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Comments on the Nominations

Best Picture
  • Elizabeth
  • Life is Beautiful
  • Saving Private Ryan
  • Shakespeare in Love
  • The Thin Red Line
    		•  Best Picture Shoulda-Been
  • Babe: Pig in the City
  • Beloved
  • Dark City
  • The Horse Whisperer
  • Pleasantville
    		•
    The three films expected to make it into the Best Picture category were in fact all nominated. Life is Beautiful, Saving Private Ryan, and Shakespeare in Love were all virtually guaranteed a nod. What is truly an unfortunate thing is that only one of the nominees made my top ten list (The Thin Red Line). That particular film was a shock, since it was doubtful the Academy would nominate two war films for the same year. But they did, and I am grateful for that, at least. As you can see from my own choices, they are completely different. I have yet to see Elizabeth, but I'm pretty sure it will pick up some steam at the box office, perhaps even coming back into theaters for another run. I'll be there this time... maybe I'll even change my mind (doubtful). Many of mine are quirky choices, since all five of them pretty much got ignored by the Academy. I guess we can't win them all.

    Best Director
  • Roberto Benigni, Life is Beautiful
  • Steven Spielberg, Saving Private Ryan
  • John Madden, Shakespeare in Love
  • Terrence Malick, The Thin Red Line
  • Peter Weir, The Truman Show

    		•  Best Director Shoulda-Been
  • George Miller, Babe: Pig in the City
  • Alex Proyas, Dark City
  • Robert Redford, The Horse Whisperer
  • Gary Ross, Pleasantville
  • Steven Spielberg, Saving Private Ryan

    		•
    This category matched up perfectly with the Directors Guild Awards nominations. Note to self: next year, remember Academy members can't think for themselves. Anyway, you can't deny that Spielberg did an incredible job with Saving Private Ryan, and I won't. His direction was astounding and sure-fire. It's definitely worth of the nomination. However, every other director nominated by me performed equally or above Spielberg, producing some of the most visually stunning films of the year. Dark City by auteur Alex Proyas is the absolutely most impressive film this year. Proyas deserved a nomination for his incredible film, but because it was so obscure, the Academy didn't bother. But that doesn't explain Gary Ross' snub, since it is obvious the Academy did watch his film. They also watched Miller's Babe: Pig in the City, awarding it one nomination (not for special effects, unfortunately). The Horse Whisperer received only one nomination as well (not for cinematography, unfortunately). While I must admit that I loved seeing Malick's name get a nomination, along with Peter Weir, I'm just a little disappointed that the best directors of the year weren't nominated. Weir, whose film The Truman Show got snubbed quite a few times, seems more of a consolation prize (much like Atom Egoyan's nomination in 1998).

    Best Actor
  • Robert Benigni, Life is Beautiful
  • Tom Hanks, Saving Private Ryan
  • Ian McKellen, Gods and Monsters
  • Nick Nolte, Affliction
  • Edward Norton, American History X

    		•  Best Actor Shoulda-Been
  • Jim Carrey, The Truman Show
  • John Hurt, Love and Death on Long Island
  • Ian McKellen, Gods and Monsters
  • Edward Norton, American History X
  • Rufus Sewell, Dark City

    		•
    While not an avid supporter of Jim Carrey in The Truman Show, I can not recall any outstanding performances by a lead actor. In fact, I even nominated one (Ian McKellen) purely based on his work in Apt Pupil since I have yet to see Gods and Monsters. But, I do believe his performance is one of the best of the year (I'm prejudging here, and hopefully I'm right). If the Oscars were handed out right now, I'd give it to Norton, whose performance marked that of a mature actor, growing in talent with every new film. He's been nominated before, but here he deserves a win. Sewell gave a very, very good performance but would not necessarily be considered for this category. However, I don't think another actor could have made the character of John Murdock come alive any better. Hurt was a big surprise when I saw the film. It's his best performance in a long time (humorously, his son William is nominated for a Best Supporting Actor... or at least by me).

