Cinematic Shame: Worst of the Year

year in review part 5 of several
COME SEE THE NEW BLOG FOR THE FINAL CELEBRATION OF 2010


I thought it would be tasteless to drop this lump of coal on Christmas so I saved it one day. It's naughty, not nice. But before we get to the unsatisfying trends, performances, and movies of the year, some caveats. I didn't see everything and am not, generally speaking, paid to attend terrible movies. Even when I'm doing freelance gigs, nobody has ever said to me "Nathaniel, we'd love for you to write a 3,000 word essay about Yogi Bear." [Editors of the world take note: I would totally do this for money.]

Most Repetitive Actor or Actress Dear Leonardo DiCaprio, you have now done three movies in a row where you're a tortured soul with an emotionally unstable dead wife. This is an even more specific brick-wall niche then when Jodie Foster kept getting trapped in small places or when Julianne Moore kept losing her children (imaginary or otherwise).

DiCaprio's new franchise!

It's time to shake things up. Throw us anything at all that's different than this. Love, a former fan who is bored of your worryface.

Unbest Actress This one was hard to choose as no one pled for the title. I didn't quite understand what Diane Lane was doing in the gold-hued Secretariat. She alternated between stiff and overemphatic playing which conjured mental images of someone trying to both be an Oscar and mime the actress winning one. While it's true that Christina Aguilera is no natural in Burlesque, she acquits herself better than some pop divas have in the past and the bulk of her role is singing (which you may have heard she does well). So if she's nominated for Razzies soon, that'll be just mean spirited. Therefore the prize must go to Katie Holmes who played a beautiful intellectual who loved nothing but poetry, philosophy and Josh Duhamel in The Romantics. Only the "beautiful" part was played convincingly.

Duhamel & Holmes: just your average poetry-quoting
post-graduate intellectuals.

Unbest Actor Aaron Johnson was mildly charismatic in Kick-Ass but in Nowhere Boy, the performance just didn't work and not only because he didn't look right for the part. He kept delivering a decent rendition of an arrogant semi-talented teen ... but where was the future John Lennon in that generic teenager? It's not easy to play a legendary charismatic performer. You've got to bring your own blazing showman's charisma along to function as a makeshift doppelganger.

Unbest Supporting Actress Early in the year I thought this might go to Ellen Page who was too listless in Inception as if she hadn't found any notes to add to an underwritten part but watching the film again, she was better than I remembered. Perhaps I expected a Juno or a Whip It level performance every time out? Still, this character was too much like the one she plays in the Cisco commercials. In both "Ellen Page" enters a room, exhibits curious disbelief about some new technological marvel and says something like  "neato. explain that to me again."

But the choice is clear. Frankly I don't know how you do what Melissa Leo did in The Fighter (best!) and also do what Melissa Leo did in Conviction (worst!) in the same calendar year. In the sports drama she plays a real character, in both senses of the word, with dynamic energy and insight. In the legal drama she plays a real character but as a character-free cartoon.  In scene after scene she was practically twirling an invisible mustache as the reprehensible cop who hates on Sam Rockwell. A lack of recognizable human nuance isn't always a problem if you're willing to go big-bigger-biggest, but she didn't. That's a huge problem when you're in a film with  a showboater (Juliette Lewis), a hard worker (Hilary Swank), a warm presence (Minnie Driver) and a natural (Sam Rockwell).

Unbest Supporting Actor Geoffrey Rush was so far over the top in Bran Nue Dae he was practically acting via satellite from an orbiting space station. But then, that's Rush's M.O. and judging on the rest of the insane musical film, they didn't hire him for subtlety.

But in the end, this came down to a death match between two young men who one presumes weren't hired for their thespian skills. Runner up is Reeve Carney in The Tempest. A block of wood could've out-acted him provided someone carved windpipes for it to sing with. But we're willing to give Carney a pass because he was brave enough to follow up the Tempest gig with another scary Julie Taymor project: Spider-Man: Turn off the Dark. The winner is Cam Gigandet who has never, one presumes, been hired specifically for acting skill. It's not that he doesn't have any. It's just that his musculature has often been the chief requirement, whether that's role-mandated or expected window-dressing. Inexplicably he must have been hired for his acting in Easy A and we also presume there was no audition. Or the casting director was stoned. May he never ever do comedy again! This story has a happy ending, though. Cam redeemed himself in Burlesque later in the year giving his most charming performance to date.


