The Screengrab : academy awards

Trailer Review: Nine

Paul Clark — Mon, 18 May 2009 16:00:00 GMT

These days, it seems like most of the musicals that Hollywood makes are designed as Oscar bait, made with an eye to raking in Academy Awards in various technical categories if nothing else. So it’s kind of odd watching the trailer for Nine, which boasts a cast as prestigious as any musical ever produced (that’s six Oscar winners in the cast, for those playing along at home), and realizing how little it trumpets its pedigree. If nothing else, I admire this spot for not trying to cover up the fact that it’s a musical, with lots of dancing on display and Fergie belting out a song in the background. Still, the Rob Marshall factor gives me pause. Chicago was a good-looking (and good-sounding) movie, but the jackhammer editing became oppressive long before the end, and the whole enterprise felt fairly impersonal to me, like a reverse-engineered machine designed to rack up awards. But I’m holding out judgment on this project for now, at least until the first full-length trailer, in which one hopes we’ll finally hear Daniel Day-Lewis singing.

Yesterday's Hits: Rain Man (1988, Barry Levinson)

Paul Clark — Fri, 20 Mar 2009 19:00:00 GMT

Here’s the pitch: a young man, reeling from the death of his father, drives across country with the brother he never knew who, as it happens, is autistic. Cast one of Hollywood’s most respected actors as the autistic brother and its hottest leading man as the younger brother, and even today the pitch sounds like something straight out of high-concept hell. Yet despite its premise, which jazzed up the bankable but disreputable formula of the road movie with a mental-illness twist, Rain Man was not only the most popular movie of 1988 but also one of the most acclaimed Hollywood releases of the year, winning both the Oscar for Best Picture and the Golden Bear at the Berlin Film Festival, the only film ever to win both of these prestigious awards.

Today, Rain Man is largely remembered for its awards, for Hoffman’s performance, and the memorable lines he contributed to popular culture, including such favorites as “I’m an excellent driver.” But like many surprise hits, Rain Man was initially seen as a somewhat risky project by Hollywood. Several directors and a number of studios passed on the film before Barry Levinson and United Artists ended up making it. And while the film was in production, both of its stars had doubts about its potential. The film’s opening weekend receipts were disappointing, but soon it began to generate ecstatic word of mouth among moviegoers, eventually raking in over $170 million domestically to become the highest-grossing movie of the year.

So what was the secret to Rain Man’s success? Well, the stars didn’t hurt. By and large, major Hollywood projects were more star-driven in the eighties than they are nowadays, and Rain Man followed the popular Hollywood formula of pairing a respected veteran actor with a hot young star. And in 1988, there was no young star hotter than Tom Cruise. Still riding high from the success of Top Gun, Cruise had earlier in the year turned the cheesy bartending drama Cocktail into a sizable hit. Yet even in his younger days, he had a tendency to seek out established talent. He had followed Top Gun with The Color of Money, which paired him off with Paul Newman under the direction of Martin Scorsese, and Rain Man gave him a similar opportunity to work with Hoffman.

But while Hoffman was the one who got most of the accolades, I think that the film hinges just as much on Cruise’s performance. Don’t get me wrong- Hoffman’s certainly impressive. But due to the nature of Raymond Babbitt’s autism, Hoffman doesn’t have much of a character arc to play- he doesn’t change so much as cycle, again and again, through his daily routine. Levinson and screenwriters Ron Bass and Barry Morrow wisely avoided the temptation to soft-pedal Raymond’s autism by miraculously having him “recover”, and they’re to be commended for this. However, a movie solely about Raymond would have quickly become repetitive (think Jeanne Dielman, which actually sounds awesome so never mind), and certainly would not have been made by a Hollywood studio.

Because of this, it falls to Charlie (Cruise) to drive the story, and Cruise was more than up to the task. Charlie is a complicated character who’s often selfish and unsympathetic. Consider how greedy he can be, especially when it comes to Raymond- he steals Raymond from an institution in an attempt to procure more money from his late father’s estate, and once he discovers Raymond’s prodigious memory and gift for quickly counting large numbers of objects, Charlie decides to take Raymond to Las Vegas to score money by cheating a casino. But Cruise’s refusal to make Charlie a saint makes him all the more relatable. Sure, he can be a self-centered prick, but we also feel his pain whenever we see him dealing with Raymond. After all, keeping one’s life together (especially when the bank is breathing down your neck) is difficult enough without having to plan one’s days around someone like Raymond, for whom the need to eat one’s meals on time, watch The People’s Court, or wear the correct pair of underwear supersedes all else.

Because we see Charlie struggling with Raymond, it becomes all the more heartwarming when he finally learns to love and appreciate his older brother. In many ways, Rain Man may contain Cruise’s most undervalued performance, since not only is he upstaged by Hoffman’s showier work, but he also plays the sort of role that was often associated with him, the yuppie hotshot with an overabundance of alpha-male charm. However, to call Charlie Babbitt a stereotypical “Tom Cruise role” seems reductive, since it overlooks the nuances of the character. Then as now, Cruise was a fine actor, and one who was often doomed to being underappreciated.

Rain Man isn’t a perfect movie. Occasionally, it gets a little too plot-driven, as when Charlie and Raymond make their stop in Vegas. But at its best, it’s as good now as it ever was, due to the performances of Hoffman and Cruise and the rhythm and chemistry between them. Cruise might have joked that it was “two schmucks in a car,” but I think that’s what works about the movie- it gives these two fine actors sufficient time and space to work together without pinning them down to too much plot. And while Raymond doesn’t get better in the end, at least now he has a brother to visit him in the institution.

For better or worse, in the two decades since its release Rain Man has become the dominant pop culture image most people associate with autism. A few years ago, the Onion A.V. Club critic Noel Murray- himself the father of an autistic child- posted his thoughts on the film, filtered through his own experience. In this post (which you can read in full here), he states that although the film gets many of the details of autism right, it suffers because Raymond feels less like a character than a plot device through which Charlie can find redemption, and that the subject of autism would be better served by a movie that followed him and found drama in his routines. It’s a perfectly reasonable opinion of the film considering his circumstances, and I don’t disagree with him. As a movie about autism, Rain Man doesn’t quite cut it. But taken on its own terms, I’d say it still works pretty darn well.

Morning Deal Report: Big Screen "Galactica"

Scott Von Doviak — Mon, 23 Feb 2009 15:00:00 GMT

As you may have read somewhere around here, the 81st Annual Academy Awards took place last night – actually, I think they just handed out the last award about 15 minutes ago – and Slumdog Millionaire was the big winner. Meanwhile at the box office, it was a whole other story as Madea Goes to Jail took the top honors with an astounding $41.1 million haul. I think Tyler Perry gets to keep pretty much all of that, doesn’t he? Taken and Coraline held strong at second and third, but Friday the 13th plummeted 81%, taking in only $7.8 million.

Battlestar Galactica may be coming to the big screen, but fans of the current SciFi Channel incarnation shouldn’t get too excited. “Universal has quietly entered into negotiations with Glen A. Larson to write and produce a big-screen version of the property he created,” per The Hollywood Reporter. “The movie effort would have no connection to the series and would relaunch the story in a new medium. However, staples such as the characters Adama, Starbuck, and Baltar will remain.” Here’s hoping they bring back the adorable robot dog Muffit.

The good news is: David Lynch has a new project. The bad news is: it’s Twittering. Yes, you can follow the real David Lynch here for such scintillating daily insight as “You can’t fight City Hall” and “Let a smile be your umbrella.” Lynch confirms his tweeting (or whatever the kids today are calling it) in the video below:

Oscar Results: 2009!!!!

Andrew Osborne — Mon, 23 Feb 2009 14:11:00 GMT

Technical issues unfortunately prevented my colleague Scott Von Doviak from live-blogging all the way to the end of the Oscars with me last night, but he got his revenge by stomping me 14 to 12 in the Screengrab Oscar pool, scoring a Bronze Medal in prognostication. Taking the Silver (and spurring rumors of steroid use) was Mr. Paul Clark. And the Gold goes to new-ish kid on the block Nick Schager, who was the only one among us to fully predict the extent to which singing, dancing Slumdog Mania would grip the Academy this year.

Check out our scores below, along with a full list of winners (and the smart Screengrabbers who picked them):

18 - Nick Schager: NS
15 - Paul Clark: PC
14 - Scott Von Doviak: SVD
13 - Iris Steensma: IS
12 - Andrew Osborne: AO (voted in all categories badly)
10 -Sarah Clyne Sundberg: SCS (didn’t vote in all categories)
06 - Leonard Pierce: LP (didn’t vote in all categories)

Best Picture
Slumdog Millionaire - Christian Colson (PC, AO, NS, SCS, SVD, IS)

Best Director
Danny Boyle – Slumdog Millionaire (PC, NS, SCS, SVD)

Best Actor
Sean Penn – Milk (AO, SCS)

Best Actress
Kate Winslet – The Reader (PC, AO, NS, SVD, IS)

Best Supporting Actor
Heath Ledger – The Dark Knight (Everyone)

Best Supporting Actress
Penélope Cruz – Vicky Cristina Barcelona (SVD)

Best Original Screenplay
Milk - Dustin Lance Black (PC, AO, NS, SVD, IS)

Best Adapted Screenplay
Slumdog Millionaire - Simon Beaufoy (PC, LP, NS, SVD)

Best Animated Feature
WALL-E – Andrew Stanton (Everybody)

Best Foreign Language Film
Departures (Japan) in Japanese

Best Animated Short
La Maison En Petits Cubes - Kunio Kato (NS)

Best Art Direction
The Curious Case of Benjamin Button – Donald Graham Burt, Victor J. Zolfo (Everyone)

Best Cinematography
Slumdog Millionaire – Anthony Dod Mantle (PC, NS)

Best Costume Design
The Duchess – Michael O'Connor (PC)

Best Documentary Feature
Man on Wire (AO, NS, SCS, SVD, IS)

Best Documentary Short
Smile Pinki (IS)

Best Film Editing
Slumdog Millionaire – Chris Dickens (PC, NS)

Best Live Action Short
Toyland (Spielzeugland) (AO, NS)

Best Makeup
The Curious Case of Benjamin Button – Greg Cannom (Everyone)

Best Original Score
Slumdog Millionaire – A.R. Rahman (NS, SCS, IS)

Best Original Song
"Jai Ho" from Slumdog Millionaire – A. R. Rahman (music), Gulzar (lyrics) (PC, NS)

Best Sound Editing
The Dark Knight – Richard King (AO, SVD)

Best Sound Mixing
Slumdog Millionaire – Ian Tapp, Richard Pryke, Resul Pookutty

Best Visual Effects
The Curious Case of Benjamin Button – Eric Barba, Steve Preeg, Burt Dalton, Craig Barron (PC, NS, SVD, IS)

Jean Hersholt Humanitarian Award
Jerry Lewis (Everyone)

Screengrab Live Blogs The Oscars

Andrew Osborne — Mon, 23 Feb 2009 00:00:00 GMT

Stay tuned...live blog coverage of the 81st Academy Awards begins Feb. 22 at 7:30 PM (EST) or thereabouts!

SVD: Hey ho! Scott Von Doviak here. I plan to join Andrew for the Oscar snarking tonight. And I plan to be even drunker. Stay tuned!

7:49:

AO: Welcome, Von Doviak! Andrew Osborne here...we're almost on our way...Baba Wawa is interviewing Mr. Rourke somewhere off behind me on the TiVo, and he hasn't smashed anything yet, but they just bleeped him. Tim Gunn's waiting in the wings...let's get ready to rrrrrrruuuummmmbbbbllllleeee!!!!!!!

7:53:

AO: My wife didn't think Hugh Jackman was gay until just now, when she saw those clips from The Boy From Oz on Baba Wawa. (Also, he and his wife adopted their kids...suspicious!)

7:58:

AO: Hugh Jackman just gave Baba a lapdance. Uh...that pretty much settled THAT question.

8:04:

My wife Amy and my mother-in-law Dori are none too pleased with all the damn grey on the red carpet.

8:07:

SJP and the Bastard Broderick on the red carpet together. Hugh Jackman says: "DRAAAAAAMMMMAAA!!!!!"

8:12:

First Loki shout-out of the evening. Mickey Rourke had ordered a tiny dog tuxedo for his best friend. Somerville bursts into tears. Meanwhile, Amy says Robert Downey, Jr. is far too orange.

8:15:

Miley Cyrus' dress: Dori wonders if Tim Gunn is choking back vomit.

8:19:

The PriceWaterhouseEtc. accountants just got an "accountant" montage on the red carpet (including the "Accountant" song from Meaning of Life), then they did a little synchronized Pip spin. Yay, accountants! (And boo Penelope Cruz dress is the consensus in Somerville). And then...Dickie Jenkins! Woo!! And also Hoo!!!!

8:23:

Amy sez: Marisa Tomei never gets it right.

8:26:

In a video clip, we're informed this year's Oscar designers are planning to put music on the stage. (Except, of course, the nominees for Best Song.)

8:31:

The set is unveiled...70% '30s, 30% '70s. And now: comical music number.

8:38

SVD: Hey, a musical number incorporating all the nominated films! I remember when Billy Crystal did this in like 1973.

AO: On the other hand, the Benjamin Button gag was more entertaining than the movie. And I think I just fell even more deeply in love with Anne Hathaway.

8:46

SVD: "Mickey Rourke, you look great!" Ah, no.

8:50

SVD: OK, I already hate this new format, what with the previous winners kissing the current nominees' collective asses. And I can tell Tilda Swinton hates it too. The winner is - Penelope Cruz! I'm one for one.

AO: CRUZ! Woo-hoo!!! (But...uh...are five Teamsters gonna come out next to announce Best Sound Editing?)

8:58

SVD: Milk wins best original screenplay. I think this guy might be gay!

9:03:
AO: Jennifer Aniston on stage next to Jack Black in front of Brangelina. Ouch. And...uh...way more Space Chimps than I was expecting at this year's Academy Awards ceremony.

9:11: First Styx shout-out of the evening!

9:22: The best costume design winner seems like he's only got about four minutes to live. Why so grim, best costume design winner guy?

9:25

SVD:I'm not sure what it is about this particular Oscars, but I'm starting to feel like I'm never going to make it to the end. But hey, congratulations makeup guy, for making Brad Pitt look like an old baby.

9:28

AO: Okay, I was gonna make a snarky comment about no Milk clips in the Romance montage and then...dudes kissing! Right there on the teevee! You go, Hugh Jackman!

9:32:

Second award show Joaquin mockery in 48 hours. Still funny.

9:36:

Amy is confused by the thing in the pocket of the Best Cinematography winner. Also his tiny jacket and gigantic hair.

9:37:

The return of the lost dog ad. In Austin, TX, Maury the wonder chibeagle offers a standing ovation. Here in freezing Somerville, Dori salutes the ads for spring fashion. Y'know, clothes you wear when it's warm.

9:39:

Jessica Biel dispenses with the Nerd Oscar technical awards in a record-breaking 14 seconds. But the consensus in Somerville is this muthah's still draggin' -- nevertheless, first Jerry shout-out!

9:47:

Hey! Whaddaya know? The Nazi movie won!

9:53:

Ah, how I love the Tonys!

SVD: I knew the musical-theater geek Osborne would love that shit. Not that I have a problem with Beyonce shaking her jelly.

10:03

AO: Ah, Walken and Gooding, together at last. (And, yes, Amy was thinking Beyonce's packing a little extra jelly this year...not that there's anything wrong with that.)

10:08

And the Oscar for Best Foregone Conclusion: Ledger!

10:09:

It's a sad moment. Even Rourke is subdued. So we won't mention the Australian couture.

10:14:

Ah, Bill Maher mocks religion right after the sad Heath Ledger's in heaven moment. Comedy = timing.

10:17

The little French tightrope elf balances an Oscar on his chin, thus guaranteeing Oscar clip fame for years to come. And then the nice documentary short winner comes down from the cheap seats...but really! The Academy honors you!

10:25:

Okay. They should totally do that action movie montage every year. WOOOO-HOOOO!!!!!!!! (Meanwhile, Amy and Dori yawn quietly in the background.)

10:33:

Pookutty!

10:40:

Amy says, "Well...it's not the WORST Oscars ever..."

10:42:

Whoops...okay...everybody sit up. Murphy's introducing Jerry.

10:46:

Jerry Lewis: made of class. I couldn't be more disappointed.

10:47:

Incidentally, for those of you who didn't read the Entertainment Weekly interview: Jerry did NOT appreciate all the fart jokes in The Nutty Professor remake. Again: class.

10:53:

Must...stay...awake...through...original...score...montage...

10:56:

Alicia Keys magically appears on my television. To quote Bob Dylan, "There's nothing about that girl I don't like."

