Oscar Nominations 2024: 2 of 11

The next three movies on our list; all nominated for Best Picture and one likely and eventual winner:

A Complete Unknown

8 nominations

• Picture
• Director: James Mangold (1st time nominee)
• Actor: Timothée Chalamet (Call Me by Your Name)
• Adapted Screenplay: Jay Cocks (Gangs of New York, The Age of Innocence) & Mangold (Logan)
• Supporting Actor: Edward Norton (Birdman or (the Unexpected Virtue of Ignorance), American History X, Primal Fear)
• Supporting Actress: Monica Barbaro (1st time nominee)
• Costume Design: Arianne Phillips (Once upon a Time... in Hollywood, W./E., Walk the Line)
• Sound
  

Director: Mangold

Cast: Chalamet, Norton, Elle Fanning, Barbaro, Eriko Hatsune, P.J. Byrne, Joe Tippet, Dan Fogler, Scoot McNairy, Boyd Holbrook, Norbert Leo Butz, David Alan Basche

This is an utterly conventional mid-century singer biopic from the director of last year's truly wackadoodle Indiana Jones and the Dial of Destiny. The movie works, though, by which I mean it functions in every single way expected of it. It hits all the right beats and it simply refuses to disappoint. Better still, the film is a musical—despite the Golden Globes' usual absurd classifications—every single emotional beat in the film is part of a song, and the movie is positively filled with music. This is a very good thing. It's a musical disguised as something else, and so it allows people who think they hate musicals to reap all of the emotional benefits of watching a musical while pretending they're watching a drama. Even more impressive, all of the principals sing their own songs, and they all do a good job with the music. When the smoke clears, I expect this to win Best Picture. I think this is the least divisive of the movies nominated, and it's a movie that I find impossible to dislike. In fact, it delivers in all of the ways it promises to deliver, and so watching it actually feels satisfying. 

Will win: Picture, Sound

Could win: Director

My rating: #49 out of 93

Conclave

8 nominations

• Picture
• Actor: Ralph Fiennes (The English Patient, Schindler's List)
• Adapted Screenplay: Peter Staughan (Tinker Tailor Soldier Spy)
• Supporting Actress: Isabella Rossellini  (1st time nominee)
• Film Editing: Nick Emerson (1st time nominee)
• Production Design: Suzie Davies (Mr. Turner) & Cynthia Sleiter (1st time nominee)
• Original Score: Volker Bertelmann (All Quiet on the Western Front)
• Costume Design: Lisy Christl (Anonymous)

Director: Edward Berger

Cast: Fiennes, Stanley Tucci, John Lithgow, Lucian Msmamati, Jack Koman, Brían F. O'Byrne, Rossellini, Bruno Novelli, Thomas Loibl, Carlos Diehz, Rony Kramer, Sergio Castellito

I was really into this movie, and it's a superb follow-up to Berger's last film, All Quiet on the Western Front. One of my favorite things about Conclave is how well you know the central character, played by Ralph Fiennes, and know him so quickly. We know him so well that when Stanley Tucci's character accuses him of harboring a secret desire to be the pope himself, I immediately felt how much he had misjudged, how wrong he was. And I knew this about this character without doubt. The movie makes us confident in some things and suspicious of others. In this way, the movie constantly surprises its viewers. We see some things coming, but the movie has other surprises in store. I don't see Conclave doing very well on Oscar night, though. It's a very respectable movie that I think will take home the production design Oscar, but it might not win anything at all.

Will win: Production Design

Could win: N/A

My rating: #19 out of 93

Anora

6 nominations

• Picture
• Director: Sean Baker (1st time nominee)
• Actress: Mikey Madison (1st time nominee)
• Original Screenplay: Baker (1st time nominee)
• Supporting Actor: Yura Borisov (1st time nominee)
• Film Editing: Baker (1st time nominee)

Director: Sean Baker

Cast: Madison, Mark Eydelshteyn, Karren Karagulian, Borisov, Vache Tovmasyan, Lindsey Normington, Emily Weider, Aleksey Serebryakov, Darya Ekamasova, Paul Weissman

I liked this movie too! I really tend to hate Sean Baker's movies, or at least I go back and forth about them about four or five times during the movie, and I almost always hate the way he ends his movies. I find his gaze toward his characters really unkind and mocking. I think this is true in Anora, too. Baker spends most of the movie making fun of his central characters. They're figures of derision and hilarity—much of the film's comedy is very broad and silly—and this works quite well, even if the gaze toward the characters is cold. But with Anora, Baker really crafts a moving, heartfelt ending that shows a wonderful generosity toward his protagonist. For me, this movie's ending made Anora into something special.

