The 88th Annual Academy Awards: Who Will Win, Who Should Win (Part Two)

Tags

2015 Academy Awards, 88th Annual Academy Awards, Academy Award Nominee, Academy Awards, award shows, Oscar nominee, Oscars

And now: the final part of my Oscar predictions, as we approach the kick-off to the big event.

—

Best Animated Short

Bear Story

Prologue

Sanjay’s Super Team

We Can’t Live Without Cosmos

World of Tomorrow

What Should Win: World of Tomorrow/Sanjay’s Super Team

What Will Win: Sanjay’s Super Team

Right up until I actually saw Sanjay’s Super Team, this seemed like another one of those grudging “can’t stop it” categories. After all, Hertzfeldt’s World of Tomorrow is the obvious winner, a smart, moving and powerful examination on the basics of humanity that says more in its 15 minutes than most films say in two hours. Bear Story was an amazing, intricately made expose on the subtler evils of fascism, while We Can’t Live Without Cosmos was a bittersweet look at friendship, set around the trappings of the Russian space program: both were good but, compared to World of Tomorrow, just didn’t have the big vision and reach. Prologue? Way too strange and head-scratching, despite some amazing visuals. I figured that Sanjay’s Super Team would win simply for being the resident Pixar offering: combined with its superhero focus, that seemed unbeatable. And then I actually watched it. Let’s be clear: World of Tomorrow is a phenomenal piece of art, deep, moving and important. Sanjay’s Super Team is, likewise, a deeply moving bit of art with the added benefit of a visual style that, for lack of a better word, is next-level. The short will win and it will absolutely deserve it, despite a lot of very worthy competition.

—

Best Makeup and Hairstyling

Mad Max: Fury Road

The 100-Year-Old Man Who Climbed Out a Window and Disappeared

The Revenant

What Should Win: The 100-Year-Old Man Who Climbed Out a Window and Disappeared

What Will Win: The 100-Year-Old Man Who Climbed Out a Window and Disappeared

Up until I actually watched The 100-Year-Old Man Who Climbed Out a Window and Disappeared, I was fully prepared to give this to Mad Max, part and parcel. The Revenant was truly impressive (that bungled scalping…shiver…) but, like the rest of the visual effects, a little to organic to really stand out. Mad Max, on the other hand, was a virtual cornucopia of varied makeup, a cast of thousands with a thousand different looks, style sand quirks to go with it. Case closed.

Not quite. Turns out that not only is The 100-Year-Old Man Who…one of the best, most original and flat-out funniest films of 2015 (maybe the best: I have some serious re-evaluating to do), the makeup effects are equally impressive. Just the aging makeup of the lead character, alone, puts this over the top (the actor is in his mid-40s, in real-life, yet realistically ages from his twenties through to hundred across the span of two hours). Add in all of the really great historical figure impersonations (the Stalin, Bush and Reagan ones are spot-on) and you have a nominee that upholds excellence in every measure of the category. For me, this is an absolute no-brainer.

—

Best Original Screenplay

Bridge of Spies

Ex Machina

Inside Out

Spotlight

Straight Outta Compton

What Should Win: Ex Machina

What Will Win: Inside Out

Caveat: I never got around to Spotlight, so if that was the best script, I defer to more knowledgeable souls. Of the remaining four, it’s a bit of a shoving match. To not put to fine a point on it, Straight Outta Compton had a terrible script, one of the most tone-deaf, obvious and awkward of the entire year. The film might have had its share of problems but the script was absolutely at the top of the list. Bridge of Spies was a consistently twisty, thorny screenplay, yet wasn’t always as clear as it could’ve been: perhaps one needed a scorecard to tell the players during the event but one shouldn’t need the same for a fictional cinematic adaptation. Inside Out has a really smart, sensitive and mature script, with a profound insight into not only childhood but depression, mania and other mental conditions. This seems like a lock and I wouldn’t complain in the slightest.

For my money, though, Ex Machina had the best, most subtle and most intriguing script of the bunch. The ideas were less conventional than the others, the dialogue was smart and the big questions that were raised had a genuine sense of impact and importance. Perhaps it speaks more to my particular sensibilities but this was the film that I found myself returning to the most (of the nominees) and I credit that in no small part to the excellent screenplay.

