Winner
Best Picture
Welcome to my second annual Oscar Breach Awards. I am including the best and worst of categories that are important to me. I also threw in a few creative categories that I like. The number of nominations/winners varies depending on how much I care about the category. By my rules, I can be biased for unrelated reasons (usually political), and I can only include films that I have actually seen for this year (except for the body of work category since that includes too many films). I welcome both compliments and criticism, so feel free to email me here. Enjoy!
|
|
|
Winner
|
|
| Brokeback Mountain | Capote | Cinderella Man | Crash | King Kong |
| It's strange. Normally I just can't catch onto romantic films. They really are not my genre. However, for some inexplicable reason, this was different. It really got to me, and I actually felt for the characters. It really gave power to an unbreakable, yet unwithstandable bond. Very well done. (note: I am straight). | Now this I liked. The concept of how one man could grow such a bonding relationship with a murderer really enthralled me. Not to mention strong performances from Hoffman and Collins. | This has to be included just because it's the feel-good movie of the year. In a year when a lot of films end on a depressing note, this one is joyous, and helps to uplift the human spirit. Well done, Opie. | This was a shocker. Not many films get me so involved. More importantly, I think that this film does a very accurate job in portraying a subject that most people are afraid to touch, and have it looked at from varying points of view. And what I really loved was to see how every persond is connected to eachother. It's so well-written and acted. I would like to call it the best picture of the year. | This comes in a close second. Peter Jackson has now proven himself to be one of, if not the, most masterful filmmakers working today. Not once did I question the bond that formed between the beauty and the beast. And there are few films that pack so much entertaining action and can still get me strongly attached to a character. Filmmaking doesn't get much better than this. Note: It would also fit well in my Best Popcorn Flick category. |
Best Popcorn Flick
| The reason why I decided to include this category this year is because last year I tried to combine it with the best picture category, and it produced confusing results. I think that films still deserve recognition, even when they lack artistic quality, but are pure in their entertaining quality. Movies you can see just for fun, and you'll enjoy. |
|
|
|
Winner
|
|
| Charlie and the Chocolate Factory | The Island | Sin City | Star Wars: Episode III- Revenge of the Sith | War of the Worlds |
| This film is more eye-candy than anything else. When seeing the inner-workings of a magical chocolate factory as imagined by Tim Burton, you just feel like a kid again. | Go ahead and say what you want about this, but I liked it. Not only did it have some heart-pounding action, but the sci-fi society aspects really made you think. Not to mention seeing an American Ewan McGregor making fun of the accent of the Scottish Ewan McGregor was quite clever and hilarious. | This is another piece for the eyes. It's not too often that you get unique films like this that are entertaining just to look at. I realize that with all of the Tarantino-level violence, this isn't for everyone. However, for those who can hold their stomaches, it's worth a view. | Best of the entire Star Wars series, I say. Best action sequences, best acting (even though that's not saying much), and more emotional tones than any other episode. I credit Lucas for coming up with a rational way to have Anakin turn dark, by turning him into the victim of disaster. Loved it! | I know the ending was a little too abrupt, but you've got to love this film just for the nightmarish feel to it. The feeling that you can keep running, but they're right on your tail is haunting and entertaining. I'm glad Spielberg presented it this way. |
Worst Picture
Loser
|
|
|
|
|
| The Dukes of Hazzard | Good Night, and Good Luck | Junebug | Robots | Transamerica |
