Nothing But the Best: "The Shape of Water" (2017)

Scene from The Shape of Water

Welcome to the series Nothing But the Best in which I chronicle all of the Academy Award Best Picture winners as they celebrate their anniversaries. Instead of going in chronological order, this series will be presented on each film's anniversary and will feature personal opinions as well as facts regarding its legacy and behind the scenes information. The goal is to create an in depth essay for each film while looking not only how the medium progressed, but how the film is integral to pop culture. In some cases, it will be easy. Others not so much. Without further ado, let's start the show.

Viola Davis Regrets Certain Things About "The Help"

Viola Davis in The Help

This Oscar season already has a packed schedule of potential nominees. Among them is Viola Davis, who recently won an Oscar for her role in Fences.This year she returns with a major role in the Steve McQueen-directed heist film Widows, what has already received a lot of acclaim at various film festivals. However, there's already some concern over Davis' recent past, as she has given an interview where she claims that she regretted her work in The Help. Does this mean she hates the role? Well, not exactly. What she meant it something a bit more nuanced and maybe more understandable in 2018 than it was in 2011 when the film became a late-summer sensation.

"The Shape of Water" and the Three Forms of Loneliness

Scene from The Shape of Water

*Note: Spoilers for The Shape of Water

It is a moment that comes between two phases of Eliza (Sally Hawkins) and Amphibian Man's (Doug Jones) relationship. They have escaped the lab and are in their last passionate moments together before Amphibian Man returns to the sea, possibly without the requited love of Eliza. She is mute, only ever able to communicate through a mix of sign language, eggs, and Benny Goodman records. Yet it's in a fantasy moment that she gets her only spoken lines of the film. As the scene trades a dumpy apartment with a leaky room for a black-and-white set out of a musical set, she sings "You'll never know how much I love you." It's a moment where repression breaks through, and moves the subtle themes of the film to the forefront. The Shape of Water is more than a film about loving someone different, it's about understanding loneliness when you don't have love readily available. It's may be a story that's been trivialized as the "woman who loves a fish" story, but it's so much more. It's a look at how loneliness can be used for good as well as bad. 

Review: "The Shape of Water" Romanticizes Horror with Tenderness and Awe

Scene from The Shape of Water

Monsters are scary. It's a simple rule of life that all narrative forms have accepted as true. So why are we fascinated by them then? In director Guillermo del Toro's The Shape of Water, he updates the classic fairy tale structure in order to answer that question, using Amphibian Man (Doug Jones) as an allegory for interracial love. He presupposes that monsters are misunderstood, choosing to borrow an ethos dating back to James Whale's Bride of Frankenstein. With lavish productions and an amazing performance by Sally Hawkins as Eliza, del Toro has created a film that not only humanizes monster movies, but finds the tender heart and longing that make them not too different from you or I. It's a powerful film, and one that should appeal to fans of monster movies that do more than horrify. This one sympathizes so perfectly that it becomes less of a horror movie and more of a supernatural Guess Who's Coming to Dinner. It may be simple at heart, but it only adds to the profundity of its text. 

Review: "Hidden Figures" Turns NASA History Into a Feel Good Movie

Scene from Hidden Figures

Despite taking place 65 years ago, director Theodore Melfi's Hidden Figures is a film that feels prescient to 2016. It comes through in every line of dialogue that states its themes a little too obviously. This isn't specifically a story of how women and blacks were seen as second-class citizens in America at the time, but more of a symbolic gesture of why society shouldn't underestimate the potential that each member brings to the table. The story of NASA is one that's very clear - with this particular story even being told better in The Right Stuff - but the goal of Hidden Figures is to show a side that hasn't been explored before. The ending may be the familiar triumphant period piece fluff, but what Melfi has created is an endearing portrait of teamwork and how every voice counts, no matter what they look like.

Birthday Take: Octavia Spencer in "The Help" (2011)

Octavia Spencer

Welcome to The Birthday Take, a column dedicated to celebrating Oscar nominees and winners' birthdays by paying tribute to the work that got them noticed. This isn't meant to be an exhaustive retrospective, but more of a highlight of one nominated work that makes them noteworthy. The column will run whenever there is a birthday and will hopefully give a dense exploration of the finest performances and techniques applied to film. So please join me as we blow out the candles and dig into the delicious substance.