—

Best Supporting Actor

Christian Bale, The Big Short

Tom Hardy, The Revenant

Mark Ruffalo, Spotlight

Mark Rylance, Bridge of Spies

Sylvester Stallone, Creed

Who Should Win: Tom Hardy, The Revenant

Who Will Win: Sylvester Stallone, Creed

Since I only saw two nominees here, my opinion probably won’t carry much weight. Of the performances I saw, Hardy did a phenomenal job portraying a true cretin with just enough self-doubt to prevent him from becoming a sub-human monster, while Rylance subtly portrayed a wry, unflappable spy with a charming mixture of understated humor, stoicism and grim acceptance. I lean towards Hardy, here, although either one seem equally worthy.

In the grand scheme, however, is anyone really going to beat Sly here? Not only does his return performance as Rocky tick off pretty every box on the Academy’s “What We Like” list, it also “corrects” the error of never awarding him a trophy for his initial go-round with the character. They’ll see it as proper and that’s probably as good a reason as any.

—

Best Supporting Actress

Jennifer Jason Leigh, The Hateful Eight

Rooney Mara, Carol

Rachel McAdams, Spotlight

Alicia Vikander, The Danish Girl

Kate Winslet, Steve Jobs

Who Should Win:

Who Will Win: Rachel McAdams, Spotlight

Despite my intentions, I only ended up seeing one of the nominated performances, which is a real shame. Despite enjoying Jennifer Jason Leigh’s full-blooded, foul-mouthed and vilely exuberant performance as the condemned centerpiece in Tarantino’s Hateful Eight, it was still a pretty cartoonish performance and devoid of much nuance or shading. A great performance, mind you, but the kind I would consider one of the year’s best.

Of the ones I didn’t see, I’m going to pull McAdams’ name out of my magician’s hat. I’m not sure how much love Spotlight will see at the Oscars but all reports have indicated that McAdams was a pivotal point in the film’s acting ensemble. At this point, however, it’s definitely a coin toss.

—

Best Picture

The Big Short

Bridge of Spies

Brooklyn

Mad Max: Fury Road

The Martian

The Revenant

Room

Spotlight

What Should Win: Mad Max

What Will Win: The Revenant

At long last, the main event. I ended up screening five out of the eight Best Picture nominees (I didn’t get to Brooklyn, The Big Short or Spotlight, unfortunately), so at least this will be a bit more informed than the Supporting Actor/Actress categories. I enjoyed Bridge of Spies but never found it more than a pleasant diversion: call it Spielberg-lite (very lite), an enjoyable film but altogether forgettable. The Martian was duly impressive when it stuck with the core idea of Damon lost on Mars but became too conventional and rather uninteresting whenever it left the Red Planet and returned to ground control. The Room was an impressive, tense rape/abuse analogy that suffered from the same basic issues as The Martian: when it left the confines of the titular location, the film became much more familiar and infinitely less spectacular.

This leaves us with the final two in the running: Inarritu’s ode to vengeance, The Revenant, and George Miller’s return to the wasteland, Mad Max: Fury Road. Quality-wise, both films are on par, for different reasons: they’re both fully immersive, in their own way, are the furthest things from spoon-fed multiplex pap and demand that audiences keep up if they want the full experience. They’re both technical marvels, The Revenant utilizing nothing but natural light and adverse weather conditions to produce an unparalleled vision of the unforgiving natural world, while Mad Max throws everything (including the kitchen sink) at the screen in an overwhelming successful attempt to portray a world spun completely off the wheels.

At the end of the day, this will be a contest decided by two very different, yet equally exacting, takes on the art of filmmaking. Will the Academy award Inarritu’s hell-and-back approach to filmcraft or will old master Miller finally get recognition for a truly stunning, outsider career that’s managed to spring like Lazarus from the dead? Can Inarritu score back-to-back Oscar wins or is that one lottery ticket too many?

When all is said and done, my gut instinct tells me that The Revenant will end up standing tall. Production narratives have as much to do with a film’s Academy success as anything else and, regardless of what one thinks about the actual film, there’s no denying that The Revenant is pretty much a one-of-a-kind production. I would, personally, rather see Mad Max take the prize but I just don’t think that’s in the cards.

Perhaps I’m wrong, however. One way or the other, we’ll all find out soon. Happy viewings, friends and cyber-neighbors!

Advertisements

The 88th Annual Academy Awards: Who Will Win, Who Should Win (Part One)

Tags

2015 Academy Awards, 2015 Oscars, 88th Annual Academy Awards, Academy Award Nominee, Academy Awards, Oscar nominee, Oscars

Things can always be different. In most cases, they should be different. At the end of the day, however, especially when it comes to awards shows, we can only really deal with what’s in front of us. Taking a look at this year’s Oscar nominees, there’s a whole lot that I would do differently. For one, there’s a lot of female directors that should have been on the list this year (Marjane Satrapi, Shira Piven and Celine Sciamma spring instantly to mind). There are at least a bakers’ dozen of extraordinary films and performances that weren’t so much as nominated (Kristen Wiig, Slow West, Girlhood and Bone Tomahawk are all on the “shafted” list this year). As I’ve said before, so shall I say again: do Academy voters actually watch more than 10 films a year?

All of that being said, we’ll deal with what “could’ve been” in a future post: at this time, we can only examine what was nominated, for good and bad. I did my best to see as many nominated films as I could this year but, as always, there were plenty that slipped through the cracks: Carol, The Big Short, Anomalisa, Mustang, Brooklyn and 45 Years were all films that seemed immensely worthy and right up my alley: unfortunately, we just never ended up being in the same place at the same time. Cest la vie, I suppose: after all, that’s what Mop-Up March is for.

In that spirit, here’s the first part of my educated (or not) guesses at what might tickle Academy voter fancy this Sunday. Part Two will follow later, including my guess at Best Picture.

—

Best Live Action Short

Ave Maria

Day One

Everything Will Be Okay (Alles Wird Gut)

Shok

Stutterer

What Should Win: Stutterer

What Will Win: Shok

This ended up being a pretty tough category due to the consistent quality of the nominees. Ave Maria was fun, if rather slight, and benefited from being the only truly lighthearted one of the bunch. Day One and Alles Wird Gut were intense little micro-movies, bolstered by great performances, if unrelentingly grim. Stutterer ended up being my fave of the bunch: the Irish/UK production was visually dazzling, had a really neat central conceit and used the proper proportions of giddiness and internal suffering. I’m pretty sure that nothing will beat Shok, however: this Kosovoan production is a 21-minute descent into almost abject misery with a climax that (literally) took my breath away. Nothing about this short is fun, in any way, shape or form, but it absolutely deserves to be seen. I’d rather see the more hopeful Stutterer take the trophy but Shok is, arguably, the most deserving.

—

Best Documentary Short

Body Team 12

Chau, Beyond the Lines

Claude Lanzmann: Spectres of the Shoah

A Girl in the River: The Price of Forgiveness

Last Day of Freedom

What Should Win:

What Will Win:

This is one of those categories where I didn’t see enough nominees to make an informed decision. Neither of the two shorts I saw really blew me away: Chau was uplifting and well-made but thoroughly conventional and obvious, whereas Last Day of Freedom had a great, important central concept but lost me due to the stylistic affectations (skittery, animated line drawings that distracted from the powerful story). If I had to guess, Chau seems like the kind of short that the Academy tends to favor but this could really go to any of them, I suppose.

—

Best Sound Mixing

Bridge of Spies

Mad Max: Fury Road

The Martian

The Revenant

Star Wars: The Force Awakens

What Should Win: Mad Max

What Will Win: The Revenant

For me, this is technically a toss-up between the unholy cacophony of Mad Max’s never-ending apocalyptic din and the all-encompassing stillness of The Revenant’s purgatorial chill. While I lean towards the more chaotic side of the spectrum, I think that The Revenant’s momentum will make this an easy lock. Nothing about the sound mix in either Bridge of Spies or The Martian really stood out, although I can’t comment on Star Wars, as that was one of the ones that got away.

—

Best Sound Editing

Mad Max: Fury Road

The Martian

The Revenant

Sicario

Star Wars: The Force Awakens

What Should Win: Mad Max

What Will Win: The Revenant

See my above reasons for Sound Mixing, with the added caveat that I really like the sound editing in Sicario. Despite that, however, I still think Mad Max and The Revenant are the two to beat.

