This year's Best Director Oscar race has proven a surprising one, with two of the most-nominated directors at every other awards show being shut out of the big game. We're, of course, talking about Ben Affleck and Kathryn Bigelow for Argo and Zero Dark Thirty, respectively. So hopes were high that vindication would be at their backs, guiding at least one of them to gold. And what a victory it was for winner Affleck, who took home the top feature film honors at the ceremony in Hollywood. Affleck's win is just one of many that he's gained for directing the story of Tony Mendez and the six fugitive Americans embassy workers in 1980. At this point, it seems hard to imagine Affleck will miss the Oscar trophy he could've won, had the Academy not snubbed him during nominations. What's one award amongst friends, right?
But it wasn't just a big night for movies. Big names in television — including Lena Dunham, Louis C.K., Bryan Cranston, and Looper's Rian Johnson — were all up for directoral nods on the small screen. But it was the seemingly-unstoppable Dunham that took home the top prize in comedic television for her HBO series Girls — and on her first nomination, to boot! Welcome to 2013: Year of the Dunham. (And you thought it was 2012, pish posh!) Johnson took home the dramatic prize for his work on the Cranston-fronted Breaking Bad. Cranston himself was up for directing an episode of Modern Family. From meth kingpin to primetime comedy director — there's really nothing that man can't do, huh?
Check out the full list of nominees (and winners; bolded) below!
Outstanding Directorial Achievement in Feature Film
Argo (Warner Bros. Pictures)
Zero Dark Thirty
Life of Pi
(Twentieth Century Fox)
(DreamWorks Pictures/Twentieth Century Fox)
Outstanding Directorial Achievement in Movies for Television and Mini-Series
Political Animals, “Pilot”
Hemingway & Gellhorn
Hatfields & McCoys
Game Change (HBO)
American Horror Story: Asylum, “Dark Cousin”
Outstanding Directorial Achievement in Dramatic Series
Homeland, "The Choice"
Mad Men, “A Little Kiss”
LESLI LINKA GLATTER
Breaking Bad, “Fifty-One” (AMC)
The Newsroom, “We Just Decided To” (Pilot)
Outstanding Directorial Achievement in Comedy Series
Louie, “New Year’s Eve”
The Big Bang Theory, “The Date Night Variable”
Modern Family, “Election Day”
Girls, “Pilot” (HBO)
30 Rock, “Live from Studio 6H”
Outstanding Directorial Achievement in Musical Variety
12-12-12: The Concert for Sandy Relief
(Multiple Networks/Cable Outlets)
DON ROY KING
Saturday Night Live with Host Mick Jagger
84th Annual Academy Awards
The Daily Show with Jon Stewart, "Episode #17153"
66th Annual Tony Awards (CBS)
Outstanding Directorial Achievement in Reality Programs
America’s Next Top Model, "The Girl Who Becomes America’s Next Top Model"
Face Off, "Scene of the Crime"
Master Chef, “Episode #305” (FOX)
J. RUPERT THOMPSON
Stars Earn Stripes, “Amphibious Assault”
Ink Master, “Pasties and a Cameltoe”
Outstanding Directorial Achievement in Daytime Serials
Days of Our Lives, “Trapped”
General Hospital, “Bad Water”
General Hospital, “Magic Milo”
General Hospital, “Shot Through The Heart”
One Life To Live, “Between Heaven and Hell” (ABC)
Outstanding Directorial Achievement in Children's Programs
Girl vs. Monster
Let it Shine (Disney Channel)
SAVAGE STEVE HOLLAND
Big Time Movie
Don’t Divorce Me! Kids’ Rules for Parents on Divorce
Outstanding Directorial Achievement in Documentary
Searching For Sugar Man
The Invisible War
How To Survive A Plague
The Queen of Versailles
Ai Weiwei: Never Sorry
What do you think of this year's winners? Let us know in the comments!
[Photo Credit: Getty Images]
Follow Alicia on Twitter @alicialutes
Sundance Awards: 'Fruitvale' Is 2013's First Oscar Contender
Producers Guild Awards 2013: 'Argo,' 'Homeland' Continue Award Season Domination
SAG Awards 2013: 'Argo' Wins Outstanding Performance By A Cast In A Motion Picture
You Might Also Like:
Biden? Ford? Surprisingly Hot Young Pics of Politicians
Who Wore This Crazy Hat?
Stars Who Changed Their Look After Love
Making an earnest cinematic argument for the immortality of the soul and the existence of an afterlife without delving into mushy sentimentality is a difficult task for even the most gifted and “serious” of filmmakers. Oscar-winning director Peter Jackson discovered as much last year when his sappy grandiose adaptation of the ethereal bestseller The Lovely Bones opened to scathing reviews. Critics by and large tend to bristle at movie renderings of what may or may not await them in that Great Arthouse in the Sky.
