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Saturday, January 25, 2014

Philomena (Limited Release Date: 11-22-2013)

         Another Oscar nomination morning, another unexpected Best Picture nominee. It's a phenomenon that I wrote about in the early-goings of this blog; the propensity for the Academy to throw in one (and I mean exactly one) out-of-nowhere nominee into the big race. The last handful years have seen the likes of The Reader, The Blind Side, Extremely Loud & Incredibly Close, and Amour grace the shortlist, and when March 2nd finally rolls around, Philomena will undoubtably serve as this year's biggest, 'wait... what?' contender. Sure, the, 'British voting block,' probably had a lot to do with how this true story snuck up on all of us, but is Philomena really ready to sit at the table with the big kids?

        Where Philomena Lee is concerned, the answer is a resounding no; the film's namesake would likely prefer the comforts of an Old Country Buffet-style eatery, with a nifty romance novel in hand, to a glitzy awards show. Such is the character whom Judi Dench embodies, chipper in spite of a whole life of bad luck, unassuming and undemanding to her deepest core. Martin Sixsmith (Steve Coogan), on the other hand, is used to far plusher amenities. Recently displaced from his job as a BBC reporter for reasons that remain somewhat hazy, Sixsmith is in need of work, and unwittingly stumbles into Phil's daughter (Mare Winningham), who wishes to aid her mother in the finding of a long-lost son. Martin cringes at the thought of writing a human interest piece, but quickly succumbs, igniting an odd-couple road trip that eventually spans continents.

        Director Stephan Frears (High Fidelity, The Queen, Tamara Drewe) is cinema's greatest wingman: his films are always expertly paced, constructed with a sense of both style and class, and jam-packed with tremendous performances, though none of these attributes ever draws distracting attention to the man who calls, 'action.' In Philomena, he seamlessly mixes film, video, and digital all into the same project, resurrects what is essentially a dead genre (more on that soon), and still manages to sink into the background of the picture. Granted, this is easier to do when you have an actress like Dench on hand, who carries with her an ineffable grace, despite all of the knowingly geriatric comedy she's saddled with. Coogan, who also co-wrote the script and produced the film, is nearly her equal, underplaying each and every single line, requiring no explicit language to convey his character's torment.

        But therein lies my only real problem with Philomena: explicit language. No, no, not the kind you find on an Eminem album, but the kind that pins the tail on the donkey as if it had never been blindfolded in the first place. Words are often deployed when none are needed; if we see Martin spend time in swanky hotels and parties, and then watch him cringe at Philomena's willful anti-materialism, do we really need the dialogue to reinforce this dichotomy over and over again? This lack of subtly carries over to the film's merciless take-down of Catholicism, which is intriguing in its lack of restraint, but permits almost no grey between its blacks and whites. The best movies show more often than they tell; Philomena does an awful lot of both.

        Trailers and advertisements for the film have lead many to believe that Philomena is a fish-out-of-water comedy, when in fact the picture has much more in common with the Weepies of the 40's and 50's. Dredging up dead genre's can often be a fool's gambit (I'm talking to you, War Horse), but Frears' film manages to be frequently melodramatic without ever coaxing eyes to roll. In the year 2014, I'd say that's a mighty fine accomplishment, and it's a testament to all involved that the potentially cheesy story remains emotionally engaging from start to finish. I'm not sure that makes it a worthy Best Picture nominee, but far, far more egregious selections have been made than this (damn it, War Horse!). I'll probably still say, 'wait... what?' when it's name is read off on Oscar Sunday, but it'll be an affectionate, 'wait... what?'

Grade: B+

Monday, January 20, 2014

Hype Starts Here's Top 100 Songs of 2013 (10-1)

10. Goldtone---Kurt Vile
        No 2013 track was as closely tethered to its name as Goldtone, a ten-and-a-half minute expedition through one gorgeous sound or contented sentiment after the next, all in the hue of that same precious metal. Much like fellow album bookend Wakin on a Pretty Day, GT is more of an excuse for Vile to noodle away on into oblivion than a traditional verse-chorus-verse number, but it's the tune's adornments, from hushed back-up singers to a shy xylophone, that set it apart. Though a more caffeinated electric guitar threatens to harsh the song's mellow near the finish, Daze's closer stays zen-ed out, its warm grasp slowly loosening and drifting away back into the ether.

