Showing posts with label Oscars 2017. Show all posts
Showing posts with label Oscars 2017. Show all posts

Monday, March 5, 2018

Oscar Reactions


I went to visit my parents to watch the Oscars, and probably should have been worried that they lost power a few days ago. They have a generator that they’re using to watch TV and other things, but we experienced some severe trouble with the DVR going into the show that caused us to not being able to start watching until around 8:45pm. Fortunately, there were no problems from then on.

This was actually a really great show. I found it to be enjoyable from start to finish, and the fact that it went long wasn’t an issue since there were so many clips and montages, which I love, and, aside from the last one or two speeches, every single person who won got to speak, which I feel is rare. Jimmy Kimmel was a great host, acknowledging what’s going on in the world and in Hollywood in a way that was relatively respectful and funny at the same time. Most of the intro sketches worked, though the “Star Wars” one was pretty painful. Tiffany Haddish and Maya Rudolph were particularly funny, which was a nice do-over for the former comedian’s awkward Oscar nominations announcement with Andy Serkis. Most of what the winners said was great too, and no one seemed to be obnoxious or undeserving.

I did pretty well, especially compared with previous years. I scored 19/24, my best since 2013, when I got 20, and 2010, when I last scored 19. I unwisely bet against “Phantom Thread” for Best Costume Design, choosing “Beauty and the Beast,” which went home empty-handed, and I selected the wrong documentaries and foreign films, though the two that won were easily my second choices in each category. I’m disappointed about Best Original Song but fine with the message of the song from “Coco,” a movie I loved. And the last one I missed was Best Animated Short, which went to “Dear Basketball,” which I didn’t think was deserving, though it was nice to see Kobe Bryant so grateful.

I’m excited to have predicted everything else correctly, including the top eight races. It feels good to have the movie I was rooting for win, especially since I’m fine with “Get Out” winning just one Oscar for Best Original Screenplay (even if I was hoping for others) and “Three Billboards Outside Ebbing, Missouri,” a long title I’m grateful to not have to type anymore, just taking home two acting awards. It’s a shame that “Lady Bird” didn’t take home any Oscars since it really should have, but fortunately I have a feeling that it will be honored with a few AFT Awards shortly. My predicted totals were almost all right, which I’m happy about!

Now that Oscar season is officially over, come back later today for the start of my official awards for the best of the year, the AFT Awards, announcing this and next week!

Sunday, March 4, 2018

Your Guide to the Oscars


I did it this year for the first time - saw every single movie nominated for an Oscar this year. A few years ago, I didn't watch the Best Original Song nominees, which I thought couldn't be a problem, and then the song from “The Hunting Ground” was performed during the show and I felt lost. Now, I've done it, which is exciting, although I think we're actually going into what's generally a relative predictable show, with the major exception of the top race, of course. A year ago, “La La Land” was experiencing backlash that would ultimately lead to “Moonlight” winning, although only after the former film was mistakenly announced as Best Picture and the producers were halfway through their acceptance speeches. Though we shouldn't expect such theatrics this year, the mystery of which film will win the top prize is more heightened than it's been in a long time, if not ever. Read more about this in my detailed analysis of that race.

Last year, I was predicting “La La Land” to win eleven trophies (it won six). This year, my highest predicted haul is four. I'm writing these final thoughts just after watching the Independent Spirit Awards, which aren't actually a helpful precursor, but where “Lady Bird” won Best Screenplay and then lost to “Get Out” for Best Feature, a film that won Best Director also but in a field with none of the same other nominees as the Oscars. I guess I was holding out hope that “Call Me By Your Name,” my initial prediction for Best Picture way back when, could show up with a surprise win to really throw the race into turmoil, but no such luck. The Best Picture race is still a huge wild card - again, read my detailed analysis, and with it the Best Original Screenplay race remains unpredictable.

Honestly, the only other races that are up in the air are some of the technical ones, which could result in sweeps for either “Dunkirk” or “The Shape of Water,” Best Original Song, Best Documentary, and Best Foreign Film. I guess that's more than usual, even if the acting races are all sewn up.

I've tried to cover the Oscars more intensively than ever before, and it's been quite the awards season. I'm hoping that the two movies I like - “The Shape of Water” and “Lady Bird” - eclipse the two I don't - “Get Out” and “Three Billboards Outside Ebbing, Missouri” - and the only saving grace is that it's going to be impossible to know how it all turns out because of the unpredictable and competitive nature of the race. Let's hope at least that the wealth is spread in a cool and affirming way. I'd love to see Willem Dafoe score as a way to honor the criminally underrepresented “The Florida Project,” and for “The Big Sick” to shock with a win over four Best Picture nominees for its superb screenplay, but I'm not counting on either of those things happening.

Below, click on category headings to read detailed predictions for each race, and film names for full reviews of each contender. My predicted winner is in bold. Comment if you agree or disagree! Enjoy the show!

Best Picture
Call Me By Your Name
Darkest Hour
Dunkirk
Get Out
Lady Bird
Phantom Thread
The Post
The Shape of Water
Three Billboards Outside Ebbing, Missouri

Best Director
Christopher Nolan (Dunkirk)
Jordan Peele (Get Out)
Greta Gerwig (Lady Bird)
Paul Thomas Anderson (Phantom Thread)
Guillermo Del Toro (The Shape of Water)

Best Actor in a Leading Role
Timothee Chalamet (Call Me By Your Name)
Daniel Day-Lewis (Phantom Thread)
Daniel Kaluuya (Get Out)
Gary Oldman (Darkest Hour)
Denzel Washington (Roman J. Israel, Esq)

Best Actress in a Leading Role
Sally Hawkins (The Shape of Water)
Frances McDormand (Three Billboards Outside Ebbing, Missouri)
Margot Robbie (I, Tonya)
Saoirse Ronan (Lady Bird)
Meryl Streep (The Post)

