11 Great Films That Were Not Nominated For The Best Picture Oscar

Spoilers Below

The history of the Oscars tell their own narrative regarding the greatest films in the history of the medium. While what we consider great is subjective, the Oscars, I would argue, provide a limited view of cinematic greatness. Genre films are often left out, actors of color ignored, great actors and directors never won. But specifically, I wanted to take a moment and look at 11 films that were not nominated for Best Picture, films which have lived on longer some winners. Some may surprise you, but I think it's important to understand why certain films were not appreciated in their moment, that it took time for them to attain classic stature. So, let's get started. These aren't in specific order, but I will be starting with three by a director who never got his due from Oscar.

1. Rear Window  (1954)

Alfred Hitchcock is defined by his dark and twisted portrayals of human nature in the guise of entertaining Hollywood thrillers. One of the most purely entertaining of films, Rear Window isn't just about whether a man has killed his wife, it's about a peeping tom, kind of a pervert, and the human desire to watch. The film is essentially  a meta commentary on cinema in general, on the need for excitement in our ordinary lives. 

We're watching L.B "Jeff" Jefferies, a photographer who's in a cast, stuck in his apartment (after being injured taking a picture of a race car crash) watch his neighbours in the courtyard of apartments, everyone with a story, an entire universe in and of itself. He needs these stories the same way we need films, which give us the ability to view other peoples' lives (albeit fictional). When Jeff suspects businessman Lars Thorwold (Raymond Burr) of killing his invalid wife, his obsession with proving his guilt gives him the ultimate reprieve from boredom, even bringing him closer to his socialite girlfriend Lisa Friedmont (Grace Kelly). But as much as the film deals with the investigation of Thorwold, the other apartment dwellers are just as important. All these people become as familiar to us as they are to Jeff. 

Hitchcock would get a Best Director nomination for the technical brilliance on display ( the whole film is shot on a set, with Hitchcock giving directions via earpiece to his actors), as well as nominations for Best Writing- Screenplay, Color Cinematography, and Best Sound Recording, but oddly not Best Picture. The five nominees were On the Waterfront, The Caine Mutiny, Seven Wives For Seven Brothers, The Country Girl (for which Kelly won Best Actress), and Three Coins in the Fountain. On the Waterfront was the winner, with its director, Elia Kazan, winning Best Director. For me, I would split the two, giving Hitchcock Director and On the Waterfront Picture. 

2. Psycho (1960)

Hitchcock once again received a Best Director nomination (his last) for this proto-slasher film, but without the film getting in to Best Picture. And like Rear Window, it also received four nominations (Hitchcock, Best Supporting Actress for Janet Leigh, B&W Cinematography, and Best Art Direction-Set Decoration (B&W). 

While the film can be argued to be the first modern slasher film, pre-dating Black Christmas and Halloween by nearly 20 years, it starts out as a film noir about real-estate Marion secretary Crane (Janet Leigh) stealing a client's money so she can start a new life with her boyfriend. She winds up at the Bates Motel, where the whole dynamic shifts with the introduction of proprietor Norman Bates (Anthony Perkins). The film seems to have- like Marion- taken a detour as we spend a lengthy conversation between the two over supper. Norman is a sad and lonely man who's only relationship is with his invalid mother. 

When Marion is killed in the infamous shower scene it's the film's first interjection of horror, upsetting the narrative we thought we were watching. The sequence is still startling in its violence and impressive in its filmmaking. George Tomasini's sharp editing reflects the knife going in to Marion's body and Bernard Herrmann's screeching score has become synonymous with 'crazy.' The film has spent so much time with Marion that the sudden burst of violence unsettles. There's only 2 murder scenes in the film- this and the murder of Private Investigator Arboghast (Martin Balsam) bu the film relies more on atmosphere and build-up to create a sense of subtle horror in the audiences' mind. 

It's revealed Norman killed his mother and her lover and took on a split personality- he and his mother. The film was never about the money or Marion, it was about Norman's psychosis, with every thing else being a distraction from the truth about Norman  Perkins' performance is so convincing that he could never escape the role. Perkins is deeply sympathetic as Norman; I never view him as the film's villain but as a tragic character, despite the horrible crimes he commits. 

Hitchcock's direction displays his mastery of visual storytelling and his ability to place us n the minds of both Marion and Norman, two people who are closer in spirit than either of them realizes, two people who are tragically torn apart by "mother."  

The Best Picture Nominees that year were The Apartment, The Alamo, Elmer Gantry, Sons and Lovers, and The Sundowners. The winner was The Apartment, which, like On the Waterfront, is one my favourite Best Picture winners. Again, I would give Hitchcock the directing Oscar (Billy Wilder won), while giving Best Picture to The Apartment.

3. Vertigo  

Yes, another Hitchcock, but probably the biggest one to be left out of Best Picture. Not surprisingly, since Vertigo took many years to earn the critical acclaim it now enjoys. The film which was voted the greatest of all time by Sight & Sound back in 2012, and holds at # 2 in 2023, only got two Oscar nominations, for Best Art Direction-Set Decoration and Best Sound. Bernard Herrmann's swooningly melancholic and romantic score, James Stewart and Kim Novak's layered performances, Hitchcock's visionary direction, all ignored. And I get it, I get in 1958 why this was seen as a misfire, why it takes a rewatch or two to really appreciate this film. It took me a second viewing to begin to embrace it. It's probably Hitchcock's most purely artistic and audacious film, one whose D.N.A can be found in other films like David Lynch's Mulholland Drive, George Sluizer's The Vanishing, and Brian De Palma's Obsession. But despite being the influence behind several films, the story remains fresh and unique in the way it moves from ghost story to romance and finally, to obsession. 

It's the story of an acrophobic detective, Scottie Ferguson (Stewart). hired by a old college friend, Gavin Elster, (Tom Helmor)  to follow his wife, Madeleine (Novak), whom he believes has been possessed by the ghost of her great-grandmother. Scottie falls in love with Madeleine but fails to stop his suicide. Afterwards meets another woman named Judy (Novak), who looks like Madeleine, whom he tries to make over in to the image of his dead love. 

Vertigo has an hypnotic power that brings me back time and again, and time is a big theme in the film. Scottie didn't get to Madeleine in time, the past is coming back to haunt Madeleine and then Scottie, near the film's end Scottie says he needs to do one thing to be free of the past.        

The nominees that year were Gigi, Cat on a Hot Tin Roof, Auntie Mame, The Defiant Ones, and Separate Tables, with Gigi being the winner (its director Vincente Minnelli won Best Director), which I've still have yet to see.

4. The Searchers

John Ford had already won 4 Oscars for directing by the time he did the The Searchers, and a fifth one wouldn't have been out of the question, except Ford and the film were completely shut out at the Oscars (Ford did get a DGA nomination, however), which now seems inexplicable considering The Searchers stature as an American classic. It's a difficult film to reconcile, a story dealing with racism that also still has some racist leanings, but it nonetheless a great film, though I still prefer Stagecoach. John Wayne plays Ethan Edwards, a confederate soldier returning to his brothers' home after the Civil War. When his brother Aaron, and Aaron's wife are murdered by Comanche Native Americans,, Edwards, along with his adopted nephew Martin (Jeffrey Hunter) go off in pursuit of Ethan's kidnapped nieces. 

The film, courtesy of Ford cinematographer of Winton C. Hoch, has some of the striking visuals of any western, capturing what director John Milius said felt to him what the real American west was like. And even with the many revisionist westerns that followed, The Searchers still feels like the most realistic western of its time, especially in terms of its violence, which is still unsettling. The most disturbing aspect of the film is the notion that Ethan will kill one of his nieces Debby (Natalie Wood) after she's "gone native" living with the Comanches for several films (the other, Lucy (Pippa Scott) was killed). 

Wayne plays his most complex role in a performance that, as Martin Scorsese said, makes you hate him but still love him when he returns Debbie home by film's end. And of course, there's that great closing shot of him walking away, as a door closes, bookending the opening door at the beginning. It's wistful and, honourable and poetic. 

The nominees that year where Around the World in 80 Days, Giant, Friendly Persuasion, The King & I, and The Ten Commandments. Around the World in 80 Days, directed by Michael Anderson and produced by Elizabeth Taylor's then husband Mike Todd, who would die a year later in a plane crash. The extravagant film is probably one of the weaker Best Picture winners but is still worth seeing for the sheer scale of it, it's a fascinating time capsule. 

5. Days of Heaven

After establishing his esoteric sensibilities in Badlands (1973), Terrence Malick came back with his voice and style fully formed with Days of Heaven, one of the most ravishing films of all time. It won the Oscar for Best Cinematography- given to Nestor Almendros, though Haxell Wexler took over after after Almendros had to fulfill his commitment to shooting Francois Trauffaut's The Man Who Loved Women.

Taking what 20 years earlier what would've been a 3 hour plus epic, Malick strips down the story of a Chicago steelworker, Bill (Richard Gere) on the run after killing his boss, his sister Linda (Linda Manz), his girlfriend Abby (Brooke Adams), and the dying farmer (Sam Shepherd) Abby marries, in a compact 90 minutes, showing us the fragments of a story through an impressionistic visual style that favours mood and setting over complex characterization.  

The nominees that year were The Deer Hunter, Coming Home, Heaven Can Wait, Midnight Express, and An Unmarried Woman. The Deer Hunter won, which I'm ashamed to say I still haven't seen.

6. Alien 

Ridley Scott's Alien has only gotten better in age, a genuine masterpiece of horror sci fi. The story is so simple but what it's doing is difficult, essentially blending the slow pace of 2001, the lived in junky feel of Star Wars, and the grisliness of The Texas Chainsaw Massacre, all while updating a 50s sci-fi creature and placing it in an symbolic haunted house. The alien could've looked goofy, the setting cheap, the pace too slow, but this didn't happen. The pace is slow but with a great sense of dread. The alien is kept in the shadows so we only get glimpses of it and the production design is immaculate, making us believe in the film's unglamorous vision of the future.

A brilliant choice by the film's screenplay- by Dan O'Bannon, with a story by Ronald Shusett-  is conceiving the ensemble of characters as "truckers in space" rather than explorers or scientists.  The characters have a lived-in-ness, a believability as blue collar workers. Them being truckers is also why the Nostromo is so junky- this isn't supposed to be the Enterprise. Michael Seymour's production design and Derek Vanlint's cinematography make the Nostromo one of the most atmospheric settings in horror cinema. 

Like the shower scene in Psycho, the chestburster sequence hasn't lost its shocking impact. Both scenes happen just when things feel like they're getting better, in moments of peace. When Captain Dallas (Tom Skerritt) is killed, it really feels like things are at their worst. And then Ash (Ian Holm) is revealed as an android who has been working against them, leaving only Ripley (Sigourney Weaver), Parker (Yaphet Khotto) and Lambert (Veronica Cartwright), the feeling of claustrophobia is palpable. 

Weaver became a star for her performance as Ripley, giving her assertiveness, sternness but also vulnerability. Her fear during the final stretch of the film feels authentic and her decision to go back and save the cat is a relatable human moment  Her ultimate survival is almost surprising, given this was the decade of the downer ending but it's not completely triumphant either. She's lost her ship and crew, and has found out she was viewed as expendable by the company for which she works. Still, there is a sense of peace for Ripley at the film's end, as she goes back in to cryosleep, going back in to a dream after a nightmare

The nominees that year were Apocalypse Now, Kramer vs. Kramer, All That Jazz, Breaking Away, and Norma Rae. I personally would go with All That Jazz.

7. The Innocents

Completely shut out of the Oscars, though nominated for the Palme d'Or, this is the spookiest film ever made, as well as the best haunted house movie. Governess Miss Giddens? (Deborah Kerr, in a performance that should've earned her an Oscar nomination) is sent to look after two orphaned children , Miles and Flora, whose uncle has no use for them. After learning about the influence of the late Peter Quint and Miss Jessel on the children, Miss Giddens begins to see apparitions that match their descriptions. She soon comes to the conclusion these ghosts are controlling the children. 

The ambiguity surrounding whether Miss Giddens is actually seeing the ghosts or imagining them is what keeps The Innocents so fascinating 60 years after it premiered. Cinematographer Freddie Francis' Widescreen black and white compositions are immaculate and director Jack Clayton captures a certain Victorian-era Britishness in the performances and characters. The film's chilly atmosphere also makes it-like Stanley Kubrick's The Shining- a perfect alternative Christmas film.

The nominees that year were West Side Story, The Hustler, Fanny, The Guns of Navarone, and Judgement at Nuremberg, with West Side Story winning, along with nine other wins. I prefer Spielberg's new West Side Story (My thoughts here :Davies in the Dark: Tonight, Tonight: "West Side Story" (thenoirzone.blogspot.com) and if I were picking from these nominees I would go with The Hustler (which I wrote about here: Davies in the Dark: Search results for the hustler (thenoirzone.blogspot.com)

8. Carrie

Brian De Palma's masterpiece is also the first Stephen King adaptation and one of the best. A hallucinatory film, but one that has moments of sweetness that only make the tragedy of its climax hit even harder.

 Carrie may be the best film about teenage isolation ever made. Despite being incredibly stylized the film finds emotional truth through Sissy Spacek's nominated performance as Carrie White.  What stood out watching it this time is how Spacek makes Carrie both incredibly unusual but also very sweet and nice. We see her coming out of her shell as things being to go- and then when she's humiliated she really comes out of her shell as she unleashes her telekinetic powers against her tormenters. 

