It’s the most wonderful time of the year....
Oscar time. Here’s how the nominees fared according to, as Bill O’Reilly puts it, your humble correspondent.
ACTOR IN A LEADING ROLE
Adrien Brody
Nicolas Cage
Michael Caine
Daniel Day-Lewis
Jack Nicholson
Glaring omission: Richard Gere. The problem for Gere is that his accomplishment in “Chicago” is a career performance. However, it just had bad timing, because there’s not a bad nomination in this bunch, no one he could absolutely replace. I suppose an argument could be made that Gere took more of a risk than Michael Caine in “The Quiet American”.
Runners-up: Robin Williams in “One Hour Photo”, Hugh Grant in “About a Boy”, Greg Kinnear in “Auto Focus”, Dennis Quaid in “The Rookie”.
Great inclusion: Daniel Day-Lewis. Not a big surprise, but Day-Lewis’ FIERCE performance in “Gangs of New York” is a welcome return for a guy we haven’t seen in a movie in five years. Welcome back.
Should and will: Nicholson should and will take the day. He anchored the film (nothing against Brody who did the same), and this role is a departure for normally charismatic Jack.
ACTOR IN A SUPPORTING ROLE
Chris Cooper
Ed Harris
Paul Newman
John C. Reilly
Christopher Walken
Glaring Omission: Dennis Quaid. Atrocious. Speaking of career performances, Quaid’s brave, balls-out job in “Far From Heaven” is a masterpiece among masterful performances. First of all, if you’re going to include John C. Reilly, you’ve gotta include Gere. And I know Harris and Newman are actor favorites and would be nominated for an appearance on “Sesame Street”. Don’t get me wrong, I love them, too (especially Newman), but Quaid got ROBBED.
Runner-up: Ray Liotta in “Narc”, Willem Dafoe in “Auto Focus”, Alan Arkin in “Thirteen Conversations About One Thing”.
Great inclusion: Christopher Walken. One of the great nominations of the year. See what happens when you give Walken a meaty role?! Spielberg cast the great Walken in a full supporting role and he totally shined. Too often Walken gets reduced to a cameo as a “wacky guy”. When the roles bigger, BAM - nomination.
Should and will: I think this category is really tough. Newman gave another underplayed performance that showed power without the bombast. Reilly was heartbreaking. I’m fairly sure Cooper will win the Oscar, and this guy’s been great for years. I wasn’t the biggest fan of “Adaptation”, but his role asked alot of him that he seemed to deliver without a blink.
ACTRESS IN A LEADING ROLE
Salma Hayek
Nicole Kidman
Diane Lane
Julianne Moore
Renée Zellweger
Glaring Omission: This category is pretty tight. The only omission I can think of is Nia Vardalos for “My Big Fat Greek Wedding”, which is in debate as far as it’s award-worthiness. It’s a big, fat hit, no doubt, but all the parts were a little lightweight compared to the inclusions here. Meryl Streep was at least as good as Nicole Kidman in “The Hours”, if not better. (Haven’t seen “The Good Girl” either, but heard much hype about Jennifer Aniston).
Great Inclusion: Julianne Moore. I think her nomination was a shoo-in, and good thing for that. I LOVE Diane Lane, but haven’t seen the film for which she was nominated. I will soon ‘cause I here she’s a sexpot - excellent.
Should and will: The race is between Kidman and Zellweger, who have momentum from the Golden Globes and their both really skinny. It’ll probably come down to which film gets the props that night. I think the Academy has a woody for Kidman and will probably go with her (and she was very, very good - I didn’t care for the script). I THINK Moore should win. She balanced both a difficult acting style and powerful emotion gracefully.
ACTRESS IN A SUPPORTING ROLE
Kathy Bates
Julianne Moore
Queen Latifah
Meryl Streep
Catherine Zeta-Jones
Glaring Omission: Michelle Pfeiffer. Not that I liked her in that film, I thought she was a bit overwrought, heavyhanded, but here’s another person the Academy loves to nominate. Queen Latifah made her job look alot easier.
