It barely appeared in the Netflix top 10 and quickly vanished. I’ve seen no indication that it has any kind of fan base.Big Magilla wrote:People actually like Hillbilly Elegy and Close's performance in it.
Golden Globe Awards
Re: Golden Globe Awards
-
Big Magilla
- Site Admin
- Posts: 19338
- Joined: Wed Jan 01, 2003 3:22 pm
- Location: Jersey Shore
Re: Golden Globe Awards
I also said elsewhere that in the best of all possible worlds Close would already have an Oscar or two and and Yuh-jung Youn would be this year's clear front-runner for a role that has already won her the lion's share of critics' awards. The Globes did not nominate Youn for reasons only the HFPA understands.Mister Tee wrote: Supporting actress will be significant, in the sense that it will reveal whether this year's Glenn Close narrative is legit or purely a blogger's fever-dream. Close's run two years ago was based largely on sentiment, but at least centered on a performance that had got a certain amount of special praise (even if I thought it excessive). This time around, it feels like it's more based in desperation -- a whiff of "Come on, she might retire or die soon; you've got to give it to her." Magilla says elsewhere that Close has no competition. I think that's ridiculous -- Colman and Seyfried have both been highly praised. Moreover, Close's strongest competition comes from the widely-held notion that Hillbilly Elegy is closer to Razzie territory than prize-worthy. She'd have to win on career points alone, and it's questionable whether Globe voters -- who did their duty by Close in 2018, even though Oscar failed to follow -- will feel any need to take part. If Close wins despite all this, she's clearly in the race. But if she fails to make a dent here, I think the air might go out of her balloon altogether.
Yes, Colman and Seyfried have been highly praised, but they are both also-rans. Colman is more likely to win a TV Globe for The Queen but even that is questionable. I don't see her winning for The Father without Hopkins also winning and although a strong case can be made for that happening, I don't see it. Seyfried is not nominated for a SAG award which takes a lot of wind out of her sail.
People actually like Hillbilly Elegy and Close's performance in it. The film was never going to be a critic's darling. Many of them were predisposed not to like it because the book it was based on was not politically correct. Those same critics overpraised Borat 2 because it was politically correct and gave all kinds of awards to Maria Bakalova for making a buffoon out of Rudy Giuliani. Believe me, that's not hard to do.
Hillbilly Elegy is not a good movie, mainly because of Amy Adams' one-note performance, but Close is anything but one-note. It's a fierce performance that could win on the merits and without Youn in the race she's practically invincible. If she does win the Globe and the SAG, her seemingly lost Oscar chances increase tenfold, but that's a story for another day. Let's take one thing at a time.
-
Mister Tee
- Tenured Laureate
- Posts: 8648
- Joined: Wed Jan 01, 2003 2:57 pm
- Location: NYC
- Contact:
Re: Golden Globe Awards
I'll post my predictions in the proper thread, but I figured this was a better spot for overall ruminations.
Despite the fact that we're now settling into some familiar tropes, I still feel like this year is just plain weird, and I have more of a "nothing would surprise me" vibe going into the Globes than usual. The basic field is presumably settled, but I feel like, apart from Chadwick-Boseman-on-sentiment, there's less than the usual Oscar certainty we have going into the HFPA night. (That certainty can be wildly upended -- as "Bradley Cooper is the clear front-runner" -- but it's generally more hardened at this point.)
The chief issue surrounding best Film-Drama is, can Nomadland win despite being a million miles from the Globes' wheelhouse? This group has sometimes stayed away from non-populist critics' consensus (The Hurt Locker losing to Avatar, No Country for Old Men losing to Atonement), but also sometimes towed the line (The Social Network and Boyhood). The idea that shying away from Nomadland could make The Trial of the Chicago 7, effectively, their choice for the year's best film (given the low level of competition for Comedy/Musical), is pretty horrifying. Though not, I suppose, more horrifying than Bohemian Rhapsody. The pressure to cite Chloe Zhao for director is probably too strong to pass on, but the last award of the night could be the most interesting. (Especially if we're all wrong, and they somehow go for Mank.)
Best Actor-Drama is a similar tug of war between something right in their comfort zone -- multi-nominated-never-won Anthony Hopkins in a Brit film totally up their alley -- and wanting to be part of the TV-awards-show bandwagon that carries Boseman straight to victory. Of late, keeping to the template has been more their style -- not dissenting on Laura Dern or Gary Oldman when some of us thought they might. Plus, they're taking a lot of heat for their disgracefully all-white composition, so choosing Boseman will be the simplest way to fend off controversy.
Carey Mulligan is, as I've said elsewhere, the prime beneficiary of what COVID did to film awards this year -- the delay to December making her film prime real estate that the scheduled Spring release wouldn't have -- and she similarly benefits from the fact her two prime competitors, McDormand and Davis, are recent Globe & Oscar winners. This is one of the few categories about which I'm confident.
