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Oscar 2004 Nomination Predictions

Hobbits, fish, horses, Asians, pirates and civil wars. This year, the Academy threatens to get all political and metaphorical on our asses.

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Oscar 2004 Nomination Predictions

Hobbits, fish, horses, Asians, pirates and civil wars. This year, the Academy threatens to get all political and metaphorical on our asses. The race for Oscar gold is on and, as usual, it pits the big against the small. For the last three years, pundits and members of the press have done all the work for the publicity machine at New Line. Even if the Academy doesn’t think Peter Jackson’s The Lord of the Rings: The Return of the King was the best film of the year, it’s been drilled into everyone’s mind that AMPAS would reward Mr. Jackson and his fantasy extravaganza with the release of the final film. After Anthony Minghella’s DGA snub and Return of the King’s PGA and BFCA wins, this year’s Best Picture race is New Line’s to lose. But it’s anyone’s guess which studio will score an upset. Cultures clash in Warner’s pompous The Last Samurai and DreamWorks’s morose social melodrama House of Sand and Fog but the Academy is more likely to embrace Sofia Coppola’s pastel, disaffected-whites-go-to-Japan anthem Lost in Translation and Jim Sheridan’s more honest and less heavy-handed In America. Miramax will buy a vote for Cold Mountain but will Sony be able to do the same thing in light of their fishy Big Fish box office stunt? Not in a year with two gangbuster sea-faring films (Master and Commander and Pirates of the Caribbean: The Curse of the Black Pearl), a Clint Eastwood drama with a dozen great performances, and a metaphorical horse film (Seabiscuit) so popular it had audiences hankering for the days before Orange Alert.

PICTURE: The brief screener ban period led many to speculate that Oscar nominations would reveal an almost unmistakable bias toward mainstream studio hits. As if the Academy Awards ever played it any other way. So, screener ban or not, the inclusion of Return of the King was a foregone conclusion as early as 2001. Seabiscuit has played right into the hands of Oscar prognosticators with a fondness for horse-racing metaphors (lush, vomity Kentucky Derby perverts, all of them!), and though every columnist managed to turn a blind eye to the non-stop barrage of trade ads in support of the film, the unabated string of guild nominations has made this year’s epochal “tradition of quality” pander-fest into something of a frontrunner. Y’know, like Funny Cide? Actually, the way things have been going, don’t be surprised if Seabiscuit’s nomination tally rivals or even surpasses Return of the King’s (though everyone’s ready to give it the Best Picture trophy, some of the techies are no doubt weary of awarding the series a second and third time in the same categories). It now seems like forever ago, thanks to a less-than-stellar critics award performance, but initially Mystic River worked the critics into a tizzy not seen since the likes of L.A. Confidential. In a weak year, Oscar is usually willing to listen to the critics, so Mystic River is in. The other two slots are up for grabs, but only four films seem to have a legitimate shot: Cold Mountain, Master and Commander, Lost in Translation and In America. Miramax has put all of its chips on Cold Mountain, and who are we to ignore the hypnotic spell Harvey’s jowls seem to have the Academy under. In America was going like gangbusters a few months ago, but when the screener ban put a damper on Fox Searchlight’s Oscar campaign, the studio’s smart publicity machine kicked things into high gear by offering free screenings and promotional items to potential voters. Though Jim Sheridan’s deeply personal film has scored a number of critics’ mentions for its screenplay, it hasn’t exactly lit up the box office and doesn’t look like it’s going to appeal to the techie branches of the Academy. Master and Commander has the more impressive guild showings, but some say that the film’s actors play second fiddle to the sea-faring spectacle. Also, it might be one epic too much to ask the sizable actors’ wing to sit through. Call us crazy, but even high-profile detractors like John Hurt and William Goldman don’t deter us from suspecting that Lost in Translation will be the compromise. Besides that, grumblings about the film’s damn-near transitory plot and latent racism will give the controversy hounds something to talk about. Sounds like Gangs of New York all over again.

Will Be Nominated: Cold Mountain, The Lord of the Rings: The Return of the King, Lost in Translation, Mystic River, and Seabiscuit.

Should Be Nominated: Big Fish, The Company, Gerry, Mystic River, and The Son.

ACTOR: Since 1995, only Edward Norton, Nigel Hawthorne and Ed Harris have received Academy Award nominations without receiving either SAG or Golden Globe nods. On average, four SAG nominees go on to score Oscar nominations, which means that even though Paddy Considine (In America) isn’t out of the running yet, he’s fighting an uphill battle. But in the interest of getting the locks out of the way, one expects that Ben Kingsley (House of Sand and Fog) and Sean Penn (Mystic River) are feeling pretty secure about their positions (that is, if the latter gives a shit about the Oscar race, and his appearance at a recent award show indicates he might be letting the whiff of frontrunner status lead him by the nose). With countless critics’ awards and citations for his performance in Lost in Translation, Bill Murray should be a sure bet, but he’s been in this position before. Famously unpopular in Hollywood’s backscratching circles, the actor failed to get a nomination in 1998 for his performance in Wes Anderson’s Rushmore. Still, this is probably the least crowded category of the lot, and Lost in Translation is primed for multiple nods. As for the other two SAG nominees, political correctness is on Peter Dinklage’s side, but even though The Station Agent has more respect than Pirates of the Caribbean, the pirate film has more money and Depp has a Golden Globe to go with his SAG nod. The Last Samurai’s Tom Cruise and Master and Commander’s Russell Crowe (who has yet to get an Oscar nomination without SAG’s permission), were both outperformed by their co-stars, Ken Watanabe and Paul Bettany, respectively. While Paddy Considine’s performance is arguably more actor-friendly and far more central to his film, an Oscar category without a Miramax contender is like a night without stars, so despite the discernible buzz of indifference surrounding Cold Mountain, Jude Law and his trump card are looking mighty pretty.

Will Be Nominated: Johnny Depp (Pirates of the Caribbean: The Curse of the Black Pearl), Ben Kingsley (House of Sand and Fog), Jude Law (Cold Mountain), Bill Murray (Lost in Translation), and Sean Penn (Mystic River).

Should Be Nominated: Casey Affleck (Gerry), Paddy Considine (In America), Chiwetel Ejiofor (Dirty Pretty Things), Sean Penn (Mystic River), and Bill Murray (Lost in Translation).

