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84th Academy Awards. Nominations

Hugo and The Artist lead, but there are also a few surprises here.
The DailyThe Oscar

First the nominations, then a few notes after the list.


The Artist
The Descendants
Extremely Loud and Incredibly Close
The Help
Midnight in Paris
The Tree of Life
War Horse


The Artist, Michel Hazanavicius
The Descendants, Alexander Payne
Hugo, Martin Scorsese
Midnight in Paris, Woody Allen
The Tree of Life, Terrence Malick


Demián Bichir in A Better Life
George Clooney in The Descendants
Jean Dujardin in The Artist
Gary Oldman in Tinker Tailor Soldier Spy
Brad Pitt in Moneyball


Kenneth Branagh in My Week with Marilyn
Jonah Hill in Moneyball
Nick Nolte in Warrior
Christopher Plummer in Beginners
Max von Sydow in Extremely Loud and Incredibly Close


Glenn Close in Albert Nobbs
Viola Davis in The Help
Rooney Mara in The Girl with the Dragon Tattoo
Meryl Streep in The Iron Lady
Michelle Williams in My Week with Marilyn


Bérénice Bejo in The Artist
Jessica Chastain in The Help
Melissa McCarthy in Bridesmaids
Janet McTeer in Albert Nobbs
Octavia Spencer in The Help


A Cat in Paris, Alain Gagnol and Jean-Loup Felicioli
Chico & Rita, Fernando Trueba and Javier Mariscal
Kung Fu Panda 2, Jennifer Yuh Nelson
Puss in Boots, Chris Miller
Rango, Gore Verbinski


The Artist. Production Design: Laurence Bennett; Set Decoration: Robert Gould
Harry Potter and the Deathly Hallows Part 2. Production Design: Stuart Craig; Set Decoration: Stephenie McMillan
Hugo. Production Design: Dante Ferretti; Set Decoration: Francesca Lo Schiavo
Midnight in Paris. Production Design: Anne Seibel; Set Decoration: Hélène Dubreuil
War Horse. Production Design: Rick Carter; Set Decoration: Lee Sandales


The Artist, Guillaume Schiffman
The Girl with the Dragon Tattoo, Jeff Cronenweth
Hugo, Robert Richardson
The Tree of Life, Emmanuel Lubezki
War Horse, Janusz Kaminski


Anonymous, Lisy Christl
The Artist, Mark Bridges
Hugo, Sandy Powell
Jane Eyre, Michael O'Connor
W.E., Arianne Phillips


Hell and Back Again, Danfung Dennis and Mike Lerner
If a Tree Falls: A Story of the Earth Liberation Front, Marshall Curry and Sam Cullman
Paradise Lost 3: Purgatory, Joe Berlinger and Bruce Sinofsky
Pina, Wim Wenders and Gian-Piero Ringel
Undefeated, TJ Martin, Dan Lindsay and Richard Middlemas

DOCUMENTARY (Short Subject)

The Barber of Birmingham: Foot Soldier of the Civil Rights Movement, Robin Fryday and Gail Dolgin
God Is the Bigger Elvis, Rebecca Cammisa and Julie Anderson
Incident in New Baghdad, James Spione
Saving Face, Daniel Junge and Sharmeen Obaid-Chinoy
The Tsunami and the Cherry Blossom, Lucy Walker and Kira Carstensen


The Artist, Anne-Sophie Bion and Michel Hazanavicius
The Descendants, Kevin Tent
The Girl with the Dragon Tattoo, Kirk Baxter and Angus Wall
Hugo, Thelma Schoonmaker
Moneyball, Christopher Tellefsen


Bullhead, Belgium
Footnote, Israel
In Darkness, Poland
Monsieur Lazhar, Canada
A Separation, Iran


Albert Nobbs, Martial Corneville, Lynn Johnston and Matthew W. Mungle
Harry Potter and the Deathly Hallows Part 2, Nick Dudman, Amanda Knight and Lisa Tomblin
The Iron Lady, Mark Coulier and J. Roy Helland

MUSIC (Original Score)

The Adventures of Tintin, John Williams
The Artist, Ludovic Bource
Hugo, Howard Shore
Tinker Tailor Soldier Spy, Alberto Iglesias
War Horse, John Williams

MUSIC (Original Song)

