the awards editions 2010-2011

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— oscar overview — THe MosT wiDe–oPeN h By Pete Hammond ow rare that no movie has grabbed the mantle of first or even secondary frontrunner yet. High-profile contenders have been slowly emerging at this key early juncture. 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 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 a new Fall film as a contender amid the endless glut of Oscar wannabes (The Town, The Social Network, Wall Street: Money Never Sleeps, Hereafter, For Colored Girls, Fair Game, 127 Hours), or to prime the pump for the trickier proposition of forecasting the awards status of films that haven’t released into theaters yet (The King’s Speech, The Fighter, True Grit, Love And Other Drugs, How Do You Know, Blue Valentine, Black Swan, Rabbit Hole, Made In Dagenham, Another Year, The Way Back, Biutiful). With the field of potential winners wide open this year, the Best Picture Oscar has way more heat than, say, Documentary or Animation or Foreign Language races which are chosen by committee, their fates not as dependent on the all-important buzz. Right now, the List of 10 is looking like a knock-down, drag-out brawl between the indies and the majors. “I feel the majors are getting back into it. A number of these studios have big pictures they are putting out as contenders,” says Michael Barker, Co-President of Sony Pictures Classics. Barker’s longtime 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 these films, if you spend it will pay off, if you 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 films. You go in as an underdog and you play that up.” But Fox Searchlight Co-President Nancy Utley reminds that awards season isn’t just ego feed for all concerned. “For the major studios, 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 Secretariat, hopeful for technical awards like sound and cinematography, or Burlesque for song, or Letters To Juliet for a singular performance like Vanessa Redgrave’s.) 127 HOURS (Fox Searchlight) — Danny Boyle’s first effort since Oscar-winner Slumdog Millionaire has a strong bet in Best Actor for James Franco. But is that “Farewell to Arm” scene too much for the Academy for Best Picture? (People keep fainting at screenings.) ALICE IN WONDERLAND (Walt Disney Pictures) — Tim Burton’s take on the classic tale is one of the biggest box office stories of the year. A natural bet for the Golden Globes Comedy/Musical categories and lots of technical nods at the Academy, too. ANIMAL KINGDOM (Sony Pictures Classics) — This tough Australian crime drama joined Mother and Child as the first DVD screener sent this season to Academy voters who will see a classic supporting turn from Jacki Weaver. She deserves recognition. ANOTHER YEAR (Sony Pictures Classics) — Mike Leigh’s best film since Secrets & Lies didn’t win anything on fest circuit. But those who like it love it. Leigh films usually go 2 deadline.com race iN Years over well with the Academy but surest thing is the performance of Lesley Manville. BARNEY’S VERSION (Sony Pictures Classics) — SPC’s Toronto pickup of this Venice hit was a smart move and could result in some nominations. With a decent campaign, Paul Giamatti can make a Best Actor play and Dustin Hoffman is possible in support. BIUTIFUL (Roadside Attractions) — Javier Bardem’s Cannes Festival-winning performance lost none of its power in Telluride or Toronto. Mexico’s Foreign Language Film submission. Dark horse in Best Picture if voters turn off because it’s too “depressing”. BLACK SWAN (Fox Searchlight) — It took Venice by storm. Lots of awards talk followed Telluride and Toronto. Very much alive in key races, like actress categories for Natalie Portman and Mila Kunis. Big question is how will older voters react to film’s kinkier aspects? BLUE VALENTINE (Weinstein Co) — Was on a marathon festival journey from Sundance to Cannes to Toronto. Its lead actors Ryan Gosling and Michelle Williams are still definite contenders. Their MPAA NC-17 ratings obstacle may generate sympathy. CASINO JACK (ATO) — Its on-again/ off-again release is now on again thanks to an ATO pickup at Toronto. Twotime winner Kevin Spacey could snag top honors as disgraced lobbyist Jack Abramoff. Director George