Tag: Oscars

Posted in Awards Season, Film Feature, Oscars

95th Academy Awards: Final Predictions

Posted on by Martin: Through the Silver Screen

Another awards season is poised to come to a close, and so it is time to celebrate the best of the best that cinema had to offer with the 95th Academy Awards. All in all, 2022 was a solid year for cinema, especially given the struggles it has had to endure for these previous two years. After the mess of last year’s ceremony where some of the awards were inexcusably presented off the air, the Academy has thankfully not carried this nonsensical idea over to this year’s ceremony.

So, without further ado, with 23 of those prestigious trophies up for grabs, here are my predictions for who will be clutching one of those iconic golden statues at the end of the evening.

 

Best Supporting Actress

  • Angela Bassett – Black Panther: Wakanda Forever 
  • Hong Chau – The Whale 
  • Kerry Condon – The Banshees of Inisherin 
  • Jamie Lee Curtis – Everything Everywhere All At Once 
  • Stephanie Hsu – Everything Everywhere All At Once 

We kick off with easily the most stacked acting category this year where there is a plethora of performances which could have been in the final five. But for now, let’s focus on those who were nominated. The nominations of both Hong Chau and Stephanie Hsu mark the first time two Asian actresses have scored nominations in this category in the same year, and apart from Bassett, everyone else is picking up their first nomination. It looked for a while as though Hsu might miss out but it’s a relief she made it as her performance is a crucial part of her film’s narrative. Meanwhile, Jamie Lee Curtis’s performance in the same film feels like a culmination of everything she has brought to the industry across a five-decade-long career, which could explain her win at the Screen Actors Guild (SAG) Awards. She probably wouldn’t have made the top five given the fierce competition, but it is nonetheless fantastic to see a legend like her be given her first nomination.

The two front runners are by far and away Kerry Condon and Angela Bassett, the latter of whom’s nomination marks the first time an acting performance in a Marvel Cinematic Universe film has received an Oscar nomination. Like Curtis, Bassett is a legend of the industry and yet somehow this is only her second nomination following 1993’s What’s Love Got to do With It. Despite Condon’s win at BAFTA, this trophy should have Bassett’s name on it, which when you watch her performance, especially the throne room speech in Wakanda Forever, where her grief and pain over the loss of Chadwick Boseman is painfully felt, there should be only one clear winner.

It says a lot about the insane competition this year when the likes of Janelle Monae (Glass Onion), Samantha Morton (She Said), Dolly De Leon (Triangle of Sadness), Lashana Lynch and Thuso Mbedu (The Woman King) and Claire Foy and Jessie Buckley (Women Talking), all of whom would have been worthy of a nomination, can’t even get a look in.

Will Win: Angela Bassett 

Should Win: Angela Bassett

Could have been nominated: See all of the above

 

Best Supporting Actor

  • Brendan Gleeson  – The Banshees of Inisherin 
  • Brian Tyree Henry  – Causeway 
  • Judd Hirsch – The Fabelmans 
  • Barry Keoghan – The Banshees of Inisherin 
  • Ke Huy Quan – Everything Everywhere All At Once 

For the fourth year in a row, this category has two actors from the same film competing for the Best Supporting Actor trophy, with everyone apart from Judd Hirsch picking up their first nominations, which is wonderful to see.  It might have been a full set of first-timers had Paul Dano been nominated for The Fabelmans, as many had predicted. Sadly, for Dano, his wait for his first nomination goes on.

He might not have been on screen for very long, but Hirsch’s Uncle Boris certainly left an impression in The Fabelmans.  Brian Tyree Henry’s nomination came thoroughly out of the left field as he has been largely ignored throughout all of this awards season, but it is extremely satisfying to see him included as his performance in Causeway deserved recognition. The work of both Brendan Gleeson and Barry Keoghan in The Banshees of Inisherin is some of the best work of their respective careers, both working effortlessly alongside Colin Farrell to great effect, However, out of all the acting categories, this one feels the closest to a lock as, despite Keoghan’s triumph at the BAFTAs, there is no scenario, in this universe or in any multiverses, where Ke Huy Quan does not walk away with the Oscar for his brilliant work as Waymond, the goofy, multiverse-travelling husband to Michelle Yeoh’s Evelyn.

Will Win: Ke Huy Quan

Should Win: Ke Huy Quan

Could have been nominated: Paul Dano for The Fabelmans 

 

 

Best Original Screenplay

  • The Banshees of Inisherin  – Written by Martin McDonagh 
  • Everything Everywhere All At Once  – Written by Daniel Kwan and Daniel Scheinert 
  • The Fabelmans  – Written by Steven Spielberg and Tony Kushner 
  • Tár – Written by Todd Field 
  • Triangle of Sadness – Written by Ruben Ostlund 

A battle of the Best Picture contenders, which makes picking an immediate frontrunner at first glance seems difficult. Yet, with both The Banshees of Inisherin and Everything Everywhere All At Once having garnered the most nominations, it is likely this award will go to one of those two films. EEAAO is likely to dominate in some of the other big categories, including Best Director for The Daniels, so this could be the Academy’s chance to share the love, which is something they don’t always do. Three out of four of McDonagh’s films have been nominated for this award, so perhaps, given the Daniels seem to be odds on to win the Oscar for Best Director, this could be the moment to give McDonagh his dues.

Will Win: The Banshees of Inisherin 

Should Win: Everything Everywhere All At Once

Should have been nominated: Dana Stevens for The Woman King

Best Adapted Screenplay

  • All Quiet on the Western Front  – Screenplay by Edward Berger Lesley Paterson and Ian Stokell 
  • Glass Onion: A Knives Out Mystery   – Screenplay by Rian Johnson
  • Living – Screenplay by Kazuo Ishiguro 
  • Top Gun: Maverick – Screenplay by Ehren Kruger, Eric Warren Singer and Christopher McQuarrie 
  • Women Talking – Screenplay by Sarah Polley 

All awards season long, this award really felt as though it only had Sarah Polley’s name on it for her excellent adaption of Miraim Tews’ novel. Although given the film was bafflingly snubbed by BAFTA, it could have completely lost its momentum, particularly as All Quiet on The Western Front conquered all before it at BAFTA. But, its presence in the Best Picture race shows there is a lot of support for the film, and a victory for Women Talking would see a woman win this category for three consecutive years, which would be wonderful to see.

Will Win: Women Talking 

Should Win: Women Talking 

Should have been nominated: Rebecca Lenkiewicz for She Said 

Best Animated Feature Film

  • Guillermo del Toro’s Pinocchio – Guillermo del Toro Mark Gustafson, Gary Ungar and Alex 
  • Marcel the Shell with Shoes On  – Dean Fleischer Camp, Elisabeth Holm, Andrew Goldman, Caroline Kaplan, and Paul Mezey
  • Puss in Boots: The Last Wish  – Joel Crawford and Mark Swift 
  • The Sea Beast – Chris Williams and Jed Schlanger
  • Turning Red – Domee Shi and Lindsey Collins 

Given it was released in March and inexcusably did not receive a cinema release, it is a relief to see Turning Red land a nomination, given it was easily the best-animated film Disney or Pixar released last year. However, with this being the only representative from the House of Mouse in this year’s crop of nominees, could Disney’s iron grip on this category be loosening?

Six of the 21 winners in this category have come from films produced either by Disney or its sister studio Pixar, but this year will make it the seventh non-Disney/Pixar winner. It will ultimately come down to the two films, with wishes at the heart of them. Puss in Boots: The Last Wish is Dreamworks’ best film in years, and the cat has got my tongue and my vote. However, given the sheer labour of love in which Guillermo del Toro and his incredible team of artists brought one of the best interpretations of this classic tale to life, this is Pinocchio’s to lose.

Will Win: Guillermo del Toro’s Pinocchio

Should Win: Puss In Boots: The Last Wish

Best International Feature Film

  • All Quiet on the Western Front  (Germany)  – directed by Edward Berger 
  • Argentina, 1985 (Argentina) – directed by Santiago Mitre 
  • Close (Belgium) – directed by Lukas Dhont
  • EO (Poland) – directed by Jerzy Skolimowski  
  • The Quiet Girl (Ireland) – directed by Colm Bairéad

There’s only one film here which is a Best Picture nominee, so it will be all quiet on the upset front.

Will Win: All Quiet on the Western Front 

Should Win: All Quiet on the Western Front 

Should have been nominated: Decision to Leave (South Korea)

Best Original Score

  • All Quiet on the Western Front  – Nicholas Volker Bertelmann 
  • Babylon – Justin Hurwitz
  • The Banshees of Inisherin – Carter Burwell
  • Everything Everywhere All at Once – Son Lux
  • The Fabelmans – John Williams

My head wants to say this award will be going to Justin Hurwitz for his insanely catchy score to Babylon. The film divided audiences, but no one can deny the irresistibly catchy nature of Hurwitz’s work, as whenever he collaborates with Damien Chazelle, the results are always spectacular. But, could Babylon’s divisive nature scupper a prospective win? With his staggering 53rd nomination at the age of 90, this makes the legendary John Williams the oldest nominee in Oscars history, and the second most nominated individual ever after a certain Walt Disney. The Fabelmans is probably unlikely to pick up any awards anywhere else, so this could be the time to bestow Williams with his sixth Oscar, but I’m going to say Babylon will prevail.

Will Win: Justin Hurwitz 

Should Win: Justin Hurwitz

Should have been nominated: Michael Giacchino for The Batman

Best Original Song

  • “Applause” from Tell it Like a Woman  – Music and lyrics by Dianne Warren
  • “Hold My Hand” from Top Gun: Maverick – Music and lyrics by Lady Gaga and BloodPop
  • “Lift Me Up” from Black Panther: Wakanda Forever – Music by Tems, Rihanna, Ryan Coogler and Ludwig Goransson; Lyrics by Tems and Ryan Coogler
  • “Naatu Naatu” from RRR – Music by M. M. Keeravani; Lyrics by Chandrabose
  • “This is a Life” from Everything Everywhere All At Once  –  Music by Ryan Lott, David Byrne, and Mitski; Lyrics by Ryan Lott and David Byrne

With every awards season that comes around, it is practically a given Dianne Warren will find herself nominated for Best Original Song, even if it is for a film few people have heard of. One of these days a nomination is going to turn into a win for her, but it will not be this year.

After her success in winning this award for A Star is Born, Lady Gaga could definitely claim her second trophy for her moving song from Top Gun: Maverick, while Rihanna’s long-awaited return to music brought us the deeply moving and powerful Lift Me Up, which feels borne out of the loss everyone felt when Chadwick Boseman passed away. However, RRR took the world by storm last year and given this is its sole nomination, it feels nailed on the Academy will recognise this accomplishment with an Oscar.

Will Win:  RRR

Should Win: Black Panther: Wakanda Forever

Best Sound

  • All Quiet on the Western Front – Viktor Prášil, Frank Kruse, Markus Stemler, Lars Ginzel, and Stefan Korte
  • Avatar: The Way of Water – Julian Howarth, Gwendolyn Yates Whittle, Dick Bernstein, Christopher Boyes, Gary Summers, and Michael Hedges
  • The Batman – Stuart Wilson, William Files, Douglas Murray, and Andy Nelson
  • Elvis – David Lee, Wayne Pashley, Andy Nelson, and Michael Keller
  • Top Gun: Maverick – Mark Weingarten, James H. Mather, Al Nelson, Chris Burdon, and Mark Taylor

So often, this category and editing go hand-in-hand, yet given the likely winner of Best Editing is nowhere to be found here, this award is a choice between the brutal sounds of trench warfare, the musical sounds of the King of Rock and Roll or the thunderous sounds of military aircraft, with the aircraft taking the trophy.

Will Win: Top Gun: Maverick 

Should Win: Top Gun: Maverick

Best Production Design

  • All Quiet on the Western Front – Production Design: Christian M. Goldbeck; Set Decoration: Ernestine Hipper
  • Avatar: The Way of Water – Production Design: Dylan Cole and Ben Procter; Set Decoration: Vanessa Cole
  • Babylon – Production Design: Florencia Martin; Set Decoration: Anthony Carlino
  • Elvis – Production Design: Catherine Martin and Karen Murphy; Set Decoration: Bev Dunn
  • The Fabelmans – Production Design: Rick Carter; Set Decoration: Karen O’Hara

The Academy usually loves films about Hollywood. While Babylon‘s divisiveness could scupper its chances of winning Original Score, it is unlikely to prevent it from taking this award given it has swept all before it this awards season.

Will Win: Babylon 

Should Win: Babylon 

Should have been nominated: Guillermo del Toro’s Pinocchio 

Best Cinematography

  • All Quiet on the Western Front – James Friend
  • Bardo, False Chronicle of a Handful of Truths – Darius Khondji
  • Elvis – Mandy Walker
  • Empire of Light – Roger Deakins
  • Tár – Florian Hoffmeister

When you consider some of the breathtaking cinematography we saw in 2022, this year’s selection of nominees is decidedly uninspiring and there are some major major snubs which boggle the mind as to why they weren’t included. Roger Deakins’s status as a legend is assured, and it is a given he will be nominated almost every time he shoots a film, there were more deserving nominations this year. Elvis’ Mandy Walker becomes the third woman to be nominated for this award and while it would be historic to see her win, yet my money is on another win for All Quiet on the Western Front.

Though the snub for Claudio Miranda for Top Gun: Maverick feels particularly baffling when you consider when filming the aerial combat sequences, they were reliant on natural lighting to shoot them, not to mention the extraordinary camerawork. Plus, last year’s winner of this award Greig Fraser’s work in The Batman to capture the murky underworld of Gotham City was equally deserving of a nomination.

