The Best & The Worst Of Oscars 2016 By A Brutally Honest Oscar Watcher.
“Mad Max: Fury Road,” the best film out of all the nominees by a wide margin, never stood a chance to win Best Picture, but many held out hope for its director, George Miller. The Aussie embarrassed every comic book film by making the greatest, most multi-layered and creative, action film in forever. All he’s gotten so far is a slew of nominations and a nice chunk of critic awards, but you know what? It doesn’t even matter. You know why? Because not a single speck of sand in “Mad Max: Fury Road” was designed or intended to be part of an “awards movie,” but now its crew can walk on Sunday’s red carpet with a total of 10 shiny and chrome nominations, including Best Director and Best Picture. The love shown to this masterful film is one of the greatest and wonderfully unlikely narratives of the season. And Miller is still a dark horse!
The reason why Oscars 2016 season became insufferable for me, after the nominations were announced, is because of how quickly the conversation turned away from the movies and the performances. I understand why it happened, I just hate how it happened. And I hate that it’s been dominating conversations ever since. Everything that still had any artistic value with Oscars has been twisted into a footnote to a primary source for some future Socialism 101 classroom. So much dust has been raised that the Academy, breaking under pressure, quickly announced a changing of the guard only to realize it went against its own rules. This egalitarian idea that minorities need to be represented in these awards has taken such a big spotlight, it’s dwarfed everything else. Basically, due to a combination of obvious diversity issues in Hollywood and too many people talking about it, the Oscars went from being a guilty pleasure to just being guilty, from film politics to full-fledged socialist grandstanding with little-to-no room for the actual movies themselves.