The Mysterious Case of the Vanishing Charisma I've already asked "How do you solve a problem like Christina?" so I shan't go there again. But post After.Life, one hopes that Ms. Ricci resurrects herself with her old sparkle.

Pearls Before Swine (Great performance in a lesser movie): Kirsten Dunst is so aching and intuitive in All Good Things that you desperately hope the movie will jettison all its other myriad parts (way too many parts) and focus on what's working: her. She's even doing the heavy lifting opposite Ryan Gosling who is weirdly undynamic this time, even with a role that begs for scenery-chewing dynamism in a "whoa, this dude is fucked up" kind of way.

Pearls Before Swine (Great scene in lesser movie): Harry Potter and the Deathly Hallows Pt 1 is, as previously stated, less a movie than a bookmark. But the actual 'Deathly Hallows' scene is an inspired use of storytelling within storytelling and the gorgeously stylized animation haunts. Too bad that scene wasn't released as a stand alone short film to tide you over between Half Blood Prince and a compact two hour Deathly Hallows movie.

Are you Terrible or Great?
Edward Norton acts his ass off in Stone. But w-h-a-t is he doing or should he even be doing it at all?

Tasteless (Tone)
[tie] Red & Kick-Ass. Killing people is HI-LAR-IOUS. And it's especially funny & cool when little kids or old people do it.

Hit Girl and hitwoman. "I kill people, dear."

Tasteless (Look)
Practically everything in Alice in Wonderland. It's as if "more" always always always equalled "not enough."

Edited with a Chainsaw
(3-way tie!) The Tempest triumphs in the "we can't find a rhythm other than 'all' rhythms" division. Stone wins in the "confusingly-artful" category. Finally, Kites wins the "too-eager-to-please but wrongheaded" division. "We're going to cutaway from this dance sequence that just started because we think you might get bored. We've heard Americans don't like that. Here's 17 more dewy close-ups. Oh wait, no, that'll bore you too. How about some action and a few dissolves? Dewy close-ups intermingled? A shoot-out? Flashback? Flashforward? What else you want? You like this movie, right?"

Special Prize for Audacious Randomness in an Opening Scene Secretariat opens by quoting the Biblical story of Job, who famously had it real tough. My favorite film review of the year is probably Andrew O'Hehir's review of Secretariat in Salon which is itself audacious and random but also insightful, provocative and hilarious. This is one of my favorite bits casually referencing that opening monologue.

This long-suffering female Job overcomes such tremendous obstacles as having been born white and Southern and possessed of impressive wealth and property, and who then lucks into owning a genetic freak who turned out to be faster and stronger than any racehorse ever foaled. And guess what? She triumphs anyway!

Worst Opening Never Let Me Go and Shutter Island, both spring from twist novels and strangely both clue you in immediately as to the twists that aren't coming for some time. Never... does this with maudlin voiceover and adult closeups "This will be tragic and sad but very handsomely made starring Carey Mulligan and Andrew Garfield," it whispers and then starts again as extended prologue with unknown child actors. Shutter Island starts with Leonardo, our hero?, already at sea both literally and emotionally. "Look at him. He's a mess," it warns. "And this is going to be extreme," it adds with a close-up on Leo's extremely wet anguish-face with isolating shots of a tiny ship in the vast seas. In both cases, wouldn't it have been better to let the story and emotional content develop organically and allow us to be undone by the gradual reveals of purpose and identity?

Worst Ending
Two good movies that didn't stick their landings: Salt and The Town. The Angelina Jolie actioner was a fun cartoon but it just ran out of steam and closed awkwardly with the unstoppable diva running through a nondescript landscape. One half expected a "next time on..." preview to play alongside the credits. But this isn't a television series and unless you paid Angie a ton of money in a sequel clause, we're not seeing that one. The Town, an often tense drama ends with a weirdly soft/happy conclusion. What's with the borrowing from The Bourne Identity... or am I remembering that film wrong? Plus there's that magic fruit which doesn't rot and the idea that he's atoning for his crimes... by hanging out in luxury with ample money in a far off location? Tough life! It as if we ended an intense workout and the instructor, fearing those heart-rates he egged on, demands a lengthy cool down period.

Hell's Multiplex: The Worst Films of the Year
Or worst that I personally happened to see. It's very likely you saw different "worsts".

