Archive

Posts Tagged ‘martin scorsese’

2012 Academy Awards Luncheon

February 8, 2012 Leave a comment

The annual Oscar nominees luncheon is a longstanding tradition. The awards body extends an invitation to every single recipient of a nomination of this year’s event and awards them…well, there is no award. It’s kind of a pat on the back, honor to be nominated type of thing with some free food and a photo-op. All in all, this event really serves no purpose other than placating tradition.

However, as meaningless as this luncheon is, I always get a kick out of this annual photograph. There’s something kind of nostalgic and eye-catching about seeing all of the nominees lined up, middle school yearbook-style. It also gives you the chance to brush up on your “who’s who?” of Hollywood power, including the ones that you don’t regularly see on the screen. There also exists little moments in these things that make me smile. There’s old friends Marty and Spielberg standing side-by-side on the top right. Seventeen-time legend Meryl Streep alongside the up-and-comer Rooney Mara (apparently she doesn’t smile when someone says cheese, and I love her for it) at the top left. Nick Nolte looking like a sunburned Santa Clause and that the guy doing the Gollum impression in the second row.

Enjoy this year’s edition of the “Where’s Waldo?” Oscar spread.

Click the image to resize:

2012 Academy Award Nominations!

January 24, 2012 Leave a comment

And away we go…

BEST PICTURE
“The Artist”
“The Descendants”
“Extremely Loud and Incredibly Close”
“The Help”
“Hugo”
“Midnight in Paris”
“Moneyball”
“The Tree of Life”
“War Horse”

BEST DIRECTOR
Woody Allen – “Midnight in Paris”
Michael Hazanavicius – “The Artist”
Terrence Malick – “The Tree of Life”
Alexander Payne – “The Descendants”
Martin Scorsese – “Hugo”

BEST ACTOR in a LEADING ROLE
Demien Bechir – “A Better Life”
George Clooney – “The Descendants”
Jean Dujardin – “The Artist”
Gary Oldman – “Tinker, Tailor, Soldier, Spy”
Brad Pitt – “Moneyball”

BEST ACTRESS in a LEADING ROLE
Glenn Close – “Albert Nobbs”
Viola Davis – “The Help”
Rooney Mara – “The Girl with the Dragon Tattoo”
Meryl Streep – “The Iron Lady”
Michelle Williams – “My Week with Marilyn”

BEST ACTOR in a SUPPORTING ROLE
Kenneth Branagh – “My Week with Marilyn”
Jonah Hill – “Moneyball”
Nick Nolte – “Warrior”
Christopher Plummer – “Beginners”
Max von Sydow – “Extremely Loud & Incredibly Close”

BEST ACTRESS in a SUPPORTING ROLE
Bérénice Bejo – “The Artist”
Jessica Chastain – “The Help”
Melissa McCarthy – “Bridesmaids”
Janet McTeer – “Albert Nobbs”
Octavia Spencer – “The Help”

BEST ORIGINAL SCREENPLAY
“The Artist” by Michel Hazanavicius
“Bridesmaids” by Annie Mumolo & Kristen Wiig
“Margin Call” by J.C. Chandor
“Midnight in Paris” by Woody Allen
“A Separation” by Asghar Farhadi

BEST ADAPTED SCREENPLAY
“The Descendants” by Alexander Payne and Nat Faxon & Jim Rash
“Hugo” by John Logan
“The Ides of March” by George Clooney & Grant Heslov and Beau Willimon
“Moneyball” by Steven Zaillian and Aaron Sorkin Story by Stan Chervin
“Tinker Tailor Soldier Spy” by Bridget O’Connor & Peter Straughan

BEST ANIMATED FEATURE
“A Cat in Paris”
“Chico & Rita”
“Kung Fu Panda 2”
“Puss in Boots”
“Rango”

BEST FOREIGN LANGUAGE FILM
“Bullhead” Belgium
“Footnote” Israel
“In Darkness” Poland
“Monsieur Lazhar” Canada
“A Separation” Iran

BEST DOCUMENTARY FEATURE
“Hell and Back Again”
“If a Tree Falls: A Story of the Earth Liberation Front”
“Paradise Lost 3: Purgatory”
“Pina”
“Undefeated”

