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Hated Oscar Wins That You Defend/Support

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  • Thatcher, Prime Minister of GoldDerby
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    I didn’t know Redmayne’s Oscar win needed defending. The entire film is great. Jóhann Jóhannsson’s score, the performances, the Cinematography, etc. If The Theory of Everything is Oscar bait, then Roma and The Favourite are just as Oscarbaity. Because Lord knows they were made SPECIFICALLY for Oscars. Pretentious + snobish = The New Oscar Bait.

    I liked The Theory of Everything but, darling, it’s the definition of Oscar bait.

    Lena Headey hasn't got an Emmy for Game of Thrones????? Emmys you need to win her right now!!

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    Eddy Q
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    I’m actually fine with Black Panther’s wins for Costume Design and Score (predicted the latter since they weren’t going to give it song). BP would’ve been a fine Best Picture winner in comparison to GB. But I do think that The Favourite should’ve gotten Production Design, at least. The former being primarily of green screen kinda turns me off but then again, Colman won Actress so I guess that covers it.

    But it’s an award for Production Design, so conceptualisation should be the main factor imo. The set designs for Wakanda were really unique.

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    Eddy Q
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    #1202847221

    I have heard SO many people say that Louise Fletcher didn’t deserve it and I’m honestly astonished. If you want to make an argument that it’s a borderline supporting performance than that’s valid, but her competition was non-existent that year and it was an iconic performance that still blows me away to this day.

    Do you mean her competition was non-existent in terms of standard or chances of winning? Because if the former, I would have to challenge that as Isabelle Adjani is revelatory in The Story of Adèle H – I can’t believe she was only 19 during shooting, she really was prodigiously talented. But Fletcher was also great in Cuckoo’s Nest.

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    Honey
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    #1202847234

    But it’s an award for Production Design, so conceptualisation should be the main factor imo. The set designs for Wakanda were really unique.

    execution is always more important than conceptualization though in everything.

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    Eddy Q
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    #1202847327

    execution is always more important than conceptualization though in everything.

    You’re right but in this case I meant conceptualisation as opposed to the physical reality of built sets. I was arguing against the notion that Black Panther‘s designs being rendered partly by green screen is problematic in terms of awarding it. Of course if the sets looked unconvincing in the finished product then it wouldn’t deserve an award no matter how good the conception was, but that wasn’t the case in my opinion.

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    linecelts
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    #1202847361

    BP winning Costume and Production Design. I will defend this because they RIGHTFULLY DESERVED these awards. Best costumes and the production was stellar. I was hoping for Beale Street to win Score but BP won and I’m fine with it. Ludwig did create a great score.

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    Eddy Q
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    #1202847370

    One that comes to mind is Joel Grey in Cabaret – he seems to draw the ire of many Godfather fans for beating all three of its supporting actor nominees, especially Al Pacino. But frankly Pacino was in the wrong category (he’s more of a lead than Brando ffs, and didn’t he boycott the ceremony because of this?) and while Caan and Duvall were both terrific and deserving of nominations, I would not rate them above Grey’s sublime, hilarious and haunting Master of Ceremonies, which is far more than a showy song-and-dance routine, considering the thematic weight his character holds.

    Also someone’s already brought her up, but Judi Dench in Shakespeare in Love to me represents everything supporting acting awards should be about – making an indelible impression with limited screen time. (I’d even defend Beatrice Straight’s win with even less screen time if Piper Laurie hadn’t been in contention that year.) Dench’s line deliveries could sharpen a blade, but she also manages to subtly convey a sense of history of Elizabeth I beyond the events on screen, without a hint of sentimentality. She won the National Society of Film Critics award as well, so there was serious appraisal for her performance outside of simply getting swept up by the love for Shakespeare in Love.

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    M: The Original
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    #1202847564

    Dench’s win is a consolation for losing Best Actress the previous ceremony.

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    Oz
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    #1202847584

    I will always defend Marisa Tomei’s win. I don’t care, y’all, that lineup was weak. She wasn’t my favourite, but her win was as much deserved as the others.

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    Hoster1
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    #1202847586

    Fletcher is great, but she really doesn’t belong in lead. She’s not even borderline.

    Also I like Gwyneth Paltrow’s win. *goes to hiding*

    • This reply was modified 3 months, 1 week ago by  Hoster1.
    • This reply was modified 3 months, 1 week ago by  Hoster1.
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    Hoster1
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    #1202847592

    I will always defend Marisa Tomei’s win. I don’t care, y’all, that lineup was weak. She wasn’t my favourite, but her win was as much deserved as the others.

    Tomei’s win being hated is a news to me. I mean sure, back in the day there was this ridiculous rumour, but nowadays people seem to remember that win very fondly, I think.

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    Joe Burns
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    #1202847660

    I think that CGI isn”t the best reason to disregard a production design winner since after all the production”s are still designed with a lot of creativity and detail. Since The Favourite was largely filmed at Hatfield House in Hertfordshire I understand why it lost in Production Design even if the award is not just about whether or not the sets were built from scratch or not.

    I think The Favourite was really deserving for Best Costume Design but it makes sense that it didn’t become one of the many period piece winners as the costumes aren”t as eye popping as some past period winners(Elizabeth:The Golden Age,Marie Antoinette, Anna Karenina, The Duchess, The Young Victoria) and are more character driven which is a testament to it”s merits but Oscar voters will typically go with the flashier costumes.Also maybe Sandy Powell”s flippant comment when she won her third Oscar for The Young Victoria came back to haunt her? And maybe vote splitting with Mary Poppins counted against her? She did beat herself twenty years ago but Shakespeare In Love was a much bigger Oscar contender that year and she split votes for Cinderella and Carol three years ago. I feel that if Carol didn’t exist she would have won her fourth Oscar for Cinderella.

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    RobertPius
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    Do you mean her competition was non-existent in terms of standard or chances of winning? Because if the former, I would have to challenge that as Isabelle Adjani is revelatory in The Story of Adèle H – I can’t believe she was only 19 during shooting, she really was prodigiously talented. But Fletcher was also great in Cuckoo’s Nest.

    That was the year that Ellen Burstyn and others tried to have the Best Actress category eliminated because there were so few potential nominees. They thought it would be a protest of the lack of good roles for women. I read in Inside Oscar people were afraid silly stuff would get nominated. There was a skier movie The Other Side of the Mountain and for some reason people were afraid that performance would be nominated since it was one of the few high profile female lead role films.

    All the publicity made them look around more and stuff like Adjani and Carol Kane got in due to them trying to search out worthy performances in smaller films.

    I always wonder why Katharine Ross didn’t get more traction for The Stepford Wives. That was a great performance.

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    Joe Burns
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    Me too- I thought Ross was great.It was probably too much of an anti-men’s movie to get any Oscar traction.

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    Dennis El Mar
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    Do you mean her competition was non-existent in terms of standard or chances of winning? Because if the former, I would have to challenge that as Isabelle Adjani is revelatory in The Story of Adèle H – I can’t believe she was only 19 during shooting, she really was prodigiously talented. But Fletcher was also great in Cuckoo’s Nest.

    In terms of chances of winning. I also love Adjani and that performance is criminally underrated and Glenda Jackson was outstanding in Hedda, but I can’t imagine either of them winning. The Ann-Margret and Carol Kane nominations are… interesting, I’ve heard people say that Kane was robbed and I’ve always wondered why. The point being, even with the two other strong performances in that category, I don’t think that Fletcher robbed anyone by any means and that she was a great choice for a winner that year.

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