Tag Archives: Alec Baldwin

Emmy Time!

And you thought Justice was blind?

Wow – looks like Emmy might have gotten a few things right for a change.

With Breaking Bad being out of the mix this year, does that open Best Actor? Will the old guard hold court or will the new shows start knocking off the dinosaurs? Will long running but Emmy-less favorites who are leaving shows get the sentimental vote as recognition for previous oversights?

HBO pulled in a whopping 104 nominations. The next most was CBS with 50.

Basic cable is in the house! Do they have a chance?

Here is the list of nominees. Tomorrow’s TGIF will look at the worthy nominees and the glaring omissions.

Snark attack!

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Oscar? My, A Wiener!

When the best line of the night is delivered by a hologram, that’s not a good sign…

Old Hollywood crossed swords with New Hollywood last night, and it’s quite possible that they both took two steps backwards. Despite a blatant attempt to drag itself into the 21st century through young hosts and a plethora of social media references, most reports on the Oscar telecast agree that it was a major fail. Ironically, the two best presences on stage were Billy Crystal and Bob Hope – the former nailing two great jokes in a row before paying tribute to the legacy of the latter. And yes, the line of the night came from a hologram.

To paraphrase Neil Young, the show “started out real slow and then fizzled out altogether“. The opening montage placed co-hosts Anne Hathaway and James Franco in an amusing maze of Best Picture references; digitally inserted into scenes so they could interact with the stars, and surprising us with cameos from Alec Baldwin and Morgan Freeman.

But from that point forward, it went down like a lawn dart.

Ratings were off ten percent as viewers started to bail during the telecast, knowing they could get updates without siting through some of the most painful banter ever written for a major awards show. Maybe they should have taken Ricky Gervais up on his offer to script a few jokes. Sure he’d offend a few people, but at least they’d be awake.

I like James Franco. But the dude seemed to disappear for large stretches of time, and judging by his performance I suspect they were for (wink wink) smoke breaks. Either that or he decided to channel his Freaks And Geeks stoner character because he realized that the “guy in a dress” thing had short shelf life.

I like Anne Hathaway. I think she’s talented and fearless and funny, and she’s as good of a singer as she is an actress. But she was a disaster as a host. Fawning over presenters like a tipsy schoolgirl at an adult party, she showed neither respect nor a sense of belonging. If people had concerns that a relative newcomer is not who people feel comfortable with to steer them through the night, she made their case.

I like Kirk Douglas. I’ve been a fan all my life and several of his films are on my all time list of greats, and I’m thrilled that he has battled through a debilitating stroke at an advanced age and continues to be involved in the industry. But what first started out as uncomfortable soon nose-dived into painful, whether he was milking the joke or truly addled. Watching him twist five nominees in the wind was as sad as watching Dick Clark trying to keep up with the New Year’s Eve countdown, and both were in front of a global audience. I know some thought that was the highlight of the show, but haters gotta hate.

Two presenters who tried hard

I like Randy Newman. And hey, no complaints. He was actually funny, and self-deprecating, and irreverent and grateful. Truly an oasis in last night’s desert. I think he has a future in the business.

I like Melissa Leo. I’ve been a fan of hers since Homicide, and I’ve been thrilled to watch her finally get recognition in recent years for strong roles in independent films. But as much as I love the F-bomb, it’s her OMG! persona that is starting to wear thin. Not quite Sally Field territory, but after accepting a slew of nominations for Frozen River and now The Fighter, I think the “pinch me” days are behind her. Still, kudos to a great actress.

I like short witty speeches. If you were still awake when Tom Hooper and Colin Firth accepted their awards, both were great examples of  how to leverage the opportunity with wit and humility. Firth put it best, saying “I have a feeling my career just peaked“. Aaron Sorkin also nailed his speech – wordy but fluid, naturally – with the right balance of deference and pride plus the bonus point for a closing personal remark that makes people like me remember to compliment him.

I like Lena Horne. But why did I get the feeling that singling her out was pandering to the race card issue rather than a genuine bow to her greatness? Yes, she was a trailblazer, and yes, it is Black History Month, but the fact that we still have Black History Month and still have to have actors like Halle Berry acknowledge that a trail was blazed for them shows just how far we are from being a society that has put prejudice in its rear view mirror.

As for the awards themselves, I was stunned that Tom Hooper won Best Director. It was reminiscent of Putney Swope, where voters didn’t want to tip the scales to a serious candidate so they cast a vote for someone they were sure wouldn’t win…and of course, he did. Hooper did a fine job, of course, but the exclusion of Christopher Nolan was just that much more obvious. I thought The King’s Speech was a fine film; I enjoyed it very much. But it was a character study, a play transported to screen, that was dwarfed by at least half its competitors.

At the risk of sounding like Old Hollywood, maybe I just miss times like these instead of an era when Chicago is the best we can do. And no, I’m not bitter just because I got my clock cleaned on my ballot after an early run of success. I missed on a few key gambles but hey – I beat the people in Mom’s basement.

And of course the In Memorium list missed some names…as always. Why is this so difficult every year? Who does this? They can’t keep track of famous dead people when there are gambling sites devoted to tracking that very list of names? (Attention witless Keepers of the Oscar Obituaries: Jane Russell is now on board for your next montage.)

But I’ll be back next year. Hope they hire a comic who can work the room.

Even if he’s dead.

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Ricky Gervais: Golden Balls

Thank God for Ricky Gervais, even if Ricky is an athiest.

Gervais, as he did last year, relentlessly skewered any pretense of dignity that some think the event has. Although it has been elevated to major award status, the fact remains that it’s just one more opportunity for Hollywood to pat itself on the back and ensure global domination of its main export, the American film. So widespread is its reputation for bribery, favoritism and hero-worship that even Robert DeNiro took several shots at the HFPA when receiving its highest honor.

I had to laugh when reading reports this morning chastising Gervais for being irreverent and mean-spirited, and I was astounded to see that some didn’t even find him funny. Are you kidding me? Aside from a couple of good podium moments (David Fincher, Jane Lynch) and two good introductory bits (Robert Downey Jr. and the always-gold Tina Fey/Alec Baldwin combination) the show was an insufferable snore-fest. When he was off-screen for close to an hour, the show dragged. There were no huge upsets in the film categories (Paul Giamatti and Melissa Leo being the closest thing to surprises) and as usual the attendees were more interested in socializing between announcements than paying attention to the proceedings. If they’re not focused, why should I be?

Ah, but when Gervais was at the podium, they had to focus, because he’s fearless; you never know what he’s going to say and when. Are people really upset that he inferred that Mel Gibson, Charlie Sheen and Robert Downey Jr. have had personal issues? Was poking fun at some of the turkeys in a film resume really that insulting to a famous actor? And the joke about the omission of Jim Carrey’s performance in I Love You Philip Morris was brilliant; a one-two punch that savaged the voting board for its inconsistent temerity regarding homosexuality and launched a dig at pushy Scientology salesmen Tom Cruise and John Travolta

Also not nominated: I Love You, Philip Morris. Jim Carrey and Ewan McGregor. Two heterosexual actors pretending to be gay. Sort of the complete opposite of some famous Scientologists then…My lawyers helped me with the wording of that joke.”

Most of the celebrities seemed to get it; Downey countered with a great quote (“Aside from the fact that it’s been hugely mean-spirited, with mildly sinister undertones, I’d say the vibe of the show is pretty good so far, wouldn’t you?“) and even long-suffering Office doppelgänger Steve Carell dutifully played the fall guy for what must be the hundredth time. Only the HFPA President seemed truly miffed – or maybe his comic delivery just sucks – but I think he has bigger problems than a temporary insult most people will forget faster than they forgot his name. Perhaps those who didn’t laugh prove the old adage that “the truth hurts“, because the Sex In The City actresses are long in the tooth, Cher is not a hot commodity in 2011, and Tim Allen, nice guy that he is, doesn’t have a resume like that of Tom Hanks.

