2010 Academy Award Predictions

Before laying it all out let me just say that this year's biggest categories (mainly director and picture) are really hard to call. This is a year where I'm sure I am right about a number of winners, but there's a couple very important ones where I could very well be flat wrong. While I don't have a lot of smart explanations like many smart people out there (Roger Ebert) for why different movies/people should win, I'll do my best to give a brief reason. Or two. Or maybe not. We'll see.

So, let's start from the bottom, with the stuff that doesn't really matter, shall we?

Best Documentary Features - Restrepo

So while 'Exit Through the Gift Shop' is a fantastic doc as well (that might be fake?), 'Restrepo deserves to win. It is as raw and real as a documentary can get. Two camera men embedded with a platoon in the most dangerous combat zone in Afghanistan makes for one of the most exciting and emotionally real docs you'll probably ever see. Sadly, we all know the 'issue' doc will win ('Waste Land', 'Gas Land', or 'Inside Job') because that's what people care about. So this category is more what-I-want-to-win rather than an accurate 'prediction.'

Best Achievement in Visual Effects - Inception

Since we all know the Academy loves to snub Christopher Nolan, they'll have to settle with awarding arguably the best movie of the year with all the technical awards. But let's face it, it really does deserve it all.

Best Achievement in Sound Editing - Inception

*see above comment*

Are You Watching Closely? The Trick of Christopher Nolan's 'The Prestige' and 'Inception'

Warner Bros.

While exploring the idea of augmented realities, and the impact stories have on us, specifically in regards to film, one name immediately came to mind: Christopher Nolan. No doubt everyone is familiar with this man’s work, if not his name as well, already. What some may not realize is the intriguing commentary Nolan provides us on the art of storytelling through many of his films. After studying the plots and conclusions in particular of his films, I came to the realization that each builds on the other. Although the Batman series may be the exception to this trend, the rest of his movies certainly play a part in what I will reveal to be a commentary on how we choose to understand reality.

Summit Entertainment

Nolan is perhaps the most exciting film director working in Hollywood in this day and age. In 2000, he brought us a story, based on a short story written by his brother, Jonathan Nolan, called Memento. This little film mesmerized audiences with its reverse chronological narrative that also included a chronological one differentiated by the use of black and white and color photography. It earned praise all across the board and even a spot on many top lists of the decade due to this ingeniously devised plotline. With the major success of Memento, it is easy to forget Nolan’s first film which he wrote, photographed, co-edited and produced, and directed. This was Following, released in 1998 at a mere sixty-nine minute running time, but with a hefty plot. Like Memento, it follows a non-linear storyline involving a man who follows strangers around London to try and find inspiration for a novel he is writing. The rest of the film sees the man getting involved with a stranger, named “Cobb”, who in turn manipulates him into being framed for crimes Cobb committed. Following set the stage for Nolan’s twisting, mysterious, non-linear storylines.

Warner Bros.

Two years after Memento he made Insomnia, a remake of Norwegian murder mystery film, starring Al Pacino, Robin Williams, and Hilary Swank. Although it is not as famous as his other films, it was still given credit for being a smartly written, psychological thriller that put more power in Pacino’s career. It was at this point that one could easily recognize the darkness connecting Nolan’s movies. Memento emphasized how much obsession and revenge can manipulate reality even at the consent of an individual. Insomnia follows the same idea of warping reality, but this time to avoid taking responsibility for a violent act and how it drives Pacino’s character over the edge.