Nomadland
Gillipedia Official Rating: Oh so bad, man
This film is very simplistic in many
ways. It’s almost even a documentary where there’s really only a couple of
actual actors and then the rest of the cast are just real life people who live
the nomadic lifestyle whether that be in their RV or van. Nomadland
follows Frances McDormand around after her husband has died and the factory in
her small town is shut down. Ove the course of the film, McDormand works about
10 odd-end jobs and travels around the Midwest. And personally, I was bored out
of my mind watching this film. Let’s see why.
So here’s why. There is little to sink
your teeth into. We follow McDormand around as she struggles through this
latter stage in her life, and with the exception of her encounters with The
Bourne Ultimatum actor David Straithairn, there’s no growth along the
journey to really speak of. Every interaction reinforces the hard times she’s
dealing with. What you see in the first 30 minutes equates roughly to what you
see in the last 30 minutes. So then why is this film nominated for 6 Oscars
including Best Picture and is the frontrunner for Best Director? I believe it’s
because of the overall message that is trying to be portrayed. And I get
that—for anyone who enjoyed this film, I get it. The point I took away is that
McDormand’s character is well-educated, kind-hearted, and hard-working, and
despite all of it—including her desire to make it on her own and not accept
help—she still struggles in the time of her life where it’s expected for her to
sit back and relax and tell her grandkids about her memories growing up. This
film does get all of that across in a natural way. But it’s not entertaining in
the slightest.
We watch different movies for
different reasons. I didn’t come into this film expecting the same visceral
reaction I have from watching Godzilla vs Kong or John Wick. But
if my mind is wandering after 30 minutes, then from an artistic perspective of
choosing film as the medium to portray your message, this fails to that degree. One of the Oscar nominations is for Best Adapted Screenplay, and
that’s the most curious one for me. There’s not much dialogue here. It’s a
bunch of McDormand wandering around and occasionally listening to these
wanderers tell some stories that, to be honest, aren’t very engaging. If you’re
looking to watch an aging woman slowly walk against the backdrop of a sunset
for a solid 10 minutes of the runtime, this is the film for you. Early on
there’s a single shot like this that was quite impressive for about 20 seconds.
After that, however, it was still just McDormand roaming around one of the
camps and another 45 seconds go by without anything of value happening. That’s
not interesting to me. But let me leave it at this. Within the first 20
minutes, we witness McDormand take a piss, blow her nose, gurgle some mouth
wash, and have the wettest #2 put out on screen since, like, I don’t know, Jim
Carrey in Ace Ventura. Does it go along with showing what her lifestyle
now is? Sure. But does that make me want to see it? No. God no. And instead of
describing a shot that happens about halfway through the film and really only
lasts a couple of seconds, I’ll let this clip do the describing for me.
https://www.youtube.com/watch?v=jqDGK_UjfFI
As for the cast and crew, I think the
Best Actress nominee for McDormand is certainly deserved. She’s committed to
the film, and it’s what I would describe as an understated performance. I don’t
believe it’s enough to win the award, but the nominee is deserved. And with
director Chloe Zhao, she is likely to win Best Director, but I don’t think she
should. And although I most likely don’t have to state this, I will anyway. My
thoughts on her directing has nothing to do with her gender, race, age, or any
other factor, it is strictly on the result. I don’t really have issues with the
way she directed; in fact, for the tone she was trying to achieve, I think she
gets it quite well. But even in a pretty lackluster year, I have a different
pick that I think deserves the award more, and I’ll reveal that later.
As far as slightly more technical
aspects, there’s an overwhelming amount of scenes that are simply McDormand and
1 other person talking. It’s pretty standard to have 3 different views for
static conversations like this: a shot over each of the characters’ shoulders,
and a further away shot from between the two to act as the wide shot. With this
film you frequently only get those first 2 shots and not the wide shot. My
belief is that this again contributes to that documentary feel where the
audience feels like it’s following McDormand around and has us simply listening
and observing her interactions. Many of the scenes also appear to only be
naturally lit. And not in the beautiful way like The Revenant, more like
hardly being able to see inside the van when McDormand is in there at night.
