You’re not going to watch the Oscars telecast on Sunday night, and I don’t blame you: Leftist Doctrine has infiltrated the movie industry to the degree that there is no business but woke business. Nonetheless, I’ve briefly reviewed the eight nominated films, and some others:

The United States vs Billie Holiday

This film is captivating. On par with Renée Zellweger in Judy, singer Andra Day in the title role, is quite convincing. Along with Carrie Mulligan, in Promising Young Woman, I think she shares the lead for the best female actor award.

As with four of the other nominated movies for the April 25 telecast, in arguably the worst line-up of nominated films in Oscar history, the upshot is the same: All white men are bad, all black people are exploited.

Judas and the Black Messiah

Starring the British Daniel Kaluuya, and Lakeith Stanfield, both of whom who have excellent futures in the movies, Judas and the Black Messiah is a surprise despite the ultra-clunky title. I was expecting a heavy philosophical overlay of how the Black Panthers’ experience then, somehow translates to Black Lives Matter today.

Indeed, 300+ movie reviewers fervently want to connect the two experiences but they differ vastly: 50 to 55 years ago the FBI, Chicago Police, and other police departments were verifiably hostile to black people. Today, the FBI knowingly and blatantly shields Black Live Matters crimes, be it rioting, looting, mayhem, and even murder.

While a handful of regrettable “death by cop” cases arise each year, in general, police are not out to get black people, who are given more leeway and understanding than anyone from the 1960s could presume. And minority officers now represent 40% or more of many city police departments.

Of note: Martin Sheen hits a new low, not helped by the makeup director, playing an unconvincing J. Edgar Hoover.

The Trial of the Chicago Seven

Although it take liberties with the actual events, this is a reasonably good movie with many excellent supporting cast members, good pacing, and humor, and is worth viewing. Afterward, look up the fact and fiction within the film.

Minari

Set in the 1980s in rural Arkansas, Minari offers an endearing portrayal of what one generation does for the next, as viewed within a single family, in this case, Korean immigrants. This film is garnering rave reviews from every quarter. The ensemble cast performs well, led by Yuh-Jung Youn who adds spark and verve.

The Father

Starring Anthony Hopkins, Olivia Coleman, and Olivia Williams, The Father is a 93-minute movie that is 63 minutes too long. You could watch the first 15 minutes and the last 15 minutes and be no less informed.

We should all be thankful if our parents, or our future selves, do not suffer from the level of dementia portrayed here: He can’t recall what happened yesterday, sometimes an hour ago, and sometimes minutes ago.

The film shows reality from the father’s perspective, which is a constant jangle of dates, times, people, situations, and places; and the reality of those around him who have to deal with his constant ramblings, false assertions, obstinance, proud declarations, and outright inaccuracies. Save time, watch the trailer and read a long review.

Mank

Gary Oldman and Amanda Seyfried star in this biopic about Hollywood screenwriter Frank Mankiewicz. Strattling the 1930s and 40s, while penning Citizen Kane, ‘Mank’ has a fondness for alcohol and for saying whatever he thinks.

Charles Dance, as the preeminent but affable William Randolph Hearst is notable. This is an insider’s movie for the thankfully shrinking number of people who know or care about Hollywood.

Nomadland

Starring Frances McDormand, Nomadland offers a view of the American west and people who choose to no longer have permanent roots. The film presents one brief encounter after another, moving to the next scene, and the next.

It does impart the sense of loneliness and in some cases emptiness of the people who have chosen this lifestyle and so is somewhat engaging while watching it, but otherwise totally skippable.

McDormand has been nominated for an Oscar, however, this is not among her best. The film itself is regarded as profound by many reviewers, but then so was The Shape of Water and Roma (!)

Promising Young Woman

With Carey Mulligan, in an Oscar worthy turn, this movie represents a new step in her acting career. Without giving away any of the plot, it is both compelling and lingering.

Produced by Margot Robbie, who seems to have a knack for the zeitgiest, you really can’t forget this movie.

Sound of Metal

An inside and gripping portrayal of what it’s like to go deaf, as experienced by a drummer for a heavy metal band. Rapper and now actor, Riz Ahmed, in the lead role, offers moments of denial, rebellion, and poignancy.

 

Not nominated, fittingly, is this film:

Ma Rainey’s Black Bottom

This forgettable movie, nominated for several acting Oscars no less, is as revolting as its regrettable title, surprising for a film produced by Denzel Washington. The makeup and wardrobe to make Viola Davis look 40 pounds heavier and decades older is ridiculous.

The first 20 minutes of the film is nearly unwatchable, like a bad Eugene O’Neill play, all staged-dialogue, in one room. As the braggadocio horn player, the non-stop banter by the late Chaz Boseman, to whom the Academy of Motion Picture Arts and Sciences will posthumously award an Oscar, is simply irritating.

The use of blatant stereotypes – black and white – in this ‘woke era’ is mindboggling: Ma’s white manager is a milquetoast, the recording studio owner is exploitative, the Klansmen (only referred to in a soliloquy by Bozeman) vicious, Ma’s niece is promiscuous, the black band members are accommodating, etc.

 

Finally, here is one movie that is an under-seen gem:

The Courier

Starring Benedict Cumberbatch, this is a Cold War era spy movie, par excellence, a bit reminiscent of the German film, The Lives of Others. Overlooked by the ridiculously woke AMPAS, and probably way too subtle, The Courier is a great movie, easily among the best five pictures of the year, if not the best.

A friend said, “Loved The Courier. It deserves consideration especially with the unpatriotic events unfolding.” And I replied, “but woke Hollywood would object to the less-than-vocal wives and to no minorities in the film. So it had no chance to be nominated for an Oscar.”

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