OSCARS: 84th Academy Award Nominations; Only 9 Best Picture Nods

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Oscars Nominations 2012The 84th Academy Awards nominations were announced live today at 5:30 AM PT in the Academy’s Samuel Goldwyn Theater. The Oscars for outstanding film achievements of 2011 will be presented on February 26th at the Kodak Theatre and televised live by the ABC Television Network. The  Oscar presentation also will be televised live in more than 225 countries worldwide. Here is the list:

Nominations for the 84th Academy Awards

Best Picture

“The Artist” (The Weinstein Company) A La Petite Reine/Studio 37/La Classe Américaine/JD Prod/France3 Cinéma/Jouror Productions/uFilm Production, Thomas Langmann, Producer
“The Descendants” (Fox Searchlight) An Ad Hominem Enterprises Production, Jim Burke, Alexander Payne and Jim Taylor, Producers
“Extremely Loud & Incredibly Close” (Warner Bros.) A Warner Bros. Pictures Production, Scott Rudin, Producer
“The Help” (Touchstone) A DreamWorks Pictures Production, Brunson Green, Chris Columbus and Michael Barnathan, Producers
Hugo” (Paramount) A Paramount Pictures and GK Films Production, Graham King and Martin Scorsese, Producers
“Midnight in Paris” (Sony Pictures Classics) A Pontchartrain Production, Letty Aronson and Stephen Tenenbaum, Producers
“Moneyball” (Sony Pictures Releasing) A Columbia Pictures Production, Michael De Luca, Rachael Horovitz and Brad Pitt, Producers
“The Tree of Life” (Fox Searchlight) A River Road Entertainment Production, Nominees to be determined
“War Horse” (Touchstone) A DreamWorks Pictures Production, Steven Spielberg and Kathleen Kennedy, Producers


“The Artist” (The Weinstein Company) Michel Hazanavicius
“The Descendants” (Fox Searchlight) Alexander Payne
“Hugo” (Paramount) Martin Scorsese
“Midnight in Paris” (Sony Pictures Classics) Woody Allen
“The Tree of Life” (Fox Searchlight) Terrence Malick

Actor in a Leading Role

Demián Bichir in “A Better Life” (Summit Entertainment)
George Clooney in “The Descendants” (Fox Searchlight)
Jean Dujardin in “The Artist” (The Weinstein Company)
Gary Oldman in “Tinker Tailor Soldier Spy” (Focus Features)
Brad Pitt in “Moneyball” (Sony Pictures Releasing)

Actor in a Supporting Role

Kenneth Branagh in “My Week with Marilyn” (The Weinstein Company)
Jonah Hill in “Moneyball” (Sony Pictures Releasing)
Nick Nolte in “Warrior” (Lionsgate)
Christopher Plummer in “Beginners” (Focus Features)
Max von Sydow in “Extremely Loud & Incredibly Close” (Warner Bros.)

Actress in a Leading Role

Glenn Close in “Albert Nobbs” (Roadside Attractions)
Viola Davis in “The Help” (Touchstone)
Rooney Mara in “The Girl with the Dragon Tattoo” (Sony Pictures Releasing)
Meryl Streep in “The Iron Lady” (The Weinstein Company)
Michelle Williams in “My Week with Marilyn” (The Weinstein Company)

Actress in a Supporting Role

Bérénice Bejo in “The Artist” (The Weinstein Company)
Jessica Chastain in “The Help” (Touchstone)
Melissa McCarthy in “Bridesmaids” (Universal)
Janet McTeer in “Albert Nobbs” (Roadside Attractions)
Octavia Spencer in “The Help” (Touchstone)

Animated Feature Film

“A Cat in Paris” (GKIDS) Alain Gagnol and Jean-Loup Felicioli
“Chico & Rita” (GKIDS) Fernando Trueba and Javier Mariscal
“Kung Fu Panda 2” (DreamWorks Animation, Distributed by Paramount) Jennifer Yuh Nelson
“Puss in Boots” (DreamWorks Animation, Distributed by Paramount) Chris Miller
“Rango” (Paramount) Gore Verbinski