Josh, Woody & Naomi meet a long red carpet.

10. YOU WILL MEET A TALL DARK STRANGER
Woody warns you away from his movie straight away by quoting Shakespeare. It's the 'told by an idiot. full of sound and fury, signifying nothing' bit. These new characters do mostly behave like idiots but the sound and fury aren't particularly fulsome. Here is only the ambient noise of second rate Allen dialogue and unshaped less-than-cathartic misanthropy. This is not the first Woody Allen movie to feature an important subplot about an unpublished manuscript but this may be the first Woody Allen movie to feel like an unfinished manuscript come to life; it wobbles around on two paper legs, poorly bound, unedited, a thin approximation of the humanity it observes with its ink eyes.

09. AFTER.LIFE [previous post]

08. LOVE RANCH
You'd think a movie about Helen Mirren running a whorehouse while sexing up a virile younger boxer and bossing Gina Gershon and Bai Ling around while Joe Pesci swears at everyone would have to be entertaining and frisky and shocking and dangerous, exciting to look upon, superbly-acted and alive. You'd be wrong. You'd be so wrong.

07. THE ROMANTICS [review]

06. REPO MEN
Needlessly sadistic, grimy-looking and strangely insufficient if not entirely devoid in the chemistry department despite the good actors milling about. P.S. If you're going to plagiarize another movie, like say Oldboy (2003), try not to be so obvious about it or at least, only sample it. Don't lift an entire scene!

05. THE WOLF MAN [review]

04. PRINCE OF PERSIA: THE SANDS OF TIME
Feels constructed on an assembly line, with no one ever thinking (or daring?) too put a personal stamp on the material, or even a loving idiosyncratic flourish on any scene. Tell us humans had a hand in making this, please. Footsteps vanish in the sand, and this movie blows away, too. Can you recall any detail?

03. STONE
I'd be happy to read a defense of this because, I'll be totally honest, I have no idea what this movie was on about. (I loved John Curran's last picture The Painted Veil so would like to extend the benefit of the doubt.)

02. THE TEMPEST
Having twenty-four visual ideas is not the same thing as a possessing strong visual storytelling skill. Assembling a group of famous actors is not the same thing as directing them. Attention grabbing gender-blind casting is not the same thing as saying something about character or gender. And so on.

run away... run away...  from The Tempest

01. TIM BURTON'S ALICE IN WONDERLAND
I've literally seen all of Tim Burton's work (there's not a ton of prolific auteurs who I can say that about unfortunately). I've seen the shorts, the films, the gallery showings. I've taken to obnoxiously referring to this movie as Eyesore in Wonderland but I could safely call this Tim Burton's Nadir because I've seen it all. That isn't as catchy a title and it's also hella depressing. I'd rather watch Planet of the Apes on loop than ever go near this one again. [Long-winded hatred for this movie here.]

Which movies made you desperate for the closing credits this year? And which moments in good movies were surprisingly bad?

YEAR END "BESTS"

More Critics: Oklahoma, Austin, Women Film Critics...

If you'd like to discuss the latest round of critics awards, have at it.

Three more groups have announced and so the usual suspects play the game of musical chairs. The most interesting note right off the bat is that the Women Film Critics Circle have bestowed an award on Black Swan that isn't a flattering one. They've given it "Worst Female Images in a Movie".

I understand the impulse behind this sort of "tsk-tsk"ing  having been burned over the years with the often problematic depiction of gay characters but I think it's wrong-headed to a degree.




Black Swan is about a very specific drumtight world and a very specific tightly strung character completely encased in that world. In other words, this is not a portrait of Woman in the broader sense. What's more one can even argue that just about every person in the film is presented in an unreliable way, the whole picture being influenced by Nina's own psyche.  Furthermore, the film screws around with genres (horror and psychological thrillers) which could easily be undone by positive portrayals. Nina is no positive role model (for ballerinas, for artists, for bisexual or gay women, for anyone); she has a lot of issues. But this "award" seems to miss the point of what the movie is.

Identity politics isn't always the best way to judge art. I've made the same mistake myself but if you're too focused on it the dark side is that you're in danger of promoting vanilla-flavored art or pedantic work that's better suited to generic uplift or sermonizing than deeper artistic merit.  Even so I'm always interested in what they have to say and some different films get prizes here. Yes!

Mother Bening (and random Child)

Women Film Critics Circle
Best Movie About Women Mother & Child
Best Movie By A Woman Debra Granik's Winter's Bone
Best Woman Storyteller [Screenplay] Lisa Cholodenko, The Kids Are All Right
Best Actor  Colin Firth, The King's Speech
Best Actress Annette Bening in The Kids Are All Right
Best Young Actress Jennifer Lawrence in Winter's Bone
Best Comedic Actress  Annette Bening in The Kids Are All Right
Best Foreign Film by or About Women (tie) Mother (South Korea) and Women Without Men (Iran)
Best Female Images in a Movie  Conviction
Worst Female Images in a Movie Black Swan
Best Male Images in a Movie  (tie) Another Year and The King's Speech
Worst Male Images in a Movie Jackass 3D
Best Theatrically Undistributed Movie Temple Grandin
Best Equality of the Sexes  (tie) Another Year and Fair Game
Best Animated Females Despicable Me
Best Family Film Toy Story 3
Lifetime Achievement  Helen Mirren
Acting & Activism Award Lena Horne
Adrienne Shelley Award (Films Opposing Violence Against Women) Winter's Bone
Josephine Baker Award (Women of Color Experience Award) For Colored Girls
Karen Morley Award (Women's History) Fair Game
Courage in Acting  Helen Mirren in The Tempest
Invisible Woman Award (Ignored Performance) Q'Orianka Kilcher in The Princess Kaluhani
Best Documentary by a Woman A Film Unfinished
Best Ensemble Mother & Child
Best Screen Couple Tom & Gerri (Jim Broadbent & Ruth Sheen)

• It's nice to see Another Year (to which that does not apply) get some kudos... and though I have a couple of very minor concerns about the movie I do love the central portrait of Tom & Gerri quite a whole lot. They're a wonderful happily married screen couple and you sure don't see many portraits of that on screen.
• A lot of love for Winter's Bone here. It seems safe for a Best Picture nod given how well it's done in the precursors... but we've still got the problem of 11 or 12 films doing well and only 10 slots.
• Can someone explain to me how Helen Mirren is being courageous by starring in The Tempest? Is this because Julie Taymor is so dangerous to actors. (Sorry, couldn't help it.)

Oklahoma Film Critics
Best Picture The Social Network
Top Ten The Social Network, Inception, Black Swan, The Fighter, Winter's Bone, True Grit, The King's Speech, Toy Story 3, The Kids Are All Right and 127 Hours
Best Director David Fincher, The Social Network
First Feature Chris Morris, Four Lions
Obviously Worst Movie Sex & the City 2
Not-So-Obviously Worst Movie Alice in Wonderland
Best Actress Natalie Portman, Black Swan
Best Actor  Jesse Eisenberg, The Social Network
Best Supporting Actress Mila Kunis, Black Swan
Best Supporting Actor Christian Bale, The Fighter
Best Adapted Screenplay Aaron Sorkin, The Social Network
Best Original Screenplay  Chris Nolan, Inception
Best Documentary Exit Through The Gift Shop
Best Animated Film Toy Story 3
Best Foreign Film A Prophet

• I have nothing to say.

Austin Film Critics Association
Best Picture Black Swan
Top Ten Black Swan, The Social Network, Inception, Toy Story 3, The King's Speech, True Grit, The Fighter, A Prophet, Winter's Bone and Scott Pilgrim vs. The World
Best Director Darren Aronofsky, Black Swan
First Film Gareth Edwards, Monsters
Best Actress Natalie Portman, Black Swan
Best Actor  Colin Firth, The King's Speech
Best Supporting Actress Hailee Steinfeld, True Grit
Best Supporting Actor Christian Bale, The Fighter
Best Adapted Screenplay Aaron Sorkin, The Social Network
Best Original Screenplay  Black Swan
Best Original Score Daft Punk, Tron: Legacy
Best Cinematography Matthew Libatique, Black Swan
Breakthrough Chloe Moretz, Kick-Ass/Let Me In
Austin Film Award  Ben Steinbauer's Winnebago Man
Best Documentary Exit Through The Gift Shop
Best Animated Film Toy Story 3
Best Foreign Film A Prophet
Special Honorary Award Friday Night Lights (for producing excellent, locally made television and contributing to the film community in Austin for the past five years)