Best Actor in a Supporting Role
Willem Dafoe (The Florida Project)
Woody Harrelson (Three Billboards Outside Ebbing, Missouri)
Richard Jenkins (The Shape of Water)
Christopher Plummer (All the Money in the World)
Sam Rockwell (Three Billboards Outside Ebbing, Missouri)

Best Actress in a Supporting Role
Mary J. Blige (Mudbound)
Allison Janney (I, Tonya)
Laurie Metcalf (Lady Bird)
Lesley Manville (Phantom Thread)
Octavia Spencer (The Shape of Water)

Best Original Screenplay
The Big Sick
Get Out
Lady Bird
The Shape of Water
Three Billboards Outside Ebbing, Missouri

Best Adapted Screenplay
Call Me By Your Name
The Disaster Artist
Logan
Molly's Game
Mudbound

Best Cinematography
Blade Runner 2049
Darkest Hour
Dunkirk
Mudbound
The Shape of Water

Best Production Design
Beauty and the Beast
Blade Runner 2049
Darkest Hour
Dunkirk
The Shape of Water

Best Costume Design
Beauty and the Beast
Darkest Hour
Phantom Thread
The Shape of Water
Victoria and Abdul

Best Film Editing
Baby Driver
Dunkirk
I, Tonya
The Shape of Water
Three Billboards Outside Ebbing, Missouri

Best Original Score
Dunkirk
Phantom Thread
The Shape of Water
Star Wars: The Last Jedi
Three Billboards Outside Ebbing, Missouri


Best Original Song
“Mystery of Love” (La La Land)
“Remember Me” (Coco)
“This Is Me” (The Greatest Showman)
“Stand Up for Something” (Marshall)
“Might River” (Mudbound)

Best Sound
Baby Driver
Blade Runner 2049
Dunkirk
The Shape of Water
Star Wars: The Last Jedi

Best Sound Editing
Baby Driver
Blade Runner 2049
Dunkirk
The Shape of Water
Star Wars: The Last Jedi

Best Makeup and Hairstyling
Darkest Hour
Victoria and Abdul
Wonder

Best Visual Effects
Blade Runner 2049
Guardians of the Galaxy Vol 2
Kong: Skull Island
Star Wars: The Last Jedi
War for the Planet of the Apes

Best Animated Feature
The Boss Baby
The Breadwinner
Coco
Ferdinand
Loving Vincent

Best Documentary Short Film
Edith + Eddie
Heaven is a Traffic Jam on the 405
Heroin(e)
Knife Skills
Traffic Stop


Best Animated Short Film
Dear Basketball
Garden Party
Lou
Negative Space
Revolting Rhymes


Best Live Action Short Film
Dekalb Elementary
The Eleven O'Clock
My Nephew Emmett
The Silent Child
Watu Wote/One of Us


Best Documentary
Abacus: Small Enough to Jail
Faces Places
Icarus
Last Men in Aleppo
Strong Island

Best Foreign Language Film
A Fantastic Woman
The Insult
Loveless
On Body and Soul
The Square

Predicted totals:
The Shape of Water - 4
Dunkirk - 3
Three Billboards Outside Ebbing, Missouri – 2
Darkest Hour - 2
Blade Runner 2049 - 2
Get Out - 1
I, Tonya - 1
Call Me By Your Name - 1
Beauty and the Beast - 1
The Greatest Showman - 1
Coco - 1
Faces Places - 1
The Insult - 1

Saturday, March 3, 2018

Oscar Winner Predictions: Best Picture


The competition: Call Me By Your Name, Darkest Hour, Dunkirk, Get Out, Lady Bird, Phantom Thread, The Post, The Shape of Water, Three Billboards Outside Ebbing, Missouri

Previous winners: Moonlight, Spotlight, Birdman, 12 Years a Slave, Argo, The Artist, The King’s Speech
My winner: Announcing shortly after the Oscars!

The facts: There are a whole bunch of statistics this year, with a guarantee that the winner will defy at least one historical trend. First, let’s start with the sheer numbers for each film. “The Shape of Water” is the nominations leader with thirteen bids. “Dunkirk” follows with eight, “Three Billboards Outside Ebbing, Missouri” with seven, “Darkest Hour” and “Phantom Thread” with six, “Lady Bird” with five, “Call Me By Your Name” and “Get Out” with four, and “The Post” with two.

Three Billboards Outside Ebbing, Missouri” won the Golden Globe for Best Picture – Drama and the BAFTA Award for Best Picture, where neither “Get Out” or “Lady Bird,” both competing in the comedy races at the Globes and only recognized in other categories at the BAFTAs, were nominated. It also won the SAG Award for Best Ensemble, where those two films were in the running, but “The Shape of Water,” which took the PGA, the Critics’ Choice Award, and the DGA as well as all major director prizes so far, wasn’t. The PGA and Critics’ Choice Awards represent the closest scenario to this field, with seven of these films all nominated and the missing two certain not to affect the outcome, which suggests that “The Shape of Water” can eclipse the rest. But there’s much more to say, below!

Who should win: I’ll be starting my own awards this week, where you’ll see which films I loved and which I didn’t. I wish I was more enthusiastic about “Three Billboards Outside Ebbing, Missouri” and “Get Out,” but I’m just not. The former was a disappointment after liking Martin McDonagh’s previous work (and his brother’s), while the latter was much better than I expected but still much more social commentary than award-worthy movie. I wouldn’t put “Phantom Thread” and “The Post” on this list either, but the other five are pretty good. “Call Me By Your Name” and “Darkest Hour” were both strong in their own ways, “Dunkirk” was extremely well-done, and “Lady Bird” is a terrific film. To me, someone who liked but didn’t love “Pan’s Labyrinth,” it’s all about “The Shape of Water,” which ranks in my top five films of the year and is my firm choice to win this award.

Who will win: This is the first time since I’ve been watching the Oscars (2002, officially) that we truly have no idea what film will win. There’s always been a frontrunner and often a primary challenger, and rarely a third, which would have been “Mad Max: Fury Road” in 2015 and “Juno,” which I predicted to no avail, in 2007. This year, there are legitimately three films that all stand a good chance of winning, with “Lady Bird” and “Dunkirk” as possible but unlikely spoilers.