ACTRESS: Something’s Gotta Give for pointing out the obvious (you know: men and women over 50 still like to have sex), and though not everyone warmed up to Nancy Meyers’s mid-life comedy, Diane Keaton got her best reviews since Annie Hall. Critics darling Charlize Theron (Monster) may be the woman to beat in this category, but it’s anyone’s guess who’ll be sweating alongside her and Keaton come Oscar night. No one liked The Missing and no one saw Veronica Guerin, so Cate Blanchett may end up on the sidelines with sister vote-splitters Scarlett Johansson (Girl with a Pearl Earring and Lost in Translation) and Patricia Clarkson (The Station Agent and Pieces of April). Dark horse Samantha Morton is a previous Oscar nominee and though her performance as a grieving mother in In America merits recognition, academy members may not know what category to place her in. The culture war at the heart of House of Sand and Fog will make liberals in the academy feel all fuzzy wuzzy inside, but Jennifer Connelly has received virtually no precursor attention (only a BFCA nomination) and her performance has been overshadowed by both Ben Kingsley and Shohreh Aghdashloo. Uma Thurman kicks ass in Kill Bill: Volume 1 and her high-profile divorce from Ethan Hawke has everyone’s sympathy, but will older academy members be able to stomach Tarantino’s ultra-violent, divisive concoction? Evan Rachel Wood surprised pundits by scoring well-deserved Golden Globe and SAG nominations, and though some think she’s too young and Thirteen too bleak, only once in the last ten years has an actress been nominated for a Golden Globe in the drama category and a SAG award and not been nominated for an Oscar. Of course, that person was Meryl Streep, but the film was the inconsequential The River Wild. The odds are on the young actress’s side, as is Fox Searchlight’s aggressive campaigning and the film’s timely DVD release. Naomi Watts received a much-needed SAG nomination after being snubbed by the Golden Globes. Some voters may find 21 Grams too nihilistic, but others may want to reward her after snubbing her for her work in David Lynch’s Mulholland Drive. Four out of the five female SAG nominees have gone on to score Academy Award nominations since 1995. This year, Patricia Clarkson received a SAG award for The Station Agent but she’ll likely give her spot up to Nicole Kidman. Kidman’s performance in Minghella’s harlequin romance Cold Mountain has received very little love from the film community and her fellow actors, but Miramax will make sure that she makes the final cut. Even if the academy is tired of Miramax’s aggressive campaigning, they’re certainly not tired of Ms. Kidman, who didn’t get a SAG nomination for Moulin Rouge but went on to score an Oscar nod.

Will Be Nominated: Diane Keaton (Something’s Gotta Give), Nicole Kidman (Cold Mountain), Charlize Theron (Monster), Naomi Watts (21 Grams), and Evan Rachel Wood (Thirteen).

Should Be Nominated: Diane Keaton (Something’s Gotta Give), Valérie Lemercier (Friday Night), Samantha Morton (In America), Isabel Rose (Anything But Love), and Naomi Watts (21 Grams).

SUPPORTING ACTOR: Buoyed by the Academy’s vague support of outspoken liberals, Alec Baldwin is a near lock in this category for his role as a misogynistic Casino owner in Wayne Krammer’s The Cooler (remember, this is an election year). Benicio del Toro (21 Grams) and the even more outspoken Tim Robbins (Mystic River) are also pretty close to being secure locks (tell that to Dennis Quaid, though). Tom Cruise’s typically egregious tubthumping for the benefit of himself is almost sure to backfire in the Best Actor category, but it is likely to do wonders for his Last Samurai co-star Ken Watanabe’s profile. Consider these four in the thick of it, which makes the scramble for the fifth slot particularly heated. Up until recently, Albert Finney was considered a safe bet, but when a high-profile Oscar campaign fizzles out, it takes everyone down with it (bad news for Djimon Hounsou, too). Peter Saarsgard (who can thank his lucky stars that the Globes nominated him for his Shattered Glass performance) is the overwhelming critics’ favorite in this category, and voters should be familiar with him for providing Boys Don’t Cry with some of its punch, but four high profile candidates in this category come from Best Picture sure-things and are fighting for their respective film’s only acting nomination. Return of the King’s Sean Astin was left in the cold by both the Globes and the SAG, but like Uma Thurman, an extremely vocal minority persists in keeping the faith. Seabiscuit has nominations from both the Globes and the SAG, but unfortunately they were for two different actors. Though SAG nominee Chris Cooper is hot, coming off of his win last year in this category, Globe nominee William H. Macy has gone nearly a decade being considered among the most respected character actors in Hollywood without a trophy to call his own. Upon its theatrical release last summer, Seabiscuit’s main acting hope seemed to be Jeff Bridges (a four-time Oscar nominee), but luck is on Macy’s side. Academy members may want to reward his performance in The Cooler here.

Will Be Nominated: Alec Baldwin (The Cooler), Benicio del Toro (21 Grams), William H. Macy (Seabiscuit), Tim Robbins (Mystic River), and Ken Watanabe (The Last Samurai).

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Should Be Nominated: Robert Duvall (Open Range), Benicio del Toro (21 Grams), Wentworth Miller (The Human Stain), Tim Robbins (Mystic River), and Peter Saarsgard (Shattered Glass).

SUPPORTING ACTRESS: Facts: In 1995 and 1996, only two Golden Globe nominees in this category went on to score Oscar nominations. Every other year, though, it was four, with the exception of one year, went all five nominees carried over to Oscar night. For those without calculators: that’s an average of four. In 1995, 1997 and 2002, only two SAG nominees went on to get Oscar nominations. One year it was three, one year it was all five, and four years it was four. Confused yet? Forget SAG. We’re hedging our bets with the Globes. Because all three have received Golden Globe and SAG nominations, consider Holly Hunter, Renée Zellweger and Maria Bello the surest bets. Lions Gate was one of the first studios to send screeners out once the ban was lifted, and as such one has to wonder if Bello, Cooler co-star Alec Baldwin, Shattered Glass’s Peter Sarsgaard and Girl with a Pearl Earring’s cinematography would have done so well with the critics if it wasn’t for the studio’s lovely DVD box set. Pundits have underestimated Bello, but it would be unwise to ignore an actress who goes through this much abuse in a film many Academy members will find appealing gimmicky (and, yes, we’re predicting a nomination for Wayne Krammer’s screenplay). Marcia Gay Harden won an Oscar for her performance in Pollack a few years back without being nominated for a Golden Globe or SAG award. History might repeat itself again this year if the Mystic River star snags a nomination without any love from the folks at the Hollywood Foreign Press and the Screen Actor’s Guild. Not only did she deliver impressionable performances in two other films this year, Casa de los Babys and Mona Lisa Smile, the critics are behind her and some pundits consider her a frontrunner in this category. Three actresses will duke it out for the final spot: Shohreh Aghdashloo, Patricia Clarkson and Scarlett Johansson. Because House of Sand and Fog is likely to appeal to liberals in the Academy, political correctness will work to Aghdashloo’s advantage. Though the actress failed to receive Golden Globe and SAG nominations, some members may have a difficult time separating the woman’s performance with that of Kingsley’s and she looks to benefit if Clarkson and Johansson split their votes. Clarkson enters the Oscar race with one Golden Globe and two SAG nominations. She has the respect and sympathy (she was snubbed last year for Far from Heaven), and though her performance in Pieces of April is much beloved, the same can’t be said about her film. Scarlett Johansson scored two Golden Globe nominations this year and she has the success of Lost in Translation working to her advantage, but not only did she fail to get mentioned by SAG, but some pundits haven’t figured out yet which category the Academy will want to put her in.

