Category Archives: Awards Coverage

‘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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2016 Oscar Predictions

I’m preparing to rename the 2016 Academy Awards “The La La Land Awards.”

Seriously, ever since it broke award records at the Golden Globes back in January, the amount of traction La La Land has received has been absolutely ridiculous. Almost immediately, everyone started predicting that La La Land would sweep awards season, from the BAFTAs all the way to the Academy Awards. That train kept going and going and going, and like the Energizer Bunny, it never stopped.

I know two things for certain at this point: Jackie Chan will win an honorary Oscar, and La La Land will sweep Oscar night. That’s it. I don’t know how many awards La La Land will win, or what awards the other best picture nominees will win, and I especially don’t know what will win in those blasted short categories. A lot of people are saying that there’s a strong chance that La La Land will win 11 Oscars, putting it in an exclusive club with Lord of the Rings: The Return of the King, Titanic, and Ben-Hur. With my current predictions, I have them winning 10 Oscars, but it can really go in any direction on Oscar night.

Either way, I’m expecting a full rundown of snubs and surprises this year, just as there are a few during every ceremony every year. Let’s go through my predictions and see where they’re expected to be:

Best Picture: No surprise here. La La Land is going to take home the highly coveted award for best picture. Last year, I went against my gut predicting that The Revenant would beat out Spotlight for best picture. While I was correct in predicting the other categories, Spotlight still managed to nab the top prize, despite only winning one other award from the night. I’m not going to make the same mistake again this year. La La Land it is.

Best Director: Damien Chazelle won the DGA, so more likely than not, that also means he’s going to win the Oscar. He wasn’t nominated in 2014 for his masterful work on Whiplash. Him winning for La La Land this year will make up for that snub years ago.

Best Actor: One of the first categories where the odds are split right down the middle for me. It’s down to Manchester By The Sea and Fences for this one. Casey Affleck won the golden globe. Denzel Washington won the screen actor. Who’s going to take it?

It’s a tough race, but I’m going with Denzel for a few reasons. First, the Screen Actors Guild is more accurate at predicting best acting Oscars than the Golden Globes are, even if it is by a fraction. Second, with most best actor wins, their performances usually break out emotively, expressing a wide range of emotions for voters to judge from. Great as Affleck’s performance was in Manchester By The Sea, it was also very muted and soft spoken, which works against him compared to Denzel’s confrontational, intimidating presence in Fences. This category really is a flip of the coin here, but I’m betting on Denzel.

Best Actress: Another pincher. Emma Stone for La La Land versus Isabelle Huppert for Elle. Who will win? Since Stone has La La Land by her side, I’m betting on her. Again though, this category can go either way.

Best Supporting Actor: Mahershala Ali for Moonlight. Even though you could make a strong argument for Dev Patel in Lion or Michael Shannon in Nocturnal Animals, Ali has had the traction for a long time now and strong support from the acting community. If he didn’t get it now, it would be one of the biggest upsets of the year. Considering we already got one last year with Sylvester Stallone losing for Creed, I’m not looking for another upset anytime soon.

Best Supporting Actress: Can we all agree that Viola Davis was robbed in 2011 from her performance in The Help? Her portrayal as a confused yet courageous housemaid compelled the film forward in its narrative and made her one of the standout performances of the year. She deserved to be recognized alongside her acting colleagues including Jean Dujardin in The Artist, Christopher Plummer in Beginners, and Octavia Spencer in The Help as well. The award instead went to Meryl Streep for her performance in the dull, lifeless, mind-numbingly tedious The Iron Lady. Oh, don’t worry about it Academy voters! Give her all of the awards, why don’t ya?

In the place of that massive snub, Viola Davis will win her first Oscar this year for portraying the supportive, strong-willed, yet heartbroken Rose Maxson in Fences. The fact that she will be recognized for her hard work is encouraging. The fact that she will get it at the cost of Naomie Harris’ performance in Moonlight is not. Different performances, yes. Powerful performances, yes. But when it all comes down to it, it’s a matter of opinion, not quality, as to which performance deserves the Oscar more. I felt Harris’ was superior, but I have a feeling I’m going to be in the minority on that one. It’s a shame Harris and Davis had to go against each other in the same year. They’re both outstanding talent.