Foreign Language Film

“Bullhead” A Savage Film Production, Belgium
“Footnote” (Sony Pictures Classics) A Footnote Limited Partnership Production, Israel
“In Darkness” (Sony Pictures Classics) A Studio Filmowe Zebra Production, Poland
“Monsieur Lazhar” (Music Box Films) A micro_scope Production, Canada
“A Separation” (Sony Pictures Classics) A Dreamlab Films Production, Iran

Writing (Adapted Screenplay)

“The Descendants” (Fox Searchlight) Screenplay by Alexander Payne and Nat Faxon & Jim Rash
“Hugo” (Paramount) Screenplay by John Logan
“The Ides of March” (Sony Pictures Releasing) Screenplay by George Clooney & Grant Heslov and Beau Willimon
“Moneyball” (Sony Pictures Releasing) Screenplay by Steven Zaillian and Aaron Sorkin Story by Stan Chervin
“Tinker Tailor Soldier Spy” (Focus Features) Screenplay by Bridget O’Connor & Peter Straughan

Writing (Original Screenplay)

“The Artist” (The Weinstein Company) Written by Michel Hazanavicius
“Bridesmaids” (Universal) Written by Annie Mumolo & Kristen Wiig
“Margin Call” (Roadside Attractions) Written by J.C. Chandor
“Midnight in Paris” (Sony Pictures Classics) Written by Woody Allen
“A Separation” (Sony Pictures Classics) Written by Asghar Farhadi

Art Direction

“The Artist” (The Weinstein Company) Production Design: Laurence Bennett, Set Decoration: Robert Gould
“Harry Potter and the Deathly Hallows Part 2” (Warner Bros.) Production Design: Stuart Craig, Set Decoration: Stephenie McMillan
“Hugo” (Paramount) Production Design: Dante Ferretti, Set Decoration: Francesca Lo Schiavo
“Midnight in Paris” (Sony Pictures Classics) Production Design: Anne Seibel, Set Decoration: Hélène Dubreuil
“War Horse” (Touchstone) Production Design: Rick Carter, Set Decoration: Lee Sandales


“The Artist” (The Weinstein Company) Guillaume Schiffman
“The Girl with the Dragon Tattoo” (Sony Pictures Releasing) Jeff Cronenweth
“Hugo” (Paramount) Robert Richardson
“The Tree of Life” (Fox Searchlight) Emmanuel Lubezki
“War Horse” (Touchstone) Janusz Kaminski

Costume Design

“Anonymous” (Sony Pictures Releasing) Lisy Christl
“The Artist” (The Weinstein Company) Mark Bridges
“Hugo” (Paramount) Sandy Powell
“Jane Eyre” (Focus Features) Michael O’Connor
“W.E.” (The Weinstein Company) Arianne Phillips

Documentary (Feature)

“Hell and Back Again” (Docurama Films) A Roast Beef Limited Production, Danfung Dennis and Mike Lerner
“If a Tree Falls: A Story of the Earth Liberation Front” (Oscilloscope Laboratories) A Marshall Curry Production, Marshall Curry and Sam Cullman
“Paradise Lost 3: Purgatory” An @radical.media Production, Joe Berlinger and Bruce Sinofsky
“Pina” (Sundance Selects) A Neue Road Movies Production, Wim Wenders and Gian-Piero Ringel
“Undefeated” (The Weinstein Company) A Spitfire Pictures Production, TJ Martin, Dan Lindsay and Richard Middlemas

Documentary (Short Subject)

“The Barber of Birmingham: Foot Soldier of the Civil Rights Movement” A Purposeful Production, Robin Fryday and Gail Dolgin
“God Is the Bigger Elvis” A Documentress Films Production, Rebecca Cammisa and Julie Anderson
“Incident in New Baghdad” A Morninglight Films Production, James Spione
“Saving Face” A Milkhaus/Jungefilm Production, Daniel Junge and Sharmeen Obaid-Chinoy
“The Tsunami and the Cherry Blossom” A Supply & Demand Integrated Production, Lucy Walker and Kira Carstensen

Film Editing

“The Artist” (The Weinstein Company) Anne-Sophie Bion and Michel Hazanavicius
“The Descendants” (Fox Searchlight) Kevin Tent
“The Girl with the Dragon Tattoo” (Sony Pictures Releasing) Kirk Baxter and Angus Wall
“Hugo” (Paramount) Thelma Schoonmaker
“Moneyball” (Sony Pictures Releasing) Christopher Tellefsen


