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2012 Cinema Audio Society Nominations

January 19, 2012 1 comment

I’m not gonna lie. I always get truly psyched about this particular guild every year. It’s not that I have extensive experience in the field of sound mixing, nor have a particular penchant for the medium (though I certainly enjoy a great 5.1 mix on my home theater system as much as the next person). I suppose I get enthralled by the CAS just because of the massive wrench that they usually throw into the works.

This is no ordinary wrench, though. The CAS often has a tendency to name some completely unexpected sound mixes, ones that were once considered done and out of the race. A person might be immediately inclined to dismiss these nominees and say to themselves, “There’s no way the Academy will go this route.” Yet, that’s the crazy thing about the CAS is that they aren’t just a small part of the race, they really do define it. In the last ten years, the CAS has correctly forecasted at least 4/5 Oscar nominees six times. The other four years, they were 3/5. In the Society’s eighteen year existence, only once has their lineup been as low as a 2/5 matchup, and never less than that. Not a bad record.

The nominees for this year’s Cinema Audio Society are as follows:

“Hanna”

“Hugo”

“Moneyball”

“Pirates of the Caribbean: On Stranger Tides”

“Super 8”

When it comes to these nominees, I just have to stop and observe a moment of unadulterated joy for the recognition paid to the sound crew of “Hanna.” In my mind, this is, and has been from 2011’s outset, one of the year’s most intricate and powerful works of audio. After viewing it again on blu ray, my opinion has not changed. Listening to this sound mix on a 5.1 system is like having God in your living room. Fabulous work that, even if it does not go beyond this point, is worthy of it’s moment of glory.

Among the rest of the nominees, the second biggest surprise was the inclusion of “Moneyball.” This might be the most easy to dismiss pick of the bunch, but there’s a lot going on in that mix. Plus, Sorkin dialogue does take a lot of post-production audio to make it work. I can’t say I’m too thrilled to see the fourth “Pirates” movie show up here. I mean, come on. Do we really need to keep awarding this franchise for beating itself to death and taking the audience down with it? And speaking of a film beating itself to death, one such flick that wholly deserved a nomination here and failed was “Transformers: Dark of the Moon.” The film itself is nothing to be proud of, but every two years, this franchise astounds us with it’s insanely detailed aural accomplishments and it should have taken the “Pirates” slot.

It’s nice to see “Super 8” pick up some steam, here. I was close to considering it down and out after it got eliminated from the Visual Effects finalists. Yet, there’s some great work happening amongst all that alien ruckus that Oscar should consider. And finally there’s “Hugo,” the one name here that I don’t think anyone was surprised to see. Don’t be shocked if it goes on to pocket the award for both this and the perennial honors in February.

In closing, I leave you with this clip from the film, “Hanna.” While it’s impossible to truly appreciate the sound mix without a high quality, multi-channel playback, this scene, alone deserves all the credit in the world. My advisement: rent or buy this movie on blu ray as soon as possible, and go ahead and buy a home theater system just to watch it on.

2012 American Cinema Editors Nominees

January 16, 2012 Leave a comment

You know how when watching the credits of a movie and the editor’s name is usually followed by the acronym “A.C.E.”? Why is that? I remember when I was a kid, I used to think it was some sort of self-designated achievement. Once they’ve been around in the industry long enough, they earn the right to call themselves an “ACE.” Well, the truth of what A.C.E. stands for isn’t far from that logic, though it isn’t exactly the same as what WWII fighter pilots saw it as.

The American Cinema Editors is the guild belonging to motion picture editors. While not to be confused with a dues-paying union, the ACE serves more as a society, inducting new members via a voting process based on their experience and skill. Each year, for the last fifty years, the guild has been hosting the Eddie Awards, awarding the best achievements in film editing for each year. While probably not its primary purpose, this award is very influential in each year’s Oscar race.

