Best Picture
Avatar--duh. Admittedly I haven't seen it yet and I guess I'm going to have to (not like you can rent the damn thing, it obviously has to be viewed in a theater in 3D) but the reviews from friends have been mixed...I think breaking down by gender, but further analysis is necessary. What I will say is, I almost threw something at the TV when Cameron won for Titanic and have to reconvince myself that Leonardo Dicaprio is a decent actor every time I go to try and watch a movie of his (and he really is a pretty good actor.) Excitement level: meh.
The Blind Side--really?! Really?! I have to go see this now, don't I? I don't know, maybe Sandy really is extraordinary in this one, but the Erin Brockvich comparisons aren't inspiring me (that really wasn't a good movie, in case people are still confused). Sandra Bullock, even if you win an Oscar, you'll still be the chick clenching from diarrhea to the stellar musical direction of "Taking Care of Business" when you finally release in some poor family's RV a la Two Weeks Notice to me.
District 9, An Education, The Hurt Locker, and A Serious Man--I'm fine with these in concept. I'll be seeing the ones I haven't yet in the coming weeks (a tradition of Tami and I's), but these are the types of films I expect from ole Oscar. I will mention that some of them just got in under the wire. I get that everyone saves the good stuff for right before awards so that people don't forget them, but this year it's been like "oh crap, we didn't put out anything good all year, hurry up and release this thing, who cares if only the foreign press has seen it come awards time."
Inglorious Basterds--I guess I'm fine with this too, but Tarantino's generally more of a cult following thing than an Academy Award thing (with or without Brad Pitt.) Like all Tarantino films, I expect this to be a movie about pretty people looking dirty, people getting killed in a creative way and things blowing up with some cleverly funny lines.
Precious--I want to want to see this film. But I just don't. That's it, that's all I really have to say.
Up--I mean, it's charming, but it's a children's animated film. Not that we shouldn't constantly reevaluate our idea of what "good" is when it comes to film and just generally art, but we should reevaluate based on things that challenge us, not yet another Pixar film that doesn't substantially differ from the last. I doubt the folks who made this movie thought that were making the best film of the year...like, why don't you just throw the Hangover in there while you're at it?
Up in the Air--I really like this movie. It does something that I think films of a certain type are supposed to do--captures a moment in modern history and speaks to the times we're living in and the changes that have occurred. For me, this movie came out at the perfect moment when a lot of change had occurred and spoke to a culture that I personally participate in. I liked it. Other friends of mine found it sort of obvious and heavy handed, and I see where they're coming from as well. All of that being said, I think in any stronger year, this movie would have gotten a screenplay nod and that's it. There wouldn't be this buzz around it.
At least Nine was left off the list, which (despite the costuming and some strong performances) was totally disjointed.
A Couple Things to be Pleased About
From the LA Times:
Bigelow, who won the Directors Guild of America Award over the weekend, is only the fourth woman to earn a best director nod. Daniels is just the second African American filmmaker to earn that honor.
I'm not thrilled just because there should be more diversity in film making (there should, it tells a better story from more perspectives), but also because I've heard that these folks put out amazing films.
All in all, academically I was taught to believe that hardship and national consciousness devoted to specific problems is a boon for cultural products. 1939 is widely considered the best year in film and we were still deeply in the Great Depression and moving swiftly towards World War II. After an economic collapse, a massive political change and engagement in 2 wars, this was the best we could come up with?
Anyways, Tami and I will be catching the flicks we haven't seen...maybe we'll join Foursquare just to see if we have any stalkers who will try to run into us at the theaters. If I can recommend anything, it's seeing the short nominees (shown in DC at the E Street Cinema.) Octopodi last year was the best 3 minutes of my life...and you feel cool at your Oscars party for having an opinion when the category comes up.
Leave your predictions (and/or strong feelings) in comments...
you make an interesting point about hardship inspiring great art. to that end, i have to wonder if the success of Avatar doesn't have something very real to say about the American desire for escapism. while it might be a media-manufactured phenomenon, i've seen a lot of news reports like this one from CNN:
ReplyDeletehttp://www.cnn.com/2010/SHOWBIZ/Movies/01/11/avatar.movie.blues/index.html
i haven't seen it myself, so i can't say if i'll cry myself to sleep because i live in chicago and not fern gully. i'll keep you posted.
on the subject of Up, though, i have to respectfully disagree. generally, i like pixar movies the way a like a good hard cider. it's not a Guinness, but i appreciate the craftsmanship, even if it's a little saccharine, you know?
but i buried my grandfather the week before i saw Up. i can't even begin to describe to you the surreal and terrifying heartbreak my grandmother endured at the loss of her husband of 64 years. but if you saw the artful 5 minute montage of Ellie and Carl's life together at the beginning of Up, then you've got the picture.
despite the enormous tropical bird sidekick and talking-dog gags that ensue, Up is a movie crafted by adults who were not afraid to explore Carl's grief and anger without using broad and impersonal details or comic relief to spare their audience.
in all seriousness, i completely embarrassed myself by crying out loud in the theater, and all the way back to my car.
also, because in my mind i live in a world where this sort of thing happens, i would have given James Gandolfini a best supporting actor nod for Where The Wild Things Are. voice acting never gets enough credit.
ReplyDeleteof course, he'd still have to lose to Christoph Waltz.