From left, Elizabeth Olsen, Carrie Coon and Natasha Lyonne in “His Three Daughters.”
No oxymoron makes me smile more than “critical consensus.”
The truth is, critics rarely fully agree on anything, and when they engage in debate, it is hardly in hope of having their minds changed. Or maybe I missed that episode of Siskel & Ebert when one of them finally gave in and blurted, “I take it back. You’ve convinced me. Thumbs up. Way up!”
Consensus? Disagreements are almost de rigueur in this profession, and contrarianism often rewarded. Still, some opinions are so widely shared they can harden into dull, conventional wisdom. The Oscar nominations are set to be announced on Jan. 19, and a number of films are already widely assumed to be front-runners. A recent scorecard in The Wrap, drawing on a half-dozen earlier awards-group votes, identified the 20 most popular titles. (“Anora” headed the list, followed by “Nickel Boys”; close behind were “A Complete Unknown,” “Conclave,” “Wicked” and “Sing Sing.”)
But what about the films that lingered at the bottom of the list? Or weren’t mentioned at all? Were the popular choices really that much better? Or did groupthink shut out some worthy contenders?
I’m not sure, but is it too much to spare a moment to acknowledge the overlooked?
I admit that none of the eight films below made my own Top 10, or even figured in my 10 honorable mentions. I would be shocked if they crash the nomination announcements on Jan. 19. Yet they all had at least one performance that startled, one moment that lingered. They deserve some attention. And if they don’t join this year’s slate of Oscar contenders, consider this a quick guide to some films the awards pundits missed, and you shouldn’t.
Jeremy Strong in “The Apprentice.”
“The Apprentice.” A movie about the rise of Donald Trump was guaranteed to annoy almost everyone, both turning off his critics and infuriating his fans. Their loss. Because while the film could be hard to watch — for people of every political persuasion — it featured some wonderful actors. And good as Sebastian Stan was at capturing the ambitious young real estate heir, the jewel in the cast was Jeremy Strong as Roy Cohn, a schemer so slippery he couldn’t walk across The Plaza without leaving a trail of slime.
“Challengers.” Director Luca Guadagnino’s menage-a-tennis romance got a lot of attention when it opened in April; at a time when American movies seemed to be getting increasingly prudish, this story of on-the-court rivalry and in-the-bedroom revelry felt almost revolutionary. Despite great reviews and sexy stars — with Zendaya a sizzling standout — the film never really caught fire. A bit of Oscar acknowledgement — perhaps for editing or cinematography — would be welcome, and encouraging.
“His Three Daughters.” A difficult old man is dying, so his three adult daughters reunite in his small New York apartment to see him through his final days — and, maybe, work through some of their own lifelong issues. The setting feels a little claustrophobic, and the conflicts a bit well-worn, but that is part of the point. And it is hard to kvetch too much when director and co-producer Azazel Jacobs’ script gives actresses like Carrie Coon, Elizabeth Olsen and — very especially — Natasha Lyonne so many chances to shine.
“Kidnapped: The Abduction of Edgardo Mortara.” Italian auteur Marco Bellocchio has long explored struggles between economic classes and among family members, and he does so again here, in a surprising new way: With a based-on-fact, 19th-century historical epic about a Jewish boy in Bologna who was seized from his family by church authorities and forcibly raised as a Catholic. A story of appalling authoritarianism and injustice — yet also beautifully staged and luminously shot.
Maisy Stella, left, and Aubrey Plaza in “My Old Ass.”
“My Old Ass.” The title, let alone the thumbnail description — teenage girl gets a visit from her future self — doesn’t seem to promise much. So definitely count this film, and director-writer Megan Park, as overachievers. What could have been another cooler-than-you high-school comedy turns into a surprisingly mature reflection on love and family, while the marvelous Aubrey Plaza gets a rare chance to move past her trademark smirk and snark to create a woman heading into her 40s with deep pain and nagging regrets.
“September 5.” The story of the terrorist attack at the ’72 Munich Olympics, this film may have been hampered by its point of view; avoiding the actual violence, it kept its calm focus on TV journalists pressed into covering the horrific news. Not, on the face of it, the most obvious or even dramatic approach to take, yet the movie had surprising insights into where our endlessly vengeful (and media-saturated) world was heading, and featured great work from its ensemble, particularly Peter Sarsgaard and John Magaro.
“Super/Man: The Christopher Reeve Story.” It was perhaps the cruelest of tragedies: Christopher Reeve, best known for soaring beyond the grip of gravity as Superman, permanently paralyzed in a horse-riding accident. Yet it didn’t stop the Princeton native, who soon proved to the world that he had some true superpowers: Optimism, determination, resilience. You probably already know how it all turned out. Yet Reeve’s dream hasn’t ended, and this solidly reported documentary is truly inspiring.
“The Thicket.” The Western made a small cinema comeback this year, with the launch of Kevin Costner’s ambitious “Horizon” saga, and Viggo Mortensen’s stirring “The Dead Don’t Hurt.” But Elliott Lester’s film was the one that astonished: a thematic descendant of Sergio Leone with storytelling swerves, wild flights of imagination and endlessly colorful characters. Thrilled by Juliette Lewis as a scarred, cross-dressing psychopath? Wait until you see who is on her trail — sharpshooting bounty hunter Peter Dinklage.
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