Tag Archives: Oscars

Chadwick Boseman Loses Best Actor At 93rd Academy Awards

I’m gonna say it: this is the worst Oscar ceremony I’ve seen in a long time. I’m not just talking about the winners and nominees, which are so random and lopsided that a literal pandemic could not have made them worse if it tried. I’m talking about the ceremony itself, which was so poorly produced it felt more like we were watching the Golden Globes. Yes, I am actually comparing the Academy Awards to the Golden Globes. It more than deserves the comparison.

So many things were lacking in this year’s ceremony. For one thing, none of the categories had previews for the nominees that were being honored. That’s fine for the acting or directing categories if you want to save time (indeed, the Academy straight up skipped over them in the 2017 ceremony). But even the technical categories were overlooked. Visual Effects didn’t show any of layering effects, Sound didn’t show any snippets of their sound engineers working in the studio, Cinematography and Film Editing showed no sequences demonstrating their craft, and even Makeup and Costuming skipped over showing stills of the nominees’ phenomenal work. It’s frustrating that when the crew is constantly overshadowed by the actors headlining their craft, the Academy has the perfect opportunity to show them off, and then they just… don’t. I’m used to the Academy snubbing one or two films in the Best Picture category out of pure snobbery. I’m not as used to them snubbing filmmakers’ work outright just for the sake of saving time.

The telecast also screwed up with something they should especially never mess up at any Oscar ceremony: the In Memoriam segment. In previous years, the Academy may have had some slip-ups, from the choice of a musician to omitting people from the segment altogether. This year though, they did the most disrespectful thing they could have done: they quickly glossed through everyone in the montage, as if they were on a strict time limit and they couldn’t go past it. We lost a lot of amazing artists in 2020, not just with Chadwick Boseman, but also with Ennio Morricone, Kirk Douglas, Christopher Plummer, Sean Connery, Ian Holm, Max Von Sydow, Olivia de Havilland, and so, so many others. And how did the Academy choose to honor them? By timing their tributes to the music. This resulted in many artists being passed over briskly with every beat, while others were stayed on longer due to the swelling of the music.

I understand due to how late this year’s ceremony was held that more people were included in the segment. 2020 was a terrible year, after all, and we all lost much from the year. But you honor these artists the best by giving them the time they deserve on the screen: not by giving each one barely a second and moving on. It was a rude, pitiful, and disrespectful tribute to the artists, and quite frankly, the Academy would have been better off if they just cut it from the ceremony entirely and just release a YouTube video separately. At least then you could spend as much time on each person for however long as you want without interfering with the telecast. This presentation was just pathetic, and I can’t help but feel for the families that lost so much this year and deserved so much better of an effort from the Academy.

But as per usual, the worst part of the ceremony comes with the winners, and the Academy keeps up that tradition even with this year’s ceremony. With a year as bad as 2020, you think it would be impossible for the Academy to choose some of the least deserving winners imaginable. But you’ve gotta hand it to the Academy: even a pandemic couldn’t stop them from making some of the worst decisions imaginable for the 93rd Academy Awards.

Best Picture: Nomadland predictably won Best Picture this year, which officially makes it the most boring Best Picture winner this decade (I know, the decade has only started. Give the Academy time). It’s no shocker that Nomadland won Best Picture. After all, it was sweeping Best Picture awards left and right all season long, so it’s no surprise that it won the biggest award on Oscar night as well.

What is surprising is which order Best Picture was presented. In previous ceremonies, the Academy presents Best Picture last to cap off the evening and end the ceremony with a bang. This year Best Picture was presented third to last, right behind Best Actress and Best Actor. I can only assume the Academy did this because they predicted who was going to win in the remaining categories, which they were embarrassingly wrong about. Either way, it makes for a very weird placement and a very strange way to wrap up the ceremony.

For now, I’ll say congratulations to Nomadland for its Best Picture win. Nearly all of the Best Picture nominees were more deserving, but hey, who am I to rob Frances McDormand of yet another Oscar?

Best Director: Chloe Zhao won Best Director for Nomadland, making her the second woman to win in this category and the first woman of color to win the Oscar ever. That’s about the biggest accomplishment to come out of this movie, because as I already said, it is a snooze fest from start to finish. Regardless, the movie does have some sweet, sincere moments in it, and I especially liked how she brought in real-life nomads into the film’s narrative. As far as uniqueness goes, that’s about everything that makes Nomadland special though, and I would have much rather the Oscar have gone to Emerald Fennell for Promising Young Woman or Lee Isaac Chung for Minari. Either way, congratulations to Mrs. Zhao. I look forward to watching Eternals later this year. Aaron Sorkin was still snubbed in this category for The Trial of the Chicago 7 regardless.

Best Actor: This is the biggest upset of the night and it easily ruined the whole ceremony for me, especially since this category concluded the telecast. Despite giving a career-best performance in Ma Rainey’s Black Bottom and winning over the hearts of fans and critics alike, the late Chadwick Boseman lost Best Actor to Anthony Hopkins for his role as an elderly man battling Alzheimer’s in The Father.

I have so many problems with this that I don’t even know where to start. First of all, with Chadwick sweeping the majority of awards season from the Golden Globes to the SAG Awards, it seemed like Chadwick pretty much had this win in the bag. And why wouldn’t he? He gave a great performance in Ma Rainey’s Black Bottom and outshined even the titular character on that project. His character was crass, headstrong, confident, cocky, smooth, sassy, pained, and tragic all at the same time. Few actors possess all of those characteristics, let alone in one performance. He was very much the driving force of that film and deserved all of the praise that he received.

Compare that to Anthony Hopkins in The Father, which barely generated much conversation or impact until it was nominated for awards. I have not seen The Father thanks to its overpriced rental of $20, but judging from what I have seen, the film tackles heavy themes regarding losing your memory, your grip with reality, and in a way, a part of yourself. It’s for sure a challenging topic and performance to take on, but no more challenging than say, a metal drummer losing his hearing, a drunken screenwriter taking on the media moguls of Hollywood, and a struggling immigrant trying to provide for his family.

What I’m saying is that amongst all of the nominees, Chadwick’s performance in Ma Rainey’s Black Bottom felt unique and stood out amongst his fellow nominees. Hopkins in The Father, in comparison, felt like an honorary mention that rarely elevated to the influence of his peers. The fact he couldn’t even tune in to accept his Oscar remotely makes his win even more awkward.

I’ve heard some commentators remark that fans are more motivated by Chadwick’s tragic passing than they are the merits of his performance for the award, but I genuinely don’t think that’s the case. Before Ma Rainey, I thought Riz Ahmed was the clear standout for Sound of Metal and thought that Chadwick was getting the sympathy vote. Then I watched Ma Rainey’s Black Bottom and was completely blown away. He immediately sold himself as this overly ambitious musician with dreams of reaching the top, only to be roadblocked by white America around every corner. He made the movie, and after watching it, Chadwick became my only favorite to win the Oscar.

Consider also, that Hopkins has already won a Best Acting Oscar in 1992 for Silence of the Lambs. Meanwhile, Ma Rainey’s Black Bottom was Chadwick’s first and only nomination. It feels like he deserved stronger consideration for the award, especially since this was his last performance before he died. And before some of you come at me with “bUt tHaT wAs hIS FIrSt nOminAtiOnnn,” Anthony Hopkins’ first Oscar win also came with his first nomination for Silence of the Lambs. It isn’t unprecedented for that to happen, and a stronger case definitely should have been made for Chadwick.

I could be wrong, of course, and I very well may feel differently after I watch The Father later this year. Until then, this snub feels like if Heath Ledger’s Oscar for playing the Joker in The Dark Knight went to someone else: and that really, really stings.

Best Actress: I got this one wrong as well, but I was already on uncertain grounds with a four-way deadlock between Carey Mulligan, Frances McDormand, Viola Davis, and Andra Day. McDormand ended up securing the win for Nomadland, made an awkward remark about including karaoke machines in the ceremony, and then left the stage right after howling like a wolf. Again, I feel like her performance in Nomadland was more muted and less expressive than some of her more memorable performances, especially in comparison with her 2018 Oscar win for Three Billboards Outside Ebbing, Missouri. Compared to her fellow nominees that crafted a very vivid presence in their respective films, her performance in Nomadland feels more transparent, like a surrogate for audiences to channel themselves into.

Regardless she now has three acting Oscars under her belt, tying her with Meryl Streep herself. She should feel honored just for that comparison. Hopefully the Academy doesn’t decide to nominate her even further into the future, otherwise good ol’ Meryl might get jealous.

Best Supporting Actor: Even though he was literally the lead in the movie, Daniel Kaluuya won Best Supporting Actor for playing Black Panther leader Fred Hampton in Judas and the Black Messiah. Again, I have no idea how he won Best Supporting Actor for a role that was very much non-supporting when Chadwick literally went home with nothing. Was the Academy somehow convinced that Levee Green was a supporting character and should have been nominated in this category instead? If that was the case, why wasn’t Kaluuya nominated for Best Actor? Would he have lost to Anthony Hopkins for The Father anyway? Does anyone even care enough to examine the Academy’s weird justifications anymore?

Either way, congrats to Kaluuya for his much-deserved Oscar win. It was nice to see him on stage accepting the award, as well as interacting with his old Get Out co-star Lil Rel Howery. And his message of unity in his acceptance speech was especially uplifting and powerful. He deserved an Oscar for that speech alone.

Best Supporting Actress: Yuh-Jung Youn has been called the Meryl Streep of South Korea, so is it really that surprising that she won Best Supporting Actress for Minari? She was just as playful and endearing as her character was in that movie, and her fun little poke at presenter Brad Pitt was especially amusing.

Best Animated Feature: As expected, Soul won Best Animated Feature, marking it as Pete Docter’s third Oscar win and 11th Oscar win for the Pixar team as a whole. Much congratulations for everyone involved with that phenomenal film. Personally I felt Onward was just a bit better, but it’s a win for Pixar either way. At this point, the Academy should just preemptively award the Pixar nominee every year before the ceremony and call it a day.

Best Documentary Feature: In a particularly tight race, My Octopus Teacher beat out its competition to win the Best Documentary Oscar this year. I personally feel for the Collective team since they’ve lost twice this year in both the documentary and international film category, but My Octopus Teacher has a very interesting subject and a unique way that it approaches it. I look forward to watching it in a few weeks, right after trying to understand why Time has so many viewers riled up.

Best International Feature: Thomas Vinterberg won for Another Round, and he gave a very powerful tribute to his late daughter during his acceptance speech. Congratulations to him for his much-deserved win. I’m glad he got to experience this honor in her memory, and I hope he continues to make movies that inspire him as much as this film has.

Best Original Screenplay: As expected, Emerald Fennell won Best Original Screenplay for her wickedly clever and smart portrayal of a woman fighting sexism in Promising Young Woman. I still feel a stronger pull for Aaron Sorkin’s The Trial of the Chicago 7 and would not have been upset at all if he had won this award instead of her. Regardless I am glad both of the nominated female directors this year got to walk home with a prize, especially since women are very often overlooked in the writing categories. So much congratulations to Mrs. Fennell. She very much deserved to win this one over her male peers.

Best Adapted Screenplay: In the night’s first surprise twist, The Father beat out Nomadland for Best Adapted Screenplay. I was fine with this win because 1) The Father seems centered on a very strong emotional foundation, and 2) The awards circuit seemed annoyingly obsessed with Nomadland, so any opportunity where it can be overlooked I’m mostly fine with it. I’m just glad the Oscar didn’t go to Borat Subsequent Moviefilm. Can you imagine how annoying it would have been circumventing nine screenwriters onto that blasted stage? I barely have the patience for even two of them, so thank God we didn’t have to suffer through that social distancing nightmare.

Best Film Editing: The underdog Sound of Metal prevailed over the likes of its stronger nominees in The Trial of the Chicago 7 and Promising Young Woman. While I preferred those titles over the winner, Sound of Metal does have a solid assembly of its shots and paints a vivid and somber picture of a man losing a big piece of his life. That’s a hard thing to capture and tell, and Mikkel Nielsen does a great job getting us to sympathize with this character. Plus, he took away this Oscar from the likes of Nomadland and The Father. That’s good enough for me.

On another note, Harrison Ford presented this category with a very funny story about how critics initially reacted to a screening of Blade Runner. I could take Harrison’s annoyed scowl hosting the entire ceremony and that would be enough to keep me tuned in for the whole night.

