Awards season is in full swing, and with tonight's Screen Actors Guild Awards (SAG for short) — the 19th time the ceremony has taken place. Airing live on TBS and TNT on Sunday, January 27 (at 5PM PST/8PM EST), some of the biggest movies of the year are making tracks towards the Big Night (aka the Academy Awards), while television shows like Homeland and Modern Family will see if they can continue to dominate.
Will 30 Rock go out with big wins? Will Maggie Smith continue to not show up (yes, of course)? Check out the winners (in bold), which will be updated live, below!
THEATRICAL MOTION PICTURES
Outstanding Performance By A Male Actor In A Leading Role
Bradley Cooper / Pat - "Silver Linings Playbook" (The Weinstein Company)
Daniel Day-Lewis / Abraham Lincoln - "Lincoln" (Touchstone Pictures)
John Hawkes / Mark - "The Sessions" (FOX Searchlight)
Hugh Jackman / Jean Valjean - "Les Misérables" (Universal Pictures)
Denzel Washington / Whip Whitaker - "Flight" (Paramount Pictures)
Outstanding Performance By A Female Actor In A Leading Role
Jessica Chastain / Maya - "Zero Dark Thirty" (Columbia Pictures)
Marion Cotillard / Stephanie - "Rust And Bone" (sony Pictures Classics)
Jennifer Lawrence / Tiffany - "Silver Linings Playbook" (The Weinstein Company)
Helen Mirren / Alma Reville - "Hitchcock" (FOX Searchlight)
Naomi Watts / Maria - "The Impossible" (Summit Entertainment)
Outstanding Performance By A Male Actor In A Supporting Role
Alan Arkin / Lester Siegel - "Argo" (Warner Bros. Pictures)
Javier Bardem / Silva - "Skyfall" (Columbia Pictures)
Robert De Niro / Pat, Sr. - "Silver Linings Playbook" (The Weinstein Company)
Philip Seymour Hoffman / Lancaster Dodd - "The Master" (The Weinstein Company)
Tommy Lee Jones / Thaddeus Stevens - "Lincoln" (Touchstone Pictures)
Outstanding Performance By A Female Actor In A Supporting Role
Sally Field / Mary Todd Lincoln - "Lincoln" (Touchstone Pictures)
Anne Hathaway / Fantine - "Les Misérables" (Universal Pictures)
Helen Hunt / Cheryl - "The Sessions" (FOX Searchlight)
Nicole Kidman / Charlotte Bless - "The Paperboy" (Millennium Entertainment)
Maggie Smith / Muriel Donnelly - "The Best Exotic Marigold Hotel" (FOX Searchlight)
Outstanding Performance By A Cast In A Motion Picture
Argo (Warner Bros. Pictures)
The Best Exotic Marigold Hotel (FOX Searchlight)
Les Misérables (Universal Pictures)
Lincoln (Touchstone Pictures)
Silver Linings Playbook (The Weinstein Company)
Outstanding Performance By A Male Actor In A Television Movie Or Miniseries
Kevin Costner / "Devil Anse" Hatfield - "Hatfields & Mccoys" (History)
Woody Harrelson / Steve Schmidt - "Game Change" (HBO)
Ed Harris / John Mccain - "Game Change" (HBO)
Clive Owen / Ernest Hemingway & "Hemingway & Gellhorn" (HBO)
Bill Paxton / Randall Mccoy - "Hatfields & Mccoys" (History)
Outstanding Performance By A Female Actor In A Television Movie Or Miniseries
Nicole Kidman / Martha Gellhorn - "Hemingway & Gellhorn" (HBO)
Julianne Moore / Sarah Palin - "Game Change" (HBO)
Charlotte Rampling / Eva Delectorskaya - "Restless" (Sundance Channel)
Sigourney Weaver / Elaine Barrish Hammond - "Political Animals" (USA)
Alfre Woodard / Ouiser - "Steel Magnolias" (Lifetime)
Outstanding Performance By A Male Actor In A Drama Series
Steve Buscemi / Enoch "Nucky" Thompson - "Boardwalk Empire" (HBO)
Bryan Cranston / Walter White - "Breaking Bad" (AMC)
Jeff Daniels / Will McAvoy - "The Newsroom" (HBO)
Jon Hamm / Don Draper - "Mad Men" (AMC)
Damian Lewis / Nicholas Brody - "Homeland" (Showtime)
Outstanding Performance By A Female Actor In A Drama Series
Claire Danes / Carrie Mathison - "Homeland" (Showtime)
Michelle Dockery / Lady Mary Crawley - "Downton Abbey" (PBS)
Jessica Lange / Sister Jude - "American Horror Story: Asylum" (FX)
Julianna Margulies / Alicia Florrick - "The Good Wife" (CBS)
Maggie Smith / Violet, Dowager Countess Of Grantham - "Downton Abbey" (PBS)
Outstanding Performance By A Male Actor In A Comedy Series
Alec Baldwin / Jack Donaghy - "30 Rock" (NBC)
Ty Burrell / Phil Dunphy - "Modern Family" (ABC)
Louis C.K. / Louie - "Louie" (FX)
Jim Parsons / Sheldon Cooper - "The Big Bang Theory" (CBS)
Eric Stonestreet / Cameron Tucker - "Modern Family" (ABC)
Outstanding Performance By A Female Actor In A Comedy Series
Edie Falco / Jackie Peyton - "Nurse Jackie" (Showtime)
Tina Fey / Liz Lemon - "30 Rock" (NBC)
Amy Poehler / Leslie Knope - "Parks and Recreation" (NBC)
Sofia Vergara / Gloria Delgado-Pritchett - "Modern Family" (ABC)
Betty White / Elka Ostrovsky - "Hot In Cleveland" (TV Land)
Outstanding Performance By An Ensemble In A Drama Series
Boardwalk Empire (HBO)
Breaking Bad (AMC)
Downton Abbey (PBS)
Mad Men (AMC)
Outstanding Performance By An Ensemble In A Comedy Series
30 Rock (NBC)
Modern Family (ABC)
Nurse Jackie (Showtime)
The Office (NBC)
SAG AWARDS HONORS FOR STUNT ENSEMBLES
Outstanding Action Performance By A Stunt Ensemble In A Motion Picture
The Amazing Spider-Man (Columbia Pictures)
The Bourne Legacy (Universal Pictures)
The Dark Knight Rises (Warner Bros. Pictures)
Les Misérables (Universal Pictures)
Skyfall (Columbia Pictures)
Outstanding Action Performance By A Stunt Ensemble In A Television Series
Boardwalk Empire (HBO)
Breaking Bad (AMC)
Game Of Thrones (HBO)
Sons Of Anarchy (FX)
The Walking Dead (AMC)
Screen Actors Guild 49th Annual Life Achievement Award
Dick Van Dyke
What do you think of this year's winners and losers? Shocked? Happy? Sad? Let us know, in the comments below!
[Photo Credit: Mark Davis/Getty Images]
Follow Alicia on Twitter @alicialutes
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Sherlock and Doctor Who were among the favourites to win prizes at the London ceremony after garnering a total of five nominations between them, but it was Julian Fellowes' popular series, starring Dame Maggie Smith, Hugh Bonneville and Michelle Dockery, which landed the top honour.
Benedict Cumberbatch's portrayal of the fictional detective and Matt Smith's role as the Time Lord were also snubbed in the Best Male Performance in a Drama category - Colin Morgan claimed that title for his axed BBC series Merlin.
Former Doctor Who star Karen Gillen also missed out on an award - she lost out to Call the Midwife's Miranda Hart in the Best Female Performance category.
Meanwhile, long-running soap opera Coronation Street was a double winner at the event - it was named Best Serial Drama and Best Serial Drama Performance went to Alan Halsall.
Sir David Attenborough's Frozen Planet was named Best Documentary Series and Best Situation Comedy was handed to Mrs Brown's Boys.
Other winners at the annual TV prizegiving included Eastenders' David Witts (Best Newcomer), I'm a Celebrity... Get Me Out of Here! (Best Entertainment Programme), This Morning (Best Daytime Programme), QI (Best Comedy Panel Show) and Strictly Come Dancing (Best Talent Show).
Meanwhile, Anthony McPartlin and Declan Donnelly were named Best Entertainment Presenters for the 12th year in a row.
David Mitchell's novel Cloud Atlas consists of six stories set in various periods between 1850 and a time far into Earth's post-apocalyptic future. Each segment lives on its own the previous first person account picked up and read by a character in its successor creating connective tissue between each moment in time. The various stories remain intact for Tom Tykwer's (Run Lola Run) Lana Wachowski's and Andy Wachowski's (The Matrix) film adaptation which debuted at the Toronto International Film Festival. The massive change comes from the interweaving of the book's parts into one three-hour saga — a move that elevates the material and transforms Cloud Atlas in to a work of epic proportions.
Don't be turned off by the runtime — Cloud Atlas moves at lightning pace as it cuts back and forth between its various threads: an American notary sailing the Pacific; a budding musician tasked with transcribing the hummings of an accomplished 1930's composer; a '70s-era investigatory journalist who uncovers a nefarious plot tied to the local nuclear power plant; a book publisher in 2012 who goes on the run from gangsters only to be incarcerated in a nursing home; Sonmi~451 a clone in Neo Seoul who takes on the oppressive government that enslaves her; and a primitive human from the future who teams with one of the few remaining technologically-advanced Earthlings in order to survive. Dense but so was the unfamiliar world of The Matrix. Cloud Atlas has more moving parts than the Wachowskis' seminal sci-fi flick but with additional ambition to boot. Every second is a sight to behold.
The members of the directing trio are known for their visual prowess but Cloud Atlas is a movie about juxtaposition. The art of editing is normally a seamless one — unless someone is really into the craft the cutting of a film is rarely a post-viewing talking point — but Cloud Atlas turns the editor into one of the cast members an obvious player who ties the film together with brilliant cross-cutting and overlapping dialogue. Timothy Cavendish the elderly publisher could be musing on his need to escape and the film will wander to the events of Sonmi~451 or the tortured music apprentice Robert Frobisher also feeling the impulse to run. The details of each world seep into one another but the real joy comes from watching each carefully selected scene fall into place. You never feel lost in Cloud Atlas even when Tykwer and the Wachowskis have infused three action sequences — a gritty car chase in the '70s a kinetic chase through Neo Seoul and a foot race through the forests of future millennia — into one extended set piece. This is a unified film with distinct parts echoing the themes of human interconnectivity.
The biggest treat is watching Cloud Atlas' ensemble tackle the diverse array of characters sprinkled into the stories. No film in recent memory has afforded a cast this type of opportunity yet another form of juxtaposition that wows. Within a few seconds Tom Hanks will go from near-neanderthal to British gangster to wily 19th century doctor. Halle Berry Hugh Grant Jim Sturgess Jim Broadbent Ben Whishaw Hugo Weaving and Susan Sarandon play the same game taking on roles of different sexes races and the like. (Weaving as an evil nurse returning to his Priscilla Queen of the Desert cross-dressing roots is mind-blowing.) The cast's dedication to inhabiting their roles on every level helps us quickly understand the worlds. We know it's Halle Berry behind the fair skinned wife of the lunatic composer but she's never playing Halle Berry. Even when the actors are playing variations on themselves they're glowing with the film's overall epic feel. Jim Broadbent's wickedly funny modern segment a Tykwer creation that packs a particularly German sense of humor is on a smaller scale than the rest of the film but the actor never dials it down. Every story character and scene in Cloud Atlas commits to a style. That diversity keeps the swirling maelstrom of a movie in check.
Cloud Atlas poses big questions without losing track of its human element the characters at the heart of each story. A slower moment or two may have helped the Wachowskis' and Tykwer's film to hit a powerful emotional chord but the finished product still proves mainstream movies can ask questions while laying over explosive action scenes. This year there won't be a bigger movie in terms of scope in terms of ideas and in terms of heart than Cloud Atlas.
The hugely successful series, which stars Dame Maggie Smith and Hugh Bonneville, collected one the main awards at the event, which celebrates the best in British TV.
Dr Who was also a big winner - the sci-fi series' stars Matt Smith and Karen Gillan took home prizes for Top Male and Top Female performances
Simon Cowell's The X Factor was named Best Talent Show for a third year running, and TV favourites Anthony McPartlin and Declan Donnelly broke National Television Awards records when they picked up the Best Entertainment Presenter(s) for an 11th successive year.
Comedian Alan Carr won the Best Talkshow prize for his popular Chatty Man series and the cast of Britain's longest running soap, Coronation Street, paid a special tribute to late actress Betty Driver, who passed away last year (11). Driver was a regular on the show for 42 years. The soap also took home the Best Serial Drama honour.
The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.