[2012 Film Awards Season Thread] Critics' Choice Awards remember Affleck

Atomika

We do this every year. It's kind of like the definition of insanity, except less fun. Last year's results was like a terrible, terrible joke (relive those moments here). However, in this thread, I strongly seek to emphasize that the Holiday movie season is not about who won what and what got how many nominations, but how you, The Audience, broadened your cinematic horizons and sought out some truly exceptional films. With that in mind, let's get down to business . . . .


This year in film has so far been a bit of a letdown. Whereas last year we saw a calendar packed with uninspired and listless hackery, this summer we were tantalized by the return of some of our favorite creative talents, only to see them confoundingly wasted on missed opportunities and hollow grandeur. However, as always, brights spots are discovered among the drivel, and I feel one of the key duties of this annual thread is to get those films out there and get us talking about them -- with each other, with our friends and family, and with whoever will lend an interested ear. Here is the list of films that are already released that are getting some early attention about their contention chances:

- Moonrise Kingdom, by Wes Anderson
- Holy Motors, by Leos Carax
- Bernie, by Richard Linklater
- Killer Joe, William Friedkin
- Beasts of the Southern Wild, Behn Zeitlin
- Sound of My Voice, Zal Batmanglij
- The Master, Paul Thomas Anderson
- Argo, Ben Affleck
- Cloud Atlas, Tom Twyker and the Wachowskis
- Flight, Robert Zemeckis

If anyone has seen those films, wants to discuss those films, or wants to blend those films into a fine paste, this is the thread for it. I personally have seen five of those films, and plan to see at least two more.


As for the remainder of the season, these are likely the movies you'll be hearing about from your snooty friends:

- Lincoln, Steven Spielberg
- Anna Karenina, Joe Wright
- Life of Pi, Ang Lee
- Hitchcock, Sacha Gervesi
- Killing Them Softly, Andrew Dominik
- Hyde Park on Hudson, Rodger Mitchell
- The Hobbit: An Unexpected Journey, Peter Jackson
- Stand Up Guys, Fischer Stevens
- Zero Dark Thirty, Kathryn Bigelow
- This Is 40, Judd Apatow
- On The Road, Walter Salles
- The Impossible, Juan Antonio Bayona
- Les Miserables, Tom Hooper
- Django Unchained, Quentin Tarantino
- Promised Land, Gus Van Sant

We're likely to get some that fly under the radar to make that list, but for now consider this your list of contenders of various sorts.

I'll be continuously updating the OP and Thread Title when new awards are announced. The Awards Season officially begins on Dec. 3, and here is the schedule of events:

DECEMBER
Monday, December 3rd - New York Film Critics Circle Awards Announced
Wednesday, December 5th - National Board of Review Awards Announced
Wednesday, December 12th - SAG Awards Nominations Announced
Thursday, December 13th - 2013 Golden Globe Award Nominations
Monday, December 17th - Oscar Nomination voting begins

JANUARY 2013
Thursday, January 3rd - WGA Screenplay Nominees Announced
Thursday, January 3rd - Art Directors Guild Nominations Announced
Thursday, January 3rd - Producers Guild Nominees Announced
Thursday, January 3rd - Oscar Nomination voting ends at 5 p.m. PT
Tuesday, January 8th - Directors Guild Nominations Announced
Thursday, January 10th - 2013 Oscar Nominations Announced
Thursday, January 10th - American Cinema Editors Nominations Announced
Thursday, January 10th - Cinema Audio Society Nominees Announced
Thursday, January 10th - Critics' Choice Movie Awards
Sunday, January 13th - Satellite Awards
Sunday, January 13th - 2013 Golden Globe Awards
Saturday, January 26th - Producers Guild Awards
Sunday, January 27th - Screen Actors Guild Awards

FEBRUARY 2013
Saturday, February 2nd - Directors Guild Awards
Saturday, February 2nd - Art Directors Guild Awards
Sunday, February 10th - BAFTA Awards
Saturday, February 16th - American Cinema Editors (ACE) Awards
Saturday, February 16th - Cinema Audio Society Awards
Sunday, February 17th - Writers Guild of America Awards
Sunday, February 17th - Motion Pictures Sound Editors Awards
Tuesday, February 19th - Costume Designers Guild Awards
Tuesday, February 19th - Oscar voting ends 5 p.m. PT
Sunday, February 24th - 2013 Oscar Awards

It's my understanding that the rules for the Academy Award voting are the same as last year, which state that the tally for Best Picture nominees will be a number somewhere between five and ten films, depending on the number of votes cast. Remember, the Academy is almost 100% Old White Men, so don't expect anything too challenging to make the list. Given that, as of now this is how I expect the final announcement to look (locks in bold, possibles in italics):

The Master
The Hobbit: An Unexpected Journey
Lincoln
Les Miserables
Zero Dark Thirty
Argo
Life of Pi
Moonrise Kingdom
Django Unchained
Killing Them Softly

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Independent Spirit Award nominations:

BEST FEATURE

“Beasts of the Southern Wild”
“Bernie”
“Keep the Lights On”
“Moonrise Kingdom”
“Silver Linings Playbook”

BEST DIRECTOR

Wes Anderson, “Moonrise Kingdom”
Julia Loktev, “The Loneliest Planet”
David O. Russell, “Silver Linings Playbook”
Ira Sachs, “Keep the Lights On”
Benh Zeitlin, “Beasts of the Southern Wild”

BEST SCREENPLAY

Wes Anderson & Roman Coppola, “Moonrise Kingdom”
Zoe Kazan, “Ruby Sparks”
Martin McDonagh, “Seven Psychopaths”
David O. Russell, “Silver Linings Playbook”
Ira Sachs, “Keep the Lights On”

BEST FIRST FEATURE

“Fill the Void”
“Gimme the Loot”
“Safety Not Guaranteed”
“Sound of My Voice”
“The Perks of Being a Wallflower”

BEST FIRST SCREENPLAY

Rama Burshtein, “Fill the Void”
Derek Connolly, “Safety Not Guaranteed”
Christopher Ford, “Robot & Frank”
Rashida Jones & Will McCormack, “Celeste and Jesse Forever”
Jonathan Lisecki, “Gayby”

JOHN CASSAVETES AWARD

“Breakfast with Curtis,” writer-director-producer: Laura Colella
“Middle of Nowhere,” writer-director-producer: Ava DuVernay; producers: Howard Barish, Paul Garnes,
“Mosquita y Mari,” writer-director: Aurora Guerrero; producer: Chad Burris
“Starlet,” writerdirector: Sean Baker; producers: Blake Ashman-Kipervaser, Kevin Chinoy, Patrick Cunningham, Chris Maybach, Francesca Silvestri
“The Color Wheel,” writer-director-producer: Alex Ross Perry; writer: Carlen Altman

BEST FEMALE LEAD

Linda Cardellini, “Return”
Emayatzy Corinealdi, “Middle of Nowhere”
Jennifer Lawrence, “Silver Linings Playbook”
Quvenzhané Wallis, “Beasts of the Southern Wild”
Mary Elizabeth Winstead, “Smashed”

BEST MALE LEAD

Jack Black, “Bernie”
Bradley Cooper, “Silver Linings Playbook”
John Hawkes, “The Sessions”
Thure Lindhardt, “Keep the Lights On”
Matthew McConaughey, “Killer Joe”
Wendell Pierce, “Four”

BEST SUPPORTING MALE

Sam Rockwell, “Seven Psychopaths”
Michael Pena, “End of Watch”
Bruce Willis, “Moonrise Kingdom”
David Oyelowo, “Middle of Nowhere”
Matthew McConaughey, “Magic Mike”

BEST SUPPORTING FEMALE

Rosemarie DeWitt, “Your Sister’s Sister”
Ann Dowd, “Compliance”
Helen Hunt, “The Sessions”
Brit Marling, “Sound of My Voice”
Lorraine Toussaint, “Middle of Nowhere”

BEST CINEMATOGRAPHY

Yoni Brook, “Valley of Saints”
Lol Crawley, “Here”
Ben Richardson, “Beasts of the Southern Wild”
Roman Vasyanov, “End of Watch”
Robert Yeoman, “Moonrise Kingdom”

BEST DOCUMENTARY

“How to Survive a Plague,” director: David France; producers: David France, Howard Gertler
“Marina Abramoviæ: The Artist is Present,” director: Matthew Akers; producers: Maro Chermayeff, Jeff Dupre
“The Central Park Five,” directors-producers: Ken Burns, Sarah Burns, David McMahon
“The Invisible War,” director: Kirby Dick; producers: Tanner King Barklow, Amy Ziering
“The Waiting Room,” director-producer: Peter Nicks; producers: Linda Davis, William B. Hirsch

BEST INTERNATIONAL FILM
“Amour”
“Once Upon a Time in Anatolia”
“Rust and Bone”
“Sister”
“War Witch”

16th ANNUAL PIAGET PRODUCERS AWARD
This award honors emerging producers who, despite highly limited resources demonstrate the creativity, tenacity, and vision required to produce quality, independent films. The award includes a $25,000 unrestricted grant.
“Nobody Walks,” producer: Alicia Van Couvering
“Prince Avalanche,” producer: Derrick Tseng
“Stones in the Sun,” producer: Mynette Louie

19th ANNUAL SOMEONE TO WATCH AWARD
This award recognizes a talented filmmaker of singular vision who has not yet received appropriate recognition. The award includes a $25,000 unrestricted grant.
“Pincus,” director: David Fenster
“Gimme the Loot,” director: Adam Leon
“Electrick Children,” director: Rebecca Thomas

18th ANNUAL STELLA ARTOIS TRUER THAN FICTION AWARD
This award is presented to an emerging director of nonfiction features who has not received significant recognition. The award includes a $25,000 unrestricted grant.
“Leviathan,” directors: Lucien Castaing-Taylor and Véréna Paravel
“The Waiting Room,” director: Peter Nicks
“Only the Young,” director: Jason Tippet & Elizabeth Mims

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New York Film Critics' Circle awards:

Best Picture
Zero Dark Thirty

Best Director
Kathryn Bigelow ZERO DARK THIRTY

Best Screenplay
Tony Kushner LINCOLN

Best Actress
Rachel WeiszTHE DEEP BLUE SEA

Best Actor
Daniel Day-Lewis LINCOLN

Best Supporting Actress
Sally Field LINCOLN

Best Supporting Actor
Matthew McConaughey BERNIE, MAGIC MIKE

Best Cinematographer
Greig Fraser ZERO DARK THIRTY

Best Animated Film
Frankenweenie

Best Non-Fiction Film (Documentary)
The Central Park Five

Best Foreign Film
Amour

Best First Film
David France HOW TO SURVIVE A PLAGUE

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Stupid, Pointless Golden Globes are out:

Movies
Best Picture, Drama:
“Argo”
“Django Unchained”
“Life of Pi”
“Lincoln”
“Zero Dark Thirty”

Best Picture, Musical or Comedy:
“The Best Exotic Marigold Hotel”
“Les Misérables”
“Moonrise Kindgom”
“Salmon Fishing in the Yemen”
“Silver Linings Playbook”

Best Director:
Ben Affleck, “Argo”
Kathryn Bigelow, “Zero Dark Thirty”
Ang Lee, “Life of Pi”
Steven Spielberg, “Lincoln”
Quentin Tarantino, “Django Unchained”

