If you honk, I’ll spew.

Oscar Winners 2019

Not having a host this year meant it was much more difficult to find a decent quote line. I considered using an excerpt from Regina King’s acceptance speech, but quoting it ironically probably wouldn’t travel. So Mike Myers gets it by default, since it sums up the ceremony quite nicely (he and Dana Carvey really should have resisted dredging up Wayne and Garth under any circumstances, though, since their schtick had dated badly approximately six months after the release of the first film).

It felt like I got a fair few right this year at first glance, but I ended up picking a resolutely average fifteen correctly, down one on last time and pretty much my range most years. I should have stuck to my instincts and gone for more for Bohemian Rhapsody (I initially had it down for editing and both sounds) and stuck with Free Solo over RBG, but otherwise I was pretty clueless about the ones I missed.

Unlike the very vocal naysayers, I consider Green Book’s victory very healthy; the Oscars may yet have some kind of staying power if they can still manage to whip up a semblance of a controversy, rather than settling into middling, consensus, anodyne results no one can really object to. Did the best picture win? No, but a truly worthy best picture contender wasn’t even nominated this year, so that isn’t very surprising.

Best Picture

Winner: Green Book (Jim Burke, Charles B Wessler, Brian Currie, Peter Farrelly and Nick Vallelonga))

I guessed: Green Book

Immediately came the cries that this was as travesty as great – if not more so – than Crash winning in 2006. How could the Academy be so tone deaf as to reward a slick crowd pleaser (as Justin Chang’s LA Times article called it, amid eviscerating the decision)? It’s entirely feasible they did it just to piss off Spike Lee. And it worked!

Best Director

Winner: Alfonso Cuarón (Roma)

I guessed: Alfonso Cuarón

Yawn.

Best Actor

Winner: Rami Malek (Bohemian Rhapsody)

I guessed: Rami Malek

All that schmoozing got Rami what he most wanted. And then he fell off the stage. He was under pressure, though.

Best Actress

Winner: Olivia Coleman (The Favourite)

I guessed: Glenn Close (The Wife)

Glenn goes home empty-handed and Olivia gets the Anthony Hopkins award for a lead performance barely in the movie itself. She made a big splash in it, though, and was humorously down-to-earth in accepting her statuette, so I guess that’s what counts.

Best Supporting Actor

Winner: Mahershala Ali (Green Book)

I guessed: Mahershala Ali

A slightly boring choice, Ali sailing dangerously close to over-exposure in not that many roles really since Moonlight. I’d have paid good money to see Richard E Grant giving it a good gush.

Best Supporting Actress

Winner: Regina King (If Beale Street Could Talk)

I guessed: Regina King

A shoe-in, but then, so was Glenn. Regina had plenty of time to hone that nauseating acceptance speech, and it showed.

Best Original Screenplay

Winner: Green Book (Nick Vellelonga, Brian Currie & Peter Farrelly)

I guessed: Green Book

Definitely the best of the nominations in this category, although one might argue it’s the screenplay itself, rather than the overall picture, that has caused all the ructions. Spike should have got out of his seat for this one, really.

Best Adapted Screenplay

Winner: BlackKklansman (Charlie Wachtel & David Rabinowitz and Kevin Willmott & Spike Lee

I guessed: BlackKklansman

Spike gets his Oscar, and still he isn’t happy. Credit where it’s due, though; “…every time somebody’s driving somebody, I lose” is a great quip. This one seemed fairly certain, so it’s a shame it isn’t a very good screenplay.

Best Animated Feature

Winner: Spider-Man: Into the Spider-Verse (Bob Perischetti, Peter Ramsey, Rodney Rothman, Phil Lord and Christopher Miller)

I guessed: Spider-Man: Into the Spider-Verse

Much deserved, and the second time a Marvel movie has won a Best Picture. Will the charm be with live action?

Best Cinematography

Winner: Alfonso Cuarón (Roma)

I guessed: Roma

Snooze.

Best Production Design

Winner: Hannah Beachler & Jay Hart (Black Panther)

I guessed: Black Panther

I suggested Panther would come away with (this) one, but it bagged a decisive three; imagine if not justmediocre (live-action) Marvel movies met with those kinds of rewards. Disney’s pulse would be racing.

Best Costume Design

Winner: Ruth E Carter (Black Panther)

I guessed: The Favourite

I’m not entirely convinced of the merit of this win, but neither am I of the regularly rewarded genius that purportedly goes with replicating period cossies year in year out. Did Sandy Powell cancel herself out?