"Man or Muppet" from The Muppets, Music and Lyric by Bret McKenzie
"Real in Rio" from Rio, Music by Sergio Mendes and Carlinhos Brown Lyric by Siedah Garrett

SHORT FILM (Animated)

Dimanche/Sunday, Patrick Doyon
The Fantastic Flying Books of Mr. Morris Lessmore, William Joyce and Brandon Oldenburg
La Luna, Enrico Casarosa
A Morning Stroll, Grant Orchard and Sue Goffe
Wild Life, Amanda Forbis and Wendy Tilby

SHORT FILM (Live Action)

Pentecost, Peter McDonald and Eimear O'Kane
Raju, Max Zähle and Stefan Gieren
The Shore, Terry George and Oorlagh George
Time Freak, Andrew Bowler and Gigi Causey
Tuba Atlantic, Hallvar Witzø


Drive, Lon Bender and Victor Ray Ennis
The Girl with the Dragon Tattoo, Ren Klyce
Hugo, Philip Stockton and Eugene Gearty
Transformers: Dark of the Moon, Ethan Van der Ryn and Erik Aadahl
War Horse, Richard Hymns and Gary Rydstrom


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


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

WRITING (Adapted Screenplay)

The Descendants, Screenplay by Alexander Payne and Nat Faxon & Jim Rash
Hugo, Screenplay by John Logan
The Ides of March, Screenplay by George Clooney & Grant Heslov and Beau Willimon
Moneyball, Screenplay by Steven Zaillian and Aaron Sorkin. Story by Stan Chervin
Tinker Tailor Soldier Spy, Screenplay by Bridget O'Connor & Peter Straughan

WRITING (Original Screenplay)

The Artist, Written by Michel Hazanavicius
Bridesmaids, Written by Annie Mumolo & Kristen Wiig
Margin Call, Written by JC Chandor
Midnight in Paris, Written by Woody Allen
A Separation, Written by Asghar Farhadi


You can discuss the nominations and the snubs here in the Forum, this afternoon on Facebook with Slate critics Dana Stevens, Troy Patterson and Dan Kois and/or this evening via a webcast with New York Times critic AO Scott (though I should point out that that second chat's not cheap). If and when notable commentary appears over the next few days, I'll point you to it here.

Updates: "So now is a good time to ask, 'Why nine, as opposed to five or 10?'" notes the Boston Globe's Wesley Morris, referring, of course, to the number of films nominated for Best Picture. "Last summer, the Academy's board of governors introduced a new nominating system, which uses a version of preferential voting that eliminates from consideration any film that failed to appear as the number-one choice on at least 10 percent of members' ballots. There are just around 5,000 voting members of the Academy, which means that at least nearly 500 voters would have had to put, say, Bridesmaids, in the first slot on their ballot, which didn't happen."

Among those tallying the surprises and snubs are Flavorwire's Jason Bailey, the New Yorker's Richard Brody, New York's David Edelstein, the Atlantic Wire's Richard Lawson, the NYT's Melena Ryzik and the L's Henry Stewart.

And among the snubbed is Albert Brooks, who tweets, "I got ROBBED. I don't mean the Oscars, I mean literally. My pants and shoes have been stolen. And to the Academy: 'You don't like me. You really don't like me.'" And Movieline's ST VanAirsdale points out that Patton Oswalt is being pretty damn amusing on Twitter today as well.

HitFix is gathering immediate reactions from those were not snubbed.

Cartoon Brew presents a guide to the animated short nominees.

Update, 1/27: Farran Nehme spells out all she'd like to see happen on Oscar Night. In short, "if you have a problem with a few minutes of people talking about light passing through film or the magic of the movies or whatever, while some old clips scroll by at the Kodak Theatre, then what the Siren says to you is suck it up."

For news and tips throughout the day every day, follow @thedailyMUBI on Twitter and/or the RSS feed.

