Oscars disappoint

February 26, 2009 by Eric Loy and Richard Pierce 

In a notably lackluster year for movies, the Academy of Motion Picture Arts and Sciences had quite the dilemma on their hands when handing out this year’s Oscars.

 Paradoxically, the big-profile Oscar-bait movies of the year painfully underachieved while mass-appeal blockbusters and low-budget indies were bursting at the seams with unprecedented quality.

So what’s an Academy member to do?  The answer came months back with the nominations for “the best in film for 2008” and were solidified Sunday night as Academy members clung to the obvious picks of an already safe but diluted field of potential winners.  That’s not to say that any of the awards were undeserved or even spot on (Kate Winslet and Heath Ledger, bravo), but the reluctance to award the best films because of their unlikely origin is irresponsible, inexcusable and should be a little embarassing.

So just as the Academy has their established tradition of rampant political and biased judgment, so do we have a tradition (and obligation) of ignoring all the Hollywood hubbub and simply deciding the best of the best based on nothing else but the quality of what we see in the theater.  

We’re the fans, we’re the reason movies exist and here are who we think were the best in film for 2008.

 

Best Picture

Eric’s Pick:  “The Dark Knight”  Why:  From start to finish, “The Dark Knight” is a captivating and powerful film that transcends the standard superficial enjoyment of action and comic book movies into a sinister study of the ethics of power, public image and civic responsibility.  Certainly, it is nearly sublime to watch (and re-watch) the movie for its inherent quality, but just as “Milk” was a nationally relevant film with the passing of Proposition 8 in California, “The Dark Knight” was a globally relevant film with the passing of a notorious presidential regime and the end of an era of questionable conduct in the most powerful government in the world.  What more could you possibly want in a movie?

Richard’s Pick:  “Wall-E”  Why: It’s hard to believe that my favorite film of 2008 was a computer animated tale of a robot trying to find love set against the backdrop of a decaying planet Earth, but it was. The visual storytelling is astounding, allowing the audience to connect emotionally with the two robotic leads despite the fact they hardly speak. Visually, it is one of the most beautiful films ever made and manages to entertain and enthrall all ages. And just for good measure, the underlying “go green” theme sends out a good message to all the kiddies. 

 

Best Director

Eric’s Pick:  Andrew Stanton for “Wall-E”  Why:  Ignorance to the process of directing an animated feature is no excuse for ignoring genius.  The first 40 minutes of “Wall-E” were more compelling, endearing and brilliant than anything else in 2008.   It was as if the spirit of Stanley Kubrick possessed Stanton in a return to earth to create his first cartoon.  Of course, Kubrick was also snubbed in his lifetime from receiving a Best Director Oscar.  Stanton, and his most recent work, is a treasure for all of film, not just animation.  

Richard’s Pick: Christopher Nolan for “The Dark Knight”  Why:  Christopher Nolan made audiences take comic book movies seriously with “The Dark Knight” while simultaneously raising the bar for an entire genre to an almost unreachable level. Yes, “The Dark Knight” is what some may call a popcorn movie (it is Batman, after all), but Nolan manages to inject real heart, thought and drama into the escapism – a feat rarely attempted, let alone accomplished. Perhaps his biggest achievement:  he made a 152-minute movie non-stop entertainment without a single dull moment. “Dark Knight” is the textbook future directors should live by. 

 

Best Actor

Eric’s Pick:  Mickey Rourke in “The Wrestler”  Why:  “The Wrestler” was small budget and low profile, but no performance had more heart with more on the line last year than Rourke.  Even looking past the tremendous emotional investment in one of the most vulnerable and heartbreaking performances in recent film history, the physical punishment endured by Rourke during filming is a testament to the self-sacrificing dedication required to create a timeless piece of art.  Not only will Rourke’s performance be enjoyed for years to come, it will be studied by future thespians as an exemplary moment in acting.

Richard’s Pick:  Clint Eastwood in “Gran Torino”  Why: Eastwood’s performance as a crotchety, bigoted widower turns out to be one of the most endearing and likable characters in recent years. Though he has won Oscars for directing, he has never won Best Actor despite being nominated twice. The fact that he didn’t even get a nomination for his performance in “Gran Torino” (which he has hinted may be one of his last on-screen roles) shows just how poor the Academy’s selection process was this year.  It’s a true disappointment that one of the greatest screen legends of all time may never take home the award. 

 

Best Supporting Actress

Eric’s Pick:  Viola Davis  in “Doubt”  Why:  Confirming the humorous maxim, “There are no small parts, only small actors,” Davis was onscreen in “Doubt” for only a few precious minutes but nearly stole the movie from some of the biggest talent currently working in Hollywood.  The extensive casting process done for this small part shows how much of the film depended on its devastating impact and Davis exceeded all expectations.  The fact that she was recognized with a nomination despite such a small role gives me a little faith in the Academy, but only in a bizarro-world utopia Hollywood would she win.

Richard’s Pick: Marissa Tomei in “The Wrestler” Why: Rocky was nothing without Adrian. And though Tomei’s character was not necessarily the Adrian to Rourke’s Rocky, the film would have felt half full at best if it weren’t for her. She plays a stripper and single mom fighting the fact she may be falling for the broken down, over-the-hill wrestler who frequents her club for a good chat and lap dance. Her character is lovable and funny, and truly makes the audience care and cheer for both characters to find redemption.