EDGE Los Angeles

The Academy Award™ nominations are in, and the slate is full of... (drum roll) virtually no surprises.

If you follow film, particularly of the Hollywood variety, you won’t see any unexpected choices on the Oscar™ list, what with the endless movie chatter on Twitter, Facebook and the rest of the blogosphere and assorted news outlets.

Critically, the sheer number of film critics on sites like Rotten Tomatoes ends up shifting statistics in odd ways, with every other guy with a laptop fancying himself or herself a critic and fanboys holding inordinate sway over popular culture.

Often these self-anointed heralds of modern cinema haven’t spent a lifetime surrounded by world cinema as this humble writer has, and their opinions are not nearly as informed as the clutch of critical voices domineering the media for decades on end in the recent past.

The age of the must-read reviewer who stands the art of film on end and shakes vigorously until something profound tumbles out seems long past. Half these pundits wouldn’t know Fellini from Griffiths.

Still, their evident interest in film can only stoke others to support what is oft considered the most important cultural format America has ever produced.

Today, we can see that more and more audiences rely on word of mouth from friends and the internet, with the proof reflected by a drop in box office from a Friday to a Saturday, a la Bruno as a classic example.

Critics have a voice, but so do our friends, co-workers and neighbors. It seems everyone keeps score, and the all-important opening weekend grosses seem to be more a determinant factor for award success than most all other qualifications. At least most of the time.

The onscreen performances in Avatar, for example, are far more competent than the trite storyline, yet still lacking a certain distinction and thus not awarded kudos in the film’s nods from the Academy.

Box office could not be ignored, so the film was lauded with nine nominations in categories besides acting. The juggernaut could not be ignored, and indeed the film does deserve some recognition.

The expanded category of Best Motion Picture of the Year with ten candidates offered no surprises but did make room for both small, finely crafted films and blockbusters.

Some niche films will see a huge boost in box office, although a film like Precious is at best a difficult slog for the faint of heart. Perhaps now more folks will make the effort to see the tragic tale, as acting and directing honors for the disturbing film may well unfold at the ceremony.

Whether the Academy Awards even really do reflect the greatest of film has been up for debate since, well, the first gathering at the Blossom Room of the Roosevelt Hotel.

To deny a slant toward English speaking American film is a fool’s game, and fairness would say the main category should be re-titled The Best American Motion Picture of the Year.

A U.S. bias pervades the entire event, but then, this is the U.S. of A. and why should we focus intently on the film of the rest of the world?

Why is the Best Foreign Language Film category just five films if the Best Film category is ten? Just how many countries create film in the world today? Five? We can be so chauvinist culturally.

Yet, in the middle of all this cultural bias and studio bravado, a popular favorite film like Slumdog Millionaire can take home the grand prize. A finely crafted awards campaign and original film thus rose to the top, despite strong competitors.

Moral to the story: if you think it’s a done deal, all bets are off. Sit back, enjoy the pageantry and dish the dresses. After all, this is the U.S. and the Academy Awards are still the greatest show on earth.