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I never thought I’d see the day but the Oscars did a solid job this year.

It is a testament to the (extremely) slow progress of the Academy to see movies like “Get Out” and “Ladybird” landing major nominations. Seeing Jordan Peele, Paul Thomas Anderson, and Greta Gerwig’s names in the directing category, I want to root for all of them. And still, there’s room for Academy favorites like Meryl Streep and Steven Spielberg, and the kind of historical biopics (“The Darkest Hour”) that I will probably watch three days before the ceremony.

But as always, a few favorites were left in the dark. Here are the years most egregious Oscar snubs:

Holly Hunter & Ray Romano

“The Big Sick” was the best movie of 2017 (there, I said it). A Best Picture nomination would have been nice, but seeing Kumail Nanjiani and Emily Gordon’s names in the Best Original Screenplay category felt good enough. What really felt like a punch in the gut was seeing neither Holly Hunter nor Ray Romano’s names pop up. As Emily’s parents, they bring wisdom and warmth in the most unexpected ways to what could have just been another “this is the life of a comedian” movie. They’re the movie couple of the year, no competition.

Okja

This wonderful, globe-spanning fantasy that’s equal parts satire and tragedy, was this year’s answer to “E.T.” In a better world, there could have been nominations for Jake Gyllenhaal and Tilda Swinton’s bizarro performances as well as Bong Joon-ho and Jon Ronson’s touching and clever screenplay. Mostly, it’s a real shame that “Okja,” which brought a lovable giant pig-hippo creature to life, was completely shut out of the technical categories.

The Florida Project

Sean Baker’s realistic look at the other side of the city that hosts Disney World deservedly landed Willem Dafoe a nomination for Best Supporting Actor. But the movie itself got overlooked, especially its incredible young star Brooklynn Prince, who I can only assume has years of amazing performances to come.

Michael Stuhlbarg

In a year in which Michael Stuhlbarg starred in not one but three Best Picture nominees, it seems like he’d be able to finally sneak in a nod of his own. You’d be shocked to find out he wasn’t nominated for his star-making turn in “A Serious Man” in 2009 and even more shocked to find out he wasn’t nominated for his performance as Elio’s father in Call Me by Your Name.” It only took him one short, tear-inducing monologue for him to completely own this movie.

Vicky Krieps

It’s not easy going head-to-head with Daniel Day-Lewis, but Krieps, as Reynolds’ love interest Alma, proves herself more than up for the challenge. 

Paul Thomas Anderson

Yes, he was nominated for Best Director for “Phantom Thread.” But he also pulled double duty here as the movie’s cinematographer. The 70 mm (if you’re lucky enough to see it in this format) is stunning, as is all the scenery, from the dresses to the English countryside.

“Take the Oscar decorations down from the tree,” Joe said to his son Timmy, “also, why are you decorating our lawn for an awards show?”

And now that the Oscars are over, we must face the reality of February and the six more weeks of winter that moron groundhog gave us. Look, I know that in the grand scheme of things, the Oscars are pointless. But you know what else is? The Super Bowl. Yet, nobody is ever criticized for caring too much about the score of the game. The Oscars give us something to laugh at, something to yell at, but most importantly, it gives us something to bond with other people over.

Last night’s ceremony was one of the worst in recent memory. It was bloated and overlong. Yet, I can’t argue with some of the winners, and that “some” is more than most years. However, I would love to teach voters what “screenplay” and “writing” mean. Anyway, a lot of people are angry that Boyhood didn’t win Best Picture, and rightfully so. However, just keep in mind that winning an Oscar is sometimes the worst thing for a film’s legacy. But hey, in terms of films it could have lost to, Birdman isn’t half bad.

Every show will include just as many highlights as outrages. So here are the things I liked, the things I didn’t like, and the things I’m not sure about from last night’s ceremony:

I Liked Some Things

Everything Is Awesome: Much like The Lego Movie itself, this musical number blew all my expectations out of the water. This was like watching a really giddy acid trip come to life. Legos sang. A dude in a cowboy hat carried a dead dog around. Andy Samberg was on the freaking Oscar stage. It was wildly fun, imaginative, and the kind of untamed, uncynical mess that the Academy Awards could use a lot more of.

Julianne Moore: This feels so just, and so earned. A lot of Oscars are given to honor an entire body of work, and you can point to every part of her career where an Oscar should have been.

Graham Moore (a.k.a. More Moore): Yes, I really wanted Whiplash to win this. I thought The Imitation Game script was the weakest part of an otherwise solid film. However, Graham Moore’s acceptance speech was genuine and sweet. I hope some kid in North Dakota heard him say “stay weird” and immediately hopped in a u-haul and headed towards Portland.

John Travolta: I have no idea what happened to the awesomely suave dude from Saturday Night Fever and Pulp Fiction. Watching his alien robot wiring malfunction two years in a row has been the most spectacularly strange spectacle to witness. It embodies the other reason people watch the Oscars: to see a possible live trainwreck in action. Watching him grab Idina Menzel’s face was like watching Oh Dae-su grab that girl’s face for the first time after being deprived of human contact for years in Oldboy. What I am trying to say is that either John Travolta has a murderous streak in him, or he is an alien trying to learn our secrets.

I Didn’t Like Some Things

The Jokes: Maybe it is time to let Bruce Vilanch go? I don’t know, all I am saying is that maybe it isn’t the best idea to give an award to a film about Edward Snowden, and then call him a traitor. Maybe don’t ever say things you will later regret? YouTube exists. These things will live on forever.

Clips: Somebody please do an investigation into who finds the Oscar clips. They spoiled key scenes in Gone Girl and Wild. Another showed Benedict Cumberbatch shouting, “Heil Hitler!”

Eddie Redmayne: Eddie Redmayne is a charming fellow who gave a nice speech. However, I still hold firm to my belief that his performance was a variation of Simple Jack. No disrespect, Mr. Hawking.

The Sound of Music Musical Number: What do you do when your show is already running a half hour overtime? Throw in a musical tribute to a 50 year old film that nobody asked for! To be fair, good job Lady Gaga.

J.K. Simmons: Thanks for getting us in hot water with all our parents, dude.

I Don’t Know How To Feel About These Things!