The whole prom sequence and how it leads to the pig blood pouring over Carrie is virtuoso filmmaking. In De Palma fashion it feels like he's showing off but you don't mind because it's so impressive. Then there's Carrie's return home and her final confrontation with her religious zealot mother, Margaret (Piper Laurie, in the film's other nominated perfomances), another amazing stretch of filmmaking. This is one of those films you could watch on mute and still understand what's happening.  The emotions and story are all communicated through the visuals. 

Mario Tosi's cinematography gives the film a hazy dreamlike quality that turns in to a nightmare during the prom sequence- and Carrie covered in blood is one cinema's indelible images.  

The nominees that year were Rocky, Taxi Driver, All The President's Men, Network, and Bound For Glory. Bound for Glory is the only one I haven't see but it's a pretty strong line-up overall. 

9. Close Encounters of the Third Kind

My second favourite Spielberg, right behind Jaws. This is also the ultimate Spielberg film, made a couple of years after Jaws, with his voice fully formed. He received his first Best Director nomination (the only time he and pal George Lucas were nominated alongside each other- Lucas was nominated for Star Wars). The film was beat out in most categories by Star Wars, though it won Best Cinematography for Vilmos Zsigmond's stellar work on the film and won a special award for sound effect editing.

It's a darker film then you may remember, with Roy Neary (Richard Dreyfuss) becoming obsessed with U.F.Os after a close encounter with one and alienating his family. But it's also awe-inspiring and wonderous, encapsulating what Spielberg does better than anyone else. It's hard to imagine a blockbuster movie like this getting made now, given it doesn't have a big action climax, but a climax involving the attempt to communicate with an alien mothership. Denis Villenueve's Arrival is the only equivalent I can think of.

Dreyfuss won for The Goodbye Girl (which I haven't seen) but I also would argue he could've been nominated for this instead, making Roy a relatable and likable character even as he becomes more unhinged.

The nominees that year were Annie Hall, Star Wars, The Turning Point, Julia, and The Goodbye Girl. Annie Hall was the winner, with Woody Allen winning for direction and screenplay. The film has plenty of baggage attached to it, but it's a very fine winner overall 

10. 2001: A Space Odyssey

Maybe the greatest film not to be nominated for Best Picture, and the best film about contact with alien beings, mostly because we never see them. Stanley Kubrick (who was nominated for Best Director) keeps them mysterious and kind of spooky. The film is a visual marvel (it won Best Visual Effects and it still feels ahead of its time, even as we've long since passed the year in which it takes place. The nominees that year were Oliver!, The Lion in Winter, Funny Girl, Rachel, Rachel, and Romeo & Juliet. Oliver! was the winner, with Carol Reed winning Best Director. I feel Reed should've won for The Third Man instead. Oliver! is okay but I think I would go with The Lion in Winter or Romeo & Juliet

11. Singin' in the Rain

The greatest movie musical of all, and a great film about Hollywood, Stanley Donen and Gene Kelly's Singin' in the Rain is superior to the previous year's Best Picture winner, another Kelly musical, An American in Paris. The film is about Hollywood's transition from silent films to talkies, with movie star Don Lockwood falling in love with chorus girl Kathy Selden (Debby Reynolds), while his screen partner Lina Lamont (Jean Hagen in an Oscar nominated performance), whose shrill voice doesn't make the cut when it comes to talkies, becomes jealous. Donald O'Connor lends support as Don's friend Cosmo Brown, a performance that also should've garnered a Oscar nomination. 

The dancing is off the charts great, the songs funny and poignant, Kelly is at his most charismatic, Hagen is hilarious, and Reynolds becomes a star right before our eyes. It's a truly joyous film, technically brilliant and with a lot of heart. A great example of Hollywood studio filmmaking done right.

The nominees that year were The Quiet Man, The Greatest Show on Earth, High Noon, Ivanoe, and Moulin Rouge. The Greatest Show on Earth won, with John Ford winning for The Quiet Man (his fourth Oscar). The film is usually considered one of the worst- if not the worst film to win Best Picture, though I haven't seen it. For me, I would go with The Quiet Man, maybe my favourite of Ford's films, along with Stagecoach.

So, what films do you think should've been nominated for Best Picture? Comment and let me know.

Some Thoughts on The 2023 Oscars

 I don't want to do too much pre-amble, so let's get to the categories

BEST PICTURE

I've found the last couple of Oscars pretty quiet in terms of the Best Picture line-up. The films nominated- while several of them great- haven't been the films I think general audiences were really interested in. We haven't had a Joker, Black Panther, Once Upon a Time in Hollywood or even Little Women or 1917. West Side Story didn't do well at the box office and Dune isn't really a crowd-pleaser. This year, I think that could change. If I was running the Oscar campaign for Paramount, I'd definitely being pushing Top Gun: Maverick for Best Picture, putting a emphasis on the "Movies are back" narrative and it being the biggest movie of the year. I'm wondering if Wakanda Forever and Avatar: The Way of Water- sequels to Best Picture nominees- could also get in. We usually don't have follow ups to Best Picture nominees but with sequels in general there's always the "Can you do it again?" challenge. If the Academy wants to go for the Indie blockbuster, then Everything, Everywhere, All at Once, is right there. I don't see the older members of the Academy taking to it but with the Oscars trying to be more adventurous in recent years there's a good chance it'll be there.

If they want to go safe, then Steven Spielberg's autobiographical The Fabelmans is right there. Sam Mendes' Empire of Light- about a romance taking place in old movie theatre- also seems a like safe choice. That one stars Olivia Coleman and Colin Firth

Darren Aronofsky's The Whale- starring Brendan Fraser and Andrew Dominick's Blonde- with Ana De Armas as Marilyn Monroe could get in but they may be more acting contenders than Best Picture ones. The Wonder (that other Florence Pugh movie), about an 1800s Irish village where a girl has supposedly not eaten for three months without perishing, is maybe taking the prestige period piece spot though that may also only be an acting play. It won't happen but it would be funny if Don't Worry Darling actually got a Best Picture nominee (and become fourth film to win the top five.) My Policeman (Starring Pugh's DWD co-star Harry Styles) has gotten mixed reviews so I'm not feeling it for Best Picture. 

I just saw The Woman King- a historical action film about the all-woman unit of warriors who protected an African Kingdom in the 1800s. It has the right blend of strong story and rousing action- think Gladiator or Braveheart- that could help get in.  

Then there's Elvis, one of the most popular films of the years about one of the 20th Century's most popular entertainments. I think it could be the Bohemian Rhapsody of the year- especially with Austin Butler being a frontrunner for Best Actor. Like Top Gun: Maverick, the "People are going back to the movies" narrative should be pushed. I don't know if Jordan Peele's Nope has much of a chance in Best Picture (I think it's hard to replicate the impact of Get Out) but it could if campaigned right.

