Can you imagine those boos at this late date? (Feel free to link to your favorite acceptance speeches.)
So. Will you boycott the Oscars if the strike’s still on?
How will you fill out your ballot?
Did you think the dialogue in Juno was snappy — or excruciating? Did the library scene in Atonement make the last two thirds of the movie bearable? Did the milkshake line rescue the ending of There Will Be Blood?
Should No Country for Old Men have been nominated for best original score?
Which ones haven’t you seen that you still plan to see? What did the nominations leave out? What was your movie of the year?
I’ll throw one out there:
I think it’s a crime that Juno beat out Diving Bell for a Best Picture nod. I say that without having seen Juno, but still … it’s like picking Hershey’s over Jacques Torres.
And even though it left me feeling like I needed a shower and a delousing, Before the Devil Knows You’re Dead was probably my favorite film of the year — or the one that kept me thinking for the longest afterwards.
Oh, boo, this trumps my annual post :)
That being said, “There Will Be Blood” might eke out – and might deserve – Best Picture. Of all the nominees, I think it was the most fully-realized cinematic experience of the year. The others films in contention are solid, to be sure, but Daniel Day-Lewis’ hamming alone might carry TWBB over the finish line. Religion v. commerce is a classic American struggle, and some of those shots put that “Look at me! I can use a Steadicam!” 10-minute tracking shot in “Atonement” to shame.
As for films that got snubbed, might I throw out “Zodiac,” David Fincher’s moody thriller that perhaps ran a bit long and got released way too early in the year? Bonus: Jakey G.!
And without a hint of irony I’d like to add that Amy Adams was owed a nod for Best Actress for “Enchanted.” The movie was totally fluffy and ridiculous, but she sold it and nailed that character. If Johnny Depp was singled out for the first “Pirates of the Caribbean” (a role that got tired fast in subsequent films), Adams should have received the token comedy nom.
See ya February 24!
i was completely blown away by jonny greenwood’s soundtrack for TWWB. although it was nominated for and did win several other awards, i was surprised that it didn’t get a nod from the academy.
and although javier bardem is a shoo-in for best supporting actor, i thought that albert finney deserved a nod in that category.
TWWB s/b TWBB.
Trixie, it turns out TWWB’s score was disqualified and therefore ineligible for a nom because Johnny Greenwood had borrowed bits of previously published works in cobbling together the score. While most of the work is brand new and created for the film, the Academy rules forbid anything but wholly original pieces from being considered.
He absolutely would havbe been nominated had he gone the distance.
Bryan: JUNO itself wasn’t amazing – but Ellen Page was. She’s the reason everything in the film looks better. The supporting cast is solid (the actor who plays her dad is nearly as good as Page), but it’s her delivery of the lines that holds it all together.
And yeah, I’m still on strike.
And ditto on comment #4 I did the same thing in #5. Great minds … xoxo
P.S. The strike will be over by end of next week.
I’ve noticed that TGW community has been a little hard on Juno. At the risk of looking stupid, I have to say that I really loved this movie. I thought the dialogue was great, and it got better and better as the movie went on. I spend every day with teenagers, and I’m telling you, that Diablo Cody nailed the dialogue. I don’t know how it compares to the other movies nominated; the only other best picture nom I saw was Michael Clayton… and I swear I can’t figure out what all the hooplah is about. It was good, but it wasn’t *that* good.
I loved Philip Seymour Hoffman in Charlie Wilson’s War. He gets my vote there!
Haven’t seen yet, but really want to see soon: Persepolis, Atonement, The Savages
of the three you list, your money will be best spent on persepolis.
Alex Ross on Jonny Greenwood. I’m kinda bummed I missed the Wordless Music show.
I just saw TWBB for the third time (no lie). I love its depth of anti-heroicism. Of course, commerce beats ‘superstition’ in the end. Also, maybe the best closing line of all time. And the MUSIC…oh my lord! Brilliant!
No Country was also fab, but not quite as all there for me. The Coens greatest accomplishment was making Woody Heraldson appealing. Line of the movie: “you’ve been putting it up your whole life – call it.”
Juno made me want to yak. It was the most gratuitous movie I’ve ever seen – this is coming from someone who was a serious slasher fan as a teen. Sorry Taryn, if that’s the way teens really talk, I want less than nothing to do with them.
I too enjoyed Juno. It’s definitely not best picture worthy (the casting of Jason Bateman immediately disqualified it), but I had a great time watching it. But the winner will be between NCFOM and TWBB. I think No Country wins it for being a little more accessible to the average viewer, but Blood is my personal choice.
One of the toughest categories for me is Best Supporting Actress. Kate Blanchett can do no wrong, and was incredible in I’m Not There. But, Amy Ryan hits you on so many different levels in Gone Baby Gone that I think she deserves it.
I saw about 40 new films in 07 and hope to see a few more to catch some nominee’s I missed before the awards.
Worst movie of the year? A toss up between Death at a Funeral and Becoming Jane.
Bryan I agree with you on devil know your dead, I think it was a great post.
great movie, not awake yet, and this is a great post. I love all the different oppinons and the freedom of expression here. It has become my morning cofee.
I like what A White Bear had to say about Atonement — esp about the first part of the movie, what sets it all in motion — but I found the final two thirds of the movie to be as bad as Titanic. Maybe worse. Warning — her post contains a few spoilers.
Juno may have had some hyperglib cringeworthy dialogue, but you must admit it was about a billion times better than Waitress.
Keep in mind that I am generally on a Netflix time lag for watching nominated films and an all-around crank but here goes:
There Will Be Blood was “impressive” but unsatisfying. Anderson aimed high, which is a good thing at a time when safe, cute films are overpraised, but didn’t quite hit the Altman/Malick mark he was so clearly aspiring to. I admire the ambition and many of the shots but I thought the Salon review nailed many of my reservations.
The Day-Lewis performance was great…I just liked it better the first time I saw it in Gangs of New York.
I hated the Ross article on Greenwood-he lost me when he called him a violinist/composer who happened to be the guitar player for Radiohead. Please. It goes back to that whole “classically trained” argument which is empty on so many levels. The music was good (though I prefer The Bends, which I’m listening to as I type this) but I walked out humming the Brahms.
And I do apologize because I know all of this can be great fun but the Oscars in general are nonsense.
The idea of nominating the best performances within particular strictures (see above for the exclusion of the Greenwood score) and then giving awards based on things such as career achievement or the industry’s desire to pimp the next big thing is all a bit silly, isn’t it? I love movies and will talk about them all day but rarely are the “best” performances those that come from films that make enough money, have the right director, are in the right genre, are being pushed by their studio, etc.
For example, we finally got around to watching The Notorious Bettie Page last night and Moll was fantastic. Not the biggest deal in the world, not necessarily the “best”, but she carried an interesting movie and brought a real presence to a difficult role.
So it sounds like I’m boycotting the ceremony in solidarity with my union brothers and sisters.
The most memorable film I’ve seen in a long time? The King of Kong Check it out.
The idea of nominating the best performances within particular strictures (see above for the exclusion of the Greenwood score) and then giving awards based on things such as career achievement or the industry’s desire to pimp the next big thing is all a bit silly, isn’t it?
Yes I know Ruben, but I find comfort in clinging to the Oscars as one of the last commercialist traditions I find interesting. Much more that who wins, I love the acceptance speeches, especially anticipating who gets cut off with music and who is allowed to babble on and on and on.
I also find the cuts to audience members vastly fascinating. For example, a quick cut to Denzel, Will, or Morgan while Halle Berry gives her speech is essential. It makes so clear that Hollywood’s politics are clunky at best.
the presence of halle berry on a podium anywhere, ever, accepting an award for anything, is something i find incomprehensible.
scott, when are you going to start talking about hot rod again?
I made a concerted effort to see as many potentially Oscar-worthy movies as possible, but I’ve missed a few. Of the ones mentioned here haven’t seen Atonement, Diving Bell and the Butterfly, and Persepolis. I have to say there were a lot of really good movies released this past season. Mine are: No Country for Old Men, Michael Clayton, Before the Devil Knows You’re Dead, There Will Be Blood.
I wasn’t that enamored of TWBB, although Daniel Day Lewis was great, until I discussed the movie with a friend on Tuesday. Our conversation not only made me appreciate the movie more, but also made me want to go see it again.
I agree with the general opinion of Juno expressed here. I wouldn’t go so far as Scotty did – if I yakked I probably would have been able to control it and just choke it back down – but in general I thought it was kind of trite and scripted. It had its moments though, and Ellen Page was great. I heard the writer on Fresh Air a while ago and liked her also.
