LAFCA
Variety senior film critic Justin Chang, secretary of the Los Angeles Film Critics Assn., offers his insider's notebook on Sunday's awards vote.
By Justin Chang
The Los Angeles Film Critics Assn.'s decision to give best picture to Michael Haneke's "Amour" came as a surprise even to some of us who attended yesterday's 5 1/2-hour meeting, following several rounds of voting that had heavily favored "The Master" and "Beasts of the Southern Wild."
Indeed, a showdown between those two American indie darlings seemed imminent from the moment the first three prizes were handed out: supporting actor to Dwight Henry of "Beasts" (squeaking past "Django Unchained's" Christoph Waltz by a single vote), production design to "The Master" and music to "Beasts," going head-to-head with Jonny Greenwood's "Master" score. In category after category, fans of Paul Thomas Anderson's cool-toned psychodrama and Benh Zeitlin's exuberant post-Katrina fairy tale seemed to represent the dominant voting blocs, though with a healthy measure of overlap between the two.
"Amour," by contrast, seemed to command respectable but not overwhelming support early on. Haneke's script barely factored into the race for screenplay, which went to Chris Terrio for "Argo" (beating out runner-up "Silver Linings Playbook," as well as "Lincoln" and "Compliance"). Even odder, Haneke himself was a distant contender for director, placing well behind winner Anderson, runner-up Kathryn Bigelow ("Zero Dark Thirty"), Leos Carax ("Holy Motors") and Zeitlin; the Austrian helmer mustered more support in this category three years ago, when he was named runner-up for "The White Ribbon."
Jean-Louis Trintignant's performance in "Amour" received a handful of votes for best actor but didn't develop much traction in what was perhaps the org's single most competitive category. Support was strong for Daniel Day-Lewis ("Lincoln"), John Hawkes ("The Sessions") and Jack Black ("Bernie"), as well as for eventual winner Joaquin Phoenix ("The Master") and runner-up Denis Lavant ("Holy Motors") -- a super-tight race between two powerfully eccentric, intensely physical performances.
Even Emmanuelle Riva's actress award — the only other prize "Amour" received -- proved hard-won, as the voting resulted in a tie between Riva and "Silver Linings Playbook's" Jennifer Lawrence. Even if we had set out to do so deliberately, we could scarcely have found two more disparate performances to honor in the same category -- not just in terms of the age difference between the two actresses, but also in the almost comically stark contrast between vigorous screwball comedy and deathly serious drama.
Yet in the end, it may have been our awareness of that contrast — which is to say, the calm, unshakable power of "Amour" and its death-comes-for-us-all realization — that made Haneke's film impossible to ignore when it mattered most. The best-picture voting saw "Amour" earn enough of a consensus to vault over "Beasts," "Zero Dark Thirty" and "Holy Motors" into a showdown with "The Master," which, having just copped a directing prize for Anderson, yielded graciously to Haneke's film in the run-off.
In light of the fact that we had just given an import our top honors, yours truly made the ungenerous if logical suggestion that we suspend our foreign-language film category this year. . (Point of clarification: Every year, we vote on foreign-language film after best picture, based on the possibility that a foreign-language film might well be the best picture.) But the membership was not in a stingy mood and pressed onward, happily so in the cases of winner "Holy Motors" and runner-up "Footnote" (to avoid duplicating prizes, the group passed a simple motion not to submit votes for "Amour" in this category, although a few members did so anyway).
In the lead-up to Sunday's meeting, awards watchers had speculated that LAFCA, having previously honored native son Paul Thomas Anderson for 2007's "There Will Be Blood," would go for "The Master" in a big way and presumably push it into Oscar contention. They were hardly wrong, insofar as “The Master” led the pack with four awards and two runner-up citations. (It lost the cinematography prize to Roger Deakins' snazzy work on "Skyfall," in one of the group's spread-the-wealth nods.) Similarly, some had suggested that the L.A. critics would make every effort to avoid honoring "Zero Dark Thirty" in order to distinguish themselves from the New York Film Critics Circle, the National Board of Review, the Boston Society of Film Critics and other awards-giving bodies that had already hailed Kathryn Bigelow's thriller.
