In Contention

Tag: How to Train Your Dragon

  • TECH SUPPORT: Final analysis, part two

    Yesterday we began our final look at the 10 crafts categories.  Check out part one here.  Today, the conclusion.  Meanwhile, you can find my final predictions in all categories here.

    Best Music (Original Score)

    Trent Reznor and Atticus Ross, despite their atypical approach to film music composition, are very much contenders in this race. Having won the BFCA award and Golden Globe for their work on “The Social Network,” they must be taken seriously. The fact remains, however, that this is not a typical Oscar-winning score.

    Alexandre Desplat has had an amazing run since he broke onto the American scene in 2003 with “Girl With a Pearl Earring.” Four Oscar nominations later, it seems he is poised to win his first statuette for another Colin Firth film, “The King’s Speech.” Being behind the Best Picture frontrunner is a huge advantage. Moreover, its subtle elegance managed to win the BAFTA. Even so, a win is hardly assured as subtlety is actually not frequently awarded here.

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  • ‘Dragon,’ ‘King’s Speech,’ ‘TRON’ win with film music critics

    Check out the full list of winners at The Circuit.

  • OSCAR GUIDE: Best Music (Original Score)

    Recently the International Film Music Critics Association were the last critics group to offer their (specialized) thoughts on the 2010 film year. The announcement made for an interesting counter to the year in score awardage. And the eventual nominees for Best Original Score reflected, if nothing else, a continued break with tradition.

    The music branch has been slowly initiating new blood as of late, though it hasn’t completely relinquished its trademark consistency. A big step was made in the recognition of one of the year’s more atypical scores, though a big opportunity was lost with Daft Punk’s failure to register what could have been a truly exciting tip of the Academy’s hat.

    The nominees are:

    “How to Train Your Dragon” (John Powell)
    “Inception” (Hans Zimmer)
    “The King’s Speech” (Alexandre Desplat)
    “127 Hours” (A.R. Rahman)
    “The Social Network” (Trent Reznor and Atticus Ross)

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  • Desplat leads International Film Music Critics nods

    Alexandre Desplat has enjoyed a brilliant career in U.S. features as of late (on the back of immense talent, naturally).  2010 was a grand year for the composer as he, once again, balanced scoring duties on a number of notable films.

    Today, the final announcement from the critics awards circuit has landed in the form of the International Film Music Critics Association’s picks, seven of the nominations going to Desplat for his work on “The Ghost Writer,” “Harry Potter and the Deathly Hallows: Part 1” and, of course, “The King’s Speech.” It’s highly probably he’ll walk away with an Oscar later this month, capping of one heck of a year.

    John Powell netted five nominations for his work on “How to Train Your Dragon,” while Daft Punk and Hans Zimmer each grabbed three for their respective actioners.  Interesting to note, however, is the complete absence of Trent Reznor and Atticus Ross for their innovative work on “The Social Network.” Your guess is as good as mine as to why the group turned the other cheek there.  Ditto A.R. Rahman’s work on “127 Hours,” which is actually a beloved piece of work among musicians.  In any case, have a look at The Circuit for the full list of film nominees.

    [Photo: Last.fm]

  • Clean sweep for ‘Dragon’ at Annie Awards

    (Sorry we’re a bit late getting to this — Kris had more exciting plans for the evening and I like to sleep sometimes.)

    It’s a shame one can’t talk about “How to Train Your Dragon”‘s success at the Annie Awards without dragging politics into it. There are those of us who think it legitimately deserves to beat “Toy Story 3” on its own merits, and the sense of entitlement that comes from many of the protests on Pixar’s behalf isn’t appealing.

    But as when DreamWorks’s “Kung Fu Panda” upended “WALL-E” at the awards two years ago, there’s no way not to view this, to a large extent, as an anti-Pixar vote. If you’re not aware of the behind-the-scenes drama, this is it in a nutshell: last summer, Disney and Pixar withdrew from the International Animation Film Society-Hollywood, which organizes the awards, in protest at the voting procedures that enabled that aforementioned 2008 upset. (That Disney/Pixar had still taken the top prize in 13 out of 18 years, including last year’s win for “Up,” didn’t make them any less huffy.)

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  • 2/3 OSCARWEB ROUND-UP: Animated feature speculation, Cameron says Nolan was robbed, ‘Network’ doc online

    • Carolyn Giardina floats the possibility of “How to Train Your Dragon” beating “Toy Story 3” for Best Animated Feature with nothing but those (not unexpected) Visual Effects Society wins to justify it. [The Race]

    • James Cameron thinks Christopher Nolan should have been nominated for Best Director this year. [Hollywood Reporter]

    • Steve Pond explains the voting procedure of the five categories not on the ballots that went out yesterday. [The Odds]

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  • ‘Inception,’ ‘Dragon’ reign at VES awards

    Four for “Inception,” three for “How to Train Your Dragon” (which beat out “Toy Story 3” every step of the way).  “Hereafter,” meanwhile, took the supporting effects award.