BEST CINEMATOGRAPHY
“The Artist” – Guillaume Schiffman
“The Girl with the Dragon Tattoo” – Jeff Cronenweth
“Hugo” – Robert Richardson
“The Tree of Life” – Emmanuel Lubezki
“War Horse” – Janusz Kaminski

BEST EDITING
“The Artist” – Anne-Sophie Bion and Michel Hazanavicius
“The Descendants” – Kevin Tent
“The Girl with the Dragon Tattoo” – Kirk Baxter and Angus Wall
“Hugo” – Thelma Schoonmaker
“Moneyball” – Christopher Tellefsen

BEST ART DIRECTION
“The Artist” – Production Design: Laurence Bennett; Set Decoration: Robert Gould
“Harry Potter and the Deathly Hallows Part 2” – Production Design: Stuart Craig; Set Decoration: Stephenie McMillan
“Hugo” – Production Design: Dante Ferretti; Set Decoration: Francesca Lo Schiavo
“Midnight in Paris” – Production Design: Anne Seibel; Set Decoration: Hélène Dubreuil
“War Horse” – Production Design: Rick Carter; Set Decoration: Lee Sandales

BEST COSTUME DESIGN
“Anonymous” – Lisy Christl
“The Artist” – Mark Bridges
“Hugo” – Sandy Powell
“Jane Eyre” – Michael O’Connor
“W.E.” – Arianne Phillips

BEST SOUND MIXING
“The Girl with the Dragon Tattoo” – David Parker, Michael Semanick, Ren Klyce and Bo Persson
“Hugo” – Tom Fleischman and John Midgley
“Moneyball” – Deb Adair, Ron Bochar, Dave Giammarco and Ed Novick
“Transformers: Dark of the Moon” – Greg P. Russell, Gary Summers, Jeffrey J. Haboush and Peter J. Devlin
“War Horse” – Gary Rydstrom, Andy Nelson, Tom Johnson and Stuart Wilson

BEST SOUND EDITING
“Drive” – Lon Bender and Victor Ray Ennis
“The Girl with the Dragon Tattoo” – Ren Klyce
“Hugo” – Philip Stockton and Eugene Gearty
“Transformers: Dark of the Moon” – Ethan Van der Ryn and Erik Aadahl
“War Horse” – Richard Hymns and Gary Rydstrom

BEST VISUAL EFFECTS
“Harry Potter and the Deathly Hallows Part 2” – Tim Burke, David Vickery, Greg Butler and John Richardson
“Hugo” – Rob Legato, Joss Williams, Ben Grossman and Alex Henning
“Real Steel” – Erik Nash, John Rosengrant, Dan Taylor and Swen Gillberg
“Rise of the Planet of the Apes” – Joe Letteri, Dan Lemmon, R. Christopher White and Daniel Barrett
“Transformers: Dark of the Moon” – Scott Farrar, Scott Benza, Matthew Butler and John Frazier

BEST MAKEUP
“Albert Nobbs” – Martial Corneville, Lynn Johnston and Matthew W. Mungle
“Harry Potter and the Deathly Hallows Part 2” – Edouard F. Henriques, Gregory Funk and Yolanda Toussieng
“The Iron Lady” – Mark Coulier and J. Roy Helland

BEST ORIGINAL SCORE
“The Adventures of Tintin” – John Williams
“The Artist” – Ludovic Bource
“Hugo” – Howard Shore
“Tinker Tailor Soldier Spy” – Alberto Iglesias
“War Horse” – John Williams

BEST ORIGINAL SONG
“Man or Muppet” from “The Muppets” – Music and Lyric by Bret McKenzie
“Real in Rio” from “Rio” – Music by Sergio Mendes and Carlinhos Brown Lyric by Siedah Garrett

BEST SHORT FILM, LIVE ACTION
“Pentecost” – Peter McDonald and Eimear O’Kane
“Raju” – Max Zähle and Stefan Gieren
“The Shore” – Terry George and Oorlagh George
“Time Freak” – Andrew Bowler and Gigi Causey
“Tuba Atlantic” – Hallvar Witzø

BEST SHORT FILM, ANIMATION
“Dimanche/Sunday” – Patrick Doyon
“The Fantastic Flying Books of Mr. Morris Lessmore” – William Joyce and Brandon Oldenburg
“La Luna” – Enrico Casarosa
“A Morning Stroll” – Grant Orchard and Sue Goffe
“Wild Life” – Amanda Forbis and Wendy Tilby

BEST DOCUMENTARY, SHORT SUBJECT
“The Barber of Birmingham: Foot Soldier of the Civil Rights Movement” – Robin Fryday and Gail Dolgin
“God Is the Bigger Elvis” – Rebecca Cammisa and Julie Anderson
“Incident in New Baghdad” – James Spione
“Saving Face” – Daniel Junge and Sharmeen Obaid-Chinoy
“The Tsunami and the Cherry Blossom” – Lucy Walker and Kira Carstensen

There you have it, folks. My fiery reactions to come shortly, after I blow off some steam.

