Nathaniel's Ballot: Best Actress

Actresses being my favorite thing in the world, "Best" is a strange term to apply. It has to be plural, you see. There are more great actresses in the world than there are great roles, sadly. If you are a screenwriter reading this, fix this situation! We'd prefer the roles to grow rather than the number of great working actresses to dwindle.

The 12 Lead Actresses I Loved Most This Year

I only allow myself 12 total honors or "semifinalists" each year with 5 of them absurdly lifted up above the other 7 in the end. Though really, such exercizes are excruciatingly subjective and incite an internal war where all sides of the self lose. Except when watching these rich performances. Ask me again in a few years and the lineup might change. This year was so embarrassingly rich I'd be happy with a lineup consisting of any of them. A dozen performances and I still had to shut out a few performances I found interesting or moving or "of note" which includes many of the Oscar contenders. Last year Oscar and I really saw eye to eye in this category but this year we have to part ways. It goes like that sometimes.

MY BALLOT WITH WRITE-UPS 

Regarding The Queen of the Universe
As for Meryl Streep, I will let you know up front that she is not one of my nominees this year though I happily agree that she is her usual mix of generous entertainer, great actress, and true movie star in The Iron Lady and I will be very happy for her once she finally wins that long overdue third Oscar. But: how weird is it that even Meryl Fucking Streep has to do biopic mimicry to get something like winner's heat? I feel like I'm always apologizing to people for not embracing the biopic performances since you're really supposed to love them and admire them above all else (as consensus proves in most years. See also: Michelle Williams who I honestly think is way better in her previous two Oscar nominated turns. What can I say. They just don't capture my imagination in quite the same way as they do everyone else's and these are my awards. I just happen to be, generally, more excited by acting which builds an entire believable life from only words on a page, or finds a way to humanize an auteurist exercize or blazes into full stylization with great creativity.

If you're angry -- devoted Streep fans are famously feisty -- consider this: In the 11 years I've been giving out awards Meryl has already won my top prize (The Devil Wears Prada) as well as two additional medals which is more than you can say for her track record with the Academy. She's not "overdue" here at the Film Experience though it's true that I nominate her less than Oscar does. To make it up to you we'll soon have a Streep Party in the form of Reader Rankings. It got pushed a week becayse this time of year is, well, you know. Tomorrow morning: eeek!

Extremely Link

Weinstein Co a live chat today with The Artist team (4:30 PM EST)
Gold Derby "Oscar nominations we're rooting for"
Deadline exciting sounding project alert. Gyllehaal mama Naomi Foner, who wrote the brilliant Running on Empty (1988) is making her directorial debut with Very Good Girls. Elizabeth Olsen and Dakota Fanning to star as best friends just out of high school eager to lose their virginity.
Nicks Flick Picks' Best Actress Birthday Parties are getting more and more festive. I died at one particular one-liner in the Piper Laurie Tim review and now I simply must see the movie. 

Slash Film Remember that biopic Big Eyes about artist-marrieds Margaret and Walter Keane which was supposed to star Kate Hudson years and years ago? No? Well, it's back in development only this time with Reese Witherspoon. I don't know how you make a movie called Big Eyes and cast anyone but Our Miss Hathaway though. 
AD Jameson How many movies can you see? An obsessive discussion about what's feasible or worthwhile.
By Ken Levine "guys are not going to want to f*** her" on pursuing a role in TV pilots. A scary read for actors!

Fun videos with Charlize, Fassy & Viola after the jump...

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Burning Questions: Can Biopics Help But Glorify Their Subjects?

Michael C. here, just returned from witnessing Meryl Streep in all her awards bait glory.

When controversy arrives in Phyllida Lloyd’s Thatcher biopic The Iron Lady, it comes in the standard form of news footage montages depicting seas of angry protesters clashing with policemen. The actual substance of the issues - massive union strikes, war in the Falkland Islands – is not discussed so much as reframed in the most generic possible terms. Every issue boils down to the same dynamic: Thatcher’s opponents are invariably lily-livered scaredy cats pushing for compromise if not outright surrender, while The Iron Lady holds firm to strength, courage, and principle over popularity. The filmmakers would no doubt say that they are focusing on character over unimportant detail, but it has the direct effect of letting Thatcher off the hook for her positions. Conservatives are free to mentally fill in their ideology and cheer her resolve, while the rest are encouraged to ignore partisanship and admire her gumption.

