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In Space, Nobody Can Hear You Whining About Oscar Snubs

By Miscellaneous | | February 1, 2010 |

By Miscellaneous | | February 1, 2010 |

I agree, Sam Rockwell deserves an Oscar nomination for Moon. Tilda Swinton deserves an Oscar nomination for Julia. Julianne Moore deserves an Oscar nomination for A Single Man (the voters are probably punishing her for her acting on 30 Rock). And Paul Blart Mall Cop deserves an Oscar for Best Picture. Okay, the last I don’t agree with, but I’m sure someone out there does. Because for every film, performance, and contribution not recognized by the ever-disappointing organization called The Academy there is surely someone defending it by shouting “SNUB!”

So, without further ado, here are the complaints heard round the web today, including those that complain about the Academy Awards in general, following the announcement of this year’s Oscar nominations:

  • Peter Travers at The Travers Take:
    Ten shots for Best Picture, and The Blind Side gets a nod? What about smaller movies, like Moon with Sam Rockwell — did you ever think of nominating him? Tilda Swinton in Julia? Abbie Cornish in Bright Star? How about some fresh thinking?
  • Alex Ben Blog at The Hollywood Reporter:
    Although “Avatar” has blasted through boxoffice records and scored nine Academy Award noms, director James Cameron and producer Jon Landau are frustrated that the movie’s actors were ignored by Oscar voters.

    “People confuse what we have done with animation,” Cameron told THR at the PGA Awards. “It’s nothing like animation. The creator here is the actor, not the unseen hand of an animator.”

    The Oscars snub is “a disappointment,” said Landau, “but I blame ourselves for not educating people in the right way.”

  • Vadim Rizov at The Independent Eye:
    Less widely noted: the grievous and frankly inexplicable absence of Marvin Hamlisch’s score for “The Informant!” You’d think they’d take an opportunity to cheer on a veteran whenever possible, but no — we instead get James [profanity redacted] Horner, now on his 11th nomination (he won two for “Titanic”) and well on his way to becoming the new John Williams.
  • Erik Childress at Cinematical:
    That Carter Burwell still hasn’t received an Oscar nomination for Original Score? Even with scores this year for A Serious Man, Where the Wild Things Are and The Blind Side. Meanwhile, James Horner received his 7th nomination for Avatar. With all the disqualifications each year over composers implementing previously orchestrated music into their scores, how come Horner continues to qualify for using his usual “ba-da-da-DUH” tones in each of his?
  • Leah Greenblat from EW’s Music Mix:
    If there were justice in the ranks, we might have seen a nod for Karen O’s organic and sweetly childlike Where The Wild Things Are work, specifically “All Is Love,” or Ed Helms’ Dada goof “Stu’s Song” from The Hangover. Neither would likely have won, but they deserved a chance, as did Mary J. Blige’s “I Can See In Color” for Precious, Duffy’s “Smoke Without Fire” from An Education, and Sad Brad Smith’s Up in the Air elegy “Help Yourself.”

    Also absent? Anything at all from the Twilight: New Moon soundtrack. No matter what you think of the film (to recap: rainforest, sparkle, mope, werewolf, mope, kiss), its music was almost uniformly excellent. Death Cab for Cutie, Thom Yorke, Lykke Li (who made the eligibility short list, at least), and countless others contributed tracks that should have at least earned them a shot at the statuette; it’s unclear why they didn’t.

  • Vince Mancini at FilmDrunk:
    Do we really need a Best Picture and a Best Director award? It’s kind of like having a cleanest pipes and a best plumber award. That’s your job, dude.
  • Mike Sampson at
    As far as snubs, you’ll see that STAR TREK didn’t make the cut for Best Picture though I think it had more of an outside chance to be nominated anyway. The biggest snub I noticed was the absence of Melanie Laurent in INGLOURIOUS BASTERDS. I’m guessing she was bounced in favor of Maggie Gyllenhaal and how you could watch those two films and say that CRAZY HEART sported the Best Supporting Actress performance is beyond me. I also thought 500 DAYS OF SUMMER should’ve gotten a nomination for Best Editing and BRUNO should’ve gotten a Best Costume Design nod for its whacked out garb.
  • Jo-Ann Armao at PostPartisan:
    I can’t begin to explain how upset I am with today’s announcement of the films nominated for best picture. It’s not so much what made the list (although I can’t believe the ludicrous “Inglourious Basterds” made the cut and not the surprisingly delightful “The Hangover”). No, I am irked because there are TEN finalists, not the usual five. […] It’s a lowering of standards that’s become far too common in America. And that’s what really upsets me about the watered down list: by wanting to make everyone a winner, we all end up the loser.
  • Bob from MovieBob:
    The performances in “Precious” were so good that it’s Best Picture nomination is… okay, I guess. It’s an akwardly-made, overwrought movie, but whatever. Plus, let’s face it, NOBODY wanted to see the headlines if it didn’t (“Oscar even prefers BLUE PEOPLE to Black People!!!”) But Lee Daniels shouldn’t be up for director, not when it could’ve gone to Neil Blomkamp.
  • Ryan Myers at Bay Area News Group:
    The Penelope Cruz love fest has gotta stop: Quit drooling, guys. Cruz is a fine actress, but that nomination for “Nine” is bogus. Add Mariah Carey from “Precious” in there, do something right like giving Melanie Laurent of “Inglourious Basterds” a shot. Do anything besides surrendering to your basic instincts.
  • Devin Faraci at
    Alex McDowell, Watchmen - The production design of Watchmen is simply fantastic. McDowell worked with Zack Snyder to create a completely realistic, believable and true alternate 1980s, yet his name is nowhere to be found. You can argue back and forth about the quality of Watchmen - I still love it - but the reality is that on a technical level this movie hit a couple of home runs, and one of those was the production design grand slam.
  • Rick Marshall at Splash Page:
    “Avatar,” “District 9” and “Star Trek” all received nominations for “Achievement In Visual Effects” — a category in which “Watchmen” (or one of the other previously mentioned adaptations) could make a case for being included. However, the fact that no comic book movies made the final three isn’t as surprising as their absence from the short list of nominees released earlier this year. Along with the three official nominees, “Harry Potter and the Half-Blood Prince,” “Terminator Salvation,” “Transformers: Revenge of the Fallen,” and “2012” were all considered as potential nominees. The big-budget effects of “Watchmen” were nowhere to be found on the list, though.
  • Tom O’Neil at The Envelope:
    Sharito Copley, “District 9”
    Matt Damon, “The Informant!”
    Daniel Day-Lewis, “Nine”
    Robert Downey Jr., “Sherlock Holmes”
    Ben Foster, “The Messenger”
    Joseph Gordon-Levitt, “(500) Days of Summer”
    Hal Holbrook, “That Evening Sun”
    Tobey Maguire, “Brothers”
    Viggo Mortensen, “The Road”
    Michale Stuhlbarg, “A Serious Man”

    Emily Blunt, “The Young Victoria”
    Abbie Cornish, “Bright Star”
    Marion Cotillard, “Nine”
    Penelope Cruz, “Broken Embraces”
    Audrey Tautou, “Coco Before Chanel”

  • Lisa Schwarzbaum at Entertainment Weekly:
    You know us critics, we’re used to shrugging our shoulders about the whole Oscar rigamarole, aware that if we stamped our little feet and huffed, “The great Romanian film Police, Adjective was snubbed, snubbed I tell you!” we’d be kicked out of Starbucks for obnoxious cronyism. (For the record, it was: Police, Adjective is great, and I commend it to your Netflix queue.)

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