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2014 Academy Award Nominations Breakdown

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Oh what a year it has been, a fact cemented this morning with the announcement of 121 Oscar nominations. Noticeably absent were a host of Academy kings and queens like Tom Hanks, who was originally looking at two potential nominations and would up with none, and Hank’s Saving Mr. Banks co-star Emma Thompson, who became a runner-up to the five ladies who secured Best Actress noms. Missing out on the expected nominations, Saving Mr Banks is definitely the biggest snubbed film as it failed to secure even one nom while it almost looked like a frontrunner at one point.

For best picture, I nailed seven of the nominations but left out Philomena, which edged out Inside Llewyn Davis and Banks. Alexander Payne took a spot in the Best Director category that many expected to head towards Paul Greengrass. The absence of both Hanks (Captain Phillips) and Robert Redford (All is Lost) opened up spots for Christian Bale (American Hustle) and Leonardo DiCaprio (The Wolf of Wall Street). And while my predictions suffered for not including either, all in all, I’m really happy with those switches as I believe Bale and DiCaprio put in two of the best performances of the year.

A couple pleasant surprises include Jonah Hill‘s Best Supporting Actor nomination and Her scooping up a few extra awards with Best Original Song and Production Design.

Amongst those films noticeable absent across the board are Inside Llewyn Davis, which only scored two nominations (Best Sound Mixing and Best Cinematography), and The Butler which didn’t see a single nom. It seems like Dallas Buyers Club got some last minute wind beneath its wings to edge out Davis in just about every category I had it positioned for nomination.

But the biggest snubs seem to come from 12 Years a Slave, which still managed nine nominations. Most notably Hans Zimmer was passed up for his score and Sean Bobbitt who served as DP on 12 Years and was thought to be a sure contender in the cinematographer field both left empty handed. Alex Ebert, who just won a Golden Globe for his All is Lost score, was also surprisingly passed up. And though I’m not shocked, it was disappointed to not see Lana Del Rey‘s stunning “Young and Beautiful” left out of the Best Original Song category.

Leading the scoreboard, both Gravity and American Hustle each have ten nominations and stunningly director David O. Russell continues his streak of just crushing it and garnishing his actors nominations in all four categories. As if he wasn’t already an actor’s dream director, he’s become so adept at scoring noms for his performers now that any future performer in an O. Russell film is essentially assured a nomination. And while American Hustle suddenly looks like the one to beat, Gravity is still poised to strike down competition in all the technical fields.

Taking Hustle and Gravity‘s domination into account, 2014 certainly signals a mood shift for the inherently old-timey Academy. More than ever, this set of nominations is a populist collection, leaning heavily towards mass approval and away from the eclectic little indies that the mainstream doesn’t often stray into. What will this mean when award times come? Most likely a bent towards the breezy, the easy, and those that don’t wallow in the muds of slavery.

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So let’s get down to the actual nominations. Without a doubt, we’re in store for an interesting season.
I’ve highlighted those that I predicted in green.

BEST PICTURE
American Hustle
12 Years a Slave
Her
Gravity
Nebraska
Saving Mr Banks
The Butler
Captain Phillips
Philomena

BEST DIRECTOR
Steve McQueen
Alfonso Cuaron
David O. Russell
Martin Scorsese
Alexander Payne

BEST ACTOR
Chiwetel Ejifor
Christian Bale
Bruce Dern
Matthew McConaughey
Leonardo DiCaprio

BEST ACTRESS
Cate Blanchett
Amy Adams
Sandra Bullock
Judi Dench
Meryl Streep

BEST SUPPORTING ACTOR
Jared Leto
Bradley Cooper
Michael Fassbender
Barkhad Abdi
Jonah Hill

BEST SUPPORTING ACTRESS
Lupita Nyong’o
June Squibb
Julia Roberts
Jennifer Lawrence
Sally Hawkins

BEST EDITING
Gravity
12 Years a Slave
Dallas Buyers Club
American Hustle
Captain Phillips

