One Category at a Time: Makeup

I gotta hand it to the makeup branch; they don't let anyone tell them what to do! They've always been concerned purely with the work presented in the film and not at all with the quality of the film itself, and that's really the way it should be. But it does throw a kink into the Oscar-predictor's plans, especially in a year like this when all three nominees are only nominated for that one Makeup category.

Barney's version had some pretty solid aging work on display, progressing Paul Giamatti's character over the course of several decades. But how many people have seen the film? How many people liked it?

The work done on Peter Weir's The Way Back (by the same Oscar-nominated team of Master and Commander) is a great inclusion here. The realization of sunburns, swollen feet, and general dishevelment is detailed and incredibly realistic. Again: how many people have seen it?

Then there's The Wolfman, with frankly awesome transformative magic spun by makeup god Rick Baker. People seem to forget that there's a whole lot more than just a hairy Benicio del Toro in this movie, but all manner of illnesses and wound effects that required just as much care and artfulness. Again: how many people have seen the film? How many even remember it? How many want to?

Since we can't rely on any perceived popularity to point us to the winner, we have to fall back on the old most-equals-best philosophy the Academy employs in the craft categories.

Will win: The Wolfman
Runner-up: Barney's Version

Should win: The Wolfman
Should have been nominated: Harry Potter and the Deathly Hallows: Part 1

A few words on The Way Back

I've been kinda lackadaisical on film reviews the last couple of months (more important things to write about this time of year don'tchyknow). You can always catch my abbreviated thoughts on late-year releases here.

But I only just finally got the chance to take in Peter Weir's modest epic (if there is such a thing) The Way Back, and just thought I aught to make my advocacy known. It's a marvelous movie that excels on a structure of succinct, clipped scenes as opposed to an overt three-act plot construction. The objective is that we're to pay more attention observing the group dynamic, which is a less dramatic but more humanistic approach to storytelling. A true ensemble piece it may be, but I have to single out one of my new favourite performances of the year from Ed Harris, who delivers a master lesson in emotion by understatement. The whole thing is beautifully shot by Russell Boyd, and the Oscar-nominated makeup is remarkably detailed. (***1/2 out of ****)

My Award nominations: Supporting Actor

Best Supporting Actor:

CHRISTIAN BALE in The Fighter:
I can't fault Bale for stealing the show away from its own central character, Micky Ward, because he just steals it so well! He delivers a memorable portrait of drug addiction, blind selfishness, and staunch denial that stem from years of living with unfulfilled dreams. He plays brilliantly off of his costars, as they play brilliantly off of him.

MICHAEL FASSBENDER in Fish Tank:
This is a slippery, tightrope-walking performance that constantly shifts and wiggles around in our mind. It's easy for us to love Fassbender's character at first, and it's still hard for us not to love him as the film's sticky sexuality starts to play itself out. It's simultaneously bold and understated work from one of the finest actors working.

ED HARRIS in The Way Back:
In an age where awards are naturally attracted to performances that live by flash and overt displays of emotion, it's so satisfying to behold a settled, sincere performance that's more emotive because it's so understated. Harris' lived-in portrayal of Mr. Smith is as calm but layered as any performance I've seen this year.

JEREMY RENNER in The Town:
The live wire of The Town's sprawling ensemble, Renner makes you tighten your grip on your armrest every time he's on screen. The unpredictability of his performance pays off in numerous and surprising ways, from the tensely soft-spoken conversation he has with Affleck and Hall, to his comedic final actions in the climactic shootout.

MARK RUFFALO in The Kids Are All Right:
Ruffalo's performance is relaxed and naturalistic, slipping into the character with a disarming ease that misdirects us from his own insecurities, namely his reluctance to truly grow up and start the family he wants but lacks the commitment to create. His crushing final scenes perfectly convey his character's vulnerability and regret.