Will Be Nominated: Maria Bello (The Cooler), Patricia Clarkson (Pieces of April), Marcia Gay Harden (Mystic River), Holly Hunter (Thirteen), and Renée Zellweger (Cold Mountain).

Should Be Nominated: Jennifer Connelly (The Hulk), Anne-Marie Duff (The Magdalene Sisters), Marcia Gay Harden (Mystic River), Holly Hunter (Thirteen), and Vanessa Martinez (Casa de los Babys).

DIRECTOR: Peter Jackson and Clint Eastwood have no worries. And for whatever reason, Peter Weir seems to be something of a pet favorite with the Academy’s director’s branch, so he’s probably in as well. Even though Seabiscuit is a nominations powder keg waiting to explode, expect a high-profile snub for the film’s director Gary Ross. Though their reputation for keeping things at least moderately classy is far from airtight (Peter Cattaneo, Roberto Benigni and that virtual fulcrum of middlebrow Ron Howard), and revisionist history has pegged Ross’s only other film Pleasantville as superior to Peter Weir’s The Truman Show, still expect the subgroup responsible for such bright spots as David Lynch and Pedro Almodóvar to block him off their shortlist. Instead, expect that same group to carry Sofia Coppola to a nod, making her the third female director nominee in the Academy’s history. Though if anyone feels the need to congratulate them for it, consider whether 364-3 sounds like parity to you. Anthony Minghella was supposed to be a sure thing for the 50% Miramax The Talented Mr. Ripley, but he got edged out by the 100% Miramax Lasse Hallestrom. No such worries this time around. Despite a snub from the DGA (yet another in Cold Mountain’s wobbly bid for Oscar gold), he can rest assured that the taste-gap between DGA and Oscar’s directors’ branch is about as wide as any in the business.

Will Be Nominated: Sofia Coppola (Lost in Translation), Clint Eastwood (Mystic River), Peter Jackson (The Lord of the Rings: The Return of the King), Anthony Minghella (Cold Mountain), and Peter Weir (Master and Commander).

Should Be Nominated: Robert Altman (The Company), Tim Burton (Big Fish), Peter Jackson (The Lord of the Rings: The Return of the King), Jim Sheridan (In America), and Gus Van Sant (Elephant).

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Awards

2019 Tony Nominations: Hadestown and Ain’t Too Proud Lead Field

Both shows were joined in the Best Musical category by Beetlejuice, The Prom, and Tootsie.

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Hadestown
Photo: Matthew Murphy

Nominations for the 73rd Tony Awards were announced this morning, with CBS This Morning co-host Gayle King and actors Bebe Neuwirth and Brandon Victor Dixon revealing the nominees in the top eight categories. Leading the pack with 14 nominations Hadestown, followed by Ain’t Too Proud—The Life of the Temptations with 12. Both shows were joined in the Best Musical category by Beetlejuice, The Prom, and Tootsie.

See below for a full list of the nominations.

Best Musical
Ain’t Too Proud—The Life and Times of The Temptations
Beetlejuice
Hadestown
The Prom
Tootsie

Best Play
Choir Boy by Tarell
The Ferryman
Gary: A Sequel to Titus Andronicus
Ink
What the Constitution Means to Me

Best Revival of a Play
Arthur Miller’s All My Sons
The Boys in the Band
Burn This
Torch Song
The Waverly Gallery

Best Revival of a Musical
Kiss Me, Kate
Rodgers & Hammerstein’s Oklahoma!

Best Performance by an Actor in a Leading Role in a Play
Paddy Considine, The Ferryman
Bryan Cranston, Network
Jeff Daniels, To Kill a Mockingbird
Adam Driver, Burn This
Jeremy Pope, Choir Boy

Best Performance by an Actress in a Leading Role in a Play
Annette Bening, Arthur Miller’s All My Sons
Laura Donnelly, The Ferryman
Elaine May, The Waverly Gallery
Janet McTeer, Bernhardt/Hamlet
Laurie Metcalf, Hillary and Clinton
Heidi Schreck, What the Constitution Means to Me

Best Performance by an Actor in a Leading Role in a Musical
Brooks Ashmanskas, The Prom
Derrick Baskin, Ain’t Too Proud—The Life and Times of the Temptations
Alex Brightman, Beetlejuice
Damon Daunno, Rodgers & Hammerstein’s Oklahoma!
Santino Fontana, Tootsie

Best Performance by an Actress in a Leading Role in a Musical
Stephanie J. Block, The Cher Show
Caitlin Kinnunen, The Prom
Beth Leavel, The Prom
Eva Noblezada, Hadestown
Kelli O’Hara, Kiss Me, Kate

Best Book of a Musical
Ain’t Too Proud—The Life and Times of the Temptations, Dominique Morisseau
Beetlejuice, Scott Brown and Anthony King
Hadestown, Anaïs Mitchell
The Prom, Bob Martin & Chad Beguelin
Tootsie, Robert Horn

Best Original Score (Music and/or Lyrics) Written for the Theatre
Be More Chill, Joe Iconis
Beetlejuice, Eddie Perfect
Hadestown, Anaïs Mitchell
The Prom, Matthew Sklar and Chad Beguelin
To Kill a Mockingbird, Adam Guettel
Tootsie, David Yazbek

