The immaculate wealth/impoverished detailed divide of Parasite
60s Hollywood brought to life in Once Upon a Time in Hollywood
The Gothic interiors and exteriors of The Lighthouse
The other 60s locale period detail of The Irishman
The meticulously detailed murder mystery estate of Knives Out
The perfectly laid out 1950s NYC locations of Motherless Brooklyn (note: I'm personally no big fan of the change in time period from the novel but that's hardly the production design team's fault)
The glorious musical pop-fantasy sets of Rocketman
The memorable diamond district locations and artefacts of Uncut Gems
Little Women as expected with the sumptuous looking rooms, households, the Laurence household in particular is just grand
No Man's Land as you've never quite seen it before in 1917
Reel and Roll Awards:
Best Production Design 2019
Parasite
1917
The Lighthouse
Little Women
Once Upon a Time in Hollywood
The Irishman
Uncut Gems
Rocketman
Motherless Brooklyn
Knives Out
2019 in Costumes
The vivid recreations of Elton John's larger than life wardrobe in Rocketman
The vibrant dynamic period detail of Little Women for ladies and lads, old and young
The gorgeous elaborate set of Hollywood costumes, high fashion and hippie outfits in Once Upon a Time in Hollywood
The shorts ya wear to a meeting and all manner of swanky pajamas, plus the usual gangster attire in The Irishman
A few extra punchlines and a memorable visual palette result from the brilliant costuming choices in Jojo Rabbit
Rudy Ray Moore's ridiciulous outfits befitting his entourage in Dolemite Is My Name
Swanky hoodies, earrings, glasses, and every Julia Fox outfit in Uncut Gems
The minimalist lighthouse keeper outfits and raincoats in The Lighthouse
Every outfit in Portrait of a Lady on Fire is straight fire
Vita and Virginia is not an amazing film but it hits all the marks for costumes whether it's bohemian, middle class, aristoractic, you name it they nailed it
It wasn't quite the abundance of riches in this category this year, with nothing quite touching the brilliance of say Mandy last year, but still a strong year for the category. Of particular note I have to say would be the sublime work done to amplify the ageing/de-ageing visual effects in The Irishman, and the transformative work performed in Bombshell which really does beautifully mimic the real-life personas, particularly Charlize Theron's Megan Kelly.
Also strong work in the likes of Midsommar and Us in capturing some vividly unappealing image.
And Once Upon a Time in Hollywood and Rocketman for their careful attention paid to period detail and the intricacies of capturing resemblances (even though for the former I will say that for example, Damian Lewis just looking like Steve McQueen was quite the boon already), special mention must go to DiCaprio's Evil Sexy Hamlet moustache.
My winner in this category though is easily The Lighthouse, and for reasons I cannot possibly disclose if you haven't seen the film. It is an integral part of the film's nightmarish eerily captivating atmosphere.
Reel and Roll Awards for Best Makeup/Hairstyling
The Lighthouse
Bombshell
The Irishman
Midsommar
Monos
Rocketman
1917
Once Upon a Time in Hollywood
Us
Little Women
Best Visual Effects
Also not a particularly strong year overall for visual effects, though my top three are particularly worthy of mention: 1917 for brilliant visual effects that you won't even notice are there in amplifying every sequence, The Lighthouse just for SPOILER ALERT the mermaid vagina alone SPOILER ALERT ENDS and The Irishman for the yet to be flawless yet still incredibly impressive de-ageing effects. On other fronts: Godzilla King of the Monsters had some great kaiju effects as expected, especially for Mother, as did I Am Mother's titular android.
Note: only including films which were entirely shutout, so I won't be talking about the issues I have with snubs for Parasite, The Lighthouse, The Irishman, and so on from specific categories., though there were certainly snubs there particularly for The Lighthouse.
5. Waves
An interesting example in that I don't altogether love the film - I have plenty of issues with the overly flashy directing and some of the writing - but I still think it would have been a very worthy nominee in various categories, particularly some of the performances nominated. Kelvin Harrison Jr. and Taylor Russell are wonderful in the two lead roles and carry both their sides of the film beautifully, but it's Sterling K. Brown who was the biggest snub of all, pouring his heart and soul in a wonderfully nuanced portrayal of a domineering yet loving father - disappointing how Brad Pitt could basically slum and charm his way into a nomination while sterling (no pun intended) and powerful work like this was almost completely ignored this awards season.
Deserved to be nominated for: Best Actor, Best Actress, Best Supporting Actor, Best Original Screenplay, Best Cinematography
4. Portrait of a Lady on Fire
It wasn't eligible to be nominated for Best International Film on account of Les Miserables being submitted as the French entry (still need to check that one out), but this still deserved more love in other categories, in the vein of Cold War last year, particularly for its absolutely gorgeous cinematography which lives up to that title, as every frame is quite frankly a portrait (more on that at a later junction). Céline Sciamma's striking direction and screenplay make for an absolutely transformative cinematic experience into a particularly minimalist yet powerful romance, held together by two great performances by Noémie Merlant and especially Adèle Haenel - and that finale is up there with the best endings of the year.
Deserved to be nominated for: Best Picture, Best Director, Best Actress x 2, Best Original Screenplay, Best Cinematography, Best Sound Mixing
3. A Hidden Life
Fox Searchlight ditched this from contention a long while back but I was still hoping for a long shot chance of getting in for Cinematography. Terrence Malick's return to form was not received with rapturous applause which is a shame, since while it's far from a perfect film it is a brilliant one in many regards. That James Newton Howard score, disqualified from contention early on for its heavy use of pre-existing music, is just a tragic snub as the main theme alone is such a stunning original piece. Then there's the phenomenal leading performances of August Diehl (yes it's that crafty Nazi Inglorious Basterds fame) and Valerie Pachner which combine such wonderfully restrained and expressive performance styles into a truly profound dynamic.
Deserved to be nominated for: Best Picture, Best Director, Best Actor, Best Actress, Best Cinematography, Best Original Score
2. The Farewell
Oh good lord, seeing this completely shut out at the Oscars was PAINFUL especially since earlier on it seemed poised to be the big indie contender of the year. Particularly excruciating was seeing the wonderfully composed leading turn of Golden Globe-winning Awkwafina as a young lady caught between two cultures, and the brilliant performance by Zhao Shuzhen as the beating, complex heart of the film's narrative, snubbed in favour of some okay but rather rote Oscar bait roles (seriously, the SNL caricatures of Bombshell's Charlize Theron and Margot Robbie over these ladies? Okay boomer.) Lulu Wang's work also shouldn't be forgotten both as a director and screenwriter.
Deserved to be nominated for: Best Picture, Best Director, Best Actress, Best Supporting Actress, Best Original Screenplay (though it should have been campaigned in Adapted)
1. Uncut Gems
Blimey, Adam Sandler himself has threatened to make the nadir of awful comedies in the wake of his Oscar snub so yeah, this is on you Academy. Anyway, that joke aside, this film's complete snub by the Academy on one hand speaks to the weakness of A24's campaign tactics, for while I appreciate that they divided their support equally among the films in contention this year, it did possibly play a part in their snubs across the board. Anyway, this is the most tension and anxiety-inducing film of the past year, a marvellously directed thriller by the Safdie brothers where the razor-sharp editing and score makes everything from the simple buzzing of a door to an NBA game such memorably intense experiences. The Sandman himself is amazing in the role of Howie and really did deserve a nomination, as did Julia Fox, but what're you going to do. Such an unfortunately snubbed film across the board.
Deserved to be nominated for: Best Picture, Best Director, Best Actor, Best Supporting Actress, Best Original Screenplay, Best Cinematography, Best Editing, Best Original Score, Best Sound Mixing
Well it doesn't take much guesswork to figure out what the two best sounding films of the year were in my books: The Lighthouse is just as much a sensory experience for the ears as it is for the eyes as each rollicking wave, clattering cutlery, piercing scream and GODDAMN FART resonates with such visceral power, while 1917 is phenomenal war film work that is essential to keeping the audience within that continuous mission mindset. Other notable efforts: Ford v Ferrari has brilliant work in each race sequence and well adjusted depending on how 'close' to the race the audience is following, Midsommar and Us have some great horror sounds as expected, the former being particularly grusesome (some iffy ADR work for Will Poulter's character but that's hardly the fault of the sound design team having to do them in the first place), and even though I didn't care for the film on the whole Ad Astra is another great instalment into the space film genre as far as sound is concerned, with the the whole Mars sequence being a highlight in that regard. Apollo 11 has some astonishing work just in terms of the sound design team syncing the audio to the visuals, generating sound to prexisting footage in a seamless fashion; and just for random shout outs to films like Parasite and Little Women and The Irishman where the sound mix is essential in creating the huge impact each film had on me, Uncut Gems managing to make its Robert Altman-esque dialogue mix work so well in contributing to the film's anxiety-infused atmosphere, the grand monster sounds of Godzilla, the stellar silence/natural sounds mix of Monosand John Wick 3: Parabellum which for all its faults is still a very well choreographed action extravaganza, and that extends to every bullet, bone-crunching blow and blade swish.
