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Awards Dilemma

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Mark Kermode | 17:55 UK time, Friday, 14 January 2011

It's the season for giving out BAFTAs, Oscars and Kermodes. This year my favourite films all seem to be getting nominations - or do they?

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  • Comment number 1.

    It would be nice to think that the world has finally caught up with you but... I think that some of the mainstream films of 2010 were just very good.

    I still can't see any Oscars for Kick Ass, but it definitely deserves nominations for Chloe Moretz and Mark Strong, as well as in some technical categories.

  • Comment number 2.

    A suggestion and definitely one of my top films of the year; Into the Void. Gaspar Noe is really starting to have me see him up there with David lynch.

    P.S. Your probably becoming more mainstream given you cannot seem to see Twilight as the derivative, cliched drivel it is.

  • Comment number 3.

    Does a film get a Kermode nod if it is doesn't get an Oscar nomination, but DOES get a BAFTA nomination? I would say that they should be ineligible for a Kermode in those circumstances.

    Who has been the most gracious recipient at the Kermodes? Who has been the Russell Crowe? Most importantly, where's the official Kermodes after party, and who do we charge our drinks to?

  • Comment number 4.

    I seriously doubt that Made in Dagenham is anywhere near the Academy's radar. There hasn't been any bad buzz about the movie, but then there's hardly been a peep about it out of anybody. My guess is that they're going to latch onto The King's Speech and leave everything else by the wayside.

    Also I think your list this year was pretty mainstream. But it's also been a pretty mediocre year overall with few standouts.

  • Comment number 5.

    It's more likely that the awards bodies have nominated quality films for the sake of credibility but will still vote for winners using their usual dubious criteria such as how much money the film made and how many times the nominee has been overlooked previously when they should have won (Scorsese for instance)

  • Comment number 6.

    Might I make a suggestion to the Good Doctor. After the disastrous nominations for the Golden Globe's Musical and Comedy Award, why doesn't he include a Kermode Award for Best Comedy or Musical (maybe even the best actor and actress in these genres), as a big middle finger to their terrible selection process, where they can ignore wonderful films such as Four Lions (in my opinion), yet award awful trash like "the Snore-ist"!

  • Comment number 7.

    Judging by your hair and wrinkles, I think you've grown old, and mainstream. I suggest you dye your hair black, have botox, a few nip and tucks here and there, otherwise you'll end up like Miriam O'Reilly, and Arlene Phillips.

    Then once you've done all that give all your awards to Fred: The Movie, to become hip, cool, and out there.

  • Comment number 8.

    I don't think it's the two reasons you gave at the end Mark.

    I think it's because the Academy have increased their Oscar nominations and it's very clear, they want to make up for The Dark Knight not being nominated in 2009 as they had some backlash for not picking it.
    I remember Benjamin Button and The Reader being nominated instead, which were both rubbish and thats mainly why so many were angry. Since then they have increased the nominations to have a wide range of films.
    I think it's the Oscars that have gone mainstream if anything to be honest to get viewers in America, not you as I'm sure you still hate Transformers and that Pirates franchise.

  • Comment number 9.

    This year was just a great year for mainstream films - Look at Inception for example, an example of what can happen when major studio money gets put behind a great screenplay.

  • Comment number 10.

    Mark you should introduce the Kermode razzie awards. (Kermazzies) Then revenge could well and truly be taken.

  • Comment number 11.

    14th January, 2011. Mark Kermode loses all niche credibility, he takes his place as a member of the Empire team, fades into the background of the critical masses, tries desperately to co-write Kim Newman's Video Dungeon, fails, and his career as a popularly-known, recognisable and (arguably) 'contrary' critic ends.

    Not really. I think y'might as well go ahead with the Kermodes and give the awards to Christopher Nolan and Inception if they're your favourite film and director. Both will clearly be nominated for Oscars, but neither will win.

    My predictions. And I make these having not seen many big awards-courters, so I can't really make my list of what I want, just what I think'll get the awards.

    BEST FILM - Toy Story 3, The Fighter, The King's Speech, Inception, The Social Network, Black Swan, Hereafter (probably not), Winter's Bone, Never Let Me Go, 127 Hours, True Grit, Another Year.
    At least 7 of those will be up for Best Picture. And I think it's Social Network's win. Black Swan's too arty, the Coens/Boyle are too easy a pick, Toy Story gets Best Animated instead, Another Year/Never Let Me Go/King's Speech are too British (and King's Speech WILL get the BAFTA), Black Swan's too arty, and Inception was too divisive compared to Social Network.

    BEST DIRECTOR - David Fincher, Chris Nolan, Darren Aronofsky, Coen Brothers, Boyle. MAYBE Mike Leigh or David O Russell. But I think...a tad unsurely, that it'll be Fincher. Lost out for Benjamin Button, and Social Network really won back support. And bearing in mind that he will win at some point, this seems like the best time, considering his foreseeable future. Girl With the Dragon Tattoo comes out in December, but that'll struggle to be an awards film.

    BEST ACTOR - Colin Firth, Mark Wahlberg, Jeff Bridges, Jesse Eisenberg, James Franco. I'd LOVE to see Jesse Eisenberg get it, but it'll be Firth at the Baftas (for SURE) and almost certainly at the Oscars. Missed it last year to Bridges, reverses the balance this time.

    BEST ACTRESS - Natalie Portman, Anne Hathaway, Jennifer Lawrence, maybe Carey Mulligan. I know less about this, but it could equally be Portman or Lawrence. Lawrence would be the youthful, indie surprise, Portman would get Black Swan's biggest award at the Oscars. As for Bafta, it may well be HBC.

    BEST SUPPORTING - Geoffrey Rush/Helena Bonham Carter for King's Speech? Andrew Garfield (moreso than Justin Timberlake or Armie Hammer) for Social Network? Might the SN people in fact put Eisenberg up for supporting? Josh Brolin/Matt Damon for True Grit? The Oscar is Christian Bale's for The Fighter, the Bafta....maybe Andrew Garfield, although he's almost definitely the Rising Star. So probably Geoffrey Rush. A good, clean BAFTA sweep for The King's Speech.

    BEST SCREENPLAY - Adapted WILL be Aaron Sorkin. The Coens, Beaufoy/Boyle get nominations, but it's clearly going to be Social Network's prize.
    Original will be Inception. Toy Story 3/Another Year/The King's Speech all worthy contenders, but Inception is Inception. Everyone knows it's Nolan's 10-year-gestating dream project (no pun intended) and the BAFTA and Oscar are both his.

    I'll be watching just t'see if the Academy apologise for 2009 and give P.T.Anderson, Jonny Greenwood and There Will Be Blood the awards they absolutely deserve.

  • Comment number 12.

    Nolan is one of the few last vestiges of hope i find in Hollywood today. He is single handedly forging the truth that was realized in the late 60's.

    And subsequently destroyed by Star Wars.

    That innovation and not repartition is the way forward.

  • Comment number 13.

    In FACT, the young girl from True Grit, and Melissa Leo/Amy Adams for The Fighter all have a good shot at Best Supporting. I'm not sure at all about that. It might be HBC just t'complete the marriage factor with Colin Firth.

    P.S - Place bets NOW for the 2013 (possibly 2014) Oscars. Daniel Day-Lewis will win Best Actor for his role as Lincoln in the Spielberg biopic. Guaranteed.

    Although maybe now I've jinxed it.

  • Comment number 14.

    P.S.2 - I COMPLETELY forgot Annette Bening, Julianne Moore and The Kids Are All Right! To be honest I think neither are 'lead' actresses, but both are great performers, and it'll likely be Bening who picks up the Best Actress nomination, Moore Best Supporting. And I'd have thought only the latter would win.

    The Kids Are All Right'll get Best Picture and Screenplay awards, but Social Network and Chris Nolan are picking those up.

    The Kids Are All Right's a fine nominee. Apart from the slightly-too-man-demonising ending.

  • Comment number 15.

    I think Henry Fonda was a much better Lincoln than anything Daniel Day-Lewis can hope to perform. I don't doubt the man i just accept he has limits as an actor he has a range.

    And when he stays in that range he is one of the greats.

    But just cause he looks good in a handlebar moustache does not mean he automatically is cut out for the role. Because the lead character has a beard.

  • Comment number 16.

    Don't worry Mark, you haven't gone mainstream. The proof, if any were needed, is that you've regressed to mono, and one speaker mono at that - the ultimate in art-house audio quality!

  • Comment number 17.


