The 88th Annual Academy Awards: Who Will Win, Who Should Win (Part Two)

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2015 Academy Awards, 88th Annual Academy Awards, Academy Award Nominee, Academy Awards, award shows, Oscar nominee, Oscars

And now: the final part of my Oscar predictions, as we approach the kick-off to the big event.

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Best Animated Short

Bear Story

Prologue

Sanjay’s Super Team

We Can’t Live Without Cosmos

World of Tomorrow

What Should Win: World of Tomorrow/Sanjay’s Super Team

What Will Win: Sanjay’s Super Team

Right up until I actually saw Sanjay’s Super Team, this seemed like another one of those grudging “can’t stop it” categories. After all, Hertzfeldt’s World of Tomorrow is the obvious winner, a smart, moving and powerful examination on the basics of humanity that says more in its 15 minutes than most films say in two hours. Bear Story was an amazing, intricately made expose on the subtler evils of fascism, while We Can’t Live Without Cosmos was a bittersweet look at friendship, set around the trappings of the Russian space program: both were good but, compared to World of Tomorrow, just didn’t have the big vision and reach. Prologue? Way too strange and head-scratching, despite some amazing visuals. I figured that Sanjay’s Super Team would win simply for being the resident Pixar offering: combined with its superhero focus, that seemed unbeatable. And then I actually watched it. Let’s be clear: World of Tomorrow is a phenomenal piece of art, deep, moving and important. Sanjay’s Super Team is, likewise, a deeply moving bit of art with the added benefit of a visual style that, for lack of a better word, is next-level. The short will win and it will absolutely deserve it, despite a lot of very worthy competition.

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Best Makeup and Hairstyling

Mad Max: Fury Road

The 100-Year-Old Man Who Climbed Out a Window and Disappeared

The Revenant

What Should Win: The 100-Year-Old Man Who Climbed Out a Window and Disappeared

What Will Win: The 100-Year-Old Man Who Climbed Out a Window and Disappeared

Up until I actually watched The 100-Year-Old Man Who Climbed Out a Window and Disappeared, I was fully prepared to give this to Mad Max, part and parcel. The Revenant was truly impressive (that bungled scalping…shiver…) but, like the rest of the visual effects, a little to organic to really stand out. Mad Max, on the other hand, was a virtual cornucopia of varied makeup, a cast of thousands with a thousand different looks, style sand quirks to go with it. Case closed.

Not quite. Turns out that not only is The 100-Year-Old Man Who…one of the best, most original and flat-out funniest films of 2015 (maybe the best: I have some serious re-evaluating to do), the makeup effects are equally impressive. Just the aging makeup of the lead character, alone, puts this over the top (the actor is in his mid-40s, in real-life, yet realistically ages from his twenties through to hundred across the span of two hours). Add in all of the really great historical figure impersonations (the Stalin, Bush and Reagan ones are spot-on) and you have a nominee that upholds excellence in every measure of the category. For me, this is an absolute no-brainer.

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Best Original Screenplay

Bridge of Spies

Ex Machina

Inside Out

Spotlight

Straight Outta Compton

What Should Win: Ex Machina

What Will Win: Inside Out

Caveat: I never got around to Spotlight, so if that was the best script, I defer to more knowledgeable souls. Of the remaining four, it’s a bit of a shoving match. To not put to fine a point on it, Straight Outta Compton had a terrible script, one of the most tone-deaf, obvious and awkward of the entire year. The film might have had its share of problems but the script was absolutely at the top of the list. Bridge of Spies was a consistently twisty, thorny screenplay, yet wasn’t always as clear as it could’ve been: perhaps one needed a scorecard to tell the players during the event but one shouldn’t need the same for a fictional cinematic adaptation. Inside Out has a really smart, sensitive and mature script, with a profound insight into not only childhood but depression, mania and other mental conditions. This seems like a lock and I wouldn’t complain in the slightest.

For my money, though, Ex Machina had the best, most subtle and most intriguing script of the bunch. The ideas were less conventional than the others, the dialogue was smart and the big questions that were raised had a genuine sense of impact and importance. Perhaps it speaks more to my particular sensibilities but this was the film that I found myself returning to the most (of the nominees) and I credit that in no small part to the excellent screenplay.

