This brings back unpleasant memories of the phrase heard by so many of us who have lived in New York. “OK, buddy, your shoes or your life!”

He claims that muggers took his shoes at three in the afternoon on one of Manhattan’s busiest corners (55th St and 5th Ave).

He presumably made his way home in his socks, assuming that they were not stolen.

Best picture nominees, with Metacritic score and Rotten Tomatoes score in parens:

(Asterisks indicate that the film also received a best director nomination)

All Quiet on the Western Front (76) (92%
Avatar: The Way of Water (67) (77%)
The Banshees of Inisherin * (87) (97%)
Elvis (64) (77%)
Everything Everywhere All at Once * (81) (95%)
The Fabelmans * (84) (92%)
Tár * (92) (90%)
Top Gun: Maverick (78)(96%)
Triangle of Sadness * (63) (72%)
Women Talking (78) (90%)

Other notes:

Hose job o’ the year: Charlotte Wells. Per Metacritic, the favorite of the critics in 2022 was Aftersun, which received only one nomination (Best Actor). Charlotte Wells, who wrote and directed, was not named in either category. Its Metacritic/RT score was (95) (96%), which was a stronger combination than any of the nominated films. It also had a higher IMDb rating than five of the Best Picture nominees. It is difficult to explain the nomination of Ruben Östlund over Charlotte Wells for best director and best original screenplay.

There is not much difference between the IMDb ratings of the ten Best Picture nominees.

Everything Everywhere All at Once was the runaway betting favorite before the noms were announced, and I suppose it still will be.

The bookies had She Said, Babylon and RRR in the top ten, in place of Women Talking, Elvis and All Quiet on the Western Front.

All Quiet is the longest of long shots, but is also nominated for Best Commie Film (or whatever they now call Best Foreign Film). Given the dual nominations, it is probably a good bet to win the international one.

If you look at the actual contribution of the directors to each of the movies listed above, it would not be unreasonable of you to argue that the wrong directors were nominated, with the exception that Everything Everywhere All at Once was certainly a deserving honoree. The nomination of Ruben Östlund really came out of left field.

Brendan Fraser completed his transition from leading man to successful character actor with a Best Actor nomination. (And he’s the betting favorite.)

Glass Onion was nominated for Best Adapted Screenplay. The Oscar people seem to have some arcane rules that shunt it into that category, but it is an original screenplay that simply happens to have a character that appeared in an earlier movie.