Whiplash:
“Whiplash” is very much an underdog in this year’s best picture race. With a budget of only $3 million – compared to fellow nominee “American Sniper’s” $58 million budget – it is far and away the least talked about of all the nominees. In fact, it is actually the lowest grossing film to ever be up for the best picture award.
All this is not to say it is an unworthy nominee. “Whiplash” is surprisingly thrilling for a story that essentially follows the rise of a young, apprising jazz drummer. Much of what makes the film great is the volatile relationship between the young Andrew (Miles Teller) and his mentor/tormentor Fletcher (J.K. Simmons). Fletcher is a man so focused on getting the most out of his pupils that his is willing to push them to the break of breakdown, with Andrew more than ready to do what is takes, making for electrifying film which deserves to among this year’s best.



American Sniper:
The highest grossing and most controversial film in this year’s batch is Clint Eastwood’s war drama, “American Sniper.” Called both right-wing propaganda and American patriotism as its best, the film has become one of the most politically charged in recent history.
The story is about the life of Chis Kyle (Bradley Cooper), one of the most successful and deadly Navy SEAL sniper’s in American history. The film follows Kyle from his first days in the military to his eventual death, focusing on his many tours in Iraq, his relationship with his wife and family and his troubled post-military life, all with excitement and intrigue.

Birdman:
Nominated for the year’s most Academy Awards – tied with “The Grand Budapest Hotel – “Birdman” is a story of redemption for main character and former super hero icon, Riggan Thompson (Michael Keaton). Thompson is attempting to revamp his image and win critical acclaim for his Broadway debut in which he is starring, writing and directing. The production is met with a myriad of hitches, leaving the audience never sure whether he will ever be able to pull it out.
The movie is largely a character study, with each supporting role only there to help show how lost Thompson is within his own, especially “Birdman”, a voice within Riggan’s own head with which he constantly battles. The frantic direction, and long complicated sequences give the film an almost surreal vibe which helps explain the bizarre ending which I will not spoil for the readers. Overall, “Birdman” is a film that could easily take home the award this year and if so, would be quite deserving. 

Boyhood:
This year’s favorite is perhaps the most unique piece of filmmaking ever created. “Boyhood” is not a film with an overly unique narrative, following the life of a boy named Mason as he grows from a small child into a young man going off to college to study photography. What is unique is that unlike other coming-of-age tales, Mason is played by a single actor. This is because the film was shot for a mere two weeks every year starting in 2002. This gave “Boyhood” the unique ability to actually show the passage of time that similar films can only pretend to do.
This undertaking is amazing for a number of reasons.  Writer and director Richard Linklater had to find both a team of actors and a production company willing to give their time and money to a project which would not see the light of for twelve years. Luckily, both Mason’s mother (Patricia Arquette) and father (Ethan Hawke) not only agreed but did fabulous jobs in their unique roles. There will likely never be anything like “Boyhood” and perhaps for that reason alone, it will take home the trophy this Sunday.  

The Grand Budapest Hotel:
Wes Anderson may be the strongest auteur currently making movies in Hollywood. His unique style pervades his films so much that it makes his work immediately recognizable. “The grand Budapest Hotel” marks Anderson’s first film nominated for best picture and keeps with his style while, while putting his story on even a grander scope than previous work.
The story starts in the hotel which shares the film’s name, in the fictional Eastern-European country, Republic of Zubrowka, and centers on the hotel’s concierge Gustave H. (Ralph Fiennes).  The catalyst for the action comes with the death of the wealthy, Madame D., who leaves Gustave a priceless painting, much to the chagrin of Madame D’s greedy children. It is a wild film which takes many twists all more fittingly silly then the next. Filled with many of the frequent collaborators that have come to characterize Anderson’s movie, the script and direction do not allow for a dull moment. 

Selma:
It is strange to think that “Selma” is the first large film to heavily feature such an iconic figure as Martin Luther king Jr., especially in a time when biopics are one of the most respected and reproduced genre in all of Hollywood. The refreshing part about this historical film is that it is not a biopic. It does not show King’s life from a young boy, and barely touches on his death. Instead, “Selma” focuses on King’s fight to secure voting rights, which culminates in the famous march from Selma to Montgomery, Alabama.
The film, along with the excellent portrayal from David Oyelowo, does a good job of humanizing a man who has become one the most idolized in history. “Selma” gives us a pictured of a real, even flawed man, who put himself and his family on the line for what he believed in. While some have been critical of some of the historical inaccuracies, the overall message is given in an real, and effective way, making it a top-tier historical picture.

The Theory of Everything:
Stephen Hawking and his first wife Jane Wilding are the subjects of the biopic, “The Theory of Everything.” The film follows the time before and after the diagnosis of Hawking’s motor neuron disease, and how that has shaped both Wilding and Hawking’s life and marriage. The narrative does not delve too deeply into the mathematic or scientific nature of Hawking’s work but focuses more on his relationships and his crippling disease.
Eddie Redmayne played Hawking with skill as he transformed both emotionally and physically into the well-known physicist. Like “Selma” the movie does a good job of removing some of the myth and showing us that Hawking is as imperfect as any man, even if the most brilliant of our time. The story perhaps could have gone even deeper, which may be why it seems “The Theory of Everything” has a better chance in the acting categories than in best picture.

 
The Imitation Game:
In yet another biopic, “The Imitation Game” gives us the little-known story of Alan Turing and his work for the British secret intelligence unit during World War II. Turing and a team of code-breakers are brought to Bletchley Park in order to break the German encryption device known as “Enigma.” Turing (Benedict Cumberbatch) is in equal parts social inept, hard to work with and unbelievable brilliant. With the help of his machine, which he calls Christopher – named for his first love – he is able to solve the puzzle and give the allies an invaluable tool for winning the war.
Cumberbatch is funny, awkward and even at points heartbreaking in his role as Turing, who years after Bletchley Park is arrested and tried for gross indecency for his homosexuality. Unlike many biopics, this story is one that most people have not heard, making it all the more interesting and refreshing.  

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