Final Oscar Predictions Zzzzzzzz
- Picture: The Artist (should: Midnight In Paris)
- Director: Michel Hazanavicius, The Artist (should: Terrence Malick)
- Actor: Jean Dujardin, The Artist (should: Oldman and Clooney)
- Actress: Meryl Street, Iron Lady (Viola has better odds? Should: Rooney Mara)
- S. Actor: Christopher Plummer, Beginners (Should: Plummer!)
- S. Actress: Octavia Spencer, The Help (should: McCarthy)
- Original Screenplay: Woody Allen, Midnight in Paris (should Midnight)
- Adapted Screenplay: Payne, The Descendants (Should: Descendants)
- Documentary: Pina (Should Pena) Winner: Undefeated (what?!)
- Animated: Rango (Should: Rango)
- Cinematography: Kaminski, War Horse (Should: Tree of Life) Winner: Hugo
- Editing: The Artist (Should: Dragon Tattoo) Winner: Tattoo (cool!)
- Music: The Artist (Should: Tinker Taylor Soldier Spy)
- Song: Man or Muppet (Should: Muppet)
- Makeup: Harry Potter and the Deathly Hallows (Should: Potter) Winner: Iron Lady
- Art Direction: Hugo (Should: Hugo)
- Costumes: The Artist (Should: Hugo)
- Visual Effects: Rise of the Planet of the Apes (Should: Apes) Winner: Hugo
- Sound Mixing: Hugo (Should: Hugo)
- Sound Editing: Hugo (Should: Drive)
- Foreign Language: A Separation (Should: Separation)
- Live Action Short: Tuba Atlantic Winner The Shore
- Animated Short: Fantastic Flying Books of Mr. Morris Lessmore
- Documentary Short: Tsunami
Results (winners in red… obviously): Woah, I didn’t bomb it. This is the first year I’ve gone 8 for 8 in the main category. I was a habitual 7/8er. Overall I got 17 out of 24.
This is the first year in recent memory where I have only a passing interest in the Oscars. Are Oscars to blame for picking the wrong movies or is it simply the paucity of good to great movies they had to chose from? As flawed as the voting process is I’m thinking its the later. My predictions this year are not really based on much beyond intuition because I haven’t cared enough to follow the precursors or OPPs (other peoples predictions). My final-FINAL predictions go up this Saturday and, yes, I fully expect to bomb this year so I might as well go out on a limb.
–All nominees ranked by preference.
- “Midnight in Paris” (Grade: A)
- “The Descendants” (Grade: A-)
- “The Tree of Life” (Grade: A-)
- “Hugo” (Grade: A-)
- “Moneyball” (Grade: B)
- “The Artist” (Grade: C+/B-)
- “The Help” (Grade: C-)
- “War Horse” (Grade: D+)
- “Extremely Lame & Incredibly Bad” (Grade: D-/F)
What Will Win: The Artist will most likely win. I say that grudgingly. The Artist is a well crafted throwback to be sure (I’d rate it a C+/B-) and I appreciate that it does not flaunt its post-modernism. The retro gimmick works BUT… if this movie were made in the 20s nobody would care about it. Even as modern silent films go Guy Madden (Brand Upon the Brain) is a true master of pomo silent cinema while Michel Hazanavicius is more of a tourist. The film is not flawed so much as it’s not anything particularly special beyond being a fun little movie. It’s got “momentum” (I hate that term) and will win based on that because people who vote for the Academy Awards (that is when they don’t just give it to their kids/spouses/friends to vote for them) seem to care more about picking the film that is most arbitrarily popular at this exact moment rather than one that will endure or one they liked because that would require insight and some sort of critical evaluation. If you look at the state of the movie industry today you will see that that those traits are absent and have been for a while. This sheep mentality to voting for the trendy films is how titles like Slumdog Millionaire or A Beautiful Mind win and are promptly relegated to being forgotten. Like that film, The Artist will not be remembered years from now because, well, there’s not much to grab on to here. The story of an actor being rendered obsolete has been done before, and better (All About Eve, Singing in the Rain, etc.), and the style is of course entirely cribbed. The other candidate, though a long shot, is The Desdendants and that is a much better and more rounded experience. A real movie in other words. But who am I kidding those rarely win the top prize.
