Oscar Nominated Shorts (Documentary)

Cavedigger

In many shorts, we are introduced to an interesting character that it is a privilege to get to know. Ra Paulette is one of those characters. We get to know an artist who creates beautiful caves, but also a stubborn artist who struggles for funding. Its only weakness is the feeling that the short is not as Important as other shorts. Grade: A

Facing Fear

A look like at a hate crime, where a group nearly beat a man to death for being gay. What is remarkable is that the story has changed where 20 years later one of the primary perpetrators has come to meet and get to know the victim, and how forgiveness has allowed both men to grow. Grade: A+

The Lady in Number 6: Music Saved My Life

Alice Herz Sommer was 109 years old when this short was made (she died last week). A forse of nature, she shows how a positive outlook and love of music helped her survive the Holocaust. She's an amazing person, and I'm glad I got a sense of her in this short. However. There is a hole in the documentary. Nothing is told of her life after surviving the horrors up to living in Britain, other than her son being a successful musician and that he has died. What else happened? What is in the documentary is great, but part of story remains untold. Grade: A-

Karama Has No Walls

Actual footage of Change Square in 2011, and the peaceful uprising in Yemen during the Arab Spring of 2011, has a you are there feel that is hard shake. The film helps place a context by interviewing the two Yemeni cameramen of what they witnessed and experienced, and with the fathers of two victims. This is essential viewing for an understanding of Yemen, and a puts a human face on the situation that the news coverage simply could not. Grade: A+

Prison Terminal: The Last Days of Private Jack Hall

The basic subject, a hospice in the Iowa state prison system, is interesting. I found myself more interested not in the title subject, a convicted murderer dying of natural causes, than in the convicted felons who work in the hospice. How did convicted murderers become caretakers, helping fellow inmates die with dignity? That's a question that remains answered. Grade: B+

I loved two of these shorts. Facing Fear and Karama Has No Walls put a human face on two stories in a unique and powerful way. The footage of the uprising in Karama Has No Walls is for me the tiebreaker of a close call for me.

This is going to sound cynical, but say Holocaust and here come the Oscars. I believe the voters will mistake voting for a film as voting for a film's subject. They will see the most worthy subject as The Lady in Number 6 and vote for her, missing the fact that the filmmaking is not as good as in three of the other nominees. 

Oscar Nominated Shorts (Live Action)

That Wasn't Me

There have been shorts that try to take on the lawlessness in some portions of Africa. Those shorts tried to be overly clever. This is much more in your face, and is all the more powerful for it. But it is tough to watch, including the shocking murder of a major character. This puts human faces on the situation in a way never done before. Grade: A+

Just Before Losing Everything

Here's a short which takes awhile to reveal its subject: a family going into hiding to escape an abusive husband/father. By focusing on the minor details, the film builds and builds to an almost unbearable tension. Grade: A+

Helium

A somewhat strange new janitor at a hospital bonds with a child dying a cancer. Though the description of Helium, a more interesting afterlife than Heaven, he helps find the boy the courage to die. Part of the power of the film is the visions of Helium while the janitor describes it, but there is no way to describe how emotional the end is. Grade: A+

Do I Have to Take Care of Everything?

Imagine the first minutes of Four Weddings and a Funeral, only in Finnish and with a family with two children. That's the basic idea of a short with imaginative gag after imaginative gag. Laugh out loud funny throughout. Grade: A

The Voorman Problem

A one joke premise involving a strange character in a British prison. It's not a particularly funny joke. The one short with a recognizable lead (Martin Freeman) is the one short this year that does not deserve its nomination. Grade: C+

For me, the first three shorts are of extraordinary quality. Helium is the one that touched me the most emotionally. That is my vote.

I could see any of the three winning the Oscar. The tiebreaker is the politics, and an endorsement of Amnesty International, which helped produce That Wasn't Me, is the tiebreaker.

Oscar predictions

NOTE: I'm pressing the deadline, so I am posting my predictions first and writing my explanation as the day goes on.

Best Picture

For awhile, it looked like American Hustle could play spoiler. That time has passed. And at no time have six of the nominees ever even seen the frontrunner status.

Since last fall, the two frontrunners have been 12 Years a Slave and Gravity. I suspect it is close. But I felt in the fall that the most likely result is a split in which 12 Years a Slave won picture and Gravity wins director. And ultimately, that is still my prediction.

When push comes to shove, the academy tends to pick the film that it views as Important. In a close race, I think that's the direction they go. And this year, that would be 12 Years a Slave.

Director

Just like last year, I think the winner is the director who had the most technologically complicated film but still delivered heart and emotion. Last year, that was Ang Lee for The Life of Pi. This year, that is Alfonzo Cuaron for Gravity.

Actor

The original thought that Chiwetel Ejiofor was going to be hard to beat for 12 Years a Slave has been trumped by the amazing two year run that Matthew McConaughey has had. Tonight, it will be announce that he won for Dallas Buyers Club. But really, he will win for Lincoln Lawyer, Bernie, Killer Joe, Mud, Magic Mike, The Wolf of Wall Street, an Dallas Buyers Club.

