We’ve Gotta Cool It With the Amy Adams Oscar Stuff

As a lifelong cinephile and avid follower of Amy Adams‘ career, I must confess that I too have been guilty of getting swept up in the Oscar buzz surrounding her every new project. But after watching Nightbitch at this year’s Toronto International Film Festival, I can wholeheartedly say that it’s time for us fans to rethink our approach and give this movie a chance beyond its potential Academy Awards implications.

I must confess that I’ve been part of the issue, constantly expressing my opinions about Amy Adams’ projects, speculating if they would be the one to finally earn her an Oscar. This has turned into a recurring topic on our podcast, with my co-host and me betting on who will win an Oscar first between Adams and Michelle Williams. Every update, release date, poster, trailer, or festival placement triggers this “Oscar prospects for Amy” discussion. However, after watching her latest film, “Nightbitch“, which premiered at the Toronto International Film Festival, it’s evident to me that focusing on her Oscar chances in this manner does neither justice to Adams nor her talent.

As a film enthusiast, I must say that Adams delivers an exceptional performance in this movie, based on Rachel Yoder’s novel. Her portrayal is that of a mother who undergoes a transformation into a wild dog at night. Her skill in embodying characters, whose innocence hides layers of betrayal or sorrow, is truly remarkable.

As a cinema enthusiast, let me share my perspective on the intriguing film titled “Nightbitch“. This isn’t your typical Oscar-winning storyline. It revolves around a woman who develops an unusual appetite for raw meat, grows unexpected extra nipples, and wakes up each morning covered in dirt from her nightly escapades outdoors. Some might compare it to canine habits, but that’s where the similarity ends.

To clarify, Nightbitch isn’t a poorly-made movie at all. In fact, it’s director Marielle Heller’s fifth feature that offers a unique blend of creativity, humor, grit, and profound insights into the selfless acts mothers endure, challenging conventional stereotypes. However, as Vulture’s Bilge Ebiri pointed out in his review, these ideas sometimes overshadow a coherent narrative, resulting in a film rich with thought-provoking visuals and comments, but lacking a strong storyline.

At the very least, Nightbitch marks an interesting swing by a talented director and one of very few actresses who could have pulled this role off. The least interesting conversation to have about the film boils down to the Oscars, however understandable the impulse is. At six nominations, Adams has entered the ranks of The Great Unrewarded, with the likes of Peter O’Toole, Richard Burton, Deborah Kerr, and, of course, Amy Adams’ Hillbilly Elegy co-star Glenn Close, whose eight nominations without a win puts her at the top of this infamous list. We love talking about these actors’ losing streaks, if only because it can be so cathartic when those wins finally come. Go and watch Susan Lucci’s loooong awaited Daytime Emmys victory speech if you don’t believe me. Adams in particular is a fascinating case of futility because she’s been capturing Oscar voters’ attention ever since her breakthrough in 2005’s Junebug. She’s starred in 15 Oscar-nominated movies, five of them Best Picture nominees.

Despite the seemingly outrageous premise of “Nightbitch”, its pre-release Oscar buzz wasn’t entirely implausible. This is because Marielle Heller has previously guided Melissa McCarthy, Richard E. Grant, and Tom Hanks towards Oscar nominations. Moreover, performances that have recently won Best Actress awards include a gout-stricken Queen Anne, a mother traversing the multiverse, and a sexually charged young woman with an infant’s intellect. Oscar voters have become increasingly accepting of the bizarre and extraordinary.

Essentially, Nightbitch doesn’t quite match the visual spectacle or deep thematic resonance found in performances-led films like Everything, Everywhere, All at Once and Poor Things. The performance by Adams spans from broad humor (as seen when she plunges headfirst into a meatloaf) to profound introspection. However, these moments are scattered throughout the narrative without a compelling overarching storyline to tie them together effectively.

If the raw aspects and unrefined structure of the film “Nightbitch” prevent awards jurors from acknowledging Adams’ performance, some might label it as another missed opportunity for the actress to win the coveted golden statue. Such a view would not only be disrespectful to the art but also oversimplify Adams’ performance. In fact, I’d argue that the bold choices Adams makes in this film represent a positive shift from her previous work, such as “Vice” (for which she was unfortunately nominated) and “Dear Evan Hansen” (for which she was fortunately not nominated).

As a movie critic, I can confidently say that “Nightbitch” has given Phyllis Adams’ career a much-needed jolt, following her captivating performance in “Arrival.” To assess its success solely on whether it earns her the Academy Award is both unproductive and detrimental to the recognition of intriguing films that deserve such accolades. Adams consistently delivers performances that make her an actress worthy of an Oscar, and “Nightbitch” is no exception.

2024-09-09 16:53

We’ve Gotta Cool It With the Amy Adams Oscar Stuff

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