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• Single citations for underperforming films. Look past such debacles as the homophobic Brokeback Mountain shunning last year, and it's clear that integrity does exist within the Academy ranks, as evidenced by the fact that the technical branches have never had any problem handing out deserved nods to pictures that proved to be either critical or commercial (or both) disappointments. Brian De Palma's The Black Dahlia was lambasted by the critics (unfairly, I would opine) and skipped by audiences, but there's no denying its gorgeous presentation, and veteran lenser Vilmos Zsigmond was rightly singled out for Best Cinematography. Likewise, Sofia Coppola's Marie Antoinette and Zhang Yimou's Curse of the Golden Flower were showcases for gorgeous period dresses, and both snagged Best Costume Design nods. And The Good Shepherd and The Good German, two dramas whose reviews were more mixed than anticipated, were recognized for Best Art Direction & Set Decoration and Best Original Score, respectively.
Low Points:
• No love for the supporting Brits. The two best supporting turns of the year came courtesy of Emily Blunt (as Meryl Streep's frazzled assistant) in The Devil Wears Prada and Michael Sheen (as Prime Minister Tony Blair) in The Queen. These were two marvelous performances that earned some buzz early on (a Golden Globe nom for Blunt, the Los Angeles Film Critics Association Award for Sheen) but inexplicably faded as the season progressed. Their slighting was the biggest bummer come nomination announcement time.
• No Best Picture nomination for United 93. This galvanizing motion picture was the year's most acclaimed (see How They Compare sidebar), but it was a tough sell for Academy love right from the start. It premiered early in the year, it featured no recognizable actors around which to build campaigns (a la Brad Pitt in Babel), and its subject matter insured that many members wouldn't even pop it into the DVD player lest it disturb them too much.
• The ample love for Blood Diamond. Frankly, I don't get the positioning of this film as a year-end award contender, a strategy that nevertheless paid off with five nominations. Take away the self-important stance and you're basically left with a buddy action flick that usually stars the likes of The Rock and Martin Lawrence. And while Leonardo DiCaprio is fine in the lead role, I would have preferred that his Best Actor nomination had come for The Departed, since that movie will need all the clout it can muster to knock off the overrated Babel for the Best Picture Oscar.
• The shutouts. As always, some terrific movies were ignored completely. It was a long shot that Aaron Eckhart would be up for Best Actor for his note-perfect work in Thank You For Smoking, but a nod for that picture in the Best Adapted Screenplay category was almost a given. Sadly, it proved to be a no-go. In addition to being the best Bond film in forever, Casino Royale was also a technical treat, certainly worthy of mentions in such categories as Best Film Editing and Best Sound. Alas, the Academy gave it double-oh-nothing noms. Finally, a Best Director nomination for A Prairie Home Companion's Robert Altman would have been a lovely -- and, given the picture's high quality, deserving -- way to bid farewell in style to this great filmmaker.
Other Points of Interest:
• By earning her 14th Oscar nomination for her work in The Devil Wears Prada, Meryl Streep added to her own record for the most nods for a performer. Katharine Hepburn and Jack Nicholson are tied for second place, with 12 nominations each. Nicholson could have moved into second place all by himself had he been nominated for The Departed (as many expected), but the only performer recognized from that picture turned out to be Mark Wahlberg.
• With eight nominations, Peter O'Toole (Venus) now is the sole record holder for most nominations without a win. Previously, he had been tied with Richard Burton at seven apiece. Among women, both Deborah Kerr and Thelma Ritter have been nominated six times without ever winning, though Kate Winslet is moving up the ranks: Her nod this year for Little Children marks her fifth nomination, and she has yet to take home a statue.
• The year's two magician movies, The Prestige and The Illusionist, are competing against each other in the Best Cinematography category. The Prestige picked up a second nod for Best Art Direction & Set Decoration.
• Despite earning some of the year's best reviews, Children of Men was largely MIA during awards season. Happily, the Academy noticed its merits, nominating it for Best Adapted Screenplay, Best Cinematography and Best Film Editing.
