The Hush-Hush News Report 01.18.11: 'Get Your Ass To Mars'

Posted by Jeremy Wilson on 01.18.2012

News and thoughts Thor 2 bringing back Idris Elba's Heimdall, the official synopsis for Total Recall, the Alien Space Jockeys definitely appearing in Prometheus, plus the top 10 films of 2011 from Drive and Harry Potter to Hugo and more!





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Well on with the news...



Total Recall With A Definite Lack of Mars



The official synopsis for the rebooted "Total Recall" is out. And many are noticing a lack of Mars involved in the updated story. Unless there's something we don't know, it appears the vast majority of the action will take place on Earth this time around:

"Total Recall" is an action thriller about reality and memory, inspired anew by the famous short story "We Can Remember It For You Wholesale" by Philip K. Dick. Welcome to Rekall, the company that can turn your dreams into real memories. For a factory worker named Douglas Quaid (Colin Farrell), even though he's got a beautiful wife (Kate Beckinsale) who he loves, the mind-trip sounds like the perfect vacation from his frustrating life – real memories of life as a super-spy might be just what he needs. But when the procedure goes horribly wrong, Quaid becomes a hunted man. Finding himself on the run from the police – controlled by Chancellor Cohaagen (Bryan Cranston), the leader of the free world – Quaid teams up with a rebel fighter (Jessica Biel) to find the head of the underground resistance (Bill Nighy) and stop Cohaagen. The line between fantasy and reality gets blurred and the fate of his world hangs in the balance as Quaid discovers his true identity, his true love, and his true fate."

"Total Recall" stars Colin Farrell, Kate Beckinsale, Jessica Biel, Bill Nighy, Bryan Cranston, John Cho and Ethan Hawke and is scheduled to be released August 3, 2012.

I suppose this counts as another entry into the "Hollywood Remake/Reboot We Don't Need" contest. I like Total Recall but it was never one of my favorite science fiction films. Which is funny, because I absolutely adore Philip K. Dick's writing. So I know this probably bothers others more than me, but in all honesty, does it really matter? What's the point of updating and remaking it if you're not going to change it up? If they have a story to tell they think will work better on Earth for the most part, why can't we give it a chance before everyone gets in a huff about it. I know it doesn't look great on paper (how could Kate Beckinsale and Jessica Biel not look great on paper, right?), but I'm sort of a Len Wiseman fan (I know...come August I'm going to regret that last statement). I'm a closet Underworld fan and count me as one who enjoyed the over-the-top action and "B" movie-ness of Live Free or Die Hard. At the very least, even if it's not great or anything, it could prove to be in that same sort of "B"-movie, escapist vein, an entertaining diversion after all the big boys have come out for the summer. And come August, that might be a welcome addition to the multiplex.


Idris Elba Returning For Thor 2



Idris Elba, fresh off his Golden Globe win for "Luther" confirmed to MTV News that he's definitely on-board for "Thor 2." Elba would be returning as Heimdall, the all-seeing sentry who guarded Asgard's Bifröst Bridge. Elba stated he hasn't yet talked to new director Alan Taylor, but was excited to be coming back. It has been reported that Elba has a 4-picture deal with Marvel. In addition to Elba, actress Jaimie Alexander has confirmed that she will be reprising her role as Sif in the sequel. The actress reiterated what she has said in the past and believes the relationship between Thor and Sif will be furthered in the newest film. Alexander stated:

"I'm a comic book nerd at heart, so I'd like to see the relationship between Thor and Sif progress. Whether or not they do that, we're not sure yet. We'll see. I think that element will be in there, but I don't know how much."

Alan Taylor ("Game of Thrones") has been officially brought on to direct with Robert Rodat ("Falling Skies") brought in for a rewrite of the script. "Thor 2" is tentatively scheduled to be released November 15th, 2013.

Finally, it seems Thor 2 is settling down and getting ready to move. There is still no word on what the story will concern, although Loki is rumored to be involved (he seems to be everywhere). I enjoyed Thor but I didn't really feel it was the strongest or most entertaining of Marvel's superhero films. I think there is plenty of room for improvement and getting the supporting characters involved would be a nice start. I'm not a comic book geek so I can't really speak to the relationship between Thor and Sif that much. They had a bit of tension in the film, but in reality, almost all those supporting/bit players were relegated to the background. While it is seemingly a sure bet Natalie Portman will be involved in the sequel (even with the firing of Patty Jenkins), I'm not sure that's the best thing for the franchise. What do you think the story of Thor 2 should be?


Prometheus Pretty Obviously Has Space Jockeys



New images from "Prometheus" show what obviously appear to be actual space jockeys in the film. The photo is a still taken from the trailer and has been brightened to better show the pair of space jockey suits. For those who don't know, the Space Jockey was the mysterious, fossilized alien creature spotted sitting in the derelict shape in Alien. Director Ridley Scott has discussed the space jockeys before, telling Filmophilia:

"Therefore, who is that, inside that [Space Jockey] suit? That wasn't a skeleton, that was a suit. And if you open up the suit, what do you get inside it? And why were they going, where were they going?

We discussed this a bit last week with the pictures showing the masks that were thought to be of space jockeys. I don't know why Ridley Scott is being as coy as he is about the link between Prometheus and Alien. I thought it originally was to give himself some creative breathing room, but not I tend to think it's for buzz purposes. Who knows. Anyway, Scott has previously said we would learn the backstory of the Space Jockey, but it is unknown if much of that is going to be found in Prometheus. By the way, that is Roomi Napace (Lisbeth Salander in the Swedish The Girl with the Dragon Tattoo), but is it me or does she bear a striking resemblance to a young Famke Janssen?


The Master Being Shot In 65mm



It had been previously reported that renown director Paul Thomas Anderson had been testing footage with a 65mm camera made famous most by Stanley Kubrick in filming "2001: A Space Odyssey." Now we seem to have confirmation – via Twitter – that Anderson's upcoming film, "The Master," will be a mix of 35mm and 65mm (not IMAX) formats. In a Twitter conversation between directors Andrew Stanton and Brad Bird, Stanton apparently confirmed the rumors, telling his peer/friend: "The Master' is indeed in 65. They nearly lost a camera shooting in the Bay." (Anderson must have lost control of a rig) Bird replied, "Pretty sure 'Master' is NOT in IMAX. Shot in 65 though...will look amazing, I'm sure." For clarification 65mm is usually associated with IMAX, but that doesn't seem to be the cast with "The Master."

