OSCARS 2014: A Look at the Screenplay Nominees

Artwork: Academy of Motion Picture Arts and Sciences

By Chris Luckett

(This is Part 1 of a four-part series looking at the Oscar nominees in the eight major categories.)

Ten movies’ screenplays are nominated for Academy Awards each year: five original screenplays and five screenplays adapted from another source. This year’s nominees included all nine Best Picture nominees, as well as the third movie in Richard Linklater’s Before trilogy, and offer tighter races than in most years. 

Best Adapted Screenplay

12 YEARS A SLAVE (John Ridley)

Adapted from the 1853 memoir of Solomon Northup’s agonizing tale of slavery, Ridley’s screenplay manages to juggle a multitude of characters over a lengthy amount of narrative. More impressively, it details Northup’s life of freedom before his kidnapping and enslavement, making the dozen years Northup spends in slavery all the more excruciating.

BEFORE MIDNIGHT (Richard Linklater, Julie Delpy, Ethan Hawke)

Taking place 18 years after Before Sunrise and nine years after Before Sunset, the third movie in the romantic series find Jesse and Céline on rocky ground, having grown apart as they’ve grown older. The dialogue is clever yet natural and the scenes have a wonderful flow to them, no doubt partially due to the three writers’ familiarity with the characters by this point.

CAPTAIN PHILLIPS (Billy Ray)

The real-life tale of Richard Phillips, a cargo ship captain who was taken hostage aboard his ship by Somali pirates in 2009, is perfectly suited for a Steven Seagal-esque action movie, but Ray smartly turns Phillips’s story into an incredibly tense thriller. Every scene ratchets the tension more, building to a gripping climax the screenplay takes its time to earn.

PHILOMENA (Steve Coogan and Jeff Pope)

Despite the misleading title, Philomena is the true story not just Philomena Lee, a British woman who was forced to give up her son by as a young girl, but also that of journalist Martin Sixsmith, who decided to help her track her son down. Turning Lee and Sixsmith into a modern-day odd couple, Coogan and Pope’s screenplay is the most crowd-pleasing of the ten nominees.

THE WOLF OF WALL STREET (Terence Winter)

The fourth true story nominated in this category creates a drug-fueled thrill ride that powers the crazy rise and crazier fall of the hubris-courting former stockbroker Jordan Belfort. Despite the length of Winter’s screenplay, he keeps the story moving at a brisk pace, with bitingly funny dialogue, memorably vulgar character, and outrageous scenes of excess.

(Warning: NSFW language)

Best Original Screenplay

AMERICAN HUSTLE (Eric Warren Singer and David O. Russell)

In all of David O. Russell’s recent movies, the characters are so fully developed that they feel completely real, and American Hustle is no exception. A loose spin on the Abscam FBI sting in the ‘70s, its screenplay also places the characters in quite interesting and unpredictable situations, like to memorable dialogue that is both believable and hilarious.

BLUE JASMINE (Woody Allen)

Woody Allen, who holds the record for Oscar nominations for screenwriting, scores his 24th nomination with Blue Jasmine, a modern-day Streetcar Named Desire. The story of a rich socialite who finds herself widowed and homeless, Allen’s Jeannette “Jasmine” Francis relies on the kindness of strangers like her sister, while also constantly getting lost in thought remembering the life of luxury she can’t cope with having lost.

DALLAS BUYERS CLUB (Craig Borten & Melisa Wallack)

The true tale of Ron Woodruff, a homophobic Texan in the ‘80s who contracted HIV and turned to smuggling drugs from Mexico for fellow AIDS sufferers, Dallas Buyers Clubs could very easily have become a depressing movie. Instead, Borten and Wallack’s screenplay is full of life and hope, allowing Woodruff’s evolution from gay-bashing bigot to tolerant, caring crusader all the more powerful and inspiring.

HER (Spike Jonze)

Jonze may have directed the brilliant Being John Malkovich and Adaptation., but they were written by Charlie Kaufman, not Jonze himself. After flexing his muscles for the first time with Where the Wild Things Are, Jonze hit his stride with the ingenious screenplay for Her, a movie that realistically examines what our relationships with technology and artificial intelligence may very well one day become, while creating a clear, distinct, and all-too-believable vision of the near-future.

NEBRASKA (Bob Nelson)

Nebraska could have simply been a road trip movie, or a one-last-hurrah movie, or as a dysfunctional family movie, but Nelson’s screenplay weaves threads of all three concepts through his dramatic comedy to create something with a wholly original flavour. The characters are believable enough to be both riotously funny and uncomfortably familiar.

