Sadly this was one of the least-well attended PAD Award ceremonies. Some speculated that it was because of the dull films this decade, while others said it was because Meryl only clicked 'interested' and then 'grammed herself at a different party altogether. Anyway, here's the winners of this year's eminent PAD Awards.
Least favourite film
Paul says: Gladiator
It’s been a relatively lacklustre decade as far as Oscar Best Picture winners go, which is strange considering that we are closer and closer to modern-day film-making. It is, in fact, Doug’s second least favourite decade so far (statistically speaking), and my third least favourite. Although I was spoilt for choice, I am happy to choose Gladiator as my turkey of the noughties, mostly because of how disappointingly it has aged. I have fond memories of being completely gripped and moved by the entire story when I was 13 but I’ve obviously grown discerning and cynical as I hit 30, because Gladiator was slow, stodgy, and no where near worthy of its 2.5 hours. Unless, of course, you like Russell Crowe’s gravel-voiced monologues, or one pathetic female character in the whole of Ancient Rome. But then, I’d severely question your artistic tastes. Admittedly, Crash had a lower mark from me, but Gladiator was too much of a let-down.
Doug says: Crash
Ugh what a dull decade. Apart from a couple of films, I’ve found this decade to be nothing more than a snooze-fest. Once again the Men have wrestled their way on top and filled it with the usual machismo-drenched dullities. Not since the ‘70s have I wished so fervently for ‘new balls please’. That’s a tennis reference but the euphemism works too. This one is easy. Crash was a shocker of a film. Much like 2019’s winner Green Book, it was a bunch of white men saying ‘gosh, did you know that racism isn’t a good thing?’ Outdated, obvious and oddly offensive, it’s not aged well at all. One to erase from the memory bank.
Favourite Male Performance
Andy Serkis, The Return of the King
An easy one, and a performance that stuck with me since my first viewing of this trilogy in the cinema. Andy Serkis’ Golem is a tour-de-force, made more so by the fact that the computerised animation doesn’t prevent his complex character work from becoming obscured. You can see that Serkis has thought long and hard about every style of movement and vocal pitch, especially when he is subtly jumping between the psychopathic Golem and his softer-hearted alter ago, Smeagol (they have a Jekyll-and-Hyde relationship). When you bear in mind how much time and energy Serkis and Director Jackson have put into Golem, one could almost argue that the entire saga, including The Hobbit, is really about Golem’s character arc alone. Frodo who? Runner-up shout outs should go to Clint Eastwood in Million Dollar Baby, Javier Bardem in No Country for Old Men, and Dev Patel in Slumdog Millionaire.
Doug says: Jeremy Renner, The Hurt Locker
Well it’s certainly not going to be Russell Crowe. An entirely disappointing set of films means that I didn’t notice much in the way of acting. However I’m going to award this one - slightly surprisingly - to Jeremy Renner who plays Sergeant First Class William James in Katherine Bigelow’s war epic. While I didn’t adore the film, Renner does exceptional work quickly and without much dialogue, creating a damaged gung-ho soldier who relishes the thrill of his work and the adrenaline rush, without understanding how he is undermining his own sanity. It’s an admirable, believable performance. Honorary shout outs go to Clint Eastwood and Dev Patel.
Favourite Female Performance
Paul says: Hilary Swank, Million Dollar Baby
A tricky one in a male-dominated decade, so I’m going to go for the obvious choice. Hilary Swank is the most recent Best Actress winner who was also in the Best Picture winner- and it was her second win at just 30 years old. It’s a well-deserved accolade, as her performance is a stunner. She’s dances over the line between vulnerability and fortitude expertly, and she’s as likeable as Rocky was in her downtrodden determination. She should also get a special mention for acting very well with just her face after Horribly Tragic Events occur during the film. Hilary Swank? How about Hilary Tank-ful of Talent?!
Doug says: Catherine Zeta Jones, Chicago, & Margo Martindale, Million Dollar Baby
It’s a tie! I couldn’t choose between these performances and here’s why. CZJ in Chicago is the epitome of ‘barnstorming’. It’s a performance that has to vie with Renee Zellwegger doing some cracking acting and Queen Latifah queen-latifahing the House Down. And yet she utterly triumphs, with the nastiness and glamour fore-front at all times. The show opens with her tremendous ‘All that Jazz’ and it sets the tone for an energetic, mesmerising performance. On the other end of the scale we have the relatively small role of (the also wonderful) Hilary Swank’s mother in Million Dollar Baby. Martindale - a recognisable face from the small screen - gets a small amount of time to show you how disgustingly horrific this small-town woman is. It’s a subtle, parasitic performance and Martindale’s ease with which she reveals this unpleasant bitch is masterful. There are no small parts…
Favourite Film
Paul says: Million Dollar Baby
Another easy choice - Million Dollar Baby is further evidence that Clint Eastwood has had one of the most consistently effervescent careers since Cher made her seventeenth comeback. It’s a nuanced, tender examination of age, morality and redemption, dispensing with the showiness and complacency that can often plague actors and directors who are resting on their laurels. Eastwood is doing no such thing. He obviously thinks carefully about his scripts, character work and themes, suggesting a deep intellectualism that translates well to the screen. In simpler terms, Million Dollar Baby is one of the saddest, most cathartic Best Picture winners, rivalling Marty, How Green Was My Valley and the last few minutes of Schindler’s List for its sweetness and heart. Slumdog Millionaire was a very close second, and The Lord of the Rings and The Hurt Locker are other noughties winners that come highly recommended from me.
Doug says: Million Dollar Baby
We agree! Million Dollar Baby is the only film that’s truly stuck with me (except Chicago and that’s mainly because of the excessive glitter). Clint Eastwood has proven my conceptions about him wrong time and time again, and this gorgeously subtle rumination on success, pain and hope is just mind-bendingly good. While this decade has been mostly shit, here is one of the diamonds glinting through. Swank is exceptional too, but this film belongs to Eastwood in both acting and directing. The last image has stayed with me - is he really there? Is it heaven? Is it even him in the cafe at all? Beautiful, intelligent work and worthy of the coveted PAD award. Go Clint!
Average Film Scores
Paul: 6.3/10 (Paul’s third-lowest decade)
Doug: 5.6/10 (Doug's second-lowest rated decade)
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