Awards Watch Archive for January, 2008

Best Actor, Best Actress Chart

BEST ACTOR Actor – Film Comment Daniel Day Lewis – There Will Be Blood Hard to slow a roll this intense George Clooney – Michael Clayton It’s there for him to challenge… but he doesn’t seem anxious to do so Johnny Depp – Sweeney Todd He coulda won it… but the ship took him down…

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Best Picture, Best Director, Best Screenplay Chart

BEST PICTURE Picture – Studio Comment No Country For Old Men Just keeps winning… Michael Clayton Can Warners move the dial on the most agreeable Best Picture choice Juno No longer an underdog movie… should be thrilled to have made it this far There Will Be Blood The milkshake is flowing somewhere else Atonement Too…

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24 Days To Go

Somehow, this may be the first Oscar season in memory without The Great Settling. It’s not really clear whether it’s because of the films themselves or because of the WGA strike or the fact that the latest entry into the race – in Hollywood showings, not theatrical release date – was There Will Be Blood,…

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34 Days To Go And The Noms Are… As Expected

So … Few real surprises.  A couple pleasant.  A couple less so. The score from There Will Be Blood was disqualified at the last minute … so that is a shame.  Rather brilliant work. Laura Linney ran well under the radar in critics’ world … and still got in. Tommy Lee Jones got a nod,…

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Nine Foreign Language Films Advance in Oscar Race

Beverly Hills, CA — Nine films will advance to the next round of voting in the Foreign Language Film category for the 80th Academy Awards®. Sixty-three films had originally qualified in the category. The films, listed in alphabetical order by country, are: Austria, “The Counterfeiters,” Stefan Ruzowitzky, director Brazil, “The Year My Parents Went on…

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Nine Foreign Language Films Advance in Oscar Race

Beverly Hills, CA — Nine films will advance to the next round of voting in the Foreign Language Film category for the 80th Academy Awards®. Sixty-three films had originally qualified in the category. The films, listed in alphabetical order by country, are: Austria, “The Counterfeiters,” Stefan Ruzowitzky, director Brazil, “The Year My Parents Went on…

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Best Screenplay Chart

BEST ORIGINAL SCREENPLAY Writer(s) – Film GG Comment Michael Clayton Tony Gilroy His reward if MC wins Best Picture and PTA wins for directing. Juno Diablo Cody * Front-ran long enough to become a small problem The Savages Tamara Jenkins The writers will make sure she gets what she deserves Lars & The Real Girl…

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Best Actress Chart

BEST ACTRESS Actress – Film GG SAG Comment Ellen Page – Juno M/C A The accessible, loveable rising star, modest, smart and ready to be a much bigger star Julie Christie – Away From Her D A Away From The Spotlight Marion Cotillard – La Vie En Rose M/C A Perhaps the defining moment of…

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Best Actor Chart

BEST ACTOR Actor – Film GG SAG Comment George Clooney – Michael Clayton D A Hollywood’s heartthrob little engines a shocker. Daniel Day Lewis – There Will Be Blood D A Scenery chewing wears thin over time. Johnny Depp – Sweeney Todd C/M Quickly becoming this season’s Eddie Murphy of last year… deserving, but dragged…

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Best Director

BEST DIRECTOR Director – Film DGA GG Comment The Best Picture Runners The Coen Bros – No Country For Old Men * * Yes. Paul Thomas Anderson – There Will Be Blood * A tour d’ force behind that camera Tony Gilroy – Michael Clayton * A complete, powerful, classic movie with a real sense…

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Best Picture Chart

BEST PICTURE Release Date Picture Studio Globe Nom Comment Nov 9 No Country For Old Men Mira D Now aiming on the win Oct 5 Michael Clayton WB D DGA crosses the “t,” dots the “i” Dec 5 Juno FoxS M/C The most impressive financial success at just the right moment The Candidates For The…

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7 Weeks To Go Mutually Assured Disinterest

The Golden Globes are dead… long die The Golden Globes. The Wheel O’ Strategy is spinning hard at the studios these days.  A film like Hairspray, which ended up joining now-presumptive Best Picture nominees There Will Be Blood and Juno as the only multiple Critics’ Choice Award winners, is suddenly thrilled about being a nominee…

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Seven Films Vie for 2007 Makeup Oscar®

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 80th Academy Awards®. The films are listed below in alphabetical order: “The Diving Bell and the Butterfly” “Harry Potter and the Order of the Phoenix” “La Vie en Rose”…

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Seven Films Vie for 2007 Makeup Oscar®

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 80th Academy Awards®. The films are listed below in alphabetical order: “The Diving Bell and the Butterfly” “Harry Potter and the Order of the Phoenix” “La Vie en Rose”…

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Page 27

Scott Renshaw Charleston City Paper 1 No Country for Old Men 2 Once 3 My Kid Could Paint That 4 Joshua 5 The Host 6 The King of Kong 7 Into the Wild 8 Day Night Day Night 9 Walk Hard 10 There Will Be Blood Keith Cohen Sun Publications 1 Sweeney Todd 2 Hairspray…

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Page 26

Bob Strauss LA Daily News 1 I’m Not There 2 4 Months, 3 Weeks, 2 Days 3 Away From Her 4 The Bourne Ultimatum 5 Control 6 Offside 7 Atonement 8 Gone Baby Gone 9 Grindhouse 10 Juno/Lars and the Real Girl Glenn Whipp LA Daily News 1 There Will Be Blood 2 I’m Not…

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Page 25

Joe Morgenstern Wall Street Journal 1 Diving Bell and the Butterfly 2 Ratatouille 3 There Will Be Blood 4 Atonement 5 Into the Wild 6 Juno 7 Lars and the Real Girl 8 Manufactured Landscapes 9 Once 10 Waitress David Poland Movie City News 1 I’m Not There 2 Lake of Fire 3 Michael Clayton…

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Page 24

The Austin Chronicle 1 No Country for Old Men 2 The Lives of Others 3 There Will Be Blood 4 Persepolis 5 Diving Bell and the Butterfly 6 Juno 7 Atonement 8 3:10 to Yuma 9 The Bourne Ultimatum/Eastern Promises 10 Ratatouille Geoffrey Cheshire Independent Weekly 1 Into the Wild 2 Into Great Silence 3…

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Page 23

Matt Brunson Creative Loafing 1 No Country for Old Men 2 Gone Baby Gone 3 Juno 4 Two Days in Paris 5 No End in Sight 6 The King of Kong 7 Ratatouille 8 Across the Universe 9 Assassination of Jesse James 10 Lake of Fire Jeremy Smith CHUD 1 No Country for Old Men…

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Page 22

Tom Charity CNN 1 There Will Be Blood 2 Into the Wild 3 Zodiac 4 Assassination of Jesse James 5 No Country for Old Men 6 Once 7 Black Book 8 Persepolis 9 Syndromes and a Century 10 4 Months, 3 Weeks, 2 Days Alonso Duralde MSNBC 1 4 Months, 3 Weeks, 2 Days 2…

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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