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bartist

Posted: Tue Jan 24, 2012 1:12 pm

Joined: 27 Apr 2010 Posts: 6944 Location: Black Hills

Didn't read up on the nominations; they stopped making sense a while back. Sydow is still acting? Hadn't realized he had a significant role in anything lately. Looking at the movie database, I see he was "the renter" in Extreme Treacle. Huh.

_________________
He was wise beyond his years, but only by a few days.

jeremy

Posted: Tue Jan 24, 2012 3:31 pm

Joined: 21 May 2004 Posts: 6794 Location: Derby, England and Hamilton, New Zealand (yes they are about 12,000 miles apart)

Gary Oldman's nod, being somewhat unexpected, was the only one I cheered for, albeit internally.

I'm not really in love with any of the nominations for best film. I wouldn't be upset if Hugo beat The Artist.

_________________
I am angry, I am ill, and I'm as ugly as sin.
My irritability keeps me alive and kicking.
I know the meaning of life, it doesn't help me a bit.
I know beauty and I know a good thing when I see it.

carrobin

Posted: Tue Jan 24, 2012 3:37 pm

Joined: 21 May 2004 Posts: 7795 Location: NYC

I was just reading a very interesting article about "Tinker Tailor" on the London Telegraph website, and discovered that Benedict Cumberbatch, who plays the title role in the BBC TV series "Sherlock," was Peter Guillam in "TTSS." I knew there was something familiar about Guillam but the blond hair threw me, and the character was quite different. I'll watch Sherlock with a more careful eye.

Last edited by carrobin on Tue Jan 24, 2012 3:44 pm; edited 1 time in total

inlareviewer

Posted: Tue Jan 24, 2012 3:40 pm

Joined: 05 Jul 2004 Posts: 1949 Location: Lawrence, KS

BEST PICTURE
"The Artist," Thomas Langmann, producer
"The Descendants," Jim Burke, Alexander Payne and Jim Taylor, producers
"Extremely Loud & Incredibly Close," Scott Rudin, producer
"The Help," Brunson Green, Chris Columbus and Michael Barnathan, producers
"Hugo," Graham King and Martin Scorsese, producers
"Midnight in Paris," Letty Aronson and Stephen Tenenbaum, producers
"Moneyball," Michael De Luca, Rachael Horovitz and Brad Pitt, producers
"The Tree of Life," Nominees to be determined
"War Horse," Steven Spielberg and Kathleen Kennedy, producers

LEAD ACTOR
Demián Bichir, "A Better Life"
George Clooney, "The Descendants"
Jean Dujardin, "The Artist"
Gary Oldman, "Tinker Tailor Soldier Spy "
Brad Pitt, "Moneyball"

LEAD ACTRESS
Glenn Close, "Albert Nobbs"
Viola Davis, "The Help"
Rooney Mara, "The Girl with the Dragon Tattoo"
Meryl Streep, "The Iron Lady"
Michelle Williams, "My Week With Marilyn"

BEST DIRECTOR
Michel Hazanavicius, "The Artist"
Alexander Payne, "The Descendants"
Martin Scorsese, "Hugo"
Woody Allen, "Midnight in Paris"
Terrence Malick, "The Tree of Life"

SUPPORTING ACTOR
Kenneth Branagh, "My Week with Marilyn"
Jonah Hill, "Moneyball"
Nick Nolte, "Warrior"
Christopher Plummer, "Beginners"
Max von Sydow, "Extremely Loud & Incredibly Close"

SUPPORTING ACTRESS
Bérénice Bejo, "The Artist"
Jessica Chastain, "The Help"
Melissa McCarthy, "Bridesmaids"
Janet McTeer, "Albert Nobbs"
Octavia Spencer, "The Help"

WRITING (ADAPTED SCREENPLAY)
"The Descendants," Alexander Payne and Nat Faxon & Jim Rash
"Hugo," John Logan
"The Ides of March," George Clooney & Grant Heslov and Beau Willimon
"Moneyball," Steven Zaillian and Aaron Sorkin. Story by Stan Chervin
"Tinker Tailor Soldier Spy," Screenplay by Bridget O'Connor & Peter Straughan

WRITING (ORIGINAL SCREENPLAY)
"The Artist," Michel Hazanavicius
"Bridesmaids," Annie Mumolo & Kristen Wiig
"Margin Call," J.C. Chandor
"Midnight in Paris," Woody Allen
"A Separation," Asghar Farhadi

ANIMATED FEATURE FILM
"A Cat in Paris," Alain Gagnol and Jean-Loup Felicioli
"Chico & Rita," Fernando Trueba and Javier Mariscal
"Kung Fu Panda 2," Jennifer Yuh Nelson
"Puss in Boots," Chris Miller
"Rango," Gore Verbinski

FOREIGN LANGUAGE FILM
"Bullhead," Belgium
"Footnote," Israel
"In Darkness," Poland
"Monsieur Lazhar," Canada
"A Separation," Iran

DOCUMENTARY (FEATURE)
"Hell and Back Again," Danfung Dennis and Mike Lerner
"If a Tree Falls: A Story of the Earth Liberation Front," Marshall Curry and Sam Cullman
"Paradise Lost 3: Purgatory," Joe Berlinger and Bruce Sinofsky
"Pina," Wim Wenders and Gian-Piero Ringel
"Undefeated," TJ Martin, Dan Lindsay and Richard Middlemas

DOCUMENTARY (SHORT SUBJECT)
"The Barber of Birmingham: Foot Soldier of the Civil Rights Movement," Robin Fryday and Gail Dolgin
"God Is the Bigger Elvis," Rebecca Cammisa and Julie Anderson
"Incident in New Baghdad," James Spione
"Saving Face," Daniel Junge and Sharmeen Obaid-Chinoy
"The Tsunami and the Cherry Blossom," Lucy Walker and Kira Carstensen

SHORT FILM (ANIMATED)
"Dimanche/Sunday," Patrick Doyon
"The Fantastic Flying Books of Mr. Morris Lessmore," William Joyce and Brandon Oldenburg
"La Luna," Enrico Casarosa
"A Morning Stroll," Grant Orchard and Sue Goffe
"Wild Life," Amanda Forbis and Wendy Tilby

SHORT FILM (LIVE ACTION)
"Pentecost," Peter McDonald and Eimear O'Kane
"Raju," Max Zähle and Stefan Gieren
"The Shore," Terry George and Oorlagh George
"Time Freak," Andrew Bowler and Gigi Causey
"Tuba Atlantic," Hallvar Witzø

ART DIRECTION
"The Artist," production design: Laurence Bennett; set decoration: Robert Gould
"Harry Potter and the Deathly Hallows Part 2," production design: Stuart Craig; set decoration: Stephenie McMillan
"Hugo," production design: Dante Ferretti; set decoration: Francesca Lo Schiavo
"Midnight in Paris," production design: Anne Seibel; set decoration: Hélène Dubreuil
"War Horse," production design: Rick Carter; set decoration: Lee Sandales

CINEMATOGRAPHY
Guillaume Schiffman, "The Artist"
Jeff Cronenweth, "The Girl with the Dragon Tattoo"
Robert Richardson, "Hugo"
Emmanuel Lubezki, "The Tree of Life"
Janusz Kaminski, "War Horse"

COSTUME DESIGN
Lisy Christl, "Anonymous"
Mark Bridges, "The Artist"
Sandy Powell, "Hugo"
Michael O'Connor, "Jane Eyre"
Arianne Phillips, "W.E"

FILM EDITING
"The Artist," Anne-Sophie Bion and Michel Hazanavicius
"The Descendants," Kevin Tent
"The Girl with the Dragon Tattoo," Kirk Baxter and Angus Wall
"Hugo" Thelma Schoonmaker
"Moneyball," Christopher Tellefsen

MAKEUP
"Albert Nobbs," Martial Corneville, Lynn Johnston and Matthew W. Mungle
"Harry Potter and the Deathly Hallows Part 2," Nick Dudman, Amanda Knight and Lisa Tomblin
"The Iron Lady," Mark Coulier and J. Roy Helland

MUSIC (ORIGINAL SCORE)
"The Adventures of Tintin," John Williams
"The Artist," Ludovic Bource
"Hugo," Howard Shore
"Tinker Tailor Soldier Spy," Alberto Iglesias
"War Horse" John Williams

MUSIC (ORIGINAL SONG)
"Man or Muppet" from "The Muppets," music and lyrics by Bret McKenzie
"Real in Rio," from "Rio," music by Sergio Mendes and Carlinhos Brown; lyrics by Siedah Garrett

SOUND EDITING
"Drive," Lon Bender and Victor Ray Ennis
"The Girl with the Dragon Tattoo," Ren Klyce
"Hugo," Philip Stockton and Eugene Gearty
"Transformers: Dark of the Moon," Ethan Van der Ryn and Erik Aadahl
"War Horse," Richard Hymns and Gary Rydstrom

SOUND MIXING
"The Girl with the Dragon Tattoo," David Parker, Michael Semanick, Ren Klyce and Bo Persson
"Hugo," Tom Fleischman and John Midgley
"Moneyball," Deb Adair, Ron Bochar, Dave Giammarco and Ed Novick
"Transformers: Dark of the Moon," Greg P. Russell, Gary Summers, Jeffrey J. Haboush and Peter J. Devlin
"War Horse," Gary Rydstrom, Andy Nelson, Tom Johnson and Stuart Wilson

VISUAL EFFECTS
"Harry Potter and the Deathly Hallows Part 2" Tim Burke, David Vickery, Greg Butler and John Richardson
"Hugo," Rob Legato, Joss Williams, Ben Grossman and Alex Henning
"Real Steel," Erik Nash, John Rosengrant, Dan Taylor and Swen Gillberg
"Rise of the Planet of the Apes," Joe Letteri, Dan Lemmon, R. Christopher White and Daniel Barrett
"Transformers: Dark of the Moon," Scott Farrar, Scott Benza, Matthew Butler and John Frazier

_________________
"And take extra care with strangers/Even flowers have their dangers/And though scary is exciting/Nice is different than good." --Stephen Sondheim

inlareviewer

Posted: Tue Jan 24, 2012 5:05 pm

Joined: 05 Jul 2004 Posts: 1949 Location: Lawrence, KS

Some bone-level-exhausted observations (almost fell asleep during the rollout this AM) on the Aclademy slate:

It's a Spread the Wealth Year in theory. Too bad about the 10 picture roster returning, since, just as in the last 2 years, the same 5, maybe 6 pix will still dominate the major awards. With all due respect to its partisans, Hugo is unlikely to beat The Artist -- for starters, there's simply not enough AMPAS members -- with fortunate-to-be-working-and-that's-what-they're-doing actors, studio executives, grips and gaffers, editors, wardrobe/set peeps, ad infinitum, in their ranks -- with the spare time/inclination to see the Scorsese! Love Letter To Melies In Specific, Movies In General in 3D, the only way to fully appreciate it. With all due respect to its detractors, The Artist is, like King's Speech last year, the Enthusiasm-Ridden Talk of the Town, and will almost certainly win Best Picture, because last year a Traditional Old-School Cinematic Crowdpleaser Of Presumed Significance took the top prize, this year an Unconventional Older-School Cinematic Crowdpleaser Of Presumed Innovation will take it (Oscar taste swings back and forth every year, not unlike the House of Representatives every two years, but I digress), will deal with why I'm okay with that when reviewing The Artist. Mainly The Descendants or The Help could unseat it, Teleplay/Soap Opera Premise Transcended By Superior Restrained Craft in the first case, Politically Correct Social Comment Wrapped In Best-Selling Chick Lit Tropes in the second, Decent and Climbing Box Office/Established Big Money In The Heartland Success, respectively.

Descendants is most likely to take home gold for Mr. Payne and associates for Adapted Screenplay (Hugo and Help are plausible Spoilers), and for George The Movie Star Who Abandons His Persona And Acts His Hind End Off Clooney, for Best Actor, though Mssr. Dujardin nips at his heels (The SAGGYs will tip the hat in one or another direction, as it usually does -- biggest branch of the Aclademy that actually participates in the Oscar ballot rather than giving to their partners or kids or household help to fill out, but, again, I digress). Had Leo gotten in over Mr. Bichir or Mr. Oldman, it might be different, for he would split the vote to skewer back toward Mr. Angelina Jolie, but he didn't, and Brad won't. Extremely Loud got a nod because anything to do with 9/11 automatically has the veneer of Meaningful and Important (even when not, though unseen by me, many professional sources almost hated it, just saying); Moneyball is way Traditional Old School Sports Underdog, they did Traditional Old School last year; Midnight in Paris is a Wryly Whimsical Charm Film Bonbon without The Artist's quota of Industry In-Jokes; Tree of Life is an Art Film Incarnate Of Daunting Length and Scope; and War Horse is simply not pulling in the crowds (for it ought to have opened earlier and grabbed the Holiday Id).

Gold Derby colleagues in the Oscarologist ranks and Academy members in the Critics Circle orbit report that Viola and SASSY's Icon keep switching odds from #1 and #2 and back again for Best Actress To Beat, which could let (gasp) Michelle Williams' portrayal of Marilyn Monroe As Michelle Williams sneak in, if there's a logjam between Mordant, Weight-of-The-World Centrifuge of the Film Ms. Davis and Sole, Career-Crowning Reason To See The Film Mrs. Gummer (with that ruthless Oscar Snagger Harvey Weinstein promoting her, never to be underestimated). La Close's movie is tanking, plus there's local snark that she's finally showing us why her first name is Glenn, i.e., she's not impressing the Actor's Branch; and Good On You Rooney's nomination for Creating A Viable If Not Obliterating Alternative To Noomi Rapace is her just reward. Am predictably sorry about both Kirsten Dunst and Elizabeth Olsen, if not surprised at their absence, not enough people saw Charlize in Young Adults or La Chastain in Take Shelter, let alone that Kevin film with Tilda.

Christopher Plummer's likely Career Award for SuppHose Actor win is only slightly diminished by Max von Sydow's presence on that roster -- no way will either Emma Thompson's Ex, Nick Mug Shot Nolte or Li'l Jonah Hill win that award, plus, The Former Captain Von Trapp is also in Dragon Tattoo, and it's making boffo box office, and that never hurts any nominee by association. And despite the competition from La Chastain in her own film, Octavia Spencer had the Best SuppHose Actress award the minute she uttered "Eat. My. Shit." Only Berenice Bejo's Charming New Girl In Town in A Category Most Traditionally Prone To Upsets can unseat her, and La McTeer and My Old Groundlings Pal Melissa McC. have not even Spoiler possibilities. Am also sorry about Charlotte Gainsbourg, though I never expected her to show up, and that incisive teen from Descendants whose name suddenly escapes me, but still, it's going to be Octavia unless she screws up on the campaign trail, and she's too savvy for that.

Am of course thrilled that A Separation's extremely original Original Screenplay got nodded, but Woody is the frontrunner to take that one for Midnight in Paris. unless there's an Artist sweep (not seeing this, personally, but it could happen). From there, it might well actually be, why, a Spread The Wealth Year. Director is a 3-way race between Hazanavicius, Payne and Scorsese!, and the Cinematography contest is especially intriguing, since neither Melancholia nor Midnight nor Descendants, vitally lensed and crucial to their properties' effect all, made the cut. Ultimately, though, must be honest: this year's AMPAS roster recalls George Sanders' deathless rejoinder to Linda Darnell in Forever Amber: "Your mind, madame, is like your wardrobe -- many changes but few surprises. "

And, before toddling off to take a nap and scrambling to make double-deadlines for Theater Beat this afternoon, and then returning to weigh in on The Artist, The Descendants, My Weekend With Marilyn, The Iron Lady and The Girl With the Dragon Tattoo Redux, have to say that I'm more taken by what to my bereaved mind seems the REAL nailbiter, of any faceoff this year, albeit in the animal ranks: Which effortlessly film-stealing Jack Russell Terrier will be crowned Top Dog:, Arthur, the Actor's Studio virtuoso and emotional linchpin of Beginners, or Uggie, the Orpheum Circuit virtuoso and climactic pivot of Artist? It's a bone-toss to me, loved 'em both, and Tintin's Snowy is of course animated, an unfair advantage. Ruff, woof, ciao, belli.

inla out, with Ambien

Edited for typos through the haze

Last edited by inlareviewer on Tue Jan 24, 2012 9:57 pm; edited 6 times in total
_________________
"And take extra care with strangers/Even flowers have their dangers/And though scary is exciting/Nice is different than good." --Stephen Sondheim

Syd

Posted: Tue Jan 24, 2012 5:44 pm

Site Admin Joined: 21 May 2004 Posts: 12890 Location: Norman, Oklahoma

But without Snowy, Tintin would have a lot fewer adventures.

_________________
I had a love and my love was true but I lost my love to the yabba dabba doo, --The Flintstone Lament

inlareviewer

Posted: Tue Jan 24, 2012 6:05 pm

Joined: 05 Jul 2004 Posts: 1949 Location: Lawrence, KS

Syd wrote:

But without Snowy, Tintin would have a lot fewer adventures.

True enough, that.
Ambien kicking in. Must go snore. Au revoir, cinemaddicts.

_________________
"And take extra care with strangers/Even flowers have their dangers/And though scary is exciting/Nice is different than good." --Stephen Sondheim

Syd

Posted: Tue Jan 24, 2012 6:29 pm

Site Admin Joined: 21 May 2004 Posts: 12890 Location: Norman, Oklahoma

I hadn't heard of the first two animated feature nominees. I look forward to seeing them.

I've seen six of the nine best picture nominees (the last six in alphabetical order). Extremely Close looks like the one nominee a year I don't see, but it doesn't stand a chance anyway. I'll check out The Descendants and The Artist. So far, I'm rooting for Hugo.

_________________
I had a love and my love was true but I lost my love to the yabba dabba doo, --The Flintstone Lament

jeremy

Posted: Tue Jan 24, 2012 11:30 pm

Joined: 21 May 2004 Posts: 6794 Location: Derby, England and Hamilton, New Zealand (yes they are about 12,000 miles apart)

ANIMATED FEATURE FILM
"A Cat in Paris," Alain Gagnol and Jean-Loup Felicioli - Not seen it
"Chico & Rita," Fernando Trueba and Javier Mariscal - Not seen it
"Kung Fu Panda 2," Jennifer Yuh Nelson - A quite enjoyable, if unremarkable sequel
"Puss in Boots," Chris Miller - Why do people go for the Shrek dreck?
"Rango," Gore Verbinski - Easily the best of the bunch I've seen that were nominated.

No nod for Tin Tin? Is mocap a no no?

Arthur Christmas was also watchable, if not Aardmans best.

My favourite animated film of the year by some margin, Studio Ghibli's Arrietty. I haven't seen any coverage of this in the US, so I'm guessing it's not been released there yet.

Syd

Posted: Wed Jan 25, 2012 12:03 am

Site Admin Joined: 21 May 2004 Posts: 12890 Location: Norman, Oklahoma

Arietty's set for opening on February 17. Chico and Rita opens February 10. I don't know about A Cat in Paris.

_________________
I had a love and my love was true but I lost my love to the yabba dabba doo, --The Flintstone Lament

bartist

Posted: Wed Jan 25, 2012 10:36 am

Joined: 27 Apr 2010 Posts: 6944 Location: Black Hills

I'm probably not as much of a movie person as many here. With limited budget, I rarely can justify seeing a kids movie, absent a kid tugging on my leg. Mine are grown and the oldest is leaving for the west coast in two months.

And I'm unqualified to judge or rank performances this year, based on Inla's listings. Lead actress, for example - didn't see, had no interest in The Iron Lady, My Week w/Marilyn, or Albert Nobbs. Had seen the Swedish Lisbet, so no interest in Rooney's version.

Skipped many other films up for awards. I'm sure Beginners is good, but it doesn't personally interest me. Ditto Moneyball, Extremely Whatever, Hugo, Warhorse, et al. I'm not a critic, and my paycheck doesn't depend on seeing films just to have seen them, so there are many perfectly good ones I skip. As for ranking the ones I've seen, it's all so subjective that it's hard to see the merits in even attempting. Do I rank The Help over Bridesmaids because I adore Emma Stone and squirm over vomit/poo jokes? To even suggest such a scheme reveals its vacuity.

_________________
He was wise beyond his years, but only by a few days.

carrobin

Posted: Wed Jan 25, 2012 10:50 am

Joined: 21 May 2004 Posts: 7795 Location: NYC

Your problem isn't unique, Bart. I've seen maybe eight movies that came out in 2011, if that many, and I don't feel qualified to judge, say, Meryl's Thatcher on the grounds of some TV ads. (She's amazing in those, though.) "Albert Nobbs" hasn't even opened in New York yet, so I'm surprised it's Oscar qualified (Glenn Close was on TV this morning talking about it). I haven't even seen "Midnight in Paris" or "The Descendants." Thank goodness for DVDs.

billyweeds

Posted: Wed Jan 25, 2012 12:31 pm

Joined: 20 May 2004 Posts: 20618 Location: New York City

In my opinion, if you see A Separation, you need not see any other 2011 films. That said, I think it was a pretty good year. I unqualifiedly loved several films, the majority of which are not up for Best Picture. War Horse and The Descendants are, it's true, but Drive, Bridesmaids, The Conspirator, Another Happy Day, and Take Shelter are nowhere to be seen. Meanwhile, Hugo and The Artist vie for honors. Blech.

gromit

Posted: Wed Jan 25, 2012 12:47 pm

Joined: 31 Aug 2004 Posts: 9008 Location: Shanghai

billyweeds wrote:

I think it was a pretty good year. ... War Horse ... Drive, Bridesmaids, The Conspirator

That's all ya got?
Real down year in my O.
And notice that's a big O.

Actually I haven't seen enough, and only have 9 films in my Top 10:
1. The Temptation of St. Tony

2. The Tree of Life
3. Nostalgia for the Light
4. The Adjustment Bureau
5. Colors of the Mountain

6. Midnight in Paris
7. Rango
8. The Beaver
9. Another Earth

I didn't even think Tree of Life was that good. Just more interesting than most of the rest. Those are the only interesting films I've seen. In a good year St Tony would get bumped down to 10th and the others pushed off the list entirely. Which might still happen

The other '11 films I saw were either mediocre and forgettable (Source Code, Moneyball, Ides of March, The Conspirator), or outright annoying (Melancholia, Poetry, Uncle Boommicrophone).

Last edited by gromit on Wed Jan 25, 2012 12:54 pm; edited 2 times in total
_________________
Killing your enemies, if it's done badly, increases their number.

bartist

Posted: Wed Jan 25, 2012 12:53 pm

Joined: 27 Apr 2010 Posts: 6944 Location: Black Hills

Blech indeed. "A Separation" is top of my must-see list, even if I have to mug an old lady to get ticket funds. Come to think of it, old ladies often carry pepper spray, so I might be targeting girl scouts selling cookies, if they are small and weak. They can learn a useful lesson about capitalism...it's what they call a Teaching Moment, right?

As for judging Streep's Femme de Fer on the basis of the trailers, it works for me. A 2012 resolution, for me, is to stop pretending I don't make snap judgments on slender evidence.

_________________
He was wise beyond his years, but only by a few days.

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