My Oscar Predictions

Regardless of your opinions on the Oscars, the Academy and awards ceremonies in general, there’s no doubt that 2012 has been a pretty brilliant year for film. We had a superb array of summer blockbusters that filled theaters and broke box office records everywhere. We were treated to the best Bond film in years in what is the spy’s 50th anniversary. Directors went above and beyond, specifically in terms of visuals as film makers continue to grapple with the digital vs film argument. This year's Oscar nominations did not surprise me, and I can safely say I enjoyed most of the films on the list, as opposed to 2011s forgettable nominations. It was also nice to see a couple of surprises with Beasts Of The Southern Wild getting 4 nods, continued support of independent cinema by the industry is a must, and despite the continued ignorance of audience favorites (Looper, The Dark Knight Rises, The Avengers, Ted), the recognition for Beasts and the singular nod for Moonrise Kingdom gives me some hope. So without further a-due, here are my predictions for the 85th Academy Awards:  

Best Film: Argo

If you’d asked me who would have won Best Film before the Golden Globes I would have told you Lincoln, but after Affleck and co sweeping the Globes, Screen Actors Guild Awards and the BAFTAs then I'm going to assume that Argo will win this category. Plus the added snubbing of Affleck in the Best Director category will go in the film’s favour. I still wouldn’t rule out Lincoln winning it, or indeed Zero Dark Thirty, Silver Linings Playbook, Life of Pi or Les Miserables, they all still have solid chances, but after post-Globes buzz, Argo stands the strongest chance. I doubt Amour will win as it is more than likely to win in the Best Foreign Film category, its nomination is nothing more than recognition. If it were up to me I’d give the award to Beasts Of the Southern Wild or Django Unchained, both two of my favorite films in 2012, but Django stands an outside chance at best and Beasts’ nomination is much for the same reason as Amour’s inclusion. That doesn’t mean Argo is more than a worthy winner, it was brilliantly suspenseful and thrilling, and deserves all the plaudits it gets. 

Best Director: David O’ Russell (Silver Linings Playbook)

This category is much more tricky. Had Affleck been nominated he would have been firm favorite, but in his absence it makes this category much more interesting. While many will view O’Russell (Silver Linings Playbook) as an outsider here, with Spielberg (Lincoln) and Michael Haneke (Amour) favourites on the list, I’m gunning for O’Russell. Maybe it’s more hope than logic but the Academy throws out a few surprises each year and I’d like to think they’ll dole one out for Best Director. Life Of Pi seems to have lost ground over the last couple of months, so I’m doubting Ang Lee will be walking out with this award while debut director Benh Zeitlin (Beasts Of The Southern Wild), undeservedly may I add, is unlikely to win. 

Best Actor: Daniel Day-Lewis (Lincoln)

The firm favourite! This award is essentially wrapped up, with Day-Lewis a guarantee to take the award home to give the Lincoln actor a third record breaking Best Actor Oscar. His portrayal of the 16th President was nothing short of flawless, an intimate, stirring and charming performance. That’s not to say the other actors on the list aren’t deserving of credit, Hugh Jackman’s Jean Valjean in Les Miserables was terrific, and easily one of Jackman’s best performances in years. Joaquin Phoenix was disturbingly electric in The Master, and would also very much deserve the award, while I felt Bradley Cooper’s Silver Lining’s Playbook performance never really dazzled, and would have preferred to have a more deserving actor on this list. However with the Academy’s affinity for patriotic period movies and a clearly incredible performance by Day-Lewis, this category is a dead cert. 

Best Actress: Jennifer Lawrence (Silver Linings Playbook)

Again, this category is quite open with both the oldest Best Actress nomination ever (Emmanuelle Riva) and the youngest (Quvenzhane Wallis) competing against each other. While Jessica Chastain (Zero Dark Thirty) won the Golden Globe, Emmanuelle Riva (Amour) won the BAFTA, with Lawrence still somehow remaining the favourite throughout. Many people feel Riva very much deserves the Oscar, she is 85 and has been acting for over sixty years, and her Amour performance is beautiful, supporters of Riva will also say Lawrence, 22, still has many years ahead to win awards. Despite Riva’s incredible career, I still feel the Academy will go with Lawrence, whose Silver Lining’s Playbook performance is just as deserving of awards as Riva. I’d still love it if Jessica Chastain won, she had one of the best performances of 2012 in Zero Dark Thirty, playing an intelligent, determined CIA operative on the hunt for Bin Laden, but she seems to have slipped as favourite, don’t be surprised if she walks away with the award though. Beasts actress Quvenzhane Wallis who at only 9 years old has deservedly earned herself a nod, will almost certainly not win. At 9 years old there would be no point putting pressure on a career that has barely even begun by handing her an Oscar, it’s nice that she’s been recognized though. 

