Oscar Predictions: Part 4 – The Big Ones

OscarsOscar Predictions: Part4 – The Big Ones

The final installment of The People’s Critic’s Oscar prediction series lists my picks for the six major film awards: Directing, Supporting Actor, Supporting Actress, Actor, Actress, and Picture.  These are the categories decided by the largest blocks of voters and, thus reveal the academy’s consensus feelings on the great films of the year.  Readers are invited to continue to weigh in with their own opinions by submitting to the public polls following each category’s predictions.

Best Director:

Nominated directors are Michael Haneke for Amour, Benh Zeitlin for Beasts of the Southern Wild, Ang Lee for Life of Pi, Steven Spielberg for Lincoln, and David O. Russell for Silver Linings Playbook.

The Best Director Oscar is basically the Cinematography Oscar crown jewel.  The director oversees every chosen element on set to ensure his/her vision is secure and successful.  In the Classic Hollywood Cinema days, this award was a bit easier to come by as directors like William Wyler, John Ford, and Frank Capra were nominated often and won more than any other directors in history.  Over the years, the award has become much more aloof; very few directors earn more than one Best Directing Oscar.  The award is closely associated with the Best Picture winner as well, however these awards are becoming more independent of one another now that the Best Picture field of nominees has been increased to up to ten films.  This year will be an upset year no matter which way it goes.  Not since the 1930s has it been more likely that the Best Picture will go to a film who’s director was not nominated.  Additionally, it is quite likely that the Best Director will go to a film that does not win Best Picture.  Therefore, it is critical to look at each of the nominated films for director’s merit alone. Haneke and Zeitlin turned out two emotionally charged human dramas that are deserving of immense appreciation.  In terms of directing, Zeitlin is the better choice between the two, but these small films rarely make a dent in the voting pool.  Spielberg does not deserve to be nominated for this award this year.  Russell has once again made a great film that would have won last year, but he will find himself beaten this year.  The award is between Russell and Lee.  The Peoples Critic Selection: Ang Lee for Life of Pi


Best Supporting Actor:

Nominees are Tommy Lee Jones for Lincoln, Christoph Waltz for Django Unchained, Robert DeNiro for Silver Linings Playbook, Philip Seymour Hoffman for The Master, and Alan Arkin for Argo.

Best Supporting Actress:

Nominees are Anne Hathaway for Les Misérables, Helen Hunt for The Sessions, Sally Field for Lincoln, Amy Adams for The Master, and Jackie Weaver for Silver Linings Playbook.

Acting categories need the least amount of explanation.  The supporting role awards are traditionally a bit more exciting.  These Oscars have gone to some surprising upsets over the years and is more likely to go to an edgier or younger performer than the awards for Best Actor/Actress.  On the men’s side, this year’s field has two performances that are practically lead roles (Waltz and Hoffman), and this will most likely work in one of their favors.  On the ladies’ side, there is a clear winner, so I’ll simply explain why she wins.  Much has been made of the fact that Anne Hathaway is only in Les Misérables for a short period of time.  However, this award has gone to many recipients whose screen-time is limited.  The Oscar for Supporting Role is designed to recognize superior support, regardless of screen time.  What Anne Hathaway does with her segment of an otherwise dull film is give a Hugh Jackman quality performance and then leave you wanting more.  What worked for her will unfortunately not work for Jackman since his Best Actor field also has a clear winner who accomplishes a similar feat in that category.  The People’s Critic Selection for Best Supporting Actor: Christoph Waltz for Django UnchainedThe People’s Critic Selection for Best Supporting Actress: Anne Hathaway for Les Misérables.  

 

Best Actor:

Nominees are Daniel Day-Lewis for Lincoln, Hugh Jackman for Les Misérables, Bradley Cooper for Silver Linings Playbook, Joaquin Phoenix for The Master, and Denzel Washington for Flight.

Best Actress

Nominees are Jennifer Lawrence for Silver Linings Playbook, Emmanuelle Riva for Amour, Jessica Chastain for Zero Dark Thirty, Naomi Watts for The Impossible, and Quvenzhané Wallis for Beasts of the Southern Wild.

Hugh Jackman picked the wrong year to turn out his best performance of his career.  What he does as Jean Val Jean in Les Misérables is raw and spectacular.  However, it will be the one-two punch of excellent writing by Kushner and flawless delivery by Day-Lewis that will allow him to make history as the first to win three Best Actor Academy Awards.  Meanwhile, the Best Actress category has already made history by nominating both the youngest and oldest nominees ever considered for the Best Actress Oscar with Riva and Wallis.  Unlike the men’s race, no clear winner exists here.  Riva has enjoyed a surge as of late given her heart wrenching performance in Amour along with the fact that Oscar night just happens to be her 86th birthday.  However, it seems that the “girl on fire” this year will come away with her first trophy, solidifying what will likely be a long and dynamic career.   The People’s Critic Selection for Best Actor: Daniel Day-Lewis for Lincoln.  The People’s Critic Selection for Best Actress: Jennifer Lawrence for Silver Linings Playbook. 


 Best Picture:

Nominated Films are Amour, Argo, Beasts of the Southern Wild, Django Unchained, Les Misérables, Life of Pi, Lincoln, Silver Linings Playbook, and Zero Dark Thirty.

Nine films were deemed worthy of Best Picture honors this year.  The jury is still out on this callback to the olden days where ten (even twelve!) films could be nominated for this award.  In 2009, the Academy expanded the limit of nominees from five to ten, but finding that there are not always ten worth-while nominees, the rule currently allows the list to vary between five and ten nominees.  This year’s collection of nominees would all have beaten last year’s winner, The Artist substantiating what an excellent year at the movies 2012 was.  As stated earlier, this award is often tied closely together with the winner for Best Director; however, no year in recent history has provided a lower likelihood of this happening than this year.  Therefore, how does one judge a film on its merits alone without necessarily taking the director’s choices into strong consideration?  How much does one weigh the writing, the cinematography, the set design, the acting, etc.?  These are tough questions.  One major element is to examine the editing.  Best Picture is more about conveying a message, entertainment, structure, and overall effect than anything else.  Editing (along with direction) is the key to all of those characteristics that make a movie great.  Therefore, if direction becomes a lowered value in the equation for determining greatness, the vacuum will be filled with editing.  The result is an upset that has only happened three times in history and not at all since 1989 – a Best Picture winner where the director was not even nominated.  The People’s Critic Selection: Argo

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The People’s Critic’s Top Ten Films of the Year

Top Ten2012 has been a juggernaut of a year for the cinema. With a record-breaking box office year thanks to big blockbusters like The Avengers, The Dark Knight Rises, Breaking Dawn Part 2, and The Hunger Games, ticket sales have been the highest they’ve ever been. However, the quality of films released this calendar year has been excellent, rivaling 2007, my favorite release year in recent memory with There Will be Blood and No Country for Old Men. While Oscar nominations will be announced this Thursday, January 10th, a more important announcement is being made right now. Without further ado, I present The People’s Critic’s Top 10 films of 2012.

10. Moonrise Kingdom – Wes Anderson presents one of the year’s most original films with his coming of age pageant of a film, Moonrise Kingdom. Chocked full of Anderson’s trademark set designs, deadpan dialogue, and Norman Rockwell-on-acid plot, Moonrise is a nearly perfect cinematic experience. Edward Norton’s portrayal of Scoutmaster Ward is hands-down the best part of this movie, but the film is enjoyable from start to finish and welcomes multiple viewings.

9. The Hobbit: An Unexpected JourneyWhile it lacks the epic quality and complex narrative of The Lord of the Rings films, Peter Jackson’s The Hobbit: An Unexpected Journey is a beautiful and energetic film. The groundwork is truly set for an excellent companion trilogy that is fun, technically impressive, and brilliantly respectful to fans and film lovers.

8. The ImpossibleThe Impossible is the true story of a family’s disastrous experience during the Thailand tsunami disaster of 2004. Ewen McGregor and Naiomi Watts are the key reasons for this film making the top ten. There are a couple of scenes in this movie where the audience is forced to experience the emotions attached to the most unforeseen natural disaster one can imagine, and it is absolutely raw, heartbreaking, and powerful. Rarely does a film manage to showcase such relatable energy.

