Category Archives: Awards Coverage

Oscar Predictions 2015

“The Oscars: the white BET awards.”

                                           – Chris Rock

I think we can unanimously agree that the single biggest snub the Academy made in this year’s nominations was not with a motion picture, but with entire communities. 20 white actors were nominated for their performances this year. All eight best picture nominees featured white protagonists. All the screenplay nominees are white. The only major category to have slight diversity in its nominations is best director, where it has four white directors and one Mexican. To have 42 out of those 43 nominees belonging to a single diversity is just plain sad, and shows that in its own way, we still live in a segregated society.

A strong statement, I know, but the situation warrants it. How many wonderful stories were told this year by actors, filmmakers, and storytellers of color that the Academy chose to skip over? There was no best picture nomination for Straight Outta Compton. No acting nominations for Idris Elba or Jason Mitchell in Beasts of No Nation and Straight Outta Compton. No best screenplay nomination for Ryan Coogler for Creed. No acting, directing, or writing nominations for Sicario. No best picture nomination for Star Wars: The Force Awakens.

The worst part about these snubs is that it isn’t just entire communities that were disregarded: it’s that the year’s best films and performances weren’t recognized at all, period. And it’s not like the Academy’s hands were tied either: they literally had two open slots to include two more nominees for best picture, and they chose not to use them. Tell me, would it have really hurt to include Creed or Straight Outta Compton in there just to ease people’s nerves? It’s not like those pictures are undeserving, and I think people would be more excited for their nominations rather than they were for Brooklyn or Bridge of Spies.

Unfortunately, this isn’t the first stupid mistake the Academy has made, and it won’t be their last either. We can only hope that with time and initiative, the Academy will be more fair and considerate of their nominations in the future. From my experience, though, they probably won’t be for quite some time.

In either case, the Oscars are still a few days away, and I still have to predict which movies are going to take home the gold. These are my predictions:

Best Picture: I’ll be honest here: I’m stumped. I’m absolutely stumped. Normally, this is one of the easiest categories to predict from the ceremony, but this year, I’m faced with three strong candidates in the running for best picture. What can I say? It’s been a close race this awards season. The Revenant won the Golden Globe and the DGA award. The Big Short won the PGA award for best feature film. Spotlight won best overall cast at the SAG awards. These accolades place each of them on equal footing in their reach for the night’s top honor. Who’s going to get it?

Considering the other accolades that it’s expected to get that night, my best guess is going to be The Revenant. Read on to find my reasoning.

Best Director: So nine times out of 10, the winner of the DGA award also wins the best directing Oscar at the Academy Awards. Call it movie science. There was only one time this decade where the DGA winner wasn’t even nominated for best director, and that was Ben Affleck for Argo in 2012. Every other winner this decade matches up with the Academy Award winner. Since this year’s DGA winner was Alejandro Gonzalez-Inarritu for The Revenant, he’s the most likely to win this year’s Oscar.

If he does win both best picture and best director, that will not only make him a five-time Academy Award-winner, but also the first director in film history to win best picture and directing Oscars in consecutive years. It’s an honor Inarritu deserves. The Revenant was not the most action-packed film of the year, but it is easily the most contemplative, compelling, and impactful. It would have been the best film of 2015, if it wasn’t released in January.

Best Actor: It’s already sickening enough that Johnny Depp wasn’t nominated for his mesmerizingly evil performance in Black Mass. If Leonardo DiCaprio doesn’t win his long overdue Oscar for The Revenant, then all it truly lost for this prestigious category.

Best Actress: Ever since Room premiered in Telluride, Brie Larson has been racking it in for her portrayal as a traumatized mother seeking peace and understanding in a new world her and her son are only beginning to adjust to. To take the honor from her now would just seem ludicrous, as she seems locked for the award after winning the Golden Globe, the Critics Choice award, and the SAG award. Brie Larson is primed and ready to receive her Oscar. Root for her come Oscar night.

Best Supporting Actor: Did you know Rocky Balboa himself never won an Academy Award? It’s true that his movie did, with the first Rocky picture taking home best picture, best director, and best film editing at the 1976 Academy Awards. But Sly Stallone himself never won an Oscar as an actor or screenwriter, despite his career taking off due to the Italian Stallion. His time has finally come. Not only was Creed one of the best pictures out of the franchise, but Stallone himself gives one of the most pure and honest performances out of any other actor from the year. Give Sly his Oscar, guys. You could argue he’s just as overdue for it as Leo is.

Best Supporting Actress: I’ve flipped-flopped a ridiculous amount of times on this category, as there are once again three deserving candidates who have good chances at taking home the award. Kate Winslet was concerned and caring as an almost sisterly figure in Steve Jobs, while Rooney Mara was equally compelling in Carol as this star-crossed 1950’s teenager who was hopelessly lost and heartbroken by her love. There’s no denying, however, the outstanding year Alicia Vikander had, who besides starring in The Danish Girl had breakout roles in The Man From U.N.C.L.E. and Ex Machina. To make a decision between these three actresses is nearly impossible, but since the SAG award is on Vikander’s side, I’m going with her.

Best Animated Feature: Inside Out. It’s not only the best animated film of the year, but also arguably one of the best films of the year, period. Don’t bet against it.

Best Documentary Feature: I think it’s safe to say that Amy is going to take home the award for best documentary feature. Not only has its acclaim on the late British singer Amy Winehouse’s life been top-notch, but it was also a massive financial success, grossing over $22 million at the box office, a rarity for documentary films. Now even though box office numbers have never been a good indicator on how the Academy will vote, it does accurately show the public’s reaction to a film. Since it has fared so well with American audiences, it’s doubtful that Academy voters will vote against their preferences. It’s wise to go with Amy.

Best Foreign-language Feature: Son of Saul won this year’s Golden Globe for best foreign-language feature. Since the Golden Globe winners for best foreign-language films have been mostly consistent with the Academy Award for the past five years, it would be best to bet on that one too.

Best Original Screenplay: If we’re being really picky, I think we can all agree that the best screenplay out of all of the nominees here is Pixar’s Inside Out. However, since we’ve already decided that it’s going to win best animated feature, I don’t think that would be fair to the other nominees if it won in this category too, now would it?

My bet, then, goes to Tom McCarthy’s Spotlight, which is not only the best live-action nominee out of the list, but also the most relevant. Sexual assault is a big problem in today’s country, and one that often gets overlooked. But McCarthy handles the subject with respect and urgency in Spotlight, ushering a call to action to end sexual violence wherever we may find it, whether it be in a neighborhood or a church pew. It is one of the most important films you could see in 2015. To not recognize it for its credibility would be an absolute sham.

Best Adapted Screenplay: Here’s the best thing I can say about The Big Short: it knows exactly what it is. It is an irreverent, funny, obscene, smirking, yet tragic adaptation of one of America’s biggest financial crises. It knows it’s based off of real events and people, and it uses that to its advantage in moments of self-awareness and quirky comedy. While it is debatable whether it is the “best” adapted screenplay of the year, it is without a doubt the most clever. For that reason, I’m going with The Big Short.

Best Film Editing: In order to correctly predict this category, you need to replace “best” with “most.” The movie with the “most” editing is The Big Short, as editor Hank Corwin cuts in between multiple perspectives, cameos, explainers, and B-roll footage that will make your head spin. Does that make his work the best out of the year, though? I would contest that it doesn’t, and I would put Spotlight in its place as the superior. While it had a steady pace and took time to build up big ideas, Spotlight followed through its story with precision and clarity. There was no wasted space in this movie, as we understood everything we needed to know at the exact moment we needed to know it. Such editing is difficult to do skillfully, and Tom McArdle balances pace excellently with this complex, sensitive story.

But I don’t think McArdle is going to get it. Corwin will for his spasm editing on The Big Short, which isn’t necessarily a bad thing. It’s not much of a good thing either though.

Best Cinematography: Poor Roger Deakins. He’s been nominated for the Academy Award for best cinematography 13 times now, ever since he was nominated for The Shawshank Redemption in 1994 (Which was the year he should have won, by the way). He’s going to have to wait even longer. Sicario looked great, but the best-looking film of the year by far is The Revenant, and that’s due to the pure ambition of Emanuel Lubeski’s scope of filming, with the adding challenge of shooting completely in natural light. If he wins the Oscar this year (which he will), it will be very well-earned. Sorry Roger. You know I’ll be rooting for you next year.

Best Makeup and Hairstyling: I don’t see how shaving Charlize Theron’s head and by throwing white powder on a bunch of set extras constitutes a best makeup and hairstyling nomination for Mad Max: Fury Road. Yet, that movie is so far the most popular choice for this award. Why? Because a bunch of desert maniacs spray their faces with silver paint? Yeah, that’s award-worthy.

The Revenant, in comparison, had thrusted extensive effort to make Hugh Glass look like a battered, bruised, bloodied, and stitched-up mess after he barely survived an encounter against a grizzly bear. I would like to say The Revenant is going to take home this award, but considering the legwork Mad Max already has behind it, I doubt that will be the case. Mad Max is going to win best makeup, although I hope I am wrong.

Best Costume Design: Sandy Powell has been nominated too many times for best costume design at the Academy Awards. Yes, I know her work is amazing; that doesn’t change the fact that she has become the Meryl Streep for costume design at the Oscars. This year she has not one, but two nominations: one for Carol, and another for Cinderella. It’s safe to assume that the Shakespeare In Love, The Avaitor, and The Young Victoria designer is going to win her fourth Academy Award from this ceremony. The question is for which movie? I flipped a coin, and I’m going with Cinderella. Don’t make me flip again.

Best Production Design: There’s a difference between the best production design and the most obvious production design. The best from this year was The Revenant, as its set design was not only authentic and gritty, but it was also (and this is the important part) invisible. It blended with its environment. You didn’t notice it as much as the other elements in the film, and that’s the point. It’s supposed to provide the illusion that we are in a different place without making it too obvious that that’s the case. Everything in The Revenant breathed of realism and practicality. That is why it’s the best of the year.

The most obvious is… well, duh. It’s Mad Max: Fury Road. And while I applaud the design of its cars and its scenery, it is not the most skilled art direction from the year. Mad Max made great production work and blew it up. The Revenant made great production work and sat on it, reflected on it, and let it breathe in its own space. One such work should obviously be more celebrated than the other, but since the Academy has a history of naming the most obvious production design over the quote-unquote “best”, I’m going with Mad Max: Fury Road. 

On a side note, Academy members should be frustrated at themselves for not nominating Rick Carter and Darren Gilford’s amazing work on Star Wars: The Force Awakens. A film hasn’t had such an effect on me since the original Star Wars. To not recognize their work with even a nomination is just plain stupid.

Best Original Song: Well, let’s start with the obvious: the fact that The Weeknd’s “Earned It” got an Oscar nomination over Wiz Khalifa and Charlie Puth’s “See You Again” is just plain B.S. Now that I got that out of the way, let’s focus the discussion towards music that’s actually good, shall we? Lady Gaga is undeniably a powerhouse in the music world, but what gives her song “Til It Happens To You” an edge over the competition is how engrained it is in the tragedy of sexual assault on college campuses. It’s combined beauty and sadness creates an urgency of how much of a problem it is we need to fix, and Gaga’s musical influence only doubles its chances of winning. There is a slight chance that Sam Smith can sneak in a win there for Spectre’s “Writing’s On The Wall,” but with only a Golden Globe behind it, that isn’t likely. Go for Gaga.

Best Musical Score: I’m a die-hard John Williams fan. His music is not only the greatest film scores you can listen to, but some of the greatest music, period. He won his first original score Oscar 40 years ago with Jaws, and he’s nominated again for updating his own music in Star Wars: The Force Awakens. Nostalgic and beautiful as his music is, however, he won’t win this time, and he shouldn’t either. The most likely and the most deserving winner is Ennio Morricone for his unsettlingly sinister soundtrack for The Hateful Eight. His career has spanned over 60 years, writing scores for The Dollars trilogy, being first nominated for Terrence Malick’s Days of Heaven, and finally winning an honorary Oscar in 2006. It’s his year to shine. The Hateful Eight’s hauntingly ominous soundtrack still plays in my mind, just as much as Williams’ own wonderful music does.

Best Sound Editing: How do you predict the winner for the Academy Award for best sound editing? By picking the loudest, most obnoxious action picture out of the nominees, that’s how. What nominee is more loud, obnoxious, and action-packed than Mad Max: Fury Road? The answer is none of them. So that’s the one I’m going with.

Best Sound Mixing: Mad Max: Fury Road, for the same reasons as above. 

Best Visual Effects: Before I make my prediction, can I take a second to applaud all of the nominees? Year after year, the best visual effects goes to the movie with the best CGI. With this year, however, all of the nominees had a greater emphasis on practical effects as opposed to computer generated ones. Rotoscoping was used in the place of green screen for Ex Machina. Ridley Scott grew real plants to illustrate photosynthesis during The Martian. Alejandro Gonzalez-Inarritu filmed The Revenant in natural lighting. 90% of the stunts and visual effects of Mad Max: Fury Road were practical. J.J. Abrams built a real BB-8 droid for Star Wars: The Force Awakens. This was a great year for visual effects in film, and that is because of the pioneers in the industry opting for real special effects as opposed to digitally artificial ones. A big salute to all of the nominees, as all of them have pushed the boundaries for what we could achieve visually for films this year.

Now then, predictions. I’m biased towards Star Wars: The Force Awakens for its innovation and invention, but since a Star Wars film hasn’t won an Oscar in over 30 years, I don’t expect the Academy to break the chain now. No, the award will go to Mad Max: Fury Road for its incredible stunt work and ambitious scope of destruction. I guess it pays to be a little mad after all, huh?

And finally, the dreaded short categories. I never have the opportunity to see the shorts, so I’m always completely in the dark on these nominations. I’m just going to throw out the first three titles that I see: Sanjay’s Super Team for animation, Body Team 12 for documentary, and Shok for live action. Good luck to anyone on getting these right.

And those are my predictions. I’ll see you on Oscar night when Chris Rock rips the Academy a new one. If that does happen, at least there’s one good thing that came out of #OscarsSoWhite.

– David Dunn

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Oscar Nominations Turn To The Dark Side

Another year, another time to gripe about the Academy Awards.

Nominations came out today, and while most of them are well-earned, there are obviously a few movies, actors, and filmmakers who were clearly snubbed for reasons we’ll never know. In previous years where I’ve written about the Oscars, I would build up to an infuriating rage about the Academy for not recognizing deserving filmmakers in either one category or another. Perhaps the biggest snub as far as nominations I’ve ever experienced is when The Dark Knight wasn’t nominated for best picture in 2009. Or when Ben Affleck wasn’t nominated for best director for Argo in 2013. Or when The Lego Movie wasn’t nominated for best animated feature just last year. I don’t know. Roll the dice and tell me which is the worst. There’s lots to pick from.

This year, I’m a little more relaxed in my frustration. No, I don’t care less. The anger has just exhausted me, and in venting my emotions towards the Academy and their repeated negligence year after year, I’ve become so tired about it that it took away from my energy towards appreciating the year’s best films. So this year, I’m going to calmly state my perceptions towards this year’s Academy Award nominations. I will keep my cool for most of these, but there are a few nominees where it will be just impossible to keep my self-control in check.

For best picture, we have the hot-blooded true-story/comedy The Big Short, the British period-drama Brooklyn, the Steven Spielberg-directed Bridge of Spies, the ridiculously overblown Mad Max: Fury Road, the intelligent and funny sci-fi survival film The Martian, the brilliant and ambitious The Revenant, the indie dark horse Room, and the journalism drama Spotlight. Most of these pics are among the year’s best and deserve to be up here, though I haven’t met many people who have seen Room or Brooklyn. The biggest snub here is not one individual picture, but rather, the Academy’s capacity for potential.

Ever since the Academy announced its proposal for a max of 10 best picture nominations in 2010, they’ve never fulfilled that maximum capacity, minus the year where The King’s Speech won best picture. Every year since then has strayed slightly shy of nine best picture nominees, up until last year when they dropped it down to eight. It is unfair to do this to the movies. There are plenty of other films that are more worthy of a nomination than some of the other nominees on this list, especially including Sicario, Straight Outta Compton, and Star Wars: The Force Awakens. No, I didn’t expect to see these movies on the list, but that’s not the point. These were movies that had a clear and visible reaction from the public. To not notice them by snubbing them of a nomination is absurd and unnecessary.

For best director, we have Lenny Abrahamson for Room, Alejando Gonzalez-Inarritu for The Revenant, Tom McCarthy for Spotlight, Adam McKay for The Big Short, and George Miller for Mad Max: Fury Road. Again, these are well-deserved nominees, although I’m surprised to see that Ridley Scott was skipped over for directing The Martian. Then again, however, so was Dennis Villanueve and J.J. Abrams skipped over for Sicario and Star Wars: The Force Awakens, so maybe it’s not so surprising to see great directors get snubbed at the Oscars.

For best actor, we have Bryan Cranston for Trumbo, Matt Damon for The Martian, Leonardo DiCaprio for The Revenant, Michael Fassbender for Steve Jobs, and Eddie Redmayne for The Danish Girl. This is the category that by far pisses me off the most. Great actors get snubbed for great performances every year, but there is absolutely no reason why Johnny Depp should be forgotten for his mesmerizingly evil performance in Black Mass. His performance was not just the best of the year: it’s a competitor for best of the decade, with every ounce of his appearance erasing into this sick and wicked man who doesn’t have a shred of decency in him. With all of the other nominees, you can at least see the actors’ resemblances behind the characters they portray (Yes, DiCaprio purists: that includes good ol’ Leo too). With Black Mass, there was absolutely no indication that Johnny Depp and Whitey Bulger were the same person. The only way this category could be even more ransacked is if DiCaprio doesn’t win the Oscar come awards night. Cross your fingers that doesn’t happen.

For best actress, we have Cate Blanchett for Carol, Brie Larson for Room, Jennifer Lawrence for Joy, Charlotte Rampling for 45 Years, and Saoirse Ronan for Brooklyn. Okay, call me out here for lack of gender equality guys: I have not seen any of the films in this category. Yes, I know, I’m a horrible person, critic, writer, throw anything at me what you will. However, it certainly doesn’t help that three out of the five nominees were limited releases, so cut me some slack. I will say that with her recent Golden Globe win, Larson is currently the leading contender for this category. We’ll have to see how the rest of awards season plays out first, though.

For best supporting actor, we have Christian Bale for The Big Short, Tom Hardy for The Revenant (which is very well deserved), Mark Ruffalo for Spotlight, Mark Rylance for Bridge of Spies, and Sylvester Stallone for Creed. One complaint people have had with this category is the lack of diversity, with all of the nominees being tall, handsome white guys. However, I have to ask the dissenters: have you seen all of these performances? The biggest misses are the inclusions of Jason Mitchell from Straight Outta Compton, Will Smith from Concussion, or Idris Elba from Beasts of No Nation, and you could probably have switched one of those out for Rylance considering he was pretty one-note throughout Bridge of Spies. The rest of the nominees, however, are rock solid. No complaints from me as far as this selection goes.

For best supporting actress, we have Jennifer Jason Leigh for The Hateful Eight, Rooney Mara for Carol, Rachel McAdams for Spotlight, Alicia Vikander for The Danish Girl, and Kate Winslet for Steve Jobs. Again, there’s a lack of diversity here from tall white women, but what other actresses would you put in their place? Can you name another ethnic actresses from this year that put on performances as unique and memorable as the ones here? If you can, please reply with those performances below, because I honestly can’t remember any.

And finally, we end on the screenplay categories. For best original screenplay, we have Bridge of Spies, Ex Machina, Inside Out, Spotlight, and Straight Outta Compton. For best adapted screenplay, we have The Big Short, Brooklyn, Carol, The Martian, and Room. Both categories are guilty of snubbing not one, but two great screenplays. Those scripts are The Hateful Eight and Star Wars: The Force Awakens, albeit for very different reasons. For the horrible year that Quentin Tarantino had to go through to bring The Hateful Eight into film, he delivered a very funny, witty, and memorably grotesque experience that can only be brought to life through his writing. Do I even need to explain why Star Wars belongs here? J.J. Abrams succeeded doing in one movie what series creator George Lucas couldn’t do in three: he breathed new life and energy into the science-fiction epic, providing noteworthy original content while at the same time paying homage to the classic characters and mythology that we came to love from Star Wars. Abrams continued Lucas’ epic story with seamlessness and creativity, and to not reward him and writers Lawrence Kasdan and Michael Ardnt is disrespectful to them and their vast accomplishment.