BEST ORIGINAL SCREENPLAY
Nebraska
Her
Dallas Buyers Club
Blue Jasmine
American Hustle

BEST ADAPTED SCREENPLAY
12 Years a Slave
Wolf of Wall Street
Before Midnight
Captain Phillips
Philomena

BEST FOREIGN LANGUAGE FILM
The Hunt
The Missing Picture
The Broken Circle Breakdown
The Great Beauty
Omar

BEST CINEMATOGRAPHY
The Grandmaster
Gravity
Inside Llewyn Davis
Prisoners
Nebraska

BEST PRODUCTION DESIGN
12 Years a Slave
The Great Gatsby
American Hustle
Her
Gravity

BEST SOUND MIXING
Gravity
Captain Phillips
The Hobbit: The Desolation of Smaug
Lone Survivor
Inside Llewyn Davis

BEST SOUND EDITING
Gravity
All is Lost
Captain Phillips
The Hobbit: The Desolation of Smaug
Lone Survivor

BEST COSTUME DESIGN
Michael Wilkinson “American Hustle”
William Chang Suk Ping “The Grandmaster”
Michael O’Connor “The Invisible Woman”
Catherine Martin “The Great Gatsby”
Patricia Norris “12 Years a Slave”

BEST ORIGINAL SCORE
William Butler and Owen Pallett “Her”
Steven Price “Gravity”
Thomas Newman “Saving Mr Banks”
Alexandre Desplat “Philomena”
John Williams “The Book Thief”

BEST DOCUMENTARY FEATURE
The Act of Killing
Cutie and the Boxer
Dirty War
The Square
20 Feet From Stardom

BEST ANIMATED FEATURE
Frozen
Despicable Me 2
Ernest and Celestine
The Croods
The Wind Rises

BEST VISUAL EFFECTS
Gravity
Iron Man 3
The Hobbit: The Desolation of Smaug
Star Trek into Darkness
The Lone Ranger

BEST MAKEUP & HAIRSTYLING
Bad Grandpa
Dallas Buyers Club
The Lone Ranger

BEST ORIGINAL SONG
“Let it Go” – Frozen
“Happy” – Despicable Me 2
“The Moon Son” – Her
“Alone Yet Not Alone” – Alone Yet Not Alone
“Ordinary Love” – Mandela: Long Walk to Freedom

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For their nominations, certain actors, directors have already spoken out in gratitude.

Michael Fassbender, 12 Years a Slave
“I’m really chuffed with the Oscar nomination especially being recognised alongside such great actors.  It’s a real honor.”
 
Steve McQueen, 12 Years a Slave
“I’m extraordinarily happy for all the cast and crew of our 12 Years a Slave family.  This has been an amazing ride, and to receive nine nominations from the Academy is testament to all of the hard work.  And for that I am truly grateful.”
 
Chiwetel Ejiofor, 12 Years a Slave
“At no point during filming, in the sweltering heat of New Orleans, did any of us ever foresee the journey this film would take us all on. Steve McQueen created an entire family to tell one man’s tale and I am delighted that so many of this family have also been recognized today. I am hugely grateful to the Academy for this great honour, and, of course, to Solomon Northup for sharing his story through his breathtaking book.”
 
John Ridley, 12 Years a Slave
“It feels very special, but I just really appreciate how people have responded to Solomon Northup’s story and his life.  I’m just so happy for the whole crew and cast who brought Solomon’s memoir to the screen.  It’s been a great year for film, and for people to consider 12 Years a Slave to be among the best is more humbling than you can imagine.”

Amy Adams, American Hustle
“I’m very honored to be nominated alongside such inspiring actresses. Congratulations to the cast and crew of American Hustle and Her, two films that I’m incredibly proud to be a part of.”
 
David O. Russell, American Hustle
“First of all, I want to congratulate all of the nominees from all of the films. We are all blessed to be in this business, telling stories. In American Hustle, we tried to create characters and a world that the audience would find romantic and moving and real. I am so thrilled for my partners – my actors, my producers, Eric Singer, and the craftspeople from the film – who were honored today. They gave it their all; they poured their passion into the movie and I am truly thankful to them.”
 
