The Racial Reconciliation Fantasies The Oscars Love So Much? Really, It’s All Just Transactional

Critic Wesley Morris nods to The Blind Side, Crash, and The Help, but he concentrates, of course, on current contender Green Book and its Oscar-winning predecessor Driving Miss Daisy, as well as non-Oscar-contender The Upside. He points out that those films’ central (interracial) relationships are all based on employment — “pay-to-playmate transactions,” he calls them — and contrasts them to the more realistic employer-employee relations in a film that should have been an Oscar contender, Do the Right Thing. — The New York Times