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Best Supporting Actor

Christian Bale, The Big Short

Tom Hardy, The Revenant

Mark Ruffalo, Spotlight

Mark Rylance, Bridge of Spies

Sylvester Stallone, Creed

Who Should Win: Tom Hardy, The Revenant

Who Will Win: Sylvester Stallone, Creed

Since I only saw two nominees here, my opinion probably won’t carry much weight. Of the performances I saw, Hardy did a phenomenal job portraying a true cretin with just enough self-doubt to prevent him from becoming a sub-human monster, while Rylance subtly portrayed a wry, unflappable spy with a charming mixture of understated humor, stoicism and grim acceptance. I lean towards Hardy, here, although either one seem equally worthy.

In the grand scheme, however, is anyone really going to beat Sly here? Not only does his return performance as Rocky tick off pretty every box on the Academy’s “What We Like” list, it also “corrects” the error of never awarding him a trophy for his initial go-round with the character. They’ll see it as proper and that’s probably as good a reason as any.

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Best Supporting Actress

Jennifer Jason Leigh, The Hateful Eight

Rooney Mara, Carol

Rachel McAdams, Spotlight

Alicia Vikander, The Danish Girl

Kate Winslet, Steve Jobs

Who Should Win:

Who Will Win: Rachel McAdams, Spotlight

Despite my intentions, I only ended up seeing one of the nominated performances, which is a real shame. Despite enjoying Jennifer Jason Leigh’s full-blooded, foul-mouthed and vilely exuberant performance as the condemned centerpiece in Tarantino’s Hateful Eight, it was still a pretty cartoonish performance and devoid of much nuance or shading. A great performance, mind you, but the kind I would consider one of the year’s best.

Of the ones I didn’t see, I’m going to pull McAdams’ name out of my magician’s hat. I’m not sure how much love Spotlight will see at the Oscars but all reports have indicated that McAdams was a pivotal point in the film’s acting ensemble. At this point, however, it’s definitely a coin toss.

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Best Picture

The Big Short

Bridge of Spies

Brooklyn

Mad Max: Fury Road

The Martian

The Revenant

Room

Spotlight

What Should Win: Mad Max

What Will Win: The Revenant

At long last, the main event. I ended up screening five out of the eight Best Picture nominees (I didn’t get to Brooklyn, The Big Short or Spotlight, unfortunately), so at least this will be a bit more informed than the Supporting Actor/Actress categories. I enjoyed Bridge of Spies but never found it more than a pleasant diversion: call it Spielberg-lite (very lite), an enjoyable film but altogether forgettable. The Martian was duly impressive when it stuck with the core idea of Damon lost on Mars but became too conventional and rather uninteresting whenever it left the Red Planet and returned to ground control. The Room was an impressive, tense rape/abuse analogy that suffered from the same basic issues as The Martian: when it left the confines of the titular location, the film became much more familiar and infinitely less spectacular.

This leaves us with the final two in the running: Inarritu’s ode to vengeance, The Revenant, and George Miller’s return to the wasteland, Mad Max: Fury Road. Quality-wise, both films are on par, for different reasons: they’re both fully immersive, in their own way, are the furthest things from spoon-fed multiplex pap and demand that audiences keep up if they want the full experience. They’re both technical marvels, The Revenant utilizing nothing but natural light and adverse weather conditions to produce an unparalleled vision of the unforgiving natural world, while Mad Max throws everything (including the kitchen sink) at the screen in an overwhelming successful attempt to portray a world spun completely off the wheels.

At the end of the day, this will be a contest decided by two very different, yet equally exacting, takes on the art of filmmaking. Will the Academy award Inarritu’s hell-and-back approach to filmcraft or will old master Miller finally get recognition for a truly stunning, outsider career that’s managed to spring like Lazarus from the dead? Can Inarritu score back-to-back Oscar wins or is that one lottery ticket too many?

When all is said and done, my gut instinct tells me that The Revenant will end up standing tall. Production narratives have as much to do with a film’s Academy success as anything else and, regardless of what one thinks about the actual film, there’s no denying that The Revenant is pretty much a one-of-a-kind production. I would, personally, rather see Mad Max take the prize but I just don’t think that’s in the cards.

