My Picks: Academy Awards Edition

This coming Sunday, comedian Chris Rock will host the 88th Annual Academy Awards at the Dolby Theatre in Los Angeles, California. For people angered by Rock’s refusal to boycott the show, I’m telling you to still watch because that opening monologue may very well be what you’re looking for. Hear me out: A black man with a microphone and a stage ALL to himself telling a sea of white people his thoughts on the #OscarsSoWhite epidemic. More importantly, rumor has it he’ll address the lack of diversity and overabundance of racism in Hollywood as a whole—not just the Oscars. (Sorry, but this trumps the hashtag.) Boycott all you want, but I’m expecting the real action to come forth at that moment.

Who could forget about all of the people watching at home? Although 18% down from previous shows, last year’s Oscars still managed to bring 36.6 million viewers. Imagine you’re Chris Rock and not only have you been dodging calls to boycott your prominent hosting gig, but now you have to step up to the plate and do much more than crack a few jokes about Leo’s Oscar drought. So while people are slapping their own hands when reaching for the remote, Rock will be (I hope) making a grander statement. And as he finalizes his monologue, I will be offering up my selections for ten of the award categories to be presented on Sunday.

Every year I attempt to see most, if not all, of the films that have been nominated by the Academy. I cannot begin to tell you how many times I’ve gone solo to my local theater on $5 Tuesdays over the course of three months because none of my friends care to pay for boredom. Fortunately, it’s also half-priced popcorn on Tuesdays, so who’s the loser now. Nevertheless, I saw and I conquered—so let’s get to it.

Starting from least “exciting” to most…

ORIGINAL SONG

Golden Globes: “Writing’s On The Wall” (Spectre)

Critics’ Choice: “See You Again” (Furious 7)

My Pick: “Simple Song #3″ (Youth). I toiled with this decision. None of the original film songs this season have struck me with awe. It was a tossup between “Earned It” from 50 Shades of Grey and “Simple Song #3”. Although I’m a fan of The Weekend, I failed to be impressed by the lyrics and somewhat repetitive sound. Insert disappointed sigh here.

MUSICAL (ORIGINAL SCORE)

Golden Globes: The Hateful Eight

BAFTA: The Revenant

Critics’ Choice: The Hateful Eight

My Pick: Star Wars: The Force Awakens by John Williams. Williams has won a total of four Academy Awards for best original score; Jaws, Star Wars (Episode IV), E.T., and Schindler’s List. In my opinion, a film score is meant to do two things: 1. Set the scene and amplify emotion. 2. Provide the audience with a means to relive the film without actually watching the film again. Williams does just that with the first Star Wars installment since the rough ride of episodes I, II, and III over a decade ago. Let the nerds (me) have their award.

CINEMATOGRAPHY

BAFTA: The Revenant

Critics’ Choice: The Revenant

My Pick: Not to follow the leader, but The Revenant. It’s basically impossible to select any other film for this category. I could legitimately stare at the scenery and broad shots of Alberta and British Columbia that overtook the screen. Prior to knowing the film’s plot, I was considering forking over the ten bucks just to see beyond the ominous teaser trailer. I’ll admit to being a cinematography snob, but I’m salivating just thinking about it. An A+ and gold star go to Emmanuel Lubezki.

ANIMATED FEATURE

Golden Globes: Inside Out

BAFTA: Inside Out

Critics’ Choice: Inside Out

My Pick: Okay, now I’m looking like a serious copycat… Inside Out. Being a Disney and Pixar kid, I went to see this in its opening weekend. Screw throwing back drinks at the bar, I’m prolonging my childhood. It was long, but that was diminished by the fact that a “children’s” film was actually tackling mental health and how our bodies run on emotion. A difficult task that succeeded in touching the older crowd while entertaining the kids they brought with them as a decoy.

ACTRESS IN A SUPPORTING ROLE

Golden Globes: Kate Winslet (Steve Jobs)

Screen Actors Guild: Alicia Vicander (The Danish Girl)

BAFTA: Kate Winslet (Steve Jobs)

Critics’ Choice: Alicia Vicander (The Danish Girl)

My Pick: Surely it would tickle my heart to see both Kate Winslet and Leo DiCaprio win on Oscar night, but I have to give it to Alicia Vicander. She’s what saved The Danish Girl from drowning in a sea of boredom. I was immediately enthralled by her performance over the main character’s (Eddie Redmayne) the minute the film began. Though intrigue maintained my focus, Vicander’s portrayal as Einar Wegener’s wife was the shining light to Hollywood’s take on what I anticipated to be a moving story.  Bit of a dud if you ask me.