    Key quote from Christopher Nolan, who received the inaugural Visionary Award:

    I know visual effects people pride themselves on doing the impossible.  I’d just like to encourage you to say “no” to the unreasonable.

    (Courtesy: David Cohen)

    Check out the full list of winners at The Circuit.

    [Photo: Warner Bros. Pictures]

  • OSCAR GUIDE: Best Animated Feature Film

    The animated feature field unfortunately fell one film short of the required 16 eligible contenders to expand the category to five nominees this year. As a result of this bewildering and arbitrary “rule,” some great work was left off the list in this, a pretty decent year for animation in general.

    Nevertheless, the animators proved once again that they value the craft and artistry above all else, as a delectable, modest yarn beat out some stiff commercial competition to join two heavyweights that already seemed destined for inclusion. The resulting trio, despite being limited in number, is therefore a vibrant snapshot of the year in animation and one of a few categories that is absolutely stacked this season.

    The nominees are:

    “How to Train Your Dragon” (Chris Sanders and Dean DeBlois)
    “The Illusionist” (Sylvain Chomet)
    “Toy Story 3” (Lee Unkrich)

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  • My dream Oscar ballot, part two

    Yesterday, I began my very far-fetched (and in some cases, frankly impossible) wishlist for Tuesday’s Oscar nominations with my favorite achievements in the technical categories. Today, I offer up my picks in the top races, and I don’t mind telling you things got pretty agonizing in some categories.

    “Why can’t I have 15 nominees for Best Supporting Actress?” one half of my brain asked earlier this morning, as I once more marvelled that any pundits could once have deemed that particular race “weak.” Cooler instincts prevailed, but it bears repeating just what a staggering, and pleasingly varied, year it’s been for female performances on both sides of the category divide. I was also surprised to see how many performances stood tall from films that weren’t necessarily on their stars’ level — I like to think there aren’t too many coattail picks here.

    I’ve veered from Academy format in one respect: I’ve dispensed with a Best Foreign Language Film category. Not only do I dislike the award in principle — it’s a different language, not a different medium — but my general picks are heavy enough on foreign fare that a ghetto category seemed superfluous. Check out my picks after the cut, and share your thoughts in the comments.

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  • TECH SUPPORT: Final analysis, part one

    It seems hard to believe that it’s been more than six months since I wrote this year’s introductory Tech Support column ( a dissection of the art direction race). Much has changed since then, naturally, as we are less than a week away from the big day when we find out the nominees for the Oscars this year. Today, I take a final look at the music categories, sound categories and the two categories that have been narrowed down to seven finalists – Best Visual Effects and Best Makeup.

    BEST MAKEUP

    In this utterly bizarre category, virtually any combination of the seven finalists would fail to surprise me as the final three. That said, I’ve had the same top two predicted all year and see no reason to change now: “Alice in Wonderland” and “The Wolfman.” The former had massive box office and very noticeable makeup, whereas the latter is exactly the sort of movie that tends to score here and nowhere else.

    Logic may put “True Grit” or “The Fighter” next in line due to their Best Picture contender status. But as much as these films are loved, they don’t have as showy makeup as the other finalists, and this is a category that often doesn’t care how films are received overall.

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  • FIRST-HALF FYC: Best Picture

    For the past eight weeks, I’ve been spotlighting nomination-worthy names,  in all major Ocar categories, from the first half of the US release calendar. Today, we close out the series with an alternative January-to-June Best Picture 10, though it comes a week after ballots closed — timing was never my strong suit.

    A look at this category on the Oscar side of things proves why I felt this series of columns necessary in the first place. Of the films currently being mooted for a place on the Academy’s Best Picture list, only two — “Toy Story 3” and “Winter’s Bone” — were released prior to July 2010. If the latter does wind up making the cut, it raises hope that small-scale indies can override voters’ perilously short memories. If it doesn’t, well, we must just accept that the first six months of the year contained no Oscar-worthy adult drama. Or, you know, not.

    There’s no doubting nine of the films on my list below are wild long-shots to show up in Tuesday’s nomination announcement — indeed, several of the titles aren’t present on the Academy’s list of eligible productions.

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  • ‘How to Train Your Dragon’ contest winner(s)!

    First a big thank you to everyone who participated in Monday’s “How to Train Your Dragon” haiku contest. Moving right along here on clearing out my office of the season’s swag!

    There were a number of great entries, but I ultimately settled on Rob T.’s eloquent stab:

    Human and dragon–
    Pray tell, who is the trainer
    And who is the trained?