Great Inclusion: Catherine Zeta-Jones. While I’ve heard some talk about Gere’s singing and Zellweger’s dancing (I disagree), Zeta-Jones has the total package in “Chicago”. She’s a triple-threat in a Best Actress-sized performance. If she couldn’t get considered as Best Actresss, GREAT job including her here.
Should and will: Bates is GREAT in “About Schmidt”, but she’s ridden on her charm/abrasiveness before (she got ROBBED in “Primary Colors”), and I think Streep will win for same reasons Chris Cooper will - the part is so lively and colorful. I’d like to see Zeta-Jones win for the most assured movie musical performance since Liza Minelli in “Cabaret”.
ANIMATED FEATURE FILM
ICE AGE
LILO & STITCH
SPIRIT: STALLION OF THE CIMARRON
SPIRITED AWAY
TREASURE PLANET
Glaring Omission: “Star Wars, Episode II: Attack of the Clones”. Were there any people in that movie?
Great Inclusion: “Treasure Planet”. That movie got a raw deal. It’s by no means great, but it’s an animated spectacle with really impressive art work.
Should and will: “Lilo & Stitch” should win for capturing the old Disney family values, but not getting bogged down in complicated plot and keeping the whole picture light as a feather and downright funny. My problem is that I haven’t seen “Spirited Away”, which is supposed to be great. However, I’ve not shown a great enjoyment for anime in the past. It’s often just too damn OUT THERE for me. “Lilo & Stitch” should win unless the Academy goes the “Shrek” route and picks another cynical offering. But “Ice Age” is no “Shrek”. Hell, “Ice Age” is no “Reign of Fire”.
ART DIRECTION
CHICAGO
FRIDA
GANGS OF NEW YORK
THE LORD OF THE RINGS: THE TWO TOWERS
ROAD TO PERDITION
Glaring Omission: Well, this category could always stand to have 10 or so nominees every year, ‘cause there’s always good work to be found across the board. You could’ve found the nasty bars of “8 Mile” worthy, same with the stale ‘50s surroundings of “Auto Focus” and ratty depths of Dickens’ London in “Nicholas Nickleby”. I’d take out “The Two Towers” (although impressive, it just seemed an extension of what we already saw in “Fellowship of the Ring”) and replace it with Polanski’s vision of Holocaust Germany in “The Pianist”.
Great Inclusion: “Road to Perdition”. This film got a lot of flack for being TOO operatic, too serious. Well, it is also a superbly crafted gangster film that everyone should see. The dialogue is smart, the perfomances are great and the direction is solid. But if those are going to be passed over, then I applaud the nominations of the production designers.
Should and will: I think “Gangs of New York” will win here and should. Scorsese created the streets of 1800s New York from SCRATCH at Cinecitta Studios in ITALY. It’s really impressive once you see the result on screen.
CINEMATOGRAPHY
CHICAGO
FAR FROM HEAVEN
GANGS OF NEW YORK
THE PIANIST
ROAD TO PERDITION
Glaring Omission: “Minority Report”. Spielberg’s washed-out noir sci-fi epic looks dazzling. Rough around the edges, the camera (along with the special effects) creates a really lived-in future.
Runners-up: “Auto Focus” - the change in style showing the characters demise was better use of filters than “Confessions of a Dangerous Mind”, which used similar filters for no reason. “The Rookie” - I said it before, any movie that makes Texas look THAT GORGEOUS needs an Oscar nod.
Great Inclusion: “The Pianist”. A great characteristic of this film is how the main character sees alot of the war through apartment windows, and the cinematographer has captured a “Rear Window” take on WWII that’s quite fascinating.
