SAG Awards nominations had some big snubs. Albert Brooks, who’s picked up a few awards from critics in the movie “Drive.” was ignored. Ryan Gosling didn’t make it from either “Drive” or “The Ides of March,” which is really shocking. SAG also totally skipped both Scott Rudin movies, which screened late: “The Girl with the Dragon Tattoo” and “Extremely Loud and Incredibly Close.” Also not mentioned for anything: “War Horse,” Hugo,” “We Bought a Zoo,” and movies directed by Angelina Jolie and Madonna. Biggest surprise: that “Bridesmaids” has turned out to be “The Hangover” of 2011. Maybe that it will be it for wedding comedies once this is done.
SAG Awards Nominate The Artist, The Help, Midnight in Paris, Descendants, Bridesmaids
Here are the SAG Award nominations, announced this morning at 9am eastern time. The SAG Awards are the closest indicators of the Oscars, right there with the Critics Choice Awards. Dick van Dyke will present Mary Tyler Moore with the Lifetime Achievement Award when the show airs January 26th on TNT. The biggest surprise? Damien Bichir, a veteran actor who’s best known for his role on “Weeds,” was nominated for Best Actor in a Motion Picture in the movie “A Better Life.” And Melissa McCarthy was nominated for “Bridesmaids,” which also got a Best Ensemble nod with “The Help,” “The Descendants,” “The Artist,” and “Midnight in Paris.”SAG has resurrected Glenn Close and Janet McTeer from “Albert Nobbs.”
Snubs include “War Horse,” “Hugo,” “Girl with the Dragon Tattoo,” and “Extremely Loud.” Also, nothing for “Shame,” which has turned out to be a dud even with all that salacious sex. And movies that have now sunk into the abyss include Angelina Jolie’s “Blood and Honey,” Roman Polanski’s “Carnage,” Cameron Crowe’s “We Bought a Zoo,” and Madonna’s “W.E.” Also, sadly, both Ryan Gosling movies–“Drive” and “The Ides of March.” Also Albert Brooks from “Drive.”
BEST ENSEMBLE
The Help
Bridesmaids
Midnight in Paris
The Descendants
The Artist
BEST ACTOR
Brad Pitt
Jean DuJardin
George Clooney
Leonardo DiCaprio
Damien Bichir
BEST ACTRESS
Glenn Close
Meryl Streep
Michelle Williams
Tilda Swinton
Viola Davis
BEST SUPPORTING ACTRESS
Berenice Bejo
Melissa McCarthy
Janet McTeer
Octavia Spencer
Jessica Chastain
BEST SUPPORTING ACTOR
Kenneth Branagh
Armie Hammer
Nick Nolte
Christopher Plummer
Jonah Hill
BEST STUNT ENSEMBLE
The Adjustment Bureau
Cowboys and Aliens
Harry Potter and the Deathly Hallows, Pt. 2
Transformers
X Men: First Class
UPDATE: Madonna New Album to UMG–As We Said
I told you on November 6th that Madonna’s new album would come from Universal Music Group. http://www.showbiz411.com/2011/11/08/exclusive-madonna-new-album-headed-to-universal. No big deal, Page Six reports it today. I told you it would be with Jimmy Iovine at Interscope. And it is. Madonna is now on the same label as Lady Gaga, who sounds a lot like her. The new album will debut this spring–probably late–and watch for Madonna on “American Idol” since she has as much trouble selling product–CDs or digital downloads — as anyone. Who knows? Maybe she’ll (tor)mentor some kid. Anyway, Madonna had to make a record deal since her famous $120 million Live Nation deal didn’t have a recording component. In February, Madonna will try and combine her terrible “W.E.” movie release with her SuperBowl appearance and a new single called “Masterpiece.” It will be a marketing blitz to kick re-start her music career. Look for a summer/tour fall no doubt. That’s how the real money is generated.
