Oscar Moment: “Secretariat”

21 07 2010

“Secretariat” – it looks like a mix between Best Picture nominees “Seabiscuit” and “The Blind Side.”  Translation: someone kill me NOW!

I have now begun to hold the inspirational sports movie genre in the same regard as the romantic comedy genre, which is to say not highly.  They are so incredibly formulaic that they only serve to inspire groans now.  There’s really no way to spice up the whole “underdog comes out of nowhere and becomes a champion” storyline.  And if “Secretariat” is anything like its trailer, we are in for a story so improbable we can see the ending a mile away.  The thing about movies based on highly publicized true stories is that they don’t really have the chance to build any real suspense

Yet I must say, the movie has several good horses in the gate for an Oscar run.  First and foremost is Diane Lane, playing the tenacious sports-loving housewife role that won Sandra Bullock an Oscar last year.  The Academy may not fall head over heels for a one-year-old rerun, but they do love Lane.  She has a prior nomination (for 2002′s “Unfaithful”), and Bullock did not have any sort of history with the Academy.  I don’t think the “she deserves it” factor will be very high with only one nomination, yet they could surprise us.

There’s also John Malkovich, the three-time nominee who is overdue for a statue.  He’s been known for his more powerful characters, and it would be strange to see them reward him for a fairly docile performance as Secretariat’s trainer.  But the ways of the Academy are strange, and if there’s a weak field, Malkovich could always squeeze in for Best Supporting Actor.  The category tends to be pretty sentimental; past years have seen winners like Morgan Freeman and Alan Arkin.

And then there’s the movie itself, which probably wouldn’t have a great chance without ten nominees in the Best Picture category.  Yet out of nowhere, the box office hit and mildly well-reviewed “The Blind Side” stunned on nomination day with a nomination.  That movie overcame its mediocrity by playing well with middle America, who doesn’t want to “get” the pompous artsy fare, and becoming a true word-of-mouth phenomenon.  It did help balance out a field of nominees that included “A Serious Man,” “Precious,” “An Education,” and “The Hurt Locker,” to make the list seem to represent the whole of 2009′s cinematic landscape.  So if “Secretariat” manages to garner good reviews and play well all over America, we can’t count it out.  (And hey, “Seabiscuit” did it with five nominees back in 2003 with half the money, although it did have slightly better reviews and a weak field.)

Then again, after “Seabiscuit,” we saw “Dreamer” with Kurt Russell and Dakota Fanning, another horse racing movie which bombed financially and critically.  So there is by no means a steady pattern in Academy taste for sports or horse racing movies.  Let’s just hope they don’t start a trend this year.

BEST BETS FOR NOMINATIONS: Best Actress (Diane Lane)

OTHER POTENTIAL NOMINATIONS: Best Picture, Best Supporting Actor (John Malkovich)


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Categories : 2010 - Oscar Moment, Oscar Moment

Oscar Moment: “Inception”

13 07 2010

Countdown to “Inception” is at T-minus 3 days.  I haven’t bought my ticket to go at midnight yet, but I plan on doing so today.

But some people don’t have to wait.  There are plenty of critics and Oscar pundits who have seen Christopher Nolan’s latest film, and I hate them all.  Just kidding!  Judging from their reactions, we have a serious Oscar contender on our hands.  The movie currently sits at a very healthy 97% on Rotten Tomatoes.  The one rotten review as of yet comes from New York Magazine‘s David Edelstein, who even concedes, “Nolan, who wrote the script, thinks like a mechanical engineer, and even when you can’t follow what’s happening, you can admire in theory the multiple, synchronized narrative arcs…”  Edelstein’s review brings down the Metacritic rating for “Inception” down 20 points, from a 97 to 77.

Although it may be too early to call, I think the critics are going to ga-ga for this movie.  All of Nolan’s movies have been certified fresh on Rotten Tomatoes, and I don’t think this will be any different.  Even if a sudden onslaught of negative reviews comes out of nowhere, as I talked about in my Oscar Moment on “Shutter Island,” there have been non-certified fresh Best Picture nominees.

It was only two years ago that “The Reader” with a disappointing 61% managed to steal a Best Picture slot from Nolan’s own “The Dark Knight,” which scored an impressive 94%.  Redemption will definitely be on voters’ minds as massive backlash to the Best Picture snub was very vocal.  So vocal, in fact, that it may be the biggest catalyst in the Academy’s decision to expand the field of Best Picture nominees from five to ten.  Even AMPAS President Sid Ganis said, “I’d be lying if I said ‘The Dark Knight’ didn’t come up in the discussion [to change the number of nominees].”  So a Best Picture nomination for “Inception” would be the first step in healing the wounds caused by their omission.

I think a Best Picture nomination is in the bag.  Judging from what I’ve read, the movie is good enough to get it on its own merit; the atonement factor only helps.  Film School Rejects today went as far as to predict the film’s victory in Best Picture.  Here’s some of what Cole Abaius wrote:

… In addition to being a better film than The Dark Knight, it’s also more traditionally Oscar-worthy while still being cutting edge. Theoretically, TDK was choked out of the running because it was “just a Superhero movie,” but there’s no similar sentiment here. It’s a classic-style hero’s journey featuring five Oscar nominees and two Oscar winners in front of the camera …

Kris Tapley at In Contention was a little more cautiously optimistic:

The first thing that comes to mind when I think of the history of Best Picture nominees is the fact that, on some level, they are fairly undemanding efforts.  There’s a pattern of simplicity of narrative, regardless of genre.  Now, most seem to think the general positive assessment Nolan’s film has received should be enough to get it into a field of 10 nominees, but I’m a touch skeptical.  “Inception” is anything but undemanding …

We all remember Nolan’s superhero epic did not make the cut with five slots.  And the thought process for some is, well, it’s time for AMPAS to kiss and make up.  Except that’s not the typical AMPAS thought process, and certainly not for a still youngish talent like Nolan.  I’m not here to piss in anyone’s cornflakes, but I just don’t think anyone can simplify the argument to, “It’s sure to get in with 10.”

And given that people will undoubtedly chalk up the success of “Inception” to writer/director Christopher Nolan, he will probably go along for the ride and receive a Best Director nomination.  Even if Best Picture hopes fade over the next few months, Nolan could easily stay in the discussion for director based on the visual style the movie possesses.  The decade has seen plenty of lone director nods for stylistic triumphs – David Lynch for “Mulholland Drive,” Pedro Almodovar for “Talk to Her,” Fernando Mierelles for “City of God,” Julian Schnabel for “The Diving Bell and the Butterfly” – although it’s probably less likely with the expanded field.

The screenplay should find a home in the Best Original Screenplay based on the originality and creativity of its premise, even if Best Picture and Best Director fail.  Nolan wrote “Inception” himself, and he has a prior nomination from the writer’s branch for “Memento.”  And that was Christopher Nolan before he was Christopher Nolan.

Leonardo DiCaprio could be a contender in Best Actor.  He’s had a great year between this and “Shutter Island,” and particularly if the field is weak, he could sneak in with a nomination as a reward for a good body of work in 2010.  The voters would probably have to rally around this movie, though, to get him in and prevent vote splitting.

