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2017 in review – Faces, Places, and Much Needed Changes

best of 2017

I found 2017 taxing. It was a taxing year. I think it was for most people. Of course this isn’t a politics blog, so let’s not even go there, but even at the movies I did not find my usual escape. As often happens, it was late in the year before I found anything close to a list of favourites. But beyond that, just shutting out the stresses of the world has been harder, making sinking into a movie more mentally trying. It doesn’t help that I am noticing myself getting older, and staying awake through film after film is no longer a case of sheer willpower and enthusiasm. Oh for the days when two cups of well-timed coffee could get me through six features between bedtimes.

But at the same time, 2017 was actually somewhat of a landmark for cinema. After 2016’s #OscarsSoWhite scandal, who could have foreseen Moonlight take Best Picture over the charming but inferior La La Land, and in the way it did? Watching a livestream that was about a minute behind “live”, I could see panic and shock breaking out on my phone before anything had signalled La La Land was not the winner on TV. My Twitter feed was freaking out, and for a few moments I had to wonder what was about to unfold (a fainting filmmaker, a fight on stage?) – who’d have believed it? The shock has died down, but the Best Picture debacle of 2017 will go down as one of the greatest single moments in both film history and live television. What a time to be alive.

If 2016 had been a major year for Black cinema, 2017 shifted the focus to women. While it’s not a film I am especially in awe of, Wonder Woman hit with an undeniable impact, and moments like Gal Gadot strutting into No Man’s Land, or Chris Pine electing to be a handsome honeytrap to woo information from a female villain, completely rewrote the book on how Hollywood must view gender roles. (The huge success of the hilarious Girls Trip proved these changes were not solely going to benefit white women.) There’s more good work to do, but it feels exciting to be standing here while the sands are beginning to shift. And where representation behind and in front of the camera – and at the box office – showed extraordinary progress, an even bigger shift came as the rotten husk of Harvey Weinstein dominoed into his fellow abusers throughout Hollywood. Enough has been written by many greater talents about the #MeToo movement, but suffice to say the horror of hearing these stories come to light is regularly overcome by the swift victory of victims newly heard and perpetrators’ careers tumbling.

Before we get to the movies, let’s talk a little about what a year it was for TV. Since the dawn of True Detective and Black Mirror, TV has moved into EVENT territory, with individual seasons or episodes of far greater social (and artistic?) importance than tracking the fate of characters over too many years of one show. New shows like Legion, The Good Place, The Handmaid’s Tale, and American Gods stood out, but it was limited revivals that showed what TV could really do when focused artists expressed themselves through serialised storytelling – Twin Peaks: The Return and the belated final season of Samurai Jack (which oddly paralleled Peaks) truly stood out. David Lynch’s Twin Peaks, an astonishing metaphysical exploration of identity in 21st Century America through avant-fantasy and soap-operatic extremities, was such a remarkable achievement it triggered much fevered and pointless debate as to whether or not it was a “film”. The discussion is irrelevant, what matters is that it is. Purely to keep in check with previous years’ best-ofs, I have not included it on my list here, although with some reflection I wonder if it would have come out on top. I have subsequently seen the entire series on the big screen, and I can assure you, whether it’s a movie or not, it works as one.

Laura Dern in a still from Twin Peaks. Photo: Suzanne Tenner/SHOWTIME

Not a movie

Professionally 2017 was a good one – I began as Festival Manager of Doc Fortnight at MoMA, which had a tremendously successful year, and wrapped as a film consultant at Lincoln Center for the Performing Arts. I continued to write and edit at Cineaste (especially pleased with my broad review of Rebecca), while picking off some smaller projects. In my spare time, I continued a quest to watch every Palme d’Or movie, begun in 2016, and got up to the 2000s, so will finish that off this year. I also dedicated myself to watching one movie exceeding a four-hour runtime per month, which allowed me to pick off some exhausting cinematic must-sees, including Shoah, Out 1, Sátántangó, and Histoire(s) du cinéma. If I’m not going to make myself watch these things, no one else is going to!

On the big screen I saw some terrific rep screenings, from Don’t Look Now and Tokyo Drifter at Metrograph, Monterey Pop and Stalker at IFC Center, The Fireman’s Ball and Pelle the Conqueror at Film Forum, The Old Dark House, Hello, Dolly!, and Funeral Parade of Roses at Quad Cinema, and Strange Days, Husbands, and, err, Manos: The Hands of Fate at MoMA. Elsewhere, my home viewing ranged wildly from The Colour of Pomegranates to Arnold Schwarzenegger’s remake of Christmas in Connecticut. I have a range. Too much so.

