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The Theory Of Everything (#110 of 12)

Oscar 2015 Composite Winner Predictions

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Oscar 2015 Composite Winner Predictions
Oscar 2015 Composite Winner Predictions

Below is a complete list of our predicted winners at the 2015 Academy Awards.

Picture: Birdman
Director: Alejandro González Iñárritu, Birdman
Actor: Eddie Redmayne, The Theory of Everything
Actress: Julianne Moore, Still Alice
Supporting Actor: J.K. Simmons, Whiplash
Supporting Actress: Patricia Arquette, Boyhood
Original Screenplay: The Grand Budapest Hotel
Adapted Screenplay: Whiplash
Foreign Language: Ida
Documentary Feature: Virunga
Animated Feature Film: How to Train Your Dragon 2
Documentary Short: Our Curse
Animated Short: The Dam Keeper
Live Action Short: The Phone Call
Film Editing: Whiplash
Production Design: The Grand Budapest Hotel
Cinematography: Birdman
Costume Design: The Grand Budapest Hotel
Makeup and Hairstyling: The Grand Budapest Hotel
Score: The Theory of Everything
Song: “Glory,” Selma
Sound Editing: American Sniper
Sound Mixing: Whiplash
Visual Effects: Interstellar

Oscar 2015 Winner Predictions Picture

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Oscar 2015 Winner Predictions: Picture
Oscar 2015 Winner Predictions: Picture

Tempted though I might be to end an Oscar season I began so long ago quoting Into the Woods’s Witch by dropping another choice lyric from “Last Midnight” (namely the one that would allow me to blithely shrug off the Academy’s fickle tastes with the dismissal, “Oh, why bother? You’ll just do what you do!”), there’s a legitimate three-way race to call this year. Make it four if you naïvely believe the monstrous box-office success of American Sniper is enough to overcome the same partisan resistance that stymied Zero Dark Thirty two years ago. Which means that figuring out exactly what the Academy will do is an even trickier errand than collecting a cow as white as milk, a cape as red as blood, hair as yellow as corn, and a slipper as pure as gold.

Oscar 2015 Winner Predictions Actor

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Oscar 2015 Winner Predictions: Actor
Oscar 2015 Winner Predictions: Actor

First, praise be to the brave Oscar pundits who have Bradley Cooper in their crosshairs. Indeed, given how close this race probably is between Eddie Redmayne and Michael Keaton, it’s easy to see how Cooper could benefit from a vote split, not unlike, some have argued, Adrien Brody did back in 2003 when this award was anticipated to go to either Jack Nicholson or Daniel Day-Lewis. But we don’t have the courage to rally behind Cooper, terrific as he is in American Sniper, as this and adapted screenplay seem like the two categories where the contentiousness surrounding the Clint Eastwood film’s ostensibly mythmaking depiction of Chris Kyle is most likely to hurt. Which is to say nothing of the fact that, unlike Brody, Cooper enters this race without SAG, BAFTA, and Golden Globe nominations.

Oscar 2015 Winner Predictions Actress

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Oscar 2015 Winner Predictions: Actress
Oscar 2015 Winner Predictions: Actress

That the only nomination for Gone Girl, a critically endorsed box-office smash that sparked a slew of think pieces and also happens to be at its core a film about a woman asserting her sense of agency, came in this category while the year’s most-nominated film forces Naomi Watts and Andrea Riseborough into a non-sequitur lip lock is both too perfect and sadly telling. Women just can’t catch a break. Even this year, while every observer has seemingly added an extra dash of salt to their beef against the Academy’s retrograde tastes and disinterest in multiculturalism, the argument that Oscar’s notion of excellence continues to center around phalli remains a distant runner-up to pointing out its Caucasian persuasion. At the risk of getting self-righteous, we’ve been on AMPAS’s nuts over this practically as long as we’ve been putting them through the wringer: “Does one have to be a raging feminist to suggest that Capote and Brokeback Mountain aren’t aesthetically superior to North Country and Transamerica? Or that what distinguishes your glorified Lifetime movie of the week from your serious Oscar contender is whether or not the lead character has exterior genitalia?”

Oscar 2015 Winner Predictions Adapted Screenplay

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Oscar 2015 Winner Predictions: Adapted Screenplay
Oscar 2015 Winner Predictions: Adapted Screenplay

We could make this one easy on ourselves and buy the narrative that every film nominated for best picture will win at least one Oscar next Sunday and call this one for The Imitation Game. But this presupposes that AMPAS members actually fill out their ballots with the intent of “spreading the wealth around” (how many Oscars did American Hustle win again?), and that Graham Moore’s adaptation of Andrew Hodges’s Alan Turing biopic isn’t one of the dullest soft balls to be pegged as a frontrunner in this category since Jason Reitman’s screenplay for Up in the Air, which lost—shockingly, if only in retrospect—to Precious.

Oscar 2015 Winner Predictions Original Score

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Oscar 2015 Winner Predictions: Original Score
Oscar 2015 Winner Predictions: Original Score

By now, anyone who’s followed the Oscars with enthusiasm levels we’ll say match your best friend who tries to maybe catch four or five of the best picture nominees only after the nominations have been announced is now likely familiar with the sad case of Alexandre Desplat. An overachieving workhorse in the John Williams tradition, Desplat’s work, like Williams’s (or the protagonist of The Curious Case of Benjamin Button, which earned Desplat a nomination), has gradually with time streamlined many of the glorious, avant-garde wrinkles from his voice to the point that his scores often skirt self parody. But at least in Williams’s case, a lot of his idiosyncratic, exciting early scores were at least nominated; the films almost everyone agrees represented Desplat’s finest work to date (e.g. Birth; The Painted Veil; Lust, Caution; to say nothing of his compositions for French cinema) were all ignored by Oscar.

2015 Oscar Nomination Predictions

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2015 Oscar Nomination Predictions
2015 Oscar Nomination Predictions

The critics have spoken. The guilds have spoken. The Golden Globes have spoken. And here we are feeling the ennui of another three months’ worth of Mondays weighing unusually heavy this year, though it really shouldn’t be. Not all Oscar seasons boast presumptive frontrunners as stubbornly unique and personal as Boyhood or The Grand Budapest Hotel, both of which seem at this point like they would’ve cracked the lineup even in the old (and correct) days of five-deep best picture slates we’ll be telling our grandchildren about. Not all Oscar seasons are gifted by the original, cantankerous spirit of the National Society of Film Critics, which is to say the spirit of the group as it was initially conceived, as a staunch, vanguard opponent to staid groupthink. (Try to ignore the remaining instances of “ditto” among their roster of winners and savor everyone flipping their shit over Godard’s surprise victory.) So why aren’t we in a better mood than usual? Probably because we’ve seen it all go south in so many horrifying ways time and time again, and thus this year’s left us feeling a bit like the Witch staring down the “Last Midnight.” Oscars aren’t good, they’re not bad, they’re just nice. We’re not nice, we’re the hitch, and we’re definitely right.