Will Win: All Quiet on the Western Front

Should Win: All Quiet on the Western Front

Should have been nominated: Claudio Miranda for Top Gun: Maverick, Linus Sandgren for Babylon or Greig Fraser for The Batman 

Best Makeup and Hairstyling

Success in this category can often correlate with a win in one of the acting categories. This year, it could come down to whichever actor the Academy chooses to honour in Best Actor, which puts this as a coin flip between Elvis or The Whale. Given who I think will win Best Actor, my bet is going to give this one to The Whale.

  • All Quiet on the Western Front – Heike Merker and Linda Eisenhamerová
  • The Batman – Naomi Donne, Mike Marino and Mike Fontaine 
  • Black Panther: Wakanda Forever – Camille Friend and Joel Harlow
  • Elvis  – Mark Coulier, Jason Baird, and Aldo Signoretti
  • The Whale – Adrien Morot, Judy Chin, and Anne Marie Bradley

Will Win:  The Whale 

Should Win: The Whale

Best Costume Design

  • Babylon – Mary Zophres 
  • Black Panther: Wakanda Forever – Ruth Carter 
  • Elvis – Catherine Martin 
  • Everything Everywhere All at Once – Shirley Kurata 
  • Mrs Harris Goes to Paris – Jenny Bevan 

Ruth Carter’s win for the first Black Panther film at the 91st Academy Awards was a historic win, and if she were to repeat her triumph, she would become the first black woman to win two Oscars in any category, which is just utterly mind-boggling. However, Catherine Martin’s work in Elvis to recreate so many of the King’s iconic costumes is some incredible work which would be worthy of a victory to add to her victories in this category for Baz Luhrmann’s previous films The Great Gatsby and Moulin Rouge!

Will Win: Elvis 

Should Win: Everything Everywhere All At Once

Should have been nominated: Gersha Phillips for The Woman King and Jenny Eagan for Glass Onion: A Knives Out Mystery 

Best Film Editing

  • The Banshees of Inisherin – Mikkel E. G. Nielsen
  • Elvis – Matt Villa and Jonathan Redmond
  • Everything Everywhere All at Once – Paul Rogers
  • Tár – Monika Willi
  • Top Gun: Maverick – Eddie Hamilton

It is usually the case that editing and sound categories correlate. Yet, could this be the year which breaks that trend? Top Gun: Maverick had the unenviable task of editing through several hundred hours of footage they shot for the aerial combat sequences, which would have put it in a good position to fly home with the win. But, the editing in Everything Everywhere All At Once is equally impressive. While one assumes they did not have to edit through several hundred hours of footage, due to the nature of its plot and its ambition, the film could have very easily become a jumbled mess had the editing not been as on point as it was. Either would be a worthy winner, but the power of the multiverse should help EEAAO prevail.

Will Win:  Everything Everywhere All At Once 

Should Win: Top Gun: Maverick

Best Visual Effects

 

 

  • All Quiet on the Western Front – Frank Petzold, Viktor Müller, Markus Frank, and Kamil Jafar
  • Avatar: The Way of Water – Joe Letteri, Richard Baneham, Eric Saindon, and Daniel Barrett
  • The Batman – Dan Lemmon, Russell Earl, Anders Langlands, and Dominic Tuohy
  • Black Panther: Wakanda Forever – Geoffrey Baumann, Craig Hammack, R. Christopher White, and Dan Sudick
  • Top Gun: Maverick – Ryan Tudhope, Seth Hill, Bryan Litson, and Scott R. Fisher

The combination of the sheer visual majesty of Pandora and the pioneering technology developed for those breathtaking underwater scenes means there should only be one winner here.

Will Win: Avatar: The Way of Water

Should Win: Avatar: The Way of Water

Best Director

  • Martin McDonagh – The Banshees of Inisherin
  • Daniel Kwan and Daniel Scheinert – Everything Everywhere All At Once
  • Steven Spielberg – The Fabelmans 
  • Todd Field – Tár
  • Ruben Östlund – Triangle of Sadness 

For the last two years, we’ve seen women triumph in this category, which makes it all the more frustrating that women again find themselves shut out of this category, especially when you look at the quality of the films which were directed by women last year, there were certainly more than a few candidates who could have got in, such as Gina Prince-Bythewood, Sarah Polley, Maria Schrader or Chinoye Chukwu.

The Academy does have a tendency to nominate at least one international director, but had they nominated Edward Berger for All Quiet on The Western Front instead of Östlund, this might have been a very different race given the former’s success at BAFTA. Given his semi-autobiographical film may not triumph anywhere else, this could be the best chance to honour Steven Spielberg with his first Oscar since he won this very same award for Saving Private Ryan in 1999. However, with their triumph at the Directors Guild Awards, and the fact their film threw everything at the wall and somehow made it all work to wonderful effect, this is the Daniels’ to lose.

Will Win: The Daniels 

Should Win: The Daniels

Could have been nominated: Gina Prince-Bythewood for The Woman King, Sarah Polley for Women Talking or Maria Schrader for She Said

Best Actor in a Leading Role

  • Austin Butler – Elvis 
  • Colin Farrell – The Banshees of Inisherin
  • Brendan Fraser  – The Whale
  • Paul Mescal  – Aftersun
  • Bill Nighy  – Living

For the first time since the 7th Academy Awards in 1935, all the nominees in this category are receiving their first nominations. This is heartwarming to see particularly for an actor like Bill Nighy whose nomination is deserving but also feels like a culmination of his decades-long career. However, both Nighy’s and Paul Mescal’s chances of a win seem unlikely as throughout this awards season, this race has been dominated by the remaining three gentlemen in this category.

Austin Butler’s performance as The King of Rock and Roll was so transformative, he disappeared into the role and the Academy has had a tendency for rewarding transformative performances of that nature. Farrell had a superb 2022 with his work in After Yang, Thirteen Lives, his villainous turn in The Batman, and to top it all off his excellent work in Banshees. However, his unexpected loss at the BAFTAs to Butler means his hopes of Oscar glory now look to be remote at best, which puts this award in a straight fight between Butler and Fraser. Like Ke Huy Quan, Fraser has a comeback narrative on his side, and while The Whale has divided audiences, no one can deny Fraser’s performance was truly impactful and the six-minute standing ovation at the Venice Film Festival is a testament to this. Plus with his win at the SAG awards and the over-arching sentiment that everyone seems to have towards him, it could tip this award in Fraser’s favour but this feels too close to call.

Will Win: Brendan Fraser 

Should Win: Brendan Fraser 

Best Actress in a Leading Role

  • Cate Blanchett  – Tar
  • Ana de Armas  – Blonde 
  • Andrea Riseborough  – To Leslie 
  • Michelle Williams  – The Fabelmans 
  • Michelle Yeoh  – Everything Everywhere All At Once 

For the second year in a row, this is the acting category which is, by far and away, the most chaotic. Last year, all of the nominees starred in films which were not nominated for Best Picture, but this year the Academy chose chaos for a different reason.

Let’s start with the positives. It is fantastic to see Michelle Yeoh (somehow) bagging her first nomination for her truly incredible work in Everything Everywhere All At Once, a performance which encapsulates her extraordinary career. Her namesake Michelle Williams’s turn as a supportive mother to the on-screen representation of Steven Spielberg in The Fabelmans perfectly captured how the compassion and warmth of his mother encouraged him to want to pursue his passion for filmmaking. However, while she is great in the film, it does feel a bit of a mistake to have campaigned for her in lead, given the fierce competition from her namesake as well as Cate Blanchett’s excellent leading performance in Tar.

But, now onto the negatives, Ana De Armas is a phenomenal actress who I have admired ever since her performance in Blade Runner 2049. But, while her turn as Norma Jean/Marilyn Monroe is by far and away the best thing about Blonde, the film’s fictionalised treatment of Monroe left a very bad taste in my mouth. It was nearly three hours of relentless trauma and misery which had nothing meaningful to say and for that it should not have been bestowed with a nomination.

And lastly, Andrea Riseborough’s nomination for her work in To Leslie came as a massive surprise given she picked up none of the precursor nominations. Her campaign was by and large driven as a result of some of her peers campaigning on her behalf. This is so frustrating because it proves even when women of colour put in exemplary performances, such as Viola Davis in The Woman King or Danielle Deadwyler’s heart-breaking performance in Till, the odds are stacked against them. Just SIX black women have been nominated for this award since Halle Berry won in 2002, it is really not good enough. If people in the industry can mobilise to push for someone like Riseborough to get a nomination, it begs the question, where is this kind of energy for women of colour?  Both Davis and Deadwyler should have been nominated, with Deadwyler’s snub will go down as one of the most egregious and downright disgraceful snubs in recent memory.

But in terms of who is going to emerge victorious, it really is a coin flip between two industry veterans. Blanchett triumphed at BAFTA and Critic’s Choice, but with Yeoh’s victory at SAG, and EEAAO riding a wave of popularity which has put it in pole position to land the biggest prize of the night, it is fitting to honour the woman whose breathtaking performance is what made the film the wondrous experience it was. Yeoh deserves her dues and should become the first Asian woman, and only the second woman of colour to win this award. It is time.

Will Win: Michelle Yeoh

Should Win: Michelle Yeoh

Should have been nominated: Danielle Deadwyler for Till and Viola Davis for The Woman King or Carey Mulligan for She Said

And, last and certainly by no means least…

Best Picture

  • All Quiet on the Western Front  – Malte Grunert 
  • Avatar: The Way of Water  – James Cameron and Jon Landau 
  • The Banshees of Inisherin   – Graham Broadbent, Peter Czernin, and Martin McDonagh
  • Elvis   – Baz Luhrmann, Catherine Martin, Gail Berman, Patrick McCormick, and Schuyler Weiss
  • Everything Everywhere All At Once   – Daniel Kwan, Daniel Scheinert, and Jonathan Wang
  • The Fabelmans  – Kristie Macosko Krieger, Steven Spielberg, and Tony Kushner
  • Tár  – Todd Field, Alexandra Milchan, and Scott Lambert
  • Top Gun: Maverick  – Tom Cruise, Christopher McQuarrie, David Ellison, and Jerry Bruckheimer
  • Triangle of Sadness  – Erik Hemmendorff and Philippe Bober
  • Women Talking  – Dede Gardner, Jeremy Kleiner and Frances McDormand 

Click here to see my ranking of the Best Picture contenders.

It is very satisfying to see in a year where he had 12 uninterrupted months of films on the big screen, this year’s crop of Best Picture nominees is pretty strong, with no film really sticking out like a sore thumb being included in this year’s list. Though it definitely could have been better, with Women Talking representing the only female-directed film on the list, despite the fact there were more than enough quality films directed by women which could have very easily made the list, such as She Said and The Woman King.

But alas, even if they had been nominated, their chances of a win probably wouldn’t have been high. Throughout this awards season, there has been one clear favourite which has by and large dominated and swept all before it and that film is the masterpiece from the Daniels. It says a lot about the sheer momentum and the positivity for Everything Everywhere that has carried it all the way to the awards season given it was released early last year and not in the usual Autumn/Winter awards season window and should it add the main prize to its likely slew of trophies, it would be the best Best Picture win since Parasite‘s triumph at the 92nd Oscars.

Will Win:  Everything Everywhere All At Once 

Should Win: Everything Everywhere All At Once 

Should have been nominated: The Woman King and She Said 

————————————————–

Final counts

Will win:

  • Everything Everywhere All At Once – 5 (Picture, Actress, Director, Supporting Actor and Film Editing) 
  • All Quiet on the Western Front – 2 (International Feature and Cinematography) 
  • Babylon – 2 (Production Design and Score) 
  • The Whale – 2 (Actor and Makeup and Hairstyling)
  • Avatar: The Way of Water – 1 (Visual Effects) 
  • Black Panther: Wakanda Forever -1 (Supporting Actress) 
  • The Banshees of Inisherin – 1 (Original Screenplay) 
  • Elvis -1 (Costume Design) 
  • Guillermo del Toro’s Pinocchio – 1 (Animated Feature Film)
  • RRR – 1 (Original Song)
  • Top Gun: Maverick – 1 (Sound)
  • Women Talking – 1 (Adapted Screenplay)

Should win:

  • Everything Everywhere All At Once – 6 (Picture, Actress, Original Screenplay, Director, Supporting Actor, and Costume Design)
  • All Quiet on the Western Front – 2 (International Feature and Cinematography)
  • Babylon – 2 (Production Design and Score) 
  • Black Panther: Wakanda Forever – 2 (Supporting Actress and Original Song) 
  • Top Gun: Maverick – 2 (Sound and Film Editing)
  • The Whale – 2 (Actor and Makeup and Hairstyling)
  • Avatar: The Way of Water – 1 (Visual Effects) 
  • Puss In Boots: The Last Wish – 1 (Animated Feature Film)
  • Women Talking – 1 (Adapted Screenplay)

 

Posted in 2020-2029, Awards Season, Oscars, Ranking

95th Academy Awards: Best Picture Nominees ranked

Posted on by Martin: Through the Silver Screen

Another awards season has come to a close and it is time to celebrate Hollywood’s biggest night with the 95th Academy Awards. After a full uninterrupted year of films on the big screen, ten films are competing for the top prize. They include a sharp social satire on the wealthy, a furious examination of the patriarchy, a biopic of one of the most iconic music artists of all time, a new interpretation of a classic anti-war novel, a couple of extremely successful sequels, and one of the most original films of the year.