What Should Win: One upside to this year’s nominees is that more than half of them are actually good. The other half don’t belong here. Midnight in Paris, Descendants, Hugo and Tree of Life are four within a very small handful of films I would dare to call good in 2011. If I could only vote for one title it would be Woody Allen’s Midnight. I would add that Moneyball would have been included in that “good” list if not for the few gag inducing scenes involving Pitt’s character’s singing daughter who, in a moment of startling pandering and out-of-place-ness, auditions for the audience as if she’s trying out for America’s Got Talent. Look, if I wanted to hear little kids singing I would go to… nowhere actually.
What Should Have Been Nominated: Too many to count. I love that the Academy managed to nominated only 9 films. I’m all for fewer films being included in the best picture category (five was perfect except for the fact that the Academy never managed to nominate the right films) but the fact is that a year hasn’t gone by where a larger pool was even remotely necessary–even if it was the Academy would probably screw it up by throwing in a couple Middle American dung nuggets a la The Blind Side. Deplorable 2011 titles like War Horse, The Help and Extremely Loud & Incredibly Close (the worst best picture nominee since Crash) somehow made the “elite” cut of prestigious Best Picture nominees which is an honor that is lessened with each passing year due to overcrowdedness and poor selections. What really sticks in my craw is that rather than go for a full 10 by selecting a thoughtful dark horse like, say, A Separation, or something brilliant like Drive or something unique like The Skin I Live In the voters would rater nominate nothing. Maddening. Wake me up when this is all over.
- “The Tree of Life” Terrence Malick
- “Hugo” Martin Scorsese
- “Midnight in Paris” Woody Allen
- “The Descendants” Alexander Payne
- “The Artist” Michel Hazanavicius
Will: “The Artist” Michel Hazanavicius is the “best” “director” of the year. And by best I mean he placed a stationary camera in front of a shallow film with one dimensional characters. Genus! Blah. Hazanavicius winning the DGA pretty much ends any speculation. Will he have a prosperous directing career after this breakout film? My guess is that he’ll get a few high profile films that will bomb then go back to making bad French spy comedies. Au revoir!
Should: Malick. No contest. He will lose to a something that could have been directed by a freshman film student and no I’m not talking about the time he lost to Spielberg. Awesome!
Robbed: The directors of Drive (Riffin), Hanna (Wright), The Skin I Live In (Almodóvar) and Melencholia (Trier) all really have legitimate beef here. As much as I like The Descendents I don’t think Payne has ever been a good enough director to warrent a Best Director nom let alone two (a great writer, sure) and the Artist was directed on autopilot so those two shouldn’t be here. But on the miserable years when Steven Daldry makes bad films and gets them nominated for no apparent reason (The Hours?! Billy Elliot?! The Reader!!!!!!?????) I’m just grateful he missed out for the first time with his feel-good (and by feel good I mean brain-dead) 9-11 sob fest.
Actor in a Leading Role
- Gary Oldman in “Tinker Tailor Soldier Spy”
- George Clooney in “The Descendants”
- Brad Pitt in “Moneyball”
- Jean Dujardin in “The Artist”
- Demián Bichir in “A Better Life”
Will: Jean Dujardin in “The Artist.” I find it amusing that all the actors in The Artist were upstaged by a dog. The good news is that after this year we will never have to try to remember or pronounce his name again. To his credit he was one of the few actors in the film that actually looked like he belonged in a silent film except the filmmakers had to ruin that by giving him a speaking line at the end where this American character’s really thick non-American accent defied all logic and reason and took me out of the picture. Clooney has the best shot at upsetting but he doesn’t have “momentum” for some reason.
Should: Gary Oldman is the best actor nominated. No surprise considering he might be the best actor living. I’m thrilled that he received his first trip to the Oscars after being slighted far too many times in the past (Dracula, Sid and Nancy, The Contender, The Professional, Dark Knight etc.). That being said I was also floored by both Clooney and Pitt’s respective performances. Less so with Dujardin and Belcher (haha).
Robbed: Lots. How about Steve Coogan (The Trip), Ryan Gosling (Drive), Antonio Banderis (The Skin I Live In) and Owen Wilson in Midnight in Paris giving his best performance since Minus Man. Dujardin and Bichir took the spots of some worthy actors. I would also like to add that for the second year in a row Ewan McGregor turned in Oscar caliber performances with Beginners this year and Ghost Writer last that was overlooked by literally everyone in the moviegoing community. Boo. Obi-Wan gets no respect.
Actress in a Leading Role
- Rooney Mara in “The Girl with the Dragon Tattoo”
- Michelle Williams in “My Week with Marilyn”
- Meryl Streep in “The Iron Lady”
- Glenn Close in “Albert Nobbs”
- Viola Davis in “The Help”
Will: Despite not winning the SAG I’m still going with Streep. I love me some Streep but it would be sad to see her win for a lesser film. I guess that could have also applied to the awful Julia and Julia. She should have won for Doubt. Still, I will be clapping for Streep when she gets her third Oscar. She is one of the few living actors for whom I would say three career Oscars is not enough.
Should: Rooney Mara acts the shit out of “The Girl with the Dragon Tattoo.” She gave the best performance of the bunch. It’s not even close in fact. I was a huge doubter that Mara would be good in Dragon Tattoo. I don’t feel bad about being wrong because the quality and intensity in performance quite literally came out of nowhere. She turned in embarrassing performances in Social Network and Nightmara on Elm Street (haha see what I did there!).
Robbed: No Elena Anaya (The Skin I Live In) means that this category is incomplete. Same goes for Kira Knightley. After Pride and Predjuice, Atonement, Never Let Me Go and A Dangerous Method I have no idea where her new found talent came from–acting lessons?
Actor in a Supporting Role
- Christopher Plummer in “Beginners”
- Kenneth Branagh in “My Week with Marilyn”
- Nick Nolte in “Warrior”
- Jonah Hill in “Moneyball”
- Max von Sydow in “Extremely Loud & Incredibly Close”
Will: Cancer + gay = Oscar. That’s just science. What’s great about Christopher Plummer in “Beginners”? Everything. This is one of the few categories in the entire 2012 Oscar list where the frontrunner deserves (according to me) to win. To call this a make-up Oscar would not do justice to just how amazing this performance is. Yes, the great Plummer is due to win an Oscar (where were they when he was in The Insider or, hell, Sound of Music almost 40 years ago) but a win here will have nothing to do with history and everything to do with quality. Again, lets give McGregor a little bit of credit again for helping to elevating Plummer’s performance.
Should: Honestly I would love to see Branagh win an Oscar. Long overdue. Nolte would also be fun to see get a win despite the fact that he overacted up a storm in Warrior (his Captain Ahab audio book tantrum was flat out painful to watch!) but, come on, it’s Nick Nolte we’re talking about! But this categorize basically has only one true standout and it’s Plummer. He will win, he should win; the Oscars will get only one acting category right.
Robbed: Two names are glaringly absent. Both should have been here but was screwed over by the usually overrated Max von Sydow’s unexpected and undeserving nomination. And, though I hate to say it, Jonah Hill was adequate at best in Moneyball. The first snub is Albert Brooks who was so good in Drive. I was hoping this small but memorable SAG nominated performance would be nominated like when William Hurt got singled out for his brilliantly odd performance in A History of Violence. Well he got screwed (“You don’t like me, you really don’t like me” he Tweeted). Speaking of getting screwed: BEN KINGSLEY. He was so good in Hugo that I’m amazed everyone wasn’t talking about him this year. I sure was. It’s safe to say people in general (a) take him granted and/or (b) have not forgiven him for being in too many bad movies year after year. Those two contradict each other. Moving on…
Actress in a Supporting Role
- Melissa McCarthy in “Bridesmaids”
- Bérénice Bejo in “The Artist”
- Jessica Chastain in “The Help”
- Janet McTeer in “Albert Nobbs”
- Octavia Spencer in “The Help”
Will: Octavia Spencer in “The Help” Ugh. Cool name aside, I still haven’t forgiven Octavia for being in Air Force One (for Oldman, however, I was willing to look the other way). Her Help co-star Chastain should have been nominated for Take Shelter instead. Does Bérénice Bejo in “The Artist” have a shot at this too? I hope not. She was not convincing as a silent movie character at all. Too modern. And too hot. Oddly enough Amanda Seyfried looked like a better silent movie actress in the very bad movie In Time. Only problem was that she had to talk in that movie and we all know what happens when Amanda has to read dialogue… we get, well, In Time and Red Riding Hood. Which is why she might not have sucked so bad in dialogue free The Artist.