Best Cinematography: Of all of the nominees for Best Cinematography, the biggest contenders were also the two most boring nominees out of the whole pack: and Mank cliched it from Nomadland, barely.

As much as I love Nomadland getting overlooked in one category after another, cinematography is one I will disagree with and am actually very frustrated about it losing. For one thing, the best thing about Nomadland was easily its cinematography, capturing life on the road and these vast, wide, open shots of the landscapes the nomads get to see and experience. As dull, long, and overbearing as that film is, it is also visually beautiful and does a great job capturing the nomads’ perspectives. It was amazing camerawork, and Joshua James Richards easily outshined his fellow nominees.

Compare that to Erik Messerschmidt, who won the Oscar for essentially copying Gregg Toland’s canted cinematography from Citizen Kane in Mank. I find so many issues with his win, especially since his cinematography is 1) Redundant 2) Plagiarized 3) Contrived and 4) very underwhelming. His work on Mank was nowhere near as striking or memorable as The Trial of the Chicago 7, Judas and the Black Messiah, News of the World, and especially not as much as Nomadland. At the very least, Erik Messerschmidt does not deserve the Best Cinematography Oscar over David Fincher’s frequent collaborator Jeff Cronenweth, who has been nominated for Best Cinematography on Fincher’s last three projects and has not won once. A pity that creative and captivating cinematographers are getting egged to the side while Orson Welles knock offs are going home with the gold. But that’s Hollywood for you, I guess.

Best Makeup and Hairstyling: Ma Rainey’s Black Bottom won Best Makeup and Hairstyling. Hey, if Chadwick wasn’t going to win the Oscar, Ma Rainey deserved to win something, right?

Best Costume Design: Again, Ma Rainey won. I have a tough time deciding whether she or Emma. deserved to win. Either way, it’s funny to see Pinocchio trending in these categories after people realized a live-action remake came out last year. Was the pandemic really that bad, to where viewers genuinely did not realize a Pinocchio movie came out in 2020? Or is that just the result of bad marketing? Either way, congrats to Ma Rainey for the costume win, though I much would have preferred the Oscar gone to Chadwick.

Best Production Design: As previously expected, Mank won for production design, and it was the only Oscar it deserved to win out of the whole night. Next.

Best Musical Score: I was genuinely nervous for a minute when Trent Reznor and Atticus Ross’ names were read, as I was worried that Mank was going to win yet another very undeserved Oscar. Then the Academy read Jon Batiste’s name too, and I was instantly relieved when I realized Soul won instead. Congrats to all three of these amazing composers. They definitely deserved it for the amazing, refreshing sounds they provided not just for the film, but for our hearts.

Best Original Song: In yet another tight category, H.E.R.’s “Fight For You” won against One Night In Miami’s Leslie Odom Jr. for Judas and the Black Messiah. I was split 50/50 under this category and preferred “Speak Now’s” quietly soulful vibe, but if it wasn’t going to win, “Fight For You” was definitely my second favorite pick. Congrats to her either way. With her recent wins at the Grammys, H.E.R. has been having a great, great year.

Best Sound: Sound of Metal won the newly-named Best Sound Award. Duh. It was kind of a given it was going to win since the word “sound” is literally in its title. Either way, congrats to the amazing sound design team. They did a brilliant job capturing what the deaf experience was like for Ruben Stone.

Best Visual Effects: As already expected, Tenet won Best Visual Effects. Congratulations to Christopher Nolan’s visual effects team for the much-deserved win. Good luck explaining the plot to anybody though.

And as per usual, I lost in all of the short categories this year save for If Anything Happens I Love You’s win for Best Animated Short. That leaves my final tally for 16 out of 23 categories predicted correctly this year. Good for me I guess, but it doesn’t take away from the pain of Chadwick’s Best Actor loss. I will never let the Academy live that one down, ever. I cannot imagine what snub could possibly be worse this decade, but the Academy has outdone me before. Let’s give them time to see how else they can infuriate me for 2022.

Now if you’ll excuse me, I am going back to watching Ma Rainey’s Black Bottom. Some of us appreciate icons when we see them.

– David Dunn

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2021 Oscar Predictions

I don’t know about you guys, but this year’s Academy Awards feels a lot stranger than usual. Doesn’t it for everybody? Even though the nightmare that is 2020 is behind us, I feel like a lot of what happened carried over into 2021 and changed how we approach pop culture and public events as a whole. 

Case in point is the 93rd Academy Awards. In any other year, the winners would have already been announced and we would have been well on our way to talking about the newest cinematic release, like Godzilla vs. Kong or Black Widow. This year the nominees came out several weeks after the awards ceremony would normally take place, and this year’s ceremony isn’t even until two weeks away. It feels weird to still be talking about awards season this late in the spring, let alone in April. 

Either way, the Academy Awards are right around the corner, and I’m excited for a number of reasons. For one thing, it’s the first taste of normalcy many of us have had since, well, March of last year, so it’s nice to get back into the swing of things when many of us didn’t even know what the state of the Academy Awards would be this year. Several of my favorite films are nominated, including Ma Rainey’s Black Bottom, Sound of Metal, and of course, The Trial of the Chicago 7. And the best part: no Oscar host again this year. After all of the coronavirus and political crap we dealt with in 2020, the one thing I did not need was yet another forgettable Oscar host. Thank God the Academy listened to viewers on that one. 

But there are several other things I’m less pleased with in this year’s ceremony. For one thing, Mank, one of David Fincher’s most boring and forgettable films ever put on life support, got a whopping 10 nominations at this year’s ceremony. I don’t know how it even got five nominations, let alone 10. Other amazing movies like The Invisible Man, The Devil All The Time, and Spike Lee’s Da 5 Bloods all got zero nominations at this year’s ceremony. And for the select few that are nominated, it looks like my favorites are mostly going home empty this year, which is always disappointing. 

Regardless, it’s nice to be back trying to outguess the Oscars this year. Without further adieu, here are my predictions for the 93rd Academy Awards. 

SOURCE: Searchlight Pictures

Best Picture: Ah, Best Picture. We meet again. You’ve gotten the better of me these past few ceremonies. The first half of the decade, I predicted all of your winners correctly, from The King’s Speech to Birdman. Then came 2015, and you just screwed with me in every way imaginable. 

