Oscars 2000:
Nominee Predictions
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BEST PICTURE Long Shots:
BEST ACTOR Long Shots:
BEST ACTRESS Long Shots:
BEST SUPPORTING
ACTOR Long Shots:
BEST SUPPORTING
ACTRESS Long Shots:
BEST DIRECTOR Long Shots:
BEST ORIGINAL
SCREENPLAY Long Shots:
BEST ADAPTED
SCREENPLAY Long Shots:
BEST CINEMATOGRAPHY Long Shots:
BEST ART DIRECTION-SET
DECORATION Long Shots:
BEST COSTUME
DESIGN Long Shots:
BEST SOUND Long Shots:
BEST FILM EDITING Long Shots:
BEST EFFECTS,
SOUND EFFECTS EDITING Long Shots:
BEST EFFECTS,
VISUAL EFFECTS Long Shots:
BEST MAKEUP Long Shots:
BEST SONG Long Shots:
BEST ORIGINAL
SCORE (COMEDY/MUSICAL) Long Shots:
BEST ORIGINAL
SCORE (DRAMA) Long Shots:
BEST DOCUMENTARY,
FEATURES Long Shots:
42 Up
BEST FOREIGN
LANGUAGE FILM Long Shots: Aimee & Jaguar The Cup The Dreamlife Of Angels Set Me Free Three Seasons Top Contenders/Projected
Totals:
American Beauty:
10-11
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Written by DAVID KEYES February 14, 2000 Trying to compare the movies of 1998 to the movies of 1999 is like trying to compare a republican to a democrat; they both look the same, but very few share any other similarities. Whereas 1998 was a year of familiarity and less risk-taking (the Best Picture candidates were dominated by Elizabethan England and World War II), 1999 was something else entirely--a year that innovation took center stage and exploded with intense but rewarding results. From the eruption came some of the most unique ideas ever seen at the movies, including stories of technological takeover (�The Matrix�), cussing cardboard cutouts (�South Park: Bigger, Longer And Uncut�), dysfunctional families (�American Beauty�), mind unraveling (�Being John Malkovich�), journalistic integrity (�The Insider�) and even new takes on old favorites (�An Ideal Husband,� �The Talented Mr. Ripley�). The year also saw the arrival of highly anticipated events, such as the new �Star Wars� film �The Phantom Menace,� and Stanley Kubrick�s unforgettable final feature, �Eyes Wide Shut.� But especially wonderful was the continuity of the success at cinemas; many of the year�s best were not dumped out in theaters around fall, but were spaced apart for a good duration of the year. Now the time has come to honor those that have stood out among the crowd. Yes, my friends, the Academy Awards are not that far off; in fact, nominations will be announced only a few short hours after you read this stuff. This doesn�t leave much time for me to make my predictions on who will get nominated, but the long wait was worth it; not only did I get to see some of the scarce competitors of the year (i.e., �Magnolia�), but also had a chance to weigh the possibilities for a few weeks before finally settling down on a list that (I think) will come close to what gets nominated in the end. The list you are about to see is composed of various selections for each of the major fields that the Academy covers (with the exceptions of the short film categories, to which I have no knowledge of). These agonizing decisions have not been based on personal tastes, but those that I feel the Academy will honor (and ignore) on the 15th when nominations are announced. Many of the hopefuls, naturally, I feel do not gain the recognition--especially �American Beauty,� which may receive up to 14 nods at the Oscars, but really only deserves about six. In the predictions, I provide two separate lists: the first is composed of the candidates that have the most potential for being recognized, and the second mentions wild cards that could take the place of one or more of the likely nominees. I do not expect any or all of these to make the final cut, but considering the type of year that we are dealing with, these picks should be pretty close to the real thing. Keep in mind while reading, however, that the Academy is as unpredictable as a natural disaster; heck, they could even nominate something like �Fight Club� among the other picture contenders. � David Keyes, CINEMA 2000. To keep the content of these pages at near-perfect quality, please e-mail the author here if the above review contains any spelling or grammar mistakes. |