The Oscars become less about aesthetics and more about politics every year

Rating: Null/10 (31 July 2004)

Yet another episode of Law & Order/NYPD Blue/Homicide released in theaters. Coincidentally not long after Sean Penn travels to Iraq to defend Saddam Hussein and Tim Robbins complains to the news media that his opposition to the Bush administration has turned him into a victim of its fascist censorship. So to prove Tim wrong and give Sean a message of congratulations, this strange film is showered with nominations from the Academy and its stars are summarily given Oscars. My question is, why? The film is technically inferior, its story grossly implausible, and the acting marginal at best. With the exception of Laurence Fishburne, who knows his craft (though it doesn't completely show here), all cast members should be recycled through acting school. Tim Robbins was great in Fraternity Vacation (1985) and Sean Penn was at his best as Fast Times at Ridgemont High's Spiccoli, but neither are Laurence Olivier or Charleton Heston reborn. It amazes me that the citizens of Boston didn't have another tea party with the film reels upon seeing it in theaters. If my city were depicted with such disregard for its style of speaking and neighborhood culture, you could certainly count on a more aggressive response. "I don kwest-shun yer vows" and "We berry R sins he, Dave" may appear to be reflective of Eastern Massachusetts vernacular in the minds of Mystic River's condescending screenwriters, but is laughable to anyone who has spent at least a day in Samuel Adams' hometown. Clint Eastwood seems to be atoning for his years of Spaghetti Westerns with such cheeseballs as Bridges of Madison County and A Perfect World and now this. Who could blame him? How else will a conservative Republican be granted respect by the AMPAS?