Hey, Oscar! You dropped these!

So at the risk of this turning into an awards blog, let's do the whole Oscar nomination shuffle (I hear this is how Tom Sherak gratifies himself) and do something wholly unique for this whole internet fandango: bitch about what's been left out.


M.I.A: Any trace of a nomination for "Where The Wild Things Are".
Alright, Max Records for best actor was a long shot, as was Jonze for best director. But no adapted screenplay? Come on - they turned a 40-page picture-book into one of the warmest, most heart-wrenching movies of the year. Shocking oversight. And don't even get me started on why Karen O's magnificent soundtrack was deemed ineligible. Fools.


M.I.A: Mélaine Laurent for either of the acting plaudits.
That single static shot of Laurent's face as she realises, over lunch, that Hans Landa has entered the room behind her? Best bit of acting in any movie last year, regardless of gender. Not a word uttered, but a spread of emotions spilled across the screen nonetheless.



M.I.A: Peter Capaldi for Best Supporting Actor.
I love Christophe Waltz in "Basterds". Love him - it's a blisteringly good performance. But the addition of Capaldi's Malcolm Tucker would have made this a two-horse race for me to care about. "In The Loop'"s adapted screenplay nod was well-deserved, but it's a shame the Academy couldn't extend their good taste as far as a blissfully sweary spin doctor.



M.I.A: Michael Stuhlbarg for Best Actor.
Anyone who's listened to me rant about Terrence Howard losing to Phillip Seymour Hoffman back in '05 will know my stance on biographical portraits. They're just impressions, based on a wealth of pre-existing material for research. I value original interpretations far higher, and as such I'd rather see Stuhlbarg's awfully-oppressed Larry Gopnik on the list ahead of Morgan Freeman's Mandela.



M.I.A: The Academy's balls, via Haneke and Von Trier
Alright, alright, I get that these guys are divise to extreme measures (and yes, I'm aware "The White Ribbon" did get two nods), but seriously - I'd much rather see some filmmaking with great big cajones - like "Antichrist" - walk off with the golden baldie than safe, fuzzy fare like "Up in the Air" or "The Blind Side". I suppose the upshot is we'll get to see Jason Reitman's grumpy expression trotted out again when Bigelow spanks him to Best Director.