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| This is a comments thread about Blog Post: Oscar Predictions and Other End of 2013 Lists by Scott Bettencourt |
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These predictions sound about right - mediocrities largely abound, while more interesting films like Mud, Frances Ha, Upstream Color, The Past and Inside Llewyn Davis will get very little attention or will be ignored completely.
I haven't seen The World's End, but I must admit those quotes from it have me very intrigued now!
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Any chance of a dedicated "worst-of" movie list? It's been a while since the last one.
Between all the end-of-the-year pieces (CD Checklist, Did They Mention the Music?) and trying to complete one more Top 40 series, I doubt I'll get around to it. Also, the prospect of putting into words why the latest film from my beloved DePalma is so bad is just too depressing to contemplate. But thanks for your interest.
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Posted: |
Dec 28, 2013 - 9:39 PM
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By: |
Mr. Jack
(Member)
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Personally, I didn't hate Passion with a...um, passion like you did, but I did find it a terribly familiar slog through well-worn De Palma-isms, and even visually, it was no great shakes, looking more like a made-for-cable movie than anything De Palma put out in the 70's, 80's or 90's (even The Black Dahlia, flawed as it was, still looked like a movie). Still not a worst-of-the-year candidate for me, though...where was Pain & Gain?
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No doubt Gravity will win Best Cinematography (as Life of Pi and Hugo did before it), but I'm not convinced that a movie that's 85% per cent constructed in a computer should even be eligible. The cinematography award is getting about as silly as the music award has always been.
Meanwhile, Rush is the best movie about male competiveness since The Right Stuff, and like that movie seems destined to go without its just reward.
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No doubt Gravity will win Best Cinematography (as Life of Pi and Hugo did before it), but I'm not convinced that a movie that's 85% per cent constructed in a computer should even be eligible. The cinematography award is getting about as silly as the music award has always been.
Meanwhile, Rush is the best movie about male competiveness since The Right Stuff, and like that movie seems destined to go without its just reward.
A couple of technical awards or for Daniel Bruhl's great performance would be just fine - for major awards, well, not really...
I don't disagree. I'd just like to see it sneak in for a Best Picture nomination over some candy-colored drek like Saving Mr. Banks.
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I find distracting the fact Steven Price's "Gravity" didn't make the final cut on your predictions when it almost sure not only that will be nominated, it will be the winner!
The Academy has only recently started nominating more atmospheric (no pun intended), relatively non-melodic scores like Michael Clayton and The Hurt Locker, but I agree that if Price's Gravity does get nominated it has a pretty good chance of winning
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I find distracting the fact Steven Price's "Gravity" didn't make the final cut on your predictions when is almost sure not only that it will be nominated but will be the winner!
I tend to agree. John Williams sets such a high standard that he's his own worst enemy. Besides, when the Academy gives 12 YEARS A SLAVE the major awards they'll be looking to shower consolation prizes on GRAVITY. And Price's score/soundscape was rather effective.
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I tend to agree. John Williams sets such a high standard that he's his own worst enemy. Besides, when the Academy gives 12 YEARS A SLAVE the major awards they'll be looking to shower consolation prizes on GRAVITY. And Price's score/soundscape was rather effective.
Since Gravity's long been pretty much a shoo-in for Visual Effects, Sound Mixing, Sound Editing and Cinematography (and has a pretty good chance at Best Actress), I don't think consolation prizes are necessary.
Much as I think it deserves the big awards, I'm not sure 12 Years is a shoo-in (though the fact that it's actually done surprisingly well at the box-office should help). There are a lot of people who find it either unwatchably brutal or feel "Yeah, so what, we already knew that stuff happened, why make a movie about it?"(as if there've been so many films about the brutality of Southern slavery; there's Mandingo, and...), so it could go to Saving Mr. Banks in the kind of Hollywood-breaks-its-arm-patting-itself-on-the-back sweep that helped Argo.
Price's score was one of the few things about Gravity that didn't knock me out, but I can only assume it's exactly what Cuaron wanted, and I'm certainly glad he went for an original score rather than just tracking in some Arvo Part here and there.
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