The Big, Epic, Academy Awards Rundown!
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The Big, Epic, Academy Awards Rundown!

Give me that gold.

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The Big, Epic, Academy Awards Rundown!
Cinema De Buteco

One of the requirements of being my roommate, my girlfriend, my friend, my pet, or even my mailman is that you must love movies. To some, the answer to the question "what is your favorite movie?" is a first date ice-breaker. To me, the answer to that question very well dictates if the conversation blossoms into something beautiful, or justifiably dies along with any hope I had for you as a human being. I once knew somebody who vocally expressed his love for "Look Who's Talking Too" as his favorite movie, and while I do find his lack of understanding for irony adorable, I also am super glad I do not work with his person anymore. (He also made cooing sounds as he licked stamps so hating him for his movie taste was only about eighty percent the problem.)

My point is this: I love to celebrate films and the artists creating them. It's a practice that needs appreciation as filmmakers put their blood, sweat, and tears (occasionally for real) into a product that risks so much and puts reputations on the line purely for our entertainment. Fortunately, every year we rely on The Academy Awards--aka Oscars--to celebrate this concept. While the ceremony is overlong, pretentious, and is far more concerned with being political rather than, you know, being a movie awards show, the ceremony is still a lot of fun to watch and a legitimate event for myself and the people in my life.

So, because I am human garbage, for the past six years, I have vowed to watch every single nominee in every single category to fully prepare for the ceremony. Oh yes, you read that correctly. Not just Best Picture or Best Animated Feature Film. Every single nominee that is represented in this year's ceremony has scrolled past my eyeballs in a process that is borderline masochistic. Weeks worth of content had to be viewed and analyzed in order to make this ceremony happen, and unlike Academy voters, I don't slack off. Except for when I got distracted during Best Foreign Language Film nominees by a friend sending me extra Candy Crush Saga lives. (Thanks Dawn for remaining the only person left alive that still plays that game with me.)

Anyhoo, the following list is dedicated to my brief thoughts and predictions on every. single. category. that will be featured in this year's 89th Academy Awards. Enjoy!


BEST ORIGINAL SONG

What Should Win: "How Far I'll Go" ("Moana")

Whatever your thoughts are on "Moana" itself, it is scientifically proven that it is impossible to not fall in love with the film's music. In such an incredible soundtrack, "How Far I'll Go" stands out as a significant high point. While I would prefer "You're Welcome" to be the Academy's selection for the film, "How Far I'll Go" still succeeds at being one of the best songs 2016 ever saw. Musically, there is so much going on here. With a large amount of instruments being put to use, new discoveries upon repeat listenings is guaranteed. The lyrics serve as a wonderful introduction to our titular character and actress Auli'i Cravalho has a commanding voice that transforms these admittedly simplistic lyrics into an anthem for anyone longing for adventure. And the song's placement in the film works perfectly to push audiences into the second act of this character's story. Everything about this song works and the amount of road trips friends and I have taken while jamming to this song proves that this song isn't going anywhere anytime soon.

What Will Win: "City of Stars" ("La La Land")

The unstoppable force that is "La La Land" makes its first appearance on this list right away. It seems as if everybody loves this movie, and as you will quickly realize throughout this article, I am not one of those people. In a collection of songs ranging in quality, "City of Stars" stands out as the worst one of the bunch. The melody is repetitive and monotonous, waiting only until the bridge to attempt doing anything differently. Emma Stone and Ryan Gosling also falter quite a bit with strained vocals. It's not a knock on them--I personally love the two of them and know for a fact that they are more talented than I am--but in a film praised for its impressive music, the fact that this was the song that won the Golden Globe and will probably win the Oscar is shocking. Maybe it's because the lyrics of "City of Stars" perpetuate the main spirit of the film, but lyrics make up only one singular aspect of a song. Heck, even "Audition (The Fools Who Dream)" is a far superior song. Why that wasn't originally nominated while "City of Stars" won is perplexing to say the least.


