There wasn’t much in the way of a surprise with this year’s Screen Actors Guild announcement. The nods that are least likely to translate to Oscar, if I were a betting man, are Diane Kruger’s supporting actress bid for “Inglourious Basterds” and (I guess I just have a feeling) Matt Damon, supporting for “Invictus.” The rest seem like safe bets on down the line.
I wouldn’t read too much into the ensemble snub of “Up in the Air,” though it’s curious to nominate three actors from the film and then ignore it in that field. The ensemble category is also where “Nine” got its expected attention, though Penelope Cruz also showed up in supporting for the film. The BFCA, you’ll recall, went for Marion Cotillard instead.
“Precious,”“Inglourious Basterds” and “Up in the Air” had the most nominations, with three apiece. I would have expected “An Education” to have that designation, too, but somehow Alfred Molina was ignored. Maybe that won’t be the case with Oscar, maybe it will.
On to the next thing. Check the full list of nominees after the jump.
Posted by Guy Lodge · 3:34 am · December 17th, 2009
Kris is too smart to go there but, undeterred by my less-than-stellar Globes showing, I will.
Principally, I admit, because I feel like going on record with my odd conviction that “The Messenger” will claim four nods. This is the film’s moment to pounce, I think.
My biggest wish for the morning? For an unexpected (and deserving) name to crop up in that still-wild final Best Actress spot. (Sidebar: does the Best Stunt Ensemble award still exist? Why is no one predicting it?)
What are the crazy voices in your head telling you? My guesses after the cut.
It’s been fun bringing a great many of this year’s Best Original Song contenders to you every few days with the “listen to” posts, but today, the Academy offered up the full list of contenders, so things are beginning to settle in. There are a few surprises, however.
Firstly, only two tracks from “Crazy Heart” are on the list. I’m not sure if that’s because only two were submitted, but there are six solid original tunes on the soundtrack. And four songs from “The Princess and the Frog” weren’t on the list (one of them, “Friends on the Other Side,” being one of my favorites from the film). Again, I don’t know if that’s because only the four on the list were submitted.
Mary J. Blige’s “I Can See in Color” from “Precious” is the most notable exclusion. I guess it didn’t play for long enough to be of any impact, but to my mind, it was one of the best songs in the hunt.
Posted by Guy Lodge · 3:11 pm · December 16th, 2009
As the season hits its stride, and precursors turn murky perceptions of pack leaders and stragglers into harder realities, I find myself wondering how I would fill out my ballot if I were an Academy member.
That’s not the same as wondering what I would fill my ballot with – as Kris just did today. Unlike many voters in the Academy and precursor ranks alike, who seemingly run out of ideas two slots in (“Hmm, did I see ten movies this year?”) and then reach for the names they’ve heard everyone else mention, I have no shortage of worthy suggestions for inclusion, whether people are talking about them or not.
No, I’m referring to the how, the method, the strategy. Is it as simple as jotting down the films and individual achievements one admired most over the past 12 months? In a perfect world, yes. But do considerations of which of one’s favorites – and, indeed, least favorites – pose a threat in the race necessitate some compromise?
Were I an Academy voter, in other words, would I give “35 Shots of Rum” one of my Best Picture slots, knowing full well it doesn’t having a snowball’s chance of a nomination? Or would I be a little craftier, and give the slot to “The Messenger” – a fine film that I love less, but that has slightly more hope of knocking something truly undeserving from the Oscar lineup?
Earlier today we featured “You’ve Got Me Wrapped Around Your Little Finger,” Beth Rowley’s original song contender from “An Education.” Now we’d like to bring a second track from the film to your attention: “Smoke Without Fire” from Welsh sensation Duffy.
This is a potent little ditty but it is the first cue on the opening credits, which, as we’ve mentioned many times, isn’t an immediate deal breaker, but it makes the climb a bit more difficult. Not to mention Rowley’s track features so prominently within the context of the film that, if either is going to get in, that would be it.
Still, we shouldn’t take too much away from Duffy’s song. It’s a great button on the end of the film, seemingly belted from the weary soul of a youngster who got in too deep. You know my feelings on this category. I think a song’s placement at the end of a film can have as much impact on your interpretation of the film as a song placed within, so if I had a vote, I imagine I’d be taking this one a bit more seriously than most.
Every year I like to keep track of personal favorites throughout the Academy’s designated categories (plus one of my own addition, Best Ensemble). At the end of the year, my “if I had a ballot” post is the result.
Of course, for the most part, I follow Academy designations here. If something is ruled ineligible, I play along. It’s not that often that something like that is egregious anyway, though the music branch consistently tests my resolve on the matter. In years past I’ve tried to make it an AMPAS/critics’ awards hybrid kind of thing, but this makes it easier.
I know, I know. “Why don’t you just list what you think should be nominated, the rules be damned?” Because then I couldn’t call it “If I had a ballot?” But I guess I’m contradicting myself by adding a category. I don’t know. I’m just trying not to be too lamely definitive or authoritative with something like this, I suppose.
Anyway, I’m also abstaining from offering up a list of foreign language nods. Firstly, I feel it’s been a rather weak year in general there, but I also haven’t made my way fully through the list of submissions either. So I’ll address that another time. The same goes with he doc features, as I’d rather push through more of the eligible titles first.
This year the top 10 is the Best Picture field, obviously, and from there, I toss my two cents into a variety of discussions. Here’s what I came up with…
Speaking of original song contenders, we featured Ryan Bingham’s “The Weary Kind” a few weeks ago, but the New Mexico-bred crooner sat down with music consultant T Bone Burnett and “Crazy Heart” writer/director Scott Cooper at the film’s press day two weekends back to discuss the process of writing the soulful track. Much of this you probably already know from reading my interview with Bigham and Burnett, but it’s nice to hear the two discussing it with Cooper. Fox Searchlight recently made this video of the chat available, so take a look:
We skipped one of these on Monday so we’ll double up today with a pair of tunes from Lone Scherfig’s “An Education.”
“You’ve Got Me Wrapped Around Your Little Finger” from singer Beth Rowley featured prominently in the trailer for Scherfig’s film and, frankly, given the breezy, nostalgic flavor of the tune, most may not have realized that it was an original song. But it is, and one of the more beautiful entries in the category this year.
The song’s usage in the film hits the subtext on the nose but it’s a rather beautiful moment nevertheless. Carey Mulligan’s young, unassuming Jenny begins to fall hard for Peter Sarsgaard’s David as Rowley ramps up her vocals in the background via live performance. The contextual implementation (and the fact that Rowley gets to sing her tune on screen — quite the unique circumstance) leads me to believe this could be more of a contender than we think at the moment.
Have a listen to the track below and tell us what you think.
Posted by Guy Lodge · 8:36 am · December 16th, 2009
Normally, I’m against critics’ groups bothering with nominations. Just cut the crap and give us your picks — you’re not that anticipated, after all.
But I’ll make an exception this year for the Chicago Film Critics Association, if only because it allows them to shine a light on some names that have been lost amid the consensus of critics’ prizes so far. There are some pleasantly left-field picks here, beginning with a co-leading six bids, Best Picture and Director included, for “Where the Wild Things Are.”
“A Serious Man” also makes the Best Picture cut, while “Precious” is a surprising omission. (Is it losing momentum?) Hearty cheers, too, for the mentions of Matt Damon (for the right film, this time) and — finally — “Bright Star”‘s Abbie Cornish and Greig Fraser. Still no Tilda Swinton, but I’m letting that one go.
Full list of nominees (props to AwardsDaily) after the cut.
Posted by Guy Lodge · 8:10 am · December 16th, 2009
All cinéastes know that the annual Top 10 issued by Cahiers du Cinéma is pretty much the ne plus ultra of critics’ lists. The legendary French film magazine has taste that veers from the rigorously auteurist (recent list-toppers include “Redacted,”“Tropical Malady” and “Paranoid Park”) to the frankly perverse (“Lady in the Water” made the 2006 list).
So when a comparatively mainstream Oscar frontrunner like “The Hurt Locker” crops up on this year’s Cahiers list, you know it officially taken the mantle of this year’s across-the-board critical darling.
This year’s collective is a typically idiosyncratic affair, with an especially Gallic flavor: Alain Resnais tops the list, while eternally French-favored Yanks Tarantino and Eastwood feature highly.
Their Top 10 is after the cut (thanks to Auteurs Daily for the tip).
Features
There wasn’t much in the way of a surprise with this year’s Screen Actors Guild announcement. The nods that are least likely to translate to Oscar, if I were a betting man, are Diane Kruger’s supporting actress bid for “Inglourious Basterds” and (I guess I just have a feeling) Matt Damon, supporting for “Invictus.” The rest seem like safe bets on down the line.
Kris is too smart to go there but, undeterred by my less-than-stellar Globes showing, I will.
It’s been fun bringing a great many of this year’s Best Original Song contenders to you every few days with the “listen to” posts, but today, the Academy offered up the 
As the season hits its stride, and precursors turn murky perceptions of pack leaders and stragglers into harder realities, I find myself wondering how I would fill out my ballot if I were an Academy member.
Earlier today we 
Every year I like to keep track of personal favorites throughout the Academy’s designated categories (plus one of my own addition, Best Ensemble). At the end of the year, my “if I had a ballot” post is the result.
We skipped one of these on Monday so we’ll double up today with a pair of tunes from Lone Scherfig’s 
Normally, I’m against critics’ groups bothering with nominations. Just cut the crap and give us your picks — you’re not that anticipated, after all.
All cinéastes know that the annual Top 10 issued by Cahiers du Cinéma is pretty much the ne plus ultra of critics’ lists. The legendary French film magazine has taste that veers from the rigorously auteurist (recent list-toppers include 
Archives
