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