Narcissism, thy name is Oscar.
For the third time in four years, the motion picture academy gave its top honor to a movie with a show business background in a night filled with play-it-safe, pre-endorsed choices.
"Birdman" (washed-up actor trying to make a comeback on Broadway) followed "Argo" (Hollywood helps the CIA smuggle hostages out of Iran) and "The Artist" (silent-screen star washed up by the coming of sound) as Best Picture winners with distinct company-town feel (never mind "Birdman" was directed by a Mexican and "The Artist" was directed by someone from France).
You have to wonder if last year's Best Picture win by "12 Years a Slave" — the kind of serious historic epic the Oscars used to prefer — was some kind of anomalous choice by the motion picture academy, which has gotten younger and apparently more frivolous in its tastes in recent years.
For the first time in memory, Oscars were awarded to each and every one of the eight Best Picture nominees. What is this, elementary school? "Selma," for instance, went home with best song, while "American Sniper" — which grossed more than the seven other nominees combined — got an honorable mention for sound editing.
Only two other features won Oscars, "Still Alice" (Best Actress) and "Interstellar" (visual effects).
As much as I loved Eddie Redmayne's fantastic performance as Stephen Hawking in "The Theory of Everything," does it really make sense to exclude the actor who "Birdman" was literally built around, Michael Keaton?
Or, for that matter, to reduce the accomplishment of "Boyhood" — filmed over 12 years — to a single award for Best Supporting Actress (Patricia Arquette)?
With the Oscars merely rubber-stamping the choices of the guilds — "Birdman" won with the directors, producers and actors — maybe they've outlived their usefulness.
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Oscars showed no edge awarding ‘Birdman’ Best Picture
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