But the movie’s surest bets are easily in the technical categories.  Best Visual Effects should be a slam dunk, as should nominations in the sound categories.  I can see Best Film Editing being a very strong possibility, and Wally Pfister’s cinematography, which has earned three nominations for work on Nolan’s past movies, could easily be nominated.

In three days, we will be able to discuss “Inception” and its chances, not just speculate.  Until then, we wait, some more eagerly than others.

BEST BETS FOR NOMINATIONS: Best Picture, Best Director, Best Original Screenplay, Best Visual Effects, Best Film Editing, Best Cinematography, Best Sound Mixing, Best Sound Editing

OTHER POTENTIAL NOMINATIONS: Best Actor (Leonardo DiCaprio)


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Categories : 2010 - Oscar Moment, Oscar Moment

Oscar Moment: “The Kids Are All Right”

22 06 2010

Everyone loves a summer indie comedy, even the Oscars. “Little Miss Sunshine” charmed audiences at the Sundance Film Festival, then slowly won over an audience, expanded that audience on video, and then received four Oscar nominations including Best Picture as well as wins for Best Original Screenplay and Best Supporting Actor.

“The Kids Are All Right” seems to have the first part of the “Little Miss Sunshine” formula in place after it became the anointed indie comedy at Sundance.  Written and directed by Lisa Cholodenko, the movie follows Nic and Jules (Annette Bening and Julianne Moore) and their children Joni and Laser (Mia Wasikowska and Josh Hutcherson), living comfortably in Los Angeles.  That is, until the kids decided to introduce Paul (Mark Ruffalo), the sperm donor that made them possible, into their lives.

The film appears to depoliticize a lesbian couple to a certain degree, normally a subject to cause a pretty big stir, and opens the movie up to a newer crowd. We are still awaiting release, but from what I’ve gathered, Focus is going to push the movie very mainstream. I’m anticipating the usual extremist backlash, but I don’t think this is a propaganda piece designed to shove homosexuality down anyone’s throat. It may very well be like any comedy where kids meet their long lost biological father; there’s just one more mother in the mix.

I think the movie’s surest bet for a nomination – and maybe even a win – is Best Original Screenplay.  The category is one of very few that is friendly to comedies; in fact, six of the ten winners of the past decades have been comedic scripts (although I’ll argue with you that “Lost in Translation” isn’t really a comedy).  If the movie proves to be original and funny with a beating heart inside, it’s going to be a formidable foe in the category.

But the actors are going to be another big Academy selling point for the movie.  The two leading ladies, Annette Bening and Julianne Moore, are incredibly overdue for the big prize.  Bening has three nominations, and she really should have won for “American Beauty.”  Her turn as Carolyn Burnham is absolutely one of my favorite roles ever, and she absolutely nailed it.  At the time, it appears that Focus will push her as the film’s leading actress where she could end up facing Hilary Swank again.  It’s been since 1998 that an actress won the category for a comedic role, but Bening is the kind of actress they might reverse a trend for.

Julianne Moore has even more nominations than Bening at a whopping four, and she is coming fresh off a snub for “A Single Man.” She’s one of the few actors who have pulled off dual nominations in a single year, and that’s a feat in itself.  It appears that she will be competing in the Best Supporting Actress category, which doesn’t seem to feature any big names right now (save maybe Keira Knightley and Dianne Wiest).  We saw how the Academy bent over backwards to give Kate Winslet an Oscar after five missed opportunities; it could be Moore’s time.

Mark Ruffalo is on the hunt for his first nomination with “The Kids Are All Right,” and it’s about time he got one.  He deserved a nomination for “You Can Count on Me” a decade ago, but he hasn’t exactly amassed an Academy-friendly resume since.  He has a spotty track record with some corny romantic comedies littered among a few smaller indies.  Overdue for a nomination may be a bit of a stretch to say, yet few can argue that Ruffalo is a great actor.  Perhaps an Oscar nomination might steer him away from the rom-coms and back to good, solid movies.

If the Academy really goes gaga for this movie, Wasikowska and Hutcherson may find themselves in the mix for a nomination. But a nomination is the best case scenario for them because Moore and Ruffalo have much more respect and longer careers. The need is much less pressing to anoint these young stars as Hollywood royalty.

In Contention, Kris Tapley’s highly regarded Oscars site, has “The Kids Are All Right” getting a whole lot of nominations. Five, to be specific – acting nominations for Bening, Moore, and Ruffalo plus Best Original Screenplay and Best Picture. Let’s face it, we all need a comedy in the Best Picture mix, so I’m going to agree with Tapley at least until the movie is released. But a nomination for each one of the main actors is a little more suspect.

The poll for this Oscar Moment will be a little different. Rather than asking a simple “pick one out of these answers,” I’m going to give you the option of picking multiple answers.  The question: “What Oscar nominations will ‘The Kids Are All Right’ receive?” Pick the ones you think will.

BEST BETS FOR NOMINATIONS: Best Picture, Best Actress (Bening), Best Supporting Actress (Moore), Best Supporting Actor (Ruffalo), Best Original Screenplay

OTHER POTENTIAL NOMINATIONS: Best Director, Best Supporting Actress (Wasikowska), Best Supporting Actor (Hutcherson)


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Categories : 2010 - Oscar Moment, Oscar Moment

Oscar Moment: “Winter’s Bone”

15 06 2010

All is looking good for Deborah Granik and Jennifer Lawrence, two people who you likely hadn’t heard of before this post and almost assuredly hadn’t heard of before this year.

Granik started off 2010 premiering her film, “Winter’s Bone,” at the Sundance Film Festival to massive acclaim.  It won the Grand Jury Prize for dramatic films, a very prestigious award, and was bought by Roadside Attractions for $500,000.  It was released last Friday, June 11, to outstanding critical reception – a 90% fresh rating on Rotten Tomatoes and an outstanding 87 on Metacritic.

Looking at the last two winners of the dramatic Grand Jury Prize might show us some potential fates for “Winter’s Bone.”  2009′s recipient was “Precious” (then known by the name of its source material, “Push”), and the 2008 winner was “Frozen River.”

“Precious” had more than just the Grand Jury Prize going for it coming out of Sundance.  It won the Audience Award as well, showing how popular it was with everyone who attended the festival (Mo’Nique also won the first of many prizes for her role in the movie).  It also got the sizzle and added press from its support by Tyler Perry and Oprah Winfrey.  ”Winter’s Bone,” on the other hand, has a release with as little grandeur as its setting in the Ozark Mountains.  ”Precious” went on to make nearly $50 million and score a stunning 91% on Rotten Tomatoes and a very good 79 on Metacritic.  As we all know, it received Best Picture nominations from the Golden Globes and Oscars, winning 2 Academy Awards on Hollywood’s biggest night.

I see more parallels with “Frozen River,” the decidedly unglamorous and gritty tale of a desperate mother (Melissa Leo) who illegally smuggles people across the U.S border with Canada.  After winning the Grand Jury Prize, it was picked up by Sony Pictures Classics (an expert in marketing independent movies) for $500,000.  They opened the movie in late August to tepid audience reaction, opening with a fairly weak $10,000 per theater average, a statistic that shows that theaters weren’t exactly packed.  Critical reception was much more positive, showed by its 88% on Rotten Tomatoes and 82 on Metacritic.  But at the end of the year, people remembered “Frozen River.”  It picked up momentum as the season dragged on, beginning with a surprising SAG nomination for Leo that eventually led to an Oscar nomination over the favored Sally Hawkins.  Leo’s strength undoubtedly helped Courtney Hunt’s screenplay get into the Best Original Screenplay fold as well.

