‘2023 Oscar Nominated Short Films: Documentary’ Review: Five Expand-Your-Mind Films in Under Three Hours

Peter Debruge Chief Film Critic Americans spend tens of billions of dollars on basketball sneakers every year. Sure, everybody needs shoes, but it shouldn’t matter if your choice bears the Nike swoosh, Adidas’ three stripes or the Converse star. In most cases, consumers aren’t simply buying footwear; they’re investing in the fantasy of walking in someone else’s shoes — a sports star or personal idol — of believing that switching one’s kicks has a direct impact on your potential for greatness. As the Nike marketing gurus in Ben Affleck’s “Air” put it, “A shoe is just a shoe until someone steps into.” If you’ve been alive on earth in the last 40 years, then you already know what happened when a rookie named Michael Jordan let Nike put his name and likeness on their shoes. But “Air” isn’t about convincing the greatest basketball player in the history of the game to sign with Nike, although a “Jerry Maguire”-desperate Matt Damon — as paunchy, flop-sweating Sonny Vaccaro — might trick you into thinking this is just the (admittedly very entertaining) anatomy of a landmark business deal.

Peter Debruge Chief Film Critic In 1993, “The Joy Luck Club” made Hollywood history, proving to a skeptical — and let’s face it, racist — industry that there was mainstream demand for a culturally sensitive Chinese American ensemble drama. Three decades later, along comes “Joy Ride,” throwing sensitivity to the wind en route to obliterating any remaining barriers. Like “Girls Trip” with an all-Asian-American cast, the Seth Rogen-produced, hard-R road movie follows small-town besties Audrey (Ashley Park) and Lolo (Sherry Cola) to Beijing, where they tackle everything from taboo tattoos to a devil’s threesome with all the gusto you’d hope or expect from “Crazy Rich Asians” co-writer Adele Lim’s directorial debut.

Djimon Hounsou got very real about his treatment in Hollywood.

Peter Debruge Chief Film Critic At last, a video game movie that’s more than just a video game movie. In theory, “Tetris” — that primitive and highly addictive block-stacking strategy game — doesn’t lend itself to the big-screen treatment any more than Rubik’s Cube or Tic-Tac-Toe might. But Noah Pink has found an ingenious solution to a classic puzzle. The screenwriter realized that there’s more to Tetris than most people knew. Namely, there’s a terrific backstory about how this Soviet-hatched computer software made its way over the Iron Curtain, and telling it could play like a Cold War thriller as three teams of Western rivals race one another to Russia to secure the rights.

Peter Debruge Chief Film Critic Some folks have it easy, and others make life difficult for themselves. Guess which type “Problemista” is about. The perpetually unsatisfied title character, a demanding New York art critic played by Tilda Swinton as a hag with hair the color of hibiscus tea, is obsessed with archiving the life’s work of her late husband (RZA), who left behind a series of egg paintings no one seems to understand. Swinton feels like a future Halloween costume in search of a movie in writer-director Julio Torres’ overly kooky and all-too-quixotic debut — another attention-deficit comedy from the studio that made “Everything Everywhere All at Once,” except that Torres lacks the technical experience to pull off even a fraction of the ideas to which he aspires.

Zack Sharf Digital News Director Pauly Shore is over the moon about his “Encino Man” co-stars Brendan Fraser and Ke Huy Quan becoming Oscar winners at the 95th Academy Awards. Fraser took home the Oscar for best actor thanks to his acclaimed performance in “The Whale,” while Ke Huy Quan won best supporting actor for “Everything Everywhere All at Once,” which also took home the best picture trophy along with six other Oscars. “Encino Man” made it into host Jimmy Kimmel’s monologue when he observed that 16 actors were nominated for their first Oscars at the 2023 ceremony. Fraser and Quan were both first-time nominees. “Two actors from ‘Encino Man’ are nominated for Oscars,” Kimmel said. “What an incredible night it must be for the two of you, and what a very difficult night for Pauly Shore. Maybe it’s time to reboot ‘Bio-Dome.'”

Peter Debruge Chief Film Critic If they ever make a sequel to “The Celluloid Closet” — the landmark doc about the history of LGBT representation on screen — Lukas Gage should warrant at least two mentions. First, there’s the scene from the first season of “White Lotus” where Jake Lacy barges into the resort manager’s office, only to find Gage getting his salad tossed (a history-making moment for gay TV fans). And now there’s “Down Low,” an over-the-top, bottom-trawling comedy that wants to be for the gay community what “The Hangover” was to the mainstream — which is to say, wildly irreverent and incredibly wrong. Starring openly gay “Heroes” villain Zachary Quinto as Gary, a recently divorced, richie-rich zaddy hoping for a happy ending, “Down Low” doesn’t quite understand its own title — code within the Black and Latino community for men who consider themselves straight while having sex with other men — but that’s OK. “Down Low” is still light-years ahead of mainstream movies (including last year’s “Bros”) as debuting feature director Rightor Doyle delivers what an entire contingent of queer audiences have been asking for all their lives: namely, a comedy that’s as raunchy and inappropriate as the jokes they make between themselves. While nowhere near as extreme (or enjoyable) as 2009’s “I Love You Phillip Morris,” it’s still a rare enough occurrence to earn a dedicated following.