As for the new releases of 2017, well there were many highlights and lowlights. I was left cold by Haneke’s Happy End, and thought the much-lauded A Ghost Story collapsed in the second act. The always-reliable Hirokazu Koreeda’s After the Storm hit me in the gut, but lacked the simple visual ambition of his better works. Okja did much the same for Bong Joon-ho, another favourite. The summer was riddled with flopbusters, but a few almost made my best of the year list, including Thor: Ragnarok, War for the Planet of the Apes, and Star Wars: The Last Jedi. Other close calls included Risk, The Big Sick, Personal Shopper, The Meyerowitz Stories (New and Selected), Columbus, Dawson City: Frozen Time, and, until Phantom Thread dislodged it from the list-in-progress, Lady Macbeth. I’d have included the spectacular World of Tomorrow – Episode Two: The Burden of Other People’s Thoughts, except it’s a short, and then I’d have to defend putting a short on my best films list, and, well, you know.

WOT2-0

Not a movie

Major releases I missed that might have featured include Coco, Song to Song, T2 Trainspotting, Raw, and I, Tonya, among many others. But as of early 2018, these are the 2017 films that have not left my mind…

20. Mudbound

There’s a well-trodden feel to Dee Rees’s racial melodrama, a sense that the toxic poverty and discrimination of the American South have been told before, and so well as to reduce further efforts to redundancy. And yet, here, through guiding a great ensemble, and with an exceptional rising cinematographer in Rachel Morrison at her side, Rees finds a balance between two complex family dramas, rebirthing the Mississippi landscape (Louisiana standing in) in remarkable, rich brown tones.

19. Molly’s Game

First-time director Aaron Sorkin brings his distinct writing style and energy to a one-of-a-kind story of a go-getting secretary-turned-underground-gambling-house-diva. Jessica Chastain brings her A-game, blasting out Sorkin’s buzzy dialogue, with plenty of fun sparring partners (Idris Elba is terrific as her attorney, following her bust by the Feds). It keeps character the focus, without letting the poker overcomplicate the drama. The final act devolves briefly into nonsense, but it’s not enough to slow it down. The screenwriter-auteur seems to understand the collaboration great cinema requires, and smart editing and handsome cinematography make this a memorable debut.

18. A Quiet Passion

The inimitable Terence Davies made his first (and only?) misstep with 1995’s The Neon Bible, a Georgia-set period piece that felt outside the range of his very British working class viewpoint. Having honed himself as a master of period tone in the decades since, Davies’s second American tale reveals the depth of his maturity as an artist. With beautiful imagery matched by splendid pacing and often caustic wit, the lives of poet Emily Dickinson and her family are realised thoroughly. If it at times ventures away from the historical truth, it does so only to keep things lively, and Cynthia Nixon is the cornerstone of a terrific cast.

17. Nocturama

One of 2017’s boldest pictures, French filmmaker Bertrand Bonello’s anarcho-thriller Nocturama is a Parisian-set genre smorgasbord. Beginning as a heist movie, in which a gaggle of misaffiliated teens sets off a series of bombs in order to topple the economic status quo, it shifts to satire, bordering on farce, as the young antiheroes hide out in an abandoned ultra-bougie department store. It ends in horror. The first act shows the deftest filmmaking, as Bonello intercuts between his characters at various points in the timeline, but the lengthy central act unveils a bolus of social commentary as the youths interact, often joyfully, with the elaborate trinkets of a society they profess to despise.

16. The Shape of Water

There are few visualisers of the fantastic working in Hollywood today with the skills of Guillermo del Toro, but his screenplays (especially the English ones) rarely match his remarkable imagery, with strained dialogue and comically heavy-handed metaphors. But here, working with Vanessa Taylor (whose major credits include a handful of Game of Thrones episodes and a Meryl Streep romcom), he has produced his best work since Pan’s Labyrinth. A complex character study, loaded with wit, and a truly out-there love story borrowing from 1950s B-movies and Beauty and the Beast, The Shape of Water shows tireless craft (amazing, rust-encrusted sets, plays with light, splendid music), and is held aloft by the quality of its performances, particularly Sally Hawkins as a mute janitor at a government research lab who rescues, and falls for, a South American fish-man creature. Michael Shannon’s villain is as under-baked as all of del Toro’s villains (although the actor, as always, acquits himself admirably), but otherwise the writing is stellar, and builds to a beautifully realised finale.

15. Three Billboards Outside Ebbing, Missouri

Martin McDonagh has always revelled in being an outsider – his most famous works, plays set in the West of Ireland, derived from his visiting his extended family as a youth, observing the peculiar and exciting linguistic flourishes that he magnificently retooled into hilarious, mean-spirited tales like The Beauty Queen of Leenane. Here he has bitten off more than he can fully masticate, with a Midwestern setting that he is perhaps too much removed from to fully capture. But what he’s done remains an exceptional entertainment, darkly imagining the war of printed words between a bereaved mother and a well-intentioned sheriff, who she holds responsible for the failure to capture the brutal killers of her daughter. The characters and situations are larger-than-life, with performances (Frances McDormand, Woody Harrelson, and Sam Rockwell especially) to match. Its contemplation of redemption for racist, Red State caricatures feels ill-timed in an angry, polarised America, but the strength of the dialogue and the crisp texture of Ben Davis’s cinematography make it a film difficult to deny in its quality.

14. Marjorie Prime

Yes, yes, yes, it’s just a play I hear you say, but when a play is this good, when it’s this well-written, this cogent and timely in the issues it addresses, the medium feels irrelevant. Adapted from Jordan Harrison’s stage drama with minimal flourish by Michael Almereyda, Marjorie Prime looks at a near-future where the grieving process is aided by memory uploads of the departed, appearing as interactive holograms of them at whatever age the customer chooses. Too introspective and quietly sad to be a Black Mirror instalment, it’s a heart-rending look at memory and regret, acted superbly by its four stars, Lois Smith, Jon Hamm, Geena Davis, and Tim Robbins.

13. Your Name

A record-smashing success both at home in Japan and around the world, writer/director Makota Shinkai’s Your Name is a romantic fantasy comedy that pushes in every direction – a huge emotional impact; shocking supernatural twists; big, silly laughs – while even challenging the likes of Studio Ghibli in the quality and richness of its animation and colours. Billed as a teen body swap tale, initial gender gags give way to a deeply satisfying romance and ethereal revelations. If the many subplots seem tired or convoluted, they all wash away in the image of two star-crossed lovers meeting for the first time across the flare of a setting sun.

12. Dunkirk

The sort of cinematic grandeur that Hollywood has forgotten in the wake of CGI city explosions, Christopher Nolan’s Dunkirk is simultaneously experimental and defiantly old-school. Recreating the famous naval escape of WWII in breath-taking 65mm IMAX, Nolan’s film is a triptych edited out of sync, revealing days on the beach, an afternoon on the sea, and one terrifying hour in the air. Hans Zimmer’s thrilling score ticks with intensity as time runs out for the soldiers. The pressure builds in all three stories as they meet at the day’s end, culminating in a cathartic welcome home, accompanied by Churchill’s most famous address. This is the war movie at its most ambitious, even if the characters’ screentime is too diluted to ever truly feel in the thick of it with any of them.

11. The Florida Project

Following his impressive Tangerine, a film famously shot entirely on an iPhone, Sean Baker’s Florida Project is mostly crisp, bumblegummy 35mm. An affecting look at childhood in poverty, and a savage critique of the selfie generation’s self-absorption being anathema to parenthood, this is a minor triumph of humanism, with Brooklynn Prince and Willem Dafoe as neighbours, decades apart in age, neither of whom allow the minor tragedies of daily living scuttle their enthusiasm or hopefulness. A finale that dips into magical realism both looks and feels out of place, but it barely leaves a dent in this dramatic and regularly hilarious work.

10. Blade Runner 2049

Few were more sceptical than me at the idea of a new Blade Runner sequel/reboot/anything. But on the heels of the splendid Arrival, Denis Villeneuve had more than proven his sci-fi chops. What we got was a shocking success, building on the mythology of the Philip K. Dick universe, while somehow reinforcing the mystery around Rick Deckard’s humanity, questioned at the close of Ridley Scott’s original, leaving it satisfyingly unanswered. The exquisite production design and imagining of future technology that both aids and alienates made it a new dystopia, not a rehash. The cast, from Harrison Ford and Ryan Gosling, to exceptional supporters Robin Wright, Ana de Armas, and Sylvia Hoeks, brought more than could be expected to a thought-provoking, largely action-free sci-fi gem.

9. Get Out

If any film could vie with Wonder Woman for the title of “most important film” of 2017, it was Get Out. The icing on the cake is what an incredible achievement Get Out is, even before its socio-political satire and revelations are taken into account. The tale of a young African-American man lured into the welcoming abode of an over-eager white family who, secretly, don’t so much want to kill him as be him, latches on to numerous under-spoken-of issues bubbling beneath the surface of post-Obama culture. First-time director Jordan Peele impresses hugely from the get-go, but its his script that dominates, fluctuating with ease between social commentary, brilliant black comedy, and nightmarish horror; apparent throwaway lines of dialogue early on whip back as ingenious foreshadowing of gags and grotesqueries. Star Daniel Kaluuya offers a performance that horror cinema hasn’t seen the likes of in a generation.