Hickenlooper’s untimely death a factor. COUNTRY STRONG (Sony/Screen Gems) — This dramatic country musical shows off the considerable singing skills of Gwyneth Paltrow, showing a different side of her talents here. But this year has an overcrowded Best Actress race. CITY ISLAND (Anchor Bay) — Andy Garcia’s finely-honed comic turn could — and should — be remembered at Golden Globe time. The tiny distributor has hired a PR firm to make sure it’s not forgotten for Oscar. DESPICABLE ME (Universal) — Call it the toon that saved Universal this year. It had strong reviews and great box office. In a field of five animated nominees, it’s a given. But stiff competition could mean chances are one in a minion. FAIR GAME (Summit) — The Valerie Plame/CIA leak story received cinematic treatment and played well to critics. Its two stars Sean Penn and Naomi Watts are strong. But are the lead actor and actress races too competitive this year? FOR COLORED GIRLS (Lionsgate) — Exceptional actress performances for Tyler Perry’s adaptation of Ntozake Shange’s 1975 play. Last year, Lionsgate scored Oscars with Precious (which Perry supported by lending his name). Can lightning strike twice? GET LOW (Sony Pictures Classics) —
Indie hit has special appeal for older voters. Robert Duvall is a good bet in the Best Actor race and Sissy Spacek might squeak into Best Supporting Actress. Original Screenplay is possible. A long shot for Picture. HEREAFTER (Warner Bros) — Clint Eastwood’s latest will play better with older-skewing Academy members than critics because of its themes of afterlife. Clint is still a force: you can never count him out at awards time. HOW DO YOU KNOW (Sony Pictures) — Writer/Director James Brooks delivers this relationship comedy with an all-star cast, but Paul Rudd is the standout here. Best chance for the movie is likely at the Globes for Best Comedy or Musical. HOW TO TRAIN YOUR DRAGON (DreamWorks Animation) — An animated feature nod is a given. But DreamWorks is aggressively going for the gold with this one and dreaming of a Best Picture nod. Is there room on that List of 10 for it and Toy Story 3? I AM LOVE (Magnolia Pictures) — A sumptuous showcase for Tilda Swinton who speaks Italian with a Russian accent. Italy killed its Foreign Language chance but Magnolia is putting it into Cinematography, Art Direction, Costumes, and Actress races. INCEPTION (Warner Bros/Legendary Pictures) — Christopher Nolan was snubbed for The Dark Knight so the Academy can make it up to him for this fever dream of a movie that has made big coin. Best Picture and loads of tech noms while iffier are the actor nods. LOVE AND OTHER DRUGS (Twentieth Century Fox) — Jake Gyllenhaal and Anne Hathaway in career-best performances should be high on any list. And director Ed Zwick’s film is different enough to become possible in Best Picture and Adapted Screenplay. LOVELY, STILL (Monterey Media) — A little gem of a drama about two old people who find romance near the end of their lives features brilliant performances from Martin Landau and Ellen Burstyn. They both deserve awards consideration. MADE IN DAGENHAM (Sony Pictures Classics) — British period piece about female factory workers fighting for equal pay is Academy friendly fare. SPC’s best shot for Best Picture. Acting noms possible for Sally Hawkins, Miranda Richardson and Bob Hoskins. MOTHER AND CHILD (Sony Pictures Classics) — Rodrigo Garcia’s multi-character drama came and went in theatres, so wisely SPC made sure the screener was the very first one Academy voters got this season. Annette Bening suggested for Best Actress. NEVER LET ME GO (Fox Searchlight) — The fact it lingers in the mind improves its awards prospects. If it were a weaker year for thesps, Carey Mulligan and Andrew Garfield would likely be recognized. Rachel Portman’s haunting score a shoo-in nominee. PLEASE GIVE (Sony Pictures Classics) — Writer/Director Nicole Holofcener’s quirky comedy was well received and sparked buzz of an Original Screenplay nomination. Ann Morgan Guilbert gives a nifty supporting turn as the tenant who won’t die. RABBIT HOLE (Lionsgate) — Glowing reviews, especially for its three main actors — Nicole Kidman, Aaron Eckhart and Dianne Wiest. Lionsgate did a quick pickup following its Toronto world premiere. Now it’s