The Oscar Quest: Best Picture & Best Director – 2009
Our last one. Our most recent one. Also our most contentious one because it is the most recent one. So, I’m not going to spend too much time on this one. I’m just gonna say my thoughts on each movie as briefly as I can, and elaborate in a few years.
Best Picture – 2009
And the nominees were…
Avatar (20th Century Fox)
The Blind Side (Warner Bros.)
District 9 (TriStar Pictures)
An Education (Sony Pictures Classics)
The Hurt Locker (Summit Entertainment)
Inglourious Basterds (The Weinstein Company, Universal Studios)
Precious: Based on the Novel “Push” by Sapphire (Lions Gate Entertainment)
A Serious Man (Focus Features)
Up (Walt Disney Pictures, Pixar Animation Studios)
Up in the Air (Paramount Pictures) (more…)
The Oscar Quest: Best Picture & Best Director – 2008
It’s weird to think I actually agreed with the Academy. But don’t worry, it’s only to a point. I only agree with them based on what they chose from the nominees. I’d have nominated a totally different set of films. But isn’t that how it always is?
This counts as a landmark year in terms of Best Picture history. This is the year that changed everything. Who’d have thought that all because of a comic book movie the Academy would change a system that had served them fairly well for 66 years. Granted, it was a long time coming. The Academy was mired in a boring Baby Boomer-lead set of years, where the boring, conservative fucks that were dominating the mindset of the country were essentially the major voices in the Academy. Don’t get me wrong, Hollywood is more liberal than the rest of the country, but you can see the lack of creativity in the choices as the years went on. The older people get the more they revert to “tradition” and just lost touch will the younger group of films.
Overall, I can’t totally fault the decision-making in the 90s, since, a lot of the Best Picture nominees were actually pretty good. But in the 2000s, there are a lot of boring, typical “Academy” choices that really give you the sense that the majority of the members were clearly over 50 and were losing touch with things. Things came to a head in 2005, when the younger generation really were like, “Okay, this is too much,” and sort of took over. Then you had that run of nice films from The Departed to No Country for Old Men and then here to Slumdog Millionaire. However, through it all, you still saw Old Hollywood rearing its ugly head. None more obviously then when The Reader, a film almost nobody thought was a worthy Best Picture nominee, beat out the likes of The Dark Knight and Wall-E to take that final spot. I didn’t feel as strongly about Dark Knight as a Best Picture nominee as everyone else did (mostly because I liked Wall-E more, but it’s still a brilliant film), but in terms of this list, I’d definitely have included it instead of The Reader. But, its exclusion from the nominees was a big letdown — you could actually see the President of the Academy’s dismay when they went they announced Frost/Nixon as the second nominee. (more…)
The Oscar Quest: Best Picture & Best Director – 2007
This was a tough year. One where, even though I’d have voted a different way on Best Picture, you really can’t fault their decision too much (or can you?). I thought these five were a really strong set of nominees. Personally I’d have gone another way with the fifth nominee, but, the Academy is the Academy. Still, these five are all good films. Good job, Academy, for picking well. And good job, Hollywood, for giving us the best year probably in all the 2000s.
Best Picture – 2007
And the nominees were…
Atonement (Focus Features)
Juno (Fox Searchlight)
Michael Clayton (Warner Bros.)
No Country for Old Men (Miramax, Paramount Vantage)
There Will Be Blood (Paramount Vantage, Miramax) (more…)
The Oscar Quest: Best Picture & Best Director – 2006
The year justice was served. Though the dish is best served warm, this one felt more reheated. They kind of just went through the motions here. They were like, “Fine, we’ll give Marty the fucking Oscar.” I’m not complaining, though. He’s deserved it like ten times over already. I think they felt the need to give him Best Picture to so they can be like, “If we give him Best Director for a Best Picture, then its like we set a benchmark and we have an excuse for not giving it to him all those other times.” But, whatever, this, to me, were actually perfect decisions. They voted for the best picture on this list. I’d have nominated some other films, but, you know, take what you can get.
