Humble Thoughts

Even if you watch the Oscars consecutively year after year – even to laugh at – you must admit this is a respectable bunch of contenders.

We’re looking at a year in which a Wes Anderson film has cleaned house with nominations (Grand Budapest Hotel), Paul Thomas Anderson snagged a screenwriting nomination for adapting a Thomas Pynchon novel (Inherent Vice), a Richard “Dazed and Confused” Linklater film could win Best Picture and Best Director (Boyhood), and – sacré bleu! – France’s Dardenne brothers have a film up for a major award (Marion Cotillard for Best Actress in Two Days, One Night).

Just for a moment, take yourself back to the mid ’90s and imagine that such films as Rushmore and Slacker would one day produce prestige award players. An absurd notion in the zeitgeist of The English Patient and Shakespeare in Love, ain’t it?

Now, let’s talk about validation, something the Oscars pride themselves in, but typically in the cloying, patronizing, “lifetime achievement award” way. Again, this year is a bit different. I confess I’d thoroughly enjoy seeing Michael Keaton win Best Actor for Birdman. It wasn’t my favourite film, but in this inflated movie world of superhero tent-pole franchises the film’s “anti-superhero” angle is just too good to resist (even with Batman irony aside).

Truthfully, I want there to be a world, or movie screen, where Michael Keaton’s name is met with those three illustrious words: Academy Award Winner.

I also include J.K. Simmons in that validation – a superb, chameleon-esque character actor who is effective in everything, especially the bona fide classic performance he delivered in Whiplash. Hands down the best ending to any film of 2014.

By now, complaining the Oscars got it wrong is as universal as the awards themselves. Perhaps even more so. For instance, how could they omit The Lego Movie as Best Animated Feature? How could they again neglect Steve James; a heinous diss given that his Life Itself intimately tackled the life and death of beloved film critic Roger Ebert? Additionally, there was no love for Selma, no Best Foreign Film nomination for Force Majeure (the 2nd best ending of 2014) or a Best Adapted Screenplay nomination for Gone Girl author Gillian Flynn – transforming a paperback novel you’d buy at an airport into a stellar piece of art house chic.

Yes, it can be argued that there is a lack of diversity this year. Yet, politics aside, when it comes to the films themselves, it’s nice to think that Boyhood, the best film of 2014, has a darn good shot of taking home the big prize.

Boy, they sure do grow up fast.

(Predictions for the 87th Academy Awards. Because I just couldn’t help myself.)

Best Picture: Boyhood

Best Actor: Michael Keaton (Birdman)

Best Actress: Julianne Moore (Still Alice)

Best Supporting Actor: J.K. Simmons (Whiplash)

Best Supporting Actress: Patricia Arquette (Boyhood)

Best Director: Richard Linklater (Boyhood)

Best Cinematography: Emmanuel Lubezki (Birdman)

Best Documentary: CitizenFour

Best Foreign Film: Leviathan (Russia)

Best Original Screenplay: Richard Linklater (Boyhood)

Best Adapted Screenplay: Damien Chazelle (Whiplash)

Best Visual Effects: Guardians of the Galaxy