Almost There: Christian McKay in "Me and Orson Welles"

by Cláudio Alves

The Almost There series' month-long celebration of the Criterion Channel's May offerings draws to a close with a highlight from their Richard Linklater collection. In 2008, the Austin auteur made his most Oscar-ready project yet, complete with a dazzling supporting turn that seemed poised for a nomination. Me and Orson Welles is the well-researched and studiously put-together account of a teenager cast in the director's famous 1937 staging of Julius Caesar. The Academy usually loves these real-life tales, mainly when they include a good amount of celebrity mimicry, making the film an apparent shoo-in for Oscar glory.

And yet, Christian McKay's critically acclaimed take on young Orson Welles failed to secure a nomination. Considering precursor honors, he must have come close…

Click to read more ...

Almost There: Saoirse Ronan in "The Lovely Bones"

by Cláudio Alves

Oscar-wise, Saoirse Ronan is an interesting case study. The Irish actress was only thirteen when she got her first nomination for her supporting turn in 2007's Atonement. From the start, she was seen as a prodigy, a young performer of uncommon talent and even rarer maturity whose characterizations seemed wise beyond their years. Still, one could have easily believed Ronan would go the way of other Oscar-honored child actors, fading into obscurity or just falling off AMPAS' radar. As luck would have it, things turned out differently. 

Ronan shares with Jodie Foster (nominated at 14), Sal Mineo and Natalie Wood (both nominated at 17) the honor of being the only underage Oscar nominees to be nominated again in adulthood. This year, Saoirse is back in the conversation thanks to Francis Lee's introspective Ammonite, though the picture's somewhat cold reception and austere nature might repel the Academy. In the past, Ronan's been lucky, conquering nods nearly every time she was in contention – Atonement, Brooklyn, Lady Bird, Little Women. Still, no lucky streak is perfectly continuous and without bumps. Just look at 2009's The Lovely Bones…

Click to read more ...

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...

Click to read more ...

Oscar Ceremony: How to Present Costume Design

by Murtada Elfadl

The presentation of the Costume Design category at the Oscars has always perplexed whoever is chosen to produce the show. It feels like there’s something inherently visual about the costumes that calls for doing more with that presentation than other categories. Yet they rarely get it right! Last year’s was actually one of the times it worked because of the brilliant comic timing of Melissa McCarthy and Brian Tyree Henry. Plus they wore ALL the costumes and that was such a funny visual gag...

Click to read more ...

10th Anniversary: The Young Victoria

by Cláudio Alves

It's difficult to follow the Oscar race each year without developing a prejudice against prestige biopics. At times it seems its the genre where creativity goes to die, where formulas thrive and the appearance of respectability is more important than genuine artistic merit. These words are perchance, too harsh, because specific qualities do manage to shine through the baseline of expected mediocrity on numerous occassions. Take The Young Victoria, Jean-Marc Vallée's perfectly serviceable retelling of Queen Victoria's early years and marriage to Prince Albert. Rewatching it ten years after its initial release, the film isn't as despairingly dry as you may have remembered. The Young Victoria is one of Emily Blunt's lesser efforts, but she's luminous nonetheless, bringing a sense of modernity that rubs abrasively against the historical setting. She never convinces as a 19th-century ruler, but that manages to feel more like a feature than a fault. As for Rupert Friend's Albert, he remains a charming romantic ideal, establishing great chemistry with Blunt.

And then, of course, there are Sandy Powell's Oscar-winning costumes…

Click to read more ...