Live Blogging the 2012 Golden Globes!

13 01 2013

10:00 P.M.  For those of you keeping track at home, “Les Misérables” ruled the Golden Globes tonight with 3 wins!  “Django Unchained” and “Argo” also won two trophies.  “Amour,” “Brave,” “Life of Pi,” “Lincoln,” “Silver Linings Playbook,” “Skyfall,” and “Zero Dark Thirty” each won a single award.

10:00 P.M.  HFPA awkwardly and unintentionally flips the bird to AMPAS tonight…

9:58 P.M.  BEST PICTURE – DRAMA: “ARGO

ARGO

9:52 P.M.  Unexpectedly humorous speech from Day-Lewis.  Although I laughed much harder at how most of the back of the room gave him a standing ovation … and NO ONE up front did.  Awkward…

9:50 P.M. BEST ACTOR – DRAMA: DANIEL DAY-LEWIS, “LINCOLN

Lincoln

9:50 P.M.  What a beautiful speech, Chastain looked truly humbled and honored.  To the Oscars we go, hopefully!  (Hey HFPA, didn’t appreciate your shot of the audience where we could see you all flashing “WRAP UP.”)

9:48 P.M. BEST ACTRESS – DRAMA: JESSICA CHASTAIN, “ZERO DARK THIRTY

Zero Dark Thirty

9:41 P.M.  Adorable Anne Hathaway stealing the microphone quickly to do a few more thanks and then tightly hugging Amanda Seyfried.

9:40 P.M. BEST PICTURE – MUSICAL/COMEDY: LES MISERABLES

Les Miserables (2)

9:39 P.M.  Jeremy Renner bleeped…

9:34 P.M.  What a charming acceptance speech, and so much love for his wife!  Maybe he can beat Daniel Day-Lewis?!

9:32 P.M.  BEST ACTOR – MUSICAL/COMEDY: HUGH JACKMAN, “LES MISERABLES

Les Miserables

9:22 P.M.  They talked about actors, and then the category was Best TV Series – Musical/Comedy?  At least it was “Girls!”

9:18 P.M.  Take that, Academy!  Standing ovation for snubbed Ben Affleck!

9:18 P.M. BEST DIRECTOR: BEN AFFLECK, “ARGO

Argo

9:11 P.M.  What on earth did Jodie Foster just say?  Seriously, my TV audio went out in what I assume was a bleep.

9:04 P.M.  OK, people, time for you to go watch “The Beaver.”  It has Mel Gibson, sure, but it also has Jennifer Lawrence!

The Beaver

8:59 P.M.  “Taylor Swift, stay away from Michael J. Fox’s son!” – Tina Fey, who needs to be on this telecast far more

8:53 P.M.  Lena Dunham may have won the Golden Globe, but Tina Fey got to wait with J.Lo and Amy Poehler got awfully close to George Clooney.  It’s debatable who the overall winner really was tonight.

8:51 P.M.  Hooray for Lena – NOT Lisa, Aziz – Dunham!  Go watch “Tiny Furniture!”

8:50 P.M.  Aziz Ansari being carried by Jason Bateman … fantastic.

8:47 P.M.  BEST ANIMATED FILM: “BRAVE

Brave

8:46 P.M.  What on earth did that introduction have to do with Best Animated Film?

8:45 P.M.  Goodness gracious, Sacha Baron Cohen is drunk…

8:39 P.M.  4 Golden Globes for Claire Danes in her career.  She’s halfway to Meryl Streep!

8:35 P.M.  BEST FOREIGN FILM: “AMOUR

Amour

8:27 P.M.  “Best Picture nominee ‘Salmon Fishing in the Yemen‘” just sounds so wrong.

8:25 P.M.  Really, Golden Globes?  Tarantino for screenplay?  Not OK with that. “Inglourious Basterds” blows “Django Unchained” out of the water.  And the speech was a total MESS.  Someone was overserved…

8:23 P.M. BEST SCREENPLAY: QUENTIN TARANTINO, “DJANGO UNCHAINED

Django

8:18 P.M.  Give us more time with Anne Hathaway’s acceptance speech – we love her!

8:15 P.M. BEST SUPPORTING ACTRESS: ANNE HATHAWAY, “LES MISERABLES

Anne Hathaway

8:07 P.M.  Yes, JLaw, to answer the question you were so desperately trying to ask during that speech, OF COURSE we can be best friends!

8:07 P.M.  “Does this say ‘I beat Meryl?'” – Jennifer Lawrence

8:06 P.M.  BEST ACTRESS – MUSICAL/COMEDY: JENNIFER LAWRENCE, “SILVER LININGS PLAYBOOK

Jennifer Lawrence

8:04 P.M.  The sad thing is, Will Ferrell and Kristen Wiig are saying what a lot of Americans are to their television sets right now.  Wondering what this “Silver Linings Playbook” thing is and cursing them for not nominating “The Avengers.”

8:02 P.M.  Nice abs, Kristen Wiig.

7:59 P.M.  Clinton introducing “Lincoln.”  Oscar for Best Picture is now in the bag, in case it wasn’t already.

7:58 P.M.  Really, Bill Clinton?!  What?!

7:55 P.M.  Tina Fey and Amy Poehler going and impersonating the absent celebrities is PRICELESS.

7:49 P.M.  Looks like we need more Grammy-winners to come freshen up film awards.

7:48 P.M. BEST ORIGINAL SONG: SKYFALL, “SKYFALL

Skyfall

7:45 P.M. BEST ORIGINAL SCORE: MYCHAEL DANNA, “LIFE OF PI

Life of Pi

7:42 P.M.  Woah, real Tony Mendez!

Argo

7:36 P.M.  Awkward teleprompter flub with Salma Hayek and Paul Rudd … hooray for “Homeland!”  Don’t understand why they present Best TV Series – Drama before Best Actress in a TV Drama?!

7:33 P.M.  Wow, now “Homeland” is set to dominate the Golden Globes too after Emmys domination.  Weird not to hear Damian Lewis speak in his gruff American accent!

7:32 P.M.  Didn’t get to see much from the red carpet, but from what I can tell … Jessica Chastain wins.  Just as she did at the Oscars last year.  Ehh, didn’t really get to look closely enough.  She’s gorgeous, sure, but the dress wasn’t that great.

Jessica Chastain

7:30 P.M.  “Call Me Maybe” needs to be left in 2012, HFPA lady.

7:23 P.M.  Don’t sing again, Catherine Zeta-Jones, unless it’s “Chicago.”  Thanks.  That line of “Do You Hear The People Sing?” was awful.

7:21 P.M.  If “Game Change” had been released in theaters, Julianne Moore would be in contention for Best Actress.  Think about it…

7:18 P.M. Hooray for “Game Change!”   One of the better movies I saw this year in any format!

7:12 P.M.  C’mon, Professor McGonagall.  It’s one thing not to do press for yourself – but not showing up to receive the inevitable award?!