Dana Brunetti, Captain Phillips
“We’re so incredibly proud of this film and the team we assembled both in front of and behind the camera. Simply put, we could not have done it without the enormous talent of Paul and Tom.  It was an honor to be able to tell the heroic story of Captain Richard Phillips and the US Navy SEALS who rescued him.” –
 
Michael DeLuca, Captain Phillips
We are grateful to the Academy for the recognition and for the privilege of being included in an amazing field of movies this year. It’s all a testament to Paul Greengrass’ artistry and Tom Hanks’ craft and commitment.
 
Barkhad Abdi, Captain Phillips
“I am truly honored to have been nominated by the Academy this morning.
This has been a life changing experience for me.  I would like to congratulate all of the nominees this morning, especially the team from Captain Phillips who were recognized.  My performance is a testament to the vision of our incredible director Paul Greengrass, and our other Captain
— the generous, amazing, and inspiring Tom Hanks.”

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Golden Globes Nominations Stick to the Usual Suspects

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What a crazy two months it has been, as the majority of the Golden Globes film nominees were released in the last sixth of this year. 12 Years a Slave and American Hustle earned seven nods each, leading the pack of award season favorites. Interestingly, the competition for best film has been essentially cut in half, since the Globes consider Her, American Hustle, Inside Llewyn Davis, and Nebraska comedies, which seems a bit odd, even though they are lighter dramas.

Of the two categories, the comedy one looks to be much more competitive, honestly. While Gravity, Captain Phillips, Philomena, and Rush were all exceptionally solid films, they are second tier to the likes of 12 Years a Slave and Dallas Buyers Club (which is curiously absent). The actor nods are in the same boat, as the competitive pool has been divided into two separate categories.

The complete list of nominees below with predictions in red.

Best Picture, Drama

“12 Years a Slave”

“Captain Phillips”

“Gravity”

“Philomena”

“Rush”

Best Picture, Musical or Comedy

“American Hustle”

“Her”

“Inside Llewyn Davis”

“Nebraska”

“The Wolf of Wall Street”


Best Director

Alfonso Cuarón, “Gravity”

Paul Greengrass, “Captain Phillips”

Steve McQueen, “12 Years a Slave”

Alexander Payne, “Nebraska”

David O. Russell, “American Hustle”

 

Best Actor, Drama

Chiwetel Ejiofor, “12 Years a Slave”

Idris Elba, “Mandela: The Long Walk to Freedom”

Tom Hanks, “Captain Phillips”

Matthew McConaughey, “Dallas Buyers Club”

Robert Redford, “All Is Lost”

 

Best Actress, Drama

Cate Blanchett, “Blue Jasmine”

Sandra Bullock, “Gravity”

Judi Dench, “Philomena”

Emma Thompson, “Saving Mr. Banks”

Kate Winslet, “Labor Day”

 

Best Actor, Musical or Comedy

Christian Bale, “American Hustle”

Bruce Dern, “Nebraska”

Leonardo DiCaprio, “The Wolf of Wall Street”

Oscar Isaac, “Inside Llewyn Davis”

Joaquin Phoenix, “Her”

 

Best Actress, Musical or Comedy

Amy Adams, “American Hustle”

Julie Delpy, “Before Midnight”

Greta Gerwig, “Frances Ha”

Julia Louis-Dreyfus, “Enough Said”

Meryl Streep, “August: Osage County”

 

Best Supporting Actor

Barkhad Abdi, “Captain Phillips”

Daniel Brühl, “Rush”

Bradley Cooper, “American Hustle”

Michael Fassbender, “12 Years a Slave”

Jared Leto, “Dallas Buyers Club”

 

Best Supporting Actress

Sally Hawkins, “Blue Jasmine

Jennifer Lawrence, “American Hustle”

Lupita Nyong’o, “12 Years a Slave”

Julia Roberts, “August: Osage County”

June Squibb, “Nebraska”

