2010 Awards and Critic Lists Discussion Thread

[Rowland]

Sight & Sound's annual critical poll results (http://mubi.com/lists/18291).

Individuals lists are only available in print until December 7th.

[Spinal]

This thread is going to be all about me getting pissed off by the bewildering praise for The Social Network.

[Rowland]

I'm pleased with the high position for I Am Love, and a bit baffled by the complete absence of Wild Grass. So far otherwise, there is nothing on the list I've seen that I outright object to, though I remain largely indifferent to Winter's Bone.

[Irish]

Sheesh, is the Social Network really that good? (Haven't seen it, but shocked it rates this highly).

[Rowland]

Sheesh, is the Social Network really that good?
Spinal: No
Me: Sorta

[Boner M]

S&S list is always a bit wonky, but I love reading the individual lists.

[DavidSeven]

Man, how did they manage to put something so mainstream and so distinctly American on top of a list like that? You'd think with the two films bookending this list, they would have found a slot for Nolan's film somewhere in between. Where's the British love?

[Spun Lepton]

Man, how did they manage to put something so mainstream and so distinctly American on top of a list like that? You'd think with the two films bookending this list, they would have found a slot for Nolan's film somewhere in between. Where's the British love?

I was also disappointed by the exclusion of Inception.

[baby doll]

Because I don't have time to bitch...

1. Uncle Boonmee Who Can Recall His Past Lives (Apichatpong Weerasethakul) / ****
2. The Social Network (David Fincher) / ***
3. Another Year (Mike Leigh) / ***
4. Carlos (Olivier Assayas) [140 min. version] / ***1/2
6a. I Am Love (Luca Guadagnino) / **1/2
6b. Winter's Bone (Debra Granik) / ***
8a. Film socialisme (Jean-Luc Godard) / ***1/2
8b. Un prophète (Jacques Audiard) / ***1/2
15. The Illusionist (Sylvain Chomet) / ***
20a. Exit Through the Gift Shop (Banksy) / ***1/2
20b. The Ghost Writer (Roman Polanski) / ***1/2

[Watashi]

Has True Grit even screened for critics yet?

[Watashi]

This thread is going to be all about me getting pissed off by the bewildering praise for The Social Network.
Don't forget about Toy Story 3.

You'll be thankfull that this year will be the last for quite some time for Pixar to dominate the end of the year lists and awards.

[Henry Gale]

I'm guessing I'll have seen no more than ten of those after all is said and done, on top of the four I already have. So... yeah, not much to add.

Still waiting to see Uncle Boonmee. Kind of forgot to see it when it was here in Toronto at the Lightbox for a little while. Shame on self.

[TripZone]

Damn good bunch.

I Am Love love woo.

[Boner M]

Just got a request for an Australian critics circle top ten; realised that Inception is my favorite 2010 film by Aussie release date. Man, if I hadn't made that Toronto trip I'd just tear up my movie-lover card and get into sports instead.

EDIT: Just realised Fantastic Mr. Fox was an Oz 2010 release, so I guess that's my #1. Still.

[dmk]

Yeah, Inception sucks. I'd be ashamed too.

[Dukefrukem]

I have a lot of viewings in queue before February. :-/

[Ezee E]

Just got a request for an Australian critics circle top ten; realised that Inception is my favorite 2010 film by Aussie release date. Man, if I hadn't made that Toronto trip I'd just tear up my movie-lover card and get into sports instead.

EDIT: Just realised Fantastic Mr. Fox was an Oz 2010 release, so I guess that's my #1. Still.
Well, think of what could be the #1?

[Boner M]

Well, think of what could be the #1?
???

[Pop Trash]

Indie Spirit Noms:

http://www.hitfix.com/articles/2011-independent-spirit-awards-nominees

[Ezee E]

???
Trying to figure out what widely liked movie may end up at #1 otherwise.

Social Network open there yet?

[Ezee E]

Trying to figure out what widely liked movie may end up at #1 otherwise.

Social Network open there yet?
I find it hard to believe that there isn't a director whose first feature isn't better than The Last Exorcism. I haven't seen it, but still...

[Watashi]

Just got a request for an Australian critics circle top ten; realised that Inception is my favorite 2010 film by Aussie release date. Man, if I hadn't made that Toronto trip I'd just tear up my movie-lover card and get into sports instead.

EDIT: Just realised Fantastic Mr. Fox was an Oz 2010 release, so I guess that's my #1. Still.
Yeah, how dare a good movie be your #1.

How dare it.

[DavidSeven]

More like how dare he have a movie that he liked, a lot of other people liked and is generally well known as his #1. Oh, you gave that movie an A-? It's your top film of the year? Tear that movie lover card up. Tear it up good, philistine.

[Philosophe_rouge]

I find it hard to believe that there isn't a director whose first feature isn't better than The Last Exorcism. I haven't seen it, but still...

The LAst Exorcism is really good.

[Ezee E]

More like how dare he have a movie that he liked, a lot of other people liked and is generally well known as his #1. Oh, you gave that movie an A-? It's your top film of the year? Tear that movie lover card up. Tear it up good, philistine.
Boner's head just shrunk a little I think.

Poor Boner.

[Spinal]

More like how dare he have a movie that he liked, a lot of other people liked and is generally well known as his #1. Oh, you gave that movie an A-? It's your top film of the year? Tear that movie lover card up. Tear it up good, philistine.

But ... but ... it made a lot of money.

[Boner M]

More like how dare he have a movie that he liked, a lot of other people liked and is generally well known as his #1. Oh, you gave that movie an A-? It's your top film of the year? Tear that movie lover card up. Tear it up good, philistine.
Cool it, fanboy. I like the film a lot despite having major reservations (plus, I've only seen it once), and I'm certainly not ashamed of liking it. I just think that if a film I only like a lot is at the top of my year-end list, then that says a lot about the dearth of quality cinema this year (or at least Australia's wack distribution vagaries).

[DavidSeven]

Oh, I see what you did there. The 1998 implies I'm 12. A double whammy to go with being called a fanboy for ridiculing a post that certainly reads like you care about your cinephile street cred above all else. But I accept your clarification, and I still love a hard nosed boner. Even more so than otherwise, perhaps.


Truthfully, all of Nolan's films up to and including The Prestige look pretty generic. Sure, they're mostly well-composed -- but well-composed in the same sort of way that most big budget Hollywood films with competent directors are. I can think of very few really distinctive images from his pre-Dark Knight catalogue (maybe the garden of lightbulbs in The Prestige and the swarming bats in Batman Begins). The inventiveness of Memento was obviously in the editing, not the imagery. I never really thought Nolan would be capable of including a shot like Joker/cop car in one of his films. Or the 360 camera rotation on a dangling Joker. Or any number of shots from TDK really. The striking images from the Inception trailer suggest a continuation of his sudden evolution as a filmmaker.

[Boner M]

FINE, YOU WIN.

[Ezee E]

National Board of Review:


Best Film: The Social Network
Best Director: David Fincher, The Social Network
Best Actor: Jesse Eisenberg, The Social Network
Best Actress: Lesley Manville, Another Year
Best Supporting Actor: Christian Bale, The Fighter
Best Supporting Actress: Jacki Weaver, Animal Kingdom
Best Foreign Language Film: Of Gods and Men
Best Documentary: Waiting for “Superman”
Best Animated Feature: Toy Story 3
Best Ensemble Cast: The Town
Breakthrough Performance: Jennifer Lawrence, Winter’s Bone
Debut Directors: Sebastian Junger and Tim Hetherington, Restrepo
Spotlight Award: Sylvain Chomet and Jacques Tati, The Illusionist
Best Original Screenplay: Chris Sparling, Buried
Best Adapted Screenplay: Aaron Sorkin, The Social Network
Special Filmmaking Achievement Award: Sofia Coppola for writing, directing, and producing Somewhere
William K. Everson Film History Award: Leonard Maltin

NBR Freedom of Expression: Fair Game, Conviction, Howl
Production Design Award: Dante Ferretti, Shutter Island

Ten Best Films
(in alphabetical order)
Another Year
The Fighter
Hereafter
Inception
The King’s Speech
Shutter Island
The Town
Toy Story 3
True Grit
Winter’s Bone

Five Best Foreign-Language Films
(in alphabetical order)
I Am Love
Incendies
Life, Above All
Soul Kitchen
White Material

Five Best Documentaries
(in alphabetical order)
A Film Unfinished
Inside Job
Joan Rivers: A Piece of Work
Restrepo
The Tillman Story

No Exit Through the Gift Shop? No love for Black Swan at all? Boo.

[Spinal]

Sigh.

[Watashi]

Hereafter?

Ew.

[Henry Gale]

Hereafter?

Ew.

Well not a huge surprise, the NBR seem to be firmly on Eastwood's dick for life. In '08 they had both Changeling and Gran Torino on there, Iwo Jima (as the overall Best Picture) along with Flags taking up another double slot in '07, and of course they had Invictus in their ten last year, too.

The bigger surprises, assuming we're looking at this as a preview for Oscar: No sign of 127 Hours, Black Swan and The Kids Are All Right.

[MadMan]

I have Winter's Bone on my Netflix queue, but Dr. Who comes first.

[Raiders]

No sign of 127 Hours, Black Swan, The Kids Are All Right and Winter's Bone.

The middle two never seemed as likely to me as others, but I still say no way Boyle's film gets snubbed, and Winter's Bone is on NBR's top ten films.

[Henry Gale]

The middle two never seemed as likely to me as others, but I still say no way Boyle's film gets snubbed, and Winter's Bone is on NBR's top ten films.

Oops, fixed. But I dunno at least about Black Swan, Portman and Aronofsky seem to be all that just the right people are going on about. Whether that adds up to a Picture nomination down the line remains to be seen, but without having seen it personally, the film still seems to be thrown around in the press and typical Oscar columnists enough to suggest it's a strong contender.

The Kids Are All Right seems to have been replaced as the "token indie nominee" by Winter's Bone. But yeah, there's no way Hereafter makes it on the Oscar ten, though things like The Town and Shutter Island still look to be playing the dark horse card pretty well.

[Boner M]

Oh wow, just noticed Buried won for screenplay. Neato.

[TripZone]

Looks like True Grit just got a top 10 thingy because it's by the Coens. Looks average to me.

[Rowland]

John Waters reveals his top ten (http://artforum.com/inprint/id=26857).

[Ezee E]

John Waters reveals his top ten (http://artforum.com/inprint/id=26857).
bahaha. I saw Buried on a date.

[NickGlass]

bahaha. I saw Buried on a date.

It can't be a worse date movie than Almodovar's Matador.

[Ivan Drago]

Don't forget about Toy Story 3.

You'll be thankfull that this year will be the last for quite some time for Pixar to dominate the end of the year lists and awards.

The Bear and the Bow isn't coming out next year?

Down to Rango, Happy Feet 2, or Winnie The Pooh then. Or Tintin if it counts.

[Chac Mool]

I think much of the "Social Network" love (which I do think is well-deserved) comes from the fact that traditionally, movies either more "good" than exciting, or more exciting than "good".

It's rare to find a movie that's both hugely entertaining and very, very good.

[baby doll]

I think much of the "Social Network" love (which I do think is well-deserved) comes from the fact that traditionally, movies either more "good" than exciting, or more exciting than "good".

It's rare to find a movie that's both hugely entertaining and very, very good.You've lost me.