You can click here to see the full list of nominees. In the meantime, I’m going to be staring blankly at the nominations sheet until I can decide who the Academy is going to snub next on awards night.

– David Dunn

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‘Birdman’ Sweeps At The 87th Academy Awards

You can’t say the night wasn’t a wild ride.

Every time I prepare myself for the Academy Awards, I end up getting usurped in every single angle possible. At the start of this season’s Awards race, Boyhood was getting the most attention and seemed the most likely to win the ceremony’s biggest awards. But by the end of the night, Birdman and Grand Budapest Hotel took the most awards from the night while Boyhood only walked away with one acting award for Patricia Arquette.

This is the one thing I love about the Academy Awards, if I even loved anything about it in the first place: it always finds a way to surprise you.

Even though the films I loved the most didn’t win the night’s most major awards, I’m mostly not upset. The Academy Awards was a night where some dreams were realized and others were crushed, but it nevertheless gave everyone something to aspire to. As I remember Matthew McConaughey’s speech from last year, “I’m always trying to be better than myself ten years from now.”

Anyhow, on to the winners. I predicted 18 out of the 24 categories correct, which is surprising for me because I expected to get more wrong. Regardless, the night held it’s own fair amount of shocks and surprises, so let’s hop right into them.

Best Picture: I was correct in predicting Birdman would win best picture, even though I would have preferred it gone to the likes of Selma, Whiplash, or even Boyhood. Still, it is a unique film, and it’s achievements are unmistakable. I was happy to see Alejandro Gonzalez Inarritu win for his hard work.

Best Director: Alejandro also won the Academy Award in directing for Birdman. No surprise there, considering he won the DGA. I am annoyed that Richard Linklater wasn’t honored for his 12-year commitment that was Boyhood, but I have to recognize that both films were works of high art and achievement. To pick one over the other is like picking apples to oranges, so I don’t judge the Academy for being given such a difficult decision to choose from.

Best Actor: Eddie Redmayne won the best acting Oscar for portraying Stephen Hawking in the most tragically grounded of ways in The Theory of EverythingHis acceptance speech was one of the cutest to have seen from the night.

Best Actress: Julianne Moore won the Academy Award for best actress as a mother suffering from early onset altzheimer’s in Still Alice. 

Best Supporting Actor: J.K. Simmons won best supporting actor as a music professor from hell in Damien Chazelle’s Whiplash

Best Supporting Actress: Patricia Arquette won in her role as an aging mother losing her children to adulthood in the brilliantly made Boyhood

Best Original Screenplay: Surprisingly, I got this category right by predicting that Birdman was going to win best original screenplay. After the WGA’s, I honestly though Grand Budapest was going to win the award for best original screenplay. Just goes to show you can’t trust all Awards ceremonies.

Best Adapted Screenplay: Since Whiplash can’t technically be considered an adapted work, Graham Moore rightfully deserved the award for The Imitation Game. Moore’s speech was my absolute favorite of the night.

Best Animated Feature:  The first category I got wrong was a category I shouldn’t have gotten wrong at all: Big Hero 6 won best animated feature over the genius of How To Train Your Dragon 2. As you can see, I was not happy about this. Not. One. Bit.

Best Documentary Feature: Citizenfour won the Academy Award for best documentary feature. If I didn’t want to see the award so badly before, I definitely wanted to see it even more now.

Best Foreign-Language Feature: Ida won best foreign language film. 

Best Film Editing: I got this category wrong, but it was wrong I was happy to get wrong: Tom Cross beat out Sandra Adhair from Boyhood with Whiplash, and that’s so appropriate considering how many smash cuts he has to conduct from the film at such precise moments for it to work.

Best Cinematography: Another one extremely deserving in the award: Emanuel Lubeski won for the second year in a row for Birdman

Best Original Score: I got this category wrong too, but this is another one where I was happy to lose it: Alexandre Deplat won best original score for The Grand Budapest Hotel. After being nominated six times prior, I’d say the award was long overdue. He certainly was more deserving than The Theory of Everything was, at least.

Best Original Song: John Legend and Common both rightfully won the Academy Award for best original song with “Glory”. Members from the audience started crying after they finished their performance.

Best Costume Design: The Grand Budapest Hotel won the Academy Award for best costume design. 

Best Makeup and Hairstyling: Grand Budapest also won the Oscar for it’s makeup, though I felt it wasn’t the most deserving nominee. 

Best Production Design: Grand Budapest won it’s fourth award for production design, but as you can see, I was still so distraught by How To Train Your Dragon 2’s horrible loss that I barely even cared. 

Best Sound Editing and Mixing: American Sniper and Whiplash won in these categories, respectivelyI incorrectly predicted it would be Interstellar, but how on Earth would you know considering how flippantly the Oscars switches sides?

Best Visual Effects: Christopher Nolan’s space epic Interstellar won the award for best visual effects. 

Feast, The Phone Call, and Crisis Hotline: Veterans Press 1 won in all of the short categories. Since nobody even watches those nominees, however, do you really even care?

At the end of the night, it was the live-action short, film editing, original score, animated feature (ugh), and sound editing and mixing categories that cost me losing to my mother at the Academy Awards predictions. Don’t remind me on how embarrassing that is.

Next year, I’ll work to refine my predictions so that I’ll be so accurate at guessing the Oscars, the Academy Award voters will think I stole the results beforehand.

On that note, you’re wrong Academy. Lego Movie should have been nominated. How To Train Your Dragon 2 should have won.

I’ll leave you to ponder on the great mistakes you’ve made this year.

– David Dunn.

Oscar Predictions 2014

There is no such thing as the best picture.

That’s what I keep thinking year after year when I make my Oscar predictions. Why? Because everyone has a different idea of what the best picture means.

There were many great movies that wasn’t nominated from this year that left a profound impact on the people who watched them. The Fault In Our Stars is one of those pictures. Guardians of the Galaxy filled people with as many laughs and energy as it did with tears and quivering lips. Christopher Nolan’s Interstellar is the most liked movie of 2014 according to the Internet Movie Database. God forbid, there are people out there who even liked Inherent Vice.

My point in saying all of this is that different movies have different effects on people. It doesn’t matter what the Academy thinks is the best picture: it matters what you think is the best picture to you.

Regardless, the Oscars are unfortunately still a thing. With the 87th Academy Awards coming up in a few weeks, people are going to be scrambling to guess who is going to win which awards this year. Here are the movies I think are going to win big this year at the Oscars:

Best Picture: The big category. Good God, how do you predict this one? Boyhood and Birdman have been at each other’s throats since the beginning of awards season. Since Boyhood‘s best picture win at the Golden Globes, it at first seemed like the frontrunner for best picture. Since then, however, Birdman has gone on to win the Screen Actors Guild award for best overall cast, the Directors Guild of America award for best feature and the Producers Guild Awards award for best picture. At this point, Birdman would be most poised to win the award, and it would be wise to opt for it.

Best Director: The nominee most deserving of this award is Richard Linklater for following with his passion project 12 years straight for Boyhood, a wonderfully ambitious project that shows the joys and heartbreaks alike of growing up. Unfortunately, Linklater didn’t win the DGA award for best director. The Oscar, then, is going to go to Alejandro Gonzalez Inarritu for Birdman, which was an innovative, creative, and darkly clever film in it’s own right. Neither filmmaker is a bad nomination, as both of them delivered the most unique and memorable pictures of the year. The award can only go to one of them, but both Linklater and Inarritu are undeniably the best filmmakers of the year.

Best Actor: Another close one. Which is it going to be: Eddie Redmayne for The Theory of Everything or Michael Keaton for Birdman? Redmayne has the Screen Actors Guild award and the Golden Globe for best actor. Keaton also has a Golden Globe and the Screen Actors Guild award for best overall cast. So who’s going to take it? Redmayne or Keaton? My bet is on Redmayne, but don’t be surprised if either actor takes home the award. This is going to be a close one.

On that note, honorable mention to Benedict Cumberbatch for his brilliant, heartbreaking, passionate, intelligent, and wonderfully unique performance as physicist Alan Turing in The Imitation Game. You sir gave the best performance of the year, and are most deserving of the Oscar for best actor this year. Unfortunately, the Oscars is not a game of talent. It’s a game of politics.

Best Actress: Everyone (including myself) has been praising Rosamund Pike’s work in Gone Girl and has been saying that she deserves this award most. The charts don’t lie, however, and Julianne Moore has won award after award for her heartbreaking performance as a mother suffering from early onset alzheimer’s in Still Alice. She’s locked for the award. Don’t bet on anyone else except her.

Best Supporting Actor: J.K. Simmons for Whiplash. If you have any objections to that, you haven’t seen the movie.

Best Supporting Actress: It takes a lot of dedication not only to play the role of an aging mother losing her children to adulthood, but to return to that role year after year for 12 years straight. The award for best supporting actress rightfully goes to Patricia Arquette for her stunning decade-long performance that she melted so wonderfully into year after year in Boyhood. It will be a huge upset if she doesn’t get the award.

Best Original Screenplay: This year was borderline impossible to make a clear prediction of who was going to win in the best original screenplay category. First, critics predicted it would be Boyhood due to it’s massive popularity in the best picture race. Then, people switched sides and said Wes Anderson would win for The Grand Budapest HotelBirdman won the Golden Globe and a slew of other state critics awards. Since I don’t have the luxury of waiting for the WGA’s next week to claim which is the best screenplay of the year, I’m going with the only nomination that has the physical accolades to back up their nomination: Birdman is going to win best original screenplay. 

Side Note: I will never cease to get angry at the Academy for profusely snubbing Christopher Nolan multiple times. If Interstellar was not deemed one of the best movies of the year, it definitely is considered one of the best stories of the year. Nolan deserved a nomination in this category, but like all other the Oscar ceremonies, he got snubbed because he’s Christopher Nolan. Typical.

Best Adapted Screenplay: This category is messed up from the start, because how in God’s name is Whiplash considered an adapted screenplay? I get it that it was first made into a short film before a feature release, thank you for pointing that out Academy. That doesn’t change the fact that it was an original idea conceived by Damien Chazelle, and that both properties were projects that he worked on. Whiplash was, in every definition, an original work. To put it in the adapted category is pish posh.

