In Contention

Tag: The Social Network

  • BOX OFFICE: ‘King’s Speech’ goes wide after guild wins

    It looks like “The King’s Speech,” which went much wider this weekend, could quietly become a $100-million grossing movie.  Meanwhile, that re-expansion for “The Social Network” didn’t make much of a dent and it seems increasingly unlikely it’ll cross that mark, leaving “Black Swan,” “Inception,” “Toy Story 3,” “True Grit” and potentially “The Fighter” as the only Best Picture nominees to ultimately get there.

    In more depressing news, “The Way Back” will barely make $3 million when all is said and done.

    (Courtesy: Exhibitor Relations)

  • WEEKLY WRAP: Nomination week

    • In case you’ve just emerged from a coma, “The King’s Speech” led the Oscar nominations on Tuesday with 12 bids.

    • “The King’s Speech” was also the surprise winner at the Producers’ Guild Awards, drastically shaking up the Best Picture race.

    • In the wake of these developments, Kris adjusted his winner predictions accordingly.

    • In a special mid-week edition of Oscar Talk, Guy and indieWIRE’s Peter Knegt joined Kris and Anne to break down the nominations.

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  • Predict the DGA winner

    I nearly forgot tomorrow brings the DGA awards.  I thought they were next weekend.  Anyway, I guess this can be your place to offer up predictions.  I’ll say this, though.  I don’t think David Fincher has this in the bag.  At all.  Ballots were due in today, by the way, which means the Oscar nominations could have an impact.  Maybe last minute voters want to spring for Christopher Nolan after he was unceremoniously snubbed by the Academy?

    Fincher’s dominance in the critics awards circuit is unmistakable.  But now you’re talking about 10,000 people rather than a 30-person media organization (and, in most cases, much smaller than that).  “Inception” is a populist film, but so, too, is “The King’s Speech.” And I think I’m just brazen enough to predict Tom Hooper to win.

    Yep, I am.  I think Darren Aronofsky deserves it above all comers, but that’s unlikely.  And Fincher would be my second pick.  He could well win, and “The Fighter” could take the SAG ensemble prize, blowing the race wide open (for some).  But no, I’m going to put my chips on a sweep for “The King’s Speech” that started with PGA, will continue tomorrow night and keep going through Sunday with an ensemble win.  What about you?

    [Photo: Fox Searchlight Pictures]

  • TECH SUPPORT: Analyzing the nominees

    So the 83rd Annual Academy Award nominations were finally announced this week, and I did fairly well in handicapping the nominees. Outside of Best Sound Mixing, I never missed more than one nominee in a category. Unfortunately, there were no categories where I scored 100% (apart from Best Picture and Best Adapted Screenplay). Oh well.

    The massive overall tally for “The King’s Speech” resulted from a plethora of nominations in the crafts fields. “True Grit” and “Inception” got all but one plausible tech nomination (with one very notable exception for each, discussed below). “TRON Legacy”’s tally, on the other hand, has got to be considered a disappointment as must, to a lesser extent, those of “Black Swan” and “127 Hours.” The complete shut-out for “Shutter Island” was also somewhat of a surprise, but other branches saw fit to make Oscar nominees of some unlikely titles.

    Regardless, it was nice to see many deserving crafts artists get their due. With the throat-clearing out of the way, I’ll now give short reactions to – and previews of – each below-the-line field.

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  • Predict the SAG winners

    This weekend completes the trio of Guild awards with the most bearing on the Best Picture race, as the Directors’ Guild of America and the Screen Actors’ Guild dish out their prizes on Saturday and Sunday, respectively.

    Following the Producers’ Guild’s surprise coronation of “The King’s Speech” last week, the next two days could help level the race — most are favoring “The Social Network” to fight back with a DGA gong, but the SAG Awards are more of a wild card.

    A couple of SAG categories, of course, barely require discussion. In the lead acting races, there’s no reason whatsoever to suspect that Colin Firth and Natalie Portman won’t continue their joint march to the Oscar podium on Sunday. (If Annette Bening were to pull off a shocker, she’d be the first two-time Best Actress winner in the 17-year history of the awards, which somehow makes it seem even less likely.)

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  • Young stars speak out on ‘The Social Network’

    Newly minted Oscar nominee James Franco caused a bit of a ripple in the blogosphere the other day by casually slighting “The Social Network” — claiming the film fails to deal with the communication revolution that (to his mind) it’s supposed to be about, and further suggesting that its approach is too “classical” (read: conservative) for the subject.

    Naturally, given that he’s the star of one of the film’s Best Picture rivals, he couldn’t resist drawing comparisons to his own baby, declaring “127 Hours” both “perfect” and “the most innovative movie this year.”

    I’d take issue with both halves of Franco’s argument — as much as I (and I suspect Franco too) would like David Fincher’s film to focus on the politics of social networking itself, that isn’t its intent. Neither am I convinced that “127 Hours,” which uses familiar, even dated, formal flash to enliven its minimalist narrative, is as innovative as the actor claims it is.

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  • 1/26 OSCARWEB ROUND-UP: Facebook is over it, ‘Superman’ snub “myths,” an all-white acting class

    • Facebook on the film’s eight-nomination haul: “We’re over it, thanks.  Trying to build the future here.” [Hollywood Reporter]

    • A.J. Schnack attempts to unravel the myths behind the “Waiting for Superman” snub. [All These Wonderful Things]

    • Patrick Goldstein notes the (anticipated) lack of color in this year’s acting categories. [The Big Picture]

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  • OSCAR TALK: Ep. 50 — Special Edition! — Nod postmortem with Guy Lodge and Peter Knegt

    Oscar TalkWelcome to Oscar Talk.

    In case you’re new to the site and/or the podcast, Oscar Talk is a weekly kudocast, your one-stop awards chat shop between yours truly and Anne Thompson of Thompson on Hollywood. The podcast is weekly, every Friday throughout the season, charting the ups and downs of contenders along the way. Plenty of things change en route to Oscar’s stage and we’re here to address it all as it unfolds.

    Unless you’ve been under a rock this morning, you’re aware of the day’s big news. Oscar nominations were revealed by the Academy of Motion Picture Arts and Sciences in 24 categories. And, as is typically, there were enough eyebrow-raisers to give us a ton to talk about. We’ve got IC’s own Guy Lodge and indieWIRE‘s Peter Knegt on board. Also, it’s our 50th episode! Let’s see what’s on the docket today…

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  • OFF THE CARPET: Remember the movies (but maybe not these final predictions)

    Two weeks ago, one of our readers, KevinK, asked the following question for Oscar Talk:

    What do you think of the atmosphere that comes out of this late stage of the awards season?  I think the atmosphere is really toxic and really flies in the face of what we all care about in the first place: a love of film.

    We didn’t get to it on the air.  So I saved it.  Then Thursday, Guy touched on some profound textures in his final pre-nod column.  It was one of his best, a sound consideration of the posterity of an awards season above its pageantry.

    The Yin and Yang of things is what struck me.  To Kevin’s point, the environment around these films is more and more enhanced or diminished by steadily increasing media attention — this outlet being no exception.  He went on to note a well-regarded critic’s perceived change of heart on one of last year’s front-running contenders due to its consistent registration during the season, as if a virginal opinion had been sullied by the air of competition and acclaim.

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  • 1/24 OSCARWEB ROUND-UP: Rich’s two Americas, meet the foreign film exec committee, Jonze interviews Russell

    • Frank Rich sees two Americas in “The Social Network” and “True Grit.” [New York Times]

    • David Poland sits down with the latter’s cinematographer, Roger Deakins. [The Hot Blog]

    • Meet the executive committee charged with saving esoteric foreign films hopefuls. [The Odds]

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  • My dream Oscar ballot, part two

    Yesterday, I began my very far-fetched (and in some cases, frankly impossible) wishlist for Tuesday’s Oscar nominations with my favorite achievements in the technical categories. Today, I offer up my picks in the top races, and I don’t mind telling you things got pretty agonizing in some categories.

    “Why can’t I have 15 nominees for Best Supporting Actress?” one half of my brain asked earlier this morning, as I once more marvelled that any pundits could once have deemed that particular race “weak.” Cooler instincts prevailed, but it bears repeating just what a staggering, and pleasingly varied, year it’s been for female performances on both sides of the category divide. I was also surprised to see how many performances stood tall from films that weren’t necessarily on their stars’ level — I like to think there aren’t too many coattail picks here.

    I’ve veered from Academy format in one respect: I’ve dispensed with a Best Foreign Language Film category. Not only do I dislike the award in principle — it’s a different language, not a different medium — but my general picks are heavy enough on foreign fare that a ghetto category seemed superfluous. Check out my picks after the cut, and share your thoughts in the comments.

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  • My dream Oscar ballot, part one

    For the past two years running, I’ve celebrated Oscar Nomination Eve by assembling my own ideal (and, usually, incredibly far-fetched) ballot, so here we go again. As well as a kind of last-ditch prayer to the Oscar gods, I also look on it as a salute to the worthy contenders who haven’t a hope in hell of hearing their names read out on Tuesday morning.

    At the request of some readers, I’ve bent the rules to accommodate several titles unfairly ineligible for Oscar consideration in any category: most of you are aware of the arcane ruling that has denied “A Prophet” the chance to ever compete in a non-ghetto category, while the TV airings of “Red Riding” and “Carlos” keep them out of the game too. I’m less clear on why the likes of “White Material” and “Fish Tank” aren’t on the Academy’s list of eligible titles, but they aren’t, and I must make my peace with that.

    Anyway, screw ’em: this ballot represents what I found most awards-worthy from all the theatrical features released in the US last year, and you can’t get fairer than that. I’ll begin, as usual, with the ten technical categories — in which I was pleased to end up with a healthy spread of 33 films across 48 slots. Jump in after the cut, and share your own thoughts in the comments. (Also, check out Kris’s very different ideal ballot here.)

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  • WEEKLY WRAP: Globes chatter, Batman buzz, foreign Oscar surprises

    • The Golden Globes did their thing, with Ricky Gervais’s antics drawing more attention than the sweep for “The Social Network.”

    • David Fincher’s film continued its dominance at the Broadcast Film Critics’ Association Awards, which Kris reported from first-hand.

    • As if to remind us that there’s more than one film in the race, this week’s BAFTA nominations were ruled by “The King’s Speech” and “Black Swan.”

    • Sadly, we bade farewell this week to regular columnist Chad, who left us with his idiosyncratic Best of 2010 list.

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  • ‘Of Gods and Men,’ ‘Ghost Writer’ lead César nominations

    The film may be smarting from its widely (if not, ahem, entirely) unexpected omission from the Oscar foreign-language shortlist earlier this week, but Xavier Beauvois’s sombre religious drama “Of Gods and Men” found more love in its home country, where it scooped a leading 11 nominations for the César Awards.

    The so-called “French Oscars” also unsurprisingly took a shine to Roman Polanski’s “The Ghost Writer,” which has dominated the European awards circuit and is angling for a surprise Oscar nod or two on Tuesday. Expect these two films to battle it out for the gold; I’d bet on the weighty prestige veneer of Beauvois’s film winning out, but sentimental loyalty to Polanski shouldn’t be underestimated — he is, after all, a previous winner for both “Tess” and  “The Pianist.”

    Beyond those two frontrunners, I’m pleased to see a strong showing for Mathieu Amalric’s scrappy burlesque comedy “On Tour,” though their other choices suggest the Césars can be as frustratingly MOR as their US counterpart.

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  • OSCAR TALK: Ep. 49 — Final pre-nod discussion

    Oscar TalkWelcome to Oscar Talk.

    In case you’re new to the site and/or the podcast, Oscar Talk is a weekly kudocast, your one-stop awards chat shop between yours truly and Anne Thompson of Thompson on Hollywood. The podcast is weekly, every Friday throughout the season, charting the ups and downs of contenders along the way. Plenty of things change en route to Oscar’s stage and we’re here to address it all as it unfolds.

    We’re moving into the last weekend before the Academy’s big nominations reveal on Tuesday. Anne is calling from Sundance, where the festival is just gearing up, leaving me alone in LA to my devices. But there are a number of things to address in these final pre-nod hours, so let’s see what’s on the docket today…

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  • TECH SUPPORT: Final analysis, part one

    It seems hard to believe that it’s been more than six months since I wrote this year’s introductory Tech Support column ( a dissection of the art direction race). Much has changed since then, naturally, as we are less than a week away from the big day when we find out the nominees for the Oscars this year. Today, I take a final look at the music categories, sound categories and the two categories that have been narrowed down to seven finalists – Best Visual Effects and Best Makeup.

    BEST MAKEUP

    In this utterly bizarre category, virtually any combination of the seven finalists would fail to surprise me as the final three. That said, I’ve had the same top two predicted all year and see no reason to change now: “Alice in Wonderland” and “The Wolfman.” The former had massive box office and very noticeable makeup, whereas the latter is exactly the sort of movie that tends to score here and nowhere else.

    Logic may put “True Grit” or “The Fighter” next in line due to their Best Picture contender status. But as much as these films are loved, they don’t have as showy makeup as the other finalists, and this is a category that often doesn’t care how films are received overall.

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  • 1/20 OSCARWEB ROUND-UP: Portman milestones, Best Director not equal to Best Picture, Sony goes iTunes, too

    • Eight milestones in the evolution of Natalie Portman. [Movieline]

    • Carolyn Giardana notes a rare Best Visual Effects nomination for an animated film at the BAFTAs. [Hollywood Reporter]

    • Nathaniel Rogers argues against the notion that Best Director must equal Best Picture. [The Film Experience]

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  • Sorkin at length

    David Poland has really dived into his long-form interviews this year, more than ever. What’s sacrificed has been some of his more, well, colorful written commentary, and tons of video can be a lot to take in most of the time, but every once in a while I perk up at this or that piece. Like this one, a nearly 40 minute interview with “The Social Network” screenwriter Aaron Sorkin. Thought I’d pass it along: