Before Midnight

Accessible Oscar: 2013’s Nominated Films You Easily Can Watch Before Sunday

The-Broken-Circle-BreakdownYou know Gravity. You know 12 Years a Slave. You’re (most likely) sick of American Hustle by now (and if you’re not, you don’t belong in a serious Oscar conversation, anyway).

2013’s crop of Oscar-nominated films contains some remarkably high-profile pictures, yet the most unoriginal commentary plebians use to describe the Academy Awards still resonates with grating ignorance as it carries over year after year.

Common man, you’re still not cool for saying “They only nominate movies that, like, no one has ever heard of.”

It’s more fair to say that the films which run the yearly awards gamut are easy prey for the burnout machine. With countless articles, podcasts, tv shows, and magazines covering the standard awards season contenders, we often grow tired of the mere sight of the frontrunners’ names, let alone are we able to force ourselves to sit through them more than once.

With the potential for 10 Best Picture nominees each year, the Academy has—in this instance only—wisely expanded the podium for smaller films to be seen by wider audiences. Without Best Picture support and the pre-nomination buzz the potential for an extra five titles brings, the likes of Philomena, Nebraska, Dallas Buyers Club, or even Her might not have found the (still relatively small) audiences–or place within awards season–that they eventually did.

It was especially evident in 2013 that studios wanted Oscar voters and audiences alike to see their films. Screeners were sent out in droves to Academy members, and multiple re-releases occurred from December through February (12 Years a Slave, Gravity, and Dallas Buyers Club each received late-run expansions in the midst of Oscar season).

Frankly, there’s no excuse for not having seen the Best Picture nominees by Sunday. All nine are currently playing in theaters. All but one are playing at over 175 locations, which means they’re more than likely playing at a theater near you. Gravity, Dallas Buyers Club, Captain Phillips, and Nebraska each are on DVD as of this posting. While its DVD release date isn’t expected until March 4, you can also catch 12 Years a Slave on iTunes for an inflated ($14.99 to own) price.

Seeing each of the Best Picture nominees also checks a great deal of have-seen boxes in the acting and technical categories as well, as the only films from the other major categories (acting, direction, and screenplay) not represented in the Best Picture race are August: Osage County, Blue Jasmine, and Before Midnight.

We’re experiencing an age where the film industry is more accessible than ever. In particular, accessibility to Oscar-nominated films is practically forced upon you. Studios want you to see their awards season contenders, mainly because the critics and guilds which usually determine the trajectory of awards season are growing increasingly rogue, throwing their weight behind whichever film makes them look like the sexiest group of thinkers.

Audiences have more power than ever before, considering the Academy tends to take a few key factors into consideration when voting, one of which being a group consensus of their peers and the public. Audiences loved Argo, The King’s Speech, The Artist, and Slumdog Millionaire, and each of those films boasts a crowd-pleasing aesthetic in all departments.

It’s easy to see how this logic would make Gravity a near lock for Best Picture by this point in the race. 12 Years a Slave is divisive, and that’s usually the last thing you want when heading into a showdown with a weighted ballot, as the Academy uses to determine Best Picture.

On a scale ranked from 1-9 this year Oscar voters will place their favorite films in order. A film needs to secure a certain number of #1 votes in order to pass the first round. Gravity is universally-appealing, secured high-profile awards from two guilds that share crossover membership with the Academy (DGA and PGA), stars two Hollywood heavyweights, has a socially-relevant narrative on its side (visibility for women! minority director!), and racked up nearly $300 million domestically (over $700 million worldwide), meaning its ascension to the number-one spot on most voters’ lists won’t be filled with many obstacles. 12 Years a Slave will easily take a percentage of #1 votes (passionate support for the film is strong), but its strengths are counterbalanced by its divisive nature, meaning it could rank far lower on many voters’ lists.

