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Passengers

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Movie: Passengers
What it’s up for: Original Score, Production Design

Space movie! But it’s a different kind of space movie. A passenger vessel, on its way to a colony planet encounters an asteroid field causing one of its passengers (Chris Pratt) to come out of hypersleep (or whatever type of sleep they call it, I can’t remember) decades too early. Alone and lonely on the ship, he decides to wake up one of the other passengers (Jennifer Lawrence) even though it means she will also be condemned to spending the rest of her life on the ship.

I actually really enjoyed this one. It’s one of the few happy films in the roster. It might seem cheesy to some, but I thought it was fun and exciting.

Score – two words: Thomas Newman. If you’ve been following my blog at all, you know how I feel about Thomas Newman. He’s the most nominated living composer to never win an Oscar. He deserves one. Unfortunately, this year is probably not his year.

The production design is about the same as any space movie. However, that is a high quality standard. It was beautiful, particularly the space effects.

I love it. Go watch it.

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Arrival

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Movie: Arrival
What it’s up for: Best Picture, Director, Adapted Screenplay, Cinematography, Sound Editing, Sound Mixing, Production Design, Film Editing

Aliens come to earth. Why are they here? /synopsis

I don’t really understand why this movie got so many nominations. There’s one big moment that makes it worth watching but the first 2/3rds of the film are SO SLOW I almost quit watching. But I kept going, hoping something would happen. And it did! But it wasn’t enough to redeem the whole movie for me. My favorite thing about it is that the aliens look like cephalopods.

Arrival killed it in the sound mixing department. If the sound winners are split between two movies this year, I think mixing will go to Arrival. The sound editing was good too, but they didn’t do anything groundbreaking. Same can be said for production design and cinematography. The lighting throughout the film was effective in conveying tone, which I suppose is why the cinematography deserves a consideration. The visual effects are really what should have gotten nominated. As should the score. The complexities of the later third of the film are where the high quality of the film editing stands out.

As for the screenplay…the way the movie plays out and builds towards the ending makes it deserve this nomination. Despite it being tortuously slow in the beginning, some of those elements were necessary to make the ending as impactful as it was. It’s based on a short story called “Story of Your Life” by Ted Chiang and I bet that it’s very good. The story probably works better as written piece rather than a visual piece.

Jóhann Jóhannsson deserves great praise for his score! It was creative and imaginative. He and his team put a lot of effort and ingenuity into creating it.

It’s not the worst movie I’ve ever seen. I don’t think it deserves the prize for Best Picture or Best Director though.

Predictions
Best Picture – Unlikely
Director – Unlikely
Adapted Screenplay – Highly unlikely
Cinematography – Doubtful
Sound Editing – Possible
Sound Mixing – Possible. It’s probably one of the top 3.
Production Design  – Possible, but unlikely.
Film Editing – Unlikely

La La Land

lalaland

Movie: La La Land
What it’s up for: Best Picture, Director, Actor, Actress, Original Screenplay, Cinematography, Sound Editing, Sound Mixing, Original Score, Original Song (x2), Production Design, Costume Design, Film Editing

I, like many, was initially put off by how many nominations this movie received. I thought it was another movie about Hollywood and the Academy was giving nominations based on relatability to their world. Thankfully, I was wrong. La La Land isn’t about the Hollywood elite. It’s simply a basic boy-meets-girl love story set in Hollywood.

Mia (Emma Stone) is a barista trying to become an actress. Sebastian (Ryan Gosling) is a musician trying to open a jazz club. Through song and dance and banter, La La Land tells us the story of their love.

The chemistry between Ryan Gosling and Emma Stone is unparalleled in modern cinematic pairings. They do so well together. They bring the best work out of each other. Both of them performed incredibly considering they needed to act, sing, and dance. The only strange thing is that sometimes they are so natural together that it feels awkward. Because real life is awkward. Both of them had powerful moments in the film. One of those moments for Emma Stone was when she sang Audition (The Fools Who Dream)” which is one of the two Oscar nominated songs from this movie.

The other nominated song is “City of Stars

I have very little doubt that one of these two will win the Oscar. Probably “City of Stars“, let’s be real. That’s the one Golden Globe win I’ve accidentally let myself see.

Like any good musical, the music of the songs are found throughout the story to help guide the musical themes. The score is unexpectedly unforgettable. After leaving the theater, my thought was “Well, that was ok.” But two days later, I found myself humming the music at work. It ties into the movie so well that you can’t help but hear the music when thinking about the plot.

