Best Original Screenplay: Ranking Every Oscar Nominee
Today, we’re tackling the screenplays that are made completely from scratch. Unlike the Adapted counterpart category, Best Original Screenplay doesn’t really have any source material to cross reference with. These are usually ideas that are entirely unique. So, that’s part of our criteria: which of these films are truly original in every sense of the word. How do these ideas get expanded upon beyond their foundations? These are the tickets here. In 2019, all of the nominees are strong to some degree. We feel like the category could have been even stronger with one or two replacements, but none of these entries are particularly bad by any stretch.
Here are your nominees for Best Adapted Screenplay, ranked from worst to best.
Biggest Snub: Uncut Gems
If you excuse the hundreds of f-bombs, Uncut Gems was a narrative that was deceptively off-the-rails. In reality, the Safdie brothers were in control of this story from scene one. Have countless plot threads weave amongst each other, plus toss in the themes of fate and the hideousness of greed, and you have a relentless thrill ride (not to mention the overlapping lines that cause authentic chaos). Sure, a portion of this film was improvised, but if Martin Scorsese works continuously end up being nominated for their writing, then Uncut Gems isn’t that much of a stretch.
5. 1917: Sam Mendes & Krysty Wilson-Cairns
You know a category is stacked when the Best Picture frontrunner is seemingly the worst in a major group. 1917 is indeed well written, but it is fairly conventional compared to the other four nominees. We have a mission that works in a linear fashion, as if it has to check off each necessity for a proper story (protagonists, goals, struggles, revelations, and then some). As fundamental as it is, 1917 is still a glorious tale, likely because of the humanistic dialogue. We haven’t forgotten how well the writing utilizes empty space, especially in a piece that implies real time. 1917’s writing isn’t one of its strongest elements, but it is far from bad at all. In fact, it’s quite good, and its placement here is far from a problem.
Our review of 1917
4. Knives Out: Rian Johnson
This could have easily come in first had the film not been so painfully obvious. This “whodunnit” was more of a “whydunnit”, which hand holds while explaining the murder that took place. Despite that complete let down, Knives Out is still savage fun, and that’s why it hurts so much. Forget the lack of mystery, and you have fork tongued characters lashing out at one another, a bumbling detective with the silliest of analogies (who can forget the donut hole theory?), and some impressive timing and callbacks (the vomiting plot device was introduced and properly used in very interesting ways each time). It’s too bad about the focus on entertainment over challenge.
Our review of Knives Out
3. Marriage Story: Noah Baumbach
We think this may be some of Noah Baumbach’s finest writing to date. The dialogue is organic, but that’s just the start. The use of introducing ideas and following up is so strong in this film. Every time a lawyer learns new information, it gets brought back in a whole new light during trial. That’s just an example. You know anything can be used against this couple in despair. Then, there are the more personal moments, including the opening confessionals (which also get reintroduced, either by our awareness of the actions of characters, or by the literal reading of these letters). Baumbach’s artistic scenes (the two leads singing their own songs for different reasons) also leave a lasting impact. In other years, Marriage Story would be the clear winner, but 2019 is highly competitive.
Our review of Marriage Story
2. Parasite: Bong Joon-ho, Han Jin-won
Parasite is so abundantly brilliant with how it conveys classist struggles via a darkly comedic thriller. The set up is patient (it takes about an hour for the premise to take hold), but the delivery of each element is lightning fast (Parasite hops from point to point without wasting time). That allows the second half to turn into all of the separate parts colliding into each other, and thus an unpredictable mess for us. Parasite is metaphorically sound, purposefully misleading, awkwardly hilarious, and, most of all, just so damn smart. Here’s a great idea being executed with complete and utter perfection.
Our review of Parasite
1. Once Upon a Time in Hollywood: Quentin Tarantino
Only a fantastic screenplay by one of cinema’s finest writers could trump either Parasite or Marriage Story. We know that not everyone agrees, but we consider Hollywood to be one of Quentin Tarantino’s finest hours. The screenwriting is a major reason why. Here we have a real tragedy being rewritten with lots and lots of instances of fate. In order for that to work, a lot of backstory has to be instilled. Enter Rick Dalton and Cliff Booth. Now, to compliment Sharon Tate’s legacy, and the lead up to that moment (plus the time in history often considered the end of the peace movement and Old Hollywood for good), we have two other running themes: the self-sabotage of a privileged star that has fallen from grace (Rick), and the stuntman that has become an observer of all around him (Cliff). We get Hollywood commentary mixed with Tarantino’s usual enigmatic dialogue, and all of the appropriate symbols of filmmaking and a country torn by political ideas. All of this leads up to the fairy tale ending —completed by gallons of blood — and that’s when you know this is the “Hollywood” version of an incredibly dark moment in history. Hollywood is fascinating through and through.
Our review of Once Upon a Time in Hollywood
Who we want to win: If Once Upon a Time in Hollywood, Parasite, or Marriage Story take this, we’re all good. Hollywood gives Tarantino the award trifecta (he also won for Pulp Fiction and Django Unchained in this category), Parasite fulfils a rarity (not many foreign films win for their writing at the Oscars), and Marriage Story may allow Baumbach to share a fantastic evening with partner Greta Gerwig (assuming she wins for Little Women). All of these are fine.
Who we think will win: Right now, it looks like Once Upon a Time in Hollywood is the frontrunner, but we wouldn’t count any of these films out, aside from Knives Out; even 1917 may have the Best Picture-frontrunner odds working in its favour.
Tune in tomorrow for our next Academy Award category! We’re reviewing every single nominee.
Andreas Babiolakis has a Masters degree in Film and Photography Preservation and Collections Management from Ryerson University, as well as a Bachelors degree in Cinema Studies from York University. His favourite times of year are the Criterion Collection flash sales and the annual Toronto International Film Festival.