Were the pundits right on that score? LAFCA's stubbornly idiosyncratic streak may be no secret, but I wouldn't presume to question my colleagues' motives -- or, for that matter, their fabulous taste. Suffice to say that “Zero Dark Thirty" demonstrated clear support in numerous races: Bigelow was runner-up to Anderson for director, Jessica Chastain drew the most actress votes after Lawrence and Riva, and Jason Clarke was an unexpectedly strong contender for supporting actor. Still, it's interesting to consider that, had we not opted to introduce a film editing award this year, "Zero Dark Thirty" may well have left empty-handed.
What too often gets lost in the predominantly Oscar-centric coverage of a critics group's choices -- amid the usual accusations of agenda mongering, industry whoring and contrarian posturing -- is the sheer range of individual tastes and passions represented in the voting. You wouldn't guess, looking at the final results, that Ann Dowd ("Compliance") and Philip Seymour Hoffman ("The Master") drew numerous votes in the lead and supporting races; that "Moonrise Kingdom," "Anna Karenina" and "Life of Pi" all had their champions, especially in the technical categories; or that Rodney Ascher's "Room 237," Jafar Panahi's "This Is Not a Film" and Kleber Mendonca Filho's "Neighboring Sounds" were three of the group's most passionately defended titles. Well, they were, Oscar hopes be damned: When it comes to the movies, true amour knows no bounds.
Los Angeles Film Critics Association Awards 2012
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The Original BJ
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Re: Los Angeles Film Critics Association Awards 2012
To make maybe an obvious argument, I'd say all of these winners got a real boost with these prizes. I know, I know, any time you win something it's a boost, but these choices weren't candidates who'd previously won elsewhere (Zero Dark Thirty & Lincoln), or candidates who probably don't need critics' prizes at all (Anne Hathaway), or even further-in-the-margins choices that wouldn't have made much of a dent throughout the rest of the season (like some of this group's recent foreign language acting winners). By and large, they were movies that really needed critics to cheer to stay in the race.
Even though it lost the big prize, I think The Master might have been the biggest winner yesterday. The movie definitely seemed to be fading a bit, but Anderson keeps his long-shot Director hopes alive, Phoenix stays solidly in the race, and the film may well have enough concentrated support to hang on to one of those bottom-ballot Best Picture slots. As for Adams, I'd been iffy on her chances, simply because I didn't think her role gave her all that much to do (aside from THAT scene, which seemed to generate its power from the ickiness of the situation more than anything else). But it's a sizable enough part, she's been nominated with regularity in this category in recent years, and now she's got a critics' prize on her resume as well. In a weak supporting actress field, I doubt too many would take offense at another nomination.
Emmanuelle Riva further solidified her Best Actress chances, and the movie's Best Picture win seems to put it on track for at least a Screenplay mention. Or even more, you never know.
Someone at The Film Experience mentioned that Argo was giving off a bit of an Apollo 13 vibe, and the comparison is interesting. Both are crowd-pleasing summer suspense pictures with enough real-world/historical context to at least give them some weight, directed by very well-liked Hollywood figures. And both seem like the kind of movie that a lot of people generally like, but not enough to vote it best of the year. At the very least, critics prizes here and there should reinforce the fact that, in addition to being a popular hit, Argo was very well-reviewed.
Beasts of the Southern Wild is another movie that I doubt could go anywhere without the support of critics, so these mentions revived the movie after its New York shut-out. The score seems exactly like the kind of thing the music branch snubs to widespread outrage, but maybe this prize help land it in the race.
I even think Skyfall's Cinematography prize falls in line with a lot of these other awards. Roger Deakins's work on the film has its eye-catching moments, but Bond has never been a popular franchise with the Academy (even below the line), so this critical cache seems exactly what the movie needed to compete in a category that contains a very strong field of Best Picture candidates.
Even though it lost the big prize, I think The Master might have been the biggest winner yesterday. The movie definitely seemed to be fading a bit, but Anderson keeps his long-shot Director hopes alive, Phoenix stays solidly in the race, and the film may well have enough concentrated support to hang on to one of those bottom-ballot Best Picture slots. As for Adams, I'd been iffy on her chances, simply because I didn't think her role gave her all that much to do (aside from THAT scene, which seemed to generate its power from the ickiness of the situation more than anything else). But it's a sizable enough part, she's been nominated with regularity in this category in recent years, and now she's got a critics' prize on her resume as well. In a weak supporting actress field, I doubt too many would take offense at another nomination.
Emmanuelle Riva further solidified her Best Actress chances, and the movie's Best Picture win seems to put it on track for at least a Screenplay mention. Or even more, you never know.
