Awards taint kicked off quietly last week with the New York Critics Circle Awards, that were announced slightly later than every-day to accommodate a viewing of David Fincher's The Girl With The Dragon Tattoo. Surprisingly, later than being so keen to see it, the NYCC's members positive to leave the film out of its gong-giving, dish-like out awards to such dead-certs like The Artist, which won Best Director and Best Film, and The Tree Of Life, that won acting awards for Brad Pitt (who moreover got a nod for Moneyball) and Jessica Chastain (whose toil in Take Shelter and The Help was taken into deliberation), as well as a Best Cinematography adjudication for Emmanuel Lubezki. Moneyball also won the trophy for Best Screenplay, which makes me bewilderment. if Bennett Miller's sports movie give by ~ be something of a dark mare at the Oscars if not Baftas. Meryl Streep, unsurprisingly, won Best Actress against The Iron Lady, but the engaging punt was Albert Brooks for his supporting role in Drive. Though Nicolas Winding Refn's brute, tender film is hardly Oscar stuff, a bit of recognition for Brooks could reach in handy in the run-up to the stateliness.
Pretty much same day, the Independent Spirit Awards (comprehend the full list here) announced their nominations, which, as a rule of thumb, accompany to favour films that ought to be noticed by the Academy and without particularizing aren't, which is why we discovery here Drive, Take Shelter and 50/50. The Artist is also nominated, although its critical popularity contribute work against it, but one of the biggest surprises is sight Alexander Payne's comparative blockbuster The Descendants here too, having been shut out of the NYCC awards. More extraordinary than that, though, is a nomination towards Mike Mills' Beginners, which began its sluggish-burn run earlier in the year. Beginners is definitely every outside to watch this awards fit by habit, and a Best Supporting Actor nomination at the Oscars is virtually a lock for Christopher Plummer.
The pistillate lead category is especially interesting; the and nothing else heavy hitter is Michelle Williams, almost guaranteed an Oscar nomination for My Week With Marilyn. If Williams doesn't catch here, the prize seems very well-adapted to go to Elizabeth Olsen with a view to Martha Marcy May Marlene, which has been on an unbroken run since its debut in January at the Sundance Film Festival. However, the chances of Rachael Harris (Natural Selection), Lauren Ambrose (Think Of Me) and Adepero Oduye (Pariah) aren't to have ~ing underestimated. Best Male Lead is further straightforward: the only curveball is Demián Bichir concerning A Better Life. Otherwise, this is a tough predicable – Bichir is up against Ryan Gosling (Drive), Michael Shannon (Take Shelter), Jean Dujardin (The Artist) and Woody Harrelson (Rampart). All of the these actors bring forth the potential to make the Oscar shortlist, however Harrelson and Dujardin seem especially agreeable to make the fateful five with two excellent performances.
Supporting Female is looking well-adapted to go to Jessica Chastain conducive to Take Shelter (if she's not too busy to collect it), and her competition isn't so very strong. There's Anjelica Huston on the side of 50/50, Harmony Santana for Gun Hill Road and Shailene Woodley beneficial to The Descendants. The most notable being about this category, however, is that Janet McTeer has been nominated despite her role in Albert Nobbs, a gibbet -dressing period drama that was expected to debauchee in nominations for star Glenn Close otherwise than that has all but vanished from the awards radar in novel weeks. Supporting Male is an equally eclectic mix; alongside Plummer and Brooks we perceive John C Reilly (not for Carnage or We Need To Talk About Kevin limit, er, Cedar Rapids); John Hawkes, as far as concerns Martha Marcy May Marlene (also a weal bet for Best First Feature) and Carey Stoll on account of his blink-and-he's-gone form in Midnight In Paris.
The National Board Of Review, whatever that is, was slightly slower along the blocks than usual but certainly gave more healthy pointers to the Oscars with a conservative run of awards that went to George Clooney (Best Actor, The Descendants), Tilda Swinton (Best Actress, We Need To Talk About Kevin), Martin Scorsese (Best Director and Best Film, Hugo), the communicate of The Help (Best Ensemble), Christopher Plummer (Best Supporting Actor, Beginners) and Shailene Woodley (Best Supporting Actress, The Descendants). Doing which most awards bodies do these days grant that they want to have their harden and eat it, the NBR gave “Breakthrough Performance” awards to sum of ~ units actresses whose films might not have existence so popular with older and again conservative voters, these being Felicity Jones for Like Crazy and Rooney Mara ~ the sake of The Girl With The Dragon Tattoo – its in the ~ place taste of awards glory.
That's the seasonable drift for the Oscars, but what of the Baftas? The European Film Awards (EFAs) took fortress on Saturday night in Berlin, and even if the EFAs do reflect a various sensibility, few of the winning films in this place are assured major wins at the British Oscars. The luck story of the night – ironically, given his travails in Cannes – was Lars Von Trier's apocalyptic drama Melancholia, which won Best Film. Fellow Dane and (very much from pleased with Lars) Susanne Bier took Best Director toward In A Better World (which has even now had its awards spree in the occidental), while the Dardenne brothers took but one prize: best screenplay for The Kid With A Bike. Best Actress went to Tilda Swinton as being We Need To Talk About Kevin, which could easily pre-empt a Bafta bow, while Best Actor went to Colin Firth as being The King's Speech, which flatly hurry-empted a Bafta win.
Somewhat greater degree intriguing were the results of endure night's British Independent Film Awards in London. Paddy Considine's tough ~-end brilliant Tyrannosaur took Best British Independent Film, giving the film a much needed boost – be it so its Bafta nemesis remains Tinker Tailor Soldier Spy. Lynne Ramsay took Best Director ~ the sake of We Need to Talk About Kevin, which could also augur well for Bafta in posse, but the most obvious barometer ~ the sake of British awards success came in the simulation categories. Olivia Colman won Best Actress in the place of Tyrannosaur and Michael Fassbender won Best Actor on the side of Shame; both are likely locks in quest of Bafta nominations and, with the recent accounts that Steve McQueen's film is doing gratifying business in the US despite its NC-17 rating, Fassbender in truth has a shot at the Oscar likewise. Vanessa Redgrave won Best Supporting Actress because Coriolanus, which will also likely snare Oscar and Bafta nominations, although, difficult as he is in it, Michael Smiley's Best Supporting Actor decision for Kill List is probably where awards-season recognition for that film is likely to end.
So the kind of have we learned? Nothing really, leave out that the field is wide unsettled and that, unlike last year's two-horse race between The Social Network and The King's Speech, there's a very real possibility of one upset win, both at the Oscars and Baftas. Oscar-discerning, The Tree Of Life, The Artist, The Help, Moneyball and Hugo be seen to be leading the way, excepting in the UK such critical darlings to the degree that Shame and We Need To Talk About Kevin (The Deep Blue Sea and Wuthering Heights having suffered sarcastic setbacks) are left facing the Bafta juggernaut that is Tinker Tailor Soldier Spy. And in the interval, the only surefire thing to glance at for both ceremonies would be to danger a hefty bet on Christopher Plummer…
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