Speaking of the plot, (man, I’m killing it on transitions today), the screenplay is phenomenal. The ultimate reason why the screenplay stands out is due to the fact that it is a song-and-dance musical. Without a good screenplay, singing and dancing is just awkward. The production design is brilliant. The movie is set in modern times, but the only way you would know that is by their phones. The obscurity of the settings, set decor, costumes, vehicles, and even the hairstyles give it a timeless quality. The costume design in particular stood out to me with Emma Stone’s outfits. The outfits suggest inspiration from different eras, while still being modern. It’s a delicate balance that I can’t explain well because I’m not a fashion person.

My absolute favorite part of the movie was the cinematography. I can’t fully express my awe towards the cinematographers in words. Imagine me doing Kermit’s muppet arms and you might get a sense of how I feel about it. The coloring and lighting changes with the mood. Whatever they did with the cameras and/or lights made some of the live backgrounds look almost like extremely high quality stage sets which allowed for the musical numbers to have that old-time musical feel from classic films. You really see this in the “A Lovely Night” tap number. (The scene that’s on all the posters.)

That tap number is also the moment where you see some of the best of the film editing. With “long shot” dance numbers, music, and singing, the editors have a lot to deal with. They pulled it off quite well. Those elements also give the sound mixers and sound editors a challenge. On those accounts, the sound was flawless. The transitions from speech to song were seamless. The necessary sound effects merged perfectly with the natural sounds.

The feel of the movie seemed somewhat familiar. It’s because Damien Chazelle, who wrote and directed Whiplash, also wrote AND directed La La Land. I’ve said it before and I’ll say it again – when someone directs AND writes the screenplay for a film, the product more often than not comes out better. Chazelle is definitely going places. This is his second big hit in the last two years. Not to mention, that Whiplash and La La Land are really his only major productions anyway. He’s come out the gate swinging. (I think that’s mixing sports metaphors but whatever.)

I’ve seen 7/9 Best Picture nominees. Unfortunately I won’t be able to see Fences or Hidden Figures. From what I’ve seen, I want to think that La La Land will win. I didn’t think so at first, but after watching more of the BP nominees, it’d be hard to beat it. Lion might be the closest contender. I liked that the movie was nostalgic to the classic films without being cynical or satirical. The ending….well, that would be a major spoiler, but the ending is what gives it a solid berth in the Best Picture category.

Predictions
Best Picture – Likely. Unless the Academy goes in a politcal statement direction. (I’m looking at you Moonlight.)
Director – I’m not too sure actually. Statistically, if it wins BP, Cazelle should win too (since it is the most nominated film). But last year is the obvious exception to that rule.
Actor – Doubt it. Sorry, darling.
Actress – Doubt it.
Original Screenplay – Possible
Cinematography – Strong yes. This is an extremely powerful category though.
Sound Editing – Possible. Arrival gives it a run here.
Sound Mixing – Possible. If it wins mixing, it’ll probably win editing.
Original Score – I so want Thomas Newman to win, but it’ll probably be either this or Lion.
Original Song (x2) – Probable. I’d pick “Audition” but it seems like it’ll go to “City of Stars
Production Design – Probable.
Costume Design – Maybe? I haven’t seen enough of the costume films to be sure. I hope so.
Film Editing – Possible. That’s also a tough category.

Fantastic Beasts and Where to Find Them

FANTASTIC BEASTS AND WHERE TO FIND THEM

Movie: Fantastic Beasts and Where to Find Them
What it’s up for: Costume Design, Production Design

Does anyone else always hear the word “fantastic” in their heads with a Christopher Eccleston accent?

Fantastic Beasts and Where to Find Them depicts one of Newt Scamander’s many adventures searching for magical creatures in the Harry Potter universe. He goes to America on a quest and ends up in New York City circa the 1920s.

This movie is fun for the Harry Potter fan. We get to see the magical community in America and how they interact with the “no-mags” (aka muggles aka non-magical persons). We get to see a bunch of new magical creatures and some familiar ones as well. It’s a bit one-dimensional and some of the characters needed better development. It’s an enjoyable story, though.

The production design of this film is structured around the 1920s. It’s a period piece, even if it is about wizards. However, there’s a certain aspect to it that suspends reality. It’s as if we’re watching an alternate reality where everything is just slightly off. Essentially, that’s what the story is so to that end, it is successful. However, there’s nothing too remarkable in the production design to make it stand out.

