Category Archives: Awards Coverage

‘Parasite’ Creeps Into Top Honors At 92nd Academy Awards

I gotta say, I’ve covered the Academy Awards for a long time now. Year after year, I watch as they award their Oscars to winners both old and new. I see them give their statuettes sometimes to those that are most deserving, other times to nominees that couldn’t be less deserving. And with each passing ceremony, there isn’t one where the Academy doesn’t spring at least one surprise on its unsuspecting viewers.

Take this year’s awards, for example. Not only is this the first year where a comic-book film was nominated the most (Joker with 11 nominations), but this is also the second year where the Academy led its ceremony without a host. Last year it was to the ceremony’s benefit, as the awards carried out at a brisk pace while simultaneously being quick-witted and funny. This year, however, the awards seem airy and directionless, like they were scrambling to get through all the categories and find some loose way of connecting them together.

Don’t get me wrong, some of the presenters were very funny, like Will Ferrell and Julia Louis-Dreyfus when they confused the cinematographers and film editor’s jobs, and James Corden and Rebel Wilson, who came out in these awful-looking Cats costumes and stressed the importance of good visual effects. Other times presenters seemed random and pointless, like when Kelly Marie Tran and Anthony Ramos came out to present… another presenter. 1917 actor George Mackay illustrated the monotony of the presentation brilliantly, saying he was a “presenter to present another presenter who was going to present… another presenter.”

But the Hollywood elites who read from the envelopes this year were the least of the night’s surprises. In fact, the biggest surprises of all came from a film that I wasn’t even expecting to win the night’s top prizes:

SOURCE: CJ Entertainment

Best Picture: The Academy’s top honor didn’t go to 1917, a beautifully-filmed war epic that captured the essence of its tragedy in one seemingly endless shot. It didn’t go to the witty and wild love letter to 60’s cinema Once Upon A Time In Hollywood. And it also didn’t go to a movie about the mental descent of one man that would grow to become Batman’s greatest nemesis in Joker. No, the Academy instead chose to give the night’s highest recognition to a film you probably haven’t even heard of: South Korea’s harrowing yet hilarious commentary on classism and economics, Parasite. 

This is significant for a few reasons. One: Parasite is so out of the box and so unusual for the Academy that you wonder if their tastes are changing for the new generation. It’s strange that the Academy has gone a whole decade without recognizing at least one war film like 1917, or that it wouldn’t take up the chance to be self-absorbed in their own culture with Once Upon A Time In Hollywood like they were with The Artist or Birdman. But Parasite is just such an unusual choice for the Academy. Take away the fact that it’s a Korean film for one second: the fact they would even consider an exercise in minimalism and implication like this is so out of left field for Academy voters. If it wasn’t, then why wasn’t Get Out awarded Best Picture in 2018? Or The Revenant in 2016?

Two: Parasite is the first foreign-language film to have won Best Picture… ever. That is a stunning title for it to own, especially when you consider the fact that the Academy has overlooked nominees such as Roma, Amour, Babel, Crouching Tiger, Hidden Dragon, Life Is Beautiful, The Postman, and several other films dating all the way back to 1938. This also does not consider outstanding foreign-language films that weren’t even nominated for Best Picture, including A Separation, Pan’s Labirynth, The Sea Inside, Joyeaux Noel, Amelie, Ikiru, and several others.

Is Parasite undeserving of the Oscar? Absolutely not. It was cunning, captivating, poignant, thoughtful, and like all great movies, had something powerful to say about our culture. Should it have been the first foreign-language film to have earned the Best Picture honor? Probably not. It makes you wonder where the Academy has been in all years previous to Parasite, as well as what they’re going to do moving forward now that the gates are open for all foreign-language films at the Oscars?

Speaking of Parasite

Best Director: The bigger surprise isn’t even the fact that Parasite won Best Picture, which it might have been able to nab anyway since it also won Best International Feature and Best Original Screenplay (more on that later). The biggest surprise is that director Bong Joon-Ho won Best Director, beating out DGA winner Sam Mendes for 1917

Again, Bong Joon-Ho is not undeserving of this honor in the least. The way he mirrored the two worlds of the rich and the poor was stunning and captivating and showed the true genius of a brilliant director at work. But what’s so surprising is that his win supersedes Sam Mendes’ win at the DGA Awards, which have been used to predict Best Director Oscar winners for decades now. Are the DGAs slowly moving towards irrelevance in regards to the Academy? Only a few more ceremonies will confirm that for sure.

Either way, congratulations to Bong Joon-Ho and his well-deserved win. I’ll admit 1917 was my favorite to win both Best Picture and Best Director, but I can’t fault Parasite by any means. Joon-Ho made a brilliant film, and nobody can take that honor away from him.

Best Actor: The Academy was right to award Joaquin Phoenix his first Oscar in his 30-year career for playing a meek clown gone mad in Todd Phillips’ Joker. He completely earned the Oscar for giving one of the most haunting and darkly comedic performances of the decade. Congratulations to Joaquin for his well-deserved win, although his acceptance speech where he complained about the evils of milking cows was a little strange.

Best Actress: Judy Garland may have never won an Oscar, but Renee Zellweger did for portraying the actress in her dramatic biopic Judy. It still blows my mind that this home-grown Texan could portray the late actress’s final years in show business and pull it off with the conviction and appeal that made Garland a household name in the first place. Congrats to Renee for winning her second Oscar. Here’s to never forgetting an unforgettable performance.

Best Supporting Actor: Brad Pitt rightfully won his first acting Oscar for playing a quietly disturbing stunt double in Quentin Tarantino’s Once Upon A Time In Hollywood. Having recently revisited Pitt’s psychotic portrayal of a man’s splintered persona in David Fincher’s 1999 hit Fight Club, I was surprised to find out that he’s only been nominated for three acting Oscars prior to his first win, including 12 Monkeys, The Curious Case of Benjamin Button, and Moneyball. Pitt’s nominations don’t do justice to his commitment in the roles that he plays. Either way, congratulations to Pitt for his well-earned win. He taught me a lesson about never paying an uninvited visit to Cliff Booth at night.

Best Supporting Actress: As expected, Laura Dern won Best Supporting Actress for playing a sensitive yet savage divorce lawyer in Marriage Story. Having re-watched Dern and her co-star Scarlett Johannson in both Marriage Story and Jojo Rabbit, I’m still baffled as to how Dern could have the edge over Johannson, especially when you see her passioned and sensitive performances in both of the movies she’s nominated for. If you want to talk about talent that wasn’t even nominated, Jennifer Lopez gave a commanding performance as a stripper with attitude and swagger in Hustlers. Either of those women could have walked away with the Oscar and it would have made perfect sense. But Dern has a couple of scenes in her office and in the courtroom and suddenly she’s an Oscar frontrunner? Why? What did she do that was so special compared to her fellow nominees, or even her fellow co-stars?

Either way, congrats to Dern for winning Best Supporting Actress. I could think of five other movies she deserved to win the Oscar for more so than this one, but I guess the path doesn’t matter as much as the destination does.

SOURCE: Walt Disney Studios Motion Pictures

Best Animated Feature: Like clockwork, Toy Story 4 won Best Animated Feature, despite the fact that How To Train Your Dragon: The Hidden World and Klaus were both better films. If the Academy keeps this up, they should save the viewers some time and simply rename this category to the Disney-Pixar award. At least then they’d be honest.

Best Documentary Feature: Okay, I got this one wrong, but to be fair this category was already a toss-up in the first place. I figured the Academy would go with a film as unique and creative as the one that followed one of Bekirlija’s last beekeepers in Honeyland. I should have known the Academy would have gone political and given the Oscar to the Obama’s first documentary produced under their new production company, American Factory. Earning an Academy Award is officially the newest thing that the former President can claim that the current President cannot.

Best International Feature: Of course since Parasite won Best Picture, Best International Feature was obviously going to be a shoo-in. I do find it odd that it technically has won two best film Oscars on one night, but either way, it isn’t undeserving. If you haven’t gotten the memo by now, you need to watch Parasite at your earliest convenience if you haven’t done so already.

Best Original Screenplay: Again, Parasite upsets in the original writing category after securing its win at the WGA’s. When I predicted Quentin Tarantino would win for Once Upon A Time In Hollywood, I did so only knowing that the Academy almost never awards writing Oscars to foreign-language films. In fact, the last time a foreign-language film even won the original writing Oscar was Spain’s Talk To Her in 2002, and after that eight other films were overlooked in this category before Parasite finally won last night. Again though, it deserves the win as Bong Joon-Ho’s writing is just as clever and captivating as his directing is for the film. I just hope Bong Joon-Ho doesn’t go too crazy with celebrating. I would like him to not die of alcohol poisoning and keep making more movies as wonderful as Parasite.

Best Adapted Screenplay: In another stunning upset, Taika Waititi wins the Adapted Screenplay Oscar for Jojo Rabbit and shuts Greta Gerwig out for Little Women. If Academy voters are smart, they’ll hide out in their bunkers and wait for rage Twitter to blow over. Little Women fans are going to be upset about this one for a while.

SOURCE: 20th Century Fox

Best Film Editing: Yet another category I got wrong. I thought Yang Jin-Mo was going to win for seamlessly assembling various perspectives into one cohesive and tragic narrative in Parasite, but I neglected how exciting and dizzying Ford v Ferrari was while simultaneously being coherent enough to follow all of the fast-paced racing action. Michael McCusker (Walk The Line, 3:10 To Yuma) is not undeserving by any means, and I’m happy he can finally call himself an Oscar-winner. At the very least, Ford v Ferrari’s best editing win makes more sense than Bohemian Rhapsody’s win did last year.

Best Cinematography: Roger Deakins rightfully earned his second Oscar for his masterful one-shot technique in Sam Mendes’ emotionally stirring war epic 1917. If any other nominee won, rioting from the cinematographer’s branch would have been the only appropriate reaction.

Best Makeup and Hairstyling: Bombshell won best makeup, as expected. Thank you, next.

Best Costume Design: I thought Once Upon A Time In Hollywood’s timely wardrobe would appeal to the Academy as it does to its colorful and charismatic characters. I figured since Jacquelin Durran already won once for Anna Karenina that the period piece play wouldn’t work as well on the Academy this time around. I should have just went with the period piece, because Little Women won as predictably as Anna Karenina did in 2012. Jenny Eagan was also not nominated for Knives Out, which means that in a way, I lost twice in this category.

Best Production Design: In a happy upside, Once Upon A Time In Hollywood won the Oscar for Best Production Design. Nancy Haigh deserves her win for accurately recreating 60’s signage and movie sets. That is, before Quentin Tarantino covered it all with blood and splattered brains.

SOURCE: WARNER BROS. PICTURES

Best Musical Score: As predicted, Hildur Guonadottir won for providing the haunting, eerie string themes for Joker’s descent into madness. I’m just frustrated Thomas Newman has to go through his 15th nomination for 1917 and still not win a blasted Oscar. But in either case, congratulations to Guonadottir for making a beautiful yet unsettling theme for the Joker’s mental and moral decay. Meanwhile, let’s hope the 16th time is a charm for Newman during a future ceremony.

Best Original Song: Elton John won his second Oscar for his uplifting and empowering theme “I’m Gonna Love Me Again” for Rocketman. Thankfully so, because I don’t know how fans might have reacted if Bohemian Rhapsody won four Oscars and Rocketman didn’t win at least one. Either way, congrats to him for his well-deserved win. He made everyone feel the love tonight.

Best Sound Editing: Ford v Ferrari beat out the rest of the nominees for Best Sound Editing. I personally made the case for 1917, but Ford v Ferrari admittedly did have some exemplary sound editing in it. I’m not as frustrated by the loss like I was last year when Bohemian Rhapsody unbelievably won this award over A Quiet Place. I doubt any nominee winning this year could top my shock any more than that win did last year.

Best Sound Mixing: If that “Wayfaring Stranger” scene in 1917 didn’t convince you that it deserved to win for sound mixing, then nothing ever will. Thankfully, Academy voters saw that scene and was as moved as I was and rightfully awarded the film with the Oscar anyway.

Best Visual Effects: What did I tell you? What did I bloody tell you? The Academy can’t support outstanding visual effects to save its dang life if it means awarding it to a superhero movie. They did just that this year by giving the best visual effects Oscar to 1917 instead of the vastly more grand-scale Avengers: Endgame. Granted, I do not feel 1917 is a better film than Endgame is, but that’s like comparing apples to oranges. After all, 1917 is a grounded war eulogy while Endgame is the epic conclusion to a superhero saga that was several years in the making. Still, recognize the better work when you see it. 1917 may be the more moving film, but you’re bonkers if you think that film compares visually to the sensation and spectacle of Avengers: Endgame. At this rate, Disney should just buy out the Academy and give themselves the visual effects Oscar every time they’re nominated just to get a fair chance in this category.

Disclaimer: I’m kidding, of course. I don’t want Disney to get even more power-hungry than it already is. But still, I hope you understand how hot-blooded I am about this snub, especially since this is hot off of the heels of Avengers: Infinity War losing to First Man in 2019.

And finally, the shorts. I don’t know what is going on with me, but I’ve been on a roll with these categories as of late. Last year, I unbelievably got all of them right as opposed to most ceremonies where I get most of them wrong. This year I’m continuing the good streak as The Neighbor’s Window, Hair Love, and Learning To Skateboard In A Warzone (If You’re A Girl) all won Best Live Action, Best Animated and Best Documentary Short respectively. That helped boost me in predicting 16 out of 24 of the categories correctly this year. Not my best Oscar performance, but definitely not my worst.

Thank you all for tuning in yet again this year, fellow Oscar lovers. Now go and see Parasite. You obviously need to.

– David Dunn

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2019 Oscar Predictions

Life is funny. At the beginning of this decade, I was screaming into a camera ranting about how the Academy Awards robbed The Dark Knight Rises by giving it precisely zero Oscar nominations. As year after year passed, the Academy kept making one senseless snub after another, from no nominations for Captain America: Civil War and Wonder Woman to not giving Sylvester Stallone his much-deserved Oscar for playing a weary Rocky Balboa in Creed (I still haven’t gotten over that, and probably never will). Last year seemed like the Academy’s first genuine attempt at branching out across all genres and recognizing mainstream films that truly deserved it, even going so far as to give Black Panther three Oscars and a Best Picture nomination. And then they end the decade by giving the most nominations to a film about Batman’s greatest nemesis, the Joker. We started the decade with no nominations for Batman, and then we end the decade with Joker earning some of the most nominations out of any film in the past 10 years.

Like I said, life is funny. And the one thing you need to remember about humor is that tragedy plus time equals comedy: and we have no shortage of tragic snubs to experience this year.

Take, for instance, Joker itself. Yes, it’s nominated the most this year with 11 nominations, including Best Picture. However, it’s not expected to sweep the night by any metric. After all, when you compare Joker side-by-side with the epic and grand scale of 1917, how do you think it compares? It isn’t even a competition: Joker is blown clean off of the German front lines.

