gyrobot
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The real salt in the wound is Captain Marvel got zilch nominations for an Oscar while Joker looks to be a sweep.
Oscars 2020
- Thread starter CrimsonViceroy
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The real salt in the wound is Captain Marvel got zilch nominations for an Oscar while Joker looks to be a sweep.
Part of it is it's not an Oscar-baity type movie, conventional super films are not something the academy likes. Another part is aside from being very white, the academy is also very male.
VolantRedX
Official Conscience of Worm Fanfiction!
I mean Captain Marvel as a film really doesn't deserve to be nominated. It's not any different from any given MCU film besides having a female lead. If that's all it takes then all people are demanding is tokenism. It's not about a film being good enough as a film to be nominated, just shove a woman or a minority in a bog standard Cape action film and presto instant award bait. Black Panther actually deserved to be nominated because it had a ton of depth and was an artistic achievement. Captain Marvel isn't even as good or deep as Thor 3.
Joker meanwhile was nominated because it isn't a superhero film. The whole nomination is a stab at the idea that superhero films deserve recognition. It won't win nor was it ever going to, but it's a way to seem hip and relevant while flipping off the people they want to appear relevant too.
Joker meanwhile was nominated because it isn't a superhero film. The whole nomination is a stab at the idea that superhero films deserve recognition. It won't win nor was it ever going to, but it's a way to seem hip and relevant while flipping off the people they want to appear relevant too.
CrimsonViceroy
Gone
im pissed because of the fact that getting mad at the joker is just anger inducing.
its a nothing film. I agree with the critics taht say the film isn't bad its average mediocre its empty. its only saved because Joaquin is literally acting his ass off.
Todd Phillips getting a director Nom has to be the easiest Nom ever its amazing to get a Nom for literally not doing your fucking job that or just copying a bunch of other directors with all the soulless efficiency of the Borg collective.
and EDITING? the fuck kinda nom is that the film is garbage in editing. a Chainsaw could do better mostly because thats what the film needed to have taken to it.
im also low key on the board of "the only reason this film gets such praise is because its a type of film most people never watch or have never watched before but only did because it says 'The Joker' and so its innovative when its really really not"
its just anger inducing and thats why im so angry. THIS FILM IS AN EMPTY MEDIOCRE MESS THAT HAS NOTHING TO SAY AT BEST AND AT WORST IS SORT OF TOXIC.
and I want to stop talking about it. I want to leave it to the dustbin but a bunch of people who really need to see the other Film Joaquin is in that was basically this film but good (you were never really here or really any of Joaquin's other film Arthur is really kind of Joaquin getting Type casted) saw it.
its just a walking reminder of why the Oscars suck, and why I wish the Oscars had less influence, SO I COULD STOP CARING ABOUT THEM.
but they keep having influence and keep being a reason movies get med and have certain actors sooo here we go again.
I think the worst bit was after 2019 I had hope that the Oscars would be better becuase I liked Oscars 2019 (until Green Book won)
CrimsonViceroy
Gone
SOOO who wants to hear why the oscars didn't nominate people?
nypost.com
Just some lovely reminders on why the Oscars suck.
Academy members viciously reveal why Lopez, Sandler, Murphy got snubbed from Oscars
Acting legend Terry Moore has one piece of advice for Jennifer Lopez, after the A-lister was snubbed for an Oscar nomination this week: “Get over it.” Besides, the 91-year-old, who was nominated in…
nypost.com
Just some lovely reminders on why the Oscars suck.
CrimsonViceroy
Gone
like its so blatant that im kinda gobsmacked.
DracoDracul
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The Sandler one is really fucking annoying because the reason he always goes back to slumming it in stupid comedies is because he never gets the recognition he deserves when he puts himself out there for dramatic roles.
CrimsonViceroy
Gone
like its so stupid "Well hes known for comedy movies and how would that look giving him an Oscar"
ITS CALLED DOING YOUR JOBS.
DracoDracul
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It's like if they denied Tom Hanks his oscar for Philadelphia because he was in Boosum Buddies.
VolantRedX
Official Conscience of Worm Fanfiction!
Fine, deleted.
