AtomikaLive fast and get fucked or whateverRegistered Userregular
edited January 2011
After some time in consideration, I'll have to admit that I think True Grit is one of their minor efforts. I'll stop short of saying it's not a "good" effort, as I think they achieved exactly what they were trying for, I just think their aim was off. Instead of saying it's a failure, I'm saying they succeeded in an unsatisfying way.
And come on. A Serious Man is one of their best films. Maybe the best.
A Serious Man was funny thrilling and thought provoking. I thoroughly liked it but I can sort of see how the mood of the movie might not be what some enjoy watching as it is quite a downer.
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AtomikaLive fast and get fucked or whateverRegistered Userregular
A Serious Man was funny thrilling and thought provoking. I thoroughly liked it but I can sort of see how the mood of the movie might not be what some enjoy watching as it is quite a downer.
Oh, sure, but not enjoying something on a visceral level shouldn't be grounds for labeling it a "weak effort."
I don't particularly like musical theater, but that has no bearing on any production's quality.
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AtomikaLive fast and get fucked or whateverRegistered Userregular
edited January 2011
Quentin Tarantino has released his annual Top 20 list, and as always they're interesting choices. I usually find myself disagreeing with most of them, but it's interesting to see where one of this generation's best directors sees excellence.
1. Toy Story 3,
2. The Social Network,
3. Animal Kingdom,
4. I Am Love,
5. Tangled ,
6. True Grit,
7. The Town,
8. Greenberg,
9. Cyrus,
10. Enter The Void (“Hands down best credit scene of the year … Maybe best credit scene of the decade. One of the greatest in cinema history.” – QT),
11. Kick Ass.
12. Knight and Day,
13. Get Him To The Greek,
14. The Fighter,
15. The Kings Speech,
16. The Kids Are All Right,
17. How To Train Your Dragon,
18. Robin Hood,
19. Amer,
20. Jackass 3-D
Sadly, he never really lets on why those films make his lists, as some of them are so questionable to demand explanation. Knight and Day? Seriously? That film was awful.
However, it's interesting to see Ridley Scott's Robin Hood on that list. I thought that film was very unfairly maligned by critics all over for being such a radical departure from the traditional Robin Hood narrative, as well as for ending the film at the chronological point where most other Robin Hood tales begin. I always thought that such a ridiculous criticism, and for two reasons:
1) Who the fuck are you to tell someone how to do a revision?
2) Why do you want to see the same shit you've seen before?
I found it really odd, but most critics seemed to pummel this film for not being the Robin Hood films they saw before. To that I say, please, go watch those other films. There are dozens to pick from, all just about the same.
And that's not to say that Scott's Robin Hood was infallible; it was. It had quite a few glaring errors, most of them in the last twenty minutes, and it's one of the few instances where a film needed less of what was shown to be better. Regardless, irrational criticism is irrational criticism.
My problem with Robin Hood was it was just a generic medieval movie with pop political philosophy thrown in. Also, I was much more hyped for it when it was called Nottingham and Robin Hood was a supporting character. That would have been a unique take on the tale.
And I watched Knight and Day this week. It was awful. Killers was much better (and it won't be going on my top 20 list, either).
My problem with Robin Hood was it was just a generic medieval movie with pop political philosophy thrown in. Also, I was much more hyped for it when it was called Nottingham and Robin Hood was a supporting character. That would have been a unique take on the tale.
And I watched Knight and Day this week. It was awful. Killers was much better (and it won't be going on my top 20 list, either).
Well, it was trying to put a vague mythological character into some kind of historical reference, which I don't really mind.
It was the last-act shenanigans with Longstride's sudden democratic activist turn, Marion showing up at the battle with the French, and Lord Loxley's Vulcan Mind-Meld crap that sent that movie into oblivion. Shame, too; it's 80% of a really good movie.
I'm a bit drunk so more incoherent than usual, but I thought True Grit was great. Definately better than A Serious Man. I put it up with my first tier of Coen brothers films (which includes Barton Fink, O Brother, and Big Lebowski).
I do admit that I think True Grit was more a triumph of craftmanship than art if you feel like putting a bunch of thought into figuring out the difference between those two things. But True Grit was the best movie that I've seen probably in a couple years (though I don't see as many movies as I used to).
The Fighter was good, good but not great.
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VariableMouth CongressStroke Me Lady FameRegistered Userregular
edited January 2011
A Serious Man is one of my favorites of theirs, maybe favorite. it's everything they do well, fantastic tone, really very very funny while dark... I thought it was brilliant
I do admit that I think True Grit was more a triumph of craftmanship than art if you feel like putting a bunch of thought into figuring out the difference between those two things.
A can agree with that, but I don't share the sentiment that such a statement is exactly a positive thing.
Craftsmanship is just an exposition of talent. Art is commentary.
My problem with Robin Hood was it was just a generic medieval movie with pop political philosophy thrown in. Also, I was much more hyped for it when it was called Nottingham and Robin Hood was a supporting character. That would have been a unique take on the tale.
And I watched Knight and Day this week. It was awful. Killers was much better (and it won't be going on my top 20 list, either).
Well, it was trying to put a vague mythological character into some kind of historical reference, which I don't really mind.
It was the last-act shenanigans with Longstride's sudden democratic activist turn, Marion showing up at the battle with the French, and Lord Loxley's Vulcan Mind-Meld crap that sent that movie into oblivion. Shame, too; it's 80% of a really good movie.
Yeah my wife and I thought it would have been a much better movie if they had dropped Robin's father from the film. It seemed so ham-handed and out of place plus totally changed Robin Longstride's character after establishing him to be a certain way. His speech was dumb too.
I saw Black Swan and The King's Speech this weekend. Both were terrific films.
I had initially taken my wife to see the new Narnia movie, but we were confronted with $13 matinee tickets and only having the choice to see it in 3D. The King's Speech won out.
At the showing I went to I am sure that more than half the crowd actually remembers George VI. I saw more canes and walkers than I've seen in the past month.
I'm fairly certain that my fiancée and I were the only people in the cinema under 45. Didn't stop us from thoroughly enjoying the film along with everyone else, though. Surprisingly, there were quite a few moments that had me laughing harder than I have at any comedy in the past decade! At the end of Bertie's first swearing tirade, the entire theatre roared with laughter at the the tiny exclamation of "...tits!".
I'm fully expecting it to clean up at the Oscars.
I didn't really get A Serious Man. I saw it on a plane in the middle of an 11 hour flight and although I enjoyed watching it; it just ends really abruptly and I was just left wondering what the point of the movie was supposed to have been
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AtomikaLive fast and get fucked or whateverRegistered Userregular
I didn't really get A Serious Man. I saw it on a plane in the middle of an 11 hour flight and although I enjoyed watching it; it just ends really abruptly and I was just left wondering what the point of the movie was supposed to have been
The word "uncertainty" appears about 100 times in the film.
You may now feel free to extrapolate around the cabin.
