It’s interesting that this year’s Oscars are being held the second Sunday of February. Usually they’re held the last Sunday or the first Sunday of March in a Winter Olympic year. It was pretty evident will all my cramming of my Best Picture reviews. I didn’t start until three weeks to go and I didn’t think I could review all nine in time. But I did! The last of the Best Picture reviews I posted on Wednesday. Next year they’ll be going back to the last Sunday of February. So hopefully reviewing them all will be a lot more relaxed.
Anyways I’m able to make predictions for this year’s Oscars. I’m even able to make some calls for what should win in some categories. I’ve seen enough films to make up 96 of the 124 nominations. They range from single-nomination films like Knives Out to Joker with the most nominations with eleven in total. Most categories have been very predictable with the same film or same effort winning film award after film award. That could help me with my Oscar bingo I’ll be playing once again this Sunday! However there are a few that appear unpredictable. So without further ado, here are my predictions for the 2019 Academy Awards:
All credit to Olly Gibbs for that excellent image of this year’s nominees. This year has a wide range of film among the nine nominees. Two are set during World Wars. Two are written and directed by a Hollywood couple. Four have had a domestic gross at the box office of over $100 million. Two are films that got moved to NetFlix after an initial box-office release. One is done by a master of gangster movies and another is done by his heir apparent, but not a gangster movie at all. One is a modern-day adaptation of a classic novel. One is a fictional account of a cartoon villain. One is of car racing. One is of a failing marriage. One if of classic Hollywood. One is of Hitler through a child’s eyes. One is a possible answer to a popular whodunit. One is of a journey during war. And one is of an impoverished family trying to break free. All are seen worthy of being nominated in the Best Picture category this year. So here is my rundown of the Best Picture nominees:
1917 – War movies usually win the Academy over, as long as they’re done well. This has been the darling of most awards shows. I predict this as my Will Win pick. I myself admire it for its cinematography and it’s storytelling, but it’s not the film I most want to win Best Picture. Usually for Best Picture, I feel it should have much of the best of the year in the three top categories: acting, directing and writing.
Ford v Ferrari – Very rarely do auto racing movies get nominated for Best Picture. This is more than an auto racing film. It’s about those that were behind the big moment and the family relation of the racer who was shunned behind. Definitely a crowd-pleaser, but it doesn’t look like an Academy-pleaser.
The Irishman – What can I say? This is the film in which I most want to win because this is a film that went above and beyond what I expected out of it. I admire films that go above and beyond what I expect. Plus it had top-notch acting, directing and writing. However it lost a lot of its energy it had back in November. That’s why I think it won’t win.
Jojo Rabbit – This is one movie that would normally not be Best Picture material. I have to say of all nine Best Picture nominees, this is my favorite. This is the most entertaining of the nine. However I know how to separate my personal favorite from the films I feel are the best. Besides I know how stodgy the Academy is towards comedies.
Joker – Last year was something how a superhero movie finally got a Best Picture nomination. This year is a case of a story of the genesis of a villain won crowds and won movie awards. This is an impressive story too. However I feel that it faces stiff competition in the Best Picture race from other films.
Little Women – To think this is the first Little Women adaptation to be nominated for Best Picture! I can’t complain at all as the film took some different twists and it came out a winning story. I admire the way it was directed, written and acted, but there are films that have more boost in this competition.
Marriage Story – Sometimes all it takes to win people is a story that connects with people. That’s the magic of Marriage Story. This film’s best qualities are the acting and writing. However this is another film that appears prone to fall under the weight of bigger competition. Plus this being on NetFlix may be an additional reason why its chances were hurt.
Once Upon A Time In Hollywood – This is one salute to the Golden Age of Hollywood with a twist. Also it will cause a lot of people to reassess their definition of what a Quentin Tarantino movie is. I know my parents still think Tarantino movies are all ‘blood and guts’ but this film shows a side of Quentin most people overlook. I do rank this as a film in the Top 3 most expected to win, but it’s not my top pick. I think its summer release may have caused it to lose much of its buzz.
