The Predictable 2018 Oscars

It’s that time of year again, the time when all the Hollywood elites get together and pat each other on the back for another successful year of political preaching, covering up misconduct, and filmmaking. Yep, it’s Oscar season! This year’s Academy Awards ceremony predictably featured plenty of the typical progressive signaling, Trump bashing, and hypocritical denunciations of sexual misconduct.

This year’s Best Picture nominees were:

  • Darkest Hour, a solid Winston Churchill biopic starring legendary actor Gary Oldman
  • Dunkirk, a World War II film from Christopher Nolan
  • Get Out, a masterfully balanced horror comedy which shows that even liberals who would have voted for Obama for a third term can be racists
  • Lady Bird, a near-perfect coming of age story
  • Phantom Thread, Daniel Day-Lewis’ final film before he retires from acting
  • The Post, a typical, middle of the road Spielberg historical drama about the Pentagon Papers,
  • The Shape of Water, a beautifully crafted Guillermo Del Toro film about a woman falling in love and having sex with some sort of fish man (yes, you read that right)
  • Three Billboards Outside Ebbing, Missouri, a Coen Brothers-esque black comedy/drama
  • Call Me by Your Name, a beautifully filmed and expertly acted romance about a sexual relationship between a 25-year-old-man and a 17-year-old-boy. And no, the film does not really address the creepiness of this relationship.

The ceremony opened with a rather unfunny series of jokes, including the first of many predictable jabs at President Trump, by returning host Jimmy Kimmel, a former comedian who now makes a living preaching about healthcare on TV. He then continued to attempt to address the recent sexual scandals that have rocked Hollywood, referring to “Oscar” as the ideal man in Hollywood, because he keeps his hands to himself and has no penis. In his opening monologue, he continued to bash Trump, as well as Mike Pence, who he mocked his presumed offense at a movie like Call Me By Your Name (never mind that one perhaps should be offended by someone having sex with a minor being portrayed in a positive light).

The award for Best Supporting Actor went to the long-underrated Sam Rockwell for Three Billboards Outside Ebbing, Missouri. Allison Janney received the award for Best Supporting Actress for I, Tonya.

Andra Day and Common performed their Oscar nominated song “Stand Up For Something” with altered, political lyrics explicitly denouncing Trump and the NRA.

The award for Best Adapted Screenplay went to James Ivory for Call Me By Your Name. Jordan Peele deservedly won the award for Best Original Screenplay for Get Out, making him the first black screenwriter to win the award.

The ceremony took a break from left-wing politics with a tribute to military films throughout history, which ended with a “thank you” from the Academy to the members of the American military serving around the world.

After 14 nominations, Roger Deakins finally won the award for Best Cinematography. The award for Best Original Score deservedly went to Alexandre Desplat for The Shape of Water. Guillermo Del Toro won the award for Best Director for The Shape of Water. The long-respected Gary Oldman won his first Oscar, the Best Actor award for Darkest Hour. The award for Best Actress deservedly went to Frances McDormand for Three Billboards Outside Ebbing, Missouri. Finally, the award for Best Picture went to The Shape of Water. The fantastic Lady Bird did not win a single Oscar.

Many of the winners, including Rockwell, Oldman, and McDormand, were predicted beforehand by the vast majority of experts and amateurs.

Throughout the ceremony, there were dozens of predictable Trump jabs, including not-so-subtle references to walls and borders. Jimmy Kimmel had his typical gimmicks, including crashing a movie showing with several actors and directors and offering a jet ski to whomever gave the shortest acceptance speech. The ceremony felt long and dragged out as usual.

In the end, this year’s Oscars were the same as every year’s Oscars: predictable, too long, and full of leftist posturing.

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