John Heaton (jheaton) wrote,
John Heaton

Running tally

COSTUME DESIGN: Ha! One for one. The Elizabethian era is irresistable when it comes to costume design.

Holy cow, the infamous Rob Lowe/Snow White clip! I'm surprised Disney let them show that.

ANIMATED FILM: Two for two! No surprise, but they chose great clips from all three nominees.

MAKEUP: Three for three! I knew I would get this one right. I mean, Norbit? And PotC: AWE was nothing to write home about either.

How on Earth did the producers of the Oscars resist the temptation to have a bunch of dancers dressed as rats, pigeons, and cockroaches accompanying Amy Adams' performance of "Happy Working Song"? Which, by the way, doesn't really work out of context.

VISUAL EFFECTS: Ooh, three for four. I out-guessed myself here; I should have given voters more credit for not wanting to vote for a couple of stinkers like PotC: AWE and Transformers.

ART DIRECTION: Dang, three for five. I thought that gorgrous manor would tilt the voters in the direction of Atonement.

Unkind thought of the night: Hey, is this Jennifer Hudson's first work since she won the Oscar?

SUPPORTING ACTOR: four for six. To quote another Academy Award-winning movie, I'm shocked, shocked!

Re: that song from August Rush -- for that they passed up all those songs from Music and Lyrics?

LIVE ACTION SHORT FILM: Four for seven. Well, I just pulled my guess out of my butt, so I'm not heart-broken to have missed this one.

ANIMATED SHORT: Four for eight. I made my pick because I liked the title. Who knew the Academy would take the highbrow route?

SUPPORTING ACTRESS: Four for nine, and I've never been happier! I was really rooting for her to win. And now it's official" it's make fun of George Clooney for being in Batman and Robin night!

BEST ADAPTED SCREENPLAY: Five for ten! Glad to see these guys honored once again. (A lot of commentors have been saying they'd like to see the Coen Brothers finally be honored for their work, as if they hadn't already won Oscars for Fargo.)

Michael Bay is a member of the Director's Branch of the Academy? How depressing. On the other hand, that Verizon FiOS commercial of his is pretty funny.

Back in November, I predicted the following production would be "horrid." Let's see if I'm right... Well, not as bad as it could have been. It seemed a littled truncated, like they'd planned it to be longer but decided at the last minute to scale it back. Wish they'd had Amy Adams do this one instead of "Happy Working Song." But Kristin Chenowith is a good choice to replace her, better than, say, Nell Carter replacing Robin Williams. I still have nightmares about her performance of "Friend Like Me" all those years ago.

Haven't they done this "actors replacing actresses" bit before? Jonah Hill and Seth Rogan make the most of it.

SOUND EDITING: five for eleven. I'm just happy it wasn't Transformers.

SOUND MIXING: five for twelve. See above.

Hey, I just realized... we haven't seen any clips from the Best Picture nominees yet. Thus denying me of one of my perrenial complaints, about how said clips were chosen poorly. So I'll complain about Ellen Page's clip. Poorly chosen!

BEST ACTRESS: five for thirteen. OK, I've officially started to suck. Wow, those makeup people really deserved their Oscars.

Oh sure, get the Irish guy to introduce the song from the Irish movie. I'm still pretty indifferent to this song.

FILM EDITING: Five for fourteen! The Bourne Ultimatem is turning out to be the night's big winner. And hey, a second-generation Oscar winner! Go him.

Wait, Nicole Kidman isn't pregnant? I'm so behind on my celebrity gossip. Oh wait, that's intentional, because I hate celebrity gossip.

FOREIGN LANGUAGE FILM: Five for fifteen! Guh. Austria is a lot smaller than I expected. If I had known the movie was about Nazis I would have picked it to win.

The woman in the purple dress is a passable substitute for Amy Adams, but that guy she's dancing with could not possibly look any less like Patrick Dempsey. The little interlude with them dancing was oddly affecting, though.

Hey, next year they should have all the presenters waltz onto stage.

BEST ORIGINAL SONG: Six for sixteen. I still think "That's How You Know" should have won. And look here, Hansard, you have an H in your name, try pronouncing one once in a while! Meanwhile, Marketa Irglova has a charming Czech/Irish accent, the likes of which I've never heard. Nice speech though.

BEST CINEMATOGRAPHY: six for seventeen. Man, I had a 40% chance of getting the winner right in this category and I still blew it.

Wipe that smug look off your face, Paul Dano, he's not talking about you.

ORIGINAL SCORE: Seven for eighteen. I'm so pleased this won. Whatever else happens tonight, I pronouce myself satisfied with this year's crop of winners.

DOCUMENTARY SHORT SUBJECT: Well, this is something I've never seen before. I like it! Way better than an animated bee. Also, eight for nineteen! I knew these damn hippie liberals in the Academy couldn't pass up a documentary about a lesbian police officer with cancer fighting to get survivor benefits for her domestic partner.

DOCUMENTARY FEATURE: Hey, why not have the soldiers in Bagdhad introduce these? Heh heh heh. Eight for twenty. So much for my "Iraq War film fatigue" theory.

ORIGINAL SCREENPLAY: Man, I would've bet good money that Harrison Ford was going to present Best Picture. Nine for twenty-one. BEST CHOICE OF MUSIC TO PLAY HER ONSTAGE EVER! Hoo boy, not a great choice of dress, though. That's my one fashion-related comment of the evening.

BEST ACTOR: I'm just going to type ten for twenty-two now before Helen Mirren announces the winner.

BEST DIRECTOR: Eleven for twenty-three. I heartily endorse this event or product!

BEST PICTURE: OK, Denzel Washington is an acceptable substitute for Harrison Ford. And that makes it twelve for twenty-four, unless I've lost couny along the way, which is entirely possible.

Fifty percent, that's acceptable in my sight.

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