Eh, I'm okay with Captain Marvel not getting any nominations. It was a fine movie but wasn't anything special within the MCU. As I say, Guardians of the Galaxy II and Winter Soldier both deserved an oscar nod more.
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I get angry when I see GotG2 being ranked among the lowest of the MCU on lists like Empire's or people saying it was nothing but jokes, like did they even watch it or were they just going by one guy saying it had the bad guy turn into David Hasselhof for a moment and ignore the context completly?
CrimsonViceroy
Gone
Same goes for Thor Ragnarok. yes its got a lot of jokes but it uses that as a light hearted element of the ya know dark and dour story that Ragnarok is.
Reveen
Castro-Trudeauist
Honestly I think this is pretty analogous to some of the issues with the Oscars. Like Oscar worthy movies the image of what a good Marvel movie is has been set by the Avengers movies. Which is a little bit of fun and comedy sprinkled over an ultimately super serial epic about the fate of the universe or whatever with a tone of "What you're seeing is super duper important and full of gravitas, trust us on that."
And anything that fails to adhere to that aesthetic is likely to just get dismissed as dumb, silly, and bad. It's basically a cargo cult mentality towards judging what makes a movie good and worthy of respect as a work of art.
tankdrop24
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Damn straight.
These nominations are guilty of crimes against dafoe.
These nominations are guilty of crimes against dafoe.
Lul. Also I am sure it has nothing to do with one being black, one Hispanic, and one a jew. Sure academySOOO who wants to hear why the oscars didn't nominate people?
Academy members viciously reveal why Lopez, Sandler, Murphy got snubbed from Oscars
Acting legend Terry Moore has one piece of advice for Jennifer Lopez, after the A-lister was snubbed for an Oscar nomination this week: “Get over it.” Besides, the 91-year-old, who was nominated in…
Just some lovely reminders on why the Oscars suck.
CrimsonViceroy
Gone
that dig at hustlers was especially unsubtle.
CrimsonViceroy
Gone
this is from 2015
but this apparently not the first time they have done this.
www.cartoonbrew.com
yes really here is a look see at how they voted animation taht year.
This also isn't just for animation the Hollywood reporter has done a brutally honest series before.
www.hollywoodreporter.com
this part is going under spoilers as its massive.
www.hollywoodreporter.com
www.hollywoodreporter.com
apparently they do this each year.
and yeah wow there are some big reveals about these oscars.
this is all just here as some information that goes into the Oscars and what might be going into the heads of oscars This year.
but this apparently not the first time they have done this.
Proof That Oscar Voters Are Clueless About Animation
What if the animation Oscars were chosen by people who knew nothing about animation?
www.cartoonbrew.com
yes really here is a look see at how they voted animation taht year.
anyway heres who these people were.
This also isn't just for animation the Hollywood reporter has done a brutally honest series before.
Oscar Voter Reveals Brutally Honest Ballot
One cranky member of the Academy's directors branch talks THR's Scott Feinberg through his picks: "'Gravity'? I've seen better things at planetariums," while Julia Roberts "was horrendous" and Meryl Streep gave "a bottom-drawer performance" in "August: Osage County."
www.hollywoodreporter.com
this part is going under spoilers as its massive.
VOTER PROFILE: This Oscar voter is a longtime member of the Academy's 377-member directors branch.
➻ BEST PICTURE
Captain Phillips struck me as a slightly hokey, overacted, not particularly gripping action movie. Gravity pales in comparison with Cosmos, Neil deGrasse Tyson's recent 13-part reboot of Carl Sagan's famous TV series about the universe. Philomena, which I've wanted to call Philomania ever since the Golden Globes, was an effective tearjerker -- I was moved by it -- but that doesn't make it a great film. Nebraska was skillfully done but limited by its limited ambitions and its overly measured pace. Her interested me because of my complete ignorance of everything in it -- it was like sitting through a class that I wasn't necessarily enjoying but that I knew was good for me. (And just because I fall asleep in a movie doesn't necessarily mean I don't admire and like it; I've actually occasionally fallen asleep in my own movies.) Dallas Buyers Club was very good, and I was engaged by it all the way through, but there were no real surprises in it. The Wolf of Wall Street has almost nothing to say, but I found it hysterically funny. Conversely, with 12 Years a Slave, you don't even crack a smile, but it was interesting, admirable and well done; I must say, though, that contrary to what some have asserted, it's not as if it required great courage to make that movie -- maybe if you made it in Mississippi in 1930. As for American Hustle, its ambition is not overwhelming, but it takes an interesting subject and very interesting characters and delivers 100 percent on what could be done with it in a very engaging, entertaining, interesting and truthful way. I would not put it in the legendary masterpiece category, but it doesn't fail on any level.