10:57:

Amy's okay with the Gabriel-for-Legend switch. Mmm...nutmeg...

11:01:

Gulzar!

11:08:

The Best Foreign Film winner is HAPPY! He is here because of FILM! He would like to see Frida Pinto NAKED! He didn't mean to say that ALOUD! (Oh, wait...that was ME!)

11:15:

Really? No Ledger in the memorial montage? Hmm...

Meanwhile, I'm especially sad to see Newman, Pollack, Montabaln and Mac go. And I didn't know Vampira was gone! Vaya con dios, Maila Nurmi!

11:20:

Danny Boyle is very, very happy.

11:22:

Good speech, Danny Boyle!

11:25:

Nice unibrow, montage Audrey Hepburn!

11:27:

Five Best Actresses presenting Best Actress.

Amy sez: five women, one original face.

I say: when did this become a National Honor Society induction ceremony?

11:30:

Amy sez: Who punched Sophia Loren in the mouth?

11:34:

Kate Winslet's father is Truman Capote? Who knew?

11:36:

Oh, yeah. We definitely love us some Winslet here in Somerville.

11:39:

I just noticed that beneath the Best Actor nominees being honored by the Best Actor alumni: Kung Fu Panda leaping into the air, again and again.

11:41:

Oops...somebody in the booth must have noticed...no Kung Fu Panda for Jenkins.

11:44:

Somewhere in Dog Heaven, Loki is crying.

11:45:

Hey! Sean Penn made a funny! You go with your self-aware self, Sean Penn!

11:47:

For once, I'm happy to hear Sean Penn wax political.

11:53:

Sweet Best Picture montage, Steven Spielberg!

11:54:

Who Wants To Be A Mullllllionaaaaaiiirreee?

11:55:

Awwwww...you go, lovable little Mumbai kid!

11:57:

Oh, and I like the thing where they preview the 2009 movies at the end. But as for the rest...eh. (Dori's final grade: C, Amy's grade B- and me...hmm...I dunno, I was too busy blogging, but...uh...let's not do that five people presenting the award thing again, okay? Meanwhile, Somerville consensus on Best Dress: Alicia Keys. Worst dressed: Miley Cyrus.

Okay, that's it! Thanks, Scott, thanks to everyone for reading, and GOOD NIGHT, MUMBAI!!!!!!!!!

The Screengrab Highlight Reel: Feb. 14-20, 2009

Scott Von Doviak — Fri, 20 Feb 2009 22:00:00 GMT

Good evening, ladies and gentlemen. You look marvelous. I must confess I was touched, as am I every year, when the good people at AMPAS called once again to ask me to host the Oscars. Although they begged and pleaded and cajoled and nearly stooped to bribery, as they always do, I simply could not work the telecast into my very busy schedule. I’m currently touring with my very touching one-man show about going to Yankee Stadium with my dad, watching Mickey Mantle gracefully prancing through the lush green outfield of the House That Ruth Built, sharing the laughs and the tears that only a father and son can truly know. So I don’t have time to do all the research, such as reading Up the Academy: The Screengrab Salutes the All-Time Best & Worst Best Picture Winners (Parts One, Two, Three, Four, Five, Six and Seven). Truly I wish I could squeeze Phil Nugent’s Oscar Predictions, In Other Blogs: Oscar Overload, Harvey Weinstein Predicts Another Great Oscar Year for Harvey Weinstein, Oscar Prospectus and Academy Awards Show Cuts Best Song Nominee "Down to Earth" Down to 65 Seconds; Peter Gabriel Vows Silent Protest into my busy schedule. But I cannot.

Nor can I read any of the following:

If It's Tuesday, It Must Be Time for Another Post About "The Godfather"

Screengrab Review: "Must Read After My Death" and "Eleven Minutes"

Mike White’s Amazing Race

Counting Down to “Watchmen”

Reviews By Request: How Green Was My Valley (1941, John Ford)

Unwatchable #51: “Simon Sez”

Steve Spielberg's Recession-Era "Lincoln" Biopic: Brother, Can You Spare $50 Million?

Reviews By Request: How Green Was My Valley (1941, John Ford)

Paul Clark — Fri, 20 Feb 2009 20:00:00 GMT

After last week’s Reviews By Request poll resulted in a tie, I decided to watch and write up the first of the two “requested” films, John Ford’s How Green Was My Valley, in advance of this weekend’s Oscar ceremony. My review of the second film, Tom Jones, will run two weeks from today.

Among many film lovers, John Ford’s How Green Was My Valley has gotten something of a bad rap as the movie that bested Citizen Kane for the 1941 Best Picture Oscar. And while Valley isn’t the film Kane is, we might say the same of nearly any other film ever made, which makes the comparison a little unfair. Moreover, it makes perfect sense that the Hollywood establishment would prefer the elegiac Valley to the scathing Kane, especially when you consider that both films were made during World War II, when national and pro-Allied sentiment were at their peak. But today, these concerns are incidental, and the most important thing is this- How Green Was My Valley is still a pretty terrific film.

How Green With My Valley, based on a best-selling novel by Richard Lewellyn, tells the story of the Morgans, a Welsh family living in a mining community around the turn of the century. The Morgans aren’t rich, but they seem to be pretty blessed- patriarch Gwyllim (Oscar-winner Donald Crisp) works in the coal mine alongside his five eldest sons, mother Beth (Sara Allgood) cares for the house with their only daughter Angharad (Maureen O’Hara), and the youngest boy Huw (Roddy McDowall) is bright and full of potential.

However, the family’s troubles begin soon enough. The closing of mines in neighboring valleys lead to a surplus of workers in the area, leading to lower wages and job loss. Two of the sons leave home to seek work overseas, later followed by two others. Angharad, despite her feelings for the local preacher Gryffudd (Walter Pidgeon), marries the son of the mine’s owner, a marriage that takes her overseas as well. And the mine claims both the family’s eldest son Ivor and, eventually, Gwyllim.

But although How Green Was My Valley is undeniably a story filled with loss, it’s anything but a slog. That’s because Ford, Lewellyn, and screenwriter Philip Dunne infuse the film with a warm nostalgia for the long-gone world of the film. The story is narrated by the now-grown Huw, and he remembers his childhood with fondness, and even when things didn’t go so well, he learned from his experiences and survived to tell the tale. Heck, look at the title. Not only does it emphasize the “was,” thereby implying that it’s no longer so green, but it’s also “my valley”, implying that it’s the valley of Huw’s memories.

Consequently, the storytelling is characterized by broad narrative strokes rather than minute detail. The circumstances of a miners’ strike are sketchy, as they would have been to a young boy (this is a far cry from the grimness of Ford’s last film The Grapes of Wrath). Huw’s memories of the strike consist mostly of talk of unionization, and the gloom that settles over the town during the months when the men aren’t work. Most of the film is like this, with adults’ affairs observed as if from a distance, although Huw’s own experiences seem more vivid. The only (small) objection I have to the film’s storytelling is that it occasionally brings out Ford’s somewhat awkward sense of low comedy. I for one could have done without the antics of a pair of drunken brawlers who are tasked to teach young Huw how to fight.

But such objections are small compared with achievements of How Green Was My Valley. Supposedly, the film was originally intended to be a massive Technicolor extravaganza in the vein of Gone With the Wind, but when the war began Fox had to move shooting from Wales to California, trim the running time in half, and shoot in black and white. I can’t say for sure, but I think the film benefited from this smaller scale- the travails of the Morgans probably couldn’t withstand the epic treatment. And while shooting in black and white was a practical decision that allowed the hills of California to convincingly double as the Welsh countryside, it also enhances the nostalgic vibe given off by the film in a way that the flashier Technicolor couldn’t have managed.

And if nothing else, it’s that nostalgia that makes How Green Was My Valley work even today. The chief pleasures of the film don’t come from the story but rather from the portrayal of the community itself, a community that, if it didn’t already belong to the past when the film was made, surely does now. Perhaps most important are the old Welsh songs that fill the soundtrack. Ivor is the leader of a chorus in town (he gets invited to perform for the Queen), but even the miners sing hearty tunes as they come down the hill after a long day’s work. “Singing is in my people as sight is in the eye,” observes the adult Huw, and this music extends even to the spoken dialogue. When Angharad gets engaged, Gryffudd’s heart is broken, but he buries his own feelings in the interest of her future. As he tells her, “I think I would start to kill if I saw the white come to your hair twenty years before its time.” Who talks like this anymore, if in fact anyone ever did? Exactly.

Up The Academy: Screengrab Salutes The All-Time Best & Worst Best Picture Winners (Part Seven)

Andrew Osborne — Fri, 20 Feb 2009 00:00:00 GMT

THE BEST:

SHAKESPEARE IN LOVE (1998)

When it comes to second-guessing the Oscars, few Best Pictures raise Hollywood’s hackles like Shakespeare in Love. The legend goes something like this: way back in 1998, Steven Spielberg’s brilliant war movie Saving Private Ryan was a cinch to win the top slot, but sometime between the announcement of nominations and the opening of envelopes, Bob and Harvey Weinstein (the evil geniuses behind Shakespeare’s Oscar campaign) flew the invisible Miramax blimp over Hollywood and fired their diabolical Hypno-Ray at the helpless population, thus forcing all the innocent Who’s Who down in Whoville to vote for the wrong movie. As John Foote posts at InContention.com (reflecting an apparently common consensus), “Is there anyone left out there who truly believes that Shakespeare in Love, a lovely film, was actually better than Saving Private Ryan?” Well...uh, yes, actually. In fact, I’d even go so far as to say that Shakespeare in Love was MUCH better. Ryan, for all the slam-pow-gasp shock & awe chaos of its opening battle scene devolves shortly thereafter into a standard-issue World War II potboiler, circa 1952, complete with “Brooklyn,” “Redneck” and all the rest of the colorfully standard-issue Hollywood band of brothers fussin’ and fightin’ their way across Europe under the command of a tough but secretly tender-hearted father figure (played by a wildly miscast and completely unbelievable Tom Hanks). Shakespeare In Love, meanwhile, presented an Elizabethan world more fully-imagined than fellow Best Picture competitor Elizabeth, thanks to a remarkably literate and inventive screenplay by Marc Norman and Tom Stoppard. And, while it’s easy to mock the GOOP-tastic Gwyneth of today, Paltrow generated palpable chemistry with co-star Joseph Fiennes in a well told, old-school love story, surrounded by a flawless supporting cast, all of them at or near the top of their games. True, movies this smart don’t usually win Oscars...which is probably why so many Academy voters are still baffled by Shakespeare’s victory.

ONE FLEW OVER THE CUCKOO'S NEST (1975)

So many of Oscar's pronouncements amount to a string of missed calls and concessions to sentimentality that when they get one right square on the nose -- when someone is rewarded for the best work of their career at that point in time as opposed to what they did a few years ago or what they might do if they can be induced not to chuck it all and go back to night school or even, as in the case of something like Ben Kingsley's performance in Gandhi, what the person they're playing did -- it stands out. The Academy has had plenty of opportunities to give Jack Nicholson a thumb's-up these past several years, and plenty of times they've jumped at the chance, even when, as in 1997's As Good As It Gets, the performance in question called to mind Picasso's boast that "I can paint fake Picassos as well as anybody!" But they got it just right with Nicholson's first Oscar, for his Randall Patrick McMurphy, a performance that he gave a year after Chinatown set his movie star status in stone, and one that goes farther than he'd ever gone before, with fewer ingratiating winks and nods to the audience than he'd ever include in a full-length performance again. And since the movie, for all its virtues, rises and falls on the strength of its star, it deserved its Best Picture Oscar...a painful thing for this lifelong Jaws partisan to concede.

THE WORST:

THE LIFE OF EMILE ZOLA (1937)

Today Paul Muni is best remembered for his starring role in Howard Hawks' gangster classic Scarface. It turned out to be a rare occasion when Muni provided movie audiences with entertainment value for their money. After winning an Oscar nomination for his next film, I Am a Fugitive from a Chain Gang, Muni lost to Charles Laughton for his performance in The Private Life of Henry VIII and must have vowed to never be out-biopic'ed again. In short order, he established himself as the leading advocate of pompous, overbearing movies, winning a Best Actor Oscar for The Life of Louis Pasteur, in which he cured anthrax over the outraged objections of the small-minded, and then starred in Zola, in which he "J'accused" up one side of France and down the other. He also starred in Juarez, as Juarez, and The Good Earth, in which he must have disappointed his diehard fans by not actually portraying the planet. It all made him the Mister Oscar Bait of the 1930s, but by the end of the decade, audiences were sick of the self-righteous sight of him. He tried to get back to where he once belonged, but too much time spent reciting gaseous speeches while buried in historically conscientious makeup jobs had blunted his instincts, and some of his later movie roles, such as his lovable gangster in Angel on My Shoulder (1946), are actually even worse than the Oscar-bait stuff. He died in 1967, the bulk of his filmography fit only to serve as a cautionary example that Meryl Streep failed to heed.

DRIVING MISS DAISY (1989)

It’s not often that a movie dealing with racial issues is so totally (if well-meaningly) clueless that it gets an entire rap song dedicated to its utter boneheadedness, but Driving Miss Daisy is that movie, and Public Enemy’s “Burn Hollywood Burn” is that song. After years of racism, stereotyping, and opportunities denied, Chuck D and his cohorts seemed to be saying, this is what constitutes progress? A movie about a cranky old southern Jewish woman whose black chauffer learns to live and love with her irascible, patronizing demeanor? Not only was it offensive on a number of levels – intentionally and otherwise – but it simply wasn’t a great movie by any reckoning. Its adaptation from a stage play was realized hamhandedly, Bruce Beresford’s direction is perfunctory, and the acting ranges from good but uninspiring to ambitious but dull (Dan Aykroyd ineptly takes the kind of risks that would later rejuvenate Bill Murray’s career). It’s easy to say that its victory came about because of a weak competitive field – other candidates ranged from poor (Dead Poets Society) to good-but-not-great (My Left Foot) – but the thing to remember is that 1989 was also the year that Spike Lee’s wonderful Do the Right Thing, a superior movie in every respect, and one that said far more about racial relations than Driving Miss Daisy could dream, was released. And it didn’t even get a nomination.

DANCES WITH WOLVES (1990)

Hot on the heels of Driving Miss Daisy, you wouldn’t think Oscar would be so quick to embrace another well-meaning racial drama, especially one helmed by someone who’s an even worse director than he is an actor. But sure enough, the voters’ tendency to absurdly overvalue any directorial effort by an actor that rises above total incompetence won out, and Kevin Costner’s bloated, plodding quasi-Western Dances with Wolves took home the Best Picture trophy in 1990. Continuing their history of giving Martin Scorsese the finger, they passed over his tremendous gangster tale GoodFellas in deference to this ridiculously overlong, condescending story of a white man who becomes beloved of the Indians by virtue of his sublime spirituality (heaven forfend the hero of the movie be an actual Indian, because then there wouldn’t be a starring role for director Kevin Costner’s favorite star, actor Kevin Costner). Dances with Wolves isn’t quite horrible enough to be the modern-day equivalent of The Greatest Show On Earth; it does contain some thrilling scenes, some decent acting, and direction that’s proficient if never outstanding. But its grossly overweight running time and heavy-handed message are easily the equal of anything in DeMille’s hokey circus epic. Still, things could have been worse; though no one remembers this anymore, The Godfather Part III was a Best Picture nominee in ’90, too.

BRAVEHEART (1995)

Oh, Oscar, when will you learn? By 1995, a clear theme was emerging: if you’re a well-known actor, and you manage to direct a movie without crushing yourself to death with a SteadiCam or making the entire movie with the lens caps on, you’ve got a pretty strong chance at winning a Best Picture or Best Director award even if your movie is an obvious mediocrity facing competition from much better movies by actual directors. You’d think the Academy would have figured it out: Warren Beatty did nothing worthwhile after Reds. Robert Redford never made a great movie after his Ordinary People win. Kevin Costner’s post-Dances with Wolves work is an utter embarrassment. Clint Eastwood is the most reliable acting director in Hollywood, and even he’s not that great by the standards of legitimate, non-acting directors. And yet, they fell for the exact same trick with Mel Gibson’s second directorial feature, the overheated, self-important William Wallace biopic Braveheart. A few well-staged battle scenes and some fancy speechifying don’t save the sluggish pace of the movie or the overwhelming sensation that Wallace is a bit of a sociopathic bully, and the movie doesn’t bear up to even one repeat viewing. It’s not awful, and Gibson has shown he’s capable of good work as a director since then, but Braveheart didn’t even remotely deserve to win Best Picture, even in a relatively weak year for movies.