    That may well be the case (and I speak as someone who...vaguely likes Young Mr Lincoln) but the fact remains that Daniel Day-Lewis is almost certainly winning awards when he plays the role. And because I have such affection for him, I wouldn't feel right saying he has a limited range, but it's certainly true that his films could fit into a few distinct categories, one of which would be America's birth. What intrigues me about Lincoln, particularly Spielberg's involvement and remembering Ford's film, is that I can't see it having a great deal of moral ambiguity, as Day-Lewis' characters so consistently do.

    Spielberg is a morally soft director, he can offer easy answers and has a knack for sentimentalising, and Lincoln is such a hero of the American mythos that - knowing NOTHING of the film at this stage - I can't see it being anything approaching 'critical' of Lincoln.

  • Comment number 18.

    It's sad when for the last 5 years Mark you have been the voice of reason at this time of the year, above any other critic. I dare not believe you have become mainstream yet will be blame a generally interesting, yet somewhat lacking year for film. Of Gods And Men is my film of the year, a tightly knitted and moving film, something Inception (or any Nolan film) was never going to be.

    However if you agree with the general public, as Inception is without a doubt the most popular film of the year, perhaps spend a weekend re-evaluating many of the popular 'delights' from recent years. I may just spend the same weekend re-watching The Assassination of Jesse James By The Coward Robert Ford and Of Time of the City. Oh Happy Days!

  • Comment number 19.

    To quote Simon Pegg in SHAUN OF THE DEAD:

    "Err... the first one."


  • Comment number 20.

    Maybe for the first time in years critics and awards givers are in sync. Or maybe the Academies are recognising the true great films of the year instead of the ones that scream out for awards attention. Or maybe on general 'Oscar films' are getting better. Or maybe you just picked the right films as the best of the year, as opposed to picking Of Time and the City as the best film in the year that No Country for Old Men and There Will Be Blood were released. Who knows.

    Personally I'd like to think that the Hollywood fare which usually gets posted for awards consideration are actually worthy of the recognition they get.

  • Comment number 21.

    @Stephen Glass, just a real nit pick, but Lincoln had nothing at all to do with the birth of the USA and was born 33 years after the Declaration of Independence was signed.

    Oh, also, I think it's kind of neither and both. Every awards season, the globes, the oscars, for many years they have tended to nominate and award films that are just on the cusp of the mainstream. On the whole they actually aren't huge money makers and often it's the films that just seem to follow on in the grand tradition of similarly arty films. In the last 2 years, initiated by the inclusion of 10 films in the Best Picture category at the oscars, that body at least have decided to give more love to the more mainstream films hoping more people will watch the ceremony if they have actually seen the movies.

    Also, you Mark have liked many of this years 'mainstream' films. So I think just for this year, both you, and the academy may have both been drawn from the two opposite sides of the river and have met in the middle.

  • Comment number 22.

    I think you've gone mainstream you big sell out!

  • Comment number 23.

    Mark, you simply can't be told that you didn't enjoy a movie, despite what the Tomatometer and your blog commentators might say. Stand by your guns, stay constructive and you've got nothing to worry about.

    As for Kermode Award nominations, simply wait and see. The Golden Globes were a travesty that seemed to catch many people off-guard, so the Oscars may well be the same. I'll be surprised if SCOTT PILGRIM VS. THE WORLD rises above the Special Effects and/or Editing categories, and if KICK-ASS registers at all. Furthermore, I have no doubt in my mind that Daft Punk will be overlooked for turning in some of the best work of their career in the fist-pumping, hair-raising score for TRON: LEGACY; easily the brightest star of a disappointingly dull film.

    Again, wait and see. I'm sure you'll find some worthy outliers.

  • Comment number 24.

    Has anybody actually seen Made in Dagenham other than a handful of film critics ?

    As for the 'rest of the world catching up'..I think it's similar to my 14 year old son suddenly appreciating my taste in films... or... I've got the same taste as a slightly camp 14 year old Goth boy :0)

  • Comment number 25.

    I'm not sure that you've gone soft, but from comparing reviews from the last few months with earlier stuff on YouTube I've noted the following:

    1. You are less likely to say "I loved it" or "I hated it" and more likely to go "which I like" or "which I like very much". This is frankly very irritating (moreso than your Fred impression), because you're trying constantly to be nice about films which deserve harsher treatment. You're a critic, you don't have to always be gentle just for the sake of avoiding harsh emails.