8. The Killing of a Sacred Deer

Yorgos Lanthimos continues to revel in his highly personalised brand of faithlessness in humanity, and the results remain inspired. Here suburban inanity is punctured by Barry Keoghan’s intrusive oddball Martin, who forces himself into a pretentiously happy family’s home life, blaming the patriarch, a doctor, for the death of his own father. Lanthimosian performances are emotionally wooden as always, played with bitter somnambulism by Colin Farrell and Nicole Kidman. The moral dilemma at its core is played as a cunning, tormented thought experiment, shifting the movie suddenly from darkly comic to spine-cringingly horrific.

7. Lady Bird

On the surface a semi-autobiographical coming-of-age drama from first-time director Greta Gerwig, Lady Bird is encased in a study of daughters and mothers, and the generational misunderstandings that can blind loved ones to others’ needs. Saoirse Ronan and Laurie Metcalf merge with their characters – the shared frustration with one another is written in every movement of their faces. Unshowy production design keeps the story grounded, while Gerwig’s script and the exceptional editing of Nick Houy make the film as unforgettable as the drama.

6. BPM (Beats Per Minute)

As the AIDS crisis has diminished in the West, it can be hard for some to remember the terror it incited in the early ’90s. In my youth it seemed the greatest threat to humanity in a pre-9/11 world. But for those who feared it, nothing could compare to the experiences of those who lived with it, unsupported, unheard, uncared for. Robin Campillo’s award-winning BPM is a sensational dive into the world of French AIDS activists 25 years ago, gently and caringly listening to their stories and hopes and fears in intimate love scenes, while also making clear the incredible work and organisation done by ACT UP in fighting for the rights and humanity of those living with HIV/AIDS. The acting and writing capture a unique energy with exceptional passion, while the film features perhaps the most outstanding scene transition of the year, as specks of dust caught in the wavering lights of a nightclub morph into human cells, under attack from within.

5. The Teacher

One of the most overlooked films of 2017, Jan Hřebejk’s The Teacher is one of the finest works studying abuses of power in recent memory. Borrowing a concept from 12 Angry Men, it is set at a PTA meeting called to question the future of school teacher Mária Drazdechová, in the closing decade of communist Czechoslovakia. Drazdechová is accused of using her position of authority within the Party to manipulate parents into doing copious favours for her, and bullying her students so severely that one even attempts suicide. Using flashbacks to show their interactions with Drazdechová, while intercutting children and parents to reveal generational (dis)similarities, one by one the parents are convinced to come forward. It’s an astonishing piece of storytelling, and in the title role Zuzana Mauréry dominates the screen, making her one of the most memorable villains of the 21st Century so far.

4. Faces Places

As she approaches 90, but appears to come nowhere near to slowing down, Agnès Varda once again hits the road to traverse France and find the most interesting people she can interview and shoot. Her companion/co-director/partner in crime is 30-something graffiti artist JR, whose portrait photography is blown up to enormous sizes and plastered in the most aesthetically pleasing and surprising places. As Varda’s eyesight fades, the trip and film become a metaphor for what might be her last chance to truly see the world and its people. What begins as a sweet, charming journey, documenting the towns and faces Varda and JR come across, expands into something far greater, about lives lived and not lived, as the duo attempt to confront Varda’s past with two towering male legends of French cinema, her late husband Jacques Demy, and long-time friend turned hermitic curmudgeon Jean-Luc Godard. At her impressive age, Varda continues to push the boundaries of the documentary arts, never losing hope or faith in the real, human magic of the world around her.

3. Phantom Thread

Paul Thomas Anderson has never made a bad film, but his best work always comes with narrow focus; direct character studies rather than sprawling, Altmanesque ensembles. Phantom Thread is his smallest film since Punch-Drunk Love, and features barely more than three characters: fashion designer Reynolds Woodcock, his young muse Alma, and his commanding sister Cyril. What begins as a straightforward melodrama about a woman unable to crack the eccentric brilliance of her much older lover – echoes of Rebecca abound – morphs into a stranger, sexlessly kinkier story about emotional domination. It looks luscious, while Jonny Greenwood’s score is as seductively brilliant as Daniel Day-Lewis’s Woodcock. Vicky Krieps is strong as Alma, but much of the film is stolen by Lesley Manville’s divinely snarky Cyril.

2. Call Me By Your Name

Luca Guadagnino undoubtedly had a masterpiece in him, but it wasn’t clear it would come so soon. His fifth fiction feature, adapted from André Aciman’s novel by the iconic James Ivory, is a quiet and powerful love story set in Northern Italy. Elio, aged 17, meets Oliver, 10 years his senior, his father’s assistant in excavating artefacts from Roman antiquity. What begins as a resistant friendship between two men whose only common trait is a shared Jewish ancestry, erupts into romance through a succession of spoken and unspoken moments – glances of the eyes and the hand against skin. Superbly paced to create the feel of a summer spent falling in love, the story beats with the pain and beauty of first love. Shot in extraordinary sunswept frames by Uncle Boonmee’s Sayombhu Mukdeeprom and accompanied by the delicate bombast of Sufjan Stevens’s music, it is never less than gorgeous. Lead actors Timothée Chalamet and Armie Hammer offer up their impressive bests, but it is Michael Stuhlbarg as Elio’s calmly caring father who leaves the most powerful mark, connecting one boy’s heartbreak to a legacy of unexpressed emotion.

