Every year, The Academy of Motion Picture Arts and Sciences releases a list of nominees for the coveted Oscar Awards. In the weeks leading up to February 24, numerous individuals and publications give their take on which movies will win, which actors gave the best performances and which films were snubbed of their deserved place among the nominees. We here at The Omniscient are joining in on the conversation. Henry Taylor and Chase Miller, student staff writers, give their predictions on who will win in each of the major categories below.
Best Picture:
“Black Panther”
“BlacKkKlansman”
“Bohemian Rhapsody”
“The Favourite”
“Green Book”
“Roma”
“A Star Is Born”
“Vice”
Henry:
The list of nominees for “best picture” is more colorful than ever before. The accusations of poor diversity that plagued the Oscars in the past cannot be applied to this year’s list. Films such as “Black Panther,” “Black KkKlansman” and “Green Book” tell stories of both black empowerment and black struggles. “Black Panther” is also the first superhero movie to ever be nominated for an award.
Movies about music also appear on the list, with “Bohemian Rhapsody” and “A Star is Born.” Other nominees include the period piece “The Favourite,” the historical comedy “Vice” and the black and white drama “Roma.”
When it comes to my choice, I would have to say that “Green Book” is my personal pick. Featuring clever comedy, authentic 1960s historical set pieces, and incredibly strong performances from the Academy Award nominee Viggo Mortensen and Academy Award winner Mahershala Ali, this film deserves all the praise it has received. The tale of discrimination in 1960s America is not an uncommon one, but the same story being told through the eyes of a hardened New York Italian certainly is.
Mortensen’s character “Tony Lip” goes from throwing away the glasses used by black workers to forming a powerful bond with Ali’s “Don Shirley”. It takes skill for a movie to go from a black man airing his grievances of being used by whites to feel cultured, to heartfelt comedy surrounding poetic love letters. Never before has a movie allowed me to feel the disgust and anger felt by many minorities in the mid-20th century, and that in itself is a true accomplishment.
My prediction, however, is that either “Black Panther” or “Roma” will take the Oscar. The fact that “Black Panther” is a superhero movie gives it an advantage, as it is likely to draw viewership to the Oscars that the awards show might not have had before. “Roma” also has a similar leg up, as many people have access to it because of their Netflix subscriptions and therefore may be more likely to have seen it already. Because of this, it is going to be a tight race, but I would say the greater advantage is on “Roma’s” side.
Chase:
This year’s list of best picture nominees shows impressive range, from the heart-pounding action of “Black Panther” to the tear-jerking musical stylings of “A Star is Born” and “Bohemian Rhapsody.” The nominees are comprised almost completely of true-story historical dramas, like “Vice,” “Roma,” “BlacKkKlansman,” “Green Book,” and, again, “Bohemian Rhapsody.” Though they span across countries and decades, some showcasing times of political turmoil and others the power of music to change minds, the one that stood out most to me was “BlacKkKlansman.”
The film follows Ron Stallworth, the first African-American police officer and detective in Colorado Springs, as he investigates and ultimately infiltrates the local KKK chapter during the late 1970s. Stallworth, who impersonates a white recruit over the phone, enlists the help of his white coworker to attend meetings using the same undercover persona, and together the two work to expose the violent hate group. The film, a sort of dark comedy, leaves audiences nervous for the fates of the brave central characters, struck by the harsh realities of racism in America, and somehow, still laughing at the absurdity of the events that play out.