 

Best Animated Feature Film

“The Croods”

“Despicable Me 2”

“Frozen”

 

Foreign Language Film

“Blue Is the Warmest Color”

“The Great Beauty”

“The Hunt”

“The Past”

“The Wind Rises”

 

Best Screenplay

“12 Years a Slave”

“American Hustle”

“Her”

“Nebraska”

“Philomena”

 

Best Original Song

“Atlas,” performed by Coldplay — “The Hunger Games: Catching Fire”

“Let It Go,” performed by Idina Menzel — “Frozen”

“Ordinary Day,” performed by U2 — “Mandela: The Long Walk to Freedom”

“Please Mr. Kennedy,” performed by Justin Timberlake, Oscar Isaac, and Adam Driver — “Inside Llewyn Davis”

“Sweeter Than Fiction,” performed by Taylor Swift — “One Chance”

 

Best Original Score

Alex Ebert, “All Is Lost”

Alex Heffes, “Mandela: The Long Walk to Freedom”

Steven Price, “Gravity”

John Williams, “The Book Thief”

Hans Zimmer, “12 Years a Slave”

 

TELEVISION

 

Best Television Series, Drama

“Breaking Bad”

“Downton Abbey”

“The Good Wife”

“House of Cards”

“Masters of Sex”

 

Best Television Series, Comedy or Musical

“The Big Bang Theory”

“Brooklyn Nine-Nine”

“Girls”

“Modern Family”

“Parks and Recreation”

 

Best Miniseries or Television Movie

“American Horror Story: Coven”

“Behind the Candelabra”

“Dancing on the Edge”

“Top of the Lake”

“White Queen”

 

Best Actor, Television Drama

Bryan Cranston, “Breaking Bad”

Liev Schreiber, “Ray Donovan”

Michael Sheen, “Masters of Sex”

Kevin Spacey, “House of Cards”

James Spader, “The Blacklist

 

Best Actress, Television Drama

Juliana Margulies, “The Good Wife”

Tatiana Maslany, “Orphan Black”

Taylor Schilling, “Orange Is the New Black”

Kerry Washington, “Scandal”

Robin Wright, “House of Cards”

 

Best Actor, Television Comedy or Musical

Jason Bateman, “Arrested Development”

Don Cheadle, “House of Lies”

Michael J. Fox, “The Michael J. Fox Show”

Jim Parsons, “The Big Bang Theory”

Andy Samberg, “Brooklyn Nine-Nine”

 

Best Actress, Television Comedy or Musical

Zooey Deschanel, “New Girl”

Lena Dunham, “Girls”

Edie Falco, “Nurse Jackie”

Julia Louis-Dreyfus, “Veep”

Amy Poehler, “Parks and Recreation”

 

Best Actor, Television Movie or Mini-Series

Matt Damon, “Behind the Candelabra”

Michael Douglas, “Behind the Candelabra”

Chiwetel Ejiofor, “Dancing on the Edge”

Idris Elba, “Luthor”

Al Pacino, “Phil Specter”

 

Best Actress, Television Movie or Mini-Series

Helena Bonham Carter, “Burton and Taylor”

Rebecca Ferguson, “White Queen”

Jessica Lange, “American Horror Story: Coven”

Helen Mirren, “Phil Specter”

Elisabeth Moss, “Top of the Lake”

 

Best Supporting Actor

Josh Charles, “The Good Wife”

Rob Lowe, “Behind the Candelabra”

Aaron Paul, “Breaking Bad”

Corey Stoll, “House of Cards”

Jon Voight, “Ray Donovan”

 

Best Supporting Actress

Jacqueline Bisset, “Dancing on the Edge”

Janet McTeer, “White Queen”

Hayden Panettiere, “Nashville”

Monica Potter, “Parenthood”

Sofia Vergara, “Modern Family”

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Out in Theaters: PHILOMENA

“Philomena”
Directed by Stephen Frears
Starring Judi Dench, Steve Coogan, Sophie Kennedy Clark, Mare Winningham, Barbara Jefford, Michelle Fairley, Peter Hermann, Sean Mahon
Drama
98 Mins
PG-13

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Philomena Lee’s true story is the stuff of nightmares. Her baby stolen away by nuns and sold to the highest bidder, the path to that forfeited son swept clean, locked inside the tight-lipped vault of one particularly malevolent Catholic nun, Philomena has been through hell on Earth. And yet, she won’t condemn those who have brought so much suffering upon her. Instead, she passes absolution down like Jesus himself. She may not ever forget but she is willing to forgive and from her untainted spirit, we can all learn a valuable lesson.

In Philomena, Martin Sixsmith’s not quite disgraced but he’s been let go from his cushy position over at the Labour party. Unsure where to start on his long-gestated novel of Russian history, he’s offered a chance to turn Irish elder Philomena’s life story into a personal piece by an old friend editor, Sally (Michelle Fairley). Intent on maintaining his journalistic pride, he refuses to touch her story on the grounds that it’s a human interest story and “human interest stories are read by weak-minded, ignorant people and written by weak-minded, ignorant people.” But when Martin meets Philomena, he is equally captivated by the unspeakable calamity that she’s just now opening up about for the first time in sixty years.

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Judi Dench
 drops the crusty but caring shtick she’s perfected over the course of her career to embody this foundation of life of a woman. Bubbling over with enthusiasm and accidental wit, Philomena is like Pinocchio – a wooden figurine  magically brought to life who, now finally living, can’t stop ogling at the wonders of the world. As she hops around the globe with Martin trying to unearth the mystery of her lost son, she lives out the childhood she never had, a childhood she spent slaving away at a nunnery. Even though Philomena’s story is a tragedy, she prefers to think of it as a work in progress, a perspective guided by her unflinching glass-is-half-full optimism. Though initially mocking Philomena’s rose-colored perception of the world, Martin begins down his own road of internal modulation that may turn around his raincloud ways.  

A zesty screenplay from star Steve Coogan adapts the real Sixsmith’s “The Lost Child of Philomena Lee” balancing doses of meaningful character drama amongst potent religious commentary and stark moments of comedy. His acid wit underscored with her tender naivety, they are the quintessential odd couple.
 
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But as the film pokes along, it only really finds its footing when Philomena emerges as a comic presence. Her unexpected sexual asides catch the audience off guard and proves that there may be more behind her mousy-mopped facade than we expected at first glance. And once this Philomena as comic is out of the box, anything less from her feels flat – a sour disappointment.

Moving from one act to the next, the film begins to feel fundamentally disjointed. The first act is moody and glum, a mirror of the cloud-raked weather of their London setting. The second Washington D.C.-set act reveals newfound buoyancy after discovering the humor of the piece. But comedy is interrupted by tragedy and by the time the third act rolls around and we wind up in Ireland, the inflammatory and revelatory conundrum we’re put in finds both audience and characters doing a bit of a ballet on eggshells.

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We want to stand in Martin’s corner, lambasting the outrage of it all but we can’t help but marvel at Philomena’s incredible gifts of serenity. She’s the one who has been wronged and yet she is the only one capable of Biblical forgiveness. “I don’t want to be like you,” Philomena says, “I don’t want to spend my life hating people.” Hers is a power message to be sure but I’d be damned if it all the injustice doesn’t make you want to jump up and strangle someone.

Controversy stirred up by the MPAA and the Weinstein Company over the film’s rating – it was originally R but contested and changed to PG-13 – may have been a play to put this film more in the public eye but it’s clearly not a film that many youngsters will find much interest in. It’s thoughtful, sweet, and even challenging at times but it’s far from exciting and even tetters on the edge on boring at times.

Stephen Frears‘ effort is good at twisting our emotions but it’s not always clear which way he wants to twist them. Whether or not he’s intended to leave his audience feeling muddled and unsure, that is what he achieves. There’s tightly packed power packed in Philomena but I’m not entirely convinced that Frear knows where to aim his punches.

B

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