Review: The 90th Academy Awards Round-Up


Photo courtesy of Wikimedia Commons

A giant Oscar statue from the 84th Academy Awards.


After some truly awful red carpet banter by ABC’s appointed hosts, the 90th Academy Awards show began with a politically charged monologue from Jimmy Kimmel. The monologue went as expected, jokes garnering a couple laughs from the Hollywood elite, for most part failing to land, and some political commentary being a little too heavy-handed.

With that said, it is a very big deal to see issues like sexual harassment in Hollywood bluntly addressed, without being tiptoed around by the host. 

Kimmel also pointed out that the first Academy Awards was only 15 minutes long, and had since extended to be the major television event it is now. It also highlighted how bloated and padded for time the following show was.

It’d be wrong to say that everything about the show was a waste of time, the inspiring 90th Oscars montage in particular stood out as a truly spectacular testament to cinema. Outside of the musical performances, the rest of the bits in the four-hour show felt like they were only included to extend the run time, creating more space for advertisements.

The overall show would have certainly benefited from The Lonely Island’s cut opening song, “Why Not Me?”, which would have starred Michael Fassbender, the various Chrises from Hollywood, Thor and Wonder Woman among others.

With few minor upsets, the 90th Academy Awards felt more on point than they have in years, nearly every film deserving its awards without doubt.

Guillermo del Toro left the night with both best picture, and best director awards for “The Shape of Water,” and used his platform to thank his friends and family, but also talk about immigrants, and the current divide within our country.

“I think the greatest thing that does and our industry does is erase the line in the sand,” said del Toro. “We should continue doing that, when the world tells us to make it deeper.”

“The Shape of Water” also won Oscars for best original score and best production design.

Unsurprisingly, Gary Oldman’s intense style of acting earned him best actor for his role as Winston Churchill in “Darkest Hour.” His award can in part be attributed to his physical alterations for the role, which also won best makeup and hairstyling.  

Frances McDormand beat out 21-time nominated and three time Oscar winner Meryl Streep for best actress, with her role in “Three Billboards Outside Ebbing, Missouri.”

Sam Rockwell received his long awaited first Oscar, for his supporting role in “Three Billboards Outside Ebbing, Missouri.” Allison Janney would go on to receive her first Oscar as well, for best supporting actress in “I, Tonya.”

Jordan Peele won best original screenplay for his directorial debut, “Get Out,” which he said he “stopped writing about 20 times, because I thought it was impossible.”

“Call Me By Your Name,” another best picture nominee, received best adapted screenplay. Despite not winning the award, Timothée Chalamet’s nomination for best actor next to the Oscar mainstays like Oldman, Denzel Washington and Daniel Day-Lewis, is monumental and indicative of a promising career in the years to come.

“Dunkirk” took three technical awards, best sound editing, best sound mixing and best film editing, completely snubbing “Baby Driver.” Edgar Wright’s meticulous directorial style easily should have taken at least one of the three.

Other best picture nominees, “The Post” and “Lady Bird,” left the night without receiving any awards, despite “Lady Bird” being nominated for five different awards.

“Blade Runner 2049” netted best visual effects and best cinematography, an award which Roger Deakins had been nominated for 13 times previously before finally winning.

Kobe Bryant is one step closer to becoming the ultimate winner, now with not only multiple NBA MVP awards, but also with an Oscar for his work on the animated short film, “Dear Basketball.” He used his acceptance speech to again prove that he definitely can do more than “dribble and shoot.”