Awards Watch Archive for January, 2007

Best Screenplay

BEST ORIGINAL SCREENPLAY Writer(s) – Film Comment Little Miss Sunshine (BFCA) (WGA) Likely Sunday bone after big Saturday wins Babel (BFCA) (WGA) Back-Up The Queen Longshot Letters From Iwo Jima Could possibly ride a wave Pan’s Labyrinth Great get BEST ADAPTED SCREENPLAY Writer(s) – Film Comment Borat (WGA) Could actually win this The Departed (WGA)…

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Best Actress

BEST ACTRESS Actress – Film Comment Helen Mirren – The Queen (GG/D) (BFCA) (SAG) One category with no surprises Meryl Streep – The Devil Wears Prada (GG/C) (SAG) Judi Dench – Notes On A Scandal (SAG) Kate Winslet – Little Children (SAG) Penelope Cruz – Volver (SAG) BEST SUPPORTING ACTRESS Actress – Film Comment Jennifer…

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Best Actor

BEST ACTOR Actor – Film Comment Forrest Whitaker – Last King Of Scotland (GG/Drama) (BFCA) (SAG) Looking like a machine Peter O’Toole – Venus (SAG) Could surprise…. health/appearances will matter Will Smith – The Pursuit of Happyness (SAG) Could come up with a win Leonardo DiCaprio – Blood Diamond (Supporting – SAG) Not for The…

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Best Director

BEST DIRECTOR Director – Film Comment Martin Scorsese – The Departed (GG) (BFCA) (DGA) Your winner Clint Eastwood – Letters From Iwo Jima (BFCA) Could be your shocker… but would have to be in BP too Alejandro Gonzalez Inarritu – Babel ((DGA) Stephen Frears – The Queen (DGA) Paul Greengrass – United 93 The most…

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Best Picture

BEST PICTURE Picture – Studio Comment Babel (GG) (PGA) (DGA) (SAG) Suddenly the one to beat Little Miss Sunshine (PGA) (DGA) (SAG) The little yellow bus that could Letters From Iwo Jima A real threat to pull the rug out from everyone… Pic, Director, Screenplay The Departed (PGA) (BFCA) (DGA) (SAG) Needs to find a…

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Week Sixteen: 31 Days to Go And Now For Something You’ll Really Like … Again?!?!

And now, we start the 2007 Oscar season again for the last time… Yes, Phase II (post-nom time, as it is called) 2007 may be the most wide open race in memory. The last time we were looking at as many of the 5 nominees that could really win was the year of Gladiator, Erin…

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Best Screenplay Chart

BEST ORIGINAL SCREENPLAY Writer(s) – Film Comment Little Miss Sunshine (BFCA) (WGA) These two… The Queen (GG) (BFCA) (WGA) … are neck and neck Babel (BFCA) (WGA) Letters From Iwo Jima Volver Half Nelson Stranger Than Fiction (WGA) United 93 (WGA) BEST ADAPTED SCREENPLAY Writer(s) – Film Comment The Departed (WGA) Little Children (WGA) The…

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Best Actress Chart

BEST ACTRESS Actress – Film Comment Helen Mirren – The Queen (GG/D) (BFCA) (SAG) Meryl Streep – The Devil Wears Prada (GG/C) (SAG) Judi Dench – Notes On A Scandal (SAG) Kate Winslet – Little Children (SAG) Penelope Cruz – Volver (SAG) Outsiders Beyonce Knowles – Dreamgirls Annette Bening – Running With Scissors BEST SUPPORTING…

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Best Actor Chart

BEST ACTOR Actor – Film Comment Forrest Whitaker – Last King Of Scotland (GG/Drama) (BFCA) (SAG) Seems silly to be expecting anything else… but sometimes, sheep bite Will Smith – The Pursuit of Happyness (SAG) A growing favorite Peter O’Toole – Venus (SAG) Still unwell… tough way to win Leonardo DiCaprio – The Departed (SAG)…

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Best Director Chart

BEST DIRECTOR Director – Film Comment Martin Scorsese – The Departed (GG) (BFCA) (DGA) Bill Condon – Dreamgirls (DGA) Stephen Frears – The Queen (DGA) Alejandro Gonzalez Inarritu – Babel ((DGA) Clint Eastwood – Letters From Iwo Jima (BFCA) The Potential Upsetters Valerie Faris & Jonathan Dayton – Little Miss Sunshine (DGA) Paul Greengrass –…