According to The Playlist, there are technical differences between the larger formats that could lead Anderson to show his film in the older, less used format. "...essentially the negative used for IMAX is much taller than traditional 65mm, leading to a 1.44:1 aspect ratio (which is why IMAX screens are so tall). Regular 65mm is shorter with an aspect ration of 2.20:1 ("The Sound Of Music," "Lawrence Of Arabia" and yes, '2001' among many others were presented in that format). It also should be noted, that 35mm film can be blown up to 65mm without a loss of film grain, so we presume that's what Anderson will be doing." As The Playlist rightly points out, modern theaters aren't really equipped for true 65mm prints (and it wouldn't work in IMAX thearters), which will result in the majority of moviegoers seeing Anderson's film via digital conversion and not a "true" 65mm print.

"The Master" is thought to be Anderson's commentary on Scientology (a mighty controversial topic to touch in Hollywood) and revolves around a charismatic intellectual who starts a faith-based organization following World War II. In the process, a drifter becomes the spiritual leader's right-hand man, but as the faith begins to gain a fervent following, the drifter finds himself questioning the belief system and his mentor. "The Master" stars Philip Seymour Hoffman, Joaquin Phoenix, Amy Adams and Laura Dern is thought to be releasing sometime in 2012.

Anderson is one of the great directors of his era and I (and many others) love all of his movies. This is one of my most anticipated films of the upcoming year (we are guessing it will be released in 2012, although there has been no hint of a release date) and will surely be one of the most talked about when it does hit theaters. It is a hugely controversial film, one that was nearly impossible to get off the ground since it tackles with Scientology, which has a rather large presence in Los Angeles and among Hollywood's elite. The fact that he's shooting in 65mm is astounding and almost baffling. Everyone knows Anderson has an encyclopedic knowledge and love of film history, but you simply don't see this type of endeavor anymore. If he is trying to emulate the great epics of decades ago (like the ones mentioned) it could lead to a definite must-see picture, even for those who perhaps don't consider themselves hardcore P.T. Anderson fans.


Tilda Swinton And Jaime Bell Join Snow Piercer



According to Cinema Blend, Tilda Swinton ("We Need To Talk About Kevin") and Jaime Bell ("The Adventures of Tintin: The Secret of the Unicorn") are about to sign on to join Chris Evans ("Captain American: The First Avenger") in "Snow Piercer." The film – from Bong Joon-ho ("The Host," "Mother") and produced by Park Chan-wook ("Oldboy") – is about a world covered in ice and snow. The chracters are passengers on a train who must help each other in order to survive. The film is Bong Joon-ho's first American feature film and has had Evans on-board for awhile. It also follows in the footsteps of producer Park Chan-wook's American debut, "Stocker," which stars Mia Wasikowska, Nicole Kidman, Matthew Goode and Dermot Mulroney. There is no word on when "Snow Piercer" will start production or be released, but the pieces are falling into place fast, so it is thought that production could start in the first half of the year.

Sounds cool. I never saw The Host, but Mother was...well, it was something. I also have great respect for Park Chan-wook and his work (Oldboy has become something of an international classic and favorite here at 411). I think Chris Evans went a long way in proving doubters wrong with this past summer's Captain American: The First Avenger. I can't say I'm a huge Jaime Bell fan – Tintin left me very cold – but Tilda Swinton doesn't choose bad roles or make bad films (or at least not very many) and they're almost always interesting as hell. As for this project: color me intrigued.


The MPAA Is Pathetic...But You Already Knew That

Chris Dodd - Statement on blackout

The MPAA – shockingly – does not like everyone shitting all over their wonderful pieces of anti-piracy legislation (SOPA and PIPA) and are throwing a hissy-fit at the planned and widespread blackout of numerous internet sites on Wednesday. Former senator Chris Dodd – now Chairman and CEO of the MPAA – issued a very annoyed letter on why tomorrow's blackout is such a bad idea. Apparently, those blacking out their site and those who support killing these bills are "corporate pawns" simply staging a "dangerous prank" and "PR stunt" by way of using "hyperbole." You can read it for yourself – it's short and pretty hyperbolic in its own right. I've already ranted discussed why SOPA and it's ilk are dangerous and un-American, but if you really don't know what all the fuss is about, go ahead and google it. Just make sure you do it on Thursday...because the Internet is staging a walk-out, folks! About time.


Trailer Face-Off:

This week's trailer face-off showcases the two major wide releases hitting theaters this week: Haywire, Underworld: Awakening, Red Tails and Extremely Loud and Incredibly Close

Are you planning on seeing any or all of these? Which looks better? Let me know in the comments.



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The Hush-Hush Editorial Section: Best Movies of 2011

2011 is so last year. 2012 is all the rage now. But before we move on, it's always good to take a look back at the year that was through the best and worst in arbitrary lists. This week, the 10 Best Films of 2011. The caveat, as always, is that these are films I HAVE SEEN, so I'm sorry if you think I'm missing something. I don't live in NY or LA and I'm not made of money. I do my best to see as many films as humanly possible, but it's still hard to catch everything. The other caveat is that these types of lists change and aren't necessarily set in stone. They are permanent in that I'm writing it down and that will last, but the list has already changed and who knows how it'd look if I re-did it 6 weeks, 6 months of 6 years from now. Make sure to let me know if I missed something in the comments and I'll check it out (or tell you why you or I am wrong). Also, I could have cheated and done what 411's very own Movies Zone Editor Chad Webb did and list ten followed by about a hundred. Or what former guardian of The Hush-Hush News Report Jeremy Thomas did and break it up to get TWO columns out of it! Four when you include his 16 worst films. That's a month worth of columns! Lazy bum. (just kidding) Now, on with the best:

