Definition: outstandingly bad, shocking
Ex: The fact that Nick does not know what this means is egregious.
Sorry about that folks. Context is everything I suppose. Suffice to say, I know my audience. And that is typically an audience of one. He knows who he is.
The….(looks to see what number we’re at)…89th Academy Awards are this weekend and I’m here to capitalize…I mean…shoot….um….coincide. Yeah, I just happened to think of writing this AND the Oscars just happened to fall on the same weekend in which I finally put it out.
So yeah as with any competition there are going to be varied opinions on who should win and why…this post is one of those opinions. It’s by no means more educated or valid. It’s just mine.
That means it’s objectively the best one.
Why only 5, you may ask? Well I’m lazy.
You caught me.
(I almost get TOO much milage out of that clip.)
I’ve limited myself to acting because well that’s seems to be really be the only awards of the night many seem to pay credence to. I mean I’m sure I could bore you with how we often take for granted the less glamorous screenwriting and technical categories, but….shit, I already lost some of you.
Before you leave, I’m also excluding what could have been candidates for this year’s race as I can only be somewhat relevant, you know? I want this to be an exercise in healing, a means of airing long-held bitterness for awards I was never personally up for or had a say in who won what exactly.
So that means Amy Adams’ work in Arrival will not be getting a mention, no matter how deserving it may be. Also important to note, these are not the MOST egregious snubs of the past few years. Just five egregious ones. Also it’s just my opinion and what do I know? I kind of liked Green Lantern.
Performances (off the top of my head) I would have added had I had more time:
Albert Brooks, Drive (2011)
Tom Hardy, Locke (2014)
Scarlett Johansson, Under the Skin (2014)
Benicio del Toro, Sicario (2015)
Jake Gyllenhall, Nightcrawler (2014)
Hugh Jackman, Prisoners (2013)
Liam Neeson, The Grey (2011)
Géza Röhrig, Son of Saul (2015)
Andy Serkis, Dawn of the Planet of the Apes (2014)
James Franco, Pineapple Express (2008)
Essie Davis, The Babadook (2014)
Ralph Fiennes, The Grand Budapest Hotel (2014)
Simon Pegg, The World’s End (2013)
Mads Mikkelsen, The Hunt (2012)
Oscar Isaac, Inside Llewyn Davis (2013)
Alicia Vikander, Ex Machina (2015)
Nina Hoss, Phoenix (2014)
Let’s get some “snobbery” out of the way first, shall we?
Phoenix is a little German movie from a few years back that certainly got recognition in some pretty prestigious circles. However it was basically passed over in every regard by the Academy; perhaps most tragically shunned was the performance of one Miss Nina Hoss.
Nelly is a woman who reflects her surroundings. A Jewish cabaret singer who (barely) survived the horrors of the Holocaust who finds herself in the rumble that was once Berlin, her shattered face mirroring the utter destruction surrounding her. She’s on the search for her husband who may or may not have betrayed her to the Nazis as to save his own skin. Suffice to say, she eventually finds the guy but he does not recognize her as her face is a dented shell of what it once was. However she does look JUST enough like her old self to fit into a scheme he has formulated to get ahold of her inheritance. Noir-ish adventures ensue with twists and turns to be had by all, all culminating in the final scene in which the truth is finally revealed.
Basically the final scene is as perfect as any ending in any movie ever made, (Hyperbole, much?) and at its center is Hoss. She leaves us with almost nothing yet everything that we need. Much like her mother country, Nelly is a little roughed up but she will shoulder on. The subtle yet triumphant rebirth harkens back to the legendary bird from whom the movie receives its title. This isn’t to say Hoss’ output in the rest of the film isn’t up to par. If it weren’t, this scene would not be one iota of as strong as it is.
Suffice to say, I think Hoss gives one of the best performances of the past few years here and the fact she didn’t even get a nomination (in a year that was kind of lacking looking back) is a shame.
What would have been her Oscar clip (SPOILERS):
Sharlto Copley, District 9 (2009)
Another thing I harp on is the gross under-representation of genre films each and every year in the acting categories. I’m not exactly sure where the hesitancy stems from either. Take District 9 for example. It got a Best Picture nod, and a handful of nods for elements such as visual effects. Deservedly so, I might add. However Copley got no Best Actor attention. I don’t even remember him being in the conversation.
It’s a real talent to all at once take an unlikeable character and make us emphasize with him or her as well as sell body horror without coming off as hokey. Copley seems to do it effortlessly with his turn as Wikus van de Merwe.
