One Category at a Time: Costume Design

For a while there, it looked like the Academy might never get over its obsession with Western European royalty in this category. A string of consecutive winners made up of Marie Antoinette, Elizabeth: The Golden Age, The Duchess, and The Young Victoria certainly cast the discouraging impression that Oscar voters had lost all their imagination when it comes to assessing the best dressed film of the year. Perhaps those complaints actually reached enough ears to initiate some kind of mini paradigm shift. Things have been looking up in Best Costume Design for the past few years, with the Academy branching out a bit in terms of the historical eras and geographical locales that the winning costumes have evoked. And with nary a stodgy royalty drama in sight, that trend looks to continue this year.

My Award Nominations: Best Costume Design

I unveilled my five picks for Best Hair and Makeup this morning, but that's only half of what goes into defining the look of a character on film. Costume designers have to do a lot of heavy lifting (or sewing, as it were) on that front too.

Similarly to my opinion of the Best Supporting Actor field, I can't help but think it's been a bit of a weak year. Not to say that any of the five costume designers listed below don't deserve the praise coming their way, but I found that there weren't that many worthy contenders to pick from, which I think is reflected in my ballot's similarity to the Oscar slate (again, like in Best Supporting Actor). Consensus is boring for awards watchers, I know, but sometimes it's because the best options really are that obvious. I suppose I should look at the glass as being half full and rejoice that costume designers branch mostly got it right this year.

Some for it's worth, here are my (and many other people's) Best Costume Design nominees for 2014:

My Award nominations: Costume Design

It's that time of year again. Time to think back on the dozens of films seen in 2011 and decide upon the best of the best in all the usual categories. As always, I'll be announcing my nominees for the my awards one day at a time, leading up to the 23rd (the eve of the Oscar nominations) when my winners will be announced.

Today's category is Costume Design:

Albert Nobbs (Pierre-Yves Gayraud):
Subtle period details flesh out the Upstairs/Downstairs fashions of 19th century Ireland. The cuts of Close's and MacTeer's outfits are important if we're to believe they could be passed off as men.

The Artist (Mark Bridges):
The glitz and glamour of old Hollywood translates very well to black and white on account of Bridges' stylish suits and flapper attire. I love the progression of Berenice Bejo's look as she rises to stardom.

Captain America (Anna B. Sheppard):
A credible meld of period authenticity and fantasy stylings; the convincing evolution of Cap's costume, Red Skull's angular trench coat, and the Hydra uniforms all stand out.

The Help (Sharen Davis):
Splashy and colourful when they need to be, but toned back when appropriate. Emma Stone's earthy colours fit her character much better than would the hot pinks and yellows donned by Jackson's priveleged socialites.

Hugo (Sandy Powell):
A suitable dash of Parisian flare adorn the clothes of the train station's inhabitants. Hugo's outgrown clothing and Isabelle's jaunty beret are perfectly specific for their characters.



Just missed:
J. Edgar, Jane Eyre, My Week with Marilyn, Tinker Tailor Soldier Spy, War Horse

Review - Captain America: The First Avenger

I want YOU to go see Captain America! The final pillar upon which Marvel will rest next summer's Avengers movie is terrific fun, putting a bright Cap (pun intended) on the Superhero Summer That Kept On Giving.

Steve Rogers (Chris Evans) may have the right heroic attitude Uncle Sam looks for in a soldier, but his scrawny 90-pound frame – a brilliantly achieved illusion that disguises Evans' truly beefy musculature for nearly the entire first act – disqualifies him at every attempt to enlist. German expatriate Dr. Abraham Erskine (the wonderfully warm Stanley Tucci) immediately recognizes the virtue of Rogers' dedication, and makes him the prime candidate for an experimental formula that should transform this playground punching bag into an ass-kicking Adonis. It works! But no sooner does Rogers' new bodywork emerge from the chamber than the last sample of the serum is stolen by an agent of Hydra, a Nazi R. & D. department headed by the maniacal Johann Schmidt, aka: Red Skull (Hugo Weaving), the original test subject of Erskine's imperfected formula that left him grotesquely disfigured and all the more determined to personally attain Godlike power.