Last night’s Oscars weren’t full of a lot of surprises, especially at the top, where The King’s Speech took home the awards for Best Picture, Best Original Screenplay, Best Actor for Colin Firth and, in a slight surprise, Best Director for Tom Hooper, who beat out David Fincher for the Social Network. Speaking of the Facebook movie, the early Oscar frontrunner only ended up with two statues, one for Trent Reznor and Atticus Ross for Best Original Score and the other for Aaron Sorkin for Best Adapted Screenplay. Also unsurprisingly, Natalie Portman won Best Actress for Black Swan, and Melissa Leo and Christian Bale won the supporting categories, both for The Fighter. See the complete list below:
BEST PICTURE:
Black Swan
The Fighter
Inception
The Kids Are All Right
The King’s Speech
127 Hours
The Social Network
Toy Story 3
True Grit
Winter’s Bone
DIRECTING:
Darren Aronofsky, Black Swan
David O. Russell, The Fighter
Tom Hooper, The King’s Speech
David Fincher, The Social Network
Joel and Ethan Coen, True Grit
ACTOR IN A LEADING ROLE:
Javier Bardem, Biutiful
Jeff Bridges, True Grit
Jesse Eisenberg, The Social Network
Colin Firth, The King’s Speech
James Franco, 127 Hours
ACTRESS IN A LEADING ROLE:
Annette Bening, The Kids Are All Right
Nicole Kidman, Rabbit Hole
Jennifer Lawrence, Winter’s Bone
Natalie Portman, Black Swan
Michelle Williams, Blue Valentine
ACTOR IN A SUPPORTING ROLE:
Christian Bale, The Fighter
John Hawks, Winter’s Bone
Jeremy Renner, The Town
Geoffrey Rush, The King’s Speech
Mark Ruffalo, The Kids Are All Right
ACTRESS IN A SUPPORTING ROLE:
Amy Adams, The Fighter
Helena Bonham Carter, The King’s Speech
Melissa Leo, The Fighter
Hailee Steinfeld, True Grit
Jackie Weaver, Animal Kingdom
ADAPTED SCREENPLAY:
127 Hours (Fox Searchlight), Screenplay by Danny Boyle & Simon Beaufoy
The Social Network (Sony Pictures Releasing), Screenplay by Aaron Sorkin
Toy Story 3 (Walt Disney), Screenplay by Michael Arndt. Story by John Lasseter, Andrew Stanton and Lee Unkrich
True Grit (Paramount), Written for the screen by Joel Coen & Ethan Coen
Winter’s Bone (Roadside Attractions), Adapted for the screen by Debra Granik & Anne Rosellini
ORIGINAL SCREENPLAY:
Another Year (Sony Pictures Classics), Written by Mike Leigh
The Fighter (Paramount), Screenplay by Scott Silver and Paul Tamasy & Eric Johnson. Story by Keith Dorrington & Paul Tamasy & Eric Johnson
Inception (Warner Bros.), Written by Christopher Nolan
The Kids Are All Right (Focus Features), Written by Lisa Cholodenko & Stuart Blumberg
The King’s Speech (The Weinstein Company), Screenplay by David Seidler
FOREIGN LANGUAGE FILM:
Biutiful
Dogtooth
In a Better World
Incendies
Outside the Law
ANIMATED FEATURE FILM:
How to Train Your Dragon
The Illusionist
Toy Story 3
CINEMATOGRAPHY:
Black Swan (Fox Searchlight) Matthew Libatique
Inception (Warner Bros.) Wally Pfister
The King’s Speech (The Weinstein Company) Danny Cohen
The Social Network (Sony Pictures Releasing) Jeff Cronenweth
True Grit (Paramount) Roger Deakins
FILM EDITING:
Black Swan (Fox Searchlight) Andrew Weisblum
The Fighter Paramount Pamela Martin
The King’s Speech (The Weinstein Company) Tariq Anwar
127 Hours (Fox Searchlight) Jon Harris
The Social Network (Sony Pictures Releasing) Angus Wall and Kirk Baxter
DOCUMENTARY:
Exit through the Gift Shop (Producers Distribution Agency) Banksy and Jaimie D’Cruz A Paranoid Pictures Production
Gasland Josh Fox and Trish Adlesic A Gasland Production
Inside Job (Sony Pictures Classics) Charles Ferguson and Audrey Marrs
Restrepo (National Geographic Entertainment) Tim Hetherington and Sebastian Junger An Outpost Films Production
Waste Land Lucy Walker and Angus Aynsley (Arthouse Films) An Almega Projects Production
DOCUMENTARY SHORT SUBJECT