One of the most interesting facts about the Academy Awards involves feature film editing. In the last thirty years, no film has earned a victory for Best Picture of the Year without also gaining at least a nomination for Best Editing. Since the ACE’s nominations usually line up with it’s equivalent Oscar at least 4/5, this is as good of indicator of the what nominations will look like next week as you can get. In the case of these nominations, not a lot of surprises, being that all of the projected frontrunners have happened to show up here.

The nominees are:

BEST EDITED FEATURE FILM (DRAMATIC)
“The Descendants” – Kevin Tent
“The Girl with the Dragon Tattoo” – Kirk Baxter and Angus Wall
“Hugo” – Thelma Schoonmaker
“Moneyball” – Christopher Tellefsen
“War Horse” – Michael Kahn

BEST EDITED FEATURE FILM (MUSICAL or COMEDIC)
“The Artist” – Anne-Sophie Bion and Michel Hazanavicius
“Bridesmaids” William Kerr and Michael L. Sale
“Midnight in Paris” – Alisa Lepselter
“My Week with Marilyn” Michael Recht
“Young Adult” – Dana Glauberman

BEST EDITED FEATURE FILM (ANIMATED)
“The Adventures of Tintin” – Michael Kahn
“Puss in Boots” – Eric Dapkewicz
“Rango” – Craig Wood

BEST EDITED FEATURE FILM (DOCUMENTARY)
“Cave of Forgotten Dreams” – Joe Bini and Maya Hawk
“Freedom Riders” – Lewis Erskine and Aljernon Tunsil
“George Harrison: Living in the Material World” – David Tedeschi

The Dramatic category is all but exactly what we’d expected it to be. With the kind of bad guild luck that “War Horse” has been experiencing as of late, it’s a little more surprising that it has been able to achieve recognition, however, it’s really difficult to snub Michael Kahn for anything, these days. He really is a master craftsmen, having just received the ACE’s Lifetime Achievement Award the previous year.

As far as Musical/Comedy is concerned, “The Artist,” “Midnight in Paris” and “Bridesmaids” were all likely contenders in this category. One surprise is the absence of such popular comedies as “50/50” and “Win Win” which seem to have been doing well with both critics and industry types up to this point. If only the folks at the top could get their heads screwed on straight and realize that “My Week with Marilyn” is about as comedic as it is musical. It honestly shouldn’t be on either one of these lists, but should at least get it’s classification right.

What does this mean for Oscar? At this point, I would consider “The Artist” and “Hugo” to be locks for a Best Editing nomination. “The Artist” is simply a juggernaut at this point and respect and admiration for Thelma Schoonmaker’s craft is beyond reproach. Following these two would be “The Girl with the Dragon Tattoo,” who’s editors took home the gold last year for “The Social Network,” and “Moneyball,” which is here perhaps completely off of quality and merit. A perfectly edited film.

For the fifth slot, odds are on either “War Horse” or “The Descendants.” The first definitely has the chops, but has lost an immense amount of steam in the last month. At the Golden Globes, the film was treated almost as an afterthought in the awards race. “The Descendants” is far from having anything that resembles showy or standout editing. Yet, probably well-aware of the thirty-year curse, Fox Searchlight has been trying desperately hard to campaign for the film’s editors in a last ditch effort not to fall victim to Oscar voodoo. In the end, there’s always the chance that an unforeseen contender might sneak in. “Tinker, Tailor, Soldier, Spy,” “The Ides of March” and “Drive” are superbly edited features and could easily find their way in much like “Blood Diamond,” “Children of Men” and “Cinderella Man” (none of which received ACE nominations) did in past years.

Only three primary guilds are left to release their nominations (the Costume Designers Guild, the Cinema Audio Society, and the Motion Picture Sound Editors). However, those organizations have not indicated as to when said announcements will take place. Stay up to date when they do at The Edge of the Frame.

17th Annual Critics Choice Winners

January 12, 2012 Leave a comment

I’ll be posting the awards as they’re announced live. The technical awards and, you know, others that don’t include stars, will be announced prior to the show starting, so they will be showing up first.