Parasite – This is definitely the foreign-language film of the year. Undisputed! This is my Should Win pick because this film has accomplished more than any of the other nine Best Picture nominees. It’s a case once again that the best film of the year is not in the English-language. However I’m very doubtful it will win. I remember last year Roma was the best film but it lost out to Green Book. That solidified my belief the Academy will never make a foreign-language film a Best Picture winner.
I know a lot of people often think the Academy Awards are a case of Hollywood patting itself on the back. One can say an excellent example of this was last year when Roma lost Best Picture to Green Book. If Once Upon A Time In Hollywood wins this, then it will further prove their point. I am very doubtful Parasite will win. However if 1917 wins, it won’t look like Hollywood patting itself on the back because it’s a British film!
Should Win: Bong Joon-ho – Parasite
Will Win: Sam Mendes – 1917
I chose Bong Joon-ho naturally. Most people feel the common belief that The winner for Best Director should be the director of the Best Picture winner. It happens over 70% of the time at the Oscars. As a result my Best Director pick for Should Win is from the same film as my Should Win for Best Picture. I feel it’s right since Parasite is the film I admire most and it’s Bong who made it happen. I feel it will go to Sam Mendes because of his past awards success this year. Nevertheless I would not be disappointed if it did because 1917 is a film that’s worth admiring.
Should Win and Will Win: Joaquin Phoenix – Joker
What can I say? It’s not just about being widely praised as the acting performance of the year but of the movie role of the year. Nobody — not even the most loyal of Batman fans — expected Joker to be the film that it is. It’s a film that not only tells the story of the emergence of the Joker, the chaos of Gotham City and the genesis of Batman, but it takes one into the mind of Arthur Fleck. One knew that Arthur would snap any minute. What can I say? One could argue that it’s Joaquin that single-handedly made the work!
Should Win and Will Win: Renee Zellweger – Judy
I never reviewed Judy in my blog after I saw it back in November. It’s an excellent story of a period in the last year of Judy Garland’s life. It focuses on her attempt for a comeback and how it appeared showbiz took everything out of her. It also flashed back to her childhood and how she was raised to think that a normal life that the other girls were having is for mortals. Renee was excellent in embodying Judy as she looked like a person who just couldn’t come to terms with herself and even feared what she would mostly be remembered for. Renee was spot on in epitomizing Judy from the voice, to the singing to the hostile attitude to the troubled personality to even writing left-handed.
BEST SUPPORTING ACTOR
Should Win: Joe Pesci – The Irishman
Will Win: Brad Pitt – Once Upon A Time In Hollywood
One thing about this year’s acting nominees. A lot of people talked about the lack of racial diversity. That is true, and I even reminded people in social media of Spielberg saying the Academy is like a member-only club.
As for actors, another lack of diversity is that only six nominations went to performances from five actors who were never nominated before. For Supporting Actor, this is normally a ‘newbie-friendly’ category but all five have been nominated before in the past and only Brad Pitt has never won an Oscar. That appears likely to change as he is the heavy favorite to win for his scene-stealing in Once Upon A Time In Hollywood. Actually Brad has enough screen time to qualify for the Best LEAD Actor category! However I would be likely to go with Joe Pesci for his portrayal as a mob boss who appears like a father figure. Nevertheless Sunday will be Brad’s moment.
BEST SUPPORTING ACTRESS
Should Win and Will Win: Laura Dern – Marriage Story
Some performances nominated for Supporting Actor/Actress are usually lead roles that are ‘politicked’ as supporting roles, like I I mentioned about Brad Pitt earlier. Some supporting acting nominations and wins are because they’re good at stealing the show from the lead actors. And some nominations and wins in the supporting acting categories can also be because they do an excellent job of character acting. That’s why I have no problem with Laura Dern winning. She made you hate Nora! She did an excellent job as the manipulative sly-talking lawyer and she made her character of Nora almost look like she was a snake! Actors are taught about even using animal-like behaviors to enhance characters. This award is Laura’s for the taking. And on the day before her 53rd birthday to boot!
BEST ORIGINAL SCREENPLAY
Should Win: Boon Jong-ho – Parasite
Will Win: Quentin Tarantino – Once Upon A Time In Hollywood
If there’s one major category that I feel will be the hardest to predict, it’s actually both screenplay categories. Lately some of the award shows have given alternating views on who they think is the best. I agree with what Bong Joon-ho said in his acceptance speech at the Golden Globes: “Once you overcome the one-inch-tall barrier of subtitles, you’ll be introduced to so many more amazing films.” I agree, but I doubt if the Academy agrees. Roma may have won last year, but I don’t think they’ll make it two in a row.
BEST ADAPTED SCREENPLAY
Should Win: Steve Zaillian – The Irishman
Will Win: Greta Gerwig – Little Women
It’s interesting that Greta and her common-law partner Noah Baumbach are both nominated for screenplays this year. I had to go with The Irishman on this one because it’s a complex story that Zaillian is able to make work. I think they will give it to Great for putting a new twist to a story that’s been adapted numerous times. I think the biggest upset could come from Jojo Rabbit, but I’m still set on Little Women.
BEST ANIMATED FEATURE
Will Win: Toy Story 4
This year I did not see any of the nominated films. I only saw three animated films and none of them got nominated here. Even though Klaus won the Annie Award and the BAFTA, I have a feeling Disney is going to take it again. This is the one category Disney wants to win most. wouldn’t that be something if Toy Story 4 loses to a NetFlix film?
BEST INTERNATIONAL FEATURE FILM
Should Win and Will Win: Parasite (South Korea)
For those wondering, this is a new title for the category that used to be called Best Foreign Language Film. This year I saw four of the five nominees in this category, which is extremely rare for me. The others I saw are Pain And Glory, Honeyland and Corpus Christi. That means I can also make a ‘should win’ judgement in this category. It’s safe to say Parasite is the foreign-language film of the year. Also Honeyland makes history as the first documentary to be nominated in this category.
Will Win: Roger Deakins – 1917
BEST COSTUME DESIGN
Will Win: Jacqueline Durran – Little Women
BEST DOCUMENTARY FEATURE
Will Win: Honeyland
BEST FILM EDITING
Will Win: Yang Jin-mo – Parasite
BEST HAIR AND MAKE-UP
Will Win: Kazu Hiro, Anne Morgan and Vivian Baker – Bombshell
BEST ORIGINAL SCORE
Will Win: Hildur Guðnadóttir – Joker
BEST ORIGINAL SONG
Will Win: “(I’m Gonna) Love Me Again” – Rocketman
BEST PRODUCTION DESIGN
Will Win: Barbara Ling & Nancy Haigh – Once Upon A Time In Hollywood
BEST SOUND EDITING
Will Win: Ford v Ferrari
BEST SOUND MIXING
Will Win: Ford v Ferrari
BEST VISUAL EFFECTS
Will Win: 1917
SHORT FILM PREDICTIONS
JUST ONE MORE – TOP OSCAR UPSETS
Here are the five upsets I anticipate are most likely to happen. In category order:
- Taika Waititi for Best Adapted Screenplay for Jojo Rabbit
- Klaus for Best Animated Feature
- Michael McCusker and Andrew Buckland for Best Film Editing for Ford v Ferrari
- American Factory for Best Documentary Feature
- The Lion King for Best Visual Effects
And there you go. My predictions for the winners, and possible upsetters of the 92nd Academy Awards. Having a hostless Oscars last year was such a success, they did it again this year. Will it be as entertaining? Will there be some shock winners like Olivia Colman was last year? It will all be decided Sunday night.
NOTE: This review originally published January 27, 2020 has included many edits done on February 17th after watching this film again.
Foreign-language films have a habit of becoming catchy when you least expect it. This year’s hit foreign film comes from South Korea. It’s titled Parasite and done by renowned director Bong Joon-ho and it’s quite a telling story about the classes.
The Kim family have it hard as they live in a basement shack in a rough area of Seoul. Father Ki-Taek had good restaurant opportunities, but they all folded. Mother Chung-sook used to be a good hammer thrower. Son Ki-Woo is trying to get into a good college and their daughter Ki-Jeong is unsure of her future. They struggle with working menial jobs, have to roam near the windows for free Wifi, have a lot of bugs in their place and sometimes have no choice but to watch drunks urinate outside their window.
Ki-woo’s friend Min-hyuk visits with him before he leaves for college. Min-hyuk has been working as an English tutor for the daughter of a wealthy Park family. Min-hyuk recommends to Ki-woo he take over and even fake university credentials. Min-hyuk trusts Ki-woo way more than those other ‘drunken college boys’ to replace him in the tutoring job. Ki-woo is able to make a successful forgery and he’s hired to be the English tutor to the Park’s daughter Da-Hye. The Kim family hope to get jobs within the Park household. The Parks are hugely admiring about their 7-year-old son’s drawings and are looking for an ‘art tutor.’ Kim Ki-jeong, the daughter, is able to pose as a student from Illinois under the name of Jessica. Ki-jeong is hired and even able to successfully convince the mother something’s psychologically wrong with the son. Now that Ki-jeong is hired, it looks like there aren’t any more positions. Not unless they get the chauffeur and the maid fired. Which is exactly what the Kims do! The limo driver is ordered to drive Ki-jeong close to her block but without him knowing, she takes her panties off and leaves them to get him framed for having sex in the car. It works and the father Kim Ki-taek is hired as the limo driver. Then there’s the maid Moon-gwang. She’s a good servant, who even served the original tenant of the mansion who was the architect. She makes her allergy to peach aware which is perfect! The Kims shave peaches and throw it when she’s around to get her to think she’s come down with tuberculosis. Moon-gwang has to quit and the mother Kim Chung-sook is hired to replace her.
Although all four have jobs in the Park household, they have to disguise they’re not family. That’s not easy as the Park’s son, Park Da-song, notice they all have the same smell. Also all have to make their exact whereabouts secret to them not just so that it’s unknown they live in the same place, but so the Parks don’t know they live in a rutty area. Soon the Parks leave for a camping trip, which they will be using their own car and entrusting Chung-sook as the maid and leaving the others off. As the Parks are away, it’s perfect opportunity for the Kims to have their own party at the place. And they have every reason to. They all made it!
However during their fun on a rainy night, something unexpected happens. They have a visitor at the house. It’s the former maid Moon-gwang. She said she left something important in the bunker. The Kims didn’t know the Parks had a bunker. It’s a bunker a lot of rich people have either to avoid loan sharks or in case nuclear war happens. In that hidden room at the bottom of the bunker, Chung-sook discovers Geun-sae, Moon-gwang’s husband, is in it. He has been hiding down there for years to avoid loan sharks over s led restaurant. When the other Kims discover Moon-gwang and Geun-sae a fight ensues after Moon-gwang threatens to expose their scam. The family and couple use technology to fight for control. However the fight ends when Chung-sook learns the family is coming back sooner than expected because of the heavy rain and they expect ‘ramdon’ with cubed beef. Party’s over, right?
Not quite. The Kims have to hide and Chung-sook kicks Moon-gwang down the stairs for which she receives a fatal head blow. Chung-sook serves the Park family the ramdon after they arrive with the other Kims hiding under the furniture waiting to escape. It’s a long process as the parents sit on the sofa watching Park Da-song play ‘indian’ in his tent out in the rain. The Parks even get sexual on the couch and even talk about the smell of Kim Ki-taek, unknowing that he’s underneath the sofa and hears it all. The three Kims escape the mansion and return back to their home in the rain, only to find it’s almost completely flooded and they’re one of many people from the neighborhood that have to sleep in a makeshift shelter in a gymnasium. The next morning, Ki-woo and Ki-taek have a heart-to-heart talk about life and plans.
