Surprise, surprise, the big news is here! Yes, the Oscar nominations are in, and yes we’ve got the dirt for you. If you haven’t already heard, there are ten – yes, folks – ten nominees for Best Picture this year.

So, what does it all mean? It means more possibilities, more buzz, and more viewers! At least, that’s what everyone seems to be banking on.

If you’re reading this, chances are, they’re right about it all anyway. So, you might as well just read on, at this point. You can at least count on us to cut to the chase. Just check out our list below, or click the link to go directly to the Oscars home page.

After you’ve feasted your eyes on the nominees, give us a shout about the picks you love and hate the most. We love to hear from you, and you’ll probably hear back from us. Believe it or not, were actually pretty good about that. So, without further adieu.

The 82nd Annual Academy Award Nominees are:

Best Picture: "Avatar," "The Blind Side," "District 9," "An Education," "The Hurt Locker," "Inglourious Basterds," "Precious: Based on the Novel ‘Push’ by Sapphire," "A Serious Man," "Up," "Up in the Air."

Actor: Jeff Bridges, "Crazy Heart"; George Clooney, "Up in the Air"; Colin Firth, "A Single Man"; Morgan Freeman, "Invictus"; Jeremy Renner, "The Hurt Locker."

Actress: Sandra Bullock, "The Blind Side"; Helen Mirren, "The Last Station"; Carey Mulligan, "An Education"; Gabourey Sidibe, "Precious: Based on the Novel `Push’ by Sapphire"; Meryl Streep, "Julie & Julia."

Supporting Actor: Matt Damon, "Invictus"; Woody Harrelson, "The Messenger"; Christopher Plummer, "The Last Station"; Stanley Tucci, "The Lovely Bones"; Christoph Waltz, "Inglourious Basterds."

Supporting Actress: Penelope Cruz, "Nine"; Vera Farmiga, "Up in the Air"; Maggie Gyllenhaal, "Crazy Heart"; Anna Kendrick, "Up in the Air"; Mo’Nique, "Precious: Based on the Novel ‘Push’ by Sapphire."

Directing: James Cameron, "Avatar"; Kathryn Bigelow, "The Hurt Locker"; Quentin Tarantino, "Inglourious Basterds"; Lee Daniels, "Precious: Based on the Novel ‘Push’ by Sapphire"; Jason Reitman, "Up in the Air."

Foreign Language Film: "Ajami," Israel; "El Secreto de Sus Ojos," Argentina; "The Milk of Sorrow," Peru; "Un Prophete," France; "The White Ribbon," Germany.

Adapted Screenplay: Neill Blomkamp and Terri Tatchell, "District 9"; Nick Hornby, "An Education"; Jesse Armstrong, Simon Blackwell, Armando Iannucci, Tony Roche, "In the Loop"; Geoffrey Fletcher, "Precious: Based on the Novel ‘Push’ by Sapphire"; Jason Reitman and Sheldon Turner, "Up in the Air."

Original Screenplay: Mark Boal, "The Hurt Locker"; Quentin Tarantino, "Inglourious Basterds"; Alessandro Camon and Oren Moverman, "The Messenger"; Joel Coen and Ethan Coen, "A Serious Man"; Bob Peterson, Pete Docter, Tom McCarthy, "Up."

Animated Feature Film: "Coraline"; "Fantastic Mr. Fox"; "The Princess and the Frog"; "The Secret of Kells"; "Up."

Art Direction: "Avatar," "The Imaginarium of Doctor Parnassus," "Nine," "Sherlock Holmes," "The Young Victoria."

Cinematography: "Avatar," "Harry Potter and the Half-Blood Prince," "The Hurt Locker," "Inglourious Basterds," "The White Ribbon."

Sound Mixing: "Avatar," "The Hurt Locker," "Inglourious Basterds," "Star Trek," "Transformers: Revenge of the Fallen."

Sound Editing: "Avatar," "The Hurt Locker," "Inglourious Basterds," "Star Trek," "Up."

