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4) Boyhood. Richard Linklater’s masterpiece is fourth on my list (and thus, it should be apparent, if I were an Academy member, I would essentially be casting a vote for Birdman, which will appear higher on my ballot, under a preferential system). I walked out of the theater feeling like I had just watched someone’s actual life. Few movies this year or ever feel this real and heartfelt. And the labor of love over 12 years is impressive. Where some see a gimmick, I see commitment, determination, and tenacity. The production risk of this endeavor, alone must be applauded in a time when few film backers dare take risks. The movie is exquisite - Linklater weaves in subtle clues as to the year, and drops nuggets of wisdom about life throughout. I’m not as enamored with the acting of Arquette or the rest of the cast as others are, but the achievement and story of this movie is enough for me to place it on the top half of my ballot.

3) Birdman. Birdman, I confess, is not the type of movie I go for normally. The perennial movie that appears quirky just for the sake of being so is in fact a life-long pet peeve of mine, one that I have resisted emotionally and intellectually for a long time. But Birdman is smarter even than its on-the-surface quirks. It says a lot about the state of show business, movie criticism, and, in the process, about audiences themselves. It portrays a sense of anxiety and urgency over the commercialization of art and entertainment that is powerful and all too real to ignore. It features stunning performances from the entire cast, a taut, quirky script, stunning camerawork by one of the master cinematographers of our time, and impeccable directing. It would be a bold pick for the Academy.

2) Whiplash. If I were asked to rank my objective best pictures, Whiplash would not be this high - it certainly would not have bested Birdman. But voting is about what one likes, not about what one thinks. Whiplash entranced me, particularly upon repeated viewings. I had an inkling, and was not truly shocked, when I found out the BOP staff had selected it the Best Picture of the year. There is something about that movie. The drama is tense, psychological, and disturbing. The sound is used incredibly. The editing is always correctly paced. The acting by Simmons is for the ages. The commentary on art and genius is no less poignant here than in Birdman. Questions about the price and folly of success are ever-present, in a Black Swan fashion. Watching the movie you really feel Whiplash throughout the experience. There is no sympathetic character - they’re either evil, or pathetic - and there’s little redemption in the end despite the final climatic scene. Whiplash left me thinking and feeling the movie for the longest time after the credits rolled of all the nominees.

1) Selma. But my number one vote unquestionably goes to Selma, ironically, the one with the longest odds of winning the Oscar. No matter. Ava DuVarney’s take on the important Selma episode in Martin Luther King Jr.’s life is the most relevant, best directed, and artistically sound of the bunch. DuVarney’s use of music and different beats, her impeccable and notable camera work, all are great elements of the film. David Oyelowo’s performance as King is astounding, equaling Day-Lewis’s portrayal of Lincoln. The complaints about the accuracy of LBJ’s portrayal are the worst of canards, meant to distract from the real, important issues of racial equality that the movie even unwittingly raises, and from its artistry. And, if anything, LBJ is a critical hero in the narrative, portrayed deftly by Tom Wilkinson. Of the nominees, Selma is the timeliest, and will speak more to the America of today than any except perhaps American Sniper or Birdman. It is my vote for Best Picture of the Year among the nominees.

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