Nominated twice? Honestly, Academy, couldn’t you spread it out a bit? Then again, the production design of Beauty and the Beast and Darkest Hour are pretty impressive, so fair enough for Sarah Greenwood and Katie Spencer. That said, I suspect AMPAS will reward the remarkable designs of D. Austerberry, Jeffrey A. Melvin and Shane Vieau for The Shape of Water, which combines the historical with the fantastic, the whimsical with the serious. Personally, I preferred the retro-futurism of Blade Runner 2049, but I’d be surprised if this award does not go to The Shape of Water.
Typically, this award is a bone thrown to the mainstream blockbusters. It’s not a constant, as sometimes such films attract other awards as well, and the line between commercial and award film is sometimes blurred. Of these nominees, however, it is notable that three of them appear nowhere else in the awards categories. From a visual effects perspective, they are all very impressive, from the far reaches of space and intriguing alien worlds in Guardians of the Galaxy Vol. 2 and Star Wars: The Last Jedi to the (very different) dystopias of Blade Runner 2049 and War for the Planet of the Apes to the monster mashes of Kong: Skull Island. I loved all these films, not least for their astonishing visuals, and it’s a hard category to pick. I suspect that on the day, the award will go to Blade Runner 2049, but for me, I’d like to see the remarkable performance capture work of War for the Planet of the Apes.
Blade Runner 2049, John Nelson, Paul Lambert, Richard R. Hoover, Gerd Nefzer (predicted winner)
Kong: Skull Island, Stephen Rosenbaum, Jeff White, Scott Benza, Mike Meinardus
Star Wars: The Last Jedi, Ben Morris, Mike Mulholland, Chris Corbould, Neal Scanlan