Oscar Predictions 2014

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Hello!

Well, though I always find it difficult to nail down my Oscar selections pre-nomination day because I feel like I’m somehow cosmically jinxing  potential favorites, I’m taking part in The 2014 Oscar Contest over at Film Actually because…well…it’s just the right thing to do 🙂

This being a contest and all I threw in a few dark horse candidates and left out some bigger names just to keep it interesting.  I don’t necessarily think there will be 10 nominees for Best Picture but ultimately I couldn’t make up my mind on which ones to remove from my list…

I hope there are a few surprises tomorrow morning, though….even if it means I lose a few points in the contest 🙂

Below are my predictions for who will go to bed tomorrow night an Oscar nominee…

BEST PICTURE
12 Years a Slave
American Hustle
Captain Phillips
Dallas Buyers Club
Gravity
Her
Nebraska
Philomena
Saving Mr. Banks
The Wolf of Wall Street

BEST DIRECTOR
Alfonso Cuarón, Gravity
Spike Jonze, Her
Steve McQueen, 12 Years a Slave
Alexander Payne, Nebraska
David O. Russell, American Hustle

BEST ACTOR
Bruce Dern, Nebraska
Chiwetel Ejiofor, 12 Years a Slave
Tom Hanks, Captain Phillips
Matthew McConaughey, Dallas Buyers Club
Robert Redford, All is Lost

BEST ACTRESS
Amy Adams, American Hustle
Cate Blanchett, Blue Jasmine
Sandra Bullock, Gravity
Judi Dench, Philomena
Emma Thompson, Saving Mr. Banks

BEST SUPPORTING ACTOR
Barkhad Abdi, Captain Phillips
Daniel Brühl, Rush
Michael Fassbender, 12 Years a Slave
James Gandolfini, Enough Said
Jared Leto, Dallas Buyers Club

BEST SUPPORTING ACTRESS
Sally Hawkins, Blue Jasmine
Jennifer Lawrence, American Hustle
Lupita Nyong’o, 12 Years a Slave
June Squibb, Nebraska
Julia Roberts, August: Osage County

BEST EDITING
Jay Cassidy, Crispin Struthers, American Hustle
Joe Walker, 12 Years a Slave
Christopher Rouse, Captain Phillips
Alfonso Cuarón, Mark Sanger, Gravity
Jeff Buchanan, Eric Zumbrunnen, Her

BEST ORIGINAL SCREENPLAY
Woody Allen, Blue Jasmine
David O. Russell and Eric Singer, American Hustle
Joel & Ethan Coen, Inside Llewyn Davis
Spike Jonze, Her
Bob Nelson, Nebraska

BEST ADAPTED SCREENPLAY
John Ridley, 12 Years a Slave
Tracy Letts, August: Osage County
Julie Delpy, Ethan Hawke, Richard Linklater, Before Midnight
Steve Coogan, Jeff Pope, Philomena
Terence Winter, The Wolf of Wall Street

BEST FOREIGN LANGUAGE FILM
The Broken Circle Breakdown, Belgium
The Hunt, Denmark
The Grandmaster, Hong Kong
The Great Beauty, Italy
The Notebook, Hungary

BEST CINEMATOGRAPHY
Sean Bobbitt, 12 Years a Slave
Emmanuel Lubezki, Gravity
Bruno Delbonnel, Inside Llewyn Davis
Phedon Papamichael, Nebraska
Roger Deakins, Prisoners

BEST PRODUCTION DESIGN
Adam Stochausen & Alice Baker, 12 Years a Slave
Judy Becker & Heather Loeffler, American Hustle
Catherine Martin & Beverly Dunn, The Great Gatsby
Jess Gonchor & Susan Bode, Inside Llewyn Davis
Michael Corenblith & Susan Benjamin, Saving Mr. Banks

BEST SOUND MIXING
Captain Phillips
Gravity
Inside Llewyn Davis
Lone Survivor
Rush

