The 2020 Oscars are quickly approaching but you do not have to wait to see some of the nominated films.
Starting Feb. 7, the Urban Institute for Contemporary Arts will be hosting the “Oscar Shorts 2020: Animated” and “Oscar Shorts 2020: Live Action” and on Feb. 21, will hosts Oscar Shorts 2020: Documentary A and Oscar Shorts 2020: Documentary B.
Or if you would like to take a little road trip on Feb. 9 — the day of the Oscars show — the Tibbits Classic Film Series will once again showcase the 2020 Academy Award nominees for best animated and live action short films on at Tibbits Opera House.
A short film is any motion picture that has a running time of 40 minutes or less, including all credits, per guidelines set forth by the Academy of Motion Picture Arts and Sciences. In the past, short films generally relied on exhibitions at festivals to reach an audience. This is still the case for the most part, with the short films being shown at Sundance and Cannes, the biggest festivals.
Animation really took advantage of the short film format when Warner Brothers and Disney began putting short cartoons before all of the studios’ feature length films. This is a tradition that Pixar has carried over to the present day by screening a short along with each of its feature films during its initial theatrical run since 1995.
Showtimes for UICA, located at 2 W. Fulton St., vary. Tickets are $10 general admission and $5 for UICA members. Visit uica.org for more information on the Oscar nominated shorts film series, other film series, exhibitions and events.
The Tibbits Opera House, located at 14 S. Hancheet St., Coldwater, will be Feb. 9 at 2 p.m. the cost is $8. Tibbets Classic Film Series showcases Hollywood classics from such genres as sci-fi, film noir, musicals, comedies, and mysteries. All other showing to the Classic Film Series are free. For more information or to purchase tickets, please visit Tibbits.org or call 517-278-6029.
“If you want to view paradise, simply look around and view it. Anything you want to, do it; want to change the world… there’s nothing to it.”
– Gene Wilder in Willy Wonka and the Chocolate Factory
Last year I mentioned a little bit of history for the Oscars. So this year lets dive right into the night of glamor, which started with a great performance by Justin Timberlake.
They had many great presenters including a few from Star Wars including Felicity Jones (Jyn Erso) and Diego Luna (Cassian Andor). Some of the Avengers even “assembled” to present awards such as Chris Evans (Captain America), Scarlet Johnson (Black Widow), and Samuel L. Jackson (Nick Fury/ Mace Windu). Amy Adams (Lois Lane), Ben Affleck (Batman), and Matt Damon (Jason Bourne) also made an appearance.
The show had some great performances through out the night. Sting performed “The Empty Chair” from Jim: The James Foley Story. Auli’I Carvalno preformed “How Far Will I Go” from Moana. And Sara Bareilles performed Johi Mitchell’s “Both Sides” for the In Memoriam.
Emma Watson won for Best Actress for “La La Land”
Of course let’s not forget Jimmy Kimmel’s presence as host for the evening. He certainly had his own style for the night even though you could see a little of the Kimmel/ Damon feud throughout the event. However, I did find it funny when Damon tried to trip Kimmel and when Kimmel tried to play Damon off the stage with the orchestra.
The In Memoriam is always a nice touch for the evening and included Prince, Mary Tyler More, Gary Marshal, Gene Wilder, Kenny Baker, Debbie Reynolds, and Carrie Fisher. They even mentioned Bill Paxton who unfortunately passed away over the weekend.
Let’s talk the mishaps. There was Carvalno performance where she was hit in the head with a flag and she continued graciously. And of course, the biggest mishap of the Oscars was the mix up of the envelopes that were given to Warren Beatty and Faye Dunaway. No one could believe what happened. The audience in attendance and I would dare say that everyone watching were stunned. You could see their faces drop while watching, however; I thought the cast of La La Land held their own and accepted the mix up with dignity.
And just like that another year has come and gone for the Oscars. And just in case you are wondering where to watch some of these great films, which are still in theaters, you can find them at the following cinemas: AMC Grand Rapids 18 (formerly Star Theater), which has both “La La Land” and “Moonlight.” Many of the Celebration! theaters including North, South and RiverTown are still showing “La La Land;” and Celebration! Woodland has a number of the Academy Award-winning and nominated films including “Fences,” “Moonlight,” “Manchester by the Sea,” “Moana,” and “The Salesman.”
