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The 1st Annual Edgy Award Winners
Well, Hollywood’s biggest night is this Sunday. However, the biggest night for this particular blog is right here and now. I announced the nominees for this year’s Edgy Awards last week and it’s now time to bestow said honors upon the winners. As the results will show, several films have proven their excellence by taking a high number of awards. However, much of the love has been equally spread out. Interestingly, four films out of my Top Ten List went home empty handed, while a film that I would consider quite a disappointment still propelled itself to a win in one category.
Overall, these awards are a very accurate depiction of my opinion on films this year. Now, if only the Oscars had this type of taste. However, if the Oscars always matched exactly what one person thought the best, where’s the fun in that? That kind of reality would eliminate the fun of having an opinion in the first place. It would do away with genuine discussion and healthy argument over film. And, most importantly, it would take away from making this site it’s own unique vision.
NOTE: I have been awesome enough to include a video selection for each award chosen, either a short documentary describing the category or a clip from the film that best exhibits what it has been awarded. However, I can not guarantee that any of the clips selected do or do not contain spoilers. Therefore, if you haven’t yet seen the chosen film, do not watch the clip. Simple.
Also, a number of the clips do not allow embedment. But don’t give up, so easily. Just click the link and it will take you directly to the video’s Youtube link where you can view it. Once again, simple.
Without further adieu, here are the winners of the 2011 Edgy Awards!
BEST ORIGINAL SONG
“If I Rise” featured in “127 Hours”
Music by A.R. Rahman and Lyrics by Dido and Rollo Armstrong
Runner-Up: “Bred and Buttered” featured in “Winter’s Bone”
The DGA and the SAG: Now It’s Time to Vent…
Well folks, Tom Hooper has just won the DGA and the cast he directed took home Best Ensemble at the SAG. Coupled with the PGA win last week, “The King’s Speech” has now emerged as not only the frontrunner, but pretty much the inevitable winner of the Best Picture award at the Oscars. As this film has picked up speed in the last few weeks, I’ve tried to keep an open mind. I’ve tried to tell myself that this kind of healthy competition will make for a better Oscars and would make “The Social Network”‘s eventual victory all the more sweet. However, now that the race has shifted from a neck and neck dogfight to a potential sweep for “The King’s Speech,” it has become impossible to suppress my rage.
This situation is, more or less, a travesty for American cinema. For the last half of the previous decade, the AMPAS showed that they had the potential to change with the times. By awarding films like “The Departed,” “No Country for Old Men,” and “The Hurt Locker,” the Academy has proven that they have the ability to not only award phenomenal films, but ones that represent a shift in the balance of power. These are films that show a new Hollywood, emerging from the ashes, making art for a new generation and ultimately changing movies for the better. With “The Social Network,” the AMPAS were given an opportunity to crystalize this new reputation by awarding not only the best movie of the year, but one that is an absolute game-changer in the world of filmmaking. Instead, they are willing to flush it all down the drain.
“The King’s Speech” is not a bad film. It is simply a good film. It has good acting, good writing, good direction, good production quality and good music. In case you haven’t noticed, “good” is the key word, here. I don’t think there is a single aspect of this film that achieves a level of “greatness.” It is an iconic example of middle-of-the-road filmmaking, directed straight at a block of people yearning for that warm and fuzzy feeling in their stomachs. It’s “triumph of the human spirit” pornography. More than anything else, however, it is straight-up Oscar fodder, and they are eating it up, hook, line and sinker. They’re all too willing to vote their souls away for a chance to award this heart-warming work of mediocrity.
“The Social Network” is the best film of the year. Even if people’s opinions cannot agree with or grasp this concept, the title still pretty much remains the same. Never in history has a film garnered so much recognition and awards. Never has the population of this nation’s film critics solidified so strong and unanimous an opinion about a single film. However, it’s more than just a critical tally or mantlepiece full of statues. This is a film that resonates so strongly with this societal climate, much in the same way did “Network” in 1976, “Bonnie and Clyde” in 1967, and “Mr. Smith Goes to Washington” in 1939. When looking down the road, it is a film that will be remembered, not only for it’s cultural impact, but for the flawless nature of its filmmaking prowess. And since I am one such person who can actually make this statement from a position of age and experience (I started college only a year after “The Facebook” was created, back when it was just a college thing), this is, in fact, the movie that defines my generation.