—

Best Visual Effects

Ex Machina

Mad Max: Fury Road

The Martian

The Revenant

Star Wars: The Force Awakens

What Should Win: Mad Max

What Will Win: Star Wars

With its seamless blend of physical effects and CGI, Fury Road was an all-encompassing experience and my easy pick for Best Visual Effects of the nominated films I saw. While Ex Machina was impressive on a smaller scale, I find it hard to believe the Academy will give it much love. The Martian was nice but certainly nothing special, while the effects in The Revenant (barring that terrifying bear attack) were so organic that they never really stood out. All of that said, however, I don’t think that anything will beat Star Wars in this particular category: with so few nominations, tossing it the VizFx statue seems like a no-brainer.

—

Best Costume Design

Carol

Cinderella

The Danish Girl

Mad Max: Fury Road

The Revenant

What Should Win: Mad Max

What Will Win: Cinderella

Although it might seem as if I’m just picking Mad Max in every category, that’s not quite the case. In this example, as with the above, I genuinely think it was the best of the best. With its unique vision of end-of-the-world-couture and a seemingly endless variety of eye-popping outfits, this (to me) is what costume design is all about. Nothing about The Revenant’s costume design really stood out for me, although the organic authenticity was certainly impressive. All of this being said, the Academy really can’t pass up a safe bet and I’m sure that Cinderella’s ball-gowns and fairy-tale fashion will fit that bill to a t.

—

Best Production Design

Bridge of Spies

The Danish Girl

Mad Max: Fury Road

The Martian

The Revenant

What Should Win: Mad Max

What Will Win: Mad Max

This is another category where I just can’t see a lot of competition. The period detail in Bridge of Spies was just fine but certainly nothing special: ditto the science-factual details of Scott’s The Martian. The Revenant looked consistently lovely but seemed rather sparsely designed, barring the handful of scenes in villages and way-stations: it’s overriding strengths were the huge, endless outdoor vistas and that gorgeous natural light. Of the four films I saw in this category, only Mad Max sported the kind of meticulous, exacting attention to detail that’s necessary to make an utterly fantastic world spring to gritty life. I could definitely see The Revenant taking this home, especially if it sweeps, but I still think Mad Max is the most worthy candidate.

—

Best Film Editing

The Big Short

Mad Max: Fury Road

The Revenant

Spotlight

Star Wars: The Force Awakens

What Should Win: Mad Max

What Will Win: The Big Short

If you think about it, Mad Max is really one big, two-hour car chase: that’s a film where editing is not only important but pretty much the sink-or-swim pivot. Not only is the film always coherent and spatially easy to follow, the integration of physical effects and CG work is nothing short of seamless. In a perfect world this would be a lock. That’s not to say that the editing in The Revenant wasn’t seamlessly fluid, mind you, or that any of the ones I didn’t screen might be equally worthy. As far as what will win, however? My money is on The Big Short (which I didn’t screen), which has amassed quite a bit of pre-awards buzz and feels like an all-around safer bet for the Academy.

—

Best Cinematography

Carol

The Hateful Eight

Mad Max: Fury Road

The Revenant

Sicario

What Should Win: The Revenant

What Will Win: The Revenant

Just like last year, there may be several viable choices in the Best Cinematography category but there’s really only one front-runner: Emmanuel Lubezki’s work in The Revenant is pretty much what awards were created for. While The Hateful Eight brought 70mm film back to the masses, it just didn’t do as much awe-inspiring stuff with its vistas as The Revenant did: Tarantino’s newest might smoke lots of the competition but it’s at least a half-step behind Inarritu’s survival chiller. In any other year, either Roger Deakens’ work in Sicario or John Seale’s heart-stopping cinematography in Mad Max would be solid locks for the pole position. As any good Highlander knows, however, there can be only one: this year, The Revenant looks to lop a lot of heads.