Perhaps I’m wrong, however. One way or the other, we’ll all find out soon. Happy viewings, friends and cyber-neighbors!

Oscar Watch: My 87th Annual Academy Award Picks

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2014 Academy Awards, 87th Annual Academy Awards, Academy Awards, Alejandro González Iñárritu, award shows, Best of 2014, multiple award nominee, Oscars, personal opinions, snubbed at the Oscars

It’s that time of year again: Oscar season. While the Academy Awards haven’t been incredibly relevant for many years now (if they ever were), it’s always impossible for me to avoid the hype and excitement, no matter how hard I try. Unlike previous years, I didn’t get to sample a particularly wide swath of the nominees. That being said, I did manage to see at least one film in every category, with the exceptions of the shorts or the Animated Feature. In that spirit, here are my 2014 Oscar predictions based on my experiences, my intuition and my sense of what Tinsel Town ordains as “grade A beef.”

ANIMATED FEATURE FILM

Big Hero 6

How To Train Your Dragon 2

The Boxtrolls

The Tale of the Princess Kaguya

Song of the Sea

Who Should Win

Since I didn’t see any of the nominees this year, I’ll have to go with my gut on this one: from what I’ve seen, the most unique entries are obviously The Tale of the Princess Kaguya and Song of the Sea. Studio Ghibli’s entry looks ridiculously lush and artistic, so I’m going to give them the nod.

Who Will Win

My gut tells me this will go to Big Hero 6: it’s Disney, super-hero related and was a big money-maker…seems like an almost sure-thing.

– – –

PRODUCTION DESIGN

Into the Woods

The Grand Budapest Hotel

Interstellar

The Imitation Game

Mr. Turner

Who Should Win

Even though I only saw one of the entries, this is a no-brainer for me: The Grand Budapest Hotel was one of the most beautiful, evocative and exquisitely designed films of the last several years. I’ve heard good things about Mr. Turner’s design but I’m throwing my support behind Mr. Anderson on this one.

Who Will Win

I could see this being a toss-up between Grand Budapest and Into the Woods: Into the Woods would be the safer bet, so I’m assuming that’s what the Academy will go with.

– – –

SOUND MIXING

Mark Weingarten, Interstellar

Thomas Curley, Whiplash

Unbroken

American Sniper

Birdman

Who Should Win

Another category where I only saw one entry: I was rather impressed with Birdman’s sound design and mixing, so I have no problem giving that the nod, despite not seeing the others. That being said, I can only imagine that Interstellar and Whiplash both had a lot going on, as well.

Who Will Win

I could see Interstellar sweeping the technical awards, unless Birdman pulls a coup and takes all of its nominations. Again, not having seen (heard?) the others, it’s difficult to be sure one way or the other.

– – –

SOUND EDITING

Interstellar

Unbroken

The Hobbit: The Battle of the Five Armies

American Sniper

Birdman

Who Should Win

See “Sound Mixing,” above.

Who Will Win

See “Sound Mixing,” above, with the additional caveat that The Hobbit might sneak away with one, here.

– – –

FILM EDITING

Sandra Adair, Boyhood

Tom Cross, Whiplash

William Goldenberg, The Imitation Game

Joel Cox & Gary Roach, American Sniper

Barney Pilling, The Grand Budapest Hotel

Who Should Win

I only saw two films in this categories and either one seems worthy: Boyhood’s editing was fairly subtle and understated, giving an organic flow to the story; Grand Budapest, by contrast, was much fussier and flashier, which befitted what Anderson was going for. I’m going to give the nod to Grand Budapest but wouldn’t be upset if Boyhood took the statue.

Who Will Win

I could see this going to either Grand Budapest or Whiplash: my gut tells me that Whiplash will end up standing tall when the dust clears.

– – –

DOCUMENTARY FEATURE

Citizenfour

Last Days in Vietnam

Virunga

The Salt of the Earth

Finding Vivian Maier

Who Should Win

I only saw two of the entries, since I chickened out on Virunga. While I though Last Days was well made and Finding Vivian Maier was quirky and interesting, neither one really blew me away. In this case, I’m going to give the nod to Virunga and its more than worthy cause.

Who Will Win

I have a feeling that Citizenfour will win this one, although I wouldn’t be surprised, in the least, to see Virunga triumph.