How many of the nominated screenplays’ movies have you seen? What screenplays do you think should have been nominated but weren’t? Comment below!

SPECIAL: 2013, Ranked from Worst to Almost-Best

By Chris Luckett

In just a few days, I’ll be revealing my Best Movies of 2013. In the meantime, I can certainly say what isn’t on the best-of list. Below is every movie I saw last year, ranked from the very worst of the zero-stars to the very best of the four stars. (Bonus: Any of the titles with an * are clickable links to their corresponding reviews.)

Photo: The Weinstein Company

133. Grown-Ups 2 (0 stars)

132. Battle of the Year (0)

131. A Haunted House (0)

130. Getaway (0)

129. Scary Movie 5 (0)

128. Riddick* (0)

127. Movie 43 (0.5 stars)

126. The Mortal Instruments: City of Bones (0.5)

125. Hansel & Gretel: Witch Hunters (0.5)

124. 21 & Over (0.5)

Photo: Universal Pictures

123. G.I. Joe: Retaliation (0.5)

122. Pain & Gain (0.5)

121. Kick-Ass 2 (1 star)

120. Safe Haven (1)

119. Paranoia (1)

118. The Smurfs 2 (1)

117. Identity Thief (1.5 stars)

116. The Host (1.5)

115. R.I.P.D. (1.5)

Photo: Paramount Pictures

114. Oldboy* (1.5)

113. Evil Dead (1.5)

112. The Purge (2 stars)

111. Epic (2)

110. The Big Wedding (2)

109. Escape from Planet Earth (2)

108. One Direction: This is Us (2)

107. Bad Grandpa* (2)

106. Trance (2)

105. Carrie* (2)

Photo: Warner Bros.

104. Only God Forgives (2)

103. Percy Jackson: Sea of Monsters (2)

102. Pacific Rim (2)

101. A Good Day to Die Hard (2)

100. After Earth (2)

99. Nothing Left to Fear* (2.5 stars)

98. The Call (2.5)

97. Turbo (2.5)

96. To the Wonder (2.5)

Photo: Walt Disney Pictures

95. Dark Skies (2.5)

94. The Book Thief (2.5)

93. Planes (2.5)

92. Jack the Giant Slayer (2.5)

91. The Lone Ranger (2.5)

90. Computer Chess (2.5)

89. 2 Guns (2.5)

88. The Family (2.5)

87. The Croods (2.5)

86. Olympus Has Fallen (2.5)

Photo: Warner Bros.

85. The Internship (2.5)

84. Despicable Me 2* (2.5)

83. Side Effects (3 stars)

82. The Incredible Burt Wonderstone (3)

81. The Great Beauty (3)

80. Man of Steel (3)

79. The Bling Ring (3)

78. The Butler (3)

77. Cloudy with a Chance of Meatballs 2 (3)

Photo: Sony Pictures

76. RED 2* (3)

75. A.C.O.D. (3)

74. White House Down (3)

73. This is the End* (3)

72. Snitch (3.5 stars)

71. August: Osage County (3.5)

70. Blue Jasmine (3.5)

69. 42 (3.5)

Photo: Warner Bros.

68. Philomena (3.5)

67. World War Z (3.5)

66. Don Jon* (3.5)

65. Wolf Children (3.5)

64. Fast & Furious 6 (3.5)

63. Frances Ha (3.5)

62. The Great Gatsby (3.5)

61. Oz the Great and Powerful* (3.5)

60. Room 237 (3.5)

Photo: 20th Century Fox

59. Drinking Buddies (3.5)

58. The Kings of Summer (3.5)

57. The World’s End (3.5)

56. Monsters University (3.5)

55. The Heat (3.5)

54. Iron Man 3 (3.5)

53. Saving Mr. Banks (3.5)

52. The Secret Life of Walter Mitty* (3.5)

51. The Hangover, Part III (3.5)

Photo: Universal Pictures

50. Oblivion (3.5)

49. Sound City (4 stars)

48. Out of the Furnace (4)

47. Mud (4)

46. The Company You Keep (4)

45. The Hunt (4)

44. Short Term 12 (4)

43. The Way Way Back (4)

Photo: Warner Bros.