Again, it’s a style that of course isn’t trying to mimic The Revenant or
whoever, but from an entertainment perspective, it doesn’t quite click for me.
Oh, but I haven’t said my biggest
critique yet. There’s a distinct scene I remember where McDormand visits a
friend’s house. She rings the doorbell, waits 5 seconds, and after no response,
proceeds to ring it 5 more times in quick succession. That is criminal.
As the credits roll and the cast
members’ names match up to their respective character (even Frances McDormand’s
character is Fern and she checks into a hotel early on in the film where she
says they will find her name under MCD), there’s some good moments to remember
like the very occasional score that is piano-heavy, McDormand’s performance,
and the rare beauty shot of nature. There aren’t huge revelations, and there
simply isn’t enough of a plot to propel the messaging that this film brings
across with its simplistic journey. I struggled mightily to keep paying
attention. If this film wins Best Picture, it must be the most boring winner
since The English Patient (a film I admittedly haven’t watched). Watch
it if you so desire. I won’t stop you by any means. But it just wasn’t a film
that entertained me.
Minari
Gillipedia Official Rating: Way better. Like on a scale, at least 10x better
Also nominated for 6 Oscars, Minari
is a film about a Korean family who moves to Arkansas in the 1980s with little
money but a large plot of land to start a farm. This film is about 90% in
Korean, and I meticulously studied the language the last 2 years in order to
understand the film. Don’t mind that there are subtitles, true professionals
like me have no need for such things. Minari is interesting in that in
won the Golden Globe for Best Foreign Language film, but since it takes place
in America, it’s not eligible for the Oscar for Best International Feature
Film. This film will also be competing with Nomadland for Best Picture
and Director. But like Nomadland, this film doesn’t have huge set pieces
or big moments. And yet, the entertainment value was through the roof for me.
Where’s the differences?
I’m glad I asked. What this film boils
down to is incredible storytelling. There’s the overarching plot of Yeun
starting a farm to provide for his family, but each member has their own
intricacies that hold so much weight on their own. Yeun’s character Jacob and
his wife Monica both work at chicken farms staring up the chicks’ butts all day
to separate the males and females, but Jacob wants to succeed with the farm to
show his kids that he is something, and Monica wants to continue going to church
and also focus on her work to ensure there will always be something to provide
on the dinner table, notably lots of kimchi. The daughter Anne is still just a
kid, but she is protective of her brother and shows maturity even when her
parents are clearing struggling. And enormous credit must go to the son of the
film David, played by Alan Kim. He has a heart condition that is a constant
worry for his parents, and it doesn’t allow him to play around like a regular
kid would be able to. This continues to play throughout the film, but once the
grandma, Monica’s mother, arrives and stays with the family about 30 minutes
in, her dynamic with David is incredible. It’s the first time they’ve met, and
they have to share a room together. This bothers bed-wetting, shy David, and
watching the two interact throughout is an absolute joy. It makes me incredibly
happy that the grandma played by Yuh-Jung Youn is nominated for Best Supporting
Actress. I won’t give away anymore about her role and what happens, but she
gives a terrific performance.
Steven Yeun also turns in a great
performance as Jacob and deserves his nomination. I’m not too familiar with the
other nominees for Best Supporting Actress besides Amanda Seyfried in Mank,
but I thought Yeri Han as Monica could’ve easily been nominated.