That, however, isn’t the least of the losses we’re expected to witness throughout the night. Read on to see my predictions for how the Oscars will play out for the last time this decade:

SOURCE: Universal Pictures

Best Picture: It has become impossible to get into the minds of Academy Award voters and rationalize their loop-de-loop thinking when it comes to the Best Picture winners in the past few years. First, they award Spotlight with Best Picture over The Revenant, despite the fact that Revenant won three Oscars for directing, acting, and cinematography while Spotlight only won one for writing. Then Moonlight unexpectedly beat La La Land for Best Picture, with the infamous mixup announcement happening between the two nominees. After that, The Shape of Water frustratingly became the first science-fiction film to win Best Picture, even over the likes of Star Wars, Inception, and 2001: A Space Odyssey. Finally, the play-it-safe Green Book won over the heartfelt and personal Spanish film Roma, a controversial move that did not go unnoticed by the larger moviegoing community.

In all of Oscar history, no foreign-language film has ever won Best Picture, which is why I’m hesitant to say South Korea’s Parasite will win it now. That leaves the night’s biggest contenders to duke it out for Best Picture: 1917, Joker, Once Upon A Time In Hollywood, and The Irishman. I doubt it will be Joker since it has the unfortunate stigma of being a comic-book movie working against it. I simultaneously don’t think Martin Scorsese will win for The Irishman either since he hasn’t won an Oscar since directing The Departed in 2006. That leaves 1917 and Once Upon A Time In Hollywood, both heavy contenders for different reasons. Once Upon A Time In Hollywood is a jeering, clever, and sharp commentary on violence and media consumption, while 1917 is a mesmerizing masterpiece that immerses you in the soldier’s experience on the battlefield.

My bias may be influencing my prediction here, but I genuinely do believe 1917 will win Best Picture. For one thing, a war film has surprisingly not won Best Picture yet this decade, despite the fact that every decade has had at least one war film winning Best Picture at least once. It has also been silently sweeping up Awards season, previously winning Best Picture awards at both the Golden Globes and the Producer’s Guild.

Also, 1917 is just truly the most deserving winner out of the nominees. Few films place you so vividly in the reality of its characters as well as 1917 does with its tale of two soldiers venturing through the German front lines to stop a devastating attack. If 1917 does end up winning Best Picture, it will be very well deserved.

Best Director: Sam Mendes won the DGA Award, which means he will also win the Best Directing Oscar for 1917. Again, Mendes made a powerful, moving film made all the more impactful through its one continuous shot filming method (more on that later). Aside from his DGA win, Mendes is simply the most deserving out of all the nominees. That’s really saying something considering his competition is in The Irishman’s Martin Scorsese, Parasite’s Bong Joon-ho, Once Upon A Time In Hollywood’s Quentin Tarantino, and Joker’s Todd Phillips.

Speaking of Joker…

Best Actor: It will be a national outrage if anyone wins in this category other than Joaquin Phoenix for Joker. Not only did he deliver a visceral and haunting portrayal of a decent man gone mad and murderous, but he also gave one of the most unsettling performances this decade that challenges even Heath Ledger’s portrayal of the clown prince of crime. Leonardo DiCaprio did a great job switching between comedic and intimidating in Once Upon A Time In Hollywood and Adam Driver gave a vulnerable and affectionate performance as a heartbroken husband in Marriage Story. But no, if we’re talking about the best actor and the best performance of the year, it’s not even a competition. Joaquin for the win.

Best Actress: I loved Scarlett Johannson in Marriage Story and thought she did a wonderful job tenderly demonstrating how a family falling apart affects somebody as both a wife and mother. But the Academy has a history of awarding real-life roles moreover original ones, especially this year where Scarlett is up against three biographical performances in Bombshell, Judy, and Harriet. Who will it go to? My money is on Renee Zellweger considering how she completely disappears into her portrayal of Judy Garland in Judy. Sure, she’s won an Oscar before for Best Supporting Actress in 2003’s Cold Mountain, but considering she’s been out of the spotlight for a hot second, this seems like the perfect opportunity to recognize some of her under-the-radar work. Charlize Theron or Scarlett might pull an upset in this category, but it isn’t likely given Zellweger’s tenure.

Best Supporting Actor: There are several reasons to consider Brad Pitt winning Best Supporting Actor in his pointed and indomitable performance as a stuntman filled with swagger and violent tendencies in Once Upon A Time In Hollywood. One such reason is that Pitt has never won an acting Oscar before and all of his competitors have. Another reason is that he already won the corresponding SAG award a week after he was nominated. But my reasoning is simple, straightforward, and to the point: his performance is just too freggin’ good to ignore. In a long line of memorable Quentin Tarantino performances from John Travolta in Pulp Fiction to Christoph Waltz in Inglorious Basterds, Pitt’s is the most restrained and unnerving. Brad Pitt absolutely owned his role, and he deserves no less than the Academy Award for Best Supporting Actor for it.

Best Supporting Actress: First of all, shame on the Academy for not nominating Jennifer Lopez as a hardworking stripper with attitude in Hustlers. Her commanding presence dominated that entire film, and it’s ridiculous she wasn’t even recognized with a simple nomination. It’s even more maddening when you realize no Latina actresses were nominated in any of the acting categories this year, not even Penelope Cruz in Pain and Glory or Ana de Armas in Knives Out. Absolutely outrageous, but that’s regressive Hollywood at work here people.

As for the rest of the supporting actress nominees, my personal favorite is Scarlett Johansson in Jojo Rabbit as a German mother trying to keep her son playful and happy in a world rotting from death, misery, and antisemitism. But she’s picked up no traction this awards season, and it’s unlikely that she’ll pick up the pace in the next few weeks. No, Laura Dern is much more likely to win as a compassionate and charismatic divorce attorney in Marriage Story, which is weird because A) She’s in the film very little, and B) She doesn’t have a lot of space to really make an impact as a character. Or at least, not as much as her co-stars Adam Driver and Scarlett Johannson do. It would be like Ray Liotta winning Best Supporting Actor as Adam Driver’s attorney, even though he was in the film very little and did even less.

Still, she was good in the role she played and fulfilled the part that she needed to. I’ll be happy if I get this category wrong, but for now, I’m going with Laura.

SOURCE: Walt Disney Studios Motion Pictures

Best Animated Feature: If we’re going off of merit, the clear winner in this category deserves to be How To Train Your Dragon: The Hidden World. It was deep, affecting, incredibly moving, and featured the same beautiful and fast-paced animation you’ve seen from this whole franchise. I doubt it will win, however. The previous two movies lost to Pixar and Disney respectively both times, the first time with Toy Story 3 and the second time with Big Hero 6. I expect this year’s ceremony to repeat that trend with Toy Story 4 winning the Oscar for Best Animated Feature. It’s a shame, especially since How To Train Your Dragon: The Hidden World was so committed to its ending whereas Toy Story 4 didn’t even commit itself to the toys’ original ending. But whatever. There are worse snubs that will pop up throughout the night.

Best Documentary Feature: Best Documentary has always been a difficult category to predict, especially when you haven’t even seen half of the nominees like I have. However, there’s one film that is a slight outlier to the rest of the nominees, and that is Honeyland. Not only does this Macedonian documentary focus on a lonely beekeeper keeping the craft alive in the mountainous region of Bekirlija, but Honeyland is also nominated for the Best International Feature. To put that into context, no film has ever been nominated for both Best Documentary and Best Foreign Language Film at the Oscars, so that has to carry some significance to it. Again, no assurances on this category, but if I have to place my bet on one of these nominees, I’m going with Honeyland

Best International Feature: Parasite. If anything else wins, the Dolby Theatre deserves to be burnt to the ground.

Best Original Screenplay: If there was any fairness in the Academy Awards’ voting process, they would just hand Rian Johnson his Oscar for Knives Out and call it a day. Unfortunately, he’s up against four other Best Picture nominees in the Best Original Screenplay category, so he doesn’t stand a snowball’s chance. Ridiculous that one of the most creative, cunning, and crafty films of the year gets diluted to a mere honorable mention. But that’s the Oscars for you. At least Knives Out got nominated for something, which is more than can be said about Us or Uncut Gems.

That remains the dilemma of who will win the Oscar for Best Original Screenplay? I doubt it will be 1917 since that film’s aesthetic and technique is more impressive than its actual writing is. I also doubt it will be Parasite since three other foreign-language films have been nominated this decade and all of them lost, though I am pleased the Academy nominated Bong Joon-ho and Han Jin-won in this category regardless.

That leaves Quentin Tarantino for Once Upon A Time In Hollywood and Noah Baumbach for Marriage Story. Who will win? Tarantino has won this award twice already, once for Pulp Fiction in 1994 and another for Django Unchained in 2012. Three-peats are not common for Best Original Screenplay, but if anyone can do it, I guess it’s Tarantino.

At the same time, Noah Baumbach made a deeply affecting and personal homily with Marriage Story that was equal parts heartbreaking and hopeful. He has conversely never won an Oscar, though he was nominated once for The Squid and the Whale in 2005. Plus, the Academy has awarded more tender and heartfelt screenplays as of late than they have for witty and wild ones, with Manchester By The Sea winning in 2017 and Green Book winning last year.

This category is a coin toss, but if I’m going with my instincts, I’m going to guess Tarantino wins his third Oscar for Once Upon A Time In Hollywood. Don’t be surprised if Baumbach pulls an upset, however.

Best Adapted Screenplay: If Issa Rae’s “congratulations to all these men” remark tells you anything, it’s that the female filmmaking community really did not appreciate that Little Women director Greta Gerwig was not given a Best Director nomination. The Academy will make it up to her by giving her the Best Adapted Screenplay Oscar for Little Women now. I don’t want to even think about the wrath the Academy might face if they snub Greta Gerwig twice in the same ceremony.

SOURCE: CJ Entertainment

Best Film Editing: This category in particular is difficult to predict nowadays, mostly because you don’t know whether the Academy is going to give the Oscar to a nominee that truly deserves it like The Social Network or Whiplash, or if they’re going to give it to something completely bonkers like Bohemian Rhapsody. In the end, I find myself completely absorbed and mesmerized by Yang Jin-mo’s brilliant assembly of beauty and chaos in Parasite and cannot imagine any other film winning for Best Film Editing. It’s possible one of the flashier films like The Irishman and Ford v Ferrari might pull off a win, especially since Bohemian Rhapsody was last year’s underdog and it unbelievably beat both Vice and BlackKklansman. In unpredictable times like these, it’s best to go with the best nominee as opposed to the best prospects. So Parasite it is.

Best Cinematography: It would not have been possible to have made the film Sam Mendes did if it weren’t for Roger Deakins’ skilled and masterful cinematography for 1917. The way he fully captured the desperation and tragedies of war was captivating and heartbreaking, and it makes it even more impressive that he filmed it to look like one continuous shot. In many ways, 1917 is just as much Deakins’ film as it is Mendes’, and no other nominee deserves the Oscar as much as he does. If anyone else wins, it will be the 13th time the Academy has snubbed Deakins.

Best Makeup and Hairstyling: The first time I caught a glimpse at Charlize Theron in Bombshell, I seriously mistook her for Megyn Kelly. A lot of the makeup work done for the film is that exemplary, with characters appearing so starkly similar to their real-life counterparts that you could put them right on Fox News and you almost wouldn’t be able to tell the difference. The makeup work on Joker and Maleficent is equally stunning, but if we’re going to go with the most skillful makeup job here, my money is on Bombshell.

Also, praise to the Academy for nominating five nominees in the makeup category this year as opposed to the usual three. Makeup artists are often the most overlooked professionals in Hollywood, and I’m glad they’re getting the exposure they deserve here. Hopefully, this is a trend the Academy will keep up for future ceremonies.

Best Costume Design: The Oscar winner for Best Costume Design is particularly difficult to predict this year, mostly because all of the nominees are so outstanding. Previous Academy Award winners Sandy Powell, Jacqueline Durran, and Mark Bridges are respectively nominated for The Irishman, Little Women, and Joker, while Mayes C. Rubeo and Arienne Phillips are also nominated for JoJo Rabbit and Once Upon A Time In Hollywood. While JoJo Rabbit’s costumes were packed with as much personality and uniqueness as its wildly entertaining characters were, Once Upon A Time In Hollywood deserves special praise for doing the same thing while simultaneously calling back to the wardrobe of 1960s pop culture. I love all of these costumes equally, but if I’m going with the most likely winner, I’m going to have to guess it’s Once Upon A Time In Hollywood. 

Side note: Shame on the Academy for not honoring Jenny Eagan’s beautiful and mesmerizing work on the mystery-thriller Knives Out. The costumes on the film’s suspects were so colorful and alive that they echoed back to the mini figurines from “Clue.”

Best Production Design: Another difficult category to predict, especially with two clear frontrunners going head-to-head: 1917 and Once Upon A Time In Hollywood. Fun fact: the Academy Award winners for 1991’s Bugsy are also nominated here against each other – Dennis Glasner for 1917 and Nancy Haigh for Once Upon A Time In Hollywood. Man, if that isn’t an entertaining coincidence, I don’t know what is.

Anyhow, predictions. Many of the sets for 1917 were created from scratch in order to accommodate the one continuous shot filming method. This is especially impressive in scenes involving the claustrophobic trenches or the muddy No Man’s Land, given the harrowing detail in the damage and casualties surrounding the British soldiers. However, there is one flaw not necessarily with the production design itself, but rather the capturing of it. In especially dark scenes where they’re filming in the thick of night or deep in a tunnel, it’s impossible to observe the set design through all of the shadows. The sets in these sequences very well could be amazing or terrible. We will never know because of how opaque these sequences were.

Once Upon A Time In Hollywood, however, didn’t have a dark moment in it (well, in terms of the lighting, that is). Since that is the case, we’re able to absorb its full production design in detail, and man is it gorgeous. Whether Sharon Tate is walking up to an oldie theater to watch The Wrecking Crew, Rick is acting on-set of a spaghetti western, or Cliff is eerily investigating Spahn Ranch, all of the sets in Once Upon A Time In Hollywood were colorful, vibrant, and ripe with 1960s life. It’s a close call, but Once Upon A Time In Hollywood has a slight edge for being represented more on-screen and meeting the challenge. Sorry, Dennis. At least 1917 isn’t going home empty-handed in the other categories.

Another side note: Again, the Academy was wrong to snub David Crank and Jeremy Woodward’s phenomenal craft in assembling Harlan Thrombey’s ancient, isolated mansion in Knives Out. If the first 10 minutes alone wasn’t convincing enough of their hard work and deserving of being nominated, then certainly the other two hours were. Their absence was absurd and ridiculous to the highest degree, and Jacob would be rage-tweeting about it online if he found out his grandfather’s mansion wasn’t nominated for an Oscar either.

SOURCE: WARNER BROS. PICTURES

Best Musical Score: Do you know who I feel really bad for? Thomas Newman. Not only has he been nominated a whopping 13 times by the Academy, but he has also never won an Oscar for Best Musical Score. Not once. Not with The Shawshank Redemption. Not with American Beauty. Not with Finding Nemo, WALL-E, Skyfall, Saving Mr. Banks, or Bridge of Spies. The only other nominee who’s been snubbed the number of times Thomas Newman has been was cinematographer Roger Deakins, who was also nominated 13 times for Best Cinematography before he finally won for Blade Runner 2049.

This year, unfortunately, is no different for him. He’s facing stiff competition with the likes of Alexandre Desplat for Little Women and John Williams for Star Wars: The Rise of Skywalker. Most of his nominees, however, have already won Oscars. Thomas Newman is one of the few composers to have not won yet, along with Icelandic newcomer Hildur Guonadottir for Joker.

Since this is the case, the underdog brawl comes down to Newman for 1917 and Guonadottir for Joker – and Quonadottir has a slight edge, only because Joker won the Golden Globe for Best Original Score while 1917 didn’t. This is the only category where I really hope I’m wrong, however, as Newman is an outstanding composer and deserves to be recognized at least once in his 35-year career, especially for the hauntingly gorgeous themes he provided in the backdrop of 1917.

Please, Academy. If you have any sense or decency, give Newman his much-deserved Oscar already. Otherwise, you’ll look like the jokers Hollywood already believes you are.

Best Original Song: Elton John fans are already ticked off that last year’s Bohemian Rhapsody won four Oscars, whereas Rocketman only got one nomination this year for Best Original Song. If “I’m Gonna Love Me Again” doesn’t win the Oscar now, then it will break Rocketman fans’ hearts. Don’t let the sun go down on them, Academy.

Best Sound Editing: 1917. I know its commonplace to give this award to war pictures, but 1917 stands out even when compared to fellow winners Dunkirk and American Sniper. I don’t usually care much about the sound categories, but 1917’s sound editing truly deserves to be recognized. If not it, then Ford v Ferrari. 

Best Sound Mixing: 1917. Again, compared to recent winners Dunkirk and Hacksaw Ridge, 1917 is truly masterful in its sound engineering. There are scenes where a loud, ear-piercing BANG will go off from the screen and it just sends shivers down your spine. Other times, the soft and quiet sounds of a soldier singing “Wayfaring Stranger” crescendoes into a beautiful melody that captures your heart and your emotions. Again, its possible Ford v Ferrari might pull an upset, but 1917 is the current leader in this category for very good reason.

Best Visual Effects: A lot of people believe Avengers: Endgame is the clear leader in this category. No. Not this time. Last year’s Avengers: Infinity War clearly deserved to be the winner, but the Academy chose to give the visual effects Oscar to the shoddy, dull, and vastly unimpressive First Man instead. Does Endgame deserve to win against the likes of its fellow nominees Star Wars: The Rise of Skywalker, The Irishman, and The Lion King? Obviously, but it won’t win because of the Academy’s preconceived bias. So screw the Academy. Avengers: Endgame won’t win the Oscar for best visual effects, even though it clearly deserves to.

That being said, 1917 was stunning in how it placed you on the German front lines in World War I, especially in conjunction with Deakins’ one-shot filming technique. I still don’t know how the film fully encapsulated the epic-scale war violence and tragedy that it did. 1917 may not be my first pick for best visual effects, but it’s definitely a solid second, and I think it’s going to end up winning. If Avengers: Endgame ends up winning in its place, Thanos needs to come back and snap the Academy members off of the voting board.

And finally, the dreaded short categories, which I never watch and am yet condemned to predict anyway. I usually go with the most interesting titles for these categories, so with that criteria in mind, I’m gonna guess that The Neighbor’s Window, Hair Love, and Learning To Skateboard In A Warzone (If You’re A Girl) wins Best Live Action, Best Animated and Best Documentary Short respectively. I unbelievably got all three of these categories right last year, so let’s see if the good man Oscar looks down favorably upon my ballot again this year.

And those are my predictions, folks. Tune in on Feb. 9 to see how well I did on my ballot this year, as well as vent my frustrations at how Knives Out was unbelievably not nominated for anything this year except for Best Original Screenplay – which it should have won, by the way.

– David Dunn

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Why So Snubby?

SOURCE: WARNER BROS. PICTURES

Another year, another Oscars ceremony without a host. This is a year of many firsts for the Academy Awards. For one thing, this is the first year in quite a while where they’ll be hosting the ceremony in early February as opposed to late February/early March, so they’ll essentially be airing it in back-to-back weekends between the DGA’s and the WGA’s. This is also the first consecutive year to conduct the ceremony hostless, a trend they’ll be keeping up from the previous year when Kevin Hart was dropped from the show. And perhaps most surprisingly, this is the first year where the film to get the most nominations is not a period piece or a biopic, but a comic-book film.

Yes, dear reader: the critically-lauded Joker received not one, not 10, but 11 Oscar nominations, including Best Picture. Since the Academy has an especially sordid history with snubbing one comic-book film after another (with the likes of The Dark Knight, The Avengers, Captain America: Civil War, Logan, and many more), I’m surprised they recognized Joker with so many nominations. Granted, none of them are undeserving. Joaquin Phoenix has certainly earned his Best Actor nomination, as did Todd Phillips for his Best Director nomination. Besides those nominations, Joker is also nominated for Adapted Screenplay, Original Score, Cinematography, Film Editing, Makeup and Hairstyling, Costume Design, Sound Editing, and Mixing.

Following up Joker with 10 nominations is the Sam Mendes WWI drama 1917, the Martin Scorsese gangster epic The Irishman, and the hotshot Quentin Tarantino love letter to 60s cinema Once Upon A Time In Hollywood. Again, none of these Best Picture nominees are surprising in the least. The Academy laps up Martin Scorsese just about as many times as they do Meryl Streep, and war pictures have a great track record with getting nominated by the Academy as well. Pay attention to 1917 and The Irishman in the technical categories especially. They stand a really good chance at snagging a few of those awards.

The biggest surprise out of those three films was how many nominations Once Upon A Time In Hollywood racked up. With 10 nominations, Once Upon A Time In Hollywood is officially Tarantino’s most nominated film, right after Inglorious Basterds with eight nominations. Not that it wasn’t deserving. Leonardo DiCaprio and Brad Pitt alike were both spitfires in the movie, and Tarantino was arguably at his best behind both the script and the director’s chair. But sweeping the technical nominations was especially unexpected. A few of them, such as cinematography and costume design, were a given. But sound editing, mixing, and production design? That came from left field out of nowhere.

Next up with six nominations apiece is the WWII satire film Jojo Rabbit, the coming-of-age drama Little Women, the heartbreaking divorce homily Marriage Story, and the eerie yet entertaining Parasite. Parasite is certain to have the newly-named International Feature Film award on lockdown, and director Bong Joon-Ho is an early favorite in the directing category as well. Little Women was a little unexpected for best leading and supporting actress, adapted screenplay, costume design and original score, but since no female directors are nominated for Best Director this year, it’s kind of necessary to give this much love to a female empowerment film. Marriage Story, meanwhile, swept in most of the acting categories, with Scarlett Johannson even being nominated twice for both Marriage Story and Jojo Rabbit. Do any of these films stand a chance against the heavyweight titans of Joker, 1917, Once Upon A Time In Hollywood, and The Irishman? We can only wait until Oscar night to find out.

And the last, but certainly not least, Best Picture nominee is the racing drama Ford v Ferrari, which is also nominated in the sound and film editing categories. The most shocking thing about this nominee isn’t that it only has four nominations (against everything else, that’s more or less to be expected). What’s shocking is that Christian Bale, who gave a stellar performance as Ken Miles, isn’t nominated for Best Actor. And to be fair to the other nominees, I haven’t seen Antonio Banderas in Pain and Glory or Jonathan Pryce in The Two Popes. But they don’t stand a snowballs chance against their peers, so you have to wonder why Bale wasn’t even being considered over them?

SOURCE: Academy of Motion Picture Arts and Sciences

Speaking of snubs, this year has no shortage of them just like with any other given year. The biggest snub Disney fans will notice is that Frozen 2 isn’t nominated for Best Animated Feature, although it is still nominated for Best Original Song with “Into The Unknown.” Jordan Peele’s thoughtful and observant horror film Us was given a resounding zero nominations, not even for Lupita Nyong’o for her hypnotizing dual performance as a petrified mother and her murderous doppelganger. Perhaps most shockingly, Uncut Gems was nominated for a big, fat “nothing” for this year’s ceremony, not even a Best Actor nomination for Adam Sandler’s mesmerizingly brazen performance. Thanks a lot, Academy. We’re going to get Grown Ups 3 now because of you.

But the most maddening has to be the absence of Rian Johnson’s masterful murder-mystery Knives Out, a movie that challenges us socially and politically as much as it does narratively and thematically. Knives Out was brilliant in just about every which way it could be, from the performances and the cinematography to the music and the editing. Even the bloody costumes and set designs were among the most colorful and stylish production jobs of the year. But nope, no nominations for those categories either. I get that five nominations limit what you can include in these categories and where. Still, I would have been fine to knock down a few nominations from Joker if it meant a few more nominations for Knives Out. At least Rian Johnson was nominated for Best Original Screenplay, so he can now call himself an Academy Award nominee at the very least.

Overall, this is a decent year for the Oscars. I’m glad to see comic-book movies like Joker get a little more love this time around, even if it is arguably a little too much love. Regardless, we have a lot to look forward to and many more surprises and snubs coming our way. Get ready, folks. At least there won’t be a host on February 9.

– David Dunn

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‘Green Book’, ‘Bohemian Rhapsody’ rocks 91st Academy Awards

Several things were missing from the 91st Academy Awards. Surprisingly, one of those things was not an Oscars host.

Production was a train wreck before heading into the 91st Academy Awards. For one thing, there was no host scheduled for this year’s ceremony, marking the first time in three decades where the Academy Awards took place without a host. Then the Academy decided not to nominated Won’t You Be My Neighbor? for Best Documentary, which is the second dumbest snub the Academy has recently done next to not nominating The Lego Movie for Best Animated Feature. Perhaps the most foolish thing to have happened in the days leading up to the Oscars was deciding to award the Best Cinematography, Best Film Editing and Best Makeup awards during the commercials, only to promptly walk back that decision days later after severe backlash from the filmmaking community. As far as poor decision-making goes, the Academy Awards is second only to Bohemian Rhapsody’s production troubles – and that’s saying something.

Oddly enough though, the Oscars weren’t that awful this year. For one thing, the absence of a host did not bother me as much as I thought it would, as the telecast got to move on more quickly and I got to go to bed much sooner because of it. And also, the beginning of the telecast didn’t waste time with a long, unfunny opening monologue that we usually have to suffer through, but instead, we opened up on a headbanger with Adam Lambert and Queen performing a live tribute to Freddie Mercury. Can we open up all of our future Oscars shows like this? Pretty please?

But as per usual, the Oscars went on with their typical wins and snubs as they do every year. Some were a pleasant surprise to experience. Others weren’t. Let’s go through the rundown below and see how my predictions stacked up this year:

Best Picture: One of many surprises from the night, but certainly not the biggest. Green Book took home the highly-coveted award for Best Picture. I had believed that Roma or BlacKkKlansman merited better chances at winning the award, especially since both movies were also nominated for Best Director whereas Green Book wasn’t. Either way, I got this category wrong, but it isn’t the worst snub or upset from the night. Congratulations to the team who brought Tony Vallelonga and Don Shirley’s story to life of the big screen. Clearly this is one book that I need to check out.

Best Director: As expected, Alfonso Cuaron won the Academy Award for Best Director after winning the DGA award for Roma. This marks Cuaron’s fifth Oscar, as well as his second win for Best Director after 2013’s Gravity. I personally felt Spike Lee was more deserving of the award for BlacKkKlansman, but at this point it’s best to just let bygones be bygones. Congratulations to Cuaron for the win regardless. Now I’m just waiting for Guillermo Del Toro to win his inevitable second Best Directing Oscar for when his remake of Pinocchio comes out in 2021.

Best Actor: Rami Malek rocked the world, and the Oscar, with his performance as Freddie Mercury in Bohemian Rhapsody. His beautiful speech dedicating his success to the life of a gay immigrant rock star made everyone feel like champions.

Best Actress: Another unexpected win. After she was previously nominated six other times, I thought Best Actress was Glenn Close’s to lose for The Wife. Turns out she literally lost it as first-time nominee Olivia Coleman won for The Favourite instead. I certainly wasn’t expecting it, and I felt bad that Close had to lose the Oscar yet again. But at the same time, seeing Coleman bumbling up on the stage in shock was a joy to see, and it was nice to see an actress genuinely overwhelmed by them winning for a change. Congratulations to Coleman for her win. Here’s to hoping Close’s win will be around the corner very soon.

Best Supporting Actor: It’s always a pleasure to see Mahershala Ali up on-stage at the Oscars. It was great to see him up there a second time for his win for Best Supporting Actor in Green Book. Congratulations to him on his win. Still would’ve liked to have seen Michael B. Jordan up there being considered for Black Panther.

Best Supporting Actress: As expected, Regina King won Best Supporting Actress for If Beale Street Could Talk. Her tearful speech dedicating her success to her mother and to God was one of the best ways you could have opened up the ceremony. Congratulations to her and her well-deserved win.

COURTESY: SONY PICTURES

Best Animated Feature: Spider-Man: Into the Spider-Verse beat out Incredibles 2 for Best Animated Feature. Much-deserved joy and congratulations to the Spider-Verse crew. They showed everyone that there’s a little bit of a hero in all of us.

Best Documentary Feature: Surprisingly, Free Solo beat out RBG for Best Documentary. This award also marked the first winner to be played off from the night, as the orchestra started playing as director Elizabeth Chai Vasarhelyi was mid-way through her speech. Sad, that the Academy won’t play off big-name actors like Rami Malek or Olivia Coleman, but they’ll play off smaller up-and-coming filmmakers trying to make a name for themselves. Either way, congratulations to the Free Solo crew for their win.

Best Foreign-Language Feature: As if it wasn’t obvious already, Roma won Best Foreign-Language feature. Cuaron hilariously mentioned later in the telecast that being up there “does not get old” after his multiple wins.

Best Original Screenplay: Green Book won Best Original Screenplay over The Favourite, essentially sealing its chances to win Best Picture. At least now Dumb and Dumber director Peter Farrelly can now call himself an Oscar-winner.

Best Adapted Screenplay: BlacKkKlansman won Best Adapted Screenplay, awarding Spike Lee with his first Oscar win after being snubbed for over 28 years. It was a joy seeing him hop on stage and getting giddy with the fact that the New York Knicks ended their 18-game losing streak that night. Clearly it was a great night for Spike, and it was wonderful to watch him experience it.

COURTESY: FOCUS FEATURES

Best Film Editing: For some ball-brained reason, Bohemian Rhapsody beat out BlacKkKlansman, Green Book and Vice for Best Film Editing, despite having more jarring jump-cuts in it than a Transformers movie. I know more than a few passionate fans in the film community that will be visibly frustrated by this win. I’m personally taking a moment to just breathe, remembering that Lee Smith won for Dunkirk in the previous year despite that movie being more incomprehensible than Bohemian Rhapsody was. Clearly this award is not all that it’s cracked up to be. The Academy better be careful before they lose credibility with the film editing community.

Best Cinematography: Alfonso Cuaron won Best Cinematography for Roma. At this point, Cuaron is just taking Oscars like Meryl Streep in the acting categories. Don’t you dare give them any ideas for a collaboration.

Best Makeup and Hairstyling: As expected, Vice won Best Makeup and Hairstyling. It certainly didn’t win for best acceptance speech, as artists Greg Cannom, Kate Biscoe and Patricia Dehaney stumbled through their speeches more clumsily than Donald Trump has stumbled through his Presidency. This category was the only time I advocated for a winner being played off of the stage.

Best Costume Design: Ruth Carter won Best Costume Design for Black Panther, making her the first African-American to ever win the Award. Her costumes were among the best things to stand out in the movie, whether it was with the Dora Milaje’s exquisite battle armor or Black Panther and Killmonger’s vibranium suits. Big, big, big congratulations to her for her landmark win. It was among one of the most deserved awards from the night.

Best Production Design: YES. BLACK PANTHER WON BEST PRODUCTION DESIGN. I was worried for a while that The Favourite was going to snag it, but ultimately, the most deserving nominee won out. Congratulations to Hannah Beachler and Jay Hart for the win. They were very deserving in their world-building of Wakanda.

COURTESY: WARNER BROS. PICTURES

Best Original Song: Lady Gaga won Best Original Song for “Shallow” with A Star Is Born. How could she not after that incredible duet with Bradley Cooper? Their performance on-stage still sends shivers down my spine. What a moment.

Best Musical Score: Incredibly, Ludwig Goransson outdid the rest of the nominees with his incredible beats and cultural vibes to Black Panther. This marked a monumental occasion for the Academy Awards, as Goransson is not only the first composer to win for a superhero movie – he’s also only the second to be nominated, with the first being John Williams for 1978’s Superman.

In other words, Goransson outdid John-freakin’-Williams. I have nothing else to add to that. Congratulations to Goransson and Black Panther for their success. Hopefully their win paves the way for other future superhero movies with equally fantastic soundtracks.

Best Sound Editing: Bohemian Rhapsody won Best Sound Editing. Again, this award should have gone to A Quiet Place for its masterful use of sound and suspense in the motion picture. But it’s equally skillful to time Freddie Mercury’s voice over Rami Malek’s during the Live Aid concert recreation, I suppose.

Best Sound Mixing: Just like with Best Sound Editing, Bohemian Rhapsody also won Best Sound Mixing. 

Best Visual Effects: Unbelievable. Un-freaking-believable. After 10 years of being snubbed by the Oscars over and over and over and OVER again, the Academy just couldn’t give Avengers: Infinity War its fair due and decided to give it to the boring and uneventful Louis Armstrong biopic First Man instead. I wouldn’t be so frustrated by this snub if the competition was tight between Infinity War and First Man. But, I mean, come on… has the Academy voters even SEEN Infinity War?!?!

COURTESY: WALT DISNEY STUDIOS MOTION PICTURES

COURTESY: WALT DISNEY STUDIOS MOTION PICTURES

Whatever, I’m done. It’s clear at this point that a bunch of DC fans sits on the Academy voters board. That’s the only explanation I can give for DC’s Suicide Squad winning an Oscar whereas all 20 MCU movies have not won a single Oscar ONCE. At least now I know not to give my hopes up for when Avengers: Endgame comes out later this year.

Finally, the biggest surprise of the night: I’ve gotten all the short categories right this year. Bao won Best Animated Short, Period. End of Sentence. won Best Documentary Short and Skin won Best Live-Action Short. My predictions on those was all pure guesses. Clearly the Oscar statuette looked down favorably upon my ballot this year.

And that’s all for this year’s host-less Oscars, folks. Thank you for tuning in, and I’ll see you next year when a new host takes over. Hopefully they won’t drop out again at the last minute like this year’s did.

– David Dunn

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2018 Oscar Predictions

I have a long and complicated love-hate relationship with the Academy Awards. Every year, they never cease to surprise, satisfy, disappoint, and frustrate me all at the same time. Remember last year when Roger Deakins finally won his first Best Cinematography Oscar for Blade Runner 2049 after being nominated a whopping 14 times? What about the year before that where there was the infamous Best Picture winner mix-up between Moonlight and La La Land? And don’t even get me started on the year when Sylvester Stallone lost Best Supporting Actor for Creed to Mark Rylance for Bridge of Spies for simply putting on a more sour face than Stallone did.

Year in and year out, the Oscars issue their regular round of wins and snubs every time they host the Academy Awards, which I’m fine with. These are competitive awards, after all, and winners and losers are to be expected in every category. But at the very, very least, could you at least attempt not to snub the most deserving winner? I get being split in a category where Incredibles 2 and Spider-Man: Into the Spider-Verse are nominated side-by-side, but then what’s the excuse for Bradley Cooper not even having a Best Director nomination for A Star Is Born? What, you needed to save room for a guy named Yorgos Lanthimos? Give me a break.

For this year’s Oscars, I’m expecting two things. One: that this will be the first Academy Awards to be conducted without an Oscar host in three decades. That’s thanks to Kevin Hart dropping out from the job in December after some homophobic tweets resurfaced from the comedian’s past. I get the outrage and the criticism that Hart rightfully deserved for his lewd and inappropriate comments, but did he have to drop out from hosting over it? For God’s sake, Seth MacFarlane hosted the Oscars in 2013. Who gets more offensive than that guy?

Two: A Star Is Born is going to lose in mostly every category, which is especially frustrating given how emotional and provocative that film was. Sean Penn echoed my thoughts exactly when he penned an essay to Deadline saying that A Star Is Born “brings people together without saccharine, sugar, or salesmanship.” I just like that he used the word “saccharine” correctly in a sentence. Can we just hand hosting duties over to him? Clearly, his head is in the right place.

What else am I expecting from this year’s ceremony? Let’s hop into my predictions for the 91st Academy Awards and find out.

COURTESY: NETFLIX

Best Picture: Best Picture is usually the easiest category to predict ahead of the Oscars, mostly because the Academy’s tastes are generally geared towards biographies and historical pieces. But this year, the Academy seems to have gone in a completely different direction from its usual nominees. Black Panther, for instance, is the first superhero movie to have ever been nominated for Best Picture. A Star Is Born is also nominated, which is irregular because the last time the Academy nominated a reboot for Best Picture was with Mad Max: Fury Road in 2016. And Roma? Completely out of left field. The last time a Foreign-language film was nominated for Best Picture was in 2012 with Amour. In total, 10 Foreign-language films have been nominated for Best Picture throughout Oscar history, but none of them have ever won. Not once.

Normally, I would predict a movie like A Star Is Born would win Best Picture given its massive impact and popularity with audiences everywhere. But its competition is stacked very heavily against itself this year with the likes of The Favourite and Vice, and it isn’t expected to win a lot of other awards this year.

Then again though, Spotlight also won very few Oscars during the 88th Ceremony, yet it still walked away with the highly-coveted Best Picture award from the night. So who knows? Maybe this category has just become bonkers in general.

My next best guess would be Alfonso Cuaron’s passion project Roma, a heartfelt and sincere movie about a family’s relationship with the children’s home maiden. And yes, I understand that a Foreign-language film has never won Best Picture before in Oscar history. The same thing was also true for science-fiction movies until The Shape of Water won Best Picture last year. In times like these, it’s best to play unpredictable just like the Academy does. So to Roma with love, I say it will win. 

Best Director: Alfonso Cuarón won the DGA award for Roma, which means he will also win the Oscar for Best Director. This will be Cuaron’s second win for Best Director, his first being from the 2013 science-fiction thriller Gravity.

I prefer it go to Spike Lee for his phenomenal work on the brilliant satirical race drama BlacKkKlansman, but I understand it can be perceived as an inflammatory picture and it won’t sit well with some voting members. I just wish the Academy wouldn’t play it safe as often as they do. It’s outrageous enough that Lee’s 1989 film Do The Right Thing wasn’t even nominated for Best Picture or Director at the 62nd ceremony. To continue to disregard him after the fact is straight-up robbery.

Side note: Why on Earth is Pawel Pawlikowski nominated for Cold War? That selection is more random than Solo’s nomination in the visual effects category. More on that here in a bit.

Best Actor: The matchup here is between Christian Bale for Vice and Rami Malek for Bohemian Rhapsody. Who will win it? The Vice President or the rock star? Dick Cheney or Freddie Mercury? The esteemed four-time nominated Oscar winner or the first-time freshman nominee? The race is very tight in this category, but I’m marginally placing my chips on Malek. His performance as Freddie Mercury was absolutely mesmerizing, and he essentially resurrected the iconic Queen singer for one last “We Will Rock You” on stage. The Oscar could really go to either actor on awards night, but for myself personally, I’m placing my bets on the underdog. I’d recommend flipping a coin if you’re having trouble deciding in this category.

Honorable mention goes to Bradley Cooper for his heart-stirring performance in A Star Is Born, which I find superior to both Bale and Malek’s performances but behind in the Oscars race. Six out of the past eight best acting winners were all for biographical movies, and since Cooper is playing an original character rather than imitating a real-life historical figure, that sadly puts him behind the pack in the race for Best Actor. That’s a real shame because Cooper was arguably the best part of A Star Is Born and his work deserves to be recognized. Maybe one day he’ll win the Oscar, but it’s not likely that it will be in 2019.

Best Actress: Glenn Close for The Wife. Not only has she been nominated six times before and has never won once, but her performance in The Wife has been widely acclaimed and is mostly considered to be the pioneering force behind the picture. Mind you I haven’t seen the movie, so I can’t compare it to the likes of Lady Gaga’s performance in A Star Is Born or Yalitza Aparicio’s in Roma. However, in terms of both stature and seniority, Close is the safe choice. Place your bets on her for Oscar night.

Best Supporting Actor: The night’s first biggest snub comes in the Best Supporting Actor category, where Michael B. Jordan is unforgivably skipped over for his mesmerizing and intimidating presence as the Black Panther villain Killmonger. What happened to the Academy? Ever since they awarded Heath Ledger the Oscar as The Dark Knight’s Joker in 2008, they’ve suddenly gotten cold feet when it came to considering other supervillains for best acting awards. It isn’t like Michael B. Jordan is undeserving of the recognition. At the very least, I would hope you would consider him more over the likes of Adam Driver from BlacKkKlansman.

Don’t get me wrong: I’m still happy Black Panther got nominated in seven other categories. I just feel that Jordan’s nomination should have been its eighth.

Now then, predictions. Mahershala Ali won the Oscar two years ago for his role as a reluctant drug dealer in Barry Jenkins’ Moonlight. The momentum behind Green Book seems to be carrying him well through Awards season, as he’s already picked up both the Golden Globe and the Screen Actor. Sure, it’s possible that someone like Sam Elliott or Sam Rockwell could pick it up for A Star Is Born or Vice, but it isn’t very likely. For that reason, I would suggest going with Ali for Green Book

Best Supporting Actress: Regina King for If Beale Street Could Talk. It’s possible that Amy Adams could pull an upset for playing Lynne Cheney in Vice, but it isn’t very probable considering how much King has dominated awards season so far. It’ll be exciting to see which way the Academy leans on Oscar night, but at the very least, let’s agree that it’s outrageous that Emily Blunt isn’t nominated alongside her Oscar-nominated kin for her skillful work in A Quiet Place.  

COURTESY: SONY PICTURES

Best Animated Feature: As much as the Academy has snubbed superhero fanfare in its ceremonies many years prior, the one category where the Academy has always been kinder to superhero movies is for Best Animated Feature. The Incredibles was among the first Pixar movies to win Best Animated Feature in the 2000’s, while Disney’s Big Hero 6 also marked itself as the first Marvel movie to win an Oscar in a best feature category.

Of course, this doesn’t make Incredibles 2 or Spider-Man: Into The Spider-Verse the automatic winners for this year’s ceremony. It does, however, give them a slight edge over its competition. The question now is which one will take home the gold? As a big Spider-Man fan, I love Into the Spider-Verse and have a preference towards its win. Incredibles 2, meanwhile, came to the theaters about 10 years too late, so I’m equally bittersweet and sour over its nomination as well. This could be my own bias speaking here, but I think Into the Spider-Verse has a real shot at winning the Best Animated Feature Oscar this year. If Spidey does pull off the win, it will be the Web-head’s second Oscar statuette right after his win for Best Visual Effects in Spider-Man 2: and it will be very well-deserved.

Best Documentary Feature: Since the only thing that Hollywood loves more than Ruth Bader Ginsberg is Meryl Streep, it would be foolish to think that any other nominee could possibly beat out RBG for Best Documentary. I’m still frustrated that the phenomenal Mister Rogers tribute Won’t You Be My Neighbor? wasn’t even nominated in this category. Mister Rogers was a good neighbor to you, Academy voters. And you repaid him by slamming the door in his face.

You disgust me.

Best Foreign-Language Feature: Roma. In every year that the Oscars has nominated a Foreign-language movie for Best Picture, that nominee has always gone on to win in the Best Foreign-Language film category. It would be lunacy to believe that precedent could possibly change now.

Best Original Screenplay: While Green Book won the Golden Globe for Best Screenplay and is technically in the lead for this race, I don’t think it will win, especially when you consider the fact that the Oscars and the Golden Globes haven’t matched up in the writing categories for the past few years. Instead, I’m predicting that The Favourite will win the Academy Award for Best Original Screenplay. It’s nominated for 10 Oscars, after all. To think that it will walk away empty-handed on Oscar night is just blissful ignorance.

Best Adapted Screenplay: BlacKkKlansman. It’s a sodding shame in and of itself that this is the first year that Spike Lee has even received a Best Director nomination. To rob him of his win for Best Adapted Screenplay now would just be plain cruelty.

Best Film Editing: Normally I’d vote for the action movie when it comes to Best Film Editing, especially since the past three winners have all been for action movies (see Dunkirk, Hacksaw Ridge, and Mad Max: Fury Road). This year, however, there is an issue with that approach: there isn’t an action movie nominated. I guess you could argue that BlacKkKlansman has action in it, but the film is more of a dramatic political thriller than it is a blockbuster. I wouldn’t stake my chips on it.

Now Hank Corwin, on the other hand, is a master at jump cuts and quick cutaways, and his technique is evident in both of his nominated films The Big Short and Vice. This category is a toss-up just like so many others this year, but if I had to select the most reliable choice, I would choose Vice. Don’t be surprised if I get this category wrong this year, however.

Best Cinematography: Roma. Alfonso Cuaron’s cinematography was masterful on this project, whether it was with the gorgeous and captivating wide shots of Mexican scenery, or the intimate and personal close-ups of a family’s small life in their home.

Matthew Libatique deserves an honorable mention for his affectionate work on Bradley Cooper’s A Star Is Born, but the win is more or less locked in this category. If Roma deserves to win any Oscar this night, it would be for cinematography.

Best Makeup and Hairstyling: Vice. Transforming Christian Bale from the skinny Welsh that he is into one of the most controversial political figures of our time was no small feat to accomplish. I didn’t even recognize Bale the first time I saw him on the big screen as Dick Cheney. That immersion is too impressive to ignore and should not go unnoticed by Academy voters (although to be fair, Bale gaining 40 pounds for the role didn’t hurt the makeup artists chances much either).

Best Costume Design: Normally the period piece would be the shoo-in for this category, which in this case would make The Favourite the, uh, favorite to win. However, the Academy has recently backpedaled from period pieces at their ceremonies. Mad Max: Fury Road surprised everybody and won Best Costume Design in 2016, while the Harry Potter spinoff Fantastic Beasts and Where To Find Them won the year after. I didn’t think it was possible, but it seems the Academy is getting period piece fatigue. No category is more evident in this than it is in costume design.

With that context in mind, Black Panther seems to at the most significant advantage to winning Best Costume Design this year. It’s true that Sandy Powell is nominated twice here for The Favourite and Mary Poppins Returns. However, she was also nominated twice in 2016 and still lost to Jenny Beavan for Mad Max. Meanwhile, Ruth Carter incorporated African and Japanese cultures into her outfits for Black Panther, giving them a blended feeling of both tribalism and capability.

If Carter does win, not only will she be the first African-American to win Best Costume Design at the Oscars – she will also be the first African-American nominee. Either way, she has made significant strides in this year’s ceremony.

Best Production Design: Black Panther. If anything else wins, then Thanos didn’t wipe out enough of the universe in Infinity War. 

COURTESY: WARNER BROS. PICTURES

Best Original Song: As much as I love Kendrick Lamar’s lead single “All the Stars” from Black Panther, it is neither the strongest nominated song or the most relevant to the picture it’s nominated for. A Star Is Born’s “Shallow,” on the other hand, is both a powerhouse country ballad and an incredibly emotional tribute to the relationship of the film’s two stars. Lady Gaga was wrongfully snubbed several years ago when her sexual assault anthem “Til It Happens To You” lost to the mopey James Bond single “Writing’s On The Wall.” Her win for “Shallow” this year will be well-deserved and will make up for that indescribable snub. 

Best Musical Score: This is one of the more robust categories to predict this year because unlike previous years where the apparent winner stood out from the rest of the crowd, most of these nominees just kind of blend together. My favorite of those nominated is Ludwig Goransson for his tribalistic, Conga-like vibe for Black Panther, but I’m not foolish enough to believe he can win. After all, he’s only the second composer to be nominated for a superhero movie in over 40 years. The first to be nominated was John Williams for his iconic Superman theme in 1978, and even then he lost to Giorgio Moroder for Midnight Express. If John Williams couldn’t win the Oscar for a superhero movie, what do you think Ludwig Goransson’s chances are? Zilch.

Then there’s Alexandre Desplat for Isle of Dogs and Marc Shaiman for Mary Poppins Returns. Desplat and Shaiman have been nominated for a combined 17 times, and Desplat has already won twice for The Grand Budapest Hotel and The Shape of Water. I don’t think either of these veterans is going to win the Oscar this year.

That whittles it down to Terence Blanchard for BlacKkKlansman and Nicholas Britell for If Beale Street Could Talk. This is Blanchard’s first nomination despite his career being as long as Spike Lee’s filmography, while this is Britell’s second nomination after scoring the 2016 Best Picture winner Moonlight. This race is essentially a toss-up, but my money is on If Beale Street Could Talk. It’s sweet, soft violin melodies capture both the beauty and the tragedy of the story it’s telling. If it’s nothing else, its musical score is tender and sentimental. Moving melodies like it are sure to swoon Academy voters’ hearts.

Best Sound Editing: Ideally, the number of Oscars that First Man wins would be zero. Unfortunately, for however boring and placid the rest of the movie is, its sound editing is admittedly very well done and immerses you into Neil Armstrong’s plight more than anything else in the movie does. While I would prefer this award go to the mesmerizing and ingenious A Quiet Place, I think First Man is more poised to win Best Sound Editing. At least they got the sound effects right in the movie.

Best Sound Mixing: A Star Is Born. There’s no educated reason why I think it will win over the other nominees. I just love the movie.

Best Visual Effects: First thing’s first – why the blast is Solo: A Star Wars Story nominated here? That movie looked uglier than a squashed Ewok between Chewbacca’s armpits. I’ve made it no secret that I detest that movie with every fiber of my being, but the sheer fact that it got nominated over the likes of Aquaman, Mary Poppins Returns or Deadpool 2 is just baffling to me. Apparently if you’re a Star Wars movie, you’re in the clear for a visual effects nominations at the Oscars – even if you’re a BAD Star Wars movie.

Moving on to the real contenders. For several years now, Marvel has been continuously snubbed by the Academy over and over again in the visual effects category. The Avengers losing to Life of Pi in 2013. Doctor Strange losing to The Jungle Book in 2017. Don’t even get me started on the fact that Captain America: Civil War wasn’t even nominated altogether.

Time and time again, Marvel has been robbed of the visual effects recognition that they’ve so clearly deserved in the many years before. 2019 will be its year of recompense. Avengers: Infinity War is arguably the most visually dynamic of any MCU movie produced so far. From the luscious scenery to the brilliant rendering of Thanos’ gargantuan body, every attention is paid to detail with love and affection. I may be setting myself up for disappointment here, but I believe Infinity War has a real shot at winning the VFX Oscar this year – especially when its competition is Neil Armstrong, a video game, and a silly old bear from the Hundred Acre Wood. Fingers crossed on this one.

And as always, we now move on to the detestable short categories – the nominees which almost nobody has seen, but are regardless expected to predict anyway. I already saw Bao in theater when I went to go see Incredibles 2, so I’m picking that one for Best Animated Short solely out of familiarity. I have no idea what I’m doing for the other two categories, however, so I’m just going to throw out my decision based on the two most interesting titles: Period. End of Sentence. for Best Documentary Short and Skin for Best Live Action Short. Good luck to everyone else predicting these categories, along with everything else on Oscar night.

– David Dunn

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All The Oscars Are Closer

SOURCE: Walt Disney Studios Motion Pictures

Finally. After several years of senseless snuffing, snubbing, and robbing of several deserving nominees, the Academy is finally starting to listen to its audiences.

The Academy of Motion Picture Arts and Sciences released their nominees for the 91st Academy Awards Tuesday morning with the help of comedians Kumail Nanjiani and Tracee Ellis Ross. In previous years, I’ve had an undying cynicism towards the Academy and their pretentious grandstanding, with their nominations being so under-the-radar that it wasn’t even worth having a radar. This year, however, I find myself pleasantly surprised with the Academy not just for nominating more mainstream movies, but for also reaching outside of the box with genres that they usually don’t recognize during awards season.

Don’t get me wrong; the Academy is still very much focused on the Indie side of cinema. Its two Best Picture frontrunners, for instance, are also the ceremony’s least recognizable – The Favourite and Roma, both of which have 10 nominations apiece. The Favorite is an English drama about two cousins aiming to be the court favorite to Queen Anne (Olivia Coleman), while Roma is a Spanish drama about a housekeeper’s relationship to the children of a middle-class family. Not only are both of these movies the least underscored out of the Best Picture nominees – they are also the least seen. The Favourite has grossed a little over $43 million at the box office, while Roma has grossed slightly over $3 million (although to be fair to Roma, it is difficult to know its exact totals given Netflix hasn’t publicly released its viewership figures). Either way, The Favourite and Roma are the underdogs in their fight towards Best Picture. If they beat all the odds and somehow end up winning the night’s most coveted award, viewers’ first question is very likely to be “What movie?”

But unlike previous years where the Academy just waterboards the audience with obscure movies nobody has ever heard of, the Academy has actually made significant strides in nominating more mainstream pictures this time around. For instance, the runner-up for Best Picture is Bradley Cooper’s remake for A Star Is Born, which is essentially a live-action Lady Gaga concert that is well worth the price of admission. A Star Is Born has eight nominations and deserves every single one of them, though how many Oscars it will win on awards night remains to be seen.

Also nominated for eight Oscars is the political nail-biter Vice, which is basically an ego trip for either Christian Bale or Dick Cheney depending on whether you ask a Republican or a Democrat. I’m just sitting here wondering when Bale will be cast as Donald Trump for the inevitable biopic that will eventually be done about him.

The biggest surprise to come out of this year’s Best Picture nominees is Black Panther, which is nominated for seven Oscars in this year’s ceremony. Not only is it the first Marvel movie to ever be nominated for Best Picture, but it is also the first superhero movie to ever be nominated for Best Picture, period. It’s great to see Black Panther get the much-needed recognition that it so desperately deserves, though you have to wonder where the heck the Academy was when they were sleeping on the likes of Spider-Man 2, The Dark Knight or Captain America: Civil War? To say it was long overdue to put superhero movies in the running with other high-profile Oscar frontrunners is a substantial understatement.

Also nominated is the in-cheek satirical comedy-crime-drama BlacKkKlansman, which tells the true story of a black police detective successfully infiltrating the Ku Klux Klan in the 1970’s. You might be frustrated to hear that despite writer-director Spike Lee’s long and successful career, this is only his first nominations for both Best Picture and Director. He was famously snubbed several years ago when his masterpiece Do the Right Thing was robbed of a nomination in virtually every category in the 1989 ceremony. The Academy did the right thing this year by giving BlacKkKlansman six nominations, including three for Lee himself for directing, writing, and producing.

Finally, the last two Best Picture nominees are both biopics about real-life musicians – Bohemian Rhapsody for Queen singer Freddie Mercury and Green Book for jazz pianist Don Shirley. Both are widely controversial movies that got several details wrong from both of their respective true stories. So obviously that makes them both deserving of their five nominations, including in the Best Acting categories.

This year’s ceremony didn’t get away completely unscathed from its usual snubs. A Quiet Place, for instance, got only one nomination for Best Sound Editing, even though you could have nominated it in just about every technical category and it would have been no less deserving. The sci-fi action-thriller Upgrade, the spy sequel Mission Impossible: Fallout, and the surprisingly endearing Crazy Rich Asians all got away with a collective zero nominations. And perhaps the most maddening, the compassionate Mister Rogers’ documentary Won’t You Be My Neighbor? wasn’t nominated for Best Documentary, with its snub matched only by the absence of Roger Ebert’s documentary Life Itself in 2015.

But overall, I feel better about this year’s nominations than I do in previous years. It shows that the Academy is trying to diversify its tastes when it comes to the nominations process, and they’re at least trying to reach out to other genres they usually don’t consider for their bigger awards. At the very least, let’s be grateful that this year isn’t a repeat of the #OscarsSoWhite controversy.

Now if only they could find someone to host the Oscars. I heard Jimmy Kimmel was free this year.

– David Dunn

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‘The Shape of Water’ Swims Its Way Through The 90th Academy Awards

Well, at least they got the right envelope this year.

The 90th Academy Awards were held last night, and they were… uneventful, to say the least. The good news is Jimmy Kimmel was just as good at hosting as he was last year, and he peppered the ceremony with some of his much-needed humor to keep everyone chugging through the night. You’ve gotta admit, there’s quite some joy in seeing Ansel Elgort rushing into a Wrinkle In Time screening firing a hot dog launcher into the crowd, or seeing Guillermo Rodriguez waving Oscar flags around with The Shape of Water director Guillermo Del Toro (#GuillermoX2?)

Other times though, the night was mundanely routine. There weren’t a lot of surprising moments throughout the night, and nothing really eventful happened that seemed to set the 90th ceremony apart from other Oscar ceremonies.

Of course, there were your typical Oscar wins and snubs that happened this year, just like they do every other year. Most of them were ones you were already expecting.

Case in point:

SOURCE: Fox Searchlight Pictures

Best Picture: First of all, props to picking Faye Dunaway and Warren Beatty to present for Best Picture again. They needed to redeem themselves from the envelop flub that happened during their first time presenting last year. You can bet that they both double-checked the envelope after that embarrassing mix-up, and rightfully so.

Now then, Best Picture. I was originally uncertain which picture was going to take home the evening’s most coveted award, mostly due to the lopsided confusion the category has faced in previous years. I ended up predicting Three Billboards Outside Ebbing, Missouri over The Shape of Water for two reasons. One: The Best Director winner has not simultaneously won the Best Picture award from the past several ceremonies. In fact, only three ceremonies from this decade found the same picture winning both awards at the Oscars. With already knowing that Guillermo Del Toro was going to win Best Director for The Shape of Water (see below for my reasoning), I felt that set up The Shape of Water at an odd disadvantage. Clearly I was mistaken.

Two: A science-fiction film has never won Best Picture at the Academy Awards. Not once. Not 2001: A Space Odyssey in 1968. Not Star Wars in 1977. Not E.T.: The Extra Terrestrial in 1982. Not Apollo 13 in 1995. Not Avatar in 2009. Not Inception in 2012. Not Gravity in 2013.

Not a single one of these science-fiction films has won Best Picture during the Oscar’s entire 90-year history. None of them, that is, except for The Shape of Water.

Honestly, that’s my biggest frustration with its Best Picture win. It has nothing to do with its unusual or disorienting plot. It has nothing to do with the weird sea-creature-human-underwater sex scenes. It doesn’t even have anything to do with its awkward musical number that was randomly inserted halfway through the picture. It has to do with the fact that The Shape of Water succeeded in a category where 2001: A Space Odyssey, Star Wars, E.T.: The Extra Terrestrial, Apollo 13, and Inception all failed.

Quite a misstep, I must say. But it wouldn’t be the Academy’s first, and it definitely won’t be their last.

Best Director: Guillermo Del Toro unsurprisingly won Best Director, since he already won the DGA for The Shape of Water. I find him an incredibly gifted filmmaker, and am glad to see him win an Oscar in general (he deserved one back in 2007 when Pan’s Labyrinth wrongfully lost Best Foreign-Language film to The Lives of Others). Still, I stand by The Shape of Water’s mediocrity and its inability to connect with certain viewers. Del Toro’s acceptance speeches were literally the best things to come out of that absurdity of a movie.