The Academy Award is called that for one reason: it is awarded upon the voted decision of the Academy of Motion Picture Arts and Sciences. It’s their award and they can technically do whatever they want with it. However, I really have to ask just what the hell is wrong with these people? Are they really that much an organization of pure saps? Are they really that cynical that they would deliberately snub the frontrunner for an inferior underdog just because their sick of the unanimous praise? Have they really not gotten tired of having Harvey Weinstein’s lips wrapped around their you-know-whats?Can they really not look beyond four weeks from now and consider what history will judge as the more educated and lasting decision? Most importantly, has the Academy really gone back to its old ways? God, let us hope not.
So is the race over? The answer is no. Even when things get to their bleakest point of flat-out certainty, the race is never over until the last envelope is opened. However, it’s really not looking good for David Fincher and Aaron Sorkin’s masterpiece. With the combined weight of the SAG, PGA, and DGA, anyone who has spent any time in the industry of awards prognostication would be a fool to not call it for “The King’s Speech.” After all, the actors and producers, put together, make up nearly half of the Academy’s voting block. Hope is not lost, completely, but I would now peg “The Social Network”‘s chances at around twenty to twenty-five percent.
At points like these, one can only find comfort by constantly reminding themselves of the most important lesson the awards season has ever taught us: as many fantastic films have won the Oscar for Best Picture, there are exponentially more amazing films that have lost it. “The Social Network” may soon join the ranks of films like “Fargo” and “Saving Private Ryan,” “Pulp Fiction” and “Goodfellas,” “Raging Bull” and “Apocalypse Now,” “Taxi Driver” and “All the President’s Men,” “Chinatown,” and “Jaws,” “Who’s Afraid of Virginia Wolf?” and “The Graduate,” “Vertigo” and “Rear Window,” “Double Indemnity,” and, yes, “Citizen Kane.” Coupled with the movies I mentioned previously in this article, this is not exactly bad company to be kept with. However, if you listen very closely, you can clearly hear Orson Welles rolling over in his grave, that after seventy years of history, lessons have yet to be learned.
The Nominations – My Thoughts and Reactions
The nail-biting is over, at least for a few weeks. The Oscar nominations are here, and I believe that for the first time in years, my joy outweighs my sorrow. I suppose its appropriate to get into the bad news, first.
One thing’s official. As much as the Academy seems to have the most outrageous hard-on for Stephen Daldry (3 films made, 3 Best Director nods), they seem to have an everlasting grudge against Christopher Nolan as a director (3 DGA noms, no Oscar nods for Director). I just don’t understand what the man has to do to get their recognition. You can’t feel completely bad for him, pulling down two nominations for producer and writer, but are those the types of roles that any great director wants to be remembered for? I’m sure it wasn’t good enough for Stanley Kubrick. Honestly, Christopher Nolan is one of the most talented directors in Hollywood. Who else can take a film with such originality, intelligence, grandeur and finesse and bring in 300 million dollars with it or more. And on top of that, do it twice in three years. Nobody since Steven Spielberg, I’ll tell you that much.
The second-most disturbing snub has got be the exclusion of Andrew Garfield in the Supporting Actor category. Ridiculous. Definitely one of the best performances of the year, Garfield’s portrayal of innocence-lost is the soul of “The Social Network.” Though, while I bemoan the lack of Eduardo Savrin, I simply could not be more thrilled about the inclusion of John Hawkes for his turn in “Winter’s Bone.” People who’ve visited this site often must be aware of my penchant for this particular acting job, and this morning’s news of his inclusion is the crowning jewel of almost a year’s worth of supporting him on my part.
Since I’m ever so thrilled about Hawkes, I can’t blame him for the Garfield snub. Therefore, I’m gonna have to just go ahead and blame Jeremy Renner. I never thought that in one year, I could turn so much on this performer. In “The Hurt Locker” he was phenomenal, truly deserving of a lead actor nomination. Here, he is an average performance in an average film. I don’t think I ever considered him a candidate for my supporting actor picks, not even back in October. I was genuinely shocked and confused when accolades and Oscar talk began surfacing a few months ago. It baffled me then and it truly baffles me now.
At least its consolation that Renner was “The Town”‘s only nomination, missing out on that Best Picture nod that everyone was predicting….well almost everyone ;). The fact that “Winter’s Bone” took its place could not be more gratifying, as well. What a glorious film that more than deserves all of its bestowed nominations.
