As I did last year, once again I’ll present my predictions for who’ll win the Oscar’s in the major categories, as well as you I believe should win as a little side-note. I shall do so once again, by commencing this listing for my prediction in the Best Original Screenplay Category.
Best Writing (Original Screenplay)
Should: I might have not loved the film as I watched it but there’s no denying it’s the most original film of the year. Despite not loving it, I admire the genius creation Yorgos Lanthimos weaved together with The Lobster. The world he was able to create was one of malicious wonder and unexpected surrealism for this day and age. Lanthimos elegantly constructed the closest film we’ll ever get to Buñuel masterpiece in today’s cinematic landscape and for that reason he should be honored with this golden statute.
Will: Unfortunately for the Lanthimos, there’s a tornado who’s ravished every other award’s show also attending The Oscar’s, Damien Chazelle. Curiously enough I’m not taking Chazelle as my pick for the winner and going for someone who I believe to be going unnoticed in this race, Kenneth Lonergan. Lonergan has been nominated twice before in a writing category and I believe the third time to be the charm. Plus there’s also the fact that Manchester by the Sea is a beautifully constructed story despite its harrowing material. The way Lonergan plays with time and brings about that revelation at right the exact moment in the story works perfectly, his script is a work of genius and that’s why I believe he’ll win this category.
Best Writing (Adapted Screenplay)
Should & Will: This is a case where I find myself rather conflicted, forced to pick between my personal favorite film of the year (Arrival) and the most perfectly crafted film I viewed from last year (Moonlight). They’re both masterpieces in their own right and the since they haven’t been commonly placed in the same writing category in previous awards show I’m clueless as to who will win between these two. I’ve I was forced to wager on it I’d have to go with Moonlight because I believe the Academy will try to recompense it not winning the ultimate statute by awarding it as many as they can in other categories, kind of how they gave Mad Max countless technical awards last year instead of giving it the Best Picture prize. But, if either Moonlight or Arrival take this home tonight I’ll be as happy as can be.
Best Music (Original Score)
Should: Mica Levi is someone you need to keep your eye on. First, she spellbound audiences with her terrific score for Under the Skin and her next projects involve bringing to life an unmade masterpiece through the power of music as well as Rooney Mara anchored musical with Brady Corbet directing. Now, as for the reason she should win this year, it’s simple, she composed the best score of the year with her haunting score for Pablo Larraín’s Jackie. This is a score that gave chills whenever it played in the film, one that haunts me and fit so perfectly with the film I would undoubtedly give it the trophy it deserves if I were in charge of the Oscar’s.
Will: Justin Hurwitz for La La Land, I mean is there really any wiggle room for anyone else to win. It’s a musical, it’s a film that tied for the most Oscar nominations ever, it’s a film that glorifies L.A. and it’s primed to break the record for most Oscar wins by a film ever, it’s most definitely taking this award alongside another 11 statutes that will handed out with its name.
Should: As I stated before, Moonlight was the most perfectly crafted film of 2016 and Barry Jenkins is the man who should be celebrated for such an endeavor. He crafted an important film about race, identity, and sexuality and submersed it in the gorgeous aesthetics of Wong Kar-Wai, making for a deeply riveting emotional experience like no other. Moonlight is a proud and profound film and that’s thanks to the genius Barry Jenkins assembled, the genius he should given this award for.
Will: Once again, there’s comes the awards-hurricane Damien Chazelle, sweeping this award away. It’s not that he’s undeserved of the award because he crushed it in La La Land and I loved the film, but what Jenkins did with Moonlight is on another level, he was able to depict his sensibilities on racial and sexual matters beautifully onto the big-screen, and as great as Chazelle’s musical about L.A. is, it’s simply not as affecting as Moonlight.
Should & Will: Once again, this is another category I feel conflicted about, so I’ll go purely based on my betting instinct and once again claim La La Land as the winner of this category. The tricky thing with this category for me in this case is that I respect what every cinematographer was able to this year equally. I believe everyone did something truly remarkable in the real of camera-work, the only exception being Rodrigo Prieto’s cinematography in Silence which I can’t judge because I have yet to watch Silence. Nevertheless, I also heard his work in that is breathtaking, as is Laxton’s use of self-conscious camera in Moonlight, the way Greig Fraser set the mood through his lens, Bradford Young’s Malick-like take on aliens and the dream-like veil Linus Sandgren is able to cover over L.A. Everyone did a fantastic job this year and its only because of my betting instinct that I’ll choose Sandgren this time.