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Best Performance by an Actor in a Featured Role in a Play
Bertie Carvel, Ink
Robin De Jesús, The Boys in the Band
Gideon Glick, To Kill a Mockingbird
Brandon Uranowitz, Burn This
Benjamin Walker, Arthur Miller’s All My Sons

Best Performance by an Actress in a Featured Role in a Play
Fionnula Flanagan, The Ferryman
Celia Keenan-Bolger, To Kill a Mockingbird
Kristine Nielsen, Gary: A Sequel to Titus Andronicus
Julie White, Gary: A Sequel to Titus Andronicus
Ruth Wilson, King Lear

Best Performance by an Actor in a Featured Role in a Musical
André De Shields, Hadestown
Andy Grotelueschen, Tootsie
Patrick Page, Hadestown
Jeremy Pope, Ain’t Too Proud—The Life and Times of the Temptations
Ephraim Sykes, Ain’t Too Proud—The Life and Times of the Temptations

Best Performance by an Actress in a Featured Role in a Musical
Lilli Cooper, Tootsie
Amber Gray, Hadestown
Sarah Stiles, Tootsie
Ali Stroker, Rodgers & Hammerstein’s Oklahoma!
Mary Testa, Rodgers & Hammerstein’s Oklahoma!

Best Scenic Design of a Play
Miriam Buether, To Kill a Mockingbird
Bunny Christie, Ink
Rob Howell, The Ferryman
Santo Loquasto, Gary: A Sequel to Titus Andronicus
Jan Versweyveld, Network

Best Scenic Design of a Musical
Robert Brill and Peter Nigrini, Ain’t Too Proud—The Life and Times of the Temptations
Peter England, King Kong
Rachel Hauck, Hadestown
Laura Jellinek, Rodgers & Hammerstein’s Oklahoma!
David Korins, Beetlejuice

Best Costume Design of a Play
Rob Howell, The Ferryman
Toni-Leslie James, Bernhardt/Hamlet
Clint Ramos, Torch Song
Ann Roth, Gary: A Sequel to Titus Andronicus
Ann Roth, To Kill a Mockingbird

Best Costume Design of a Musical
Michael Krass, Hadestown
William Ivey Long, Beetlejuice
William Ivey Long, Tootsie
Bob Mackie, The Cher Show
Paul Tazewell, Ain’t Too Proud—The Life and Times of the Temptations

Best Lighting Design of a Play
Neil Austin, Ink
Jules Fisher + Peggy Eisenhauer, Gary: A Sequel to Titus Andronicus
Peter Mumford, The Ferryman
Jennifer Tipton, To Kill a Mockingbird
Jan Versweyveld and Tal Yarden, Network

Best Lighting Design of a Musical
Kevin Adams, The Cher Show
Howell Binkley, Ain’t Too Proud—The Life and Times of the Temptations
Bradley King, Hadestown
Peter Mumford, King Kong
Kenneth Posner and Peter Nigrini, Beetlejuice

Best Sound Design of a Play
Adam Cork, Ink
Scott Lehrer, To Kill a Mockingbird
Fitz Patton, Choir Boy
Nick Powell, The Ferryman
Eric Sleichim, Network

Best Sound Design of a Musical
Peter Hylenski, Beetlejuice
Peter Hylenski, King Kong
Steve Canyon Kennedy, Ain’t Too Proud—The Life and Times of the Temptations
Drew Levy, Rodgers & Hammerstein’s Oklahoma!
Nevin Steinberg and Jessica Paz, Hadestown

Best Direction of a Play
Rupert Goold, Ink
Sam Mendes, The Ferryman
Bartlett Sher, To Kill a Mockingbird
Ivo van Hove, Network
George C. Wolfe, Gary: A Sequel to Titus Andronicus

Best Direction of a Musical
Rachel Chavkin, Hadestown
Scott Ellis, Tootsie
Daniel Fish, Rodgers & Hammerstein’s Oklahoma!
Des McAnuff, Ain’t Too Proud—The Life and Times of the Temptations
Casey Nicholaw, The Prom

Best Choreography
Camille A. Brown, Choir Boy
Warren Carlyle, Kiss Me, Kate
Denis Jones, Tootsie
David Neumann, Hadestown
Sergio Trujillo, Ain’t Too Proud—The Life and Times of the Temptations

Best Orchestrations
Michael Chorney and Todd Sickafoose, Hadestown
Simon Hale, Tootsie
Larry Hochman, Kiss Me, Kate
Daniel Kluger, Rodgers & Hammerstein’s Oklahoma!
Harold Wheeler, Ain’t Too Proud—The Life and Times of the Temptations

Recipients of Awards and Honors in Non-competitive Categories

Special Tony Awards for Lifetime Achievement in the Theatre
Terrence McNally
Rosemary Harris
Harold Wheeler

Special Tony Awards
Jason Michael Webb
Sonny Tilders
Marin Mazzie

Regional Theatre Tony Award
TheatreWorks Silicon Valley

Isabelle Stevenson Tony Award
Judith Light

Tony Honors for Excellence in the Theatre
Broadway Inspirational Voices
Peter Entin
Joseph Blakely Forbes
FDNY Engine 54

Tony Nominations by Production
Hadestown – 14
Ain’t Too Proud—The Life and Times of the Temptations – 12
Tootsie – 11
The Ferryman – 9
To Kill a Mockingbird – 9
Beetlejuice – 8
Rodgers & Hammerstein’s Oklahoma! – 8
Gary: A Sequel to Titus Andronicus – 7
The Prom – 7
Ink – 6
Network – 5
Choir Boy – 4
Kiss Me, Kate – 4
Arthur Miller’s All My Sons – 3
Burn This – 3
The Cher Show – 3
King Kong – 3
Bernhardt/Hamlet – 2
The Boys in the Band – 2
Torch Song – 2
The Waverly Gallery – 2
What the Constitution Means to Me – 2
Be More Chill – 1
Hillary and Clinton – 1
King Lear – 1

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Awards

Oscars 2019: Complete Winners List

The 91st Academy Awards are now behind us, and the telecast told us just about nothing that we don’t already know about AMPAS.

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Green Book
Photo: Universal Pictures

The 91st Academy Awards are now behind us, and the telecast told us just about nothing that we don’t already know about AMPAS. Which isn’t to say that the ceremony wasn’t without its surprises. For one, whoever decided to capture Lady Gaga and Bradley Cooper’s performance of “Shallow” from A Star Is Born in one single take that would end with the pair sitting side by side, rapt in each other and framed in Bergman-esque repose, should hereby be responsible for every Oscar ceremony moving forward.

