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.
Sunday, February 23, 2014
Friday, February 21, 2014
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-
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-
Wednesday, February 19, 2014
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.
******************************
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
******************************
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.
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.
******************************
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
******************************
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.
Saturday, March 2, 2013
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.
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.
Saturday, February 23, 2013
Oscar predictions
Before starting on the categories, a couple of notes. Sometimes it is the campaign, not the movie. That was notable this year, as I believe Lincoln had a real chance to win many Oscars this year -- it has 12 nominations -- but instead will go down I believe with one of the worst win percentages in Oscar history, going 1 for 12 in category wins.
The campaign for Lincoln seemed to be saying that you were a lesser person if you prefer another film. In other words, it gave off just the self-important vibe that the film did such a great job of avoiding. Whoever ran that campaign blew a significant opportunity.
And now, the categories:
BEST PICTURE
Funny how when the nominations came out how Argo seemed to be an also-ran. Then it won pretty much every precursor from that point forward. Now it seems clear if the Academy still allowed write-ins, Ben Affleck would win best director. But he will win one Oscar, as he is one of the nominated producers.
Winner: Argo
BEST DIRECTOR
Since write-ins are not allowed, none of the precursors matter. Instead of looking at who will win, first it is worth looking at who is going to lose.As Lincoln has faded, I believe Spielberg's chances have faded. A also have a hard time thinking this will go to the directors of an art house film or a foreign film. That leaves David O. Russell and Ang Lee. At that point, who had the greater achievement? While Russell did a fantastic job with his actors, and could win, I am going with the director who took an unfilmable book and got it filmed. It is the more impressive achievement.
Winner: Ang Lee, Life of Pi
BEST ACTOR
This category has not bunched an inch. Daniel Day Lewis disappeared into a tough role. It's an amazing achievement.
Winner: Daniel Day Lewis, Lincoln
BEST ACTRESS
When the nominations came out, this looked like Jessica Chastain had it in the bag. Then Jennifer Lawrence appeared to have momentum. And they both are still in the race. But I felt months ago that the older academy would move in the direction of the realistic portrayal of old age, and I have come back all the way around to that thinking.
Winner: Emmanuelle Riva, Amour
BEST SUPPORTING ACTOR
Tommy Lee Jones appeared to be the front runner, and indeed he won the SAG award. But he never disappeared into the role, and so I think people are looking for other options. The reports I read has one actor as clearly doing the most campaigning, and the fact he is a living legend who hasn't won in 30 years doesn't hurt either.
Winner: Robert DeNiro, Silver Linings Playbook
BEST SUPPORTING ACTRESS
This race was over as soon as the "I Dreamed a Dream" performance was seen in the first trailer last summer.
Winner: Anne Hathaway, Les Miserables
BEST ADAPTED SCREENPLAY
I have been predicting an upset for David O Russell in this category for awhile, but I'm backing off the prediction. Argo has to win something other than best picture, right? And the fact it won the WGA award seems to make this a possible win.
Winner: Argo
BEST ORIGINAL SCREENPLAY
Been going back and forth over the two best picture nominees in this category. But while Amour feels to me more of a director's achievement, Django Unchained seems more of a writer's.
Winner: Django Unchained
BEST ANIMATED FEATURE
Wreck It Ralph has seemed like the front runner for awhile, but this is the Oscars, and they tend to be older. Video Games aren't its forte. I'll go for the more classic period setting.
Winner: Brave
BEST FOREIGN LANGUAGE FILM
Amour has never surrendered the front runner status it has had all season.
Winner: Amour
BEST DOCUMENTARY FEATURE
Searching for Sugarman has never surrendered the front runner status it has had all season.
Winner: Searching for Sugarman
BEST VISUAL EFFECTS
Richard Parker will eat you if you think he is not the greatest achievement of the year.
Winner: Life of Pi
BEST SOUND MIXING
This is usually a good category for musicals, and the added difficulty of capturing the singing live tips the scale.
Winner: Les Miserables
BEST SOUND EDITING
Skyfall has a real chance here, but I think Life of Pi gets the votes Hugo got in the technicals: when in doubt, it was good in everything.
Winner; Life of Pi
BEST PRODUCTION DESIGN
A genuine toss-up this year, as Life of Pi and Les Miserables would not surprise me. But sometimes different is what seems to tip the scales, and that would mean one film this year.
Winner: Anna Karenina
BEST ORIGINAL SONG
This is the easiest pick of the night.
Winner: Skyfall (Skyfall)
BEST ORIGINAL SCORE
Thomas Newman is so overdue, that it is tempting to pick Skyfall. But a lot of times, the first time nominee who finally gets through is rewarded. And it doesn't hurt that it's really good work.