Peter Debruge Chief Film Critic Don’t trust anything you see or hear in “Hypnotic,” a noggin-jogging thriller with more twists than Minnie’s tightly braided ponytail. Who’s Minnie? She’s the girl who goes missing in the movie’s opening scene, while police detective dad Daniel Rourke (Ben Affleck) looks away for a second. Or does she? Depending how your mind works, there’s a chance Minnie doesn’t even exist. The perp was caught, but Minnie’s body was never found — which is a clue that this wasn’t a typical disappearance. Your typical popcorn-munching multiplex patron would never suspect how deep this Russian-doll mystery goes. Better to strap in and go along for the ride in the latest example of creativity-within-constraints from resourceful writer-director Robert Rodriguez. Taking a page from “The Matrix,” “Limitless” and “Memento” — along with whole chapters from sci-fi trickster Philip K. Dick — this slick mix of special effects and practical ingenuity puts Affleck in a fun position, and the slightly grizzled star’s still got the clench-jawed charisma to pull it off.

The Oscars’ annual In Memoriam segment on Sunday included a live performance of the song “Calling All Angels” by Lenny Kravitz.

 accepting the award alongside Marc Gustafson. He referred to his wife as «the love of his life» before also honoring his late parents and his children, whom he shares with Morgan. «Animation is cinema,» del Toro said. «Animation is ready to be taken to the next step.

Peter Debruge Chief Film Critic There are movies made during the pandemic, and movies made because the pandemic, and though debuting director Jake Johnson had been kicking around the idea for “Self Reliance” for years, it took COVID to motivate him to make it. Why? Because the “New Girl” actor’s absurdist concept — about a sad-sack bored enough with his life that he agrees to risk it in a “Most Dangerous Game”-style reality show — assumed both profundity and relevance as soon as the species went into lockdown. Coming up for connection, Johnson delivers a silly and frequently surprising why-we-need-people parable. The helmer plays Tommy, who’s been a passive bystander in his own life for as long as he can remember, until one day famous dude Andy Samberg (who also happens to be among the film’s producers) randomly pulls up in a stretch limo and offers Tommy a ride. Should he take it? Probably not, but Tommy’s bored enough to accept, agreeing to meet a pair of eccentric producers who inform him that he’s been selected for a chance to win a million dollars. All he has to do is survive for 30 days, while a team of highly trained “hunters” try to take him out.

Peter Debruge Chief Film Critic Americans can’t get enough of processed corn. They eat it for breakfast, in cereal form, and all throughout the day, snacking on cookies and crackers and chips, often washing it down with soda (sweetened with high-fructose corn syrup, naturally). Premiering at the SXSW Film Festival, “Flamin’ Hot” tells the backstory of Frito-Lay’s insanely popular, ultra-spicy line of snack chips — the ones that singe your taste buds and stain your fingers a radioactive red — as marketing guru Richard Montañez lays it out in his memoir, “A Boy, a Burrito, and a Cookie: From Janitor to Executive.” After a rough start selling drugs and hustling on the streets of East Los Angeles, Montañez got a job cleaning the machines at Frito-Lay’s Rancho Cucamonga plant and worked his way up to head of Multicultural marketing. Along the way, he may or may not have invented the recipe for Flamin’ Hot Cheetos, Doritos, et al.

Peter Debruge Chief Film Critic “Chang Can Dunk” doesn’t go the way you’d expect, and that’s a good thing. Here’s a Disney movie about a 5-foot-8-inch Chinese American high school basketball player who bets his rival that he can dunk by the end of the season. He gets his wish about an hour in (that’s neither spoiler nor surprise, since the title literally tells us that Chang can dunk), but there’s still a long way for the character to go — and grow — in a film that believes maturity isn’t achieved by shortcuts. The result marks the attention-worthy debut of writer-director Jingyi Shao, and exemplifies the sort of movies Disney should be making: It has its values in the right place, but doesn’t pretend its hero is perfect. If there’s a villain in “Chang Can Dunk,” that role is arguably filled by the title character (tenaciously embodied by Bloom Li, who keeps us wondering how to feel about Chang). In time, the obsessive teen’s ultra-competitive personality winds up alienating practically everyone in his life, except demanding single mom Chen (an excellent Mardy Ma), whose tough-love approach only amplifies his resentment.

Variety asked editors Peter Debruge, Clayton Davis, Tim Gray, and Jenelle Riley, to answer four questions about this past year in film and discuss its standout moments. The questions are: 1. How would you rate 2022’s films against previous years? 2. What was the most important issue this year for the industry?  3. What film inspired you the most this year?

Peter Debruge Chief Film Critic While Peter Farrelly was off winning Oscars for “Green Book,” younger brother Bobby has been largely absent from feature directing. It’s been nearly a decade since the siblings shared credit — the last time being 2014’s “Dumb and Dumber To.” Now, rather than competing with Peter at the respectability game, Bobby sticks to what he knows with “Champions,” in which Woody Harrelson plays a minor-league basketball coach court-ordered to assist a Special Olympics team for 90 days — just long enough to take the team from bumbling incompetents to national finalists. There are zero surprises in “Champions,” unless you count the not-inconsiderable shock that such a movie exists at all. A remake of 2018 Spanish box office sensation “Campeones,” this awkward (if presumably well-intentioned) comedy might have felt enlightened 25 years ago — back when “Forrest Gump” was an Oscar favorite — but today makes for a patronizing portrayal of people with intellectual disabilities. That’s still better than no portrayal at all, I suppose, and there’s some satisfaction to be had in watching Harrelson’s character overcome his prejudices — reflected by using the “boo-boo word” that starts with “R” — and grow to see these amateur athletes for more than their limitations. But did the film (little more than a “Role Models” redux) have to paint its players as such extreme incompetents from the outset?

K.J. Yossman “Boom! Boom: The World vs. Boris Becker,” the upcoming Apple TV+ documentary that premiered in Berlin last month, has confirmed a release date. The full two-part doc, about disgraced tennis champ Boris Becker, will drop on the streamer on April. 7. The documentary, which was directed by Alex Gibney (“Enron”) and produced by John Battsek (“Searching for Sugar Man”), promises to explore “every aspect of the man who became a tennis sensation after winning The Wimbledon Championships at the age of just 17, going on to win 49 career titles, including six Grand Slams and an Olympic gold medal, as well as his high-profile, sometimes tumultuous personal life,” according to the logline.

Riz Ahmed, Dev Patel, Judd Apatow, Mira Nair, and Mark Duplass are among the many admirers of the Oscar-nominated documentary All That Breathes, directed by Shaunak Sen. Now you can add the people at Criterion to the movie’s legion of fans.

It’s not easy to tackle a gruesome subject matter with humor. And to make the Irish dark comedy work, its filmmakers drew inspiration from their own ideations of life and death. An Irish Goodbye, written and directed by Tom Berkeley and Ross White, follows a pair of estranged brothers who must learn to get along after their mother’s untimely passing. Lorcan (James Martin), an adult with Down syndrome, takes his mother’s death the hardest and soon fears that his brother will abandon him. While Turlough (Seamus O’Hara) grapples with whether he should ship Lorcan off to live with their aunt in London or learn to care for his brother. Though death is not a revolutionary topic in the cinematic medium, the unique and heartfelt way Berkeley and White explore grief through centering on the unusual brotherhood is poignant. Fresh off of a BAFTA win and headed to the Oscars, the filmmakers discuss their inspiration, casting actors with disabilities and creating a sentimental exploration of love and grief.

Peter Debruge Chief Film Critic Of the 10 films up for best picture, no fewer than six run 199 minutes or more. On one extreme, James Cameron’s punishing “Avatar” sequel is long enough to require bathroom breaks. At the other, Daniels’ ADHD-styled “Everything Everywhere All at Once” proves equally exhausting, dedicating every hyperkinetic second to stimulating easily distracted audiences. It’s enough to make folks grateful for the lower-profile but still engaging live-action shorts category, where nominees are bound by a strict 40-minute time limit. This year’s crop — the so-so “2023 Oscar Nominated Short Films: Live Action” program — clocks in at under two hours. Available in theaters and on myriad streaming platforms, the international assembly may be a hit-and-miss affair, but never outstays its welcome.

nominees luncheon, and we came upon Steven Spielberg, as one does…he said, ‘I’ve seen your film three times now and I’ve cried in a different spot,” Malala said. Spielberg is nominated as director, cowriter and a producer of his majorly autobiographical drama “The Fabelmans” for this year’s Oscar ceremony.Malala remembers this vital moment as being singular as well.