[Watashi]

D.C. Film Critic Winners:


Best Film
“Black Swan”
“Inception”
“127 Hours”
“The Social Network”
“Toy Story 3″

Best Director
Darren Aronofsky, “Black Swan”
Christopher Nolan, “Inception”
Danny Boyle, “127 Hours”
David Fincher, “The Social Network”
Ethan Coen, Joel Coen, “True Grit”

Best Actor
Jeff Bridges, “True Grit”
Robert Duvall, “Get Low”
Jesse Eisenberg, “The Social Network”
Colin Firth, “The King’s Speech”
James Franco, “127 Hours”

Best Actress
Annette Bening, “The Kids Are All Right”
Anne Hathaway, “Love & Other Drugs”
Nicole Kidman, “Rabbit Hole”
Jennifer Lawrence, “Winter’s Bone”
Natalie Portman, “Black Swan”

Best Supporting Actor
Christian Bale, “The Fighter”
Andrew Garfield, “The Social Network”
John Hawkes, “Winter’s Bone”
Sam Rockwell, “Conviction”
Geoffrey Rush, “The King’s Speech”

Best Supporting Actress
Amy Adams, “The Fighter”
Helena Bonham Carter, “The King’s Speech”
Melissa Leo, “The Fighter”
Hailee Steinfeld, “True Grit”
Jacki Weaver, “Animal Kingdom”

Best Adapted Screenplay
“127 Hours”
“The Social Network”
“Toy Story 3″
“True Grit”
“Winter’s Bone”

Best Original Screenplay
“Another Year”
“Black Swan”
“Inception”
“The Kids Are All Right”
“The King’s Speech”

Best Animated Feature
“Despicable Me”
“How to Train Your Dragon”
“Megamind”
“Tangled”
“Toy Story 3″

Best Documentary
“Exit Through the Gift Shop”
“Inside Job”
“Restrepo”
“The Tillman Story”
“Waiting for Superman”

Best Foreign Language Film
“Biutiful”
“The Girl With the Dragon Tattoo”
“I Am Love”
“Mother”
“White Material”

Best Art Direction
“Alice in Wonderland”
“Black Swan”
“Harry Potter and the Deathly Hallows: Part I”
“Inception”
“True Grit”

Best Cinematography
“Black Swan”
“Inception”
“127 Hours”
“The Social Network”
“True Grit”

Best Score
“Black Swan”
“Inception”
“127 Hours”
“The Social Network”
“True Grit”

Best Acting Ensemble
“The Fighter”
“Inception”
“The Kids Are All Right”
“The Social Network”
“The Town”

[B-side]

Best Cinematography
“Black Swan”
“Inception”
“127 Hours”
“The Social Network”
“True Grit”

:|

[Rowland]

David Edelstein's Top 10 (http://nymag.com/arts/cultureawards/2010/69911/)

[Boner M]

Please Give at #3 is bewildering. Don't usually agree w/ Edelstein anyway, tho he's a great read.

[dmk]

Please Give at #3 is bewildering.
Excellent film.

EDIT: Not really, actually. I just liked the juxtaposition. I am very fond of the film though, as I am with most of Holofcener's films. Her characters, mostly. They're awful fucking people. And they're just like the people in my family. So I laugh at them. And the first half of the film was for me funnier (with intelligence) than anything else I saw this year (The Other Guys and I'm Still Here were probably funnier overall, but they're both also fucking stupid - in the best way).

[MacGuffin]

Edelstein is a clown. Just because a film is slow paced, overacted, and "independent", doesn't mean it is good. I'm SHOCKED there are no studio pics here that people, you know, actually went to see besides the cartoons. Edelstein, save your cooler then thou know it all garbage for your reviews, this is a "best of" movies that no one wants to see.

I hope none of you wrote this crap.

[Spinal]

Despicable Me? :confused:

And he calls it "anarchic". Twice!

[Chac Mool]

You've lost me.

"Entertainment value" and "quality" don't always go hand in hand.

I associate the former with an elevated heartbeat, laughs (or at least a wry grin) and a certain cool factor, among others.

The latter, I tie mostly to good craftsmanship, an intelligent screenplay, a thought-provoking or timely theme, and so on.

Some films -- great films -- have both. But others don't. I won't ever call "Bad Boys 2" or "Transformers" quality movies, but they're damn entertaining. Conversely, "Andrei Rublyev" or "The Werckmeister Harmonies" are paragons of quality, but I don't think I'd ever label them as entertainment.

"The Social Network" is, quite simply, one of those rare movies that is emphatically both.

[Spinal]

It is not at all rare for a film to be both entertaining and high quality.

[MacGuffin]

Conversely, "Andrei Rublyev" or "The Werckmeister Harmonies" are paragons of quality, but I don't think I'd ever label them as entertainment.

I don't think there's really any relevant point to this argument. Werckmeister Harmonies is high quality and I enjoy it.

[baby doll]

"Entertainment value" and "quality" don't always go hand in hand.

I associate the former with an elevated heartbeat, laughs (or at least a wry grin) and a certain cool factor, among others.

The latter, I tie mostly to good craftsmanship, an intelligent screenplay, a thought-provoking or timely theme, and so on.

Some films -- great films -- have both. But others don't. I won't ever call "Bad Boys 2" or "Transformers" quality movies, but they're damn entertaining. Conversely, "Andrei Rublyev" or "The Werckmeister Harmonies" are paragons of quality, but I don't think I'd ever label them as entertainment.

"The Social Network" is, quite simply, one of those rare movies that is emphatically both.I feel like I'm back at Rotten Tomatoes. Anyway, here's how I look at it: I get a lot of pleasure out of Andrei Rublev and Werckmeister Harmonies, period. I also got quite a bit of pleasure out of The Social Network--not as much as I would from a Béla Tarr film, of course, but still enough to make it a worthwhile experience--thanks, in large part, to the snappy dialogue and Trent Renzor music (i.e., the good craftsmanship) which made me laugh and quickened my pulse. Incidentally, if you like The Social Network, you should check out His Girl Friday, which has tons of snappy dialogue but no score (and doesn't need one).

[Boner M]

Individual ballots and writeups for the Sight and Sound poll are online (http://www.bfi.org.uk/sightandsound/polls/films-of-2010-full.php). Some notable crits:


Wild Grass (Les herbes folles)
Vincere
Mother and Child
Life During Wartime
Another Year


Certified Copy (Copie conforme)
Film socialisme
Poetry (Si)
Vincere
Wild Grass (Les herbes folles)


Carlos
The Social Network
The Autobiography of Nicolae Ceausescu
Boxing Gym
Film socialisme


Certified Copy (Copie conforme)
Film socialisme
The Social Network
The Forgotten Space
Uncle Boonmee Who Can Recall His Past Lives (Lung Boonmee raluek chat)

[TripZone]

Damn, that is extensive.

I was in that same Copie Conforme screening with Adrian Martin :P

NEED ANOTHER YEAR

[Boner M]

I was in that same Copie Conforme screening with Adrian Martin :P
I saw him give a presentation on Wake on Fright at UNSW last week, where he trailed off to pimp Pedro Costa and Dumont's Twentynine Palms. 'Atta boy.

[baby doll]

Damn, that is extensive.

I was in that same Copie Conforme screening with Adrian Martin :P

NEED ANOTHER YEARAnother year, or Another Year?

[TripZone]

I saw him give a presentation on Wake on Fright at UNSW last week, where he trailed off to pimp Pedro Costa and Dumont's Twentynine Palms. 'Atta boy.

That is like him.
Is he fond of Wake in Fright, then? Martin has led me to some of the finest Aussie films. He should be championed more and more for himself championing obscure, underappreciated films. And he's always such a wonderful read, never dry.


Another year, or Another Year?

Leigh, my love.

[Boner M]

Is he fond of Wake in Fright, then?
Yeah, he likened it to his one-year stay in Sydney in the mid-80's. :)

[baby doll]

Leigh, my love.Which leads me to my next question: Who needs it?

[TripZone]

Which leads me to my next question: Who needs it?

I...I need it. I need it.

Tony Rayns, yo:

End of Animal (Jimseung ui Kkut)
Jo Seung-hee, South Korea

The Home of Stars (Byeoldeul ui Kohyang)
Jung Yoon-suk, South Korea

I Wish I Knew (Hai Shang Chuanqi)
Jia Zhangke, China

The Social NetworkDavid Fincher, USA

Thomas Mao (Xiao Dongxi)
Zhu Wen, China

Highlights:
2010’s clear highlight was the awarding of the Cannes Palme d’Or to Uncle Boonmee Who Can Recall His Past Lives, one of several titles that should really be in my top five – and would be, if I hadn’t preferred to use some of the slots for as-yet-unrecognised films. Apichatpong has been on a whirlwind tour of festivals ever since May, and his film has already opened in several countries, not very successfully in Germany and Italy but gratifyingly strongly elsewhere.

Its triumph on the Riviera prompted a remarkable polemic from the Canadian critic Mark Peranson in his magazine Cinema Scope, positing an unbridgeable divide between “us” (Apichatpong fans, and those in favour of intelligent, non-industrial and innovative cinema in general) and “them” (fans of Mike Leigh, Mikhalkov, Iñárritu et al). This was the most enjoyable piece of writing on cinema I read all year.

The other films that got my pulses racing in 2010 would all go down well with Peranson’s “us”. Most of them were from East Asia. They include Li Hongqi’s deadpan tragi-comedy Winter Vacation, the extended cut of Zhao Liang’s Petition, Lee Sam-Chil’s very witty riff on Kafka’s Metamorphosis and Japanese maverick Hirabayashi Isamu’s two latest shorts: Aramaki (on an attempt to aestheticise a suicide organically) and Shikasha (on a mysterious race against time), shown in competition in Berlin and Cannes respectively.

But I also liked some American indies: Foreign Parts by Verena Paravel and J.P. Sniadecki, about a scrapyard in the shadow of the New York Mets’ stadium, and Aardvark by Kitao Sakurai, a docudrama about a blind, middle-aged ex-alcoholic and his improbable friendship with a young black jiu-jitsu instructor who moonlights as an S&M rentboy.

[baby doll]

I...I need it. I need it.Having seen the film, I'm not sure that anybody needs it--unless, that is, you happen to feel too contented with life and are looking for something to bring you down.

[soitgoes...]

I...I need it. I need it.

Tony Rayns, yo...

I'm skeptical on whether half of those films even exist.

[TripZone]

Having seen the film, I'm not sure that anybody needs it--unless, that is, you happen to feel too contented with life and are looking for something to bring you down.

Leigh tends to have the opposite effect on me.

[baby doll]

Leigh tends to have the opposite effect on me.Usually on me too. If nothing else, Another Year has to be the most forceful argument in favor of getting married I can recall seeing--one more indication that Leigh's work has as much (or more) in common with 1930s Hollywood cinema (this is virtually his Make Way for Tomorrow) than it does with the work of some one like Ken Loach.

[baby doll]

I'm skeptical on whether half of those films even exist.Having once been to a film festival in South Korea, I can confirm that it was full of Asian movies that never cracked the North American marketplace. And one that did, Zhang Chi's The Shaft, was completely ignored by mainstream reviewers. I can also confirm that Li Hong-qi (one of the directors cited by Rayns) does in fact exist, since I saw him at PIFF in 2008 at the screening of his deadpan tragicomedy Routine Holiday, which makes me wonder if his new film (based on Rayns' description) is just the old one repackaged with a different title.

[soitgoes...]

Having once been to a film festival in South Korea, I can confirm that it was full of Asian movies that never cracked the North American marketplace. And one that did, Zhang Chi's The Shaft, was completely ignored by mainstream reviewers. I can also confirm that Li Hong-qi (one of the directors cited by Rayns) does in fact exist, since I saw him at PIFF in 2008 at the screening of his deadpan tragicomedy Routine Holiday, which makes me wonder if his new film (based on Rayns' description) is just the old one repackaged with a different title.
I don't doubt it. It's always amusing to me when I go to search for an Asian film whether it be brand new or from the thirties, and there is no evidence of its existence outside of whatever instigated the search. I'd love to know what these films are about, or even possible see them, but they'll slip away from my memory in no time.