ACTOR IN A SUPPORTING ROLE

Golden Globes: Sylvester Stallone (Creed)

Screen Actors Guild: Idris Elba (Beasts of No Nation)

BAFTA: Mary Rylance (Bridge of Spies)

Critics’ Choice: Sylvester Stallone (Creed)

My Pick: I would say Idris Elba had he been nominated, but since I’m going off of Oscar nominees, I shall go with Mark Rylance in Bridge of Spies. When you can outshine Tom Hanks and get the only acting-based nomination for the film, then kudos to you.

But, would it not be cool to see Stallone win his first Academy Award as old and weathered Rocky Balboa? This makes for his third Rocky nomination. Who says you only get one shot? Stallone is on his third.

DIRECTING

Golden Globes: Alejandro Inarritu (The Revenant)

BAFTA: Alejandro Inarritu (The Revenant)

Critics’ Choice: George Miller (Mad Max)

My Pick: Sorry Critics’ Choice, but I have to go with your more prominent pals. Alejandro Inarritu takes my vote for best director. No one can deny the trials faced by Inarritu while filming The Revenant over a nine-month period with limited natural light, lengthy treks to the shooting locations, trying to make mother nature work for you, and of course, Leonardo DiCaprio. How in the world did he create a breathtaking film with such a mediocre actor? All kidding aside, it may seem that directing a single actor through the majority of a film would be an easy task, but now instead of having multiple actors to BEAR the focus, your mistakes become obvious and impossible to mask if you or the actor messes up.

ACTRESS IN A LEADING ROLE

Golden Globes: Brie Larson for Drama (Room), Jennifer Lawerence for Comedy (Joy)

Screen Actors Guild: Brie Larson (Room)

BAFTA: Brie Larson (Room)

Critics’ Choice: Brie Larson (Room)

My Pick: Brie Larson. This decision was more of a “best of the least” situation for me. (Basically what I’ll be doing come general election time.) Not a single actress in this category blew me away, but when staked up against one another, I understand why Larson has been sweeping. She’s more deserving than the rest. My main issue with picking her? Probably that her fairly shorter and less experienced counterpart, Jacob Tremblay, out performed her. If I could I would give this to him. Sadly, the Academy denied my request.

ACTOR IN A LEADING ROLE

Golden Globes: Leonardo DiCaprio for Drama (The Revenant, Matt Damon for Comedy (The Martian)

Screen Actors Guild: Leonardo DiCaprio (The Revenant)

BAFTA: Leonardo DiCaprio (The Revenant)

Critics’ Choice: Leonardo DiCaprio (The Revenant)

My Pick: I swear, this is the final time I look like an imitator. Leonardo DiCaprio is my pick for best actor. From the above you can surely tell that I’m a fan of The Revenant in terms of cinematography and directing, so why not add acting to the list? In all honesty, Leo’s ability to convey heartbreak, fear, and rage through limited dialogue is undeniable. He holds your heart without begging for your attention as a man left for dead with a son that is, well, dead. Plus, it’s about time he won. The jokes shall cease and your “six time academy nominee” title will finally progress into “academy award winner” my dear Leo. Rise.

BEST PICTURE

Golden Globes: The Revenant for Drama, The Martian for Comedy

Screen Actors Guild: Spotlight

BAFTA: The Revenant

Critics’ Choice: Spotlight

My Pick: This is where my weird infatuation with The Revenant ends. Spotlight is hands down the winner of this award. The Golden Globes and BAFTAs got this one wrong, and I hope the Oscars get it right. The cast ensemble is a work of magic, the story never suffers as the details naturally unfold, the climax isn’t sensationalized, and the Boston Globe “Spotlight” team that reported the religious tragedies in Boston, Massachusetts, in 2002 gets its well deserved film exposure.

The Oscars will air on ABC network on Sunday, February 28, 2016 at 8:30 PM ET.

If you missed my previous post on the overly white 2016 Oscars and racial divide in Hollywood go here.

IS OSCAR BOYCOTT SHROUDING THE REAL ISSUE?

Monday, January 18, 2016, on Martin Luther King Jr. day nonetheless, two prominent black figures in pop culture took to their social media accounts to voice their disdain for the prestigious Academy Awards. Writer, producer, director, and actor Spike Lee, known for an array of projects, but perhaps more popularly associated with films such as Do The Right Thing and Malcolm X, and Jada Pinkett Smith, most recently starring in the sequel Magic Mike XXL and the FOX tv series Gotham made separate posts on what seems to be a united front. The upset came just four days after the nominations for the 88th Academy Awards were announced in Los Angeles, California by Cheryl Boone Isaacs, the 35th elected president of the Academy of Motion Pictures in Arts and Science (the third female and first black president of the AMPAS) and The Office star John Krasinski. The nominations revealed that zero people of color were on the receiving end of the Academy’s recognition in neither best actor or best actress in motion picture categories for a second year in a row.