– – –

VISUAL EFFECTS

Interstellar

Dawn of the Planet of the Apes

Guardians of the Galaxy

Captain American: Winter Soldier

X-Men: Days of Future Past

Who Should Win

Talk about a tough call (for me, at least). The only SFX blockbuster I saw in 2014 was Guardians of the Galaxy and the effects in that weren’t always mind-blowing. I can only imagine that Interstellar was a real visual spectacle, despite any narrative short-comings, and the other three were mega-budget tent-pole pics: they should all have looked like a billion bucks.

Who Will Win

My gut tells me Guardians but I could see Dawn of the Planet of the Apes scoring big here, too. Again, I’m probably the worst judge of this particular category, despite being a huge genre guy: talk about different strokes, eh?

– – –

MUSIC – ORIGINAL SONG

“Glory,” Common and John Legend, Selma

“Lost Stars,” Gregg Alexander, Danielle Brisebois, Nick Lashley, Nick Southwood, Begin Again

“Everything is Awesome,” Shawn Patterson, The LEGO Movie

“I’m Not Gonna Miss You,” Glen Campbell, Glenn Campbell: I’ll Be Me

“Grateful,” Beyond the Lights

Who Should Win

I really meant to listen to the songs, even though I hadn’t seen any of the movies, but never got around to it. As such, I can only go with Common and John Legend’s contribution since, on paper, that sounds amazing. In reality, though: no clue.

Who Will Win

Something tells me this will be the only place where The LEGO Movie gets any love, whatsoever. For a sympathy vote, Glenn Campbell, but my gut tells me “everything is awesome,” indeed.

– – –

COSTUME DESIGN

Colleen Atwood, Into the Woods

Anna B. Sheppard, Maleficent

Milena Canonero, The Grand Budapest Hotel

Jacqueline Durran, Mr. Turner

Mark Bridges, Inherent Vice

Who Should Win

Since I only saw Grand Budapest, I don’t have much leeway here. Nonetheless, I’m going to assume that Into the Woods probably had the most unique costume design (or, at least, the greatest variety). While Grand Budapest looked amazing, I’m not sure that the costumes stuck out enough to earn special mention.

Who Will Win

I think this will either go to Into the Woods or Grand Budapest, the higher profile films of the five. It’s also possible that Maleficent will pull out a surprise upset but I rather doubt it.

– – –

MAKEUP AND HAIRSTYLING

Foxcatcher

The Grand Budapest Hotel

Guardians of the Galaxy

Who Should Win

Since so much of the character design in Guardians was make-up based, this seems like the obvious and best choice. Grand Budapest looked great but there was nothing particularly memorable about the makeup and Foxcatcher’s “potato nose” should knock it out of the running by default.

Who Will Win

This seems like an easy lock for Guardians.

– – –

MUSIC – ORIGINAL SCORE

Hans Zimmer, Interstellar

Alexandre Desplat, The Imitation Game

Johann Johannsson, The Theory of Everything

Alexandre Desplat, The Grand Budapest Hotel

Gary Yershon, Mr. Turner

Who Should Win

I actively dislike Johannsson’s score for The Theory of Everything and thought that Desplat’s score for Grand Budapest was magical, so this was an easy one, for me.

Who Will Win

With two nominations, this definitely seems like Desplat’s year. That being said, my gut tells me that Hans Zimmer will win big for Interstellar.

– – –

CINEMATOGRAPHY

Emmanuel Lubezki, Birdman

Roger Deakins, Unbroken

Robert D. Yeoman, The Grand Budapest Hotel

Dick Pope, Mr. Turner

Lukasz Zal & Ryszard Lynzewski, Ida

Who Should Win

In any other year, either Yeoman’s gorgeous work in Grand Budapest or Ida’s beautiful black-and-white cinematography would be instant locks for the trophy. This year, however, there’s only one film that “matters”: Emmanuel Lubezki’s astounding single-take work in Birdman wins this, hands down. In the immortal words of Highlander: there can be only one.

Who Will Win

I’m pretty sure this will go to Lubezki but I could see either Yeoman or Zal/Lynzewski swooping in for the upset. Far outside shot: Deakins has the name-brand recognition that could also send him home with the gold, despite Unbroken’s relative snubbing.