Best Actress, Drama:
Jessica Chastain, “Zero Dark Thirty”
Marian Cotillard, “Rust and Bone”
Helen Mirren, “Hitchcock”
Naomi Watts, “The Impossible”
Rachel Weisz, “The Deep Blue Sea”

Best Actor, Drama:
Daniel Day-Lewis, “Lincoln”
Richard Gere, “Arbitrage”
John Hawkes, “The Sessions”
Joaquin Phoenix, “The Master”
Denzel Washington, “Flight”

Best Actor, Musical or Comedy:
Jack Black, “Bernie”
Bradley Cooper, “Silver Linings Playbook”
Hugh Jackman, “Les Misérables ”
Ewan MCGregor, “Salmon Fishing in the Yemen”
Bill Murray, “Hyde Park on Hudson”

Best Actress, Musical or Comedy:
Emily Blunt, “Salmon Fishing in the Yemen”
Judi Dench, “The Best Exotic Marigold Hotel”
Jennifer Lawrence, “Silver Linings Playbook”
Maggie Smith, “Quartet”
Meryl Streep, “Hope Springs”

Best Supporting Actress:
Amy Adams, “The Master”
Sally Field, “Lincoln”
Anne Hathaway, “Les Misérables ”
Helen Hunt, “The Sessions”
Nicole Kidman, “The Paperboy”

Best Supporting Actor:
Alan Arkin, “Argo”
Leonardo DiCaprio, “Django Unchained”
Philip Seymour Hoffman, “The Master”
Tommy Lee Jones, “Lincoln”
Christoph Waltz, “Django Unchained”

Best Screenplay:
Mark Boal, “Zero Dark Thirty”
Tony Kushner, “Lincoln”
David O’Russell, “Silver Linings Playbook”
Quentin Tarantino, “Django Unchained”
Chris Terrio, “Argo”

Best Foreign Language Film:
“Amour”
“A Royal Affair”
“The Intouchables”
“Kon-Tiki”
“Rust and Bone”

Best Animated Feature:
“Rise of the Guardians”
“Brave”
“Frankenweenie”
“Hotel Transylvania”
“Wreck-It Ralph”

Television
Best Television Comedy or Musical:
“The Big Bang Theory”
“Episodes”
“Girls”
“Modern Family”
“Smash”

Best Television Drama:
“Breaking Bad”
“Boardwalk Empire”
“Downton Abbey”
“Homeland”
“The Newsroom”

Best Actress, Television Drama:
Connie Britton, “Nashville”
Glenn Close, “Damages”
Claire Danes, “Homeland”
Michelle Dockery, “Downton Abbey”
Julianna Margulies, “The Good Wife”

Best Actor, Television Drama:
Best Actor, TV Drama Steve Buscemi, “Boardwalk Empire”
Bryan Cranston, “Breaking Bad”
Jeff Daniels, “The Newsroom”
Jon Hamm, “Mad Men”
Damian Lewis, “Homeland”

Best Miniseries or Television Movie:
“Game Change”
“The Girl”
“Hatfields & McCoys”
“The Hour”
“Political Animals”

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Writers Guild of America

ORIGINAL SCREENPLAY
Flight, Written by John Gatins; Paramount Pictures
Looper, Written by Rian Johnson; TriStar Pictures
The Master, Written by Paul Thomas Anderson; The Weinstein Company
Moonrise Kingdom, Written by Wes Anderson & Roman Coppola; Focus Features
Zero Dark Thirty, Written by Mark Boal; Columbia Pictures

ADAPTED SCREENPLAY
Argo, Screenplay by Chris Terrio; Based on a selection from The Master of Disguise by Antonio J. Mendez and the Wired Magazine article “The Great Escape” by Joshuah Bearman; Warner Bros. Pictures
Life of Pi, Screenplay by David Magee; Based on the novel by Yann Martel; 20th Century Fox
Lincoln, Screenplay by Tony Kushner; Based in part on the book Team of Rivals: The Political Genius of Abraham Lincoln by Doris Kearns Goodwin; DreamWorks Pictures
The Perks of Being a Wallflower, Screenplay by Stephen Chbosky; Based on his book; Summit Entertainment
Silver Linings Playbook, Screenplay by David O. Russell; Based on the novel by Matthew Quick; The Weinstein Company

DOCUMENTARY SCREENPLAY
The Central Park Five, Written by Sarah Burns and David McMahon and Ken Burns; Sundance Selects
The Invisible War, Written by Kirby Dick; Cinedigm Entertainment Group
Mea Maxima Culpa: Silence in the House of God, Written by Alex Gibney; HBO Documentary Films
Searching for Sugar Man, Written by Malik Bendejelloul; Sony Pictures Classics
We Are Legion: The Story of the Hacktivists, Written by Brian Knappenberger; Cinetic Media
West of Memphis, Written by Amy Berg & Billy McMillin; Sony Pictures Classics

---

Director's Guild Awards

Ben Affleck
Kathryn Bigelow
Tom Hooper
Ang Lee
Steven Spielberg

---

Oscar Noms

1. Best Picture:
"Amour,"
''Argo,"
''Beasts of the Southern Wild,"
''Django Unchained," '
'Les Miserables,"
''Life of Pi,"
''Lincoln,"
''Silver Linings Playbook,"
''Zero Dark Thirty."

2. Actor:
Bradley Cooper, "Silver Linings Playbook";
Daniel Day-Lewis, "Lincoln";
Hugh Jackman, "Les Miserables";
Joaquin Phoenix, "The Master";
Denzel Washington, "Flight."

