2 Nominations, 0 Wins
Nomination: Best Actor in a Leading Role - James Woods
Nomination: Best Writing, Screenplay Written Directly for the Screen - Oliver Stone and Rick Boyle
It has been 24 years since the peace accords were signed that brought a cease-fire to the Salvadoran Civil War, and 30 years since Oliver Stone's Salvador was released in theaters. In that time, as El Salvador has faded from international headlines and back into relative obscurity, Stone's film has largely experienced the same fate. While some political thrillers transcend the events that they depict and find their own relevance outside of their times, Salvador is grounded in the Salvadoran Civil War to such a degree that it was likely destined to be forgotten once time passed.
This is a shame; while not transcending its circumstances, Salvador is not limited by them. Salvador is not a film with great character development or tense plotting, and much of the film is polemical rather than narrative in tone. James Woods brings a manic intensity to the role that adds nuance to his brashness, anchoring both the character and the film itself. He was never going to win the trophy over Paul Newman in The Color of Money, but it's an aggressive, bold performance well worthy of its nomination.
Oliver Stone's collaboration with Rick Boyle on the screenplay was equally worthy of its nomination (it also had little chance to win an Oscar, facing off against Woody Allen for Hannah and Her Sisters (interestingly, Stone was also competing against his own screenplay of Platoon)). The film is about the Salvadoran Civil War, and the characters mostly exist as windows into the conflict rather than full individuals. Yet the dialogue is so passionate and the pace is so focused that it still feels alive and important.
Ultimately, where Salvador succeeds is Oliver Stone's relentless focus on showing the horrors of the conflict. The violence is raw, but never sensationalized, and the senselessness of the violence is on full exhibit. The film takes a strong point of view, and Stone backs up this decision through his expert storytelling. There are few examples of a film as focused and meaningful in Stone's oeuvre.
Tuesday, February 16, 2016
Thursday, February 11, 2016
Richard III (1995)
2 Nominations, 0 Wins
Nomination: Best Art Direction, Set Decoration - Tony Burrough
Nomination: Best Costume Design - Shuna Harwood
There's nothing rare about a William Shakespeare play adapted into another time period on film, whether in original Shakespearean English (as in Baz Luhrmann's Romeo + Juliet or Kenneth Branagh's Love's Labour's Lost) or in a looser sense (as in 10 Things I Hate About You or Kiss Me Kate). What is rare, however, is for an adaptation to to be done with as much intelligence, style, and verve as Richard III.
Directed by Richard Loncraine from a screenplay he co-authored with the film's star Ian McKellen, Richard III is made by people with both a sincere understanding and a deep affinity for the Bard's work. The production finds the perfect balance of maintaining faithfulness to the original text while introducing a modern and compelling reimagination. Richard III is as faithful to the original as is possible without being too dependent on what has come before. Richard III is alive in the present without killing its own past.
Ian McKellen is magnificent in his portrayal as King Richard as only a performer of his caliber who has spent his life interpreting the works of Shakespeare can be. There is no struggle to wrench meaning out of each word nor to prove he is up to the task of taking on the role. McKellen had portrayed Richard on stage in 1990 and 1992 just a few years prior, and his experience and deep familiarity with the role allow him to practically exude glee as he tears through the film. This could have easily been an Academy Award winning performance, and it is only because the class of Best Actor nominees at the Oscars was one of the stronger groupings of the 1990s that prevents his omission from even a nomination from being a complete travesty.
Annette Bening is adequate in the role of Queen Elizabeth, widow to Richard's brother Edward IV, while Robert Downey, Jr. and Kristin Scott Thomas are both solid but ordinary in portraying Lord Rivers and Lady Anne, respectively. The rest of the supporting cast is terrific, representing some of the best British characters actors of the 90s: Jim Broadbent, Maggie Smith, Nigel Hawthorne, John Wood, Jim Carter, and many others. It comes as no surprise that, with the exceptions of the late Nigel Hawthorne and John Wood, each continues to astound as among the best of their generations.
There was no way for the Academy to ignore the costume design of Shuna Harwood or the set decoration of Tony Burrough, and both received well-deserved nominations for their creativity in portraying 1930s Britain through an imagined fascist lens. Both were bested by Michael Hoffman's Restoration, proving the truism that there's nothing the Academy likes better than recognizing the visuals behind a British period piece.