—

Best Original Song

“Earned It,” Fifty Shades of Grey

“Manta Ray,” Racing Extinction

“Simple Song No. 3,” Youth

“Til It Happens to You,” The Hunting Ground

“Writing’s On the Wall,” Spectre

What Should Win: “Til It Happens To You,” The Hunting Ground

What Will Win: “Writing’s On the Wall,” Spectre

Despite having seen none of the nominated films, I did manage to listen to all of the individual songs. “Earned It” and “Simple Song No. 3” are both rather forgettable tracks, each one falling into the category of Muzak for one reason or another. “Manta Ray” is a great song but seems too brittle and spare to really go anywhere. Personally, I found Sam Smith’s “Writing’s On the Wall” to be the most banal, middle-of-the-road tune of the bunch, just the kind of forgettable anthem that seems aimed at most Academy voters. Only Lady Gaga’s “Til It Happens to You” struck me as a song suitable for both on and off the screen. I’m predicting that Smith wins by a landslide, naturally.

—

Best Original Score

Bridge of Spies

Carol

The Hateful Eight

Sicario

Star Wars: The Force Awakens

What Should Win: The Hateful Eight

What Will Win: Star Wars

As far as I’m concerned, this category is one of the easiest of the bunch: not only was Ennio Morricone’s score for Tarantino’s Western one of the very best of the year, it was one of the very best of the illustrious composer’s rather incredible career. Menacing, thrilling, driving and as integral to the film as any of the visual components, Morricone’s Hateful Eight scores is one of the rare bits of filmic music (just like his Good, The Bad and The Ugly score) that’s just as good off-screen. Among the others, I found Thomas Newman’s score for Bridge of Spies to be just about the most generic, forgettable one of the year, while Johann Johannsson’s work for Sicario was nothing spectacular. That being said, this is a year that sees legendary composer John Williams nominated for a Star Wars film: in Vegas, they call that a “sure bet.”

—

Best Foreign Language Film

Embrace of the Serpent, Columbia

Mustang, France

Son of Saul, Hungary

Theeb, Jordan

A War, Denmark

What Should Win: Theeb, Jordan

What Will Win: Son of Saul, Hungary

Yet another category where I only got to see one entry but I’m a lot more confident calling a winner in this one: there really hasn’t been buzz for any of the nominees save Son of Saul and that looks set to win by a landslide. That being said, I absolutely loved Theeb and would be overjoyed if that decidedly old-fashioned Western (by way of Lawrence of Arabia) were able to surge ahead and take the prize. Biggest disappointment, here, is not getting to see Mustang, which I’m pretty sure is absolutely amazing.

—

Best Documentary Feature

Amy

Cartel Land

Look of Silence

What Happened, Miss Simone?

Winter on Fire

What Should Win: Cartel Land

What Will Win: Amy

While the worst thing that I can say about any of these entries is that Oppenheimer’s Look of Silence was a disappointment (for me, at least) and a step down from his unforgettable The Act of Killing, the clear winner is Cartel Land. Amy is a well-made, sad look at a popular public figure (hence, my assumption that it will win) and is much less politically-thorny than the Nina Simone biopic, while Winter on Fire hews a little closely to previous nominee The Square. Cartel Land, on the other hand, is a fiercely original, terrifying and massively thought-provoking look at the war on drugs that arrives like an anvil to the face and instantly eliminates the competition. I feel the same way about Cartel Land that I did about The Act of Killing: it should be required viewing for every citizen of Planet Earth.

—

Best Animated Feature

Anomalisa

Boy and the World

Inside Out

Shaun the Sheep

When Marnie Was There

What Should Win: Anomalisa

What Will Win: Inside Out

While I didn’t get to screen Anomalisa in time for the awards ceremony, I have no doubt that Charlie Kaufman’s puppets-in-crisis drama is nothing short of next-level amazing. The very fact that a film like that is nominated in the Animated Feature category makes this year’s selections rather intriguing. Of the others I saw, Shaun the Sheep was a disappointment, being the first Aardman film that didn’t completely charm me. I can’t see anything stopping Inside Out, however, and there’s nothing wrong with that: this genuinely incisive look into childhood emotions and the terrifying joy of getting older and letting go of your youth is the rare “kids” films that’s aimed as squarely at adults as it is wee ones. It’s a genuinely lovely film with a positive message, great voice acting and lots of fun setpieces: I’d be a complete Scrooge if I tried to crap on its rainbow.