Original Score: "Avatar," James Horner; "Fantastic Mr. Fox," Alexandre Desplat; "The Hurt Locker," Marco Beltrami and Buck Sanders; "Sherlock Holmes," Hans Zimmer; "Up," Michael Giacchino.

Original Song: "Almost There" from "The Princess and the Frog," Randy Newman; "Down in New Orleans" from "The Princess and the Frog," Randy Newman; "Loin de Paname" from "Paris 36," Reinhardt Wagner and Frank Thomas; "Take It All" from "Nine," Maury Yeston; "The Weary Kind (Theme from Crazy Heart)" from "Crazy Heart," Ryan Bingham and T Bone Burnett.

Costume: "Bright Star," "Coco Before Chanel," "The Imaginarium of Doctor Parnassus," "Nine," "The Young Victoria."

Documentary Feature: "Burma VJ," "The Cove," "Food, Inc." "The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers," "Which Way Home."

Documentary (short subject): "China’s Unnatural Disaster: The Tears of Sichuan Province," "The Last Campaign of Governor Booth Gardner," "The Last Truck: Closing of a GM Plant," "Music by Prudence," "Rabbit a la Berlin."

Film Editing: "Avatar," "District 9," "The Hurt Locker," "Inglourious Basterds," "Precious: Based on the Novel ‘Push’ by Sapphire."

Makeup: "Il Divo," "Star Trek," "The Young Victoria."

Animated Short Film: "French Roast," "Granny O’Grimm’s Sleeping Beauty," "The Lady and the Reaper (La Dama y la Muerte)," "Logorama," "A Matter of Loaf and Death."

Live Action Short Film: "The Door," "Instead of Abracadabra," "Kavi," "Miracle Fish," "The New Tenants."

Visual Effects: "Avatar," "District 9," "Star Trek."

A Single Man marks the feature film directorial debut of Tom Ford.  So, who the hell is Tom Ford?  More than a few film-goers may have been asking themselves that very same question in recent months. 

If you find yourself among that group, chances are, one of your favorite f-words is probably not ‘fashion’. Tom Ford is a fashion designer by trade. Sure, he’s been in the public eye for many years now, but none of those years have been spent as a filmmaker. 

Therefore, audience members could be forgiven for sitting through the film without having a clue as to who the Director is, or where he comes from.  Willing to try his hand at an entirely different f-word, for the first time, Ford’s initial directorial effort somehow translates into a resounding success on many levels. 

The subtle eloquence that carries A Single Man through its one hour and thirty-nine minute run time is definitely impressive. So much so, that the finished product would seem to require the Directorial experience of a seasoned professional. 

Ford and his team have managed to deliver a convincing period piece, and an engrossing character study, all at once with A Single Man. The film also represents a stellar, often lyrical addition to the growing canon of progressive gay cinema.  Which begets the question, how did Ford and Co. pull it all off?  Well, let’s break it down.

A postcard from California, circa 1962

From the onset, the film delivers the viewers a convincing period piece, thanks to its great costuming and art direction. A Single Man takes place in California during 1962, which was the height of the Cold War.

The wardrobe for the main protagonists, along with the movie’s mise en scène, are all dead-on examples from this not-too-long ago period of time. Likewise, the same affect is achieved with convincing reality as to the buildings, homes, and storefronts used throughout the film.  In addition to the clothing and architecture, a collection of vintage automobiles parade up and down the relatively empty roads throughout the movie.

The images on-screen, even have a grainy tone, so the Director combined all of these elements and effectively conjured up the time period in the film.  Therefore, when the film’s titles claim its 1962, it actually seems believable–sort of a novel idea, huh?

Story, Story and Character, character, and character

Not to be outdone by the art direction and costuming, George Falconer (Colin Firth) is the star of the show in Single Man, and he doesn’t disappoint. In short, George is a stylish guy. He’s also an English immigrant, and a college English professor, who happens to be a closeted gay man.  He gets overly dramatic about waking up and getting dressed in the morning, and he’s infatuated with the appeal of early 60’s minimalist style. 

