MCN Columnists
David Poland

By David Poland poland@moviecitynews.com

20W2O: You’ve Been Globed

The Globes are a weird phenomenon.

All publicity is good publicity, right? And none of the smarminess of the HFPA directly rubs off on the nominees. Nor should it.

But… oy.

Is Christoph Waltz or Leonardo DiCaprio really giving a better acting performance in Django Unchained than DeNiro in Silver Linings Playbook? Oh the irony that chewing scenery is what DeNiro has been mocked for in recent years and now that he finds a real acting role again… f-off, pal. (And don’t even get me started on how much better Samuel L. Jackson is than anyone in that movie.)

And will people really remember either Django supporting role over Jason Clarke’s turn in Zero Dark Thirty? No. Both Waltz and DiCaprio have other stuff more interesting and more memorable. but Jason is “new” and is not yet getting Oscar buzz of real magnitude, so…

Any by the way… Django is a drama? Not a comedy?

And the notion that Musical/Comedy isn’t a ghetto… well, don’t tell David O. Russell or Tom Hooper this morning.

Personally? Thrilled for Rachel Weisz and Nicole Kidman, two actresses who committed completely to tough roles in small films and are getting some love for that. It’s HFPA, so I can’t say that it’s not because they are who they are. But love is love. And for films that small, the attention is really important.

And I feel bad for Emmanuelle Riva and Keira Knightley… who should not be anything close to written off at this point.

I’m happy for the people who got Salmon Fishing in the Yemen made, including Ewan McGregor, Emily Blunt, and Lasse Hallstrom, who I was with just yesterday. This is one of those cases where the HFPA liked the movie months ago and it just never got pushed out of the way. (Sad for This is 40… but box office may comfort the Apatows.) It’s a good get for the very busy Terry Press… but not shocking in Comedy/Musical.

Given where this season is… these nominations are pretty much a non-event. Really, the one thing that turned up here that could move the meter a touch when Oscar voting starts on Monday (and ends in 3 weeks and a day) is Rachel Weisz, who has now been honored here and by NYFCC. But the rest… not really anything outside of the curve as has been laid out for weeks and months.

[The nominations list is here.]

6 Responses to “20W2O: You’ve Been Globed”

  1. Keil S. says:

    Seems like a list of the noms or a link to them would make sense in this piece.

  2. Daniella Isaacs says:

    I, too, am glad to see Weisz getting more attention. I only saw DEEP BLUE SEA after the NYFC announcement–even though I’ve been a fan of Davies for years–but think she absolutely ranks very high this year.

  3. Walter says:

    SO glad to see the Django nods (especially DiCaprio), and also the nominations for Salmon Fishing… which I loved.

  4. “Is Christoph Waltz or Leonardo DiCaprio really giving a better acting performance in Django Unchained than DeNiro in Silver Linings Playbook?”

    Yes.

    “And will people really remember either Django supporting role over Jason Clarke’s turn in Zero Dark Thirty?”

    Love Jason though I do, absolutely.

  5. Alex says:

    I wonder if Kidman is set for another Oscar nomination now that she has SAG and GG nominations. Since she is in Supporting we don’t have to worry about comparing Drama/Musical&Comedy categories.

  6. Alex says:

    Now to answer my own question, the last supporting actresses who got SAG & GG nominations but weren’t nominated for Oscars were:

    - Mila Kunis (2010)
    - Maria Bello (2003)

    In light of this I think Kidman stands a very good chance of being nominated. She isn’t a newcomer like Mila Kunis (that year the category was also very crowded), nor is she an underrated and underused actress like Bello.

    Of course you can’t go on the basis of statistics alone, and I the 4th/5th slots are definitely a 3 way contest between Kidman/Smith/Adams, but with enough screeners, FYC ads and press, I think Kidman should be able to get over the line. She is definitely popular and the role of Charlotte Bless is sure to attract some attention.

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“Yes, good movies sprout up, inevitably, in the cracks and seams between the tectonic plates on which all of these franchises stay balanced, and we are reassured of their hardiness. But we don’t see what we don’t see; we don’t see the effort, or the cost of the effort, or the movies of which we’re deprived because of the cost of the effort. Paul Thomas Anderson’s Inherent Vice may have come from a studio, but it still required a substantial chunk of outside financing, and at $35 million, it’s not even that expensive. No studio could find the $8.5 million it cost Dan Gilroy to make Nightcrawler. Birdman cost a mere $18 million and still had to scrape that together at the last minute. Imagine American movie culture for the last few years without Her or Foxcatcher or American Hustle or The Master or Zero Dark Thirty and it suddenly looks markedly more frail—and those movies exist only because of the fairy godmothership of independent producer Megan Ellison. The grace of billionaires is not a great business model on which to hang the hopes of an art form.”
~ Mark Harris On The State Of The Movies

How do you make a Top Ten list? For tax and organizational purposes, I keep a log of every movie I see (Title, year, director, exhibition format, and location the film was viewed in). Anything with an asterisk to the left of its title means it’s a 2014 release (or something I saw at a festival which is somehow in play for the year). If there’s a performance, or sequence, or line of dialogue, even, that strikes me in a certain way, I’ll make a note of it. So when year end consideration time (that is, the month and change out of the year where I feel valued) rolls around, it’s a little easier to go through and pull some contenders for categories. For 2014, I’m voting in three polls: Indiewire, SEFCA (my critics’ guild), and the Muriels. Since Indiewire was first, it required the most consternation. There were lots of films that I simply never had a chance to see, so I just went with my gut. SEFCA requires a lot of hemming and hawing and trying to be strategic, even though there’s none of the in-person skullduggery that I hear of from folk whose critics’ guild is all in the same city. The Muriels is the most fun to contribute to because it’s after the meat market phase of awards season. Also, because it’s at the beginning of next year, I’ll generally have been able to see everything I wanted to by then. I love making hierarchical lists, partially because they are so subjective and mercurial. Every critical proclamation is based on who you are at that moment and what experiences you’ve had up until that point. So they change, and that’s okay. It’s all a weird game of timing and emotional waveforms, and I’m sure a scientist could do an in-depth dissection of the process that leads to the discovery of shocking trends in collective evaluation. But I love the year end awards crush, because I feel somewhat respected and because I have a wild-and-wooly work schedule that has me bouncing around the city to screenings, or power viewing the screeners I get sent.
Jason Shawhan of Nashville Scene Answers CriticWire