An impressive crop of nominees, but as usual, only one film will emerge victorious. So, without any further ado, here’s my ranking of these films from worst to best. We start with…

10. Tár

I’ve always found every time awards season rolls around, there is always going to be one film that I struggle to connect with. This year, this film is Tár. For his first film in 16 years, director Todd Field brings the story of Lydia Tar, a fictional composer whose life begins to fall apart when a series of scandals come to light. There is a lot of depth to Fields’ screenplay, it is so rich and detailed, with a lot to say about cancel culture and the pedestal we often put celebrities on, you could almost be forgiven for thinking the film is based on a real-life figure, brought to the screen superbly by Cate Blanchett.

However, despite Blanchett’s incredible performance, the film sits at the bottom of this list because, while the film is impeccably crafted, I found it a bit of a slog to get through. Furthermore, the character of Lydia Tár was a difficult one to connect with and the film left me feeling quite cold as a result.

 

9. Elvis

Elvis Aaron Presley. The King of Rock and Roll and one of the most accomplished musicians to have ever lived. The popularity of musical biopics meant another film about the life of the singer was bound to happen sooner or later. In the hands of Baz Luhmann, a director whose previous films have certainly not been shy of extravagance and lavishness, he seemed like the ideal candidate to direct a film about the iconic singer.

Luhmann certainly goes all out for this depiction as he bids to capture Presley’s entire life, seen through the perspective of his controversial manager, Colonel Tom Parker (a severely miscast Tom Hanks). The film’s ambition cannot be denied, but even at 2 hours and 39 minutes, the attempt to capture Presley’s entire life feels too ambitious for its own good and drags the film down. However, what keeps it afloat is the extraordinary performance by Austin Butler whose dedication to bringing Elvis to the screen is so transformative, you could be forgiven for thinking it was the King himself on screen.

 

 

8. All Quiet on the Western Front

Throughout history, we have seen numerous examples of the horrors and brutality of war, and these horrors have often been captured in film in quite a brutal fashion. Indeed, those horrors have been brought into much sharper focus since the start of Russia’s barbaric invasion of Ukraine last year, which makes this new take on the 1930 novel by Erich Maria Remarque feel all the more relevant in light of the brutality of the scenes we’ve all seen in Ukraine over the last 12 months.

The film recaptures the brutality of trench warfare and the unimaginable horror the soldiers on both sides would have gone through on a day-to-day basis, with millions sent to their deaths to make minimal gains. The film is technically flawless, boasting immaculate production design and cinematography. However, while it serves its purpose as an anti-war film, it suffered due to a lack of development of its lead characters who merely exist to hammer the film’s main point home about the brutal and unforgiving nature of war.

 

7. Triangle of Sadness

Ever since the COVID pandemic hit and the wealth gap between the 1% in our society and everyone else grew even bigger, satires of the super-rich have been in plentiful supply as of late, which has been joyful to watch and necessary. However, none have done so in quite a scathing, and simultaneously hilarious manner as this Palme D’Or winner from Ruben Östlund.

Focusing on a young couple who are invited onto a cruise ship for the super-rich, the film is not afraid to take shots at numerous aspects of society, from wealthy oligarchs to social media influencers. This all culminates in a hilarious and slightly nauseating second act during a fateful night aboard the cruise, a scene which was an absolute riot to experience at a packed screening during London Film Festival. The film’s three distinct acts all have a unique feel to them, and while it does begin to run out of steam in the third act, it retains that stinging rebuke of the wealthy.

 

 

6. Women Talking

The only film of this year’s contenders to be directed by a woman (more on this later). The very fact Sarah Polley’s powerful and furious examination of the patriarchal nature of our society and analysis of an ongoing problem in said society was at very real risk of missing out on a nomination is shambolic, and some serious conversations would need to have been had if it had missed out.

Focusing on an isolated community of Mennonite women who have been repeatedly raped and sexually assaulted by the men in their community brings an urgent meeting where the women must decide whether to stay and fight or to leave. The film, as the title suggests, is very dialogue-driven. However, Sarah Polley’s screenplay, adapted from the novel of the same name by Miriam Toews, is so powerful and so tremendously performed by every member of its cast, especially Jessie Buckley and Claire Foy, that when these women are talking, everyone in the world should be listening to what they have to say.

 

5. The Fabelmans

Steven Spielberg, a director whose career has spanned over six decades, in which time he has provided audiences with killer sharks, killer dinosaurs, an extraterrestrial who wanted to phone home, an insanely cool archaeology professor who is arguably one of the best characters in cinema history, and so much more. Yet, as seems to be a trend among filmmakers in recent times, the legendary director has made his most personal film yet, about how he discovered his love of movie-making and the people in his life who played a key role in urging him to pursue his dreams of becoming a director.

Unlike some other films recently released this year which have tried to capture the magic of cinema only to completely miss the mark, Spielberg’s film captures the importance of family and how those around us can play a significant role in shaping the career we choose to pursue, as well as a passion for the art of cinema.

 

4. The Banshees of Inisherin

Full review here

There are not many directors who can combine a really (and I mean really) bleak situation and use that as a backdrop to provide utter hilarity quite like Martin McDonagh. On its surface, his latest film is the simple story of two men and the fallout when one of them abruptly decides he doesn’t want to be friends with the other one. Yet, there is so much more to McDonagh’s screenplay than this simple premise as it explores themes of toxic masculinity, nihilism, loneliness, and pursuing creativity over friendship all against the backdrop of the Irish Civil War.

The reunion (sort of) of In Bruges stars Brendan Gleeson and Colin Farrell, both of whom arguably give the best performances of their careers, is fantastic to see. Yet, the show belongs to Jenny (the donkey to whom Farrell’s character holds dear) and Kerry Condon’s scene-stealing performance as the sister to Colin Farrell’s character. A fecking brilliant motion picture!

 

 

3. Avatar: The Way of Water 

Full review here

The first of two films on this list which utterly dominated at the box office this year. It had been 13 long years since the first Avatar film came out, and after such a long wait, the question as to whether audiences would be interested in a return to Pandora raged. Several months, and nearly $2.3 billion dollars as of writing this later, it is fair to say audiences this debate has been settled. Audiences were interested and proved to the naysayers you should never ever bet against James Cameron.

With the visuals being a key selling point for the first film when it opened back in 2009, the question would have been how to surpass those this time around? And it would be fair to say they did just that, the use of pioneering new motion capture technology all while actually shooting these scenes underwater provided the film with some breathtaking visual majesty which is completely awe-inspiring to look at. Much can be said of the film’s script and how it is in many ways a retread of the first film, but when the last hour hits, it never lets up and reinforces Cameron’s talent for crafting terrifically compelling action.

 

2. Top Gun: Maverick 

Full review here

The second sequel among this year’s nominees and the film which, before The Way of Water came along, was the undisputed champion of the box office in 2022.  When it finally took to the skies last summer (after numerous delays), it was the film which as Steven Spielberg himself admitted to its star Tom Cruise might have just saved the cinematic experience as we know it.

Right from the very first moment when Kenny Loggins’s “Highway to the Danger Zone” blasts over scenes of jets taking off from a military warship, the film hits those nostalgic notes right off the bat runway. Yet, what this legacy sequel pulls off so successfully is it adds a real sense of emotional weight to the story, particularly for Cruise’s Maverick and certain decisions he has made across a 30-year career as a naval aviator. Furthermore, I cannot talk about this film without mentioning the aerial combat sequences, which were utterly exhilarating to watch. A perfect example of how to do a legacy sequel, and one that takes my breath away every time I rewatch it.

 

1. Everything Everywhere All At Once 

Full review here

What more is there to say about A24’s highest-grossing film of all time? Ever since it had its premiere in March last year at South by Southwest, the word of mouth for this film, and the insane level of hype surrounding it, was simply unprecedented. Was it actually going to live up to the hype when it finally opened on our shores in May? As you might have guessed from its position on this list, the answer is an emphatic yes.

I genuinely have no idea how writers/directors The Daniels concocted such a wacky, bonkers, insane and genius script which threw everything into the mix and somehow made it all work. The film had everything, multiversal travel, hotdog fingers, tremendous kung-fu-inspired fight scenes, googly eyes, and a genuinely very emotional scene with two rocks. But above all else, an impactful and moving family drama with one of, if not the best performances the legend that is Michelle Yeoh has given throughout her extraordinary career, as well as a wonderful performance from Ke Huy Quan, who will be one of the best Supporting Actor winners we’ve had in a long time. It was, for many people, the film which defined cinema in 2022 and it fully deserves its status as the best picture frontrunner, and will be one of the best victories of all time should it crown its phenomenal awards-season success.

 

Could/should have been nominated…

 

So there you have it, that is my ranking of the ten films up for Best Picture. However, I always like to hypothesise what could have been, because for me there are some films which really should have been included in this year’s race. Therefore, if I was an Oscar voter, my ballot for the ten films to be nominated would be to remove, Tar, Elvis and All Quiet on the Western Front, and replace them with:

She Said (review). In the same vein as last year when Ridley Scott’s powerful historical drama The Last Duel was snubbed entirely across the board last year, the absence of Maria Schrader’s tremendous film about how two reporters from The New York Times broke the story about Harvey Weinstein’s rampant sexual abuse led to the rise of the important #MeToo and Time’s Up movements is bemusing, to put it kindly. The film had an incredibly difficult job, given this is very recent history, to portray this story in a careful manner, and they did exactly that. Had it been nominated (as it should have done), it would have sent a real message of support to those who suffered at the hands of Weinstein. A real missed opportunity by the Academy.

The Woman King (review). Another brilliant film directed by a woman, and another which has been inexcusably overlooked by the Academy. So often, when a historical epic is brought to the big screen, it is from the perspective of men, such as Gladiator or Braveheart. This is precisely what made Gina Prince-Bythewood’s film so unique, that it centred on one of the few all-female armies in recorded history. Yes, it does take some liberties with the true story of the Agoije, this is not uncommon when bringing a true story to the big screen. Its extraordinary cast, led by an exceptional Viola Davis all shine, and it was just an epic time at the movies. Like with She Said, this is an incredible film which should have been nominated in all of the above-the-line categories, but the very fact it wasn’t nominated for anything at all feels particularly egregious.

Glass Onion: A Knives Out Mystery (review). A snub which is not as egregious as the ones mentioned so far, given that the brilliant sequel to Knives Out, got the adapted screenplay nomination it deserved. But, given the aforementioned screenplay nod, I am surprised to see it didn’t crop up anywhere else because it was definitely deserving of multiple nominations, given it clearly must be liked by the Academy. Supporting Actress for Janelle Monae did feel like a long shot due to how crowded that category is, but a nomination for costumes at the very least seemed a sure bet. Perhaps, the Academy is holding everything back for when the third Benoit Blanc film is released? Let’s hope so.

Posted in 2020-2029, Awards Season, Oscars

94th Academy Awards: Final Predictions

Posted on by Martin: Through the Silver Screen

Well, it’s that time of year again. After the elongated awards season window of the 93rd Academy Awards due to the pandemic, the current awards season we’ve had feels somewhat shortened. But in that time, we’ve had the welcome return of cinemas, and there’s nothing better than seeing films where they belong, on the big screen. With that, a plethora of brilliant and exciting films have been recognised by the Academy this year and Hollywood’s biggest night is once again upon us.

Last year’s scaled-down ceremony was a controversy-free event, until the ending when a change-up of the presenting order meant it all went very badly wrong. This year, the controversy has almost been ever-present as the absolutely nonsensical idea of presenting some of the categories off-air has been resurrected. Spoiling the moment of glory for those prospective winners and denying them their moment in the spotlight. A ceremony that honours the craft of movies and movie-making should be giving every recipient of an Oscar a chance to have their moment in the spotlight and this decision does a disservice to all those nominees.

Despite this ridiculous decision, there are still 23 golden statues up for grabs, the question remains as to who will claim Oscar glory? Time to have a gaze at my metaphorical crystal ball and give my predictions, as well as give my thoughts on each category, minus the documentaries and the short films.

Best Supporting Actor

  • Ciarán Hinds – Belfast
  • Troy Kotsur – CODA
  • Jesse Plemons – The Power of the Dog
  • J. K. Simmons – Being the Ricardos
  • Kodi Smit-McPhee – The Power of the Dog

Kicking things off is a race that, for the third year in a row, has seen double nominees from the same film, after Judas and the Black Messiah and The Irishman. Apart from previous winner J.K. Simmons’s nomination, the rest of the pack are picking up their first nominations. Simmons’s nomination in Being the Ricardos is a sign that Aaron Sorkin’s latest film is well-loved by the Actors branch, but given that Ricardos is the only one without a Best Picture nomination, Simmons’s chances of a repeat win are extremely unlikely, especially as he’s very much bringing up the rear in this crop of performances. Plemons does great work, but he’s very much outshone by his co-stars. Ciarán Hinds’s beautiful turn as the cheeky Grandpa in Belfast would be a worthy winner, as would his co-star Jamie Dornan, who really should have been nominated ahead of Simmons for my money.

However, throughout this race, it’s very much been a battle between CODA‘s Troy Kotsur and Kodi Smit-McPhee’s layered work in The Power of the Dog. CODA‘s ensemble win at the SAG awards could tip the scales in Kotsur’s favour. He would make history as the first male deaf actor to win an Oscar, and his turn as the raunchy but heartfelt father in CODA was hilarious and emotional, he was able to break your heart with just one word.

