The MCC 2022 Oscar-Nominated Short Film Revue

Robin Robin!

“One of these things is not like the other” describes both the robin in this group hug and its status as the only family-friendly Animated Short Film nominee.

Each year since 2009 (except for 2021’s pandemic lockdown marathon) I’ve paid visits to Keystone Art Cinema, the oldest surviving art-film theater in Indianapolis, to view the big-screen releases of the Academy Award nominees for Best Live-Action Short Film and Best Animated Short Film. Results vary each time and aren’t always for all audiences, but I appreciate the opportunities to sample such works and see what the Academy of Motion Picture Arts & Sciences deemed worthy of celebrating, whether I agree with their collective opinions or not. Since 2019 I’ve also assigned myself the extra-credit activity of catching as many nominees for Best Documentary Short Film as possible, depending on their availability online. The good folks at Shorts.TV, who package the theatrical releases each year, are supposed to be releasing them for home rental sometime soon, which will be a nice way to save yourself some gas money.

First up: my rankings of this year’s five Best Animated Short Film nominees, which were the most mixed of mixed bags that I’ve seen in years, not to mention the edgiest and incontrovertibly NSFW-iest. Four are available online; one was exclusive to the program.

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“Sound of Metal” and the Beat of a Different Drum

Riz Ahmed in "Sound of Metal".

I honestly thought all the band T-shirts in this film were fake till they brought out one with Einstürzende Neubauten. Them I recognize.

Previously on Midlife Crisis Crossover:

It’s that time again! Longtime MCC readers know this time of year is my annual Oscar Quest, during which I venture out to see all Academy Award nominees for Best Picture, regardless of whether I think I’ll like them or not, whether their politics and beliefs agree with mine or not, whether they’re good or bad for me, and whether or not my friends and family have ever heard of them. I’ve seen every Best Picture nominee from 1988 to the present, many of which were worth the hunt. The eight nominees for Best Picture of the Pandemic Year may pose more of a viewing challenge…

Of all the Best Picture nominees I hadn’t seen prior to nominations, Sound of Metal was among the 2020 films I’d been most eagerly anticipating even if AMPAS had snubbed it. I was denied the chance to see it in its exclusive Amazon Prime cage, as one of maybe six Americans who refuse to subscribe out of a sense of monopoly subsidy fatigue. (There’s also my personal rule that I never, ever pay monthly or annual fees for shopping perks, which is equally confounding to Amazon and Barnes & Noble.) As is the annual Oscars season tradition, post-nom Metal was re-released to exactly one (1) local theater, in case any non-subscribers wanted to catch up mid-pandemic. My son and I lucked into a Monday night showing entirely to ourselves without paying AMC a $100-$200 private screening fee. Chalk up another win to my non-patented four-step H.I.D.E. method for pandemic theater survival.

The ironies compounded as we went. I was anxious to immerse myself in a theatrical speaker setting to experience the unparalleled sound design of a simulated world of encroaching deafness. And just as we were alone in the theater, so did Our Hero grow increasingly alone in his own world — sometimes though not always through no fault of his own.

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Yes, There Are Scenes During AND After the “Venom” End Credits


For attending on opening weekend, our local theater gave us a free comic! It’s an adaptation of several random scenes, at least two of which differ from the finished film. Spoilers for anyone who peeks inside before the movie starts.

The character of Venom may not mean quite so much to you if you haven’t been a Marvel Comics collector within the past thirty years, or if you saw Spider-Man 3 and hold a grudge against Topher Grace and Sam Raimi to this day. When first introduced on the printed page, Venom was a team-up of two of Spider-Man’s enemies: Eddie Brock, a bitter workplace rival of Peter Parker’s who got fired and blamed him for it; and Spidey’s former black costume, which was actually an immoral liquid alien parasite that Mr. Fantastic had to help him escape. Venom was the perfect anti-Spider-Man — he all the same powers, the spiffy black design, all of Peter’s memories which the alien had absorbed, and the ability to sneak-attack Spidey without setting off his Spider-Sense. I was 16 at the time and thought Venom was a great idea for a nemesis…one among many nemeses, mind you.

Unfortunately in the ’90s, whenever fans liked any one character a lot, Marvel editors and/or executives would then decree that character must appear in as many comics as possible. Characters such as Wolverine, the Punisher, and Ghost Rider were each given two or three series to their name and/or dropped into other heroes’ titles as special guest stars, constantly and gratuitously. Sometimes it worked and sales spiked with every appearance, until the mid-’90s when their sins finally caught up with them and they knocked off the guest-star oversaturation for a while.

Among those Fan Favorites du Jour in the ’90s was Venom. One problem: he was a most heinous villain with a body count. Homicidal maniacs can be protagonists, but that’s a tough premise to weave into four to six comics per month. Marvel therefore tried reinventing him as an antihero and hoping the other Marvel heroes would forgive and forget, and not try to arrest or kill him four to six time per month. I never loved Venom that much, especially after he began spawning imitative spin-offs like Carnage, Riot, Toxin, Hybrid, Scream, and several more my son could name but I can’t because I never cared. Unless that was all of them. I wouldn’t know. I quit reading the various Spider-titles shortly before all those Venomettes hit the stage and spread the Venom plague.

I’ve run across Venom at random times since then (loved Rick Remender’s version starring Flash Thompson; had no strong feelings about Ultimate Venom) but don’t go out of my way for him. So why did I bother giving a Venom movie any attention? Because I was curious to see if Tom Hardy could sift gold from dross, because I really liked director Ruben Fleischer’s horror-comedy Zombieland, and because my son has been a Venom fan since he was a kid. The occasional father/son outing is a good thing, and we had fun trying to sort out this mess together afterward.

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