    2. More impressions are needed! Was listening back to your review of Black Book and annoying Mayo with your attempts to pronounce all of Paul Verhoeven's films in a Dutch accent (aside: is his name really pronounced "Ver-huff-en"?). I know Gywneth Paltrow and Renee Zellweger haven't been up to much recently, but even your odd "Manches-TAH" moments lift the show.

    3. One of the things about having guests on is that it makes it harder for you to slag them off. Even if your opinions of certain films haven't changed, you seem more reluctant to make them known. I bet two years ago if Peter Weir had been on you would have taken him to task over Dead Poet's Society (which you're wrong about incidentally), but now I'm not so sure.

    I guess what I'm trying to say is, if you have gone soft, it's not because of your relationship with the mainstream, but because you've changed in yourself, whether through age, taste or anything else. Maybe if you were to revisit your dislike of John Boorman or get Michael Bay on the show, we might see a bit more colour in your cheeks.

    That's my two cents, you're still my favourite critic

  • Comment number 26.

    I think neither Mark, you're just in luck this year. It's very rare that popular and critical opinion converge like they have this year with Inception and Toy Story 3 and when they do the awards ceremonies lap it up. Other than that I think it's been a very poor year for mainstream cinema with a few exceptions (Easy A springs to mind), so I wouldn't worry too much. Toy Story 3 edges it for me though. No other film this year managed to appeal to such a wide audience without pandering to anyone. Hollywood used to make films like this all the time, and now it's left to an animation studio to pick up the slack left by crass live-action blockbusters like The A-Team.

  • Comment number 27.


  • Comment number 28.

    I've got a feeling the world is finally catching up Dr K. Although it has to be said that last year did have quite a number of exceptional movies and BAFTA and OSCAR cannot ignore that fact. They have more than enough good movies and performances to choose from.
    I certainly don't think that this will be a year where you will have to put things right with the Kermode Awards, there will more than likely be a crossover. Don't worry. you remain forthright and honest in your opinions and it's always appreciated.
    All that being said I do detect an ever so slight softening of the old Dr K attitude, which aint no bad thing. I guess that comes with age ;D

  • Comment number 29.

    You let slip that you are a BAFTA member.

    There's your answer. You are now an insider and therefore part of the 'problem'. Groucho Marx said he would never join a club that would have him as a member (or was it Woody Allen?). So what's your excuse?

    [Groucho and Woody both became Academy members :-( ]

  • Comment number 30.

    @ KubrickandScott and Mr. Kermode

    I'm from Holland. So I can tell you that the only correct way to pronounce Paul Verhoeven's name is this: Powl Vurhoovun. :)

  • Comment number 31.

    Whilst I enjoyed Made In Dagenham and Sally Hawkins' performance, How Mark could you have failed to include Lesley Manville's superior display in Mike Leigh's Another Year?

  • Comment number 32.

    It's because we're now in an odd-numbered decade.

    Hear me out, I have a theory that the quality of mainstream hollywood films works in a cyclical fashion depending the decade in which they are produced.

    Think back to the sixties, when the major studios were in crisis, struggling to capture the same pulling power as the golden age of hollywood whilst audiences stayed at home watching television. This left the door wide open for a young, ambitious, innovative group of filmmakers to come to prominence, and produce original and daring films in the 1970's. It's extraordinary to think now that a film as complex and dark as The Godfather became the highest grossing film of all time.

    Of course, the decade culminated in George Lucas' Star Wars which set a template for giant summer blockbusters and resulted in the 1980's being swamped with big-budget action extravaganzas and a seemingly endless supply of bankable franchises. Don't get me wrong, there were lots of good films made in the 80's, but you had to look a little bit harder to find them.

    It could be argued that the 90's weren't a lot different. It was, after all, the decade that gave us Titanic. But it was also a decade which saw a new generation of filmmakers like David Fincher, Quentin Tarantino and Paul Thomas Anderson have notable crossover hits, all of whom were infuenced by trailblazers of the 1970's such as Scorsese, Coppola, Friedkin etc...

    Which brings us to the 2000's (I managed to go ten years without using the word 'noughties', and I'm not going to start now). I think in years to come, people will remember this decade as a time when people went nuts for mindless escapism. We've been bombarded with all manner of fantasies, comic book adaptations and CG enhanced franchises. There has, as always, been exceptions but a lot of innovative, original films have been pushed aside by Transformers and the like.

    Last summer, after watching Inception, my first thought was how glad I was that something complex, original and even confusing had managed to find a large mainstream audience. As Dr K has pointed out, Inception should be seen as a tipping point in which the studios have learnt that audiences are not as dumb as they think.

    As I write, the Coen Brothers' excellent True Grit has managed to out-jostle Little Fockers to the top of the US box office, surpassing all expectations and becoming the Coen's first $100 million+ grossing movie. Proof, I believe, that after a decade of excess, audiences are ready for films with a bit more substance.

  • Comment number 33.

    Mark, have you become mainstream? no. Has mainstream worshipped anything other than the turn of a dollar? no. What has happened is nothing more than a coincidence of the universe; when worlds collide or at least line up. I believe that you’re just currently experiencing a cultural total eclipse. Enjoy the experience while it lasts.

  • Comment number 34.

    Pan's Labyrinth, The Assassination of Jesse James by the Coward Robert Ford, The Road

    Toy Story 3, Inception, Of Gods and Men the only film trying to drag you away from the mainstream.

  • Comment number 35.

    Dr. K: Given the number of 3D pics still in production, they've not caught up. The facesaving solution seems to be that you aren't mainstream (yet), but you are appreciating mainstream films when they happen to have elements of the avant garde.

    I'm tempted at this point to suggest that your love of Inception clearly comes from its pointlessly convoluted talkiness, just like those dire French art films of the '70's, and its beautiful visuals and agonizingly ennui inducing slow pace would not be out of place in a Terence Davies film. I don't feel I can stoop to such sarcasm, and I'm pretty sure I couldn't pull it off.

    Your mention of Driving Miss Daisy as an Oscar nadir is nothing next to the year when Raging Bull was beaten by Ordinary People (both Best Pic and Director), that's even worse than Titanic taking any non-technical awards.

    In all seriousness, if you didn't live in hope that sometimes the film industry might produce something of quality and substance, you'd either chuck it in and produce solely academic criticism (I'd look forward to your staggering, frame by frame analysis of The Exorcist), or you'd become one of those mainstream critical hacks whose only legacy will be the fawning blurbs printed on posters of Michael Bay movies and future instalments of the Bride Wars franchise.

  • Comment number 36.

    I know what you mean but I think there's a film you haven't seen, even though the British director, Stephen Reynolds, is an absolute genius who made this little gem for nothing.
    Snowman is up for an award in the Get It Made competition so please ask people to vote for it before 1 Feb 2011.
    PS Yes, this is the same Stephen Reynolds who made Tomb Raider: Ascension (65mins, and the world's No 1 movie download wc 1 Jun 2009) for £15,000. If THAT's not genius, good Doctor, I don't know what is.

  • Comment number 37.

    Not really related to the awards things, but this frenchman has invented an amazing new way of doing 3D without glasses:

  • Comment number 38.

    I think audiences are also becoming more discerning. In America now, a Coen Bros movie is outselling Little Fockers and Gulliver's Travels. One a franchise movie the other a 3D movie, so you can at least hope that this will send a message to the studios to not simply crank out sub par fodder for the masses.

  • Comment number 39.

    @ Brian - New Forest

    You're so right about Ordinary People - horribly smug film, and probably ultimately responsible for the career of Noah Baumbach.

  • Comment number 40.

    You don't like DRIVING MISS DAISY?

  • Comment number 41.

    2010 was a good year for movies, as many good ones were released. However, as always, there was a lot of dross. The movies that received a great deal of attention, such as Inception, are so clearly wonderful it would be hard pushed for Awards to ignore them.

    I think it is simply a case that great movies are incredibly easy to spot now as the rubbish surrounding them is in far greater abundance. Alice in Wonderland, not an awful film but a very average one, Sex and the City 2…moving on.

    It really makes movies such as Toy Story 3 (a fantastic movie in its own right) shine that extra more when it comes to the awards.

  • Comment number 42.

    Your must consider the 3rd possibility. Coincidence...?

  • Comment number 43.

    Probably the latter Big K.

  • Comment number 44.

    I think the Oscars have been slowly improving in their choices since those dark days of Driving Miss Daisy. We now see Miyazaki and Almodovar taking statues home. And to be honest, I don't think anybody watching Inception thought it had a mainstream sensibility, despite the big budget and heavyweight cast, it was firmly in the tradition of Nolan's previous work. I wouldn't be surprised if it got several major Oscar nods and deservedly so.

  • Comment number 45.

    To say 'Let Me In' was one of the worst movies of the year is ludicrous, I don't agree with remakes but quite a few are worth while, 'The Hills Have Eyes', 'Dawn Of The Dead, and 'Quarantine' spring to mind.If they are poor then they will warrant a trashing by 'Let Me In' is no way a poor remake, you may not "agree" with it's release, but to label it awful is pompous.

  • Comment number 46.

    It seems appropriate to quote my favourite Quentin Crisp quip: "In an expanding universe, time is on the side of the outcast. Those who once inhabited the suburbs of human contempt find that without changing their address they eventually live in the metropolis." Don't think you've gone soft at all, Mark.

  • Comment number 47.

    Awards, schmwards. They really lack any relevancy whatsoever.

  • Comment number 48.

    A small pool of good films from 2010 to choose from this year, almost all from the mainstream.
    Unlike last year's Kemodes there's been no real equivalent of Swedish vampire classic 'Lat den ratte komma' in. No equivalent of Anne Marie Duff in Nowhere Boy, no equivalent of Me and Orson Wells, A Prophet, Moon, Imaginarium Of Doctor Parnassus; no Gainsberg in Antichrist, No Serkiss in Sex, Drugs & Rock n Roll.

    It wasn't a great year for small British films, The Disappearance of Alice Creed and Made in Dagenham notwithstanding. (The King's Speech is sure-fire Oscar bait - period costumes AND about Royalty; I suspect that it and Social Network will both do well.)

    Nor was there a European film that really caught the imagination the way Let The Right One In did. From the US indie sector only Winter's Bone and Buried seem to have caught people's imaginations. Wonder if you'll include those in your Kemodes nominations?

    If the indies, Britflicks & Euros have a strong year this year you could be at odds with the Oscars yet again next year.

  • Comment number 49.

    Just to give my two cents, I don't think the question here is that the world has changed or that ou have mellowed, but rather that we're presencing an exception to the rule similar to that of 2007 (or 8, considering the year the awards took place), where good, interesting, esoteric films are being pushed as contenders for the major awards. In other words, a sci-fi dream heist movie that seems to be blending Solyaris with James Bond, a psychological horror set in the context of ballet, and a cynical post-modern study on one of the biggest comunication media at present time hardly sound like Oscar-baiting films. I guess you could see this as the Academy growing up instead, but I guess only time will tell.

    Also, why shouldn't you push [i]Of Gods And Men[/i] for best film and director instead of simply "best foreign film"? It's not like world cinema is in any way inferior or deseres its own "special award" for not being able to hold its own against Hollywood productions. Step in for this one, Mark, like you did with [i]Pan's Labyrinth[/i]. :)

  • Comment number 50.

    For all your praising of the Baftas I would like to point out that in 2008 they did give the rising star award to Shia Le Beef

  • Comment number 51.

    Darth: To be fair to Bafta, that one is voted for by the public, don't know why though.

  • Comment number 52.

    Bit of a non sequitur but could anyone explain why BAFTA nominates films that have yet to be released in the UK (outside of film festivals)? True Grit will not be released until 3 days before the award ceremony and I am sure that there have been similar examples in the past. I appreciate that film companies seem to reserve release dates on the films likely to win awards until this time of year but to give accolades to a film that hardly anyone in Britain would have had the opportunity to see seems rather contrary.

  • Comment number 53.

    I too am of the opinion that the good Dr K hasn't gone soft, in a squishy, grouchy, curmudgeonly way. I too believe that 2010 was a year where a larger than usual number of good movies were released. Because of that, they stand out more from the plethora of dross, due to their brilliance.

    Can't wait to see the Kermode awards nominees this year once the Oscar nominations are announced.

  • Comment number 54.

    I think that many the awards ceremonies this year are awarding more innovative films this year as can be seen in the nominations for Black Swan and Inception. That both arguably go in new directions and are not traditional Oscar fare.

    Also the Oscars do inevitably nominated the most deserving films for best picture or the relevant category on rare occasions in the past. After all at the 46th academy awards The Exorcist was nominated for Ten oscars including best film.

  • Comment number 55.

    I think it's a mixture of both.

    Maybe the Oscar idiots are catching up with you or maybe your becoming more forgiving.

    I would like to think it is because that ,in this day of the internet and CGI, more interesting films are getting attention. The more attention a film gets, the more the awards love it. Yet they are still interesting so grab your attention as well.


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