WEEKLY WRAP: Globe surprises, best shots, BAFTA nods

Posted by · 6:00 pm · January 16th, 2009

Sorry the Weekly Wrap feature has been M.I.A. these past few weeks — between the holidays and various disasters, they got a bit forgotten. Anyway, it’s back this week, and what a busy week it was:

In a new annual institution at IC, Kris reviewed the top 10 shots of the year here … and here.

The Golden Globes threw up several surprises, but the biggest one was what a deeply satisfying evening it was.

Following that ceremony, this week’s Off the Carpet column wondered whether the Oscars can measure up.

While the Globes gained credibility, BAFTA threw theirs to the wind with a curious slate of nominations … though “Slumdog Millionaire” once more sits pretty.

But for omitting “Gomorrah” from their 9-film shortlist, AMPAS’ foreign-language committee earns this week’s biggest dunce cap.

The American Cinema Editors revealed their nominees. Everyone yawned in unison.

Meanwhile, the costume designers completed this year’s guild citations.

Taking a breather from the precursor beat, we got chatting to the delightful Amy Adams.

The Sundance Festival started this week … but is anyone watching?

In other film festival news, Berlin has announced some intriguing premieres.

Finally, with whispers circulating that “Gran Torino” could spoil in the Best Picture race, how much of a Best Actor threat is Clint Eastwood?




→ 6 Comments Tags: , , , , , , , , , , , | Filed in: Daily

6 responses so far

  • 1 1-16-2009 at 8:51 pm

    Kyle Leaman said...

    Can someone please explain to me how the Globes earned credibility and the Baftas threw theirs to the wind? Did the Baftas nominate In the Name of the King: A Dungeon Siege Tale? Is Mike Myers from Love Guru up for Best Picture? What exactly is the way to lose and earn credit here…picking the films that the writers here so happened to like?

  • 2 1-17-2009 at 12:00 am

    Tim said...

    The Globes earned credibility by honoring Kate Winslet, Sally Hawkins and Mickey Rourke.

  • 3 1-17-2009 at 12:03 am

    Tim said...

    Though I don’t understand all the love for Angelina Jolie. Such a good year for female actresses and she’s the one getting all these noms? Mind-boggling.

  • 4 1-17-2009 at 1:00 am

    Scott Ward said...

    Tim, you would would have a point if Angelina were winning some awards, but she isn’t. Her performance isn’t bad at all, but it isn’t that great either. For the most part, there have been relatively the same few actresses receiving nominations this year. So, while you may not agree with these select few, it is the six or seven actresses critics see as giving the best performances this year, so it’s not really mind boggling.

  • 5 1-17-2009 at 2:16 am

    Guy Lodge said...

    I’m with Tim on this one — I don’t understand how Jolie has managed to land in every single nomination lineup for Best Actress. (Hell, even Kate Winslet missed out at the BFCA.)

    I admit I don’t like her performance, but the fact that she’s barely won anything suggests people aren’t that passionate about it either. Off the top of my head, I could name at least ten performances more deserving.

    Kyle: I think the Globes made some really smart choices this year (Rourke, Farrell, Hawkins etc), while BAFTA made some really poor ones (snubbing Hawkins, the excessive love for “The Reader,” Freida Pinto, “Mamma Mia!” etc).

    Yes, that’s just my opinion. But hey, this is an opinion site.

  • 6 1-17-2009 at 5:58 am

    malevolentmuse said...

    I think you might have missed one thing from this week. I apologize if you didn’t and I just missed it. These are the nominees from the International Film Music Critics. I’d never heard of them before, but I like how they do their nominations.

    FILM SCORE OF THE YEAR

    * The Curious Case of Benjamin Button, music by Alexandre Desplat
    * The Dark Knight, music by James Newton Howard and Hans Zimmer
    * Indiana Jones and the Kingdom of the Crystal Skull, music by John Williams
    * Standard Operating Procedure, music by Danny Elfman
    * WALL•E, music by Thomas Newman

    FILM COMPOSER OF THE YEAR

    * Alexandre Desplat
    * Danny Elfman
    * James Newton Howard
    * Thomas Newman
    * John Powell

    BREAKOUT COMPOSER OF THE YEAR

    * Paul Cantelon, The Other Boleyn Girl and W
    * Andrew Lockington, Journey to the Center of the Earth and City of Ember
    * Nico Mulhy, The Reader
    * Max Richter, Waltz with Bashir
    * Atli Örvarsson, Babylon A.D. and Vantage Point

    BEST ORIGINAL SCORE FOR A DRAMA FILM

    * The Boy in the Striped Pajamas, music by James Horner
    * Che, music by Alberto Iglesias
    * The Curious Case of Benjamin Button, music by Alexandre Desplat
    * Defiance, music by James Newton Howard
    * Milk, music by Danny Elfman

    BEST ORIGINAL SCORE FOR A COMEDY FILM

    * Bienvenue Chez Les Ch’tis, music by Philippe Rombi
    * Burn After Reading, music by Carter Burwell
    * Fool’s Gold, music by George Fenton
    * Leatherheads, music by Randy Newman
    * Tropic Thunder, music by Theodore Shapiro

    BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE FILM

    * The Dark Knight, music by James Newton Howard and Hans Zimmer
    * Hancock, music by John Powell
    * Indiana Jones and the Kingdom of the Crystal Skull, music by John Williams
    * Speed Racer, music by Michael Giacchino
    * Wanted, music by Danny Elfman

    BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION FILM

    * The Chronicles of Narnia: Prince Caspian, music by Harry Gregson-Williams
    * City of Ember, music by Andrew Lockington
    * Hellboy II: The Golden Army, music by Danny Elfman
    * Inkheart, music by Javier Navarrete
    * The Spiderwick Chronicles, music by James Horner

    BEST ORIGINAL SCORE FOR A HORROR/THRILLER FILM

    * The Happening, music by James Newton Howard
    * Let the Right One In, music by Johan Söderqvist
    * Mirrors, music by Javier Navarrete
    * Twilight, music by Carter Burwell
    * Valkyrie, music by John Ottman

    BEST ORIGINAL SCORE FOR AN ANIMATED FEATURE

    * Bolt, music by John Powell
    * Ponyo on the Cliff, music by Joe Hisaishi
    * Horton Hears a Who!, music by John Powell
    * WALL•E, music by Thomas Newman
    * Waltz with Bashir, music by Max Richter

    BEST ORIGINAL SCORE FOR A DOCUMENTARY FEATURE

    * The Crimson Wing: Mystery of the Flamingos, music by The Cinematic Orchestra
    * Dear Zachary: A Letter to a Son about his Father, music by Kurt Kuenne
    * Night, music by Cezary Skubiszewski
    * Standard Operating Procedure, music by Danny Elfman
    * Tabarly, music by Yann Tiersen

    FILM MUSIC COMPOSITION OF THE YEAR

    * Cloverfield: “Roar Overture,” music by Michael Giacchino
    * The Happening: “Be With You,” music by James Newton Howard
    * Valkyrie: “They’ll Remember You,” music by John Ottman and Lior Rosner
    * WALL•E: “Define Dancing,” music by Thomas Newman and Peter Gabriel
    * Wanted: “Success Montage,” music by Danny Elfman)

    OTHER CATEGORIES

    BEST ORIGINAL SCORE FOR TELEVISION

    * “Battlestar Galactica” (Season 4), music by Bear McCreary
    * “John Adams”, music by Robert Lane and Joseph Vitarelli
    * “Merlin”, music by Robert Lane
    * “Lost” (Season 4), music by Michael Giacchino
    * “Pane e Libertà”, music by Ennio Morricone

    BEST ORIGINAL SCORE FOR A VIDEO GAME OR INTERACTIVE MEDIA

    * “Afrika”, music by Wataru Hokoyama
    * “Age of Conan: Hyborian Adventures”, music by Knut Avenstroup Haugen
    * “Gears of War 2″, music by Steve Jablonsky
    * “Mercenaries 2: World in Flames”, music by Chris Tilton
    * “Star Wars: The Force Unleashed”, music by Mark Griskey

    BEST NEW RELEASE/RE-RELEASE OF AN EXISTING SCORE

    * “Baby: Secret of the Lost Legend”, music by Jerry Goldsmith;
    produced by Douglas Fake (Intrada)
    * “Body Double”, music by Pino Donaggio;
    produced by Douglass Fake (Intrada)
    * “The Boys from Brazil”, music by Jerry Goldsmith;
    produced by Douglass Fake (Intrada)
    * “Heavy Metal”, music by Elmer Bernstein;
    produced by Lukas Kendall (Film Score Monthly)
    * “The Matrix: The Deluxe Edition”, music by Don Davis;
    produced by Don Davis and Robert Townson (Varèse Sarabande)

    BEST RE-RECORDING OF AN EXISTING SCORE

    * “El Cid”, music by Miklós Rózsa; conducted by Nic Raine, produced by James Fitzpatrick (Tadlow)
    * “The Kentuckian/Williamsburg: The Story of a Patriot”, music by Bernard Herrmann; conducted William Stromberg;
    produced by Anna Bonn, John Morgan and William Stromberg (Tribute Film Classics)
    * “Odna (Alone”), music by Dmitri Shostakovich; conducted by Mark Fitzgerald, produced by Hans-Bernhard Bätzing (Naxos)
    * “She”, music by Max Steiner; conducted William Stromberg;
    produced by Anna Bonn, John Morgan and William Stromberg (Tribute Film Classics)
    * “An Unfinished Life – Piano Sketches”, music by Christopher Young; performed by Dave Guili, produced by Flavio Motalla and Christopher Young (BSX)

    BEST COMPILATION ALBUM OR BOX SET

    * “Gangs of New York/The Journey of Natty Gann/The Scarlet Letter”, music by Elmer Bernstein;
    produced by Robert Townson (Varèse Sarabande)
    * “Indiana Jones: The Soundtracks Collection”, music by John Williams;
    produced by Laurent Bouzereau (Concord)
    * “Le Cinéma de Georges Delerue”, music by Georges Delerue;
    produced by Stéphane Lerouge (Universal Music France)
    * “MGM Soundtrack Treasury”, various composers;
    produced by Lukas Kendall (Film Score Monthly)
    * “Superman: The Music”, various composers;
    produced by Mike Matessino and Lukas Kendall (Film Score Monthly)

    FILM MUSIC RECORD LABEL OF THE YEAR

    * Film Score Monthly
    * Intrada
    * La-La Land
    * MovieScore Media
    * Varèse Sarabande