Winner: Life of Pi
BEST MAKEUP
When in doubt, predict most makeup.
Winner: The Hobbit: An Unexpected Journey
BEST FILM EDITING
This is usually one of the strongest corollaries with Best Picture. And I think Argo's going to win Best Picture...
Winner: Argo
BEST COSTUMES
Period piece? Check. Rather ornate? Check. Calls attention to itself? Check.
Winner: Anna Karenina
BEST CINEMATOGRAPHY
I've been all prepared to predict Roger Deakins would finally win for Skyfall. But as Life of Pi has surged, I've changed my mind. Also, the academy has previously voted for Avatar and Hugo, so really good 3D work seems to be a good way to win here.
Winner: Life of Pi
BEST DOCUMENTARY SHORT
I really think a lot of times the subject matter is more important in this category than the film itself.
Winner: Mondays at Racine
BEST LIVE ACTION SHORT
Four foreign shorts that are varying degrees of dreary and depressing, and a livelier American short which is just more fun to watch.
Winner: Curfew
BEST ANIMATED SHORT
If you saw it front of Wreck It Ralph, you know that it's an easy vote this year.
Winner: Paperman
The campaign for Lincoln seemed to be saying that you were a lesser person if you prefer another film. In other words, it gave off just the self-important vibe that the film did such a great job of avoiding. Whoever ran that campaign blew a significant opportunity.
And now, the categories:
BEST PICTURE
Funny how when the nominations came out how Argo seemed to be an also-ran. Then it won pretty much every precursor from that point forward. Now it seems clear if the Academy still allowed write-ins, Ben Affleck would win best director. But he will win one Oscar, as he is one of the nominated producers.
Winner: Argo
BEST DIRECTOR
Since write-ins are not allowed, none of the precursors matter. Instead of looking at who will win, first it is worth looking at who is going to lose.As Lincoln has faded, I believe Spielberg's chances have faded. A also have a hard time thinking this will go to the directors of an art house film or a foreign film. That leaves David O. Russell and Ang Lee. At that point, who had the greater achievement? While Russell did a fantastic job with his actors, and could win, I am going with the director who took an unfilmable book and got it filmed. It is the more impressive achievement.
Winner: Ang Lee, Life of Pi
BEST ACTOR
This category has not bunched an inch. Daniel Day Lewis disappeared into a tough role. It's an amazing achievement.
Winner: Daniel Day Lewis, Lincoln
BEST ACTRESS
When the nominations came out, this looked like Jessica Chastain had it in the bag. Then Jennifer Lawrence appeared to have momentum. And they both are still in the race. But I felt months ago that the older academy would move in the direction of the realistic portrayal of old age, and I have come back all the way around to that thinking.
Winner: Emmanuelle Riva, Amour
BEST SUPPORTING ACTOR
Tommy Lee Jones appeared to be the front runner, and indeed he won the SAG award. But he never disappeared into the role, and so I think people are looking for other options. The reports I read has one actor as clearly doing the most campaigning, and the fact he is a living legend who hasn't won in 30 years doesn't hurt either.
Winner: Robert DeNiro, Silver Linings Playbook
BEST SUPPORTING ACTRESS
This race was over as soon as the "I Dreamed a Dream" performance was seen in the first trailer last summer.
Winner: Anne Hathaway, Les Miserables
BEST ADAPTED SCREENPLAY
I have been predicting an upset for David O Russell in this category for awhile, but I'm backing off the prediction. Argo has to win something other than best picture, right? And the fact it won the WGA award seems to make this a possible win.
Winner: Argo
BEST ORIGINAL SCREENPLAY
Been going back and forth over the two best picture nominees in this category. But while Amour feels to me more of a director's achievement, Django Unchained seems more of a writer's.
Winner: Django Unchained
BEST ANIMATED FEATURE
Wreck It Ralph has seemed like the front runner for awhile, but this is the Oscars, and they tend to be older. Video Games aren't its forte. I'll go for the more classic period setting.
Winner: Brave
BEST FOREIGN LANGUAGE FILM
Amour has never surrendered the front runner status it has had all season.
Winner: Amour
BEST DOCUMENTARY FEATURE
Searching for Sugarman has never surrendered the front runner status it has had all season.
Winner: Searching for Sugarman
BEST VISUAL EFFECTS
Richard Parker will eat you if you think he is not the greatest achievement of the year.
Winner: Life of Pi
BEST SOUND MIXING
This is usually a good category for musicals, and the added difficulty of capturing the singing live tips the scale.