“Albert Nobbs” (Roadside Attractions) Martial Corneville, Lynn Johnston and Matthew W. Mungle
“Harry Potter and the Deathly Hallows Part 2” (Warner Bros.) Nick Dudman, Amanda Knight and Lisa Tomblin
“The Iron Lady” (The Weinstein Company) Mark Coulier and J. Roy Helland

Music (Original Score)

“The Adventures of Tintin” (Paramount) John Williams
“The Artist” (The Weinstein Company) Ludovic Bource
“Hugo” (Paramount) Howard Shore
“Tinker Tailor Soldier Spy” (Focus Features) Alberto Iglesias
“War Horse” (Touchstone) John Williams

Music (Original Song)

“Man or Muppet” from “The Muppets” (Walt Disney) Music and Lyric by Bret McKenzie
“Real in Rio” from “Rio” (20th Century Fox) Music by Sergio Mendes and Carlinhos Brown, Lyric by Siedah Garrett

Short Film (Animated)

“Dimanche/Sunday” (National Film Board of Canada) A National Film Board of Canada Production, Patrick Doyon
“The Fantastic Flying Books of Mr. Morris Lessmore” A Moonbot Studios LA Production, William Joyce and Brandon Oldenburg
“La Luna” (Walt Disney) A Pixar Animation Studios Production, Enrico Casarosa
“A Morning Stroll” (Studio AKA) A Studio AKA Production, Grant Orchard and Sue Goffe
“Wild Life” (National Film Board of Canada) A National Film Board of Canada Production, Amanda Forbis and Wendy Tilby

Short Film (Live Action)

“Pentecost” (Network Ireland Television) An EMU Production, Peter McDonald and Eimear O’Kane
“Raju” A Hamburg Media School/Filmwerkstatt Production, Max Zähle and Stefan Gieren
“The Shore” An All Ashore Production, Terry George and Oorlagh George
“Time Freak” A Team Toad Production, Andrew Bowler and Gigi Causey
“Tuba Atlantic” (Norsk Filminstitutt) A Norwegian Film School/Den Norske Filmskolen Production, Hallvar Witzø

Sound Editing

“Drive” (FilmDistrict) Lon Bender and Victor Ray Ennis
“The Girl with the Dragon Tattoo” (Sony Pictures Releasing) Ren Klyce
“Hugo” (Paramount) Philip Stockton and Eugene Gearty
“Transformers: Dark of the Moon” (Paramount) Ethan Van der Ryn and Erik Aadahl
“War Horse” (Touchstone) Richard Hymns and Gary Rydstrom

Sound Mixing

“The Girl with the Dragon Tattoo” (Sony Pictures Releasing) David Parker, Michael Semanick, Ren Klyce and Bo Persson
“Hugo” (Paramount) Tom Fleischman and John Midgley
“Moneyball” (Sony Pictures Releasing) Deb Adair, Ron Bochar, Dave Giammarco and Ed Novick
“Transformers: Dark of the Moon” (Paramount) Greg P. Russell, Gary Summers, Jeffrey J. Haboush and Peter J. Devlin
“War Horse” (Touchstone) Gary Rydstrom, Andy Nelson, Tom Johnson and Stuart Wilson

Visual Effects

“Harry Potter and the Deathly Hallows Part 2” (Warner Bros.) Tim Burke, David Vickery, Greg Butler and John Richardson
“Hugo” (Paramount) Rob Legato, Joss Williams, Ben Grossman and Alex Henning
“Real Steel” (Touchstone) Erik Nash, John Rosengrant, Dan Taylor and Swen Gillberg
“Rise of the Planet of the Apes” (20th Century Fox) Joe Letteri, Dan Lemmon, R. Christopher White and Daniel Barrett
“Transformers: Dark of the Moon” (Paramount) Scott Farrar, Scott Benza, Matthew Butler and John Frazier

  1. Nice to see Max Von Sydow getting his second nomination. A shame about Michael Fassbender and Albert Brooks, though.

    1. Fassbender gave the best performance by an actor this year, unconscionable that he’s left out here. Then again, the documentary noms are terrible too (where are Buck and Project Nim?) and what the hell is Rooney Mara doing with a nom for that movie? Tilda Swinton and Lynne Ramsey both get overlooked for “Kevin”.

