A new article – the first in a long time. Pardon my absence, I know it was difficult. It took something serious to make me fire up WordPress, and today’s Oscar announcement was just that.
Every year, Oscar nominations are released early on a Tuesday morning, and the Internet reaction is generally negative in a way that only the Internet can be. It consists of pages and pages of quickly digestible tidbits of complaining, mainly consisting of “Why didn’t (some movie/actor) get (some nomination)?!?! THIS IS WHY THE OSCARS SUCK!” This is of course complemented by the one or two hyperbolic caps-lock users, declaring that this is, indeed, the Worst Oscars Ever.
These reactions usually make my eyes glaze over – these people aren’t voting for a reason, and their opinion doesn’t matter to anyone (probably even the movie/actor that they think should’ve been nominated). This is how I usually feel because this complaining is usually stupid – 2011 was actually a great year for the Oscars, featuring a lot of very good movies that deserved it. But this year, 2012, I’ve got some issues. I hate myself for feeling slighted that some people that I will never know aren’t nominated for a prize that I have no say in, but hopefully this well explain why 2012 will be the worst year for the Oscars in recent memory.
Who/what should’ve gotten more (or ANYTHING):
- Drive – 1 nomination in Sound Editing. Drive was an amazing movie, and it missed in ALL of the categories that I wasn’t hoping for, but was really simply expecting. Picture and supporting actor for Albert Brooks were gimmes, and director, writing, and music for Cliff Martinez should’ve also been included, among others. This is confusing for me – my guess is that a movie released in September needs a huge ‘For Your Consideration’ ad push in December/January, and it wasn’t there.
- Michael Fassbender – He put in a big year with Shame and A Dangerous Method in addition to X-Men: First Class, but is not recognized. The man’s a seriously skilled actor and he had a great year. Where’s the nod?
- Melancholia – Don’t think I’m too shocked about this, and I didn’t expect a Best Picture. However, Kirsten Dunst put in great work in this study of depression, the meaninglessness of Western society’s traditions and rituals, and the end of the world. Also – it was beautifully shot. The hilariously abrupt ending aside, this movie needed some attention.
- Andy Serkis – The longest of long shots, so I don’t think anyone feels too slighted. However, the day is coming soon when motion-captured acting gets a serious acting nomination (probably to Serkis – two new Hobbit movies coming soon), but I think Serkis’s role in Rise of the Planet of the Apes should’ve been the one to break that barrier.
- Girl With the Dragon Tattoo – a great film, and deserving of a Best Picture nomination, if not a win. Regardless, I’m hoping Rooney Mara wins for Best Actress. Mainly though, Trent Reznor wasn’t nominated coming off his Oscar win last year for The Social Network. The Academy seems to be very strange in its score voting. Last year, Daft Punk didn’t get a nomination for Tron: Legacy, and this year, both Cliff Martinez of Drive and Reznor missed it in favor of two John Williams scores. I love Williams, but I really don’t think the Academy fully understands or appreciates experimental electronic/orchestrated hybrids, barring Reznor’s win last year.
Who/what got too much:
- Bridesmaids: a funny movie, yes. Problem is, everything after the airplane scene (and especially the ending) left me uninvolved, and the hype didn’t match what I watched. Regardless, it was nominated for Best Screenplay. Also leaving me confused is how this is possible from a movie in which the best component, Melissa McCarthy, has very little screen time and I assume ad-libbed a majority of lines?
- Moneyball: Again, a decent movie. Aaron Sorkin came off of The Social Network to this, and there are flashes of that wit and razor sharp story, but not worthy of a Best Picture.
- Extremely Loud & Incredibly Close: I didn’t see it, and don’t want to. The trailer hit me as melodramatic junk that always seems to get more attention than it deserves (I’m looking at you, Precious). Also, it’s got a 48% on Rotten Tomatoes. People who watch movies religiously according to its RT percentage probably ordered vanilla ice cream and lukewarm water at the concession stand, but 48% is a safe bet against, especially in the always wonderful melodrama genre.
- Woody Allen/Midnight in Paris: I liked this movie a lot, it was fun to watch, if not necessarily different or important. Plus, there’s something very interesting for me to try to read Owen Wilson’s eyes and body to see if his personal problems come out in his roles. I wish I could’ve come away from the movie with more than, “yea, we always think the grass is greener on the other side – now what?”
- Meryl Streep: We get it – you’re an amazing actress. Give someone else a shot, woman. But yea, she is a joy to watch.
And a few pleasant surprises (amazingly)
- Jonah Hill/Melissa McCarthy: A pair of comedic actors getting the rare Oscar nomination. I’m a little disappointed that Hill’s nomination probably should be Albert Brooks’s, but when a guy comes from Accepted – “ask me about my weiner!” to an Oscar nomination, it makes me smile. Even better, McCarthy in a purely comedic role where shit-based humor plays a fairly significant role gets a nom – FOR THAT ROLE. She won’t win, and I’m shocked she even get nominated, again, she left me smiling.
Consider me vented. Obviously, the only reason things like this happen is that 2011 was a slim year in film. I’m excited for 2012, and maybe I’ll write about something that strikes me particularly. Otherwise, watch this space 18 months from now for my next stupid stereotypical Internet-rant. I’m going to wash my keyboard off with soap after this.