Here’s where that history mentioned above matters. Let’s look at typical Best Picture requirements and which films don’t have them. “The Shape of Water” is missing a SAG ensemble bid that has been necessary for every film aside from “Braveheart” since the category existed (the same year, 1995). “Get Out” and “Lady Bird” have that but are missing Best Film Editing nominations, which every film in the past thirty-five years except for “Birdman” had. “Three Billboards Outside Ebbing, Missouri” won the SAG ensemble prize and the big prizes mentioned above, but it was shut out of the Best Director category. Only four movies since the inception of the Oscars have won without that. “Wings” and “Grand Hotel” were both in the first decade of the Oscars. “Driving Miss Daisy” scored, but director Bruce Beresford had already been left off the DGA and Globe lists when his film triumphed at PGA and the Globes anyway, so his omission wasn’t all that relevant since his film didn’t seem to need him to win. Most recently and famously, Ben Affleck got shockingly snubbed for “Argo.” In that case, however, he had won the DGA, the Globe, and pretty much every other award, so his film probably got even more votes for Best Picture because he wasn’t nominated.

To me, that’s the most crucial statistic, and one that could work in McDonagh’s favor if they want to honor his film with him absent, but, though he has taken home a handful of writing prizes, he hasn’t won a single directing award this year. On the other hand, Del Toro has won every major directing award, and his film has triumphed when the lineups have been closest to this field. It’s certainly possible that “Three Billboards Outside Ebbing, Missouri” will win, but it’s likely that “Get Out,” which would represent a more monumental victory for its fans, is actually in second place. Everyone seems to like “Lady Bird,” and the question is whether people really love it enough to vote for it as their first choices. “Dunkirk” will get votes too, but not enough. In recent years, the Best Picture winner has won very few trophies, which means that even if “The Shape of Water” wins almost every award it’s nominated for, I’ll still be on the edge of my seat waiting to find out what film is announced as Best Picture. Last year’s “La La Land” snafu won’t soon be forgotten, but the most crucial thing for this year is that it had already won six prizes, with “Moonlight” taking only two, and then the latter film prevailed. Perhaps unwisely, I’m going to predict The Shape of Water to narrowly eclipse “Get Out” and “Three Billboards Outside Ebbing, Missouri” in the wildest Best Picture race I’ve ever seen.

Friday, March 2, 2018

Oscar Winner Predictions: Best Director


The competition: Christopher Nolan (Dunkirk), Jordan Peele (Get Out), Greta Gerwig (Lady Bird), Paul Thomas Anderson (Phantom Thread), Guillermo Del Toro (The Shape of Water)

Previous winners: Damien Chazelle (La La Land), Alejandro Gonzalez Inarritu (The Revenant), Alejandro Gonzalez Inarritu (Birdman), Alfonso Cuaron (Gravity), Ang Lee (Life of Pi), Michel Hazanavicius (The Artist), Tom Hooper (The King’s Speech)
My winner: Announcing shortly after the Oscars!

The facts: Just won of these directors is a returning nominee, and that’s Anderson, who was previously nominated for two original screenplays, two adapted screenplays, and for directing “There Will Be Blood.” Nolan had two screenwriting bids for “Memento” and “Inception.” Del Toro was nominated for writing “Pan’s Labyrinth.” This year, Anderson and Nolan are also nominated as producers, Gerwig as a writer, and Peele and Del Toro as writers and producers. Del Toro won the Golden Globe, the DGA Award, and the Critics’ Choice Award. He also won the BAFTA, though Nolan was the only other one from this list nominated. A director who has won both the Golden Globe and the DGA Award has gone on not to win the Oscar exactly three times: in 1949, when Robert Rossen lost for “All the King’s Men” to Joseph L. Mankiewicz for “A Letter to Three Wives,” in 2000 when Ang Lee lost for “Crouching Tiger, Hidden Dragon” to Steven Soderbergh for “Traffic,” and in 2012 when Ben Affleck wasn’t even nominated for the Oscar for “Argo.” The last two years, the film that won this award did not win Best Picture, but, aside from Affleck in 2012, the DGA winner has gone on to win this prize since 2003.

Who should win: I don’t know what necessitated the inclusion of Anderson here when his film is hardly in the same category as the rest. I can understand the enthusiasm for Peele even if I don’t think that the film merits the buzz it’s gotten, though I suppose directing would probably be the best place to honor it. Gerwig did a wonderful job bringing her story to life and would be a decent choice. It’s shocking that Nolan earned his first Oscar directing bid for a film that’s so normal in so many ways, but it’s still a tour de force. Over the rest, I would choose Del Toro’s vision of his mesmerizing universe.

Who will win: Anderson doesn’t have a shot, but the other four will all get votes. The fact that Del Toro has pretty much won everything thus far means that he’s far enough ahead that a victory for Peele or Gerwig’s films would happen in the original screenplay or Best Picture category instead. Nolan might have had a good chance if he had collected more prizes thus far this awards season.

Thursday, March 1, 2018

Oscar Winner Predictions: Best Animated Short


The nominees:
Dear Basketball (B)
This adaptation of a letter Kobe Bryant wrote to the NBA officially declaring his retirement is not the typical focus for a nominated short. The visual interpretation of his ode to the thing that he loves is pretty incredible, with hand-drawn animation bringing all of his formative experiences and dreams to life. For those not invested in Bryant’s career or in the sport, this film does its best to capture the incredible attachment he feels to basketball and what retiring truly means for him.

Garden Party (C+)
Don’t let this short’s title fool you: this isn’t a normal party. This French film follows the amphibian residents of the inside and outside of a rich home where very little seems to be happening and plenty is decomposing. It’s not worth ruining its ending, but this short is relatively unappealing and only moderately engaging as its protagonists make typical animal noises and crawl around an abandoned mansion.

