The shortlist for the 97th Academy Awards was announced this afternoon, narrowing down the potential nominees in seven categories, including Best Original Score, Best Original Song, Visual Effects, Sound Design, Makeup and Hairstyling, Documentary, and International Feature. It also includes the potential nominees for the three short categories: Best Live-Action, Best Documentary, and Best Animated.
This year there were no significant snubs of Oscar “front-runners.” No The Batman for Best Original Score from 2022, or Guardians of the Galaxy Volume 3 on the Best Makeup/Hairstyling list last year. No film in the Oscar race was significantly hurt or helped. However, there are still snubs that frustrate us and surprises that spark excitement for potential nominations. Today, we’ll break down our personal favorites, highlighting both the good and the bad.
The Good:
- A Different Man and The Apprentice make Makeup and Hair shortlist
The Makeup and Hair Guild put together a strong list overall (with one exception we’ll discuss later). In particular, they included two small films starring Sebastian Stan that deserved more recognition this awards season. A Different Man, a dark comedy where Stan is transformed to resemble Adam Peron through prosthetics, and The Apprentice, where Stan convincingly morphs into Donald Trump. Good films with great makeup, and if there is any hope Stan can be nominated for either film, these could help. - Kneecap receives two mentions
While not a massive shock, it was still a pleasant surprise to see Ireland’s submission for Best International Feature make both that and the Best Original Song shortlist. Given the comedic and unfiltered nature of the film, I was concerned the Oscars might overlook it in favor of more “award-type” films. With its Critics Choice nomination already secured, and now these mentions, this hip-hop political comedy could very well become an Oscar nominee. - Alien Romulus receives three mentions
While not a masterpiece, Alien Romulus is a well-crafted studio horror film. Franchise films often struggle to gain recognition in the craft categories, especially horror, so it was gratifying to see the film on the shortlist for Best Original Score, Sound, and Visual Effects. The world they created through VFX, sound, and production design (which the Academy should also consider nominating) was both in line with and refreshingly new for the franchise. The gritty and rundown interpretation perfectly complements the horror and subject matter of the film.
The Bad:
- The Substance misses Sound and VFX
Given how well The Substance has performed so far this season, many (including myself) hoped for a strong nomination total on Oscar morning, but the shortlist was a sobering moment. The film made only one shortlist, for Makeup and Hair. This is disappointing because it deserved recognition in both Sound and VFX. The final transformation in the film is clearly a makeup achievement, but it is enhanced by exceptional VFX that seamlessly blends the two actresses in ways makeup alone could not.
For Sound, just watch the three mirror scenes throughout the film. The way they infuse the sound of characters’ actions with various sounds in the background sells the emotional weight of the scenes. Also, the shrimp scene with Dennis Quaid is a prime example of how the sound work elevates the moment. - Furiosa is left out
The lack of nominations for Furiosa: A Mad Saga, one of the best films of the year, is particularly disappointing. The film received no mentions in VFX, Makeup and Hair, or Sound. The big rig sequence alone is a masterpiece in sound design. With just one potential nomination remaining, for Costume Design (and possibly Editing, though that’s a long shot due to its correlation with Best Picture), it’s unfortunate to see this film overlooked in key categories. - Civil War misses Sound
It’s evident that the Sound Guild didn’t do a great job with their shortlist. Civil War did make the cut for VFX, which was a pleasant surprise, but the film’s sound design was easily its most impressive aspect. During the final assault on the White House, the way gunshots and explosions are heightened, compared to the rest of the scene’s sound, fully immerses the audience in the chaos. In one particularly famous scene featuring Jesse Plemons, the choice to cut all sound and focus solely on his voice amplifies the terror. Civil War might have had the best sound design of the year, so it’s disheartening to see it miss out. - Saturday Night misses Original Score
Few scores this year complemented and elevated a film more than Jon Batiste’s score for Saturday Night. A fusion of jazz and drums, the music gives the film a unique rhythm that balances both comedy and thriller elements. It certainly deserved a spot in the final five for Best Original Score. - Queer misses Score and Makeup and Hair
The shortlist did reward composers Trent Reznor and Atticus Ross with nominations for Challengers in Best Original Score and Song, but they were equally deserving of mentions for their work on Queer. What’s striking is how different their music is in Queer compared to Challengers. The melancholic, romantic score perfectly captures the emotion in each scene. even when there’s no dialogue.
Queer also deserved a Makeup and Hair nomination. The prosthetics on Lesley Manville in the final act make her almost unrecognizable, yet she never appears overdone—always looking like a real person.
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