9. The Red Wing---Fuck Buttons

        By the standard that Andrew Hung and Benjamin John Power have established for themselves, The Red Wing opens in relatively subdued fashion, but don't get too comfortable. Those odd squeaks and hollow thunks echo in a cavernous space that, by song's end, is filled to the brim with all manner of sonic assailants, forming an unnerving balance between the threatening and the etherial. The track's unstoppable march into enormity peaks near the 5:30 mark, and by the time the bottom falls out about a minute later, you'll need to catch your breath... and then hit repeat.

8. Neptune Estate---King Krule
        Neptune Estate is more of a place than a song, a far off planet on which Archy Marshall composes one of the most singular break-up tunes imaginable. A drum machine loops endlessly in the background, lending the track a structure-less air as it glides along from one movement into the next, all colored with Marshall's distinct shade of melancholy, lyrics vacillating between despair, distain, and longing. The repetition, the sudden brass, the bummed-out whistle that slices through the track without warning; Neptune Estate's other-worldly cocktail of sounds and emotions is difficult to explain with words, and impossible to deny with ears.

6. *Tie* Unbelievers---Vampire Weekend and Step---Vampire Weekend
        The twin banner-carriers of my favorite album from 2013, Unbelievers and Step represent at least two sides of what makes Modern Vampires so damn successful. The former, with its steady chug of crashing drums, ecstatic keys, and quasi-celtic bridge, is irrepressibly celebratory despite its xenophobic lyrics, an atheist anthem and blow-out-your-speakers jam rolled into one. The latter, conversely, is fueled by a pristine pairing of harpsichord and piano, a perfect backing for Ezra Koenig's stunning turn, his lovely voice tugging heartstrings with a tale of letting your guard down, and learning to accept and cherish the things around you. Don't make me choose just one.
5. Black Skinhead---Kanye West
        Another Kanye West album: another theme song. Just as Yeezy semi-declared POWER his emblematic tune on Dark Fantasy, Black Skinhead roars to life with a similar proclamation, a jarring call-to-action whose pummeling drums, hop-scotch rhythm, and sinister sounds play like an arena jam for the most sordid sporting event of all-time. No other song last year pleaded quite so violently to be played at ear-splitting volumes, that pre-chorus reverb able to fill rooms up all by itself, Kanye's wounded howls leant extra ferocity and desperation. In the words of the out-of-nowhere Will Ferrell sample on N***as In Paris, "It gets the people going!"
4. Chum---Earl Sweatshirt
        It's been 445 days since the world was first introduced to Chum, which makes it an odd inclusion on this list given its parent album, Doris, didn't come out until August 20th last year, but its initial impact remains wholly intact. I'll spare you the backstory (which you should check out if you're not already abreast), but Earl's first track since returning from Samoa finds the MC in unnervingly fine form, his hyper-personal flow dazzling atop a simple, nocturnal beat that calls a ceaselessly looping piano its backbone. From his relationships with both of his parents and his Odd Future bandmates, to his new-found fame and the folks at Complex magazine, Chum says a lot about what the 19-year-old is going through while still leaving many aspects of his personal plight draped in shadow, his intricate and thorny word-play technically marvelous and unsettlingly earnest without ever over-stepping.
3. Retrograde---James Blake
        I would say that Retrograde is a song of peaks and valleys, but it really consists of just two low planes and a mountain so tall, it boarders on absurdity. Blake's sing-song hum might insist otherwise, but there's a palpable sense of dread to the track, each second louder and more abrasive than the last until the troubadour finally proclaims, "Suddenly I'm hit," and smacks us with a wall of synthesizers that wheeze with unrepentant power and bombast. If Retrograde is a love song, as many have claimed, it's certainly a conflicted one, contrasting emotions all coming to a head and battling to death atop that aforementioned hill, scaling back down after just over a minute of all-out war, an eerie feeling still hanging over us like the darkest of rainclouds.
2. Sea of Love---The National
        While I wouldn't put Trouble Will Find Me anywhere near the top of the, 'Best Albums by The National,' discussion, there's a real chance that Sea of Love is the best song that Matt Berninger and the brothers (and the brothers) have ever written. Everything that we've come to love about the band during their amazing fifteen year run (sneakily speedy drums, sinewy guitars, tales of, 'common man's strife,' Berninger's signature baritone, drastic mid-song shifts, blow-the-roof-off climaxes) is perfectly synthesized into a four-minute miracle, a career victory lap crammed into the smallest of showcases. It's a tale of longing to re-connect, featuring a chant-and-shout, tear-all-the-walls-down conclusion whose urgency dovetails into an almost holy sense of catharsis.
1. Get Lucky---Daft Punk feat Pharrell
        One sign that a song is great: you perfectly remember the first time that you heard it. I was at home, in my room, laying down after a few long days at work, when I clicked on a link that simply read, "New Daft Punk Single." Another way to know that a song is great: it sounds amazing. That initial burst, with Pharrell's swagger-infused come-ons, powered by Nile Rodgers' heavenly rhythm guitar, and eventually encased inside of Thomas Bangalter and Guy-Manuel de Homem-Christo bizarre robotic croons, brought a cartoonishly enormous smile to my face, and sent my finger to the, 'replay,' button mere seconds after the sound had faded. Even after all the over-saturation, the earned hosannas, and the requisite backlash have all come and gone, I still view Get Lucky as a positively magical six minutes, a track whose charms and spells never seem to wain, and the single greatest pop song to achieve major radio success in at least a couple of years.