Best Animated Feature: Zootopia. Even though Disney’s other animated nominee Moana is more deserving, there’s no denying the popularity and the influence that people share for Zootopia. Cute and cuddly zoo animals beat The Rock going on a deep sea adventure.

Best Documentary Feature: O.J. Simpson has been getting a lot of attention this year. The TV drama based on his notorious murder case, “The People V. O.J. Simpson: American Crime Story”, broke critical and commercial barriers and won the Golden Globe for best television miniseries. His documentary O.J.: Made In America also swept critics’ top ten lists, both for best of the year and for documentaries. I can’t see another film winning this year, so I’m going with O.J.: Made In America.

Best Foreign-Languge Feature: I have a good feeling about Toni Erdmann. While The Salesman has also been getting a lot of traction and buzz for the Oscar, Asghar Farhadi already won the foreign-language Oscar in 2012 for A Separation. Repeated wins are unusual in this category, so I’m betting on Toni Erdmann in its place.

Best Original Screenplay: The great thing about La La Land is how many layers it has to peel away, not just as a fun and snappy musical and comedy, but also as a complex drama, a heartfelt romance, and a journey towards pursuing your dreams. The script is one of the greatest things about La La Land, but it isn’t the best thing. No, the best things from the film are its brilliant score and standout performances from Emma Stone and Ryan Gosling. The script supplements their talent. It doesn’t provide it.

Since this is the case, I’m going against the grain here and guess that Kenneth Lonergan will win best original screenplay for Manchester By The Sea. That’s a movie that has less to work with than La La Land does, and yet, it ends up doing so much more. It’s a heartbreaking tragedy, a family drama, a dark comedy, and a tale of mending open wounds that achieves everything that it set out to do. For its ambition, bravery, and intimacy in handling the delicate topic of death and how we react to it, I’m going with Manchester.

Best Adapted Screenplay: It’s hard to imagine any other nominee winning this year besides Moonlight. That’s because with it, Barry Jenkins broke barriers in racial, economic, and homosexual communities, and it allowed viewers to understand its characters because of their experiences, not because of what they looked like. Arrival was equally genius in its structure and Fences was faithful to its source material. But I’m going with Moonlight, if for no other reason than it deserves it the most.

Best Film Editing: I’m going to start this by saying that literally everyone in this category deserves the award over Tom Cross for La La Land. Everyone. Joe Walker’s smart sequencing of events built up the intrigue and the mystery surrounding Arrival. John Gilbert’s assemblage of chaotic, bloody firefights in Hacksaw Ridge made all of the madness clear and readable. And Moonlight was especially outstanding in its editing, in how it gradually built up Chiron’s childhood and how it carried over into his adult years. All of these nominees are most deserving for the Oscar for best film editing. None of them will get it.

Instead, Tom Cross will win best film editing for work on La La Land. Why? Because he won the ACE award for best editing, which is more often than not accurate in predicting the Oscar winner. So Cross it is.

If this goes down as I predict, this will be the win that frustrates me the most on Oscar night. Don’t get me wrong, Cross is an exemplary editor. But the editing is not the thread that holds La La Land together. It is the music, the acting, the story, the cinematography, the art direction. Every element in the film fits and works with each other in the way that it needs to. Cross just had to assemble it all together. I realize that in itself is a time-consuming job, but it required no innovation on his part, no deep attention to detail. Just an observation on the characters and the scenery and arranging clips into the right order.

If you think I’m overreacting, look at his work on Whiplash, which won him his first editing Oscar in 2014. Now compare that to La La Land. You will see for yourself how much more difficult and impressive it was to edit that action together compared to the lighthearted ambiance of La La Land.

Moving on.

Best Cinematography: The best cinematographer in this category easily goes to Bradford Young, whose skillful, deliberate shots built up the suspense and the eerieness of Arrival. But by this point in the night, La La Land will already be on a roll, and I don’t expect Arrival to derail the train anytime soon. Linus Sandgren will win best cinematography for La La Land. Celebrate by singing a song and two-stepping to it.

Best Makeup and Hairstyling: This is a difficult category to pick this year, because unlike previous years, there’s no clear standout among the nominees. A Man Called Ove is so under the radar that it’s barely gotten any attention, so you can already cross that right off the list. And everyone hates Suicide Squad, so I don’t expect a win there either. Since I’m out of options, I’ll begrudgingly guess Star Trek Beyond will win the Oscar, even though it’s only repeating the work that it did the first time it won in 2009.