—

Best Adapted Screenplay

The Big Short

Brooklyn

Carol

The Martian

Room

What Should Win:

What Will Win: The Big Short

In this particular category, the only films that I got a chance to screen were The Martian and Room: ironically, I had the exact same problem with both films. To whit, the movies are much better when they’re smaller and more contained: when it’s just us and Mark Watney or us and Joy and Jack, both The Martian and Room are virtually airtight. Once they’re expanded to larger canvasses, however, the films lose their impact and become altogether more generic and familiar. From what I understand, The Big Short did a good job of not only compressing a lot of information into its two hours but also in educating its audience on various difficult concepts and terminology. On face value, that seems like a pretty admirable job to me but, as always, my sincerest apologies to the unscreened.

—

Best Director

Adam McKay, The Big Short

George Miller, Mad Max: Fury Road

Alejandro G. Inarritu, The Revenant

Lenny Abrahamson, Room

Tom McCarthy, Spotlight

Who Should Win: George Miller, Mad Max: Fury Road

Who Will Win: Alejandro G. Inarritu, The Revenant

While there may be five individuals nominated here, this particular race is really only about two: Miller and Inarritu. Both longtime auteurs produced staggeringly difficult, singular works, each with more obstacles to overcome than most filmmakers deal with in their entire lives. While Inarritu’s production travails on The Revenant have entered the public zeitgeist in a way not seen since Francis Ford almost lost his marbles in the jungle, I’m Team Miller on this one, all the way. Inarritu used minimalism and natural order (along with an exceptionally game cast) to craft a chilly piece of brutalist art, whereas Miller turned overriding chaos into one of the most beautifully orchestrated, choreographed and riveting pieces of thrash-pop we’ve ever seen. It’s the difference between fire and ice: I’m all about the fire on this one.

—

Best Actor

Bryan Cranston, Trumbo

Matt Damon, The Martian

Leonardo DiCaprio, The Revenant

Michael Fassbender, Steve Jobs

Eddie Redmayne. The Danish Girl

Who Should Win: Leonardo DiCaprio, The Revenant

Who Will Win: Leonardo DiCaprio, The Revenant

I only got a chance to screen The Martian and The Revenant so, again, my apologies for a slightly uninformed opinion here. As usual, Damon was massively charismatic, the kind of matinee idol who can easily carry a film on nothing more than his “aw shucks” bearing and goofily endearing grin. That being said, there also wasn’t anything here we haven’t seen from him in the past: it’s a great performance from a great actor but it never struck me as the best of the year. As far as DiCaprio goes, we’ve all heard the narrative of woe, by this point: nearly frozen to death in the frigid wild; forced to eat steaming animal liver, puking it back up in the take that actually makes the final cut; crawling through icy cold water for days on end; taking a bite out of a living fish…if Olivier thought Dustin went a bit overboard, wait’ll he gets a load a this guy, eh?

The thing is, DiCaprio is great in The Revenant for more than his ability to go the extra mile (literally). He does a lot with a relative scarcity of dialogue, slipping into the strong, silent antihero (ala classic Eastwood and Bronson) with a surprising ease: it’s like we blinked and Jack suddenly became a man. He’s always 100% invested in the character (obviously) but he brings that investment to all the small things, as well: the expressive eyes and skittering glances…the constant, realistic pain and reactions to the elements…those rare moments where peace and calm slip across his face before being brushed aside. If the point of a Best Actor nomination is to award the actor who gave us the most immersive, fully-formed and complete character interpretation of the proferred group, I’m pretty sure that DiCaprio fits that definition. Go ahead: give Leo the damn trophy, already.

—

Best Actress

Cate Blanchett, Carol

Brie Larson, Room

Jennifer Lawrence, Joy 

Charlotte Rampling, 45 Years

Saoirse Ronan, Brooklyn

Who Should Win: Brie Larson, Room

Who Will Win: Cate Blanchett, Carol

This, alas, was a category where I only got to screen one film, making my ultimate analysis a bit of a dice toss. I thoroughly enjoyed Brie Larson’s portrayal of the imprisoned mother, however, so I don’t feel bad tossing all my support behind that. She’s always been a great actress (Short Term 12 was absolutely amazing) and her performance here is full of subtle moments and quiet gestures that say more than a thousand lines of dialogue ever could. It’s a difficult role, emotionally, but Larson turns in a pretty stunning performance. All of that being said, however, I have a sneaking suspicion that Cate Blanchett will actually win this particular award. Call it a hunch, intuition or just the notion that Room may have been a bit too small to gain as much attention (despite its Best Picture, Director and Actress nods) but I just have a feeling. I could also see Charlotte Rampling taking this, although 45 Years was another film that didn’t seem to receive as much attention from the Academy.