“BlacKkKlansman”’s well-rounded and topical portraiture of racial issues is comparable to that of “Green Book,” another one of this year’s strongest films, but succeeds in a particular area in which the latter has failed. Though they are both based on the lives of influential African-American historical figures, the real Ron Stallworth says his story was done proper justice. The only artistic liberties taken are the minor reorderings of events, the insertion of a fictitious female character and her resulting romance with Stallworth. However, the family of Don Shirley, whose story is told in “Green Book,” has called the film “a symphony of lies” and has asserted that they were never consulted by the filmmakers. Additionally, “Green Book” centers the story more around Shirley’s driver – the white main character – than Shirley himself, which is reflected by the backwards nomination of Mahershala Ali for best supporting actor, rather than lead. While “BlacKkKlansman” could’ve easily painted their white lead – Stallworth’s partner in the investigation – as the central character, they chose not to, and the story is fuller as a result. So, though it faces stiff competition from other fantastic films, I think it is most deserving of the Academy Award for best picture.
Best Lead Actor:
Christian Bale, “Vice”
Bradley Cooper, “A Star Is Born”
Willem Dafoe, “At Eternity’s Gate”
Rami Malek, “Bohemian Rhapsody”
Viggo Mortensen, “Green Book”
Henry:
While the race for best actor is tight this year, I think that the two most likely contenders are those that managed to transform themselves completely into important figures from recent history. I am of course referring to Christian Bale and Rami Malek, who played Dick Cheney and Freddie Mercury, respectively.
Christian Bale is known for his method acting and physical transformations. He pushed his body to the brink of starvation for his role in “The Machinist”, and managed to gain a bodybuilder-like physique for his role in the “Dark Knight” trilogy. Most recently for “Vice,” Bale gained 60 pounds to more accurately represent the physique of Vice President Dick Cheney. This type of dedication to the part is almost unheard of from other actors, and may just be enough to earn Bale the award.
The other actor mentioned is Rami Malek who captured the hearts of audiences with his portrayal of Freddie Mercury in the Queen biopic “Bohemian Rhapsody”. Learning to play both piano and guitar, and coming as close as few have to replicating the voice of the late Queen frontman, Malek is a likely recipient for the award. Gaining recently popularity as the star of the hit show “Mr. Robot”, the actor is quickly becoming a household name.
When it comes to my choice, I see the award going to Malek. He is an underdog as a new and up-and-coming actor with clear talent. While Bale and Malek both are highly skilled and put their hearts and souls into their performances, Malek’s performance has resonated with audiences who hold fond memories of Freddie Mercury. An Oscar this early in Malek’s career would also secure his place in Hollywood history, while Bale has had his place among the greats for years. For those reasons I see Malek winning the award.
Chase:
“Bohemian Rhapsody” was a huge commercial hit, breaking the box office record for a musical biopic set by the 2015 biographical drama “Straight Outta Compton.” The powerful, vulnerable performance by Rami Malek as Queen frontman Freddie Mercury is among the greatest of the year, and he is very deserving of his lead actor nomination. But “Bohemian,” despite Malek’s prowess and being generally beloved by fans, has received very mixed reviews from critics.
Freddie Mercury, especially after his tragic death from AIDS, has become a so-called “gay icon,” known for opposing the heteronormative Hollywood of the 70s and 80s–attributes that many critics are quick to point out the supposably-progressive modern Hollywood watered down, or “straight-washed.” Mere moments were dedicated to Mercury’s seven-year romantic relationship with hairstylist Jim Hutton. The film introduces Hutton as a member of a cleanup crew for one of Mercury’s house parties, when in reality, the two met at a gay bar. The main love interest of the film is, understandably, Mercury’s former fiancée and lifelong confidante Mary Austin, whose engagement to Mercury was called off by his coming out to her as bisexual. At this pivotal moment in the film, Austin quickly corrects him, saying “Freddie, you’re gay.” This exchange, among others, exemplifies the “bi-erasure” tone that is present throughout the film, which undermines the truth of Mercury’s identity in an effort to please audiences. He has been portrayed not as a liberated bisexual, but as a gay man in denial, who descends into a half-shown slump of sexual taboos when Austin leaves him.
