One of the reasons why I started following the Oscar race is because I was always fascinated by the films and performances that were in the running, but just missed the cut.
With the final 5 (or 10 for Best Picture, these days) often being determined by fairly random or unpredictable factors – box office, popularity, topicality, timing, serendipity – there are usually a handful of deserving shut outs that there simply was not space for - often just as good or better. These are the forgotten gems of the Oscar race, and they're often more fun to dig out.
So here are the more significant casualties of this year's Oscar race, as I see them:
With 10 slots for Best Picture, there aren't really too many movies that could realistically have been nominees but didn’t make it. In a way, it makes the race more satisfying, in another way it is less dramatic (no big Into the Wild-style shut outs). Many argue that 10 nominees is less prestigious, and they may have a point, but I would argue that it gives a better, more well-rounded view of the specific year in film. By being able to cater for more tastes and styles, they create a better snapshot of the year, and become more relevant, if slightly less prestigious.
This year’s list is pretty great & diverse, with indie favourites (Winter’s Bone, The Kids Are All Right), art-house hits (Black Swan), Box Office brilliance (Inception, Toy Story 3) & just plain solid (True Grit, The Fighter, The King’s Speech) and topical (The Social Network) dramas. I’m not sure exactly where 127 Hours fits in – probably a little bit of all of the above.
For the coulda-been-contenders, go ahead & click :
How it begins is an intense swirl of indie cool and bruised adolescence where two damaged people find each other and - under less than ideal circumstances - decide to stick together. How it falls apart is like Who's Afraid of Virginia Woolf with indie kids - no big infidelities or secrets, just the small frustrations that become overwhelming. Heartbreaking stuff. 
Much has been made of the film's sex scenes, but Ryan Gosling & Michelle Williams give performances so real & vulnerable, it feels like they are holding their souls up for scrutiny. In that context, there is nothing in the sex scenes that is any more revealing or uncomfortable to watch than in their fully-clothed conversations. Additionally, as in any marriage, the dynamics of the sex scenes are pivotal to revealing their state of intimacy, and, though uncomfortably real, the scenes are certainly not intended to be gratuitously erotic. 
Blue Valentine is probably best viewed as a cautionary tale about letting your emotions get the better of you. By allowing us to see what their marriage becomes, and also how it started, we are able to see the seeds of what comes between them in the end - whether it's Cindy's fragile & withdrawn nature, or Dean's volatile bullheadedness, what was sweet & charming to them at the start becomes unbearable when they can't get past their own insecurities to be good to each other.
