This makes it hard to forget you are watching a film, which, in turn, makes it hard to immerse oneself in the story rather than just the atmosphere. I haven't seen the movie, only the trailer, but I think that the real redemption of this movie from being a generic "horrors of war" rehash will be focusing on the reluctant hero of a main character who doesn't understand the scope and importance of their role in the war.

It's an event, not a film. Or does it use the facile gambit of presenting one continuous shot as though it mirrored a “soldier’s eye view” (but does it?) And so it comes down to one shot. It's a complete film with multiple facets to it. This year, though, we have not just one, not two, not three, but four supremely buzzed-about and accomplished movies that all, in different ways, could win the Oscar and deserve to. It would have broken through that glass ceiling with overly impeccable cred. “Hope is a dangerous thing,” says Benedict Cumberbatch’s Colonel MacKenzie, just one of a number of small roles filled by high-profile actors happy to play second fiddle.

And so it comes down to one shot. François Duhamel/Universal Pictures and DreamWorks Pictures. Looking for smart ways to get more from life?

", Benedict Cumberbatch stars in "1917." Tarantino has never won best picture or director (though he’s won twice for screenplay), and given that OUATIH will be his second-to-last film, and that it’s an inside Hollywood saga that hit the sweet spot with critics and audiences, the stars seem to have lined up to finally give him the grand prize. So as deserving as QT is, let’s take a moment to consider not just why he should win but how that moment might feel. That's why it deserved its best picture win. Together, these young soldiers must reach their comrades and halt the attack – a race against time and insurmountable odds. I didn't like that much either. That's what you had in WW1. It wasn't restricted by its own ambition. The cinematography was great and it looked realistic.

And we've seen films like "1917" win time and time again at the Oscars — male-orientated war films such as "Dunkirk," "Saving Private Ryan," "Platoon," "American Sniper," "Patton," "The Bridge on the River Kwai," "From Here to Eternity," "All Quiet on the Western Front," and "The Hurt Locker" (which is still told from the point of view of men despite being directed by Kathryn Bigelow) are all Oscar-winning films. No weak links there. I raise the issue because “1917,” having taken the Producers Guild Award this weekend, has now cemented its status as a contender-verging-on-frontrunner. I have seen 1917 and personally, I was blown away by how terrific it is. But the words "and the Oscar for best picture goes to …" would be a decent start. "Birdman" doesn't just rely on its technical tricks to earn its plaudits. I’m watching it rn in cinema, and oh my god, I wasn’t this bored while watching a movie since Jon Favreu’s Chef.

All three films are nominated for Best Picture, but "Marriage Story" director Noah Baumbach missed out on a Best Director nod. “Roma,” as lionized as it was, was a staid coffee-table book of a movie. And if the movie won, it would feel, at this point, like the most darkly majestic of Oscar winners. I know you supposedly can’t separate the two. In my book, “The King’s Speech” counts as one partly because it triumphed over “The Social Network,” the brilliant and defining age-of-digital-disconnection drama that clearly should have won. Hardly fresh and innovative, nor is the depth with which they tackle those themes. More to the point, I suspect that if a greater number of people had gotten the chance to experience Martin Scorsese’s grand, mournful, ominous, suck-in-your-breath mobster elegy as (here’s that word again) cinema, they might have been all the more enthralled by it.

Yet even after the early accusations that it was a film liable to incite violence proved unjust, and after it was demonstrated beyond doubt that the movie spoke to humans of every gender, race, and age group, the aura of media condemnation that surrounded “Joker,” all based on the suspicion that it was some sort of “incel manifesto” (i.e., a revenge fantasy for angry white males), has left the film’s triumph with a few scuff marks. Close. Or at least a movie that’s engineered to play like it’s all one shot. Just look at the standing ovations that have greeted Joaquin Phoenix when he has won for best actor at the Golden Globes, the SAG awards, etc. You can’t bash a film because you didn’t see half of it. So if one of them doesn’t win, it will be a night to leave a lot of us in a serious humdrum mood. Next time,get a good sleep the night before and then watch it :). For the opening of his 2015 Bond movie Spectre, director Sam Mendes (who won an Oscar for his first feature, American Beauty) mounted a memorable sequence set amid Mexico City’s day of the dead festival. © Copyright 2020 Variety Media, LLC, a subsidiary of Penske Business Media, LLC. This year, though, we have not just one, not two, not three, but four supremely buzzed-about and accomplished movies that all, in different ways, could win the Oscar and deserve to. It looked, and moved, like Art, and would have gone down as the ultra-refined version of one of those dutiful prestige Oscar winners.

I actually thought the story was subpar and the pacing was horrible.

The next offensive being pushed because no one knew how to break the line, so absent of doing nothing, they did something. Spark some discussions! Only one, I suspect, will leave you with that sinking feeling. On the Academy’s terms: It may not seem like the film you’re supposed to vote for. Whereas “Parasite” is a work of art that’s also every inch a movie. Yet I don’t think a big win for “Joker” is out of the question.

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