The reviews for Alejandro Gonzalez Inarritu's 8 1/2 inspired  Bardo have been mixed but the Academy does like him so I think it could make it, especially since they T do love films about filmmaking. Florian Zeller's The Son is his follow-up to The Father and definitely has the credentials for a Best Picture nominee (a more traditional one compared to Zeller's previous film) though I have a feeling it's a more of a potential acting player.

Knives Out didn't get in for Best Picture but the reviews for its sequel Glass Onion are just as good or better than its predecessor and the good-will towards the original could push it in to the line-up.

BEST DIRECTOR

I already mentioned Spielberg, who may be looking at his third Best Director Oscar. Can you imagine if James Cameron gets in? That'd be quite the battle of titans. If Top Gun: Maverick gets in I don't see its director, Joseph Kosinki gets in. Ryan Coogler is due a nomination one of these days but I don't know if he's getting in either. Sam Mendes has a shot for Empire of Light seems but the reviews have been mixed- this could just end up being a showcase for the actors to get in.Darren Aronofsky hasn't gotten a nomination since Black Swan but I think The Whale has a strong possibility of bringing him his second nomination, though as I said earlier it may just be an acting contender, similar to Andrew Dominick's chances for Blonde. 

Sarah Polley could become only the eighth woman to be nominated for Best Director for Women Talking. Gina Prince-Bythewood could be the ninth if she gets in for The Woman King. It won't happen but Olivia Wilde for DWD would be an exciting inclusion

Previous Best Director winner Damian Chazelle (the youngest winner in history) is in contention for Babylon, which has been compared to The Wolf of Wall Street. Chazelle didn't get in for First Man, but he'll probably be back in the race for this one. The reviews for Glass Onion are looking good so does Rian Johnson (nominated for Best Original Screenplay for the first film) have a shot at it his first Best Director nomination? It definitely would make certain peoples' heads explode. 

BEST ACTRESS

Despite the weak reviews Florence Pugh has been praised for her performance in DWD. However, she probably has a better shot with The Wonder, though DWD seems like the showier role (and Pugh no doubt can be a showy, actorly and gimmicky performer). I did think it was Pugh's year earlier this year but I'm wondering if she gets left out this year. There's a risk of vote if both performances get plenty of votes. 

I've read that it's Cate Blanchett's Oscar to lose for Tar- Todd Fields' first film since 2006's Little Children, in which she plays a brilliant music conductor. Even without seeing the film, I get why people are saying that. Like Daniel Day-Lewis, Blanchett is unstoppable when she gets a role like this. However, Blanchett might have a challenger in Michelle Yeoh for EEATO. It'd be such a unique performance and performer to win. 

As I've been working on this piece something major happened, which is Michelle Williams going lead for The Fabelmans. I think she had a pretty easy win in Supporting Actress whereas Best Actress is perhaps too competitive. Katy Rich's article on the switch made a satient point that mom characters often get sidelined in to Supporting Actress and Williams going for Best Actress makes a statement that the mom can be a leading character. Whatever happens Williams going lead makes both Actress categories more interesting now. 

I'm hearing Blonde is a really rough watch, so I wonder if that'll hurt Ana De Armas' chances if academy voters switch it off before finishing it. She is the most consistently praised thing about the film and hopefully for her get in the top 5. 

Olivia Coleman is coming for fourth nomination (third in Best Actress) for Empire of Light. She's becoming a staple of the ceremony and one of our most reliably great actresses.  Amsterdam is getting very negative reviews, so Margot Robbie has a better shot with Babylon. I'm thinking The Woman King gets into Best Picture and if that's true than I have to predict Viola Davis will get in for Best Actress, 

Jennifer Lawrence may also be back in the race for Causeway, in which she plays a soldier with a brain injury attempting to incorporate back into civilian life. The reviews for her and Brian Tyree Henry have been strong, and it sounds like this may be one of Lawrence's more subtle and least affected performances. Then there's Women Talking's Rooney Mara, whom if she gets in, will be the second actor Sarah Polley has directed to an Oscar nomination- after Julie Christie in Away From Her. 

BEST ACTOR

This year definitely feels like it's between Brendan Fraser and Austin Butler for The Whale and Elvis, respectively. This could be Fraser's moment, but it also has the feeling of a Mickey Rourke/Michael Keaton situation where the comeback narrative gets derailed by an actor playing a real person (Sean Penn, Eddie Redmayne).

Colin Farrell is arguably one of our most due actors when it comes to Oscar, and he'll be getting his first nomination for Martin McDonagh's The Banshees of Inisheran. The other Colin, Firth, is also aiming for his third nomination for Empire of Light (he was nominated for A Single Man and The King's Speech back-to-back, winning for the latter.)

What could shake up the race is the inclusion of Tom Cruise for Top Gun: Maverick. Cruise may be the last movie star without an Oscar so, again, if I was running Paramount's Oscar campaign, I'd be pushing that narrative. I'm not certain he's getting in this year, but it'd be one of the year's most significant acting nominations since he hasn't been nominated since Magnolia.

I'm also not certain Hugh Jackman is getting in for The Son. same goes for Daniel Gimenez Cacho for Bardo- due to both films' polarizing reactions, though it's best to remember that the Academy aren't critics. I don't know if Daniel Craig is being pushed for Best Actor for Glass Onion or Supporting. Either way, I'd like to see him get in, Knives Out didn't get in any of the acting categories (though I think Craig was my Best Supporting Actor winner that year) so maybe that can change this time.

BEST SUPPORTING ACTRESS

As I discussed earlier, Michelle Williams is being campaigned for Lead, so it leaves this race open for someone else to win. I assumed Williams was going to do a Patricia Arquette/Laura Dern this year, winning for her career. 

Jessie Buckley will ride her nomination for Maggie Gyllenhaal's The Lost Daughter in to another one for Women Talking. Claire Foy had one of those "supposed to be nominated" performances for First Man). We also have Nina Hoss and Noemie Merlant in Tar. 

Sadie Sink will get the "Welcome to the club" nomination for playing Brendan Fraser's daughter in The Whale and possibly be the upset winner, as well as one of the youngest winners at 20. I'd love to see Stephanie Hsu in for EEATO, one of the more complicated villain roles in recent memory and arguably the film's heart. Her co-star in the film, Jamie Lee Curtis, is low in the rankings but that'd be an amazing first nomination for the legendary Curtis. 

Jaenelle Monae is said to be the standout in Glass Onion and has already starred in a Best Picture winner and nominee in the same year (Moonlight and Hidden Figures, respectively) so she already has some cred with the Academy. No one from Knives Out made it into the acting categories (though Craig was my supporting actor winner that year I believe) but that could change with its sequel. 

