OVP: Best Visual Effects (2008)
The Nominees Were...
Eric Barba, Steve Preeg, Burt Dalton and Craig Barron, The Curious Case of Benjamin Button
Nick Davis, Chris Corbould, Tim Webber, and Paul Franklin, The Dark Knight
John Nelson, Ben Snow, Dan Sudick, and Shane Mahan, Iron Man
Nick Davis, Chris Corbould, Tim Webber, and Paul Franklin, The Dark Knight
John Nelson, Ben Snow, Dan Sudick, and Shane Mahan, Iron Man
My Thoughts: Visual Effects may be the most exciting tech category to discuss if only because it's the category where everyone actually saw all of the films. The movies in this category made a combined domestic total of $978 million, a staggering amount of money and one of them helped to spawn one of the most successful film franchises of all-time. All-in-all, not what you'd consider a particularly shabby bunch, and a field that hopefully all of you have thoughts upon, as I know I sure do. Let's both share-I'll go first.
If you're looking up top and seeing the Batmobile during a surprisingly thrilling sequence in The Dark Knight rather than a gigantic flying effect or a mass of CGI, it's because The Dark Knight is a fairly "old-school" style nomination in this category. Combining the fact that 2008 wasn't heavy in effects films (we didn't have a Harry Potter, Middle Earth, or Star Wars entry, one of the only years of the Aughts where that wasn't the case) with the mammoth Box Office earned by The Dark Knight (no one else came close), the film was destined to get cited here regardless of its actual content (look at something like The Avengers for proof), but it's actually pretty compelling. The film uses its more limited effects to create ambience (every effects shot seems in care of the cinematography and in crafting a Gotham for us to enjoy), and the chase sequences thrill with metal and speed. I loved the above scene, where the Batmobile speeds through Gotham toward the Joker, and the use of lower-key explosions to make the Joker and Harvey seem all the more real. This devotion to authenticity rather than the huge elevates the film, something that visual effects are supposed to do, but rarely actually accomplish.
This isn't quite the case with Iron Man. This is a film that thrives off of its effects, and certainly they're impressive, particularly the actual suit. The flights with one man, gold and maroon across the sky, taking life as a bird out for a spin, are on-point and exactly the sort of marvel we expect from, well, Marvel. However, the villain-y of Jeff Bridges' Stane isn't ever as interesting as Downey, and their eventual battle is a letdown, frequently feeling a bit tacked-on and cheap looking compared with some of the earlier sequences. CGI was emerging in a major way in the mid-Aughts, with basically everyone thinking they could be George Lucas, but while Star Wars' effects tend to age pretty well, it's not the case for all films, and Iron Man should have stuck to more flying and less fighting.
The final nominee is certainly the most ambitious. I've complained already about the realism of Brad Pitt's old man, how he looks super impressive but not quite true (which isn't what you're going for in a movie that is supposed to be competing for Best Picture), but it's still really cool. The younger Pitt is the more impressive creation, which required both makeup and some fascinating visual effects, recreating an icon and making us actually believe that Pitt looked 28 again. The film is brimming with effects surrounding Pitt, though it actually has a pretty solid looking shipwreck scene and the matte work is strong as well. All-in-all, not as cool as some other contenders that would follow (Avatar was just a year away, keep in mind), but still very impressive.
If you're looking up top and seeing the Batmobile during a surprisingly thrilling sequence in The Dark Knight rather than a gigantic flying effect or a mass of CGI, it's because The Dark Knight is a fairly "old-school" style nomination in this category. Combining the fact that 2008 wasn't heavy in effects films (we didn't have a Harry Potter, Middle Earth, or Star Wars entry, one of the only years of the Aughts where that wasn't the case) with the mammoth Box Office earned by The Dark Knight (no one else came close), the film was destined to get cited here regardless of its actual content (look at something like The Avengers for proof), but it's actually pretty compelling. The film uses its more limited effects to create ambience (every effects shot seems in care of the cinematography and in crafting a Gotham for us to enjoy), and the chase sequences thrill with metal and speed. I loved the above scene, where the Batmobile speeds through Gotham toward the Joker, and the use of lower-key explosions to make the Joker and Harvey seem all the more real. This devotion to authenticity rather than the huge elevates the film, something that visual effects are supposed to do, but rarely actually accomplish.
This isn't quite the case with Iron Man. This is a film that thrives off of its effects, and certainly they're impressive, particularly the actual suit. The flights with one man, gold and maroon across the sky, taking life as a bird out for a spin, are on-point and exactly the sort of marvel we expect from, well, Marvel. However, the villain-y of Jeff Bridges' Stane isn't ever as interesting as Downey, and their eventual battle is a letdown, frequently feeling a bit tacked-on and cheap looking compared with some of the earlier sequences. CGI was emerging in a major way in the mid-Aughts, with basically everyone thinking they could be George Lucas, but while Star Wars' effects tend to age pretty well, it's not the case for all films, and Iron Man should have stuck to more flying and less fighting.
The final nominee is certainly the most ambitious. I've complained already about the realism of Brad Pitt's old man, how he looks super impressive but not quite true (which isn't what you're going for in a movie that is supposed to be competing for Best Picture), but it's still really cool. The younger Pitt is the more impressive creation, which required both makeup and some fascinating visual effects, recreating an icon and making us actually believe that Pitt looked 28 again. The film is brimming with effects surrounding Pitt, though it actually has a pretty solid looking shipwreck scene and the matte work is strong as well. All-in-all, not as cool as some other contenders that would follow (Avatar was just a year away, keep in mind), but still very impressive.
Other Precursor Contenders: The Visual Effects Society splits its nominations between Effects-Drive films (the ones that actually get nominated at the Oscars) and the ones with supporting effects. Supporting we saw Changeling top Eagle Eye, Nim's Island, Synecdoche, New York, and Valkyrie (remember that Tom Cruise movie-this is a weirdly "oh right" sort of nostalgia in writing these 2008 recaps), while effects-driven films saw Benjamin Button clobber Prince Caspian, Cloverfield, Hellboy 2, and Iron Man. The BAFTA Awards also gave their trophy to Benjamin Button, and in addition to the two Oscar nominees selected Indiana Jones and the Kingdom of the Crystal Skull and Quantum of Solace to join the films. I was genuinely curious considering the pretty thin list of contenders to see who else made the bake-off, and it turns out I was right to be intrigued: in addition to Hellboy II, we had three largely forgotten films in Australia, Journey to the Center of the Earth, and The Mummy: Tom of the Dragon Emperor (I am staggered that Prince Caspian didn't make the cut considering it would have been my fourth place guess). I genuinely don't know who would have been in fourth place, nearing a nomination here, though I kind of wonder if Hellboy II might have landed a second citation to go with its surprise Best Makeup slot.
Films I Would Have Nominated: Like Best Makeup, this is a really solid lineup. I could have considered a look at Hellboy II, especially with that final battle scene and the gear-like floor, but I'm not going to knock any of these nominees out for it.
Oscar’s Choice: Lately Oscar can't say no to a stampede, so Benjamin Button took down the superheroes.
My Choice: Part of me wants to go with the The Dark Knight, as its effects feel the most authentic to the film, but there's too much "cool" to not give this trophy to Benjamin Button, so I will (Iron Man comes in third).
And those are my thoughts-what are yours? Are you also with me on Benjamin Button or are you concerned at how the effects have aged? Do you instead want Batman or Iron Man? Who do you think got fourth out of that bakeoff (a truly great question, in my opinion, that I'd love to hear some thoughts about)? And what film had the best overall Visual Effects of 2008? Share your thoughts in the comments!
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