PSH was a shoe-in for Capote and I'm really looking forward to catching that.
Was glad to see George Clooney got something for all his nominations this year across the ceremonies: would have been shame to see him go home empty handed: again, Syriana is on my to see list.
Reese Witherspoon wanted to "matter" I hear: in which case she needs to do more films like Walk the Line and follow up on her stunning turn in Election as effectively as possible.
It seems that the swing really was behind Rachel Weisz for supporting actress, which rather suggests a misjudgement on the part of the team choosing categories for the BAFTAs: it makes a lot of difference which category you go for with some roles.
It also appears that mine wasn't the only heart to go for Wallace and Gromit: 4 Oscars for Nick Park it is then.
Despite my hopes elsewhere, it seems that the lush work in Memoirs of a Geisha was sufficient to scoop the visual awards: art direction, cinematography, and costume design all went its way.
After all the plaudits, the least that could happen was that Ang Lee would get another Oscar for his work on Brokeback Mountain. Did the film peak too soon? Is sexuality still too taboo a subject? Is race 'easier' to deal with?
I was pretty thrilled that Crash did so well, though I thought this was a revealing remark from Neil Smith on the BBC site:
But perhaps the key factor in Crash's success is that, as hard-hitting as its look at racial tensions in modern Los Angeles may be, it ultimately contains a heartwarming, even simplistic message.Maybe not so much the surprise winner after all...
Brokeback Mountain, Munich and Capote are profoundly feel-bad movies that leave the audience ruing man's bigotries, weaknesses and evil deeds.
The same can also be said of Good Night, and Good Luck, with its clarion call for independent media and unashamedly left-wing sympathies.
Though its characters often behave despicably to one another, Crash ultimately ends on an uplifting note.
Much has been written on how this year's Oscar contenders have embraced serious political and social themes that reflect a new maturity in Hollywood.
The clever thing about Crash is that it achieves this while still peddling the same wholesome truisms that have sustained Hollywood since time immemorial.