The Hollywood Foreign Press Association hands out its Golden Globe Awards Sunday. Read on to see who could, should and will emerge victorious in all the show’s film categories.
Best Supporting Actor
Jonah Hill is having the best year of his professional life, going from rude-boy comedian to legit contender for his against-type work in “Moneyball.” Sadly, neither he nor his older competitors Kenneth Branagh (“My Week with Marilyn”) or Viggo Mortensen (“A Dangerous Method”) will be able to squeeze their way into the race between “Drive” villain Albert Brooks and “Beginners” delight Christopher Plummer, two veterans who’ve dominated the precursors. Brooks could take it, but Plummer has the edge, which should lead him all the way to the Kodak Theater podium come February.
Will win: Plummer
Could win: Brooks
Should win: Mortensen
Best Supporting Actress
Since she smart-mouthed her way into viewers’ hearts back in August, “The Help” scene-stealer Octavia Spencer has been an awards-season sure thing, and with Oscar spoiler Melissa McCarthy (“Bridesmaids”) shut out of the Globes race, this is Spencer’s statuette to lose. Berenice Béjo of “The Artist” and Janet McTeer of “Albert Nobbs” won’t come close, and the heat behind “The Descendants” standout Shailene Woodley has cooled. If anyone can snag Spencer’s gold, its her own co-star, Jessica Chastain, whose stunning breakout year could be enough to turn the vote.
Will win: Spencer
Could win: Chastain
Should win: Chastain
Best Actor – Comedy/Musical
In another year, you might have seen Ryan Gosling walk off with a trophy for his hunky humor in “Crazy, Stupid, Love,” or fan favorite Joseph Gordon-Levitt finish first for baring his sensitive side in “50/50.” But, this year, with a film like “The Artist” doing incredibly well in the precursors, it’s unlikely anyone will be able to touch Frenchman Jean Dujardin, who was honored at Cannes and will continue to reap his movie’s benefits. As for Brendan Gleeson of “The Guard” and Owen Wilson of “Midnight in Paris,” their honors were the nominations.
Will win: Dujardin
Could win: Gordon-Levitt
Should win: Gosling
Best Actress – Comedy/Musical
If Michelle Williams hadn’t been kept out of the dramatic race for her expert performance in “My Week with Marilyn,” this award could easily go to Charlize Theron, who’s killer in “Young Adult,” or Kristen Wiig, who takes the cake in “Bridesmaids.” As for Kate Winslet and Jodie Foster, both of whom are nominated for their work in “Carnage” (and only one of whom, Winslet, deserves it), consider it a case of the Hollywood Foreign Press Association filling space and getting stars in the building. To quote a colleague of mine, “They can mail this one to Williams.”
Will win: Williams
Could win: None
Should win: Williams
The brand new and sadly brief relationship between a grown man and his terminally ill, freshly un-closeted septuagenarian father beats at the core of “Beginners,” the playful and autobiographical new indie from writer/director Mike Mills.
Like the book within the book on which it’s based, “The Help” largely works because it’s often told from the point of view of the black maids it aims to (mildly) emancipate. Thus, while no one should expect the movie to thrust Hollywood forward in terms of race representation, many can rest easy knowing it isn’t just another “The Blind Side” – an ostensibly anti-racism film that’s hopelessly racist nonetheless.
There are virtually no limits to the appeal and accessibility of “The Artist,” the French-made, silent, black-and-white Hollywood homage that debuted at the Cannes Film Festival and is now gobbling up critics’ awards left and right. Naysayers accuse the film of being out of touch with its era (the transition from silents to talkies circa 1930), but “The Artist,” in all its relentless, romanticized charm, has little interest in being a historical record. Timelessness is its goal — the enduring ability of fundamentally, modestly dazzling images to captivate, and the undying, universal power of visual narrative.
One of the most blissful pleasures to be found at the movies this year is Michelle Williams’ performance as Marilyn Monroe in “My Week with Marilyn,” a British drama that charts the London production of “The Prince and the Showgirl,” Monroe’s 1957 collaboration with Sir Laurence Olivier (Kenneth Branagh).
A marvel of keen emotional intuition and non-judgmental human portraiture, Alexander Payne’s “The Descendants” has a big and wonderful understanding of the many things that surround a person’s life, and subsequently, a person’s death.
Can Martin Scorsese inspire a new generation of classic-film buffs, who marvel at the crank of an antique camera, the magic cascade of light through celluloid, and the fanciful, dawn-of-the-medium creations of filmmaker Georges Méliès?
Set in a Tex-Mex tumbleweed town in urgent need of a hero to solve its dwindling-resource crisis, the golden CGI nugget “Rango” handily nails western-movie nostalgia and modern-day resonance in one swell swoop.
Article:
The Avengers
Article:
Summer movie preview 2012
Article:
The Raven
Article:
The Cabin in the Woods
Article:
The Deep Blue Sea
Article:
Wrath of the Titans
Article:
Movie sleepers
Article:
The Hunger Games
Share this Story: