→ April 25, 2021
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Oscar picks, 2021 edition.

The Oscars are happening tonight, about two months later than usual, so I’ve put together this post with some loose predictions, my own picks for each award, and, most importantly, links to every one of these films I’ve reviewed. I’ve seen all of the Best Picture, Best Director, and Best Screenplay nominees, and all but one of the films in the four acting categories, as well as all five documentaries and all five animated features, with 50 total films seen from the 2020 awards cycle (which ran fourteen months).

Best Picture

The Father
Judas and the Black Messiah
Mank
Minari
Nomadland
Promising Young Woman
Sound of Metal
The Trial of the Chicago 7

Who will win: Nomadland

Who should win: Nomadland

I don’t feel that confident in the prediction here; I’m a little concerned that Chicago 7 will win, as it’s such an actor-focused, Very Important Film that it might resonate with the same voters who picked Green Book two years ago. I’ve seen Minari, and loved it, but haven’t posted a review yet.

Snubs: A Sun didn’t even make the Best International Feature cut (it was on the shortlist), but it belongs here, as does One Night in Miami, the exclusion of which I simply do not understand. Never Rarely Sometimes Always would have been a good if out-of-the-box choice. I haven’t seen First Cow yet.

Best Director

Another Round (Thomas Vinterberg)
Mank (David Fincher)
Minari (Lee Isaac Chung)
Nomadland (Chloé Zhao)
Promising Young Woman (Emerald Fennell)

Who will win: Zhao

Who should win: Zhao

This award and Best Picture used to be more closely linked than they are now, but I’m not sure I see them splitting the votes this time around. Vinterberg’s nomination seems inexplicable, unless it’s a sympathy vote, as his daughter was killed in a car accident during filming; she helped inspire the script and he dedicated the film to her.

Snubs: Regina King was supposed to be a lock for this category for One Night in Miami. I would have given Florian Zeller a nod as well for The Father.

Best Actress

Viola Davis, Ma Rainey’s Black Bottom
Andra Day, The United States vs. Billie Holliday
Vanessa Kirby, Pieces of a Woman
Frances McDormand, Nomadland
Carey Mulligan, Promising Young Woman

Who will win: Mulligan

Who should win: Mulligan

Davis could win this, but I don’t think this is particularly close on the merits. Mulligan gave one of the two best performances I saw this year, and if pushed I think she gave the best one. I was very glad to see Kirby get a nomination even though she has no chance to win – she is that movie, and she’s clearly a star on the rise.

Snubs: Carrie Coon for The Nest and Sidney Flanigan for Never Rarely Sometimes Always would both have been better choices than Day, who does a fine job with a terribly written part.

Best Actor

Riz Ahmed, Sound of Metal
Chadwick Boseman, Ma Rainey’s Black Bottom
Anthony Hopkins, The Father
Gary Oldman, Mank
Stephen Yeun, Minari

Who will win: Boseman

Who should win: Hopkins

Boseman’s going to win, obviously, and he was very good … but Hopkins was just better, in a more significant role. I wouldn’t want to see the reaction if Hopkins were to win.

Snubs: I’m good with these five. Dev Patel was great in A Personal History of David Copperfield.

Best Supporting Actress

Maria Bakalova, Borat Subsequent Moviefilm
Glenn Close, Hillbilly Elegy
Olivia Colman, The Father
Amanda Seyfried, Mank
Yuh-Jung Youn, Minari

Who will win: Youn

Who should win: Youn

I feel like this is a lock, and of the four I’ve seen – I haven’t seen Hillbilly Elegy and see no good reason to do so – I’d put Youn and Colman as 1 and 1A, Bakalova second, and would give Seyfried a participation trophy. Maybe Close gets some sort of lifetime achievement thing here, especially after losing to Colman a few years ago when she was supposed to win, but people forget that The Wife was actually a shit movie.

Snubs: Tilda Swinton was superb in The Personal History of David Copperfield, certainly deserving of Seyfried’s spot.

Best Supporting Actor

Sasha Baron Cohen, The Trial of the Chicago 7
Daniel Kaluuya, Judas and the Black Messiah
Leslie Odom, Jr., One Night in Miami
Paul Raci, Sound of Metal
LaKeith Stanfield, Judas and the Black Messiah

Who will win: Kaluuya

Who should win: Kaluuya

I’ll say this – if Raci wins, it’ll be an amazing story, and I’ll cheer for him. But Kaluuya was slightly better in a much more significant role, and he’s one of the best actors going today. Of course, he was really the lead actor in Judas, but that’s another story entirely, I guess.

Snubs: I’m also good with these five, although Kingsley Ben?Adir was pretty amazing as Malcolm X in One Night in Miami.

Best Documentary Feature

Collective
Crip Camp
The Mole Agent
My Octopus Teacher
Time

What will win: Time

What should win: Collective

I just don’t know; I thought Time was the shoo-in here, but Tim Grierson thinks My Octopus Teacher – easily my least favorite of these – is going to win, and no matter what, Collective should win, because it’s the best story and it’s told so effortlessly.

Snubs: Transhood. It’s on HBO Max. You should watch it.

Best Writing, Original Screenplay

Judas and the Black Messiah
Minari
Promising Young Woman
Sound of Metal
The Trial of the Chicago 7

What should win: Promising Young Woman

What will win: Promising Young Woman

The screenplay categories have become a way to honor a film that has no shot at Best Picture (or maybe anything else) with a little pat on the head to say, “good job, we liked your little movie.” In this case, though, I’m good with Promising Young Woman taking this award home but not getting Director or Best Picture; the script itself is daring and novel and gets at least some of the credit for enabling Mulligan’s performance.

Snubs: A Sun, Never Rarely Sometimes Always, The Nest.

Best Writing, Adapted Screenplay

Borat Subsequent Moviefilm
The Father
Nomadland
One Night in Miami
The White Tiger

What should win: One Night in Miami

What will win: The Father

I could go either way here with those two screenplays; The Father is a better movie, because of Hopkins and some directorial choices, but Miami gets a very slight edge for me in the writing department.

Snubs: A Personal History of David Copperfield. You may remember the original.

Best Animated Feature Film

Onward
Over the Moon
Shaun the Sheep: Farmageddon
Soul
Wolfwalkers

What should win: Wolfwalkers

What will win: Soul

Pixar just has such a huge advantage in this category that it seems contrarian to predict any non-Pixar film to win, but I’ll pull for Wolfwalkers, another hand-drawn film from Cartoon Saloon, even knowing it probably has no chance. Soul might be fourth for me among these nominees.

Snubs: The only other eligible film I saw was A Whisker Away, an anime film you can see on Netflix, which offers a far better story than Onward.

Best Animated Short Film

“Burrow”
“Genius Loci”
“If Anything Happens I Love You”
“Opera”
“Yes-People”

What should win: “If Anything Happens I Love You”

What will win: “Burrow”

“If Anything Happens I Love You,” available on Netflix, follows a couple after their only child has been killed in a school shooting. It’s devastating, and the style of the art further evokes those emotions. But I always assume Pixar is going to win this category. (I haven’t seen “Opera,” which appears to only be streaming on the subscription site ShortsTV.)

Snubs: “Cops and Robbers,” also on Netflix, can’t quite match the animation quality of “Yes-People” or the style of “Genius Loci” (which bored me), but the story, told as spoken-word poetry, is more relevant and more powerful. I don’t think dialogue gets you far in this category, though.

Best International Feature Film

Another Round
Better Days
Collective
The Man Who Sold His Skin
Quo Vadis, Aida?

I’ve only seen Another Round and Collective here; I’d vote for Collective of the two, but I think A Sun was better than both. The last two are now both on Hulu, so I’ll get to them eventually.  

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→ April 7, 2021
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The United States vs. Billie Holiday.

Many, many people told me The United States vs. Billie Holiday (streaming on Hulu) was bad, but my God did they undersell it. This movie sucks.

