Nominated for Best Picture, from worst to best

The 2022 edition of the Oscars Awards will be held on March 27, logically, this year. After a spectacular edition in 2019 where he triumphed and made history parasites compared to movies like once upon a time in hollywood, the Irish, pain and glory or 1917, the last edition was that of the pandemic. One marked by delays where a film that, perhaps any other year, would not have been among the candidates, was successful. Nomadland. This year, however, we are facing a hybrid, a return to normality that is, you know, a “new normality”. Yes, the level of productions and big names has once again been high, but there is more room for streaming productions than ever and, this is the good part, there will be more viewers than ever who have seen or can see the candidate films and, Finally, these 2022 Oscars were awarded.

For the first time, the film that starts as a favorite is from Netflix. The power of the dog has no less than 12 nominations and, since Rome or The Irish, no other Netflix tape had had such critical support. That yes, the precedents are not very flattering, but there are those who sense that this is the year in which Netfliix is ​​going to emerge triumphant for the first time from the night of the Oscars. Of course, if it were up to the critics, they would be Drive My Car with its 4 nominations the one that would mark a parasites and would take to Asia (this time Japan) a new award. Also, if the press experts were to vote, this would be the year in which the Hollywood Film Academy finally surrendered with more than just nominations to the best American filmmaker of recent decades. It does not seem, despite its brilliance, that Licorice Pizza and its almost unknown cast is going to give Paul Thomas Anderson more successes than he achieved with films as powerful as the invisible thread or The master.

We also have the spectacular dunesthe great West Side Story or the fantastic the alley of lost souls. Denis Villeneuve, Steven Spielberg and Guillermo del Toro only have one enemy against them, that all three of their films are remakes of extraordinary films, and comparisons never help. Finally, we find a Kenneth Branagh with his most personal film in the autobiographical Belfast or two over-the-top telefilms that scream loudly, “we’re nice, please, give us an Oscar, even though no one will remember us for two months.” As we have already told you where to see the films nominated for the 2022 Oscars, now we have to order, from worst to best, the 10 Oscar nominees for Best Film 2022.

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CODA: The Sounds of Silence (Sian Heder)

It is possibly the film of the nominees that you would like the most if you saw it on a Saturday or Sunday afternoon on television at siesta time, and that is where it should be, along with Norwegian romantic comedies and nanny TV films. killers. It is, above all, a feel-good movie without any value whose main rewarding argument is inclusion, through its cast of deaf and dumb. We could also say that the story of this aspiring singer in a deaf family has a certain grace for its originality, if it were not a remake of The Belier familyfrom 2014.


The Williams Method (Reinaldo Marcus Green)

Williams method it’s a passable biopic about the father of the Williams sisters, and also something of an origins movie about the two tennis legends. On top of all that, however, is the very strong and brazen effort of a Will Smith desperate to say that he has won an Oscar. Gaining a few pounds, starring in a biopic, making your autobiography, a documentary about it and “opening up” on mental health issues are your weapons in the race for awards. Cinematographic? Few, although if you want to take your children to tennis it is not a bad experience.


Don’t Look Up (Adam McKay)


Dune (Denis Villeneuve)

To the first part of the impressive dunes by Denis Villeneuve it weighs on him in this ranking that David Lynch, in 10 minutes less, told the whole novel, more and better. Villeneuve does, however, give us a two and a half hour long introduction that sometimes seems a little forced to justify the stellar cast of characters you know should die after two lines of dialogue (which they do). But that’s how it is dunes, biggerthanlife. The tape grows a lot when only Timothée Chalamet and Rebecca Ferguson, true protagonists, center the film. Although Zendaya is much better in her character than a blurred Javier Bardem, if something makes us clear dunesof an exquisite level of production, visual and sound, is that the second part can and should be much more brilliant.


BelfastKenneth Branagh

Kenneth Branagh is one of those authors who has a hard time finding his artistic personality. Between Shakespeares, thors and CinderellaI had been quite lost for a few years. But the Irishman has come across that old advice again to “write what you know”. In this autobiographical film we meet both him and his family in a convulsive and dangerous Belfast where there is still room to dream. The aesthetic is beautiful, although also somewhat artificial and pretentious, but it manages to justify itself in the face of the fact that the protagonist, that is, the director, remembers it as what it seems, a movie. Jamie Dornan is saved, but it is a luminous Catriona Balfe and a brilliant Judi Dench who elevate the tape.


The Alley of Lost Souls (Guillermo del Toro)

as with dunes The only thing we can really say bad about Guillermo del Toro’s film is that the original from ’47 had everything, much more, and a little better, in 40 minutes less. However, we must say that the increase in footage is due, to a large extent, to the acquired weight of the character of Cate Blanchett, who returns to show off her usual and insulting divinity. Like the original, halfway between alcoholism drama, monster fantasy and film noir, the truth is that there is nothing in the history of cinema like the alley of lost souls. We are facing a morbid and dark moral account that, although we stay with the old one, is miraculously transferred to our times by Del Toro. Yes, it is also better than the shape of water.


The power of the dog (Jane Campion)


Drive My Car (Ryusuke Hamaguchi)

The four nominations for this Japanese film, including Best Picture (otherwise I wouldn’t be here), have made many see in it a new parasites, although except for its successful international record, the comparisons should end there. Hamaguchi’s second film this year (following the equally wonderful The wheel of fortune and fantasy) is a story about overcoming grief and connecting with other human beings, halfway between reality and Chekhov’s theater and his Uncle Vanya. Yes, here we are not facing a thriller with a devilish rhythm like with the Korean one, rather a slow, introspective drama of subtle beauty.


West Side Story (Steven Spielberg)

They say that remakes don’t win Oscars, but that can only be said by someone who doesn’t remember that the winner of 11, Ben Hur, it was. As was the case with William Wyler’s film, the original work was already extraordinary, but the new version is the same or better. Spielberg has managed to create a pure musical, which seems from another era, while perfectly updating and modernizing the Robert Wise classic. An ode to color, magic, music and cinema that hasn’t been as lucky at the box office as it should have been. If the world were a better place, it would be one full of movies like this. You have to go back a couple of decades to find Spielberg at this level.


Licorice Pizza (Paul Thomas Anderson)

Paul Thomas Anderson is too good for the Oscars to ignore in the form of nominations, but he’s also too good to finally be rewarded. If he didn’t make it with the exceptional the invisible threadstarring Daniel Day-Lewis, it’s hard to believe that this more humble love story led by two debuting actors is going to have more luck. Licorice Pizza tells the love story between a teenager full of ambitions, Cooper Hoffman (son of Philip Seymour Hoffman) and a twentysomething who must learn to embrace her wonderful immaturity, an Alana Haim in the best female role of the year. The tape does not have a great conflict, or a villain, or a crime, or a specific genre. It is rather a canoe ride along the river with the two protagonists, with calm sections and rapids. One that goes from one sequence or another to another, as if forming chapters, vital experiences for the protagonists. From nonsense like Bradley Cooper’s, to dramas like Ben Safdie’s or cinephile hallucinations like Sean Penn’s. Licorice Pizza It is a film in which to get lost, in which to stay to live, it is a film of moments, of camera movements, of songs, of looks, of gestures…, of pure cinema.

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