Best Costume Design: While Jackie and Fantastic Beasts and Where To Find Them both demonstrated some outstanding outfits, it’s hard to imagine La La Land working without the great costume work by Mary Zophres. From Ryan Gosling’s suave jazz suits to Emma Stone’s elegant dresses, her costumes made every scene come alive with the music. For that reason, I’m going with La La Land.

Best Production Design: First thing’s first: Passengers, get your butt out of here. Doctor Strange deserved to be in your place. Second: with a pack of outstanding nominees including Arrival, Fantastic Beasts, and Hail, Caesar!, it’s hard to pick the most worthy out of these nominees. However, none of these films throw you back to the classic Hollywood musical days where sets were filled with bright lights, vibrant colors and beautiful designs. I’m going with La La Land since it does exactly that.

Best Musical Score: La La Land. It will be a national outrage if anything else wins.

Best Original Song: This award is obviously going to go to La La Land. The question is for which song? La La Land is nominated twice here, once for “City of Stars” and another for “The Fools Who Dream.” Considering that I’m still humming “City of Stars” weeks after seeing the film, I’m placing my bet on that one.

Side note: Twenty One Pilots should have been nominated here for their phenomenally dark and ethereal work on “Heathens.” Suicide Squad got straight up robbed on that one.

Best Sound Editing: How many action films have won for best sound editing? Too many, that’s how many. From the past six years, six action films have won the Oscar in this category. Skyfall and Zero Dark Thirty tied in 2012. American Sniper won in 2014. And Mad Max: Fury Road also won last year. At this point, I would be foolish not to go for the action-packed war epic like all of the Academy voters. So I’m going with Hacksaw Ridge. Deepwater Horizon also has a good chance of nabbing it too.

Best Sound Mixing: La La Land. It’s hard to time music to action on-screen, especially when that action includes tap-dancing and motion choreography. La La Land did exceptionally well not only with its music, but with making it relevant in every scene. So La La Land it is.

Best Visual Effects: The most visually impressive out of the nominees here is easily Doctor Strange, whose shape-shifting, mind-bending visuals bend and break reality barriers like you wouldn’t believe. Visual effects are supposed to be transportive in their art, and I haven’t visually seen a film like Doctor Strange since Avatar or Inception.

Unfortunately, I don’t think it’s going to get it. Why? Because a Marvel property hasn’t won a best VFX Oscar since over a decade ago with Spider-Man 2. If Iron Man, The Avengers, Captain America: The Winter Soldier, Guardians of the Galaxy, and X-Men: Days of Future Past couldn’t nab it, then it’s highly unlikely Doctor Strange will now, no matter how good the visual effects may be. The fact that Captain America: Civil War isn’t even nominated in this category should tell you everything about the Academy voter’s opinions of superhero movies.

Since that is the case, I’m going with my runner-up option, which is Jon Favreau’s live-action remake of The Jungle Book. His team expertly combined practical effects with CGI, and the body movements of the animals were so accurately depicted that it’s hard to tell that they’re not real animals. If The Jungle Book had any achievement, it was in its visual effects, so that’s the one I’m going with.

And now we come to the infuriating short categories. I never know what to put any year, considering I’m never able to see any of the nominees. The following are just blind guesses: Piper for animated short, Joe’s Violin for documentary short, and Silent Nights for live action short. Watch me get all of them wrong this year. Just wait.

That concludes my predictions for this year’s La La— oops, I meant Oscar ceremony. I’ll see you guys on awards night, preferably without any singing.

– David Dunn

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Oscars Strike Back

You spoke, Academy Award voters listened. Well, mostly.

After the #OscarsSoWhite controversy last year regarding the obvious lack of diversity in their nominations (all 20 acting nominees were Caucasian), the Academy wisened up with their pool of nominees this year. While there are still a healthy amount of snubs (there are every year), most of the nominees are at least well-deserved, and the nominees don’t seem to be lacking diversity-wise in many areas.

For best picture, we have the eerie science-fiction mystery Arrival, the Denzel Washington-directed Fences, the incredible and emotional war epic Hacksaw Ridge, the western-heist film Hell or High Water, the behind-the-scenes story of the moon landing Hidden Figures, the uplifting tap-dancing musical La La Land, the true story that spans technology and time in Lion, the personal family drama Manchester By The Sea, and the pivotal and passionate Moonlight. From the look of these nominees at first glance, it seems clear that the Academy is trying to make up for their relentless snubbing of Creed and Straight Outta Compton last year, as the inclusion of Fences, Hidden Figures, and Moonlight shows they’re trying to atone for past mistakes that they’ve made.

