Editing. It is a fundamental component to the film form. Without it…oh man, I’m getting sick of writing the preambles in these articles. Best Editing is an Oscar category. We all know this. Let’s get into it.
The 2018 crop of Best Original Score nominees is mainly comprised of familiar faces to the Academy: Williams, Desplat, Zimmer, etc. That said, there’s one newcomer to the Oscar-nominee club that could shake things up in this category.
This year, Best Original Screenplay is a category stacked with talent. All five of the scripts here are sharp, personal, and powerful when they need to be.
Only one can win, of course, so let’s talk about it,
It’s the big one. The Oscar for Best Picture, 2018. Nine films, one statue. Yadda yadda, movie yadda.
This field is pretty open. Award season has started narrowing in on one or two front-runners, but, by and large, this crop of films is strong. I could foresee a number of quality upsets.
Not unlike his Three Billboards outside Ebbing, Missouri co-star Frances McDormand, Sam Rockwell seems to have this award locked up. But there are no sure things in this world.
It is obligatory to acknowledge the continual absurdity of the Golden Globe taxonomy vis a vis what constitutes a “Drama” and what constitutes a “Musical or Comedy,” but I don’t want to dwell on the point. It is getting exhausting.
If Get Out and Lady Bird are comedies, so is Three Billboards Outside Ebbing, Missouri. Why bother separating the two categories at all? Yeah, it gives comedies a chance to compete, because the dramas often nudge out the comedies. But most other awards outlets have expanded beyond five nominees. Why wouldn’t the Golden Globes just go to one category of 10 films? Who knows!
Whatever. Let’s talk about movies, I guess…
Best Motion Picture – Drama
Anyway, let’s talk predictions.