Historically, the Directors Guild nominations, and even the actual awards, have tended to correlate with the Oscars both for Best Picture and Best Director to some degree. Now that the Oscars have ten nominations, that might dilute things a bit. Even so, I think it’s fair to say that the this year’s five nominees have excellent shots at getting a Best Director nomination and are close to a lock for Best Picture nominations.
The nominees are: Darren Aronofsky for “Black Swan,” David Fincher for “The Social Network,” Tom Hooper for “The King’s Speech,” Christopher Nolan for “Inception,” and David O. Russell for “The Fighter.” Among the directors excluded who made films a lot of people are pulling for are two women: Lisa Cholodenko of “The Kids Are All Right” and Debra Ganik of “Winter’s Bone.” As Anne Thompson points out, the Guild has been slightly more open to nominating women than the Academy in the past. On the other hand, after last year’s big win for Kathryn Bigelow, it’s possible some of the pressure is off, or not.
Though it’s not as earth shaking, we movie fans like our movie special effects and the Visual Effects Society has made their nominations. No big surprises here either as the nominees for the movie with best effects are “Inception,” “Iron Man 2 ,” “Tron: Legacy,” “Alice in Wonderland,” and “Harry Potter and the Deathly Hallows, Part 1.” I think it’s fair to say that visually stunning “Inception” should have the lead here, but we’ll see. In animation the nominees are: “How to Train Your Dragon,” “Toy Story 3,” “Tangled,” “Shrek Forever After,” and “Legend of the Guardians: The Owls of Ga’Hoole.”
The complete lists of award nominations, including a huge list from the VSA, are after the jump.
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Things turned out at this weekend’s box office more or less as predicted on Thursday. “Wall Street: Money Never Sleeps” came in on top at an estimated $19 million for Fox, according to the Box Office Mojo chart, about a million or two shy of the figures being bandied about, but close enough for an adult skewing film expected to have decent legs. Nikki Finke thinks it may have missed it’s moment in terms of being a topical must-see and also avoiding some bad press provided by the mouthy Oliver Stone. Maybe. She also points out that Fox hasn’t exactly been on a hot streak this summer. Still, this is actually a career high, raw cash wise, for Stone and not too bad a showing for the longest break between an original and a sequel since Martin Scorsese and Paul Newman dared to follow-up the genuine classic, “The Hustler,” with his underrated non-classic, “The Color of Money,” a quarter century after the fact.
Following not so far behind, really, is Warners’ “Legend of the Guardians: The Owls of Ga’Hoole” which earned an estimated $16.3 million. Anthony D’Allesandro is calling the film a “bomb” along the lines of the recent “Cats and Dogs” sequel. That may be accurate compared to what family films like this usually make and in light an as yet unspecified large budget but it’s still within a couple of million of this weekend’s $50-70 million live-action hit.
While the books might have had an audience, something just seemed generally awry and the film lacked a clear premise for non-fans other than “owls fighting.” Whether or not Zack Snyder, whose early hits are receding in the memory of Hollywood, no doubt, gets to remain in the high end movie big leagues may now be largely dependent on what happens when his strange and zany looking action fantasy, “Sucker Punch,” comes out on 3/25/11.
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It’s certainly not resting this very busy weekend when the return of Mr. “Greed is Good” himself and a bunch of 3-D fantasy owls will battle for the #1 spot, with any number of other interesting things happening on the sidelines.
The smart money seems to be pretty positive that “Wall Street: Money Never Sleeps” will earn in the neighborhood of $20 million and so may end up winning the weekend. At least that’s what I’m reading via jolly Carl DiOrio and the more circumspect Ben Fritz.
The audience for the latest from Oliver Stone skews fairly older, not only because it’s a topical thriller from the bombastic but literate Stone, but because it’s a sequel to a hit movie that is — shockingly for some of us — old enough that 24 year-old co-star Shia LaBeouf was barely a toddler when it first came out. That may help with the film’s longevity since older audiences tend to take their time seeing a new movie. Also, a bit of extra publicity from Gekko-man Michael Douglas‘s well-publicized upbeat battle with cancer might add to awareness over the long term. The reviews, which also have a somewhat stronger effect on older viewers, are only meh-to-okay with somewhat better response from more blue-state-centric “top critics.”
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