The weekend saw no new releases that would be considered strong Oscar contenders, so instead of forecasting something where there is nothing, I’m going to look back at a few films I’ve seen this year that I think could make an appearance at the Oscars (or are ones I think deserve nominations).

Haywire

It is certainly not one of Steven Soderbergh’s best films, but it’s an entertaining experiment. While the Sound branch will never recognize the film, I think it’s highly deserving of nominations for both Sound Mixing and Sound Editing, both of which were effectively put to use despite a lack of pounding score or excessive effects. In addition, a nomination for Best Editing would not be undeserved. The film kept editing minimal and relied more heavily on a realistic approach to staging and choreographing the fight sequences. This was effectively and evocatively captured by Soderbergh working under the pseudonym Mary Ann Bernard.

John Carter

I was not impressed with most aspects of the film, including many of the performances. But the Art Direction of the film is amazing. Richly and lovingly detailed to create a gorgeous and credible environment, art director Nathan Crowley could be recognized by the Academy, but three are a lot of period films this year and it could get lost in the shuffle, but shouldn’t be.

Mirror Mirror

While the art direction of Mirror Mirror was indeed wonderful, it’s the late Eiko Ishioka’s amazing costuming that elevated the film. The costume designers have been known to recognize the recently departed and I would be saddened if they were not to do it again. Not since Bram Stoker’s Dracula has Ishioka captivated with such gorgeous designs. While Art Direction could accompany Costume Design as it frequently does, the only other category I can see the film earning a nomination in is Best Original Song. Like a Bollywood film, the movie closes with an energetic song titled “I Believe in Love”. It’s catchy and, along with the two songs from The Hunger Games, the Academy could see a revitalization of a category that has been mired in controversy and distaste in recent years.

The Woman in Black

When you compare the tableau of The Woman in Black with that of the aforementioned John Carter and Mirror Mirror it’s easy to see why this film will very quickly be forgotten by Academy voters. The design work is evocative and the tension is high thanks to the editing, but the film’s underwhelming box office (talks of a sequel notwithstanding) aren’t going to help, so you might just check this one off your list right now.