I could say almost the same thing about the costume design. Although there are some interesting choices in some of the designs, they look like your basic period piece choices. Maybe I’m missing something, I’m not sure. It all looked great and fit well with the production design. It just didn’t wow me.

Predictions
Production Design – Unlikely. Especially going up against La La Land.
Costume Design – Unlikely. Especially going up against….La La Land. 

Bridge of Spies

Movie: Bridge of Spies
What it’s up for: Best Picture, Supporting Actor, Original Screenplay, Score, Production Design, Sound Mixing

Continuing the theme of simple yet satisfying stories, I present Bridge of Spies. I certainly don’t mean simple in any sort of patronizing way. It’s just hard to get things wrong with Tom Hanks and the Cold War.

Bridge of Spies relays a true story of Jim Donovan, a civilian lawyer (Tom Hanks) who is called upon to defend an accused Soviet spy. Then the government requests his assistance in negotiating a prisoner exchange with Russia.

Mark Rylance is marvelous as the accused Soviet spy Rudolf Abel. He’s solidly my choice for the Supporting Actor win. His lines are stoic and concise but he delivers them with this sense of hidden emotion. There’s a feeling of innocence around him which creates a desire to see him stay well. Despite his position in the story, you’re never really given a chance to dislike him. His character is surprisingly lovable. This works well with the film since much of the story’s focus stays on the idea of human rights and the position the United States holds in giving people those rights.

The original screenplay is solid and virtually flawless. It smoothly flows through each scenario. The script works brilliantly with what’s happening on screen. Each scene is set up with intention and a focus on the overall theme. That being said, there’s a certain…tameness about it that keeps me from rating it higher than some of the other screenplays this year.

The production design team’s monumental achievement shines in the scenes that occur in Berlin. They re-create a Berlin in the middle of building the Berlin wall, when East Berlin is still trying to create its identity as a communist nation. The effect is convincing, to say the least. The overall design of the film keeps things consistent and in perspective, which creates the feeling that you are with Donovan in all the events that occur.

Thomas Newman wrote the score for this film. Those of you who have followed my blog for a while may recall my post for Newman two years ago regarding Saving Mr. Banks. Everyone’s all over the internet bothering people about Leonardo DiCaprio deserving an Oscar. MEANWHILE IN THE LAND OF MUSIC, Thomas Newman remains the most nominated living composer to have never won an Oscar. He’s been nominated for 13 Oscars, which makes Leo’s 6 nominations seem like nothing. The score for Bridge of Spies is gorgeous, moving, and helpful to the story. JUST LIKE EVERYTHING HE’S EVER DONE. I really want to see him win this year. #oscarfornewman

And then there’s sound mixing. There was nothing wrong with it. It overcame the obstacles of having multiple languages, lots of dialogue, and war scenes without causing confusion. All in all, it was successful. More successful than The Revenant…..(no, I will never get over it).

Predictions
Best Picture – No
Supporting Actor – I hope so. It might be possible.
Original Screenplay – Doubtful
Production Design – Doubtful
Score – Please please please……..but I have a bad feeling he won’t win.
Sound Mixing – Doubtful

The Martian

Movie: The Martian
What it’s up for: Best Picture, Leading Actor, Adapted Screenplay, Production Design, Sound Editing, Sound Mixing, Visual Effects

Everyone probably knows the basic premise of The Martian by now. Basically, an astronaut named Mark Watney (Matt Damon) gets stranded on Mars and everyone tries to get him back. I don’t say that cynically or tongue-in-cheek. The end result of this storyline is a fun and engaging adventure with a fantastic ensemble cast.

The production design worked perfectly. Space movies have been done many times and it’s easy to get stuck in a space movie rut when it comes to design. This one, however, felt natural and realistic. It felt like something that could be happening in this day and age, not in the future. The modern take on the design is accentuated by an artful, semi-futuristic attention to detail. The interior scenes were the most intriguing to me. There’s a consistency and flow to each location that keeps everything connected.

The adapted screenplay meshed well with the overall design to create that sense of authentic reality. The timeline for the movie spans over several years but the screenplay seamlessly transitions across time without kitschy tropes or over-used transitions. The progress of the story was well-paced without being too predictable. They avoid the awkwardness of Watney talking to himself by having him do “daily logs”. My one technical objection was to some over-the-shoulder POV camera angles (primarily near the beginning) that ruined some of the illusion of Watney being stranded alone on Mars.

