There is a fundamental disconnect in Cold Pursuit that, while being the film’s largest flaw, is oddly charming. To say that the film does not know what it is would be false, but it does not know how to fully achieve what it wants to be.
The film begins with a quote from Oscar Wilde: “Some cause happiness wherever they go; others whenever they go.”
I don’t think there is an awful lot to say about the 2019 races for Best Original Song and Best Original Score. One is barely a race, and the other has a standout front-runner with only minor competition.
This isn’t to say that the two categories are complete locks, but they are both pretty darn close.
Best Production Design is not necessarily the easiest Oscar category to predict in any given year, but there are clear signposts that make a film’s production design “Oscar worthy.” Period settings. Visually-striking set dressing. Something lavish, or else something historical.
Best Live Action Short Film may be the single hardest category to predict. Rarely does a front-runner appear, and even when one does an upset is always a possible scenario. I have a feeling that the winners in this category generally win by slim margins, as the vote comes down to personal preference over cultural or political relevance.
The short film categories are some of the hardest to predict. These films don’t receive traditional Oscar campaigns, which would act to suss out front-runners. In lieu of that, one must look at general trends, distributors, aesthetic qualities, and word of mouth.
What is often the operative question with the two sound categories is whether or not they will go to the same film. More often than not, if a film stands out for either editing or mixing, it also stands out in the other.
This year, I think there is a case to be made for both the split and the sweep.