The Oscars were riddled with some serious controversy this year, sparking a change in the Academy’s selection process for membership. For thoughts on that whole debacle, CLICK HERE
Now, the awards. I’ve been saying this for 3 years running now but I will say it once again, THIS IS NOT A PREDICTIONS LIST. This “ballot” is movies which I believe should win the Oscar for their respective categories. I will, in passing, refer to the movies and people I think will win, but those are not as important. The main thing that I want to note is that for the Short Film categories, I have watched only a few of those movies, so those will be mostly uneducated picks..
For reference (click the link, in italics) here is my Oscar picks post from last year.
ONTO THE NOMINATIONS!
Best Live Action Short Film: Day One (blind guess)
This one sounds the most interesting. Day One is about a soldier working for the U.S. Army who must deliver a new-born child to the wife of an enemy bomb-maker. Very problematic, very perfect for the politically charged Oscar voter crowd.
Best Animated Short Film: Sanjay’s Superteam (Only one Ive watched)
Pixar’s latest cutesy short film comes with a twist. This one is about an Indian boy who’s strict religious father forbids him from engaging in fantasy day-dreaming and fun at the detriment of his religious duties. It’s the only animated short film I actually saw so far, so it’ll get my vote.
Best Documentary Short Subject: A Girl in the River: The Price of Forgiveness
An incredibly harrowing story, this doc is about honor killings in Pakistan. The documentary has created such a stir and such an outcry over the barbaric and storied ritual that has existed in the country for a long time, that it is actually kickstarting a movement to ban all honor killings in Pakistan and has ever gotten a number of other legislative policy reforms under way in the country. Be on the look out for if they are followed through.
The “Other Best Pictures”
Best Foreign Language Film: Son of Saul (dir. Laszlo Nemes – country, Hungary)
This one was a lock for a long time now, but with the Oscars Foreign Film category, the most weird and outdated and badly in need of reform category at the ceremony, no lock is a sure lock. It should also be noted that the films nominated in this category are hardly the best foreign films released in the past year. Please don’t think Son of Saul is the best that non-American cinema had to offer in 2015. But out of these 5 nominees, it is clearly the cream of the crop.
Best Animated Film: Inside Out (dir. Pete Doctor & Jonas Rivera)
I don’t have the emotional attachment to Inside Out that a lot of other people have accumulated over the past year. Even if Shaun the Sheep Movie won, it wouldn’t really faze me. But lets be honest, Pixar’s got this in the bag.
Best Documentary Film: The Look of Silence (dir. Joshua Oppenheimer)
It was incredibly sad that Oppenheimer’s groundbreaking doc The Act of Killing didn’t win in the year it was nominated, but that is the nature of this category…. if the Academy does not deem a topic “important enough” for them, then its hard to win. That shouldn’t be the case but it is. I know Asif Kapadia’s AMY is the frontrunner and most-likely winner and I’m really happy that Kapadia is finally going to get his due… but I’m going by what was clearly the most well-made and most eye-opening doc of the year, and that is The Look of Silence. Watch it, but be warned, it’s not for the faint of heart.
The Technical Awards
Best Visual Effects: Mad Max: Fury Road
I’m sorry Star Wars fans, but unless its by some sense of pity or conselation, George Miller’s Mad Max reboot has your number this year in technical prowess. It’s not that The Force Awakens wasn’t impressive visually, its just that we’ve seen all that shit before, the Millenium Falcon, the space explosions, the alien creatures. The VFX team for Mad Max did something truly original, and it was no better captured than the race through the sandstorm near the beginning of the film. The swirl of tones and shades, the props, makeup, and dust and lightning all created a visual canvas that was unrivaled… so much so, that it looks all-time incredible even in Black and White: https://www.youtube.com/watch?v=v5s62tpM5fo
Best Sound Editing: Sicario
I loved Sicario, so I’m going to unabashedly chalk this as a consolation prize for that movie. The sound editing in Sicario, from the opening heart-thumping scene inside the cartel house was utilized almost as a soundtrack in its own right, and Villeneauve’s ability to frame action sequences with such fervor allowed the sound to contribute to the growing tension and unease in every scene.
