Well, friends, it is that time again. I have done a little bit better than last year in seeing the nominations, but a lot of these I am still working on seeing, and predictions are assumption based.
Here we go:
Will Win
Should Win
Should and Will Win
BEST MOTION PICTURE – DRAMA
ARGO
DJANGO UNCHAINED
LIFE OF PI
LINCOLN
ZERO DARK THIRTY
If there two things the Globes love, besides drinking, it is Spielberg and robbing Tarantino. I expect it will happen again here, and pave the way for the same ting to happen at the Oscars.
BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – DRAMA
JESSICA CHASTAIN, ZERO DARK THIRTY
MARION COTILLARD, RUST AND BONE
HELEN MIRREN, HITCHCOCK
NAOMI WATTS, THE IMPOSSIBLE
RACHEL WEISZ, THE DEEP BLUE SEA
I haven't seen Zero Dark Thirty yet, obviously, but Chastain is getting a ton of praise early on. Helen Mirren is, however, Helen Mirren.
BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – DRAMA
DANIEL DAY-LEWIS, LINCOLN
RICHARD GERE, ARBITRAGE
JOHN HAWKES, THE SESSIONS
JOAQUIN PHOENIX, THE MASTER
DENZEL WASHINGTON, FLIGHT
A lot of people are probably voting Pheonix here, and I wouldn't be surprised if he walks away with it. But let's be honest, ceremonies love it when Day-Lewis emerges from his slumber to make a movie...and deservingly so.
BEST MOTION PICTURE – COMEDY OR MUSICAL
THE BEST EXOTIC MARIGOLD HOTEL
LES MISERABLES
MOONRISE KINGDOM
SALMON FISHING IN THE YEMEN
SILVER LININGS PLAYBOOK
Musicals rarely do not win this category, and with a musical-movie as long-awaited as this one, anything else will be surprising. That being said, I found Les Mis (and keep in mind, I am a theatre person) horrible. Miserable is, indeed, an appropriate title. Maybe I'd think differently if I had ever seen the stage show, which I still intend to, but this film was awful. Hooper's direction was surprisingly off for many scenes, and the story itself was weak. (Does anyone know why the students revolted? I cannot find this answer anywhere other than "king sucked".) Sorry, I know many fans will disagree. But there was nothing impressive about that movie with exception of Anne Hathaway and Sacha Baron Cohen...who, although it was by no means a stretch role for him, was delightful.
BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – COMEDY OR MUSICAL
EMILY BLUNT, SALMON FISHING IN THE YEMEN
JUDI DENCH, THE BEST EXOTIC MARIGOLD HOTEL
JENNIFER LAWRENCE, SILVER LININGS PLAYBOOK
MAGGIE SMITH, QUARTET
MERYL STREEP, HOPE SPRINGS
I have seen none of these so I shall cast no opinion.
BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – COMEDY OR MUSICAL
JACK BLACK, BERNIE
BRADLEY COOPER, SILVER LININGS PLAYBOOK
HUGH JACKMAN, LES MISERABLES
EWAN MCGREGOR, SALMON FISHING IN THE YEMEN
BILL MURRAY, HYDE PARK ON HUDSON
I apply the same Les Mis logic here...however I would really like to see Murray or Black go home with the Globe. I haven't seen either, but both look great and I've heard only great things about both of their performances. Jackman was good in Les Mis, not incredible, but good...so I won't be upset.
BEST ANIMATED FEATURE FILM
BRAVE
FRANKENWEENIE
HOTEL TRANSYLVANIA
RISE OF THE GUARDIANS
WRECK-IT RALPH
Most unfortunately, I haven't seen this one either. But from everything I've heard and know about it...it seems to be the only option.
BEST FOREIGN LANGUAGE FILM
AMOUR (AUSTRIA)
A ROYAL AFFAIR (DENMARK) (En kongelig affære)
THE INTOUCHABLES (FRANCE) (Les Intouchables)
KON-TIKI (NORWAY/UK/DENMARK)
RUST AND BONE (FRANCE) (De rouille et d’os)
Seen none, choose none.
AMY ADAMS, THE MASTER
SALLY FIELD, LINCOLN
ANNE HATHAWAY, LES MISERABLES
HELEN HUNT, THE SESSIONS
NICOLE KIDMAN, THE PAPERBOY
One of the few shining lights about this movie for me. I hope she gets it.
BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A MOTION PICTURE
ALAN ARKIN, ARGO
LEONARDO DICAPRIO, DJANGO UNCHAINED
PHILIP SEYMOUR HOFFMAN, THE MASTER
TOMMY LEE JONES, LINCOLN
CHRISTOPH WALTZ, DJANGO UNCHAINED
Please...please let's pave the way for Oscar on this. Leo has never won an Oscar, and only one Golden Globe...and he absolutely cannot be robbed for Django. He once again proved himself to be one of the most versatile and original thinking actors in Hollywood in his first villainous role. GIVE IT TO HIM.
