The Hush-Hush News Report: 12.05.12: An Unexpected Journey Into A Mixed Reaction
Hey there 411mania readers. I’m Jeremy Wilson and this is the Hush-Hush News Report. My opening remarks this week?
Screw Charlie Batch.
Now, let’s do this thing.
Before you start reading, have you bookmarked 411Mania.com yet? It’s the easiest thing in the world to do, and it’ll get you your daily dose of entertainment news that much quicker! Typing the URL out in the address bar is such a pain, don’tcha think? Hell, make it your home page and it’ll be that much easier for you!
Also, do you Twitter? If not, you should! And while you’re at it, add these to your list of people that you follow so that you can get the latest updates! Come on Peeps, I and 411 need Twitter followers to validate our existence. Or something like that.
And if you don’t do the whole Twitter thing, or want something a little more tailored for movie lovers, check me out on Letterboxd, a very slick, very cool social network/diary for movie fans. I’ve been using it for months and a number of other 411 Movies Zone writers are on there as well, so check it out. And no, I don’t get money for saying that…I genuinely like it.
Now allow me to plug some of our 411 film reviews here including reviews of:
Reviews by other 411 writers:
Rise of the Guardians (2)
Rise of the Guardians
Life of Pi
Silver Linings Playbook
The Twilight Saga: Breaking Dawn – Part 2
Paranormal Activity 4
And an extra-special review of the Liftime classic Liz & Dick from our own Porfirio Diaz. And yes, there are GIFs.
We’d still write them if no one was reading, but to be honest it’s better and more worthwhile when people do. Something about a tree falling in a forest. Anyway, on with the news….
Just one more week before The Hobbit: An Unexpected Journey finally arrives on American shores and the news has been coming fast and furious in the build up. We’ll get to the early reviews in a moment, but first, six new clips and twenty minutes of behind-the-scenes footage has been released.
Here’s the behind-the-scenes footage, which you might want to avoid if you are trying to remain spoiler-free. You can always come back and watch it after you’ve seen it in a couple weeks!
Now, as I said earlier, early reviews for The Hobbit: An Unexpected Journey are in and they’re mixed-to-positive. Here’s some of what’s been written:
“‘The Hobbit’ alternately rewards and abuses [audience] appetite for all things Middle-earth. While Peter Jackson’s prequel to ‘The Lord of the Rings’ delivers more of what made his earlier trilogy so compelling … it doesn’t offer nearly enough novelty to justify the three-film, nine-hour treatment, at least on the basis of this overlong first installment.” — Peter Debruge, Variety
“Recaptures much of the epic spectacle of the massively successful ‘Lord Of The Rings’ trilogy, smoothly setting in motion another large-scale adventure … Jackson has lost none of his ability to deliver this sort of brawny mainstream entertainment, even if a bit of déjà vu hovers over the proceedings.” — Tim Grierson, Screen Daily
“Martin Freeman is a nicely flustered and quick-witted presence; it takes a while for Bilbo to embrace his call to adventure, but by the time he does, he feels like a guy worth following for two more movies.
When Jackson took on ‘The Hobbit’ after Guillermo del Toro dropped it in 2010, it seemed like an obligation more than the passion that drove him to make the original trilogy. But for its occasional moments of excess and unhurried pace, An Unexpected Journey is proof that Jackson still has a knack for stories in this world, and that he may have more surprises in store as the rest of this new, unexpected trilogy unfolds.” – Katey Rich, Cinema Blend
“Where the ‘Rings’ trilogy had weight, ‘The Hobbit’ is all wigs and slapstick and head-lopping violence unsuitable for children — who are the only audience who won’t be bored to tears.” – James Rocchi, Box Office
“Spending nearly three hours of screen time to visually represent every comma, period and semicolon in the first six chapters of the perennially popular 19-chapter book, Jackson and his colleagues have created a purist’s delight … it’s also a bit of a slog, with an inordinate amount of exposition and lack of strong forward movement.” – Todd McCarthy, The Hollywood Reporter
I don’t take trade reviews all that seriously, but there are enough out there that are saying similar things. It’s a mixed reaction, but not completely unexpected. Between this being a kid’s version of Lord of the Rings to the questionable decision to shoot in 48fps and stretching the material to a 9-hour, 3-film epic, there was always going to be this kind of hand-wringing and push-back. The ultimate question is how do the masses feel? As for that 48fps, it has received just as mixed a reaction as Jackson’s movie:
“I saw An Unexpected Journey in the much-touted 48 frames per second and in 3D, an experience I recommend, but maybe only on second viewing. I never adjusted to the look, which makes everything feel more real and closer to you, an effect that’s utterly bizarre when seeing giant trolls or goblins or even a band of tiny dwarves. The technological experimentation may have helped Peter Jackson get excited about a smaller-scale return to Middle Earth, but its effect on the movie is harder to gauge; it’s fascinating seeing familiar characters like Gollum move with an unbelievable realness, but also nearly impossible to feel as swept away by this journey to an imaginary world.” – Katey Rich, Cinema Blend
“And what of that much-debated new format Jackson shot the film in, 48 frames per second? (As opposed to the 24 frames which have been the Hollywood standard since the 1920s.)…At first, it’s distracting – somehow everything looks TOO real. From the wizard Gandalf’s wrinkles to the rolling green meadows of Hobbiton, everything is brighter, crisper, as eye-poppingly colourful as kids’ TV. Where the format comes into its own is in intense, action-packed territory. An Unexpected Journey’s battle sequences are especially striking – such scenes are often just a murky blur of flying limbs and blades; here you can see for miles through the skirmishes, right down to the last mud-splattered, club-wielding orc,” – Neala Johnson,
target=”new”>The Herald Sun
The film, shot in 3D, is being shown at 48 frames per second, twice the usual rate. It is a much-ballyhooed technological advancement that results in a look so hyper-realistic that it is both jarring and, ironically, serves to make scenes look fake. This is particularly true of those shot on sets rather than outdoors. The giant castle walls and parapets looks as patently false, though less charmingly so, than any of the painted backdrops and the faux yellow brick road in 1939’s “The Wizard of Oz.” – Leah Rozen, The Wrap
The Hobbit: An Unexpected Journey currently has a 75% on Rotten Tomaotes from 20 reviews and a very early metascore of 62 from 5 reviews on Metacritic. It’s still early, but as Devin Faraci over at Badass Digest sums up (and which serves as a way to sum up early reactions): “It’s not as bad as you feared, but not as good as you hoped.” There have been a few early reports of vomiting from 48fps/3D screenings of the film, but there usually are when new technology or gross scenes are included. Remember, a number of people got sick at early screenings for Avatar and that turned out okay.
The synopsis for The Hobbit: An Unexpected Journey reads:
“The Hobbit: An Unexpected Journey” follows title character Bilbo Baggins, who is swept into an epic quest to reclaim the lost Dwarf Kingdom of Erebor, which was long ago conquered by the dragon Smaug. Approached out of the blue by the wizard Gandalf the Grey, Bilbo finds himself joining a company of thirteen dwarves led by the legendary warrior Thorin Oakenshield. Their journey will take them into the Wild; through treacherous lands swarming with Goblins and Orcs, deadly Wargs and Giant Spiders, Shapeshifters and Sorcerers. Although their goal lies to the East and the wastelands of the Lonely Mountain, first they must escape the goblin tunnels, where Bilbo meets the creature that will change his life forever… Gollum. Here, alone with Gollum, on the shores of an underground lake, the unassuming Bilbo Baggins not only discovers depths of guile and courage that surprise even him, he also gains possession of Gollum’s “precious” ring that holds unexpected and useful qualities… A simple, gold ring that is tied to the fate of all Middle-earth in ways Bilbo cannot begin to know.
That right there (above) is the new poster for Man of Steel. And yes, that’s Superman in handcuffs. Those bastards!
Anyway, Christopher Nolan talked with The Playlist while doing press for The Dark Knight Rises Blu-ray release. And he had some intersting stuff to say and one very non-answer.
If Man of Steel fits into the same superhero universe he created with his Dark Knight films: “Well, somewhat. But I wouldn’t want people to think we’re doing for Superman what we did for Batman.”
On taking on a Joss Whedon-type role at DC: (laughing softly) “Well, as I’ve said, and I’ll say definitively again, I am done with the Batman films, the trilogy is completed. It ended in the manner we had envisioned.”
As for if he’s done with the superhero genre altogether: “Well, I’m producing Superman now and I’m enjoying time off and taking a break,” (he said with a smile).
On if he considers the end of The Dark Knight Rises radical: “Radical? Hmm, yes, perhaps for the comic book fans it was. But I think it was an appropriate ending for the story we set out to tell.”
On producing Man of Steel and the differences between his and Snyder’s work: “It’s very much Zack’s film and I think people are going to love what he’s done. I think it’s really remarkable to take on that character. Superman is a completely different character than Batman. So you can’t in anyway use the same template. But David Goyer had this, I thought, brilliant way to make Superman relatable and relevant for his audience. Zack has built on that and I think it’s incredible what he’s putting together. He’s got a lot of finishing to do on that. Superman is the biggest comic book character of them all and he needs the biggest possible movie version which is what Zack’s doing. It’s really something.”
Russell Crowe also spoke about playing the part of Jor-El for the film, while promoting his upcoming film Les Misérables.
“It afforded me a wonderful opportunity to put a specific thing in the minds of 14 year-old boys. And that is that the bravest thing you can do, the most important thing you can ever do, is love.”
The new trailer for Man of Steel will play in front of The Hobbit: An Unexpected Journey next weekend.
I know we all love Guillermo del Toro, but maybe we should hold off on green-lighting sequels to movies that haven’t even come out yet. It didn’t work out so well for Green Lantern. Just sayin’.
Anyway, the folks over at Heat Vision are reporting that Legendary have officially put the wheels in motion for a Pacific Rim sequel, tapping screenwriter Travis Beacham and director Guillermo del Toro to co-write the script.
“[Guillermo] Del Toro will supervise the writing of the sequel script, although at this stage it’s unclear whether he will direct. The filmmaker yesterday committed to helming a haunted house story, Crimson Peak, which Legendary — wanting to stay in the del Toro business — picked up from Universal. A January 2014 production start is being eyed.”
The film stars Charlie Hunnam, Rinko Kikuchi, Idris Elba, Ron Perlman and Charlie Day. It has had huge buzz going for it for months now, due to both del Toro’s involvement and it’s fanboy-friendly storyline. However, it is also a pretty big risk, with a budget north of $200 million, Pacific Rim is expected to be one of the biggest films of 2013. It remains unknown where del Toro will direct the sequel, given the director’s length list of announced projects which later feel through. Also, the filmmaker just yesterday announced that Crimson Peak, a haunted house/ghost story, would be his next project (at Legendary).The director told Collider that he didn’t want a Pacific Rim sequel to be his very next film, that he wanted something smaller, in a different genre to be that.
“[Crimson Peak] is a very set-oriented, classical but at the same time modern take on the ghost story. It will allow me to play with the conventions of the genre I know and love, and at the same time subvert the old rules.”
As for Pacific Rim, that film’s synopsis reads:
When legions of monstrous creatures, known as Kaiju, started rising from the sea, a war began that would take millions of lives and consume humanity’s resources for years on end. To combat the giant Kaiju, a special type of weapon was devised: massive robots, called Jaegers, which are controlled simultaneously by two pilots whose minds are locked in a neural bridge. But even the Jaegers are proving nearly defenseless in the face of the relentless Kaiju. On the verge of defeat, the forces defending mankind have no choice but to turn to two unlikely heroes—a washed up former pilot and an untested trainee who are teamed to drive a legendary but seemingly obsolete Jaeger from the past. Together, they stand as mankind’s last hope against the mounting apocalypse.
Pacific Rim hits theaters on July 12th, 2013.
Star Trek Into Darkness has made waves in recent weeks and the news keeeps coming. Last week, the film’s first official synopsis was released and it sent the fans into a tizzy trying to parse details. Now the first teaser poster has arrived and everyone is trying to figure out who
The Dark Knight the man in the poster is. Now comes word from star Simon Pegg (through his Twitter account) that the first teaser trailer for Star Trek Into Darkness will arrive on the Internet on Thursday. It is reported to be one minute and three seconds, the trailer arrives a full week before a the nine-minute trailer/preview that will be shown ahead of IMAX screenings of The Hobbit: An Unexpected Journey.
In Summer 2013, pioneering director J.J. Abrams will deliver an explosive action thriller that takes “Star Trek Into Darkness.”
When the crew of the Enterprise is called back home, they find an unstoppable force of terror from within their own organization has detonated the fleet and everything it stands for, leaving our world in a state of crisis.
With a personal score to settle, Captain Kirk leads a manhunt to a war-zone world to capture a one man weapon of mass destruction. As our heroes are propelled into an epic chess game of life and death, love will be challenged, friendships will be torn apart, and sacrifices must be made for the only family Kirk has left: his crew.
Star Trek Into Darkness stars Chris Pine, Zachary Quinto, Zoe Saldana, Karl Urban, John Cho, Bruce Greenwood, Simon Pegg, Anton Yelchin, Benedict Cumberbatch, Alice Eve and Peter Weller, and hits theaters May 17, 2013.
I have found that the best streaming service to have is…all of them. The fact of the matter is that at this point in history, no one service is perfect on its own merits, but used in conjunction with each other, they do compliment one another and provide a VOD/streaming service with fewer holes. However, the King Daddy of them all remains Netflix.
Netflix had a meteoric rise to becoming the true first choice for movie rentals – whether they be disc or streaming – until last year when it made a few poor strategic and PR decisions that left members and investors troubled and nervous. The most frustrating thing for subscribers has been the state of the company’s streaming service, which has continued to seem behind when compared to its own DVD service and new streaming options such as Amazon Prime and Hulu Plus. It still offers all-you-can-eat streaming for a fairly low monthly price, but the dearth of new titles and slow pace of new TV seasons being added – as well as The Criterion Collection only being available to stream on Hulu Plus – has been a frustrating slow climb for the company and subscribers and has led to slowed growth for the company overall.
The folks at Netflix, however, are not dumb and they know the score. Being seen as the renegade company intent on blowing up their buiness model, Hollywood has been slow to accept the company’s ascent and Netflix has struggled getting fair rights deals as a result.
However, that might be starting to turn around. Today, news broke out that Netflix has signed its most important deal in the company’s history. Netflix announced that they have entered into an exclusive agreement with The Walt Disney Company to stream new releases from all of that company’s studios before they go to pay TV channels such as HBO, Showtime, and Starz. The deal includes all feature films made by Disney, Walt Disney Animation Studios, Pixar Animation Studios, Marvel Studios and Disneynature. That is pretty huge news.
But as with seemingly all Netflix deals, there’s a catch. The deal does not go into immediate effect. In fact the deal does not start until 2016, which – for those scoring at home – even surpasses The Avengers 2. So Marvel movies are coming…but not until Phase Three.
The two companies did make a separate agreement that serves as a “multi-year catalog deal” that will allow Netflix to start immediately streaming movies from “The Disney Vault” including Dumbo, Pocahontas and Alice in Wonderland. Also, The Mouse House’s direct-to-DVD releases will show up sooner on the service, starting sometime in 2013. In an ironic – and I’m sure somewhat delicious for Netflix execs – twist, Netflix has taken the Disney rights from pay-channel Starz. That channel’s sole remaining movie provider is Sony, whose deal with the channel ends in 2016.
The official press release is below. Note: financial terms of the deal were not released, although a person close to the matter has said Netflix could ultimately pay close to $300 million-per-year.
Beverly Hills, Ca. and Burbank, Ca. –December 4, 2012—Netflix Inc. (Nasdaq:NFLX) and The Walt Disney Company (NYSE:DIS) today announced a new multi-year licensing agreement that will make Netflix the exclusive U.S. subscription television service for first-run live-action and animated feature films from The Walt Disney Studios.
Beginning with its 2016 theatrically released feature films, new Disney, Walt Disney Animation Studios, Pixar Animation Studios, Marvel Studios and Disneynature titles will be made available for Netflix members to watch instantly in the pay TV window on multiple platforms, including television, tablets, computers and mobile phones. Also included in the agreement are high-profile Disney direct-to-video new releases, which will be made available on Netflix starting in 2013.
Separately, Disney and Netflix have reached agreement on a multi-year catalog deal that today brings to U.S. Netflix members such beloved Disney movies such as “Dumbo,” “Pocahontas” and “Alice in Wonderland.”
“Disney and Netflix have shared a long and mutually beneficial relationship and this deal will bring to our subscribers, in the first pay TV window, some of the highest-quality, most imaginative family films being made today,” said Ted Sarandos, Chief Content Officer at Netflix. “It’s a bold leap forward for Internet television and we are incredibly pleased and proud this iconic family brand is teaming with Netflix to make it happen.”
“With this cutting-edge agreement, we are thrilled to take our highly valued relationship with Netflix to the next level by adding Disney’s premier films to their programming line-up,” said Janice Marinelli, President, Disney-ABC Domestic Television. “Netflix continues to meet the demands of its subscribers in today’s rapidly evolving digital landscape, and we are delighted that they will have much earlier access to our top-quality and entertaining slate,” she continued.
Welcome to one of the weakest weekends for new releases all year. The only major new release getting a wide release is Playing For Keeps starring Gerard Butler and Jessica Biel. Obviously, Hollywood has made bets about which weekends should gets a slew of new movies while a number of recent weeks (non-holiday) have mostly involved expanded releases and holdovers. For the most part, the bet has paid off, especially for continued holdovers The Twilight Saga: Breaking Dawn – Part 2, Skyfall and Lincoln. Their easy ride at the top of the American box office will be coming to an end next week. However, they will get one more good week of returns.
There are a bunch of limited releases, including Lay the Favorite, Hyde Park on Hudson, Deadfall and In Our Nature.
What are you planning on seeing this weekend
Best Film: “Zero Dark Thirty”
Best Director: Kathryn Bigelow, “Zero Dark Thirty”
Actor: Daniel Day-Lewis, “Lincoln”
Actress: Rachel Weisz, “The Deep Blue Sea”
Supporting Actor: Matthew McConaughey, “Bernie” and “Magic Mike”
Supporting Actress: Sally Field, “Lincoln”
Screenplay: Tony Kushner, “Lincoln”
Cinematography: Greig Fraser, “Zero Dark Thirty”
Foreign Language Film: “Amour”
Animated Film: “Frankenweenie”
Nonfiction Film: “The Central Park Five”
First Feature: “How to Survive a Plague”
Gotham Independent Film Awards: (winners in bold)
“Bernie” — Richard Linklater, director; Richard Linklater, Ginger Sledge, Celine Rattray, Martin Shafer, Liz Glotzer, Matt Williams, David McFadzean, Judd Payne, Dete Meserve, producers (Millennium Entertainment).
“The Loneliest Planet” — Julia Loktev, director; Jay Van Hoy, Lars Knudsen, Helge Albers, Marie Therese Guirgis, producers (Sundance Selects). /> “The Master” — Paul Thomas Anderson, director; Joanne Sellar, Daniel Lupi, Paul Thomas Anderson, Megan Ellison, producers (The Weinstein Company).
“Middle of Nowhere” — Ava DuVernay, director; Howard Barish, Ava DuVernay, Paul Garnes, producers (AFFRM and Participant Media).
“Moonrise Kingdom” — Wes Anderson, director; Wes Anderson, Scott Rudin, Steven Rales, Jeremy Dawson, producers (Focus Features).
“Detropia” — Heidi Ewing and Rachel Grady, directors; Heidi Ewing, Rachel Grady, Craig Atkinson, producers (Loki Films).
“How to Survive a Plague” — David France, director; Howard Gertler, David France, producers (Sundance Selects).
“Marina Abramović: The Artist is Present” — Matthew Akers, director; Jeff Dupre, Maro Chermayeff, producers (HBO Documentary Films and Music Box Films).
“Room 237” — Rodney Ascher, director; Tim Kirk, producer (IFC Midnight).
“The Waiting Room” — Peter Nicks, director; Peter Nicks, Linda Davis, William B. Hirsch, producers (International Film Circuit).
Zal Batmanglij — “Sound of My Voice” (Fox Searchlight Pictures).
Brian M. Cassidy and Melanie Shatzky — “Francine” (Factory 25 and The Film Sales Company).
Jason Cortlund and Julia Halperin — “Now, Forager” (Argot Pictures).
Antonio Méndez Esparza — “Aquí y Allá” (“Here and There”) (Torch Films).
Benh Zeitlin — “Beasts of the Southern Wild” (Fox Searchlight Pictures).
Mike Birbiglia — “Sleepwalk with Me” (IFC Films).
Emayatzy Corinealdi — “Middle of Nowhere” (AFFRM and Participant Media).
Thure Lindhardt — “Keep the Lights On” (Music Box Films).
Melanie Lynskey — “Hello, I Must Be Going” (Oscilloscope Laboratories).
Quvenzhané Wallis — “Beasts of the Southern Wild” (Fox Searchlight Pictures).
Best Ensemble Performance:
Jack Black, Shirley MacLaine, Matthew McConaughey — “Bernie” (Millennium Entertainment).
Bruce Willis, Edward Norton, Bill Murray, Frances McDormand, Tilda Swinton, Jared Gilman, Kara Hayward, Jason Schwartzman, Bob Balaban — “Moonrise Kingdom” (Focus Features).
Aubrey Plaza, Mark Duplass, Jake Johnson, Karan Soni, Jenica Bergere, Kristen Bell, Jeff Garlin, Mary Lynn Rajskub — “Safety Not Guaranteed” (Film District).
Bradley Cooper, Jennifer Lawrence, Robert De Niro, Jacki Weaver, Chris Tucker, Anupam Kher, Shea Wigham, Julia Stiles, John Ortiz, Dash Mihok, Paul Herman — “Silver Linings Playbook” (The Weinstein Company).
Emily Blunt, Rosemarie Dewitt, Mark Duplass — “Your Sisters Sister” (IFC Films)
Best Film Not Playing at a Theater Near You:
“Kid-Thing” –David Zellner, director; Nathan Zellner, producer.
“An Oversimplification of Her Beauty” — Terence Nance, director; Terence Nance, Andrew Corkin, James Bartlett, producers.
“Red Flag” — Alex Karpovsky, director; Alex Karpovsky, Michael Bowes, producers.
“Sun Don’t Shine” — Amy Seimetz, director; Kim Sherman, Amy Seimetz, producers.
“Tiger Tail in Blue” — Frank V. Ross, director; Adam Donaghey, Drew Durepos, producers.
“Artifact” — Bartholomew Cubbins, director; Jared Leto, Emma Ludbrook, producers.
“Beasts of the Southern Wild” — Benh Zeitlin, director; Michael Gottwald, Dan Janvey, Josh Penn, producers.
“Burn: One Year on the Front Lines of the Battle to Save Detroit” — Brenna Sanchez, Tom Putnam, directors; Brenna Sanchez, Tom Putnam, producers.
“The Invisible War” — Kirby Dick, director; Amy Ziering, Tanner King Barklow, producers
“Once in a Lullaby: The PS22 Chorus Story” — Jonathan Kalafer, director; Steve Kalafer, Jonathan Kalafer, Bao Nguyen, producers.
European Film Awards:
EUROPEAN FILM 2012:
France / Germany / Austria, 127 min
Written & directed by Michael Haneke
produced by Margaret Menegoz, Stefan Arndt, Veit Heiduschka & Michael Katz
EUROPEAN DIRECTOR 2012: Michael Haneke for AMOUR
EUROPEAN ACTRESS 2012: Emmanuelle Riva in AMOUR
EUROPEAN ACTOR 2012: Jean-Louis Trintignant in AMOUR
EUROPEAN SCREENWRITER 2012: Tobias Lindholm & Thomas Vinterberg for JAGTEN (The Hunt)
CARLO DI PALMA EUROPEAN CINEMATOGRAPHER AWARD 2012: Sean Bobbitt for SHAME
EUROPEAN EDITOR 2012: Joe Walker for SHAME
EUROPEAN PRODUCTION DESIGNER 2012: Maria Djurkovic for TINKER TAILOR SOLDIER SPY
EUROPEAN COMPOSER 2012: Alberto Iglesias for TINKER TAILOR SOLDIER SPY
EUROPEAN DISCOVERY 2012 – Prix FIPRESCI: KAUWBOY by Boudewijn Koole (The Netherlands)
EUROPEAN FILM ACADEMY DOCUMENTARY 2012: HIVER NOMADE (Winter Nomads) by Manuel von Stürler (Switzerland)
EUROPEAN FILM ACADEMY ANIMATED FEATURE FILM 2012: ALOIS NEBEL by Tomáš Luňák (Czech Republic / Germany / Slovakia)
EUROPEAN FILM ACADEMY SHORT FILM 2012: SUPERMAN, SPIDERMAN OR BATMAN by Tudor Giurgiu, Romania
EUROPEAN CO-PRODUCTION AWARD 2012 – Prix EURIMAGES: Helena Danielsson, Sweden
EUROPEAN ACHIEVEMENT IN WORLD CINEMA 2012: Dame Helen Mirren, UK
EUROPEAN FILM ACADEMY LIFETIME ACHIEVEMENT AWARD: Bernardo Bertolucci, Italy
THE PEOPLE’S CHOICE AWARD 2012: HASTA LA VISTA (Come As You Are)
directed by da Geoffrey Enthoven
Film Indepedent Spirit Awards nomiations:
Beasts of the Southern Wild
Keep the Lights On
Silver Linings Playbook
Wes Anderson, Moonrise Kingdom
Julia Loktev, The Loneliest Planet
David O. Russell, Silver Linings Playbook
Ira Sachs, Keep the Lights On
Benh Zeitlin, Beasts of the Southern Wild
Wes Anderson & Roman Coppola, Moonrise Kingdom
Zoe Kazan, Ruby Sparks
Martin McDonagh, Seven Psychopaths
David O. Russell, Silver Linings Playbook
Ira Sachs, Keep the Lights On
BEST FIRST FEATURE
Fill the Void
Gimme the Loot
Safety Not Guaranteed
Sound of My Voice
The Perks of Being a Wallflower
BEST FIRST SCREENPLAY
Rama Burshtein, Fill the Void
Derek Connolly, Safety Not Guaranteed
Christopher Ford, Robot & Frank
Rashida Jones & Will McCormack, Celeste and Jesse Forever
Jonathan Lisecki, Gayby
JOHN CASSAVETES AWARD – Given to the best feature made for under $500,000.
Breakfast with Curtis
Middle of Nowhere
Mosquita y Mari
The Color Wheel
BEST FEMALE LEAD
Linda Cardellini, Return
Emayatzy Corinealdi, Middle of Nowhere
Jennifer Lawrence, Silver Linings Playbook
Quvenzhané Wallis, Beasts of the Southern Wild
Mary Elizabeth Winstead, Smashed
BEST MALE LEAD
Jack Black, Bernie
Bradley Cooper, Silver Linings Playbook
John Hawkes, The Sessions
Thure Lindhardt, Keep the Lights On
Matthew McConaughey, Killer Joe
Wendell Pierce, Four
BEST SUPPORTING FEMALE
Rosemarie DeWitt, Your Sister’s Sister
Ann Dowd, Compliance
Helen Hunt, The Sessions
Brit Marling, Sound of My Voice
Lorraine Toussaint, Middle of Nowhere
BEST SUPPORTING MALE
Matthew McConaughey, Magic Mike
David Oyelowo, Middle of Nowhere
Michael Péna, End of Watch
Sam Rockwell, Seven Psychopaths
Bruce Willis, Moonrise Kingdom
Yoni Brook, Valley of Saints
Lol Crawley, Here
Ben Richardson, Beasts of the Southern Wild
Roman Vasyanov, End of Watch
Robert Yeoman, Moonrise Kingdom
How to Survive a Plague
Marina Abramovic: The Artist is Present
The Central Park Five
The Invisible War
The Waiting Room
BEST INTERNATIONAL FILM
Amour, Michael Haneke
Once Upon A Time in Anatolia, Nuri Bilge Ceylan
Rust And Bone, Jacques Audiard
Sister, Ursula Meier
War Witch, Kim Nguyen
16th ANNUAL PIAGET PRODUCERS AWARD
(includes a $25,000 unrestricted grant funded by Piaget)
Nobody Walks, Alicia Van Couvering
Prince Avalanche, Derrick Tseng
Stones in the Sun, Mynette Louie
19th ANNUAL SOMEONE TO WATCH AWARD
(includes a $25,000 unrestricted grant)
Pincus, David Fenster
Gimme the Loot, Adam Leon
Electrick Children, Rebecca Thomas
STELLA ARTOIS TRUER THAN FICTION AWARD
(includes a $25,000 unrestricted grant)
Leviathan, Lucien Castaing-Taylor and Véréna Paravel
The Waiting Room, Peter Nicks
Only the Young, Jason Tippet & Elizabeth Mims
ROBERT ALTMAN AWARD
(Given to one film’s director, casting director, and its ensemble cast)
Director: Sean Baker
Casting Director: Julia Kim
Ensemble Cast: Dree Hemingway, Besedka Johnson, Karren Karagulian, Stella Maeve, James Ransone
Annie Awards nominations: (minus nominations for television programs/animation)
Best Animated Feature
Brave – Pixar Animation Studios
Frankenweenie – The Walt Disney Studios
Hotel Transylvania – Sony Pictures Animation
ParaNorman – Focus Features
Rise of the Guardians – DreamWorks Animation
The Pirates! Band of Misfits – Aardman Animations
The Rabbi’s Cat – GKIDS
Wreck-It Ralph – Walt Disney Animation Studios
Best Animated Special Production
Batman: The Dark Knight Returns, Part 1 – Warner Bros. Animation
Before Orel – Trust – Starburns Industries, Inc.
Despicable Me: Minion Mayhem – Illumination Entertainment
Disney Tron: Uprising – Beck’s Beginning – Disney TV Animation
Dragons: Gift of the Night Fury – DreamWorks Animation
Justice League: Doom – Warner Bros. Animation
Best Animated Short Subject
Brad and Gary – Illumination Entertainment
Bydlo – National Film Board of Canada
Eyes on the Stars – StoryCorps
Goodnight Mr. Foot – Sony Pictures Animation
Kali the Little Vampire – National Film Board of Canada
Maggie Simpson in ‘The Longest Daycare’ – Gracie Films in Association with 20th Century Fox TV
Paperman – Walt Disney Animation Studios
The Simpsons – ‘Bill Plympton Couch Gag’ – Gracie Films in Association with 20th Century Fox TV
INDIVIDUAL ACHIEVEMENT CATEGORIES
Animated Effects in an Animated Production
Andrew Nawrot, Joe Gorski, Grant Laker – ‘ParaNorman’ – Focus Features
Andrew Schneider ‘Ice Age: Continental Drift’ – Blue Sky Studios
Andy Hayes, Carl Hooper, David Lipton – Rise of the Guardians – DreamWorks Animation
Bill Watral, Chris Chapman, Dave Hale, Keith Klohn, Michael K. O’Brien ‘Brave’ – Pixar Animation Studios
Brett Albert – ‘Wreck-It Ralph’ – Walt Disney Animation Studios
Jihyun Yoon – ‘Madagascar 3: Europe’s Most Wanted’ – DreamWorks Animation
Joel Aron – ‘Star Wars: The Clone Wars’ – Lucasfilm Animation Ltd.
Character Animation in a Feature Production
Dan Nguyen ‘Brave’ – Pixar Animation Studios
David Pate ‘Rise of the Guardians’ – DreamWorks Animation
Jaime Landes ‘Brave’ – Pixar Animation Studios
Phillppe LeBrun ‘Rise of the Guardians’ – DreamWorks Animation
Pierre Perifel ‘Rise of the Guardians’ – DreamWorks Animation
Travis Hathaway ‘Brave’ – Pixar Animation Studios
Travis Knight “ParaNorman’ – Focus Features
Will Becher ‘The Pirates! Band of Misfits’ – Aardman Animations
Character Animation in a Live Action Production
Erik de Boer, Amanda Dague, Matt Brown, Mary Lynn Machado, Aaron Grey ‘Life of Pi – Orangutan’ – Rhythm & Hues Studio
Erik de Boer, Matt Shumway, Brian Wells, Vinayak Pawar, Michael Holzl ‘Life of Pi – Tiger’ – Rhythm & Hues Studio
Jakub Pistecky, Maia Kayser, Scott Benzu, Steve King, Kiran Bhat ‘The Avengers’ – Industrial Light & Magic
Mike Beaulieu, Roger Vizard, Atushi Sato, Jackie Kochler, Derek Esparza, Richard Smith, Mac Tyrie – Columbia Pictures – THE AMAZING SPIDER-MAN – Sony Pictures AnimationAnimated Effects in a Live Action Production
Jerome Platteaux, John Sigurdson, Ryan Hopkins, Raul Essig, Mark Chataway ‘The Avengers’ – Industrial Light & Magic
Stephen Marshall, Joseph Pepper, Dustin Wicke ‘The Amazing Spider-Man’ – Columbia Pictures/Sony Pictures Animation
Sue Rowe, Simon Stanley-Clamp, Artemis Oikonomopoulou, Holger Voss, Nikki Makar, Catherine Elvidge ‘John Carter’ – Cinesite
Willi Geiger, Rick Hankins, Florent Andorra, Florian Witzel, Aron Bonar ‘Battleship’ – Industrial Light & Magic
Character Design in an Animated Feature Production
Bill Schwab, Lorelay Bove, Cory Loftis, Minkyu Lee ‘Wreck-It Ralph’ – Walt Disney Animation Studios
Carlos Grangel ‘Hotel Transylvania’ – Sony Pictures Animation
Carter Goodrich ‘Hotel Transylvania’ – Sony Pictures Animation
Craig Kellman ‘Madagascar 3: Europe’s Most Wanted’ – DreamWorks Animation
Heidi Smith ‘ParaNorman’ – Focus Features
Yarrow Cheney, Eric Guillon, Colin Stimpson ‘Dr. Seuss’ The Lorax’ – Illumination Entertainment
Directing in an Animated Feature Production
Genndy Tartakovsky ‘Hotel Transylvania’ – Sony Pictures Animation
Johan Sfar, Antoine Delesvaux ‘The Rabbi’s Cat – GKIDS
Remi Bezancon, Jean-Christophe Lie ‘Zarafa’ – GKIDS
Rick Moore ‘Wreck-It Ralph’ – Walt Disney Animation Studios
Sam Fell, Chris Butler ‘ParaNorman’ – Focus Features
Music in an Animated Feature Production
Alexandre Desplat ‘Rise of the Guardians’ – DreamWorks Animation
Bruce Retief ‘Adventures in Zambezia’ – Saltzman Communications
Henry Jackman ‘Wreck-It Ralph’ – Walt Disney Animation Studios
Joel McNeely, Brendan Milburn, Valerie Vigoda ‘Secret of the Wings’ – DisneyToon Studios
John Powell, Adam Schlesinger, Ester Dean ‘Ice Age: Continental Drift’ – Blue Sky Studios
John Powell, Cinco Paul ‘Dr. Seuss’ The Lorax’ – Illumination Entertainment
Mark Mothersbaugh ‘Hotel Transylvania’ – Sony Pictures Animation
Patrick Doyle, Mark Andrews, Alex Mandel ‘Brave’ – Pixar Animation Studios
Production Design in an Animated Feature Production
Kendal Cronkhite-Shaindlin, Shannon Jeffries, Lindsey Olivares, Kenard Pak ‘Madagascar 3: Europe’s Most Wanted’ – DreamWorks Animation
Marcello Vignali ‘Hotel Transylvania’ – Sony Pictures Animation
Nash Dunnigan, Arden Chen, Jon Townley, Kyle McNaughton ‘Ice Age: Continental Drift’ – Blue Sky Studios
Nelson Lowry, Ross Stewart, Pete Oswald, Ean McNamara, Trevor Dalmer ‘ParaNorman’ – Focus Features
Norman Garwood, Matt Berry ‘The Pirates! Band of Misfits’ – Aardman Animation
Patrick Hanenberger, Max Boas, Jayee Borcar, Woonyoung Jung, Perry Maple, Peter Maynez, Stan Seo, Felix Yoon ‘Rise of the Guardians’ – DreamWorks Animation
Rick Heintzich ‘Frankenweenie’ – The Walt Disney Studios
Steve Pilcher ‘Brave’ – Pixar Animation Studios
Storyboarding in an Animated Feature Production
Emmanuela Cozzi ‘ParaNorman’ – Focus Features
Johanne Matte ‘Rise of the Guardians’ – DreamWorks Animation
Leo Matsuda ‘Wreck-It Ralph’ – Walt Disney Animation Studios
Lissa Treiman ‘Wreck-It Ralph’ – Walt Disney Animation Studios
Rob Koo ‘Madagascar 3: Europe’s Most Wanted’ – DreamWorks Animation
Voice Acting in an Animated Feature Production
Adam Sandler as Dracula ‘Hotel Transylvania’ – Sony Pictures Animation
Alan Tudyk as King Candy ‘Wreck-It Ralph’ – Walt Disney Animation Studios
Atticus Shaffer as “E”Gore ‘Frankenweenie’ – The Walt Disney Studios
Catherine O’Hara as Weird Girl ‘Frankenweenie’ – The Walt Disney Studios
Imelda Staunton as Queen Victoria ‘The Pirates! Band of Misfits’ – Aardman Animations
Jim Cummings as Budzo ‘Adventures in Zambezia’ – Saltzman Communications
Jude Law as Pitch ‘Rise of the Guardians’ – DreamWorks Animation
Kelly MacDonald as Merida ‘Brave’ – Pixar Animation Studios
Writing in an Animated Feature Production
Chris Butler – ParaNorman – Focus Features
Gideon Defoe – The Pirates! Band of Misfits – Aardman Animations
Hayao Miyazaki, Keiko Niwa, Karey Kirkpatrick – From Up on Poppy Hill – GKIDS
John August – Frankenweenie – The Walt Disney Studios
Mark Andrews, Steve Purcell, Brenda Chapman, Irene Mecchi – Brave – Pixar Animation Studios
Phil Johnston, Jennifer Lee – Wreck-It Ralph – Walt Disney Animation Studios
Editorial in an Animated Feature Production
Catherine Apple ‘Hotel Transylvania’ – Sony Pictures Animation
Joyce Arrastia ‘Rise of the Guardians’ – DreamWorks Animation
Mark Rosenbaum ‘Secret of the Wings’ – DisneyToon Studios
Nicholas A. Smith, ACE, Robert Graham Jones, ACE, David Suther ‘Brave’ – Pixar Animation Studios
Tim Mertens ‘Wreck-It Ralph’ – Walt Disney Animation Studios
Winsor McCay Award – Oscar Grillo, Terry Gilliam, Mark Henn
June Foray – Howard Green
Ub Iwerks – Toon Boom Animation Pipeline
Funny Video of the Week: “Honest Trailers: The Dark Knight Rises“
That’s all for this week. As always, let me know what you think in the comments section. For now, this is Jeremy Wilson, off the record, on the QT…
…and definitely, “Hush Hush!”