Is there anything you could want more than a bleak and deliberate palette, engrossing and intricately choreographed tracking shots, and one of the most masterfully crafted and iconic car scenes ever done? No. Thats the long and the short answer. You cant ask for anything more from your cinematographer. The things Emmanuel Lubezki did behind the camera in Children of Men were nothing short of miraculous. Most films are proud of one or two big tracking shots, but Lubezki dictated the entire film's tone with never ending barrage of them. His work alone creates a spectacle worthy of your attention for two hours. Children of Men could be a silent film and yet still be easily appreciated. The only reason this does not rise higher on the list is because it did face stiff competition from Guillermo Navarros work with Pans Labyrinth at the 79th Oscars. There is still no doubt Children of Men was the real winner, but compared to the starkness of the atrocities which lie ahead this selection feels almost like nitpicking.
21. Crash? Youre Joking, Right?
This isnt the first or last time in history that the lowest common denominator ended up on top on award night. Somehow in the strongest years the best films feel like they cannibalize each others first place votes. 2005 was one of those strong years in cinema: Brokeback Mountain, Capote, Good Night and Good Luck, and Munich were all candidates for Best Picture. In a weak year I could see any of those films winning the Oscar easily. Yet they all crashed (get it) into theaters at the same time. Who knows what was going on in voters minds, but Crash somehow ended up on top. Crash's take on the multiple intertwining narrative style is the cheapest kind of Oscar bait. A seemingly stellar ensemble cast, check. Heaps of heavy-handed morality tales, double check. The Academy are known suckers for over-the-top drama and sentiment, but here, against this competition, it feels like more. The distributor, Lionsgate, must have pulled in some powerful favors to secure the win.
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