The Musical/Comedy categories, as far as I'm concerned, are a total crapshoot. Lots of people are going all-in on the Borat sequel, choosing it for all three prizes, but I think it could just as easily go home with none. Hamilton seems the clearest possible upset-er in Film. Much pundit thinking seems to feel they'll pass it by because it's not Oscar-eligible -- but if that was their thinking, why would they have nominated it to begin with? As for Baron-Cohen...the fact he won here for the original film makes me very dubious he'll repeat -- Lin Manuel Miranda and Andy Samberg both seem like alternate possibilities. As for Bakalova -- I know she's slayed at a lot of the critics' gatherings (traditional and blogger-generated), but I still question her being the type to win these kind of awards. (And i won't believe in an Oscar nomination till it's read out.) The Actress slate, in fact, is so far afield from the Oscars that it reminds me of the year Paul Giamatti won for Barney's Version -- the outcome is of so little consequence that I could imagine anyone but Hudson winning.
Supporting actress will be significant, in the sense that it will reveal whether this year's Glenn Close narrative is legit or purely a blogger's fever-dream. Close's run two years ago was based largely on sentiment, but at least centered on a performance that had got a certain amount of special praise (even if I thought it excessive). This time around, it feels like it's more based in desperation -- a whiff of "Come on, she might retire or die soon; you've got to give it to her." Magilla says elsewhere that Close has no competition. I think that's ridiculous -- Colman and Seyfried have both been highly praised. Moreover, Close's strongest competition comes from the widely-held notion that Hillbilly Elegy is closer to Razzie territory than prize-worthy. She'd have to win on career points alone, and it's questionable whether Globe voters -- who did their duty by Close in 2018, even though Oscar failed to follow -- will feel any need to take part. If Close wins despite all this, she's clearly in the race. But if she fails to make a dent here, I think the air might go out of her balloon altogether.
Supporting actor is interesting, simply because there seem serious strikes against everyone. Odom Jr.'s film failed to get nominated in the top category, despite Regina King qualifying under director, and he's a favorite for the song prize. Kaluuya is sensational, but his film did even worse in other categories. Baron Cohen could slip by, but it feels like his performance has got more "he could win" than "he should win" reaction. Jared Leto is a mystery, but, as Andrew Sarris long ago said, if someone surprises you by getting nominated, they might surprise you again by winning. Only Bill Murray seems truly unlikely.
The Screenplay category is probably a face-off between Globes pet Sorkin and newcomer Fennell. Jump ball.
Pixar's films haven't actually done that well at the Globes, compared to the Oscars, and there's the possibility this foreign group could go for the critic-beloved Wolfwalkers. Which should make zero difference to the Oscar outcome.
Soul seems poised to sweep score awards all the way to the Oscars, but the Globes have made weird-ass choices in this category down the years, so don't bet against HFPA swerving some wild direction.
Despite the fact that we're now settling into some familiar tropes, I still feel like this year is just plain weird, and I have more of a "nothing would surprise me" vibe going into the Globes than usual. The basic field is presumably settled, but I feel like, apart from Chadwick-Boseman-on-sentiment, there's less than the usual Oscar certainty we have going into the HFPA night. (That certainty can be wildly upended -- as "Bradley Cooper is the clear front-runner" -- but it's generally more hardened at this point.)
The chief issue surrounding best Film-Drama is, can Nomadland win despite being a million miles from the Globes' wheelhouse? This group has sometimes stayed away from non-populist critics' consensus (The Hurt Locker losing to Avatar, No Country for Old Men losing to Atonement), but also sometimes towed the line (The Social Network and Boyhood). The idea that shying away from Nomadland could make The Trial of the Chicago 7, effectively, their choice for the year's best film (given the low level of competition for Comedy/Musical), is pretty horrifying. Though not, I suppose, more horrifying than Bohemian Rhapsody. The pressure to cite Chloe Zhao for director is probably too strong to pass on, but the last award of the night could be the most interesting. (Especially if we're all wrong, and they somehow go for Mank.)
Best Actor-Drama is a similar tug of war between something right in their comfort zone -- multi-nominated-never-won Anthony Hopkins in a Brit film totally up their alley -- and wanting to be part of the TV-awards-show bandwagon that carries Boseman straight to victory. Of late, keeping to the template has been more their style -- not dissenting on Laura Dern or Gary Oldman when some of us thought they might. Plus, they're taking a lot of heat for their disgracefully all-white composition, so choosing Boseman will be the simplest way to fend off controversy.
Carey Mulligan is, as I've said elsewhere, the prime beneficiary of what COVID did to film awards this year -- the delay to December making her film prime real estate that the scheduled Spring release wouldn't have -- and she similarly benefits from the fact her two prime competitors, McDormand and Davis, are recent Globe & Oscar winners. This is one of the few categories about which I'm confident.
The Musical/Comedy categories, as far as I'm concerned, are a total crapshoot. Lots of people are going all-in on the Borat sequel, choosing it for all three prizes, but I think it could just as easily go home with none. Hamilton seems the clearest possible upset-er in Film. Much pundit thinking seems to feel they'll pass it by because it's not Oscar-eligible -- but if that was their thinking, why would they have nominated it to begin with? As for Baron-Cohen...the fact he won here for the original film makes me very dubious he'll repeat -- Lin Manuel Miranda and Andy Samberg both seem like alternate possibilities. As for Bakalova -- I know she's slayed at a lot of the critics' gatherings (traditional and blogger-generated), but I still question her being the type to win these kind of awards. (And i won't believe in an Oscar nomination till it's read out.) The Actress slate, in fact, is so far afield from the Oscars that it reminds me of the year Paul Giamatti won for Barney's Version -- the outcome is of so little consequence that I could imagine anyone but Hudson winning.
Supporting actress will be significant, in the sense that it will reveal whether this year's Glenn Close narrative is legit or purely a blogger's fever-dream. Close's run two years ago was based largely on sentiment, but at least centered on a performance that had got a certain amount of special praise (even if I thought it excessive). This time around, it feels like it's more based in desperation -- a whiff of "Come on, she might retire or die soon; you've got to give it to her." Magilla says elsewhere that Close has no competition. I think that's ridiculous -- Colman and Seyfried have both been highly praised. Moreover, Close's strongest competition comes from the widely-held notion that Hillbilly Elegy is closer to Razzie territory than prize-worthy. She'd have to win on career points alone, and it's questionable whether Globe voters -- who did their duty by Close in 2018, even though Oscar failed to follow -- will feel any need to take part. If Close wins despite all this, she's clearly in the race. But if she fails to make a dent here, I think the air might go out of her balloon altogether.
Supporting actor is interesting, simply because there seem serious strikes against everyone. Odom Jr.'s film failed to get nominated in the top category, despite Regina King qualifying under director, and he's a favorite for the song prize. Kaluuya is sensational, but his film did even worse in other categories. Baron Cohen could slip by, but it feels like his performance has got more "he could win" than "he should win" reaction. Jared Leto is a mystery, but, as Andrew Sarris long ago said, if someone surprises you by getting nominated, they might surprise you again by winning. Only Bill Murray seems truly unlikely.
The Screenplay category is probably a face-off between Globes pet Sorkin and newcomer Fennell. Jump ball.
Pixar's films haven't actually done that well at the Globes, compared to the Oscars, and there's the possibility this foreign group could go for the critic-beloved Wolfwalkers. Which should make zero difference to the Oscar outcome.
Soul seems poised to sweep score awards all the way to the Oscars, but the Globes have made weird-ass choices in this category down the years, so don't bet against HFPA swerving some wild direction.
Re: Golden Globe Awards
He's a plot function. He's beaten off-screen to represent an emotional turning point. He feels totally separate from the main drama of the characters. I get that he wasn't really a part of the main group but there was no effort to tie these threads together or make them equally important. I don't think the film did plenty for Bobby Seale at all. The animated "documentary" Chicago 10 did more.OscarGuy wrote
I also think that Chicago 7 did plenty for Bobby Seale. He was added to the trial as an addon to secure a conviction, he really wasn't part of the group that was ultimately convicted and the film did plenty to elicit sympathy for the railroading of the character. He was in at least 1/3 of the film, which doesn't sound like short shrift at all to me.
"How's the despair?"
-
OscarGuy
- Site Admin
- Posts: 13668
- Joined: Wed Jan 01, 2003 12:22 am
- Location: Springfield, MO
- Contact:
Re: Golden Globe Awards
The Trial of the Chicago 7 got far more attention from critics awards than Mank was. Critics seemed to be generally more positive according to Rotten Tomatoes and equivalent at MetaCritic.
I also think that Chicago 7 did plenty for Bobby Seale. He was added to the trial as an addon to secure a conviction, he really wasn't part of the group that was ultimately convicted and the film did plenty to elicit sympathy for the railroading of the character. He was in at least 1/3 of the film, which doesn't sound like short shrift at all to me.
I also think that Chicago 7 did plenty for Bobby Seale. He was added to the trial as an addon to secure a conviction, he really wasn't part of the group that was ultimately convicted and the film did plenty to elicit sympathy for the railroading of the character. He was in at least 1/3 of the film, which doesn't sound like short shrift at all to me.
Wesley Lovell
"Any society that would give up a little liberty to gain a little security will deserve neither and lose both." - Benjamin Franklin
"Any society that would give up a little liberty to gain a little security will deserve neither and lose both." - Benjamin Franklin
-
Big Magilla
- Site Admin
- Posts: 19338
- Joined: Wed Jan 01, 2003 3:22 pm
- Location: Jersey Shore
Re: Golden Globe Awards
The Broadcasters voting is on-going. It closes Friday. Gives late voters just enough time to be influenced by The Globes, SAG and the BAFTA long lists due tomorrow as well. Their nominations will be announced next Monday.Mister Tee wrote:I'm wondering if the two-miles-out feeling of this year's race -- so many films seen only or mostly by critics, a lot of us feeling there barely were movies this year -- might mean less conformity from the various sources. Which is to say, perhaps SAG will set a different template. It helps that the Broadcasters have held back, since they're the ones who most aggressively hew to the line and push everyone else that direction.