Music in film this year was of quite the variety in terms of cream of the crop. Let's take a look at the Reel and Roll choices for the best in film scores, songs and soundtracks of the year.
For slow, easy, jazzy pieces you have the work of Daniel Pemberton in Motherless Brooklyn and Robbie Robertson for The Irishman; nuanced pieces that fit the slow tempo and leisurely pace of their respective films incredibly well.
If you'd rather be kept on your toes, give the pulse-pounding efforts of Oneohtrix Point Never for Uncut Gems and the inimitable Mica Levi for Monos a go. The former is the most tense and anxiety-inducing soundtrack of the year and performs its tricky balancing act of being both stressful and compelling to listen to. Likewise, the sparingly used score of Monos helps create the eerie otherworldly atmosphere of the film that sneaks upon you.
Want something a bit more epic? With the revving of engines amplified by the atmospheric score in Ford v Ferrari, Alan Silvestri delivering a rousing finale to Avengers: Endgame by making use of what had been previously established and bringing it to greater heights, and the sense of wonder and discovery accompanying Apollo 11 are all brought to greater, grander heights through the music. Above all though, it is the amazing Thomas Newman score to 1917 which is the king of the year in this regard, helping to build with grand rousing themes like 'Sixteen Hundred Men', slow-building beautifully atmospheric tunes like 'The Night Window' and the quieter interludes, which help make the film as terrific a cinematic experience as it is.
Both Marriage Story and Parasite concern themselves with family dynamics and are what I consider to be the crux of their respective scores, as each piece within both of them are constructed to facilitate and emphasise these shifting dynamics throughout. I will say that Parasite takes this concept to great heights, where in particular the montages beautifully use the amazing score so well, whereas with Marriage Story the use of score is occasionally a bit forced, yet where it does work it does work beautifully.
When it comes to horror, the likes of Us and The Lighthouse certainly delivered in this regard. Us making the inspired choice to use 'I Got 5 On It' as the basis for 'Pas De Deux' which is just a remarkable choice in every regard, and really the whole score is rather terrific and is one area I do think the film was an upgrade over Get Out. The Lighthouse has a score which is decidedly unpleasant and rather uncomfortable to listen to in some ways, but it is amazing in its own way in helping to amplify the claustrophobic atmosphere of being confined to a lighthouse, with the use of horns in particular helping to generate this effect oh so well.
Last but not least, scores that are just plain beautiful, in that regard few can top James Newton Howard's work on A Hidden Life which is just sumptuous, and convey the central romance so well in its combination of piano, strings, and is truly magical and I hate that it has to compete with 1917 in my personal awards. Little Women and Jojo Rabbit too are wonderful little pieces of work that create their own little worlds of carefree innocence clashing with harsher realities, so well, and I have particular affection for how Little Women's back and forth structure makes use of the score to help emphasise the contrasts. Each piece is just lovely to listen to but when the films get to their more serious intentions work equally well in making the emotional beats hit all the harder, especially 'Rosie's Nocturne' in Jojo Rabbit.
Best Score
1917
A Hidden Life
Parasite
Avengers: Endgame
Little Women
Us
Uncut Gems
Jojo Rabbit
The Lighthouse
Ford v Ferrari
Best Original Song
1. ‘Stand Up’, Harriet
2. 'Glasgow (No Place Like Home)', Wild Rose
3. '(I'm Gonna) Love Me Again', Rocketman
4. 'Speechless', Aladdin
5. 'Beautiful Ghosts', Cats
Not been the strongest year for film songs, though I will say the top 3 are great pieces on their own, but I wouldn't say there was any particular 'original song' this year that truly stood out to me. I'm very glad that Erivo and Elton John/Bernie Taupin are in contention for their respective songs though, as they are both wonderfully composed, sung and knockout tunes, only wish Mary Steenburgen's 'Glasgow' made the Academy cut.
