Oscars 2019 Predictions – Best Picture

February 23, 2019February 22, 2019 / juliamc25 / Leave a comment

With just over 24 hours to go until the 91st Academy Awards get underway, we finally turn our attention to the biggest award of the night: Best Picture.

Will win: Roma
Should win: Vice
Also nominated: Black Panther, BlacKkKlansman, Bohemian Rhapsody, The Favourite, Green Book, A Star is Born

This could well be the most difficult race for Best Picture to call in recent years. It is a very strong selection of films that have been nominated, and the tide of opinion on who will win has ebbed and flowed throughout this awards season.

Looking purely at audience numbers, the most popular film is clearly Black Panther. The Academy was widely ridiculed when it attempted to introduce a Best Popular Film category for this year’s ceremony, and this was in large part because critics and moviegoers did not want to see a film as strong as Black Panther nominated in a token Best-of-the-Rest category. It’s a rarity for a blockbuster of this scale to be nominated for Best Picture, and it did extremely well to pick up the main prize at the recent Screen Actors Guild Awards – however, as monumental as this nomination is, it won’t be translating into a win on this occasion.

Black Panther has defied the odds and picked up a nomination for Best Picture.

Bohemian Rhapsody and A Star is Born are films which fall into a similar category. Both were very well-received by moviegoers and did well at the box office, but have very slim chances of scooping Best Picture. In the case of Bohemian Rhapsody, this is deserved. Despite an excellent performance from its lead actor, it is a mediocre film largely buoyed by the popularity of its soundtrack. A Star is Born, on the other hand, is a far more impressive piece of filmmaking, propelled by intelligent direction, excellent writing and inspiring lead performances. Historically, however, ‘popular’ hasn’t done well in this category. What’s more, the film is far from complimentary about the price of fame, which isn’t the sort of narrative that flatters Hollywood voters. A win for either here is unlikely.

BlacKkKlansman and The Favourite also pick up nominations in this category. Of the two, The Favourite is by far the stronger film. However, it’s very dark, very quirky, and all in all perhaps a little too zany for the Academy’s traditionally conservative taste. The Favourite‘s best chance of picking up a prize for Best Picture was at the recent BAFTA awards. That it failed to do so there speaks volumes about its chances tomorrow night. As for BlacKkKlansman, it is a far more conventional film, at least in terms of aesthetics, tone and direction. However, it is anti-establishment and unabashed in its racial and political commentary. The Academy likes to think it is becoming more open and diverse, but it has a very long way to go and in most cases it will still choose to play things safe. BlackKlansman is not a safe film, and it will not win Best Picture.

Spike Lee’s BlacKkKlansman is unlikely to appeal to the Academy’s historically traditional tastes.

Green Book, on the other hand, would be a very safe choice. It’s about family, friendship, and triumphing against the odds, three of the key ingredients which appeal to Oscar voters. It’s also got great acting, great writing and great directing – there’s not much more you can ask for. However, is it Best Picture worthy? Perhaps not. It certainly is very good in almost every department, but it lacks the spectacular and falls just short of being exceptional. That said, there’s plenty of awards buzz about it and there are more than whispers of it picking up the main prize – but don’t necessarily put your house on it.

Away from the buzz, right at the peripheries of the Best Picture race, is Vice. Staunchly political though it may be, it’s perplexing that a film this brilliant has been all but ruled out as a contender. Quite simply, it is excellent. It’s assured, bold, daring and has something of value to say about the world in which we live. What’s more, it conveys that message in an extremely engaging manner, driven by superb editing, directing and lead performances. In all honesty, it probably is the best film nominated in this category, but this just isn’t its year.

Adam McKay’s Vice is a superb film and would be a worthy winner of the Best Picture crown.

This leaves us with just one winner: Alfonso Cuarón’s almost universally-acclaimed Roma. For a long time, a win for Roma looked unlikely. After all, in its entire history, this marks only the ninth time that the Academy has nominated a non-English language film in the Best Picture category. Never has one actually won.

Similarly, a relatively recent arrival to the Hollywood scene, not once has a Netflix-produced film been nominated for Best Picture, let alone won. To win, Roma will therefore need to make history in not one but two departments. This did initially seem like too great an ask – and yet, the film has performed spectacularly well this awards season. It goes into tomorrow’s ceremony as favourite, riding a huge wave of momentum. Its win is not guaranteed by any means, but it is a very. very good piece of cinema and all the signs are pointing that way.