Still, they’re lacking in some areas. Captain America: Civil War is no where to be found, as well as its profane cousin Deadpool. Both of Peter Berg’s films Deepwater Horizon and Patriots Day were skipped over by the Academy, despite them both being biopics and for featuring outstanding talent from its cast and crew. Perhaps most surprising to me is that they decided to snub A Monster Calls, a fantasy drama that has been getting Oscar talk for a long time now. I guess it goes to show that buzz doesn’t equal results, and with how many Christmas releases are included in the lineup, it especially shows how close to the chest Academy voters play with the nominations process.

For best director we have Denis Villenueve for Arrival, Mel Gibson for Hacksaw Ridge, Damien Chazelle for La La Land, Kenneth Lonergan for Manchester by the Sea, and Barry Jenkins for Moonlight. My immediate reaction is that Gibson and Jenkins are most deserving. After all, it’s hard to take the subject matter they’ve had to deal with and translate it into film so well. Myself personally hopes that Gibson will win it, because he’s had a hard few years and made a comeback as powerful and groundbreaking as Hacksaw Ridge. But he already won best director a few years ago with Braveheart, so it’s unlikely the Academy will strongly consider him again, especially with all of the outstanding talent that he’s up against.

For best actor we have Casey Affleck in Manchester By The Sea, Andrew Garfield in Hacksaw Ridge, Ryan Gosling in La La Land, Viggo Mortensen in Captain Fantastic, and Denzel Washington in Fences. Not much to complain about here. All of the nominees are well-deserved in one way or another, and there’s no obvious snubs like Johnny Depp’s absence last year for Black Mass. I’m sure others will raise arguments about one actor or another, but for the most part, this category is well-rounded. No complaints here.

For best actress we have Isabelle Huppert in Elle, Ruth Negga in Loving, Natalie Portman in Jackie, Emma Stone in La La Land, and Meryl Streep in Florence Foster Jenkins. First thing’s first: Meryl Streep again? Really, Academy? This is literally her 20th nomination. I agree that she’s an outstanding talent, but you don’t need to nominate her every time she makes a movie. Amy Adams was subtle yet masterful in her role as a linguist in Arrival. But no, Meryl Streep needs another nomination, for a movie as clunky, awkward and uncomfortable as Florence Foster Jenkins.

Keep in mind I’m not criticizing Meryl Streep, I’m criticizing the Academy. There are outstanding artists every year yearning for recognition, yet the attention the Academy keeps giving her is taking away from those same performers. At this point, I’m expecting her to get a nomination if she portrays a wood table and chair. She could even win it too.

Back to the nominations. I like that Huppert is nominated for Elle, as French actors usually go unnoticed by the Academy unless it’s in the Foreign Language film categories. But I am also pleased to see Stone under the nominations as well. She’s always been a stand-out talent, from The Help all the way to Birdman. I don’t know whether she’ll win this year or not, but I’m excited to see what the race will be like. This is a category to look forward to.

For best supporting actor, we have Mahershala Ali for Moonlight, Jeff Bridges for Hell or High Water, Lucas Hedges for Manchester By The Sea, Dev Patel for Lion, and Michael Shannon for Nocturnal Animals. An oddity I found in this category was Dev being nominated for Lion. Isn’t he the main character? I haven’t seen the film myself, but I know its about a young boy who uses Google Earth to find his birth parents after years of separation, which is the role that Patel plays. Even if the film uses flashbacks, he’s still portraying the elder version of the main character. Why is he nominated in a supporting role?

For best supporting actress we have Viola Davis for Fences, Naomie Harris for Moonlight, Nicole Kidman for Lion, Octavia Spencer for Hidden Figures, and Michelle Williams for Manchester By The Sea. Again, nothing really lacking in this category, although I would have liked to have seen Felicity Jones nominated for A Monster Calls. I’m personally pining for Harris to win for her outstanding work on Moonlight, but this category can really go any way. Cross your fingers on this one.

The most obvious snubs come from films that are frequently ignored by the Academy, although they shouldn’t be. Suicide Squad got a nomination in makeup, although it should have also gotten nominated for best original song for Twenty One Pilots’ “Heathens.” Deadpool also had outstanding makeup and costume work and is nominated for a Writer’s Guild award for best adapted screenplay. Of course, it isn’t nominated for that same award here.

The biggest snub came from Captain America: Civil War, a movie which really deserved to be nominated for anything. Best Picture. Best Director. Best Adapted Screenplay. Best Sound Editing and Mixing. Best Visual Effects. It got nominated for nothing. Yep, that’s right: it got The Dark Knight Rises treatment in 2012.

To me, this really speaks to how disconnected the Academy voters are to moviegoing audiences. Captain America: Civil War is simultaneously the highest-grossing and one of the highest-reviewed pictures of the year. With its complex story, mind-blowing action scenes, as well as its blurred sense of morality, this is a movie that is more resemblant of our politically-polarized society than it is as an action blockbuster. To look at its depth of layers hidden inside a superhero epic and ignore them is just a plain sham. The Academy Award voters should know better than this.

You can check out the full list of nominees here. In the meantime, I’m sharpening my pencil and checking off on my ballot. I’ll see you on Oscar night.

– David Dunn

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88th Academy Awards Puts The Spotlight On Revenant, Mad Max

Well then. I wasn’t expecting that.

I suppose I should be used to saying that by now, especially when it comes to the Academy Awards. Sometimes they surprise me, most of the time they disappoint me. This year, however, they surprised me, and I’m not quite sure if that’s a good thing or bad thing.

Good news first: Chris Rock was great at hosting. He was funny, smirking, in-cheek, and he knew how to stick it not just to the Academy and the industry for its obvious bias and prejudice, but also towards his own race for making a big deal out of #OscarsSoWhite in the first place. His slight diss to actress Jada Pinkett-Smith to me was the most accurate thing out of his entire opening: “Her boycotting the Oscars is like me boycotting Rihanna’s panties. I wasn’t invited.”

But the thing I appreciated most about him hosting is that he pointed out the controversy and the problems in it with respect and professionalism; at least, professional in the way that Chris Rock can be professional. Great change is needed in this industry, and it’s not going to come overnight; it’s going to need initiative from both sides of the conflict. But Chris Rock hosting last night showed us that integration is possible, even in moments of heated emotions and political injustices. Hopefully we’ll reach that point sooner rather than later, and when we do, we can nominated 20 black actors in the place of 20 white ones just so we can call it even.

So Rock was good, and handled the show with honesty and humor to spare. The wins were also mostly good, although there were once again a few snubs so stupid that a kindergartner would be excused to smack an Academy voter from them.

Best Picture: The last award from the night I predicted incorrectly, and I was glad for it too. The insightful and urgent Spotlight won best picture over the dramatic and maddening The Revenant. In my own opinion, The Revenant was superior and technically deserved the award most. But Spotlight carries the most important message out of any of the nominees, and it’s a message of injustice and accountability that we all need to hear and acknowledge. I am 100% okay with Spotlight winning this award. Congratulations are very much earned towards Tom McCarthy, the Boston Globe reporting team, and the cast and crew of this prestigious picture. Out of any other best picture nominee, this is the movie that viewers need to see the most.

Best Director: No surprise here: Alejandro Gonzalez-Inarritu wins his second directing Oscar for the second year in a row for The Revenant. His achievement is arguably the greatest out of the night. Not only is he the first director to win consecutive directing Oscars in 60 years (the other ones being John Ford for The Grapes of Wrath, How Green Was My Valley and Joseph Mankiewicz for A Letter To Three Wives, All About Eve), but he is the only Hispanic director to earn this achievement as well. For a ceremony that is lacking in diversity, this is one of the highlights of the night, as Inarritu came in and did what most other filmmakers could not accomplish, including Oscar winners Milos Forman, Frank Capra, Clint Eastwood, Oliver Stone, and even my idol, Steven Spielberg. The Revenant was one of the most masterful films of the year, if not the decade, and it’s an honor that Inarritu rightfully deserves.

Best Actor: Well, duh. Leo took this award home for his mesmerizing performance as a suffering frontiersman in The Revenant. It’s nice to see Leo finally get recognition for his work as an actor, although it’s sad to think that I won’t be seeing any Leo needs an Oscar memes anymore.