#18: Safe/Cute Movies? It is a Hollywood trend to be sure, but I would hardly call No Country for Old Men, Before the Devil Knows You’re Dead, Michael Clayton or Charlie Wilson’s War cute or safe (with the exception of CWW). It’s been a pretty brutal movie season if you ask me.
Based on what I’ve seen, here’s how I think it should go:
Best Picture: No Country For Old Men.
Best Actor: Daniel Day Lewis (There Will Be Blood)
Best Actress: Ellen Page (Juno)
Best Supporting Actor: Javier Bardem. PSH in Charlie Wilson’s War is a close second. He was awesome. I agree with Trixie re: Albert Finney too.
Best Supporting Actress: ?
Best Original Screen Play: MIchael Clayton
Before the Devil Knows You’re Dead deserves something, I just don’t know what. I’ve seen it twice and really like it. PSH is such a gifted actor. I also enjoyed American Gangster, but it’s kind of a second tier movie this year.
I have to agree with G-Lock about Zodiac too. It wasn’t an extraordinary movie, but deserves some attention. I think it was just a really strong field this year, and Zodiac came out early so it got buried.
As for boycotting the Oscars, I plan to if the strike is still on, although it sounds like a deal is in the works?
Should’ve at least gotten a nod.
that’s what she said?
Hi, I like to butcher sentences and paragraphs.
Of the ones mentioned here haven’t seen Atonement, Diving Bell and the Butterfly, and Persepolis. I have to say there were a lot of really good movies released this past season. Mine are: No Country for Old Men, Michael Clayton, Before the Devil Knows You’re Dead, There Will Be Blood.
Should read:
Of the ones mentioned here, I haven’t seen Atonement, Diving Bell and the Butterfly, and Persepolis. I have to say there were a lot of really good movies released this past season. My favorites are: No Country for Old Men, Michael Clayton, Before the Devil Knows You’re Dead, There Will Be Blood.
oh. and cate blanchett i think will surely win for best supporting actress in i’m not there. she was amazing. and as we all know well, the academy loves it when female actors play men (or vice versa), or when someone pretty plays someone ugly or of course when someone who is supposedly not retarded plays someone who is.
#25: you made me laugh.
and brooke you made me laugh with all those elaborate revisions.
and thank god someone else finally liked BTDKYD.
You really appreciate Devil after watching Woody Allen’s lame effort in Cassandra’s Dream (no wonder they pushed the release date until the New Year). PSH should get an MVP award for the year for hitting the trifecta in Devil, Charlie Wilson’s War & the Savages.
# 21 I was referring to such fare as Little Miss Sunshine and the as yet unseen Juno in terms of safe/cute/clever for its own sake but also to Apatowitis in general. 40-Year-Old Virgin, Knocked-Up, and Superbad and their ilk all have their limited moments but garner a bunch of acclaim that I don’t think is all that deserved. I was a teenage boy once, it was a blast in many ways, but enough already.
I want to see Before The Devil Knows Your Dead because of a certain insight that Scott passed along to me but I stump here once again for the sheer entertainment value of The King of Kong.
Marion Cotillard should win Best Actress. Cut and print.
I was hoping someone would have pointed out that NCFOM didn’t really *have* a score, except for wind and rolling tumbleweeds, which is one of the things that made its western/Mexican landscape so creepy.
OK late to the party –
but must weigh in.
Loved Juno – not because it was sweet or sassy – but because it had a lot to say about what it means to be a child or an adult. Surely you all have not become too intellectual to allow for a female Holden? Jennifer Garner was fantastic and robbed of a supporting nod.
And those last 2/3rds of Antonement, Bryan, included Vanessa Redgrave for godsakes. I was totally inspired by the ideas on our human need for narrative and the power of story to destroy, create or bring order to the world. The typewriter score was worth the price of the ticket.
But then my favorite Oscar winner of all time if Ben Hur.
wait, wait, wait. vanessa redgrave was the last two minutes, not the last two thirds! we had to go through all that saving private ryan nonsense to get there.
Other people whining about snubs:
http://www.ew.com/ew/gallery/0,,20007870_20164474_20173074,00.html
#8: ps the strike will be over Sunday, unless all hell breaks loose.
I thought TWBB was an amazing film on so many levels, though I wish the story itself had been more tightly told. Too much was lost in the 20-year interval at the end of the movie, and of course the very end threatened to spill into farce.
That said, it was so beautiful to watch — brilliantly composed shots, stirring cinematography, and just the whole epic sensibility. Haven’t seen a movie like that in a very long time.