Will win: N/A

Could win: Picture, Original Screenplay, Editing

My rating: #44 out of 93

More 2024 posts:

1. Emilia Pérez, The Brutalist, Wicked

3. The Substance, Dune: Part Two, Nosferatu

4. I'm Still Here, Sing Sing, The Wild Robot

5. Nickel Boys, The Apprentice, A Real Pain

6. Flow, September 5, Maria

7. The Seed of the Sacred Fig, The Girl with the Needle, Gladiator II

8. Inside Out 2, Wallace & Gromit: Vengeance Most Fowl, Memoir of a Snail

9. Animated Short Films

10. Kingdom of the Planet of the Apes, Alien: Romulus, Better Man

11. A Different Man, Elton John: Never Too Late, The Six Triple Eight

Oscar Nominations 2023: 5 of 9

The rest of the movies that got Oscar nominations all got only one nomination. Some of these will be hidden gems (usually the International Feature nominees), and some of these will be completely abominable (usually the Original Song and Makeup & Hairstyling nominees), but I still watch them all. This post only has three films because the next post will have five:

The Color Purple

1 nomination

• Supporting Actress: Danielle Brooks

Director: Blitz Bazawule

Cast: Fantasia Barrino, Taraji P. Henson, Brooks, Colman Domingo, Corey Hawkins, Phylicia Pearl Mpasi, Halle Bailey, Ciara, H.E.R., David Alan Grier, Deon Cole, Jon Batiste, Louis Gossett Jr.

I very nearly hated this. An entire fifth of my second book is about the novel–movie–musical adaptations of The Color Purple, so I had high hopes for what this movie could have been. It's nearly a complete failure, I think. You can read my objections to the new movie's complete removal of the musical's spiritual themes here, but my real objection is that this new movie is not a film adaptation of the stage musical. It is a musical adaptation of the 1985 movie. And that is just a bad choice all around. Now, listen, Danielle Brooks is obviously a highlight of this new movie that no one needed. She gets nominated for the role Oprah Winfrey was nominated for in 1986. It's hard to be mad at Brooks getting praised; who doesn't love Danielle Brooks? (She played the same role on Broadway and was nominated for a Tony there.) But this isn't winning anything, and it's the biggest missed opportunity of a film this year.

Will win: N/A

Could win: N/A

My rating: #69 out of 75

El Conde

1 nomination

• Cinematography: Edward Lachman (Carol, Far from Heaven)

Director: Pablo Larraín

Cast: Jaime Vadell, Gloria Münchmeyer, Alfredo Castro, Paula Luchsinger, Stella Gonet, Catalina Guerra, Amparo Noguera, Antonia Zegers, Marcial Tagle, Diego Muñoz, Clemente Rodríguez, Rosario Zamora

Pablo Larraín reimagines the Chilean dictator and war criminal Augusto Pinochet as a centuries-old vampire who faked his death in 2006 but is living on, feeding on the hearts of Chileans whenever he needs a boost. This is completely outrageous. "El Conde" is "The Count", which, apparently, Pinochet called himself, but it is also, of course, Dracula. El Conde is disgusting, satirical fun. I’ve never seen a world leader skewered in quite this way. This is a brazen, shocking comedy that loathes its central figure, but the film manages to enjoy itself, and consequently we do too, as it describes Pinochet’s many, many crimes against humanity. It's gorgeously shot by Todd Haynes' usual cinematographer (Lachman did not do May December). I am not sure how I feel about Larraín, though, honestly. I'm not sure what he's doing. I don't understand these projects of his. Spencer, Jackie, El Club, El Conde: What's going on?

