It's been an uncanny year for both genders in the acting world, in opposite ways. We saw a myriad of very strong performances from lead actors, so much so that several incredibly powerful, dead-on performances had to be left out of the Academy's all-star line-up. As for the ladies, pundits had a hard time predicting who would be nominated because ... the competition just wasn't there. While the great gender divide was somewhat perplexing, what's more peculiar is my overwhelming happiness with the two frontrunners: I have advocated P. S. Hoffman's genius since his Lester Bangs impersonation in "Almost Famous," and I've cheered for Reese Witherspoon since her days in "Pleasantville" and "Election."
In other categories, my heart thumps with the thought that "The Squid and the Whale" has the slightest chance to upset "Crash" for the Best Original Screenplay. As a novice screenwriter, this is the category I have actual personal investment in, and "Squid" impressed me fully -- an occurrence rare with my cynicism and unreasonably high expectations.
Matt Hill:
To be truthful, I have a tough time saying which of the Best Picture nominees should win. Yeah, I went with "Brokeback," as I'm sure many of the other pundits will, but it has more to do with its significance as a movie -- as a quiet recapitulation of the Western, a variation on the classic forbidden love story and a meditation on American notions of masculinity -- than with the emotional impact the film had on me (less than others, it seems). "Good Night," I think, was too impersonal; "Crash" slightly too preachy; "Munich" somewhat too removed. "Capote" was my favorite of the bunch, but in a year of socially-conscious filmmaking, it wouldn't seem to fit as a Best Picture winner, to be representative of its year. "Brokeback," though sometimes dull and perhaps a bit ungracefully structured, is the movie most likely to be remembered years from now, and that's why it should (and probably will) take home the trophy.
Caroline McKenzie:
As per usual, there were plenty of great films I truly enjoyed this year that I never expected to see in the Oscar nomination lists. But, whether I'm very naive or I just have too much faith in Viggo Mortensen, I really thought that "A History of Violence" would make a stronger showing. Nearly every aspect of that film was astonishing; I sat throughout the film with my jaw on the floor. If the impeccable acting wasn't enough, surely that unforgettable scene on the stairs was a shocker, and the ending was a perfect clinch. At least William Hurt got a well-deserved nod, but I can't believe he'll actually win. Then again, even knowing the Academy's propensity for overblown mediocrity, two months ago I wouldn't have ever believed that such an uninspired film as "Crash" would even be considered the Best Picture of 2005 ... so, you just never know with the Oscars.
Brendon Bouzard:
I hope I'm wrong, but it looks more and more like the most deserving Best Picture frontrunner in years, the moving, wryly subversive meditation on American masculinity "Brokeback Mountain," will lose. Matt Dillon's the key. Best Supporting Actor is one of the first categories announced, and if he wins, it'll signal a huge night for "Crash," a bombastic, laughably overdetermined melodrama and the least deserving dark horse in decades. (Note to Roger Ebert: That "Crash" uses "caricature, coincidence [and] exaggeration" to deliver its message does not make it "Dickensian," you useless hack.)
AJ Fox:
Well, it looks like 2005 was the year Oscar decided to get all serious on us. Not since 2000 has the Academy failed to nominate at least one comedy in the Best Picture category. From the emotional reservation of "Good Night and Good Luck" to the howling anguish of "Brokeback Mountain" and "Munich," there's barely a smile to be found in this year's Best Picture race. It's no wonder that this is the lowest-grossing group of nominees in recent memory, as sitting through all five of them in quick succession would depress the hell out of even the most iron-skinned cineaste.
Is Hollywood really that bummed about the state of the domestic box office that it can't muster up the enthusiasm to make happy movies anymore? Or could it be that the ever-aging pool of Academy voters has simply lost its sense of humor once and for all?
Leslie Adkins:
Despite my many qualms with "Brokeback Mountain" (and there are enough issues with that film to sustain an hour-long televised debate) get ready to feel the "Brokeback" Blitzkrieg. The Academy owes Ang Lee for dismissing his efforts on "Crouching Tiger, Hidden Dragon," and the Academy knows when it's time to pay up. Hoffman and Witherspoon are givens, as is Weisz. I'd love to see "The Squid and the Whale" score an upset and hopefully fuel some DVD sales, but given the unjustifiably small amount of notice the film garnered, this may be a long shot. (Where the heck was the nomination for Jeff Daniels? Ladies and gentlemen of the Academy, you can anticipate a letter from me.) The real surprise will be seeing which act of Hollywood "bravery" is rewarded in the end: Clooney's impressive 40-pound weight gain or Gyllenhaal's portrayal of a gay character. Either way, I'll miss the "Brokeback" spoofs.