First Spotlight won Best Picture while winning only one other Oscar from the night, the first time a Best Picture winner has done so since The Greatest Show On Earth in 1952. Then Moonlight beat La La Land for Best Picture during its embarrassing announcement mixup (but hey, I’m not complaining much). Then The Shape of Water became the first science-fiction film to win Best Picture, followed by Green Book stupidly winning over Roma, BlacKkKlansman, and Black Panther. Finally, Parasite became the first Foreign-language film to win Best Picture… ever. Again, I’m not complaining, but it definitely should not be the first… or last. 

This year seems, SEEMS, more straightforward than in previous years, and I’m knocking on wood when I say that. Nomadland has been racking up so many Best Picture wins this awards season that you’d think it was Meryl Streep. I have no idea why it has the momentum that it does. After all, The Trial of the Chicago 7, Judas and the Black Messiah, and Sound of Metal are all far more invigorating and powerful than that movie was — and amazingly enough, none of those movies are nominated for Best Director. But we’ll get to that later. 

Still, I think Nomadland is going to nab the top prize. The only other real competition it has is The Trial of the Chicago 7 because of its SAG Award win for Best Ensemble Cast. Even then, it isn’t looking to get a lot of love in many other categories, which is a shame because it is such an outstanding film. All the same, Nomadland does have its wholehearted moments and it deserves to be commended for that, if not saturated in praise already. 

Best Director: First of all, shame on the Academy for snubbing Aaron Sorkin in the Best Director category for The Trial of the Chicago 7. In a year where America was slammed by multiple epidemics, both social, political, and racial, The Trial of the Chicago 7 presented those same issues under a new light with heart and humor. It’s rare that a film feels as simultaneously as important as it does entertaining, yet Sorkin finds the right balance both as director and writer. Sorkin has every reason to be included on this list, while Another Round’s Thomas Vinterberg has zero reasons. I don’t care how good that movie is: Another Round has zero chances of winning, while The Trial of the Chicago 7 is more than deserving of a seventh nomination. Heck, you could even trade David Fincher’s nomination for Sorkin as well. God knows Mank doesn’t deserve to be recognized here. 

Regarding the rest of the nominees, Chloe Zhao has been racking up Best Director awards left and right this awards season, including the Director’s Guild, so it makes sense that she’d win Best Director at the Oscars as well. Again, I don’t know why she’s the favorite over the likes of Lee Isaac Chung’s Minari or Emerald Fennel’s Promising Young Woman. Both of those films clearly have the director’s fingerprints on them, while Zhao’s direction on Nomadland is more nuanced than anything else. But hey, it’ll at least be nice that an Asian woman has finally won a best directing Oscar. Plus, the Marvel Cinematic Universe will finally have an Oscar-winning director under its belt when Chloe releases Eternals later this year. 

At the very least, let’s be grateful David Fincher won’t be winning his first Oscar from Mank. Hang in there Dave: your time will come soon, and with a better movie. 

Best Actor: This one is pretty much a done deal: Chadwick Boseman will win Best Actor for his final performance as a cocky and overconfident trumpet player in Ma Rainey’s Black Bottom. Besides the obvious tragedy regarding Chadwick’s sudden passing last year, the Academy has a slight preference towards awarding posthumous performances in the acting categories, with the last posthumous award going to Heath Ledger in 2008 for The Dark Knight. If Chadwick does win, he will have more than earned it, as his performance as Levee Green was smart, crass, witty, passionate, and filled with life, just like all of his performances were. I won’t be emotionally ready for this award when it comes around. 

Best Actress: Okay I gotta be honest here: I have absolutely no idea who is winning Best Actress this year. I seriously don’t. That’s because awards season has been completely bonkers with handing out its actress statuettes this year, and there’s no clear-cut winner thanks to everybody working on a different page. 

It’s easier to pick who won’t win than it is to pick who will win Best Actress this year, which is why you can cross Vanessa Kirby off of the list right now considering she hasn’t won diddly-squat all season for Pieces of a Woman. And despite her BAFTA win, you can also cross Frances McDormand off of the list since she already won Best Actress two years ago for Three Billboards Outside Ebbing, Missouri

That leaves Viola Davis for Ma Rainey’s Black Bottom, Carey Mulligan for Promising Young Woman, and Andra Day for The United States vs. Billie Holliday. Andra won the Golden Globe for her performance in that film, but unfortunately so did Glenn Close for The Wife and she still lost the Oscar to Olivia Coleman for The Favorite. That leaves Viola and Carey to duke it out for the Best Actress Oscar. 

And here’s the thing about that: neither of these actresses are solidly in the lead. Davis recently won the SAG Award, which would normally makes her the best bet, but every year the Oscar deviates from at least one SAG Award winner at its ceremony (see Idris Elba in 2016, Denzel Washington in 2017, Emily Blunt in 2019). Carey Mulligan, meanwhile, has won the Critics’ Choice Award, but that’s even more inconsistent when it comes to trying to pick the Oscar winner. What to do? 

Screw it. I’m going against the grain here and picking Carey Mulligan for Promising Young Woman. Ma Rainey’s Black Bottom already has one win secured with Chadwick Boseman anyway. It doesn’t need to get greedy with the Oscars now. 

Best Supporting Actor: Again, why is Daniel Kaluuya and Lakeith Stanfield nominated for supporting actor with Judas and the Black Messiah? Obviously they deserve to be nominated somewhere because they were both just so outstanding in that movie, but these two leads literally got top billing for that project. Their faces were on the dang poster, for crying out loud. First the Academy snubbed Dev Patel of a Best Actor nomination for Lion five years ago, now they’ve gone and done the same thing again to the leads for Judas and the Black Messiah. What exactly is the Academy’s criteria for actor and supporting actor anyway? Do any of their rules make sense to anybody anymore? 

That being said, Daniel Kaluuya probably stands the best chance for winning Best Supporting Actor here. Not that Sacha Baron Cohen, Paul Raci, and Leslie Odom Jr. weren’t equally as amazing in The Trial of the Chicago 7, Sound of Metal, and One Night In Miami…, but Kaluuya was just so prominent and powerful a presence as Black Panther leader Fred Hampton that it would frankly be disrespectful to him if anyone else won. Good luck explaining to me why he’s nominated for supporting actor over Best Actor though. Maybe the Academy wanted to equally recognize Chadwick Boseman and Daniel Kaluuya in the same ceremony? If that’s true, then that’s the best reasoning why he’s nominated in this category. 

Best Supporting Actress: First thing’s first, why on God’s Green Earth is Maria Bakalova nominated for Borat Subsequent Moviefilm? Was the year really so desperate that this movie needed to be nominated for acting? No doubt she was brilliant in it, but I’ve always been under the presumption that mockumentary films never got nominated at the Academy Awards. If we’re suddenly allowing them for consideration now, then where was This Is Spinal Tap’s nomination in 1984? 

Outside of that strange nomination, this is an unusually competitive category this year, with nominees including Hillbilly Elegy’s Glenn Close and The Father’s Olivia Colman. My pick for Best Supporting Actress, however, is Youn Yuh-jung, who plays Jacob’s grandmother Soon-ja in Lee Isaac Chung’s tender and sweet childhood drama Minari. Besides her being just as adorable and precious as any caring grandma could be, Yuh-jung carries international star power none of the other nominees possess, credited with over a hundred roles in her 50-year career. If all of that wasn’t enough on its own, she’s also been called the Meryl Streep of South Korea — and we all know how much the Academy loves Meryl Streep. 

SOURCE: Walt Disney Studios Motion Pictures

Best Animated Feature: Can we just start calling the Best Animated Feature Oscar the Best Pixar Feature already? Pixar has won so many of these Oscars that it’s just getting ridiculous at this point. This year their chances of winning are doubled with not only the larger-than-life Soul getting nominated, but also the endearing and touching brotherhood fantasy Onward. 

While Onward is my personal favorite out of the nominees, Soul has a more dedicated following and explores more profound themes of life and purpose in its seemingly simple story. Even though both of Pixar’s nominees are equally worthy of the award, I think Soul will end up winning Best Animated Feature.

Best Documentary Feature: Again, no idea who will win Best Documentary. At first glance I thought Collective would stand the best chance at winning since it’s also nominated for Best International Feature. But then I remembered that was the same case for Honeyland last year, and look at how that turned out. My next thought went to Time for touching on issues such as incarceration, the prison system, and poverty, but that film has a very mixed reaction amongst audiences, and I don’t think the Academy would go with it given its divisive reception. 

The next best bet then is My Octopus Teacher, and admittedly it is a unique premise about a filmmaker befriending an octopus in the ocean for a year. In recent years, interesting documentary subjects have won over the Academy more than interpersonal ones have (see Icarus, Free Solo). For that reason, I’m going with My Octopus Teacher. 

Best International Feature: All of the nominated films for Best International Feature seem to be on equal footing here with one key exception: Thomas Vinterberg’s Another Round. Besides Best International Feature, Vinterberg is also nominated for Best Director and is the only other Best International Feature nominee to secure two nominations at this year’s ceremony. That pretty much assures Another Round’s win in this category, as it is historically unusual for a filmmaker to be nominated for Best Picture or Director and not end up winning Best International Feature. At least Minari isn’t foolishly nominated in this category like it was at the Golden Globes. I guess the Academy learned from the Hollywood Foreign Press’ mistake. 

Best Original Screenplay: This category could go to to one of two nominees on Oscar night: Aaron Sorkin’s The Trial of the Chicago 7 or Emerald Fennell’s Promising Young Woman. Between the two nominees, I adore The Trial of the Chicago 7 more not just for its subject matter, but for its brilliant handling of it. It emotion and gravitas, smart and electrifying dialogue, witty sense of humor, and stark parallels to modern society give power and purpose to this politically-charged drama, and all of that is thanks to Sorkin.

Emerald Fennell, however, has also crafted an ingenious and well-thought-out narrative behind the black comedy thriller Promising Young Woman. Handling a subject matter as serious as rape and sexual assault is always a difficult and delicate matter, but Fennell handles it well with grit, intelligence and striking commentary. It’s a close call between the two nominees, but if we’re going off of who has the better chances, it’s probably Promising Young Woman since Aaron Sorkin already won a writing Oscar in 2011 for The Social Network. If Fennell does win, it will be well-earned, although I kind of hope Sorkin would win his second Oscar for The Trial of the Chicago 7. But hey, maybe it’s better this way. At least the Academy gets to avoid the wrath of the feminists for another year. 

Best Adapted Screenplay: Again, can someone please explain to me how the hell Borat Subsequent Moviefilm is nominated for best screenplay? No, better yet, why is it nominated for Best Adapted Screenplay? While the rest of the nominees were based off of books or plays, Borat Subsequent Moviefilm is based on the character of Borat, which is just as dumb as when Toy Story 3 was nominated for being based on its characters, or when Whiplash was nominated for being based on its own short film. Don’t even get me started on the Writer’s Guild of America, who unbelievably had the gall to name the Borat sequel the winner for Best Adapted Screenplay. I don’t care whether or not it can be considered a contender at the Oscars: the movie doesn’t deserve a nomination, let alone a freakin’ win. For that reason I’m knocking it off from my list of contenders. It doesn’t even warrant a nomination, and I’m not about to give it what it doesn’t deserve. 

Now then, looking at the four other nominees, there’s only one real other contender I see from the pack: Nomadland. While it’s questionable how Chloe Zhao chose to adapt Jessica Bruder’s nonfiction novel into a fictional narrative, the story she does weave is just as earnest as its source material, and she does a great job integrating the real-life nomads featured in the book and casting them as themselves in the movie. There are quite a few moments in the film where these nomads are talking, and you’re wondering if they’re actually acting or if they’re reliving their life experiences that brought them here. That level of authenticity is rare in the movies, and for that reason I think Nomadland is most primed to win Best Adapted Screenplay. 

SOURCE: Amazon Studios

Best Film Editing: Of all of the categories the Academy Awards recognizes on Oscar night, Best Film Editing has the least respect. Not because film editors aren’t artists of their own craft, but because for the past few years, the Academy Awards has chosen the literal worst winner they could among its pack of nominees. Dunkirk was a choppy and incomprehensible mess of a movie that couldn’t assemble a concise narrative if it wanted to, while it’s a straight-up crime that Ford v. Ferrari won the editing Oscar when Rush wasn’t even nominated. Don’t even get me started on Bohemian Rhapsody winning the bloody Oscar over the likes of The Favourite, Vice, and BlacKkKlansman. Spike Lee is upset that he lost Best Picture to Green Book, while I’m more upset that BlacKkKlansman lost to John Ottman literally ripping up the celluloid for Bohemian Rhapsody

The good news is this year’s pack of nominees doesn’t have anyone that’s as outwardly bad as the aforementioned winners are, just nobody that really sticks out like Whiplash, Argo, or The Social Network did. My personal favorite is Alan Baumgarten for The Trial of the Chicago 7, not just because of his smart assembly of events playing out throughout the picture, but also because of his great intercutting between characters’ dialogues alongside each other. Plus he’s been nominated before for 2013’s American Hustle. If I had to pick the most worthy winner out of these nominees, it’d be The Trial of the Chicago 7 hands down. 

However editing isn’t just fast-paced intercutting between action and dialogue — it’s also knowing when not to cut and letting events play out naturally to understand what our characters are going through. Sound of Metal does a brilliant job with the latter, as whenever Ruben Stone begins to lose his hearing, the loss of sound plus his facial expressions makes for painting a beautiful yet tragic picture of what he is experiencing. 

It’s a tough one, but I’m personally going to go with Sound of Metal. The quick editing techniques really haven’t sold itself in recent years with nominees The Big Short and Vice going home empty, plus I kind of like the idea of an indie favorite like Sound of Metal beating out the big production company-prowess of The Trial of the Chicago 7. Either way, let’s be grateful Bohemian Rhapsody isn’t taking home the award this year. I would probably lose my mind if it got a lifetime achievement award in editing or something like that. 

Best Cinematography: It’s amazing to see how quickly the Oscars can elevate someone to the level of their well-established peers. Take Best Cinematography nominees Sean Bobbitt, Dariusz Wolski, and Phedon Papamichael. In any other year, they would be considered the biggest contenders in this category, with their credits including not only the recently released Judas and the Black Messiah, News of the World, and The Trial of the Chicago 7, but also The Martian, Prometheus, Pirates of the Caribbean, Alice In Wonderland, 3:10 To Yuma, Ford v Ferrari, and 12 Years A Slave. At the Oscars, artists’ careers speak for themselves, and these nominees definitely carry very impressive ones. 

As loaded as these cinematographer’s filmographies are, they are amazingly enough the underdogs this year next to Nomadland’s Joshua James Richards, who has worked alongside collaborator Chloe Zhao since her director debut Songs My Brother Taught Me in 2015. And his work on Nomadland is stunning, eloquently capturing both the beauty and isolation of life on the road as a nomad. I don’t advocate for Nomadland for several awards this Oscar season, but I happily will for cinematography because it’s just that lush and gorgeous. Again, another filmmaker might be able to pull an upset, but considering all of the love and adoration behind Nomadland it isn’t likely. 

Best Makeup and Hairstyling: Here’s a rarity for the Academy Awards: the makeup category once again has five nominees under consideration. Normally Best Makeup only has three nominees, but this is the second time the Academy has filled all five makeup slots, right after Bombshell won this Oscar last year. That’s great for the Academy and even better for the nominees. Still, it doesn’t make my predictions any easier. 

As far as this year’s nominees go, I quite like the makeup work turning Federico lelapi into a wooden puppet in Matteo Garrone’s Pinocchio, as well as Hillbilly Elegy for turning Amy Adams and Glenn Close into some convincing-looking southern hicks. But if I have to look at the most striking makeup work, it has to be Ma Rainey’s Black Bottom. Its transformation of Viola Davis into the Mother of Blues herself Ma Rainey is just too impressive to miss, whether you’re looking at her blush makeup or her several exotic hairstyles. Sometimes it’s the transformation of one key character that sets the winner over the edge (see Vice, Darkest Hour and The Wolfman’s Best Makeup wins). If we’ve gotta bet on one leading lady, it’s got to be Ma Rainey. 

Best Costume Design: Another tough category, and man am I sick of saying that. The matchup for Best Costume Design comes down to the snazzy and stylish jazz suits and dresses of Ma Rainey’s Black Bottom and the elegant and enchanting wardrobe of Emma. Looking at the nominees themselves doesn’t make the matchup any easier, because not only has Ann Roth and Alexandra Byrne both been nominated five times: they’ve also both won Oscars already, Ann for The English Patient in 1996 and Alexandra for Elizabeth: The Golden Age in 2007. So who the heck is going to win the award this year? 

It could be my bias speaking again, but I think Ma Rainey’s Black Bottom has just the slightest edge over Emma. One, the costumes are just as striking and spectacular as the film’s titular character is. Second, from a numbers perspective, Ma Rainey’s is just more loved by the Academy than Emma. is. Ma Rainey’s Black Bottom is nominated five times at the Academy Awards, while Emma. only has two nominations. Ma Rainey’s is literally the only film tied in nominations with Best Picture nominee Promising Young Woman, and it isn’t even nominated for Best Picture. Films nominated in more categories is usually bound to get more accolades, which is why Ma Rainey’s is the safest choice for costume design.  

Best Production Design: With an unbelievable 10 nominations under its belt, Mank was bound to win in one category or another, and production design is Mank’s moment to shine. Not only do the sets evoke the feel and sensation of 1930s Hollywood, but it also does a brilliant job recreating the era through the black-and-white lens of Citizen Kane. Still, as far as positives go that’s one of the few the film can fairly claim, and I have no idea why the film is also nominated for Best Picture or Director since it’s more dull than an E.L. James novel. Either way, its production is outstanding, and if Mank does win the Oscar, it will be the only one it has rightfully earned. 

SOURCE: Netflix

Best Musical Score: Shoutout to Trent Reznor and Atticus Ross for being nominated not once, but twice in this category. Not only did they score the snazzy and sensational ‘40s jazz soundtrack of Mank, but they also provided a lo-fi vibe to the heavenly and uplifting sounds of Soul. Either one could win on Oscar night, but my money is on Soul. Not only does its mesmerizing score go perfectly with the movie’s heavenly premise, but it’s also simply so beautiful and euphoric to listen to on its own. Mank might be able to pull an upset, but considering all of the love and adoration behind Soul, it isn’t likely. Whichever film wins the Oscar, Trent Reznor and Atticus Ross have already won. 

Best Original Song: It’s interesting to see how many songs in this year’s Oscars are dedicated to social causes compared to previous ceremonies. H.E.R. offers a beautiful and soulful R&B single with Judas and the Black Messiah’s “Fight For You,” while Celeste gives an emotional plea for help in The Trial of the Chicago 7’s “Hear My Voice.” But the most powerful track comes from Leslie Odom Jr.’s “Speak Now” for One Night In Miami…, where he offers simple spoken word on listening and unifying against injustice before crescendoing into a monumentally moving chorus. 

The Oscar could go to any one of these amazing nominees on awards night, but my pick is Leslie Odom Jr. Not only is “Speak Now” my favorite song nominated, but his star power also elevates him slightly above his fellow nominees. Be honest now: do you really think the Academy Awards will pass up on the chance to recognize a Hamilton star? Then again though he does play Aaron Burr, so if the Academy does decide to snub him, they’re somewhat justified for doing so. 

Best Sound: First of all, props to the Academy Awards for finally wising up and condensing the sound editing and mixing Oscars into one category. I know many sound editors may understandably be frustrated by the decision, but come on. Several elements go into all of the technical categories. You don’t see separate categories for Best Cinematography, Best Framing, Best Panning, Best Lighting, and Best Focusing. The Academy Awards are meant to recognize outstanding efforts overall, not pander to every single department of a production. 

That said, let’s plunge into the newly-named Best Sound category. It’s easy to predict who will win this year, and frankly, it isn’t even close: Sound of Metal. Given that the premise of the film revolves entirely on the sounds Ruben Stone does and doesn’t hear, it makes sense that so much effort goes into this film’s sound production. Still, I can’t overstate how masterful the editing and mixing of this film is. Not only are the sounds crisp and clear when they need to be, but they’re also equally distorted, messy, and compressurized, giving us a clear understanding of what Ruben is experiencing when he’s going deaf. It’s brilliant work from Sound of Metal’s sound engineering team, and frankly, no other nominee in this category is anywhere near as deserving. 

Best Visual Effects: Tenet. While not the most refined Christopher Nolan film, it does offer some dizzying visual effects, with objects and people moving forward and backwards through time like a clock’s two hands moving in opposite directions. In another year, maybe Tenet would be considered the dark horse compared to the rest of the nominees. But 2020 was a dismal year, and its competition is monsters, CGI animals, and a bad live-action Disney remake. Wor a in raey driht a rof debbuns eb t’now soidutS levraM tsael tA. 

And at last, we arrive at the dreaded short categories, the films I’ve never seen but am nonetheless asked to predict anyway. For documentary and animated short, I’m picking “A Concerto Is A Conversation” and “If Anything Happens I Love You” only because those are stimulating titles and nothing else. And “The Letter Room” has the only actor I recognize out of all of the short nominees thanks to Oscar Isaac, so that’s the one I’m going with for Best Live Action Short. Easiest shorts predictions ever. 

Well that’s it for now folks. I’ll see you on Oscar night. Remember to wear your mask.

– David Dunn

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Mank-ing The Oscars Work

Holy crow, it’s finally here: the 93rd Academy Award nominations are out. For the longest time, I questioned whether we were even going to have an Academy Awards ceremony this year due to, you know, a global pandemic going on. And even though the ceremony was delayed by two months, the nominations still came out a few weeks shy of when the actual ceremony is normally held. Hey, if we get through this pandemic and host the Oscars during its regular schedule year after year, I will never complain about the Academy Awards ever again. Except for its snubs: those will never be overlooked even if we’re in the middle of a zombie apocalypse. 

The first Best Picture nominee leading the pack with 10 nominations is David Fincher’s drama Mank, which tells the true story of screenwriter Herman J. Mankiewicz and his writing of the 1941 classic Citizen Kane. No surprise there as not only has Mank been the leading contender for the Golden Globes, the Satellite Awards, and the Critics Choice Awards, but it’s also related to Citizen-freaking-Kane. If David Fincher directed a drama about the toilet scrubber working on set of The Godfather, the Academy would give it 12 nominations just for the association alone. But I am happy for David Fincher as this is the first year where one of his movies has received the most nominations at the Academy Awards. Will it lead to a gold statuette? Possibly, but it really could go either way on Oscar night. There have been ceremonies where the most-nominated picture swept at the Oscars (The Shape of Water and Birdman in 2018 and 2015) to winning literally nothing (American Hustle in 2014). 

What follows is a very interesting predicament, and something I personally have not seen at the Academy Awards since… well, ever. The next six Best Picture nominees all have six nominations each. Yes, dear reader: six Best Picture nominees with six nominations each. That’s been unheard of at the Academy Awards for quite some time. Usually there’s one or two other favorites that has seven or eight nominations apiece, then the other three or four nominees share the rest of the nominations. This year, most of the Best Picture nominees are on unusually equal footing, which makes this year’s Oscars more difficult to predict compared to previous ceremonies. 

One of the early leaders in contention at the moment is Nomadland, an Indie drama darling directed by Chloe Zhao and starring Frances McDormand as a widow traveling the land after her husband died. I recently reviewed the movie on my buddy Andy Branca’s show “The Critics Corner,” and we both felt a bit underwhelmed by the movie’s slow, groggy, and overbearing pace. However, I do feel like the movie’s subject of grief and isolation resonates well with many people, especially in a year as terrible as 2020. Plus, the camerawork by Joshua Richards is gorgeous and for sure a contender in the Oscar’s cinematography category. Everything else, from director to actress to film editing to adapted screenplay, is up in the air. But personally, I’m shocked the movie wasn’t nominated for a best sound editing Oscar for those vivid sound effects of McDormand pooping in her van. Those sounds were very convincing. 

Another contender is the Aaron Sorkin-directed historical drama Trial of the Chicago 7, which tells the true story of seven anti-Vietnam War protestors charged with incitement to riot at the 1968 Democratic Convention. The movie is a brilliant, funny, affectionate, and eerily relevant movie for the times we live in and a great look back at one of our most contentious moments in American history. But I’ll be honest: I was expecting it to get nominated in several more categories than what it was nominated for here. Besides Best Picture, Trial of the Chicago 7 was nominated for Best Original Screenplay, Cinematography, Film Editing, Original Song with Celeste Waite’s “Hear My Voice,” and Best Supporting Actor for Sacha Baron Cohen. Personally I think it could have also gone for Best Production and Costume Design, and Sorkin was definitely snubbed in the Best Director category, especially with Another Round’s Thomas Vinterberg nominated despite not also being nominated for Best Picture. 

Funny enough, Trial of the Chicago 7 isn’t the only Best Picture nominee to feature Black Panther leader Fred Hampton: he’s also the subject of Shaka King’s shocking biographical epic Judas and the Black Messiah. What’s surprising about this movie isn’t the fact that it it has six nominations, including Best Original Screenplay, Best Cinematography and Best Original Song for H.E.R.’s “Fight For You.” What’s surprising is two of its nominations come in the same category, with leads Daniel Kaluuya and Lakeith Stanfield both being nominated in the supporting actor category. Why does the Academy keep doing this? Five years ago, Dev Patel was given a Best Supporting Actor nomination for Lion despite playing the freaking lead. Now Judas and the Black Messiah is given the same treatment for not one, but two of its leads. Is that just the Academy’s prerogative during a pandemic: to screw with the audience? Either way, Kaluuya and Stanfield’s chances for winning probably stand better here than in the Best Actor category, where they would have had to gone up against the likes of Gary Oldman, Anthony Hopkins, and the late Chadwick Boseman. Still, it’s frustrating to see the Academy shortchange actor’s performances and label them as “supporting” roles when they’re literally the heart and soul of a movie. 

Other indie darlings recognized with six nominations apiece include the amnesiac The Father, the tender and sweet Minari, and the progressive banger Sound of Metal. I’m happy to see Riz Ahmed get a much-deserved Best Actor nomination for Sound of Metal, as well as his supporting co-star Paul Raci, and am even happier to see it even elevated for Best Picture consideration. I also love seeing the Korean cast and crew of Minari recognized in these same categories and not in the Best International Film category, something the Golden Globes famously screwed up in its past ceremony. It’s also nice to see The Father nominated in so many categories despite being such an under-the-radar sleeper hit. 

The other surprise comes in Emerald Fennell’s Promising Young Woman, not because it’s nominated, but because of how many times it is nominated. Besides Best Picture, Promising Young Woman is also nominated for Best Actress with Carey Mulligan, Best Film Editing, and Best Original Screenplay and Director for Emerald Fennell. That last nomination is especially exciting, because the Academy Awards has been historically biased towards female nominees in the director category. Greta Gerwin wasn’t even nominated for Best Director last year for Little Women, and the last time a woman won Best Director was 2010 with Kathryn Bigelow and The Hurt Locker. Alongside Chloe Zhao, this is the first year where two women are being considered in the Best Director category. Even if neither of them win, congratulations are owed to them both, and we can only hope the preverbal glass ceiling will continue to break from here. 

Unsurprisingly, the Oscars still managed to squeeze out a few snubs despite how few films they had to consider thanks to the pandemic. Da 5 Bloods, for instance, was overlooked in all of the acting categories, and even the technical categories too like cinematography and editing. The Outpost was equally overlooked at this year’s ceremony, and Caleb Landry Jones was straight up robbed for supporting actor. So too was Tom Holland and Robert Pattinson in The Devil All The Time, though with how gritty and queasy that film is, I’m not too surprised that Academy voters decided to distance themselves from it. The most maddening snub, to me, is Leigh Whannell’s remake of the horror icon The Invisible Man. Visuals effects, cinematography, production design, Elisabeth Moss’ horrified performance: you couldn’t find room for The Invisible Man in any of its categories? Really? 

Regardless, I’m excited that the Oscars aren’t just happening this year, but they’re happening with a (mostly) stacked pool of nominees. It says something about the film industry that it endures a financially devastating event as massive as the coronavirus pandemic, yet it’s able to  continue to produce amazing storytelling and performances despite all of the adversities it faced in 2020. Here’s to the Academy Awards finally arriving in 2021, and here’s to me continuing to bag on them. 

– David Dunn

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Top 10 Oscar Wins Of The Decade

There aren’t many good moments to pick from Academy Awards history. Whether it’s Seth McFarlane hosting the ceremony or Faye Dunaway flubbing up the Best Picture winner, the Oscars are filled with one maddening, cringe-worthy moment after another. That’s part of why the good moments are so endearing and memorable, despite also being so far and few in between. With the 93rd Academy Awards postponed to April 2021 (potentially even further with how the rest of 2020 is going), now is a great time to reflect on the 2010s and go over the 10 best Oscar wins of the decade. Spoiler alert: I’m not wearing pants while I’m making the list.

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

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

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

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

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

SOURCE: CJ Entertainment

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

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

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

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

Speaking of Parasite

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

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

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

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

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

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

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

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

SOURCE: Walt Disney Studios Motion Pictures

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

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

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

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

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

SOURCE: 20th Century Fox

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

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

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

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

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

SOURCE: WARNER BROS. PICTURES

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

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

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

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

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

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

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

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

– David Dunn

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2019 Oscar Predictions

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

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

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

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

SOURCE: Universal Pictures

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

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

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

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

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

Speaking of Joker…

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

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

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

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

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

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

SOURCE: Walt Disney Studios Motion Pictures

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

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

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

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

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

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

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

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

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

SOURCE: CJ Entertainment

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

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

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

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

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

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

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

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

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

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

SOURCE: WARNER BROS. PICTURES

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

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

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

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

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

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

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

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

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

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

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

– David Dunn

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Why So Snubby?

SOURCE: WARNER BROS. PICTURES

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

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

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

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

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

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

SOURCE: Academy of Motion Picture Arts and Sciences

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

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

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

– David Dunn

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

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

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

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

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

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

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

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

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

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

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

COURTESY: SONY PICTURES

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

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

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

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

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

COURTESY: FOCUS FEATURES

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

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

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

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

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

COURTESY: WARNER BROS. PICTURES

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

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

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

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

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

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

COURTESY: WALT DISNEY STUDIOS MOTION PICTURES

COURTESY: WALT DISNEY STUDIOS MOTION PICTURES

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

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

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

– David Dunn

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2018 Oscar Predictions

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

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

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

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

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

COURTESY: NETFLIX

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

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

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

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

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

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

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

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

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

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

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

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

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

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

COURTESY: SONY PICTURES

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

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

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

You disgust me.

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

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

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

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

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

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

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

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

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

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

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

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

COURTESY: WARNER BROS. PICTURES

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

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

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

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

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

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

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

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

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

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

– David Dunn

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All The Oscars Are Closer

SOURCE: Walt Disney Studios Motion Pictures

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

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

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

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

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

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

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

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

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

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

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

– David Dunn

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