This is hardly surprising, according to some: studio bosses,
like Academy voters, are 94 % white.
It looks
like Academy voters put his past on trial, stemming back to a sexual assault charge dating back his days at Penn State.
Not exact matches
I've been talking to a lot of the new members asked to join the
Academy during its two - year diversity push, and a lot of these ostensibly hipper, younger
voters — many of whom are people of color and white women — are happy to tell you they
like Three Billboards.
Like the Lopezes and Pasek and Paul, Common is a known quantity among
academy voters: The Chicago rapper took the original song prize three years ago with «Glory,» his and John Legend's tune from Ava DuVernay's «Selma.»
I have often felt
like Anne tries to couch her opinions in terms of what the
Academy's preferences are or what this monolith of
voters would
like, but it just seemed to stick out more this time.
Why it might win: Well, since most of the
Academy voters are old and white, and
like to appear sophisticated, a great many things about this movie probably appeal to them.
Among the many biopics swarming
Academy voters this year (much
like every other year), few will take you as much by surprise as Trumbo.
It's one last chance to single out the films and performances that the
Academy forgot, or ignored, or maybe just wanted to punish... the
voters are
like that, the vindictive bastards.
The
Academy frequently
likes its Britpics chirpy and digestible, and «Made in Dagenham» (already retitled from its original, less awards - friendly moniker «We Want Sex») boasts five words very dear to
voters» hearts: «Based on a True Story.»
The Lobster I'm also going to scratch off as being too hardcore for
Academy voters, despite how much critics
like it.
What It Could Win: The first trailer for Collateral Beauty makes it look
like a weepy take on A Christmas Carol, but the movie has a dark side that might intrigue more than one
Academy voter.
One of the hardest parts of Oscar watching is the inevitable truths that come out every year about the behavior of
Academy voters, who are more
like your average movie - goer than they are
like film critics.
If not: «The Light That Never Fails» from Meru Lowdown: Going out on a limb here that the
Academy music branch can't say no to the great track from The Weeknd just
like they couldn't as Grammy award
voters.
If talking heads
like Tom O'Neil and Karger stopped, well, talking, trying to affect Oscar
voters like the news media unmistakably shapes political elections, then maybe the Pavlovian dogs that make up the
Academy's body might have more naturally gravitated to the talents of, say, Ashley Judd and Anamaria Marinca.
But it's possible that some
Academy voters who missed the summer hit will make sure to catch Girls Trip on - demand (or on a screener) after seeing Haddish's comedic stylings on S.N.L. Haddish already seems
like a lock for a Golden Globe nomination — given the show's separate categories for comedy performances — but this S.N.L. appearance could be the beginning of a very smart Oscar campaign as well.
We don't know how the
Academy ranking is going to go but there is the possibility that a large number of
voters will block vote for women to help women, to show the world that they care about women in the industry, to make up for Hillary's loss; for all of those reasons it's possible we could see wins,
like we saw at the DGA in the television categories.
Still, things can't simply be laid at the
Academy's door, no matter how many anonymous interviews leak out with
voters making incensed tirades about films
like Selma.
And
like recent winners Birdman, Argo, and The Artist, it's about showbiz — a topic
Academy voters just can't resist, go figure.
«Many if not most of the
Academy can't fathom songs
like «Fuck Tha Police,»» said the
voter, identified only as a director.
Audiences and
Academy voters don't want to feel
like they're seeing the same movie twice (even 1998's Saving Private Ryan and The Thin Red Line felt
like completely separate entities), and they sure might if the same pretty - boy - officer - faces - Japanese - torture narrative becomes the focal point of both war dramas.
I love Martin Scorsese, but I can easily see if the 4 hour cut felt
like it had to be the final cut, then it should've stayed that way and not be under the scrutiny of
Academy voters.
Unfortunately, the delivery feels very heavy - handed and could turn off some
Academy voters who
like their animation to be uplifting and bright instead of melancholic and tragic.
So, you have to fold in their choices with what you know to be true: a movie
like A Most Violent Year was always going to be too esoteric for
Academy / industry
voters where thousands choose, as opposed to up to 100.
Whenever the question of «What good are the
Academy Awards» gets thrown around, I tend to let people bluster their way around subjects
like out - of - touch
voters and million - dollar ad campaigns and vanity and spectacle and hostility to art.
Manchester by the Sea was a hit with
Academy voters because of its general critical acclaim, but that wasn't the only reason it did well with them — it also seemed
like a real movie that the general public was excited to go see, rather than add to their watch queues at home.
Does that mean the make - up of
Academy voters has pivoted so much that future Best Picture winners won't look
like previous ones either?
Why: If you think of the writing categories as the ones where
Academy voters give consolation prizes to films they
like but don't want for Best Picture, then expect to see Jordan Peele on stage early in the evening, picking up the hardware for his feature debut as writer / director.
None of these flaws, however, is likely to matter with
Academy voters, as The Hours looks and sounds too much
like a prototypical Best Picture contender to resist.
THE JUDGE has high - minded goals beyond making itself Oscar ™ - bait, but issues of justice, rule of law, and the simple joys of small - town life don't stand a chance against writing that relentlessly panders to
Academy ™
voters, particularly when they run smack up against a courtroom scene that is deliberately staged to look
like something out of TO KILL A MOCKINGBIRD, a film we are put in mind of when Hank mentions Atticus Finch.
Time will tell if the
Academy's newest rule adjustment will throw off the mojo of latecomers
like Les Misérables, but it's sure to benefit a movie
like The Master, which has graciously offered
voters several months to see it before casting their ballots.
To shed that hex, Warner Bros. has splurged on a lavish campaign (it even included «For Your Consideration» billboards around Los Angeles) to persuade
Academy of Motion Picture Arts And Sciences
voters that (
like the final «The Lord of the Rings» movie) the finale of this fantasy mega-franchise deserves some nomination and trophy love.
However, most
Academy voters are just
like you and me, and they'll choose the film because silly - looking pirates and talking polar bears don't stand a chance against giant f ****** robots!
Since the Critics Choice miss one title from their nominations that the
Academy voters pick,
like Philomena or The Blind Side or American Sniper — you have to wonder what films are missing from the Critics Choice and whether that will be the case this year.
Carell's flashy, ostentatious performance is just the sort of thing
Academy voters fawn over, and while his positioning in the lead category isn't as patently insane as Anthony Hopkins in Silence of the Lambs, it's still a clear supporting role that ended up pushing out actors
like Ralph Fiennes and David Oyelowo, both of whom were the actual leads of their respective films.
Eager to piece together any reason for the lack of a clear frontrunner for this year's Oscar race, Variety's Peter Bart has put out a thesis: it's because movie critics
like bummer movies that
Academy voters don't.
That said, the critics and the
Academy have still been overlapping more of late because of the shrinking selection of the kinds of movies that Oscar
voters like.