To be fair to the filmmakers, if Iron Lady had taken the opposite tack and really dug into the thought process of why Thatcher did what she did it would no doubt serve to amplify charges that the movie was aggrandizing its subject. It appears to be a case of damned if they did and damned if they didn’t. The very act of storytelling itself invites the audience to understand the protagonist’s motives and actions. It begs the question: Can biopics help but glorify their subjects? 

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Good Morning. Happy News!

It's a pancake version of DRIVE's scorpion jacket, see?! No? Okay an Alien face-hugger? Humor me.No, no. Stop salivating. It's not another announcement that I've made pancakes in the shape of movie whatsits. The happy news is that tomorrow afternoon there will be an Emergency Podcast Broadcast. What emergency, you ask? The Oscar nominations, silly... 22 hours and counting!

Tuesday is Christmas morning for Nick and I, don't you know. We'll be here to discuss. Possibly with another guest.

I  ♥  this time of year hard. You read lots of web griping that awards season is too torturously long. Oh please. Punish me with red carpets and star sighting and predictions and list-making!!! I don't need a safe word.

The only part of awards season that is reliably awful is the mad rush of movies, more than anyone can possibly see, all in the space of a two week period and the weird fatigue that can set in as a result when you realize you won't be able to see, think about, write about, or revisit everything you'd like to before you have to move on to the next thing and then the next and the next. It's like running a 26 mile marathon with only one stop wherein they may hand you repleneshing treats and juices. Or attending a wedding where the flower girls drop all the petals in one square inch of the aisle. Or... okay I'll stop now. 

FINAL OSCAR PREDICTIONS ~ THE ARTICLE | THE INDEX TO CATEGORY PAGES

Film Bitch Awards: Song, Score, Sound & Film Editing

Around this time of year when I abruptly stop watching movies in full (a breather if you will. It usually lasts two to three weeks) I tend to spend a lot of time skimming through films I've already seen for writing purposes or little reminders of what makes them tick (or tick me off). Scanning through Hanna recently I was amazed anew at the rich theater of its sound work. I didn't quite love the movie or even like it at all in spots and yet it's really difficult to shake.

Of course, you always notice great sound work more when you're also responding to the music and you'll see that reflected in the song, score, sound mixing and sound editing categories which contain nominations for films ranging from Drive to Captain America, The Skin I Live In to The Muppets, Moneyball to Super 8. I don't tend to write much about these categories and I don't claim to be an expert but every year I promise myself to pay a little more attention to sound and scoring. I can't say that I kept the promise in 2011 but since Hollywood was busy obsessing over silent movies (Hugo and The Artist) I'll interpret that as a deferrment.

Let's talk scoring a lot more in 2012, mmmkay?!

As for 2011, which is still going on in our world since Oscar is the New Year's Eve of the film year, I'm all about Alberto Iglesias. There are a number of composers that do multiple films a year these days. Many of them repeat themselves. I think the strain is starting to show a smidgeon with Alexandre Desplat, for example, a god among composers. He's the Jessica Chastain of composers; working round the clock and signing up for endless more projects.  But WOW with Iglesias this year. He's done great work before but The Skin I Live In and Tinker Tailor Soldier Spy are both A grade scores for very different films. I'd nominated him for both but for my policy of not doing that (I treat the craft categories like Oscar treats acting. You're only allowed on nomination in a category each year).

I hope Iglesias hasn't peaked yet but if he has, you'd be hard pressed to find a better twofer from any composer in the space of a single year. Both scores really fit and elevate their films.

NOMINATIONS ANNOUNCED IN ALL FOUR AURAL CATEGORIES

P.S. I've add editing to the VISUAL CATEGORIES. I meant to have more done by now but I'm told that I was wrong about their being 32 hours in every day. Who knew?