This is one category that Academy did a pretty good job in to begin with just in terms of nominating the best two sounding films of the year. In terms of Roma and First Man I'll give the former the slight edge just in terms of how it manages to mine so much impact from its use of essentially any sound in any setting to contribute to the visual and audio storytelling, though First Man does this too in a different, more grand, no less impressive way. Other highlights: the fantastic action sound editing in the likes of the latest Mission Impossible and likewise in an animated format in Into the Spider-Verse, the brilliant use of it for horror effects and sounds (or lack thereof in the latter) in Hereditary and A Quiet Place, the pitch-perfect if understated work of Blindspotting and Burning, the unquestionable technical aptitude of Buster Scruggs extending to capturing every sound of the Wild West beautifully particularly in the Tom Waits section, and last but not least Leave No Trace, which in an incredibly subdued fashion uses sound and silence, both in the wilderness and in the 'real' world, to create such great contrasting tones, and in that downright brilliant final sequence the use of nature sounds to make for a rather startling, somewhat unexpected emotional impact.
Best Sound Mixing
First Man
Roma
Burning
The Ballad of Buster Scruggs
A Quiet Place
Mission Impossible - Fallout
Mandy
The Favourite
Isle of Dogs
Cold War
The sound mixing in A Quiet Place and Burning are particularly remarkable works of art in themselves, as both contribute so much to the respective atmospheres of their films, 'creepy' for sure but in the case of the latter in particular, going so much further beyond just that. Mandy is a great instance of using the mix of jarring sounds and ethereal music, and sometimes the other way around, to create an atmosphere all of its own, same with The Favourite and to an extent, Isle of Dogs, while Cold War combines song and sounds to impeccable effect, and Mission Impossible fisticuffs, bangs, crashes, everything galore to equally evocative effect. Buster Scruggs once again is an impeccable concoction of score and sound, particular mention must go to any of the Comanche attacks, and the Buster Scruggs songs, which all feel as if they're just playing right in front of you while the score feels very much in place. My top two are again a great top two, but I'll go with First Man here pretty easily, it's been awhile since I've seen such an incredible combination of score and sound throughout the film, not just in the big scenes, but I love touches like to the press conference scenes, and that incredible finale I just cannot talk enough about.
The makeup work in transforming Nicole Kidman here was apparently quite minimal, and I'd say perhaps all for the best actually - while I have problems with the film, I was very relieved there were no distracting prosthetics to differentiate between 'old' and 'young' Kidman (and actually I'd say this is the better of her two films this year in this regard, with her wig in the excellent Boy Erased actually being a bit distracting, but that's a nitpick).
9. Sorry to Bother You
Most of the notable work done in this regard is with Tessa Thompson's Detroit, and in that regard she certainly does stand out just through the makeup work and hairstyle she sports alone. Of course, everything else is done well too, and though I don't like the third act of the film that much the makeup work in that regard is certainly impeccable.
8. Vice
Most of the physical transformation into Dick Cheney was done by Bale himself, but the makeup work that aids him is certainly impressive, particularly in the later stages of his life, and one of the better aspects of the film.
7. Mary Poppins Returns
The use of makeup and wigs to perfect Emily Blunt into Mary Poppins while giving her her own distinct from Julie Andrews look is terrific, again subtle work that never draws attention to itself, it just seems right. And all-around, fantastic work down to the smallest extra. And how did they get Dick Van Dyke to look exactly like Dawes Sr. in...oh, wait. Well, kudos to Dick Van Dyke then anyway.
6. The Ballad of Buster Scruggs
Hate leaving this off the top 5, as the work done here is superb, perhaps most notably in 'Meal Ticket' where the Artist's clownish makeup effectively conveys so much about his character in one go, and whatever they did to Jonjo O'Neill to make him so utterly creepy looking in such an unassuming way in 'The Mortal Remains', well done.
5. Hereditary
Now this is absolutely phenomenal work in almost every regard, and I could go higher on this list if not for the fact that I really was not a fan of how some of these makeup effects were used. A very personal nitpick for sure, but this is honestly horror makeup done at its best, with some truly nauseating, haunting moments created through the use of gore, but also a bit more than just that.
4. Stan & Ollie
Well this is all about ensuring that Steve Coogan and John C. Reilly look like Stan Laurel and Oliver Hardy. Well Reilly is pretty much 100% dead-on, which is remarkable stuff, Coogan's not quite all there in terms of the physical resemblance but given his rather distinct features to begin with it's amazing how they managed to soften him up into Stan (credit to the actor himself too, and to Reilly for that matter).
3. The Favourite
Wigs and white faceprint galore for the boys which all look, for lack of a better word, fabulous, and likewise for the ladies. It's easy to take makeup and hairstyling in period dramas for granted, which you should never do so, with Nicholas Hoult in particularly carrying just an added bit of smarm by that insidious looking makeup of his, and the impeccable work done on Rachel Weisz when she endures a particularly nasty trip through the woods - https://deadline.com/2018/11/the-favourite-nadia-stacey-hair-makeup-oscars-interview-1202504600/
2. Suspiria
I didn't love the film, but I absolutely LOVED the makeup. Just in case you haven't seen the film - guess who this is. No idea? Find out!
1. Mandy
Some of the most ghastly and horrifying makeup work I've seen in a long time, and I mean that in the best possible way. The Children of the New Dawn and the Black Skulls are nauseatingly disgusting in their appearance, while Nic Cage and the way his character's madness is pushed to the brink across the film is supplemented beautifully by the makeup too.
I really need to see Border, by the way.
Best Visual Effects -
Once again, out of laziness, for this section, I will merely make the use of images and videos to show, not tell.
One of the many A Star is Born songs I'll be discussing here, this song is a great transition within the film from the earthlier tones of Jackson Maine's (Bradley Cooper) influence as Ally (Lady Gaga) begins to develop her own personal style. Catchy, upbeat stuff, and the way the film segues into the song is beautiful.
9. 'Level It Up' - Sorry to Bother You
Boots Riley, in addition to making a fine directorial debut here, is the frontman of hip hop band The Coup, and contributed to the soundtrack with some absolutely banging tunes. Though the single that made the Oscars shortlist, 'OYAHYTT', is a fine song in its own right, this is my favourite track, with such a kooky, offbeat energy that is perfectly fitting to the film at hand.
8. 'Always Remember Us This Way' - A Star is Born
I do love it when Gaga goes slow ('Brown Eyes' is one of my absolute favourites of hers), and this is a particularly good example of it. The song is just a very sweet and pleasant listen, with a particularly rousing climax, and though its placement in the film is kinda just 'okay Gaga here's a few minutes where you talk about performing a song then you perform the song', it works entirely.
7. 'Maybe It's Time' - A Star is Born
One of Cooper's solo singles in the film, this is just a lovely old-fashioned ballad that is so simple yet within that simplicity, finds such a poignancy both in its harmony and lyrics in its ironic echo of the 'times a'changing' theme of a man who can do anything but.
6. 'Easy Come, Easy Go' - Blindspotting
David Diggs and Rafael Casal have a particularly striking friendship dynamic that comes across beautifully onscreen, and through music too. Rap is used beautifully throughout the film to create quite the intriguing journey of our central characters (if you haven't seen it, that finale will really shock you), and this song is a killer, as it just seems like something their characters within the film would perform.
5. 'Pray For Me' - Black Panther
While I certainly don't mind that the Academy went for 'All the Stars' in the end, I do always prefer it when an original song is integrated within the film itself (in this case the casino scene), and honestly I just prefer this song on the whole. The combination of the Weekend's vocals and Kendrick Lamar's rap just feels a lot more catchy, and the song itself also perfectly enraptures the film's tone.
4. 'Shallow - A Star is Born
The song that's been taking the world by storm since it appeared in the very first trailer, and rightfully since it is a great song in itself, and also a scene within the film, even though it does require some suspension of belief. I really like the first half with Cooper's vocals leading the way, but what I love is how when Ally's voice comes in it charters the growing confidence of her onstage in a way that feels both earned and cathartic.
3. 'Revelation' - Boy Erased
One of the more unfortunate snubs at the Oscars, as it deserve a nomination over most of its competition. Now one can perhaps question the song's lack of a real emotional 'oomph', but I thought it was perfectly fitting to the nature of the (very underrated) and very reserved yet poignant film it supplements. Although I have reservations about one of the two instances it was used, it is an excellent, powerful song by Troye Sivan (who also stars in the film).
Runner-up: 'I'll Never Love Again' - A Star is Born
I would say that the second half of A Star is Born is weaker than the first half, but what it does absolutely nail is the hard-hitting, tearjerking moments. One of them belonging to Cooper, and the other to Gaga in this final number of the film. It's an absolute knockout of a power ballad that utilises Gaga's voice to its full potential. Although I will admit though I'm a huge fan of the album version of the song, I'm an even bigger fan of how it ends in the film version. WINNER: 'When a Cowboy Trades His Spurs for Wings' - The Ballad of Buster Scruggs
The Ballad of Buster Scruggs closes the first of its six stories with this spectacular song. SPOILER ALERT if you haven't seen the film yet, though I've put in a youtube video which doesn't feature the actual scene itself. I love, love, love the song as this wonderful tribute to the musical westerns of old and this poignant lamenting of the passing of the old order for the new, and perfectly performed by both Willie Watson and Tim Blake Nelson.
Top 10 Soundtracks -
10. Crazy Rich Asians
A soundtrack which hits the good ol' fashioned sweet spot, I will admit a part of me is biased to see a Hollywood film use an almost entirely Chinese language-centric soundtrack. And the best sequence in this regard being Rachel strutting out to the wedding ceremony of Colin and Araminta to Sally Yeh's cover of 'Material Girl'.
9. Creed II
One thing the Creed series has done really well in has been the use of music, striking a fine balance between the Rocky tunes of old and the infusion of the 'new', trendy stuff. Now a lot of this is down to Ludwig Göransson's work which I'll get onto more in a bit, but a lot of credit also has to go to the use of songs. Now in that regard I wouldn't say it's an entirely flawless soundtrack and I'm glad the film itself largely relies on the score for the most part, but the montage sequence involving 'Runnin' is pretty good, as are Tessa Thompson's songs as per usual.
8. Can You Ever Forgive Me?
Now here's an example of a soundtrack that doesn't at all try to draw attention to itself, instead it perfectly helps to amplify the atmosphere of the film in a sort of setting where directors might not always know how to assert their stylistic touches, the 1990s, well Marielle Heller has just the right idea. Solid work on this front which never tries too hard, and does its job immaculately. 7. The Old Man and the Gun
As is typical for a David Lowrey film, the use of music here is fairly exceptional and frequently quite extraordinary. Each song really captures the feel of the old-school mischief of its central character, and honestly making it feel so much like one of those old crime capers of the days yonder. I have to say though, they really missed out an opportunity to have Tom Waits be part of the soundtrack.
6. Deadpool 2
Now this is an interesting one in that the one original song, 'Ashes' by Celine Dion, is fine and just about serves its purpose, but honestly it's probably the least memorable part of the soundtrack. The biggest leap made from the first film is arguably in this department overall. Of course there's the expected ironic use of songs like 'All Out of Love' and 'If I Could Turn Back Time' which are very funny, and I liked the pisstake jokes about dubstep through Skrillex and a surprisingly sweet yet still funny use of Peter Gabriel's 'In Your Eyes'. The highlight though, is its use of a slow version of 'Take On Me', which is the best scene in the film, and not necessarily in the way you'd expect from a Deadpool film.
5. Bad Times at the El Royale
These strangers trapped in one setting films do seem to have cracking soundtracks. And while the concoction here is not quite of that amazing blend Tarantino found in The Hateful Eight, it's still a pretty great blend in that regard. It makes a particularly good use of Cynthia Erivo's beautiful singing voice, that actually contributes really well to the plot, the jukebox tunes are always welcome stylistic choices. In fact thinking more about it, while I didn't love the film overall, perhaps I'm not giving aspects of it the credit it deserves, like Drew Goddard's direction and its use of music in scenes like Billy Lee's entrance is pretty amazing.
4. The Favourite
I actually think the film's soundtrack hasn't received quite enough praise for how brilliantly it implements classical music in such an atypical way for a period piece. From the beautiful use of Vivaldi to emphasise the grandeur to the courtly oppressive air of Luc Ferrari's 'Didascalies', it's just a phenomenal combination of tunes which adds to the film so much. Plus, absolutely love the harphiscord version of Elton John's 'Skyline Pigeon' for the credits.
3. Mamma Mia! Here We Go Again
Alright. I'm not too cool for school. I love ABBA, and I really enjoyed this film - despite finding the first film to be an overly schlocky and maudlin piece of vapid holidaying tripe. There, I said it. But I did really like this - Godfather Part II-esque story structure, the sheer unbridled enthusiasm of everyone playing up the camp, Lily James finally being given a role where she's not just expected to stand there and seem pretty, and of course the soundtrack. Now frankly I felt the songs this time round just carried so much more energy to them, with particular highlights being a very fun take on 'Waterloo', 'When I Kissed the Teacher' is a delight, 'Angel Eyes' is a lot of fun, and they improve on previous renditions - even Pierce Brosnan's singing is put to really good use this time. Also, while it doesn't make sense and its implementation is pretty out of place, I loved the 'Fernando' scene with of all people, Cher and Andy Garcia, and the ending packs quite the punch also thanks to the songs. I'll admit this might not be everyone's cup of tea, but I really took to it.
Runner-up: Cold War
Honestly a film I should probably re-watch as it left me a bit cold initially, though I did admire it. One honestly can't praise it enough on account of its technical elements though, several of which I'll be getting into soon enough, and among them being the magnificent use of music. The way the film plays out as almost an anti-A Star is Born is really quite fascinating through its use of music, as each sequence creates such a coldness that nevertheless feels a sort of connection through each song, each beautifully shot, performed, co-ordinated. It's a marvellous soundtrack.
WINNER: A Star is Born
Need I explain more? Top 10 Original Scores -
10. Spider-Man: Into the Spider-Verse
Daniel Pemberton is a really talented composer, whose best work thus far was probably for Danny Boyle's Steve Jobs. He brings that same sort of kinetic energy here to this rather wild and entertaining ride of a film, and I particularly like the way he distinguishes between the different 'styles' of Spider-Men and Spider-Verses. I have a particular affinity for 'Spider-Team Mission'.
9. Creed II
Once again Adnois Creed's theme is great, great job by Ludwig Göransson as always, and the variations on the original themes are great, and the Drago theme is pitch-perfect (particularly like the music used for the walkout). Its may not reach the heights of the original films or even the first Creed but is notable work in itself.
8. Black Panther
A great deal of credit must go to Göransson (again!) here for breaking free from the Marvel mould and creating a genuinely great score. The Wakanda theme is such a great representation of the setting, particularly in its use of percussion, the 'Ancestral Plane' music is sublime, and Killmonger's theme is particularly great stuff that captures the character perfectly.
7. The Old Man and the Gun
As with its soundtrack, the score by Daniel Hart is such a great old-time bundle of themes that capture that cheeky tone to the proceedings. I have a particular fondness for each of the very low-key pieces used in the romantic scenes between Robert Redford and Sissy Spacek's characters. Unassuming work that fits the unassuming tone of the film perfectly.