• You'd think Oklahoma and Austin were Twin Cities proximate given how closely their opinions align. In fact, looking over top ten lists from numerous critics groups and looking at pundit predictions for Oscar's Best Picture's it seems like we're heading for an exact consensus match (or close enough). It's like nobody loves anything other than about 12 movies. Either that or the decimation of critical jobs has resulted in critics organizations full of people who maybe don't have as diverse or adventurous of taste as they used to...? Or are critical taste shifting ever more toward Oscar's middlebrow tastes... Or are Oscar's middlebrow tastes shifting towards critical consensus? ...Or are both moving inexorably towards the center where we'll share one brain. I'm asking this in a silly way but it is a little disturbing. I guess this is why Armond White seems more famous than he used to be. Being a contrarian is no longer a common critical position ;)
• I can't resist pushing this button since we'd just had a theme week "Older Actresses get no respect" and I was called "Reverse Ageist". But Austin likes 'em even younger than Chicago. They've never awarded Best Actress to anyone over 29 in their entire existence. And this year's average age (3 girls awarded) is 18 years of age! Hee. Why do I like to push buttons? I do not know.
• Super happy to see Friday Night Lights honored. Aren't you?

BIFA: The King's (Acceptance) Speech and Other Oscar Matters

You guys. I'm so not (quite) ready for this. It's only November 1st and in English language cinema we've already had at least three awards lineups outside of the film festivals: NY's Gotham Awards, Australia's AFI, and now BIFA... which translates to the British Independent Film Awards.

BIFA considers Oscar-buzzing Lesley Manville as "Supporting"

It will surprise virtually no one that the Oscar hopeful Brit films like The King's Speech (and all of its actors), Made in Dagenham and Another Year are in play for various prizes. It may surprise some that the indifferently received Never Let Me Go, the divisive Kick-Ass, and the largely undiscussed Brighton Rock received multiple nominations as well.

A complete list of nominees (with Oscar-adjacent comments) follows after the jump but I shan't clog the main page with these über long lists that each awards groups hands out.

BEST BRITISH INDEPENDENT FILM

• 
Four Lions

• Kick-Ass

• The King’s Speech

• Monsters
• 
Never Let Me Go

Interesting that Another Year did not make the "Best Film" list, despite important nominations elsewhere. BIFA has no problem with "genre" films as evidenced by the inclusion of both Monsters & Kick-Ass. I'm sure there will be pockets of online rejoicing if this film gets an awards run. I'd like to kick the ass of anyone who votes for it though. Metaphorically speaking! I'm mostly a pacifist. Plus an 11 year-old girl could probably kick my ass in real life, even if she didn't have Hit Girl's training.

BEST DIRECTOR


• Mike Leigh - Another Year

• Matthew Vaughn - Kick-Ass

• Tom Hooper - The King’s Speech

• Gareth Edwards - Monsters

• Mark Romanek - Never Let Me Go

Leigh and Hooper are safely in the hunt for Best Director Oscar nominations. The rest of them, well, at least they have this homegrown honor to brag on.

BEST DEBUT DIRECTOR [THE DOUGLAS HICKOX AWARD]


• Debs Gardner Paterson - Africa United

• Clio Barnard - The Arbor

• Rowan Joffe - Brighton Rock
• 
Chris Morris - Four Lions

• Gareth Edwards - Monsters

I was confused about Rowan's nomination here until I remembered this wasn't Roland Joffe but his son. Clio Barnard (pictured left) recently on "best newcomer" at the  BFI London Film Festival for the same film. It's a documentary that's also apparently an acted biopic (it's one of those uncategorizables) about the playwright Andrea Dunbar and her experience growing up in a housing project in Northern England.

BEST SCREENPLAY


• Jesse Armstrong, Sam Bain, Simon Blackwell, Christopher Morris - Four Lions

• Jane Goldman & Matthew Vaughn - Kick-Ass

• David Seidler - The King’s Speech

• William Ivory - Made In Dagenham

• Alex Garland - Never Let Me Go

BEST ACTRESS


• Manjinder Virk - The Arbor

• Ruth Sheen - Another Year

• Andrea Riseborough - Brighton Rock

• Sally Hawkins - Made In Dagenham

• Carey Mulligan - Never Let Me Go



Good on Ruth and Sally who are both subtly fantastic in their movies.

