My Award nominations: Makeup and Hair

This is the only category this year in which none of my own nominees are up for the Oscar. Shame, shame, Makeup branch. Don't you understand that these three movies have the Best Makeup and Hair of the year?

The Hobbit (Richard Taylor, Peter King):

The dwarf design are appropriately whimsical and varied, plus a bevvy of other Middle Earth creatures that may feel familiar but still offer the makeup team limitless creative possibilities.

Holy Motors (Bernard Floch):

Denis Lavant's many transformations are convincingly realized and sport wide-spanning variety without being too over-the-top (save maybe for his finger-biting leprechaun). Lavant deserves as much credit for bringing those guises to life.

The Impossible (Alessandro Bertolazzi,
David Marti, Montse Ribe):

Not only are the elaborate wound prosthetics convincing (to cringe-inducing effect), but they realistically evolve over the course of this harrowing drama, becoming an integral part of the visual storytelling.

Lincoln (Lois Burwell, Kay Georgiou, Leo Corey Castellano):

The makeup and designs work beautifully in tandem with the costumes to make each character visually distinct. Yes, the resemblance Day-Lewis bears to Lincoln is often uncanny, but the period facial hair on other characters is no less important.

Les Miserables (Lisa Westcott, Julie Dartnell):
Period hair, illnesses, aging, battle wounds, painted ladies... There's a plethora of makeup and hair work that they put into this one, and despite those super tight closeups, it all looks great.

Just Missed: Django Unchained