The script was clever and concise and integrated the talents of the cast involved. There were a couple minor exceptions to that involving Watney and Jeff Daniel’s character (NASA administrator Sanders) where a few of their “one-liners” seemed forced. I can’t understand how that happened when much of the rest of the script smoothly incorporates humor without feeling contrived. I loved the variety of characters and the choice of actors. The threat with using that many well-known actors is for characters to feel unnecessary. Each character played an important role and each actor filled those roles well. They worked well together and each contributed to the story. My favorite moment is a scene where Sean Bean and some of the others discuss a plan called “Elrond”. If you don’t know why that’s funny, look up “Sean Bean” and “Lord of the Rings”.

Matt Damon‘s character, Mark Watney, is the centerpiece of this ensemble. After Watney is left on Mars, he must figure out how to survive and let Earth know that he’s still alive. Damon makes these terrible events amusing and makes talking to yourself seem normal. For about 80% of the movie, Damon is his typical charming self. The 20% where the walls break down and you see what’s really going on for Watney are what make his performance Oscar-worthy.

The sound editing was high class. Space movies always require a significant amount of sound creation and foleying. The sound editing was flawless, as far as I can recall. Everything felt natural and there weren’t any abrupt moments caused by sound.

The visual effects were perfect. Like I’ve said about everything else, the film felt real. The spaceship scenes were the most complex with gravity effects and the integration of the sets into outer space. Mars was convincing. It was all just good. Visual effects are somewhat difficult to examine nowadays. The only times they aren’t good are if there are some glaring problems (like The Revenant‘s fur rendering issues).

Predictions
Best Picture – Unlikely
Leading Actor – Unlikely
Adapted Screenplay – Possibly
Production Design – Possibly
Sound Editing – Possibly
Sound Mixing – It’ll get both sound categories or neither
Visual Effects – Unlikely

The Revenant

Movie: The Revenant
What it’s up for: Best Picture, Leading Actor, Supporting Actor, Director, Cinematography, Costume Design, Film Editing, Makeup and Hairstyling, Production Design, Sound Editing, Sound Mixing, Visual Effects

The Revenant tells the story of Hugh Glass (DiCaprio) who gets left for dead in the wilderness of the 1820s by his team. Glass’ grim determination for revenge drives him to use all the survival skills he possesses to try and get back to their fort. As a whole, the film is engaging and enjoyable. From a technical standpoint, there were certain things I just could not get past. We’ll start with the positives though.

Leonardo DiCaprio completely sells his forsaken character. He commits himself fully physically and emotionally. This is another nomination for a role with little dialogue. Even though he rarely speaks, he effectively communicates his story through his actions. However, it seems that DiCaprio had little to work with when it came to his character’s story. We are given virtually no background information or character development for Glass. In spite of that, DiCaprio creates a character that bonds with the audience and creates an emotional connection.

Similarly, Tom Hardy‘s character, John Fitzgerald, the antagonist of the film, makes himself known and hated fairly quickly despite having minimal character development. His strong character has a believable authenticity that makes him seem like he’s actually from the 1820s. The one thing that causes his character to suffer was not his fault. You could not understand half of what he said. I spent a significant amount of time lost when he was talking due to some terrible sound mixing (which I’ll get into more later).

The gorgeous cinematography captured the elements perfectly and drove the story along. They used natural light almost exclusively throughout the entire shooting process resulting in surprisingly clear and realistic shots. Lubezki is just a genius. Combine the painstaking cinematography with the unique film editing and you have a wilderness film that feels kind of like a Terrance Malick piece. There are certain scenes where Glass’ perception of reality shifts into dreams and hallucinations. There’s no transition into these stages. They just happen. Consequently there are moments where you have no idea what’s going on until it’s over. It takes nothing away from the story. It’s simply odd.

The production design also helps communicate Glass’ reality and strongly frames the impact of nature on our lost hero. The crew works with the elements in order to explain the story. That aspect was beautiful. The artificial locations (the fort, Native camps) felt authentic and kept the illusion of the historical aspect of the film intact.

The makeup and hairstyling team had an insane amount of work for this film. The makeup artists in particular had to create a number of flesh wounds and injuries for various characters as well as Native American body art. The costume design team created authentic (I assume) and intricate costumes. Each costume had a number of different elements to it.