[Boner M]

Usually on me too. If nothing else, Another Year has to be the most forceful argument in favor of getting married I can recall seeing--one more indication that Leigh's work has as much (or more) in common with 1930s Hollywood cinema (this is virtually his Make Way for Tomorrow) than it does with the work of some one like Ken Loach.
I've seen this position on AY before and I don't really agree, mostly since the film's most outright miserable character (Imelda Staunton) is married, and she appears in the very first scene only to remain absent and w/ no real effect on the narrative. Thus, it's her spectre that hangs over the film, as if to refute what otherwise might be a 'get married, be happy' thesis. I liked the way the very first shot of her is practically the photo-negative of the final shot of Manville.

[MacGuffin]

I just hope Adrian Martin's website (http://esvc000790.wic057u.server-web.com/) actually launches this year. It's said "To be launched early 2010" for this whole year and now it says "To be launched early 2011.

BTW, that doc about Ceausecu sounds really, reeeeaaaally good.

[Boner M]

I just hope Adrian Martin's website (http://esvc000790.wic057u.server-web.com/) actually launches this year. It's said "To be launched early 2010" for this whole year and now it says "To be launched early 2011.
It's actually been like that since 2005. Guess it'll never happen.

[MacGuffin]

It's actually been like that since 2005. Guess it'll never happen.

Shame, since Rouge is hardly ever updated either.

[Pop Trash]

Individual ballots and writeups for the Sight and Sound poll are online (http://www.bfi.org.uk/sightandsound/polls/films-of-2010-full.php). Some notable crits:

Wow, I didn't notice a single Inception on any of those lists. What gives?

[Ezee E]

Wow, I didn't notice a single Inception on any of those lists. What gives?
Boner M will answer that for you.

[Idioteque Stalker]

I feel like I'm back at Rotten Tomatoes.

Oh no he didn't!

[Boner M]

The L Magazine (http://www.thelmagazine.com/newyork/the-ls-best-films-of-2010/Content?oid=1860182)

Lots of stuff I've been salivating to see. Daddy Long Legs and Our Beloved Month of August, esp.

________

Peter Travers' exercising his influence(?) over Oscar voters:


1. The Social Network
2. Inception
3. The King’s Speech
4. True Grit
5. The Kids Are All Right
6. 127 Hours
7. Black Swan
8. The Fighter
9. Winter’s Bone
10. Toy Story 3

________


David Denby (http://www.newyorker.com/online/blogs/newsdesk/2010/12/david-denby-films.html) gives a writeup rather an official top ten. Good on 'im for shouting out Paul Brunick as web critic of the year.

[Pop Trash]

What I've gleaned from most of these critics: The Social Network rulez! Inception sucks!

[DavidSeven]

Does Travers actually watch the movies or does he just read whatever synopsis is available in the stuff manufactured by studio PR? Is there any way to tell?

[Pop Trash]

Critics: "Please Give rulez!"
Match-Cut: "Nuh dat moovie sux or I dunt wanna see it!"

[dmk]

Yep, Daddy Longlegs looks to be the real thing. Bronstein’s own Frownland was one of my favourite American films of the decade, so I have an eye out for just about anything with his name.


What I've gleaned from most of these critics: The Social Network rulez! Inception sucks!
It's nice when they're right?

[baby doll]

What I've gleaned from most of these critics: The Social Network rulez! Inception sucks!Quite your bellyaching. It sounds like you just want reviewers to validate what you've already seen and liked, rather than recommending films you haven't seen or making you reconsider something you may have underrated. Also, just because a reviewer doesn't put a certain film on their top ten, it doesn't mean they didn't like it. It's just not one of their ten favorites.

[NickGlass]

The L Magazine (http://www.thelmagazine.com/newyork/the-ls-best-films-of-2010/Content?oid=1860182)

Lots of stuff I've been salivating to see. Daddy Long Legs and Our Beloved Month of August, esp.


Woot, props to The L Magazine (although, for the second year running, they did not ask for my list--the bastards). I think Mark's list is the best, even with the terrible new Woody film tacked onto the end.

Oh, and Daddy Longlegs is so frustratingly good and disappointing.

[Pop Trash]

Quite your bellyaching. It sounds like you just want reviewers to validate what you've already seen and liked, rather than recommending films you haven't seen or making you reconsider something you may have underrated. Also, just because a reviewer doesn't put a certain film on their top ten, it doesn't mean they didn't like it. It's just not one of their ten favorites.

I just don't like critical contrarianism for contrarian sake. It was promoted as an "action blockbuster" and baited in an audience as such, and I think critics are dismissing it for this reason. Nevermind that it's probably Nolan's best screenplay since Memento. Plus I don't get the group-think that The Social Network is going to be the Token American Studio Film that winds up on the lists. And I liked The Social Network quite a bit.

[Derek]

I just don't like critical contrarianism for contrarian sake. It was promoted as an "action blockbuster" and baited in an audience as such, and I think critics are dismissing it for this reason. Nevermind that it's probably Nolan's best screenplay since Memento. Plus I don't get the group-think that The Social Network is going to be the Token American Studio Film that winds up on the lists. And I liked The Social Network quite a bit.

You do realize Inception got great reviews across the board, right? And that the very group-think you accuse of being behind The Social Network is the very same thing you'd applaud had it landed Inception on all those lists instead?

And for the record, I like Inception more too.

[Stay Puft]

I can also confirm that Li Hong-qi (one of the directors cited by Rayns) does in fact exist, since I saw him at PIFF in 2008 at the screening of his deadpan tragicomedy Routine Holiday

Hey, I have a copy of that. Haven't watched it yet, though. What did you think?

[Robby P]

Did Inception get unanimously great reviews? I remember Zacharek trashing it pretty badly, among others. Seemed pretty divisive among critics when it first came out.

I'm too lazy to look up its metacritic score, but i thought it was in the low 70s or so.

[DavidSeven]

I'm pretty sure Inception was the first mainstream film to suffer a separate pre-release and post-release backlash of this scale.

Edit: As I recall, a lot of critics were trying to be all "Armond" by saying that it's not as good as you're all going to think it is before it came out. Somehow, it overcame that and now we're onto stage two. Maybe. It's only a few lists, so far.

[baby doll]

Hey, I have a copy of that. Haven't watched it yet, though. What did you think?It's pretty funny, but drink a lot of coffee beforehand; at the 10 AM screening I went to, nearly half the audience fell asleep. (Vintage blog post (http://chuck-a-luck.blogspot.com/2008/10/piff-day-three.html).)

[baby doll]

I just don't like critical contrarianism for contrarian sake. It was promoted as an "action blockbuster" and baited in an audience as such, and I think critics are dismissing it for this reason. Nevermind that it's probably Nolan's best screenplay since Memento. Plus I don't get the group-think that The Social Network is going to be the Token American Studio Film that winds up on the lists. And I liked The Social Network quite a bit.Let's just consider the phrase "Token American Studio Film." First of all, it's not like they just slipped it in at nine or ten; in the Sight & Sound poll it was number one. Also in the top twelve was another American commercial feature, Winter's Bone, which puts the US at one sixth. Okay, it's an indie, but aesthetically speaking, what's the difference between an American indie and a studio film like Fincher's?

Then, since this is a British film magazine, it doesn't strike me as very odd that two of the films (Another Year and The Arbor) are British--one a narrative feature by an acknowledged master; the other a documentary I'd never heard of, but now want to see. Additionally, there's I Am Love, an Italian film with a British star (who also produced) that takes place partly in the UK.

Three more are from western Europe (Film socialisme, Carlos, Un prophète). All three premiered at Cannes, two are by star auteurs (Godard and Assayas), and the third won the Grand Prix there. More to the point, all three are terrific.

Of the remaining films, two are Asian (Uncle Boonmee, Poetry--both much hyped Cannes selections by major filmmakers), one is from Eastern Europe (the Ceausescu doc, another Cannes favorite) and one is from South America (Nostalgia for the Light).

Now doesn't that seem to you an incredibly balanced and not at all contrarian list?

[Irish]

Did Inception get unanimously great reviews? I remember Zacharek trashing it pretty badly, among others. Seemed pretty divisive among critics when it first came out.

I'm too lazy to look up its metacritic score, but i thought it was in the low 70s or so.

Metacritic has it at 74, Rotten Tomatoes at 87.

My own bias is that I remember it being well reviewed early on, with a lone standout (Travers? Pogue?).

But then I'm a little obsessed with how this movie is viewed.

[baby doll]

Metacritic has it at 74, Rotten Tomatoes at 87.

My own bias is that I remember it being well reviewed early on, with a lone standout (Travers? Pogue?).

But then I'm a little obsessed with how this movie is viewed.My sense was that it was overwhelmingly and enthusiastically embraced by mainstream reviewers, and the Metacritic/Rotten Tomatoes numbers back that up. Okay, maybe it's not in Pixar territory, but those approval ratings are still a lot higher than Obama's.

[eternity]

My sense was that it was overwhelmingly and enthusiastically embraced by mainstream reviewers, and the Metacritic/Rotten Tomatoes numbers back that up. Okay, maybe it's not in Pixar territory, but those approval ratings are still a lot higher than Obama's.
That puts Inception in an exclusive club called 'a bit less than half of all the movies released this year'. The scores are higher than Obama's approval ratings at inauguration, and many other movies are too. Not even a fair comparison.

[Pop Trash]

Let's just consider the phrase "Token American Studio Film." First of all, it's not like they just slipped it in at nine or ten; in the Sight & Sound poll it was number one. Also in the top twelve was another American commercial feature, Winter's Bone, which puts the US at one sixth. Okay, it's an indie, but aesthetically speaking, what's the difference between an American indie and a studio film like Fincher's?

Now doesn't that seem to you an incredibly balanced and not at all contrarian list?

re: Winter's Bone...well that's just fucking stupid. I mean, hey, what's the difference between a Brackage or Maya Deren film and The Social Network? They're both American right? Aesthetically speaking they may as well be the same fucking thing! Sarcasm aside, if you think a movie made for a cool million independently with no name actors and a studio film made for $50 million (or thereabouts) are the same thing "aesthetically speaking," then you don't know much about the nuts and bolts of the filmmaking process.

re: your other point...I wasn't just talking about the Sight and Sound critical consolidation poll, I was talking about all of the individual lists. Very few (if any...I don't want to bother looking again) had Inception on there.

[baby doll]

re: Winter's Bone...well that's just fucking stupid. I mean, hey, what's the difference between a Brackage or Maya Deren film and The Social Network? They're both American right? Aesthetically speaking they may as well be the same fucking thing! Sarcasm aside, if you think a movie made for a cool million independently with no name actors and a studio film made for $50 million (or thereabouts) are the same thing "aesthetically speaking," then you don't know much about the nuts and bolts of the filmmaking process.Aesthetically speaking in terms of narrative construction and continuity editing. Brakhage and Deren never got wide distribution for any of their works because they didn't make commercial films, whereas Winter's Bone can be shown in a multiplex (which is where I saw it) because it has a traditional dramatic structure, and it follows the rules of continuity editing that have been in place since 1917. You can't tell by sight whether The Social Network or Winter's Bone is a studio picture or an indie, because that's purely a matter of financing with no bearing whatsoever on what's actually on screen.