Should: Boring category. Really, I don’t care who wins here. You could walk out on Hollywood Blvd and find a more capable street performer. Not one nominee generates any real feeling one way or another. McCarthy, though ever so slightly overrated in Bridesmaids (sorry but John Hamm actually stole the movie from all those ladies save for Wiig’s roomates), was funny at least half the time. Being that eliciting laughter qualifies as an emotion I would have to vote for her. Congratulations. Little known fact (for obviously reasons): I first became a fan of McCarthy when she had a very small part in the great movie Go and I’m glad.
Robbed: Cary Mulligan not only gave a better performance in Drive than all of the above nominees but this is her first best film performance ever. Second only to her role in the classic Doctor Who (TV) episode “Blink.”
Writing (Adapted Screenplay)
- “The Descendants” Screenplay by Alexander Payne and Nat Faxon & Jim Rash
- “Hugo” Screenplay by John Logan
- “Tinker Tailor Soldier Spy” Screenplay by Bridget O’Connor & Peter Straughan
- “Moneyball” Screenplay by Steven Zaillian and Aaron Sorkin. Story by Stan Chervin
- “The Ides of March” Screenplay by George Clooney & Grant Heslov and Beau Willimon
Will: The Descendants seems like a sure thing. Oscar #2 for Payne! I’m glad it won the WGA. I’m also glad The Help wasn’t nominated here. The fact that it wasn’t in this category of all things leads me to believe, or at least hope, that it might not win many this year.
Should: Go Payne! Really though it’s a triple tossup for me between Descendants, Tailor and Hugo. I’ll give the edge to Descendants just because it would be cool to see the dean from Community make his way up to the podium and declare his love for Jeff Winger while wearing an unbelievably gay, er, I mean FABULOUS! outfit.
Robbed: Ahem, Drive.
Writing (Original Screenplay)
- “Midnight in Paris” Written by Woody Allen
- “A Separation” Written by Asghar Farhadi
- “Margin Call” Written by J.C. Chandor
- “Bridesmaids” Written by Annie Mumolo & Kristen Wiig
- “The Artist” Written by Michel Hazanavicius
Will: The Artist was nominated for screenplay. Screenplay! What? How? WHAT?! Noooo! I will slap a bitch who says The Artist should an award for its screenplay. Yes, I know there’s more to a movie’s script than just dialogue but, come on, best SCREENPLAY for pantomiming in a story that was not original to begin with?! This reminds me of the time Joss Whedon got nominated for the wordless (and most overrated of all time–I said it!) Buffy episode “Hush.” Thankfully, I don’t think it will win the Oscar for writing this year. My hunch is that Globe and WGA winner Allen will get his third writing Oscar…
Should: …and that’s great. Woody Allen wrote the best film of this bunch. Midnight is a wonderful/funny/thoughtful fantasy story and a win for Allen would be a great tribute to a filmmaker and storyteller that continues to release great films. Really, I can’t say enough good things about that magical film or Woody for that matter.
Robbed: Beginners and Certified Copy are two that come to mind. And of course The Skin I Live In. And Take Shelter. And Win Win. Lots of good stories missed out in the picture and writing category. To be fair I haven’t seen Margin Call yet. It looks great and I’m glad that smaller titles like that and A Separation got some attention in this category because it sure as hell wasn’t going to happen in the uber safe and boring Best Picture category.
Animated Feature Film
- “Rango” Gore Verbinski
- “A Cat in Paris” Alain Gagnol and Jean-Loup Felicioli
- “Chico & Rita” Fernando Trueba and Javier Mariscal
- “Kung Fu Panda 2” Jennifer Yuh Nelson
- “Puss in Boots” Chris Miller
Will: Rango. The best animated film of the year (by faaaaaaaaaaaaaar) and that rarest of things: a Johnny Depp movie that is not total crap. This is a strange category this year. Half the films nobody has heard of, one film is unmitigated crap (Panda) and the other looks like unmitigated crap (Puss). Rango is the only logical choice. If it doesn’t win I will shit myself with anger.
