####Best Picture:
“The Big Short,” “Bridge of Spies,” “Brooklyn,” “Mad Max: Fury Road,” “The Martian,” “The Revenant,” “Room” and “Spotlight.”
**Winner**: “Spotlight”
**Preference**: “Spotlight”
Coming into Sunday, “The Revenant” was considered the favorite to bring home Best Picture. The victory for “Spotlight” was a welcome surprise. From director Tom McCarthy, “Spotlight” is a rare film that is deeply compelling while offering a nuanced portrayal of true events. Where other filmmakers might overdramatize this film into being a moralistic slander against the Catholic Church, McCarthy’s clinical approach offers a greater understanding of this massive scandal.
Through the eyes of The Boston Globe’s investigative team, the film challenges the system that allowed these crimes to happen. Such a strong message was certainly worthy of winning Sunday’s biggest award.
####Best Director
Adam McKay, “The Big Short”; George Miller, “Mad Max: Fury Road”; Alejandro Gonzalez Inarritu, “The Revenant”; Lenny Abrahamson, “Room”; and Tom McCarthy, “Spotlight.”
**Winner**: Alejandro G. Iñárritu for “The Revenant”
**Preference**: George Miller for “Mad Max: Fury Road”
Because Alejandro G. Iñárritu’s film is considered a stylistic masterpiece, my opinion here is in the vast minority. To me, much credit for the visual flourishes of “The Revenant” is generally misattributed between Iñárritu and cinematographer Emmanuel Lubezki, when it should go entirely to Lubezki, who won Best Cinematography for the third year straight on Sunday. Iñárritu’s overall direction leaves the film with many themes — survival, revenge, spiritual rebirth and balance with nature — that feel inconsistent and incohesive, though this is admittedly more of a problem in writing than direction.
George Miller’s direction, on the other hand, never wavers on its suspenseful portrayal of survival in a patriarchal post-apocalyptic world. “Mad Max’s” six Oscars for various stylistic achievements are reflective of Miller’s cohesive, directorial vision in which each individual win complements the film as a whole. Moreover, the relentless intensity of “Mad Max’s” brilliant action sequences required meticulous organization amongst various working parts in order to achieve Miller’s vision, which ultimately left viewers on the edge of their seats.
####Best Actor:
Bryan Cranston, “Trumbo”; Matt Damon, “The Martian”; Leonardo DiCaprio, “The Revenant”; Michael Fassbender, “Steve Jobs”; and Eddie Redmayne, “The Danish Girl.”
**Winner**: Leonardo DiCaprio for “The Revenant”
**Preference**: Leonardo DiCaprio for “The Revenant”
Playing devil’s advocate here, “The Revenant” is not Leo’s best performance. His complex performances in “The Departed,” “Blood Diamond” and “Catch Me If You Can” convey strong senses of emotional vulnerability while still carrying his intense charm. Contrastingly, “The Revenant” strips Leo of his charm in favor of a singularly physical performance.
Yet, Leo is, without a doubt, the only deserving candidate here. His commitment to this role, in spite of its brutality, is an incredible feat. In a weak year for this category, none of the other nominees deserved this award nearly as much as Leo did.
####Best Actress:
Cate Blanchett, “Carol”; Brie Larson, “Room”; Jennifer Lawrence, “Joy”; Charlotte Rampling, “45 Years”; and Saoirse Ronan, “Brooklyn.”
**Winner:** Brie Larson for “Room”
**Preference:** Brie Larson for “Room”
As a relative newcomer with a quietly strong resume (her performance in “Short Term 12” is fantastic), Brie Larson’s first nomination and win at the Oscars will surely make America familiar with her as an actress. With no disrespect to her fellow nominees, she was easily the most deserving nominee this year. The complexity with which she played Ma was exceptional. During the film’s first act, which is set entirely inside a small room, she consistently evokes conflicting emotions in accordance with her role. She simultaneously must convey optimism for her son, Jack, while also reflecting silent despair at her tragic situation. Later, she must project strength and courage for Jack to escape, while wordlessly displaying fear that he might fail. Without her nuanced performance, the first act is rendered ineffective, crippling the movie. Instead, she hits every complex note, allowing “Room” to be emotionally affecting and fulfilling.
####Best Supporting Actor
Christian Bale, “The Big Short”; Tom Hardy, “The Revenant”; Mark Ruffalo, “Spotlight”; Mark Rylance, “Bridge of Spies”; and Sylvester Stallone, “Creed.”
**Winner:** Mark Rylance for “Bridge of Spies”
**Preference:** Benicio Del Toro for “Sicario”
The favorite to bring home the Supporting Actor award on Sunday was Sylvester Stallone for his strong performance in “Creed.” Although he was undeniably good in “Creed,” I personally found little about his performance especially noteworthy. With the exception of Christian Bale, I would have welcomed a win for any of the nominees. Thus, Rylance’s victory for a quiet, understated role in “Bridge of Spies” was a pleasant surprise. His calm, well-mannered approach to his portrayal of a Soviet spy was pivotal to the film’s critique of America during the Cold War.
Yet, my preference for this award goes off-the-ballot to Benicio Del Toro for his intense performance in “Sicario.” The calm strength with which he plays Alejandro provokes fear in Emily Blunt’s Kate and audiences alike. Reminiscent of Anton Chigurh in “No Country For Old Men,” Del Toro’s performance strikes fear in the audience, conveying just how much Kate is out of her depth in “Sicario.”
####Best Supporting Actress
Jennifer Jason Leigh, “The Hateful Eight”; Rooney Mara, “Carol”; Rachel McAdams, “Spotlight”; Alicia Vikander, “The Danish Girl”; and Kate Winslet, “Steve Jobs.”
**Winner:** Alicia Vikander for “The Danish Girl”
**Preference:** Alicia Vikander for “Ex Machina”
Honestly, I was surprised to learn that Alicia Vikander was nominated for “The Danish Girl” instead of “Ex Machina.” It is not that her performance in “The Danish Girl” is a bad one. Rather, many accounts suggest that she actually outperforms leading actor Eddie Redmayne. What confuses me most about her victory for “The Danish Girl” is that she earns it for a role that essentially is a supportive wife, while her role in “Ex Machina” is quite the opposite. Not to act as though one role is objectively better than the other, I simply think her role in “Ex Machina” carries more intrigue.
Avoiding spoilers, Vikander’s performance in “Ex Machina” is a phenomenal portrait of artificial intelligence. With each turn of the neck and twitch of an eyebrow, Vikander reflects robotic tendencies while also conveying human emotions. The cautious intrigue with which she approaches the world is central to “Ex Machina’s” ultimate goal, making it one of last year’s best supporting roles.