BEST ACTOR

Colin Firth probably won't stutter during his Oscar acceptance speech

• 
Jim Broadbent - Another Year

• Riz Ahmed - Four Lions

• Colin Firth - The King’s Speech
• 
Scoot McNairy - Monsters

• Aidan Gillen - Treacle Junior

I suspect this is the only place we'll see honors for Jim Broadbent because Ruth Sheen has the screentime in Another Year and Lesley Manville the showiest character. More pointedly: anyone wanna wager how many Best Actor prizes Colin Firth is going to have to accept this year.... 5? 10? 15? 20? 25? All? I always forget to count but I think there's something crazy like 30+ prizes one can win during precursor and Oscar season.

BEST SUPPORTING ACTRESS


• Lesley Manville - Another Year

• Helena Bonham Carter - The King’s Speech

• Rosamund Pike - Made In Dagenham

• Keira Knightley - Never Let Me Go

• Tamsin Greig - Tamara Drewe

Interesting that in the two "local" awards so far (this and the AFI) we've seen Oscar contenders show up in the opposite category in which they've been pegged for Oscar consideration. It's safe to assume that Jacki Weaver would only be Supporting in her American awards run (despite the "lead" vote in Australia, where she's "a national treasure" according to her director and co-stars) but Manville could obviously go either way, depending on how the Another Year campaign plays out. The most interesting inclusion here is Rosamund Pike. She has a couple really great scenes in Dagenham -- and was my favorite supporting actress in the film -- but I had expected that Miranda Richardson, a more well known 'prestige' actress, would be the one to win honors and Oscar traction. Maybe not?

BEST SUPPORTING ACTOR


• Kayvan Novak - Four Lions

• Guy Pearce - The King’s Speech

• Geoffrey Rush - The King’s Speech
• 
Bob Hoskins - Made In Dagenham
• 
Andrew Garfield - Never Let Me Go



<-- Hi, Kayvan! Nice to meet'cha. About this list: I'm pleased for Garfield. As you know, I really loved him in that movie. Meanwhile: This is the first memory jog I've been given that Guy Pearce is in The King's Speech since all the buzz and the trailer attention and whatnot is on the central three characters (Geoffrey, Helena and Colin).

MOST PROMISING NEWCOMER

• 
Manjinder Virk - The Arbor
• 
Andrea Riseborough - Brighton Rock

• Tom Hughes - Cemetery Junction
• 
Joanne Froggatt - In Our Name
• 
Conor McCarron - Neds

Riseborough (pictured right in Toronto -- must have been a crazy year for her) was amazing in Never Let Me Go with almost nothing to work with and also highly watchable in Made in Dagenham in another sideshow role so I'm curious if she's even better in Brighton Rock with a big meaty role? Is more truly more with Andrea? I'm intrigued.

BEST ACHIEVEMENT IN PRODUCTION

• 
The Arbor
• 
In Our Name
• 
Monsters

• Skeletons

• Streetdance 3D

RAINDANCE AWARD

• Brilliant Love
• Jackboots On
• Whitehall Legacy
• Son of Babylon
• Treacle Junior

BEST TECHNICAL ACHIEVEMENT


• The Arbor - Sound - Tim Barker

• Brighton Rock - Cinematography - John Mathieson

• The Illusionist - Animation - Sylvain Chomet

• The King’s Speech - Production Design - Eve Stewart

• Monsters - Visual Effects - Gareth Edwards



BEST DOCUMENTARY


• The Arbor
• 
Enemies of the People
• 
Exit Through the Gift Shop
• 
Fire In Babylon

• Waste Land

BEST BRITISH SHORT

• 
Baby

• Photograph Of Jesus

• Sign Language
• 
Sis

• The Road Home



Wow. I've actually seen one of these. Photography of Jesus, about photo archive requests, is cute and interesting and well animated. You can watch it here. Better yet, it doesn't outstay its welcome (which is always a plus whether we're talking short or feature length films).

BEST FOREIGN FILM


• Dogtooth
• 
I Am Love

• A Prophet

• The Secret In Their Eyes

• Winter’s Bone

An odd mix of last year's Oscar nominees (Prophet, Secrets), a current submission (Dogtooth) and two directorial feats that are strangely mostly discussed only in terms of their fine leading actresses (Love, Bone).

NOT YET ANNOUNCED
The Richard Harris (Outstanding Contribution Award), Variety Award and Special Jury Prize have not yet been announced.

And there you have it. What do you make of all of this?
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