Oscars 2016 Predictions

It’s that time of the year again where we don our fortune teller hats and bring out our crystal balls and try to predict how The Academy will surprise us and/or let us down this Oscars 2016! Will you bet your money on the tenacious investigative journalists in Spotlight? Or the finance nerds in The Big Short? Personally, I’d bet on the bear. But she got snubbed. So please come and join us as we rant, and rave, and act all high and mighty about all things Oscars 2016!

Best Cinematography

  • Ed Lachman, “Carol”
  • Robert Richardson, “The Hateful Eight”
  • John Seale, “Mad Max: Fury Road”
  • Emmanuel Lubezki, “The Revenant”
  • Roger Deakins, “Sicario”

Should Win: Emmanuel Lubezki, “The Revenant”
Will Win: Emmanuel Lubezki, “The Revenant”

Should Win: Roger Deakins, “Sicario”
Will Win: Emmanuel Lubezki, “The Revenant”
Snubbed: Son of Saul

Best Original Screenplay

  • Matt Charman and Ethan Coen & Joel Coen, “Bridge of Spies”
  • Alex Garland, “Ex Machina”
  • Pete Docter, Meg LeFauve, Josh Cooley, “Inside Out”
  • Josh Singer & Tom McCarthy, “Spotlight”
  • Jonathan Herman and Andrea Berloff, “Straight Outta Compton”

Should Win: Josh Singer & Tom McCarthy, “Spotlight”
Will Win: Josh Singer & Tom McCarthy, “Spotlight”
Snubbed: Quentin Tarantino, “The Hateful Eight”

Should Win: Alex Garland, “Ex Machina”
Will Win: Josh Singer & Tom McCarthy, “Spotlight”
Snubbed: Quentin Tarantino, “The Hateful Eight”

Best Adapted Screenplay

  • Charles Randolph and Adam McKay, “The Big Short”
  • Nick Hornby, “Brooklyn”
  • Phyllis Nagy, “Carol”
  • Drew Goddard, “The Martian”
  • Emma Donoghue, “Room”

Should Win: Charles Randolph and Adam McKay, “The Big Short”
Will Win: Charles Randolph and Adam McKay, “The Big Short”
Snubbed: Aaron Sorkin, “Steve Jobs”

Should Win: Phyllis Nagy, “Carol”
Will Win: Charles Randolph and Adam McKay, “The Big Short”
Snubbed: Andrew Haigh, “45 Years”

Best Actor in a Supporting Role

  • Christian Bale, “The Big Short”
  • Tom Hardy, “The Revenant”
  • Mark Ruffalo, “Spotlight”
  • Mark Rylance, “Bridge of Spies”
  • Sylvester Stallone “Creed”

Should Win: Sylvester Stallone, “Creed”
Will Win: Sylvester Stallone, “Creed”
Snubbed: Michael Keaton, “Spotlight”

Should Win: Sylvester Stallone, “Creed”
Will Win: Sylvester Stallone, “Creed”
Snubbed: Idris Elba, “Beasts of No Nation”

Best Actress in a Supporting Role

  • Jennifer Jason Leigh, “The Hateful Eight”
  • Rooney Mara, “Carol”
  • Rachel McAdams, “Spotlight”
  • Alicia Vikander, “The Danish Girl”
  • Kate Winslet, “Steve Jobs“

Should Win: Alicia Vikander, “The Danish Girl”
Will Win: Kate Winslet, “Steve Jobs”
Snubbed: Kristen Stewart, “Clouds of Sils Maria”

Should Win: Rooney Mara, “Carol”
Will Win: Kate Winslet, “Steve Jobs”
Snubbed: Kristen Stewart, “Clouds of Sils Maria”

Best Actor in a Leading Role

  • Bryan Cranston, “Trumbo”
  • Matt Damon, “The Martian”
  • Leonardo DiCaprio, “The Revenant”
  • Michael Fassbender, “Steve Jobs“
  • Eddie Redmayne, “The Danish Girl”

