Five (Other) Times Nicole Kidman Should Have Been Oscar Nominated

With Nicole Kidman returning to the Oscars this weekend as a nominee, here's Abstew on a handful of roles for which Oscar did not recognize her...

When I was a child there was an Oscar almanac that I would consult for my Oscar obsession (this was long before the days of the internet). The list of actors with multiple nominations didn't begin unless the actor had 5 nominations or more. Ever since then I've had it in my head that 5 is the magical number when it comes to Oscar; a sign of a better actor, showing that their body of work over the years is worth recognition, rather than the "one and done" that so many actors face. Since Nicole Kidman has always been one of my favorites, I've thought it odd that she's been nominated a relatively low number of times compared to the quality she produces. Certainly she ranks with Kate and Cate, for example, who both have 7 nominations...

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8 Days Until Oscar. Do "Moonlight" or "Arrival" have Oscar twins from the past?

With 8 days to go until Hollywood's High Holy Night let's compare our two pictures with 8 nominations each this year, Denis Villeneuve's thinky sci-fi drama and Barry Jenkins' ravishing memory/identity drama. While both films might come up empty handed on Oscar night they each have a reasonable shot at one or two statues -- Moonlight could theoretically win Supporting Actor and/or Adapted Screenplay and Arrival's best Oscar shot is probably in one or both of the Sound categories unless it surprises with Adapted Screenplay itself in what could arguably be a five way race if Moonlight is not as strong as pundits suspect there.

ARRIVAL	MOONLIGHT
Their 8 Nominations
Picture	Picture
Director	Director
	Supporting Actress
	Supporting Actor
Adapted Screenplay	Adapted Screenplay
Cinematography	Cinematography
Production Design
Film Editing	Film Editing
	Original Score
Sound Mixing
Sound Editing

In the categories where they're competing which film do you prefer?

For extra fun, though, let's find out if the either of these films have any exact Oscar doppelgangers from the past shall we?

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Odd Golden Globe Nominations This Century

by Brian Zitzelman

The Golden Globes take the spotlight again tomorrow night, however briefly. As the Oscars shine with prestige, the Globes remain its bratty little brother; he seems well behaved, but does enough wild things (drinks, watches too much tv, dresses down) that he'll never escape his elder sibling's shadow. And annually he let's strange nominees slip out the gate... 

This is not to say that Oscar doesn’t occasionally include films and performances that are immediately forgotten or unworthy, but nobody beats the Hollywood Foreign Press Association for oddball picks, both deserving and not. So, if you’re curious why the Globes are such an easy punching bag for movie hounds, while nonetheless being a delight for their originality, here are a few of the most peculiar nods of this century. Not all of these are laughably bad -some reveal a daring and interest in films outside the 'prestige' norm, yet in the world of film awards, they are indeed odd... 

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The Furniture: Fame Flattens Your Dreamgirls, Boys

"The Furniture" is our weekly series on Production Design. Here's Daniel Walber...

 This probably goes without saying, but movie musicals tend not to take place in the real world. Gene Kelly doesn’t just serenade French children in An American in Paris, he leads the cast through a dream ballet of wild abstraction. The oddness of public singing is often just the door to an even more fantastical world. Even those about actual musicians, who need no special excuse to croon, often break free from realism.

In this context, Dreamgirls is a bit of an odd duck. Director Bill Condon tries to split the difference. Some of the songs are entirely within the context of a real performance, while others incorporate non-musician characters and non-realistic settings. The back and forth can be a bit confounding...

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The Furniture: Feasts of Flesh in Pan's Labyrinth

"The Furniture" our weekly series on Production Design. Here's Daniel Walber

Pan’s Labyrinth, like most of Guillermo del Toro’s films, is busy with visual imagination. There are monsters and fairies, though it’s not always certain which is which. There are dramatic colors and haunted shadows, which push even the more terrestrial sequences toward the fantastical. And there are little flourishes, not all of them thanks to the digital effects team.

In fact, physicality is among the film’s greatest strengths. Sets were built for both Ofelia’s dream world and the all-too-real Spanish Civil War narrative that frames them. Del Toro doesn’t rely on either digital backgrounds or pre-existing locations. Instead, he leans on the uncanny power of tangible design, like these Harryhausen-like models that stand in for an underground kingdom.

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