Congratulations CODA — Conquering competitors creepiness (9)
Of course, The Aspiring Critic loves alliteration — thus the title of today’s column. More importantly, I like a good movie — and I like to see it recognized.
CODA’s worthy win on last Sunday’s Oscar show was overshadowed by The Slap Heard (Seen) ‘Round the World. However, it’s worth noting that this year’s winner was up against a number of films which were creepy — a little or a lot. A chilling movie is getting much more common these days, so it was a pleasure to see heart-warming triumph over flesh-crawling.
Nightmare Alley is unabashedly macabre. An odd addition to the already lengthy list of nominees, Nightmare Alley did very poorly in terms of return on investment and viewership. It is a remake of a 1940s film noir set primarily at a carnival — where creepiness is par for the course. What a cast this movie features — Bradley Cooper, Cate Blanchett, Willem Dafoe, Toni Collette and Rooney Mara — but its overall theme of psychological warfare creeps you out.
Similarly, The Power of the Dog uses psychological warfare, this time set in a Western theme. With Benedict Cumberbatch playing brilliantly against type, this slow-burning film definitely hosts many twists that make it interesting. Power of the Dog is not just a clever movie — it is definitely that, but it is also ominous and yes, creepy.
The premise of Don’t Look Up is the discovery by scientists that a comet approaching earth will destroy humanity. The plot is further complicated by the astronomers’ fruitless attempts to convince the powers that be that the threat is real. Art may imitate life, and this black comedy has its own helping of creepiness, as the impending doom is met with nonchalance in the movie, and frustration in the viewer. It’s not quite the same type of discomfort achieved in the two movies named above, but it has its own brand of sinister overtures.
Licorice Pizza may not appear to be a proper member of the class, but the bottom line is that a 25-year old woman hangs out with — and ultimately falls for — a 15-year old boy. There are a lot of charming elements, but that proposition is a little creepy, don’t you think?
Belfast isn’t spine-chilling, but again, the looming sense of disaster is overriding. As the Protestant — Catholic friction hits up, the sense of unease is palpable. The adorable youth who steals the show makes it all worthwhile.
Even West Side Story had its moments. The streets of New York looked like some futuristic dystopian society, with a backdrop that was more spooky than colorful. I can’t make a case for King Richard being creepy — but certainly Will Smith sort of is now! I didn’t see Dune, but it is described as a movie where a family “is thrust into a war for the deadly and inhospitable desert planet of Arrakes.” Sounds about right. As for Drive My Car, here’s a summary that tells about it: “Actor and theater director Yusuke Kafuku is married to Oto, a screenwriter. Oto conceives her stories during sex and narrates them to Yusuke.” I have to believe that a scenario such as that would merit a considerable amount of squirming.
Even outside the Best Picture nominees, there were other creepy movies featured at the Oscars this year and previously. The amazing Olivia Colman, nominated for Best Actress, was once again remarkable in The Lost Daughter but boy, was that movie disturbing. Parasite won big two years ago, and that was certainly menacing. The Shape of Water, Promising Young Woman, Joker, The Favourite all belong in this group.
So it is more than wonderful to see a movie like CODA that celebrates family and talent win Best Picture. With great acting (congrats to Troy Kotsur!) and a strong script, this movie featured touching elements, a pleasing conclusion, and overall, it was quite memorable. You want to remember this one — some of the other movies, well, you may want to forget.