BEST DOCUMENTARY SHORT SUBJECT


What Should And Will Win: "The White Helmets"

Telling the real life stories of a group called The White Helmets, the group voluntarily runs into areas leveled by bombs in Alepo to retrieve victims trapped under the rubble. Right from the opening scene, "The White Helmets" is frightening and heart wrenching. The camera does not shy away from children crying over their parents' corpses, or newborn babies being buried under destruction. However, this documentary chooses to shine a light on the true heroism these men embody and the sense of unity when a community is decimated by tragedy. The White Helmets are meer volunteers, desperately wanting to help fix a broken world. Watching these men risk their lives to save complete strangers is truly heroic. While there are tough images to swallow here, the film is immensely satisfying and truly believes that good is found in all men. "The White Helmets" is an inspiring and emotionally overwhelming documentary that deserves the gold.


BEST DIRECTOR

Who Should Win: Mel Gibson ("Hacksaw Ridge")

This category was very difficult to pick. Every single film nominated in this category was helmed by a true film-making master so picking just one to win is an impossible task. Choosing one director over another is like picking which of my illegitimate children I'd rather stand in line for at the welfare office. "Hacksaw Ridge" just happened to be my favorite movie of the year (with "Arrival" at a unbelievably close second) and a lot of it is dedicated to perfect direction. Say what you want about Gibson as a person, but there is no denying that the man can make a film. Mr. Gibson pulled award-worthy performances out of every single member of his cast, choreographed the most terrifying, brutal, and grisly war sequences since "Saving Private Ryan," and presented a truly powerful and immensely satisfying story for the ages. With any other director, this movie would not have worked as well as it did, but Gibson knew how powerful his source material was and he went to great lengths to present it in the right manner.

Who Will Win: Damien Chazelle ("La La Land")

In one of only three categories I am okay with "La La Land" beating its competition, Damien Chazelle will take home the title. While "La La Land" does fall on its face early on, you cannot deny the incredible lengths Chazelle went to tell his story. Glorious long takes with plenty of camera movement, gorgeous production design, and solid direction to upwards of hundreds of dedicated extras make Damien Chazelle the clear front runner. I may not be a fan of the movie he made, but boy am I a fan of him. Especially after his previous masterpiece "Whiplash." Damien Chazelle has a long career ahead of him, and I am beyond excited to see where he takes us next.


BEST ANIMATED SHORT FILM

Who Should And Will Win: "Piper"

Before I dive into just how much I love this short, I must give a shoutout to competing short "Pearl." "Pearl" is the first ever virtual reality project to be nominated for an Academy Award. It's a 360 degree experience that truly deserves this award... had "Piper" not been released the same year. Check out "Pearl" whenever you get the chance to see something revolutionary, but if you're in the mood for something that projects pure euphoria, "Piper" is your best bet. I genuinely don't even know where to begin here. Should I start at how breathtaking the animation is? How about Adrian Belew and Jake Monaco's moving musical score? What if I just mentioned how this short nearly moved me to tears of joy and leave it at that? Academy voters, I know you're reading this article and are absolutely captivated by what I have to say. Please give this short the victory. In fact, name a whole category after it. Rename the entire ceremony the Pipers. Literally anything to give this film the recognition it deserves.


BEST ORIGINAL SCORE


Who Should Win: Thomas Newman ("Passengers")

Much like Best Director, this category was impossibly difficult. Not only are all of the scores audible ecstasy, these scores all stay to one singular tone--something the Academy tends to grant victory rather than the more elaborate ones. The reason Thomas Newman deserves this victory is because this is now his fourteenth consecutive nomination and no win. The man is responsible for some of the most gorgeous film music ever written and he still has yet to receive the victory he deserves. His trademark experimentation combined with beautiful strings more often than not becomes the stand out element of whatever film he works on. "Passengers" was nothing to write home about, but his atmospheric score was.

Who Will Win: Justin Hurwitz ("La La Land")

Honestly, Hurwitz's score isn't the problem with "La La Land." In fact, it is one of the few things that actually succeeds. Most of the musical numbers are actually quite great but plagued with irritating lyrics and vocals that ruin an otherwise perfect piece of music. The best part of "A Lovely Night" is the song's second half when the vocals stop and the music kicks in. The same can even be said for whenever people stop singing in "Another Day of Sun" and just let the trumpets carry on. The main score, however, is pretty terrific. Montages in the film are perfectly accompanied by his amazing score and while I might be a bit upset that Thomas Newman doesn't take home the win--again--I could be okay with Hurwitz winning.


