Seeing Uggie, the Artist ‘s celebrated Jack Russell terrier, onstage Sunday night at the Golden Globes might have been enough to placate some observers who’ve demonstrated an interest in the wonder dog’s awards-season recognition . But for most who’ve joined the “Consider Uggie” chorus — 6,218 fans and counting — our mission is only getting started. We’ve seen the most measurable growth at both Movieline’s “Consider Uggie” Facebook page and the Weinstein Company’s @Uggie_theArtist Twitter feed, the latter of which in particular has become a comprehensive clearing house for all the #ConsiderUggie news and developments you can stand. And I hope you can stand a lot of them, because:
The enduring saga of Margaret — three years in the making, six years in the editing, one week in the theatrical showing, and finally rescued from oblivion by a cabal of devotees best known by their #TeamMargaret brand — presses on this week with news that Kenneth Lonergan’s embattled epic is finally returning to theaters in Los Angeles. Great! But perhaps just as interesting as how this complements the film’s ongoing revival in New York City is how it shores up a better-late-than-never awards campaign by distributor Fox Searchlight. Karina Longworth, who chose Margaret as her favorite film of 2011 (a distinction not too far from critic Alison Willmore’s own here at Movieline ), reports via LA Weekly that Cinefamily will launch a new engagement of the film starting Friday. The run starts at one week but could be extended based on demand — an option exercised three times now by the proprietors of New York’s Cinema Village , where tomorrow Margaret enters its fourth week on the comeback trail. The grassroots effort to get Margaret not only seen but outwardly acclaimed represents one of the season’s more inspired awards crusades, and one with which Searchlight is now playing along. Well, sort of, anyway: Speaking with Longworth, a studio publicist confirmed previous reports that Margaret screeners have been distributed Academy-wide — for what that’s worth, particularly with Oscar nomination ballots due Friday by 5 p.m. and the publicist denying that Searchlight’s “strategy” for the film had changed. But really, does the awards noise even matter in light of fans willfully prying a troubled mainstream film out from under a stubborn distributor’s heavy haunches? This is something to celebrate! Do them and their efforts proud and go see this thing, already. [ LA Weekly ]
Let’s be honest: Nobody watches the People’s Choice Awards for the actual awards. As awards season proper kicks off it’s a populist popularity contest, a loose warm-up to this weekend’s Golden Globes, a pit stop on the tour of red carpet photo ops for celebrities and TV stars and actors with upcoming movies to pimp. But events like this give us lovely little gifts, random social snapshots that peek behind the curtain of celebrity. Last night they gave us Hunger Games tingles. Cute coupledom. And, perhaps best of all, Robert Pattinson having a ball with Betty White . Who was the genius People’s Choice Awards planner that seated Pattinson next to the erstwhile Golden Girl in the front row? What did the Twilight star and the bubbly octogenarian have to talk about during commercial breaks? (Perhaps this ?) Could the casualwear-clad Pattinson have looked any more like a kid tagging along with his grandma to a fancy dinner for grownups? WHAT DID BETTY THINK OF RPATTZ’S NEW HAIRCUT?? I kid, I kid. It’s the single most adorable photo to come from last night and I love thinking that the two became instant besties and exchanged cell numbers on the spot. This stuff doesn’t happen at the Oscars, folks. Help me celebrate this moment in time with your captioning skills in the comments below! Photo: Getty Images
