http://players.brightcove.net/4838167533001/BkZprOmV_default/index.html?videoId=4910322998001

BEVERLY HILLS – A half-hour sitting across a table from Michael Mann is more than enough time to remind you of all the stuff you don't know. A consummate researcher-filmmaker, he never puts something out into the creative ether without knowing it inside and out, without knowing its world, its players – everything that needed to exist in order to birth it in the first place, he's canvased it. So no, he wasn't shocked to hear that last month, corporate giant Sony had been maliciously hacked leaving privileged information scattered to the public.

“Three years ago we were hearing about General Dynamics, that they got the plans for this fighter jet,” he says, referencing the 2010 disclosure that a number of defense contractors had been breached. “And the Home Depot hack [which saw over 50 million credit card accounts compromised in April of last year]. Major, major cyber criminal intrusions. When you get into the world of this, everything is vulnerable. Everything is porous. And you realize there's very little that can't be hacked. Someone's going to try to work their way into it. And the innovation comes from everybody on the planet who has a fast enough computer and the skills. I mean, 7-year-olds are taught programming in Estonia. We're in a different world now.”

The Oscar-nominated director's latest film, “Blackhat,” dives deep into this landscape of techno-terrorism. It's not a film of patience, like “Heat” or “The Insider,” either. It seems all too aware of its own immediacy, moving at a break-neck pace through a world of true modern warfare.

Ask Mann for a worst-case scenario from that world and he paints a bloodcurdling portrait: Whole infrastructure compromised. Water, sanitation, power grids – anything that makes the world go. “Everything runs off of PLCs, programmable logic controllers,” he schools. “It tells traffic lights when to turn green, when to turn red. It tells the centrifuges at Natanz in Iran how fast to spin to process plutonium. They control everything. If you can get into those and manipulate them, or you want to destroy something – the Iranians used a malware that overwrites. It wipes the data. You can't even recover it. That's what happened at Sony. The Iranians used that when they destroyed a bunch of data. Stuff like, 'What's in the pipeline?' 'We don't know.' 'What should we do with this next load of oil?' 'We don't know.' 'Who owes us what?' 'We don't know.' So you're causing significant chaos.”

In a given exchange he'll cover the Stuxnet computer worm designed to attack those PLCs, and then maybe reference the Bauhaus school of architecture as an analogy for his relationship with digital cinematography, with equal aplomb, of course. He brings you into the world he's immersed himself in in order to tell a dramatic story on screen, because by this point, it oozes out of him. It's an educational trip he can't help but share, eager to astound you with what astounds him. It's pretty infectious, really, even if you might fall behind here and there. He's always ready to catch you up.

But as an artist, the application of the knowledge is the thing for Mann. He's not interested in seeing people sit around typing on keyboards. It can be a challenge to make some of the material he explores cinematic, but it's a challenge he's often up to. One element that drew his attention with “Blackhat” was the representation of a virus spreading, something visualized in the early moments of the film as a stream of evil-doing data-disruption flows through circuitry as if from a burst dam.

“When I came to understand, through the research that I did, what a malware program is doing, I realized it's dramatic,” he says. “If those were people instead of ones and zeroes, this is very dramatic stuff. Some guy's sneaking in, he's opening up a back door, and some other guy across the world – once that back door is open, and he has a line of communication – he's pushing down a huge payload of malware, and that's going to do the real theft or damage. I could see it.”

He gets into the description, adding more detail. “The first guy who gets in, he's Trojanized,” he says. “He's hiding behind a packet that's in a firewall. He's got a legitimate header, like an ID number [in order to pass through detection]. But hidden within that is a separate, hidden packet, and that's the remote access tool. Now, you don't have to know all these terms, but I just wanted the dramatic concept: something is sneaking around, de-cloaks, scoots off, scurries around like a rat and opens a door. So we tried to make that graphic, and scary – because it's scary.”

Learning all of that, absorbing it, processing it – this is all of the fun for Mann when it comes to this work. Investigating another world fully, living it, breathing it, depicting it dramatically, that seems to be what makes him tick. It begins to take on a function beyond entertainment value, really. It's immersion of a different sort. And while you might not be an expert on things like forensics, late-18th Century American history, professional crime, Big Tobacco or cyber-terrorism when you walk out of a Mann movie, you sure know a thing or two that you didn't before the lights dimmed.

But, indeed, with “Blackhat,” the subject matter is scary. With the noted escalation in this type of disruption, one can only expect something major will be on the horizon. A card at the beginning of the trailer for film quotes former CIA Director Leon Panetta's ominous suggestion that “the next Pearl Harbor that we confront could very well be a cyber-attack.” As defense of one kind or another is implemented and new methodology is invented to bait and track hackers, “it's going to be an evolving war,” Mann says – with more authority than the next guy, surely.

(More with Mann in due time, specifically expanding on that nugget about digital photography.)

“Blackhat” opens in theaters Friday.

Thursday is a big day in Hollywood. Not only do we finally find out the nominees for the 82nd Academy Awards, but later that night many of the expected winners will get to rehearse their Oscar acceptance speeches at the 20th annual Critics' Choice Movie Awards.

Like the HFPA and the Golden Globes, the Broadcast Film Critics Association has traditionally fallen in line picking the consensus selections that most pundits expect to win the most coveted golden statue of them all. That being said, the Critics' Choice Movie Awards have often gone against the grain and, sometimes, made the better (for lack of a better word) “choice.” In fact, they have done it more often than you'd think, at least as far as we're concerned.

HitFix picked 10 instances where, in our opinion, the Critics' Choice Movie Awards made the right call, which you can review in the gallery story below. You might be surprised who made the cut.

Do the BFCA need more credit for their picks over the years? Let us know in the comments section.

The 20th Critics' Choice Awards broadcast live on Thursday, Jan 15 at 6 PM PST/9 PM EST on A&E.

Harold Ramis, the man behind “Ghostbusters” and “Groundhog Day,” passed away last February at the age of 69. Like many, the Writers Guild of America hasn't forgotten the impact he made over a 38-year career. The organization announced Tuesday that they will honor the writer/director/actor with the WGA's 2015 Laurel Award for Screenwriting Achievement at the Writers Guild Awards ceremony next month. Ramis' wife, Erica Mann Ramis, and family will accept the award on his behalf.

In a release, WGAw Vice President Howard A. Rodman noted, “Harold Ramis changed the face of comedy. His death last year deprived us of his unique way of seeing the world, at once hilarious and wise. From his early work with 'National Lampoon' and 'SCTV' through 'Animal House,' 'Meatballs,' 'Caddyshack' and 'Ghostbusters,' Ramis' voice was strong, clear, outrageous in all the best ways. His unrealized projects – an adaptation of 'Confederacy of Dunces,' a biopic about Emma Goldman – leave us aching with an anticipation that will never be fulfilled. And then there's 'Groundhog Day,' one of modern cinema's few true masterworks, a film that is impeccably crafted, morally astute, emotionally sustaining, philosophically insightful and funny as hell. We could watch it again and again and forever.”

Ramis directed and appeared in many of his written works, including “Groundhog Day” and “Analyze This.” His other directing credits included “Caddyshack,” “National Lampoon's Vacation,” “Multiplicity” and “The Ice Harvest.” He also appeared in “Knocked Up,” “Baby Boom,” “Stealing Home” and “As Good As It Gets.”

The Laurel Award is presented to a Writers Guild member who has “advanced the literature of motion pictures and made outstanding contributions to the profession of the screenwriter.” Previous recipients include David Mamet, Lawrence Kasdan, Robert Benton, Barry Levinson, Steven Zaillian, Eric Roth, Tom Stoppard and Paul Mazursky.

The 2015 Writers Guild Awards will be handed out Saturday, Feb. 14 at the Hyatt Regency Century City.

http://players.brightcove.net/4838167533001/BkZprOmV_default/index.html?videoId=4910584639001

If you were wondering what Ben Affleck, David Fincher and Gillian Flynn had planned for a “Gone Girl” follow-up, we've got your answer. How does this sound: a remake/re-adaptation of “Strangers on a Train” with Ben Affleck as an actor in the middle of an Oscar campaign solicited for a murder swap by a wealthy stranger who lends him a ride on his private jet. No, this isn't a drill. This is a real movie. “Strangers on a Plane?” Actually just “Strangers,” it turns out.

No one, but no one played the game of the awards circuit like Ben Affleck did two years ago. He charmed his way all the way through the season and landed an Oscar for Best Picture (“Argo”) despite the incredible odds stacked against him by not receiving a Best Director nomination. It was a full-on charm offensive.

Stack that against David Fincher's tendency when it comes to these things. A couple of Scott Rudin productions and a big Paramount campaign for “The Curious Case of Benjamin Button” may have been enough to douse any campaign spirit he may have had (and surely it was minimal to begin with) when it came to “Gone Girl.” He's been mostly MIA, with Affleck doing a lot of the heavy lifting. (Rosamund Pike has been available as much as possible during her pregnancy, though.)

Anyway, it's just an interesting note. I'm definitely intrigued by this project and think it could be a fascinating reworking. An Oscar campaign as a backdrop sounds better than any real attempt to skewer the season (which is how the project has been described to me prior to today's news break). I don't think there would be anything richer than Affleck, of all people, taking the piss out of the Oscar circuit, but we'll see what it ends up becoming.

(P.S.: Nice touch getting this news to Fleming on the day “Gone Girl” hits DVD/Blu-ray.)

Your thoughts on Fincher doing Hitchcock? Sound off in the comments section.

