In Contention

Tag: Iron Man 2

  • TECH SUPPORT: Final analysis, part two

    Yesterday we began our final look at the 10 crafts categories.  Check out part one here.  Today, the conclusion.  Meanwhile, you can find my final predictions in all categories here.

    Best Music (Original Score)

    Trent Reznor and Atticus Ross, despite their atypical approach to film music composition, are very much contenders in this race. Having won the BFCA award and Golden Globe for their work on “The Social Network,” they must be taken seriously. The fact remains, however, that this is not a typical Oscar-winning score.

    Alexandre Desplat has had an amazing run since he broke onto the American scene in 2003 with “Girl With a Pearl Earring.” Four Oscar nominations later, it seems he is poised to win his first statuette for another Colin Firth film, “The King’s Speech.” Being behind the Best Picture frontrunner is a huge advantage. Moreover, its subtle elegance managed to win the BAFTA. Even so, a win is hardly assured as subtlety is actually not frequently awarded here.

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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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  • TECH SUPPORT: Final analysis, part one

    It seems hard to believe that it’s been more than six months since I wrote this year’s introductory Tech Support column ( a dissection of the art direction race). Much has changed since then, naturally, as we are less than a week away from the big day when we find out the nominees for the Oscars this year. Today, I take a final look at the music categories, sound categories and the two categories that have been narrowed down to seven finalists – Best Visual Effects and Best Makeup.

    BEST MAKEUP

    In this utterly bizarre category, virtually any combination of the seven finalists would fail to surprise me as the final three. That said, I’ve had the same top two predicted all year and see no reason to change now: “Alice in Wonderland” and “The Wolfman.” The former had massive box office and very noticeable makeup, whereas the latter is exactly the sort of movie that tends to score here and nowhere else.

    Logic may put “True Grit” or “The Fighter” next in line due to their Best Picture contender status. But as much as these films are loved, they don’t have as showy makeup as the other finalists, and this is a category that often doesn’t care how films are received overall.

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  • ‘Scott Pilgrim,’ ‘Hereafter’ make visual effects bake-off

    As we await the USC Scripter finalists (which should drop any minute), I should pass along the Academy’s bake-off finalists in the Best Visual Effects category.

    Last month the field was narrowed down to 15 titles. Today, seven titles remain, from which five nominees will be selected in a bake-off (which is an odd extra step now, given that the ultimate nominations field was expanded to five this year). So take two off of the following list:

    “Alice in Wonderland”
    “Harry Potter and the Deathly Hallows: Part 1”
    “Hereafter”
    “Inception”
    “Iron Man 2    ”
    “Scott Pilgrim vs. the World”
    “TRON Legacy”

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  • Visual effects race whittled down to 15

    This is the first year the race for Best Visual Effects will feature five nominees.  So take a third of these lucky semi-finalists and there we are.  The five I think most are expecting to show up are still in the mix.

    The most surprising omission for me is “Black Swan,” which used digital wizardry to very startling effect, especially in the film’s final act.  I also expected “The Tempest” to show up, but I guess it just leaves too bad a taste in people’s mouths.

    I’m happy to see “Shutter Island” get singled out.  If we start seeing the guilds respond to the work in this film (and indeed, we might), I think it would be fair to start taking it’s Best Picture chances seriously.  It’s holding up for more than you might expect.  And “Hereafter” shows up on this list, too.  I wouldn’t be surprised if it slid in for its opening sequence (which is rather respected in the VFX community).

    Full list after the jump.  The category’s Contenders page has also been updated with a proposed ranking.

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  • FIRST-HALF FYC: Best Supporting Actor

    Only two weeks into my new feature and I’m already a day late — apologies. My laptop (now cured, at least until its next mood swing) will graciously accept the blame.

    If you missed last week’s introductory instalment, the game is a simple one. In the run-up to nomination day, I’m picking five outstanding contenders in each major category in films from the first half of the 2010 release schedule: a period repeatedly neglected by voters in favor of newer, shinier delights. We started with Best Supporting Actress — during which I learned that a lot of you really don’t like Taylor Swift, but you still all saw “Valentine’s Day” — and this week we fill in the male half of the equation.

    Keen as I am on all five performances I dredged up from the January-to-June wilderness, I was somewhat disappointed to note a very similar template forming to last week’s list: one French breakthrough talent, one blockbuster high point, even one star from a particular film. All accidental, I assure you… but to think I complain about “slot” mentality in the Oscar-analysis game.