Should Win: Leonardo DiCaprio, “The Revenant”
Will Win: Leonardo DiCaprio, “The Revenant”
Snubbed: Jacob Tremblay, “Room”

Should Win: Leonardo DiCaprio, “The Revenant”
Will Win: Leonardo DiCaprio, “The Revenant”
Snubbed: Géza Röhrig, “Son of Saul”

Best Actress in a Leading Role

  • Cate Blanchett, “Carol”
  • Brie Larson, “Room”
  • Jennifer Lawrence, “Joy”
  • Charlotte Rampling, “45 Years”
  • Saoirse Ronan, “Brooklyn”

Should Win: Brie Larson, “Room”
Will Win: Brie Larson, “Room”
Snubbed: Charlize Theron, “Mad Max: Fury Road”

Should Win: Charlotte Rampling, “45 Years”
Will Win: Brie Larson, “Room”
Snubbed: Emily Blunt, “Sicario”

Best Director

  • Adam McKay, “The Big Short”
  • George Miller, “Mad Max: Fury Road”
  • Alejandro G. Inarritu, “The Revenant”
  • Lenny Abrahamson, “Room”
  • Tom McCarthy, “Spotlight”

Should Win: George Miller, “Mad Max: Fury Road”
Will Win: Alejandro G. Inarritu, “The Revenant”
Snubbed: Ridley Scott, “The Martian”

Should Win: George Miller, “Mad Max: Fury Road”
Will Win: Alejandro G. Inarritu, “The Revenant”
Snubbed: Todd Haynes, “Carol”

Best Picture

  • The Big Short
  • Bridge of Spies
  • Brooklyn
  • Mad Max: Fury Road
  • The Martian
  • The Revenant
  • Room
  • Spotlight

Should Win: Mad Max: Fury Road
Will Win: The Revenant
Snubbed: Carol

Should Win: Mad Max: Fury Road
Will Win: The Revenant
Snubbed: Carol

Prudence: Okay, I get why you’d rather go for Deakins to nab that best cinematography award. I love that he brings such lush and poetic visuals to something like crime thrillers. And he has like 12 nominations already but zero wins. That is just ridiculous. But you and I both know that Lubezki will win it once again this year. Because for one, people love The Revenant more than Sicario. In fact the former made a killing at the box office. And well, I do love Lubezki’s natural lighting, and all the smooth long takes.

Bennard: I expect that The Revenant will win for cinematography, yes, but I do believe that Deakins deserve it more because Deakins camerawork has contributed more to Sicario when compared to what Lubezki did for The Revenant. The overhead shots that feels like drones looking down on potential targets, the creeping movement of the camera that creates unease, and that inventive night-vision sequence all contributed to the overall film in a much more significant way when compared to Lubezki’s photography of The Revenant.

Also, speaking of cinematography that contributes to the overall effect of the film, Mátyás Erdély’s photography of László Nemes’ Son of Saul was astounding that it surprised me that it didn’t even get a nomination.

Prudence: You know what, I never thought about it that way, but now that you mentioned it, Deakins’ cinematography does contribute a lot to the storytelling in Sicario, more so than Lubezki’s in The Revenant. But I guess The Academy votes for the most picturesque motion picture photography over anything else. I cannot corroborate for Son of Saul though because I haven’t seen the movie yet, but I do defer to your wisdom in foreign language films. (And all things hipster)

Now I adore Ex Machina and I think it is such an inspired script. But I think it is quite something to write a compelling original screenplay about a group of investigative journalists cracking down the child sex abuse of Roman Catholic Priests. I think Spotlight is a well written and well researched film that is surprisingly quite exciting to watch too. In lesser hands there is a tendency for the story of this sort to be too procedural and boring, or be overly melodramatic.