I’m inclined to say “Winter’s Bone” will take the “Frozen River” path mainly because they have very similar, dark tones, a strong female performance, and a well-written script (“Winter’s Bone” picked up a screenwriting award at Sundance).  But the per theater average was nearly double that of “Frozen River,” so perhaps it will have a little bit more audience support to carry it through.  I’m just really not expecting it to receive a massive outpouring like “Precious” because it is “one of the unshowiest and most true-blooded epics of Americana you’re ever likely to see,” according to Entertainment Weekly‘s Lisa Schwarzbaum (who gave it an A).

The movie’s leading lady, Jennifer Lawrence, just screams “this year’s Carey Mulligan.”  Even younger than last year’s Best Actress nominee at 19, Lawrence has been a huge talking point of the movie.  Her breakout role has garnered her large attention from the media, leading to a spotlight from Esquire with a fairly steamy photo shoot.

Granik gave Vera Farmiga her big break with her debut feature, “Down to the Bone,” for which she was nominated for an Independent Spirit Award and won Best Actress from the Los Angeles Film Critics Association.  Don’t quote me on this, but I’m fairly certain that Jason Reitman has stated that seeing her in “Down to the Bone” led to her casting in “Up in the Air,” the movie that got her Golden Globe, SAG, and Oscar nominations.  So while it remains suspect how much love Lawrence will receive for this particular role, all signs point to a promising future for the young performer.

BEST BETS FOR NOMINATIONS: Best Actress (Lawrence), Best Adapted Screenplay

OTHER POTENTIAL NOMINATIONS: Best Picture, Best Director (Granik)


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Categories : 2010 - Oscar Moment, Oscar Moment

Oscar Moment: “Shutter Island”

8 06 2010

Martin Scorsese’s “Shutter Island” hits stores today.  While in theaters, the movie garnered pretty good reviews and made a nice sum at the box office on some pretty nice legs.  But could it get any serious Oscar nominations like Best Picture even though it was released in February?

It’s 67% on Rotten Tomatoes isn’t exactly stellar and would definitely put it in the longshot category with a field of five nominees.  But we live in a new era of Best Picture, and there are ten nominees now.  67% was good enough to make the cut last year, as “The Blind Side” showed us.  61% was even good enough in 2008 when “The Reader” slipped into a field of five.  And although scores are a little less accurate for older movies, “Out of Africa” won Best Picture in 1985 and now has a 61% fresh rating.

So based on its critical standing, a nomination is not completely out of the question.  But what about looking at “Shutter Island” financially?  It’s $127 million take is impressive for a February release, and it will surely help to keep the movie ingrained somewhere in the back of the minds of voters.  More importantly, the money helps to establish it as a fan favorite as well.  Many suspected that the move to 10 Best Picture nominees was to include more populist and mainstream movies, a suspicion that was vindicated when half of the nominees earned over $100 million dollars.  The money is probably what got “The Blind Side” into the race, a movie that had been little more than a blip on the radar during the season.

Although “Shutter Island” is much more Academy-friendly than “The Blind Side,” it did not meet the expectations many people have of a movie that bears the name of Martin Scorsese.  According to Rotten Tomatoes, it is his lowest-rated movie since “Boxcar Bertha” nearly 4o years ago (in the pre-”Taxi Driver” era).  This is where the box office performance and good reception by the fans will help.  It did a good job of keeping an audience, staying in the top 10 for a tremendous seven weeks and having an average drop of about 40% per weekend.

Speaking of Scorsese, it will be interesting to see how the Academy treats him now that they have finally given him the long overdue trophy.  They used to love nominating him but never awarding him.  Now, it’s a new chapter for Scorsese and the Oscars with new rules.  After giving Clint Eastwood his due for “Million Dollar Baby,” the Academy has been flaky on the director ever since.  He was nominated for Best Director in 2006 for “Letters from Iwo Jima” but found no love for “Gran Torino” and little for “Changeling” and “Invictus” in the years afterwards.  So will Scorsese still be lauded for the follow-up to his Oscar-winning work like Eastwood was, or will the Academy fast-forward to the snubbing stage?

I’m also wondering if Leonardo DiCaprio has a chance at Best Actor.  He has three nominations dating back to 1993 and no wins to show for them.  He is one of the finest actors of our generation, and his collaborations with Scorsese have raised his acting to great heights.  DiCaprio has received one nomination for a Scorsese movie to date, “The Aviator” in 2004, and maybe it’s time to make it two.

I can see “Shutter Island” being the “Inglourious Basterds” of 2010.  Both have respected pedigrees, made respectable sums, and did respectably with critics (while “Basterds” scored an 88% on Rotten Tomatoes, initial reception at Cannes was not quite so favorable).  Few people thought Tarantino’s film would have much success in awards season, but it was just a movie that everyone really liked and could agree on.  Its inclusion didn’t offend many people because it wasn’t a very polarizing choice.  ”Shutter Island” could easily follow in its footsteps.


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Categories : 2010 - Oscar Moment, Oscar Moment

Oscar Moment: “Get Low”

11 05 2010

Out to top R. Kelly’s “Trapped in the Closet,” Robert Duvall stars in the film adaptation of Lil’ Jon’s hit song “Get Low.”

Just kidding.

It’s about the opposite.  ”Get Low” could wind up being one of the biggest bait movies of the Oscar season, particularly for leading man Robert Duvall.  It was a hit at last year’s Toronto Film Festival and instantly thrusted Duvall into the Oscar conversation.  But when it was bought by Sony Pictures Classics following the festival, they decided to move it to the end of July 2010.  Thus, Duvall and “Get Low” are now in the 2010 awards talk.

Here’s my question: does the man need Oscar bait?  He’s already won Best Actor!  Sure, it was over 25 years ago (1983 for “Tender Mercies” to be exact), but that’s still a trophy on the mantle at Duvall Manor.

People make this argument for Meryl Streep year after year.  ”She won so long ago,” they say.  ”They don’t need to hide their affection; just give her another Oscar!”

The difference between the two is as follows.  Since Robert Duvall won the Oscar, he has received two other nominations (in consecutive years, as a matter of fact).  Since Meryl Streep won her last Oscar, she has been nominated eleven times!  Eleven!

Let’s take a look at some other revered actors who took home their first Oscar several decades ago and the results when they are in the game again.