Click Here For Part One, Two, Three, Four, Five & Six

Contributors: Andrew Osborne, Phil Nugent, Leonard Pierce

Up The Academy: Screengrab Salutes The All-Time Best & Worst Best Picture Winners (Part Six)

Andrew Osborne — Thu, 19 Feb 2009 23:30:00 GMT

THE BEST:

ANNIE HALL (1977)

I was downright horrified when Woody Allen’s brainy romantic comedy swiped the Best Picture Oscar away from Star Wars on the night of the Academy Awards’ golden anniversary edition. And considering the innovation and impact of George “the Neck” Lucas’ classic blockbuster (and the fact that a far inferior popcorn flick like Return of the King was considered worthy of the top prize nearly three decades later), I still have issues with the snub. But the choice is more comprehensible now in my reflective middle age dotage than it was in the midst of my pre-pubescent geekery: America in the ‘70s was far more interested in grit and neuroses than fanboy fantasy, and the wookies and Jedi philosophy must have seemed especially goofy compared to the grim realities of then-recent Best Picture winners like The French Connection, The Godfather and One Flew Over the Cuckoo’s Nest. And if somebody had to shoot down Luke Skywalker, then I’m glad it was Annie Hall. For one thing, it was a fair fight, since the Academy tends to hold comedy and science fiction in the same low regard. More importantly, though, for all the great jokes about dead sharks and Kafka, Annie Hall is a touching, highly relatable masterpiece of character and storytelling, in service of a romantic pairing as iconic as Bogie & Bacall: to this day, whenever the film comes on TV, my parents (a small town Yankee version of Alvy & Annie who somehow stayed together) inevitably wind up holding hands and misting up...which is just about as cute as prickly, overeducated white people get. Plus, with its twisty storytelling, animated sequences and meta sight gags, Annie Hall is far more visually and structurally interesting than most Best Picture winners in any genre. And besides, if a romantic comedy had to beat Star Wars in 1977, at least it wasn’t The Goodbye Girl.

THE APARTMENT (1960)

Billy Wilder’s knack for crafting affecting, humane comedy was close to unparalleled, and few of his films showcased that gift better than 1960’s The Apartment, an effervescent rollercoaster spiked with grown-up melancholy. Jack Lemmon spends his days as one of corporate America’s nondescript suits, and his nights loaning out his apartment to superiors so they can have a place to covertly screw their mistresses. Lemmon’s everyman pines for Shirley MacLaine’s elevator girl, who’s involved with Lemmon’s boss (Fred MacMurray), a thorny love triangle laced with workplace pecking-order tensions, and one given verve by Wilder’s deft satirical hand. Yet for all its bubbly wit, The Apartment’s lasting relevance is partially due to the muted sorrow that lurks around the busy frame’s corners – a nagging sadness wrought from its protagonists’ stubborn willingness to define themselves via their vocations, and which consequently makes Lemmon and MacLaine’s ultimate leap into love feel not fairy-tale preordained, but hard-earned.

FROM HERE TO ETERNITY (1953)

If Brando's dockworker Terry Malloy represented one definitive take on the '50s prole rebel hero, Montgomery Clift's Pvt. Robert E. Lee Pruitt is the alienated '50s hero who thinks he's found a place for himself in the ultimate conformist culture, the army. Clift was on his way to being Brando's equal as a great new kind of movie actor when the car accident that shattered his face also crushed his confidence and derailed his career, and here he's as gentle and sure of the path he should be on as Brando's heroes tended to be instinctively assertive yet lost. But as much as he loves the army and welcomes the chance to be given rules to follow, some part of him can't help bucking when he's given orders that he knows are wrong. He won't box for the company because he's afraid of killing somebody in the ring, and then he kills somebody in retaliation for the murder of his best friend because he knows that the system will simply absorb the injustice. In the end, the system he turned to for a home kills him off, almost as an afterthought. If the Best Picture winners are anything to go by, the 1950s must have been an especially schizoid time in American culture: the list swings back and forth between movies like this one and On the Waterfront, which seemed to be bursting with news and awareness about the state of the country, and such spectacles as The Greatest Show on Earth, Around the World in 80 Days, and Ben-Hur, which seemed like kaleidoscopes imported from a different solar system.

THE WORST:

RAIN MAN (1988)

It's a well-established Hollywood joke that actors can court Oscar by playing someone with a mental or physical disability, but most of these roles still require the actor to try to fit into some kind of narrative context and connect to the other performers while replicating some carefully studied tics or mannerisms. Dustin Hoffman fought for years to get the script of Rain Man filmed, and it's easy to see why: the role of the autistic Raymond gives him an excuse to shut himself off from everything and everyone going on around him, and to be praised for how thoroughly he could ignore everything while concentrating on his little acting exercises. He must have thought that all his Christmases were coming at once. As for his co-star, Tom Cruise, Rain Man dates from the beginning of that unfortunate period where, his box-office appeal being a given, he was concentrating on proving he could "act" by denying the audience his gleaming smile and acting like an obnoxious ass. (Oh, he was "acting." We're certain of it.) The movie itself is nothing but a tear-stained pedestal for two movie stars stuck in self-parody mode.

MILLION DOLLAR BABY (2006)

This rigged, underlit, depressive wallow marks the nadir of Clint Eastwood's serious, craggy old thing period. The quality of the performances, especially Morgan Freeman's and Hilary Swank's, can't disguise the thinness of the stock characters that populate Paul Haggis's screenplay; in particular, Swank's grasping white-trash relations would be judged as vile, condescending stereotypes by a Jerry Springer audience. The best thing about the movie is that it inspired a hilarious public outcry among disability rights groups and assorted loons who thought that by having Swank's character opt to die rather than live out her life as a quadriplegic, it would start a trend and that impressionable disabled people would start offing themselves in droves. But even that was compromised when Eastwood, trying to address the controversy, announced that "I've gone around in movies blowing people away with a .44 magnum. But that doesn't mean I think that's a proper thing to do." He doesn't? Dude, you've earned the right to keep making boring movies for the rest of your life, but you don't have to disillusion us too.

Click Here For Part One, Two, Three, Four, Five & Seven

Contributors: Andrew Osborne, Nick Schager, Phil Nugent

Up The Academy: Screengrab Salutes The All-Time Best & Worst Best Picture Winners (Part Five)

Andrew Osborne — Thu, 19 Feb 2009 23:00:00 GMT

THE BEST:

CASABLANCA (1943)

For all the iconic Hollywood films from The Wizard of Oz to Star Wars that DIDN’T win Best Picture, it’s nice to know that Casablanca, at least, was properly enshrined. Whether you measure by cultural cachet, quotable lines, dorm room posters or AFI ranking, Humphrey Bogart’s finest hour is a classic among classics...and not in that “eat your broccoli” grad student dissertation way, either. The pace is crisp, the intrigue is intriguing, the writing is sharp and funny and the romance (not to mention the bromance) is swoony, even for cynics who’d normally gag on a sentiment like, “We’ll always have Paris.” In fact, Roger Ebert claims in his commentary on a special edition DVD of the film that he’s never heard a bad review of Casablanca, which he says is “probably on more lists of the greatest films of all time than any other single title, including Citizen Kane,” a masterpiece which may be “greater,” but nowhere near as beloved. Normally, such unquestioned, universal adoration would trigger my contrarian side (I’m lookin’ at you, Hanks!) – but that friggin' “La Marseillaise” scene gets me every goddamn time. (Now if you’ll excuse me, I seem to have a little something in my eye...)

ALL ABOUT EVE (1950)

This inside-show-business comic melodrama isn't the greatest movie ever to be garlanded with Oscars. It probably isn't even as great as Sunset Boulevard, another inside-show-business movie that happened to be nominated for Best Picture the very same year. But it's the choicest possible example of a certain kind of entertainment that looks especially fetching come awards season, the glittering self-hating bitch-fest, with actors jumping at the chance to show what overgrown, treacherous babies actors -- other actors -- really are behind the scenes, and also with the writer-director, Joseph L. Mankiewicz, preserving some of the pearls of wit that he'd been test-screening at all the best Hollywood dinner parties for the preceding couple of years. Mankiewicz was lucky to get to assign his dialogue to a couple of the greatest bitches ever to stalk a soundstage: Bette Davis, in her archetypal role as the actress and force of nature Margot Channing, and George Sanders, who picked up a Best Supporting Actor Oscar for his purring critic, Addison DeWitt. The movie even opens with an awards ceremony, which Sanders can be heard snarking at in voiceover. With that opening, Mankiewicz was making it clear to the Academy that he was setting up a joke that only they could satisfyingly complete by giving his movie the prize, and the voters were happy to comply.

ON THE WATERFRONT (1954)

On its surface, this movie about labor racketeering on the New York docks could easily be mistaken for the kind of torn-from-the-headlines melodrama that Warner Bros. used to whip up into flavorful, punchy stories in the '30s and which by the 1950s was often served up in bloated and sanctimonious form. (Directed by Elia Kazan from an original script by Budd Schulberg, the movie is also widely taken as its creators' attempt to rationalize their friendly witness status before the House Un-American Activities Committee by showing the informer as a beleaguered hero.) But the actual New York locations, the strong work by such actors as Eva Marie Saint and Rod Steiger, and the best-observed moments in Schulberg's script transcend the movie's built-in limitations. And Brando himself embodies transcendence. Working quietly at first and slowly building to a full boil, he makes Terry Malloy into a real human being even as he's defining the image of the alienated '50s hero, a working-class outsider whose anger and confusion -- the instinctive, untutored emotions of a trapped animal -- make him seem more alive than the society he can't fit into, a society that no one guessed at the time was rotting from deep inside. In addition to marking the end of Brando's professional collaboration with Kazan, it also turned out to mark the end of Brando's first phase as a culture hero: his next movie, representing the start of a long stint in the wilderness, was Desirée, in which he played Napoleon. But it was enough to live on for awhile.

THE GODFATHER (1972) & THE GODFATHER, PART II (1974)

The early seventies were such a wild time for American movies that a bloody, historically sophisticated use of a criminal family as a metaphor for the capitalist system and the corruption of the American dream served as the era's answer to Gone with the Wind. Francis Ford Coppola's masterpiece, as intelligent and emotionally complicated as any epic ever to come out of Hollywood, would stand as a high point both in the history of film and the Academy's fluctuating record of shows of good sense all by itself. It's to the Academy's considerable credit that it did the right thing when it was presented with Part II, which was not the automatic commercial blockbuster that the first film had been. It must have been an especially sweet moment for Coppola, considering that the other Best Picture nominees included not only his own The Conversation but Chinatown, which was the first film independently produced by Robert Evans after Evans left Paramount Pictures, where he and Coppola had a difficult time working together on the first Godfather. Plus he beat The Towering Inferno!

THE DEPARTED (2006)

Yes, we can all agree that it's a sham of a mockery of a travesty that Martin Scorsese never won an Oscar until 2007, and it makes no sense at all that The Departed is the only movie he directed to ever win Best Picture. Let's get past that, can we? Consider the competition this spectacularly entertaining Boston crime epic faced in the category: Babel, Letters from Iwo Jima, Little Miss Sunshine and The Queen. Not really a group with a lot of staying power. If I came across any of them while channel surfing tonight, I doubt I'd pause, but The Departed sucks me in every time. William Monahan's underrated script is an endlessly quotable encyclopedia of pungent tough-guy banter. Alec Baldwin and Mark Wahlberg in particular make the most of it, and although Jack Nicholson doesn't make the most convincing Boston mob boss, even he has his inspired moments. Scorsese isn't reinventing the wheel here, he's just showing all his imitators who have been trying to recreate Goodfellas for the past two decades how to really put on a show. There's an exhilarating pace and crackling energy to his relentless storytelling here, no matter that we've seen the story before (in Infernal Affairs, the Japanese thriller upon which The Departed is based) and that it may not actually make a lick of sense. I may be an apologist for late-period Scorsese (I think I love Gangs of New York even more), but even if you're not a Departed fan, who could begrudge one of our greatest living filmmakers (and one of the world's most enthusiastic movie fans) his moment in the Oscar spotlight?

Click Here For Part One, Two, Three, Four, Six & Seven

Contributors: Andrew Osborne, Phil Nugent & Scott Von Doviak

Up The Academy: Screengrab Salutes The All-Time Best & Worst Best Picture Winners (Part Four)

Andrew Osborne — Thu, 19 Feb 2009 22:30:00 GMT

THE WORST:

GONE WITH THE WIND (1939)

In 1939 dollars, Gone With The Wind is still the highest-grossing picture of all time, and it's certainly epic and iconic, what with the burning of Atlanta and Vivien Leigh’s mother of all Oscar clip lines, “As God as my witness, I’ll never be hungry again!” (not to mention Clark Gable’s Rhett Butler not giving a damn and Butterfly McQueen’s Prissy not knowin’ nothin’ ‘bout birthin’ babies). But lawzy me, what a stupid movie. For one thing, Scarlett O’Hara is easily one of the most annoying characters in cinema history – hardly the sort of person you’d want to spend 222 minutes with (or 238 minutes with overture, entr’act and exit music...thanks, Wikipedia)! Gable’s a hoot, of course...but there are plenty of other, better Gable movies that don’t require the audience to giggle at date rape and cheer the Confederacy. Even setting aside the fact that, as a Yankee (and a heterosexual male), I may not exactly be the film’s target audience, there’s still the issue of the production’s relentless over-the-top Cheez Whiz melodrama. Sure, acting styles have changed over the years, but Of Mice & Men, Mr. Smith Goes To Washington and Stagecoach were all nominated the same year, so it’s not as if Leigh’s proto-drag queen scenery chewing only looks goofy from a modern perspective: I’m pretty sure the movie was stupid in 1939, too.

THE GREATEST SHOW ON EARTH (1952)

Widely cited as the worst movie ever to win an Academy Award for Best Picture, the circus-corn epic The Greatest Show On Earth may have benefited from the political tenor of the times. Its main competition was High Noon, a vastly superior film that nonetheless made AMPAS voters nervous because of its barely disguised anti-McCarthyite message and blacklisted screenwriter. Whatever the reason for its win, there’s no denying that The Greatest Show On Earth is a big load of elephant shit. Even if Cecil B. DeMille hadn’t made it a good 25 years past his own personal expiration date as a filmmaker, it was leagues out of his comfort zone: used to coaching actors in sweeping Biblical and historical epics, he didn’t take to the tawdry, small love triangle under the big top, and no wonder. The dialogue is pure hokum, and the performances range from overblown (Cornel Wilde as an acrobat) to comatose (Charlton Heston as the circus manager). The central romance has as much heat as a paper safely match, and every subplot – and there’s plenty of them in its bloated two and a half hours – is as predictable as it is uninteresting. Even the presence of Jimmy Stewart does nothing to salvage the movie, since his role, as a clown with a dark secret, is telegraphed from the first frame. There’s lots of phony reaction shots of local yokels gasping at the wondrous sights and sounds of the circus, but it’s often unclear what they’re watching; it sure ain’t this movie.

THE SOUND OF MUSIC (1965)

The fact that this musical trip to the deep freeze that is Julie Andrews' soul was the biggest box-office sensation of the mid-1960s and held onto the title of Number One Hit of All Time for seven years until it was dislodged by, of all things, The Godfather, just goes to prove that you never know. Critics like to imagine that movies tell us something about the times in which they were made, but when you consider what was going on in the world between 1965 and 1972, all you can surmise from this movie's success is that people must have been desperate to escape reality as thoroughly as they could without barricading themselves inside an isolation tank. If you look at the reviews it received at the time, you see that even polite mainstream critics saw it as a potential menace that would lay waste to the culture like some species of plague, but looking at it with forty years of hindsight, the funniest thing about the movie is that it seems to have come and gone without leaving any progeny. It did inspired the studios to plow millions upon millions of dollars into "family musicals" (Thoroughly Modern Millie, Chitty Chitty Bang Bang, Doctor Dolittle, Paint Your Wagon, etc.), all of which are now best remembered for providing an education in just how little return it is possible to get on a major investment. Subsequent attempts to squeeze another nickel out of Andrews' screen image proved largely unsuccessful. (The 1968 musical Star! -- her reunion with The Sound of Music director Robert Wise -- was one of the great financial disasters of the era.) The closest the movie has come to being positively re-evaluated came in the 1990s, when it attracted a cult that attended screenings in fancy dress and talked back to the screen, Rocky Horror-style. For the first time ever, Christopher Plummer's Dracula-like performance as Baron Von Trapp actually made sense.

ORDINARY PEOPLE (1980)

Had anyone else been behind the cameras for Ordinary People, it would have come and gone with no great comment -- and perhaps even a modest amount of praise, for the quiet family drama isn’t terrible by any stretch -- but certainly without much hoopla, and definitely without a Best Picture nomination, let alone a win. But because Robert Redford was its director, and Hollywood has always been dismayingly overimpressed with actors who don’t completely embarrass themselves in the director’s chair, it ended up being praised far beyond its virtues. It’s hard to pick out any element about it that’s rotten; the performances are generally adept, the story is competent enough, and the direction is inoffensive. It’s a lot like a small literary novel that comes and goes without much comment. But just as there’s nothing much to damn it with, there’s also nothing much to recommend it. The Best Picture victory of the movie a lot of wise-asses immediately dubbed Ordinary Movie wouldn’t be such a sore thumb if it wasn’t for the competition it bested; not only did it triumph over Coal Miner’s Daughter, which covered much of the same ground only better, but it also beat out The Elephant Man and, shockingly, Raging Bull, both of which, unlike Redford’s directorial debut, went on to be numbered with the greatest films of the decade. Once it became clear what kind of filmmaker Redford really was, the Academy stopped embarrassing themselves by nominating him for big awards; if only they’d figured it out sooner.

FORREST GUMP (1994)

Of all the problems with our culture, what is the single most destructive and indefensible? Gosh, there's so many to choose from, but I'm gonna have to go with the enduringly popular notion that mental retardation and moral goodness are closely linked, to such a degree that one may not be fully possible without the other. Even in politics, the candidate who does the worst job of concealing the breadth of his intelligence is likely to be tagged as a know-it-all elitist and silver-tongued devil, and the one least ashamed of coming across as a dumbass is touted as being a tribune of the people who has the moral certitude that comes from being too dumb to know internal conflict. Forrest Gump isn't a movie about a hero who makes the right choices but the story of someone who does the right thing because he's such a dope that he doesn't know he has any other options. (Forrest's smarter friends, his lifelong love Jenny and his commanding officer in Vietnam, go down self-destructive paths that Forrest is too good to even know are there.) I think that a movie like this must have a special sick appeal in Hollywood, which is full of cynical, morally compromised people who find such nonsense comforting because it can be taken as a reassuring message to slimeballs everywhere: only the stupid can be truly good, so if you're not as good as you might like, it's not your fault: you just had the mixed fortune of being smart. The director, Robert Zemeckis, knows a lot about cynicism and moral compromise; he used to satirize it in movies like his great 1980 comedy Used Cars, and he found out that satire doesn't pay the bills. But even he may have been surprised to discover just how profitable sentimentalizing stupidity can be. Compared to this thing, Pulp Fiction, which it beat out for Best Picture, is as innocent as a newly born kitten on Christmas morning.

Click Here For Part One, Two, Three, Five, Six & Seven

Contributors: Andrew Osborne, Leonard Pierce, Phil Nugent

Up The Academy: Screengrab Salutes The All-Time Best & Worst Best Picture Winners (Part Three)

Andrew Osborne — Thu, 19 Feb 2009 22:00:00 GMT

THE BEST:

UNFORGIVEN (1992)

To my way of thinking, the best Best Pictures are both flawless examples of their genre and also communicate something about the era that produced them. Clint Eastwood’s revisionist Western scores on both counts. Not only does the film offer blue ribbon acting from a Master Class ensemble featuring Gene Hackman, Morgan Freeman, Frances Fisher, Jaimz Woolvett, Richard Harris and the Man With No Name himself, but Unforgiven also draws on the audience’s familiarity with Eastwood’s (and America’s) history of violence to reevaluate those legacies after twelve years of the Republican Party’s '80s go-round with faux-cowboy heroics. The beautifully constructed screenplay by David Webb Peoples is a sharp rebuke to the black-and-white moral simplicity of the Reagan/Bush years (not to mention a fair handful of Eastwood’s earlier films): drunken cowboys in the town of Big Whiskey maim one of the local whores, the whores seek retribution by hiring gunmen to kill the cowboys, and the town’s sadistic sheriff beats and kills the gunmen who show up. In the end, a lot of people are dead, nobody’s better off and justice has not been served. Sadly, the film’s grim portrayal of the futility of violence is just as timely now as it was at the dawn of our last “hope and change” administration.

AMADEUS (1984)

For starters, Amadeus is probably the best of the four other films nominated in 1984 (A Passage To India, The Killing Fields, Places In The Heart and A Soldier's Story), so it passes that basic test. Oddly enough, Amadeus is also one of the few movies that won Best Picture that I'd consider one of the ten best of its year — or at least close — and for a year that included Stranger Than Paradise, Once Upon A Time In America and The Terminator (just for starters), that's not bad at all. Amadeus probably won because it hit a number of reflexive buttons: it's a period costume drama where all the production and costume money is on-screen, it genuflects before Culture in the form of classical music without losing anyone with something truly alienating, it's based on a hit play, and it comes from a respectable, previously-lauded producer-director team. But the reasons Amadeus is actually pretty great have nothing to do with that and everything to do with the typical dry intelligence Milos Forman brought to the film. Forman treats this like a gigantic Brechtian exercise, paying meticulous attention to physical verisimilitude, then blowing it out with the likes of Jeffrey Jones and Tom Hulce — unmistakably American, out-of-place types. As in his later (not as good, still misunderstood) The People Vs. Larry Flynt and Man On The Moon, Forman scrupulously obeys the biopic formula, hitting all the high points of his subject's lives while refusing to shed any light on what made them tick. Point being: who/what could possibly explain that? It drives Salieri crazy that he can't figure out why God would waste his music on a drunken, disrespectful buffoon, but to Forman, that's just par for the course.

THE FRENCH CONNECTION (1971)

Arguably the first action movie to win Best Picture, The French Connection really announced (along with 1969's Midnight Cowboy triumph) a shift in what was considered acceptable award-winning fare; only a few years before, it was all treacly musicals and your occasional "serious" film. (In 1971, it was up against Nicholas And Alexandra, whose makers badly miscalculated the changing zeitgeist at some point.) But it wasn't a permanent shift: The French Connection — absolutely lean, more reliant on atmosphere and street grit than characterization or take-home morals — is as anomalous-seeming a Best Picture winner now as it was then, which speaks badly of the Academy's heavy suet-pudding tastes. (Cue outraged Dark Knight fans here.)

LAWRENCE OF ARABIA (1962)

David Lean is perhaps the only filmmaker whose natural inclinations and talents coincided perfectly with exactly the kind of material the Academy responds to: big, splashy physical filmmaking, heavy on conspicuous visual coups and visibly virtuoso acting. As it happens, Lawrence is one of my favorite films, and therefore the most important time the Academy got it right. Lawrence actually is the Best Picture of 1962, a beautiful film that (without getting too heavyhanded about it) uses exterior landscapes as a mirror for its otherwise unknowable protagonist. But surely it helped that it's long, launched Peter O'Toole in an instantly starmaking performance, and somehow managed to avoid taking a single meaningful political stance. Lawrence Of Arabia wears its ambitions plainly in every aspect — title, length, subject matter — but it lives up to them, too.

REBECCA (1940)

Hitchcock’s first American film was a contentious one, as the Master of Suspense famously quarreled with mega-producer David O. Selznick over myriad issues regarding his adaptation of Daphne Du Maurier’s novel. Such squabbles may have resulted in a film that feels somewhat more conventional than Hitch’s prior British works, but its preoccupation with emotional and psychological traumas nonetheless ultimately helped pave the way for the director’s future daring psychodramas. In Rebecca, Joan Fontaine takes up residence in the Brontë-esque home of her wealthy husband Laurence Olivier, where the specter of his deceased first wife looms large thanks in part to Judith Anderson’s unsettling manor servant, who remains devoted to her dead employer. Although devoid of significant aesthetic inventiveness, the director still generates a sumptuously creepy, unreal atmosphere that’s equally indebted to Wuthering Heights and Val Lewton’s horror classics. A technically superb thriller, it’s also an enduringly resonant depiction of societal expectations for, and demands on, women.

Click Here For Part One, Two, Four, Five, Six & Seven

Contributors: Andrew Osborne, Vadim Rizov, Nick Schager

Up The Academy: Screengrab Salutes The All-Time Best & Worst Best Picture Winners (Part Two)

Andrew Osborne — Thu, 19 Feb 2009 21:30:00 GMT

THE WORST:

CRASH (2004)

I didn’t actively hate Crash when I first saw it. Paul Haggis’ schematic, artificial examination of race relations in Los Angeles was a pleasant enough way to pass an evening: I enjoyed watching Sandra Bullock play against type as a sour yuppie, and the vignette with Michael Peña and his daughter was sweet (in a Six Feet Under subplot kind of way). But the whole storyline with Matt Dillon’s Racist Cop® was nothing more than Haggis the mainstream milquetoast trying way too hard to provoke, like a suburban teen buying a Slipknot hoodie at Hot Topic with his mom’s credit card and then wearing it to church. The really annoying thing about Crash, though, was the way it allowed Academy voters (after pretty much ignoring films like Hoop Dreams and Malcolm X) to pat themselves on the back for their willingness to confront “the race issue” by rewarding Haggis’ toothless paper tiger of a film while simultaneously snubbing the superior (and timely) “gay cowboy” movie that apparently made them feel icky and uncomfortable.

BEN-HUR (1959)

If David Lean is the best-case scenario for a filmmaker who can hit Oscar's Pavlovian reflexes with deadly aim and still produce something worthwhile, Ben-Hur is pretty much the silliest, most bloated example of "epic" filmmaking there is. As it happens, Ben-Hur is a "milestone" in "Oscar history" because it's one of only three movies to win 11 Oscars; the other two are Titanic and Lord Of The Rings: The Film That Never Ends, which pretty much proves that running way over three hours (and the usual budget) are non-negotiable prereqs. Have you watched all of Ben-Hur lately? It's leaden, endless gay camp (Gore Vidal did it on purpose, but it's still not very funny). The chariot race is great, only because William Wyler ceded directorial duties to Western cowboy-stunt specialist Yakima Canutt, who thankfully had zero interest in propriety or "good" directorial values. On the plus side, this makes Spartacus look faultless.

TOM JONES (1963)

With the tail-end exception of 1969's Midnight Cowboy and this film, the Academy did its darndest to ignore changing cinematic mores in the '60s. So: Tom Jones. Henry Fielding's comic genius is boiled down into a series of too-cute reflexive, winking gestures in a long, overcooked souffle. No surprise: Tom Jones was adapted by John Osborne — the angry young man par excellence, so humorless he was buried with a copy of Hamlet in his pocket, with everyone but Hamlet's lines crossed-out — and clunkily directed (per his usual "form") by Tony Richardson. Together, they water down Godardian gestures for farce, toying with every possible distancing device (it's a silent movie! It's an undercranked Keystone Kops moment!) without any real effect or exuberance. Rarely has jollity seemed this excruciating.

THE STING (1973)

Like Tom Jones, The Sting is another would-be light entertainment that's actually incredibly boring and way too long; the highlight is when Paul Newman says "crap." The best part is the old-school Universal logo at the start, and that's over in thirteen seconds, embedded above for your viewing pleasure. Seriously, why do people like this movie? You can listen to Scott Joplin on your own time and there are many much better Redford and Newman charm vehicles (separately, anyway). One side note: somehow, in 1973, Cries And Whispers was also nominated for Best Picture. Really?

CHICAGO (2002)

Chicago isn't the worst musical of the decade (Moulin Rouge! is hard to beat), but it is kind of magnificently dull. Hollywood always loves a good circle-jerk, and this thinly-veiled "condemnation" (read: winking celebration) of celebrity and the glamor of wrong-doing obliges. Criminal justice is like showbiz, because obviously everything is like showbiz, because everything is like Hollywood. The single most memorable moment in the entire movie isn't any of the murder/juicy stuff; it's Richard Gere dancing in his underwear. Rob Marshall's direction is impressively unimaginative — something most people finally caught onto with Memoirs of a Geisha — and let's not even get into what a disservice this does to the memory of the late, great Bob Fosse: he of the original choreography, he who didn't wait for someone to call him a bastard but interrogated himself for real with All That Jazz. Fosse played for keeps, for better or worse; Chicago plays for winks.

Click Here For Part One, Three, Four, Five, Six & Seven

Contributors: Andrew Osborne, Vadim Rizov

Up The Academy: Screengrab Salutes The All-Time Best & Worst Best Picture Winners (Part One)

Andrew Osborne — Thu, 19 Feb 2009 21:00:00 GMT

Forget Christmas: for movie geeks, the period from New Year’s Eve to the third week in February is truly the most wonderful time of the year, from the endless Best of Lists and Golden Globes straight through the Saggies and Spirit Awards to the reddest carpet of all...Mama Oscar.

As per recently made-up tradition, the Screengrab will be live-blogging the Academy Awards this coming Sunday...and while we’re on the subject, can we please call a moratorium on bitching about the length of the show? Do sports fans cry every year about the length of the Super Bowl? Do they squeeze all the punt returns into a 65-second medley to streamline the running time? NO! If you’re a sports fan, you want the Super Bowl to last all day. And if you’re NOT a sports fan, then why the hell are you even watching? Just check out the highlights on the news and leave the rest of us in peace, ferchrissakes!

Sorry...just had to vent. And, if you think about it, strong opinions about trivial nonsense is pretty much the lifeblood of Oscar season. Arguments about who deserved to win and who got robbed have livened up the annual ceremony ever since Sunrise totally stole Best Unique and Artistic Production from Chang in 1928.

Sadly, our recent calls to reinstate the Best Unique and Artistic Production category have fallen on deaf ears (sorry, Synechdoche, New York), but there’s plenty more Oscar opining ahead as we here at the Screengrab salute (and condemn) THE BEST (AND WORST) BEST PICTURES OF ALL TIME!

THE BEST:

NO COUNTRY FOR OLD MEN (2007)

This wasn't supposed to happen. While they might win the occasional token screenplay award (as they did for Fargo), the Coen Brothers were never going to be respectable and mainstream enough to take home the top Oscar honors. Perhaps emboldened by their belated coronation of Martin Scorsese, however, the Academy saw fit to award this dark, ultra-violent neo-noir with the coveted Best Picture prize. Maybe the literary pedigree helped – after all, even Oprah had given her seal of approval to Cormac McCarthy, author of the novel No Country for Old Men. The film is certainly the most faithful adaptation of the book imaginable, and yet it couldn't be anything other than a Coen Brothers movie. Much of McCarthy's story unfolds through the sort of sardonic, deadpan dialogue that's always been right in the Coens' wheelhouse, and the more action-oriented scenes are rendered with such an uncanny grasp of McCarthy's evocative and precise geography, readers of the book may experience severe déjà vu. Javier Bardem, himself an Oscar winner for Best Supporting Actor, is a uniquely malevolent presence as the killing machine Chigurh. While there are several suspense sequences destined for the Coens greatest hits reel (notably an attack dog's pursuit of Josh Brolin's doomed Marlboro Man into the Rio Grande, and a deadly game of 'musical rooms' at a rundown motel), in its final lyrical moments, No Country for Old Men transcends genre and lays waste to any notion of the Coens as the sniggering egghead pranksters of cinema.

THE LAST EMPEROR (1987)

In truth, The Last Emperor is kind of a silly movie: its take on China's 20th century political landscape is kind of vacuous and unenlightening, and it centers around an appropriately blank protagonist played by a totally undistinguished actor who seems to have been cast only because his last name, almost too conveniently, was "Lone." But it's also an apex of Bernardo Bertolucci's unhinged formalism (or, more accurately, of Vittorio Storaro's insane but effective color schemes), and as a lush, consistently gorgeous aesthetic exercise, it's pretty untoppable. If the Academy wanted pretty and inoffensively political, at least they got one out of two.

THE DEER HUNTER (1978)

Michael Cimino’s reputation was so tarnished by the epic financial and critical failure of 1980’s (unjustly vilified) Heaven’s Gate that it’s almost impossible to watch his preceding film, 1978’s The Deer Hunter, without thinking about the once-promising director’s impending fall from grace. Purely on its own merits, however, Cimino’s Best Picture winner holds up remarkably well as a marriage of New Hollywood authenticity and Old Hollywood scope, and as a portrait of not only the Vietnam War’s toll on those who fought it, but of war’s careless misuse of human life, the latter point epitomized by the iconic Russian Roulette finale involving Christopher Walken’s battle-scarred vet. Shot by Vilmos Zsigmond with a haunting, melancholic loveliness that’s at odds with much of the material’s harrowing grimness, Cimino’s film (partially indebted to the work of Visconti) plays like a messy, sprawling novel, intimately evoking its characters’ Russian heritage and Pennsylvania steel town roots, poignantly utilizing rituals and ceremonies to express their bonds of love and friendship, and ably casting its tale as emblematic of America’s post-Vietnam moral and emotional disarray.