Winner: Les Miserables
BEST SOUND EDITING
Skyfall has a real chance here, but I think Life of Pi gets the votes Hugo got in the technicals: when in doubt, it was good in everything.
Winner; Life of Pi
BEST PRODUCTION DESIGN
A genuine toss-up this year, as Life of Pi and Les Miserables would not surprise me. But sometimes different is what seems to tip the scales, and that would mean one film this year.
Winner: Anna Karenina
BEST ORIGINAL SONG
This is the easiest pick of the night.
Winner: Skyfall (Skyfall)
BEST ORIGINAL SCORE
Thomas Newman is so overdue, that it is tempting to pick Skyfall. But a lot of times, the first time nominee who finally gets through is rewarded. And it doesn't hurt that it's really good work.
Winner: Life of Pi
BEST MAKEUP
When in doubt, predict most makeup.
Winner: The Hobbit: An Unexpected Journey
BEST FILM EDITING
This is usually one of the strongest corollaries with Best Picture. And I think Argo's going to win Best Picture...
Winner: Argo
BEST COSTUMES
Period piece? Check. Rather ornate? Check. Calls attention to itself? Check.
Winner: Anna Karenina
BEST CINEMATOGRAPHY
I've been all prepared to predict Roger Deakins would finally win for Skyfall. But as Life of Pi has surged, I've changed my mind. Also, the academy has previously voted for Avatar and Hugo, so really good 3D work seems to be a good way to win here.
Winner: Life of Pi
BEST DOCUMENTARY SHORT
I really think a lot of times the subject matter is more important in this category than the film itself.
Winner: Mondays at Racine
BEST LIVE ACTION SHORT
Four foreign shorts that are varying degrees of dreary and depressing, and a livelier American short which is just more fun to watch.
Winner: Curfew
BEST ANIMATED SHORT
If you saw it front of Wreck It Ralph, you know that it's an easy vote this year.
Winner: Paperman
Tuesday, February 19, 2013
Best Picture Showcase (preface)
I have enjoyed going to the AMC Theatres Best Picture Showcase in the past few years. It gives me a chance to re-visit the nominees, and maybe catch up with one I had yet to see, in preperation for the main event.\
This year, Regal decided to have a showcase too. They are closer to me, and they were charging ten dollars less. So I went to the theater last week to buy my tickets, and the manager told me they weren't having it. This was five days before the first showing. I sent an e-mail to the Regal website to complain. I've yet to get a response more than a week later.
But they were showing the films.No event, so introductions, and no trivia contests (which I love, because I usually get at least one prize). But with no advertisement, and no one even aware it was booked, the theater did massive business both days I went. I shared a theater both days with my best friend, my daughter, and three other people.
Both days, the movie started late because the management forgot the movie was to start. One intermission was cut short with no advance announcement so that we could get back on schedule, causing me to miss the opening sequence of Les Miserables. Also, the intermissions were only 15 minutes, so no time to go get actual food. AMC has a dinner break each day. Popcorn only for 12 hours is pretty tough.
If Regal didn't want us there, well mission accomplished. We'll be going back to AMC next year.
This year, Regal decided to have a showcase too. They are closer to me, and they were charging ten dollars less. So I went to the theater last week to buy my tickets, and the manager told me they weren't having it. This was five days before the first showing. I sent an e-mail to the Regal website to complain. I've yet to get a response more than a week later.
But they were showing the films.No event, so introductions, and no trivia contests (which I love, because I usually get at least one prize). But with no advertisement, and no one even aware it was booked, the theater did massive business both days I went. I shared a theater both days with my best friend, my daughter, and three other people.
Both days, the movie started late because the management forgot the movie was to start. One intermission was cut short with no advance announcement so that we could get back on schedule, causing me to miss the opening sequence of Les Miserables. Also, the intermissions were only 15 minutes, so no time to go get actual food. AMC has a dinner break each day. Popcorn only for 12 hours is pretty tough.
If Regal didn't want us there, well mission accomplished. We'll be going back to AMC next year.
Saturday, February 2, 2013
Oscar nominations, part 2
BEST CINEMATOGRAPHY
The nominees:
Anna Karenina
Django Unchained
Life of Pi
Lincoln
Skyfall
How I did:
I thought Lincoln wasn't flashy enough to be nominated. I had Argo in its place.
Analysis of Category:
BEST COSTUME DESIGN
The nominees:
Anna Karenina
Les Miserables
Lincoln
Mirror Mirror
Show White and the Huntsman
How I did:
I though Lincoln wasn't flashy enough to be nominated. I had Django Unchained in its place.
