FYC BFCA

'Critics Choice' Ballots are due today at 3 PM EST and I challenge my BFCA brethren and sisters to squeeze in one more screener / screening before sending off their ballots. I'll unfortunately have to send mine off without having screened Django Unchained (which I'm seeing as ballots are due) but I did not choose to have the flu this last weekend of voting when it finally started screening.

FYC #1 - Nicole Kidman in The Paperboy. Nicole Kidman is 5'11" and wears massive heels but even seated, squatting or horizontal this performance towers over most of the Supporting Actress Field. 
FYC#2 - Michael Fassbender in Prometheus. He's not being talked up in the Best Supporting Actor race because Oscar taste in acting doesn't ever stretch to androids but you can vote for him in the Best Actor in an Action Movie acting race. FWIW he's on both of those ballots for me because I won't be constrained by Oscar buzz; I'm voting "best" not "most likely to be nominated". 
FYC #3 - Remember that the Young Actor (Under 21) prize has more viable contenders than just Hushpuppy from Beasts of the Southern Wild. Also age-relevant and therefor eligible: Logan Lerman & Ezra Miller from The Perks of Being a Wallflower, Tom Holland from The Impossible, Elle & Alice from Ginger & Rosa and the kids from Moonrise Kingdom. This has the potential to be an amazing category if voters don't get lazy. 
FYC #4 -Weep that they don't televise half the categories because that makes them essentially useless as critical causes go (unless you count fine print on fyc ads) but vote strong anyway: Holy Motors, Les Misérables and Lincoln for Best Makeup! 

Nicole & The Noise

Last week, I started prepping the 2012 "film bitch" awards pages and while staring at the rough draft of the acting awards which will be posted the week before the Oscar nominations, I kept thinking "something is wrong here." I slept on it. The next morning I realized with complete horrror that I had left Nicole Kidman off of my rough draft nominee list for The Paperboy. I, a self-described Kidmaniac, had forgotten "Charlotte Bless." If *I*  was able to forget Nicole, how could I rage at the non-adventurous critics and staid Oscar voters a month and a half from now when they presumably forget her in their year-end polling.

The Thanksgiving to Christmas movie season is filled with "Best of" Noise: big glitzy openings, highbrow movies, lists everywhere you look, forum discussions, critics org announcement. They're all reflecting "Oscar Buzz" whether or not they mean to. Oscar buzz is noisy and the noise can, paradoxically, drown out actual conversations and thoughtful consideration of who might qualify for the word "best"... not who is in the best movie or who is most likely to be nominated. It's understandable human error. Fact: it's easier to remember names you hear every day than names you don't. 

This past week while staring hard at the Supporting Actress Chart  (since revived), I kept staring at Nicole Kidman's photo and cursing the world that this amazing actress's about-face work as a trashy convict-loving beautician wasn't more firmly entrenched in the discussion.

Then a miracle occured...

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Remember Moonrise

Michael C here to make sure memory one of 2012's masterpieces isn't washed away in a flood of Oscar bait. 

The more I think about the final moments of Moonrise Kingdom the more it feels like the saddest thing I’ve seen at the movies all year.

At first glance it feels like the ending couldn’t be much happier. The young lovers are reunited, the storm has passed, and even if things aren’t perfect life is left in greater balance than when the story began. Yet on repeat viewings a nagging feeling of loss rises to the surface. Sam and Suzy are together but it’s not accidental that the last thing we see them do is say goodbye to each other. We first meet Suzy as a raven and now the soundtrack sings of birds flying away in the changing seasons. In film’s closing moments we see Suzy pause to acknowledge Sam’s painting of their beachfront camp. Their stolen adventure sits there, already frozen in the past.

This For Your Consideration reminder continues after the jump...

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Million Dollar Marion

Jose here, still reeling from Rust and Bone this past Sunday (going again today in a couple of hours because it's that good). My first reaction after watching it was: wow, Marion Cotillard truly has been trying to prove to us all her Oscar win was no accident.

I am not a fan of La Vie en Rose but year after year I have found myself more astounded by Cotillard's work. She was heartbreaking in Nine and was the only thing in Inception worth anyone's time, but it's in Rust and Bone where she provesonce and for all  that she's one of the most fearless actresses of our time. Most people think she's a shoo-in for a Best Actress nomination but I'm not sure this will be so easy, given that her character isn't likable at all and we know that AMPAS likes to like its leading ladies; even Margaret Thatcher and Aileen Wuornos had redemptive qualities in their movies.

Cotillard's Stephanie doesn't give a damn if someone likes her or not. When we first meet her she's just been beaten by a guy in a club and she just picks herself up and goes home to her boyfriend, whom she resents for asking for an explanation. After a gruesome accident leaves her disabled, she doesn't change her ways; instead she finds herself a f*** buddy (Matthias Schoenaerts) and becomes involved in some shady business. Can you imagine Million Dollar Baby's Maggie Fitzgerald becoming fiercer after her accident? Rust and Bone is surprising in more than one way and its extreme lack of sentimentality will surely leave some perplexed. But Cotillard is phenomenal. There is one particular scene - set to Katy Perry's "Firework" of all things - where she doesn't speak, but communicates so much through her eyes and face that she should be a frontrunner. She is that good. 

Monty, The Reluctant Pundit, Meets "Bernie"

Everyone knows that cats are psychic. Their mysterious moods including strange swerves from autonomy to neediness, and sudden flights of whimsy and imagination at war with narcolepsy suggest as much! Each year as longtime readers know I consult my beloved Monty on the Oscars. Last year he pretended not to care about Bridesmaids, a cryptic response that did little to help us determine the film's Oscar future (it ended the season with two Oscar nominations for Supporting Actress and Screenplay) but in 2010 he was absolutely prescient when it came to Fox Searchlight's 2010 collection: Yes to 127 Hours, Hell No on Conviction and zzzz to Never Let Me Go.

So I couldn't resist presenting him with the season's first tea leaves if you will. The For Your Consideration DVD of Richard Linklater's Bernie arrived on Saturday and straight to my fuzzy boy it went.

Oh no, NOT THIS AGAIN, DADDY.

At first he refused to look. I rearranged the film's FYC postcard and DVD to see if he would deign to comment.

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