      1. Rooney Mara was the best thing about that movie and had one of the more memorable screen roles of the year, so it’s fully justified. (Having seen both versions, I prefer the original film but liked Mara over Rapace).

        Fassbender is a ridiculous oversight. Swinton should be in there over Viola and Close (She’s a great actress but I wasn’t impressed by Nobbs).

      2. Tilda Swinton is SOOOOOO over-rated! She’s looks like an androgynous mannequin.

        Same goes for the kid in Extremely Loud. The whole time I’m watching the trailer I couldn’t tell if it was a son or daughter.

        Seriously, watch the trailer. Tell me I’m wrong.

        What’s up with that Hollywood?

        1. What do Swinton’s and the kid’s looks have to do with anything? Are you judging by the trailer or did you actually see the film?

    2. Seriously!!!! Did these people not see Shame?!?!?! How did they pass Fassbender over. The same goes for Kirsten Dunst. I’ve been in the town a long time and wouldn’t expect either to win because their performances push the comfort level. However to maintain some credibility I’d at least expect a nomination for those two.

    1. I agree about the web site. I was just there and it kept playing this stupid clip with Amy Adams.

      The big news to me about the nominations is no Leo for Best Actor. Ouch.

    2. No, the biggest loser is the American moviegoer.

      Yet again, the Academy screws over the general public… you know, the ones that actually pay to see films here, by nominating a bunch of films that we won’t see or have no inclination of seeing for ‘Best Picture’. I any of these were the best picture of the year, then why did Harry Potter, Pirates 4, and Transformers 3 all make a billion dollars and the highest grossing film on this list barely pulled in $75 million?

      The same thing goes for the supposed ‘best’ actor and actress categories. Where’s Johnny Depp or Daniel Radcliffe or even Andy Serkis who was the real star of Rise of The Planet of The Apes? Instead they nominate the spanish speaking dude from a film that made less than $2 million and the dude from the silent, B&W, french film that will make less than $50 million.

      It makes no sense. Who votes for this crap? Why are they, seemingly, so out of touch with society and the world around them?

      1. I consider myself an average movie goer. We see anywhere from 2-5 movies per month (more in the summer when the Drive In is open!). I have seen 5 of the Best Picture nominees. Asking an award to start recognizing sub par films because they make a lot of money is ridiculous. It is the reason that the Kardashians are still on TV. Awards for movies that make a lot of money are the People’s Choice awards. The Oscars are for movies that are actually good.

      2. This is a poor argument for a valid point. Money doesn’t equal quality… is Jersey Shore quality television? Is American Idol one of the best shows on television? Is Two and a Half Men the funniest show on television? What’s the point of even having an Oscars ceremony if you’re just recognizing the movies that made the most money? Anyone can look at a list of the top grossing movies but who wants to watch a ceremony for it? There’s a reason that nobody tunes in to the People’s Choice Awards.

        That said, there is a problem with the disconnect between audiences and Hollywood, if only because Oscar bait garbage like ‘Extremely Loud and Incredibly Close’ can get nominated. I’m sure that if it was released wide earlier than this weekend, the Academy voters would have weighed the public/critical negativity directed at the film. Just like how poor public perception killed the chances of ‘Ides of March’, ‘J Edgar’ and ‘The Lovely Bones’ a few years ago.

        Since the Oscars will never do anything to reduce the amount of campaigning that goes on, they can still improve the nominations list by requiring all movies to have been in wide release by December 31st to be eligible, and return to nominating just 5 films for Best Picture.

        1. actually harry potter was one of the best reviewed films of the year, while extremely loud and incredibly close wasn’t even close.

        2. Thank you ‘Comment Student’ for clarifying this person’s poorly written argument. I do not believe that just because a film is popular means it should get nominations. In that case the Best Picture list would include Twilight and Transformers 3. This is also why I never watch the ‘People’s Choice’ awards. However I was pretty surprised that Extremely Loud and Incredibly Close got a Best Picture nomination when not only have the reviews been crappy, but it also did very poorly in the box office. I suppose there is an unspoken rule that Sandra Bullock and Tom Hanks films must receive major nominations regardless of quality?

