Oscar picks: Picking the lint outta my brain

Hurriedly writing here, minutes before Oscars … I realize I omitted several picks in my other posts. So, for the record, just so I can honestly record my score at the end, let me fill in those blanks.

Documentary Short: Loved them all, but my pick is “The Lady in Number 6: Music Saved My Life.” Sad that the subject, Alice Herz-Sommer, then the oldest-living Holocaust survivor, died Feb. 23 at age 110 and didn’t live to watch the Oscars, but that makes the film all the more poignant. The only thing I didn’t like was the tone of the narration — it felt like a social studies film. “Facing Fear” — which dissects a brutal hate crime from the perspectives of both victim and perpetrator — has a fighting chance. Also sticking with me: “Prison Terminal.” It tracks the death of a war hero turned murderer — and aren’t all soldiers killers? — in a prison hospice whose caregivers are fellow prisoners. Crocodile tears.  Why sentence the guy to life for killing a drug dealer? His righteous son turned him in. Another fave: “Cavedigger,” about Ra, a 65-year-old artist whose canvas is New Mexican sandstone, from which he constructs fabulous caves — rather than capture space, he creates it. His quotes are almost as life-affirming as Herz-Sommer’s. “Karama Has No Walls,” a firsthand look at the uprising in Yemen, is also gripping and important.

Documentaries, the long and the short of ’em, are possibly my favorite part of Oscar marathoning. A documentary filmmaker is what I once wanted to be when I grew up (you know, rather than ballerina or firefighter). If you really want to get something out of your two hours at the movies, skip the over-budget action movies and become a superhero for change by watching and supporting this genre.

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Tom Hollander, as a prisoner who thinks he’s God, and Martin Freeman, as the psychiatrist assigned to evaluate him, engage in a fascinating tete-a-tete in “The Voorman Problem,” my pick for best live-action short.

Live-Action Short. “The Voorman Problem” will win. Awesomely creative and truly SHORT, also with star power (the guy from “Lord of the Rings”). Anyone know why Kevin Spacey was thanked in the credits, though? I am equally partial to the French offering “Just Before Losing Everything.” Important topic: domestic abuse. Its tension raised my BP. And “Helium” (Denmark) was uplifting. I didn’t care much for the Spanish “Aquel No Era Yo” (That Wasn’t Me). Finland’s “Do I Have to Take Care of Everything” is a delightful morsel, but it feels unfinished, pardon the pun.

Film Editing. “Dallas Buyers Club.” All the way!

Animated Feature. “Frozen.” I haven’t seen such a marvelous animated feature since “Beauty and the Beast.” And this is even better. It will make you melt and puddle up.

Original Song. “Happy” will win, obviously. But that’s only because the wrong song from “Frozen” was chosen. It should have been either “Fixer-Upper” or the one snowman Olaf sings. Is it called “Summer”? Don’t even know, I saw the flick only this morning. Even so, a song must truly work with the film to win, and “Let It Go” is a dramatic high point, even if it’s not overly catchy. The song I am most excited about hearing tonight is the U2 song from the Mandela movie, tho.

(If you’re wondering why there isn’t a fifth song nominee, one was disqualified about a week after nominations came out because of inappropriate campaigning. (IMHO “Happy” also engaged in sketchy, if not despicable, marketing.) For the full story on the disqualification of “Alone Yet Not Alone,” click here.)

Let’s review Josh Gad’s performance from “Frozen” — for once a sidekick character in a Disney movie that didn’t nauseate me.

Well, I guess it’s not worthy of best song. It’s not very anthem-like, which is what the Original Song Oscar is all about. Still, “In Summer” and “Fixer Upper” were the songs I left the theater humming. And “Fixer Upper” — in a “Hakuna Matata” vein — ultimately has a positive message as a blueprint for navigating relationships. Seriously, for a Disney movie, it’s a great departure from the Prince Charming brainwashing, telling kids: Hey, nobody’s perfect. It’s all in how you look at them and learn to overlook their faults. Kinda refreshing for Disney.

Original Score. I am envious of my oldest brother, a musical genius who goes to the movies and pretty much memorizes the score. I often forget to pay attention, even though I love music and am known to set images to music as a hobby. I think “Her” may and should win (ugh, that sounds like such bad grammar!), because I definitely noticed its near-futuristic score. But because this category is the only nomination for “Saving Mr. Banks,” I would love to see it win. Its score moved from celestine piano to lush soundscapes of the Australian outback to morose, marauding music for whisky drinking to whimsical Disneyland ditties. A show of versatile virtuosity.

cateUPDATE AFTER OSCARS BROADCAST: All told, I missed 10 predictions — got 14 right, for 58% — mostly because I underestimated Gravity‘s hold on folks’ imaginations. Missed two because I failed to see The Great Gatsby and missed one for not caring enough to see The Great Beauty. Great mistakes. My big miss, of course was over Miss Amy Adams. I wanted to see an upset in the leading lady category to add a little drama to the proceedings. As phenomenal as she is as an actress and as a person, Cate Blanchett was starting to act a little smug this awards season, and none of us likes going completely with the crowd favorite. Besides, being on the verge of a nervous breakdown is not a huge stretch for any woman, right, gals? Especially those of us inclined to binge on Oscar-nominated movies.