– – –

WRITING – ORIGINAL SCREENPLAY

Richard Linklater, Boyhood

Alejandro González Iñárritu, Nicolas Giacobone, Alexander Dinelaris and Armando Bo, Birdman

Wes Anderson and Hugo Guinness, The Grand Budapest Hotel

Dan Gilroy, Nightcrawler

E. Max Frye and Dan Futterman, Foxcatcher

Who Should Win

This is probably the hardest category to pick, for me, at least. I thought that Boyhood felt very realistic, although I assumed that much of the script was improved, based on the situations. Birdman and Grand Budapest were ingeniously plotted and paced, as was newcomer Gilroy’s Nightcrawler. The only one I can’t comment on was Foxcatcher. In a perfect world, Gilroy would have been nominated for lots of trophies: it would be great to see him snag the one he was nominated for.

Who Will Win

I honestly think this will be Anderson’s year for screenwriting. If not, I could definitely see Birdman picking this one up.

– – –

WRITING – ADAPTED SCREENPLAY

Graham Moore, The Imitation Game

Damien Chazelle, Whiplash

Anthony McCarten, The Theory of Everything

Jason Hall, American Sniper

Paul Thomas Anderson, Inherent Vice

Who Should Win

I only saw The Theory of Everything and felt it was way too predictable and by the numbers. I would absolutely love for PT Anderson to take top honors for Inherent Vice.

Who Will Win

I have a feeling that either The Imitation Game or Theory of Everything will win this one, given previous trends.

– – –

FOREIGN LANGUAGE FILM

Ida

Leviathan

Tangerines

Wild Tales

Timbuktu

Who Should Win

I only saw one but Ida would have been a formidable entry in any year. I have no problem tossing my hopes and aspirations about this humble little tale of a nun on the hunt for truth.

Who Will Win

Based on scuttlebutt, I could see Leviathan winning, although Ida’s double nomination might give it an additional push.

– – –

DIRECTING

Alejandro González Iñárritu, Birdman

Richard Linklater, Boyhood

Bennett Miller, Foxcatcher

Wes Anderson, The Grand Budapest Hotel

Morten Tyldum, The Imitation Game

Who Should Win

Despite how much I loved Grand Budapest and love Wes Anderson, in general, there’s no way that anyone but Iñárritu deserves this award in this particular year. His work on Birdman is nothing short of astounding.

Who Will Win

I have a feeling that Linklater will win for his years-spanning work on Boyhood, although I could also see Anderson taking the prize. I have a (sad) feeling that Iñárritu is a long-shot, here, despite being the obvious pick.

– – –

ACTRESS IN A SUPPORTING ROLE

Patricia Arquette, Boyhood

Laura Dern, Wild

Emma Stone, Birdman

Keira Knightley, The Imitation Game

Meryl Street, Into the Woods

Who Should Win

While Arquette did a great job in Boyhood, I was really impressed by Stone’s work in Birdman. I could go for either of them, although I prefer Stone’s performance. Without seeing it, however, I have to give some support to Laura Dern: it’s about damn time!

Who Will Win

I have a feeling that Arquette will emerge victorious once all is said and done.

– – –

ACTOR IN A SUPPORTING ROLE

Robert Duvall, The Judge

Ethan Hawke, Boyhood

Edward Norton, Birdman

Mark Ruffalo, Foxcatcher

J.K. Simmons, Whiplash

Who Should Win

I only saw Birdman and Norton was fantastic, so why not? It’s about time ol’ Ed had some Oscar gold on his shelf.

Who Will Win

Scuttlebutt says that JK Simmons is a lock for Whiplash, so who am I to argue with scuttlebutt? While Hawke was fine in Boyhood, I seriously doubt he’ll get the nod here.

– – –

ACTRESS IN A LEADING ROLE

Marion Cotillard, Two Days One Night

Felicity Jones, The Theory of Everything

Julianne Moore, Still Alice

Rosamund Pike, Gone Girl

Reese Witherspoon, Wild

Who Should Win

I only two of the nominated films: Felicity Jones’ performance was just fine and Pike was extremely broad and too over-the-top. Had I seen it, however, I bet that Marion Cotillard’s performance in Two Days would have been my favorite.

