Last Minute Oscar Picks
You can see the full ballot here. I'm not going to bother to relist every nominee, or even make a pick in each category. And, since I haven't seen all of the nominated films, my picks are a combination of assumptions and wishful thinking and illogical ranting.
BEST PICTURE: Brokeback Mountain
Will anyone be surprised to see this win? It's the buzziest picture of the year, it's already entered pop-culture lingo and the film poster image has become a popular template for satire.
What's most interesting about this year's nominees is that none of them were blockbusters (Brokeback is the closest thing to a hit on the list), they are all relatively low-budgeted and/or independently produced features, and they all carry a rather pointed political message of some kind. Apparently, Hollywood is where all the country's remaining Democrats have set up shop.
DIRECTOR: George Clooney, Good Night and Good Luck
Surely, Hollywood's sexiest Democrat at the moment is Mr. Clooney. He is widely admired, has a few films under his directorial belt, and, most importantly, is an Actor Who Has Made Good, which the Academy voters seem to love. We all want to see him give a triumphant, yet humble, acceptance speech because he is more beautiful than all the other nominated directors put together.
ACTOR: Philip Seymour Hoffman, Capote
WINNER!
This is an unusually strong category this year; I wouldn't be unhappy to see any of the other nominees win. Terrence Howard's performance in Hustle & Flow, in particular, was a beautiful demonstration of what a skilled actor can do with a somewhat stereotypical role (the struggling artiste who triumphs over adversity or, if you prefer, the black pimp with a soul). Howard blew me away, as did Hoffman, another actor with a long resume who has long gone unrecognized by both his peers and the public. Hoffman's role as Truman Capote is not only a stark departure from his other roles, it is a truly disturbing look at what a writer will do for a story and how a person can be torn between love of another human being and one's self-preservation. Howard made me cheer, Hoffman gave me the chills.
ACTRESS: Felicity Huffman, Transamerica
In contrast to the actor nominations, this category is rather weak this year and the nominees seem to have been chosen almost randomly. Charlize Theron in North Country? Will she be nominated whenever she plays a non-glamourous role? Judi Dench again? Whoever plays the lead in the latest Jane Austen adaptation? Boooooring! Reese Witherspoon is the favorite, but I like the subversive aspects of Huffman's nomination: 1) She's primarily known for her TV acting and is therefore a longshot among her Hollywood upperclasswomen, and 2) she plays a transgendered character. The gay media must be going nuts this year, what with all the representation in the major categories.
I was upset that Naomi Watts didn't get nominated for her convincing work in King Kong. Remember how Mark Hamill made you believe in that green puppet? But, as we all must know by now, Hollywood hates anything to do with fantasy films, unless overwhelming popularity forces their hand.
SUPPORTING ACTOR: Jake Gyllenhaal, Brokeback Mountain
Paul Giamatti might win this year in a belated vote for the role he should have won for last year. It might be cool to see Matt Dillon win, too. He's another actor who has long since paid his dues. But this is the next highest category that would carry Brokeback on to a sweep for the evening, and I think it's got enough buzz to do so.
SUPPORTING ACTRESS: Michelle Williams, Brokeback Mountain
See above. The other nominated roles seem fairly insignificant in terms of the screen time held by the characters. Amy Adams might be a breakout surprise for Junebug, but only if the voters don't already feel they've made a big enough statement by voting for Brokeback in the other categories.
DOCUMENTARY FEATURE: Darwin's Nightmare
This is one of those categories that the voters like to use to make A Statement, and with the ongoing pissing contest going on between evolution and intelligent design in our troubled country, no one needs to have seen this film in order to want to vote for it.
ART DIRECTION: King Kong
I loved this movie. Sure, it's about a big fucking ape, but it had heart and style and, dare I say?, class. It doesn't have a chance in Hell.
COSTUME DESIGN: Memoirs of a Geisha
WINNER!
Hollywood likes their Asian women to fulfill every facet of the Oriental stereotype, and Geisha is every Asian-fetishist's dream. Well, since Kill Bill isn't eligible this year, anyway. The only thing better than an Asian chick with a big fucking sword is a subservient Asian chick who might be wearing a bust-enhancing corset under her long, loose robes.