Best Picture – 2006
And the nominees were…
Babel (Paramount Vantage)
The Departed (Warner Bros.)
Letters from Iwo Jima (Warner Bros.)
Little Miss Sunshine (Fox Searchlight)
The Queen (Miramax) (more…)
The Oscar Quest: Best Picture & Best Director – 2005
And here we go. The category that caused a thousand scandals. I remember this race fondly. I had seen almost all the films (except Munich, which was released like three days before the ceremony, essentially), and knew the race was essentially between Brokeback and Crash. Now, I had enjoyed Crash. Didn’t love it, but I enjoyed it. And Brokeback — I had seen right around the time all the hoopla had just started to begin.
Now, let me say this now — I never understand why people get so fucking crazy about films like this. Brokeback and The Kids are All Right are two films that deal with gay characters and do so in a casual way. For the most part. They’re gay, and that’s it. They’re obviously wildly different films, but for some reason, just because they’re dealing with gay characters, everyone seems to think that makes the films incredibly better. In the case of The Kids are All Right, I didn’t get it at all. That, to me, was a marginally decent film where the main characters just happened to be gay. Other people saw that and were like, “Oh my God, they’re gay and they’re normal!” And were heralding it the best movie of the decade just because someone treated a gay character the way they’re supposed to treat them — like everyone else. Brokeback, though, is the better film, and I can actually see why it should have been nominated for Best Picture. But seriously, winning? Are you serious? Nothing happens! They go into the woods, do nothing for an hour — there are random little episodes like running into a bear and maybe they say like ten words here or there — and then randomly, they fuck. Dude spits on his hand though, and that’s awesome. But still, they fuck, and then they become lovers, and then they go home. And they marry women. And we see them marrying women. Then their lives are miserable except when they see each other, and we see their lives fall apart. In a way this is kind of like Blue Valentine with an extra half hour of run time. And cowboys. I see why this was good from a “genre” perspective — though it’s really not a western. I mean, it kind of is, but also isn’t. It’s a marginal western at best. I really don’t get why this should have won Best Picture, at all. And to be fair, Crash shouldn’t have won either.
I will say, before I tell you what I think should have won instead (though it should be woefully obvious when you see what the five nominees are and what I’ve already said about them), going into Oscar night, people weren’t entirely sure what was going to happen between these two, and it went right down to the wire. I had been rooting hard for Crash at this point — not because I loved the film but because I hate rooting for the huge favorite, especially since I didn’t even love the film all that much. Whatever love I had for it went right out the window once everyone went ape shit over it. But, when Best Picture was going to be announced, and they had Jack Nicholson come out with the envelope, I knew then and there that Crash was going to win. I even remember saying, the second that happened, “I would lay all the money in the world in Crash winning right now — because there is no way Jack Nicholson would ever announce that a gay cowboy movie had just won Best Picture.” It just didn’t fit. Plus now, I have that image in my head of Nicholson saying, “Crash,” in that Nicholson way of his. I just wanted to relay that story. It’s very memorable for me. (more…)
The Oscar Quest: Best Picture & Best Director – 2004
If there were ever a corollary year for Best Picture to this one, in the last decade (because 1998 is obviously the best) 2004 is it. Obviously 1998 fits better, as the film that won is a big, lush period piece campaigned for hard by Harvey Weinstein that beat a film that was regarded at the time, and still is regarded, as a modern classic. The jury is still out on whether the film that got beat is a modern classic, so, that’s why I go with 2004. A film that plays right into the Academy’s sensibilities, using emotion to mask a general blandness, instead of brilliant filmmaking. That much can’t be denied. As it stands, the film that is going to lose Best Picture, despite being the critical and social (based more on the pun than the actuality. I really don’t know what the idiots like or don’t like) choice, will be great filmmaking losing to a film that’s meant to be “emotional” (which, it didn’t make me cry, which, I cry at Speed Racer — love that movie).
Makes no goddamn sense. But, the only thing that matters is personal opinion, and that’s theirs. Now I get to have mine.
