In Contention

Category: Daily

  • BAFTA names Rising Star nominees

    As you know, BAFTA likes to trickle out a few awards announcements ahead of their nominations, which will be revealed next Tuesday. Last week, we had the Best Foreign Language Film nominees and general category longlists — today, we have the five finalists for their Rising Star Award.

    Perhaps the most unique category in a ceremony that otherwise follows the Oscar template with increasing devotion, this self-explanatory honor  is the only award BAFTA hands over to the voting public, though the shortlist is compiled by a panel of journos and industry insiders. (Before you cry foul at some relatively established names on the list, the award is not necessarily for newcomers, but for actors whose profile grew significantly in the past year.)

    The public vote inevitably favors the star with the greatest youth appeal — last year saw Kristen Stewart beating Best Actress winner Carey Mulligan, while the year before, non-British viewers were left scratching their heads when Noel Clarke saw off Michaels Cera and Fassbender.

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  • Jim Carrey sends up ‘Black Swan’ on SNL

    I liked last night’s episode well enough but it couldn’t touch his 1996 stab. I blame the cast and writers more than anything, but as usual, Carrey put his heart into each bit, especially this one (which was kind of weak but mostly saved by his effort):

  • ‘Social Network’ wins NSFC

    Sheep. Full list of winners at The Circuit.

    More admirable is this:

    “NSFC also issued a statement calling for a re-examination of the MPAA rating system and another condemning Iran’s recent sentencing of Iranian directors Jafar Panahi and Mohammad Rasoulof.”

  • WEEKLY WRAP: Guild onslaught, Postlethwaite passes, more best of 2010

    • The Producers’ Guild of America surprised no one with their list of nominees.

    • The Writers’ Guild, however, threw a few curveballs (aided by assorted ineligibilities), while the USC Scripter Awards surprised some with one of their selections.

    • In sadder news, we said goodbye to esteemed British character actor Pete Postlethwaite.

    • After a few weeks of deliberation, Guy picked his best and worst films of 2010.

    • Continuing this week’s guild run, both the Cinema Audio Society and the Art Directors’ Guild weighed in with their nominees.

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  • Jim Carrey on the rise?

    I’ve been pulling for Jim Carrey the whole way, I tell you.  I was a massive fan in the 90s, starting with “the white guy on ‘In Living Color’” days, through the silly comedies critics loathed and the eventual Oscar-baiting (some of it actually worthy).

    The last decade has seen ups and downs for the actor.  Things started nicely with box office smashes like “How the Grinch Stole Christmas” and “Bruce Almighty,” but things really wore thin on “Fun with Dick and Jane” and “Yes Man,” to say nothing of the abysmal “The Number 23.”

    There was the peculiar pre-break-up breakdown earlier this year to cause concern, but then there are the career-topping performances in “Eternal Sunshine of the Spotless Mind” and this 2010’s “I Love You Phillip Morris” to consider as well.  The latter, I think, might be his best work to date.

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  • AMC’s annual Oscar Showcase details

    Every year AMC Theatres smartly puts on a showcase presentation of the Best Picture nominees in select cities across the country.  It used to be easier when there were five nominees, as the showcase would be a marathon day of screening.  Now, with 10, it takes place over two Saturdays in most locations, with select cities sporting a 24-hour marathon of all nominees.

    It’s a great way to catch up for those looking to do so (or to revisit before the big day).  John Campea of AMC’s Script to Screen blog has announced the details for this year’s showcase.  The dates will be Saturday February 19th and Saturday February 26th, with the Oscars landing on Sunday February 27th.

    Keep an eye at AMC’s official Oscar Showcase page in the coming weeks for information on locations and times.  And those of you willing to brave the 24-hour marathon, drink plenty of coffee.

    [Photo: AMC Theatres]

  • Rudin’s reasoning for Steinfeld in supporting

    During last night’s DVD release party for “The Social Network” I ended up in a spirited debate with producer Scott Rudin about the category placement of Hailee Steinfeld in “True Grit.” Thankfully it went beyond ideas of the Hollywood star system and strategy and into the philosophy of the narrative itself.

    Since it’s been such a point of discussion as of late (most recently in a heated debate between yours truly and Anne Thompson in this week’s Oscar Talk), I thought I’d pass along his reasoning for thinking the performance a supporting one.  I’m sure he wouldn’t mind, so here goes…

    In a nutshell, Rudin’s argument (and it’s the smartest one I’ve heard in favor of supporting placement yet), is the idea that the Mattie Ross character is really the impetus for change in Rooster Cogburn’s character.  And, most importantly, she doesn’t have an arc, Rudin says, while Cogburn does.  He changes, she doesn’t.  So Mattie is the instigator.  It’s an interesting point, but I’m still not buying it.

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  • Predict the DGA nominees

    Monday the guild circuit continues — at the start of what will be a very busy week — as the Directors Guild of America (DGA) unveils its list of nominees.

    The age-old rule of thumb has been that this is perhaps the most consistently foreshadowing precursor, as the five DGA nominees tend to have a good shot at Best Director recognition, and the Best Director nominees tend to line-up with the Best Picture nominees, give or take (though with the 10, I think it might be safe to say that the idea of a “lone director” has been lost to the realities of probability).

    Last year the five DGA nominees represented the perceived top five films of the Oscar race: Kathryn Bigelow, James Cameron, Lee Daniels, Jason Reitman and Quentin Tarantino. The year before that, we all thought it did the same, but alas, Christopher Nolan and his film ultimately missed the mark with Oscar.

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  • Central Ohio has its own brain

    I didn’t get around to mentioning this yesterday, but the Central Ohio Film Critics Association is the latest to stray (slightly) from the Fincher herd, opting for “Inception” as its Best Picture pick.  Check out the full list of winners at The Circuit.

  • Toasting the ‘Social Network’ DVD release

    Sony pulled out all the stops last night with a big to-do soiree on behalf of the DVD/Blu-ray release of “The Social Network.” You go to these things, you expect a certain level of restraint, and then I’m pulling up to Spago and they’ve got the red carpet rolled out and the flashbulbs are popping and, well — it wasn’t an intimate Il Cielo thing, that’s for sure.  It was a great time, though.

    Tons of cast and crew were on hand.  I finally got some face time with Jesse Eisenberg, who made me totally nervous, to be quite honest.  He has a flustered (but endearing) way about him, and is a true gentleman.  Nevertheless, it seemed to me he wanted out of there.  Hey, it’s a lot to deal with for a young, unassuming actor like him.  He’s right at the front of a massive Oscar campaign for a highly successful film.  What can you say?  Good luck to him.

    I’ve of course already spoken to composer Atticus Ross and film editor Kirk Baxter, but it was nice to put faces to the names.  Trent Reznor couldn’t attend.  Also from the crew was cinematographer Jeff Cronenweth, a great guy.  His first film was Fincher’s “Fight Club” back in 1999.  And Fincher was there.  Didn’t get a chance to speak with him.  Aaron Sorkin and Armie Hammer as well.  A brief exchange with Andrew Garfield.  Most everyone turned out.

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  • 1/7 OSCARWEB ROUND-UP: ‘Exit’ credit complaint, Rudin’s PGA record, tequila and that ‘Black Swan’ lesbian scene

    • Does a complaint about uncredited art used in “Exit Through the Gift Shop” lend credence to the veracity of the film? [The Carpetbagger]

    • Tim Appello on “Black Swan”‘s supposedly tequila-laced lesbian scene. [The Race]

    • The narrative on Peter Weir this year continues to be about the unfortunate fact that he’s part of a dying (if not dead) breed. [The Wrap]

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  • BAFTA announce foreign-language nomineezzzzz

    Along with my annual bewilderment as to the reasoning for BAFTA’s longlist announcement, I’ve never really got why they announce their Best Foreign Language Film nominations separately, 11 days ahead of the other categories. To me, it seems merely an additional way to marginalize an already marginalized category, but what else is new?

    The official line, I believe, is that the head start gives voters extra time to catch up with the nominated films, but when their selections are as obvious and ubiquitous as the five films listed after the jump, is that really necessary? I mean, who isn’t aware of “I Am Love” or “The Girl With the Dragon Tattoo” by now?

    The continued appearance of the latter film — a sloppy potboiler that may have made bank, but has no business beating, say, “Uncle Boonmee Who Can Recall His Past Lives” to a nod — in this category has been one of my biggest bugbears of the season, by the way. (Moreover, its grim appearance on BAFTA’s Best Film longlist, where it is the only foreign-language title to place, suggests it’ll probably win this race in a walk.)

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  • ‘Black Swan,’ ‘King’s Speech’ lead BAFTA longlists

    I’ve never really been sure why BAFTA bothers to announce this stage in their voting process — the 15 names in each category from which the final nominees will be plucked — unless it’s to reveal the extraordinarily narrow range of titles they’re willing to consider for awards in any one field. (Ellen Page for Best Supporting Actress? Seriously, BAFTA? And let’s not even get into those Director and Actor mentions for “Alice in Wonderland.”)

    “Black Swan” and “The King’s Speech” lead the way with 15 longlist mentions apiece. Don’t place too much stock in those numbers (uh, the latter film for visual effects?), but expect robust nomination hauls on 18 January. One can largely anticipate that announcement by noting the five contenders in each category marked with an asterisk — those indicate the relevant voting branch’s top selections, and the eventual nominees usually differ only by one or two names, if at all.

    It’s mostly predictable stuff, but there are a few interesting developments, particularly concerning two category placements that have been hotly debated all season.

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  • “What’s in the box?!”

    The guys who put this together should start a series. The end of “The Usual Suspects,” please?

  • Suddenly I want to watch ‘Ghostbusters’ RIGHT NOW

    Courtesy of /Film:

  • Oscar contenders as NFL playoff teams

    I just love this.  I can’t stand baseball, so I missed Movieline’s cute little item drawing parallels between MLB playoff teams and the year’s Oscar contending films back in October.  But you know I’m a pigskin fan, so the latest stab caught my eye.

    I guess you could go the contenders-as-food route if you want to, but, meh, this is more fun.  And it also reminds me that, with my beloved Redskins out of the mix, and with my #2 squad, the Dolphins, also watching from home (to say nothing of the lowly Panthers, third on my totem pole of NFL faves), I should probably pick a horse in this race to rally behind.

    I’ve been calling it Falcons vs. Patriots (ugh) for a few months now, and I’m sticking to that prediction.  Dad’s a Georgia boy and I have nothing against Matty Ice and his boys, so I’ll roll with Atlanta.

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  • Sean Penn to receive PGA’s Stanley Kramer Award

    The press release, in part:

    The Producers Guild of America (PGA), announced today that Sean Penn will be honored with the 2011 Stanley Kramer Award. The award will be presented to Penn at the 22nd Annual Producers Guild Awards ceremony on Saturday, January 22nd at the Beverly Hilton Hotel in Los Angeles.

    The Stanley Kramer Award was established in 2002 to honor a motion picture, producer or other individual, whose achievement or contribution illuminates provocative social issues in an accessible and elevating fashion. Kramer, considered within the film industry to have served as “Hollywood’s Conscience” during his career as a film producer and director, created some of the most respected and successful works in the annals of American motion pictures. He was the master behind such classics as The Caine Mutiny, High Noon, The Defiant Ones, and Guess Who’s Coming to Dinner.

    Previous recipients of the Kramer award include such films as The Great Debaters, An Inconvenient Truth, Hotel Rwanda, Innocent Voices, In America, Antwone Fisher, and the 2010 winner was PRECIOUS: BASED ON THE NOVEL ‘PUSH’ BY SAPPHIRE. Sean Penn is the first individual to receive the Guild’s Stanley Kramer Award, and the first recipient of the award in 2002 was the film I AM SAM, which Penn starred in.

    [Photo: 42 West]

  • Kathryn Bigelow speaks up for ‘Winter’s Bone’

    Given that it’s currently fighting tooth and nail for a place in the Academy’s tight Best Picture lineup, scrappy fringe darling “Winter’s Bone” could use some high-profile cheerleaders as we head into the home stretch of voting. And as Steve Pond reports, it just got one, in the shape of reigning Best Picture and Director winner (and member of the Academy’s Board of Governors) Kathryn Bigelow.

    Bigelow, who has some idea how it feels to be the indie spoiler in the race, recently hosted two private screenings of the film — though she has no personal connection to it or to director Debra Granik. (This makes it slightly different to Julia Roberts’ recent Academy-targeted reception for former co-star Javier Bardem.) Speaking to The Wrap, she waxes lyrical on the film:

    I just think it’s a masterful film that deserves exposure – and if I can do anything to help it out, I’m happy to do it … I was fascinated to meet [Debra Granik], because the film is so perfectly crafted. The performances are extraordinary, Jennifer Lawrence is a star turn. And it’s got this prescient knowing, this confidence you feel watching a film that’s haunting and provocative. It’s just a magnificent film.

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