Share this content on Facebook!
24 Feb 2017

Oscars 2017 Live I don’t take much issue with the Oscars’ nods at Best Actor. But more generally, I take issue with the fact that excellent comedic performances are rarely recognized by the Academy. (In fact, the Oscars tend to snub all forms of comedy, because apparently only serious-seeming melodrama is considered Acting.)

One of my favorite movies of last year was the inexcusably underrated Hunt for the Wilderpeople, a charming, manic, sometimes-twee-but-never-too-twee story about a young boy who runs away to the New Zealand bush to escape child services. (Shoutout to GQ contributor Tom Philip for recommending it to me, and also shoutout to me, for actually listening to Tom for once.) As chubby bad boy orphan Ricky Baker (or in Kiwi, Reekee Baykuh), Julian Dennison pulls off the comedic performance of the year. At the remarkable age of 14, Dennison nails every beat,  imbuing each moment of Wilderpeople with energy, warmth, and slapstick physicality. Dennison and Sam Neill, who plays a grizzled mountain man, have the best on-screen chemistry of any Best Picture nom (suck it, La La Land), and Hunt for the Wilderpeople the most deserving feel-good movie of the year (suck it, La La Land). It’s a film with a big heart, but none of that would matter if Dennison weren’t winning us over, one hilarious scene at a time. —Kevin Nguyen, GQ.com deputy editor

Best Actress

Poor Amy Adams. After getting nominated Watch Oscars 2017 Live five times in the last 11 years for an acting Oscar and never winning once, our girl probably decided this was gonna be her year, dammit, and booked starring turns in not one but two high-profile dramas just to cover all her bases. And yet, here we are, staring down a nominee field that recognizes neither the brittle, icy regality of Nocturnal Animals’ Susan Morrow nor the vibrant human warmth of Arrival’s Dr. Louise Banks (and instead hands Meryl Streep arguably her most puzzling nomination yet, for the title role in Florence Foster Jenkins). It’s crushing to see such a talented woman’s efforts go unrewarded. I hope for her sake that Amy Adams is spending this whole Oscar weekend roaming around makeup-free in upstate New York on a restorative hike in the woods. —Ashley Fetters, GQ.com entertainment editor

Best Director

It’s hard to argue with any of this year’s nominees for Best Director. Barry Jenkins for Moonlight, Damien Chazelle for La La Land, Kenneth Lonergan for Manchester by the Sea, Denis Villeneuve for Arrival, and… Mel Gibson for Hacksaw Ridge? Really? Never mind. It’s hard to argue with four of the five nominees for Best Director.

So who actually deserves that fifth slot? Personally, I’d cast my vote for someone whose movie didn’t get a single nomination: Robert Eggers, the writer/director behind the breakout horror hit The Witch. For his legitimately chilling story about a devoutly religious family being targeted by a witch, Eggers was intensely committed to conjuring up a realistic portrait of 17th century New England, relying on natural light and drawing much of his dialogue from actual texts from the era. And even though The Witch was his directorial debut, Eggers managed to coax textured, unforgettable performances out of three kids and a goat. What other director can say that? —Scott Meslow, GQ.com culture critic

Best Picture

When the Oscars expanded the Best Picture field from five nominees to ten in 2010, in order to give a look-in to underrepresented, but equally deserving, films and genres, it worked at first. District 9, a low budget hard sci-fi, earned a nomination. That same year, the flawless Up was also nominated. For only the second time ever, an animated feature contended for the top prize.

Two years later, however, the Academy tweaked the formula again, allowing for anywhere between five and ten films to be nominated. The field reverted back to an unsurprisingly, hopelessly staid selection. The flavors are always the same: uncontroversial biopic, throwback movies dripping with sincerity, maybe a Tarantino if they're feeling especially dangerous. Best Picture is profoundly broken. It's no surprise 60 percent of people can't name a single nominee when not even the Academy itself can pin down its flagship category. 

