Link-o-logy

Indiewire Robert Redford on whether or not he'd start the Sundance Film Festival again today
Gold Derby on Leo DiCaprio's slightly odd Oscar history 
Los Angeles Times Kathryn Bigelow pens an editorial on torture and her depiction thereof
Stale Popcorn on the Hitchcock meets Lynch vibe of the Bates Motel posters 
Observations on Film Art has a passionated detailed essay for fans of The Hobbit
CHUD Trey Parker and Matt Stone have lots of money. And now a movie production company to spend it.

Movie|Line looks at Bradley Cooper's showbiz past including a nude beach humiliation?
In Contention wants Argo to win Best Picture
Salon wonders what the Golden Globes mean to us, culturally, and to the industry they celebrate
Unreality looks at a study of the colorology of movie trailers. Turns out blue and orange are the winners. I could've told you that without the study. Most overused colors ever in the movies.  
The Advocate has an odd story about anti-gay harassment at a movie theater. At a Barbra Streisand Guilt Trip no less. (Wrong crowd, asshole.)
The Envelope Fox Searchlight will rerelease Beasts of the Southern Wild this weekend in about 70 theaters to celebrate its Oscar nominations. If you haven't seen it, go. It deserves the big screen treatment 
Broadway.com is Miss Julie next for über busy Jessica Chastain? 
Guardian Shortcuts  Les Misérables provoking buckets of tears

Finally... did you hear that the cast of Les Misérables will  be singing at the Oscars? Yes, the whole cast! Which either means they're reworking Original Song nominee "Suddenly" as a rousing choral piece or Hugh Jackman gets to take the stage twice. Either way, we win.

10th Anniversary: Nicole Kidman On Her Oscar Win

Today is the 10th anniversary of the release of The Hours. That's just another reason to feel merry today and remember that gratitude isn't just for Thanksgiving. Especially not when it comes to the gift of cinema. We celebrate the movies all year long but we get extra weepy about the greatness of the artform right about now when drowning in awards and top ten lists .

Christmas 2002 brought three very special actresses together

Not that The Hours is an especially festive or celebratory movie but each Christmas does seem to bring us a super-depressing Best Picture Event (this year's iteration: Les Misérables). The Hours tracks three parallel women Virginia Woolf (Oscar winning Nicole Kidman), Laura Brown (Oscar nominee Julianne Moore) and Clarissa Vaughan (Meryl Streep) who are connected by difficult personalities, anxious spirits ("I feel as if I'm unravelling"), and Woolf's masterpiece "Mrs Dalloway" which she is writing and Laura and Clarissa are reading in the braided plots. 

The 2002 Best Picture nominee is a beloved classic to actressexuals the world over and, as such, I know it's close to the heart of many of you. When I spoke with Nicole Kidman recently, we took a time machine detour to talk about her winning year. (I thought I'd save that piece of our conversation for a surprise Christmas gift for you. Surprise!) The Oscar winner herself was totally taken aback when I mentioned the approaching anniversary. "Wow. That was ten years ago?!?" 

Indeed it was, Nicole, indeed it was. 

NATHANIEL R: You've been invited back to the Oscars with Rabbit Hole recently but what's your most vivid memory of that winning journey with The Hours?

NICOLE'S PERSONAL MEMORIES AFTER THE JUMP...

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Open Thread. Voices (& Comments) Carry

Editorial Note: I'm aware that despite the deliciously robust comment threads on recent posts like "Worst of the (Best)" and "Beasts of the Precursor Wild" a few of you (and me actually) have been having some issues with Comments. I'm monitoring it closely now and unfortunately this week it's decided that some of you are spambots so I've been fixing. A blogger's work is never done!

But what's on your mind today, movie-wise? And yes, yes, I know you're waiting on some key interviews. Thursday through Sunday will be poppin' here at TFE so patience! Interviews are the single most time-consuming kind of article, I'm sorry to say.