I like Alejandro Iñárritu as a director. He made some bold choices with this film. They shot chronologically to make the experiences feel more authentic. This caused major budget problems for them when the snow melted at the end of shooting, forcing them to fly to Argentina to finish. He effectively directed several silent characters and characters speaking different languages. Overall, he did a great job. However, there were some minor issues that he had some control over that he should have resolved. Which leads me to…

The ridiculously awful sound mixing. The sound editing (creation of sounds for the film) was perfectly fine. Superb even. Elements of the mixing were good too, particularly with the incorporation of natural sounds into stereo. However, the biggest issue of the whole film has to do with dialogue. Half the time, you can’t hear the dialogue that’s in English. AND THEN a significant amount of the Native dialogue had to be redubbed after filming so the words don’t match the actors’ mouths. Iñárritu (supposedly) thought the latter wouldn’t matter because people would be focused on the subtitles. Mixing the dialogue into the background noises should have been given more of an effort. It’s possible that due to the time constraints of their post-production process, they just neglected it. I guess the Academy ignored that glaring issue when they nominated The Revenant for sound mixing.

Lastly, the visual effects. I know the whole motion-capture-bear thing has become a high-toned and fancy to-do in the technical circles. Yes, the technology is impressive. However, the end result for the bear and almost all the other animals leaves much to be desired. They all looked fake. Hair is hard to animate, but look at the recent Planet of the Apes films and you know it’s possible to create realistic looking animals. I think this may have been another area that suffered due to their time constraints. The real star of the effects team is whoever was in charge of the practical effects. So…many…fake dead animals. So…much…blood and guts. Seriously, this movie had significantly more gore than The Hateful Eight.

Predictions
Best Picture – Probable but there might be a dark horse that takes the main prize
Leading Actor – I mean…if they don’t, there will be rioting
Supporting Actor – Possible
Director  – Highly likely
Cinematography – Highly likely
Costume Design – Unsure…
Film Editing – Unlikely
Makeup and Hairstyling – Highly likely
Production Design – Unlikely
Sound Editing – Unlikely
Sound Mixing – Please, lord, no
Visual Effects – Unlikely

Mad Max: Fury Road

Movie: Mad Max: Fury Road
What it’s up for: Best Picture, Director, Cinematography, Costume Design, Film Editing, Makeup, Production Design, Sound Editing, Sound Mixing, Visual Effects

I, like many, scoffed at the ten nominations for Mad MaxFury Road. On the outside, it doesn’t seem to fit your standard Academy film. It seems like a post-apocalyptic version of Fast and Furious. This is a perfect example of how you shouldn’t judge a book by its cover.

Mad Max: Fury Road tells the story of a woman named Furiosa (Charlize Theron) who helps a group of female slaves escape from a mad dictator. She attempts the escape through an expansive desert, hoping to find a place of peace on the other side. As she journeys, she’s joined by Max (Tom Hardy) who is battling his own demons.

George Miller had quite the undertaking as the director. First of all, there’s virtually no dialogue. The story is built and pushed almost entirely through the action going on. Secondly, the pace of the movie stays about the same (hectic) almost the entire time. There are stunts practically every five seconds. I don’t know how many extras worked on the film (or which extras were real and which were virtual) but they were numerous. Miller pulled an amazing number of variables together to create a seamless experience. I wish I’d been able to see it in theaters for the full effect.

The cinematography was intentional, creative, and effective. It set the tone for the film. It felt like a modern version of a 1980s film – which makes sense considering this is part of the Mad Max film franchise. (Full disclosure: I’ve never seen any of the other Max films. I did quickly skim the plots of the other three on Wikipedia before watching this one, though.) It was unique and memorable. Of course, this would all mean very little if the film editing wasn’t just as good. Which it is. Everything flows well from one scene to the next. It flows so well, that you just find yourself falling into the next moment without realizing that a scene change is happening. For a movie with so much action, it would be easy to get tired of things blowing up all the time. For a movie with very little variability in pacing, it could be easy to get overwhelmed. However, the editing – combined with a narrative score (which should have been nominated) – keep you interested and engaged the entire time.

The costumes and makeup designs tell their own stories. Both are intricate and dramatic, while subtly helping to explain things. The screenplay provides little in the way of background information for the societies that are encountered in the film. The costuming helps display the state of degradation that these people have found themselves in while also helping to distinguish between different groups or types of people. The makeup brings everything full circle by providing the futuristic sense that these people are not like us.