Lou (B+)
Here’s Pixar’s contribution to this year’s lineup, the film that played before “Cars 3” during its theatrical release. As usual, it’s a sweet story of an unlikely transformation, this time about a bully who is reminded of his humanity by the monster living inside a lost and found box in the school playground. It’s simple and endearing, and very hard not to like.

Negative Space (B+)
This stop-motion French short is simple in its presentation but its content is considerably more layered and deep, with a special emphasis placed on the value of space. An adult son’s recollections of how he bonded most with his well-traveled father over being taught how to efficiently pack a suitcase are made all the more poignant by the realization that those moments were their most substantive together. The animation, particularly the folding of the clothes, is marvelous.

Revolting Rhymes (B+)
This short is the length of the other four combined, adapting poems from the Roald Dahl book of the same name. Featuring recognizable voices like Dominic West, it begins with a wolf sitting in a restaurant and telling the woman with him an intermingled story of Red Riding Hood and Snow White. It’s fresh, creative, and not as revolting as the title would have you think despite some unpleasantness, and definitely a productive and commendable effort.

Previous winners: Piper, Bear Story, Feast, Mr. Hublot, Paperman, The Fantastic Flying Books of Mr. Morris Lessmore, The Lost Thing

Who should win: I wouldn’t vote for “Garden Party” or “Dear Basketball,” but any of the other three would be fine. I’d probably pick “Lou.”

Who will win: I think it’s between Lou and “Negative Space,” and I’ll choose the former for now. I’ve seen in the past that this category can be wildly unpredictable, so it could honestly be any of them, though probably not “Garden Party.”

Oscar Winner Predictions: Best Live Action Short


The nominees:
Dekalb Elementary (B-)
This is a particularly tough watch given its subject matter – a man who walks into an elementary school with a gun – and the recent mass shooting at a Florida high school that has been dominating the news. Knowing that this story is based on a real 911 call that was placed by a receptionist adds depth and purpose, but this reenactment, if that’s what it’s meant to be, feels less than genuine. The most difficult part is that this film takes a less destructive course than what has actually happened in reality so many times, offering what might be a hopeful prediction for the future but one that sadly doesn’t hold much water.

The Eleven O’Clock (A-)
This very clever and entertaining short is reminiscent of two past nominees from this category, “The Voorman Problem” and “The New Tenants.” It stars Josh Lawson from “House of Lies” and Damon Herriman from “Justified,” both using their native Australian accents, as a therapist and his patient, who has a delusion that causes him to believe that he is a therapist. Watching both of them try to run the session with the other refusing to play the role of the patient is extraordinary fun, and this thirteen-minute ride doesn’t try to accomplish too much, allowing its two hilarious leads to play off each other superbly for a very memorable interaction.

My Nephew Emmett (B)
This short centers on the abduction of fourteen-year-old Emmett Till from his uncle’s house after he was accused by a white woman of whistling at her, leading to historically relevant events that helped pave the way for the civil rights movement. Seeing Emmett’s uncle try so hard to protect his nephew while still acknowledging the circumstances around him and playing a purposely subservient part is harrowing, but there isn’t much about this dramatization that stands out aside from the power of the true story itself.

The Silent Child (B+)
The past two winners of this award have given a focus to those without much of a voice, and this poignant film amplifies that with its story of a young deaf girl whose parents don’t know what to do with her. When a social worker arrives, she begins teaching her sign language and develops an unprecedented bond, but her parents don’t seem interested in investing in such an effort. This call to action for helping those with disabilities thrive with the right support is compelling, and its story is equally sweet and effective.

Watu Wote/All of Us (B)
This student film from German director Katja Benrath takes place in Kenya, where a Christian woman takes a bus to visit relatives that is attacked by a terrorist group that insists on separating the Christian passengers from the Muslims. Adapted from a true story, this film examines cultural clashes and preconceptions while presenting a relatively straightforward recreation of events. While unspectacular, this is far better than past requisite nominees like “That Wasn’t Me” in 2014 and “Na Wewe” in 2011 about third-world incidents like this one.

Previous winners: Sing, Stutterer, The Phone Call, Helium, Curfew, The Shore, God of Love

Who should win: I wasn’t too fond of “Dekalb Elementary,” and I don’t think it’s just because watching anything related to a school shooting these days is more than unpleasant. “My Nephew Emmett” and “Watu Wote” both evoked real-life events but didn’t accomplish more than just portraying them on screen. “The Silent Child” was easy to like and would be a perfectly deserving winner, and I’d enthusiastically throw my support behind the shortest but most worthwhile of these nominees, the delightfully entertaining “The Eleventh O’Clock.”

Who will win: I think that any of these could win, but I think the likeliest given the recent films that took home the award is The Silent Child.

Oscar Winner Predictions: Best Documentary Short


The nominees:
Edith + Eddie (B)
This love story about two people with similar names who got married at age 95 and 96 starts out as the sweetest, most endearing tale of unexpected affection discovered later in life but quickly turns sour thanks to the real-life events that tore them apart. Watching Eddie hand Edith her teeth before putting in his own shows how much they care for each other, but Edith’s declining mental health and a disagreement between her daughters over how best to care for her leads to a court-appointed guardian bringing Edith to Florida while Eddie waits at home not knowing when he’ll see her next. This profile of a form of elder abuse spotlights this situation but doesn’t share any answers other than sadness, making it heartbreaking but not quite as influential as perhaps it could have been or might still be. Available on Topic.com.

Heaven is a Traffic Jam on the 405 (B)
There’s no denying how incredibly interesting this film is, spotlighting a fifty-six-year-old artist who has struggled with mental illness throughout her life. Beginning with a nod to the title and how a typically agonizing daily occurrence for many provides rare solace for Mindy Alper, who is frequently overwhelmed by overstimulation from other people in places like the supermarket. Her own understanding of her childhood and the relationships with her parents that led her to improve her speech and ability to communicate through her art is truly intriguing, and the actual product she creates is astonishing, especially considering the limitations she describes overcoming and continuing to live with presently. Available on YouTube.

