the awards editions 2010-2011
the awards editions 2010-2011
the awards editions 2010-2011
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— oscar overview —<br />
THe MosT wiDe–oPeN<br />
h<br />
By Pete Hammond<br />
ow rare that no movie has grabbed <strong>the</strong> mantle of first or even secondary frontrunner yet. High-profile contenders have been slowly emerging at this key early juncture.<br />
Which is why making an early, not-so-subtle bid for Academy attention pre-November can be a smart marketing strategy. It’s a way to be remembered if a movie was released<br />
before September (Inception, Shutter Island, Toy Story 3, How To Train Your Dragon, Alice In Wonderland, Get Low, The Kids Are All Right, Winter’s Bone), or to establish<br />
a new Fall film as a contender amid <strong>the</strong> endless glut of Oscar wannabes (The Town, The Social Network, Wall Street: Money Never Sleeps, Hereafter, For Colored Girls, Fair<br />
Game, 127 Hours), or to prime <strong>the</strong> pump for <strong>the</strong> trickier proposition of forecasting <strong>the</strong> <strong>awards</strong> status of films that haven’t released into <strong>the</strong>aters yet (The King’s Speech, The<br />
Fighter, True Grit, Love And O<strong>the</strong>r Drugs, How Do You Know, Blue Valentine, Black Swan, Rabbit Hole, Made In Dagenham, Ano<strong>the</strong>r Year, The Way Back, Biutiful). With <strong>the</strong><br />
field of potential winners wide open this year, <strong>the</strong> Best Picture Oscar has way more heat than, say, Documentary or Animation or Foreign Language races which are chosen<br />
by committee, <strong>the</strong>ir fates not as dependent on <strong>the</strong> all-important buzz. Right now, <strong>the</strong> List of 10 is looking like a knock-down, drag-out brawl between <strong>the</strong> indies and <strong>the</strong> majors. “I feel <strong>the</strong><br />
majors are getting back into it. A number of <strong>the</strong>se studios have big pictures <strong>the</strong>y are putting out as contenders,” says Michael Barker, Co-President of Sony Pictures Classics. Barker’s longtime<br />
SPC partner and Co-President Tom Bernard adds: “But it is not simply that majors are coming back, it is who is motivated. On some of <strong>the</strong>se films, if you spend it will pay off, if you<br />
don’t it won’t.” And if a pic doesn’t have major campaign backing, says Roadside Attractions Co-President Howard Cohen, “voters still have a tradition of rewarding great work from smaller<br />
films. You go in as an underdog and you play that up.” But Fox Searchlight Co-President Nancy Utley reminds that <strong>awards</strong> season isn’t just ego feed for all concerned. “For <strong>the</strong> major studios,<br />
Oscars are a nice prize. But for us, it’s business.” The films listed by alphabetical order below are in contention for multiple Oscar marquee categories. (Not included are motion pictures like<br />
Secretariat, hopeful for technical <strong>awards</strong> like sound and cinematography, or Burlesque for song, or Letters To Juliet for a singular performance like Vanessa Redgrave’s.)<br />
127 HOURS (Fox Searchlight) — Danny<br />
Boyle’s first effort since Oscar-winner<br />
Slumdog Millionaire has a strong bet in<br />
Best Actor for James Franco. But is that<br />
“Farewell to Arm” scene too much for <strong>the</strong><br />
Academy for Best Picture? (People keep<br />
fainting at screenings.)<br />
ALICE IN WONDERLAND (Walt Disney<br />
Pictures) — Tim Burton’s take on <strong>the</strong><br />
classic tale is one of <strong>the</strong> biggest box office stories<br />
of <strong>the</strong> year. A natural bet for <strong>the</strong> Golden<br />
Globes Comedy/Musical categories and lots<br />
of technical nods at <strong>the</strong> Academy, too.<br />
ANIMAL KINGDOM (Sony Pictures<br />
Classics) — This tough Australian crime<br />
drama joined Mo<strong>the</strong>r and Child as <strong>the</strong> first<br />
DVD screener sent this season to Academy<br />
voters who will see a classic supporting turn<br />
from Jacki Weaver. She deserves recognition.<br />
ANOTHER YEAR (Sony Pictures Classics)<br />
— Mike Leigh’s best film since Secrets &<br />
Lies didn’t win anything on fest circuit. But<br />
those who like it love it. Leigh films usually go<br />
2 deadline.com<br />
race iN Years<br />
over well with <strong>the</strong> Academy but surest thing<br />
is <strong>the</strong> performance of Lesley Manville.<br />
BARNEY’S VERSION (Sony Pictures<br />
Classics) — SPC’s Toronto pickup of<br />
this Venice hit was a smart move and<br />
could result in some nominations. With<br />
a decent campaign, Paul Giamatti can<br />
make a Best Actor play and Dustin<br />
Hoffman is possible in support.<br />
BIUTIFUL (Roadside Attractions) —<br />
Javier Bardem’s Cannes Festival-winning<br />
performance lost none of its power in<br />
Telluride or Toronto. Mexico’s Foreign<br />
Language Film submission. Dark horse<br />
in Best Picture if voters turn off because<br />
it’s too “depressing”.<br />
BLACK SWAN (Fox Searchlight) — It<br />
took Venice by storm. Lots of <strong>awards</strong><br />
talk followed Telluride and Toronto. Very<br />
much alive in key races, like actress categories<br />
for Natalie Portman and Mila Kunis.<br />
Big question is how will older voters<br />
react to film’s kinkier aspects?<br />
BLUE VALENTINE (Weinstein Co) —<br />
Was on a marathon festival journey<br />
from Sundance to Cannes to Toronto.<br />
Its lead actors Ryan Gosling and Michelle<br />
Williams are still definite contenders.<br />
Their MPAA NC-17 ratings<br />
obstacle may generate sympathy.<br />
CASINO JACK (ATO) — Its on-again/<br />
off-again release is now on again thanks<br />
to an ATO pickup at Toronto. Twotime<br />
winner Kevin Spacey could snag<br />
top honors as disgraced lobbyist Jack<br />
Abramoff. Director George Hickenlooper’s<br />
untimely death a factor.<br />
COUNTRY STRONG (Sony/Screen<br />
Gems) — This dramatic country musical<br />
shows off <strong>the</strong> considerable singing skills of<br />
Gwyneth Paltrow, showing a different side<br />
of her talents here. But this year has an overcrowded<br />
Best Actress race.<br />
CITY ISLAND (Anchor Bay) — Andy<br />
Garcia’s finely-honed comic turn could<br />
— and should — be remembered at<br />
Golden Globe time. The tiny distributor<br />
has hired a PR firm to make sure it’s not<br />
forgotten for Oscar.<br />
DESPICABLE ME (Universal) — Call it<br />
<strong>the</strong> toon that saved Universal this year. It<br />
had strong reviews and great box office. In a<br />
field of five animated nominees, it’s a given.<br />
But stiff competition could mean chances<br />
are one in a minion.<br />
FAIR GAME (Summit) — The Valerie<br />
Plame/CIA leak story received cinematic<br />
treatment and played well to critics. Its<br />
two stars Sean Penn and Naomi Watts are<br />
strong. But are <strong>the</strong> lead actor and actress<br />
races too competitive this year?<br />
FOR COLORED GIRLS (Lionsgate) —<br />
Exceptional actress performances for Tyler<br />
Perry’s adaptation of Ntozake Shange’s 1975<br />
play. Last year, Lionsgate scored Oscars with<br />
Precious (which Perry supported by lending<br />
his name). Can lightning strike twice?<br />
GET LOW (Sony Pictures Classics) —