Happy 84th Academy Awards

By Jeremy Scott

San Diego Informer

Here come the Oscars again, woo! What what?! Is it going to be a year full of surprises, upsets and dark horses? No, of course not. When is it ever? The fact that a film as lukewarm as “The Descendants” is popping up in all the cardinal categories is pretty inauspicious. Especially since “Shame” was denied a chance to rear its NC17-rated head anywhere at the awards ceremony. I suppose politics haunts all
social forums, does it not? But forget about my pessimism and plan your Oscar party anyway.

I wonder if Jonah Hill is as shocked as I am at his best supporting nomination? Yes, he’s navigated the many roads that lead to Hollywood obscurity quite well since his arrival on the scene a few years ago.
Next he’ll be starring in the next Cohen brothers or P.T. Anderson film, just you wait. It’s nice to see Christopher Plummer getting some recognition for his supporting role in Beginners which didn’t garner
any other nominations and if “Tree of Life” wouldn’t have been nominated for best picture and best directing things would seem very grim indeed. What really surprised and delighted me was seeing Midnight in Paris up for so many awards: Art direction, directing, best picture and best original screenplay. It was one of my favorite films this year, a real surprise after Woody Allen’s last few flops, but does it deserve to win in any of its myriad categories?

As far as art direction goes, “Hugo’s” stylized and dreamlike aesthetic is more impressive. Terrence Malick should be walking away with the Oscar for best directing for “Tree of Life,” certainly. His uncanny ability to spin a narrative that juxtaposes the cosmic ballet of the big bang with the comparatively microscopic tragedies of human struggle should not go unrewarded. Again, best picture should be taken by Malick. I’m sure many would make an argument for “The Artist,” but its undeniable charm doesn’t hold a candle to Malick’s colossal achievement. If it weren’t for “Tree of Life,” my pick would undoubtedly be “Midnight.” “Annie Hall” was the last comedy to win best picture and wouldn’t it be great if Allen did it again? But “Midnight” is no “Annie Hall” and even if it were it probably wouldn’t take home the statue.

Last but certainly not least: best original screenplay. I almost forgot about “Margin Call” until I saw it on the list this year, a low flyer on the radar with an all-star cast about the sub-rosa executive corruption that lead to the ‘08 economic collapse. Maybe it’s just political enough for Hollywood to put it on a pedestal but that iron seems a little too cool for striking at this point. Again, The Artist’s whimsy and charm will probably be enough to get it the Oscar but my vote is for the Iranian dark horse, “A Separation.” It’s also up for best foreign and deserves to win in both categories. If it weren’t excluded because of its overseas origin it would likely win best picture.

What a shame “Tinker Tailor Soldier Spy” didn’t make the cut for best picture. Every year the academy makes some brow furrowing decisions, but what can you do? Credit is not always given where credit is due but usually I’m pretty satisfied with the overall outcome of the ceremonies. So make your Oscar lists, start your betting pools and stock the fridge because who doesn’t like a good excuse to hang out, get drunk and be merry?