Best Sound Mixing: Mad Max : Fury Road
What set Mad Max apart from most other action flicks this year was the emotional weight of its character. Even without the benefit of nostalgia (Star Wars) or the heartbreak of a cast member passing away (Furious 7), Mad Max was still able to create a passionate plea for its own characters and the sound mixing, which coupled together a thrilling music score with the powerful, echoing voices of its cast made it happen.
Best Make-Up: Mad Max: Fury Road
Uhhh… Just click this
Best Costume Design: Mad Max: Fury Road
….. click again
Best Production Design: Mad Max: Fury Road
George Miller’s production team headed by Colin Gibson and Lisa Thompson decided to go the old-school route with real props and real settings, which makes the production design of Mad Max even that much more impressive, that it didn’t come majorly out of doctored and fantasized video-game imagery, but from people making things with… their HANDS. Wow.
Best Original Song: “Simple Song #3” from Youth (music and lyrics by David Lang)
Simple Song #3 plays a major part Youth‘s main character, famous composer Mick Boyle, re-connect with the specters of his past which he has continually rejected in his old age. The violin interlude to the song itself gives such a beautiful feeling, that Simple Song #3’s is anything but simple.
Best Original Score: Carol (composed by Carter Burwell)
I always judge this category on how well the musical score stood out to me as memorable, and also how the film’s images, feelings, and nuances come rushing back into my brain the moment that I hear the music. Such is the case with Carter Burwell’s timely score for Carol… I can’t listen to this score on headphones without automatically seeing Carol and Therese’s burning stares from across the room, or a snowy Christmas afternoon in New York City. It just fits.
Best Film Editing: Mad Max: Fury Road (editing by Margaret Sixel)
The entire movie is basically one giant chase scene… and that puts a lot of the pressure on the film editor to keep things well-groomed, exciting and paced with moments of heart-pounding thrills but also some breif relief. What Margaret Sixel was able to do, keeping our attention glued to the screen in every sequence of what was just one giant road-rage venture is remarkable. You’d think at some point we’d turn away and say “alright already, get to where you want to go”… but Sixel made the rip-roaring journey a million times better than the eventual destination.
Best Cinematography: Mad Max: Fury Road (camerawork by John Seale)
Emannuel Lubeszki doesn’t deserve 3 Oscars in a row in my estimation, and Roger Deakins (Sicario), I feel for you man, having been nominated what seems like 10 times but never winning an Oscars… but this isn’t your year either. Mad Max‘s visual splendor is as much a product of John Seale’s beautiful panoramic framing as it is the VFX team and Production team’s prop making and action staging. This whole film was a production dream come true, where everyone contributed their share of filmmaking craftsmanship and artistry onto one glorious canvas.
The Supporting Cast
Best Actress in a Supporting Role: Rooney Mara (Carol)
This year’s best Supporting Actress category is ruined by a gigantic problem. No, it’s not race-related, its politics related. Rooney Mara (Carol) and Alicia Vikander (The Danish Girl… this year’s frontrunner) are clearly leading actresses in their respective movies, but the Oscars have been unabashedly shameful at allowing producers and promoters to be able to coin in leading performances as “Supporting” for a better shot at an Oscar, especially in years when the leading Actress category is loaded. Not only is this disingenuous, it is basically announcing to the world that you don’t care the Oscar ceremony is as much of a muddy politics game as the presidential race. I will choose Rooney Mara for this award but honestly, I hope no one wins.
Best Actor in a Supporting Role: Tom Hardy (The Revenant)
The internet’s love for Leonardo DiCaprio always makes people get pissed off at me when I say that Leo usually gets upstaged by his co-actors in most of his movies. Well, internet, hate me if you want, but it happened again. The best actor in The Revenant was Tom Hardy. His intensity, writhing bitterness, and raw biting ferocity was pitch perfect from first shot to last. This may be the best performance of his career and it blew any other supporting performance out of the water… maybe with the exception of Jacob Tremblay, who got snubbed from a nomination. If Sylvester Stallone really wins this year, it’ll be once again a case of Oscar politics over performance.
