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“The Artist” Takes the Producers Guild
Well, folks, I’m sorry to say that this Oscar race just keeps getting more and more boring by the minute. After taking a lion’s share of the critics awards (including the televised Critics Choice) and three Golden Globes, “The Artist” has began its domination of this industry’s guilds, as well. While one wants to discredit the circulating logic that this year’s frontrunner has had the big award sealed up since Cannes, it becomes more and more difficult to deny it, everyday.
Much like “The Hurt Locker” did, two years prior, “The Artist” defied a certain common logic by taking this prize, being the lowest money-earner of the group. The most profitable of said nominees would be “The Help,” which grossed around $160 million dollars, domestically. Second is “The Girl with the Dragon Tattoo” which is steadily creeping up on the $100 million mark. yet, following a similar (though not as rushed) release schedule as last year’s Best Picture winner, “The King’s Speech,” which at this point in its theatrical run had already earned around $46 million, “The Artist” has scored a measly $9.2. Much of this can be due to relatively low word of mouth, a lack of stars, a foreign origin, it’s black and white print and…oh yeah…IT’S SILENT. Not exactly a recipe for monetary success.
However, while Harvey Weinstein isn’t always the best at making money, there’s one thing he is the boss at. That skill can be referred to as quietly rigging the Oscars. Granted that he never performs any illegal activities to do so (at least none that have been proven), the man always finds the right buttons to press to make everything go his way. One would like to believe that if a movie is smart, entertaining and an extremely well-maid endeavor, it would have a fighting chance for Oscar gold. Yet, in reality, we all know that this race was over before it began.
This was widely considered the last stand for many films, trying to peck out a piece of the precursor pie. A win here for “The Descendants,” “The Help” or “Hugo” would show that this is more than just a one-horse race. However, it looks as though they will all have to find comfort and satisfaction in a nomination. That’s pretty much all one can ask for in a race against “The Punisher” (Weinstein’s new nickname, endowed by Michelle Williams). True, “The Help” is still the frontrunner for the SAG Ensemble Award and we can all hope that Martin Scorsese takes the DGA if for no other reason than to shake things up, but soon might be time to accept the inevitable. This Oscar season…sadly…is over.
Here’s the full list of film winners from the Producers Guild Awards, announced late last night:
Producer of the Year Award in Theatrical Motion Pictures: “The Artist”
Producer of the Year Award in Animated Theatrical Motion Pictures : “The Adventures of Tintin”
Producer of the Year Award in Documentary Theatrical Motion Pictures: “Beats, Rhymes & Life: The Travels Of A Tribe Called Quest”
“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.
The Golden Globes: My Thoughts
Well, my first reaction to the Golden Globes was, of course, uproarious laughter. HFPA, you crazy bastards, you. Every year, when I make my predictions out, I actually imagine that they will make rational decisions, decisions actually catered to how good a film is rather than how many celebrities they can kiss ass to and cram onto a red carpet. Then, every year, I have to give a little giggle and remember who I’m dealing with.
Let’s actually go through the good, first, because believe it or not, there is some. The HFPA actually showed more love for “The Social Network” than I thought that they would. 6 nominations, tying the second largest amount for the year, including what I believe to be an Oscar nomination-sealing nod to Jesse Eisenberg, as well as much deserved recognition to Trent Reznor and Atticus Finch for their unorthodox and compelling score. I do believe that “The King’s Speech” will take down this particular Best Picture award, due to the HFPA’s penchant for grandiose over edgy (“The Aviator” over “Million Dollar Baby,” which I was actually happy about, “Atonement” over “No Country for Old Men,” “Avatar” over “The Hurt Locker”). However, “Social”‘s strong showing proves that it is definitely in it for the longterm win.
Some other things that I liked: “Inception” pulling in such a great reception. After the HFPA’s proverbial snub of “The Dark Knight,” I expecting the Christopher Nolan hate to filter into this film’s chances, as well. I was pleasantly surprised. The film pulled in 4 nominations. Also, it was very nice to see noms for both Ryan Gosling and Michelle Williams. I have not yet seen the film so I can’t say that I’m pleased because they impressed me, but just that the Globes had enough hootspa to nominated such a dark and gritty film, especially with all of its MPAA controversey. Plus, Ryan Gosling is one of the most impressive young performers working in the game, today.
All right, let’s move on to the laughable. The Drama section was fine, if not predictable. The Musical/Comedy section is a travesty. I will refrain from completely ripping apart their nominations for “Burlesque” and “The Tourist” for I have not seen them. However, when a film receives a Metacritic score of 48 as in “Burlesque,” or much less a 37 that “The Tourist” received, there is something to say about the finickiness of nominating said films for the distinction of Best Picture of the Year. Even the Globes would stoop that low for a chance to get Johnny Depp, Angelina Jolie and Cher all at their swanky party. I think that I’m actually going to see at least one of those films just to relish in my ridicule of them.
Here’s a few more things grinding my gears: Michael Douglas’ last ditch nomination for “Wall Street: Money Never Sleeps.” I know that the man is inching close to death, but couldn’t they have at least given him a goodbye nom for something like “Solitary Man,” something he might be proud to be remembered for? The snub of Sally Hawkins, to make room for Angelina Jolie, no less, is an insult. I’m sure it was also necessary to make sure Johnny Depp had two nominations instead of recognizing some of the amazing work done by Jim Carrey in “I Love You Phillip Morris?” And the big finale…..not a single nomination for “True Grit.” Tell me that they just didn’t see it and not that they would literally hand a complete snub to it on purpose.
Some day, I hope that the Golden Globes are fully recognized for the sham that they are, or maybe they’ll just shape up. Who knows? Until then, I will try to forget that these ever happened.
Washington D.C. Film Critics Ring In
This is, perhaps, not one of the most principal of awards to be released this December, but one that I follow, nonetheless. And thus more good news for David Fincher and his brilliant film, “The Social Network.” This announcement, coupled with the recent National Board of Review sweep, is setting “Social” up to be potential critical darling, much like “The Hurt Locker,” “Slumdog Millionaire” and “No Country for Old Men” before it.
It used to be that being a favorite of film aficionados was an evil, or at least irrelevant, matter when it came to the Oscars. “Brokeback Mountain” and “Sideways” both falling victim to this statute. However, if you look at the track record of the above mentioned films, it is evident that the critics take a more substantial role than ever before.
While D.C. didn’t seem to go outside the box for a lot of their nominations, they did make some interesting choices with their picks. An extremely good showing for “Inception,” taking 4 awards, including Best Original Screenplay, which would have been more likely taken by, well, really any of the other nominees in that field. Also, “The Fighter” takes both of the supporting categories away from “The King’s Speech.” In fact, the only award that Tom Hooper’s film did pick up was the expected Best Actor for Colin Firth.
Here is the full list of nominations and awards after the jump:
Best Film
“Black Swan”
“Inception”
“127 Hours”
“The Social Network”
“Toy Story 3″
The Edge of the Frame 