Stephen didn't have to persuade me to play Lincoln but I had to persuade him that perhaps if I was going do it that Lincoln shouldn't be a musical.

Oscar Winners 2013

I didn’t watch the Oscars ceremony. By all accounts I was lucky, as it seems Seth McFarlane went down like a bag of cold sick (although, "I would argue that the actor who really got inside Lincoln's head was John Wilkes Booth" is quite a good line). Bring back Letterman.

By my reckoning I go 11 picks right out of 24. Pretty piss-poor, though I make no apologies for my randomness and lack of “professional” insight.

Argo seemed to gather up an unstoppable momentum over the last six weeks or so and the Affleck director nomination snub only appeared to spur its underdog status on. My bet on Lincoln was for the Hollywood love of prestige and importance, but I probably underestimated the extent to which many found it slightly dull. That, and Spielberg fatigue. And, Hollywood loves nothing more than films that validate Hollywood (Argo makes them heroes!)

Perhaps the biggest surprise of the evening was Christoph Waltz’s Best Supporting Actor victory for Django Unchained. I don’t think many thought a return visit to a showy, charismatic supporting part in a Tarantino film would yield further dividends and the actor seemed slightly taken aback too.

Best Picture

Winner: Argo

I called Lincoln. Clooney gets yet another Oscar in yet another category.

Best Director

Winner: Ang Lee

My guess for Spielberg proved significantly out (Lincoln went home with 2, not the 5 I suggested). Nikki Finke would have us believe the Academy hates Steven, although she’s never short of hyperbole. I’ll readily admit to not expecting Lee, mainly because he’s already bagged a statue. Although, looking at the other contenders, who’d have been next in line if Spielberg was ruled out. The other three were definitely outsiders.

Best Actor

Winner: Daniel Day-Lewis

As expected by all and sundry.

Best Actress

Winner: Jennifer Lawrence

Again, as expected. There was some talk of Emmanuelle Riva but giving it to someone because they are old is a fickle as the same decision because they are young. It’s the Jessica Tandy factor.

Best Supporting Actor

Winner: Christoph Waltz

I’d settled on De Niro, although I didn’t think he really deserved it. This category desperately needs a few nominees who aren’t previous winders next time round.

Best Supporting Actress

Winner: Anne Hathaway

Curiously, I’d blanked that I picked Field from this field. I think it was Hathaway saturation (which, in respect of Lincoln, is considered one of the reasons for Argo’s resurgence).

Best Original Screenplay

Winner: Django Unchained

This, I didn’t expect. I went for Amour; I don’t think Flight and Moonrise Kingdom ever seriously had a shot and I ruled out Django for the same reason as Zero Dark Thirty; controversy. I guess Tarantino shut my butt down there.

Best Adapted Screenplay

Winner: Argo

I had it as the runner-up to Lincoln; it’s been accused of the same fast and loose treatment of history as ZD30 but has the benefit of obscurity and comedy.

Best Editing

Winner: Argo

My sole ZD30 pick was this one; while I did have Argo in an editing category, it was for Sound Editing.

Best Cinematography

Winner: Life of Pi

No contention here, and my pick (although I prefer the work on Skyfall).

Best Art Direction

Winner: Lincoln

Wouldn’t you know it? Of all the areas I picked Lincoln, this wasn’t one.

Best Costume Design

Winner: Anna Karenina

A fizzling adaptation as this was, the costumes were very natty (but, then, so was the Art Direction).

Best Make-up

Winner: Les Miserables

Not a lot of debate necessary for this one.

Best Visual Effects

Winner: Life of Pi

Nor this. There’s added resonance to this win, with the issues surrounding Rhythm & Hues problems.

Best Sound

Winner: Les Miserables

Didn’t see that coming. I went for Argo.

Best Sound Editing

Winner: Skyfall & Zero Dark Thirty

TWO winner and I couldn’t get either right!!

Best Original Score

Winner: Life of Pi

I found this score derivative, but it repearted its Globes success. Shame Skyfall didn’t get recognition.

Best Original Song

Winner: Skyfall

It didn’t crumb-o at the last hurdle.

Best Animated Feature

Winner: Brave

I went for the safe choice and it proved correct; Wreck-It-Ralph would have been a bit too hip for the Academy.

Best Foreign Language Picture

Winner: Amour

A shoe-in.

Best Documentary Feature

Winner: Searching for Sugar Man

It did seem most likely; popular and uncontroversial.