In a year where the Best Picture winner is almost too close to call, Alfonso Cuarón’s Roma has emerged as the slender favourite.

Oscars 2019 Predictions – Best Director

February 22, 2019February 17, 2019 / juliamc25 / Leave a comment

As we edge ever closer to the big day, today we turn out attention to one of the biggest awards of the night: Best Director.

Will win: Alfonso Cuarón (Roma)
Should win: Alfonso Cuarón (Roma)
Also nominated: Spike Lee (BlacKkKlansman), Pawel Pawlikowski (Cold War), Yorgos Lanthimos (The Favourite), Adam McKay (Vice)

Alfonso Cuarón is no stranger to the Oscars. He has won twice before (once for Directing, once for Editing) and his latest cinematic offering, Roma, is almost certain to pick up the awards for Best Foreign Language Film and Best Cinematography on Sunday. However, as if that weren’t enough, he is the resounding favourite to win for Best Director, too.

This is not to say that the brilliance of the other directors is not plain to see. The other four films each bear the unique and distinct stamps of their respective directors, and it’s hard to think of any other filmmakers being able to tell those stories quite so well.

Yorgos’ Lanthimos is among this year’s nominees for Best Director for his work on The Favourite.

Pawel Pawlikowski’s Cold War is gorgeously shot, a melancholy meditation on love and what could have been that deserves a larger audience than it has received so far. On the other end of the spectrum, The Favourite is classic Yorgos Lanthimos. Eccentric, dark and offbeat, it is funny and sinister in equal measure. His directorial style is not to everyone’s taste, but it certainly captures the imagination.

In BlacKkKlansman Spike Lee provides a funny but thought-provoking insight on race relations which feels more relevant than ever, whilst Adam McKay’s Vice is assured, brash, snappy and equally critical of Trump’s America and its origins.

Excellent though the directorial work on the other nominated films in this category may be, Cuarón’s delicate, understated take on life in 1970s Mexico is leagues above everything else. There’s a stillness about his work, and a patience in the storytelling, which is deeply immersive. There’s also a gentle innocence to it which makes this portrait of everyday life feel profoundly intimate and personal. The end product is a beautiful piece of cinema, and Cuarón will be a worthy second-time winner of this award.

Barring any great upset, Alfonso Cuarón looks set to pick up his second Oscar for Best Director for Roma.

Oscars 2019 Predictions – Best Actor

February 20, 2019February 20, 2019 / juliamc25 / Leave a comment

As the Oscars draw ever closer, we now find ourselves looking at one of the ‘Big Four’ categories of the night – Best Actor.

Will win: Rami Malek (Bohemian Rhapsody)
Should win: Christian Bale (Vice)
Also nominated: Bradley Cooper (A Star is Born), Willem Dafoe (At Eternity’s Gate), Viggo Mortensen (Green Book)

What got everybody talking about Bohemian Rhapsody was the performance at the heart of the film, which saw Rami Malek give his take on the legendary Freddie Mercury. It’s earned him most acting awards going and is almost guaranteed to bag him an Oscar on Sunday, but quite honestly it is not the best performance in this category.

The problem is not necessarily with Malek, who certainly does his best – it’s more that some people cannot be imitated. There was an innate effervescence about Mercury which can’t be copied. You’re either born with it or you’re not. Bohemian Rhapsody sees Malek make a very earnest attempt to capture it, but he doesn’t quite manage to do so. The grand finale sees Malek’s Mercury take to the stage for Queen’s iconic Live Aid performance at Wembley. It’s supposed to be a momentous, climactic scene but it ultimately falls a little flat because, frankly, the real thing was better.

Rami Malek gives it his best as Freddie Mercury. He’ll win an Oscar for his efforts, but he falls just short of doing the great man justice.

Chasing Malek’s shadow in this category is Christian Bale, the eponymous star of Adam McKay’s Vice. If you want to see a real masterclass in impersonation, Bohemian Rhapsody is the film for you. In Vice, however, there are no impersonations. Christian Bale doesn’t play Dick Cheney, he becomes him. The physicality, the steely gaze, the simmering menace – every nuance is there, every detail is right. He is undoubtedly the more deserving recipient of the Best Actor award, but in truth his is a performance less about acting and more about total transformation.

The other nominees in this category largely serve to make up the numbers. Willem Dafoe is perhaps the most unexpected addition for his role as Vincent van Gogh in Julian Schnabel’s dire, turgid At Eternity’s Gate. Meanwhile Viggo Mortensen does a decent enough job in Green Book but is hardly at a career best. To give him credit, Bradley Cooper is genuinely very good as the world-weary Jackson Maine in A Star is Born (and proves he can sing just as well as he can act), and this is probably the best we’ve seen him since American Sniper. But he’ll have to wait a little while yet for his Oscar. Whilst this year’s should be going to Bale, it’s heading straight for Rami Malek.

Totally transformed: Christian Bale becomes Dick Cheney in Adam McKay’s Vice.

Oscars 2019 Predictions – Best Supporting Actress

February 19, 2019February 12, 2019 / juliamc25 / Leave a comment

Today, Pick of the Flicks takes a closer look at this year’s nominees in the category for Best Supporting Actress.

Will win: Regina King (If Beale Street Could Talk)
Should win: Regina King (If Beale Street Could Talk)
Also nominated: Amy Adams (Vice), Marina de Tavira (Roma), Emma Stone (The Favourite), Rachel Weisz (The Favourite)

As far as calling favourites goes, this category is about as clear-cut as it gets. This year’s nominees have graced our screens in films about class, politicians and queens – but, really, this is all about a King, and there’s a statuette with her name on it.

Regina King plays Sharon Rivers in Barry Jenkins’ If Beale Street Could Talk, a mother tasked with balancing the needs and well-being of her family in a society keen to see it fail. King is a fabulous actress and handles this role with poise and dignity. She does perhaps deserve more screen time than she was ultimately given in the film, but we can rest assured that the Oscar will be going to a good home.

Regina King is nominated for her excellent work in If Beale Street Could Talk, and is the clear favourite to win.

Rachel Weisz and Emma Stone have both been nominated for The Favourite, in which they play rivals vying for Queen Anne’s affections. Weisz is good, but Stone is better. Abigail is a far-cry from all her previous roles, and yet she excels. Her accent is spot on, she spars with her co-stars perfectly, and in a film which veers (at times chaotically) between drama and dark comedy she gets every single note right. In a different year the Oscar would belong to one of these two actresses.

Rounding off the nominees in this category are Marina de Tavira and Amy Adams. De Tavira is excellent in Alfonso Cuarón’s Roma, playing a woman whose family is on the brink of falling apart, but it’s not a role that was ever going to win her major awards. Similarly, even the most cursory of glances at Adams’ filmography makes demonstrably clear that she is a superb actress, and her turn as Lynne Cheney in Vice reinforces this. She will win an Oscar one day, that much is certain, but this is not her year.

Girl power: Stone and Weisz both shine in Yorgos Lanthimos’ The Favourite.

Oscars 2019 Predictions – Best Production Design, Best Film Editing, Best Cinematography

February 14, 2019February 14, 2019 / juliamc25 / Leave a comment

In today’s look at the upcoming Academy Awards, we focus on three of the more prestigious technical categories: Best Production Design, Best Film Editing and Best Cinematography. The Best Film Editing category has historically provided a good indication of what will fare well in the Best Picture category.

Best Production Design

Will win: The Favourite
Should win: The Favourite
Also nominated: Black Panther, First Man, Mary Poppins Returns, Roma

The world that Fiona Crombie and Alice Felton have created in The Favourite is deeply unpleasant (in the best possible way). It is dark, claustrophobic and disconcertingly eerie. Every corner holds secrets and all the walls have ears. It is the perfect realisation of Yorgos Lanthimos’ vision and would be a deserving winner in this category. The sprawling Wakandan paradise of Black Panther is its closest rival.

Dark and mysterious, the production design of The Favourite is the perfect realisation of director Yorgos Lanthomos’ vision.

Best Film Editing

Will win: Vice
Should win: Vice
Also nominated: BlacKkKlansman, Bohemian Rhapsody, The Favourite, Green Book

A few years ago, Hank Corwin was robbed of his Academy Award when his editing for The Big Short was overlooked in favour of Mad Max: Fury Road. Three years later, he is back and nominated again for his work on another Adam McKay film. With Vice, much like The Big Short before it, the editing is fast, snappy and an integral part of the storytelling process. It moves the film along at a whirlwind pace and makes complicated themes and ideas easily digestible. This is no easy thing to do, and his Oscar will be fully deserved and long overdue.