| I would never pay to see this. I saw it for free on a trans-atlantic flight, and there was nothing else to do. Film quality just can't get much worse. | Yes, this decision is driven partially by my political bias. However, even with that aside, I don't see what makes this an award-worthy film, aside from David Strathairn's performance. It's a very simple story. Murrow takes on McCarthy and he wins. That's the whole thing? Why couldn't Clooney make it a little more complicated than that? | It's films like this where I watch them and I ask, "Will you just get to the point already?" Some good performances though. | I don't know why I saw this. It's just too kiddish. Why were there no Toy Stories or Shreks this year, films for kids and adults? Also, I'm really getting tired of hiring a payload of big-name actors in animated films, not for their abilities, but just to inlcude big names. | One of those movies where you watch it, then you feel like you really need to shower. I also don't find Felicity Huffman's performance to be all it's made up to be. |
Director
Winner
|
Loser
|
| Peter Jackson (King Kong) | Susan Stroman (The Producers) |
| Once again, Jackson has demonstrated his genius in brining a classic story to emotional life. Kong wouldn't have been half as good without him at the wheel. | All of the criticism that this film has received, I direct it solely toward her. Why did she decide to make the film literally identical to the stage musical, and change nothing at all. Stick with broadway, don't make another movie. |
Best Actor
Winner
|
|
|
|
|
| Philip Seymour Hoffman (Capote) | Heath Ledger (Brokeback Mountain) | Viggo Mortenson (A History of Violence) | Joaquin Phoenix (Walk the Line) | David Strathairn (Good Night, and Good Luck) |
| Best performance of the year by far. I've never seen any clips of Truman Capote, but I can assume that Hoffman got the character down. And it's an accomplished performance, and not just an impression. | He was surprisingly good. A subtle performance, but there was a depth to it that was quite accomplished. However, I think you could still hear his Australian accent a little. | I don't actually find his performance to be one of the top five of the year, but it's probably one of the best of his career, so I'll acknowledge him for that. He did an excellent job portraying a seemingly normal man covering up his felacious past. | In many ways, I thought he was better than Jamie Foxx was last year. Firstly because he does a performance instead of an impression, and secondly because he does his own singing. How can you not reward him for all of that? | He just barely made my list. This is an example of when I consider it to be an impression instead of a performance. However, in a weak year, it was a good enough impression to make my top five. |
Worst Actor
|
|
Loser
|
|
| Ioan Gruffudd (Fantastic Four) | Johnny Knoxville (The Dukes of Hazzard) | Sean William Scott (The Dukes of Hazzard) |
| Well, Mr. Fantastic wasn't the most characterized member of the four, so there really wasn't much to it. Note: I think he would have made a better James Bond than Daniel Craig. | Flat-out terrible. | Slightly better than the other Duke. |
Best Actress
|
|
|
|
|
Winner
|
| Joan Allen (The Upside of Anger) | Judi Dench (Mrs. Henderson Presents) | Charlize Theron (North Country) | Naomi Watts (King Kong) | Reese Witherspoon (Walk the Line) |
| Not to often you come across a character like this. A middle-aged divorced, depressed mother, who will fall into any relationship. It's a real-life character who hasn't been portrayed in too many films. That's why Allen pulled it off so well. | Now she was amazing. She was so clever and witty, yet calm and sincere. She tells it how it is without caring about what anybody else thinks of her, all a while mourning the loss of her husband and son. If she didn't already have such an awards record, this award would certainly go to her. | Surprisingly good. Possibly even better than her oscar-winning role in Monster. She comes close to earning the win in this category, but being a previous winner, I have to give it to newer deservees. Keep up the good drama work. | Utterly amazing. Watts carried this film. She convincingly established a relationship with a giant monster, something I don't think many actresses can accomplish. Additionally, you have to give her credit for being able to act with some guy pretending to be an ape, while surrounded only by green screens. | I loved her comic-country-singer character. On stage she really captured that cheerfull cowgirl act that June was known to put on. I also give this award to her for doing some beautiful singing. Who would have thought? |
Worst Actress
Loser
|
|
|
| Jessica Alba (Fantastic Four) | Katie Holmes (Batman Begins) | Scarlett Johansson (The Island) |
| Pretty much just as dull as her co-stars. I actually, thought Michael Chiklis was pretty good though. | She really didn't do that much for the film. Or maybe that's just the personal life talking. Either way, she's on this list. | I still find her to be an overrated actress. She has yet to have an above-average performance. In this case, she really tried to express to many emotions for a clone. |
Best Supporting Actor
|
Winner
|
|
|
|
| Clifton Collins, Jr (Capote) | Paul Giamatti (Cinderella Man) | Jake Gyllenhaal (Brokeback Mountain) | William Hurt (A History of Violence) | Andy Serkis (King Kong) |
| I think this is proof that I am finally getting over my bias of actors I am not familiar with. I found Collins to have one of the strongest performances of the year, and I don't understand why all of the critics groups have been overlooking him. He convincingly played a multi-murderer with deep regrets for his actions. The scene where he finally confesses all to Truman Capote is amazing. | At this point, I officially apologize to Mr. Giamatti for what I said about his performances in American Splendor and Sideways. He has now proven his talent to me as an energetic depression-era boxing manager. I believe it to be the best performance I've seen all year, period (that includes Philip Seymour Hoffman). I'll definitely hope to see him win the oscar this time. | It's the best performance of his career, that's for sure. To be honest, it was a little short of what I expected of him. Nonetheless, he did a superb and award-worthy job as the domineering cowboy. Not to mention his accent was a little more convincing than Ledger's. | If ever somebody should be recognized for a ten-minute performance, this just might be it (or perhaps Ed Harris in The Hours). But what he did with those ten minutes was powerful. He's a mob boss who has been stowing up anger for his brother for decades, and only now lets it all out. It's good to see him back in the game nearly 20 years after his best actor win. | I understand why some may be reluctant to award his performance. Their rationale is that it isn't really Serkis. But I say, IT IS! It was his movements, his growling, his facial expressions, Serkis provided it all. Nobody in history has ever done such a memorable job in playing an animal. Serkis not only brought convincability to the performance, but heart as well. No other performance could express an animal's feelings entirely through expressions and actions. I strongly say he deserves an oscar nomination. |
Worst Supporting Actor
|
Loser
|
|
| Samuel L. Jackson (Star Wars: Episode III- Revenge of the Sith) | Burt Reynolds (The Dukes of Hazzard) | Tim Robbins (War of the Worlds) |
| Every actor did a substantially better performance in this episode. Sadly, Jackson is an exception to that. Now I know that Jedi are supposed to be calm, and somewhat emotionless, but I think he just took that too far. | Ironically, he's supposedly the most talented cast member on the film. Sad to say that reputation seems to have been stained almost as much as that white suit he wore. | This is my outlet for political bias. Come back to Earth, Robbins! |
Best Supporting Actress
|
|
Winner
|
|
|
|
| Amy Adams (Junebug) | Maria Bello (A History of Violence) | Tilda Swinton (The Chronicles of Narnia) | Rachel Weisz (The Constant Gardener) | Michelle Williams (Brokeback Mountain) |
| If one aspect can save this rather run-on film, it would be Adams' energetic and memorable performance. Her character's over-optimism in difficult times was an inspiration. | There is something about Bello that really brought a human element to this film. It was a very strong performance, and I have to give her the win combining this with her oscar snub for The Cooler. | She wasn't that bad. I'm just filling spaces here. She played the role well, and nobody could have done it better. But she's not going down in the AFI's top 100 movie villian's list. She's good, but she just doesn't belong with Hannibal Lecter, Norman Bates, and Darth Vader. | This was a sincerely present performance that I liked. I actually think she might be better fitting in the lead category, but I go with the flow. Her conflicted detective and wife was really the heart of the film. | Probably the strongest supporting actress performance of the year. However, she's just barely missing this win since she hasn't had a great body of work in the past. Nonetheless, she was fantastic in her way of dealing with her husband's homosexuality. Very convincing, very real, and very award-worthy. |
Worst Supporting Actress
|
|
Loser
|
| Catherine Keener (Capote) | Brittany Murphy (Sin City) | Jessica Simpson (The Dukes of Hazzard) |
| I just find this to be another overrated performance of the year. I really can't understand how she has been getting so much critical attention and the nomination. Harper Lee is not a difficult role. She played it powerlessly, and gave no indication as to what the character was really like. | I just heard King of the Hill has been cancelled. So now she must rely entirely on her film career. Good luck. | Let's at least be glad she didn't audition for any "intelligent" movie roles this year. |
Best Screenplay
|
|
|
Winner
|
|
| Brokeback Mountain | Capote | Tim Burton's Corpse Bride | Crash | King Kong |
| Well-crafted dialogue and memorable lines coat this story's forbidden romance. | Capote's character was really expressed through the things that he said. Nobody could have identified him better. | This underrated love-triangle story is of the most clever nature and embodies some of the best living/dead gags. | Definitely the best script of the year. The ability to channel the subject of race through the perspective of eight individual points of view, and examine how they all connect to save or destroy one another. Truly worthy of all its praise. | 30s-New York dialogue helps bring the story to life, aside from the tragic fable that we all know so well. |
Worst Screenplay
|
|
Loser
|
|
|
| The 40-Year-Old Virgin | The Dukes of Hazzard | Good Night, and Good Luck | The Producers | War of the Worlds |
| I'm glad Hollywood still has some original ideas. But do they have to be so immature? | What exactly were they aiming for here? All I got was an over-glorification of rednecks. | You may hate me for rating this lower than Dukes. But at least Dukes had a plot. This was an overly simplified story. There's just one move and no reprocussions. Both boring and anti-American. | The problem: this was neither original nor adapted. This was the exact same script from the play. Not a word changed. How useless. | Not much to the dialogue. If there's any goodness in this film, it's all about what we see, and not what was written. |
Art Direction
Winner
|
Loser
|
| Charlie and the Chocolate Factory | Munich |
| This set was compelling just to sit and stare at. The eerie inner-workings of a magical chocolate factory, as imagined by the twisted Tim Burton, is brought to life in the design of this world, most notably the chocolate river. | I don't think they actually built any sets for this film. It's all filmed on location, some of which appears to be out of date. |
Cinematography
Winner
|
Loser
|
| Pride and Prejudice | The Producers |
| If this film was going to be nominated for something, I really think it should have been for its cinematography. I was greatly impressed by all of the long-lasting moving shots that alternate from character to character, room to room, without cutting. That's not an easy thing to do. Brokeback Mountain comes in a close second. | The problem: they used the exact same shots that we already saw in the musical. It was all from the exact same perspective. For example, we never do see the "other wall" of the office room in the film, nor do we in the musical. Why did they even have to keep the shots the same? Why not change at least one aspect in the Broadway to film transition. |
Costumes
Winner
|
Loser
|
| Memoirs of a Geisha | Fantastic Four |
| It's both period and foreign-culture, which always assures it a position here. Also, it's worth noting that the more layers, the better, and I was amazed while watching layer after layer come off of a Geisha in this film. Note: this just barely beats Kingdom of Heaven. | I think the superhero costumes could have had a little more variability. Additionally, to sound nerdish, considering how Invisible Girl's power works, she doesn't exactly need a costume that turns invisible itself. Light is supposed to diverge around her is the idea. The writers have never taken a physics course, I bet. |
Makeup
Winner
|
Loser
|
| The Chronicles of Narnia | Batman Begins |
