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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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.
The big-screen live-action adaptation mostly captures the look and feel of the ‘60s cartoon many of us grew up watching. It could have used a few more occurrences of our favorite line “Look out Speed! AH!” but oh well. As it goes Speed (Emile Hirsch) has grown up with motor oil pumping through his veins helping his Pops (John Goodman) make racecars and idolizing his older brother Rex (Scott Porter) a top-notch driver. Then tragedy strikes when Rex is seemingly killed in an accident. Heartbroken Speed is determined to take his place showing some serious skills on the track. His girlfriend Trixie (Christina Ricci) thinks he’s the bomb as do his mom (Susan Sarandon) younger brother Spritle (Paulie Litt) and pet chimpanzee Chim-Chim. But Speed is soon in for a rude awakening when he is introduced to the corrupt world of auto racing forcing him to team up with the mysterious Racer X (Matthew Fox) to make it right again. Go Speed go! The usually somber Hirsch--who is best known for his indie work in films such as Alpha Dog and Into the Wild--seems at first an odd choice to play Speed. But his seriousness works well against the campiness surrounding him especially in the more emotional moments. Same goes for Fox as the stoic Racer X. Still one can’t help but think of him as his Lost alter ego in a dark glasses and a mask. The rest of the cast just has way too much fun including Ricci as the cute-as-a-button-but-full-of-moxie Trixie Goodman as the blowhard Pops and especially young Litt as Spritle. Out of all Speed’s animated characters re-envisioned Litt does the best job capturing Spritle’s cartoon mischievousness. The monkey ain’t bad either. Chim-Chim AH! Oh those Wachowski brothers (Andy and Larry). They sure do like to come up with as many inventive ways to visually stimulate you as they can don’t they? Their Matrix series set CGI on fire--and now Speed Racer which quite literally takes you inside a video game the Wii or Xbox could only dream of ever creating. The film is virtual eye candy from start to finish--a mixture of Tim Burton-esque colorful sets wild adrenaline-filled special effects and constant camera movements. They may actually need to post a warning for those who suffer from motion sickness. However Speed’s main problem which is the same problem the Matrix franchise suffered from is its tendency to overanalyze the plot. The Wachowskis love to preach turning a scene about the racing world’s corrupt beginning into a 15-minute diatribe. They try to combine the campiness of the animated TV series with serious undertones but it only weighs the film down. You can feel the kids in the audience tapping their feet waiting for more action. So let’s just give the kids what they want: fast-paced excitement wrapped up in a colorful package.
Based on E.B. White’s enduring children’s story we meet Wilbur the Pig (Dominic Scott Kay) a runt who is saved from the axe by a little farm girl named Fern (Dakota Fanning). She raises Wilbur from infancy but eventually she has to send Wilbur over to her uncle’s neighboring farm since there’s no room for a pig in her house. There in the barn Wilbur meets the assortment of colorful animal characters: Betsy (Reba McEntire) and Bitsy (Kathy Bates) two pessimistic cows; motherly goose Gussy (Oprah Winfrey) and her henpecked hubby Golly (Cedric the Entertainer); Samuel (John Cleese) an uptight sheep; the skittish horse Ike (Robert Redford); the self-serving rat Templeton (Steve Buscemi); and of course sweet Charlotte (Julia Roberts) a spider with a heart of gold. When the naïve Wilbur finds out he might be Christmas dinner Charlotte makes a promise to her new friend that she’ll do everything in her power to make sure Wilbur sees the Christmas snow—and everyone ends up helping her out. What could be more fun than to voice a barnyard animal? Winfrey and Cedric’s geese banter is like an old married couple. Cleese gives Samuel the sheep a certain upper-crustiness. Redford is actually pretty funny as a horse who’s deathly afraid of spiders (“I’ll listen to you but I just can’t look at you”). Buscemi is a particularly nice choice as the sneaky rat Templeton who only thinks about filling his belly with food (no typecasting there we swear). For pure comic relief there are also two crows voiced by Andre Benjamin and Thomas Haden Church who just can’t quite get around the whole scarecrow thing. And as Charlotte Roberts has a truly soothing and loving tone sort of how you’d imagine it from the book. As for the human aspect Fanning continues to do what she does best playing Fern with the right amount of youthful innocence spunkiness and determination. Just wondering how we are going to handle it when this amazing little actress grows up and starts doing like adult things. Actually it is sort of a shame they couldn’t get a live-action version of Charlotte's Web made before Babe. Sure there was the 1973 animated cutesy film but a live-action adaptation of this timeless tale really should have been the standard by which all computer-generated talking farm animal movies would follow don’t you think? Instead Charlotte's Web pales ever so slightly in comparison. Oh well water under the bridge. Director Gary Winick (13 Going on 30) still manages to invoke the wonderful and uplifting spirit of the novel keeping faithful to the text in all ways. Visually the film is crisp and flawless in its execution particularly in the beauty and splendor of how Charlotte spins her webs and emotionally hearts will indeed swell and tears will flow. Charlotte's Web is the perfect family movie to inspire the next generation of young readers and viewers as well as for the rest of us who fondly remember the childhood classic.