And it’s not that it sucks from the get-go; the first half-hour is actually okay, so you think, oh, this might be a serviceable music biopic about a really pivotal figure not just in music history, but in American civil rights history. The second half hour is worse, and you start to see the lack of focus in the script. By the last half hour, though, this thing is so far off the rails that you might start to question whether this was even a movie in the first place. It’s so bad that I can’t even really begin to argue Andra Day’s awards case, because she’s stuck in this very terrible, badly written, badly directed movie.

There’s a good story here, even if this movie doesn’t tell it. Billie Holiday was hounded by the federal government for nearly two decades because of “Strange Fruit,” one of her signature songs, a song written by Abel Meeropol about lynchings. Because she refused to stop singing it in live performances, they harassed her, cut off her license to perform in NYC cabarets (which I can’t believe was a real thing until 1967, and arrested her on drug charges. Holiday was an addict, and her celebrity also made her a useful target for post-Prohibition hardliners looking for other ways to regulate the behavior of Americans. Holiday’s life naturally offers the peaks and valleys you’d want in a Hollywood biography.

Instead, Pulitzer Prize-winning playwright Suzan Lori-Parks’ script for The United States vs. Billie Holiday adds one ridiculous fabrication after another, and suffers from ham-fisted directorial work from Lee Daniels (The Butler, Precious) that do Holiday and the viewers a series of injustices. Day is good, I think, and she certainly does an expert impression of Holiday’s speaking and singing voices. Trevante Rhodes (Moonlight) is in a similar boat, doing what I think is great work in a terrible role as Jimmy Fletcher, the real-life undercover agent who entraps Holiday in a drug sting, although in movie world they end up having an affair. He’s working for Harry Anslinger, who truly did hound Holiday to death; Anslinger is played here by Garrett Hedlund, and calling his performance “one-note” would imply one more note than it actually contains.

I can’t even express how much I loathed the last half of this movie, though. The lighting is weird the entire time, not in a way that evokes its era, but in a way that makes you want to adjust your television, or maybe go get a glaucoma test. Then Daniels decides to start shifting within scenes from full color to black and white and back again, adding nothing except confusion and delay. Holiday’s childhood trauma comes to Fletcher not from her telling him about it, or one of her confidants doing so, but because he shoots up with her retinue and then sees her memories during his high.

Day’s performance might be the film’s only redeeming quality, although this movie is way beyond redemption. The character is just so poorly written that it’s hard to say whether this is a great performance, or a game performance along with a great impersonation. Holiday gets off some great one-liners and a clever soliloquy or two, but there’s no depth to the character here, and especially no real exploration of just why she continued singing “Strange Fruit” even though doing so jeopardized her career and her liberty. There’s a completely made-up scene where she and Fletcher just happen upon the aftermath of a lynching, but it’s so late in the movie that it can’t explain anything, and its inclusion here is so inept that it seemed like it might have been intended as a dream sequence or memory – except that Fletcher wouldn’t be in a memory like that, so, no, this is supposed to be real.

Nobody saw The Nest, but I would have given Carrie Coon a nomination over Day, and if the Academy was going to nominate an actress from a bad movie, they could just as easily have gone with Sophia Loren for The Life Ahead (more of a mediocre, sentimental movie than an outright mess). I just can’t get over what a crime it was to take an American musical icon who took a principled stand on race and turn her into a two-dimensional figure at the heart of a disjointed, overdirected film like this one.

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→ March 21, 2021
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Promising Young Woman.

I still can’t believe Camilla Parker-Bowles is now a two-time Oscar nominee, but she absolutely deserves it.

Emerald Fennell, previously best known for portraying Prince Charles’ affair partner on seasons 3 and 4 of The Crown, now has nominations to her credit for writing the screenplay for and directing Promising Young Woman, a brilliant, shocking, and powerful revenge story that feels incredibly well-timed. Featuring a tremendous lead performance from Carey Mulligan, the film earned five nominations – two for Fennell, one for Mulligan, one for Editing, and, perhaps the big surprise of the five, one for Best Picture. (It’s available to rent on amazon and other streaming services.)