BEST DIRECTOR – MOTION PICTURE
KATHRYN BIGELOW, ZERO DARK THIRTY
ANG LEE, LIFE OF PI
STEVEN SPIELBERG, LINCOLN
QUENTIN TARANTINO, DJANGO UNCHAINED
I usually don't separate Director from Picture (and neither do they) but I'm making an exception. Either way Quentin deserves it, but at this point I expect robbery.
BEST SCREENPLAY – MOTION PICTURE
MARK BOAL, ZERO DARK THIRTY
TONY KUSHNER, LINCOLN
DAVID O. RUSSELL, SILVER LININGS PLAYBOOK
QUENTIN TARANTINO, DJANGO UNCHAINED
CHRIS TERRIO, ARGO
Kushner is Kushner and that name tends to win awards. Tarantino, however has the original script, he is not adapting another one. I have to give it to him.
BEST ORIGINAL SCORE – MOTION PICTURE
MYCHAEL DANNA, LIFE OF PI
ALEXANDRE DESPLAT, ARGO
DARIO MARIANELLI, ANNA KARENINA
TOM TYKWER, JOHNNY KLIMEK, REINHOLD HEIL, CLOUD ATLAS
JOHN WILLIAMS, LINCOLN
Seen none, choose none.
BEST ORIGINAL SONG – MOTION PICTURE
FOR YOU, ACT OF VALOR
NOT RUNNING ANYMORE, STAND UP GUYS
SAFE & SOUND, THE HUNGER GAMES
SKYFALL, SKYFALL
SUDDENLY, LES MISERABLES
For the first time since GoldenEye there is a great Bond theme. Hope Adele walks away with it.
BEST TELEVISION SERIES – DRAMA
BREAKING BAD
BOARDWALK EMPIRE
DOWNTON ABBEY
HOMELAND
THE NEWSROOM
These are all deserving shows, but Homeland seems to dominate the headlines. I, myself, have not seen Homeland, but feel it will be the victor. Of all the others, though, Bad is best.
BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES – DRAMA
CONNIE BRITTON, NASHVILLE
GLENN CLOSE, DAMAGES
CLAIRE DANES, HOMELAND
MICHELLE DOCKERY, DOWNTON ABBEY: SEASON 2
JULIANNA MARGULIES, THE GOOD WIFE
Cut and dry for this one. No other thoughts or explanation. Guess this is the part of the list where I start getting lazy.
BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES – DRAMA
STEVE BUSCEMI, BOARDWALK EMPIRE
BRYAN CRANSTON, BREAKING BAD
JEFF DANIELS, THE NEWSROOM
JON HAMM, MAD MEN
DAMIAN LEWIS, HOMELAND
Cranston continues to prove his abilities on screen. I know it seems like he wins everything...but he deserves to.
BEST TELEVISION SERIES – COMEDY OR MUSICAL
THE BIG BANG THEORY, CBS
EPISODES, SHOWTIME
GIRLS, HBO
MODERN FAMILY, ABC
SMASH, NBC
BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES – COMEDY OR MUSICAL
ZOOEY DESCHANEL, NEW GIRL
JULIA LOUIS-DREYFUS, VEEP
LENA DUNHAM, GIRLS
TINA FEY, 30 ROCK
AMY POEHLER, PARKS AND RECREATION
BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES – COMEDY OR MUSICAL
ALEC BALDWIN, 30 ROCK
DON CHEADLE, HOUSE OF LIES
LOUIS C.K., LOUIE
MATT LEBLANC, EPISODES
JIM PARSONS, THE BIG BANG THEORY
Louis certainly deserves it...but I have a feeling he will be robbed.
BEST MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
GAME CHANGE, HBO
THE GIRL, HBO
HATFIELDS &; MCCOYS, HISTORY
THE HOUR, BBC AMERICA
POLITICAL ANIMALS, USA NETWORK
The Biggest robbery of Emmys will most likely strike again here. Hatfields and McCoys should be a slam dunk. I fear it isn't. That being said...
BEST PERFORMANCE BY AN ACTRESS IN A MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
NICOLE KIDMAN, HEMINGWAY & GELLHORN
JESSICA LANGE, AMERICAN HORROR STORY: ASYLUM
SIENNA MILLER, THE GIRL
JULIANNE MOORE, GAME CHANGE
SIGOURNEY WEAVER, POLITICAL ANIMALS
She's unstoppable.
BEST PERFORMANCE BY AN ACTOR IN A MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
KEVIN COSTNER, HATFIELDS & MCCOYS
BENEDICT CUMBERBATCH, SHERLOCK (MASTERPIECE)
WOODY HARRELSON, GAME CHANGE
TOBY JONES, THE GIRL
CLIVE OWEN, HEMINGWAY; GELLHORN
Cumberbatch is having quite the year, and I wouldn't be shocked if it is punctuated with a globe. That being said, Costner was in rare form and has earned the Globe.
BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A SERIES, MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
HAYDEN PANETTIERE, NASHVILLE
ARCHIE PANJABI, THE GOOD WIFE
SARAH PAULSON, GAME CHANGE
MAGGIE SMITH, DOWNTON ABBEY: SEASON 2
SOFIA VERGARA, MODERN FAMILY
Pretty simple.
BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A SERIES, MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
MAX GREENFIELD, NEW GIRL
ED HARRIS, GAME CHANGE
DANNY HUSTON, MAGIC CITY
MANDY PATINKIN, HOMELAND
ERIC STONESTREET, MODERN FAMILY
I'd also be happy to see Patinkin take it home.
That's what I got for ya. Let the arguments begin.
Your voracious critique of "Les Miserables" is made significantly weak by the fact that you're commenting on this awards race without having viewed everything in contention, notably the big names in it ("Argo," "Lincoln," "Life of Pi").
ReplyDeleteI get it that musicals are only for some people and that the movie wasn't perfect, but your criticism is almost unfair, as though you went into the experience with rigid expectations, and rather than modifying them in the moment and allowing yourself to be moved by what it actually was. I thought Hooper's direction was intimate and personal and suited well the themes of the piece as a whole. You don't get that sense of raw reality on a Broadway stage, that's why this movie capitalized on that so much - so that the movie itself was unique and not just a rehashing of what is already known.
Also, you picked the wrong musical to pick apart for "lack" of a story. If anything there is too much story in this, and that isn't a bad thing in this case because the intent is to show the impact of the main character's morality on a literal world of people. Jean Valjean's story originally spanned nearly 1500 pages before being condensed into a 3 hour play. By the way, the rebellion depicted is the "June Rebellion," an admittedly little known resistance movement in 1830s France, but a remedial understanding of European (especially French) history alongside what was depicted in the film from the start shows you that downtrodden, desperate, starving, angry people do such things as revolting to make a point. It's not Tom Hooper's or the movie's fault that you're incapable of picking up on not just context clues BUT GLARINGLY OBVIOUS THEMES.
Maybe I am singing the praises of "Les Miserables" too loudly and too obnoxiously, but I've about had it with people who've let myopia bar them from what I found to be one of the most moving cinematic experiences of my life. I am not so emotionally frail that a simple movie holds this much power on me. I also don't enjoy musicals all too much other than this one show. So why does it matter so much what you thought? Perhaps because I care about art and this particular example doesn't deserve the graceless criticisms of someone as emotionally misinformed as is you.
Also, until you've watched every episode of "Homeland" you are not actually allowed to consider yourself a citizen of this country.
Well ALRIGHT then.
DeleteI usually try to stay clear of responses, but in this case I feel it is warranted.
I think you should re-read a few things. Namely what I wrote about Les Mis, and your response to it, which is almost triple the length.
I'd be willing to bet that if I wrote a straight-up review of Les Miserables, you wouldn't have commented. I would have spent more time, gone into more detail. But, that was not the purpose of this post. I merely wanted to offer some predictions for the Globes. Predictions based on what I DO know. I also said, at the very beginning, before ou read ANYTHING that I had not seen a lot of stuff on this list. So you are free to take your criticism of my choices anyway you like.
But...you don't really care about my other choices, do you? You read this, were curious about what I had to say, I assume because you know me in some way (I could be wrong, but I have a hunch, Mr. or Miss. Anonymous). No...you've commented because you were upset to find that I didn't like Les Mis, and are probably tired of all the other people talking about how they didn't like Les Mis because you did.
Well sir or madam, I am glad you enjoyed it. Honestly, I am. Part of what makes film great is that it speaks to different people for different reasons. I, on the other hand, did not enjoy this movie. So when picking a movie for the category, I put out a few sentences saying so and moved on. I am more than prepared to go on to mention problems with your criticism, such as "nobody told me I wouldn't understand the movie if I have studied French History", or the fact that yes, lots of story lines are started and none are fully developed. But those types of things don't bother me. I pissed you off, so you tore apart the three sentences I said about a movie. Fine.
I would have left your comment alone for that reason. Unfortunately, you chose to take these predictions, and use them as a basis for calling me, what was it? Ah yes, "emotionally misinformed". Myopia, thrown in there too! (Congrats on the vocab words, brah!)
Look, I didn't enjoy the movie. Sorry. I didn't say it was devoid of emotion, now did I? I wouldn't have picked Hathaway if I thought that, right? I mean, Jesus, I didn't even tear it apart! I just said some bullet points: I didn't like it because I felt the story was weak (ly developed) and the direction was poor. That's it. Now re-read what your response was, ending with calling who either is someone you are afraid to identify as someone you know OR is a complete stranger, and tell me that calling them "emotionally misinformed" and nearsighted because they didn't like one movie you did, and essentially said only that...is just a little over the top.