A pretty great lineup with one ugly fly in the ointment. As expected the epic grandeur of The Irishman, and 1917 made it in, and I'm so glad as they're fantastic entries into the gangster and war film genre respectively. Parasite too got in with ease which I couldn't be more overjoyed about. South Korea's first ever successful Oscar venture results in a Best Picture nomination, talk about making a splash! If you haven't seen it, less said about what happens in it the better. Also love that Taika Waititi's unique brand of comedy is being recognised by the Academy for the wonderful, heartrending Jojo Rabbit.
In my humble opinion,Marriage Story and Once Upon a Time in Hollywood are imperfect films, but I still liked both a great deal and it's nice to see them get recognition; and I'm definitely in the minority here but while Ford v Ferrari may not be as awe-inspiring or unique as some of the other nominees, as a racing biopic it more than does the job as a fun, entertaining flick. As for Joker...I wish I could say I wholeheartedly embrace this lineup but I'm afraid I can't, and Joker is the reason why. Be warned if you're a Joker/Todd Phillips stan, it's about to get ugly.
Best Director
Bong Joon Ho, Parasite
Sam Mendes, 1917
Martin Scorsese, The Irishman
Quentin Tarantino, Once Upon a Time in Hollywood
Todd Phillips,Joker
Four of these nominees were pretty much locks prior to nomination day, and all deserving of their nods. Bong's terrific, tone-bending work on Parasite that's easily the best of the year, Scorsese doing what he does best but in an altogether more sobering and contemplative rumination on the gangster genre, and Mendes' powerful epic rendition of WWI in 1917 creating such a pulsating non-stop journey through the horrors of WWI. QT's loving tribute to 60's Hollywood is far from my favourite directorial work of his but he does have some great scenes in it like the Charles Manson sequence and the Bounty Law sequences to make up for it. Todd Phillips' direction of Joker is essentially a BTEC Scorsese film school project that gets by through blatant plagiarism and EdGInEss. Just a piss poor nomination especially when they could've nominated Greta Gerwig , Noah Baumbach, or Taika Waititi.
Best Actor
Adam Driver, Marriage Story
Leonardo DiCaprio, Once Upon a Time in Hollywood
Antonio Banderas, Pain and Glory
Jonathan Pryce, The Two Popes
Joaquin Phoenix, Joker
It's the Driver v.s. Phoenix showdown now for performances worlds apart in terms of style and intent. I vastly prefer Driver's powerful understated turn as a self-interested director struggling to come to grips with his impending divorce than Phoenix's overly actor-y and bombastic turn which frankly pales in comparison to Heath Ledger's Oscar-winning work in the same role. But the latter has the higher ground now in terms of awards wins so...fuck. Sad to see Taron Egerton miss out for Rocketman. and very surprised that Christian Bale wasn't the surprise nominee from Ford v Ferrari but Jonathan Pryce and Antonio Banderas certainly give two very good performances and aptly rewarded veterans of the silver screen, and Pope and film director struggling with addiction are two Oscar friendly roles to be sure. DiCaprio makes his return to the Oscars after winning last time round for The Revenant, this time for a decidedly more lighthearted, breezy turn courtesy of Rick Fucking Dalton. I'm glad he got in since I'm always a big fan of when Leo relaxes and nourishes his great talent for comedy.
Best Actress
Saoirse Ronan, Little Women
Scarlett Johansson, Marriage Story
Cynthia Erivo, Harriet
Renee Zellweger, Judy
Charlize Theron, Bombshell
You've got the biopic love for Madams Theron and Zellweger and Megyn Kelly and Judy Garland, respectively, with the latter being close to a runaway winner this awards season. They're good but not great performances, which I'm not displeased got in, but there were so many more deserving candidates, I'm particularly vexed that we were deprived of what I think would have been the first Asian American nomination in the category for Awkwafina in The Farewell. On the plus side, Scarlett Johansson was an expected nod but every bit as deserving as Driver for her powerful portrayal of an actress struggling to get out the shadow of a constraining, unhappy marriage of unequal compromises. Erivo was a surprise for her performance as Harriet Tubman but I'm glad she was a double nominee tonight, it's a strong biopic performance that deserves the acclaim and support she's gotten for it. And lastly, my favourite actress working today Saoirse Ronan once again knocks it out of the ballpark in Little Women and I couldn't be happier. She is perfection as Jo March.