Pinkett took to her Facebook to share a video in which she urges black actors to pull back their resources from the mainstream and consider putting their time and effort into other projects and programs that will potentially house more benefits than seen by prestigious entities such as the Oscars. She also, more predominately mentioned in news outlets, declares that she will not be attending nor viewing the upcoming ceremony as a means to display her distaste for the lack of black nominees.

 

 

Soon after posting the homemade video, one of her husband’s Fresh Prince of Bel Air costars, Janet Hubert (Aunt Viv), posted a video of her own slamming Jada for her “ironic” declaration toward a group that she has profited from by the millions.

“You ain’t Barack and Michelle Obama. And y’all need to get over yourselves,” said Hubert. “You have a huge production company that you only produce your friends and family and yourself. So you are a part of Hollywood, you are part of the system that is unfair to other actors. So get real.”

The Fresh Prince actress didn’t tackle her thoughts just on Pinkett, but also threw a few comments in Will’s direction. Hubert questioned as to why he (Will) wasn’t the one speaking up for a debatable Oscar snub for his lead role in Concussion, and proceeded to rehash a past interaction concerning pay increases while Fresh Prince was still on air. According to Hubert, when approaching the star of the show about banding together like the Friends’ cast did when asking for an equal pay raise, Smith replied with, “my deal is my deal. And your deal is your deal.”

Although passionate, perhaps Hubert’s obviously angered response diminished the more prominent counter-points/questions that are to be made in the wake of Pinkett’s now viral video.

1. After previously attending the Golden Globes alongside your nominated husband, you (being Jada) are now looking to shed light on a similar, though more hyped award ceremony. And although Will Smith was nominated at the Globes, he was only one of two black actors and actresses to be honored via nomination in the film categories. Now, humor me here, had Will been acknowledged by the Oscars, would this video have been made? Even if the ratio between people of color to white nominations remained extremely lopsided, would this video have been shared on the internet if a singular black male was included amongst the five selected best actors of film in 2015 as per the academy?
2. Is your boycott of both attending and watching the Oscars next month truly shedding light on the most evident issue or is it only causing a media frenzy of headlines,  shortened video clips, and twitter hashtags (#OscarsSoWhite).
3. Your words, although eloquent and meaningful, may have been lost among the general public who again, will be focusing on the final bit about boycotting an award show.

On the same side, but with varying execution, is Spike Lee. On instagram (a presumably conscious selection of social media), Lee shared an image of Martin Luther King, Jr. with a caption certainly exceeding twitter’s challenging 140 character allowance.

Unlike Jada Pinkett Smith, Lee, while lacking her quiet deliverance of words, went on to elaborate as to what the most unsettling issue is far removed from the glitz and the glamour of The Academy Awards. The root of the problem that is leaving casts of films whitewashed and the big screen blatantly lacking diversity in buzz-worthy pictures: The Gatekeepers. Say it again for the people in the back? THE GATEKEEPERS. The casting directors, the Hollywood producers, and every other big wig executive sitting on a pile of cash in Beverly Hills. Now, although money is on the minds and in the pockets of every film producer, it certainly can’t be the reason for all the strictly white castings in major films, can it?

In May of 2015, the seventh film in the Fast and Furious franchise was released. Let it be noted that this reoccurring cast included a white male (the late Paul Walker), two black males (Tyrese Gibson and rapper Ludacris), one half black half Samoan male (Dwayne Johnson), two latino females (Michelle Rodriguez and Jordana Brewster), and one male “of ambiguous ethnicity” in Vin Diesel. Second note to be made, this film has made over $350 million dollars domestically and $1.5 billion worldwide making it #7 on the list of all-time worldwide box office grosses. Not too shabby for a mixed racial cast, eh?

If that amount of success doesn’t deter you from thinking it’s all about dollar signs, perhaps we should take a look at another small market sequel (you’ll sense the sarcasm soon) that did a tiny bit of damage with some people of color making up its roster… Star Wars: The Force Awakens featured newly introduced roles of Finn played by black actor John Boyega, Poe Dameron as portrayed by Oscar Isaac, and Lupita Nyong’o as Maz Kanata (keep in mind her character has been digitally reconstructed to have the skin of an oompa loompa). The film dethroned  James Cameron’s Avatar and Titanic from the first and second spots on a domestic grossing front with $858 million, and is currently in third place on a global scale with $1.87 billion after releasing in China almost a month later than it’s U.S., U.K., and European premiere date.

