The film and television nominations for the 18th Annual Screen Actors Guild Awards have been released, recognizing achievements in both individual performances and the strengths of ensemble casts. This year's television award nominations are listed below, including many worthy recipients, but there are also a few surprising absences. Among the hard-hitters listed below are dramas like HBO's Mildred Pierce and Boardwalk Empire, AMC's Breaking Bad and comedies such as ABC's Modern Family (which swept the Emmys this year) and NBC's 30 Rock. However, some might be surprised not to find the new Showtime drama Homeland or NBC's secret weapon Parks and Recreation.
The 18th Annual Screen Actors Guild Awards will air live at 8 p.m. ET/5 p.m. PT on Jan. 29, 2012 on TNT and TBS.
Click here to read the list of this year's film nominees.
18th ANNUAL SAG AWARDS NOMINATIONS: PRIMETIME TELEVISION
Outstanding Performance by a Male Actor in a Television Movie or Miniseries
Laurence Fishburne - Thurgood (HBO)
Paul Giamatti - Too Big to Fail (HBO)
Greg Kinnear - The Kennedy (Reelz Channel)
Guy Pearce - Mildred Pierce (HBO)
James Woods - Too Big to Fail (HBO
Outstanding Performance by a Female Actor in a Television Movie or Miniseries
Diane Lane - Cinema Verite (HBO)
Maggie Smith - Downton Abbey (PBS)
Emily Watson - Appropriate Adult (Sundance Channel)
Betty White - Hallmark Hall of Fame: The Lost Valentine (CBS)
Kate Winslet - Mildred Pierce (HBO)
Outstanding Performance by a Male Actor in a Drama Series
Patrick J. Adams - Suits (USA)
Steve Buscemi - Boardwalk Empire (HBO)
Kyle Chandler - Friday Night Lights (DirecTV)
Bryan Cranston - Breaking Bad (AMC)
Michael C. Hall - Dexter (Showtime)
Outstanding Performance by a Female Actor in a Drama Series
Kathy Bates - Harry's Law (NBC)
Glenn Close - Damages (DirecTV)
Jessica Lange - American Horror Story (FX)
Julianna Margulies - The Good Wife (CBS)
Kyra Sedgwick - The Closer (TNT)
Outstanding Performance by a Male Actor in a Comedy Series
Alec Baldwin - 30 Rock (NBC)
Ty Burrell - Modern Family (ABC)
Steve Carell - The Office (NBC)
Jon Cryer - Two and a Half Men (CBS)
Eric Stonestreet - Modern Family (ABC)
Outstanding Performance by a Female Actor in a Comedy Series
Julia Bowen - Modern Family (ABC)
Edie Falco - Nurse Jackie (Showtime)
Tina Fey - 30 Rock (NBC)
Sofia Vergara - Modern Family (ABC)
Betty White - Hot in Cleveland (TV Land)
Outstanding Performance by an Ensemble in a Drama Series
Boardwalk Empire (HBO) - Steve Buscemi, Dominic Chianese, Robert Clohessy, Dabney Coleman, Charlie Cox, Jose & Lucy Gallina, Stephen Graham, Jack Huston, Anthony Laciura, Heather Lind, Kelly Macdonald, Rory & Declan McTigue, Gretchen Mol, Brady & Connor Noon, Kevin O'Rourke, Aleksa Palladino, Jacqueline Pennewill, Vincent Piazza, Michael Pitt, Michael Shannon, Paul Sparks, Michael Stuhlbarg, Peter Van Wagner, Shea Whigham, Michael Kenneth Williams, Anatol Yusef
Breaking Bad (AMC) - Jonathan Banks, Betsy Brandt, Ray Campbell, Bryan Cranston, Giancarlo Esposito, Anna Gunn, RJ Mitte, Dean Norris, Bob Odenkirk, Aaron Paul
Dexter (Showtime) - Billy Brown, Jennifer Carpenter, Josh Cooke, Aimee Garcia, Michael C. Hall, Colin Hanks, Desmond Harrington, Maria Doyle Kennedy, Rya Kihlstedt, C.S. Lee, Edward James Olmos, James Remar, Lauren Velez, Peter Weller, David Zayas
Game of Thrones (HBO) - Amrita Acharia, Mark Addy, Alfie Allen, Josef Altin, Sean Bean, Susan Brown, Emilia Clarke, Nikolaj Coster-Waldau, Peter Dinklage, Ron Donachie, Michelle Farley, Jerome Flynn, Elyes Gabel, Aiden Gillen, Jack Gleeson Iain Glen, Julian Glover, Kit Harington, Lena Headey, Isaac Hempstead Wright, Conleth Hill, Richard Madden, Jason Mamoa, Rory McCann, Ian McElhinney, Luke McEwan, Roxanne McKee, Dar Salim, Mark Stanley, Donald Sumpter, Sophie Turner, Maisie Williams
The Good Wife (CBS) - Christine Baranski, Josh Charles, Alan Cumming, Matt Czuchry, Julianna Margulies, Chris Noth, Archie Panjabi, Graham Phillips, Makenzie Vega
Outstanding Performance by an Ensemble in a Comedy Series
30 Rock (NBC) - Scott Adsit, Alec Baldwin, Katrina Bowden, Kevin Brown, Grizz Chapman, Tina Fey, Judah Friedlander, Jane Krakowski, John Lutz, Jack McBrayer, Tracy Morgan, Maulik Pancholy, Keith Powell
The Big Bang Theory (CBS) - Mayim Bialik, Kaley Cuoco, Johnny Galecki, Simon Helberg, Kunal Nayyar, Jim Parsons, Melissa Rauch
Glee (Fox) - Dianna Agron, Chris Colfer, Darren Criss, Ashley Fink, Dot Marie Jones, Jane Lynch, Jayma Mays, Kevin McHale, Lea Michele, Cory Monteith, Heather Morris, Matthew Morrison, Mike O'Malley, Chord Overstreet, Lauren Potter, Amber Riley, Naya Rivera, Mark Salling, Harry Shum Jr., Iqbal Theba, Jenna Ushkowitz
Modern Family (ABC) - Aubrey Anderson-Emmons, Julia Bowen, Ty Burrell, Jesse Tyler Ferguson, Nolan Gould, Sarah Hyland, Ed O'Neill, Rico Rodriguez, Eric Stonestreet, Sofia Vergara, Ariel Winter
The Office (NBC) - Leslie David Baker, Brian Baumgartner, Creed Bratton, Steve Carell, Jenna Fischer, Kate Flannery, Ed Helms, Mindy Kaling, Ellie Kemper, Angela Kinsey, John Krasinski, Paul Lieberstein, B.J. Novak, Oscar Nunez, Craig Robinson, James Spader, Phyllis Smith, Rainn Wilson, Zach Woods
WHAT IT’S ABOUT?
Based on the eponymous book by Bryan Burrough Public Enemies chronicles the exploits of legendary Chicago gangster John Dillinger a dashing figure whose daring bank robberies both captivated and alarmed a Depression-era America devastated by widespread financial ruin. Director Michael Mann (Ali The Insider) begins his narrative at Dillinger’s career high-point with the Indiana-born outlaw basking in his celebrity status as a Robin Hood figure.
But with Dillinger’s growing fame comes increased scrutiny from law enforcement agencies — particularly the Bureau of Investigation (the precursor to the FBI) and its ambitious chief J. Edgar Hoover. Eyeing Dillinger’s capture as an opportunity to boost his agency’s profile Hoover tasks elite agent Melvin Purvis with bringing the elusive gangster to justice.
WHO’S IN IT?
Toning down the often cartoonish mannerisms he exhibited in Sweeney Todd Charlie and the Chocolate Factory and the Pirates of the Caribbean trilogy Johnny Depp exudes low-key charm and self-assuredness as Dillinger a man clearly amused by his celebrity status but never consumed by it. Dillinger’s audacity and fearlessness extend beyond the criminal realm too as evidenced when he pursues a beguiling coat-check girl named Billie Frechette (Marion Cotillard). Initially appalled by Dillinger’s aggressive advances Frechette ultimately surrenders becoming his loyal companion during his final days on the run.
As lawman Melvin Purvis Dillinger’s primary antagonist Christian Bale provides a nice foil for Depp though he ultimately isn’t allowed enough screen time to fully develop his character. Bale’s Purvis is straight-laced intrepid and doggedly persistent his efforts continually stymied by the sub-par talent and resources at his disposal. His complicated relationship with highly eccentric Bureau boss Hoover (played by a gleefully uptight Billy Crudup) begs for more development but director Mann opts instead to focus more on the doomed love affair between Dillinger and Frechette. Pity.
Fans of Mann’s action work in films like Miami Vice and Heat will revel in Public Enemies’ elaborately staged shoot-out sequences each of which is lent added intensity by cinematographer Dante Spinotti’s use of high-definition digital video cameras.
But when the bullets aren’t flying Public Enemies is only intermittently interesting. Stars Depp and Bale both excel in their respective roles but neither is allowed much room to venture beyond the tight constraints imposed by Mann who clings stubbornly — and disappointingly — to type. Much more intriguing would have been for Mann to reverse the casting with Bale playing the anti-hero and Depp as his straight-arrow pursuer. Alas the director who convinced squeeky-clean Tom Cruise to play a villain (in 2004’s Collateral) was not so ballsy this time around.