For some, though not us, Green Book’s victory for best picture came as surprise. As our own Eric Henderson put it in his prediction: “Those attacking the film from every conceivable angle have also ignored the one that matters to most people: the pleasure principle. Can anyone blame Hollywood for getting its back up on behalf of a laughably old-fashioned but seamlessly mounted road movie-cum-buddy pic that reassures people that the world they’re leaving is better than the one they found? That’s, as they say, the future that liberals and Oscar want.”

In the end, the awards went down more or less as expected, with the only real shock of the evening being Oliva Colman’s stunning upset over Glenn Close in the best actress race. (Glenn, we hope you are on the phone right now trying to get that Sunset Boulevard remake to finally happen.) Black Panther proved more indomitable than expected, winning in three categories (none of which we predicted), and Free Solo pulling a victory over RBG that was the first big sign of the evening that, then and now, AMPAS members vote above all else with their guts.

See below for the full list of winners from the 2019 Oscars.

Picture
Black Panther
BlacKkKlansman
Bohemian Rhapsody
The Favourite
Green Book (WINNER)
Roma
A Star Is Born
Vice

Director
Spike Lee, BlacKkKlansman
Pawel Pawlikowski, Cold War
Yorgos Lanthimos, The Favourite
Alfonso Cuarón, Roma (WINNER)
Adam McKay, Vice

Actor
Christian Bale, Vice
Bradley Cooper, A Star Is Born
Willem Dafoe, At Eternity’s Gate
Rami Malek, Bohemian Rhapsody (WINNER)
Viggo Mortensen, Green Book

Actress
Yalitza Aparicio, Roma
Glenn Close, The Wife
Olivia Colman, The Favourite (WINNER)
Lady Gaga, A Star Is Born
Melissa McCarthy, Can You Ever Forgive Me?

Supporting Actor
Mahershala Ali, Green Book (WINNER)
Adam Driver, BlacKkKlansman
Sam Elliott, A Star Is Born
Richard E. Grant, Can You Ever Forgive Me?
Sam Rockwell, Vice

Supporting Actress
Amy Adams, Vice
Marina de Tavira, Roma
Regina King, If Beale Street Could Talk (WINNER)
Emma Stone, The Favourite
Rachel Weisz, The Favourite

Adapted Screenplay
The Ballad of Buster Scruggs, Joel Coen and Ethan Coen
BlacKkKlansman, Charlie Wachtel, David Rabinowitz, Kevin Willmott, and Spike Lee (WINNER)
Can You Ever Forgive Me?, Nicole Holofcener and Jeff Whitty
If Beale Street Could Talk, Barry Jenkins
A Star Is Born, Eric Roth, Bradley Cooper, and Will Fetters

Original Screenplay
The Favourite, Deborah Davis and Tony McNamara
First Reformed, Paul Schrader
Green Book, Nick Vallelonga, Brian Currie, and Peter Farrelly (WINNER)
Roma, Alfonso Cuarón
Vice, Adam McKay

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Foreign Language Film
Capernaum (Lebanon)
Cold War (Poland)
Never Look Away (Germany)
Roma (Mexico) (WINNER)
Shoplifters (Japan)

Documentary Feature
Free Solo, Jimmy Chin and Elizabeth Chai Vasarhelyi (WINNER)
Hale County This Morning, This Evening, RaMell Ross
Minding the Gap, Bing Liu
Of Fathers and Sons, Talal Derki
RBG, Betsy West and Julie Cohen

Animated Feature
Incredibles 2, Brad Bird
Isle of Dogs, Wes Anderson
Mirai, Mamoru Hosoda
Ralph Breaks the Internet, Rich Moore and Phil Johnston
Spider-Man: Into the Spider-Verse, Bob Persichetti, Peter Ramsey, and Rodney Rothman (WINNER)

Cinematography
Cold War, Lukasz Zal
The Favourite, Robbie Ryan
Never Look Away, Caleb Deschanel
Roma, Alfonso Cuarón (WINNER)
A Star Is Born, Matthew Libatique

Film Editing
BlacKkKlansman, Barry Alexander Brown
Bohemian Rhapsody, John Ottman (WINNER)
Green Book, Patrick J. Don Vito
The Favourite, Yorgos Mavropsaridis
Vice, Hank Corwin

Production Design
Black Panther, Hannah Beachler (WINNER)
First Man, Nathan Crowley and Kathy Lucas
The Favourite, Fiona Crombie and Alice Felton
Mary Poppins Returns, John Myhre and Gordon Sim
Roma, Eugenio Caballero and Bárbara Enrı́quez

Original Score
BlacKkKlansman, Terence Blanchard
Black Panther, Ludwig Goransson (WINNER)
If Beale Street Could Talk, Nicholas Britell
Isle of Dogs, Alexandre Desplat
Mary Poppins Returns, Marc Shaiman and Scott Wittman

Original Song
All The Stars from Black Panther by Kendrick Lamar, SZA
I’ll Fight from RBG by Diane Warren, Jennifer Hudson
The Place Where Lost Things Go from Mary Poppins Returns by Marc Shaiman, Scott Wittman
Shallow from A Star Is Born by Lady Gaga, Mark Ronson, Anthony Rossomando, Andrew Wyatt and Benjamin Rice (WINNER)
When A Cowboy Trades His Spurs For Wings from The Ballad of Buster Scruggs by David Rawlings and Gillian Welch

Costume Design
The Ballad of Buster Scruggs, Mary Zophres
Black Panther, Ruth E. Carter (WINNER)
The Favourite, Sandy Powell
Mary Poppins Returns, Sandy Powell
Mary Queen of Scots, Alexandra Byrne

Visual Effects
Avengers: Infinity War, Dan DeLeeuw, Kelly Port, Russell Earl, and Daniel Sudick
Christopher Robin, Chris Lawrence, Mike Eames, Theo Jones, and Chris Corbould
First Man, Paul Lambert, Ian Hunter, Tristan Myles, and J.D. Schwalm (WINNER)
Ready Player One, Roger Guyett, Grady Cofer, Matthew E. Butler, and David Shirk
Solo: A Star Wars Story, Rob Bredow, Patrick Tubach, Neal Scanlan, and Dominic Tuohy