Mulligan plays Cassie, who, as the film opens, is in a bar, alone, and so drunk she can barely sit up straight. A guy in the bar offers to help her get home, but then takes her to his place, where he tries to sexually assault her, at which point Mulligan looks right up at the camera to reveal that she’s stone sober – and she confronts the creep before leaving. This is a regular weekend act for her, and we learn that she dropped out of medical school when her classmate, Nina Fisher, was raped by a classmate at a party, and the school did nothing about it. She’s working in a hipster coffee shop when another classmate, Ryan (Bo Burnham), walks in, and the two start gradually start to have a meet-cute – just at the same time that Cassie gets wind that Nina’s rapist is about to get married, at which point she launches a more elaborate plan to take revenge on everyone involved in the rape and abortive investigation.

Fennell leaves all kinds of clues in the film to indicate that Cassie’s calm exterior demeanor hides the fact that she’s not quite right. Over the course of the story, we learn how Cassie’s life seems to have just stopped after the assault and immediate aftermath. She lives with her parents, who say she has no friends and hasn’t had a boyfriend in years. She’s still wearing a childlike pattern of pastel colors on her nails. Her wardrobe, which seems rather extensive, often veers towards clothing maybe ten years too young for her. She’s supposed to be 30, but alternates between looking 25 and 40 throughout the film. She’s our heroine, and there’s a distinct pleasure in watching her dish it out to various awful men across the film, but there’s also something amiss here, from how and why she left medical school on to just how deranged her plans for the rapist and his enablers are, and Fennell does a spectacular job of balancing those elements so that the conclusion can still work.

The ending is shocking and the subject of many thinkpieces already – this Variety piece has spoilers and does an excellent job breaking it down, and the video with Fennell and Mulligan is well worth the time – and I haven’t stopped thinking about it since we watched the movie. Listening to Fennell in that video, in addition to getting a window on to her brilliance as a writer, changed how I interpreted the ending, and that in turn changed some of my thoughts on what came before. Cassie’s life just stopped after Nina was assaulted and everyone – the school administrators, most of their classmates, even one of Nina and Cassie’s best friends – chose to look the other way, and as the film progresses it becomes clearer that the revenge fantasy is at least mixed with the story of Cassie’s unraveling, a satirical condemnation of a system stacked against victims but also a tragedy of a woman whose promise – who was, at least, on her way to living the life her parents wanted for her – is gone. The fact that Cassie would take the risks she ultimately takes without any regard for the effect her injury or death might have on her parents, for example, is a mostly unspoken indicator that Fennell didn’t write Cassie as a flawless heroine.

I’ve seen four of the five Best Actress nominees so far, and Mulligan would be my pick for the award, although the one I haven’t seen is Andra Day, who won the Golden Globe in this category, and the other three nominees are all outstanding – this might be the most loaded category of the season. I’ve also seen four of the five Best Original Screenplay nominees (I’m waiting on Minari), and would choose this over Sound of Metal, Judas and the Black Messiah, or the extra-Sorkiny The Trial of the Chicago 7. I wouldn’t put it over Nomadland for Best Picture, but it might be my #2, with Minari and The Father still on my list to see. I’ll be pulling for this to take home those two honors, though, as it’s tremendous even when there are minor plot points I wish had unfurled differently.

(My wife and I discuss every movie we watch at length, so her opinions always appear somewhere in these reviews, but here she deserves particular credit for shaping my interpretation of this film. As a man, there are issues here I’ve just never had to face in the world, and her perspective was invaluable.)

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→ March 4, 2021
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Pieces of a Woman.

Vanessa Kirby stole so many scenes in the first two seasons of The Crown, often overshadowing her co-star Claire Foy, who played the actual Queen of England. As the tragic (and later tragicomic) figure Princess Margaret, she was by turns charming, fashionable, jealous, and, as in Margaret’s real life, heartbroken and betrayed. I’d seen her previously in the short-lived BBC series The Hour, but didn’t recognize her when I saw her in 2020’s Mr. Jones or when she took on the role of Margaret.