7. Flight Like number 8, Flight is also a ‘disaster’ movie, but a very different type of ‘disaster’ movie. It is an excellent narrative that explores the dangers of addiction in an impressively unique way. This is a strong film that expertly demonstrates the talent of its cast and its director, Robert Zemeckis.

6. The Dark Knight RisesThe Dark Knight Rises is a fitting end to one of the strongest trilogies in cinema history. I think, taken as a whole, what director, Christopher Nolan can be most proud of is that he has captured the attention of a massive audience and taught them that escapist entertainment can be thoughtful and precise. This is miles beyond what any other so-called “comic book” movie has achieved or has even been capable of so far, and thus it deserves special accolades.

5. Lincoln Lincoln offers plenty for history buffs to sink their teeth into, and yet the story is accessible to all audiences. Director, Steven Spielberg takes some narrative chances to use unknown history to make well-known history compelling and interesting, especially in the film’s final act. Writer, Tony Kushner deserves special attention for some brilliant writing while Daniel Day-Lewis turns out the performance to beat. This is Spielberg’s finest effort in some time.

4. Argo Argo was the first great movie of the fall season and delivered as both a historical snapshot and an edge-of-your-seat thriller. Ben Affleck certainly has solidified his reputation as a director. Regardless of predictability, Argo is a deeply involving film, and it is a perfect team effort. At its heart, there is a tremendously powerful and amazing story told in an uncomplicated way, which is just what every good movie needs at its core.

3. Silver Linings Playbook – David O. Russell’s movies are traditionally about passion, and none have better successfully illustrated that theme than Silver Linings Playbook. Jennifer Lawrence and Bradley Cooper play Pat and Tiffany, two people full of passion who have lost their way. Both turn out Oscar worthy performances, and it should not surprise anyone if they both win. Furthermore, Russell’s screenplay is excellent as he also manages to give Robert DeNiro something he’s finally worthy of acting in.

2. Life of Pi Life of Pi is a low-key masterpiece. It sneaks up on you and while not complicated, welcomes multiple viewings. Ang Lee presents a very enjoyable and thought-provoking version of Martel’s widely admired source material. It was said that Life of Pi was one of those unfilmable stories- that it can exist in the mind of the reader and nowhere else. Lee has proven those skeptics incorrect. Furthermore, no film, including Avatar, has achieved this level of visual grandeur with 3D technology. Lee’s careful precision as a director, takes full advantage of every opportunity to amaze the audience with wonder.

1. Django Unchained Django Unchained is the year’s best film as well as a front-runner for one of Quentin Tarantino’s best films. The cast is impeccable, the script is original, and the style is enjoyable. Few films ever combine such intriguing dialogue with such ambitious storytelling, and the film deserves sincere consideration from the academy in all major categories. It is a difficult film to watch at times, but not a scene is wasted or unnecessary.

Honorable Mentions (and an angry side-note) – Films deserving honorable mentions are Looper, To Rome with Love, Friends With Kids, The Avengers, The Perks of Being a Wallflower, and Wreck It Ralph. Also, this was a year that saw a Christopher Walken trifecta as the distinctive and unparalleled actor appeared in three films this year: Seven Psychopaths, A Late Quartet, and Stand Up Guys.

On an ANGRY side-note – Year after year, films vying to qualify for Oscar eligibility will open their films in the minimal markets (LA and New York) and then choose some obsequious and noncompetitive weekend in January to open wide to audiences. This year the film most guilty of this is the controversially acclaimed Zero Dark Thirty (An additional film guilty to a lesser degree would be The Sessions with John Hawkes and Helen Hunt). The buzz is that Zero Dark Thirty will be the one to beat, but major film critics and academy members are the only ones who will have seen it before the nominations are revealed later this week. Films should have to be widely released in the year that they wish to be nominated. Audiences should have access to all academy qualified films and an opportunity to share their points of view before the “so-called” powers that be cast their votes. The films listed above all played fair and deserve to be seen and commended. Shame on you Zero Dark Thirty, shame on you!