BEST SOUND EDITING
All is Lost
Captain Phillips
Gravity
Lone Survivor
Rush

BEST COSTUME DESIGN
Catherine Martin, The Great Gatsby
Patricia Norris, 12 Years a Slave
Daniel Orlandi, Saving Mr. Banks
Michael Wilkinson, American Hustle
Mary Zophres, Inside Llewyn Davis

BEST ORIGINAL SCORE
Alex Ebert, All is Lost
Thomas Newman, Saving Mr. Banks
Steven Price, Gravity
John Williams, The Book Thief
Hans Zimmer, 12 Years a Slave

BEST DOCUMENTARY FEATURE
20 Feet from Stardom
The Act of Killing
The Crash Reel
Stories We Tell

The Square

BEST ANIMATED FEATURE
The Croods
Despicable Me 2

Frozen
Monsters University
The Wind Rises

BEST VISUAL EFFECTS
Gravity
The Hobbit: The Desolation of Smaug
Iron Man 3
Pacific Rim
Star Trek: Into Darkness

BEST MAKEUP & HAIRSTYLING
American Hustle
Dallas Buyers Club
The Lone Ranger


BEST ORIGINAL SONG
“Amen”, All is Lost
“Let It Go”, Frozen
“The Moon Song”, Her
“Ordinary Love”, Mandela: Long Walk to Freedom
“Young & Beautiful”, The Great Gatsby

Movie Review ~ The Great Gatsby (2013)

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The Facts:

Synopsis: A Midwestern war veteran finds himself drawn to the past and lifestyle of his millionaire neighbor

Stars: Leonardo DiCaprio, Tobey Maguire, Carey Mulligan, Joel Edgerton, Elizabeth Debicki, Isla Fisher, Jason Clarke, Amitabh Bachchan, Adelaide Clemens

Director: Baz Luhrmann

Rated: PG-13

Running Length: 143 minutes

Trailer Review:  Here

TMMM Score: (7.5/10)

Review: It would be hard to graduate high school without having had to read F. Scott Fitzgerald’s 1925 novel “The Great Gatsby”.  A treasured tome for some and a hollow warning on the price of the American dream to others, the novel wasn’t a success when it was first released and only became popular after Fitzgerald’s death in 1940.  Over the years it’s been adapted for stage and screen (both large and small) but the key core of the novel’s brilliance has never been truly captured accurately.

This 2013 version of The Great Gatsby also misses the mark of what made has made the novel so timeless but it does capture the mood and feel of the era the best of any previous incarnations of the work.  Yes, it’s over the top, flashy, and delirious at times…but so were the roaring 20’s!  Director Baz Lurhmann has been faithful to the book as much as possible and utilized a well conditioned cast to the best of all of their collective abilities.

It’s the summer of 1922 and NYC is in the middle of Prohibition and right on the cusp of some major social change.  The days of wine and roses are numbered with The Great Depression right around the corner but no one is the wiser as they roll down their stockings, bob their hair, spend money like there’s no tomorrow, and dance the night away in speakeasies and at Jay Gatsby’s massive Long Island mansion.

Our narrator/moral center is Nick Carraway (Tobey Maguire) and as the film opens he’s relating a story of love and loss from the icy confines of a sanitarium.  Unable to bring himself to speak the words, he begins to write and so truly begins the story of how he found himself a bystander to a doomed love triangle between his mysterious neighbor Jay Gatsby (Leonardo DiCaprio, Django Unchained), his cousi Daisy (Carey Mulligan, Inside Llewyn Davis), and her husband Tom (Joel Edgerton, Zero Dark Thirty).

All of the elements from Fitzgerald’s novel come to life under the stellar work of production designer Catherine Martin (who also designed the jaw dropping costumes and happens to be Mrs. Lurhmann).  The green light that sits at the end of the Buchanan’s dock and acts as a beacon to Gatsby across the bay, the watchful billboard of a forgotten optometrist, even the classic lines and descriptive phrases are nicely incorporated courtesy of Lurhmann and Craig Pearce’s everything but the kitchen sink script.

