Note: This feature was originally published back in December 2015.
On Sunday night, the 2016 Golden Globe Awards will air, and it’ll be time yet again to gather around and watch as the brightest stars of TV and film get roaring drunk in each other’s company, all while that strange shadow organization known as the Hollywood Foreign Press Association distributes statues to the most famous people they can get to show up.
(Again, how else do you explain that Best Picture nom for The Tourist a few years back?)
Most importantly, the Globes are the gateway to the televised awards season, all leading up to the Oscars. So, in the first of what will likely be a number of prediction pieces, your friendly neighborhood film staff at Consequence of Sound has put together our predictions for who we think will take home a Globe this year, and who we think is the most deserving among those nominated. We’ll even toss out a few snubs that we found particularly glaring.
Feel free to use the following as a handy primer when you’re picking your own ballots while drinking in a living room somewhere, the way we most likely will be as well. You can even share your own picks below.
Best Animated Feature Film
The Good Dinosaur
The Peanuts Movie
Shaun The Sheep
What should win: Anomalisa
What will win: Inside Out
What was snubbed: World of Tomorrow
Any year where Pixar puts out two films — in this case, one great, one merely really good — is a good year for animation. Even The Peanuts Movie and Shaun the Sheep are critically acclaimed, so there are no true duds in this crop of nominees. That being said, the race is patently between Charlie Kaufman’s somber, revelatory Anomalisa and Pete Docter’s complex, exciting Inside Out – the former more appealing to the adult film snob set, the latter offering accessibility along with its great big beating heart. I’d be equally happy with either film winning; while Kaufman’s beautiful stop-motion film delves deep into the bittersweet mindset of middle age, Inside Out compellingly lays out the psychology of adolescence in a much sneakier and more subversive way. That being said, Kaufman’s impressive achievements in stop-motion animation (and its comparative novelty) will likely win it the award.
Best Foreign Film
The Brand New Testament
Son of Saul
What should win: Son of Saul
What will win: Son of Saul
What was snubbed: A thousand other movies.
The buzz surrounding László Nemes’ Hungarian feature, Son of Saul, is loud and unavoidable, with one reviewer going so far as to say it’s “the most important Holocaust movie ever made.” Way to set the standards high, reviewer. While the other nominees have won acclaim at high-profile festivals in Cannes and Berlin, there were a number of foreign-language films that deserved just as much attention. Romania’s The Treasure, Germany’s Phoenix, Brazil’s The Second Mother, and Ukraine’s The Tribe are but four snubs — or maybe the field was just too strong this year. Hell, The Second Mother’s Regina Casé should have received a nom for Best Actress but that’s for another category. Read up on these movies before the big ceremony. Not the Globes, the Oscars.
Best Original Score
Carter Burwell, Carol
Alexandre Desplat, The Danish Girl
Ennio Morricone, The Hateful Eight
Daniel Pemberton, Steve Jobs
Bryce Dessner, Ryuichi Sakamoto & Alva Noto, The Revenant
Who should win: Carter Burwell
Who will win: Bryce Dessner, Ryuichi Sakamoto & Alva Noto
Who was snubbed: Michael Giacchino, Inside Out; Junkie XL, Mad Max: Fury Road; Disasterpeace, It Follows
Carter Burwell’s a very well-liked and respected composer that’s been in the business for years. He’s scored every Coen film, worked on small and big budget features, and with Carol, he’s getting the attention he deserves for his vintage, somber, echo-y score. It’s award-worthy by gum.
But these are the Globes. Their awarding for scores seldom lines up with the Oscars. Remember when Alex Ebert won for All is Lost? Me neither, but that score didn’t make it to the Oscars. The point being, all bets are off, so we’ll say The Revenant will win because it’s percussive, moody throbbing commands attention more easily.
Although, Junkie XL’s score for Fury Road totally could have fit that bill, but like whatever. Same for Disasterpeace’s inventively glitch-laden music for It Follows. And where did Michael Giacchino’s sparkly, spunky music for Inside Out go? I’m not bitter…