MY PICK: (1) American Hustle; (2) 12 Years a Slave; (3) The Wolf of Wall Street
EXCLUSIVE VIDEO: David O. Russell: Jennifer Lawrence Owes Her Oscar to a Spider
➻ BEST DIRECTOR
David O. Russell, hands down. Steve McQueen made an admirable movie, but I don't think it's remotely as ambitious or good as his previous film, Shame. Wolf is like Casino and GoodFellas -- fun, bubble-gum Scorsese. Payne -- whatever. And Cuaron was part of a committee of technicians who made that movie, and I have seen things at the planetarium that were at least as impressive.
MY PICK: David O. Russell (American Hustle)
➻ BEST ACTOR
Ejiofor was good. DiCaprio has been better; this is a popcorn performance. McConaughey was very good; he's really doing some great stuff now, and I would give it to him for True Detective. Dern is a great guy and a friend and is excellent in the movie, and if I were not as taken by Bale's performance as I am, I would have voted for him. But Bale had a much juicier role -- Dern's role is very contained, whereas Bale is all over the place -- so I had to go with him. It's the role of a lifetime.
MY PICK: Christian Bale (American Hustle)
Oscars 2014: Live Blog
➻ BEST ACTRESS
Blanchett has to win this. Bullock is the weak link -- she's just OK. For Streep, whom I love, this is a bottom-drawer performance. Dench is a terrific actress, and she's very good in this film. Adams I love. But you have to vote for who's truly the best, and to me, Blanchett -- whom I'm normally not that wild about, with the exception of Bandits -- is that. She was just a revelation; she was just spectacular.
MY PICK: Cate Blanchett (Blue Jasmine)
➻ BEST SUPPORTING ACTOR
Everyone was at least very good, but Cooper was the best. I think this is the best he's been in anything. If he wasn't in the category, I'd probably end up voting for Jonah Hill, only because I found him so funny. Jared Leto was good and will win, but he's getting tremendous points because of the person he's playing more than the way he played it, which is as close to pandering as you can get.
MY PICK: Bradley Cooper (American Hustle)
➻ BEST SUPPORTING ACTRESS
Lawrence and Hawkins are the two obvious best of the five. Hawkins had a difficult part -- it's not an attractive role, and she's intentionally overshadowed constantly by Blanchett, but she registers strongly in each scene she's in. Jennifer was even better -- she has that extra level of excitement in every scene she's in. She just dazzles; she's always doing something original and bold and surprising and believable. June Squibb was fine. Julia Roberts was horrendous. And Lupita was very good, but a lot of the commotion over her is attributable to people's tremendous empathy with and sympathy for the role she's playing.
MY PICK: Jennifer Lawrence (American Hustle)
PHOTOS: Beginner's Luck? Actors Who Scored Oscar Nominations With Film Debuts
➻ BEST ADAPTED SCREENPLAY
12 Years a Slave wins easily. Wolf is enjoyable, and if you were giving awards for most fun, it probably would be the biggest winner this year, along with American Hustle, which is a much better movie overall. On the other hand, by that logic, Step Brothers would have won. Philomena is an earnest and emotionally effective tearjerker, but that doesn't mean its script is great. Captain Phillips is one step above hokum. And Before Midnight is a travesty of ineptitude and dreadful writing, like the other two in that horrible trilogy -- if I was sitting next to those people, I would run in the opposite direction.
MY PICK: 12 Years a Slave
➻ BEST ORIGINAL SCREENPLAY
All five scripts are extremely good. Her is a worthy contender, and what it has over the others is that it's completely original, but, even though I was impressed by the movie, I found myself nodding out periodically, so that meant I couldn't put it on the same level as American Hustle and Blue Jasmine. I often choose personal friendship when I am torn between two almost equally good options, but in this case I'm friends with both David and Woody, so that doesn't help. … I'm going for American Hustle because Woody has already been overwhelmingly rewarded. I feel very badly about the absurd bullshit that's flying Woody's way, but that can't intrude one way or the other on voting. Both films have literally not a single dead spot in them.
MY PICK: American Hustle
➻ BEST ANIMATED FEATURE
I have seen none of them. I have no interest whatsoever. That ended when I was 6. My son dragged me to a few when he was 6; I would seat him and go outside and make phone calls.
MY PICK: I abstain.
➻ BEST DOCUMENTARY FEATURE
I actually liked several of the movies, especially 20 Feet From Stardom, but I refuse to dignify the category by voting in it. Even with its new rules, the documentary category has about as much claim to legitimacy as the Bush-Gore presidential election. It's an incestuous little club.
MY PICK: I abstain.
➻ BEST FOREIGN-LANGUAGE FILM
I immediately rule out Palestine for Omar because I saw it, and it's a bunch of f---ing anti-Semitic swine. The Hunt was the best, by far -- the performance, the writing, the boldness of the approach. The Great Beauty is unbelievably f---ing slow and dull; that's another movie where you can sit there and pass out five times and miss nothing. I stopped Broken Circle Breakdown halfway and Cambodia's after 20 minutes.
MY PICK: The Hunt
STORY: Best Actor Oscar Breakdown
➻ BEST CINEMATOGRAPHY
There was some pretty impressive stuff in Gravity. I didn't think any of the other movies were shot on the level of the really great films -- Prisoners was excellent but a cut below Roger Deakins' best work, such as Andrew Dominik's film and the Coen brothers' films -- but Gravity was.
MY PICK: Gravity
➻ BEST COSTUME DESIGN
American Hustle, unquestionably. Everything about the period is done not only accurately and believably but adds to the movie. I lived through that period, and it all rang true.
MY PICK: American Hustle
➻ BEST FILM EDITING
American Hustle is light years better than anything else. There is nothing but sharp cuts and rhythm in the movie -- there is not a wasted frame. Captain Phillips is, to me, the chickenshit way of editing; it's usually done because you're terrified of boring the audience, so you keep cutting, and it actually becomes unbelievably tedious and headache-inducing, and it's not the way the mind perceives reality, either. And 12 Years a Slave had about 15 to 20 minutes of sluggish, boring stuff that I would have ripped out.
FEINBERG FORECAST: Scott's Final Picks for Who Will Win at Sunday's Oscars
MY PICK: American Hustle
➻ BEST MAKEUP AND HAIRSTYLING
To me, the only one is Dallas Buyers Club. It's the most prominent thing about the movie. It works unbelievably. I was aware of it, and ordinarily when you say you're aware of something it means it's not working very well, but I was aware of it as something that was done very skillfully and believably. I was shocked to hear it had a $250 budget for makeup.
MY PICK: Dallas Buyers Club
➻ BEST ORIGINAL SCORE
I found all five scores inferior. Desplat has done a number of exceptionally good scores, but Philomena is not one of them, so I'm not gonna vote for him this year.
MY PICK: I abstain.
➻ BEST ORIGINAL SONG
I didn't vote because I regard all four songs as utterly inferior and not worth voting for. To dignify any of them with a vote is to suggest that they're worthy of a nomination, and they're not; they're just bad songs. And, as for disqualifying the fifth nominee? The rules are so petty and stupid, these people should get a life -- it's embarrassing. They're like sub-basement, quasi-Talmudic scholars.
MY PICK: I abstain.
➻ BEST PRODUCTION DESIGN
I would immediately eliminate 12 Years a Slave and Gravity. The other three would all be worthy winners -- Gatsby, for instance, was not a good movie, but it still popped and came alive, especially in 3D -- but I liked American Hustle the most overall so I voted for it. It was well-done and accurate, in terms of the period, and each set is done in a way that adds to the believability and the character of the scene.
MY PICK: American Hustle
➻ BEST SOUND EDITING
Most of the time, who knows what was recorded on the set, as opposed to what was added in post? I generally vote for the movie with the best overall sound in both sound categories.
