Director does not mean that that director’s film will be chosen for Best Picture, I also choose Martin McDonagh for that honour. I state this knowing that the most likely winner, at least according to media coverage, for the Best Actor award is Brendan Fraser for The Whale, a film which I have not yet seen, while the undoubted lead for Best Picture is Everything Everywhere All At Once, nominated for no fewer than 12 awards.
This is indeed a brilliant film – a scintillating mixture of sci-fi, martial arts, eye-popping special effects, and family drama, and a film which is virtually unique in its range and artistry. Why, then, do I not choose it as the Best Picture of 2022?
In part because the film’s novelty is what makes it so outstanding. While novelty is certainly noteworthy, I feel that it is that very aspect of the film that is impressing people, while a more traditional but excellent film may not seem so outstanding yet be a worthy contender.
Diverting and intriguing as the film is, the 140-minute running time of Everything Everywhere All At Once was more than I could enjoy. Often puzzling – think The Matrix meets with Marvel Comics and Disney – I must admit I became restless as I found the complexity confusing rather than entertaining. Perhaps, if I have the time for it, a second viewing might help my understanding, but the thought of that is simply too wearisome! In any case, the reality is that this fading geriatric opts for the far more traditional Banshees of Inisherin as his choice for the Best Film of 2022.
I must also add that my choice for Best Performance by an actress is Michelle Yeoh, the brilliant star of Everything Everywhere All At Once. In her Oscar worthy performance, she displays an incredible range – by turns emotionally affecting, comical, and dramatic, while displaying impressive skill in martial arts throughout. After all, doesn’t a woman nearing 60 deserve some credit for doing her own stunts? And while Cate Blanchet may be the favourite in the Best Performance category and certainly is worthy of a nomination for her role in TÁR, this time around she would not be my choice.
As I said earlier, personal bias and taste ultimately play a huge role for me and all filmgoers, including members of the Academy, when choosing whom and what to select as worthy of an Oscar. And when the awards are finally announced, my choices probably will not be those of the Academy. It won’t be the first time.