All of these misrepresentations paired with the negative optics of hiring oft-accused rapist Bryan Singer to direct leave a lot to be desired from “Bohemian Rhapsody,” but not from its lead performer. Rami Malek, though his career is dwarfed beside veterans Christian Bale, Willem Dafoe, Bradley Cooper and Viggo Mortensen, led a stunning performance as Freddie Mercury, complete with all the physicality that made the late star great. Malek, with the help of hair, makeup, costuming and prosthetic teeth, truly transforms into Mercury, showing levels of showmanship and emotional drive that are sure to lift him above “Bohemian”’s many faults and lead him to an Oscar win.
Best Lead Actress:
Yalitza Aparicio, “Roma”
Glenn Close, “The Wife”
Olivia Colman, “The Favourite”
Lady Gaga, “A Star Is Born”
Melissa McCarthy, “Can You Ever Forgive Me?”
Henry:
When it comes to best lead actress, it is definitely a close race. When it comes to my personal pick, I would have to give it to Lady Gaga. The star singers depiction of Ally in “A Star is Born” shows just how multifaceted of an actor Gaga truly is. The incredible emotion expressed throughout the movie is no small feat, and not something that many actors today could pull off. Lady Gaga’s singing is as superb as one would expect, and the emotion she conveys in her crooning makes her character all the more believable. The last scene of the movie is so emotionally potent that it nearly brought me to tears the first time I saw it. For me, this category is hardly a contest.
Chase:
This year’s lead actress line-up is comprised primarily of first-time nominees. Pop star Lady Gaga (“A Star is Born”) and comedian Melissa McCarthy (“Can You Ever Forgive Me?”) dazzled audiences with unexpectedly strong performances. And though it’s admittedly hard to measure up to the likes of veteran Glenn Close, the underdogs seem to be the top dogs this year – chiefly, Yalitza Aparicio. As the first indigenous Mexican actress to be nominated in such a prestigious category, her role in “Roma” was a notably stellar part of an all-around stellar movie. Even had she not been framed by lovely long-shots and an immersive community blooming with life, her nuanced emotional range would shine through. “Roma” is a touching and deeply personal recollection of the writer-director’s memories of Mexico City during a time of great political and domestic change, told intelligently through the lens of Aparicio’s character, a domestic worker. Though it is bathed in black and white, it shows the full spectrum of human emotion, and deserves each of its 10 nominations, but most especially this one.
Best Animated Movie:
“Incredibles 2,” Brad Bird
“Isle of Dogs,” Wes Anderson
“Mirai,” Mamoru Hosoda
“Ralph Breaks the Internet,” Rich Moore, Phil Johnston
“Spider-Man: Into the Spider-Verse,” Bob Persichetti, Peter Ramsey, Rodney Rothman
Henry:
I have a fairly strong opinion of which film deserves to win in this particular category. While “Isle of Dogs” is a close second, the clear winner in this category is “Spider-Man: Into the Spider-Verse.” The first aspect of the film that captured my attention was the visuals: the film’s creators used a combination of a traditional comic book aesthetic with elements of graffiti art. Characters and objects in the background split into two separate translucent red and blue versions of themselves, creating a 3D effect rather than a simple blur to imply distance from the camera. How cool is that?
I also cannot recall a more inspiring scene than the scene of Miles Morales finally becoming Spider-Man. I could barely hold back from cheering in the theater. A hyper-stylized joyride from start to finish, with a story about self-discovery and breaking expectations, “Into the Spider-Verse” deserves the award many times over.
Chase:
Though I am a dedicated Wes Anderson fan and have been vocal about my love for the “Incredibles” series, there is no candidate for Best Animated Feature comparable to “Spider-Man: Into the Spider-Verse.” The visually-stunning animation was a culmination of several styles and among the most advanced I’ve ever seen. The color-coded comic book qualities truly did justice to the original character design in making each Spider-someone and the alternate dimension from which they came distinct. The action-packed effects, artful cinematography and creative viewpoint shifts, though all animated, easily measure up to and often even surpass those of a live-action film. And the sometimes sweet, sometimes sad story offered a very valid take on friendship and identity that transcends the predictable pitfalls of the hero’s journey. I only wish “Spider-verse” could’ve gained a nomination for Best Picture to support its success among a wider cross-section of moviegoers, as it is already sure to win Best Animated Feature.
