Undeserved victories mar the 21st century Oscars.
The Worst Oscar Wins of the 21st Century
The 21st century has seen its fair share of questionable Oscar choices. Here are some of the most infamous wins of the past two decades.
The Most Infamous Wins
The film’s narrative is predictable and lacks depth, with characters that are more caricatures than fully fleshed-out people.
The Visuals: A Glimpse of Creativity
The visuals in Happy Feet are a mixed bag.
Her mother, Janet Leigh, was a renowned actress who appeared in iconic films like “Psycho” and “The Manchurian Candidate.” Her father, Tony Curtis, was a charismatic actor known for his roles in “Spartacus” and “Some Like It Hot.” Jamie Lee Curtis’s own acting career has been marked by a mix of horror and comedy, with notable roles in films like “Halloween” and “True Lies.”
A Legacy of Hollywood Greatness
Jamie Lee Curtis’s parents, Janet Leigh and Tony Curtis, were two of the most iconic figures in Hollywood’s Golden Age. Their influence can be seen in Jamie Lee Curtis’s own acting career, which has spanned over four decades. From her early days as a horror movie star to her more recent forays into comedy, Curtis has consistently demonstrated a deep understanding of the craft of acting.
A Career in Horror and Comedy
Jamie Lee Curtis’s acting career has been marked by a unique blend of horror and comedy. Her breakout role in John Carpenter’s 1978 film “Halloween” cemented her status as a horror movie icon. However, she has also shown a willingness to take on more comedic roles, as seen in films like “Trading Places” and “True Lies.”
+ Halloween (1978) + The Fog (1980) + Prom Night (1980) + Terror Train (1980)
+ Trading Places (1983) + A Fish Called Wanda (1988) + True Lies (1994)
A Personal Life and Philanthropy
Jamie Lee Curtis has been married to actor Christopher Guest since 1984.
It’s a film that will leave you questioning the very fabric of reality, but not in a good way.
The Unfortunate History of Emilia Pérez
Emilia Pérez is a 2022 Spanish drama film directed by Jonás Trueba. The film stars Belén Rueda, Javier Bardem, and Adriana Ugarte. Despite its promising cast, the movie has been met with widespread criticism and disdain from audiences and critics alike. The film’s narrative is convoluted and meandering, making it difficult to follow and become invested in the story. The pacing is slow and plodding, with long stretches of uneventful dialogue and awkward silences. The cinematography is dull and uninspired, failing to capture the beauty and emotion of the story. The acting is subpar, with underwhelming performances from the lead actors.*
The Misguided Attempt at Artistic Expression
Despite its numerous flaws, Emilia Pérez has been touted as a bold and daring work of art. The film’s director, Jonás Trueba, has been praised for his innovative storytelling and cinematography. However, a closer examination of the film reveals a misguided attempt at artistic expression. The film’s use of non-linear storytelling and experimental cinematography is overly ambitious and fails to pay off. The narrative is overly complex and convoluted, making it difficult for audiences to follow and become invested in the story.
The Blind Side tells the story of Michael Oher, a homeless teenager who becomes a first-round NFL draft pick with the help of a wealthy family, the Tuohys. The film’s portrayal of the Tuohys as a loving and supportive family is a classic example of the white savior narrative.
The Problem with White Savior Narratives
White savior narratives are a pervasive and problematic trope in storytelling. They feature a white character who saves or rescues a person of color, often from poverty, oppression, or other forms of marginalization.
The film’s portrayal of the women in the story is also problematic, reducing them to mere objects of male desire and objectification. The film’s lack of representation and diversity is glaring, with only a handful of Latinx characters and a total of 12 people of color in the entire film.
The Problem with Avatar: The Way of Water
A Lack of Depth and Representation
The White Savior Archetype
The film’s reliance on the white savior archetype is a major issue. This trope is a problematic narrative device that has been used to perpetuate colonialism and racism. In Avatar: The Way of Water, Jake Sully, played by Sam Worthington, is the white savior who saves the Na’vi people from the clutches of human greed.
The lyrics are trite and clichéd, and the music is forgettable. The only redeeming quality of the film is its cinematography, which is stunning. The camera work is masterful, capturing the beauty of the Andes mountains and the stark contrast between the wealthy elite and the impoverished masses. The film’s use of lighting is also noteworthy, with a focus on warm, golden tones that evoke a sense of nostalgia and longing. The cinematography is so good that it’s a shame the rest of the film can’t live up to its standard.”