Hype Starts Here's Top 50 Albums of 2013:

Hype Starts Here's Top 100 Songs of 2013:

Wednesday, January 15, 2014

Oscar Predictions 2013: Round Three (Final Nomination Predictions)

Best Picture:
1. 12 Years a Slave (Previous Ranking: 1)
        Fared well in the guilds, possesses important subject matter, and is revered by many. I’m not ready to call it a lock for the nomination, but 12 remains the favorite.
2. Gravity (Previous Ranking: 2)
        Far and away the year’s greatest pure spectacle, Gravity should clean up in the technical categories, which could parlay into the big win.
3. American Hustle (Previous Ranking: 6)
        Headlined by five recent nominees, American Hustle’s star power has it popping up everywhere on the pre-oscar trail. Making the line-up feels like a foregone conclusion.
4. Captain Phillips (Previous Ranking: 4)
        There’s a BIG drop between numbers 3 and 4 on this list; though Captain Phillips is beloved by many, hardly anyone calls it their favorite movie of the year. That said, SAG, DGA, WGA, and PGA nominations inspire faith.
5. The Wolf of Wall Street (Previous Ranking: 5)
        Wolf’s divisive nature and subject matter will undoubtably turn some voters away, but the backlash against the film will probably end up proving that no press is bad press. Scorsese’s DGA nod was huge.
6. Nebraska (Previous Ranking: 7)

        The DGA miss is a bit troubling, but Alexander Payne has directed two straight Best Picture nominees, and won a couple statues for writing, not to mention the subject matter should prove appealing to certain academy members.

7. Dallas Buyers Club (Previous Ranking: 13)
        And here’s where things start getting murky: though DBC didn’t seem like a Best Picture player for much of the year, being singled-out by the Actor’s Guild (the largest branch of the Academy), the Producers Guild (essentially the, ‘Best Picture,’ guild), and the Writer’s Guild (*CherryOnTop*) changes everything.

8. Inside Llweyn Davis (Previous Ranking: 3)
I’m incredibly tempted, as I did in my rough draft of this article, to follow suit with the PGA, and leave Llewyn off the list. The fact remains that the Coens have only been left out of the big race once since 2004’s The Ladykillers. The preferential voting system also works in their favor.

