James Cameron for Avatar
Kathryn Bigelow for The Hurt Locker
Quentin Tarantino for Inglourious Basterds
Lee Daniels for Precious
Jason Reitman for Up in the Air
This category seems to break down into three categories as regards the chance each has of winning the prize. In the last category, essentially the no-hopers, are Lee Daniels and Jason Reitman. Reitman is the kind of director who will consistently struggle to win this prize as his skill comes through his ability to manage performance and tone rather than anything visually spectacular or inventive. Up in the Air is a pristine film with some well-composed images, but it’s script and performance-driven, similar to Juno and Thank You for Smoking. He deserves plaudits, but they won’t be sufficient for the prize. Lee Daniels has promise as an inventive director, but too many choices fall flat in Precious and he won’t win.
Reading the most recent issue of Time, there was a brief note during its Oscar predictions on the comparable box-office totals for The Hurt Locker and Avatar.
The first, an essentially apolitical Iraq war movie which explores the psyche of those addicted to conflict, made a total of $12m at the US box-office. That’s a total of $12m over its entire run in the US.
The second, James Cameron’s uber-blockbuster and undoubtedly a treatise on either environmentalism or, pertinently, the imperialist ambitions of the US in the Middle East, has made that per day. Yes, it’s total box-office in the US so far is around $400m, meaning an average of $12m per day.
So, two points. First, any suggestion that movies about Iraq cannot work isn’t quite true, they just have to be 3D and wrapped in Pantheistic theory. Second, isn’t it slightly depressing that a film which seeks so desperately to understand something about the human condition is trounced so heartily by a bloated, arrogant but visually impressive film. An on-mass example of someone fleeing towards the shiny goods instead of the quality produce.
It would seem that, given that the two are emerging as the key contenders for the Oscars this year, that the Academy has an opportunity either to reward hollow commercialism with a mixed message, or vital independent filmmaking in which the ‘message’ is eschewed in favour of probing the mind of those at the heart of our generation’s conflict.
I did predict a few little while ago, but much has changed in the interim and I feel it necessary to update my prediction season for the nominees, something I will do again in early February just before the nominations are announced.
The primary change is the fall of Nine, previously considered a shoe-in for most categories, which looks likely to win absolutely nothing outside of a possible couple of technicals. Add to that the rising popularity of Inglourious Basterds and the seemingly-unstoppable attention being given to The Hurt Locker, plus the apparently disastrous The Lovely Bones, and some things have to change.
Below then are my predictions for the top few categories, with some explanation as to why and, bold as it may be, my predictions for the likely winners in each category.
Just for the sake of my own sanity and desperate need to have these written somewhere, I give you my favourite forty-two films of the past decade. There are at least fifty-six other films I would like to put onto a list, but I think I need to forcefully prevent any more decade-based listmaking as quickly as possible. So beneath is the top ten list, along with a sentence or two on each film and then thirty-two, out-of-list-order, films which I had to include.
You can listen to us discussing these films at length on the podcast on the show, but please do check out the list below for perpetuity. Sam’s list is annotated and included below, Tom’s is not annotated and its right here. This just means you will have to check out the podcast to hear Tom’s viewpoints. So check out Sam’s choices after the jump, along with a few choice thoughts and honourable mentions. Enjoy!
Time to have a little guess again at which films could be nominated for Oscars in a couple of months time, just entirely based on hype and vague attempts to understand the predictable nature of the Academy. So, for debate and conjecture’s stake, enjoy these predictions for the Oscar nominations in 2010, post jump. Continue reading →
As we are prone to do, it feels like to kick-off the Oscar buzz season as awards from major film festivals begin to roll in and the ceremony approaches. I realise that this may feel like the kind of wishing-life-away feeling that it given as you walk into shops in mid-September and see Christmas stock out all over the place, but these will get more frequent as we get closer and can begin to actually predict what could win. This is more to provide an interesting gauge of how buzz works, how it changes and how wrong we could well end up being by the time the awards come around.
So, just for the big few categories, here’s what seems like it’s going to cause a stir this year: Continue reading →
So, in the wake of Transformers revenging the fallen all over our minds, we were in need of cooling down from the sheer anger and exhaustion felt in the studio. Though Sunshine Cleaning should have been a great example of an indie to bring us back onto home turf, it ended up an underwhelming experience. The eminently crushworthy pairing of Amy Adams and Emily Blunt, along with the solid Alan Arkin and roles for Steve Zahn and Clifton Collins Jr, just couldn’t quite drive us into anything beyond a tepid lack of satisfaction. Ideas involved were strong, but the execution was half-hearted, even if all of the above tried really hard to elevate the material. Continue reading →
The trailer for Kathryn Bigelow’s The Hurt Locker has hit the internet and the people are abuzz. It is a pretty terrific trailer which gets across the kind of intensity you would expect from a film about a bomb-defusement marine, played by Jeremy Renner, and the psychological impact this kind of work has on those around him. I’m feeling pretty good about this one, although I don’t think it will break the Iraq movie box-office issues which have plagued the mini-genre thus far.