Should and will: “Road to Perdition” should win. Conrad Hall is a legend, and his work here is as beautiful and solid as ever. His photography makes any director look like a genius. Teaming him with good director Sam Mendes has crafted a brilliant-looking crime drama. I think it’s got a good chance, too. The upset could be “Chicago”, if they start racking up award after award by the time they get to this category.
COSTUME DESIGN
CHICAGO
FRIDA
GANGS OF NEW YORK
THE HOURS
THE PIANIST
Glaring Omission: “Far From Heaven”. Costumes were just as important to creation of time and place as the previous category in which the film was nominated.
Runners-up: “Minority Report”. Creating the future always gets the shaft in favor of re-creating the past in this category.
Great Inclusion: “Gangs of New York”. I swear, a top hat had never before been menacing until Scorsese made this movie.
Should and will: “Chicago”’s glitz will probably win on Oscar night, and I’m rooting for it, with a slight nod towards “Gangs”.
DIRECTING
CHICAGO - Rob Marshall
GANGS OF NEW YORK - Martin Scorsese
THE HOURS - Stephen Daldry
THE PIANIST - Roman Polanski
TALK TO HER - Pedro Almodovar
Glaring Omission: Peter Jackson. I was underwhelmed by “The Two Towers”, but the old argument stands that the directors of all the Best Picture nominees should be included in the Best Director category. Or, as Rob Reiner once said, do away with “Best Director” entirely, and when a film wins Best Picture, give Oscars to the producer(s) and director.
Runners-up: Todd Haynes, “Far From Heaven”. This category is like Best Actor, in that it’d be tough to find room for a cut from the current list, but Haynes brought as much originality and risk to the screen as Marshall and Scorsese and as much assuredness as Polanski and Daldry. Haven’t seen “Talk to Her”...Mark Romanek, “One Hour Photo”, who I compared to the Coen Bros. in my original review. That’s high praise. Alexander Payne, “About Schmidt”.
Great Inclusion: Roman Polanski. “The Pianist” is such as HUGE return to form for Polanski after a LONG series of mediocre or downright bad movies. Good for him.
Should and will: Scorsese will get the nod for the right and wrong reasons. “Gangs” is not his best film. But hey, “Scent of a Woman” was Pacino’s best? “The Color of Money” was Newman’s best? And they gave Spielberg a career award cause they felt guilty for overlooking him, then he went on to do the best work of his career and EARN three more awards. In your face, Academy. So, Scorsese will probably win here. And “Chicago” has more reason to win, as far as I’m concerned. Nevertheless, I’d be on my feet if I were in attendance and “Marty” finally won the big one.
DOCUMENTARY FEATURE
BOWLING FOR COLUMBINE
DAUGHTER FROM DANANG
PRISONER OF PARADISE
SPELLBOUND
WINGED MIGRATION
Glaring Omission: Who cares, it’s all about Michael Moore
Runners-up: Who cares, it’s all about Michael Moore
Great Inclusion: MICHAEL MOORE! OK, I’ll admit, I haven’t seen the other films, but Michael Moore’s “Bowling for Columbine” is a dynamite, powerhouse film that I was worried might be too narrative for the Academy, as Moore is such a present figure in the direction of the film. Good for them for nominating him, as they ignored his brilliant work with “Roger & Me” and “The Big One” (both of which you should see if you haven’t). He wasn’t even nominated for “Roger & Me”, which triggered and outcry from critics and a string of boneheaded nominations in this category that went on for years, snubbing films like “Hoop Dreams”.
Should and will: “Bowling for Columbine”, mostly ‘cause it deserves it and also because it is the highest grossing documentary ever, and people voting will have seen it.
DOCUMENTARY SHORT SUBJECT
THE COLLECTOR OF BEDFORD STREET
MIGHTY TIMES: THE LEGACY OF ROSA PARKS
TWIN TOWERS
WHY CAN'T WE BE A FAMILY AGAIN?