Why does placement matter? If a film like Captain Phillips receives the least amount of #1 votes in the first round of voting, its votes are then redistributed amongst the remaining titles and it is eliminated from contention. So, #2 and #3 votes then become important. This means that the film that wins Best Picture then needs to secure a decent amount of #2, #3, etc. votes so that enough are redistributed on to its pile when the other films are eliminated, until only one is left as the Best Picture winner.

Whether 12 Years a Slave wins or not, its importance lies within its mere existence, and you should see it. At a time when minority directors sparingly find work, Steve McQueen’s film has inserted itself as relevant in a society where the minority voice is threatened in all aspects of American life. It would be undoubtedly exciting to see a film about slavery win the Best Picture prize for the first time (though it would be playing into a white man’s tastes, as the Academy is overwhelmingly white and male), but its accessibility on a multitude of platforms (VOD, theaters, and DVD within the coming weeks) is key for the success and profitability of these types of films in the long run. If they’re consumed across all platforms, they’ll get made.

People will (and need to) watch it. After all, isn’t the point of making a movie to get people to do just that?

I’ve already told you where you can see the most popular of 2013’s nominees, but a great deal of smaller films from last year that were nominated for Oscars are readily-available as well. If you don’t live near a big city, you can easily find many films that populate the “lesser” categories of the Oscars on services like Netflix, iTunes, and on DVD or VOD. They are:

THE FEATURE DOCUMENTARIES (NETFLIX, ITUNES)

The Act of KillingThe Square, Dirty Wars, The Act of Killing, and Cute and the Boxer are each available to stream on Netflix for free with a subscription. You can easily make a night of indulging in these Oscar-nominated films, as they’re not very long and require a small amount of patience, as they’re all quality films with engaging subjects. 20 Feet From Stardom, however, is available to rent on iTunes for a mere $0.99.

If you only watch one, watch: The Act of Killing, as it will likely be the winner.

FOREIGN NOMINEES THE BROKEN CIRCLE BREAKDOWN, THE GREAT BEAUTY, AND THE HUNT (ITUNES)

the-hunt2A powerful crop of nominees in the this year’s Foreign Language category, three of the five nominees are available to watch for rent on iTunes. The Broken Circle Breakdown is one of the most devastatingly beautiful films in recent memory, as is The HuntThe Great Beauty won the Golden Globe for Best Foreign Language Film, while Omar and The Missing Picture are expected to release sometime soon.

If you only watch one, watch: The Hunt or The Great Beauty if you’d like to watch the winner. Watch The Broken Circle Breakdown if you want to watch the best of the nominees. It’s reminiscent of 2010’s Blue Valentine, but bites much harder. If every Oscar voter saw The Broken Circle Breakdown, we’d be looking at a very different Best Picture race altogether. Some of the finest performances of the year are housed within its two-hour running time.

SCREENPLAY NOMINEES BEFORE MIDNIGHT AND BLUE JASMINE (ITUNES, DVD)

Cate Blanchett in Woody Allen's Blue JasmineRepresenting both the Adapted and Original Screenplay categories, respectively, both Before Midnight and Blue Jasmine are available on iTunes and DVD. While not as high-profile or as widely-seen as the other nominees in their categories (American Hustle, 12 Years a Slave, and Captain Phillips are their competition, mind you), these films are easy to sit through and pay off quite nicely. Both are from established, legendary auteurs, and they shouldn’t be missed in the grand scheme of movies, let alone in this year’s Oscar race.

If you only watch one, watch: Blue Jasmine, as it’s a standalone piece (whereas Before Midnight is part of a series), and it’s nominated in two other categories, likely to win one for Cate Blanchett in the Lead Actress category (she gives one of the finest performances of all time as the titular character).