Look for my sequel in 2015.

Oscar picks: Best Actress

Activate claws. Competition for the Oscar in the Actress in a Leading Role category this year is as fierce as it gets. Frankly, I live for the day when a trans actor gets nominated, forcing the Academy to rethink its gender labels. But onward.

The nominees:

amy-adams-american-hustle-movie-photos_1Amy Adams (“American Hustle”). Of the five actresses nominated, none is a newbie nominee, but only one has never won an Oscar: That’s Amy Adams. This is also the first time her nomination has been for a leading role, vs. supporting. Does this give her an edge in playing the sympathy card? Heaping on more sympathy: Two of her previous nominations came for work she did with Philip Seymour Hoffman, in The Master and Doubt (for which Meryl Streep also was nominated). In light of Hoffman’s untimely death, Adams may indeed be touched by an angel. She also is the only nominated actress featured this year in more than one Best Picture nominee (“Her” being her second).

The Academy likes “fresh faces,” and at 39 Adams is the youngest we’ve got by five years — odds may be in her favor. But let’s take a look at her work (not just her cleavage). Playing a hustler looks doubly attractive on her: She’s the beauty and true brains of the outfit. Her tiptoeing dance between vulnerability and vaVOOM, American social climber vs. British financier, con and conniver is phantasmic. Can she hustle one more win?

Cate Blanchett (“Blue Jasmine”). She’s the safe bet, but the Woody Allen-Dylan Farrow scandal could truly (unfairly) taint her chances. Final ballots are due the Tuesday before the awards show on Sunday, March 2.

This is Australian Blanchett’s sixth nomination. Her lone Oscar (supporting actress) came her second time out for her portrayal of Katharine Hepburn in “The Aviator.” (Hepburn still holds the record for most acting Oscars: four.) Blanchett is the only one among the five nominees to have had two nominations in the same year: 2007, for her leading role as Queen Elizabeth I in the sequel to the film that gave her her first nomination in 1998 … and as Jude in I’m Not There — playing a man, a Bob Dylan doppelganger. She certainly wins the chameleon prize.

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Cate Blanchett as Bob Dylan in “I’m Not There.”

Even though critics say she’s channeling Blanche DuBois, Blanchett seems to be the only one of the five nominees who invented an iconic character in the role she’s nominated for — the Rx-addicted, fragile, fractured Jasmine. (Streep was iconic but only in re-creating Violet.) People in the future likely will say “you know, like Blue Jasmine.”

video-undefined-1BA51708000005DC-288_636x358Sandra Bullock (“Gravity”). Bullock has a perfect batting average, having won her first Oscar the first time she was nominated (2009 for The Blind Side). I especially love her non-flightiness, her groundedness; interestingly, she’s the only brunette in the bunch. She carried this whole movie, elevating some of the most banal lines like an aerialist. Of the five nominees, she had the most physically demanding task — she’s the Matthew McConaughey of the bunch, whittling herself down to dancer form to be suspended and manipulated like a puppet and to lie like Pinocchio. Unfortunately, the movie itself eclipses her achievements, and she likely won’t win.

Judi Dench (“Philomena”). This is the dame’s seventh nomination; she also won her second time out. Interestingly, she won for her portrayal of Queen Elizabeth I (“Shakespeare in Love”), a character she shares with Blanchett — it’s a royal showdown!

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I loved the light that shone through Dench’s Philomena — she delivered grace, piety, forgiveness — all of the values inherent in Christianity playing opposite some pretty unsaintly nuns. Her Philomena was both savvy and a simpleton. I loved how knowing and tolerant of others she was. But I got distracted examining Dench’s upper-lip wrinkles and eye creases and couldn’t always stay with her, preferring to think of her younger self (a rapturous Sophie Kennedy Clark). With all due respect, Dench is the easiest nominee for me to eliminate.

Meryl Streep (“August: Osage County”). Is this the year Streep will tie Hepburn’s record? I think she deserves that and more, plus she’s not getting any younger. This is her 18th nomination, of which she has won three Oscars (Kramer Vs. Kramer, supporting; Sophie’s Choice, leading; The Iron Lady, leading). Like Blanchett and Dench, she first won on her second nomination. Obviously, she killed in this role. Her name is synonymous with star power /acting goddess. I would not be sad at all if she proved victorious.

However, this is a race between Cate Blanchett and Amy Adams. And I think it’s Amy Adams’ year. No justification for that but a gut feeling.

My prediction & pick: Amy Adams