By Angela Espinoza unday, March 7, was the night S of the 82 Academy Awards. Despite every other award one may win, it is the Oscar that every film enthusiast dreams of holding in their hands. As usual, not everyone was pleased with the results. Where one movie truly deserved a win, another only deserved its nomination—even if the results on the screen said otherwise. Throughout this article, I will be breaking down just which winner I thought was which, along with the rest of the ceremony. And the Oscar goes to... Getting right down to business, the first winner of the night was quite possibly the most obvious: Best Supporting Actor was awarded to Christoph Waltz for his performance as Colonel Hans “The Jew Hunter” Landa in Jnglourious Basterds. After a solid, clearly practiced acceptance speech, the rest of the night became sketchy. This year’s Disney & Pixar entrant, Up, won for Best Animated Feature. The only reason I didn’t see this as an obvious win (for once) was because contenders Fantastic Mr. Fox and Coraline were such equally wonderful films. Either way, I feel 12 a great sense of pride in seeing both works nominated. Contending with two generic Randy Newman pieces, amongst others, it was nice to see the Academy give Original Song to “The Weary Kind” from Crazy Heart. Putting aside generic hostilities towards country music, it’s a soothing piece that won me over easily. Speaking strictly as a fangirl for a moment, my heart broke when both Quentin Tarntino and the Coen brothers lost to Mark Boal for Best Original Screenplay. Quite honestly though, the win was well deserved considering what Boal had to endure when piecing together what would later become The Hurt Locker. When it came time to award the short pieces, the show entered its shakiest moments. Best Animated Short went to Logorama — the single most Americanized thing I’ve ever seen. Nicholas Schmerkin, like Waltz, had a quick and solid acceptance speech; the following speeches were when things went wrong. Best Documentary Short went to Music by Prudence, whose recipients (Roger Ross Williams and Elinor Burkett) seemed to have trouble figuring out who exactly was giving the acceptance speech. Best Live Action Short was awarded to The New Tenants, who again had its recipients (Joachim Back and Tivi Magnusson) fighting for the right to thank people before being cut off. In what was one of the most hilarious and memorable moments of the night, a Na’vi-styled Ben Stiller— tail and all—presented the award for Best Makeup. When the win went to Star Trek, the joy I felt was one that could not be placed into words. The popularity of CGI has reduced many talented makeup artists to using their skills strictly for altering the ages of various people, and not on elaborate monsters or space creatures as they once did so many years ago. Star Trek took the liberty of saving the computer imagery for their fantastic space shots, leaving Barney Burman, Mindy Hall and Joel Harlow with a win they each deserve to call their own. When I first saw District 9, there was no doubt in my heart that it would win Best Adapted Screenplay; my instinct got as far as a nomination. The winner, however, was Precious, adapted by Geoffrey Fletcher from the novel Push by Sapphire. Further proving my theory that movie villains are far more interesting then any noble hero, comedienne- turned-actress Mo’ Nique won Best Supporting Actress for her role as Mary Jones; the disturbing mother in Precious. The award for Best Art Direction went to art directors Rick Carter and Robert Stormberg and set decorator Kim Sinclair for their work on Avatar. This year’s award for Best Costume Design was met with a relatively dull selection. Minus the otherworldly apparel featured in The Imaginarium of Dr, Parnassus and complete re-workings of original Coco Chanel pieces, the award was easily handed out to three-time winner Sandy Powell for her work in The Young Victoria. My heart sank when Star Trek lost Best Sound Mixing to Paul NJ. Ottosson and Ray Beckett for The Hurt Locker, but at least we can say Transformers 2 didn’t win. Best Sound Editing had the same results in terms of winners and my emotional turmoil. Whoever Mauro Flore is, he, as well as Avatar, did not deserve the award for Best Cinematography. The results of a cinematographer’s work are seen after strategically placing every light, prop and person in their rightful places, and then blending them into a masterpiece. Each nominee deserved its place on the ballot except for Avatar, whose “cinematography” was merely digitally placed. When five refreshing dance pieces suddenly appeared in the musically inept awards ceremony, it came time to announce the winner