Neil Patrick Harris: When it was announced that NPH would be hosting this year’s Oscars, it seemed like a no brainer. After all, this guy knows nothing but breathing and hosting. However, his performance tonight was off. I am not sure if it was because the jokes were pretty terrible, or if he seemed a bit too mean-spirited for somebody who usually seems so nice. Having said that, hosting an awards show is a thankless job. You’re steering a ship that everybody wishes would crash. Take what I am saying with a grain of salt; this opinion is coming from a kid who thought Seth MacFarlane was a good host.

Birdman Wins Best Picture: Just a few months ago, critics and audiences alike were getting ready to build a golden statue of Michael Keaton. Then, word spread that Birdman was an Oscar frontrunner and suddenly, people decided to let all of their negative opinions out now. The timing seems a little weird. Where were you all months ago to facilitate a balanced and nuanced conversation?

Anyway, I liked Birdman a lot. Boyhood  was extraordinary. My favorite film of the year was Whiplash but depending on the day, I might have said Boyhood or Birdman instead. But now that Birdman sits on the throne, it must endure the worst nitpicking. Sure, it might not have been the best choice this year (like I said, Whiplash was my favorite but Boyhood made the most sense as an Oscar winner), but it was still an interesting choice. This was a film that at least tried and succeeded at challenging the status quo. It had weird drama and even weirder comedy. Sure, it was a film about show business (Broadway, not Hollywood), but the Academy rarely honors interesting films. I know we are all upset that Richard Linklater can’t go back to Austin with a hunk of gold, take comfort in the fact that Birdman‘s win might actually encourage voters to make bolder choices.

Looks like Riggan’s big artistic gamble paid off. Image via Wired

If cinema is a religion, then the Oscars are its biggest holiday.

I mean this in the same way that sports are also like a religion, and the Super Bowl is its Christmas. If sports are the biggest religion, then cinema is a much smaller one, and one that you might have to be crazy to follow. Fittingly, movies are like Scientology. And it is ironic that the ceremony focuses on bowing down to a golden idol, given that the main participators are typically Jewish and idol worship is a no-no if you’re up to date with your Torah studies.

Anyway, the Oscars do what any good holiday should do: distract us from the cold, dark world that surrounds us. Without the Oscars and all of the other precursors leading up to it, all we would have is Seventh Son and The Duff.

This year’s race is wildly unpredictable, which rarely happens. This year’s supposed frontrunner, an underdog itself, has suddenly found itself eating the dust of a film that nobody knew was even in contention for underdog status. However, I love both the films in question and the only way to really judge them is time. But like I said, we all must distract ourselves from the darkness of reality with shiny statues.

My predictions are not based on exact science. They are a mix of precedent (patterns and guild award winners) and completely random speculation. I am not an Oscar voter, because I am under the age of 75. Therefore, I have no inside knowledge. Here is who I think will win at the Oscars this year:

Best Picture

American Sniper

Birdman

Boyhood

The Imitation Game

The Grand Budapest Hotel

Selma

The Theory of Everything

Whiplash

This is one of the least predictable Best Picture races in years. Finally, some real competition. Whichever film whens, somebody will be very, very angry. A few weeks ago, it seemed like Selma had gained some momentum over its egregious snubs. But then, the controversy turned from shouts to whispers. American Sniper‘s astounding box office has dominated the cultural conversation for most of the beginning of 2015. But as Avatar and Gravity have shown, box office numbers don’t necessarily equal a Best Picture trophy.

This is really a two horse race between Boyhood and Birdman. Boyhood still has a shot at snagging the trophy, but Birdman has gained the most momentum in recent weeks. Suck it, mean theater critic who was probably representative of mean film critics!

Best Director

Richard Linklater (Boyhood)

Alejandro Gonzalez Innaritu (Birdman)

Bennett Miller (Foxcatcher)

Wes Anderson (The Grand Budapest Hotel)

Morten Tyldum (The Imitation Game)

The Best Director category tends to go to the director with the flashiest visual achievement (see: Alfonso Cuaron for Gravity). While Linklater’s 12 year project made him a frontrunner early on, Innaritu’s continuous take is more technically ambitious.

Best Actor

Steve Carell (Foxcatcher)

Benedict Cumberbatch (The Imitation Game)

Bradley Cooper (American Sniper)

Michael Keaton (Birdman)

Eddie Redmayne (The Theory of Everything)

This is one of the tougher categories to predict, and there is a really strong that Michael Keaton could still go home with the gold. He has the “comeback card” and the “I am kind of old and still haven’t won anything card” to play. However, Eddie Redmayne took home the SAG Award (they almost always line up with the Oscars). Plus, everybody knows how much the Academy loves themselves a biopic.

Best Actress

Marion Cotillard (Two Days, One Night)

Felicity Jones (The Theory of Everything)

Rosamund Pike (Gone Girl)

Julianne Moore (Still Alice)

Reese Witherspoon (Wild)

It seems a little weird that Julianne Moore hasn’t won an Oscar yet. She is Hollywood’s red headed queen. Her role in Still Alice is the kind that could win just about anybody an Oscar, given that the Academy’s love of disease and disabilities is almost too easy to make fun at this point. This is not to diminish Moore’s work, which will earn her a well deserved first Oscar.

Best Supporting Actor

Robert Duvall (The Judge)

Ethan Hawke (Boyhood)

Edward Norton (Birdman)

Mark Ruffalo (Foxcatcher)

J.K. Simmons (Whiplash)

This has been a foregone conclusions since critics first saw Simmons slap Miles Teller across the face at Sundance last January.

Best Supporting Actress

Patricia Arquette (Boyhood)

Laura Dern (Wild)

Keira Knightley (The Imitation Game)

Emma Stone (Birdman)

Meryl Streep (Into the Woods)

Meryl Streep is basically an Oscar figurehead at this point. Emma Stone and Laura Dern both deserve their moment in the sun. But it is not this moment. Sunday night belongs to Patricia Arquette.