Glaring Omission: Who knows? Once again, the ability to see these films is so strangulated that I have no idea what documentary shorts were submitted. I’m a broken record here, but these shorts should be screened on PBS or SOMEWHERE where we can see them. I agree with Ebert who thinks they should be shown right before the Oscars instead of listening to actors say absolutely inconsequential stuff to the press.
Should and will: I’ve got to imagine something called “Twin Towers” would win.
FILM EDITING
CHICAGO
GANGS OF NEW YORK
THE HOURS
THE LORD OF THE RINGS: THE TWO TOWERS
THE PIANIST
Glaring Omission: Wow, normally this category is filled with the action movies not nominated in many other categories (“The Matrix”, for example). Not so this year. These are the Best Picture candidates. I suppose the one that could’ve been included is “Minority Report”. Especially ‘cause the movie moved so much faster than “A.I.”.
Runners up: “About Schmidt”
Great Inclusion: “Chicago”. Unlike “Moulin Rouge”, the editors of “Chicago” put together a film that actually complimented the performers involved.
Should and will: Again, if “Chicago” or “The Hours” is cleaning up up to this point, they’ll take this award, too. But I think the award should go to “Chicago”, as this musical was a bit more of a challenge than “The Hours” (but “The Hours” nomination is good as it blended the timejumps together quite seamlessly).
FOREIGN LANGUAGE FILM
EL CRIMEN DEL PADRE AMARO
HERO
THE MAN WITHOUT A PAST
NOWHERE IN AFRICA
ZUS & ZO
Glaring Omission: “Talk to Her”. Again, I’ll admit I missed it. But how can this movie be nominated for Best Screenplay and Best Director and miss something in the translation to Best Picture? Huh? That’s just wiggity-wacked.
Should and will: Don’t know. But I’m bummin’ that this category is getting to be like Best Documentary in that great films are getting omitted each year. “Crouching Tiger, Hidden Dragon” was great, as was “Life is Beautiful”, but last year they didn’t nominate “Amelie”, and they skipped “Talk to Her”. What’s up with that, Your Majesty?”
MAKEUP
FRIDA
THE TIME MACHINE
Glaring Omission: Three more candidates! What makes this category so special? Every year there’s only two or three nominees. There’s good work that could be nominated that isn’t every year. “The Time Machine” has huge creatures and age to create, “Frida” dealt mainly with age. How about “Nicholas Nickleby”? Jim Broadbent’s crazy eye down to makeup of the acting troupe was all good. As was Mike Myers transformation into “Goldmember” and “Gangs of New York” or “The Hours”.
Should and will: Probably “Frida”, as I can’t see it winning anything else and “The Time Machine” really, really sucked.
MUSIC (SCORE)
CATCH ME IF YOU CAN
FAR FROM HEAVEN
FRIDA
THE HOURS
ROAD TO PERDITION
Glaring Omission: Terence Blanchard, “25th Hour”. It was nominated for a Golden Globe, and I thought it might get recognized here. Spike Lee has always made very, very interesting musical choices in his films, and the scores, whether by Bill Lee or Blanchard seem to take on a life of their own, and are full of bombast and character. The score for “25th Hour” is a blustery sound off for the characters, who are reaching their own, personal emotional culminations.
Runners up: “Minority Report”. Williams should’ve won last year for “Harry Potter”, he’s simply the best film score composer ever. Ever. In another branch out from the usual fanfare we expect from Williams, the “Minority Report” score seems like the score to a Hitchcock film, an interesting compliment to subject matter not at all nostalgiac. “Punch-Drunk Love”. Either of these should replace “The Hours”, whose Philip Glass music belongs more in concert than accompanying moving pictures.
Great Inclusion: “Catch Me if You Can” and “Far From Heaven”. “Catch Me if You Can” is a lively, exciting, jazzy score that sounds as if the aforementioned brilliant John Williams is channeling Henry Mancini. They compliment the opening credits as if they were a movie unto themselves. “Far From Heaven”’s score is practically a character in the film, reminding us of the DRAMA going on, which is exactly what Elmer Bernstein used to do with his original ‘50s scores. A crucial element to the film’s style set up by director Todd Haynes.