MY PICK: Gravity
➻ BEST SOUND MIXING
Even though I thought Inside Llewyn Davis was an atrociously bad movie, the sound mixing was good. But the best sound mixing was for Gravity, by far. It had a very clean track.
MY PICK: Gravity
➻ BEST VISUAL EFFECTS
Four of them are completely without interest of any kind whatsoever on any level, and Gravity's effects, in 3D, anyway, are terrific. So this isn't even a contest.
MY PICK: Gravity
➻ BEST ANIMATED SHORT, BEST DOCUMENTARY SHORT and BEST LIVE-ACTION SHORT
I don't watch the shorts. And, if I don't know anybody who made one of them -- a friend or an enemy -- I just don't vote, which was the case this year.
MY PICK: I abstain.
➻ BEST PICTURE
Captain Phillips struck me as a slightly hokey, overacted, not particularly gripping action movie. Gravity pales in comparison with Cosmos, Neil deGrasse Tyson's recent 13-part reboot of Carl Sagan's famous TV series about the universe. Philomena, which I've wanted to call Philomania ever since the Golden Globes, was an effective tearjerker -- I was moved by it -- but that doesn't make it a great film. Nebraska was skillfully done but limited by its limited ambitions and its overly measured pace. Her interested me because of my complete ignorance of everything in it -- it was like sitting through a class that I wasn't necessarily enjoying but that I knew was good for me. (And just because I fall asleep in a movie doesn't necessarily mean I don't admire and like it; I've actually occasionally fallen asleep in my own movies.) Dallas Buyers Club was very good, and I was engaged by it all the way through, but there were no real surprises in it. The Wolf of Wall Street has almost nothing to say, but I found it hysterically funny. Conversely, with 12 Years a Slave, you don't even crack a smile, but it was interesting, admirable and well done; I must say, though, that contrary to what some have asserted, it's not as if it required great courage to make that movie -- maybe if you made it in Mississippi in 1930. As for American Hustle, its ambition is not overwhelming, but it takes an interesting subject and very interesting characters and delivers 100 percent on what could be done with it in a very engaging, entertaining, interesting and truthful way. I would not put it in the legendary masterpiece category, but it doesn't fail on any level.
MY PICK: (1) American Hustle; (2) 12 Years a Slave; (3) The Wolf of Wall Street
EXCLUSIVE VIDEO: David O. Russell: Jennifer Lawrence Owes Her Oscar to a Spider
➻ BEST DIRECTOR
David O. Russell, hands down. Steve McQueen made an admirable movie, but I don't think it's remotely as ambitious or good as his previous film, Shame. Wolf is like Casino and GoodFellas -- fun, bubble-gum Scorsese. Payne -- whatever. And Cuaron was part of a committee of technicians who made that movie, and I have seen things at the planetarium that were at least as impressive.
MY PICK: David O. Russell (American Hustle)
➻ BEST ACTOR
Ejiofor was good. DiCaprio has been better; this is a popcorn performance. McConaughey was very good; he's really doing some great stuff now, and I would give it to him for True Detective. Dern is a great guy and a friend and is excellent in the movie, and if I were not as taken by Bale's performance as I am, I would have voted for him. But Bale had a much juicier role -- Dern's role is very contained, whereas Bale is all over the place -- so I had to go with him. It's the role of a lifetime.
MY PICK: Christian Bale (American Hustle)
Oscars 2014: Live Blog
➻ BEST ACTRESS
Blanchett has to win this. Bullock is the weak link -- she's just OK. For Streep, whom I love, this is a bottom-drawer performance. Dench is a terrific actress, and she's very good in this film. Adams I love. But you have to vote for who's truly the best, and to me, Blanchett -- whom I'm normally not that wild about, with the exception of Bandits -- is that. She was just a revelation; she was just spectacular.
MY PICK: Cate Blanchett (Blue Jasmine)
➻ BEST SUPPORTING ACTOR
Everyone was at least very good, but Cooper was the best. I think this is the best he's been in anything. If he wasn't in the category, I'd probably end up voting for Jonah Hill, only because I found him so funny. Jared Leto was good and will win, but he's getting tremendous points because of the person he's playing more than the way he played it, which is as close to pandering as you can get.