Best Actor: Gary Oldman rightfully won for his performance as Winston Churchill in Darkest Hour. How is this only his second nomination? Nevermind, the Oscars are for recognizing outstanding talent (or at least, I think they’re supposed to), and Oldman is a talent that has went unrecognized for a long time. A very well-earned congratulations to him. The Prime Minister himself could not have been more proud.

Best Actress: Frances McDormand won her second Oscar for her role in the small-town drama Three Billboards Outside Ebbing, Missouri. It’s a very well-deserved win, even if it does overshadow Sally Hawkins’ talents in The Shape of Water. And with her speech paying tribute to her fellow female nominees as well as the importance of inclusion in Hollywood?

Ooph. Gentlemen, I think this goes without saying, but #TimesUp for us. I suggest you get out of the way before Mildred Hayes knees you in the scrotum.

Best Supporting Actor: Sam Rockwell won best supporting actor for his role as a racist cop in Three Billboards Outside Ebbing, Missouri. I’m still bitter that Bill Skarsgard wasn’t even nominated for his phenomenally creepy performance in the Stephen King thriller It. But whatever. Rockwell was the most worthy out of those nominated, and I was happy to see him enthralled at the announcement of his name. Congratulations to him regardless.

On another note, this is actually Rockwell’s first nomination in addition to his first win. Man, what are with the Oscars skipping over all of these phenomenal performers for so long?

Best Supporting Actress: Allison Janney won best supporting actress for her role as Tonya Harding’s mother in I, Tonya. Steer clear of this chick. Clearly, she is not one to mess with.

SOURCE: Walt Disney Studios Motion Pictures

Best Animated Feature: Coco won, obviously. I was excited to hear Oscar Isaac shout out “Viva Latin America!” before announcing Coco as the winner. This is a moment that the Mexican-American culture has been working hard a long time for, and this was a moment that was well-earned.

Best Documentary Feature: The documentary on Russian athletic doping Icarus beat out Face Places for Best Documentary. At least the Russians didn’t meddle in this election process (or, as much as we know of, at least).

Best Foreign-Language Feature: A Fantastic Woman won Best Foreign-Language film. Congratulations to Sebastián Lelio and the production team involved. Clearly the #TimesUp movement applies to more than just those who were biologically born a woman.

Best Original Screenplay: I was pleasantly surprised to find that I got this category wrong, as Jordan Peele beat out Martin McDonagh’s Three Billboards Outside Ebbing, Missouri with his film Get Out. Clearly, I underestimated the genius of his screenplay. Or rather, I underestimated the Academy’s capacity at appreciating his genius as much as his fans do.

Either way, I predicted this category wrong, and I couldn’t have been happier for it. Congratulations to Jordan Peele for his very-deserved first nomination and win. Tell me, Mr. Peele, have you decided on the name for the opposite of the “Sunken Place” yet?

Best Adapted Screenplay: Call Me By Your Name won Best Adapted Screenplay. It should have been Logan, but if you’re not going to fairly recognize the superhero genre, the next best choice is the LGBT crowd. Congrats to James Ivory for his hard-earned win, and here’s to hoping that Ryan Coogler is nominated (and wins) next year for Black Panther.

Best Film Editing: Dunkirk won. I’ve already explained why I felt Dunkirk’s editing was inferior to that of Baby Driver’s, but I’m not going to waste any more typing space over the subject. Congratulations to Lee Smith for the win regardless. At the very least, he made better filmmaking decisions than Christopher Nolan did.

SOURCE: Warner Bros. Pictures

Best Cinematography: FINALLY. ROGER DEAKINS WON BEST CINEMATOGRAPHY FOR BLADE RUNNER 2049. Took him freggin’ long enough. The guy has literally been nominated for my entire lifespan, for movies including The Shawshank Redemption, Fargo, Kundun, O Brother, Where Art Tho?, The Man Who Wasn’t There, The Assassination of Jesse James, No Country For Old Men, The Reader, True Grit, Skyfall, Prisoners, Unbroken, and Sicario. He has never won once, until now. Congratulations, Mr. Deakins. Your Oscar is loooooooooooong overdue, but it’s better late than never.

Best Makeup and Hairstyling: Darkest Hour, obviously. Still wondering where It is, but in either case, congrats for putting the skinny English actor into the obtusely wide slacks of Winston Churchill. Now thanks to Kazuhiro Tsuji, actors will never have to put on weight for a role ever again!

Best Costume Design: Phantom Thread, the movie about costume design won best costume design. Fun fact: Mark Bridges won both best costume design and shortest acceptance speech at the Oscars, with his speech capping in at 37 seconds. That makes him one of the few double-winners for the night, making him the proud owner of another Oscar and a Jetski, courtesy of Jimmy Kimmel. Thanks, Jimmy!

Best Production Design: The Shape of Water. I still toss around in my head whether it was more deserving than Dunkirk or Beauty and the Beast was, but in either case, it did an outstanding job staying true to its wildly different sceneries regardless. I tip my hat to the set design by Shane Vieau and Jeff Melvin, which at the very least, was more pleasurable to look at than the film’s sex scenes were.

Best Musical Score: Again, Shape of Water wins. This is Alexandre Desplat’s second win, and the second time that he’s completely deserved the Academy Award for his creative and quirky soundtrack (although, to be completely honest, I could just give the award to John Williams for Star Wars every year and feel just as happy). Congratulations to Alexandre Desplat’s phenomenal composing. It’s one of the few awards that The Shape of Water was more than deserving in.

Best Original Song: Coco rightfully won for “Remember Me.” Great performance, but nothing is going to beat that moment in the film where Miguel quietly kneels down next to his grandmother in the shed and reminds her of her roots. Man, what a scene.

SOURCE: Warner Bros. Pictures

Best Sound Editing: Dunkirk won best sound editing. Duh.

Best Sound Mixing: Dunkirk, again.

Best Visual Effects: Surprisingly, Blade Runner 2049 beat out War for the Planet of the Apes for Best Visual Effects. While I am disappointed that the Planet of the Apes team continues to go unrecognized despite several years of outstanding work, I do acknowledge that Blade Runner 2049 looked fantastic and sported some of the year’s most skilled visual work, from the pixelated holographic body of Ana de Armas to the digital recreation of Sean Young’s character Rachael. Congratulations to John Nelson, Gerd Nefzer, Paul Lambert, and Richard Hoover. You brought Blade Runner back to life again.

And now on to the short categories, which surprisingly, I got most of them right this year. The Silent Child won Best Live-Action Short, while Heaven Is A Traffic Jam on the 405 won Best Documentary Short. Perhaps most surprising was that the fact that Kobe Bryant’s Dear Basketball won Best Animated Short, now making him both an NBA Champion and an Oscar-winner. Personally, I’m just frustrated that Kobe Bryant now has more Oscars than Alfred Hitchcock does. But what can you do?

With that, I have accurately predicted 19 out of the 24 categories this year, an improvement from the shabby 14 I picked from the previous year. See you guys next year, where my luck will inevitably propel me to get all 24 of them wrong.

– David Dunn

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2017 Oscar Predictions

The more I cover the Oscars, the more frustrating they become to me.

Oh, don’t get me wrong: I’ve always disliked the Oscars, long before I even started this website in 2013. That’s because they have consistently snubbed the most obvious winners ceremony by ceremony, almost for as long as the Oscars themselves have existed. Perfect example: how is it that Alfred Hitchock, the iconic director behind classics such as Rebecca, Shadow of a Doubt, Rear Window, Vertigo, North By Northwest, Psycho, and The Birds, has gone through his ENTIRE 50-year career and never won a single Oscar? Meanwhile, Edith Head has won eight Academy Awards. Who? My point exactly.

You would think that by this point, the Academy would wisen up and make more educated decisions in their awards and nominations. But no, if anything, they’ve gotten worse. 2016 famously had that #OscarsSoWhite controversy, where they embarrassingly snubbed the cinematic epics Beasts of No Nation, Creed, and Straight Outta Compton in their acting and picture categories. They had that clumsy envelope mishap last year during its best picture announcement for Moonlight. Not to mention that it has snubbed masterpieces such as Rush, The Dark Knight Rises, Catching Fire, Captain America: Civil War, and Patriot’s Day in all of its categories from the past several years. I completely understand these movies not getting nominated for best picture or director. But seriously, not even costume design?

This year, their snubbing is arguably at their worst yet. For one thing, they’re still refusing to fill all 10 of their best picture slots, capping it off at nine nominees. Why do they keep doing this? There’s no reason to be that disinterested in a potential 10th nominee. Either go all in with your slots, or wuss out and go back to five nominees so we can all go to bed sooner. Opening a potential tenth spot just to leave it empty is like flipping the middle finger to the fans behind Blade Runner 2049, The Big Sick, Logan, War for the Planet of the Apes, Baby Driver, and so, so many others. It’s disgraceful to the film community and it’s disrespectful to the passionate fans behind it. You might as well fill a Transformers movie in the tenth slot since you’re basically eliciting the same disgusted reaction from your viewers anyway.

But nevermind the empty 10th slot. This night is about the movies that are getting recognized: the so-called “best of the year.” It would be great if anybody has seen them. Call Me By Your Name, a coming-of-age romantic Italian drama, grossed the lowest of any best picture nominee at $25 million. The other coming-of-age drama Lady Bird performed better at $48 million, but it still pales in comparison to Dunkirk’s $500 million box office numbers. Phantom Thread didn’t even break its budget price, bringing in a measly $27 million against its production costs of $35 million. Why, then, is it nominated for six Academy Awards? Because Daniel Day Lewis is in it, I guess. Although oddly enough, that excuse didn’t work for Academy favorite Meryl Streep this time around, since her film The Post is only nominated for two awards this year. Is her time in the spotlight finally up? We can only hope so.

Regardless of my annoyances with the Academy’s nomination process, these are the movies we have to pick from, and the winners aren’t going to predict themselves. Let’s hop right into this year’s Oscar predictions.

SOURCE: Fox Searchlight Pictures

Best Picture: Predicting this category has become a crapshoot wheel of fortune for the Oscars. Half of the best picture winners from the past decade haven’t even won best director, and the rest of them have arrived to their best picture win through very strange methods. Argo won best picture in 2013 despite Ben Affleck not even being nominated for best director. 12 Years A Slave won best picture in 2014 despite Gravity sweeping the rest of the night. Spotlight won best picture in 2016 despite winning only one other award from the night for best original screenplay. And don’t even get me started on last year’s best picture mixup fiasco between La La Land and Moonlight.

The selection process for these best picture winners have become completely lopsided and unpredictable. Perhaps that’s why I’m struggling so much in my prediction for best picture this year. In previous years, best picture was usually the first category I checked off in my predictions. This year, it was my last. It’s seriously become that uncertain.

The best picture race this year has boiled down to two pictures: The Shape of Water and Three Billboards Outside Ebbing, Missouri. Most people believe that The Shape of Water is going to snag it, mostly because of its sweeping in the Producer’s and Director’s Guild Awards. I’m not convinced. For one thing, a science-fiction film has never won best picture in Oscar history. Not once. Not 2001: A Space Odyssey in 1968. Not Star Wars in 1977. Not E.T.: The Extra Terrestrial in 1982. Not Apollo 13 in 1995. Not Avatar in 2009. Not Inception in 2012. Not Gravity in 2013. You want to talk about Oscars bias? Nominate a science-fiction film for best picture. It almost immediately dashes all hopes of a best picture win.

That being said, the genre that the Academy is consistently in favor of are dramas. Every single best picture winner from this decade has been a drama film, from The Hurt Locker all the way to Moonlight. This works in favor of Three Billboards Outside Ebbing, Missouri because it is based in a realistic setting as opposed to The Shape of Water’s fantastical one.

I have no idea who is going to win best picture this year on Oscar night. The confusion from previous ceremonies has completely dashed my confidence in predicting this category. But if we’re basing our decision solely on trends repeated throughout Oscar history, then Three Billboards is the safest choice. I will be fuming if The Shape of Water becomes the first science-fiction film to win best picture over Star Wars.

Best Director: Guillero Del Toro won the DGA award, which means he’ll also win the best directing Oscar for The Shape of Water. I’d prefer it go to first-time writer-director Jordan Peele, whose horror-satire film Get Out was a clever and ingenious look at race culture and how neo-liberalism negatively impacts minority communities. However, Del Toro did deserve an Oscar years ago for Pan’s Labirynth and was wrongfully snubbed against Germany’s The Lives of Others. I guess this year will give him the recompense that he’s so desperately deserved this entire time.

Best Actor: No contest, Gary Oldman for Darkest Hour. Not only does it take a lot of talent and dedication to portray a historical figure as significant as Winston Churchill, but Oldman is another actor that the Academy has disregarded time and time again for the past several years. He didn’t even get his first nomination until 2011 for Tinker, Tailor, Soldier, Spy. His win for Darkest Hour will make up for all the years the Academy has snubbed him.

Best Actress: While Sally Hawkins’ performance was the best thing to come out of Guillero Del Toro’s The Shape of Water, I highly doubt the Oscar will go to her, especially since a best acting award hasn’t gone to a non-speaking role since Jean Dujardin for the silent film The Artist in 2011. Since this is the case, I’m going to go with my runner-up option with Frances McDormand in Three Billboards Outside Ebbing, Missouri. Her strained performance as an grieving mother devastated by the loss of her daughter was beautifully poignant and tragic, not to mention that sassy spunk she threw around at anyone in her general direction. Her character was one of the most memorable figures to come out of cinema this past year. I will be infuriated if the Oscar is awarded to anyone else besides McDormand or Hawkins.

Best Supporting Actor: Forgiving the fact that Bill Skarsgard was unforgivably snubbed for his performance as the creepy titular monster in Stephen King’s It, we have a toss-up in this category between Sam Rockwell in Three Billboards Outside Ebbing, Missouri and Williem Dafoe for The Florida Project. I’m going with Rockwell for Three Billboards. His performance as a spoiled, self-centered police officer who doesn’t deserve a badge or a gun was both wildly entertaining and intimidating. You couldn’t really predict what he was going to do next, whether he was jamming to his earbuds in the police station or throwing an advertising manager out of a two-story building. His wildcard of a character won me over, and I would be seriously surprised if the Academy decided to skip over him.

Best Supporting Actress: Allison Janney for I, Tonya. Not only does she look disturbingly immaculate compared next to Tonya Harding’s real-life mother LaVona Golden, but her genuinely tense and unfiltered presence fueled Tonya Harding’s drive throughout the picture. Boy, am I grateful that she’s not my mother.

SOURCE: Walt Disney Studios Motion Pictures

Best Animated Feature: While Loving Vincent was a beautiful love letter to Vincent Van Gogh and features over 65,000 frames of oil paintings on canvas, it’s very hard to see this film beating out Pixar’s Coco, especially when you consider how much today’s social climate is stacked against Mexican immigrants. I have to go with Coco for its representation and wonderful tribute to Mexican culture.