Here are the winners:

BEST PICTURE
“The Artist”

BEST DIRECTOR
Michael Hazanavicius – “The Artist”

BEST ACTOR
George Clooney – “The Descendants”

BEST ACTRESS
Viola Davis – “The Help”

BEST SUPPORTING ACTOR
Christopher Plummer – “The Beginners”

BEST SUPPORTING ACTRESS
Octavia Spencer – “The Help”

BEST ENSEMBLE CAST
“The Help”

BEST YOUNG ACTOR/ACTRESS
Thomas Horn – “Extremely Loud and Incredibly Close”

BEST ADAPTED SCREENPLAY
“MONEYBALL”!!!!!!!!!!

BEST ORIGINAL SCREENPLAY
“Midnight in Paris”

BEST CINEMATOGRAPHY
(TIE) “War Horse” – Janusz Kaminski and “The Tree of Life” – Emmanuel Lubezki

BEST EDITING
“The Girl with the Dragon Tattoo”

BEST ART DIRECTION
“Hugo”

BEST COSTUME DESIGN
“The Artist”

BEST SOUND
“Harry Potter and the Deathly Hollows: Part II”

BEST VISUAL EFFECTS
“Rise of the Planet of the Apes”

BEST MAKEUP
“Harry Potter and the Deathly Hollows: Part II”

BEST ORIGINAL SCORE
“The Artist”

BEST ORIGINAL SONG
“Life is a Happy Song” – “The Muppets”

BEST DOCUMENTARY
“George Harrison: Living in a Material World”

BEST FOREIGN LANGUAGE FILM
“A Separation”

BEST ANIMATED FILM
“Rango”

BEST COMEDY
“Bridesmaids”

BEST ACTION MOVIE
“Drive”

My BFCA Critics Choice Awards Predictions

January 12, 2012 2 comments

 I’m not going to spend any time discussing these but just let my predictions speak for themselves. But, if I could make one wish to the Awards Gods, please let “Moneyball” win for Best Adapted Screenplay. We all know it deserves it.

For the record, as much as I’d like to, I’m really not trying very hard on these. Feel free to use these as a useful guide, but honestly, who the hell knows what these crazy-ass critics are going to do here? Are they going to follow their hearts? Are they going to vote for what people want them to vote for? Or are they going to do what they love most: predict the Oscars?

Who cares? Don’t put any money on these.

Moving on:

BEST PICTURE
“The Artist”
r/u: “Hugo”

BEST ACTOR
George Clooney – “The Descendants”
r/u: Brad Pitt – “Moneyball”

BEST ACTRESS
Meryl Streep – “The Iron Lady”
r/u: Michelle Williams – “My Week With Marilyn”

BEST SUPPORTING ACTOR
Albert Brooks – “Drive”
r/u: Christopher Plummer – “Beginners”

BEST SUPPORTING ACTRESS
Octavia Spencer – “The Help”
r/u: Melissa McCarthy – “Bridesmaids”

BEST YOUNG ACTOR/ACTRESS
Shailene Woodley – “The Descendants”
r/u: Asa Butterfield – “Hugo”

BEST ACTING ENSEMBLE
“The Help”
r/u: “The Artist”

BEST DIRECTOR
Martin Scorsese – “Hugo”
r/u: Michel Hazanavicius – “The Artist”

BEST ORIGINAL SCREENPLAY
“The Artist” – Michel Hazanavicius
r/u: “Midnight in Paris” – Woody Allen

BEST ADAPTED SCREENPLAY
“The Descendants” – Alexander Payne and Nat Faxon & Jim Rash
r/u: “Moneyball” – Steven Zaillian and Aaron Sorkin, Story by Stan Chervin

BEST CINEMATOGRAPHY
“The Tree of Life” – Emmanuel Lubezki
r/u: “Hugo” – Robert Richardson

BEST ART DIRECTION
“Hugo” – Production Designer: Dante Ferretti, Set Decorator: Francesca Lo Schiavo
r/u: “Harry Potter and the Deathly Hallows: Part 2” – Production Designer: Stuart Craig, Set Decorator: Stephenie McMillan