And then there’s Quentin Tarantino. He writes such witty, funny, frank and searing dialogue, and set up scenes that are so intense. All these are quite evident in his Western talky, The Hateful Eight. So why the snub? Is The Academy all Tarantinoed out? Or could this be on account of all the controversy that surrounded the movie when it first came out? The police groups boycott, and at some point Disney got involved as well. Anyway at least it has three other Academy award nominations, and that ain’t too shabby.

Benny: I adore Spotlight just as much as the next guy but, while I was watching it, the script did not really stand out for me. Add the fact that the whole film did not really rely on the script because the viewer’s attention is directed at the pacing, at the acting, and at the events of the film. On the other hand, Ex Machina had a more vital script in my opinion because the dialogue among the characters are at the foreground of the film because majority of Ex Machina’s running time is about people talking about the nature of what it is to be human. To come out of that film without thinking that it is pretentious or riddled with bloated dialogue is already a feat in of itself.

On Tarantino’s snub, I don’t really know what The Academy is thinking. The Hateful Eight is another film that relies on people talking and nothing much else and there are a few people who can match Tarantino’s affinity for dialogue so I cannot really explain why The Academy didn’t nominate him but he must be used to it by now. The Oscars have been snubbing him since Reservoir Dogs. If it is true that The Academy didn’t nominate him simply for the fact that they’re Tarantinoed too much or that because of his controversial remarks then it just goes to show what a farce the Oscar’s is.

Prudence: Well, screenplay does involve more than the script. I think it actually includes the pacing, the movement, the actions, the expressions. But you do make a good case for Ex Machina. Like I said I love that movie to bits. And about Tarantino, Inglourious Basterds and Django Unchained both got nominated for original screenplay. So I was really surprised that The Hateful Eight didn’t. While the former two movies mentioned is much superior than the latter, I admit. But in terms of dialogue The Hateful Eight is quite at par with those two.

Now onto adapted screenplay. I haven’t read any one of the books from which the movies in this category are based on, but I think creating a screenplay from  a non-fiction book about finance (The Big Short: Inside the Doomsday Machine a by Michael Lewis) takes great skill and creativity. Especially one that is as stimulating and spirited as The Big Short. And it will win this category too, considering that they won’t make this best picture, it being a comedy and all, and it lacking the trappings of a prestige film. And they won’t give this any of the acting awards too. So yeah, this is the one award The Academy will hand to them.

However, Aaron Sorkin’s crackling, exuberant screenplay for Steve Jobs got snubbed, which I think is a bit absurd.

Benny: This is actually an internal debate that I’ve had regarding how to judge the screenplay of a film. I still subscribe to the idea that you should give the dialogue more weight when it comes to judging a screenplay of its merits. I don’t disagree that the pacing, the movement, the actions and the expressions described in the script does not matter but how it is translated to the film is more of the director’s, the cinematographer’s, the editor’s, and the actors’ influence rather than the screenplay itself.

Anyway, I have no doubt that The Big Short will win for Best Adapted Screenplay but I still think that they should give it to Carol. I felt that the script, the dialogue, was vital in the creation of the film and Phyllis Nagy has done an excellent job in cutting elements from the novel that would’ve otherwise cluttered the film. Also, I had moments in watching The Big Short when I cringed at some bits and pieces of dialogue especially at some of Christian Bale’s scenes where he is waxing poetic about the financial sector.

But the snubs! Oh the snubs! I consider it egregious that Aaron Sorkin, whose dialogue is more alive than half The Academy has been snubbed. But I wanted to highlight another film that have been relatively ignored this awards season and that is 45 Years whose script is also a smorgasbord of brilliant writing and dialogue. I’d actually take out Emma Donoghue’s Room and Nick Hornby’s Brooklyn and replace them with Sorkin and Haigh.

Prudence: That is true! The Big Short does have some cringe-worthy dialogue, but I think it works for me because the whole point of the movie is to make you cringe and squirm anyway. But Carol does have a really good script. It’s subtle but potent. But as to Haigh’s 45 Years I have to disagree with you. I think the strength of this movie lies in the silences and looks more than the dialogue.