No Fassbender is a Shame!
If Melissa McCarthy is going to be nominated for her grotesque, cartoonish, wafer-thin performance in Bridesmaids, then can we get a retroactive nom for John Belushi in Animal House, or Paul Rodriguez in Whoopee Boys?
Damn, this means I have to sit through Extremely Loud and Incredibly Close…
Rather surprised about Albert. But I’m sure Academy voters LOATHED “Drive” so that was that. Likewise re Tilda and “We’ve Got To Talk About Kevin.” Pleased that “The Tree of Life” wasn’t overlooked, however.
I guessed almost all the best movies !!!! I’m very proud of it. I guessed all except Midnight in Paris, in my opinion not the best film of Allen. Cheering for The Artist, i also hope that Marty has great luck. He’s the best.
Well, a little more vanilla in the sundae than I’d like—and yes, no Brooks (great tweet, by the way; as he used to say as Felix’s agent on The Odd Couple TV show, “You’re so Now you’re Tomorrow!”) or Tilda is sad—but they know how good they are, and so do many casting directors. And of course I’ll watch the broadcast: It’s the better Super Bowl—especially if you stock up on snacks. Hugo should win all the categories in which looking and moving well are involved. So maybe a director statue for Scorsese? Although Tree of Life dares to be 2001 but still be itself; as close to audacious as the Academy wants to get? Gary Oldman? Always nice to see him in the room; guess I better go see the movie. No Pixar nom? Another sign that the Mayans were right?—and speaking of cartoons: Word on the street, i.e., friends with little kids, is that Arthur Christmas was quick n clever—and I’ll bet the Winnie-the-Pooh movie was better-looking than most of them.
Neither Herzog in Best Documentary category! Flabbergasted.
What a drab list. Miss Bala and Shame are criminal omissions. Similarly, overlooking Drive in every category except Sound Mixing is also ludicrous. On a positive note, Paradise Lost 3 and Gary Oldman both deserve their nod.
It has some of the usual ass-kissing (Spielberg, for a film that I understand plays to all his worst tendencies) and strange AK; Extremely Loud and Incredibly Close over Fincher’s The Girl with the Dragon Tattoo? Really. Glad The Descendants is getting more recognition. I’m definitely seeing My Week with Marilyn because I’m happy about Branagh’s nomination. Mostly though, it just seems like the same old popularity contest with a few artistic projects that slipped in somehow.
Shame is out. Drive is out. I’m out of here.. Overall these are very dull and weak nominations. I don’t think the ceremony will be worth watching, really. And sorry to be so harsh :/
THE ARTIST is the winner of best picture this awards.
The Oscars make me want to stop living.
Yeah it just shows how little The Aacademy cares now for new and interesting worth-watching but edgy but with really great scripts films. And this is maybe my opinion only but I’m so tired of that and all the preferences to Spielberg (because it seems that is now a RULE that if he makes a new movie, it HAS to be nominated) really, this all seems so silly. I can’t believe that Fassbender is not nominated, it just seems all so wrong.
Despite not caring for the Oscars, there a couple less obvious snubs I was rather surprised by: no Best Editing for ‘The Tree of Life’ nor Best Cinematography for ‘Drive.’
i’m surprised to see woody’s latest getting so much attention. i’ve seen practically all he’s done and ‘midnight in paris’ definitely isn’t one of his best.
Does anyone else think that Brad Pitt was nominated for the wrong film. His performance in “Tree of Life” was the best of his career, and how about the year Jessica Chastain had!
I haven’t cared for the Oscars in years, then I saw The Artist.
Extremely Biased and Incredibly stupid
Tom Smith, I completely agree with your opinion of Brad Pitt’s performance in Tree of Life. It was such a complex character. A beleaguered man who represses his vulnerability, displacing his anger onto his family, expressing his love for his sons – tragically – through persistent abuses aimed, misguidedly, but somehow sympathetically, to fortify them for a cruel and unforgiving world. Another forum writer said he thought Brad Pitt’s spoken lines have always come off as inauthentic with an air of being too “well learned.” Other films notwithstanding, I disagree in the case of the Tree of Life. His character’s gruff, stilted voice seems unnatural only because it represents a painstaking artifice, aimed at asserting his dominion and overcoming his sense of doubt and vulnerability. As such, it’s these very brusque masculine gestures that allow him to evince his sensitivity as a human being. His performance in Moneyball was good, but so much of the pathos we feel for that character comes not from his performance but from the parallel backstory depicting his misfortune as a player. I also bemoan Fassbender’s exclusion and, as much as I love Gary Oldman, wonder why he’s being considered