Someone at The Film Experience mentioned that Argo was giving off a bit of an Apollo 13 vibe, and the comparison is interesting. Both are crowd-pleasing summer suspense pictures with enough real-world/historical context to at least give them some weight, directed by very well-liked Hollywood figures. And both seem like the kind of movie that a lot of people generally like, but not enough to vote it best of the year. At the very least, critics prizes here and there should reinforce the fact that, in addition to being a popular hit, Argo was very well-reviewed.
Beasts of the Southern Wild is another movie that I doubt could go anywhere without the support of critics, so these mentions revived the movie after its New York shut-out. The score seems exactly like the kind of thing the music branch snubs to widespread outrage, but maybe this prize help land it in the race.
I even think Skyfall's Cinematography prize falls in line with a lot of these other awards. Roger Deakins's work on the film has its eye-catching moments, but Bond has never been a popular franchise with the Academy (even below the line), so this critical cache seems exactly what the movie needed to compete in a category that contains a very strong field of Best Picture candidates.
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Re: Los Angeles Film Critics Association Awards 2012
I assume flipp will fill in the rest of the winners when he gets time. Some thoughts:
The Master winning actor/sup. actress/director/design and then losing best picture to Amour reminds one of the quote about The Informer at the '35 Oscars -- "I guess they liked everything about it except the picture".
I was ready to go for Amour at the National Society; they'l have to pick Holy Motors now, to out-hip LA.
I've always thought, on the rare occasions when a foreign language film wins at one of these votes, rather than voting a second "Foreign film that's not the one we chose as best picture", they should follow the lead of the Dog Show -- vote on best of opposite breed (i.e., best English language film).
I apparently know LA and actresses, picking all four of the winners/runners-up. Riva had a good day, also winning in Boston and with the who-cares NY Online Critics. This is also a signal that Lawrence was not just a autumn fling for critics; they seriously like her.
I may be off-base here, but I see the Lawrence/Chastain competition as so without-a-favorite that it wouldn't be impossible for Riva to slip past them. I'm reminded of the 1969 best actress race where, again, two relatively young actresses without long resumes seemed the favorites, and a somewhat more mature Maggie Smith was (to most) a surprise winner.
Phoenix REALLY needed this prize. Early in the day, with Boston and NYonline falling in step behind Mr. Lincoln, I thought we were seeing Capote Redux. That may still happen -- the lesser city film critics have lemming-like tendencies -- but at least for now there's another voice out there.
For all that Amy Adams seems to be perennially in the Oscar discussion, she really hasn't WON very much, so this was a nice moment for her.
The Master is obviously entirely out of contention for best picture, but it still could qualify for a Tree of Life-like showing in nominations. This directing award (the first Malick won last year), plus the acting mentions, help alot.
The Master winning actor/sup. actress/director/design and then losing best picture to Amour reminds one of the quote about The Informer at the '35 Oscars -- "I guess they liked everything about it except the picture".
I was ready to go for Amour at the National Society; they'l have to pick Holy Motors now, to out-hip LA.
I've always thought, on the rare occasions when a foreign language film wins at one of these votes, rather than voting a second "Foreign film that's not the one we chose as best picture", they should follow the lead of the Dog Show -- vote on best of opposite breed (i.e., best English language film).
I apparently know LA and actresses, picking all four of the winners/runners-up. Riva had a good day, also winning in Boston and with the who-cares NY Online Critics. This is also a signal that Lawrence was not just a autumn fling for critics; they seriously like her.
I may be off-base here, but I see the Lawrence/Chastain competition as so without-a-favorite that it wouldn't be impossible for Riva to slip past them. I'm reminded of the 1969 best actress race where, again, two relatively young actresses without long resumes seemed the favorites, and a somewhat more mature Maggie Smith was (to most) a surprise winner.
Phoenix REALLY needed this prize. Early in the day, with Boston and NYonline falling in step behind Mr. Lincoln, I thought we were seeing Capote Redux. That may still happen -- the lesser city film critics have lemming-like tendencies -- but at least for now there's another voice out there.
For all that Amy Adams seems to be perennially in the Oscar discussion, she really hasn't WON very much, so this was a nice moment for her.
The Master is obviously entirely out of contention for best picture, but it still could qualify for a Tree of Life-like showing in nominations. This directing award (the first Malick won last year), plus the acting mentions, help alot.
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Sonic Youth
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Re: Los Angeles Film Critics Association Awards 2012
What are the rest of the results?