But there were some painful moments, too. I love Robert DeNiro, and few actors have had the kind of career he has assembled (even discounting most of the past decade). But anyone who has seen him on Saturday Night Live knows that he is abysmal when reading cue cards, especially when it is comic lines obviously written by someone else. It started awkwardly enough, dove into some racist territory and ended with a fairly creepy reference to Megan Fox. Within the speech there were some pretty great barbs deflating the HFPA, but it was as painful to watch as…well…Little Fockers, for one.

The biggest surprises of the evening were on the TV side of the fence; 30 Rock going home empty-handed, Modern Family losing to Glee (when their sophomore seasons have been such polar opposites, quality wise) and the lovely but absent Laura Linney grabbing the honor for The Big C. I was thrilled that Chris Colfer won for Glee; they handed him the ball this year and he really ran with it. Ditto Katey Sagal – not only finally getting noticed for her amazing work on Sons of Anarchy, but getting to take home the award.

The Observer from Fringe alongside Edgar Winter

So how did I do? Seven out of ten, but missing on three biggies. I guess the best movie can’t direct itself, but I think Nolan’s film was a superior effort. Loved seeing humble Colin Firth win, although if he stuttered during his speech that would have been much funnier. And I’m thankful that Natalie Portman won but was surprised by Paul Giamatti’s win, although he’s always good for a great speech, even when they censor the first ten seconds of it. The censors were uneven with their cut-offs and their music cues, but what the hell, I’ll be back next year to watch.

If the HFPA has even one-tenth the balls that Gervais does, so will Ricky.

The list of nominees and winners is here.

Here’s a link to a great page that lists the major category winners for the Critic Associations and provides a schedule for (and links to) all of the award ceremonies. Next up are the BAFTA nominations on Tuesday, with the Academy Award nominations the week after.

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Post-Emmy Thoughts

Visit the official Emmy website for a list of the winners.

  • Jimmy Fallon, you did great. That opening number will go down as one of the funniest and best kickoffs in the history of the telecast. You were funny throughout the night without being overbearing and milked that child-like innocence for all it was worth. And the musical impressions were pure gold.
  • Although I was pulling for Terry O’Quinn to be recognized for his incredible work on Lost, I can’t argue with the award to Aaron Paul from Breaking Bad. I felt he should have won before, and it’s great to see that his peers recognized his efforts; so many other actors would have made Jesse Pinkman a caricature.
  • Now that Bryan Cranston’s incredibly dramatic chops aren’t catching anyone off guard, I wonder how many will look back and realize just how much he deserved the award for his work on Malcolm In The Middle?
  • It looks like 30 Rock hit the wall across the board – the show and leads Tina Fey and Alec Baldwin were collecting statues like clockwork but all three got shut out last night. I wonder if people are taking that show for granted already?
  • Ricky Gervais proved again that every awards show needs to have him on stage for at least five minutes. Again, the funniest man in the room.
  • If you told me that two people would stand up in the audience and take bows, I never would have come up with Temple Grandin and Jack Kevorkian. Never.
  • Jorge Garcia and Jon Hamm during the “Born To Run” clip – priceless. (Hurley and Hamm does have a ring to it…)
  • Claire Danes is starting to resemble Lauren Bacall.
  • The Tweets sucked the life out of the moment anytime they were read. Dump the idea.
  • Mad Men is an unstoppable force. Ensembles do rule.
  • Tom Selleck looked like Gregory Peck in The Boys From Brazil.
  • Usually those songs played during the Memorium sequence can be pretty lame, but I thought Jewel did a nice job. Might actually be the best song I’ve heard from her in years (not that I’m actively listening…)
  • Some of the “we asked them this question” film clips were beyond painful, but the one with Steve Levitan and Christopher Lloyd mocking the Old Spice man on a horse commercial was genius.
  • Bucky Gunts!!
  • January Jones looked like a Christmas ornament. And I’ll bet any hetero man in the first three rows – assuming there were any – appreciated the view.
  • Archie Panjabi as Best Supporting Actress over Elisabeth Moss and Christina Hendricks?. Are you kidding me?
  • But the absolute MVP of the night has to go to John Hodgman, who did the hilarious voice-overs again this year. They were hysterical in their own right and make you realize just how stodgy and lame and unimaginative most award shows are. Too bad he couldn’t have scripted everything the presenters were told to say.

