the awards editions 2010-2011

— oscar overview —
THe MosT wiDe–oPeN
h
By Pete Hammond
ow rare that no movie has grabbed the mantle of first or even secondary frontrunner yet. High-profile contenders have been slowly emerging at this key early juncture.
Which is why making an early, not-so-subtle bid for Academy attention pre-November can be a smart marketing strategy. It’s a way to be remembered if a movie was released
before September (Inception, Shutter Island, Toy Story 3, How To Train Your Dragon, Alice In Wonderland, Get Low, The Kids Are All Right, Winter’s Bone), or to establish
a new Fall film as a contender amid the endless glut of Oscar wannabes (The Town, The Social Network, Wall Street: Money Never Sleeps, Hereafter, For Colored Girls, Fair
Game, 127 Hours), or to prime the pump for the trickier proposition of forecasting the awards status of films that haven’t released into theaters yet (The King’s Speech, The
Fighter, True Grit, Love And Other Drugs, How Do You Know, Blue Valentine, Black Swan, Rabbit Hole, Made In Dagenham, Another Year, The Way Back, Biutiful). With the
field of potential winners wide open this year, the Best Picture Oscar has way more heat than, say, Documentary or Animation or Foreign Language races which are chosen
by committee, their fates not as dependent on the all-important buzz. Right now, the List of 10 is looking like a knock-down, drag-out brawl between the indies and the majors. “I feel the
majors are getting back into it. A number of these studios have big pictures they are putting out as contenders,” says Michael Barker, Co-President of Sony Pictures Classics. Barker’s longtime
SPC partner and Co-President Tom Bernard adds: “But it is not simply that majors are coming back, it is who is motivated. On some of these films, if you spend it will pay off, if you
don’t it won’t.” And if a pic doesn’t have major campaign backing, says Roadside Attractions Co-President Howard Cohen, “voters still have a tradition of rewarding great work from smaller
films. You go in as an underdog and you play that up.” But Fox Searchlight Co-President Nancy Utley reminds that awards season isn’t just ego feed for all concerned. “For the major studios,
Oscars are a nice prize. But for us, it’s business.” The films listed by alphabetical order below are in contention for multiple Oscar marquee categories. (Not included are motion pictures like
Secretariat, hopeful for technical awards like sound and cinematography, or Burlesque for song, or Letters To Juliet for a singular performance like Vanessa Redgrave’s.)
127 HOURS (Fox Searchlight) — Danny
Boyle’s first effort since Oscar-winner
Slumdog Millionaire has a strong bet in
Best Actor for James Franco. But is that
“Farewell to Arm” scene too much for the
Academy for Best Picture? (People keep
fainting at screenings.)
ALICE IN WONDERLAND (Walt Disney
Pictures) — Tim Burton’s take on the
classic tale is one of the biggest box office stories
of the year. A natural bet for the Golden
Globes Comedy/Musical categories and lots
of technical nods at the Academy, too.
ANIMAL KINGDOM (Sony Pictures
Classics) — This tough Australian crime
drama joined Mother and Child as the first
DVD screener sent this season to Academy
voters who will see a classic supporting turn
from Jacki Weaver. She deserves recognition.
ANOTHER YEAR (Sony Pictures Classics)
— Mike Leigh’s best film since Secrets &
Lies didn’t win anything on fest circuit. But
those who like it love it. Leigh films usually go
2 deadline.com
race iN Years
over well with the Academy but surest thing
is the performance of Lesley Manville.
BARNEY’S VERSION (Sony Pictures
Classics) — SPC’s Toronto pickup of
this Venice hit was a smart move and
could result in some nominations. With
a decent campaign, Paul Giamatti can
make a Best Actor play and Dustin
Hoffman is possible in support.
BIUTIFUL (Roadside Attractions) —
Javier Bardem’s Cannes Festival-winning
performance lost none of its power in
Telluride or Toronto. Mexico’s Foreign
Language Film submission. Dark horse
in Best Picture if voters turn off because
it’s too “depressing”.
BLACK SWAN (Fox Searchlight) — It
took Venice by storm. Lots of awards
talk followed Telluride and Toronto. Very
much alive in key races, like actress categories
for Natalie Portman and Mila Kunis.
Big question is how will older voters
react to film’s kinkier aspects?
BLUE VALENTINE (Weinstein Co) —
Was on a marathon festival journey
from Sundance to Cannes to Toronto.
Its lead actors Ryan Gosling and Michelle
Williams are still definite contenders.
Their MPAA NC-17 ratings
obstacle may generate sympathy.
CASINO JACK (ATO) — Its on-again/
off-again release is now on again thanks
to an ATO pickup at Toronto. Twotime
winner Kevin Spacey could snag
top honors as disgraced lobbyist Jack
Abramoff. Director George Hickenlooper’s
untimely death a factor.
COUNTRY STRONG (Sony/Screen
Gems) — This dramatic country musical
shows off the considerable singing skills of
Gwyneth Paltrow, showing a different side
of her talents here. But this year has an overcrowded
Best Actress race.
CITY ISLAND (Anchor Bay) — Andy
Garcia’s finely-honed comic turn could
— and should — be remembered at
Golden Globe time. The tiny distributor
has hired a PR firm to make sure it’s not
forgotten for Oscar.
DESPICABLE ME (Universal) — Call it
the toon that saved Universal this year. It
had strong reviews and great box office. In a
field of five animated nominees, it’s a given.
But stiff competition could mean chances
are one in a minion.
FAIR GAME (Summit) — The Valerie
Plame/CIA leak story received cinematic
treatment and played well to critics. Its
two stars Sean Penn and Naomi Watts are
strong. But are the lead actor and actress
races too competitive this year?
FOR COLORED GIRLS (Lionsgate) —
Exceptional actress performances for Tyler
Perry’s adaptation of Ntozake Shange’s 1975
play. Last year, Lionsgate scored Oscars with
Precious (which Perry supported by lending
his name). Can lightning strike twice?
GET LOW (Sony Pictures Classics) —