BEST ORIGINAL SCREENPLAY


Who Should and Will Win: "Manchester by the Sea" by Kenneth Lonergan

"Manchester by the Sea" is a film that relies on two things- darn good performances and a darn good screenplay. Every word uttered in this film has a purpose. Every page features a significant emotional punch. It is a layered screenplay that requires viewers to be patient and wait for the answers and revelations to come, all while diving deep into the psyche of its characters. There really isn't any denying that Kenneth Lonergan has this category in the bag.


BEST ADAPTED SCREENPLAY


Who Should and Will Win: "Moonlight" by Barry Jenkins

To reiterate, I simply cannot emphasize just how much I love "Arrival" and its screenplay, but as brilliant as it is, "Moonlight" effortlessly nails certain aspects about the human experience--and it's all thanks to its screenplay. To those unaware, "Moonlight" is a three part story--childhood, young adult, and adult--about the life of Chiron. As the movie progresses and as Chiron grows older, Chiron realizes just how past experiences can shape and mold us into individuals with unique heartbreaks, dreams, and self identification. The wonderful thing about this screenplay--and the film itself--is while "Moonlight" goes to heavy places, the film is above being preachy or obvious. All of these intense themes are subtle and irrelevant, culminating in a mindset viewers might not even realize they had until long after the credits roll. Barry Jenkins' screenplay is a powerful and honest look into not just the life of Chiron, but what it means to exist. We live, we learn, we die. Barry Jenkins succeeded in layering a simple story with overwhelming complexity and that is why he deserves this win.


BEST SOUND MIXING

Who Should and Will Win: Andy Nelson, Ai-Ling Lee, and Steve A. Marrow ("La La Land")

In terms of technicality, "La La Land" is astonishing. It is an unprecedented work of technical achievement that intentionally and voluntarily imitates the limitations Old Hollywood had to overcome with limited resources. The sound mixing in this film is just one of the examples of what happens when insane people decide to get creative. I cannot even imagine the time spent splicing audio together in just one of the many long takes this film shows off. Just the opening musical number "Another Day of Sun" features dozens of extras slamming car doors, hitting pavement, honking horns, and peddling bikes all while singing simultaneously. It must have been a horrifying nightmare to edit all of these different noises together into different channels but the team behind "La La Land" pulled it off. A good sound mixer is supposed to go by unnoticed, and somehow, Nelson, Lee, and Marrow used their invisibility to become noticeable. Give these guys all of the awards.


BEST ACTRESS IN A LEADING ROLE

Who Should Win: Natalie Portman ("Jackie")

Not only must Natalie Portman give an emotionally demanding role as a wife who just lost a husband, a mother who no longer has her children's father, and a woman losing a significant amount of power she once thrived in, Portman must also counter that emotional damage behind a brave face and a powerful posture. Also, she is in every single scene in the movie. ALSO, she must deliver a spot-on spectacularly difficult Jackie Kennedy impression to go with this layered performance. It sounds like an impossible feat to any of us normal people, yet Natalie Portman bravely, boldly, and confidently delivers the single best lead performance of not just a female this year, but arguably any performance from both male or female. Her reserved grief is complimented nicely by her subtle mannerisms that truly seems as if the real Jacqueline Kennedy has been reanimated. While most performances attempt the "GIVE ME MY OSCAR" scene with screaming, sobbing, and furniture being thrown, Natalie Portman does not have that luxury. Her powerful performance must rely on an impression, a commanding screen presence, and the idea that her whole world is crumbling around her. Natalie Portman deserves this Oscar as it will recognize possibly the single greatest performance of the entire year.

Who Will Win: Emma Stone ("La La Land")

I am head over heels in love with Emma Stone. Her down to Earth personality mixed with an indisputable talent makes her one of the most enjoyable to watch entertainers we have working today. However, I am not crazy about this performance. Is she good? Absolutely. Is she more deserving than Natalie Portman? Not even close. This is one of those cases where the Academy nominates everybody involved just because they love the movie they made rather than actually deserving it (Just you wait--I'm going to rip into Ryan Gosling's performance later on.) Emma Stone is a delight to watch, but since she delivers a reserved performance up until the film's climax, it is a pity that all of "La La Land," her character is nothing more than "charming, aspiring actress" rather than a character we can actually care about and connect with. This isn't Emma Stone's fault, of course, she just happened to get saddled with a one dimensional character and then asked to reserve all emotion until the third act. I want Emma Stone to win on the basis that I love her. I want Natalie Portman to win on the basis of quality performance.