Incidentally, since when is Jesse Eisenberg a name actor? Prior to The Social Network, he's appeared primarily in indie films like The Squid and the Whale and Holly Rollers.


re: your other point...I wasn't just talking about the Sight and Sound critical consolidation poll, I was talking about all of the individual lists. Very few (if any...I don't want to bother looking again) had Inception on there.And so what? I'm a big fan of Hereafter, but it doesn't bother me if it's not on any reviewers' lists because I'm secure enough in my opinions that I don't require outside validation. In fact, I look like more of an independent thinker for sticking up for it.

Furthermore, I feel like you're focusing more on what's being excluded rather than what's actually included. For instance, when I look at Rosenbaum's top five, two are flat-out brilliant (Film socialisme, Uncle Boonmee Who Can Recall His Past Lives), one I think is pretty good (The Social Network), and the two I haven't seen both sound really interesting. So what if he didn't include some other movie that I like? Who cares? It's his list for Pete's sake.

[Rowland]

David Denby (http://www.newyorker.com/online/blogs/newsdesk/2010/12/david-denby-films.html) gives a writeup rather an official top ten. Ditto Anthony Lane. (http://www.newyorker.com/online/blogs/newsdesk/2010/12/anthony-lane-film.html)

The New Yorker's Richard Brody offers a fine top 25 list (http://www.newyorker.com/online/blogs/newsdesk/2010/12/richard-brody-films.html#entry-more) as well, with a few curveballs I admire (Get Him to the Greek!?).

[TripZone]

The New Yorker's Richard Brody offers a fine top 25 list (http://www.newyorker.com/online/blogs/newsdesk/2010/12/richard-brody-films.html#entry-more)

So bizarre. 1-5 popular American pictures, and then 6, 8, 10-12.

[dmk]

It's bizarre to like American films and foreign-language films?

It's a beautiful list. My favourite yet.

[TripZone]

It's bizarre to like American films and foreign-language films?

It's a beautiful list. My favourite yet.

The ordering. Going down the list was like..."oh", and then "wat, neat".

[Rowland]

Slant hasn't yet released their top ten lists, but Nick Schager's (http://www.indiewire.com/critic/nick_schager/) and Ed Gonzalez's (http://www.indiewire.com/critic/ed_gonzalez/) are up at indiewire. Heck yeah for October Country and Prodigal Sons! Still have a bunch I need to see in the next few weeks...

[Bosco B Thug]

Slant hasn't yet released their top ten lists, but Nick Schager's (http://www.indiewire.com/critic/nick_schager/) and Ed Gonzalez's (http://www.indiewire.com/critic/ed_gonzalez/) are up at indiewire. Heck yeah for October Country and Prodigal Sons! Still have a bunch I need to see in the next few weeks...
Gonzalez's Best of the Decade list is awesome.

Also, I'm going to have to tear up my Non-Documentary-Enthusiast card in order to keep my Movie-Lover card, aren't I? It's the sense I'm getting this year.

This is ridiculous! [/whining]

EDIT: I do appreciate documentaries, but still.

[DavidSeven]

Forget about Inception; this splooging all over The Social Network is getting kind of crazy. I like it well enough, but christ. It's going to be easier to count the top tens that don't include it.

[Rowland]

Also, I'm going to have to tear up my Non-Documentary-Enthusiast card in order to keep my Movie-Lover card, aren't I? It's the sense I'm getting this year.
My list may change as I see more movies (still about two dozen I actively intend on viewing), but I've seen quite a few already, and four of my top ten are documentaries.

Forget about Inception; this splooging all over The Social Network is getting kind of crazy. I like it well enough, but christ. It's going to be easier to count the top tens that don't include it.For what it's worth, I feel the same about Winter's Bone, which I thought was merely fine. The Social Network I don't mind so much, since it's on my list as well.

[Henry Gale]

Incidentally, since when is Jesse Eisenberg a name actor? Prior to The Social Network, he's appeared primarily in indie films like The Squid and the Whale and Holly Rollers..

Well, Zombieland made a lot of money, and even though Adventureland didn't do as well, people at least seemed to recognize that he was in it. The Social Network just adds enormously to whatever amount of recognition he got for those movies last year.

Plus, it's scary how many people think he's Michael Cera (and the other way around, too). So Superbad and Juno may have falsely helped Eisenberg's fame amongst some less sophisticated filmgoers.

[Watashi]

Public Enemies came out in 2009, Nick.

Unless he means The Fighter?

[Bosco B Thug]

My list may change as I see more movies (still about two dozen I actively intend on viewing), but I've seen quite a few already, and four of my top ten are documentaries. Yeah, I was reacting to the fact that, annoyingly, I haven't heard of these movies popping up suddenly in the End of the Year limelight (much of it yours :) ) before, and I look them up, and they are So Many Documentaries!

Again, I appreciate documentaries, I'm sure they will be absolutely compelling watches, and will try to push myself to watch them upon the strength of their recommendations, but I'm just gonna freely admit I wish they weren't documentaries. :D Or that there weren't so many of these surprise movies deemed essential End of the Year viewing that so happen to be documentaries. :D

[Boner M]

Ed's is my fave list so far. Everyone Else + Secret Sunshine are my top 2 as well.

Lourdes as Nick's #1 is a helluva curveball choice. Seemed to be one of those festival slot-fillers that no one was really passionate about, so I avoided it at every opportunity.

[Boner M]

Gotta watch some of these acclaimed docs soon... esp. October Country, The Oath and Prodigal Sons. Hadn't heard of the latter two til Rowland pimped 'em.

[soitgoes...]

Ed's is my fave list so far. Everyone Else + Secret Sunshine are my top 2 as well.
A shame about Ondine at the ten spot though. Oof.

[Rowland]

To make this easier, an updated official page for all the submitted lists thus far for indiewire's annual survey (http://www.indiewire.com/survey/annual_critics_survey_2010/).

[baby doll]

Speaking of which, Gabe Klinger is my new favorite person. In addition to putting Vincere at the top of his list, he writes in the comment section:


To the editors and critics who continue to dutifully cover the mediocre landscape of U.S. film distribution (and with apologies to valiant distributors like IFC, Strand, etc.): why, pray tell, are you still clinging on to the tired vestiges of a system that seems designed to obliterate diversity and bury artistic achievement, humiliates filmmakers and shortens their careers by assigning unrealistic market value to their work, and relies on idiotic marketing founded on the premise that audiences must be lied to? The concept of investing in the development of a cultured filmgoer is not evidenced in any aspect of commercial distribution. So why do we continue to validate this flawed institution by making a theatrical run the primary requisite for coverage? Media outlets that don't challenge such distinctions as "distributed" and "undistributed" are slowing down a paradigm shift that's already happening. The best, most challenging films left the art house long ago and occupied the sphere of film festivals and the internet. More importantly, the dissemination of these films has been left in the hands of savvy curators rather than soulless marketeers. These alternative systems are making exciting work readily available and deepening the cultural value of films by attaching a meaningful context to them (in a nutshell, this is the main purpose of a film festival). Going to the multiplex is a numbing enterprise. Long live film festivals, film clubs, and alternative screening spaces, both in their physical and cyber incarnations, for as long as they don't have to serve but, rather, be an exception to the perfunctory hands of the film market...

[dmk]

Public Enemies came out in 2009, Nick.

Unless he means The Fighter?
Public Enemies is so good it corresponds to no man’s concept of time and space. I will also include it in my end of year lists.


A shame about Ondine at the ten spot though. Oof.
How come? The first half of it reaches the transcendental beauty and awe of a Malick film. As for the second half... well, all is forgiven.

[soitgoes...]

How come? The first half of it reaches the transcendental beauty and awe of a Malick film. As for the second half... well, all is forgiven.It's best to forget the awful shift in tone?

[Rowland]

Hah, so this Gabe Klinger fellow not only includes The Expendables and Machete on his otherwise largely highbrow list, he even nominates Mickey Rourke for his turn in the Stallone flick. His performance IS the best in the film, so if anyone wants a taste without actually watching it, here's a clip of his best scene (http://www.youtube.com/watch?v=-4Bmc1-DAVk&feature=related). Don't worry about context, it works on its own like the scene from The Pledge.

[dmk]

It's best to forget the awful shift in tone?
Damn right near impossible that. Still, half of a masterpiece is nothing to scoff at.


Hah, so this Gabe Klinger fellow not only includes The Expendables and Machete on his otherwise largely highbrow list, he even nominates Mickey Rourke for his turn in the Stallone flick. His performance IS the best in the film, so if anyone wants a taste without actually watching it, here's a clip of his best scene (http://www.youtube.com/watch?v=-OXwVxIN_kA). Don't worry about context, it works on its own like the scene from The Pledge.
He wrote a fun piece on Ghosts of Mars a decade back for Senses of Cinema.

But there's no excuse for the Machete love.

[soitgoes...]

Damn right near impossible that. Still, half of a masterpiece is nothing to scoff at.
I wouldn't go as far as masterpiece, it could have been something special, I'll give you that. Give Doyle credit, but Jordan should be chastised for giving us something that should be so much better. 10th best film of the year? No way.

[dmk]

I wouldn't go as far as masterpiece, it could have been something special, I'll give you that. Give Doyle credit, but Jordan should be chastised for giving us something that should be so much better. 10th best film of the year? No way.
Eh, it's still in my Top 50 of 2009.



Oh, as for this,

Lourdes as Nick's #1 is a helluva curveball choice. Seemed to be one of those festival slot-fillers that no one was really passionate about, so I avoided it at every opportunity.
I thought it was great, in that there was a very pleasant, detached Kaurismäki kind of air to it. I saw it twice. Or, once and a half - I arrived about 30 minutes late for its (surprise) MIFF screening. 'Surprise' in that it screened instead of A Japanese Wife, which never arrived.

[Boner M]

Holy shit, Alamar's #2 in the Indiewire poll so far! It'll prolly drop soon, but good job so far, voters.

I'm creeped out by how many otherwise respectable people folk like Machete, though.

[Rowland]

I'm creeped out by how many otherwise respectable people folk like Machete, though.I'm sure others would express the same feelings regarding Trash Humpers. I wouldn't, but some may. :P

[baby doll]

I'm creeped out by how many otherwise respectable people folk like Machete, though.Michelle Rodriguez looks damn fine in an eye patch.

[NickGlass]

Gotta watch some of these acclaimed docs soon... esp. October Country, The Oath and Prodigal Sons. Hadn't heard of the latter two til Rowland pimped 'em.

Really? I've been talking about (and listing) Prodigal Sons since I saw it in March. I've actually seen it roughly three times by now. Pretty devastating material.

[Mysterious Dude]

Salon's Andrew O'Hehir has ranked every movie he reviewed this year (http://www.salon.com/entertainment/movies/2010/09/29/movie_list/index.html).

[Boner M]

Drinking game for year-end top 10 lists!

Read through the comments section and drink once for each comment a) lambasting the list for not including Inception, b) or claiming its author is 'just trying to be different'. Take one shot if commenter does both a) and b). Slam down six pack if commenter does both and is names after a character from Inception.

[Pop Trash]

Drinking game for year-end top 10 lists!


Here's an easy one: take a shot everytime you see a critic's top ten list that has The Social Network but lacks Inception. Actually, don't do that since you would die from liver sclerosis.

[[ETM]]

Drinking game for year-end top 10 lists!

Read through the comments section and drink once for each comment a) lambasting the list for not including Inception, b) or claiming its author is 'just trying to be different'. Take one shot if commenter does both a) and b). Slam down six pack if commenter does both and is names after a character from Inception.

You can do that for every crowd favorite, every year.

[Watashi]

Boston Critics:

Best Picture

* The Social Network
* Runner up: Toy Story 3

Best Actor

* Jesse Eisenberg for The Social Network
* Runner up: Colin Firth, The King’s Speech (by one vote)

Best Actress

* Natalie Portman for Black Swan
* Runner up: Annette Bening, The Kids Are All Right

Best Supporting Actor

* Christian Bale for The Fighter
* Runner Up: Andrew Garfield for The Social Network

Best Supporting Actress

* Juliette Lewis for Conviction
* Runner Up: Melissa Leo for The Fighter

Best Director

* David Fincher for The Social Network
* Runner up: Darren Aronofsky for Black Swan

Best Screenplay

* Aaron Sorkin for The Social Network
* Runner up: Nicole Holofcener for Please Give


Best Cinematography

* Roger Deakins for True Grit
* Runner Up: Matthew Libatique for Black Swan

Best Documentary

* Marwencol
* Runner up: Inside Job

Best Foreign-Language Film

* Mother
* Runner-up: I Am Love

Best Animated Film

* Toy Story 3
* Runner Up: The Illusionist

Best Film Editing (awarded in memory of Karen Schmeer)

* Andrew Weisblum for The Black Swan
* Runner Up: Lee Smith for Inception

Best New Filmmaker (awarded in memory of David Brudnoy)

* Jeff Malmberg for Marwencol
* Runner Up: David Michod for Animal Kingdom

Best Ensemble Cast

* The Fighter
* Runner Up: The Kids Are All Right

Best Use of Music in a Film

* Trent Reznor and Atticus Ross forThe Social Network
* Runner Up: Carter Burwell for True Grit

[Henry Gale]

AFI's Top 10:

- Black Swan
- The Fighter
- Inception
- The Kids Are All Right
- 127 Hours
- The Social Network
- The Town
- Toy Story 3
- True Grit
- Winter's Bone

Keep in mind that things like The King's Speech, Another Year or any foreign contenders don't qualify because they don't fall into the category represented by the "A" in AFI. They don't count documentaries either.

EDIT: Apparently they also awarded Waiting For Superman and The King's Speech "special awards", basically honourable mentions on top of the top ten due to those guidelines.

[Irish]

AFI MOVIES OF THE YEAR
BLACK SWAN
THE FIGHTER
INCEPTION
THE KIDS ARE ALL RIGHT
127 HOURS
THE SOCIAL NETWORK
THE TOWN
TOY STORY 3
TRUE GRIT
WINTER'S BONE

AFI TV PROGRAMS OF THE YEAR
THE BIG C
BOARDWALK EMPIRE
BREAKING BAD
GLEE
MAD MEN
MODERN FAMILY
THE PACIFIC
TEMPLE GRANDIN
30 ROCK
THE WALKING DEAD

AFI SPECIAL AWARDS
THE KING'S SPEECH
WAITING FOR SUPERMAN

http://www.deadline.com/2010/12/afi-top-10-filmtv-awards-official-selections/#more-90252

I spy, with my little eye, a half dozen titles that don't deserve to be there. :P

[Watashi]

http://www.match-cut.org/showpost.php?p=308816&postcount=127

[DavidSeven]

Man, Eisenberg really has a legitimate shot at Best Actor, doesn't he? Not that I disliked his performance, but I never would have expected that. It's sort of one-note and kind of feels like either a college age version of his Squid and the Whale character or a tech-geek version of his Adventureland character. He's really nothing at all like the real Zuckerberg either. But I suppose the portrayal does suit the film as made/written. Still crazy.

[Irish]

http://www.match-cut.org/showpost.php?p=308816&postcount=127

Oops, didn't see it.

Can a mod delete this or merge it? Thanks.

[Irish]

Man, Eisenberg really has a legitimate shot at Best Actor, doesn't he?

Weak year, maybe? I dunno. He seems far too young to get a major award.

Also, liked this bit of trivia:


His mother is a professional clown who performed at children's birthday parties.

[DavidSeven]

I don't really care about his age. I just thought he did what he was supposed to do in The Social Network, but by no means took it to another level.

[Irish]

I don't really care about his age. I just thought he did what he was supposed to do in The Social Network, but by no means took it to another level.

So why do you think he has a shot? More because the film is playing well?

Edit: Social Network also just won the LA Critics Best Picture Award too.

[B-side]

liver sclerosis.

Cirrhosis. Sclerosis is hardening of tissue or other anatomical features.

You're welcome, World.

[Spinal]

Drinking game for year-end top 10 lists!

Read through the comments section and drink once for each comment a) lambasting the list for not including Inception, b) or claiming its author is 'just trying to be different'. Take one shot if commenter does both a) and b). Slam down six pack if commenter does both and is names after a character from Inception.

You know, I wouldn't really mind the exclusion of Inception. But when a mediocrity like The Social Network is being hailed as some kind of masterwork, then it is a little irksome.

[DavidSeven]

So why do you think he has a shot? More because the film is playing well?


Lead actor in the consensus favorite film sort of thing. Plus, people seem to like when actors play sort of one-dimensional jerks or villainous types, even though Eisenberg is painted kind of heroically in the film. Personally, I always thought the empathetical good guys were probably more difficult to play.

Funny enough, I recall noting that Andrew Garfield was the standout performance in the film. That guy had a shitload of presence.

[DavidSeven]

You know, I wouldn't really mind the exclusion of Inception. But when a mediocrity like The Social Network is being hailed as some kind of masterwork, then it is a little irksome.

Yeah, this was kind of the point I was trying to make on the first page of the thread. The exclusion of Inception in itself isn't that surprising. But when critics appear willing to fall over themselves to put mainstream American stuff like The Social Network and Toy Story 3 on their lists, the near unanimous shut out of Inception is kind of baffling.

[Winston*]

I think Eisenberg is more deserving of Best Actor than Aaron Sorkin is of the Oscar he's going to win.

[B-side]

I think Eisenberg is more deserving of Best Actor than Aaron Sorkin is of the Oscar he's going to win.

Agreed.

[DavidSeven]

I think Eisenberg is more deserving of Best Actor than Aaron Sorkin is of the Oscar he's going to win.

I won't disagree. Fincher probably deserves to win stuff more than anyone else involved.

[Watashi]

I think the whole ensemble is terrific. Eisenberg, Garfield, Hammer, and Timberlake are all nomination-worthy.

[Spinal]

Timberlake? Come on now.

[Rowland]

Hammer is where it's at.

[B-side]

Timberlake? Come on now.

He was great.

[Bosco B Thug]

I think Eisenberg is more deserving of Best Actor than Aaron Sorkin is of the Oscar he's going to win.
Agreed Huh? I'm not sure what kind of jab this is at a film I thought you guys at least liked.

Eisenberg was fine, but personally I don't think the performance asked for very much. Meanwhile, Aaron Sorkin had to write the thing into existence. Way to show appreciation for a film you guys yayed, guys. ;)

[Sxottlan]

I like that there's some love for Scott Pilgrim vs. the World sprinkled in among these critic circle awards.

[Winston*]

Well, I didn't give the film a very strong yay. I think it's technically impressive and well acted but fundamentally shallow and I attribute that shallowness to Sorkin's script. Also the fabrication irks me.

[Sxottlan]

Hammer is where it's at.

Agreed. My biggest surprise at this film was how it and Hammer got me to actually pity the twins.

[DavidSeven]

I don't really think any of the actors deserve a nomination (though Garfield did impress me a lot). They were all fine, but let's be real, they were all lucky enough to be in a well-directed film centered around snappy dialogue. And it's not like anyone rose to the level of a Cary Grant or a Downey Jr. for the occasion. Put all those kids in Spider-Man, and no one talks about the performances. I didn't even realize they were talking about the performances here until Eisenberg actually started winning.

[Ezee E]

What amazes me after seeing the Critics Choice nominations is how everything seems to end up being the same. Guilds, Critics, etc. How does it just end up being the same 5-6 movies each time?

Match Cut, while still having a few of the same movies, still had a very different set of nominations when it's all said and done.

[NickGlass]

What amazes me after seeing the Critics Choice nominations is how everything seems to end up being the same. Guilds, Critics, etc. How does it just end up being the same 5-6 movies each time?

Match Cut, while still having a few of the same movies, still had a very different set of nominations when it's all said and done.

A mix of two reasons: a consensus typically favors a select few, and people are sycophantic sheep.

[Watashi]

Here is the full LA Film Critics winners:


PICTURE:

* “The Social Network”
* Runner-up: “Carlos”

DIRECTOR:

* Olivier Assayas, “Carlos,” and David Fincher, “The Social Network” (tie)

ACTOR:

* Colin Firth, “The King’s Speech”
* Runner-up: Edgar Ramirez, “Carlos”

ACTRESS:

* Kim Hye-ja, “Mother”
* Runner-up: Jennifer Lawrence, “Winter’s Bone”

SUPPORTING ACTOR:

* Niels Arestrup, “A Prophet”
* Runner-up: Geoffrey Rush, “The King’s Speech”

SUPPORTING ACTRESS:

* Jacki Weaver, “Animal Kingdom”
* Runner-up: Olivia Williams, “The Ghost Writer”

SCREENPLAY:

* Aaron Sorkin, “The Social Network”
* Runner-up: David Seidler, “The King’s Speech”

FOREIGN LANGUAGE FILM:

* “Carlos”
* Runner-up: “Mother”

ANIMATION:

* “Toy Story 3″
* Runner-up: “The Illusionist”

DOCUMENTARY / NON-FICTION FILM:

* “Last Train Home”
* Runner-up: “Exit Through the Gift Shop”

CINEMATOGRAPHY:

* Matthew Libatique, “Black Swan”
* Runner-up: Roger Deakins, “True Grit”

MUSIC/SCORE:

* Alexandre Desplat, “The Ghost Writer,” and Trent Reznor and Atticus Ross, “The Social Network” (tie)

PRODUCTION DESIGN:

* Guy Hendrix Dyas, “Inception”
* Runner-up: Eve Stewart, “The King’s Speech”

NEW GENERATION:

* Lena Dunham, “Tiny Furniture”

DOUGLAS E. EDWARDS INDEPENDENT/EXPERIMENTAL FILM/VIDEO:

* “Film Socialism”

LEGACY OF CINEMA AWARDS:

* Serge Bromberg, “Henri-Georges Clouzot’s Inferno,” and the F.W. Murnau Foundation and Fernando Pena for the restoration of “Metropolis”

CAREER ACHIEVEMENT:

* Paul Mazursky

[Pop Trash]

Woah big upset: NYC Film Critics' Circle gave best picture to Incep...oh nah just joshing. The Social Network OF COURSE!

[NickGlass]

Full NYFCC (New York Film Critics Circle):


Picture
The Social Network

Director
David Fincher for The Social Network

Actress
Annette Bening for The Kids Are All Right

Actor
Colin Firth for The King's Speech

Supporting Actress
Melissa Leo for The Fighter

Supporting Actor
Mark Ruffalo for The Kids Are All Right

Screenplay
Lisa Cholodenko & Stuart Blumberg for The Kids Are All Right

Cinematography
Matthew Libatique for Black Swan

Animated Film
Sylvain Chomet's The Illusionist

Documentary
Inside Job

Foreign Film
Carlos

First Feature
David Michôd's Animal Kingdom

These choices are hardly imaginative (c'mon, NYers), but I'm a very big fan of the Mark Ruffalo win.

[Irish]

These choices are hardly imaginative (c'mon, NYers), but I'm a very big fan of the Mark Ruffalo win.

I think maybe Benning too. I've loved Ruffalo since You Can Count on Me, where he was more interesting, worked harder, and had more to do.

In The Kids Are All Right, he seemed to be coasting a little bit. I blame that on the script, though.

[NickGlass]

I think maybe Benning too. I've loved Ruffalo since You Can Count on Me, where he was more interesting, worked harder, and had more to do.

In The Kids Are All Right, he seemed to be coasting a little bit. I blame that on the script, though.

