Going into this year’s nominations, cinephiles wished for three composers to make the cut in this category.
The Academy’s ever-mercurial music branch turned on to Desplat like a light switch starting with 2006’s The Queen, and in just 10 years, he’s racked up eight nominations.
This time, Anderson comes to play from the outset, with a sense of openness, and of shared intimacy with Seitz, that might be somewhat misleading, but is nevertheless revealing.
This year’s crop of Original Score nominees hits all the markers that we’ve come to expect.
Typically, there’s at least one Oscar-nominated score that stands out as unique, with memorable flourishes that push it ahead as the frontrunner.
Consider Bigelow a virtual lock, tightening up the Best Director field alongside Steven Spielberg, Ang Lee, Ben Affleck, and, perhaps, Tom Hooper or David O. Russell.
Few would argue against The Tree of Life being one of the very best films of the year, but it remains the biggest wild card of awards season.
It’s fitting that The Tree of Life finds Terrence Malick finally returning to the beginning, travelling back, back, back to the dawn of everything.
Can any critic fully trust their initial reaction to such a thematically mammoth film like Terrence Malick’s The Tree of Life?
Colin Firth ain’t the only one riding The King’s Speech to an “overdue” Oscar win.