The same cautious predictable approach to casting extends to the film’s tone as well. Rather than deconstruct our culture’s romanticized vision of Dillinger as a handsome populist hero Mann adds to the gangster’s puffed-up Robin Hood image photographing Depp lovingly at every turn and filling the story with unsubtle nods to the character’s altruistic side. It’s a missed opportunity.
Mann has never been one for brevity regularly churning out films that extend well beyond two hours in length. Public Enemies is no exception clocking in at nearly two-and-a-half hours. Despite the ample running time he’s allotted to flesh out his story Mann fails to create any real attachment to his characters. For a movie with such a gifted cast appealing subject matter and riveting action sequences Public Enemies is oddly boring.
A chaotic nighttime sequence in which Purvis and his crew ambush Dillinger’s forest hideout only to become mired in a protracted and bloody gunfight ranks with the very best of Mann’s action work. If only the rest of Public Enemies were this thrilling.
NETFLIX OR MULTIPLEX?
Spinotii’s superb camera work demands to be seen on the big screen so slam a few Red Bulls and catch this one at the multiplex.
Holly Kennedy (Hilary Swank) doesn’t know how lucky she has it. She’s smart beautiful and married to Gerry (Gerald Butler) a passionate funny and impetuous Irishman who loves her with every breath in his body. But when that breath runs out--Gerry dies unexpectedly from an illness--Holly’s luck runs out. Barely coping her salvation arrives in the form of letters from Gerry that come to Holly in unexpected ways--letters he wrote to her before he died to help her get through the pain and move on with her life and letters that always end with “P.S. I Love You.” A saint huh? Holly’s mother (Kathy Bates) and best friends Sharon (Gina Gershon) and Denise (Lisa Kudrow) begin to worry Gerry’s letters are keeping Holly tied to the past but in fact each letter pushes Holly on a journey of rediscovery and to show her how a love so strong can turn the finality of death into new beginning for life. Tissues please! Swank will be damned if she pigeonholes herself into always playing serious women who don’t wear makeup. P.S. I Love You is her stab at romantic dramedy and while the genre may not suit her best the Oscar-winning actress still has fun playing a spirited woman who wears designer clothes cute hats and gets to make out with a strapping Irish hunk. Actually Swank gets to bed TWO strapping Irish hunks in P.S. I Love You: The first is the yummy Butler of course and the other is Gerry’s old bandmate William played by American Jeffrey Dean Morgan (who’ll be seen in the upcoming romantic comedy The Accidental Husband with Uma Thurman). Lucky girl. Butler however is the one the ladies will sigh over the most. Having already given a powerhouse performance this year as the Spartan king in 300 the Scottish actor turns the tables to show his soft underbelly as the adorably romantic and fun-lovin’ Gerry. The abs still rock though. One can easily see why Holly is such a mess after he dies. Gershon and Kudrow add some genuineness as Holly’s friends (someone please find a Kudrow a TV show) as does Bates as Holly’s hardened mother. Harry Connick Jr. however seems out of place as Holly’s would-be suitor. She just needs to stick with the Irish guys. Hilary Swank teams up with her Freedom Writers director Richard LaGravenese once again for P.S. I Love You and it’s clear they have a symbiotic relationship. Swank probably likes the way LaGravenese accentuates her best features turning her into a glam leading lady while LaGravenese obviously enjoys gazing at her through his camera lens. Unfortunately the two really haven’t found the best material. Freedom Writers is the mother of all teacher-gets-students-motivated retreads while P.S. I Love You--based on a novel by Cecelia Ahern and adapted by LaGravenese and Steven Rogers--is just pure fluff with very little substance behind it. Not that the film won't inspire some romantic feelings or work up tears but its only real strengths are: 1) the players who somehow rise about the triteness of it all especially Butler and 2) the gorgeous landscapes of Ireland which should send any woman in her right mind straight to the Emerald Isles to find her perfect man. Seriously ladies book your trips NOW.
Once respected NYPD detective Jack Mosley (Bruce Willis) is now pretty much on his last legs literally and figuratively. He drinks is relegated to a desk job and walks with a limp. One morning after a long shift he’s corralled into transporting a petty criminal Eddie Bunker (Mos Def) to the courthouse 16 blocks away so he can testify by 10:00 a.m. What Jack doesn’t know is that Eddie is one of the key witnesses in a case against crooked cops--that is until the two start getting shot at. Then it becomes crystal clear. The main bad guy Jack’s former partner Frank (David Morse) basically lets Jack know Eddie will never testify to just go ahead and hand him over but Frank underestimates Jack’s desire to finally do something good. So Jack and Eddie fight their way to the courthouse block by gut-wrenching block. Oh no there’s nothing formulaic about 16 Blocks not at all. In a film as predictable as this the only thing that’ll make it stand out is the performances. 16 Blocks nearly succeeds--but not quite. It would seem Willis is playing a character he’s played a hundred times before--the misunderstood and slightly unorthodox cop with a heart of gold. But as Jack the actor does a nice job trying out some new things namely playing fat bald and grizzled. You can almost smell how bad Jack’s breath has to be. Rapper/actor Mos Def who usually brightens any film he’s in also tries his hand at something different but his choices aren’t as smart. As the talkative and affable Eddie Mos comes up with one of the more annoying nasally accents ever recorded. After about five minutes of screen time you desperately want him to stop and say “Just kidding! I don’t really talk like this.” But he doesn’t. It’s too bad something like an accent can ruin an otherwise decent performance. Old-school director Richard Donner best known for his Lethal Weapons is a consummate professional when it comes to making these kind of movies. In other words he pretty much paints by numbers. We watch Jack and Eddie get out of one tight situation after another as the gaggle of bad cops try to gun them down. I mean 16 blocks doesn’t seem that far to go so they better throw in as many highly implausible obstacles as they can. Chinese laundries alleyways rooftops subways. And yes even a city bus which the pair--who have by now bonded big time--has to hijack. Donner also employs a popular but nonetheless annoying technique of zooming in when the action heats up so you can’t really see what’s going on. Even if you’re addicted to action movies--a Bruce Willis action movie no less--16 Blocks just doesn’t deliver the goods.
Based on a series of six Marvel Comics created by writer Stan Lee and artist Jack Kirby in 1962 The Hulk revolves around a scientist named Bruce Banner (Eric Bana) who following a laboratory snafu absorbs a normally deadly dose of gamma radiation. Bruce thinks he has escaped unscathed--until he gets mad ... real mad which causes him to turn into a huge rampaging green monster known as the Hulk. In order to make this 40-year-old gamma theory somewhat more believable for today's science-savvy moviegoers screenwriter James Schamus and his team decided to arm the script with a somewhat more convincing scientific rationale. The story follows Bruce's father David Banner (Nick Nolte) who as a young scientist conducted prohibited genetic experiments on himself thus changing his son's life before he was even out of the womb. While modernizing the scientific reasoning behind Bruce's transformation makes sense it's a pity it had to be done in such a heavy-handed way. By adding such an elaborate layer to the story The Hulk becomes more about Bruce and David's tormented past and any semblance of a plot is buried in melodramatic dialogue between the characters. The result is a comic book adaptation that is much too serious for its own genre.
Despite the theatrical discourse don't expect complex characters to emerge from The Hulk. Although Bana (Black Hawk Down) is a good choice for the lead of the nerdy scientist and reluctant hero his character is so busy pretending he doesn't have any problems that the audience never gets to see his emotional side. Bana's character grimaces convincingly as he represses his anger for example but he fails ever to open up on a personal level to his love interest in the film his co-worker Betty played by Jennifer Connelly (A Beautiful Mind). Betty is Bruce's old flame but the two are obviously still in love: she is obsessed with fixing whatever is broken about him. As the Hulk Bruce need only look at Betty once for his anger to subside and allow him to morph back into human form. They have weighty discussions about the significance of their dreams and Bruce's past yet they never seem to connect on any level. One of the film's best performances comes from Nolte (The Good Thief) in the role of Bruce's mad scientist father David. Almost Shakespearean at times Nolte--scraggly hair and all-- completely immerses himself in the role. The cast's performances however are muted by the general heaviness of this would-be actioner. Look for quick cameo appearances by Lou Ferrigno (from the 1970s TV series The Incredible Hulk) and Marvel legend Stan Lee.
For his follow-up to Crouching Tiger Hidden Dragon Ang Lee has turned to bigger greener matters. The Hulk the director's visual effects-intense picture (with a little help from Industrial Light & Magic) is stunning and startlingly well done. The green beast's computer generated movements from his heaving chest to the single leaps that spring him well into a different zip code are convincingly real. Not only does the ground shake when this goliath lands but his momentum even throws him off balance at times sending his lumbering arms flailing. But while the CGI Hulk has been meticulously honed Lee's homage to the world of print comic books--using multiple screens to present concurrent storylines and alternate angles of the same scene--is off-putting: Rival researcher Glenn Talbot (Josh Lucas) suspiciously walks out of the lab Betty reacts in one panel Bruce sits back in another. The simultaneous screens don't necessarily show anything pertinent going on making the far and wide close and medium shots of the character's reactions a distraction rather than a helpful storytelling technique. But the most disconcerting thing about the film is that in its leap from the four-color paneled pages to the big screen it lost its wit.