Best Original Screenplay

Boyhood (Richard Linklater)

Birdman (Alejandro Gonzalez Innaritu, Nicolas Glacobone, Alexander Dinelaris, Armando Bo)

Foxcatcher (E. Max Frye, Dan Futterman)

The Grand Budapest Hotel (Wes Anderson, Hugo Guinness)

Nightcrawler (Dan Gilroy)

Given that Birdman will likely dominate in the top categories, a screenplay honor would make sense. After all, its winding monologues and ambiguous characters are screenwriting gold. However, I think this is The Grand Budapest Hotel‘s best chance at nabbing a trophy. Hey, it’s about time Wes Anderson got an Oscar to put next to the vintage yarn balls and Francoise Hardy action figures on his very crowded mantle.

Best Adapted Screenplay

American Sniper (Jason Hall)

Inherent Vice (Paul Thomas Anderson)

The Imitation Game (Graham Moore)

The Theory of Everything (Anthony McCarten)

Whiplash (Damien Chazelle)

The Academy really screwed Damien Chazelle over when they nitpicked and classified Whiplash as an adapted screenplay, when it is really an original one. This caused a lot of confusion between the Writers Guild and the Academy. Moral of the story, life is politics. Anyway, The Imitation Game took home the WGA’s big prize, which would usually make it the automatic frontrunner. However, I refuse to believe that a film with dialogue corny enough for an Apple commercial could win a prize for writing (note: I say this as a fan of the film). Oscar voters will often make their riskiest choices in the writing categories, so I have faith in a dark horse win for Whiplash.

Don’t worry everybody: we are just a few think pieces away from the end of awards season! That means that soon you will have to face the cold, bitter reality that there are some terrible movies actually in theaters right now and also the polar ice caps are melting.

Let’s pretend, for just a brief moment, that I am now and always will be an Oscar voter. The world would be a much better place. Goodfellas would have won Best Picture. Anne Hathaway would never have been in Bride Wars. Monkeys would wear ties to work. Let that soak in. Without much further adieu, here is who I think should win in this year’s top categories:

Best Picture: Whiplash

I know that Whiplash would never in a million years win the big prize. Hell, it isn’t even the underdog this year (I guess that would be Selma or Birdman). But behind every great underdog, is one even further down, and I typically enjoy rooting for that one. It also helps that Whiplash is the best film to come out of an overall great year for film. But the reason that it will never win Best Picture is because it is the anti-Oscar film. It is the story of somebody overcoming adversity to become the best at their craft. However, this triumph comes as a result of being an asshole (dumping your cute Fordham girlfriend) and some dumb luck (your idiot partner forgets his sheet music). Whiplash acknowledges that the path to success doesn’t rely on Hollywood magic or hard work alone. Really, what you need is the insane persistence to keep going long after you were definitely supposed to stop.

Best Director: Richard Linklater

Usually, a director is the CEO of a film. Linklater was more like the father of Boyhood. He had to raise Boyhood for a long, rough 12 years. Nobody spends that much time in the production of a film. I get the feeling that Linklater loved this story unconditionally. Parts of this film feel so real that they might as well have been part of your life. Eventually, Mason’s memories might become entwined with mine. Richard Linklater is the only director out there who can make three listless hours this engaging.

Best Actor: Michael Keaton

Birdman marks Michael Keaton’s big comeback, even though he didn’t really go anywhere. That is the thing about most comebacks: they are usually a marketing stunt. Then again, Oscar voters have a thing for falling head over heels with marketing stunts. But I digress. Keaton deserves to win not just because it would mark a new stage in his career, and not just because his performance was brutally honest and authentic. It is just about somebody wins for amazing comedic timing, rather than their ability to play a real person who suffered adversity.

Best Actress: Rosamund Pike

I’ve got to pull for at least one icy cold yet lovable sociopath in this race. Rosamund Pike made it so much fun to try and find the broken little girl seeking her parents approval beneath all the layers of crazy.

Best Supporting Actor: J.K. Simmons

The best villain of 2014 came from the place you would least expect. Simmons is at his flashiest when he is throwing chairs and making Miles Teller cry. However, there is another layer to this masterful performance that has been overlooked. At one point, Fletcher says, “there are no two words in the English language more harmful than good job.” Great point, Terry. It just sounds wrong coming from him. This one scene, this one line, just adds an extra layer of depth to him. If you want, you can invent your own backstory for him: maybe he once aspired to be the greatest jazz musician in the world and upon realizing his dream wasn’t attainable, decided to instead find somebody else who deserved that title. Beyond the R. Lee Ermy scream and terror, Fletcher is a man who is equal parts bitter and altruistic. He will do anything to save this so-called “dying” art form from a culture of participation ribbons.

Best Supporting Actress: Patricia Arquette

Patricia Arquette’s performance as a single and underappreciated mother is so good that it barely feels like acting; it just feels like she is existing. Her final scene is the most heartbreaking of the year. While it seems like a strange note to leave her character on, it makes sense. While this is a film about Mason, his development as a human would not be possible without Arquette. Maybe with this Oscar win, we will all finally notice.

Best Original Screenplay: Nightcrawler

Nightcrawler makes me miss LA, not because of the palm trees or the beaches or the In-N-Out Burgers, but because it seems to know the city inside and out. There is a scene where Jake Gyllenhaal yells about what route to take, and it doesn’t feel like a Californians sketch. Nightcrawler‘s screenplay is snappy, funny, and outdated in a way that is actually charming. Sure, it seems a little weird that local news is getting this much attention as a serious news forum in 2014. I thought it was just a place where anchors read the newspaper out loud. The satire is much stronger than people give it credit for, and the idea of trying to create a narrative where upper class suburbanites should live in fear sums up my thoughts on CNN. And to top it all off, Dan Gilroy also rewarded us with the incredibly memorable Lou Bloom, who’s ambition is as inspiring as it is terrifying.

Best Adapted Screenplay: Whiplash/Inherent Vice

Thanks to some Academy nitpicking, Whiplash qualifies as an adapted screenplay, even though it is an original one. It should win for all of the reasons I mentioned above, plus its pointed insults, which are as sharp and stinging as barbed wire (I’ve never touched barbed wire but my point is that it probably hurts). But let’s also throw Paul Thomas Anderson a bone here. He is the first person ever to adapt a Pynchon novel to the big screen, which is no easy task. Sure, the film makes very little sense, but the characters are too weird and well-defined to ignore. It is also one of the best comedies of the year, and a film that will likely grown on all of us with each passing year.