Should: Rango. The film is smart, beautiful, visually masterful and funny. If you ever wondered what a Coen Brother animated film might looks like this is as close as we’re probably going to get to seeing one. I’m a huge, unapologetic Gore Verbinski fan. He’s an auteur no matter what anyone says. Yes, even on Mouse Hunt and The Mexican. Even when he makes really bad movies like Pirates of the Caribbean 1 and 2. I’m very glad he will (probably?) get an Oscar. If so he will join Hayo Miyazaki and George Miller as cool directors who have earned an Oscar in this relatively new category. I just fear the day when Tim Burton wins for crapping out some animated monstrosity.
Robbed: I haven’t seen Tintin and while I’m sure I’ll hate it (it’s Spielberg after all) I’m shocked and for some reason a bit sad it wasn’t nominated. I’d be willing to bet my new Mini Cooper that Tintin is the better 2011 Spielberg movie because War Horse sure as hell isn’t cutting it.
- “Pina” Wim Wenders and Gian-Piero Ringel
- “Paradise Lost 3: Purgatory” Charles Ferguson and Audrey Marrs
- “If a Tree Falls: A Story of the Earth Liberation Front” Marshall Curry and Sam Cullman
- “Undefeated” TJ Martin, Dan Lindsay and Richard Middlemas
- “Hell and Back Again” Danfung Dennis and Mike Lerner
Will: Pina. I will be happy to see Wenders finally get an Oscar. He was sooooo close when he made Buena Vista Social Club; I still don’t know how he lost that one.
Should: Pina is a very good film. I would hesuitate to call it a full fledged documentary however since it’s more of a film that presents dance performances. If tha tmakes it a documentary than so was Black Swan.
Robbed: This year’s documentary nominees remind me of the 80s and 90s where obscure films that nobody will ever see get nominated while good docs miss out. Sorry, I’m just bitter Herzog’s Cave of Forgotten Dreams wasn’t nominated. Note: my dislike of the documentary genre continues, thus bringing me one step closer to fulfilling my sad and empty quest to escape form reality entirely. I make one or two exceptions per year and Herzog is always one of them (though I couldn’t bring myself to watch his other doc–something about death row that looks thoroughly depressing even for Herzog).
Foreign Language Film
- “A Separation” Iran
- “Bullhead” Belgium
- “Footnote” Israel
- “In Darkness” Poland
- “Monsieur Lazhar” Canada
Will: A Separation.
Should: Dogtooth! Oh, that was last year. Obviously A Separation and not just because it’s the only foreign film on this list that I saw. Iran should stick to making movies because that’s the only thing they not spectacular at fucking up.
Robbed: THE SKIN I LIVE IN. Yes, I’m busting out all caps for that. How did this brilliant thriller not make the cut? It’s the best foreign film of the year. Screw this!
- “The Tree of Life” Emmanuel Lubezki
- “Hugo” Robert Richardson
- “The Girl with the Dragon Tattoo” Jeff Cronenweth
- “War Horse” Janusz Kaminski
- “The Artist” Guillaume Schiffman
Will: The Artist is black and white and looks like Greg Tolan (Citizen Kane) shot it. Usually that means a film is a lock to win in this category even though, in The Artist’s case, the camera doesn’t move! Never mind. Tree of Life and War Horse might also win. The later is a bad movie, yes, but a great looking bad movie. Kaminski is perhaps the best living cinematographer. He’s too talented to be stuck working with Spielberg on every one of his films but, whatever, he’s going to win and that’s fine with me. Really, though, this category seems relatively open to upsets. Seeing as how Inception randomly won last year (the only award that film SHOULD have won at that) I’m hoping for another surprise.
Should: Tree of Life. Beautiful, elegant and truly original. The film’s cinematography helped make it all those things. Malick might have help the movie bit to I suppose 🙂
Robbed: Do I even need to say it… okay then, it starts with a “d” and ends with a “rive.”
- “Hugo” Production Design: Dante Ferretti; Set Decoration: Francesca Lo Schiavo
- “Harry Potter and the Deathly Hallows Part 2” Production Design: Stuart Craig; Set Decoration: Stephenie McMillan
- “War Horse” Production Design: Rick Carter; Set Decoration: Lee Sandales
- “Midnight in Paris” Production Design: Anne Seibel; Set Decoration: Hélène Dubreuil
- “The Artist” Production Design: Laurence Bennett; Set Decoration: Robert Gould
Will: Hugo seems like a lock. Sadly, this category might be its only win. This film contains Scorsese’s second best use of sets. The other is Gangs of New York (bad film in my opinion but a great looking bad film at least) which I still shudder to recall lost to Chicago.
