They’re the awards only the show’s most avid watches seem to care about, but that happens to be us. Some other awards in contention on Sunday:

The best cinematography race is one of the more interesting of the non-major categories, a duel between “Pan’s Labyrinth” and “Children of Men.” Inexplicable nomination for “The Black Dahlia” notwithstanding, the category is unusually strong this year, but we’re betting on “Children of Men” to edge forward with its flawless single-shot chase sequence and climax. “Pan’s,” though, will take the bigger honor, the film a sure thing to take home foreign-language film.

If you’ve seen no other movie that wins anything, rest assured you will hear the scrappy score to “Pirates of the Caribbean: Dead Man’s Chest” as the visual effects artists walk away with that award.

The other best-picture awards will likely go to “Cars” and “An Inconvenient Truth,” not really because they are the best but because they have the industry heavyweights behind them.

Meanwhile, look for perennial Martin Scorsese editor Thelma Schoonmaker to take best editing for “The Departed” and for “Dreamgirls” to score on one of its three (!) nominations in the best-song category (we couldn’t care less which one that turns out to be). Best score is a toss-up between “The Queen” and “Pan’s Labyrinth,” but we’ll give the latter the edge, possibly because we liked it better. And all that hyperbolic praise can’t be for nothing: “Marie Antoinette” looks good to take home best costume design.

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