In Contention

Category: Oscar Guide

  • OSCAR GUIDE: Best Picture

    And so we come to the end of this year’s Oscar Guide, and the category that has been the cause of more conversation than ever this year: Best Picture. And that can’t be overstated. I can’t recall the last time the debate around a Best Picture winner was so heated, and I’m tempted to say it was, in some way, good for us all.

    There was a lot of passion around favorites this season. A LOT. In some cases, it might even be considered oppressive passion, but it’s worth it to have such strong opinions about the films we love. We may choose to convey those opinions in different ways, modest or broad, but that the pulse of film adoration is this strong at a key moment in the medium’s progression is, indeed, heartening.

    The nominees are:

    “Black Swan” (Mike Medavoy, Brian Oliver and Scott Franklin)
    “The Fighter” (David Hoberman, Todd Lieberman and Mark Wahlberg)
    “Inception” (Emma Thomas and Christopher Nolan)
    “The Kids Are All Right” (Gary Gilbert, Jeffrey Levy-Hinte and Celine Rattray)
    “The King’s Speech” (Iain Canning, Emile Sherman and Gareth Unwin)
    “127 Hours” (Christian Colson, Danny Boyle and John Smithson)
    “The Social Network” (Scott Rudin, Dana Brunetti, Michael De Luca and Ceán Chaffin)
    “Toy Story 3” (Darla K. Anderson)
    “True Grit” (Scott Rudin, Ethan Coen and Joel Coen)
    “Winter’s Bone” (Anne Rosellini and Alix Madigan-Yorkin)

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  • OSCAR GUIDE: Best Directing

    Coming down to the wire, the race for Best Directing remains a very close one. Earlier in the year the prevailing wisdom was that a split could be in the cards, with the Oscar-bait frontrunner more likely to win Best Picture and the zeitgeisty competition likely to see its talented helmer finally noticed.

    Then things changed a bit, with the zeitgeisty choice pulling ahead as a Best Picture possibility, which left supporters feeling even more strongly that its director would find himself in the winner’s circle. At the end of the season, we’re back to that original thought process in some quarters, while in others, the anticipation of Oscar bait going hand-in-hand is taking hold.

    The nominees are:

    “Black Swan” (Darren Aronofsky)
    “The Fighter” (David O. Russell)
    “The King’s Speech” (Tom Hooper)
    “The Social Network” (David Fincher)
    “True Grit” (Ethan Coen, Joel Coen)

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  • OSCAR GUIDE: Best Actress

    Early in the season the lead actress category appeared to be more competitive than ever. An easy list of 10 contenders could be drawn up, many of them admittedly sight unseen, and it was anyone’s guess as to which lady could insinuate herself as the odds-on favorite to win.

    Then the critics began narrowing things down, while certain films began to underwhelm and fall to the wayside. With them went a few of those potential contenders. The critics also began to mold a frontrunner, one who would eventually prove to have the vote of the industry before having that status challenged in the final lap. Indeed, it’s been a wild ride for Best Actress.

    The nominees are:

    Annette Bening, “The Kids Are All Right”
    Nicole Kidman, “Rabbit Hole”
    Jennifer Lawrence, “Winter’s Bone”
    Natalie Portman, “Black Swan”
    Michelle Williams, “Blue Valentine”

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  • OSCAR GUIDE: Best Actor

    The 2010 Best Actor race looks to end up exactly where it started, making it the most predictable category of the evening. In fact, as of late (save for the two Oscars Sean Penn won), this has consistently been one of the easier categories to call. Generally it seems that there is a clear favorite christened before the season is over.

    Having said that, this year’s crop of nominees is truly an exceptional one. The one “surprise” of the bunch couldn’t have been more welcome, while overall it’s a nice balance of seasoned veterans, the future of screen acting and those who fall in between. So chalk that up as a big win on the Academy’s part before even casting their winner ballots.

    The nominees are:

    Javier Bardem, “Biutiful”
    Jeff Bridges, “True Grit”
    Jesse Eisenberg, “The Social Network”
    Colin Firth, “The King’s Speech”
    James Franco, “127 Hours”

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  • OSCAR GUIDE: Best Foreign Language Film

    The race for Best Foreign Language Film has been covered diligently by Guy Lodge here at In Contention throughout the season. I confess that I failed to see most of the 65 submissions and, as usual, waited until the shortlist was unveiled before I really dug into the titles.

