You know the drill: Winners in bold, then we break it down.
BEST PICTURE
Amour
Argo
Beasts of the Southern Wild
Django Unchained
Les Misérables
Life of Pi
Lincoln
Silver Linings Playbook
Zero Dark Thirty
Should have won: Zero Dark Thirty
Not even nominated: Cloud Atlas
One of the best line-ups the Oscars have put forth since expanding from five, there are any number of great picks here. At the time, Argo‘s win felt a bit self-congratulatory. (Look at how important the movies are!) But in the last decade, as dramas – historical or otherwise – have been shunted to streaming services, it holds up as top-notch Hollywood filmmaking. Personal favorite Silver Linings Playbook would have been the rare comedy to win, and a radically empathetic one at that. Even Lincoln, which I dismissed at the time as something for history teachers to pop in after finals, is much more daring and complicated than it seems. But for me, it comes down to the two most controversial films: Michael Haneke’s Amour, which manages to be both bleak without wallowing and romantic without sentimentality. That’s a rare feat. And then there’s Zero Dark Thirty, which stirred things up before it was ever seen by anyone. Kathryn Bigelow’s docudrama about the hunt for Osama bin Laden was accused of factual inaccuracies, promoting torture, and even violating national security laws. But none of that really matters when you watch it. This is an utterly captivating revenge thriller that, whether it realizes it or not, questions whether everything the mission cost was worth it. (Short answer: No.) This is a gorgeous film about one of the ugliest periods in American history. That’s why it will stand the test of time.
But you know what’s even better, despite having more flaws? Tom Tykwer and the Wachowskis’ Cloud Atlas, which adapts David Mitchell’s sci-fi novel as big as possible. Does it all work? Goodness, no. But when it’s at its best (which is often), it’s nothing short of breathtaking. It got zero attention from most awards groups, but it also deserved nominations for directing, writing, make-up, costume design, production design, visual effects and original score.
BEST DIRECTOR
Michael Haneke, Amour
Benh Zeitlin, Beasts of the Southern Wild
Ang Lee, Life of Pi
Steven Spielberg, Lincoln
David O. Russell, Silver Linings Playbook
Should have won: Michael Haneke
Not even nominated: Leos Carax, Holy Motors
An extremely weird category. Ben Affleck won the DGA Award, despite not being nominated here. That was only the second time that happened, after Ron Howard’s Apollo 13. Ang Lee picked up his second directing Oscar, but Life of Pi feels more like the technology-driven films he’d pursue after and less like the human dramas he made his name on. That’s why I’m choosing to give it to Haneke, who spent decades as one of Europe’s most daring filmmakers before crossing over with this relationship drama.
But I’d happily swap out Zeitlin for Leos Carax, whose inexplicable, unclassifiable Holy Motors is the work of a mad genius.
BEST ACTOR
Bradley Cooper, Silver Linings Playbook
Daniel Day-Lewis, Lincoln
Hugh Jackman, Les Misérables
Joaquin Phoenix, The Master
Denzel Washington, Flight
Should have won: Joaquin Phoenix
Not even nominated: Jack Black, Bernie
With a third Best Actor Oscar, Daniel Day-Lewis solidified his place as one of the greatest actors of all time. His portrayal of the 16th President as deeply conflicted, grieving, conniving and quick-witted blows all other takes on Abe out of the water. Yet this is one of the strongest line-ups this category has ever had. I honestly would have been happy with any of these gentlemen winning. But I have to go with Joaquin Phoenix, who’s just astonishing here as the lost, out-of-control Freddie. It’s his best performance.
But oh how I wish there had been at least one more spot. Jack Black, who will probably never be nominated for an Oscar, deserved consideration for his turn as Bernie Tiede, the put-upon murderer. He’s always been a joyous performer, but in this turn, he pushed himself further than he ever had.
BEST ACTRESS
Jessica Chastain, Zero Dark Thirty
Jennifer Lawrence, Silver Linings Playbook
Emmanuelle Riva, Amour
Quvenzhané Wallis, Beasts of the Southern Wild
Naomi Watts, The Impossible
Should have won: No complaints here
Not even nominated: Michelle Williams, Take This Waltz
Went back and forth on this, but ultimately I’m still very satisfied with Lawrence’s win here. She’s the soul and fire of a complicated movie with an extremely tricky part.
I’d flip Naomi Watts for Michelle Williams. Granted, Williams has been nominated quite a bit, and specializes in playing miserable wives. She’s at it again in Sarah Polley’s romantic dramedy, but it’s more layered and understated than some of her other, more heralded performances.