Best Make Up and Hairstyling

Winner: Greg Cannom, Kate Biscoe and Patricia Dehaney (Vice)

I guessed: Vice

Fat bald Bale. You’d have thought he could manage that unassisted.

Best Film Editing

Winner: John Ottman (Bohemian Rhapsody)

I guessed: The Favourite

Ottmans’s editing made the back end of Rhapsody – and as a result the entire movie – work, so I think he deserved this. Not as flashy as several of the options, but that’s to its credit, not theirs.

Best Sound Editing

Winner: John Warhurst and Nina Hartstone (Bohemian Rhapsody)

I guessed: First Man

Sound editing in a musical biopic? Wouldn’t that be a medley?

Best Sound Mixing

Winner: Paul Massey Tim Cavagin and John Casali (Bohemian Rhapsody)

I guessed: Bohemian Rhapsody

It’s certainly got a lot of sound in it, that Bohemian Rhapsody, and some of it is certainly mixed (probably voters took notice of the publicity surrounding the blending of three voices for Freddie singing and took that as sufficient evidence of expertise).

Best Visual Effects

Winner: Paul Lambert, Ian Hunter, Tristan Myles and JD Schwalm (First Man)

I guessed: Avengers: Infinity War

I was rooting for First Man, but didn’t think it had a chance. Nice to see a picture with – to an extent – old school effects get rewarded.

Best Original Score

Winner: Ludwig Göransson (Black Panther)

I guessed: Mary Poppins Returns

I can’t really sneeze at this; it’s one of the better Marvel scores (not a high bar, I know) and Göransson, imminently in great demand, will doubtless be glad not to have to add another Death Wish to his resumé.

Best Original Song

Winner: Lady Gaga, Mark Ronson, Anthony Rossomando and Andrew Wyatt for Shallow (A Star is Born)

I guessed: Shallow

It’s a good song, well sung. You can’t ask much better than that of a category often filled with barely adequate dross. That said, the win should be revoked for Gaga’s entirely phoney tearful acceptance speech.

Best Foreign Language Feature

Winner: Roma

I guessed: Roma

Probably the deadest cert of all the season’s dead certs. Some quality, unexpected ‘r’ rolling in announcing it wasn’t anticipated, however.

Best Documentary Feature

Winner: Free Solo (Elizabeth Chai Vaserhelyi, Jimy Chin, Evan Hayes and Shannon Dill)

I guessed: RBG

The popular pick got picked, the Academy opting to ease off on the politics, perversely, when it came to the generally more cerebral world of docs.

Best Animated Short

Winner: Bao (Domee Shi and Becky Neimann-Cobb)

I guessed: Bao

Pixar wins again. They do nothing but compete.

Best Documentary Short

Winner: Period. End of Sentence (Raya Zehtabchi and Melissa Berton)

I guessed: Black Sheep

The title’s clever, I’ll give it that.

Best Live Action Short

Winner: Skin (Guy Nattiv and Jaime Ray Newman)

I guessed: Marguerite

Next stop: the full-length feature version.

Agree? Disagree? Mildly or vehemently? Let me know in the comments below.

Comments

Nanobots aren’t just for Christmas.

No Time to Die (2021) (SPOILERS) You know a Bond movie is in trouble when it resorts to wholesale appropriation of lines and even the theme song from another in order to “boost” its emotional heft. That No Time to Die – which previewed its own title song a year and a half before its release to resoundingly underwhelmed response, Grammys aside – goes there is a damning indictment of its ability to eke out such audience investment in Daniel Craig’s final outing as James (less so as 007). As with Spectre , the first half of No Time to Die is, on the whole, more than decent Bond fare, before it once again gets bogged down in the quest for substance and depth from a character who, regardless of how dapper his gear is, resolutely resists such outfitting.

Maybe the dingo ate your baby.

Seinfeld 2.9: The Stranded The Premise George and Elaine are stranded at a party in Long Island, with a disgruntled hostess.

Big things have small beginnings.

Prometheus (2012) Post- Gladiator , Ridley Scott opted for an “All work and no pondering” approach to film making. The result has been the completion of as many movies since the turn of the Millennium as he directed in the previous twenty years. Now well into his seventies, he has experienced the most sustained period of success of his career. For me, it’s also been easily the least-interesting period. All of them entirely competently made, but all displaying the machine-tooled approach that was previously more associated with his brother.

Ladies and gentlemen, this could be a cultural misunderstanding.