    This category has, of course, been mired in controversy ever since “4 Months, 3 Weeks and 2 Days” became the last straw for quality films failing to register with a general committee that has, well, questionable artistic taste. The implementation of a band aid executive committee scenario hasn’t done much more than elevate the cynicism surrounding the process, however.

    The nominees are:

    “Biutiful” (Mexico)
    “Dogtooth” (Greece)
    “In a Better World” (Denmark)
    “Incendies” (Canada)
    “Outside the Law” (Algeria)

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  • OSCAR GUIDE: Best Film Editing

    I’m afraid you’ll find that I’m having trouble getting all that excited about this year’s race for Best Film Editing. How can I when the absolute best editing job of the year (from a true master, no less) was shunned altogether, while a cruel joke was played in the form of “Inception” editor Lee Smith getting the shaft, too.

    The below is a decent set of contenders with an array of virtues. It’s just a shame that the editor’s branch is so slavishly devoted to Best Picture frontrunners, especially when truly exceptional work that doesn’t necessarily find itself dovetailing with Oscar bait is ignored each and every year. Nevertheless, the statistic remains: in 30 years, no film not nominated here has gone on to win Best Picture.

    The nominees are:

    “Black Swan” (Andrew Weisblum)
    “The Fighter” (Pamela Martin)
    “The King’s Speech” (Tariq Anwar)
    “127 Hours” (Jon Harris)
    “The Social Network” (Angus Wall and Kirk Baxter)

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  • OSCAR GUIDE: Best Documentary (Feature)

    It has been noted what a solid year of documentary filmmaking 2010 was. It was well-reflected in the Academy’s initial narrowing of the feature field to 15 contenders and is certainly evident in the ultimate quintet of nominees, each of them informative and bold in their own ways.

    Still, it came as quite a shock to many that the perceived frontrunner of the year, Davis Guggenheim’s “Waiting for Superman,” was left off the list. Theories run rampant, but at the end of the day, it seemed the branch just didn’t go for the film’s stretching of truths and hastily boiled-down rhetoric. Nevertheless, an opportunity may have been missed to shine a light on the issue of education reform, which is still a considerable one.

    The nominees are:

    “Exit through the Gift Shop” (Banksy and Jaimie D’Cruz)
    “Gasland” (Josh Fox and Trish Adlesic)
    “Inside Job” (Charles Ferguson and Audrey Marrs)
    “Restrepo” (Tim Hetherington and Sebastian Junger)
    “Waste Land” (Lucy Walker and Angus Aynsley)

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  • OSCAR GUIDE: Best Visual Effects

    This year the visual effects branch of the Academy followed the lead of the sound editing category and widened its net to five nominees. It did not, however, follow suit by eliminating the superfluous bake-off process, which whittles the contenders down to seven before deciding on the ultimate slate of nominees.

    This year the two films that missed the cut after making the bake-off were the inventive “Scott Pilgrim vs. the World” and, famously, the effects beast of the year “TRON Legacy.” The latter was shunned as a result of shoddy de-aging work despite having quality in spades throughout the rest of the film, but regardless, a drama with a single effects scene of note and a sequel with nothing new to offer managed to slide in instead.

    The nominees are:

    “Alice in Wonderland” (Ken Ralston, David Schaub, Carey Villegas and Sean Phillips)
    “Harry Potter and the Deathly Hallows: Part 1” (Tim Burke, John Richardson, Christian Manz and Nicolas Aithadi)
    “Hereafter” (Michael Owens, Bryan Grill, Stephan Trojanski and Joe Farrell)
    “Inception” (Paul Franklin, Chris Corbould, Andrew Lockley and Peter Bebb)
    “Iron Man 2” (Janek Sirrs, Ben Snow, Ged Wright and Daniel Sudick)

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  • OSCAR GUIDE: Best Music (Original Score)

    Recently the International Film Music Critics Association were the last critics group to offer their (specialized) thoughts on the 2010 film year. The announcement made for an interesting counter to the year in score awardage. And the eventual nominees for Best Original Score reflected, if nothing else, a continued break with tradition.

    The music branch has been slowly initiating new blood as of late, though it hasn’t completely relinquished its trademark consistency. A big step was made in the recognition of one of the year’s more atypical scores, though a big opportunity was lost with Daft Punk’s failure to register what could have been a truly exciting tip of the Academy’s hat.

