2010 Academy Awards

Alec and Steve were the only friends left at “Oscar’s” birthday party after mom kicked Kratos out after “the incident.”

Some quick thoughts opinions:

The “interpretive” dancing to accompany the Best Music (Original Score) nominees was tacky and plain-old ridiculous. Being that the music was written for a movie, why not show either a) a montage/custom trailer showcasing the music against the images or b) show a specific scene from the movie as-is which highlights the connection between composer and the visual material. The eventual winner, UP, has a sequence which would have lent itself perfectly for, you know, showing the effect of the music instead of a bunch of people spinning on their heads or doing the robot. If they want to show break-ish dancing, America’s Best Dance Crew does it better (and without the false pretense of it being “fine art.”)

Aside from the fact that a movie which would be more properly described as “rendered” (or raytraced, or something or another) rather than “filmed,” won for Best Cinematography, why did they show no clips, again, showcasing the recognized, excellent cinematography? I believe only the title cards were shown. Sure, most of the movies (except, Harry Potter, I believe) were shown in other awards’ intro sections, but movies are a visual medium, show it if it’s awards-worthy! Or maybe you could get the interpretive dancers to movieoke the scenes in question.

The Best Actor/Actress “wedding toasts” are still awkward and unnecessarily long. BUT, watching the obligatory “Oscar-bait” scenes are usually just as cringe-worthy. Of course, this year we got to see what happens when a “who’s that guy?” actor without a compelling story (acting debut and [celebrated for some odd reason] morbid obesity, for example) gets nominated…Colin Farrell is left to relate stories from their time off set during the filming of SWAT because there is no body of work to reference (yet?). Consider it a tie between the old “bait” and new “toasts” methods. [Jeremy Renner absolutely deserved to be nominated and would not have been a surprise winner, and unrelatedly, SWAT wasn’t all that bad of a movie, either].

In terms of Best Picture and Best Director (considering them interrelated here)… eh, The Hurt Locker was good, but felt a bit incomplete. Imagine a collection of seven interrelated short stories, any of which could be swapped for the climax of the movie. Unique, yes, but District 9 took another unique presentation method and did it better. The Hurt Locker would be somewhere below Up in the Air, District 9, An Education, and even Avatar on my list.

P.S. The Blind Side is an awful, awful movie. Meryl Streep did “I get what I want,” bad-ass chick better in The Devil Wears Prada, though Sandra Bullock was definitely the best part of the movie (which is notable because there was anything in it that could be considered “best”).


1 comment

  1. Thoughts on your thoughts / opinions:

    -I like your idea for the score section. I think it could be doubly interesting because unlike a film which has to build it’s sound around the images, this could be a trailer that builds it’s images around it’s sound. It could make for some interesting trailers, for lack of a better term.

    -Jim Emerson does an interesting article about what cinematography means in the modern age that, if cinematography is of interest to you, make a good read.

    Part 1 (http://blogs.suntimes.com/scanners/2010/03/avatar_and_oscar_again_raise_t.html)

    Part 2 (http://blogs.suntimes.com/scanners/2010/03/avatar_and_oscar_again_raise_t_1.html)

    -the toasts are too long…way too long.

    -I’m glad to see someone else agrees with me on Hurt Locker. I liked it okay, but it’s not exactly new or even terribly interesting. I had Inglourious Basterds, Up In the Air, A Serious Man and District 9 all as better movies. I also don’t really get why Avatar had such appeal, I would have been pissed if it won anything of merit, but, with the way things went, I’ve already mostly forgotten about the movie.

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