Pieces of a Woman represents her critical breakthrough, as her command performance as a woman grieving the loss of a baby during a home birth gone awry earned her the Best Actress Award at the Venice Film Festival in 2020, a Golden Globe nomination for the same, and, most likely, an Oscar nomination as well. The movie is uneven, and the resolution of the story feels more like fantasy than reality on multiple levels, but Kirby is a knockout in this role and makes this arduous film well worth the time investment.

Kirby plays Martha, a very pregnant woman whose husband, Sean (Shia LaBoeuf), is a blue-collar worker and clearly not respected by her mother (Ellen Burstyn). Martha and Sean have chosen a home birth, but their midwife isn’t available when labor begins, so they call another midwife their original one recommended. The new midwife, Eva (Molly Parker), seems a little overmatched when things start to go wrong, and after it seems like they’re out of the woods and their baby girl is born, she starts to turn blue and stops breathing. Martha and Sean are both left to grieve their loss, but both Sean and Martha’s mother become invested in the criminal case against Eva, pulling them away from Martha when she needs them, and the family dynamics become even more complicated when Martha’s cousin Suzanne (Sarah Snook) is the prosecuting attorney.

The film opens with its best scene, a 24-minute single-shot depiction of the labor, delivery, and death of the baby that is intense not just because you know how it’s going to end, but because it’s so slow relative to most films. This is a more detailed depiction of childbirth than you get in most films, and it’s only to the movie’s benefit, especially because it shows the physical labor (no pun intended) required of the mother and thus further underlines both the level of Martha’s anguish and the emotional distance she feels from everyone around her, including her husband, when their baby dies.

Kirby is just powerful in this role, even in grief; there’s no lower gear anywhere in the performance, regardless of the mood or situation. She’s especially good in scenes with her mother – and Burstyn, who seems unlikely to get an Oscar nod, is also excellent – who seems completely unable to understand her daughter in multiple conversations. She’s also good in scenes with LaBoeuf, who is … fine. He’s received praise for his performance, or at least did before FKA Twigs accused him of emotional and physical abuse; I couldn’t stand him in American Honey, either, and I just couldn’t find him credible here, but I concede that it’s difficult to separate the actor from the character in this case. At least here, we rarely see him without Kirby, who is very much the emotional center of the movie.

The ending, however, doesn’t live up to the previous 90-plus minutes. We end up in a courtroom, where the case is resolved with something out of Law & Order – well-acted, but, still, unrealistic and maudlin – that is an ostensible attempt to show the end of Martha’s emotional arc. I don’t buy it, because it’s not something we would see in the real world, and because Martha’s arc would have no real conclusion. My lay understanding of the psychology of grief is that it doesn’t go away; it may fade, or just be blunted by time, but it persists. That point leads me to wonder if the final scene is meant to be real, fantasy, or just ambiguous, which is something I’ll leave you to answer in the comments if you’re so inclined.

There’s more than enough in Pieces of a Woman to recommend it, even with the flawed ending and my personal distaste for LaBoeuf. The opening scene is masterful, and I imagine people will refer to it for years the way they did The Player‘s opening scene. Burstyn will probably miss out on what would be her seventh Oscar nomination, especially with Jodie Foster winning a Golden Globe for The Mauritanian, but she’s superb in a pivotal role, a better foil for Kirby in character and in ability. And, if nothing else has convinced you, watch it for Kirby, who may not win in a stacked Best Actress category, but did deliver one of the best performances of 2020.

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→ February 22, 2021
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Nomadland.

Nomadland has been the front-runner for Best Picture for several months now, taking home the Golden Lion at Venice, winning Best Film or Best Picture from multiple cities’ film critics associations (Boston, Chicago, Toronto, San Francisco, Houston, DC, Dallas, Seattle, and London), and landing four nominations at the upcoming Golden Globes. It’s a very different sort of film than anything I’ve seen, layering a traditional, fictional narrative on top of a work of cinema verité, based on an acclaimed non-fiction book but with Frances McDormand delivering what might be her third Oscar-winning performance. The movie is now streaming exclusively on Hulu.