If you're exhausted with nothing on your mind this humpday... here -- enjoy some music. Here are new videos from Paul Williams (this song is eligible for the Oscar and is sensitive and beautiful much like his earlier Oscar nominated work. I think it has a good shot at the shortlist), Aimee Mann (I always forget she has a sense of humor and this "Labrador" is kind of awesome) and Hunky Hunk McHunkerson (aka Cheyenne Jackson). Won't someone please put him in an action movie... or at least in a Magic Mike sequel?

What'cha think?

Original Song Eligibility List = Lots of Opportunities For Oscar Night Celebrity Live-Singing!

Now that Skyfall has been declared eligible can Adele finally break the unofficial NO NOMS FOR BOND thing that's been going on forever?As you may have heard, 75 songs have qualified for consideration for Oscar's Best Original Song Category...and not just from animated films. I love this category in my more imaginary moments neither because of what's been nominated over the years (ewww) nor any belief that songwriting is a particularly valid "filmmaking achievement". I only love it for its potential to provide my favorite night of the year with some entertaining interludes -- I love acceptance speeches but you gotta break the night up for variety's sake. Sadly, Oscar has been mucking with this category for so long that it almost never reaches its potential of providing 5 awesome short breaks from people standing at podiums, preferrably while also letting various celebrities sing live to us. In the year of Les Miz it will be a great shame if there isn't live singing on Hollywood's High Holy Night.

But I keep the dream alive and pray that one day some Academy executive will realize that the only thing the category is good for is putting celebrities on stage in a different context than acceptance speeches or merely to introduce yet another mind-numbing montage of something that has nothing to do with the films we happen to be celebrating this annum. So with that in mind, I'm placing in ALL CAPS the performer of the song if it's somebody who it would immediately enrage if they chose not to invite them to sing it to us so that they could shove all the songs into one medley for, like, Miley Cyrus to sing or something (remember how obsessed the Oscars were with having Miley Cyrus present there for awhile?! Yeah, that was... well, let's not dwell.)

LIST AND MORE AFTER THE JUMP

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Top Ten: Greatest Lone Oscar Nods of the Past 20 Years

Glenn here with another look at one of my favourite bi-products of the Oscar season. They’re the nominations that we sometimes forget about (unless it’s Norbit – we all remember that one!), but which forever brand a movie as “Oscar nominated”. Sometimes they’re the result of one aspect of a film sucking up all the energy in the room, and sometimes they’re the result of a prickly film finding an appreciative consensus in one category. Oh sure, all of the films below probably deserve the sort of Oscar haul that will greet Les Mis, Lincoln, or Argo, but receiving just one makes for fun statistics and even more fun list making! Let’s count down the best films of the last 20 years to receive just one nomination* on Oscar morning, and take a look at the films of 2012 that could very well reap a similar fate in 37 days.

*We’re going to exclude films that competed only in the animated/foreign/documentary categories since the Academy assigns them a ghetto for reason.

serial killer films don't usually generate the multiple Oscar wins of Silence of the Lambs

Honourable Mentions: I couldn’t go further without mentioning Tarsem Singh’s The Cell (Best Makeup, 2000) and David Fincher’s Se7en (Best Editing, 1995) since these two audaciously constructed classics of the serial killer subgenre are such bold choices for the Academy in their respective categories. They make a particularly disturbing double feature, too. You’ll be disgusted at the world for weeks!

The Best Single Nominee Films of the Past Twenty Years

10. Monster (Lead Actress, 2003)
I’m most definitely on Team Nick Davis when it comes to this captivating portrayal of an unravelling American life. Told as if through hazy, overly orchestrated memory pieces, Patty Jenkins’ film about Aileen Wuornos arguably deserved more credit than just for Charlize Theron’s pulverising central portrayal. A makeup nomination was the least the Academy could have done.

And in 2012: Now that tsunami disaster drama The Impossible has been nixed from the visual effects category, surely its only strong shot at a nomination is for star Naomi Watts. Will the Academy recognise the desperate plight of a white woman in danger? Probably.

Nine more achievements and their possible mirrors this year are after the jump...

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