Analysis of Category:
BEST FILM EDITING
The nominees:
Argo
Life of Pi
Lincoln
Silver Linings Playbook
Zero Dark Thirty
How I did:
I thought Skyfall's technical excellence would continue here. I had Skyfall instead of Silver Linings Playbook
Analysis of Category:
BEST MAKEUP AND HAIRSTYLING
The nominees:
Hitchcock
The Hobbit: An Unexpected Journey
Les Miserables
How I did:
Here, I overestimated Lincoln's appeal. I had Lincoln instead of Hitchcock.
Analysis of Category:
BEST ORIGINAL SCORE
The nominees:
Anna Karenina
Argo
Life of Pi
Lincoln
Skyfall
How I did:
I thought Skyfall would be seen as too derivative of other Bond scores, so I had Cloud Atlas instead, probably colored by the fact that's one of only two scores I bought this year (and the other, Haywire, had no chance).
Analysis of Category:
BEST ORIGINAL SONG
Do we have to discuss this one? Yikes. I got the two obvious nominees, and missed the others.
The nominees:
(Chasing Ice)
Suddenly (Les Miserables)
(Life of Pi)
Skyfall (Skyfall)
(Ted)
How I did:
The two shoo-ins were Suddenly and Skyfall. Besides them, I had predicted Learn Me Right (Brave), Abraham's Daughter (The Hunger Games0 and Ancora Qui (Django Unchained).
Analysis of Category:
The race is between the two shoo-ins. No one else has ever has a chance.
BEST PRODUCTION DESIGN
Anna Karenina
Les Miserables
Life of Pi
Lincoln
The Hobbit: An Unexpected Journey
How I did:
I thought Life of Pi would be perceived as mostly effects, and The Hobbit had that perception problem and that the first major set piece, the shire, is from another film. But if I was shying away from effects work, I probably shouldn't have then predicted Promethius, which I knew was a gamble. I was surprised my other prediction, Django Unchained, did not get in.
Analysis of category:
BEST SOUND EDITING
The nominees:
Argo
Django Unchained
Life of Pi
Skyfall
Zero Dark Thirty
How I did:
Yikes. I got Django Unchained and Skyfall. My other three were The Avengers, Les Miserables, and Promethius.
Analysis of category:
BEST SOUND MIXING
The nominees:
Argo
Les Miserables
Life of Pi
Lincoln
Skyfall
How I did:
Just as bad as Sound Mixing. I got Les Miserables and Skyfall. My other three were The Avengers, Django Unchained, and Promethius.
Analysis of category:
BEST VISUAL EFFECTS
The nominees:
The Avengers
The Hobbit: An Unexpected Journey
Life of Pi
Promethius
Show White and the Huntsman
How I did:
I did not see Snow White as the fifth nominee, nor do I think it deserved it. I think Cloud Atlas deserved it, but I predicted The Dark Knight Rises.
Analysis of category:
The animals are not in the lifeboat, but sure look it. This should be an easy win for Life of Pi.
BEST ANIMATED FEATURE
The nominees:
Brave
Frankenweenie
ParaNorman
The Pirates! Band of Misfits
Wreck It Ralph
How I did
I did not see The Pirates! in the running. I thought there would be one arthouse slot this year, and I had it occupied by The Painting.
Analysis of category:
BEST DOCUMENTARY FEATURE
The nominees:
5 Broken Cameras
The Gatekeepers
How to Survive a Plague
The Invisible War
Searching for Sugar Man
How I did:
I missed 5 Broken Cameras and The Invisible War. I had the wrong sex abuse scandal in Mea Maxima Culpa: Silence in the House of God, and the wrong issue entirely in The House I Live In.
Analysis of category:
BEST FOREIGN LANGUAGE FILM
The nominees:
Amour (Austria)
War Witch (Canada)
No (Chile)
A Royal Affair (Denmark)
Kon-Tiki (Switzerland)
How I did:
Outside of the directing category, the single biggest surprise omission for me was France's The Intouchables, which I thought had the sort of emotional appeal which tends to play well. I also took Sister, from Switzerland. Instead War Witch and Kon-Tiki were nominated.
Analysis of category:
It is hard to imagine Amour, up for picture, director, actress, and screenplay, losing to any of these films, when none of them are nominated in another category.
How I did:
Analysis of Category:
The nominees:
Anna Karenina
Django Unchained
Life of Pi
Lincoln
Skyfall
How I did:
I thought Lincoln wasn't flashy enough to be nominated. I had Argo in its place.
