By Ray Pride Pride@moviecitynews.com

2012 CHICAGO FILM CRITICS ASSOCIATION NOMINEES

Link.

BEST PICTURE
Argo
Beasts of the Southern Wild
Lincoln
The Master
Zero Dark Thirty

BEST DIRECTOR
Ben Affleck, Argo
Paul Thomas Anderson, The Master
Kathryn Bigelow, Zero Dark Thirty
Steven Spielberg, Lincoln
Benh Zeitlin, Beasts of the Southern Wild

BEST ACTOR
Daniel Day-Lewis, Lincoln
John Hawkes, The Sessions
Denis Lavant, Holy Motors
Joaquin Phoenix, The Master
Denzel Washington, Flight

BEST ACTRESS
Jessica Chastain, Zero Dark Thirty
Helen Hunt, The Sessions
Jennifer Lawrence, Silver Linings Playbook
Emmanuelle Riva, Amour
Quvenzhane Wallis, Beasts of the Southern Wild
Naomi Watts, The Impossible

BEST SUPPORTING ACTOR
Jason Clarke, Zero Dark Thirty
Leonardo DiCaprio, Django Unchained
Dwight Henry, Beasts of the Southern Wild
Phillip Seymour Hoffman, The Master
Tommy Lee Jones, Lincoln

BEST SUPPORTING ACTRESS
Amy Adams, The Master
Emily Blunt, Looper
Judi Dench, Skyfall
Sally Field, Lincoln
Anne Hathaway, Les Miserables

BEST ORIGINAL SCREENPLAY
Django Unchained by Quentin Tarantino
Looper by Rian Johnson
The Master by Paul Thomas Anderson
Moonrise Kingdom by Wes Anderson & Roman Coppola
Zero Dark Thirty by Mark Boal

BEST ADAPTED SCREENPLAY
Argo by Chris Terrio
Beasts of the Southern Wild by Lucy Alibar & Benh Zeitlin
Lincoln by Tony Kushner
The Perks of Being a Wallflower by Stephen Chbosky
Silver Linings Playbook by David O. Russell

BEST FOREIGN-LANGUAGE FILM
Amour
Holy Motors
The Intouchables
Once Upon a Time in Anatolia
Rust & Bone

BEST DOCUMENTARY
The Central Park Five
The Invisible War
The Queen of Versailles
Searching For Sugar Man
West of Memphis

BEST ANIMATED FILM
Brave
Frankenweenie
ParaNorman
The Secret World of Arrietty
Wreck-It Ralph

BEST CINEMATOGRAPHY
Claudio Miranda, Life of Pi
Janusz Kaminski, Lincoln
Mihai Milaimare Jr., The Master
Roger Deakins, Skyfall
Greig Fraser, Zero Dark Thirty

BEST ORIGINAL SCORE
Alexandre Desplat, Argo
Dan Romer & Benh Zeitlin, Beasts of the Southern Wild
Jonny Greenwood, The Master
Alexandre Desplat, Moonrise Kingdom
Alexandre Desplat, Zero Dark Thirty

BEST ART DIRECTION
Anna Karenina
Les Miserables
Lincoln
The Master
Moonrise Kingdom

BEST EDITING
Willian Goldenberg, Argo
Alexander Berner & Claus Wehlisch, Cloud Atlas
Leslie Jones & Peter McNulty, The Master
Stuart Baird, Skyfall
William Goldenberg & Dylan Tichenor, Zero Dark Thirty

MOST PROMISING PERFORMER
Samantha Barks, Les Miserables
Kara Hayward, Moonrise Kingdom
Dwight Henry, Beasts of the Southern Wild
Tom Holland, The Impossible
Quvenzhane Wallis, Beasts of the Southern Wild

MOST PROMISING FILMMAKER
Stephen Chbosky, The Perks of Being a Wallflower
Drew Goddard, The Cabin in the Woods
Nicholas Jarecki, Arbitrage
Colin Trevorrow, Safety Not Guaranteed
Benh Zeitlin, Beasts of the Southern Wild

10 nominations–The Master
9 nominations–Beasts of the Southern Wild
8 nominations–Lincoln, Zero Dark Thirty
5 nominations–Argo
4 nominations–Moonrise Kingdom
3 nominations–Les Miserables, Skyfall
2 nominations–Amour, Django Unchained, Holy Motors, The Impossible, The Perks of Being a Wallflower, The Sessions, The Silver Linings Playbook, Looper
1 nomination–Anna Karenina, Arbitrage, Brave, The Cabin in the Woods, The Central Park Five, Cloud Atlas, Flight, Frankenweenie, The Intouchables, The Invisible War, The Life of Pi, Once Upon a Time in Anatolia, Paranorman, Queen of Versailles, Rust & Bone, Safety Not Guaranteed, Searching for Sugar Man, The Secret World of Arietty, West of Memphis, Wreck-It Ralph.

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What’s up with your people mover shot, where it seems like people are kind of floating along?
Oh, my signature shot? That’s just a new way for people to move! It’s really become my Alfred Hitchcock cameo. I did not invent that shot, but Ernest and I did it on the set of Mo Better Blues, when Shorty had to walk [through the park], and I thought, “Let’s try it.” But after that, we tried to have a reason for it. For example, that wonderful sequence in Malcolm X where you hear the great song, “A Change Is Gonna Come.” The final scene is like that, Malcolm floating along to his destiny. In 25th Hour, after Philip Seymour Hoffman has kissed Anna Paquin, we did a shot like that, and it shows his state of mind. In Inside Man, after Denzel thinks he’s witnessed the murder of a hostage, we did the floating shot there.

So you just like the way it looks?
Yeah!
~ Spike Lee To Matt Zoller Seitz

“I never accepted the term contrarian. I think that’s offensive, frankly. And my response to that is: if I’m a contrarian, what are other reviewers? What I strive to do is be a good critic, not somebody who simply accepts the product put in front of me. I guess it scares people to think that they don’t have any originality; that they don’t have the capacity to think for themselves.

“There’s a line a lot of reviewers use that I don’t like at all. They say ‘accept the film on its own terms.’ What that really means is, ‘accept the film as it is advertised.’ That’s got nothing to do with criticism. Nothing to do with having a response as a film watcher. A thinking person has to analyze what’s on screen, not simply rubber-stamp it or kowtow to marketing.”m

“To me, everything does have a political component and I think it’s an interesting way to look at art. It’s one way that makes film reviewing, I think, a politically relevant form of journalism. We do live in a political world, and we bring our political sense to the movies with us – unless you’re the kind of person who goes to the movies and shuts off the outside world. I’m not that kind of person.”
~ Armond White to Luke Buckmaster