Best Original Song:
“All The Stars” from “Black Panther” by Kendrick Lamar, SZA
“I’ll Fight” from “RBG” by Diane Warren, Jennifer Hudson
“The Place Where Lost Things Go” from “Mary Poppins Returns” by Marc Shaiman, Scott Wittman
“Shallow” from “A Star Is Born” by Lady Gaga, Mark Ronson, Anthony Rossomando, Andrew Wyatt and Benjamin Rice
“When A Cowboy Trades His Spurs For Wings” from “The Ballad of Buster Scruggs” by David Rawlings and Gillian Welch
Henry:
When it comes to the best original song of 2018, there are two contenders that I think are clearly in the running. These two songs are “All The Stars” by Kendrick Lamar and SZA, and “Shallow” by Lady Gaga. Both songs received significant radio play and were/are some of the most popular songs of the last year. Personally, I see “All The Stars” grabbing the award. The song was written by black artists, and due to past controversies surrounding black representation at the Oscars, it would not be a bad pick. There is also something to say about Kendrick Lamar’s potential path toward becoming an EGOT winner (Emmy, Grammy, Oscar, Tony). When it comes to the quality of the songs themselves, I find “All The Stars” to be better. While there is certainly thought and talent put into “Shallow”, specifically with Bradley Cooper’s surprising singing, it is Kendrick Lamar’s empowering lyrics and excellent flow that are able to pack a harder punch and deliver a stronger message than “Shallow” does.
Chase:
This year’s nominees for best original song are less impressive than those of previous years. While I have loved listening to “Shallow” from “A Star is Born” and “All the Stars” from “Black Panther” over the car radio, I don’t necessarily agree that their commercial success and mainstream popularity should’ve translated to an Oscar nomination. Though both songs are beloved and seem to be mostly likely to snag the award, “Shallow” is especially over-hyped. True, the vocals are very impressive, both from Lady Gaga and, surprisingly, Bradley Cooper. (the complex fingerpicking melody from the guitar is equally beautiful). But the lyrics are lazy to say the least, comprised merely of two near-identical verses followed by the same bridge and same chorus. These repetitive and clichéd words are only elevated by the lovely voices singing them, and, though I am still a sucker for Gaga’s soaring vocal solo towards the end, I just don’t see this song as being Oscar-worthy.
Similarly, though “All the Stars” has graced my hip-hop playlists, and the lyrics are definitely superior to those of “Shallows,” I am not necessarily rooting for it. Kendrick Lamar was exceptional in curating the “Black Panther” soundtrack, but “All the Stars” is already award-winning and chart-topping. The underdog nominees – chiefly “The Place Where Lost Things Go” from “Mary Poppins Returns” and “When a Cowboy Trades His Spurs for Wings” from “The Ballad of Buster Scruggs” – deserve recognition. They were not produced by famous artists like Gaga or Lamar; they were not intended to become Billboard hits. They were only meant to further the stories laid out in the film and contribute to the general atmosphere. Both songs feature touching lyrics which, despite discussing death, convey a certain warmth. The all-acoustic sound common among old Westerns is executed effortlessly in “When a Cowboy Trades His Spurs for Wings” – complete with blues-style guitar, harmonica accompaniment, and an occasional yodeling choir. “The Place Where Lost Things Go” stays true to the classical and minimalistic musical roots of the original Mary Poppins film and marks one of the most emotional moments of the film. Ultimately, as “Mary Poppins Returns” is a legacy Disney musical with an overall notable score, and because no other song quite matches the sensitivity and sweetness of “The Place Where Lost Things Go,” I see it taking the Oscar come Sunday evening.
