Friday, February 28, 2014

Oscar Picks 86th Academy Awards 2014

Best Picture
American Hustle



12 Years a Slave is an important, admirable film (impeccably made but conventional for Steve McQueen); The Wolf of Wall Street is a dizzying kinetic romp; Her is a wonderfully affecting modern fable.  But Hustle is a wildly entertaining movie about the American dream of reinvention and is the only film this year that compelled me to see it three times.  It's messy (deliberately and successfully "anti-structural," as Robert McKee noted--free form like the jazz David O. Russell admires) and perfect and irresistible.   Life life. Like love.  Like all the things after which we lust.


Director
Alfonso Cuarón, Gravity


Not a great script (thin and rather superficial, I thought), but Cuarón went through what must have been imaginative heaven and hell to show us space as we have never before seen it. Even though his direction was necessarily dependent on a team of technicians and an almost co-directing collaboration with cinematographer Emmanuel Lubezki, the film is still ultimately Cuarón's vision. Although in general I think Steve McQueen (12 Years a Slave) is a stunning and perhaps an even more accomplished director.


Actor
Christian Bale


Bale knocked it out of the park for me in this movie, right from the opening scene in which he applies his toupée and finishes off his coif with a generous spray of Elnett (which has made a comeback, BTW).  The photo above is from the Jeep's Blues scene, which bonds Irving and Sydney.  I think Bale may be the best actor on the planet currently.  A close second is Matthew McConaughey, who was superb in so many projects this year--Mud (under seen, unfortunately), his scene-stealing cameo in Wolf, and of course Dallas Buyers Club.  The last I had some trouble connecting with, though--I think ultimately because it stuck too close to the actual story, and hence lacked the satisfying arc that only fiction can truly offer (to wit, American Hustle, billed as "Some of This Actually Happened").   However, next year McConaughey deserves every award on the planet for his work in HBO's series True Detective.


ACTRESS
Amy Adams



Yes, Cate Blanchett portrayed a great manic contemporary Blanche Dubois, but compared to Adams' three characters in Hustle (Sydney, Edith, and the version of Edith pretending to be in love with Richie), Blanchett's performance seemed one note and over-the-top.  Whether in Halston or hot rollers, Adams distinguished the role(s) with her range, restraint, and naked talent.


SUPPORTING ACTOR
Michael Fassbender, 12 Years a Slave



Fassbender astonished me with his performance in this film, even more so than in Steve McQueen's previous film with him, Shame.  (Fassbender was also excellent in this year's The Counselor.)  A close second for me in the Supporting Actor category is Jared Leto in Dallas Buyers Club, who is favored to win.  And I have to say that Bradley Cooper was also great in Hustle.


SUPPORTING ACTRESS
Jennifer Lawrence



Lupita Nyong'o was very good, but her role in 12 Years a Slave had built-in sympathy. Lawrence was hysterically inspired good. My microwave will heretofore be referred to as "the science oven" as a result of the scene depicted above.  And even though the kiss was Amy Adams' idea, Lawrence executed it with such aplomb!


ADAPTED SCREENPLAY
John Ridley, "12 Years a Slave"



This was a tough decision, because I also admired Terence Winter's adaptation of The Wolf of Wall Street and the Linklater/Delpy/Hawke collaboration in Before Midnight.  But Ridley's work was ultimately the most impressive, IMHO.


ORIGINAL SCREENPLAY
Spike Jonze, Her



There was simply no contest in this category.  The story was fresh, imaginative, moving, and soulful.


ANIMATED FEATURE
Ernest & Celestine



I picked this simply because I like the minimalist water color palette.  I generally have no interest in animation (or musicals) and haven't seen any of the nominated films.


CINEMATOGRAPHY
Bruno Delbonnel, Inside Llewyn Davis




Just look at the lighting, color, composition...throughout this movie. Stunning.


COSTUME DESIGN
Michael Wilkinson, American Hustle



Sexy, fun clothes driven by character.  The costumes were characters. They told a story in themselves, evolving and becoming more stylish as the characters, were, well, devolving.


DOCUMENTARY FEATURE
20 Feet from Stardom



My only beef is that Jo Lawry (left) was in the film but not profiled.  I liked Dave Grohl's Sound City doc better, but that wasn't nominated.


EDITING
Christopher Rouse, Captain Phillips



Taut, tense, thrilling--Rouse's work was the perfect match for Paul Greengrass' documentary style direction.  A close second was the editing team behind American Hustle:  Jay Cassidy, Crispin Struthers, and Alan Baumgarten.


FOREIGN LANGUAGE FILM
The Great Beauty



Ah, Jep Gambardella (played by Tony Servillo) and la dolce vita in Paulo Sorrentino's film!  I also really liked Thomas Vinterberg's The Hunt with Mads Mikkelsen.


MAKEUP AND HAIRSTYLING
The Dallas Buyers Club


Frankly, I would have picked American Hustle for this category, but it wasn't nominated.


ORIGINAL SONG
The Moon Song, Her
Music by Karen O; lyrics by Karen O and Spike Jonze



Simple, haunting, lovely.  See their performance here.


ORIGINAL SCORE
Steven Price, Gravity



You can hear the entire score here.  One commentator refers to it as "heroin in audio format."  Perhaps a bit overstated, but it's damned good.  My second choice is the Her soundtrack by Arcade Fire (William [aka Win] Butler and Owen Pallett).


PRODUCTION DESIGN
American Hustle:  Judy Becker, Production Designer; Heather Loeffler, Set Decoration 




The obvious choice is Catherine Martin for The Great Gatsby.  Her work is period (which always wins) and flashy; it dazzles and almost overpowers all else--except her equally dazzling costumes.  Don't get me wrong--I marveled at Martin's work.  But American Hustle's period sets complement more quietly, effectively, without calling excessive attention to themselves. They're intrinsically integrated into and serve the story.  That to me is what great production design is about.  Think of Blade Runner--its design is distinctive, but we can't separate the dancer from the dance, so to speak. It's of a whole.


SOUND EDITING
Glenn Freemantle, Gravity

So say the predictors.  I don't have enough knowledge of the field to guess.


SOUND MIXING
Gravity:  Skip Lievsay, Greg Orloff, and Peter F. Kurland

Again, I defer to the predictors.


VISUAL EFFECTS
Gravity:  Tim Webber, Chris Lawrence, David Shirk, and Neil Corbould



This film looked unlike any space film we had seen before.  That was riveting.


ALL THE REST....

Life is too short, so I didn't see any of the animated, documentary, or live-action shorts.


The Academy Awards broadcast is Sunday, March 2.  (And don't forget the Indepdendent Spirit Awards the day before!)



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1 comment:

  1. Great blog - I will keep track of your posts because I seek inspiration for films I can watch that help me in my life ...

    Robert

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