Who Will Win

Something tells me Julianne Moore will win big for Still Alice.

– – –

ACTOR IN A LEADING ROLE

Steve Carell, Foxcatcher

Bradley Cooper, American Sniper

Benedict Cumberbatch, The Imitation Game

Michael Keaton, Birdman

Eddie Redmayne, The Theory of Everything

Who Should Win

It’s a hard call: Keaton was fantastic but Redmayne did a pitch-perfect imitation of a famous person, which is usually the bar to beat. While there was nothing wrong with Redmayne whatsoever, the rebel in me really wants Keaton to win.

Who Will Win

Without a doubt, Eddie Redmayne.

– – –

BEST PICTURE

American Sniper

Birdman

Boyhood

The Grand Budapest Hotel

The Imitation Game

Selma

The Theory of Everything

Whiplash

Who Should Win

I actually managed to see half the films in this category and my choice is still clear: while Grand Budapest was Anderson’s best film in a while, Birdman was a complete work of art, easily one of the twistiest, thorniest films to come down the pike in years. Birdman is the kind of film that never seems to get nominated, so it’s exactly the kind of film that should win.

Who Will Win

What a hard call. My gut tells me that either Boyhood or The Theory of Everything will pull ahead in this category. I think Birdman is just too challenging to win and I don’t think Imitation Game and Whiplash had enough name recognition. I suppose that either Selma or American Sniper could always win but I don’t think the Academy will be showing either one much love, this year. You never know, though: Oscar history is littered with strange wins, radical upsets, outrageous losses and egregious snubs…it’s just the nature of the beast!

My 2013 Academy Award Picks

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2013 Academy Awards, 86th Annual Academy Awards, Academy Award guesses, Academy Awards, Alexander Payne, Alfonso Cuaron, award shows, Captain Phillips, Cate Blanchett, cinema, Dallas Buyers Club, Film, Movies, Nebraska, Oscars

With the 86th annual Academy Awards ceremony drawing ever closer, I thought now might be as good a time as any to offer up my list of winners for this year’s event. This year actually marks the first time in quite some time (since the ’90s, I think) that I’ve been able to see a pretty fair percentage of the nominated films, so I hope that my “educated” guess end up being a bit more accurate than my “shot-in-the-darks” from the past.

Despite a concentrated effort to see as many nominated films as possible this year (including a last minute trip to the theater this coming weekend to see Philomena), there have still been several films that I truly regret missing. Any of these, I’m sure, would have been worthy contenders but I just never ended up getting to them before the ceremony: Her; The Wolf of Wall Street; August: Osage County; Ernest & Celestine; The Wind Rises; Inside Llewyn Davis; The Missing Picture; and Omar

Without further ado, no fanfare and a certain amount of self-doubt, then, I present my 2014 choices.

— Best Picture: I would love to see Nebraska win but I have a feeling that American Hustle might win, which will be a little sad.

— Best Director: My personal preference would be Alexander Payne but I could totally see Alfonso Cuaron taking the statue and I wouldn’t mind in the slightest.

— Best Actor: I feel that Dern and McConaughey are neck-and-neck for this but I think that McConaughey displayed the wider range and really inhabits his character completely. Any other time, I would be 100% behind Chiwetel Ejiofor but Dern and McConaughey were real show-stoppers.

— Best Actress: Without seeing Judi Dench in Philomena, I’m inclined to go with Cate Blanchett. My opinion might change after this weekend but Blanchett was pretty stunning in Blue Jasmine.

— Best Original Screenplay: They were both exceptionally sharp and witty but I fell completely in love with Bob Nelson’s script for Nebraska just a bit more than Woody Allen’s for Blue Jasmine. Either one are suitable choices, as far as I’m concerned, and Dallas Buyers Club would be up here in a less crowded year.

— Best Adapted Screenplay: My gut instinct tells me to go with Philomena on this one, even though I’ve yet to see it. Of the other two I saw (Captain Phillips, 12 Years a Slave), I felt that the former had a pretty bad script, to be honest, and that the latter had a pretty good script. Probable winner? Before Midnight, methinks.

