 |
| Scene from The King's Speech (2010) |
As 2019 reached its end, another decade of cinema had passed. It's amazing to think about how things have evolved since 2010 when the biggest controversies were about recognizing genre movies. Things look different now, especially as genre films like The Shape of Water and Parasite are winning Best Picture and the voting body looks incredibly different with each passing year. With this period in the books, it feels like a good time to celebrate their accomplishments by ranking all 88 titles nominated for Best Picture from worst to best with the goal of seeing which films are more likely to stand the test of time. Join me every Saturday and Sunday as I count them down, five at a time. It's going to be a fun summer looking back on what was, especially as we prepare for the decade ahead and an even more interesting diversity that we haven't even begun to think of.
44. The King’s Speech (2010) – Dir. Tom Hooper
For a generation, there was no greater upset in Oscar's history than the moment when The King’s Speech won Best Picture over The Social Network. While the latter has become painfully more relevant in the years since this King George V biopic remains stuck in an unfair reputation. It’s stuffy, uneven, but is sold beautifully by the one-two punch of Colin Firth and Geoffrey Rush as a speech therapist helping a king learn to find his voice. It’s a period piece that does everything right, and its quaintness has been overshadowed by its win. It’s nowhere near the worst film to win Best Picture and, in a lot of respects, not all that controversial. It’s fine, even if Hooper’s career since has been increasingly spotty and unreflective of his Best Director win.
43. True Grit (2010) – Dir. Joel and Ethan Coen
There is that old adage that you’re not supposed to remake a masterpiece. The John Wayne original got The Duke a legacy Oscar that reflected a role that he played with so much vigor and life. While not a direct replica, the new True Grit adds Coenesque humor along with one of Jeff Bridges’ most wonderfully incoherent performances as Rooster Cogburn as he goes on a journey with Hailee Steinfeld in a career-making performance. More than anything, it’s a film that proved that an old-fashioned western was far from dead in the right hands. Unfortunately, few have been as entertaining and layered as this since.
42. The Shape of Water (2017) – Dir. Guillermo Del Toro
It still remains a big deal that The Oscars actually gave Best Picture to a monster movie. Considering how negated horror had been as an awards genre, it’s groundbreaking to see every minute of this story come to life with ingenuity and creative designs that reflect Del Toro’s gifts as an artist. It’s also an updated fairy tale that forces us to question the value of believing the worst right away instead of thinking to stop and listen. It’s an empathetic story, and one that comes with so much passion and heart as stereotypes are broken and the underdogs win the day. While the idea may be too much for some, those who can see the deeper allegory will find plenty to love (literally) in this commentary on a genre that has never been allowed to be this passionate before, finding humanity inside of strange places.
41. The Post (2017) – Dir. Steven Spielberg
Some may call it Spotlight Jr., and it’s not a totally unfounded argument. Not only are both screenplays by Josh Singer, but they reflect journalism as this greater force for good. Whereas Spotlight is more honest with the process, Spielberg can’t help but turn the process into a triumphant study, where a camera can whirl around desks and make an average day of work exciting. Sure Tom Hanks may be playing a Jimmy Cagney-esque cartoon character, but everyone else in this star-studded cast is in top shape, especially Meryl Streep in one of her decade’s best performances. For those who love journalism, this dive into The Pentagon Papers is more than a process film. It’s a celebration of standing up for justice against unruly forces and speaking the truth. It’s the type of message that needs to be heard loud and clear in the “fake news” era, and one can hope it echoes louder in the future.
40. Toy Story 3 (2010) – Dir. Lee Unkrich
There’s something interesting to be said about the release of this film. Not only was it the perceived ending for Pixar’s flagship franchise, but it marked the end of a 15-year track record of producing some of family entertainment’s most flawless works. With an ending that decides to put aside childish things, the journey into this film is one of those painful goodbyes that is only outdone by the reality that this is a hat trick. A film about talking toys shouldn’t be as emotionally complex, exploring separation and loss in such devastating detail, but they somehow found a way. Depending on how much you like to cry, this is either the best of the series or the most difficult to watch. Whatever the case may be, it was the end of Pixar’s perfect streak, and there was no better note to go out on.
No comments:
Post a Comment