On that note, Graham Moore’s The Imitation Game IS an adapted work, and it so wonderfully brings interest and awareness to this secretive story that only a few have known about for quite some time. The Imitation Game is most poised to take home the best adapted screenplay award, unless Whiplash snabs it from them first. 

Another side note: Did the Academy just work to have the worst nominations in this category this year? Is there seriously nothing for The Fault In Our Stars? Nothing for Gone Girl? Shoot, I’d even take a nomination for Guardians of the Galaxy over the confusing Inherent Vice and insipid Theory of Everything. These awards should not be nominated for the Academy’s opinion, but rather, on the impact these films have had on the public. All of the films I’ve mentioned above were movies the public had very strong reactions to, and each of them deserve nominations over the other films recognized. This is the Oscar category I am most frustrated with this year.

Best Animated Feature: Let’s get over the frustration that The Lego Movie wasn’t nominated for just one second, shall we? The biggest competition is between Disney’s Big Hero 6 and Dreamwork’s How To Train Your Dragon 2. Since How To Train Your Dragon 2 has won the Golden Globe, the Annie Award, and the National Board of Review for best animated feature of the year, the best bet is on that film. It is the best animated film of the year, and matches it’s predecessor in almost every way. If it does win, it is a very deserving one.

On that note, shame on you Academy for taking out The Lego Movie. Everything is not awesome for you.

Best Documentary Feature: Were Steve James’ wonderful documentary Life Itself on film critic Roger Ebert’s life nominated, it might have posed a challenge to the frontrunner for this category. Since it isn’t however, the award is most poised for Laura Poitras’ Citizenfour, a documentary about Poitras’ investigation in U.S. surveillance programs until her research brings her face-to-face with former NSA contractor Edward Snowden. Keep this one on your radar, folks. This is one of those films that needs to be sought out.

Best Foreign-Language Film: The Academy loves movies that are not only politically challenging, but are also based around events surrounding World War II. The frontrunner, then, is Ida, a polish film about a young nun who discovers a dark secret about her family from the Nazi occupation before taking her vows. Wild Tales has also been widely talked about, but don’t expect anything big from it. Ida is most positioned to win the award.

Best Film Editing: The film with the best editing of the year isn’t even nominated in this category, and that is Birdman. The shots were so seamlessly blended together in between takes that it gave off the illusion that the film was shot in one take, even though it wasn’t. The work done with Birdman is both innovative and revolutionary, and it’s flat out disrespectful that it’s not even nominated here.

The next best work is from Tom Cross on Whiplash, which editing together the film so perfectly that it gave off an heart-pounding, unnerving sensation better than most thriller’s you’d see in theaters. Neither one will win. The award will go to Boyhood for it’s compilation of 12-years worth of footage into one film, even though the editing dragged out at times and it had to handle the same amount of footage any other film would have to. Even though Boyhood is a great movie, it’s editing is average at best.

Best Cinematography: Emmanuel Lubeski for Birdman. If he wins, he will be one of the few cinematography nominees to have won the award two years in a row. It’s not undeserved. Lubeski is a great cinematographer, and has done great work for years for films such as Children of Men, The Tree of Life, and last year’s Oscar winner Gravity. He deserves the award for cinematography if he does wins it.

Best Original Score: I waited until the last possible second to write down my prediction for this, because the nominee everyone is talking about is also the one least deserving. Alexandre Desplat has been nominated year-after-year at the Academy Awards for scoring movies like The Curious Case of Benjamin Button, The King’s Speech, Argo, and Philomena. This year, he deserves the award the most not only for his nomination with The Imitation Game, but also with Wes Anderson’s The Grand Budapest Hotel. He’s going to lose both of his nominations to Johann Johannssons’ The Theory of Everything, a theme that is as average, annoying, and repetitive as its movie is. I didn’t like The Theory of Everything, and I liked its music even less. But all critics and accolades point towards that movie, so that’s the one I’m begrudgingly going with.

Best Original Song: “Glory” from Selma will win and deserve this award the most. No song fills you with as much power and proclamation as this song does. It fills you with the same energy and captivation that the movie does, and it’s a shame that the film wasn’t nominated in more categories this year.

Best Costume Design: I doubt that Colleen Atwood is going to take home the award yet again for Into The Woods, despite her great track record with the Academy. My bet is on Milena Canonero for The Great Budapest Hotel, mostly because 1) The film’s costume work is as lovable and quirky as the movie itself is, and 2) She hasn’t won the award since her work with Marie Antoinette in 2006. It’s her year to win the award.

Best Makeup and Hairstyling: This is such a difficult category to decide for, because what on Earth is the Academy’s criteria for this ungaudy award? A few years ago, movies like Star Trek beat out films like The Young Victoria in this category. In 2011, the boring, mundane, and insipid Iron Lady beat out Harry Potter. What is going on?! How on Earth are you supposed to predict this category when the Academy keeps flipping the standard???

If I was going off of the best makeup work out of the nominees, it’s no competition: Guardians of the Galaxy. Yet, keep in mind from previous years that films have won for the exaggerated minimalist work seen from The Grand Budapest Hotel. I’m keeping my bets on The Grand Budapest Hotel, but don’t be surprised if either film takes home the award.

(Post-script: The makeup work for The Iron Lady was awful.)

Best Production Design: The Grand Budapest Hotel. If any film other than that wins for best production design, the Academy officially hates Wes Anderson.

Best Sound Editing: Normally, I couldn’t care less for the sound editing awards, because who has enough patience to dissect the sound bit-by-bit in each feature film? This year though, there is a frontrunner in this category that doesn’t deserve to be nominated. Great a film as it is, Interstellar has some of the worse sound editing and mixing I’ve heard in years. The music overwhelmed the dialogue at times, character’s couldn’t be heard that well at certain parts of the movie, and the sound got so loud at times that I felt like I was at a Daft Punk concert. For all of the accomplishments Interstellar has made, sound is definitely not one of them.

Unfortunately, I think Interstellar is going to be the one to take this award home. Christopher Nolan’s movies have a good track record for getting sound awards at the Oscars (Ex. The Dark Knight and Inception)and I don’t think the Academy has any intent of stopping his good run anytime soon. The film most deserving in this category is American Sniper. It’s going to Interstellar.

Best Sound Mixing: Whiplash had the most impressive sound mixing out of any of the other nominees. The Oscar, however, is going to go to Interstellar. See above for my reasoning.

Best Visual Effects: I’m partial towards X-men: Days of Future Past because it had great visual effects, costuming, and set design to make not only a convincing portrayal of a post-apocalyptic future, but also to show the slow dissolution of American society in the mid-1970’s. However, Interstellar was also an amazing movie, and accomplished visual spectacles unseen since Avatar and Inception. It will win the award, and it is also the most deserving. 

And now finally, my most-dreaded predictions for the categories I never know how to predict: the shorts. Let’s play a game of Eenie-Minie-Moe, shall we?

Best Animated Short: Feast. It’s the only film out of any of these categories that I’ve seen anyway.

Best Documentary Short: Crisis Hotline: Veterans Press 1. Because why not?

Best Live-Action Short: Aya? The Phone Call? Boogaloo and Graham? What kind of titles are these???

Screw it. Boogaloo and whats-it’s-face is going to get it, because reasons.

That’s all I have for now, folks. I’ll see you and Barney Stinson on Feb. 22.

– David Dunn

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The Unexpected Virtue of Being Nominated

I am never more conflicted with myself than when Oscar nominations are released. It’s the same time every single year, and every time I look at them I feel a strange combination of pride and disappointment. Of course many actors and filmmakers are nominated across the board, and most of them are well deserved. But then there are always a good amount of snubs that are equally undeserved. Example: Since when does The Fault In Our Stars, Interstellar and The Lego Movie deserve zero nominations in any of the major categories?

Snubs happen every year. I expect it at this point. But what I find particularly interesting is that this year’s ceremonies are more well-rounded in their nominations. The eight best picture nominees, for instance, are also the pictures with the most nominations in the show. I think that reflects well on the Academy, especially because the best picture award isn’t won by only being nominated for best original song.

Regardless, the nominees have been released and the Oscars race has officially begun. Here are all of the best picture nominees.

Birdman

Otherwise known as The Unexpected Virtue of Ignorance, Alejandro Gonzalez Inarritu’s black comedy epic stars Michael Keaton as Riggan Thompson, a struggling stage actor who is desperately trying to escape his image as formerly portraying a superhero. Considering the irony that Keaton has been most known for playing Batman in Tim Burton’s movies, I can’t help but think he relates more to the film than he lets on. Birdman is nominated in nine categories, including best picture, best director, best original screenplay, best cinematography, best sound editing and mixing, and best acting awards for Keaton, Edward Norton, and Emma Stone.

The Grand Budapest Hotel

A surprise standout out of the other nominees, The Grand Budapest Hotel is a comedic escapade about Concierge Gustave H. (Ralph Fiennes), who is framed for the murder of one of his hotel guests and for stealing her most cherished painting. As he tries to outrun law enforcement and the family assassins that are after him, he teams up with his lobby boy Zero (Tony Revolori) to set out and prove his innocence. Written and directed by Wes Anderson (The Royal Tennenbaums, Moonrise Kingdom), The Grand Budapest Hotel has already won best comedy at the Golden Globes, so it is off to a good start in the Oscars race. The film ties with Birdman with nine nominations, including best picture, best director, best original screenplay, best cinematography, best costume design, best editing, best makeup and hairstyling, best original score, and best production design.

The Imitation Game

This historical epic stars Benedict Cumberbatch as Alan Turing, a brilliant physicist during WWII who worked with a team to crack Enigma, a German processing machine which masks German messages through cryptographic messages. Directed by Norwegian filmmaker Morten Tyldum and also starring Keira Knightly, Matthew Goode, and Mark Strong, The Imitation Game is nominated for eight academy awards, including best picture, best director, best adapted screenplay, best editing, best original score, best production, best actor for Benedict Cumberbatch and best supporting actress for Keira Knightly.

American Sniper

Based on the true story of Chris Kyle (Bradley Cooper), American Sniper tells his story working for the U.S. military, and the 120 kills he garnered throughout his military career. Directed by Clint Eastwood and written by Jason Hall, American Sniper is a late entry to the Oscars race, but it came out strong regardless. American Sniper is nominated for best picture, best adapted screenplay, best sound editing and mixing, and best actor for Bradley Cooper.