Best Picture – 2004
And the nominees were…
The Aviator (Warner Bros., Miramax)
Finding Neverland (Miramax)
Million Dollar Baby (Warner Bros.)
Ray (Universal)
Sideways (Fox Searchlight) (more…)
The Oscar Quest: Best Picture & Best Director – 2003
Was there really any surprise here?
Best Picture – 2003
And the nominees were…
The Lord of the Rings: The Return of the King (New Line Cinema)
Lost in Translation (Focus Features)
Master and Commander: The Far Side of the World (Fox, Miramax, Universal)
Mystic River (Warner Bros.)
Seabiscuit (Universal, DreamWorks)
Return of the King — Clearly worth it. The entire trilogy gets one big Oscar. That’s absolutely fine, because it is a brilliant piece(s) of filmmaking. Sure, the CG is dated, but it’s still a great feat that deserved some recognition. No one can really disagree with this one.
Lost in Translation — A great, great film, but not one anyone can vote for knowing Rings is also involved. It deserved the Screenplay win and all the good will people have toward it. It is a great movie, but never a Best Picture winner. This is exactly how it should have ended up. (more…)
The Oscar Quest: Best Picture & Best Director – 2002
2002 was a pretty good year for American film. I know that’s not necessarily represented in the Best Picture nominations (well, it is, kind of) — but there were certainly a very fair share of good and even great films that came out — some of which still get very repeated play in my house.
I will say though — this was kind of a dead year for Best Picture. It was clear they were waiting for the end of the trilogy to award Rings — to the point where Peter Jackson didn’t even get a Best Director nod. That and, with the amount of campaigning Harvey did for Gangs, it pretty much led everyone away from voting for it. Not that they’d have voted it Best Picture — it’s great and all, but it’s kind of an unwieldy mess. But to go against Marty for Best Director — ooh, that hurts. And it’ll hurt again in 2004. But, without those two, it’s really a dead year. Those other three really aren’t Best Picture material.
But, it’s important to note that Miramax had three of the five nominees here for Best Picture. Three. And John C. Reilly is in all three of ’em. Add that to the fact that Two Towers was clearly not winning, and Harvey and Bob had a 75% chance of winning Best Picture. So, they can say all they want about him campaigning too had for Gangs, but essentially come Oscar night, the fight was between his two other pictures. He was all but assured this one no matter what he campaigned for. He even got a Best Actress and Best Supporting Actress out of the deal. That man’s a fucking genius. (more…)
The Oscar Quest: Best Picture & Best Director – 2001
I say 2001 was a bad year for film, and it’s hard to disagree with that fact. Sure, there were some good movies, but not many Oscar movies. We got our first Harry Potter, we got Monsters, Inc., we got Shrek. But none of these will ever get (well, now…) nominated for Best Picture.
But, here are the good pictures from 2001 that did not get Best Picture nominations (some you may feel aren’t worthy, but, when you look at them, you can see why they would, could or should — rhymes — be in contention):
A.I. Artificial Intelligence, Ali, Amélie, Black Hawk Down, Mulholland Drive, Pearl Har…uhh…never mind, and Training Day.
I actually thought there would be more. That kind of made my argument for me. Sure, this doesn’t absolve the Academy for not nominating some of these, mostly — well, really just Amélie and Mulholland Drive, but we knew Lynch was too much of a mad genius for the Academy. The lack of Amélie love really surprises me because they nominated a foreign film just the year before this.
Also, the reason there’s such a problem with what won is because the film that probably should have won had a caveat to it. (The whole, ‘There are two more of them coming out, and we’d probably be better off just giving them the awards at the end of it as an accomplishment deal instead of giving it to the first one.”) (more…)
The Oscar Quest: Best Picture and Best Director – 2000
2000 was an interesting year for the Oscars. And the industry in general. They were coming off an incredible year for motion pictures in 1999. Just to recap, look at this list of movies that came out in ’99:
- American Beauty
- American Pie
- Analyze This
- Any Given Sunday
- Baby Geniuses
- Being John Malkovich
- The Blair Witch Project
- Blue Streak
- Bowfinger
- Bringing Out the Dead (more…)
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