OLIVER! (1968)

This adaptation of Lionel Bart's stage musical version of Oliver Twist is one of those Oscar winners that isn't especially well-remembered these days and may be regarded as a fluky choice at best, which is unfair. It represents a late show of mastery by the great British director Carol Reed, who had suffered through a lousy decade since his last successful production, the 1959 Our Man in Havana. Working with a first-rate cast that includes Ron Moody as Fagin, Shani Wallis as Nancy, and non-singing (thank God) Oliver Reed as Bill Sikes, Carol Reed managed to use the rather undistinguished musical as a way to create a stylized version of the Dickens story, utilizing the energy and wit of the performers and his own cinematic brio to compensate for the limitations of Bart's songs. The movie also has its place in history for marking the last moment when Hollywood felt comfortable declaring that an all-ages movie was the best of the year; the next year, the Best Picture award would go to the adults-only Midnight Cowboy.

THE BRIDGE ON THE RIVER KWAI (1957)

There’s a case to be made that David Lean’s early, more modestly sized efforts were superior to his later epics, though if the legendary auteur ultimately sacrificed emotional and dramatic tautness in favor of marathon distension, it occurred at some point after 1957’s The Bridge on the River Kwai, a peerless example of larger-than-life filmmaking. As the British military commander who, in a Japanese POW camp during WWII, spearheads the construction of a bridge that his British compatriots plan on destroying, Alec Guinness brilliantly personifies the destructive folly of pride. His army officer, determined to complete the bridge as a means of proving British cultural/political supremacy, is opposed by Sessue Hayakawa’s Japanese colonel, driven to break his Western prisoners’ spirits and terrified that the British will humiliate his own men (and nation) by successfully completing their bridge-building task. Their one-on-one conflict is enlivened, rather than dwarfed, by Lean’s grand direction, culminating in a finale that’s memorable not just for its scale, but for the unforgettable look of sudden awareness, and regret, on Guinness’ face.

Click Here For Part Two, Three, Four, Five, Six & Seven

Contributors: Andrew Osborne, Scott Von Doviak, Vadim Rizov, Nick Schager, Phil Nugent

Thursday Poll for February 19, 2009

Paul Clark — Thu, 19 Feb 2009 15:00:00 GMT

In the second week of our three-week run-up to the Academy Awards- only three more days!- we surveyed you on your predictions in the lead acting categories. In the hotly-contested Best Actor race, most have predicted a close call between old friends Sean Penn (Milk) and Mickey Rourke (The Wrestler). And you folks predicted them as the front-runners as well, with Rourke finally outpacing Penn, 50% to 30%. Of the other three nominees, Screengrab favorite Richard Jenkins and Frank Langella’s Tony-winning embodiment of Richard Nixon were seen as possible upsets in this category, taking home 10% apiece. And judging by your predictions, Brad Pitt might as well start polishing his “it’s an honor to be nominated” patter, since he didn’t get a single vote.

And speaking Pitt, how are his main squeeze Angelina Jolie’s chances to win Best Actress? Not very good, judging by last week’s poll. Jolie took home a mere 13% of the vote, tying for third place with Academy BFF Meryl Streep. Faring better was Rachel Getting Married’s Anne Hathaway with 20%, but not even she could stop the by-all-accounts-overdue Kate Winslet, who brought in an impressive 53% of the vote. Better luck next time, Melissa Leo.

This week, we bring it home with the poll for Best Picture. Does Slumdog have this sewn up yet, or do the other movies still have a shot?

What will win Best Picture? | BuzzDash polls

And just for kicks and grins, let’s predict the Best Director race too. Will this award fall in line with Best Picture as it normally does, or will the voters reward someone else?

Who will win Best Director? | BuzzDash polls

Because of the show airing on Sunday, I’ll be closing the poll on Saturday night. As always, the comments section is open. Enjoy this year’s Oscars!

Loki Rourke, 1991-2009

Scott Von Doviak — Wed, 18 Feb 2009 20:00:00 GMT

Good news, ladies! It looks like Mickey Rourke now needs a date for the Oscars. Unfortunately, this development has come at the expense of Rourke’s longtime companion, Loki, the 18-year-old Chihuahua who has been at the actor’s side throughout the red carpet season. The poor critter passed away on Monday, less than a week before the Academy Awards ceremony (and, as Defamer points out, this tragic event happened too late for the beloved pooch to qualify for the annual “In Memoriam” segment.)

As the owner of a Chihuahua-American myself, this news hits me particularly hard. And while I don’t necessarily want to place any blame for this tragedy on the grieving owner, I do wonder if the notoriously hard-partying Rourke overestimated the geriatric Loki’s ability to keep up with the rigorous award season party schedule. My boy Maury is only ten, and he needs a nap after a particularly strenuous poop. On the other hand, part of me wonders if this is all a publicity stunt designed to win over any swing voters in the Academy. I guess we’ll know if Mickey shows up to accept his award with Loki tucked under his arm. But don’t show up on the red carpet with a new doggie, Mick! Too soon.

Related:
Mickey Rourke Gets Up Off the Canvas
Mickey Rourke and Darren Aronofsky Q & A

Oscar Prospectus

Scott Von Doviak — Mon, 16 Feb 2009 21:00:00 GMT

We’ve already presented our Oscar predictions, and we assure you we put as much thought into them as the next guy…assuming the next guy isn’t Nate Silver. That name may ring a bell if you’re either a baseball fan or a political junkie. His statistical work for Baseball Prospectus, including PECOTA (Player Empirical Comparison and Optimization Test Algorithm), has long been invaluable to statheads and fantasy players, but it was his FiveThirtyEight.com project, which proved to be the most accurate predictor of the 2008 election results, that made him a household name (at least in households where MSNBC plays more than three hours a day).

Now Nate Silver has turned his statistical genius toward helping to win your office Oscar pool. “Formally speaking, this required the use of statistical software and a process called logistic regression,” according to New York magazine. “Informally, it involved building a huge database of the past 30 years of Oscar history. Categories included genre, MPAA classification, the release date, opening-weekend box office (adjusted for inflation), and whether the film won any other awards.”

Among Silver’s findings: Heath Ledger runs away with the Supporting Actor category, with an 85.8% chance of winning, Taraji P. Henson is his somewhat surprising pick for Supporting Actress, and Slumdog Millionaire is a slamdunk with a 99% chance of taking home Best Picture. “Slumdog Millionaire won all three awards associated with Oscar success: the Directors Guild Award, the Golden Globe, and the bafta. It’s also a serious film, which the Academy favors. If there’s an upset (which would be a shocker), it will be Milk; guilt over Prop 8 and the Brokeback snub of ’06 could split the vote, with Boyle getting Director and Milk getting Picture.”

Reviews By Request, Oscar-Nominated Edition: Yankee Doodle Dandy (1942, Michael Curtiz)

Paul Clark — Fri, 13 Feb 2009 20:00:00 GMT

As usual, I’ll be polling you folks to determine the subject for the second of two Oscar-themed Reviews By Request columns, which will run in two weeks. To vote, see the poll at the end of this review.

It’s practically become a running joke that biopics are catnip to Oscar voters. It’s not difficult to see the reasons why- the historical setting gives affords technicians plenty of chances to show off, while audiences enjoy seeing the lives of their heroes brought to life through movie magic. Most of all, playing historical figures often gives actors an opportunity to show facets of their talent that aren’t normally on display. Nowhere is this more apparent than in biographies of musicians or other live performances, in which actors get the chance to not only portray real-life characters but also perform their work- in character, anyway. And of all the acclaimed showbiz biopic performances out there, few are more beloved than James Cagney’s Oscar-winning turn as George M. Cohan in Michael Curtiz’s Yankee Doodle Dandy.

As showbiz biopics go, Yankee Doodle Dandy has a pretty standard trajectory. We follow Cohan from his birth through his early days on the road, performing in vaudeville shows with his parents and sister as “The Four Cohans.” By the time he’s a teenager, young George has become good enough that he gets cocky; and despite his undeniable talent he’s been largely blackballed from the business by the time he’s hit adulthood. It’s only by composing his own material- combined with a lot of luck- that George makes a name for himself on Broadway, eventually becoming its biggest star. And all the while, he sticks by his family (including his dad, played by Walter Huston), and in turn his loving wife Mary (Joan Leslie) sticks by him.

And yet, compared to most movies of this sort, Yankee Doodle Dandy has almost no interest in the darker undercurrents of its protagonist. There’s a very good reason for this- made in the early years of World War II, the filmmakers wanted to tell the rousing story of a homefront hero, a patriot who served his country not with a gun but with songs like the World War I anthem “Over There.” This comes through clearest in the movie’s (supposedly apocryphal) framing device, in which Cohan is called to the White House late one night so that FDR can personally present him with the Congressional Gold Medal. And while this makes the film pretty hopeless as biography- as Cohan himself allegedly quipped after the premiere, “It was a good movie. Who was it about?”- it’s rousing entertainment all the same. In light of the tendency of many contemporary biopics to air out their protagonists’ dirty laundry, the film’s refusal to do so is perhaps its most refreshing aspect. Yankee Doodle Dandy is content to let its hero be a hero.

But the film would be nothing without Cagney’s infectious performance. Like many moviegoers of the time, I mostly knew Cagney through his hard-boiled gangster roles, combined his great late-period turns in films like Billy Wilder’s awesome One, Two, Three. But while I always knew he was an energetic actor, I wasn’t prepared for the high spirits he would bring to the role of George M. Cohan. The role had been turned down by the likes of Fred Astaire, and while Cagney wasn’t the dancer Astaire was (or the singer, for that matter- Cagney probably speak-sings half his lyrics), he throws himself so completely into the role that it scarcely matters. Cagney’s irrepressible desire to entertain is matched only by his inventiveness, as in the scene in which he first meets his eventual wife while covered in old-age makeup. It’s an irresistible performance, and one I dare say the Academy would’ve been hard-pressed to overlook even if it wasn’t based on a real person.

Yankee Doodle Dandy isn’t a movie about the life of George M. Cohan so much as it is about the myth of George M. Cohan. Consequently, it scarcely matters that Cohan was actually born on July 3rd, that the movie’s “Mary” was actually his second wife, or that the circumstances under which he received his Congressional Gold Medal were somewhat different than they are in the film. What matters is that, like its hero, it’s filled to the brim with an unabashed flag-waving spirit, and anchored with Cagney’s timeless, inspired performance. Yankee Doodle Dandy is cornball to be sure, but it’s the kind of movie that gives cornball a grand old name.

For the second Oscar-themed Reviews By Request column, I’m asking you to choose from five Best Picture-winning films I’ve never seen. So, which will it be?

Which should I review for my next Reviews By Request? | BuzzDash polls

As always, the comments section is open. See you in two weeks!

Thursday Poll for February 12, 2009

Paul Clark — Fri, 13 Feb 2009 00:30:00 GMT

Last week, we began the run-up to the Oscar telecast (less than two weeks away now!) with the first of three Thursday Poll columns, this one asking for your predictions for Best Supporting Actor and Supporting Actress. And in what I do believe would qualify as a shocker of gargantuan proportions, the Screengrab readers defied conventional wisdom and predicted Michael Shannon as the most likely winner of the Best Supporting Actor Oscar, narrowly beating out the odds-on favorite, Heath Ledger.

Just kidding, folks! But that sure got your attention, didn’t it? Seriously though, Ledger dominated the supporting actor poll with a mighty 72% of the vote. Doubt possible pedophile priest Philip Seymour Hoffman came in second with 11%, and the other nominees evenly split the remaining votes, with 6% apiece. I suppose that means if Ledger does indeed get overlooked for the Oscar, it’s gonna be a pretty big upset- which we pretty much already knew.

In the somewhat more competitive category of Best Supporting Actress, the favorite according to the Screengrab readership was Doubt’s Viola Davis, besting Vicky Cristina Barcelona scene-stealer Penelope Cruz by a margin of 50% to 36%. Of the remaining votes, 6% each went to Amy Adams and Marisa Tomei, with Benjamin Button’s Taraji P. Henson not receiving a single vote.

This week, we move on to the lead acting categories. In the Best Actor race, most Oscar pundits are predicting either Milk star Sean Penn or Wrestler leading man Mickey Rourke for the win. But will voters fall harder for Penn, an Academy favorite whose spirited and sunny performance in a true-life role is miles from his usual intense roles, or Rourke, who’s got the year’s highest-profile comeback-kid story in his corner? Or will there be an upset by Screengrab fan favorite Richard Jenkins, the CGI-assisted Brad Pitt, or Frank Langella, who’s my kind of fella? The choice is yours:

Who will win the Best Actor Oscar? | BuzzDash polls

Likewise, in Best Actress, most of the people “in the know” are calling this a race between Meryl Streep, who’s hungering for that third Oscar (it’s been 26 years, after all), and Kate Winslet, whose much-overdue first Oscar win would only be problematic in the sense that it would be for frickin’ The Reader. But as William Goldman famously put it, nobody knows anything, and for all we know the voters might have converged behind Melissa Leo, Angelina Jolie, and (should good taste rule the day) Anne Hathaway instead. So who do you think will take home the golden boy?

Who will win Best Actress? | BuzzDash polls

As always, the comments section is open. See you next week!

The Killing Joke

Scott Von Doviak — Tue, 10 Feb 2009 18:00:00 GMT

For some fans, it won’t be enough for Heath Ledger to win a posthumous Academy Award for his performance as the Joker in The Dark Knight. The not-at-all-crazy folks at the new site The Ultimate Joker are taking it a step further: they don’t want anyone else to ever play the role again.

“They've launched a petition calling for studios to withdraw the character for good from any future Batman movies, a somewhat strange request given all the actors who have stepped into the Joker's murderous shoes on screens large and small,” according to a report at Wired.com. “We truly believe Ledger's performance as Joker is the best an actor could ever do," the site's team leader, Fer Barbella, told Wired.

Despite this belief, the team of Ledger enthusiasts is restricting their petition to big-screen, live action portrayals. “Television and animation is off our radar,” Barbella says, before conceding that he enjoys the work of Cesar Romero and even Jack Nicholson in the role of the clown prince of crime.

If you’d like to join this very important crusade, check out the Ultimate Joker site. It’s a shame, though – why couldn’t somebody have thought of this tactic in time to prevent Steve Martin from taking on the role of Inspector Clouseau?

Related:
He's Hot, He's Oscar-Nominated and He's Dead: The Heath Ledger Stealth Award Campaign
Jokers Wild About Heath Ledger's Oscar Chances

In Other Blogs: Selected Shorts

Scott Von Doviak — Fri, 06 Feb 2009 17:00:00 GMT

If you checked out our Oscar picks yesterday and are planning to use them as a basis for your own office pool, you should know that I, for one, pulled my short film predictions out of my hat. But at Beyond the Multiplex, Andrew O’Hehir has actually watched all the nominees. “Short films, at least as the category is defined by the Academy Awards, have even less to do with one another than feature films do. I mean, think about it: With very few exceptions, the films nominated for best picture over the years have all been three-act stories with plot, characters and a script, costing multiple millions to make and running somewhere between 80 and 160 minutes. A short, on the other hand, is any motion picture less than 40 minutes in length, and as in previous years, the 2008 nominees in animated and live-action shorts run the visual, conceptual and philosophical gamut.”

Hollywood and Fine uses the brewing Faye Dunaway/Hilary Duff feud as a jumping off point to discuss aging stars and plastic surgery. “The unkind thing, of course, is that Duff speaks a certain truth. Dunaway is yet another star who has let the fear of natural aging turn her to the sci-fi world of cosmetic surgery. This has given her face a certain computer-generated look – not quite real, not quite human. Put it this way: Dunaway makes Joan Rivers look normal. Or Cher… It’s dismaying to see the give-away cat eyes of cosmetic surgery on once-beautiful women – women who would be beautiful at any age if they just let themselves – like Catherine Deneuve, Jessica Lange and Candice Bergen. But you also detect the pursuit of elusive youth - in the form of Botox needle’s weirdly smoothing qualities - on the faces of favorite male performers as well.”

At Some Came Running, Glen Kenny talks Swanberg. “In January, in the midst of some armchair commentary on the 2009 Sundance Film Festival, I noted Mr. Joe Swanberg’s pronouncements at a press breakfast at which IFC announced a partnership with the film arm of South By Southwest, in which IFC would provide VOD screenings of varied SXSW premieres simultaneous to those films’ screenings at the festival. One of the films is the latest from Swanberg, the young filmmaker whose works (frequently tagged as components of a not-quite movement dubbed ‘Mumblecore’) are noted for their improvisational ‘realism’ and the unusual candor of their depictions of sexual matters (e.g., Swanberg himself and varied other members of his casts engage in unsimulated sex acts therein). Swanberg’s musings on where the ‘interest’ in his films began and ended solicited this rejoinder from your correspondent: ‘I think I speak for myself, and for many others, that when I hear about a new Swanberg picture my first question is "Does he show his schlong in it?" and if the answer is "Yes," my "interest" shrivels up like a Pac-Man that's just gotten it from Inky, Winky, Blinky AND Sue.’”