DOCUMENTARY, LIVE-ACTION, AND ANIMATED SHORTS (SELECT THEATERS, ITUNES)

Slider-Home-1Probably everyone’s least-favorite categories to predict (I admit, even I stumble when it comes to seeing these things), the shorts are often the most difficult to fit into your need-to-see schedule before the Oscar telecast. This year, they’ve played at over 400 theaters across the country since January 31st thanks to Shorts HD and Magnolia. It might take some digging, but find a local theater that’s playing them and show these little guys some love. They’re also available on iTunes as of today.

So, there you have it. You’ve just been given a wonderful insight into where and how you can watch a majority of the Oscar-nominated films. You might have procrastinated up to this point, but just know that more accessibility to more Oscar-nominated films means you’ll have no excuse for having “not heard” of or “not seen” next year’s batch.

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’12 Years a Slave’ Leads Spirit Award Nominations

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The gates are open, and the 2014 Film Independent Spirit Award nominations are here. With only a few short weeks to go until we’re in the thick of Oscar season, who reaps the real benefits of a nomination here?

It comes as no surprise that Steve McQueen’s 12 Years a Slave finds its official footings on the Best Picture race here. It leads the pack of Spirit nominations with seven nominations in major categories, including Best Feature, Best Actor, and both Supporting categories. While I find it troubling that films which exceed the Spirit Awards’ “limit” of the $20 million range can still be considered contenders in this race (Silver Linings Playbook did this last year), McQueen’s film is an artistic challenge to traditional historical dramas. The firmness of this film’s grasp over what could be a monumental year for the AMPAS (first female black president, potentially the first black filmmaker to win Best Director) is tightening by the day, and we’re on the brink of having a potentially unstoppable film sweep the rest of the season.

The Coen brothers also find themselves sitting pretty with a multitude of nominations for Inside Llewyn Davis. They are visionaries in the field of independent filmmaking, and can continue to be such thanks to their tried and true ability to turn a profit on their films. There seems to be a slight lack of confidence backing Inside Llewyn Davis on the part of the Oscar pundits, however, though when I feel myself doubting the film’s ability to score with the Academy, I remind myself that both True Grit and A Serious Man (a film that had considerably less buzz behind it going into the Oscar race than Inside Llewyn Davis does) were able to rack up major nominations, and my confidence is restored.

A justifiable, respectable campaign can now be mounted by the team behind Short Term 12, a film that was on the tip of awards season’s tongue but wasn’t a part of a fully-formed sentence until now. The film’s most promising potential for Oscar glory lies within its star, Brie Larson, as her name appears on Oscar pundit shortlists as far back as August and September.

With SAG ballots in the mail and the Spirit Award nominations being the only major precursor to have announced nods so far, Larson’s crawl to the Best Actress category is pacing nicely. Michael B. Jordan’s forgotten path to the Oscars seems somewhat rekindled here, though the recognition for Fruitvale Station was altogether expected at the Spirits. It’s never a bad idea to have your name appear in every trade paper during an awards campaign.

There’s a part of me that believes the Spirit push for Frances Ha will help find a home for the film on Academy ballots, though I’m completely baffled by the lack of love for the film outside of the Best Feature category. Greta Gerwig—the film’s driving force—performs fantastically in front of the camera as well as on the page (she co-wrote the screenplay with director Noah Baumbach). Her drive and charisma coursing through the film’s veins embodies the passionate workmanship we’ve come to associate with Independent cinema, and it’s a shame that her efforts weren’t recognized by an organization priding itself on the “spirit” of DIY moviemaking.

Both All Is Lost and Nebraska gain steam thanks to multiple Spirit nominations, though I believe both already have homes within several key Oscar categories. If anything, the push for Bruce Dern’s nomination in the Best Actor category remains on-track versus getting any significant push, and the same can be said for Redford. The only major Best Actor player yet to be seen by American audiences is Leonardo DiCaprio and his work in The Wolf of Wall Street.