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New Albums From Old Friends

Al Jardine – A Postcard From California

Sure, a lot of this is older Beach Boys material, and yes, Alec Baldwin’s narration within “A California Saga” is a little off-putting, but the important things here are (1) Al Jardine released an album and (2) damn, he sounds really good! Guests on the album – in addition to most of the Beach Boys – include Glen Campbell, Flea, David Crosby, Stephen Stills, and Steve Miller.

And Beach Boy fans will plotz when they hear the harmonies (including Carl!) on “Don’t Fight The Sea”. Obviously this album has been years in the making, and in keeping with Jardine’s personality it’s a tribute to the natural beauty of California rather than the cars/girls/surfing themes. Fans might have had demos and boots of some of these songs over the years but the sound here is first-rate.

Micky Dolenz – King For A Day

Despite the enormous success of The Monkees, Micky Dolenz still doesn’t get his due as one of the best vocalists of the rock era. I’ve heard it all – the fallacy of The Prefab Four and the lunacy of a fake band cast for television becoming a real one; even Dolenz discounts his own legacy (“it’s like thinking Leonard Nimoy was really a Vulcan”). But they’re wrong.

The Monkees had the cream of Brill Building songwriters at their disposal, and as unlikable a guy as Don Kirschner was, he knew what he was doing when it came to picking hit records. Now Dolenz takes a page from the past by recording an album of Carole King songs (hence the album title). Like most good ideas, there’s probably not a radio station format to match it up with, but I wouldn’t sell him short.

Brian Wilson Reimagines Gershwin

I guess a punster would call this album Adult Symphonies To God. After years of wondering whether an overweight and practically comatose genius would simply curl up and die in his sandbox, Brian Wilson fans have to be happy that he’s been able to get on a stage and play, open up his musical legacy to people who could help him (read: The Wondermints) and even create new works in his latter days.

Rumors persist that the surviving Beach Boys are going to bury the hatchet (and not in each other’s skulls) and reform, but whether or not that ever happens it’s good to know that there is work done above and beyond Mike Love‘s traveling circus.

Add these to the plethora of new releases from stars of yesteryear – Peter Frampton, Peter Wolf, Foghat, Steve Miller, Burton Cummings – in addition to old reliables like Tom Petty who just keep on going. Maybe the arena gig is now a club show in a Hard Rock showroom, and perhaps the radio play is limited to rockers turned DJ like  Little Steven and Alice Cooper, but for those of us who want to look beyond the top of the charts, there are plenty of great efforts sailing under the radar.

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Award Weekend Redux

The Hurt Locker. And James Cameron was shoved into it.

Lame. Tame. And almost predictable

That’s the story of Award Weekend, where despite the stellar comedic talents of Eddie Izzard, Steve Martin and Alec Baldwin, jokes fell flatter than a pancake. Or in other words, as tired as that analogy. No, this isn’t sour grapes because I only went 6-for-10 on my predictions (more on that later) but it’s a little sad when the biggest event of the film year isn’t…well, big

First, the 82nd Annual Academy Awards 

I watched the show with my daughter; she Tweeted while I scribbled notes on the back of a nominee ballot. From her laughter, it seemed like the jokes on Twitter were funnier than the ones on the telecast. 

At the end of the show I used the power of my mind to read James Cameron‘s thoughts… “I wonder how drunk I can get for two billion dollars?” (Which at least will clear his mind of his prior thought – “Why did I dump Kathryn Bigelow to hook up with Skeletor?“) 

I start to wonder whether the Oscar crew does know who’s going to win when I see them do things like have Barbara Streisand present the Best Director Award; how ironic that she didn’t win for Yentl, yet gets to be part of the breakthrough moment. (How uncomfortable a comment would she have dared utter if Bigelow lost? And if Lee Daniels had won…would Spike Lee be pissed that he was snubbed for that sweet presenter slot?) When Streisand tried to milk the moment by stating “the time has come“, poor Daniels looked like Stephen Boyd during the climactic scene from The Oscar.

Oops...

Mo’Nique gave an awesome performance and deservedly took home the award (why are people still shocked that stand-up comics can be great dramatic actors?) and I appreciate that she wore a blue dress and flower in her hair to match Hattie McDaniel. But when the speeches started flowing about following in Hattie’s footsteps and how after so many years it was time, I so wanted to slip her a note to remind her that Halle Berry already cashed that chip several years ago

How ironic that Chris Pine had to introduce a groundbreaking science fiction film, when Star Trek wasn’t even nominated after the category was expanded to ten movies? 

After watching the music from Crazy Heart win so many awards, I realize just how much better it would if Steven Bruton was still around. 

Did Robert Downey Jr. actually pronounce the word specificity? Proof positive that his rehab problems are behind him. Finally a moment of humor as he and Tina Fey exchanged writer/actor barbs, but he won by calling writers “sickly little mole people” (a line, of course,  that has Tina Fey’s hand print all over it). 

Nice John Hughes tribute until Judd Nelson creeped me out visually with his almost-Downey look. Molly Ringwald would have scared me worse, but she was brought out previously, and slower. 

Not to kick a dog when it’s down, but how does a move that is about eighty percent animated win for Best Cinematography? Just sayin’. 

Ever want to run to see a movie two seconds into the trailer? Must, must, must go see Logorama ASAP. And how funny was Nicolas Schmerkin‘s acceptance speech thanking his “three thousand unofficial sponsors” and saying “no logos were harmed in the making of this film”? Then closes with a knockout punch: “It took, like, six years to make this sixteen minutes, so I hope to come back here with a long feature film, in about…thirty-six years.”  So a Frenchman with a thick accent not only has better comic timing than our hosts – but better writers, too? 

And why was Kanye West dressed up like a fat drunk woman in a bad Snuggie when he interrupted poor Roger Ross Wilson‘s acceptance speech for Best Documentary Short? (Yes, I know it wasn’t Kanye, but to mention the real name of that boorish cow would only extend her Warholian fifteen minutes. I’m hoping that the Japanese fishermen from The Cove watched the exchange, mistook her for a dolphin, and fileted the bitch backstage.) 

Better hosts would have jumped on that horribly rude moment and ridden it like a pony for the rest of the night. Billy Crystal would, and I know that Ricky Gervais would have had a field day. Are you telling me no one in that stable of writers could come up with a smack-down? Maybe they should have been tweeting for help

Ben Stiller needs to be involved in every awards show. And while James Cameron seemed to be grimacing like Stiller somehow didn’t have the Na’Vi language down perfectly, he should at least have appreciated Stiller’s close: “After I announce the winner I will stand as far away as possible so I don’t demean their moment of triumph“. (Seriously – how could Avatar not be nominated for Best Makeup? Hollywood really hates someone.) 

Star Trek won more Oscars than Avatar last night. Ouch

Was it me, or did the ceremony at the Governor’s Ball featuring Lauren Bacall and Roger Corman look like waaaay more fun that the main ceremony? The jokes were funnier and the tributes more sincere. 

Robin Williams, check. Testicle joke, check

Rude moment number two – The Costume Bitch starting off her acceptance speech by saying “I already have two of these” and then somehow getting more derogatory from there. Last. Nomination. Ever. 

My first thought upon seeing Taylor Lautner and Kristen Stewart come out to introduce the tribute to horror films: “Bite each other and die“. No montage is ever going to be perfect, but there were many startling omissions and a few (Edward Scissorhands??) that were head-shakingly out of place. Not to mention that the promo for Happy Town that aired during the commercial break looked scarier than anything in that clip reel. 

Sound Editing – any time we get to see more of The Dark Knight is OK by me. Tell me again how that movie did not even get nominated for Best Picture

In Memorium: I love James Taylor, but this is a tribute that deserves silence or a best a subtle orchestral score. Especially when you sing lyrics like “some are dead and some are living” as the montage of clips slides by. (What does James know that we don’t?) 

Late in the show I’m wondering whether Alec Baldwin is offstage yelling at his daughter’s voicemail, because it sure seemed like Steve Martin was soloing for almost an hour. 

Unfortunately for the producers, one of the highlights of the evening was shown during the commercial break. 

I finally aligned with the world of Twitter when I let out an audible “WTF?” when Dancing With No Stars came out to misinterpret the Best Score nominees. According to daughter Eli, that was the white-hot Tweet of the moment. (For the record, the biggest score in Oscar history was Adrien Brody bending Halle Berry over for a deep dive smooch at the 2003 ceremony.) 

More proof the writers don’t know a good joke, nor did audience: When El Secreto de sus Ojos won for Best Foreign Film, the producer opened with this gem: “”I want to thank the Academy for not considering Na’Vi a foreign language“. Dead silence. Come on, people! 

I get it, Sean Penn. You’re a rebel. Yawn

Best Actor and Best Actress gimmick: hate, hate, hate the one-on-one tributes to the nominees. Besides the fact that the show is already dreadfully long and the back story for each nominee has been rehashed a thousand times, what does the fact that this actor is a humanitarian or this actress is a good mother have to do with their performance? Or are you finally admitting, Hollywood, that it is about politics and favoritism rather than the best performance of the year? At least it produced a couple of good lines, thanks to Stanley Tucci and Tim Robbins (“It is Ted, isn’t it?“). 

No big shock on the four major acting awards. Jeff Bridges (has it really been almost forty years since his nomination for The Last Picture Show?) proved once again that The Dude abides. Sandra Bullock disappointed me by not getting all Sally Field on us and Christoph Waltz finally made an acceptance speech I could understand (his prior speeches sounded more like ideas for future Quentin Tarantino movies). 

I was surprised that Hollywood was able to ignore a movie that has already grossed two and a half billion dollars (and still selling) in favor of a movie that struggled to get financing, distribution and promotion and tackled a controversial subject. But I couldn’t be happier for director Kathryn Bigelow and writer Mark Boal

Spirits? Many were served.

The less said about Friday’s 25th Annual Independent Spirit Awards, the better. Maybe it was the decision to move the event from a beach tent to…well, a tent in a parking lot. Maybe the booze started flowing earlier. But when Eddie Izzard bombs so badly that he has to start improvising with props and free-stlying in the audience to wake up the seated corpses, that’s a sad day for what used to be the most lively and raucous awards of them all. 

Then again, Izzard refused to let his “God is Dead” joke die, insisting on reviving it every time he came back on stage if for nothing else than to punish the audience. There were very few funny moments, but thankfully Will Arnett and Ed Helms saved the day when presenting the John Cassavetes Award, as did Ben Stiller’s speech and the clip reel of Roger Ebert viciously panning movies. (I was thrilled to see that Ebert was present for the event, as was the crowd that gave him an extended standing ovation.) 

Sorry, but Laura Dern being one of the original fourteen people present when the Independent Spirit Awards was founded makes me feel really old. If it was Bruce Dern, maybe I’d feel better. 

As for the winners, it was a big night for Precious. I’m sorry…I meant to say Precious Based On The Novel Push By Sapphire©®™ 

(Someone should tell the producers that every movie is based on something, which is why we have Original and Adapted screenplay nominations, but I guess that wasn’t good enough for the author. Or would that have screwed up the tie-in to Oprah’s Book Club?) 

Lynn Shelton wins for Humpday. Yes


And I was thrilled that Anvil won for Best Documentary, and anyone who has seen that movie – a real, live Spinal Tap – had to be moved when stunned band member Steve “Lips” Kudlow came back onstage and hugged the filmmaker, thanking him for changing his life. I still cannot believe that Anvil was not even nominated for the Best Documentary Oscar. 

And now it starts all over again! 

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T.G.I.F. – Ten Oscar Predictions

Picking the Oscar winners…not whom I want to win, but whom I think will win, along with the reasoning for my selection. Enjoy the show Sunday night, and I’ll have the results and the feedback on Monday.

And don’t forget to tune into the 25th Annual Independent Spirit Awards tonight at 11pm Eastern Time on IFC; – certainly a looser, more fun-filled event with many quotable moments from actors who have been hitting the sauce under a beach tent all day (yes,  I mean you, Mickey Rourke! ) Eddie Izzard should prove to be a great host (although Steve Martin and Alec Baldwin should also make the Oscars worth watching!)

So let me get these out of the way with a weekend to spare; here are my Internet dollars placed down on ten important categories

01. Performance by an actor in a leading role

  • Jeff Bridges in “Crazy Heart” (Fox Searchlight) Hollywood loves to reward those who have done a good body of work but not gotten the glory; there’s also no lead male performance in this group that will become iconic.
  • George Clooney in “Up in the Air” (Paramount in association with Cold Spring Pictures and DW Studios)
  • Colin Firth in “A Single Man” (The Weinstein Company)
  • Morgan Freeman in “Invictus” (Warner Bros.)
  • Jeremy Renner in “The Hurt Locker” (Summit Entertainment)

 

02. Performance by an actor in a supporting role

  • Matt Damon in “Invictus” (Warner Bros.)
  • Woody Harrelson in “The Messenger” (Oscilloscope Laboratories)
  • Christopher Plummer in “The Last Station” (Sony Pictures Classics)
  • Stanley Tucci in “The Lovely Bones” (DreamWorks in association with Film4, Distributed by Paramount)
  • Christoph Waltz in “Inglourious Basterds” (The Weinstein Company) Any other year Tucci would win this – or even Christian McKay, who got snubbed here – but Waltz is the latest to seize a Tarantino character and ride it like an express train.

 

03. Performance by an actress in a leading role

  • Sandra Bullock in “The Blind Side” (Warner Bros.) Bullock in a squeaker getting the Sally Field treatment, although I wouldn’t be shocked if Streep’s note-perfect Child or Sidibe’s raw debut won, either. But the coin goes here.
  • Helen Mirren in “The Last Station” (Sony Pictures Classics)
  • Carey Mulligan in “An Education” (Sony Pictures Classics)
  • Gabourey Sidibe in “Precious: Based on the Novel ‘Push’ by Sapphire” (Lionsgate)
  • Meryl Streep in “Julie & Julia” (Sony Pictures Releasing)

 

04. Performance by an actress in a supporting role

  • Penélope Cruz in “Nine” (The Weinstein Company)
  • Vera Farmiga in “Up in the Air” (Paramount in association with Cold Spring Pictures and DW Studios)
  • Maggie Gyllenhaal in “Crazy Heart” (Fox Searchlight)
  • Anna Kendrick in “Up in the Air” (Paramount in association with Cold Spring Pictures and DW Studios)
  • Mo’Nique in “Precious: Based on the Novel ‘Push’ by Sapphire” (Lionsgate) This performance is just so powerful it has to win; people actually hated her leaving the theatre. Remember Louise Fletcher as Nurse Ratched?

 

05. Adapted screenplay

  • “District 9” (Sony Pictures Releasing) Written by Neill Blomkamp and Terri Tatchell
  • “An Education” (Sony Pictures Classics) Screenplay by Nick Hornby
  • “In the Loop” (IFC Films) Screenplay by Jesse Armstrong, Simon Blackwell, Armando Iannucci, Tony Roche
  • “Precious: Based on the Novel ‘Push’ by Sapphire” (Lionsgate) Screenplay by Geoffrey Fletcher
  • Up in the Air” (Paramount in association with Cold Spring Pictures and DW Studios) Consolation prize; when your three main actors are nominated the writing must have been good, yes? Screenplay by Jason Reitman and Sheldon Turner

 

06. Original screenplay

  • “The Hurt Locker” (Summit Entertainment) Written by Mark Boal
  • Inglourious Basterds” (The Weinstein Company) Written by Quentin Tarantino

    Another “we can’t give you Best Picture” consolation prize; the man does write great dialogue and his movies are never boring.

  • “The Messenger” (Oscilloscope Laboratories) Written by Alessandro Camon & Oren Moverman
  • “A Serious Man” (Focus Features) Written by Joel Coen & Ethan Coen
  • “Up” (Walt Disney) Screenplay by Bob Peterson, Pete Docter
    Story by Pete Docter, Bob Peterson, Tom McCarthy

 

07. Best animated feature film of the year

  • “Coraline” (Focus Features) Henry Selick
  • “Fantastic Mr. Fox” (20th Century Fox) Wes Anderson
    “The Princess and the Frog” (Walt Disney) John Musker and Ron Clements
  • “The Secret of Kells” (GKIDS) Tomm Moore
  • Up” (Walt Disney) Pete Docter

    The opening sequence to this film nailed the win.

 

08. Best documentary feature

  • “Burma VJ” (Oscilloscope Laboratories)
    A Magic Hour Films Production
    Anders Østergaard and Lise Lense-Møller
  • “The Cove” (Roadside Attractions)
    An Oceanic Preservation Society Production
    Nominees to be determined
  • Food, Inc.” (Magnolia Pictures)
    A Robert Kenner Films Production
    Robert Kenner and Elise Pearlstein

    As always with documentaries, a hunch bet. What no Anvil?

  • “The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers”
    A Kovno Communications Production
    Judith Ehrlich and Rick Goldsmith
  • “Which Way Home”
    A Mr. Mudd Production
    Rebecca Cammisa

 

09. Achievement in directing

  • “Avatar” (20th Century Fox) James Cameron
  • The Hurt Locker” (Summit Entertainment) Kathryn Bigelow

    I think when your work is based in the real world you get more credit, and I think people are still remembering how brash Cameron was after Titanic…

  • “Inglourious Basterds” (The Weinstein Company) Quentin Tarantino
  • “Precious: Based on the Novel ‘Push’ by Sapphire” (Lionsgate) Lee Daniels
  • “Up in the Air” (Paramount in association with Cold Spring Pictures and DW Studios) Jason Reitman

 

10. Best motion picture of the year

  • Avatar” (20th Century Fox) A Lightstorm Entertainment Production James Cameron and Jon Landau, Producers

    …but I don’t think Hollywood can overlook a film that outgrosses Titanic. It’s not the best movie of the year – it’s a pretty cliché story – but it was a global juggernaut.

  • “The Blind Side” (Warner Bros.)
    An Alcon Entertainment Production
    Nominees to be determined
  • “District 9” (Sony Pictures Releasing)
    A Block/Hanson Production
    Peter Jackson and Carolynne Cunningham, Producers
  • “An Education” (Sony Pictures Classics)
    A Finola Dwyer/Wildgaze Films Production
    Finola Dwyer and Amanda Posey, Producers
  • The Hurt Locker” (Summit Entertainment)
    A Voltage Pictures Production
    Nominees to be determined
  • “Inglourious Basterds” (The Weinstein Company)
    A Weinstein Company/Universal Pictures/A Band Apart/Zehnte Babelsberg Production
    Lawrence Bender, Producer
  • “Precious: Based on the Novel ‘Push’ by Sapphire” (Lionsgate)
    A Lee Daniels Entertainment/Smokewood Entertainment Production
    Lee Daniels, Sarah Siegel-Magness and Gary Magness, Producers
  • “A Serious Man” (Focus Features)
    A Working Title Films Production
    Joel Coen and Ethan Coen, Producers
  • “Up” (Walt Disney)
    A Pixar Production
    Jonas Rivera, Producer
  • “Up in the Air” (Paramount in association with Cold Spring Pictures and DW Studios)
    A Montecito Picture Company Production
    Daniel Dubiecki, Ivan Reitman and Jason Reitman, Producers

Check in Monday for my recap of Award Weekend.

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