Around the corner at our own Paul Clark’s blog Silly Hats Only, the Third Annual Muriel Awards are getting underway. Some of your other favorite Screengrabbers are participating, wink wink. “What, not excited yet? Well, you should be. After all, we’ve got plenty of new goodies to go along with all of your old favorite Muriels traditions- that is, if you can call something two years old a tradition. I’d tell you what they are, but that would ruin the surprise, now wouldn’t it?”

Our partners over at Cracked (hey, it says over there in the right-hand column that they’re our partners, so who am I to argue?) have turned up 20 Baffling Foreign Movie Posters. That is, not posters for foreign movies, but posters for American movies as they appear in foreign lands. Such as the one pictured here for One Flew Over the Cuckoo’s Nest. “Little known fact: The Turkish Director's Cut featured Shelly Duvall and swashbuckling zombies. Seriously, can you fuck up the poster for a Jack Nicholson classic any worse than this?”

Thursday Poll for February 5, 2009

Paul Clark — Fri, 06 Feb 2009 00:30:00 GMT

Last week, in response to the fairly bland and uninspired crop of Best Picture nominees this year, we asked our readers how many of them they actually enjoyed. And much like me, you folks were mostly negative on the movies that the Academy deemed the cream of this year’s crop. 76% of you said that you only liked two or fewer of the five nominees, with half those people liking one or even zero. 19% liked three of them, 6% enjoyed four out of five, and none of you were actually positive on all five. Of course, this negative skewing of results may be partially attributable to the results of last week’s bonus poll, which determined that only 25% of voters had actually seen all five movies. Another 25% had seen three of the nominees, while 8% capped their nominee viewing at two. And a whopping 42% of you had seen either one or none of them. And they wonder why Nielsen ratings for the ceremony are plummeting…

This week, in keeping with our Oscar theme, we’re presenting the first of three lists devoted to your Oscar predictions. First off, the supporting nominees. Most of us are fairly sure of who we think will take Best Supporting Actor, but what if Academy voters decide to throw the ultimate Oscar curveball by awarding someone whose name doesn’t rhyme with Teeth Dredger? Likely? No. But not impossible.

Who will win Best Supporting Actor? | BuzzDash polls

Somewhat more competitive is the Supporting Actress race. With consensus “overdue” nominee Kate Winslet honored in Best Actress rather than here, the race gets more interesting. Will Academy members mark their ballots for Viola Davis’ much-ballyhooed one-extended scene work in Doubt, or go for her younger and more fresh-faced costar Amy Adams? Will they invite Benjamin Button’s adoptive mama Taraji P. Henson back to the Oscar stage she appeared on three years back opposite Three Six Mafia? Can one-time winner Marisa Tomei make it two? Or will they, by awarding Penelope Cruz, remember a time when Woody Allen movies were the safest bet around in this category? You make the call:

Who will win Best Supporting Actress | BuzzDash polls

As always, the comments section is open. See you next week!

Screengrab Predicts The Oscars: Winners (Part Seven)

Andrew Osborne — Fri, 06 Feb 2009 00:00:00 GMT

BEST PICTURE

And the nominees are...

The Curious Case of Benjamin Button - Kathleen Kennedy, Frank Marshall, Cean Chaffin
Frost/Nixon - Ron Howard, Brian Grazer, Eric Fellner
Milk - Dan Jinks and Bruce Cohen
The Reader - Anthony Minghella, Sydney Pollack, Redmond Morris,Donna Gigliotti
Slumdog Millionaire - Christian Colson

Paul Clark Predicts: Slumdog Millionaire

Last week, Roger Ebert began posting his picks for the Oscars -- not his predictions, but rather the nominees he was rooting for to win. The reasoning behind these picks had less to do with quality than with a concept he called “Elevation” -- in other words, the nominees which gave him the strongest (positive) emotional charge. Personally, I think ol’ Rog might be on to something. After all, while critical types often prefer to scrutinize the technical prowess of the films and performances, I think most Academy members -- most of whom are actors -- tend to be somewhat more sentimental. They don’t necessarily choose the “best”, but instead vote in the way that makes them feel best. So that’s how I’ve predicted the major categories this time out -- by asking the question of what the warm-fuzzy choice might be, regardless of quality. For Best Picture, I’m not all that jazzed about any of the nominees, but aside from The Reader, Slumdog's probably my least favorite. But what I think doesn’t matter here: Slumdog Millionaire is this year’s Little Movie That Could, and none of the other movies has anything going for it quite as strong as this upstart factor. Hell, the Screen Actors Guild gave Slumdog’s cast Best Ensemble -- a cast headed by a pair of romantic leads who possessed roughly 3 ½ facial expressions between them. In short, Hollywood likes this movie a lot, and if anything else wins in this category it’ll be a hell of a surprise.

Andrew Osborne Predicts: Slumdog Millionaire

I’m hoping the Benjamin Button backlash I started has now grown to a typhoon of scorn that will capsize the film's chances in this race. (And Jon Stewart was making fun of the movie last night during his interview with Dev Patel, which I’m gonna go ahead and take as a good sign). I realize Button might still win (or, God forbid, The Reader), either of which would be almost but not quite as ridiculous as the Crash upset in 2005. I’m rooting for Milk, but I suspect all the closeted old Academy homophobes won’t let that happen (see: Crash). Frost/Nixon is too much like an HBO movie to score, which leaves the buzzy Slumdog as the Great Indian Hope...and, in the wake of the Obama warm fuzzies global hug initiative, an international production would be a sensible, topical Best Picture winner.

Leonard Pierce Predicts: Frost/Nixon

In a more or less weak year, there are a lot of flaws in each of the Best Picture nominees. Benjamin Button is bloated and familiar, and The Reader simply isn’t a good film, which leaves Milk, Slumdog Millionaire and Frost/Nixon to battle for the gold. Slumdog Millionaire, for all its hype, may be a bit too odd for voter’s tastes; I’m predicting they’ll go for Frost/Nixon, but I wouldn’t be surprised to see it go either way.

Should Win: Milk
Will Win: Frost/Nixon

Nick Schager Predicts: Slumdog Millionaire

Out of this relatively weak lot, the flawed but piercing, sumptuous Benjamin Button should come out on top. But as the only nominee that has both critical and commercial support, Slumdog will win the big one in a cakewalk.

Sarah Clyne Sundberg Predicts: Slumdog Millionaire

It would seem too bold somehow, to give this award to Danny Boyle, a relative upstart. Not that Trainspotting is to be sneezed at. That said, I can just picture the cast and crew on their way onto the stage, speeches about how they never thought they'd get this far etc. The more conventional pick would be Milk, me thinks. But I'll live a little and bet on Slumdog Millionaire.

Scott Von Doviak Predicts: Slumdog Millionaire

I guess the Slumdog backlash is in effect (and I'm a willing participant myself), but it seems like Benjamin Button never even had a frontlash, and the other ones…what else is nominated again?

SCREENGRAB CONSENSUS: SLUMDOG MILLIONAIRE

So there you have it...your 2009 Screengrab Oscar Predictions! Again, to play along at home, just post your picks in the Comments section below...and also check below for your souvenir Academy Awards Ballot, annotated with our individual and consensus picks, guaranteed to make you the envy of your office Oscar pool!

Click Here For Part One, Two, Three, Four, Five & Six

Contributors: Paul Clark, Andrew Osborne, Leonard Pierce, Nick Schager, Sarah Clyne Sundberg, Scott Von Doviak

SCREENGRAB 2009 OSCAR BALLOT

KEY:

Items in BOLD are the Screengrab Consensus Picks

Individual picks are designated as follows:

Paul Clark: PC
Andrew Osborne: AO
Leonard Pierce: LP
Nick Schager: NS
Sarah Clyne Sundberg: SCS
Scott Von Doviak: SVD

Best Picture
The Curious Case of Benjamin Button - Kathleen Kennedy, Frank Marshall, Cean Chaffin
Frost/Nixon - Ron Howard, Brian Grazer, Eric Fellner (LP)
Milk - Dan Jinks and Bruce Cohen
The Reader - Anthony Minghella, Sydney Pollack, Redmond Morris,Donna Gigliotti
Slumdog Millionaire - Christian Colson (PC, AO, NS, SCS, SVD)

Best Director
Danny Boyle – Slumdog Millionaire (PC, NS, SCS, SVD)
Stephen Daldry – The Reader
David Fincher – The Curious Case of Benjamin Button (AO)
Ron Howard – Frost/Nixon (LP, SCS)
Gus Van Sant – Milk

Best Actor
Richard Jenkins – The Visitor
Frank Langella – Frost/Nixon
Sean Penn – Milk (AO, SCS)
Brad Pitt – The Curious Case of Benjamin Button
Mickey Rourke – The Wrestler (PC, LP, NS, SVD)

Best Actress
Anne Hathaway – Rachel Getting Married
Angelina Jolie – Changeling (LP)
Melissa Leo – Frozen River (SCS)
Meryl Streep – Doubt
Kate Winslet – The Reader (PC, AO, NS, SVD)

Best Supporting Actor
Josh Brolin – Milk
Robert Downey, Jr. – Tropic Thunder
Philip Seymour Hoffman – Doubt
Heath Ledger – The Dark Knight (Everyone)
Michael Shannon – Revolutionary Road

Best Supporting Actress
Amy Adams – Doubt
Penélope Cruz – Vicky Cristina Barcelona (SVD)
Viola Davis – Doubt (PC, AO, NS, SCS)
Taraji P. Henson – The Curious Case of Benjamin Button
Marisa Tomei – The Wrestler (LP)

Best Original Screenplay
WALL-E - Andrew Stanton, Jim Reardon and Pete Docter
Happy-Go-Lucky - Mike Leigh
Frozen River - Courtney Hunt
In Bruges - Martin McDonagh (LP, SCS)
Milk - Dustin Lance Black (PC, AO, NS, SVD)

Best Adapted Screenplay
The Curious Case of Benjamin Button - Eric Roth and Robin Swicord (AO)
Frost/Nixon - Peter Morgan
The Reader - David Hare (SCS)
Slumdog Millionaire - Simon Beaufoy (PC, LP, NS, SVD)
Doubt - John Patrick Shanley

Best Animated Feature
Bolt – Chris Williams and Byron Howard
Kung Fu Panda – Mark Osborne and John Stevenson
WALL-E – Andrew Stanton (Everybody)

Best Foreign Language Film
Revanche (Austria) in German - Götz Spielmann The Class (France) in French - Laurent Cantet (AO)
The Baader Meinhof Complex (Germany) in German
Departures (Japan) in Japanese
Waltz with Bashir (Israel) in Hebrew - Ari Folman (PC, LP, NS, SCS, SVD)

Best Animated Short
La Maison En Petits Cubes - Kunio Kato (NS)
Lavatory - Lovestory - Konstantin Bronzit
Oktapodi - Emud Mokhberi and Thierry Marchand (AO)
Presto - Doug Sweetland (PC, SVD)
This Way Up - Alan Smith and Adam Foulkes

Best Art Direction
Changeling – James J. Murakami, Gary Fettis
The Curious Case of Benjamin Button – Donald Graham Burt, Victor J. Zolfo (Everyone)
The Dark Knight – Nathan Crowley, Peter Lando
The Duchess – Michael Carlin, Rebecca Alleway
Revolutionary Road – Kristi Zea, Debra Schutt

Best Cinematography
Changeling – Tom Stern
The Curious Case of Benjamin Button – Claudio Miranda (AO, SVD)
The Dark Knight – Wally Pfister
The Reader – Chris Menges, Roger Deakins
Slumdog Millionaire – Anthony Dod Mantle (PC, NS)

Best Costume Design
Australia – Catherine Martin
The Curious Case of Benjamin Button – Jacqueline West (AO, NS, SVD)
The Duchess – Michael O'Connor (PC)
Milk – Danny Glicker (SCS)
Revolutionary Road – Albert Wolsky

Best Documentary Feature
Nerakhoon (The Betrayal)
Encounters at the End of the World (PC, LP)
The Garden
Man on Wire (AO, NS, SCS, SVD)
Trouble the Water

Best Documentary Short
The Conscience of Nhem En (SVD)
The Final Inch (AO, NS)
Smile Pinki
The Witness - From the Balcony of Room 306 (PC)

Best Film Editing
The Curious Case of Benjamin Button – Kirk Baxter, Angus Wall
The Dark Knight – Lee Smith (AO, SVD)
Frost/Nixon – Mike Hill, Daniel P. Hanley
Milk – Elliot Graham
Slumdog Millionaire – Chris Dickens (PC, NS)

Best Live Action Short
On the Line (Auf der Strecke) (PC, SVD)
Manon On the Asphalt
New Boy
The Pig (Grisen)
Toyland (Spielzeugland) (AO, NS)

Best Makeup
The Curious Case of Benjamin Button – Greg Cannom (Everyone)
The Dark Knight – John Caglione, Jr. and Conor O’Sullivan
Hellboy II: The Golden Army – Mike Elizalde and Thom Floutz

Best Original Score
The Curious Case of Benjamin Button – Alexandre Desplat (AO)
Defiance – James Newton Howard
Milk – Danny Elfman (SVD)
Slumdog Millionaire – A.R. Rahman (NS, SCS)
WALL-E – Thomas Newman (PC)

Best Original Song
"Down to Earth" from WALL-E – Peter Gabriel and Thomas Newman (music), Peter Gabriel (lyrics) (AO, SVD)
"Jai Ho" from Slumdog Millionaire – A. R. Rahman (music), Gulzar (lyrics) (PC, NS)
"O Saya" from Slumdog Millionaire – A. R. Rahman and M.I.A.

Best Sound Editing
The Dark Knight – Richard King (AO, SVD)
Iron Man – Frank Eulner and Christopher Boyes (PC)
Slumdog Millionaire – Tom Sayers (NS)
WALL-E – Ben Burtt and Matthew Wood
Wanted – Wylie Stateman

Best Sound Mixing
The Curious Case of Benjamin Button – David Parker, Michael Semanick, Ren Klyce, Mark Weingarten (PC)
The Dark Knight – Lora Hirschberg, Gary Rizzo, Ed Novick (AO, NS, SVD)
Slumdog Millionaire – Ian Tapp, Richard Pryke, Resul Pookutty
WALL-E – Tom Myers, Michael Semanick, Ben Burtt
Wanted – Chris Jenkins, Frank A. Montaño, Petr Forejt

Best Visual Effects
The Curious Case of Benjamin Button – Eric Barba, Steve Preeg, Burt Dalton, Craig Barron (PC, NS, SVD)
The Dark Knight – Nick Davis, Chris Corbould, Tim Webber, Paul Franklin (AO)
Iron Man – John Nelson, Ben Snow, Dan Sudick, Shane Mahan

Jean Hersholt Humanitarian Award
Jerry Lewis

Screengrab Predicts The Oscars: Winners (Part Six)

Andrew Osborne — Thu, 05 Feb 2009 23:30:00 GMT

BEST ACTOR

And the nominees are...

Richard Jenkins – The Visitor
Frank Langella – Frost/Nixon
Sean Penn – Milk
Brad Pitt – The Curious Case of Benjamin Button
Mickey Rourke – The Wrestler

Paul Clark Predicts: Mickey Rourke

This might be more of a ballgame had Penn not won five years ago -- and if Milk had real Best Picture traction. As it stands, Rourke has the comeback story, the body transformation, the hype machine, and best of all, the awesome performance to carry him here.

Andrew Osborne Predicts: Sean Penn

Mickey Rouke got his Golden Globe, so his fairy tale comeback story had a nice happy ending, but Sean Penn won the SAG Award for Outstanding Performance in a Lead Role, so I think he’ll take the Oscar. Besides, for once, I actually want to hear Penn pontificate on a political subject...specifically, I want him to aim his famous humorless scowl at California’s clueless voters and ask them why they felt the need to make George Takei sad.

Leonard Pierce Predicts: Mickey Rourke

Frank Langella’s blowsy overacting is getting way too much attention, making him a risk to steal the thunder of much better performances. Brad Pitt’s Benjamin Button is showy but ultimately hollow, which should leave Sean Penn and Mickey Rourke to fight it out over Milk and The Wrestler. Given Penn’s history and AMPAS’ love of a comeback story, this one should by Rourke’s to lose.

Should Win: Mickey Rourke, The Wrestler
Will Win: Mickey Rourke, The Wrestler

Nick Schager Predicts: Mickey Rourke

Penn’s superb turn as the slain Harvey Milk is just as worthy, but the Academy loves underdog-comeback stories, and this year, that narrative belongs to The Wrestler’s Mickey Rourke.

Sarah Clyne Sundberg Predicts: Sean Penn

Scott Von Doviak Predicts: Mickey Rourke

SCREENGRAB CONSENSUS: MICKEY ROURKE

BEST DIRECTOR

And the nominees are...

Danny Boyle – Slumdog Millionaire
Stephen Daldry – The Reader
David Fincher – The Curious Case of Benjamin Button
Ron Howard – Frost/Nixon
Gus Van Sant – Milk

Paul Clark Predicts: Danny Boyle

There are years when Oscar voters decide to spread the wealth by giving this award to a celebrated filmmaker whose film they liked just a shade less than the Best Picture winner. But this isn’t one of those years -- among the nominees no one’s particularly “due”, so they’ll fall back on their Best Picture pick.

Andrew Osborne Predicts: David Fincher

Just hedging my bets on this one, in the same way Academy voters may split their love in the absence of a slam-dunk Best Picture frontrunner.

Leonard Pierce Predicts: Ron Howard

This could be a curious case, insofar as there doesn’t appear to be any single movie poised to sweep the Oscars. I had originally predicted that neither David Fincher nor Gus Van Sant would receive a nomination due to the atypical films they made, but my colleague Scott Von Doviak, probably correctly, felt that this increases rather than lessens their chances. Stephen Daldry winning would be a worst-case scenario.

Should Win: Gus Van Sant, Milk
Will Win: Ron Howard, Frost/Nixon

Nick Schager Predicts: Danny Boyle

Of all the nominees, Boyle’s work is the flashiest, and his film has populist-landslide-winner written all over it. Given that he was also honored by the Director’s Guild of America, count on him taking home the gold.

Sarah Clyne Sundberg Predicts: Danny Boyle/Ron Howard

It's a toss-up between everyone's favorite — Slumdog Millionaire — and Frost/Nixon because Ron Howard is exactly the kind of "Hollywood insider taking his art seriously" that the Academy likes.

Scott Von Doviak Predicts: Danny Boyle

SCREENGRAB CONSENSUS: DANNY BOYLE

Stay tuned for our Best Picture predictions and your very own souvenir Academy Awards ballot as the Screengrab 2009 Oscar Special continues way past your bedtime and pre-empts the evening news!

Contributors: Paul Clark, Andrew Osborne, Leonard Pierce, Nick Schager, Sarah Clyne Sundberg, Scott Von Doviak

Screengrab Predicts the Oscars: The Winners (Part Five)

Andrew Osborne — Thu, 05 Feb 2009 23:00:00 GMT

BEST ADAPTED SCREENPLAY

And the nominees are...

The Curious Case of Benjamin Button - Eric Roth and Robin Swicord
Frost/Nixon - Peter Morgan
The Reader - David Hare
Slumdog Millionaire - Simon Beaufoy
Doubt - John Patrick Shanley

Paul Clark Predicts: Slumdog Millionaire

It’s the Best Picture nominee, so it’ll win here too.

Andrew Osborne Predicts: The Curious Case of Benjamin Button

Ugh.

Leonard Pierce Predicts: Slumdog Millionaire

It’s a good rule of thumb that the Screenplay Oscars go to the movies that deserve a Best Picture nomination but aren’t going to get one. This year, the screenplay adaptation category mostly consists of movies that, deserving or not, have already received Best Picture noms, leaving the popular and critically acclaimed (and I'd argue overhyped) Slumdog Millionaire to take home the Screenplay Oscar as a consolation prize because it’s not going to get anything else.

Should Win: John Patrick Shanley, Doubt
Will Win: Simon Beaufoy, Slumdog Millionaire

Nick Schager Predicts: Slumdog Millionaire

Rolling, rolling, rolling, keep that Slumdog rolling…

Sarah Clyne Sundberg Predicts: The Reader

Scott Von Doviak Predicts: Slumdog Millionaire

SCREENGRAB CONSENSUS: SLUMDOG MILLIONAIRE

BEST ORIGINAL SCREENPLAY

And the nominees are...

Wall-E - Andrew Stanton, Jim Reardon and Pete Docter
Happy-Go-Lucky - Mike Leigh
Frozen River - Courtney Hunt
In Bruges - Martin McDonagh
Milk - Dustin Lance Black

Paul Clark Predicts: Milk

Wall-E is more a director’s movie than a writer’s movie, and the other three nominees will split the indie vote. So this category will be Milk’s best shot at a win.

Andrew Osborne Predicts: Milk

I’m thinking this is where Milk gets the love it’s denied in the Best Picture and Best Director races, but Wall-E could be a spoiler.

Leonard Pierce Predicts: In Bruges

This one’s quite a bit more open, because only one film is up for a Best Picture Oscar. Milk might seem to be the favorite, but a case can certainly be made for the otherwise-ignored Happy-Go-Lucky and the cult favorite In Bruges. Normally I’d guess that Wall-E would be a lock, but the presence of the animation category might jeopardize its chances. This one could be one of the tightest calls of the year, like I know what I’m talking about.

Should Win: Andrew Stanton & Jim Reardon, Wall-E
Will Win: Martin McDonagh, In Bruges

Nick Schager Predicts: Milk

This may be the tightest race, since it’s likely the only award that both Milk and Happy-Go-Lucky have a legit shot at winning. Given Sally Hawkins’ egregious snub in the Best Actress category, the Academy must not dig Leigh’s latest, so Dustin Lance Black should be at the podium come Oscar night.

Sarah Clyne Sundberg Predicts: In Bruges

Scott Von Doviak Predicts: Milk

SCREENGRAB CONSENSUS: THERE WILL BE MILK!

BEST ART DIRECTION

And the nominees are...

Changeling – James J. Murakami, Gary Fettis
The Curious Case of Benjamin Button – Donald Graham Burt, Victor J. Zolfo
The Dark Knight – Nathan Crowley, Peter Lando
The Duchess – Michael Carlin, Rebecca Alleway
Revolutionary Road – Kristi Zea, Debra Schutt

Paul Clark Predicts: The Curious Case of Benjamin Button

Here’s where Button starts ruling. With its ornate period settings, Duchess could surprise, but I’d say Button has this by virtue of sheer scale, spanning continents, and decades’ worth of sets.

Andrew Osborne, Nick Shager & Scott Von Doviak Predict: The Curious Case of Benjamin Button

SCREENGRAB CONSENSUS: THE CURIOUS CASE OF BENJAMIN BUTTON

BEST CINEMATOGRAPHY

And the nominees are...

Changeling – Tom Stern
The Curious Case of Benjamin Button – Claudio Miranda
The Dark Knight – Wally Pfister
The Reader – Chris Menges, Roger Deakins
Slumdog Millionaire – Anthony Dod Mantle

Paul Clark Predicts: Slumdog Millionaire

Anthony Dod Mantle, you are a sinner. But on Sunday, February 22, you’ll be a sinner with an Oscar.

Andrew Osborne Predicts: The Curious Case of Benjamin Button

Nick Shager Predicts: Slumdog Millionaire

Scott Von Doviak Predicts: The Curious Case of Benjamin Button

SCREENGRAB CONSENSUS: NO CONSENSUS!

BEST COSTUME DESIGN

And the nominees are...

Australia – Catherine Martin
The Curious Case of Benjamin Button – Jacqueline West
The Duchess – Michael O'Connor
Milk – Danny Glicker
Revolutionary Road – Albert Wolsky

Paul Clark Predicts: The Duchess

It’s got the frilliest costumes, which is as good an indicator as any, I suppose.

Andrew Osborne and Nick Schager Predict: The Curious Case of Benjamin Button

Sarah Clyne Sundberg Predicts: Milk

I want Milk to win, because why can't costumes from a recent era ever win this category, dammit? But I fear this award may go to The Duchess.

Scott Von Doviak Predicts: The Curious Case of Benjamin Button

SCREENGRAB CONSENSUS: THE CURIOUS CASE OF BENJAMIN BUTTON

BEST FILM EDITING

And the nominees are...

The Curious Case of Benjamin Button – Kirk Baxter, Angus Wall
The Dark Knight – Lee Smith
Frost/Nixon – Mike Hill, Daniel P. Hanley
Milk – Elliot Graham
Slumdog Millionaire – Chris Dickens

Paul Clark Predicts: Slumdog Millionaire

Both Button and Slumdog have snazzy flashback structures (so do Milk and Frost, come to think). But Slumdog’s is flashier, so it’ll win here.

Andrew Osborne Predicts: The Dark Knight

Nick Schager Predicts: Slumdog Millionaire

Scott Von Doviak Predicts: The Dark Knight

SCREENGRAB CONSENSUS: NO CONSENSUS!

BEST MAKEUP

And the nominees are...

The Curious Case of Benjamin Button – Greg Cannom
The Dark Knight – John Caglione, Jr. and Conor O’Sullivan
Hellboy II: The Golden Army – Mike Elizalde and Thom Floutz

Paul Clark Predicts: The Curious Case of Benjamin Button

Hellboy’s prosthetic work is far more ambitious, but Button will dominate among those who can’t distinguish between the film’s CGI work and its traditional makeup effects.

Andrew Osborne Predicts: The Curious Case of Benjamin Button

Old baby = Oscar!

Nick Schager, Sarah Clyne Sundberg & Scott Von Doviak Predict: The Curious Case of Benjamin Button

SCREENGRAB CONSENSUS: THE CURIOUS CASE OF BENJAMIN BUTTON

BEST SOUND EDITING

And the nominees are...

The Dark Knight – Richard King
Iron Man – Frank Eulner and Christopher Boyes
Slumdog Millionaire – Tom Sayers
Wall-E – Ben Burtt and Matthew Wood
Wanted – Wylie Stateman

Paul Clark Predicts: Iron Man

This category often goes to something that doesn’t have a lot of other Oscar love (remember when they gave one to The Ghost and the Darkness?). And I just can’t bring myself to vote for Wanted.

Andrew Osborne Predicts: The Dark Knight

Nick Schager: Slumdog Millionaire

Scott Von Doviak Predicts: The Dark Knight

SCREENGRAB CONSENSUS: THE DARK KNIGHT

BEST SOUND MIXING

And the nominees are...

The Curious Case of Benjamin Button – David Parker, Michael Semanick, Ren Klyce, Mark Weingarten
The Dark Knight – Lora Hirschberg, Gary Rizzo, Ed Novick
Slumdog Millionaire – Ian Tapp, Richard Pryke, Resul Pookutty
Wall-E – Tom Myers, Michael Semanick, Ben Burtt
Wanted – Chris Jenkins, Frank A. Montaño, Petr Forejt

Paul Clark Predicts: The Curious Case of Benjamin Button

Dark Knight and Wanted should split the “crash-bang-boom” vote, Wall-E’s visual wonders may (sadly) overwhelm the aural ones, and Slumdog could be too small to prevail here. That leaves Button, a movie the voters clearly like, and which could end up cleaning up the tech categories.

Andrew Osborne, Nick Schager & Scott Von Doviak Predict: The Dark Knight

SCREENGRAB CONSENSUS: THE DARK KNIGHT

BEST VISUAL EFFECTS

And the nominees are...

The Curious Case of Benjamin Button – Eric Barba, Steve Preeg, Burt Dalton, Craig Barron
The Dark Knight – Nick Davis, Chris Corbould, Tim Webber, Paul Franklin
Iron Man – John Nelson, Ben Snow, Dan Sudick, Shane Mahan

Paul Clark Predicts: The Curious Case of Benjamin Button

See Best Makeup.

Andrew Osborne Predicts: The Dark Knight

Well, now, this one’s a real toss-up, but I suspect the Academy considers The Dark Knight more of a special effects movie...because, y’know, Benjamin Button’s all about acting.

Nick Schager and Scott Von Doviak Predict: The Curious Case of Benjamin Button

SCREENGRAB CONSENSUS: THE CURIOUS CASE OF BENJAMIN BUTTON

THE JEAN HERSHOLT HUMANITARIAN AWARD

And the nominee is...

Jerry Lewis

Paul Clark Predicts: Jerry Lewis

Jerry Lewis will win the Humanitarian Award. And you can take that to the bank.

Andrew Osborne Predicts: Jerry Lewis

I’m hoping we finally get some clips from The Day The Clown Cried.

SCREENGRAB CONSENSUS: JERRY LEWIS

Stay tuned for Mickey Rourke's potato face, Darren Aronofsky's peculiar moustache, Sean Penn's disapproving grimace and Frank Langella's sweet, sweet bumcakes as the Screengrab 2009 Oscar Special continues!

Contributors: Paul Clark, Andrew Osborne, Leonard Pierce, Nick Schager, Sarah Clyne Sundberg, Scott Von Doviak

Screengrab Predicts The Oscars: Winners (Part Four)

Andrew Osborne — Thu, 05 Feb 2009 22:30:00 GMT

BEST ORIGINAL SONG

"Down to Earth" from Wall-E – Peter Gabriel and Thomas Newman (music), Peter Gabriel (lyrics)
"Jai Ho" from Slumdog Millionaire – A. R. Rahman (music), Gulzar (lyrics)
"O Saya" from Slumdog Millionaire – A. R. Rahman and M.I.A.

Paul Clark Predicts: "Jai Ho"

Some might be predicting vote-splitting among the two Slumdog nominees, but I’d say the dance number clinches it for the song, giving it a level of goodwill with audiences it doesn’t necessarily deserve.

Andrew Osborne Predicts: "Down to Earth"

What the hell is going on with this category? What do they actually base this nomination on? Why does the Academy consider the unmemorable “Down To Earth” better than that unmemorable Bruce Springsteen song from The Wrestler? MSNBC.com has some theories...but as for my prediction, I’m assuming the two Slumdog songs cancel each other out, leaving Wall-E with the prize.

Nick Schager Predicts: "Jai Ho"

Scott Von Doviak Predicts: "Down to Earth"

SCREENGRAB CONSENSUS: NO CONSENSUS!

BEST ORIGINAL SCORE

And the nominees are...

The Curious Case of Benjamin Button – Alexandre Desplat
Defiance – James Newton Howard
Milk – Danny Elfman
Slumdog Millionaire – A.R. Rahman
Wall-E – Thomas Newman

Paul Clark Predicts: Thomas Newman

Newman’s been nominated ten times so far without winning (take that, Kate Winslet!), and his Wall-E score is one of his finest yet. Of its strongest competitors, Slumdog will have to settle for a win for Best Song, and Button’s Alexandre Desplat will have plenty of other chances to win.

Andrew Osborne Predicts: Alexandre Desplat

There are categories people have strong opinions about. This is not one of those categories. As such, I’m just marking down Benjamin Button, in the same way I suspect many Academy voters (or their assistants) will. Plus, the funny name rule applies again, because the nominated composer is Alexandre Desplat and I just like saying “Desplat.”

Nick Schager and Sarah Clyne Sundberg Predict: A.R. Rahman

Scott Von Doviak Predicts: Danny Elfman

I don't know why The Dark Knight isn't nominated in this category. That's a tremendously exciting score. I could clean my apartment in about twelve minutes with that music playing.

SCREENGRAB CONSENSUS: A.R. RAHMAN, SLUMDOG MILLIONAIRE

BEST FOREIGN LANGUAGE FILM

And the nominees are...

Revanche (Austria) in German - Götz Spielmann
The Class (France) in French - Laurent Cantet
The Baader Meinhof Complex (Germany) in German
Departures (Japan) in Japanese
Waltz with Bashir (Israel) in Hebrew - Ari Folman

Paul Clark Predicts: Waltz With Bashir

With no dramedies about cranky geriatrics or Holocaust epics in the mix, the voters will have to get creative. This is the highest-profile of the bunch, and the one that seems most like the health food they generally go for in this category.

Andrew Osborne Predicts: The Class

I’m not up on my foreign films this year, though I’ve heard a lot of swoony buzz on The Class. But riddle me this: if Waltz With Bashir is good enough for a nomination here, out of all the world’s films, how come it wasn’t good enough to compete with Bolt and Kung Fu Panda in the Animated Feature category?

Leonard Pierce Predicts: Waltz With Bashir

The Baader Meinhof Complex is far too controversial to take an Oscar back to Germany. It’s likely to come down to a battle between The Class, which has crowd-pleasing, voter-appealing qualities, and the overrated Waltz with Bashir, which is gimmicky and thin but has a sort of immediacy that voters are prone to like. I’m guessing the voters will make the wrong choice in this case.

Should Win: The Class
Will Win: Waltz with Bashir

Nick Shager Predicts: Waltz With Bashir

Sarah Clyne Sundberg Predicts: Waltz With Bashir

Because it's done for documentary film what Maus and Persepolis the book did for memoirs. Also it could hardly have come at a better (or worse, depending on how you look at it) time in terms of current events in Israel.

