oscars

3 posts

Kill the Cartoon Oscar

In the lead-up to the Oscars, there’s always a lot of discussion around what will win, the overwhelming majority of which centers on the “big five” awards (Picture, Director, Actor, Actress, Supporting Actor and Supporting Actress). And whatever you think about the Oscars, there are usually some interesting features battling it out, even if they aren’t quite what you might think are actually the best films. (“Best Picture Made in America, By a Big Studio and Seeming Important Without Being Too Challenging” might be a better name for the night’s biggest award).

But how’s this for a strange little Oscar Contest? Best Animated Feature has three nominees (down from five because less than sixteen films were eligible): Cars, Happy Feet, and Monster House. I have already expressed my dissatisfaction with the okay-to-mediocre Cars and the surprisingly bad Happy Feet. I haven’t seen Monster House, and from most reports it’s actually pretty good. But it is a heavily motion-captured film (as, to a lesser extent, is Happy Feet), which means that however good it might be, its pretty dubious as an example of the best of the animated form.

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Oscars

Some quick, unstructured thoughts on the Oscars and the broadcast (somewhat belatedly – stupid day job)…

– I was barracking for Brokeback and am disappointed that it didn’t win. However, I can’t really comment on the justice of the surprise decision, as Crash was the only one of the nominees I hadn’t seen. I didn’t think there was any point: while I made a point of seeing Capote last weekend, I wasn’t that fussed about getting a DVD of Crash out, as I assumed it wasn’t a real chance. Quite apart from anything else, when was the last time a film from that early in the year won the award? The main impression I had of it going into the awards was one of puzzlement that its makers thought it was okay to name their film Crash only nine years after David Cronenberg’s film of the same title.

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Best Director?

I just wanted to comment briefly, following the Oscars, on Martin Scorsese and the Best Director Oscar. As many have noted, the poor guy keeps losing out on Best Director to actors-turned-director (Robert Redford, Kevin Costner, and Clint Eastwood), despite pretty much everyone believing Scorsese is amongst the top handful of living directors. I’m amongst those who don’t necessarily feel that he should have won for The Aviator: it’s a good movie, and he did an impeccable job, but it’s certainly not so strong that his loss this year seems some kind of injustice. And Eastwood clearly now deserves recognition as a major director in his own right, so the actor-turned-director thing wasn’t an indignity this time either. (It was when Costner won).

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