Best Documentary Feature: I was surprised to find that Jane and Step weren’t nominated for best documentary this year despite their outstanding performance during their theater run. But nevermind, I haven’t seen any of the nominees this year for best documentary anyway (shocking, I know!)

My first prediction for this category would have been Last Men In Aleppo. Not because I know whether the movie is any good or not, but only because it reminded me of Gary Johnson’s embarrassing “Aleppo” moment in 2016. Political blunders aren’t enough to hand out Oscars, however, but they are enough to hand out Raspberry Awards. With any luck, Johnson might soon be able to put “Razzie Award-Winner” on his resume.

My best guess is that Faces Places will win best documentary. The reason why is because the premise is that its filmmakers JR and Agnes Varda travel around France creating portraits of the people that they come across. I haven’t heard of a premise so heavily engrossed into its filmmakers since Banky’s Exit Through The Gift Shop in 2011. So for the sake of its immersion and first-person perspective, I’m going with Faces Places.

Best Foreign-Language Feature: I’ve heard nothing but good things about The Square, and early on in awards season it looked like it might sweep at the Oscars. But nah, if we’re predicting the winner solely based on relevance, I’m going with A Fantastic Woman. A film about a transgender woman mourning over the death of her husband while being alienated by his family could not be more pertinent in today’s hateful and divisive society. A Fantastic Woman? Indeed.

Best Original Screenplay: Another category with some fantastic frontrunners that’s hard to choose from. The Big Sick was a poignant and darkly humorous observation on the fragility of human life and how fleeting moments of happiness and love really are. Get Out was a creative and captivating horror-comedy on the impacts of white supremacy against minority communities. And Three Billboards Outside Ebbing, Missouri was a tragic dramedy that profoundly elaborated on rape culture, police brutality, racism, and homophobia fantastically wrapped into one immediately moving package. All of these nominees are worthy contenders in this category. The question is who will be the winner?

A lot of eyes are on Get Out since Jordan Peele recently won the WGA award for best original screenplay. However, the WGA’s are not the most consistent when it comes to predicting this Oscar category, especially with last year’s mixup when Manchester By The Sea won against WGA winner Moonlight for best original screenplay, which in turn won against WGA winner Arrival for best adapted screenplay. How can Moonlight be nominated for both original and adapted screenplay, you ask? Great question. I wish I could give you an answer that made any sense.

Since this category is seriously confused to begin with, I’m going with Three Billboards Outside Ebbing, Missouri as the winner for best original screenplay. It covers just as much ground as Get Out does, except it does it in a much more realistic, practical setting as opposed to the horrific confines of a white supremacist family’s mansion. No, I’m not saying the satirical tone works against Get Out’s favor. I’m saying Three Billboards is more believable than Get Out is, although that doesn’t make either of them any less important. I wouldn’t be surprised or upset if Peele ended up taking home the Oscar for Get Out, but my money is on Three Billboards Outside Ebbing, Missouri. God help me if The Shape of Water ends up being the winner.

Best Adapted Screenplay: Let’s get one thing straight here: Logan deserves to be the winner of this category, hands down. Taking the superhero genre and flipping it on its head into a somber dystopian tragedy, Logan is one of those films that shows our iconic blockbuster heroes as older, crippled versions of their former selves, reflecting on their broken identities as they use the last of their days to give Logan’s daughter a chance at life. By every definition, it is one of the best films of the year and definitely one of the best superhero dramas of all time.

It deserves to win the Oscar for best adapted screenplay. It absolutely will not win it.

First of all, while it’s tonally different from the rest of the genre, it’s still technically classified as a superhero movie. That’s works against itself at the Oscars, because the only genre that the Academy is more biased against besides superhero movies are horror movies. A superhero film has never been nominated for best picture at the Oscars. Not once. Not Spider-Man 2 in 2004. Not The Dark Knight in 2007. Not even Wonder Woman or Logan this year.

The Academy just does not like to recognize superhero movies, plain and simple. That bias is exactly why Logan will not win best adapted screenplay at the Oscars. A sham, but not surprising with the Academy Awards involved.

However, there is one genre that the Academy loves to lap up, and that is LGBT dramas. The Imitation Game won best adapted screenplay in 2015, while the fantastic Moonlight also won best adapted screenplay last year. I haven’t seen Call Me By Your Name, but given the Academy’s recent track record with LGBT representation, I think it’s a safe bet for this year’s Oscar ceremony. Call Call Me By Your Name the winner for best adapted screenplay.

SOURCE: Warner Bros. Pictures

Best Film Editing: I’ll give Lee Smith this much credit: when we’re in the heat of battle in Dunkirk, the action flows effortlessly, and Smith does a great job cutting from shot-to-shot, giving us multiple perspectives at once while at the same time making the action fluid and coherent. The problem as I’ve outlined in my review is that the rest of the film’s assemblage is chaotic, nonlinear, and incomprehensible, jump-cutting from multiple different passages of time at once and overlapping their events one on top of the other. I don’t blame Smith for this as much as I do Christopher Nolan however, as this confusion was the creative decision he made through writing his screenplay. Fun fact: Nolan originally considered not writing a screenplay at all for Dunkirk. Appropriate, since he rightfully isn’t nominated for best original screenplay this year either.

Anyhow, back to editing. The rightful winners in this category are Paul Machliss and Jonathan Amos for Baby Driver, as the way they timed their editing and Baby’s driving to the tunes of 1970 hits was clever, skillful, and captivating all at once. First-time nominees are less likely to win in this category, however, and this is both Machliss and Amos’ first Oscar nominations.

Smith, however, has been nominated twice before in previous ceremonies, once for Master and Commander: Far Side of the World in 2003 and once for The Dark Knight in 2008. Couple that with the fact that action films are a genre favorite in this category (Hacksaw Ridge won this award last year, and Mad Max: Fury Road won the year before that), and you have this year’s best film editing winner in Dunkirk.

Best Cinematography: Before Leonardo DiCaprio, cinematographer Roger Deakins was the most snubbed nominee at every single Oscar ceremony. He should have won with his first nomination in 1994 for The Shawshank Redemption, but he lost to John Toll for Legends of the Fall. He was nominated in 2007 for No Country for Old Men, but lost to Robert Elswit for There Will Be Blood. And he was nominated again in 2012 for the James Bond film Skyfall, but lost to Claudio Miranda for Life of Pi. He’s been nominated 14 times now and has never won once.

Enough is enough. If Roger Deakins doesn’t win this year for Blade Runner 2049, I’m going to flip a lid. I suspect I wouldn’t be the only one.

Best Makeup and Hairstyling: The first time I saw a still of Gary Oldman as Winston Churchill in Darkest Hour, I thought he had purposefully put on a lot of weight for the role. Turns out he just had a lot of prosthetic makeup on, and good gravy did it have me fooled. While Victoria & Abdul and Wonder also had some great makeup work, neither of them convinced me that their actors were entirely different people. So that settles it for me: Darkest Hour will take home the Oscar for best makeup and hairstyling. I’m still bitter that It wasn’t even nominated in this category, however.

Best Costume Design: It would be pretty pathetic if a film about a dressmaker didn’t win best costume design at the Oscars, now wouldn’t it? I loved the costumes in Victoria & Abdul, and the live-action Beauty and the Beast remake struck out in its visual design as well. But if Phantom Thread was going to win any award at the Oscars this year, it would be for costume design. So that’s the one I’m going with.

Note: Wonder Woman is missing in this category. I just needed to point that out.

Best Production Design: This is actually one of the tougher categories to predict this year, because the truth is I love all of the nominees here. Beauty and the Beast looked gorgeous in the design of its magnificent castle and its inanimate inhabitants, while Blade Runner 2049 magnificently recreated the bleak, dystopian future that we first got exposed to in the original Blade Runner 30 years ago. Both Dunkirk and Darkest Hour accurately depicted the WWII era, with Dunkirk going as far as to use real 1940’s British planes and seaboats for the film.

Nothing, however, visually encapsulated me like the colorful 1960’s designs of The Shape of Water’s city streets, the dark, opaque laboratories, or the dimly lit movie theater resting below Elise’s apartment. I’m split in this category because all of the nominees are equally outstanding, but if I picked the one that I recognized the most while watching, it’s not even a contest. The Shape of Water wins.

Note: Again, Wonder Woman is missing in this category.

SOURCE: Fox Searchlight Pictures

Best Musical Score: Alexandre Desplat won his first Oscar in 2014 for scoring The Grand Budapest Hotel, a quirky and loveable picture whose music perfectly matched the introverted tone that it was going for. This year he’s nominated again for scoring Guillermo Del Toro’s The Shape of Water, and his music beautifully captured the intrigue and mystery behind this underwater sea creature discovering his feelings for another mortal. His music is completely encapsulating every time you listen to it. For that reason, I have to go with The Shape of Water.

Another Note: Do I really have to spell it out for you at this point? WONDER WOMAN.

Best Original Song: If you didn’t cry during that moment in Coco where Miguel sang “Remember Me” to his Great-Great-Grand-Mama, I’m convinced you have no soul. It was a beautiful, simple song, one that pays respect to the Mexican-American culture and to remembering our heritage. I suspect there will be a lot of outrage if anything but “Remember Me” wins best original song, so I’m going to play it safe and go with Coco.

Best Sound Editing: Dunkirk, hands down. The first ear-screeching “BANG” that echoes in the theater hummed in my ears as if I had just dodged a bullet, and the rest of the film pays as much attention to the haunting sounds and noises of the battlefield. I remember very few films that were as masterful in their sound work as Dunkirk was, so I must advocate for its win in this category.

Best Sound Mixing: Dunkirk again. The way Christopher Nolan uses different sound effects in building up tension and unease in a scene is truly masterful, and the sound engineers did a fantastic work at incorporating all of the sounds together in the film. I do love Baby Driver for how it incorporates classic songs into its high-octane action and stunts, but if we take that film out as a possible upset win, the clear frontrunner is Dunkirk.

Best Visual Effects: Viewers were frustrated in 2015 when Christopher Nolan’s space exploration film Interstellar won the best visual effects Oscar over Dawn of the Planet of the Apes. This year will give them the recompense that they need. While Blade Runner 2049 and Star Wars: The Last Jedi sported some of the most visually spectacular moments of the year, nothing surpasses the visual effects team’s efforts behind the digital recreation of primate animals and their behavior in War for the Planet of the Apes. I can potentially see one of the other nominees possibly taking home this award in an upset win, but when I really think about it, no one else could be more deserving. War for the Planet of the Apes will win best visual effects.

On a side note, who on Earth thought it was a good idea to nominate Kong: Skull Island for this award? Did nobody see Wonder Woman? Beauty and the Beast? Thor: Ragnarok? Spider-Man: Homecoming? Alien: Covenant? Wolf Warrior 2? Boss Baby?

And finally we come to the forever-dreaded short categories, the nominees which nobody has seen, but for some reason are always expected to predict anyway. I’m just going to rattle off my answers and shove them out of the way. Dear Basketball, Heroin(E), and The Silent Child.

That’s all for me, folks. See you on awards night where I will no doubt be shaking my fist at Wonder Woman’s absence.

– David Dunn

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The Indie Spirit Oscars

SOURCE: MovieWeb

Have you heard about any of the Academy Award nominees? Yeah, me neither.

Like clockwork, the Academy Awards recently released their nominations for this year’s ceremonies. Unlike previous years where I wake up at my own leisure and read the nominees at my earliest convenience, I actually got up earlier the morning of the announcements and listened to the livestream on my way to work. Good gravy, are these people pretentious. The live-action shorts that played before the category announcements were so high-quality that they were better produced than many of the nominees themselves were. Can we recruit these people to make better films for these categories in future award ceremonies?

But never mind that, you’re not here to hear me gripe about the Hollywood elites. You’re wanting the breakdown on this year’s nominees. Let’s hop into it.

Leading the pack of best picture nominees this year is Guillermo Del Toro’s science-fiction romance The Shape of Water, a weird and uncomfortable movie about a fish creature falling in love with a woman. In hindsight, I passively admit that the film is mostly deserving of its 13 nominations. It is, after all, visually and aesthetically pleasing, and the creature himself has some of the most convincing effects I’ve seen in the past year. But I didn’t like the movie itself, feeling that it was too preachy and on-the-nose to be taken seriously. I do think Del Toro is very deserving of an Academy Award in general. His films Hellboy and Pacific Rim both pushed the boundaries in what could be achieved through visual storytelling, while Pan’s Labyrinth was a beautifully dark fantasy that put adult tragedies through the innocent eyes of a child (it’s actually one of my frustrations that film didn’t win best foreign language film at the 2007 Oscar ceremony). Will The Shape of Water be the film to break Del Toro’s losing streak? Possibly, but I can’t help but feel that parts of his earlier filmography are more deserving for an Oscar than The Shape of Water is.

The runner-up best picture nominee with the most nominations is Christopher Nolan’s Dunkirk, a World War II drama depicting the battles for French beaches, seas, and skies. Again, Christopher Nolan is a fantastic filmmaker: one of our generations best. But his earlier films are astronomically better compared to the sloppy, confused timeline that Dunkirk gave us. His first nominated film Memento was a mind-boggling and fascinating study of a decomposing mind, while The Dark Knight broke the boundaries between what we consider superhero movies and art. Inception is one of the greatest films this decade. Any one of these masterpieces could and should have been major contenders for best picture in previous ceremonies. Why is it suddenly that the lapsed, removed experience of Dunkirk is the one picture to suddenly give him a serious chance at the Oscars? Dunkirk is nominated for eight Academy Awards. It deserves five of them.

Side-note: In addition to Dunkirk’s best picture nomination, this is also the first time Nolan has been nominated for best director, merely getting only screenplay nominations in previous ceremonies. Regardless of what your opinion is on Dunkirk, can we at least agree that it is blatantly outrageous that this is Nolans’ first best director nomination?

Next is Three Billboards Outside Ebbing, Missouri, which places in this year’s ceremony with seven Oscar nominations. This is one picture you gotta look out for here, folks. It swept at both the Golden Globes and the Screen Actor Guild Awards, winning the highest prizes at both ceremonies. Its stars Frances McDormand and Sam Rockwell are both serious contenders for this year’s acting categories. Writer-director Martin McDonagh has a strong chance at the best original screenplay award. I haven’t watched the film yet, but it’s been racking up wins this awards season like a Star Wars movie stealing the holiday box office. Keep your eyes focused on this one.