| This barely beats out Star Wars and Kong for makeup. It was very imaginative how they designed the fawn and the witch. That's Richard Taylor and Weta, the same people behind Lord of the Rings. | Note: spoiler ahead. I was kind of dissappointed that Liam Neeson turned out to be Ra's Al Ghul. I find that disloyal to the comic. The least they could have done was make him look more like it, other than just giving him the goatee. |
Visual Effects
Winner
|
Loser
|
| King Kong | Charlie and the Chocolate Factory |
| I emphasize that this just barely beat out Star Wars. Star Wars had more realistic looking effects, but Kong had more innovation in certain departments. Most notably is the motion capture department, which allowed Andy Serkis to really bring Kong to life more than any digital animator could have done. | This was a strong year for visual effects so it's hard to pick a loser. But some of the shots in this film looked a little fake. The squirrels looked good, but Violet turning into the giant blueberry clearly wasn't real. |
Sound
Winner
|
Loser
|
| Star Wars: Episode III- Revenge of the Sith | Fantastic Four |
| I love how creative the sound designers can be in this saga. I mean, listen to the high-pitched barking of that creature Obi-Wan rode on, or the electric buzzing of those staffs the droids fought with. When you're in a surround-sound theater, you can really notice the difference. | While watching this, I kept repeatedly noticing how it seemed like there should be a sound there, but there wasn't. What does it sound like when a human stretches? According to the film, practically nothing. |
Score
Winner (original)
|
Winner (re-mixed)
|
Loser
|
| Danny Elfman (Tim Burton's Corpse Bride) | John Williams (Star Wars: Episode III- Revenge of the Sith) | Hans Zimmer and James Newton Howard (Batman Begins) |
| Danny Elfman is one of the most ingeniously creative music composers, and yet he never gets enough credit. Not even enough nominations. His hauntingly beautiful music for this (along with Charlie and the Chocolate Factory) was sensational and really hit the theme of "til death do us part." | I realize that this isn't an original score since most of it comprises of sequences from the previous Star Wars films. Nonetheless, when it comes right down to it, it was certainly the best composing in a Star Wars film, and one of John Williams' best yet. It combines all the best scores from the previous episodes at just the right moments. "Luke Skywalker Theme" from episode IV plays during the twin-sunset. "Imperial March" from episode V plays when Anakin is dubbed Darth Vader. "Duel of the Fates" from episode I is played during the big lightsaber fight. And "Across the Stars" from episode II is played during Anakin and Padme's reunion. It also features a new sequence "Battle of the Heros" during the epic lightsaber battle. The best Star Wars film aided by some of the best music in cinematic history. Go John Williams! | It tried to be like the original Batman theme (composed by Danny Elfman of course) in a way, but came off much worse. |
Song
Winner
|
Loser
|
| Danny Elfman "Remains of the Day" (Tim Burton's Corpse Bride) | Bird York and Mark Isham "Into the Deep" (Crash) |
|
Here's another reason why Danny Elfman doesn't get enough credit: his songs. All of the songs in Corpse Bride were well crafted, as were his songs from A Nightmare Before Christmas (which were also overlooked). But this song is fun, jazzy, and is full dead puns. Not to mention Elfman sings it himself while taking on a scary skeleton voice. Talk about multi-talented. Note: Dolly Parton's "Travelin' Thru" from Transamerica comes in a close second. |
Despite how much I loved Crash, this song just seemed to droan on and on and didn't seem to fit the film that well. Fortunately, it didn't ruin the experience though. |
Young Actors
Male
|
Female
|
| Jamie Bell (King Kong) | Dakota Fanning (War of the Worlds) |
| I realize he was actually 18 when this was filmed, but I say that's close enough. He's come a long way since Billy Elliot. In Kong, he was a sympathy-grabber as an orphaned crewmate with a desire to help. | Yes, I agree that she wins this category too often. But you can't argue with results. The look on her face staring at the destruction headed her way really summed up what was really happening. Best scared-performance by a child actor since Sixth Sense. |
Ensemble
Winner
|
Loser
|
| The cast of: Crash | The cast of: The Dukes of Hazzard |