6. Mission Impossible: Fallout
Lorne Balfe could've afforded to be lazy here, as honestly the most important thing about any Mission Impossible film is how they use that iconic theme. He doesn't use that as a crutch at all though, and makes use of the music to amplify each action sequence brilliantly, the 'Fallout' variation on the main theme is great arrangement of existing tunes, and the 'Escape Through Paris' is a highlight of the whole thing that makes that whole scene all the more memorable.
5. McQueen
A decent enough documentary about the fashion designer Alexander McQueen that's greatly amplified by its use of the Michael Nyman score, that is honestly a work of art in itself. It creates this suitably grand yet melancholic air that's a fitting tribute to the man himself, and actually accentuates the changing tones of McQueen's own life rather impeccably, from the dark to the light. Plus it's just great to listen to.
4. Halloween
While a bit of a disappointing return to Michael Myers overall, I do think that the score to the film is rather brilliant - and fittingly it's John Carpenter coming back to do it (the best part of the film being the original master, who would've thunk it). It honestly brings the horror of every sequence just on an audible level, and even when the film falters in trying to almost go too ridiculous, Carpenter's old-fashioned yet also refreshing take on his original score, including that iconic theme, is so compelling.
3. The Ballad of Buster Scruggs
Once again, Carter Burwell kills it with the Coen Brothers, and once again he's snubbed for one of their collaborations. Although I can't complain too much with the Academy deciding to rectify their errors of previous years with nominations for his Carol and Three Billboards Outside Ebbing, Missouri work. Once again, this is Burwell at his finest, and might I once again direct everyone to his really lovely website where he discusses his work in-depth http://www.carterburwell.com/projects/Ballad_of_Buster_Scruggs.shtml. Interesting that he considers that he failed to 'tie' everything together with the score, but he really didn't have to in my opinion, as his score for each story segment creates that right sort of distinction between them. I have a particular affection for the sprightly 'Randall Collins' that's perfect for the titular tale, 'Canyon Awake' and 'Goodbye Canyon' that are such great footnotes to the Tom Waits story (which probably has the best tune), the adventurous 'The Oregon Trail' and the heartbreaking 'The Gal Who Got Rattled' that work so well as contrasts within the same story, and those are just the few of the highlights of one of Carter Burwell's great filmography.
2. Mandy
Oh, this is such a great score by the late, great Jóhann Jóhannsson, and most unfortunately his swan song. It's a score that reminds me more than anything of 1980s John Carpenters, that is honestly a level above the (pretty good) film. It's a real talent who can compose something as downright ominous as 'Sand' and 'Dive-Bomb Blues' while bringing such eerily tender composure to the Love Theme for the titular character, or the concluding 'Children of the New Dawn'.
WINNER: First Man
While I liked many scores this year, and flat-out adored the ones to Mandy and The Ballad of Buster Scruggs - plus If Beale Street Could Talk unseen that's got astonishing music I've already been listening to - , my choice for score of the year is easily First Man which is perhaps the most egregious snub at the Oscars, especially considering it won the Golden Globe. Justin Hurwitz tops his already incredible work in La La Land here with an extraordinary score that follows that same approach of using recurring motifs in differing contexts.
The use of the theremin has been given notice, and that's an excellent touch that helps to add to the period setting, and contributes so well to the score particularly in 'Contingency Statement' and gives that scene the added punch it requires.
Also worth noting too are nice little atypical touches like the 'Whitey on the Moon' song which Hurwitz collaborated with singer Leon Bridges on, which is not only catchy but a very socially relevant bit to the film.
There's certainly the grandeur that you'd expect from a film of this ilk. From the sense of adventure that bodes with 'Houston', the claustraphobic airs of 'Spin', and perhaps my favourite in the 'Apollo 11 Launch' as Hurwitz builds from such a quiet, whispery beginning to an epic crescendo of glory, fear, anticipation, and sheer wonder.
At its heart though, First Man is a tale of one man's journey, and I thought it was this regard which turns it from from just a great score to a magnificent one. I love how the Armstrongs have their own theme, a beautiful melodic piece which eventually results in 'The Landing' which is just a breathtaking, grand piece that also carries through the underlying themes of Armstrong's love, though repressed, for his family in its recurring use of the Armstrong theme.
While on the other hand you have the quiet grief of 'Karen' and the melancholy of 'Squawk Box' culminating in the double whammy of 'Home' and 'Crater' on the moon. SPOILERS but the music along with the visuals, direction, and performance in these moments create an unforgettable emotional experience.
I should note that the If Beale Street Could Talk score by Nicholas Britell is absolutely gorgeous, I still have to wait till February to see it, but it would definitely make my top 5 just by listening to it alone. I suppose I'll add it back in here when I've formally seen it. Also, they weren't released in 2018 by my release date rules but the scores to Paddington 2, Death of Stalin, and You Were Never Really Here were really fantastic too.
(P.S. if it seems like I've not gone fully in depth into some of the films, performances, direction, technical aspects of film etc. as I usually do here, it may be because I do plan to discuss some of them more in depth in my annual rundown of the Reel and Roll Awards 2018. Stay tuned!) Best Picture
Ranking the nominees (I've seen):
Roma(Gabriela Rodriguez and Alfonso Cuaron)
The Favourite(Ceci Dempsey, Ed Guiney, Lee Magiday and Yorgos Lanthimos)
A Star Is Born(Bill Gerber, Bradley Cooper and Lynette Howell Taylor)
Black Panther(Kevin Feige)
BlacKkKlansman (Sean McKittrick, Jason Blum, Raymond Mansfield, Jordan Peele and Spike Lee)
Green Book(Jim Burke, Charles B. Wessler, Brian Currie, Peter Farrelly and Nick Vallelonga)
Bohemian Rhapsody(Graham King)
Vice (Dede Gardner, Jeremy Kleiner, Adam McKay and Kevin Messick)
A lineup I'm not crazy about, given the wide variety of films they could've chosen with this awards season spreading the wealth quite a bit, the Academy could've afforded to be a bit more daring in its choices, but oh well. Roma and The Favourite are terrific choices, among my most beloved films of the year, the former one of the most transformative and the latter one of the most entertaining. A Star is Born is a great choice for a nomination too, and the best version of the story that's been adapted four times now; I feel like the love surrounding it is quickly dissipating though, it'll need some big wins somewhere to help regain momentum.
Even though I had more than a few problems with Black Panther I'm glad it got a nomination, since it is a good superhero film, and important to a lot of people, myself included. BlacKkKlansman is a bit overrated I think, I wouldn't consider it one of Spike Lee's greatest films, but it's certainly a an effective thriller-cum-social commentary. Green Book and Bohemian Rhapsody both hover around that 'okay-ish' to 'meh' to 'kinda bad' ground, the former is a well-acted buddy comedy for the most part and the latter really nails the Queen performing at Live-Aid sequence, but both are full of problems on various levels, particularly Bohemian Rhapsody. Vice is just dreadful.
Surprises/Snubs:
Eh, Black Pantherkind of was a surprise, I guess, being a superhero film and all? But honestly I was predicting it would get in. Every other nominee had tons of precursors that indicated they'd have a good shot at getting in despite several apparent obstacles for some of them (Green Book and the controversy surrounding its director, one of the screenwriters, and its apparent re-working of Don Shirley's life, Bohemian Rhapsody's behind-the-scenes drama).
As for snubs, on a very personal level I was disappointed that out of the possible contenders, Can You Ever Forgive Me?and especially First Man, two of my absolute favourites this year, didn't get in, though it was always going to be a long shot given the relatively lukewarm reception to both this awards season. If Beale Street Could Talkprobably was the film that just missed the cut, and other pseudo contenders like Crazy Rich Asians and Mary Poppins Returnsmight've hung around the margins, but frankly I think the above eight choices were pretty far and ahead the definitive Academy choices.
