RACE REVIEW - 12 YEARS, GRAVITY UP, CAPTAIN PHILLIPS, MR. BANKS DOWN

With Oscar nominations in the rearview mirror, and Golden Globe and Critics Choice picks also revealed, this year is looking like the opposite of last year. Whereas then, three frontrunners were whittled down to one after the Academy's choices had been made (albeit not the one we had all expected), now one has been whittled up to three! American Hustle's seemingly solid lead over the competition was held up by success at the Golden Globes, but let down somewhat by a slightly disappointing showing at the Critics Choice. All the same, ten Oscar nominations is a formidable tally for the film. In contrast, 12 Years a Slave's nine seems like a little less than it could have achieved. And it's tough to gauge exactly what current opinion is on Steve McQueen's film: Best Picture wins from both HFPA and BFCA are hard to argue with, but that was only one of three from BFCA, and one of just one from the HFPA. There's obviously still passionate support for the film, but it's being trounced by other films, and suffered from a few glaring snubs with the Academy. Gravity, on the other hand, is steaming ahead. No Best Picture wins for it just yet, but a Golden Globe for Best Director and a matching trophy from the BFCA keep that film firmly in contention for the top award. And that BFCA win was one of seven! These three films will now likely duke it out for the Oscar.

Here's an interesting thought for you: SAG Ensemble Cast goes to American Hustle. WGA awards go to Her (or Nebraska) and The Wolf of Wall Street (12 Years a Slave is ineligible). PGA and DGA split either way between 12 Years a Slave and Gravity. The major guilds split up altogether. The exact opposite happened last year. Nebraska and The Wolf of Wall Street are the other two films to have scored with Oscar in Best Director, though neither are strong contenders for Best Picture since neither has a Best Film Editing nomination. Dallas Buyers Club does, though, and Matthew McConaughey and Jared Leto have already won two major awards in the past six days, and could each add a third tomorrow. The final editing slot belongs to Captain Phillips, which, with misses chez Oscar for Paul Greengrass and Tom Hanks, has failed to capitalise on major love for it from all the other major groups. Also suffering lately have been Inside Llewyn Davis, shafted by the industry despite enormous love from critics (two Oscar nominations, yes, just two, including none for the Coen brothers themselves) and Saving Mr. Banks, losing out on a nomination for Emma Thompson (of all people, I mean, rly) and scoring just one - another nomination for perennial loser Thomas Newman for Original Score.