Oscars 2022: Everything (Everywhere) Is Fine
It could have been worse. That may seem like a low bar when judging the quality of the Oscars, but considering that the prior two years were disastrous—first the Steven Soderbergh-produced telecast that ended with a tribute to Chadwick Boseman which misfired spectacularly when he failed to win Best Actor, then the… incident involving Chris Rock and Will Smith—a carefully cultivated mediocrity felt like a win this time around. As host, Jimmy Kimmel was hit-and-miss, alternating between winning one-liners and groaning bits. (Thankfully, he kept Slap Discourse to a minimum, even as he tossed off one of his best quips in service of it: “without a hitch, and without Hitch.”) That unevenness extended to the presenters (the usual blend of funny and forced), the speeches (some tremendous, some tedious), and the song performances (yay “Naatu Naatu,” boo Son Lux). Everything averaged out to fine, and when it comes to the Oscars at this point, “fine” is something I can live with.
As for the movies themselves, the big winners were Everything All at Once, which scooped up seven Oscars—including six of the so-called Big Eight, which I believe is a record (I’m too tired to research it)—and All Quiet on the Western Front, which totaled four. (In fact, only one other film took home multiple prizes; more on that later.) Because the Academy tends to save its highest-profile categories for later in the evening, All Quiet appeared to be positioning itself as a Best Picture threat, especially when it ripped off three straight victories midway through the show. But that was a mirage; this was always Everything Everywhere’s night, from boisterous beginning (welcome to the stage, Ke Huy Quan!) to triumphant end. Read More