  • Ellen Burstyn won Best Actress in 1974 for “Alice Doesn’t Live Here Anymore.”  Since then, she has been nominated three times, most recently in 2000 for “Requiem for a Dream.”  She has not won since.
  • Sissy Spacek won Best Actress in 1980 for “Coal Miner’s Daughter.”  Since then, she has been nominated four times, most recently in 2001 for “In the Bedroom.”  She has not won since.
  • Diane Keaton won Best Actress in 1976 for “Annie Hall.”  Since then, she has been nominated three times, most recently in 2003 for “Something’s Gotta Give.”  She has not won since.
  • Ben Kingsley won Best Actor in 1982 for “Gandhi.”  Since then, he has been nominated three times, most recently in 2003 for “House of Sand and Fog.”  He has not won since.
  • William Hurt won Best Actor in 1985 for “Kiss of the Spider Woman.”  Since then, he has been nominated three times, most recently in 2005 for “A History of Violence.”  He has not won since.
  • Julie Christie won Best Actor in 1965 for “Darling.”  Since then, she has been nominated three times, most recently in 2007 for “Away from Her.”  She has not won since.

See a pattern?

(NOTE: I excluded one outlier from the list: Jack Nicholson, who has received 12 nominations in his illustrious career.  His first win came on his fifth nomination in 1975 for Best Actor for “One Flew Over The Cuckoo’s Nest.”  Two nominations later, he won again in 1983 for Best Supporting Actor for “Terms of Endearment.”  Another four nominations later, he won his third statue in 1997 for Best Actor for “As Good As It Gets.”  He was nominated for Best Actor again in 2002 for “About Schmidt” but lost to Adrien Brody.)

But if you know anything about the Oscars beyond the statistics I gave you, another trend might have popped out at you.  In case you didn’t pick up on it, this might guide you.

  • When Ellen Burstyn was last nominated, she lost to Julia Roberts for “Erin Brockovich.”  Roberts was 33, and this nomination was her third.
  • When Sissy Spacek was last nominated, she lost to Halle Berry for “Monster’s Ball.”  Berry was 35, and this nomination was her first.
  • When Jack Nicholson was last nominated, he lost to Adrien Brody for “The Pianist.”  Brody was 29, and this nomination was his first.
  • When Diane Keaton was last nominated, she lost to Charlize Theron for “Monster.”  Theron was 28, and this nomination was her first.
  • When Ben Kingsley was last nominated, he lost to Sean Penn for “Mystic River.”  Penn was 43, and this nomination was his fourth.
  • When William Hurt was last nominated, he lost to George Clooney for “Syriana.”  Clooney was 43, and this nomination was his first.
  • When Julie Christie was last nominated, she lost to Marion Cotillard for “La Vie en Rose.”  Cotillard was 32, and this nomination was her first.

As I hope you now see, these veterans usually lose to younger actors with few nominations.  So does Duvall have history against him?

The role seems like a character he can really dig into.  In “Get Low,” he plays a hermit who plans his own funeral – which he plans to attend.  Alive.  He wants to hear what people think of him, but as events unfold, he ends up divulging why he’s been away in the woods so long.

The movie also features performances by Oscar winner Sissy Spacek and nominee Bill Murray.  Both could easily be in contention, but Murray seems to have the more substantial part.  They, along with Duvall, are definitely worth keeping an eye on this season.

BEST BETS FOR NOMINATIONS: Best Actor (Robert Duvall), Best Supporting Actor (Bill Murray)

OTHER POSSIBLE NOMINATIONS: Best Picture, Best Original Screenplay, Best Score


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Categories : 2010 - Oscar Moment, Oscar Moment

Oscar Moment: “Iron Man 2″

28 04 2010

In nine days, the summer movie season will officially kick off with the release of “Iron Man 2.”  It will most assuredly begin the very profitable period with a bang, potentially with the highest opening of all-time.  According to the Los Angeles Times, interest in the movie is very high ahead of the opening and polling has confirmed that people are indeed eagerly anticipating the release.  Whether or not it has what it takes to topple the record held by “The Dark Knight” is something no one can really predict.

“The Dark Knight” had many extraordinary circumstances in its favor.  The first “Iron Man” movie primed the pump for intelligent popcorn flicks by proving a surprise hit amongst fans and critics.  The rebooting of the Batman series with “Batman Begins” also gathered a large fan base, and people were excited for the follow-up.  But what arguably became the key factor in the success of “The Dark Knight” was the tragic death of Heath Ledger and a new layer of intrigue that was added to the movie as a result.  Rumor was that the drugs Ledger overdosed on were to help him get over the psychological distress of playing The Joker, and excitement to see his villainous turn quickly became some of the most intense anticipation in cinematic history.  People threw out casual suggestions about him being in contention for awards, and his death made an Oscar nomination a near certainty.  When the movie was released, Ledger’s win was sealed.

“Iron Man 2″ features what could be another outstanding villainous role in Mickey Rourke taking on the part of Tony Stark’s foe, Whiplash.  After dealing with many substance abuse problems, Rourke triumphantly blazed back onto the Hollywood stage with “The Wrestler” in 2008, winning the Golden Globe and receiving an Oscar nomination.  His role in that movie led to a surge of interest in the actor, and the first role he took was in “Iron Man 2.”

But did Mickey Rourke lose all chances of being considered for Best Supporting Actor by being alive in the months leading up to the release of “Iron Man 2?”

It may be best to start by analyzing the category.

This is a category that LOVES villians – Christoph Waltz this year, Ledger, Javier Bardem in 2007, Tim Robbins in 2003.  It is also a category that likes to reward actors (usually veterans) who are overdue for a trophy – Alan Arkin in 2006, Morgan Freeman in 2004.  By these two characteristics, Rourke would appear to have a great shot.  He’s scary even whenever he’s not a villain, and he has a great deal of Academy support despite his loss two years ago to Sean Penn for Best Actor.

Judgement, however, cannot be based on the category alone.  It’s hardly a secret that the Oscars don’t like comic book movies.  They declined to nominate “The Dark Knight” for their highest prize despite being successful in every area and popular with every group in favor of “The Reader,” a movie that had lukewarm support from critics and fans.  Right out of the gate, Rourke and “Iron Man 2″ have a massive strike against them.  It would take the movie out of the picture without the expanded field, no matter how much praise it was met with.  In my estimation, it will take a tremendous performance by Rourke to overcome this hurdle, one that I believe he is fully capable of delivering.  But if the movie tanks critically as sequels often do, it would be all but impossible for him to be nominated.

Then again, Heath Ledger overcame it.  We can never know how performance vs. politics played out or how things would have turned out had he been alive.  All politics aside, I believe Ledger gave one of the greatest performances that I have ever seen, and he deserved to win an Oscar for it dead or alive.  It was a total immersion, and if Rourke can pull off something similar, I see no reason for him not to be nominated or even win.  But awards can’t just be about the art; it’s a game where how you play matters just as much as how you act on screen.

I’m skeptical about Rourke’s chances, as you can tell.  We just have to remember that performances aren’t given and movies aren’t made to win awards; they are made to entertain and captivate an audience.  If Rourke blows us away with Whiplash, awards attention is just a bonus.  The real award comes from the creation of art that does more than serve its purpose.

BEST BETS FOR NOMINATIONS: Best Visual Effects, Best Sound Mixing/Editing

OTHER POSSIBLE NOMINATIONS: Best Supporting Actor (Mickey Rourke)


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Categories : 2010 - Oscar Moment, Oscar Moment

Oscar Moment: “Robin Hood”

18 04 2010

The lineup for the prestigious Cannes Film Festival was announced on Thursday, but we have known for several weeks now that “Robin Hood” would open the festival. While screening out of competition, it still deserves serious talk as an Oscar contender.