Image via Style Lovely

An all female Ghostbusters? What’s next, Oscar categories meant only for women? Oh, wait.

This is the same drill as my previous column dedicated to all of this year’s best actor nominees (leading and supporting). This isn’t necessarily about each actresses best performance (though in some cases, it is), but rather ones that are an important part of their careers. It could be their breakthroughs, or an instance where they played against type. In some cases, it is a TV show rather than a movie. Without further adieu, here are some other great performances from this year’s Oscar nominated actresses, with apologies to Keira Knightley and Felicity Jones:

Marion Cotillard: Rust and Bone

This odd French drama made a huge splash at Cannes and then fizzled once it came to America. I guess it wasn’t freedom fries enough for us. Rust and Bone has its share of flaws, but it is most notable for Marion Cotillard’s incredible work as a whale trainer who finds a new line of work. In one scene, she dances to “Firework” and makes the song even more empowering than Katy Perry could ever have imagined. In another scene, she confronts the creatures who ruined her life with acceptance and love rather than angry. In both these instances, she uses her body, rather than words, to act. It is a performance that is warm and moving in so many ways.

Reese Witherspoon: Election

Through thick and thin, Reese Witherspoon has always been known as this sweet southern belle. A big part of me wishes that she kept getting more roles like Tracy Flick from Election. Tracy Flick is such an iconic character that the name has become an adjective to describe an obnoxiously perfect goody two shoes. Flick is the film’s villain, which is great, because usually this kind of character is somebody we root for. This is the girl who is supposed to become class president, because she is the only one who actually cares enough. Most underdogs are shown as being sweet when really they should be paranoid, because they function with a “the whole world is against me mentality.” She is a perfect mix of idealistic and insane. And her sweet attitude masks the darkness within, which comes out in the chilling monologue below. Now that Witherspoon has made a comeback with Wild, I hope this gives her more clout and thus the ability to give us another Tracy Flick.

Patricia Arquette: Flirting with Disaster

Patricia Arquette always seems to find herself playing the mother who is always a bit too swamped, yet somehow able to handle everything. In David O. Russell’s epic of dysfunction, Arquette’s Nancy is the only capable of maintaining a modicum of stability. She is the calm foil to Stiller’s nervous wreck. She goes through so many crazy ordeals (including getting her armpits caressed) and manages to keep a straight face throughout. This seems to describe her work ethic as well: just get through the work you’re supposed to do. Oh, and give an awesome performance while you’re at it.

Meryl Streep: Kramer vs. Kramer

Like Robert Duvall, Meryl Streep was most likely nominated because she is Meryl Streep. In fact, it is about time they just create an awards show called the Meryl Streep Awards. I will let it slide, because after all, she is Meryl F***ing Streep. Her first ever win was for Kramer vs. Kramer, a small scale divorce drama. This is the kind of film that will probably never win Best Picture again (unless Boyhood snags the big prize again). As Joanna Kramer, Streep plays the neglectful mother who walks out on the family, a character that isn’t seen in film too often. Given that she leaves her clueless husband (Dustin Hoffman) to watch after their only child, Joanna is the film’s de facto villain. But Streep plays her with the touch of humanity that allows you to sympathize with her. Joanna isn’t a horrible person; she is flawed, like the rest of us.

Laura Dern: Enlightened

I could have easily put Jurassic Park here. Easily. However, that film is more a showcase for dinosaurs and Jeff Goldblum than it is for Laura Dern. Dern really got her moment in the sun from Enlightened, the short-lived but brilliant HBO series that she co-created and starred in. Dern’s Amy Jellicoe is one of the most beautifully realized anti-heroes ever put on any screen big or small. Her performance is incredibly bold and nuanced. It is more than you would expect from a character who is basically someone who just found out what change.org is. You are always second guessing everything that Jellicoe does. Dern plays into the show’s amazing, brilliant writing. Seriously, watch this show. Steal a dead person’s HBOGO password if you have to. If you haven’t watched Enlightened, then I hate you.

Julianne Moore: Boogie Nights

Riddle me this: who gave the best performance in Paul Thomas Anderson’s magnum pornographus Boogie Nights? Mark Wahlberg? William H. Macy? Roller Girl? The real answer, as is with many of life’s questions, is John C. Reilly. But for the purpose of this column, let’s say Julianne Moore. Moore plays the de facto mother figure of a messed up “family” of misfits, except she has sex and does coke with most of these “family” members. There is a scene where she basically has to guide Mark Wahlberg through a sex scene they film together. It is hilarious and one of the best examples of sexposition ever. Sorry, Game of Thrones.

Rosamund Pike: The World’s End

Rosamund Pike is so mesmerizing in Gone Girl that it makes me angry that anybody could be that talented. She seems like somebody who might have played of Jerry Seinfeld’s many girlfriends, until she stabbed him after a drawn out long con. Of the films I have seen of her, I will not talk about Die Another Day where she dies after being stabbed with a Bible (spoiler alert?). Instead, I will honor charming, deadpan work in The World’s End, in which she plays a small yet important role as the only reasonable person in a world being taken over by robots. She doubles as both action and comedy star, which is the perfect qualification for any Edgar Wright joint.

Emma Stone: Superbad

For good reason, Michael Cera and Jonah Hill tend to be the most memorable parts of Superbad. However, Emma Stone doesn’t get the credit she deserves as the super cool Jules. Superbad was a breakout for everybody involved, especially Stone. As Jules, Emma Stone is a cool chick but not in the Manic Pixie Dream Girl kind of way. She knows what she wants and has a great smartass attitude to boot. She is the polar opposite of the awkward guys who pursue her. It is this kind of confidence that has led her to some awesome performances. In any other year, I would say that the she would easily take home the statue for Birdman.

Keira Knightley: 

Alright, time to get a little unprofessional, but I feel like I have no choice here. I am not what you would call a fan of Keira Knightley. She fills me with unjustified, irrational anger. I am sure she is a nice person. She is fine in The Imitation Game. However, watching her act is about as exciting as watching a plain piece of toasted Wonder Bread dry. I am seriously convinced that she only gets nominations because she is British. And if that is the truth, then why doesn’t the same standard apply to Emily Blunt?