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  • TECH SUPPORT: Best Visual Effects — Volume II

    I find it somewhat appropriate to be ending my in-depth looks at the crafts categories with a discussion of Best Visual Effects. This is, after all, a category which awards the sort of behind-the-scenes crafts work that is often prominently displayed in advertisements and talked about with reverence after the film ends.

    When looking at the category’s history, it is not surprising that major blockbusters have fared the best here, with big budgets and even big revenues usually being a prerequisite to be considered for a nomination. Visual effects that “stick out” are usually rewarded, even if the film is not particularly loved. Of course, being in a beloved film helps, especially in the race for the win.

    Prior to this year, there had been only three nominees in this category. Now, there will be five. This means we won’t get the “clues” that come when a list of seven bake-off finalists was announced in previous years. That said, I feel we’ve got a lot of clues about what the final five will be already.

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  • TECH SUPPORT: Best Sound Mixing — Volume II

    Sound mixing has a lot in common with sound editing, but the distinctions are still critical. While both clearly relate to what we hear in the theater, sound editing specifically relates to the creation of artificial sounds (“sound effects”) while sound mixing brings everything together — from effects to music to dialogue (recorded on set or during post-production) to music – into the overall soundscape of a film.

    Many of the same kinds of films that are nominated for Best Sound Editing are also frequently cited here – blockbusters, action films and war films. But musicals often pop up here, too.  And as in most categories, being a Best Picture contender certainly helps titles that otherwise would not come close to this category. Though it is hardly determinative.

    I said before and will say it again – I believe that Christopher Nolan’s “Inception” is leading the way here, at least in terms of likelihood of a nomination. I honestly expect a good half-dozen crafts category nominations for this title and this will be among them. And I expect the crew, including past nominee Gary Rizzo, to be firmly in the hunt for the statuette.

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  • TECH SUPPORT: Best Sound Editing — Volume II

    Last week we discussed how a movie’s soundtrack can be immeasurably improved by music.  This week, we turn to the sound technicians.  While next week will concentrate on sound mixing (the overall mix of effects, recorded sounds, dialogue and music), this week we look at sound editing, the creation of artificial sound effects to enhance a film’s aural impact.

    Despite the difference between the two sound categories, the fact remains that usually no more than one or two of the nominees in the Best Sound Editing field are generally snubbed for mixing.  And as always, Best Picture contenders do well, suggesting that the branch isn’t the most novel when seeking out nominees.

    However, the category has shown a tendency to reward films that do not necessarily score in the major categories; blockbusters, fantasy films and animated films usually do very well here, likely because of the fact that so many sounds in these movies have to be manifested.  So let’s start with animated titles.

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  • Zimmer, Pfister, ‘Toy Story 3,’ ‘Iron Man 2’ kick off the season

    The first awards of the Oscar season have been announced for Carlos de Abreu’s Hollywood Film Festival.  Hans Zimmer will get some love for his “Inception” score, while Wally Pfister will be recognized for his work behind the camera on the film.  Meanwhile, “Toy Story 3” and “Iron Man 2” have been singled out for exemplary animation and visual effects respectively.  Check out last year’s list of winners here.  The press release, in part:

    The 14th Annual Hollywood Film Festival and Hollywood Awards, presented by Starz, are pleased to announce that composer Hans Zimmer, will be given the “Hollywood Film Composer Award,” cinematographer Wally Pfister, A.S.C., will receive the “Hollywood Cinematographer Award,” Disney/Pixar’s “Toy Story 3,” directed by Lee Unkrich and produced by Darla K. Anderson, will receive the “Hollywood Animation Award,” and Paramount Pictures’ “Iron Man 2” and visual effects supervisors Ben Snow and Janek Sirrs will receive the “Hollywood Visual Effects Award.”

    “We are honored to have these exceptionally talented artists honored for their outstanding work and creative vision at this year’s festival,” said Carlos de Abreu, Founder and Executive Director of the Hollywood Film Festival and Hollywood Awards.

    The festival and awards will mark their return on October 20 for a week long series of screenings, competitions and awards. The Hollywood Awards Gala Ceremony will take place at the Beverly Hilton Hotel in Beverly Hills on October 25, 2010.

    [Photo: MovieMaker]

  • TECH SUPPORT: Best Visual Effects — Volume I

    How often do you go to the movies to escape? To be immersed into a different world, whether it be fantastical, thrilling or action-packed? For many movie-goers, if not most, the answer is “frequently.”

    Visual effects often play a massive role in this experience.  Studios invest heavily in them and frequently try to sell films on the strength of their effects as much as their directors or their stars.  Given this, it is unsurprising that the films that are nominated for the Academy Award for Best Visual Effects are almost always big titles, often with huge budgets and almost invariably with massive revenue.

    Dozens if not hundreds of individuals collaborate on the effects work of any given film. Only four supervising members of the crew can share the award, however. While there are certainly many dazzling crafts artists who are embraced in this category year after year, the branch has opened up to newcomers considerably in recent years.

    The visual effects category will be changing its dynamic this year as it will be expanding to five nominees after years of using the traditional bake-off method of determining three nominees. How this will impact trends is a matter that will play out in this year and years to come. But from this vantage point, we can only look to the past.

    Oddly enough, however, if there was one category where I’d put down money on the final nominees from this perch, this would be it. Not that I’m in any way guaranteed to be right. In fact, I doubt I will be. Too much can change. But five titles make the most sense right now.

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  • TECH SUPPORT: Best Sound Mixing — Volume I

    Last week, while discussing the sound editing category, I explained the difference between that art form and sound mixing.  The Oscar for the latter is shared between two (or more) persons who construct the soundtrack of a movie.  The re-recording mixers bring together everything – dialogue, sound effects, music – into what we hear in the theater.  The production sound mixer is also awarded for capturing the sounds during shooting, an undoubtedly arduous task.

    Many of the films nominated here are also nominated for Best Sound Editing.  In fact, rarely is there more than one film showcased for only one field.  Both categories like loud films, blockbusters and, as always, being a Best Picture contender certainly helps.

    That said, some trends are noticeable between the two categories.  Firstly, the branch has a love of musicals when it comes to sound mixing.  That makes sense, of course, because a musical is fully made by its mix.  Meanwhile, animated films consistently fare better in the sound editing category, which also makes sense given that so much of the sound scape is created separately from production.

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  • TECH SUPPORT: Best Sound Editing — Volume I

    Now matter how many times I watch the Oscars, someone will always ask, “So what is the difference between the two sound categories?”

    The difference is quite significant.  It is so important that the sound branch is only one of two “tech” branches in the Academy (the other being music) that gives out two separate awards.  Best Sound Mixing awards the individuals who bring the entire soundscape – music, dialogue, effects – together into a balanced mix.

    Best Sound Editing, on the other hand (perhaps better described by its previous name, Best Sound Effects Editing), rewards the artificial creation of sounds to be inserted into the film, but were not captured during the shoot.

    The category, despite its very specific nature, is nevertheless like many other “tech” categories.  Both “loud” films (often war films) and blockbusters are among this category’s favorite fetishes.  And like virtually all categories, being a Best Picture contender can be a big help.

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  • FRIDAY FORECAST: Disrespect the Middle East edition

    *All historical figures cited are adjusted to today’s dollars.

    There’s a mild controversy every time a “Sex and the City” movie comes out where it is mercilessly trashed for existing by male critics who, the accusation goes, often let comparable trash starring men get off easy. Well, you all know that I can not be labeled one who lets any trash off easy so I have free reign to say that anyone who looks up to the women in this movie is probably a terrible person and I weep for humanity that this will be another big hit for Warner Bros.

    “Sex and the City 2” has already opened and earned $14.2 million yesterday. Is that good? Yes. Is it great? No. The first film made $29.6 million on its opening day, albeit being a regular Friday and then dropped drastically to record a weekend tally of $63.2 million. As far as opening days being front-loaded in a weekend, “Sex and the City” is one of the top 15 worst offenders ever and sequels tend to be even worse. But since it’s just a Thursday, no need to panic yet.

    I suspect the film will pick up slightly to around $18 million on Friday and then record around $45 million for the weekend, before adding another cool $8 or $9 million on Monday. All told that will be close to $70 million in five days and set the film up for a profitable run. For some reason, the original was enormous overseas and that should again be the case. But seriously ladies, have some self respect and put your considerable weight (bad choice of word?) as a consumer behind something that doesn’t make you look like a worthless idiot.

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  • OFF THE CARPET: Taking the temperature

    Now that we’re on the other side of Cannes, I felt it was a good time to put a finger to the wind, stare into the tea leaves, shake the magic 8-ball and basically just take stock of where we’re at roughly three months away from the start of the 2010-2011 film awards season.