Best Supporting Actor: Tommy Lee Jones (Lincoln)

Probably the most interesting category! All five actors have won Oscars before, none have anything to prove, so it’s very wide open. So I suppose my prediction here is very much less influenced by Academy politics, and based purely on performance, in which case I’d give it to Tommy Lee Jones (Lincoln). If it weren’t for Day-Lewis, Lee Jones would have stolen the film in an honest portrayal of Republican radical Thaddeus Stevens. Alan Arkin was hilarious as ever in Argo, Christopher Waltz his usual playful self in Django Unchained, Phillip Seymour Hoffman was terrific in The Master and Robert DeNiro gave a heartfelt if not sometimes all to similar performance in Silver Lining’s Playbook. However Waltz won this same award back in 2009 for Tarantino’s Inglorious Bastards so it would have appeared Waltz wasn’t the favourite but with his win at the BAFTAs 2 weeks ago it remains to be seen that he could still walk away with the award. If there was any justice Leonardo DiCaprio would have been nominated in this category, he was everything from charming to brutal to manic in Django Unchained, but sadly this is not the case. Either way, my money’s on Tommy Lee Jones, but expect anyone to walk away with the award in this category. 

Best Supporting Actress: Anne Hathaway (Les Miserables) 

Another award already tied up. This seems to have been a guarantee for months, having brought most cinema goers to their knees in tears with her portrayal of Fantine in Les Miserables. It is a compelling and emotionally draining performance by the actress, and the award will continue to cement Hathaway as one of the Hollywood’s current best. Elsewhere in the category Sally Field was brilliant as Mary Todd Lincoln in Lincoln and you’d think if there was a 2nd place award she’d almost certainly win it, while Amy Adams was awkwardly brilliant in The Master playing the deluded wife of cult leader Lancaster Dodd (Phillip Seymour Hoffman). They’ve probably all started practicing their losing faces though, while Hathaway must have her ‘oh wow I've won I'm so surprised’ look nailed by now. 

Best Adapted Screenplay: Argo (Written by Chris Terrio) 

I think this category could be very much a toss up between Argo and Lincoln (written by 

Tony Kushner). Kushner was the favourite in this category but Terrio’s Argo reigned supreme at the Writer’s Guild Awards last week, and if Argo wins Best Film expect the Academy to give Terrio the nod.

Best Original Screenplay: Django Unchained (Written by Quentin Tarantino)

It would be lovely to see the Academy give Django Best Film but that probably isn’t going to happen, but it stands a very decent chance in this category. Although its main competition is probably Michael Haneke’s Amour and Mark Boal’s Zero Dark Thirty. Given the controversy over Boal’s script I’d say it has lost ground with Haneke’s Amour sneakily becoming the top favourite along with Tarantino’s Django. Tarantino is not particularly an Academy favourite so don’t be surprised if Haneke sneaks the award. Wes Anderson and Roman Coppola’s Moonrise Kingdom are also up for this award having been snubbed in every other category. In an ideal world Moonrise Kingdom would win, but this is not an ideal world, and Wes Anderson’s beautiful young love story won’t get the recognition it deserves. 

Foreign Language Film : Amour

Animated Film: Brave

Cinematography: Life Of Pi

Documentary Feature: Searching for Sugar Man

Editing: Life Of Pi

Music (Original Song): Skyfall by Adele

Visual Effects: Life Of Pi

Well they’re my predictions for most of the categories, expect Life Of Pi to run away with the technical awards, while Amour is also a certainty for Foreign Language Film. 

 Let’s hope 2013 will be another great year for film.

2012 in Review

2012's been a decent enough year for film. There was no new Human Centipede film, Star Wars Episode 7 has been planned (good or bad? you decide), Christopher Nolan completed his Batman trilogy in style, 3D continued its strangle hold on the Hollywood blockbuster and there's hope yet that the Academy judges may throw us some well deserving Oscar nominations. I've enjoyed lots of films this year, i've been surprised by films I looked down on and disappointed by films in which I had high expectations, from comedies like Wanderlust and The Watch to horrors like Cabin in the Woods and to fantasy epics such as The Hobbit, 2012 was eventful. Here's my film year in review:

Best Sci Fi/Fantasy: 

It was a definite toss up between Looper and The Hobbit for best sci fi/ fantasy, but Looper just takes it for me. Coming from nowhere last Autumn, Looper creeped up on us once the dust had settled from a massive blockbuster summer which included Brave, The Dark Knight Rises and The Avengers to name a few. Looper became the first genuinely enjoyable and original sci-fi film for years with not only a brilliant cast (Joseph Gordon Levitt is fantastic, in what has been a good year for him) but some superb cinematography. We also have to appreciate Bruce Willis, who's performance is under stated, his portrayal of an angry, twisted man is one of his best in a while. It also possibly had the best second act of a film all year, totally changing the nature of the story as the focus shifted to a small boy on a farmyard. As I said in my review back in October, Looper is smart and intelligent and easily one of the best sci fis in a decade. 