If “The Dark Knight” was part of the reason that the Oscars moved to ten nominees, then they are still looking for that popcorn flick with enough brain to atone for their horrifying omission.  ”Robin Hood” could be that movie.

It’s directed by someone who has plenty of respect in the filmmaking community, Ridley Scott.  He has been nominated three times for Best Director and has helmed a movie that won Best Picture, “Gladiator.”  It’s hard not to take a look at “Robin Hood” and see a few similarities.

It clocks in at just under two and a half hours – big, long movies have scored with the Academy in the past.  The length lends it that sweeping epic feel that the Oscars tend to love.  Then again, so did “Kingdom of Heaven,” Scott’s 2005 drama about the Crusades that had huge expectations and failed to meet any of them.  In fact, since his last nomination for Best Director with “Black Hawk Down” in 2001, all of his movies have been considered Oscar contenders – and flopped.  ”Body of Lies.”  ”American Gangster.”  ”A Good Year.”  Is “Robin Hood” the movie to put Scott back on the Oscar track or veer him further off of it?

He has certainly teamed up with Academy Award winner Russell Crowe enough times to know how to direct the star; keep in mind that Scott directed Crowe to his Oscar win.  And this cast is filled with plenty of other extraordinary acting talents, namely Cate Blanchett (winner of the 2004 Best Supporting Actress Oscar for “The Aviator”) as Robin Hood’s female companion, Lady Marian.  He also has winner William Hurt and nominee Max Von Sydow in his arsenal – but is that enough?

For a blockbuster to be nominated for Best Picture, it has to be extremely well-written.  The screenwriter of “Robin Hood” is Brian Helgeland, who won the Oscar for Best Adapted Screenplay in 1997 for his work on “LA Confidential.”  He also wrote the adaptation of “Mystic River” and received another nomination.  But he has also written some duds, including “The Postman” which won him a Razzie for Worst Screenplay.  It’s hard to draw conclusions from such a polar career.  What will we be getting with his latest?

I have to quote Sasha Stone from Awards Daily here because she put it so eloquently: “…’Robin Hood’ is going to be a movie for right now. Wall Street catastrophes and corporate-owned health care – it has never seemed more like a divided country between rich and poor. And, as history has shown us again and again, that never works very well for very long. The people can’t really tolerate it.”  And Universal is really playing this angle up, recognizing “real-life Robin Hoods” who selflessly give back to the community.  Anyone can nominate one of these people, and that person can win up to $10,000.

But I’m just not feeling the buzz around “Robin Hood,” something that I think it really needs.  Otherwise, it seems doomed to underwhelm – critically, financially, and in respect to awards.  I think the only certainty is contention in the technical categories; we’ll just have to wait another month to see what happens with the bigger categories.

BEST BETS FOR NOMINATIONS: Best Art Direction, Best Costume Design, Best Cinematography, Best Makeup, Best Sound Mixing/Editing

OTHER POSSIBLE NOMINATIONS: Best Picture, Best Director (Ridley Scott), Best Actor (Russell Crowe), Best Actress (Cate Blanchett), Best Original Screenplay

So, do you think “Robin Hood” is going to go the path of “Gladiator” or “Kingdom of Heaven?”  Are we looking at a potential Best Picture nominee or merely another summer popcorn blockbuster?


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Categories : 2010 - Oscar Moment, Oscar Moment

Oscar Moment: “How to Train Your Dragon”

7 04 2010

Yesterday, “How to Train Your Dragon” passed $100 million at the box office, a reliable milestone signifying success finding an audience.  Naturally, I think this calls for an Oscar Moment discussing its chances in the Best Animated Feature.

Being a crowd favorite is something that helps when it comes to the Best Animated Feature category.  6 out of the 9 winners were the highest grossers in the field, and two of the others were $200 million grossers (the odd man out is “Spirited Away” which made only $10 million).  Although it’s unlikely to reach the bucks of a Pixar flick, “How to Train Your Dragon” still has the bucks to gain serious consideration in the category.

But can it topple a Pixar movie in the category that they practically own?

Based on the reviews, we know the critics aren’t against it.  The 98% critical approval rating of “How to Train Your Dragon” is equivalent to last year’s winner “Up” and bests all other winners.  Being well-reviewed is essential to win Best Animated Feature, which has scored an average of four percentage points higher than Best Picture winners since the category’s inception.  (The average would be a 96% – up seven percentage points – if you omit 2006, which really didn’t offer any good animated movies.)

The circumstances beyond the movie’s control will either kill it or give a giant boost.  Much depends on Pixar’s “Toy Story 3,” which is the obvious favorite to win and will open with massive expectations.  I see two scenarios working out: either “Toy Story 3″ is a massive success and it takes the category like most are predicting, OR the tiniest thing is wrong and the movie is considered a disappointment.  Knowing Pixar, it’s best not to bet against the first scenario, but the latter is a definite possibility.  If Pixar doesn’t topple its own standards, voters might feel reluctant to give the studio another trophy.  Denying it to them would send a message that the lamp logo before a movie doesn’t ensure Oscar victory, and the beneficiary could very well be “How to Train Your Dragon.”

But as for other factors, the movie also has to contend with another DreamWorks Animation release in November, “Megamind.”  I’m not predicting this to be a critical hit just based on the fact that it stars Will Ferrell, but I could be wrong.  In the unlikely case that it does score critically, the studio will have a handful promoting two deserving movies for Best Animated Feature.  Depending on how many animated movies are released that year, there may not be five slots like there were this year.  If it does come down to three nominees in the category, the votes could easily cancel each other out.

The release date could hurt it as well.  Since it is being released about 11 months away from voting, it will have to really have staying power.  Voters will have to remember how the movie made them feel and how exhilarated they felt in 3D, because by the time DreamWorks starts screening the movie, it will most likely be out on DVD.

At the moment, it’s safe to say that “How to Train Your Dragon” is no longer a dark horse because it has a good outside shot at winning.  It will need some help, and we will see in a matter of months if that aid will pan out.  And in case you were wondering, I don’t think we are looking at a potential Best Picture nominee here.  ”Up” was a deeply sentimental movie, and it was a reward for all the good work Pixar has done in the last 15 years.

BEST BETS FOR NOMINATIONS: Best Animated Feature


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Oscar Moment: “Toy Story 3″

29 03 2010

The 2009 Oscars were a little more than three weeks ago, so I think we’re ready to move onto 2010.  Next year’s ceremonies are 47 weeks away, but it’s never too early to start the chatter.

I felt like I should kick off my Oscars commentary this year with something that we all know will be in the running in some shape or form: “Toy Story 3,” the latest Pixar output.

Because it bears the Pixar brand, it automatically becomes the frontrunner in the Best Animated Feature race.  In the nine years that the category has been around, Pixar has won five of the seven times it has had a movie in the category (losing only with “Monsters, Inc.” and “Cars”) and the last three years in a row.  The studio is a juggernaut, and their movies clearly stand head and shoulders above any other animated film.

And “Up” scored Pixar its first nomination for Best Picture last year.  The expanded field is no doubt to thank for this, but it got me thinking.  With ten nominees every year, will there always be a spot for Pixar’s movie?