“Mission Impossible Ghost Protocol” May Rescue Hollywood Box Office
“Mission Impossible: Ghost Protocol” pretty much starts with Tom Cruise uttering these words: “Light the fuse.” That’s when the famous and beloved Lalo Schifrin theme music kicks in. Prior to that, Cruise and his IMF team–the gorgeous and smart Paul Patton, the funny and cocky Simon Pegg–have just pulled off a clever prison break that shows this episode of “MI” is indeed a group effort. Director Brad Bird has wisely moved Tom Cruise’s Ethan Hunt into the team and away from being the preposterous hero. Of course, “MI” is preposterous by its very nature, but regrouping in this way has allowed Bird to make a big commercial hit that is better than all its predecessors, exhilarating, and a spectacular adventure. Then Jeremy Renner joins the team, and everything is ratcheted up a notch.
Don’t be fooled–Cruise is still the star. But his Ethan Hunt is better written, and a lot of more interesting to watch than in prior incarnations. His acts of derring do — like careening off the tallest building in the world, in Dubai–are pretty freakin’ cool. And a piece set in a modern day sand storm may wind up being clipped as a classic in film history. It’s sort of brilliant. But Cruise’s hubris has been scaled back to something resembling human by Bird. And Cruise approves–he’s a producer on the film. To make a transition into his 50s, and away from “Valkyrie” and couch jumping, Cruise had to readjust himself. He’s done it well, I think. This is the first time I can remember being interested in what Ethan Hunt was up to. That’s saying a lot.
This has been such a disappointing year for well executed big studio action films. And in Oscar season, all we see are arthouse and indie films. So I was actually happy to point out product placements–Dell, BMW, Canon cameras. It was like seeing old friends. Of course, “MI” does flag at one point, gets a little muddled and talky. But that’s to be expected in the second act. When the third act revs up, you’re guaranteed a good time, and a surprise ending with the return of a couple welcome franchise characters.
The IMF team is excellent. In this episode, they’re fingered for allowing the Kremlin to be blown up. They’re disavowed and must re-establish themselves. The team is well executed. Patton is just a huge hit. Pegg is solid as comic relief–and he gets his share of action. Renner looks like he’s being groomed to pick up where Ethan leaves off. Indeed, by the end, Renner’s secret agent gets the big set piece–floating in mid air in a tunnel– while Cruise’s hunt is supervising.
For once the hype matches the experience. Brad Bird makes a wonderful transition to live action from his highly successful animation career. Tom Cruise, whom I’ve criticized a lot in the past for crazy or bad behavior, returns triumphantly to what he does best. You can’t ask for more than that. Paramount’s Brad Grey wins big points for bringing Cruise back after Sumner Redstone fired him five years ago. “Ghost Protocol” may be what saves the box office from its current slump.
Rooney Mara “Astonishing” in American “Dragon Tattoo”
I know the fans of “The Girl with the Dragon Tattoo” are waiting on tenterhooks for news about David Fincher’s American remake. So let’s get to it: I think Rooney Mara is so astonishing as Lisbeth Salander, the story’s punk heroine, that she should be nominated for Best Actress. I know Rooney from “Tanner Hall,” a film about a girl’s school, and obviously from “The Social Network.” To see now as Lisbeth is just reeling. In a year of big breakthroughs for young actresses–Lizzie Olsen, Felicity Jones–Rooney’s turn is just sensational. It’s worth seeing the film just for her.
Fincher’s film is stylish, dark and brooding. It’s like all his films–very well made, cool, a little superficial. But it’s cast very well throughout. Daniel Craig, who never gets credit for acting, is very good. It’s a pleasure to see Joely Richardson as one of the Vanger sisters–well, the key one, I suppose. Robin Wright turns in another well rounded performance. Christopher Plummer, Stellan Skarsgard, and Stephen Berkoff are top notch.
The new film is almost a scene by scene re-enactment of the original with one caveat: it has a different ending than the Swedish film or the Stieg Larsson novel. I don’t know if that will make a difference to the rabid fans all over the world. It shouldn’t. Not being wedded to any of it, I thought the movie was highly enjoyable, and a good thriller. Oddly, it’s not being talked about much for awards season. This may be because it came in so late. But Mara is a revelation, and not one to be ignored. Her performance notches her up among the really cool kids getting the best jobs. I just hope those eyebrows grow back in.
Sony has had a great little Oscar season, by the way, with “Moneyball” and “The Ides of March” as well as “Tattoo.” It shows that a big studio can do movies of style and substance.
The Artist, Scorsese’s “Hugo” Lead Critics Choice Nominations
“The Artist” and Martin Scorsese’s “Hugo” are among the top picks for the Critics Choice Awards (VH-1, January 12th). This is the first televised awards show of the season, and the one comprising actual movie critics. It’s also a major precursor of the Oscars. A couple of films are really left out in the cold: “The Girl with the Dragon Tattoo”–which was shown very late, and “Albert Nobbs,” for which Glenn Close deserves a nomination. But there’s no campaign and no money behind “Albert Nobbs,” which is a shame.
BEST PICTURE The Artist The Descendants Drive Extremely Loud & Incredibly Close The Help Hugo Midnight in Paris Moneyball The Tree of Life War Horse BEST ACTOR George Clooney – “The Descendants” Leonardo DiCaprio – “J. Edgar” Jean Dujardin – “The Artist” Michael Fassbender – “Shame” Ryan Gosling – “Drive” Brad Pitt – “Moneyball” BEST ACTRESS Viola Davis – “The Help” Elizabeth Olsen – “Martha Marcy May Marlene” Meryl Streep – “The Iron Lady” Tilda Swinton – “We Need to Talk About Kevin” Charlize Theron – “Young Adult” Michelle Williams – “My Week With Marilyn” BEST SUPPORTING ACTOR Kenneth Branagh – “My Week With Marilyn” Albert Brooks – “Drive” Nick Nolte – “Warrior” Patton Oswalt – “Young Adult” Christopher Plummer – “Beginners” Andrew Serkis – “Rise of the Planet of the Apes” BEST SUPPORTING ACTRESS Berenice Bejo – “The Artist” Jessica Chastain – “The Help” Melissa McCarthy – “Bridesmaids” Carey Mulligan – “Shame” Octavia Spencer – “The Help” Shailene Woodley – “The Descendants” BEST YOUNG ACTOR/ACTRESS Asa Butterfield – “Hugo” Elle Fanning – “Super 8” Thomas Horn – “Extremely Loud & Incredibly Close” Ezra Miller – “We Need to Talk About Kevin” Saoirse Ronan – “Hanna” Shailene Woodley – “The Descendants” BEST ACTING ENSEMBLE The Artist Bridesmaids The Descendants The Help The Ides of March BEST DIRECTOR Stephen Daldry – “Extremely Loud & Incredibly Close” Michel Hazanavicius – “The Artist” Alexander Payne – “The Descendants” Nicolas Winding Refn – “Drive” Martin Scorsese – “Hugo” Steven Spielberg – “War Horse” BEST ORIGINAL SCREENPLAY “The Artist” – Michel Hazanavicius “50/50” – Will Reiser “Midnight in Paris” – Woody Allen “Win Win” – Screenplay by Tom McCarthy, Story by Tom McCarthy & Joe Tiboni “Young Adult” – Diablo Cody BEST ADAPTED SCREENPLAY “The Descendants” – Alexander Payne and Nat Faxon & Jim Rash “Extremely Loud & Incredibly Close” – Eric Roth “The Help” – Tate Taylor “Hugo” – John Logan “Moneyball” – Steven Zaillian and Aaron Sorkin, Story by Stan Chervin BEST CINEMATOGRAPHY “The Artist” – Guillaume Schiffman “Drive” – Newton