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Best Picture Chart

BEST PICTURE Picture – Studio Comment Dreamgirls (GG) (PGA) (DGA) (SAG) Box office and a split field keeps Dreamgirls in front… whether you like it or not Babel (GG) (PGA) (DGA) (SAG) I have not been a big believer, but in this split field, it is one of the films with the most passion, it…

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Week Fourteen – 36 Days to Go Pow!!!(er)

With the Oscar season about to leap into the second phase, there is not a lot more to say before Tuesday. However, Los Angeles Magazine has been kind enough to drag the work of “Oscar Blogging” in and out of the mud, it seems like a good time to put forth my immodest theory as…

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Nine Films In The Foreign Language Film Category

Nine films will advance in the voting process in the Foreign Language Film category for the 79th Academy Awards®. Sixty-one films had originally qualified in the category. The films, listed in alphabetical order by country, are: Algeria, “Days of Glory,” Rachid Bouchareb, director Canada, “Water,” Deepa Mehta, director Denmark, “After the Wedding,” Susanne Bier, director…

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Best Screenplay Chart

BEST ORIGINAL SCREENPLAY Writer(s) – Film Comment Little Miss Sunshine (BFCA) (WGA) The Queen (GG) (BFCA) (WGA) Babel (GG) (BFCA) (WGA) Letters From Iwo Jima Volver Half Nelson Stranger Than Fiction (BFCA) (WGA) United 93 (WGA) The Pursuit of Happyness BEST ADAPTED SCREENPLAY Writer(s) – Film Comment The Departed (GG) (BFCA) (WGA) Little Children (GG)…

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Best Actress Chart

BEST ACTRESS Actress – Film Comment Helen Mirren – The Queen (GG/D) (BFCA) (SAG) Meryl Streep – The Devil Wears Prada (GG/C) (SAG) Judi Dench – Notes On A Scandal (SAG) Kate Winslet – Little Children (SAG) Penelope Cruz – Volver (SAG) Outsiders Beyonce Knowles – Dreamgirls Annette Bening – Running With Scissors BEST SUPPORTING…

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Best Actor Chart

BEST ACTOR Actor – Film Comment Will Smith – The Pursuit of Happyness (GG) (BFCA) (SAG) Assuming he gets nominated, people will see the perfomance of a superstar playing drama Forrest Whitaker – Last King Of Scotland (GG) (BFCA) (SAG) Lots of awards, but will being a supporting role cost him in the end? Peter…

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Best Director Chart

BEST DIRECTOR Director – Film Comment Martin Scorsese – The Departed (GG) (BFCA) (DGA) Still the winner Bill Condon – Dreamgirls (BFCA) (DGA) Stephen Frears – The Queen (GG) (BFCA) (DGA) Finally cracked the DGA Alejandro Gonzalez Inarritu – Babel (GG) (DGA) The lonely amigo. Clint Eastwood – Letters From Iwo Jima (GG) (BFCA) Yes,…

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Best Picture Chart

BEST PICTURE Picture – Studio Comment Dreamgirls (GG) (PGA) (BFCA) (DGA) (SAG) Others are more fashionable in this slot, but when the perspective shifts to five… The Queen (GG) (PGA) (BFCA) (DGA) Solid, well liked, respected work The Departed (GG) (PGA) (BFCA) (DGA) (SAG) Adult, well liked, violent film Little Miss Sunshine (GG) (PGA) (BFCA)…

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Week Thirteen – 45 Days to Go Everything Old Is New Again

What’s really left to say with less than 72 hours left before the last Oscar ballot is postmarked? If there is anything interesting about the season so far it is that as split as the critics seem to be, the Guilds and Critics groups with shows have fallen into a remarkably narrow range of selections….

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Seven Films Advance in Makeup Oscar® Race

Beverly Hills, CA — The Academy of Motion Picture Arts and Sciences today announced that seven films remain in competition for achievement in makeup for the 79th Academy Awards®. The films are listed below in alphabetical order: “Apocalypto” “Click” “Pan’s Labyrinth” “Pirates of the Caribbean: Dead Man’s Chest” “The Prestige” “The Santa Clause 3: The…

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Awards Watch

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This is probably going to sound petty, but Martin Scorsese insisting that critics see his film in theaters even though it’s going straight to Netflix and then not screening it in most American cities was a watershed moment for me in this theatrical versus streaming debate.

I completely respect when a filmmaker insists that their movie is meant to be seen in the theater, but the thing is, you got to actually make it possible to see it in the theater. Some movies may be too small for that, and that’s totally OK.

When your movie is largely financed by a streaming service and is going to appear on that streaming service instantly, I don’t really see the point of pretending that it’s a theatrical film. It just seems like we are needlessly indulging some kind of personal fantasy.

I don’t think that making a feature film length production that is going to go straight to a video platform is some sort of “step down.“ I really don’t. Theatrical exhibition as we know it is dying off anyway, for a variety of reasons.

I should clarify myself because this thread is already being misconstrued — I’m talking about how the movie is screened in advance. If it’s going straight to Netflix, why the ritual of demanding people see it in the theater?

There used to be a category that everyone recognized called “TV movie” or “made for television movie” and even though a lot of filmmakers considered that déclassé, it seems to me that probably 90% of feature films fit that description now.

Atlantis has mostly sunk into the ocean, only a few tower spires remain above the waterline, and I’m increasingly at peace with that, because it seems to be what the industry and much of the audience wants. We live in an age of convenience and information control.

Only a very elite group of filmmakers is still allowed to make movies “for theaters“ and actually have them seen and judged that way on a wide scale. Even platform releasing seems to be somewhat endangered. It can’t be fought. It has to be accepted.

9. Addendum: I’ve been informed that it wasn’t Scorsese who requested that the Bob Dylan documentary only be screened for critics in theaters, but a Netflix representative indicated the opposite to me, so I just don’t know what to believe.

It’s actually OK if your film is not eligible for an Oscar — we have a thing called the Emmys. A lot of this anxiety is just a holdover from the days when television was considered culturally inferior to theatrical feature films. Everybody needs to just get over it.

In another 10 to 20 years they’re probably going to merge the Emmys in the Oscars into one program anyway, maybe they’ll call it the Contentys.

“One of the fun things about seeing the new Quentin Tarantino film three months early in Cannes (did I mention this?) is that I know exactly why it’s going to make some people furious, and thus I have time to steel myself for the takes.

Back in July 2017, when it was revealed that Tarantino’s next project was connected to the Manson Family murders, it was condemned in some quarters as an insulting and exploitative stunt. We usually require at least a fig-leaf of compassion for the victims in true-crime adaptations, and even Tarantino partisans like myself – I don’t think he’s made a bad film yet – found ourselves wondering how he might square his more outré stylistic impulses with the depiction of a real mass murder in which five people and one unborn child lost their lives.

After all, it’s one thing to slice off with gusto a fictional policeman’s ear; it’s quite another to linger over the gory details of a massacre that took place within living memory, and which still carries a dread historical significance.

In her essay The White Album, Joan Didion wrote: “Many people I know in Los Angeles believe that the Sixties ended abruptly on August 9, 1969, ended at the exact moment when word of the murders on Cielo Drive traveled like brushfire through the community, and in a sense this is true.”

Early in Once Upon a Time in Hollywood, as Leonardo DiCaprio and Brad Pitt’s characters drive up the hill towards Leo’s bachelor pad, the camera cranes up gently to reveal a street sign: Cielo Drive. Tarantino understands how charged that name is; he can hear the Molotov cocktails clinking as he shoulders the crate.

As you may have read in the reviews from Cannes, much of the film is taken up with following DiCaprio and Pitt’s characters – a fading TV actor and his long-serving stunt double – as they amusingly go about their lives in Los Angeles, while Margot Robbie’s Sharon Tate is a relatively minor presence. But the spectre of the murders is just over the horizon, and when the night of the 9th finally arrives, you feel the mood in the cinema shift.

No spoilers whatsoever about what transpires on screen. But in the audience, as it became clear how Tarantino was going to handle this extraordinarily loaded moment, the room soured and split, like a pan of cream left too long on the hob. I craned in, amazed, but felt the person beside me recoil in either dismay or disgust.

Two weeks on, I’m convinced that the scene is the boldest and most graphically violent of Tarantino’s career – I had to shield my eyes at one point, found myself involuntarily groaning “oh no” at another – and a dead cert for the most controversial. People will be outraged by it, and with good reason. But in a strange and brilliant way, it takes Didion’s death-of-the-Sixties observation and pushes it through a hellfire-hot catharsis.

Hollywood summoned up this horror, the film seems to be saying, and now it’s Hollywood’s turn to exorcise it. I can’t wait until the release in August, when we can finally talk about why.

~ Robbie Collin