I am predicting these eight films to be nominated (I don't have some crazy math equation that helped me determine this number; these just seem like the ones). The following is where I rank the next movies in line.

9. Her (Previous Ranking: 14)
        Her has its ultra-passionate supporters, as witnessed with its PGA nod, but the lack of any likely acting nominees, as well as its odd-ball premise, keep it off my list.

10. Blue Jasmine (Previous Ranking: 8)
The fact that Blanchett is virtually unbeatable in Best Actress means Blue Jasmine will be spinning in the DVD players of academy members the country-over. Still, even the PGA citation doesn’t dissuade me from thinking the picture is just too small.
11. Saving Mr. Banks (Previous ranking: 10)
Showing up on the Producers’ list gives me more faith than anything else Banks-related that transpired this Oscar season, as people seem to love Thompson, and have mixed feelings on the rest.

12. Philomena (Previous Ranking: 17)


‘The British Voting Block,’ is a term that Oscar nerds love to throw around every year, and in 2013, the most likely recipient of their affection is Philomena. Most of me thinks the sector’s importance is entirely over-blown, but stranger things have happened.
12. The Butler (Previous Ranking: 9)
Important Subject Matter + Box Office + famous actors playing famous people + Oprah! There’s still a lot to like here, but Lee Daniels’ latest has been a virtual no-show through-out precursor season.

Lone Survivor (Previous Ranking: Unranked)

Unexpectedly enormous Box Office this last weekend, paired with overly-enthusiastic audience response, and that out-of-nowhere WGA shout-out. Who knows?
14. Fruitvale Station (Previous Ranking: Unranked)
        The word here is Passion: Station might not get love from everyone, but if it can generate enough #1 votes, an invitation is still possible.
15. Before Midnight (Previous Ranking: 16)
Copy and past everything from the FS commentary.
17. August: Osage County (Previous Ranking: 11)
        Since the actors comprise the largest voting body of the academy, taking this star-studded stage adaptation off the list prematurely could prove fool-hardy.
Blue is the Warmest Color (Previous Ranking: Unranked)
Amour made it last year; could another beloved foreign film follow in its footsteps?
19. All is Lost (Previous Ranking: 12)
Diving kind of deep here, but Redford has a history with the golden man, and Director J.C. Chandor’s out-of-the-blue screenplay nomination for Margin Call has to mean something, right?

Best Actor:
1. Chiwetel Ejiofor---12 Years a Slave
This is the ultimate example of where nomination predictions differ from actual Oscar prognostications: as much as I don’t foresee Ejiofor winning the award, it’s harder still to visualize him missing out on a nod.
2. Bruce Dern---Nebraska
The elder-statesman on campus, headlining a likely Best Picture nominee. If that’s not enough, he’s even ready and eager to campaign!

3. Matthew McConaughey---Dallas Buyers Club
The Math Mac’s stinky filmography has me wondering how short-term Oscar’s memory really is, but if he gets in, the #1 slot is all his (at least temporarily...).
4. Tom Hanks---Captain Phillips
All signs point to Hanks getting in, but the guy hasn’t heard his name called on Oscar morning since 2001, and something about Phillips gives me pause.
5. Leonardo DiCaprio---The Wolf of Wall Street
Word is that the majority of the SAG didn’t see Wolf until after it was time to vote, but Leo was just snubbed last year; maybe they need a break.
6. Robert Redford---All Is Lost
Being left off of the SAG’s final five REALLY hurt, but hope is still alive for this living legend in a one-man show.

7. Forest Whitaker---The Butler
Usurping Redford’s spot with the Screen Actor’s Guild was a big boost, but it’s tough to have faith in a performance from an only-so-beloved film.
8. Joaquin Phoenix---Her
        Those who love Her agree that his performance is a huge part of why the flick works.
9. Christian Bale---American Hustle
How much do you guys love American Hustle? Enough to sweep me in?
10. Oscar Isaac---Inside Llewyn Davis
Same as above, only with far less love for the film in question.
11. Michael B. Jordan---Fruitvale Station
        If any movie scores a handful of jaw-dropping nominations tomorrow, I think it will be FS, whose star has been receiving accolades for almost a year now.