there for Tinker, Tailor. There really wasn’t that much complexity to it, although to be sure, he did very sympathetically display a respectable and good man made to weather the misfortune of a broken heart and betrayal. In general, didn’t everyone find the movies this year, in general, to be pretty deficient. People are saying that the Academy is to blame. I agree, but I also think there just weren’t that many gems out there compared to other years. A sad state of affairs I say. And lastly, how is a movie like War Horse!! Fucking War Horse!! being made anymore. Fucking Steven Spielberg and Tom Hanks and their completely out of touch understanding of war. I’m reading a book on the psychology of Trauma and Recovery among Vets. In it, this line was particularly resonant in light of War Horse: “A Vietnam veteran addresses this universal tendency to deny the horror of war: ’If at the end of a war story you feel uplifted, or if you feel that some small bit of rectitude has been salvaged from the larger waste, then you have been made the victim of a very old and terrible lie.” – Trauma and Recovery Judith Herman.
It’s interesting that the men’s roles were weaker than the women’s. Plus, two women nominated for playing a man! What’s that about? Just that it seems hard to do, I guess. I wouldn’t see the movie. And what’s with the sniping about Woody being nominated? This IS one of his best—he really evokes what people think Paris is and was. And even the non-English majors must get a kick out of seeing Hemingway and Picasso brought to life in the ’20’s. As an English major who specialized in 1920’s lit., it was a fun fantasy. Worth several viewings.
I think there are some very good films here, but generally thought it was a poor year.Too many un super super hero films and I was glad to see none was nominated. Too hard to pick winners,but just for the record some educated guesses and more than half I have not seen Best picture,the artist or the desecdamts. Best actor. Clooney. Best actress Streep. Best supporting act Plummer or Von sydow. Best supporting actress. No idea, I predict the artist from what I have read about it will take out lots of technical awards and maybe design and costume. I usually don’t watch the oscars too long and boring and would rather read a book,or even a mediocre movie.Some of us have lives to live.Usually happy with edited highlights and reading about in paper the next day. anything elseexciting will turn up on ,y iPad. As to my predictions above,would not surprise me if they all wrong.
I think there are some very good films here, but generally thought it was a poor year.Too many un super super hero films and I was glad to see none was nominated. Too hard to pick winners,but just for the record some educated guesses and more than half I have not seen Best picture,the artist or the desecdamts. Best actor. Clooney. Best actress Streep. Best supporting act Plummer or Von sydow. Best supporting actress. No idea, I predict the artist from what I have read about it will take out lots of technical awards and maybe design and costume. I usually don’t watch the oscars too long and boring and would rather read a book,or even a mediocre movie.Some of us have lives to live.Usually happy with edited highlights and reading about in paper the next day. anything elseexciting will turn up on ,y iPad. As to my predictions above,would not surprise me if they all wrong.
i don’t believe them for not nominating THE INTOUCHABLES for best foreign film. This movie could easily win the best picture award. Best movie made in the last five years.
I’m too stunned by 2 things to process anything else. 1. No “The Interrupters.” 2. “Transformers: Dark of the Moon” got 3 nominations. I can’t even.
What is the Academy thinking? “Midnight in Paris” has got to be one of the worst films of the year. I felt sorry for the two leads. I was grateful that the great Marcel Proust didn’t show up in one of those vintage taxis cum time-machines. Both Cedar Rapids and Margin Call were far better movies. Go, Tree of Life!
I believe there’s going to be a great Oscar night this year with the nominees selected by the Academy, congratulations. Spiderwood Studios
That is the thing with the Academy. They will make choices in one category that will sound good, maybe even gutsy. Then, they’ll nominate Melissa McCarthy! Honestly? This is why cineastes throw up their hands and give up on Oscar. Plus, as always, it’s the movies that either made a lot of money, or had a well-funded “For Your Consideration” campaign that get in. Personally, I was blown away by “Melancholia” and would have wanted it to be nominated in many categories. Best Picture, Best Director, Best Actress (honestly, Melissa McCarthy gets a nod and not Kirsten Dunst?), and Cinematography. Especially cinematography! The opening eight-minute sequence, plus two gorgeous shots of horse riders running through the early morning mist, make for some of the most beautiful camerawork I have ever seen. I am glad that “The Tree of Life” got some recognition. I want to see Malick both show up, and win, having to give an acceptance speech! That would make the Oscars worth watching!
