Forum Replies Created
February 18, 2020 at 6:07 pm #1203351273
Definitely WALL-E. It’s one of his very best and it would very much be in the spirit of Disney/Pixar taking that category. Although AMERICAN BEAUTY is likely more iconic and influential, I loved that Corigliano won for a film that scored no other nods that year, so that’s just fine. And since SLUMDOG won both Score and Song, give it the latter and split the difference with the two music categories to give WALL-E the win.
Of course, WALL-E was also robbed in Sound Editing so deserved to be the first Pixar film to win 3 awards.February 18, 2020 at 5:37 pm #1203351250
Something that should be noted: Traffic won all of its 5 nominations EXCEPT Best Picture. That’s why I wanted to make a post on it; Because that’s a rarity in and of itself.
It *used* to be rare (and it’s always interesting when it happens), but it’s actually a slightly more common occurrence now than earlier, though the expanded Best Picture slate helps.
Recent films to win every Oscar they were nominated for *except* Best Picture include BOHEMIAN RHAPSODY, SELMA and THE BLIND SIDE. Before that, TRAFFIC was the first film to accomplish this since JAWS, which itself was the first film to accomplish this since THREE COINS IN THE FOUNTAIN.
But from 1947-50, it happened every year! MIRACLE ON 34TH ST, TREASURE OF THE SIERRA MADRE, A LETTER TO THREE WIVES and KING SOLOMON’S MINES all joined that club. Interestingly, until TRAFFIC, the Mankiewicz was the last time a Best Director win was included in these tally of victories.
The previous examples also date back to when the Best Picture slate was expanded the first time: THE ADVENTURES OF ROBIN HOOD, A MIDSUMMER NIGHT’S DREAM, THE STORY OF LOUIS PASTEUR, THE PRIVATE LIFE OF HENRY VIII, and BAD GIRL.
So that’s 15 times in 92 years, or once every 6 years. Very few had as many major categories as the Soderbergh had (and yes, I think it would’ve won with the preferential ballot), but that little factoid happens more often than people realize.February 18, 2020 at 4:41 pm #1203351199
The Invisible Man Returns (1940)
The Invisible Woman (1940)
Invisible Agent (1942)February 8, 2020 at 4:30 pm #1203335538
Well, not surprising at all that the doc shorts are uniformly strong and the Oscar to any one wouldn’t ben a grave injustice, though my personal preferences are:
1. Learning to Skateboard in a Warzone (if You’re a Girl)
2. St. Louis Superman
3. Life Overtakes Me
4. In the Absence
5. Walk Run Cha-Cha
And if last year’s winner PERIOD. END OF SENTENCE taught us anything, it’s that uplifting tales of women fighting patriarchal societies in a way that emphasizes courage and imagination (and not just oppression) has real traction with the voters, especially if it’s leavened with a good dose of humor. SKATEBOARD nails all those points (while still being incredibly moving) so I can easily see that winning. It’s a crowd-pleaser in the best sense of the term: A solid message but entertaining without ever pandering.February 7, 2020 at 6:36 pm #1203334266
Well, finally saw the Live Action Shorts collection and the incredible revelation is that none of the shorts suck (something I haven’t been able to say in this category in ages). They’re not all great, but they’re all pretty good (if far from the best shorts of the past year).
That said, I thought NEIGHBORS was touching but too schematic, FOOTBALL little more than a shaggy dog story, A SISTER too familiar on themes from other recent live action short nominees (all of which were better) and SARIA has some excellent moments but in the end is too hogtied to its “Based-on-a-true-story” resolution.
That leaves BROTHERHOOD, which really does give its characters a chance to breathe and its tensions unfold gradually while also allowing a more meditative look at the life around the family. Also, the finale may be downbeat, but its rooted in a character’s failings rather than something more systemic or institutional. In short, we hold responsibility for the world we create and the weight of this realization is the most poignant moment in any of the films.
Usually, it’s a plus to have humor, kids, English, or something upbeat–which would disqualify BROTHERHOOD on all counts–but I still think it’s the best of the bunch. But at least there isn’t any that I would consider a disaster if it won (unlike last year, which was a fairly hoary and horrendous mix across the board).February 5, 2020 at 10:50 am #1203331247
The ironic thing about the SW prequels is that despite how genuinely terrible they all were, Williams’s scores are fantastic, especially PHANTOM and CLONES–the latter of which highlights such a striking disconnect because its love theme has such a beautiful, tragic, romantic quality that the film comes absolutely nowhere close to living up to. It’s a real stunner if you listen to the score on its own terms and not with its rather horrible associations.
So I find it curious that even though I’ve found the scores for Ep 7-9 rather rudimentary by comparison (not bad, but not nearly as distinctive as I’d hope for), AMPAS now feels comfortable rubber stamping Williams across the trilogy the way they recoiled from doing so for the prequels. The films are certainly better, but the scores aren’t.
Of these most recent efforts, I liked the one for FORCE the best (mostly because of the truly lovely and iconic theme for Rey), but no, I wouldn’t have voted for it over Morricone. Heck, I would have voted for Burwell’s CAROL or Johannsson’s SICARIO over Williams, too.February 3, 2020 at 2:55 pm #1203328621
Having finally seen WEATHERING WITH YOU on the big screen, I’m shocked at the oversight of it not getting one of the 5 slots, since I think it’s easily better than all the films on the ballot. Truly masterful.
But having accepted that, I’m keeping my fingers crossed for Laika despite the fact that–between LINK and KLAUS–there is no one single non-Disney consensus choice (unlike last year) which means I would not be surprised one bit if TS4 wins.January 30, 2020 at 3:08 pm #1203320613
The vast majority of times, the reason for a split is because the winner of Sound Mixing was not nominated for Sound Editing, making a split inevitable.