The Weekly DISCussion

In this holiday edition of “The Weekly DISCussion,” The People’s Critic is recommending two films sure to enhance your season!

This week’s Must See DVD of the Week is: Image

It is true that this recommendation is partially because I am trying to not go with an obvious choice.  However, Die Hard is absolutely a movie that is fun to watch around the holidays.  When terrorists take a group of employees hostage during their holiday party, it is up to New York cop, John McClane (Bruce Willis) to save the day.  Die Hard is responsible for reinventing the action thriller.  With its careful balance of terror, violence, humor, and excitement, Die Hard excels above standard action fare even to the extent of creating an iconic villain in Alan Rickman’s Hans Gruber.  With another film in the successful franchise arriving in 2013, cuddle up with your special someone this season and check out where it all began with 1988’s Die Hard.

Netflix Must Stream of the Week: Image

This year saw director Robert Zemeckis return to live action film making with Flight.  Zemeckis has spent the last eight years of his career filming three separate, innovative motion-capture animated films, the first being 2004’s The Polar Express.  The story surrounds Billy, who is finding it difficult to believe in Santa Claus.  Suddenly, he is whisked away on a magical train to the North Pole where his belief is restored.  While not a perfect movie, The Polar Express manages to capture most of the magic of the beloved children’s book.  The human characters appear somewhat lifeless, but the film does manage to rekindle some of that childish wonder that may have been lost over the years.

Flight

Director Robert Zemeckis has given us the latest “disaster” movie. In the case of Flight however, Zemeckis’ first live-action film since 2000’s Cast Away, this is less the Die Hard kind of “disaster” and more the Leaving Las Vegas type. Zemeckis is a well-known director, whose films have peppered the pop-culture lexicon for the past 35 years. He is a pioneer who took Marty McFly Back to the Future, taught Forrest to run in Forrest Gump, and broke new ground in live-action/animation film making with films like Who Framed Roger Rabbit, Beowulf, The Polar Express, and A Christmas Carol. This year, Zemeckis showcases his craft with a strong character study of a disturbed pilot in Flight.

The intensity and effectiveness of Flight rests on the shoulders of its star, Denzel Washington, and it turns out Denzel Washington has some pretty strong shoulders. Washington dives head first into the character of pilot Whip Whitaker (a classic “pilot” name). Whitaker is a closeted addict, shrouded in denial. He routinely drinks to excess and uses stimulants to even out before flights. His lifestyle has cost him virtually any relationship or contact with his wife and son and has led him down the path of womanizing and heavy substance abuse as a desperate form of distraction.

Flight sets out to tell a story of moral ambiguity. Its protagonist is one who tests the ethical boundaries of the audience where at one moment we are rooting for him and the next, we are disgusted by him. This ambiguity fuels the pace and power of the film, and makes its 138 minute running time literally “fly” by. Washington is excellent, but Zemeckis is precise in his style, editing, and (yes, Pam and Eric) in his cinematography. Washington makes us see Whitaker’s struggle, but Zemeckis makes us feel it with expert use of camera movements, showing us a static sober Whitaker and a flowing, frantic intoxicated Whitaker. The crash sequence is compelling and exceeds expectations, regardless of its assumed predictability. These nuanced touches make Flight deeply engaging and provide for some harrowingly primal audience reaction.

Furthermore, Washington’s stellar performance is complemented at every turn with a pitch perfect supporting cast including Don Cheadle, Bruce Greenwood, Melissa Leo, and John Goodman (who is 2 for 2 with electric supporting roles this year with Flight and Argo). While the performances and the story are excellent, Flight does not accomplish all it is trying to do. A motif of religious purpose and providence feels crow barred in. Also, while excellent, the soundtrack is a bit heavy-handed in its relevance to what’s happening on the screen, which can be distracting. However, these are minor quibbles. Overall, Flight is an excellent narrative that explores the dangers of addiction in an impressively unique way. This is a strong film that expertly demonstrates the talent of its cast and director. A-