Will win: N/A

Could win: N/A

My rating: #33 out of 75

Indiana Jones and the Dial of Destiny

1 nomination

• Original Score: John Williams (The Fabelmans, Star Wars: Episode IX – the Rise of Skywalker, Star Wars: Episode VIII – the Last Jedi, Star Wars: Episode VII – the Force Awakens, The Book Thief, Lincoln, War Horse, The Adventures of Tintin, Munich, Memoirs of a Geisha, Harry Potter and the Prisoner of Azkaban, Catch Me If You Can, Artificial Intelligence: A.I., Harry Potter and the Sorcerer's Stone, The Patriot, Angela's Ashes, Saving Private Ryan, Amistad, Sleepers, Nixon, Sabrina, Schindler's List, JFK, Home Alone, Born on the Fourth of July, Indiana Jones and the Last Crusade, The Accidental Tourist, Empire of the Sun, The Witches of Eastwick, Indiana Jones and the Temple of Doom, The River, Return of the Jedi, E.T.: the Extra-Terrestrial, Raiders of the Lost Ark, The Empire Strikes Back, Superman, Close Encounters of the Third Kind, Jaws, The Towering Inferno, Tom Sawyer, Cinderella Liberty, Images, The Poseidon Adventure, Fiddler on the Roof, The Reivers, Goodbye, Mr. Chips, Valley of the Dolls)

Director: James Mangold

Cast: Harrison Ford,  Phoebe Waller-Bridge, Mads Mikkelsen, Boyd Holbrook, Olivier Richters, Ethann Isidore, Toby Jones, Antonio Banderas, Karen Allen, John Rhys-Davies, Shaunette Renée Wilson, Thomas Kretschmann, Martin McDougall, Alaa Safi

Why did they even bother with this trash? I mean, I guess I hope Jez Butterworth and Mads Mikkelsen got paid well? This was so fucking stupid. And also I want to say that I do not enjoy this colonial trope where our “heroes” descend on some non-American city like Syracuse or Tangiers and then wreck a whole bunch of shit and steal people’s motorbikes so that they can chase bad guys. This is basically a staple of the James Bond movies and the Mission: Impossible movies, but I just don’t understand how I’m supposed to stop thinking about the random newly married couple whose car just got stolen before their honeymoon while Phoebe Waller-Bridge and Harrison Ford drive off in their honeymoon vehicle. Like, I know I’m supposed to be focusing on whatever McGuffin the script has provided, but that is not where my brain goes. This was nominated because the Music Branch is corrupt and ridiculous and they nominate John Williams every single year he has a score out. Mind you, three of the four previous Indiana Jones movies were also nominated for best "original" score, and they have found a way to nominate him for the most recent three Star Wars films as well. It's just so ridiculous when they could have finally given Joe Hisaishi a nomination for The Boy and the Heron or honored Michael Giacchino's gorgeous work on Society of the Snow. But no; the Music Branch is over here nominating John Williams for his fifty-fourth Oscar for a terrible fifth movie in a tired franchise. What a snooze.

Will win: N/A

Could win: N/A

My rating: #67 out of 75

More posts coming soon:

1. Oppenheimer, Poor Things, Killers of the Flower Moon, Barbie, Maestro

2. Anatomy of a Fall, The Zone of Interest, The Holdovers, American Fiction

3. Napoleon, Past Lives, Nyad, Society of the Snow

4. Mission: Impossible – Dead Reckoning, The Creator, Rustin, May December

6. Animated Features

7. Godzilla Minus One, Guardians of the Galaxy Vol. 3, Golda, American Symphony, Flamin' Hot

8. Animated Short Films

9. Perfect Days, The Teachers' Lounge, Io Capitano

Ford v Ferrari

For me this whole thing felt extraordinarily contrived – as though the whole time I felt the hand of the writer. Race movies, and perhaps sports movies in general, often feel this way to me. It's a contest, but, look, the writer just gets to decide who wins. Of course, this is how all movies are; it's just that it seems so much more apparent in a sports movie.

James Mangold has made a film about a pair of men who do absolutely everything right. They're hardasses who fight when they need to fight and win when they need to win. It would appear from the title and the marketing that Ferrari is some sort of villain or antagonist in this movie. Not so. The antagonist in this movie is a smarmy Josh Charles, who has a petty vendetta against our hero Christian Bale. This whole thing is tired, and I was bored, despite the great sound work. I think Matt Damon is a good actor, but man does he make some terrible choices when he picks a script. This thing is a clunker.

I say all of this knowing that audiences have really responded to Ford v Ferrari and spent an enjoyable two-and-a-half hours at the theatre having fun with the car racing and Matt Damon's Texas accent and Christian Bale's noble, uncompromising hero. I think it's great that people are liking this. It wasn't for me.

One more thing, though. Why did the Hollywood Foreign Press Association nominate Christian Bale for good actor? Matt Damon's is the better performance in Ford v Ferrari. This seems strange to me.

Oscar Nominations 2018: Part 6 of 12

Back to Part 1, Part 2, Part 3, Part 4, or Part 5.

My Best of 2017.

Logan

1 Nomination

• Adapted Screenplay: Scott Frank (Out of Sight) & Michael Green & James Mangold
  

Director: Mangold

Cast: Hugh Jackman, Dafne Keen, Patrick Stewart, Stephen Merchant, Boyd Holbrook, Eriq La Salle, Elise Neal, Quincy Fouse, Elizabeth Rodriguez, Richard E. Grant

The absolute best X-men movie we've ever had. I cannot believe this got an Oscar nomination, but goddammit it deserves this. The strongest component of Logan is, of course, its script, which is smart and poignant and (actually) quite moving. But the quality that makes Logan stand out from other X-men movies specifically and other superhero movies in general is that this superhero movie is rated R. The R rating made Logan into what it is. We've never seen Wolverine's claws wreak the bloody havoc they wreak in this movie. We've never seen the pain that Logan feels, the agony he experiences as bullets rip through his flesh, before. Mangold's willingness to do this, to go there – as well as Fox's willingness to allow this – elevates the level of the film to the level of something important. This isn't a stupid action movie where no one gets hurt. In this film, people are bodies. They get wounded, they hurt, they break apart. It's not only an ethical move for a superhero movie, it also makes for great storytelling. This is one of my favorite movies of the year.

Will Win: N/A

Could Win: N/A

My Rating: #16 out of 81

The Big Sick

1 Nomination

• Original Screenplay: Emily V. Gordon & Kumail Nanjiani

Director: Michael Showalter

Cast: Nanjiani, Holly Hunter, Ray Romano, Zoe Kazan, Adeel Akhtar, Anupam Kher, Zenobia Shroff, Bo Burnham, Aidy Bryant, Kurt Braunohler, David Alan Grier

This is funny and romantic and I really liked it. I am really happy it got this nomination, too, because the entire enterprise is cute and very funny. Holly Hunter is also excellent in the movie. I can recommend this to everyone. I don't think there's anyone who won't like this movie. It isn't going to win the Oscar, but this nomination is great news for Nanjiani's career.

Will Win: N/A

Could Win: N/A
My Rating: #23 out of 81

The Florida Project

1 Nomination

• Supporting Actor: Willem Dafoe (Shadow of the Vampire, Platoon)

Director: Sean Baker

Cast: Brooklynn Prince, Bria Vinaite, Dafoe, Christopher Rivera, Aiden Malik, Valeria Cotto, Mela Murder, Josie Olivo, Caleb Landry Jones

Ugh. I have already detailed my experience with this film, which I so wanted to be good. But The Florida Project is not good, and I have, frankly, been completely baffled by the love that so many American critics have shown this shallow, meaningless movie. Sean Baker is a filmmaker that deliberately tries to avoid saying anything, and so his movies finally provide no insight into the characters he has created. I felt this with Tangerine and it is true again with The Florida Project. I am an empathetic person, and so I find this entire enterprise incredibly frustrating. It's just all so shallow, and actually it begins to feel sort of hostile after a while. The more that I think about how The Florida Project works, the more I feel as though it is contemptuous of its intriguing characters. But I guess I am supposed to be talking about Willem Dafoe... Dafoe is excellent in this movie, and not only because he is an actor among non-actors doing excellent work (he also has a superb scene with Caleb Landry Jones, who is an actor and is also in Three Billboards). Dafoe's characterization is beautiful and humane and I would be totally pleased if he won the Oscar for this. But fuck this movie.

Will Win: N/A

Could Win: Supporting Actor

My Rating: #76 out of 81

All the Money in the World

1 Nomination

• Supporting Actor: Christopher Plummer (Beginners, The Last Station)

Director: Ridley Scott

Cast: Michelle Williams, Mark Wahlberg, Plummer, Romain Duris, Charlie Plummer, Timothy Hutton

This film is surprisingly slow, and I am not sure I understand what it is trying to do. I think that's because this movie isn't quite sure what it is trying to do. Is this a meditation on wealth and greed, and perhaps on how being totally greedy keeps one from having real feelings toward family or real relationships with those one supposedly loves? Or is this an action-movie-slash-heist-movie about a kidnapping and rescue. As it turns out, All the Money in the World does both of these things halfway, and doesn't do either of them very well. Michelle Williams spends the whole movie doing a kind of Natalie-Portman-in-Jackie accent that – even if it's accurate – sounds stilted and strange and made me doubt her sincerity. Mark Wahlberg is completely and totally miscast, like a bull in a strange china shop. And then there is the Kevin Spacey–Christopher Plummer debacle (or is it a saga?). Plummer is fine in the part, but the ghost of Kevin Spacey, who was fired while the movie was in post-production, haunts this whole enterprise. It would feel like more of a triumph if the movie were any good, but it's mostly not.

Will Win: N/A

Could Win: N/A
My Rating: #68 out of 81

The Wolverine

Don't confuse The Wolverine with X-men Origins: Wolverine, although, well, I guess it wouldn't matter too much if you did.

This poster is awesome.

I insist on seeing these X-men movies, and I am not really sure why. I guess it is out of queer solidarity. Mutant powers are an obvious (and useful) metaphor for deviant sexuality, certainly, and then there are all of the gay people in the movies. Which is fun. But most of these X-men movies have, frankly, not been very good, so I am not sure why I am as loyal as I am to the franchise. In any case, I couldn't bring myself actually to see The Wolverine in the theatre when it was out, but now that Oscar season is over, I rented The Wolverine. Oh yeah, and this isn't the sequel either to the 2009 Origins: Wolverine film or the 2011 X-men: First Class. This movie is a follow-up to X-men: the Last Stand (i.e. X-men 3), which came out 7 years ago. I, frankly, couldn't remember anything that happened, but apparently I saw it back in 2006 because I blogged about it back then.

This movie is bad. Honestly, though, I still kinda liked it. First off, this film takes place in Japan and is filled with every single movie cliché that Hollywood has ever churned out about the "land of the rising sun" and about Japanese people in general. These include:

• women pouring tea (and I don't mean sharing gossip)
• women cooking for men
• samurai swords (a lot of them)
• the phrase: "Chopsticks standing up are a bad omen. Everything has meaning."
• 10th century wall hangings
• the word rōnin, which is used multiple times
• the factoring of the bombing of Nagasaki into the plot
• an outdoor winter scene (which is weird, because sometimes it's Spring in the film)
• martial arts galore
• nefarious businessmen (see the Christopher Nolan Batman reboot films for more villainous Asians)
• a low-rent Japanese brothel
• the Yakuza
• the phrase: "I don't expect you to understand; you're not Japanese"

We even got the biggest Hollywood cliché of them all in films about Japan at the end. As he finally kills the bad guy for good, Hugh Jackman looks into the villain's eyes and says: Sayonara. Boom.

But there are a lot of good things, too: the villain is really cool. Actually, she is the hot blonde chic that exists in all Hollywood films about Japan. (There is always a hot, evil, blonde chick with whom we can contrast the naive, docile, but incredibly gorgeous Japanese woman, with whom the hero is supposed to fall in love.) But anyway, this blond villain, whose name is VENOM, is really cool.

Why wear a shirt? This guy is 45 years old and he looks amazing.

And Hugh Jackman is shirtless a lot, and he looks amazing. In fact, Hugh Jackman is shirtless so much that I started to wonder who this film's intended audience is. I mean, it is filmed like a silly movie for teenage boys (the violence is almost egregiously fake and cartoonish), but this film loves Hugh Jackman's body, and there is an extended sequence with a sexy Japanese guy in his underwear, too, and I couldn't really figure out why. Not that I'm complaining.

What else? I guess there isn't much else to say. We learn almost nothing about Logan or his origin, of course, and the acting is pretty terrible across the board except for the excellent Hiroyuki Sanada and a really great performance by Ken Yamamura.

Basically, this is for Hugh Jackman fans but pretty much nobody else. I take that back. Honestly, I'm not much of a Jackman fan, but I sure am a fan of his upper body. Woof.

3:10 to Yuma

It's like a Gladys Knight song whenever I write the title of James Mangold's new movie 3:10 to Yuma.

He's leaving
On that midnight train to Yuma.
I'd rather live in his world
Than live without him in mine.

I liked 3:10 to Yuma, but not all that much, I have to be honest. The movie looks really great (snow on the desert = great visuals) but it is a longer movie than it should be, and it wrings sentiment out of its scenes like so much whiskey. Still, there are a lot of good things to be said about it. The performances are uniformly good. Christian Bale and Russell Crowe are top-notch. Crowe is doing his movie star schtick, but it's as charming as ever. Bale is a little more earnest than he should be, but he's great as usual (and ubiquitous - he sure does work). Gretchen Mol has a couple really good scenes, too. And Peter Fonda has an excellent supporting role that suits him just right. My favorite performance in the film is by Ben Foster (of X-men 3 fame), who plays Crowe's right-hand man. It's a bold, crazy, hip-swinging performance that reminded me a lot of Tim Roth's murderous turn in Rob Roy (for a lot of reasons).