ANIMATED FEATURE: Howl's Moving Castle
This is the first year since this category was introduced that all the nominees have been truly worthy of the award. At the very least, we can be thankful none of that obligatory Disney crap was nominated. All of this year's nominees are imaginative, innovative examples of animation, and able to be appreciated by both children and adults. It took the Academy a few fucking years to figure out this category, but this time they got it right. Howl's is my personal favorite, but any of the nominees is worthy of an Oscar.
SOUND MIXING & SOUND EDITING: War of the Worlds
Remember the disturbing, belching groans made by the Tripods? Remember the sound of people being disintegrated? Remember the combination of organic and mechanical noises made by the Tripods as they goose-stepped their way across the countryside? If you don't, you weren't paying attention or you're spending too much time jacked up to your iPod. This year's creepiest movie (well, up until the last 15 minutes or so) was creepy, at least in part, because of the unbelievable fucked-up noises made by the alien machines in this horrorfest.
MAKEUP: Star Wars: Episode III (Revenge of the Sith)
Just on the basis of how this film let me know how much of a person's flesh can reasonably be burnt off before death occurs (or should occur) and how it looks whenever a body part is hacked off by a laser sword, Episode III should win. Plus, it's the only nomination this film got, and it's the last time Hollywood will be able to say "thank you" to George Lucas for keeping the film industry alive.
VISUAL EFFECTS: King Kong
WINNER!
First of all, how did Narnia get nominated for this category? What did Narnia achieve that was so visually stunning? Talking lions? Secondly, how did Episode III not get nominated? Did the voters not see the last 30 minutes of the movie? Did they get bored of seeing all the ways in which Obi-Wan could swing his lightsabre? What about when Vader's faceplate slowly obscures the face of poor Anakin? Talk about your fucking iconic film moments.
Not to detract from the worthiness of King Kong. If Andy Serkis is not going to get an acting nomination, you've at least gotta give props to the people who made that monkey's face so expressive and heartbreaking. Seriously.
SCREENPLAY (ORIGINAL): Syriana
What a clever movie this was. Maybe too clever. Crash, also nominated in this category, tries to be as clever with its multi-branching storylines, but I never really bought into the plausibility of all those random meetings. Syriana, by comparison, is as complicated and random as real life, which is why its political message ends up being more convincing and less self-righteous. Plus, you know, shit blows up.
SCREENPLAY (ADAPTATION): Capote
Two of the nominated films in this category are based on real-life events. Munich, however, is largely fictional since no one can ever be quite sure just how all that reprisal killing went down. How much more challenging to adapt a biography (and a lengthy one at that) and still present the main character in a way that makes him seem fully human (if not sympathetic). The other stories here could practically write their own screenplays, but the adaptation of Capote must have involved a lot of painful reworking of a life into a two-hour story.
CINEMATOGRAPHY: The New World
I was pleased to see Batman Begins, with all its claustrophobic, dark settings and ninja fighting, get a nod here. Similarly, Brokeback contains all those sweeping Wyoming vistas with nary a barbed-wire fence in sight. But you can't beat Emmanuel Lubezki's lovingly held shots of the virgin America and its freakishly beautiful natives. The New World depicts a world long dead, and we are the better for having it preserved (if only imaginatively) in the lens of this man's camera.
ORIGINAL SCORE
I defer to the wisdom of Billville for this category.
ORIGINAL SONG: "It's Hard Out Here for a Pimp," Hustle & Flow
WINNER!
Besides being the only film in this category that actually incorporates the creation of music as a major plot point, this song contributes to a truly poignant moment in the film, when the lead character realizes he might at last crawl away from the trap of his life, his job, his neighborhood, and his class (though, tellingly, not the color of his skin). This is by no means background music. It is as much a part of the story as the actors or the screenplay. I can't wait to see it performed during the ceremony.
Those are all the categories I'm prepared to call, which is just as well, since the roll call of winners begins in just a little over two hours from now. Nothing like the motivation of a deadline.
