Final Oscar Predictions in Every Single Category!

by Nathaniel R

If only we had been able to devote more time to each category leading up to the nominations. Next year, my friends. Life, a cruel mistress this winter, had other plans this year. But we'll do better about diving into the nominees. As with most pundits I'm expecting The Shape of Water to be the nomination leader, but I don't think it will be setting any records as some are suggesting. The support for it seems less feverish and more pleasant. At least from my perspective. It can expect a big haul but not every single category. On the opposite side of the Best Picture spectrum is The Big Sick, the only potential nominee that could also be entirely shut out since it's hovering on the edges of its most nominatable categories: Picture, Screenplay, Supporting Actress 

So let's break it down by category shall we? We're just listing the basics here but each link will take you to that category's full chart with much more information and the pretty pictures. As always we'll be frantically updating every single chart on nomination morning (January 23rd). So be here frequently this week, pretty please...

Click to read more ...

The Furniture: Top Hat's Dancing Sets

"The Furniture," by Daniel Walber, is our weekly series on Production Design. You can click on the images to see them in magnified detail.

Only 8 days until Oscar nominations! To mark the occasion, or perhaps to fill the time with something other than anticipation, let’s look back at the 8th Academy Awards. The year was 1935. Bette Davis won a consolation prize, Best Actress for Dangerous after the failure of a write-in campaign for 1934’s Of Human Bondage. John Ford won his first Oscar for The Informer, which beat Mutiny on the Bounty in nearly every category except Best Picture. A Midsummer Night’s Dream, the film debut of Olivia de Havilland, won a write-in victory in Best Cinematography.

This was the last year with only three nominees for Best Art Direction. The victory went to The Dark Angel, a drama of romance and World War One. Its biggest competition may have been The Lives of a Bengal Lancer, an imperial adventure set in the British Raj. It apparently promoted European superiority so effectively that Adolf Hitler saw it three times. It received seven nominations, winning for Best Assistant Director.

If this all seems dour, don’t worry...

Click to read more ...

FYC: The Furniture's 2017 Oscar Ballot

"The Furniture," by Daniel Walber, is our weekly series on Production Design. You can click on the images to see them in magnified detail.

Production design can be a tricky thing to award. Like so many other categories, there’s a tendency to simply recognize “most,” rather than “best.” Moreover, great design can hide in plain sight. Brilliantly-conceived sets can seem like ready-made locations, particularly in contemporary films. Transportive design elements sit in the background, working their magic under the radar. It can take both a close eye and a little extra research to identify the year’s best work.

Still, here we are. Oscar voting is open and it’s time to make a last pitch. Below are my ideal nominees for Best Production Design, five films that often press up against detailed realism, while never letting go of their own movie magic...

Click to read more ...

The Furniture: Revisiting the Surreal Spaces of Toys

"The Furniture," by Daniel Walber, is our weekly series on Production Design. You can click on the images to see them in magnified detail.

Today marks the 25th anniversary of Barry Levinson’s Toys, a film you don’t hear about very much anymore. It wasn’t exactly beloved at the time, certainly, and wound up with a Razzie nomination for Worst Director. However, it also showed up at the Oscars, receiving nominations for Best Costume Design and Best Production Design. At the very least, it remains a pleasant reminder that sometimes even flops are given a fair shake by the Academy’s craft branches.

And now, in the dramatically different context of 2017, it deserves some renewed attention. Its critique of militarism and toxic masculinity has aged surprisingly well, as have the more committed of the performances. Joan Cusack’s absurd turn as the eternally childlike Alsatia is at the top of the list.

But the best elements are still those that were recognized at the time.The work of production designer Ferdinando Scarfiotti, art director Edward Richardson and set decorator Linna DeScenna is beyond...

Click to read more ...

The Furniture: Matte Paintings at the End of an Era

"The Furniture," by Daniel Walber, is our weekly series on Production Design. You can click on the images to see them in magnified detail.

Over the course of the past year, I’ve done an informal retrospective series on the Best Production Design nominees of 1967. It isn’t an especially “New Hollywood” lineup, despite being the year of “Pictures at a Revolution.” Four of the nominees are lush period pieces, three of them lengthy musicals. They often feel like extravagantly-designed chaos, whirlwinds of sets and props that spin out of control. This is true of both the hilarious brawls of The Taming of the Shrew and the dated, stereotype-laden adventures of Thoroughly Modern Millie. Camelot, the winner, manages to split the difference between Old Hollywood excess and New Hollywood sexuality.

The final two films, both Best Picture nominees, are a bit less of a thrill. Guess Who’s Coming to Dinner and Doctor Dolittle are, respectively, the most realistic and most fantastical of the five nominees. However, despite their differences, they both underline the inadequate end-point of old-school studio design.

Click to read more ...