BEST FOREIGN LANGUAGE FILM

Who Should and Will Win: "A Man Called Ove"

In "A Man Called Ove," an old man--called Ove--is fed up with life. His recently deceased wife was his entire world and without her, Ove accepts that his life purpose has expired. In the beginning the film, we see Ove try multiple times to commit suicide but he's interrupted every single time by either a neighbor, a passerby, or even the neighborhood stray cat. As Ove adjusts to his frustrating destiny of staying alive, some kindly new neighbors move in next door and attempt to befriend him. While Ove initially writes them off, the family is able to break down Ove's hardened walls and begin to expose Ove to the beautiful world he was ready to leave behind.

It is quite a shame it took me until the Oscar nominations announcement to hear of this film for the first time as "A Man Called Ove" is one of the greatest films of the entire year. Not only is this film laugh out loud hysterical but the story is spectacularly heartwarming and poignant. The acting is also exceptional, especially from Rolf Lassgard as the titular Ove. His performance is dynamite as a broken old man who has forgotten how to love. When he hurts, we hurt. When he smiles, we smile. And when he ultimately faces the climax with happy tears, we are right there along side him. "A Man Called Ove" is a spectacular crowd-pleaser unlike any other. Get over your distaste for subtitles and give this one a watch.


BEST COSTUME DESIGN

Who Should Win: Colleen Atwood ("Fantastic Beats and Where to Find Them")

In the world of cinematic clothing, Colleen Atwood is a god. She has won three Academy Awards for her work in costume design out of the twelve times she has been nominated. You've seen her work in a lot of big budget films that tend to incorporate fantasy elements or just general epic-in-scope feels; films like "Alice in Wonderland," "Into the Woods," "A Series of Unfortunate Events," and "Sweeney Todd: The Demon Barber of Fleet Street." Atwood is an easy one to spot due to her signature trademark designs and more often than not, she'll be found nearly every year at the Academy Awards. Her creativity is limitless, and when you combine that creativity with historic 1920's New York City, you have a collection of costumes that are pure eye candy. Colleen Atwood's brilliant eye for fictitious fashion combined with J.K. Rowling's wizarding world vision, and Stuart Craig & Anna Pinnock's production design (more on them later), makes this a well deserved twelfth nomination.

Who Will Win: Mary Zophres ("La La Land")

I really don't have anything to say about this one. For ninety percent of the movie, these characters are dressed as normal people of the modern era. Only in the musical numbers (which are scarce to begin with) does Zophres' work become noticeable. Even then, the costumes are still simple just very colorful. I guess the colors pop but if having moments of colorful visuals justifies an Academy Award, then take hallucinogenic drugs and wait until your Academy Award is presented to you. Probably by Randy Newman riding a dinosaur.


BEST CINEMATOGRAPHY

Who Should Win: Bradford Young ("Arrival")

Just look at that shot. Do I really need to say more? I guess since this award will go to someone else, I do have to state my case to people that don't view this film as the painting that it is. Three of the most gorgeous shots I have seen in any movie ever are found in the first twenty minutes of this movie. One actually being in the film's first two minutes. (Amy Adams walking down the hospital hallway had me drooling in the theater.) The film doesn't rely on impressive shots like this to earn its nominations, however. Even in the smaller, intimate moments, a shallow depth of field is used to fully encapsulate the claustrophobic tensity of the crazed emotions. The large wide shots are used to fully convey the epic scope of the frightening situation at hand. Bradford Young knocked it out of the park with his work on "Arrival," but even cooler is Young's contribution to history. With this nomination, Bradford Young is now the first black American to ever be nominated for the Cinematography award. For both historical purposes and quality itself, Bradford Young deserves this win. While Rodrigo Prieto's work on "Silence" is absolutely acknowledged and appreciated as a second place victory in my mind, Bradford Young ranks among champions.