Will Win: Troy Kotsur 

Should Win: Troy Kotsur

Could have been nominated: Jamie Dornan for Belfast

 

Best Supporting Actress

  • Jessie Buckley – The Lost Daughter
  • Ariana DeBose – West Side Story
  • Judi Dench – Belfast
  • Kirsten Dunst – The Power of the Dog
  • Aunjanue Ellis – King Richard

As was the case with Supporting Actor, there’s one performance that can be discounted right out of the gate, as her film lacks a Best Picture nomination, which is a shame as Jessie Buckley’s work in The Lost Daughter outshines her co-stars. Kirsten Dunst has finally landed a nomination, and it’s quite fitting that she’s nominated the same year that her husband Jesse Plemons receives his first nomination. To go toe-to-toe with Will Smith is not an easy feat but Aunjanue Ellis’s performance manages exactly that. Judi Dench’s turn in Belfast was a welcome return to form for her after appearing in a couple of critical and commercial flops, but with eight nominations under her belt, she didn’t need another nomination, especially when her co-star Caitriona Balfe had the more emotionally impactful role which was much more deserving of a nomination.

However, there’s been one performance that has emerged as the clear favourite. Ever since West Side Story was finally opened to audiences, Ariana DeBose’s performance as Anita has swept all before her. It’s quite poetic that 60 years after Rita Moreno’s historic win in this very same category, playing the same character, that history will repeat itself. DeBose will also become the first openly queer actress to win this award. This is an exceedingly competitive category, but Ruth Negga’s brilliant and nuanced work in Passing being overlooked is a massive head-scratching snub.

Will Win:  Ariana DeBose

Should Win: Ariana DeBose

Could have been nominated: Catriona Balfe for Belfast or Ruth Negga for Passing

Best Original Screenplay

  • Belfast – Written by Kenneth Branagh
  • Don’t Look Up – Screenplay by Adam McKay; Story by Adam McKay and David Sirota
  • King Richard – Written by Zach Baylin
  • Licorice Pizza – Written by Paul Thomas Anderson
  • The Worst Person in the World – Written by Eskil Vogt and Joachim Trier

Along with his nominations for Best Picture, and Best Director, Kenneth Branagh has written himself into Oscars history as the first person to be recognised in seven separate categories (Picture, Director, Actor, Supporting Actor, Adapted Screenplay and Live-Action Short). It’s an extraordinary achievement for Branagh and he deserves to crown that with an Oscar for his beautiful semi-autobiographical film, especially given that he’s unlikely to triumph in the Director or Picture category. Yet there’s a chance that Licorice Pizza could rain on Branagh’s parade and end Paul Thomas Anderson’s long wait for an Oscar. Plus, The Worst Person in the World is wildly popular and could be the dark horse of this year’s race.

Will Win: Belfast 

Should Win: Belfast

Should have been nominated: Fran Kanz for Mass

Best Adapted Screenplay

  • CODA – Screenplay by Sian Heder
  • Drive My Car – Screenplay by Ryusuke Hamaguchi and Takamasa Oe
  • Dune – Screenplay by Jon Spaihts, Denis Villeneuve, and Eric Roth
  • The Lost Daughter – Screenplay by Maggie Gyllenhaal
  • The Power of the Dog – Screenplay by Jane Campion

The first of several races this year that represents a fight between the two films that are the heavy favourites to be picking up the biggest prize of the night. The Power of the Dog was for a long time the heavy favourite for this award, but at the 11th hour, CODA charmed its way into hearts and minds and is poised to snatch several awards out of the dog’s jaws, and steal the thunder from Campion’s film, and it potentially won’t be for the first time if it does. However, the support Drive My Car is very strong and it could yet gazump everyone else in this category, and drive away with the Oscar.

Will Win: CODA

Should Win: CODA

Should have been nominated: The Last Duel

Best Animated Feature Film

  • Encanto – Jared Bush, Byron Howard, Yvett Merino, and Clark Spencer
  • Flee – Jonas Poher Rasmussen, Monica Hellström, Signe Byrge Sørensen, and Charlotte De La Gournerie
  • Luca – Enrico Casarosa and Andrea Warren
  • The Mitchells vs. the Machines – Mike Rianda, Phil Lord, Christopher Miller, and Kurt Albrecht
  • Raya and the Last Dragon – Don Hall, Carlos López Estrada, Osnat Shurer, and Peter Del Vecho

An impressively strong crop of nominees, and you could make a case for each of these films to triumph. Ever since this award was first introduced in 2001, a non-Disney film has only taken home the trophy six out of twenty times. With the House of Mouse representing three of the five nominees, another Disney success is on the cards as Encanto is the strong favourite to take home the statue. However, The Mitchells Vs The Machines is such an innovative and hilarious animated film about the perils of technology that is more than capable of extinguishing Encanto‘s miracle. It makes it all the more frustrating that it likely won’t, even though I do like Encanto.

But this crop could have been even stronger, as the exclusion of Mamoru Hosada’s magnificent Belle could and, maybe should have, taken the spot of one of the three Disney films.

Will Win: Encanto 

Should Win: The Mitchells vs. the Machines

Should have been nominated: Belle

Best International Feature Film

  • Drive My Car (Japan)  – directed by Ryusuke Hamaguchi
  • Flee (Denmark) – directed by Jonas Poher Rasmussen
  • The Hand of God (Italy) –  directed by Paolo Sorrentino
  • Lunana: A Yak in the Classroom (Bhutan) – directed by Pawo Choyning Dorji
  • The Worst Person in the World (Norway) – directed by Joachim Trier

Drive My Car‘s Best Picture nominee status makes this one a pretty foregone conclusion.

Will Win: Drive My Car

Should Win: Drive My Car 

Best Original Score

  • Don’t Look Up – Nicholas Britell
  • Dune – Hans Zimmer
  • Encanto – Germaine Franco
  • Parallel Mothers – Alberto Iglesias
  • The Power of the Dog – Jonny Greenwood

The power of a great score is that within just a few notes, it can transport you to the setting of that particular film in a heartbeat, and no score this year typifies that than Hans Zimmer’s masterful work in Dune. 2021 was a stellar year for the legendary composer as well as reuniting with Denis Villeneuve to bring the world of Arrakis to life, his work for Daniel Craig’s final bow as James Bond in No Time To Die was also worthy of praise and could have seen Zimmer get two nominations. In either case, Zimmer’s wait for that second Oscar is coming to an end.

Someone else who also could have got two nominations is Jonny Greenwood. He has been producing some truly stellar scores over the last few years, and could and have got in this category twice for his stunning work in Spencer. His score for The Power of The Dog is tremendous, but the Power of the Dog is no match for desert power.

Will Win: Hans Zimmer 

Should Win: Hans Zimmer

Could have been nominated: Harry Gregson-Williams for The Last Duel 

Best Original Song

  • “Be Alive” from King Richard – Music and lyrics by DIXSON and Beyoncé Knowles-Carter
  • “Dos Oruguitas” from Encanto – Music and lyrics by Lin-Manuel Miranda
  • “Down to Joy” from Belfast – Music and lyrics by Van Morrison
  • “No Time to Die” from No Time to Die – Music and lyrics by Billie Eilish and Finneas O’Connell
  • “Somehow You Do” from Four Good Days – Music and lyrics by Diane Warren

Poor Diane Warren. Despite a staggering 13 nominations in this category, her wait for that first win is likely to go on, as this year’s race is looking like it will be a two-way fight between Lin-Manuel Miranda and Billie Eilish. The last two Bond films have both taken home this award, so the odds look good for Billie Eilish. However, if Miranda wins, he will become the youngest person in history to claim the EGOT. Miranda had a truly stellar 2021, and the EGOT would be the best way to reward his extraordinary achievements, especially as “Dos Oruguitas” is a heartbreakingly beautiful and emotional ballad. If it were to triumph, it would be a worthy winner to go with Encanto‘s likely Best Animated Feature Oscar.

It’s just a shame that they couldn’t nominate the irresistibly catchy and chart sensation “We Don’t Talk About Bruno” as well.

Will Win:  No Time To Die

Should Win: Encanto

Best Sound

  • Belfast – Denise Yarde, Simon Chase, James Mather, and Niv Adiri
  • Dune – Mac Ruth, Mark Mangini, Theo Green, Doug Hemphill, and Ron Bartlett
  • No Time to Die – Simon Hayes, Oliver Tarney, James Harrison, Paul Massey, and Mark Taylor
  • The Power of the Dog – Richard Flynn, Robert Mackenzie, and Tara Webb
  • West Side Story – Tod A. Maitland, Gary Rydstrom, Brian Chumney, Andy Nelson, and Shawn Murphy

Like so many technical aspects of Denis Villeneuve’s masterpiece, the sound is one of the aspects that made it such an enthralling experience on the biggest screen possible. The work of Dune’s sound team helped bring the world of Arrakis to life in such a spectacular way and so they will be richly deserved winners of this trophy.

That being said, the work of the sound teams in No Time to Die and West Side Story are very strong and could upset the spice cart.

Will Win: Dune 

Should Win: Dune

Should have been nominated: The Last Duel

Best Production Design

  • Dune – Production Design: Patrice Vermette; Set Decoration: Zsuzsanna Sipos
  • Nightmare Alley – Production Design: Tamara Deverell; Set Decoration: Shane Vieau
  • The Power of the Dog – Production Design: Grant Major; Set Decoration: Amber Richards
  • The Tragedy of Macbeth – Production Design: Stefan Dechant; Set Decoration: Nancy Haigh
  • West Side Story – Production Design: Adam Stockhausen; Set Decoration: Rena DeAngelo

As was the case with the Sound category, the Production Design played an integral role in bringing the visual majesty of Arrakis to life. Dune has got potential to completely sweep through these production/technical categories, and given it has picked up a couple of the precursors, I think it will do so. However, there could be some surprises and one such surprise could be here as Guillermo Del Toro’s Nightmare Alley. The fact it did get into the Best Picture race shows there is support for it out there among the voters and if the Academy wants to spread the love, then this could be the opportunity for them to do so.

Will Win: Dune

Should Win: Dune

Should have been nominated: The Last Duel

Best Cinematography

  • Dune – Greig Fraser
  • Nightmare Alley – Dan Laustsen
  • The Power of the Dog – Ari Wegner
  • The Tragedy of Macbeth – Bruno Delbonnel
  • West Side Story – Janusz Kaminski

Five absolutely immaculately shot films makes this an insanely hard category to predict, as any of these cinematographers would be worthy of winning this award. Ari Wegner makes history as the second woman to be nominated in this category following Rachel Morrison’s ground-breaking nomination for Mudbound at the 90th Academy Awards, but it could have been even better had Claire Mathon also been nominated for Spencer. A triumph for Wegner would be a welcome (and long overdue) victory. However, given that he’s recently captured plaudits for his magnificent work in The Batman, it could tip the scales in Greig Fraser’s favour.

Will Win: Dune 

Should Win:  Dune

Should have been nominated: Claire Mathon for Spencer or Linus Sandgren for No Time To Die

Best Makeup and Hairstyling

  • Coming 2 America – Mike Marino, Stacey Morris, and Carla Farmer
  • Cruella – Nadia Stacey, Naomi Donne, and Julia Vernon
  • Dune – Donald Mowat, Love Larson, and Eva von Bahr
  • The Eyes of Tammy Faye – Linda Dowds, Stephanie Ingram, and Justin Raleigh
  • House of Gucci – Göran Lundström, Anna Carin Lock, and Frederic Aspiras

As impressive as the make-up and hairstyling work in films like House of Gucci and The Eyes of Tammy Faye is, when you realise the amount of work that was required to transform Stellan Skarsgard into the villainous Baron Harkonnen in Dune, this should be a no-brainer, but if Best Actress goes in a certain direction (more on that later), this could go in a different direction.

Will Win:  The Eyes of Tammy Faye

Should Win: Dune

Should have been nominated: The Last Duel

Best Costume Design

  • Cruella – Jenny Beavan
  • Cyrano – Massimo Cantini Parrini
  • Dune – Jacqueline West and Bob Morgan
  • Nightmare Alley – Luis Sequeira
  • West Side Story – Paul Tazewell

There’s some really impressive work across this category, but Cruella has been sweeping this category and those flashy and colourful dresses will power Jenny Beaven to her third Oscar.

Will Win: Cruella

Should Win: Cruella

Should have been nominated: Janty Yates for The Last Duel

Best Film Editing

  • Don’t Look Up – Hank Corwin
  • Dune – Joe Walker
  • King Richard – Pamela Martin
  • The Power of the Dog – Peter Sciberras
  • tick, tick… BOOM! – Myron Kerstein and Andrew Weisblum

Editing and the now lone sound categories often go hand-in-hand with each other, so with that in mind, Dune should be locked. Yet, Pamela Martin took home the American Cinema Editor Award in the Drama category for her work in King Richard. Meanwhile, tick, tick… BOOM! triumphed in the Comedy or Musical category, which puts it in contention. However, the lack of a Best Picture nom will probably count against the latter. Dune’s desert power will see it triumph in a number of technical categories, but the wonderful work of Pamela Martin with the tennis scenes in King Richard was absolutely pulsating to watch.

Game. Set, and the Oscar goes to King Richard.

Will Win:  King Richard 

Should Win: King Richard

Should have been nominated: The Last Duel

Best Visual Effects

  • Dune – Paul Lambert, Tristen Myles, Brian Connor, and Gerd Nefzer
  • Free Guy – Swen Gillberg, Bryan Grill, Nikos Kalaitzidis, and Dan Sudick
  • No Time to Die – Charlie Noble, Joel Green, Jonathan Fawkner, and Chris Corbould
  • Shang-Chi and the Legend of the Ten Rings – Christopher Townsend, Joe Farrell, Sean Noel Walker, and Dan Oliver
  • Spider-Man: No Way Home – Kelly Port, Chris Waegner, Scott Edelstein, and Dan Sudick

With its status as the lone Best Picture nominee here, and an enthralling combination of practical and visual effects, there’s nothing stopping Dune, not even an itsy bitsy Spider-Man.