Best Supporting Actor
Al Pacino, The Irishman
Joe Pesci, The Irishman
Tom Hanks, A Beautiful Day in the Neighbourhood
Anthony Hopkins, The Two Popes
Brad Pitt, Once Upon a Time in Hollywood
Okay, so Brad Pitt and Anthony Hopkins are two actors I do like a great deal, but neither of them give performances which I'd rank among their best here. Pitt is funny and entertaining as a mysterious stuntman particularly in his tripping on acid scene, and Hopkins is his usual dependable self as one half of the duo of popes, with his 'confessional' scene being pretty great. They're good performances but in a year with as many strong contenders I need more than 'good' to be happy with the nominations. Pacino and Pesci are both sensational in The Irishman, the former giving an incredibly bombastic, thoroughly entertaining yet pathos-filled turn as larger-than-life Jimmy Hoffa and the latter delivering such cold menace as mob boss Russell Bufalino. Then there's Tom Hanks opposite these morally corrupt turns as ultimate nice fella Mr Rogers in A Beautiful Day in the Neighbourhood. Suffice to say he nails it and it's a welcome return to the Oscars after a nearly two-decades long drought.
Best Supporting Actress
Florence Pugh, “Little Women”
Scarlett Johansson, “Jojo Rabbit”
Laura Dern, “Marriage Story”
Kathy Bates, “Richard Jewell”
Margot Robbie, “Bombshell”
Laura Dern is going to sweep. Fine, it's a more than decent performance but I can't say it was my main takeaway from the film. Good performance, great actress, but there's so many other more deserving performances. I honestly wasn't that impressed by Robbie in Bombshell, a lesser turn from her even though she's still more than adequate. The writing is somewhat to blame for the haphazard writing behind her character, but it's definitely a far step down from her portrayal of Tonya Harding. Scarlett Johansson getting two nominations is something I'd have never predicted this time last year, but she definitely deserves it, anyone who's seen Jojo Rabbit will agree with me that she is just a wonderful motherly presence in the film and makes my heart just feel warm thinking about her performance. Equally pleased with breakout star Florence Pugh for Little Women, her tricky balancing act of young and older Amy March was just magnificent and I love to see her nominated for her terrific work here. Absolutely shocked that Jennifer Lopez missed out for Hustlers and have to say that Kathy Bates for Richard Jewell is just a very standard filler Oscar nom. Decent motherly portrayal but I would have much rather seen Lopez or Zhao Shuzhen for The Farewell get in.
Best Adapted Screenplay
Little Women
The Irishman
Jojo Rabbit
The Two Popes
Joker
All I have towards Joker's screenplay are negative thoughts so I'll just leave it at that. Irishman and Steven Zaillian making his way through this category once again. He's an awards darling and this is a brilliant screenplay, the fact it's not my favourite in the category is testament to the strength of Gerwig's work on Little Women which is just outstanding in her taking the wonderful, classic source material and making it her own with a unique narrative structure, a real understanding of the characters, and such beautiful little touches of her own style.
I'm so glad Taika Waititi is finally a nominee for one of his screenplays, especially one with a history as long and tumultuous as this one, and while it's not his best work to date, I'm glad its ambition and daring was acknowledged, as well as just being one of the funniest scripts of the year. And another year, another Anthony McCarten biopic screenplay, though I will say this one is more than decent as a very low-key character study/two-hander drama between, well, two popes. Looks like that little hand-slap fiasco didn't kill its chances in the end.
Best Original Screenplay
Parasite
Marriage Story
1917
Knives Out
Once Upon a Time in Hollywood
Hate that The Farewell got snubbed here and that's the last time I'll mention that film (still fuming though). Marriage Story and Once Upon a Time in Hollywood, the locks for category are strong works by Noah Baumbach and Quentin Tarantino, the former being possibly his best work despite the presence of some truly unfunny caricatures, granting a truly vivid, often funny and often heartbreaking, and most importantly even-handed look at divorce proceedings. Once Upon a Time in Hollywood is actually rather on the lower tier of Tarantino screenplays, in my opinion. Having said that it's still well-written, punchy, plenty of colourful characters, but is somewhat forgettable especially when compared to say, The Hateful Eight which was snubbed couple of years ago. Knives Out is a fun mystery film that pieces together its tricksy little puzzle rather well and is full of laughs and memorable lines. It's not one of the all-time great mystery film screenplays but it's very good. Parasite's screenplay is a brilliant puzzle put together in such an unassuming way that's hysterical and haunting in equal measure though not in the way you'd expect, with such a strong vein of social commentary implemented so seamlessly into the narrative. So much life found not just in the characters themselves but in the margins of the plot, so much going on and is all pieced together in the end so beautifully. And lastly, 1917 is a film where it's easy to overlook the screenplay but it's great work in itself in granting such a vivid realism to the exchanges between the soldiers and its tight knit plotting which is essential to the film working as well as it does.
Best Cinematography
1917
The Lighthouse
The Irishman
Joker
Once Upon a Time in Hollywood
Just two years after winning for Blade Runner 2049, 1917 brings Roger Deakins back to the Oscars with a resounding bang. Marvellous work that like his work on 2049 is both beautiful to look at and essential to the film's storytelling technique. There's so much to commend firstly in the camera movements conveying the film's 'continuous shot' intentions, which always feels natural and immersive to the experience, and when he gets his chance to tip his hand a bit and 'show off' so to speak, we're conjured up with some downright gorgeous scenes. On that note I hated Joker but I will admit that Lawrence Sher's cinematography is absolutely outstanding, even if its purposed for some fairly unengaging scenes the colour palette is outstanding in every frame. Once Upon a Time in Hollywood is not Robert Richardson's finest hour, it's good don't get me wrong, but lacks a bit of that extra panache I've come to expect from Tarantino's work, especially in the use of colours and lighting which is definitely a step down from their previous collaborations in that it just doesn't feel as dynamic, like I'd say I much preferred the palette for Django Unchained and especially The Hateful Eight if I'm honest. Likewise for Rodrigo Prieto and The Irishman though his work on it is still very strong, particularly when it comes to the camera movements and some standalone shots like that final scene, but I'd say with both films the set design, costumes and really everything within the frame is what captures your attention more than how the film is framed itself. Lastly, The Lighthouse. I'll discuss this more in depth in the near future as so much of it ties into how well it amplifies the performances and the atmosphere of the film but here's an inspired nomination that beautifully shows just how to pull of the Gothic.
Best Film Editing
Parasite
The Irishman
Ford v Ferrari
Jojo Rabbit
Joker
Parasite is easily the best edited film of the year, as is customary for Bong Joon-ho it's firing on all fronts in this regard particularly in each and every beautiful montage. 'Belt of Faith'. Each scene is just perfectly paced, constructed, goes together so well. Likewise for The Irishman which is deliberately paced very slowly through the nostalgic lens and it's really grand in that regard, I absolutely love some of Thelma Schoonmaker's more overt touches this time round with the jarring cuts which are often brilliant. Jojo Rabbit is a very well paced film, unshowy in this regard but very good, and Ford v Ferrari is sensational in its racing sequences particularly the Le Mans sequence entirely, even though the film on the whole definitely could've been trimmed down a bit. Again Joker is BTEC Scorsese and that extends to the editing which is BTEC Schoonmaker. Not good work.
Best Costume Design
Little Women
Jojo Rabbit
Once Upon a Time in Hollywood
The Irishman
Joker
I have to say this is a pretty good lineup, can't complain too much, particularly with the gorgeous period costumes of Little Women and the crazy zany takes on various outfits in 1940s Germany for Jojo Rabbit, which make for some great gags across the film as well as just looking splendid. Likewise Once Upon a Time in Hollywood, everything the characters wear 'in character' or in 'real life', and this is one unimpeachable element of every Tarantino film. Joker has good costumes too, his final outfit is pretty great.
Best Makeup and Hairstyling
Bombshell
1917
Joker
Judy
Haven't seen Maleficent: Mistress of Evil and nor do I intend to. That's that. Bombshell definitely deserves this for its very accurate recreations of Megyn Kelly, Gretchen Carlson and Roger Alies from the team behind Gary Oldman's makeup in Darkest Hour. Joker's makeup is...fine I guess? As far as Jokers go I'll admit to always having an added bit of affinity for more daring takes that payoff like Heath Ledger's grungy makeup and hair design which this does feel a bit derivative of. At least Phoenix didn't have DAMAGED tattooed across his forehead and his final 'transformation' is well done. Judy is solid biopic work, I appreciate they didn't try to do too much to Zellweger like Rami Malek's mouthpiece last year for Bohemian Rhapsody, settling for some fairly straightforward but good makeup and hairstyling to recreate her likeness. And 1917 is just great straightforward war film work with the wounds and scars, great stuff.
