NOTE: Holy shit, I never posted this. So I’m posting it.
Yea, it’s a bit after everyone else posted it, but I haven’t really solidified my thoughts on this both faceless Grammy’s of Film that doesn’t mean dick and night of “Holy Shit that couldn’t have just won that.”
Unlike the Grammy’s, things that I enjoy are actually nominated and that sure as shit changes things. I’m gonna ignore the short film awards and the documentaries and any topics I don’t really care about:
Best Animated Film of the Year:
Up’s the favorite if not Fantastic Mr. Fox. My favorite is, obviously, Up.
Best Achievements in VFX:
District 9, Avatar, Star Trek.
I’d love for either Star Trek or D9 to win (District 9 if only because it was done with such little cash), but, fuck, how could Avatar not win?
Avatar, Fantastic Mr. Fox, Hurt Locker, Sherlock Holmes, Up
Honestly, my top two scores were Up and Avatar. Up was infectious and emotive and absolutely wonderful. Avatar was pitch perfect for the enormity of the film. I’d honestly love to see Michael Giacchino walk away with this.
I know Bright Star or some other period piece will win this, but I’d love to see Imaginarium win just to see Terry Gilliam have some kind of award-related success. Plus, the costumes weren’t very elaborate but they were done in an excellently character-driven way.
Again, another win for Avatar–and I kind of agree with it. To build an entire ecosystem from the ground up is a ridiculous achievement. Still, I’d like to see Imaginarium sweep the categories it’s nominated for. What I don’t understand is the nomination for Sherlock Holmes. It was well done but, at the same time, nothing really stood out about it.
Give this award, outright, to Sally Menke for her work in Inglourious Basterds. She was able to suspend suspense across 20 minutes of talking right from the outset. Basterds was a movie built around long set pieces that come together after 2 hours of planning. She was able to keep the stories together and keep the movie well-paced without it plodding in its own scenes.
Let’s face it, there were some beautifully done films nominated with very different styles. Avatar will probably win for its technological prowess, but Harry Potter 6 was really beautiful in the way that everything flowed–something that enhanced a movie that was mostly a stopgap-kill-Dumbledore before the final film. The Hurt Locker’s indie-style of handheld insanity was one that worked to great effect for its subject matter. This category will come down to personal style wrt preference for a certain style.
Up or a Serious Man should win this. The Hurt Locker was tightly written for a war film, but Up’s script builds characters from the ground up that we care about immensely. And A Serious Man tightly wound itself around in circles in a way that is almost unachieveable without a knowledge of precision in screenwriting.
Fuck. James Cameron will probably win this one. He was able to wrangle an entire army of people to create his juggernaut and that takes balls. Were his performances the best? No. And I’m pretty sure that’s what’s supposed to count after all is said and done, but this is the motherfucking Oscars so who knows. For performance-based work, it’d have to be the direction of Jason Reitman. I didn’t like Up in the Air, but he was able to get some real goddam good performances from the actors.