ETA: Got them off of Cinemasight.
ETA: Got them off of Cinemasight.
Last edited by Sonic Youth on Sun Dec 09, 2012 7:09 pm, edited 1 time in total.
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rolotomasi99
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Re: Los Angeles Film Critics Association Awards 2012
So the LAFCAA is the first where Kathryn Bigelow loses director...and yet she is still a runner-up. Amazing! I really thought the Los Angeles critics would love ARGO more. I am particularly surprised by the LINCOLN shut-out. I am glad they picked an art house film for Best Picture.
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-- Amy Poehler in praise of Zero Dark Thirty director Kathryn Bigelow
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Re: Los Angeles Film Critics Association Awards 2012
Very happy to see Phoenix will have at least one major citation this year.
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Win Butler
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Re: Los Angeles Film Critics Association Awards 2012
Posting the results as they come in.
Best Picture:
"Amour" (Runner-up: "The Master")
Best Director:
Paul Thomas Anderson, "The Master" (Runner-up: Kathryn Bigelow, "Zero Dark Thirty")
Best Actor:
Joaquin Phoenix, "The Master" (Runner-up: Denis Lavant, "Holy Motors.")
Best Actress:
(tie): Jennifer Lawrence, "Silver Linings Playbook" and Emmanuelle Riva, "Amour."
Best Supporting Actor:
Dwight Henry, "Beasts of the Southern Wild" (Runner-up: Christoph Waltz, "Django Unchained")
Best Supporting Actress:
Amy Adams, "The Master" (Runner-up: Anne Hathaway, "Les Miserables" & "The Dark Knight Rises")
Best Screenplay:
Chris Terrio, "Argo" (Runner-up: David O. Russell, "Silver Linings Playbook")
Best Cinematography:
Roger Deakins, "Skyfall" (Runner-up: Mihai Malaimare Jr., "The Master.")
Best Editing:
Dylan Tichenor and William Goldenberg, "Zero Dark Thirty" (Runner-up: William Goldenberg, "Argo")
Best Production Design:
David Crank and Jack Fisk, "The Master." (Runner-up: Adam Stockhausen, "Moonrise Kingdom")
Best Music/Score:
Dan Romer and Benh Zeitlin, "Beasts of the Southern Wild." (Runner-up: Jonny Greenwood, "The Master")
Best Animated Film:
"Frankenweenie" (Runner-up: "It's Such a Beautiful Day")
Best Foreign Language Film:
"Holy Motors" (Runner-up: "Footnote")
Best Documentary Film:
"The Gatekeepers" (Runner-up: "Searching for Sugar Man")
New Generation Award:
Benh Zeitlin, "Beasts of the Southern Wild"
Douglas Edwards Experimental/Independent Film/Video Award:
"Leviathan" (Cinema Guild will distribute)
Best Picture:
"Amour" (Runner-up: "The Master")
Best Director:
Paul Thomas Anderson, "The Master" (Runner-up: Kathryn Bigelow, "Zero Dark Thirty")
Best Actor:
Joaquin Phoenix, "The Master" (Runner-up: Denis Lavant, "Holy Motors.")
Best Actress:
(tie): Jennifer Lawrence, "Silver Linings Playbook" and Emmanuelle Riva, "Amour."
Best Supporting Actor:
Dwight Henry, "Beasts of the Southern Wild" (Runner-up: Christoph Waltz, "Django Unchained")
Best Supporting Actress:
Amy Adams, "The Master" (Runner-up: Anne Hathaway, "Les Miserables" & "The Dark Knight Rises")
Best Screenplay:
Chris Terrio, "Argo" (Runner-up: David O. Russell, "Silver Linings Playbook")
Best Cinematography:
Roger Deakins, "Skyfall" (Runner-up: Mihai Malaimare Jr., "The Master.")
Best Editing:
Dylan Tichenor and William Goldenberg, "Zero Dark Thirty" (Runner-up: William Goldenberg, "Argo")
Best Production Design:
David Crank and Jack Fisk, "The Master." (Runner-up: Adam Stockhausen, "Moonrise Kingdom")
Best Music/Score:
Dan Romer and Benh Zeitlin, "Beasts of the Southern Wild." (Runner-up: Jonny Greenwood, "The Master")
Best Animated Film:
"Frankenweenie" (Runner-up: "It's Such a Beautiful Day")
Best Foreign Language Film:
"Holy Motors" (Runner-up: "Footnote")
Best Documentary Film:
"The Gatekeepers" (Runner-up: "Searching for Sugar Man")
New Generation Award:
Benh Zeitlin, "Beasts of the Southern Wild"
Douglas Edwards Experimental/Independent Film/Video Award:
"Leviathan" (Cinema Guild will distribute)
Last edited by flipp525 on Sun Dec 09, 2012 9:26 pm, edited 3 times in total.