BEST EDITING
“Hugo” – Thelma Schoonmaker
r/u: “The Artist” – Michel Hazanavicius and Anne-Sophie Bion

BEST COSTUME DESIGN
“The Artist” – Mark Bridges
r/u: “Hugo” – Sandy Powell

BEST MAKEUP
“The Iron Lady”
r/u: “Harry Potter and the Deathly Hallows: Part 2”

BEST VISUAL EFFECTS
“Rise of the Planet of the Apes”
r/u: “Harry Potter and the Deathly Hollows: Part II”

BEST SOUND
“Hugo”
r/u: “War Horse”

BEST FOREIGN LANGUAGE FILM
“A Separation”
r/u: “The Skin I Live In”

BEST DOCUMENTARY FEATURE
“Project Nim”
r/u: “Cave of Forgotten Dreams”

BEST SONG
“Pictures in My Head” – performed by Kermit and the Muppets/written by Jeannie Lurie, Aris Archontis and Chen Neeman – “The Muppets”
r/u: “The Living Proof” – performed by Mary J. Blige/written by Mary J. Blige, Thomas Newman and Harvey Mason, Jr. – “The Help”

BEST SCORE
“War Horse” – John Williams
r/u: “The Artist”

BEST ANIMATED FEATURE
“Rango”
r/u: “The Adventures of Tintin”

BEST ACTION MOVIE
“Drive”
r/u: “Rise of the Planet of the Apes”

BEST COMEDY
“Bridesmaids”
r/u: “Midnight in Paris”

ASC Announces, Snubs Janusz Kaminski

January 11, 2012 Leave a comment

The American Society of Cinematographers had actually scheduled to unveil yesterday, but announced that they needed an extra day. I had hoped that that additional time would have provided a bit of clarity to help them make some intelligent choices. My logic was both rewarded and ignored.

The nominees are:

Guillaume Schiffman – “The Artist”
Jeff Cronenweth – “The Girl with the Dragon Tattoo”
Robert Richardson – “Hugo”
Hoyte van Hoytema – “Tinker, Tailor, Soldier, Spy”
Emmanuel Lubezki – “The Tree of Life”

The big story in the awards community, as of late, has been the repeated snubbage of Steven Spielberg’s WWI epic, “War Horse.” A diehard Steven Spielberg fan, like myself, hasn’t really seen this as a problem for a few reasons. For one thing, the film was never really intended for grandiose awards intentions, but to me more of a family-friendly experience. Secondly, it’s quite simply not an example of Spielberg’s best work. I’m ready to sit back and wait for next year’s release of “Lincoln,” which I’ve been waiting six years for.

However, if there was one guild that “War Horse” did not deserve to be left out in the cold from, it was the ASC. This is a true slap in the face to some brilliant labor done by maybe the world’s greatest working cinematographer. I’d argue that Janusz Kaminski deserves to be on this list more than any of these other names. I know that there were some complaints about some of the daylight exteriors looking artificial and obviously lit, but that was kind of the point. Spielberg wanted this film to stand as an ode to 1940’s and 50s epics and westerns. He wanted it to reflect the work of guys like John Ford and Victor Garber. He didn’t want it to look like a documentary, but rather an oil painting, and he succeeded. Not to mention that the moving shots of the horse running displays some of the finest camerawork I’ve ever seen.

Another disappointing, yet a little more expected, snub was Wally Pfister’s low key, yet brilliant, work on Bennett Miller’s “Moneyball.” In this feature, Pfister goes back to his earlier work on film’s like “Memento” to shoot some beautifully drab and dismal environments. He also uses a technique that he has mastered (though first perfected by the above-mentioned Kaminski) of finding a wonderful medium between smooth and handheld camera movements. The baseball-playing scenes, in particular, are gorgeous.

As far as the actual nominees go, one would be crazy not to applaud and, eventually, put their money behind “The Tree of Life.” I certainly have some reservations about this film, but one has to give credit where credit is due. Emmanuel Lubezki’s poetic control over the camera, operating with such minimal available light, is absolutely awe-inspiring. The man is one hell of a cinematographer, having performed awards-worthy work in “Children of Men” and “Sleepy Hollow,” and will finally received his first, long-deserved Oscar in February. Put that in the books.

I certainly can’t complain too much about the nomination of “The Artist.” The blending of 1930s constraints with the imagination of the 21st Century is truly phenomenal at times. And unlike other films, they’re able to utilize the black and white rather than let it be a detriment to them. I was hooked by one of the first shots of Dujardin and his dog looking up at themselves on the big screen. The shot is magnificent and reflects the best kind of Orson Welles-fare.

I don’t really have many comments for “Tinker, Tailor, Soldier, Spy” due to my still having put off seeing it. Meanwhile, I cannot bring myself to hide my disdain for Robert Richardson’s work in “Hugo.” The cinematography is epic, grandiose, and absolutely uninspiring. Obviously, my lackluster response to the film, itself, influences my opinion here, but I felt the camerawork to be boring and impersonal. It really makes me miss the gritty and poetic collaborations between Scorsese and his former DPs, Michael Chapman and Michael Ballhaus. Return to your roots, Marty.

Wow, I nearly forgot to shine my praise down on Jeff Cronenweth’s masterful crafting of “The Girl with the Dragon Tattoo.” He and David Fincher are constantly proving why digital cinematography is the way of the future and taking it to new artistic depths. The cold and fierce look that the two collaborators put to use, here, is masterfully befitting the source material. I think it’s worth mentioning that the POV shot during the climax, seen from behind a sheet of plastic, is maybe one of the most terrifying I’ve seen in cinema.

The ASC announces its winners on Sunday, February 12th. Expect nothing short of an unstoppable “Artist” sweep to keep this award out of Lubezki’s hands.

Updated Oscar Predictions – 1/6

January 6, 2012 Leave a comment

These might be my final set of predictions before last call on January 23rd. There’s still a mess-load of guilds on their way and a box office that could still declare certain films winners (or losers), but I still feel pretty confident about these choices. Feel free to comment whether you agree or think I’m crazy.

One note: I have spent the entire year not predicting “Extremely Loud and Incredibly Close,” while everyone else was jumping on the bandwagon. Now that the film has all but completely fallen off the radar (thanks to the utter panning of critics), I can’t help but feel a sense of unadulterated joy. Maybe I’ll be eating my words, later on, but for now…huzzah.

One more note: The Academy’s new method of having and indiscriminate amount of Best Picture nominees has made predicting that category nearly impossible. Therefore, I will still guess on the full ten and you can go ahead and judge by the numbers I provide as to what will make it if there are nine or eight, etc…

BEST PICTURE

1. “The Artist”
2. “Hugo”
3. “The Descendants”
4. “The Help”
5. “War Horse”
6. “Midnight in Paris”
7. “Moneyball”
8. “The Girl with the Dragon Tattoo”
9. “Bridesmaids”
10. “The Tree of Life”

Alt 1: “Drive”
Alt 2: “My Week with Marilyn”

Read more…

Writers Guild of America Nominations Announced

January 5, 2012 Leave a comment

And the guilds keep rolling in. Now, when it comes to Oscar, one cannot hold the WGA up to the same predictive powers as, say, the SAG or the PGA. This is not because the voting bodies don’t match up very well, because they do. It’s because of the Writers Guild annual list of discriminatory ineligibility standards. This year, a number of very promising scripts have been cast by the wayside. The potential frontrunner for Best Original Screenplay “The Artist” will not be found here, along with “Shame,” “Martha Marcy May Marlene,” “Beginners,” and “Margin Call” (among many others). In adapted, “Carnage,” “My Week with Marilyn,” “Drive” and “Tinker, Tailor, Soldier, Spy” are SOL. I don’t mind saying every year that the WGA needs to stop shunning great writers just because they don’t pay their annual dues. With that, on to who does.

If you take a good look at that ineligible list above, you will notice that Steven Spielberg’s “War Horse” is not there. That’s right, it missed out on this nom out of sheer lack of votes. This is the second guild in a row to snub the film, and yet, I still do not believe it’s Best Picture chances have been tarnished. What has, however, been taken down a notch is George Clooney’s “The Ides of March,” which got a bit of a boost with Tuesday’s PGA nominations, but really could have used this one, as well. If the man, himself, doesn’t grab a DGA nod on Monday, I’d consider “Ides” to be down and out.

So enough of what’s been missing guilds and on to what’s been racking them in. Out of all the movies from this year, only two have nailed nominations in each of the four guilds, thus far: “The Help” and…that’s right…”Bridesmaids.” Chew on that for a bit, and begin to accept the film’s Best Picture chances. I’m still not sold, but am certainly entertaining the idea. However, a film enjoying perhaps an even better week is “The Girl with the Dragon Tattoo” and I could not be more pleased. Granted Steven Zallian’s script may be ousted by one of the ineligibles in a couple of weeks, this makes 3 out of 4 guild nominations (and let’s be real, an Ensemble Cast nomination was never really in the cards, given the film’s dynamic). If David Fincher is able to score his second straight DGA nomination, it will be difficult to deny this fantastic film’s chances.

One final note. Congratulations to Zallian and Sorkin for writing the BEST screenplay of the year. Hands down.

Well, I’ll let the nominees do the rest of the talking, themselves. Check them out:

BEST ADAPTED SCREENPLAY
“The Descendants” by Alexander Payne, Nat Faxon and Jim Rash
“The Girl with the Dragon Tattoo” by Steven Zallian
“The Help” by Tate Taylor
“Hugo” by John Logan
“Moneyball” by Aaron Sorkin and Steven Zallian

BEST ORIGINAL SCREENPLAY
“50/50” by Will Reiser
“Bridesmaids” by Annie Mumolo and Kristen Wiig
“Midnight in Paris” by Woody Allen
“Win Win” by Tom McCarthy
“Young Adult” by Diablo Cody

BEST DOCUMENTARY FEATURE
“Better this World” by Katie Galloway and Kelly Duane de la Vega
“If a Tree Falls: A Story of the Earth Liberation Front” by Marshall Curry and Matthew Hamachek
“Nostalgia for the Light” by Patricio Guzman
“Pina” by Wim Wenders
“Position Among the Stars” by Hetty Naaijkens-Retel Helmrich and Leonard Retel Helmrich
“Senna” by Manish Pandey

Art Directors Guild Announces Nominees

January 4, 2012 1 comment

Following quickly on the heels of the Producers Guild, the first of the technical achievement societies was announced late last night. Every year, for 16 years running, the Art Directors Guild honors films that exemplify excellence in art direction and production design. A few years ago, they had bumped their number of nominees up to 15 features to fill three categories: Period Film, Fantasy Film and Contemporary Film.

The nominees were as follows:

EXCELLENCE IN PRODUCTION DESIGN FOR A PERIOD FILM
“Annonymous”
“The Artist”
“The Help”
“Hugo”
“Tinker, Tailor, Soldier, Spy”

EXCELLENCE IN PRODUCTION DESIGN FOR A FANTASY FILM
“The Adventures of Tintin”
“Captain America: The First Avenger”
“Cowboys and Aliens”
“Harry Potter and the Deathly Hollows: Part II”
“Pirates of the Caribbean: On Stranger Tides”

EXCELLENCE IN PRODUCTION DESIGN FOR A CONTEMPORARY FILM
“Bridesmaids”
“The Descendants”
“Drive”
“Extremely Loud and Incredibly Close”
“The Girl with the Dragon Tattoo”

When looking at the Period nominees, the elephant in the room is undoubtedly the absence of a major Best Picture contender: “War Horse.” The lavish countrysides and muddy trenches were thought to be all but a shoo-in for this nomination. Perhaps the film is not as strong as we all thought. It was replaced by Roland Emmerich’s Shakespeare expose, “Annonymous,” which apparently has chops, I’m just not sure how much anyone actually takes it seriously. The winner here is “Hugo” in a landslide. Even a harsh critic of the film such as myself has to admit that the meticulous detail put into recreating early twentieth century Paris is completely awards-worthy. Nearly every shot contains something impressive to gaze at. The potential spoiler is “The Artist,” which, if it does succeed, will prove how unstoppable it really is.

The Fantasy selection is probably one of the weakest I’ve seen in years. “Harry Potter” will take this one down in a walk. Perhaps the only other film with a fighting chance is “Tintin,” which I’m still not entirely sure what it’s doing here. Is seems weird for an animated film to show up in a nomination pretty much designated for live-action work. To be honest, I don’t think anyone in Hollywood has a clue how to classify this film anymore. Regardless, this is “Potter”‘s award, and will likely be the only thing to give “Hugo” a run for its money at the Oscars.

The choices in Contemporary this year were really quite appalling to me. Some fantastic work went completely unmentioned last night. Most notably is that of Coen Brothers collaborator Jess Gonchor’s work in “Moneyball.” The drab detail at play in the clubhouses, locker rooms and residences is completely mention-worthy. Perhaps the most unforgivable snub, however, is “Hanna.” While, the film could arguably be considered a Fantasy film, the sets largely define an imaginative and whimsical kind of contemporary thriller that should have been better-noticed. Anyway, the winner here is really a toss-up and may depend on which film has the most support in general. I am very happy to see “The Girl with the Dragon Tattoo” show up, though. The gathering support of the film may lead to a well-deserved, though unexpected, Best Picture nomination.

The PGA Nominations Announced

January 3, 2012 Leave a comment

I’m going to avoid any general discussion on this at the moment, suffice a moment of ecstatic joy concerning the official end of “Harry Potter and the Deathly Hollows” Best Picture run. It would take a miracle to get it in if the Producers won’t even give it the time of day. Apologies to “Potter” aficionados who read this blog, but I have never been a fan and I’d hate to to see that film steal away a spot on the shortlist, namely from films like “The Girl with the Dragon Tattoo” or “Moneyball”.

I’m currently crafting an all-encompassing post on the status of the current race which will be out later today. But for now, here are the nominations:

“THE ARTIST”
Producer: Thomas Langmann

“BRIDESMAIDS”
Producers: Judd Apatow, Barry Mendel, Clayton Townsend

“THE DESCENDANTS”
Producers: Jim Burke, Alexander Payne, Jim Taylor

“THE GIRL WITH THE DRAGON TATTOO”
Producers: Ceán Chaffin, Scott Rudin

“THE HELP”
Producers: Michael Barnathan, Chris Columbus, Brunson Green

“HUGO”
Producers: Graham King, Martin Scorsese

“THE IDES OF MARCH”
Producers: George Clooney, Grant Heslov, Brian Oliver

“MIDNIGHT IN PARIS”
Producers: Letty Aronson, Stephen Tenenbaum

“MONEYBALL”
Producers: Michael De Luca, Rachael Horovitz, Brad Pitt

“WAR HORSE”
Producers: Kathleen Kennedy, Steven Spielberg

The Producers Guild of America Producer of the Year Award in Animated Theatrical Motion Pictures:

“THE ADVENTURES OF TINTIN”
Producers: Peter Jackson, Kathleen Kennedy, Steven Spielberg

“CARS 2”
Producer: Denise Ream

“KUNG FU PANDA 2”
Producer: Melissa Cobb

“PUSS IN BOOTS”
Producers: Joe M. Aguilar, Latifa Ouaou

“RANGO”
Producers: John B. Carls, Gore Verbinski

The 69th Annual Golden Globe Nominations

December 15, 2011 3 comments

Once again, I’ll have a full opinion piece out in a few hours. In the meantime, I’ll leave you with the nominees (including a tally of how many I correctly predicted). Also, there’s one jarring thought that’s kind of occupying my mind right now?

WHERE THE HELL IS MELISSA McCARTHY!?!?!?!?!?! HFPA, just what were you thinking?

…and the nominees are…

BEST PICTURE: DRAMA  (4/5 + 1 alternate)
“The Descendants”
“The Help”
“Hugo”
“The Ides of March”
“Moneyball”
“War Horse”

BEST PICTURE: MUSICAL/COMEDY (5/5!!!)
“The Artist”
“Bridesmaids”
“50/50”
“Midnight in Paris”
“My Week With Marilyn”

BEST DIRECTOR (4/5 + 1 alternate)
Woody Allen – “Midnight in Paris”
Michel Hazanavicius, “The Artist”
Alexander Payne, “The Descendants”
Martin Scorsese, “Hugo”
George Clooney, “The Ides of March”

BEST ACTOR: DRAMA (4/5 +1 alternate)
George Clooney, “The Descendants”
Leonardo DiCaprio, “J. Edgar”
Michael Fassbender, “Shame”
Ryan Gosling, “The Ides of March”
Brad Pitt, “Moneyball”

BEST ACTOR: MUSICAL/COMEDY (3/5)
Jean Dujardin, “The Artist”
Brendan Gleeson, “The Guard”
Joseph Gordon-Levitt, “50/50”
Ryan Gosling, “Crazy, Stupid, Love.”
Owen Wilson, “Midnight in Paris”

BEST ACTRESS: DRAMA (4/5)
Glenn Close, “Albert Nobbs”
Viola Davis, “The Help”
Rooney Mara, “The Girl With the Dragon Tattoo”
Meryl Streep, “The Iron Lady”
Tilda Swinton, “We Need to Talk About Kevin”

BEST ACTRESS: MUSICAL/COMEDY (4/5 + 1 alternate)
Jodie Foster, “Carnage”
Kristen Wiig, “Bridesmaids”
Charlize Theron, “Young Adult”
Michelle Williams, “My Week With Marilyn”
Kate Winslet, “Carnage”

BEST SUPPORTING ACTOR (3/5 + 1 alternate)
Kenneth Branagh, “My Week With Marilyn”
Albert Brooks, “Drive”
Jonah Hill, “Moneyball”
Viggo Mortensen, “A Dangerous Method”
Christopher Plummer, “Beginners”

BEST SUPPORTING ACTRESS (3/5 + 1 alternate)
Berenice Bejo, “The Artist”
Jessica Chastain, “The Help”
Janet McTeer, “Albert Nobbs”
Octavia Spencer, “The Help”
Shailene Woodley, “The Descendants”

BEST SCREENPLAY (4/5)
Michel Hazanavicius, “The Artist”
Alexander Payne, Nat Faxon and Jim Rash, “The Descendants”
George Clooney, Grant Heslov and Beau Willimon, “The Ides of March”
Woody Allen, “Midnight in Paris”
Aaron Sorkin and Steven Zaillian, “Moneyball”

BEST FOREIGN-LANGUAGE FILM (N/A)
“The Flowers of War”
“In the Land of Blood and Honey”
“The Kid With a Bike”
“A Separation”
“The Skin I Live In”

BEST ANIMATED FEATURE (5/5!!!)
“The Adventures of Tintin”
“Arthur Christmas”
“Cars 2”
“Puss in Boots”
“Rango”

BEST ORIGINAL SCORE (3/5)
Ludovic Bource, “The Artist”
Trent Reznor and Attivus Ross, “The Girl With the Dragon Tattoo”
Howard Shore, “Hugo”
John Williams, “War Horse”
Abel Korzeniowski, “W.E.”

BEST ORIGINAL SONG (N/A)
“Lay Your Head Down,” “Albert Nobbs”
“Hello Hello,” “Gnomeo and Juliet”
“The Living Proof,” “The Help”
“The Keeper,” “Machine Gun Preacher”
“Masterpiece,” “W.E.”