Ranking the Oscar Winning Mothers (Since 2010)

Scene from Room

With today marking Mother's Day, it only feels right to pay some sort of tribute to the women who helped to raise and make all of us the people that we are. For many, it is a joyous celebration that is met with feasts an gifts. In the case of the Oscars, it is one of the most nominated professions in the organization's existence. To say the least, there aren't too many years where an actress portraying a mother hasn't at very least been nominated somewhere - thus making a thorough listing of every performance a tad difficult. That is why I am choosing to focus on the Oscar-winning mothers since 2010. While the limitations would suggest that there wouldn't be many, there's actually seven between the Best Actress and Best Supporting Actress category. The following is a ranking of these mothers, who in some way embody the complex and rich tapestry of what their jobs entail.

The Worst Moments of the 87th Annual Academy Awards

Neil Patrick Harris

With the Oscars officially behind us, it is time to wrap-up the highs and lows of the season. Where the previous post saw an exploration of everything that the show did right, this is a look at the few flubs that maybe didn't work out. It was a hard year to judge because unlike the meandering that dominated last year's ceremony, this year ran like clockwork despite running long and featured a lot of soapbox moments. The following is a look at the moments that maybe didn't work so well at this year's Academy Awards, including some coverage of the best red carpet moment of the ceremony.

Review: "Get on Up" Does James Brown Justice and Nobody Else

Chadwick Boseman

There are few figures in music history that are as pompous, exciting, and wild as James Brown was at the height of his career. He could dance, sing, and almost seemed to control the world with music that may have seemed lyrically banal, but was invigorating with passion and funk. It only makes sense that he would eventually join Ray Charles and Johnny Cash and get the biopic treatment. Director Tate Taylor manages to make a nice flashy package in which we get a sense of who Brown (Chadwick Boseman) was, but what does it all equal up to besides a scrapbook of memories? Get on Up, for better or worse, is a film that benefits from an interesting subject that is more interesting than he should be during the dull parts.

Will "Get on Up" Make Boseman One of This Year's First Oscar Contenders?

Chadwick Boseman

In terms of music icons, there are very few standards. The most notable ones were eccentric types with definitive personalities. They entertained not only through song, but influenced fashion, physicality, and helped to shape the pop culture landscape. One of the loudest and innocuous icons is James Brown, whose music may lyrically seem surface level, but unified nations during political turmoil in the 60's and set precedents for African Americans in music. There is a reason that he is The Godfather of Soul and is the most sampled artist in history. He had a universal appeal in his simplicity. So how do you capture the magic of a performer who was so vivacious and magnetic without coming up short? Director Tate Taylor's Get on Up at very least looks to attempt to do the flamboyant man some justice.

Review: "Fruitvale Station" is an Amazing Look at a Simple Life

Michael B. Jordan

As I have stated before, July was an abysmal month for quality movies. While films Blue Jasmine sneaked into the mix with amazing success, this was a limited release that seemed more predicated on an established director. Still, when Sundance's Grand Jury Prize winner Fruitvale Station finally came out, it almost seemed inevitable that it would get Oscar buzz. Partially because of current events, but also simply because it was a compelling character study. Is this story successful in bringing a flawed individual's life to the big screen, or is it overly sentimental for pointless reasons?

Is "Fruitvale Station" This Year's First Serious Best Picture Nominee?

Left to right: Ariana Neal and Michael B. Jordan

After months of speculation and asking the question "Is this going to get nominated?," we have finally come across the first that very well may do just that. Director Ryan Coogler's Fruitvale Station has become one of the most talked about films of the year largely thanks to a successful run at Sundance back in January in which it won the Grand Jury Prize and the Audience Award in the Drama category. Since, it has only gotten more and more acclaim as it finally reaches a limited release this week. While it seems likely to get a nomination, does this film have what it takes to the Best Picture statue?

Can Winstead Use "Smashed" for an Acting Nomination?

Left to right: Mary Elizabeth Winstead and Aaron Paul

One of the toughest categories that I have had to gauge this year involves the female acting fields. While we're starting to see a handful solidify, it has been shakier than the male counterpoint, which almost seemed to be concrete since Joaquin Phoenix impressed us with The Master. With the fields starting to tighten, there is a long shot that Mary Elizabeth Winstead can earn her first nomination for James Ponsoldt's Smashed, a tale of overcoming alcoholism. Is the film capable of competing with the big names, or is the no name production holding it back?