Filling Out The Top 25 / Honorable Mentions (in alphabetical order):
13 Assassins
Bellflower
Captain America: The First Avenger
Martha Marcy May Marlene
Mission Impossible: Ghost Protocol
Poetry
Source Code
The Artist
The Descendants
The Girl With The Dragon Tattoo
The Ides of March
The Muppets
Tinker Tailor Soldier Spy
X-Men: First Class
Young Adult

10. 50/50 review
Bridesmaids? No. Crazy, Stupid, Love.? Not quite. The Hangover Part II? Hell no. No, with all due respect to The Muppets, the best comedy of the year was the wonderful 50/50. Here's a film that caught a lot of people off-guard with how it good it was, but should anyone really be all that surprised? This is Joseph Gordon-Levitt we're talking about and the guy has a pretty good track record for being so young. It's a touching film with sublime performances and actual, genuine laughs that don't cheapen or diminish the rest of the film. Anna Kendrick is adorable, but never cloying or disingenuous. Bryce Dallas Howard got some flak for her performance, but I thought they did here character about as well as you could. She's not great, but I think we understand more of her and her conflicted feelings than maybe want to admit. Angelica Houston is so good it forces us to wonder why she's not in more movies. And finally Seth Rogen – as the sidekick/friend – gets off some really funny stuff and none of it seems forced (which has been known to happen in Rogen movies).



9. Harry Potter and the Deathly Hallows: Part 2 review
This is what I wrote for the 411 Movie and TV awards for Harry Potter and the Deathly Hallows: Part 2 winning "Best Blockbuster:"

"The end to one of the greatest cinematic franchises of all time came over the summer as Harry Potter and the Deathly Hallows: Part 2 hit theaters. Of course, most already knew what was coming before they saw it. This entire series has been about destiny and this film marked the culmination in the boy wizard's fate as laid out by previous entries. It was always going to be Harry versus Voldemort, good versus evil. It isn't a stretch to say that Harry Potter and the Deathly Hallows: Part 2 was the most anticipated film of 2011 (hey, remember this?) and that it had a lot to live up to. Over the course of a decade, through seven books and eight films, the Harry Potter series has left an indelible mark on literature, cinema and the culture at large. The final film had to go out on top and it had to deliver. The verdict here at 411 and around the globe was that it did that and much more.

By any measure (be it critical or commercial), the final film in J.K. Rowling's fantasy saga, hit an absolute home run. Not only did Harry Potter and the Deathly Hallows: Part 2 end up being the best reviewed film in the franchise's history, but also ended the year as one of the best reviewed films overall. It came in as the highest grossing entry in the series in every box office measure and was also the highest grossing film of the year overall (and it wasn't all that close). Beyond critical and commercial success, Deathly Hallows: Part 2 felt like the conclusion that everyone deserved. The Battle of Hogwarts added an element of action and scope we hadn't yet witnessed in the franchise, while director David Yates was able to deftly condense and adapt the huge amount of material into an awe-inspiring spectacle. Some have quibbled with supporting characters getting short-shrift and becoming marginalized in the transition from page to screen, but most understand film and books are different mediums and must accomplish different things. Others mocked the makeup worn by Daniel Radcliffe, Emma Watson and Rupert Grint in those last scenes – as if Yates had any other choice. We watched those three grow up in this series, going from raw child actors to accomplished and polished performers. They deserved that ending as much as fans did and it would have felt wrong to have other (older) actors fill their parts.

Finally, there was Alan Rickman. Those who read the books certainly knew it was coming and perhaps a few who only watched the films realized it too. It didn't matter; it couldn't lessen the power of his performance or his unique role in this final film and in the series as a whole. Severus Snape added an element to Harry Potter and the Deathly Hallows: Part 2 that is usually lacking in most blockbusters and spectacles. It also reminded us why this film – and franchise – hold such a special place in audiences' hearts and why we care so much for these characters. I wrote earlier that destiny was a major part of the Harry Potter series and that remains true. However, it is the power of love – whether it comes from Harry's parents, friends or through one lonely outcast's unrequited love – that defines Harry Potter and the Deathly Hallows: Part 2 and becomes the central tenet of a franchise that remains beloved around the world by all ages. There was no better or more satisfying blockbuster at the movies this year than Harry Potter and the Deathly Hallows: Part 2."

To be fair, there were few better films – be they blockbuster or not – that were better.



8. Nostalgia for the Light
I can hear the howls coming from the trolls as I type this. "He only put that on there to make himself look smart and keep his indy-hipster-critic credentials." A) That's crap, put out there by ignorant people who are either too insecure or too ignorant about movies they have and haven't seen. B) Take a look at #9, 7 and 4. How exactly do they fit into that description? C) It's okay if you've never heard of Nostalgia for the Light. It doesn't make you dumb if you've never heard of it. I hadn't until around Thanksgiving. To be honest, I didn't get a chance to see as many documentaries in 2011 as I usually do. That's a shame, because there seem to be an abundance of them (Senna, Pina, etc...). What I love about the Chilean documentary Nostalgia for the Light though, is its vision. Here's a film that starts out unassuming – almost too much so. One thinks they are settling into a normal scientific/space documentary with plenty of gorgeous visual shots of stars and galaxy clusters, but dry on the presentation side. However, as the film progresses it becomes something else. It becomes about Chile itself – its history, its shame, its land, its people. Somehow Patricio Guzmán constructs a film about astronomy, archeology and a small group of women who sift for bones in the Atacam desert. By the end, Guzmán has got you and you feel the pain of these women and for all those left behind in the wake of totalitarian injustices. It's beautiful, haunting and not only informed me but made me feel something.



7. Attack the Block
"That's an alien, Bruv, BELIEVE it!" The most fun communal experience I had in a movie theater was seeing Attack the Block, the science fiction-horror-comedy debut from director Joe Cornish. Lots of "B" movies come out, but how many actually rise above that status and turn into an entertaining classic of "A" status? John Boyega as Moses was a revelation and finally we had a cool science fiction film whose comedy was actually funny and whose scares didn't feel cheap or simply gross. Absolutely loved it and it's the kind of film that only gets better proportional to the amount of people/friends you see it with. It's also hugely quotable on repeated viewings (even with the thick accents)."Too much madness to explain in one text!"