Stay tuned for Part Two, faithful readers.

5/10/15: A Real Wild Child

Tags

2015 Academy Awards, 87th Annual Academy Awards, abusive childhood, Art Alexakis, based on a book, based on a true story, Best Actress nominee, Best Supporting Actress nominee, brother-sister relationships, casual sex, Cathryn de Prume, Cheryl Strayed, cinema, Dallas Buyers Club, dead mother, director-editor, dramas, drug addiction, dysfunctional marriage, film reviews, films, flashback narrative, flashbacks, Gaby Hoffmann, grief, hiking, infidelity, isolation, Jean-Marc Vallee, Keene McRae, Kevin Rankin, Laura Dern, Martin Pensa, memoir, mother-daughter relationships, Movies, multiple editors, Nick Hornby, Oscar nominee, overcoming adversity, Pacific Crest Trail, Reese Witherspoon, self-discovery, self-help, self-improvement, set in 1990s, sex addiction, Wild, Yves Bélanger

Author C.S. Lewis once described grief as “like a long valley, a winding valley where any bend may reveal a totally new landscape.” While this is certainly a poetic and serene way to look at it, I’ve always equated the emotion with something older and a bit more mythological, personally. As far as I’m concerned, grief is a hydra: cut off one head and numerous ones sprout up to take its place. In order to truly overcome grief, one needs to get right to the heart of the matter…trying to tackle each individual feeling, each moment of pain, sorrow and heartbreak is as pointless a task as Hercules trying to sever each individual head, only for two more to grow back. In order to truly overcome grief, one must confront the inciting incident head on: emotional honesty, no matter how painful, is the only true way out.

When Cheryl Strayed started out on her 1,100-mile trek down the Pacific Crest Trail, from Mexico to Canada, she was motivated by grief: after losing her beloved mother to cancer, Strayed spiraled into a mess of drug addiction, marital infidelity and self-destructive behavior, culminating in the realization that she either had to get better or risk a complete and total meltdown. Her intensely arduous undertaking (difficult for an expert hiker, all but impossible for a complete novice like Cheryl) would begin as a way to find some sort of peace in her life but would end with her finding something more important: herself. In the hands of French filmmaker Jean-Marc Vallee, Strayed’s journey comes to vivid life with Wild (2014), based on her memoir of he experience. While the story is an interesting rumination on grief, the film ends up being disjointed and rather rote, a decided step down from Vallee’s previous effort, the similarly Oscar-nominated Dallas Buyers Club (2013).

Employing a flashback structure, Wild starts us in the “present day” (June 1995), as Cheryl (Reese Witherspoon) is just beginning her incredibly long hike, before jumping us backwards to get a sense of the events that led up to her decision. We see her relationship with her hard-working, single mother, Bobbi (Laura Dern) and younger brother, Leif (Keene McRae)…we see Cheryl and Bobbi taking college classes together…we see Bobbi diagnosed with a particularly vicious form of cancer…and, of course, we see Cheryl’s life collapse around her after the death of her mother. Falling into a toxic combo of drug addiction (first smoking, then snorting, finally shooting smack), casual sex with strangers (particularly troublesome given her current married status) and self-hatred, Cheryl seems doomed, burning alive by the intense heat of her own grief.

After hitting rock bottom, Cheryl makes the spur of the moment decision that would end up changing her entire life: she decides to hike all 1,000+miles of the Pacific Crest Trail, alone, with no previous hiking experience. Her (now ex-) husband, Paul (Thomas Sadoski), is cautiously supportive. Her best friend, Aimee (Gaby Hoffmann) thinks she’s nuts. Regardless, Cheryl sets out on her journey with no idea of what she’s doing, a pack that’s at least five times heavier than it should be and more determination than a small city. Along the way, Cheryl will see plenty of natural beauty, run into a few natural hazards and meet lots of interesting folks, including fellow hikers, a kindly farmer, a reporter for the “Hobo Times,” sinister hunters and a Grateful Dead cover band. She’ll learn to rely on herself and the kindness of strangers but she’ll also learn an even more important lesson: no matter how white-hot the pain of grief may be, life does, in fact, go on. Sometimes, all we can do is go along for the ride and see where it takes us.