suddenly a player in the marquee categories. SHUTTER ISLAND (Paramount) — Paramount launched a high profile campaign for Leonardo DiCaprio with early screening notices to Guilds and Academy members and an American Cinematheque retrospective of Leo’s and Martin Scorsese’s collaborations. SOLITARY MAN (Anchor Bay) — Michael Douglas received some of the best reviews of his career in this highly unsympathetic role. There is a lot of good will for the cancerstricken star. Anchor Bay is making sure the DVD gets circulated to press and voters. SOMEWHERE (Focus Features) — Won the top prize in Venice despite mixed reviews. Jury president and Sofia Coppola intimate Quentin Tarantino denied play- ing favorites. Awards screenings close to its late December release. May be too soft to make a dent. STONE (Overture/Relativity) — Long shot even though Milla Jovovich is seductively appealing. But Robert De Niro turns in his best work in a while but probably has as much chance of a Best Actor nod for this as he does for Machete and Little Fockers. TANGLED (Walt Disney Pictures) — A throwback to Disney animated musicals of old but with a contemporary twist and new Alan Menken songs. Menken could go for a record–tying ninth Oscar with “I See The Light.” An animated feature nod is definitely possible. THE FIGHTER (Paramount) — This long-time passion project for Mark Wahlberg is a strong Best Picture prospect with both Wahlberg and Christian Bale prime prospects for lead and supporting actor. Melissa Leo and Amy Adams rising to the top of supporting actress lists. THE GHOST WRITER (Summit) — Roman Polanski’s Hitchcock-style drama did well by indie film standards. Summit has special hopes for a Pierce Brosnan supporting bid as the former British prime minister “writing” his memoirs. THE GIRL WITH THE DRAGON TATTOO (Music Box) — The first in the Swedish trilogy became the most successful foreign language release of the year and has created Best Actress buzz for star Noomi Rapace. She needs valuable face time in front of voters. THE KIDS ARE ALL RIGHT (Focus Features) — It’s the focus for Focus, hoping it’s that rare comedy to crack Best Picture. Oscar nomination for screenplay seems doable while acting nods for Annette Bening, Mark Ruffalo, and Julianne Moore likely. THE KING’S SPEECH (Weinstein Co) — Strong outstanding period piece puts Harvey Weinstein back in the Oscar game big-time. Triumphed over all comers in Telluride and Toronto. A slam dunk for major nominations across the board. THE SOCIAL NETWORK (Sony) — It stole the thunder from Toronto with targeted screenings for influencers. Packed screening for Academy members got great response for Best Picture. Aaron Sorkin’s well-written adapted screenplay a lock for writing nod. THE TOWN (Warner Bros) — Ben Affleck’s Boston crime thriller could follow a similar trajectory as its producer Graham King’s Oscar-winning The Departed. But may be too much in the violent action genre. Jeremy Renner the most likely possibility in supporting. THE WAY BACK (Newmarket/Wrekin Hill) — Newmarket picked up this adventure just as it hit Telluride. Fellow directors could go for overdue four-time nominee Peter Weir. And the cinematography is right up there with anything released this year. TOY STORY 3 (Disney/Pixar) — A worldwide smash and, with 99% positive reviews on Rotten Tomatoes, it’s the second-highest rated movie of the year. A frontrunner for animated feature and a Best Picture nomination. Is three the charm? TRUE GRIT (Paramount) — Never underestimate the Coen brothers. This remake could be the rare Western to make Best Picture honor roll. A possible supporting for newcomer Hailee Steinfeld or vet Matt Damon and consideration Jeff Bridges again. WALL STREET: MONEY NEVER SLEEPS (Twentieth Century Fox) — This 23-years-later sequel isn’t generating much Best Picture buzz. But Michael Douglas’ Gekko remains its best chance, particularly with goodwill for the actor running high due to his cancer. WINTER’S BONE (Roadside Attractions) — A critical darling and indie hit, this could be the sleeper awards success of the season. Roadside needs to put it front and center with critics who could champion it. Newcomer Jennifer Lawrence could get nod. deadline.com 3
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