Thomas Sigel “Hugo” – Robert Richardson “The Tree of Life” – Emmanuel Lubezki “War Horse” – Janusz Kaminski BEST ART DIRECTION “The Artist” – Production Designer: Laurence Bennett, Art Director: Gregory S. Hooper “Harry Potter and the Deathly Hallows Part 2” – Production Designer: Stuart Craig, Set Decorator: Stephenie McMillan “Hugo” – Production Designer: Dante Ferretti, Set Decorator: Francesca Lo Schiavo “The Tree of Life” – Production Designer: Jack Fisk, Art Director: David Crank “War Horse” – Production Designer: Rick Carter, Set Decorator: Lee Sandales BEST EDITING “The Artist” – Michel Hazanavicius and Anne-Sophie Bion “Drive” – Matthew Newman “The Girl With the Dragon Tattoo” – Kirk Baxter and Angus Wall “Hugo” – Thelma Schoonmaker “War Horse” – Michael Kahn BEST COSTUME DESIGN “The Artist” – Mark Bridges “The Help” – Sharen Davis “Hugo” – Sandy Powell “Jane Eyre” – Michael O’Connor “My Week With Marilyn” – Jill Taylor BEST MAKEUP Albert Nobbs Harry Potter and the Deathly Hallows Part 2 The Iron Lady J. Edgar My Week With Marilyn BEST VISUAL EFFECTS Harry Potter and the Deathly Hallows Part 2 Hugo Rise of the Planet of the Apes Super 8 The Tree of Life BEST SOUND Harry Potter and the Deathly Hallows Part 2 Hugo Super 8 The Tree of Life War Horse BEST ANIMATED FEATURE The Adventures of Tintin Arthur Christmas Kung Fu Panda 2 Puss in Boots Rango BEST ACTION MOVIE Drive Fast Five Hanna Rise of the Planet of the Apes Super 8 BEST COMEDY Bridesmaids Crazy, Stupid, Love Horrible Bosses Midnight in Paris The Muppets BEST FOREIGN LANGUAGE FILM In Darkness Le Havre A Separation The Skin I Live In Where Do We Go Now BEST DOCUMENTARY FEATURE Buck Cave of Forgotten Dreams George Harrison: Living in the Material World Page One: Inside the New York Times Project Nim Undefeated BEST SONG “Hello Hello” – performed by Elton John and Lady Gaga/written by Elton John and Bernie Taupin – Gnomeo & Juliet “Life’s a Happy Song” – performed by Jason Segel, Amy Adams and Walter/written by Bret McKenzie – The Muppets “The Living Proof” – performed by Mary J. Blige/written by Mary J. Blige, Thomas Newman and Harvey Mason, Jr. – The Help “Man or Muppet” – performed by Jason Segel and Walter/written by Bret McKenzie – The Muppets “Pictures in My Head” – performed by Kermit and the Muppets/written by Jeannie Lurie, Aris Archontis and Chen Neeman – The Muppets BEST SCORE “The Artist” – Ludovic Bource “Drive” – Cliff Martinez “The Girl With the Dragon Tattoo” – Trent Reznor & Atticus Ross “Hugo” – Howard Shore “War Horse” – John Williams
Hey Lady! Jerry Lewis Gets the Star Treatment in Hollywood
First of all: the legendary comedian Phyllis Diller is alive and well in L.A. Phyllis, New York misses you. Second, Phyllis showed up the other night for a tribute to Jerry Lewis put together by Starz channel President and CEO Chris Albrecht.The occasion was Gregg Barson’s documentary, “Jerry Lewis: Method to the Madness,” which premieres on Starz Encore on December 17th at 8pm. Good for someone for making a film about Jerry. And a good one. The revered comedian and filmmaker had to take it on the chin this fall when the Muscular Dystrophy Association turned on him. But Jerry Lewis is an icon. Our LEAH SYDNEY reports from LA that a bunch of stars turned out for Jerry including Diller, Woody Harrelson, John Landis, Richard Lewis, Norm Crosby, Carl Reiner, former David Letterman producer Bob “Morty” Morton, and Dane Cook.