Xavier Dolan may have been miffed that his “Mommy” was left off the list of finalists for the Best Foreign Language Film Oscar, but he's surely pleased today that his film led the Academy of Canadian Cinema & Television's film slate. It picked up 13 nominations total. David Cronenberg's “Maps to the Stars” was also strong.

Check out the full list of nominees below. Winners will be revealed on March 1. And catch the rest at The Circuit!

Best Motion Picture
“Cast No Shadow”
“Fall”
“In Her Place”
“Maps to the Stars”
“Mommy”
“Tu dors Nicole”

Achievement in Direction
Atom Egoyan, “Captive”
Albert Shin, “In Her Place”
David Cronenberg, “Maps to the Stars”
Xavier Dolan, “Mommy”
Stéphane Lafleur, “Tu dors Nicole”

Performance by an Actor in a Leading Role
Ryan Reynolds, “The Captive”
Bruce Greenwood, “Elephant Song”
Michael Murphy, “Fall”
Evan Bird, “Maps to the Stars”
Antoine Olivier-Pilon, “Mommy”

Performance by an Actress in a Leading Role
Ahn Ji Hye, “In Her Place”
Yoon Da Kyung, “In Her Place”
Julianne Côté, “Tu dors Nicole”
Julianne Moore, “Maps to the Stars”
Anne Dorval, “Mommy”

Performance by an Actress in a Supporting Role
Kil Hae Yeon, “In Her Place”
Mia Wasikowska, “Maps to the Stars”
Suzanne Clément, “Mommy”
Sandrine Bisson, “1987”
Catherine St-Laurent, “Tu dors Nicole”

Performance by an Actor in a Supporting Role
Justin Chatwin, “Bang Bang Baby”
John Cusack, “Maps to the Stars”
Robert Pattinson, “Maps to the Stars”
Marc-André Grondin, “Tu dors Nicole”
Kris Demeanor, “The Valley Below”

Adapted Screenplay
“The Calling”
“Cast No Shadow”
“Elephant Song”

Original Screenplay
“The Captive”
“In Her Place”
“Maps to the Stars”
“Mommy”
“Tu dors Nicole”

Achievement in Art Direction
“The Captive”
“Cast No Shadow”
“Fall”
“Mommy”
“Pompeii”

(More nominees on the next page.)

Achievement in Cinematography
“Fall”
“Henri Henri”
“It Was You Charlie”
“Meetings with a Young Poet”
“Mommy”

Achievement in Costume Design
“Henri Henri”
“Mommy”
“1987”
“Pompeii”
“Trailer Park Boys: Don't Legalize It”

Achievement in Editing
“Afflicted”
“Henri Henri”
“In Her Place”
“Maps to the Stars”
“Mommy”

Achievement in Makeup
“Henri Henri”
“Meetings with a Young Poet”
“1987”
“Mommy”
“Trailer Park Boys: Don't Legalize It”

Achievement in Music – Original Score
“Cast No Shadow”
“Hector and the Search for Happiness”
“Henri Henri”
“Maps to the Stars”
“Meetings with a Young Poet”

Achievement in Music – Original Song
“The Whisper in Me” from “Dirty Singles”
“Dal Makhani” from “Dr. Cabbie”
“Road to Rainbow's End” from “Love Project”
“Danse Elegant” from “Tru Love”
“Wants” from “The Valley Below”

Achievement in Overall Sound
“Bang Bang Baby”
“Maps to the Stars”
“Meetings with a Young Poet”
“Mommy”
“Pompeii”

Achievement in Sound Editing
“Fall”
“Henri Henri”
“Meetings with a Young Poet”
“Mommy”
“Pompeii”

Achievement in Visual Effects
“Afflicted”
“Pompeii”
“Wet Bum”

The Directors Guild of America (DGA) is notable in the season for a number of reasons. First, it's a massive voting body unlike most on the circuit, so their nominations choices can often hint toward consensus. Second, their winner very often goes on to win the Academy Award for Best Director, which as we all know tends to presage the Best Picture Oscar. But…

…one wonders how those two elements are being viewed as of late. After all, the last two years have seen a split, once by necessity (“Argo” director Ben Affleck was not nominated), the second time in a close race. Could it be that the Academy will start looking at these categories differently rather than as a package deal?

Maybe, maybe not. I have no real answers there. I'm just asking the question.

Anyway, the DGA nominated mostly expected names today. Clint Eastwood, naturally. “American Sniper” is cruising. Alejandro González Iñárritu and Richard Linklater, of course. Two of the most dominant forces on the circuit. And add Wes Anderson to that, whose “Grand Budapest Hotel” has only missed with the Annie Awards (duh) and the Cinema Audio Society where industry honors are concerned. And then… Morten Tyldum. That ought to do plenty to shake off any lingering doubt that “The Imitation Game” is strong this year.

I had expected my current predicted lineup — Chazelle in place of Anderson — so nothing shocking here. But I do wonder how the Academy will shake it up. Just repeating some notes that we've covered before: It's worth it to remember that the DGA is a much, much broader group than the Academy's directors branch. That roughly 400-member group can make eclectic choices, like going for Michael Haneke, David O. Russell and Benh Zeitlin over DGA nominees Ben Affleck, Kathryn Bigelow and Tom Hooper two years ago. But a Best Picture win for a film not nominated by the DGA is virtually unheard of: the only films to do so are Bruce Beresford's “Driving Miss Daisy” in 1989 and Laurence Olivier's “Hamlet” in 1948.

Check out the nominees below. Winners will be unveiled on Feb. 7. And as ever, catch all the rest of the season's offerings at The Circuit.

Wes Anderson, “The Grand Budapest Hotel”
Unit Production Manager: Miki Emmrich
First Assistant Director: Josh Robertson
Second Assistant Director: Ben Howard

Clint Eastwood, “American Sniper”
Unit Production Manager: Tim Moore
First Assistant Director: David M. Bernstein
Second Assistant Director: Paula Case
Second Second Assistant Director: Clark Credle
First Assistant Director (Morocco Unit): Ahmed Hatimi
Second Assistant Director (Morocco Unit): Yann Mari Faget
Second Second Assistant Directors (Morocco Unit): Andrew Madden, Khalil Zghayou

Alejandro González Iñárritu, “Birdman”
Unit Production Managers: James W. Skotchdopole, Robert Graf
First Assistant Director: Peter Kohn
Second Assistant Director: Amy Lauritsen
Second Second Assistant Director: Catherine Feeny
Location Manager: Joaquin Prange

Richard Linklater, “Boyhood”
Unit Production Manager: Cathleen Sutherland
First Assistant Director: Vince Palmo Jr.
Second Assistant Directors: Susana Jasso, Kathleen Tull
Second Second Assistant Directors: Mary Beth Chambers, Brian Franklin

Morten Tyldum, “The Imitation Game”
Production Manager: Suzie Shearer
First Assistant Director: Phil Booth
Second Assistant Director: James Manning

(Full list of DGA nominees in all categories on the next page.)

FILM

Outstanding Directorial Achievement in Feature Film
Wes Anderson, “The Grand Budapest Hotel”
Clint Eastwood, “American Sniper”
Alejandro G. Iñárritu, “Birdman or (The Unexpected Virtue of Ignorance)”
Richard Linklater, “Boyhood”
Morten Tyldum, “The Imitation Game”

Outstanding Directorial Achievement in Documentary
Dan Krauss, “The Kill Team”
John Maloof, Charlie Siskel, “Finding Vivian Maier”
Jesse Moss, “The Overnighters”
Laura Poitras, “CITIZENFOUR”
Orlando von Einsiedel, “Virunga”

TELEVISION

Outstanding Directorial Achievement in Dramatic Series
Dan Attias, “Homeland” – “13 Hours in Islamabad”
Jodie Foster, “House of Cards” – “Chapter 22”
Cary Joji Fukunaga, “True Detective” – “Who Goes There”
Lesli Linka Glatter, “Homeland” – “From A to B and Back Again”
Alex Graves, “Game of Thrones” – “The Children”

Outstanding Directorial Achievement in Comedy Series
Louis C.K., “Louie” – “Elevator: Part 6”
Jodie Foster, “Orange is the New Black” – “Thirsty Bird”
Mike Judge, “Silicon Valley” – “Minimum Viable Product”
Gail Mancuso, “Modern Family” – “Vegas”
Jill Soloway, “Transparent” – “Best New Girl”

Outstanding Directorial Achievement in Movies for Television and Mini-Series
Rob Ashford; Glenn Weiss, “Peter Pan Live!”
Lisa Cholodenko, “Olive Kitteridge”
Uli Edel, “Houdini”
Ryan Murphy, “The Normal Heart”
Michael Wilson, “The Trip to Bountiful”

Outstanding Directorial Achievement in Variety/Talk/News/Sports – Regularly Scheduled Programming
Paul G. Casey, “Real Time with Bill Maher” – “#1226”
Dave Diomedi, “The Tonight Show Starring Jimmy Fallon” – “#1”
Jim Hoskinson, “The Colbert Report” – “#11040”
Don Roy King, “Saturday Night Live” – “Host Jim Carrey/Musical Guest Iggy Azalea”
Chuck O'Neil, “The Daily Show with Jon Stewart” – “Open-Carrying to the Midterms”

Outstanding Directorial Achievement in Variety/Talk/News/Sports – Specials
Hamish Hamilton, “The 86th Annual Academy Awards”
Louis J. Horvitz, “The 37th Annual Kennedy Center Honors”
Des McAnuff, “Billy Crystal: 700 Sundays”
Rich Russo, “Super Bowl XLVIII”
Glenn Weiss, “The 68th Annual Tony Awards”

Outstanding Directorial Achievement in Reality Programs
Bertram van Munster, Jack Cannon, Elise Doganieri, “The Quest” – “One True Hero”
Neil P. DeGroot, “The Biggest Loser” – “Episode 1613”
Steve Hryniewicz, “Top Chef” – “The First Thanksgiving”
Anthony B. Sacco, “The Chair” – “The Test”
Adam Vetri, “Steve Austin's Broken Skull Challenge” – “Welcome to the Gun Show”

Outstanding Directorial Achievement in Children's Programs
Paul Hoen, “How to Build a Better Boy”
Jonathan Judge, “100 Things to do Before High School” – “Pilot”
Vince Marcello, “American Girl: Isabelle Dances into the Spotlight”
Joey Mazzarino, “Sesame Street” – “4504 Numericon”
Amy Schatz, “Saving My Tomorrow” – “Part 1 and 2”

Outstanding Directorial Achievement in Commercials
Nicolai Fuglsig, MJZ (“Sapeurs,” Guinness; “Waiting,” FEMA )
Lauren Greenfield, Chelsea Pictures (“Always #LikeAGirl,” Always)
Brendan Malloy, Emmett Malloy, HSI Productions (“The Huddle,” Nike)
Daniel Mercadante, Katina Mercadante, Epoch Films (“Spots Matter,” Dick's Sporting Goods; “We Are Not Alone,” Facebook; “Big Sister,” Facebook)
Noam Murro, Biscuit Filmworks (“Ahead of Their Time,” Dodge; “Empty Chair,” Guinness)

It's starting to look like the BAFTA line-up of visual effects nominees will be mirrored at the Oscars. While one would have thought “Godzilla” would be strong all year, it missed with the Brits and, today, was snubbed across an array of categories by the Visual Effects Society. Ouch, guys.

Still, lots of great work this year. I was bummed that it was starting to look like “X-Men: Days of Future Past” would miss. But with BAFTA and three nods here today, it's looking good. It also did quite well at the bake-off last weekend. That Quicksilver/kitchen scene is doing the trick.

“Dawn of the Planet of the Apes,” of course, led the way with five nominations total. While Weta's other big player, “The Hobbit: The Battle of the Five Armies,” wasn't far behind with four.

Check out the full list of nominees below. Winners will be announced on Feb. 4. And remember to keep track of the season's twists and turns at The Circuit.

Outstanding Visual Effects in a Visual Effects-Driven Photoreal/Live Action Feature Motion Picture
“Dawn of the Planet of the Apes”
“Guardians of the Galaxy”
“Interstellar”
“Maleficent”
“The Hobbit: The Battle of the Five Armies”
“X-Men: Days of Future Past”

Outstanding Supporting Visual Effects in a Photoreal/Live Action Feature Motion Picture
“Birdman or (The Unexpected Virtue of Ignorance)”
“Divergent”
“The Grand Budapest Hotel”
“The Imitation Game”
“Unbroken”

Outstanding Animation in an Animated Feature Motion Picture
“Big Hero 6”
“How to Train Your Dragon 2”
“Rio 2”
“The Boxtrolls”
“The LEGO Movie”

Outstanding Visual Effects in a Visual Effects-Driven Photoreal/Live Action Broadcast Program
“Constantine” – “A Feast of Friends”
“Game of Thrones” – “The Children”
“Hemlock Grove”
“Marvel”s Agents of S.H.I.E.L.D.”
“The Flash”

Outstanding Supporting Visual Effects in a Visual Effects-Driven Photoreal/Live Action Broadcast Program
“American Horror Story: Freak Show” – “Edward Mordrake, Part 2”
“Black Sails” – “Episode 1”
“Crossbones”
“Penny Dreadful” – “Séance”
“Ripper Street” – “Whitechapel Terminus”

Outstanding Real-Time Visuals in a Video Game
“Alien: Isolation”
“Call of Duty: Advanced Warfare”
“inFAMOUS: Second Son”
“Sunset Overdrive”

Outstanding Visual Effects in a Commercial
“Call of Duty: Advanced Warfare” – “Discover Your Power”
“Destiny” – “Become Legend”
“ESA” – “Ambition”
“General Electric” – “Childlike Imagination”
SSE – “Maya”

Outstanding Visual Effects in a Special Venue Project
“Hubei in the Air”
“Ratatouille: L”Aventure Totalement Torquee de Remy”
“Star Journey”
“The Hogwarts Express”
“The Lost Temple”

Outstanding Performance of an Animated Character in a Photoreal/Live Action Feature Motion Picture
“Dawn of the Planet of the Apes” – Caesar
“Dawn of the Planet of the Apes” – Koba
“Guardians of the Galaxy” – Rocket
“Maleficent” – Thistlewit

Outstanding Animated Character in an Animated Feature Motion Picture
“Big Hero 6” – Baymax
“How to Train Your Dragon 2” – Hiccup
“Rio 2” – “Gabi
“The Boxtrolls” – Archibald Snatcher

Outstanding Performance of an Animated Character in a Commercial, Broadcast Program, or Video Game
“Freesat Freetime” – Sheldon
“Game of Thrones” – Drogon
“John Lewis” – Monty the Penguin
SSE – Maya

Outstanding Created Environment in a Photoreal/Live Action Feature Motion Picture
“Captain America: The Winter Soldier” – Triskelion Headquarters
“Interstellar” – Tesseract
“Lucy” – Times Square
“Noah” – Antediluvian Earth

Outstanding Created Environment in an Animated Feature Motion Picture
“Big Hero 6” – Into the Portal
“How to Train Your Dragon 2” – Oasis
“The Book of Life” – Magical Land of the Remembered
“The Boxtrolls” – Boxtroll Cavern

Outstanding Created Environment in a Commercial, Broadcast Program, or Video Game
Coca-Cola – Snowy Forest
“Game of Thrones” – Braavos Establisher
“Penny Dreadful” – “Séance”
“War Thunder” – Battlefield”

Outstanding Virtual Cinematography in a Photoreal/Live Action Motion Media Project
“Dawn of the Planet of the Apes”
“Edge of Tomorrow” – Beach and Paris Attacks
“Interstellar” – Tesseract
“X-Men: Days of Future Past” – Kitchen Scene

Outstanding Models in any Motion Media Project
“Big Hero 6” – City of San Fransokyo
“The Boxtrolls” – Mecha-Drill
“The Hobbit: The Battle of the Five Armies” – Laketown
“Transformers: Age of Extinction” – Knightship

Outstanding Effects Simulations in a Photoreal/Live Action Feature Motion Picture
“Captain America: The Winter Soldier” – Helicarrier Broadside and Crash
“Edge of Tomorrow” – Destruction and Sand
“The Hobbit: The Battle of the Five Armies”
“X-Men: Days of Future Past” – Quicksilver Pentagon Kitchen

Outstanding Effects Simulations in an Animated Feature Motion Picture
“Big Hero 6”
“How to Train Your Dragon 2” – The Battle
“The Boxtrolls”
“The LEGO Movie”

Outstanding Effects Simulations in a Commercial, Broadcast Program, or Video Game
“Cosmos: A Spacetime Odyssey”
DirecTV – “Landing”
SSE – Maya
“Vikings” – Invasion Storm Sequence

Outstanding Compositing in a Photoreal/Live Action Feature Motion Picture
“Dawn of the Planet of the Apes”
“Edge of Tomorrow” – Beach
“Interstellar” – Water
“The Hobbit: The Battle of the Five Armies”

Outstanding Compositing in a Photoreal/Live Action Broadcast Program
“American Horror Story: Freak Show” – “Edward Mordrake, Part 2”
“Game of Thrones” – “Wight Attack”
“Game of Thrones” – “The Watchers on the Wall”
“The Knick” – “Abigail”s Nose”
“Vikings” – “Invasion”

Outstanding Compositing in a in a Photoreal/Live Action Commercial
“Destiny” – “Become Legend”
Kia – “The Truth”
Nike Hypervenom – “Mirrors ft. Neymar Jr.”
SSE

Outstanding Visual Effects in a Student Project
“Deep Dance”
“Dragon Clan”
“Murphy”
“Wrapped”

http://players.brightcove.net/4838167533001/BkZprOmV_default/index.html?videoId=4910580465001

Nominations have been announced for the 51st annual Cinema Audio Society Awards, and as ever with this group lately, there are a few surprises. For instance, “Unbroken” made the cut despite being mostly ignored by the guilds and industry groups so far, and Marvel's “Guardians of the Galaxy” showed up as well. The biggest jaw-dropper might just be that after months of being the poster child for sound complaints, somehow, some way, “Interstellar” ended up in the mix (no pun intended).

There are always one or two that drop out, however. Last year, for example, another Marvel movie – “Iron Man 3” – was chalked up here. But it fell out in favor of “The Hobbit: The Desolation of Smaug” with the Academy. I find myself wondering if “The Battle of the Five Armies” could make the cut this year as it's even more of an action/sound film than the last.

I'd really say only one of the film nominees was fully expected: “American Sniper.” It could well win both sound categories at the Oscars, too. The other nominee, “Birdman,” was also chalked up by BAFTA. The Brits went on to include “The Grand Budapest Hotel,” “The Imitation Game” and (inspired, this) “Whiplash.” So I'm damned if I can figure out what that all means for the branch this year.

Check out the full list of nominees below. Winners will be announced on Feb. 14. And keep up with the rest of the year's goings-on at The Circuit.

OUTSTANDING ACHIEVEMENT IN SOUND MIXING

Motion Picture – Live Action

“American Sniper”
Production Mixer: Walt Martin, CAS
Re-recording Mixer: Gregg Rudloff
Re-recording Mixer: John Reitz
Scoring Mixer: Robert Fernandez
ADR Mixer: Thomas J. O'Connell
Foley Mixer: James Ashwell

“Birdman or (The Unexpected Virtue of Ignorance)”
Production Mixer: Thomas Varga
Re-recording Mixer: Jon Taylor, CAS
Re-recording Mixer: Frank A. Montaño
Scoring Mixer: Gustavo Borner
ADR Mixer: Jason Oliver
Foley Mixer: John Sanacore, CAS

“Guardians of the Galaxy”
Production Mixer: Simon Hayes, CAS
Re-recording Mixer: Lora Hirschberg
Re-recording Mixer: Christopher Boyes
Scoring Mixer: Gustavo Borner
ADR Mixer: Doc Kane
Foley Mixer: Chris Manning

“Interstellar”
Production Mixer: Mark Weingarten, CAS
Re-recording Mixer: Gary A. Rizzo, CAS
Re-recording Mixer: Gregg Landaker
Scoring Mixer: Alan Meyerson, CAS
ADR Mixer: Thomas J. O'Connell
Foley Mixer: Mary Jo Lang, CAS

“Unbroken”
Production Mixer: David Lee
Re-recording Mixer: Jon Taylor, CAS
Re-recording Mixer: Frank A. Montaño
Scoring Mixer: Jonathan Allen
ADR Mixer: Paul Drenning, CAS
Foley Mixer: John Guentner

Motion Picture – Animated

“Big Hero 6”
Original Dialogue Mixer: Gabriel Guy, CAS
Re-recording Mixer: David E. Fluhr, CAS
Re-recording Mixer: Gabriel Guy, CAS
Scoring Mixer: Alan Meyerson, CAS
Foley Mixer: Mary Jo Lang, CAS

“The Boxtrolls”
Original Dialogue Mixer – Carlos Sotolongo
Re-recording Mixer: Tom Myers
Re-recording Mixer: Ren Klyce
Re-recording Mixer: Nathan Nance
Scoring Mixer: Nick Wollage
Foley Mixer: Mary Jo Lang, CAS

“How to Train Your Dragon 2”
Original Dialogue Mixer: Tighe Sheldon
Re-recording Mixer: Randy Thom, CAS
Re-recording Mixer: Shawn Murphy
Re-recording Mixer: Brandon Proctor
Scoring Mixer: Shawn Murphy
Foley Mixer: Corey Tyler

“The LEGO Movie”
Original Dialogue Mixer: Thomas J. O'Connell
Re-recording Mixer: Michael Semanick, CAS
Re-recording Mixer: Gregg Rudloff
Re-recording Mixer: Wayne Pashley
Scoring Mixer: Brad Haehnel
Foley Mixer: John Simpson

“Penguins of Madagascar”
Original Dialogue Mixer: Tighe Sheldon
Re-recording Mixer: Paul N.J. Ottosson, CAS
Scoring Mixer: Dennis Sands, CAS
Foley Mixer: Randy K. Singer, CAS

(TV nominees and more on the next page.)

Television Movie or Mini-Series

“American Horror Story: Monsters Among Us”
Production Mixer: Bruce Litecky, CAS
Re-recording Mixer: Joe Earle, CAS
Re-recording Mixer: Doug Andham, CAS
ADR Mixer: Evan Daum
Foley Mixer: Kyle Billingsley

“Fargo” – “Part 2 – The Rooster Prince”
Production Mixer: Michael Playfair, CAS
Re-recording Mixer: David Raines, CAS
Re-recording Mixer: Mark Server
ADR Mixer: Andrew Morgado

“Houdini” – “Part 1”
Production Mixer: Tamas Csaba, CAS
Re-recording Mixer: Onnalee Blank, CAS
Re-recording Mixer: Ken Burton, CAS
ADR Mixer: Chris Navarro, CAS

“The Normal Heart”
Production Mixer: Drew Kunin
Re-recording Mixer: Joe Earle, CAS
Re-recording Mixer: Doug Andham, CAS
ADR Mixer: Beauxregard Neylon
Foley Mixer: Scott Curtis

“Sherlock” – “His Last Vow”
Production Mixer: John Mooney
Re-recording Mixer: Howard Bargroff
Scoring Mixer: Nick Wollage
ADR Mixer – Peter Gleaves
Foley Mixer: William Everett

Television Series – 1 Hour

“Boardwalk Empire” – “Friendless Child”
Production Mixer: Franklin D. Stettner, CAS
Re-recording Mixer: Tom Fleischman, CAS
ADR Mixer: Mark DeSimone, CAS
Foley Mixer: George Lara, CAS

“Game of Thrones” – “The Children”
Production Mixer: Ronan Hill, CAS
Production Mixer: Richard Dyer, CAS
Re-recording Mixer: Onnalee Blank, CAS
Re-recording Mixer: Mathew Waters, CAS
Foley Mixer: Brett Voss, CAS

“Homeland” – “Redux”
Production Mixer: Diethard Keck
Re-recording Mixer: Nello Torri, CAS
Re-recording Mixer: Alan M. Decker, CAS
ADR Mixer: Stephen Webster
Foley Mixer: Shawn Kennelly

“True Detective” – “Who Goes There”
Production Mixer: Geoffrey Patterson, CAS
Re-recording Mixer: Martin Czembor

“The Walking Dead” – “No Sanctuary”
Production Mixer: Michael P. Clark, CAS
Re-recording Mixer: Gary D. Rogers, CAS
Re-recording Mixer: Daniel J. Hiland, CAS

Television Series – 1/2 Hour

“Family Guy” – “The Simpsons Guy”
Production Mixer: Patrick Clark
Re-recording Mixer: James Fitzpatrick, CAS
Re-recording Mixer: Arman Steiner

“Modern Family – “Australia”
Production Mixer: Stephen A. Tibbo, CAS
Re-recording Mixer: Dean Okrand, CAS
Re-recording Mixer: Brian Harman, CAS

“Nurse Jackie” – “The Lady With the Lamp”
Production Mixer: Jan McLaughlin, CAS
Re-recording Mixer: Peter Waggoner

“Parks and Recreation” – “Moving Up”
Production Mixer: Steven Michael Morantz, CAS
Re-recording Mixer: John W. Cook II, CAS
Re-recording Mixer – Robert Carr, CAS

“Veep” – “Detroit”
Production Mixer: William Macpherson

Television Non-Fiction, Variety or Music Series or Specials

“Cosmos: A SpaceTime Odyssey” – “Standing Up in the Milky Way”
Re-recording Mixer: Mark Hensley
Re-recording Mixer: Joel D. Catalan
ADR Mixer: Paul Aranoff
Foley Mixer: David Torres

“Deadliest Catch” – “Lost at Sea”
Re-Recording Mixer: Bob Bronow, CAS

“Foo Fighters Sonic Highways” – “Los Angeles”
Re-Recording Mixer – Eddie Kim
Sound Mixer – Jeff Fuller

“2014 Rock and Roll Hall of Fame Induction Ceremony”
Re-Recording Mixer: Brian Riordan, CAS
Re-Recording Mixer: Jamie Ledner
Music Mixer: Jay Vicari
Music Mixer: Bob Clearmountain

“The Roosevelts: An Intimate History” – “Part 3 – The Fire of Life”
Re-Recording Mixer: Dominick Tavella, CAS
Pre-production Mixer – Lou Verrico
 
TECHNICAL ACHIEVEMENT AWARDS

Production

Cinela – Pianissimo Microphone Suspension and Windscreen
K-Tek – Stingray bag
RF Venue – Optix Remote Antenna Distribution
Sound Devices – Dante and MADI Audio Recorder model 970
Zaxcom – Wide Band Digital Recording Wireless System, QRX200, TRXLA2.5 and RX-12

Post-Production

Avid – S6 Control Surface
Exponential Audio – Phoenixverb Surround
iZotope – RX4-Advanced
Maggot Software – Spanner v2.1
Source Elements – Source-Connect Pro v3.8

The nominations for France's Lumière Awards were announced this morning, and leading the way was the film's Oscar foreign film entry “Saint Laurent” (which sadly didn't make it past the initial culling with the Academy). The film picked up four nominations and will compete for best film with Cannes hit “Girlhood,” “La Famille Bélier,” “Pas son genre,” fellow Oscar foreign hopeful “Timbuktu” and “Three Hearts.”

Check out the full list of nominees below. Winners will be announced on Feb. 3. And oh yeah: The Circuit.

Best Film
“Girlhood”
“La Famille Bélier”
“Pas son genre”
“Saint Laurent”
“Timbuktu”
“Three Hearts”

Best Director
Lucas Belvaux, “Pas son genre”
Bertrand Bonello, “Saint Laurent”
Benoît Jacquot, “Three Hearts”
Cédric Kahn, “Wild Life”
Céline Sciamma,”Girlhood”
Abderrahmane Sissako, “Timbuktu”

Best Actor
Guillaume Canet, “La prochaine fois je viserai le cœur,” “In The Name of My Daughter”
Romain Duris, “The New Girlfriend”
Mathieu Kassovitz, “Wild Life”
Pierre Niney, “Yves Saint Laurent”
Benoît Poelvoorde, “Three Hearts”
Gaspard Ulliel, “Saint Laurent”

Best Actress
Juliette Binoche, “Sils Maria”
Emilie Dequenne, “Pas son genre”
Charlotte Gainsbourg, “Three Hearts,” “Samba”
Adèle Haenel, “Love at First Fight,” “In The Name of My Daughter”
Sandrine Kiberlain, “Elle l”adore”
Karin Viard, “La Famille Bélier,”  “Lulu, femme nue”

Best Script
Thomas Lilti, Julien Lilti, Baya Kasmi, Pierre Chosson,  Hippocrate
Philippe de Chauveron, Guy Laurent, “Serial Bad Weddings”
Audrey Diwan, Cédric Jimenez, “La French”
Jeanne Harry, Gaëlle Macé, “Elle l”adore”
Thomas Bidegain, Bertrand Bonello, “Saint Laurent”
Stanislas Carre de Malberg, Victoria Bedos,  “La famille Bélier”

Best New Actor
Kevin Azaïs, “Love at First Fight”
Thomas Blumenthal, Jean-Baptiste Lafarge, “La Creme de la Creme”
Bastien Bouillon, “Le Beau Monde”
Didier Michon, “Fièvres”
Pierre Rochefort, “Un beau dimanche”
Marc Zinga, “Qu”allah bénisse la France”

Best New Actress
Louane Emera, “La Famille Belier”
Joséphine Japy and Lou de Laâge, “Respire”
Alice Isaaz, “La Creme de la Creme”
Ariane Labed, “Fidelio, l”odyssée d”Alice”
Karidja Touré, “Girlhood”
Ana Girardot, “Le Beau Monde,” La Prochaine fois je viserai le cœur”

Best First Film
“Love at First Fight,” Thomas Cailley
“Party Girl,” Marie Amachoukeli, Claire Burger, Samuel Theis
“Elle l”adore,” Jeanne Herry
“Chante ton Bac d”abord,” David André
“Qu”Allah bénisse la France,” Abd Al Malik
“Tristesse Club,” Vincent Mariette

Best French-Language Foreign Film
“C”est eux les chiens”
“Two Days, One Night”
“Fièvres”
“L”Oranais”
“Mommy”
“Run”

Still with us? Yeah, a lot of groups decided to announce winners today. Next up, the Houston Film Critics Society, which joined the chorus and went with local grown “Boyhood.” The film won six awards, including a Texas Independent Film honor and a Technical Achievement prize.

Check out the nominees here, the winners below and, if you're ready for more, all the rest at The Circuit.

Best Picture
“Boyhood”

Best Director
Richard Linklater, “Boyhood”

Best Actor
Jake Gyllenhaal, “Nightcrawler”

Best Actress
Julianne Moore, “Still Alice”

Best Supporting Actor
J.K. Simmons, “Whiplash”

Best Supporting Actress
Patricia Arquette, “Boyhood”

Best Screenplay
Richard Linklater, “Boyhood”

Best Animated Film
“The LEGO Movie”

Best Cinematography
Emmanuel Lubezki, “Birdman”

Best Documentary
“CITIZENFOUR”

Best Foreign Film
“Force Majeure”

Best Original Score
Alexandre Desplat, “The Grand Budapest Hotel”

Best Original Song
“Everything is Awesome” from “The LEGO Movie”

Best Poster Design
Annie Atkins for “The Grand Budapest Hotel”

Worst Picture
“The Identical”

Texas Independent Film Award
“Boyhood”

Humanitarian Award
Joe Hall, Ghetto Film School

Lifetime Achievement Award
Larry McMurtry

Outstanding Achievement
Rick Ferguson and the Houston Film Commission

Technical Achievement
“Boyhood”

Members of the Alliance of Women Film Journalists hitched their wagon to the “Boyhood” train with wins for Best Picture and Best Director. But “Birdman” won five awards and tied for a sixth, so it obviously was a favorite.

Check out the nominees here, the winners below and everything else (and we mean EVERYTHING) at The Circuit.

Best Film
“Boyhood”

Best Director
Richard Linklater, “Boyhood”

Best Actor
Michael Keaton, “Birdman”

Best Actress
Julianne Moore, “Still Alice”

Best Supporting Actor
J. K. Simmons, “Whiplash”

Best Supporting Actress
Tilda Swinton, “Snowpiercer”

Best Adapted Screenplay
Gillian Flynn, “Gone Girl”

Best Original Screenplay
Armando Bo, Alexander Dinelaris, Nicolás Giacobone and Alejandro González Iñárritu, “Birdman”

Best Cinematography
Emmanuel Lubezki, “Birdman”

Best Editing
Douglas Crise and Stephen Mirrione, “Birdman”

Best Film Music or Score
Antonio Sanchez, “Birdman”

Best Ensemble Cast (to casting director)
(TIE) “Birdman” and “The Grand Budapest Hotel”

Best Animated Film
“The LEGO Movie”

Best Documentary
“CITIZENFOUR”

Best Non-English Language Film
“Ida”

EDA FEMALE FOCUS AWARDS

Best Woman Director
Ava DuVernay, “Selma”

Best Woman Screenwriter
Gillian Flynn, “Gone Girl”

Best Breakthrough Performance
Gugu Mbatha-Raw, “Belle”

Best Female Action Star
Emily Blunt, “Edge of Tomorrow”

Female Icon of the Year
A woman whose work in film and/or in life made a difference.
Ava DuVernay

EDA SPECIAL MENTION AWARDS

Actress Defying Age and Ageism
Tilda Swinton

Best Depiction of Nudity, Sexuality or Seduction
Scarlett Johansson, “Under the Skin”

Movie You Wanted to Love, but Just Couldn”t
“Inherent Vice”

Actress Most in Need of a New Agent
Cameron Diaz, “Sex Tape”

Most Egregious Age Difference Between The Leading Man and The Love Interest
“Magic in the Moonlight” – Colin Firth (b. 1960) and Emma Stone (b. 1988)

The Denver crowd decided to shake things up a little bit today by being the first group to hand Clint Eastwood's “American Sniper” its award for best film of the year. Star Bradley Cooper tied with “The Grand Budapest Hotel's” Ralph Fiennes for Best Actor, while “Birdman” led the overall winners list with three prizes.

Check out the nominees here, the winners below and the rest of the madness at The Circuit.

Best Picture
“American Sniper”

Best Director
Richard Linklater, “Boyhood”

Best Actor
(TIE) Bradley Cooper, “American Sniper” and Ralph Fiennes, “The Grand Budapest Hotel”

Best Actress
Rosamund Pike, “Gone Girl”

Best Supporting Actor
J.K. Simmons, “Whiplash”

Best Supporting Actress
Patricia Arquette, “Boyhood”

Best Adapted Screenplay
“Inherent Vice”

Best Original Screenplay
“Birdman”

Best Cinematography
“Birdman”

Best Score
“Birdman”

Best Original Song
“Everything is Awesome” from “The LEGO Movie”

Best Animated Film
“The LEGO Movie”

Best Foreign Language Film
“Two Days, One Night”

Best Documentary
“The Overnighters”

Best Comedy
“Guardians of the Galaxy”

Best Science Fiction/Horror Film
“Dawn of the Planet of the Apes”

The nominees for the Gay and Lesbian Entertainment Critics Association's Dorian Awards have been unveiled, and on the film side, “Birdman” again leads the way with four nominations. “Gone Girl,” “The Grand Budapest Hotel,” “The Imitation Game” and “Pride” each landed three, filling out the best picture slate along with “Boyhood.”

On the TV side, HBO's “The Normal Heart” dominated, also with four mentions.

Check out the full list of nominees below. Winners will be announced on Jan. 20. Check out the rest of the season's offerings at The Circuit.

Film of the Year
“Birdman”
“Boyhood”
“The Grand Budapest Hotel”
“The Imitation Game”
“Pride”

Film Director of the Year
Wes Anderson, “The Grand Budapest Hotel”
Ava DuVernay, “Selma”
David Fincher, “Gone Girl”
Alejandro González Iñárritu, “Birdman”
Richard Linklater, “Boyhood”

Film Performance of the Year – Actor
Steve Carell, “Foxcatcher”
Benedict Cumberbatch, “The Imitation Game”
Jake Gyllenhaal, “Nightcrawler”
Micahel Keaton, “Birdman”
Eddie Redmayne, “The Theory of Everything”

Film Performance of the Year – Actress
Essie Davis, “The Babadook”
Anne Dorval, “Mommy”
Julianne Moore, “Still Alice”
Rosamund Pike, “Gone Girl”
Reese Witherspoon, “Wild”

LGBTQ Film of the Year
“The Imitation Game”
“Love is Strange”
“Pride”
“Stranger by the Lake”
“The Way He Looks”

Foreign Language Film of the Year
“Force Majeure”
“Ida”
“Mommy”
“Stranger by the Lake”
“Two Days, One Night”

Documentary of the Year
“The Case Against 8”
“CITIZENFOUR”
“Elaine Stritch: Shoot Me”
“Life Itself”
“Regarding Susan Sontag”

Unsung Film of the Year
“Love is Strange”
“Obvious Child”
“Pride”
“The Skeleton Twins”
“Snowpiercer”

Visually Striking Film of the Year
“Birdman”
“The Grand Budapest Hotel”
“Interstellar”
“Snowpiercer”
“Under the Skin”

Campy Flick of the Year
“Annie”
“Gone Girl”
“Into the Woods”
“Maleficent”
“Tammy”

(Television nominees on the next page.)

TV Drama of the Year
“Fargo”
“The Good Wife”
“How to Get Away with Murder”
“Mad Men”
“The Normal Heart”

TV Comedy of the Year
“The Comeback”
“Modern Family”
“Orange is the New Black”
“Transparent”
“Veep”

TV Director of the Year
Lisa Cholodenko, “Olive Kitteridge”
Jodie Foster, “Orange is the New Black”
Andrew Haigh, “Looking”
Ryan Murphy, “The Normal Heart”
Jill Soloway, “Transparent”

TV Performance of the Year – Actor
Matthew Bomer, “The Normal Heart”
Matthew McConaughey, “True Detective”
Mark Ruffalo, “The Normal Heart”
Kevin Spacey, “House of Cards”
Jeffrey Tambor, “Transparent”

TV Performance of the Year – Actress
Viola Davis, “How to Get Away with Murder”
Lisa Kudrow, “The Comeback”
Julianna Marqulies, “The Good Wife”
Tatiana Maslany, “Orphan Black”
Frances McDormand, “Olive Kitteridge”

TV Musical Performance of the Year
Beyoncé, “MTV Video Music Awards”
Neil Patrick Harris, “Sugar Daddy” – “The Tony Awards”
Jessica Lange, “Life on Mars” – “American Horror Story: Freak Show”
Macklemore, Ryan Lewis, Madonna, et al., “Same Love” – “The Grammys”

LGBTQ TV Show of the Year
“Looking”
“Modern Family”
“Orange is the New Black”
“Please Like Me”
“Transparent”

Unsung TV Show of the Year
“Getting On”
“Looking”
“Orphan Black”
“Please Like Me”
“Transparent”

TV Current Affairs Show of the Year
“Anderson Cooper 360”
“The Colbert Report”
“The Daily Show with Jon Stewart”
“Last Week Tonight with John Oliver”
“The Rachel Maddow Show”

Campy TV Show of the Year
“American Horror Story: Freak Show”
“How to Get Away with Murder”
“Jane the Virgin”
“Peter Pan Live!”
“Penny Dreadful”

Music Video of the Year
Nicki Minaj, “Anaconda”
Perfume Genius, “Queen”
Sia, “Chandalier”
Taylor Swift, “Blank Space”
Meghan Trainor, “All About That Bass”

The “We're Wilde About You!” Rising Star Award
Ansel Elgort
Jack Falahee
Ellar Coltrane
Jack O'Connell
Gina Rodriguez
Finn Wittrock

Wilde Wit of the Year
Honoring a performer, writer or commentator whose observations both challenge and amuse.
Stephen Colbert
Rachel Maddow
Bill Maher
John Oliver
Jon Stewart

Wilde Artist of the Year
Honoring a truly groundbreaking force in the fields of film, theater and/or television.
Xavier Dolan
Neil Patrick Harris
Richard Linklater
Jill Solloway
Tilda Swinton

Timeless Award
To an actor or performer whose exemplary career is marked by character, wisdom and wit.
George Takei

All of a sudden, this is the last Oscar column before the nominations are revealed Thursday. Wait, I have to settle on predictions soon? But… But… Seriously, there are a number of categories this year that are sort of gridlocked in interesting ways, with bubble contenders looking really strong and lots of intangible stuff flying around to keep anyone who does this – and understands it as nuanced rather than absolute – from feeling overly confident.

For instance, the Academy got “Selma” screeners whereas the guilds, which largely passed the film over, did not. The film received its first two negative reviews today (so enough with the “maybe they just don't like it” tries). Surely it's going to work out and the Academy won't embarrass itself by snubbing the film due to breathless takedowns re: its historical accuracy when others like “American Sniper” and its subject have gotten off scot-free in that regard. Right?

How about that “Nightcrawler?” The film could be set up for as many as seven Oscar nominations. But whatever it gets outside of Jake Gyllenhaal will make it a phenomenal case study regardless. Open Road had balls to go out wide with it on Oct. 31 rather than treat it with platform release kid gloves. It paid off, the film became a hit and the industry has really enjoyed it. If Dan Gilroy gets a DGA nomination tomorrow – just… Wow.

And by the way, as I look at stories landing at The Wrap which treat network ratings during the Paris crisis like a race, it's a film as relevant as ever. News is entertainment. Get used to it.

“The Grand Budapest Hotel” has become the story of the month. I saw Fox Searchlight co-honcho Steven Gilula twice this weekend, and each time he offered what's become the line here: everyone thought they were silly to release the film so early. But it was a hit at the box office and ultimately held on strong in the season. Now it has a surprising Golden Globe award for Best Picture – Comedy or Musical on its mantle and a BAFTA-leading nominations haul that was enough for me to finally take it seriously. Can Wes Anderson crack the directors' field? With or without a DGA nod tomorrow, it's very possible. (I'm told DGA did not receive “Grand Budapest” until later than usual and that they didn't receive “Nightcrawler” at all, by the way, since I've brought each director up.)

Oh, and if you're keeping track, “The Grand Budapest Hotel” is now the only film to have received nominations from every single industry group (save the Annie Awards, natch).

“The Imitation Game” – despite the Globes goose egg – remains strong in this race. It could be the nominations leader Thursday (as could one of the two Searchlight titles). The real test will come as the guilds dish out kudos. That starts with next Saturday's PGA Awards and the next day's Screen Actors Guild Awards. Could the Weinstein hopeful surprise over other stellar ensembles there and just cruise through phase two? My bet is on “Birdman,” but “The Grand Budapest Hotel” is coming on strong, and regardless, DGA and, particularly, PGA are more informative on these matters. So basically I think we'll know our Best Picture winner on Saturday, Jan. 24.

A few surprises to watch out for Thursday that may or may not happen but are lurking somewhere in my brain:

– Despite guild strength, “Foxcatcher” could end up too much of a bubble player in too many categories. At least one nomination feels strong, Mark Ruffalo in supporting. After that, it could be none, one or a lot. But don't be shocked if the whole thing shakes out on the paltry side.

– “Life Itself” is one of the year's most celebrated documentaries, but I can't help but wonder if it's vulnerable. Maybe it's me simply thinking there are much stronger examples of the form out there this year (same feelings re: “CITIZENFOUR,” but it's solid and the frontrunner). I don't know. Sounds like a potential “shocker” exclusion to me.

– Is “Mr. Turner” really this dead in the water? I personally found the film tough to love, but I certainly thought it was aesthetically wondrous and that Timothy Spall was excellent. I wonder if the Academy ends up liking it more than even these precursors suggest.

– That Best Actor category is crazy tight, and it's of note that Benedict Cumberbatch hasn't been able to play the game that much this season. I'm not saying he'll be snubbed, and if he is, I'm not saying it will mean anything whatsoever about how strong the film is within the Academy. But it's something to ponder with people like Jake Gyllenhaal and Bradley Cooper banging on the door.

And finally here, a question I have asked ever since more or less starting the thought process that brought it to this point: Is “Boyhood” really the frontrunner? Can it survive the preferential ballot and be crowned the year's Best Picture? I still have my doubts, and those doubts are probably much better for the film than any printed chest-puffery about it “obviously being the one so stop acting like it's not.” Just saying… Let an underdog be an underdog.

So that's more or less where we are. The Contenders section has been fully updated with commentary in each category polished anew. We'll have super final predictions to offer up later this week, but for now, tell us what you're thinking as the race for nominations draws to a close in the comments section below.

BEVERLY HILLS – Once the Golden Globes show is over, the party really begins. Actually, let's rephrase that: that's when the “parties” begin. This year there were six on the grounds of the Beverly Hilton and another just a few miles away. But, as you'd suspect, the place to be is where the winners are and for the movie world that meant the FOX/20th Century Fox/Fox Searchlight shindig or the now legendary annual Warner Bros./In Style fete. The former featured big winners from “The Grand Budapest Hotel,” “Birdman,” “How To Train Your Dragon 2” and FX's “Fargo.” The latter is the party where every possible movie, TV and music star collides in a shoulder-to-shoulder extravaganza of pop culture. There was one moment at the WB/In Style event, however, which just has to be discussed before anything else.

You might not have caught her on the red carpet, but Taylor Swift was on the premises and joined buddy and Globe nominee Lorde in hitting up the soiree. While this event doesn't have a closed-off VIP area (we're all VIPs!), it is full of couches that face each other and that tends to create a maelstrom of packed people with publicists and personal security making it almost impossible to maneuver through. A few moments after Best Actor in a Drama winner Eddie Redmayne arrived, it was impossible not to notice him running into or saying hello (take your pick) to the aforementioned global pop stars. And while HitFix and In Contention are not in the gossip business, it goes without saying that Swift and Redmayne were reportedly once an item (if a brief one) and all eyes were on this “reunion.” The in-house photographers made a beeline for them and attempted to turn it into a pseudo-red carpet for a moment (I'm not sure they were even allowed to take photos, but they tried).

Meanwhile, less than two feet across from this mess (not a joke, just two feet) sat another one of the night's winners, “Boyhood's” Patricia Arquette and her husband. And, I can't believe I'm writing this, but it appeared no one was paying attention to them. I know this because I got stuck in the Lorde/Taylor/Eddie mess trying to get to a different part of the room. But sometimes extraordinary moments happen out of nowhere. Less than a minute after the photogs arrived, Redmayne somehow escaped the cabal and maneuvered past numerous handlers to reach out his hand and congratulate Arquette, who seemed immediately taken aback by the gesture. Want to know why there are all these stories of people loving Redmayne? There's your answer. 

As for the rest of the WB/In Style party, I walked in as both Maggie Gyllenhaal and Ruth Wilson walked out with Globes in hand. Miles Teller, who arrived just for the post-show parties, was taking photos with his “Whiplash” co-star and Globe winner J.K. Simmons. But if the biggest throng of the night was around Lorde, Swift and Redmayne, the second biggest absolutely surrounded Chris Pratt. Later on the “Guardians of the Galaxy” star stopped to take photos with some of the guests on his way out, patiently waiting for one of them to figure out how to use her camera phone. John Legend, LA Galaxy star Robbie Rogers, Jason Collins, Vince Vaughn, Jessica Chastain, Gillian Anderson, Topher Grace, Hillary Duff, Jennifer Aniston, Taylor Schilling, Viola Davis, Diane Kruger, Joshua Jackson,  Channing Tatum, Jamie Dornan, Josh Gad and many more we've already forgotten filled the room.

The other place to be was at FOX's annual fete, which is outside the main building, but still on the hotel grounds. “The Grand Budapest Hotel's” surprise win for Best Picture – Comedy or Musical had director Wes Anderson surrounded by cast members Bill Murray, Edward Norton, Jason Schwartzman, Adrien Brody and Owen Wilson, as well as composer Alexandre Desplat. A few minutes after they arrived, “Foxcatcher's” Bennett Miller and Mark Ruffalo joined their party. Also celebrating with the “Budapest” crew – and having a grand old time – were Kristen Wiig and Claire Danes.  

At the other end of the room Billy Bob Thornton and “Fargo” creator Noah Hawley celebrated their big wins by taking a ton of group photographs (really, it went on for awhile). Just a few feet away, Michael Keaton seemed to be taking a breather after winning the Best Actor in a Comedy or Musical statue (and quite an emotional speech). Later on there were reports of Chastain, Joel Coen and Frances McDormand arriving and chatting with Anderson and his “Budapest” crew (not sure if they were celebrating with the “Fargo” peeps).

All in all, it was another star-filled, extravagant post-Globes evening, but it did seem to thin out slightly (just slightly) earlier this year. Perhaps all those big names needed to get to CAA's big shindig at the Sunset Tower before the clock struck midnight.  

A few additional observations.

– Only at the Globes: You wait for the elevator to take you to the Paramount Pictures party and Common, Gayle King and a slew of “Selma” supporters burst out when the door opens. You jump in the elevator to leave the party and when you hit the ground floor, the doors open and there's Julia Louis-Dreyfuss waiting to get inside.

– The HBO party is the toughest ticket at the Globes alongside Warner Bros/In Style. I ran into one movie director I know who just helmed a few episodes of an HBO series and he was waiting for his manager to help get him in. It wasn't a given!

– Aussie comic Pam Ann attended the FOX viewing party and I was stunned by how few people in attendance knew who she was. Wait, you've never hear of Pam Ann? Enjoy.

http://players.brightcove.net/4838167533001/BkZprOmV_default/index.html?videoId=4910203729001

The one notable surprise Sunday night at the Golden Globe Awards was “The Grand Budapest Hotel” triumphing in the Best Picture – Comedy/Musical category. And the pop in the FOX party on site was a substantial one. The film joined “Boyhood,” itself capping off a serious run on the critics' awards circuit, as the year's Best Picture victors. And boy did that make the Globes look classy.

You can bet the Hollywood Foreign Press Association is soaking it up, too, as there has been a concerted effort to appear more legit than some of the organization's past shenanigans have allowed. It started with a largely respectable list of nominees and culminated with two of the most critically acclaimed and laureled films of the year taking top honors. So, of course, it helps when the films are great, and the films this year are great, despite the overwhelming narrative that they're not.

What's interesting, though, is to take note of whether the pendulum will swing. “The Social Network” is a good example of a film that dominated the critics' awards and won the Golden Globe, only to have something more populist win throughout the guilds. I'm not saying that's “Boyhood's” fate, but I do think this Best Picture race is still a race and anyone who looks to the HFPA's choices as indicative of Oscar's route isn't doing it right.

The PGA. That's the keystone to me in this new landscape. It's the only group that duplicates the preferential ballot process, and if you can win there, despite the fact that it's a different group of people than the Academy at large, then I think you can win at the Oscars. Because that says something about how you appeal broadly. If “Boyhood” takes that, I'm on board. In the meantime, I'm still curious about the twists and turns (and happy to proceed cautiously – observing the race from an absolutist's perspective is folly). “The Grand Budapest Hotel,” for instance, felt like it was mostly being celebrated for its parts to me until it dominated the BAFTA announcement, and tonight's win could feed an interesting phase two stride for the film. The season is ever-changing, never preordained.

Otherwise, the HFPA did what they tend to do: spread the wealth. They just didn't quite spread it in the manner I was expecting. A lot of these races were no doubt close, but they found a way to honor just about everything save “The Imitation Game,” surprising by its exclusion throughout no matter how you look at it. But Harvey Weinstein had some representation in Amy Adams' “Big Eyes” win, nevertheless. And “The Imitation Game” could absolutely join films like “Crash” and “The Hurt Locker” that were shut out at the Golden Globes but won Best Picture at the Oscars. Different track. Different race.

Actually, I take that back about there only being one surprise. There were two, and the other one was “How to Train Your Dragon 2” winning the animated feature prize. That put a big smile on my face (and yielded another pop from the FOX tent). Fingers crossed there's a headwind here and the film can soar into the Oscars and claim what it deserves.

I'm very, very curious to see what the DGA does to add to this equation on Tuesday. Some feel, however – and have intimated as much to me – that they are irrelevant to the Oscar race lately. It's a large group and not a specific one, and their nominations land in a lull now where there isn't much to influence. But I still think there's something to be gleaned from what a large group thinks of the year's best, so if Morten Tyldum or Wes Anderson or, hell, Dan Gilroy pop up there, it will be telling in its own way.

“Birdman” and “The Theory of Everything” each won a pair. Julianne Moore kept an even keel. J.K. Simmons and Patricia Arquette stepped closer to engraving their Oscars (and how cool is that?). Richard freakin' Linklater got to accept a couple awards on a grand national stage and that was pretty much the Globes. I haven't mentioned “Selma” because it's all about Thursday for that film at this point. I thought Ava DuVernay had a real chance tonight, but regardless, the timing on this one has been a lot different than for other films in the race. Maybe it caught on (and, via controversy, caught fire) at the right time. Maybe there needed to be more groundwork laid. We'll know in a couple days.

For now, I guess I have some new shows to check out. The HFPA, as always, obsessively laurels the new stuff.

What did you think of the way the Globes turned out? Sound off in the comments.

The Hollywood Foreign Press Association handed out the 72nd Golden Globes Sunday night at the Beverly Hills Hotel in Beverly Hills, CA. Here's a rundown of all the nominees and the winners as they were announced.

FILM

Best Motion Picture – Drama
**”Boyhood” WINNER**
“Foxcatcher”
“The Imitation Game”
“Selma”
“The Theory of Everything”

Best Motion Picture – Comedy Or Musical
“Birdman”
**”The Grand Budapest Hotel” WINNER**
“Into the Woods”
“Pride”
“St. Vincent”

Best Performance by an Actor in a Motion Picture – Drama
Steve Carell, “Foxcatcher”
Benedict Cumberbatch, “Imitation Game”
Jake Gyllenhaal, “Nightcrawler”
David Oyelowo, “Selma”
**Eddie Redmayne, “The Theory of Everything” WINNER**

Best Performance by an Actress in a Motion Picture – Drama
Jennifer Aniston, “Cake”
Felicity Jones, “The Theory of Everything”
**Julianne Moore, “Still Alice” WINNER**
Rosamund Pike, “Gone Girl”
Reese Witherspoon, “Wild”

Best Performance by an Actress in a Motion Picture – Comedy Or Musical
**Amy Adams, “Big Eyes” – WINNER**
Emily Blunt, “Into the Woods”
Helen Mirren, “The Hundred-Foot Journey”
Julianne Moore, “Map to the Stars”
Quvenzhane Wallis – “Annie”

Best Performance by an Actor in a Motion Picture – Comedy Or Musical
Ralph Fiennes, “The Grand Budapest Hotel”
**Michael Keaton, “Birdman” WINNER**
Bill Murray, “St. Vincent”
Joaquin Phoenix, “Inherent Vice”
Christoph Waltz, “Big Eyes”

Best Performance by an Actress In A Supporting Role in a Motion Picture
**Patricia Arquette, “Boyhood”  – WINNER**
Jessica Chastain, “A Most Violent Year”
Keira Knightley, “The Imitation Game”
Emma Stone, “Birdman”
Meryl Streep, “Into the Woods”

Best Performance by an Actor In A Supporting Role in a Motion Picture
Robert Duvall, “The Judge”
Ethan Hawke, “Boyhood”
Edward Norton, “Birdman”
Mark Ruffalo, “Foxcatcher”
**J.K. Simmons, “Whiplash” – WINNER**

Best Director – Motion Picture
Wes Anderson, “The Grand Budapest Hotel”
Avu Duvernay, “Selma”
David Fincher, “Gone Girl”
Alejandro González Iñárritu, “Birdman”
**Richard Linklater, “Boyhood” WINNER**

Best Screenplay – Motion Picture
**”Birdman” – WINNER**
“Boyhood”
“Gone Girl”
“The Grand Budapest Hotel”
“The Imitation Game”

Best Animated Feature Film
“Big Hero 6”
“The Book Of Life”
“The Boxtrolls”
**”How To Train Your Dragon 2″ – WINNER**
“The LEGO Movie”

Best Foreign Language Film
“Force Majure” – Sweden
“Gett, the Trial of Viviane Amsalem” – Israel
“Ida” – Poland
**”Leviathan” – Russian – WINNER**
“Tangerines” – Estonia Georgia

Best Original Song – Motion Picture
“Big Eyes” – “Big Eyes” – Music and Lyrics by: Lana Del Rey
**”Glory” – “Selma” – Music and Lyrics by: John Legend, Common – WINNER**
“Mercy Is” – “Noah” – Music and Lyrics by: Patti Smith, Lenny Kaye
“Opportunity” – “Annie” – Music and Lyrics by: Greg Kurstin, Sia Furler, Will Gluck
“Yellow Flicker Beat” – “The Hunger Games: Mockingjay, Pt. 1” Music and Lyrics by: Lorde

Best Original Score – Motion Picture
“Birdman”
“Gone Girl”
“The Imitation Game”
“Interstellar”
“The Theory of Everything” – WINNER

(TV nominees on the next page.)

TELEVISION

Best Television Series – Drama
**”The Affair” – WINNER**
“Downton Abbey”
“Game of Thrones”
“The Good Wife”
“House of Cards”

Best Television Series – Musical or Comedy
“Girls”
“Jane the Virgin”
“Orange Is The New Black”
“Silicon Valley”
**”Transparent” – WINNER**

Best Performance by an Actor in a Mini-Series or a Motion Picture Made for Television
Martin Freeman, “Fargo”
Mark Ruffalo, “The Normal Heart”
**Billy Bob Thornton, “Fargo” – WINNER**
Matthew McConaughey, “True Detective”
Woody Harrelson, “True Detective”

Best Performance by an Actress In A Television Series – Drama
Claire Danes, “Homeland”
Viola Davis, “How To Get Away With Murder”
Julianna Margulies, “The Good Wife”
**Ruth Wilson, “The Affair” WINNER**
Robin Wright, “House of Cards”

Best Performance by an Actor In A Television Series – Comedy Or Musical
Louis C.K., “Louie”
Don Cheadle, “House of Lies”
Rickey Gervais, “Derek”
William H. Macy, “Shameless”
**Jeffrey Tambor, “Transparent” – WINNER**

Best Performance by an Actress In A Television Series – Comedy Or Musical
Lena Dunham, “Girls”
Edie Falco, “Nurse Jackie”
Julia Louis-Dreyfus, “Veep”
**Gina Rodriguez, “Jane the Virgin” – WINNER**
Taylor Schilling, “Orange Is The New Black”

Best Mini-Series Or Motion Picture Made for Television
**”Fargo” – WINNER**
“The Missing”
“The Normal Heart”
“True Detective”
“Olive Kitteridge”

Best Performance by an Actress in a Mini-Series or a Motion Picture Made for Television
**Maggie Gyllenhaal, “The Honorable Woman” – WINNER**
Jessica Lange, “American Horror Story: Freak Show”
Frances McDormand, “Olive Kitteridge”
Frances O'Connor, “The Missing”
Allison Tolman, “Fargo”

Best Performance by an Actor in a TV Series – Drama
Clive Owen, “The Knick”
Liev Schreiber, “Ray Donovan”
**Kevin Spacey, “House of Cards” – WINNER**
James Spader, “The Blacklist”
Dominic West, “The Affair”

Best Performance by an Actress in a Supporting Role in a Series, Mini-Series or Motion
Uzo Aduba, “Orange Is The New Black”
Kathy Bates, “American Horror Story: Freak Show”
**Joanne Froggatt, “Downton Abbey” – WINNER**
Allison Janney, “Mom”
Michelle Monaghan, “True Detective”

Best Performance by an Actor in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television
**Matt Bomer, “The Normal Heart” – WINNER**
Alan Cumming, “The Good Wife”
Colin Hanks, “Fargo”
Bill Murray, “Olive Kitteridge”
Jon Voight, “Ray Donovan”

LOS ANGELES – It was pencils down at 5pm PST Thursday afternoon as balloting for the nominations stage of the 87th annual Academy Awards drew to a close. This weekend, then – until the competition takes hold once again Sunday night at the Golden Globe Awards – provides a beat to breathe. But not too much. It's still the circuit. And this year's toasted talents were out in force Saturday at events like the morning's Film Independent Spirit Awards brunch in West Hollywood and the annual BAFTA Tea gathering down the street in the afternoon.

At the brunch – a notable 30th anniversary celebration for the Spirits – it was a nice mix. That event has gotten bigger and bigger just in the last couple of years. It used to be a modest check-in at the door. Now the street is teeming with paparazzi and lookie loos.

Team “Boyhood” was still in stride after Wednesday's soiree, with Richard Linklater, Ethan Hawke and Patricia Arquette mingling about. I caught up with “Nightcrawler” writer/director Dan Gilroy, still sort of gobsmacked over the industry support for his film and particularly relieved that his star in life and on screen, Rene Russo, got the BAFTA recognition she did last week. (More on her in a moment.) “Dear White People” maestro Justin Simien was on hand, and I was happy to catch up with Keith Stanfield, mostly just to talk about his upcoming roll as Snoop Dogg in F. Gary Gray's “Straight Outta Compton.” He says it's going to be “funny as f**k.”

“How to Train Your Dragon 2” producer and FIND member Bonnie Arnold was there, beaming after taking on a major upstairs gig at DreamWorks Animation last week. The cameras ignited for “A Most Violent Year” star Jessica Chastain, who remains so charming it's outrageous. (She's stoked to be deemed this year's “MVP” at the Critics' Choice Movie Awards next week.) And Ava DuVernay was looking fabulous as always, though still trying to shake off her film “Selma” being this year's political football in the Oscar race.

A personal aside: As I was digging into the eggs Benedict and kale salad, I looked up and saw “Land Ho!” director Aaron Katz walking in the door. Aaron and I went to film school together and I don't get to see the guy nearly enough. His film was nominated for the John Cassavetes Award at the Spirits this year.

(Longtime readers of this space will remember one of our other classmates, Chad Hartigan. He was also mingling about. His film “This is Martin Bonner” was an indie darling last year, winning an award at Sundance to start the circuit and wrapping things up with the John Cassavetes Award at the Spirits. Neither Chad nor I thought he had any shot at winning that one. We happened to be sitting a table apart at the show and when his name was called, I went off like a bottle rocket, the one guy clapping like a buffoon at the shoestring budget honor. Anyway, I'm of course a big “Blue Ruin” fan, but let's just say I hope Aaron is a table apart this year; maybe I'm a lucky charm. Either way, stoked for those guys. Chad's looking to shoot his next film in Germany very soon. Aaron isn't quite sure what's next but he's eager to get to work on something.)

Over at the BAFTA Tea, Team “Boyhood” was back at it, and I caught Ellar Coltrane this time around, too. I think the pressure of the season might be getting to him, and I can't blame the guy – this has been a long haul, both in the awards season (going back to Sundance a year ago) and, obviously, in production (going back, you know, 12 years).

I circled around to “The Imitation Game” writer Graham Moore, who I haven't seen since we sat down in Silver Lake for a coffee right after Telluride. I told him at the time to be prepared for a campaign maelstrom with this film, and he admitted today to wondering “how bad can it really be?” Well, now he knows. It's a roller coaster, particularly if you have a film, like he does, that catches its own whiff of controversy. He's just happy he was able to make exactly the movie he wanted to, but we did chat about the spat “Selma” is going through. “It devalues what art is and what art can be to look at films like that,” he said of all the historical fact-checking.

You know who was pretty popular at the BAFTA Tea? Rene Russo was pretty popular at the BAFTA Tea. “It's thanks to young'uns like you that this film is where it is,” she said, which of course made me laugh because, well, it's interesting. You'd expect “Nightcrawler” to break down along age lines, but it hasn't. Older voters really like the film and I think there might be enough passion to secure it a Best Picture nomination. I also have had a good feeling about Russo's chances of sliding into the supporting actress race since before the surprise BAFTA nod (which I loved, as I've been banging the gong for her for some time).

We also spent some time talking about the look of her character in the film, the slathering of makeup, as if Nina has to put on a facade to go to work every day, the hair reminiscent of when she herself would have been on the air in the '80s, etc. But she demurred regarding her own Oscar prospects, of course. Whatever happens, I'm glad she ended up getting a little love amidst the (deserved) Gyllenhaal worship.

I also bumped into “Foxcatcher” star Steve Carell at one point, who showed up rather unexpectedly in the supporting actor category with BAFTA. I asked him if he was shocked by that, but he of course just noted that “I'm shocked by all of this.”

Others from the “Imitation Game” crew were around, including composer Alexandre Desplat, editor William Goldenberg and director Morten Tyldum. Curiously absent was star (and BAFTA nominee) Benedict Cumberbatch. “Gone Girl's” Rosamund Pike was seen and adored. “Birdman” producer John Lesher mingled after hitting up the brunch earlier in the day. Eddie Redmayne, Felicity Jones, screenwriter Anthony McCarten and director James Marsh were there repping for “The Theory of Everything,” a big BAFTA favorite it turned out. And the “Boxtrolls” boys – directors Graham Annable and Anthony Stacchi and Laika honcho Travis Knight – were soaking it up as well. I told them Deborah Cook deserves a Best Costume Design Oscar for the film. (She does.)

There were more. I'm sure I missed a few. And the day wasn't done as there are a number of other gatherings and such, including the Los Angeles Film Critics Association's awards gala. But the day was done for me. I'm in my TMNT pajama pants now. It's raining. I'm good.

Sunday brings the Golden Globes. Fox's viewing party will be where it's at in the early hours and then the usual afterparties – Weinstein, Warner Bros./In Style, Paramount's small gathering, NBC/Universal's rooftop jam, the exclusive HBO swank, etc.

All as the folks at PricewaterhouseCoopers do their tallying…