And yet filmmakers seem determined to keep trying. The latest to make the attempt is Clint Eastwood who throughout his celebrated directorial career has certainly demonstrated a firm grasp of the death part of the equation. His filmography with a few notable exceptions practically revels in it: of his recent oeuvre Invictus is the only work that doesn’t deal with mortality in some significant manner. With his new film Hereafter Eastwood hopes to add immortality to his thematic resume.
The film's narrative centers on three characters each of whom has intimate experience with death and loss. Their stories in true Eastwood fashion can ostensibly be labeled Sad Sadder and Saddest: Marie (Cecile de France) is a French TV news anchor who’s haunted by disturbing flashbacks after she loses consciousness — and briefly her life — during a natural disaster; George (Matt Damon looking credibly schlubby) is a former psychic whose skills as a medium are so potent (the slightest touch from another human being triggers an instant powerful psychic connection a la Rogue from X-Men) they’ve left him isolated and alone; Marcus is a London schoolboy who retreats into a somber shell after losing his twin brother in a tragic car accident (both brothers are played rather impressibly by real-life twins Frankie and George McLaren).
Humanity offers little help to these troubled souls surrounding them with skeptics charlatans users and deadbeats none of whom are particularly helpful with crises of an existential nature. Luckily there are otherworldly options. Peter Morgan's script assumes psychics out-of-body experiences and other such phenomena to be real and legitimate but in a non-denominational Coast-to-Coast AM kind of way. Unlike Jackson’s syrupy CGI-drenched glimpses of the afterlife Eastwood’s visions of the Other Side are vague and eery — dark fuzzy silhouettes of the departed set against a white background. Only Damon’s character George seems capable of drawing meaning from them which is why he’s constantly sought out by grief-stricken folks desperate to make contact with loved ones who’ve recently passed on. He’s John Edward only real (and not a douche).
Marie and Marcus appear destined to find him as well but only as the last stop on wearisome circuitous and often heartbreaking spiritual journeys that together with George’s hapless pursuit of a more temporal connection (psychic ability it turns out can be a wicked cock-blocker) consume the bulk of Hereafter’s running time. We know the three characters’ paths must inevitably intersect but Morgan’s script stubbornly forestalls this eventuality testing our patience for nearly two ponderous and maudlin hours and ultimately building up expectations for a climax Eastwood can’t deliver at least not without sacrificing any hope of credulity.
It should be noted that Hereafter features a handful of genuinely touching moments thanks in great part to the film's tremendous cast. And its finale is refreshingly upbeat. Unfortunately it also feels forced and terribly unsatisfying. Eastwood an established master of all things tragic and forlorn struggles mightily to mount a happy ending. (Which in my opinion is much more challenging than a sad or ambiguous one.) After prompting us to seriously ponder life’s ultimate question Eastwood’s final answer seems to be: Don’t worry about it.
Ang Lee has won another award for Brokeback Mountain after his controversial movie was named Best Feature Film at the Directors Guild of America (DGA) Awards Saturday night.
Brokeback Mountain is now the firm favorite to win the Best Picture Oscar in March.
Taiwanese director Lee beat out competition from George Clooney for Good Night, And Good Luck, Paul Haggis for Crash, Bennett Miller for Capote and Steven Spielberg for Munich.
Elsewhere, Werner Herzog's Grizzly Man was named Best Documentary, while the Best Movie for Television award was shared between Joseph Sargent's Warm Springs and George C. Wolfe's Lackawanna Blues.
Hollywood veteran Clint Eastwood was presented with a Lifetime Achievement Award at the Los Angeles ceremony.
The full list of winners at the 58th Annual DGA Awards is:
Best Feature Film--Brokeback Mountain (Ang Lee)
Best Documentary--Grizzly Man (Werner Herzog)
Best Movie for Television--Warm Springs (Joseph Sargent) and Lackawanna Blues (George C. Wolfe)
Best Reality Television--Three Wishes (Tony Croll) and Fear Factor (J. Rupert Thompson)
Best Daytime Serial--General Hospital (Owen Renfroe)
Best Dramatic Series Night--Rome (Michael Apted)
Best Children's Program--Edge of America (Chris Eyre) Best Musical Variety--Swan Lake with American Ballet Theater (Matthew Diamond)
Best Comedy Series--My Name Is Earl (Marc Buckland) Best Commercials--Craig Gillespie at MGZ
Lifetime Achievement Award--Clint Eastwood
Article Copyright World Entertainment News Network All Rights Reserved.