Oscar hopefuls ‘Maestro,’ ‘Poor Things’ propelled by memorable performances

As a writer, producer and actor, Bradley Cooper collected nine Academy Award nominations over the past decade, most notably three different nominations for his 2019 version of “A Star is Born,” which also served as Cooper’s directorial debut.

Cooper surely hopes to secure multiple nominations again this year with “Maestro,” a biopic focusing on composer Leonard Bernstein’s relationship with wife Felicia Montealegre. Cooper directed, co-wrote the screenplay (with Josh Singer), co-produced (with the likes of Martin Scorsese and Steven Spielberg no less) and stars as Bernstein. For much of its running time, “Maestro” plays very much like a movie hunting for Oscar contention.

That isn’t to say “Maestro” is as melodramatic and undercooked as other dramatic biopics with questionable awards pedigree. Cooper’s film smartly narrows the story of Bernstein around his marriage to Montealegre (played here by the always-magnetic Carey Mulligan). Some questionable stylistic choices aside, Cooper’s restraint with the material at least helps “Maestro” avoid many formulaic tropes.

The movie nevertheless fails to adequately convey Bernstein’s creative brilliance or how the central relationship contributed to his output. There is, however, a spectacular five-minute sequence in the second half of the film featuring a lengthy, uninterrupted take of Cooper’s Bernstein composing an orchestra that better conveys the story’s thematic elements better than the other 120 minutes combined.

However, Cooper and Mulligan are excellent throughout, with both sure to secure acting nominations next year. Cooper may even be the frontrunner given his long streak of recent nominations. “Maestro” is currently streaming on Netflix.

Meanwhile, audiences in search of wholesome holiday viewing should probably stay far away from “Poor Things,” the latest deranged dark comedy from Yorgos Lanthimos (director of Oscar nominees “The Favourite” in 2019 and “The Lobster” in 2015). Fans of Lanthimos will be treated to a maximized version of his bizarre style, incorporating Victorian social drama with elements of “Frankenstein.”

The movie follows previous Oscar winner and Lanthimos alum Emma Stone as Bella, a young woman who, after a suicide attempt, has her brain replaced with that of an infant’s (courtesy of mad scientist Willem Dafoe). Already a full-grown adult physically, Bella’s baby brain matures rapidly, far beyond the control of surrogate parent Dafoe. Enter Mark Ruffalo as a debauched idiot, who offers to whisk Bella away for some globetrotting sexcapades.

Bella soon discovers the harsh realities of the world while also growing beyond the intelligence of Ruffalo’s wannabe lothario, who ultimately becomes obsessed with trying to control Bella’s uncontrollable thirst for independence.

“Poor Things” is ultimately a story about Bella’s liberation, with the film’s numerous sex scenes played for twisted humor. Stone’s gradual transformation from naïve child to intrepid traveler is underlined with acid-tongued dialogue and physical comedy, all of which fall wonderfully within Stone’s wheelhouse. Ruffalo also delivers the best performance of his respected career by going full pathetic tantrum any time his character deals with even a minor setback. He’s a gloriously pathetic presence that best encapsulates the garish visual presentation (and core ideas) within “Poor Things.” The film is currently playing in theaters.

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Tyler Wilson can be reached at [email protected].