Those keeping up with the continuous roll out of awards circuit nominations have, by now, come to notice a trend. Despite the wide variety of organizations offering recognition of film achievement, each year there are bound to be some mainstays: specific movies that top every venue's list.
So far, 2012's nomination championship falls in the lap of Lincoln, Steven Spielberg's beloved biopic about America's 16th president. The British Academy of Film and Television Arts has revealed its nominations, cementing Lincoln as the past year's most impressive spectacle. The historical drama earns 10 nods from BAFTA, including the top honor of Best Film. In Lincoln's company are other unsurprising entries: Les Miserables and Life of Pi each take in nine nominations (both Best Film candidates as well), and Argo ropes in seven (another top honor hopeful). Check out the full list of nominees below.
LIFE OF PI
ZERO DARK THIRTY
OUTSTANDING BRITISH FILM
THE BEST EXOTIC MARIGOLD HOTEL
OUTSTANDING DEBUT BY A BRITISH WRITER, DIRECTOR OR PRODUCER
BART LAYTON (Director), DIMITRI DOGANIS (Producer) — The Imposter
DAVID MORRIS (Director), JACQUI MORRIS (Director/Producer) — McCullin
DEXTER FLETCHER (Director/Writer), DANNY KING (Writer) — Wild Bill
JAMES BOBIN (Director) — The Muppets
TINA GHARAVI (Director/Writer) — I Am Nasrine
FILM NOT IN THE ENGLISH LANGUAGE
RUST AND BONE
SEARCHING FOR SUGAR MAN
WEST OF MEMPHIS
MICHAEL HANEKE — Amour
BEN AFFLECK — Argo
QUENTIN TARANTINO — Django Unchained
ANG LEE — Life of Pi
KATHRYN BIGELOW — Zero Dark Thirty
AMOUR (Writer: Michael Haneke)
DJANGO UNCHAINED (Writer: Quentin Tarantino)
THE MASTER (Writer: Paul Thomas Anderson)
MOONRISE KINGDOM (Writers: Wes Anderson, Roman Coppola)
ZERO DARK THIRTY (Writer: Mark Boal)
ARGO (Writer: Chris Terrio)
BEASTS OF THE SOUTHERN WILD (Writers: Lucy Alibar, Benh Zeitlin)
LIFE OF PI (Writer: David Magee)
LINCOLN (Writer: Tony Kushner)
SILVER LININGS PLAYBOOK (Writer: David O. Russell)
BEN AFFLECK — Argo
BRADLEY COOPER — Silver Linings Playbook
DANIEL DAY-LEWIS — Lincoln
HUGH JACKMAN — Les Misérables
JOAQUIN PHOENIX — The Master
EMMANUELLE RIVA — Amour
HELEN MIRREN — Hitchcock
JENNIFER LAWRENCE — Silver Linings Playbook
JESSICA CHASTAIN — Zero Dark Thirty
MARION COTILLARD — Rust and Bone
ALAN ARKIN — Argo
CHRISTOPH WALTZ — Django Unchained
JAVIER BARDEM — Skyfall
PHILIP SEYMOUR HOFFMAN — The Master
TOMMY LEE JONES — Lincoln
AMY ADAMS — The Master
ANNE HATHAWAY — Les Misérables
HELEN HUNT — The Sessions
JUDI DENCH — Skyfall
SALLY FIELD — Lincoln
ANNA KARENINA (Dario Marianelli)
ARGO (Alexandre Desplat)
LIFE OF PI (Mychael Danna)
LINCOLN (John Williams)
SKYFALL (Thomas Newman)
ANNA KARENINA (Seamus McGarvey)
LES MISÉRABLES (Danny Cohen)
LIFE OF PI (Claudio Miranda)
LINCOLN (Janusz Kaminski)
SKYFALL (Roger Deakins)
ARGO (William Goldenberg)
DJANGO UNCHAINED (Fred Raskin)
LIFE OF PI (Tim Squyres)
SKYFALL (Stuart Baird)
ZERO DARK THIRTY (Dylan Tichenor, William Goldenberg)
ANNA KARENINA (Sarah Greenwood, Katie Spencer)
LES MISÉRABLES (Eve Stewart, Anna Lynch-Robinson)
LIFE OF PI (David Gropman, Anna Pinnock)
LINCOLN (Rick Carter, Jim Erickson)