As a story, Wild has an almost irresistible pull: there’s something primal and inherently satisfying about watching a damaged, fractured human being take a healing journey, especially when the backdrop is the awe-inspiring beauty of the great outdoors. Witherspoon does a great job bringing Cheryl to life, making the cinematic version feel like a real, flesh-and-blood person as opposed to just a character. As usual, Witherspoon is an all-in performer: in order to fully appreciate Cheryl’s redemption, we need to see her degradation and Witherspoon holds nothing back, whatsoever, resulting in one of her rawest roles since Freeway (1996). While I didn’t think that her performance in Wild was the very best of last year, it certainly deserved the Oscar nomination and proves, if nothing else, that she continues to defy the expectations imposed on “mainstream” Hollywood starlets by the industry, as a whole.

While Witherspoon’s performance is typically strong, however, the film is a lot more problematic, in general. My biggest complaint comes via Vallee’s flashback structure, which ends up doing two things, neither of which seems desired: it tends to make the narrative unnecessarily confusing (in particular, the timeline seems all over the place) and makes the film feel like more of a series of vignettes than a cohesive whole. For the most part, the film breaks down thusly: Cheryl walks around, flashes back to drug use and orgies, meets interesting folks, lather, rinse, repeat. In short order, Wild begins to seem distressingly formulaic, which certainly robs the film of much of its tension: even during presumably high-stakes moments like the redneck hunters, Wild seems constrained by its structure.

There’s a sparse, spare quality to much of the film that’s both lovely and thematically important (Cheryl is, after all, desperately searching for some sort of stillness within herself, the same stillness echoed by the natural landscape) but this spare quality is constantly dashed by the endless flashbacks. Perhaps if the peeks into the past had felt more organic and motivated, as opposed to part of a regimented structure, they would have retained more impact and had less (negative) effect on the film’s tone. As it stands, however, Wild ends up feeling more disjointed and piecemeal than it does cohesive.

I also had a problem with the relationship between Cheryl and her mother, at least as depicted in the film. While I’m not familiar with Strayed’s actual memoir, I have to assume that the intense connection between her and her mom is better delineated on the page than it is on the screen. As depicted, however, we really don’t get a clear sense of this devotion: Bobbi seems quirky, positive and fun-minded, sure, but the flashbacks to her and Cheryl don’t seem to hint at an on-screen relationship that’s any more intense than any other cinematic mother-daughter pairing. Losing her mother seems to be the catalyst for Cheryl’s spiral into a drug and sex-fueled hell but, prior to her death, the pair just seem to get along okay: for me, at least, this ended up being a bit of a disconnect from the film.

Acting-wise, Wild is full of good performances, although the vast majority end up being short, bite-sized little bits as opposed to more substantial scenes: this is very much the story of Strayed and Witherspoon is, for the most part, always the focal point. Despite garnering a Best Supporting Actress nomination, I wasn’t particularly impressed by Dern’s performance as the doomed Bobbi: despite being a big fan, her transition from happy-go-lucky to hair-pulling felt too abrupt and nothing really stuck out for me. Ditto for Gaby Hoffmann, who ends up with a few minutes of screen time as Cheryl’s friend, which seems a bit of a waste given Hoffmann’s ability to handily steal focus. Kevin Rankine is personable as Greg, the hiker that Cheryl keeps bumping into on the trail, but Keene McRae is fairly awful as brother Leif…it’s a real “six of one, half-dozen of the other” scenario.

Ultimately, I enjoyed Wild but was never blown away: considering how great I thought Dallas Buyers Club was, this definitely struck me as a bit of a disappointment. While I think the core story is a fascinating one (if the notion of a complete novice hiking over a thousand miles to “find” herself doesn’t strike you as fascinating, the core issue definitely doesn’t reside with the movie), the actual film never really clicked for me. To each their own, of course: while the actual film ended up being a bit of a let-down, Strayed’s story is interesting enough to make this worth a watch, even if it’s decidedly more run-of-the-mill than it could have been.