    The festival, covered diligently by Guy Lodge around these parts (we thank him), brought little to write home about where Oscar potential is concerned.  The truth is, it rarely does.  But as the year takes shape, things start to linger.  A film like “Inglourious Basterds” can transform muted if appreciative response on the Croisette into a foaming-at-the-mouth bid for a surprise upset in just a few months’ time.

    The big narrative stand-outs for most were Alejandro González Iñárritu’s “Biutiful” and Mike Leigh’s “Another Year.” Perhaps the latter has an easier Oscar path ahead, given that it was more unanimously accepted and could ultimately be a soft lob for Academy types.  Sony Pictures Classics swooped in and nailed down domestic distribution, so I think we’re looking at a bona fide Best Picture nominee to go along with likely bids for Best Actress (Lesley Manville) and the usual expected tip of the hat from Leigh’s fellow screenwriters.  Maybe even a Best Director nod, too.  And yet the film didn’t win a single festival prize.  See how this works?

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  • SUNDAY CENTS: Pain in the ‘Shrek’

    *All historical figures cited are adjusted to today’s dollars.

    We did it guys! Collectively, we have decided that the Shrek property, after three dreadful installments, is no longer an untouchable juggernaut, but just a regular old extremely profitable movie. We have also decided that summer 2010 is going to give movie theater owners a lot of headaches, for which the only prescription is to make popcorn $17 and sell ads on the back of the chairs in front of you. Enjoy!

    Let’s clarify. “Shrek Forever After” is the number one movie at the box office with $71.3 million, instantly becoming the most pathetic film ever to make $70 million in three days. Why? Maybe because “Ice Age: The Meltdown” can debut with $82.6 million in March? But mostly because “Shrek the Third” debuted with $140.5 million in 2007. When you factor in the fact that “Shrek Forever After” probably earned most of its coin from inflated 3D prices, you are looking at less than half the tickets sold from one film to the next. That’s an almost unprecedented exodus for an established franchise like this.

    General fatigue with the characters and the universe is the obvious explanation, but that still only takes you so far. We’re three weeks in now and summer 2010 is posting up consistently disappointing numbers. Granted, “Iron Man 2” and “Robin Hood” came in right around expectations, but the lack of an encouraging or surprising box office performer so far this summer is cause for concern.

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  • FRIDAY FORECAST: Is it ogre yet?

    *All historical figures cited are adjusted to today’s dollars.

    That fat, green face to the right is the most successful animated character in the history of film. You guys have made him an icon of cinema greater than Don Corleone, Marty McFly and Jack Sparrow as far as box office receipts are concerned. Whatever hilarious adventure he undertakes with his wise-cracking donkey sidekick, you are game for. His latest batch of hijinks comes with the laziest pun title ever and a general feeling of distaste from the third installment.

    “Shrek Forever After” is the big debut this week and will easily win the weekend. There hasn’t been a big family film released in eight weeks (Sorry Brendan Fraser) and the market is ripe for a new blockbuster. The thing is opening in every theater across the country with 3D prices ballooning up to $20 in some places. All the ingredients are there for the film to best the $140.5 million opening of “Shrek the Third.” Except that people generally thought “Shrek the Third” was terrible. How these discerning viewers found anything different at all from film to film in this series is beyond me, but I gave up after the wretched first so what do I know?

    Any time a franchise entry disappoints, the next film takes a hit and so I’m thinking that “Shrek Forever After” will hover around the $100 million mark for the weekend. Could do $95 million or could do $105 million, but nowhere near that $140.5 million. Regardless, the film will make oodles of money for DreamWorks and Mike Myers will continue to confuse doing a Scottish accent for funny in more films.

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  • AMPAS will vote on expanding visual effects category to five

    Expansion is the thing these days.  And after last year’s shift from five Best Picture nominees to 10, it’s looking like the wheels are in motion to finally cough up another two slots in the category of Best Visual Effects, a move I think many will agree is a long time coming.

    But we’re not there yet, mind you.  Variety’s David Cohen reports that the VFX branch’s executive committee voted “yay” on the proposal and that it now must be approved by the Academy’s Awards Rules Committee.  If they’re on board, we get five.

    Cohen tries to use the old “move would help the Oscars’ efforts to bring popular pics to the show” line, but we all know Best Visual Effects is generally a haven for critically dismissed cotton candy.  Still, given the rise of effects wizardry over the years, a limited slate of three has left more than a few eyebrow-raising bridesmaids.  I’m fully in favor of this and hope it passes.  But cui bono?

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