Nomadland is about vandwellers, people who have chosen, or been forced to choose, to live itinerant lives in their vans or RVs, traveling around the country and taking on seasonal or other short-term work, but avoiding the fixed lifestyle and long-term obligations of home ownership. The book, by Jessica Bruder, was non-fiction, and explored this subculture of outcasts, misfits, and nonconformists, and the movie brings in many of the same people who appeared in Bruder’s book as the backdrop for the fictional story of Fern (McDormand), who is forced into this life when her job and the company town where she lived all go away in the span of a few months in 2011. (She’s not a real character, but the town, Empire, Nevada, became a ghost town, and the factory shown in the movie is still shuttered, although the gypsum mine has since re-opened and there are about two dozen people living in Empire.)

Fran is widowed and has nothing to tether her to Empire, including, it would appear, no real ties to friends nearby, so she buys a van, refits it for nomad life, and hits the road, starting out by working at an Amazon warehouse for her first seasonal job, then connecting with a group of nomads who teach her a little about the lifestyle and offer some tips. Many of these wanderers are real vandwellers from the book – Swankie, Linda, and the evangelist of the vandwelling lifestyle, Bob Wells, whose history of failing to pay child support is not mentioned in the story. One who isn’t is David, played by David Strathairn, whose voice would give him away even if you didn’t recognize him through his unkempt hair and white beard. He’s smitten with Fern, and the two run into each other multiple times, with David trying to convince Fern to come along with him and, eventually, to join him when he decides to give up van life and settle down with his son’s family.

Director Chloe Zhao’s previous feature, The Rider, also used non-actors in most of its roles, with its protagonist playing himself, so she’s mining some familiar ground here, but it is hard to imagine this movie without McDormand in it. She is utterly essential to this film, not her story specifically but the way she inhabits this niche in our world and makes it entirely plausible that she is, in fact, Fern, a woman abandoned by fortune who is trying to avoid going over the cliff. Her portrayal of an anguished, grieving person looks so effortless and so delicate that it reminds me of when extremely athletic players (often players of color) are accused of showing too little effort when the truth is that they’re just that talented.

Zhao also films this in a way that empathizes with the vandwellers without patronizing or mocking them. This could easily be misery porn, or a screed about our broken economic system (especially around health care), or a sort of weird cautionary tale about how people end up living out of their cars. Instead, Zhao presents this world without judgment, giving us the people in it as they are, so that their humanity is at the heart of the film, not their choices, and not their misfortune.

Nomadland is also frequently gorgeous as Zhao gives us soaring landscapes across the American West and some close shots of forests or other natural vistas, including the view from what I presume was supposed to be Fern’s old house, now abandoned but still intact. The film doesn’t romanticize the vandwelling life, but there’s a certain romance in the idea of getting in a van or an RV and just driving across these great unpopulated swaths of land, without so much as a destination in mind, although I find it hard to fathom doing that alone – and that’s without the added concerns that a woman would have making the same sort of journeys by herself.

Right now, Nomadland is my #1 movie from 2020, and my wife’s as well. I’ll go out on the shortest of limbs to say it’s going to take at least four nominations at the Oscars – Best Picture, Best Director, Best Actress, and Best Cinematography – and I can at least see why it’s the favorite to win the first one, because it’s a great movie and, in a roundabout way, speaks to the economic uncertainty of modern American life. It also gives Zhao an excellent chance to become the second woman and the first woman of color to win Best Director (Kathryn Bigelow won in 2010 for The Hurt Locker). We should see two women nominated in that category in the same year, with at least one of Regina King (One Night in Miami) and Emerald Fennell (Promising Young Woman) joining Zhao, which would be a first, although knowing the Academy’s history I wouldn’t be shocked to see them screw this up too and give one nod to, say, Aaron Sorkin instead.

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→ January 11, 2021
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Ma Rainey’s Black Bottom.