Let’s look at how some films made out on the whole. “127 Hours” defied pundits with a huge 6 nomination comeback, including yet another double category nomination for A.R. Rahman (Best Original Song, Best Original Score). Meanwhile, maybe the biggest shocker of the day, was “Black Swan” achieving only 5 nominations. For a while now, many people have been projecting Aronofsky’s film to be the potential nomination frontrunner, amassing perhaps ten or twelve. Instead, the film missed out on Supporting Actress (for both of its contenders), Original Screenplay, Art Direction, Costume Design and both Sound categories. I didn’t have it predicted in all of those, but it certainly had potential. Perhaps the biggest crime here is its Sound Effects exclusion. The work done on the sound of pattering feet and flapping feathers was phenomenal.
The worst overall snub of a film had to be Martin Scorsese’s “Shutter Island.” Not an amazing film, by any standards, but certainly one in which at least its technical achievements deserved some recognition. It should have easily made the grade for both Cinematography and Art Direction. Some of the best work of the year. I’m also depressed that Ryan Gosling missed out on a more than deserving nomination for Best Actor in “Blue Valentine.” It’s very nice to see Michelle Williams nominated, but not enough of a consolation. I’m sure that when I see “Biutiful” this weekend, however, Javier Bardem will wow the living shit out of me and I will be able to praise his surprise inclusion.
Let’s move on to some of the brighter aspects of day. The big story in the news is “The King’s Speech” being the nomination leader, but “The Social Network” really did have a pretty damned good day. 8 nominations, tied for the third highest, including four technical nominations, not an easy feat for a contemporary comedy/drama. It’s true that we definitely have ourselves a race now. Yet in terms of the race, “The King’s Speech” may have gained ground, but “The Social Network” hasn’t lost any of its.
One thing that’s really got me happy is the semi-snub of “Alice in Wonderland.” True, it did receive three nominations, yet I call it a snub for the one award it had almost always been not only a lock, but a frontrunner: Best Makeup. It appears that this branch of the Academy really does know the difference between makeup and CGI. Some very interesting choices replaced it, including “Barney’s Version” and “The Way Back.”
Without a doubt, the biggest joy for me, this morning, was seeing the results that the Doc branch rolled out. This has been one of the best years I’ve ever seen for documentary films. Lately, it’s seemed as though the lackluster “Waiting for Superman” was lined up to sweep the Oscar after wins at the BFCA and PGA. However, that belief was certainly swayed when the movie did not even show up among the nominees. The Academy also chose to avoid “The Tillman Story,” a pretentious and jumbled look at the soldier’s tragic story. Instead, among the nominations, are my three favorite documentaries of the year: “Restrepo,” “Inside Job” and the glorious “Exit Through the Gift Shop.” Well done, guys.
My predictions were some of the best of my time doing this gig. out of 109 nominations, I correctly predicted 82. Not bad at all. If you were to ask my girlfriend, I was inches away from predicting Bardem at about 2 o’clock this morning. Oh well. Got to stick to your guns.
This race has gone from being a one trick pony to a cutthroat race to the finish. It is going to be “The Social Network” vs. “The King’s Speech” right to the last note. While, for sure, I have a favorite, it’s refreshing to have a very close race. While last year was a nice David and Goliath battle, looking back, it was always “The Hurt Locker”‘s for the taking. And before that, it was two years of no competition. Now we have a race the likes of “The Departed” vs. “Little Miss Sunshine” or “Million Dollar Baby” vs. “The Aviator.” However, in reality, I don’t think we’ve ever had a race quite like this one before. Should be a good time. Stay tuned.
My FINAL Oscar Predictions – 1/22
This is it. Last call before closing. Nominations for the 83rd Annual Academy Awards will be announced this Tuesday, January 25th, at 7:30am CST (and you can bet I’ll be up hours before then, pumping myself up). For sure, there is a science behind the whole prediction game. A combination of elements, including what’s been happening with the critics groups awards, the different guild nominations and, in some cases, the film’s box office success. Along with that, there’s likability in each contender, how many times they’ve previously been nominated and won, a pseudo-mathematic question of their overall “due” status. Dozens of factors take shape in hugely methodic process, and this is all before anyone even takes into effect how good each contender is. Crazy, huh?
Well, a year-long process has now come to a close, and it’s time for me to nut up and offer my final predictions. The Best Picture line-up is basically down to 11 contenders, with two films vying for the final slot. It’s possible that either “Shutter Island” or “The Ghost Writer” could stage a massive coup and fight their way in their, but I doubt it. Some predictions that I’m sticking my neck out on? I’m still holding on to my convictions (and hopes) that the incredible John Hawkes can beat out Jeremy Renner in the Best Supporting Actor category. I’m also holding out hope that both of “Blue Valentine”‘s stars will outdo their older competition for leading notices. I’m also really hoping that “Exit Through the Gift Shop” can actually tickle the documentary branch’s funny bone (a feat not easily accomplished). Finally, here’s to “Winter’s Bone” edging out “The Town” for Best Picture. In fact, I’m predicting an across-the-board snub of the film. It’s only a slightly above action feature that has no business in the top ten. I have a strong feeling, though, that it will be this year’s “Blind Side.”
