The Biggest Snubs from this Year’s Oscar Nominations

One of the fun things to discuss, debate, argue, or silently complain about on social media is Oscar snubs. Luckily this year, the ship has been righted and I think we can put the #Oscarssowhite controversy to rest because of how diverse the nominees were this year. Although to be fair, the Academy set the bar pretty low the past two years in terms of cultural variety. But there’s one thing the Academy can never escape and that’s snubs. While I certainly don’t believe some of my snubs ever had a chance, they are deserving of some gold.

Best Picture Snub
Swiss Army Man

I knew this was a longshot. I know the Academy isn’t about to publicly acknowledge a farting boner corpse movie. But a little part of me had hoped that its indie cred, combined with its existential storytelling, would have made it a respectable dark horse in a field of 10. It’s unique, fascinating, moving, well-acted and wonderfully shot. Its only flaw is that it’s too off putting for general audiences and slightly juvenile for the snobby voters in Hollywood. I swear this is the last time you’ll hear or see me cheerleading for this movie.

Honorably Snubbed as Well: 20th Century Women

Best Director Snub
Robert Eggers, The Witch

Eggers immersed himself in 1630’s New England to deliver a historically accurate portrayal of terror in the unknown wilderness of early America. Everything from the film’s dialogue to the farmstead were meticulously groomed and crafted by the director. He managed to wrangle four (including one teenager) child actors, keeping them from being annoying, as they traditionally are in horror movies. This production designer turned director crafted an atmospheric horror masterpiece. Eggers is one to watch out for.

Honorably Snubbed as Well: Daniel Scheinert and Daniel Kwan, Swiss Army Man

Best Actor Snub
Tom Hanks, Sully

Let’s clear up this presumed notion I’ve seen on social media. Tom Hanks doesn’t get nominated every year. He hasn’t been nominated for an Oscar since 2001 and hasn’t won a golden statute since 1995. I’m not asking the Academy to throw him a bone, he doesn’t need one. But don’t overlook the fact that “Sully” is a sub par movie-going experience without Hanks’ hefty talents in the pilot seat. Hanks’ navigates Clint Eastwood’s so-so work into a memorable tale of average Joe heroism and the bureaucratic blame game.

Honorably Snubbed as Well: Jake Gyllenhaal, Nocturnal Animals

Best Actress Snub
Sasha Lane, American Honey

I wouldn’t blame you for not watching “American Honey.” Three hours of wanderlust is too much for the average audience. But first time actress, Sasha Lane, is a treasure to watch. She was up for every challenge of portraying an impoverished young adult. Lane portrays an innocent, if not naive, teenager looking for her purpose and a slice of the American dream. Her character, without speaking usually, represents youthful aspirations and good intentions, despite the thieving people around her. Lane keeps the flame of hope in her character lit throughout the movie, making her character one to root for her and admire.

Honorably Snubbed as Well: Amy Adams, Arrival

Best Supporting Actor Snub
Aaron Taylor-Johnson, Nocturnal Animals

The story within a story is the strongest part about “Nocturnal Animals,” mainly due to its wonderful performances. Leading the way is Jake Gyllenhaal, but his emotionally distressed character would be nothing without the terrifying Texas psychopath played by Aaron Taylor-Johnson. While visually disgusting, Taylor-Johnson’s grimy character radiates off the screen. He’s calculating, but relaxed. He’s vicious, but calm. The dynamic extremes of his character are balanced by Taylor-Johnson who’s “ablicious” and repugnant.

Honorably Snubbed as Well: Ben Foster, Hell or High Water

Best Supporting Actress Snub
Haley Bennett, Girl on the Train

I know. I know. This is a bad movie. But the Academy has not been above nominating a bad movie or rewarding the components of a bad movie. Let’s not forget that “50 Shades of Grey” is an Oscar nominated movie with five Razzie wins under its belt. While Emily Blunt should certainly be commended for her performance, it’s Haley Bennett’s performance as the tragically flawed suburban floozy that becomes the center of the movie’s suffering. Her character lives life emotionally empty, only to be killed when finding new life. In the rear view mirror of 2016, Bennett’s performance is brave and engaging, but trapped in a lifeless cliché movie.

Honorably Snubbed as Well: Greta Gerwig, 20th Century Women

Best Animated Feature
Finding Dory

Is “Finding Dory” that average? I thoroughly enjoyed the Pixar movie and was surprised it didn’t, at the very least, get a nod. It’s not the best of the year, but it can certainly be mentioned in the same breath as the other candidates. I haven’t seen “The Red Turtle” or “My Life as a Zucchini” so I can’t comment on their quality since they certainly secured the final two spots. I’m sure they’re good. Maybe this is a sign that Pixar should just avoid sequels for a while. At least “Sausage Party” didn’t steal one of the nomination seats or else there’d be hell to pay.

Honorably Snubbed as Well: None. This was a year that saw Angry Birds, so we need to do better in 2017.

Best Original Screenplay
Zootopia

It’s been mentioned before, and not just by me, that “Zootopia” benefited from coming out at the right time. The script, while being generously relatable to kids and adults alike, has a wonderful message about acceptance. A city populated with cute, furry animals taught everyone that sexism, racism, classism and xenophobia are still very real and can divide us in a heartbeat. Disney could have easily settled for a buddy cop movies with animals, but instead allowed the script to naturally evolve and survive the rewriting process. Despite nine credited writers, “Zootopia” never became diluted or a jumbled mess. Instead it ran smoothly with a clear message of tolerance.

Honorably Snubbed as Well: The Invitation

Best Adapted Screenplay
Silence

Martin Scorsese’s decades long passion project is based on a work of historical fiction. While having never read the novel myself, the folks who have read the book have left nothing, but glowing reviews of it online. If the purpose of the 20th century novel is to make us reflect and question spirituality and our religious beliefs as a whole, Scorsese captured that wonderfully in a movie that, while drawn out, is beautifully retold on the silver screen. Scorsese painted a beautiful picture just like the book certainly transported readers back to post-Feudal Japan.

Honorably Snubbed as Well: High-Rise

Best Music
Cliff Martinez, Neon Demon

While I’m not completely sold on “Neon Demon” being a good movie, I found myself listening to the soundtrack of “Neon Demon” multiple times. While adding another layer to the movie, the soundtrack on its own accord is a wonderful synth album inducing feelings of hope and despair. “Neon Demon” is a visual experience, complimented by a wonderful score that spurs dread and bouncy optimism, sometimes within a single song. “Neon Demon” is the only movie this year where the music feels like an unseen narrator for how we’re supposed to feel.

Honorably Snubbed as Well: Johann Johannson, Arrival

Best Music, Original Song
Drive it Like You Stole It, Sing Street

The coming-of-age love letter to the 80’s, “Sing Street,” should have been more popular. Not only did the Clash, A-Ha, and the Cure get some much deserved love on the screen, but the movie featured some dynamic original music. Most of the original content, like “Riddle of the Model,” was short nods to music by Duran Duran or other iconic bands. However, the movie reaches its crescendo with its most poppy rock hit, “Drive It Like You Stole It.” The song is a big metaphor for the final act and growing up in general. Just listen to it and tell me that’s not the best original song of the year.

Honorably Snubbed as Well: Montage, Swiss Army Man

Best Foreign Language
Elle

I’m finding it difficult, once again, to put into words why I like this movie so much. Just read my review.

Honorably Snubbed as Well: I’m not sure. I should be more cultured.

Film Review: “Nocturnal Animals”

Starring: Amy Adams, Jake Gyllenhaal and Michael Shannon
Directed By: Tom Ford
Rated: R
Running Time: 116 minutes
Focus Features

Our Score: 4 out of 5 Stars

“Nocturnal Animals” requires two viewings, if you can stomach it that is. Tom Ford’s vision is a messy movie, with a fuzzy meaning. But despite the juggling act, the disorderliness feels intentional. “Nocturnal Animals” is two movies for the price of one, with each tale telling and revealing more about the other. “Nocturnal Animals” delivers a slow reveal that will surely dissatisfy many, while simply turning off others in the first few minutes, but please those who hang with it and scratch beneath the surface.

Despite owning a successful LA art gallery, Susan (Adams) seems indifferent to life. She’s married to an unfaithful man, her child has left the coop and she inhabits an artificial home full of artificial art pieces. Something stirs her from her humdrum existence, her ex-husband’s novel. Edward (Gyllenhaal) has sent her a copy of his book and inquired through email about possibly meeting for dinner to catch up. The novel, “Nocturnal Animals,” is not only dedicated to her, but she tells everyone that Edward had always referred to her as a nocturnal animal.

When she flips to page one, the movie then dives into the context of the book. It begins with a family being driven off the road in rural Texas by dangerous men and turns into a husband/father trying to make sense of a horrifying night that has turned into a lifelong nightmare. The raw viciousness and violence of Edward’s book seems to startle and upset Susan. But it’s not the visceral nature of the book; it’s how much of it mirrors their old relationship.

You could almost call “Nocturnal Animals” a wonderful ensemble, featuring actors and actresses who have won or been nominated for an award, or those who certainly should. Gyllenhaal does double duty as Edward in Susan’s life and as the heartbroken, vengeful father in the book. Accompanying him and Adams are Michael Shannon, Aaron Taylor-Johnson, Armie Hammer, Ilsa Fisher, and others. The visual storying telling between the fictional book and the reality are clear, but it’s when the two begin to reflect each other metaphorically and physically, that it becomes blurry.

The neo-western style of the book story never really meshes well with the simmering thriller happening in the real world, but the dramatic and tonal shifts help break up any monotony that might creep in because on their own accord, each story isn’t stellar. It’s only interesting when both are slapped together, with similar symbols bleeding through the lines of reality. Director Tom Ford deserves all the credit in the world for keeping the wild swings in storytelling and writing in check, without derailing the movie entirely.

However, the commentary on Susan and Edward’s formal love life is suspiciously misogynistic. Understandably, Edward is the one commenting on it and Susan is the one merely reacting to his comparisons. But it offers a one-sided narrative of what once was, painting Susan in a broad and negative light. Although that could be its inherent intention, depending on how you want to view the ending to the movie, and the book within the movie, I can help but wonder about it’s reception of the roles were changed.

“Nocturnal Animals” will certainly draw comparisons to some of David Lynch’s more bizarre offerings, but Ford’s style isn’t charmingly oddball enough. It’s intentionally dark content and bizarre imagery is more likely to turn-off a regular audience than dazzle. But it’s a compelling movie to watch and delight to discuss with those who have managed to stomach it. Ford, the fashion designer turned director, is a unique talent worth keeping an eye on.