Felicity Jones:

Okay, I am getting unprofessional again. I have not seen Felicity Jones in anything. I also have not seen The Theory of Everything yet. TBD

My reaction after finding out that Jake Gyllenhaal wasn’t nominated for Nightcrawler. Image via YouTube

I had so much fun the other day exploring the films of this year’s crop of Oscar nominated directors, that I decided to keep going. The SAG Awards were last night, so I decided to look into this year’s Oscar nominated actors. By the way, there was no reason for me to include that the SAG Awards were last night, but I just want to keep this somewhat relevant.

The rules here are similar to those of my director column. This isn’t about each actors best performance, but rather about ones that define them in some interesting way. For some of them, I couldn’t completely do them justice, so I brought a friend in to help. Without much further adieu, here are some other noteworthy performances from each of this year’s Oscar nominated actors (includes those nominated both for Best Actor and Best Supporting Actor):

Steve Carell: Anchorman

Steve Carell is a bright spot in the otherwise dreary Foxcatcher. As great as he is as John Du Pont, it is always depressing to see a great comedic performer feel the need to don ugly makeup and a sad face in order to get the attention of the Academy. That is more an indictment of a system that doesn’t take comedy seriously than on Mr. Carell himself. A veteran of Second City, Carell’s incredibly quick wit and improvisational genius has made for some of the best comedy of the past decade. In 2004, he had a small role as Brick Tamland, the mentally challenged weatherman of Anchorman, and he stole every scene he was in. Being the generous performer that he is, Carell let Will Ferrell, Paul Rudd, and David Koechner shine while knocking it out of the park every once in a while with lines like, “I love lamp” and “I stabbed a guy in the heart with a trident.” The 40-Year-Old Virgin turned Carell into a leading man, but few things make me laugh hadrer than Brick riding a bear. It really makes me wish Foxcatcher didn’t try to hide him under a prosthetic nose.

J.K. Simmons: Juno

J.K. Simmons more than deserves his nomination (and almost definite win) for Whiplash. However, it bothers me that people seem to think he just suddenly became a force over night, as if his career has only consisted of Whiplash and insurance commercials. Simmons has been doing great work for decades. He has earned a reputation as one of the most consistently talented and underrated characters actor in Hollywood. One of his career highs is his performance in Juno. As Juno’s MacGuff’s earnest father, he nails every single comedic and dramatic beat handed to him in Diablo Cody’s script. Partially why his performance in Whiplash is so terrifying is because for the past 20 or so years,  J.K. Simmons has just been the kind, humble Midwestern dad who can express disappointment with just a subtle nod. Just watch the clip below. It will make you want to win J.K. Simmons’ approval.

Edward Norton: American History X

Ed Norton’s commitment to his craft scares me sometimes. That is why it was nice to watch him poke fun at his own self-serious persona in Birdman. In American History X, he brought a neo-Nazi to life. This is a character nobody wants to see, but his performance is so good, that you feel like you have to watch it. He has the ability to be as captivating as he is repelling, spewing out bullshit that you somehow feel compelled to listen to. While it sometimes feels like American History X isn’t really saying anything new about racism, Norton’s embodiment of modern hate and redemption is unlike anything I have ever seen.

Michael Keaton: The Other Guys

Did you know Michael Keaton began his showbiz career in stand-up? This should not be seen as a surprise, given how much humor he brings to all of his roles. I almost forgot about how funny he is in Adam McKay’s overlooked The Other Guys, in which he has to go head-to-head with Will Ferrell. He can be the goofy idiot and the straight man, sometimes all in the same scene. Long before Birdman, Keaton proved that he could skewer the tough guy persona that Batman once earned him.

Bradley Cooper: Silver Linings Playbook

Thank David O. Russell for taking one look at Bradley Cooper and seeing more than just a pretty face. Silver Linings Playbook was Cooper’s first of three Oscar nominations three years in a row. As the bipolar Pat, he is equal parts funny and disturbing. One moment, he will insult your outfit, and the next he’ll throw an Ernest Hemingway novel out a window. His unpredictable nature makes him all the more enthralling to watch. Cooper also doesn’t mind playing unlikable. Yes, Pat is an asshole, but he is honest, and most importantly, he is trying his best to get better. Let’s give him a round of applause for effort because seriously, few people seem to work harder, and seem to be capable of such a diverse array of performances (Wet Hot American Summer, Wedding Crashers, Guardians of the Galaxy, American Hustle, to name a few) than Bradley Cooper.

Robert Duvall: Apocalypse Now

I haven’t seen The Judge yet, but based off of most of the reviews, it seems most likely that Robert Duvall got nominated because he is Robert Duvall. There was a time when nominating Robert Duvall for an Oscar actually meant something. I don’t remember, because I wasn’t born yet. However, I suspect that it was around 1979, when he was up for Best Supporting Actor for his amazing performance as Colonel Kilgore in Apocalypse Now. This is the one where he blasts “Ride of the Valkyries” while bombing a village and then proclaims his love for napalm. In the short amount of screen time that he has, Duvall chews the jungle scenery up. While Kilgore is known for his insanity, people seem to forget the part where he tells his troops, “someday, this war is gonna end.” Duvall delivers the small yet powerful line in such a way that you’re not sure if he’s being optimistic or pessimistic. It is the most weirdly ambiguous part of a film that involves both Marlon Brando and a live cow sacrifice.

Mark Ruffalo: The Avengers

I am one of the few people left on this planet who didn’t like The Avengers, and for that I have been scolded many times. However, the biggest standout amongst Marvel’s team is Mark Ruffalo as The Hulk. Great actors (Eric Bana, Ed Norton) have tried unsuccessfully to capture the madness of suppressing the anger of a giant green dude inside of you. Ruffalo finally did it, and with a great sense of humor to boot. For the first time, watching Bruce Banner talk was just as much fun as watching Hulk smash.

Ethan Hawke: Before Sunrise/Before Sunset/Before Midnight

It took me until Boyhood to realize how lucky we all are to share breathing space with Ethan Hawke. Richard Linklater’s Before Sunrise trilogy was Boyhood tailored specifically for Ethan Hawke. Over the course of three films spanning 18 years, we see his character grow and evolve in remarkable ways. He falls in love, ruins one marriage, and tries to save another. Hawke’s casual, intellectual attitude is perfectly suited for Linklater’s stream of consciousness writing. Here, he is not quite the cool dad that he was in Boyhood, but he always seems like somebody I would love to have a beer with. The best performers are always comforting, as if they are everybody’s friend, but they mean something especially unique to you.

Eddie Redmayne: Les Miserables

I am sorry for this, Eddie. You are very charming. Maybe that is because you are British, or maybe it is because you are actually a cool dude. I am also sorry that I haven’t seen The Theory of Everything yet. I am even more sorry about the fact that the only film I can judge you off of is Les Miserables. You might have been one of the best parts of that film, despite the fact that you kind of sounded Kermit the Frog. However, what I am most sorry about is the fact that I could not finish a single YouTube clip of your performance, because any clip of Russell Crowe as Javert is light years more hilarious. Take it as a compliment.

Benedict Cumberbatch: Sherlock

“Sherlock, like a good cup of tea, is both strong and bold. You can thank it for pioneering the onscreen usage of texts and text messages that has now permeated Hollywood, as well as for slaying the less than stellar RDJ Sherlock Holmes installments. Its greatest achievement, however, is the propelling of Benedict Cumberbatch (as well as co-star Martin Freeman) into stardom.

Cumberbatch’s work in Sherlock is as complexly superb as the titular character. Through the show’s three seasons, Benedict has brought a refreshing depth to the legendary detective. He has worn every hat, including the infamous one, ranging from comedy, to cunning, to chilling intellectual, to a conflicted man whose prized skills of deduction don’t delude him to his lack of humanity. It’s the kind of character, and performance, that you just can’t get from film and leaves no wonder as to why Benedict was given the role of Marvel’s titular sorcerer supreme in the upcoming Doctor Strange.

In The Imitation Game, Cumberbatch is challenged to once again play a misunderstood intellectual. His performance supersedes the material and proves that this British lion is no one trick pony. While he may have seemed an obvious choice on paper, Cumberbatch approaches Alan Turing in an entirely different fashion and, while the similarities exist, the differences stand as a testament to Cumberbatch’s mastery of the craft. Turing is repressed and overwhelmed. Almost a bizarro Sherlock. It’s a tight race, but perhaps Cumberbatch’s real achievement is making the story of Turing palatable and engaging to even the most simple viewer.” —Ryan Little

TOMORROW: The best of this year’s Best Actress nominees.

Remember the 90s when people dressed differently than we do now haha Image via Criterion

Ever since I first started to care about film in a freakishly intense way, I have always been fascinated by directorial style. Bad directors are bad because they have no distinct style. They are fine with being derivative of their time. Good directors think ahead, follow patterns, and ultimately evolve.

This year’s batch of directors include a few pros finally getting their due, a few directors evolving their style, and one who is new to the Oscars. I have gone through the careers of this year’s Oscar nominated directors. For the most part, I didn’t necessarily chose their best works, but rather I chose the ones you might not have seen, or the one’s that exemplify each director in an interesting way. With advanced apologies to Morten Tyldum, here is my list of five other great movies from this year’s Oscar Nominated directors:

Richard Linklater: Slacker

Slacker is far from Richard Linklater’s best film. As a patchy collage of Austin freaks and weirdos, Slacker can best be described as a very good student film. As I have said before, directorial debuts should be analyzed less for quality and more for promise, and Slacker showed that Linklater had the rare ability to string together an entire film out of conversations rather than plot points. Some parts of the film drag on, and other parts are fascinating, depending on whichever character he is focusing on at any given moment. Boyhood might have been in the making for 12 years, but once you see Slacker, you will realize that he was building towards it for his entire career.

Alejandro Gonzalez Inarritu: Babel

Birdman was partially a response to everybody who criticized Inarritu as a self-serious hack. Self-serious? Sure. Hack? No way. Babel split critics apart when it first came out and it is mostly forgotten today. That is a real shame because to me, it is what Crash might have been if it didn’t try so hard to have a simplistic message. With its subtlety overlapping narratives and globe-spanning story, Inarritu has always shown that he is up for a challenge.

Bennett Miller: Capote

Bennett Miller loves to adapt true stories to the big screen, and he has an especially big fascination with true crime stories. He made the wise decision to set Capote during a short period of time during the author’s life. Unlike with Foxcatcher, it was bleakness with a meaning. Plus, this deservedly earned Philip Seymour Hoffman his only Oscar. We miss you, Phil.*

Wes Anderson: The Royal Tenenbaums

There is simply not enough hours in the day to talk about The Royal Tenenbaums. Sure, it is not as epic in scope as The Grand Budapest Hotel, but to me it is still his masterpiece. I emphasize “me” because everybody has a favorite Wes Anderson film that they are willing to fight for. Like Grand Budapest, Tenenbaums is about a shut off world of wonder that is slowly creeping towards the bleakness of reality. The Tenenbaums are one of cinema’s greatest dysfunctional families, and by the end their story is a strange sort of uplifting tragedy. The Royal Tenenbaums is the kind of film you don’t forget about quickly. It has an amazing soundtrack (worth buying) that ranges from Nico to The Clash to Paul Simon. It will have you yelling “that’s the last time you put a knife in me!” at your friends and family for basically the rest of your life.

Morten Tyldum:

Allow me to be unprofessional for a moment: who is this guy? I don’t think anybody was expecting Morgan Turnpike to get a nomination for The Imitation Game. I still haven’t seen The Imitation Game (review to come), and while I have heard good things, this nomination still surprises me. Mortimer Tylenol is not a household name, but perhaps his name is one we will have to get used to saying. Not to degrade him at all, because I am sure that Miriam Tiger knows what he is doing, but I feel like a certain Hollywood wizard (*cough* Harvey Weinstein *cough*) may have pulled some strings here.

Note: If you have actually seen any of Martin Temper’s films, please let me know what I am missing in the comments.

*No I was not friends with, nor did I ever meet, Philip Seymour Hoffman. We are on a first name basis in my head.

If only we could all be this happy. Image via Forbes

There is nothing Americans love more than complaining about things that they know nothing about. Thus, the Oscars are a complainer’s paradise.

Yes, the Oscars are just an awards show, and not the end of the world. But scoring a nomination is actually important. For example, if Jennifer Aninston scored a nod for Cake, maybe we would finally be able to see it. Seriously, I don’t know a single non-critic who has seen the movie. I don’t even think Jennifer Aniston has seen it. But at the end of the day, it’s a hunk of shiny medal shaped like a naked bald dude holding a sword.

There is also the disparity between what deserves an Oscar and what will actually win an Oscar. A lot of films that win Best Picture are forgotten years later. For instance, let’s look at 2004. Million Dollar Baby won that year. I would argue that the most influential and memorable film of that year is Mean Girls. That is the one that everybody still watches and quotes, but of course it wasn’t nominated for any Oscars. It is not an Oscar movie; it is the kind of movie that people dedicate Tumblr accounts to.

When deciding what I think the biggest snubs were, I took into account both what I wish was nominated, and what would actually make sense as a nomination. Yesterday, I talked about which nominations made me happy. Today, I discuss which snubs make me sad. Cue the anger!

Jake Gyllenhaal, Nightcrawler

It is insanity that Gyllenhaal wasn’t nominated. Does the Academy hate weirdos or something? As the frighteningly ambitious Lou Bloom, Gyllenhaal created a sociopath as memorable as Norman Bates and Patrick Bateman. His performance is so physical: just look at his eyes; it looks like they were clamped open Clockwork Orange style and he never learned to shut them again. There are probably thousands of Lou Blooms out there who’s view of the world is crafted by internet comments and self-help books rather than actual life experience.

Ralph Fiennes, The Grand Budapest Hotel

Oscar voters have never understood how difficult comedy is. In his performance as Gustave, Fiennes had to be silly and effete one moment, and martyr for the cause of humanity the next. He works his magic on you in an almost invisible way; you won’t realize how much you cared about his character until the very end. This performance is so unique because nobody else could have played it. Had Gustave been played by a different actor, he would have been insanely flat as Mortdecai. I am only saying this because both characters have mustaches. That’s enough for a comparison for me.

Gillian Flynn, Gone Girl

Sure, Flynn had something of an unfair advantage, given that she was adapting her own book to the screen. But the fact that her story worked so well with very few changes (at least from what I have heard) is a testament to the power of her writing. Besides the brilliant twists and turns, the most genius part about this script was that it made it impossible to root for anybody. This is moral ambiguity done right.

Life Itself

I kind of snubbed Life Itself as well. I never wrote a review of it, and I neglected to include it in my year end list. This riveting documentary on the life of Roger Ebert was the definition of warts and all. We see his arrogance in his fights with Gene Siskel, and we even watch a feeding tube get shoved into his neck when he is hospitalized. This is a thorough celebration of a man who was both populist and elitist, and who completely changed film criticism forever. If you didn’t cry at the end of this, then you might be a sociopath. I will credit this snub to the fact that voters probably hate film critics.

The Lego Movie

When J.J. Abrams announced that “Everything Is Awesome” was among the Best Original Song nominees, people gasped. When The Lego Movie did not appear amongst the Best Animated Feature nominees, a million angry voices shouted, “everything is not awesome!” If commercial success can’t get you anywhere at an awards show, than creativity should. If you still doubt The Lego Movie is any good, than just realize that people are angry that a movie based on a toy wasn’t nominated for an Oscar. What a crazy world we live in.

Selma

The most talked about snub of the year has been of Selma. Now, Selma was nominated for the big prize, but the fact that it was left out of most of the other major categories is confounding. I do not want to charge the Academy with racism, even though their lack of diversity does not look good for them. The real issue for me is that David Oyelowo deserved some recognition for his incredible performance, which was beyond mere imitation. Plus, Ava Duvernay deserves credit for elegantly directing such challenging material. If you want to know more about why Selma got the cold shoulder, read this intelligent and level-headed piece over on Grantland.

Tilda Swinton, Snowpiercer

I have a feeling that the Academy didn’t take Snowpiercer as seriously as it should have because, well, it is a summer blockbuster. Don’t be so pretentious, guys. I still think of Tilda Swinton’s creepy and hilarious bureaucrat who is basically Kim Jong-un with a Scottish accent. It is like watching your weird aunt go on a power trip. Swinton might not have been nominated this year, but this character will be remembered for years to come.

Image via Hitfix

The statement “while I do not agree with some of the nominations, I am happy about most of them” could literally be said every single year. Time is a freaking flat circle.

There have already been a lot of complaints going around, mainly about the lack of Selma (my review and thoughts on that to come). With a strong presence of films like The Imitation Game and The Theory of Everything (NOTE: I haven’t seen either of these yet, so I am guessing here), this was a year made for Oscar movies rather than movies that actually deserved Oscars. However, the ambitious Boyhood and Birdman lead the pack. In order to finally get some Oscar love, Alejandro Inarritu had to finally stop making Oscar movies.

There are many deserving nominees this year. Here are a few I especially loved:

Emma Stone

It is hard to steal the spotlight in a film that is commanded by Michael Keaton and Edward Norton, but Emma Stone really proved her worth in Birdman. I never thought she was a bad actress, but I never knew she was this good. Birdman happens to be the kind of film that forces actors to be at the top of their game. Her monologue about being relevant still shakes me from time to time.

Everything Is Awesome

The Lego Movie‘s egregious snub for Best Animated Feature had everybody shouting, “everything is not awesome!” Weird, as this morning started off so well for the Lego Movie team: the first nomination announced was “Everything Is Awesome” for Best Original Song. This ode to being a square is one of the most joyous songs written this year. The best part was listening to a room full of crusty old Hollywood types gasp as J.J. Abrams announced this nomination.

Inherent Vice

Adapting Thomas Pynchon is not for the faint at heart, and Paul Thomas Anderson was certainly up for the task. Inherent Vice comes to no clear conclusions and strays so far from the three act structure that it sometimes feels more like a collection of stoned weirdos than an actual movie. By the way, that is a compliment.

Rosamund Pike

Well, at least the Academy made room for one terrifying sociopath.

Wes Anderson

The Grand Budapest Hotel is not my favorite Wes Anderson film (alas, I still loved it). However, a Best Director nomination for him has been a long overdue. Sure, it’s fun to crack jokes about his silly scarves and quirkiness, but let’s not forget that Anderson is by far one of the most original American directors working today and that The Grand Budapest Hotel had him going to some fantastically dark places. To celebrate, Wes Anderson grabbed a couple of burgers with Royal Tenenbaum and hit the cemetery.