Boyhood

The 12 year epic that everyone is talking about, and the movie everyone is dying to see. Boyhood follows the story of Mason (Ellar Coltrane) from childhood to adulthood, through puberty, love, heartache, loss, and life. Richard Linklater directs Coltrane among others through this masterfully crafted drama, filmed over the period of 12 years. Ambitious both in production and vision, Boyhood was nominated for best picture, best director, best original screenplay, best film editing, and best supporting actor and actress for Ethan Hawke and Patricia Arquette.

The Theory of Everything

The fluffy, inspirational adaptation of Stephen Hawking’s life, The Theory of Everything stars Eddie Redmayne as King and Felicity Jones as his wife Jane, and follows their relationship from college to their marriage, and covers the issues that they’ve had to face together. I personally didn’t find this film to be as imposing as the other nominees, but Redmayne’s performance and the film’s intentions are definitely something to be admired. The film is nominated for best picture, best adapted screenplay, best original score, and best actor and best actress for Redmayne and Jones.

Whiplash

One of the best under-the-radar films of the year. Whiplash follows Andrew (Miles Teller), a young college student who is enrolled in an orchestra and is working to be the best drummer there is. His teacher is Terence Fletcher (J.K. Simmons), a narcissist conductor who treats his students like he is Gunnery Sergeant Hartman. As their rivalrous relationship builds to a tense climax, both men learn more about themselves as artists and teachers to each other. Written and directed by independent filmmaker Damien Chazelle, Whiplash is one of the year’s most standout films. Featuring strong performances from its leads and masterful direction from Chazelle, Whiplash is nominated for best picture, best editing, best sound mixing, and best supporting actor for J.K. Simmons. The movie is also nominated for best adapted screenplay, even though it’s an original idea crafted by Chazelle.

Selma

Directed by Ava Duvernay and starring David Oyewolo as Martin Luther King Jr., Selma follows the civil rights movement as it builds to a climax in the march from Selma to Montgomery, Alabama. The interesting thing about this film is that it only has two nominations for the evening: best picture and best original song for John Legend and Common’s “Glory.” If that is the logic behind the nominations, should Selma even be nominated for best picture? It’s more than deserving of the nomination, but it certainly isn’t great just because of the song that’s in it. Where’s the best director nomination? Best actor? Best screenplay? I feel like this movie had potential in many different categories at the Oscars, and it was snubbed for mostly all of them. It’s an utter shame to see so many great films get snubbed at the Academy Awards, and this film perhaps has been snubbed the most out of all of them.

Other films that were nominated in other categories include Foxcatcher, Interstellar, Mr. Turner, Into The Woods, Unbroken, The Lego Movie and Guardians of the Galaxy. We can gripe more about which films deserved which nominations later on, but for now, let’s be excited that Barney Stinson is hosting the awards.

– David Dunn

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OSCAR REACTIONS 2013

Well, that was anti-climactic.

For those of you who live under a rock and don’t know who I’m talking about when I mention the word “oscar”, the 86th Academy Awards took place yesterday on ABC, hosted by comedian Ellen Degeneres. Needless to say, Degeneres was brilliant, taking selfies, buying pizza, crashing twitter, bringing the stage down for Jennifer Lawrence, and calling Liza Minelli a man all in one night. And yet, despite all of her efforts, the oscars seemed so… boring.

How did this happen? The nominees, dear reader. Out of the 24 categories in the ceremony I got twenty right, beating most of my Shorthorn peers and family members for the potluck we held that night. The most I’ve gotten previously was sixteen. I’m inclined to believe that the academy made the winners of these awards too obvious by building up too much hype of them during the buzz of the past few months.  Case in point: was there any argument that Frozen was going to take home best animated feature?

It doesn’t matter now, anyway. It happened, and I got 20 right out of 24 categories. Yes!!! Just because I predicted them correctly, however, doesn’t mean I need to be happy for their win. Let’s go through each of the categories and see whether or not they really deserved it or not…

BEST PICTURE (CORRECT!) The best picture of the year rightfully won best picture at the Academy Awards: Steve McQueen’s phenomenal, gripping, heart-wrenching, spellbinding and immensely powerful 12 Years A Slave won best picture. While I’m ecstatic for its win and could not agree more with the Academy’s consensus, I find it very strange that it won the Academy’s highest honor despite it only winning two other awards. But we’ll talk more about that later.

BEST DIRECTOR (CORRECT!) Also correctly predicted is Alfonso Cuaron for his nerve-wracking and tensely-directed sci-fi thriller Gravity. I already mentioned this in my predictions, but the best director award needs to be reserved for the best picture of the year. I loved Gravity with every fiber of my being, but it simply does not match the cinematic caliber to that of McQueen’s 12 Years A Slave. It would be like comparing The Dark Knight to that of Slumdog MillionaireThe Fugitive to that of Schindler’s List, or Jaws to that of One Flew Over The Cuckoos Nest. They are all ingenious, brilliant and incredibly memorable pictures, but the best picture of the year is awarded that because of the direction and treatment that it was given.

That’s not intended as an insult towards Cuaron, and I definitely believe he deserves it based on the physics and tension of the movie alone. If I’m thinking about which movie had the bigger impact, however, it’s no contest on which one it deserves to go to: McQueen for 12 Years A Slave. Nevertheless, I congratulate Cuaron on his many accomplishments regarding Gravity. Lord knows my heart stopped at least a few times while watching that picture.

BEST ACTOR (CORRECT!) Matthew McConaughey took home the award for best actor as a rowdy texas cowboy dying of AIDS in Dallas Buyers Club. While the award could have gone to either him or Chiwetel Ejiofor for 12 Years A Slave, there’s no denying the power, the energy, and the raw gravitas that he brought to a man’s desperate journey to survive. Plus, I love his acceptance speech and how he dedicated the award to God and to “himself in ten years”. That’s a wise goal that any man should strive for.

BEST ACTRESS (CORRECT!) Cate Blanchett won best actress for Woody Allen’s Blue Jasmine. While I have regretfully not seen the movie yet, I will say that the few scenes I have seen her in impressed me very much, and that she did a solid job portraying a deeply bothered woman who is in deep depression and alcohol addiction. Congratulations to her. I look forward to watching the film, as well as Blanchett’s performance in it.

BEST SUPPORTING ACTOR (CORRECT!) Did Michael Fassbender win best supporting actor like I wanted him to? No, he did not. Instead, Jared Leto took home the award portraying the transgender AIDS victim Rayon in Dallas Buyers Club

The more I think about it, the more ridiculous I think it is that the best picture winner of the year did not get recognized in so many categories. Why the snubbing from Fassbender? Half of the movie’s turmoil and conflict came from this despicable character, a man so inhumane and abominable that Calvin Candy from Django Unchained would have broke down in tears after seeing what this man forced people through. Fassbender was pivotal, aggressive, violent, and hateful as Edwin Epps, and incurred more emotions from audiences than that of a transgender AIDS patient in Dallas Buyers Club. I know 30 Seconds To Mars fans will hate me for saying this, but the more vital role needs to go to the more vital performance. I said it once, I’ll say it again: Leto is not as deserving in the award as Fassbender is.

Again, no disrespect, and I acknowledge that Leto gave a great performance in the picture. But like Cuaron with best direction, the more compelling presence needs to go to the more compelling artist. Sorry, Rayon.

BEST SUPPORTING ACTRESS (CORRECT!) Lupita Nyongo won (and deserved) the academy award for best supporting actress for her heartbreaking role as a desperate and depraved cotton picking slave in 12 Years A Slave. No qualms here.

BEST ORIGINAL SCREENPLAY (CORRECT!) I also correctly predicted that Spike Jonze would win the best original screenplay award for his sci-fi romance story Her. Comparing Her to the genius of David O’Russell’s American Hustle, I mentioned in my original predictions list that “just because its a smarter story doesn’t necessarily mean that it is a better one.” I do not retract my statement.

BEST ADAPTED SCREENPLAY (CORRECT!) John Ridley won best adapted screenplay for his incredibly well-documented 12 Years A Slave. He equally deserved it, as Solomon Northrup’s story, or legacy, could not have translated any better to the screen if the filmmakers tried. Great job, Ridley. You gave us an unforgettable and incredible story, the likes of which no one has seen since Steven Spielberg’s Schindler’s List. 

And this is the only other award 12 Years won for the night. No cinematography. No editing. No costume or production design. No supporting actor. No other award that would further substantiate and support its win for best picture.

Am I the only one that finds this completely ludicrous? To date, there are only three best picture winners to win only three academy awards. Those movies are The Godfather, Crash and Argo, and two of them didn’t even win in major categories. Seriously, what is going on? Why are we being so insubstantial towards movies that have been deemed the best of the year? Do academy voters not realize that by naming this the BEST PICTURE OF THE YEAR that they’re saying that its better than everything else? And according to this ceremony, not only are they saying that it is the equivalent of Dallas Buyers Club (they both won three academy awards), but that Gravity is superior to it with seven wins and no awarding of best picture.

Seriously. Make up your mind. I’m fine with you saying one picture is better than another, but substantiate that by what awards you give it. I seriously doubt that 12 Years is best picture because of its screenplay and its supporting actress alone. Likewise, I doubt that Gravity isn’t the best picture of the year because it has the best direction, camerawork, editing, sound mixing, and visual effects out of any other picture.

That’s all I ask, folks. Not preference. Fairness.

BEST FOREIGN LANGUAGE FILM (CORRECT!) The Great Beauty won for best foreign-language film. That’s the one that everyone saw, right? It obviously deserved to win.

BEST DOCUMENTARY FILM (INCORRECT!) I incorrectly predicted that Act Of Killing would win the award, but no, 20 Feet From Stardom took the award home, with featured artists on the film including music legends Mick Jagger, Bruce Springsteen and Stevie Wonder. I haven’t seen the film, so I have no place on commenting on it, but it seems odd that the Academy would reward a movie about background singers over that of a tragic confrontation of death and social issues. I’ve yet to see either of them though, so like I said, my opinion is invalid in this category.