BEST PICTURE: Brokeback Mountain
Will anyone be surprised to see this win? It's the buzziest picture of the year, it's already entered pop-culture lingo and the film poster image has become a popular template for satire.
What's most interesting about this year's nominees is that none of them were blockbusters (Brokeback is the closest thing to a hit on the list), they are all relatively low-budgeted and/or independently produced features, and they all carry a rather pointed political message of some kind. Apparently, Hollywood is where all the country's remaining Democrats have set up shop.
DIRECTOR: George Clooney, Good Night and Good Luck
Surely, Hollywood's sexiest Democrat at the moment is Mr. Clooney. He is widely admired, has a few films under his directorial belt, and, most importantly, is an Actor Who Has Made Good, which the Academy voters seem to love. We all want to see him give a triumphant, yet humble, acceptance speech because he is more beautiful than all the other nominated directors put together.
ACTOR: Philip Seymour Hoffman, Capote
WINNER!
This is an unusually strong category this year; I wouldn't be unhappy to see any of the other nominees win. Terrence Howard's performance in Hustle & Flow, in particular, was a beautiful demonstration of what a skilled actor can do with a somewhat stereotypical role (the struggling artiste who triumphs over adversity or, if you prefer, the black pimp with a soul). Howard blew me away, as did Hoffman, another actor with a long resume who has long gone unrecognized by both his peers and the public. Hoffman's role as Truman Capote is not only a stark departure from his other roles, it is a truly disturbing look at what a writer will do for a story and how a person can be torn between love of another human being and one's self-preservation. Howard made me cheer, Hoffman gave me the chills.
ACTRESS: Felicity Huffman, Transamerica
In contrast to the actor nominations, this category is rather weak this year and the nominees seem to have been chosen almost randomly. Charlize Theron in North Country? Will she be nominated whenever she plays a non-glamourous role? Judi Dench again? Whoever plays the lead in the latest Jane Austen adaptation? Boooooring! Reese Witherspoon is the favorite, but I like the subversive aspects of Huffman's nomination: 1) She's primarily known for her TV acting and is therefore a longshot among her Hollywood upperclasswomen, and 2) she plays a transgendered character. The gay media must be going nuts this year, what with all the representation in the major categories.
I was upset that Naomi Watts didn't get nominated for her convincing work in King Kong. Remember how Mark Hamill made you believe in that green puppet? But, as we all must know by now, Hollywood hates anything to do with fantasy films, unless overwhelming popularity forces their hand.
SUPPORTING ACTOR: Jake Gyllenhaal, Brokeback Mountain
Paul Giamatti might win this year in a belated vote for the role he should have won for last year. It might be cool to see Matt Dillon win, too. He's another actor who has long since paid his dues. But this is the next highest category that would carry Brokeback on to a sweep for the evening, and I think it's got enough buzz to do so.
SUPPORTING ACTRESS: Michelle Williams, Brokeback Mountain
See above. The other nominated roles seem fairly insignificant in terms of the screen time held by the characters. Amy Adams might be a breakout surprise for Junebug, but only if the voters don't already feel they've made a big enough statement by voting for Brokeback in the other categories.
DOCUMENTARY FEATURE: Darwin's Nightmare
This is one of those categories that the voters like to use to make A Statement, and with the ongoing pissing contest going on between evolution and intelligent design in our troubled country, no one needs to have seen this film in order to want to vote for it.
ART DIRECTION: King Kong
I loved this movie. Sure, it's about a big fucking ape, but it had heart and style and, dare I say?, class. It doesn't have a chance in Hell.
COSTUME DESIGN: Memoirs of a Geisha
WINNER!
Hollywood likes their Asian women to fulfill every facet of the Oriental stereotype, and Geisha is every Asian-fetishist's dream. Well, since Kill Bill isn't eligible this year, anyway. The only thing better than an Asian chick with a big fucking sword is a subservient Asian chick who might be wearing a bust-enhancing corset under her long, loose robes.