Killing in the Name (dir: Jed Rothstein)
Poster Girl (dir: Sara Nesson)
Strangers No More (dir: Karen Goodman and Kirk Simon)
Sun Come Up (dor: Jennifer Redfearn and Tim Metzger)
The Warriors of Qiugang (dir: Ruby Yang and Thomas Lennon)
ORIGINAL SCORE:
How to Train Your Dragon (Paramount) John Powell
Inception (Warner Bros.) Hans Zimmer
The King’s Speech (The Weinstein Company) Alexandre Desplat
127 Hours (Fox Searchlight) A.R. Rahman
The Social Network (Sony Pictures Releasing) Trent Reznor and Atticus Ross
ORIGINAL SONG:
Coming Home from Country Strong (Sony Pictures Releasing (Screen Gems)) Music and Lyric by Tom Douglas, Troy Verges and Hillary Lindsey
I See the Light from Tangled (Walt Disney) Music by Alan Menken Lyric by Glenn Slater
If I Rise from 127 Hours (Fox Searchlight) Music by A.R. Rahman Lyric by Dido and Rollo Armstrong
We Belong Together from Toy Story 3 (Walt Disney) Music and Lyric by Randy Newman
VISUAL EFFECTS:
Alice in Wonderland (Walt Disney) Ken Ralston, David Schaub, Carey Villegas and Sean Phillips
Harry Potter and the Deathly Hallows Part 1 (Warner Bros.) Tim Burke, John Richardson, Christian Manz and Nicolas Aithadi
Hereafter (Warner Bros.) Michael Owens, Bryan Grill, Stephan Trojanski and Joe Farrell
Inception (Warner Bros.) Paul Franklin, Chris Corbould, Andrew Lockley and Peter Bebb
Iron Man 2 (Paramount and Marvel Entertainment, Distributed by Paramount) Janek Sirrs, Ben Snow, Ged Wright and Daniel Sudick
ART DIRECTION:
Alice in Wonderland (Walt Disney), Robert Stromberg (Production Design), Karen O’Hara (Set Decoration)
Harry Potter and the Deathly Hallows Part 1 (Warner Bros.), Stuart Craig (Production Design), Stephenie McMillan (Set Decoration)
Inception (Warner Bros.), Guy Hendrix Dyas (Production Design), Larry Dias and Doug Mowat (Set Decoration)/span>
The King’s Speech (Paramount), Eve Stewart (Production Design), Judy Farr (Set Decoration)
True Grit (Paramount), Jess Gonchor (Production Design), Nancy Haigh (Set Decoration)
COSTUME DESIGN:
Alice in Wonderland (Walt Disney) Colleen Atwood
I Am Love (Magnolia Pictures) Antonella Cannarozzi
The King’s Speech (The Weinstein Company) Jenny Beavan
The Tempest (Miramax) Sandy Powell
True Grit (Paramount) Mary Zophres
MAKEUP
Barney’s Version, Adrien Morot
The Way Back, Edouard F. Henriques, Gregory Funk and Yolanda Toussieng
The Wolfman, Rick Baker and Dave Elsey
SHORT FILM, ANIMATED
Day & Night (dir: Teddy Newton)
The Gruffalo (dir: Jakob Schuh and Max Lang)
Let’s Pollute (dir: Geefwee Boedoe)
The Lost Thing (dir: Shaun Tan and Andrew Ruhemann)
Madagascar, carnet de voyage (Madagascar, a Journey Diary)
SHORT FILM, LIVE ACTION
The Confession (dir: Tanel Toom)
The Crush (dir: Michael Creagh)
God of Love (dir: Luke Matheny)
Na Wewe (dir: Ivan Goldschmidt)
Wish 143 (dir: Ian Barnes and Samantha Waite)
SOUND EDITING
Inception, Richard King
Toy Story 3, Tom Myers and Michael Silvers
Tron: Legacy, Gwendolyn Yates Whittle and Addison Teague
True Grit, Skip Lievsay and Craig Berkey
Unstoppable, Mark P. Stoeckinger
SOUND MIXING
Inception, Lora Hirschberg, Gary A. Rizzo and Ed Novick
The King’s Speech, Paul Hamblin, Martin Jensen and John Midgley
Salt, Jeffrey J. Haboush, Greg P. Russell, Scott Millan and William Sarokin
The Social Network, Ren Klyce, David Parker, Michael Semanick and Mark Weingarten
True Grit, Skip Lievsay, Craig Berkey, Greg Orloff and Peter F. Kurland
After all the speculation, we finally have our nominees! The King’s Speech lead the nominations with twelve, with The Social Network also doing pretty darn good. The nominations are below, along with our suggestions of who was snubbed in the major categories. We’ll have some more insightful predictions to share before the February 27 ceremony.
