Actor Nominations: Daniel Day Lewis (There Will Be Blood), Johnny Depp (Sweeney Todd), George Clooney (Michael Clayton), Viggo Mortensen (Eastern Promises), Tommy Lee Jones (In The Valley of Elah)
One horse race. I really cannot even envisage somebody beating out Daniel Day Lewis this year seeing as he gave the finest performance of his career. Subsequently, this places it among the top ten male performances of all time. True.
I suppose Clooney and Depp could manage to cause an upset but not only would I not hold my breath, I wouldn’t even close up my nostrils for second. Day Lewis will win, deserves to win and will not be defeated.
It should though be noted that I think both Casey Affleck in Gone Baby Gone, Josh Brolin in No Country For Old Men and Philip Seymour Hoffman in Before The Devil Knows You’re Dead deserve nods over Depp, Clooney and Mortensen. But there you go. Although, Mortensen should’ve got one for History of Violence. All’s fair, eh?
Who Will Win: Daniel Day Lewis
Who Should Win: Daniel Day Lewis
Dark Horse: Um… Clooney?
Following the failure (commercially only I might add) of John From Cincinnati, HBO needs something of quality to fill the void before The Wire restarts. It’s latest proposition is Tell Me You Love Me which has been noted for its frank depiction of sex. The question is though, is the sex any good?
While Showtime is beginning to catch up in recent months, the quality of HBO drama still reigns supreme. More a trend happening upon it is a greater sense of ‘adultness’ in its make up. It’s dramas now seem to almost completely eschew the vicarious, masculine thrills of The Sopranos or the quirky posturing of Six Feet Under. John From Cincinnati, while utterly beguiling, showed how difficult this is for audiences to accept. That show gave a distinct impression that while HBO’s audience is willing to be challenged on the levels of violence and sex on show, they don’t really want to engage with metaphysical, religious allegory. The failure also of Carnivale on a commercial basis, as again there lay a show of rare aptitude, showed the wish for a slightly easier aesthetic to cling onto. The Sopranos, for all its astounding, Shakespearean brilliance, is rooted for much of its audience in the Scorsese-world of recognisable gangster figures. The iconography and basic events of the series gave it a thrilling quality that centred it further towards the mainstream.