    Best Actress
  • Cate Blanchett, Elizabeth
  • Fernanda Montenegro, Central Station
  • Gwyneth Paltrow, Shakespeare in Love
  • Meryl Streep, One True Thing
  • Emily Watson, Hilary and Jackie

    		•  Best Actress Shoulda-Been
  • Anne Heche, Return to Paradise
  • Julia Roberts, Stepmom
  • Meryl Streep, One True Thing
  • Emily Watson, Hilary and Jackie
  • Oprah Winfrey, Beloved

    		•
    Out of all of these, Julia Roberts is the one darkhorse. In fact, most everyone else picked Susan Sarandon. However, for me, Roberts held up the film to a more respectable level. When she cried, I cried. When she laughed, I laughed. It may be just the charisma of Roberts, but I think it was something more. Anne Heche is also questionable. I wasn't sure if she was up for Best Actress or Best Supporting Actress. However, her strong performance in the film forced me to place her in this category. She gave one of the best performances of the year. Streep was virtually guaranteed a nomination--doesn't she get one every year? But Emily Watson, so convincing as a woman plagued with multiple sclerosis, deserves this nomination. And the win, for that matter. Streep won't win, since she's won many times before. Blanchett may come off with the win, but it may be Paltrow who upsets the category. She's a talented woman... just not talented enough to make my own personal list.

    Best Supporting Actor
  • James Coburn, Affliction
  • Robert Duvall, A Civil Action
  • Ed Harris, The Truman Show
  • Geoffrey Rush, Shakespeare in Love
  • Billy Bob Thornton, A Simple Plan

    		•  Best Supporting Actor Shoulda-Been
  • Robert Duvall, A Civil Action
  • Jeremy Davies, Saving Private Ryan
  • Billy Bob Thornton, A Simple Plan
  • Joaquin Phoenix, Return to Paradise
  • Stephen Dorff, Blade

    		•
    Before you send your criticizing e-mail, I would like to explain. Most people would agree with four of the five nominees I have selected, but one, as they say, just doesn't belong. Stephen Dorff, however, gave one of the most memorable performances this year, giving us the year's most frightening and charismatic villain. Dorff is a true find, and deserves many more roles after this. While I wouldn't peg him for the award, he certainly deserves some accolades. Phoenix, the brother of River, stole people's hearts with a tragic rendition of a man on death row in Malaysia. Duvall and Thornton both received nominations, but it is Jeremy Davies who deserves the award. His performance is a stunning one, pulling us into the horrors of the war. Hopefully the reason he wasn't nominated was due to splitting. When the Academy voted for Saving Private Ryan, they may have split the votes amongst Tom Sizemore and Davies, thus cancelling both out. It's a shame too.

    Best Supporting Actress
  • Kathy Bates, Primary Colors
  • Brenda Blethyn, Little Voice
  • Judi Dench, Shakespeare in Love
  • Rachel Griffiths, Hilary and Jackie
  • Lynn Redgrave, Gods and Monsters

    		•  Best Supporting Actress Shoulda-Been
  • Joan Allen, Pleasantville
  • Kimberly Elise, Beloved
  • Scarlett Johansson, The Horse Whisperer
  • Lisa Kudrow, The Opposite of Sex
  • Thandie Newton, Beloved

    		•
    This category matched up with the Screen Actors Guild Awards nominations. It just goes to show that the Academy can never be depended on for independent thinkers. Anyway, I digress. Once in a blue moon, you will come across two performances in one film that both deserve recognition. It's just sad that every supporting actress I wanted to be nominated wasn't. Instead, Judi Dench received a nomination for her small and rather unimpressive role as Queen Elizabeth in Shakespeare in Love. Joan Allen (who incidentally received the OFCS' Best Supporting Actress award) was snubbed once again, thus placing her amongst the likes of Sigourney Weaver as 'the best actresses who could never win.' Johansson, giving the best underage performance of the year, stunned moviegoers with her tragic portrayal of a young girl whose dreams have been crushed right along with her leg. The three left, Kudrow, Elise, and Newton, are all outstanding. Kudrow was absolutely hilarious as a homey woman who is smarter than she looks. Elise kept the ending of Beloved in gear, making sure it never slowed down once. But it is Newton who gave the absolute best performance in any of the categories this year. She is stunning, and her performance will be remembered by this critic for a long, long time.