Re: Golden Globe Awards
The only film about people of color nominated for Best Film was Hamilton. Unforgettable people of color like Alexander Hamilton and Aaron Burr.Mister Tee wrote
I'm not the one usually points this stuff out, but it is striking how non-black the Film-Drama category is. Da 5 Bloods is one thing; for One Night in Miami and Ma Rainey to also be omitted, even with King making the directors' list, feels...not great. Possibly a celebrity thing (King being a big name/Globe winner), but not a good look.
I think this is especially egregious because of Mank's six nominations. It's almost a cliche at this point how much they love films about Hollywood. I am not the biggest fan in the world of Da 5 Bloods, Ma Rainey, or One Night in Miami and I have not seen Judas and the Black Messiah. But the fact that they ignored ALL OF THEM for not just Mank but The Trial of the Chicago 7, a film that treats Bobby Seale and Fred Hampton as afterthoughts, is a bad look indeed.
I suspect tomorrow will look very different when the Screen Actor's Guild votes on their favorites and quite a few of these are nominated instead.
"How's the despair?"
-
Mister Tee
- Tenured Laureate
- Posts: 8648
- Joined: Wed Jan 01, 2003 2:57 pm
- Location: NYC
- Contact:
Re: Golden Globe Awards
Best reaction: Sacha Baron Cohen says in case his films don't win anything, he's hired Rudy Giuliani to contest the results.
I'm wondering if the two-miles-out feeling of this year's race -- so many films seen only or mostly by critics, a lot of us feeling there barely were movies this year -- might mean less conformity from the various sources. Which is to say, perhaps SAG will set a different template. It helps that the Broadcasters have held back, since they're the ones who most aggressively hew to the line and push everyone else that direction. And, of course, the Oscar nominations themselves being so much further down the line might allow for more individuality of thought.
Anyway...
I'm not the one usually points this stuff out, but it is striking how non-black the Film-Drama category is. Da 5 Bloods is one thing; for One Night in Miami and Ma Rainey to also be omitted, even with King making the directors' list, feels...not great. Possibly a celebrity thing (King being a big name/Globe winner), but not a good look.
In fact, there's a lot of star-fucking going on here. Miranda getting the Hamilton nod, despite near-universal agreement (see the Tonys) that Odom Jr. is the show's great role. Bill Murray and Jared Leto getting in support over Paul Raci or the Ma Rainey guys. Close and Foster for, shall we say, not massively praised performances. And James Corden for, bar none, the most highly-criticized aspect of The Prom.
As Sabin notes, the Netflix hot tickets -- Mank and Chicago 7 -- thrive despite critics and the Internet turning up their noses. I still feel like Mank is set up to be an Almost Famous -- scoring all the right precursors, still missing picture/director with AMPAS -- but at least it's improving Amanda Seyfried's position.
Someone on Awards Watch said COVID was the best thing that ever happened to Promising Young Woman. It was set to be a Spring release, with no indication it would be any particularly big deal. Arriving instead at year's end, with no consensus choice for best actress or screenplay -- with the other leading actress candidates, Davis & McDormand, recent winners -- it lines up perfectly to fill the niche. I have no problem with this -- I loved Mulligan in An Education, and thought she clearly rated notice for Shame, so good for her.
Also, good for Ahmed, an actor I made my bonus round choice two years back. And good for the female nominated directors. But I still can't shake the fact that all this positive stuff is only happening because it's not a normal year, and there's a gold-medalist-Mary Lou Retton vibe around the whole thing. Nothing's going to move me from that position.
I'm wondering if the two-miles-out feeling of this year's race -- so many films seen only or mostly by critics, a lot of us feeling there barely were movies this year -- might mean less conformity from the various sources. Which is to say, perhaps SAG will set a different template. It helps that the Broadcasters have held back, since they're the ones who most aggressively hew to the line and push everyone else that direction. And, of course, the Oscar nominations themselves being so much further down the line might allow for more individuality of thought.
Anyway...
I'm not the one usually points this stuff out, but it is striking how non-black the Film-Drama category is. Da 5 Bloods is one thing; for One Night in Miami and Ma Rainey to also be omitted, even with King making the directors' list, feels...not great. Possibly a celebrity thing (King being a big name/Globe winner), but not a good look.
In fact, there's a lot of star-fucking going on here. Miranda getting the Hamilton nod, despite near-universal agreement (see the Tonys) that Odom Jr. is the show's great role. Bill Murray and Jared Leto getting in support over Paul Raci or the Ma Rainey guys. Close and Foster for, shall we say, not massively praised performances. And James Corden for, bar none, the most highly-criticized aspect of The Prom.
