Best Picture
Should Win: The Tree of Life
Hugely polarizing amongst viewers yet unquestionably unique, auteur Terrence Malick’s enthralling depiction of the human being’s volatile relationship to the ephemeral universe easily transcends all other American films of 2011 in terms of power and complexity. Benefiting greatly from Brad Pitt’s commanding performance as the rigid patriarch, Mr. O’Brian, and a potent feeling of autobiographical authenticity, The Tree of Life is the most enriching film of the year. And haters can zip it about the dinosaurs.
Will Win: The Artist
Enormously entertaining, The Artist is a highly concentrated blast of old-Hollywood nostalgia. The silent film audacity of writer/director Michael Hazanavicius ‘s labor-of-love project is in itself commendable. However, it is The Artist’s crowd pleasing attributes and near universal appeal amongst all demographics that will allow it to lay the knock-out punch to its only real competition (The Descendents) and claim the top prize at this year’s awards.
Best Director
Should Win: Terrence Malick
Enigmatic and reclusive, Terrence Malick is one of the true auteurs of Hollywood who, despite only having produced a handful of films, rightfully owns a spot amongst the ranks of the most prolific cinematic artists of the modern era. The Tree of Life should further solidify Malick’s reputation and there is no other film this year that so clearly displays the influence of its director’s aesthetic and thematic proclivities. The film is seemingly effortless in its ability to powerfully relate the inception of the cosmos with the dichotomized upbringing of a young Texan boy and the film seems highly personal yet also strangely universal. Now, The Tree of Life is a challenging film to watch (especially in regards to its nebulous script and mammoth running time). Still, because of Malick’s inimitable writing and direction, plus his ability to integrate Emmanuel Lubezki’s breathtaking cinematography and Alexandre Desplat’s lyrical score, The Tree of Life becomes the film of the year and Malick the most deserving of the best director trophy.
Will Win: Martin Scorsese
The 2011 awards season is the season of nostalgia – with three of the five directing nominees being well-established Hollywood heavies who arguably all experienced their career zeniths in the late 1970’s. However, everything that was once old is now new again and Martin Scorsese is set to absolutely crush his esteemed contemporaries and the snot-nosed young-blood that is Michael Hazanavicius and Alexander Payne. With Malick’s work being too polarizing, Allen’s being arguably too slight, Payne’s being more appreciated for its writing than direction and, finally, with Hazanvicius’s nomination being perceived as a sort of introductory pat-on-the-back, Scorsese’s path to a second round of Oscar glory is almost assured –not that this is a bad thing I might add. Hugo is a beautifully made movie that functions as a wonderful ode to the power of film medium. It’s a great movie from a remarkable artist.
Sadly Missing: Nicolas Winding Refn’s blood soaked direction from "Drive."
Best Actor
Should Win: George Clooney
Clooney’s searing performance in Payne’s The Descendents stands tall as some of the actor’s greatest work (only equaled by the ice-cold fatalism he brought to the title role of The American and his professional sad-sack from Syriana). It is also another memorable entry into the slowly expanding pantheon of melancholic Payne creations. While a majority of Clooney’s work in The Descendents doesn’t strongly indicate an actor straining to push himself into new artistic territories, the final scenes show Clooney unleash a tidal wave of emotion and vulnerably expose himself like never before. Before our eyes Clooney sheds his typical “too cool for school” public façade and emerges as a soulful actor delivering one of the best performances of the year.
Will Win: George Clooney
With his other film (The Ides of March) being met with respectful indifference by critics and audiences Clooney is set to essentially replicate the fate that befell him on Oscar night in 2006. In that year Clooney’s directorial work (Good Night and Good Luck) was also met with more of a respectful vibe of appreciation than rip-roaring adoration. While Good Night and Good Luck managed to snag an impressive six nominations on Oscar night it wound up walking away without a single trophy. In a move that some could argue was conciliatory Clooney was awarded the best supporting actor trophy for his role as Bob Barnes in Syriana and this situation will more than likely repeat itself this year.
Sadly Missing: Michael Fassbender’s rampaging sexuality from "Shame," Michael Shannon’s riveting paranoia from "Take Shelter" and Ryan Gosling’s stone faced violence from "Drive."
Best Actress
Should Win: Rooney Mara
Not every actor is capable of making as dynamic a transformation as Rooney Mara in the American remake of The Girl With the Dragon Tattoo. It is also not every actor who is willing to become as physically and emotionally exposed onscreen or fully embrace such dark thematic material. While the necessity of having another adaptation of Dragon Tattoo after the release of a very well done Swedish version is highly dubious. Still, Mara’s performance deserves to be commended because, while perhaps not equaling the sheer ferocity of Noomi Rapace’s take on Salander, Mara brings new facets to her Lisabeth and probably is one of the most distinctive parts of the American adaptation. Now, Rapace’s Lisabeth may be slightly more memorable because she is so strongly defined by an almost animalistic rage. However, Mara’s take on the character is more multi-faceted –with the American version of Lisabeth seemingly more emotionally attached to Blomkvist.
Will Win: Viola Davis
Similar to 2009’s The Blind Side, The Help is one of the multiple nomination movies this year that has been fueled strongly by its near blockbuster-like status. It is also a film that, while managing to snag a Best Picture nomination, is mostly defined by the universally strong performances by the estrogen-heavy ensemble cast. Viola Davis, who has worked steadily in a variety of strong supporting turns over the last few years is clearly favored to take the top award. While there is some competition from two of the “golden gals,” acting legends Meryl Streep and Glen Close, Davis intense turn as Aibileen should still persevere over the freakish creepiness of Close’s Albert Nobbs and Streep’s sublime impersonation of the ol’ iron ball-buster, Margaret Thatcher.
Sadly Missing: Elizabeth Olson's manic hysteria from "Martha Marcy May Marlene" and Tilda Swinton's maternal disillusionment from "We Need to Talk About Kevin."
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