Without further adieu, here are the nominees (and once again, these are ranked in order of their chance of getting nominated, not winning):
BEST PICTURE
1. “The Social Network”
2. “The King’s Speech”
3. “The Fighter”
4. “Black Swan”
5. “Inception”
6. “Toy Story 3”
7. “True Grit”
8. “The Kids Are All Right”
9. “127 Hours”
10. “Winter’s Bone”
Alt 1: “The Town”
Alt 2: “Shutter Island”
Click READ MORE to see the rest.
The Shape of Things and Those to Come
We’re now down to just over a month left until cinema’s biggest night, the 83rd Annual Academy Awards, and only three days left till the nominations are released. It’s a very exciting time for movies and an equally exciting time for The Edge of the Frame. I’ve got a lot of great stuff planned for the coming weeks.
First off, now that all of the guild nominations are complete, I will try to be as prompt as possible at announcing the winners as they are awarded. First off will be the Producers Guild which is holding its ceremony tonight. Many believe that, with the DGA and WGA all but locked up, the Producers are the last big hurdle that “The Social Network” needs to vanquish before it can be considered a virtual lock for the Best Picture Oscar. Or, put another way, if “The King’s Speech,” “Black Swan,” “The Fighter,” “Inception,” or even “Toy Story 3” wants to put up any kind of a fight, this should be their last stand. I mean these are producers we’re talking about, so massive box office success may be taken into account here. And all of the above-mentioned films have much more exciting box office turn-ins than the frontrunner (not that “TSN” fared badly, bringing in just shy of $100 million off of a $40 million dollar budget). As far as money goes, my own is still squarely behind David Fincher’s masterpiece. It doesn’t help having one of Hollywood’s most loved and successful producers behind the curtain, in the form of Scott Rudin.
On top of the guilds, I’m going to attempt to not wait until the last possible moment to announce my predictions for this year’s Academy Awards. I’m hoping that by tomorrow evening, I will be ready for my final guess. While, it’s true, there’s virtually nothing between today and Tuesday morning that could change what’s in the envelopes (especially since the AMPAS’ polls closed over a week ago). However, it’s all about the vibe, and for that, I have to take my time.
Along with continuing awards coverage, I am also drafting a few feature articles. I’m currently in progress on my next addition to The Lists series, focusing on the greatest addicts in movie history. Meanwhile, I’m also planning two articles in support of “The Social Network.” One, countering arguments that the film is overrated due to its historic inaccuracies and possibly another that defends Jesse Eisenberg’s performance as one of the year’s best, if not the best of the best.
You know, I take a lot of guff from people who say that I have a huge bias for the Facebook film; that this site is simply all “Social Network” all day long. Well, let’s face it folks. This awards season, let alone the year in cinema has been all “Social Network” all day. As the tagline states, “You don’t get to 500 million friends without making a few enemies.” Well, you don’t get to win 30 out of 33 awards for Best Picture of the Year without being a pretty goddamn good movie, so I really don’t think I’m alone on this one.
Finally, as the 2010 film season comes to a close, it’s about time I conclude my critical coverage of the season. Soon, I will be rolling out my “Best of the Year” series. There are still four more films that I absolutely must see before I feel comfortable posting a valid list. David Michod’s “Animal Kingdom” is in my Blu ray player waiting for me when I get home from work, today. I’ve scheduled a screening of Mike Leigh’s “Another Year” tomorrow afternoon. I should have some time to check out Peter Weir’s “The Way Back later this week, and Alejandro Gonzalez Inarritu’s “Biutiful” opens in Chicago on the 28th. On that time table, I should be able to assemble my Top Ten List by February 1st. I may just have time to sneak “Repo Men,” “Mother and Child,” “The Virginity Hit” and “Scott Pilgrim vs. the World” into consideration, pending on how fast I can work my way through my Netflix DVD queue.
Shortly after I post my Top Ten of the Year, I will begin preparing the nominations for the Conroy Film Awards, or “The Connies” for a certain few who have chosen to refer to them that way. These are my own personal Academy Awards. I believe I have a set of them for every year going back to 1940. They’re tailored with the same nominees as the AMPAS, along with a few other fun categories, including Best Ensemble Cast, Best Heros/Villains, and Best Ending (with no spoilers included, of course).