Who Will Win: Linus Sandgren ("La La Land")

*sighs* Can anybody tell me the difference between great cinematography and the use of long takes? Someone remind Academy voters. While there may be one or two stand out sequences in "La La Land," a large majority of these "amazingly filmed" sequences really only rely on the camera filming a bit longer than a normal take. "A Lovely Night" is an impressive sequence because of Emma Stone and Ryan Gosling performing a complicated dance number in one take, not because the camera stays on them for a long time. Forgetting long takes, this film is praised as a gorgeous, sweeping, epic musical. However, am I the only person that remembers the entire second half in which the music stops and the film becomes a boring, predictable drama with Emma Stone and Ryan Gosling just kinda... talking? Half of the scenes in this "gorgeous, sweeping, epic musical" are not filmed in any kind of special way because the film doesn't need them to be. The difference between the dialogue sequences in "La La Land" as opposed to the dialogue sequences in "Arrival" --of which there are far more, by the way-- is that the dramatic sequences in "Arrival" felt so much more alive. I know what you're thinking, "you cannot film dining room arguments about selling out your dreams in a beautiful or interesting way" and to that I say yes you can. It doesn't need to be noticeable, it just needs to be something different than camera A, reverse shot, camera B. Lighting, movement, and direction all need to be taken into account when framing a shot. You cannot justify lazy cinematography because of the long takes prior. It's lazy filmmaking and it's something "La La Land" does far too much of to be nominated.


BEST ACTOR IN A SUPPORTING ROLE


Who Should and Will Win: Mahershala Ali ("Moonlight")

I know there are words to describe this performance, but I currently lack the awareness of them. It was mandatory for this character to be played by a capable actor as this character is integral to the story's progression, and Mahershala Ali stepped up to the plate. To give a light warning, Ali is not in the film for long, only lasting a few scenes here and there, but my goodness does he steal every moment of the stuff he is in. This is a quiet character study determined to be a role model for another quiet character study. As mentioned before in the Adapted Screenplay category, "Moonlight" makes no attempt at ignoring character mannerisms and it took truly genius actors to agree. Mahershala Ali's Juan is such a warming and comforting presence to little Chiron--or Little as he likes to be called--and to us the audience. His role in the story is oh so important and Mahershala Ali fully understood by giving this character the amazing performance it deserved.


BEST ANIMATED FEATURE FILM

What Should Win: "Kubo and the Two Strings"

Laika stands as the true titan of animation studios. After masterpieces like "Coraline," "Paranorman," and now "Kubo and the Two Strings," Laika has shown competence as a studio worth investing some time in. "Kubo and the Two Strings" only furthers the studio's reputation as an animation marvel with specific attention to detail, mature storytelling, and some of the most fun you'll have in a theater all year. Dario Marianelli's enchanting musical score compliments the epic animation--seriously, it might be the greatest animated film of all time--to deliver one of the most exciting cinematic experiences of 2016. According to the box office, there might be a chance you never saw this film, so please fix that error quickly. Also, marathon Laika's other films if you have some time. You're in for a fun afternoon.

What Will Win: "Zootopia"

"Zootopia" was the really clever Disney movie everybody and their mother saw this year about the bunny rabbit the internet thought was hot for some reason. While I might not be crazy about this film the way the rest of the world was--I'd actually put "Moana" above "Zootopia"--I cannot deny that this is well done film that tackles some delicate, relevant hot topic issues in a mature way. We all know that this is the one that's gonna take the crown, so let's move on. We still have quite a ways to go...


BEST VISUAL EFFECTS

Who Should and Will Win: ??????????

Yeah, this is gonna be a first. We are at a point in time where computers can create such stunning imagery, the line between reality and cartoon seem to blur. All of the nominees in this category feature some of the most outstanding visual effects ever rendered and picking just one is an impossible task. In my opinion, the race really boils down to Robert Legato, Adam Valdez, Andrew R. Jones and Dan Lemmon for "The Jungle Book," Stephane Ceretti, Richard Bluff, Vincent Cirelli and Paul Corbould for "Doctor Strange," and John Knoll, Mohen Leo, Hal Hickel and Neil Corbould for "Rogue One: A Star Wars Story." Those three are the main front runners. The math points to "The Jungle Book" as being the one to bring home the victory, but I wouldn't be so quick to dismiss "Rogue One: A Star Wars Story" either. We'll just have to see!