The Producers Guild of America just announced its 2012 award nominees, with a few surprises ( The Ides of March ? Again ?) and noteworthy snubs (sorry, Tree of Life -ers) in the main event. Meanwhile, the animated category dared to recognize the roundly loathed Cars 2 , and the documentary voters gave at least on conspicuous Oscar snubbee a break (I’m looking at you, Senna ). The full list of film awards is below; check our sister site Deadline for TV nominees as well. Darryl F. Zanuck Producer of the Year Award in Theatrical Motion Pictures: THE ARTIST Producer: Thomas Langmann BRIDESMAIDS Producers: Judd Apatow, Barry Mendel, Clayton Townsend THE DESCENDANTS Producers: Jim Burke, Alexander Payne, Jim Taylor THE GIRL WITH THE DRAGON TATTOO Producers: Ceán Chaffin, Scott Rudin THE HELP Producers: Michael Barnathan, Chris Columbus, Brunson Green HUGO Producers: Graham King, Martin Scorsese THE IDES OF MARCH Producers: George Clooney, Grant Heslov, Brian Oliver MIDNIGHT IN PARIS Producers: Letty Aronson, Stephen Tenenbaum MONEYBALL Producers: Michael De Luca, Rachael Horovitz, Brad Pitt WAR HORSE Producers: Kathleen Kennedy, Steven Spielberg The Producers Guild of America Producer of the Year Award in Animated Theatrical Motion Pictures: THE ADVENTURES OF TINTIN Producers: Peter Jackson, Kathleen Kennedy, Steven Spielberg CARS 2 Producer: Denise Ream KUNG FU PANDA 2 Producer: Melissa Cobb PUSS IN BOOTS Producers: Joe M. Aguilar, Latifa Ouaou RANGO Producers: John B. Carls, Gore Verbinski The Producers Guild of America Producer of the Year Award in Documentary Theatrical Motion Pictures: BEATS, RHYMES & LIFE: THE TRAVELS OF A TRIBE CALLED QUEST Producers: Michael Rapaport, Edward Parks (*additional producers eligibility pending arbitration completion) BILL CUNNINGHAM NEW YORK Producer: Philip Gefter PROJECT NIM Producer: Simon Chinn SENNA Producer: James Gay-Rees THE UNION Producers: Cameron Crowe, Michelle Panek ###
Now that everyone has grown tired of touting the allegedly thrilling promise of 3-D, we may have some chance of figuring out exactly what its future might be. While I still think 3-D is almost less than a gimmick, I’ve come to think that its real promise lies not in big-budget filmmaking along the lines of The Adventures of Tintin or even a picture as wonderful as Hugo , but in the hands of directors working on a more modest scale who simply have a good idea and a spark of enthusiasm for the medium. Wim Wenders has brought that spark to a rather unlikely subject, the late German modern-dance choreographer Pina Bausch. For years, Wenders and Bausch, longtime friends, had been working on a movie together. Bausch died suddenly in 2009, at age 68, and Pina is Wenders’ tribute to her, less a strict documentary than a heartfelt — and visually gorgeous — celebration of Bausch’s work and her mode of working.
One week removed from his 82nd birthday, Christopher Plummer is winding up what one could arguably call a career year. And it’s been a long career — more than half a century’s worth of stage and screen roles comprising such milestones as The Sound of Music , The Man Who Would Be King , The Insider and The Last Station , the latter of which earned the Canadian legend his first-ever Academy Award nomination. But as the curtain closes on a memorable 2011 — most notably his acclaimed stage adaptation Barrymore , his awards-worthy performance in Beginners and this week’s blockbuster hopeful The Girl With the Dragon Tattoo — you’d be hard-pressed to find a time when Plummer wasn’t more beloved.
Glee has scored another Oscar-winning guest star. Nearly eight months after Gwyneth Paltrow’s last episode, the Fox musical series has cast Helen Mirren in a role that was written explicitly for the British actress.
There are times when too much of a good thing and not enough meet halfway and settle into a comfortable middle ground. That’s the case with Steven Spielberg’s The Adventures of Tintin , which would be better if it had been made using more traditional animation techniques rather than that performance-capture nonsense and if 3-D weren’t one of its big selling points.
The Hollywood Reporter ‘s resident awards guru and all-around nice guy Scott Feinberg invited me to join him on the latest installment of his “Feinberg and Friends” podcast, which is now live at THR . Therein we go deep — like, deep deep, or Ed-Harris-gagging-down-amniotic-fluid-at-the-bottom-of-the-ocean-in- The Abyss deep — on this year’s awards race, including but not limited to…
All of the characters in Albert Nobbs , a mild and mildly stirring adaptation of the George Moore short story, are dreamers. Employees in a mid-19th century Dublin inn, they dream of each other, chiefly, and the ways in which they might be set free. They deceive each other, as well, so that their dreams are often projected onto false fronts — of character, of obligation, and — in a couple of cases — of tightly bound breasts.
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