Best Animated Feature
Should: Kubo and the Two Strings, now this is a film that blew me away. The amount of work, visual effects, and craftsmanship that went into making this film astonishes me. I still can’t wrap my head around how they were able to film that entire boat sequence, combining stop-motion action with the restlessness of the waves in a tempest. Plus, the story Laika developed is also awesome, a true hero’s journey every kid should watch, a stop-motion epic. Not only is this film a technical marvel, but it also has an incredibly fun story that’s deserving of this award.
Will: Moana, with Pixar out of the race, it’s got to go Disney Animation’s biggest project of the year. The story although extremely similar to films they’ve made in the past is still a beautiful kids movie that promotes female empowerment. I won’t have any issues when Clements and Hall are called on-stage, but I would’ve preferred Travis Knight going up there and celebrating the greatness of Kubo and the two Strings.
Best Actress in a Supporting Role
Should & Will: This one is fairly easy considering the fact that the only reason this person is in this category is for an assured win. Viola Davis commands the screen with a fierce bravado unlike anyone else in this category. This category is essentially guaranteed and if Viola Davis doesn’t win, I’m really curious as to how film-fans will riot.
Best Actor in a Supporting Role
Should & Will: First off, I’m really confused about the decision to include Dev Patel in this category because it doesn’t work in his favor like it does for Davis and it’s simply illogical. With that out of the way, as much as I loved both Shannon and Bridges’ portrayals of Southern officers and would love it if any of them one, Mahershala Ali is taking this one. Ali has had a hell of a year and his performance in Moonlight is an extremely nuanced anfd complex performance worthy of the award. He has been wining basically every award to date and I don’t think there’s any way around it, Mahershala Ali will take this award home as if it were pre-ordained by faith.
Best Actress in a Leading Role
Should: I have to admit I’m lacking the research to do a valuable assertion for who I believe should take the award in this category tonight. I truly don’t know, from what I’ve heard, it should go to Isabelle Huppert for Elle but I can’t asses without having watched Elle. Based on my previous knowledge of Huppert, I’d believe this statement to be true because she’s an insanely talented actress, but having watched Jackie I’ll also back up Natalie Portman for inhabiting the persona of Jackie Kennedy and delivering on an amazing portrayal of grief. This is the category I find myself most indecisive about who should win and that’s why I’ll just rapidly jump to my next segment, regarding who will win.
Will: I’ve run out of fierce natural forces to compare La La Land to, so I’ll just say it, Emma Stone is taking the trophy tonight.
Best Actor in a Leading Role
Should & Will: Like the Best Adapted Screenplay Category, this is yet another category where I’m split down the middle regarding the “who” behind the will and should. The two people I find myself conflicted between are Viggo Mortensen and Casey Affleck. Maybe it’s because Viggo Mortensen’s performance in Captain Fantastic has had more time to sink into my mind, but after watching Affleck’s turn as Lee Chandler a couple of nights ago I was heartbroken. Affleck does such an incredible job in portraying a tortured soul it’s actually quite scary. Meanwhile, Mortensen does something similar within the quirky intellectual habitat of Captain Fantastic. Both of them present radically different perspectives on dealing with grief, but they both do so in such a tremendous way I’ll be happy if any of these guys takes the statute tonight.
Should: On pure preferential value I’d say Arrival, but as a human being living in the U.S.A. today, I have to go with Moonlight. What it would mean for a film that deals with sexual and racial identity win the Best Picture trophy is beyond my words to define. That win would be monumental and as much as I love La La Land, Moonlight needs to win this.
Will: It’s La La Land, there’s on way around it, let me quote what I said earlier, ” It’s a musical, it’s a film that tied for the most Oscar nominations ever, it’s a film that glorifies L.A. and it’s primed to break the record for most Oscar wins by a film ever,” is there anything that Hollywood would pick over this, the answer is no. No one can stop the behemoth that is La La Land when it comes to awards show and the Oscar’s will be no different, with La La Land taking the ultimate prize home.