There is an entire Internet subculture devoted to predicting the Oscars. Like sporting events, it has its own Vegas odds-makers, and several blogs are devoted to handicapping the ceremony. Hard and fast rules don't work, and even renowned statistician Nate Silver wasn't as good at predicting who got little gold men as he was at predicting how the 2012 election would unfold.
No matter. If you followed my advice last year, you went with a tried-and-true regimen of pre-Oscar indicators, gut instinct and a resolution to not take it so seriously. You also got 18 out of 24 categories correct, which is more than enough to win most office Oscar pools.
This year should be no different if you follow my foolproof guide to the Oscars. These are the winners wrought by the awards season narrative, and I'll be absolutely sure of each one — until a few of them are wrong on Sunday.
Argo has made a late-season push to the front of the pack for Best Picture. Hollywood loves itself, so a movie about making movies (sort of) could swoop in and prevent the solid but straightforward Lincoln from Mitt-Romney-ing its way to victory.
Argo should pick up Editing and Adapted Screenplay awards as well, while Lincoln consoles itself with wins for performances by Daniel Day-Lewis and Tommy Lee Jones and Steven Spielberg's direction. In the other major categories, Jennifer Lawrence wins Best Actress by a nose for Silver Linings Playbook, while Anne Hathaway wins Best Supporting Actress in a landslide (pretty much just for singing the Susan Boyle song from Les Mis, which will also win Sound Mixing for its innovative live-singing production). In a wide-open race, Django Unchained stands poised to take Original Screenplay.
Life of Pi should take a bunch of technical awards for looking pretty. Skyfall will become only the third Bond movie to win an Oscar, taking home both Sound Effects Editing and Best Original Song for Adele's titular ballad. Anna Karennina easily wins Best Costumes, and The Hobbit wins makeup for dusting off the hobbit feet.
That leaves Wreck-It Ralph winning Best Animated Feature, Amour (a Best Picture nominee) easily winning Best Foreign Language Film, Searching For Sugar Man taking Best Documentary and, finally, the unpredictable short films. Getting one short film right is a good day: at least Paperman (a partially hand-drawn industry favorite) is a lock for Animated Short. I have gone with Curfew in Live Action Short (it has a cute little kid), and Mondays at Racine (it's about cancer) in Documentary Short.
Without further ado, here's my comprehensive guide to the Academy Awards. Best of luck! And if I'm way off, I promise all of your money back.
Picture: Argo Director: Steven Spielberg, Lincoln Actor: Daniel Day-Lewis, Lincoln Actress: Jennifer Lawrence, Silver Linings Playbook Supporting Actor: Tommy Lee Jones, Lincoln Supporting Actress: Anne Hathaway, Les Miserables Original Screenplay: Django Unchained Adapted Screenplay:Argo Editing:Argo Cinematography:Life of Pi Score:Life of Pi Song: "Skyfall" by Adele from Skyfall Art Direction:Life of Pi Costumes:Anna Karennina Sound Mixing:Les Miserables Sound Effects Editing:Skyfall Makeup: The Hobbit Visual Effects: Life of Pi Foreign:Amour Animated Feature:Wreck-It Ralph Doc Feature:Searching for Sugar Man Doc Short:Mondays at Racine Animated Short: Paperman Live Short: Curfew
Django Unchained is poised to take Original Screenplay.
Photo courtesy of The Weinstein Company
Django Unchained is poised to take Original Screenplay.
Of all the formulaic movie genres, Christmas/holiday movies are among the most predictable. No matter what the problem is that arises between family members, friends, or potential romantic partners, the stories in holiday movies are designed to give viewers a feel-good ending even if the majority of the movie makes you feel pretty bad.
That’s certainly the case in Oh. What. Fun., in which Michelle Pfeiffer plays Claire, an underappreciated mom living in Houston with her inattentive husband, Nick (Denis Leary). As the film begins, her three children are arriving back home for Christmas: The high-strung Channing (Felicity Jones) is married to the milquetoast Doug (Jason Schwartzman); the aloof Taylor (Chloë Grace Moretz) brings home yet another new girlfriend; and the perpetual child Sammy (Dominic Sessa) has just broken up with his girlfriend.
Each of the family members seems to be oblivious to everything Claire does for them, especially when it comes to what she really wants: For them to nominate her to win a trip to see a talk show in L.A. hosted by Zazzy Tims (Eva Longoria). When she accidentally gets left behind on a planned outing to see a show, Claire reaches her breaking point and — in a kind of Home Alone in reverse — she decides to drive across the country to get to the show herself.
Written and directed by Michael Showalter (The Idea of You), and co-written by Chandler Baker (who wrote the short story on which the film is based), the movie never establishes any kind of enjoyable rhythm. Each of the characters, including competitive neighbor Jeanne (Joan Chen), is assigned a character trait that becomes their entire personality, with none of them allowed to evolve into something deeper.
The filmmakers lean hard into the idea that Claire is a person who always puts her family first and receives very little in return, but the evidence presented in the story is sketchy at best. Every situation shown in the film is so superficial that tension barely exists, and the (over)reactions by Claire give her family members few opportunities to make up for their failings.
The most interesting part of the movie comes when Claire actually makes it to the Zazzy Sims show. Even though what happens there is just as unbelievable as anything else presented in the story, Showalter and Baker concoct a scene that allows Claire and others to fully express the central theme of the film, and for a few minutes the movie actually lives up to its title.
Pfeiffer, given her first leading role since 2020’s French Exit, is a somewhat manic presence, and her thick Texas accent and unnecessary voiceover don’t do her any favors. It seems weird to have such a strong supporting cast with almost nothing of substance to do, but almost all of them are wasted, including Danielle Brooks in a blink-and-you'll-miss-it cameo. The lone exception is Longoria, who is a blast in the few scenes she gets.
Oh. What. Fun. is far from the first movie to try and fail at becoming a new holiday classic, but the pedigree of Showalter and the cast make this dismal viewing experience extra disappointing. Ironically, overworked and underappreciated moms deserve a much better story than the one this movie delivers.