Will Win: Dune 

Should Win: Dune

Should have been nominated: The Suicide Squad

Best Director

  • Kenneth Branagh – Belfast
  • Ryusuke Hamaguchi – Drive My Car
  • Paul Thomas Anderson – Licorice Pizza
  • Jane Campion – The Power of the Dog
  • Steven Spielberg – West Side Story

At the 66th Academy Awards, Campion and Spielberg went head to head in this category for Schindler’s List and The Piano respectively, with Spielberg emerging victorious. Though this time, with The Power of The Dog emerging as this year’s frontrunner, Campion is the heavy favourite to triumph here, even with some controversy following her completely unnecessary remarks against Venus and Serena Williams at the Critics Choice. ‘

This is one category where CODA cannot stop The Power of the Dog. If Campion does triumph, it would make her the third woman to win this award, and the first time two women have won this award in consecutive years. However, the absurdity of nominating Dune for just about everything else, except for the guy whose vision made it all possible is absolute madness. Hopefully, the Academy is keeping this award safe for Villeneuve for when the time comes to honour Dune: Part Two.

Will Win: Jane Campion

Should Win: Jane Campion

Could have been nominated: Denis Villeneuve for Dune

Best Actor in a Leading Role

  • Javier Bardem – Being the Ricardos
  • Benedict Cumberbatch – The Power of the Dog
  • Andrew Garfield – tick, tick… BOOM! 
  • Will Smith – King Richard
  • Denzel Washington – The Tragedy of Macbeth

Throughout this awards season, there have been four names consistently cropping up in this race: Cumberbatch, Garfield, Smith and Washington. All of whom are thoroughly deserving of their nominations. Washington’s performance in Macbeth is strong, but it’s not the finest performance of his career. Whereas for Cumberbatch and Garfield, this is most definitely the case. Similarly, Smith’s turn as Richard Williams, also represents some of his finest ever work.

The question as to who that fifth nominee could be was the source of much speculation. Given that the aforementioned four gentlemen have all been nominated before, there was an opportunity to hand someone their first-time nomination. Newcomer Jude Hill’s sweet and impactful debut performance in Belfast or to give Peter Dinklage’s beautiful performance in Cyrano would both have been very well deserved recipients of that nomination. Performances from giant blockbusters seldom cross into the Oscars, but a nomination for Daniel Craig for his final bow as James Bond in No Time To Die would also have been a worthy nominee. Instead, it feels like the Academy would have been a more worthy nomination than Bardem’s turn in Being the Ricardos, a nomination that’s just so safe and boring, that it’s extremely unsatisfying.

Yet irrespective of who that fifth nominee was in the end, it matters not because it will be the third time’s the charm for Will Smith, as nothing will stop him from collecting his first Oscar for his magnificent work portraying Richard Williams in King Richard. 

Will Win: Will Smith

Should Win: Will Smith

Should have been nominated: Jude Hill for Belfast or Peter Dinklage for Cyrano 

Best Actress in a Leading Role

  • Jessica Chastain – The Eyes of Tammy Faye
  • Olivia Colman – The Lost Daughter
  • Penélope Cruz – Parallel Mothers
  • Nicole Kidman – Being the Ricardos
  • Kristen Stewart – Spencer

Last year, this award was one of the most exciting and unpredictable races, and it looks like history is repeating itself. This year’s race is proving to be equally chaotic. With no one having the advantage of their film being a Best Picture nominee, it’s an extremely open race. However, unlike last year, this particular race feels quite weak by comparison.

Ever since Spencer first screened, Stewart was widely seen as the frontrunner, and fully deservingly so for her mesmerising and transformative turn as Princess Diana. Yet that early momentum evaporated, and there were question marks as to whether she would even secure that nomination, which would have been one of the biggest snubs in Oscars history. Cruz’s work in Parallel Mothers was a deeply powerful performance that even without their films getting Best Picture nominations, and also without picking up any of the precursor nominations, these performances are thoroughly deserving of their nominations. Jessica Chastain certainly goes all in with her Eyes of Tammy Faye performance, but ultimately it feels like a performance that’s a bit too flashy and is a case of style over substance.

Kidman’s nomination is probably the most deserving out of the three Ricardos nominations, but likewise, with her two co-stars, her nomination feels so uninspiring due to the sheer blandness of the film around her. The Academy clearly loves Olivia Colman, and while she was good in The Lost Daughter, she has definitely put in better performances in her career. Ultimately, the nominations of Colman and Kidman feel like nominations that are based purely on their name, and that’s really disappointing as the Academy really should have recognised the work from some of the Best Picture nominees, like Rachel Zegler from West Side Story or Emilia Jones from CODA, both of whom were far more deserving of nominations than Colman or Kidman.

But, like Will Smith, this is Chastain’s third nomination. She’s picked up a couple of the precursor awards, and if Tammy Faye takes home the Hair and Makeup Oscar, this could align for the first Oscar for Chastain. But honestly, it’s anyone’s guess.

However, what also really stings is the lack of nominations for actresses Jodie Comer and Tessa Thompson, whose fierce and powerful performances in films like The Last Duel and Passing respectively both utterly blow the majority of the competition out of the water.

Will Win: Jessica Chastain

Should Win: Kristen Stewart

Should have been nominated: Jodie Comer for The Last Duel, Tessa Thompson for Passing or Emilia Jones for CODA

And, last and certainly by no means least…

Best Picture

  • Belfast – Laura Berwick, Kenneth Branagh, Becca Kovacik, and Tamar Thomas
  • CODA – Philippe Rousselet, Fabrice Gianfermi, and Patrick Wachsberger
  • Don’t Look Up – Adam McKay and Kevin Messick
  • Drive My Car – Teruhisa Yamamoto
  • Dune – Mary Parent, Denis Villeneuve, and Cale Boyter
  • King Richard – Tim White, Trevor White, and Will Smith
  • Licorice Pizza – Sara Murphy, Adam Somner, and Paul Thomas Anderson
  • Nightmare Alley – Guillermo del Toro, J. Miles Dale, and Bradley Cooper
  • The Power of the Dog – Jane Campion, Tanya Seghatchian, Emile Sherman, Iain Canning, and Roger Frappier
  • West Side Story – Steven Spielberg and Kristie Macosko Krieger

Click here to see my ranking of the Best Picture contenders.

It’s so pleasing to see the Academy complete the full set by giving ten films their moment in the spotlight, though some are far less deserving than others in this regard. It’s a joy to see such a mainstream juggernaut like Dune be a fierce competitor, and while it would be my choice this year, one hopes that the Academy will bestow all the awards when the time comes to honour Dune: Part Two. Parasite’s victory two years ago has opened doors for international features, and so it’s a joy to see films like Drive My Car get in the Best Picture race, though it will be great when there’s more than one international film in the race.

Netflix has been fiercely competing for its first Best Picture win over these last few years, and despite making a plethora of amazing films to try and bag that elusive Best Picture Oscar, it has not yet happened. With the most nominees this year, it was looking likely for a while that The Power of the Dog would become the first Netflix film to take home the Best Picture statute. However, Apple TV’s CODA has emerged at what has felt like at the last minute to potentially rain on Netflix’s parade.  The fact that these two films are the front runners, and that they’re both directed by women, is worthy of celebration. This really could go either way.

Will Win:  CODA 

Should Win: Dune 

Should have been nominated: The Last Duel and Passing 

————————————————–

Final counts

Will win:

  • Dune – 5
  • CODA – 3
  • Eyes of Tammy Faye – 2
  • King Richard – 2 
  • Belfast – 1
  • Cruella -1 
  • Drive My Car – 1
  • Encanto – 1
  • No Time To Die – 1
  • The Power of the Dog – 1
  • West Side Story -1

Should win:

  • Dune – 8
  • CODA – 2
  • King Richard – 2 
  • Belfast -1
  • Cruella – 1 
  • Drive My Car – 1
  • Encanto – 1
  • Mitchells vs The Machines -1
  • Spencer – 1
  • West Side Story – 1 
Posted in 2010-2019, Film Feature

92nd Academy Awards: Final Predictions

Posted on by Martin: Through the Silver Screen

Another awards season is now coming to a close, and every year it comes by, there always seems to be some kind of controversy attached to it. This year is no different, having given us one of the most divisive movies in a long time in Joker. Yet said film has lead the way with the most nominations (11). Furthermore, there has been a notable lack of diversity in the acting nominations, just barely avoiding another #OscarsSoWhite situation, and much like the Golden Globes and the BAFTAs, a distinct lack of women in the director category, in spite of some truly excellent films made by women.

While it’s crystal clear that some work needs to be done on those matters, it has been a very strong year to round out the 2010s on the big screen and once again, there are 24 golden statues to give out. So who will be clutching one of those 24 golden statues that are on offer? Time to have a gaze at my metaphorical crystal ball and give my predictions, as well as give my own two cents on each category, minus the documentaries and the short films.

Best Actress in a Leading Role

  • Cynthia Erivo – Harriet
  • Scarlett Johansson – Marriage Story
  • Saoirse Ronan – Little Women
  • Charlize Theron – Bombshell
  • Renée Zellweger – Judy

Last year, Olivia Colman unexpectedly (but very happily) took the statue ahead of strong favourite Glenn Close. This year, Renee Zellweger’s performance as Judy Garland has been sweeping all before her, so a triumph for her seems certain. However, her likely win is frustrating given that her performance was easily the best thing about an otherwise bland/forgettable biopic.

Johansson has become the first actor to be nominated in lead and supporting since 2007, and her work in Marriage Story was arguably a career best. Charlize Theron was on reliably excellent form in Bombshell, Saorise Ronan’s excellent performance in Little Women has ensured she has very impressively chalked up a fourth nomination at the age of 25. While it is embarrassing that Cynthia Erivo is the only person of colour to get nominated, her performance as the inspirational civil rights icon Harriet Tubman was more than deserving of recognition, as was Awkwafina whose heart-wrenching performance in The Farewell was snubbed.

What’s more, the Academy’s refusal to give horror films a look in is baffling when two of the best performances by women in leading roles came from Florence Pugh (Midsommar) and especially Lupita Nyong’o (Us), the latter of whom’s extraordinary dual performance really wipes the floor with the likely winner, and the fact it’s not in the conversation at all, is just mind-boggling.

Will Win: Renée Zellweger 

Should Win: Scarlett Johansson

Should have been nominated: Lupita Nyong’o for Us/ Florence Pugh for Midsommar/ Awkwafina for The Farewell 

Best Actor in a Leading Role

  • Antonio Banderas – Pain and Glory
  • Leonardo DiCaprio – Once Upon a Time in Hollywood
  • Adam Driver – Marriage Story
  • Joaquin Phoenix – Joker 
  • Jonathan Pryce – The Two Popes

It seems a sure bet The Academy will ensure that Joaquin Phoenix becomes the second actor to win an Oscar for playing the Joker, eleven years after Heath Ledger’s posthumous win in 2009. Despite the backlash in some quarters to the film, his performance has been widely recognised as its main strength. Though he’s got some considerable competition, most notably from Adam Driver’s heart-breaking work in Marriage Story, likewise for Antonio Banderas’s very personal performance in Pain & Glory. Jonathan Pryce’s nomination came as a mighty surprise, especially given the bemusing absence of Robert De Niro, who gave his best performance in years that was more than worthy of recognition.

In an ideal world, this would be Driver’s trophy but Phoenix will have the last laugh here.

Will Win: Joaquin Phoenix

Should Win: Adam Driver

Should have been nominated: Robert De Niro for The Irishman 

Best Supporting Actress

  • Kathy Bates – Richard Jewell
  • Laura Dern – Marriage Story
  • Scarlett Johansson – Jojo Rabbit
  • Florence Pugh – Little Women
  • Margot Robbie – Bombshell

By far and away, one of the biggest snubs when the nominations were announced was the absence of Jennifer Lopez in this category for her stunning work in Hustlers. Given that she was nominated for pretty much every other awards show going, it was a massive surprise to see her not nominated. 2019 was the year that Florence Pugh truly made a name for herself. It’s worth reiterating that her outstanding work in Midsommar was worthy of a nomination. However, it is pleasing to see that in the year she made a name for herself, she’s duly rewarded with a well deserved Oscar nomination. Johansson had a small, but extremely effective part in Jojo Rabbit, which served as the emotional core of Taika Waititi’s film.

But like the other two acting awards, this has got Laura Dern’s name on it. To make a divorce lawyer a likeable character is quite the skill and it will ensure that she ends her long wait for Oscar gold.

Will Win: Laura Dern

Should Win: Laura Dern

Could have been nominated: Jennifer Lopez for Hustlers or Zhao Shuzhen for The Farewell 

Best Supporting Actor

  • Tom Hanks – A Beautiful Day in the Neighborhood
  • Anthony Hopkins – The Two Popes
  • Al Pacino – The Irishman
  • Joe Pesci – The Irishman
  • Brad Pitt – Once Upon a Time in Hollywood

The fourth and final acting award of the night, and again it is looking another lock, this time for Brad Pitt’s incredible work in Once Upon a Time in Hollywood. There’s definitely some dark history attached to this character, but Pitt’s charm and charisma is so effortless that along with Leo DiCaprio, he’s so much fun to watch.  To see Joe Pesci come out of retirement for Martin Scorsese’s gangster masterpiece was just wonderful to behold, and alongside Al Pacino, they made an effective compelling trio of powerful performances in Scorsese’s gangster epic. Tom Hanks’s first Oscar nomination in 19 years was long overdue, and while he made for a perfect Fred Rogers, this is Pitt’s trophy to lose.