The BIG 5 Awards
Best Adapted Screenplay: Carol – written by Phyllis Nagy
The book The Price of Salt by Patricia Highsmith was a landmark novel for gay/lesbian literature because of its treatment of homosexuality in a positive and optimistic light amidst discrimination in America, and that comes with a lot of pressure. The personal depth with which the novel was written can always been hard to transmit on screen, but Phyllis Nagy’s script does an incredible job of allowing the film’s director, Todd Haynes, a master storyteller in his own right, to evoke all the emotions that novel displays. Out of all the other nominees in this category, hardly any of them tell as affecting a story as Carol.
Best Original Screenplay: Spotlight – written by Tom McCarthy & Josh Singer
The subject matter of Spotlight is something I said earlier last year really blinded and engulfed any sort of critical discourse about the film’s merit as a work of cinema. This meant that I could never really give much credit or anything to director Tom McCarthy for the way this film was handled because as long as it was “competently made”, the subject matter and its implications in our life will carry it on its shoulders anyway. Spotlight‘s take on the Catholic Church’s horrific exploitation of young boys and the brave news team from the Boston Globe who brought this injustice to light, is showcased most appropriately in its writing. McCarthy may not get the benefit of the doubt from me as a director, but him and Singer surely do as writers, because their plotting and staging of interviews, probing of the issue and long agonizing periods of uncertainty in such a terrible case lend to the film’s successful unraveling of its nightmare.
Best Actress in a Leading Role: Brie Larson (Room)
I remember watching Jennifer Lawrence in her first big performance in the movie Winter’s Bone. I knew when I watched her that her acting was something special. The same goes for Brie Larson, who I saw in the indie-Sundance film Short Term 12. It was a small unnoticed performance by those who don’t play close attention to the film circuit, but it was a showcase for the tornado of acting talent that is Brie Larson. Now, in this year’s Oscar-season favorite, Room, about a young mother and her son who try to escape their prison inside a small room being held by a sadistic kidnapper, is where Brie Larson makes herself known as Hollywood’s next great actress. Her performance is something to behold. Watch it, and yes, its okay if you cry through the whole thing, a lot of people have.
Best Actor in a Leading Role: Leonardo DiCaprio (The Revenant)
Congrats internet. You won. Now you can move onto Gary Oldman to complain about being Oscar-less.
This year of 2016, we’ll watch 2 “lovable losers” win the big prize. Leonardo DiCaprio this Sunday at the Oscars…..
….and the Chicago Cubs in October in the World Series. Don’t say I didn’t warn you.
Best Director: Alejandro Gonzalez Innaritu (The Revenant)
Difficulty in directing a project really shouldn’t be a factor in determining who should win best director, but when the product that you churn out is this good, this exciting, and just a jaw-dropping wonder of depth and intense gut churning treachery to behold, I’ve got to give it to you. Innaritu has been a prolific filmmaker, and there’s only really one movie that he made that I would consider sub-par (his 2006 hyperlink miscalculation Babel). With The Revenant, Alejandro continues his Oscar success with another captivating film, just one year after another movie I loved, Birdman.
Best Picture: The Revenant
I have given The Revenant 4 Oscars in this countdown… and none of them are for the technical brilliance of its cinematography, stage-setting, makeup, and metaphysical elements, and that’s only because Mad Max: Fury Road was so dazzling. But in the end, Innaritu’s The Revenant has all the pieces that make a solid epic Oscar-winning film, and while it won’t be a time-transcending important classic like 2013’s 12 Years A Slave, it will be an enjoyable showcase of directorial ambition and the performance that finally landed Leo DiCaprio the elusive statue.
My last two favorite Oscar-nominated Best Pictures both won… 12 Years A Slave and Birdman. Unless Spotlight steals the Academy’s moral strings and captures votes for its all-important message, this year should make it 3 in a row.
THE TALLY (Films with more than 1 win)
Mad Max: Fury Road – 7 wins
The Revenant – 4 wins (Best Picture)
Carol – 3 wins