When that creepy clown came back to scare the hell out of us again It became the highest-grossing opening for a horror film of all time. That said, it’s a well known fact the Academy doesn’t err on the side of horror. So even though Pennywise could’ve easily appeared in the Best Makeup category for turning a tall, blonde Swede (Bill Skarsgård) into a monster, they left him hanging, or… floating.
It’s a shame this sensuous southern Civil War tale was shut of the Oscars given Sofia Coppola was the first woman to take the Best Director prize at Cannes since 1961. With gorgeous, dreamy cinematography and costumes evocative of Peter Weir’s Picnic At Hanging Rock surely The Beguiled could have fit into at least one category.
A Ghost Story
A Ghost Story might be just that bit too arthouse for Academy tastes, but then again in 1990 Ghost won two Oscars out of five nominations. Both movies have a similar story but director David Lowery goes much further bringing us to bolder places and his risk-taking pays off leaving us with a movie that lingers on in your head. The original score was a winner not to mention the final act for film editing.
The Killing Of A Sacred Deer
I haven’t stopped banging on about how brilliant Barry Keoghan is since seeing this movie. Never has eating spaghetti looked so sinister. His performance is perfect as he goes from awkward teenager into someone so unnerving it’s hard to watch, albeit rather mesmerising. Keoghan is definitely award worthy here, helped along by Colin Farrell and Nicole Kidman.
This New York thriller is hella sketchy from the get-go. It brings you on a bumpy night out with some shady characters you never ever want to dabble with. The Safdie Brothers who directed it deserved to get an Oscar nomination, as well as Robert Pattinson who proves he’s becoming a serious talent playing such a convincing convict. Plus the electronic score throughout is sleek too.
Like Robert Pattinson, Kristen Stewart bids to be taken as a serious actor now that her Twilight years are behind her. Having seen her shine in Clouds of Sils Maria, Stewart delivers again here in what critics are calling her career-best.
In this film about… what was it about? This link may help. Unfortunately for Aronofsky it seems it was just too polarising a film to be a best picture or best director contender. However, Michelle Pfeiffer was epic and the sound design was even epic-er so I’m beginning to think I need to write a strongly worded letter to the Academy.