Mars Attacks! (1996) (SPOILERS) Ak. Akk-akk! Tim Burton’s gleefully ghoulish sci-fi was his first real taste of failure. Sure, there was Ed Wood , but that was cheap, critics loved it, and it won Oscars. Mars Attacks! was BIG, though, expected to do boffo business, and like more than a few other idiosyncratic spectaculars of the 1990s ( Last Action Hero , Hudson Hawk ) it bombed BIG. The effect on Burton was noticeable. He retreated into bankable propositions (the creative and critical nadir perhaps being Planet of the Apes , although I’d rate it much higher than the likes of Alice in Wonderland and Dumbo ) and put the brakes on his undisciplined goth energy. Something was lost. Mars Attacks! is far from entirely successful, but it finds the director let loose with his own playset and sensibility intact, apparently given the licence to do what he will.

So the devil's child will rise from the world of politics.

The Omen (1976) (SPOILERS) The coming of the Antichrist is an evergreen; his incarnation, or the reveal thereof, is always just round the corner, and he can always be definitively identified in any given age through a spot of judiciously subjective interpretation of The Book of Revelation , or Nostradamus. Probably nothing did more for the subject in the current era, in terms of making it part of popular culture, than The Omen . That’s irrespective of the movie’s quality, of course. Which, it has to be admitted, is not on the same level as earlier demonic forebears Rosemary’s Baby and The Exorcist .

I’m giving you a choice. Either put on these glasses or start eating that trash can.

They Live * (1988) (SPOILERS) Don’t get me wrong, I’m a big fan of They Live – I was a big fan of most things Carpenter at the time of its release – but the manner in which its reputation as a prophecy of (or insight into) “the way things are” has grown is a touch out of proportion with the picture’s relatively modest merits. Indeed, its feting rests almost entirely on the admittedly bravura sequence in which WWF-star-turned-movie-actor Roddy Piper, under the influence of a pair of sunglasses, first witnesses the pervasive influence of aliens among us who are sucking mankind dry. That, and the ludicrously genius sequence in which Roddy, full of transformative fervour, attempts to convince Keith David to don said sunglasses, for his own good. They Live should definitely be viewed by all, for their own good, but it’s only fair to point out that it doesn’t have the consistency of John Carpenter at his very, very best. Nada : I have come here to chew bubblegum and kick a

Are you, by any chance, in a trance now, Mr Morrison?

The Doors (1991) (SPOILERS) Oliver Stone’s mammoth, mythologising paean to Jim Morrison is as much about seeing himself in the self-styled, self-destructive rebel figurehead, and I suspect it’s this lack of distance that rather quickly leads to The Doors becoming a turgid bore. It’s strange – people are , you know, films equally so – but I’d hitherto considered the epic opus patchy but worthwhile, a take that disintegrated on this viewing. The picture’s populated with all the stars it could possibly wish for, tremendous visuals (courtesy of DP Robert Richardson) and its director operating at the height of his powers, but his vision, or the incoherence thereof, is the movie’s undoing. The Doors is an indulgent, sprawling mess, with no internal glue to hold it together dramatically. “Jim gets fat and dies” isn’t really a riveting narrative through line.

Twenty dwarves took turns doing handstands on the carpet.

Bugsy (1991) (SPOILERS) Bugsy is very much a Warren Beatty vanity project (aren’t they all, even the ones that don’t seem that way on the surface?), to the extent of his playing a title character a decade and a half younger than him. As such, it makes sense that producer Warren’s choice of director wouldn’t be inclined to overshadow star Warren, but the effect is to end up with a movie that, for all its considerable merits (including a script from James Toback chock full of incident), never really feels quite focussed, that it’s destined to lead anywhere, even if we know where it’s going.

I think I’m Pablo Picasso!

Venom: Let There Be Carnage (2021) (SPOILERS) I get the impression that, whatever it is stalwart Venom fans want from a Venom movie, this iteration isn’t it. The highlight here for me is absolutely the wacky, love-hate, buddy-movie antics of Tom Hardy and his symbiote alter. That was the best part of the original, before it locked into plot “progression” and teetered towards a climax where one CGI monster with gnarly teeth had at another CGI monster with gnarly teeth. And so it is for Venom: Let There Be Carnage . But cutting quicker to the chase.

Isn’t sugar better than vinegar?

Femme Fatale (2002) (SPOILERS) Some have attempted to rescue Femme Fatale from the dumpster of critical rejection and audience indifference with the claim that it’s De Palma’s last great movie. It isn’t that by a long shot, but it might rank as the last truly unfettered display of his obsessions and sensibilities, complete with a ludicrous twist – so ludicrous, it’s either a stroke of genius or mile-long pile up.

Now In Full Color, with a Happier Ending

Search This Blog