Actress

Cate Blanchett was the early favorite for Blue Jasmine. Then the scandal hit over the film's writer director. The Academy voters thought about Amy Adams, but I think ultimately the Academy has decided that Mia Farrow is not going to decide this category. Blanchett wins.

Supporting Actor

Jared Leto took this race over as soon as the movie was released. I think Barkhad Abdi got some consideration, but Dallas Buyers Club is beloved by many, and Leto is the heart of the film.

Supporting Actress

Lupita Nyong'o wins this, I believe, because her performance reminds me not of a newcomer who has one great performance and then disappears. This performance reminds me of Ralph Fiennes, who was so amazing in Schindler's List but that was just the first chapter of a long and distinguished career. Nyong'o's performance in 12 Years a Slave will be remembered as win we were introduced to a major talent.

Animated Feature

Frozen in a landslide (or maybe an avalanche).

Cinematography

Emmanuel Lubezki has shot all of Alfonzo Cuaron's films and the last three Terrance Malck films. So he is overdue for an Oscar. And Gravity is an amazing visual achievement. So he wins.

Costume Design

The look of American Hustle is a big part of its appeal, and to honor its 70s costumes is one way to pay it proper tribute.

Documentary Feature

The Act of Killing and 20 Feet from Stardom are so different. My gut says Act of Killing is too unique to be overlooked.

Documentary Short Subject

The subject of The Lady in Number 6: Music Saved My Life is amazing, and voters will mistake a vote for this film as a vote for her.

Editing

In a category which I view as a complete toss-up, I am guessing that the tension created in the assemblage of Captain Phillips will be awarded.

Foreign Language Film

The Great Beauty seems to be the best fit.

Makeup and Hairstyling

Dallas Buyers Club is the most liked film in this category, so voters will vote for the film rather than the work.

Music (Original Score)

This year most reminds me of the years Randy Newman won original song. There is not an overwhelming choice. Yes, I know Gravity is the favorite. But who is Steven Price? And Alexandre Desplat is overdue, but Philomena is not one of his memorable scores. So that leads me to Randy's cousin, Thomas Newman. Amazingly, he has never won, despite nominations for Little Women, The Shawshank Redemption, Unstrung Heroes, American Beauty, Road to Perdition, Finding Nemo, Lemony Snicket, The Good German, Wall-E and Skyfall. His score for Saving Mr. Banks pays tribute to Mary Poppins. I think it springs the upset.

Music (Original Song)

No upset here. Let It Go is integral to the success of this year's best animated feature, Frozen

Production Design

This is one category that sometime wins for most production design.The Great Gatsby's production design did more to create a time and place.

Short Film (Animated)

Get a Horse! is a technical marvel, a loving tribute to the Disney tradition, a very funny short, and the obvious winner in this category.

Short Film (Live Action)

There are three shorts which have serious elements and are the race this year. Aquel No Era Yo (That Wasn't Me) captures the horror of African warfare in a way that many shorts have failed. Helium and Just Before Losing Everything could play spoiler.

Sound Editing

Gravity's sound design is integral to its success.

Sound Mixing

Gravity's sound design is integral to its success.

Visual Effects

Gravity in the easiest call of the night. This race was over as soon as the trailer was released.

Writing (Adapted Screenplay)

This is my biggest upset pick of the night. The clear favorite is John Ridley's script for 12 Years a Slave. But I have this sense that voters love Philomena, and want to award it somewhere. This appears to be the best place to do that. Steve Coogan was so essential to the success of this film, and to award his writing seems to me to be the way to recognize the film as a whole.

Writing (Original Screenplay)

This is a race between two best picture nominees, Her and American Hustle. Both give an opportunity to award a visionary director. I am picking American Hustle because I sense more love to that film, and because David O. Russell deserves something for directing this, The Fighter, and Silver Linings Playbook in the past five years.

Oscar Nominated Shorts (Animation)

I have seen all the nominated shorts in the three categories, and shall review each and break down the categories in a few days. First up, animation.

Feral

The striking animation, with washed out colors and mostly shadows of white and gray, is both the biggest asset and limitation of this short. While the look catches the eye and gives the short a dream-like feel, the emotion connection to the short is a bit missing. But the animation alone makes the short a deserving nominee. Grade: A-

Get a Horse!

This is the one everyone has seen. The short in front of Frozen in theaters, this is a film that offers an amazing simulation of an early sound Disney short to start, but then steps it up when Mickey is knocked out of the screen and into a 2013 theater. The film has almost non-stop gags both in the 30s style and todays. A pure enjoyment, and I haven't even started into what a technical achievement it is. Grade: A+

Mr. Hublot

This short essentially takes a basic man and his dog story and transports it to a robot world. That doesn't describe how sweet the Mr. Hublot character is drawn, and how genuinely funny it is. This is definitely at a slower speed than many studio shorts, which makes the comedy land so much more. Grade: A

Possessions

Here is a Japanese short in the Japanese animation style with a Japanese theme. A traveler takes shelter in an enchanted house where he is confronted with enchanted older object. His response is one of respect and care rather than confrontation. It's a unique take on the Japanese culture's respect for elders. Grade:A

Room on the Broom

A story of a nice witch and the animals who want to stay with her. From the same studio who made The Gruffalo, this has the same charm of a bedtime story for children with just enough humor for the adults around the edges (mostly from the cat's frustrations) that make it pure fun for the whole family, Grade: A

It's a good list. I am disappointed that Pixar's The Blue Umbrella did not make the list, but all five of the above deserve the nominations.

As for the prospects, I believe love and respect for the Disney tradition will win here. The only possibility I see for "Get a Horse!" to be upset is if the heart of "Mr. Hublot" wins over the voters.

Anchorman 2

I see there is a new R rated version of Anchorman 2 being released next week. The ad states "with 763 new jokes!"

Based on the times I laughed when I saw the PG-13 version, that must mean the new version has about 766 jokes total.

Grade: C-

Back and better than ever...

... at least I hope (and apologies to Mike Greenberg for stealing his line).

It has been almost a year now. I have a new computer. The dinosaur I had been on has finally been sent to the graveyard. I am hoping that now that I have a laptop this will help me to post more often. I have wasted a lot of time trying to write the perfect post. But as always, the best way to write is simply to write.

My most prolific period was in the early 90s when I wrote for my college newspaper. Part of that was having deadlines. There was a period where I knew each Monday there would be 10 column inches to kill and I needed an interesting topic to fill. Some of those columns were terrible and showed the rush. But some of them were my best writing.

So we'll see.

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Dear 99.9,

You are the only Contemporary Hit Radio in Dayton. You like to advertise you play "all the hits".

Is the following a hit? A song which is currently number 18, It is from a number 1 album, and a number 1 movie. It is nominated for an Oscar as best song.

And yet, I have never hear you play Idina Menzel's "Let It Go". Why is this?

Are you morons for not being able to recognize a hit or liars for saying you play all the hits?

Just wondering,

Scott

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We'll see how much more I post this week. Probably not much, as I am currently feasting on the Winter Olympics for the rest of the week.

What was THAT?

The Oscar show was terrible. Just terrible. I'm an awards nut, so I still enjoy seeing who wins, hearing the speech, in other words, the boring stuff for most people. So I'll never stop watching the awards.

But what other reason was there to watch this year? A bullying host? A celebration of Chicago?

And let's start with Chicago. The show made it out like some great landmark film. Wrong. Really, the landmark musical was the year before: Moulin Rouge. But since the Academy missed its chance to reward Moulin Rouge, Chicago was in the right place at the right time. That's it. Not a film that begged for a number (lip synced at that) and a reunion.

Put it this way: here's a (partial) list of films in 2002 that I would have given a best picture vote over Chicago: Gangs of New York, Lord of the Rings: The Two Towers, The Pianist, About Schmidt, Adaptation, The Quiet American, Far From Heaven, Catch Me if You Can, Talk to Her, Y Tu Mama Tambien, About a Boy, Spider-Man, Minority Report, Bowling for Columbine, Spellbound, Hero, Spirited Away, Lilo and Stitch, and Treasure Planet. And that's just from the list of Oscar nominated films that year.

Here"s a list of films influenced by Chicago: Nine. Which might be the only unwatchable movie starring Daniel Day-Lewis.

So we waste time on a ten year old film which of course, was executive produced by this show's producers. Then another number with Jennifer Hudson, while well performed, also had nothing to do with this year, although it did feature a star from Smash, which is produced by, what do ya know! the producers of this year's Oscar show.

For this I had to stay up to midnight.

We also got a Bond "tribute" with a song out of nowhere and a really terribly edited montage. This is the Oscars, people. That's not good enough.

Then there's the opening. Seventeen stupid minutes of me yelling at the screen, "Get to a Supporting award already!" Here's the problem: the opening is supposed to celebrate the wonder of movies. This celebrated how much better than critics Seth McFarlane thinks he is. With all the smarm he could manufacture.

Seth has made a whole career out of being inappropriate. He's done very well despite having nowhere near the talent of Trey Parker and Matt Stone, who is clearly who he wants to be. But it isn't the right humor for an awards show. It comes across as cruel and mean.

(And speaking of cruel and mean, playing off speeches with the Jaws theme, came across as a way to say, "You're little people. We don't care about you." Give the special effects wizards an extra 10 seconds, guys.)

Which brings me to "We Saw Your Boobs". Yes, let's celebrate the attitudes which have women being treated like pieces of meat . But here's the thing: the biggest boob I saw Sunday night was on the stage singing the song.