Scott Von Doviak Predicts: Waltz With Bashir

SCREENGRAB CONSENSUS: WALTZ WITH BASHIR

Stay tuned for a bunch of editors, make-up artists and writers nobody cares about while all the cool kids go out for a cigarette break as the Screengrab 2009 Oscar Special continues!

Contributors: Paul Clark, Andrew Osborne, Leonard Pierce, Nick Schager, Sarah Clyne Sundberg, Scott Von Doviak

Screengrab Predicts The Oscars: Winners (Part Three)

Andrew Osborne — Thu, 05 Feb 2009 22:00:00 GMT

BEST SUPPORTING ACTOR

And the nominees are...

Josh Brolin – Milk
Robert Downey, Jr. – Tropic Thunder
Philip Seymour Hoffman – Doubt
Heath Ledger – The Dark Knight
Michael Shannon – Revolutionary Road

Paul Clark Predicts: Heath Ledger

Probably the most iron-clad pick of the major nominees, giving Hollywood a chance to honor one of their brightest young talents who was gone far too soon. Although if by some chance there’s a sentiment out there to give it to someone who’s still around, I’d say Brolin would be the best bet -- Hoffman just won, Shannon’s lucky just to be nominated, and they’d never give Downey an Oscar for a performance that controversial. But yeah, this is Ledger’s all the way.

Andrew Osborne Predicts: Heath Ledger

Leonard Pierce Predicts: Heath Ledger

Josh Brolin’s terrific performance in Milk may be diffused by the fact that he’s surrounded by other great supporting roles. Downey deserved his nomination, but won’t get it in a million years. But really, what are we even talking about here? If there’s ever been, forgive me, a mortal lock in the history of the Oscars, it’s Heath Ledger’s performance as the Joker.

Should Win: Heath Ledger, The Dark Knight
Will Win: Heath Ledger, The Dark Knight

Nick Schager Predicts: Heath Ledger

Iconic role in an immense blockbuster? And it’s his final performance? Ledger is this year’s sure bet.

Sarah Clyne Sundberg Predicts: Heath Ledger

Any other year, Philip Seymour Hoffman, since he's in enough high profile movies this year to warrant it. Rightfully, though the award belongs to Josh Brolin. This being not a normal year, but rather The Year Heath Ledger Died, he will get posthumously rewarded.

Scott Von Doviak Predicts: Heath Ledger

SCREENGRAB CONSENSUS: HEATH LEDGER

BEST SUPPORTING ACTRESS

And the nominees are...

Amy Adams – Doubt
Penélope Cruz – Vicky Cristina Barcelona
Viola Davis – Doubt
Taraji P. Henson – The Curious Case of Benjamin Button
Marisa Tomei – The Wrestler

Paul Clark Predicts: Viola Davis

I’d say this is between Davis and Cruz, but the role wins it for Davis. After all, the role has already brought home a Tony, and while it’s tempting to think Cruz could accept the Oscar from her boyfriend and Vicky Cristina Barcelona costar Javier Bardem, Davis’ Oscar clip will be hard to beat.

Andrew Osborne Predicts: Viola Davis

I really, really want Penélope Cruz to win this, simply because she gave (for me, anyway) the most memorable Supporting Actress performance of the year...but the Academy hates comedy and loves drama, especially snot-running down the face “Oscar” moments like Viola Davis’ cameo in Doubt. Plus...diversity! And, hey, Viola ain't no slouch and totally knocked her scene outta the park, so no hard feelings. Taraji P. Henson doesn’t deserve it: she was likeable enough, but her performance was all about make-up, so I’ll be mad if she wins. Amy Adams doesn’t deserve it, either: she was fine, but the role was fairly bland. And I wouldn’t mind seeing Marisa Tomei win, but I’m guessing the Mickey Rooney wing of the Academy watched about five minutes of The Wrestler before snapping it off in disgust and reaching for that nice Benjamin Button screener again...

Leonard Pierce Predicts: Marisa Tomei

To hear a lot of the entertainment pundits tell it, Marisa Tomei is a stone cold lock for her role in The Wrestler, but I’m not convinced. She still catches a decent amount of flak from critics who don’t think she deserved her first Oscar. Viola Davis seems the most deserving for Doubt, but may suffer from a vote-split with Amy Adams. This one may be the most difficult of the major categories to call.

Should Win: Viola Davis, Doubt
Will Win: Marisa Tomei, The Wrestler

Nick Schager Predicts: Viola Davis

Davis takes supporting actress honors, because Doubt has to win something. And because Woody Allen’s excruciating Barcelona-travelogue-cum-phony-threesome-dramedy can’t in any way be honored. Please.

Sarah Clyne Sundberg Predicts: Viola Davis

Because she was that good and because the Academy will want to throw something Doubt's way.

Scott Von Doviak Predicts: Penélope Cruz

SCREENGRAB CONSENSUS: VIOLA DAVIS

Stay tuned for no Miley Cyrus, no Bruce Springsteen, no Jon Stewart and some Indian guy called Gulzar as the Screengrab 2009 Oscar Special continues!

Contributors: Paul Clark, Andrew Osborne, Leonard Pierce, Nick Schager, Sarah Clyne Sundberg, Scott Von Doviak

Screengrab Predicts The Oscars: Winners (Part Two)

Andrew Osborne — Thu, 05 Feb 2009 21:30:00 GMT

BEST ANIMATED FEATURE

And the nominees are...

Bolt – Chris Williams and Byron Howard
Kung Fu Panda – Mark Osborne and John Stevenson
Wall-E – Andrew Stanton

Paul Clark Predicts: Wall-E

The Panda may have swept the Annies, but this award’s voted on by everyone, not just the animators. And it’s foolish to bet against Pixar.

Andrew Osborne Predicts: Wall-E

Leonard Pierce Predicts: Wall-E

This one is as sure thing as there is at the Oscars this year; the 3D gimcrackery of Bolt and the overrated Kung Fu Panda don’t stand a chance against Wall-E, which really ought to have been nominated for Best Picture.

Should Win: Wall-E
Will Win: Wall-E

Nick Schager Predicts: Wall-E

Wall-E wins, or I throw something at the television. Or, at least, say something nasty under my breath.

Sarah Clyne Sundberg Predicts: Wall-E

Clearly Wall-E will win. It is this year's answer to An Inconvenient Truth. Only with animated robots instead of Al Gore.

Scott Von Doviak Predicts: Wall-E

SCREENGRAB CONSENSUS: KUNG FU PANDA! (No, just kidding...WALL-E)

BEST ANIMATED SHORT

And the nominees are...

La Maison En Petits Cubes - Kunio Kato
Lavatory - Lovestory - Konstantin Bronzit
Oktapodi - Emud Mokhberi and Thierry Marchand
Presto - Doug Sweetland
This Way Up - Alan Smith and Adam Foulkes

Paul Clark Predicts: Presto

It’s Pixar. Good enough for me.

Andrew Osborne Predicts: Oktapodi

My time-honored rule in this category is always to pick the one with the funniest title. (And yes, I think Oktapodi is funnier than Lavatory – Lovestory, which may come back to bite me right in the ass...that or the fact I forgot Presto was from Pixar.)

Nick Schager Predicts: La Maison en Petits Cubes

Scott Von Doviak Predicts: Presto

SCREENGRAB CONSENSUS: PRESTO

BEST DOCUMENTARY FEATURE

And the nominees are...

Nerakhoon (The Betrayal)
Encounters at the End of the World
The Garden
Man on Wire
Trouble the Water

Paul Clark Predicts: Encounters at the End of the World

Man on Wire is the best movie, but I think that sentiment for Herzog -- a newly-enshrined Academy member whose stock in Hollywood is higher than ever -- will take this. Besides, wouldn’t a Werner Herzog Oscar speech be awesome?

Andrew Osborne Predicts: Man On Wire

I can’t remember a stronger year for the Documentary Feature category...by which I mean I’ve actually heard of most of the films and the two I saw were great. I haven’t seen Trouble the Water (which by all accounts is fantastic and which I’m adding to my Netflix queue...right...NOW), and I’m rooting for Werner Herzog (if only for the peculiar, deadpan acceptance speech), but I’ve seen that little French tightrope elf on a dozen talk shows, so it seems Man On Wire has the most exposure...and, in the absence of a Holocaust documentary this time around, that may be enough to secure a win.

Leonard Pierce Predicts: Encounters at the End of the World

It’s a terrific year for documentaries, and the trick will be predicting which one appeals to the Academy voters. Man On Wire has charm, Encounters at the End of the World is stunning, and Trouble the Water is one of the best of the Katrina documentaries; my guess is that AMPAS will go for the Herzog to compensate for his not getting any dap for his fiction films.

Should Win: Trouble the Water
Will Win: Encounters at the End of the World

Nick Schager Predicts: Man On Wire

Sarah Clyne Sundberg Predicts: Man On Wire

In these post-Bush times we can look back on the Twin Towers and reminisce in a French way. N'est-ce pas?

Scott Von Doviak Predicts: Man On Wire

I guess I'm the only one who thinks this is overrated. It's the sort of thing I probably would have enjoyed if I'd stumbled upon it on the Discovery channel or something, but the twinkly Frenchman got on my nerves after a while and all that build-up to, what, two still photographs? I dunno, give me Encounters at the End of the World – compelling characters, brilliant cinematography and that poor goofy penguin.

SCREENGRAB CONSENSUS: MAN ON WIRE

BEST DOCUMENTARY SHORT

And the nominees are...

The Conscience of Nhem En
The Final Inch
Smile Pinki
The Witness - From the Balcony of Room 306

Paul Clark Predicts: The Witness - From the Balcony of Room 306

I haven’t seen any of these, but this sounds like the sort of title that wins this category.

Andrew Osborne Predicts: The Final Inch

Again, I go with the funny name in this category. The Final Inch. Heh-heh-heh-heh...

Nick Schager Predicts: The Final Inch

Scott Von Doviak Predicts: The Conscience of Nhem En

I don't know anything about it, but it sounds very important.

SCREENGRAB CONSENSUS: THE FINAL INCH

BEST LIVE ACTION SHORT

And the nominees are...

On the Line (Auf der Strecke)
Manon On the Asphalt
New Boy
The Pig (Grisen)
Toyland (Spielzeugland)

Paul Clark Predicts: On the Line (Auf der Strecke)

Sure, why not?

Andrew Osborne Predicts: Toyland (Spielzeugland)

Ordinarily, I’d go with the “funny name” strategy again, but this one’s about Nazis: ka-ching!!!

Nick Schager Predicts: Toyland (Spielzeugland)

Scott Von Doviak Predicts: Auf der Strecke (On the Line)

SCREENGRAB CONSENSUS: NO CONSENSUS!

Stay tuned for appearances by Viola Davis, Marisa Tomei, Philip Seymour Hoffman and the vengeful ghost of Heath Ledger as the 2009 Screengrab Oscar Special continues!

Contributors: Paul Clark, Andrew Osborne, Leonard Pierce, Nick Schager, Sarah Clyne Sundberg, Scott Von Doviak

Screengrab Predicts The Oscars: Winners (Part One)

Andrew Osborne — Thu, 05 Feb 2009 21:00:00 GMT

A few weeks back, we here at the Screengrab gave our predictions for this year’s Academy Award nominees in the six major categories of Best Picture, Best Director, Best Actor/Actress and Best Supporting Actor/Actress, and yours truly won the bragging rights as Top Prognosticator (with 24 correct guesses) with Scott Von Doviak and Paul Clark tying for the steak knives in second place with 22 correct guesses apiece.

But now the play-offs are done and it’s time for the Super Bowl as we make our predictions about the winners in every category (except those weird technical ones Jessica Alba presents in a Denny’s on Sunset before the official ABC-televised Academy Awards ceremony on Sunday, February 22nd (8:00 PM Eastern/5:00 PM Pacific)).

If you’d like to play along at home, just submit your own winner predictions in the Comments section below!

And now, without further ado, THE OFFICIAL 2009 SCREENGRAB OSCAR PREDICTIONS!

BEST ACTRESS

And the nominees are...

Anne Hathaway – Rachel Getting Married
Angelina Jolie – Changeling
Melissa Leo – Frozen River
Meryl Streep – Doubt
Kate Winslet – The Reader

Paul Clark Predicts: Kate Winslet

With six nominations under her belt already, you can’t say she’s not due to win one. Shame that sentiment wasn’t in the air for a better performance.

Andrew Osborne Predicts: Kate Winslet

Sorry, Anne and Melissa, you’ll have to wait your turn. (And quit scowling, Angelina.) SAG-winning Meryl’s the spoiler, but I think this is finally Kate’s year.

Leonard Pierce Predicts: Angelina Jolie

This has been Kate Winslet’s year in a lot of ways; she laid down two terrific performances in 2008. Unfortunately, the great job she did in The Reader was in service of a truly mediocre and vastly overhyped film. Meryl Streep’s nomination is more or less a formality at this point. Anne Hathaway deserves the gold for her compelling performance in Rachel Getting Married, but it’s likely to go to Angelina Jolie in a role that presses the Academy’s buttons.

Should Win: Anne Hathaway, Rachel Getting Married
Will Win: Angelina Jolie, Changeling

Nick Schager Predicts: Kate Winslet

The Reader is almost a parody of an awards-season prestige pic, but since the Academy usually eats up such faux-serious drivel – and because none of the other actresses seem to have much heat going into the race’s final stretch – count on Winslet to win. And then, if we’re lucky, to accept the statue in her awful Reader old-age make-up.

Sarah Clyne Sundberg Predicts: Melissa Leo

Melissa Leo will be this year's surprise win in a major category. Meryl Streep is nominated mostly for being Meryl Streep, and Kate Winslet winning for playing a Nazi prison camp guard would be too predictable.

Scott Von Doviak Predicts: Kate Winslet

Voters who didn't actually see The Reader but did see Revolutionary Road will vote for her anyway, so it's like she's nominated for two movies in one.

SCREENGRAB CONSENSUS PREDICTION: KATE WINSLET!

Stay tuned for a very special tribute to Heath Ledger and appearances by Amy Adams, Josh Brolin, Peter Gabriel and Alexandre Desplat as the Screengrab 2009 Oscar Special continues!

Contributors: Paul Clark, Andrew Osborne, Leonard Pierce, Nick Schager, Sarah Clyne Sundberg, Scott Von Doviak

Thursday Poll for January 29, 2009

Paul Clark — Thu, 29 Jan 2009 15:00:00 GMT

With Oscar nominations, there of course comes the second-guessing. While many of our favorites made the cut this year, it seems like just as many got the shaft. But which was most egregiously snubbed? In a shocking turn of events, the Best Picture omission of fanboy favorite The Dark Knight was narrowly edged out by Academy voters’ lack of love for Happy-Go-Lucky’s persistently positive Poppy, Sally Hawkins. Hawkins’ non-nomination brought in 37% of the vote (compared to Dark Knight’s 32%), and prompted Steve C. to ask how the Academy could honor the screenplay for Mike Leigh’s film but not Hawkins herself. Astute question, Steve, and I’d add that it’s doubly odd considering that, this being a Mike Leigh film, Hawkins would no doubt have had a good amount of input on the screenplay, given his methods. Coming in third and fourth place, respectively, were Clint Eastwood’s growly star turn in Gran Torino and The Boss' title track from The Wrestler. Finally, only 5% of the voters found Woody Allen’s inability to procure a fifteenth Best Original Screenplay nomination for Vicky Cristina Barcelona to be the Academy’s biggest oversight this year. I guess that makes sense, since after all, it’s not like he’ll show up for the ceremony anyway…

Moving on to the movies that were nominated, I find myself surprisingly unmoved by this year’s crop of Best Picture nominees. Maybe it’s just that we’re coming off a year in which not only did I actually like all five nominated movies, but I thought that two of them- including the eventual winner- were out-and-out masterpieces. This year, on the other hand… yeesh. Of the five nominees, I can only claim to have liked two of them, and I wasn’t even all that keen on those. How about you? How many of this year’s Best Picture nominees did you like?

(In case you’ve forgotten, and I wouldn’t blame you if you have, the Best Picture nominees are: The Curious Case of Benjamin Button, Frost/Nixon, Milk, The Reader, and Slumdog Millionaire)

How many of this year's Best Picture nominations did you LIKE? | BuzzDash polls

Bonus poll: much has been made of how this year’s Best Picture nominees are the least box-office-friendly in years, with only one having played in more than 1,000 prior to nomination day. So, just for curiosity’s sake, how many of this year’s Best Picture nominees have you seen?

How many of this year's Best Picture nominations have you SEEN? | BuzzDash polls

As always, the comments section is open. Please keep death threats addressed to non-Dark Knight nominating Academy members to a minimum. See you next week!