The masterful editing of Vice is an integral part of the storytelling process.

Best Cinematography

Will win: Roma
Should win: Roma
Also nominated: Cold War, The Favourite, Never Look Away, A Star is Born

Alfonso Cuarón’s direction in Roma is noticeably understated. When the camera moves, it is with a calm and considered slowness, and shots can linger for minutes. The advantage of this, as Cuarón well knows, is that it gives the viewer ample opportunity to marvel in the beautiful black and white cinematography of the film. It is gorgeously shot, to the extent that each frame could well be a photograph. Cold War, which also happens to be shot in black and white, is probably the next-best film in this category, but it is in a quite distant second.

Oscars 2019 Predictions – Best Makeup and Hairstyling, Best Costume Design

February 12, 2019February 10, 2019 / juliamc25 / Leave a comment

In today’s Oscar prediction post, we take a look at two technical categories that have always been closely linked.

Best Makeup and Hairstyling

Will win: Vice
Should win: Vice
Also nominated: Border, Mary Queen of Scots

Christian Bale has undergone a lot of transformations over the years for the sake of his craft, but none are as impressive as his metamorphosis into the much maligned former-Vice President Dick Cheney in Adam McKay’s Vice. What Greg Cannom, Kate Biscoe and Patricia Dehaney have achieved here is truly remarkable. They have allowed Bale, Sam Rockwell (as President George W. Bush), Amy Adams (as Lynne Cheney), Steve Carell (as Donald Rumsfeld) et al. to utterly inhabit and become their characters in what is undoubtedly some of the best makeup and hairstyling work that has been seen in recent years.

Christian Bale undergoes a total transformation in Vice. Unrecognisable as himself, he is instantly recognisable as the menacing Dick Cheney.

Best Costume Design

Will win: The Favourite
Should win: The Favourite
Also nominated: The Ballad of Buster Scruggs, Black Panther, Mary Poppins Returns, Mary Queen of Scots

Sandy Powell is no stranger to the Academy Awards. She already has three to her name and has even been nominated twice in this category this year, which is great testament to her dominance in this field. However, that’s not to say she doesn’t face tough opposition; Ruth E. Carter’s costumes for Black Panther have become iconic since the film hit our screens, and there’s a powerful opulence about Alexandra Byrne’s work on Mary Queen of Scots. But there is no competing against the glorious, extravagant Sandy Powell creations that can be seen in The Favourite.

Sandy Powell’s work on The Favourite is hotly tipped to pick up an Academy Award later this month.

Oscars 2016: Predictions

February 27, 2016February 27, 2016 / juliamc25 / Leave a comment

On Sunday evening, the red carpet will be out in the heart of Los Angeles. It is a night that has been months in the making. The world’s press will be waiting, and millions will be watching.

For all the pomp and ceremony which surrounds the Academy Awards, though, they are fundamentally a simple, heartfelt celebration of film. To be nominated is an honour in and of itself, but those who win leave with far more than just a golden statue. They walk away knowing that they have become a part of cinema history.

To win an Oscar is no mean feat; the art of filmmaking is constantly growing and evolving, and every year the bar is raised that little bit higher. Even predicting the results can be surprisingly difficult, but by now guessing the winners is as much a part and parcel of the night as the ceremony itself.

The 88th Academy Awards will showcase the glitz and glamour of Hollywood and honour the best films of the past year. Here are the Pick of the Flicks‘ predictions on who and what will emerge victorious.

Best Picture

Will win: The Revenant
Should win: The Big Short

Despite the glaring absence of the wonderful Carol, it is a strong group of films that comprise this year’s Best Picture nominees. But of the eight who made the shortlist, only three have ever really been in contention for the most coveted prize of the night, namely The Big Short, Spotlight, and The Revenant. However, despite the successes of Spotlight and The Big Short at the SAG and PGA awards respectively, it is unclear if either has quite enough momentum to make it all the way to the finishing line. It is a very, very difficult call to make, but ultimately the Academy likes nothing if not grit and spectacle, and this is where The Revenant could clinch it.

The Revenant is this year’s strongest example of filmmaking as a spectacle, which the Academy are likely to lap up.