Once again, the Urban Institute for Contemporary Arts, 2 W. Fulton St., will be featuring the Oscar Nominated Shorts series. There are two sets of documentaries, with Documentary A running through March 26 and Documentary B, which includes the 2017 Oscar winner “The White Helmets,” running through March 28. The animation series, which includes the 2017 winner “Piper,” and the live action series, which includes the 2017 winner “Sing,” will run through April 1. Check for showtimes at www.uica.org.
In Honor of Carrie Fisher (one of my favorites) “May the Force Be With You.”
The full list and the winners of the 89th Academy Award are as follows:
Best Picture: Moonlight
Best Actor: Casey Affleck for Manchester by the Sea
Best Actress: Emma Stone for La La Land
Best Foreign Language Film: The Salesman by Asghar Farhadi
Best Animated Feature Film: Zootopia by Bryon Howard, Rich Moore, and Clark Spencer
Best Supporting Actor: Mahershala Ali for Moonlight
Best Supporting Actress: Viola Davis for Fences
Best Documentary Feature: O.J.:Made in America by Ezra Edelman, Caroline Waterlow
Best Director: Damien Chazelle for La La Land
Best Original Music Score: La La Land by Justin Hurwitz
Best Original Screenplay: Manchester by the Sea by Kenneth Lonergan
Best Original Song: City of Stars for La La Land by Justin Hurwitz, Benj Pasek, Justin Paul
Best Writing Adapted Screenplay: Moonlight by Barry Jenkins, Tarell Alvin McCraney
Best Cinematography: Linus Sandgren for La La Land
Best Costume Design: Colleen Atwood for Fantastic Beasts and Where to Fin Them
Best Animated Short Film: Piper by Alan Barillo, Marc Sondhimer
Best Visual Effects: The Jungle Book by Robert Legato, Dan Lemmon
Best Live Action Short Film: Sing by Kristof Deak, Anna Udvardy
“Quellek, by Grabthar’s hammer, by the Suns of Worvan, you shall be avenged.” – Alan Rickman in Galaxy Quest.
The Academy hosted the 88th award ceremony at the Dolby Theater in Los Angeles this past Sunday. Before we dive into this year’s ceremony, let’s go back to the first ever presentation.
The very first year the Awards were held at the Hollywood Roosevelt Hotel right across the street from the Award’s present location. That first night, a ticket to the Awards cost $5 a piece, had only 270 people in attendance, and ended its ceremony in only 15 minutes.
Today, tickets are acquired by the movie studios and can cost up to $750, the Dolby Theater seats 3,400 people, and the ceremony lasts a whopping three hours. The Academy Awards has become a huge event not only in America, but around the world. The Oscar itself stands 13.5 inches tall and weighs 8.5 pounds.
I love watching the Academy Awards, but host Chris Rock was a little too outspoken about the lack of nominations for black actors and actresses. We all knew the commentary was coming, but it was mentioned too many times throughout the ceremony and felt like the beating of a dead horse.
Now, don’t get me wrong, I do love Chris Rock as an actor and a comedian. I loved him in the movie Grown Ups.
The attendance of the Girls Scouts came across as odd to me. It’s nice that many of the celebrities supported the Girl Scouts, but strange that they were at this caliber of an event. It had the same out-of-place feeling as the selfies and pizza from last year. Personally, I feel they should bring The Academy Awards back to its original grace with a more dignified evening.
The Awards had a few great performances from the category of Best Original Song. Sam Smith preformed his piece “Writing’s on the Wall” from James Bond Spectre. The Weeknd performed second and Lady Gaga put a final cap on the performances from Best Original Song.
Every year, the In Memorium segment is a nice touch on the evening. Many great people were lost in the past year including Christopher Lee, Alan Rickman, Gene Alan, and Leonard Nimoy.
While some presenters can leave you wanting more, I loved the inclusion of R2-D2. C-3PO, and BB-8 from Star Wars. The Minions, Buzz and Woody, Kevin Hart, and Whoopi Goldberg made for a good show as well. One I personally found funny was the presentation from Margot Robbie and Jared Leto because of their upcoming roles as Harley Quinn and the Joker in Suicide Squad.
It’s impossible to talk about the awards without congratulating Leonardo DiCaprio on finally getting his Oscar! Personally, I thought he should have had one long ago because of all of his great films. I had thought he would have received one last year either for The Great Gatsby or the Wolf of Wall Street, but he finally got one this year for The Revenant.