Should and will: Will is tough. “Frida” took the Golden Globe, so is probably the front-runner. I’ll pick it to win, but my choice is “Catch Me if You Can”.
MUSIC (SONG)
CHICAGO
8 MILE
FRIDA
GANGS OF NEW YORK
THE WILD THORNBERRYS MOVIE
Glaring Omission: “Die Another Day” - Madonna. And THANK GOD. This song is the WEAKEST Bond theme in YEARS, but it still squeaked out a Golden Globe nomination. It’s just a bland piece of crap and I’m glad it got snubbed.
Great Inclusion: “Lose Yourself”. I’m not the world’s biggest Eminem fan, but the song is very relevant to the film (it’s practically a commercial for the film’s storyline), and it represents what the film’s all about.
Should and will: “Gangs of New York” will win. This is one of those songs you don’t hear till the end credits (thankfully, ‘cause U2 doesn’t really represent the 1800s), which is always a bummer. I liked the days when Disney won all the time because their songs were CRUCIAL to the movie (and Alan Menken is brilliant) and took place in the middle or beginning and moved the plot.
BEST PICTURE
CHICAGO
GANGS OF NEW YORK
THE HOURS
THE LORD OF THE RINGS: THE TWO TOWERS
THE PIANIST
Glaring Omission: “Adaptation” and “About Schmidt” and “Far From Heaven”. Again, I wasn’t the biggest fan of “Adaptation”, but with all the acclaim it’s received, I thought it might garner a Best Picture nod. “About Schmidt”, another critical favorite deserves the nod. I’d move “The Two Towers” out of the way for “Schmidt”. “Far From Heaven” is another critic’s favorite. Every year, however, the critics dont’ mean as much to the Academy. Sometimes they should, take a look at this year’s critic’s awards both Nationally, and in NY, LA and Boston, the awards always go to more daring work.
Runners up: “Nicholas Nickleby” - this film is absolutely GREAT. If you haven’t seen it (like I almost didn’t, fearing Dickensian boredom), go!
Great Inclusion: “Chicago”. This film has more energy and imagination in it than a thousand other releases this year.
Should and will: I think the Academy wouldn’t reward that energy, however, in favor of straight drama as we’ve seen it before, and “The Hours” will be Best Picture 2003. I’d go with “Chicago”.
SHORT FILM (ANIMATED)
THE CATHEDRAL
THE CHUBBCHUBBS!
DAS RAD
MIKE'S NEW CAR
MT. HEAD
Glaring Omission: All of these films from my viewing schedule. The only one I know I COULD see if I wanted to was “Mike’s New Car”, ‘cause I believe it’s a PIXAR short and can be found on the “Monsters, Inc.” DVD. But I still haven’t seen any of these, and they all fall victim the same as the short documentaries.
Should and will: I’m going to guess that PIXAR will be rewarded again.
SHORT FILM (LIVE ACTION)
FAIT D'HIVER
I'LL WAIT FOR THE NEXT ONE… (J'ATTENDRAI LE SUIVANT…)
INJA (DOG)
JOHNNY FLYNTON
THIS CHARMING MAN (DER ER EN YNDIG MAND)
Glaring Omission: see above.
SOUND
CHICAGO
GANGS OF NEW YORK
THE LORD OF THE RINGS: THE TWO TOWERS
ROAD TO PERDITION
SPIDER-MAN
Glaring Omission: I thought there’d be more action movies here once again. “Spider-Man” squeaked in, but I thought we’d even see “The Bourne Identity” or “Minority Report” here. Nothing GLARING though...
Runners up: “The Quiet American”
Great Inclusion: “Chicago”. Crisp and clean with no Satine.