Best Director

Will win: Alejandro González Iñárritu (The Revenant)
Should win: Adam McKay (The Big Short)

It is difficult to say whether Alejandro González Iñárritu’s win in this category last year places him in better or worse stead to take home the Oscar on Sunday night, especially when he faces such stiff competition from Mad Max’s George Miller. The key disadvantage Miller faces, however, is that the Academy often proves reluctant to reward blockbuster, crowd-pleasing films with ‘big’ awards. This, combined with the sheer amount of momentum behind The Revenant, may just be what hands it to Iñárritu. It is a great shame, though, that Adam McKay will not get a look in for his refreshing, original work in The Big Short; it takes great skill to make complex issues interesting and accessible to the masses, and this is what he does in the film with aplomb.

Having scooped the prize for Best Director last year with Birdman, Alejandro González Iñárritu could well do the same again this year for The Revenant.

Best Actor

Will win: Leonardo DiCarpio (The Revenant)
Should win: Leonardo DiCaprio (The Revenant)

For years now, much has been made of how the famous Oscar statuette has continued to elude Leonardo DiCaprio. But no more. Though his performance in The Revenant is far from a career-best, it certainly is the strongest in this category. More than anything, though, this simply feels like his time. The stars have finally aligned for Leo, and Sunday will be his night.

His time is now. Finally, Leonardo DiCaprio looks set to claim the Oscar that has eluded him for so long.

Best Actress

Will win: Brie Larson (Room)
Should win: Brie Larson (Room)

Brie Larson’s mantelpiece must surely be close to collapse under the weight of the many awards she has garnered in recent weeks. Let us hope, then, that it can take the weight of one more because this has been a done deal for a very long time indeed.

For her wonderful performance in Room, Brie Larson is the hot favourite to win the Best Actress award.

Best Supporting Actor

Will win: Sylvester Stallone (Creed)
Should win: Mark Rylance (Bridge of Spies)

The nominees in this year’s Best Supporting Actor category may be classified into two groups. On the one hand, there is a selection of talented actors, each of whom has turned in a strong and unique performance. And, on the other hand, there is Sylvester Stallone. Although his performance in Creed is by no means the worst of his career, its inclusion here – when stronger performances such as Idris Elba’s in Beasts of No Nation have been ignored – is, frankly, farcical. What is worse, Stallone is the baffling odds-on favourite to win here, proving once again that in Hollywood sometimes all you need to succeed is popularity, not ability.

A masterclass in mediocrity: a win for Sylvester Stallone in Creed would confirm the triumph of popularity over ability.

Best Supporting Actress

Will win: Alicia Vikander (The Danish Girl)
Should win: Alicia Vikander (The Danish Girl)

It seems more than a trifle insulting to Alicia Vikander and Rooney Mara that their stellar respective performances in The Danish Girl and Carol have only been recognised in the supporting actress category. In reality, Vikander effortlessly acted last year’s Best Actor winner Eddie Redmayne off the screen, whilst Mara more than held her own against acting heavyweight Cate Blanchett. Kate Winslet, fresh from wins at the BAFTAs and Golden Globes, is certainly a contender here, but if any sense of justice prevails at the Dolby Theatre on Sunday night, it will be Vikander who leaves victorious.

The superb Alicia Vikander in The Danish Girl. Her star is fast on the rise.

Best Original Screenplay

Will win: Spotlight
Should win: Inside Out

If pure creative originality were the only criteria for this award, this would be Inside Out’s for the taking. However, as things stand, the tightly-scripted, topical Spotlight will win here with ease.

Well-written and tightly-plotted, Spotlight has resonated with audiences the world over.

Best Adapted Screenplay

Will win: The Big Short
Should win: Carol

All the signs are pointing toward a victory for The Big Short in this category, but truthfully all of the nominees would make deserving winners. Phyllis Nagy’s considered, delicate adaptation of The Price of Salt – renamed Carol for the big screen – is perhaps a touch above the rest, but is unlikely to make any waves.

The Big Short looks likely to win big in a category brimming with tough competition.