Upon receiving his award he was very proud, and I thought his speech was exceptional. He made mention to climate change, which was encouraging to hear him speak about because he has been working to support that cause.
Another year has come and gone for the Academy Awards. I can’t wait to see what this new year has in store for in regards to films, performances, and preparations for the 89th Academy Awards.
In Honor of Leonard Nimoy; “Space: the final frontier. These are the voyages of the starship Enterprise. Her ongoing mission: to explore strange new worlds, to seek out new life forms and new civilizations, to boldly go where no man has gone before.”
Congratulations to all the Oscar winners!
In case you missed it, the full list of categories and winners of the 88th Academy Awards are as follows:
Best Picture: Spotlight
Actor in a Leading Role: Leonardo DiCaprio for The Revenant
Actress in a Leading Role: Brie for Room
Actor in a Supporting Role: Mark Rylance for Bridge of Spies
Actress in a Supporting Role: Alicia Vikander for The Danish Girl
Animated Feature Film: Inside Out
Cinematography: The Revenant
Costume Design: Mad Max: Fury Road
Directing: The Revenant
Documentary (Feature): Amy
Documentary (Short Film): A Girl in the River: The Price of Forgiveness
Film Editing: Mad Max: Fury Road
Foreign Language Film: Son of Saul
Makeup and Hairstyling: Mad Max: Fury Road
Music (Original Score): The Hateful Eight
Music (Original Song): “Writing’s On The Wall” from Spectre
Production Design: Mad Max: Fury Road
Short Film (Animated): Bear Story
Short Film (live Action): Stutterer
Sound Editing: Mad Max: Fury Road
Sound Mixing: Mad Max: Fury Road
Visual Effects: Ex Machina
Writing (Adapted Screenplay): The Big Short
Writing (Original Screenplay): Spotlight
Katie works in the film industry as a camera operator and has worked on films like ‘All You Can Dream’, ‘Set Up’ and a TV show called ‘American Fallen Soldier.’ She loves helping WKTV with the Citizen Journalism team and working as a tech at Amway Grand Plaza Hotel. Katie loves working in the film industry and loves watching movies just as much!
Well, Oscar season has come and gone. This year was a ridiculous year, good and bad, for films of all ranges of quality. The final showcase of such occurred on February 28th and landed with a few surprise aces up its pre-packaged sleeves.
Chris Rock made his monologue count with a takedown of the accusations of institutional racism by outside critics earlier when the nominations were announced. The only issue I had with his hosting was I could have done with less of the easy race jokes he made every time he was on-screen. Apparently everyone else thought he went far enough with his prodding of the stodgy Academy demographic, but I remain dubious in my belief that he could have been a bit more cutting in his commentary. That being said, I loved the payoff of the Girl Scout cookies gag with Michael Keaton scarfing them down after Spotlight stuck the landing, winning Best Picture. Long Live Betelgeuse!
Aside from Rock, I won’t be commenting on the presenters and various cameos spurred by his hosting (*cough* Stacey Dash), but I will say that there was still fat that could have been trimmed from the telecast. I noticed certain advertisements were repeated throughout the commercial breaks, showing there is an overlong amount of advertising time, which needs depleting, or the red carpet ceremony needs to start way earlier. I like my beauty sleep, thank you very much.
As for my personal ballot, I nailed 16 of the 24 categories, surprisingly getting the non-animated shorts and documentaries correct, though I was least sure of their chances. I missed both the Supporting categories, due to the surprise upset of sneaky spy Mark Rylance stealing the thunder from Sylvester Stallone’s gracefully aged perfromance in Creed. Alicia Vikander ended up impressing audiences and Academy voters who still rewarded her for the least of her work released last year, over Kate Winslet’s solid performance in Steve Jobs.
In addition, I lost faith in Mad Max: Fury Road over Costuming and VFX at the last minute, voting for The Martian in the latter category through my mLive ballot on Saturday night. Turns out Ex Machina had an effect on people after all, which is more than acceptable. I am more than happy to lose to a film I willingly support even though I made the mistake to count it out of my personal nominations.
Of all the surprises, the most pleasant was George Miller’s own wife, Margaret Sixel, winning Best Film Editing. In hindsight this makes sense, as Fury Road‘s breathless pace and structure deserved recognition. I still feel it was wrong that while the majority of the crew under Georgie was recognized, the Academy didn’t have the guts to give it to the director for organizing those people. Meh, I know in my heart who the real hero of the night was.