He’s got mild symptoms of depression, a touch of OCD, and he’s also suicidal to boot. But who’s keeping track of all his problems, right?  Much might be made of Firth’s performance as George come Oscar time, and rightfully so.  All told, the performance is a tricky one to judge, since there’s so much voice-over narration running throughout the film, telling us how George feels.  What works so well, is not so much what Firth does, but what he doesn’t do. The actor’s subtlety in relation to the character, voice over, and era seem to ring true throughout.  When George, the character, might feel like going ballistic, Firth allows the character’s emotions to roll and unravel seamlessly via a constant, sometimes futile effort to hide George’s real feelings. 

Those feelings, and Firth’s ability to emote shame and restraint in equal parts, come across as accurate for both the character, and as a closeted gay man living in 1962, which dovetail perfectly with the narration.  Not an easy line to toe, but Firth pulls it off without a hitch, and the performance seems truly notable because of it.

Gay Cinema’s Lyrical new Possibilities

In addition to the look of the film, and the strength of its main character, there are some dead on examples of this distinct form of American pride and prejudice, particular to the era throughout.  When George is “labeled” by one of his neighbors, he first learns about it all, thanks to his neighbor’s young daughter. The little girl innocently relates to George, that her father doesn’t want him coming over to their house for dinner, by repeating her father’s reasoning:

“You’re light in your loafers.”

The expression itself, her father’s hatred, and the hidden, but not-so-subtle judgment all smack of early 60’s America. The same can be said of the moment when George learns over the phone that his gay lover of 16 years has just died, but he won’t be invited to the funeral, because “the service is just for family.” 

Both pieces of dialogue seem so simple, but what’s said, and what’s left unsaid, in each instance provides a telling verbal photograph of the era.  There are quite a few fantastic lines in Single Man, and if the film is nominated, or actually wins the Oscar for Best Adapted Screenplay, much of the credit should go to the original novel of the same name by Christopher Isherwood.  Ford and co-writer David Scearce shouldn’t be forgotten, but many of the lines in the film are lifted verbatim from the book, and in this case (thanks to Isherwood’s skill with dialogue), that’s actually a good thing.

A Singular Debut

To find a similarly worthy portrayal of what the landscape of the early 60’s might have looked like, as seen from a gay man’s perspective, you’d have to scour the annals of film history.  Just to match the accuracy of the art direction and costuming you’d struggle.  Even after searching, you’d be hard pressed to find a character, or a film that offers more from that very unique, and worthwhile frame of reference that A Single Man provides.

Ever since the release of Rob Epstein and Brian Friedman’s excellent 1995 documentary, The Celluloid Closet, there’s been an increasing awareness of Hollywood’s historically skewed portrayal of gay characters. 

That awareness has led to the creation of numerous film festivals and some recent, excellent, gay themed features, including Julian Schnabel’s Before Night Falls and Ang Lee’s Brokeback Mountain.  Ford’s debut should be considered in the same class as those two films, because it entertains the much overlooked point of view of a central gay character with real depth, and demands the audience to take another look at their world, from a gay disposition. 

Trying to pull all of that off, is no easy feat of course, and A Single Man should be judged accordingly.  Attempting to rewrite the cinematic history books, with regard to gay cinema, is no picnic either, to be sure.  Tom Ford’s singular debut counts as one of a handful of films that have provided a noble start to that effort though, and that says something in of itself.

]]> http://www.travelinlocal.com/a-single-man-%e2%80%93-a-singular-debut/feed/ 6 http://www.travelinlocal.com/james-camerons-avatar-brings-the-sexy-back-to-hollywood/ http://www.travelinlocal.com/james-camerons-avatar-brings-the-sexy-back-to-hollywood/#comments Fri, 22 Jan 2010 01:10:53 +0000 Douglas McBride http://www.travelinlocal.com/?p=7976 This is it ladies and gentleman. Here’s our very own Avatar spectacular review. So cue the bullhorn–Twice. You’ll get our review of the film, and the latest on the film’s reported links to depression, and record breaking box office tallies.