All in all, it should be a good time. So keep reading, folks, cause the fun is about to begin.
“The Social Network” Updated Awards Tally
You know, it’s true that “The Social Network” is my favorite movie of this year and many others. It’s probably in my Top 5 films of the last 20 years. However, that’s not why I am posting this. People really need to understand the precedent that is being set here. Never in the history of film has a movie been so unanimously praised as this one.
Every year there is a critical darling. Last year, at this point last year, “The Hurt Locker” has won 12 Best Picture awards, as has “Slumdog Millionaire.” “No Country for Old Men” was the only one that came close with 20 wins. “The Social Network” has 25 Best Picture wins under its belt. Not to mention, it is also the first film in nearly 15 years to win the “Big Four,” meaning the NYFCC, LAFCA, NBR and NSFC (L.A. Confidential was the last film to do that, and before that, Schindler’s List).
This has been a bigger critical coronation than ever there was one, and it’s really something to admire and remember.
Here’s the full list of main awards that it has won:
BEST PICTURE
WINS
African American Film Critics Association
Alliance of Women Film Journalists
Boston Society of Film Critics
Broadcast Film Critics Association
Central Ohio Film Critics Association (runner-up)
Chicago Film Critics Association
Dallas-Fort Worth Film Critics Association
Detroit Film Critics Society
Florida Film Critics Circle
Hollywood Foreign Press Association
Houston Film Critics Society
Indiana Film Journalists Association
International Press Academy
Iowa Film Critics
Kansas City Film Critics Circle
Las Vegas Film Critics Society
Los Angeles Film Critics Association
National Board of Review
National Society of Film Critics
New York Film Critics Circle
New York Film Critics Online
Oklahoma City Film Critics Circle
Online Film Critics Society
San Francisco Film Critics Circle
Southeastern Film Critics Association
St. Louis Film Critics Association
Toronto Film Critics Association
Utah Film Critics Association
Vancouver Film Critics Circle
Washington D.C. Film Critics Association
NOMINATIONS
Austin Film Critics Association
London Film Critics Circle (not yet awarded)
Phoenix Film Critics Society
Producers Guild of America (not yet awarded)
San Diego Film Critics
BEST DIRECTOR
WINS
Alliance of Women Film Journalists
Boston Society of Film Critics
Broadcast Film Critics Association
Chicago Film Critics Association
Dallas-Fort Worth Film Critics Association
Florida Film Critics Circle
Hollywood Foreign Press Association
Houston Film Critics Society
Indiana Film Journalists Association
International Press Academy
Iowa Film Critics
Las Vegas Film Critics Society
Los Angeles Film Critics Association (TIE with Carlos Assayas)
National Board of Review
National Society of Film Critics
New York Film Critics Circle
New York Film Critics Online
Oklahoma City Film Critics Circle
Online Film Critics Society
San Francisco Film Critics Circle (TIE with Darren Aronofsky)
Southeastern Film Critics Association
St. Louis Film Critics Association
Toronto Film Critics Association
Utah Film Critics Association
Vancouver Film Critics Circle
Washington D.C. Film Critics Association
NOMINATIONS
Austin Film Critics Association
Central Ohio Film Critics Association
Detroit Film Critics Society
London Film Critics Circle (not yet awarded)
Phoenix Film Critics Society
San Diego Film Critics
BEST ACTOR
WINS
Boston Society of Film Critics
Houston Film Critics Society
Indiana Film Journalists Association (runner-up)
National Board of Review
National Society of Film Critics
Oklahoma City Film Critics Circle
Toronto Film Critics Association
Utah Film Critics Association
NOMINATIONS
Alliance of Women Film Journalists
Broadcast Film Critics Association
Central Ohio Film Critics Association
Chicago Film Critics Association
Detroit Film Critics Society
Hollywood Foreign Press Association
International Press Academy
Las Vegas Film Critics Society
London Film Critics Circle (not yet awarded)
Online Film Critics Society
Phoenix Film Critics Society
San Diego Film Critics
Screen Actors Guild Award (not yet awarded)
St. Louis Film Critics Association
Vancouver Film Critics Circle
BEST SCREENPLAY
WINS
Alliance of Women Film Journalists (adapted)
Austin Film Critics Association (adapted)
Boston Society of Film Critics
Broadcast Film Critics Association
Central Ohio Film Critics Association (adapted)
Chicago Film Critics Association
Dallas-Forth Worth Film Critics Association
Florida Film Critics Circle (adapted)
Hollywood Foreign Press Association
Houston Film Critics Society
Indiana Film Journalists Association
International Press Academy
Kansas City Film Critics Circle
Las Vegas Film Critics Society
Los Angeles Film Critics Association
National Board of Review
National Society of Film Critics
New York Film Critics Online
Oklahoma City Film Critics Circle (adapted)
Online Film Critics Society
Phoenix Film Critics Society
San Diego Film Critics Society (adapted)
San Francisco Film Critics Circle
Southeastern Film Critics Association (adapted)
St. Louis Film Critics Association (adapted)
Toronto Film Critics Association (adapted)
Utah Film Critics Association
Vancouver Film Critics Circle
Washington D.C. Film Critics Association (adapted)
NOMINATIONS
London Film Critics Circle (not yet awarded)
BEST ORIGINAL SCORE
WINS
Alliance of Women Film Journalists
Broadcast Film Critics Association
Central Ohio Film Critics Association (runner-up)
Hollywood Foreign Press Association
Las Vegas Film Critics Society
Los Angeles Film Critics Association (TIE w/The Ghost Writer)
St. Louis Film Critics Association
NOMINATIONS
Chicago Film Critics Association
Houston Film Critics Association
International Press Academy
San Diego Film Critics Society
Washington Film Critics Association
Congrats, “Social Network.” You earned it.
National Society of Film Critics Goes with “Social Network”
As Darth Vader once famously said, “The circle is now complete.” Well, that saying now rings true for David Fincher’s “The Social Network,” at least as far as the critics go.
At long last, the National Society of Film Critics, one of the oldest and perhaps most prestigious (as well as my favorite) film journalism organizations, convened today to vote on cinema’s best of 2010. To my joy and elation, they have gone with “The Social Network,” not just with a win, but a sweep.
What a fitting end to “The Social Network”‘s history-making run. It began with a sweep of the National Board of Review, and ends the same way. What a magnificent year for a magnificent film. Regardless of what happens from here on out, whether “The Social Network” gets killed by politics or voter age. At least at this point, it is on top of the world.
Here is the full list of winners, which will eventually be updated with runners-up and hopefully voting tallies:
BEST PICTURE
***”The Social Network” – 61 votes***
“Carlos” – 28 Votes
“Winter’s Bone” – 18 Votes
BEST DIRECTOR
***David Fincher – “The Social Network” – 66 votes***
Oliver Assayas – “Carlos” – 36 votes
Roman Polanski – “The Ghost Writer” – 29 votes
BEST ACTOR
***Jesse Eisenberg – “The Social Network” – 30 votes***
Colin Firth – “The King’s Speech” – 29 votes
Edgar Martinez – “Carlos” – 29 votes
BEST ACTRESS
***Giovanna Mezzogiorno – “Vincere” – 33 votes***
Annette Bening – “The Kids Are All Right” – 28 votes
Lesley Manville – “Another Year” – 27 votes
BEST SUPPORTING ACTOR
***Geoffrey Rush – “The King’s Speech” – 33 votes***
Christian Bale – “The Fighter” – 32 votes
Jeremy Renner – “The Town” – 30 votes
BEST SUPPORTING ACTRESS
***Olivia Williams – “The Ghost Writer” – 37 votes***
Amy Adams – “The Fighter” – 28 votes
Melissa Leo – “The Fighter” – 23 votes
Jacki Weaver – “Animal Kingdom” – 23 votes
BEST SCREENPLAY
***”The Social Network” – 73 votes***
“The King’s Speech” – 25 votes
“The Ghost Writer” – 19 votes
BEST DOCUMENTARY
***”Inside Job” – 25 votes***
“Exit Through the Gift Shop” – 21 votes
“Last Train Home” – 15 votes
BEST FOREIGN LANGUAGE FILM
***”Carlos” – 31 votes***
“A Prophet” – 22 votes
“White Material” – 16 votes
BEST CINEMATOGRAPHY
***”True Grit” – 31 votes***
“Black Swan” – 27 votes
“Somewhere” – 18 votes
Okay, so this year, my favorite critics group almost entirely lives up to that distinction. Why are they my favorite you might ask? Because in the last six years, their choice for Best Picture has at least been included in my Top five films of the year; three of those times, my favorite has matched theirs.
Aside from “The Social Network,” which deserved every award that it got, I am most pleased with their choice of Giovanna Mezzogiorno for Best Actress in “Vincere.” An absolutely stunning performance with such a high caliber of emotion, I was stunned when I watched it. The film, as a whole, is a standout. Yet her performance stands above it all and has not gotten any awards recognition thus far.
I can take or leave the Supporting Awards. Rush and Williams were both good, but neither deserving of serious awards recognition in my mind. Especially not Williams. I thought she was one of the more forgettable aspects of “The Ghost Writer.” Geoffrey Rush is one of my favorite actors, but I have to say that this is not one of his most exciting performances.
“Inside Job” got a big win, here. Hopefully, it can push through to February. I also really need to check out “Carlos” as soon as possible. It’s obviously a pretty phenomenal experience. I’m sure when the voting tallies come out, it will be the runner-up to “The Social Network.”
Cheers to “The Social Network.” It has been a phenomenal run with the critics. If hoping counts for anything it will continue that streak with the guilds and different broadcasted awards. I will soon re-post my article featuring a tally of all the accolades that the film has incurred. It’s kind of nice to see them listed out on the screen. I wonder what it must be like for Scott Rudin with them all out on his coffee table.
Updated Oscar Predictions
What with everything that has happened in the last month in regards to the critics, the Globes and the SAGs, I figure that it’s time to do a full update on my Oscar predictions. Not a lot has shifted in the technical cateogories, except that “The Social Network” is looking more and more like a sure thing for a Best Original Score nomination. I’ve also taken “The King’s Speech” out of Best Editing. If it does miss that nomination, and somehow goes on to win Best Picture, it will be the first film in 30 years to win the big one without the support of the editors. Those two awards somehow go hand in hand.
As far as the acting categories go, Best Actor seems pretty much locked. Jesse Eisenberg has carved his name in stone and is just as solid as the top two contenders. There’s an outside chance that Ryan Gosling might break in and knock out one of the two veterans, but becoming less and less likely. A big question for Best Actress is who will take the place of Hilary Swank, after the odd as hell SAG nomination. I’m still betting on Lesley Manville, and not just because of the NBR stat, but because it’s a truly endearing character. However, much like Gosling, Williams is looming, and I can definitely see her getting a nomination, much like Laura Linney did for “The Savages” in 2007, and she didn’t even have the Golden Globe nod.
I think its safe to say that Justin Timberlake has fallen out of the running, especially since Andrew Garfield is no longer a lock. I refuse to predict Jeremy Renner until there’s no hope left. Never thought I’d find myself rooting against one of my favorite performers. My how the tables turn. I am however, hoping that the Academy will remain as bold as the SAG and nominate John Hawkes, but its a crap shoot. In Best Supporting Actress, it’s pretty solid that both of “The Fighter”‘s ladies will be making it in, though Leo definitely has the edge. Mila Kunis and Jacki Weaver will fight it out for the last slot.
One thing that I think is safe to say is that “The Fighter” is now as solid a contender as it has ever been. We shall see how it fares with the rest of the guilds, but from the SAGs and Globes, alone, it has gained even more ground than “Black Swan.”
Read all of my predictions after the jump:
BEST PICTURE
1. The Social Network
2. The King’s Speech
3. Toy Story 3
4. Inception
5. Black Swan
6. The Fighter
7. The Kids Are All Right
8. 127 Hours
9. True Grit
10. Winter’s Bone
Alt 1: The Town
Alt 2: Another Year
Screen Actors Guild Nominations: My Thoughts
While trying not to put the cart before the horse, it is important to realize that the SAG is the real deal. What we have here is the most accurate precursor in regards to matching up to what the Oscar nominations will look like.
First of all, the actors make up, 3 times over, the largest contingent of the Academy, with producers and executives in 2nd, sound personnel in 3rd and writers in 4th. And while Best Ensemble does not always line up with Best Picture, the singular achievement nominations have lined up with Oscars, per say, about 80 to 90 percent of the time. Last year, was perhaps the most similar, with only 1 nominee in Best Supporting Actress not making it to Oscar (Diane Kruger). Best Actor, Actress and Supporting Actress lined up perfectly.
That being said, I’m mostly happy with these nominations, despite a few hiccups. Without a doubt, the most shocking and disturbing omission is Andrew Garfield in “The Social Network.” I thought that, if anything, he would be locked and Jesse Eisenberg would still have an uphill battle, despite all of the critical love. However, Garfield was the heart and soul of the film and anyone who can blaze through Sorkin dialogue, while still maintaining that level of emotion and integrity, deserves recognition.
The trouble is, who is to blame for this slight. If it is John Hawkes, then I cannot mourn for too long, because he is the one man that I want to appear in the eventual Oscar lineup ahead of Garfield. John Hawkes gives, quite simply, one of the best performances of the year and a true underdog story to boot. However, if it is Jeremy Renner who passed Andrew Garfield by, then I am appalled. Renner was absolutely stellar in “The Hurt Locker,” realistic, unique and all heart. In “The Town,” he is good, maybe the best performance in the film, but really nothing special at all. I still cannot believe the amount of buzz he’s receiving.
Another weird turn this morning was Hilary Swank getting in for her only slightly above average performance in “Conviction,” knocking out critical favorites Lesley Manville in “Another Year” and Michelle Williams in “Blue Valentine.” What’s really weird about this is her inclusion, but not Sam Rockwell or Juliette Lewis, the individuals in the film that people have actually been talking about. A true out-of-the-blue nomination, and really kind of a hilarious one seeing that she is once again up against Annette Bening, who lost the Best Actress race to Swank twice in the last 11 years.
A little known fact, if Lesley Manville is not nominated for an Oscar, she will be the first woman to win the National Board of Review award for Best Actress and not go on to an Oscar nod since the year 1990 when Mia Farrow failed to secure a nomination for Woody Allen’s “Alice.” In superstitious terms, that’s a long streak to be broken.
Mila Kunis made a surprise appearance here. Kind of boggled by that, because as funny and peppy as she is, it’s really not that solid of a performance. Barbara Hershey was a standout, if ever anyone could stand out around Natalie Portman’s brilliance.
Now, the good things. I’ve already addressed my absolute elation for John Hawkes come-from-behind nomination, even if he has a long shot, even if hell does freeze over, of actually winning. I must also congratulate Jesse Eisenberg, who has now all but engraved his nomination in cement. Truly brilliant work. and while I haven’t seen “True Grit,” it’s nice to see Jeff Bridges show up here, especially after his snub at the Golden Globes.
While I wasn’t really expecting any kind of showing for it, it’s kind of sad to see yet another Christopher Nolan film snubbed from the Ensemble Cast category, let alone any other category in the case of “Inception.” True, the first thing the mind goes to when it comes to this film is the visuals, the story and the direction. Yet, it is an ensemble piece, through and through, with so many actors (Leonardo DiCaprio, Ellen Page, Joesph Gordon Levitt, Ken Watanabe, Cillian Murphy, Marion Cotillard, and, of course, Tom Hardy) all pulling their weight more than needed. And while “Black Swan” does have decent performances all around, it’s really Natalie Portman’s show. One deserved this nomination more than the other, and it’s going home empty-handed.
My longshot predictions for the win would probably go like this:
BEST ENSEMBLE CAST
“The King’s Speech”
alt: “The Fighter”
BEST ACTOR
Colin Firth – “The King’s Speech”
alt: James Franco – “127 Hours”
BEST ACTRESS
Annette Bening “The Kids Are All Right”
alt: Natalie Portman – “Black Swan”
BEST SUPPORTING ACTOR
Christian Bale – “The Fighter”
alt: Geoffrey Rush – “The King’s Speech
BEST SUPPORTING ACTRESS
Melissa Leo – “The Fighter”
alt: Helena Bonham Carter – “The King’s Speech
We shall see.
17th Screen Actors Guild Nominations
All I will post my full reactions in the next few hours. In the meantime I leave you with one thought: John Hawkes, John Hawkes, JOHN GODDAMN HAWKES!!!!!!! Thank you very much.
BEST ENSEMBLE CAST
“Black Swan”
“The Fighter”
“The Kids Are All Right”
“The King’s Speech”
“The Social Network”
BEST ACTOR in a LEADING ROLE
Jeff Bridges – “True Grit”
Robert Duvall – “Get Low”
Jesse Eisenberg – “The Social Network”
Colin Firth – “The King’s Speech”
James Franco – “127 Hours”
BEST ACTRESS in a LEADING ROLE
Annette Bening – “The Kids Are All Right”
Nicole Kidman – “The Rabbit Hole”
Jennifer Lawrence – “Winter’s Bone”
Natalie Portman – “Black Swan”
Hilary Swank – “Conviction”
BEST ACTOR in a SUPPORTING ROLE
Christian Bale – “The Fighter”
John Hawkes – “Winter’s Bone”
Jeremy Renner – “The Town”
Mark Ruffalo – “The Kids Are All Right”
Geoffrey Rush – “The King’s Speech”
BEST ACTRESS in a SUPPORTING ROLE
Amy Adams – “The Fighter”
Helena Bonham-Carter – “The King’s Speech”
Mila Kunis – “Black Swan”
Melissa Leo – “The Fighter”
Hailee Steinfeld – “True Grit”
The Edge of the Frame 