I didn't really get A Serious Man. I saw it on a plane in the middle of an 11 hour flight and although I enjoyed watching it; it just ends really abruptly and I was just left wondering what the point of the movie was supposed to have been
it's a movie that's all about finding someone to love. But when you can't, god kills you.
1. It felt like a generic action film.
2. The story of the original script came to light, which sounded like a much more interesting "different angle" on the Robin Hood story than what we got.
Scurrillous rumours abound that he was encouraged to tone down his act somewhat halfway through. Didn't see the whole show, so I don't know whether that rings true. But really, if you're going to nominate The Tourist for awards, you are in line for a kicking and should not complain about someone saying you must have been bribed. He's either right, and you're corrupt, or he's wrong, and you're idiots who thought The Tourist was one of the five best comedies of the year.
Introducing Bruce Willis as "Ashton Kutcher's dad" was glorious.
Scurrillous rumours abound that he was encouraged to tone down his act somewhat halfway through. Didn't see the whole show, so I don't know whether that rings true. But really, if you're going to nominate The Tourist for awards, you are in line for a kicking and should not complain about someone saying you must have been bribed. He's either right, and you're corrupt, or he's wrong, and you're idiots who thought The Tourist was one of the five best comedies of the year.
Introducing Bruce Willis as "Ashton Kutcher's dad" was glorious.
Yeah, I can understand someone pulling him aside about how personal some of the jabs were getting, but everything said about the HFPA was dead on and not even really that scandalous.
Absolutely no one thought Burlesque, The Tourist, or Alice in Wonderland were good films. The former two didn't even do well at the box office. HFPA deserves everything they had coming.
Ricky Gervais was on Conan the Friday before the awards and had said that last year every time he ran an idea by the show directors he got shot down, so he said he wasn't telling them anything this year beforehand. I seriously doubt they invite him back ever again, but so be it. It's hard for me to get worked up about a comedian taking the piss out of a completely worthless awards show.
At least the only nominee in the "Comedy" category that was 1) a comedy or musical and 2) Any good at all (according to critics) won. That one category is the entire reason I didn't watch.
I almost wish I had watched it to hear Gervais skewer them.
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AtomikaLive fast and get fucked or whateverRegistered Userregular
At least the only nominee in the "Comedy" category that was 1) a comedy or musical and 2) Any good at all (according to critics) won. That one category is the entire reason I didn't watch.
I almost wish I had watched it to hear Gervais skewer them.
If memory serves, I think the first Pirates the Caribbean movie got thrown in as a "Comedy or Musical."
If given the choice between putting it in drama or comedy I'd pick comedy too, even though it's neither.
It's just a weird and arbitrary line to cross; so all films are either Dramas or Musicals/Comedies?
There are dramatic musicals, there are comedic dramas, there are horror films and thrillers and adventure movies and a dozen in between.
It's a meaningless split, rendered even moreso by the types of movies that end up getting put into that latter category. Like Anne Hathaway getting nominated for "Best Actress in a Comedy or Musical" for a drama where she plays a disabled person.
Didn't the Golden Globes once reward a support actress TV award for someone who had 30 seconds of screen time? Or was that someone else? (or was that just a nomination?)
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AtomikaLive fast and get fucked or whateverRegistered Userregular
Didn't the Golden Globes once reward a support actress TV award for someone who had 30 seconds of screen time? Or was that someone else? (or was that just a nomination?)
You may be thinking of Ellen Burstyn in Angels in America (I think), who yeah, got something like 43 seconds of airtime in a 4-hour mini-series.
However, the Academy plays their favorites, too. Judi Dench won Best Supporting for Shakespeare in Love for being on camera for under 2 minutes.
I saw Black Swan and The King's Speech this weekend. Both were terrific films.
I had initially taken my wife to see the new Narnia movie, but we were confronted with $13 matinee tickets and only having the choice to see it in 3D. The King's Speech won out.
Thank god, because the Kings Speech is one of the best movies ever, and Narnia is really no good at all!
Didn't the Golden Globes once reward a support actress TV award for someone who had 30 seconds of screen time? Or was that someone else? (or was that just a nomination?)
You may be thinking of Ellen Burstyn in Angels in America (I think), who yeah, got something like 43 seconds of airtime in a 4-hour mini-series.
However, the Academy plays their favorites, too. Judi Dench won Best Supporting for Shakespeare in Love for being on camera for under 2 minutes.
Seven minutes of screen time, and that's not the shortest performance to win Best Supporting (The wife in Network, Beatrice Striaght, holds that title at five minutes.)
She got it because she didn't win Best Actress for Mrs. Brown the year before. Similar to Russell Crowe winning for Gladiator because he didn't win for The Insider the year before.
A fun Golden Globes last night, in my opinion. Ricky Gervais was hilarious and made the whole thing feel really relaxed and a little drunk. Besides, it looked like all the actors he was mocked knew how to take a joke. He might not get asked back, but I hope the HFPA realizes that he brings a nice vibe to the whole proceeding.
She got it because she didn't win Best Actress for Mrs. Brown the year before. Similar to Russell Crowe winning for Gladiator because he didn't win for The Insider the year before.
Yes, the Academy is absolutely guilty of being susceptible to public pressure. I'm immediately reminded of the year after Jesse Jackson led protests alleging the Academy of racism, where Sidney Pointier won the lifetime achievement award and Denzel Washington and Halle Berry won for questionable performances.
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VariableMouth CongressStroke Me Lady FameRegistered Userregular
edited January 2011
damn I forgot gervais was hosting. I'm sure I missed a lot of good stuff.
I think its an open secret that John Travolta is a bisexual, but the Cruise rumors always struck me as jealous hollywood rumors. In any case its one of those jokes everybody makes in private, so why shouldn't Gervaise make it in public?
Chris Colfers speech was good.
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The sky was full of stars, every star an exploding ship. One of ours.