The full list of nominees:

Best Feature:

Frances Ha
Nebraska
All Is Lost
12 Years a Slave
Inside Llewyn Davis

Best Director:

Shane Carruth – Upstream Color
J.C. Chandor – All Is Lost
Steve McQueen – 12 Years a Slave
Jeff Nichols – Mud
Alexander Payne – Nebraska

Best First Feature:

Concussion
Blue Caprice
Fruitvale Station
Una Noche
Wadja

Best Lead Male:

Bruce Dern – Nebraska
Chiwetel Ejiofor – 12 Years a Slave
Oscar Isaac – Inside Llewyn Davis
Michael B. Jordan – Fruitvale Station
Matthew McConaughey – Dallas Buyers Club
Robert Redford – All Is Lost

Best Lead Female:

Cate Blanchett – Blue Jasmine
Julie Delpy – Before Midnight
Gaby Hoffman – Crystal Fairy
Brie Larson – Short Term 12
Shailene Woodley – The Spectacular Now

Best Supporting Female:

Lupita Nyong’o – 12 Years a Slave
Melonie Diaz – Fruitvale Station
Sally Hawkins – Blue Jasmine
Yolanda Ross – Go For Sisters
June Squibb – Nebraska

Best Supporting Male:

Jared Leto – Dallas Buyers Club
Michael Fassbender – 12 Years a Slave
Keith Stanfield – Short Term 12
Will Forte – Nebraska
James Gandolfini – Enough Said

Best Screenplay:

Woody Allen – Blue Jasmine
Julie Delpy, Ethan Hawke, and Richard Linklater – Before Midnight
Nicole Holofcener – Enough Said
Scott Neustadter Michael H. Weber  – The Spectacular Now
John Ridley – 12 Years a Slave

Best International Film:

Blue is the Warmest Color
A Touch of Sin
Gloria
The Great Beauty
The Hunt

Best First Screenplay:

Lake Bell – In a World
Joseph Gordon-Levitt – Don Jon
Bob Nelson – Nebraska
Jill Soloway – Afternoon Delight
Michael Starrbury – The Inevitable Defeat of Mister and Pete

Mining for Early Oscar Gold

Michael B. Jordan in Fruitvale Station

Michael B. Jordan in Fruitvale Station

Breathe in. Breathe out.

Is it smooth, yet? The air?

Just curious, because I’ve had a hell of a time adjusting to the dust cloud that’s been accumulating on Blu-Ray copies of Argo.

Last year’s recipient of the Best Picture Oscar faded from prominence even faster than the previous year’s The Artist, a gimmicky Academy-pleaser in itself, thanks to a sympathy-based vote to accredit director Ben Affleck with some semblance of relevance as his career transitions from notable star to almost-there-but-not-quite-yet filmmaker. Whereas Argo‘s meritless win leaves a sour taste in my mouth, I’m more than happy to shake the Oscar etch-a-sketch and begin afresh with 2013’s crop of awards season contenders.

This year we welcome new talents to compete with industry mainstays. We harken back to the eras of social icons of years past and adapt their lives for a contemporary audience. We relish in a year that Meryl Streep’s potential to win a fourth Oscar increases dramatically. We revisit previously-published material with a fresh cinematic perspective; but, most importantly, we face another year of submission to The Weinstein Company which, if all tentative release dates remain unchanged, will see six of their distributed films as likely contenders at the next Oscar ceremony.

Here’s a look at a few other industry figures bound for greatness during the 2013 awards season.

It’s going to be a good year for:

Anyone involved with Fruitvale Station

The freshman feature effort from USC graduate Ryan Coogler is one of the buzziest films coming out of 2013’s festival circuit.

Having claimed both the Grand Jury and Audience prizes for a dramatic feature at Sundance as well as sashaying away from Cannes with Best First Film after screening in the Un Certain Regard section, Fruitvale Station is shaping up to be a major contender in at least three major categories.

Coogler’s film, about the real-life events surrounding the murder of Oscar Grant by an Oakland police officer, joins the ranks of other grim Sundance prizewinners like Winter’s Bone, Precious and Frozen River–which each went on to be recognized by the Academy with major nominations (and a few wins) in key categories.

The film hosts the breakout role for star Michael B. Jordan who, after having had minor roles in television (“Friday Night Lights”) and a few pictures (last year’s Chronicle), finally gets the chance to show his dramatic chops off for a wider audience.

Fruitvale Station seems poised to score nominations for Best Picture and Best Actor coupled with building momentum which could potentially push co-star (and Oscar-winner) Octavia Spencer into the Supporting Actress race, which could easily happen as the Weinsteins have acquired the film for distribution.

Besties Naomi Watts & Nicole Kidman…and dead cultural icons

It’s unfair to pit two actresses against each other for the sake of a gendered contest.

In the case of Naomi Watts and Nicole Kidman, however, the challenge will be how to endure the barrage of questions from reporters to the tune of “how does it feel to be nominated against one of your closest friends?” this awards season.

Both actresses are all but sealed into the Lead Actress category for their respective roles in Diana and Grace of Monaco (Watts in the former, Kidman in the latter).

Naomi Watts’ talents have catapulted her far past the point of simply “deserving” an Oscar; she’s one of the most talented and, on the other side of the coin, underrepresented actresses in the industry. Her work in films like Mulholland Drive, Ellie Parker, and The Assasination of Richard Nixon represent just a handful of performances overlooked by the Academy in relatively quiet seasons. She’s gaining status as an underdog, however, as she squeaked into the Lead Actress race last year for her brilliant turn as Maria Bennett in The Impossible, a race within which she was actually being predicted as a potential spoiler after Entertainment Weekly’s annual Oscar issue saw her name mentioned by a majority of anonymous Oscar voters who’d been interviewed a short time before the Oscars.

The Academy favors Lead female performances attached to roles based on real women in positions of political and/or social power; think winners like Helen Mirren in The Queen, Meryl Streep in The Iron Lady, and nominees like Cate Blanchett and her turn as the namesake royal in Elizabeth (and its poorly-received sequel Elizabeth: The Golden Age).

Judging from Diana‘s trailer, the film will focus on the softer side of her notorious public identity which, I’m assuming, gives Watts a chance to show off her emotional depth instead of the usual controlled, stoic coldness that generally comes with these types of roles (as a side note, she’s also got a juicy role coming up in this year’s Adore, also starring Robin Wright).

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Kidman, on the other side of the coin, is far from a being a stranger to the Academy Awards. She’s an Oscar winner and a multiple-time nominee. While she had a buzzy-ish film floating around the perimeter of last year’s awards season (she made it into the Globes categories with The Paperboy), the Weinsteins will make sure that she has a spot amongst this year’s nominees for her turn as Grace Kelly.

The Weinsteins have a great track record for getting their actors nominated in major categories (Jacki Weaver’s spot in the Supporting Actress category was surely bought for her through “campaigning,” as she had no other right to be there), so Kidman’s pre-established Oscar identity is coupled nicely here with a Weinstein push.

It’s also interesting that these two roles are seeing the light of day in 2013 what with the incessant talk about social media, quick-fix fame, celebrity (and personal) accessibility, etc.

Both Princess Diana and Grace Kelly are posterchildren for the obsession with fame and its various aspects of decay. Diana of course died a highly-publicized death after the car she was riding in (manned by a drunk driver) crashed after a cat-and-mouse with paparazzi; Grace would die of a stroke/car crash combo after leaving a life of Hollywood luxury behind to marry a royal from Monaco (thereby becoming a princess). After only six years in the film industry (with one Academy Award under her belt), Kelly became one of the most popular stars of classical Hollywood cinema. In an age of post-internet accessibility, the public is growing increasingly bored with the flash-and-gimmick celebrities of the contemporary industry; Diana and Grace represent the mainstay of stardom and the impact of talent, presence, and prominence which takes on new meaning in an age of meaningless objectification, Facebook, selfies, and events that would later go on to inspire films like The Bling Ring and Spring Breakers.