As Sabin notes, the Netflix hot tickets -- Mank and Chicago 7 -- thrive despite critics and the Internet turning up their noses. I still feel like Mank is set up to be an Almost Famous -- scoring all the right precursors, still missing picture/director with AMPAS -- but at least it's improving Amanda Seyfried's position.
Someone on Awards Watch said COVID was the best thing that ever happened to Promising Young Woman. It was set to be a Spring release, with no indication it would be any particularly big deal. Arriving instead at year's end, with no consensus choice for best actress or screenplay -- with the other leading actress candidates, Davis & McDormand, recent winners -- it lines up perfectly to fill the niche. I have no problem with this -- I loved Mulligan in An Education, and thought she clearly rated notice for Shame, so good for her.
Also, good for Ahmed, an actor I made my bonus round choice two years back. And good for the female nominated directors. But I still can't shake the fact that all this positive stuff is only happening because it's not a normal year, and there's a gold-medalist-Mary Lou Retton vibe around the whole thing. Nothing's going to move me from that position.
Re: Golden Globe Awards
Big loser is Da 5 Bloods. Maybe it just wasn't their cup of tea.
Biggest winner confirms a recent suspicion that Promising Young Woman is being seen as more than a Carey Mulligan vehicle. It's a zeitgeist piece with real fans. And of course, I'd be remiss if I didn't acknowledge The Mauritanian clearly has some fans.
I thought Mank and The Trial of the Chicago 7 might have missed their moment. They certainly didn't with this crowd, with six and five nominations. The Hollywood Foreign Press' infatuation with Aaron Sorkin and all things Hollywood continues.
Best Motion Picture--Drama: The Trial of the Chicago 7
Best Motion Picture--Comedy or Musical: Borat: Subsequent Moviefilm or Hamilton
Best Foreign-Language Film: Minari
Best Animated Film: Soul or Wolfwalkers
Best Actor in a Motion Picture--Drama: Anthony Hopkins, The Father (or Boseman)
Best Actor in a Motion Picture--Comedy or Musical: unclear
Best Actress in a Motion Picture--Drama: Carey Mulligan, Promising Young Woman
Best Actress in a Motion Picture--Comedy or Musical: Maria Bakalova, Borat: Subsequent Moviefilm
Best Supporting Actor: Sasha Baron Cohen, The Trial of the Chicago 7
Best Supporting Actress: Amanda Seyfried, Mank
Best Director: unclear
Best Screenplay: Promising Young Woman or The Trial of the Chicago 7
Best Score: unclear
Best Original Song: unclear, but it is also never clear with this group
Biggest winner confirms a recent suspicion that Promising Young Woman is being seen as more than a Carey Mulligan vehicle. It's a zeitgeist piece with real fans. And of course, I'd be remiss if I didn't acknowledge The Mauritanian clearly has some fans.
I thought Mank and The Trial of the Chicago 7 might have missed their moment. They certainly didn't with this crowd, with six and five nominations. The Hollywood Foreign Press' infatuation with Aaron Sorkin and all things Hollywood continues.
Best Motion Picture--Drama: The Trial of the Chicago 7
Best Motion Picture--Comedy or Musical: Borat: Subsequent Moviefilm or Hamilton
Best Foreign-Language Film: Minari
Best Animated Film: Soul or Wolfwalkers
Best Actor in a Motion Picture--Drama: Anthony Hopkins, The Father (or Boseman)
Best Actor in a Motion Picture--Comedy or Musical: unclear
Best Actress in a Motion Picture--Drama: Carey Mulligan, Promising Young Woman
Best Actress in a Motion Picture--Comedy or Musical: Maria Bakalova, Borat: Subsequent Moviefilm
Best Supporting Actor: Sasha Baron Cohen, The Trial of the Chicago 7
Best Supporting Actress: Amanda Seyfried, Mank
Best Director: unclear
Best Screenplay: Promising Young Woman or The Trial of the Chicago 7
Best Score: unclear
Best Original Song: unclear, but it is also never clear with this group
"How's the despair?"
-
OscarGuy
- Site Admin
- Posts: 13668
- Joined: Wed Jan 01, 2003 12:22 am
- Location: Springfield, MO
- Contact:
Re: Golden Globe Awards
They should be ashamed for nominating James Corden. His is one of the worst and most flagrantly offensive performances I've seen in a long time. The limp-wristed aesthetic is a tired cliché and he should be ashamed.
Wesley Lovell
"Any society that would give up a little liberty to gain a little security will deserve neither and lose both." - Benjamin Franklin
"Any society that would give up a little liberty to gain a little security will deserve neither and lose both." - Benjamin Franklin
Re: Golden Globe Awards
The film is directed by the Australian singer SiaBig Magilla wrote:It's not released yet - coming to IMAX on 2/10 and "the internet", presumably HBO Max, on 2/12anonymous1980 wrote:Some random thoughts as I was listening to the announcements:
- What the hell is Music?
Kate Hudson plays a character named "Zu (Zoo?)", "Music" is her little sister. Probably as stupid as it sounds.
-
Big Magilla
- Site Admin
- Posts: 19338
- Joined: Wed Jan 01, 2003 3:22 pm
- Location: Jersey Shore
Re: Golden Globe Awards
It's not released yet - coming to IMAX on 2/10 and "the internet", presumably HBO Max, on 2/12anonymous1980 wrote:Some random thoughts as I was listening to the announcements:
- What the hell is Music?
Kate Hudson plays a character named "Zu (Zoo?)", "Music" is her little sister. Probably as stupid as it sounds.
-
Big Magilla
- Site Admin
- Posts: 19338
- Joined: Wed Jan 01, 2003 3:22 pm
- Location: Jersey Shore
Re: Golden Globe Awards
More surprises in who they left out than who they included:
Delroy Lindo - Da 5 Bloods ignored altogether
Sophia Loren - her film is nominated for Foreign Language Film, but not for Best Actress
Meryl Streep - James Cordon is nominated for The Prom, but she isn't
Paul Raci - Sound of Metal is ignored for all but Riz Ahmed (mispronounced as Achmed by Sarah Jessica Parker twice)
Ellen Burstyn and Yuh-Jung Youn - passed over for Jodie Foster and Helena Zengel
Delroy Lindo - Da 5 Bloods ignored altogether
Sophia Loren - her film is nominated for Foreign Language Film, but not for Best Actress
Meryl Streep - James Cordon is nominated for The Prom, but she isn't
Paul Raci - Sound of Metal is ignored for all but Riz Ahmed (mispronounced as Achmed by Sarah Jessica Parker twice)
Ellen Burstyn and Yuh-Jung Youn - passed over for Jodie Foster and Helena Zengel
-
anonymous1980
- Laureate
- Posts: 6384
- Joined: Wed Jan 01, 2003 10:03 pm
- Location: Manila
- Contact:
Re: Golden Globe Awards
Some random thoughts as I was listening to the announcements:
- What the hell is Music?
- Jared Leto?!?
- No Lindo!!! Da 5 Bloods got completely shut out.
- Yay for Emerald Fennell and Promising Young Woman!
- Corden gets in but not Streep?!? Weird!
- What the hell is Music?
- Jared Leto?!?
- No Lindo!!! Da 5 Bloods got completely shut out.
- Yay for Emerald Fennell and Promising Young Woman!
- Corden gets in but not Streep?!? Weird!
Re: Golden Globe Awards
Nominations announced:
BEST MOTION PICTURE – DRAMA
THE FATHER (Trademark Films; Sony Pictures Classics)
MANK (Netflix; Netflix)
NOMADLAND (Highwayman / Hear/Say / Cor Cordium; Searchlight Pictures)
PROMISING YOUNG WOMAN (LuckyChap Entertainment / FilmNation Entertainment; Focus Features)
THE TRIAL OF THE CHICAGO 7 (Marc Platt Productions / Dreamworks Pictures; Netflix)
BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – DRAMA
VIOLA DAVIS MA RAINEY'S BLACK BOTTOM
ANDRA DAY THE UNITED STATES VS. BILLIE HOLIDAY
VANESSA KIRBY PIECES OF A WOMAN
FRANCES MCDORMAND NOMADLAND
CAREY MULLIGAN PROMISING YOUNG WOMAN
BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – DRAMA
RIZ AHMED SOUND OF METAL
CHADWICK BOSEMAN MA RAINEY'S BLACK BOTTOM
ANTHONY HOPKINS THE FATHER
GARY OLDMAN MANK
TAHAR RAHIM THE MAURITANIAN
BEST MOTION PICTURE – MUSICAL OR COMEDY
BORAT SUBSEQUENT MOVIEFILM (Four By Two Films; Amazon Studios)
HAMILTON (Walt Disney Pictures / RadicalMedia / 5000 Broadway Productions / NEVIS Productions / Old 320 Sycamore Pictures; Walt Disney Studios Motion Pictures)
MUSIC (Pineapple Lasagne Productions / Landay Entertainment; Vertical Entertainment / IMAX)
PALM SPRINGS (Party Over Here / Limelight Productions; NEON / Hulu)
THE PROM (Netflix / Dramatic Forces / Storykey Entertainment; Netflix)
BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – MUSICAL OR COMEDY
MARIA BAKALOVA BORAT SUBSEQUENT MOVIEFILM
KATE HUDSON MUSIC
MICHELLE PFEIFFER FRENCH EXIT
ROSAMUND PIKE I CARE A LOT
ANYA TAYLOR-JOY EMMA.
BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – MUSICAL OR COMEDY
SACHA BARON COHEN BORAT SUBSEQUENT MOVIEFILM
JAMES CORDEN THE PROM
LIN-MANUEL MIRANDA HAMILTON
DEV PATEL THE PERSONAL HISTORY OF DAVID COPPERFIELD
ANDY SAMBERG PALM SPRINGS
BEST MOTION PICTURE – ANIMATED
THE CROODS: A NEW AGE (DreamWorks Animation; Universal Pictures)
ONWARD (Walt Disney Pictures / Pixar Animation Studios; Walt Disney Studios Motion Pictures)
OVER THE MOON (Netflix / Pearl Studio / Glen Keane Productions; Netflix)
SOUL (Walt Disney Pictures / Pixar Animation Studios; Walt Disney Studios Motion Pictures)
WOLFWALKERS (Cartoon Saloon / Melusine; Apple / GKIDS)
BEST MOTION PICTURE – FOREIGN LANGUAGE
ANOTHER ROUND (DENMARK) (Zentropa Entertainments; Samuel Goldwyn Films)
LA LLORONA (GUATEMALA / FRANCE) (La Casa de Producción / Les Films du Volcan; Shudder)
THE LIFE AHEAD (ITALY) (Palomar; Netflix)
MINARI (USA) (Plan B; A24)
TWO OF US (FRANCE / USA) (Paprika Films; Magnolia Pictures)
BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN ANY MOTION PICTURE
GLENN CLOSE HILLBILLY ELEGY
OLIVIA COLMAN THE FATHER
JODIE FOSTER THE MAURITANIAN
AMANDA SEYFRIED MANK
HELENA ZENGEL NEWS OF THE WORLD
BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN ANY MOTION PICTURE
SACHA BARON COHEN THE TRIAL OF THE CHICAGO 7
DANIEL KALUUYA JUDAS AND THE BLACK MESSIAH
JARED LETO THE LITTLE THINGS
BILL MURRAY ON THE ROCKS
LESLIE ODOM JR. ONE NIGHT IN MIAMI...
BEST DIRECTOR – MOTION PICTURE
EMERALD FENNELL PROMISING YOUNG WOMAN
DAVID FINCHER MANK
REGINA KING ONE NIGHT IN MIAMI...
AARON SORKIN THE TRIAL OF THE CHICAGO 7
CHLOÉ ZHAO NOMADLAND
BEST SCREENPLAY – MOTION PICTURE
EMERALD FENNELL PROMISING YOUNG WOMAN
JACK FINCHER MANK
AARON SORKIN THE TRIAL OF THE CHICAGO 7
FLORIAN ZELLER, CHRISTOPHER HAMPTON THE FATHER
CHLOÉ ZHAO NOMADLAND
BEST ORIGINAL SCORE – MOTION PICTURE
ALEXANDRE DESPLAT THE MIDNIGHT SKY
LUDWIG GÖRANSSON TENET
JAMES NEWTON HOWARD NEWS OF THE WORLD
TRENT REZNOR, ATTICUS ROSS MANK
TRENT REZNOR, ATTICUS ROSS, JON BATISTE SOUL
BEST ORIGINAL SONG – MOTION PICTURE
“FIGHT FOR YOU” — JUDAS AND THE BLACK MESSIAH
Music by: H.E.R., Dernst Emile II
Lyrics by: H.E.R., Tiara Thomas
“HEAR MY VOICE” — THE TRIAL OF THE CHICAGO 7
Music by: Daniel Pemberton
Lyrics by: Daniel Pemberton, Celeste Waite
“IO SÌ (SEEN)” — THE LIFE AHEAD
Music by: Diane Warren
Lyrics by: Diane Warren, Laura Pausini, Niccolò Agliardi
“SPEAK NOW” — ONE NIGHT IN MIAMI...
Music by: Leslie Odom Jr, Sam Ashworth
Lyrics by: Leslie Odom Jr, Sam Ashworth
“TIGRESS & TWEED” — THE UNITED STATES VS. BILLIE HOLIDAY
Music by: Andra Day, Raphael Saadiq
Lyrics by: Andra Day, Raphael Saadiq
BEST MOTION PICTURE – DRAMA
THE FATHER (Trademark Films; Sony Pictures Classics)
MANK (Netflix; Netflix)
NOMADLAND (Highwayman / Hear/Say / Cor Cordium; Searchlight Pictures)
PROMISING YOUNG WOMAN (LuckyChap Entertainment / FilmNation Entertainment; Focus Features)
THE TRIAL OF THE CHICAGO 7 (Marc Platt Productions / Dreamworks Pictures; Netflix)
BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – DRAMA
VIOLA DAVIS MA RAINEY'S BLACK BOTTOM
ANDRA DAY THE UNITED STATES VS. BILLIE HOLIDAY
VANESSA KIRBY PIECES OF A WOMAN
FRANCES MCDORMAND NOMADLAND
CAREY MULLIGAN PROMISING YOUNG WOMAN
BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – DRAMA
RIZ AHMED SOUND OF METAL
CHADWICK BOSEMAN MA RAINEY'S BLACK BOTTOM
ANTHONY HOPKINS THE FATHER
GARY OLDMAN MANK
TAHAR RAHIM THE MAURITANIAN
BEST MOTION PICTURE – MUSICAL OR COMEDY
BORAT SUBSEQUENT MOVIEFILM (Four By Two Films; Amazon Studios)
HAMILTON (Walt Disney Pictures / RadicalMedia / 5000 Broadway Productions / NEVIS Productions / Old 320 Sycamore Pictures; Walt Disney Studios Motion Pictures)
MUSIC (Pineapple Lasagne Productions / Landay Entertainment; Vertical Entertainment / IMAX)
PALM SPRINGS (Party Over Here / Limelight Productions; NEON / Hulu)
THE PROM (Netflix / Dramatic Forces / Storykey Entertainment; Netflix)
BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – MUSICAL OR COMEDY
MARIA BAKALOVA BORAT SUBSEQUENT MOVIEFILM
KATE HUDSON MUSIC
MICHELLE PFEIFFER FRENCH EXIT
ROSAMUND PIKE I CARE A LOT
ANYA TAYLOR-JOY EMMA.
BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – MUSICAL OR COMEDY
SACHA BARON COHEN BORAT SUBSEQUENT MOVIEFILM
JAMES CORDEN THE PROM
LIN-MANUEL MIRANDA HAMILTON
DEV PATEL THE PERSONAL HISTORY OF DAVID COPPERFIELD
ANDY SAMBERG PALM SPRINGS
BEST MOTION PICTURE – ANIMATED
THE CROODS: A NEW AGE (DreamWorks Animation; Universal Pictures)
ONWARD (Walt Disney Pictures / Pixar Animation Studios; Walt Disney Studios Motion Pictures)
OVER THE MOON (Netflix / Pearl Studio / Glen Keane Productions; Netflix)
SOUL (Walt Disney Pictures / Pixar Animation Studios; Walt Disney Studios Motion Pictures)
WOLFWALKERS (Cartoon Saloon / Melusine; Apple / GKIDS)
BEST MOTION PICTURE – FOREIGN LANGUAGE
ANOTHER ROUND (DENMARK) (Zentropa Entertainments; Samuel Goldwyn Films)
LA LLORONA (GUATEMALA / FRANCE) (La Casa de Producción / Les Films du Volcan; Shudder)
THE LIFE AHEAD (ITALY) (Palomar; Netflix)
MINARI (USA) (Plan B; A24)
TWO OF US (FRANCE / USA) (Paprika Films; Magnolia Pictures)
BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN ANY MOTION PICTURE
GLENN CLOSE HILLBILLY ELEGY
OLIVIA COLMAN THE FATHER
JODIE FOSTER THE MAURITANIAN
AMANDA SEYFRIED MANK
HELENA ZENGEL NEWS OF THE WORLD
BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN ANY MOTION PICTURE
SACHA BARON COHEN THE TRIAL OF THE CHICAGO 7
DANIEL KALUUYA JUDAS AND THE BLACK MESSIAH
JARED LETO THE LITTLE THINGS
BILL MURRAY ON THE ROCKS
LESLIE ODOM JR. ONE NIGHT IN MIAMI...
BEST DIRECTOR – MOTION PICTURE
EMERALD FENNELL PROMISING YOUNG WOMAN
DAVID FINCHER MANK
REGINA KING ONE NIGHT IN MIAMI...
AARON SORKIN THE TRIAL OF THE CHICAGO 7
CHLOÉ ZHAO NOMADLAND
BEST SCREENPLAY – MOTION PICTURE
EMERALD FENNELL PROMISING YOUNG WOMAN
JACK FINCHER MANK
AARON SORKIN THE TRIAL OF THE CHICAGO 7
FLORIAN ZELLER, CHRISTOPHER HAMPTON THE FATHER
CHLOÉ ZHAO NOMADLAND
BEST ORIGINAL SCORE – MOTION PICTURE
ALEXANDRE DESPLAT THE MIDNIGHT SKY
LUDWIG GÖRANSSON TENET
JAMES NEWTON HOWARD NEWS OF THE WORLD
TRENT REZNOR, ATTICUS ROSS MANK
TRENT REZNOR, ATTICUS ROSS, JON BATISTE SOUL
BEST ORIGINAL SONG – MOTION PICTURE
“FIGHT FOR YOU” — JUDAS AND THE BLACK MESSIAH
Music by: H.E.R., Dernst Emile II
Lyrics by: H.E.R., Tiara Thomas
“HEAR MY VOICE” — THE TRIAL OF THE CHICAGO 7
Music by: Daniel Pemberton
Lyrics by: Daniel Pemberton, Celeste Waite
“IO SÌ (SEEN)” — THE LIFE AHEAD
Music by: Diane Warren
Lyrics by: Diane Warren, Laura Pausini, Niccolò Agliardi
“SPEAK NOW” — ONE NIGHT IN MIAMI...
Music by: Leslie Odom Jr, Sam Ashworth
Lyrics by: Leslie Odom Jr, Sam Ashworth
“TIGRESS & TWEED” — THE UNITED STATES VS. BILLIE HOLIDAY
Music by: Andra Day, Raphael Saadiq
Lyrics by: Andra Day, Raphael Saadiq