Regarding Best Song, I admit I was shocked to see the Spectre song “Writing’s on the Wall” win over the likes of Lady Gaga’s sexual assault survivor ballad “‘Til it Happens to You”. I was sure Gaga was on her way to finalizing her EGOT (Emmy, Grammy, Oscar, Tony), but apparently that was not to be. D’oh! I’m pretty sure Gaga and Weeknd split the vote, leading the way for Sam Smith to sneak his way onstage and snatch it away.
With Best Animated Short, I’ll admit it was neat to see someone besides the soulless company that is PIXAR win the Oscar. I still wish Cosmos or World of Tomorrow had won, but a loss for PIXAR is a win for those of us who want more diversity in Academy Awards nominees.
It was an okay ceremony. I am sure that everyone else and their dog has written up better summaries of the ceremony than I could at the moment, as I am content that The Revenant didn’t win Best Picture. That being said, I am still upset that it won Best (Hamhanded) Director, considering how much of a sore loser Iñárritu is.
This year is probably more straightforward in the big categories, but quite the troublesome hedgemaze in terms of technicals and short films and such. Here be my picks, complete witommentary, a confidence-inspired ranking system*, and binary Who Will Win/Who Should Win tags:
*The ranking system is based on confidence in each category. A score of 24 – since there are 24 categories – carries the most confidence, and therefore the highest point value. As the score lowers, start loading up on grains of salt. A perfect score will only make me look all the Wieser…
Documentary Short (2)
This is tough, as the offerings really run the gamut in terms of content. We have a Holocaust eulogy, an Ebola crisis piece, a piece on domestic violence in Pakistan, a Vietnam vet think piece, and a short on a Vietnamese teenage artist affected by Agent Orange. My gut tells me to go with Body Team 12, the Ebola one, though I feel A Girl in the River, the Pakistani film, deserves a look for the cultural horrors it produces on viewing.
Will Win: A Girl in the River // Should Win: A Girl in the River
Documentary Feature (20)
Amy is the one that will win. It’s inevitable, like other awards later on. Cartel Land and the Nina Simone piece were intriguing, but they lack the controlled manipulation that director Asif Kapadia holds in the tragic overview of the short starburst of a career that belonged to Amy Winehouse.
*The Hunting Ground was nominated for Song, and while I acknowledge some of its content is dubious and controversial, I feel the content and filmmaking should be acknowledged for its headway in dealing with collegiate sexual assault cases.
Will+Should Win:Amy
Should’ve Been Nominated: The Hunting Ground
Live Action Short (1)
I really have no opinion, having not seen any yet. But research is edging me towards Stutterer. Eh, might as well.
Will Win: Stutterer (??)
Animated Short (12)
History has taught me that if it has Disney plastered on the product (Sanjay’s Super Team), bet on it stealing the Oscar over usually much more interesting and rewarding things like Don Hertzfeldt’s jaw-dropping World of Tomorrow and the equally inspired Russian entry We Can’t Live Without Cosmos. They’ll listen to me eventually.
Will Win: Sanjay’s Super Team
Should Win: World of Tomorrow/ We Can’t Live Without Cosmos
Animated Feature (22)
Pixar has had this one in the bag since the film made a splash back in June when it was released. It is sad, because it was a really extraordinary year for feature animation, between the Ghibli coming of age drama When Marnie was There, the mimed hijinks of Shaun the Sheep, and the intriguing headpiece Anomalisa. Still mad that Peanuts wasn’t nominated, by the by.
Will Win: Inside Out
Should’ve Been Nominated: The Peanuts Movie
Sound Editing (19) +Mixing (8)
Source: variety.com
Fury Road really should have this in the bag, but research tells me assorted experts expect The Revenant to steal one or both for some reason that is unfathomable by me. Thing is, I remember the hellish soundscapes of the furious roadway, but aside from the bear attack, I remember nothing remarkable from The Revenant. Ugh, you people are all crazy, Academy.
In one corner, we have Best Picture front-runners The Big Short, The Revenant, and Spotlight. In the other, we have wild-card options Fury Road and the latest in the legendary Star Wars series. What to choose, what to choose…?
Twist my arm and I’d say The Big Short. If not, I blame John Serba.
Another one that I am proud to say Fury Road has in the proverbial bag. Just look at the level of creativity and imagination given to ol’ Immortan here.