Best Picture
“Black Swan”
“The Fighter”
“Inception”
“The Kids Are All Right”
“The King’s Speech”
“127 Hours”
“The Social Network”
“Toy Story 3”
“True Grit”
“Winter’s Bone”
Directing
“Black Swan” Darren Aronofsky
“The Fighter” David O. Russell
“The King’s Speech” Tom Hooper
“The Social Network” David Fincher
“True Grit” Joel Coen and Ethan Coen
Actor in a Leading Role
Javier Bardem in “Biutiful”
Jeff Bridges in “True Grit”
Jesse Eisenberg in “The Social Network”
Colin Firth in “The King’s Speech”
James Franco in “127 Hours”
Actor in a Supporting Role
Christian Bale in “The Fighter”
John Hawkes in “Winter’s Bone”
Jeremy Renner in “The Town”
Mark Ruffalo in “The Kids Are All Right”
Geoffrey Rush in “The King’s Speech”
Actress in a Leading Role
Annette Bening in “The Kids Are All Right”
Nicole Kidman in “Rabbit Hole”
Jennifer Lawrence in “Winter’s Bone”
Natalie Portman in “Black Swan”
Michelle Williams in “Blue Valentine”
Actress in a Supporting Role
Amy Adams in “The Fighter”
Helena Bonham Carter in “The King’s Speech”
Melissa Leo in “The Fighter”
Hailee Steinfeld in “True Grit”
Jacki Weaver in “Animal Kingdom”
Animated Feature Film
“How to Train Your Dragon” Chris Sanders and Dean DeBlois
“The Illusionist” Sylvain Chomet
“Toy Story 3” Lee Unkrich
Art Direction
“Alice in Wonderland”
“Harry Potter and the Deathly Hallows Part 1”
“Inception”
“The King’s Speech”
“True Grit”
Cinematography
“Black Swan” Matthew Libatique
“Inception” Wally Pfister
“The King’s Speech” Danny Cohen
“The Social Network” Jeff Cronenweth
“True Grit” Roger Deakins
Costume Design
“Alice in Wonderland” Colleen Atwood
“I Am Love” Antonella Cannarozzi
“The King’s Speech” Jenny Beavan
“The Tempest” Sandy Powell
“True Grit” Mary Zophres
Documentary (Feature)
“Exit through the Gift Shop” Banksy and Jaimie D’Cruz
“Gasland” Josh Fox and Trish Adlesic
“Inside Job” Charles Ferguson and Audrey Marrs
“Restrepo” Tim Hetherington and Sebastian Junger
“Waste Land” Lucy Walker and Angus Aynsley
Documentary (Short Subject)
“Killing in the Name” Nominees to be determined
“Poster Girl” Nominees to be determined
“Strangers No More” Karen Goodman and Kirk Simon
“Sun Come Up” Jennifer Redfearn and Tim Metzger
“The Warriors of Qiugang” Ruby Yang and Thomas Lennon
Film Editing
“Black Swan” Andrew Weisblum
“The Fighter” Pamela Martin
“The King’s Speech” Tariq Anwar
“127 Hours” Jon Harris
“The Social Network” Angus Wall and Kirk Baxter
Foreign Language Film
“Biutiful” Mexico
“Dogtooth” Greece
“In a Better World” Denmark
“Incendies” Canada
“Outside the Law (Hors-la-loi)” Algeria
Makeup
“Barney’s Version” Adrien Morot
“The Way Back” Edouard F. Henriques, Gregory Funk and Yolanda Toussieng
“The Wolfman” Rick Baker and Dave Elsey
Music (Original Score)
“How to Train Your Dragon” John Powell
“Inception” Hans Zimmer
“The King’s Speech” Alexandre Desplat
“127 Hours” A.R. Rahman
“The Social Network” Trent Reznor and Atticus Ross
Music (Original Song)
“Coming Home” from “Country Strong” Music and Lyric by Tom Douglas, Troy Verges and Hillary Lindsey
“I See the Light” from “Tangled” Music by Alan Menken Lyric by Glenn Slater
“If I Rise” from “127 Hours” Music by A.R. Rahman Lyric by Dido and Rollo Armstrong
“We Belong Together” from “Toy Story 3″ Music and Lyric by Randy Newman
Short Film (Animated)
“Day & Night” Teddy Newton
“The Gruffalo” Jakob Schuh and Max Lang
“Let’s Pollute” Geefwee Boedoe
“The Lost Thing” Shaun Tan and Andrew Ruhemann
“Madagascar, carnet de voyage (Madagascar, a Journey Diary)” Bastien Dubois
Short Film (Live Action)
“The Confession” Tanel Toom
“The Crush” Michael Creagh
“God of Love” Luke Matheny
“Na Wewe” Ivan Goldschmidt
“Wish 143” Ian Barnes and Samantha Waite
Sound Editing
“Inception” Richard King
“Toy Story 3” Tom Myers and Michael Silvers
“Tron: Legacy” Gwendolyn Yates Whittle and Addison Teague
“True Grit” Skip Lievsay and Craig Berkey
“Unstoppable” Mark P. Stoeckinger
Sound Mixing
“Inception”
“The King’s Speech”
“Salt”
“The Social Network”
“True Grit”
Visual Effects
“Alice in Wonderland”
“Harry Potter and the Deathly Hallows Part 1”
“Hereafter”
“Inception”
“Iron Man 2”
Writing (Adapted Screenplay)
“127 Hours” Screenplay by Danny Boyle & Simon Beaufoy
“The Social Network” Screenplay by Aaron Sorkin
“Toy Story 3” Screenplay by Michael Arndt; Story by John Lasseter, Andrew Stanton and Lee Unkrich
“True Grit” Written for the screen by Joel Coen & Ethan Coen
“Winter’s Bone” Adapted for the screen by Debra Granik & Anne Rosellini
Writing (Original Screenplay)
“Another Year” Written by Mike Leigh
“The Fighter” Screenplay by Scott Silver and Paul Tamasy & Eric Johnson; Story by Keith Dorrington & Paul Tamasy & Eric Johnson
“Inception” Written by Christopher Nolan
“The Kids Are All Right” Written by Lisa Cholodenko & Stuart Blumberg
“The King’s Speech” Screenplay by David Seidler
AtomikaLive fast and get fucked or whateverRegistered Userregular
edited January 2011
The Big One is out, guys. The Academy Awards. Below is the Ultra-Ginormous List of All Nominees in All Categories.
Best motion picture of the year
Black Swan
The Fighter
Inception
The Kids Are All Right
The King's Speech
127 Hours
The Social Network
Toy Story 3
True Grit
Winter's Bone
Performance by an actor in a leading role
Javier Bardem in "Biutiful" (Roadside Attractions)
Jeff Bridges in "True Grit" (Paramount)
Jesse Eisenberg in "The Social Network" (Sony Pictures Releasing)
Colin Firth in "The King's Speech" (The Weinstein Company)
James Franco in "127 Hours" (Fox Searchlight)
Performance by an actor in a supporting role
Christian Bale in "The Fighter" (Paramount)
John Hawkes in "Winter's Bone" (Roadside Attractions)
Jeremy Renner in "The Town" (Warner Bros.)