Best Documentary Short

Winner: Inocente

I hadn’t a clue.

Best Animated Short

Winner: Paperman

The one that had Disney marketing behind it won. Surprise.

Best Live Action Short

Winner: Curfew

Who knew?

Lincoln – 2 (I predicted 5)

Silver Linings Playbook – 1 (predicted 2)

Life of Pi – 4 (predicted 2)

Amour – 1 (precited 2)

Argo -3 (predicted 2)

Anna Karenina – 1 (predicted 2)

Skyfall – 2 (predicted 2)

Zero Dark Thirty – 1 (predicted 1)

Les Miserables – 3 (predicted 1)

Django Unchained – 2 (predicted 0)

Comments

What do you want to be? Rich or dead?

Blake's 7 1.3: Cygnus Alpha

Well, the quality couldn’t last. Vere Lorrimer does a solid job directing this one, and the night shooting adds atmosphere in spades. Unfortunately the religious cult on a prison planet just isn’t that interesting (notably, big Brian Blessed was about the only well-known British thesp who wasn’t cast in the similarly themed Alien 3).

It’s Who-central from the off with lovely lovely lovely Kara (Pamela Salem – The Robots of Death and Remembrance of the Daleks) and the Caber, I mean Laran (Robert Russell, Terror of the Zygons) noting the incoming London. Which reuses a shot from Space Fall (the spinning object is a planet, clearly one with an unhealthy speed of rotation).
The length of journey issues in this story don’t bear much analysis. It’s now four months since the events of Space Fall, and poor old Leylan has clearly been affected badly by what went down. But he’s only now sending his report? Useful for the wayward viewer, but a bit slack otherwise.

So.…

She writes Twilight fan fiction.

Vampire Academy (2014)
My willingness to give writer Daniel Waters some slack on the grounds of early glories sometimes pays off (Sex and Death 101) and sometimes, as with this messy and indistinct Young Adult adaptation, it doesn’t. If Vampire Academy plods along as a less than innovative smart-mouthed Buffy rip-off that might be because, if you added vampires to Heathers, you would probably get something not so far from the world of Joss Whedon. Unfortunately inspiration is a low ebb throughout, not helped any by tepid direction from Daniel’s sometimes-reliable brother Mark and a couple of hopelessly plankish leads who do their best to dampen down any wit that occasionally attempts to surface.

I can only presume there’s a never-ending pile of Young Adult fiction poised for big screen failure, all of it comprising multi-novel storylines just begging for a moment in the Sun. Every time an adaptation crashes and burns (and the odds are that they will) another one rises, hydra-like, hoping…

My name is Dr. King Schultz, this is my valet, Django, and these are our horses, Fritz, and Tony.

Django Unchained (2012)
(MINOR SPOILERS) Since the painful misstep of Grindhouse/Death Proof, Quentin Tarantino has regained the higher ground like never before. Pulp Fiction, his previous commercial and critical peak, has been at very least equalled by the back-to-back hits of Inglourious Basterds and Django Unchained. Having been underwhelmed by his post Pulp Fiction efforts (albeit, I admired his technical advances as a director in Kill Bill), I was pleasantly surprised by Inglourious Basterds. It was no work of genius (so not Pulp Fiction) by any means, but there was a gleeful irreverence in its treatment of history and even to the nominal heroic status of its titular protagonists. Tonally, it was a good fit for the director’s “cool” aesthetic. As a purveyor of postmodern pastiche, where the surface level is the subtext, in some ways he was operating at his zenith. Django Unchained is a retreat from that position, the director caught in the tug between his all-important aesthetic pr…

She's killed my piano.

Rocketman (2019)
(SPOILERS) Early on in Rocketman, there’s a scene where publisher Dick James (Stephen Graham) listens to a selection of his prospective talent’s songs and proceeds to label them utter shite (but signs him up anyway). It’s a view I have a degree of sympathy with. I like maybe a handful of Elton John’s tunes, so in theory, I should be something of a lost cause with regard to this musical biopic. But Rocketman isn’t reliant on the audience sitting back and gorging on naturalistic performances of the hits in the way Bohemian Rhapsody is; Dexter Fletcher fully embraces the musical theatre aspect of the form, delivering a so-so familiar story with choreographic gusto and entirely appropriate flamboyance in a manner that largely compensates. Largely.

Move away from the jams.

