Well folks, it’s almost over. This crazy awards season is going to come to an end tomorrow and we’ll know what that Academy thinks the best films, techs, and performances of 2013 were. It’s been tough to get a true gauge of the season and the Oscars could really go any way. So here are the final predictions that I have made for the Oscars.
Posts Tagged ‘The Great Gatsby’
Continuing on in our series of Oscar digests is to take a look at the Production Design category. Much like the Costumes, the Production Design category is incredibly ecclectic in both their choice for nominees and winners over the years. Period pieces, scifi, drama and comedy all collide in this category. Let’s do some analysis.
We are now just three weeks from the 86th Academy Awards, and don’t think that contenders, publicists and journalists aren’t counting the days. It has been a long and draining season for all of the aforementioned parties, which is why some were half applauding and half rolling their eyes on Saturday night as a barrage of yet more awards were dished out — including one to an ex-slave who has been dead for 150 years, another to a guy who hasn’t stopped campaigning since September and yet another to a director at a ceremony for production designers. Go figure.
By Mark Pinkert
There was an interesting phenomenon in film this year that deserves a second look: many of the most recognizably “American” films of 2013 were directed by foreigners and, of those films, two feature almost entirely foreign casts.
First, to be clear, when I say “American” films, I’m not referring to stories that simply take place here; rather, I’m looking at films that are germane to the American narrative, to our history and cultural zeitgeist–really, Americana as opposed to just American. Films like The Great Gatsby, 12 Years a Slave, Dallas Buyers Club and Captain Phillips–which bring to life classic American literature, histories, and recent events–are the best examples. (Gravity is a tough sell for this list, but does fit insofar as it deals with the space program, a prominent feature of 20th century, Cold War America.) The second criterion, then, is to have a foreign director, and all of the aforementioned films do: Baz Luhrmann (The Great Gatsbty) is Australian, Steve McQueen (12 Years a Slave) and Paul Greengrass (Captain Phillips) are English, Jean–Marc Vallée (Dallas Buyers Club) is French-Canadian, and Alfonso Cuarón (Gravity) is Mexican.
By Mark Pinkert
One of the most popular Oscar hopefuls this year is Bruce Dern, who has gotten a lot of love from critics and from his peers for a great performance in Alexander Payne’s Nebraska. But, other than the role itself, what has made his story so special is that he’s had an extremely prolific film career–mostly as a supporting actor–and is finally getting Oscar recognition for the first time at the age of 77. (Dern did get nominated for Best Supporting Actor thirty-five years ago for Coming Home (1978).) Even getting a nomination, though, will be an uphill battle, as he’s in a tight race with the likes of Tom Hanks, Leonardo DiCaprio, Chiwetel Ejiofor, and Matthew McConaughey.
By Søren Hough
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Roman Polanski once said, “I’d rather watch a film in a movie theatre. I have all the kit you need at home, but it’s not the same.”
A few months ago, I had the privilege of seeing The Matrix (1999) on the big screen. I missed its theatrical debut fourteen years ago, but my local cinema occasionally plays older movies in special screening events. The Matrix was already one of my favorite films, so I jumped at the chance to see it in theaters. The experience was nothing short of revelatory.
Only sitting in a theater did I understand the purpose of the film’s wide 2.35:1 aspect ratio. As my head turned to keep up with a back-and-forth between Neo and Morpheus, I became cognizant of how deliberately cinematographer Bill Pope framed every shot in the film. No matter how many times I’d watched The Matrix on Blu-ray, nothing compared to this. At that moment, it was clear: this was how the movie was meant to be seen.
The PGA nominations were announced yesterday and while many of the films we expected to be there made it, an interesting stat came to the forefront. Blue Jasmine was the only film released before October that managed to pick up a nomination. Everyone knows that the later release dates tend to bear out Oscar seeking films, but to only have one pre-October release is very telling. So today, I decided to look at all of the pre-fall releases (ie. before September) and see which films might be successful with Oscar.
Every year there seems to be a film that analysts predict for big things only to have the film disappoint, critically or at the box office, that rises from the ashes to claim several nominations come Oscar morning. This year that film looks to be Baz Luhrmann’s adaptation of The Great Gatsby. Released in May, the film was deemed to be out of the Best Picture race and seemed to be an afterthought until a few weeks ago, when it started winning critics awards in the tech categories. So what brought it back and is it an Oscar threat?
By Terence Johnson
The process of short listing nominees isn’t a new and neither is the “snubbing” of perceived contenders. However, even seasoned Oscar watchers had to find themselves perplexed when the Academy announced the short list for the Makeup and Hairstyling Oscar. When the makeup artists convene on January 11 to watch the 10 minute reels, they’ll be in for an interest experience.
By Joey Magidson
Being an Oscar prognosticator for over a half decade now, I’ve developed some odd habits. One of the things that I do that I know makes people question my sanity is posting my Oscar predictions for the another season as soon as the previous one has ended. I like getting a jump on things and actually started organizing contenders for the 2014 show a few months ago, but unless you’re as hardcore a film junkie as me, that’s crazy-talk.