Will Win: Brad Pitt

Should Win: Al Pacino/Joe Pesci (can’t split them)

Should have been nominated: Jamie Foxx for Just Mercy or Song-Kang-ho for Parasite 

Best Director

  • Martin Scorsese – The Irishman
  • Todd Phillips – Joker
  • Sam Mendes – 1917
  • Quentin Tarantino – Once Upon a Time in Hollywood
  • Bong Joon-ho – Parasite

Like with BAFTA and the Golden Globes, the best director category is, rather disappointingly, another all male affair. When you consider some of the films that were made by women, is extremely disappointing. The films made by these men are (mostly) great (looking at you Todd Phillips) but when you have the likes of Greta Gerwig, Marielle Heller or Lulu Wang or heck even Olivia Wilde, get shut out, it is deeply frustrating. It makes you wonder what these directors have to do to break down that barrier.

However, of the five to get nominated, by far the one that stands out the most is the work of Sam Mendes and the stunning work that is done to make 1917 such an immersive experience that puts you on the ground with these men. Bong Joon-ho is definitely a threat to Mendes due to his breath-taking work with Parasite, but a second Oscar for Mendes would be a fitting way to celebrate what is one of his finest films.

Will Win: Sam Mendes 

Should Win: Sam Mendes

Should have been nominated: Greta Gerwig for Little Women or Lulu Wang for The Farewell

Best Original Screenplay

  • Knives Out – Rian Johnson
  • Marriage Story – Noah Baumbach
  • 1917 – Sam Mendes and Krysty Wilson-Cairns
  • Once Upon a Time in Hollywood – Quentin Tarantino
  • Parasite – Bong Joon-ho and Han Jin-won

Five extremely strong screenplays competing here, but given that four of the five are Best Picture nominees, Knives Out‘s chances of an upset are sadly slim to none. Given the criticisms in some quarters of 1917’s screenplay, it seems unlikely to add to its probable slew of Oscar wins in the technical categories. Noah Baumbach could yet pull off an upset to add to Marriage Story’s Supporting Actress win, but this seems to be a race between OUATIH and Parasite. Tarantino has twice won this Oscar twice before, and a hat-trick is definitely possible, but it likely won’t be the case. While Parasite is a surefire bet to win Best International Feature, this should be Bong Joon ho’s richly deserved moment in the spotlight.

Will Win:  Bong Joon-ho and Han Jin-won for Parasite

Should Win: Bong Joon-ho and Han Jin-won for Parasite

Should have been nominated: Lulu Wang for The Farewell

Best Adapted Screenplay

  • The Irishman – Steven Zaillian
  • Jojo Rabbit – Taika Waititi
  • Joker – Todd Phillips and Scott Silver
  • Little Women – Greta Gerwig
  • The Two Popes – Anthony McCarten

To have taken on an adaptation of a much beloved novel, one that has been many times over, and put your own stamp on the material, providing audiences with the definitive adaptation of said novel is a credit to Greta Gerwig. Given her snub in the director category, it would be very satisfying to see her win for only her second feature film. Furthermore, it would make her the only woman to win in this category in the 2010s, which given the lack of diversity in the directing category is indicative of the obstacles facing female writers and directors.

Yet she has some stiff competition in the form of Taika Waititi who had the extremely tricky task of adapting the novel Caging Skies for the big screen. There was an enormous risk that this could have backfired badly, and it definitely divided critics and audiences right down the middle. The divisive nature of Jojo might just help it swing back in Little Women’s favour though, but it’s very close to call.

Will Win: Taika Waititi for Jojo Rabbit

Should Win: Greta Gerwig for Little Women

Should have been nominated:  Micah Fitzerman-Blue and Noah Harpster for A Beautiful Day in the Neighborhood

Best Animated Feature Film

  • How to Train Your Dragon: The Hidden World – Dean DeBlois, Bonnie Arnold, and Brad Lewis
  • I Lost My Body – Jérémy Clapin and Marc du Pontavice
  • Klaus – Sergio Pablos, Jinko Gotoh, and Marisa Romá
  • Missing Link – Chris Butler, Arianne Sutner, and Travis Knight
  • Toy Story 4 – Josh Cooley, Jonas Rivera, and Mark Nielsen

One of the more unpredictable categories this year. In years gone by, the Academy has always leaned towards Disney/Pixar films, and so often they run away with it. Yet, due to the fact that Toy Story 4 isn’t as highly regarded as the 3 that came before it, that could count against it. Indeed, this year’s race has seen the majority of the prizes being split up between Klaus and Missing Link.  Hence, any one of these three could end up claiming the trophy.

Will Win: Klaus

Should Win: Toy Story 4

Best International Feature Film

  • Corpus Christi (Poland) – Directed by Jan Komasa
  • Honeyland (North Macedonia) – Directed by Tamara Kotevska and Ljubomir Stefanov
  • Les Misérables (France)– Directed by Ladj Ly
  • Pain and Glory (Spain) – Directed by Pedro Almodóvar
  • Parasite (South Korea) – Directed by Bong Joon-ho

While France could have nominated the much beloved Portrait of a Lady on Fire, it’s hard to look past this being another hit from the Bong for Parasite.

Will Win: Parasite

Should Win: Parasite

Could have been nominated: Portrait of a Lady on Fire (France)

Best Original Score

  • Joker – Hildur Guðnadóttir
  • Little Women – Alexandre Desplat
  • Marriage Story – Randy Newman
  • 1917 – Thomas Newman
  • Star Wars: The Rise of Skywalker – John Williams

This would appear to be a straight up battle between Guðnadóttir and Newman. But even 15 nominations later, and after producing a stirring, breath-taking score for 1917, there’s a substantial chance that Newman could lose out yet again. Which begs the question, what has he got to do to end his run without an Oscar?! If she wins, Guðnadóttir will become the first woman to win since the score category became one single category. While Desplat’s score for Little Women was delightful, it’s unlikely he’ll be claiming his third Oscar. The nomination for Williams does feel like a token nomination, and is more of a celebration of his work in general, given that his score for The Rise of Skywalker was, like the film itself, unremarkable. Alan Silvestri deserved a nomination for the “Portals” track alone.

Will Win:  Hildur Guðnadóttir

Should Win: Thomas Newman

Could have been nominated: Alan Silvestri for Avengers: Endgame

Best Original Song

  • “I Can’t Let You Throw Yourself Away” from Toy Story 4 – Music and Lyrics by Randy Newman
  • “(I’m Gonna) Love Me Again” from Rocketman – Music by Elton John; Lyrics by Bernie Taupin
  • “I’m Standing with You” from Breakthrough – Music and Lyrics by Diane Warren
  • “Into the Unknown” from Frozen II – Music and Lyrics by Kristen Anderson-Lopez and Robert Lopez
  • “Stand Up” from Harriet – Music and Lyrics by Joshuah Brian Campbell and Cynthia Erivo

While Rocketman definitely could have got a few more nominations (Costumes and Best Actor), the one nomination it has picked up is likely to end in triumph for the Elton John biopic. As well as her nomination for Best Actress, Cynthia Erivo’s soulful performance of “Stand Up”, probably represents its closet challenger. However, a victory for Elton would be a fitting tribute to a true legend of the music industry.

Will Win:  (I’m Gonna) Love Me Again Rocketman

Should Win: “(I’m Gonna) Love Me Again from Rocketman

Best Sound Editing

  • Ford v Ferrari – Donald Sylvester
  • Joker – Alan Robert Murray
  • 1917 – Oliver Tarney and Rachael Tate
  • Once Upon a Time in Hollywood – Wylie Stateman
  • Star Wars: The Rise of Skywalker – Matthew Wood and David Acord

Back at the 90th Oscars, it was a case of Baby Driver going up against Dunkirk in these two sound categories. This year, it’s once again a tale of revving cars vs warfare as Ford v Ferrari goes head to head with 1917. The work of the sound team on Ford V Ferrari is extremely impressive, and a big part of the film’s success. However, every technical aspect of 1917 helps to make it such an immersive cinematic experience, and the astounding work done by the sound team should put this out of reach of all of its competitors.

Will Win:  1917

Should Win: 1917

Best Sound Mixing

  • Ad Astra – Gary Rydstrom, Tom Johnson and Mark Ulano
  • Ford v Ferrari – Paul Massey, David Giammarco, and Steven A. Morrow
  • Joker – Tom Ozanich, Dean Zupancic and Tod Maitland
  • 1917 – Mark Taylor and Stuart Wilson
  • Once Upon a Time in Hollywood – Michael Minkler, Christian P. Minkler, and Mark Ulano

Likewise for the Sound Editing, this one should be going the way of 1917 as war films tend to do well in the sound categories, though again Ford V Ferrari represents its biggest competitor.

Will Win:  1917

Should Win: 1917

Should have been nominated:

Best Production Design

  • The Irishman – Production Design: Bob Shaw; Set Decoration: Regina Graves
  • Jojo Rabbit – Production Design: Ra Vincent; Set Decoration: Nora Sopková
  • 1917 – Production Design: Dennis Gassner; Set Decoration: Lee Sandales
  • Once Upon a Time in Hollywood – Production Design: Barbara Ling; Set Decoration: Nancy Haigh
  • Parasite – Production Design: Lee Ha-jun; Set Decoration: Cho Won-woo

Another category that feels very open given that all these nominees are in the Best Picture race. However, given that 1917 and Parasite are the front runners in that particular race, it’s looking like to be another battle between these two. Both the lavish home of the Park family, and the squalid dwellings of the Kim family were constructed from scratch. Yet the work done to eerily recreate the horrors of WWI trenches, No Man’s Land and a town that’s been battered by warfare, stand just a fraction above in my opinion. Though, given that the Academy so often likes films about Hollywood, don’t rule Once Upon a Time in Hollywood out of this.

Will Win: 1917

Should Win: 1917

Could have been nominated:

Best Cinematography

  • The Irishman – Rodrigo Prieto
  • Joker – Lawrence Sher
  • The Lighthouse – Jarin Blaschke
  • 1917 – Roger Deakins
  • Once Upon a Time in Hollywood – Robert Richardson

Roger Deakins produced further evidence of his unrivalled mastery as a cinematographer with his scintillating work in 1917. As well as making that one shot element of the film work so well, some of the shots especially the ones at night were just absolute feasts for the eyes. After FINALLY winning that first Oscar for Blade Runner 2049, Deakins will be claiming that second Oscar, a fitting recognition for one of the best ever cinematographers.

Will Win: Roger Deakins

Should Win: Roger Deakins

Should have been nominated: Pawel Pogorzelski for Midsommar

Best Makeup and Hairstyling

  • Bombshell – Kazu Hiro, Anne Morgan, and Vivian Baker
  • Joker – Nicki Ledermann and Kay Georgiou
  • Judy – Jeremy Woodhead
  • Maleficent: Mistress of Evil – Paul Gooch, Arjen Tuiten, and David White
  • 1917 – Naomi Donne, Tristan Versluis, and Rebecca Cole

Two years ago, Kazu Hiro won this award for his work in transforming Gary Oldman into Winston Churchill. This time around, he and his fellow makeup artists work their magic to turn Charlize Theron and John Lithgow into Megyn Kelly and Roger Ailes respectively, and once again the work is extraordinary that should ensure another Oscar comes his way. With its likely wins in Best Actor and Best Original Score, Joker represents Bombshell’s biggest threat.

Will Win:  Bombshell

Should Win: Bombshell

Best Costume Design

  • The Irishman – Sandy Powell and Christopher Peterson
  • Jojo Rabbit – Mayes C. Rubeo
  • Joker – Mark Bridges
  • Little Women – Jacqueline Durran
  • Once Upon a Time in Hollywood – Arianne Phillips

Of the six nominations it received, this category unfortunately probably represents Little Women’s best chances of success, and while period pieces usually do well here,it’s by no means a given that it will win (see last year with Black Panther triumphing over The Favourite.) Furthermore, both Sandy Powell and Mark Bridges have already won multiple awards in this category, but hopefully the power of those lavish 19th century frocks will propel Jacqueline Durran and, Little Women, to victory.

Will Win: Little Women

Should Win: Little Women

Best Film Editing

  • Ford v Ferrari – Andrew Buckland and Michael McCusker
  • The Irishman – Thelma Schoonmaker
  • Jojo Rabbit – Tom Eagles
  • Joker – Jeff Groth
  • Parasite – Yang Jin-mo

To have made a three and a half hour film feel so well paced that it rarely drags is a testament to Thelma Schoonmaker’s talents as an editor. Through her collaboration with Scorsese, she has bagged three Oscars and with The Irishman, it should bag her another Oscar. Yet it likely won’t, further raising the very real possibility of The Irishman walking away empty handed. As Russell Bufalino would say “It is what it is.”

The brilliant way that the two opposite strands of the sharp and witty story in Parasite come together is a testament to the marvellous editing by Yang Jin-mo, that should be rewarded with the trophy. But it would be dangerous to write off Ford v Ferrari as the editing helps ensure those racing scenes are as well realised as they are. Given that editing for Jojo Rabbit and Joker was fairly unremarkable, Lee Smith’s role in helping the continuous tracking shot element of 1917 has been unfairly overlooked.

