International Press Academy nominations for the 18th Annual Satellite Awards.
- 12 Years a Slave (Fox Searchlight)
- All Is Lost (Lionsgate/Roadside Attractions)
- American Hustle (Sony)
- Blue Jasmine (Sony Pictures Classics)
- Captain Phillips (Sony)
- Gravity (Warner Bros.)
- Inside Llewyn Davis (CBS Films)
- Philomena (The Weinstein Company)
- Saving Mr. Banks (Disney)
- The Wolf of Wall Street (Paramount)
- Woody Allen Blue Jasmine (Sony Pictures Classics)
- Ethan Coen, Joel Coen Inside Llewyn Davis (CBS Films)
- Alfonso Cuaron Gravity (Warner Bros.)
- Paul Greengrass Captain Phillips (Sony)
- Ron Howard Rush (Universal)
- Steve McQueen 12 Years a Slave (Fox Searchlight)
- David O. Russell American Hustle (Sony)
- Martin Scorsese The Wolf of Wall Street (Paramount)
The internet thought it was a hoax until it was proved true. Paul Walker was a passenger in the car while attending a charity event for for his organization Reach Out Worldwide, EW reports. He was 40 years old. What a shame. Thanks to readers who notified us of the tragedy.
In just a few days, the New York Film Critics will announce first (Tuesday, December 3) and a day after that, the National Board of Review (Dec. 4). New York recently pushed their date to be before the National Board of Review and yes, that means they’re FIRST, but it also means that they, like the NBR, can maybe push a contender into the race but they’re so early in the race that they often don’t paint an accurate picture of where the buzz is going to go. Then on Dec. 8, Los Angeles will come along and their picks will react to what’s already been announced.
The critics groups tend to influence Best Picture, Director, Best Actor and Best Actress most. The rest of the categories, especially documentary and animated feature, tend to lessen in terms of impact. But really, we’re following Best Picture when we look at these early awards.
First up, the New York Film Critics – what will they choose? Last year it was Zero Dark Thirty (nominated) for Best Picture, Daniel Day-Lewis (won Oscar) for Actor, Rachel Weisz for Deep Blue Sea (not nominated for the Oscar). Year before it was The Artist (won Best Picture), Streep for the Iron Lady (who won the Oscar), and Brad Pitt for Moneyball (nominated). Year before that, The Social Network (nominated), Annette Bening (nominated), and Colin Firth (won Oscar). Since it’s the first word on the critics awards, their choice will have a bigger impact. But that doesn’t necessarily mean they’re picking the winner or starting what will end up being a consensus. Picking The Artist was less meaningful than picking Streep for the Iron Lady, for instance. The Artist won everything but Streep had a formidable challenger in frontrunner Viola Davis.
The National Board of Review is a little less formal than the New York Film Critics. They are better at pushing in an unlikely contender than they are confirming or starting the consensus. They rarely go with the flow. They did agree with New York in picking Zero Dark Thirty, which set that film up early as the one to beat. But the year before they went with Hugo rather than The Artist.
Our predictions after the jump.
Remember when The Dark Knight was shut out of the Best Picture race and the Academy decided to expand their list from five nominees to ten? Yeah, so then the following two years produced some of the best lineups for Best Picture the Academy has ever seen. Diverse, interesting, inclusive choices because they weren’t bound to this number one nonsense so much — they each had to fill out ten choices, which allowed members to be more free with what they might consider a Best Picture contender. But voters didn’t like filling out ten. They had been conditioned to only pick five. After two years of a solid ten, the Academy decided to go back to the way they used to do it — have members choose only five titles. They would then decide the winners the same way they had always done but would loosen the belt a bit to allow for more films to be nominated — somewhere between five and, they say, ten. But it’s almost impossible to reach the full ten. In fact, it’s never happened in any of the years the Academy used the same method to name more than five nominees.
To me, their best methods are when they go for a solid ten (more inclusive) or a solid five (less herding cats). The conclusions I’ve come to watching them change the number of Best Picture nominees has been interesting.
1) I always thought that the strongest films would have to have a corresponding Best Director nomination — not true. Argo disproved that theory.
It’s official. It’s now been announced that American Hustle will be classified as a comedy in 3 major categories at the Golden Globes. Not only does this free up slots in the Globes drama divisions for Best Picture, Actor and Actress, it allows American Hustle to compete against several less substantial performances less momentous films. (Not that there aren’t any substantial comedy performances every year; there just aren’t 10 of them).
By definition, it’s rare to find a comedy the Oscars take seriously. Over the past 40 years, only 3 winners of the Golden Globes Musical/Comedy prize have gone on to win Best Picture at the Oscars.
1998 – Shakespeare in Love
2002 – Chicago
2011 – The Artist
Other illustrious winners of the Globes Best Comedy/Musical category have included The Longest Yard, The Sunshine Boys, Green Card and The Hangover. The Goodbye Girl beat Annie Hall in 1977, typical of the Golden Globe’s flat sheen of comedy prestige.
Note: 36 hours ago Monica and bennett drew our attention to a lone tweet from HFPA member @anamariabahiana: “American Hustle (A Trapaça, no Brasil) acaba de passar para a categoria comedia nos #GoldenGlobes.” I wanted to post the news but couldn’t find a second source to confirm until this afternoon. In the future we’d be wise to pay attention when Monica and bennett tell us what Ana Maria Bahiana is saying.
I like to quote the feedback card from a Pomona guy at the first test screening for The Magnificent Ambersons: “People like to laff, not be bored to death.” Allowing for the possibility that death by boredom and laffing aren’t our only options, I’ll see if I can list 50 substantial Golden Globe comedy nominees from the past 50 years.