1. The Square

No movie in 2017 dared to tackle as many issues as Ruben Östlund’s The Square, and few movies have ever aimed for so many targets without spreading themselves thin. Whereas his breakout 2014 darling Force Majeure focused squarely on fragile masculinity, The Square encircles that issue in addition to commentaries on homelessness, the immigrant crisis, the incompatibility of art and commerce, the Americanisation of Europe, and casual sex. It is a ruthless satire on the art world that sees Claes Bang’s curator Christian struggling with the titular artwork, which professes to be a sanctuary in which all are equal. But none are truly equal within or without, as power shifts from person to person, from Christian to the thief of his smartphone to the vengeful child inadvertently accused of the crime. A self-revolved artist is overcome by a peer who has turned to animalistic performance, and bourgeois society is at first delighted and almost instantaneously outraged. Christian, perceiving himself a demi-celebrity, argues with a woman he has slept with who won’t let him dispose of the condom they have used himself, convinced she is out to steal his sperm, in surely the year’s most hysterical scene of awkward comedy. The film has so much to say about 21st Century living, and our inability to comprehend much or all of it. It is ruthless and hilarious, ceaselessly entertaining, and a consistently startling work of cinema, pristinely shot, tremendously executed.

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An artist’s interpretation of me telling you how good The Square is

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Oh, and of course, there’s the worst movies. These were works from 2017 that either bored me beyond redemption, entertained me in ways they were never meant to, or left me simply stupefied by their outrageous, unearned out-there-ness. I didn’t see The Emoji Movie, while Justice League was too run-of-the-mill to even bother feeling negative towards, and Transformers: The Last Knight gave us the gift of Cogman, without whom it would surely have made this list.

5. Ghost in the Shell

Narrowly beating Death Note for the misguided anime remake of 2017, Ghost in the Shell brought nothing new to the table, and in keeping a Japanese setting placed a target on its chest for accusations of white-washing. Audiences and critics justifiably struck. Borrowing all its finest images from the source material, its mot inventive creation was to have the Caucasian hero and villain be secret Asian people. In what feels like a lazy Saturday Night Live sketch, characters repeatedly pause to use the terms “ghost” and “shell”, which mean, in this context, as they make very, very clear, “soul”… and “body”. It is agony.

4. Lemon

Another study of an anxious intellectual struggling with the emotional and career success of those around him, Lemon is a mean-spirited, aimless film, relying too much on the muted charisma of its stars. The story reaches no conclusions (nor a reason for there to be no conclusion), while the blown-out yellowed palette exhausts after the first few minutes. There’s much talent here, but all of it is misdirected.

3. The Book of Henry

Behold a child smarter than his mother! Cringe when you should be weeping as he dies suddenly of a brain tumour! Thrill as his mother follows his instructions from beyond the grave to murder their neighbour who is abusing his daughter! Gasp as that abuse is made clear through interpretive dance! That rare example of a movie that simply should not exist.

2. The Mummy

Universal’s self-immolating attempt to create a shared “Dark Universe” of their famous monster characters began (and ended?) with this dour-looking action film which follows Tom Cruise’s uncomfortably quippy hero from the Middle East to London, pursued by a sexy zombie and her army of unspectacular CGI. Tonally scattershot, impossibly dull, mercilessly sequel-thirsty.

1. Baywatch

The lowest point of ironic media repurposing, this painfully unfunny comedy has the audacity to tease a television show that showed more impressive cinematic craft in its opening credits montage than this can in two hours. Smothering the natural charisma of stars Dwayne Johnson and Zac Efron, this bounces from comic set piece to comic set piece with awkward scene transitions and a threadbare drug-smuggler plot failing to hold it together. An extended scene in which Efron’s character must fondle the genitals of a corpse feels like the perfect metaphor for this film: ugly, gross, determined to insult, but just cold and flaccid.

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Oscarhood – Predictions for the 87th Academy Awards

I like to imagine an alternate universe where giant gold men award each other Neil Patrick Harrises for their contributions to the cinematic arts

With your host, Dougie Stinson.

If I’m to understand this correctly, California is the only American state right now not crippled by unnaturally cold February weather. And it’s a good thing too, or this weekend’s Oscars would feature 90 very unpleasant minutes on the white carpet, and those of us on the East Coast wouldn’t have good excuses to hide inside from the snow on a Sunday night.