6. The Tree of Life
The most ambitious film of 2011. The most beautiful movie of the year. The most inexplicable picture in years. The most pretentious movie I've ever seen. All of that (and more) applies to Terrence Malick's The Tree of Life, a film that became the touchstone film of 2011 and arguably one of the most divisive American films in recent memory. I can't speak for others – I can only speak for myself. I'll admit that through the first half hour of The Tree of Life, I wanted to punch the screen. My body and mind were revolting and it took every bit of patience to keep at it. But then, at about the 30-minute mark (I'm pretty sure it was the jellyfish), I gave in. My body unclenched, my mind eased, I somehow opened myself up and I settled into the movie. I can honestly say I can't remember the last time I reacted quite like that to a film. I'm glad I did though, because The Tree of Life is all of those things in my mind. Maddeningly pretentious, yet mostly brilliant. By the end, I was exhausted but very glad I saw it. I was also glad to see a director who is in full command of his own vision. It reminds me a great deal of 2001: A Space Odyssey (which I do slightly prefer) and I think the reaction it has engendered rivals only that film in the past half-century. Whatever one's feelings, there is little doubt we'll be talking about it for years – and decades – to come.



5. Drive review
Ryan Gosling. Albert Brooks. Scorpion Jacket. Hammer. The creepiest mask in recent movie history. These are the things I remember the most from having seen Drive, the stunning and stylish neo-noir crime films from Nicolas Winding-Refn (Bronson). Of all of Gosling's great performances, The Driver might be his best – he's certainly the coolest. Albert Brooks is the year's best bad guy...period. Yes, THAT Albert Brooks. I've never wanted an article of movie clothing so much in my life. You know, that jacket. This film has such a great look and style, such vision and clarity that it stands as a benchmark of what modern film-making should look like. It's retro, but modern. Basically, it's timeless – and that might be its greatest stength. Oh...and that score. It's probably the best score of the year. Fast Five this is not, so don't go in thinking this is some random Hollywood action movie. Prepare yourself.



4. Hanna
I have seen it three times now and I remain convinced: Hanna is (and will be) the most underrated film of 2011. For much of the year it was #1 for me – which is still a bit of a shock. I loved Joe Wright's Pride and Prejudice, but let's be honest – it's not that hard to pull of Jane Austen. I wasn't a big fan of Atonement which felt like depressing and heavy Oscar bait. That film, of course, featured Saoirse Ronan in a performance that introduced her to the world. So their re-teaming on Hanna wasn't necessarily on my radar. But then I saw it. Wright likes to show off technically and visually. Count me as being okay with that. I don't mind directors and films showing off, especially if they do it really well and it feels natural and not simply Oscar baiting. Hanna was the best action movie of the year as Wright, Ronan and a score from The Chemical Brothers (one of the best of the year) delivered a pulse-pounding film that crossed genres, constantly moved forward and yet constantly felt intimate. It's a little over-the-top and features some of the thickest, most ridiculous-sounding accents you'll see in a mainstream film. Yet, I still love it. It's not perfect (there are a few technical/continuity glitches here and there) but it's the most individual fun I had in a theater (since I'm pretty sure I was alone in the theater) and made me feel completely alive when I walked out. It was playful, it took risks and no other film in 2011 was quite like it.



3. Melancholia
Poor Kirsten Dunst. She delivers the best performance of 2011 in any film, but it became weighed down with no hope for awards glory because her director is...Lars von Trier. It's too bad; Melancholia is simply stunning on every level and is von Trier's best film in years. In many ways it feels like the counter-argument to The Tree of Life, with a similarly pretentious opening as Malick's film. Melancholia's opening didn't bother me in the slightest though. It was short, expressive and gorgeous. He's showing you (through stunningly gorgeous imagery) what is going to happen and preparing you for it – and it works. The scale and vision in this film and story is – in my mind – more powerful than Malick's all-encompassing motif of creation, life and end-times. As a director, von Trier tends to see the worst in humanity – and what better way to showcase it then through the actual end of the world! He also tends to be something of a masochist and misogynist – female leads don't get happy endings in von Trier movies. However, with Melancholia, von Trier has stopped torturing his female protagonist long enough to examine her and not have things be clear-cut. Dunst and her performance are powerful; rarely has depression been this good on film.



2. Certified Copy
Oh do I love this movie. For me it is about as close to perfection as movies got this past year. To even describe what is going on in Certified Copy is to risk spoiling it. I have been accused of throwing around spoilers far too often, so I'll resist here. I will simply say that this is one of the most genuine, affecting, "romantic" (perhaps not in the traditional sense) movies I've ever seen. It's a very European film with a master Iranian director (Abbas Kiarostami) at the helm and consists mostly of a conversation between the two fantastic leads (oh, but what a conversation!), Juliette Binoche and newcomer William Shimell, as they stroll through a small Italian village. This is some of the best work Binoche has ever done (and that is saying something) and Shimell – best known to international audiences as an opera singer – is a stunning revelation, seemingly perfectly suited to the material. It is a moving movie for and about adults that tries to examine the nature of love, relationships and marriage, as well as art and the nature and value of originality. It is the smartest movie of the year and if you like foreign films and don't mind movies where there's a lot of talking, it really doesn't get much better than Certified Copy.



And now, the #1 Film of 2011 was…

1. Hugo review
No film moved me in 2011 as much as Hugo. Rarely have I felt more attuned to a film; at every point, I felt I was in the hands of a master. That master – Martin Scorsese – stepped out of his comfort zone and somehow gave everyone a reason for the continued existence of 3D. The fact that Scorsese delivered a 3D family film based on a children's book is a stunning enough departure. That it was the best movie of the year is even more surprising. Scorsese's legacy and oeuvre have already been firmly established; simply put, he had no score to settle, nothing left to prove. Somehow though, the man made a work that encompasses and represents all that is great about cinema and storytelling, as well as delivering arguably his most personal film (we can see obvious similarities between Hugo Cabret and young Marty Scorsese). We care very deeply about these characters and how they've come to be where we find them. Unlike some other films and directors, nothing about Scorsese's work here comes off as disingenuous or pretentious; instead, he has crafted a personal, yet universal, story about an isolated boy, trying to come to terms with circumstances beyond his control and find his place in the universe. Parallel with that is the story of an old man hiding from the world and his past, forced in the face of this boy, to come to terms with his pain and not let it rule him. Sir Ben Kingsley and that secondary story is what really puts Hugo over the top as the film goes from wonderful fable and family adventure to a mystery and touching story about the very origins of cinema itself. It is Scorsese's best film in twenty years and one of his greatest achievements. It also represents everything we love about going to and watching the movies. And it's the best movie of 2011.