The visual effects of the film are almost indistinguishable from the practical special effects. Although most of the scenes are simply set in the desert, there are some truly epic moments starring the visual effects. Most of the film is one huge car chase that is creatively enhanced through some CGI work. Oh, and Charlize Theron is missing an arm the whole time. I had not even realized the broad scope of the visual effects work until I had to think about it for this post. While you’re watching the movie, the CGI/greenscreen effects don’t stand out from the actors and real vehicles.

The sound editing helped create the illusion of reality almost flawlessly. For the sound mixing, I felt like there were some off moments when the vocals were mixed in. Particularly with Tom Hardy’s lines (of which there were maybe five). I’m not sure if that’s just me being picky or if they did have some dubbing issues. Everything else related to mixing seemed strong.

Production design is my last to analyze for this post because everything I could say has probably been said about any of the previous categories. The production design stands out because all the other categories are so strong. They each work together perfectly to form this immersive environment. The fact that this film stands solidly in the realm of well-crafted stories without a significant amount of dialogue is evidence of exceptional production design.

Overall, it is a great movie. It’s not my normal type of film but I enjoyed it. Something that stood out significantly to me is the fact that there were numerous times where the filmmakers had an open moment for some gratuitous nudity and they chose not to do it. There was also very little profanity. In a time where those two elements are usually crutches for filmmakers, it’s impressive to see someone make a good movie without them.

Predictions
Best Picture – Unlikely. Even though it’s very good.
Director  – Unlikely. Just because of the other contenders.
Cinematography – Possible….
Costume Design -I hope so! I think it’s in the top two.
Film Editing – Not sure yet.
Makeup – Possible. Old age makeup is usually the give away for this award so I’ll have to see what happens in The 100-Year-Old Man Who Climbed out the Window and Disappeared first.
Production Design – Unlikely…but I think it’ll be between this and The Revenant
Sound Editing – Unlikely
Sound Mixing – Unlikely
Visual Effects – Possible

The Imitation Game

Movie: The Imitation Game
What it’s up for: Best Picture, Leading Actor, Supporting Actress, Director, Film Editing, Score, Production Design, Adapted Screenplay

This movie is not at all what it seems to be in the trailers. It’s not a war movie. It’s not even really a character drama. It’s more like a political statement for the UK.

The Imitation Game follows the true story of mathematics prodigy Alan Turing (Benedict Cumberbatch) and a team of geniuses who attempt to break the unbreakable Enigma coding machine of the Nazis during World War II.

I’ve never been a Benedict Cumberbatch fangirl and I’ve never fully understood his mass appeal. However, this is the most nuanced performance I’ve seen him do and I was impressed. Turing’s social inabilities paired with what seems to be OCD create a unique personality that needed to be paired with intentional, abnormal body language. Cumberbatch pulled it off brilliantly.

In contrast, I’ve always been fond of Kiera Knightley, who plays the character of the “unlikely woman” who joins the code-breaking team. I was more fascinated by her character in this movie than any of her previous roles. She tends to be the same person in everything she does (which is still good and enjoyable to watch). In this movie, however, she brings her game to a new level. The hair/makeup folks did a great job with her in particular. Since she wasn’t just one of secretaries, they made sure her appearance was a little more haphazard than the well-put-together typists.

This movie is more about gay rights than anything else. They try to hide it but are so intentional in how they try to hide it, that it makes it seem all the more obvious. Because of that, the plot is too convoluted. You’re left not knowing what exactly you’re supposed to focus on. One moment, you’re fully engrossed in defeating Hitler, and the next you’re thrown back in time to learn more about Turing. If the movie had been solely focused as a character drama and not lauded as a war movie, it would have been less confusing.

In general, the movie is well-constructed. The director in particular did a great job working with different timelines (a trend this year it seems) and many different characters. The screenplay was good but not the best I’ve seen this year. It flowed beautifully but lacked a thorough script. (Example: Not once did they even try to explain how their code-breaking machine worked, even in the vaguest sense.) The production design was typical for a WWII film and I don’t really understand why it was nominated. The film editing was nothing out of the ordinary, but was well done.

Alexandre Desplat was nominated twice for score this year. Once here and once for Budapest. His score for Imitation is good, but it doesn’t connect the plot well enough to be a truly impactful score.

Predictions

I’m just going to keep this simple and say that on a case by case basis, I think it’s unlikely that The Imitation Game will win in any of these categories. However, it also seems unlikely that the Academy would let a movie that Hollywood is championing as a gay rights film to go without an award.

 

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