Two surprise nominees here that I wasn’t expecting: the biopics Darkest Hour and Phantom Thread, both starring Hollywood heavyweights Gary Oldman and Daniel Day Lewis. The surprise here isn’t that they’re nominated for best picture, but that they’re nominated for five other Academy Awards besides it. I figured those two pictures were shoo-ins in the acting categories due to the reputation of its leads. I didn’t expect them to also slip in to the production design, costume, makeup, and cinematography categories as well. If anything, this shows that this year’s ceremonies are not as predictable as they usually are, and they’ll really contain their own twists and turns that none of us were expecting. I’m genuinely excited to see how these two films will impact the best picture race on Oscar night.

SOURCE: Academy of Motion Picture Arts and Sciences

Also nominated for best picture is the coming-of-age drama Lady Bird, the gay romance film Call Me By Your Name, and the satire-comedy-horror picture Get Out. Out of all of the movies to be nominated for best picture this year, my favorite is easily Get Out. If you haven’t seen it yet, you absolutely need too. It’s one of the most creative films I’ve seen in years, making a provocative race commentary that is equal parts violent, scary, entertaining, and relevant to its intended audience. The fact that it’s nominated here not only for best picture, but also best director, actor, and screenplay makes my heart happy for writer-director Jordan Peele, who basically exploded onto the film scene with this directorial debut. One could only dream to have a year as successful as Peele did.

There’s one best picture nominee here that doesn’t belong. Not because it isn’t deserving, but because it isn’t fairly backed up by its other nominations: The Post. Don’t get me wrong, it absolutely deserves to be nominated for best picture. The journalism-drama tells the story of the Washington Post reporting team that broke the story on U.S. Government’s obscured involvement with the Vietnam War, which eventually developed into the Pentagon Papers expose. It very much is Oscar-worthy material. The issue is that it’s only nominated for one other award besides best picture, and that is best actress for Meryl Streep’s role in the film.

This isn’t the first time that this has happened in recent Oscar history. Extremely Loud and Incredibly Close was only nominated for best picture and best supporting actor for Max Von Sydow in 2012, while the Martin Luther King Jr. biopic Selma was only nominated for best picture and best original song in 2015. The worst of these offenses was Spotlight in 2016, which only won best original screenplay in addition to its best picture win. It is the only best picture winner in Oscar history to receive only two awards from the night.

This pity-nomination party has to stop in the Academy Awards. A film is not considered the best of the year for one actress alone, but for an assortment of cohesive elements that work together for the film. The director Steven Spielberg. The writer Josh Singer. The editor Michael Kahn. The cinematographer Janusz Kamiński. Streep’s co-star Tom Hanks. There was a lot of talent associated with this film, all of them equally deserving for attention as Streep was. Either give the film more nominations to support its best picture nomination, or don’t nominate it at all. There were plenty of other hard-hitting contenders that could have been nominated instead of The Post that have the nominations to back it up. Blade Runner 2049 with five nominations. Mudbound with four nominations. Baby Driver with three. You can make a case for any of these films and more to be nominated in the place of The Post due to its acting and technical nominees. Why on Earth are we giving out pity nominations for movies that can’t get more than two nominations from Academy board voters?

Overall, how do I feel about these nominations? Meh. They’re fine. I’m not really excited or maddened by their recognition here. They’re just kind of a passing mention of under-the-radar films to be aware of before you get to awards night.

I will say that, just like every year, there is obvious snubbing in categories where films did not deserve the disservice they received. You will notice, for instance, that Wonder Woman got zero nominations, despite being one of the biggest critical and commercial successes of the year. Detroit got zero nominations, despite its attention to detail and authentic depiction of such despicable events. The Stephen King horror film It got zero nominations, not even for makeup or supporting actor for its brilliant performance by Pennywise actor Bill Skarsgard. Good grief, even Logan got snubbed with Hugh Jackman and Patrick Stewart’s mesmerizing performances as old heroes reflecting on their broken selves (although it did impressively nab a best adapted screenplay nomination, the first superhero movie in Oscar history to ever receive such an honor).

But Academy Awards ratings have been consistently dropping, ever since its changes to the best picture category first proposed in 2010. Continuing to skip over mainstream films such as these is exactly why. Critics love the indie flicks that continue to surprise us in new ways, while moviegoing audiences love the occasional blockbusters that give them the escapism and entertainment that they need. It’s entirely possible to love and appreciate both of these kinds of films. Somebody please send the Academy the memo.

– David Dunn

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La La Land, Moonlight Wins 89th Academy Awards (Sort Of)

I don’t even know what to say.

Every year, the Oscars hand out their fair share of snubs and surprises. Last year, it was when Mark Rylance won best supporting actor for Bridge of Spies over Sylvester Stallone for Creed. The year before that, it was when Big Hero 6 won best animated feature over How To Train Your Dragon 2, whereas The Lego Movie wasn’t even nominated.

I’ve seen the Academy snub films every year, but I’ve never seen the Academy snub the moment of winning before. Unbelievably, the Academy did just that last night.

First thing’s first: Jimmy Kimmel was a fun host. Running the show like he was running his late night talk show, he quipped zingy one-liners, had nominees read mean tweets, poked fun at the president, recreated the Lion King moment with Lion’s Sunny Pawar, and even invited a tour bus into the stage area to meet all of the snazzy-dressed celebrities. He was a good host, although I think he did drag on the political jokes for too long (and tweeting the president was definitely a bad idea. You never stoke the flames of a forest fire).

Everything else, however, was in complete debacle. Let’s start with the biggest one of all on Oscar night:

Best Picture: The most shocking win from the night, and not because of who won, but because of how they won. At first, Faye Dunaway read La La Land off of the card and producers Jordan Horowitz and Fred Berger came up to the stage to accept their award. A few seconds later, they retracted their statements and announced there had been a mistake. Moonlight won best picture instead.

How did this happen? Apparently there was a mix-up with the envelopes and Warren Beatty was given a replacement card for best actress instead. Since that card read Emma Stone, who won best actress for her role in La La Land, Dunaway mistakenly thought that meant La La Land won best picture. Her inferences were wrong and the La La Land team had to turn over their statuettes to Moonlight.

Number one: How could the Oscar staff mess this up this badly? The night went smoothly for all of its categories throughout the night until it came to best picture. Suddenly, Beatty and Dunaway were handed the wrong envelope and announced the wrong winners. How could the production team be so negligent? How could they possibly goof it up so badly to the point where they hand a card that clearly reads “BEST ACTRESS” to the announcers for best picture? I still can’t wrap my mind around it. It is without a doubt the biggest and most embarrassing mistake in Oscar history.

Number two: Props to Jimmy Kimmel, who kept his cool and even offered a few laughs through the whole ordeal. When he got up to the mic after that massive upset, he turned to cheek and said “Sorry guys, I knew I was going to mess this up.” He made the best out of a terrible situation, and I’m grateful he was there to make everyone feel lighthearted despite going through such a heavy-handed mistake.

Number three: Respect also to the La La Land team, who graciously handed their awards over to Moonlight after that embarrassing stint. I’m sure no one was happy after having that moment taken from them, but the La La Land producers were quick to get off of the stage and to get Moonlight on it. They’ve clearly demonstrated their love, respect, and passion for the arts and were more concerned with honoring the rightful winner rather than take the moment away from them. Thank you to Fred Berger, Jordan Horowitz and Marc Platt. You are the definition of Hollywood class.

Number four: Obviously, congratulations to the Moonlight team, not only for being involved in making a brave and courageous film, but for also being brave and courageous enough to produce it in the first place. Independent film is a part of the industry that has always been wobbling on its own two legs, but putting Moonlight center stage gave the independent scene a little more foundation in its footing. Moonlight is a masterful picture, it is an important picture, and it is the best picture of the year. Congratulations to that talented team for their monumental achievements in storytelling and character development.

All that aside, I’m still frustrated by that massive slip-up. In one fell swoop, the Academy took that important moment away from multiple filmmakers at once. Somebody is definitely getting fired for that stint.

Best Director: No surprise here. Damien Chazelle won the Director’s Guild Award, so that means he also won best director. At age 32, Chazelle is the youngest best director winner in Oscar history. Congratulations Damien, and thank you for encouraging everyone to dream just a little bit more.

Best Actor: Another upset. I was split down the middle on this category since Casey Affleck and Denzel Washington were on equal footing for Manchester By The Sea and Fences. Since Washington won the screen actor, however, I felt that gave him a slight edge in his race towards the Oscar. Turns out I was wrong. Casey joined big brother Ben in the Oscar crowd and took home best actor for his quietly moving performance in Manchester By The Sea. Congratulations to him and for taking on a personal, intimate role that speaks on the human condition and for our longing to reconnect with the things we’ve lost.

Best Actress: Emma Stone won best actress for her performance as an aspiring actress in La La Land. She was a standout in the movie and deserved to be recognized for her complex role as a down-on-her-luck artist. It’s funny, though, how her win would come back to haunt the best picture category mix-up. But don’t even get me started back up on that again.

Best Supporting Actor: Mahershala Ali won for Moonlight, making him the first Muslim to win an acting Oscar at the Academy Awards. Congratulations, my friend. You were one of the strongest elements of Moonlight, and your speech was also one of the strongest moments of the night. You have my blessings.

Best Supporting Actress: Viola Davis won for Fences. Her call to exhume and exalt the ordinary person summoned a powerful force in the room, and everyone resonated with her message to celebrate life, love, and the arts. Jimmy Kimmel hilariously followed that up with “I think she’s nominated for next year’s Emmy’s for that speech.”

I still feel Naomie Harris was more commanding in her role as a drug-addicted mother seeking redemption in Moonlight. But Moonlight already got some love. It’s nice to see Fences get some too.

Best Animated Feature: Zootopia won, clearly. Look out for its sequel, which will be adapting the 2016 Presidential Elections. (I’m kidding, of course, but don’t be surprised if you see new characters introduced next year named Donald Skunk or Hillary Chimpton).

Best Documentary Feature: O.J.: Made in America won best documentary. That was when Taraji P. Henson pulled out a paper tag from the card and read “MADE IN TAIWAN.”

Best Foreign Language Feature: In another upset, Asghar Farhadi won best foreign language film for The Salesman, making him one of the few filmmakers to win this award twice. Sadly, Farhadi could not come to the ceremony to accept his award in person due to the immigration ban placed on Iran. His call to empathize and understand beyond judgement and apprehension is a message we all need to hear more of.

Best Original Screenplay: Kenneth Lonergan won best original screenplay for Manchester By The Sea. Lonergan dedicated the award to many people in his life, including his father, who passed away earlier last year. Him winning for his passion project behind Manchester made me immensely happy for him, and I can’t help but feel he’s written something relevant for everyone, no matter what age you are. Congratulations, Kenny. No doubt that your father would be proud.

Best Adapted Screenplay: Barry Jenkins’ Moonlight deservingly won best adapted screenplay, as he guides us through Chiron’s complex childhood and clearly demonstrates how actions in the past affect decisions made in the future. Like many other winners from the night, Moonlight demands that we see people not for their labels, but for their experiences. Congratulations to him and his wonderful achievement in defining human empathy.

Best Film Editing: Before I get into this, I need to apologize. In my predictions, I commented that Tom Cross was going to win best film editing for La La Land, even though he was vastly undeserving compared to his great work on Whiplash. I want to now redact my statement. The Oscar for best film editing did not go to La La Land, but instead went to John Gilbert for Hacksaw Ridge.

It was my mistake to underestimate him. Gilbert has edited numerous films, from The Lord of the Rings: Fellowship of the Ring to Bridge to Terabithia. Hacksaw Ridge is a full demonstration of his talents as he expertly navigates us through the physical and spiritual warfare that happened on the battlefields of Okinawa. Congratulations and thank you, Mr. Gilbert. You’ve delivered us a very powerful film.

Best Cinematography: La La Land. It should have gone to Bradford Young for Arrival, but since La La Land got snubbed way worse in the best picture category, I’m willing to hand this one over to Linus Sandgren. Hopefully it made the loss a little easier to bear.

jared-leto-joker-suicide-squad

Best Makeup and Hairstyling: Okay, now this is getting ridiculous. Suicide Squad won the Oscar for best makeup over A Man Called Ove and Star Trek Beyond. While I’m happy that it won and agree it is the most deserving nominee out of the bunch, I’m frustrated at the Academy voters because they’re so blasted inconsistent with this category. The Iron Lady beat out Harry Potter in 2011. Les Miserables beat out The Hobbit in 2012. The Grand Budapest Hotel beat out Guardians of the Galaxy in 2014. Year after year, the Academy snubs the clear standout in this category for one stupid reason or another. Why is it this year that they decide to set themselves straight again?

Whatever. The DC Extended Universe now has an Oscar under their belts, and that’s one more thing they have over the Marvel Cinematic Universe. Congratulations guys, but don’t let it go to your head. You still have Justice League coming up right around the corner.

Best Costume Design: Another infuriating upset. While I agree that Fantastic Beasts and Where To Find Them has some outstanding costume work, it does not warrant it for an Oscar, especially when you compare it to its nominees such as Allied and Jackie. Plus, its win now makes it the first film in the Harry Potter series to win an Oscar. Yes, dear reader: Fantastic Beasts is considered Oscar-worthy whereas none of the other eight Harry Potter films are. That’s just lividly frustrating to me.

In either case, Colleen Atwood is still the costume industry’s version of Meryl Streep. Congratulations and all that jazz.

Best Production Design: La La Land. A worthy winner, but are you really that surprised?

Best Musical Score: La La Land, obviously.

Best Original Song: La La Land, for “City of Stars.” John Legend’s cover of the song was the stuff of dreams.

Best Sound Editing: The first big surprise of the night. Arrival took home best sound editing and not Hacksaw Ridge. It didn’t seem likely that it would win considering it was a slow burning science-philosophy film filled with quiet moments and eerie alien moans, and most of the previous year’s winners were in-your-face action movies. However, I don’t take away its nomination or its worthiness of the award. Congratulations to Arrival for best sound editing. It was genuinely shocking to see you dethrone Hacksaw.

Best Sound Mixing: However, Hacksaw Ridge’s loss wouldn’t last long since it won for best sound mixing not even two minutes later. I keep debating back and forth in my head whether it was the most worthy nominee or not, but at the end of the day, I really don’t care. It’s outstanding sound work anyway, and the gunfire and bomb blasts made every moment tingle with excitement and urgency. Congratulations to the Hacksaw Ridge sound team. You did Desmond Doss justice.

Best Visual Effects: Since the Academy ruled out Doctor Strange and Rogue One, The Jungle Book won best visual effects that night. It’s not an undeserved win. Congratulations to Jon Favreau and for making these incredible jungle animals come alive. Don’t mess it up now with the Lion King remake.

Surprisingly, I even got one of the short categories correct, predicting that Piper would win best animated short film. With that, I’ve correctly predicted 14 winners out of the 24 categories. Not my worst record, but not my best either.

In any regard, congratulations to Moonlight, La La Land, Hacksaw Ridge, Manchester By The Sea, and all the other winners from last night. Hopefully next year the Academy will be more thorough with handling its envelopes.

– David Dunn

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