Long Live Mad Max! Long Live The Wasteland! Sing, Brothers! Sing, SING!!
Will+Should Win: Mad Max: Fury Road
Best Original Song (4)
Please don’t let Fifty Shades of Grey get past Oscar-nominee status. Just give it to Gaga and spare us the pain of remembering. My heart can’t take the strain.
Will+Should Win: “Til It Happens to You”, from The Hunting Ground
Best Original Score (21)
Tarantino’s little outburst at the Globes, spouting that Morricone has never won an Oscar, (technically untrue, he won an Honorary Oscar at the 2007 ceremony) basically ensured that H8ful Eight will garner one, and only one, award over the course of the evening.
That being said, Carter Burwell’s score for Carol was an exquisite treat that deserves to be recognized above Maestro Morricone, sorry to say.
Carol was a truly gross oversight by the Academy on two of the big categories (Director and Picture) and deserves every nomination and more. But I really want Fury Road to walk away with the night.
George Miller and his crew of lunatics crafted one of the craziest worlds ever in Fury Road. Frankly, nothing else comes close to its achievement in sheer world-building, even with its non-existent exposition.
Ex Machina and the under-seen Crimson Peak could also have benefited from some love here, but the Academy can’t help but shovel nominations out to lackluster things like The Danish Girl and Bridge of Spies. Heaven forbid we don’t give credit to the movies that will be remembered down the years as the best alternatives for sleep aids.
Ugh. Look, I like pretty pictures as much as anybody, but ‘Chivo’ has already won 2 consecutive Oscars, and his work on The Revenant proved more distracting than masterful. I much preferred the laid-back grain of Ed Lachman’s photography in Carol. Plus, lots of soft focus to increase the romantic tension.
Will Win: Emmanual Lubezki, The Revenant
Should Win: Ed Lachman, Carol
Foreign Language Film (18)
Son of Saul has been picking up a ridiculous amount of hype and awards buzz since mutterings of its power escaped the festival circuit early last year. Plus, it’s a Holocaust tale, and y’all should know how much the Academy loves that subject matter.
*Note that I haven’t seen any of the nominees yet, as foreign releases are negligible outside of the big, big cities (LA and NY), and Saul won’t see the silver screen in MI until March 4th. This is all gut instinct based on patterns in other award circuits. This is why there is no “should win” below. I feel I haven’t seen enough to make a confident choice.
Will Win: Son of Saul
Original (14) +Adapted Screenplay (15)
Another tough call. Typically, the Best Picture winner will pick up its assigned screenplay award, as with the case of the last few ceremonies. However, this is not always the case, as neither Million Dollar Baby nor The Artist picked up a screenplay award the night they won big.
In terms of original work, the Straight Outta Compton script could pick up the win as a peace-offering from the Academy for the #OscarsSoWhite debacle. But, Spotlight is the clear-cut victor of the bunch, seeing as it is neck and neck with The Revenant for the big prize. And Ex Machina gets a sympathy nomination knowing it won’t win anything. Cursed anti-science fiction Academy voters.
In the realm of Adapted work, critics and audiences have shown a lot of love for Brooklyn, the little movie that could, which could manifest into it’s only award of the evening. On the other hand, The Big Short had one of those scripts that was equally nutty and rage-inducing in all the right ways. Plus, Drew Goddard’s clever writing made The Martian the box office smash of the third quarter of 2015. This is a literal crapshoot, but with unbelievably high-quality pigeons.
Original, Will Win: Spotlight // Should Win: Ex Machina
In addition, Kate Winslet has been picking up mucho praise for her work in Steve Jobs; she even picked up the Golden Globe and was honestly shocked. This category, along with Best Picture, could go either way.
Will Win: Kate Winslet, Steve Jobs
Should’ve Been Nominated: Alicia Vikander, Ex Machina
Best Supporting Actor (23)
For the longest time, it seemed like Mark Rylance’s quiet spy from Bridge of Spies was the easy choice, but Sly Stallone is another one of those inevitable picks that only became apparent to me once the Golden Globes hit. When Sly picked up the Globe, there was a standing ovation. If that’s not a guaranteed in for Sly, I don’t know if such a thing exists.
Add in the fact that his performance is one of his personal best up there with his work in the seminal Rocky as well as his turn in James Mangold’s Cop Land. His Rocky Balboa is aged, but not down and out quite yet. Stallone’s journey through Hollywood has been a fascinating one, and it’s time he was rewarded for sticking the landing in such a graceful way.
Will+Should Win: Sylvester Stallone, Creed
Should’ve Been Nominated: Jacob Tremblay, Room
^+Steve Carell, The Big Short
Best Actress (16)
Brie Larson is, along with Leo and Sly, a shoo-in for her award.
She brings a true gravitas that speaks of her patience in the Hollywood landscape so far, and her role as ‘Ma’ was a star-making performance like nothing else offered to the Academy this year.
Now, that is not to say I wouldn’t be disappointed to see Saorise Ronan grab something for her delightful turn in Brooklyn. Both are equally deserving.
Will Win: Brie Larson, Room
Should Win: Brie Larson or Saorise Ronan, Brooklyn
Should’ve Been Nominated: Charlize Theron, Mad Max: Fury Road
Best Actor (24, Guaranteed)
Leo has finally got his Oscar, all for scowling over 2-½ hours.
11 years too late, as well.
–
sigh-
Will Win: Leonardo DiCaprio, The Revenant
Should Win: I dunno. . .Fassbender?
Should Have Been Nominated: Michael Keaton, Spotlight
Best Director (9)
My dubious research into the depths of Oscar predictions gave me one significant bright spot/potential upset: George Miller will win Best Director.
At first I was in shocked denial, but then I thought on it more. The Academy loves to hand out career awards, and for once, this could work in ol’ Georgie’s favor. He’s been pulling his weight for nearly 40 years in the business after coming to it from being an emergency surgeon. And this career achievement award would coincide with his greatest, most impressive directorial work since Mad Max 2/The Road Warrior. Plus, AMPAS could see his effort as pulling off what Linklater did with Boyhood last year, with all his struggles, genius choices, and smart editing shining through his action-packed opus. Thank the Academy for that small relief.
Will+SHOULD Win: George Miller, Mad Max: Fury Road
Should’ve Been Nominated: Sir Ridley Scott, The Martian
+Alex Garland, Ex Machina
and finally:
~BEST PICTURE~ (6)
All right, let’s get this outta the way at the start:
My two favorites, Brooklyn and Fury Road, don’t have a chance at the top prize, unless the Big Three Choices split the vote, like what happened with Crash back in 2006. Frankly, that would delight me, but I’m gonna be safe and narrow it down from the Big Three: Spotlight, The Revenant, and The Big Short.
Of the three, The Big Short has been picking up the most momentum since it was a surprise Golden Globe nominee. It also won the Producer’s Guild Award, but that is it so far. It could be the surprise winner that takes the audience off-guard, having built up speed over the holiday and corresponding awards season.
The heavy hitter out of the gate is The Revenant, having won the BAFTA (British equivalent of the Oscar), the Director’s Guild Award, the Golden Globe for Best Drama, and numerous others. But, it has no script nomination, and no film has won Best Picture without a screenplay nomination since Titanic in 1998.
Spotlight is the tried-and-true pick of the trio, having won the SAG Award for Best Ensemble, the Gotham Award for Best Film, the Critic’s Choice Award, and the Satellite Award for Best Motion Picture. Its cast is legendary, its script has been lauded all over, and the direction was exceptional, considering the director previously made the universally-hated Adam Sandler vehicle, The Cobbler.
Taking all of this into account, here’s how I narrowed it down. Bridge of Spies leaves no noticeable impression upon viewing, it’s outta here! Room is out due to story structure problems I mentioned in my review. The Martian proved to be a crowd-pleasing box-office smash, but the Academy is still notoriously and inexplicably anti-science fiction. My beloved Fury Road is just too weird for the old fogies of the Academy, so I’m resting on it picking up six other awards. Brooklyn is the quiet innocent among the cutthroat Oscar race, so it’s doomed from the start. On top of all that hype, I’m knocking out The Revenant due to superstition over that phantom screenplay, and plus Alejandro already won big last year.
Between Spotlight and The Big Short, my gut tells me to go with Spotlight, seeing as the Academy could give it to make up for snubbing All the President’s Men way back in ’76 (which lost to Rocky, humorously enough). Though, my subconscious instinct tells me that The Big Short could be the troublemaker that flips the night on its head.
Who knows anyway? We shall see, Sunday evening. Until then, Witness Me!!
Will Win: Spotlight, I guess.
What I Want to Win: Brooklyn // Mad Max: Fury Road