Will Win:  Yang Jin-mo 

Should Win: Thelma Schoonmaker 

Should have been nominated: Lee Smith for 1917

Best Visual Effects

  • Avengers: Endgame – Dan DeLeeuw, Matt Aitken, Russell Earl, and Dan Sudick
  • The Irishman – Pablo Helman, Leandro Estebecorena, Stephane Grabli, and Nelson Sepulveda
  • The Lion King – Robert Legato, Adam Valdez, Andrew R. Jones, and Elliot Newman
  • 1917 – Guillaume Rocheron, Greg Butler, and Dominic Tuohy
  • Star Wars: The Rise of Skywalker – Roger Guyett, Neal Scanlan, Patrick Tubach, and Dominic Tuohy

Last year, Black Panther grabbed the MCU its first three Oscars, but incredibly the record-breaking franchise has never won an Oscar for visual effects. Now would be the time for the Academy to recognise the extraordinary work of these artists whose work has been such an integral part of the MCU. The Irishman, and its use of the de-aging technology generated plenty of chatter, but not all of it was positive. While it would be ironic it would be if a Scorsese film beats a Marvel film to an Oscar, further disappointment for the MCU’s visual effects artists, and Scorsese are probably afoot, because the technical mastery of 1917 should ensure it is triumphant.

Will Win:  1917

Should Win: Avengers: Endgame

Should have been nominated: Captain Marvel

And, last and certainly by no means least….

Best Picture

  • Ford v Ferrari – Peter Chernin, Jenno Topping, and James Mangold
  • The Irishman – Martin Scorsese, Robert De Niro, Jane Rosenthal, and Emma Tillinger Koskoff
  • Jojo Rabbit – Carthew Neal and Taika Waititi
  • Joker – Todd Phillips, Bradley Cooper, and Emma Tillinger Koskoff
  • Little Women – Amy Pascal
  • Marriage Story – Noah Baumbach and David Heyman
  • 1917 – Sam Mendes, Pippa Harris, Jayne-Ann Tenggren, and Callum McDougal
  • Once Upon a Time in Hollywood – David Heyman, Shannon McIntosh, and Quentin Tarantino
  • Parasite – Kwak Sin-ae and Bong Joon-ho

Click here to see my ranking of the Best Picture contenders.

Unlike last year, that had a slew of films that felt undeserving of the Best Picture nominations (one of which ended up winning), the overwhelming majority of the films here are very much deserving of their place at this table. While, Once Upon a Time in Hollywood seemed to be the odds on favourite at one point to take home the big prize, it has since lost momentum. This has enabled latecomer 1917 to storm into the lead, with Parasite not too far behind. These two have been battling out for the top prizes and so it’s likely that one of these two films will take home the big prize.

Should Parasite emerge triumphant, it will become the first foreign language feature to win Best Picture, which would be a hugely significant accomplishment. In my eyes, as these are my two favourite films of this entire awards season, a win for either of these two masterpieces would be more than well deserved. That being said, I’m hoping for a 1917 victory, but should Parasite take home the trophy, there will be no complaints from me, as to paraphrase Al Pacino in Once Upon a Time in Hollywood, “What a pair of pictures!”

Will Win:  1917

Should Win: 1917

Should have been nominated: Knives Out

——————————————

Final counts

Will win:

  • 1917 – 7
  • Parasite – 3
  • Joker – 2
  • Bombshell – 1
  • Jojo Rabbit – 1
  • Judy – 1
  • Little Women – 1
  • Klaus –1
  • Marriage Story – 1
  • Once Upon a Time in Hollywood – 1
  • Rocketman – 1

Should win:

  • 1917 – 7
  • Marriage Story – 3
  • Parasite – 3
  • Little Women – 2
  • Avengers: Endgame – 1
  • Bombshell – 1
  • The Irishman – 1
  • Rocketman – 1
  • Toy Story – 1
Posted in 2010-2019, Film Feature

90th Academy Awards: Predictions

Posted on by Martin: Through the Silver Screen

Hollywood’s biggest night is upon us once again, and the Academy celebrates it’s 90th birthday. For such a significant milestone in the Academy’s history, it is extremely fitting then there is a plethora of really good films that are up for the big prizes this year. A story about a woman who falls in love with a fish man, a film about the power of advertising, a return to the world of replicants, a journalism drama, the story of the Dunkirk evacuation, a love story set in 1980s Italy and a film about a dress designer that marks the final on screen performance of the legendary Daniel Day Lewis. Of course, for all the great films there can only be one winner in every category and so it is time to predict the winners in the majority of the categories (I have not seen the documentaries and animated shorts) and chime in with my own thoughts on who should take home that coveted golden statue come the end of the night.

Best Actor in a Leading Role

  • Timothée Chalamet – Call Me by Your Name
  • Daniel Day-Lewis – Phantom Thread
  • Daniel Kaluuya – Get Out
  • Gary Oldman – Darkest Hour
  • Denzel Washington – Roman J. Israel, Esq.

It is looking likely that this will be the occasion that Gary Oldman finally strikes Oscar gold, for a transformative, mesmerising turn as Winston Churchill. He’s been sweeping the board throughout this awards season and it would be more than deserved. At times, you forgot it was him under all that make up, his captivating performance binds the whole film together, and it would be a major surprise if Oldman is not victorious.

Will Win: Gary Oldman

Should Win: Gary Oldman

Best Actress in a Leading Role

  • Sally Hawkins – The Shape of Water
  • Frances McDormand – Three Billboards Outside Ebbing, Missouri
  • Margot Robbie – I, Tonya
  • Saoirse Ronan – Lady Bird
  • Meryl Streep – The Post

It’s a similar story with the leading actress category as McDormand has also been sweeping the board with her terrific and heartbreaking work as a mother desperately seeking answers over her child’s murder. That being said, Saorise Ronan could be something of an underdog with her beautiful performance. What’s more to say, for a film in which she has no dialogue, Sally Hawkins should also not be ruled out. A victory for any of these three would be more than worthy but the writing is on the billboard for McDormand and she should take home her 2nd Oscar.

Will Win: Frances McDormand

Should Win: Sally Hawkins

Could have been nominated: Vicki Krieps for Phantom Thread

Best Supporting Actor

  • Willem Dafoe – The Florida Project
  • Woody Harrelson – Three Billboards Outside Ebbing, Missouri
  • Richard Jenkins – The Shape of Water
  • Christopher Plummer – All the Money in the World
  • Sam Rockwell – Three Billboards Outside Ebbing, Missouri 

Billboards’s domination should continue here as much like the preceding two categories, Rockwell has been cleaning house and is the hot favourite to win his first Oscar. His work in Billboards was extraordinary and despite the excellent efforts of all the gentlemen nominated in this category with him, this is most definitely Rockwell’s to lose.

Will Win: Sam Rockwell

Should Win: Sam Rockwell

Could have been nominated: Harrison Ford for Blade Runner 2049

Best Supporting Actress 

  • Mary J. Blige – Mudbound
  • Allison Janney – I, Tonya
  • Lesley Manville – Phantom Thread
  • Laurie Metcalf – Lady Bird
  • Octavia Spencer – The Shape of Water

The last acting category and another very likely triumph, this time for Alison Janney. Her work as the vicious mother of Tonya Harding was uncompromising, yet at the same time very funny. Yet one could feel that Laurie Metcalf’s work opposite Saoirse Ronan in Lady Bird was the much more sincere performance as a mother who also wants what’s best for her daughter but tries to be a little bit more compassionate about it. Like the previous acting categories, Janney has definitely got this one wrapped up.

Will Win: Allison Janney 

Should Win: Laurie Metcalf

Could have been nominated: Holly Hunter for The Big Sick

Best Director

  • Christopher Nolan – Dunkirk
  • Jordan Peele – Get Out
  • Greta Gerwig – Lady Bird
  • Paul Thomas Anderson – Phantom Thread
  • Guillermo del Toro – The Shape of Water

Meshing three inter-weaving storylines and making them all flow seamlessly is an extraordinary feat of directorial mastery, and for that Nolan could yet take his FIRST Oscar (err what?!!?). Yet this one is seemingly heading towards Del Toro. Though that would not be an undeserving win for an extraordinary film-maker, there is fierce competition from both Greta Gerwig and Jordan Peele, both of whom made their directorial debuts in almighty style. But the odds are in Del Toro’s favour.

Will Win:  Guillermo del Toro 

Should Win: Christopher Nolan

Could have been nominated: Denis Villeneuve for Blade Runner 2049

Best Original Screenplay 

  • The Big Sick – Emily V. Gordon and Kumail Nanjiani
  • Get Out – Jordan Peele
  • Lady Bird – Greta Gerwig
  • The Shape of Water – Guillermo del Toro and Vanessa Taylor
  • Three Billboards Outside Ebbing, Missouri – Martin McDonagh

Five very strong screenplays, any of these would be a worthy winner, but it seems as though it’s a race between Get Out and Three Billboards. Peele’s screenplay is razor sharp in terms of its humour and very relevant social commentary that makes it a hot favourite, and deservedly so. That being said, Three Billboards Outside Ebbing, Missouri also balances the extremely dark nature of its subject matter, and injects it with extremely black humour that hits the mark. It could be a very close call.

Will Win:  Get Out

Should Win:  Three Billboards Outside Ebbing, Missouri

Could have been nominated: Coco

Best Adapted Screenplay

  • Call Me by Your Name – James Ivory 
  • The Disaster Artist – Scott Neustadter and Michael H. Weber
  • Logan – Scott Frank, James Mangold and Michael Green
  • Molly’s Game – Aaron Sorkin
  • Mudbound – Virgil Williams and Dee Rees

Call Me By Your Name has been pretty much sweeping this category across this awards season and so its success here is looking almost guaranteed. It is somewhat surprising to see a superhero film nominated, but that is a testament to the sheer quality of Logan’s screenplay that it deserves its place here and in another year, might have even taken home the gold.

Will Win:  Call Me by Your Name 

Should Win: Logan

Could have been nominated: Blade Runner 2049

Best Animated Feature Film 

  • The Boss Baby
  • The Breadwinner
  • Coco
  • Ferdinand 
  • Loving Vincent 

In contrast to last year, this is something of a weak category for animation. The power of Pixar will get Coco through here. Though the omission of the Lego Batman Movie proves that the Academy must have a vendetta against Lego for some strange reason.

Will Win:  Coco

Should Win: Coco

Should have been nominated: The Lego Batman Movie

Best Original Score 

  • Dunkirk – Hans Zimmer
  • Phantom Thread – Jonny Greenwood
  • The Shape of Water – Alexandre Desplat
  • Star Wars: The Last Jedi – John Williams
  • Three Billboards Outside Ebbing, Missouri – Carter Burwell

Zimmer’s score certainly helped to add massive amounts of tension to Dunkirk. But the work of Desplat goes hand in hand with the beautiful work that you see on screen. Though Jonny Greenwood’s work on Phantom Thread is equally mesmerising so it’s by no means a foregone conclusion.

Will Win:  The Shape of Water

Should Win: The Shape of Water

Could have been nominated: Blade Runner 2049

Best Original Song 

  • “Mighty River” from Mudbound – Music and Lyrics by Mary J. Blige, Raphael Saadiq and Taura Stinson
  • “Mystery of Love” from Call Me by Your Name – Music and Lyrics by Sufjan Stevens
  • “Remember Me” from Coco – Music and Lyrics by Kristen Anderson-Lopez and Robert Lopez
  • “Stand Up for Something” from Marshall – Music by Diane Warren; Lyrics by Common and Diane Warren
  • “This Is Me” from The Greatest Showman – Music and Lyrics by Benj Pasek and Justin Paul

This seems to be a battle between “This is Me” and “Remember Me” though “Mystery of Love” could certainly pull off an upset. With music being a central part of Coco, that could give it an edge but “This is Me” seems the most likely to triumph

Will Win:  “This is Me” from Greatest Showman

Should Win: “Remember Me” from Coco

Best Sound Editing

The sound categories this year seem to be a battle between the slick and stylish work of Baby Driver versus the heart-pounding intensity of Dunkirk. The work done by both these teams is very impressive, but Dunkirk‘s technical mastery should be enough to get it home with the Oscar in tow.

Will Win:  Dunkirk

Should Win: Dunkirk

Best Sound Mixing

  • Baby Driver – Julian Slater, Tim Cavagin and Mary H. Ellis
  • Blade Runner 2049 – Ron Bartlett, Doug Hemphill and Mac Ruth
  • Dunkirk – Mark Weingarten, Gregg Landaker and Gary A. Rizzo
  • The Shape of Water – Christian Cooke, Brad Zoern and Glen Gauthier
  • Star Wars: The Last Jedi – David Parker, Michael Semanick, Ren Klyce and Stuart Wilson

As with the Sound Editing category, it is Dunkirk VS Baby Driver and as before, though either would be more than a worthy winner, Dunkirk’s sound wizardry is second to none.

Will Win:  Dunkirk

Should Win: Dunkirk

Best Production Design 

  • Beauty and the Beast – Production Design: Sarah Greenwood; Set Decoration: Katie Spencer
  • Blade Runner 2049 – Production Design: Dennis Gassner; Set Decoration: Alessandra Querzola
  • Darkest Hour – Production Design: Sarah Greenwood; Set Decoration: Katie Spencer
  • Dunkirk – Production Design: Nathan Crowley; Set Decoration: Gary Fettis
  • The Shape of Water – Production Design: Paul Denham Austerberry; Set Decoration: Shane Vieau and Jeff Melvin

To take the world of Los Angeles in the future and have it look so dazzlingly authentic gives Blade Runner 2049  a real shot at winning. However in a similar vein, fusing the fantastical elements of the story with the gritty nature of 1960s Cold War America gives Shape of Water a real chance of taking the award out of the hands of those replicants.

Will Win:  Blade Runner 2049

Should Win: Dunkirk

Best Cinematography

  • Blade Runner 2049 – Roger Deakins
  • Darkest Hour – Bruno Delbonnel
  • Dunkirk – Hoyte van Hoytema
  • Mudbound – Rachel Morrison
  • The Shape of Water – Dan Laustsen

Simply put, #DeakinsorRiot. One of the finest cinematographers ever is due on Oscar and this better be the one that gives him the damn statue after 14 previous attempts.

