Best Screenplay 2020

[Big Magilla]

My problem with the screenplay awards has always been the breakdown between adaptation and original. To me, there's much more of a distinction between comedy and drama.

How can you really compare an adaptation of a Broadway play where there is little change in the dialogue from stage to screen with the adaptation of a lengthy novel, and a short story that requires a lot of originality to expand it to something that fills the two hour or more running time of the piece?

On the other hand, how can you call something original when it's based on newspaper headlines, interviews with people who were there, court transcripts and the like to something based on the writer's own experiences, to something completely original? Sequels, because they are based on characters previously seen on the screen, even though the story lines are completely different, are treated as adaptations. Even though I didn't much care for it, the screenplay for the Borat sequel had more originality than most, if not all, the original screenplay nominees. The Trial of the Chicago 7 didn't have a shred of originality in it, yet it was considered an original because it wasn't based on anything previously published. Newspaper accounts don't count.

Clever dialogue counts for a lot, which is probably the reason Promising Young Woman won the Oscar and will likely win here. At the time of the Oscars, it was my choice, too. However, on reflection, there are scenes from Minari and Sound of Metal that linger in my mind longer than those in the winner. Judas and the Black Messiah was riveting as well, which made the category a tough choice between four very good screenplays, but in the end it was a tough call for me between Minari and Sound of Metal.

The adaptations this year were less compelling for me. I liked the screenplay for One Night in Miami very much, but I have no idea how much of it was straight adaptation of the play and how much was changed for the screen. I do know that Nomadland was a combination of things that were in the book and additions largely based on Frances McDormand's uncredited involvement, so clearly there was more work in putting it together which is why I voted for it. But again, the categories drive me nuts.

Minari, Sound of Metal, Nomadland, Judas and the Black Messiah, One Night in Miamiand The Father were the year's best adaptations of real-life situations, The Trial of the Chicago 7 and White Tiger somewhat less so, while Promising Young Woman and the Borat sequel were the ones that stretched credulity the most, so in that regard were, I suppose the most original.

For an off-year, the choices weren't at all shabby.

[Sabin]

Judas and the Black Messiah is an excellent production whose one flaw is in its writing. We're never quite shown enough of the impact that Fred Hampton had on Bill O'Neal. I understand that the filmmakers didn't want to stray from events but it's the one choice that holds the film back from approaching greatness in my opinion. As it is, it's just a terrific production. Promising Young Woman has the opposite problem. Its script outshines all other areas of production (save perhaps for the inspired casting choice of Bo Burnham; that part might read flat on the page). I'm fine with its win in this category.

I still need to rewatch Nomadland and I won't be voting in Best Picture until I do but I feel comfortable casting my vote for The Father for Best Adapted Screenplay. I have a few problems with it here and there but it's very impressively constructed. It also benefits from terribly weak competition.

[Mister Tee]

Oscar voters got both screenplay categories right this year, something they don't do that often (2016 was the last time previous that I agreed with both choices).

The Father would likely not have won in a more competitive year for the category, but it was easily the best option on this ballot.

I obviously don't like much of anything about Minari, but the last thing I'd cite it for is screenplay -- a dull-as-dishwater storyline, and a title metaphor that would have felt corny in the Inge 50s.

Judas & the Black Messiah might have been my choice in another year, but Promising Young Woman has the power of invention on its side, and I'm happy to ratify its Oscar victory.

[Big Magilla]

Minari and Nomadland.

Are you sure you pressed Minari? I voted for it too and it only has one vote. Sorry for being thorough, I wouldn’t like to see Promising Young Woman winning the poll.

Fixed. Good thing you took the OK to change your vote option.

[CalWilliam]

Minari and Nomadland.

Are you sure you pressed Minari? I voted for it too and it only has one vote. Sorry for being thorough, I wouldn’t like to see Promising Young Woman winning the poll.

[Big Magilla]

Minari and Nomadland.

[mlrg]

The Father and Promising Young Woman

[CalWilliam]

Share your thoughts on the nominated screenplays. My votes go to Minari and Nomadland.