My prediction for the winner (for now)?: Roma
Best Director
Clockwise from top: Lanthimos, Cuarón, McKay, Pawlikowski, Lee
Alfonso Cuarón (Roma)
Yorgos Lanthimos (The Favourite)
Paweł Pawlikowski (Cold War)
Spike Lee (BlacKkKlansman)
Adam McKay (Vice)
Alfonso Cuarón's work on Roma is powerful, mesmerising, all-round incredible stuff (just pile on all the adjectives you can think of), my favourite direction of 2018 which I'll discuss more at some point, and I hope he wins his second Oscar for it. Yorgos Lanthimos and Paweł Pawlikowski are both fantastic choices too for their very atypical, outstanding takes on the British royalty drama and the musical love story, The Favourite and Cold War. I didn't love Cold War, but I admired it a great deal and was very glad to see its best elements nominated here. As mentioned I don't think Spike Lee's work on BlacKkKlansman is anywhere near his best, but he does have more than a few brilliant scenes in there (anything directly related to infiltrating the Klan and the intensity of going undercover), I do think he's deserving, and happy that he's made something of a comeback. The only nominee out of these four whose work I wasn't a fan of at all was Adam McKay's work on Vice. It's a shame, I've really liked his studio comedies of the past like Anchorman, The Other Guys, I flat-out love Talldega Nights, but I've really disliked his last two attempts at making 'serious' films (though both this and The Big Short are comedies, kinda). Otherwise a very strong lineup.
Surprises/Snubs:
Bradley Cooper not being nominated for A Star is Bornis perhaps the biggest surprise of all, and Pawlikowski being nominated in his place is perhaps equally surprising (especially since the latter's film wasn't nominated for Best Picture). I imagine this could be a similar case to Ben Affleck and Argo back in the day where it gained lots of awards traction and love, winning Best Picture, but Affleck's direction was ignored by the Academy, probably because lots of voters just assumed he'd get in and didn't vote for him. Some would say that maybe there's a bias towards actors-turned-directors but I wouldn't buy that since two were nominated last year (Jordan Peele and Greta Gerwig), and Peele was a debutant director like Cooper. I wouldn't take this as too much indication that A Star is Bornand its Best Picture chances are gone, but this is certainly worth taking into account.
As for snubs, I loved Damien Chazelle and Marielle Heller's work on First Man and Can You Ever Forgive Me? respectively, and it might've been nice to see Joel and Ethan Coen slide in since the Academy seemed to like The Ballad of Buster Scruggs a lot more than most awards organisations, but these were always long shots. I was predicting that one of Ryan Coogler for Black Panther, Barry Jenkins for If Beale Street Could Talk, and despite the recent controversies Peter Farrelly for Green Book might've gotten in, but I think the recent awards momentum gained by Cold War and Vice not really losing any put the odds against them. My prediction for the winner (for now)?: Alfonso Cuarón (Roma)
Best Actor
Clockwise from top left: Cooper, Malek, Bale, Dafoe, Mortensen
Bradley Cooper (A Star is Born)
Rami Malek (Bohemian Rhapsody)
Viggo Mortensen (Green Book)
Christian Bale (Vice)
Haven't seen Willem Dafoe (At Eternity's Gate) yet. Well this is both a somewhat expected, and rather unexpected lineup. Anyway, Bradley Cooper gives what I'd say is quite easily the best performance in this lineup (that I've seen) in A Star is Born, and I'm very glad that his passion project was awarded in this regard (and I imagine the director snub might actually aid his chances of contending for the win in this category). Rami Malek's portrayal of Freddie Mercury in Bohemian Rhapsody was very strong too, particularly in his 'performance' scenes, and actually managed to stand out from the mediocre-to-kinda bad quality of much of the rest of the film. I was expecting to hate Viggo Mortensen in Green Book but he surprised me by how entertaining he was in a kind of thinly written and somewhat problematic (though nowhere near his co-star in that regard) role, actually creating a genuine character rather than just an Italian-American stereotype. Christian Bale's portrayal of Dick Cheney in Vice isn't bad, he nails the impersonation, but that's about it, a good SNL impersonation. There's no depth to the portrayal of the ex-Vice President, more the script's fault than his, but it really is one of his least interesting performances. Surprises/Snubs:
No real surprises on the awards front. I suppose I would have expected John David Washington for BlacKkKlansman or Ethan Hawke in First Reformed over Willem Dafoe, but I suppose never underestimate the power of veteran status to carry oneself to a nomination, despite the fact that Dafoe was the only nod from his film. Hawke has been carving a storm this awards season through the critics' awards for his performance in First Reformed and it's a damn shame he couldn't pull through in this final stretch - though his snubs at the Golden Globes, BAFTA, and SAG hurt his chances a great deal. Steve Coogan and John C. Reilly actually might've hurt one another's chances by being nominated at BAFTA and the Globes respectively but not together for/in separate categories for Stan & Ollie but again, never even close in all honesty.
There's a lot of other great performances this awards season which I'd have liked to have seen have more of a fighting chance, which I'll get onto at soon, but the complete shutout of Ryan Gosling in First Man, my favourite performance of the year, stings in particular.
My prediction for the winner (for now)?: Rami Malek (Bohemian Rhapsody)
Best Actress
Clockwise from top left: Close, Gaga, Aparicio, Colman, McCarthy
Melissa McCarthy (Can You Ever Forgive Me?)
Olivia Colman (The Favourite)
Lady Gaga (A Star Is Born)
Yalitza Aparicio (Roma)
Glenn Close (The Wife)
Melissa McCarthy in Can You Ever Forgive Me? is a great performance in one of the best films of the year, kudos to the Academy for recognising her employing best assets as a comedic actress while exploring astounding dramatic depths. I could say the same for Olivia Colman in The Favourite, she's been one of the best actresses working for a while, both on television and film, and I'm so happy to see her nominated for her brilliant portrayal of Queen Anne, more on that later. Hopefully she wins.
Lady Gaga in A Star is Born and Yalitza Aparicio in Roma are two great choices for nominations too, both give terrific debut leading turns, without a hint of amateurishness in either performance. Unfortunately, I have to say that my least favourite performance out of this lot is perhaps the most likely to win, Glenn Close isn't bad in The Wife and her last 15 minutes or so of her performance is pretty good, but for the most part this is just one of the least interesting performances she's ever given, especially if you contrast it to say, Dangerous Liaisons.
Surprises/Snubs:
Aparicio was definitely the big surprise for me out of this lineup, and I have to say her nomination helps Roma's chances at a Best Picture win a great deal. I expected Emily Blunt to get in for Mary Poppins Returns but once again, like so many other years, she's gone the route of nailing a great deal of the precursors but falling short at the last hurdle, I certainly hope she'll be nominated some point soon though as she's a real talent (and did Julie Andrews proud as Poppins). Viola Davis also had a very outside shot at the category with her BAFTA nomination for Widows, but that was quite the long shot, as did Toni Collette for her terrific performance in Hereditary, but that was an even longer shot.
No other lead actress performance that I really loved this year really had a chance, Thomas McKenzie in Leave No Trace was campaigned in the wrong category all season long and her film got absolutely no noise on the big awards front, Charlize Theron in Tully was never going to happen despite the critical acclaim, and Carey Mulligan's work in Wildlife was completely absent this awards season, I loved those performances but I suppose I should be happy enough with the lineup as it is.
My prediction for the winner (for now)?: Glenn Close (The Wife)
Best Supporting Actor
Clockwise from top left: Grant, Driver, Elliott, Rockwell, Ali
Richard E. Grant (Can You Ever Forgive Me?)