Best Action film:

Again another Autumn release, James Bond rocked up in October with style, action, thrills and apparently Heineken beer, not his usual martini. And that wasn't the only change to the Bond franchise in Skyfall, we were introduced to a charming new Q (played by Ben Whishaw), as well as Moneypenny (Naomie Harris) and a new head of the British Secret Service in the form of Ralph Fiennes, as Judi Dench's M was tragically lost in the movies' finale. Not only was Skyfall absolutely thrilling, but it was also intelligent and emotive, exploring Craig's Bond like never before. There may possibly be nods for technical Oscars for Skyfall, but it surely deserves more, especially for the stalwart Judi Dench, who has proved to be of consistent appeal during the Bond movies, even during Pierce Brosnan's lack luster series. I hope it is somewhat recognised this coming awards season. 

Click here for my Skyfall review from back in October! 

Best Comedy/Drama:

This was always going to be tough, it came to a three way toss up between Beasts Of The Southern Wild, Moonrise Kingdom, and Silver Linings Playbook, and after eliminating the latter, I could not choose between these two fine pieces of cinema, so have chosen both! Of course I loved Silver Linings Playbook, but both of the above films were for me, this years absolute stand outs, and my personal two favourite movies this year. Beasts Of The Southern Wild was nothing short of beautiful, epic, fantastical and masterful. From the very opening sequence of Hushpuppy, running frantic through the marshlands of the Bathtub, swirling sparklers and screaming to the world to its tragic yet brave ending, I loved every minute. It is superbly shot, vivid, bright and dizzying, and brings a sense of wonderment that I did not get from any other title this year. I stand by what I said in my review back in November, Quvenzhane Wallis who plays Hushpuppy, deserves at least an Oscar nomination for Best Actress, it's time for the Academy to step up. Moonrise Kingdom was also brilliant, it was a critical comeback for Wes Anderson who earned his best reviews in years for this spring release. With charming yet surprisingly mature portrayals from its young leads, Moonrise Kingdom reminded its audience what it meant to be young and to be in love. It was a film of friendship and humour, it was a lovely alternative to the over played and highly saturated dramas Hollywood has turned out in the past couple of years. As per with Anderson, it had its affable quirks and it's obvious Bill Murray inclusion, but it was this years most eccentric, witty and heart warming release. Like Looper it also benefitted from its casting of Bruce Willis who has a surprising turn as a charming Police Officer, it's been a good year for John McClane!

Best Comic Book Film:

2012 was a great year for comic book movies, unlike in previous years where they were either hit or miss. There were no Fantastic Fours or Spiderman 3s this year, every super hero film was thrilling, while all were critically praised. That made this decision particularly tough, I enjoyed all three of this summer's comic book releases; The Dark Knight Rises, Avengers Assemble and The Amazing Spiderman. However in retrospect, I decided to choose Amazing Spiderman. The Dark Knight Rises, while intelligent and superb, became too over hyped on release, and then in early autumn, it received a backlash from Batman and Nolan fans alike for too many plot holes among other criticisms. In general movie goers should take a step back from the TDKR and the trilogy in general, and critique it properly in time. The Amazing Spiderman however, I felt was hugely under rated. On release it did well, not just at the box office but critically too. But there wasn't as much hype in comparison to Avengers and TDKR, and that's why I think The Amazing Spiderman gets my vote. There was no massive expectation before viewing, people weren't quite sure what to expect. Not only was Andrew Garfield immediately better than the last Peter Parker, Toby McGuire, but the general direction of the film was all round superb. It used a new villain in the form of Rhys Ifan's frightening and vicious Lizard and we had the delightful Emma Stone starring as Gwen Stacy, not the annoying Kirsten Dunst as an incessantly moaning MJ. We also explored more of Peter Parker's background through his parents, something which Sam Raimi's trilogy didn't get off the ground with. And now with Jamie Foxx cast as Electro for Amazing Spiderman 2, the series looks to go from strength to strength. 

Most Underrated film:

Ruby Sparks was easily the most underrated film of 2012, it was charming, endearing and deeply intelligent. Yet it is also a brilliantly dark film exploring the ins and outs and tangled complications of relationships. The second act brings on this dark twist as it is wonderfully acted out by the two main leads, Zoe Kazan (also the screenwriter) and the ever-consistent Paul Dano. The two are a delight to watch on the screen together, and Kazan's debut script is quick, witty and flows from scene to scene with laid back ease. While it received good reviews on release, it was never particular advertised well and thus didn't garner as many fans as it should. But with such a wonderful story, and with hints of Woody Allen and Charlie Kaufman, Ruby Sparks should no longer be slept on, and deserves all the plaudits that other awards garnering dramas are getting. Also under rated this year include the Andrew Dominik film, Killing Them Softly, which despite critical acclaim, did not bode well with audiences. I found it to be entertaining and suspenseful, while Brad Pitt gives a brilliantly under stated performance. 

In retrospect of my post, I find 2012 in review to be about young actors and actress'. My favourite films this year, whether it be Looper, Moonrise Kingdom or Beasts Of The Southern Wild, all centred around young charming protagonists. And the actors and actress' which portrayed them on screen all deserve recognition in what are moving, humorous and mature portrayals. They outshine some of the most respected actors working alongside them. So 2012 has been a hopeful year, as cinema is surely being passed into the right hands.  

Beasts Of The Southern Wild Review

Masterful and alluring, Beasts Of The Southern Wild is a true American masterpiece; the definition of cinematic beauty 

If you were going to create a film based on the disaster that was Hurricane Katrina in 2005, there are many directions a film maker could go in. An action film probably starring Dennis Quaid, perhaps? A political thriller based on the slow reaction from George W. Bush? None could have predicted this part-fantasy, part drama about poverty, moonshine, climate change, and a young girl just trying to make sense of the universe. Set on the Louisiana gulf coast in a small island the inhabitants call 'The Bathtub', the story follows a six year old cutely named Hushpuppy, and her alcoholic, often abusive Father, Wink. Every actor or actress in this film were locals hand picked by up and coming director Benh Zeitlin, none were professional before doing the film. Quvenzhane Wallis stars as Hushpuppy and also acts as the films philosophical commentator as we see everything through her wondering imaginative eye while Dwight Henry, who was chosen while reading his lines in a bakery, plays Wink. 

Beasts Of The Southern Wild begins on the fictional swampy 'Bathtub' island, full of rickety wooden houses, farm animals and raggedy children. The period of the film was uncertain to start off, with the opening shots you could see it being a pre american civil war slavery plantation or even a distant apocalyptic future, yet this just made the film even more alluring. In a beautiful first shot we see Hushpuppy running with sparklers, the colours and camera movement are sublime, while it also shows us the carefree yet ignorant and stubborn nature of the Bathtub natives. 

Living in separate shacks, we see Hushpuppy and her father Wink's relationship as different from the start. Treating her like a pet as he throws her a big chicken carcass to eat and to 'share with the dog' as well as this it is clear he tends to disappear with no notice after drunken binges with other islanders, leaving Hushpuppy very much to her own devices. As the film continues we see their relationship taking different turns as Wink's health deteriorates and Hushpuppy goes on the search for her absent Mother. 

When Hurricane Katrina hits the Island, only a few loyal natives remain, using what's left of the wooden wrecks to construct a smallish house for the community. Despite the abusive nature of Wink, the other islanders are good hearted and well meaning and look after each other well regardless of their squalid living conditions. As the storm gets worse, the islanders are forced to leave their only home and go to hospitals on the main land, where their stubbornness and ignorance is again proven. While the story continues, it is obvious Hushpuppy deeply misses her Mother, and what follows in the search of her is strange, yet heart warming. Hushpuppy's continuing struggle to understand the world and people around her are beautifully symbolised towards the film's tragic end.

It is refreshing to see that the gamble taken by Zeitlin in casting locals pays off. Wallis as Hushpuppy steals the show in a magnetic and humbling performance. A scrappy mix of tomboyish charm, ferocious nature and strong emotion are all beautifully portrayed by the young actress. I would be surprised if she did not receive an Academy Award nomination. Dwight Henry as Wink portrays a broken man, long past his prime, but regardless of his abusive behaviour, his love for his daughter is clear from the start, and even clearer at the end, while we do see spurts of his playful if somewhat unorthodox nature with Hushpuppy. His performance is powerful, and much like Wallis, you'll have a hard time believing that acting isn't his day job. The film is shot on a Super 16 handheld camera, making for dizzying and wonderful viewing, while this also intermits with images of crumbling glaciers and pre-historic aurochs. All this sounds confusingly chaotic, but somehow it blends not just simply but stunningly to create a truly beautiful piece of cinema.

Beasts Of The Southern Wild is a fantastical fairy tale full of grit. It is a modern day fable, full of colour, masterful acting and life affirming vividness not matched by any other film this year. 5/5