— Best Supporting Actress: Before watching Nebraska, I felt that 12 Years a Slave’s Lupita Nyong’o was a total lock for this. Afterwards, however, there’s just no way I can’t throw love in June Squibb’s direction. Her performance as Kate was an absolute stunner: if you don’t have at least one relative like this, you probably don’t have any family at all.

Best Supporting Actor: Without a doubt, this deserves to go to Barkhad Abdi for Captain Phillips. I would also accept Jared Leto for Dallas Buyers Club but will flip my wig if Fassbender wins: I didn’t find anything exceptional about his performance in 12 Years a Slave whatsoever.

Best Animated Film: I’ve only seen the Croods, thus far, so I don’t have much to go on. I absolutely loved the film, however, so it would be just dandy if it won the gold statuette. My instinct? The Wind Rises, for the win.

Best Cinematography: Before Nebraska, Gravity would have been the no-brainer here. After soaking in Nebraska’s gorgeous and completely evocative black-and-white cinematography, however, I’m ready to call an audible and buck the obvious choice. Don’t get me wrong: the camera-work in Gravity was jaw-dropping. The camera-work in Nebraska, however, was heart-breaking.

Best Costume Design: The only two entries I saw in this category (American Hustle, 12 Years) didn’t blow me away at all, so I’m going to go with one I didn’t see: The Great Gatsby. No matter how empty Luhrmann films might be, the always look great and I’m sure Gatsby’s no exception.

Best Documentary Feature: In any other year, any of the other docs (with the possible exception of 20 Feet From Stardom) would have been easy contenders. This year, there’s only one that could: The Act of Killing. This will end up being the “Free Spot” in any Oscar-guessers Bingo card: mark my words.

Best Documentary Short: I didn’t manage to see any of these but my money is on The Lady in Number 6, particularly since the subject just died a few days ago.

Best Film Editing: I’m inclined to go with Gravity but Captain Phillips was pretty seamlessly edited, as well. Any picks for tech awards besides Gravity feel a little iffy this season, however, so Gravity is probably the safer best.

Best Foreign Language Film: I’ve only seen one, The Hunt, and I thought it was a stunner. That being said, I’ll be seeing two more before Sunday (The Broken Circle Breakdown and The Great Beauty) and there’s every chance that Broken Circle will wreck me completely. We’ll see.

Best Makeup and Hairstyling: If Dallas Buyers Club doesn’t get it, the award better go to Bad Grandpa so we at least get the chance of a pithy Knoxville quote.

Best Original Score: The only one I saw on the short-list was Gravity and, to be honest, I wasn’t overly impressed (most of the time). My bet is on Her, since William Butler and Owen Pallet did the score: that’s some serious indie-rock nirvana, right there.

Best Original Song: Without hearing any of them (or seeing the requisite films), I’m going to do the obvious thing and select Frozen’s “Let it Go.” My other choice would have been the odd Christian song but those jerks removed that option: what nerve!

Best Production Design: I’m inclined to say Gravity but, as mentioned above, I’m pretty sure that The Great Gatsby was a visual stunner. I could see either of those winning, with American Hustle serving as a sneaky wildcard.

Best Animated Short Film: I didn’t manage to see any of these this year but the retro-animated Disney short Get a Horse! seems like a pretty obvious contender.

Best Live Action Short Film: My knowledge of these entries, unfortunately, only extends to their titles, so this one is a complete wash.

Best Sound Editing: As mentioned above, any tech awards guesses that don’t feature Gravity are probably lost causes but I (for some reason) could see either Captain Phillips or The Hobbit 1.2 taking this award.

Best Sound Mixing: I’m going with Gravity, again, but this could also go to Phillips or The Hobbit. Possible wildcard? Lone Survivor, whose only nominations were for both sound categories. Perhaps the Academy knows something I don’t?

Best Visual Effects: I’m, obviously, inclined to give the trophy to Gravity. I wasn’t particularly impressed by the visual effects in the first part of The Hobbit and, since all three films were made simultaneously, I expect more of the same in the second installment. Furthermore, voters already rejected The Hobbit once, last year, in favor of Life of Pi. Is it so hard to imagine the same thing won’t happen again with Gravity?

So there you have it: my not-so humble picks for this year’s ceremony. All in all, this ended up being a pretty damn good year for movies: it will be interesting to see what long-shots and sure-things end up pulling through this Sunday.