I looked at the history of the category, and it really doesn’t lend us any insight.  To be honest, it’s pointless and arbitrary to apply the rules of a five nomination field to one with ten.  But it’s obvious that having more nominees increases the chance for a niche to be carved in the category.  I think few can argue with the fact that Pixar has the respect in the industry to have their movies represented repeatedly.

But ultimately, it comes down to the movie, as it always does.  And “Toy Story 3″ as expectations almost as unreal as flying a house with balloons.  Both of the original “Toy Story” movies have a perfect 100 score on Rotten Tomatoes, but in the eleven years since, Pixar has continued its unprecedented run with only one movie with below a 95.  ”Cars” scored a 75% largely because the plot was stale in comparison to the other gems (in fact, it was the only Pixar movie since 2003 not to score a Best Original Screenplay nomination).

That proves a perfect segue into what must be the key element of “Toy Story 3″: the story.  People have incredibly fond memories of the first two installments, and in order to hit big with audiences, it has to strike the perfect chord of staying true to its roots but offering a new and exciting experience.  I’m a little tentative about all the new characters that Pixar is introducing in the movie.  They all need to serve a purpose to the plot and be used tastefully, otherwise they are just noisy lawn ornaments.

But honestly, this is Pixar we are talking about.  Time spent trying to find flaws in their work is time squandered.

Before I leave you, I want to talk about my plans for the “Oscar Moment” column this year.  We’ve been through a whole season together, and looking back, I can’t help but feel like I was just talking to a wall.  I set out to inform, and in doing that, I seemed to forgot to include.  This speculation is only fun if you all engage in it with me.  From now on, I am going to attach polls on Oscar Moments when I feel that they are worthwhile to gauge your opinion.

335 days until Oscars 2010!


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Live Blogging: Oscars 2009

7 03 2010

NOTE: All times are from the Central Time Zone.

6:42 P.M. Got the epiphany to live blog the Oscars a few moments ago.  Watching the red carpet arrivals on E! while I wait for the show to start.  Basically, I really want to hang out with Gabourey Sidibe because she is awesome.  Keep checking back for more updates!

7:01 P.M. Blahhh, I thought the actual show started now!  Too bad it’s just another 30 minutes of red carpet…

7:30 P.M. It’s 7:30, now start the show!  I don’t want to see a Sketchers ad!

7:31 P.M. Interesting display of the leading actor/actress nominees…also kind of awkward.  Love Carey Mulligan and Gabourey though.

7:33 P.M. What awards show hasn’t NPH been on?  This is kind of a random opening…I want Alec and Steve.

7:36 P.M. I’m already digging the duo.  No more solo hosts, please.

7:41 P.M. Why on earth is Kathryn Bigelow sitting right in front of James Cameron?

7:43 P.M. Alec and Steve = my new heroes for poking fun at Taylor Lautner and Zac Efron.

7:48 P.M. CHRISTOPH WALTZ! HECK YES!

7:49 P.M. I love Waltz’s “BINGO” reference.  What a humble speech.

7:52 P.M. They usually do the Best Picture nominees in alphabetical order, so if “District 9″ is next, then “Avatar” won Best Picture.  I can’t stand how the producers don’t think we realize this.

7:57 P.M. This animated character thing is SO money.

8:00 P.M. Yayyyyyy “Up!”

8:04 P.M. Good win for “The Weary Kind” … Oscars proceeding without surprises.

8:06 P.M. Can I change my ballot now?  ”District 9″ just got presented, so “Avatar” has won.

8:15 P.M. Best Original Screenplay goes to … “The Hurt Locker.”  Beginning of a steamroller?

8:18 P.M. Likin’ the John Hughes tribute.  Some good laughs here.

8:24 P.M. Oh boy … scratch that “Avatar” theory.  They are showing “Up,” which I’m secretly hoping wins Best Picture.

8:32 P.M. And there goes my perfect ballot.  Thanks, “Logorama.”

8:38 P.M. How much better can Ben Stiller get?  After Joaquin Phoenix last year, I thought he was hilarious.  I’m literally dying at him in Na’vi makeup.  James Cameron looks so uncomfortable…

8:50 P.M. NO! “Up in the Air” just got robbed!  But happy for “Precious” too, I guess.

8:52 P.M. If “Up in the Air” doesn’t win an Oscar…

8:58 P.M. Why are they giving away the best parts of “Up in the Air” now?

9:01 P.M. Hey, Mo’Nique just proved that my “Importance of the Speech” article was right!  And what a deserved standing ovation for the best performance of the year.

9:02 P.M. Are they presenting the Best Picture nominees in the order in which they were voted?  Or am I just reading too much into this?

9:07 P.M. Wow, a win for “Avatar” for Best Production Design?  I guess they really do accept the digital filmmaking …

9:09 P.M. What is with the weird rotating set piece behind the presenters?

9:12 P.M. “Precious” has 6 nominations, Charlize.

9:21 P.M. They did NOT just show “New Moon” in the horror sequence…

9:22 P.M. Anna Kendrick, get off Zac Efron’s arm and marry me.

9:23 P.M. Thank you, Morgan Freeman, for explaining sound to me!  I love your voice.

9:25 P.M. And the first “Avatar”-”Hurt Locker” face off goes to … “The Hurt Locker.”

9:27 P.M. Make that the first two* faceoffs…

9:30 P.M. All of a sudden, I really want to watch “Inglourious Basterds.”  Kudos to the person who edited the clip for utilizing the amazing soundtrack.

9:36 P.M. And now “Avatar” takes one from “The Hurt Locker” with cinematography.

9:41 P.M. I miss Natasha Richardson.

9:47 P.M. These street dancers are interesting … I much prefer last year’s simple and classy Best Score presentation.

9:52 P.M. YESSSSSSSSS! “UP” WINS … very deserving Best Score win.

9:56 P.M. Wait … “Avatar” for Best Visual Effects?  That’s shocking … NOW we are tied at 3.

9:58 P.M. Remind me why “Up in the Air” isn’t going to win Best Picture…

10:01 P.M. Only 29 minutes left in the show … this is when my heart starts pumping like crazy.

10:04 P.M. A deserved win for “The Cove.”  Bravo, Academy.  Bravo.

10:06 P.M. Where are Steve Martin and Alec Baldwin?  And why is Tyler Perry presenting editing (actually, this isn’t such a big deal)?

10:07 P.M. And the Oscar goes to “The Hurt Locker” … that makes 4.

10:09 P.M. “The Hurt Locker” coming on now means that “Avatar” will be presented last … am I reading too much into it?

10:15 P.M. What’s with these lamps behind Quentin?

10:20 P.M. Four awards to go, ten minutes scheduled … we are definitely running over.

10:25 P.M. I thought they had gotten rid of this awkward presentation for the acting categories … guess not.

10:32 P.M. Oh, and now we get Kate Winslet.

10:33 P.M. I’m happy for Jeff Bridges.  Almost 40 years from nomination to win. Wow.

10:48 P.M. What the heck did Sean Penn just say?

10:49 P.M. Not my personal choice, but I like Sandra Bullock’s attitude.

10:52 P.M. It’s going to be really awkward for Barbra Streisand if Kathryn Bigelow doesn’t win … melted butter, if you will.

