One Category at a Time: Best Original Score

Oscar watchers rejoiced this year when we saw a Best Original Score lineup populated almost entirely with first-time nominees. Usually the music branch has proved the most insular one in the Academy, only reserving one or two slots for fresh talent every year. Perhaps recent diversification initiatives are starting to take effect, though the branch clearly still has its favourites.

One Category at a Time: Best Original Song

With little in the way of industry precursors to go by (The Golden Globe and Critics Choice are the only two that come to mind), trying to anticipate who wins Best Original Song at the Oscars can be a crap shoot. However, whenever those two precursors agree on a contender that's also Oscar-nominated, it tends to win.

My Award Nominations: Original Score

As always, the evolving state of movie music continues to yield distinctive, unique work every single year. Which five Original Scores from 2016 did I decide on? Have a listen after the cut...

My Award Nominations: Original Song

It promises to be a slow news week for awards watchers, with little to do but twiddle our thumbs while the number crunchers at PwC determine the nominees who will be announced next Tuesday. So now seems an apt time for me to start running through my own year-in-review rituals. I'll be listing nominations for my personal ballot periodically over the course of the next six weeks, culminating in my Top 20 and my selection of winners the Friday before the Oscars.

It was a stellar year for movie songs (pleasant U-turn from 2015's wasteland), especially thanks to three original musicals providing us with catchy new tunes. Theoretically, I could have filled all five of my Best Original Song slots using any one of them, but in the spirit of spreading the wealth, I made the executive decision to only select a single entry from each. It wouldn't be fair otherwise, especially to some non-musicals with worthy tracks to feast our ears upon.

Here are the final five I've settled on, followed by a longer-than-usual list of second tier contenders:

Review - La La Land

We all know the how the showbiz story goes: Boy and girl meet, boy and girl fall in love, boy and girl's careers diverge. It's a sturdy formula that the movies have retooled and retold a million times, from the silent escapades of Show People to the melodramatic tumult of A Star is Born (all three of them, and counting) to the worldly post-modernism of Annie Hall to the silent escapades of The Artist – Funny how things come full circle.

Point being, if you want to play that old song again, you need to riff; Improvise; Make it special. Fortunately for hopeless romantics everywhere, 32 year old writer/director Damien Chazelle is indeed a special talent, who has now performed a spectacular riff on the 'Hollywood love story' in La La Land;
A dazzling musical ode to a city, to a genre, and to anyone who ever dared to dream large and love larger.

It was Chazelle's sizzling sophomore feature Whiplash that put him on the map two years ago, snagging a trio of Oscars and topping this critic's 'Best of 2014' list. So when it was announced that his next dream was to make an original movie musical – that rarest of beasts – I was on board. All pretense of objectivity aside, I probably loved this film before the ink was dry on the first draft of the screenplay.

My Award Nominations: Best Adapted Score / Music Supervision

I only began rewarding this less heralded corner of movie music just last year, and I can see why so few people even bother. Unlike last year, which had many great examples of movies using previously composed music to great effect, this year I could barely scrape together the minimum of three examples that I felt merited recognition. You can forgive me for allowing this to be my only award category with fewer than five nominees (now that I've finally come around on Best Makeup & Hair).

Anyhow, here they are: My Best Adapted Scores of the year:

Review - Whiplash

“There are no two words in the English language as harmful as 'good job',” a teacher tells his student. 'Good job' means being content with mediocrity. 'Good job' means just doing what's required instead of doing all you could. 'Good job' does not describe greatness.

And so those are two words you won't find me using to describe Whiplash, which is an exciting, involving, invigorating, absolute lightning bolt of a film; As keenly observed as the most refined of dramas, and yet as pulse-raising as the most intense of action movies; An electrifying combustion of artistic crisis, coming-of-age and jazz music, announcing the arrival of an extraordinary new talent in writer-director Damien Chazelle. 'Good job' doesn't come close to describing this film. It is great.