MY PICK: Bradley Cooper (American Hustle)
➻ BEST SUPPORTING ACTRESS
Lawrence and Hawkins are the two obvious best of the five. Hawkins had a difficult part -- it's not an attractive role, and she's intentionally overshadowed constantly by Blanchett, but she registers strongly in each scene she's in. Jennifer was even better -- she has that extra level of excitement in every scene she's in. She just dazzles; she's always doing something original and bold and surprising and believable. June Squibb was fine. Julia Roberts was horrendous. And Lupita was very good, but a lot of the commotion over her is attributable to people's tremendous empathy with and sympathy for the role she's playing.
MY PICK: Jennifer Lawrence (American Hustle)
PHOTOS: Beginner's Luck? Actors Who Scored Oscar Nominations With Film Debuts
➻ BEST ADAPTED SCREENPLAY
12 Years a Slave wins easily. Wolf is enjoyable, and if you were giving awards for most fun, it probably would be the biggest winner this year, along with American Hustle, which is a much better movie overall. On the other hand, by that logic, Step Brothers would have won. Philomena is an earnest and emotionally effective tearjerker, but that doesn't mean its script is great. Captain Phillips is one step above hokum. And Before Midnight is a travesty of ineptitude and dreadful writing, like the other two in that horrible trilogy -- if I was sitting next to those people, I would run in the opposite direction.
MY PICK: 12 Years a Slave
➻ BEST ORIGINAL SCREENPLAY
All five scripts are extremely good. Her is a worthy contender, and what it has over the others is that it's completely original, but, even though I was impressed by the movie, I found myself nodding out periodically, so that meant I couldn't put it on the same level as American Hustle and Blue Jasmine. I often choose personal friendship when I am torn between two almost equally good options, but in this case I'm friends with both David and Woody, so that doesn't help. … I'm going for American Hustle because Woody has already been overwhelmingly rewarded. I feel very badly about the absurd bullshit that's flying Woody's way, but that can't intrude one way or the other on voting. Both films have literally not a single dead spot in them.
MY PICK: American Hustle
➻ BEST ANIMATED FEATURE
I have seen none of them. I have no interest whatsoever. That ended when I was 6. My son dragged me to a few when he was 6; I would seat him and go outside and make phone calls.
MY PICK: I abstain.
➻ BEST DOCUMENTARY FEATURE
I actually liked several of the movies, especially 20 Feet From Stardom, but I refuse to dignify the category by voting in it. Even with its new rules, the documentary category has about as much claim to legitimacy as the Bush-Gore presidential election. It's an incestuous little club.
MY PICK: I abstain.
➻ BEST FOREIGN-LANGUAGE FILM
I immediately rule out Palestine for Omar because I saw it, and it's a bunch of f---ing anti-Semitic swine. The Hunt was the best, by far -- the performance, the writing, the boldness of the approach. The Great Beauty is unbelievably f---ing slow and dull; that's another movie where you can sit there and pass out five times and miss nothing. I stopped Broken Circle Breakdown halfway and Cambodia's after 20 minutes.
MY PICK: The Hunt
STORY: Best Actor Oscar Breakdown
➻ BEST CINEMATOGRAPHY
There was some pretty impressive stuff in Gravity. I didn't think any of the other movies were shot on the level of the really great films -- Prisoners was excellent but a cut below Roger Deakins' best work, such as Andrew Dominik's film and the Coen brothers' films -- but Gravity was.
MY PICK: Gravity
➻ BEST COSTUME DESIGN
American Hustle, unquestionably. Everything about the period is done not only accurately and believably but adds to the movie. I lived through that period, and it all rang true.
MY PICK: American Hustle
➻ BEST FILM EDITING
American Hustle is light years better than anything else. There is nothing but sharp cuts and rhythm in the movie -- there is not a wasted frame. Captain Phillips is, to me, the chickenshit way of editing; it's usually done because you're terrified of boring the audience, so you keep cutting, and it actually becomes unbelievably tedious and headache-inducing, and it's not the way the mind perceives reality, either. And 12 Years a Slave had about 15 to 20 minutes of sluggish, boring stuff that I would have ripped out.