Heroin(e) (B)
This look at Huntington, West Virginia is not an optimistic one, since it boasts a heroin overdose rate ten times the national average. What is cause for celebration is the way in which a number of women in the community seek to change that statistic and help those who suffer, including the fire chief who gets many calls in which she can help save a life and the judge who runs drug court, where she scolds those who have lapsed in their mandated efforts to stay clean and warmly congratulates those who have reached anniversaries and resisted the temptation to fall back into old habits. One resident hears the horrifying numbers of overdoses in the past year and is proud that, for the first time, he isn’t a part of that count. It’s a worthwhile spotlight and an inspiring showcase of what those in this town are trying to do to combat it, even if it’s not an extraordinary film. Available on Netflix.

Knife Skills (B+)
It’s rare to see an affirming story like this one which doesn’t involve much negativity. I had heard about Edwin’s, the French restaurant in Cleveland that employs only people who have been recently released from prison, from one of its founding members, and this energizing film does a great job of sharing its story. The positive outlook doesn’t ignore the reality that many ex-convicts are rearrested within the first year and that even the most committed members of the program aren’t immune to temptations and circumstances that threaten their livelihood. The innovative nature of this particular opportunity for rehabilitation is truly inspiring, and the need to learn how to prepare all twenty-five dishes for this fancy French establishment shows that it’s not just a charity organization but a place where serious cuisine happens. The opening night of the restaurant, which gets its own spotlight, involves lots of excitement and nerves, but also some great-looking food. Quotes like “I would take the rush of what I’m doing now over the rush of getting high any day” show just how successful that program has truly been. Available on iTunes.

Traffic Stop (B+)
This is a documentary built mainly from dash cam footage, showing the stop and arrest of twenty-six-year-old African-American schoolteacher Breaion King in 2016 in Austin. King is profiled as an upstanding member of society who couldn’t believe what was happening to her when a white police officer pulled her over for speeding in a fast food parking lot and then treated her as if she was the guilty perpetrator of some violent crime. Fortunately, this is one situation that didn’t have a deadly outcome, and the footage, which King didn’t know was being recorded, is difficult to dispute. King’s experience is nonetheless harrowing, especially for the speed with which it happened and escalated. King’s honest conversation with a backup officer while she was handcuffed in the back of the car on the way to jail offers a frank and effective analysis of how King views racism in society. Available on HBO.

Previous winners: The White Helmets, A Girl in the River: The Price of Forgiveness, Crisis Hotline: Veterans Press 1, The Lady in Number 6, Inocente, Saving Face, Strangers No More

Who should win: Three of these films are worthy nominees but wouldn’t get my vote since they fail to rise above their material to become excellent in their own right. While “Traffic Stop” is captivating in its use of video footage and its stark arguments, my choice is the most positive one that captures its characters’ energy, “Knife Skills.”

Who will win: In some cases, it’s the sunnier film with a warm message that wins over more misery-centered fare, which leads me to think that “Knife Skills” will win. The safer choice is probably Heaven is a Traffic Jam on the 405 or “Edith + Eddie.”

Wednesday, February 28, 2018

Oscar Winner Predictions: Best Foreign Film


The competition: A Fantastic Woman (Chile), On Body and Soul (Hungary), The Insult (Lebanon), Loveless (Russia), The Square (Sweden)

Previous winners: The Salesman (Iran), Son of Saul (Hungary), Ida (Poland), The Great Beauty (Italy), Amour (Austria), A Separation (Iran), In a Better World (Denmark)
My winner: Announcing shortly after the Oscars!

The facts: “Loveless” director Andrey Zvyagintsev’s previous film, “Leviathan,” was nominated in 2014, while “A Fantastic Woman” director Sebastián Lelio and “The Square” director Ruben Östlund had previous features, “Gloria” and “Force Majeure,” that came close to being nominated in 2013 and 2014, respectively. Sweden has won three times out of fifteen nominations, Hungary has won twice out of nine, and Russia has won once out of six. This is the second nomination for Chile, following “No” in 2012, and the first for Lebanon. “In the Fade,” from Germany, won the Golden Globe and the Critics’ Choice Award but didn’t make this list.

Who should win: The one film on this list that truly astounded was “The Insult,” which takes what should be a simple disagreement and turns it into something much more representative of clashing cultures. “A Fantastic Woman” and “On Body and Soul” were both very strong, while I felt the same way about “Loveless” and “The Square” as I did about their directors’ previous films: some decent features but less than effective and well-rounded overall.

Who will win: I’m going to go ahead and predict The Insult even though that’s probably not smart and “The Square” or “A Fantastic Woman” will win.

Oscar Winner Predictions: Best Documentary Feature


The competition: Abacus: Small Enough to Jail, Faces Places, Icarus, Last Men in Aleppo, Strong Island

Previous winners: OJ: Made in America, Amy, Citizenfour, Twenty Feet from Stardom, Searching for Sugar Man, Undefeated
My winner: Announcing shortly after the Oscars!

The facts: There aren’t many helpful statistics here aside from two important notes: “Last Men in Aleppo” spotlights the White Helmets, who were the subject of last year’s Oscar-winning documentary short, and “Strong Island” director Yance Ford is the first openly transgender Oscar nominee. Three of these films are available on Netflix which means they may have been more wildly seen, but there isn’t one hot-button frontrunner the same way there has been each of the past five years. This is the first time since 2013 that not a single one of these films was nominated for the PGA documentary prize, which went to “Jane.”

Who should win: I really loved “Faces Places.” Of the rest, “Icarus” was very interesting also, but none of them really compare. Fortunately, this is a very good list, and I think I might have been more engaged by “Last Men in Aleppo” if I hadn’t already seen last year’s “The White Helmets.” Though it was much more narrative-focused, “Strong Island” was strong, and “Abacus: Small Enough to Jail” was the weakest of the bunch but still decent and worthwhile.

