Worst: “The Big Sick” now needs a big Wednesday from SAG
So, you gotta feel for Kumail Nanjiani and Emily V. Gordon. The creative forces behind “The Big Sick,” the story of how they met no less, campaigned heavily with the HFPA to recognize their big indie hit. Granted, a lot of actors, writers and directors are campaigning, but for the HFPA to completely snub the movie was eye-brow raising. Especially as it was more warmly received by critics (by a mile) than “The Disaster Artist” or “I, Tonya.” The Amazon Studios acquisition still has a shot at a Best Picture nomination, but it’s going to need some love from SAG on Wednesday to push it through.
Worst: O.K., we get it, you want to reward new faces in television
Dear HFPA, it’s time to change the title of your Best Performance by an Actress in a Television Series – Comedy category to “Best Performance by a New Actress in a New Television Series (and maybe an old favorite if we really have to).” This year’s crop featured just two actress on a show not in its inaugural season and that was the aforementioned Issa Rae for her work in “Insecure’s” second go around and Pamela Adlon for the second season of “Better Things.” Should Allison Brie, Rachel Brosahan and Frankie Shaw be recognized? Sure, but how about in a category that honors actors and actresses in “new” programs? Not only does that allow the HFPA to differentiate itself and keep its “forward thinking” reputation for television, but also makes sure it doesn’t embarrass itself by ignoring the achievements of Louis-Dreyfuss, Ellis Ross, Lily Tomlin, Allison Janney and Ellie Kemper, among others.
Best: “First They Killed My Father” and “In the Fade” have a moment
There are many who will be dismayed that “BPM” or “Foxtrot” didn’t make the Foreign Language Film cut, but you won’t find me complaining that Angelina Jolie’s “First They Killed My Father” or Faith Akin’s “In The Fade” were recognized instead. Either film may not make it to Oscar’s final five for FLF but both are remarkable for different reasons. Many are pushing for Gerwig, Rees or Jenkins to crack Oscar’s male-dominated Best Director race, but – hot take – it’s actually Jolie who deserves it the most. Effectively a silent picture, “First” is masterful filmmaking through the eyes of a child. What Jolie pulls off here is simply not getting the credit it deserves, but the HFPA recognized it at least (even if some of them sadly vote based on her star power alone). “In The Fade” may have some issues in its second act (although it works more on a second viewing), but Diane Kruger‘s Cannes-winning performance is hands down one of the best of the year. She’s sadly being overlooked in the Best Actress race (and by critics groups) and any spotlight she finds is worth the film making the cut.
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