I like that Ruffalo's character in The Kids Are All Right is a frothier, older version of his Terry in You Can Count on Me. Sure, I don't think it's fair to say he's "coasting"--I just think he knows this type of person (pseudo-bohemian, convivial charmer who is a bit delusional in the way he cares more about the image he projects than the person he actually is) so well that he makes his layered performance look effortless. The only time I saw him struggling with the material in The Kids Are All Right is when he's given a poorly written, explicit sequence (which, I think, is only one scene, and even Ruffalo seems to be aware how silly and schematic it is).

[Irish]

I like that Ruffalo's character in The Kids Are All Right is a frothier, older version of his Terry in You Can Count on Me.

I like this take quite a lot.


Sure, I don't think it's fair to say he's "coasting"--I just think he knows this type of person (pseudo-bohemian, convivial charmer who is a bit delusional in the way he cares more about the image he projects than the person he actually is) so well that he makes his layered performance look effortless.

It's possible I'm just bitter that You Can Count on Me was almost completely ignored by any kind of major award, and that Ruffalo has been deserving of something -- and bigger and better material -- for quite awhile.

[baby doll]

What amazes me after seeing the Critics Choice nominations is how everything seems to end up being the same. Guilds, Critics, etc. How does it just end up being the same 5-6 movies each time?

Match Cut, while still having a few of the same movies, still had a very different set of nominations when it's all said and done.Match Cut isn't considered part of the Oscar campaign. Looking at the LA Film Critics' awards, I wonder if there was a split between the people who voted for The Social Network, The King's Speech, and Winter's Bone (all likely Oscar nominees) and those voting for Carlos, Mother, and Un prophète. It almost feels like the group is going through some existential crisis with the guru bitches (http://hollywood-elsewhere.com/2010/12/guru_bitches_sc.php) fighting it out against the cinephiles.

Incidentally, I have mixed feelings about the same group ghettoizing Film socialisme as an experimental film when it's technically a commercial feature, but then, the odds of it winning anything else are so slim that I probably shouldn't complain.

[Robby P]

I enjoyed The Social Network a great deal but this is a little excessive.

[Sycophant]

I mean, what else would it be?

[baby doll]

I enjoyed The Social Network a great deal but this is a little excessive.2009: I enjoyed The Hurt Locker a great deal but this is a little excessive.
2008: I enjoyed Wall E a great deal but this is a little excessive.
2007: I enjoyed No Country for Old Men and There Will Be Blood a great deal, but this is a little excessive.

[baby doll]

I mean, what else would it be?Uncle Boonmee Who Can Recall His Past Lives.

[Sycophant]

Don't get to say this often: bd more or less made my point for me.

[Sycophant]

Uncle Boonmee Who Can Recall His Past Lives.

But see, it can't be. That shit's just not done. Especially when talking consensuses.

It's not like Inception isn't going to win every single award here at the Matchies this year. That's just how consensus works.

[Ezee E]

I still say it'll something else for MC. Maybe it'll be the #1 in top tens, but Best Picture...

[Sycophant]

What's the other contender at this point? Maybe it hasn't come out yet, or maybe I'm not paying enough attention, but it seems like support for other movies for best pictures is gonna be too split to push it above Inception.

[Ezee E]

What's the other contender at this point? Maybe it hasn't come out yet, or maybe I'm not paying enough attention, but it seems like support for other movies for best pictures is gonna be too split to push it above Inception.
Scott Pilgrim has a lot of love behind it.

I think Black Swan will be loved by many too.

Perhaps I'm wrong. I just think it'll actually be really close this time around.

[DavidSeven]

The Hurt Locker, Wall E, and No Country for Old Men didn't win top honors from every disburse critic group/film society throughout the damn universe.

[baby doll]

The Hurt Locker, Wall E, and No Country for Old Men didn't win top honors from every disburse critic group/film society throughout the damn universe.I learned a new word today.

[Derek]

I'm equally tired of seeing The Social Network garner top honors and hearing MatchCutters bitch about Inception not getting enough love. Only one of those is something we can control.

[baby doll]

Incidentally, I came across this quote by James Rocchi on Mubi:


Everyone bellyaching about how staid and predictable critics' organizations nominations/awards are has clearly never ordered pizza for more than two people.

[DavidSeven]

I learned a new word today.

I mean, I'd call you grammar nazi, but it was one goddamn letter. Seriously? Get a life.

[Watashi]

The Social Network is one of my favorite movies of the year. I'm not complaining when the critics get it right.

[baby doll]

I mean, I'd call you grammar nazi, but it was one goddamn letter. Seriously? Get a life.Actually, I was being sincere, since I'd never heard it used as an adjective.

[baby doll]

The Social Network is one of my favorite movies of the year. I'm not complaining when the critics get it right.You need to see Film socialisme, dude. Godard will blast David Fincher right out of your ass.

[DavidSeven]

Actually, I was being sincere, since I'd never heard it used as an adjective.

The intended word was disperse.

[baby doll]

The intended word was disperse.It means essentially the same thing. (Dictionary (http://thinkexist.com/dictionary/meaning/disburse/).)

[Watashi]

You need to see Film socialisme, dude. Godard will blast David Fincher right out of your ass.

I don't want Godard anywhere near my ass.

[DavidSeven]

It means exactly the same thing.

Yes, but disperse is an adjective. Disburse is a verb. You already suggested this. Why am I having this conversation?

Edit: Or maybe I'm inventing its use as an adjective. Works in my head.

[baby doll]

Yes, but disperse is an adjective. Disburse is a verb. You already suggested this. Why am I having this conversation?I don't know. Beats talking about Godard and ass-holes, I guess.

[DavidSeven]

I don't know. Beats talking about Godard and ass-holes, I guess.

Speaking of things that mean the same thing?

[Winston*]

Pretty sure disperse is a verb.

[baby doll]

Speaking of things that mean the same thing?I walked right into that one.

[DavidSeven]

Pretty sure disperse is a verb.

Check my edit.

[baby doll]

Pretty sure disperse is a verb.Yeah, that's what I was thinking, so when he used "disburse" to describe critics' groups, and I looked up the word in the dictionary, I thought he meant it in the sense of disbursing awards, not in the sense that the groups were themselves dispersed throughout the United States.

[DavidSeven]

Confusion understood. Still works in my head.

[Rowland]

I think I'm going to start bitching that more posters on this site have seen Inception than all of my top seven combined.

[Henry Gale]

The Critic's Choice (BFCA) Top 10 is basically what I think the Oscar one will end up as at this point. Same goes for the Acting and Directing categories, except that they've nominated six for each.

Did no one post them in here? I don't see them, so I'll put everything after Picture in spoiler text, considering how long it goes:

BEST PICTURE
127 Hours
Black Swan
The Fighter
Inception
The King’s Speech
The Social Network
The Town
Toy Story 3
True Grit
Winter’s Bone

BEST ACTOR
Jeff Bridges – “True Grit”
Robert Duvall – “Get Low”
Jesse Eisenberg – “The Social Network”
Colin Firth – “The King’s Speech”
James Franco – “127 Hours”
Ryan Gosling – “Blue Valentine”

BEST ACTRESS
Annette Bening – “The Kids Are All Right”
Nicole Kidman – “Rabbit Hole”
Jennifer Lawrence – “Winter’s Bone”
Natalie Portman – “Black Swan”
Noomi Rapace – “The Girl With the Dragon Tattoo”
Michelle Williams – “Blue Valentine”


BEST SUPPORTING ACTOR
Christian Bale – “The Fighter”
Andrew Garfield – “The Social Network”
Jeremy Renner – “The Town”
Sam Rockwell – “Conviction”
Mark Ruffalo – “The Kids Are All Right”
Geoffrey Rush – “The King’s Speech”

BEST SUPPORTING ACTRESS
Amy Adams – “The Fighter”
Helena Bonham Carter – “The King’s Speech”
Mila Kunis – “Black Swan”
Melissa Leo – “The Fighter”
Hailee Steinfeld – “True Grit”
Jacki Weaver – “Animal Kingdom”

BEST YOUNG ACTOR/ACTRESS
Elle Fanning – “Somewhere”
Jennifer Lawrence – “Winter’s Bone”
Chloe Grace Moretz – “Let Me In”
Chloe Grace Moretz – “Kick-Ass”
Kodi Smit-McPhee – “Let Me In”
Hailee Steinfeld – “True Grit”

BEST ACTING ENSEMBLE
The Fighter
The Kids Are All Right
The King’s Speech
The Social Network
The Town

BEST DIRECTOR
Darren Aronofsky – “Black Swan”
Danny Boyle – “127 Hours”
Joel Coen & Ethan Coen – “True Grit”
David Fincher – “The Social Network”
Tom Hooper – “The King’s Speech”
Christopher Nolan – “Inception”

BEST ORIGINAL SCREENPLAY
“Another Year” – Mike Leigh
“Black Swan” – Mark Heyman and Andres Heinz and John McLaughlin
“The Fighter” – Scott Silver and Paul Tamasy & Eric Johnson (Story by Keith Dorrington & Paul Tamasy & Eric Johnson)
“Inception” – Christopher Nolan
“The Kids Are All Right” – Lisa Cholodenko and Stuart Blumberg
“The King’s Speech” – David Seidler

BEST ADAPTED SCREENPLAY
“127 Hours” – Simon Beaufoy and Danny Boyle
“The Social Network” – Aaron Sorkin
“The Town” – Ben Affleck, Peter Craig and Sheldon Turner
“Toy Story 3” – Michael Arndt (Story by John Lasseter, Andrew Stanton and Lee Unkrich)
“True Grit” – Joel Coen & Ethan Coen
“Winter’s Bone” – Debra Granik and Anne Rosellini

BEST CINEMATOGRAPHY
“127 Hours” – Anthony Dod Mantle
“Black Swan” – Matthew Libatique
“Inception” – Wally Pfister
“The King’s Speech” – Danny Cohen
“True Grit” – Roger Deakins

BEST ART DIRECTION
“Alice in Wonderland” – Stefan Dechant
“Black Swan” – Therese DePrez and Tora Peterson
“Inception” – Guy Hendrix Dyas
“The King’s Speech” – Netty Chapman
“True Grit” – Jess Gonchor and Nancy Haigh

BEST EDITING
“127 Hours” – Jon Harris
“Black Swan” – Andrew Weisblum
“Inception” – Lee Smith
“The Social Network” – Angus Wall and Kirk Baxter

BEST COSTUME DESIGN
“Alice in Wonderland” – Colleen Atwood
“Black Swan” – Amy Westcott
“The King’s Speech” – Jenny Beavan
“True Grit” – Mary Zophres

BEST MAKEUP
Alice in Wonderland
Black Swan
Harry Potter and the Deathly Hallows Part 1
True Grit

BEST VISUAL EFFECTS
Alice in Wonderland
Harry Potter and the Deathly Hallows Part 1
Inception
Tron: Legacy

BEST SOUND
127 Hours
Black Swan
Inception
The Social Network
Toy Story 3

BEST ANIMATED FEATURE
Despicable Me
How to Train Your Dragon
The Illusionist
Tangled
Toy Story 3

BEST ACTION MOVIE
Inception
Kick-Ass
Red
The Town
Unstoppable

BEST COMEDY
Cyrus
Date Night
Easy A
Get Him to the Greek
I Love You Phillip Morris
The Other Guys

BEST PICTURE MADE FOR TELEVISION
The Pacific
Temple Grandin
You Don’t Know Jack

BEST FOREIGN LANGUAGE FILM
Biutiful
I Am Love
The Girl with the Dragon Tattoo

BEST DOCUMENTARY FEATURE
Exit Through the Gift Shop
Inside Job
Restrepo
Joan Rivers: A Piece of Work
The Tillman Story
Waiting for Superman

BEST SONG
“I See the Light” – performed by Mandy Moore & Zachary Levi/written by Alan Menken & Glenn Slater – Tangled
“If I Rise” – performed by Dido and A.R. Rahman/music by A.R. Rahman/lyrics by Dido Armstrong and Rollo Armstrong – 127 Hours
“Shine” – performed and written by John Legend – Waiting for Superman
“We Belong Together” – performed and written by Randy Newman – Toy Story 3
“You Haven’t Seen the Last of Me Yet” – performed by Cher/written by Diane Warren – Burlesque

BEST SCORE
“Black Swan” – Clint Mansell
“Inception” – Hans Zimmer
“The King’s Speech” – Alexandre Desplat
“The Social Network” – Trent Reznor and Atticus Ross
“True Grit” – Carter Burwell

The best comedy and action categories look so weird amongst the rest of that, but otherwise, not bad. At least, not bad in terms of what we'd expect to be nominated for these sort of things so far.

[[ETM]]

Are Daft Punk getting any love for TRON so far?

[Henry Gale]

;309216']Are Daft Punk getting any love for TRON so far?

Assuming the Academy finds ways of disqualifying things like Social Network (Reznor re-using bits from his Ghosts collection), Black Swan (prominent use of Swan Lake, as well as some re-workings) and maybe even Inception (arguably having some much of the horns inspired from the Edith Piaf song) if they really wanted to be picky, then yeah, I could see Bangalter and Homem-Christo fitting in there just fine.

It's a pretty high-profile score, and a pretty great one even just on its own. No reason why it shouldn't get more recognition once the film actually comes out.

[Ezee E]

I believe that to contend for Best Score, it can only be done by one artist. Therefore, Daft Punk is out.

[Winston*]

I believe that to contend for Best Score, it can only be done by one artist. Therefore, Daft Punk is out.
If two people can win best director, whycome not best score?

EDIT: Googling reveals that two people were nominated for The Hurt Locker's score this year.

[Ezee E]

If two people can win best director, whycome not best score?
Just another weird rule to the Best Score category.

And can two people win Best Director? I don't think so. Joel Coen won Best Director, not the Coen Brothers.

[Russ]

Robert Wise and Jerome Robbins won for West Side Story.

[Ezee E]

Here's what I found for score...


E.Only the principal composer(s) or songwriter(s) responsible for the conception and execution of the work as a whole shall be eligible for an award.
Expressly excluded from eligibility are all of the following:

1.supervisors
2.partial contributors (i.e., any writer not responsible for the overall design of the work)
3.contributors working on speculation

In addition, scores diluted by the use of tracked themes or other preexisting music, diminished in impact by the predominant use of songs, or assembled from the music of more than one composer shall not be eligible.

So I think they qualify. But typically, famous music acts never seem to make the cut for some reason.

[TripZone]

Michael J. Anderson, the guy with the taste closest to my own.

http://tenbestfilms.blogspot.com/2010/12/ten-best-films-of-2010.html

[Watashi]

The arthouse critics salvitating over Tony Scott is a phenom I will never understand.

[dmk]

Michael J. Anderson, the guy with the taste closest to my own. Have you told him this?

[Boner M]

Unstoppable seems to be this year's 'token fun choice to fill the 5-10 spot for egghead crit lists'*. That, and Tony Scott is apparently now the Sam Fuller of our times. Or something.

The Other Guys is mine

[TripZone]

Have you told him this?

Nope. Though I comment on his posts probably too often.

[Raiders]

That, and Tony Scott is apparently now the Sam Fuller of our times.

I'mma hurt you.

[Boner M]

I'mma hurt you.
Emphasis on "Or something".

[B-side]

Michael J. Anderson, the guy with the taste closest to my own.

http://tenbestfilms.blogspot.com/2010/12/ten-best-films-of-2010.html

Love that list. Also love that he actually uses 2010 releases.

[dmk]

Tony Scott is kitsch. I haven't seen one of his films in years though, except for Beat the Devil which I believe is a reliable representation of his work, and that film is most definitely kitsch.

The Ward will be mine when that comes out.


Nope. Though I comment on his posts probably too often.
I'm happy for you though.

[NickGlass]

And can two people win Best Director? I don't think so. Joel Coen won Best Director, not the Coen Brothers.

Well, this is just not true (http://www.imdb.com/name/nm0001053/awards).

[Winston*]

Michael J. Anderson, the guy with the taste closest to my own.

http://tenbestfilms.blogspot.com/2010/12/ten-best-films-of-2010.html

The dwarf from Twin Peaks?

[TripZone]

The dwarf from Twin Peaks?

The very same.

[Fezzik]

The Golden Globe Nominations are out.

I have no words. Some of the nominations are beyond head-scratching.

Apparently, the HFPA are all Johnny Depp fanboys.

Here they are. (http://www.goldenglobes.org/blog/2010/12/the-68th-annual-golden-globe-awards-nominations/)

[Irish]

The Golden Globe Nominations are out.

I have no words. Some of the nominations are beyond head-scratching

No doubt -- The Kids Are All Right is a "comedy or musical"? Wtf?

And acting noms for the leads of a romantic comedy?

[Sycophant]

And acting noms for the leads of a romantic comedy?

There is nothing inherently wrong with this. Even in a serious/not-comedy-specific set of noms.

[Eleven]

Love that list. Also love that he actually uses 2010 releases.

Cough. [See Top 11s link in sig.]


The dwarf from Twin Peaks?

My first thought, too. But I doubt he is a "joint PhD candidate in Film Studies and History of Art at Yale University" as the site suggests.


Also, I've noticed LEAVES branching out into posting there and at MUBI. Somebody should gets his purple elitist ass in here.

[Irish]

There is nothing inherently wrong with this. Even in a serious/not-comedy-specific set of noms.

Inherently, no. But it seems an indication to me that they really had scrape the bottom of the barrel to round out the noms.

[Fezzik]

Inherently, no. But it seems an indication to me that they really had scrape the bottom of the barrel to round out the noms.


I am even more stunned that they considered Alice in Wonderland more worthy a nomination for best anything over Toy Story 3 or Scott Pilgrim vs the World.

I mean, really? Alice in Wonderland was among the top 5 comedy/musicals of the year? In what universe?


And a minor point, but seeing that they chose "I See the Light" as the song from Tangled to get a nomination over the in-every-way-superior "Mother Knows Best" actually made me wonder if they even saw the movie or just automatically chose the ballad.

[Ezee E]

Alice in Wonderland AND Burlesque?

This has been a really bad year.

[DavidSeven]

The Tourist has a 20% tomatometer. The pans are smashing the hell out of it. People didn't even see it. What the...?

[DavidSeven]

They really need to stop putting this show on TV and legitimizing it to the general public. They're going to convince a lot of people to see a bunch of bad movies. Seriously, can't they just put the LA Critics Association awards, NY Critics Circle awards, or the Broadcast Critics Association awards on TV? At least the unoriginal stuff they pick can hit a 50% approval rating.

[NickGlass]

I am even more stunned that they considered Alice in Wonderland more worthy a nomination for best anything over Toy Story 3 or Scott Pilgrim vs the World.


Toy Story 3 isn't eligible because it's an animated film and they have their own (ghettoized) category. Scott Pilgrim, however, was eligible and totally deserving of such an honor--which is probably why it didn't get a nod. The Globes are the worst. I wrote a little something on them, and I'll post the link here once it's published.

EDIT: It was softened by the editor, since it's goddamn AOL/Moviefone, so I'll just post the unedited, honest (non-mistaken-for-puff-piece) version in the spoiler text if you want to read:

It’s embarrassingly obvious that the Hollywood Foreign Press (HFPA) is attracted to shiny objects, such as stars. The Golden Globes are the awards equivalent of the tasteless rich kid who coaxes the popular kids to his or her lunch table with promises of champagne and compliments. What is not frequently addressed, however, is the HFPA’s oft-horrific Best Picture, Comedy/Musical category; here, members have a penchant to nominate bloated, big-budget blockbusters that—to suggest another “b” word—bomb critically and/or financially.

This year it seems awards watchers are finally taking note, with two films in particular—the Christina/Cher-musical Burlesque and the Depp/Jolie-vehicle The Tourist—being nominated for Best Picture (yes, like, the most enduring cinema in the year of 2010) despite putrid critical consensus and disappointing box office returns. Burlesque has a built-in cult following among enthusiasts of Cher, camp and glitter, but it’s hardly respected. It has a worse-than-mediocre 37% on RottenTomatoes.com, and after three weeks at the box office it has only grossed half its $55 million production budget (which does not include its stripper-boot-sized marketing costs). The Tourist is sitting ugly with 20% on RT, and it made a paltry $16.5 million in its opening weekend—which looks even worse when considering its $100 million production budget, according to BoxOfficeMojo.com.

Burlesque and The Tourist fit snugly into two different archetypes of low-quality, high-star-wattage trash the Golden Globes typically reserve in this category of missed opportunity. Burlesque is the token flashy musical they always make room for, despite low critical consensus, and waste a spot where a more respected, perhaps independent, comedy could be placed. Over the past six years, do you recall they nominated Nine, Mamma Mia!, The Phantom of the Opera, The Producers, Across the Universe? Probably not—I doubt many members of the HFPA even recall these films as shining (their favorite adjective) examples of filmmaking. The Tourist easily fits the entirely forgettable and hardly-yet-seen, tepidly-reviewed December celebrity-movie slot, made visible by previous nominees such as Charlie Wilson’s War, It’s Complicated, and Nine (that one was a Globe double-whammy).

While the Burlesque and The Tourist may seem quite different on the surface, they’re extremely similar commercially. Both films are genre-entrenched studio tentpoles released during the holidays to capitalize on families who would rather pay $12 to shut up their relatives than spend time with them. Burlesque and The Tourist both promote their celebrities leads more than plot, the director, the screenplay, the cinematography, human understanding, decency, or common sense. The quality of the film is simply a consequence; is this really what we should be rewarding, and placing in history as the best comedic offerings of the year? It’s doubtful you’ll find anyone that has seen more than twenty films this year, besides a studio head (or, apparently, a HFPA member), say “yes.” It is true most people only see a dozen films each year, so awards bodies—full of individuals who claim to love film enough to sit through hundreds in order to pick out the best to recommend—should never be lazy. But these nominations are absurdly, and quite obviously, cheap.

It’s not impossible for them to nominate smaller films, either. They’ve done it before, like in 2005 with The Squid and the Whale. The closest they ever came to nominating a whole slate of films that were lauded for their intelligence, wit, truth and originality (which was formerly the mark of a brilliant, award-worthy comedy) was two years ago, in 2008, when they nominated auteur-driven films such as Vicky Cristina Barcelona, In Bruges, Happy-Go-Lucky, and Burn After Reading. Even then, though, they did nominate the dreadful—but financially solvent—token musical of the year: Mamma Mia!

We should consider this, though: are the Golden Globes the scapegoat for an industry that refuses to greenlight comedies with integrity and smarts? Do they feed into the idea that you have to sacrifice award admiration if the film is a comedy? The eternal question remains, who do we have to blame? Well, I offer eight cherished films that would have been much less embarrassing nominees had the HFPA actually used their brain: Scott Pilgrim vs. the World, Easy A, Cyrus, Please Give, Four Lions, I Love You Phillip Morris, Tiny Furniture, and Greenberg. These modest productions have a strong fanbase through the film’s themselves, not 30-second TV spots; they don’t have bigwigs behind them, who have the time and energy (and, might I say, malice) to push their product without considering its rancid quality. I’ll admit that I did not really like all of these eight I mentioned, but they would have been solid nominees considering their widely perceived quality, or the positive audience reactions they garnered.

The HFPA has done right on one account, at least; they nominated a humane, thoughtful ensemble comedy about personal dynamics and family (The Kids Are All Right). This, however, was all but guaranteed before the nominations were announced since it has been greeted with warmth by critics and audiences alike, along with Oscar bloggers. More often than not, the Golden Globes tend to stumble greatly when there is a particular category without many Oscar-buzzy films, therefore leaving the HFPA to their own resources and exposing their risibly sycophantic and star-humping behavior.

What the HFPA needs to realize is that, if they continue with such decidedly unhip and transparently bought nominations, the cool kids they show such favoritism towards may eventually not want to sit at lunch with them. You can’t buy respect.

[Eleven]

List from MSN Movies (http://movies.msn.com/movies/year-in-review/top-10-movies/), including contributors Glenn Kenny, Richard T. Jameson, Sean Axmaker, and Jim Emerson, among others.

10. Sweetgrass
9. Exit through the Gift Shop
8. Toy Story 3
7. Dogtooth
6. Let Me In
5. Carlos
4. The Ghost Writer
3. Winter's Bone
2. Black Swan
1. The Social Network

[Lucky]

I would be embarrassed if I were Johnny Depp. Obviously the Globes really wants him to show, but I think I'd boycott the show if they're going to nominate me just for showing up in a film.

[Derek]

I would be embarrassed if I were Johnny Depp. Obviously the Globes really wants him to show, but I think I'd boycott the show if they're going to nominate me just for showing up in a film.

Nah, that's for the Globes to be embarrassed about. Let Johnny be embarrassed about his choice of roles over the last decade instead.

[TripZone]

Nah, that's for the Globes to be embarrassed about. Let Johnny be embarrassed about his choice of roles over the last decade instead.

haha

[Dead & Messed Up]

You guys know that the Hollywood Foreign Press is a group of journalists with no distinct credibility, cobbled together through donations and nepotism, who have been willfully bribed by studios in the past, right? Cause they are. The whole thing's a farce.

I'm not even pretending to have interest in the Globes. Their glamour-driven boozefest is slightly more appealing to me than a colon cleansing.

[Sxottlan]

I would be embarrassed if I were Johnny Depp. Obviously the Globes really wants him to show...

Nominations are chosen, especially in the musical/comedy picture category, to maximize the number of big name celebrities that could show up at the show. Acting categories too for the most part. I've long held this opinion.

That's why you have the completely incomprehensible choice of Red for Best Picture.

[Rowland]

Whoa. Check out Keith Uhlich's... shall we say, eclectic (http://www.indiewire.com/critic/keith_uhlich), list.

[B-side]

3) Step Up 3-D

http://i56.tinypic.com/30mvbzs.jpg

[dmk]

Except for maybe the inclusion of Wild Grass and Mother, Slant (http://www.slantmagazine.com/film/feature/best-of-2010-film/246)'s collective listing is very agreeable.

[Boner M]

Except for maybe the inclusion of Wild Grass and Mother
http://www.indymedia.ie/attachments/jul2008/no.gif

[Rowland]

Pleasantly surprised by Amer's strong showing, two top honors for Wild Grass, the appearances of The Crazies and Human Centipede in some of the lists' honorable mentions, and by both The Social Network and Winter's Bone not ranking as highly as expected, which I say as someone who really liked the former and didn't mind the latter. I now really wish I'd seen Let Me In in theaters when I had the chance. Croce is a badass for including Vengeance in his top ten and the sole mention of the neglected I Am Love, Abrams has balls for that Oceans ranking (and The Eclipse was underseen/rated), and really Ed, Piranha 3D?!

[dmk]

Resnais made himself a Jeunet and Bong an oh-so-typical Korean. Entertaining enough as they are, and with mutually fantastic, yet irrelevantly tacked-on, endings that leave the audience escaping the cinema on a high in the same way a twist ending does for the mainstream.

I do sincerely love those endings though.

[dmk]

the appearances of The Crazies
That

worst film I saw all year. Made me hate humanity.

[Rowland]

worst film I saw all year. Made me hate humanity.Huh, well that sucks.

[Barty]

That's why you have the completely incomprehensible choice of Red for Best Picture.

Red is the best of the choices for comedy, so it's odd you would single it out.

[baby doll]

Resnais made himself a JeunetI think you need to see the movie again, which is beyond weird even before the final scene.

[MacGuffin]

My 2010 to-see list:

Aurora
Carlos
Certified Copy
Dogtooth
Eccentricities of a Blond-Haired Girl
Face
Film Socialisme
The Ghost Writer
Kinatay
Leap Year
Mother
Ne Change Rein
Lourdes
The Oath
Of Gods and Men
Police, Adjective
The Social Network
Toy Story 3
True Grit
Uncle Boonmee Who Can Recall His Past Lives
Valhalla Rising
Vengeance
Vincere
White Material
Wild Grass

[eternity]

My 2010 to-see list:

Aurora
Carlos
Certified Copy
Dogtooth
Eccentricities of a Blond-Haired Girl
Face
Film Socialisme
The Ghost Writer
Kinatay
Leap Year
Mother
Ne Change Rein
Lourdes
The Oath
Of Gods and Men
Police, Adjective
The Social Network
Toy Story 3
True Grit
Uncle Boonmee Who Can Recall His Past Lives
Valhalla Rising
Vengeance
Vincere
White Material
Wild Grass
Mine is longer and less...discriminatory.

127 Hours
Animal Kingdom
Another Year
Black Swan
Blue Valentine
Bluebeard
Buried
Certified Copy
Chloe
Cop Out
Dogtooth
Due Date
Enter the Void
Everyone Else
Flipped
Four Lions
Freakonomics
Get Low
Howl
I'm Still Here
I Am Comic
I Love You, Phillip Morris
It's Kind of a Funny Story
Joan Rivers: A Piece of Work
Legend of the Guardians: The Owls of Ga'Hoole
Let Me In
Life During Wartime
Love and Other Drugs
Machete
Made in Dagenham
Megamind
Micmacs
Morning Glory
Mother
Never Let Me Go
Please Give
Rabbit Hole
Rare Exports: A Christmas Tale
Restrepo
Somewhere
Splice
Tangled
The Fighter
The Ghost Writer
The Killer Inside Me
The King's Speech
The Runaways
The Tempest
The Tillman Story
The Town
The Virginity Hit
Tiny Furniture
True Grit
Waiting for Superman
Wall Street: Money Never Sleeps
You Will Meet a Tall Dark Stranger

[dmk]

I think you need to see the movie again, which is beyond weird even before the final scene.
Yeah, it’s generally kinda weird and cute and quirky and that’s all good and everything, but I don’t think its grating whimsy will go away on the rewatch, and it really does feel like a Jeunet and look like one on a good day, except it's not a piece of shit.

[baby doll]

Yeah, it’s generally kinda weird and cute and quirky and that’s all good and everything, but I don’t think its grating whimsy will go away on the rewatch, and it really does feel like a Jeunet and look like one on a good day, except it's not a piece of shit.I don't if I'd use the word "cute" to describe it, when we have the protagonist entertaining the thought of murdering two girls in a parking lot, and stalking a woman who then inexplicably falls in love with him, even though he's married to a much, much younger woman (whom I initially took for his daughter), not that she seems to really care. When did Jeunet ever do anything even remotely this creepy?

[Pop Trash]

I don't if I'd use the word "cute" to describe it, when we have the protagonist entertaining the thought of murdering two girls in a parking lot, and stalking a woman who then inexplicably falls in love with him, even though he's married to a much, much younger woman (whom I initially took for his daughter), not that she seems to really care. When did Jeunet ever do anything even remotely this creepy?

Doesn't Amelie basically go around stalking people? Also (I haven't seen it) but isn't Delicatessen pretty weird/messed up?

[baby doll]

Doesn't Amelie basically go around stalking people? Also (I haven't seen it) but isn't Delicatessen pretty weird/messed up?Yeah, but you don't think Amélie might murder somebody, nor does she have irrational outbursts. Furthermore, it's different because she's a young, attractive woman, rather than an older man. (Incidentally, the same actor André Dussollier also appears in Micmacs, but I haven't seen it so I can't compare the two.) As for Delicatessen, it's weird/messed up in that it's a story about cannibalism, not because it's totally inexplicable.

[baby doll]

Mine is longer and less...discriminatory.

Chloe
Cop Out
Due Date
Get Low
I'm Still Here
Love and Other Drugs
Megamind
Morning Glory
Never Let Me Go
Please Give
The Fighter
The King's Speech
The Town
The Virginity Hit
Wall Street: Money Never SleepsVery indiscriminate. Seriously, would you still want to watch any of those movies a year from now?

[eternity]

Very indiscriminate. Seriously, would you still want to watch any of those movies a year from now?
I have really high hopes for Chloe, Never Let Me Go, Get Low, I'm Still Here, The King's Speech and The Fighter because of the talent involved. The rest...yeah, basically. I basically just listed all the movies I could think of that I haven't seen and have any sort of interest in.

[MacGuffin]

Did anybody think Get Low was about Lil' Jon?

[B-side]

Did anybody think Get Low was about Lil' Jon?

I did.:D

[baby doll]

I have really high hopes for Chloe, Never Let Me Go, Get Low, I'm Still Here, The King's Speech and The Fighter because of the talent involved.Yeah, I sort of feel the same way about How Do You Know, but if I wind up seeing it this week, that's mainly because there's nothing else playing in my area. I have no interest in The Fighter, even though I've liked all of Russell's previous films, including Spanking the Monkey, and if I want to see The Black Swan, I'll have to get a ride out to the suburbs. (Otherwise, I'll just wait until it comes out on video.) A friend of mine wants to see Tron, so I suppose I'll have to find some one to sell me a bag of weed.

[baby doll]

Canada's official top ten, according to TIFF:

Les Amours imaginaires (Xavier Dolan)
Barney's Version (Richard J. Lewis)
Curling (Denis Coté)
The High Cost of Living (Deborah Chow)
Incendies (Denis Villeneuve)
Last Train Home (Lixin Fan)
Modra (Ingrid Veninger)
Splice (Vincenzo Natali)
Trigger (Bruce MacDonald)
Trois temps après la mort d'Anna (Catherine Martin)

These things are picked by committee, and they feel like it--hence, no fewer than four Quebecois features, and of course they're going to pick Oscar hopefuls like Barney's Version and Incendies, not to mention Splice which is on there mainly because it sold more tickets than all the other movies combined. Last Train Home really shouldn't be on there, since it opened in Montreal in the fall of 2009.

[TripZone]

What are the best two or three Canadian films of the year?
I've seen the Dolan.

[Philosophe_rouge]

What are the best two or three Canadian films of the year?
I've seen the Dolan.

I'm sure Baby Doll will disagree with my choices, but anyhoo ( won't include Dolan, because you've seen it, but it's probs #2, if not #3)

Incendies (Denis Villeneuve)
Curling (Denis Cote)
Fubar II (Michael Dowse)

[Boner M]

Yeah, Curling's great. Wanna see more of Cote's stuff.

[dmk]

I don't if I'd use the word "cute" to describe it, when we have the protagonist entertaining the thought of murdering two girls in a parking lot, and stalking a woman who then inexplicably falls in love with him, even though he's married to a much, much younger woman (whom I initially took for his daughter), not that she seems to really care. When did Jeunet ever do anything even remotely this creepy?
Well, I find all of Jeunet’s films nauseatingly creepy, so... but well said on that second thing, quite fun some of it was for a while. But mostly... it's just candy-coloured foam.