It Hath Come: My Final 2012 Oscar Nomination Predictions

January 23, 2012 Leave a comment

The time is here. Unbelievable. I woke up this morning with such a sense of elation, pride and sheer terror. As I believe I had stated at this point, last January, I find this point in the race to be more nerve-racking and exciting than that fateful day in February. This is when, in my mind, the true winners are announced. I know it’s a savage cliche in this industry, but to be real, I truly believe that it is an honor just to be nominated. Especially when people like Harvey Weinstein exist in the world. If you are able to squeeze out a nomination without that “The Weinstein Company” in your opening credits, then I say “Bravo” to you, sir or madam. Besides, when you look at history, ninety percent of the time, it’s the films that don’t win that get remembered so much more. I’d say that those films are far better company to keep.

Well, I’ll take this time, beforehand, to address any sudden change or surge that has occurred since my last batch of nominations. The big one, indeed came after the announcement of the BAFTA nominations and “Tinker, Tailor, Soldier, Spy,” suddenly became a legitimate contender. Granted, I do not believe (though some seem to) that it will receive the same level of recognition (11 nominations. Whew.), but I am fully expecting it to pop up in a few categories. In fact, perhaps my biggest “out-on-a-limb” prediction is Gary Oldman snagging his first career mention. I mean in reality, who cares what the Globes say and the SAG nominations are from a random sampling, so who knows how many of them have even heard of Oldman or understand his plight. I believe that, at this point, members of the Academy’s acting branch know that it’s about damn time to give this legendary actor his due. Plus, the British contingent of the Academy may help push him over the edge.

If you had asked any prognosticator two months ago if they believed that, on the day before nominations, “War Horse” would be on the bubble, they’d have said the chances were slim. Yet, here we are. If it hadn’t been for that Producers Guild nomination, which at this point, almost seems strange, this film would be considered completely out of contention. Lacking any kind of mention from the DGA, the SAG, the WGA or the ASC, the film’s chances have dropped through the floor. Many believe that “Bridesmaids” has a better chance, at this point.

Speaking of “Bridesmaids,” I’ll address its status along with a few other “on-the-bubble” films. Many are hoping and believing that this will be the first Judd Apatow production to make the shortlist. Yet, despite all of its guild nominations, I think it will fail to make the cut. The Academy’s balloting procedures, which require a large number of #1 votes, will prevent it. Now it seems that “The Tree of Life” should be able to excel by those standards, due to the fervent passion of its followers, However, I believe that this film has seen its day with the critics, but will not register as well with the industry. The fate of “Drive” will follow along a similar path, despite a push from the BAFTAs. In a world where there was still an assured number of ten nominees, one or all of these might sneak in, but not this year.

Well, on to those nomination predictions. Won’t be able to say that again until, well, the day after this year’s Oscars. Once again, these are ranked by chance of getting nominated. If I put a film or individual at the number one spot, that does not necessarily mean I think it will win. That’s a whole different ballpark.

Here comes the part that’s hardest: double crossing my fingers. For someone in my position who has two loves, predicting the Oscars and loving films, this day is a double-edged sword. As much as I want my own favorites to somehow work their way into the categories, in many cases, I’m predicting against them. Therefore, no matter what happens, I’ll be feeling a twinge of sadness. But as Sasha Stone, one of the best analysts of the Oscar race and my personal idol says, “The trick is not minding.”

Here goes nothing:

BEST PICTURE

1. “The Artist”
2. “Hugo”
3. “The Descendants”
4. “The Help”
5. “Midnight in Paris”
6. “The Girl with the Dragon Tattoo”
7. “Moneyball

8. “War Horse” (if there are eight)
9. “Bridesmaids” (if there are nine)
10. “The Tree of Life” (if there are ten)

Alt 1: “Tinker, Tailor, Soldier, Spy”
Alt 2: “Drive”

Read more…

69th Annual Golden Globe Winners

January 15, 2012 Leave a comment

Listed below are the winners of this year’s Golden Globe Awards.

