This category becomes tougher and tougher for me every year. As mentioned in yesterday's prediction (of Chivo's soon-to-be historic 3rd consecutive win), we are indeed in a golden age for the art of Cinematography. Shamefully, my top five are nearly identical to the consensus formed by the ASC, BAFTA, and Oscar, but I could swap them out for another five and still have a tremendously rich ballot. There's just too much good stuff out there:
Showing posts with label Lachman. Show all posts
Showing posts with label Lachman. Show all posts
Saturday, January 30, 2016
Friday, January 29, 2016
One Category at a Time: Cinematography
Many a critic agree that cinematography is experiencing a new golden age, and this year's Oscar lineup is strangely both indicative, and yet not indicative of that truth. One the one hand, the enormous spectrum of tools and technologies lensers have these days to craft breathtaking images is well represented in the potpourri of formats nominated for Best Cinematography, ranging from 16mm to 70mm celluloid to digital and even thermal imaging.
But on the other hand, the equally wide array of fresh and invigorating voices behind the cameras (think Masanobu Takeyanagi, Maryse Alberti, Hoyte van Hoytema, etc.) remains steadfastly locked out of this branch's insular preferences. Perhaps that's why this was one of two categories I anticipated with perfect accuracy pre-nominations; They have their favourites. All five men have been nominated before, three of them have won before, two of those three have won multiple times, and one of them is on the verge of making Oscar history.
But on the other hand, the equally wide array of fresh and invigorating voices behind the cameras (think Masanobu Takeyanagi, Maryse Alberti, Hoyte van Hoytema, etc.) remains steadfastly locked out of this branch's insular preferences. Perhaps that's why this was one of two categories I anticipated with perfect accuracy pre-nominations; They have their favourites. All five men have been nominated before, three of them have won before, two of those three have won multiple times, and one of them is on the verge of making Oscar history.
Monday, December 14, 2015
Critics Choice Max out nominations (as usual), plus thoughts on Carol
Mad Max: Fury Road led with 11 nominations from the Broadcast Film Critics Movie Awards. We know that the BFCA is prone to merely following the buzz and trying to predict the Oscars based on the most current developments of the season, so I'm still unsure of the chances George Miller's nutso action opus really has with the Academy.
The Revenant, The Martian, and Carol (which I finally saw) were close behind with nine apiece.
Todd Haynes' romantic drama -- elegantly adapted from the Patricia Highsmith novel The Price of Salt by Phyllis Nagy -- is an exquisite work of art. Haynes is a master sensualist, using image, music and sound to stimulate all our senses (not just the aural/visual ones). Edward Lachman's compositions are gorgeous and narratively astute, while Carter Burwell's score speaks volumes for characters whose true thoughts and feelings are rarely spoken.
Indeed, the emotion of the piece is powerful but never overstated, thanks largely to a quartet of superb performances. Cate Blanchett and Rooney Mara forge a special chemistry as the two romantic leads, while Sarah Paulson and Kyle Chandler bring thoughtful, empathetic perspectives to two very different types of jilted lovers.
Much Academy attention is deserved (particularly for director and screenplay, the latter of which it inexplicably missed both with the Critics Choice and the Globes), but unless more people get to set eyes on it, it may lose much needed buzz. Harvey, I know you think you're clever trying to keep this concealed until Oscar nominations before whisking the curtain away (et voila!), but you need to get it on more screens, pronto.
But back to the Critics Choice. Check out the long, unsurprising list of nominees, with some additional comments.
BEST PICTURE
The Big Short
Bridge of Spies
Brooklyn
Carol
Mad Max: Fury Road
The Martian
The Revenant
Room
Sicario
Spotlight
Happy for Sicario, which is slowly growing into the year's most underrated film with every critics group that passes it over. Sad for Inside Out, which seems to be falling by the wayside.
Todd Haynes' romantic drama -- elegantly adapted from the Patricia Highsmith novel The Price of Salt by Phyllis Nagy -- is an exquisite work of art. Haynes is a master sensualist, using image, music and sound to stimulate all our senses (not just the aural/visual ones). Edward Lachman's compositions are gorgeous and narratively astute, while Carter Burwell's score speaks volumes for characters whose true thoughts and feelings are rarely spoken.
Indeed, the emotion of the piece is powerful but never overstated, thanks largely to a quartet of superb performances. Cate Blanchett and Rooney Mara forge a special chemistry as the two romantic leads, while Sarah Paulson and Kyle Chandler bring thoughtful, empathetic perspectives to two very different types of jilted lovers.
Much Academy attention is deserved (particularly for director and screenplay, the latter of which it inexplicably missed both with the Critics Choice and the Globes), but unless more people get to set eyes on it, it may lose much needed buzz. Harvey, I know you think you're clever trying to keep this concealed until Oscar nominations before whisking the curtain away (et voila!), but you need to get it on more screens, pronto.
BEST PICTURE
The Big Short
Bridge of Spies
Brooklyn
Carol
Mad Max: Fury Road
The Martian
The Revenant
Room
Sicario
Spotlight
Happy for Sicario, which is slowly growing into the year's most underrated film with every critics group that passes it over. Sad for Inside Out, which seems to be falling by the wayside.
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