After the film screened Jerry said, “Thank you for sharing my life with me. It’s amazing to sit there and to watch what you’ve done. I was introduced to this filmmaker almost four years ago. This film took 3 1/2 years to make. I usually take a lot of credit for the work I’ve done, but I can’t do that ,it’s Gregg’s deal and it’s unlike anything I’ve ever seen before. People used to go to a Jerry Lewis movie, adults didn’t understand it at the beginning. Then children helped them understand it ultimately. God bless children. Ok that’s it for the nice stuff. I’m going to Pink’s, have two hot dogs, go to the hotel, lie down and pray for Alka Seltzer.”
Featured in the film are Eddie Murphy, Steven Spielberg, Jerry Seinfeld, Woody Harrelson, Billy Crystal, Alec Baldwin, Chevy Chase, Quentin Tarantino, Richard Belzer, Richard Lewis, Carl Reiner, John Landis, Carol Burnett. At the event Albrecht introduced the film by saying, “Would anyone who is Jewish and involved in comedy please find a seat?” Then there was literally no one standing to the roar of the crowd. Jerry cracked up loudly.
So why doesn’t Jerry, who finally got an honorary Oscar, not have a Kennedy Center award? Director Barson told Leah: “It’s ridiculous. Jerry thinks it’s because he does lowbrow comedy. And they’re upper echelon and snobby. But if you think about it Jerry is highbrow. As Jerry Seinfeld said in the movie, ‘How does he come up with this stuff if you’re not highbrow? You have to be a genius, you have to be highbrow. ‘ As Seinfeld says, ‘Noel Coward and Jerry Lewis are equals.'”
Barson noted it’s ironic since Jerry was close friends with the Kennedys back in the Rat Pack days. His work with MDA and the Kennedy-Shriver family’s Special Olympics have a lot of overlaps. But the Kennedys don’t chose the Kennedy Center honorees. That’s up to producer George Stevens.
At the party, by the way, Jeff Goldblum entertained the crowd playing the piano, with Jerry scatting along and Woody Harrelson kneeling down to talk to Lewis. Woody–so good in the current “Rampart” that he may net an Oscar nomination– says in the film, “If you’re not a Jerry Lewis fan, I’m not interested in hanging with you.” Steven Spielberg says in the film, “I still pinch myself because Jerry knows who I am.”
MIA due to scheduling–Jim Carrey, whose debt to Jerry Lewis is like Prince’s to Sly Stone. Barson said he had a scheduling conflict.
How Doris Day Almost Didn’t Let Paul McCartney Interview Her
I’m thrilled to tell you that my interview with Doris Day, the legendary singer and movie star, has gone online at http://www.parade.com/celebrity/celebrity-parade/2011/12/doris-day.html.
I first started asking Doris’s publicist, Linda Dozoretz, for an interview at least 15 years ago. In those days, and still now, Liz Smith was always writing in her column that Doris deserved a Lifetime Achievement Award from the Oscars. But it’s always been known that Doris doesn’t like to fly, and didn’t really want to leave her happy home in Carmel, California. A couple of years ago, sadly, Linda Dozoretz passed away and I thought an interview would never happen. But then late this summer came the announcement that Doris was releasing a “new” album.
A very nice man, Bob Bashara, who works with Doris’s animal rights foundation contacted me and said at last, an interview would be possible. I think I was more shocked than Doris when a great publicist in LA, Charley Walters, put together our phone call. The interview happened to follow by two hours the announcement that Doris’s famous recording of “Que Sera Sera” had been put into the Grammy Hall of Fame. She was thrilled to get the news that she was being included with the likes of Bruce Springsteen and Cole Porter. (Doris already has two recordings in the Hall of Fame–“Secret Love” and “Sentimental Journey.”)
Our conversation was wide ranging. A little more of it will appear in Parade’s December 25th issue– a nice Christmas present. I asked Doris what it was like when Paul McCartney interviewed her this fall for a British newspaper. She laughed, and told me how she didn’t believe it was the ex Beatle on the phone–she thought it was a friend pulling her leg! Also, I was so impressed with Doris’s attitude about life–it really is “whatever will be, will be”–and not to cry over bad things that have happened in the past. What a great lady!
Broadway: Harry Connick Jr. Sings Reincarnation as Taxidermy
“On A Clear Day You Can See Forever” only a ran a few months when it first opened on Broadway in 1965. It’s never been revived, and for good reason. Now, some misguided people have exhumed it, rewritten it to absurdity, and stuffed it like an owl on the mantelpiece. The show, with one memorable song–the title–is all about reincarnation. So director Michael Mayer and “choreographer” Joann Hunt have brought “On a Clear Day” back in the form of torture. It’s not just that all of it is quite awful, but that it looks so freakin’ cheap. The stage rarely looks like anything more than a test pattern (fail). The New York Times says it cost eight million dollars. Most of the money must have gone to Prozac prescriptions.
Luckily, star Harry Connick Jr. will emerge from this unscathed. That’s because he doesn’t seem to have much invested in it anyway. He just of oversees the catastrophe while trying not to get his hands dirty. (Wait! How can a show cost eight million dollars when the star never has one costume change and just wears the same blue business suit for two and a half interminable hours?)
Peter Parnell is the main culprit here. He’s taken Alan Jay Lerner‘s book (the show has music by the late great Burton Lane), such as it was, and reconceived it with Michael Mayer as some kind of gay parable. Now Dr. Mark Bruckner takes on a patient he describes stuffily to the audience as a “homosexual.” He then puts David (formerly Daisy in the original musical and movie–the latter played by Barbra Streisand) under hypnosis and falls in love with a long ago circa 1940s diva hidden in David’s psyche. So Dr. Mark is — in 2011, even though this is set in 1974–putting a patient under, and then sort of wooing and molesting the patient’s inner psyche or possible multiple personality. And singing about it. Of course, David’s confused. Isn’t hunky Dr. Mark straight? Who knows, really and who cares?
But oy my god–even though show now takes place in 1974 instead of 1965, Parnell has added several “inside” jokes that reference Streisand and “Funny Girl.” He also includes an inside joke about “Pippin.” (It was too inside for me.) He leaves in –or perhaps adds–a joke about Truman Capote that no one gets.
The main thing is that now, with all the roles inside out, Harry Connick Jr. gets to sing the theme song at the end of the show. Luckily, since the song was written for a woman, Broadway newcomer Jessie Muehler arrives and cleans up the mess of the show. Muehler has the most unforgiving task of the cast: to not copy Stresiand while looking and sounding like Liza Minnelli (whose father, Vincent, directed the Streisand movie). Producers of another show should give her a second chance. She has got great potential.
Oh well: Connick’s charm and star appeal seemed to be enough on Saturday night to cover up the show’s many deficiencies. And there is always the score. But why oh why did Connick pull out of next spring’s “Nice Work If You Can Get It” in favor of this? It’s a mystery.
PS Will all the bad reviews kill “On a Clear Day”? Probably not. Coming right behind it is “Bonnie and Clyde” from the insufferable Frank Wildhorn. The long knives are being sharpened for that one.
“The Artist,” “Descendants,” Brad Pitt Win More Awards
Things are shaping up just as I thought they would: more kudos and awards for “The Artist” this weekend. The silent black and white film added awards from the Boston Film Critics and the New York Film Critics Online. Director Michel Hazanavicius also added Best Director nods from those groups. The San Francisco Film Critics went for Terrence Malick’s “Tree of Life,” however, because, well, they’re in San Francisco and everyone’s a little woozy out there. The American Film Institute picked its 10 best films but gave “The Artist” a special award because it’s not American made (although it was made in America and about America). They also gave a foreign award to the “Harry Potter” series, which makes sense.