Just missed: John Hawkes, Winter's Bone

My Award nominations: Hair and Makeup

Truth be told, I didn't come across that many worthy contenders for Best Hair and Makeup this year (I haven't even seen all seven of the Academy's bakeoff finalists), but hey, I can always go back and change my nominees if I eventually see something better. Anywho, the three best I've seen so far are:

Black Swan
(Judy Chin, Paul LeBlanc, Michael Marino):
Darkly stylized stage makeup and grisly bodily transformation horrors dance together in this beautiful psychological thriller.

The Fighter
(Donald Mowatt, Johnny Villanueva):
Whether it's Christian Bale's burnt-out drug addict, Mark Whalberg's battered boxer's mug, or the subtle aging work done on Melissa Leo, all the makeup efforts are realistic and believable.

Harry Potter and the Deathly Hallows: Part 1
(Nick Dudman, Amanda Knight, Lisa Tomblin):
There may not have been many new characters to create, but the makeup work here is still highly detailed and effective, especially at making the three leads look progressively wearier and worn down throughout their saga.

The Way Back
(Eduouard Enrique, Yolanda Tousseing):
The work done on Peter Weir's "modest" epic (by the same Oscar-nominated team of Master and Commander) is so good you almost don't even notice. The realization of sunburns, swollen feet, and general dishevelment is detailed and incredibly realistic.

The Wolfman (Rick Baker, Lisa Westcott, Dave Elsey):
What is there really to say? When Rick Baker's on the job, you know he's gonna give you nothing less than Oscar-worthy makeup. Not only are the werewolf effects awesome, but the wound and illness effects are rendered just as artfully.


Just missed: Shutter Island

My Award nominations: Acting Ensemble

Best Acting Ensemble:

Another Year:

Every actor brings something slightly different to the table, they all perform together in perfect harmony, projecting a convincing group dynamic that serves Mike Leigh's focus on character.

The Kids Are All Right:

All five principles give outstanding performances which add up to a whole that is so much greater than the sum of its parts. Interaction between the characters feels genuine and relatable.

The Social Network:

The cast is tops across the board. Everyone knows their character and, more importantly, how to flesh it out through Aaron Sorkin's daunting dialogue; No one is just speaking the words.

The Town:

Perhaps Ben Affleck's most noticeable directorial flourish is constituted by the infallible performances he got out of his cast. Nobody hits a false note. Even those with very little screen time are memorable.

The Way Back:

The strength of this movie is the quiet observation of an evolving band of brothers. No one actor tries to steal the show with unneeded pizazz. Every one of them is supporting the rest.

Just missed: Easy A, The Fighter, Four Lions, Scott Pilgrim vs the World

Makeup finalists

The seven remaining makeup finalists are

Alice in Wonderland
Barney's Version
The Fighter
Jonah Hex
True Grit
The Way Back
The Wolfman

Could The Way Back find some Oscar consolation after all? Its makeup team is the same that earned a nomination for Weir's Master and Commander, so it could happen, but part of me hopes it doesn't because there's no way I'll be able to see it before Oscar night. I'm also rooting against Alice (because that movie is seriously hideous) and Jonah Hex (because I don't wanna have to watch it).

No room for Shutter Island? Boo-urns!

Predictions - November 2010

Here are some changes:

-John Malkovich may get some love in Supporting Actor for his charismatic (or so I've heard) performance in Secretariat. The film could find a soft spot in the Academy, but its disappointing box office has me doubting. I've added it to Sound Mixing as well.
-It's conceivable to me that Amy Adams and Melissa Leo could split the Fighter vote, allowing someone like Jackie Weaver to get in for Animal Kingdom. Screeners have already been sent, so that gives her a leg up.
-I don't know what to make of The Way Back in this year's race. Most people won't even get to see it until late January. I am going to put it back in at least one category, however, and that's Cinematography.
-Alexandre Desplat is going to win Best Original Score one of these years, and by riding the coattails of The King's Speech, perhaps this could be the year? I'm definitely putting him down for the nomination at least.
-Disney is launching an all-out campaign for Alice in Wonderland (someone shoot me in the head), so I've reluctantly added it to Visual Effects and Makeup. I'll hold out on Art Direction for as long as I can.