Best Actress: Brie Larson won for Room, and I have a confession to make: I haven’t seen the movie yet. I will in a few weeks though when it comes out on DVD, and I encourage you to seek it out as well. Movies only have the power that we give to it. Like Spotlight, Room is an under-the-radar release that has gotten a lot of buzz and praise for its story and performances. It deserves to be sought out, with Larson’s performance along with it.

Best Supporting Actress: I’m starting with best supporting actress because I have more to say about it’s partner category in a little bit. Alicia Vikander won for The Danish Girl. This is yet another movie I have not seen, but I am happy to see Vikander get recognition for it, even though Rooney Mara has been in the industry longer and has a more diversified body of work in her filmography. What’s done is done though. Vikander got her praise for portraying a confused wife to a confused husband, and now it’s Mara’s turn to go for the gold. Hopefully it will be sooner rather than later.

Best Supporting Actor: I’m not going to even be cordial here. This is just plain bullshit. The crowd favorite, Sylvester Stallone, was snubbed for Creed in exchange for Mark Rylance in Bridge of Spies. I have so many problems with this, but I’ll start with Stallone himself.

Stallone has been a powerhouse in the world of film for a very long time, and believe it or not, he has never won an Oscar. Yes, Rocky won best picture in 1976, but that award went to the producers and its director. Stallone himself did not get recognized as its actor or screenwriter, a trend that would repeat itself as the series went on. The character and the series definitely went through its highs and its lows, but you cannot question how perfectly the character was revitalized and reinvigorated as a flesh-and-blood human character, not just a movie icon, in Creed. Was Stallone the best actor out of the year? No, but he was the best out of these nominees, and his nuances and spot-on delivery made Rocky Balboa believable and grounded. That is without question.

The typical complaint is that Stallone has played the character before and gotten used to playing him. You forget, it’s been almost ten years since he’s stepped into the character in Rocky Balboa, and he’s played him as convincingly as he has every single other year, if not more so, considering what the character goes through in Creed. He’s not typecast if he keeps delivering the role with the same convincing energy he always has, and Stallone has been much overdue of his Oscar: more than Leo has, at least, considering that he’s nearly 70. Some people were worried that they would be giving the award to Rocky instead of Sylvester Stallone, which again, is hogwash. He created and performed the character repeatedly since the beginning. To not recognize him for his continued dedication to the role is a crime to cinema.

All of this might be warranted, if the Oscar went to a more worthy performer. It didn’t. Rylance meandered and putzed about for two hours in Bridge of Spies, with slight moments of dry humor and wit thrown into the mix to redeem how boring the character is. If the role went to Tom Hardy from The Revenant or Christian Bale from The Big Short, I would understand that because those are mesmerizing performances that pushed those actors and what they could do. Rylance gave the same expression during the runtime, and that expression is “old grandpa.”

I cannot even begin to describe to you my frustration and my disappointment in this category. If you’re going to snub the obvious winner, snub it towards a performance that is at least just as competitive. Don’t give it to the guy just because he has a few quirky lines of dialogue in the movie. It doesn’t work like that. At least, it shouldn’t.

I don’t want to talk about this category any more. I’ve said my piece, and I will promptly not watch the best supporting actress category next year because I don’t want to see this guy announce the winner. It should be Rocky up on that stage, damn it.

And yes, I know I am being a sourpuss on this. Bite me.

Best Animated Feature: Inside Out, obviously, and deservingly. And we got a cute monologue from my favorite toys, Woody and Buzz, presenting the category. That was a nice treat to see.

Best Documentary Feature: Amy won, and I predicted this correctly. Looking back at the other nominees, I don’t know if it was because of the filming or the subject matter that Amy beat out the other politically-driven films, such as Cartel Land, The Look of Silence, and Winter on Fire. It hardly matters though. Amy won, and the other films will just have to settle on being called nominees.

Best Foreign-Language Feature: Son of Saul won, and I got this category right too. Next, please.

Best Adapted Screenplay: Ah, The Big Short. This was the only Oscar it won for the night, and I guessed this one correctly too. Now director Adam McKay can call himself an Academy-Award winner, which I don’t know what that’ll do to his ego. But never mind. Congratulations to him and co-writer Charles Randolph for their achievement, although I don’t quite know if it should have beat out the innovation and the cleverness Drew Godard instilled into The Martian.