Sam Elliott (A Star is Born)
Adam Driver (BlacKkKlansman)
Mahershala Ali (Green Book)
Sam Rockwell (Vice)
My favourite performance of this lineup is EASILY Richard E. Grant in Can You Ever Forgive Me?Again I must state, EASILY, my favourite choice. He gives an equal parts heartbreaking and hilarious performance, breathing new life into the 'gay best friend' role, and who wouldn't love to see good ol' Withnail finally win the honour for his acting he so richly deserves? Sam Elliott in A Star is Born though, certainly is no slouch either and gives as great, if short, performance as Bradley Cooper's onscreen brother. A very well-deserved veteran nomination too. Adam Driver in BlackKkKlansman is an interesting choice, one of the least Oscar-y performances I've ever seen in this category in recent years, but Driver is certainly very good, frequently quite funny in his deadpan delivery, and admirably generous in the dramatic moments, in a pretty understated performance as an undercover cop.
Mahershala Ali has some REALLY iffy moments in Green Book, particularly in his drunken scenes, he's really a co-lead here with Mortensen, and the whole character as written is very lacking in its serious elements, but he does have excellent chemistry with Viggo Mortensen, and knocks it out of the park in his two big dramatic moments, but big step down from his phenomenal Oscar-winning work. Same could be said in that regard for Sam Rockwell, who is actually my favourite part of Vice, as he's quite funny as George W. Bush and gives a good impersonation, but is easily my fifth choice in this lineup.
Surprises/Snubs:
This category was particularly annoying across awards season due to its predictability, though there was another prime contender in Timothée Chalamet for Beautiful Boy, though the lack of love shown to his film as a whole (rightfully so, it's not very good) is kind of telling in retrospect. I was betting on Michael B. Jordan to get in for Black Panther and he might've been somewhat close since it was nominated for Best Picture, but lack of precursors definitely hurt his chances. There are notable supporting performances in this category which deserved but never really had a chance here, I'll get onto them at a later point. My prediction for the winner (for now)?: Mahershala Ali (Green Book)
Best Supporting Actress
Clockwise from top left: Adams, Weisz and Stone, de Tavira, Adams
Rachel Weisz (The Favourite)
Emma Stone (The Favourite)
Marina de Tavira (Roma)
Amy Adams (Vice)
Haven't seen Regina King (If Beale Street Could Talk) yet.
Now here's some cases of even more egregious category fraud than Mahershala Ali, as Rachel Weisz and Emma Stone in The Favourite are undoubtedly co-leads alongside Olivia Colman, in fact you could make a far stronger argument for Colman in supporting. Having said that, I have nothing to complain about with regards to their nominations as they give two of the best performances of 2018 which I will discuss in further later on. I hope either of them wins, Regina King unseen, though they've both got Oscars already so perhaps unlikely.
Marina de Tavira is terrific in Romaand gives yet another great performance that helps to amplify Cuaron's vision, plus I do love seeing under-the-radar (relatively speaking) actresses get a boost from this category. Amy Adams, an actress I've frequently liked, often loved, in the past, unfortunately might win this time around for her underwhelming performance in Vice, not so much the performance itself which is fine, but it's just with such a boring and uninteresting 'supportive wife to president' character without much depth.
Surprises/Snubs:
I was banking on Michelle Yeoh making a dark horse entrance with Crazy Rich Asians, alas it was not to be, but I had my reasons. Would've liked to see Claire Foy for First Man here, I loved her like I love pretty much every element of the film. Can't think of any other performances that surprised me with them being snubbed, maybe Nicole Kidman in Boy Erased since she's an awards season darling, but that film got absolutely NO traction whatsoever this awards season. Emily Blunt had an outside chance earlier on in awards season with A Quiet Place and I wouldn't be surprised if she just missed out. Out of the nominees, Marina de Tavira is definitely the biggest surprise, I had no idea she was even in contention, and I'm sure even the most seasoned awards season expert was probably surprised. My favourite performance in this category comes in a film which was completely shut out, I hope to discuss it in greater depth in a future post.
My prediction for the winner (for now)?: Regina King (If Beale Street Could Talk)
Best Original Screenplay
Clockwise from top left: Ethan Hawke (First Reformed) and Schrader, Cuaron, McKay, Davis and McNamara; Vallelonga, Farrelly, Currie
The Favourite(Deborah Davis and Tony McNamara)
Roma (Alfonso Cuaron)
First Reformed(Paul Schrader)
Green Book(Nick Vallelonga, Brian Hayes Currie, Peter Farrelly)
Vice (Adam McKay)
Okay, this is definitely a surprising category. Easily my favourite of these is well, The Favourite which is a brilliantly written and meticulously crafted battle of the wits that manages to create three equally compelling journeys of three women who switch roles throughout in such unique ways (as well as being a bloody hilarious film).
Outside of The Favourite, I wouldn't say the screenplay either stands outs, or is a particularly praiseworthy aspect of the other four films. The screenplays to Roma and First Reformed are quality scripts, in particular Roma has a great sense of place and time and I thought absolutely managed to bring the story of its protagonist to pivotal emotionally powerful moments, though it is indeed Cuaron's direction which stands out the most. I would say that the direction stands out more than the screenplay in both films, again particularly with Roma, and in the case of First Reformed its weaknesses are greatly amplified by its central performance, like a few of Paul Schrader's other screenplays to be honest.
Green Book is in my opinion a hit-and-miss screenplay, though emphasis on the 'miss' part. It does work as a buddy comedy in its purest form, I did like a lot of the more lighthearted banter, and Tony Lip's general characterisation does work. What I did dislike was when the film tries to take a turn for the serious. It just doesn't work when it tries to deal with issues of racism in Lip's character, and perhaps even worse Don Shirley's (apparently largely fictionalised) issues of self-identity crisis. At least it's not as downright awful as Vice though which is just a terrible screenplay, in that it provides absolutely no insight into Dick Cheney while simultaneously being so obnoxiously pretentious, and pseudo-intellectual in its ambitions and failures. It doesn't help that it doesn't even make its uninteresting ideas palatable through a digestible structure, as its haphazard blend of narration/fourth wall breaking and often ill-advised humour, with attempts at a 'serious' investigation into American politics, is largely a failure.
Surprises/Snubs:
I expected Eighth Grade to maybe make it in, but at the last minute switched to a prediction for First Reformed, which worked out rather nicely. Surprising that this is Paul Schrader's first nomination, good on him. THANK GOD neither Bohemian Rhapsody didn't make it in, now that would've been an unpleasant though not altogether unexpected surprise. Sorry to Bother You would've been a nice inclusion too, but I think it was definitely too weird for the Academy's taste.
My prediction for the winner (for now)?: The Favourite(Deborah Davis and Tony McNamara)
Best Adapted Screenplay
Clockwise from the top: Can You Ever Forgive Me, The Ballad of Buster Scruggs, BlacKkKlansman, If Beale Street Could Talk, A Star is Born (1937, 1954, 1978)
Can You Ever Forgive Me? (Nicole Holofcener and Jeff Whitty)
The Ballad of Buster Scruggs (Joel Coen & Ethan Coen)
A Star Is Born(Eric Roth, Will Fetters & Bradley Cooper)
BlacKkKlansman (Charlie Wachtel & David Rabinowitz and Kevin Willmott & Spike Lee)
Haven't seen If Beale Street Could Talk (Barry Jenkins) yet. On that note I'm currently reading the James Baldwin source material and it really is quite something. Anyway, I'm so glad to see the screenplay for Can You Ever Forgive Me?got a nomination, richly deserved and it is probably my favourite screenplay of the year, that creates such an honestly told depiction of dishonesty, a loving depiction of two misanthropists, funny yet fragile, oh I could go on and on but I'll stop...for now. Close behind is The Ballad of Buster Scruggs, which was such a delightful surprise in its nomination. It tells six stories of such varying tones in such rich detail that earns its motif of a storybook structure completely, taking some unconventional ideas and well-worn Western tropes creates tales like you've never heard before. A Star is Born is quite literally a tale you've heard before, three times before, but I do think it brings something new to the table, especially in its addition of the brother character, and its more playful depiction of the burgeoning romance. BlacKkKlansman's script is probably my least favourite of the lot I've seen, it's not bad at all, definitely works well in getting its passionate anger at racism across, masterful in contrast to Green Book, its villains particularly detestable, and the humour does work. It's not an amazing screenplay but it is a solid enough one. Surprises and snubs: I was predicting either The Death of Stalin or possibly even something like Crazy Rich Asians or Black Panther to sneak in here, that spot was taken by Buster Scruggs so honestly I couldn't be a happier little buzzing bee. No obvious snubs though in terms of actual contenders though I am still very confused as to how Leave No Trace and Boy Erased made absolutely no noise in this category. My prediction for the winner (for now)?: A Star Is Born (Eric Roth, Will Fetters & Bradley Cooper)
Best Animated Film
Clockwise from top: Mirai, Spider-man: Into the Spider-Verse, Isle of Dogs, Incredibles 2, Ralph Breaks the Internet
Isle of Dogs (Wes Anderson, Scott Rudin, Steven Rales and Jeremy Dawson)
Spider-Man: Into the Spider-Verse (Bob Persichetti, Peter Ramsey, Rodney Rothman, Phil Lord and Christopher Miller)
Incredibles 2(Brad Bird, John Walker and Nicole Paradis Grindle)
Haven't seen Mirai(Mamoru Hosoda and Yuichiro Saito) and Ralph Breaks the Internet (Rich Moore, Phil Johnston and Clark Spencer) yet. Well I'll be quick on this category since I haven't seen much, and also there are no real surprises or snubs so to speak. Isle of Dogs is a great choice, peak Wes Anderson in many regards, I remember I used to not really be a fan of his but he's grown on me a lot, and is the most beautifully animated film of the year, though Spider-Man: Into the Spider-Verse certainly comes close particularly in its unique blend of different types of animation, and is a very moving, funny, occasionally even quite thought-provoking experience. I wasn't a fan of Incredibles 2, I know many are, I thought it was easily one of Pixar's worst thus far and a huge disappointment, but it was inevitably going to be nominated so meh, I guess. My prediction for the winner (for now)?: Spider-Man: Into the Spider-Verse (Bob Persichetti, Peter Ramsey, Rodney Rothman, Phil Lord and Christopher Miller)
Best Foreign Language Film
Clockwise from top left: Roma, Capernaum, Shoplifters, Cold War, Never Look Away
Roma (Mexico)
Shoplifters(Japan)
Cold War(Poland)
Haven't seen Capernaum (Lebanon) and Never Look Away(Germany) yet. Again haven't seen enough to fully comment. I will say though that Roma is easily my favourite of these choices, though if it does end up winning Best Picture I hope they'll spread the wealth and let one of the other films win, as Shoplifters is excellent for the most part, Cold War is a fascinating and beautiful to look at. I would like to say Burning was snubbed since it was one of my favourite films of the year and it hurts to see Korea continually being ignored by the Academy, but I should really see the rest of the nominees first. My prediction for the winner (for now)?: Cold War(Poland)
Best Documentary
Clockwise from top left: RBG, Fathers and Sons, Minding the Gap, Hale County This Morning, This Evening; Free Solo
Haven't seen Free Solo (Elizabeth Chai Vasarhelyi, Jimmy Chin, Evan Hayes and Shannon Dill), Hale County This Morning, This Evening (RaMell Ross, Joslyn Barnes and Su Kim), Minding the Gap(Bing Liu and Diane Quon), Of Fathers and Sons (Talal Derki, Ansgar Frerich, Eva Kemme and Tobias N. Siebert). I've only seen RBG (Betsy West, Julie Cohen), which I thought was a more than decent look at Ruth Bader Ginsberg's life, and I'll be interested to compare it to the upcoming On the Basis of Sex. It doesn't reinvent the wheels of the documentary format, but I did find it inspiring and watchable enough. I do feel bad for missing out on this category altogether, so I'll definitely do a post when I get around to watching them all (as I have a LOT to catch up on in this category, not just the nominees).
My prediction for the winner (for now)?: RBG(Betsy West, Julie Cohen)
Best Cinematography
Clockwise from top left: Never Look Away, Cold War, The Favourite, A Star is Born, Roma
Roma (Alfonso Cuaron)
Cold War(Lukasz Zal)
The Favourite(Robbie Ryan)
A Star Is Born (Matty Libatique)
Haven't seen Never Look Away(Caleb Deschanel) yet. Well here's a great category, I hope (and I do expect) Never Look Awayto be beautifully shot so I'll catch it ASAP. Anyway, all four nominees I have seen are great choices. Romaparticularly so, a black-and-white masterpiece in aesthetics from the very first shot of the plane in a puddle of water to that final beachside sequence, from Cuaron's brilliant use of tracking shots once again that brings you so vividly into the moment to the big 'money shots' that are too countless to mention. Also a feast for the eyes is Cold War, again black and white, which honestly lives up to the 'every frame a painting' phrase, and it finds a way of drawing you immediately into the various places and settings the characters come in and out of without a word. Both films are incredible examples of visual storytelling. The Favourite is perhaps a little less reliant on the visuals for storytelling given how verbally compelling it is, but I digress as it is a beautifully shot film too, the fish eye lens use is interesting, and the very clean yet often atypical way it uses lighting in particular, I found absolutely breathtaking. A Star is Born is great too, both in the more 'showy' instances of literal showmanship by the titular lovers, but also in the more intimate sequences, it perhaps is not quite as spectacular as the other three nominees I've seen but it's amazing work all in itself. Surprises and snubs: A very unpleasant surprise, and a shocking snub, of First Man. The cinematography in that film is faultless (in case you're wondering I'll have a LOT to talk about with regards to First Man in upcoming weeks). Also expected If Beale Street Could Talk to maybe get in here, but this just wasn't its year overall. If Widows had hit the mark more this awards season I think it'd have made a very strong case to be in here. Last but certainly not least, The Ballad of Buster Scruggs. Let me tell you Academy, there's a faster gun...(well I guess they did show a lot of love for the film in general, so I'll let it slide). My prediction for the winner (for now)?: Roma (Alfonso Cuaron) Best Editing
Clockwise from top left: Vice, Bohemian Rhapsody, Green Book, The Favourite, Blackkklansman
The Favourite (Yorgos Mavropsaridis)
BlacKkKlansman (Barry Alexander Brown)
Green Book (Patrick J. Don Vito)
Bohemian Rhapsody (John Ottman)
Vice (Hank Corwin)
The art of editing is often considered an 'unseen' art, with that in mind it's often best discussed in terms of how it 'coheres' the various elements of a film together into a successful product. Well The Favourite is easily the best in this regard here, most notably in how it amplifies and spices up each scene of verbal combat by its perfect timing of reaction shots, and the way the visuals overlay offscreen dialogue in particular is excellent. Green Book is just a very standard well-paced road trip film, the montages in particular are well done; while BlacKkKlansman is hit-and-miss, its misses being in some of its extended comedy scenes and the final action sequence, but its hits are superb, particularly worthy of mention the Klu Klux Klan initiation scene, the 'Jew lie detector' scene.
Bohemian Rhapsody is as serviceable as they come in terms of editing, I do like the editing in the final Live Aid sequence in particular and it moves along well enough in terms of the story, even if the script is more than lacking in several regards it tries to patch that up. Vice is a film that has editing which caused me headaches and not of the good sort (if there ever is a good sort of headache), and fails to make an already convoluted and confusing approach to the subject matter, even more excruciating.
Surprises and snubs?
I'm going to sound like a broken record at this point, but First Man where art thou? Interesting that A Star is Born missed out here, that almost certainly hurts its chances at getting the big prize, although the fact that Roma missed out too might help its case. Honestly though this category was pretty surprising overall, I guess in a way that could have something to do with wanting to spread the wealth a bit in terms of the technical awards. Would've thought Black Panther could make it in here but I'm not surprised it didn't (though I wouldn't have been surprised if it did, either).
