OSCAR WATCH: 1917

With dozens of films dedicated to the subject, every announcement of a WWI comes with a feeling of "been there, done that." But in the ambitious hands of director Sam Mendes, the "war to end all wars" gets a new perspective. Filmed to convey one single take, "1917" is a mind boggling cinematic achievement. But at what cost?

The premise of "1917" is relatively simple. Two British soldiers are tasked with delivering a message to a distant battalion, in the hopes of calling off an attack after intelligence indicates that a deadly trap has orchestrated by the rival Germans. The rescue mission will thus take them through dangerous enemy territory, with very artillery support. But though it seems impossible, the men are driven by an additional motivation, as a brother is among the endangered battalion they hope to save before it's too late.

As our protagonists proceed on their harrowing journey, "1917" is an impressive showcase of filmmaking techniques. Most obviously, the cinematography amplifies the stakes, giving the illusion of real time action. But while the camerawork is the star, it would be ineffective without exceptional work from the actors, composer, production designer and editor. Indeed, George Mackay and Dean-Charles Chapman are unwavering in their physicality demanding lead roles. The stirring music is deployed judiciously and impactfully. The world-building of the sets are downright incredible, particularly in giving a visceral sense of the omnipresence of death through human and animal carcasses, rodents and flies. And of course, the editor deserves highest praise for making it all feel so seamless and forcing the audience to constantly wonder, "How did they do that?"

It's therefore hard to argue against the film's 10 Oscar nominations, namely Best Picture, Best Director, Best Original Screenplay, Best Sound Editing, Best Sound Mixing, Best Production Design, Best Cinematography, Best Original Score, Best Visual Effects and Best Makeup & Hairstyling. And yet, despite my admiration for the filmmaking, I rarely felt truly emotionally connected to the story and the soldiers' plight. Even in the intentionality sentimental moments, the "obstacle course" style of the storytelling hardly gave room for the film to contemplate the characters' humanity. In the end, I was reminded of Martin Scorcese's criticisms of Marvel movies as theme parks. Despite the technical mastery on display, "1917" lacks the gravitas to be a truly great war film. Those who fought in WWI are often referred to as "The Lost Generation." It's a shame that this tribute to their efforts falls short of making them unforgettable.

Tweet

OSCAR WATCH: Little Women

Given the debate surrounding the value (or lack thereof) of yet another "Little Women" adaptation hitting theaters, let me preface this review by saying that I have never read Louisa May Alcott's classic novel. Furthermore, my memories of the 1994 film adaptation have long faded. With that being said, I approached Greta Gerwig's latest work with great anticipation. And what I discovered was a cinematic tour de force that is fully worthy of praise and a place in the Best Picture conversation.

In this classic tale of sisterhood set around the time of the American Civil War, we are first introduced to our main protagonist Jo (played by Saoirse Ronan), an aspiring writer hoping to sell her latest work. As the story progresses, we soon learn that she is just one of several sisters with artistic inclinations, including an avid pianist (Beth, played by Eliza Scanlen), an ambitious painter (Amy, played by Florence Pugh) and a talented actress (Meg, played by Emma Watson). These interests will evolve and change over the years, however, as they come of age in a time of hardship which will test their family and other relationships.

Indeed, romance, humor and tragedy are the order of the day, as Greta Gerwig delivers a bold interpretation of classic costume drama tropes. Making a strong case for a second Best Director nod, she perfectly balances the contrasting tones through smart visual and storytelling choices. At once delicate and exuberant, the cinematography is equally adept at capturing the restless optimism of youth and the stillness of disillusioned adulthood. Similarly, the color palette reflects the contrast between the glow of nostalgia and the more solemn pragmatism of the present and future, further emphasized by non-linear storytelling which enriches rather than obfuscates the narrative.

As that narrative follows the diverging lives of the titular sisters, Gerwig's screenplay - worthy of consideration for Best Adapted Screenplay - compellingly explores feminist themes which continue to resonate today. And in conveying the perspectives of the richly defined characters, the audience is treated to a plethora of sensational performances. Among the sisters, Saoirse Ronan and Florence Pugh are standouts, deservingly garnering attention for Best Actress and Best Supporting Actress kudos respectively. As the headstrong and fiercely independent Jo, Ronan anchors the film with vulnerability and charisma. Meanwhile Pugh is truly inspired in her take on the petulant Amy, brilliantly charting her character's arc with almost vaudevillian expressiveness in her youth and stoic poise as she finds her way in the world.

Simply put, "Little Women" is one of the most entertaining, emotionally affecting and downright gorgeous films of the year. Several of its painterly shot compositions (nominations for Best Production Design, Best Cinematography and Best Costume Design deserve to be foregone conclusions) are seared into my memory, and Alexandre Desplat is on track for another Best Original Score nomination for his typically wonderful music. It may tell a familiar story, but Greta Gerwig's "Little Women" is unforgettable.

Tweet

OSCAR WATCH: Marriage Story

The most toxic relationships are the ones you don't even realize as such, until hindsight makes you see things clearly. That's the lesson Nicole and Charlie learn in "Marriage Story", the exceptional new drama from Noah Baumbach. Stunningly portrayed by Scarlett Johansson and Adam Driver, this Best Picture Oscar hopeful conveys honest truths about love, marriage and divorce.

We first meet the embattled couple - Nicole, a up-and-coming actress and Charlie, a hotshot theatre director - during a mediation session, as both have decided to split amicably, in the best interest of themselves and their child. When the therapist asks them to list the positive things about their partner, however, Nicole suddenly realizes that she's harboring deeper feelings of pain than she initially suspected. Subsequently, she uproots her New York life - and their son Henry - to return to Los Angeles and be with her mom. But the pressures of long-distance parenting puts a strain on their civil friendship. Though they had agreed to forego legal proceedings, a heated divorce case and custody battle ensues.

The messiness of divorce is put in a sharp focus as Baumbauch's perceptive screenplay unleashes the myriad of emotions associated with it. As Nicole tries to rationalize the reasons for the split, the film gets to the truth of how willfully one-sided relationships can be, as the hopes and dreams of one partner become subsumed into the other's. It is often said that married people gradually begin to look like one another and "Marriage Story" poignantly conveys that "oneness" and loss of self.

Smartly, the script balances both perspectives, also showing how Charlie's ambition and pride caused him to neglect his wife's needs and to a certain extent, his own. Indeed, the nuances of both characters' personalities are brilliantly elaborated through many relatable moments littered throughout. I'm sure many audiences can relate to the hate-filled outbursts you instantly regret, as well as the subconscious competitiveness and selfishness that can erode a relationship over time.

While Johannson and Driver (slam dunk Best Actor and Best Actress nominees) show incredible vulnerability as the leads, the rest of the scintillating cast is equally as riveting. Laura Dern is particularly compelling as Nicole's self-assured lawyer who fights for her client like a bulldog with a smile. After two nominations throughout her career, she may have finally earned her first Oscar for Best Supporting Actress for her work here.

Dern's delicious performance embodies one of the film's most winning touches, namely it's frequent moments of levity. Indeed, Baumbach deserves every Best Director and Best Original Screenplay accolade he'll receive during this awards season for his masterful juggling act of humor and pathos. Punctuating the narrative with music, situational comedy and delightful bit roles (Merritt Wever and Julie Hagerty are terrific as Nicole's sister and mother), it serves as a reminder that things are rarely black or white in life and relationships. As conveyed in the heartrending monologues which bookend the film, when all is said and done, sometimes the hardest truth about broken relationships is that there's still some love that remains.

Tweet