2011 MVP (Most Valuable Performer):
1. Ryan Gosling – This was an incredible year for a handful of the top actors in Hollywood, but I'm not sure anyone had quite the year that Gosling had. Drive, The Ides of March and Crazy Stupid Love were all great films and helped him break through and become not just a great actor, but one of the best leading men in Hollywood.
2. Michael Fassbender – People in "the know" already knew Fassbender's talents and saw his breakthrough as inevitable. However, I'm not sure they saw this big of a breakthrough. A Dangerous Method, Jane Eyre, Shame, X-Men: First Class
3. Jessica Chastain – The actress who seemingly had the busiest year in Hollywood, 2011 saw Chastain in six – yes six – films, four of which were serious awards season contenders: Coriolanus, Take Shelter, The Help, The Tree of Life.
4. George Clooney – It feels like every year is George Clooney's year. This year The Cloon-meister had The Ides of March and The Descendants come out to strong critical and commercial success, signed on to star in Alfonso Cuaron's 2012 science fiction film, Gravity, and even found time to date former Towson University student, Baltimore Ravens cheerleader and WWE diva Stacy Keibler (she's a hometown girl, what can I say?). 2011: yet another year it's good to be George Clooney.
5. Elle Fanning – Super 8 is a wonderful film, but might be overshadowed as the years go by as "the film that Elle Fanning broke through in." She also brought a lovely and striking screen presence to We Bought A Zoo even though she doesn't have much to do.

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This Week In Awards

This week we have ACE Eddies nominations from the American Cinema Editors (which has a good history of coinciding with Oscar's Best Picture/Editing awards), as well as nominations from the British Academy of Film and Television Arts (BAFTA) and winners at the Golden Globes awarded by the Hollywood Foreign Press Association (HFPA). For those that care, I went 22/25 in my Golden Globe predictions, only missing one of the movies side and two on TV. What, don't believe me? I was quite upset with myself because I did initially pick Idris Elba to win, but changed my mind at the last minute and went with Dominc West. I also missed Laura Dern over Zooey Deschanel and Tintin beating Rango (which is a joke since Tintin is mediocre garbage – and that's coming from someone who didn't even love Rango). And no, I don't think Ricky Gervais did a great job – but I also think these types of gigs are the most thankless in all of Hollywood.

Golden Globe Awards (Hollywood Foreign Press Association):

FILM

BEST DRAMA PICTURE
"The Descendants"

BEST COMEDY/MUSICAL PICTURE
"The Artist"

BEST DIRECTOR
Martin Scorsese, "Hugo"

BEST DRAMA ACTOR
George Clooney, "The Descendants"

BEST DRAMA ACTRESS
Meryl Streep, "The Iron Lady"

BEST COMEDY/MUSICAL ACTOR
Jean Dujardin, "The Artist"

BEST COMEDY/MUSICAL ACTRESS
Michelle Williams, "My Week with Marilyn"

BEST SUPPORTING ACTOR
Chrisopher Plummer, "Beginners"

BEST SUPPORTING ACTRESS
Octavia Spencer, "The Help"

BEST SCREENPLAY
Woody Allen, "Midnight in Paris"

BEST ANIMATED PICTURE
"The Adventures of Tintin"

BEST FOREIGN LANGUAGE PICTURE
"A Separation"

BEST SCORE
Ludovic Bource, "The Artist"

BEST SONG
"Masterpiece" ("W.E.")
Music and Lyrics by Madonna, Julie Frost, Jim Harry


Orange British Academy Film Awards (BAFTA: British Academy of Film & Television Arts):

BEST FILM
THE ARTIST Thomas Langmann
THE DESCENDANTS Jim Burke, Alexander Payne, Jim Taylor
DRIVE Marc Platt, Adam Siegel
THE HELP Brunson Green, Chris Columbus, Michael Barnathan
TINKER TAILOR SOLDIER SPY Tim Bevan, Eric Fellner, Robyn Slovo

OUTSTANDING BRITISH FILM
MY WEEK WITH MARILYNSimon Curtis, David Parfitt, Harvey Weinstein, Adrian Hodges
SENNA Asif Kapadia, James Gay-Rees, Tim Bevan, Eric Fellner, Manish Pandey
SHAME Steve McQueen, Iain Canning, Emile Sherman, Abi Morgan
TINKER TAILOR SOLDIER SPY Tomas Alfredson, Tim Bevan, Eric Fellner, Robyn Slovo, Bridget O'Connor, Peter Straughan
WE NEED TO TALK ABOUT KEVIN Lynne Ramsay, Luc Roeg, Jennifer Fox, Robert Salerno, Rory Stewart Kinnear

OUTSTANDING DEBUT BY A BRITISH WRITER, DIRECTOR OR PRODUCER
ATTACK THE BLOCK Joe Cornish (Director/Writer)
BLACK POND Will Sharpe (Director/Writer), Tom Kingsley (Director), Sarah Brocklehurst (Producer)
CORIOLANUS Ralph Fiennes (Director)
SUBMARINE Richard Ayoade (Director/Writer)
TYRANNOSAUR Paddy Considine (Director), Diarmid Scrimshaw (Producer)

FILM NOT IN THE ENGLISH LANGUAGE
INCENDIES Denis Villeneuve, Luc Déry, Kim McGraw
PINA Wim Wenders, Gian-Piero Ringel
POTICHE François Ozon, Eric Altmayer, Nicolas Altmayer
A SEPARATION Asghar Farhadi
THE SKIN I LIVE IN Pedro Almodóvar, Agustin Almodóvar

DOCUMENTARY
GEORGE HARRISON: LIVING IN THE MATERIAL WORLD Martin Scorsese
PROJECT NIM James Marsh, Simon Chinn
SENNA Asif Kapadia

ANIMATED FILM
THE ADVENTURES OF TINTIN: THE SECRET OF THE UNICORN Steven Spielberg
ARTHUR CHRISTMAS Sarah Smith
RANGO Gore Verbinski

DIRECTOR
THE ARTIST Michel Hazanavicius
DRIVE Nicolas Winding Refn
HUGO Martin Scorsese
TINKER TAILOR SOLDIER SPY Tomas Alfredson
WE NEED TO TALK ABOUT KEVIN Lynne Ramsay

ORIGINAL SCREENPLAY
THE ARTIST Michel Hazanavicius
BRIDESMAIDS Annie Mumolo, Kristen Wiig
THE GUARD John Michael McDonagh
THE IRON LADY Abi Morgan
MIDNIGHT IN PARIS Woody Allen

ADAPTED SCREENPLAY
THE DESCENDANTS Alexander Payne, Nat Faxon, Jim Rash
THE HELP Tate Taylor
THE IDES OF MARCH George Clooney, Grant Heslov, Beau Willimon
MONEYBALL Steven Zaillian, Aaron Sorkin
TINKER TAILOR SOLDIER SPY Bridget O'Connor, Peter Straughan

LEADING ACTOR
BRAD PITT Moneyball
GARY OLDMAN Tinker Tailor Soldier Spy
GEORGE CLOONEY The Descendants
JEAN DUJARDIN The Artist
MICHAEL FASSBENDER Shame

LEADING ACTRESS
BÉRÉNICE BEJO The Artist
MERYL STREEP The Iron Lady
MICHELLE WILLIAMS My Week with Marilyn
TILDA SWINTON We Need to Talk About Kevin
VIOLA DAVIS The Help

SUPPORTING ACTOR
CHRISTOPHER PLUMMER Beginners
JIM BROADBENT The Iron Lady
JONAH HILL Moneyball
KENNETH BRANAGH My Week with Marilyn
PHILIP SEYMOUR HOFFMAN The Ides of March

SUPPORTING ACTRESS
CAREY MULLIGAN Drive
JESSICA CHASTAIN The Help
JUDI DENCH My Week with Marilyn
MELISSA MCCARTHY Bridesmaids
OCTAVIA SPENCER The Help

ORIGINAL MUSIC
THE ARTIST Ludovic Bource
THE GIRL WITH THE DRAGON TATTOO Trent Reznor, Atticus Ross
HUGO Howard Shore
TINKER TAILOR SOLDIER SPY Alberto Iglesias
WAR HORSE John Williams

CINEMATOGRAPHY
THE ARTIST Guillaume Schiffman
THE GIRL WITH THE DRAGON TATTOO Jeff Cronenweth
HUGO Robert Richardson
TINKER TAILOR SOLDIER SPY Hoyte van Hoytema
WAR HORSE Janusz Kaminski

EDITING
THE ARTIST Anne-Sophie Bion, Michel Hazanavicius
DRIVE Mat Newman
HUGO Thelma Schoonmaker
SENNA Gregers Sall, Chris King
TINKER TAILOR SOLIDER SPY Dino Jonsater

PRODUCTION DESIGN
THE ARTIST Laurence Bennett, Robert Gould
HARRY POTTER AND THE DEATHLY HALLOWS – PART 2 Stuart Craig, Stephenie McMillan
HUGO Dante Ferretti, Francesca Lo Schiavo
TINKER TAILOR SOLDIER SPY Maria Djurkovic, Tatiana MacDonald
WAR HORSE Rick Carter, Lee Sandales

COSTUME DESIGN
THE ARTIST Mark Bridges
HUGO Sandy Powell
JANE EYRE Michael O'Connor
MY WEEK WITH MARILYN Jill Taylor
TINKER TAILOR SOLDIER SPY Jacqueline Durran

MAKE UP & HAIR
THE ARTIST Julie Hewett, Cydney Cornell
HARRY POTTER AND THE DEATHLY HALLOWS – PART 2 Amanda Knight, Lisa Tomblin
HUGO Morag Ross, Jan Archibald
THE IRON LADY Marese Langan
MY WEEK WITH MARILYN Jenny Shircore

SOUND
THE ARTIST Nadine Muse, Gérard Lamps, Michael Krikorian
HARRY POTTER AND THE DEATHLY HALLOWS – PART 2 James Mather, Stuart Wilson, Stuart Hilliker, Mike Dowson, Adam Scrivener
HUGO Philip Stockton, Eugene Gearty, Tom Fleischman, John Midgley
TINKER TAILOR SOLDIER SPY John Casali, Howard Bargroff, Doug Cooper, Stephen Griffiths, Andy Shelley
WAR HORSE Stuart Wilson, Gary Rydstrom, Andy Nelson, Tom Johnson, Richard Hymns

SPECIAL VISUAL EFFECTS
THE ADVENTURES OF TINTIN: THE SECRET OF THE UNICORN Joe Letteri
HARRY POTTER AND THE DEATHLY HALLOWS – PART 2 Tim Burke, John Richardson, Greg Butler, David Vickery
HUGO Rob Legato, Ben Grossman, Joss Williams
RISE OF THE PLANET OF THE APES Joe Letteri, Dan Lemmon, R Christopher White
WAR HORSE Ben Morris, Neil Corbould

SHORT ANIMATION
ABUELAS Afarin Eghbal, Kasia Malipan, Francesca Gardiner
BOBBY YEAH Robert Morgan
A MORNING STROLL Grant Orchard, Sue Goffe

SHORT FILM
CHALK Martina Amati, Gavin Emerson, James Bolton, Ilaria Bernardini
MWANSA THE GREAT Rungano Nyoni, Gabriel Gauchet
ONLY SOUND REMAINS Arash Ashtiani, Anshu Poddar
PITCH BLACK HEIST John Maclean, Gerardine O'Flynn
TWO AND TWO Babak Anvari, Kit Fraser, Gavin Cullen

THE ORANGE WEDNESDAYS RISING STAR AWARD (voted for by the public)
ADAM DEACON
CHRIS HEMSWORTH
CHRIS O'DOWD
EDDIE REDMAYNE
TOM HIDDLESTON


ACE Eddie Nominations (American Cinema Editors):

BEST EDITED FEATURE FILM (DRAMATIC):
The Descendants
Kevin Tent, A.C.E.
The Girl with the Dragon Tattoo
Angus Wall, A.C.E. & Kirk Baxter, A.C.E.
Hugo
Thelma Schoonmaker, A.C.E.
Moneyball
Christopher Tellefsen, A.C.E.
War Horse
Michael Kahn, A.C.E.

BEST EDITED FEATURE FILM (COMEDY OR MUSICAL):
The Artist
Anne-Sophie Bion & Michel Hazanavicius
Bridesmaids
William Kerr & Michael L. Sale
Midnight in Paris
Alisa Lepselter
My Week with Marilyn
Adam Recht
Young Adult
Dana E. Glauberman, A.C.E.

BEST EDITED ANIMATED FEATURE FILM:
The Adventures of Tintin
Michael Kahn, A.C.E.
Puss in Boots
Eric Dapkewicz
Rango
Craig Wood, A.C.E.

BEST EDITED DOCUMENTARY:?
Cave of Forgotten Dreams
Joe Bini & Maya Hawke
Freedom Riders
Lewis Erskine & Aljernon Tunsil
George Harrison: Living in the Material World
David Tedeschi

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I'm not kidding when I say I literally ran out of room. Keep the comments coming, and I promise they'll all be back next week. Much love.

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The Hush-Hush Racetrack Oscar Odds


How is it possible for Megan Fox to suck in the Oscars trailer? Seriously...

The following are the racetrack odds for this years Academy Awards courtesy of Gold Derby. The odds are the result of voting and analysis by "Experts". I've taken out (for this week at least) votes from the site's editors and users. In addition to the odds is the % chance to win, as are the nominees who I believe at this point will be nominated. *Updated as of January 17*

BEST PICTURE

The Artist – 6/5; 45% (last week: same)
The Descendants – 16/5; 17% (last week: 11/2; 16%)
Hugo – 12/1; 8% (last week: same)
The Help – 12/1; 8% (last week: same)
Midnight in Paris – 20/1; 5% (last week: 25/1; 4%)
War Horse – 20/1; 5% (last week: 16/1; 6%)
Moneyball – 25/1; 4% (last week: same)
The Girl with the Dragon Tattoo – 33/1; 3% (last week: 50/1; 2%)
The Tree of Life – 50/1; 2% (last week: same)
Bridesmaids – 50/1; 2% (last week: same)
Tinker Tailor Soldier Spy – 100/1: 1% (last week: same)

Guilds, guilds, guilds. The Golden Globes get the attention and the cushy broadcast network timeslot (can we still call it that if it's on NBC?), but anyone who pays any attention to this stuff knows that guild nominations and awards are the more important barmoeter of success when it comes to handicapping the Oscars. Critics and a nebulous group of foreign journalists are nice and throw good parties, but guild memership makes up the Academy's membership. Creative people giving other creative people awards – that's the Oscars. If one were to look at the guild nominations so far (nobody has actually awarded anything just yet), they'd be hard-pressed to see anything other than The Artist winning, especially with Harvey Weinstein backing it. If you have a good showing through the guilds, you could score a surprise nomination; this year, that seems to be The Girl With The Dragon Tattoo. I don't know if it's going to net nods for Fincher or Mara, but the film has been a much stronger performer than some of its rivals for that spot: War Horse, Tinker Tailor Soldier Spy, Extremely Loud and Incredibly Close to name a few. Even at this point last week, I still couldn't see War Horse not getting in, but it's obvious that critics and Hollywood can agree on one thing – they are unimpressed with Steven Spielberg's WWI gooey epic. What synched it's "outside looking in" status for me? The double whammy of Spielberg not getting a DGA nomination and Janusz Kaminski not getting an ASC nod from the cinematographers guild. What else is War Horse other than those two things? What DID get those two nods? David Fincher, Jeff Cronenweth and The Girl With The Dragon Tattoo.

JEREMY'S NOMINEES:The Artist, The Descendants, Hugo, The Help, Midnight in Paris, Moneyball, The Girl With The Dragon Tattoo

BEST DIRECTOR

Michel Hazanavicius (The Artist) – 8/11; 57% (last week: 9/10; 53%)
Alexander Payne (The Descendants) – 4/1; 21% (last week: same)
Martin Scorsese (Hugo) – 8/1; 11% (last week: 9/1; 10%)
Woody Allen (Midnight in Paris) – 25/1; 4% (last week: 33/1; 3%)
Steven Spielberg (War Horse) – 33/1; 3% (last week: 14/1; 7%)
Terrence Malick (The Tree of Life) – 50/1; 2% (last week: same)
David Fincher (The Girl with the Dragon Tattoo) – 100/1; 1% (last week: 33/1; 3%)

Four are for sure. The last one is really a toss-up of sorts. Hazanavicius remains the favorite, although there is a lot of support behind Martin Scorsese and even Woody Allen. They have been helped through this awards season and Marty's Golden Globe award may help him a bit. We'll see. The Golden Globes have much more of a history of splitting Best Picture and Director than the guilds or the Academy. As anyone who read my review or has seen my top 10 knows, I don't think anyone did a better job of driecting than Scorsese did with Hugo. I'm just not sure the film has enough broad-based support to push it across the finish line in some of these bigger categories. Plus, Marty already has his Oscar, so we don't have to play the game of trying to get him one no matter the quality of the movie (Gangs of New York, The Avaiator, The Departed) which played itself out for years. Spielberg and War Horse remains something of a wildcard – even though I just kicked it out of my predicted nominees for Best Picture. Malick is hugely respected, but The Tree of Life is way too artsy and unconventional for the Academy Awards. Then again, The Girl With The Dragon Tattoo isn't exactly a typical Oscar movie. I think – at least for now – Fincher is helped by the travesty of last year and he gets in over his more famous peers.