It doesn’t take long for you to realize you’re going to like The Kids Are All Right. The film’s leads Anette Benning, Julianne Moore, and Mark Ruffalo ooze charm and charisma, and the writing is incredibly sharp and witty. The film has a lot of heart too, and that’s what keeps it grounded and so enjoyable to watch. As studios keep looking for more indie films to be surprise hits (The Little Miss Sunshine Theory), let’s hope they keep finding films like The Kids Are All Right. (M)
Greek director Giorgos Lanthimos’ Dogtooth is simultaneously frightening and funny, mixing dark humor with moment of legitimate terror as he weaves a story of three young adults who have been brainwashed and held as prisoners by their parents for reasons the film never seems interested in going into. The movie is pitch-black and disturbing, puncuated with moments of brutal violence, but it never loses the humanity of its main characters, even as it presents riduclous images like the scene where the father has them bark like dogs to ward off the grave threat of a cat. (J)
Intelligence and sophistication are not traits generally associated with summer blockbusters, probably because of Hollywood’s general assumption that no one goes to see those movies. But not only did Inception manage to deliver a fun movie that didn’t condescend or oversimplify, but it was a huge success, proving that movies don’t have to be dumb to sell. For introducing totems and dream levels into our cultural lexicon and for having some of the most stunning effects and imagery that we’ve seen, Inception proved that even in this age of niche culture, it is possible to leave a mark. (J)
For a movie that takes place mostly in one location and with one actor, Danny Boyle’s latest is an incredibly fun film. Rather than relying on expected, straight-up flashbacks, Boyle uses dreamlike memories and video confessions to add implied depth to James Franco’s Aaron Ralston. The graphic amputation scene got the most attention, but Franco is the film’s center, keeping it entertaining, and earning it a spot on this list, a feat not every actor could pull off. (M)
Pixar proved they really can do no wrong (so far) with the third and final installment of the Toy Story series. Toy Story 3 did everything the studio does best: it was gorgeously animated, clever, sweet, and a lot of fun to watch. As good as the first one is, it was a bit of a gimmick at the time, but Toy Story 3 is a well done piece of art. Who knew that an animated cowboy and space ranger could have such a strong emotional bond with their audience. (M)
Banksy’s documentary starts off as a straightforward look into the street art movement before taking a series of increasingly entertaining left turns. To say more would be to give away too much about the year’s most unpredictable and engaging documentary (which is saying something in a year that produced a number of intriguing documentaries like Catfish). What’s real and what isn’t becomes harder and harder to nail down, but the questions about the nature of art and commerce ring in our ears long after the movie is over. (J)
Like any good invention, Facebook left a trail of bruised egos and broken friendships in its wake and The Social Network drudges them all up, thanks to a zippy screenplay from Aaron Sorkin and typically terrific direction from David Fincher. Fincher’s direction adds a layer of menace, helped along by Trent Reznor and Atticus Ross’ eerie score, that shows just how potent and explosive it can be when the pressures of business blend with the uncertainties and angst of youth. The result is a movie that raised questions about our own lives and the men who commodified and sold them back to us. (J)
It’s a shame the controversy over the film’s original NC-17 rating has largely overshadowed the brilliance of its actual content. Blue Valentine is a bleak, yet moving film that is equal parts sweet and devastating. Ryan Gosling and Michelle Williams drive the movie, and help keep it grounded in an all too real reality. Blue Valentine doesn’t aim to teach us something about ourselves or even to affirm the power of love, instead opting to give you a bittersweet, yet beautiful look into the lives of a husband and wife. (M)
Secrets can be deadly, especially in an atmosphere as violent and paranoid as the one in Winter’s Bone. The best film to come out of a loaded Sundance, Winter’s Bone depicts a young girl who must face her violent extended family when her father’s disappearance threatens her very livelihood. Incredible performance by Jennifer Lawrence and John Hawkes show the way the film never condescends or mocks its characters, but instead presents an honest depiction of a world rarely shown on film. (J)
If you haven’t seen Black Swan, you probably have heard someone go on and on about it. Darren Aronofsky has perfected the art of unsettling dramas over the past several years, and with Black Swan, he continues to explore the darker realms of the human psyche. Natalie Portman is pitch perfect, and supporting turns from Vincent Cassel and Barbara Hershey drive a film that stays with you not just for hours after you’ve seen it, but days. (M)
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