The Los Angeles Film Critics gave “The Descendants” Best film, and Malick best director. That group, which is not very press friendly, now guarantees a pretty weird and empty red carpet since Malick won’t show. Neither will legend Doris Day, who’s not coming to pick up her Lifetime Achievement Award. (She doesn’t fly and doesn’t like to leave her home in Carmel, California.) They also chose a best actress no one’s ever heard of instead of giving something to Meryl Streep, Michele Williams, Viola Davis, Glenn Close or Lizzie Olsen, Tilda Swinton, or Rooney Mara. They’re so avant garde!
Remember, “The Artist” also has the prestigious New York Film Critics Circle award, too. And they have acting nods to Brad Pitt, Meryl Streep, Jessica Chastain, and Albert Brooks. I do wish someone would give Berenice Beho a supporting actress nod for “The Artist,” though I do think she’ll wind up with an Oscar nomination.
Washington DC critics had previously gone for “The Artist,” Martin Scorsese (director), George Clooney, and Michelle Williams.
PS No awards support so far, not even from AFI, for Stephen Daldry’s “Extremely Loud and Incredibly Close.” And almost nothing for the David Fincher remake of “The Girl with the Dragon Tattoo.” Only last year Fincher won every city with “The Social Network.”
American Film Institute:
Special Awards to “The Artist” and “Harry Potter” series
in alphabetical order:
Bridesmaids
The Descendants
The Girl With the Dragon Tattoo
The Help
Hugo
J. Edgar
Midnight in Paris
Moneyball
The Tree of Life
War Horse
New York Film Critics Online:
Best Picture: “The Artist”
Best Director: Michel Hazanavicius, “The Artist”
Best Actor: Michael Shannon, “Take Shelter”
Runners-up: Michael Fassbender, “Shame” and Gary Oldman, “Tinker, Tailor, Soldier, Spy”
Best Actress: Meryl Streep, “The Iron Lady”
Runner-up: Viola Davis, “The Help”
Best Supporting Actor: Albert Brooks, “Drive”
Best Supporting Actress: Melissa McCarthy, “Bridesmaids”
Best Screenplay: Alexander Payne and Nat Faxon & Jim Rash, “The Descendants”
Best Foreign-Language Film: “A Separation”
Best Documentary: “Cave of Forgotten Dreams”
Best Animated Feature: “The Adventures of Tintin”
Best Cinematography: Emmanuel Lubezki, “The Tree of Life”
Best Use of Music: Ludovic Bource, “The Artist”
Best Ensemble Cast: “Bridesmaids”
Best Debut Director: Joe Cornish, “Attack the Block”
Breakthrough Performer: Jessica Chastain, “The Tree of Life,” “The Help,” “The Debt,” “Take Shelter,” “Texas Killing Fields,” “Coriolanus”
Los Angeles Film Critics:
Best film: “The Descendants”
Best director: Terrence Malick
Best actor: Michael Fassbender, for his work in “A Dangerous Method,” “Jane Eyre,” “Shame” and “X-Men: First Class.”
Runner-Up: Michael Shannon, “Take Shelter.”
Best Actress: Yun Jung-hee, in the South Korean film “Poetry.”
Runner-up: Kirsten Dunst, “Melancholia.”
Best Documentary/Nonfiction film: “Cave of Forgotten Dreams” by Werner Herzog.
Runner-Up: “The Arbor” by Clio Barnard.
Best screenplay: Asghar Farhadi, “A Separation.”
Runner-Up: Alexander Payne, Nat Faxon, Jim Rash, “The Descendants.”
Best supporting actress: Jessica Chastain, who was recognized for her work in six films — “Coriolanus,” “The Debt,” “The Help,” “Take Shelter,” “Texas Killing Fields” and “The Tree of Life.”
Runner-up: Janet McTeer, “Albert Nobbs.”
