And consider the astonishing four nominations (director, screenplay, cinematography, editing) for the Brazilian film «City of God,» which was ineligible in last year's foreign
film category because the Brazilians refused to nominate their brilliant and angry film.
Not exact matches
The company that he dreamed up on an extended 2002 trip to Australia and Indonesia
because he wanted to
film himself surfing, that created an entirely new product
category and the world's best - selling camera, that made him and his best friends who joined the company early on fabulously wealthy — that company was now a punch line, and maybe a threat to safety.
It is also instructive to note that no awards were given in the first three
categories because of the specific requirement that the
films be «Christian» in orientation.
This is a case of all the elements lining up and pushing a potentially good
film into the great
category because of just how well executed it is.
It's possible that the
film might land in every
category except the top
category because of the threshold imposed by the nominations ballot and the way the preferential tabulation system is less friendly to passionate but perhaps divisive acclaim.
It all comes down to the next five days
because what nominations a
film gets, how many nominations it gets will decide whether it wins in its chosen
categories or not.
I missed that prediction, instead going for «Extremis,» the other Netflix
film, mostly
because it was my favorite of the two, and I believed Netflix would take the
category.
Neither is eligible for an Oscar in this
category because films must be submitted by a foreign country.
This documentary doesn't quite fit into the
category of the likes of «20 Feet From Stardom» or «Searching for Sugarman» simply
because it isn't trying to save the world, but it is a stark contrast to the other 4 nominated
films.
Another point of interest at this year's Globes: Although the
categories — and typically the winners — don't align neatly with the Academy Awards, the Golden Globes are of particular interest this year
because no one
film from 2017 has emerged as a clear front - runner for top cinematic honors.
I've found it incredibly fascinating how Amour is both Haneke's warmest AND his most punishing
film, largely
because the former
category ends up strengthening the latter.
«Benjamin Button» snubs are
because they probably didn't see the
film... same thing that happened last year when «There Will Be Blood» only appeared in one
category, NOT even Best Actor.
Usually, though, a Best Picture winner will only win Score if a sweep is afoot, and hardly ever does the rest of the time
because in years when the Academy spreads the wealth, they seem to divide the
films they like along the lines of tech, craft and major
categories.
This is always an interesting
category because the winner usually falls into one of two (or sometimes both)
categories: a major action
film or the Best Picture winner.
Of course, based on the early buzz, it seems to have paid off,
because even if the
film doesn't dominate in the major award
categories, it's sure to land a few technical awards for the stunning visuals and incredible animal effects.
Because the Golden Globes breaks up lead acting and best
film into the two
categories, there are few major snubs.
... I'm on the fence on how she should be campaigned... regardless, her work undoubtedly needs to be recognized somewhere... if you want to be really precise, then narratively, yes, she should be campaigned in the supporting
category because the
film revolves around the married couple, Tom and Gerri...
Non-American
films rarely see much glory in the best picture
category — The Artist was able to win, for example, only
because it didn't contain any foreign language.
For me, one of the most interesting line - ups this year was the Best Director
category because for the first time, all five nominees also wrote their
films.
I should probably state now that by «supernatural» I'm referring to any
films involving vampires, zombies or werewolves,
because no matter how much pseudo-scientific nonsense is thrown at us we all know that those classic monster - baddies will forever belong in the supernatural
category.
But I attribute this exception more as praise for the Academy for including such
films like Her and Nebraska in the Best Picture
category because in most years these could have been edged out by more mainstream picks like Saving Mr. Banks or August: Osage County.
Sometimes, performers get bumped down
because of their relative fame: Casey Affleck was the protagonist of The Assassination of Jesse James by the Coward Robert Ford, but was nominated in a supporting
category because Brad Pitt was the
film's top - billed star.
Because her thinking man's Ilsa act in The Reader is at least conceptually riskier than her put - upon dishrag Debbie Downer in Revolutionary Road, we were that close to throwing her by the wayside in this category, especially because there's a clearly superior crypto - leading role in the mix (Rosemarie DeWitt, whose titular character in Rachel Getting Married has been shut out of a lot of races thus far, but we feel anyone who actually watches enough of the film to justify throwing their vote toward frontrunner Anne Hathaway should have no other choice but to recognize DeWitt's equally tricky, equally attention - stealing perfor
Because her thinking man's Ilsa act in The Reader is at least conceptually riskier than her put - upon dishrag Debbie Downer in Revolutionary Road, we were that close to throwing her by the wayside in this
category, especially
because there's a clearly superior crypto - leading role in the mix (Rosemarie DeWitt, whose titular character in Rachel Getting Married has been shut out of a lot of races thus far, but we feel anyone who actually watches enough of the film to justify throwing their vote toward frontrunner Anne Hathaway should have no other choice but to recognize DeWitt's equally tricky, equally attention - stealing perfor
because there's a clearly superior crypto - leading role in the mix (Rosemarie DeWitt, whose titular character in Rachel Getting Married has been shut out of a lot of races thus far, but we feel anyone who actually watches enough of the
film to justify throwing their vote toward frontrunner Anne Hathaway should have no other choice but to recognize DeWitt's equally tricky, equally attention - stealing performance).
Mostly, and to your point — the Supporting Actor / Actress
category being a more interesting one,
because of Daniel Bruhl's work in that
film... I can't believe he didn't get a nomination.
Tarantino's last
film, «Django,» missed out on this
category because of no screeners and late in person screenings as well.
The much - commented - on lapse in judgment that relegated Kelly Reichardt's Old Joy to the Frontier section last year affected its reception, not only
because Frontier is a catch - all
category for
films that are regarded as too far - out for the majority of Sundancers, but more concretely,
because Frontier
films screen at the festival's lesser venues.
The
film is good, but doesn't make it into my favourite
category mainly
because of how normal it presents itself.
Being a bit late this quarter, here are Best ofs per Oscar
category from
films released from July through October 6th (an extra week added on
because we're running late).
This
category rocks
because it recognizes two excellent
films that should've gotten much more love: Ex Machina, Alex Garland's sci - fi puzzle box starring Domhall Gleason, Oscar Isaac, and Alicia Vikander as an artificial - intelligence femme fatale; and Straight Outta Compton, the gangsta - rap origin story that had the power to pop a cap in the #OscarsSoWhite narrative, had the A.M.P.A.S. voting body only answered its pager call.
I'm combining various entertainment industries (music,
film, publishing) into one
category primarily
because blockchain's impact on all has very similar import: revolutionizing how intellectual property rights in creative works are registered and enforced, and how the holders of these rights are compensated.