As a bonus, since you’re reading this review on Travelin’ Local, we’ve also got the true story of the film’s hush, hush, Hollywood premier. Folks, we’re not talking about the well-publicized red carpet premier that was held on Dec 20th. No, no, people. This screening went down secretly on Dec 18th, and James Cameron was present as part of a Q+A panel alongside Sigourney Weaver, Sam Worthington, and Producer John Landau. Think big money, and a privately sponsored event to push the new awards focused, L.A. Times spin-off publication, The Envelope. Are you ready for this? If you want all the dirt on the film, you’ve got it right here, so… read on, sexy reader, read on!

Avatar’s Secret Showing

Imagine a packed house, comprised completely of industry types, and other assorted lucky bastards, inside the Mann’s Grauman’s Chinese Theater. The theater was filled to capacity, with additional film goers lining the walls and aisles of the theater. Fire hazards be damned, these people wanted seats. No audience on the planet had yet seen Avatar, and everyone present knew who was going to speak afterward. So, needless to say, polite smiles, and courtesy were cast aside. An anything goes sort of attitude took over. Dark pairs of 3-D glasses were slipped quickly onto faces, as people tried to stake their claims for a place at the screening. As if they were all part of some ridiculous club.

Has James Cameron found a way to bring the SEXY back to 3-D glasses also? Or was he just trying to cause a brawl inside a multiplex? SAG members and VIP guests flashed each other dirty looks, struggling to reach the few remaining seats inside the theater. Then, seconds before the curtain rose, the lights started to dim. The searching faces glanced up, the theater darkened, and then it all happened.

For well over two and a half hours the audience sat transfixed. At times the crowd cheered out loud by majority, some clapping in the middle of scenes, while others quietly wept during others. Sounds a little crazy right? Yeah, I thought so—a whole lot of crazy!

Well if you haven’t already heard, there’s a new CNN article– that talks about the particular type of crazy Avatar has inspired. The film has apparently brought out some strong emotions in people, causing some filmgoers to suffer depression like symptoms. Word is, a number of those have considered suicide, looking for support in chat rooms and online forums. Maybe the 3-D glasses have enhanced things in a big way, or maybe it’s just the film. Sure, people already have their own issues, but it’s all worth pointing out. Make of that what you will, but when the credits rolled that night, the audience broke into uproarious applause.

Cameron’s Entourage

Then Cameron and Co. walked out onto the stage, and suddenly the theater was standing room only. As the audience found their seats once again, a moderator went through a Q+A session with the group, and the audience remained transfixed for another half hour. For an experience that lasted nearly four hours–all told– the whole event seemed to fly by at breakneck speed. Rarely do you find an audience willing to sit for that long, let alone willingly. Towards the end of the Q+A, when the film’s Director was asked about his future projects he joked, “Well, first we’ve got to make some money on this one.”

Cameron’s Laughing all the way to the Bank

Cameron’s hopes of making money on his new film have now become an absurd reality. Avatar has grossed nearly 1.7 billion dollars at the box office to date. That’s probably a monstrous weight off the man’s shoulders, considering the film cost a reported $300 million to produce, plus an extra $150 million for marketing and promotional costs. There are only three other films in all of cinema history that can touch those kinds of cost totals. In release for just under a month, Avatar has already come close to breaking the all time box office record set by Titanic at 1.8 billion dollars.

To Cameron, it may very well feel like he’s bringing the sexy back to blockbuster filmmaking. Blockbusters aren’t always welcomed as critical successes, but Avatar might be one of the few exceptions to the rule. The Director’s other little movie –you know the one about the boat- was the biggest exception to that particular rule, ever. Without peers at the box office (until maybe now), Titanic won Golden Globes for Best Picture, and Best Director. The film also swept the Oscars with eleven wins, including Best Picture and Best Director.