Best supporting actor: Christopher Plummer, “Beginners.”
Runner-up: Patton Oswalt, “Young Adult.”
Best cinematography: Emmanuel Lubezki, “The Tree of Life.”
Runner-up: Cao Yu, “City of Life and Death.”
Best music/score: The Chemical Brothers, “Hanna.”
Runner-up: Cliff Martinez, “Drive.”
Best production design: Dante Ferretti, “Hugo.”
Runner-up: Maria Djurkovic, “Tinker Tailor Soldier Spy.”
Best Independent, Experimental: “Spark of Being.” Directed by Bill Morrison, it’s a re-imagining of Mary Shelley’s “Frankenstein,: using images culled from archives around the world.
San Francisco Film Critics:
Best Picture
“The Tree of Life”
Best Director
Terrence Malick for “The Tree of Life”
Best Original Screenplay
J.C. Chandor for “Margin Call”
Best Adapted Screenplay
Bridget O’Connor & Peter Straughan for “Tinker Tailor Soldier Spy”
Best Actor
Gary Oldman for “Tinker Tailor Soldier Spy”
Best Actress
Tilda Swinton for “We Need to Talk About Kevin”
Best Supporting Actor
Albert Brooks for “Drive”
Best Supporting Actress
Vanessa Redgrave for “Coriolanus”
Best Animated Feature
“Rango”
Best Foreign Language Film
“Certified Copy”
Best Documentary
“Tabloid”
Best Cinematography
Emmanuel Lubezki for “The Tree of Life”
Marlon Riggs Award for courage & vision in the Bay Area film community
National Film Preservation Foundation, in recognition of for its work in the preservation and dissemination of endangered, culturally significant films
Special Citation for under-appreciated independent cinema
“The Mill and the Cross”
Boston Film Critics:
Best Picture: “The Artist”
Runners-up: “Hugo” and “Margaret”
Best Director: Martin Scorsese, “Hugo”
Runner-up: Michel Hazanavicius, “The Artist”
Best Actor: Brad Pitt, “Moneyball”
Runners-up: George Clooney, “The Descendants” and Michael Fassbender, “Shame”
Best Actress: Michelle Williams, “My Week With Marilyn”
Runner-up: Meryl Streep, “The Iron Lady”
Best Supporting Actor: Albert Brooks, “Drive”
Runner-up: Max Von Sydow, “Extremely Loud and Incredibly Close”
Best Supporting Actress: Melissa McCarthy, “Bridesmaids”
Runner-up: Jeannie Berlin, “Margaret”
Best Screenplay: Steven Zaillian, Aaron Sorkin and Stan Chervin, “Moneyball”
Runner-up: Kenneth Lonergan, “Margaret”
Best Cinematography: Emmanuel Lubezki, “The Tree of Life”
Runner-up: Robert Richardson, “Hugo”
Best Documentary: “Project Nim”
Runner-up: “Bill Cunningham New York”
Best Foreign-Language Film: “Incendies”
Runners-up: “A Separation” and “Poetry”
Best Animated Film: “Rango”
Best Film Editing: Christian Marclay, “The Clock”
Runner-up: Thelma Schoonmaker, “Hugo”
Best New Filmmaker: Sean Durkin, “Martha Marcy May Marlene”
Runner-up: J.C. Chandor, “Margin Call”
Best Ensemble Cast: “Carnage”
Runner-up: “Margaret”
Best Use of Music in a Film: (tie) “Drive” and “The Artist”
Runner-up: “The Descendants”
Special Commendations:
Ben Fowlie, Sara Archambault and Sean Flynn of DocYard
The Museum of Fine Arts for “The Clock”
The Brattle Film Foundation
Best Rediscoveries:
“The Shooting” at the Harvard Film Achive
“The Makota Sisters” at the Museum of Fine Arts
“Deep End” at the HFA
“Days and Nights in the Forest” at the HFA
“Children of Hiroshima” at the HFA