Now onto the acting categories. First off is best supporting actor. I guess we both fell hard for Sly’s Rocky Balboa in Creed. I wonder though how much of Stallone winning might be on account of nostalgia? But who cares? Michael B. Jordan is supposed to be the star of that movie, but my eyes always go to Stallone in all of the scenes they’re both in. And usually what we get from him are these over the top, blustering, inflated performances but here he’s just so subtle and real. Sly has risen from the grave of Razzies to give us one knockout performance.

On one hand, it hasn’t gone well for Keaton not being included in the line-up of supporting actor nominees. I think he has a strong screen presence in Spotlight. Besides Redmayne took the Best Actor prize from him last year and this year could have been his time. On one hand, I doubt he could topple Stallone. But I definitely think he should at least have been nominated. It pains me though, not being able to comment on Idris Elba! (He’s going to be in Star Trek Beyond!) Because I have yet to see Beasts of No Nation. I heard it’s a tough movie to sit through and I feel like I have to be in a certain headspace before I can give that movie a go.

Benny: Yes, I think nostalgia does play a huge part in Stallone’s strength as a nominee but no one can deny that the guy can act. I mean the scene at the hospital while he is talking to his doctor is a spectacle. I actually feel bad for him because I always thought that he had the acting ability to match some of his better received contemporaries as he has proven in the first Rocky and in a small crime drama called Cop Land but the audience didn’t go for it. They wanted Stallone to be an action star and that’s what he gave the audience.

Keaton’s snub was maybe due to the fact that he is already in a crowded film with a smattering of good performances. It’s either Keaton, Tucci, Schreiber, or, the eventual nominee, Ruffalo. The Academy might’ve thought that they should only nominate one actor per film per category and they chose Ruffalo. The same goes for The Big Short because The Academy could’ve chosen any of the other leads for Supporting Actor and I don’t think anyone would complain. Personally, I’d rather have Keaton nominated for Spotlight and Carrell for The Big Short but I’m okay with the direction that The Academy went with regards to this two film for the Best Supporting Actor category.

However, Elba was another egregious snub for The Academy because his turn as a brutal commander of child soldiers in The Beasts of No Nation is one of my favorite performances from 2015 with a portrayal that came across as nuanced and masterful. I would be happy to boot any of the current nominees out of the category and then just give him the award. He deserves it.

Prudence: That hospital scene is fantastic. I was bracing for melodrama but I am glad it didn’t go there. And you’re right that the supporting actor category is quite crowded enough already. I can’t pick between Keaton and Ruffalo because I like both of their performances. But I’d readily swap Bale for Carell. I guess The Academy loves transformation roles, and big, showy acting. Like Bale with the glass eye and his character quirks, and Ruffalo displaying the mannerism and ticks of Mike Rezendes. Understated is invisible to The Academy.

Speaking of understated being invisible. Look at what happened to Carol. That movie is invisible to The Academy. Which means Rooney Mara is and will be invisible to them as well, come awarding time for best supporting actress. Kate Winslet however is doing a transformation role, and its showy and all. And I am beginning to think I should’ve went with her for our Fantasy Oscars game. But I think Alicia Vikander should win it because her performance in The Danish Girl is quite heartbreaking. That and the fact that her body of work is just excellent this year. She is a standout in Ex Machina for example.

Benny: I can’t speak for Vikander because I haven’t seen The Danish Girl so this is a race that I can’t really comment on. However, I do believe that Vikander was nominated for the wrong film. Now, I haven’t watched The Danish Girl but I imagine it to be in the same league as some of the misery-driven films that have been winning Oscars recently (some would say undeservingly) like The Theory of Everything, Still Alice, and the like. I cannot really accept that Vikander’s performance in “The Danish Girl” would be better than her amazing turn as an AI in Ex Machina. However, I really do think that Kate Winslet would win this year because her performance in “Steve Jobs” was another one that proves her range. Plus The Academy loves her and that this would be the only chance for them to award Steve Jobs.

On the other hand, I really would like for Rooney Mara to win because, among the nominees that I’ve seen (I dislike Tom Hooper so I haven’t watched The Danish Girl), she’s the one that showed the most craft and by that I mean that she was the one that demonstrated the best how to act without speaking. You can see a gamut of emotions on her face as the movie progresses. She acts with her back, with her shoulders, and with her hands. If I were The Academy, I would defer to our European friends at Cannes and just give her the award for Best Actress just like they did.

Then there’s the snub of Kristen Stewart for her magnificent performance in The Clouds of Sils Maria. Perhaps the perceived notion that she is not a good actress still exists after the four Twilight movies and it may have affected her chances. Or it may be because The Clouds of Sils Maria was an underseen gem.

Prudence: You are right about The Danish Girl being misery-driven, but my problem with it is not that. Let’s just say it was an underwhelming film for me. And I think Vikander’s performance was the one that made it less sucky. Yeah, even more than Redmayne’s did.

And of course KStew! Like Stallone, she rises from the grave of Razzies. She is truly something else in Clouds of Sils Maria. She plays the ever steadfast American PA of a famous French Actress (played by Juliet Binoche), with such unaffectedness. It is great. And this is also another instance of the French being right. They awarded her the Cesar Award for best supporting actress for her work in Cloud of Sils Maria. Maybe it’s because this movie flew under everyone’s radar? It couldn’t be because of Twilight. Just look at Stallone.

Now it’s finally time to talk about Leo! He has the best actor win in the bag, yo. All the crawling, and the heaving, and the retching. His is truly one visceral performance. Besides this is a long overdue award that the Oscars might want to rectify this time around. Fassy might up one over him, but it is highly unlikely.

However I think Jacob Tremblay should have been nominated for Room. He gave such a believable, emotionally-wrought  performance. I don’t know where he gets it from. He’s like what, nine? Well, I guess this what they call good acting.

Benny: If you ask me, Leo would’ve won a long time ago and multiple times at that. He should’ve won for his work in “The Aviator” and The Wolf of Wall Street. He should’ve been nominated for his work in The Departed, Django Unchained, and Catch Me If You Can so he is way overdue. Admittedly for me, this would be an unsatisfying win for Leo because his character (and acting) in The Revenant is not one of his more accomplished works as it seems to be a role where he acts the most and not the best when compared to all his other roles. Still he is the frontrunner and there’s a reason for that. A Fassbender upset would not displease me though.

I have to disagree with your assessment of Tremblay. I see the potential but I would not concede that he is better than the current slate of nominees. At best I would say that it would be okay for me if he took Bryan Cranston’s slot for Trumbo. However if there is anybody worthy that should take Cranston’s slot it should be Géza Röhrig for his turn as a Sonderkommando member in László Nemes Son of Saul. His performance in that film just proves how myopic the Oscar’s vision is.

Prudence: Let’s agree to disagree on Tremblay then. And  I really have to watch Son of Saul. But I do agree on what you said about Leo. His performances in the past roles he’s been nominated for are infinitely better than what he has done in The Revenant. But I guess he needed to fight a grizzly bear in order to get The Academy’s attention. Scorsese should have put one in Wolf of Wall Street. That movie is so outrageous anyway, I bet a bear fight would blend right in. Haha.

Now onto the best actress category. Both my should win and will win goes to Brie Larson. I think the first time I saw her was in Jumpstreet 21 and my sister and I had differing opinions about her, with me thinking she is quite charming. And then I realized that she’s Envy in Scott Pilgrim vs The World! She killed that role mind you. And then I saw her in Trainwreck and she’s great in that as well. So yeah, I have been on the watch for her. But it was Short Term 12 that really made me sit up and pay attention to Larson. This girl can do emotionally-charged and dramatic roles fantastically.

