Team Experience: Personal Favorite Oscar Nods

While I update the charts I asked the team to share their single favorite Oscar nomination of the day. And I hope you'll pick a single nomination to praise in the comments to. What most delighted you?

And now the favorite things hoopla begins... 

Mad Max: Fury Road - Best Picture
Back in May, critics and cinephiles, myself included, fell in love with Mad Max: Fury Road. It wasn’t just lust or infatuation. It was the kind of love that breeds doubt that others could see in the movie what we saw. Perhaps for that reason, a chorus of moans immediately went up about how not only is the Academy so often forgetful of Spring films, but that Mad Max was probably too fun, too action-y, too daring, hell, too feminist, for the academy to acknowledge it come Oscar season. Then, over the course of the summer, it didn’t even become the blockbuster many expected it would. Domestically speaking, it barely recouped its $150 million budget. (That may sound like a lot, but in the summer of “gigantosauri,” as Mark Harris called it, it was runtish.) How wonderful then today, to see a movie as exciting as it is smart get its due. - Kyle Stevens

Lenny Abrahamson, Room - Best Director
Every moment is so carefully considered. His touch is so gentle that he earns every tear he's coaxed out of us by patiently setting up character and context. He makes Room feel so big and the real world so oppressively small. You can feel that the film was constructed by someone with a deep well of compassion and a profound understanding of what presentation the story demands to impact us. I had hoped that he could make it in, but so rarely does the director's branch award solid quiet observation. - Chris Feil  

more after the jump... 

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Prediction Stats & Well Wishing

Focus, Nathaniel, focus. So many posts are in embryonic stages of writing so be patient. This day is so demanding but we love it. It's our Christmas (Oscar Night being our New Year's Eve). True, The Academy always delivers a few ungodly lumps of coal (like ignoring Carol in Best Picture) but you take the bad with the good or you go insane. 

First we should begin by saying "Congratulations!" to all the nominees. In the next 48 hours we'll talk about our favorite choices the Academy made, wonder about the headscratchers, say a symbolic farewell to our beloved but snubbed, and cover trivia and such.  If you missed recent interviews with some of the nominees now would be a great time to catch up with them and comment away: Jack Fisk (Production Design, The Revenant), Jacqueline West (Costume Design, The Revenant), Phyllis Nagy (Screenplay, Carol), László Nemes (Foreign Film, Son of Saul), Deniz Gamze Ergüven (Foreign Film, Mustang). More Oscar Nominee interviews are coming soon including Alicia Vikander, Sandy Powell, Chivo, and a little Star Wars: The Force Awakens. 

As for how I did on my predictions? I scored 79% accuracy in the big eight categories but a 74% overall. Not shabby but not great either in one of the more difficult years I've experienced as a pundit. You can see the breakdown on the nomination index page (nailed Actor and Sound Editing, biffed big time on Song & Production Design) or on this blow by blow account. 

Did the morning turn out as you'd predicted?
One things for sure: If you were betting against The Revenant you were viciously mauled by The Academy. They went for it in nearly every category they could save Best Supporting Actress where they passed on Judy the bear.  I'll confess: though I admire much of the craftwork, it's  already my great borennoyance of the season, just grunting and bleeding and sufferring and suffocatingly obssessed with its own masculinity.

7th Time the Charm for Cate & Kate

Murtada here to celebrate the nominations for Cate Blanchett and Kate Winslet. It's the 7th nomination for both. Blanchett for Best Actress in Carol and Winslet for supporting actress in Steve Jobs. (Which means they're both moving up that Oscar Hierarchy) .

The two have always been linked since they have (essentially) the same name and started winning the hearts of cinephiles around the same time in the mid 90s.

Although younger by 6 years it was Winslet who first made a splash in Heavenly Creatures (1994) and received her first Oscar nomination a year later for Sense and Sensibility (1995). Three years after that Blanchett announced herself as a force to be reckoned with - and got her first nomination - with Elizabeth (1998).

Winslet’s other nominations are for Titanic (1997), Iris (2001), Eternal Sunshine of the Spotless Mind (2004), Little Children (2006) and The Reader (2008). Blanchett’s are The Aviator (2004), Notes on Scandal (2006), Elizabeth: The Golden Age (2007), I’m Not There (2007) and Blue Jasmine (2013).

Let’s have fun with 7 anecdotes after the jump...

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Live Nomination Stream

Merry Christma-Nomination Day

Clutching Bright Betsy in terror while waiting the wait... 

Alan Rickman (1946-2016)

Heartbreaking. Alan Rickman, one of the UK's most treasured showbiz mainstays has passed away at the age of 69. Though he occassionally dabbled in directing (The Winter Guest and A Little Chaos) he was best known as an actor of stage, tv, and big screen.  He's inarguably best known and beloved for the many years as Professor Snapes in the Harry Potter series. But for me, his career always makes me nostalgic for the early 90s. His career was energized by the success of Die Hard which led to a bunch of movies. 

When I saw Robin Hood: Prince of Thieves (1991) I was shocked that any film could contain so many performances that were all over the map in terms of quality - a chaos of acting styles and fumbles but he was always fun hamming it up as the Sherrif of Nottingham. I immediately typecast him as a villain. A year or two after Robin Hood I discovered in short succession the intense incest drama Close My Eyes (in which he is horrified to discover that is brother-in-law Clive Owen is sleeping with his wife), the claustrophobic thriller Closet Land in which he terrorized my then obsession Madeline Stowe (at the peak of her powers from roughly 1990-1994). But all my limiting ideas that that inimitable voice and the stern face meant he was a screen baddie were blown apart by this next one. My best girlfriend had fallen for this romantic comedy Truly Madly Deeply in which he plays Juliet Stevenson's ghost lover and demanded I see it. I fell hard. For them and the movie.

It's a great rental / streaming idea if you haven't seen it. This scene, which gives it its title, is my single favorite moment in Rickman's filmography.

What's your strongest memory of Alan Rickman's career?