It’s kind of standard to have the arc of an unlikeable guy, make him see the light and ultimately join the side of the angels. van de Merwe doesn’t exactly fit that mold to a tee however. Copley ensures he remains the still, basically selfish, unwilling participant he was throughout but we get more shades of him along the way. He is capable of empthy for these, as he puts it, “fookin’ creatures.”
I love that. Also his ability to sell the whole “I’m becoming a bug man!” thing flawlessly and empathetically don’t hurt neither.
What would have been his Oscar clip:
Charlize Theron, Mad Max: Fury Road (2015)
Let’s keep this “South African actors/actresses snubbery” train going by doing away with the pretense that anything I’m saying is at all snobby particularly in comparison to the body of voters we’re talking about.
Mad Max: Fury Road was one of those rare instances of a big budget action movie’s quality being so apparent and loud, I can only assume the Academy was begrudgingly forced into including it in the Best Picture race.
There was one category it was woefully overlooked for. You guessed it. Acting. I know that was pretty tough but we got there in the end.
Now both Tom Hardy and Theron would have been strong candidates for their respective roles in the film, but Hardy got his due that year with a nomination for The Revenant. And to be fully fair, Theron received her’s back in 2003 with Monster. That was a well-deserved win. So it’s certainly not as sad as it would have been otherwise, but Furiosa is the first truly iconic role Theron has ever gotten to sink her teeth into.
What would have been her Oscar clip:
Lee Byung-hun, I Saw the Devil (2010)
Oh no! More foreign cinema!
One could argue that Choi Min-sik had the flashier role of the two leads in Kim Jee-woon’s 2010 slasher. After all, he is the titular devil and the man is deserving of at least a little Oscar attention for his snub of basically the performance upon which he will be most remembered in Oldboy. Of the two however, in this particular film, I favor Lee.
It should really come as no surprise that this film was overlooked. It’s pretty exploitative at parts and not in like a fun, Grindhouse way. More like a borderline torture-porn way. And for a lot of the runtime, Lee plays Agent Kim as steely as one would expect from a man seeking revenge. It’s the film’s final act however where consequences begin to take shape in a way that I did not expect.
It’s the final, haunting shot I think should have at least brought Lee into the conversation. Gone is the badass we thought we knew, replaced by the weeping shell of a man whose life has been utterly decimated by quest for revenge. It’s appropriately harrowing and I think it’s a performance that all at once grounds and elevates a movie that could have been exploitive trash if handled by less skilled hands. Luckily I Saw the Devil features some of the best talent South Korea has to offer, Lee being one of them. Now if only Hollywood would follow suit and start putting him in more interesting roles!
What would have been his Oscar clip:
Tom Hanks, Captain Phillips (2013)
File this one under the “No duh” category, if you please.
Much like our previous contender, Hanks’ snub is basically equates to the utter power of the performance he gives in the film’s final scene. Like Lee, Hanks doesn’t give you a hero triumphant. He presents our main character made broken, the trauma of the film’s event’s enveloping him in a tidal wave of grief and emotion as the the film cuts to black. We aren’t provided the comfort of knowing everything is going to be fine.
What would have been his Oscar clip (obviously):
Scarlet Johansson, Her (2013)
This is one I’ve been on the fence for for quite a while, and have been in at least two or three debates on the topic believe it or not. Hard to believe I was able to fit it between my hectic schedule of staring at nothing and slipping slowly into narcissistic madness.
The funny thing is though, I was initially AGAINST the idea of the inclusion of a voice over performance. That should be it’s entirely separate category. But if her nomination brought more attention to voice over acting as whole? Well, I can get 100% behind that wholesale.
It’s important to note that Johansson was not even the first person cast in the role. Samantha Morton had recorded all her dialogue (and was even on set for all of the scenes between Theo and Samantha) before director Spike Jonze opted to recast her. Jonze said, “It was only in post production, when we started editing, that we realized that what the character/movie needed was different from what Samantha and I had created together. So we recast and since then Scarlett has taken over that role.”
That speaks to both the power of casting (another role that should get some form of Academy recognition) as well as Johansson’s ability to effortlessly slip into the role.
There’s this annoying notion that voice over acting is “easier” than traditional acting as one simply goes to a booth to record. They can wear pajamas to work, you guys.
The thing some don’t seem to acknowledge is how alienating the process can be. I mean typically it’s just you can the voice director and various behind the scenes folks in a booth with a few hour sessions for a week or so. You don’t typically even meet the other actors until after the process is over. (Johansson’s case takes this a step further as she wasn’t brought in until the main production had already finished.) This leads to many actors simply phoning in their roles for an easy paycheck. It’s really easy to spot lazy voice work. (Looking at you, Chris Rock.)
Johansson’s output here is anything but lazy.
What would have been her Oscar clip: