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Oscar Nominees, Part Two

This episode of the Plastic Podcast is the second half of a conversation about the Academy Award nominations and omissions.

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Oscar Nominees, Part Two

This episode of the Plastic Podcast is the second half of a conversation about the Academy Award nominations and omissions.

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Daily Plastic is an ironically named Chicago-based movie blog, a collaboration between Robert Davis and J. Robert Parks, the same pair who brought you the wearable movie tote, the razor-thin pencil pocket, and that joke about aardvarks. If you know the whereabouts of the blue Pontiac Tempest that was towed from the Plastic Parking Lot on the evening of August 7th, 2008, or more importantly if you've recovered the red shoebox that was in its trunk, please contact us at your earliest convenience.

Davis is the chief film critic for Paste Magazine, and you can send him messages via Twitter. At this moment he is seated in a movie theatre or watching a DVD screener or eating a homemade cracker with his daughter while sipping puerh, or two of the above. Meanwhile, Parks, whose work has appeared in TimeOut Chicago, The Hyde Park Herald, and Paste, is molding unsuspecting, college-aged minds in the aforementioned windy city. Media types are warned to stay clear of his semester-sized field of influence because of the distorting effects that are likely to develop.

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Oscar Nominees, Part One
February 28, 2010
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This episode of the Plastic Podcast is the first half of a conversation about the Academy Award nominations. Rob and J. Robert talk about the Best Picture and Best Director categories.

0:00 Intro
1:16 Avatar
7:21 Expansion of the Best Picture Category
10:17 Our Favorite and Least Favorite Nominees
12:03 An Education
14:01 Up in the Air
18:20 The Hurt Locker
20:51 Precious
22:30 2009 as a Whole/Hole
27:31 District 9
29:15 The Blind Side Blind
30:30 Inglourious Basterds
35:18 Outro

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Duration: 35:24

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One Response to “Oscar Nominees, Part One”

  1. Welcome back, guys! Great show, perfectly spot-on on several of the nominees, most notably The Hurt Locker and Up In The Air, whose failings amidst its appeal you really nailed. Why do so many people- especially certain pro critics- love the latter film so much? My theory is that it's this season's Sideways: it asks its audience to identify with a central character that for various reasons is particularly easy for the type of person who has chosen criticism as a career to identify with. I was going to parallel the various ways Clooney resembles a working film critic, but it started sounding like a bitter screed so I'm holding off; I don't mean it that way at all. But I do think when Reitman found this character he knew what he had, and his studio was able to position his film as a successful Oscar picture in no small part because of this critic-pleasing aspect of the film.

    Brian — February 28th, 2010 at 1:46 pm

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