10:55 P.M. We have just seen history.  CONGRATULATIONS KATHRYN BIGELOW!

10:58 P.M. BEST PICTURE AHHHHH!!!!!

10:58 P.M. Oh, wow, that was quick.  Go “The Hurt Locker!”

11:04 P.M. Why do I hear “E.T.,” “Chariots of Fire,” and the musical “Oklahoma” in the end credits for the Oscars?

11:07 P.M. Why are the rules being presented at the very end of the broadcast.

11:08 P.M. Well, that’s it, folks.  ”The Hurt Locker” is the big winner with six, but “Avatar” took home three, and “Precious,” “Crazy Heart,” and “Up” each won two.  Nothing for “Up in the Air.”  It’s my movie now!


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Categories : 2009 - Oscar Moment, Oscar Moment

The 2009 Oscars: Redefining

7 03 2010

Well, we are here.  It is Oscar night.  The final hurrah for the best films of 2009.  A life-changing night for many people who will have a new title to affix in front of their names forever.

But the change isn’t just limited to the winners; tonight, the very way that we look at the Oscars could change.  If Best Picture goes to “Avatar,” the Academy will have shown its support for 3D, motion capture, and box office receipts.  If “The Hurt Locker” wins, it reaffirms the Academy’s value of powerful, classic filmmaking.  ”Avatar” would be the highest grossing Best Picture winner ever; “The Hurt Locker” would be the lowest.

The media has enjoyed calling the race “David vs. Goliath,” but I’m not sure that’s what I would call it.  It is Goliath vs. Goliath, two very big movies in their own right and their own distinctive way.  The Oscars have always been about the movies, not the money (as much as we think – or know – that it plays a part), and both of these movies are fantastic pieces of filmmaking.

In most of my conversations involving “Avatar” this year, people have said, “I loved the movie, but I don’t think it should win Best Picture.”  To all of those people, I give you this message: we have been worked into this notion of what Best Picture should be due in large part to the similarities of the recent winners.  This year could be about redefining how we see Best Picture forever, and I’ve now prepared myself for it.  There are much worse movies than “Avatar” that could have led the charge.  And eventually, there will be a 3-D winner; there will be a motion-capture winner; there will be a sci-fi winner.  Giving Best Picture to “Avatar” could inspire some great filmmakers to try their hand at the medium, and cinema would truly be raised to new levels.

I’ve talked to some people who haven’t even heard of “The Hurt Locker.”  It’s not the kind of mainstream, popcorn movie that attracts a lot of people without hearing that it has been nominated for nine Oscars.  But it’s the kind of movie that people are happy to discover, and the awards have led many people to watch it who probably wouldn’t have before.  If those people didn’t care to rent the movie, they’ll see it’s win as typical Academy pretentiousness.  To them, I say that sometimes, you have to look past the multiplex to find the best movies.  A win for “The Hurt Locker” would probably leave Best Picture at the status quo, and plenty of people are fine with keeping their preconceived notions of the prize.

So, I hope everyone can enjoy the show whether or not your movie wins.  But remember this: an Oscar win makes it their movie.  Sometimes, if the Oscars don’t reward the movie you like, it becomes your movie.

I’m still sticking by my conviction that “Up in the Air” was the best movie of 2009, but I doubt that it will take home Best Picture.  I’m getting a feeling in my gut that “Avatar” will win, but my prediction is still “The Hurt Locker.”

But just remember – change isn’t always a bad thing.  It’s their decision, not ours, and it’s best not to fight it.  Accept it.  Enjoy it.


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2009: Best Actor

5 03 2010

I’m wrapping up the in-depth analysis of this year’s Academy Awards with the Best Actor category. In a perfect world, I would have done the screenplays, director, and picture categories as well. But life happens, and things don’t always work out as planned.

Nevertheless, please enjoy this deeper look at the performances that got these actors here.

Jeff Bridges in “Crazy Heart”

IN MY OWN WORDS: “The little things that help to turn Bridges into this character aren’t very obvious, yet I never felt like I was watching Jeff Bridges.”

He’s here because … he is an industry veteran with a lot of respect, and his four winless trips to the Oscars simply aren’t enough to honor such a great actor.

George Clooney in “Up in the Air”

IN MY OWN WORDS: “George Clooney remains the best in the business at playing visibly collected while emotionally perturbed beneath the surface.”

He’s here because … he’s an Academy favorite who is as good as he’s ever been in a beautifully nuanced performance.

Colin Firth in “A Single Man”

IN MY OWN WORDS: “Firth keeps the grief bubbling under the surface for most of the movie, and he makes George’s journey even more heart-rending with his subdued misery.”

He’s here because … he is immensely likable, and he finally gives a performance that can turn good feelings into awards attention.

Morgan Freeman in “Invictus”

IN MY OWN WORDS: “Morgan Freeman is remarkable as Mandela, and it is a performance that reminds us why he has such a revered status among actors.”

He’s here because … it’s Morgan Freeman playing Nelson Mandela – a legend playing a legend.

Jeremy Renner in “The Hurt Locker”

IN MY OWN WORDS: “Renner gives an absolute tour de force performance as James; he strips James down until he is emotionally raw.”

He’s here because … he’s finally found his breakout role at 39 in the little movie that could; who can resist that?

Marshall’s “Oscars”

I’ve seen all five of the nominees in this category, and I think they did a great job selecting here.  The only change I would make is replacing Morgan Freeman for Peter Sarsgaard in “An Education.”  Freeman did a great job in “Invictus,” but I felt like it was just him going through the motions.  He didn’t wow me.

Sarsgaard, on the other hand, dazzled me.  He was campaigned for Best Supporting Actor, but category fraud doesn’t happen at my awards.  He brings such grace and debonair to his character, the wooer of teenage Jenny, that I didn’t doubt why she fell for his charms.

So, the lineup at my awards would be …

Jeff Bridges, “Crazy Heart”
George Clooney, “Up in the Air”
Colin Firth, “A Single Man”
Jeremy Renner, “The Hurt Locker”
Peter Sarsgaard, “An Education”

Predictions

Should win: George Clooney, “Up in the Air”
Could win: Jeremy Renner, “The Hurt Locker”
Will win: Jeff Bridges, “Crazy Heart”

Bridges has it in the bag, no question about it.  If his wide array of trophies for this performance wasn’t enough, the massive standing ovations he has received collecting them leave no doubt in my mind.


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2009: Best Actress

4 03 2010

Best Actress – it’s considered by many to be the most unpredictable of the major races at the 82nd Academy Awards.  Five very deserving and adored candidates are vying for the industries top prize.

But before they were candidates, they were performances.  And even before that, they were characters that existed on a page.  Each of these are just stages, and to move from one to the other, a fantastic actor is crucial.

Here, I intend to celebrate the actresses for their work in turning that character into a performance, work that was so excellent that it turned them into candidates.

Sandra Bullock in “The Blind Side”

IN MY OWN WORDS: “Sandra Bullock’s spirited and spunky performance (which was good enough to overcome her dreadful accent) atones for some of the errors the film makes with her story.”

She’s here because … she is a popular actress playing a likable character in the box office surprise of the year.