When it comes to adapting a work of William Shakespeare to the modern (or nearly modern) day, Richard Loncraine's Richard III is the model for all others to follow.
Sunday, January 24, 2016
The Wind Rises (2013)
1 Nomination, 0 Wins
Nomination: Best Animated Feature Film - Hayao Miyazaki and Toshio Suzuki
In many ways, The Wind Rises's adult-oriented, historically based storyline is a departure for Hayao Miyazaki, but in other ways it is the natural culmination of the legendary director's career. Though missing the fantastical elements of his previous output, the film brings the same childhood wonder and mystery from Miyazaki's world of imagination to a world more grounded in reality.
Hayao Miyazaki was born to Katsuji Miyazaki, an aeronautical engineer and the director of Miyazaki Airplane, a company that supplied rudders and other parts to Japanese fighter planers used in World War II. It is not hard to see why Miyazaki was attracted to telling the story of Jiro Horikoshi, the primary engineer behind many of the airplanes used by Japan in the war, including the A6M Zero that Katsuji Miyazaki's rudders supplied.
Speculative psychology aside, what Miyazaki has put on film is a love letter to human flight, expertly balancing dramatically beautiful flight sequences with quieter moments of human drama. Like all of Miyazaki's films, it is simple enough for children to love and complicated in its simplicity enough for adults to love.
The animation is beautiful, the American voice cast is well selected - particularly Joseph Gordon-Levitt in the lead role - and the story is told briskly and thoughtfully.
While the master is enjoying a well-deserved retirement from filmmaking, I selfishly hope the 75-year-old genius still has another film or two in him. If not, The Wind Rises is a wonderful coda to his career.
Sunday, January 17, 2016
Magnificent Obsession (1954)
1 Nomination, 0 Wins
Nomination: Best Actress in a Leading Role - Jane Wyman
Every genre has a filmmaker or two who dominates all discussion of the genre, not by subverting or reimagining it, but by fully engaging in its conventions while introducing a previously unmatched level of artistry. Like John Ford with the western or Vincente Minnelli with the musical, Douglas Sirk is the undisputed master of the female melodrama. Though largely dismissed in his own time, the reevaluation of Sirk began in the 1970s with Cahiers du Cinema and the French New Wave and hit its crescendo in the early 2000s with Todd Haynes's majestic love letter Far From Heaven. As Haynes continues to demonstrate Sirk's influence in his growing filmography, it is clear that Sirk's influence grows as well.
Magnificent Obsession began filming within days of the release of The Robe, a Biblical epic adapted from the novel by Lloyd C. Douglas that became a huge hit for 20th Century Fox. Douglas's first novel, Magnificent Obsession - previously adapted in 1935 starring Irene Dunne and Robert Taylor - had sold nearly two million copies (according to the Chicago Tribune), and Universal saw potential taking another pass at the tearjerker. They gave the assignment to their director Douglas Sirk, who had just wrapped production on Taza, Son of Cochise, a largely forgotten 3-D western starring Rock Hudson. Though Taza did not exactly suggest a pedigree suited to Magnificent Obsession, Sirk, who had already built an extensive filmography at this point, had directed All I Desire immediately prior to Taza, a melodrama with many of the motifs that would become Sirk trademarks. Magnificent Obsession began a run of several films for Sirk that firmly established his legacy, culminating in 1959 with Imitation of Life, Sirk's most admired film (and also his last).
It is impossible to deny Sirk's abilities as a director, and though Magnificent Obsession does not yet demonstrate the level of visual beauty he would offer in his later films, he loads frames with deep, rich colors and textures. Performers never looked better than they did in front of Sirk's cameras, and co-stars Rock Hudson and Jane Wyman both practically glow in his frames.
The plot of the film is thin, and the character development is thinner. In preparing for her performance, Jane Wyman claimed (to Hedda Hopper) to have gone to lengths that were unusual for the time, including speaking with an adult who had lost her vision. Her performance is capable if uninspired, but it is not surprising that what might nowadays be characterized as Oscar bait resulted in an Academy Award nomination. Hudson, who for reasons I cannot comprehend was Sirk's muse, is at his best when working with Sirk, though he still manages to bring little more to the role than any capable actor would bring.
Despite his visual gifts, I remain unconvinced of Sirk's genius in other aspects of filmmaking. Magnificent Obsession is little more than the 1950s version of a Nicholas Sparks adaptation, and the visual beauty cannot make up for average performances and an emotionally insipid story.