Should and will: “Chicago”.
SOUND EDITING
THE LORD OF THE RINGS: THE TWO TOWERS
MINORITY REPORT
ROAD TO PERDITION
Glaring Omission: You know, these categories could use more nominees, too. I’d throw in “Spider-Man” and perhaps “Gangs of New York”.
Great Inclusion: FINALLY, a nomination for “Minority Report”! Nobody makes a tighter picture technically than Spielberg and his crew (with Cameron a close second).
Should and will: I really think “The Two Towers” will come up emptyhanded for the night. Many of the films accomplishments are extensions of previous feats already awarded (although “Black Hawk Down” stole a few tech awards from “Fellowship”). This one goes to “Minority Report”! Then it can be an ‘Oscar-winning movie’!
VISUAL EFFECTS
THE LORD OF THE RINGS: THE TWO TOWERS
SPIDER-MAN
STAR WARS EPISODE II ATTACK OF THE CLONES
Glaring Omission: Can I be more of a broken record? Once again, “Minority Report”’s intelligent vision of the future is played out very well on screen. The cars riding on tracks on those giant buildings alone is a scene for the ages. Also, “Harry Potter and the Chamber of Secrets” should be nominated. I’m sure 90% of “The Two Towers”’ nomination is the creation of Gollum. I thought “Dobby” was just as impressive.
Great Inclusion: “Spider-Man”. Here are special effects that enhance the story GREATLY. They aren’t the story, they compliment it.
Should and will: “The Two Towers” was great to look at, but “Fellowship” won last year, and that may hurt it’s chances. But I still think the whole Gollum thing knocked alot of people out. I would like to see “Spider-Man” win. If “Star Wars, Episode II” wins, I’ll kick a hole in my TV. The guys behind Dobby and Gollum blew away the people behind all those bogus, flat backgrounds and rubbery-looking creatures of “Attack of the Clones”. The creatures looked less rubbery when they were ACTUAL RUBBER SUITS.
WRITING (ADAPTED SCREENPLAY)
ABOUT A BOY
ADAPTATION
CHICAGO
THE HOURS
THE PIANIST
Glaring omission: “About Schmidt”! I cannot BELIEVE this script was not nominated, and it WON the Golden Globe! This is the year’s biggest travesty. A touching, original, beautiful, delicate screenplay. This sucks.
Runners-up: “Nicholas Nickleby”, “Auto Focus”, “Road to Perdition”
Great Inclusion: No script in this category that took up the place reserved for “About Schmidt” is a great, or even good, inclusion.
Should and will: I believe “The Hours” will win, and it’s the worst nomination in the whole category. Here’s a film that did nothing for me. I found the relationships underdeveloped, and alot of BIG moments fell flat. Were it not for good performances by Streep and Kidman, this script alone could not hold my attention as far as I’m concerned. I’d give it to “The Pianist”.
WRITING (ORIGINAL SCREENPLAY)
FAR FROM HEAVEN
GANGS OF NEW YORK
MY BIG FAT GREEK WEDDING
TALK TO HER
Y TU MAMÁ TAMBIÉN
Glaring Omission: Well, it’s not glaring, but I’d definitely include “The Salton Sea”, a COMPLETELY original and exciting thriller with Val Kilmer that has surprises throughout it. Not just at the end or beginning, but around every turn. It’s a sleeper everyone should check out.
Runners-up: “Punch-Drunk Love”, “One Hour Photo”
Great Inclusion: “Far From Heaven”. A brilliant, challenging concept that stays true to course throughout, never derailing.
Should and will: “Far From Heaven” should. Truth is, I haven’t seen either of the Spanish-language entries in this category, so it’s tough to predict. I’m just gonna keep hoping for Todd Haynes. Nia Vardalos’ nomination is win enough for her.
So, who’s got comment? They’ll all be posted! And there are new reviews coming soon, including everything from “City by the Sea” to “The Recruit”.