Whiplash

Whiplash was my favorite film of the year, so by default I am happy about this. I honestly didn’t think it would make the Best Picture cut, despite some of the best reviews of the year. After all, this is basically a horror movie, and the Academy hates those. Whiplash is basically an anti-Oscar movie that sticks it to the those traditional tales of triumphing against all odds. Hey guys, the Oscars take risks sometimes.

I found this on Twitter. I am really sorry I can’t provide proper accreditation but whoever did this, you freaking rock.

The cinema lover’s Christmas happened last night. And now it’s time to go back and talk about normal stuff like The Muppet and upcoming Wes Anderson films.

For a year that seemed to be incredibly unpredictable, the Oscar winners sure were predictable. As expected, 12 Years a Slave took home the top prize while Alfonso Cuaron was crowned the best director in all the land. This happened to be a really good year for film, so none of the winners were exactly infuriating. The only really upsetting thing was that I had to listen to Bono sing instead of Oscar Isaac. And there’s plenty of more Bono ranting where that came from!

This year’s Oscar ceremony was overlong, indulgent, and only funny in small portions. Which is to say it was just like any other year. Read on to find out what I liked, what I didn’t like, and what I wasn’t sure if I should love or hate, during this year’s Academy Awards:

What I Liked

Matthew McConaughey’s Speech- I don’t feel comfortable with the fact that I had to root against Leo in order to win my Oscar pool, but it was worth it to see McConaughey’s fantastic acceptance speech. It got only a little bit weird when he basically said he worships himself. But that is not surprising coming from the guy who is shirtless most of the time he is in public. The seemingly genuine way in which he views luck and family is exactly the way that a sane person should view celebrity, and it shows that there is much more to this man than the lovable stoner we all thought we knew. McConaughey then talked about how his constant path for self-improvement. Then, he ended up his speech by saying “alright, alright, alright.” Well, Rust Cohle was right: time really is a flat circle. While McConaughey will become a better and better actor, deep down he will always be Wooderson.

U2 Didn’t Win an Oscar- I have not seen Frozen yet, but I am assuming that it is a good thing that Robert Lopez became an EGOT before Bono did.

Oscar Winner Spike Jonze- Oscar Winner Spike Jonze. It has a nice ring to it. I have been a fan of this guy since I was in eighth grade. I wasn’t sure what would happen to Jonze after the disappointment of Where the Wild Things Are. But with Her, Jonze showed that he could didn’t need a Charlie Kaufman script to make something wonderful (though I would love to see them reunite again in the near future). Oscar Winner Spike Jonze.

Cate Blanchett- So everybody expected her to win. That does not mean that she wasn’t actually deserving of the award. Her performance in Blue Jasmine is the best thing since sliced bread gave a really good performance in that one movie.

Bill Murray Pays Tribute to an Old Friend- In one of the nights most pleasant surprises, Bill Murray, who was presenting the award for Best Cinematography, threw Harold Ramis’ name onto the list. Ramis passed away this past week. The two of them had a falling out and had not worked together since Groundhog Day. It was a quick yet moving impromptu shout out. In one little moment, an entire feud was possibly solved. There were many more movies that Murray could have listed besides Caddyshack, Ghostbusters, and Groundhog Day, but he is Bill Murray so he gets to do whatever the hell he wants.

What I Didn’t Like

Ellen DeGeneres- Besides that awesome selfie, Ellen DeGeneres was a let down as this year’s host. The best her writers could do was a gag where they brought pizzas out to the audience, which would have been way better if a) Brad Pitt smeared his slice all over his Macklemore haircut or b) somebody had to refuse because they are lactose intolerant. Ellen loves to dance but she never got to. During most of the show, it just seemed like Ellen was in the middle of telling jokes that were predictable and uninspired to begin with (not to brag or anything, because this is not something to brag about, but I totally predicted that Jonah Hill/prosthetic penis joke). There are so many young and bold hosts they could get for next year. Jimmy Fallon. John Mulaney. Amy Schumer. Or if you want a safe bet: Tina Fey and Amy Poehler.

The Show- This was one of the most poorly produced Oscar shows that I have seen in my lifetime. “Half-assed” might be the nicest thing to say about it. The “Hollywood Heroes” theme was inconsistent and inexplicable. The fact that they showed more footage from Man of Steel than Inside Llewyn Davis is all you need to know about how I felt about the Oscars this year. Unfortunate, given that 2013 was a fantastic year for film.

Jared Leto (The Non-Actor Human)- Hey Jared. I can call you Jared, right? Do you prefer Jar-Bear? Or Girlie Jesus? Anyway, you were great in Dallas Buyers Club, and your win was well deserved. You have also been making great choices for years, from Fight Club to Requiem for a Dream to American Psycho. Wow. Those are some of my favorite films of all time. You can act; nobody denies that. However, you just find new ways to make me hate you as a person every single day. There are very few times where it doesn’t look like you’re thinking to yourself “hey girl, I am awesome” like some d-bag version of Ryan Gosling. And then you just had to be that guy who brought up the Ukraine in his acceptance speech. I thought Bono would be the first one to say that. Yes, the people protesting in Kiev are dreamers, but they are not dreaming of winning statutes shaped like naked gold dudes. If you want to be the man filled with zen inspiration, then start acting more like Matthew McConaughey and less like a rejected Entourage character. 

The Act of Killing Loses- I am sure that 20 Feet from Stardom is good and all, but it is not The Act of Killing, a documentary that is by far one of the most important films so far this decade. I guess the Oscars saw 12 Years a Slave and thought that they had honored enough brutally honest depictions of history for one lifetime. Sure, Darlene Love sang, and it was nice and everyone was happy about it. However, who knows what song Anwar Congo would have belted out on stage if only The Act of Killing had won.

How Do I Feel About This?

Kim Novak- Come on, guys. She’s 81-years-old. Lay off on the jokes about her frozen face and all of that. And if you are wondering who Kim Novak is, she starred in Vertigo. And she used to do respectable things like make out with Jimmy Stewart.

Leo Doesn’t Win- Like Leo really cares. At the end of the day, he’s still Leonardo DiCaprio.