Big props for “The Revenant”? Lots of love for “Mad Max”? Yep. Matt Damon? Of course. But when the 88th Oscar nominations were announced Thursday morning in Los Angeles, there were plenty of surprises, starting with Damon’s director. Here are five of the juicy ones:
The Todd Haynes lesbian drama “Carol” has been considered a front-runner since it debuted at the Cannes Film Festival and became a critical darling in May. And Oscar voters loved its acting (nominations for Cate Blanchett and Rooney Mara) and its adapted screenplay (ditto for Phyllis Nagy), among other elements. But somehow the film as a whole couldn’t get over the hump — it failed to land a best picture nomination, and didn’t score a director nod for Haynes. Perhaps the biggest surprise: With “Carol” not in the mix, this is the first time in eight years that Harvey Weinstein doesn’t have a best picture nomination.
Aaron Sorkin is an award-season staple who won an Oscar for his screenplay of “The Social Network” and was nominated for “Moneyball.” Yet his name wasn’t called in the adapted category. Whose was? “Room” screenwriter Emma Donoghue, the novelist who adapted her own book — and wasn’t on many pundits’ pre-announcements lists. The writers’ branch got a little unpredictable, as it turned out — it also nominated “Straight Outta Compton” screenwriters for original screenplay, another pundit long shot, over award-season perennial Quentin Tarantino and his “The Hateful Eight.”
Those loyal to the Resistance might be upset that “Star Wars: The Force Awakens” didn’t get a best picture nomination. But the J.J. Abrams movie scored a major coup when it landed a film editing slot, a nomination that few experts had predicted. Film editing is considered a top prize and is closely associated with best picture — indeed, all four of the other nominees in the field landed a best picture nomination. That might be seen as a victory for Snoke and his evil minions. But in a year when some wondered if “Star Wars” could get any major awards love, a film editing nomination — along with score, visual effects and two sound nominations — gives it a battlefield victory.
It’s hard to suss out just how voters felt about the actors in “Spotlight.” The Tom McCarthy movie had so many great performances that one almost doesn’t know where to turn — it’s a shoo-in to win the Screen Actors Guild ensemble award. The movie did garner a supporting actor nomination for Mark Ruffalo. And Rachel McAdams, considered a bubble candidate for her turn as a fellow reporter in the Catholic scandal reporting procedural was in — something of a surprise given some of the Oscar favorites who were left off (e.g., Helen Mirren for “Trumbo”). But Michael Keaton, who plays investigative editor chief Walter Robinson and had garnered major acclaim, was out. After Keaton also failed to win best actor at the Oscars last year, it’s starting to look like a pattern. Keaton has had a great mid-career resurgence, but the Motion Picture Academy isn’t quite willing to embrace it.
Speaking of last year’s best actor race, Eddie Redmayne, who beat Keaton to take the honor, was something of a surprise when his name was called for the best actor list Thursday morning. Redmayne stars in “The Danish Girl, a movie that hasn’t garnered much attention outside of his costar Alicia Vikander. Yet there Redmayne was, knocking out some other favorites, both academy and fan, including Michael B. Jordan in “Creed.” He was hardly the only male actor to surprise — at the supporting end, Tom Hardy scored a nomination for “The Revenant” after not garnering much pre-announcement heat. He edged out Idris Elba, the “Beasts of No Nation” costar who many thought was in.
Riddle me Ridley
He’s a beloved director of Hollywood hits. He had the biggest-grossing movie of the best picture nominees. He was a favorite to win his first Oscar. Yet when the director names were called, “Martian” helmer Ridley Scott was left off the list. Instead, upstart Lenny Abrahamson, whose “Room” got in for best picture, was nominated. How did Ridley miss the cut? And could the snub help “Martian’s” chances for best picture — the it’s-been-victimized, now-let’s-find-another-way-to-honor-it logic that boosted “Argo” all the way to the podium three years ago? This will be a fun six weeks .
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