Oscars 2022: Everything (Everywhere) Is Fine

Michelle Yeoh, Stephanie Hsu, and Ke Huy Quan in Everything Everywhere All at Once

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

Oscars 2022: Best Picture and Best Director

Felix Kammerer in All Quiet on the Western Front; Michelle Yeoh in Everything Everywhere All at Once

The two biggest awards at this year’s Oscars feel somewhat anticlimactic—partly because their outcome isn’t exactly suspenseful, and partly because it’s always more fun for me to present my personal choices in the acting categories. Still, the Academy has proved capable of delivering massive surprises at the end of the night, so you can never rule out fireworks. Let’s get to it.

BEST DIRECTOR

NOMINEES
Todd Field—Tár
Daniel Kwan and Daniel Scheinert—Everything Everywhere All at Once
Martin McDonagh—The Banshees of Inisherin
Ruben Östlund—Triangle of Sadness
Steven Spielberg—The Fabelmans Read More

Oscars 2022: The Lead Actors

Cate Blanchett in Tár; Brendan Fraser in The Whale

This is the big one. Sure, we’ll get to Best Picture tomorrow, but my favorite Oscar tradition is analyzing the acting categories—not because I care about who wins, but because I cherish (and agonize over) the process of creating my own ballots. Just remember that whenever you hear the word “snub” in Oscar discourse, it’s almost always misused; there are only five slots in each category, and with so many talented actors working today, it’s extremely difficult to narrow each field to a final quintet.

Such is my labor. Let’s get to work. (And if you missed our takes on the supporting races, you can find those here.)

BEST ACTOR

NOMINEES
Austin Butler—Elvis
Colin Farrell—The Banshees of Inisherin
Brendan Fraser—The Whale
Paul Mescal—Aftersun
Bill Nighy—Living Read More

Oscars 2022: The Screenplays

Colin Farrell in The Banshees of Inisherin; Rooney Mara in Women Talking

Our Oscars analysis marches on! Earlier today, we looked at the supporting actors; before that, we analyzed the techies. Now, it’s time to consider the writers.

BEST ORIGINAL SCREENPLAY

NOMINEES
The Banshees of Inisherin—Martin McDonagh
Everything Everywhere All at Once—Daniel Kwan and Daniel Scheinert
The Fabelmans—Steven Spielberg and Tony Kushner
Tár—Todd Field
Triangle of Sadness—Ruben Östlund

WILL WIN
So just how many Oscars is Everything Everywhere All at Once going to win? It received 11 nominations (two in one category), but realistic estimates can range anywhere from 3 to 8. (I personally have it pegged for six.) The breadth of its reach will likely determine this category, where it’s engaged (at least in my eyes) in a head-to-head competition against The Banshees of Inisherin. In a vacuum, I’d lean slightly toward Banshees, simply because it’s the more writerly conceit. But Everything Everywhere’s restless imagination might also catch voters’ attention, and besides, this race isn’t taking place in a vacuum; both of these movies received plenty of nominations, but only one is a juggernaut. I’m picking Everything Everywhere. Read More