Who will win: I think that Faces Places is different from the rest and optimistic enough to take this prize, but it could be any of these.

Oscar Winner Predictions: Best Animated Feature


The competition: The Boss Baby, The Breadwinner, Coco, Ferdinand, Loving Vincent

Previous winners: Zootopia, Inside Out, Big Hero 6, Frozen, Brave, Rango, Toy Story 3, Up, Wall-E, Ratatouille, Happy Feet, Wallace and Gromit: The Curse of the Were-Rabbit, The Incredibles, Finding Nemo, Spirited Away, Shrek
My winner: Announcing shortly after the Oscars!

The facts: “Coco” co-director Lee Unkrich won this award for “Toy Story 3” in 2010. “Coco” is from Pixar, which has won eight out of ten nominations. “The Boss Baby” is from Dreamworks, which has won two out of eleven nominations. “Ferdinand” is from 20th Century Fox and Blue Sky, which have earned several nominations apiece but no wins. “The Breadwinner” joins “Song of the Sea” and “The Secret of Kells” as the third nominee from the Irish Cartoon Saloon. “Loving Vincent” isn’t affiliated with any previously-nominated distributor or production company. “Coco” won the Golden Globe, the Critics’ Choice Award, the PGA Award, and the Annie Award. The only film ever to win all four and then lose the Oscar was “Cars,” and there’s no “Happy Feet” this year with a serious shot of upsetting.

Who should win: Two of these films were the last two I watched in any category. “The Boss Baby” does not belong here, and I think there are very few people who would argue that. “Ferdinand” is a perfectly good movie, though it’s not the best of this bunch. Both “The Breadwinner” and “Loving Vincent” address adult themes in creative and compelling ways, but nothing compares to the wondrous, seemingly universally-adored “Coco.”

Who will win: There are some years where this category isn’t locked, but we have a film in the vein of “Inside Out” and “Frozen.” There’s no way that Coco doesn’t take home the award.

Tuesday, February 27, 2018

Oscar Winner Predictions: Best Visual Effects


The competition: Blade Runner 2049 (John Nelson, Gerd Nefzer, Paul Lambert and Richard R. Hoover), Guardians of the Galaxy Vol. 2 (Christopher Townsend, Guy Williams, Jonathan Fawkner and Dan Sudick), Kong: Skull Island (Stephen Rosenbaum, Jeff White, Scott Benza and Mike Meinardus), Star Wars: The Last Jedi (Ben Morris, Mike Mulholland, Neal Scanlan and Chris Corbould), War for the Planet of the Apes (Joe Letteri, Daniel Barrett, Dan Lemmon and Joel Whist)

Previous winners: The Jungle Book, Ex Machina, Interstellar, Gravity, Life of Pi, Hugo, Inception
My winner: Announcing shortly after the Oscars!

The facts: On the technical side of things: Nelson won previously for "Gladiator," and both he and Hoover have two previous nominations. Sudick has five previous nominations, while the other three have all been recognized for other Marvel films. Rosenbaum has won both times he was previously nominated, for "Forrest Gump" and "Avatar." White and Benza have been nominated before. Morris won for "The Golden Compass," Scanlan won for "Babe," and Corbould won for "Inception." Letteri has four wins out of nine previous nominations, Lemmon won last year for "The Jungle Book," and Barrett has two previous bids. At the Visual Effects Society Awards, “War for the Planet of the Apes” and “Blade Runner 2049” split most of the prizes. At BAFTA, “Blade Runner 2049” beat “Star Wars: The Last Jedi,” “War for the Planet of the Apes,” and two other films not nominated here.

All five of this year’s nominees are part of series or franchises that have previously been nominated here. Every “Star Wars” movie except for “Revenge of the Sith,” including the two entries released in the past two years, has been honored, with only the original three films winning the award. “Dawn of the Planet of the Apes” and “Rise of the Planet of the Apes” were cited in 2014 and 2011, and the first “Guardians of the Galaxy” was also nominated in 2014. Though this year’s entry isn’t a continuation but a reboot, “King Kong” did win this prize in 2005, and the 1976 version also won a special achievement award. Lastly, the original “Blade Runner” was a nominee in 1982 but lost to “E.T. the Extra-Terrestrial.”

What does that mean for this year? Last year’s win for the live-action “The Jungle Book” suggests that something like “War of the Planet of the Apes,” which seems to be pretty popular, will prevail, though theoretically “Kong: Skull Island” could too. There’s no reason to think that either “Star Wars: The Last Jedi” or “Guardians of the Galaxy: Vol. 2” would break through now when recent installments of both haven’t won. And then there’s “Blade Runner 2049,” which is also nominated in four other categories and is truly an astounding visual effort.

Who should win: I get that animating a whole lot of apes is impressive, but there wasn’t much else about “War of the Planet of the Apes” that astounded me, especially in comparison to the previous films in the series. “Kong: Skull Island” was actually cooler, with so many different creatures brought to life. The same goes for “Guardians of the Galaxy, Vol. 2,” which I’d be more than happy to see win but can’t imagine would happen. “Star Wars: The Last Jedi” is a great choice as most films in its series are, but I’d give this to “Blade Runner 2049” for truly wowing my eyes with its depiction of its dystopian future.

Who will win: Per my above analysis, this should be a race between two films. “War for the Planet of the Apes” has a lot of buzz and could well overtake Blade Runner 2049, which is nominated in four other categories and I think should be able to maintain its lead here.

Monday, February 26, 2018

Oscar Winner Predictions: Best Makeup and Hairstyling


The competition: Darkest Hour (Kazuhiro Tsuji, David Malinowski and Lucy Sibbick), Victoria and Abdul (Daniel Phillips and Lou Sheppard), Wonder (Arjen Tuiten)

Previous winners: Suicide Squad, Mad Max: Fury Road, The Grand Budapest Hotel, Dallas Buyers Club, Les Miserables, The Iron Lady, The Wolfman
My winner: Announcing shortly after the Oscars!

