It’s that time of year again,
folks; the biggest event in every film-goer’s calendar, Oscar night. In the
early hours of Monday morning (for me, at least), the 88th Academy
Awards ceremony began, and the world finally got to see who and what had been
chosen as the supposed ‘best’ of 2015’s cinematic output. While I wasn’t able
to watch the ceremony, I did keep up with the live results via social media and
several different websites covering the event (unfortunately, the BBC’s live
feed cut out around 2am, so yes, I basically spent several hours continually
refreshing IMDb’s homepage). For those who missed it and for those who want to
hear my opinion on the winners, here you go! I won’t comment on the ceremony
itself, since I didn’t see it, and I probably won’t cover every category either:
just the one’s I have an opinion on. You guys know the drill, on with the show.
Best Supporting Actress
I’m still bitter over Ex Machina being snubbed for so many
awards that it should have at least been nominated for, so it made me happy to
see Alicia Vikander win an acting Oscar. Ok, so it wasn’t for Ex Machina, but at
the end of the day, she still has an Oscar, regardless what film she won it
for, so what I’m saying is that I’m counting this as a win for Ex Machina, and there’s nothing anyone
can say to persuade me otherwise.
Best Actor
The whole world waited with
baited breath as the Best Actor winner was announced, everyone on the edge of
their seat, the big question turning in their minds: “Will we have to put up
with another year’s worth of memes about Dicaprio and his Oscar?” Thankfully
not, as the Academy finally honoured Leo’s obvious talent and gave him the
award we’ve been collectively coveting for him for the past couple of years, to
the sound of a thirty second standing ovation. It was a very warm and emotional
moment, and while Leo’s speech about climate change seemed a little off-topic,
this will probably be one of the most memorable Oscar moments of this decade.
Did he deserve the award? Yes. For this film in particular? Sure. While I
wasn’t a massive fan of The Revenant (yes,
I have finally seen it), Leo’s performance, while fairly minimalist, at least
dialogue-wise, was still a tour-de-force of emotion and borderline-savagery.
And when considering his other roles as well, it’s almost impossible to deny he
is a versatile actor.
Best Makeup and Hairstyling
Mad Max: Fury Road swept almost all of the technical awards, with a
grand total of six Oscars by the end of the night, more than any other
nominated film, most notably The Revenant
and it’s measly three. And while Mad
Max: Fury Road was technically excellent, I am slightly hung up on makeup
and hairstyling. It was great, don’t get me wrong, but I feel this is one The Revenant should have taken, in
particular Leo’s grisly injuries and matted hair seemed particularly
impressive. Let’s face it, the hair in Mad
Max: Fury Road wasn’t exactly plentiful or particularly complex. On another
note, it does make me happy to see the actual best film of 2015, one that was a
genuinely impressive and memorable film and not Oscar bait, has gone on to win
the most Oscars. It shows a positive step for the Academy, even if these were
only technicals.
Best Music
I’ve snowballed two categories
into one, here. First, original score, and it’s about damn time Ennio Morricone
won an Oscar. One of my absolute favourite cinematic composers (arguably better
than John Williams), Morricone has done hundreds of memorable film soundtracks,
including The Good, the Bad and the Ugly,
Once Upon a Time in the West, and Tarantino’s latest string of films.
Working since the early 60’s and still going strong, it’s about damn time
someone handed this genius an Oscar. Secondly, original song. I’ve already
stated my opinion of Writings on the Wall,
but I don’t mind it winning. Could be worse: could’ve been Fifty Shades of Grey.
Best Production Design
As much as I feel Ex Machina should have received a
nomination, I feel out of the nominees, The
Martian should have snagged this one. Yes, I’ve seen that one now, too. It’s
difficult to choose which one should have got the Oscar, since both had equally
impressive and interesting looks, but judging on the juggernaut that Mad Max: Fury Road proved to be, it
probably wouldn’t have hurt to give The
Martian one of its seven nominations.
Best Visual Effects
EX MACHINA! WOOO! Ok, Nick, calm yourself. So yes, as you’d
probably guess, I was very happy with this win. When choosing between Ex Machina, Mad Max: Fury Road and Star Wars: The Force Awakens, it’s hard
for me to say exactly which one I found most deserving. Partially, I think Mad Max: Fury Road’s use of mainly
practical effects, with CGI just for backgrounds and environments makes it most
deserving, and similarly for Star Wars:
The Force Awakens, in praise of a modern Star Wars film that actually has
practical effects in it. In a perfect world, all three would have gotten the
Oscar, but then in that perfect world, Ex
Machina would have about six nominations, so back in reality, we just need
to make sure Ex Machina actually gets
at least one Oscar.
Best Cinematography
Lubezki won for the third
year in a row, being his second year in a row working alongside Iñárritu, and
he really deserves it. While I am in the minority in thinking that The
Revenant’s cinematography wasn’t his best work, he is easily my favourite
cinematographer at the moment, and I’m glad he’s getting so much attention.
However, I do feel sorry for Roger Deakins. I didn’t see Sicario, but regardless of the quality of the cinematography in
that film, Deakins desperately needs that Oscar. He’s the Dicaprio of
cinematography, having worked on such films as Fargo, Skyfall, The Shawshank Redemption and No Country for Old Men, being nominated
thirteen times yet still no win in sight. Now that everyone’s finished with
Leo’s Oscar campaign, maybe we can now focus on Deakins. Next year, make it
happen!
Best Documentary
Having recently watched
and studied Senna in film studies
(and it is a phenomenal documentary), I am excited to someday see Amy: it’s made in the same style, using only
archive footage, and if its anywhere as good as Senna, it’ll be well worth watching.
Best Directing
I’ve figured out that Best
Director is basically the Academy’s version of a Best Picture runner up. Which
may go towards settling James Gunn’s angered tweet about the director Oscar
going to a different film than best picture, but doesn’t quite explain why Whiplash didn’t get it last year (as
that was easily at least the second best film that year). Anyway, with this in mind, it makes logical sense to me that The Revenant got it. Not only is Iñárritu a fantastic
director anyway, but The Revenant was
a very popular film that didn’t quite fit in the mould of conventional best
picture, so the runner up prize allows them to still honour it, while leaving
the top place open for….
Best Picture
…Spotlight! Told you so! In fact, not only did I mention in my last
post that this was most likely to win after The
Revenant, but in the days running up to the ceremony when discussing
predictions with friends, I went so far as to make Spotlight my official prediction. What exactly tipped me off? Well,
between this and The Revenant, this
seemed much more in line with what the Academy usually vote for: it’s much more
topical and current in terms of its story and subject matter, features slightly
older actors and while both may be based on true stories, I think Spotlight is probably much closer to the
events that inspired it. So, as you may have guessed, I’m pretty satisfied with
that one. Haven’t actually seen Spotlight
yet, of course, but I may rectify that in the coming weeks if I get the
opportunity.
And there we go! That wraps it up
for another year. A Muse Retrospective will
resume shortly (Part 2’s been taking a while, since it just broke 2000 words).
In the meantime, enjoy the best that cinema has to offer. No no, not the Oscar
films; I was talking about The Room. Obviously.