The new, crazy brand of SEXY is back in Hollywood

For a blockbuster film, stealing awards away from the rest of the critical frontrunners is fairly unique.  Some might even call it audacious.  Since James Cameron seems to have gotten his Mojo roaring back with Avatar—whether he ever lost it may be subjective, but I digress–we might even be talking about some new, crazy brand of SEXY.

Indeed—we are and it is, and now the word and film, Avatar, is part of our national lexicon. Go figure………………..

Avatar compared to Titanic

So, is Avatar so good, that it’s worth getting depressed and suicidal over?  The answer is no.  Not even close.  But no movie is.  Don’t let any of this film’s haters or critics fool you though.  Avatar is an immensely entertaining feature, in spite of any arguable flaws it might have.  The film is worth seeing, and it’s also a worthy awards candidate.  Cameron’s latest is best caught inside a theater though, while the catching is still good.  So, what does that mean? 

Well, let’s put it this way.  It might be hard for future generations to understand what all of the hubbub was about back in 2009 and 2010.  That’s because Avatar is the most visually stunning version of a CGI film yet, with the key word being ‘yet.’  That obviously won’t be the case ten or twenty years from now. 

3-D the NEW NEW SEXY Movie Craze

But for the time being, Avatar is aesthetically new and powerful, and it’s worth seeing in a theater now, for that reason alone.  The 3-D effects only enhance the experience.  If you’ve got serious issues with depression, the bummer might come from the fact that real life seems a little lame after seeing Avatar in a theater.  Consider yourself warned.  As for everyone else, if you’ve got the chance to see it in 3-D, take it.  As an aside—yes Hollywood did experiment with 3-D 40 years ago:

Avatar the Movie, the Good, the Bad, and the Ugly

The fact that the eye-popping visuals tend to distract viewers from the film’s possible weak points is worth a mention.  So let’s talk weaknesses.  Avatar has got compelling characters, but there are some questions that can easily be posed about the film’s originality. In certain key moments, the plot is a little hard to swallow, as well.  To break it all down, we’ll need to give you some hints about what happens in the film. 

So here’s your Spoiler Alert, and a Warning

Don’t let the film’s few flaws stop you from enjoying the film for what it is: an entertaining, and visually breathtaking film.

With all that in mind, let’s get to it.  First up is the originality issue.  Without even having seen the film, you’re free to glance at the photos within this article.  See all of those interesting looking blue creatures, in the photos?  Well, according to Avatar, those creatures are known as the Na’vi.  To make a long story short, the Na’vi seem a little too reminiscent of all those cute little Ewoks from Return of The Jedi. 

Their saving grace is that they look completely different, of course.  We’re just talking about a few too many parallels here, with a film that quite a few people have seen, that also happened to launch the empire of George Lucas, another film and special effects pioneer for the movies. 

Another mentionable Weakness comes in the shape of a Plot Twist

Yeah, things go wrong. Jake Sulley (Sam Worthington), is the main character of Avatar, and he inhabits two roles–he’s leading a double life, of sorts.  In one life, he’s got the use of his legs, is agile, strong, and free.  In the other life, he’s the prisoner of his own limited body, and duties as a soldier.  This involves heavy plot description, so to cut to the chase:

When the Chips are Down, and all seems Lost, our Hero tries a last ditch Solution

Again here’s your spoiler alert…our hero finds the biggest, baddest, bird in the sky and tames it. Then he flies into the makeshift Na’vi village on the bird, and expects everyone to be impressed–all this after he’s caused the deaths of numerous Na’vi, destroyed the tribe’s village and way of life, and triggered the near destruction of the entire planet. 

Frankly, it’s all a bit too much to take—really–especially considering that it seems like our hero just rode in, on what amounts to a new horse—one that’s out of control.  New horse, new car, new dragon, new bird, you get the idea. None of it seems all that inspiring; at least, not enough to lift an entire race from the most crushing disaster they’ve ever witnessed, to defeat their oppressive, technologically advanced, human enemies.  This one’s bigger than the last flaw, for sure. 

To be sure, Cameron is making a statement about society, but who the hell cares when you’re having so much fun, right?

Technicality, it’s a weakness that’s explained away by way of the tribe’s folklore.  Within the impressive scope of the film though, it amounts to another flaw worth mentioning, without getting too carried away.  Technically, Cameron’s got it covered, even if that plot point doesn’t seem to work on an emotional level to the degree and kind that other types of movies do.  Oh well, such are the idiosyncratic motif’s of the movies.

Get while the Gettin’ is good—go to the Movie Theatre and see Avatar

To reiterate, Avatar’s weaknesses aren’t over-the-top, but the film’s visuals and box office tallies definitely make that grade. In terms of mass appeal, Cameron is the ‘King of the Hollywood World,” once again.  The man knows how to connect with filmgoers, and there’s an undeniable strength to that, whether you’re a fan of his work or not. 

Avatar does pose some interesting questions about sustainability, war, and human wastefulness to viewers, in addition to being entertaining.  Without the Director’s ability to connect with those viewers though, the messages within the film, however blunt they might seem, would remain undelivered and the film unwatched.

The critical attention the film has garnered, in addition to the box office shattering numbers it carries, will inevitably lead everybody and their brother to compare Avatar with Titanic.  The two films are vastly different though.  We’ll let every Tom, Dick, and Harry, analyze that! But for now, Avatar is the best that CGI, and blockbuster filmmaking have to offer. 

Again, this movie is a visual spectacle worth seeing sooner, rather than later.  The points I made about the plot and its originality are worth making, but the flaws are not glaring, and this film is no throw away.  I recommend, as do my fellow film critics, that Avatar is worth seeing inside a theater, despite its obvious inherent weakness’. Provided you can find a seat, though. If you can successfully find one without getting into a fight for that seat, you might even feel SEXY wearing the special 3-D glasses made for watching the movie.

If you’ve got any thoughts on Avatar, Cameron, or your own interpretation of what cinematic SEXY is or should be, then leave us a comment.  We’d love to hear your thoughts or forever regret you didn’t speak up!

Just sayin’………..Travelin’ local had fun reviewing this Film and its writer, Douglas McBride’s sense of humor suits the extraordinary kind of SEXY and CRAZY that Avatar embraces.

[UPDATE] FILM NEWS: Avatar officially crushes Titanic with $1.859 billion in 41 Days!

If you haven’t gotten the scoop yet, James Cameron’s Avatar is now the highest grossing film of all time. The film’s new total of roughly $1.86 billion, has blown Cameron’s other little boat movie out of the water, and into the number two slot. Sure, it only seemed like a matter of time. But Cameron’s new flick managed to conquer all challengers in just 41 Days! Let’s say it again…41 days!That means it took Avatar less than a month and a half to beat the $1.843 billion racked up by Titanic (right along with the box office totals of every other film in the history of cinema).

Just think: Cameron could have fixed health care in the United States with the profits from either one of his last two flicks. Now if we can just get J.C. and Barack together for dinner at the White House, maybe we can finally fix this thing, once and for all, right? In all seriousness though, this is kind of crazy, isn’t it? Or maybe it’s just seriously crazy.

If you’ve got some thoughts on Avatar and it’s audacious box office totals we’d love to hear from you. We’d also like to know how far you think the film will actually fly into the box office stratosphere. Do you think Avatar can break $2 or even $3 billion dollars at the box office? To ignore the question, would be like trying to ignore the proverbial elephant in the room. In this case, the elephant is more like a blue, six hundred pound, gorilla, with a black question mark painted on his furry chest. He looks your way and grunts. You can see that he’s guarding all the Avatar cash. And all you’ve got to do to take the cash is guess how much the film will make all told. He grunts again, and sniffs at you. It’s almost as if he’s daring you to guess. Just don’t call him James or Cameron. He really doesn’t like those names.

