Showing posts with label Oyelowo. Show all posts
Showing posts with label Oyelowo. Show all posts

Thursday, January 19, 2017

My Award Nominations: Supporting Actor

While the ranks of leading men were a bit thin this year (though not really as bad as some are declaring), there were many supporting players to choose from, and that's not even including lead performers who were campaigned in this category. These five true Supporting Actors were tops for me, and on any given day the list could change.

Sunday, October 16, 2016

Will the Best Pic Contenders Please Stand Up?

The agonizing wait for Oscar movies to finally show themselves towards year's end is annual gripe of mine. While some years aren't as bad as others, 2016 has thus far proven to be exceptionally back-ended, with nearly every predicted Best Picture contender waiting until the last two months of the year (three months if you include the inevitable January roll-outs) to debut to the public. Only next weekend's limited release of Barry Jenkins' festival darling Moonlight provides us with the faintest hope of a Best Pic nominee that dares to drop before November.
How did it get to be this bad? Looking back over the young expanded Best Picture era, every slate has contained at least two or three films that bowed in October or earlier -- heck, some from the summer and spring -- that would have been absolutely pulverized by the competition had they waited for the winter glut. I fear that fate may be lurking for some of this year's late-breaking gems, whatever they may be. The season's barely underway and already I can tell this is going to be one of my biggest pet peeves.

Thursday, February 5, 2015

My Award Nominations: Best Actor

It seems that every year there are more brilliant leading male performances than five spots can possibly do justice to. Hey, Academy, forget Best Picture... THIS is the category you should expand!

I had no easy task settling on five for Best Actor. Ask me again tomorrow and there could be five new names entirely!

Saturday, January 17, 2015

Review - Selma

The image we're greeted with at the onset of Selma, staring directly at us, is the face of Dr. Martin Luther King, Jr. But this is not the Dr. King we know from the sound bites and TV footage that immortalized him as a mighty orator with a famous dream. This Dr. King looks uncomfortable, restless and out of his element as he rehearses his Noble Peace Prize acceptance speech in the privacy of his hotel suite.

The Dr. King he himself sees in the mirror is unfamiliar to him as well; All dressed up to accept an award for peace when he knows how much violence and struggle is yet to be endured in his campaign for civil rights. Just as he gazes at his reflection, contemplating how far he's come and how far he's still to go, so too does Selma hold a mirror up to modern America and ask its people to consider the same questions.
Director Ava DuVernay (working from her largely rewritten draft of an original script by Paul Webb) has no intention of taking the easy way around the story of the protest marches King led from Selma to Montgomery, Alabama, or of dampering its echoes in the troubled racial politics of today. Though set in the summer of '65, it is a film very much about the here and now, told with a verve and vitality that historical docudramas often lack.

Wednesday, December 10, 2014

Only a handful of surprises in SAG nominations

The SAG awards always present something of an enigma to awards watchers. Their nominating committee is significantly smaller than the full membership who votes on the winners, which often results in one or two out-of-left-field contenders. They also decide their nominees so early, that a few late-breaking juggernauts always miss the cut.

Evidence of both these intriguing qualities were present in this morning's nomination announcement, which otherwise stuck to the script most prognosticators imagine will be unfolding this season.

The biggest surprises came from the ladies' acting categories, which saw Jennifer Aniston break into the Best Actress race for her acclaimed work in the micro-indie Cake. Screeners for that one obviously landed in the right hands at the right time. An even more curious nomination is the one Naomi Watts garnered for St. Vincent, which played well at TIFF (on the inaugural 'Bill Murray Day') but has since been all but forgotten.