Mark Ruffalo in "The Kids Are All Right" (Focus Features)
Geoffrey Rush in "The King's Speech" (The Weinstein Company)
Performance by an actress in a leading role
Annette Bening in "The Kids Are All Right" (Focus Features)
Nicole Kidman in "Rabbit Hole" (Lionsgate)
Jennifer Lawrence in "Winter's Bone" (Roadside Attractions)
Natalie Portman in "Black Swan" (Fox Searchlight)
Michelle Williams in "Blue Valentine" (The Weinstein Company)
Performance by an actress in a supporting role
Amy Adams in "The Fighter" (Paramount)
Helena Bonham Carter in "The King's Speech" (The Weinstein Company)
Melissa Leo in "The Fighter" (Paramount)
Hailee Steinfeld in "True Grit" (Paramount)
Jacki Weaver in "Animal Kingdom" (Sony Pictures Classics)
Best animated feature film of the year
How to Train Your Dragon (Paramount) Chris Sanders and Dean DeBlois
The Illusionist (Sony Pictures Classics) Sylvain Chomet
Toy Story 3 (Walt Disney) Lee Unkrich
Art Direction
Alice in Wonderland (Walt Disney), Robert Stromberg (Production Design), Karen O'Hara (Set Decoration)
Harry Potter and the Deathly Hallows Part 1 (Warner Bros.), Stuart Craig (Production Design), Stephenie McMillan (Set Decoration)
Inception (Warner Bros.), Guy Hendrix Dyas (Production Design), Larry Dias and Doug Mowat (Set Decoration)/span>
The King's Speech (Paramount), Eve Stewart (Production Design), Judy Farr (Set Decoration)
True Grit (Paramount), Jess Gonchor (Production Design), Nancy Haigh (Set Decoration)
Achievement in Cinematography
Black Swan (Fox Searchlight) Matthew Libatique
Inception (Warner Bros.) Wally Pfister
The King's Speech (The Weinstein Company) Danny Cohen
The Social Network (Sony Pictures Releasing) Jeff Cronenweth
True Grit (Paramount) Roger Deakins
Achievement in costume design
Alice in Wonderland (Walt Disney) Colleen Atwood
I Am Love (Magnolia Pictures) Antonella Cannarozzi
The King's Speech (The Weinstein Company) Jenny Beavan
The Tempest (Miramax) Sandy Powell
True Grit (Paramount) Mary Zophres
Achievement in directing
Black Swan (Fox Searchlight), Darren Aronofsky
The Fighter (Paramount), David O. Russell
The King's Speech (The Weinstein Company), Tom Hooper
The Social Network (Sony Pictures Releasing), David Fincher
True Grit (Paramount), Joel Coen and Ethan Coen
Best Documentary Feature
Exit through the Gift Shop (Producers Distribution Agency) Banksy and Jaimie D'Cruz A Paranoid Pictures Production
Gasland Josh Fox and Trish Adlesic A Gasland Production
Inside Job (Sony Pictures Classics) Charles Ferguson and Audrey Marrs A Representational Pictures Production
Restrepo (National Geographic Entertainment) Tim Hetherington and Sebastian Junger An Outpost Films Production
Waste Land Lucy Walker and Angus Aynsley (Arthouse Films) An Almega Projects Production
Best documentary short subject
Killing in the Name Nominees to be determined A Moxie Firecracker Films Production
Poster Girl Nominees to be determined A Portrayal Films Production
Strangers No More Karen Goodman and Kirk Simon A Simon & Goodman Picture Company Production
Sun Come Up Jennifer Redfearn and Tim Metzger A Sun Come Up Production
The Warriors of Qiugang Ruby Yang and Thomas Lennon A Thomas Lennon Films Production
Achievement in film editing
Black Swan (Fox Searchlight) Andrew Weisblum
The Fighter Paramount Pamela Martin
The King's Speech (The Weinstein Company) Tariq Anwar
127 Hours (Fox Searchlight) Jon Harris
The Social Network (Sony Pictures Releasing) Angus Wall and Kirk Baxter
Best foreign language film of the year
Biutiful Mexico
Dogtooth Greece
In a Better World Denmark
Incendies Canada
Outside the Law (Hors-la-loi) Algeria
Achievement in makeup
Achievement in makeup (Sony Pictures Classics) Adrien Morot
The Way Back (Newmarket Films in association with Wrekin Hill Entertainment and Image Entertainment) Edouard F. Henriques, Gregory Funk and Yolanda Toussieng
The Wolfman (Universal) Rick Baker and Dave Elsey
Achievement in music written for motion pictures (Original score)
How to Train Your Dragon (Paramount) John Powell
Inception (Warner Bros.) Hans Zimmer
The King's Speech (The Weinstein Company) Alexandre Desplat
127 Hours (Fox Searchlight) A.R. Rahman
The Social Network (Sony Pictures Releasing) Trent Reznor and Atticus Ross
Achievement in music written for motion pictures (Original song)
Coming Home from Country Strong (Sony Pictures Releasing (Screen Gems)) Music and Lyric by Tom Douglas, Troy Verges and Hillary Lindsey
I See the Light from Tangled (Walt Disney) Music by Alan Menken Lyric by Glenn Slater
If I Rise from 127 Hours (Fox Searchlight) Music by A.R. Rahman Lyric by Dido and Rollo Armstrong
We Belong Together from Toy Story 3 (Walt Disney) Music and Lyric by Randy Newman
Best animated short film
Day & Night (Walt Disney) A Pixar Animation Studios Production Teddy Newton
The Gruffalo A Magic Light Pictures Production Jakob Schuh and Max Lang
Let's Pollute A Geefwee Boedoe Production Geefwee Boedoe
The Lost Thing (Nick Batzias for Madman Entertainment) A Passion Pictures Australia Production Shaun Tan and Andrew Ruhemann
Madagascar, carnet de voyage (Madagascar, a Journey Diary) A Sacrebleu Production Bastien Dubois
Best live action short film
The Confession (National Film and Television School) A National Film and Television School Production Tanel Toom
The Crush (Network Ireland Television) A Purdy Pictures Production Michael Creagh
God of Love A Luke Matheny Production Luke Matheny
Na Wewe (Premium Films) A CUT! Production Ivan Goldschmidt
Wish 143 A Swing and Shift Films/Union Pictures Production Ian Barnes and Samantha Waite
Achievement in sound editing
Inception (Warner Bros.) Richard King
Toy Story 3 (Walt Disney) Tom Myers and Michael Silvers
Tron: Legacy (Walt Disney) Gwendolyn Yates Whittle and Addison Teague
True Grit (Paramount) Skip Lievsay and Craig Berkey
Unstoppable (20th Century Fox) Mark P. Stoeckinger
Achievement in sound mixing
Inception (Warner Bros.) Lora Hirschberg, Gary A. Rizzo and Ed Novick
The King's Speech (The Weinstein Company) Paul Hamblin, Martin Jensen and John Midgley
Salt (Sony Pictures Releasing) Jeffrey J. Haboush, Greg P. Russell, Scott Millan and William Sarokin
The Social Network (Sony Pictures Releasing) Ren Klyce, David Parker, Michael Semanick and Mark Weingarten
True Grit (Paramount) Skip Lievsay, Craig Berkey, Greg Orloff and Peter F. Kurland
Achievement in visual effects
Alice in Wonderland (Walt Disney) Ken Ralston, David Schaub, Carey Villegas and Sean Phillips
Harry Potter and the Deathly Hallows Part 1 (Warner Bros.) Tim Burke, John Richardson, Christian Manz and Nicolas Aithadi
Hereafter (Warner Bros.) Michael Owens, Bryan Grill, Stephan Trojanski and Joe Farrell
Inception (Warner Bros.) Paul Franklin, Chris Corbould, Andrew Lockley and Peter Bebb
Iron Man 2 (Paramount and Marvel Entertainment, Distributed by Paramount) Janek Sirrs, Ben Snow, Ged Wright and Daniel Sudick
Adapted screenplay
127 Hours (Fox Searchlight), Screenplay by Danny Boyle & Simon Beaufoy
The Social Network (Sony Pictures Releasing), Screenplay by Aaron Sorkin
Toy Story 3 (Walt Disney), Screenplay by Michael Arndt. Story by John Lasseter, Andrew Stanton and Lee Unkrich
True Grit (Paramount), Written for the screen by Joel Coen & Ethan Coen
Winter's Bone (Roadside Attractions), Adapted for the screen by Debra Granik & Anne Rosellini
Original screenplay
Another Year (Sony Pictures Classics), Written by Mike Leigh
The Fighter (Paramount), Screenplay by Scott Silver and Paul Tamasy & Eric Johnson. Story by Keith Dorrington & Paul Tamasy & Eric Johnson
Inception (Warner Bros.), Written by Christopher Nolan
The Kids Are All Right (Focus Features), Written by Lisa Cholodenko & Stuart Blumberg
The King's Speech (The Weinstein Company), Screenplay by David Seidler
Thoughts?