After seeing The Woman King, Viola Davis' co-star Thuso Mbedu is perhaps the film's standout performance. While she arguably belongs in lead, younger and newer actors typically campaign in the supporting categories 

I recently saw Ruben Ostalnd's Triangle of Sadness at The Atlantic Film Festival and Dolly De Leon as the cleaner of a luxury cruise that becomes shipwrecked- giving her the opportunity to become the leader- is a dark horse contender that I also want to happen. 

I'm surprised there isn't more buzz around Kila Lord Cassidy for The Wonder- the story is so much about Pugh's relationship to that girl. If Pugh is getting buzz, so should she. 

BEST SUPPORTING ACTOR

Ke Huy Quan is terrific in EEATO, and I want to see him win. Brendan Gleeseon, like Farrell, is getting his first career nomination for The Banshees of Inisheran. Gleason is a wonderful actor, so it'll be great to see him amongst the nominees. Paul Dano and Tobey Maguire are also possibly in contention for their nominations for The Fablemans and Babylon, respectively.  A Tobey Maguire comeback wouldn't be a surprise now after the latest Spider-Man movie. 

Speaking of The Fablemans, Judd Hirsch is pretty high in the predictions for the film. Hirsch is a beloved icon and was nominated in this category for Ordinary People over forty years ago. He could be the sentimental, career recognition winner this year. Brad Pitt won in this category in the last pre-Covid Oscars for Once Upon a Time in Hollywood could be back here for another Hollywood-themed film in Babylon.  

So, is Tom Hanks getting in for his oddball performance as a real-life oddball, "Colonel" Tom Parker in Elvis? Maybe so. It's one of those "Is this is good or bad" performances where the entertainment factor outweighs whatever actual quality there is to the work.

OTHER CATEGORIES

Original Screenplay- The Fablemans, Triangle of Sadness, Bardo, EEATO, The Banshees of Inisherin, Babylon, Amsterdam, Tar, Elvis 

Adapted Screenplay- Glass Onion, The Son, Blonde, The Whale, The Wonder, My Policeman, White Noise

Cinematography- Bardo, Avatar: The Way of Water, The Fabelmans, Blonde, Babylon, EEATO, The Whale 

Production Design: Wakanda Forever, Babylon, Don't Worry Darling, Elvis, Babylon, The Fabelmans,

Score: Don't Worry Darling, The Fabelmans, The Whale, Blonde, Avatar: The Way of Blonde

Make-Up: The Whale, Blonde, Elvis, EEATO

Editing: Blonde, Top Gun: Maverick, Elvis, The Fabelmans, EEATO 

So, what are your thoughts on this year's Oscar race? Do you even care? Comment and let me know.

The Essential Films: "Jaws" (1975)

A Series of Writings on Films that I feel are essential for film lovers, coupled with films that are personal to me. Spoilers for people who haven't seen the film.

Jaws is a masterclass in filmmaking. It ranks amongst films like Die Hard, The Exorcist, and the original Star Wars, as one of those films which started out as popular entertainment but can be seen as a masterpiece of its genre. This was only Spielberg's third film; he had done the TV movie Duel and then his first theatrically released feature, The Sugarland Express-starring Goldie Hawn. Duel and The Sugarland Express are impressive films bur Jaws was a huge step forward for Spielberg in terms of his filmmaking abilities. While the film was a difficult- to say the least- shoot, Spielberg's filmmaking is so assured that when I'm watching it I'm hardly thinking of the behind the scene issues. Of course, credit has to go to Bill Butler's gorgeous and warm cinematography (he still with us at 101 years old) as well as Verna Fields' Oscar winning editing, which contributes mightily to the film's fluid pacing.  Spielberg took that assuredness in to his next film Close Encounters of the Third Kind and later Raiders of the Lost Ark, becoming the king of blockbuster movie making. Much like Jaws itself, Spielberg has grown in my estimation as a filmmaker over the last several films. I always liked/loved his films but I guess I took him for granted, didn't realize just how good he is. Now I rank him in my top ten filmmakers.

All you need to do is watch the first scene of Jaws, where Chrissie Watkins (Susan Backlinie) is screaming for life before disappearing under water and everything going silent, to know the film still kills. There's a reason this movie still makes people afraid to go in the water. John Williams' theme- which opens the movie, was originally thought by Spielberg to be a joke, and I get why. It's hard not to find it a little amusing, but like Bernard Herrmann's screeching violins from Psycho are synonymous with "psycho killer," Williams "Duh Duh" is inseparable from "a shark is coming to get you."

After the first shark attack we're introduced to the first of the film's main trio, Chief Martin Brody (Roy Scheider) who has moved to Amity Island recently with his family.  I think he's an underrated actor, good at being the lead or supporting player. He was never the intense Pacino/DeNiro kind of actor but he had a physical presence and the ability to be a regular guy, which works well for Brody, who isn't a tough action hero type. 

Brody begins the investigation in to Chrissy's death and has the beaches shut down. However, the Mayor of the town, Larry Vaughn (Murray Hamilton), convinces him to keep them open due to the summer season being the biggest money-earner of the year for the community. Brody reluctantly agrees but then a boy, Alex Kitner (Jeffrey Voorhees), gets eaten and Brody brings in Oceanographer Matt Hooper (Richard Dreyfuss) to investigate. Meanwhile Alex's mother (Lee Fierro) puts out ads promising a reward for killing the shark, bringing in a lot of amateur shark hunters. The only professional on the island, Quint (Robert Shaw), promises to kill the shark for a much larger reward. While at first the shark is thought to be caught, another shark attack brings Brody, Hooper and Quint together to hunt the shark.

Jaws is actually two films in one. The first film is a damning critique of capitalism and political leadership, the second is an almost Moby Dick-esque adventure at sea, with Quint being a kind of Captain Ahab. I know some may find the film too slow and talky getting to the shark-hunting stuff but I believe it's crucial to this movie's success that we spend the time we do on the island and with the community before going off to sea. The transition from island to sea feels more significant and weighty because of what's happened- Alex's death, Brody's guilt, his dynamic with Hooper and the injection of Quint in to that dynamic. Then there's the three shark attacks. The first one is ignored, the second is addressed and supposedly resolved, then the third is the breaking point where we see some humanity from the Vaughn, who mentions his kids were on that beach. We don't like Vaughn anymore than we did before, but Hamilton plays his revelation beautifully. The way Carl Gottlieb and Peter Benchley (who wrote the novel) structure the three shark attacks and Vaughn's arc is the kind of good screenwriting that seems too rare these days.

I do love the subtle bromance between Brody and Hooper.  Instead of the screenplay creating a forced antagonism between them Brody and Hooper are friendly with each other from the outset. However, Hooper gets angry with Brody when he's examining Chrissy and  finds out this was never reported to the coast guard. Brody is a little naive and thinks the captured and killed shark is the shark who who Chrissy and Alex. Hooper calls him out on his naivete but when he comes to Brody's house that night, he shows that he respects Brody's rationality compared to everyone else. He also knows Brody had a rough day after Mrs. Kitner slapped because she found out he didn't close the beaches earlier. Hooper tells Brody he's out to tell his superiors that there's still a shark problem, leading him and Brody to cut open the dead shark to see what it's ate. The dinner scene is the real beginning of Brody and Hooper's partnership. When they're both trying to convince Vaughn to close the beach and talking over each other, Brody is  telling Hooper to tell the mayor about shark stuff, and it's organically funny, indicative of Brody's earnestness as a man. He obviously respects and is excited by Hooper's knowledge and authority.   

The more I've watched Jaws the more apparent it's become how the characters really make the movie. Not just our main trio but all the islanders as well- Vaughn, Bad Hat Harry, Mrs Taft. Similar to Raiders of the Lost Ark or the original Star Wars trilogy, you remember these supporting and minor characters, and they make the world feel lived in. I'd argue the best scene in the film doesn't feature the shark- it's is the scene where Hooper and Quint are bonding over scars, which leads in to one of the great film monologues - Quint talking about the sinking of the USS Annapolis and the death of most the crew from sharks. Shaw's delivery of the monologue and the vivid imagery it creates in the audiences' minds is perhaps more horrifying than anything we see on screen. It tells us so much about Quint and makes his death even more cruelly ironic- it's one of the most painful deaths I've ever seen in a film. Shaw should've gotten an Oscar nomination just for this monologue. 

I also love how each of the three men relate to the other two. Hooper is the nerdy scientist compared to the more masculine cop and hunter. Brody is the one most uncomfortable at sea next to Hooper and Quint, and Quint is the loner figure, the outsider. It creates an uneasy dynamic between the three and the point of the bonding/monologue is that this is first and last time all three will be at peace with each other. It's right before the final stretch of the film, which doesn't let up until that shark is blown up. 

I saw Jaws on IMAX just a few days ago and seeing it with a audience highlights just what a funny film this is, largely due to Dreyfuss, whose laugh alone is hilarious. I think this where Dreyfuss first established his persona as the intellectual smart-aleck. Some of his best lines- "They're all going to die"- after he's been mocked by the fishermen going out to hunt the shark-, referring to the mayor as wanting to be a "hot lunch," and "That makes a lot of sense" when water-fearing Brody says Amityville is only an island if you look at it from the water.   

But it's not that big of a surprise that the film has plenty of humour. It wouldn't have become what many consider the first summer blockbuster if it was without the levity to contrast with the horror. It's an incredibly entertaining film but the fun never undermines the horror of the film, never makes those moments of terror less impactful. While Spielberg went too far with the darkness with Indiana and the Temple of Doom, Jaws perhaps best shows Spielberg managing both the light and dark. Spielberg has often gotten flak for being too sentimental but I feel he's much darker than the image people have. He's capable of  being incredibly nasty and remorseless when he wants to. I don't think anyone forgets seeing those Nazis' faces being burnt off for the first time. 

Spielberg is also able to do some technically impressive stuff without you really thinking about it. The Aforementioned scene with Brody and Hooper attempting to the convince Vaughn to close the beaches is one shot, with Spielberg moving the actors and reframing the shot effortlessly. The first scene between Brody and Vaughn is similarly one shot that has the actors move in a way that changes the focus of the show.. But you're not thinking of these scenes too much on a technical level, you're just watching the story. Spielberg is able to use his technique to draw you in to a scene without noticing the technique -very hard to do. But then he can also emphasize his shots, as with the "vertigo" shot on Brody on the beach. He employs  it better than Hitchcock and there's no doubt Spielberg is a student of Hitchcock. Hitchcock always believed in the concept of "pure cinema," where the visuals did most of the storytelling, and Spielberg takes that approach here, making sure you can understand what's happening, even if the sound was off. 

In a piece on Spielberg's War Horse (2011), critic Michael Phillips recounts Hitchcock's quote on Spielberg: "Young Spielberg is the first one us who doesn't see the proscenium arch." Phillips explains that Hitchcock is describing Spielberg's filmmaking as "fluidity cinematic," adding he has "Old style craftsmanship with a new spontaneity." Hitchcock's last decade of films can seem behind the times, with the possible exception of Frenzy (1972), especially compared with what Spielberg is doing here. . As much as Spielberg, along with George Lucas, are blamed for destroying what many see as the adult driven nature of 70s films, Jaws did raise the bar for filmmakers, and even Spielberg himself had to attempt to top himself. While he arguably did with Close Encounters and even his latest, West Side Story, blows away all modern movie musicals, Jaws may remain as close to perfect as anything Spielberg's done.  Jaws is the first true Spielberg film, where his specific sensibilities feel pretty much fully formed, contradictory as they may seem. He takes the lessons of Hitchcock and perhaps surpasses his master, changing pop culture forever.                                                                                                                                                                                           

Tonight, Tonight: "West Side Story"

Spoilers for both film versions of West Side Story below.

Steven Spielberg's West Side Story is as good and even better a new cinematic version of this classic tale we could've received. It may be blasphemous to say but in many ways it's better than the 1961 film directed by Robert Wise and Jerome Robbins, which won 10 Academy Awards including Best Picture and Best Director for Wise and Robbins. I'd argue Spielberg's version should be up for numerous Oscars as well, including one for Spielberg himself, a director whose skill is sometimes overshadowed by his popularity. His West Side Story is quite amazing and maybe even in the top  ten of his filmography. It's certainly one of his best recent films- supremely emotional and joyously cinematic, full of inventiveness that's refreshing considering how often we've done this story-whether it be Shakespeare or in some other iteration. It's one of the best films of 2021. 

Spielberg's film tells the same broad story as the original 1957 play and 1961 film; there are two rival gangs in 1950s New York, the caucasian Jets and the Puerto Rican Sharks- and in the middle there's a love story between former Jet Tony and Maria, whose brother Bernardo is the Sharks' leader. Essentially Romeo & Juliet but with the added themes of racism and prejudice. Playwright Tony Kushner's screenplay (Kushner also wrote the screenplay for Spielberg's Lincoln, which nagged him an Oscar Nomination) doesn't transpose the setting to modern day but keeps the 50s setting. However Kushner adds a darker, more modern edge to the gang warfare, including one of the Jets' ears getting pierced with a nail during the opening fight. Janusz Kaminski's cinematography also provides a grittier look to this film than Daniel L. Fapp's more expressionistic and colorful approach to the 1961 film, which garnered him an Oscar. 