This is subjective (because I’ve only seen the ones listed, but this sample makes 2012 look so impoverished, I think), but I’ve tried to choose those films that had real depth and poignancy from each year. 2008 There Will Be Blood No Country For Old Men Michael Clayton La Vie En Rose The Savages Assassination of Jesse James Into the Wild Diving Bell and the Butterfly Counterfeiters 2009 Milk The Class Waltz with Bashir Dark Knight Wall – E The Reader Revolutionary Road The Wrestler A Prophet The Secret in Their Eyes 2010 The Messenger An Education Up Hurt Locker White Ribbon Fantastic Mr. Fox 2011 Black Swan The Fighter The Social Network Inception Winter’s Bone Blue Valentine This Year: Beginners (barely represented) Shame (not represented) Coriolanus (not represented) Drive (negligibly) Tree of Life (thank god) Melancholia (nope) The Artist (haven’t seen it yet, but I can see the writing on the wall; it’s good) A Separation (I want to see this pretty badly) Cowboy and Aliens (NOT represented… just kidding!) Where are the devastatingly poignant films of former years? This is a limited sample, but let me know if you think it’s at all telling.
As usual my favorite movie of the year, Melancholia, was ignored by the Academy.
I’m so disappointed Melancholia was completely overlooked. I was at least hoping for a Best Actress nomination for Kirsten Dunst, but there was none, so I’m not watching the Oscars this year.
I’m so disappointed Melancholia was completely overlooked. I was at least hoping for a Best Actress nomination for Kirsten Dunst, but there was none, so I’m not watching the Oscars this year.
Once again, The Academy screws Leonardo DiCaprio. He was about the only element not nominated for TITANIC.
I’m glad to see Hugo up there. I still haven’t seen the Artist.
foreign film awards, y u no include good films such as La Piel Que Habito? So disappointed….
Martin Scorsese should win Best Directing (such an eccletic director). Rooney Mara for Best actress. At the beginning I was like (what?) this is almost her debut LOL but when I finished watching Millenium: wow!! Nowadays just seeing a picture with Lisbeth’s Noomi Rapace makes me laugh… Althoug most of the work has to be of Fincher. This one is a really big miss this year in the Directing pot. Althoug in this category (actresses) Glenn Close and Streep are always sneaking out for it… I am sorry I hadn’t already watched Marilyn. Williams is such an underrated actress. I am also curious to watch DRIVE and especially SHAME (many people are a little annoyed for Fassebender and Gosling’s absence) Me too: I really like this two. I love Pitt but he endangers of turn the next O’Toole for missing it so much. On the opposite, Clooney don’t deserve so much nominations. He’s like a leprechaun… with the golden pot. The movie I’ve been promising myself I would see in the few past months is A DANGEROUS METHOD. That leades me to a very concerning thought: where the well is this film to the ACADEMY? Or was just a good trailer? A great cast and an even greater director! well but I tend to have feelings for some underrated movies like Bucket List, for instance.
I forgot to say: Tree of Life shouln’t be on Best Film that is a documentary (with issues, a lots of them). A great cinematography though…
Last year, The ghost writer was out of every academy list, and in the end The king’s speech won everything The social network should win; so I had said I will never mess with the Oscars again. But here it comes and here I am nugging again. Of course I didn’t expect Carpenter’s comeback with the dreamlike The ward to get any credit, and I didn’t expect The guard-which happens to be my favorite movie of the year- to get any credit too.Neither did I expect Melancholia, perhaps the most important movie of the year, to be there. Of the rest, I would like Spielberg’s both movies present in more categories, as I believe that his art of directing has reached pure perfection, and War horse is a gem with an all classic taste. I would also definitely like Mortensen nominated for his astounding performance as Freud, and Rossling and Hofman for The idles of March. I consider The artist as a fine but unimportant movie, The tree of life as a total failure, Midnight in Paris as absolutely loveable, and The descendants interesting. I haven’t seen Hugo yet, nor Tinker tailor soldier spy, and there ‘s no chance I watch Bridesmaids. Oh yes, and I haven’t seen Shame too, and I believe Fincher is one of the finest directors of our time and he’s proved it again this year. That’s all, and I’m still hoping for the best!
I agree with Filmy, both Shame as a film and Fassbender as leading actor deserved the nomination. so did Almodovar’s La piel que abito

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