Best Actress:
1. Cate Blanchett---Blue Jasmine
One of Oscar’s two most boring categories, Blanchett neurotic Woody Allen lead seems all but unbeatable at this point.
2. Sandra Bullock---Gravity
Methinks single-handedly carrying lengthy stretches of one of 2013’s most beloved films has its benefits.
3. Emma Thompson---Saving Mr. Banks
No part of me can see her winning, but many praise her performance, and Banks could still make a big splash in a variety of categories.
4. Judi Dench---Philomena
Dench wouldn’t be so safe if it weren’t for such embarrassingly-modest competition. Pedigree alone should be enough.
5. Meryl Streep---August: Osage County
Streep is Streep, and the 2013 Best Actress category is the 2013 Best Actress category. If you can name the last Meryl-Guns-For-An-Oscar performance that didn’t get nominated, I’ll take her off the list.
6. Amy Adams---American Hustle
The four-time nominee’s movie has admirers aplenty, and in a year like this, leading in such a flick could get you in all by itself.
7. Adèle Exarchopoulos---Blue is the Warmest Color
Again with the passion vote: if certain sectors of the academy really love Blue, Exarchopoulos could happen, but then and only then.

8. Brie Larson---Section 12
        Channeling the spirit of The Little Engine That Could, Larson’s film might be nearly invisible, but some are really championing her performance.

Best Supporting Actor:
1. Jared Leto---Dallas Buyers Club
Can anyone beat either Blanchett or Leto? These feel like the two most boring categories of the night (though Gravity’s Special Effects Oscar sure feels like it’s in the bag, or is that just me?).
2. Michael Fassbender---12 Years a Slave
It might feel dirty to pencil such a deplorable character in for the win, but Fassbender missing the final five seems equally inconceivable.
3. Barkhad Abdi---Captain Phillips
He hardly made a blip on my radar for much of 2013, but an absolute cavalcade of recent notations has the first-time actor looking like a sure thing for a nomination.
4. James Gandolfini---Enough Said
Call me cynical, but I just feel like this post-humous nomination is too juicy for Oscar to turn down. Gandolfini was, after all, a thespian worthy of the academy’s attention.
Bradley Cooper---American Hustle
A first-time nominee just last year, Cooper is one of Hollywood’s hottest stars, featured in one of Oscar’s favorite movies.
Daniel Brühl - Rush


Brutal to leave him off after so many have cited him, including the SAG, but has anyone taken the time to see this movie?

7. Matthew McConaughey---Mud
        It’s always a great story when Oscar nominates an individual in multiple categories, especially acting categories, and the Math Mac’s star is scorchingly hot right now.
8. Jonah Hill---The Wolf of Wall Street
        A previous nominee playing sidekick in what will likely be one of the ceremony’s buzziest pictures, Hill can’t be discounted just yet.

9. John Goodman---Inside Llewyn Davis

        The veteran slot, witnessed more often in Supporting Actor than in any other category. Maybe Gandolfini fits the bill, but I’d still watch out.

10. Tom Hanks---Saving Mr. Banks

        Ditto everything written about McConaughey and his film, only with a less beloved movie, and less lauded performance.

10. Will Forte---Nebraska
        The NBR tip-of-the-hat was surprising, and they might just love the flick.

Best Supporting Actress:

1. Lupita Nyong’o---12 Years a Slave
        In perfect contradiction to Supporting Actor, Supporting Actress is a category where the golden man often likes to reward newcomers, and who could be a better candidate than the flooring Nyong-o?

2. Oprah Winfrey---The Butler
        The most famous woman in America (the world?) acting in a biopic about the civil rights movement? This was a nomination the moment the cast and crew were announced.

3. Jennifer Lawrence---American Hustle
        Hollywood’s star-of-the-moment, Lawrence’s status as America’s Sweetheart might help her as much as having JUST WON last year might hurt her.

4. June Squibb---Nebraska 
        The foul-mouthed mid-westerner might not have much of a shot at the win, but bragging rights as one of the oldest acting nominees of all time feel pretty safe.

5. Julia Roberts---August: Osage County
        Hollywood royalty in a role that many consider the lead? Perhaps not in a stronger year for the ladies, but in 2013...


6. Sally Hawkins---Blue Jasmine
        Hawkins is great in Jasmine, and the BAFTA’s recognition, in conjunction with the PGA shoulder-tap, keeps her right in the thick of things.

7. Octavia Spencer---Fruitvale Station

        Like I keep saying, FS's got spoiler potential, and many cite Spencer as the movie's stand-out performance.
8. Jennifer Garner---Dallas Buyers Club
        The movie got the SAG ensemble nomination, and with two co-stars figuring to be virtual locks, she could get pulled in.
9. Scarlett Johansson---Her

        If Oscar is feeling desperate for attention, he might just invite this voice-only performance to the party, which would make it the first of its kind. 

10. Sarah Paulson---12 Years a Slave
        If 12 Years goes on a nomination rampage, watch out.
11. Lea Seydoux---Blue is the Warmest Color

        Rinse and repeat: Blue might just have some strong advocates out there, so I'm leaving all participants on the list.
Best Director:
1. Steve McQueen---
12 Years a Slave
2. Alfonso Cuaron---
3. David O. Russell---
American Hustle
4. Paul Greengrass---
Captain Phillips
5. Martin Scorsese---
The Wolf of Wall Street
6. Alexander Payne---
7. Spike Jonze---
8. Joel Coen & Ethan Coen---
Inside Llewyn Davis
9. Woody Allen---
Blue Jasmine
10. John Lee Hancock---
Saving Mr. Banks
11. Lee Daniels---
The Butler
12. Jean-Marc Vallee---
Dallas Buyers Club
13. Ryan Coogler---
Fruitvale Station 
14. Peter Berg---
Lone Survivor

Best Original Screenplay:
1. Eric Singer & David O. Russell---

American Hustle

2. Bob Nelson---


3. Melisa Wallack, Craig Borten---

Dallas Buyers Club

4. Woody Allen---Blue Jasmine

Spike Jonze---Her

6. Joel Coen & Ethan Coen---
Inside Llewyn Davis
7. Alfonso Cuarón & Jonas Cuarón---
8. Kelly Marcel & Sue Smith---
Saving Mr. Banks
9. Danny Strong---

The Butler

10. Ryan Coogler---

Fruitvale Station 

11. Nicole Holofcener---
Enough Said

Best Adapted Screenplay:
1. John Ridley---
12 Years a Slave
Terence Winter---

The Wolf of Wall Street

Steve Coogan & Jeff Pope---Philomena

4. Billy Ray---Captain Phillips

5. Richard Linklater, Julie Delpy, and Ethan Hawke---Before Midnight
6. Tracy Letts---

August: Osage County

7. Peter Berg---

Lone Survivor

8. Abdellatif Kechiche, Ghalia Lacroix---
Blue is the Warmest Color

Best Foreign Language Film:
The Great Beauty
The Hunt
The Grandmaster
The Broken Circle
The Missing Picture
Two Lives

Best Documentary Feature:
The Act of Killing
Stories We Tell


The Square

20 Feet to Stardom

Tim’s Vermeer
7. God Loves Uganda

Best Animated Feature:
1. Frozen
2. The Wind Rises
3. Monsters University
4. The Croods
5. Despicable Me 2
6. Ernest & Celestine
7. A Letter to Momo

Best Cinematography:
1. Emmanuel Lubezki---Gravity
2. Sean Bobbitt---12 Years a Slave
3. Barry Ackroyd---Captain Phillips
4. Phedon Papamichael---Nebraska
5. Bruno Delbonnel---

Inside Llewyn Davis


6. Roger Deakins---Prisoners

7. Hoyte van Hoytema---Her

8. Phillippe Le Sourd---

The Grandmaster

9. Frank G. DeMarco, Peter Zuccarini---

All is Lost

Best Editing:

1. Alfonso Cuaron & Mark Sanger---Gravity

2. Christopher Rouse---Captain Phillips

3. Joe Walker---12 Years a Slave


Thelma Schoonmaker---The Wolf of Wall Street

5. Jay Cassidy, Crispin Struthers---American Hustle


6. Roderick Jaynes---Inside Llewyn Davis

7. Kevin Tent---Nebraska

8. Jeff Buchanan, Eric Zumbrunnen---Her

Best Original Score:

1. Hans Zimmer---12 Years a Slave

2. Steven Price---Gravity


Alexandre Desplat---Philomena
4. Thomas Newman---Saving Mr. Banks

5. Henry Jackman---Captain Phillips


6. John Williams---The Book Thief

7. William Butler and Owen Pallett---Her

Best Original Song:

1. Robert Lopez and Kristen Anderson-Lopez---Let It Go (Frozen)

2. Lana Del Rey---Young and Beautiful (The Great Gatsby)

3. U2---Ordinary Love (Mandela: Long Walk To Freedom)

4. Nicholas Britell---My Lord, Sunshine (12 Years A Slave)


Gladys Knight and Lenny Kravitz---You and I Ain't Nothing No More(The Butler)


6. Coldplay---Atlas (The Hunger Games: Catching Fire)


Karen O---The Moon Song (Her)
8. Pharrell---Happy (Despicable Me 2)

9. Ed Sheeran---I See Fire (The Hobbit: The Desolation of Smaug)

Best Procution Design:
1. Andy Nicholson and Rosie Goodwin---Gravity
2. Adam Stochausen and Alice Baker---12 Years a Slave
3. Catherine Martin and Beverly Dunn---

The Great Gatsby

4. Dan Hennah and Ra Vincent---The Hobbit: The Desolation of Smaug
5. Judy Becker and Heather Loeffler---American Hustle
6. Jess Gonchor and Susan Bode---Inside Llewyn Davis

7. K.K. Barrett and Gene Serdena---Her
8. Michael Corenblith and Lauren E. Polizzi---Saving Mr. Banks

Best Costume Design:
1. Catherine Martin---
The Great Gatsby

2. Patricia Norris---
12 Years a Slave

3. Michael Wilkinson---
American Hustle

4. Gary Jones---Oz: The Great and Powerful
5. Trish Summerville---The Hunger Games: Catching Fire
6. Michael Orlandi---Saving Mr. Banks
7. Casey Storm---Her
8. Ann Maskrey, Richard Taylor, and Bob Buck---The Hobbit: The Desolation of Smaug

Best Makeup and Hairstyling:
1. Evelyne Noraz and Lori McCoy-Bell---American Hustle
2. Ve Neill and Nikoletta Skarlatos---The Hunger Games: Catching Fire
3. Evelyne Noraz and Rachel Geary---Dallas Buyers’ Club
4. Joel Harlow, Mike Smithson, and Robin Beauschesne---The Lone Ranger
5. Candace Neal and Robert Stevenson---The Butler
6. Maurizio Silvi and Lesley Vanderwalt---The Great Gatsby

Best Special Effects:
1. Gravity
2. The Hobbit: The Desolation of Smaug
3. Pacific Rim
4. Iron Man 3
5. Star Trek Into Darkness
6. The Great Gatsby
7. Rush

Best Sound Editing:

1. Gravity
2. Captain Phillips
3. Inside Llewyn Davis
4. Iron Man 3
5. Lone Survivor
6. Rush
7. All is Lost
8. 12 Years a Slave
9. Pacific Rim

Best Sound Mixing:
1. Gravity
2. Captain Phillips
3. Inside Llewyn Davis
4. Iron Man 3
5. Lone Survivor
6. Rush
7. All is Lost
8. 12 Years a Slave
9. Pacific Rim