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Re: Los Angeles Film Critics Association Awards 2012
Film: Zero Dark Thirty
ru: Argo
Actor: Joaquin Phoenix - The Master
ru: Richard Gere - Arbitrage
Actress: Emayatzy E. Corinealdi - Middle Of Nowhere
ru: Quvenzhané Wallis - Beasts Of The Southern Wild
S. Actor: Philip Seymour Hoffman - The Master
ru: Ezra Miller - The Perks Of Being A Wallflower
S. Actress: Helen Hunt - The Sessions
ru: Halle Berry - Cloud Atlas
Director: Zero Dark Thirty
ru: The Master
Screenplay: Argo
ru: Zero Dark Thirty
Cinematography: Life Of Pi
ru: Beasts Of The Southern Wild
Design: Anna Karenina
ru: Cloud Atlas
Music: Argo
ru: Beasts Of The Southern Wild
Foreign Language: Amour
ru: Holy Motors
Animated: ParaNorman
ru: The Secret World Of Arrietty
Documentary: How To Survive A Plague
ru: This Is Not A Film
ru: Argo
Actor: Joaquin Phoenix - The Master
ru: Richard Gere - Arbitrage
Actress: Emayatzy E. Corinealdi - Middle Of Nowhere
ru: Quvenzhané Wallis - Beasts Of The Southern Wild
S. Actor: Philip Seymour Hoffman - The Master
ru: Ezra Miller - The Perks Of Being A Wallflower
S. Actress: Helen Hunt - The Sessions
ru: Halle Berry - Cloud Atlas
Director: Zero Dark Thirty
ru: The Master
Screenplay: Argo
ru: Zero Dark Thirty
Cinematography: Life Of Pi
ru: Beasts Of The Southern Wild
Design: Anna Karenina
ru: Cloud Atlas
Music: Argo
ru: Beasts Of The Southern Wild
Foreign Language: Amour
ru: Holy Motors
Animated: ParaNorman
ru: The Secret World Of Arrietty
Documentary: How To Survive A Plague
ru: This Is Not A Film
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-- Amy Poehler in praise of Zero Dark Thirty director Kathryn Bigelow
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Re: Los Angeles Film Critics Association Awards 2012
Predictions!
PICTURE: Zero Dark Thirty
DIRECTOR: Kathryn Bigelow, Zero Dark Thirty
ACTOR: Joaquin Phoenix, The Master
ACTRESS: Mary Elizabeth Winstead, Smash
SUPPORTING ACTOR: Matthew McConoughey, Magic Mike
SUPPORTING ACTRESS: Ann Dowd, Compliance
SCREENPLAY: Paul Thomas Anderson, The Master
CINEMATOGRAPHY: Greig Fraser, Zero Dark Thirty
PRODUCTION DESIGN: Beasts of the Southern Wild
MUSICAL SCORE: Alexandre Desplat, Moonrise Kingdom, Argo, Zero Dark Thirty and Rise of the Guardians
FOREIGN LANGUAGE FILM: Amour
ANIMATED FILM: Frankenweenie
DOCUMENTARY FILM: Queen of Versailles
NEW GENERATION AWARD: Behn Zeitlin, Beasts of the Southern Wild
PICTURE: Zero Dark Thirty
DIRECTOR: Kathryn Bigelow, Zero Dark Thirty
ACTOR: Joaquin Phoenix, The Master
ACTRESS: Mary Elizabeth Winstead, Smash
SUPPORTING ACTOR: Matthew McConoughey, Magic Mike
SUPPORTING ACTRESS: Ann Dowd, Compliance
SCREENPLAY: Paul Thomas Anderson, The Master
CINEMATOGRAPHY: Greig Fraser, Zero Dark Thirty
PRODUCTION DESIGN: Beasts of the Southern Wild
MUSICAL SCORE: Alexandre Desplat, Moonrise Kingdom, Argo, Zero Dark Thirty and Rise of the Guardians
FOREIGN LANGUAGE FILM: Amour
ANIMATED FILM: Frankenweenie
DOCUMENTARY FILM: Queen of Versailles
NEW GENERATION AWARD: Behn Zeitlin, Beasts of the Southern Wild
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Re: Los Angeles Film Critics Association Awards 2012
Yes, but I guarantee you the first 7 reveiws of Titanic weren't 3 positive, 3 mixed and 1 negative.Big Magilla wrote:Based on 7 reviews - 3 positive, 3 mixed and 1 negative (Slant - that's a surprise!). You can find worse reviews of Titanic on MetaCritic. It may not be a critics' film, but audiences and Oscar voters are another story. Anyway I changed my L.A. prediction to Argo.