    The nominees are:

    “How to Train Your Dragon” (John Powell)
    “Inception” (Hans Zimmer)
    “The King’s Speech” (Alexandre Desplat)
    “127 Hours” (A.R. Rahman)
    “The Social Network” (Trent Reznor and Atticus Ross)

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  • OSCAR GUIDE: Best Cinematography

    The American Society of Cinematographers (ASC) dished out its annual kudos this weekend, which makes for a nice segue into a discussion of the year’s nominees for Best Cinematography. But it’s important to keep a few things in mind when it comes to guessing what the Academy at large will spring for in this field.

    First and foremost, technical accomplishment doesn’t get you far with a number of people who don’t really understand what kind of a feat, say, “Children of Men” is. Or “Black Hawk Down,” for another example. It’s all about what looks like a post card, because “cinematography” so quickly translates to “prettiest movie” for a great many voters, unfortunately.

    The nominees are:

    “Black Swan” (Matthew Libatique)
    “Inception” (Wally Pfister)
    “The King’s Speech” (Danny Cohen)
    “The Social Network” (Jeff Cronenweth)
    “True Grit” (Roger Deakins)

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  • OSCAR GUIDE: Best Sound Mixing

    I feel like we’ve done a pretty decent job of educating some of our readership on the difference between Best Sound Editing and Best Sound Mixing over the last five years here at In Contention. It struck me that we haven’t really covered it in a focused way this season, and the Oscar Guide seems as good a place as any to recap.

    Sound editing, which we covered Friday, concerns the manifestation of artificial sound effects and the overall manipulation of the sonic identity of a film. Sound mixing concerns the balance of those various elements, in addition to music and dialogue, as well as the on-the-set maintenance of production audio. This year’s slate was an eyebrow-raising one to say the least.

    The nominees are:

    “Inception” (Lora Hirschberg, Gary A. Rizzo and Ed Novick)
    “The King’s Speech” (Paul Hamblin, Martin Jensen and John Midgley)
    “Salt” (Jeffrey J. Haboush, Greg P. Russell, Scott Millan and William Sarokin)
    “The Social Network” (Ren Klyce, David Parker, Michael Semanick and Mark Weingarten)
    “True Grit” (Skip Lievsay, Craig Berkey, Greg Orloff and Peter F. Kurland)

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  • OSCAR GUIDE: Best Sound Editing

    A few years back the sound branch did away with the bake-off process of determining its nominees for Best Sound Editing and the field was expanded to five. The visual effects branch followed suit this year and, maybe some day, the makeup branch will do the same.

    The sound branch is unique in that it nominates in two discipline-specific fields. Often there is a considerable cross-over between Best Sound Editing and Best Sound Mixing as a result. The unfortunate thing is that the Academy at large doesn’t understand what quality editorial and mixing is when it comes to these aural areas. Typically they just pick their favorite film and move on to the next category.

    The nominees are:

    “Inception” (Richard King)
    “Toy Story 3” (Tom Myers and Michael Silvers)
    “TRON Legacy” (Gwendolyn Yates Whittle and Addison Teague)
    “True Grit” (Skip Lievsay and Craig Berkey)
    “Unstoppable” (Mark P. Stoeckinger)

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  • OSCAR GUIDE: Best Costume Design

    This year’s race for Best Costume Design became mired in controversy later in the season as a dispute erupted over proper credit in “Black Swan.” Amy Westcott was listed as responsible for the threads, but fashion duo Rodarte had a significant hand in concocting the performance costumes on the film — and were denied credit, per guild regulations.

    That issue has been argued from both sides and is an unfortunate byproduct of unfair rules, but the fact remains, it may have missed a nomination here as a result. Nevertheless, the five films competing make for a vibrant cross-section of visions, styles and periods, the branch even going so far as to give us a big surprise on nomination morning with a selection no one saw coming.

    The nominees are:

    “Alice in Wonderland” (Colleen Atwood)
    “I Am Love” (Antonella Cannarozzi)
    “The King’s Speech” (Jenny Beaven)
    “The Tempest” (Sandy Powell)
    “True Grit” (Mary Zophres)

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  • OSCAR GUIDE: Best Art Direction

    The art directors settled on a wonderful quintet to represent their form in 2010. Each of these films (okay, I haven’t seen one of them) manages to showcase art direction in organic ways, even when it comes to the contender with the most robust and vibrant design to offer.