Best Original Screenplay: Here’s the biggest confusion I have from this year’s ceremony. I knew Spotlight was going to win best original screenplay. I knew it, I predicted it, and I was right. I just didn’t know if it was going to win best picture considering it didn’t have the pull in other categories as it did here. So I figured this was going to be the only award it was going to win for the night.

I was half right. It was the only other award it won from the night besides best picture, and that confuses me. Is it truly the best movie of the year just based off of its screenplay alone? There were many other elements in the film to appreciate: the smart, subtle direction by Tom McCarthy, the convincing performances, especially from Mark Ruffalo, and the smoothly crisp editing by Tom McArdle, which doesn’t waste a take or a cut. But no, it only won best screenplay and best picture, and while I assert that it is one of the best films of the year, to me, that means its unwarranted for best picture. At least, in the Academy’s eyes.

You’re not the best picture of the year from one element: you’re the best picture of the year from a cohesion of elements working together. The Academy doesn’t think that, however, and chose to give the highest honor to Spotlight, despite it winning only one other award besides it. That just seems wonky to me, and it makes me question the Academy’s voting process when it comes to these pictures.

Best Cinematography: Emanuel Lubeski won for The Revenant. Roger Deakins better win the next time he’s nominated, or I swear to God, I will release a bear onto the Academy voters.

Film Editing: Yeah, I got this one wrong. I thought Hank Corwin was going to take it for The Big Short. Turns out Margaret Sixel snagged it for Mad Max: Fury Road, which is not a bad choice at all. My only problem is that Mad Max had so much more to play with than Spotlight did. Mad Max had big, destructive cars, sandy deserts, and explosions. Spotlight had their reporters and the intimate fragility of their story. The latter takes much more skillful editing to make the film as a whole interesting, but at the very least, let’s be grateful that Max Max is more deserving than The Big Short.

Best Makeup and Hairstyling: Mad Max: Fury Road won. I’m glad I went against my instincts on this one, because I would have ended up with one less of a win on this ballot.

Best Costume Design: This came out of nowhere. Mad Max: Fury Road won best costume design, and I incorrectly predicted that Sandy Powell was going to win for Cinderella. I thought to myself how a sports jacket and a robot arm counts as good costume design, but maybe I’m just ignorant to the craft. Congratulations to Jenny Beavan on her win regardless, and my loss in missing this category.

Best Production Design: Mad Max, again.

Best Original Song: Oooooooohhhh, feminists are going to be pissed about this one. I’ll admit, I like the orchestra composition better in “Writings On The Wall” in Spectre than “Til It Happens To You” in The Hunting Ground, but good God, the lyricism is just too perfect to pass up. And yet, “Writing’s On The Wall” snagged the award. Take also into consideration the way that Lady Gaga killed her on-stage performance and filled it with both passion and emotion, while Sam Smith awkwardly missed his key? I expect a lot of women to be upset about this snub.

Best Original Score: Ennio Morricone won for his snide and sinister soundtrack for The Hateful Eight. His Italian speech and the standing ovation he received was the highlight of the night, as this elderly man struggled to get his words out amidst the tears and the happiness he’s experienced. Such are the joys we can hope for those who have endured long and successful careers. Rocky’s still waiting, though.

Best Sound Editing: Mad Max.

Best Sound Mixing: Mad Max, again.

Best Visual Effects: Surprisingly, Mad Max did not win in this category, even though it was the one I predicted. Ex Machina won, and even though it’s comparatively smaller scale than its other nominees, it is no less deserving. Ex Machina was very convincing in it’s portrayal of Ava and her robotic companions, and part of that was because of their skillful use of post-conversion and rotoscoping Alicia Vikander’s features onto a plain background. While I personally feel that Star Wars and Mad Max were more worthy recipients, I’m not going to take away Ex Machina’s much deserved attention towards the award. Congratulations are earned to this smart, compelling, and thought-provoking sci-fi drama.

And as always, I got all the short categories wrong. I’m not going to waste time naming the winners. I’m still bitter about their affecting my ballot.

All in all, this year was a decent ceremony, with the exception of snubbing ethnic actors and Sylvester Stallone for his much deserved win. But the Academy did the best thing they could amidst the controversey: they acknowledged it, and are making a pledge to change things for the better. Hopefully we’ll start seeing that change by next year.

– David Dunn

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