This year, La La Land will probably win. It's a nice film. Damien Chazelle is a good director. Hail, Caesar! is a better film. A more colorful, more joyous celebration of a bygone Hollywood era. Meanwhile, the just-fine Hacksaw Ridge is up for a number of the biggest prizes. In an all-time ranking of war movies, I can't imagine Ridge would crack the top 100 for many people. Its inclusion over something more surprising—like, say, the taut, delightful narrative experiment of 10 Cloverfield Lane—is a missed opportunity for relevance and, hell, some fun. —Tom Philip, GQ.com contributor

Best Documentary Feature

Weiner, Josh Kriegman and Elyse Steinberg’s chronicle of The Oscars 2017 Live  doomed NYC mayoral candidate Anthony Weiner, is already nominated for an Oscar, for Best Documentary Feature. That does not give it enough credit. The film yadda yaddas the shunned former congressman’s ostensive comeback with a montage of pride parades and sweaty hugs with prospective constituents and throws us right into the third act of the tragedy. What’s fascinating about the film that the hubris that fells our glib, sexting hero prevents him from realizing Weiner is the story of his downfall and not his redemption, with wife Huma Abedin’s controlled, anguished face functioning as the story’s Greek chorus. And of course, we have the power-horny whippet to (at least partially) blame for Trump, his smutty correspondence with a high schooler young enough to still carry a learner’s permit dragging Hillary’s fucking emails back into the conversation days before the election. You couldn’t write this shit. —Anna Peele, GQ culture editor

Best Original Song

Man, I don't know how you mess up a category so thoroughly. It's not that there's a single glaring snub here—there are, in fact, many. Sing Street isn't just a great movie that should've been nominated for best something; literally every song on its soundtrack is more memorable than every song in La La Land (and I liked La La Land). And look, you don't even have to pretend that it'll win, but how do you not even nominate a song from Popstar: Never Stop Never Stopping and lock in a Lonely Island performance for Oscar night? The same goes for Moana. "How Far I'll Go" is a nice song, but it's no "Let It Go," and "You're Welcome"—the song in which Dwayne The Rock Johnson sings, with his actual voice—is RIGHT THERE. I cannot stress enough how close we were to smelling what The Rock was cooking in his vocal chords live on television. It's like they don't even want people to watch the Oscars.

Look, we know how Best Original Song usually goes: There's the Disney Song, the Song From That One Trailer We All Saw, the Song From a Pop Star We Like, the Song From a Pop Star We Don't, the Three Six Mafia wild-card slot, and IDK This One Christian Movie Had a Song in It and We Should Probably Have One More on the Ballot. Academy voters barely get the movie part of the Oscars right sometimes; music is often a bridge too far. But this year should've been an easy one. —Joshua Rivera, GQ.com contributor

The Academy Award for the Grammy Award for Album of the Year

There’s a lot to dislike about the Oscar 2017 Live  this year: Mary-Kate and Ashley Olsen aren’t hosting, it will likely be difficult to gauge the heights of various actors for viewers at home, and Justin Timberlake will be performing a song from Trolls. On top of that, everyone (especially our nation’s most valuable population: the triple threats) is feeling drained from the Grammys TWO WEEKS AGO. But there’s one thing the Oscars can do to put themselves ahead of that paltry award show in the esteem of the American public and, more importantly, Beyoncé Knowles-Carter: correctly award the Grammys’ top Album of the Year prize to Lemonade. Of course, there are many other categories Beyoncé could feasibly win in an upset at this year’s show: Best Picture (this picture of Beyoncé), Best Actress in a Leading Role (Beyoncé as Beyoncé), Best Supporting Actress (this reflection of Beyoncé), Best Cinematography (Lemonade), Best Costume Design (Lemonade), Best Film Editing (Lemonade), Best Foreign Language Film (Limonada), Best Original Score (Lemonade), Best Original Song (11-way tie, all the songs from Lemonade minus the Jack White song), and Best Sound Oscars Live Streaming Editing (tied with Sully). But the Oscars awarding her the Grammy for Album of the Year would probably be reward source : http://www.gq.com/story/oscars-2017-everything-the-academy-screwed-up-this-year



Comments

There isn't any comment in this page yet!

Do you want to be the first commenter?


New Comment

Full Name:
E-Mail Address:
Your website (if exists):
Your Comment:
Security code: