Awards Watch Archive for January, 2012

Gettin’ Emotional In Events Leading Up To Oscar

Gettin’ Emotional In Events Leading Up To Oscar

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Slideshowing The Production Design Of Midnight In Paris

Slideshowing The Production Design Of Midnight In Paris

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Gurus o’ Gold: 1st Ranking Of Oscar Nominees In All Categories (Pt 2 of 2)

As they offer 13 more Oscar categories (everything but shorts), The Gurus are predicting that The Artist will win three big prizes on Oscar night… but Hugo will dominate the evening with 5 Oscar wins. Is it likely that Best Picture, Director, and Score will stand alone?

Can The Help score Best Actress and Supporting Actress and nothing else?

These and more questions… as The Gurus turn.

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Gurus o’ Gold: 1st Ranking Of Oscar Nominees In All Categories (Pt 1 of 2)

The Gurus have their first group of post-nomination projections. (The other categories will be published tomorrow.) There is a tie at the top of one category, and two categories out of these 8 that are unanimous.

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Nominee Reactions

“I’m stunned and thrilled to hear about the nomination. I wish more than anything in the world that my wife Bridget O’Connor – who did the lion’s share of the adaptation – could be here to enjoy this moment. She would be so happy and so proud. I’m going to go and meet my daughter now and tell her how clever her mother was!”

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The Oscar Sidebar

Best Picture Release Dates: Midnight in Paris – May 20, 2011 The Tree of Life – May 27, 2011 The Help – August 10, 2011 Moneyball – September 23, 2011 The Descendants – November 16, 2011 Hugo – November 23, 2011 The Artist – November 25, 2011 Extremely Loud & Incredibly Close – December 25,…

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The Oscar Nominations

“And to the Academy: “You don’t like me. You really don’t like me.” – tweeted Albert Brooks on his non-nomination

The full list of nominations:

Full List of Nominations
Nominations by Picture
Nominee Reactions

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Nominations by Picture

The Adventures of Tintin • Original Score Albert Nobbs • Glenn Close – Actress in a Leading Role • Janet McTeer – Actress in a Supporting Role • Makeup Anonymous • Costume Design The Artist • Jean Dujardin – Actor in a Leading Role • Bérénice Bejo – Actress in a Supporting Role • Art…

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Producers Guild Dug Uggie: It’s The Artist

Producers Guild Dug Uggie The Artist Gets Zanucked

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LOS ANGELES, CA (January 21, 2012) – Today the Producers Guild of America (PGA) announced this year’s winning motion picture and television productions at the 23rd Annual Producers Guild Awards ceremony held at the Beverly Hilton in Los Angeles. In addition to the competitive awards, the PGA honored several individuals with tribute awards includingLeslie Moonves (Milestone Award), Steven…

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London Film Critics Circle Awards 2011

FILM OF THE YEAR The Artist BRITISH FILM OF THE YEAR (The Attenborough Award) We Need to Talk About Kevin FOREIGN-LANGUAGE FILM OF THE YEAR A Separation DOCUMENTARY OF THE YEAR Senna DIRECTOR OF THE YEAR Michel Hazanavicius- The Artist SCREENWRITER OF THE YEAR Asghar Farhadi- A Separation BREAKTHROUGH BRITISH FILM-MAKER (The Virgin Atlantic Award) Andrew Haigh – Weekend…

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Gurus o’ Gold: Post-Globes/Pre-Oscar Nominations

It’s all over but the nominations announcement. And then we start again.

A lot has changed in the last few months. But the battles at the tops of the charts will look pretty familiar. Perhaps the biggest change in this week’s charts – all 8 of the “top” categories – is Scorsese, who was not named by a single Guru in their Top 6 a couple of months ago and is now… well, you’ll see.

The Gurus also offer an opinion about who might have benefited from their Golden Globes appearance.

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32nd London Critics’ Circle Film Awards nominations announced

London, Tuesday 20 December: The London Critics’ Circle is delighted to announce the nominations today for its 32nd annual Film Awards in partnership with Virgin Atlantic. Voted for by over 120 UK film critics, broadcasters and writers, the nominations are lead by TINKER TAILOR SOLDIER SPY and DRIVE, which both receive 6 nominations each. British…

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The Artist receives 12 nominations. Tinker Tailor Soldier Spy is nominated in 11 categories, Hugo has nine nominations, My Week with Marilyn has six nominations and The Help and War Horse are each nominated five times. Drive, The Iron Lady and Harry Potter and the Deathly Hallows – Part 2 have four nominations. The Descendants,…

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Critics Top Ten List 2011: Adrian Martin

Adrian Martin Mysteries of Lisbon (Raúl Ruiz) The Tree of Life (Terrence Malick) We Need to Talk about Kevin (Lynne Ramsay) Road to Nowhere (Monte Hellman) Bridesmaids (Paul Feig) Attenberg (Athina Rachel Tsangari) Drive (Nicolas Winding Refn) Sleeping Beauty (Julia Leigh) Friends with Benefits (Will Gluck) Journals of Musan (Park Jung-bum)

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The 2011 Golden Globes Awards for Film

Best Motion Picture — Drama The Descendants Best Motion Picture — Comedy or Musical The Artist Best Director — Motion Picture Martin Scorsese, Hugo Best Actress — Drama Meryl Streep, The Iron Lady Best Actor — Drama George Clooney, The Descendants Best Actress — Comedy or Musical Michelle Williams, My Week With Marilyn Best Actor…

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Critics Top Ten List 2011: Ray Pride

Ray Pride Movie City News The Interrupters 1. Margaret 2. Drive 3. Melancholia 4. Take Shelter / Tree of Life 5. Tinker Tailor Soldier Spy 6. A Separation 7. Martha Marcy May Marlene 8. Shame 9. Road to Nowhere / Certified Copy 10. Aurora / Tuesday, After Christmas

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Critics Top Ten List 2011: Rodrigo Perez

Rodrigo Perez Playlist 1. Shame 2. Rampart 3. Beginners 4. Like Crazy 5. Certified Copy 6. The Skin I Live In 7. A Separation 8. Moneyball 9. Beats Rhymes & Life: The Travels Of A Tribe Called Quest 10. The Ides Of March

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Critics Top Ten List 2011: Quentin Tarantino

Quentin Tarantino 1. Midnight In Paris 2. Rise Of The Planet Of The Apes 3. Moneyball 4. The Skin I Live In 5. X-Men: First Class 6. Young Adult 7. Attack The Block 8. Red State 9. Warrior 10. The Artist / Our Idiot Brother 11. The Three Musketeers

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Critics Top Ten List 2011: Cinema Scope

Cinema Scope 1. This Is Not a Film 2. The Turin Horse 3. L’Apollonide—Souvenirs de la maison close 4. Dreileben 5. Once Upon a Time in Anatolia 6. The Tree of Life 7. Kill List 8. It’s the Earth Not the Moon 9. Sleeping Sickness 10. The Kid With A Bike

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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