3. Actress:
Jessica Chastain, "Zero Dark Thirty";
Jennifer Lawrence, "Silver Linings Playbook";
Emmanuelle Riva, "Amour";
Quvenzhane Wallis, "Beasts of the Southern Wild";
Naomi Watts, "The Impossible."

4. Supporting Actor:
Alan Arkin, "Argo";
Robert De Niro, "Silver Linings Playbook";
Philip Seymour Hoffman, "The Master";
Tommy Lee Jones, "Lincoln";
Christoph Waltz, "Django Unchained."

5. Supporting Actress:
Amy Adams, "The Master";
Sally Field, "Lincoln";
Anne Hathaway, "Les Miserables";
Helen Hunt, "The Sessions";
Jacki Weaver, "Silver Linings Playbook."

6. Directing:
Michael Haneke, "Amour";
Benh Zeitlin, "Beasts of the Southern Wild";
Ang Lee, "Life of Pi";
Steven Spielberg, "Lincoln";
David O. Russell, "Silver Linings Playbook."

7. Foreign Language Film:
"Amour," Austria;
"Kon-Tiki," Norway;
"No," Chile;
"A Royal Affair," Denmark;
"War Witch," Canada.

8. Adapted Screenplay:
Chris Terrio, "Argo";
Lucy Alibar and Benh Zeitlin, "Beasts of the Southern Wild";
David Magee, "Life of Pi";
Tony Kushner, "Lincoln";
David O. Russell, "Silver Linings Playbook."

9. Original Screenplay:
Michael Haneke, "Amour";
Quentin Tarantino, "Django Unchained";
John Gatins, "Flight";
Wes Anderson and Roman Coppola, "Moonrise Kingdom";
Mark Boal, "Zero Dark Thirty."

10. Animated Feature Film:
"Brave";
"Frankenweenie";
"ParaNorman";
"The Pirates! Band of Misfits";
"Wreck-It Ralph."

11. Production Design:
"Anna Karenina,"
''The Hobbit: An Unexpected Journey,"
''Les Miserables," ''Life of Pi,"
''Lincoln."

12. Cinematography:
"Anna Karenina,"
''Django Unchained," '
'Life of Pi,"
''Lincoln,"
''Skyfall."

13. Sound Mixing:
"Argo,"
''Les Miserables,"
''Life of Pi,"
''Lincoln,"
''Skyfall."

14. Sound Editing:
"Argo,"
''Django Unchained,"
''Life of Pi,"
''Skyfall,"
''Zero Dark Thirty."

15. Original Score:
"Anna Karenina," Dario Marianelli;
"Argo," Alexandre Desplat;
"Life of Pi," Mychael Danna;
"Lincoln," John Williams;
"Skyfall," Thomas Newman.

16. Original Song:
"Before My Time" from "Chasing Ice," J. Ralph;
"Everybody Needs a Best Friend" from "Ted," Walter Murphy and Seth MacFarlane;
"Pi's Lullaby" from "Life of Pi," Mychael Danna and Bombay Jayashri;
"Skyfall" from "Skyfall," Adele Adkins and Paul Epworth;
"Suddenly" from "Les Miserables," Claude-Michel Schonberg, Herbert Kretzmer and Alain Boublil.

17. Costume: "Anna Karenina," ''Les Miserables," ''Lincoln," ''Mirror Mirror," ''Snow White and the Huntsman."

18. Documentary Feature: "5 Broken Cameras," ''The Gatekeepers," ''How to Survive a Plague," ''The Invisible War," ''Searching for Sugar Man."

19. Documentary (short subject): "Inocente," ''Kings Point," ''Mondays at Racine," ''Open Heart," ''Redemption."

20. Film Editing: "Argo," ''Life of Pi," ''Lincoln," ''Silver Linings Playbook," ''Zero Dark Thirty."

21. Makeup and Hairstyling: "Hitchcock," ''The Hobbit: An Unexpected Journey," ''Les Miserables."

22. Animated Short Film: "Adam and Dog," ''Fresh Guacamole," ''Head over Heels," ''Maggie Simpson in 'The Longest Daycare,'" "Paperman."

23. Live Action Short Film: "Asad," ''Buzkashi Boys," ''Curfew," ''Death of a Shadow (Dood van een Schaduw)," ''Henry."

24. Visual Effects: "The Hobbit: An Unexpected Journey," ''Life of Pi," ''Marvel's The Avengers," ''Prometheus," ''Snow White and the Huntsman."

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Critics' Choice Awards

Picture - "Argo"
Actor - Daniel Day-Lewis
Actress - Jessica Chastain
Supporting Actor - Philip Seymour Hoffman
Supporting Actress - Anne Hathaway
Young Actor/Actress - Quvenzhane Wallis
Acting Ensemble - "Silver Linings Playbook"
Director - Ben Affleck
Original Screenplay - Quentin Tarantino
Adapted Screenplay - Tony Kushner
Cinematography - Claudio Miranda ("Life of Pi")
Art Direction - Sarah Greenwood/Katie Spencer ("Anna Karenina")
Editing - William Goldenberg/Dylan Tichenor ("Zero Dark Thirty")
Costume Design - Jacqueline Durran ("Anna Karenina")
Makeup - "Cloud Atlas"
Visual Effects - "Life of Pi"
Animated Feature - "Wreck-It Ralph"
Action Movie - "Skyfall"
Actor in an Action Movie - Daniel Craig
Actress in an Action Movie - Jennifer Lawrence
Comedy - "Silver Linings Playbook"
Actor in a Comedy - Bradley Cooper
Actress in a Comedy - Jennifer Lawrence
Sci-Fi/Horror Movie - "Looper"
Foreign Language Film - "Amour"
Documentary Feature - "Searching for Sugarman"
Song - "Skyfall"
Score - John Williams

TehSpectre

I thought The Master had better acting, but The Sound of My Voice was a more interesting/thoughtful film.