Obviously people are going to be talking about Mila Kunis' snub for Black Swan, but I honestly am not all that maligned by it. The work she did, while very competent, was nothing spectacular. However, exactly the same could be said for Amy Adams in The Fighter, though I think it's fairly moot to argue about it. Melissa Leo seems to be the front-runner in most pools, and she or Michelle Williams is likely the most deserving. Again, the fact that Kunis and Adams both got nominated for such unmemorable and slight performances shines a light on just how poorly-written female characters are written today in Hollywood. On that same note, I was speaking just the other day to someone how the Emmys and Golden Globes can't seem to find any worth in a female performance where the actress isn't playing a cop or lawyer or doctor. Perennial favorites like Kyra Sedgwick and Mariska Hargitay are mediocre talents on awful shows, but they appeal to the black-and-white nuance-free predispositions of middle-brow Red State viewers.
Also, Christopher Nolan got snubbed for Inception. A big deal? I think so, only because David O. Russel got a nom for The Fighter. The Fighter only gets by because of Walhberg's earnestness, Bale's charisma, and Leo's awesome bitchiness. It's rather a poorly-made film, and makes some very obvious and trite stylistic choices. Whereas on the other hand, Inception is unlike any movie ever made, and Nolan directed the living shit out of it. Not only does he seamlessly pull off the crazy FX and plot, he continues to pull good performances from his large international ensemble cast.
As well, this may be the first time I'm rooting against Roger Deakins. I think almost every film in that category is better from a standpoint of photography, and True Grit was simply not that challenging. Certainly The King's Speech and Inception are markedly better shot.
Say what you will about True Grit, her performance was outstanding.
Sentry on
[SIGPIC][/SIGPIC]
wrote:
When I was a little kid, I always pretended I was the hero,' Skip said.
'Fuck yeah, me too. What little kid ever pretended to be part of the lynch-mob?'
Are all sequels considered adapted screenplays? I ask because I thought it was weird Toy Story 3 was nominated for that rather than original screenplay.
Speaking of Children's-Diversions-While-Grown-Ups-Talk-About-Proper-Films, I agree with the three that got nominated. I need to watch the other shorts before I make a judgement, but I really liked Day & Night for blending traditional and CG animation in a clever way.
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And come on. A Serious Man is one of their best films. Maybe the best.
Oh, sure, but not enjoying something on a visceral level shouldn't be grounds for labeling it a "weak effort."
I don't particularly like musical theater, but that has no bearing on any production's quality.
1. Toy Story 3,
2. The Social Network,
3. Animal Kingdom,
4. I Am Love,
5. Tangled ,
6. True Grit,
7. The Town,
8. Greenberg,
9. Cyrus,
10. Enter The Void (“Hands down best credit scene of the year … Maybe best credit scene of the decade. One of the greatest in cinema history.” – QT),
11. Kick Ass.
12. Knight and Day,
13. Get Him To The Greek,
14. The Fighter,
15. The Kings Speech,
16. The Kids Are All Right,
17. How To Train Your Dragon,
18. Robin Hood,
19. Amer,
20. Jackass 3-D
Sadly, he never really lets on why those films make his lists, as some of them are so questionable to demand explanation. Knight and Day? Seriously? That film was awful.
However, it's interesting to see Ridley Scott's Robin Hood on that list. I thought that film was very unfairly maligned by critics all over for being such a radical departure from the traditional Robin Hood narrative, as well as for ending the film at the chronological point where most other Robin Hood tales begin. I always thought that such a ridiculous criticism, and for two reasons:
1) Who the fuck are you to tell someone how to do a revision?
2) Why do you want to see the same shit you've seen before?
I found it really odd, but most critics seemed to pummel this film for not being the Robin Hood films they saw before. To that I say, please, go watch those other films. There are dozens to pick from, all just about the same.
And that's not to say that Scott's Robin Hood was infallible; it was. It had quite a few glaring errors, most of them in the last twenty minutes, and it's one of the few instances where a film needed less of what was shown to be better. Regardless, irrational criticism is irrational criticism.
And I watched Knight and Day this week. It was awful. Killers was much better (and it won't be going on my top 20 list, either).
Well, it was trying to put a vague mythological character into some kind of historical reference, which I don't really mind.
It was the last-act shenanigans with Longstride's sudden democratic activist turn, Marion showing up at the battle with the French, and Lord Loxley's Vulcan Mind-Meld crap that sent that movie into oblivion. Shame, too; it's 80% of a really good movie.
I do admit that I think True Grit was more a triumph of craftmanship than art if you feel like putting a bunch of thought into figuring out the difference between those two things. But True Grit was the best movie that I've seen probably in a couple years (though I don't see as many movies as I used to).
The Fighter was good, good but not great.
A can agree with that, but I don't share the sentiment that such a statement is exactly a positive thing.
Craftsmanship is just an exposition of talent. Art is commentary.
Yeah my wife and I thought it would have been a much better movie if they had dropped Robin's father from the film. It seemed so ham-handed and out of place plus totally changed Robin Longstride's character after establishing him to be a certain way. His speech was dumb too.
Nor Black Swan. I figured he would love that.
I had initially taken my wife to see the new Narnia movie, but we were confronted with $13 matinee tickets and only having the choice to see it in 3D. The King's Speech won out.
I'm fairly certain that my fiancée and I were the only people in the cinema under 45. Didn't stop us from thoroughly enjoying the film along with everyone else, though. Surprisingly, there were quite a few moments that had me laughing harder than I have at any comedy in the past decade! At the end of Bertie's first swearing tirade, the entire theatre roared with laughter at the the tiny exclamation of "...tits!".
I'm fully expecting it to clean up at the Oscars.
The word "uncertainty" appears about 100 times in the film.
You may now feel free to extrapolate around the cabin.
it's a movie that's all about finding someone to love. But when you can't, god kills you.
1. It felt like a generic action film.
2. The story of the original script came to light, which sounded like a much more interesting "different angle" on the Robin Hood story than what we got.