          Whoever wrote this original comment clearly hasn’t seen The Artist either because that film was fantastic. Easily the best film of 2011 IMO. And this is coming from someone who is also a fan of Harry Potter Pt 2 and Rise of the Planet of the Apes and was rooting for Andy Serkis for an actor nomination.

          Although the Academy does have a dilemma by nominating all of these lesser known box office weak films. How are they going to get the masses interested in watching the awards? Throwing in a couple of younger celebrity presenters and technical nominations for Harry Potter will not make people want to spend 3 1/2 hours of their Sunday watching a bunch of films they’ve never heard of being rewarded. Good luck.

      3. Ugh, you’re argument vouches for Twilight getting a nomination because it’s a high grossing, popular franchise. Popular movies aren’t always good movies, occasionally they align (ie – Avatar, Inception), normally they don’t. 2011 was a pretty weak year for movies.

      4. Here, here!

        More nominations for Transformers movies! That’s what’s missing!

        Bay and Optimus Prime really hit their stride here. They work off of one another like Scorsese and DeNiro.

        …what? A fictional character?

        And here I thought Michael Bay was a real person. Go fig.

      5. Clearly you don’t understand what the Oscar represents. It’s not about the biggest box office gross. It’s about artistic achievement.

      6. Dollar signs don’t make good movies. Just because a movie makes over a billion dollars doesn’t necessarily mean its a good film. The Help was an amazing movie with great social relevance. Moneyball was great. The Descendants was small and wonderful. (FYI The Help has made over $200 million world wide) Transformers 3 and Pirates are popcorn movies. They are made to make $$. Last time I checked, the Oscars are still, for all intensive purposes, there to recognize art. (And make me laugh at Billy Crystal’s opening monologue)

        And to respond to your “best actor” picks, Johnny Depp shouldn’t get nominated for a character he’s played 3 times before or an animated lizard. Daniel Radcliffe was good in Harry Potter, but I felt he was better in Prisoner of Azkaban. Besides, the kid’s got his whole career ahead of him. Andy Serkis definitely deserves a nomination, but I’m sure the Academy is concerned over nominating a CGI imposed character and worried about opening the flood gates. Obviously, you havent seen Bichir or Dujarins performances. They’re worth watching. Also, the nominations for best actor/actress usually end up MAKING careers. Ex. Jeremy Renner, Jennifer Lawrence to name two recent ones.

        This crap has been winning awards all over the world for the last six months are festivals like Cannes and Sundance. The voters are comprised of winners from the past years and people in the industry. And in response to being “out of touch” with the world around them, consider what the content of each of the Best Picture nominees is about, and rethink that. Pretty good nominations if you ask me.

      7. they do nominate at least one big hit per year (“the help”) and plenty of the performances from smaller films deserve recognition. why ignore a film just because it’s not a big hit? mainstream audiences don’t always have the best taste. i assume you haven’t seen “the artist.” it’s a wonderful movie and will make you feel good about life in general. give it a shot. same goes for “the descendants”, “tree of life” and “midnight in paris.”

      8. Clearly you don’t understand what Oscar represents.

        You want a picture with the biggest box-office and your favorite actor to win?

        Go watch the MTV Movie Awards.

      9. If a movie makes money, doesn’t mean it’s quality! Where have you been? This isn’t the People’s Choice Awards…it’s the Academy Awards(though I admit some of the choices the Academy makes leave me puzzled. Melissa McCarthy an Oscar nom?? Good Lord…)

  2. Wow people are going overboard on the Bridesmaids love. C’mon it wasn’t any better then some of the other good Apatow comedies that are funny, overlong, highly improvised. The only difference is this one is all women which makes everyone act like it’s some milestone and over praise the actual film. Rode it all the way to an Oscar nom.

    Albert Brooks and Fassbender are the big disappointments here. Brooks absolutely deserved it.

    1. I’m with you on Bridesmaids. I just didn’t find it funny and I don’t think it’s because I’m a guy. It was just boring, and as much as I’ve liked Melissa McCarthy over the years I just don’t see why her performance is nomination-worthy, especially an Oscar nomination.