WHIPLASH, LES MISERABLES, DREAMGIRLS, RAY, CHICAGO are all examples of this. You’ll note that they also have something specific in common.
The only 2 times in the last 50 years when the Sound Mixing winner actually **LOST** Sound Editing were:
SLUMDOG MILLIONAIRE lost to THE DARK KNIGHT
HACKSAW RIDGE lost to ARRIVAL
In both cases, films which won both Sound Mixing and Film Editing and which had more naturalistic storylines lost Sound Editing to more fantastic, genre-driven films. It’s hard to imagine JOKER or SKYWALKER (the closest examples of that) beating 1917 or FvF so a split is very unlikely (and I’m guessing the Mendes will win both).January 30, 2020 at 1:15 pm #1203320322
The last film without outstanding cinematography to win Best Director was The King’s Speech.
I guess that depends on your definition of “outstanding”, because THE KING’S SPEECH *was* nominated for Cinematography.
The last three films to win Best Director without a Cinematography nomination were:
Eastwood/MILLION DOLLAR BABY
Jackson/LOTR:ROTKJanuary 28, 2020 at 12:18 pm #1203317114
Costume design is giving me grief. Any other year recently I’d have said Little Women is too traditional and low-key to win in the decade of Mad Max: Fury Road and Black Panther winning costume awards, but with this year’s competition it could win by default.
The decade of BP and MM:FR is also the decade of ANNA KARENINA, THE GREAT GATSBY, and PHANTOM THREAD. Far more often than not, this category has gravitated towards what the female characters wear, because it allows for greater variation in styles and color than what men usually are given to wear. WOMEN is the one with the greatest variation of female costumes and is the only one to take place pre-1940. Period styles usually have the upper hand and a Picture nod only shows the strength of its support.
I wouldn’t have a problem with HOLLYWOOD taking it, and I think it is running a comfortable second, but WOMEN fits all the typical criteria that wins, and it has no other film competing against it to split that traditional voting bloc.January 28, 2020 at 11:49 am #1203316905
Visual Effects kinda feels closed off now. Irishman and Lion King’s visual effects were poorly received, Star Wars hasn’t won since the 80’s, and the academy clearly has a bias against the Avengers movies (probably voters like Scorsese and Coppola).
The Academy doesn’t have a *bias* against the Marvel movies. It just has never felt the need to recognize them anywhere they didn’t belong.
But they do and always have belonged in the VFX category. This is the 10th MCU film to get nominated here (and you can expand that # further if you add other Marvel properties).
The reason none of them won before was because there was always a more compelling and memorable or interesting film, a film whose appeal and accomplishment couldn’t really be denied.
But that’s not the case this year. You gave good reasons why 3 are highly unlikely, and I’d say the biggest argument again 1917 is that it tries to stay so close to rigorous verisimilitude that the Effects are essentially “invisible”. And the Academy always leans toward films whose artifice in some ways is still noticeable in this category. Even when films have no supernatural elements and adhere to historical “authenticity” (GLADIATOR, TITANIC), the effects are still conspicuous and undeniable.
1917 uses its visual effects quite seamlessly (especially the digital ones, which is what most people associate with “effects” these days) and I can see a lot of people not giving it the credit it might deserve because you don’t realize how extensive the effects are unless you see some BTS video of some kind.
But AVENGERS: ENDGAME has a ton of noticeable effects in a movie that was well-received (94% on RT) and profitable (the 2nd biggest $-maker of all time). The whole “Scorsese anti-Marvel” sentiment is nonsense because we’re not talking about Screenplay or even Editing. We’re talking about a category where flights of visual fancy have always belonged and been celebrated.
If they can give Make-Up to SUICIDE SQUAD, they can certainly give VFX to AVENGERS. And I’m not saying for a second that the Academy will feel like it “owes” Marvel. They don’t.
But I think the film really lucked out this year by being up against a host of films whose failings play up ENDGAME’s strengths (remember, ENDGAME has convincing de-aging too). And this would not be a “hold your nose” decision for many. The cast of ENDGAME alone has over 40 Oscar noms to their credit. There are plenty of people very happy to accept the film for what it does well. And not only does it do VFX well, but it flaunts it, and sometimes being showy is what wins in the long run.January 28, 2020 at 10:30 am #1203316763
I think the only one who’s slightly vulnerable is Renee, and that’s because she’s the only one who’s won before (in acting).
Sometimes, when a performance is THAT good (or if the movie the repeat performance is in is THAT good), people don’t think twice by awarding that person again.
But I don’t think RZ is *that* good in JUDY (which is definitely not *that* good of a movie either), so I think for those who are not in any rush to give her a second Oscar, this is a good excuse to find an alternative, giving the advantage to Saoirse and Scarlett because they’re both in Best Picture nominees with significant support.
Of course, Renee plays a screen legend in a poignant Hollywood tribute, so that’s to her advantage. And she’s not bad, I suppose (though the singing is woefully unconvincing). But it really wouldn’t surprise me at all if she gets bumped by one of those two.
Regardless of who I think deserves it or not, I don’t see any conceivable scenario where Phoenix, Pitt & Dern get bumped. They are all very popular multi-nominated artists, their movies are very popular, and there is no one single performance in any of their categories that is an obvious magnet for an “alternative” vote, so that faction will get diluted down to nothing.January 24, 2020 at 10:24 am #1203302513
John Ford directed THE GRAPES OF WRATH and THE LONG VOYAGE HOME (1940). Both were nominated for Picture, and Ford would go on to win Director for the former.
This was the same year Hitchcock also had two.