FEINBERG FORECAST: Scott's Final Picks for Who Will Win at Sunday's Oscars
MY PICK: American Hustle
➻ BEST MAKEUP AND HAIRSTYLING
To me, the only one is Dallas Buyers Club. It's the most prominent thing about the movie. It works unbelievably. I was aware of it, and ordinarily when you say you're aware of something it means it's not working very well, but I was aware of it as something that was done very skillfully and believably. I was shocked to hear it had a $250 budget for makeup.
MY PICK: Dallas Buyers Club
➻ BEST ORIGINAL SCORE
I found all five scores inferior. Desplat has done a number of exceptionally good scores, but Philomena is not one of them, so I'm not gonna vote for him this year.
MY PICK: I abstain.
➻ BEST ORIGINAL SONG
I didn't vote because I regard all four songs as utterly inferior and not worth voting for. To dignify any of them with a vote is to suggest that they're worthy of a nomination, and they're not; they're just bad songs. And, as for disqualifying the fifth nominee? The rules are so petty and stupid, these people should get a life -- it's embarrassing. They're like sub-basement, quasi-Talmudic scholars.
MY PICK: I abstain.
➻ BEST PRODUCTION DESIGN
I would immediately eliminate 12 Years a Slave and Gravity. The other three would all be worthy winners -- Gatsby, for instance, was not a good movie, but it still popped and came alive, especially in 3D -- but I liked American Hustle the most overall so I voted for it. It was well-done and accurate, in terms of the period, and each set is done in a way that adds to the believability and the character of the scene.
MY PICK: American Hustle
➻ BEST SOUND EDITING
Most of the time, who knows what was recorded on the set, as opposed to what was added in post? I generally vote for the movie with the best overall sound in both sound categories.
MY PICK: Gravity
➻ BEST SOUND MIXING
Even though I thought Inside Llewyn Davis was an atrociously bad movie, the sound mixing was good. But the best sound mixing was for Gravity, by far. It had a very clean track.
MY PICK: Gravity
➻ BEST VISUAL EFFECTS
Four of them are completely without interest of any kind whatsoever on any level, and Gravity's effects, in 3D, anyway, are terrific. So this isn't even a contest.
MY PICK: Gravity
➻ BEST ANIMATED SHORT, BEST DOCUMENTARY SHORT and BEST LIVE-ACTION SHORT
I don't watch the shorts. And, if I don't know anybody who made one of them -- a friend or an enemy -- I just don't vote, which was the case this year.
MY PICK: I abstain.
Brutally Honest Oscar Ballot #1: ‘Roma’ Just an “Expensive Home Movie,” “About F—ing Time” for Spike Lee
A director casts his vote for 'BlacKkKlansman' and "genius" Spike Lee, and doesn't buy Lady Gaga for "a single moment" — and by the way, he's not watching ABC's hostless, "idiotic" show.
www.hollywoodreporter.com
Brutally Honest Oscar Ballot #2: ‘Get Out’ Filmmakers “Played the Race Card,” “Just Sick of” Meryl Streep
A voter from the Academy's actors branch says she "learned more about 'Dunkirk' from five minutes of 'Darkest Hour' than I did from the whole movie 'Dunkirk,'" and was tempted to put 'Darkest Hour' atop her ballot but "didn’t think it would have a chance of winning."
www.hollywoodreporter.com
apparently they do this each year.
and yeah wow there are some big reveals about these oscars.
this is all just here as some information that goes into the Oscars and what might be going into the heads of oscars This year.
Last edited:
tankdrop24
Tread First into Hell
- Location
- The Center of the Universe: Toronto, Canada
- Pronouns
- He/Him
Honestly, the fact the Your Name wasn't even nomination for Best Animated kind of shows that the Oscar's are just barely paying any attention to animation at all.
CrimsonViceroy
Gone
IKR this feel like parody.
Dream Logic
An offseason swallow
- Location
- In transit
Your Name found hit me in places I didn't even know existed. Seriously, I was crying from happy/sad/ohgodIdon'thaveanameforthisemotionIfeellikeyou'vereachedintomysoul for most of the the film.
I haven't seen the nominees so I can't comment on them but in principle I'd be willing to throw any of them out for Your Name to get the vote.
I haven't seen the nominees so I can't comment on them but in principle I'd be willing to throw any of them out for Your Name to get the vote.