Aladdin (2019)
(SPOILERS) I was never overly enamoured by the early ‘90s renaissance of Disney animation, so the raves over Beauty and the Beast and Aladdin left me fairly unphased. On the plus side, that means I came to this live action version fairly fresh (prince); not quite a whole new world but sufficiently unversed in the legend to appreciate it as its own thing. And for the most part, Aladdin can be considered a moderate success. There may not be a whole lot of competition for that crown (I’d give the prize to Pete’s Dragon, except that it was always part-live action), but this one sits fairly comfortably in the lead.

Whoever comes, I'll kill them. I'll kill them all.

John Wick: Chapter 2 (2017)
(SPOILERS) There’s no guessing he’s back. John Wick’s return is most definite and demonstrable, in a sequel that does what sequels ought in all the right ways, upping the ante while never losing sight of the ingredients that made the original so formidable. John Wick: Chapter 2 finds the minimalist, stripped-back vehicle and character of the first instalment furnished with an elaborate colour palette and even more idiosyncrasies around the fringes, rather like Mad Max in that sense, and director Chad Stahleski (this time without the collaboration of David Leitch, but to no discernible deficit) ensures the action is filled to overflowing, but with an even stronger narrative drive that makes the most of changes of gear, scenery and motivation.

The result is a giddily hilarious, edge-of-the-seat thrill ride (don’t believe The New York Times review: it is not “altogether more solemn” I can only guess Jeannette Catsoulis didn’t revisit the original in the interven…

Looks as though vaudeville may have just decided to fight back.

The Avengers 6.7: Look – (Stop Me If You’ve Heard This One) But There Were These Two Fellers…
Well, it took a while, but The Avengers finally rediscovers the sparkle of the best Rigg era episodes thanks to a Dennis Spooner teleplay (his first credit since the first season), one that spreads itself just about as broadly as it’s possible for the show to go – Look – (Stop Me If You’ve Heard This One) But There Were These Two Fellers… was purportedly rejected for the Rigg run for just that reason – but which is also nigh on perfect in pace, structure and characterisation. And guest spots.

No one is very happy. Which means it's a good compromise, I suppose.

Game of Thrones Season 8
(SPOILERS) How many TV series that rely on ongoing plotlines – which is most of them these days – have actually arrived at a wholly satisfying conclusion? As in, one that not only surprises but pays off the investment viewers have made over (maybe) seven or eight years? I can think of a few that shocked or dazzled (Angel, The Leftovers) and some that disappointed profoundly (Lost) but most often, they end on an “okay” (reasonably satisfying, if you like) rather than on a spectacular or, conversely, enormously disappointing note. Game of Thrones may not have paid off for many vocal fans who’d accept nothing less than note-perfect rendering of certain key desired developments, but much of the season unfolded in a manner that seemed just the kind of thing I would have expected; not, on the whole, shocking, blind-siding, or (give-or-take) spectacular, but okay, or reasonably satisfying.

You ever heard the saying, “Don’t rob the bank across from the diner that has the best donuts in three counties”?

2 Guns (2013)
(SPOILERS) Denzel Washington is such a reliable performer, that it can get a bit boring. You end up knowing every gesture or inflection in advance, whether he’s playing a good guy or a bad guy. And his films are generally at least half decent, so you end up seeing them. Even in Flight (or perhaps especially in Flight; just watch him chugging down that vodka) where he’s giving it his Oscar-nominatable best, he seems too familiar. I think it may be because he’s an actor who is more effective the less he does. In 2 Guns he’s not doing less, but sometimes it seems like it. That’s because the last person I’d ever expect blows him off the screen; Mark Wahlberg.

Isn’t Johnnie simply too fantastic for words?

Suspicion (1941)
(SPOILERS) Suspicion found Alfred Hitchcock basking in the warm glow of Rebecca’s Best Picture Oscar victory the previous year (for which he received his first of five Best Director nominations, famously winning none of them). Not only that, another of his films, Foreign Correspondent, had jostled with Rebecca for attention. Suspicion was duly nominated itself, something that seems less unlikely now we’ve returned to as many as ten award nominees annually (numbers wouldn’t be reduced to five until 1945). And still more plausible, in and of itself, than his later and final Best Picture nod, Spellbound. Suspicion has a number of claims to eminent status, not least the casting of Cary Grant, if not quite against type, then playing on his charm as a duplicitous quality, but it ultimately falls at the hurdle of studio-mandated compromise.

Now In Full Color, with a Happier Ending

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