Here’s the thing: I’m generally lousy at them, because I always overthink these things. So I suppose since everybody and his brother are saying No Country for Old Men is going to win, it probably is — and since everybody is saying there’s a backlash against Juno, I guess there is.
But here’s the rub: I talk to a lot of people who actually just go to the movies rather than write about them. And most of these people didn’t really like No Country. They thought there were wonderful scenes but found the last 15 minutes baffling in a particularly off-putting way. I haven’t met a single person who doesn’t love Juno. People who write about movies twist themselves into knots thinking about these matters so much they decide Juno is meretricious and the end of No Country doesn’t matter.
What I’m saying is, evidently it would be an upset if Juno won. But why? Would would a universally liked, enormously popular, and very affecting film be considered an underdog against a brilliantly made but bloody and unsatisfying existential thriller? There are only 6,000 Academy Awards voters. None of them is a critic.
Last year, when The Departed beat Little Miss Sunshine, it did so in large measure because people really loved The Departed — and it was a slightly bigger hit. Nobody really loves No Country for Old Men. Juno is the movie this year that knocked people for a loop, a happy loop.
So it just seems to me the smart money being on No Country is a result of overthink. Based on what we know about the Oscars, the only obvious choice is Juno, except for the fact that it’s a comedy. Which is a big except. All of this only goes to show that if Atonement — epic, romantic, with English accents — had been better, it would have walked away with the award.
Daniel Day Lewis will win for best actor. Nobody knows who will win Best Actress — although if Ellen Page takes it for Juno, that will be a serious indication that the movie is going to win the big one. And while everybody says Javier Bardem is a lock for supporting actor in No Country, supporting is where the surprises always happen. Nobody knows about supporting actress either, though it strikes me as weird that the Academy might give Cate Blanchett a second Oscar for impersonating a famous person (the first was Katharine Hepburn in The Aviator; this would be for being Bob Dylan in I’m Not There).
But I’ve never won an Oscar pool.