So yes, it’s Academy Awards time again, that one magical time of the year where everyone cares as much about movies as I do. The theme for this year’s show is “Neil Patrick Harris finally gets to host the Oscars”, so there’s a lot of pressure on the Starship Troopers star to make sure MC stands for ‘most charming’.

Twelve months on from 12 Years a Slave’s deserved win, and 12 years are again a major contender – this time the 12 years of Mason Evans’s life in Boyhood. Richard Linklater’s film is surprisingly lo-fi for a Best Picture contender, but the scope of its production makes it that one-of-a-kind film the Academy occasionally like to acknowledge. But it’s not quite a given yet, with the likes of Birdman, The Grand Budapest Hotel and the struggling British scientist twins Hawking and Turing all viable contenders. There’s been a notable best picture/director split the last two years, also, and although Interstellar has been denied the role of this year’s Gravity, there’s still a good chance of the top film of the night won’t walk away with all the gold.

The big event no one is talking about is The Sound of Music 50th anniversary something-or-other we’re all going to be subjected to because AMPAS have officially run out of ideas for how to throw a party. The only way it’s going to be truly entertaining is if they just play this clip on a loop for five minutes.

 

Anyways, where was I?

 

Best Picture

Free Mason: Ellar Coltrane in Boyhood

Free Mason: Ellar Coltrane in Boyhood

Only eight nominees this time around? What does that say about the movies in 2014? And what was the point of the whole Dark Knight-inspired revival of up to 10 nominees if Interstellar was gonna get shut out? And where the hell is Nightcrawler on this list? Boyhood has all the prestige in its pocket, but it also comes with plenty of fatigue given its summer release and the endless parade of praise since its Sundance debut more than a year ago. It’s a deserving winner though, and it’s hard to pick out a true opponent. Birdman is just that bit too out there to take the prize, and Grand Budapest Hotel suffers from both fatigue and over-whimsy. The Imitation Game and The Theory of Everything would almost be shoe-ins in their own years (although the latter is a far more affecting film than the rather flaccid Turing tale), but I suspect they cancel one another out. Whiplash is terrific, but its real-world appeal is utterly overshadowed by Boyhood’s. American Sniper has courted so much ire and controversy it’s hard to see it taking the top prize, but then I remain astonished it was nominated in the first place – it has to be the weakest BP nominee since Extremely Loud and Incredibly Close. Selma follows a Black History winner last year, and despite some superbly staged scenes just cannot live up to 12 Years; it’s a worthy nominee, but not a deserving a winner.

Should win: Boyhood or Whiplash

Will win: Boyhood

 

Best Director

Period Piece: Ellar Coltrane and director Richard Linklater check out some very dated hardware

Period Piece: Ellar Coltrane and director Richard Linklater check out some very dated hardware

Bennett Miller (Foxcatcher) and Morten Tyldum (The Imitation Game) are the placeholders here, while a win for Wes Anderson would be more a career achievement prize than a win for GBH. Really it’s between Alejandro González Iñárritu and Linklater. Iñárritu has energy behind him after Alfonso Cuarón’s win last year, ut really it’s hard to imagine Linklater not taking this home for committing twelve years to such an ambitious and personal project.

Should win: Richard Linklater or Bennett Miller

Will win: Richard Linklater

 

Best Actor

A Short History of Hawking: Eddie Redmayne in The Theory of Everything

A Short History of Hawking: Eddie Redmayne in The Theory of Everything

This one will go down to the very last vote. Michael Keaton has made an astonishing career comeback with Birdman, and it’s hard to know if he has another performance of this quality in him. But the astonishing physicality of Eddie Redmayne’s take on Stephen Hawking, which pushed through impression into a remarkably affecting conjuring of the scientist, is the sort of prestige performance the Academy adores. Steve Carell, Benedict Cumberbatch and Bradley Cooper can all sit this one out.

Should win: Michael Keaton or Eddie Redmayne

Will win: Eddie Redmayne

 

Best Actress

Forget-Me-Not: The internet assures me this is a picture of Julianne Moore in Still Alice

Forget-Me-Not: The internet assures me this is a picture of Julianne Moore in Still Alice

Julianne Moore seems anointed for Still Alice, although the film escaped me this awards season. Of the three performances I did catch, of Marion Cotillard, Rosamund Pike and Felicity Jones, all were stellar, although Jones did not completely carry her movie as the other two did.

Should win: Marion Cotillard or Rosamund Pike (but probably Julianne Moore?)