The film had me hooked for quite a while, actually, it's just that the third act of 3:10 to Yuma doesn't make a damn bit of sense and takes a turn toward the unapologetically sentimental when it should be hard-bitten.

Oscar Nominees: Part One

BROKEBACK MOUNTAIN

8 Nominations: Best Picture, Best Director, Best Actor, Best Supporting Actor, Best Supporting Actress, Best Adapted Screenplay, Best Cinematography, Best Original Score

The Academy's favorite film of the year, and it's hard to find fault with this drama. It's respectable, well-acted and emotionally affecting. I loved this film, but I am surprised it's taken off as much as it has. I say more power to it and I'm crossing my fingers that it takes home more than two Oscars on the big night.
Will Win: Picture, Director, Adapted Screenplay
Could Win: Cinematography, Score
My Rating: #2 out of 81 films

CRASH

6 Nominations: Best Picture, Best Director, Best Supporting Actor, Best Original Screenplay, Best Film Editing, Best Original Song

The Academy's second favorite film of the year, and Brokeback's only real challenge for the big prize. This film about race relations and interwoven storylines in Los Angeles has appealed to a lot of people. Jean Oppenheimer called it one of the best American films she's seen in years.
Will Win: Original Screenplay, Editing
Could Win: Song
My Rating: #65 out of 81 films

GOOD NIGHT, AND GOOD LUCK.

6 Nominations: Best Picture, Best Director, Best Actor, Best Original Screenplay, Best Cinematography, Best Art Direction

The Academy loved this film more than anyone could forsee: more than critics loved it, too, I'd say. They love George Clooney, too. The man is everywhere. The film's appeal is easy to see, too. When I saw it, the audience applauded after the film's end.
Will Win: Nothing
Could Win: Original Screenplay, Cinematography, Art Direction
My Rating: #3 out of 81 films

MEMOIRS OF A GEISHA

6 Nominations: Best Cinematography, Best Costume Design, Best Original Score, Best Art Direction, Best Sound Mixing, Best Sound Editing

Snore. The Academy must've liked this movie more than everyone else did. It had pretty embarassing box office and was widely panned by critics. This movie is tediously boring and obvious Oscar-bait material. It looks so pretty but sounds so stupid.
Will Win: Costume, Art Direction
Could Win: Cinematography, Score
My Rating: #71 out of 81 films

CAPOTE

5 Nominations: Best Picture, Best Director, Best Actor, Best Supporting Actress, Best Adapted Screenplay

This critically lauded indie surprised tons of people (those not paying attention) by actually being nominated for Best Picture. Many have called it slow and boring. It's a very thought-provoking and intelligent film, to my mind, but I understand people's aversion. After all, it is, more than anything else, a film anchored by a star-turn from a fabulous actor.
Will Win: Actor
Could Win: Adapted Screenplay (in an upset)
My Rating: #9 out of 81 films

MUNICH

5 Nominations: Best Picture, Best Director, Best Adapted Screenplay, Best Original Score, Best Film Editing
Will Win: Nothing
Could Win: Editing, Score
My Rating: #74 out of 81 films

WALK THE LINE

5 Nominations: Best Actor, Best Actress, Best Film Editing, Best Costume Design, Best Sound Recording
Will Win: Actress, Sound
Could Win: Editing
My Rating: #37 out of 81 films

KING KONG

4 Nominations: Best Art Direction, Best Sound Recording, Best Visual Effects, Best Sound Effects Editing
Will Win: Visual Effects, Sound Effects
Could Win: Sound
My Rating: #46 out of 81 films

THE CONSTANT GARDENER

4 Nominations: Best Supporting Actress, Best Adapted Screenplay, Best Film Editing, Best Original Score
Will Win: Supporting Actress
Could Win: Editing
My Rating: #11 out of 81 films

PRIDE & PREJUDICE

4 Nominations: Best Actress, Best Costume Design, Best Art Direction, Best Original Score
Will Win: Nothing
Could Win: Nothing
My Rating: #4 out of 81 films