Sound Mixing
Black Panther, Steve Boeddeker, Brandon Proctor, and Peter Devlin
Bohemian Rhapsody, Paul Massey, Tim Cavagin, and John Casali (WINNER)
First Man, Jon Taylor, Frank A. Montaño, Ai-Ling Lee, and Mary H. Ellis
Roma, Skip Lievsay, Craig Henighan, and José Antonio García
A Star Is Born, Tom Ozanich, Dean Zupancic, Jason Ruder, and Steve Morrow

Sound Editing
Black Panther, Benjamin A. Burtt and Steve Boeddeker
Bohemian Rhapsody, John Warhurst (WINNER)
First Man, Ai-Ling Lee and Mildred Iatrou Morgan
A Quiet Place, Ethan Van der Ryn and Erik Aadahl
Roma, Sergio Diaz and Skip Lievsay

Makeup and Hairstyling
Border, Göran Lundström and Pamela Goldammer
Mary Queen of Scots, Jenny Shircore, Marc Pilcher, and Jessica Brooks
Vice, Greg Cannom, Kate Biscoe, and Patricia Dehaney (WINNER)

Live Action Short Film
Detainment, Vincent Lambe
Fauve, Jeremy Comte
Marguerite, Marianne Farley
Mother, Rodrigo Sorogoyen
Skin, Guy Nattiv (WINNER)

Documentary Short Subject
Black Sheep, Ed Perkins
End Game, Rob Epstein, Jeffrey Friedman
Lifeboat, Skye Fitzgerald
A Night at the Garden, Marshall Curry
Period. End of Sentence., Rayka Zehtabchi (WINNER)

Animated Short
Animal Behaviour, Alison Snowden and David Fine
Bao, Domee Shi (WINNER)
Late Afternoon, Louise Bagnall
One Small Step, Andrew Chesworth and Bobby Pontillas
Weekends, Trevor Jimenez

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Awards

Oscars 2019: Who Will Win? Who Should Win? Our Final Predictions

No one is okay with the Academy Awards the way they are, and everyone seems sure that they know how to fix them.

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Roma
Photo: Netflix

No one is okay with the Academy Awards the way they are, and everyone seems sure that they know how to fix them. Cut out the montages, bring back honorary award presentations, give stunt performers their own category, let ranked-choice voting determine every category and not just best picture, overhaul the membership ranks, hold the event before the guilds spoil the surprise, find a host with the magic demographic-spanning mojo necessary to double the show’s recent audience pools, nominate bigger hits, nominate only hits. Across the last 24 days, Ed Gonzalez and I have mulled over the academy’s existential crisis and how it’s polluted this year’s Oscar race so thoroughly that it feels eerily similar to the 2016 election cycle all over again. We’re spent, and while we don’t know if we have it in us to do this next year, we just might give it another go if Oscar proves us wrong on Sunday in more than just one category.

Below are our final Oscar predictions. Want more? Click on the individual articles for our justifications and more, including who we think should win in all 24 categories.

Picture: Green Book
Director: Alfonso Cuarón, Roma
Actor: Rami Malek, Bohemian Rhapsody
Actress: Glenn Close, The Wife
Supporting Actor: Mahershala Ali, Green Book
Supporting Actress: Regina King, If Beale Street Could Talk
Original Screenplay: Green Book
Adapted Screenplay: BlacKkKlansman
Foreign Language: Roma
Documentary Feature: RBG
Animated Feature Film: Spider-Man: Into the Spider-Verse
Documentary Short: Period. End of Sentence
Animated Short: Weekends
Live Action Short: Skin
Film Editing: Bohemian Rhapsody
Production Design: The Favourite
Cinematography: Cold War
Costume Design: The Favourite
Makeup and Hairstyling: Vice
Score: If Beale Street Could Talk
Song: “Shallow,” A Star Is Born
Sound Editing: First Man
Sound Mixing: Bohemian Rhapsody
Visual Effects: First Man

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Awards

Oscar 2019 Winner Predictions: Picture

The industry’s existential crisis has polluted this race so thoroughly that it feels eerily similar to the 2016 election cycle all over again.

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Green Book
Photo: Universal Pictures

“I’m hyperventilating a little. If I fall over pick me up because I’ve got something to say,” deadpanned Frances McDormand upon winning her best actress Oscar last year. From her lips to Hollywood’s ears. No one is okay with the Academy Awards the way they are, and everyone seems sure that they know how to fix them. Cut out the montages, bring back honorary award presentations, give stunt performers their own category, let ranked-choice voting determine every category and not just best picture, overhaul the membership ranks, hold the event before the guilds spoil the surprise, find a host with the magic demographic-spanning mojo necessary to double the show’s recent audience pools, nominate bigger hits, nominate only hits.

But first, as McDormand herself called for during her speech, “a moment of perspective.” A crop of articles have popped up over the last two weeks looking back at the brutal showdown between Saving Private Ryan and Shakespeare In Love at the 1999 Academy Awards, when Harvey Weinstein was at the height of his nefarious powers. Every retrospective piece accepts as common wisdom that it was probably the most obnoxious awards season in history, one that indeed set the stage for every grinding assault we’ve paid witness to ever since. But did anyone two decades ago have to endure dozens of weekly Oscar podcasters and hundreds of underpaid web writers musing, “What do the Academy Awards want to be moving forward, exactly? Who should voters represent in this fractured media environment, exactly?” How much whiskey we can safely use to wash down our Lexapro, exactly?

Amid the fox-in-a-henhouse milieu of ceaseless moral outrage serving as this awards season’s backdrop, and amid the self-obsessed entertainers now wrestling with the idea that they now have to be “content providers,” all anyone seems concerned about is what an Oscar means in the future, and whether next year’s versions of Black Panther and Bryan Singer’s Bohemian Rhapsody have a seat at the table. What everyone’s forgetting is what the Oscars have always been. In other words, the industry’s existential crisis has polluted this race so thoroughly that it feels eerily similar to the 2016 election cycle all over again, and Oscar’s clearly splintered voting blocs may become ground zero for a Make the Academy Great Again watershed.

In 1956, the Oscars took a turn toward small, quotidian, neo-realish movies, awarding Marty the top prize. The correction was swift and sure the following year, with a full slate of elephantine epics underlining the movie industry’s intimidation at the new threat of television. Moonlight’s shocking triumph two years ago was similarly answered by the safe, whimsical The Shape of Water, a choice that reaffirmed the academy’s commitment to politically innocuous liberalism in artistically conservative digs. Call us cynical, but we know which of the last couple go-arounds feels like the real academy. Which is why so many are banking on the formally dazzling humanism of Alfonso Cuarón’s Roma and so few on the vital, merciless fury of Spike Lee’s BlacKkKlansman.