Will win: Julianne Moore

 

Best Supporting Actor

Srsly, no jk: Simmons offers a little encouragement to Miles Teller

Srsly, no jk: Simmons offers a little encouragement to Miles Teller

Robert Duvall gets his pat on the back for still being with us and wonderful. Ethan Hawke wins the award for most eternally youthful, so doesn’t need an Oscar. Ed Norton gave one of the finest (and most entertaining) performances of his career in Birdman, while Mark Ruffalo was solid throughout Foxcatcher. But yeah, why am I still writing here? J.K. Simmons dominated Whiplash. This is all his.

Should win: J.K. Simmons

Will win: J.K. Simmons

 

Best Supporting Actress

The single parent trap: Patricia Arquette with Lorelei Linklater and Ellar Coltraine

The single parent trap: Patricia Arquette with Lorelei Linklater and Ellar Coltraine

Emma Stone would be a deserving winner for Birdman, but something tells me (and I think everyone else) that she has a lot more performances of this quality in her. Patricia Arquette, on the other hand, deserves this on the power of her final scene in Boyhood alone, in which she summons millennia of forgotten, neglected womanhood and channels it into a wail lightly tinged with ironic wit.

Should win: Patricia Arquette

Will win: Patricia Arquette

 

Best Original Screenplay

This is a tight one too. It would seem unfair for Linklater to take this, given the script was worked so much on the fly. Anderson has lost momentum too, and assumedly his script says “[funny cameo]” one too many times for it to be taken too seriously. Dan Gilroy’s screenplay for Nightcrawler is one of the most brilliantly dark works to come out of Hollywood in years, but it’s so scathing of the entertainment business it’s hard to imagine it getting a bite. The Birdman gang, whose praise for real artists is found on every page, will take this.

Should win: Dan Gilroy

Will win: Alejandro González Iñárritu, Nicolás Giacobone, Alexander Dinelaris, Jr. and Armando Bo

 

Best Adapted Screenplay

Whiplash would be a very deserving winner here, as would Paul Thomas Anderson, whose Inherent Vice, however incoherent at times, is loaded with punchy scenes and dialogue. This could be where American Sniper takes it, but somehow I suspect Graham Moore’s (lacklustre) screenplay for The Imitation Game will win for simplifying so much complicated science in the manner of a tour guide at Bletchley Park.

Should win: Damien Chazelle

Will win: Graham Moore

 

Best Animated Feature

Bewilderbeasting: A satirical cartoon representing DreamWorks pressuring the Academy to vote for their shitty sequel

Bewilderbeasting: A satirical cartoon depicting DreamWorks pressuring the Academy to vote for their shitty sequel

Why even bother? The Tale of the Princess Kaguya, assumedly Isao Takahata’s swansong, was probably the finest film of 2014. It’s hard to believe any of the Academy’s members even watched it. Song of the Sea was equally as enchanting if not quite as deep or visually mesmerising. But that’s all irrelevant. DreamWorks have shovelled out enough money to claim it for the bog-standard How to Train Your Dragon 2 (a film whose predecessor was superior to Oscar-winner Toy Story 3, back in the day). Likely to be the biggest farce of the night.

Should win: The Tale of the Princess Kaguya

Will win: How to Train Your Dragon 2

 

Best Animated Short

I waaaaaaaan' it! Winston, the hero of Disney's Feast

I waaaaaaaan’ it! Winston, the hero of Disney’s Feast

I’ve only seen Feast so I’m guessing Feast because I want a puppy and now I’m hungry.

Should win: Feast

Will win: Feast

 

Best Foreign Language Film

Ida-ntity crisis:  Agata Trzebuchowska and Agata Kulesza take a break on their journey

Ida-ntity crisis: Agata Trzebuchowska and Agata Kulesza take a break on their journey

Embarrassingly I have only seen Ida of this batch, but it is magnificent. I have yet to read a review of Leviathan that wasn’t overflowing with praise, but really this can only go to Ida, if only for proving that the Holocaust can still be mined for the most exceptional drama.

Should win: Ida

Will win: Ida

 

Best Documentary Feature

Metadata is betta'data: Edward Snowden breaks down some complex coding for Glenn Greenwald

Metadata is betta’data: Edward Snowden breaks down some complex coding for Glenn Greenwald 

Two warzone films (Last Days in Vietnam and Virunga). Two photographer films (Finding Vivian Maier and The Salt of the Earth). And then there’s the astonishing and frighteningly potent Citizenfour. Maier is the only real competition, but as incredible as its subject is the film itself is very blandly thrown together. Citizenfour on the other hand grips like a thriller and chills like a horror. We have to trust the Academy on this one.

Should win: Citizenfour

Will win: Citizenfour

 

Best Documentary Short

I promise one of these years I’ll see one of these, OK?

 

Best Live Action Short

Ugh now you’re just trying to make me feel bad.