| The ensemble was one of the best aspects of this film. So many skilled actors, no particularly big names, all whom fit their role well, and all give superb performances. You couldn't ask for more. | If I have to rationalize this to you, then you've got a real problem. |
Most Overrated
Film
|
Performance
|
| Wedding Crashers | Terrence Howard (Hustle and Flow) |
| I fail to undertand what makes this any more special than the next crude sex-comedy. Sure it has some funny parts, but when it comes right down to it, it's just Old School all over again, but with a love story attached. And I concur with what Richard Roepber said about this film: "Why do they always have to make the other guy, who already has the girl, into such a jerk?" | Now his performance in Crash was great, but this performance, in my opinion, comes a little short of award-worthy. Maybe it's the type of role that I'm not a fan of, or maybe because it didn't seem that difficult. But don't get the wrong idea. I'm still glad he was nominated, as compensation for not getting nominated for Crash. |
Most Underrated
Film
|
Performance
|
| Corpse Bride | Clifton Collins, Jr. (Capote) |
| I'm surprised this didn't do better at the box-office, nor at the oscars. This is a beautiful story about love, both in and out of one's "afterlife." It's guided by Tim Burton's beautiful dark imagery, and Danny Elfman's hauntingly beautiful music. It deserves more than it's been getting. | I am surprised he picked up no critics awards whatsoever. This was one of the best performances of the year, and yet he got no attention. Well, I guess it's hard to get attention when you're onscreen with Philip Seymour Hoffman. But he was memorable as a serial killer too regretful to talk about what he did. |
Best Body of Work
Male |
Female
|
|
Liam Neeson Kingdom of Heaven Batman Begins Breakfast on Pluto The Chronicles of Narnia |
Helena Bonham-Carter Charlie and the Chocolate Factory Corpse Bride Wallace and Gromit |
| Great year for Neeson. Especially since its hard to top last year with his award-worthy performance in Kinsey. But he had great performances in all these films as well, and I look forward to seeing him next year in Spielberg's Abraham Lincoln project. | These were some great films, yet she doesn't get cited as a standout in any of them. Yet, I believe her characterization to be essential, particularly in the latter two. I wonder if she'll appear in every remaining film Tim Burton releases. |
Worst Body of Work
Male |
Female
|
|
Will Ferrell Melinda and Melinda Kicking and Screaming Bewitched Wedding Crashers The Producers |
Jessica Alba Sin City Fantastic Four Into the Blue |
| He did a decent job in these, but this is just a horrible streak of disappointing films. Hopefully he can rejuvinate himself when he starts doing more dramas like Winter Passing. | The first two were actually good films, but she has yet to put in a decent performance. |
Best Hero/Villian
Hero
|
Hero
|
Hero/Villian
|
Villian
|
Villian
|
| Kong (King Kong) | Marv (Sin City) | Anakin Skywalker/Darth Vader (Star Wars: Episode III- Revenge of the Sith) | The Emperor (Star Wars: Episode III- Revenge of the Sith) | Kevin (Sin City) |
| Kong is truly a tragic hero. His warding off the Rexes was a classic scene, and his protection for Ann is commendable. Yet the protection leads to his death. Truly an honorable hero. | What I liked about Marv was how he was a dirty, ugly, murderous brute who goes on a killing-spree, but does it just for the only woman who ever cared for him. Not to mention his rationalization: "You can't kill a man without being absolutely certain he deserves to die." Despite his unsaviory ways, you just gotta root for him. | This is one of the greatest character transformations on screen. The hero becomes the victim who becomes the villian. It's a rational transformation, and tragicly, he did it all in the name of love, for which he failed to accomplish. This is a prime example of manipulation and trechery, two of the greatest elements of film. | What I liked about him is how he takes at least 25 years to accomplish his goal of galactic rule. He doesn't attempt a sudden coup. He gains the power diplomatically and cautiously. This character is comparable to Hitler, who as well legally gained power and built an empire. The emperor is one of the most ingenious movie villians ever. | I just liked Kevin because he's the kind of thing I get in my nightmares. A silent killer who moves swiftly and calmly toward your direction. Even when detained, he stares silently at you with a haunting smirk. That's the kind of villian you never forget. |