Saturday, June 13, 2015
The Judge (2014)
1 Nomination, 0 Wins
Nomination: Best Actor in a Supporting Role - Robert Duvall
Portraying difficult, overbearing fathers is right in Robert Duvall's wheelhouse, just as playing cocky and charming jerks with underlying hearts of gold is what Robert Downey, Jr. was born to do. When you partner two of the best actors of their respective generations in roles perfectly suited for them with strong chemistry between the two performers, you have the recipe for a winning film. The most important remaining ingredient is a strong script; unfortunately, this ingredient is - while not missing - certainly not at the level needed to match the talents of those bringing it to life.
Many have described The Judge as Oscar bait, and it's not hard to see why. Both leads had the type of showy roles that tend to attract the notice of the Academy, with Duvall in a particularly strong position to gain a nomination. The Academy loves nominating aging legends in the Supporting Actor category, and Duvall playing a dying older man accused of a crime certainly fits the bill. But his performance is much more than a mere attempt to win his second Academy Award (he previously won for 1983's Tender Mercies). Duvall is known for an actor especially adept at the loud, showy moments, and he has a few of these on display here. But what often fails to get noticed is Duvall's absolute genius for holding back, for showing the briefest beginning of a big moment before repressing it. We are almost certain we know what he is thinking, but we are never sure. Duvall has never abandoned this tendency, and it is what has allowed him to continue to turn in some of his best work at an age at which most actors are trading in on their personas.
The Judge tries to be several kinds of film, and succeeds perhaps 80% in each of these efforts. It has elements of a strong family drama weighed down by too many superfluous plot threads (adultery, a developmental disorder), a murder mystery that succeeds in ambiguity but failed in making me care about what actually happened, a sympathetic and unflinching look at aging that abandons the subject just as it hits its bravest moment, and a story of a fish-out-of-water in one's hometown whose fish acclimates all too quickly to create much drama. There's a strong storyline in there somewhere deep down, but there are too many digressions and false starts to sustain any momentum in the telling.
But there is a benefit to all of these extraneous themes, and that is the multiple showcases it gives to a cast of gifted actors. Aside from the headliners, Vera Farmiga adds some verve to the usually uninspiring role of the first love who stayed behind, Vincent D'Onofrio gives his best non-television performance in years, Jeremy Strong wisely underplays a role that is unnecessary but saved through Strong's performance, and Billy Bob Thornton - the new king of cameos - is one of the only actors who could be credibly cast as a lawyer capable of going toe-to-toe with Downey.
Adult melodramas like The Judge were common in the 1990s, but have all but disappeared in recent years as studios have marshaled their resources more and more toward potential tent-pole films. The best of these films were almost always the result of a singular filmmaker's vision. The Judge demonstrates all of the indicators of a story with multiple visions told by committee with no single person at the helm, and indeed the script was handed off to multiple screenwriters before director David Dobkin took the final pass. Ultimately, the film falls short due to a lack of cohesiveness, and though this is partly covered by strong performances all around, it results in a film that feels bloated and confused.
On a related note, I am quite proud of myself for avoiding any review cliches related to "judgment."
Nomination: Best Actor in a Supporting Role - Robert Duvall
 |
| Photo Courtesy of Warner Bros. |
Portraying difficult, overbearing fathers is right in Robert Duvall's wheelhouse, just as playing cocky and charming jerks with underlying hearts of gold is what Robert Downey, Jr. was born to do. When you partner two of the best actors of their respective generations in roles perfectly suited for them with strong chemistry between the two performers, you have the recipe for a winning film. The most important remaining ingredient is a strong script; unfortunately, this ingredient is - while not missing - certainly not at the level needed to match the talents of those bringing it to life.
Many have described The Judge as Oscar bait, and it's not hard to see why. Both leads had the type of showy roles that tend to attract the notice of the Academy, with Duvall in a particularly strong position to gain a nomination. The Academy loves nominating aging legends in the Supporting Actor category, and Duvall playing a dying older man accused of a crime certainly fits the bill. But his performance is much more than a mere attempt to win his second Academy Award (he previously won for 1983's Tender Mercies). Duvall is known for an actor especially adept at the loud, showy moments, and he has a few of these on display here. But what often fails to get noticed is Duvall's absolute genius for holding back, for showing the briefest beginning of a big moment before repressing it. We are almost certain we know what he is thinking, but we are never sure. Duvall has never abandoned this tendency, and it is what has allowed him to continue to turn in some of his best work at an age at which most actors are trading in on their personas.
The Judge tries to be several kinds of film, and succeeds perhaps 80% in each of these efforts. It has elements of a strong family drama weighed down by too many superfluous plot threads (adultery, a developmental disorder), a murder mystery that succeeds in ambiguity but failed in making me care about what actually happened, a sympathetic and unflinching look at aging that abandons the subject just as it hits its bravest moment, and a story of a fish-out-of-water in one's hometown whose fish acclimates all too quickly to create much drama. There's a strong storyline in there somewhere deep down, but there are too many digressions and false starts to sustain any momentum in the telling.
But there is a benefit to all of these extraneous themes, and that is the multiple showcases it gives to a cast of gifted actors. Aside from the headliners, Vera Farmiga adds some verve to the usually uninspiring role of the first love who stayed behind, Vincent D'Onofrio gives his best non-television performance in years, Jeremy Strong wisely underplays a role that is unnecessary but saved through Strong's performance, and Billy Bob Thornton - the new king of cameos - is one of the only actors who could be credibly cast as a lawyer capable of going toe-to-toe with Downey.
Adult melodramas like The Judge were common in the 1990s, but have all but disappeared in recent years as studios have marshaled their resources more and more toward potential tent-pole films. The best of these films were almost always the result of a singular filmmaker's vision. The Judge demonstrates all of the indicators of a story with multiple visions told by committee with no single person at the helm, and indeed the script was handed off to multiple screenwriters before director David Dobkin took the final pass. Ultimately, the film falls short due to a lack of cohesiveness, and though this is partly covered by strong performances all around, it results in a film that feels bloated and confused.
On a related note, I am quite proud of myself for avoiding any review cliches related to "judgment."
Thursday, February 12, 2015
Ida (2013)
2 Nominations, Wins TBD
Nomination: Best Foreign Language Film of the Year - Pawel Pawlikowski
Nomination: Best Achievement in Cinematography - Lukasz Zal and Ryszard Lenczewski
Compared to the lush, showy cinematography of its fellow nominees (Birdman, The Grand Budapest Hotel, Mr. Turner, and Unbroken), it's not immediately clear why Ida was nominated in the category. The film's stark black-and-white cinematography is far from the visual wonderland that is The Grand Budapest Hotel. Yet the film's seeming visual simplicity belies a depth that is remarkable, much as the film's simple plot belies a depth of character and emotion that makes it one of the very best films of the year.
Ida reminded me a great deal of The White Ribbon, the Michael Haneke film from a few years ago that was also nominated in the foreign language and cinematography categories. Both films were nominated not in spite of but because of their deceptively simple black-and-white cinematography. Lukasz Zal and Ryszard Lenczewski's black-and-white cinematography is as beautiful as I've ever seen. The pair don't rely on shadows to create visual interest, a common strategy with black-and-white films, but instead create stunning depth of field and beautifully simple lighting.
Most noticeably, the camerawork makes star Agata Trzebuchowska literally glow, with her eyes as big as dinner plates. Trzebuchowska turns in a terrific understated performance, but it's hard to overstate how much the cinematography enhances her performance. Trzebuchowska emotes with the only slightest of facial movements, so small that they would be lost in most cinematographers' gazes. Aside from the sheer beauty of the cinematography, it is absolutely essential to conveying the emotions of the lead, and thus the film is unimaginable without it.
Everything about Ida is understated, from the quiet performances to the simple story. There is no single thing about the film that makes it great; it is truly larger than the sum of its parts. Ida is a truly lovely film, and will stay with me far longer than many of the films that attempted to make a bigger and more lasting statement.
Nomination: Best Foreign Language Film of the Year - Pawel Pawlikowski
Nomination: Best Achievement in Cinematography - Lukasz Zal and Ryszard Lenczewski
Compared to the lush, showy cinematography of its fellow nominees (Birdman, The Grand Budapest Hotel, Mr. Turner, and Unbroken), it's not immediately clear why Ida was nominated in the category. The film's stark black-and-white cinematography is far from the visual wonderland that is The Grand Budapest Hotel. Yet the film's seeming visual simplicity belies a depth that is remarkable, much as the film's simple plot belies a depth of character and emotion that makes it one of the very best films of the year.
Ida reminded me a great deal of The White Ribbon, the Michael Haneke film from a few years ago that was also nominated in the foreign language and cinematography categories. Both films were nominated not in spite of but because of their deceptively simple black-and-white cinematography. Lukasz Zal and Ryszard Lenczewski's black-and-white cinematography is as beautiful as I've ever seen. The pair don't rely on shadows to create visual interest, a common strategy with black-and-white films, but instead create stunning depth of field and beautifully simple lighting.
Most noticeably, the camerawork makes star Agata Trzebuchowska literally glow, with her eyes as big as dinner plates. Trzebuchowska turns in a terrific understated performance, but it's hard to overstate how much the cinematography enhances her performance. Trzebuchowska emotes with the only slightest of facial movements, so small that they would be lost in most cinematographers' gazes. Aside from the sheer beauty of the cinematography, it is absolutely essential to conveying the emotions of the lead, and thus the film is unimaginable without it.
Everything about Ida is understated, from the quiet performances to the simple story. There is no single thing about the film that makes it great; it is truly larger than the sum of its parts. Ida is a truly lovely film, and will stay with me far longer than many of the films that attempted to make a bigger and more lasting statement.
Thursday, January 15, 2015
The 5 Biggest Surprises of the Oscar Nominations
Most who watch the Oscars find their greatest pleasure in judging the outfits worn by the stars, grading the monologue, or joking about the length of the ceremony. I've always found my greatest pleasure in decrying the snubs and questionable nominations by the Academy. I was not disappointed this year, as the Academy made several moves that I (nor most others) did not expect.
Here are the five biggest surprises of this morning's Oscar nominations.
1. Bradley Cooper's Best Actor Nomination
Steve Carell, Benedict Cumberbatch, Michael Keaton, and Eddie Redmayne were virtual locks for nominations, with only the fifth spot up for grabs. Conventional wisdom had the fifth nomination going to Jake Gyllenhaal, who was nominated for his role in Nightcrawler by both the Screen Actors Guild and the Golden Globes, or Timothy Spall for his work in Mr. Turner. If not one of these two, most Oscar watchers would have guessed David Oyelowo might be able to sneak in for his portrayal of Dr. Martin Luther King, Jr. Cooper was barely talked about, yet he managed to sneak in his third consecutive acting nomination, in addition to an additional nomination for producing American Sniper.
2. The LEGO Movie shut out from Best Animated Feature Film
The LEGO Movie has a 96% Tomatometer score at Rotten Tomatoes and grossed more than $250 million, and was seen by many as the clear favorite to take home the Oscar for Best Animated Feature Film. Yet the film failed to receive even a nomination in the category, receiving its sole nomination in the Best Song category. Two little known films received nominations instead (Song of the Sea and The Tale of Princess Kaguya), common practice for the Academy, but virtually no one saw The LEGO Movie getting shut out.
3. Amy Adams and Jennifer Aniston left out
After her win in the Musical or Comedy category at the Golden Globes for her role in Big Eyes, Adams's hope for her first Oscar were revived. After the Screen Actors Guild left her off of the ballot in favor of Jennifer Aniston for her work in Cake, her nomination chances were far less certain, but it seemed that one of the two would battle for the nomination. Instead, both were left off the ballot in favor of Marion Cotillard. Notably, none of the Golden Globe Musical or Comedy actress nominees were nominated for Oscars, and only Michael Keaton of the Musical or Comedy actor nominees earned an Oscar nod.
4. Whiplash's Big Day
J.K. Simmons is the favorite for the Oscar in the Best Supporting Actor category, but it seemed unlikely that Whiplash would get other attention from the Academy. Instead, the film received five nominations, including the Big Kahuna nomination for Best Picture. The film has taken home just over $6 million, but this attention from the Academy should help it find a much larger audience.