Should: Tough call between Hugo and Potter. As much as I adored seeing the ruined and smouldering Hogwarts finally come to life I have to give the edge here to Hugo because of how creative its design is. Such a memorable film.
- “The Girl with the Dragon Tattoo” Kirk Baxter and Angus Wall
- “Hugo” Thelma Schoonmaker
- “Moneyball” Christopher Tellefsen
- “The Descendants” Kevin Tent
- “The Artist” Anne-Sophie Bion and Michel Hazanavicius
Will: I have no idea. The Artist I guess but only because I’m guessing people are just going to give it as many Oscars as possible. Editing in The Artist is very by-the-numbers, no?
Should: Tattoo and Hugo. Both have a shot thankfully. Great editing. I’m disqualifying Schoonmaker only because she’s won like a million editing awards.
Robbed: Drive (again). Also Contagion. And how could this category not contain Tree of Life. It’s absence does not compute. Hanna is another worthy snubbee. Also, The Trip did an amazing job of condensing the series into a wonderful movie and should have been nominated.
- “Rise of the Planet of the Apes” Joe Letteri, Dan Lemmon, R. Christopher White and Daniel Barrett
- “Hugo” Rob Legato, Joss Williams, Ben Grossman and Alex Henning
- “Harry Potter and the Deathly Hallows Part 2” Tim Burke, David Vickery, Greg Butler and John Richardson
- “Transformers: Dark of the Moon” Scott Farrar, Scott Benza, Matthew Butler and John Frazier
- “Real Steel” Erik Nash, John Rosengrant, Dan Taylor and Swen Gillberg
Will: Potter or Apes. Take your Pick. Apes it is.
Should: I loved the final Potter and it’s effects. I love Hugo and it’s effects. I love Apes and its effects. All superlative in different ways. If I had to pick I would go with Apes because the special effects are brilliantly used to help tell this film’s emotional story. If the award was for best 3D movie then Hugo would win, it’s the best 3D movie ever made.
Robbed: Tree of Life really should have been recognized here. It’s that rare arthouse films where visual effects are used to make a film more artful. That last happened, when, Kubrick’s 2001: A Space Odyssey? For that reason alone it should be celebrated. Now I’m going to contradict myself and say that Green Lantern should also have been nominated. I’m 100% serious, the effects are perfectly suited for the type of film GL is. And, hey, where’s X-Men First Class? For Magneto’s death quarter scene alone it should be nominated. That all of these films were not nominated while Real Steel was makes me very angry.
Music (Original Score)
- “Tinker Tailor Soldier Spy” Alberto Iglesias
- “Hugo” Howard Shore
- “The Artist” Ludovic Bource
- “War Horse” John Williams
- “The Adventures of Tintin” John Williams
Will: Artist. Whatever. I usually complain when John Williams (the most overrated composer of all time) gets nominated once. With two nominations I’m utterly speachless. At least he won’t win. The Artist seems like the safest bet. This is one and only category where the a win for Artist makes sense…
Should: …that being said it’s not the best nomianted score. I’m equally fond of Shore’s Hugo score and Iglesias’s Tinker tinkerings. If I had to pick just one it would be the later.
Robbed: Trent Reznor, Trent Reznor, Trent Reznor. Also: OMG, Alexander Desplat wasn’t nominated this year.
Music (Original Song)
- “Man or Muppet” from “The Muppets” Music and Lyric by Bret McKenzie
- “Real in Rio” from “Rio” Music by Sergio Mendes and Carlinhos Brown Lyric by Siedah Garrett
Will: Wow, what a pathetic category. Just two nominees. And random ones at that. This category never made much sense to me because the songs are usually not really part of the movie. In Muppets it was though so it gets points for that. Muppets will win because Muppets isn’t a horrible unwatchable annoying mess like Rio. Plus, it’s that rare original movie song that’s as silly as it is good.
Should: Muppets. Obviousley.
