But there are three other nominations I wonder about, and the two most tantalizing are Theron for Best Actress and Miller for Best Director.įrom what I’ve heard of the Best Actress field, several of this year’s assumed locks are laboring in subpar films, which could give Theron an opening if she campaigns for it. So what kind of chance does Mad Max have? In the below-the-line categories like editing, production design, makeup, sound editing, sound mixing, and costumes, I’d give it promising odds depending on what’s to come, it could lay claim to cinematography and visual-effects nominations as well. Russell, Tom Hooper, and Steven Spielberg, it would be hard for me to believe that any of them wrangled a more difficult and ultimately fruitful production than the 70-year-old Miller. And while most of our Best Director candidates are likely still to come, and could include perennial nominees like David O. This year’s costume-design category will no doubt be packed with period pieces like Cinderella and Carol, but they don’t deserve a trophy over the striking postapocalyptic threads that Jenny Beavan put together for Mad Max. I’ve previewed several of this year’s big fall films, and though some of them have great performances, I still haven’t seen anything that knocked me out like Charlize Theron in Mad Max. It’s become my cinematic high-water mark, the one I’ve been measuring most new movies against. That’s the question that’s been on my mind since I saw George Miller’s gonzo reboot last April. But what about the movies we’ve already had the chance to see? Plenty of terrific films debuted in the first half of the year, and it’s entirely possible that half of this year’s Best Picture nominees could come from the movies that have already been seen and vetted at film festivals and in general release.īut are any of them better than Mad Max: Fury Road, the out-of-the-teal-blue-sky action spectacular that wowed critics earlier this year and deserves real awards consideration going forward?
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As the summer movie season comes to a close, three big fall film festivals loom - Venice, Telluride, and Toronto - that will start clarifying this year’s Oscar race.