So there are a couple big moments that
do happen in the film, but they play in pretty small ways. And what I mean by
that is you won’t really find dramatic music playing that much or a character
speak exactly what they’re feeling. Instead, the characters’ quirks that have
been building up may get a pay-off that only lasts a couple seconds and won’t
even be highlighted. There’s potential to try to play to these moments more,
but it actually feels even more rewarding for the investment you make over the
2 hours spent with this family to see what comes together. Even though the
following quote could be applied to Nomadland, it fits Minari
just that much more. “Success is never so interesting as struggle.” –Willa
Cather
Now despite my high praise, this film
isn’t perfect. Although Will Patton is a very interesting character, I think he
overplays things too much. But I hate to say the worst thing about the movie is
in its ending. Without giving too much away, it follows a trend I’ve seen from
modern films over the past couple of years. With Minari it actually
works and is even what I would call a good ending that fits; however, there’s
still a slight tinge of laziness in it as well. For as many small pay-offs as
there are, the film doesn’t quite feel complete. It’s hard to call this movie
my favorite to win Best Picture because of the ending and the fact that I
haven’t watched all the nominees, but it’s a very, very good film. I had the
pleasure of watching this film on the big screen, and I’d take it over Nomadland
any day. Anybody looking for an intimate look at the struggles of an immigrant
family struggling and also making the most of their lives will come away with
such a rich experience for having watched Minari. I tip my hat and applaud
the emotional journey it brought me on.
Oscars 2021 Predictions
With so much being pushed back and so few
people watching movies in an actual theater, the Oscars this year lacks a
certain pizazz that it usually culminates. They’re also still scrambling to
think of new ways to stay afloat with their dropping ratings year after year.
Not having Jimmy Kimmel as a host is a start. He’s not good. I said it, and I
won’t apologize for it.
I’ve done my best to watch what I can,
but I didn’t make it around to everything. But that doesn’t stop me from still
providing my opinions that nobody asked for!
Best
Picture:
What will
win: Minari.
There’s only 3 nominees I haven’t seen, but I don’t expect any of them to win
anyway. I think Judas and the Black Messiah is a strong choice, but
after watching both my pick and Nomadland, I have to make a terrible strategy
and assume that the Academy will agree with me that Minari should win.
Gill’s
Pick: Minari. With
fellow Korean film Parasite winning last year, I feel that draws away
slightly the accomplishment it would be for Minari to win, and that
opens the door to a couple of other nominees. But make no mistake. Minari
deserves it this year.
Best
Actor:
Who will
win: Chadwick
Boseman. I haven’t seen his performance truth be told. Gary Oldman does a solid
job in Mank, but it’s not quite what he did as Winston Churchill, and I
can’t imagine Steven Yeun or Anthony Hopkins quite pulling the win out.
Gill’s
pick: Chadwick
Boseman. I’m very tempted to say Yeun here, but I’m trusting that Boseman’s
performance is as good as it sounds. Would’ve liked to see Denzel nominated for
The Little Things.
Best
Actress:
Who will
win: Andra Day.
Using the Golden Globes as my guide here. Nomadland’s script doesn’t
provide enough for McDormand to do to win. Carey Mulligan could be an upset.
Gill’s
pick: Andra Day.
McDormand is the only one I’ve seen. And she’s not winning it.
Best
Supporting Actor:
Who will
win: Daniel Kaluuya.
His “I am a revolutionary” is a standout scene and I feel confident he will
win.
Gill’s
pick: LaKeith
Stanfield. I’ve seen much of Stanfield’s work, and he is a tremendous actor. I
think he actually brings more depth to a conflicted character in Judas and
the Black Messiah and should win for it. Side note: disappointed to not see
Jared Leto nominated for The Little Things. He was the most captivating
performance and gives any of the other nominees a run for their money.
Best Supporting
Actress:
Who will
win: Olivia Colman.
She feels like the kind of actress the Academy loves to love. I can’t take that
educated of a guess here.
Gill’s
pick: Yuh-Jung Youn.
I love seeing her nominated here. She’s the best performance in Minari
and I think she absolutely deserves the Oscar.
Best
Director:
Who will
win: Chloe Zhao. 10
years ago David Fincher may have been the winner for how he truly brought back
the 30s and 40s Hollywood era in Mank, but that’s not to say he’s
totally deserving of it either. Zhao does an impressive job, but I’m not
convinced it should be enough to win.
Gill’s
pick: Lee Isaac
Chung. I have to keep giving the love to Minari. I’ve seen 3 of these 5
nominee’s films, and Minari is simply the best directed.
Best Original
Screenplay:
Who will
win: Aaron Sorkin.
It’s not his best work, but it’s still Sorkin.
Gill’s
pick: Will Berson
and Shaka King. I can’t believe I’m going against Sorkin, but I think Judas
and the Black Messiah has it this year.
Best
Adapted Screenplay:
What will
win: The Father.
This is a wild guess here. With how little goes on, it better not be Nomadland.
Gill’s
pick: Pick em.
Best
Cinematography:
What will
win: News of the World. I liked this movie, but I think critics enjoyed it more than I did.
Would’ve liked to see Tenet and Minari on this list. In a
reversal of previous opinions, Nomadland wouldn’t be a bad choice here.
Gill’s
pick: Nomadland. Of
the choices provided, yeah. Mank’s black and white cinematography and Citizen
Kane feel is nothing to be slept on though.
Best
Editing:
What will
win: Nomadland. Editing
didn’t stand out as anything special. Again, would’ve liked to see Tenet
nominated here.
Gill’s
pick: The Trial of the Chicago 7. Lots of moving parts and characters. It’s balanced well
here.
Best
Production Design:
What will
win: Mank. It’s one
of the highlights of the film. News of the World would be a solid choice
as well. Surprised to not see the terrible Mulan recognized for one of
the few things that film did right.
Gill’s
pick: Tenet.
Finally, I get to pick Tenet for something. From the opening action sequence
to crashing an actual plane, c’mon, can’t beat that.
Best
Costume Design:
What will
win: Mulan. All
these picks make sense. I did really like the costumes here though.
Gill’s
pick: Mulan.
Best Sound:
What will
win: Soul. They
finally combined sound editing and mixing. Wouldn’t be surprised to see any of
these films win.
Gill’s
pick: Soul.
Best
Makeup and Hairstyling:
What will
win: Emma. Went off
the posters for this one.
Gill’s
pick: Emma. Finally
a category that I know everything about.
Best
Score:
What will
win: Soul. The score
here truly is good, but if I’m being honest, I thought the jazz from the
beginning of Monsters, Inc. was better.
Gill’s
pick: News of the World.
Best
Original Song:
What will
win: “Speak Now.” I
think they show Leslie Odom Jr. and One Night in Miami a little love.
Gill’s
pick: “Speak Now.” I
think it’s between this and “Fight For You.”
Best
Visual Effects:
What will
win: Mulan. They’re
pretty good. But through poor directing, editing, and the need to make this
movie, I don’t think it’s deserving.
Gill’s
pick: Tenet. I’m
more impressed of course by what Nolan does practically, but I wouldn’t readily
be able to identify what was visual effects in this film, and that’s why I think this should
win. I’m also shocked that The Invisible Man isn’t on here.
Best
Documentary:
What will
win: Pick em. I’ll
laugh if it’s the octopus one though.
Gill’s
pick: Would choose
HBO’s The Vow if it were eligible.
Best
Short Documentary:
What will
win: A Love Song
for Latasha.
Gill’s
pick: Yeah right,
like I actually know.
Best
Animated Film:
What will
win: Soul. This is a
no-doubter.
Gill’s
pick: Onward. I hate
to be that way, but although it’s not a top tier Pixar film, I think Onward
actually had more of a lasting impression. There’s plenty to love from Soul,
but I don’t think it truly reached its potential.
Best
Animated Short:
What will
win: Burrow. I’ve
actually seen this, and it’s the most adorable 6 minutes you can spend. It’s on
Disney+. Go watch it.
Gill’s
pick: Burrow.
Best Live
Action Short:
What will
win: The Letter Room.
It has Oscar Isaac.
Gill’s
pick: The Letter Room.
Best
International Film:
What will
win: Another Round.
It has Mads Mikkelsen.
Gill’s
pick: Another Round.
Haven’t seen any of these, but Another Round is also nominated for Best
Director, so I feel like that’s a pretty good indicator.
And there you have it! I can only go
off educated guesses and the films I have seen. If there’s any I haven’t
watched but you think I should, by all means let me know. And if there’s any
hidden gems that should’ve been nominated for something but wasn’t, I’m
especially interested in those. See you next year!.. Or uh, until the next
review.