Send us your comments!!! We want to hear your thoughts AND your guesses on the film’s final box office tallies!!!

]]> http://www.travelinlocal.com/james-camerons-avatar-brings-the-sexy-back-to-hollywood/feed/ 12 http://www.travelinlocal.com/tv-nominees-slug-it-out-for-golden-globes/ http://www.travelinlocal.com/tv-nominees-slug-it-out-for-golden-globes/#comments Sun, 17 Jan 2010 14:09:54 +0000 Douglas McBride http://www.travelinlocal.com/?p=7875 The Hollywood Foreign Press might not see TV the same way you do.  They might not think about TV in exactly the same way that the folks who vote for the Emmys do either, but they see it just the same, whether you like it or not.  Of course you can’t get mad at all the nice foreign folks, until you feast your eyes on their picks though, right?  Then again, maybe you’ll love their picks.  Wherever you stand on the choices, the nominees for the 2010 Golden Globes are officially in, so read em’ and weep, or read em’ and rejoice.  The choice is yours.  Let us know what you think about these sexy photos, and all the big news below.

Most notable among the nominations here is Fox’s first year series Glee.  The musical comedy grabbed the most nods of any show, with four nominations, including best comedy series, trumping NBC’s “30 Rock,” AMC’s “Mad Men,” Showtime’s “Dexter,” and FX’s “Damages,” which all grabbed three nods each.  This year brought the love back to the major networks in the ‘Best TV Comedy or Musical Series’ category.  Four out of the five shows nominated for best comedy series came by way of the major networks this year, with HBO’s “Entourage,” the only exception to the rule.  The other players in the category included two from NBC: “30 Rock” and “The Office”, in addition to Fox’s “Glee,” and ABC’s “Modern Family.”

In contrast to the comedy category, the nominations for ‘Best TV Drama Series’ were ruled yet again by the cable networks.  Fox’s “House” was the only major network series to earn a nomination.  The category was rounded out by two offerings from HBO, with “Big Love,” and “True Blood,” up against Showtime’s “Dexter,” and AMC’s “Mad Men.”   The complete list of TV Nominations for the 2010 Golden Globes is included below the last photo.  Before the list, you’ll also find a cut and paste link to the official Golden Globes website, just in case you’d like to check out exactly how the votes stacked up.  The 67th Annual Golden Globe Awards airs live on NBC tomorrow, Sunday at 5 PM PST and 8 PM EST, on Jan 17th, 2010.   Enjoy, and get back to us with your thoughts!

COMPLETE LIST OF 2010 GOLDEN GLOBE NOMINEES FOLLOWS

Best TV drama series: "Big Love," HBO; "Dexter," Showtime; "House," Fox; "Mad Men," AMC; "True Blood," HBO.

Best TV comedy or musical series: "30 Rock," NBC; "Entourage," HBO; "Glee," Fox; "Modern Family," ABC; "The Office," NBC.

Best actor in a TV drama: Simon Baker, "The Mentalist," CBS; Jon Hamm, "Mad Men," AMC; Michael C. Hall, "Dexter," Showtime; Hugh Laurie, "House," Fox; Bill Paxton, "Big Love," HBO.

Best actress in a TV drama: Glenn Close, "Damages," FX; January Jones, "Mad Men," AMC; Julianna Margulies, "The Good Wife," CBS; Anna Paquin, "True Blood," HBO; Kyra Sedgwick, "The Closer," TNT.

Best actress in a TV comedy: Tina Fey, "30 Rock," Edie Falco, "Nurse Jackie," Toni Collette, "The United States of Tara," Lea Michele, "Glee"; Courteney Cox, "Cougar Town."