ANIMATED FEATURE: Howl's Moving Castle
This is the first year since this category was introduced that all the nominees have been truly worthy of the award. At the very least, we can be thankful none of that obligatory Disney crap was nominated. All of this year's nominees are imaginative, innovative examples of animation, and able to be appreciated by both children and adults. It took the Academy a few fucking years to figure out this category, but this time they got it right. Howl's is my personal favorite, but any of the nominees is worthy of an Oscar.
SOUND MIXING & SOUND EDITING: War of the Worlds
Remember the disturbing, belching groans made by the Tripods? Remember the sound of people being disintegrated? Remember the combination of organic and mechanical noises made by the Tripods as they goose-stepped their way across the countryside? If you don't, you weren't paying attention or you're spending too much time jacked up to your iPod. This year's creepiest movie (well, up until the last 15 minutes or so) was creepy, at least in part, because of the unbelievable fucked-up noises made by the alien machines in this horrorfest.
MAKEUP: Star Wars: Episode III (Revenge of the Sith)
Just on the basis of how this film let me know how much of a person's flesh can reasonably be burnt off before death occurs (or should occur) and how it looks whenever a body part is hacked off by a laser sword, Episode III should win. Plus, it's the only nomination this film got, and it's the last time Hollywood will be able to say "thank you" to George Lucas for keeping the film industry alive.
VISUAL EFFECTS: King Kong
WINNER!
First of all, how did Narnia get nominated for this category? What did Narnia achieve that was so visually stunning? Talking lions? Secondly, how did Episode III not get nominated? Did the voters not see the last 30 minutes of the movie? Did they get bored of seeing all the ways in which Obi-Wan could swing his lightsabre? What about when Vader's faceplate slowly obscures the face of poor Anakin? Talk about your fucking iconic film moments.
Not to detract from the worthiness of King Kong. If Andy Serkis is not going to get an acting nomination, you've at least gotta give props to the people who made that monkey's face so expressive and heartbreaking. Seriously.
SCREENPLAY (ORIGINAL): Syriana
What a clever movie this was. Maybe too clever. Crash, also nominated in this category, tries to be as clever with its multi-branching storylines, but I never really bought into the plausibility of all those random meetings. Syriana, by comparison, is as complicated and random as real life, which is why its political message ends up being more convincing and less self-righteous. Plus, you know, shit blows up.
SCREENPLAY (ADAPTATION): Capote
Two of the nominated films in this category are based on real-life events. Munich, however, is largely fictional since no one can ever be quite sure just how all that reprisal killing went down. How much more challenging to adapt a biography (and a lengthy one at that) and still present the main character in a way that makes him seem fully human (if not sympathetic). The other stories here could practically write their own screenplays, but the adaptation of Capote must have involved a lot of painful reworking of a life into a two-hour story.
CINEMATOGRAPHY: The New World
I was pleased to see Batman Begins, with all its claustrophobic, dark settings and ninja fighting, get a nod here. Similarly, Brokeback contains all those sweeping Wyoming vistas with nary a barbed-wire fence in sight. But you can't beat Emmanuel Lubezki's lovingly held shots of the virgin America and its freakishly beautiful natives. The New World depicts a world long dead, and we are the better for having it preserved (if only imaginatively) in the lens of this man's camera.
ORIGINAL SCORE
I defer to the wisdom of Billville for this category.
ORIGINAL SONG: "It's Hard Out Here for a Pimp," Hustle & Flow
WINNER!
Besides being the only film in this category that actually incorporates the creation of music as a major plot point, this song contributes to a truly poignant moment in the film, when the lead character realizes he might at last crawl away from the trap of his life, his job, his neighborhood, and his class (though, tellingly, not the color of his skin). This is by no means background music. It is as much a part of the story as the actors or the screenplay. I can't wait to see it performed during the ceremony.
Those are all the categories I'm prepared to call, which is just as well, since the roll call of winners begins in just a little over two hours from now. Nothing like the motivation of a deadline.
posted by Chazzbot at 2:18 PM
1 Comments:
For my part, I think the Brokeback soundtrack seems like a freebie to up the movie's stats -- and probably a way to prepare us all for it not to win Best Picture. The record is only half score, which is kind of lame.
It retrospect, I think P&P should have taken it -- that's a nice record.
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