      Fassbender is not really a surprise. The Academy is too often prudish. They probably just don’t get Shame and are too uncomfortable with seeing all that full frontal.

    2. My thoughts exactly on “Bridesmaids.” It’s sloppy, overlong and obviously highly improv’d. And Melissa McCarthy gets a nod for playing the equivalent of an “SNL” sketch character?!

      1. I’m a female and I think Bridesmaids is a stupid movie. The Academy should be ashamed for overlooking(as usual)other actors/actresses(and original screenplays)MUCH more worthy of nods than this clown movie.

    3. Why Albert Brooks? Just because he kills a few people? It’s absurd. Albert Brooks does nothing special…he’s Albert Brooks.Same persona…same performance he always gives. But we’re supposed to think he’s a better actor this time around just because he knifes a few people? Dumb. His performance is nothing special. It’s not interesting, nuanced, menacing, original…it’s downright bland. “Oooh…he killed people…what a great actor!”
      And we should now think too that just because Jonah Hill is not playing a fat loser teenager who swears, that somehow his Moneyball performance is Oscar worthy? It’s not. Wow. He looks wide eyed, doesn’t swear and pull Judd Apatow unfunny humour…what an actor!
      Everyone has their head up their ass. This is why I have never given a crap about the Oscars. Christopher Plummer is an actor. He will win…and he should win, if the Oscars ar ever going to mean anything.
      And just let me say that I know WTF I’m talking about…I’m an actor, I’m not a personality…I’m not some freak of a geek or some fat shot who suddenly got a lot of attention. I studied, I’ve done 3 hour plays as a lead, I’ve done leads in independent films. I’m not jealous…I just have respect for my craft and i can see who knows wtf they’re doing on screeen and who doesn’t. If you’re going to give awards…give it to ACTORS…not wannabees. Every year people like Gary Oldman and Christopher Plummer should be nominated and win, not flavor of the month dipshits like Jonah Hill,
      But whatever losers…have at me. I don;t give a shit.

      1. I completely agree on all points. One “legitimate” filmmaker or critic gives praise to an out-of-the-box performance that doesn’t amount to more than good casting and everyone gets caught up in the wave. It’s ridiculous.

      2. Completely. Agree. Brooks “performance” was so overrated it was ridiculous. Great to see Nolte get nominated. WARRIOR was phenomenal (as good or better than any of the noms) and Nolte gave a mind-blowingly raw performance.

    4. It’s a lot harder to do comedy that it is to do drama.

      Oscar never gives comedy the respect it deserves and so do most people in the industry and public.

      While some of the points made about Bridesmaids are valid, I think Melissa’s nom is a pleasant surprise.

      It takes a lot of balls to create a character like that and go out on a limb to make you laugh.

      Not to mention, she steals every scene she appears in this film.

      Show the comedians a little more respect. They are working just as hard as the dramatic actors.

      1. I’m pretty sure a paper bag could steal every scene in that film. It’s not like it was The Third Man or anything. and fyi The Artist is also a comedy and they got the noms they deserved and not, as our friend Robert so eloquently said, simply because they’re “flavor of the month dipshits”.

      2. Bridesmaids was not a quality comedy, and not a great original screenplay. It was just gross-out humor, but done by females this time. Yawn. As far as Oscar not giving comedies the respect they deserve, through the years many comedies and/or comedic performances have been nominated. In 1977, Woody Allen’s “Annie Hall” won Best Picture & Diane Keaton won Best Actress. The pictures & comedic performances get nominated; they just don’t always win. A comedy should have some intelligent wit. A movie like Bridesmaids should sweep the MTV Movie Awards, as expected; not receive Oscar noms!

  3. That was insane, and I am not sure if I mean in a good way!

    Thrilled for Gary Oldman (well deserved!).

    Sorry to see no Fassbender or Brooks.

    Extremely Loud and Incredibly Close…really?

    1. You want the short list or the long one?

      I’m not all that surprised by the noms. The usual collection of PC movies/actors are recognized.

      I am surprised by how shallow the field is in some cats.

      It also seems like the Academy is looking to give Clooney a lifetime achievement award disguised at a category award.