All appears not to be lost. The Parks are having the birthday party for Da-song and the staff are invited. All four Kims can assume their guises again. It’s based on the ‘indian’ theme that Da-song loves. It’s if party with family and friends. Ki-taek is to participate with Park Dong-ik in an ‘indian attack’ skit with the birthday cake and is reminded he’s a paid servant. The party goes well but just as Ki-woo returns to the bunker with the scholar’s rock, he encounters an angry Geun-sae. Geun-sae has had it that he’s been down there for so long and that he just lost his wife because of the Kim’s stupidity and selfishness. Geun-sae wants revenge and Ki-woo is first to get it as Geun-sae uses the scholar’s rock to hit him over the head. Then Geun-sae goes out in the yard where the party is and stabs Ki-jeong in the heart. That provokes a seizure from Da-song which Dong-ik orders Ki-Taek to drive him to the hospital. That leads to even bigger chaos as Chung-sook fatally stabs Geun-sae, but Geun-sae is alive long enough to look Dong-ik in the face and shout ‘respect.’ Angry with it all, Ki-taek stabs Dong-ik and runs away out of everyone’s sight.
The aftermath is that Ki-jeong died and Ki-woo was in a coma for weeks. Ki-woo came out of it, but it left him with a brain injury that causes him to laugh unexpectedly. He and Chung-sook were convicted of fraud and impersonation and Ki-taek is at large missing without a trace. The Park house has been resold to a German family who just arrived. Despite the deaths of Moon-gwang, Geun-sae, Kim Ki-jeong and Park Dong-ik, it sold. Even with new owners, Ki-woo notices a light from the bunker flash on and off. Ki-Taek is alive and hiding in the bunker and flashes a message of Morse Code every day hoping his son will see it. Ki-woo has a message of Morse code for his father he hopes to deliver one day. A message of a hope that they can be a family again and how they can live prosperously in that house, and done fairly.
The interesting thing of this film is that it’s very creative in showing the biases poor people have of rich people and the biases rich people have of poor people, and biases both have of certain peoples in general. We see it in the Park family as they common talk about the smell of poor people, especially Mr. Kim. It seems like poor people have a smell only the Parks can sense. We also see how the Parks seem to think the smallest instance of something wrong is a big problem and the wife believes whatever the Kim’s tell her! We see it in the Kims how they have the belief that the rich are very naive and all four are ready to take full advantage of it. Even at the ‘Kim party’ and how they talk of money being a solve-all.
The film also shows how both the Kims and the Parks can expose their own weaknesses. We see it at the beginning as the Kims think their only way into a better life or even a life of wealth is to scam their way into wealth. We see how Park Da-song likes to fantasize about being an ‘indian’ and the Park family toys around with Native Americans. We see it at events like the birthday party, we see it during the rainflood, we see how Mr. Park has a framed article from an American magazine where he’s named ‘Nathan Park.’ We sense it in the use of English words and phrases, English names and association with the United States like all these elements suggest something about class structure and importance. We even see how despite the Parks neglect Moon-gwang and Geun-sae, Geun says ‘respect’ to him. The rich Parks marginalize, but the Kims and the couple still have regard to them. Even seeing how Ki-taek can’t mourn at his daughter’s urn but mourns at an obituary of Nathan says something.
