Philadelphia Weekly: Thoughts on Who Should Have Won Oscars – Cronenberg (Adapted Screenplay); Robert Pattinson (Best Actor)
David Cronenberg & Robert Pattinson are “Shoulda’s” for Oscars, in Matt Prigge’s (screen critic for Philadelphia Weekly) story today outlining who he thinks will take home an Oscar this weekend, and who should have “in a perfect world”.
Edit 2/20/13: The photo and caption below were added by BuckyW and don’t appear in Prigge’s article. The caption I wrote is a take on “We’ll always have Paris” from Casablana, just FYI. So it’s a bit of a movie joke I couldn’t resist, but also a sincere nod to how wonderful it was for the two men, the cast, the film, that it was chosen for competition in Cannes. Critic Prigge has expressed his very positive take on the film before: Click these links “Best of 2012″ and “Pattinson Praise” and Best Film Lists Roundup 3 to view those. Finally while there has been limited formal award notice for Cosmopolis, this is not to be unexpected for this type of film and 2012 was very good year for film and acting performances. I added in Prigge’s introduction below which speaks to this. ~BuckyW
Prigge says David Cronenberg should have won best adapted screenplay and that Robert Pattinson “wuz robbed” for best actor performance for ‘Cosmopolis’. Even in his comment on the screenplay, he gives notice to its real power coming from the actors, with great praise for Pattinson again.
“David Cronenberg’s script for Cosmopolis makes great a so-so Don DeLillo novel, although its real power emerged when the actors came to speak their lines. Who knew Robert Pattinson was put on earth to deliver overly-stylized DeLillo dialogue?”
“And I can’t believe I’m saying this, but Robert Pattinson wuz robbed—for Cosmopolis, not Breaking Dawn 2.”
Prigge’s introduction and full commentary on how ‘Cosmopolis': bolding mine:
“And the Oscar Woulda Coulda, and Shoulda”
“The Oscars are bullshit. They are a sham. They are middlebrow. They are self-congratulatory. They are onanistic. They are considerably less watched than the Super Bowl because Hollywood hates America. They are a glorified fashion show. They crowned Forrest Gump. There are a plethora of reasons to hate on the Oscars, some of them even legitimate. And yet here’s one reason to care: 2012 was a great year for movies.
I myself am an unapologetic snob, and inevitably my picks for the year’s best do not jibe with what the Academy of Motion Picture Arts and Sciences considers the best. But there was so much goodness to go around that I can get down with their choices.
What follows is a combination of my picks for what may win, which you can borrow—trust me, I win Oscar pools—what I think should win and what would have won if this was a perfect world. Meaning, if it conformed to my tastes. ”
Best Adapted Screenplay
What may win: Tony Kushner, Lincoln. This seems obvious, although never underestimate Silver Linings Playbook fever.
What should win: People—detractors, but his fanbase, too—tend to overemphasize the look of Wes Anderson’s films, to the extent that they forget the films originate on the page. (Probably inside a typewriter.) Moonrise Kingdom is his most beautiful, if not best, film yet, and the beauty extends to the script Anderson wrote with Roman Coppola.
What should have won overall: David Cronenberg’s script for Cosmopolis makes great a so-so Don DeLillo novel, although its real power emerged when the actors came to speak their lines. Who knew Robert Pattinson was put on earth to deliver overly-stylized DeLillo dialogue?
“We’ll Always Have Cannes” ~BuckyW
The director & his leading man, Cosmopolis at Cannes 2012
Who may win: Is the star of Midnight Meat Train really about to become an Oscar winner? Daniel Day-Lewis does more than impersonate Lincoln, but it’s still an impersonation. Denzel Washington is a good alkie, but it’s still an alkie role. Hugh Jackman struggles to sing with Tom Hooper’s camera pressed into his nose. And The Master seems to be punished for being difficult, so sorry, Joaquin Phoenix. Not that BCoop won’t deserve it: He’s movie-crazy without being show-offy, and he always keeps his character grounded by his sense of humor.
Who should win: Phoenix. This is a full-bodied performance, in that Phoenix reimagines how the human anatomy works from the ground up, even if that means delivering half his dialogue out of the corner of his mouth à la Popeye. Watching Hoffman’s charlatan try, and fail, to tame this wild beast was a direct pleasure in a movie otherwise stubbornly ambiguous.
Who should have won overall: As much as I want to say Denis Lavant, for his literally shape-shifting work in Holy Motors, no performance was as exciting as Tim Heidecker’s raging wealthy dickhead routine in The Comedy. And I can’t believe I’m saying this, but Robert Pattinson wuz robbed—for Cosmopolis, not Breaking Dawn 2.Philadelphia Weekly, Prigge