My prediction for the winner (for now)?: BlacKkKlansman (Barry Alexander Brown)
Best Sound Mixing
Clockwise from top left: First Man, Roma, A Star is Born, Black Panther, Bohemian Rhapsody
First Man (Jon Taylor, Frank A. Montaño, Ai-Ling Lee and Mary H. Ellis)
Roma (Skip Lievsay, Craig Henighan and Jose Antonio Garcia)
A Star Is Born (Tom Ozanich, Dean Zupancic, Jason Ruder and Steve Morrow)
Black Panther (Steve Boeddeker, Brandon Proctor and Peter Devlin)
Bohemian Rhapsody (Paul Massey, Tim Cavagin and John Casali)
I have no problem with any of these nominations. Hey First Man nice to see you, and you too Roma. First Man is particularly extraordinary in how the sound design merges the extremes of space sound and soundlessness with the extraordinary soundtrack, and Roma does all this too in a more earthly yet no less impressive fashion. A Star is Born earns this completely just through its concert sequences, though I also have to give special mention to the sound mixing in the scenes where we are exposed to Jackson Maine's hearing condition. Black Panther is good action movie work in its integration of the soundtrack and the action sounds, and is one of the best-realised parts of the film on a technical level, while Bohemian Rhapsody achieves what A Star is Born does in a less impressive but still very solid fashion, again the Live-Aid sequence.
Surprises and snubs?
A Quiet Place is a big snub here in that the sound work in that film is not so much any particular 'sounds' so to speak, but in how it blends minimal sounds with silence, which is more difficult than it sounds. I thought Mary Poppins Returns might get in here too, not due to anything particularly exceptional with its sound mixing but just because its a musical and the category usually favours those, but the Academy ended up liking the film less than I expected.
My prediction for the winner (for now)?: First Man (Jon Taylor, Frank A. Montaño, Ai-Ling Lee and Mary H. Ellis)
Best Sound Editing
Clockwise from top left: First Man, A Quiet Place, Black Panther, Bohemian Rhapsody, Roma
First Man (Ai-Ling Lee and Mildred Iatrou Morgan)
Roma(Sergio Diaz and Skip Lievsay)
A Quiet Place (Ethan Van der Ryn and Erik Aadahl)
Black Panther (Benjamin A. Burtt and Steve Boeddeker)
Bohemian Rhapsody(John Warhurst and Nina Hartstone)
Again, happy to see First Man again, regardless of your thoughts on the film its excellence on a sound design level is unquestioned. Where the sound mixing amplifies the emotions, I found the sound editing created the intensity of the film not just in the action sequences, but really even in the dialogue scenes. Roma is beautifully executed on this front just in terms of how you can pick up so many sounds besides the dialogue or the 'main' noises, while A Quiet Place manages to make each sound when it does 'appear' to really have the visceral effect the film requires. Black Panther is again very solid work, as is usual for Marvel, insofar as the sounds captured all bring you into the moment of the film, special mention to the way it helps to distract and prevent some of the lacklustre CGI from disrupting enjoyment of the film in key action scenes. Bohemian Rhapsody is fine standard musical work, would've probably preferred if A Star Is Born was the one double nominated in the sound department but I digresss.
Surprises and snubs?:
Mission Impossible: Fallout would've been a nice addition, and I guess they weren't fans of the film but the sound design in Hereditary is particularly great, but out of the likely contenders this is a decent lineup.
My prediction for the winner (for now)?: Roma(Sergio Diaz and Skip Lievsay)
Best Production Design
Clockwise from top left: Roma, Mary Poppins Returns, Black Panther, First Man, The Favourite
The Favourite (Fiona Crombie and Alice Felton)
First Man(Nathan Crowley and Kathy Lucas)
Roma (Eugenio Caballero and Barbara Enriquez)
Black Panther (Hannah Beachler and Jay Hart)
Mary Poppins Returns (John Myhre and Gordon Sim)
Beautiful work in all regards, and I would say that as per usual this is one of the strongest categories. As a prestige British drama The Favourite was a lock to begin with, but the production design takes several steps forwards from just being pristine and elegant to look and becomes almost a fourth main character in itself. Same can be said for First Man, of a different sort of set design as this is mainly in the design of the spacecraft and its interiors which, like the film itself, feels sort of insular and minimalist while also rather grand, and of course the moon itself, which Kubrick himself would be proud of (I jest!!).
Roma makes use of real-life settings and locations to create my constantly re-iterated point of a striking sense of place and time, and shows that sometimes just the subtlest changes in details of a place and setting can create such an impact. Black Panther and Mary Poppins Returns are no slouches either, the former creating the world of Wakanda in such vivid, striking detail, though my favourite set design is probably the 'afterlife' setting, and Mary Poppins Returns presents just the right amount of tribute to the original in yet another wondrous and picturesque depiction of London that while no Paddington 2, is great work in itself.
Surprises and snubs?:
This lineup pretty much panned out exactly as I'd expected, I did think that Isle of Dogshad a bit of a possibility getting in here, and if A Star is Born had dominated more I could see it getting in for its admittedly solid work, but on the whole I think this is a good lineup representative of the year's strengths.
My prediction for the winner (for now)?: The Favourite(Fiona Crombie and Alice Felton)
Best Costume Design
Clockwise from top left: Black Panther, The Favourite, Mary Queen of Scots, The Ballad of Buster Scruggs, Mary Poppins Returns
The Ballad of Buster Scruggs (Mary Zophres)
The Favourite(Sandy Powell)
Black Panther(Ruth E. Carter)
Mary Poppins Returns (Sandy Powell)
Mary Queen of Scots (Alexandra Byrne)
Perhaps spoke too soon as I believe this is the strongest lineup of them all. The Ballad of Buster Scruggs is very easily my pick of the lot, it may well be the best costumed Coen Brothers film ever by the great Mary Zophres, which is really saying something, as she takes the Western genre and makes it all her own, particularly in the garments of its main character, a bundle of pots, and manages to make a perfect costume incarnation of death. The Favourite is also just outstanding in every where each costume gives you a complete picture of who, what, why, everything about them, from the Queen to the members of parliament to the lowliest servant, and of course the warring 'favourites'. Black Panther is superb in its contrast between the tribal outfits of the Wakandans and the much grimier outfits of the outsiders, in particular Killmonger's costume makes for a particularly great aesthetic dynamic that suits Michael B. Jordan perfectly, while Mary Poppins Returns last since Mary Poppins, the chimney sweeper, Dick Van Dyke, even the kids, are all just dressed perfectly in the way which just seems right for the universe of Mary Poppins, the greatest nanny of all would be very proud. Hate to rank Mary Queen of Scotslast, it really captures that very particular historical period while bringing just enough character of its own, in many way it's very typically good work of a British prestige drama, but that's nothing to sniff at. I hate to rank Surprises and snubs?: Buster Scruggswas quite the surprise, and a most welcome one again. I would have thought maybe the second Fantastic Beasts would make a return, maybe something like Suspria if they wanted to step outside the box, if they'd wanted to give Dafoe more support At Eternity's Gate looks like it has nice costumes, but honestly I think these five choices are the best five choices they could have made barring some completely out-of-the-blue selection like Bad Times at the El Royale.