My biggest let down from among the snubs we mentioned is not seeing Charlize Theron for best actress in a lead role. Her Furiosa is such a force to be reckoned with in Mad Max: Fury Road. And strong female action leads are quite hard to come by, and hard to do well. I will never forget Imperator Furiosa that’s for sure.

Now I have to ask you about Charlotte Rampling. I was flabbergasted when I saw that she was your pick for best actress in our Fantasy Oscars. My surprise has nothing to do with her acting performance because I agree, it is so subdued but penetrating. But she won’t win! Not after that comment she made regarding the whole “oscars so white” issue.

Benny: I think Brie Larson has this pretty much locked down. She won at the Golden Globes and at the SAG Awards so it would really be a surprise if she loses. However, I do believe that this a one-note performance that does not really have no room for any other displays of acting ability except misery. Now, I am not simplifying Larson’s acting but there are a lot of other actresses that displays a lot of range that deserve the award more than her.

Which leads me to my case for Charlotte Rampling. I am of the belief that we should judge her performance separate from her controversial comments (that, in my opinion, was overblown). Rampling’s performance was again a case for a performance that showcases range, nuance, and depth. There is still hope that she will win. After all, Marion Cotillard won for her performance as Edith Piaf in La Vie En Rose. Again, I would advise the Academy to defer to the Europeans but this time specifically to the Berlin Film Festivale where Rampling and her co-star, Tom Courtenay, won the Best Actress and Best Actor awards respectively.

On a different note, we were both let down when we heard the announcements for the Best Actress category but, for me, it was the absence of Emily Blunt from Sicario although I was also disappointed by the lack of Theron. Honestly, they should’ve just removed Jennifer Lawrence and replaced her with either Blunt or Theron.

Prudence: I am all for separating the performance from the person (or her comments for that matter. Although sometimes this is better said than done.) And yeah I do consider the possibility of her comments being blown out of proportion. Misinterpretation happens a lot. I am not taking anything against her. If she wins this, it’ll be a well-deserved one. But here’s why I think there is no hope for such to happen. When the whole “oscars so white” issue came up, The Academy freaked out and they scrambled to rectify their oversight with changes in membership and category expansion. So all I am saying is, right now, they have their tail between their legs and they are in a corner being careful not to stir things up yet again. And giving Rampling the award might just stir things up. If there is going to be an upset, I think it’ll come from Saoirse Ronan for Brooklyn.

Emily Blunt is absolutely terrific in Sicario, I agree. And I love JLaw as much as the next person, but yes, either Blunt or Theron could have been the better choice.

Now onto best director and best picture. I am very happy to see that you are also rooting for Mad Max: Fury Road and Georgie Miller!

I am in love with Fury Road. It is a technically tight and artistically done action movie. The chase scenes and explosions and shoot-outs look so poetic. They aren’t a mess of big-blow-em-up visual effects. And the story is compelling too. And the characters are something else. Take Furiosa, she could have been this post apocalyptic femme fatale straight out of Sports Illustrated. But no they made her an amputee, and with quite a bulky physicality. And that makes more sense, having an Imperator who drives a war rig to be physically imposing. And to be honest she is the star of this show. Max is just a passenger on the Furiosa ride. And I love that George Miller made a brilliant movie of this sort. Girl Power yo. And sure we have The Revenant whose big hook is this revenge story, But Fury Road does you one better by being a movie about redemption. But Fury Road will not win. As much as there is skin-color bias in the Academy, there is also genre-bias. This is a blockbuster, post-apocalyptic movie. The Revenant is an artsy, snobby, hipstery movie, the kind the Academy goes nuts for. Although I do think The Revenant is equally flawless in execution and if it does win, which I think it will, it is a well-deserved one. But come on, isn’t Fury Road fantastic?

Benny: George Miller and Mad Max: Fury Road absolutely deserves the honor. While I think that The Revenant was a good film, Fury Road is far superior overall. It has the better Tom Hardy performance in my opinion, it has Charlize Theron, it is more gender-balanced, and it had better direction courtesy of George Miller. It also had better visuals, sound, and editing. Across the board it is better than The Revenant. Truth be told, I am becoming more critical of The Revenant as time passes by while my admiration for Fury Road only increases. I think it is high time that the Academy award genre films for its top prize and it should do so this year when a film worthy of the honor is among the nominees.

Also they must let Fury Road win in order to make up for the error of leaving out two films for the Best Picture race. I don’t know how it works and what the rules are but why expand the nominee list to 10 when you’re only going to nominate 8. They could’ve nominated Carol, Son of Saul, Creed, or any of the films from 2015 that deserve it but they chose to limit it. I am mostly annoyed that they didn’t nominate Carol when less superior but still pretty good films like Room and Bridge of Spies got in.

Prudence: It will be most refreshing if Miller and/or Mad Max:Fury Road wins. But I think the race is between Spotlight and The Revenant. But the thing with Spotlight is that it has too few nominations while The Revenant has a whooping 11. And if we are to look at last year: Boyhood with 6 and Birdman with 9, the latter ended up winning. So yeah all stars seem to align for Inarritu.

And yes I cannot understand why there is no love for Carol (and consequently Todd Haynes) and Creed. I think I’d keep “Room” and leave out Bridge of Spies. I mean Bridge of Spies is great but I don’t think its best picture material. And you wound me by leaving out Room! And not being on board with Brie Larson!

Benny: My reason for leaving out Room is because it is mostly driven by the performance of Larson. I don’t think history will look kindly on the film itself but will perhaps remember the performance. Yes, Larson’s performance was well-executed and flashy but there is a case to be made for nuanced and subdued acting that Rampling exemplifies which I think requires a higher degree of technique and is more difficult to execute.

I won’t make a case for Ridley Scott because I think he didn’t have much of an impact on the film the way that his competition did. Although The Martian was an excellent film, I felt that you can replace Scott with any director that is on par with him in terms of technique and the outcome would still be the same.

Prudence: The thing with Ridley Scott is that I had a really positive and delightful experience with The Martian. I mean I came into it thinking the opposite, you know, with it being a movie about a man left for dead on Mars. I was thinking this was going to be dark and depressing. But it was such a joy to watch. It is science-y but not methodical. It is funny, but still takes itself seriously. And I think Ridley Scott deserves a nomination for those reasons, at least.

And as for Room, I don’t know. Room tackles a universal theme, the mother and son bond, and that of having the shared experience of a traumatic event. I don’t see why this movie couldn’t have staying power.

Okay, I think we’ve covered a lot of ground already. All that’s left to do is wait. So here’s to the Oscars surprising us, in a good way, come the 28th!

And one more thing, best of luck to you and your outrageous picks for our Fantasy Oscars!

Benny: My last take on this is that the Oscars is well-known for making choices that are seemingly erroneous once viewed through the eyes of history. For example, here are some of the films that have been nominated yet never won the Academy’s highest award: The Thin Red Line, LA Confidential, Pulp Fiction, Fargo, The Graduate, All The President’s Men, Raging Bull, Apocalypse Now, and a lot of other beloved films that have already been deemed as classics. On the other hand, it has also awarded some of the greatest films ever made like Casablanca, The Godfather I & II, The French Connection, Annie Hall, The Silence of the Lambs, No Country for Old Men, 12 Years A Slave, The Hurt Locker, and many more. So what is the point I’m making? The Oscars, for all its fault and lack of perspective, is still a source of fun for a lot of people who love movies yet we still need to be mindful and take its winners with a grain of salt.

I also want to wish you good luck in our Fantasy Oscars although I might need it more than you!

Do you think we made the right choices? Feel free to school us in the comments section below!


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