Early Bird Oscar Predix: The Costume Designers

Whether or not you think Catherine Martin has already won this year's Costume Design Oscar - paging pink-suited Jay Gatsby! -- the upcoming battle for Oscar nominations is hardly an easy read even if there are only four spots to sashay towards in your suit & gown finery. Costume Design is my favorite Oscar race outside of all the Actressing, not frequently for what the Academy chooses but for the breadth and depth of the competitive field each year. Here's a few questions I'm already asking myself and by extension, you. So join me in the sartorial contemplation...

Steven Noble's work on "Two Faces of January" looks just divine in stills. How's the film?

This far ahead of the nominations (only 242 days to go!) it's anyone's guess and anyone's game. 

Which frequently forgotten designer will finally get the red carpet welcoming committee? 
The possible answers are plentiful so let's talk four of them. Your guess is as good as mine why The Lone Ranger's Penny Rose, who has delivered truly iconic costumes in major Costume Parade Jobs over the years (Evita and Pirates of the Caribbean Curse of the Black Pearl being the standouts) has yet to be nominated. I actually find it quite insane. Another frequent miss is Louise Frogley, the favored costuming goddess of the Oceans gang (both Soderbergh and Clooney call on her services). She could snag an easy nomination this year for Monuments Men but then again WW II films are hardly done deals in this category since there are a) numerous options to choose from each year b) she's been ignored for this period before (The Good German) and c) this category doesnt always choose Best Picture nominees for their nominations even if they're WWII films - remember when Inglourious Basterds missed?

plunging necklines will spice up "American Hustle" this year

For now I'll make a wild guess and say that this year's frequent snubbee finally are two: Saving Mr Banks' Daniel Orlandi and/or American Hustle's Michael Wilkinson. Orlandi been passed over for blatant Oscar-bids like Cinderella Man and Frost/Nixon and though a nomination was never going to happen for his cheeky 60s homage Down With Love that doesn't mean it shouldn't have! Will this Walt Disney/Mary Poppins era behind-the-screen story feel like grotesque corporate hagiography coming from Walt Disney Pictures or will it be good and fun and visual enough to earn respect from AMPAS members? Meanwhile,  American Hustle's Michael Wilkinson is temporarily leaving the undoubtedly lucrative but respect-challenge realm of fanboy pictures (Watchmen, TRON Legacy, and 300 among others) for David O. Russell's first true period film. Will the plunging necklines on Amy Adams and Jennifer Lawrence catch Oscar's eye? Oscar totally stands at attention for those two beauties.

Ben Barnes and Jeff Bridges in "Seventh Son" with costumes by 2 time nominee Jacqueline West

Will any of the many genre flicks make inroads here this year? 
There are just so many to choose from. Thor, Wolverine, Supes and Iron Man will undoubtedly cancel each other out even for people who love superheroes. If voters don't feel like returning to Middle Earth for another Peter Jackson fantasy, other genre films that could catch the costuming branch's eye include Seventh Son (with Julianne Moore as an evil feather caped sorceress), the apocalyptic or cyborg-riffic (Snowpiercer and Elysium), or even Hunger Games: Catching Fire. The first Hunger Games missed a nomination despite being quite Costumey at points but the new designer is Trish Summerville and people really went for her punk edge on David Fincher's The Girl With the Dragon Tattoo.   

Which rising stars will make it?
With Oscar's Holy Trinity (Sandy Powell, Milena Canonero, and Colleen Atwood each have three Oscars) not strongly in the discussion yet --at least at this writing -- which rising design stars might finally gain a foothold? I'm currently betting on Steven Noble whose work on Two Faces of January is drool-worthy from a distance. But will people like the film? (Patricia Highsmith adaptations are tricky things to pull off.) 

Kurt & Bart -- I'm not sure which is which... and no they are not boyfriends

And how about that Kurt & Bart team who might be the hipster favorites of the Costume world now given their club scene origins and indie entry into cinema (see John Cameron Mitchell's Shortbus). They have three films this year. Their work on Stoker already wowed (though that film will win nominations only if hell freezes over or Identity Thief competes for Best Picture) and they also did the clothes for Out of the Furnace (Scott Cooper's Crazy Heart follow up) and the showy-Leto-drag and skinny-McConaughey for Dallas Buyer's Club. 

and now... THE COSTUME DESIGN CHART

thoughts?

Gravity. Such a Tease.

I don't have time for a Yes No Maybe So this morning for the Gravity teaser but I'm all YES anyway. And we can wait for a full trailer (though really why can't they leave it at this perfect tease?) for that. The 2013 Oscar prediction charts will be finished over the next few days (finally ~ thanks for your impatience!) but as you can tell from the Best Picture chart, I'm going all in for this one.

And I was doing so long before this tease caught my breath so strongly I nearly lost oxygen. How strongly does this teaser grab you? Do you think Alfonso Cuarón will top his two arguable masterpieces: Children of Men and Y Tu Mama Tambien? What would you give to see it right now?

April Showers ... With Zombies

April Showers each night!

Have you ever seen Cemetery Man (1994), a schlocky Italian horror flick from 1994 starring Rupert Everett as the titular character? He fends off pesky zombies including his lover (the busty Anna Falchi) with some regularity.

Despite my long dormant Everett fandom (I was there right at the beginning with Another Country / Dance With a Stranger), I've still never seen this one all the way through. I was just thinking about this because I was in Nashville and some years ago when I juried there with Nick Davis, who loves the movie, he showed me pieces of it.

Everett's character Francesco Dellamorte apparently takes a lot of showers and apparently he's used to getting attacked by zombies -- just part of the job. more... But on this particular night in the movie they come earlier than expected. The lights go out in the shower, he sees one approaching in shadow (shower curtains = scary in movies), and then the zombies, in what looks like boy scout uniforms (hee!) begin to attack. He does what one does in these situations, shooting the zombies in the head.

The most hilarious thing about the gorey sequence is that Rupert is attacked in the shower but when he fights back in the very next cut he's wearing pants. How did this happen? Zombies move slowly but slow enough for their victims to slip on a pair of pants before finding a weapon? It's not for some 'no nudity' clause either -- since Everett gets naked elsewhere in the movie.

This final post shower attack makes me giggle. Who can blame the little shit for wanting a nibble?

If you were a zombie, which Brit beauty would you consider fine dining come shower time?

Burning Questions: Can You Really Separate A Performance From The Film?

Hey everybody. Michael C. here. Growing up in the dark days before Twitter, back before I could get my Oscar gripe on 24/7, I had to focus all that emotion on Siskel and Ebert’s annual "Memo to the Academy" special. Watching year after year, one of the refrains the duo drilled into my head was that the Academy should expand their idea of what constitutes an Oscar-worthy performance. Don’t lazily jot down the names of those appearing in best picture contenders. Evaluate each performance on its own merits, apart from the film that contains it. They were adamant on the subject. 

Or at least they were, until the 1998/99 episode when Gene found the limits of Roger’s open-mindedness by suggesting James Woods receive a Best Actor nod for John Carpenter’s Vampires. After Gene went on for a bit about Woods’ talent for commanding the screen, Roger demurred, “Yeah, but if you’re gonna nominate someone for Best Actor you kinda want them to be in a little better movie, don’t you think?”

Gene wasn’t having it: “No. I want the performance. I don’t care about the movie.” 

This altercation zeroed in on a question that has always nagged at me. If even a harsh critic of stodgy thinking like Ebert has to draw the line somewhere, is the issue that cut and dry? Is it really possible to separate the performance from the film? [more]

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