I think Ricky Gervais may not make it through the night.
His opening monologue was fucking brutal.
Introducing Bruce Willis as "Ashton Kutcher's dad" was glorious.
Choose Your Own Chat 1 Choose Your Own Chat 2 Choose Your Own Chat 3
Yeah, I can understand someone pulling him aside about how personal some of the jabs were getting, but everything said about the HFPA was dead on and not even really that scandalous.
Absolutely no one thought Burlesque, The Tourist, or Alice in Wonderland were good films. The former two didn't even do well at the box office. HFPA deserves everything they had coming.
Ricky Gervais was on Conan the Friday before the awards and had said that last year every time he ran an idea by the show directors he got shot down, so he said he wasn't telling them anything this year beforehand. I seriously doubt they invite him back ever again, but so be it. It's hard for me to get worked up about a comedian taking the piss out of a completely worthless awards show.
I almost wish I had watched it to hear Gervais skewer them.
If memory serves, I think the first Pirates the Caribbean movie got thrown in as a "Comedy or Musical."
Such a worthless show.
If given the choice between putting it in drama or comedy I'd pick comedy too, even though it's neither.
It's just a weird and arbitrary line to cross; so all films are either Dramas or Musicals/Comedies?
There are dramatic musicals, there are comedic dramas, there are horror films and thrillers and adventure movies and a dozen in between.
It's a meaningless split, rendered even moreso by the types of movies that end up getting put into that latter category. Like Anne Hathaway getting nominated for "Best Actress in a Comedy or Musical" for a drama where she plays a disabled person.
Hi-larious!
You may be thinking of Ellen Burstyn in Angels in America (I think), who yeah, got something like 43 seconds of airtime in a 4-hour mini-series.
However, the Academy plays their favorites, too. Judi Dench won Best Supporting for Shakespeare in Love for being on camera for under 2 minutes.
Thank god, because the Kings Speech is one of the best movies ever, and Narnia is really no good at all!
Seven minutes of screen time, and that's not the shortest performance to win Best Supporting (The wife in Network, Beatrice Striaght, holds that title at five minutes.)
She got it because she didn't win Best Actress for Mrs. Brown the year before. Similar to Russell Crowe winning for Gladiator because he didn't win for The Insider the year before.
A fun Golden Globes last night, in my opinion. Ricky Gervais was hilarious and made the whole thing feel really relaxed and a little drunk. Besides, it looked like all the actors he was mocked knew how to take a joke. He might not get asked back, but I hope the HFPA realizes that he brings a nice vibe to the whole proceeding.
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Yes, the Academy is absolutely guilty of being susceptible to public pressure. I'm immediately reminded of the year after Jesse Jackson led protests alleging the Academy of racism, where Sidney Pointier won the lifetime achievement award and Denzel Washington and Halle Berry won for questionable performances.
Oh Ricky you loveable scamp you
His monologue (which was the most devastating) is up at TheDailyWh.at
Highlights include calling out Mel Gibson's antisemitism, the HFPA's willingness to accept bribes, and Tom Cruise being in the closet.
Chris Colfers speech was good.
“Black Swan”
“The Fighter”
“Inception”
“The Kids Are All Right”
“The King’s Speech”
“127 Hours”
“The Social Network”
“Toy Story 3”
“True Grit”
“Winter’s Bone”
Directing
“Black Swan” Darren Aronofsky
“The Fighter” David O. Russell
“The King’s Speech” Tom Hooper
“The Social Network” David Fincher
“True Grit” Joel Coen and Ethan Coen
Actor in a Leading Role
Javier Bardem in “Biutiful”
Jeff Bridges in “True Grit”
Jesse Eisenberg in “The Social Network”
Colin Firth in “The King’s Speech”
James Franco in “127 Hours”
Actor in a Supporting Role
Christian Bale in “The Fighter”
John Hawkes in “Winter’s Bone”
Jeremy Renner in “The Town”
Mark Ruffalo in “The Kids Are All Right”
Geoffrey Rush in “The King’s Speech”
Actress in a Leading Role
Annette Bening in “The Kids Are All Right”
Nicole Kidman in “Rabbit Hole”
Jennifer Lawrence in “Winter’s Bone”
Natalie Portman in “Black Swan”
Michelle Williams in “Blue Valentine”
Actress in a Supporting Role
Amy Adams in “The Fighter”
Helena Bonham Carter in “The King’s Speech”
Melissa Leo in “The Fighter”
Hailee Steinfeld in “True Grit”
Jacki Weaver in “Animal Kingdom”
Animated Feature Film
“How to Train Your Dragon” Chris Sanders and Dean DeBlois
“The Illusionist” Sylvain Chomet
“Toy Story 3” Lee Unkrich
Art Direction
“Alice in Wonderland”
“Harry Potter and the Deathly Hallows Part 1”
“Inception”
“The King’s Speech”
“True Grit”
Cinematography
“Black Swan” Matthew Libatique
“Inception” Wally Pfister
“The King’s Speech” Danny Cohen
“The Social Network” Jeff Cronenweth
“True Grit” Roger Deakins
Costume Design
“Alice in Wonderland” Colleen Atwood
“I Am Love” Antonella Cannarozzi
“The King’s Speech” Jenny Beavan
“The Tempest” Sandy Powell
“True Grit” Mary Zophres
Documentary (Feature)
“Exit through the Gift Shop” Banksy and Jaimie D’Cruz
“Gasland” Josh Fox and Trish Adlesic
“Inside Job” Charles Ferguson and Audrey Marrs
“Restrepo” Tim Hetherington and Sebastian Junger
“Waste Land” Lucy Walker and Angus Aynsley
Documentary (Short Subject)
“Killing in the Name” Nominees to be determined
“Poster Girl” Nominees to be determined
“Strangers No More” Karen Goodman and Kirk Simon
“Sun Come Up” Jennifer Redfearn and Tim Metzger
“The Warriors of Qiugang” Ruby Yang and Thomas Lennon
Film Editing
“Black Swan” Andrew Weisblum
“The Fighter” Pamela Martin
“The King’s Speech” Tariq Anwar
“127 Hours” Jon Harris
“The Social Network” Angus Wall and Kirk Baxter
Foreign Language Film
“Biutiful” Mexico
“Dogtooth” Greece
“In a Better World” Denmark
“Incendies” Canada
“Outside the Law (Hors-la-loi)” Algeria
Makeup
“Barney’s Version” Adrien Morot
“The Way Back” Edouard F. Henriques, Gregory Funk and Yolanda Toussieng
“The Wolfman” Rick Baker and Dave Elsey
Music (Original Score)
“How to Train Your Dragon” John Powell
“Inception” Hans Zimmer
“The King’s Speech” Alexandre Desplat