42. Last Vegas* (4)

41. We’re the Millers* (4)

40. Insidious, Chapter 2* (4)

39. Thor: The Dark World* (4)

38. Enough Said (4)

37. Now You See Me (4)

36. Catching Fire* (4)

35. Blue is the Warmest Colour* (4)

34. Mandela: Long Walk to Freedom (4)

Photo: Warner Bros.

33. Star Trek Into Darkness* (4)

32. Nebraska* (4)

31. The Wolf of Wall Street* (4)

30. Jobs (4)

29. The Hobbit: The Desolation of Smaug (4)

28. Much Ado About Nothing (4)

27. Elysium* (4)

The remaining twenty-six movies are the Best Movies of 2013, which will be revealed in just a few days. (What can be said: numbers 26-5 on the list are four-and-a-half-star movies and numbers 4-1 are perfect fives.)

Stay tuned for The Apple Box’s Best Movies of 2013, coming soon. In the meantime, how many of the 2013 movies above have you seen? Would any of them make your Best of the Year list? What are you hoping will make the final cut? Comment below!

IN MEMORIAM: Philip Seymour Hoffman's Legacy

By Chris Luckett

Photo: Canadian Press

R.I.P. Philip Seymour Hoffman, 1967-2014

Much has already been written about Philip Seymour Hoffman since word of his death spread yesterday, and even more will be written about him in the coming weeks. He was that rare actor who you sympathized with as a protagonist and gleefully relished as a villain.

Whether he was playing a quiet, normal guy in Love Liza or an apoplectic cur in Punch-Drunk Love, he remained irresistibly likeable. Somewhere between the teddy-bear charm of John Candy and the antic brashness of Jack Black, Hoffman existed. He lent gravity to movies that were too goofy and brought levity to movies that were too serious. He was a singular talent who was always interesting to watch, even when the movies themselves weren't always.

His passing yesterday morning was a tragedy that travelled across traditional and social media with a speed usually reserved for the Michael Jacksons and the Heath Ledgers of the world. Everyone who wasn't talking about the Super Bowl (and many still who were) was talking about the loss of an under-appreciated actor who always made a strong impression.

Hoffman may have given his final performance, but he left behind a wonderful catalog of subtle, overt, quiet, loud, depressing, hilarious, and fascinating performances. Picking a finite number of his best is a remarkably challenging task, as leaving almost anything off such a list seems a slight.

Every actor's career can be encapsulated in ten scenes, though. Below are his finest moments – the ones that made Philip Seymour Hoffman so hard to dislike, so easy to admire, and so impossible to forget.

The Big Lebowski (Universal Pictures, 1998)

Happiness (Good Machine, 1998)

Almost Famous (Dreamworks, 2000)

Punch-Drunk Love (Columbia Pictures, 2002)

Capote (MGM, 2005)

Mission: Impossible III (Paramount Pictures, 2006)

Charlie Wilson's War (Universal Pictures, 2007)

Doubt (Miramax, 2008)

The Ides of March (Sony Pictures, 2011)

The Master (The Weinstein Company, 2012)

OSCARS 2014: The State of the Race (So Far)

By Chris Luckett

The 86th Academy Awards are just four weeks away, but it’s often in the last month before the Oscars that the tide can turn and upsets come about. (This time last year, Lincoln was expected to win Best Picture, not Argo. Two years before that, the same thing happened between The Social Network and The King’s Speech.) Much can change between now and March 2. For now, though, here’s how 2014’s Oscar race is shaping up.

Best Picture

Photo: Warner Bros.

In October, Gravity was the frontrunner. In November, 12 Years a Slave started to build even bigger buzz. Then in December, American Hustle threw its hat into the ring. Those three are still the main contenders (although there is a growing movement boosting Nebraska).

Gravity’s director, Alfonso Cuarón, is very likely winning Best Director – and the Academy showed just last year they don’t mind splitting the Picture and Director trophies between two films – so Gravity may find itself left adrift here. 12 Years a Slave could definitely take the top prize, but Hollywood’s love for American Hustle has been continually growing through January. As of now, American Hustle’s the one to beat.

Best Director

Alfonso Cuarón has won almost every directing award over the last year, even when Gravity itself has lost for corresponding Picture awards. Whether or not Gravity wins the Oscar for Best Picture, Cuarón is pretty much a lock for Best Director.