Best Original Score

Will win: Ennio Morricone (The Hateful Eight)
Should win: Ennio Morricone (The Hateful Eight)

Pounding, eerie and effective from the first note, Ennio Morricone’s tremendous score is one of the few saving graces of The Hateful Eight – and certainly the best score of the year. Had John Williams’s eagerly-anticipated score to Star Wars: The Force Awakens hit the same heights as his work in the previous six films, this would have been a far more interesting race. The Force Awakens’ soundtrack is by no means terrible, but its mediocrity has paved the way for a comfortable and deserved win for Morricone.

Though Quentin Tarantino’s The Hateful Eight is deeply flawed, little criticism can be levelled at Ennio Morricone’s brilliant score.

Best Production Design

Will win: Mad Max: Fury Road
Should win: Mad Max: Fury Road

Mad Max will prove very difficult to beat here. The world that Colin Gibson and Lisa Thompson have created is nothing short of spectacular, bizarre, utterly original and, frankly, a cut above the rest. If there is any threat it will come from The Revenant, but a victory for Mad Max in this category seems a pretty safe bet.

As original as it gets: the production design of Max Max: Fury Road is on course to win.

Best Costume Design

Will win: Cinderella
Should win: Cinderella

This year Sandy Powell could well be her own worst enemy. As was demonstrated by Jenny Beavan’s shock win for Mad Max: Fury Road at the BAFTAs two weeks ago, voters appear to be equally torn between Powell’s marvellous work on both Cinderella and Carol. Put simply, she is most likely splitting her own vote. It would be a great shame if this were to happen again on Sunday, as her costume design for Cinderella in particular is nothing short of sublime – one of the few highlights in an otherwise terrible film. Thankfully, her enchanting, fairytale designs are likely to have stolen the hearts of Academy voters, and with any luck will secure her a well-deserved win.

The exquisite work of Sandy Powell is on fine display in 2015’s Cinderella.

Best Cinematography

Will win: The Revenant (Emmanuel Lubezki)
Should win: Carol (Ed Lachman)

Emmanuel Lubezki looks poised to make cinematography history by winning this award for a staggering third year in a row. It would certainly not be an undeserved win, as The Revenant is undoubtedly a visually-stunning film. It is just a shame, though, that the subtle and delicate beauty of Ed Lachman’s cinematography for Carol will go largely unnoticed by Academy voters.

Should Emmanuel Lubezki secure a win for his work on The Revenant, he will become the first director of photography to win an Oscar three times consecutively.

Best Make-Up and Hair

Will win: Mad Max: Fury Road
Should win: Mad Max: Fury Road

There is one clear winner here. The work of the hair and make-up stylists in Mad Max: Fury Road is second to none.

The hair and make-up in Mad Max is an example of the very best of its craft.

Best Visual Effects

Will win: Star Wars: The Force Awakens
Should win: Mad Max: Fury Road

This year has been a particularly strong one for visual effects, and at a push it is Mad Max which most stands out amongst the nominees. But the sheer popularity of Star Wars means that no one will want to see it leave the Dolby Theatre empty-handed, and this could well be the category which ensures that it doesn’t.

The much-beloved Star Wars stands its best chance at an award in the Best Visual Effects Category.

Best Sound Editing

Will win: Mad Max: Fury Road
Should win: Max Max: Fury Road

This will be an award closely contested by the two technical giants of the year, The Revenant and Mad Max: Fury Road. Mad Max is certainly the ‘louder’ of the two films, and this will most likely play to its advantage.

Loud and proud bold and brash: Mad Max is a likely winner of the award for Best Sound Editing.

Best Sound Mixing

Will win: Mad Max: Fury Road
Should win: Mad Max: Fury Road

Once again, this is between The Revenant and Mad Max: Fury Road. Ultimately, though, as far as sound goes, any film which can boast a roaring monster truck ridden by a flame-throwing electric guitarist is going to be pretty difficult to beat.

Trucks, amps, flamethrowers, guitars. Mad Max‘s sound mixers had their work cut out for them.

Best Editing

Will win: Mad Max: Fury Road
Should win: Mad Max: Fury Road

The Best Editing category will be another battleground in which Mad Max and The Revenant slog it out for the most technical awards of the night – and one that is perhaps slightly more suited to the former than the latter. The Revenant is a slow-moving beast of a film, whilst Mad Max surges forward – quite literally – at a considerable speed with a lot more to juggle.

It will be a close race between Mad Max and The Revenant for the Best Editing award.

