Look at the history of the award for Best Picture. It is littered with bad choices that get more and more glaring over time as the titles that lost rise in popularity and prominence over those that won.
So, why not save everyone the anguish, and create a Best Actor/Actress Under 12? Or, better yet, a "You Must Be 'This' Tall to Win This Award" category? Anything would be better than the way it is now.
I still don't see "Silver Linings" gaining the kind of momentum it would need to call "Argo" back to the runway (only one more week of this metaphor, Chris, I swear!), but the campaign could help Russell win Best Adapted Screenplay and even Best Director.
Good thing Chris Rosen has a jolly sense of humor. Soon after Michael Hogan and I raise him up as a model of Oscar punditry for picking Argo early on to win Best Picture, we tear him down in this webcam chat.
85 percent of winners came in the top two in nominations, and 93 percent of the winners at least made bronze. So should you go ahead and fill out your Oscar ballot with Lincoln or Life of Pi, this year's runner-up with 11 nominations?
"Argo" has producers and actors behind it, a push that gives Affleck's film the momentum of a runaway freight train. Meanwhile, we're all still waiting for "Lincoln" to win one significant Oscar precursor.
I could write numerous articles on how Tarantino and DiCaprio got the shaft, how Christopher Nolan got cheated, and how Looper didn't even get a best original screenplay nomination, but I'll stick to just the Best Picture category to tear apart.
This year, it's looking as if I won't be buying tickets to most of the nominees for Best Picture, because I have this built-in protective mechanism which keeps me away from exceptionally violent films.
Zero Dark Thirty was nominated for Best Picture. Mark Boal, the screenwriter, was nominated for Best Original Screenplay. Jessica Chastain was nominated for Best Actress, so it seems the only individual successfully swiftboated this year was director Kathryn Bigelow.
Meron and Zadan's partnership initially took shape in New York City at the Public Theater, where, working for producer Joe Papp, they adopted the legendary producer's forward-looking ethos of color-blind casting and championing minority writers.