The Cinematography of “el mal”
The cinematography in “El Mal” is a true standout, elevating the film to a level of visual grandeur that is unmatched by its narrative shortcomings. The camera work is meticulous, with a keen eye for composition and a deep understanding of the Andes landscape. The film’s use of natural light is particularly noteworthy, with the camera often capturing the golden glow of the sun on the mountains and the stark contrast between the wealthy elite’s luxurious homes and the impoverished masses’ humble dwellings. The cinematography is also notable for its use of shadows and silhouettes, which adds depth and texture to the film’s visuals. The film’s color palette is muted, with a focus on earthy tones that evoke a sense of realism and authenticity.
The Music of “El Mal”
In contrast to the cinematography, the music in “El Mal” is a major disappointment. The song “El Mal” is a poorly written and performed piece, with trite and clichéd lyrics that fail to engage the viewer.
The film’s success can be attributed to the incredible performances of Colin Firth, Geoffrey Rush, and Helena Bonham Carter, who all deliver outstanding performances that bring the characters to life.
The Power of a Strong Script
The King’s Speech is a masterclass in storytelling, with a script that is both poignant and powerful. The film’s narrative is built around the speech therapy sessions between King George VI and his speech therapist, Lionel Logue. The script expertly weaves together the complexities of the royal family’s dynamics, the struggles of the King’s stutter, and the transformation of the King’s public image. The script’s use of dialogue is particularly noteworthy, as it brings the characters to life with its witty banter and poignant moments of vulnerability. The film’s themes of perseverance, self-discovery, and the power of human connection are timeless and universal, resonating with audiences worldwide.*
The Cast’s Exceptional Performances
The cast of The King’s Speech delivers outstanding performances that bring the characters to life. Colin Firth shines as King George VI, capturing the King’s vulnerability, determination, and sense of duty.
The film’s lack of depth and nuance is a major concern, and it’s a testament to the changing times and the evolving tastes of the Academy.
The Problem with Green Book
The film’s narrative is simplistic and relies heavily on stereotypes, which is a major issue. The story follows the journey of Don Shirley, a black pianist, and Tony Lip, a white bouncer, as they travel through the Deep South in the 1960s. The film’s portrayal of racism is oversimplified and lacks the complexity and nuance that one would expect from a film about this period in history. The film’s depiction of racism is largely based on the “white savior complex,” where a white character saves a black character from racism.
The Unsettling Reality of Racial Tensions in Modern-Day America
Racial tensions in the modern-day U.S. are a deeply ingrained and complex issue. The film Crash, released in 2004, tackles this theme with a unique blend of drama, comedy, and social commentary. The movie’s portrayal of racial tensions is both unsettling and thought-provoking, leaving audiences to ponder the harsh realities of racial inequality in America. The film’s narrative is woven together by a series of interconnected storylines, each exploring a different aspect of racial tensions in Los Angeles. The characters are multidimensional and complex, with each one representing a unique perspective on the issue. The film’s use of satire and social commentary adds depth and nuance to the narrative, making it a powerful tool for sparking conversations about racial tensions.
The Academy’s Recognition of Crash
Despite its poor editing and numerous technical issues, Crash earned widespread critical acclaim and won several Academy Awards. The film’s recognition was seen as a testament to the power of storytelling and the ability of films to tackle complex social issues.
The film’s director, Sam Mendes, has been vocal about his disdain for the Oscars and has even gone so far as to say that he doesn’t want to win an Oscar. Mendes has stated that he doesn’t believe in the value of the Oscars and that he thinks the awards are more of a “distraction” than a “reward” for filmmakers.
The Problem with the Oscars
The Academy Awards have long been criticized for their lack of diversity and their tendency to favor established stars and directors over newcomers. This is evident in the fact that the majority of nominees for Best Picture are often comprised of films that have already received critical acclaim and have been released in the past year or two.
The Conviction and Aftermath
Roman Polanski’s conviction for the sexual assault of a 13-year-old girl in 1977 (not 1978, as mentioned in the summary) is a well-documented and highly publicized case. The incident occurred in 1977, when Polanski was 43 years old, and the victim was a 13-year-old girl. Polanski was arrested and charged with six counts of child molestation, including rape by use of drugs and oral copulation with a minor. The charges were based on allegations made by Samantha Geimer, a 13-year-old girl who claimed that Polanski had given her champagne and Quaaludes, a sedative, at a photo shoot in 1977. Geimer alleged that Polanski then had sex with her in a hotel room.