    However, I also had a soft spot in my heart for what forts cooked up, so I totally have to cough up a consolation prize for that one…

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  • CONTEST: Win the ‘How to Train Your Dragon’ score and coffee table book

    More to give away this week as we’ve got something for the animation fans.  Up for grabs: Tracey Miller-Zarneke and Cressida Cowell’s lovely coffee table book “The Art of ‘How to Train Your Dragon’” and a copy of John Powell’s beautiful beloved original score for the film.

    I think I’ll steal shamelessly from Sasha Stone again and give this away by way of a Haiku contest.  So cut loose with your best “Dragon”-inspired Haiku poem (submit up to three, if you like).  Winner gets the goods.

    Also, be sure you refresh your memory on what a Haiku poem actually IS before submitting to your entries.

    [Photo: DreamWorks Animation]

  • Predict the PGA nominees

    Tomorrow the guild circuit launches with the WGA (separate post coming) and PGA nominations.  The critics’ circuit was well and good but this is where crossover memberships begin to give us a tangible view of how the race will fill out.

    Last year the PGA (Producers Guild of America) piggy-backed the Academy’s plan to expand the field of nominees from five to 10.  It also copied the new voting scheme, which uses the preferential balloting system to determine nominees.

    The two films that missed with the guild but made it into the Best Picture 10 were “The Blind Side” (odd that it missed, given its box office take) and the Coens’ “A Serious Man.” In their place: Clint Eastwood’s “Invictus” (why?) and the blockbuster “Star Trek.” What can we expect this year?  Continue after the jump to see what I’m thinking.

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  • 12/28 OSCARWEB ROUND-UP: Duke or Dude?, Jonsi’s music video, Karger sticks with his ‘King’s Speech’ guns

    • The Duke or The Dude?  Which Rooster has more true grit? [Entertainment Weekly]

    • Russ Fischer has the music video for Jonsi’s “Sticks & Stones” from “How to Train Your Dragon.” [/Film]

    • Brendon Connelly runs down all of the “Toy Story 3” ads so far featuring the “Not since…” campaign. [Bleeding Cool]

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  • If I had a ballot

    The year is winding down.  Today, as part of the week’s on-going year-in-review specials, I’m offering up my annual “if I had a ballot” post.

    In years past I’ve tended to defer to studio campaigns for category placement, but this year I figured, “Screw it.”  After all, if I actually had a ballot I could call the shots.  So I have.

    You’re familiar with my Best Picture line-up by now.  I’ve opted out of the Best Foreign Language Film and Best Documentary categories because there are a few films I’d rather have seen before making that call, but otherwise, it’s the usual Oscar fields with an ensemble category tacked on.

    Feel free to post up your own selections, if you have them, in the comments section below.  And remember to check back Friday as I close up shop on 2010 with my list of superlatives.  For now, check out my personal ballot after the jump.

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  • FIRST HALF FYC: Best Screenplay (Original and Adapted)

    For the third episode in our new Oscar-season feature, we take a recess from the acting races and look instead to the screenplays that roped the actors in to begin with. If you’re new to the feature (or even if you aren’t), the game is simple: railing against awards voters’ usual bias towards late-year releases, we’re highlighting a ballot’s worth of notable contenders in each major category, from films released in the first half of the year.

    I’ve been doing the categories on a one-by-one basis, but today I’m doubling down and covering both the Original and Adapted Screenplay races. This is partly in order to squeeze in everything I want to cover before Oscar nomination morning, but also partly because one of the categories proved less than rewarding on its own: starting with the adaptations and finding the pickings so slim, I decided that a beefier post was to be created from twinning the categories.

    That’s not to dismiss the films and screenplays I’ve selected, even the least of which offer substantial points of interest — and for which I still have more affection than some of the bigger names being  tossed into the Oscar ring. Indeed, the films in this list that don’t entirely click for me are no less (and often more) intriguing than those that do.

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  • Likability: the best films of 2010

    I don’t quite know how to peg 2010.

    On one hand it has felt like a weak year. On the other hand, I’ve enjoyed quite a few films. Maybe the story lies in that sentence: “enjoyed.” There were precious few films that really rocked me, but plenty that were a nice enough experience.

    If you listened to Friday’s Oscar Talk, then you know my top 10. But before publishing it in this space, allow me to walk through the many films that fell short, starting at the top with Derek Cianfrance’s “Blue Valentine.” Here is an honest depiction of a relationship in crisis with performances that hit the mark. It wears its soul on its sleeve.

    The Coen brothers’ dip into the western genre, “True Grit,” was a straight-forward piece of flavorful filmmaking much appreciated for its restraint, while similarly, Ben Affleck’s “The Town” didn’t attempt reinvention of the wheel while forging a resonant character study in a genre film’s clothing.

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