Look for Watts and Kidman to both be nominated in the Lead Actress category.

Documentaries

Sarah Polley in Stories We Tell

Sarah Polley in Stories We Tell

Not many people can go from playing dumbed-down roles in horror films like Splice to directing emotionally-charged documentaries quite like Sarah Polley.

She killed zombies in Dawn of the Dead (2004) and wrote/directed indie dramas like Take This Waltz, and now she’s taking a stab at a scripted-documentary hybrid with Stories We Tell, which chronicles her life as the product of an extramarital affair.

Polley weaves in staged footage recreating her early life with interviews with her family, piecing together her history funneled through a narrative perspective while maintaining the cinematic resonance of an objective documentary. The documentary is garnering the best reviews of Polley’s career, earning a spot on the Toronto International Film Festival’s Top 10 Canadian films list as well as making a few minor splashes at festivals around the world.

Other notable documentaries releasing in 2013 include the polarizing-yet-provocative We Steal Secrets: The Story of Wikileaks and 20 Feet From Stardom.

The Coen Brothers

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On the heels of their True Grit remake, the Joel & Ethan Coen return with Inside Llewyn Davis, which took the Grand Prix Award at Cannes and continues to work the festival circuit until its release smack dab in the middle of Oscar season this December.

Earning rave reviews from critics, the Coens take a step back from some of their darker subject matter and instead draw on inspiration from the folk music scene in the 1960s. The film stars a slew of talented actors from John Goodman and Carey Mulligan to Justin Timberlake and Adam Driver.

The Academy generally loves the Coens, as many of their past films have been nominated for screenwriting. It takes a film like No Country For Old Men, however, for nominations and sentiment to lead to ultimate gold; it is, to date, their only picture to have won the top prize at the Oscars. Inside Llewyn Davis will be nominated in major categories ranging from Best Picture to Best Original Screenplay, not garnering enough momentum to match No Country‘s prestige yet scraping up a few more nominations than 2009’s A Serious Man or 2000’s O Brother, Where Art Thou?

Art Films

Nebraska film still

Before Midnight is currently slaying critics and audiences alike. Nebraska and Only God Forgives are respectively setting festivals and trade papers abuzz with claims of epic quality of script and performance. No, this isn’t the early 90s, it’s 2013, and the art film scene is heating up the pre-awards season circuit already.

While Steven Spielberg and George Lucas are busy predicting the “implosion” of the film industry thanks to big-budget studio productions not just cornering a niche market, but backing the entire market into a corner it can’t escape from (funny Spielberg would say this as a criticism and then proceed to executive produce Transformers 4 set for a 2014 release), a select few art films seem poised for Oscar greatness this year.

Before Midnight seems likely to receive a nomination in the Adapted Screenplay category (Before Sunset received one nine years ago amidst the growing cult status for the series, now three entries in), and Nebraska could sneak into the Lead Actor category (Bruce Dern was named Best Actor at Cannes for this role) while Only God Forgives might afford Kristin Scott Thomas a nomination in the Supporting Actress category if her buzz runs consistent through the end of awards season.

Also circling the Oscars in the art film department is Frances Ha, written by actress Greta Gerwig and filmmaker Noah Baumbach and Ain’t Them Bodies Saints, which stars Rooney Mara and Casey Affleck.

2013 will also be good to:

Martin Scorsese and Leonardo DiCaprio (The Wolf of Wall Street)
Meryl Streep (August: Osage County)
Anyone associated with The Past (Berenice Bejo, Asgard Farhadi)
Horror films (The Conjuring is getting early rave reviews as it screens at festivals, The Purge is one of the sleeper hits of the summer)
Matthew McConaughey (snubbed for Magic Mike, he’ll be rewarded with recognition for either Mud or The Wolf of Wall Street)

…and, of course, the Weinstein’s wallets.