Even without the theme of the wealth gap, this film is also interesting of how the story is constructed. At first you think the film will follow a basic linear path in therms of telling its story. There are even times in which even after one incident happens out of the ordinary, it appears it will still end in normal fashion. However it doesn’t. What you anticipate might be a good ending actually ends up being something totally bizarre. The first half of the film appears like a massacre is the last thing to expect the film to end with, but you’ll be surprised. One source mentions that it ended that way because Korean movies are known to be big on blood and gore, just like a lot of Japanese movies. However it does make one think whether the film and its scenes were done right or not. Sometimes you think it could have been done better if this was done that way. Then you think if it did, this would have to be left out. In the end, you’re left convinced the film was done the right way. Including the massacre scene when Kim Ki-jeong is killed, but Park Dong-ik cares about his son’s seizure instead. Even the scene where Moon-gwang falls and recieves her fatal concussion seems like the right thing to have. Also the aftermath looking like it ends the film right as a redemption of humanity at the end and actually makes you feel for the surviving Kim family, despite Ki-woo’s message of an against-all-odds hope.
I’ll also this film is a welcome reminder of the rich-poor gap in South Korea. If you remember years back, I saw a film called Nameless Gangster. That film showed the conditions of South Korea in the early 1980’s and the protagonist struggled with a limited wage as a fisherman. That’s why he chose to be an organized crime don. Because he felt it was the only way he could get ahead. The film also showed how things became better for South Korea as democracy was implemented just before the Seoul Olympics. I was left with the impression that life for residents got way better since democracy was introduced. Parasite reminds me it is, but there are still people in South Korea that slip through the cracks. On top of that, the gap of rich and poor is just as present in South Korea as it is in any developed nation.
Top accolades for the film go to director Bong Joon-ho. Bong is actually South Korea’s first director to break into North America. He had a good reputation in South Korea, but he expanded into North American film after people take note of 2009’s Mother. His English-language breakthrough came with 2013’s Snowpiercer and critics were impressed. Even after returning back to Korean films, Bong has still caught a lot of attention with films like Sea Fog (which he was producer) and Okja. This is possibly his best work.
This film is very complex as Bong’s not just simply working with a complex story he co-wrote with Han Jin-won, but even working with a lot of complex styles of scene. Bong got the idea from this story from an actual murder of rich people by their servants. It was 1933 in France and the two servants that killed their master were sisters. Bong does a good job in making a great story sending a message about the division of the classes. The little elements that add to the theme of the rich-poor gap like the ‘poor person smell,’ the use of English when they have something significant to say, the storm which makes the Kim family face the music about what they’re doing, the scholar’s rock which goes from a good-luck object to something Geun-sae attempted to kill Kim Ki-woo with before the massacre, the use of Morse Code, Nathan’s constant talk of crossing-the-line and the talk of plans between Ki-woo and Ki-taek, they all help add to the color of the story and to the theme.
Already there are a lot of videos on YouTube that talk of various elements of the film like the multi-leveled house and how the Kims are always beneath the Parks, the use of sunlight in the Park domain, the ending seen as false hope, and the use of bugs during certain scenes. There are scenes that get you wondering as well. Like the scene where Park Da-hye has sex with Kim Ki-woo. Some could say it’s sending the message the two classes aren’t that far apart. Others could say it’s where the rich like to screw the poor. You be the judge! Also you figured halfway into the film that the scam of the Kims would eventually be uncovered, but I bet you didn’t expect it during a massacre at a child’s birthday party!
The acting from all ten actors involved was excellent to see as they all had something to add and they did it all as one team rather than a single actor standing out. If there was anything close to a standout, it had to be Song Kang-ho as the Mr. Kim. He did an excellent job as playing a man who appears to be the one most caught in the middle. Choi Woo-shik was also good as the hopeful but insecure Kim son who starts it all and ends up the voice of reason at the end. The production design was also very good. It was excellent in showing off the modern rich-poor gap of the three classes very well. The cinematography of Hong Kyung-pyo was also excellent. The music from Jung Jae-il also added to the storytelling too.
Parasite begins in normal fashion, leads to a comedic middle, leads to the conclusion in bizarre fashion, and ends on a somber note. It does seem like an odd construction of a film, but Bong makes it work. Plus he has a lot to tell about the gap between rich and poor. It’s a gap we see all too well in our own lives.