Robbed: First of all I would like to personally thank the Academy for once again not nominating Madonna in this category. The best original movie song that I came across is Fever Ray’s aptly titled “The Wolf” from Red Riding Hood. It’s by far the only good thing about that awful mess of a movie. I love Fever Ray. I also love Trent Reznor’s “Immagrent Song” from Dragon Tattoo but, despite outdoing Zepplin, it’s not “original.”
- “Hugo” Sandy Powell
- “Anonymous” Lisy Christl
- “Jane Eyre” Michael O’Connor
- “The Artist” Mark Bridges
- “W.E.” Arianne Phillips
Will: I have no idea. Hugo, Artist and Anoymous seem to have a shot.
Should: I refuse to give props to period movies. I’m so sick of seeing them win. Sure they look good but usually very little imagination goes into them whereas modern costumes are wholly original. That being said the less period-y movie here is Hugo so that gets my imaginary vote.
Robbed: Drive. Seriously, that was a cool jacket. I want one!
The Whatever Categories…
- “Harry Potter and the Deathly Hallows Part 2” Edouard F. Henriques, Gregory Funk and Yolanda Toussieng
- “The Iron Lady” Mark Coulier and J. Roy Helland
- “Albert Nobbs” Martial Corneville, Lynn Johnston and Matthew W. Mungle
Will: Who cares.
Should: Not J Edgar. Oh, it wasn’t nominated. Good! Really, who cares.
Robbed: Nobody–it’s makeup. How about Bucky Larson: Born to Be a Star?
- “Drive” Lon Bender and Victor Ray Ennis
- “The Girl with the Dragon Tattoo” Ren Klyce
- “Hugo” Philip Stockton and Eugene Gearty
- “Transformers: Dark of the Moon” Ethan Van der Ryn and Erik Aadahl
- “War Horse” Richard Hymns and Gary Rydstrom
Will: Hugo or War Horse. Hugo it is.
Should: Drive. Not because the sound editing is necessarly better than it’s fellow nominees but because, well, it’s Drive. How random is it that this is the film’s only nomination? The Academy managed to single out the one thing people didn’t talk about when the film was over. Well, that and the
Robbed: Tree of Life.
- “The Girl with the Dragon Tattoo” David Parker, Michael Semanick, Ren Klyce and Bo Persson
- “Hugo” Tom Fleischman and John Midgley
- “Moneyball” Deb Adair, Ron Bochar, Dave Giammarco and Ed Novick
- “Transformers: Dark of the Moon” Greg P. Russell, Gary Summers, Jeffrey J. Haboush and Peter J. Devlin
- “War Horse” Gary Rydstrom, Andy Nelson, Tom Johnson and Stuart Wilson
Will: Again, I have no idea. Hugo?
Should: Dragon Tattoo for the sound of Mara’s beautiful ass being spanked.
Robbed: Tree of Life.
Short Film (Animated)
- “Dimanche/Sunday” Patrick Doyon
- “The Fantastic Flying Books of Mr. Morris Lessmore” William Joyce and Brandon Oldenburg
- “La Luna” Enrico Casarosa
- “A Morning Stroll” Grant Orchard and Sue Goffe
- “Wild Life” Amanda Forbis and Wendy Tilby
Will: I’ll get back to you on that.
Robbed: Bucky Larson: Born to Be a Star
Documentary (Short Subject)
- “The Barber of Birmingham: Foot Soldier of the Civil Rights Movement” Robin Fryday and Gail Dolgin
- “God Is the Bigger Elvis” Rebecca Cammisa and Julie Anderson
- “Incident in New Baghdad”James Spione
- “Saving Face” Daniel Junge and Sharmeen Obaid-Chinoy
- “The Tsunami and the Cherry Blossom” Lucy Walker and Kira Carstensen
Will: Uh, yeah, dunno. Saving this pick for the last minute.
Robbed: Bucky Larson: Born to Be a Star
Short Film (Live Action)
- “Pentecost” Peter McDonald and Eimear O’Kane
- “Raju” Max Zähle and Stefan Gieren
- “The Shore” Terry George and Oorlagh George
- “Time Freak” Andrew Bowler and Gigi Causey
- “Tuba Atlantic” Hallvar Witzø
Robbed: Bucky Larson: Born to Be a Star