    When it comes to the design categories, though, abundance can be an asset. There’s no question about it. The old joke is “Most Art Direction” or “Most Costume Design,” rather than “Best.” And unfortunately, that extends sometimes into the nominations process as nuanced, subtle work is disregarded each and every year. But even with that caveat, this is a handsome slate.

    The nominees are:

    “Alice in Wonderland” (Robert Stromberg; Karen O’Hara)
    “Harry Potter and the Deathly Hallows: Part 1” (Stuart Craig; Stephanie McMillan)
    “Inception” (Guy Hendrix Dyas; Larry Dias, Doug Mowat)
    “The King’s Speech” (Eve Stewart; Judy Farr)
    “True Grit” (Jess Gonchor; Nancy Haigh)

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  • OSCAR GUIDE: Best Supporting Actor

    Very few of the 20 actors nominated for Oscars this year (if any) feel like egregious calls. As usual, the lead actor race is the most impressive, but the Best Supporting Actor slate isn’t too shabby, either. Each performance is masterful in its own way, and each serves its respective narrative to the fullest.

    Two of the nominees this year are depictions of real life individuals and three are complete manifestations. But all five of the below actors owned their roles and then some, finding the right flow of eye-catching showmanship without dominating the narrative arc. And though some might argue, I’d say each is perfectly representative of “supporting” in the truest sense of the word.

    The nominees are:

    Christian Bale, “The Fighter”
    John Hawkes, “Winter’s Bone”
    Jeremy Renner, “The Town”
    Mark Ruffalo, “The Kids Are All Right”
    Geoffrey Rush, “The King’s Speech”

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  • OSCAR GUIDE: Best Writing (Adapted Screenplay)

    This year’s race for Best Adapted Screenplay has seemingly been the most predictable of the year. One script has dominated the precursor circuit and the name behind that script is as worthy as ever given his contributions to the medium over the years.

    I’m not particularly a fan of this slate. One script is an interesting experiment that doesn’t fully land as a piece of screenwriting, another is a near word-for-word adaptation of a novel (which is fine, but credit where it’s due) and another, frankly, made for the most overrated film of the year. But the two that seem to be duking it out for the win are worthy and deserve to be here, in my opinion, so I have little room to complain.

    The nominees are:

    “127 Hours” (Screenplay by Danny Boyle & Simon Beaufoy)
    “The Social Network” (Screenplay by Aaron Sorkin)
    “Toy Story 3” (Screenplay by Michael Arndt; Story by John Lasseter, Andrew Stanton and Lee Unkrich)
    “True Grit” (Written for the screen by Joel Coen & Ethan Coen)
    “Winter’s Bone” (Adapted for the screen by Debra Granik & Anne Rosellini)

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  • OSCAR GUIDE: Best Makeup

    The makeup branch of the Academy has often been criticized for making “Oscar nominees” of artistically dubious films. But I submit that it’s one of the bravest and noblest branches, sticking properly by the point of their task: to single out the greatest achievement in their field, no matter the other factors.

    This year’s line-up is a clear indication of as much. Each nominee is unique to this category, having not been recognized in any other field. The variety of work is also compelling, including realism and fantasy in equal measure. But the branch once again turned its back on a number of more gruesome makeup depictions this year, which seems to be a hurdle yet to be cleared.

    The nominees are:

    “Barney’s Version” (Adrien Morot)
    “The Way Back” (Edouard F. Henriques, Gregory Funk and Yolanda Toussieng)
    “The Wolfman” (Rick Baker and Dave Elsey)

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  • OSCAR GUIDE: Best Documentary (Short Subject)

    This is the first year the documentary shorts will be a part of Magnolia Pictures and Shorts International’s annual program.  They will open with the live action and animated contenders in New York on February 11 and in Los Angeles on February 18.  Bravo for including them.

    It’s also a great slate of films.  As we know, 2010 was a very strong year for documentary feature filmmaking.  But that quality seems to have extended well into the short subject side of things if this year’s nominees in the category are any indication.  Each entry is powerful in its own way, a wide array of issues and personas skillfully tackled across the board.

    The nominees are:

    “Killing in the Name” (Jed Rothstein)
    “Poster Girl” (Sara Nesson and Mitchell W. Block)
    “Strangers No More” (Karen Goodman and Kirk Simon)
    “Sun Come Up” (Jennifer Redfearn and Tim Metzger)
    “The Warriors of Qiugang” (Ruby Young and Thomas Lennon)

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