Thomas J. McLean is an AwardsLine contributor.
Expect Gravity to be as powerful and inevitable a force in the visual-effects category at this year’s Oscars as, well, gravity. Offering more than just snazzy visuals — about 95% of what’s on screen is digital — Gravity’s visual-effects supervisor Tim Webber fulfilled many artists’ dreams by working from the start with director Alfonso Cuaron and cinematographer Emmanuel Lubezki to completely embed the effects into the storytelling and filmmaking process.
The space drama also has some serious cachet as a more artistic use of effects — a quality Academy voters have rewarded recently with trophies for Life of Pi, Hugo and The Curious Case of Benjamin Button. With Gravity offering a seemingly irresistible complete package, it looks as if the other nine Academy short-list contenders will just have to aspire to impress the effects branch enough at the Jan. 9 bake-off to score one of five Oscar nominations on Jan. 16.
In addition to Gravity, the short list includes Elysium, The Hobbit: The Desolation of Smaug, Iron Man 3, The Lone Ranger, Oblivion, Star Trek Into Darkness, Thor: The Dark World, Pacific Rim and World War Z. The most obvious question about the list is: How did the year’s highest-profile boxoffice dud, The Lone Ranger, make the cut and Man of Steel did not? (more…)