It's one of the year's best, for sure. Brit Marling is going to go places very, very soon.

As for the best picture winner? I'd guess Beasts of the Southern Wild or The Master, neither of which I think are worthy of the award, but will probably take it.

I hope that The Sound of My Voice at least gets a best original screenplay or actress nod.

Everyone should check it out.

Atomika

Warners is the first major studio to submit their "For Your Consideration" list:

The Dark Knight

BEST PICTURE
EMMA THOMAS
CHRISTOPHER NOLAN
CHARLES ROVEN

BEST DIRECTOR
CHRISTOPHER NOLAN

BEST ADAPTED SCREENPLAY
Screenplay by
JONATHAN NOLAN and
CHRISTOPHER NOLAN
Story by
CHRISTOPHER NOLAN &
DAVID S. GOYER

BEST ACTOR
CHRISTIAN BALE

BEST ACTRESS
ANNE HATHAWAY

BEST SUPPORTING ACTOR
MICHAEL CAINE
GARY OLDMAN
TOM HARDY
JOSEPH GORDON-LEVITT
MORGAN FREEMAN

BEST SUPPORTING ACTRESS
MARION COTILLARD

BEST CINEMATOGRAPHY
WALLY PFISTER, ASC

BEST ART DIRECTION
Production Designers
NATHAN CROWLEY
KEVIN KAVANAUGH
Set Decorator
PAKI SMITH

BEST FILM EDITING
LEE SMITH, A.C.E.

BEST COSTUME DESIGN
LINDY HEMMING

BEST MAKEUP
Makeup Department Head
LUISA ABEL
Hair Department Head
JANICE ALEXANDER

BEST SOUND MIXING
Production Sound Mixer
ED NOVICK
Re-Recording Mixers
GARY A. RIZZO
GREGG LANDAKER

BEST SOUND EDITING
RICHARD KING

BEST VISUAL EFFECTS
PAUL FRANKLIN
CHRIS CORBOULD
PETER BEBB
ANDREW LOCKLEY

BEST ORIGINAL SCORE
HANS ZIMMER

Argo

BEST PICTURE
GRANT HESLOV
BEN AFFLECK
GEORGE CLOONEY

BEST DIRECTOR
BEN AFFLECK

BEST ADAPTED SCREENPLAY
CHRIS TERRIO

BEST ACTOR
BEN AFFLECK

BEST SUPPORTING ACTOR
BRYAN CRANSTON
ALAN ARKIN
JOHN GOODMAN

BEST CINEMATOGRAPHY
RODRIGO PRIETO, ASC, AMC

BEST ART DIRECTION
Production Designer
SHARON SEYMOUR
Set Decorator
JAN PASCALE, SDSA

BEST FILM EDITING
WILLIAM GOLDENBERG, A.C.E.

BEST COSTUME DESIGN
JACQUELINE WEST

BEST MAKEUP
Makeup Department Head
KATE BISCOE
Hair Department Head
KELVIN R. TRAHAN

BEST SOUND MIXING
Production Sound Mixer
JOSE ANTONIO GARCIA
Re-Recording Mixers
JOHN REITZ
GREGG RUDLOFF

BEST SOUND EDITING
ERIK AADAHL

BEST ORIGINAL SCORE
ALEXANDRE DESPLAT

Cloud Atlas

BEST PICTURE
GRANT HILL
STEFAN ARNDT
LANA WACHOWSKI
TOM TYKWER
ANDY WACHOWSKI

BEST DIRECTOR
LANA WACHOWSKI
TOM TYKWER
ANDY WACHOWSKI

BEST ADAPTED SCREENPLAY
LANA WACHOWSKI &
TOM TYKWER &
ANDY WACHOWSKI

BEST ACTOR
TOM HANKS

BEST ACTRESS
HALLE BERRY

BEST SUPPORTING ACTOR
HUGH GRANT
JIM BROADBENT
HUGO WEAVING
JIM STURGESS
BEN WHISHAW
KEITH DAVID
JAMES D’ARCY
DAVID GYASI

BEST SUPPORTING ACTRESS
SUSAN SARANDON
DOONA BAE
ZHOU XUN

BEST CINEMATOGRAPHY
JOHN TOLL, ASC
FRANK GRIEBE

BEST ART DIRECTION
Production Designers
ULI HANISCH
HUGH BATEUP
Set Decorators
PETER WALPOLE
REBECCA ALLEWAY

BEST FILM EDITING
ALEXANDER BERNER

BEST COSTUME DESIGN
KYM BARRETT
PIERRE-YVES GAYRAUD

BEST MAKEUP
Hair & Makeup Designers
JEREMY WOODHEAD
DANIEL PARKER

BEST SOUND MIXING
Sound Mixers
IVAN SHARROCK
ROLAND WINKE
Re-Recording Mixers
MATTHIAS LEMPERT
LARS GINZEL

BEST SOUND EDITING
FRANK KRUSE

BEST VISUAL EFFECTS
DAN GLASS
STEPHANE CERETTI

BEST ORIGINAL SCORE
TOM TYKWER
JOHNNY KLIMEK
REINHOLD HEIL

The Hobbit

BEST PICTURE
CAROLYNNE CUNNINGHAM
ZANE WEINER
FRAN WALSH
PETER JACKSON

BEST DIRECTOR
PETER JACKSON

BEST ADAPTED SCREENPLAY
FRAN WALSH &
PHILIPPA BOYENS &
PETER JACKSON &
GUILLERMO DEL TORO

BEST ACTOR
MARTIN FREEMAN

BEST SUPPORTING ACTOR
IAN McKELLEN
RICHARD ARMITAGE
ANDY SERKIS

BEST SUPPORTING ACTRESS
CATE BLANCHETT

BEST CINEMATOGRAPHY
ANDREW LESNIE, ACS, ASC

BEST ART DIRECTION
Production Designer
DAN HENNAH
Set Decorators
RA VINCENT
SIMON BRIGHT

BEST FILM EDITING
JABEZ OLSSEN

BEST COSTUME DESIGN
ANN MASKREY
RICHARD TAYLOR
BOB BUCK

BEST MAKEUP
Armour, Weapons, Creatures and Special Makeup
RICHARD TAYLOR
Hair and Makeup Design
PETER SWORDS KING

BEST SOUND MIXING
Production Sound Mixer
TONY JOHNSON
Re-Recording Mixers
CHRISTOPHER BOYES
MICHAEL HEDGES
MICHAEL SEMANICK

BEST SOUND EDITING
BRENT BURGE
CHRIS WARD

BEST VISUAL EFFECTS
JOE LETTERI
ERIC SAINDON
DAVID CLAYTON
R. CHRISTOPHER WHITE

BEST ORIGINAL SCORE
HOWARD SHORE

BEST ORIGINAL SONG
“Song of the Lonely Mountain”
Music by
NEIL FINN
DAVID DONALDSON
STEVE ROCHE
JANET RODDICK
DAVID LONG
Lyrics by
NEIL FINN
Performed and Produced by
NEIL FINN

Magic Mike

BEST PICTURE
NICK WECHSLER
GREGORY JACOBS
CHANNING TATUM
REID CAROLIN

BEST DIRECTOR
STEVEN SODERBERGH

BEST ORIGINAL SCREENPLAY
REID CAROLIN

BEST ACTOR
CHANNING TATUM

BEST SUPPORTING ACTOR
MATTHEW McCONAUGHEY

BEST SUPPORTING ACTRESS
CODY HORN

BEST ART DIRECTION
Production Designer
HOWARD CUMMINGS
Set Decorator
BARBARA MUNCH CAMERON

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CHRISTOPHER PETERSON

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Some thoughts:
- I don't know if Neil Flynn's song for The Hobbit will pass contention. The Academy is notoriously (and in my view, needlessly) stringent on "Best Song" qualifications, and the lyrics of Flynn's song are most lifted from the text in Tolkien's book, where it appears almost verbatim.

- Warner's slate for the year, in hindsight, has been remarkably trim if they think The Dark Knight Rises is one of their top five films for awards season. The film may get some technical nods, but I'll eat my shoe if any of those acting/directing/writing nominations stick.

- I feel much the same way about Magic Mike, but something tells me this is McConaughey's year.

Deaderinred

i can see dark knight rises getting noms for cinematography, score and maybe, maybe best supporting for Caine but that's about it.

i'm finally seeing The Master this Sunday and what with everything else coming out like lincoln, django, les', caine might get knocked off my own personal list.

Atomika

Deaderinred wrote: »

i can see dark knight rises getting noms for cinematography, score and maybe, maybe best supporting for Caine but that's about it.

i'm finally seeing The Master this Sunday and what with everything else coming out like lincoln, django, les', caine might get knocked off my own personal list.

I mean, yeah, Caine and Gordon-Levitt and Gary Oldman all do serviceable jobs in the film. The film's just not that good, and no one is particularly a revelation within the film. There's not a lot of "acting" going on in that film, at least not the kind that usually gets nominated for awards.

davidsdurions

I know it's still a couple days away, but no Twilight??









*runs, hides, giggles

SarcasmoBlaster

I could see Argo being a Best Picture nom lock, or close to it. It got a ton of good buzz and it's a historical thriller based on a true story. It won't win, but it seems like it's right in the academy's wheelhouse nomination-wise

SanderJK

Caine already has two supporting role oscars, I really doubt they'll give him a third one for DKR.

gjaustin

SarcasmoBlaster wrote: »

I could see Argo being a Best Picture nom lock, or close to it. It got a ton of good buzz and it's a historical thriller based on a true story. It won't win, but it seems like it's right in the academy's wheelhouse nomination-wise

It's also, at times, an affectionate parody of Hollywood. Considering the types that vote, I suspect that portrayal will get them some votes they might not have gotten otherwise.

Atomika

Independent Spirit noms are out. See what the hipsters chose at the bottom of the OP.

Deaderinred

wow there is a serious lack of the master in that line up what in the hell.

and only one nom for rust and bone? erm. hmph.

Atomika

Deaderinred wrote: »

wow there is a serious lack of the master in that line up what in the hell.

and only one nom for rust and bone? erm. hmph.

I guess PTA isn't "indie" enough for them anymore.

Which, you know, is kinda fair. PTA's films these days are a murder's row of Oscar-nominated talent with sizable budgets, being broadcast in 70mm.

The indie sensibility is still there, but it's not apples and apples.

Atomika

Big Damn Review: Killing Them Softly

I'll preface this piece with acknowledging my admiration for director Andrew Dominik's previous collaboration with Brad Pitt, the great revisionist western, The Assassination of Jesse James by the Coward Robert Ford. Dominik, in both that film and in this one, displays a remarkable disdain for the avarice of the common man (emphasis on "common"), with both films using Brad Pitt as the greek chorus to point out these menial and regular failings of the hoi polloi. Whereas Jesse James was a tale about the American public's complex obsession with fame (in both terms of attaining it and how public perception shifts around it), Killing Them Softly uses the very broad and obvious brush of the 2008 presidential campaign to contrast the film's message of mankind's cynical venality.

The problem I have with this movie are few, but could be taken as fatal. Primarily, this movie isn't interested in telling stories about its characters in the slightest. The characters are merely tools in the chest for Dominik to make his rhetorical argument (singular), and with the exception of the very good Ray Liotta, little effort is made to embellish or engage with the characters on the screen. This only heightens the feeling that the audience is being lectured to, not told a story. What's more, I don't think that lecture is all that particularly illuminating, interesting, or even all that cohesive.

The film's structure is interesting. It's really just a series of vignettes, and almost never does any given scene contain more than two people at a time. Brad Pitt becomes this sounding board of improbably sage advice in a sea of ne'er-do-wells as he goes around and talks to his fellow gangsters not terribly unlike Alec Baldwin in Glengarry/Glen Ross. And talk he does. Lord, is this film talky. And not in a Tarantino-esque "Oh, look, we're all acting cool and talking about interesting things while some subtext is heavily implied or some rising tension is escalating quickly," but rather blunt pontification serving as metaphor for the wayward American dream.

It's a very obvious film, though at times it really wants to be stylish and cool, but those things aren't terribly inclusive. Dominik makes some very on-the-nose aesthetic and musical choices, and the scant amount of violence that is to be had is played with an almost over-the-top level of visceral detail, involving multi-angle slo-mo shots that seem to go on forever; this plays sharply against the film's seeming imperative to be a thoughtful meditation on capitalism and corruption. It wears its themes proudly on its sleeve, with everything from the film's post-Katrina Louisiana wasteland setting to the constant bombardment of political speeches on TV, and then caps all of that off with a final vignette between Pitt and Richard Jenkins that in no unclear terms simply blurts out the entire thesis of the film.

It's a thoughtful film, and a very interesting film, but I don't know if I would say it's a great film. It does, however, aspire to be great and does so in unconventional ways, so full marks there. It is new and different, and that alone is worth the price of admission. Also, it's mercifully direct in its ambition, running at a lean 95 minutes.

There's nothing really spoilery in that review, but I thought I'd give everyone a fair shot at seeing it with no prior influence.

Atomika

New York Film Critics' Circle awards are out, check the OP.

TehSpectre

Nice to see The Sound of My Voice getting some Spirit noms.

Tomanta

While I think DKR is a perfectly fine film, I'd agree it's not good enough for the big awards. Like, I think Hathaway was great but the script just didn't give her enough to do for a Best Actress nomination.

I'm getting a feeling that this may be another one of those years where I haven't seen any of the serious contenders (yet) and, as such, can't care too much about the awards.

Atomika

Tomanta wrote: »

While I think DKR is a perfectly fine film, I'd agree it's not good enough for the big awards. Like, I think Hathaway was great but the script just didn't give her enough to do for a Best Actress nomination.

I'm getting a feeling that this may be another one of those years where I haven't seen any of the serious contenders (yet) and, as such, can't care too much about the awards.

As far as prestige pics go, Warner has had a bit of a bust year. They had two films that were supposed to hit big critically (Cloud Atlas and The Hobbit), but didn't. They're not going to be hurting for money any time soon, but all their chips are on Argo and McConaughey in Magic Mike.

TehSpectre

I thought McConaughey had a better preformance in Killer Joe, tbh.

Atomika

TehSpectre wrote: »

I thought McConaughey had a better preformance in Killer Joe, tbh.

There's a good chance he'll be up for both. Killer Joe is a Best Actor nom and Magic Mike is a Best Supporting. The spoiler here is Bernie, where vote splitting might hurt his chances in the latter category.

But hey, it's a good time to be Matthew McConaughey right now.

OremLK

I feel like Lincoln is virtually a lock to win at least two out of three of Best Picture, Best Actor, and Best Director. It checks off virtually every box for Oscar voters. Whether it deserves these awards over some other films, I don't know, as I haven't seen all the contenders. But I don't get the sense any of them have the same level of hype behind them.

AManFromEarth

I'm going to make an effort to see all the best picture contenders, as I do every year (but somehow I never finish until July) but so far Lincoln is absolutely my favorite of the bunch, even if it does have an extra twenty minutes and an oddly prophetic butler.

Atomika

As I do with many films, I like Lincoln less and less the further I've gotten away from it. It's still a very good film, and while it may be the best in a long line of prestige-season biodramas, it's still very much what it is. It's fantastic, but its scope is narrow and old-hat. In that, I find a lot of my enthusiasm for the film on the wane.

I certainly expect Day-Lewis and Field to come away with nominations for their roles and probably even win them, but the entire experience of that film felt not too dissimilar from going to a good restaurant you've been to many times and getting the same thing you always get. It's the best possible version of meat and potatoes, but it's still meat and potatoes.

TehSpectre

How do you feel about Brit Marling for best supporting actress, Ross?

Does she even have a chance to get nominated?

Atomika

TehSpectre wrote: »

How do you feel about Brit Marling for best supporting actress, Ross?

Does she even have a chance to get nominated?

For The Sound of My Voice? Absolutely. The women's divisions are always more unpredictable than the men's, and tend to go for a lot more bold selections. There always seems to be one or two token indie nominations.

Unlikely that she'll win, though. It's a pretty packed field this year, and a lot of returning favorites are hanging around the lot.

TehSpectre

I figured, but I'll be happy with a nomination.

Atomika

Small Damn Review: The Silver Linings Playbook


I've gone back and forth with a question since I saw David O. Russell's The Fighter, which rightly earned Christian Bale the Oscar validation he desperately needed so he could stop taking the role of Pouty McDourface over and over again (Mr. DiCaprio, please take note), and that question is, "Is David O. Russell bad at directing great movies, or is he great at directing bad movies?"

I think this film firmly argues for the latter . . . and that's okay.

Much like how The Fighter was just yet another rote underdog sports movie turned into something really engaging by merely fleshing out the lives of the characters beyond their immediate motivations and goals, Russell does the same thing for rom-coms and Manic Pixie Dream Girls with Silver Linings. The story is nothing new, and there's not a single beat or turn in the film that should shock or surprise you; you've seen this all before. What separates this from the hoary herd is Russell's ability to get actors to treat the material seriously, and his ability to employ a script that develops the dynamics and conflicts organically without relying on bland exposition. You observe his characters, you don't just learn about them, and his characters aren't informed by statement but rather by energy and performance.

Conversely, it must still be said that even a very good entry into this rote genre is still just that, and the script here that so ably defines conflicts and dynamics without insulting the audience has a glaring flaw that begins to rear its ugly head as the film nears the third act. Just as the commentary on mental illness and familial cycles of exacerbation and perpetuation reaches its zenith within the film, the film fails to make its closing arguments upon those throughlines and leaves them unresolved while devolving into a very trite and predictable finale that is thematically unsatisfying and banal in its safeness. It goes from interesting observation of coping with mental illness in an unstable environment to a Tom Hanks/Meg Ryan joint circa 1995, and does so in the blink of an eye.

It's a real shame, because both Bradley Cooper and Jennifer Lawrence do some of their best and most original work here, and it was brilliant to see Robert DeNiro actually bring his varsity-level game for the first time in a long goddamned while, but the film ends in a much safer and more boring place than it initially hints at wanting to go. Still, I recommend it, but temper your expectations; you'll still wind up seeing one the better romantic comedies of this decade. It's just nothing you haven't seen before, even though you may not have seen it ever done this well.

Tomanta

Golden Globe nominations are out...

There needs to be some category revision when Les Miserables is nominated as a comedy and not a drama. I don't understand grouping musicals into that category at all.

Atomika

Ah, yes, The Golden Globes.

The Golden Globes are more famous for the awards ceremony than the awards themselves. The awards are selected by the Hollywood Foreign Press Association with the original intent of getting major studios to pander harder to foreign markets and get foreign media better access to American celebrities. Their members are not professional actors or filmmakers, nor are they scholars or critics. They are paparazzi, and worse, they are foreign paparazzi, complete with all the extra superficiality and poor taste that implies. Their goal achieved merely by being covered on TV and having the nominees show up; for the nominees, the free publicity and open bar is the only draw. The awards themselves are meaningless, and they are poor predictors for anything, but especially quality.

But I encourage you all to tune in for the show. Anytime Russell Crowe has access to unlimited whisky is a good time waiting to happen, and this year's show will be hosted by Amy Poehler and Tina Fey.

KalTorak

Geez, the GGs sure liked Best Exotic Marigold Hotel. It was fun watching all the actors, but that movie was pretty bland and trite.

Deaderinred

Drunk christain bale was the best thing.

"HOLY SHIT LOOK, ITS ROBERT DE NIRO!"

Atomika

WGA noms are out.

Some interesting picks in there. People still love Silver Linings Playbook, despite how badly that movie shits the bed.

Atomika

Director's Guild Award nominations are out.

I liked Argo, but I would have picked PTA over Affleck.

I didn't see Life of Pi, but I don't like Ang Lee's movies generally, so I can't say whether or not its place is deserved.

Deaderinred

oh dear, guess they didnt like django all that much.

yet to see life of pi too (might go on thursday) but from what i hear from friends it deserves every nom its getting.

Atomika

Deaderinred wrote: »

oh dear, guess they didnt like django all that much.

yet to see life of pi too (might go on thursday) but from what i hear from friends it deserves every nom its getting.

I hear that it's a visual feast, but also very smug and self-important.

I really have no interest in high-tech movies if they're not serving any kind of engaging narrative. They're basically big-budget FX reels, is how I feel.


And yeah, there doesn't seem to be the critical turnout for Django the way there was for Inglourious Basterds or Pulp Fiction.

Atomika

Devin Faraci over at BadAssDigest.com says that the real impostor on the DGA list is Tom Hooper.

Reading his argument, I may be inclined to agree. Les Miserables was as lousy as it was brilliant.

Deaderinred

i wonder if the pta snub is to do with scientology... only reason i can come to.

Atomika

Deaderinred wrote: »

i wonder if the pta snub is to do with scientology... only reason i can come to.

Hard to say.

Despite the film's obvious parallels with L. Ron Hubbard, it's not particularly damning of one particular religion or another, instead being a blanket condemnation of any and all kinds of unfounded belief structures.

Deaderinred

true but i could see some of them being upset with what some of the characters say about it, like tom cruise was apparantly. the whole "hes making it up as he goes along" line and the guy attacking psh in the house over the basis of cult.

bafta noms are out and hes scored a best original screenplay nom at least. tarantino is getting all kinds of love and im really really regretting missing argo when it played now.

nice to see dexter fletcher getting a nod for Wild Bill, i enjoyed the film despite going in thinking it was your typical british lower class lock stock type fare, and headhunters, man that film was fantastic.

Atomika

Argo didn't just blow me away, though it was very well-made, simply because it's not a character piece. It's more of a heist movie, but the cargo is people instead of money or anything else. It all comes together and the suspense is taught, but it finishes feeling kind of weightless.

I think if it wasn't a dramatization of one of the US' most contentious political conflicts of the last generation, it wouldn't be receiving near the acclaim. A lot of the drama is tied up in the "holy cow, this really happened!" sense to things.

Deaderinred

they really really dropped the ball for the oscar cinematography. and pta totally fucking snubbed. goddamn.

KalTorak

Huh. Pretty surprised at no noms for Affleck or PTA.

These noms did remind me that this year had a pretty good crop of animated feature films though.