And even if we give the benefit of the doubt to the academy’s new members, there’s that righteous, reactionary fervor in the air against those attempting to “cancel” Green Book. Those attacking the film from every conceivable angle have also ignored the one that matters to most people: the pleasure principle. Can anyone blame Hollywood for getting its back up on behalf of a laughably old-fashioned but seamlessly mounted road movie-cum-buddy pic that reassures people that the world they’re leaving is better than the one they found? That’s, as they say, the future that liberals and Oscar want.

Will Win: Green Book

Could Win: Roma or BlacKkKlansman

Should Win: BlacKkKlansman

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Awards

Oscar 2019 Winner Predictions: Adapted Screenplay

After walking back almost all of its bad decisions ahead of this year’s Oscars, there’s no way AMPAS isn’t going to do the right thing here.

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BlacKkKlansman
Photo: Focus Features

Eric and I have done a good job this year of only selectively stealing each other’s behind-the-scenes jokes. We have, though, not been polite about stepping on each other’s toes in other ways. Okay, maybe just Eric, who in his impeccable take on the original screenplay free-for-all detailed how the guilds this year have almost willfully gone out of their way to “not tip the Oscar race too clearly toward any one film.” Case in point: Can You Ever Forgive Me? winning the WGA’s adapted screenplay trophy over presumed Oscar frontrunner BlacKkKlansman. A glitch in the matrix? We think so. Eric and I are still in agreement that the race for best picture this year is pretty wide open, though maybe a little less so in the wake of what seemed like an easy win for the Spike Lee joint. Nevertheless, we all know that there’s no Oscar narrative more powerful than “it’s about goddamn time,” and it was so powerful this year that even the diversity-challenged BAFTAs got the memo, giving their adapted screenplay prize to Lee, Charlie Wachtel, David Rabinowitz, and Kevin Willmott. To bamboozle Lee at this point would, admittedly, be so very 2019, but given that it’s walked back almost all of its bad decisions ahead of this year’s Oscars, there’s no way AMPAS isn’t going to do the right thing.

Will Win: BlacKkKlansman

Could Win: Can You Ever Forgive Me?

Should Win: BlacKkKlansman

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Awards

Oscar 2019 Winner Predictions: Original Screenplay

This season, Hollywood is invested in celebrating the films they love while dodging the cultural bullets coming at them from every angle.

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Green Book
Photo: Universal Pictures

You know, if it weren’t for the show’s producers effectively and repeatedly saying everything about the Academy Awards is terrible and needs to be changed, and the year’s top-tier contenders inadvertently confirming their claims, this would’ve been a comparatively fun and suspenseful Oscar season. None of us who follow the Academy Awards expect great films to win; we just hope the marathon of precursors don’t turn into a Groundhog Day-style rinse and repeat for the same film, ad nauseam.

On that score, mission accomplished. The guilds have been handing their awards out this season as though they met beforehand and assigned each voting body a different title from Oscar’s best picture list so as not to tip the Oscar race too clearly toward any one film. SAG? Black Panther. PGA? Green Book. DGA? Roma. ASC? Cold War. ACE? Bryan Singer’s Bohemian Rhapsody. Even awards-season kryptonite A Star Is Born got an award for contemporary makeup from the MUAHS. (That’s the Make-Up Artists and Hair Stylists Guild, not the sound Lady Gaga fans have been making ever since A Star Is Born’s teaser trailer dropped last year.)

Not to be outdone, the Writers Guild of America announced their winners last weekend, and not only did presumed adapted screenplay frontrunner BlacKkKlansman wind up stymied by Can You Ever Forgive Me?, but the original screenplay prize went to Eighth Grade, which wasn’t even nominated for an Oscar. Bo Burnham twisted the knife into AMPAS during his acceptance speech: “To the other nominees in the category, have fun at the Oscars, losers!” In both his sarcasm and his surprise, it’s safe to say he speaks on behalf of us all.

As is always the case, WGA’s narrow eligibility rules kept a presumed favorite, The Favourite, out of this crucial trial heat. But as the balloting period comes to a close, the question remains just how much enthusiasm or affection voters have for either of the two films with the most nominations (Roma being the other). As a recent “can’t we all just get along” appeal by Time’s Stephanie Zacharek illustrates, the thing Hollywood is most invested in this season involves bending over backward, Matrix-style, to celebrate the films they love and still dodge the cultural bullets coming at them from every angle.

Maybe it’s just tunnel vision from the cultural vacuum Oscar voters all-too-understandably would prefer to live in this year, but doesn’t it seem like The Favourite’s tastefully ribald peppering of posh-accented C-words would be no match for the steady litany of neo-Archie Bunkerisms spewing from Viggo Mortensen’s crooked mouth? Especially with First Reformed’s Paul Schrader siphoning votes from among the academy’s presumably more vanguard new recruits? We’ll fold our words in half and eat them whole if we’re wrong, but Oscar’s old guard, unlike John Wayne, is still alive and, well, pissed.

Will Win: Green Book

Could Win: The Favourite

Should Win: First Reformed

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Awards

Oscar 2019 Winner Predictions: Sound Mixing

For appealing to voters’ nostalgia for drunken karaoke nights of yore, one film has the upper hand here.

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20th Century Fox
Photo: 20th Century Fox

Given what Eric wrote about the sound editing category yesterday, it now behooves me to not beat around the bush here. Also, it’s my birthday, and there are better things for me to do today than count all the ways that Eric and I talk ourselves out of correct guesses in the two sound categories, as well as step on each other’s toes throughout the entirety of our Oscar-prediction cycle. In short, it’s very noisy. Which is how Oscar likes it when it comes to sound, though maybe not as much the case with sound mixing, where the spoils quite often go to best picture nominees that also happen to be musicals (Les Misérables) or musical-adjacent (Whiplash). Only two films fit that bill this year, and since 2019 is already making a concerted effort to top 2018 as the worst year ever, there’s no reason to believe that the scarcely fat-bottomed mixing of Bryan Singer’s Bohemian Rhapsody will take this in a walk, for appealing to voters’ nostalgia for drunken karaoke nights of yore.

Will Win: Bryan Singer’s Bohemian Rhapsody

Could Win: A Star Is Born

Should Win: First Man

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Awards

Oscar 2019 Winner Predictions: Sound Editing

If it were biologically possible to do so, both Ed and I would happily switch places with A Quiet Place’s Emily Blunt.

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First Man
Photo: Universal Pictures

If it were biologically possible to do so, both Ed and I would happily switch places with A Quiet Place’s Emily Blunt, because we’d much rather give birth in a tub while surrounded by murderous blind creatures than have to once again write our predictions for the sound categories. As adamant as we’ve been that the Academy owes it to the nominees to air every category, which they agreed to after an extended “just kidding,” it might have given us pause had the sound categories been among the four demoted by Oscar. But no, we must now endure our annual bout of penance, aware of the fact that actually knowing what the difference is between sound editing and sound mixing is almost a liability. In other words, we’ve talked ourselves out of correct guesses too many times, doubled down on the same movie taking both categories to hedge our bets too many times, and watched as the two categories split in the opposite way we expected too many times. So, as in A Quiet Place, the less said, the better. And while that film’s soundscapes are as unique and noisy as this category seems to prefer, First Man’s real-word gravitas and cacophonous Agena spin sequence should prevail.

Will Win: First Man

Could Win: A Quiet Place

Should Win: First Man

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Awards

Oscar 2019 Winner Predictions: Actress

Sometimes it’s important to just step back and pay your respects to a remarkable actress.

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Glenn Close
Photo: Sony Pictures Classics

Sometimes it’s important to just step back and pay your respects to a remarkable actress for having given a performance that, while not your, um, favourite nominated one, is still deserving of an Oscar victory lap. Now, if only others felt the same. Very early on in the awards season, there was already a sense that this award could become a career-achievement coronation for the six-time losing Glenn Close—and that people were going to have a problem squaring that with the fact that her Oscar would be tied to a film perceived to be a piffle. That’s not an inaccurate perception, but it’s difficult to remember a time when critics have used that as an excuse to not do their homework.

In short, have you seen The Wife? Indeed, until the awards-media system’s attention shifted full time into covering AMPAS’s A Series of Unfortunate Oscar Decisions, it seemed as if every day brought us a new article by some pundit about the Oscar race in which it strangely sounded as if the The Wife was still a blind spot for the writer. Which is shame, because Close gives good face throughout the film. Certainly, few Oscar-nominated films this year are as absurd as The Wife, but I’ll do battle with anyone who thinks Close is getting by on her legend alone. Close’s triumph is recognizing The Wife’s inherent ludicrousness and elevating it, and without condescension, with a kabuki-like verve that seeks to speak to the experiences of all women who’ve been oppressed by their men. It’s a turn worthy of Norma Desmond.

Today, the most reliable Oscar narrative is the overdue performer. And if you take stock in that narrative, then you’ll understand why I texted Eric, my fellow Oscar guru, the following on the morning of November 29: “I think Close is going to Still Alice at the Oscars.” After that morning, when the New York Film Critics Circle officially kick-started the Oscar season (and gave their award for best actress to Regina Hall in Support the Girls), no actress ran the table with the critics and guilds, but most of the cards that matter did fall into place for Close, and much as they did for Julianne Moore ahead of her winning the Oscar for Still Alice.

This was a done deal when Close won the Golden Globe, received a standing ovation, and gave the night’s most impassioned speech, immediately after which Eric conceded that my instincts had been right. Of course, that was no doubt easy for him to admit given that, by that point, the oxygen had already seeped out of A Star Is Born’s awards campaign, leaving only Olivia Colman in Close’s way. Colman has worked the campaign trail in spectacular ways, giving speeches that have been every bit as droll as this, but in the end, she doesn’t have the SAG, and as bold and subversive as her performance certainly is, it isn’t sufficiently big enough to convince enough AMPAS members that Close should continue waiting for Oscar.

Will Win: Glenn Close, The Wife

Could Win: Olivia Colman, The Favourite

Should Win: Olivia Colman, The Favourite

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Oscar 2019 Winner Predictions: Film Editing

Sigh, can we just edit this whole Oscar season from our memories?

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Bohemian Rhapsody
Photo: 20th Century Fox

Sigh, can we just edit this whole Oscar season from our memories? AMPAS has officially brought more queens back from the brink than this year’s season of RuPaul’s Drag Race All-Stars. Now that the academy has reneged on its plans to snip four categories from the live Oscar telecast, after first attempting damage control and assuring members that it will still run those four awards as not-so-instant replays in edited-down form later on in the show, we can once again turn our attention to the other editing that’s so vexed Film Twitter this Oscar season. We yield the floor to Twitter user Pramit Chatterjee:

Very fuck! The academy would’ve been shooting itself in the foot by not airing what’s starting to feel like one of this year’s most competitive Oscar categories—a category that seems like it’s at the center of ground zero for the voters who, as a fresh New York Times survey of anonymous Oscar ballots confirms, are as unashamedly entertained by a blockbuster that critics called utterly worthless as they are feeling vengeful against those who would dare call a film they loved racist. Interestingly enough, the New York Times’s panel of voters seems palpably aware that Spike Lee’s BlacKkKlansman is the nominee this year that’s going to go down in history as the “right thing” they’ll be embarrassed for not “doing.” No arguments from this corner. Lee’s film is narratively propulsive and knotty in ways that ought to translate into a no-brainer win here. (My cohort Ed recently mused that he’d give the film the Oscar just for the energy it displays cutting back and forth during phone conversations.)

We’re glad that the academy walked back its decision to not honor two of the most crucial elements of the medium (editing and cinematography) on the live Oscar telecast, but what we’re left with is the dawning horror that the formless flailing exemplified by the clip above might actually win this damned award. Guy Lodge sarcastically mused on the upside of Pramit’s incredulous tweet, “I’ve never seen so many people on Twitter discussing the art of film editing before,” and honestly, it does feel like Bryan Singer’s Bohemian Rhapsody getting publicly dog-walked like this stands to teach baby cinephiles-in-training the language of the cut as well as any of the myriad montages the show producers intended on airing in lieu of, you know, actually awarding craftspeople. But only a fraction of the voting body has to feel sympathy for John Ottman (whose career, for the record, goes all the way back with Bryan Singer), or express admiration that he managed to assemble the raw materials from a legendarily chaotic project into an international blockbuster. The rest of the academy has their ostrich heads plunged far enough into the sand to take care of the rest.

Will Win: Bryan Singer’s Bohemian Rhapsody

Could Win: BlacKkKlansman

Should Win: BlacKkKlansman

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