SKYFALL (Dennis Gassner, Anna Pinnock)
ANNA KARENINA (Jacqueline Durran)
GREAT EXPECTATIONS (Beatrix Aruna Pasztor)
LES MISÉRABLES (Paco Delgado)
LINCOLN (Joanna Johnston)
SNOW WHITE AND THE HUNTSMAN (Colleen Atwood)
MAKE UP & HAIR
ANNA KARENINA (Ivana Primorac)
HITCHCOCK (Julie Hewett, Martin Samuel, Howard Berger)
THE HOBBIT: AN UNEXPECTED JOURNEY (Peter Swords King, Richard Taylor, Rick Findlater)
LES MISÉRABLES (Lisa Westcott)
LINCOLN (Lois Burwell, Kay Georgiou)
DJANGO UNCHAINED (Mark Ulano, Michael Minkler, Tony Lamberti, Wylie Stateman)
THE HOBBIT: AN UNEXPECTED JOURNEY (Tony Johnson, Christopher Boyes, Michael Hedges, Michael Semanick, Brent Burge, Chris Ward)
LES MISÉRABLES (Simon Hayes, Andy Nelson, Mark Paterson, Jonathan Allen, Lee Walpole, John Warhurst)
LIFE OF PI (Drew Kunin, Eugene Gearty, Philip Stockton, Ron Bartlett, D. M. Hemphill)
SKYFALL (Stuart Wilson, Scott Millan, Greg P. Russell, Per Hallberg, Karen Baker Landers)
SPECIAL VISUAL EFFECTS
THE DARK KNIGHT RISES (Paul Franklin, Chris Corbould, Peter Bebb, Andrew Lockley)
THE HOBBIT: AN UNEXPECTED JOURNEY (Joe Letteri, Eric Saindon, David Clayton, R. Christopher White)
LIFE OF PI (Bill Westenhofer, Guillaume Rocheron, Erik-Jan De Boer)
MARVEL AVENGERS ASSEMBLE (Nominees TBC)
PROMETHEUS (Richard Stammers, Charley Henley, Trevor Wood, Paul Butterworth)
HERE TO FALL
I’M FINE THANKS
THE MAKING OF LONGBIRD
THE VOORMAN PROBLEM
Click here to read about BAFTA's Rising Star Award nominations, which include Elizabeth Olsen and Juno Temple.
[Photo Credit: David James/20th Century Fox]
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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 supernatural thriller The Rite is a different kind of literary adaptation a film not “based on” or even “inspired by” a written work but rather “suggested by” one. The degree to which this fictional film adheres factually to its source material Matt Baglio’s book The Rite: The Making of an American Exorcist is anybody’s guess. Fans of The Exorcist might argue that it’s more strongly “suggested by” William Friedkin’s 1973 horror classic than anything else.
Erstwhile unknown Colin O’Donoghue in his first feature role plays Michael a seminary student sent to Rome to learn the intricacies of demonic possession. A pronounced skeptic who isn’t even sure he believes in god much less the Catholic doctrine of exorcism Michael is inclined toward the more humanistic view of the “possessed” as simply disturbed or schizophrenic individuals. What they really need he insists is not a priest but a good psychiatrist. (That belief certainly won't endear him to the Church of Scientology.)
To rid him of such malignant pragmatism Michael’s headmaster (Ciaran Hinds) ships him off to serve an apprenticeship under Father Lucas (Anthony Hopkins) a Welsh Jesuit (shorthand for “eccentric”) and practicing exorcist. Having been around the theological block a few times Lucas reacts to Michael’s unbelief with wry nonchalance (a Hopkins specialty and the film’s most appealing trait); he knows that Satan’s arguments will prove far more convincing than any he might offer.