Will Win:  Roger Deakins

Should Win: Roger Deakins

Best Makeup and Hairstyling 

  • Darkest Hour – Kazuhiro Tsuji, David Malinowski and Lucy Sibbick
  • Victoria & Abdul – Daniel Phillips and Lou Sheppard
  • Wonder – Arjen Tuiten

As previously mentioned, the extraordinary work that helped transform Mr Oldman into Mr Churchill should ensure Darkest Hour is triumphant.

Will Win:  Darkest Hour

Should Win: Darkest Hour

Best Costume Design 

  • Beauty and the Beast – Jacqueline Durran
  • Darkest Hour – Jacqueline Durran
  • Phantom Thread – Mark Bridges
  • The Shape of Water – Luis Sequeira
  • Victoria & Abdul – Consolata Boyle

The dresses that were on display in Phantom Thread were sumptuous in their design and while the work done by Jacqueline Durran in Darkest Hour and Beauty and the Beast deserves plaudits, this one belongs to Phantom Thread.

Will Win:  Phantom Thread

Should Win: Phantom Thread

Best Film Editing

  • Baby Driver – Paul Machliss and Jonathan Amos
  • Dunkirk – Lee Smith
  • I, Tonya – Tatiana S. Riegel
  • The Shape of Water – Sidney Wolinsky
  • Three Billboards Outside Ebbing, Missouri – Jon Gregory

When you take a film that intertwines 3 differing story-lines and it is all edited so brilliantly that should be more than enough to ensure that Dunkirk flies home with this Oscar.

Will Win:  Dunkirk

Should Win: Dunkirk

Best Visual Effects

  • Blade Runner 2049 – John Nelson, Gerd Nefzer, Paul Lambert and Richard R. Hoover
  • Guardians of the Galaxy Vol. 2 – Christopher Townsend, Guy Williams, Jonathan Fawkner and Dan Sudick
  • Kong: Skull Island – Stephen Rosenbaum, Jeff White, Scott Benza and Mike Meinardus
  • Star Wars: The Last Jedi – Ben Morris, Mike Mulholland, Neal Scanlan and Chris Corbould
  • War for the Planet of the Apes – Joe Letteri, Daniel Barrett, Dan Lemmon and Joel Whist

Aside from the fact that the remarkable work Andy Serkis has done with this revived Apes trilogy should have ensured he at the very least got nominated, the work that is done on these films has been extraordinary and deserves to be recognised. That being said, Blade Runner 2049 will probably take this one home. Also why on earth is Kong: Skull Island here?

Will Win:  Blade Runner 2049

Should Win: Blade Runner 2049

Could have been nominated: Thor: Ragnarok

And last but certainly not least….

Best Picture

  • Call Me by Your Name – Peter Spears, Luca Guadagnino, Emilie Georges, and Marco Morabito
  • Darkest Hour – Tim Bevan, Eric Fellner, Lisa Bruce, Anthony McCarten, and Douglas Urbanski
  • Dunkirk – Emma Thomas and Christopher Nolan
  • Get Out – Sean McKittrick, Jason Blum, Edward H. Hamm Jr., and Jordan Peele
  • Lady Bird – Scott Rudin, Eli Bush, and Evelyn O’Neill
  • Phantom Thread – JoAnne Sellar, Paul Thomas Anderson, Megan Ellison and Daniel Lupi
  • The Post – Amy Pascal, Steven Spielberg, and Kristie Macosko Krieger
  • The Shape of Water – Guillermo del Toro and J. Miles Dale
  • Three Billboards Outside Ebbing, Missouri – Graham Broadbent, Pete Czernin, and Martin McDonagh

Click here to see my ranking of the Best Picture contenders.

An incredibly stacked year, full of some terrific works and usually there is one film that is a clear runaway favourite, but not so this year as there are a few that have a legitimate shot at taking home the biggest prize of the night.  Three Billboards will undoubtedly be buoyed by its BAFTA and SAG victories but success for The Shape of Water at the Critics Choice and Producer’s Guild of America Awards, highlights the unpredictability of this year’s crop. Though usually it requires a Best Director nomination to stand a good chance of scooping Best Picture, Three Billboards might just defy that expectation and become only the fifth film to win without a Best Director nomination. However, my hope is that The Shape of Water will emerge triumphant, it would go nicely with Del Toro’s probable victory in the director category, but this is extremely close to call.

Will Win:  Three Billboards Outside Ebbing, Missouri

Should Win: The Shape of Water

Could have been nominated: Blade Runner 2049

Posted in 2010-2019, Film Review

Room (2015)

Posted on by Martin: Through the Silver Screen
room-2015
Image rights belong to Element Pictures, No Trace Camping, Film4 and A24 Films

Room – Film Review

Cast: Brie Larson, Jacob Tremblay

Director: Lenny Abrahamson

Synopsis:  A mother and her son are locked in a tiny room and are being held captive, and these four walls are all the boy knows of the outside world.

Review: As human beings, we all know of the world we live in. The wonders and sometimes horrors of our world can inspire, they can amaze, and they can horrify in equal measure. We’re accustomed to our surroundings, and our homes. So imagine if the four walls of a small shed were all you knew of the world, and what you called home, and you had no idea of what exists beyond those walls. Well for young Jack (Jacob Tremblay) that is exactly what he thinks. His mother on the other hand knows that there is life beyond their solitary confinement but she hasn’t seen it in seven long years after being kidnapped. But she has her little boy, and that is keeping her going through all the years of captivity and hardship that she has endured.

The screenplay, written by Emma Donoghue which is adapted from her book of the same name, is very heart-wrenching, and there are some uncomfortable moments in the early stages. There is a very obvious inspiration (if you can call it that) to the tale of one Josef Fritzl. Yet despite the hardship and somewhat lack of space that the two of them do have those rare moments of joy and happiness between them, and these are a joy to watch as the audience is almost constantly reminded of the bleak reality of their situation, this is until they make a plan to escape their captivity. Director Lenny Abrahamson does a tremendous job of putting the audience in the position of our characters, you feel as though you are in these awful surroundings with them, and through brilliant camera work, he is able to provide new views on the tiny surroundings, quite incredible considering that it’s a very small shed.

The acting on show, particularly from our two main stars is tremendous. Brie Larson especially giving a career defining performance as the troubled mother. You really feel for her character and what she’s going through and it is heart breaking to watch her go through the torment of captivity. She has been picking up plenty of awards in this awards season and she stands every chance of adding the Academy Award to her collection. Young Jacob Tremblay is also fantastic in what is one of the best child performances in a long time. He’s convinced that “room” is all that exists in the world, that people on TV are not real, and his conviction is very real and tremendously powerful. Awards have come his way too, and like with his co-star, very well deserved ones at that.

The story has some very dark moments that could make Room uncomfortable viewing for some, and while it is a very impactful script, there a few things that are left unanswered or unexplained, things that you would have thought that they would have touched upon in a bit more detail. Nevertheless, the film remains a moving story to watch, with some tremendous acting and directing, and proves just how powerful the love a mother has for her child, no matter the desperate or horrific circumstances of a situation, is truly unbreakable.

Two very powerful performances anchor this incredible story, that is both heart-breaking and uplifting in equal measure

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Posted in Film Feature

Oscars 2014: Predictions

Posted on by Martin: Through the Silver Screen

oscars

Hollywood’s biggest night is finally here once more. Tuxedos have been chosed, bow ties will be being tied. Dresses will have been chosen and make up will be put on. Hollywood royalty will be out in force and a select few will be clutching a golden statue once the ceremony is over.

It has certainly been an interesting year for films. We have seen con artists, abduction by Somali Pirates, one man’s fight against slavery which latest for more than 12 years, a terrifying adventure in space and one man setting up a club to help people suffering from illness. Lots of great performances from some great actors and some great directing. Some excellent music, but who is going to be the winners?  I will be making my predictions below.

Best Director: Alfonso Cuarón – Gravity

The Mexican has swept the board throughout this awards season and it’s easy to see why. His film was a visual masterpiece and one that was mesmerising to watch. Although I would like to see Steve McQueen win the award, I feel that Cuaron will take it home.

Best Actor: Matthew McConaughey – Dallas Buyers Club as Ron Woodroof          

Although I am hoping that Chiwetel Ejiofor takes this award home for his work in 12 Years A Slave I predict that it will be Matthew McConaughey who will win. He has transformed his career in recent years and this film in which he plays an AIDS sufferer, he gives a mesmerising performance worthy of an Oscar

Best Actress: Cate Blanchett – Blue Jasmine as Jeanette “Jasmine” Francis

It will be a major surprise if Cate Blanchett is not the one holding the statute come the end of the night. She has swept the board right throughout this awards season and although I have not seen her performance, critics alike have almost unanimously given her high praise

Best Supporting Actor: Jared Leto – Dallas Buyers Club as Rayon

Again, I would hope to see Michael Fassbender for his sublime work in 12 Years A Slave, I think that Jared Leto will scoop the Oscar. His performance, playing a transgender woman, was something extraordinary. He looked convincing in the role and the 30 Seconds to Mars frontman should be the winner.  That being said I would love to see Barkhad Abdi take the prize as he gave a brilliant debut performance as a Somali pirate in Captain Phillips.

Best Supporting Actress: Jennifer Lawrence – American Hustle as Rosalyn Rosenfeld

This race seems to be a two way battle between Jennifer Lawrence and Lupita Nyong’o for American Hustle and 12 Years A Slave. Both performances were fantastic and are Oscar worthy. Yet I have a sneaky suspicion that it will be Lawrence who claims her second Oscar from only her third nomination despite only being 23 years of age.

 Best Writing – Original Screenplay: Her – Spike Jonze

The concept of a man who has a relationship with a computer may seem bizarre, but Spike Jonze pulled it off with a wonderful story with another top notch performance by Joaquin Phoenix. I think Her will take the award

Best Writing – Adapted Screenplay: 12 Years a Slave – John Ridley

The story of Solomon Northup was one that was hard hitting but one that is very memorable and this film reminded the world of the true horrors of slavery and I think they will take this award home.

 Best Animated Feature Film: Frozen – Chris Buck, Jennifer Lee, and Peter Del Vecho

The latest  Disney film is a strong favourite to win this year’s animated feature award. It is looking set to cross the $1billion mark and it would be a surprise if it was not victorious come the end of the night.

I won’t lie when I say that I have not seen any of the films in the following categories so these guesses are wild stabs in the dark:

Best Foreign Language Film: The Hunt (Denmark) in Danish – Thomas Vinterberg

Best Documentary – Feature: The Act of Killing – Joshua Oppenheimer and Signe Byrge Sørensen

 Best Documentary – Short Subject: The Lady in Number 6: Music Saved My Life – Malcolm Clarkeand Nicholas Reed

 Best Live Action Short Film: Helium – Anders Walter and Kim Magnusson

Best Animated Short Film: Feral – Daniel Sousa and Dan Golden

Best Original Score: Gravity – Steven Price

The score for Gravity was wonderful and added to each scene in a terrific way. It added to the enjoyment of the film and I think it will be the winner.

Best Original Song: “Ordinary Love” from Mandela: Long Walk to Freedom – U2

“Let it Go” by Frozen is a strong favourite but U2’s hit from the Mandela biopic was a wonderful piece of music that I am predicting to win the award.

Best Sound Editing: Gravity – Glenn Freemantle

There is no sound in space, and this film captured the terror and anticipation of the film’s events brilliantly through sound. As the debris was wreaking havoc there was no noise, it was all silent.

Best Sound Mixing: Gravity – Skip Lievsay, Niv Adiri, Christopher Benstead, and Chris Munro

Best Cinematography: Gravity – Emmanuel Lubezki

The shots that were on show in this film were first class. It made the audience feel like they were actually in outer space and I think it will take this Oscar

Best Production Design: Gravity – Andy Nicholson (Production Design); Rosie Goodwinand Joanne Woollard (Set Decoration)

Best Makeup and Hairstyling: Dallas Buyers Club – Adruitha Lee and Robin Mathews

The effort that must have been required to turn Jared Leto into a stickly feminine transgender must have been tremendous and I think it will win.

Best Costume Design: American Hustle – Michael Wilkinson

Best Film Editing: Gravity – Alfonso Cuarón and Mark Sanger

Best Visual Effects: Gravity – Tim Webber, Chris Lawrence, Dave Shirk, and Neil Corbould

The visual effects on show here was simply out of this world (pun absolutley intended) and I think it’s no contest that Gravity will win this award

AND LAST NOT LEAST:

The Award for Best Picture

In what has been another great year for films, these are the lucky nine films that are up for the biggest award:

American Hustle – Charles Roven, Richard Suckle, Megan Ellison, and Jonathan Gordon

Captain Phillips – Scott Rudin, Dana Brunetti, and Michael De Luca

Dallas Buyers Club – Robbie Brenner and Rachel Winter

Gravity – Alfonso Cuarón and David Heyman

Her – Megan Ellison, Spike Jonze, and Vincent Landay

Nebraska – Albert Berger and Ron Yerxa

Philomena – Gabrielle Tana, Steve Coogan, and Tracey Seaward

12 Years a Slave – Brad Pitt, Dede Gardner, Jeremy Kleiner,Steve McQueen, and Anthony Katagas

I think the winner will be: 12 Years A Slave 

Steve McQueen’s film was a harrowing and brilliant tale of one man’s fight aganst the injustice of his imprisonment and sale into slavery. It was brilliantly told, well acted and all rund was perfectly executed. It is incredible to think that prior to this film, few had the knowledge of what Solomon Northup went through and thanks to this film, we all have this knowledge and this man’s struggle should never ever be forgotten.