      1. I was thinking Christopher Plummer or Woody Allen, both whom deserve it, but you may just be right about Clooney.

    2. Envy, that is what’s wrong. Same with spielberg. And others. You look at this list and see a formidable display of envy and snobbery with few exceptions, like the two nods to john williams for best score. Sad.

      1. That’s hilarious. Spielberg was deservedly snubbed. The joke is that Williams’ awful, overblown score for War Horse was nominated. My ears are still bleeding from that one.

    1. I didn’t think it would be. But this was a strange year for animation. None of them was really that great. Rango by default will win, but that wasn’t great either

        1. I couldn’t agree more. Andy’s work is great and serious overlooked because a CG character is in screen.

          If Brad Pitt is able to get a nom for Benjamin Button … clearly Andy Serkis should be recognized.

          This is indeed one area in which the Academy shows how antiquated it’s thinking can sometimes be.

    1. I screamed with excitement when I saw his name Gary Oldman, I kind of had to double check. Well done Brad Pitt too.

      Real shame that Andy Serkis didn’t make the cut, ideal opportunity to set a precedent.

      Also, surprised no Dicaprio, Fassbender, Gosling, Gordon-levitt,
      Shannon and Harrelson. I thought one of them might sneak in. They need to make these groups up to seven at least.

      Again, as someone stated above no Tilda Swinton.

      Transformers gets more nominations than Rise of the Planet of the Apes? Oh, well… next year Daniel Day Lewis and James Franco hopefully coming back into the mix.

      By the way, can someone explain to me what I’m missing when it comes to George Clooney? Seriously, what……

      1. I’m with you on Clooney. I just don’t get it. Or him. One of the world’s most over-rated actors. I think he and Pitt will cancel each other out, and leave the field open for Gary. And that would be just.

  4. If the acadamy is trying to get ratings by having more than 5 best picture nominees this year’s list is an epic fail. I fail to see why they wanted to expand the list if they are going to continue to snub films with main stream appeal.

  5. Whoa! Two nominations for John Williams. I think that’s his 46 and 47th! Amazing for an 80 year old!

  6. Michelle and not Tilda????? Yet again another lame nomination for a pretty face a la Reese, Gwyneth etc. etc.

    1. Did you see Michelle’s performance in My Week With Marilyn?
      Total immersion in a character and definitely a change from her Dawson’s Creek days.
      She already won a Golden Globe for it, which means in many ways she was guaranteed to be in the running.
      Tilda was phenomenal in “…Kevin”
      IMO Rooney Mara shouldn’t be in that group.

  7. I’d like some industry skinny or thoughts on how Extremely Loud and Incredibly Close was nominated for best picture.

    Did folks who voted for it want to be able to say they did if they ever get the chance to work with Scott Rudin?

  8. Bridesmaids was a great movie but not Oscar-worthy. I’m very happy for Melissa McCarthy. It’s nice to see her having her time to shine after playing “the friend” for so long.

  9. “We Need to Talk About Kevin” should have been nominated for best directing, adapted screenplay and lead actress. If man of Ramsey’s status had directed that film, then no doubt, it would have been nominated for something.

  10. 2011 was the most uninspiring year for films (2010 being the 2nd most uninspiring year). How did they find 9 films for Best Picture? ELAIC? War Horse? Hugo? Are you kidding me? They made Bridesmaids look brilliant.

  11. No Fassbender.

    No Swinton.

    No Tin-Tin.

    No Drive.

    No Brooks.

    But by all means make space for that pandering drivel Extremely Loud.

    = No watching by me.

  12. I bet Pixar feel the pain of the slap. Hopefully it’ll wake up people there after Lasseter’s rant about critics bashing his movie.

    On the other hand, where the fuck are Drive, Gossling and Fassbender?!!

  13. How The Tree of Life makes it is beyond me. Terrible movie.
    Nolte was awesome.
    Love the Rooney Mara choice. I was not thrilled with the plot of tattoo but she really did make me want to root for her.
    Oldman should get this for Tinker Taylor. While I understand why the movie was nominated his

    1. ” >> How The Tree of Life makes it is beyond me. Terrible movie.”

      The Great Santini meets Koyaanisqatsi … ugh … amen.

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