DAVID DUNN

“The Oscars: the white BET awards.”

                                           – Chris Rock

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

– David Dunn