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Re: Los Angeles Film Critics Association Awards 2012
Based on 7 reviews - 3 positive, 3 mixed and 1 negative (Slant - that's a surprise!). You can find worse reviews of Titanic on MetaCritic. It may not be a critics' film, but audiences and Oscar voters are another story. Anyway I changed my L.A. prediction to Argo.Mister Tee wrote:I know you're still in "Les Miz will conquer the world" mode, but if anyone's status is starting to look shaky, it's Jackman, who's not getting reviews anything like the rest of this group, and whose film is currently only a few points above Nine at Metacritic.Big Magilla wrote:Yes, but it's a tight race. Right now I see it as Day-Lewis, Hawkes, Jackman, Trintignant and Washington but Phoenix could still be in there in place of either Trintignant or (gasp!) Hawkes.Reza wrote:If John Hawkes (The Sessions) fails to register with any of the critics do you think he stands a chance with the Academy when nominations are announced?
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Mister Tee
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Re: Los Angeles Film Critics Association Awards 2012
I know you're still in "Les Miz will conquer the world" mode, but if anyone's status is starting to look shaky, it's Jackman, who's not getting reviews anything like the rest of this group, and whose film is currently only a few points above Nine at Metacritic.Big Magilla wrote:Yes, but it's a tight race. Right now I see it as Day-Lewis, Hawkes, Jackman, Trintignant and Washington but Phoenix could still be in there in place of either Trintignant or (gasp!) Hawkes.Reza wrote:If John Hawkes (The Sessions) fails to register with any of the critics do you think he stands a chance with the Academy when nominations are announced?
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Re: Los Angeles Film Critics Association Awards 2012
Film: Argo
ru: The Sessions
Actor: Jean-Louis Trintignant
ru: John Hawkes
Actress: Emmanuelle Riva
ru: Nadezhda Markina
Sup. John Goodman
ru: Tommy Lee Jones
Sup. Actress: Helen Hunt
ru: Anne Hathaway
Director: Michael Haneke
ru: Kathryn Bigelow
Screenplay: The Sessions
ru: Lincoln
Cinematography: Life of Pi
ru: Skyfall
Design: The Master
ru: Lincoln
Music: Beasts of the Southern Wild
ru: Lincoln
Foreign Language: Amour
ru: Elena
Animated: Franeekweenie
ru: ParaNorman
Documentary: Searching for Sugarman
ru: The House I Live In
ru: The Sessions
Actor: Jean-Louis Trintignant
ru: John Hawkes
Actress: Emmanuelle Riva
ru: Nadezhda Markina
Sup. John Goodman
ru: Tommy Lee Jones
Sup. Actress: Helen Hunt
ru: Anne Hathaway
Director: Michael Haneke
ru: Kathryn Bigelow
Screenplay: The Sessions
ru: Lincoln
Cinematography: Life of Pi
ru: Skyfall
Design: The Master
ru: Lincoln
Music: Beasts of the Southern Wild
ru: Lincoln
Foreign Language: Amour
ru: Elena
Animated: Franeekweenie
ru: ParaNorman
Documentary: Searching for Sugarman
ru: The House I Live In
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Re: Los Angeles Film Critics Association Awards 2012
Yes, but it's a tight race. Right now I see it as Day-Lewis, Hawkes, Jackman, Trintignant and Washington but Phoenix could still be in there in place of either Trintignant or (gasp!) Hawkes.Reza wrote:If John Hawkes (The Sessions) fails to register with any of the critics do you think he stands a chance with the Academy when nominations are announced?
Re: Los Angeles Film Critics Association Awards 2012
If John Hawkes (The Sessions) fails to register with any of the critics do you think he stands a chance with the Academy when nominations are announced?