BEST SOUND EDITING


Who Should and Will Win: Robert Mackenzie and Andy Wright ("Hacksaw Ridge")

When "Hacksaw Ridge" begins its Oscar re-release campaign, I implore you to see it in theaters. Seeing, hearing, and feeling "Hacksaw Ridge" in a theater is the only way to truly experience everything it has to offer. The war scenes are some of the most immersive battle sequences ever committed to film and a large reason why is because of its incredible use of sound. Bullets seem to whiz right by your head while footsteps encroach on all sides. Robert Mackenzie and Andy Wright unapologetically put audiences right in the middle of this hellish environment and leave them there until the end credits. "Hacksaw Ridge" is the most recent example of just how important sound is in a film and Mackenzie and Wright need to be rewarded for it.


BEST MAKEUP AND HAIRSTYLING


Who Should and Will Win: Joel Harlow & Richard Alonzo ("Star Trek Beyond")

This is a clear victory as the competition in this category is very weak. "A Man Called Ove," while an amazing film, does not utilize hair and makeup the way these other two films did, and something about calling "Suicide Squad" an Academy Award winner just sounds hilarious to voters. Even without the weak competition, Joel Harlow & Richard Alonzo just have this in the bag. The creatures found in this film were wonderfully imaginative and it took true artists to bring them to life. Not only did it take crazy imagination, but the fifty creatures these guys were assigned to create also took a crazy amount of hard work, long hours, and a gratuitous amount of latex. To completely originate over fifty brand new creature designs is astonishing enough. To then bring them to life is just insane.


BEST PRODUCTION DESIGN


Who Should Win: Stuart Craig and Set Decorator Anna Pinnock ("Fantastic Beasts and Where to Find Them")

I love J.K. Rowling's wizarding world. I am a total Potthead and all it takes is the smallest reference to this universe to escape into a place I love so dearly. Sure, I love this world because of the awesome magic, exciting adventures, and amazing creatures, but another severely underrated aspect of these films is simply how they look. The castles, the prisons, the banks, heck even the board room meetings are all epic works of gothic beauty and "Fantastic Beasts and Where to Find Them" is no different. Even the 1920's era New York City looks ethereal and gorgeous. Craig and Pinnock had to expand on an already existing design of things in the Potter films, set it in an entirely different time period, and then move it across an ocean to an entirely different continent. They had to create a design that feels similar but also different enough to separate the adventures of Newt Skamander and Harry Potter. But even under all of that pressure, they still churned out visual euphoria. Gorgeous subway stations, adorable 1920's apartment, an elegant political dinner party, and of course, the headquarters of the Magical Congress of the United States of America. This is gorgeous looking movie with the amazing attention to detail that only the wizarding world is known for.

Who Will Win: David Wasco and Set Decorator Sandy Reynolds-Wasco ("La La Land")

I'm getting annoyed talking about this movie. Let's just move on.


BEST ACTRESS IN A SUPPORTING ROLE

Who Should Win: A three way tie between Viola Davis, Michelle Williams, and Naomi Harris

Ladies and gentlemen, we have come to the single most difficult category of this entire race. While Octavia Spencer and Nicole Kidman don't really have much of a shot, the exceptionally close race between Viola Davis, Michelle Williams, and Naomi Harris is the most fascinating aspect of this year's ceremony. Though Viola Davis probably does have a bigger shot at the award as she won the Golden Globe, Michelle Williams and Naomi Harris both deliver historical performances that will be referenced for years to come. As a matter of who will win, Viola Davis has the best shot. Who *should* win, however? It's a three way tie. These are some truly talented women that are masters at what they do. From now until the sun envelops the Earth, these are three amazing women who care deeply about their craft and are amazing at what they do.

Who Will Win: Viola Davis (but seriously, congratulations to all three of you.)


BEST DOCUMENTARY FEATURE


What Should and Will Win: "O.J.: Made in America"

Usually a criticism found in the world of documentaries is that not enough time is spent on relevant moments to the story, whereas too much time is spent on the irrelevant things. Competing documentary "Life, Animated" is the prime example of this. (Seriously, if you've seen the trailer, you've seen the entire experience that boring film has to offer.) With a runtime of nearly eight hours, I am absolutely stunned to announce that "O.J.: Made in America" spends every second setting up and telling a completely compelling story, but also has one of the most fast paces of any film of the year. Yes, two hour "La La Land" felt longer than this almost eight hour long documentary. "O.J.: Made in America" treats even the smallest and seemingly insignificant details with the utmost respect. This documentary understands how incredible this story is and spares no expense going fully in depth to flesh out every single moment of the journey. Fans of expertly told storytelling can really appreciate just how this film unfolds. New layers are peeled back as the story reaches its climax and viewers can truly be astonished by how the pieces prior fit into the final puzzle. With all of the recent O.J. Simpson themed documentaries and TV shows available, this is the ultimate Simpson experience. Even if you think you know the story, trust me when I say that you don't.


