In Contention

Tag: SAG

  • ‘Doubt’ leads with five SAG noms

    Amy Adams in Doubt(Apologies for the delay getting these up this morning.  I had technical difficulties signing in and had to scoot shortly after the announcement.  Here are the belated nominees with commentary.)

    The Screen Actors Guild didn’t have much up its sleeve this morning for its heavily anticipated nominations announcement.  No left-field zingers, no “3:10 to Yuma” or “Station Agent” surprises, just a slick rundown of the season’s favorites so far.

    Looking deeper into the categories, we can point to a number of things.  The fact that “Doubt” leads the way is no surprise, since all four principles from the cast were nominated and, therefore, the film landed a nod for Best Ensemble.  But praise for the acting, even if that represents the biggest branch of the Academy, isn’t necessarily enough.  Will the other branches be on board for this as a “film,” or will they simply see it for what it is: a photographed play with no creative bridge to the screen?

    Dev Patel’s nomination for Best Supporting Actor is the boost he needed for Oscar, though it should be noted that the SAG likes to nominate younger actors.  Dakota Fanning, Jamie Bell, etc.  Also, it’s worth noting that Taraji P. Henson received three nominations this morning, two for her performance in “The Curious Case of Benjamin Button” (supporting actress and ensemble) and one as part of the “Boston Legal” ensemble on the TV side of things.  Congratulations to one sweetheart of a girl.

    The absence of Sally Hawkins is a bit distressing, however.  Especially when you consider the fact that the actress categories tend to go five-for-five with the Academy.  That could of course change this year as both fields are more competitive than usual, but seemingly a sure-thing after her critics awards bonanza, it seems the lovely Hawkins is back on the bubble.

    “Revolutionary Road” is, sad to say, officially on life-support, if the night nurse hasn’t already tripped on the chord and yanked it from the wall entirely.  One nomination for Kate Winslet, nothing for Leonardo DiCaprio, nothing for the brilliant Michael Shannon.  The industry doesn’t seem to be responding to this film.  So I think the likely five have finally slid into place, and “Doubt” remains the spoiler.

    The nominees after the jump.

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  • How about some SAG predictions?

    Screen Actors Guild awardWith tomorrow’s SAG announcement hovering, waiting to be the first true litmus test of what the industry thinks of the year’s product (being the first guild out of the gate), I thought I’d take a stab at predictions, fit with alternates for old times’ sake.

    I think this will be the first real trial for a film like “The Dark Knight,” virtually assured a nomination for Heath Ledger in supporting actor, but will the ensemble be taken seriously enough?  Better yet, can another of the film’s cast, like, say, Gary Oldman, show up with a surprise mention?

    Meanwhile, Kate Winslet has been coasting with critics’ nomiations for her performance in “The Reader,” but I’m not completely sold yet.  It’s a great portrayal, but that’s a stacked category that could go a number of ways.  Still, the SAG tends to correctly anticipated the Academy’s list of nominees in both actress categories, so when the names are called tomorrow morning, start locking them away and taking them to the bank.

    Speaking of Winslet, “Revolutionary Road” could really use another shot in the arm.  A nomination for Best Ensemble is somewhat crucial, I think, and would be indicative of deep support for the film from the actors, many of which share membership in AMPAS.  I could see anywhere from five nods (including an ensemble bid and notices for Michael Shannon and Kathy Bates), to a mere two (for Winslet and co-star Leonardo DiCaprio).

    One last note, I’m going out on a limb by predicting a Clint Eastwood snub.  I’m probably wrong but the actor’s fellow thesps didn’t vouch for him in 2004 when the Academy did, so it could play out similarly this year.  We’ll know in due time.

    For now, here’s how I see things panning out:

    Best Actor
    Leonardo DiCaprio, “Revolutionary Road”
    Richard Jenkins, “The Visitor”
    Frank Langella, “Frost/Nixon”
    Sean Penn, “Milk”
    Mickey Rourke, “The Wrestler”
    (alt.: Josh Brolin, “W.”)

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  • ‘Che’ — no respect in the precursor circuit so far

    Benicio Del Toro in Che“Nothing if not the movie of the year,” wrote Scott Foundas in LA Weekly.

    “One of the best films of the year,” declared Roger Ebert.

    “A great movie,” says J. Hoberman of the Village Voice.  “Che is a thing to be experienced.”

    “The film that places Steven Soderbergh in the ranks of the masters,” raved Amy Taubin at Film Comment.

    “An experience you won’t forget,” said Peter Travers of Rolling Stone.  “Benicio Del Toro gives a magnificent performance. No one who cares about organic film acting will want to miss it. He keeps you riveted.”

    And finally, “Del Toro gives a soulful and charismatic performance,” according to A.O. Scott of The New York Times.

    So, with all this critical approval, why is Soderbergh’s film “Che” not being appropriately considered among the year end critics awards, the Hollywood Foreign Press Association and, therefore, not being discussed as a favored Oscar contender?  Here is a magnificent achievement from a world class filmmaker that breaks down the conventions of mainstream cinema (which he knows all too well) and challenges the audiences with its deliberate pacing and involving character study.  Unhurried, Soderbergh is telling a story in great detail with perhaps the greatest detail being an astounding performance from Del Toro.

    I have long championed this film since seeing the four-and-a-half-hour cut at this year’s Toronto fest.  But here in December, I find myself struggling to understand why such a masterful film is not a part of the discussion, and moreover, why critics on each coast did not take the opportunity to put it in the conversation with their annual awards announcements.

    I am incensed that Soderbergh, already an Oscar-winning director, is not being mentioned as a potential nominee again for this singular achievement. It’s certainly not mainstream cinema on any level, and it takes a great investment from the viewer of course, but once the film began, I found myself pulled in by the superb performances and cinematography.  As did a number of esteemed critics.  So what gives?

    Surely SAG and the DGA will come forward and recognize this work for what it is?  “Che” was stronger than at least half the Golden Globe nominees. Soderbergh created a masterpiece and so few perople actually know about it.  It’s shameful.

  • 11/28 Oscarweb Round-up

    • David Poland is still in two minds about “Benjamin Button,” but agrees with Kris that “Slumdog” is the one to beat. [The Hot Blog]

    • Kim Voynar, meanwhile, surveys the Best Picture contenders, and is as confused as the rest of us. Interesting point about the potential impact of current events on “Slumdog,” though.  [Movie City News]

    • One Richard on another: with the adaptation of “Revolutionary Road” looming large, Richard Price offers his impressions of Yates. [The Guardian]

    • William Friedkin on the shifting makeup of the movie cop. [The Guardian]

    • Under the threat of the actors’ strike, Screen International calls for a meeting of minds. [Screen Daily]

    • Amid the mixed reactions to “Australia,” Susan King concludes that we still need the epic. [Los Angeles Times]

    • Al Pacino pips Dakota Fanning for the top gong in Lou Lumenick’s holiday-appropriate Turkey of the Year awards. [New York Post]

    • And, keeping it seasonal, a selection of notable DVD releases, in time for your Christmas wishlist. [New York Times]

  • 11/26 Oscarweb Round-up

    WALL-E• Jeff Wells is beside himself because Oscar prognosticators understand “Che” has a snowball’s chance in hell at a best Picture nomination. [Hollywood Elsewhere]

    • Noah Forrest podcasts “Changeling” screenwriter J. Michael Straczynski. [Movie City News]

    • Anne Thompson gets the “Australia” goods from Hugh Jackman. [Thompson on Hollywood]

    • Tom O’Neil, meanwhile, wonders if pundits are underestimating the film…nah. [Gold Derby]

    • The economy takes a bite out of one of the season’s biggest Oscar bashes. [Vanity Fair]

    • Pete Hammond is a party pooper, makes sure we all understand a SAG strike could put a damper on the season. [Notes on a Season]

    • Nathaniel Rogers talks to “Rachel Getting Married” gals Rosemarie DeWitt and Jenny Lumet. [The Film Experience]

    • Peter Bart joins my Brandon Walters bandwagon, says director Baz Luhrmann has created a star. [Peter Bart]

    • Kevin Kelly talks to “WALL-E” and “Star Wars” sound whiz Ben Burtt. [Spout Blog]

    • Patrick Goldstein digs into the emotional chill factor of “The Curious Case of Benjamin Button.” [The Big Picture]

    • A Harvey Milk Cliff’s Notes for your “Milk” screening preparations. [USA Today]

  • ‘Button’ didn’t happen

    Brad Pitt in The Curious Case of Benjamin Button(Alright, I’m coming back to this item now that I don’t have to deal with iPhone-posting.)

    Tonight’s screening of “The Curious Case at Benjamin Button” was supposed to be a great night for producers Kathy Kennedy and Frank Marshall (correction appended — it was a late night, apologies).  They introduced the film as a project 18 years in the making, a true labor of love, and the crowd of press, guild members and industry types sure was excited.

    About a half hour into the screening, D.P. Claudio Miranda had had enough.  Apparently a color channel on the digital projector was faulty and wasn’t going to be fixed any time soon.  The image looked washed out but in a stylized way, so none of us really noticed.  But it was painful for Miranda to watch.  Publicists put the call into director David Fincher, who was on his way to the theater for a post-screening Q&A, and he made the decision: pull the plug.

    The audience was understandably agitated.  “Come on, it looks beautiful,” one chimed in.  But they all knew Miranda would have felt terrible showing his film in that fashion (and talking to some who’d see the film already, there was a considerable difference, as well as a sound quality issue afoot).  “Don’t do it,” another guy said, siding with Miranda and clearly a below-the-line guy that gets it.  When your art and your craft is compromised out of the gate, it’s better to cut your losses.

    The good news is, I hear the same thing happened to “The Pianist” and “Dances with Wolves” for their first big industry screenings.  So maybe you do get a second chance to make a first impression.  The SAG screening went swimmingly over at the Arclight, by the way, so there is that.  But on the whole, what a bummer.  Next to “The Dark Knight,” this had become my most anticipated film of the year.

    All of that said, I think we liked what we saw.  And after just 30 minutes, I’m pretty sure the film will take the Oscars for Best Makeup and Best Visual Effects walking away.  Pure magic.

    Saturday we’ll all get a second chance.  These things happen, I guess.

  • James Earl Jones and the SAG Lifetime Achievement Award

    James Earl JonesI’m two days behind in writing something up about this.  The press release landed Thursday but I haven’t been able to squeeze in two minutes to comment.  I’ll just link The Envelope for the story, which takes this quote from the release:

    “James Earl Jones’ distinguished career on stage, in film, on television, in commercials and as a vocal presence without peer commands our admiration and respect,” SAG President Alan Rosenberg said. “His long and quiet devotion to advancing literacy, the arts and humanities on a national and local scale deserves our appreciation. It is our honor to bestow the Guild’s highest tribute on this extraordinary actor.”

    Very cool news.  Jones always been an actors’ favorite, going back to his SAG nomination in the guild’s first awards year, 1995, for “Cry, the Beloved Country,” when almost all other awards-giving bodies ignored his work in the film.  The clip reel should be fun, everything from “The Great White Hope” to “Star Wars” to, fingers crossed, “The Sandlot.”

    Big congrats to Mr. Jones.  It’s been a long time coming.

  • “This town needs an enema!”

    Why can’t Hollywood just get along?

    Lots of lawsuits dropping in the film and entertainment buisness lately.  J.K. Rowling and the “Harry Potter” Lexicon, “Rear Window” vs. “Disturbia,” Watching the “Watchmen” tug of war, No Cash for Old Tommy Lee…and let’s not forget all the SAG drama, as studios fortify their ranks to do battle, be it now or in the future.

    Sometimes…I don’t know, it’s weird.  It’s like you can just TELL this blessed burg needs to chill out sometimes.