Helen Mirren in “The Last Station”

She’s here because … she’s Helen Mirren and the Academy loves her; who cares if no one in America had seen her movie when the ballots were due?

Carey Mulligan in “An Education”

IN MY OWN WORDS: “The understated grace and poise that Mulligan gives to Jenny is what evoked Hepburn’s resemblance, but the real marvel of Mulligan’s acting is that the old-fashioned spirit does not make her character some kind of antique.”

She’s here because … she is a brilliant rising star who dazzles in one of the year’s most agreeable movies.

Meryl Streep in “Julie & Julia”

IN MY OWN WORDS: “[Streep] completely masters the persona of the larger-than-life personality and woman – but to anyone that has seen Streep’s work, this is hardly a surprise.”

She’s here because … this is yet another fantastic Meryl Streep performance, and the Academy can’t not nominate one of those.

Gabourey Sidibe in “Precious”

IN MY OWN WORDS: “[Sidibe] makes us feel great concern about her character from the instant we see her trudging through her school.  As Precious gains confidence, our concern develops into genuine care and affection.”

She’s here because … in her first role, she commands the screen with the presence of a veteran.

Marshall’s Oscars

I haven’t seen “The Last Station,” but three of the four nominated performances that I have seen made my Best Actress list.  The exception is Sandra Bullock, who I think has a great story this year, but not one of the best performances.

One spot goes to Zooey Deschanel for her fantastic work on “(500) Days of Summer.”  Her performance has stuck with me all year, and its beautiful subtleties are astounding.  In one of my first reviews on this blog, I raved of Deschanel:

Summer [Deschanel's character] also has a deep need to be love, but she makes this yearning ever so subtle. Deschanel is able to play this crucial undertone quite skillfully … Deschanel, who most audiences will remember as Will Ferrell’s love interest in “Elf,” plays Summer with the right balance of warmth and bitterness. She plays hard-to-get but also projects Summer’s need to be loved at the same time.

I’ve always been hesitant about giving acting awards to foreign language performances (not that it really matters), but the more I have thought about Melanie Laurent’s performance in “Inglourious Basterds,” the more remarkable it has become for me.  I didn’t say anything other than her being “poignant” in my review, yet her virtuoso work is actually quite astounding.  Obviously Waltz reigns supreme in the film, but she’s crucial to the movie’s success in her own right.

At my prestigious ceremony, the nominees read as followed:

Zooey Deschanel, “(500) Days of Summer”
Melanie Laurent, “Inglourious Basterds”
Carey Mulligan, “An Education”
Meryl Streep, “Julie & Julia”
Gabourey Sidibe, “Precious”

Predictions

Should win: Carey Mulligan, “An Education”
Could win: Meryl Streep, “Julie & Julia”
Will win: Sandra Bullock, “The Blind Side”

The race is between Streep and Bullock, with Mulligan and Sidibe as the major dark horses.  Ultimately, I think the fact that Meryl already has two statues on her mantle coupled with the popularity of “The Blind Side” is enough to propel Bullock to the win.


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2009: Best Supporting Actor

3 03 2010

My celebration of this year’s Academy Award-nominated performances continues with a look at the Best Supporting Actor category.

It’s an interesting mix, but I’ll try not to treat them as numbers or as candidates.  They are actors, and they give performances.  The Oscars become a political race, but I think it’s time to relax and remember 2009 simply as it was: a great year at the theater.

Matt Damon in “Invictus”

IN MY OWN WORDS: “The urgency with which [Damon] sets out to transform rugby into something more than just a game for his team is played with an ardent and admirable intensity.”

He’s here because … he had a great year, playing two completely different characters, and he is a well-liked and popular actor.

Woody Harrelson in “The Messenger”

He’s here because … he is a character actor who has gone too long unnoticed and under appreciated, and it is time for his moment in the sun.

Christopher Plummer in “The Last Station”

He’s here because … he is a fantastic aging actor who had never been nominated before this year, and it was time to correct the crime.

Stanley Tucci in “The Lovely Bones”

He’s here because … he’s a well-liked actor who showed his versatility this year, and he has sympathy after the sad loss of his wife to cancer earlier this year.

Christoph Waltz in “Inglourious Basterds”

IN MY OWN WORDS: “[Waltz] makes Landa very eerie, nearing the level of Javier Bardem in ‘No Country for Old Men,’ but he is also quite likeable and somewhat charming despite the atrocious deeds he commits.”

He’s here because … he is absolutely spellbinding and commanded the screen every time he graced it.

Marshall’s “Oscars”

It’s a little tough for me to gauge how well the Academy did with this category because at this moment, I have only seen two of the five nominated performances.  However, the two that I did see (Waltz and Damon) both made my list.

As for the other three, it’s a bit of an eccentric collection.  First, I would like to honor the snubbed Alfred Molina for his role as Jenny’s father in “An Education.”  Last year, I spoke on my strong support for his performance:

“Among the ensemble, the real standout is Alfred Molina as Jenny’s father.  Despite being a stern authoritarian when it comes to educational matters, Molina brings an all-encompassing charm that lets us know that he cares for her greatly (but with the values of a fading generation).  His presence lends a warm feel to the movie that blends well with all the other pleasant sentiments the movie radiates.”

Another actor who made my list is not a conventional Academy pick (and thus he finds a home here): Alec Baldwin for “It’s Complicated.”  Other than perhaps “The Hangover” guys, I can’t think of any one actor who made me bust a gut so hard in 2009.  In my review, I raved of Baldwin:

“The real comedic spirit of the film comes from Alec Baldwin, who plays the overbearing fun-lover with such energy that he steals the screen every time he appears on it.  Motivated by little other than carnal desires, [his character's] every move is fairly anticipated, but Baldwin’s zeal and verve prevent them ensure that they are always hysterical.”

For my final nominee, I debated including Paul Schneider for his role as poet John Keats’ friend in “Bright Star” as well as Stephen Lang for his muscling role as tough-as-nails marine in “Avatar.”  But after some thought, I decided that the spot deservingly goes to Nicholas Hoult for playing an overly interested student in “A Single Man.”  At first, I found myself quite annoyed by the character.  But as soon as I got over that, I discovered that a great performance lay underneath:

“The real acting standout is the young Nicholas Hoult as George’s overly inquisitive pupil, Kenny.  The script only feeds him obsequiously sexually inviting lines, and it’s hard to overcome that.  But Hoult understands the nature of his character and allows him to progress from somewhat creepy to somewhat of a guardian angel for George (look no further than his giant white sweater).”

So, at Marshall’s Oscars, the nominees would have been…

Alec Baldwin, “It’s Complicated”
Matt Damon, “Invictus”
Nicholas Hoult, “A Single Man”
Alfred Molina, “An Education”
Christoph Waltz, “Inglourious Basterds”

Predictions:

Should win: Christoph Waltz, “Inglourious Basterds”
Could win: Christopher Plummer, “The Last Station”
Will win: Christoph Waltz, “Inglourious Basterds”

The only way Waltz loses here is if the voters feel like they need to give Plummer a “career achievement” Oscar. But even that doesn’t seem likely after Waltz’s steamrolling through this season.


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Categories : 2009 - Oscar Moment, Oscar Moment

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