Best Animated Film

Will win: Inside Out
Should win: Inside Out

A sure thing. A dead cert. A done deal. Say it how you want, this award was always going to Inside Out.

Disney Pixar have produced a wonderfully original and fresh film, inside and out.

Best Documentary

Will win: Amy
Should win: Amy

A prodigy and a tragedy. The story of Amy Winehouse’s painfully short life is more or less guaranteed a win here.

The tragic story of Amy Winehouse looks guaranteed to secure an all-too-bittersweet victory.

Best Original Song

Will win: Til It Happens To You
Should win: Til It Happens To You

Lady Gaga’s haunting, oh-so-relevant Til It Happens To You has been highly praised and widely discussed since its release in September 2015. This victory will be a deserved one, and it will be an important one.

Uncomfortable to watch but so very important: Lady Gaga’s Til It Happens To You.

The Oscars will be broadcast live from 1.30am GMT (8.30pm EST) on Sky Movies Oscars this Sunday.

Awards Season Special: The Big Short (2015)

February 19, 2016January 9, 2017 / juliamc25 / Leave a comment

★★★★

Eight short years ago, the world found itself in the grip of the biggest financial crisis since the Great Depression. What had started in the upper echelons of the banking industry swiftly seeped its way into normal everyday life; businesses folded in their thousands, homes and jobs were lost in their millions. It was a global crisis felt on personal levels, and this is perhaps why The Big Short feels so relevant from the outset. It plays (very well) as a comedy, which is unsurprising given director Adam McKay’s credentials, but brimming beneath the surface is a seething and damning indictment of the corruption of the financial world.

Steve Carell and Ryan Gosling in Adam McKay’s The Big Short (2015)

Put simply, it is the story of the select few who saw the impending collapse of the US housing market, bet against it, and made their fortunes in the process. Whilst ordinarily the temptation to despise characters who make money out of others’ misery would be all too inviting, so loathsome is the world by which they are surrounded that one cannot help but rejoice in their eventual victory at the expense of the banks.

It certainly helps that this unlikely group of chancers is portrayed by a brilliant (for the most part) ensemble cast. Christian Bale, Brad Pitt, Steve Carell and Ryan Gosling are, of course, the most recognisable faces, but they are underpinned by impressive performances from the likes of Finn Witrock, John Magaro, Hamish Linklater and Rafe Spall. Gosling is, perhaps, the weak link in this star-studded chain. However, what his somewhat flat performance lacks is more than made up for by the superb Carell in his performance as hedge fund manager Mark Baum. He predictably gets the most laughs, but it is his handling of the film’s more sombre moments where he truly shines. There is one particular scene, in which a shocked Baum learns of the global nature of the crisis and realises what its repercussions will be, where he appears so horrified, so utterly defeated, that he almost seems to visibly age on screen. It is a genuinely brilliant performance – one that is perhaps easy to overlook because of its many comic moments – from an actor who continues to go from strength to strength.

To a degree, the film is preceded by Martin Scorsese’s The Wolf of Wall Street (2013), which also offered audiences a glimpse into the machinations of Wall Street. However, whereas Scorsese’s epic unabashedly revels in the nauseating greed of abhorrent bankers, The Big Short thankfully makes no attempt to hide its disgust and contempt. What is also remarkably refreshing about The Big Short is that it doesn’t disguise the complexity of its subject matter. It knows that collateralised debt obligations, tranches, and ISDAs aren’t part of the vocabularies of standard filmgoers, but it refuses to simply dumb down. Instead, it invites the audience into this confusing , jargon-filled world with on-screen explanations and fourth-wall-breaking celebrity cameos. This approach will certainly not be to everybody’s tastes, and it does perhaps teeter close to the edge of being too self-aware – but it is at the very least original, and demonstrates McKay’s determination both to engage with his audience and treat them with intelligence.

Christian Bale plays Dr. Michael Burry in The Big Short (2015)

The Big Short is a very funny film; it has a witty script and a cast of actors who know exactly how to pitch it. In the screening I attended, the laughter from the audience may as well have been a part of the soundtrack. The film works particularly well, though, because it knows when not to be funny. It knows that it is dealing with a very serious subject matter, and it uses the comedy as a tool with which to draw audiences in before hitting them with humbling, grave realities. The final product is a film which is as thought-provoking as it is entertaining – a very worthy contender for Best Picture at the upcoming Academy Awards.