Spielberg also chooses to begin the film in a construction zone, establishing the rougher take on this material. Critic Mark Kermode has described this opening as looking like a war zone from Spielberg's own Saving Private Ryan, an apt comparison given we're dealing with a gang war. The neighbourhood under iss to become the Lincoln Centre, which highlights the futility of this gang fighting over the territory, a point driven home by Lieutenant Schrank (Corey Stoll).

Kushner also makes the racism directed towards the Sharks even more vicious- "How many times do I have to tell you Bernardo, I don't speak spic," says Jet leader Riff (Mike Faist). I found Faist's interpretation of Riff more intimidating and almost world-weary than Russ Tamblyn's, though that's nothing against Tamblyn's performance. And David Alvarez as Bernardo brings a sexy brutishness to his interpretation of Bernardo that distinguishes him from George Chakiris' more sophisticated and cat-like performance (for which he won Best Supporting Actor) Alvarez's performance also fits the script's choice to make Bernardo a boxer this time around.  

Tony (Ansel Elgort) is also given more of an edge in this version,  having been in jail for almost killing a rival gang member, which makes his fateful action later in the film more of a payoff for the character. Elgort has more of that "New Yawk" quality to him than Richard Beymer did, rawer, more haunted. While Elgort may be the least of the leading performances I overall thought he was good, making Tony a likable protagonist. Tony is a thankless role compared to Riff and Bernardo but I appreciate the attempt to add dimension. I also like the relationship between Tony and Valentina (Rita Moreno), who is a reimaging of the Doc character from the play and film- in this version she's his widow and took in Tony and gave him a job after he got out of prison. Elgort and Moreno have a sweet chemistry and there's a humorous scene where he's asking how to say certain things in Spanish to Maria. Moreno also has a deeply poignant scene when she sings "Somewhere" alone in her store, essentially singing about Doc; their marriage- a Puerto Rican married to a "gringo," parallels the romance between Tony and Maria. 

And speaking of Maria, in her film debut, Rachel Zegler is a vibrant and sweet Maria. She and Elgort also have a nice chemistry though this story's romance, no matter what, always feels like it needs more development. I know a part of that is due to the story taking place over 2 days, though it feels it takes place over a longer period. To Kushner's credit the script pokes fun at Tony falling instantly in love.  Valentina suggests asking Maria out for coffee before telling her he wants to be with her forever. I do love Tony and Maria's first meeting in this version, meeting behind the bleachers at the school after following each other across the room. It's a very intimate first meeting and I like that they're hidden from all eyes.

Moreno played Bernardo's partner Anita in the 1961 film (and won Best Supporting Actress) and Ariana DeBose brings her own electric sexiness to her version of the character. The pain her face and voice exudes in "A Boy Like That" is even more powerful than Moreno's interpretation. Continuing on with Anita's signature songs, the film opens up "America" from the roof of her apartment out in to the streets, making the song really about New York City as a community full of life and love. 

Another recontextualizations I like: "Cool" isn't sung after the brawl  between Riff and Bernardo as in the original film or sung by Riff to the Jets before, as in the original play. Now it's Tony singing to Riff about his newly required gun- "Got a rocket in your pocket." The struggle over the gun becomes a ballet. The struggle is al significant because the gun has an arc over the story- bought by Riff, given to Tony during the brawl and then required by Maria's suitor, Chino (Josh Andres Rivera), after the brawl. This becomes the gun he uses to shoot Tony. "Cool" is probably my favourite sequence in the entire film, it's amazing. Justin Peck's choreography throughout the film honors Robbins' dance as expression of story and character but finds his own specific physicality for the characters. 

I also liked how "Office Krupke" now takes place in the police station after the Jets have been arrested, which is appropriate. It's also preceded by Anybodys (played by non-binary actor Iris Menas),  who wants to be part of the Jets, being misgendered by one of them. Anybodys attacks the Jet and this leads to the rest of the Jets being left alone in a room, which in turn leads in to the song. The song acts as a cool down to the fight and pays off with Officer Krupke (Brian d'Arcy James) coming back. This time he actually receives the "Krup you" final line of the song.  

The film does feel- as with the 1961 film and with the original play- a little long. And I as I said earlier the romance of this story will always be a little underdeveloped given it takes place over 2 days. But aside from that I think West Side Story is a stunning achievement. Spielberg directs the hell out of the musical sequences and even in the non-musical sequences Spielberg has the ability to stun you with his specific camera moves and compositions. There was understandable skepticism regarding doing West Side Story as a film again but Spielberg and Kushner made an arguably better- if maybe not as iconic version- than the 1961 film. Though I don't want to put them in competition with each other. It's great they both exist and will continue to bring new fans to this story. 

P.S. The late Stephen Sondheim's lyrics are still some of the best of the musical genre. West Side Story includes songs that range from poignant to clever, to cool to goofy but all being able to exist within the same story. What's your favourite West Side Story song? Comment and let me know. 

  

Some Brief Thoughts on the "Shutter Island" and "Minority Report" TV Series.

I remember when a common trope in Hollywood was to adapt classic TV series for the big screen. Now it appears we’re entering a period where more movies will be adapted for TV. Just recently the adaptation of the Coen Brothers’ Fargo (which they executive produced) was met with critical acclaim. Just this past week two new movies inspired- TV series were announced; and both have the respective directors of those films as part of the series.

Steven Spielberg is developing a series based on his 2002 film Minority Report. The film starred Tom Cruise as a police officer in a distant future where people known as precogs can see murders before they happen.  Martin Scorsese is also set to direct a pilot for HBO based on his 2010 film Shutter Island, entitled Ashecliffe.  In the film Leonardo DiCaprio played a US Marshall in 1954 who is sent to investigate the disappearance of an inmate at Ashecliffe mental hospital . He then discovers not everything is what it seems and there may be a sinister conspiracy against him. The series will explore the origins of Ashecliffe in the early 20^th Century. The pilot will be scripted by Dennis Lehane, who authored the book upon which the film was based.

It’s not surprising we’re getting more films adapted in TV series.  We’re living in a second Golden Age of Television. TV is the now the place where talented artists experiment in dense and nuanced long form storytelling. Instead of a sequel or remake for the big screen, it’s now a option to explore of a film world’s mythology through TV.  

Full disclosure: I love Shutter Island and it’s actually a favourite film of mine. I also like Lehane’s original novel. The fact that both he and Scorsese are involved in this project lends it certain amount of legitimacy. I loved how Scorsese visualized that film so seeing him return to that world is a big deal for me. I’m intrigued by the idea of exploring how mental institutions were run in the early parts of the 20^th Century, when mental illness and how to treat it wasn’t completely understood. I think we’re looking at a potentially compelling psychological horror/period piece series.

