An Academy Award can turn a career around. The eight-and-a-half-pounders never leave their winners' names. Each prestigious award, when put in a trailer, increases that movie's box office potential. Even if someone does not know who that person with the Oscar is, he will still go see the movie on the basis of Oscar's merits. The common man trusts Oscar, so filmmakers should love him.
As for those young filmmakers and actors trying to make it big, the Academy Awards gala is their big chance. Last year proved that for sure. Benh Zeitlin's debut feature Beasts of the Southern Wild was up for four awards, including Best Adapted Screenplay, Best Director, Best Lead Actress -- which furthers the Best Director claim -- and the almighty Best Picture title. With only $1.8 million dollars, risky visual effects, and a little girl who didn't even know what the Oscars is, Zeitlin proved that anyone with the willpower and a little bit of luck can make it bigger than big. With just thirty-one years of age, Zeitlin has his whole life ahead of him, and film-wise, it's looking pretty good. The Academy is responsible for this.
Altogether last year was a great year for minorities at the Oscars. Not only was Zeitlin's tiny indie honored, but so was Michael Haneke's French-language, Austrian Amour. Of course it was nominated for Best Foreign Language Film, but it also got a nod for Best Picture overall. Another minority in Best Picture nominees is the rom-com. It tends to excel in the writing department, but not in more respected categories such as Best Picture. Historically, dramas are more well-liked by the Academy. Well, last year Silver Linings Playbook was regarded in several categories, including Best Picture and Best Director for increasingly-popular David O. Russell. If only every year could be like the 85th Academy Awards.
This year marks the 86th Academy Awards, and the collection of nominees is conflicting. Click here to browse the official list of nominees as you peruse my review. American Hustle and Gravity lead with ten nominations each, 12 Years a Slave following closely with nine. I'm actually surprised that Slave is not leading the pack, but it surprises me more that Gravity has as many nods as American Hustle. I have seen Gravity, but I have yet to review it on this blog. Projected in 3D it is stunning how much it feels as though one is in outer space. That said, I would love for someone to explain to my uncultured mind the emotional and auteurist choices that were made in the movie that make it deserving of an Academy Award. It's a challenge.
As far as American Hustle is concerned, I am neither surprised nor completely outraged. I certainly do not believe it was the best film of 2013, but it had something for everyone. Great music, good acting, an interesting-enough plot. Yet, there is one nomination that really distresses me: Film Editing. If you have not read my review of Russell's most recent endeavor, then here it is. In it I explain that there was a hole in the pacing of the story, one that widens significantly when one considers the thought break that occurs earlier on in the film. The major role that editing plays is crafting the shape or pacing of the story. Personally, I feel that the editor failed big time in this.
An abundance of film people keep saying that 2013 was a great year for women's parts in films. I could not disagree more. 2013 was a superb year for male actors. Matthew McConaughey was great in three motion pictures, The Place Beyond the Pines had breakthrough performances from both Emory Cohen and Dane DeHaan, Bruce Dern and Will Forte were good in Nebraska, Christian Bale was fun in American Hustle, Joaquin Phoenix was deep in Her, Leonardo DiCaprio and Jonah Hill were hilarious and blunt in The Wolf of Wall Street, and Paul Dano was excellent in Prisoners. I really cannot complain about this year's Supporting Actor or Lead Actor nominees. Of course I'd like to replace Chiwetel Ejiofor with Joaquin Phoenix, but Ejiofor was pretty good too.
I have just about given up on the Best Director category, but to allude to my thoughts on the nominees this year, I will simply say that I really think Scorsese deserves his nomination, and Payne probably does too.
Cinematography can always be counted on for surprises. This time, it's the biographical kung fu flick. I mean, nobody's even seen -- let alone heard of -- The Grandmaster. Regardless of its qualifications, I think we can all think of better nominees off the tops of our heads. Her, The Spectacular Now, American Hustle (not that it needs another nomination), Stoker, The Wolf of Wall Street, and even The Great Gatsby for crying out loud!
Her did very well. Spike Jonze got the writing nod and the film even managed to get a Best Picture slot as well. The harmonious music got nominated in both categories, and even the futuristic production design got a mention. Joaquin's snub didn't kill me too much, but Scarlett's really did. I was not a fan of Sandra Bullock's plain performance in Gravity, so it really rubs salt in the wound knowing that Scarlett got beat by that. Nonetheless, we really got lucky last-minute to get these five nominations. Let's hope Spike's early success won't lose momentum before March 2nd.
Another deserving film with five nominations is The Wolf of Wall Street. It is a very enjoyable movie, and both actors earned their nominations. Since the screenplay was adapted and therefore is not up against Spike's, I will be rooting for Terry. Speaking of screenplays, thank goodness Gravity was not nominated for once. What a terrible script.
Overall, this year's nominations went as expected. Everyone has their own personal snub list -- Scarlett Johannson being at the top of mine -- and I'd love to hear yours below in the comments section. I hope everyone is as excited for the Oscars as I am, and I look forward to staying up to date with the Oscar buzz as March 2nd approaches. I have two more of the Best Picture nominees to see, after which I will post about them. If you have any thoughts whatsoever relating to the Academy Awards, please post them below. I'm sure there are Inside Llewyn Davis and Lee Daniels' The Butler fans out there itching to complain about their major snubs.
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