    Best Original Screenplay
  • Bulworth, Warren Beatty and Jeremy Pikser
  • Life is Beautiful, Vincenzo Cerami and Roberto Benigni
  • Saving Private Ryan, Robert Rodat
  • Shakespeare in Love, Marc Norman and Tom Stoppard
  • The Truman Show, Andrew Niccol

    		•  Best Original Screenplay Shoulda-Been
  • Antz, Todd Alcott and Chris Weitz
  • Pleasantville, Gary Ross
  • Dark City, Alex Proyas
  • Shakespeare in Love, Marc Norman and Tom Stoppard
  • The Truman Show, Andrew Niccol

    		•
    Bulworth was a very well-written film, but there were just too many better films this year. Antz is a remarkably funny film with a very smart screenplay. However, I'm rather questionable on this one myself, since the screenplay may have been just Woody Allen's improv instead of the screenwriters' own material. Dark City, the best original screenplay of the year, was once again snubbed by the Academy. This just solidifies the theory that Academy voters dislike the science fiction genre (last year's snubbing of Contact is further proof). That said, the other three nominated completely deserve the nominations they got. Out of all of them, my money is on Shakespeare in Love, since you know how much the Academy just loves period pieces. They won't go with Life is Beautiful since they will be rewarding that film with a Best Foreign Film award. As for The Truman Show, it may come away with the win, considering it was pegged for multiple nominations and only got a couple. If anything, it does have a very good chance here. Gary Ross' Pleasantville was extremely good as well, but didn't garner any Academy attention at all. Seems the deconstruction of conservatism depicted in the film was offensive to the Academy... I wonder why.
    Best Adapted Screenplay
  • Gods and Monsters, Bill Condon
  • Out of Sight, Scott Frank
  • Primary Colors, Elaine May
  • A Simple Plan, Scott B. Smith
  • The Thin Red Line, Terrence Malick

    		•  Best Adapted Screenplay Shoulda-Been
  • Beloved, Adam Brooks and Akosua Busia
  • Out of Sight, Scott Frank
  • The Horse Whisperer, Richard LaGravenese and Eric Roth
  • A Simple Plan, Scott B. Smith
  • The Thin Red Line, Terrence Malick

    		•
    Not having seen Gods and Monsters, I will not pass judgment. Instead, I will remove it for my choices, which are rather half and half. The Academy did a great job here, and many critics agree. This may be the most solid of all the categories. Unfortunately, the exclusion of both Beloved and The Horse Whisperer is inexcusable. Both improved upon their written versions--even Toni Morrison had to watch Beloved several times before she understood it. In fact, The Horse Whisperer is aided by the best cinematography to grace the silver screen since Fincher's The Game. Why it wasn't nominated is beyond me. Out of Sight's screenplay was a great adaptation of the Elmore Leonard novel, as was Malick's adaption of The Thin Red Line. This is a hard category to choose from, but my guess is the Academy will choose to award Malick with this Oscar, since he probably won't receive anything else. He doesn't necessarily deserve it, but he's the best of the five nominated.
    Best Foreign Film
  • Central Station, Brazil
  • Children of Heaven, Iran
  • The Grandfather, Spain
  • Life is Beautiful, Italy
  • Tango, Argentina

    		•  Best Foreign Film
  • The Celebration, Denmark
  • Life is Beautiful, Italy
  • Run Lola Run, Germany
  • ???
  • ???

    		•
    Okay, first off, I have not seen many foreign films this year. I hardly get to see any at all, since foreign filsm don't tend to play well here in Utah, and thus never get shown. Only one of my choices was actually nominated, and of course, it is the front runner in the category. Life is Beautiful will win this award, hands-down. No argument about it. Unfortunately, it is not the best. Run Lola Run, quite possibly the most energetic and frantic piece of filmmaking this year, wasn't seen by many people. But those that did see it witnessed a great piece of art, propelling it to win the Audience Award at the Sundance Film Festival for World Cinema. No film this year has made my blood rush with such frenzy. It was like being on a roller coaster without seeing where the track goes. Expect Benigni's film to get it, but Run Lola Run is the true Oscar winner in my book.
    Best Cinematography
  • A Civil Action
  • Elizabeth
  • Saving Private Ryan
  • Shakespeare in Love
  • The Thin Red Line

    		•  Best Cinematography
  • A Civil Action
  • Dark City
  • The Horse Whisperer
  • Saving Private Ryan
  • The Thin Red Line

    		•
    This is the one category that irks me the most. It is downright appalling in fact. First off, I would like to say that this is the only Oscar category that Bride of Chucky was available for in my book (and it almost made it). It had some of the most incredible images this year. But the five I've chosen were better, since the films were more respectable. How in hell did Shakespeare in Love land this nomination? My bet is that the voters just didn't even care. Cinematography, however, is the most important technical aspect of any film in my book. It just is. And to give it to Shakespeare in Love which was okay at best (we're talking cinematography, not overall quality), well... I can't explain my rage. The Horse Whisperer, which received one nomination for Best Song, is the year's most beautiful film. The cinematography (nominated by the American Society of Cinematographers) is absolutely stunning, capturing some of the most indelicable images this decade. This is a travesty... it's a rude awakening to realize that the Academy doesn't have a wide range of taste. Robert Richardson, the man who won the Oscar in 1991 for JFK, does a complete 180-degree turn. Instead of using all sorts of different film stocks and angles, he captures the magnificent beauty of nature in subtle and startling ways. Just watching a horse running through the snow is an incredible sight to behold. Oh, and the other films were great too.

    Best Film Editing
  • Life is Beautiful
  • Out of Sight
  • Saving Private Ryan
  • Shakespeare in Love
  • The Thin Red Line

    		•  Best Film Editing
  • Babe: Pig in the City
  • Dark City
  • Pleasantville
  • Saving Private Ryan
  • The Thin Red Line

    		•
    Best Art Direction
  • Elizabeth
  • Pleasantville
  • Saving Private Ryan
  • Shakespeare in Love
  • What Dreams May Come

    Best Makeup
  • Elizabeth
  • Saving Private Ryan
  • Shakespeare in Love

    Best Costume Design
  • Beloved
  • Elizabeth
  • Pleasantville
  • Shakespeare in Love
  • Velvet Goldmine

    Best Sound
  • Armageddon
  • The Mask of Zorro
  • Saving Private Ryan
  • Shakespeare in Love
  • The Thin Red Line

    Best Sound Effects Editing
  • Armageddon
  • The Mask of Zorro
  • Saving Private Ryan

    Best Visual Effects
  • Armageddon
  • Mighty Joe Young
  • What Dreams May Come

    Best Original Score (Dramatic)
  • Elizabeth, David Hirschfelder
  • Life is Beautiful, Nicola Piovani
  • Pleasantville, Randy Newman
  • Saving Private Ryan, John Williams
  • The Thin Red Line, Hans Zimmer

    Best Original Score (Musical or Comedy)
  • A Bug's Life, Randy Newman
  • Mulan, Matthew Wilder, David Zippel, and Jerry Goldsmith
  • Patch Adams, Marc Shaiman
  • The Prince of Egypt, Stephen Schwartz and Hans Zimmer
  • Shakespeare in Love, Stephen Warbeck

    Best Original Song
  • "I Don't Want to Miss a Thing" from Armageddon
  • "The Prayer" from Quest for Camelot
  • "A Soft Place to Fall" from The Horse Whisperer
  • "That'll Do" from Babe: Pig in the City
  • "When You Believe" from The Prince of Egypt

    Best Animated Short Film
  • Bunny
  • The Canterbury Tales
  • Jolly Roger
  • More
  • When Life Departs

    Best Live-Action Short Film
  • Culture
  • Election Night (Valgaften)
  • Holiday Romance
  • La Carte Postale (The Postcard)
  • Victor

    Best Feature Documentary
  • Dancemaker
  • The Farm: Angola, U.S.A.
  • The Last Days
  • Lenny Bruce: Swear to Tell the Truth
  • Regret to Inform

    Best Short-Subject Documentary
  • The Personals: Improvisations on Romance in the Golden Years
  • A Place in the Land
  • Sunrise Over Tiananmen Square