“127 Hours” A.R. Rahman
“The Social Network” Trent Reznor and Atticus Ross
Music (Original Song)
“Coming Home” from “Country Strong” Music and Lyric by Tom Douglas, Troy Verges and Hillary Lindsey
“I See the Light” from “Tangled” Music by Alan Menken Lyric by Glenn Slater
“If I Rise” from “127 Hours” Music by A.R. Rahman Lyric by Dido and Rollo Armstrong
“We Belong Together” from “Toy Story 3″ Music and Lyric by Randy Newman
Short Film (Animated)
“Day & Night” Teddy Newton
“The Gruffalo” Jakob Schuh and Max Lang
“Let’s Pollute” Geefwee Boedoe
“The Lost Thing” Shaun Tan and Andrew Ruhemann
“Madagascar, carnet de voyage (Madagascar, a Journey Diary)” Bastien Dubois
Short Film (Live Action)
“The Confession” Tanel Toom
“The Crush” Michael Creagh
“God of Love” Luke Matheny
“Na Wewe” Ivan Goldschmidt
“Wish 143” Ian Barnes and Samantha Waite
Sound Editing
“Inception” Richard King
“Toy Story 3” Tom Myers and Michael Silvers
“Tron: Legacy” Gwendolyn Yates Whittle and Addison Teague
“True Grit” Skip Lievsay and Craig Berkey
“Unstoppable” Mark P. Stoeckinger
Sound Mixing
“Inception”
“The King’s Speech”
“Salt”
“The Social Network”
“True Grit”
Visual Effects
“Alice in Wonderland”
“Harry Potter and the Deathly Hallows Part 1”
“Hereafter”
“Inception”
“Iron Man 2”
Writing (Adapted Screenplay)
“127 Hours” Screenplay by Danny Boyle & Simon Beaufoy
“The Social Network” Screenplay by Aaron Sorkin
“Toy Story 3” Screenplay by Michael Arndt; Story by John Lasseter, Andrew Stanton and Lee Unkrich
“True Grit” Written for the screen by Joel Coen & Ethan Coen
“Winter’s Bone” Adapted for the screen by Debra Granik & Anne Rosellini
Writing (Original Screenplay)
“Another Year” Written by Mike Leigh
“The Fighter” Screenplay by Scott Silver and Paul Tamasy & Eric Johnson; Story by Keith Dorrington & Paul Tamasy & Eric Johnson
“Inception” Written by Christopher Nolan
“The Kids Are All Right” Written by Lisa Cholodenko & Stuart Blumberg
“The King’s Speech” Screenplay by David Seidler
Black Swan
The Fighter
Inception
The Kids Are All Right
The King's Speech
127 Hours
The Social Network
Toy Story 3
True Grit
Winter's Bone
Performance by an actor in a leading role
Javier Bardem in "Biutiful" (Roadside Attractions)
Jeff Bridges in "True Grit" (Paramount)
Jesse Eisenberg in "The Social Network" (Sony Pictures Releasing)
Colin Firth in "The King's Speech" (The Weinstein Company)
James Franco in "127 Hours" (Fox Searchlight)
Performance by an actor in a supporting role
Christian Bale in "The Fighter" (Paramount)
John Hawkes in "Winter's Bone" (Roadside Attractions)
Jeremy Renner in "The Town" (Warner Bros.)
Mark Ruffalo in "The Kids Are All Right" (Focus Features)
Geoffrey Rush in "The King's Speech" (The Weinstein Company)
Performance by an actress in a leading role
Annette Bening in "The Kids Are All Right" (Focus Features)
Nicole Kidman in "Rabbit Hole" (Lionsgate)
Jennifer Lawrence in "Winter's Bone" (Roadside Attractions)
Natalie Portman in "Black Swan" (Fox Searchlight)
Michelle Williams in "Blue Valentine" (The Weinstein Company)
Performance by an actress in a supporting role
Amy Adams in "The Fighter" (Paramount)
Helena Bonham Carter in "The King's Speech" (The Weinstein Company)
Melissa Leo in "The Fighter" (Paramount)
Hailee Steinfeld in "True Grit" (Paramount)
Jacki Weaver in "Animal Kingdom" (Sony Pictures Classics)
Best animated feature film of the year
How to Train Your Dragon (Paramount) Chris Sanders and Dean DeBlois
The Illusionist (Sony Pictures Classics) Sylvain Chomet
Toy Story 3 (Walt Disney) Lee Unkrich
Art Direction
Alice in Wonderland (Walt Disney), Robert Stromberg (Production Design), Karen O'Hara (Set Decoration)
Harry Potter and the Deathly Hallows Part 1 (Warner Bros.), Stuart Craig (Production Design), Stephenie McMillan (Set Decoration)
Inception (Warner Bros.), Guy Hendrix Dyas (Production Design), Larry Dias and Doug Mowat (Set Decoration)/span>
The King's Speech (Paramount), Eve Stewart (Production Design), Judy Farr (Set Decoration)
True Grit (Paramount), Jess Gonchor (Production Design), Nancy Haigh (Set Decoration)
Achievement in Cinematography
Black Swan (Fox Searchlight) Matthew Libatique
Inception (Warner Bros.) Wally Pfister
The King's Speech (The Weinstein Company) Danny Cohen
The Social Network (Sony Pictures Releasing) Jeff Cronenweth
True Grit (Paramount) Roger Deakins
Achievement in costume design
Alice in Wonderland (Walt Disney) Colleen Atwood
I Am Love (Magnolia Pictures) Antonella Cannarozzi
The King's Speech (The Weinstein Company) Jenny Beavan
The Tempest (Miramax) Sandy Powell
True Grit (Paramount) Mary Zophres
Achievement in directing
Black Swan (Fox Searchlight), Darren Aronofsky
The Fighter (Paramount), David O. Russell
The King's Speech (The Weinstein Company), Tom Hooper
The Social Network (Sony Pictures Releasing), David Fincher
True Grit (Paramount), Joel Coen and Ethan Coen
Best Documentary Feature
Exit through the Gift Shop (Producers Distribution Agency) Banksy and Jaimie D'Cruz A Paranoid Pictures Production
Gasland Josh Fox and Trish Adlesic A Gasland Production
Inside Job (Sony Pictures Classics) Charles Ferguson and Audrey Marrs A Representational Pictures Production
Restrepo (National Geographic Entertainment) Tim Hetherington and Sebastian Junger An Outpost Films Production
Waste Land Lucy Walker and Angus Aynsley (Arthouse Films) An Almega Projects Production
Best documentary short subject
Killing in the Name Nominees to be determined A Moxie Firecracker Films Production
Poster Girl Nominees to be determined A Portrayal Films Production
Strangers No More Karen Goodman and Kirk Simon A Simon & Goodman Picture Company Production
Sun Come Up Jennifer Redfearn and Tim Metzger A Sun Come Up Production
The Warriors of Qiugang Ruby Yang and Thomas Lennon A Thomas Lennon Films Production
Achievement in film editing
Black Swan (Fox Searchlight) Andrew Weisblum
The Fighter Paramount Pamela Martin
The King's Speech (The Weinstein Company) Tariq Anwar
127 Hours (Fox Searchlight) Jon Harris
The Social Network (Sony Pictures Releasing) Angus Wall and Kirk Baxter
Best foreign language film of the year
Biutiful Mexico
Dogtooth Greece
In a Better World Denmark
Incendies Canada
Outside the Law (Hors-la-loi) Algeria
Achievement in makeup
Achievement in makeup (Sony Pictures Classics) Adrien Morot
The Way Back (Newmarket Films in association with Wrekin Hill Entertainment and Image Entertainment) Edouard F. Henriques, Gregory Funk and Yolanda Toussieng
The Wolfman (Universal) Rick Baker and Dave Elsey
Achievement in music written for motion pictures (Original score)
How to Train Your Dragon (Paramount) John Powell
Inception (Warner Bros.) Hans Zimmer
The King's Speech (The Weinstein Company) Alexandre Desplat
127 Hours (Fox Searchlight) A.R. Rahman
The Social Network (Sony Pictures Releasing) Trent Reznor and Atticus Ross
Achievement in music written for motion pictures (Original song)
Coming Home from Country Strong (Sony Pictures Releasing (Screen Gems)) Music and Lyric by Tom Douglas, Troy Verges and Hillary Lindsey
I See the Light from Tangled (Walt Disney) Music by Alan Menken Lyric by Glenn Slater
If I Rise from 127 Hours (Fox Searchlight) Music by A.R. Rahman Lyric by Dido and Rollo Armstrong
We Belong Together from Toy Story 3 (Walt Disney) Music and Lyric by Randy Newman
Best animated short film
Day & Night (Walt Disney) A Pixar Animation Studios Production Teddy Newton
The Gruffalo A Magic Light Pictures Production Jakob Schuh and Max Lang
Let's Pollute A Geefwee Boedoe Production Geefwee Boedoe
The Lost Thing (Nick Batzias for Madman Entertainment) A Passion Pictures Australia Production Shaun Tan and Andrew Ruhemann
Madagascar, carnet de voyage (Madagascar, a Journey Diary) A Sacrebleu Production Bastien Dubois
Best live action short film
The Confession (National Film and Television School) A National Film and Television School Production Tanel Toom
The Crush (Network Ireland Television) A Purdy Pictures Production Michael Creagh
God of Love A Luke Matheny Production Luke Matheny
Na Wewe (Premium Films) A CUT! Production Ivan Goldschmidt
Wish 143 A Swing and Shift Films/Union Pictures Production Ian Barnes and Samantha Waite
Achievement in sound editing
Inception (Warner Bros.) Richard King
Toy Story 3 (Walt Disney) Tom Myers and Michael Silvers
Tron: Legacy (Walt Disney) Gwendolyn Yates Whittle and Addison Teague
True Grit (Paramount) Skip Lievsay and Craig Berkey
Unstoppable (20th Century Fox) Mark P. Stoeckinger
Achievement in sound mixing
Inception (Warner Bros.) Lora Hirschberg, Gary A. Rizzo and Ed Novick
The King's Speech (The Weinstein Company) Paul Hamblin, Martin Jensen and John Midgley
Salt (Sony Pictures Releasing) Jeffrey J. Haboush, Greg P. Russell, Scott Millan and William Sarokin
The Social Network (Sony Pictures Releasing) Ren Klyce, David Parker, Michael Semanick and Mark Weingarten
True Grit (Paramount) Skip Lievsay, Craig Berkey, Greg Orloff and Peter F. Kurland
Achievement in visual effects
Alice in Wonderland (Walt Disney) Ken Ralston, David Schaub, Carey Villegas and Sean Phillips
Harry Potter and the Deathly Hallows Part 1 (Warner Bros.) Tim Burke, John Richardson, Christian Manz and Nicolas Aithadi
Hereafter (Warner Bros.) Michael Owens, Bryan Grill, Stephan Trojanski and Joe Farrell
Inception (Warner Bros.) Paul Franklin, Chris Corbould, Andrew Lockley and Peter Bebb
Iron Man 2 (Paramount and Marvel Entertainment, Distributed by Paramount) Janek Sirrs, Ben Snow, Ged Wright and Daniel Sudick
Adapted screenplay
127 Hours (Fox Searchlight), Screenplay by Danny Boyle & Simon Beaufoy
The Social Network (Sony Pictures Releasing), Screenplay by Aaron Sorkin
Toy Story 3 (Walt Disney), Screenplay by Michael Arndt. Story by John Lasseter, Andrew Stanton and Lee Unkrich
True Grit (Paramount), Written for the screen by Joel Coen & Ethan Coen
Winter's Bone (Roadside Attractions), Adapted for the screen by Debra Granik & Anne Rosellini
Original screenplay
Another Year (Sony Pictures Classics), Written by Mike Leigh
The Fighter (Paramount), Screenplay by Scott Silver and Paul Tamasy & Eric Johnson. Story by Keith Dorrington & Paul Tamasy & Eric Johnson
Inception (Warner Bros.), Written by Christopher Nolan
The Kids Are All Right (Focus Features), Written by Lisa Cholodenko & Stuart Blumberg
The King's Speech (The Weinstein Company), Screenplay by David Seidler
Thoughts?
Obviously people are going to be talking about Mila Kunis' snub for Black Swan, but I honestly am not all that maligned by it. The work she did, while very competent, was nothing spectacular. However, exactly the same could be said for Amy Adams in The Fighter, though I think it's fairly moot to argue about it. Melissa Leo seems to be the front-runner in most pools, and she or Michelle Williams is likely the most deserving. Again, the fact that Kunis and Adams both got nominated for such unmemorable and slight performances shines a light on just how poorly-written female characters are written today in Hollywood. On that same note, I was speaking just the other day to someone how the Emmys and Golden Globes can't seem to find any worth in a female performance where the actress isn't playing a cop or lawyer or doctor. Perennial favorites like Kyra Sedgwick and Mariska Hargitay are mediocre talents on awful shows, but they appeal to the black-and-white nuance-free predispositions of middle-brow Red State viewers.
Also, Christopher Nolan got snubbed for Inception. A big deal? I think so, only because David O. Russel got a nom for The Fighter. The Fighter only gets by because of Walhberg's earnestness, Bale's charisma, and Leo's awesome bitchiness. It's rather a poorly-made film, and makes some very obvious and trite stylistic choices. Whereas on the other hand, Inception is unlike any movie ever made, and Nolan directed the living shit out of it. Not only does he seamlessly pull off the crazy FX and plot, he continues to pull good performances from his large international ensemble cast.
As well, this may be the first time I'm rooting against Roger Deakins. I think almost every film in that category is better from a standpoint of photography, and True Grit was simply not that challenging. Certainly The King's Speech and Inception are markedly better shot.
Say what you will about True Grit, her performance was outstanding.
Speaking of Children's-Diversions-While-Grown-Ups-Talk-About-Proper-Films, I agree with the three that got nominated. I need to watch the other shorts before I make a judgement, but I really liked Day & Night for blending traditional and CG animation in a clever way.