If we kept watching, would it keep spinning? And would it matter?
You can read more about this year in film here. The Best Picture race is discussed here, with reviews of all the nominees. First there are the categories, followed by all the films with their nominations, then the Globes, where I split the major awards by Drama and Comedy, followed by a few lists at the very end. If there’s a film you expected to see and didn’t, check the very bottom – it might be eligible in a different year. Films in red won the Oscar in that category (or Globe, in the Globes section). Films in blue were nominated. Films (or directors) in olive are links to earlier posts that I don’t want to have show up in blue and be mistaken for a nominee. Films with an asterisk (*) were Consensus nominees (a scale I put together based on the various awards) while those with a double asterisk (**) were the Consensus winners.
I’m listing the top 20 in the categories but only the top 5 earn Nighthawk nominations.
Nighthawk Awards:
- Inception *
- The Social Network **
- True Grit *
- The King’s Speech *
- The Ghost Writer
- Winter’s Bone *
- Harry Potter and the Deathly Hallows Part I
- Black Swan *
- Toy Story 3 *
- The Town
- Biutiful
- Another Year
- The Kids are All Right *
- Tangled
- Shutter Island
- Never Let Me Go
- Rabbit Hole
- Blue Valentine
- Green Zone
- Somewhere
Analysis: This is one of those rare years where I have changed my original Best Picture winner. It’s not that Social Network went down at all, but that Inception went up. And, really, it’s a pretty close finish between the two.
The Social Network ties LA Confidential for the most Consensus noms ever (11) and no film since (through 2016) has had more wins (8) or points (845) though both are fewer than The Hurt Locker in the year before.
With seven nominees in my Top 10, the Oscar Score is 87.7, by far the highest in any year with more than five nominees (and the third highest ever irregardless of the number of nominees).
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