BEST ACTOR IN A LEADING ROLE

Who Should and Will Win: Casey Affleck ("Manchester by the Sea")

Absolutely no disrespect to any other nominee here. (Except Ryan Gosling. I guess you can sleepwalk through an entire film and still get the nomination if everybody loves your movie.) Much like Supporting Actress, this is a category *almost* completely filled with memorable and historical performances. These performances catapulted these films into the stratosphere and deserve to be remembered for years to come. However, it's Casey Affleck's devastating portrayal of a man coping with a miserable life that really stands out as the true champion. Again, you'd think a performance like this has that one Oscar-bait scene with Affleck screaming and sobbing and demanding the Academy give him awards, but the film wisely avoids this trope. On the opposite side of the spectrum, the film also doesn't paint him as broken puppy unable to maintain eye contact or hold a conversation. Behind Affleck's eyes lies profound pain and immeasurable sadness that would otherwise go unnoticed had his subtle mannerisms compliment his behavior so nicely. This is honest pain handled in a delicate light. In fact, it's so honest, one must contemplate where Affleck had to go in his mind to reach these levels. This is a brilliant performance that deserves every single award it can receive.


BEST FILM EDITING

Who Should Win: John Gilbert ("Hacksaw Ridge")

As previously stated, "Hacksaw Ridge" has some of the most fast paced, terrifying, deafening, and surreal battle sequences ever put on screen. To be able to convey such a truly chaotic and menacing feel, Gilbert rejects the idea of shying away and instead shows audiences the nightmare combat can be. Mel Gibson's direction, Rupert Gregson-Williams' film score, Robert MacKenzie & Andy Wright's sound design, and Simon Duggan's cinematography all come together under Gilbert's editing to craft the loudest, bloodiest, most inspiring crowd-pleasing epic of the year. "Hacksaw Ridge" now joins the ranks as one of the greatest war movies ever made because of this team and for that, it obviously deserves the win.

Who Will Win: Tom Cross ("La La Land")

They dance and they sing so it deserves the Oscar. Moving on.


BEST SHORT FILM (LIVE ACTION)


What Should Win: "Silent Nights"

Christmas is my absolute favorite time of the year. The feelings it brings, the traditions we celebrate, the memories we make etc. I also live in Florida so maybe I love Christmas so much because it marks the time of year where the temperature finally drops below eighty degrees for about two weeks. No matter the reason, it's impossible to deny the romance of sleigh bells, the warmth of Christmas parties, and the magic in children's eyes upon seeing Santa. Unfortunately, in a season full of brightness, it also evokes the darkest time of the year. To those less fortunate of having loved ones, a place to live, or anything standing in the way of happiness, Christmas can be the hardest time of the year. "Silent Nights" perfectly captures both feelings the holidays bring in a wonderful romance and the bitter hardships of feeling alone in a room full of people. This is an incredibly acted short that ranges from being one of the most enjoyable shorts of the year to being one of the hardest to watch. These are absolutely lovable characters that are dealt with such terrible hardships, it's almost unfair to see these characters be put through the ringer. Regardless of how hard these characters have it, the film ultimately concludes with a profound take on the affect the season has on all of us and it's something worth talking about.


What Will Win: "Ennemis Interieurs"

"Ennemis Interieurs" has all of the tropes the Academy loves. A period piece historical thriller... with subtitles. To be completely honest with you, this is the only film in the entire list of nominees I didn't find gripping in the slightest. It's well acted, but combining an incredibly complex plot with a lack of locations makes this short film incredibly dull and monotonous. But like I said, it has a lot of what tickles Academy voters so don't be surprised if this one brings home the gold.


BEST PICTURE

The moment we have all been waiting for is finally here- the end of this article. Oh, and also the Best Picture, I guess. Before I continue, let me state that each film nominated does deserve its place on this list and essays upon essays could be written defending each one. These films all range in quality for different reasons and each one has something worth discussing. These are among the best of the best that Hollywood had to offer us this year so let's stop stalling and get right to it.

What Should Win: A three-way tie between "Arrival," "Hacksaw Ridge," and "Moonlight."

Not only do these three rank as some of the greatest movies of the year, they also are the three movies I loved the most this year. Everything that defines the art of film making permeates all three of these films. A gorgeous look and sound from "Arrival," an emotionally powerful and inspiring character journey in "Hacksaw Ridge," and a deeply profound study on the human condition in "Moonlight." All three of these films evoke poignant feelings that can only be found when a creator's art truly speaks to an audience. No matter who you are or where you come from, I implore you to watch these films if for no other reason than to just be entertained. "Arrival" will remind you how massive the scope of life can be. "Hacksaw Ridge" will remind you that there is a hero inside all of us. "Moonlight" will remind you that we all began on the same path. Throw in some amazing cinematography, haunting film scores, action sequences that will take your breath away, and some of the greatest characters ever written and you have my picks for the films that truly deserve the title.

What Will Win: "La La Land"

Okay, if you've actually read every single category in this article, not only do I truly admire your patience, but I'm willing to bet that you think I hate this film. The truth is I think "La La Land" is a perfectly average film but, unfortunately, fails on most levels. I love musicals--my all time favorite film is "The Sound of Music"--and I am a big fan of Damien Chazelle's previous masterpiece "Whiplash." I am crazy about Emma Stone and I have a huge man crush on Ryan Gosling. I watched the trailer so many times when it was released that I had stopped counting after the seventh time. When it finally came time for me to see this, I had initially walked out disappointed. I chalked it up to unreasonable expectations and vowed to see it again knowing what to expect. After seeing it a second time, I came to the conclusion that it wasn't me but that this film is actually an overrated mess. In all of my years analyzing the Academy Awards, I have never seen a film so undeserving of its destiny to sweep more than "La La Land." In almost every single category it is nominated for, its competition is far superior. Why it is the movie to beat this year is confusing to say the least. "La La Land" is a musical--that forgets it's a musical with its lack of songs. A masterclass in cinematography--that forgets to do anything unique with the camera. A romance with lovable characters--that forgets to incorporate any sort of true character defining traits other than wanting careers. And a unique and unpredictable plot--that forgets that it steals the entire plot beat for beat from "The Last Five Years." My point is this: there is nothing memorable about this film. In fact, I'd argue it's pretty disposable. Does it have moments? Of course it does! The "Rebel Without a Cause" sequence, beginning at the theater and ending at the Observatory, is genuinely beautiful escapist entertainment. The "Someone in the Crowd" number is pleasant to both the ears and eyes--until the extras start moving in slow motion and it becomes unintentionally hilarious. And the brilliant ending actually elevates this somewhat forgettable experience into something much bigger than previously stated. I also cannot deny how wonderful it is to see a hopeful and optimistic film about following your dreams capturing the world's focus right now. We need so much happiness and this film does attempt to bring that to us. I just look at this film as a really good try. "La La Land" is the film equivalent to your little brother failing to catch the winning pass at his flag football game. Its heart is in the right place and it did put itself out there, but it failed in the end. I really do hope "La La Land" paves the way for more movies like this. I may not like this one, but I'm sure I'll like the films that follow a lot more. I want "Arrival" or "Hacksaw Ridge" or "Moonlight" to win because they genuinely deserve the award. I want "La La Land" to win not because it deserves it--it doesn't--but because it attempted to bring back a genre most would assume dead while being an anthem to the dreamers and the optimists. I'd be a terrible person if I couldn't appreciate that.


Alrighty! That concludes it! The 89th Academy Awards are less than a month away so it's all still up in the air now. Controversies can happen that can put original front runners out of the competition, just like the underdogs can regain control of the race. No matter what ends up happening, you can bet that it'll be a night to remember as it always is! Now, if you'll excuse me, I need to go outside and play. I've spent so much time watching movies that I have forgotten what the sun feels like.

You can watch The 89th Academy Awards Sunday, February 26th, 2017 on ABC.






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This article has not been reviewed by Odyssey HQ and solely reflects the ideas and opinions of the creator.
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