Best Production Design
1917
Parasite
Once Upon a Time in Hollywood
The Irishman
Jojo Rabbit
The nominees all create their respective environments so wonderfully well, whether by set craftsmanship or location work. Adored 1917 in its amazing detailed look at warfare and the ruins of No Man's Land, the destroyed village, honestly everything the camera looks over is terrible, and I mean that in the greatest complimentary way. Parasite is all about creating that class divide between the impoverished basement and the wealthy house, and each is crafted magnificently by the set design, while The Irishman too has such memorable mobster hangouts in each locale.Once Upon a Time in Hollywood too is grand from the streets of Hollywood to the recreated sets, and I do have a particular affection for the creepiness created by the design of Spahn ranch. Jojo Rabbit's set design is probably the least impressive of this lot but still great, in particular the household of Jojo and the use of colours to contrast with the grey of the streets.
Best Sound Editing
1917
Ford v Ferrari
The Rise of Skywalker
Once Upon a Time in Hollywood
Joker
Best Sound Mixing
1917
Ad Astra
Ford v Ferrari
Once Upon a Time in Hollywood
Joker
It's a shame that the amazing work in The Lighthouse couldn't get into the categories here but 1917 is more than an adequate recompense for that snub, as it goes beyond the call of duty for even a war film to grant such an immersive, thrilling ride through Schofield and Blake's ears. Likewise for Ford v Ferrari and how each race pulsates through your ears so wonderfully. Star Wars getting in agin, okay, fine, it's dependable Star Wars work as usual, and Once Upon a Time in Hollywood and Joker have okay-ish sound work that's far from prime QT in this regard (nothing on par with the equivalent work in say Basterds or the Kill Bill films), and Joker I honestly think the awards in this regard have gone to its subway scene which is a great sequence in that regard, otherwise I don't see why it's nomination was needed. Ad Astra is a pleasant surprise as it achieves the usual expected excellence of a space film sound mix and nails it.
Best Visual Effects
1917
The Irishman
Avengers: Endgame
The Rise of Skywalker
The Lion King
1917's immaculate visual effects work is so good you couldn't tell it was there and you really feel you're in the war zone with every plane crash, and all that. It's great that The Irishman was recognised here for its excellent, if still not flawless, ageing/de-ageing effects, particularly for Pacino and Pesci. Endgame and Rise of Skywalker are all decent standard Disney visual effects levels with a few faults here or there but nothing I can criticise too much, and while I wasn't a fan of the overt photorealism of The Lion King but I do have to commend the VFX animators for trying it out. Much preferred the approach in The Jungle Book a few years previous.
Best Original Score
1917
Little Women
Marriage Story
Joker
Star Wars: The Rise of Skywalker
HELLO NEWMAN! (note: the only way I know this Seinfeld reference is from an episode of Curb Your Enthusiasm). I swear, I swear if Thomas Newman doesn't win his well-deserved first Oscar for 1917, I swear...it's magnificent grandiose work, particularly in that amazing 'Sixteen Hundred Men', and the quieter tracks are all brilliant too. Marriage Story is pretty much a Randy Newman Toy Story score implemented into a live-action film. Now that could come across as overly saccharine but frankly I thought it was a great choice, as essentially 'comfortable' and often sweet music to accompany a range of emotions, and while I do think Noah Baumbach could've held back on its use in certain scenes it did give me an emotional kick. Hildur Guðnadóttir's work on Joker is undoubtedly a solid score, atmospheric and does actually help to convey a lot more substance than the film actually has. Having said that I don't think it's a great score, particularly when it comes to its implementation within the film, and I have to say it does pale a bit in comparison to Zimmer/Newton Howard's work on the Joker score in The Dark Knight. And Alexandre Desplat's work on Little Women is playful, fun, and just outright loveable and a very deserving nod in a great year, and drew a laugh, a tear, on several accords. As for Star Wars...okay. The main Star Wars theme is great as always and that's that.
Need to see/hear more from Best Original Song (though so long as either Elton John and Bernie Taupin get to strut onstage, or Cynthia Erivo completes the EGOT, I'm happy. Both songs are just wonderful 'end credits' tributes to their respective films, catchy and vibrant and upbeat with regards to the former and rather powerful and heartrending with regards to the latter), Best International Feature Film, Best Animated Feature Film, Best Animated Short Film, Best Documentary Feature (though Apollo 11 was snubbed), Best Documentary Short Subject and Best Live Action Short Film before I can comment fully.