And Satan gets to work forthwith first using a pregnant Italian girl as his vessel then incorporating other representatives of the animal kingdom tormenting Michael with horned frogs and red-eyed demon mules. At first exhibiting admirable restraint director Mikael Hafstrom eventually employs just about every weapon in his terror arsenal bombarding Michael with harrowing visions and flashbacks (he grew up in a funeral home with an undertaker father played by Rutger Hauer who had a habit of bringing his work home with him) which offer ample opportunities for cheap scares. His trump card of course is Hopkins whose character eventually becomes possessed himself thus allowing The Rite to fulfill the Lucas/Lucifer conceit we all knew was coming.
The Rite varies wildly in tone with Hafstrom seemingly unable to decide if his film is to be a moody serious-minded psychological thriller or some campy outlandish horror-comedy. By the time Father Lucas becomes possessed and the reenactment of the first great celestial battle begins the film gives itself wholly over to the latter. As channeled by Hopkins the devil comes off as a less eloquent more vulgar version of Hannibal Lecter taunting Michael with naughty words and voraciously devouring scenery. The Dark Lord as a dirty old man is something of a novel concept I suppose. Scary? Maybe a little. Creepy? Oh hell yes.
WHAT IT’S ABOUT?
In the late '50s a group of elementary students put futuristic drawings in a time capsule that is then buried on school grounds. One overly obsessed kid Lucinda goes her own way by writing hundreds of mysterious seemingly non-sensical numbers on her entry. Fifty years later it’s dug up and comes into the possession of Caleb the young son of John Koestler a recent widower and astro-physics professor who becomes obsessed with the papers Caleb has brought home from class. He soon discovers the random digits are actually not-so-thinly disguised dates (including 91101 of course) for “future” disasters and there are clearly three of those dates yet to come. Although nobody believes his ramblings about this code for impending doom a nearby plane crash proves he is on to something so ominous the fate of the world could be in jeopardy. With all hell about to break loose the prof takes matters into his own hands.
WHO’S IN IT?
Just a couple of years ago Nicolas Cage starred in Next as a magician who could see into the future and had to prevent a nuclear attack. Now he’s at it again as an MIT professor who also has clues to future catastrophes and also is out to prevent the inevitable. And of course in the National Treasure films he latched on to maps that had contained similarly dark deeply held secrets. Nic clearly likes “knowing” stuff before the rest of us and he’s quite believable even if some of the circumstances in his latest sci-fi adventure are really out there -- literally. Cage somehow makes you buy into this stuff which is key to the ultimate success of the flick. As the key kids Chandler Canterbury as Caleb and Lara Robinson as Lucinda (and later Abby Lucinda’s granddaughter) are properly eerie and haunted-looking. Rose Byrne is also along for the ride as Lucinda’s grown daughter who is able to provide goosebump-inducing information that the numbers alone can’t. There’s also some dead-on creepy emoting from D.G. Maloney as a quietly foreboding stranger who seems to be following Caleb.
Unlike some recent movies of this type with nothing on the agenda but pure mayhem “Knowing” delves into the bigger issues of why we are all here providing something other than just big explosions to talk about on the way home from the multiplex. Director Alex Proyas (I Robot Dark City The Crow) certainly knows how to pull off complex action set-pieces but he and his screenwriters also seem to be genuinely interested in exploring the meaning behind the madness.
Some of the more pedantic dialogue Cage is given can be groan-inducing but since he plays John as a total believer we can forgive it. Also the film falls victim to a final act that veers into typical disaster movie territory and isn’t as compelling as the first two thirds which try to keep the premise at least marginally credible. At two hours it probably could have been tightened anyway.
The rain-soaked plane crash sequence with its gritty hand-held photography is riveting to watch and one of the most frightening depictions of a jetliner disaster put on film yet.
GO OUT AND GET POPCORN WHEN ...
If you are really squeamish it might be worth "knowing" that you should take breaks in the big disaster sequences as the CGI effects can get pretty violent and graphic particularly for a PG-13 movie.