Almost There (x 2): Marion Cotillard in "Nine" & "Public Enemies"

by Cláudio Alves

It's become somewhat uncommon for Oscar champions in the acting categories to be a "one and done" type of deal. A good amount of the winners from the past 25 years have either received nominations after their victory or already had them before their golden coronation. All this to say that, after Marion Cotillard won the Best Actress Academy Award for her work in La Vie en Rose, it felt like it was just a matter of time before she'd be in another Oscar lineup. That follow-up nod would come until 2014 for Two Days, One Night but, before that, there were a couple of failed Oscar bids to account for.

Previously in this series, we talked about her 2012 Best Actress snub for Rust & Bone. Now, let's look further back, to the Best Supporting Actress race of 2009...

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Almost There: Colin Farrell in "In Bruges"

 by Cláudio Alves

Colin Farrell is a fascinating actor. Early on in his career, he got good notices for his work in Joel Schumacher's Tigerland, but his following movies did little to build on that promise and make him a respected up and coming star. Instead, he became a mainstay of action movies of the early aughts, gaining popularity but not being much respected as an actor. On paper, 2004's Alexander looked like his big Oscar bid, but the Oliver Stone historical epic crashed and burned most spectacularly. Still, Farrell has always shown a keen eye when it comes to working with prestigious directors. He's collaborated with Stone, Terrence Malick, Woody Allen, Peter Weir, Liv Ullmann, Sofia Coppola, Steve McQueen, and Yorgos Lanthimos, among others. His work with Lanthimos has been particularly revelatory.

An actor so game to challenge himself and with such a résumé seems like someone who should have left a mark in the awards game. However, Farrell has very rarely been a contender for acting honors. Regarding the Oscars, he came closest in 2008…

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Almost There: Harrison Ford in "Raiders of the Lost Ark"

by Cláudio Alves

As we well know, AMPAS has major genre bias, preferring the prestigious quality of respectable dramas above everything else. Even when they decide to embrace a genre picture, there's a branch of the Academy that's always ready to turn their collective noses at them with unashamed snobbery. We're talking about the actors, whose distaste for anything remotely close to action movies, adventure, horror, fantasy, sci-fi, and so forth, has robbed many great performers of the recognition they so richly deserve. Truth be told, this is a problem that goes beyond the Oscar voters and even affects popular views on the art of acting.

If you want a good example of this, look to the awards race of 1981, when Raiders of the Lost Ark was a major success with critics and audiences alike...

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Almost There: Uma Thurman in "Kill Bill"

by Cláudio Alves

To this day, I am shocked at how poorly the Kill Bill movies did with AMPAS. Both pictures conquered precursor support, including Golden Globe, BAFTA, and Guild nominations, but failed to secure a single Oscar nod. I consider this duo to be Quentin Tarantino's magnum opus, so the outrage is particularly intense when it comes to its awards run. It's a couple of perfect movies, from Robert Richardson's cinematography to Sally Menke's immaculate editing. However, no matter how great those elements might be, this is the Almost There series, so our focus today is the work of an actress who is only matched by Samuel L. Jackson when it comes to her ability to embody Tarantino's vision onscreen.

She's Uma Thurman and she's never been better than here, playing Beatrix Kiddo aka The Bride aka Black Mamba aka Mommy…

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Almost There: Paul Newman & Robert Redford in "Butch Cassidy and the Sundance Kid"

by Cláudio Alves

From 1944 to 2008, we had a five-wide Best Picture race in the Oscars, as well as four acting categories. During those years, it became rare for a movie to score a Picture nomination without also nabbing some sort of acting nod. It was especially unusual for the majority of a given line-up to be devoid of acting nods, happening only three times during those 65 years. One of those times was the 1969 Academy Awards, when Z, Hello, Dolly! and Butch Cassidy and the Sundance Kid didn't get any love from the acting branch. Considering the general bias against "foreign language" performances and the horrible reviews of a certain musical, it's easy to understand why the actors of Z and Hello, Dolly! went unrecognized. But what about the revisionist western in the bunch?…

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