5. Gillian Flynn Shut Out
Gillian Flynn's adaptation of her own novel Gone Girl was much lauded, with her smart pruning adding suspense to the already impossibly suspenseful story. The film had the potential to be nominated for its screenplay, cinematography, and leading lady, but only Rosamund Pike was nominated for her star making performance. The Imitation Game was a lock for a nomination after receiving nominations from the Golden Globes and the Writers Guild Awards, and The Theory of Everything seemed to be a likely candidate as well. Whiplash was nominated by the WGA in the Original Screenplay category, so its nomination wasn't a huge surprise, and American Sniper seemed like a possibility after its WGA nomination. Few saw Paul Thomas Anderson having much of a chance for Inherent Vice, especially after it failed to be nominated for either a Golden Globe or a WGA Award (Gone Girl was nominated for both films). Yet Anderson heard his name called and Flynn did not, much to the dismay of the book's legion of fans.
And the least surprising nomination...
Roger Deakins for Best Cinematography for Unbroken
This is his 12th nomination and third in three years, and it's getting to the point where it's hard to imagine an Oscar ceremony without a Roger Deakins nomination. Perhaps our greatest living cinematographer, Deakins has yet to take home an Oscar, and it seems unlikely that this will be his year.
Here are the five biggest surprises of this morning's Oscar nominations.
1. Bradley Cooper's Best Actor Nomination
Steve Carell, Benedict Cumberbatch, Michael Keaton, and Eddie Redmayne were virtual locks for nominations, with only the fifth spot up for grabs. Conventional wisdom had the fifth nomination going to Jake Gyllenhaal, who was nominated for his role in Nightcrawler by both the Screen Actors Guild and the Golden Globes, or Timothy Spall for his work in Mr. Turner. If not one of these two, most Oscar watchers would have guessed David Oyelowo might be able to sneak in for his portrayal of Dr. Martin Luther King, Jr. Cooper was barely talked about, yet he managed to sneak in his third consecutive acting nomination, in addition to an additional nomination for producing American Sniper.
2. The LEGO Movie shut out from Best Animated Feature Film
The LEGO Movie has a 96% Tomatometer score at Rotten Tomatoes and grossed more than $250 million, and was seen by many as the clear favorite to take home the Oscar for Best Animated Feature Film. Yet the film failed to receive even a nomination in the category, receiving its sole nomination in the Best Song category. Two little known films received nominations instead (Song of the Sea and The Tale of Princess Kaguya), common practice for the Academy, but virtually no one saw The LEGO Movie getting shut out.
3. Amy Adams and Jennifer Aniston left out
After her win in the Musical or Comedy category at the Golden Globes for her role in Big Eyes, Adams's hope for her first Oscar were revived. After the Screen Actors Guild left her off of the ballot in favor of Jennifer Aniston for her work in Cake, her nomination chances were far less certain, but it seemed that one of the two would battle for the nomination. Instead, both were left off the ballot in favor of Marion Cotillard. Notably, none of the Golden Globe Musical or Comedy actress nominees were nominated for Oscars, and only Michael Keaton of the Musical or Comedy actor nominees earned an Oscar nod.
4. Whiplash's Big Day
J.K. Simmons is the favorite for the Oscar in the Best Supporting Actor category, but it seemed unlikely that Whiplash would get other attention from the Academy. Instead, the film received five nominations, including the Big Kahuna nomination for Best Picture. The film has taken home just over $6 million, but this attention from the Academy should help it find a much larger audience.
5. Gillian Flynn Shut Out
Gillian Flynn's adaptation of her own novel Gone Girl was much lauded, with her smart pruning adding suspense to the already impossibly suspenseful story. The film had the potential to be nominated for its screenplay, cinematography, and leading lady, but only Rosamund Pike was nominated for her star making performance. The Imitation Game was a lock for a nomination after receiving nominations from the Golden Globes and the Writers Guild Awards, and The Theory of Everything seemed to be a likely candidate as well. Whiplash was nominated by the WGA in the Original Screenplay category, so its nomination wasn't a huge surprise, and American Sniper seemed like a possibility after its WGA nomination. Few saw Paul Thomas Anderson having much of a chance for Inherent Vice, especially after it failed to be nominated for either a Golden Globe or a WGA Award (Gone Girl was nominated for both films). Yet Anderson heard his name called and Flynn did not, much to the dismay of the book's legion of fans.
And the least surprising nomination...
Roger Deakins for Best Cinematography for Unbroken
This is his 12th nomination and third in three years, and it's getting to the point where it's hard to imagine an Oscar ceremony without a Roger Deakins nomination. Perhaps our greatest living cinematographer, Deakins has yet to take home an Oscar, and it seems unlikely that this will be his year.
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