That being said, even with everything in place there’s a severe lack of “the underneath” as I like to call it.  While the characters move around this gossamer landscape enacting acts of love and revenge, there’s precious little sympathy for any of them…which is largely the way Fitzgerald wrote them.  That may be hard for some people to get over when watching the film but Fitzgerald didn’t see these people as heroes in need of salvation but as indictments of the time and place in which they flourished.  Even so, I kept wishing there was more blood and guts on display rather than just flesh and bone.

Strangely, I’m not usually a fan of most of the leads in The Great Gatsby.  DiCaprio is constantly mentioned as one of our great actors and while I can give it to him that he’s turned in solid work in the last decade I haven’t thought his work was that underappreciated.  He was refreshing in Django Unchained and should have nabbed an Oscar nomination for his efforts but it’s with The Great Gatsby that I finally saw in DiCaprio the actor that I think he should be.  The haunted and deeply fragile Gatsby seems the most natural fit for DiCaprio and he’s quite acceptable in the part.

Mulligan is making a habit of playing these delicate, bird-like characters and this just seems another exercise with Mulligan using the tricks she’s accumulated in her cinematic wheelhouse.  Though I think she’s ultimately well cast, those familiar with her work won’t see anything truly new.  DiCaprio’s best friend Maguire is well suited for playing the closest thing Gatsby has to a best friend and thankfully ditches his puppy-dog mumble technique to really deliver as the flawed narrator of the piece that isn’t so innocent in what happens over the course of the film.

Edgerton makes a strong showing as Tom Buchanan, a man that doesn’t appreciate what he has until it’s nearly gone.  Though having an affair with a mechanic’s wife (Isla Fischer who’s better here than she is in Now You See Me), he clings to Daisy when he sees her getting close to Gatsby.  Ultimately, Tom sets into motion the tragic final act of the piece involving the mechanic (Jason Clarke, so good in Zero Dark Thirty and Lawless), all the while knowing what the outcome will be.

Special mention needs to be made for Elizabeth Debicki’s strong supporting work as golf pro Jordan Baker, a friend to the Buchanan’s, Gatsby, and Nick.  Though she could be viewed as working all sides, in Debicki’s capable hands the role is smoothed out and is the best representation of a character that would believably be living and breathing during the 20’s.  Keep an eye on this actress, she’s fascinating to watch.

Much has been made of Lurhmann teaming with rapper Jay-Z to bring a modern sound to the film and I was nervous after hearing early reports that the film was sidelined by its soundtrack.  So I was happy to see (well, hear) that the music is worked in rather unobtrusively to the film and in some cases works to heighten the happenings onscreen.  Lana Del Rey’s spine chilling “Young and Beautiful” is laced into several scenes in a few different iterations, its lyrics and sound perfectly capturing the longing and fears of our characters.  Other efforts, like Beyonce’s cover of Amy Winehouse’s “Back to Black” don’t land right but that’s the problem of the re-working of the song not the movie.

Filmed in 3D, the first half of the movie is very much like previous Lurhamann efforts…meaning that it’s fast edited within an inch of its life.  The editing really represents what’s happening on screen because the first part is a fever dream of excess and confusion.  When Gatsby and Daisy are reunited (in a scene that I’ll admit had my pulse racing) the movie settles down and only works itself up again as it careens into its finale.

Though it was brought to television in a 2000 effort starring Mira Sorvino, the last time Gatsby was on screen was in 1974 starring Robert Redford and Mia Farrow.  While that sounds like ideal casting, the final effort was a dreadful bore – it’s 1 minute longer than this version but feels like an hour.  Though this still isn’t the perfect Gatsby, for me it’s dang close.  Still without a vibrantly beating heart, the movie swirls and twirls around you and is more engaging than you might think.  Ultimately, it’s a film that’s been on my mind a lot in the last few days and one that is worth seeing in the theaters.