Best Action Choreography (my favorite category)
|
|
|
Winner 
|
|
|
Cinderella Man Jim Braddock vs. Max Baer |
King Kong Kong vs. The Three V-Rexes |
Sin City Marv vs. Kevin |
Star Wars: Episode III- Revenge of the Sith Anakin vs. Obi-Wan |
Star Wars: Episode III- Revenge of the Sith Yoda vs. The Emperor |
| This was some very believeable boxing. Even better than in Million Dollar Baby. It also managed to keep my attention for all ten rounds since each round varied in who was throwing the punches and who was getting beat up. Well-choreographed, and I believe historically accurate. | This is definitely the best animal/animal fight ever on screen, and thus it comes in a close #2. It definitely beats the original by having not one, not two, but THREE V-Rexes (they've evolved since the T-Rex) come after Kong. A lot of credit here goes to Andy Serkis for controlling his body movements in a form of fighting that seems very representative of how a gorilla would fight. You also have to love when Kong breaks the jaw of the final Rex, then flaps it up and down. Sure beats watching Animal Planet. | What I liked here was the variability of the two fighting methods. Marv is a big brute, therefore he fights with his muscles and fists. Yet Kevin is a silent stalker who jumps around you and slashes out your eyes with his nails. Two very different methods create for an interesting battle. | This has to be the greatest sword fight ever to hit the screen. Superior to even Spartacus, Gladiator, and Crouching Tiger. It's so long lasting, carries you through numerous arenas, and is met with varying obstacles along the way. The fighting methods as well have improved with faster and more complicated moves. You really have to credit Hayden and Ewan for making this the best lightsaber fight in the whole series. | The next best fight from Star Wars clearly had to go to Yoda. He's small, elderly, and walks with a cane, but when he pulls out that lightsaber, you just know he's going to unleash hell. He flips around, jumps miles, and hurls giant floating platforms. I was really disappointed to see him lose this one. But that makes the Emperor all that much cooler of a villian. |
Second Best Action Choreography
|
 |
|
|
|
|
Batman Begins Batman vs. Ra's Al Ghul |
Kingdom of Heaven The seige of Jerusalem |
March of the Penguins Fighting over the male |
Star Wars: Episode III- Revenge of the Sith Obi-Wan vs. General Grievous |
Star Wars: Episode III- Revenge of the Sith Anakin and Obi-Wan vs. Count Dooku |
| They actually fought eachother a few times. The climactic battle on the train wasn't that great, but I did like the battle they had early on during training in the room with all the other warriors dressed in black. It was an interesting dilemma since you didn't know where your opponent was, but Bruce Wayne manages to get the better of Ghul. | Even though I prefer one on one battles, this was well done as an epic battle. The seige of the city lasts a large portion of the film, and several classically medeival methods are used including flaming trebuchets, moveable towers, and pouring hot oil. Only the seige of Minas Tirith in Lord of the Rings could beat it. | What I liked about this fight was how real it was. And how come women don't fight over men as often in our society? | I admit I was slightly disappointed in this one. Once Grievous pulled out FOUR lightsabers and began spinning them around, you knew this was going to be good. But after that, it just became a one step at a time fight that didn't last more than a minute. Still deserves some recogtion for the four lightsabers though. | This was the only other good fight in the film (Mace Windu vs. The Emperor was disappointing). Two on one fights can be good. I was hoping to see Christopher Lee do some stuntwork at age 83, but it was mostly a stunt-double with Lee's face digitally placed overtop. He still did a lot for somebody his age, so you've got to give him credit for that. |
Biggest Surprise Hit/Disappointment
Hit
|
Disappointment
|
| Sin City | Wallace and Gromit: The Curse of the Were-Rabbit |
| I was really taken in by this film, and I think most moviegoers who saw it agreed. This is certainly a unique film because it recognizes the visual spectrum of filmmaking just as much as the story. That was the contributing factor to its success. And as a result, they're working on a pair of sequels. Luckily, Marv will be back. | To me, this just seemed like another short film, but a little longer, so to speak. It's got the same basic simple story as a short does, but just with longer scenes. I was really hoping for more from it. I still liked Wallace and Gromit in The Wrong Trousers though. |
Best Original Filmmaking Concept
|
|
|
Winner
|
|
| Tim Burton (Corpse Bride) | Paul Haggis (Crash) | Peter Jackson (King Kong) | Frank Miller and Robert Rodriguez (Sin City) | Steven Spielberg (War of the Worlds) |
| For the concept of making the land of the dead more "lively" than the land of the living. Very Tim Burton-esque. | For the concept of having 8 parallel personal stories that affect one another and change eachothers lives. | For the concept of using a gorilla behavior-studied actor to portray the facial and body movements of the title character. | For the concept of using cinematography and digital capture to accurately duplicate exact images from the comic book series. | For the concept of basing the entire film from the point of view of the common man so as to give a more personal and nightmarish feel. Never do we see the point of view of the aliens, or the government, or Europe, or anything. The film is exactly how it would appear if it happened to you. |
Most Creative Casting
|
|
|
Winner
|
|
| Will Ferrell as Franz Liebkind (The Producers) | Christopher Guest as Lord Chamberlain (Mrs. Henderson Presents) | Christopher Lee as Dr. Wilbur Wonka (Charlie and the Chocolate Factory) | Mickey Rourke as Marv (Sin City) | Tilda Swinton as The White Witch (The Chronicles of Narnia) |
| Will Ferrell finally found a role worthy of his comedic outlet. Unfortunately the film itself wasn't done that well, but you couldn't have asked for a better Nazi playwright. | Guest's history in mockumentaries like This is Spinal Tap gave him great sincere comedy ability that was essential for playing the overly-proper Lord of England who has trouble keeping a proper face while staring at naked rear ends. | First of all, the idea of writing in the character of Willy Wonka's father, and more importantly, making him a dentist, was most ingenious. And who better to play the elderly, dark, unsympathetic character in a Tim Burton film than horror legend Christopher Lee? | Nobody could have done a better job at playing a murderous tough brute, with a goal of taking revenge on the one who killed the only woman who cared for him. Rourke was perfect for this role, and its good to see him return to the screen with such a memorable performance after a big career lapse. | People who have read the books always envisioned the witch as a cold but fair seductress. Swinton was well-cast in this role and she brought to it an element of temptation that other no other actress could match. |
Best/Worst Line (Last Category)
Winner 1
|
Winner 2
|
Loser 1
|
Loser 2
|
|
Crash Cameron to Anthony: You embarrass me. You embarrass yourself. |
Sin City Dwight: She doesn't quite chop his head off. She makes a Pez dispenser out of him. |
Good Night, and Good Luck Edward R. Murrow: We cannot defend freedom abroad by abandoning it at home. |
Star Wars: Episode III- Revenge of the Sith Anakin: You are so beautiful. Padme: It's because I'm so in love. Anakin: No, it's because I'm so in love with you. Padme: So love has blinded you? |
| This line really sums up the film, and it really hit me. Terrence Howard says this to Ludacris' carjacker after handing him back his gun. This really displays what it means to represent one's race, one's heritage. And when you betray that image, you devastate the lives of your brothers. | What I love about this clever line, as well as many lines in the film, is how it can take disgusting gratuitous violence, and put it in words that a child would describe it in. That's Tarantino-esque irony and I love it. | Basically, I just don't like what this line suggests about the state of our society, whether it refers to the 50s or the present. Same goes for the film as a whole. | Sorry, but I just have to use this opportunity to poke fun at George Lucas' always-amusing romantic dialogue. |
|
Well, I hope that you enjoyed my Second Annual Oscar Breach Awards. What a year it has been. Now we must wait another year for my Third Annual Oscar Breach Awards. Thank you for reading. |