BEST ANIMATED FILM (CORRECT!) Disney won best animated feature for Frozen. While I didn’t care much for it, I know it made a wide impact on its audience and that it will go on to be fondly remembered by many animated movie lovers for years to come. So congratulations for its win, even though I’m no fan of the cold weather this time around.

BEST ORIGINAL SONG (CORRECT!) Frozen won best original song for its memorable song “Let It Go”. It certainly didn’t win for Idina Menzel’s performance, that’s for sure. What the heck happened with her? Her pitch was all over the place, her control was wonky, and her whiny voice was the contrast of the powerful, beautifully controlled voice she exhibited in the movie itself. Seriously. What happened?

One song I’ve really been getting into recently (and I think you’ll agree with me) is Pharell Williams’ “Happy”. The performance proved why. Not only was it energetic, upbeat, and undeniably catchy, but Williams gave a great performance, he exhibited great control and showed very few differences from the studio version of his song. Menzel’s performance, in comparison, was completely and utterly horrendous.

But hey, I guess that’s why the award is called “best original song” and not “best performance”. Otherwise, I think we both what the turnout would be.

BEST ORIGINAL SCORE (CORRECT!) Steve Price took home the award for best original score with Gravity. He completely deserved it. Not only did it match the tension, edginess and unease of the movie, but it also gave a dignified sense of hope and accomplishment after a long journey of heart-pounding danger and peril. Listening to the soundtrack alone gave you the feeling of identity and survival, and Price was definitely the most deserving out of any nominee. Congrats to him for his win.

In the meantime, I’m still wondering where is Hans Zimmer’s nomination for Rush. Remind me again why this movie wasn’t nominated for anything?

BEST CINEMATOGRAPHY (CORRECT!) In 2011, Emanuel Lubewski was mercilessly snubbed for his masterful, Stanley Kubrick-esque camerawork in The Tree Of Life. If he didn’t win it this year, I was literally planning on flipping out.

Luckily, he did.

BEST FILM EDITING (CORRECT!) Another category that I felt 12 Years was superior to Gravity, yet it still lost to it. Must I keep beating a dead horse? Gravity was a more visually stellar and energetic picture. 12 Years was the more engaging and involved one. Part of that was because of how the film was put together in a traditionalist style that was reminiscent of Dylan Tichenor’s work from movies including There Will Be Blood and Brokeback Mountain, where he focused most of the runtime on the film’s subjects rather than worrying about flashy cuts or transitions. Film editing is one of the most important part of storytelling, and what have I been saying is the best story of the year? 12 Years A Slave.

I’m not going to drag this out though. Gravity was a great picture, and editors Alfonso Cuaron and Mark Sanger definitely reached outside the box to accomplish things visually no other film did this year. It did a good job. Moving on.

BEST PRODUCTION DESIGN (CORRECT!) The Great Gatsby won for best production design. Considering the sets were the most colorful and visually appealing out of the year, that isn’t very surprising.

BEST COSTUME DESIGN (INCORRECT!) Unfortunately, I predicted this category wrong, thinking that 12 Years was going to get this one. The only reason I went with that instead of winner The Great Gatsby was because I knew Catherine Martin was already going to win for best production design, and any more than that would have been greedy. I forgot that “spreading the wealth” isn’t a phrase the academy is most well known for.

BEST MAKEUP (CORRECT!) Thankfully, Dallas Buyers Club won for best makeup and hairstyling. As long as Jackass: Bad Grandpa didn’t walk home with the award, I’m satisfied.

BEST SOUND EDITING (CORRECT!) Gravity won.

BEST SOUND MIXING (CORRECT!) Gravity won. Again.

BEST VISUAL EFFECTS (CORRECT!) If you even thought this award was going to anything other than Gravity, you’re either insane, or blind.

And at last, the long-dreaded short film categories.

BEST LIVE-ACTION SHORT FILM (CORRECT!) Surprisingly, I got this category correct with predicting Helium. I haven’t seen the film though, so it was only by sheer luck that I got this right.

BEST ANIMATED SHORT FILM (INCORRECT!) Mr. Hublot took home this award. That’s surprising, considering how clever and fun Get A Horse! was, but nevermind. I haven’t seen the movie, so I can’t comment on it.

BEST DOCUMENTARY SHORT (INCORRECT!) The Lady In Number 6: Music Saved My Life. Again, just like any other films in these categories, I haven’t seen it, so how would you expect me to get it right? You might as well blindfold me and ask me to just write on the flipping ballot.

Overall, this has been a fun ceremony, and I’m grateful to Ellen Degeneres for making it a happy-go-lucky and loveably quirky time. Just please, make the ceremony less predictable next time, okay? I’d rather not have a film come in and just know that its going to dominate in all of the categories. You would have been better calling it “The First Annual Gravity Awards”.

-David Dunn

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OSCAR PREDICTIONS 2013

Ah yes, its that time of the year again, ladies and gentlemen. It’s Oscar time, where forgettable movies to get gold statues, while great movies get ignored.

Calm down, calm down, I’m just kidding. Except not really. People know that I’m openly critical about the Oscars for a number of reasons, mostly because the movies that were nominated were given those nominations by bloviating pundits and not genuine movie lovers. Don’t agree with me? Look at the following movies that weren’t even nominated for best picture: Rush. Harry Potter. The Dark Knight. Pan’s Labyrinth. Black Hawk Down. Fight Club. 2001: A Space Odyssey. Rear Window. Psycho. The Good, The Bad, and the Ugly. 

Don’t get me wrong: I enjoy the majority of the motion pictures that are nominated at the Oscars, and I usually agree with their picks of who wins best picture. I absolutely love The Lord of The Rings trilogy, I love Rocky, The Godfather, Slumdog Millionaire, Titanic, and I uphold that Schindler’s List is the best academy-award winner for best picture of all time. Just because those movies deserved it, however, doesn’t mean those other movies don’t deserve mention, and I find it absolutely despicable that the academy snubs pictures that have made a large impact on society. I mean, everyone’s heard of Oliver! before, right? RIGHT?!

Okay, rant over.  This year is a very interesting awards race, with Gravity, American Hustle, and 12 Years A Slave the frontrunners for the best picture race, not to mention all of the other awards in the ceremony. I’ve already written my top ten list of the year, so I won’t bother you with the details of which I think is better. Let’s begin the predictions.

BEST PICTURE: Since Sundance of last year, 12 Years A Slave has been recieving the most steadfast buzz that lasted all throughout the year into this ceremony. While I agree that Gravity is a great frontrunner, I don’t think that consensus is going to change. Plus, look at the academy’s track record. Based off of previous data, the academy loves to give the best picture Oscar to movies based on real events and that statistically grossed less than 100 million. Not only is 12 Years based on the true story of Solomon Northrup, but it also grossed 96 million dollars. I’m sticking to my gut here. 12 Years A Slave is winning best picture. 

BEST DIRECTOR: Everyone seems convinced that Alfonso Cuaron will win the academy award for best direction with Gravity, and that especially seems the case since he won the DGA award as well. I’m not convinced, however, that he’s the most fit for this award. Gravity, of course, was science-fiction perfection, accurately capturing the physics and dangers of space so perfectly that it could have been filmed in space for all we know. Equally as difficult, however, is capturing the cruelty of the slave era in a relentless, gritty, unhinging fashion, and director Steve McQueen did that masterfully all while maintaing his decorum. I won’t be mad if Cuaron wins and McQueen loses, and to be honest, both are very deserving in this award. All I’m saying is that if Cuaron wins, it will be the equivalent of Steven Spielberg losing for Schindler’s List to Andrew Davis’ The Fugitive.

BEST ACTOR: The battle has been in between actors Matthew McConaughey and Chiwetel Ejiofor, both nominated for their roles in Dallas Buyers Club and 12 Years A Slave.I’m going with McConaughey for three reasons. 1) Since his win at the Golden Globes, he’s had a steady winning streak in many award ceremonies, including the SAG Awards. 2) His performance was stunning, sinking into this role of an aggressive party-hard cowboy turned health advocate, and 3) He’s Matthew freakin’ McConaughey. Do I really need to give a further argument?

BEST ACTRESS: Again, this battle is between Sandra Bullock for Gravity and Cate Blanchett for Blue Jasmine. There are two reasons why Bullock won’t win this year: 1) She won the academy award for best actress a few years ago for her performance in The Blind Side, and 2) I’ve never seen a best actress win for a science-fiction film in any year. So Cate Blanchett is the assumed winner. 

BEST SUPPORTING ACTOR: I want every single molecule and fiber of my being to give the award to Michael Fassbender as a hateful slave driver in 12 Years A Slave. His performance was cruel, relentless and teeth-grinding all at once, and was so despicable as a villain that he surpassed Leonardo DiCaprio’s performance in Django Unchained. He won’t win it. The dominant opinion has been swayed towards Jared Leto in his transformative performance as a transgender AIDS victim in Dallas Buyers Club. While I commend his bravery and his ability to slip so effectively into this role, it doesn’t change the fact that his performance didn’t shake me as much as Fassbender’s did. Fassbender played the more striking character: he’s the one that’s more deserving in the award.

BEST SUPPORTING ACTRESS: This is the only acting category where a consensus is generally already made. Besides Ejiofor, Lupita Nyongo stood out both as a character, as an actress, and as a spiritually broken slave who lost all hope at life and at happiness in 12 Years A Slave. Her performance truly broke my heart, and she deserves no less than the academy award for best supporting actress. 

BEST ORIGINAL SCREENPLAY: This battle is between writer-director David O’Russell and Spike Jonze, both responsible for their respective films American Hustle and HerBecause it takes a lot more ambition to write about a middle-aged man falling in love with a computer than it does to write a historically based crime-comedy-drama, my best is on Spike Jonze’s Her. Just because its a smarter story, however, doesn’t necessarily mean that it is a better one.

BEST ADAPTED SCREENPLAY: If 12 Years A Slave is going to have any chance in the best picture race, it needs more of a push than best supporting actress. It’s going to get that extra push in this category. Not only is it among the year’s best, but it is one of the most spellbinding stories of the year, only barely straying from the original text that Solomon Northup wrote all those years ago. Not only will John Ridley win for 12 Years A Slave: he deserves it. 

BEST ANIMATED FILM: I’m one of the relative few that did not enjoy Disney’s newest feature Frozen, a story based on the “Snow Queen” fairy tale about two sisters trying to save each other in a crumbling kingdom. While the characters were fun and energetic, they were equally annoying and ditzy, especially whenever the stupid trolls were on the screen. While I’m less enthusiastic about it, however, it obviously hasn’t disappointed its mainstream audience, garnering a 90% on rotten tomatoes and a rare A+ on cinema score. There’s no question on who’s winning this: Frozen will win the best animated feature award.

BEST ORIGINAL SONG: I’ll give Frozen this: it had wonderful music. It deserves no less, then, to win the academy award for best song for their brilliant track titled “Let it go.”

BEST ORIGINAL SCORE: A few years ago, The Social Network won best original score for its energetic beats and its fluid synthesized sounds. For these reasons will Steven Price not only win the Oscar for Gravity, but deserve it because his music added tension, edginess and paranoia to Gravity’s already heart-pounding premise. 

BEST CINEMATOGRAPHY: Emmanuel Lubewski lost years ago with The Tree Of Life against Robert Richardson for Hugo. The Academy will make that up to him this year for giving him the academy award for best cinematography for Gravity, although I’m still sad that Roger Deakins is getting left behind for Prisoners. 

BEST FILM EDITING: Let me say something here: great visual effects doesn’t make for great editing. Likewise, a masterful editor knows not only when to cut away from a shot, but also on how long to stay on one as well. Although Joe Walker is more that deserving to win for capturing the tragic essence of 12 Years A Slave, I believe it will go to Alfonso Cuaron and Mark Sanger for Gravity due to its technical achievements. 

BEST SOUND EDITING: “In space, no one can hear you scream?” Yeah right. I heard a mother in mourning screaming in space for 120 minutes and I was absolutely petrified.There’s no question on which movie this award deserves to go to: Gravity. 

BEST SOUND MIXING: Gravity for the same reasons as above. 

BEST VISUAL EFFECTS: Gravity. End of discussion.

BEST MAKEUP: Dallas Buyers Club is going to win. If the academy dares to give the award to either Jackass: Bad Grandpa or The Lone Ranger, I’m going to invite them inside my personal port-a-potty and wait for them to realize that its the poo cocktail from Jackass 3.

BEST COSTUME DESIGN: I’ve flipped sides on this one a few times now. First I thought The Great Gatsby’s flashy and colorful costumes were going to take home the award. Then I considered American Hustle for its stylish, contemporary costumes. Now, after giving it a second look, my mind is made up: 12 Years A Slave is going to win for best costume design.
BEST PRODUCTION DESIGN: I was hesitant to name this at first, because honestly anyone can take this one home. The set pieces and designs for all of the film were spectacular in the least, ranging from the financially corrupt society that American Hustle portrayed, to the bleak, barren landscapes of 12 Years A Slave, all the way to the surreal, futuristic Stanley Kubrick-style buildings in Her. I’m ultimately going to guess that The Great Gatsby wins best production design only because it is excellent at displaying the roaring twenties as well as being the most diverse out of any other nominee. 

BEST DOCUMENTARY: This category started off controversial, leaving off one of the most critically-acclaimed documentaries Blackfish off of its list of nominees. Disregarding that, however, look at the other nominees. Out of any of the other selections, which one was talked about the most? Which one is the most controversial? Which one gave a clear, unbiased perspective of a serious issue and let the film show reality as it is?

Filmmaker Joshua Oppenheimer was praised all around for his film The Act Of Killing, a story about a former soldier revisiting his dark past and facing the truth about the lives he took long ago. It ended up taking many number one spots on many top ten lists, including Sight and Sound’s poll for best of the year. It’s no contest for me. The Act Of Killing is taking this Oscar home. 

BEST FOREIGN LANGAUGE FILM: The more I look into this category, the more I notice that The Hunt has been getting more and more buzz with moviegoers about the Oscars, and is the only nominee to be on IMDB’s top 250 films of all time (although, oddly enough, its listed for 2012 instead of 2013). Despite how praising the word of mouth has is, however, I’m convinced that it won’t win. The Great Beauty has been getting the most buzz out of any other nominee, and that buzz usually isn’t wrong. Plus, my ex-film professor loves it. That’s when you know two things: that it’s a bad movie, and that it’s going to be an Oscar-winner.

And here it is, at last, my three (least) favorite awards categories: the short films. Why do I say that? With the exception of one, I haven’t seen any of them. Nobody has seen them. Point me to one normal moviegoer who has seen any of these shorts, and I will pay him $100 to smuggle in DVD-ripped copies of them to my home theater.

Blehhhhhhh. Let’s finish this.

BEST ANIMATED SHORT FILM: The only one I’ve seen out of any of the films in any of these categories is Disney’s Get A Horse, a buoyant and clever combination of classic 1930’s Disney animation with that of today’s three-dimensional standard. I got this category right last year, but that doesn’t mean I will do it again this year.

BEST DOCUMENTARY SHORT FILM: Cavedigger, because it has the coolest title. 

BEST LIVE-ACTION SHORT FILM: Helium, because I can’t breathe. 

What are your predictions? Do you think Gravity is going to take the big picture home, or am I shortchanging 12 Years too much? Comment below, let me know.

Now, if you’ll excuse me, I have to go write the president of AMPAS an angry letter about why Rush wasn’t nominated for anything.

-David Dunn

Correction 2/25: On the “best production design” category, ‘American Hustle’ was inaccurately identified as being “the roaring twenties that American Hustle portrayed”. The description was intended to go towards ‘The Great Gatsby’ and has since been corrected. 

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Where Did These Nominations Come From, Kemosabe?

Today is the day. I was looking forward to this all of yesterday, and its finally here. I can hardly contain my excitement: the nominations for the 86th Academy Awards have been announced.

What, you didn’t think I was talking about Librean President Ellen Sirleaf’s anniversary, did you? Of course not, I only focus on things that are important. And what could be more vital, necessary, and inaccessive than handing out a slew of golden statues to over 24 nominees?

All sardonicism aside, I am excited about the nominations this year. I always am. While I am constantly critical about the Academy Awards and the films they snub and spoil consistently, I always look forward to predicting the winners with my family and always beating them out 18 to one. I get even more excited when a movie that wins best picture actually deserves the win. For example: Schindler’s List or Argo.

The nominees are in, and just like last year, there are nine films up for the award for best motion picture, among other awards. The first film that’s up for grabs is David O’Russell’s comedy-crime-drama American Hustle, a smart, surprisingly witty exercise that looks at the financial situations of characters and how it affects their morality. Besides best picture, American Hustle has also been nominated for awards including best film editing, best costume design, best production design, best original screenplay and direction for David O’Russell and all of the nominations for his cast. Seriously, check the list. Just like last year, all of his leads got nominations in every single acting category, with Christian Bale for best actor, Amy Adams for actress, Bradley Cooper for supporting actor, and Jennifer Lawrence for supporting actress. Geesh. Conceited much, O’Russell?

Just kidding. The film is good, and O’Russell is deserving in most of the nominations, although I think ten in total is a bit of a stretch. Tied with Hustle’s nominations is a film that deserves every single one of them is Gravity, a moving, enthralling picture that plays out as a heart-pounding race of survival in outer space. Gravity’s total nominations besides best picture includes best direction for Alfonso Cuaron, best sound editing and mixing, best production design, best cinematography, best film editing, best visual effects, and best actress for Sandra Bullock. Gravity and American Hustle have ten nominations each, making them the films with the most nominations out of any other picture.

Coming up with nine nominations is my favorite picture of the year, 12 Years A Slave, a motion picture that is devastating, cruel, heartbreaking, and thought-provoking all at once. This drama-driven biopic is directed by filmmaker Steve McQueen (Hunger, Shame), and its easily his best one yet. 12 Years is nominated for best picture, best director, best adapted screenplay, best production design, best costume design, best film editing, and best acting nominations for Chiwetel Ejiofor, Michael Fassbenber, and newcomer Lupita Nyongo, who is the most deserving out of any other nominee in the supporting actress category. Out of any of the other best picture nominees, 12 Years has been getting the most buzz and talk about the Oscars the entire year. I would pay attention to this one if I were you.

Tied with six nominations each is Captain Phillips, Dallas Buyers Club, and Alexander Payne’s Nebraska, a story about a dismal father who wants to go to Nebraska to collect a sweepstakes prize that he supposedly won. Nebraska was also nominated for best cinematography, best acting nominations for Bruce Dern and Kate Grant, and best directing and writing nominations for Alexander Payne. He won his second academy award a few years ago for The Descendants with his first being Sideways, so for his sake I hope he doesn’t win again so his head doesn’t get too big.

Dallas Buyers Club is also nominated for best makeup and hairstyling, best film editing, best original screenplay, and best acting awards for Matthew Mconaughey and Jared Leto, who are currently the frontrunners in both categories. Captain Phillips is nominated for best picture, best film editing, best sound editing and mixing, best adapted screenplay, and best supporting actor for newcomer Barkhad Abdi. Surprisingly, Tom Hanks wasn’t nominated for a best actor nomination, and I can’t help but feel really frustrated by this. If you saw the film, you would understand why.

Her and Wolf Of Wall Street both have five nominations, including best picture. For those of you who haven’t heard about it, Her is a light science-fiction romantic dramedy about a lonely older man who falls in love with a computer program. Yes, I know it sounds weird. I still encourage you to seek it out. While it isn’t as straightforward as other movies, Her is an experimental film in every right trying to say something about love and the reliance on technology. Her is nominated for best original score, best original song, best production design, and best writing and picture awards for director Spike Jonze. Even though it has lesser nominations, I’m definitely going to pay close attention to this film.

Wolf Of Wall Street is easily the most controversial out of any other best picture nominee. The opening shot is Jordan Belfort snorting cocaine out of a hooker’s arse, for crying out loud. Regardless, that obviously didn’t slow the picture down. Wolf is nominated for best adapted screenplay, best acting awards for Leonardo DiCaprio and Jonah Hill, and best picture and direction for filmmaking legend Martin Scorcese.

And lastly, the final best picture nominee is a humble little picture called Philomena, a true story about a struggling writer chronicling the story of an older mother trying to reconnect with her long-lost son. Out of all of the best picture nominees for the Oscars, this one was the least expected and one of the few that I have not seen. Besides best picture, Philomena is nominated for best original score by Alejandre Desplat, best actress for Judi Dench, and best adapted screenplay by Jeff Pope and Steve Coogan, who also starred in the movie.