JEREMY'S NOMINEES: Michel Hazanavicius, Martin Scorsese, Alexander Payne, Woody Allen, David Fincher

BEST ACTOR

George Clooney (The Descendants) – 8/11; 57% (last week: 10/11; 52%)
Jean Dujardin (The Artist) – 4/1; 20% (last week: same)
Brad Pitt (Moneyball) – 11/2; 15% (last week: 9/2; 19%)
Michael Fassbender (Shame) – 25/1; 4% (last week: same)
Leonardo DiCaprio (J. Edgar) – 50/1; 2% (last week: same)
Gary Oldman (Tinker Tailor Soldier Spy) – 50/1; 2% (last week: 100/1; 1%)

Isn't it good to be George Clooney. As with the other main acting awards, SAG will tell the tale. Clooney has won the majority of critics' awards and beat his good friend Pitt to the Golden Globe. He's in the stronger movie (or at least the one with better Best Picture chances/credentials) and is universally beloved and respected. Not to say Pitt isn't, but it just feels like he's one or two more away from getting his. Dujardin won a Golden Globe for Actor in a Comedy/Musical, but I don't really see the Academy wanting to repeat Roberto Benigni. That might not be fair, but it's the Oscars and they're not always fair. I think there are two slots for three actors after those three: Fassbender for Shame, Gary Oldman (who has NEVER been nominated) for Tinker Tailor Soldier Spy and Leonardo DiCaprio for J. Edgar. I love Gary Oldman and I wish he would get nominated, but let's face it – it's the least showy role of the year. Even with the strong British contingent going against him and his performance for an NC-17 film, I think Fassbender gets in over Oldman.

JEREMY'S NOMINEES: George Clooney, Brad Pitt, Jean Dujardin, Leonardo DiCaprio, Michael Fassbender

BEST ACTRESS

Viola Davis (The Help) – 11/10; 48% (last week: 3/2; 40%)
Meryl Streep (The Iron Lady) – 23/10; 30% (last week: 9/5; 36%)
Michele Williams (My Weekend with Marilyn) – 6/1; 14% (last week: 11/2; 16%)
Glenn Close (Albert Nobbs) – 25/1; 4% (last week: same)
Tilda Swinton (We Need to Talk About Kevin) – 33/1; 3% (last week: same)
Rooney Mara (The Girl with the Dragon Tattoo) – 100/1: 1% (last week: same)

Even with Meryl's Golden Globes win, I'm more convinced than ever that Viola Davis is going to win. Having now watched The Help, she gives the strongest performance in a film filled with them. It doesn't hurt that The Help is an uplifting film revolving around race – one of the Academy's favorite topics (think Driving Miss Daisy, Monster's Ball, Crash). It's also going to be very hard for Rooney Mara to try and crack what appears to be a fairly set group of nominees. Mara would have to beat out Close (the Academy loves cross-dressing and passion projects) or Swinton (respected British actress in a much-talked about role). It wouldn't shock me if she got in, but I don't see it happening at the moment.

JEREMY'S NOMINEES: Meryl Streep, Viola Davis, Michele Williams, Glenn Close, Tilda Swinton

BEST SUPPORTING ACTOR

Christopher Plummer (Beginners) – 4/9; 68% (last week: same)
Albert Brooks (Drive) – 13/2; 13% (last week: 6/1; 14%)
Kenneth Branagh (My Week with Marilyn) – 12/1; 8% (last week: same)
Jonah Hill (Moneyball) – 33/1; 3% (last week: 25/1; 4%)
Nick Nolte (Warrior) – 33/1; 3% (last week: same)
Max von Sydow (Extremely Loud and Incredibly Close) – 50/1; 2% (last week: same)
Patton Oswalt (Young Adult) – 100/1; 1% (last week: same)

Plummer for the win. Branagh for silver. Brooks gets the bronze. Jonah Hill and Nick Nolte, thanks for playing. I would LOVE a surprise or two come nomination time (Ben Kinglsey, Patton Oswalt and Alan Rickman are ALL deserving), but unfortunately I think Max von Sydow has a better shot at slipping in over those three for the dreadful Extremely Loud and Incredibly Close.

JEREMY'S NOMINEES: Christopher Plummer, Keneth Branagh, Albert Brooks, Nick Nolte, Jonah Hill

BEST SUPPORTING ACTRESS

Octavia Spencer (The Help) – 8/11; 58% (last week: 9/10; 53%)
Berenice Bejo (The Artist) – 13/2; 13% (last week: 6/1; 14%)
Jessica Chastain (The Help) – 10/1; 9% (last week: 15/2; 12%)
Shailene Woodley (The Descendents) – 12/1; 8% (last week: same)
Melissa McCarthy (Bridesmaids) – 16/1; 6% (last week: 14/1; 7%)
Vanessa Redgrave (Coriolanus) – 33/1; 3% (last week: 100/1; 1%)
Janet McTeer (Albert Nobbs) – 50/1; 2% (last week: same)

Octavia Spencer is the heavy favorite for The Help which also helps her co-star Viola Davis in the Lead Actress category. It's a great story and the Academy can kill two birds with one stone. Two African-American actresses, both highly respected and liked by their brethren, giving great performances in a hugely commercially successful movie about race? Please. I wasn't sure until I actually watched The Help for myself, but I've become convinced. The Academy isn't going to pass this opportunity up; plus, it gives The Help something without having to seriously factor into other major races like Picture or Screenplay. I still think Shailene Woodley is on the outside looking in, but it wouldn't shock me if the strength of The Descendants got her a nod. The only question is whether Janet McTeer gets a nod; her snub in the BAFTA nominations was interesting (Judi Dench and Carey Mulligan – two fellow Brits – got nods but won't really factor into the Oscars). I'm still going with McTeer for now, but she's got a bunch of other Brits nipping at her heels.

JEREMY'S NOMINEES: Octavia Spencer, Berenice Bejo, Melissa McCarthy, Jessica Chastain (The Help) Janet McTeer

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Trailer of the Week: Moonrise Kingdom




Funny Video of the Week: Funny or Die's Rugrats

Rugrats from Alia Shawkat

That's all for this week. Let me know what you think in the comments section. For now, this is Jeremy Wilson, off the record, on the QT...



...and definitely, "Hush Hush!"