However, I’m still scratching my head over how they’ll approach making Minority Report in to a series. I don’t think it can be a sequel to the film- since the film ended with the government not using precogs anymore- unless the series wanted to explore how Washington’s police force- the only  city where the “Pre-crime Unit” operated- went about adjusting to investigating murders and other crimes without the use of precogs. Maybe it’ll also go the prequel route- maybe they’ll recast the role of Chief John Anderton. They could also go the Prometheus route, with the series taking place in the same universe but telling a different kind of story. Spielberg’s involvement- similar to Scorsese and Lehane’s with Ashecliffe- does lend the project some legitimacy. And ideally, once we learn more details about the show’s premise, it'll make perfect sense how the film’s mythology will work as a TV series.

Both these projects, based on films I admire, are definitely ones which to look forward. The internal mythologies of both Minority Report and Shutter Island provide potential for intriguing science fiction and horror story telling. Count me in for both series.

And Here We Go: Some Thoughts On The Oscar Nominations

Aw yes, that time of year where everyone exclaims how the Oscars are bullshit, irrelevant, etc, etc, even though we tune in every year to see who's nominated. I guess that's the thing with the Oscars- love them or hate them, they're addictive to movie buffs. Even if you're critical of awards, if you love movies, you care who gets in and, more importantly, who doesn't. I'll go through some of the major categories, giving my thoughts. To be honest, I haven't seen every performance or film nominated yet, but judging from what I have seen, I'll say who I think will win in several categories, as well as the surprising omissions.

Best Picture- Like last year, we have nine nominees: Amour, Argo, Beasts of the Southern Wild, Django Unchained, Les Miserables, Life of Pi, Lincoln, Silver Linings Playbook, Zero Dark Thirty. Out of the nine I still need to see Amour, Beasts, Pi and Zero Dark Thirty. Right now I think it's between Steven Spielberg's Lincoln and Silver Linings Playbook, especially since SLP's director, David O. Russell, previously nominated for 2010's The Fighter, got a Best Director nomination over Ben Affleck for Argo and Kathryn Bigelow for ZD30.  SLP is the type of crowd pleaser like the previous two Best Picture winners, The King's Speech and The Artist, that the Academy often loves. Moreover, Russell has never won Best Director or has a Best Picture winner under his belt, whereas Spielberg already has two Best Director Oscars, for 1993's Schindler's List and 1998's Saving Private Ryan. He also won the Best Picture Oscar for Schindler's List. While Speilberg is a titan, the Academy may want to award Russell for his strong work over the years.

Best Director- I think this category provided the most surprising omissions of the race this year, with Affleck and Bigelow, perceived locks for their work with Argo and ZD30, respectively, shut out. Other big names like Tom Hooper, who has been the subject of controversy over his directon of Les Miserables, and Quentin Tarantino, who directed Django Unchained, were also left out. The line up is as follows: Michael Haneke, Amour, Ang Lee. Life of Pi, David O. Russell, Silver Linings Playbook, Steven Spielberg, Lincoln, and Benh Zeitlin for his debut feature, Beasts of the Southern Wild. At 30 years old, he's the youngest nominee in this particular category. Good for him getting a nomination for his first film. With the four big names, Affleck, Bigelow, Hooper and Tarantino out of this category, it does leave Russell some room to take the prize. His biggest competition in this category, again, is Spielberg.

Best Actor- Bradley Cooper, Silver Linings Playbook, Hugh Jackman, Les Miserables, Daniel Day Lewis, Lincoln, Joaquin Phoenix, The Master, Denzel Washington, Flight. I'm glad to see Phoenix here. There was some talk that Pheonix's harsh comments about the Academy and awards in general would lead to hm being left, particularly with The Master losing steam. But here he is. I was really blown away by him in The Master, and I think it's a career best performance- he'd be my pick for Best Actor. However, Day Lewis is the frontrunner for his warm and commanding performance as President Abraham Lincoln. If Les Miserables was more of a frontrunner, Jackman may be more of a threat, but the film, especially without a Best Director nomination, is vulnerable. In fact, Day Lewis' competition may mostly come from (gasp) Bradley Cooper. The internet would explode if Cooper won over Day Lewis, but if SLP is loved enough, who knows, right? John Hawkes, for his role in The Sessions, didn't make it, even though he was a leading contender for a nomination, Jamie Foxx's performance as the title character in Django Unchained also didn't make it, probably due to the more animated performances around him in that film.

Best Actress- Jessica Chastain, Zero Dark Thirty, Jennifer Lawrence, Silver Linings Playbook, Emmanuelle Riva, Amour, Quvenzhane Wallis, Beasts of the Southern Wild, Naomi Watts, The Impossible. I thought Lawrence was stunning in SLP, so I wouldn't be upset if she won. I think it's between her and Chastain, who I like a lot too, for ZD30. ZD30 is finally out in my city so I'll be seeing it Sunday. From what I hear about Watts in The Impossible, it strikes me as the type of performance we may look back on as the one that should've won. Watts can be argued to be overdue as well. Wallis, only six when we shot Beasts, received a nomination for her breakthrough performance. She's the newcomer that this category always seems to like. While I haven't seen Amour, it'd be awesome if a legendary actress like Riva won.

Best Supporting Actor- Alan Arkin, Argo, Robert De Niro, Silver Linings Playbook, Philip Seymour Hoffman, The Master, Tommy Lee Jones, Lincoln, Christoph Waltz, Django Unchained. Like last year, the supporting actor category is full of veterans, although it doesn't have a newcomer like Jonah Hill last year. Also, all these guys are previous winners. Jones seems to be the frontrunner, particularly if Lincoln is going for a sweep. Though, as I keep saying, if people love SLP, De Niro could be on his way to a third Oscar. Though I like Waltz, I'm disappointed Leonardo DiCaprio and Samuel L. Jackson had made it for Django Unchained.

Best Supporting Actress- Amy Adams, The Master, Sally Field, Lincoln, Anne Hathaway,  Les Miserables, Helen Hunt, The Sessions, Jacki Weaver, Silver Linings Playbook. Poor Amy Adams. This her fourth nomination in this category over the last seven years, and she keeps getting blocked. Even with Adams' overdue factor, I think this race is between Field and Hathaway. I wasn't really blown away by Field in Lincoln, so I prefer if Hathaway for her short but devastating performance in Les Miserables. I wish Hathaway's co-star, Samantha Barks, had also gotten in. She was a real stand out.

So, those are my thoughts. I'm glad Moonrise Kingdom got a screenplay nomination and a tad disappointed The Dark Knight Rises didn't get in for any of the tech categories. I loved Adele's theme for Skyfall, so excited to see her here, as well as Roger Deakins' for his stunning cinematography in that film. The Academy Awards are on February 24, so until then, have fun predicting. And don't forget, Golden Globes, sans Ricky Gervais, are this sunday.