Following Pinkett and Lee taking to the internet, Selma actor David Oyelowo, a member of the academy, went off-script at a Martin Luther King Jr. Legacy Award Gala in California.

According to the Hollywood Reporter, Oyelowo said, “The academy has a problem. It’s a problem that needs to be solved.”

In attendance during Oyelowo’s renegade speech was the academy’s president Cheryl Boone Isaac, who was being presented with the Rosa Parks Humanitarian Award. In an official statement via the Oscars website, Isaac said:

“While we celebrate their extraordinary achievements, I am both heartbroken and frustrated about the lack of inclusion. This is a difficult but important conversation, and it’s time for big changes. The Academy is taking dramatic steps to alter the makeup of our membership.”

So why the continued whitewashing in Hollywood? Could someone offer the reasoning as being a need to honor the historic details of events down to the skin color? If that’s your argument, then why was a film such as Stonewall that was ultimately inspired by Marsha P. Johnson, a black drag queen and veteran of the 1969 Stonewall riots  in New York City, fronted by a young white male? Or why did the 2014 biblical flick Exodus: Gods and Kings directed by Ridley Scott feature Christian Bale with a fake tan in the lead role as Moses?

Director Scott when questioned on his use of white actors in a “tale as old as time” middle east based story said, “I can’t mount a film of this budget, where I have to rely on tax rebates in Spain, and say that my lead actor is Mohammad so-and-so from such-and-such. I’m just not going to get it financed. So the question doesn’t even come up.”

And yet again, in true karmic fashion, Exodus: Gods and Kings bombed at the box office. With an approximate budget of $140 million, the film has failed to reach half of that figure since it’s initial release over a year ago.

Prior to the new year, the main trio of actors for the upcoming two-part play Harry Potter and the Cursed Child was released. Of those three roles it was announced that the beloved rule-abiding and annoyingly smart Hermione Granger would be played by Noma Dumezweni, a black actress. Following some backlash from fans of the books and films, author J.K. Rowling took to her twitter account to put a stop to the uproar over a non-white casting.

 

 

Another young adult phenomenon The Hunger Games book trilogy by Suzanne Collins saw a similar reaction when a handful of characters featured in the first film were cast with black actors. Cinna, Thresh, and Rue were each portrayed by people of color. Cinna, never recieved a description pertaining to his skin color in the first book. He ended up being played by Lenny Kravitz. As for Thresh and the beloved Rue, Collins’s describes both of them as having the same “dark brown skin”. Yet, even with the canon description laid out before avid readers of the dystopian books, fans were not pleased.

One fan expressed her disdain on twitter saying, “why does rue have to be black not gonna lie kinda ruined the movie.” While another shared her moronic (I refuse to apologize for the biased adjective use) opinion of “cinna and rue werent suppose to be black. why did the producers make all the good characters black smh.” Keep in mind all of the mentioned users’ worrisome execution of grammar has remained unedited to maintain authenticity and accuracy at its finest.

Though neither Harry Potter or The Hunger Games have grabbed the attention of any academy members, this begs the question could the missing diversity in Oscar-bait films be caused by the sadly, but ever-present occurrence of racial preference? Is racism rearing its ugly head after decades of being dismissed as a coincidence or a “this character can only have white skin for the purpose of the story” argument? I think the evidence points to yes in an undoubtable way. So, as for Jada Pinkett Smith, Spike Lee, Cheryl Boone Isaacs, and David Oyelowo, I say kudos to you for speaking up and using your platform to address something you have every right to be unsettled with. I do, however, hope that rather than highlighting and borderline ostracizing a single organization that is sure to get the media’s attention thus getting the public’s attention, you dig deeper than what is offered on a surface level.

The number of prominent roles that are being offered to black actors and actresses by executive film producers and casting directors are meek compared to their white counterparts. Aside from this year’s Straight Outta Compton, the green light being given to projects fronted by mainly black casts are seemingly few and far between. And although Will Smith (Concussion), Michael B. Jordan (Creed), or Idris Elba (Beasts of No Nation) were not amongst the Oscar nominees this year, we can see from the list of opinion-based snubs that the number of POC roles in film are not being equally offered, honored, or produced. And that to me is the biggest issue in terms of Hollywood’s disconcerting battle against race.