My prediction for the winner (for now)?: Black Panther(Ruth E. Carter)
Best Makeup & Hairstyling
Clockwise from top left: Border, Vice, Mary Queen of Scots
Mary Queen of Scots (Jenny Shircore, Marc Pilcher and Jessica Brooks)
Vice(Greg Cannom, Kate Biscoe and Patricia DeHaney)
Haven't seenBorder (Goran Lundstrom and Pamela Goldammer) yet. Pretty good (if typically small) lineup. Mary Queen of Scotsis good in just the most basic sense of lovely hairstyles, and pretty good recreations of what Queen Elizabeth must've looked like in her stages of pox infection and actually managed to 'uglify' Margot Robbie. As for Vice I have to admit I didn't really notice much makeup work done at all. I mean Christian Bale didn't need a fat suit or anything because he actually gained all that weight for Cheney, but besides that I suppose the work on the gradual ageing makeup for all the characters involved is good enough. Surprises and snubs?: I'm aware Mandy wasn't in contention, and neither was Suspria, but both would've seemed like likely choices, again Border was quite the surprise. Bohemian Rhapsody was also in contention, I liked the moustache, thought the overbite looked weird, and Mike Meyers' makeup was outright awful, so it all balances out to 'nah'. Stan & Ollie should've gotten in here, John C. Reilly's makeup as Oliver Hardy is pretty great outside of a few shots, and Stan Laurel ain't too badly done either in terms of the makeup trying to redefine Coogan's very distinct features into that of the softer Stan.
My prediction for the winner (for now)?: Vice(Greg Cannom, Kate Biscoe and Patricia DeHaney)
Best Visual Effects
Clockwise from top left: Solo: A Star Wars Story, Ready Player One, Christopher Robin,
First Man (Paul Lambert, Ian Hunter, Tristan Myles and J.D. Schwalm)
Solo: A Star Wars Story (Rob Bredow, Patrick Tubach, Neal Scanlan and Dominic Tuohy)
Avengers: Infinity War (Dan DeLeeuw, Kelly Port, Russell Earl and Dan Sudick)
Christopher Robin (Christopher Lawrence, Michael Eames, Theo Jones and Chris Corbould)
Ready Player One (Roger Guyett, Grady Cofer, Matthew E. Butler and David Shirk)
All five films are at the very least well done in the special effects department, but I have to say that First Man is once again, easily my choice. The fact that you don't notice the special effects in it are special effects is in itself testament to the brilliant work done. Avengers: Infinity War has some bad special effects in scenes like Mark Ruffalo's head popping out of the Iron Man suit, and the dusting. It makes up for all of that with its terrific work on Thanos though, so overall well done. Solo: A Star Wars Story is interesting in that as far as Star Wars films go, it's not among the worst nor among the best, in many ways both the film and the SFX are as 'average' as the galaxy far, far away goes. Having said that, average Star Wars SFX is still great SFX. Christopher Robin avoids uncanny valley in its live-action recreation of the inhabitants of the Hundred Acre Woods, some might not like the designs of them, well I did, in particular Tigger and Eyeore. Ready Player One is no Close Encounters of the Third Kind nor is it a Kingdom of the Crystal Dull with regards to its visual effects, it is serviceable video game-esque work for the most part that does work well for the film. I wasn't as huge a fan of that The Shining homage as most, but it was certainly well executed.
Surprises and snubs?:
Some might be surprised to see Black Panthermissing from the list, I'm not really since it was arguably the weakest link of the film. If Welcome to Marwen had done well critically or even financially it would've gotten in here since they do like Robert Zemeckis films in this category, the Jurassic World sequel probably came somewhat close to the spot taken up by Christopher Robin, but I'm kind of grateful it didn't so I don't have to try and watch that film.
My prediction for the winner (for now)?: First Man (Paul Lambert, Ian Hunter, Tristan Myles and J.D. Schwalm)
Best Original Score
Clockwise from top let: If Beale Street Could Talk, Black Panther, BlacKkKlansman, Isle of Dogs, Mary Poppins Returns
Black Panther (Ludwig Goransson)
Isle of Dogs(Alexandre Desplat)
BlacKkKlansman (Terence Blanchard)
Mary Poppins Returns (Marc Shaiman)
Haven't seen If Beale Street Could Talk (Nicholas Britell) yet (though I've been listening to the score on Spotify and it. Is. Sublime. Remains to be seen how it's used in the film). buT WhERe iS FiRSt MaN ThOUgh?
Having got that out of the way...this is a fine set of nominees. Black Panther in particular I really love the score, as it breaks from the usual mould of Marvel scores to create what is rather impressively almost a whole culture of music within the Wakandan community. I have particular affection for the music used in Killmonger's ascension to the throne. Isle of Dogs' highlight in terms of its score is its re-use of Kurosawa themes, most notably that of Drunken Angel, but the Alexandre Desplat tunes are appropriate and fitting to the vibrant tone of the film, though not quite on the level of say The Grand Budapest Hotel.
I need a re-watch for BlacKkKlansman's score, though I could easily switch it around with Isle of Dogs since I found the blaxploitation/thriller touches particularly effective, even if the best use of music in the film was taken from Inside Man. And Mary Poppins Returns is a good score, if not particularly memorable, that doesn't quite hit the heights of the original, but is a fitting enough tribute, and I did like its brief but nice homages to the original tunes (though teasing me with 'Let's Go Fly a Kite' is never a good idea).
Surprises and snubs?:
Again, where on earth is First Man? Best music not only of the year, but rivalling the likes of Phantom Thread, True Grit, Beasts of the Southern Wild and Mad Max: Fury Road as the best of the decade. Besides that, no real notable omissions, I was thinking Carter Burwell might get his third nomination for The Ballad of Buster Scruggs or something like Annihilation or A Quiet Place especially could've sneaked in. I can't wait to talk about some of these in my upcoming 'Film Music in 2018' post.
My prediction for the winner (for now)?: If Beale Street Could Talk (Nicholas Britell)
Best Original Song
CLockwise from top left: "I'll Fight", "All the Stars", "Shallow", "The Place Where Lost Things Go", 'When a Cowboy Trades His Spurs for Wings"
"When a Cowboy Trades His Spurs for Wings" (The Ballad of Buster Scruggs)- Music and Lyric by David Rawlings and Gillian Welch
"Shallow" (A Star Is Born)- Music and Lyric by Lady Gaga, Mark Ronson, Anthony Rossomando and Andrew Wyatt
"The Place Where Lost Things Go" (Mary Poppins Returns)- Music by Marc Shaiman; Lyric by Scott Wittman and Marc Shaiman
"All the Stars" (Black Panther) - Music by Mark Spears, Kendrick Lamar Duckworth and Anthony Tiffith; Lyric by Kendrick Lamar Duckworth, Anthony Tiffith and Solana Rowe
"I'll Fight" (RBG) - Music and Lyric by Diane Warren
Okay then. I'll hold off talking about the top 2 for my 'Film Music in 2018' post. Having said that, The Ballad of Buster Scruggs features beautiful music in every regard and I'm glad it was (surprisingly) nominated for this tune, and the nomination for A Star is Born is a great choice, though it's not my favourite song from the film (which is again nothing against the quality of the song itself, just of the general excellence of the film). "All the Stars" is a good enough choice from Black Panther though I'd have personally gone for "Pray for Me" featuring The Weeknd instead. Same goes for "The Place Where Lost Things Go" from Mary Poppins, "Trip a Little Light Fantastic" would have been my preferred choice on account of how it's used within the film. "I'll Fight" from RBG is a good ballad, and really this is a good lineup, not the best possible lineup, but a good one.
Surprises and snubs?:
Out of the shortlist, I'm very disappointed that Troye Sivan and Jónsi's "Revelation" from Boy Erased didn't end up being nominated, and it would've been nice to see Sorry to Bother You get some attention in this category. I can't complain, overall though.
My prediction for the winner (for now)?: "Shallow" (A Star Is Born)- Music and Lyric by Lady Gaga, Mark Ronson, Anthony Rossomando and Andrew Wyatt Other categories:
Out of the 'Shorts' category (Animated, Live-Action, Documentary) I've only seen Bao (Domee Shi and Becky Neiman-Cobb) which I absolutely loved. I'll try to catch up on the rest.