Also nominated for the evening is films including Blue Jasmine, The Hobbit: Desolation of Smaug, Frozen, Inside Llelyn Davis, The Great Gatsby, and… The Lone Ranger? 

Yes, dear reader, Lone Ranger is nominated for not one, but two academy awards, although I have no idea why. I haven’t seen the film, but reception has been polarizing from both critics and moviegoers, so I can’t imagine anyone being happy about this. It’s nominated for best makeup and hairstyling and best visual effects, which the second one irreverently ticks me off because neither Pacific Rim or Man Of Steel is nominated. Did I also mention that The Lone Ranger was also nominated for five raspberry awards, including Worst Picture?

Other surprises includes Blackfish and… Bad Grandpa? Yes, Jackass: Bad Grandpa is nominated for best makeup, but why the heck is it nominated for an academy award? That makeup looks about as realistic as a halloween mask. I certainly didn’t expect it, and I don’t think many others did either. The seaworld documentary Blackfish, which has been talked about all year, also did not get nominated for best documentary, even though it grossed more than any of the other nominees, save for 20 Feet From Stardom. Why the snub? I have no idea, but it certainly deserves a nomination over Bad Grandpa and The Lone Ranger.

Overall, I’m satisfied with the nominees. There’s a few weird inserts here and there, but generally, most of the nominees are very deserving. My only complaint is that the Ron Howard-directed Rush, a true story about two racers and the rivalries that they shared with each other, was nominated for nothing, not even best makeup, which certainly deserved it more than Bad Grandpa did. The heck man?

On the bright side though, Ellen Degeneres is hosting. Tune in on March 2nd, and you might see Dory make a cameo appearance.

-David Dunn

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OSCAR REACTIONS 2013

Well then.  Turns out even William Shatner couldn’t save Seth Macfarlane from being the worst awards show host I’ve ever seen.

I’m not even kidding.  I couldn’t stand him.  He annoyed me even more than Anne Hathaway and James Franco.  He disgusted me even more than Ricky Gervais.  He was even less humorous than David Letterman.  Seriously, how is it a guy of this caliber walks up on stage and, aside from being tasteless and offensive, fails to even be funny?  He’s the worst Oscar host I’ve ever seen on stage.

Enough of that though.  Besides the show’s prolonged, idiosyncratic pace, this was a decent year at the Oscars, with just as many candidates deserving their wins as there was candidates who were… well, let’s just say “lacking” in their wins.

Here are the categories I got right this year:

BEST PICTURE (CORRECT! 👍) Yes, yes, and yes.  Ben Affleck won best picture alongside Grant Heslov and George Clooney for his brilliant thriller, Argo.  He more than deserves it and his acceptance speech was one of the most emotional and sincere of the night.  I’m glad he won.  Moving along.

BEST DIRECTOR (WRONG! 👎)  No, no, NO.  Ang Lee won best direction for his fantasy-epic Life Of Pi.

Why?  Where did this come from?  Was Life Of Pi a good movie?  Yes.  Was it faithful to the novel?  Yes.  Was it a revolutionary piece that has singular and daring direction that made the movie stand out compared to other nominees?

NO.  NO NO NO.  Steven Spielberg directed the 16th American president and the entire Union through the civil war in his powerful biopic Lincoln.  Behn Zeitlan directed a six-year old girl through the swampy infestations of New Orleans in Beasts Of The Southern Wild.  Ang Lee had to direct one indian boy on a lifeboat with a CGI tiger.  How does Ang Lee win the award for just following the book note-for-note, word-for-word.  Why?

Argh.  Whatever.  He’s not a bad choice, I’ll give them that.  At least the award went to a decent director.

BEST ACTOR (CORRECT! 👍) Good.  Daniel-Day Lewis won best actor for his adamant performance in Lincoln.  The president of AMPAS just saved himself a broken TV.

BEST ACTRESS (CORRECT! 👍) And yet again, Jennifer Lawrence wins best actress for Silver Linings Playbook.  I’m happy for her win, even though she tripped on the stairs on the way up to accept her award.  She’s a woman of character, integrity, charisma, and good humor.  Congradulations for her win.

BEST SUPPORTING ACTOR (WRONG! 👎) Christoph Waltz beat out Tommy Lee Jones for Lincoln with Django Unchained.  While he certainly isn’t a bad choice, he wouldn’t have been my first pick.  Tommy Lee Jones’ role in Lincoln demanded more for his character, and more emotion and context was shown behind the character of Congressman Thaddeus Stevens.  I would have preferred he recieve the award over Waltz.

On the flip side, where is Leonardo DiCaprio in this?  His performance stood out even more in Django than Waltz’ did.  And yet, here he is, being snubbed for pushing himself as an artist so the Academy can give it to someone who has already won before.  Typical.

But I digress.  Waltz’ role was vital in Django and he served it well.  Congradulations to him for his second win.

BEST SUPPORTING ACTRESS (CORRECT! 👍) Thank you, Anne Hathway, for giving us one of the most powerful moments this year in film for your performance in Les Miserables.  And thank you, Academy, for recognizing her for it.

BEST ORIGINAL SCREENPLAY (CORRECT! 👍) Quintin Taratino won for Django Unchained While I can say the movie is witty and well-written, I still have to point out that I think Zero Dark Thirty and Flight were superior movies compared to that one.  But that is besides the point.  Congradulations to Quintin for his second Oscar.

BEST ADAPTED SCREENPLAY (CORRECT! 👍) Chris Terrio won for Argo.  This is fair considering this is a phenomenal movie with great writing, brilliant pacing, and witty humor.  That all started on the pages of the screenplay, and Terrio is more than deserving in the award.  Again, congrats.

BEST ANIMATED FILM (WRONG! 👎) ….um…. wow.  I gotta admit, I didn’t see this one coming.  Pixar’s Brave won for best animated film over Wreck It Ralph and Frankenweenie.  While I am happy for its win and agree it is among the best animated films of the year, to say it is the best is something of a long shot.  It doesn’t match Frankenweenie as far as maturity goes, and it doesn’t precede Wreck-It Ralph as far as wit and cleverness goes.

I’m not mad, and I’m happy for its win.  I’m just pointing out that I wasn’t expecting it, and out of all of the Pixar epics, this has been one of them that has been recieved with lesser critical reception.  I expect many people to be upset about this win.

BEST DOCUMENTARY (CORRECT! 👍) Of course Searching For Sugar Man won for best documentary.  It’s one of the most critically-acclaimed films of the year and achieved widespread popularity despite its limited release.  Congrats for the win.

BEST FOREIGN LANGUAGE FILM (CORRECT! 👍) Amour won best foreign-language film.  No surprise there.

BEST COSTUME DESIGN (CORRECT! 👍) Anna Karenina won.  I have no comment for its win except that The Dark Knight Rises should have been nominated in its place.

BEST PRODUCTION DESIGN (WRONG! 👎) Now here’s a pleasant surprise.  I was expecting Anna Karenina to win, but it turns out the Academy wisened up for a change and gave the award to Lincoln instead.  Congradulations, and thank you.  That film was a phenomenal period piece that had great attention to historical detail and architecture.  I am not mad at all that I got this category wrong.  Not at all.

BEST CINEMATOGRAPHY (CORRECT! 👍) One step forward, two steps back.  Claudio Miranda beat Roger Deakins in cinemetography with his Life Of Pi against Skyfall.

I knew this was going to happen, even though I wished it hadn’t.  Skyfall was a superior action piece utilizing inventive camera angles at the hands of cinema master Roger Deakins.  Life Of Pi relied on visual effects and wide shots to convey its story across.  Deakins was the more original artist, and he deserved to win.  Just like every other year he’s been nominated.

BEST FILM EDITING (CORRECT! 👍) Argo won for best film editing.

BEST ORIGINAL SCORE (CORRECT! 👍) Life Of Pi won best original score.  And this is one of the categories it wins in which I don’t mind.

BEST ORIGINAL SONG (CORRECT! 👍) Adele took home the award for the night for Skyfall.  Could anyone else have taken it away and be just as deserving?  I think not.

BEST VISUAL EFFECTS (CORRECT! 👍) Life Of Pi won best visual effects.  How humuliating is it that the cast of The Avengers, a movie which SHOULD have walked away with the award, handed it off to the people in charge of the visuals for Life Of Pi?  What a sham.

BEST MAKEUP (WRONG! 👎) Les Miserables won for best makeup.  While I got this category wrong (predicting it’d be The Hobbit), its at least not as polarizing as when The Iron Lady won.  At least its more deserving than Hitchcock.

BEST SOUND EDITING (WRONG! 👎)  Shockingly, for the sixth (seventh?) time in Oscar history, the winner of this category is a tie.  Between Zero Dark Thirty and Skyfall to be precise.  This is great because both nominees were worthwhile movies that deserved at least some recognition.  Bad because I didn’t predict either one on my sheet.

Oh well.  Can’t get everything you want.

BEST SOUND MIXING (CORRECT! 👍) And Les Miserables won best sound mixing. Congradulations.  It deserved it due to the difficulty of the request of what Tom Hooper was asking his sound editors.  Congradulations to that musical epic regardless.

And of course, I got all three of the following categories incorrect.  But that’s only because…

BEST DOCUMENTARY SHORT (WRONG! 👎) Innocente.  Didn’t see it.

BEST LIVE-ACTION SHORT FILM (WRONG! 👎) Curfew.  Didn’t see it.

BEST ANIMATED SHORT FILM (CORRECT?) ...waitaminute, I GOT ONE RIGHT??!?!  Whoa…

Didn’t see that one coming.

In all sincerity, Paperman is the only animation short I’ve seen, paired with my screening of Wreck-It Ralph.  And I’m glad it won.  It was a tender, sincere piece that was just as visually dynamic as it was gripping and creative.  It was a phenomenal animation piece and it deserved no less than best animated short.  Huge congratulations for John Kahr’s win.

Again, and again, and again, congratulations to all of the nominees and their wins.  This was a great year at the Oscars, and many deserved the wins that they received.

Poor on you, though, Seth Macfarlane.  As Ben Affleck said as he was presenting a category in the ceremony, “Y’know, I thought we were doing pretty well here today, Seth.  But I’m sure you’ll turn that around for us”.

-David Dunn

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