Enjoy:

FILM

BEST PICTURE: DRAMA: “The Descendants”

BEST PICTURE: MUSICAL or COMEDY: “The Artist”

BEST DIRECTOR: Martin Scorsese – “Hugo”

BEST ACTOR in a DRAMA: George Clooney – “The Descendants”

BEST ACTRESS in a DRAMA: Meryl Streep – “The Help”

BEST ACTOR in a MUSICAL or COMEDY: Jean Dujardin – “The Artist”

BEST ACTRESS in a MUSICAL or COMEDY: Michelle Williams – “My Week with Marilyn”

BEST SUPPORTING ACTOR: Christopher Plummer – “Beginners”

BEST SUPPORTING ACTRESS: Octavia Spencer – “The Help”

BEST SCREENPLAY: Woody Allen – “Midnight in Paris”

BEST FOREIGN LANGUAGE FILM: “A Separation”

BEST ANIMATED FEATURE FILM: “The Adventures of Tintin”

BEST ORIGINAL SCORE: Ludovic Bource – “The Artist”

BEST ORIGINAL SONG: “Masterpiece” by Madonna – “W.E.”

TELEVISION

BEST TV DRAMA SERIES: “Homeland”

BEST TV ACTOR in a DRAMA SERIES: Kelsey Grammer – “Boss”

BEST TV ACTRESS in a DRAMA SERIES: Claire Danes – “Homeland”

BEST TV MINI-SERIES or MOVIE: “Downton Abbey”

BEST TV ACTOR in a MINI-SERIES or MOVIE: Idris Elba – “Luther”

BEST TV ACTRESS in a MINI-SERIES or MOVIE: Kate Winslet – “Mildred Pierce”

BEST TV COMEDY SERIES: “Modern Family”

BEST TV ACTOR in a COMEDY SERIES: Matt LeBlanc – “Episodes”

BEST TV ACTRESS in a COMEDY SERIES: Laura Dern – “Enlightened”

BEST SUPPORTING ACTOR in TELEVISION: Peter Dinklage – “Game of Thrones”

BEST SUPPORTING ACTRESS in TELEVISION: Jessica Lange – “American Horror Story”

The DGA Nominations! Fincher In, Spielberg Out

January 9, 2012 Leave a comment

Well, as it turns out, I was 100% correct on David Fincher making it in, here. I pat myself on the back for that. What I was wrong about was who he would replace. It looks as though Steven Spielberg’s reign of dominance among his peers in the Directors Guild has finally come to an end. In a weird way, it’s almost like a changing of the guard, with David Fincher taking over that mantel.

As I figured, Hazanavicius, Scorsese and Payne had all secured their spots a while ago. However, I stand fully corrected in regards to my comments about Woody Allen. Looks like his comeback work on “Midnight in Paris” was enough to pull him through after all. Personally, I don’t think Allen or Spielberg deserve a mention this year, and a lot of fantastic young talent in the form of Bennett Miller, Nicholas Wending Refn and Steve McQueen got the shaft.

Well, not much else to say. I still believe that this race is securely a two-horse one between Hazanavicius and Scorsese. We’ll see what turns up.

Here are the nominees:

Woody Allen – “Midnight in Paris”
David Fincher – “The Girl with the Dragon Tattoo”
Michael Hazanavicius – “The Artist”
Alexander Payne – “The Descendants”
Martin Scorsese – “Hugo”

DGA Predictions 2012

January 9, 2012 Leave a comment

I really didn’t even feel like doing this. In fact, I’ve always had an aversion to predicting the DGA. Trying to correctly predict these five nominees feels a bit like shooting fish in a barrel with an unloaded gun. Sure, there’s the chance that they’ll be exactly what people are expecting, but…no…they never are. there’s always that fifth slot that never does what you want it to do.

The one nice thing about the DGA is that it makes things infinitely clearer in the actual Oscar race. I can recall only twice in the last ten years that the DGA hasn’t lined up with the Academy’s five Best Director nods with at least 4 out of 5 slots, and twice in those ten years, it’s been a perfect match. Ever since the Academy altered the number of Best Picture nominees, using the DGA as a predictive tool has changed a bit, as well. Instead of using it as a guide for the five nominees, the lucky directors now point to which films are absolute locks. Ironically, during the age of five nominees, the DGA was actually a better predictor for Best Picture then for its own category.

All right, well, here’s how I see the cookie crumbling. I would say that the two locks are Michael Hazavanicius and Martin Scorsese. Of the major contenders, they’ve divvied up nearly all of the critics awards and just seem to have the most clout, right now. Next on that list would be Alexander Payne. While his direction isn’t the strong point of the movie, the film is just too strong of a contender, thus far, for him to simply be left out.

The last two spots get kind of tricky. Despite the difficult time “War Horse” is having with the guilds, Spielberg shouldn’t have much trouble making his way in here. The same was happening with “Munich” in ’05 (a much superior film to “War Horse,” I might add) and he still handled the DGA. This seemed to single-handedly resurrect it back into the Oscar race. To be honest, the DGA has always drooled over Spielberg. Ten career nominations, three wins and a lifetime achievement award. When he has a film in contention, it’s simply more likely to see him nominated than not.

So for the final spot, I am going to make my “out on a limb” choice by saying that Woody Allen will miss. This will be the decision that I’ll likely be kicking myself for tomorrow, but as you are about to read, I have my reasons. At this point in Allen’s career, even if this is somewhat of a comeback film, I feel that the industry will be satisfied with just recognizing his writing. As it has been since the early nineties, nominating the film’s screenplay should suffice, making his directorial efforts easy to overlook.

As for who’s taking his spot, there’s plenty of choices. It’s quite possible Terrence Malick’s clout might carry over into the guild of his peers, yet I get the feeling that “The Tree of Life”‘s support will likely remain among the critics. Until this past week, near-rookie Tate Taylor seemed like a long shot, but the overwhelming love for “The Help” in the guilds has made said nomination more and more of a possibility. If wishing made it so, I would enjoy seeing Bennett Miller show up here in recognition for his steady and assured crafting of “Moneyball.” After all, not many saw his previous nomination coming for “Capote.” Yet, the young artist’s failure to bring in even a single nomination this season has left that option unlikely. One choice that would certainly throw a wrench in the mix would be the stellar Nicholas Wending Refn, who’s work on “Drive” earned him this award at Cannes. But, lack of a PGA mention for the film makes his chances less promising.

That leaves me with the one and only David Fincher. While his re-adaptation of “The Girl with the Dragon Tattoo” isn’t turning quite as many heads as the studio had hoped, the film’s director has something going for him which puts him a step ahead of his competition. That factor is the enormous amount of residual respect leftover from last year’s awards season. After both the DGA and the Oscars incomprehensibly snubbed the master of his much-deserved awards for “The Social Network,” I imagined that there had to be a fair amount of guilt churning around the industry. And while “TGWTDT” isn’t quite as extraordinary as the former, it’s certainly good enough for his peers to throw him an apologetic bone. I’ve had this aching feeling all year long, and with the film nabbing unexpected nominations from the PGA, ADG and WGA, said scenario seems now more likely than ever before.

My Predix:
1. Martin Scorsese – “Hugo”
2. Michael Hazavanicius – “The Artist”
3. Alexander Payne – “The Descendants”
4. Steven Spielberg – “War Horse”
5. David Fincher – “The Girl with the Dragon Tattoo”

Alts:
6. Woody Allen – “Midnight in Paris”
7. Tate Taylor – “The Help”
8. Bennett Miller – “Moneyball”
9. Terrence Malick – “The Tree of Life”
10. Nicholas Wending Refn – “Drive”

Well, there you have it. Check back tomorrow afternoon to see which choice (or choices) I’ll be crying over.

And the Wheels Started Turning…

December 3, 2011 2 comments

Okay. Take a second. Deep breath…there we go. It’s been a bit of a big week with a lot to take in. However, this is just the opening salvo, and some much heavier ones are soon to come. However, in the last several days, we’ve had two extremely influential critics groups weigh in along with nominations announced by one of the more prestigious awards bodies in the country. So, while the jigsaw puzzle is far from complete, we’re getting a glimpse of the outline through the forming edges.

Let’s start with the antsiest of the lot, who just couldn’t wait their turn in line. The New York Film Critics Circle, being about as bigheaded as a group of big apple critics could be, pushed their awards announcement up by about two weeks. This was in an attempt to better influence the Oscars and separate themselves from the other critics. In case there was a critical darling such as “The Social Network” of yesteryear, they at least wanted to make it seem as though it were their idea. This has, honestly, put a rotten taste in the mouth of the whole awards season. The circle defied convention and tradition, forced movies to hurry their final touches in order to be screened in time, didn’t care to take a moment’s pause to reflect on their decisions and in the end made some really safe and traditional decisions from a group that usually champions the edgy and bold. I really must say…for shame.

For their high honors, the NYFCC went with “The Artist,” the silent film with a heart of gold. I definitely am looking forward to catching this one, though not quite as much as others. Director Michael Hazanavicius also took home high honors. By the time that Best Picture rolled in, I was hoping that “Moneyball” would pull through, after it had already won Best Actor for Brad Pitt and Best Screenplay for Aaron Sorkin and Steven Zallian. “Tree of Life” also had a pretty big day, winning Best Cinematography, sharing in Brad Pitt’s Best Actor award and Best Supporting Actress for Jessica Chastain (who also won for “Take Shelter” and “The Help”).

The other two acting awards were picked up by Albert Brooks for “Drive” and Meryl Streep for “The Iron Lady.” I’m straight-up not wild about Brooks who gives a couple of great scenes in only a good performance. Not worthy of any high accolades. As far as Meryl Streep is concerned, I’m on the fence. Whenever La Streep is once again up for her third Oscar, I just can’t decide whether I want it or not. As weird as it sounds, she is more due for an Oscar than practically any other actress, being that she is widely considered to be the greatest living performer and yet hasn’t won gold in nearly thirty years. However, when it comes to critics, Meryl is the safest choice that can be made. It’d be nicer to see some hutzpah with a choice like Tilda Swinton or Olivia Colman.

“The Descendants” turned out to be S.O.L., a surprise considering that Alexander Payne’s previous film, “Sideways,” swept this particular group, taking awards for Best Picture, Actor, Supporting Actress and Screenplay. George Clooney especially had a bad day, even missing out on a Best Actor nomination from the Spirits. However, he and the film lucked out that the National Board of Review voted differently, so much that it would seem they from a different planet (when really they’re centered out of the same city).

Here, Payne’s festival favorite came up big, taking down the awards for Best Actor (Clooney), Best Supporting Actress (Shailene Woodley) and Best Adapted Screenplay. Sadly, the prizes for Picture and Director went to “Hugo.” While it’s nice to see a wrench thrown in the works, this choice baffles me based on merit. Personally, the immensity of critical love for this film, in general, blows my mind. Pretty and heartwarming, but low on entertainment, conflict and drama. Christopher Plummer received Best Supporting Actor for his career-best performance in “Beginners,” hopefully asserting himself as the man to beat. And where NYFCC dropped the ball, the usually straight-as-an-arrow NBR chose the dicey performance of Tilda Swinton in “We Need to Talk About Kevin” for their Best Lead Actress. God, I can’t wait to see that film.

Quite strangely, the three big winners from the NYFCC went home almost completely empty-handed. “The Tree of Life” and “The Artist” only received spots on the NBR’s top ten, while “Moneyball” disturbingly did not even make that cut. However, they weren’t the unluckiest films of the day. “Tinker, Tailor, Soldier, Spy” failed to receive even a single nomination from anyone. If it continues to fly under the radar with critics, it will need a massive push from the guilds to stay alive.

Also, there’s “Martha Marcy May Marlene.” The big hit at Sundance failed to even make the NBR’s top ten independent films and received only a pair of acting nominations from the Independent Spirits, an organization many would have thought the film would have championed. It has a giant hole to climb out of if it wants to stay in any kind of Oscar contention. Personally, I’m not too bummed. A great concept that failed to achieve an emotional surge and tries so hard for subtlety, but often comes off as light-handed. I do hope that Elizabeth Olsen is able to pick up some steam for her deeply nuanced performance.

So, barring any surprise announcements from critics, we’re being given a bit of a lull for the next eight days. However, starting on Sunday, December 11th, it’s going to be difficult to find a busier week. Kicking off with honors from the Los Angeles and Boston Film Critics, we’ll then be receiving nominations from the Screen Actors Guild, the Broadcast Film Critics and Golden Globes, one day after another. Until then, I’ll be reporting anything I can and probably re-evaluating my current Oscar predictions. Stay tuned.