 

Best Original Score

What is the sound of science? The big competitors here are Interstellar (Hans Zimmer), The Imitation Game (Alexandre Desplat), and The Theory of Everything (Jóhann Jóhannsson). Criminally locked-out of the major categories, Mr. Turner appears here for Gary Yershon’s score, but like Desplat’s Grand Budapest Hotel score both were less memorable in the face of such exquisite visuals.

Should win: Hans Zimmer or Jóhann Jóhannsson

Will win: Jóhann Jóhannsson

 

Best Original Song

Hey did you notice how I managed not to piss and moan about The Lego Movie getting cut out of Best Animated Feature? Well now I’m gonna! Because that was bullshit. But just because it was cut out does not mean it should be patronised with a bonus Oscar elsewhere. ‘Everything Is Awesome’ is amazing fun, but musically and thematically John Legend and Common’s ‘Glory’, from the also largely overlooked Selma, is probably the more deserving winner.

Should win: ‘Glory’

Will win: ‘Everything Is Awesome’

 

Best Sound Editing

Hey look the third Hobbit movie got a nomination for something! But no seriously fuck that movie. Birdman gets this.

Should win: Birdman

Will win: Birmdan

 

Best Sound Mixing

Oh right! The other sound one! This will be tight between Birdman and Whiplash, but I suspect the former has it as it goes for a minor technical sweep.

Should win: Birdman or Whiplash

Will win: Birdman

 

Best Production Design

Box art: Tony Revolori and Saoirse Ronan in The Grand Budapest Hotel

Box art: Tony Revolori and Saoirse Ronan in The Grand Budapest Hotel

I’m sure I’ve made it very clear I am no fan of Wes Anderson’s latest, but even I think it would be criminal to let The Grand Budapest Hotel be beaten here, unless it was by the sensational Mr. Turner. But no, give it to Adam Stockhausen and Anna Pinnock, seriously.

Should win: The Grand Budapest Hotel or Mr. Turner

Will win: The Grand Budapest Hotel

 

Best Cinematography

Flight the power: Michael Keaton takes to the skies in Birdman

Flight the power: Michael Keaton takes to the skies in Birdman

Emmanuel Lubezki’s work on Birdman was that film’s greatest draw, but with a win for Gravity last year and up against the likes of Grand Budapest, Ida, and Mr. Turner it’s hard to just hand it to straight to him. But the Academy will.

Should win: Emmanuel Lubezki, Łukasz Żal and Ryszard Lenczewski (Ida), or Dick Pope (Mr. Turner)

Will win: Emmanuel Lubezki (Birdman)

 

Best Makeup and Hairstyling

Skin-jobs: Dave Bautista and Zoe Saldana show off some impressive full-body makeup

Skin-jobs: Dave Bautista and Zoe Saldana show off some impressive full-body makeup

Steve Carell’s nose takes on Dave Bautista’s full-body tattoos. You just never know which way the Academy will go. I suspect the tremendous goodwill towards Guardians of the Galaxy will see it through.

Should win: Guardians of the Galaxy

Will win: Guardians of the Galaxy

 

Best Costume Design

Purple pros: Ralph Fiennes comforts Tilda Swinton in the lift of the Grand Budapest Hotel

Purple pros: Ralph Fiennes comforts Tilda Swinton in the lift of the Grand Budapest Hotel

This is the sort of place outsiders like Mr. Turner or Into the Woods could sneak one through. Even Maleficent got a nod here. If we take it the fairytales cancel one another out, that throws the period dramas up against one another. Inherent Vice could take it for cool, but I’d put my money on another win for the look of Grand Budapest Hotel

Should win: Inherent Vice

Will win: The Grand Budapest Hotel

 

Best Film Editing

There’s only two choices here: Whiplash for rhythm, or Boyhood for scope. If Boyhood doesn’t take this early, the rest of the night could go very differently to what’s expected, and you may then dismiss the entirety of this article.

Should win: Whiplash

Will win: Boyhood

 

Best Visual Effects

Spirit in the sky: Star-Lord's ship the Milano flies over the planet Xandar

Spirit in the sky: Star-Lord’s ship the Milano flies over the planet Xandar

This is like making me choose between my children. I cannot remember the last time I would be delighted for any of the nominees to win. Captain America: The Winter Solider – fantastic. Dawn of the Planet of the Apes – fantastic. Guardians of the Galaxy – fantastic. Interstellar – fantastic. X-Men: Days of Future Past – fantastic. Not only are they great effects films, but they’re also probably the five best blockbusters of last year, with films like Transformers 4 and The Hobbit 3 getting deservedly cut. I dunno, I just want to congratulate the winner and move on.

Should win: Guardians of the Galaxy or Interstellar

Will win: Guardians of the Galaxy

 

And that’s all there is. I wish I could predict which winners will be booed or orchestra’d off the stage, but that’s a very different kind of Oscar prediction. We’ll know around this time tomorrow night anyways… See you back here then!

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