Oscar Rant 2010

The Academy actually had a good idea by expanding the Best Picture category to ten films. Interest, either pro or con, has been garnered with the additions and has, very much so, opened up the race to allow the inclusion of well-received top grossing films – two, count ‘em two(!) sci-fi flicks, a World War II B-film homage and a sappy sports film – along with those few select art house-only hidden treasures – two of which are personal tales of men seeking a destination of sorts, either of which, in a different year, would be a top contender for Hollywood’s Golden Boy but will ultimately lose this year to a film with guns and explosions.

But has the opening of the Best Picture category to include Sandra Bullock films really made the race any more different? Or are there still just the two top contenders along with one possible dark horse making the others – just more of them – as irrelevant as the Mets starting rotation? And can it be that, yet again, those deserving have been overlooked? And for the record, regardless of how many nominees there are, AVATAR definitely gets one of those nods.

This year, the Actor in a Leading Role category is one of the tightest. Jeff Bridges, it can be argued, should have won the Award for his role in 1998’s THE BIG LEBOWSKI (Although was that role really acting? It was certainly a more endearing and lasting performance than Roberto Benigni who won for –excuse me– LIFE IS BEAUTIFUL.) and Morgan Freeman’s portrayal as Nelson Mandela is a slam-dunk of a nom. And although Clooney, Firth and Renner are all deserving, perhaps two others should be placed here instead.

Michael Stuhlbarg for his role as Larry Gopnik in the Coen Brothers’ award-worthy A SERIOUS MAN is an actor in every sense of the word as the range of emotions he portrays, often times silently, totally clues the audience in on the turmoil of his character and proves that this mostly television-role actor can play with the big boys. Didn’t Clooney and Hanks also start on the small screen? Sharlto Copley, the every-day middle management corporate warrior turned Prawn-lovin’ revolutionary from DISTRICT 9, like Stuhlbarg, uses his emotions to totally change and evolve, along with his body, directly on the screen moving from pity to scorn to heroism. Even though the Academy snubbed Copley, Sir Ridley Scott did not and cast the South African in another popcorn shoot ‘em up as one Howling Mad Murdock.

The Adapted Screenplay category nominated the wrong former British miniseries. Instead of IN THE LOOP, STATE OF PLAY should have this spot. Believable political intrigue and honest-to-goodness investigative journalism made this a well-written story that harkened back to the likes of ALL THE PRESIDENT’S MEN. With journalistic movies on the mind, why did THE SOLOIST completely get forgotten?

DUPLICITY, a fast-moving industrial-spy flick with Tarantino-cool dialogue, was also completely ignored. Tony Gilroy, no stranger to awards, will, unfortunately, be eating poppers on his couch in the Hollywood Hills this year as DUPLICITY was not recognized for Original Screenplay or, perhaps, Director. Like with THE SOLOIST, films released in March and April are most often ignored. THE WONDER BOYS, released in February 2000, is a prime example of this, but a season-end re-release garnered the film a Best Song win and an adapted screenplay nom, losing to the very-worthy TRAFFIC.

Another March-released film that, potentially, could have received an Adapted Screenplay nom along with a variety of minor category nominees (such as Costume, Makeup and Art Direction at the very least) is Zach Snyder’s WATCHMEN. Yes, the under-performing hardcore-fanboy gala, although far from a perfect film, was extremely meticulous with look and feel as well as design and dialogue lifting whole scenes directly and pristinely from what is referred to as the greatest Graphic Novel. Although a summertime release might not have generated any more revenue for the film, especially with an already fanboy-heavy schedule including WOLVERINE, STAR TREK and TRANSFORMERS, it might have remained in the thoughts of the nomination committee.

Finally, looking at those indeed nominated, once again those worthy will probably not win due to the Academy’s politics and the money of producers. Vera Farmiga’s character, Alex Goran from UP IN THE AIR, moved from interesting to likeable to betraying and should indeed win. But she’s not the favorite according to most polls and previous award ceremonies. James Cameron will hopefully win for Director. Even though AVATAR probably does not deserve to win for Best Film, as its Dances With Aliens storyline was not the most, well, original, he proved that he is indeed the best he is and what he does, be it here on Earth or out on Pandora, which is a real place, right?! The merging of 3D CGI to ultra-looking reality was as flawless as his craft.

Be it any other year, Henry Selick’s CORALINE would win Best Animated Feature. But damn Pixar and their constant A+ 10-star productions (how dare they!) will win again. Here’s hoping Michael Giacchino’s score for UP wins the award, although, he should rightly win for his not-nominated STAR TREK score.

And who does get the top award, that for Best Film, if not AVATAR? In an AVATAR/BASTERDS/HURT LOCKER-free season, both A SERIOUS MAN and UP IN THE AIR would the neck-to-neck contenders. One, an open-ended Jewish tale was an art-house favorite while the other, Jason Reitman’s slick-yet-familiar airport-themed film, could have proved that the third time is a charm for the young director. Interestingly enough, most films nominated this year all have the potential to win. But it all falls down to what film becomes the media-darling with the most successful word of mouth. What producer will woo the Academy the best? Danny Boyle, for better or worse, was on the upside last year for SLUMDOG MILLIONAIRE. But overall, wasn’t THE WRESTLER the better film? Yet like it’s main character, Randy the Ram, it became abandoned.

Who will be this year’s SLUMDOG MILLIONAIRE? An even better question: who will be this year’s WRESTLER?


As Always,
theJOE