Besides, look closely and you will find a radical mention here and there. As usual, the directors' and writers' branches are the boldest ones: The only groups brazen enough to nominate the likes of Blue Velvet, The Last Temptation of Christ and Bulworth in past contests are the only ones this year to bother citing two risque Latino entries, Pedro Almodovar's Talk To Her (Best Director and Best Original Screenplay) and Alfonso Cuaron's Y Tu Mama Tambien (Best Original Screenplay). And in the Best Foreign Language Film race, Mexico's highly controversial The Crime of Father Amaro managed to secure a mention.
Here, then, are some additional observations -- good, bad or indifferent -- regarding this year's playing field.
Highlights:* Salma Hayek's Best Actress nomination for Frida. As a long-time Hayek fan who always felt this astonishing beauty was an underrated performer, it was gratifying to see her recognized in such a major way by her peers (she also received Golden Globe and Screen Actors Guild nominations for the film). Besides, she and no-talent Jennifer Lopez are sworn enemies, even before they both were in a race to bring their respective Frida Kahlo biopics to the screen, so it's pleasurable to imagine how the future ex-Mrs. Affleck must have been fuming when Hayek's name came up on the Oscar roll call.
* The Best Actress nominees beyond Salma Hayek. Julianne Moore; Nicole Kidman; Renee Zellweger; Diane Lane -- in a word, wow. The strongest acting category of the year is so rock-solid that it crowded out superb performances by the likes of Meryl Streep (The Hours), Maggie Gyllenhaal (Secretary), Nia Vardalos (My Big Fat Greek Wedding) and Catherine Keener (Lovely & Amazing).
* The Best Original Song nomination for Eminem. Like him or loathe him, there's no underestimating the importance of his nod for the 8 Mile song "Lose Yourself." The members of the Academy's music branch have consistently been behind the times -- these are the geezers who back in the day failed to nominate a single song from the revolutionary soundtracks to A Hard Day's Night and Saturday Night Fever -- and it was unlikely that a rap song would even be seriously considered for contention until, say, the year 2040. But by going with Eminem over sapmeister Bryan Adams (who was an expected nominee for one of his Spirit: Stallion of the Cimarron tunes), the Academy has demonstrated that it might finally be catching up with the times.
* The Best Original Score nominees. Speaking of the music branch, they also deserve kudos for coming up with a wonderfully varied selection in this melodic category -- from Philip Glass's narratively synchronized work in The Hours to Elmer Bernstein's old-timey score in Far From Heaven, and from Elliot Goldenthal's Latin-flavored beats in Frida to Thomas Newman's evocative theme from Road to Perdition. And while it's a given that John Williams will be nominated year in and year out, he fully deserves his nomination (the 42nd of his career) for the infectious, jazzy rifts of Catch Me If You Can.
* Michael Caine's Best Actor nomination for The Quiet American. As I stated in my Quiet American review last week, Caine went from being a sure thing early in the awards season to looking like the odd man out in the last couple weeks (especially after he failed to earn a SAG nomination). Fortunately, enough voters watched the film to ensure that this extraordinary actor would be in the running for what is unquestionably a monumental feat of acting.
Low Points:* The so-so showing of Far From Heaven. I had long suspected that the year's best film would remain more a critical darling than an Oscar favorite, and the nominations unfortunately proved me correct. Despite winning various honors from 15 critics' groups (including three Best Picture citations) and landing on more Top 10 lists than any other 2002 release (see sidebar), the movie ended up with only four nods -- a respectable showing, certainly, but far from the eight or so nods it really deserved.
* The near-shutout of Minority Report. Despite critical raves and strong box office, it became clear early on that this summer sizzler wasn't even being considered for major awards like Best Picture and Best Director (i.e., the usual bias against science fiction was at work once again). Still, it was a no-brainer that the film would fill up about a half-dozen slots for its dazzling technical achievements (cinematography, film editing, visual effects, etc.). Instead, the movie ended up with only one piddling nomination, for Best Sound Editing. Huh?
* The lack of a nomination for Chicago's Richard Gere. Actually, I have mixed feelings about this one. Delivering his best performance since An Officer and a Gentleman (another film for which he was wrongly overlooked), Gere clearly deserved a nomination... in the Best Supporting Actor category. However, Gere insisted that he be promoted in the lead category, and that ego trip may have cost him dearly. It probably also didn't help that his inane, rambling acceptance speech on the Golden Globes -- one of the worst in recent memory -- was delivered while Academy members still had ballots in hand, doubtless leading many of them to think, "Why the hell would I vote for this idiot?"
Other Observations:* With her 13th career nomination (Best Supporting Actress for Adaptation), Meryl Streep has passed Katharine Hepburn as the most nominated performer in Oscar history.
* For the 11th consecutive year, Miramax Pictures is in the Best Picture running -- and how! The studio produced Chicago and Gangs of New York and co-produced (with Paramount) The Hours. What's more, Miramax founders Harvey and Bob Weinstein are listed as executive producers on New Line's The Lord of the Rings: The Two Towers, meaning that Focus Features' The Pianist is the only Best Picture nominee with which the brothers had no association (unless we end up discovering that they had served as uncredited caterers or key grips).
* The year's biggest moneymaker wasn't forgotten. Spider-Man ended up with two nominations, for Best Visual Effects and Best Sound. Nods for Best Film Editing, Best Original Score and Best Sound Editing wouldn't have been out of order, but its makers are probably still too busy counting its $400 million haul to worry about such matters.
* The media raised such a stink when Michael Moore's Roger & Me failed to earn a Best Documentary nomination back in 1989 that the Academy made sure not to repeat that mistake. Moore's provocative Bowling for Columbine is among this year's nominees -- a more than worthy selection, though I'm sorry the equally deserving Standing In the Shadows of Motown failed to earn a berth.
* From the slightly surreal department: From now on, they'll be referred to as "Academy Award nominee Eminem" and "Academy Award nominee Queen Latifah." But hey, it beats "Academy Award nominee Britney Spears" and "Academy Award nominee Mandy Moore," both of whom also released movies in 2002 (albeit to across-the-board pans).
HOW THEY COMPARE
Oscar's 5 Best
These were the films nominated by the Academy for Best Picture.
1. Chicago (13 nominations)
2. Gangs of New York (10)
3. The Hours (9)
4. The Pianist (7)
5. The Lord of the Rings: The Two Towers (6)
Critics' 5 Best
Based on a national sampling of 100 reviewers, these were the films that appeared the most frequently on critics' 10 Best lists.
1. Far From Heaven
2. Y Tu Mama Tambien
3. Talk To Her
5. About Schmidt
Brunson's 5 Best
These were my picks for the year's best movies.
1. Far From Heaven
2. Minority Report
3. Spirited Away
4. The Hours
Moviegoers' 5 Best
These were the year's biggest moneymaking releases.
2. The Lord of the Rings: The Two Towers
3. Star Wars Episode II: Attack of the Clones
4. Harry Potter and the Chamber of Secrets
5. My Big Fat Greek Wedding
...AND THE WORST
OK, we now have a sense of which films reigned as the biggest and/or best of 2002. But what about the worst? Glad you asked. We took a look at the "10 Worst" lists of over a dozen national critics and discovered that the following titles appeared most often:
1. Ballistic: Ecks vs. Sever
3. The Adventures of Pluto Nash
4. Swept Away