Best Actor

Photo: Focus Features

Chiwetel Ejiofor, once the undisputed frontrunner for his work in 12 Years a Slave, has been eclipsed over the last month by Matthew McConaughey and his performance in Dallas Buyers Club. If the American Hustle fan club gets a real movement going, it’s possible Christian Bale could pull off a dark horse victory for Best Actor, but it’s currently McConaughey’s to lose.

Best Actress

Much like Christian Bale, Amy Adams could very possibly see a last-minute surge in popularity through her involvement in American Hustle. Short of that movie sweeping all the categories, Cate Blanchett is the one to bet on for her role in Woody Allen’s Blue Jasmine.

Best Supporting Actor

Jared Leto, Dallas Buyers Club. No one else is even in the running.

Best Supporting Actress

Right now, it’s down to Jennifer Lawrence for American Hustle and Lupita Nyong’o for 12 Years a Slave. One the one hand, the Academy clearly loves Lawrence, having given her an Oscar just last year. On the other hand, they did already give her an Oscar just last year. Lawrence, like all others involved, could receive an American Hustle boost in the coming weeks, but otherwise the Academy will likely feel it’s too soon for her to get another Oscar, awarding it to Nyong’o for stunning debut performance.

Best Original Screenplay

Frankly, any of the five nominees could win and it wouldn’t be a surprise. The category’s a complete toss-up. When in doubt, though, always go with the Woody Allen screenplay. Blue Jasmine stands a slightly better chance than the other four – though that could easily change.

Best Adapted Screenplay

Photo: Fox Searchlight Pictures

The Wolf of Wall Street was too divisive, Philomena was too treacly, and the controversy about the accuracy of Captain Phillips has all but sunk its chances. It’s a close call between Before Midnight and 12 Years a Slave, but assuming American Hustle and Gravity take most of the other categories (as it’s looking might happen), the Academy will probably give Adapted Screenplay to 12 Years a Slave as consolation.

Best Animated Feature

A two-horse race if there were one this year. One contender, Frozen, has been touted to be the greatest animated (non-Pixar) Disney movie since The Lion King. The other, The Wind Rises, is the final film of anime legend Hayao Miyazaki. It’ll be close, but Frozen’s momentum looks too strong to beat.

REVIEW: That Awkward Moment

By Chris Luckett

3 stars out of 5

Part of the reason some people don’t agree with film critics is because (generally speaking) most people’s opinions on a movie are affected by how much they like it. Film critics, meanwhile, strive to judge a movie on its quality alone and to remove their biases and personal tastes from the equation. It causes real problems when enjoyable but dumb movies are released. How “good” people find That Awkward Moment to be is going to be largely affected by how much they like it. Let it be said, though: it’s a hard movie not to like.

Photo: Focus Features

Jason, Daniel, and Mikey are three twenty-somethings living the life in New York. After Mikey (the only one of the them in a relationship) suddenly finds himself divorced, Jason and Daniel make a vow that none of the three of them will get into any relationships.

Of course, soon after they make their pact, Jason finds himself in love with a young woman who just gets him; Daniel discovers feelings for his wingwoman and long-time friend; and Mikey and his wife start hooking up again. Since the three men all made a pact, they all hide their secret relationships from each other, leading to the expected farcical scenes.

Photo: Focus Features

That Awkward Moment’s plot and story are cliché at best and stupid at worst. Meanwhile, the dialogue is amazingly sharp and the rapid-fire banter of quips feels like a spirited blend of Kevin Smith and Aaron Sorkin. It’s hard to believe the same person who constructed the dumbly derivative story also crafted such natural and hilarious dialogue.

The dialogue is helped by the movie’s ace card: the palpable chemistry of its lead actors. Zac Efron (effectively shedding his High School Musical days), Michael B. Jordon (of 2013’s excellent Fruitvale Station), and Miles Teller (of 2013’s even-more-excellent The Spectacular Now) play Jason, Mikey, and Daniel, and all are perfect in their roles. What’s more, you believe in their friendship. Their shorthand references and hyper-natural conversations are amazingly fun to watch, and elevate the whole movie.

Photo: Focus Features

It’s hard to think of a recent movie that’s average in so many ways but still so darned enjoyable. The ludicrous story and a few plot threads that strain to be funny somewhat hurt the film, but the honest camaraderie of the three leads and the whip-smart dialogue almost make up for it. It would be wrong to say That Awkward Moment is a great movie, or even a very good one. But it would be equally wrong to not admit it’s one of the most fun movies of the last few months.

VIDEO REVIEW: I, Frankenstein