The facts: Only Tsuji has been nominated before, for “Click” and “Norbit.” Both “Darkest Hour” and “Wonder” contended for all three Hollywood Makeup Artist and Hair Stylist Guild Awards – hair styling, makeup, and special makeup effects. “Darkest Hour” won two prizes, and “Victoria and Abdul” wasn't nominated there at all. All three of these films were nominated along with two others at BAFTA, where “Darkest Hour” prevailed. The last film to win for primarily one central character’s makeup was “The Iron Lady” in 2011, with “Hitchcock,” “Foxcatcher,” “The 100-Year-Old Man Who Climbed Out the Window and Disappeared,” and “A Man Called Ove” losing to bigger-scale operations “Les Miserables,” “The Grand Budapest Hotel,” “Mad Max: Fury Road,” and “Suicide Squad.”

Who should win: I’m still puzzled by the omission of “I, Tonya” here in favor of “Victoria and Abdul,” which didn’t seem all that impressive. “Wonder,” a delightful film, was surely a daily endeavor, and a productive one at that. I don’t think anything can compare to “Darkest Hour,” however, for completely transforming Gary Oldman into Winston Churchill and making the rest of its cast look right too.

Who will win: I suppose “Wonder” could take it, but I would be pretty shocked if Darkest Hour wasn’t rewarded here.

Oscar Winner Predictions: Best Sound Editing


The competition: Baby Driver (Julian Slater), Blade Runner 2049 (Mark Mangini and Theo Green), Dunkirk (Richard King and Alex Gibson), The Shape of Water (Nathan Robitaille and Nelson Ferreira), Star Wars: The Last Jedi (Matthew Wood and Ren Klyce)

Previous winners: Arrival, Mad Max: Fury Road, American Sniper, Gravity, Skyfall/Zero Dark Thirty, Hugo, Inception
My winner: Announcing shortly after the Oscars!

The facts: Mangini has five previous nominations, winning on his most recent try for “Mad Max: Fury Road.” King is tied for the most wins in this category, with three, for “Master and Commander,” “The Dark Knight,” and “Inception,” and an additional three nominations. Wood has three previous nominations and Klyce has two. At the Motion Picture Sound Editors Awards, “Blade Runner 2049” defeated every other film nominated here in one category, while “Dunkirk” took another prize.

Who should win: Obviously there’s overlap with the Best Sound category, which boasts the same nominees, so I’ll do my best to make the proper distinctions. “The Shape of Water” and “Blade Runner 2049” were great but wouldn’t top my list. “Baby Driver” made the most of its visual cues and matched them with aural responses, while “Star Wars: The Last Jedi” simulated the sound of space battles exceptionally well. Ultimately, the gunfire and grandeur of “Dunkirk” wins out for me.

Who will win: Many people think that “Baby Driver” could triumph here, as could “Blade Runner 2049,” but I’ll stick pick Dunkirk.

Oscar Winner Predictions: Best Sound


The competition: Baby Driver (Julian Slater, Tim Cavagin and Mary H. Ellis), Blade Runner 2049 (Ron Bartlett, Doug Hemphill and Mac Ruth), Dunkirk (Mark Weingarten, Gregg Landaker and Gary A. Rizzo), The Shape of Water (Christian Cooke, Brad Zoern and Glen Gauthier), Star Wars: The Last Jedi (David Parker, Michael Semanick, Ren Klyce and Stuart Wilson)

Previous winners: Hacksaw Ridge, Mad Max: Fury Road, Whiplash, Gravity, Les Miserables, Hugo, Inception
My winner: Announcing shortly after the Oscars!

The facts: Hemphill has eight previous nominations, with one win for “The Last of the Mohicans.” Barlett has one previous bid and Ruth has two. Landaker has eight previous nominations, with three wins, for “The Empire Strikes Back,” “Raiders of the Lost Ark,” and “Speed.” Weingarten has three previous nominations and Rizzo has one. Parker has eight previous nominations, with wins for “The English Patient” and “The Bourne Ultimatum.” Semanick has ten previous nominations, with wins for “The Return of the King” and “King Kong.” Wilson has four previous nominations and Klyce has three. “Dunkirk” defeated all these other nominees aside from “Blade Runner 2049,” which wasn’t cited, at the Cinema Audio Society Awards.

Who should win: These are all superb choices. “The Shape of Water” would probably be my last choice only because so many other elements that overwhelm the sound. “Star Wars: The Last Jedi” was cool but my basic understanding of these categories should put the emphasis on sound editing there instead. “Baby Driver” smoothly incorporated music into its chase scenes and nearly every other scene as well, which is a feat. “Dunkirk” was an aural achievement which would be perfectly deserving of this win, though I’d probably opt for “Blade Runner 2049,” which used its sound as an optimal, critical part of its dark experience.

Who will win: I’m torn between “Blade Runner 2049” and Dunkirk, but I think it’s safer to choose the latter.

Sunday, February 25, 2018

Oscar Winner Predictions: Best Original Song


The competition: “Mystery of Love” – Call Me By Your Name (Sufjan Stevens), “Remember Me” – Coco (Kristen Anderson-Lopez and Robert Lopez), “This Is Me” – The Greatest Showman (Benj Pasek and Justin Paul), “Stand Up for Something” – Marshall (Diane Warren and Lonnie R. Lynn), “Mighty River” – Mudbound (Mary J. Blige, Raphael Saadiq and Taura Stinson)

Previous winners: City of Stars (La La Land), Writing’s on the Wall (Spectre), Glory (Selma), Let It Go (Frozen), Skyfall (Skyfall), Man or Muppet (The Muppets), We Belong Together (Toy Story 3)
My winner: Announcing shortly after the Oscars!

The facts: Two songwriting duos are recent winners in this category. Pasek and Paul won for “City of Stars” last year and were up for another song from the film. Anderson-Lopez and Lopez won in 2013 for “Let It Go.” Lynn won in 2014 for “Glory” and Warren has been nominated eight times before. Blige is also nominated for starring in her film this year. While there was a five-year stretch where the Golden Globe winner didn’t even go on to be nominated for an Oscar, the last three years have seen the same song take both home. “This Is Me” won the Golden Globe and “Remember Me” won for the Critics’ Choice Award, which has been about as predictive as the Globes since its inception in 1998.

Who should win: I’ve tried to pay attention this year to how the songs, all of which are great and would be worthy winners, are used in each film. The nominated songs from “Marshall” and “Mudbound” both relate strongly to the themes in their films as they play over the end credits, punctuating the power of what’s been presented. “Call Me By Your Name” features its tune playing while its two protagonists experience euphoria far from their normal lives and assists some incredible visuals. The song in “Coco” plays a vital part in its storyline, and its words are poignant even if its melody isn’t as superb. And even though it’s not my favorite song from the movie, the nominated song from “The Greatest Showman” gets my vote for how it helps to define the individuality of circus performers and their underappreciated value in society, not to mention that it’s memorable and catchy.

Who will win: It’s natural that the two songs which are relevant to their film’s plots and are sung by characters would be the frontrunners. It’s really a battle of the two recent songwriting duos. “Coco” gets a slight bump from its animated feature nomination, which it’s guaranteed to win, while this is the only bid for “The Greatest Showman,” which has its song playing everywhere. After hearing “Remember Me” and seeing how it’s used in the film, I can understand its case but it's no “Let It Go.” I do think that This Is Me will be the one to triumph and give “The Greatest Showman” an Oscar win.

Oscar Winner Predictions: Best Original Score


The competition: Dunkirk (Hans Zimmer), Phantom Thread (Jonny Greenwood), The Shape of Water (Alexandre Desplat), Star Wars: The Last Jedi (John Williams), Three Billboards Outside Ebbing, Missouri (Carter Burwell)

Previous winners: La La Land, The Hateful Eight, The Grand Budapest Hotel, Gravity, Life of Pi, The Artist, The Social Network
My winner: Announcing shortly after the Oscars!

The facts: This category contains three bigwigs and two composers who have been doing great things for the past few years. Williams has a momentous fifty previous nominations, with five wins, including for the original “Star Wars” and most recently for “Schindler’s List” in 1993. This is his fifth nomination for a “Star Wars” film, after the original trilogy and “The Force Awakens.” Zimmer has eleven nominations and one win, for “The Lion King.” Desplat has eight previous nominations and one win, for “The Grand Budapest Hotel.” This is Burwell’s second bid, after “Carol” in 2015, and Greenwood’s first, though his “There Will Be Blood” score would likely have been nominated in 2007 if it had been deemed eligible. In the past two decades, this award has gone to a film not nominated for Best Picture only three times. At the International Film Music Critics Association Awards this year, “Phantom Thread” beat “The Shape of Water” and “Star Wars: The Last Jedi” for Score of the Year. “The Shape of Water” has won the Golden Globe, the BAFTA, and the Critics’ Choice Award,

Who should win: I can’t quite understand why Williams is able to be nominated for what is essentially an adapted score in “The Last Jedi,” though upon listening to it, I did find it to be quite compelling and exciting, especially since, unlike so many reboots, the music doesn’t stray too far from the classic melodies and sounds like it with enough new cues to make it a bit different. The other four truly capture and define their films’ spirits. “Dunkirk” and “Three Billboards Outside Ebbing, Missouri” all both deliberately paced and stylized for their stories. “Phantom Thread” is melodic and in keeping with its film’s slow-paced beauty. “The Shape of Water” sounds like the fairy tale that it is, and therefore that’s my pick.

Who will win: While I’m sure that “Dunkirk” and “Phantom Thread” have their fans, there seems to be enough of a consensus that The Shape of Water should take this without too much trouble.

Oscar Winner Predictions: Best Film Editing


The competition: Baby Driver (Paul Machliss and Jonathan Amos), Dunkirk (Lee Smith), I, Tonya (Tatiana S. Riegel), The Shape of Water (Sidney Wolinsky), Three Billboards Outside Ebbing, Missouri (Jon Gregory)

Previous winners: Hacksaw Ridge, Mad Max: Fury Road, Whiplash, Gravity, Argo, The Girl with the Dragon Tattoo, The Social Network
My winner: Announcing shortly after the Oscars!

The facts: Only one of these nominees has been cited before, and that’s Smith, who contended for “Master and Commander” and “The Dark Knight.” Only five times since the 1960s have films not nominated for Best Picture taken this award, which doesn’t bode well for “Baby Driver” and “I, Tonya,” which are each up for just two other prizes. The winner of this award, however, hasn’t gone on to win Best Picture since “Argo” in 2012, and it’s actually much more common for the two not to match up. At the ACE Eddie Awards, “Dunkirk” bested “The Shape of Water” in the drama category and “I, Tonya” beat the other two in the comedy race. Four of the last ten Oscars winners, including last year’s, didn’t win either ACE Eddie. At BAFTA, where “I, Tonya” wasn’t nominated, “Baby Driver” took this prize.

Who should win: The construction of “I, Tonya” is clever and fast-paced but also irritating at times. Fans of “Three Billboards Outside Ebbing, Missouri” might advocate for it, but I found its narrative to be uneven and less than compelling in the way that it was assembled. “Baby Driver” is a fun inclusion, and though I don’t think it’s worthy of a win, it would be cool. “The Shape of Water” flows very well and remains furiously interesting throughout, but I’d probably vote for the very careful and deliberate structure employed to great effect in “Dunkirk.”

Who will win: With two top Best Picture contenders – “Get Out” and “Lady Bird” – not in this race and “Three Billboards Outside Ebbing, Missouri” weakened by the snub of its director, this is a race between “The Shape of Water” and Dunkirk, and I’ll put my money firmly on the latter. If “I, Tonya” or “Baby Driver” won, I’d be truly surprised.