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Best Picture The Artist The Descendants Extremely Loud & Incredibly Close The Help Hugo Midnight in Paris Moneyball The Tree of Life War Horse
Best Director Michel Hazanavicius, The Artist Alexdander Payne, The Descendants Martin Scorsese, Hugo Woody Allen, Midnight in Paris Terrence Malick, The Tree of Life
Best Actor in a Leading Role Demian Bichir, A Better Life George Clooney, The Descendants Jean Dujardin, The Artist Gary Oldman, Tinker Tailor Soldier Spy Brad Pitt, Moneyball
Best Actress in a Leading Role Glenn Close, Albert Nobbs Viola Davis, The Help Rooney Mara, The Girl with the Dragon Tattoo Meryl Streep, The Iron Lady Michelle Williams, My Week With Marilyn
Best Actor In a Supporting Role Kenneth Branagh, My Week With Marilyn Jonah Hill, Moneyball Nick Nolte, Warrior Christopher Plummer, Beginners Max von Sydow, Extremely Loud & Incredibly Close
Best Actress in a Supporting Role Bérénice Bejo, The Artist Jessica Chastain, The Help Mellisa McCarthy, Bridesmaids Janet McTeer, Albert Nobbs Octavia Spencer, The Help
Best Screenplay (Adapted) The Descendants, Screenplay by Alexander Payne and Nat Faxon & Jim Rash Hugo, Screenplay by John Logan The Ides of March, Screenplay by George Clooney & Grant Heslov and Beau Willimon Moneyball, Screenplay by Steven Zaillian and Aaron Sorkin. Story by Stan Chervin Tinker Tailor Soldier Spy, Screenplay by Bridget O’Connor & Peter Straughan
Best Screenplay (Original) The Artist, Written by Michel Hazanavicius Bridesmaids, Written by Annie Mumolo & Kristen Wiig Margin Call, Written by J.C. Chandor Midnight in Paris, Written by Woody Allen A Separation, Written by Asghar Farhadi
Best Cinematography The Artist, Guillaume Schiffman The Girl With The Dragon Tattoo, Jeff Cronenweth Hugo, Robert Richardson The Tree of Life, Emmanuel Lubezki War Horse, Janusz Kaminski
Best Foreign Language Film Belgium, “Bullhead”, Michael R. Roskam, director Canada, “Monsieur Lazhar”, Philippe Falardeau, director Iran, “A Separation”, Asghar Farhadi, director Israel, “Footnote”, Joseph Cedar, director Poland, “In Darkness”, Agnieszka Holland, director
And a bunch of other shit no one but the nominees really care about.
Down in the hole / Jesus tries to crack a smile / Beneath another shovel load
I REALLY LIKED Bridesmaids. But if a straight comedy gets an Oscar nomination in screenwriting, it's probably a weak year.
Amen.
This, I guess, is even more underlined by the fact that they "only" nominated 9 movies this year for best picture.
I did a little research and not since 1990 has a movie won the best picture oscar (Driving Miss Daisy) without its director also being nominated. I doubt it'll happen again so the "proper" best film list should look like this:
Best Picture The Artist The Descendants Extremely Loud & Incredibly Close The Help Hugo Midnight in Paris Moneyball The Tree of Life War Horse
And Bert, that avatar is freaking me out!
Down in the hole / Jesus tries to crack a smile / Beneath another shovel load
god this is embarrassing. extremely loud and incredibly close...really?! i never thought id see the day when jonah hill is up for an oscar. i'm actually okay with bridesmaids getting a nod. i enjoyed the screenplay and why not mccarthy? i dont think they should win, but they deserve a nomination.
but seriously, not an ounce of love for drive. f uck you academy.
This is the worst Oscars lineup I've seen in years and probably the first where I don't care who wins for anything.
I think everyone knew Drive was going to get snubbed. But not this snubbed. Even Albert Brooks got snubbed in favor of JONAH HILL?!!! You CANNOT be serious! Nothing against the kid. I saw Moneyball. He did fine. But just because he dropped the jokes, outbursts and sarcastic remarks does not mean he's turned in a stellar performance. If Michael Cera had been cast in the same role, nobody would've noticed.
(Please forgive the CAPS, mods. I hope you'll agree they have some merit).
Albert Nobs and Extremely Loud & Incredibly Close should not have been nominated for anything (that makes Albert Brooks double-snubbed). Maybe they were meant for Oscar season but they only came out this past weekend. It's 2012. Nobody's even seen these fucking movies yet.
Other than Drive, too many snubs to mention, even for the Oscars. And way to bring back Billy Crystal. Talk about back to the well.
We all do the same song and dance every year but this is especially pathetic. Seriously.
UGH! What a disappointing year for the Oscars. Really bummed about Shame and Melancholia not being included. I really don't understand why Martha Marcy May Marlene slipped so much under the radar? I was positive Elizabeth Olsen was going to get a nomination at least for her role. It's also a surprise that 50/50 didn't at least get a nomination for best original screenplay, or where Extremely loud and Incredibly Close even came from? Isn't that movie being really poorly received? hmph. Let's hope Billy Crystal puts on a good show because there's really nothing else going for this year for me!
I'm guessing Von Trier's Cannes meltdown had something to do with Melancholia not being on that list. Because considering how boring it was...it would normally be a welcome addition to that bunch. Zzzz.
It was a relatively weak year, overall, but I dug McCarthy's nomination. Nice to see Nolte get a nod for his work in Warrior, too, which is far better than the MMA movie that was advertised.
Also, unrelated, just got my WGA membership notification today. I'll be all union-ed up in a few weeks!
one thing that i forgot to mention in my previous post. i'm super stoked that rango was nominated for best animated film. quite frankly, it was much better than some of that other garbage for overall film of the year.
I'm guessing Von Trier's Cannes meltdown had something to do with Melancholia not being on that list. Because considering how boring it was...it would normally be a welcome addition to that bunch. Zzzz.
I think Cannes had everything to do with Melancholia not being included. As for it being boring, we fans are doing just fine without you. I've since seen it twice and it lost none of its impact the second time around.