7:10 P.M.  Please, Academy, you’ve already awarded Christoph Waltz for literally the same performance.  And oh, here goes Waltz again with the poetic metaphors in his speeches.

7:10 P.M. BEST SUPPORTING ACTOR: CHRISTOPH WALTZ, “DJANGO UNCHAINED

Django

7:08 P.M.  “This 70th anniversary celebration.”  OK.  Glad Tina and Amy mentioned that!

7:03 P.M.  “When it comes to torture, I trust the lady who spent 3 years married to James Cameron.” – Amy Poehler, much to the amusement of Jessica Chastain (who was DYING laughing)

7:02 P.M.  Already loving the Tina and amy combo.  Same humor, just with less bite!

Read the rest of this entry »





Oscar Moment: Final 2012 Predictions, Part 5 (Best Picture)

9 01 2013

ONE DAY MORE to revolution (I mean, Oscar nominations).  Now it’s time to lock in my Best Picture predictions.  It was an extremely tough year to forecast.  So without further ado, here are the films I think will be called out by Seth MacFarlane and Emma Stone early tomorrow morning.

See my predictions for Best Original Screenplay and Best Adapted Screenplay.

See my predictions for Best Supporting Actor and Best Supporting Actress.

See my predictions for Best Actor and Best Actress.

 See my predictions for Best Director.

Best Picture

  1. Lincoln
  2. Les Misérables
  3. Argo
  4. Zero Dark Thirty
  5. Silver Linings Playbook
  6. Life of Pi
  7. Django Unchained
  8. Beasts of the Southern Wild
  9. The Master
  10. Moonrise Kingdom

Silver LiningsThe top five of “Lincoln,” “Les Misérables,” “Argo,” “Zero Dark Thirty,” and “Silver Linings Playbook” are locked in.  There has been pretty consistent and unilateral support for these all season long (although some critics have savaged a certain musical I love).

I’d say given the critical beat-down of “Les Misérables” and the Senatorial inquisition into “Zero Dark Thirty,” Steven Spielberg’s “Lincoln” has risen back to the top of the pack.  “Argo” has also benefitted from being the least controversial, most agreeable movie in the bunch.  Find me someone that hated “Argo,” and I’ll find you a flying pig.

But who knows how the passion will play out?  Two years ago, I would have laughed in your face if you told me “The Social Network” was going to lose.  There is still time for a “Les Misérables” and “Silver Linings Playbook” surge.  If one takes a lot of Golden Globes and then the SAG Ensemble prize, it could pose a serious threat.

Argo FYC

Then again, there’s also time for “Lincoln” or “Argo” to build a consensus with wins from either the BFCA, HFPA, or SAG.  Wins from PGA and DGA in 2012 may be the biggest shaper of the odds; “Zero Dark Thirty” needs at least one of these guild trophies to prove it’s more than just a critical darling.  Hopefully it all gets split up for a fun year!

But beyond the guaranteed five, we are looking at a highly unpredictable field that could include any number of nominees.  I mean, literally, there could be no more nominees – or there could be five more thanks to the Academy’s new sliding scale.  Some are more likely to score nods than others, but there are a few longshots looking to make a few people gasp on nomination morning.  The system also rewards passion because a film needs 5% of the first-place votes to be nominated.  Hence, it pays off to be loved, not liked.

ZDT

Despite what I keep sensing as a lack of passion for “Life of Pi,” I think it will ultimately wind up with a Best Picture nomination.  I thought the flame had been extinguished for “War Horse” and “Moneyball” last year, but apparently 5% of the Academy voters thought they were the best movies of 2011.  So if they can do it, so can Ang Lee’s “Life of Pi.”  All three movies were feted by BFCA and HFPA, so I’d say it’s a good bet – especially with Lee’s DGA nod.  (It’s also effects and craft heavy, so those smaller but no less important portions of the Academy may buoy it to a nomination.)

Life of Pi

Ditto “Django Unchained,” which I had initially written off for a Best Picture nomination.  Nothing felt right at first.  When it only received Critics Choice nods for Best Picture and Best Screenplay, something felt fishy.  Then when it was totally snubbed at the SAG Awards, I thought it was dead.  (Most shrug this off as due to the fact that it wasn’t widely screened for their nominating committee.)

Yet even when the Golden Globes rescued it with 5 nominations including Best Picture and Best Director, I still didn’t buy into “Django Unchained” striking it big with the Academy.  Every year, the Globes give an absurd amount of nominations to a movie that shows up in only a minor way at the Oscars.  In 2011, it was “The Ides of March.”  (In the past, examples have been “Revolutionary Road” and “American Gangster.”)

But now, with “Django Unchained” being quite the box office hit and the discussion topic of choice at the hypothetical critical water-cooler, I think it’s probably going to be a nominee.  Surely more than 5% of the Academy voted for “Inglourious Basterds” for Best Picture in 2009.  I expect that same contingent to come out and vote #1 for “Django Unchained” since most (but not I) consider it to be superior.

Skyfall

So … where do we go beyond these seven nominees?

Do they go for more bang and blockbuster with “Skyfall?”  Crowd-pleasing comedy with “The Best Exotic Marigold Hotel?”  Indie comedy with “Moonrise Kingdom?”  Indie drama with “Beasts of the Southern Wild?”  Foreign drama with “Amour?”  Polarizing drama with “The Master?”  I’d say these six films are the most likely to grab any of the three remaining spots in the Best Picture category.

“Skyfall” provides perhaps the most interesting case.  Had you told me a few months ago I’d be writing about it as a Best Picture contender, I wouldn’t have believed it.  Yet here we are, and the film has grossed over $1 billion globally, racking up series-best praise in the process.  The Academy recently announced, too, that they were planning a James Bond tribute at the ceremony.  Might that be indicative of Oscar love to come?

At first, I warmed up to it being nominated for some technical nods.  Then, I started to wonder if Dench and Bardem weren’t real threats for Oscar nominations thanks to notes from BFCA and SAG.

Now with “Skyfall” making the PGA top 10 list, I’m left to wonder whether it wouldn’t be a smart prediction to land a Best Picture nomination.  The PGA did get the ball rolling for “District 9” in 2009, but they gave us false hope on “Star Trek.”  Whichever mold “Skyfall” is cut from is anyone’s guess.  If it makes the cut for Best Picture, it could easily have a whopping ten nominations!  Although if it doesn’t get the big one, it could become one of the most nominated movies ever to not be nominated for Best Picture.

MoonriseThe PGA also showed some love for “Moonrise Kingdom” and “Beasts of the Southern Wild,” two summer successes that many thought might have some hidden pockets of support.  But will they choose both, one, or neither?

“Moonrise Kingdom” has been the more visible of the two throughout the season, kicking off the precursor season with a Best Picture win at the Gotham Awards.  It then dominated the Indie Spirits nominations, where it could triumph over “Silver Linings Playbook” the night before the Oscars.  Topped off with a Golden Globe nod for Best Picture (musical/comedy), the case looks good.  But I wonder if there are enough people who think it is the best movie of 2012, not one of the best.

Sundance Grand Jury Prize winner “Beasts of the Southern Wild,” on the other hand, seems to drive more passionate support.  But will it be enough for a Best Picture nomination?  The critics groups did not speak up loudly enough for it (only 2 wins and they were for long-shot Best Supporting Actor candidate Dwight Henry).  It was blanked at the Golden Globes where young Quvenzhané Wallis should have at least gotten a novelty nomination.

Amour

Part of the trouble with predicting “Beasts of the Southern Wild” is its ineligibility with the SAG.  We have no idea whether the actors love this movie, and they are one of the most crucial voting blocs.  It’s hard to tell where the support for the movie exists, if it even does.  I’m hoping that the PGA nod is telling of invisible passion for the movie.  “Moonrise Kingdom” is assured a Best Original Screenplay nomination, and I think that may be its limit.

Some have floated “Amour” as a possible nominee based on how well its done with the critics groups.  Indeed, I like the idea of a foreign film making the cut because that’s the kind of movie the expanded field is supposed to allow.  But I don’t think this will be that first movie (of the new Best Picture era, that is) – it’s too austere and cold.

Perhaps it pops up in various other major categories like “Tinker Tailor Soldier Spy” did last year, but that too faltered because people admire it more than they love it.  And if Haneke can’t win Best Foreign Language Film for the critically praised “The White Ribbon,” I don’t think he’s going to cut it in competition with some real heavyweights.

I’m surprised people think there’s more of a chance for “Amour” to be a Best Picture nominee than “The Best Exotic Marigold Hotel.”  What part of the equation doesn’t SCREAM Oscars?  The old cast of prior Oscar nominees and winners plays right into Academy demographics.  It played extremely well with audiences over the summer and managed to stick around in people’s minds.  It got two Golden Globe nominations including Best Picture (musical/comedy) as well as two SAG nods including the coveted Best Ensemble.  If any movie is poised to pull a shocker like “The Blind Side,” this could be it.

But I’m putting my chips on there being nine films in contention, and that final nominee is “The Master.”  I know it is by no means a smart pick.  Other than the Critics Choice nod for Best Picture, it’s been pretty silent for the season.  It has little guild support.  The critics remain fairly divided.  But I think that this film could galvanize the Academy, and the people that like it will love it and vote #1.  The voters who appreciate it probably know it’s in peril.

So mark it down, I’m going out on a limb for Paul Thomas Anderson’s “The Master,” hoping I’ve just predicted this season’s “The Tree of Life.”  If not, it just goes in the pile of other failed Best Picture predictions including “The Girl with the Dragon Tattoo,” “The Town,” “Crazy Heart,” and “Invictus.”  But no guts, no glory, right?





Oscar Moment: Final 2012 Predictions, Part 4 (Directing)

8 01 2013

TWO MORE DAYS!  I’m slowly starting to lose my mind … or at least become so consumed with thinking about the Oscar nominations that I can think of little else.

See my predictions for Best Original Screenplay and Best Adapted Screenplay.

See my predictions for Best Supporting Actor and Best Supporting Actress.

See my predictions for Best Actor and Best Actress.

Best Director

  1. Steven Spielberg, “Lincoln
  2. Kathryn Bigelow, “Zero Dark Thirty
  3. Ben Affleck, “Argo
  4. Tom Hooper, “Les Misérables
  5. David O. Russell, “Silver Linings Playbook

Kathryn Bigelow ZDTIn case you caught on, yes, I did intentionally structure my prediction breakdown so that I would get to publish post-Directors Guild nominations.  If you didn’t catch those this morning, they were Ben Affleck for “Argo,” Kathryn Bigelow for “Zero Dark Thirty,” Tom Hooper for “Les Misérables,” Ang Lee for “Life of Pi,” and Steven Spielberg for “Lincoln.”

It’s worth noting, though, that the DGA has perfectly matched the Academy’s nominees only twice since 2000.

Having said that, Spielberg, Affleck, and Bigelow are in.  I don’t think anyone will debate that.  Even as “Zero Dark Thirty” seems to have knocked aback with the fatuous claims of torture endorsement, Bigelow remains firmly in place.  Heck, I think any of these three could win.  Who knows, maybe we could even have … a split year!

Spielberg won Best Director in 1998 for “Saving Private Ryan” even though “Shakespeare in Love” won Best Picture.  Could a similar surprise be in store this year?

Bigelow’s direction has earned her tremendous accolades again.  She’s been the critical choice pick of the year, often times winning even when “Zero Dark Thirty” doesn’t take Best Picture.  Will she take the prize again for her follow-up to “The Hurt Locker” just three years after winning her first Oscar?

Argo Best Director

And if “Argo” surges and looks poised to win Best Picture, Ben Affleck will likely win Best Director.  I don’t think he would benefit from a split.

Beyond the three of them, it gets dicier.  If you assume there are seven “safe” Best Picture nominees, you have four men competing for two spots: Ang Lee for “Life of Pi,” David O. Russell for “Silver Linings Playbook,” Tom Hooper for “Les Misérables,” and Quentin Tarantino for “Django Unchained.”  That’s an impressive group that contains two winners and two nominees.

Some people seem to think “Les Misérables” is weak because the critics have defined people’s perceptions of the movie’s standing in the race.  This is “The King’s Speech” on steroids.  That movie beat the critical favorite, “The Social Network,” with no trouble at all.  And it didn’t need the critics groups at all; it only took one Best Picture prize.  Colin Firth was keeping the movie in discussion and taking most of the accolades, just as Anne Hathaway is doing now.

Hooper beat out David Fincher, who almost undeniably did more impressive work in “The Social Network,” in a year that perhaps more than ever screamed for a Picture-Director split.  If he can win for “The King’s Speech,” I don’t see how he doesn’t get nominated for “Les Misérables.”

Life of PiWhile many would say Ang Lee was just below the “big three,” I would say Hooper is far more secure.  I think the movie will play well with Academy voters, and I still think it could win Best Picture.  It will likely win three, if not four Golden Globes.  It could also win the ensemble award at SAG.  And if “Les Misérables” made them feel anywhere near as much as “The King’s Speech,” they know who pulled the strings of their tear ducts.  A nomination feels pretty secure to me.

“Life of Pi” support is fading.  Though I still think it will power through and get a Best Picture nomination, Fox seems to have dropped the ball on keeping the momentum going.  Lee did get nominations from HFPA and BFCA, albeit in a field of six for the latter.  And the DGA nod certainly helps.

But for all this talk of Lee getting a nomination for “Life of Pi” simply because it is incredibly ambitious or challenging do little to persuade me.  I know this is a totally different case, but that didn’t help Christopher Nolan for “Inception” in a tight year (the directing branch of the Academy loathes Nolan but likes Lee for some bizarre reason).  While he’s now in my good graces because of “Les Misérables,” artistic merit often takes a backseat to feel-good stories as shown by Hooper’s triumph in 2010 over Fincher and Aronofsky.

I can’t help but wonder if Lee will get the cold shoulder like David Fincher did last year for “The Girl with the Dragon Tattoo.”  That film was getting love from the guilds left and right but was largely shunned by the Academy, including high-profile snubs in Best Picture, Director, and Adapted Screenplay.  Is “Life of Pi” that technical marvel that guilds will admire but Academy members won’t quite appreciate as much?

LincolnHowever, the Academy directing branch, comprised of only about 300-400 members, is notoriously snooty, arty, high-minded, or whatever adjective you want to use.  So maybe that will benefit Ang Lee.  But often times, it’s a boon to someone they respect but has received little recognition leading up to the nominations   With their out of the blue selections, they often provide some of the biggest surprises on nomination morning.

The ultimate case was in 2001 when they nominated David Lynch for “Mulholland Drive,” a movie that received no other nominations.  But more recent and reasonable examples are Terrence Malick for “The Tree of Life,” Paul Greengrass for “United 93,” and Mike Leigh for “Vera Drake.”  I think the most likely person to snab this kind of nomination would be Paul Thomas Anderson for “The Master.”  As much as I’d love to see that happen, I doubt it will.

They also like to nominate directors with vision working in foreign languages.  In the past decade, we’ve seen Best Director nominees Julian Schnabel for “The Diving Bell and the Butterfly,” Fernando Meirelles for “City of God,” and Pedro Almodóvar for “Talk to Her.”  For that reason, we can’t count out Michael Haneke popping up for “Amour.”  It’s certainly had the critical plaudits to be a non-shocking surprise.

David O

Maybe they really respect and admire the vision of Tarantino in “Django Unchained.”  They’ve been fans twice before, providing him nominations for 1994’s “Pulp Fiction” and 2009’s “Inglourious Basterds.”  Both of those, however, were preceded by DGA nominations.  The Weinstein Company has been floating the excuse that his passing over is due to DVD screeners not going out to DGA members.

But I think it’s telling that the Academy will stay away.  His only major nomination so far has been from the Golden Globes, and it’s clear they were high on “Django Unchained.”  I think it has proven to be much more of an audience success than a critical or guild one, though it has supporters amongst those groups.  The “Inglourious Basterds” nod was looking good from the beginning; this time around has not been so fortuitous for Tarantino.

I don’t feel that PTA or Haneke are nearly as revered as Malick and thus have the power to displace a sure-fire Best Picture nominee.  With all my reservations about Tarantino and Lee, I’m left to predict David O. Russell for “Silver Linings Playbook.”  Though overlooked by the DGA and the HFPA, he was a Critics Choice nominee and (perhaps more importantly) a nominee for Best Director for “The Fighter” in 2010.

Academy voters are creatures of habit.  If something works for them once, it often works again.  Why do you think so-called “Oscar bait” was born?  Once the studios figured out their tastes, they play right into their wheelhouse time after time.  “Silver Linings Playbook” is very similar to “The Fighter” in terms of tone and emotional payoff.  The only real difference this year is that he has directed a comedy as opposed to a drama.  (Although there is little funnier than Charlene beating up Micky’s white-trash sisters.)

So it looks like I’ll be predicting a more conservative, sure-fire Best Picture nominees slate here.  I know it’s at odds with the whole notion that the season is one of the most unpredictable ever.  But I’ve watched for the signs (to quote “Silver Linings Playbook”) and don’t get the sense that anything radically wacky is going to happen in Best Director.





Oscar Moment: Final 2012 Predictions, Part 2 (Supporting)

6 01 2013

With the 2012 Oscar race now immobile until nominations are announced Thursday morning, January 10, now it’s time to take one last look at the contenders and the pretenders before the dust settles.  Today, I’ll be looking at Best Supporting Actor and Best Supporting Actress, two categories replete with former winners and nominees all vying for Oscar glory.

See my predictions for Best Original Screenplay and Best Adapted Screenplay.

Best Supporting Actress

  1. Anne Hathaway, “Les Misérables
  2. Sally Field, “Lincoln
  3. Helen Hunt, “The Sessions
  4. Amy Adams, “The Master
  5. Nicole Kidman, “The Paperboy

The race is Anne Hathaway’s to lose, and I’d be amazed if she did.  Even though so many critics are against “Les Misérables,” few can deny the power of her performance.  Some of the snootier groups have snubbed her, but take a look at this impressive domination of the category!

Hathaway Dominance

Safe to say, wins from the Critics’ Choice Awards, Golden Globes, and SAG Awards should lead her charge to take the stage at the Kodak Theatre.  Or they will hear the people scream.

FYC Anne HathawayAlthough, in the event of a “Lincoln” sweep (and me sticking my head in an oven), Sally Field could go 3-for-3 and win here for “Lincoln.”  She’s certainly had her fair share of recognition along the precursor circuit, including a high-profile win from the New York Critics’ Circle.

But in a year that could crown Daniel Day-Lewis (and maybe Robert DeNiro) a three-time champion, people will be aware that they would be ranking Field in an elite pantheon with Meryl Streep and Jack Nicholson, I bet they think twice and vote Hathaway.

Or maybe they vote Hunt, who’s all but assured a nomination for her work in “The Sessions.”  It’s the kind of role the Oscars eat up (good-hearted woman who likes to let loose), and the Best Actress of 1997 for “As Good As It Gets” has picked up the Big 3 nominations (Critics’ Choice, Golden Globe, SAG) along the way.  I think lukewarm support for the movie hurts her chances to win.  So does the fact that she’s competing against Anne Freaking Hathaway.

Beyond Hathaway, Field, and Hunt, the other two nominations are pretty much up for grabs.  The way I see it, there are 3 women vying for those two spots are Amy Adams for “The Master,” Maggie Smith for “The Best Exotic Marigold Hotel,” and Nicole Kidman for “The Paperboy.”  Each has missed a key stop on the circuit: Adams crucially at SAG, Smith with the Globes and Critics’ Choice, and Kidman only with Critics’ Choice.

The PaperboyOn paper, the smart money would be on Nicole Kidman to snag a nomination.  SAG is always the best indicator of actors’ sentiment, and she also has a key Globe nod.

But the Golden Globes are notorious for sucking up to stars so they have to show up to the ceremony.  They are also notable for having many favorite actresses who seem to get nominated for just about anything they do, and this goes well beyond your obvious Meryl Streep.  Nicole Kidman has been nominated for a whopping 10 Golden Globes and has won 3.  So I take their nomination with a grain of salt.

SAG also usually throws a major out-of-left-field nominee into the fray, which at first sight could be considered Kidman.  (Then again, since Maggie Smith has shown up nowhere else, maybe that would be her.)  Last year, it was Armie Hammer for “J. Edgar,” although most thought it was Demian Bichir for “A Better Life” … until he got an Oscar nomination.  In 2010, it was Hilary Swank for “Conviction.”  2009 gave us Diane Kruger for “Inglourious Basterds.”

But “The Paperboy” is, well, quite frankly a bad movie.  And a part of me thinks the Academy will recoil at just how trashy and terrible it is.  There’s certainly precedent for an actor being nominated for a bad movie: Cate Blanchett got a Best Actress nomination for “Elizabeth: The Golden Age,” which had a 35% on Rotten Tomatoes, and Sean Penn was nominated for the 34% fresh “I Am Sam.”  “The Paperboy” currently sits at 39%.

I predicted the snob factor would keep out Melissa McCarthy of “Bridesmaids” last year because she was crass and defecated in a sink.  I was wrong.  McCarthy didn’t even have the Globe nod that Kidman earned.  So, with that in mind, I will predict Nicole Kidman to get a bizarre Best Supporting Actress nomination for a role that involves her urinating on Zac Efron’s face.

The other spot, I believe, will go to Amy Adams for “The Master.”  Yes, the SAG snub hurt.  But she’s a new Academy darling, garnering three Best Supporting Actress nominations in six years.  And I’ll continue to assert that the Academy, though perhaps not quite ready to anoint her with a statue quite yet, wants to increase the inevitability of her win.  At four nominations, the cries of “why hasn’t she won yet?” will grow louder and louder.

Best ExoticAlthough don’t get me wrong, maybe they will not go with a perennial Oscar bridesmaid but rather a crowned Oscar queen.

Two-time winner Maggie Smith’s SAG nod makes her a formidable foe, though the fact that the Globes didn’t nominate her is troubling.  They were big fans of “The Best Exotic Marigold Hotel,” nominating it for Best Picture (musical/comedy) and Judi Dench for Best Actress.  If they loved it so much, where was Maggie Smith?  I suspect SAG got sentimental for a more senior member, like they did in 2010 for Robert Duvall in “Get Low.”

Another possibility I wouldn’t count out is Judi Dench for “Skyfall.”  It’s a sentimental swan song for Dench in the M role, and it will be one of her final roles since she’s going blind.  She won in 1998 for “Shakespeare in Love,” which she was in for all of six minutes.  In this meaty, tragic role, could the Academy be won over?  The BFCA was and gave her a Critics’ Choice Award nomination, although that was in a field of six.  I don’t think Dench is out of the question, but I would still be shocked if she cracked this field.

The BFCA also nominated Ann Dowd of “Compliance,” a character actor who has paid her dues … and now is paying for her own campaign.  She won Best Supporting Actress from the National Board of Review, although that group has faded in relevancy since they are no longer first out of the gate.  Perhaps a surprise nomination is in store for a hard-working non-star, in the Demian Bichir/Richard Jenkins mold?  A more relevant precedent, however, might be Jacki Weaver in “Animal Kingdom.”  However, she had the awards machine of Sony Pictures Classics working for her all fall.

But I’m sticking with Adams and Kidman.  I don’t have strong enough of a gut feeling to predict Dench or Dowd, and I don’t think Smith has enough heat to make it in the field.

Best Supporting Actor

  1. Robert DeNiro, “Silver Linings Playbook
  2. Tommy Lee Jones, “Lincoln
  3. Alan Arkin, “Argo
  4. Philip Seymour Hoffman, “The Master
  5. Javier Bardem, “Skyfall

Arkin

There are four set nominees in the field: DeNiro, Jones, Arkin, and Hoffman.  The latter three all scored the trifecta of nods from the BFCA, SAG, and HFPA, which essentially assures them nominations.  Last year saw two such actors, Leonardo DiCaprio and Tilda Swinton, get snubbed by the Academy.  I can’t pinpoint precisely why they got knocked out other than a strong field for DiCaprio in Best Actor and a strong competitor for Tilda Swinton in Rooney Mara.

The person I would assume is in the worst position is Philip Seymour Hoffman for “The Master” since it isn’t a slam-dunk Best Picture nominee like DeNiro, Jones, and Arkin’s movies are.  But Hoffman, the movie’s only SAG nominee, appears to be the one performance everyone can line up behind for the film.  And he’s been nominated for movies that did not play well with the Academy at large, as demonstrated by his nod for 2007’s “Charlie Wilson’s War.”

Argue as you might about the former being a sure thing because he missed out on a Golden Globe nomination, but watch his acceptance of their highest honor, the CecilB. DeMille.  Now tell me if you think the voting body of less than 100 would want to nominate someone after he essentially slapped them in the face a la Ricky Gervais?

If he’s nominated, I think DeNiro could win.  Though he has won twice, he hasn’t been nominated in two decades.  There’s a comeback narrative for one of the greatest actors of our time, and it may be too soon for Arkin and Hoffman to win again.  In the event of a “Lincoln” sweep, a rising tide could lift all ships including that of Tommy Lee Jones.

But who gets the fifth slot to compete against these four prior winners?  I had hoped it would be Eddie Redmayne or Russell Crowe for “Les Misérables,” but those are highly unlikely now.  If they were to pop up, put all your money on “Les Misérables” to win Best Picture.

Magic MikeCould it be Critics’ Choice nominee Matthew McConaughey for “Magic Mike?”  He’s had quite the career turnaround in 2012, and a nomination would be a nice pat on the back.  A nomination would be in the pattern of Robert Downey, Jr. in 2008 for “Tropic Thunder,” another unconventional comedic role from a resurgent actor.

McConaughey is unlikely, however, because the SAG Awards and Golden Globes overlooked him, two groups key to making people take Downey, Jr. seriously.  Though he won prestigious prizes from the New York Film Critics’ Circle and the National Society of Film Critics, McConaughey might have to wait until next year for his shot at Oscar glory.  Something tells me his massive weight loss for “The Dallas Buyer’s Club” is screaming Oscars 2013.

SAG didn’t leave off Javier Bardem for “Skyfall,” on the other hand.  Bardem, himself a prior winner in the category, would fit right in with the rest of the nominees.  His Silva from the movie would be the first Bond villain ever to be nominated for an Oscar, and though I was averse to his creepiness, others don’t seem to share my reservations.

Villains have been dominating the Best Supporting Actor category since Bardem’s win for “No Country for Old Men” in 2007.  There was Heath Ledger’s posthumous win for “The Dark Knight” and Christoph Waltz’s victory for “Inglourious Basterds.”  We’ve also seen nominations for Josh Brolin’s murderous monster in “Milk,” Stanley Tucci’s creepy rapist in “The Lovely Bones,” and Jeremy Renner’s tough-as-nails Jem from “The Town.”  Being bad has never been so good.

But the same argument could be made for Leonardo DiCaprio’s vile slave owner Calvin Candie in “Django Unchained.”  Tarantino wrote the despicable Hans Landa, the character that won Christoph Waltz an Oscar.  Could he earn DiCaprio his fourth Oscar nomination – or perhaps his first win?  I’d love to see it, but I’m worried about vote-splitting between DiCaprio and Christoph Waltz, back in the race for a character in “Django Unchained” not all that different than his Oscar-winning Hans Landa.

DjangoBoth DiCaprio and Waltz received nominations from the Golden Globes, but neither showed up on the Critics’ Choice list nor the SAG.  The latter can be explained by a lack of screeners being sent to the nominating committee, but the former is troubling.  I considered “Django Unchained” to be a non-factor in the season until it found some very vocal critical supporters and a large audience.  So I have to think at least one actor from the movie will show up, but I don’t think there’s a consensus on who that should be.

Waltz has won from a number of critics’ groups across the country, but none of them are particularly worth noting.  DiCaprio won from the National Board of Review, which is a far more significant accolade than anything Waltz has received.  If it was just Waltz from “Django Unchained” that DiCaprio had to contend with, I would predict him to receive his first Oscar nod since 2006’s “Blood Diamond.”  But there’s also Samuel L. Jackson from the movie, and many people are also a big fan of his performance.

Had “Django Unchained” unfurled earlier in the season, perhaps there would have been time for consensus to form around one actor.  DiCaprio could have helped himself by doing some press for the movie, yet he’s been remarkably silent.  The moment just doesn’t feel right for him either; I suspect 2013 will be more fortuitous for him with a juicy role in ‘The Great Gatsby” and another re-teaming with Martin Scorsese in “The Wolf of Wall Street.”

So, in the absence of consensus, I think vote splitting will knock out all Tarantino’s performers, paving the way for Javier Bardem’s fourth Oscar nomination.

Check back tomorrow, January 7, for my final predictions in the leading acting categories!





Oscar Moment: Final 2012 Predictions, Part 1 (Screenplay)

5 01 2013

Well, folks, it’s over.  Kind of.

Time is up for movies to impress the Academy voters before the nominees are announced.  The race is frozen now before nominations are announced early Thursday morning, January 10.  So with nothing left to influence the nominations, I’ll be offering my final take on the race before we find out who gets to compete for the golden man, the Oscar.

Today, I’ll be discussing the writing categories, Best Original Screenplay and Best Adapted Screenplay.

Best Original Screenplay

  1. Zero Dark Thirty
  2. Django Unchained
  3. The Master
  4. Moonrise Kingdom
  5. Amour

ZDTI think this is probably the biggest no-brainer race of them all for 2012.  It’s an extremely thin field, filled with several past nominees and winners.  “Zero Dark Thirty” and “Django Unchained” will vie for the win; I think it’s Mark Boal’s to lose, but Tarantino could take it if they feel Boal’s win for “The Hurt Locker” in 2009 was too short a gap.  Going through the two categories is tough to find gaps between wins, but I think Boal’s back-to-back wins would be unprecedented.

Even if “The Master” doesn’t score a Best Picture nomination, it is a sure bet to get a writing nod.  The writers’ branch has always loved Paul Thomas Anderson, nominating him for “Boogie Nights,” “Magnolia,” and “There Will Be Blood.”  I think the Academy respects him more as a writer than a director, and I’d hedge my bet that his first Oscar comes from the screenplay categories.

Though “The Master” is not unilaterally acclaimed, I think the fact that they nominated the challenging and polarizing “Magnolia” means they’ll nominate just about anything he writes.  (Except “Punch-Drunk Love,” but that was just a terrible movie.)

Wes Anderson was recognized here for his work on “The Royal Tenenbaums” back in 2001, and his “Moonrise Kingdom” is playing a lot better on the precursor circuit than that one.  Though it may miss out on a Best Picture nomination, it will at least have this prize to compete for.  I doubt it has a shot to win, but it’s another feather in Anderson’s cap for an eventual win down the road.

AmourAs for that final slot, people (including myself) seem to have finally caught onto the fact that the writers’ branch sees foreign films and isn’t afraid to nominate them.  Despite everyone declaring “A Separation” the winner for Best Foreign Film all year, very few seemed to see the Best Original Screenplay nomination coming.

“Pan’s Labyrinth” and “The Barbarian Invasions” had turned their goodwill from Best Foreign Film into writing nods.  Not to mention “The Diving Bell and the Butterfly” and “City of God,” directorial triumphs recognized by the directors’ branch, were also recognized for their screenplays.  Oh, I almost forgot to mention “Amelie,” “Y Tu Mama Tambien,” and “Dirty Pretty Things.”

Looper

And I nearly omitted Pedro Almodóvar’s “Talk to Her,” which WON in 2002.  (Perhaps it’s the subtitles that remind them that they are reading a movie?)

The writers think global.  Thus, no one wants to get caught off guard, and the smart money is on Michael Haneke’s “Amour.”  While I think it’s much more of a director’s movie, I think it glides in simply on the weakness of the pool of eligible nominees.

Perhaps they will pull a “Margin Call” surprise and go with Nicholas Jarecki’s “Arbitrage,” a kindred spirit in its vilification of Wall Street big wigs.  Or maybe they take original to heart and nominate Rian Johnson’s superb “Looper,” a critical favorite that has popped up sporadically throughout the precursor circuit.  Heck, maybe John Gatins’ script for “Flight” shows up like it did on the WGA list.

But I’ll stick with “Amour,” in spite of my reservations.

Best Adapted Screenplay

  1. Lincoln
  2. Argo
  3. Silver Linings Playbook
  4. Les Misérables
  5. Beasts of the Southern Wild

Argo Screenplay“Lincoln,” “Argo,” and “Silver Linings Playbook” are locks.  Inarguable.  If they don’t get nominated … well, I won’t finish that sentence since it’s a waste of time.  IT’S NOT GOING TO HAPPEN.

The last two slots are a mystery to me.  I think it’s ultimately a decision of whether the writers go along with groupthink or go out on a limb for a script that they love.  Will they make sure the heavy-hitter Best Picture contenders have a writing nomination to add to their tally?  Or will they provide a lone nomination (or a high-profile one) for a movie not nearly as beloved?

Just as a reminder of how hard it is to predict, let’s look back at the past three years of the category since those reflect Best Picture moving to beyond 5 nominees.

Last year, it looked like “The Help” would ride the coattails of its Best Picture nomination to a screenplay nod.  And “The Girl with the Dragon Tattoo,” which most thought would be a Best Picture nominee, looked good too.  The writers snubbed both of these, opting for the well-wrought “Tinker Tailor Soldier Spy” and a lone nod for George Clooney’s “The Ides of March.”  (“War Horse” and “Extremely Loud and Incredibly Close” were two other Best Picture nominees that were not recognized.)

LincolnIn 2010, the category was 5-for-5 with Best Picture nominees “Winter’s Bone,” “True Grit,” “Toy Story 3,” and “127 Hours” all scoring here.  The eventual winner was – obviously – Aaron Sorkin’s visionary script for “The Social Network.”

2009 saw a surprising triumph for Best Picture nominee “Precious” over fellow nominees “Up in the Air,” “District 9,” and “An Education.”  Only one other adaptation was in the Best Picture field, but it was “The Blind Side” – a nominee few saw coming.  So unsurprisingly, an outside nominee charged the field – “In the Loop,” a British political comedy that came in from out of the blue.

So since there’s no clear precedent, what to do?  Predict that the writers just go with the flow and nominated “Life of Pi” and “Les Misérables?”  Or attempt to forecast a big passion play?

I think William Nicholson’s script for “Les Misérables” is a more likely nominee, despite many naysayers who think it won’t be appreciated because it was a musical.  “Chicago,” the last stage-to-screen musical, was nominated here; you have to go so far back to see a movie musical in the Best Picture field that it isn’t worth looking for a pattern.  We really have no idea whether it’s a contender, though, since it was ineligible at the WGA Awards.  But it did miss out on a Golden Globe nomination, and that was a nod “Chicago” did pick up in 2002.

Les Mis FYC 2-page

Basically, in my prediction of “Les Misérables” for Best Adapted Screenplay, I’m counting on the movie playing really well with the Academy (which it apparently has, in spite of the critics’ attempts to destroy it).  There’s nothing but a gut feeling telling me to predict it, and a slight inkling that they love the movie enough to nominate it a lot.

There’s much more of a reason for me to predict “Life of Pi,” which has the WGA nomination to its credit.  But a lot of people have criticized David Magee’s script for being the major flaw of the movie, and that gives me hesitancy.  Could it be that it only scored a nomination because of all the ineligible movies?

Life of Pi

I had similar hang-ups about “Hugo” last year, a movie that was visually impressive but took a lot of flak for its weak writing.  Yet John Logan’s script for that was nominated for a WGA Award … and then received an Oscar nomination.  Does “Life of Pi” have the strength of “Hugo,” though, which went on to win 5 Oscars in 2011?  I don’t think it does, and Fox seems to have little confidence in it.

But if it’s not “Life of Pi,” what will it be?  Does any film have the passion necessary to score an outside nod?

There’s an outside chance “The Best Exotic Marigold Hotel” gets a Best Picture nomination, but I doubt it would get nominated for Best Adapted Screenplay for the same reasons “The Blind Side” missed out here.  Its success is in its feel-good nature, not because of good writing.

Though I’d say it’s written like a sitcom, there are fans of Ben Lewin’s script for “The Sessions.”  But the only heat that movie has lies with the performances of John Hawkes and Helen Hunt; love of the movie doesn’t go much beyond that.  And if it was a serious contender, why wasn’t it nominated for a WGA Award in spite of all the ineligible movies?

Perks

Heck, maybe even John Logan’s script for “Skyfall” will show up.  Some have suggested it will show up in the Best Picture field after a slightly surprising nomination for the Producers Guild’s prize.  I’d say the script, though flawed, is the smartest part of that movie – but I just don’t see it happening.  Other than “Toy Story 3,” I can’t find any franchise entry nominated for Best Adapted Screenplay.

A more likely nominee is “The Perks of Being a Wallflower,” which has been nominated for the WGA Award and the Critics’ Choice Award.  It’s adapted by the writer of the novel, Stephen Chbosky, who also directed the film.  I could definitely see it being 2012’s “The Ides of March” since it’s unlikely to be recognized anywhere else, and the writing is a major strong suit of the film.

But I just have a hard time predicting the movie since it flew under the radar all season.  It didn’t do particularly well at the box office, and it doesn’t have much big name talent beyond Emma Watson.  “The Ides of March” had 4 Golden Globe nods and a PGA mention.  Likewise, “In the Loop” had popped up in a number of critics’ groups awards.  I’d be surprised if the Academy stood up for “The Perks of Being a Wallflower.”

Beasts 2

If any movie unseats “Les Misérables” or “Life of Pi,” I think it would be “Beasts of the Southern Wild.”  It has been uniquely hard to gauge love for the film because it was ineligible not only for the WGA Awards but also for the SAG Awards.  I considered it dead when it blanked at the Golden Globes, but I’m beginning to rethink my assessment after it shockingly popped up as a nominee for Best Picture for the PGA.

Had it been eligible for the guild awards, would we have seen a groundswell of support for the movie?  And lest we forget, the HFPA blanked “True Grit” in 2010 – and that went on to received 10 Oscar nominations including Best Picture and Best Adapted Screenplay.  Some say the HFPA doesn’t like quintessential American stories, and you could make an argument that “Beasts of the Southern Wild” is just that.

I think the movie’s biggest strength is its direction, not its writing.  However, I have similar things to say about “Amour,” and it appears to be cruising towards a nomination.  The writers may really admire this unconventional movie, adapted from a play and transmuted into something wholeheartedly cinematic.

Thus, the degree of difficulty gives me the confidence to say Benh Zeitlin and Lucy Alibar’s script for “Beasts of the Southern Wild” will knock “Life of Pi” (although it could just as easily be “Les Misérables”) out of the category.  So, to answer my own questions from the beginning of the discussion, I believe the Academy will be part groupthink, part cavalier.

Check back tomorrow, January 6, for my take on the Supporting Actor/Actress categories!





LISTFUL THINKING: 2012 Superlatives

1 01 2013

New Year’s Day always marks a very interesting balancing act, reflecting on the old while also ringing in the new.  So while people are still thinking about 2012, let me offer up the first annual Superlatives post for the films of 2012.  I’ve already weighed in with the best and worst 10 of 2012, but what about the other 80 movies of the year?  What about the performances?  What about all sorts of other things?  This is the post where I get all sorts of stuff floating in my mind out there.

For the sake of review, I’ll go ahead and re-list my 10 best and worst of 2012.

Top 10 of 2012

10 Best of 2012: “21 Jump Street,” “Argo,” “Hitchcock,” “Killing Them Softly,” “Looper,” “Bernie,” “Zero Dark Thirty,” “Les Misérables,” “The Master,” “The Queen of Versailles

Prometheus

Honorable Mentions: “Rust and Bone,” “Prometheus,” “Beasts of the Southern Wild,” “Wreck-It Ralph,” “End of Watch,” “Holy Motors

Worst 10 of 2012

10 Worst of 2012: “The Grey,” “The Bourne Legacy,” “John Carter,” “Gone,” “The Vow,” “Killer Joe,” “The Paperboy,” “The Deep Blue Sea,” “The Watch,” “Casa De Mi Padre

pitchperfect2

Honorable Mentions: “Pitch Perfect,” “Something From Nothing: The Art of Rap,” “Abraham Lincoln: Vampire Hunter,” “First Position,” “Keep the Lights On,” “Being Flynn

10 More 2012 Releases I Still Need to See: “The Hobbit: An Unexpected Journey,” “The Impossible,” “Promised Land,” “The Intouchables,” “Seven Psychopaths,” “Hyde Park on Hudson,” “Not Fade Away,” “Smashed,” “The House I Live In,” “Searching for Sugar Man”

Vanellope

5 Most Surprising Movies of 2012: “Wreck-It Ralph,” “Bernie,” “End of Watch,” “Hitchcock,” “21 Jump Street

Denzel Washington in Flight

5 Most Disappointing Movies of 2012: “The Dark Knight Rises,” “Django Unchained,” “Lincoln,” “Flight,” “The Bourne Legacy

Bachelorette

10 Most Forgettable Movies of 2012 (in alphabetical order): “Bachelorette,” “Hysteria,” “Jeff, Who Lives at Home,” “Lola Versus,” “Man on a Ledge,” “Men in Black III,” “Salmon Fishing in the Yemen,” “Seeking a Friend for the End of the World,” “Take This Waltz,” “Trouble with the Curve

Silver Linings Playbook

5 Most Rewatchable Movies of 2012: “21 Jump Street,” “Silver Linings Playbook,” “Wreck-It Ralph,” “Argo,” “Ted

Lincoln

5 Movies of 2012 I’m Glad I Saw But Will Never Watch Again: “Lincoln,” “Amour,” “The Invisible War,” “Compliance,” “ReGeneration

Killing Them Softly

5 Most Underrated Movies of 2012: “Killing Them Softly,” “Les Misérables,” “Prometheus,” “Safety Not Guaranteed,” “End of Watch

The Avengers

5 Most Overrated Movies of 2012: “The Sessions,” “Lincoln,” “Django Unchained,” “Life of Pi,” “The Avengers

PSH

5 Movies That Got Better with Distance and Time: “Killing Them Softly,” “Zero Dark Thirty,” “The Master,” “Silver Linings Playbook,” “Prometheus

Brave

5 Movies That Got Worse with Distance and Time: “Brave,” “Lincoln,” “Flight,” “The Sessions,” “The Dark Knight Rises

Argo

5 Movies That Felt Shorter Than Their Runtime: “Zero Dark Thirty,” “Les Misérables,” “The Dark Knight Rises,” “Argo,” “Django Unchained

Keira Knightley in "Anna Karenina"

5 Movies That Felt Longer Than Their Runtime: “Lincoln,” “Anna Karenina,” “This Is 40,” “Damsels in Distress,” The Five-Year Engagement

BOTSW

Breakout Performances: Quvenzhané Wallis in “Beasts of the Southern Wild,”  Eddie Redmayne in “Les Misérables,” Ezra Miller in “The Perks of Being a Wallflower,” Garrett Hedlund in “On the Road,” Scoot McNairy in “Argo

Silver Linings Playbook

Breakthrough Performances: Bradley Cooper in “Silver Linings Playbook,” Michael Pena in “End of Watch,” Jack Black in “Bernie,” Channing Tatum in “21 Jump Street,” Elizabeth Banks in “People Like Us

Best Exotic

Breakdown Performances: Anna Kendrick in “Pitch Perfect,” Salma Hayek in “Savages,” Tom Cruise in “Rock of Ages,” Emile Hirsch in “Killer Joe,” Dev Patel in “The Best Exotic Marigold Hotel

frame 01021605R

Best Body of Work in 2012: (tie) Anne Hathaway in “The Dark Knight Rises” and “Les Misérables,” Jennifer Lawrence in “The Hunger Games” and “Silver Linings Playbook

The Deep Blue Sea

Worst Body of Work in 2012: (tie) Rachel Weisz in “The Bourne Legacy” and “The Deep Blue Sea,” Taylor Kitsch in “John Carter” and “Savages

Jessica Chastain in Zero Dark Thirty

Best Heroes: Jessica Chastain as Maya in “Zero Dark Thirty,” Mark Ruffalo as The Hulk in “The Avengers,” Hugh Jackman as Jean Valjean in “Les Misérables

John Carter

Worst Heroes: Andrew Garfield as Spider-Man in “The Amazing Spider-Man,” Taylor Kitsch as John Carter in “John Carter,” Jeremy Renner as Aaron Cross in “The Bourne Legacy

Catwoman

Best Villains: Anne Hathaway as Selina Kyle/Catwoman in “The Dark Knight Rises,” Russell Crowe as Javert in “Les Misérables,” Leonardo DiCaprio as Calvin Candie in “Django Unchained

Skyfall

Worst Villains: Tom Hardy as Bane in “The Dark Knight Rises,” Javier Bardem as Silva in “Skyfall,” Rhys Ifans as Lizard in “The Amazing Spider-Man

Joaquin

Best Possessed Performance: Joaquin Phoenix in “The Master

The Paperboy

Worst Possessed Performance: Nicole Kidman in “The Paperboy

Bernie

Best Comedic Performance: (tie) Jack Black in “Bernie,” Channing Tatum in “21 Jump Street

The Watch

Worst Comedic Performance: The cast of “The Watch

Uggie

Best Cameo: Uggie in “The Campaign

Ryan Reynolds

Worst Cameo: Ryan Reynolds in “Ted

Eddie Redmayne

Best Singing: Eddie Redmayne in “Les Misérables

Alec

Worst Singing: Alec Baldwin in “Rock of Ages

That’s about all I can come up with for now … may add to this later!  Happy 2013, everyone!





REVIEW: Django Unchained

25 12 2012

Quentin Tarantino’s name is now a brand, one with hallmarks of dialogue and style widely recognized by all cinephiles.  It’s an accomplishment achieved not only by Tarantino’s incredible virtuosity but also by the scores of cheap rip-offs who have solidified his status as a major figure in film history.  Yet with “Django Unchained,” Tarantino proves that the greatest of all these impersonators is Tarantino himself.

The experience is not unlike that of watching “Jackie Brown,” the only other film of the Tarantino canon that “Django Unchained” manages to stand next to in quality.  Both films followed major artistic breakthroughs for him that scored with audiences and critics alike, “Pulp Fiction” and “Inglourious Basterds.”

But rather than use the forward momentum to lead to further exploration of his craft, Tarantino chose to take a victory lap fueled by the high of inhaling too much of the exhaust fumes of his own success.  “Django Unchained” just feels like Tarantino on autopilot, lacking the vibrancy or surprising eccentricity of his prior films.  There are plenty of laughs to be had, sure, but it just feels like far too much of the same stylized dialogue and aestheticized violence; popping in the DVD of “Reservoir Dogs” would probably yield more satisfaction.

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