Analysis of Category:
BEST COSTUME DESIGN
The nominees:
Anna Karenina
Les Miserables
Lincoln
Mirror Mirror
Show White and the Huntsman
How I did:
I though Lincoln wasn't flashy enough to be nominated. I had Django Unchained in its place.
Analysis of Category:
BEST FILM EDITING
The nominees:
Argo
Life of Pi
Lincoln
Silver Linings Playbook
Zero Dark Thirty
How I did:
I thought Skyfall's technical excellence would continue here. I had Skyfall instead of Silver Linings Playbook
Analysis of Category:
BEST MAKEUP AND HAIRSTYLING
The nominees:
Hitchcock
The Hobbit: An Unexpected Journey
Les Miserables
How I did:
Here, I overestimated Lincoln's appeal. I had Lincoln instead of Hitchcock.
Analysis of Category:
BEST ORIGINAL SCORE
The nominees:
Anna Karenina
Argo
Life of Pi
Lincoln
Skyfall
How I did:
I thought Skyfall would be seen as too derivative of other Bond scores, so I had Cloud Atlas instead, probably colored by the fact that's one of only two scores I bought this year (and the other, Haywire, had no chance).
Analysis of Category:
BEST ORIGINAL SONG
Do we have to discuss this one? Yikes. I got the two obvious nominees, and missed the others.
The nominees:
(Chasing Ice)
Suddenly (Les Miserables)
(Life of Pi)
Skyfall (Skyfall)
(Ted)
How I did:
The two shoo-ins were Suddenly and Skyfall. Besides them, I had predicted Learn Me Right (Brave), Abraham's Daughter (The Hunger Games0 and Ancora Qui (Django Unchained).
Analysis of Category:
The race is between the two shoo-ins. No one else has ever has a chance.
BEST PRODUCTION DESIGN
Anna Karenina
Les Miserables
Life of Pi
Lincoln
The Hobbit: An Unexpected Journey
How I did:
I thought Life of Pi would be perceived as mostly effects, and The Hobbit had that perception problem and that the first major set piece, the shire, is from another film. But if I was shying away from effects work, I probably shouldn't have then predicted Promethius, which I knew was a gamble. I was surprised my other prediction, Django Unchained, did not get in.
Analysis of category:
BEST SOUND EDITING
The nominees:
Argo
Django Unchained
Life of Pi
Skyfall
Zero Dark Thirty
How I did:
Yikes. I got Django Unchained and Skyfall. My other three were The Avengers, Les Miserables, and Promethius.
Analysis of category:
BEST SOUND MIXING
The nominees:
Argo
Les Miserables
Life of Pi
Lincoln
Skyfall
How I did:
Just as bad as Sound Mixing. I got Les Miserables and Skyfall. My other three were The Avengers, Django Unchained, and Promethius.
Analysis of category:
BEST VISUAL EFFECTS
The nominees:
The Avengers
The Hobbit: An Unexpected Journey
Life of Pi
Promethius
Show White and the Huntsman
How I did:
I did not see Snow White as the fifth nominee, nor do I think it deserved it. I think Cloud Atlas deserved it, but I predicted The Dark Knight Rises.
Analysis of category:
The animals are not in the lifeboat, but sure look it. This should be an easy win for Life of Pi.
BEST ANIMATED FEATURE
The nominees:
Brave
Frankenweenie
ParaNorman
The Pirates! Band of Misfits
Wreck It Ralph
How I did
I did not see The Pirates! in the running. I thought there would be one arthouse slot this year, and I had it occupied by The Painting.
Analysis of category:
BEST DOCUMENTARY FEATURE
The nominees:
5 Broken Cameras
The Gatekeepers
How to Survive a Plague
The Invisible War
Searching for Sugar Man
How I did:
I missed 5 Broken Cameras and The Invisible War. I had the wrong sex abuse scandal in Mea Maxima Culpa: Silence in the House of God, and the wrong issue entirely in The House I Live In.
Analysis of category:
BEST FOREIGN LANGUAGE FILM
The nominees:
Amour (Austria)
War Witch (Canada)
No (Chile)
A Royal Affair (Denmark)
Kon-Tiki (Switzerland)
How I did:
Outside of the directing category, the single biggest surprise omission for me was France's The Intouchables, which I thought had the sort of emotional appeal which tends to play well. I also took Sister, from Switzerland. Instead War Witch and Kon-Tiki were nominated.
Analysis of category:
It is hard to imagine Amour, up for picture, director, actress, and screenplay, losing to any of these films, when none of them are nominated in another category.
How I did:
Analysis of Category:
Subscribe to:
Posts (Atom)
