Oh crap. It seems like yesterday I was still debating shorts or parka as movie theater couture. Hey, they keep multiplexes colder than a morgue, people! But today, I realized that I missed the official announcement and the Golden Globes race is officially on! My thoughts? Lemme blab ’em (info shamelessly ripped off of the pages of the glorious Golden Globe Web site):
BEST MOTION PICTURE – DRAMA
THE IDES OF MARCH
My thoughts? Okay, for one; Sofia Vergara isn’t just a gorgeous, talented comedic actress, she’s a savvy producer (her company produced The Descendants)? Damn. And two, from what I’ve seen, Descendants should take this one, though Moneyball could sneak in…and don’t count out War Horse. The Foreign Press Association could be in the mood for a shiny feel good horsey movie.
BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – DRAMA
GLENN CLOSE ALBERT NOBBS
VIOLA DAVIS THE HELP
ROONEY MARA THE GIRL WITH THE DRAGON TATTOO
MERYL STREEP THE IRON LADY
TILDA SWINTON WE NEED TO TALK ABOUT KEVIN
Since I’ve only seen The Help & Tattoo, I’m at a loss. Dammit. But Mara’s balls-out performance is breathtaking, and Davis’ banked but slowly simmering fire in The Help are gonna make this a tough category to guess. Buzz about Swinton and Streep only serve to make this an even rougher race. Great for moviegoers, but no actress here will be able to count herself in, or out, of the running.
BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – DRAMA
GEORGE CLOONEY THE DESCENDANTS
LEONARDO DICAPRIO J. EDGAR
MICHAEL FASSBENDER SHAME
RYAN GOSLING THE IDES OF MARCH
BRAD PITT MONEYBALL
Though I love to see Pitt really coming into his own as an actor, and Clooney was amazing in Descendants, it’s probably Fassbender’s show. I wasn’t a fan of Shame (more plot, please), but his performance was nothing short of breathtaking. And voters love them some rough road to hoe, and that movie’s subject matter was tough indeed.
BEST MOTION PICTURE – COMEDY OR MUSICAL
MIDNIGHT IN PARIS
MY WEEK WITH MARILYN
I’m really rooting for Marilyn here. Though Bridesmaids was hilarious and really seems to have caught on with everyone and their grandmother, My Week With Marilyn was compelling, sweet, touching and capped off with an amazing performance by all concerned. Though with the Foreign Press, Midnight In Paris could pull an upset, but it’s earlier in the year release could dampen it’s chances.
BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – COMEDY OR MUSICAL
JODIE FOSTER CARNAGE
CHARLIZE THERON YOUNG ADULT
KRISTEN WIIG BRIDESMAIDS
MICHELLE WILLIAMS MY WEEK WITH MARILYN
KATE WINSLET CARNAGE
I’m dying to see Carnage. DYING. I’m a huge fan of Who’s Afraid of Virginia Woolf, so I’m guessing this will be a modern spin on that tale (plus, I’ve heard amazing things about God of Carnage, the play on which this movie is based.) ‘Til then, I’m going with Williams. Her performance isn’t a performance at all; it’s more like she has channeled Norma Jean and allowed us to watch her do it. Theron should also be commended: her portrayal of an unlikable shrew reminds us that Monster was no fluke. The gal has chops.
BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – COMEDY OR MUSICAL
JEAN DUJARDIN THE ARTIST
BRENDAN GLEESON THE GUARD
JOSEPH GORDON-LEVITT 50/50
RYAN GOSLING CRAZY, STUPID, LOVE.
OWEN WILSON MIDNIGHT IN PARIS
Sigh. Again, limited exposure handicaps me here. But even though I’ve only seen one movie, that’s the performance I’m rooting for. Owen Wilson does Woody Allen proud, and I’m hoping he gets recognized for it. However, huge kudos have been given to Dujardin, and Gordon-Levitt’s turn as a young man struggling with cancer will probably overshadow Wilson.
BEST ANIMATED FEATURE FILM
THE ADVENTURES OF TINTIN
PUSS IN BOOTS
Puss In Boots! Puss In Boots! Oh, who am I kidding? Though I’d love to see that movie win, it’s doubtful. With the Foreign Press, I’d be astounded if Tintin – the hero of European kiddies everywhere – didn’t nab this. Poor Rango, with it’s earlier in the year release and lukewarm reception, will be passed over. Pity. I love a good chameleon western.
BEST FOREIGN LANGUAGE FILM
THE FLOWERS OF WAR (CHINA)
IN THE LAND OF BLOOD AND HONEY (USA)
THE KID WITH A BIKE (BELGIUM)
A SEPARATION (IRAN)
THE SKIN I LIVE IN (SPAIN)
Okay, so The Skin I Live In freaked me out a bit. But it’s Pedro Almodóvar doing what Pedro Almodóvar does best (being wild & wacky), so there’s that. But I’m rooting for The Flowers Of War. No, not because it’s got Batman as a lead. It’s because I’m a sucker for real-life stories, and this sounds like a Schindler’s List-type of film. And who doesn’t love a story of someone who helps people survive almost inconceivable horrors?
BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A MOTION PICTURE
BERENICE BEJO THE ARTIST
JESSICA CHASTAIN THE HELP
JANET MCTEER ALBERT NOBBS
OCTAVIA SPENCER THE HELP
SHAILENE WOODLEY THE DESCENDANTS
As much as I love Chastain — this really is her year, and she should be recognized for her ability to crank out so many absolutely amazing performances — my hopes are on Spencer.
BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A MOTION PICTURE
KENNETH BRANAGH MY WEEK WITH MARILYN
ALBERT BROOKS DRIVE
JONAH HILL MONEYBALL
VIGGO MORTENSEN A DANGEROUS METHOD
CHRISTOPHER PLUMMER BEGINNERS
Branagh does a great job as Sir Lawrence, but Mortensen and Cronenberg are a great combo. Still, Plummer could nab this one for his turn as an older man finally becoming who he is. Plus, he did a great job in Dragon Tattoo, so voters could pick him for that alone.
BEST DIRECTOR – MOTION PICTURE
WOODY ALLEN MIDNIGHT IN PARIS
GEORGE CLOONEY THE IDES OF MARCH
MICHEL HAZANAVICIUS THE ARTIST
ALEXANDER PAYNE THE DESCENDANTS
MARTIN SCORSESE HUGO
I love that Scorsese tipped his hat to so many beloved old movies, but that may not be enough here. Ides has a powerful story and The Artist and The Descendants has gotten great press…but I have a feeling Woody Allen could add this year’s award to his collection. It’s the best work he’s done in years.
BEST SCREENPLAY – MOTION PICTURE
WOODY ALLEN MIDNIGHT IN PARIS
GEORGE CLOONEY, HESLOV, BEAU WILLIMON THE IDES OF MARCH
MICHEL HAZANAVICIUS THE ARTIST
ALEXANDER PAYNE, NAT FAXON, JIM RASH THE DESCENDANTS
STEVEN ZAILLIAN, AARON SORKIN MONEYBALL
Allen made the transition from decade to decade to decade understandable and plausible. Clooney et al. wrote a stinging look at our political process. But Hazanavicius did it all SILENTLY (well, almost.) Bravo.
BEST ORIGINAL SCORE – MOTION PICTURE
LUDOVIC BOURCE THE ARTIST
ABEL KORZENIOWSKI W.E.
TRENT REZNOR, ATTICUS ROSS THE GIRL WITH THE DRAGON TATTOO
HOWARD SHORE HUGO
JOHN WILLIAMS WAR HORSE
As much as I want to just shout out FUCK YEAH REZNOR & ROSS!!!? I should probably settle down a bit. Williams’ work for War Horse is, as always, amazing. W.E.’s soundtrack has been chatted about, but whether that’s Madonna’s work or Korzeniowski’s remains to be seen. And don’t underestimate the power of Bource’s work for The Artist, a silent film that is carried for almost all of the film by the strength of it’s background music. Still? Dragon Tattoo‘s moody, evocative score is brilliant. FUCK YEAH REZNOR & ROSS!!!
BEST ORIGINAL SONG – MOTION PICTURE
“HELLO HELLO” — GNOMEO & JULIET (Music by: Elton John; Lyrics by: Bernie Taupin)
“THE KEEPER” — MACHINE GUN PREACHER (Music & Lyrics by: Chris Cornell)
“LAY YOUR HEAD DOWN” — ALBERT NOBBS (Music by: Brian Byrne; Lyrics by: Glenn Close)
“THE LIVING PROOF” — THE HELP (Music by: Mary J. Blige, Thomas Newman, Harvey Mason, Jr.; Lyrics by: Mary J. Blige, Harvey Mason, Jr., Damon Thomas)
“MASTERPIECE” — W.E. (Music & Lyrics by: Madonna, Julie Frost, Jimmy Harry)
Love Elton. Love Chris Cornell. But the moment I heard “The Living Proof”, I was amazed.
Okay, that’s it for the movies. I may come back to do the TV shows, but right now? Still digesting those noms.
My wish-list for the Globes? I would have liked to have seen We Bought A Zoo get a nom for music, but since most of the tunes are from Sigur Rós and frontman Jónsi, I’m guessing that wasn’t in the cards. I would have also loved to have seen Jessica Chastain nominated for Take Shelter, Elizabeth Olsen get a nod for Martha Marcy May Marlene, and Vera Farmiga getting a director’s nod for the low-key but moving Higher Ground.