When the Academy Award nominations were announced last month, American Hustle was one of the darlings of the town. It tied Gravity with 10 nominations to lead the field and managed surprise nominations for Christian Bale in Lead Actor. However, the tide has steadily been turning against the film, despite the SAG win, and as the stock of other films are rising, American Hustle seems to be losing steam. So much steam in fact that many seem to be predicting it to go 0-10 at the Oscars in March. This would be a historic fall from grace, as far as the Academy is concerned, so I though I’d dig into the history of the Oscars biggest losers and see what could be gleaned.
Posts Tagged ‘Gangs of New York’
By Joey Magidson
Each year, Oscar voters reward several previously unrecognized talents with their first Academy Award nominations. But they have a habit of filling many if not most of their 20 acting slots with people whom they have previously been nominated. (If you happen to have already won an Oscar? Well, then you are sitting even prettier.)
Why is this the case? That’s probably a question for a psychologist, although my own guess would be that voters are more inclined to check out the work of — and reward — work by quantities who are known and established than who are not.
Regardless, there are, as usual, plenty of previous nominees and winners — actors, actresses, directors, writers, and various behind-the-scenes talent — angling this year to be a part of the Oscar race once again. I have decided to highlight the 10 whom I believe have the best shot at scoring that desired recognition.
By Joey Magidson
Over the course of the last 85 years, the best picture Oscar race has generally been won by the most “important” film — in terms of its social significance and/or impact on the film industry itself — that is also enjoyable and fun. Think about Argo (2012), The Artist (2011), The King’s Speech (2010) and so many others.
What makes this year’s best picture race unusual, so far, is that virtually all of the major contenders that we’ve seen are extremely dark — from the presumptive frontrunner 12 Years a Slave all the way through longer-shots such as Labor Day. In fact, a large number are literally about life and death crises, including Gravity, All Is Lost, Captain Phillips, Fruitvale Station, The Book Thief and Prisoners.
By Joey Magidson
Everyone knows the saying “it’s an honor just to be nominated,” right? Well, that’s certainly the case, but there are always times when it just doesn’t seem right for a film to leave Oscar night empty handed. Tons of worthy films aren’t even nominated each year, but there is also no shortage of flicks that receive a solid amount of nominations and wind up winning nothing.
A lot goes into actually winning an Academy Award. Quality, of course, comes into play, but a little less than I’d prefer. Politics has its place, too, both in terms of capturing the zeitgeist and also in campaigning for the win. Oscar voters love to be wooed. One can occasionally win without campaigning, but by and large the Academy wants you to want it.
While it’s not included below, Up in the Air is a great recent example of a film that went from looking like a possible Best Picture frontrunner to hanging its hat on an Adapted Screenplay win to winding up without any wins on Oscar night, despite six nominations overall. It’s a long road from nomination morning to the show itself, so many a high quality film has had its moment ruined by another worthy (or at least usually worthy) contender. This year, at least a few similar movies will have that same empty feeling, but I’ll get to them later on.
For this week’s Top 10 piece I opted to do things a little bit differently. Instead of limiting it to 10 films that had multiple Oscar nominations but won nothing, I’ll be looking at 10 groups of films that have that sad distinction. It allows more work to be discussed, a wider net to be cast for answers and a nice change of pace.
On Monday morning, I had the opportunity to sit down for a chat in Beverly Hills with the man who is arguably the greatest director of all time, Martin Scorsese.
Nine awards seasons ago, two op-eds — both involving the Miramax film Gangs of New York (2002) — motivated the Academy to begin cracking down on “distasteful” Oscar campaigning, an effort that continues to this day.
By Rhett Bartlett
The National Board of Review (NBR) announced their 2011 awards this past week.
23 categories were announced, but among all what you have read about who won what, and who didnt – here are 5 stats about the NBR Awards for 2011, that you probably did not know.
By Sean O’Connell
“Pulp Fiction.” “The English Patient.” “Good Will Hunting.” “Shakespeare in Love.” “Chicago.” “The Aviator.” “Gangs of New York.” “The Reader.” “The King’s Speech.”
For decades, Harvey Weinstein’s name has been synonymous with the Academy Awards, and his influential fingerprints have been all over the Oscar season.
I’m very pleased to bring you the sixth episode of “Feinberg & Friends,” a podcast about the awards race that airs on The Race every week, usually on Tuesdays.
Each episode features a discussion between me and a different guest — a film blogger, critic or journalist of some other variation — about 10 different awards-related topics (which we list in the text accompanying the audio so that you know exactly what you’re signing up for) and runs for approximately 30 minutes (so that if one topic is not of particular interest to you it will only be about three minutes before we’re on to the next one, which hopefully will be).
I was delighted that my friend Sasha Stone, whose Oscar blog AwardsDaily.com was one of the first on the Web (it was established in 1999 as OscarWatch.com), agreed to join me for this episode. I really enjoyed our chat, during which we tackled the following 10 questions…
The vast majority of this year’s awards hopefuls have already played at least once on the festival circuit (Sundance, Berlin, Cannes, Telluride, Toronto, and/or New York) and/or gone into general release. Most of those that have not are set for October or November releases. But a select few others are being held until December, the last month in which they are eligible to qualify for Oscar consideration this year, and only being selectively screened for the press before then, if at all.