The movie adaptation of August Wilson’s play Ma Rainey’s Black Bottom (on Netflix) has been overshadowed by the death of one of its two stars, Chadwick Boseman, last August, making this his final film appearance. The command performance he gives here is a mournful reminder of how talented he was, and the stardom he had right in front of him, as he even manages to outshine Viola Davis, who’s already won one Oscar and is going to be nominated for another one for playing the title character here.

Ma Rainey was a real-life blues singer, sometimes called the “Mother of the Blues,” who achieved not just popularity but a measure of autonomy for herself in the 1920s, even writing some of her own songs and recording as early as 1923. The black bottom was a dance, and “Ma Rainey’s Black Bottom” was one of her singles – although I’m sure the double entendre wasn’t lost on audiences at the time. The film just covers the time of one recording session for that song, a fictional rendering of the day that revolves around Rainey and a talented, ambitious, and volatile trumpet player named Levee, played by Boseman.

This Rainey, at least, is a diva, demanding of her musicians and the producer alike, insisting that her nephew voice the introduction to the song, even though he has a stutter that makes the task a bit difficult. Levee, meanwhile, has dreams beyond merely playing trumpet in someone else’s band; he writes his own music, has put together his own band, and is busy trying to convince the (white) producer to pay for him to record his songs himself.

Ma Rainey’s Black Bottom, like Fences, comes across like a play on screen, with all the action taking place in just a few settings, and dialogue that never stops. The actors have to convey far more than in a typical film, but they also run the risk of overpowering it, which was the main issue I had with Denzel Washington’s performance in Fences – he dominated every scene he had without Viola Davis, and it took an Oscar-winning performance out of her just to compete.

Here, Boseman and Davis don’t share a ton of scenes, so each can take over in their own way, but neither crosses that line that made me leave the theater thinking Denzel Washington had been yelling at me for an hour and a half. Although Davis’ character is in the title, Levee is the bigger character within the film, getting – in my impression, at least – more screen time and more words than Ma Rainey does. Boseman infuses Levee with both the naked ambition of his character and the innocence required to make his decisions plausible. Levee doesn’t understand how the world works, believing in some level in a meritocracy that doesn’t exist in a world that is already predisposed against him because of the color of his skin. It requires a precise performance to ensure that this character doesn’t become ridiculous. Levee is not a fool, but he’s arrogant enough to think he’s the exception, and when the world doesn’t conform to his beliefs, the cognitive dissonance causes him to erupt in unexpected violence.

Boseman is going to win the Oscar, of course, because of his tragic death before the movie was even released, but there won’t be a plausible argument that the performance itself was undeserving. He puts Levee on a knife’s edge and holds him there for the bulk of the film, so that when he breaks, as you know he must, it works, because you’ve been waiting for him to explode. It makes Davis’ performance seem showy by comparison, although she also is likely to get (and deserve) a nomination for this role.

The story here is somewhat scant, although that seems typical of stage adaptations to screen, and Ma Rainey’s Black Bottom adheres to the play’s use of just a few settings, with the bulk of the film taking place in the recording studio or in the musicians’ room below it. That also means we don’t have much time for back story, and outside of the two main characters, everyone is pretty one-dimensional. The producer who takes Levee’s songs and promises to look them over might be well founded in history, but he’s nothing but a penny-pinching, greedy white man taking advantage of Levee’s race and ignorance here, bordering on a dangerous stereotype. (It’s worth noting, however, that Wilson and this script both changed one word of the lyrics to “Ma Rainey’s Black Bottom,” here substituting “new baby prances” for “Jew baby prances.”)

Levee’s big speech towards the end of the film broaches questions about being Black in a society that has always treated Blacks as second-class citizens when treating them as citizens at all, and even goes beyond that to an existential question about Blacks and a God who seems to have forsaken them. It is the clip I expect we’ll see when Boseman’s name is announced at the Oscars in April, because it is his biggest moment and the best pure writing in the script. I imagine this will earn a Best Picture nomination as well, but the reason to watch Ma Rainey’s Black Bottom is for Boseman’s performance – not because he’s gone, but because he’s just that good.

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