With the 2015 BAFTAs coming up, Callum Petch guides you through the likely winners and losers of all of the major categories.
We have one final stop on the awards train before we reach The 2015 Oscars in almost exactly one month’s time, and that’s The 2015 British Academy Film Awards. The BAFTAs, for those who don’t know, celebrate the best in the past year of film with an added British tinge due their being a British awards body and all. Although their main purpose for people like us is to get one last indicator as to how The Academy will be voting come February 22nd, since all of their nominations and eventual awards typically line up with one another.
So, that’s what we’re here to do. With the awards themselves in just over two weeks, and my having seen just about every single one of the major nominees, I am here to guide you through the major categories, tell you who I feel deserves to win, who you should probably put your money on if you’re a betting kinda person, and any snubs, rule-flaking inclusions or just plain weird things that caught my fancy. We’re not covering all of them, because we’ll be here all day – although other members of the site may fill in those blanks later if they wish – but we’re doing most of them. So, without further delay, GRAPPLING HOOK!
Best Animated Film
Nominees: Big Hero 6, The Boxtrolls, The Lego Movie
Who Should Win: Soooo… I know that I’m supposed to say The Lego Movie, and I do really, really like The Lego Movie, but… Big Hero 6 is currently playing to my heart way more. I’m sorry, but it is! I was actually sat writing about Kung Fu Panda 2 the other day when this quietly devastating yet heart-warming scene from Big Hero 6 popped up into my head and now I just want to go and spend more time with that cast again. I’m sure whenever I eventually get around to watching The Lego Movie again, I’ll put that back on top but, yeah, I guess I’m switching teams and rooting for Disney. Sorry, folks.
Who Will Win: Time was that I would say that this was The Lego Movie’s to lose, but with How To Train Your Dragon 2 upsetting it at the Golden Globes and not even being considered in the Oscar category – although I still find that a mostly strong list, so I’m not going to complain much – I really don’t think this is a safe bet anymore. Big Hero 6 is Disney, so that will always be in the running, and awards bodies are really loving The Boxtrolls – it just racked up 13 nominations at this year’s Annie Awards (which, incidentally, is a very lazy set of nominees this year, but this is not the place to talk about that) – so that has a good shot. My money’s still on The Lego Movie leaving with the award, but don’t be surprised if either of the other two take it instead.
Other Notes: The BAFTAs have always only had three nominees for this category, so that makes snubs more obvious but also, sometimes, more understandable. Although I was lukewarm on it, I am glad to see Laika rack up another nomination with The Boxtrolls and it deserves that spot more than How To Train Your Dragon 2. That being said, colour me disappointed that there’s no room for The Book Of Life, which sadly seems destined for cult status rather than mainstream acceptance. Also, even though there was clearly no chance in hell of it ever happening, I would like to have seen the genuinely excellent My Little Pony: Equestria Girls: Rainbow Rocks get a look-in.
Outstanding British Film
Nominees: ’71, Paddington, Pride, The Imitation Game, The Theory Of Everything, Under The Skin
Who Should Win: Under The Skin is a film that deserved far more love and attention from awards bodies than it has gotten, although the fact that it’s slipped away with barely any recognition outside of the BAFTAs – Mica Levi’s excellently unsettling score is also up for an award – is kinda fitting really. It is really not a film for everyone, but its quiet study of gender, sexuality, and gender performance – as well as its quietly furious screed about how casually, and occasionally outwardly hateful, sexist society views and treats women – is utterly gripping and compelling viewing for those willing to work for their films, and Scarlett Johannson puts in the single best performance of all of last year in it, too. It’s my no. 5 film of 2014, and it deserves this award.
Who Will Win: It won’t, though. Not by a long shot. Nor will Paddington – which I did like but don’t get the intense passionate love that critics and audiences are throwing its way – nor will ’71, and most certainly nor will Pride. See, The Imitation Game and The Theory Of Everything are up for Best Film and it looks real bad if the films that are up for Best Film don’t win Outstanding British Film. The Weinsteins have been campaigning hard for Imitation Game, but this is the home turf of Working Title’s Tim Bevan and Eric Fellner, which may sway voters towards The Theory Of Everything. I’m leaning more towards the former, though, so those of you looking for a definite bet should put money on The Imitation Game.
Other Notes: Starred Up should really be in contention. One of the best British dramas in years and it’s kept out by two slops of porridge? Ugh. Ditto for Richard Ayoade’s The Double, which everybody seems to have let undeservedly slide into the background since last April. I can’t really complain too much, though, 2014 was a very good year for British film and I’m just glad we’ve gotten actual British films filling up the list this year. You know, unlike last year.
Best Original Screenplay
Nominees: Wes Anderson & Hugo Guinness for The Grand Budapest Hotel, Damien Chazelle for Whiplash, Dan Gilroy for Nightcrawler, Alejandro Gonzalez Iñárritu and Nicholás Giacobone and Alexander Dinelaris Jr. and Armando Bo for Birdman, Richard Linklater for Boyhood
Who Should Win: Nice strong list here. As much as I like Whiplash and Birdman, though, I feel that they are great scripts that are elevated to excellent scripts by everything else from the movie – performances, direction, editing, etc. – so I’m not particularly rooting for them. The script for The Grand Budapest Hotel is excellent, managing to balance whimsy and light-hearted farcical caper antics with this constant undercurrent of sadness and melancholy, a tale of men born out of time and a nostalgic longing that is admirable but foolhardy. Meanwhile, Nightcrawler’s script has a tonne of things to say about capitalism, the media, classism, business, and the kind of sociopathic monster that one can be yet still win in our broken society. I’m good with either of those taking it, leaning more towards Nightcrawler.
Who Will Win: This will be The Grand Budapest Hotel’s consolation prize. Sure, it received 13 nominations overall, but most of those were in the technical categories that, although deserved, most people, and especially headline writers, don’t care about. This is where it gets its due in the major categories, to apologise for it having no chance in anything else. Whiplash has garnered enormous traction as of late, but I still don’t see it going over Grand Budapest here; this one’s basically set in stone.
Other Notes: You will notice that I left out Boyhood whilst I was going through complimenting the nominees. We’ll come back to that.
Best Adapted Screenplay
Nominees: Jason Hall for American Sniper, Gillian Flynn for Gone Girl, Paul King & Hamish McCall for Paddington, Anthony McCarten for The Theory Of Everything, Graham Moore for The Imitation Game
Who Should Win: Gillian Flynn for Gone Girl. Duh. I really don’t have to say any more than that, do I? Considering the rest of this field, I really don’t think I do.
Who Will Win: This field is suspiciously weak, full of films that have nothing to say or actively steer themselves away from having anything to say about their subjects or themes (although I do find that a plus in surprise nominee Paddington’s case), almost like it’s been designed with the express purpose of making sure that Gillian Flynn will win. Hmm, funny that.
Other Notes: Something that became immediately clear to me when this season’s awards films were lined up like this: this was very much a year of films, and especially biopics, about men that spectacularly failed to have anything to say about the men that they’re about. I mean, this is often a problem with awards bait films – failing to have any thematic arc or insight into their subjects but superficially arranging the beats of a feel-good story to create the illusion that something is being said – but it’s especially true this year. Maybe that’s a sign that we should diversify who we tell our stories about?
Best Supporting Actor
Nominees: Steve Carrell as Jon du Pont (Foxcatcher), Ethan Hawke as Mason Evans, Sr. (Boyhood), Edward Norton as Mark Shiner (Birdman), Mark Ruffalo as Dave Schultz (Foxcatcher), J. K. Simmons as Terence Fletcher (Whiplash)
Who Should Win: J. K. Simmons, hands down, no contest. If you disagree then, quite frankly, you just haven’t seen Whiplash. Simmons takes the two registers that he typically operates on – hammy shouting fury, and warm paternal comfort – and weaponises them to stunning effect, adding nuance to the character of Fletcher whilst still frequently keeping him at the level of a complete monster. He is utterly sensational as this utterly inhuman force of nature and rage and he deserves this award far more than anyone else.
Who Will Win: Good thing that he’s guaranteed the win, then. He’s basically been on a well-deserved awards tour which, on February 22nd, will culminate with the 60 year-old taking the stage at the Dolby Theatre in Los Angeles to collect his first ever Oscar. For one of our best and most consistent character actors for the last 20 years, in a career-defining role, it will be incredibly satisfying to see. We’ll get a taste of that feeling at the BAFTAs and it will be wonderful.
Other Notes: Two well-earned nominations for Foxcatcher, although Steve Carrell’s appearance here reeks of canny studio awards gaming. I mean, Best Actor has been a tight lock for months and the chance of anybody unexpected breaking in is slim, so why not position one of the leads of the film as a Supporting Actor in the hopes of at least scoring a nomination? Of course, there is a case to be made for Ruffalo also being the main character in Foxcatcher, too, but I think this all says more about the clever protagonist shuffling nature of Foxcatcher than anything else.
Best Supporting Actress
Nominees: Patricia Arquette as Olivia Evans (Boyhood), Keira Knightley as Joan Clarke (The Imitation Game), Rene Russo as Nina Romina (Nightcrawler), Imelda Staunton as Hefina Headon (Pride), Emma Stone as Sam Thomson (Birdman)
Who Should Win: It takes a damn strong actress willing to put in the extra work to not have the film completely whisked away from them by Jake Gyllenhaal in Nightcrawler, but Rene Russo was more than up to the task. She excellently embodies a woman who has to fight every day for the power she wields, who hates having to rely on Lou Bloom but recognises his value, and seizes on every possible advantage and opportunity in a desire to raise her stature and influence. She’s a more socially acceptable version of Lou Bloom, basically, only with some inherent sympathy ingrained in her due to the institutionalised sexism of her line of work, and Russo nails it all totally. So, yeah, I’m on the Russo train.
Who Will Win: Patricia Arquette has been the front-runner since the second Boyhood had its festival premieres, she has been sweeping practically every awards body that nominates her, and if she doesn’t win the Oscar I will be utterly floored. She’s going over here. I am fine with that, she is quite literally the only thing I actually liked about Boyhood, but I’m still going to be a little bitter regardless.
Other Notes: Nice to see Pride get a non-Britain-specific nod! Really annoyed that it’s not for any of the cast members who played a homosexual – who were the actual goddamn protagonists for that film which, lest we forget, is the reason why Pride works – but at least it’s being recognised for something; that film was a very nice surprise for me. In terms of snubs, four words, to be repeated for Best Actress: where is Emily Blunt? Seriously, between Edge Of Tomorrow, Into The Woods, and even her voice work in the dub of The Wind Rises, she’s spent the last year reminding us all that she’s one of the best actresses in film today, but we’ll snub her totally come awards time? I don’t get that.
Nominees: Benedict Cumberbatch as Alan Turing (The Imitation Game), Ralph Fiennes as Gustav H. (The Grand Budapest Hotel), Jake Gyllenhaal as Louis Bloom (Nightcrawler), Michael Keaton as Riggan Thomson (Birdman), Eddie Redmayne as Stephen Hawking (The Theory of Everything)
Who Should Win: My heart wants Keaton to win, because it’s Michael Keaton, he is great in Birdman, and I want nice things to happen to the guy. However, my head has to admit that Gyllenhaal put in the better performance this year – the much better performance – and so I’m backing him to take home the statue. Plus, based on how The 2014 Failed Critics Awards went, you all would probably tear me shreds if I didn’t.
Who Will Win: All signs point to Eddie Redmayne taking this one with very little effort. This category has been a constant fight between Redmayne and Keaton since awards season started up in earnest, but the splitting of their performances into separate “Drama/Comedy” categories has made it harder to gauge which is taking the biggest prize home with them. Keaton has the comeback and long-overdue narrative ingrained in a victory that awards bodies love, but Redmayne has the exact kind of showy, yet empty and trying-way-too-hard performance that awards bodies love. I think Redmayne is going to take it here, also because he’s on home turf, and then he’ll also pick it up at the Oscars. Dammit. Maybe he’ll at least be good in Jupiter Ascending.
Other Notes: Very nice to see Ralph Fiennes get a nomination for Grand Budapest. This does make me wonder why, mind, Tony Revolori has been totally skipped over for any Best Supporting Actor nominations. He is very much the heart of the film, arguably more so than Gustave, and Revolori puts in a quietly strong and personal performance that has curiously gone uncelebrated. Also, we’ll nominate Benedict Cumberbatch but not Ben Affleck for Gone Girl? Fine, sure, whatever.
Nominees: Amy Adams as Margaret Keane (Big Eyes), Felicity Jones as Jane Hawking (The Theory of Everything), Julianne Moore as Dr. Alice Howland (Still Alice), Rosamund Pike as Amy Elliott-Dunne (Gone Girl), Reese Witherspoon as Cheryl Strayed (Wild)
Who Should Win: We all saw Gone Girl, yeah? We all saw Rosamund Pike with her captivating note-perfect Lauren Bacall-referencing performance? Good, then I don’t have to explain myself further.
Who Will Win: Julianne Moore has been due for decades, she’s finally going over here. The problem is that she shouldn’t. I don’t mean this in a subjective opinion way, either, I mean that the BAFTA Eligibility Rules should disqualify her from contention. As you can check on their own website, only films released in UK cinemas to the general public between January 1st and December 31st of any given year are eligible. However, if you are a film released in UK cinemas for the general public between January 1st and February 14th of the year in which the awards take place, then you are still eligible for awards contention as long as you screen the film to BAFTA members by December 19th.
Yes, this does all sound more than a little shady and cop-out-y. It gets worse. See, even with that very generous window, Still Alice still doesn’t qualify – it doesn’t receive a UK cinema release until March 6th, well past the closing eligibility date – and, therefore, shouldn’t be here! Selma meanwhile, which does qualify – UK cinema release: February 6th – and which I haven’t seen but I’ve heard is great, is shut out completely. So, yeah, I am against all of this. Julianne Moore could put in the single most outstanding performance I have ever seen, and I will still be against her winning. I’m sorry, but it’s against the rules and am I the only one around here who gives a shit about the rules?
Other Notes: Scarlett Johannson. Emily Blunt. That is all.
Nominees: Wes Anderson (The Grand Budapest Hotel), Damien Chazelle (Whiplash), Alejandro Gonzalez Iñárritu (Birdman), Richard Linklater (Boyhood), James Marsh (The Theory of Everything)
Who Should Win: Look, I really dislike Boyhood, but I cannot deny the commitment, the energy, the time, and the skill that Richard Linklater put into making the thing. To shoot one film over 12 years, the logistical and financial nightmare of organising and lining up everyone’s schedules to get this thing to happen, the hard work put in to keeping everyone’s character consistent, and to keep the film looking and remaining visually consistent despite progressing as a director significantly in the space of a decade… Yeah, I have to respect that and admit that this is an award he should walk away with.
Who Will Win: Like hell is this not going to Linklater. Maker, from the second this film was in the can, every Best Director gong going today was pre-packaged and all set to be FedExed to his front doorstep. If he doesn’t win, then I quite frankly have no idea what to believe any more.
Other Notes: No Ava DuVarney for Selma, which is the sole thing that I am saying on the subject until I finally get to see the thing. More egregiously, no David Fincher – the man who BAFTA quite rightly acknowledged as a superior filmmaker to Tom Hooper 4 years ago, and who put out quite possibly his best work ever, or at least his best directing work ever, this year, is apparently just no match for James Marsh’s directing for The Theory of Everything, a film that I fell asleep during for about five minutes. Sure, of course he isn’t.
Nominees: Birdman, Boyhood, The Grand Budapest Hotel, The Imitation Game, The Theory of Everything
Who Should Win: Despite this sudden backlash that has collectively greeted the thing – because apparently we don’t even wait two months now before we try and backpedal on our opinions – I still think Birdman is brilliant and maybe even quietly genius in the way that it’s able to walk so many tightropes without ever properly falling over into un-self-aware “Artist Rants About Mainstream Film, Critics, The Internet and Clouds”. However, I find The Grand Budapest Hotel to be the best of all of these nominees by a country mile, so I am flying that flag all the way.
Who Will Win: I know that the current narrative is that this is a straight fight between Birdman and Boyhood, with The Imitation Game sneaking its way into contention thanks to the usual Weinstein efforts, but those people are just trying to spice up a narrative to which the ending has been pre-ordained since June. Boyhood will win with no contest and Richard Linklater will finally pick up a Best Film award, along with finally getting the Oscar equivalent a few weeks’ later. Shame the film in question sucks. I broke down here why I strongly dislike Boyhood and why it is objectively a bad film beyond its central gimmick, so I won’t waste time repeating myself. Just know that I am against this disappointingly inevitable outcome.
Other Notes: 2014 Awards Season. Otherwise known as “Yay, White Men: Hooray for White Men”. In fairness, it’s been a pretty poor awards season and Grand Budapest absolutely deserves its spot up there – and I don’t object to Birdman showing up, either. But it’s also such a safe and blindingly obvious list with little of interest and few of the genuinely interesting or exciting films from this past year. Where’s Nightcrawler? Starred Up? Whiplash? Foxcatcher? If you’re gonna choose films about men, why snub the ones that actually have something to say about masculinity and men and challenge current societal notions? How about Under The Skin? Gone Girl? Films that look at the female gender, gender performance, and how society views them? What happened to Pride, which had things to say about sexuality – far more so than The f*cking Imitation Game – or Belle and Selma, which said cogent things about race (and which I haven’t seen yet but heard excellent things about)?
Look, I and everybody else wouldn’t be getting so angry and worked up and vocal about this if you awards bodies didn’t keep shutting films like those out in favour of paint-by-numbers surface-level slop like The Imitation Game or The Theorzzzzzzzzzzzzzzzzzzzzzzzz. When you shut out genuinely original and diverse films in favour of interchangeable porridge like those, it’s a slap in the face to those films that try, that offer up a different perspective, and to those of us who demand and wish for diversity and greater representation in film. You awards bodies carry way more power than you think you do in this day and age, so what you nominate and reward matters. So when the awards end up as white and male as this, with many of them genuinely not being the best films released in the past 12 months, you’ll have to excuse us for getting upset and calling you out on it.
That’s the rundown. The BAFTAs themselves occur on February 8th. Feel free to throw your insights and predictions for the ceremony into the comments below!