Best actor in a TV comedy: Alec Baldwin, "30 Rock" Steve Carell, "The Office" David Duchovny, "Californication," Matthew Morrison, "Glee," Thomas Jane, "Hung."

Best actor in a supporting role: Jeremy Piven, "Entourage"; Neil Patrick Harris, "How I Met Your Mother"; William Hurt, "Damages"; John Lithgow, "Dexter"; Michael Emerson, "Lost."

Best actress in a supporting role: Jane Lynch, "Glee"; Rose Byrne, "Damages"; Janet McTeer, "Into the Storm"; Jane Adams, "Hung"; Chloe Sevigny, "Big Love."

Best TV movie or miniseries: "George O’Keeffe," Lifetime; "Grey Gardens" HBO; "Into the Storm," HBO; "Little Dorrit," PBS; "Taking Chance," HBO.

Best actor in a miniseries or TV movie: Kevin Bacon, "Taking Chance," HBO; Kenneth Branagh, "Wallender," PBS; Chiwetel Ejiofor, "Endgame," PBS; Brendan Gleeson, "Into the Storm," HBO; Jeremy Irons, "Georgia O’Keeffe," Lifetime.

Best actress in a miniseries or made-for-TV movie: Joan Allen, "Georgia O’Keefe"; Drew Barrymore, "Grey Gardens"; Jessica Lange, "Grey Gardens"; Anna Paquin, "The Courageous Heart of Irena Sendler"; Sigourney Weaver, "Prayers for Bobby."

]]> http://www.travelinlocal.com/tv-nominees-slug-it-out-for-golden-globes/feed/ 2 http://www.travelinlocal.com/can-you-predict-the-golden-globes-film-winners/ http://www.travelinlocal.com/can-you-predict-the-golden-globes-film-winners/#comments Sun, 17 Jan 2010 01:57:26 +0000 Douglas McBride http://www.travelinlocal.com/?p=7860

If you aren’t clued in yet, the 67th Annual Golden Globes will be announced tomorrow, this Sunday, Jan 17^th 2010 (live telecast on NBC at 5 PM PST and 8 PM EST).  This year’s film selections included what might be considered a few more popular choices than in recent years past.  So, if you’ve got a list of favorite films from the last year or so, now’s your chance to see how your picks stack up against the Hollywood Foreign Press Association’s choices. We’d like to hear all about it if you think one or more of the films on the short list sucks completely.  Likewise, we’d like to hear from you, if you think one or more of the Golden Globe picks is definitely worth all the hype.

Speaking of hype, some of this year’s biggest box office smashes surprisingly found their way on to the Globes’ list for statuettes.  At the same time, some of the year’s most critically acclaimed films lost out on nominations.  James Cameron’s buzz heavy, mega-budget film Avatar makes the list of ‘Best Motion Picture, Drama’ nominees.  Avatar stands alongside a group of films that include Quentin Tarantino’s Inglourious Basterds, Lee Daniel’s critically acclaimed Precious, Jason Reitman’s Up in the Air, and Kathryn Bigelow’s widely praised The Hurt Locker.

The ‘Best Motion Picture, Musical or Comedy’ category included the inventive and much loved romantic comedy 500 Days of Summer.  Also included in the same category were It’s Complicated, and the musical Nine - alongside box office success stories Julie and Julia and The Hangover.   Below is a full list of the nominees (and a link).  Take a peek before you go! Again, feel free to make a prediction, and tell us which picks you think don’t add up, and which you think are the most deserving.

THE COMPLETE LIST OF FILM NOMINEES

Picture, Drama: "Avatar," "The Hurt Locker," "Inglourious Basterds," "Precious: Based on the Novel ‘Push’ by Sapphire," "Up in the Air."

Picture, Musical or Comedy: "(500) Days of Summer," "The Hangover," "It’s Complicated," "Julie & Julia," "Nine."

Actor, Drama: Jeff Bridges, "Crazy Heart"; George Clooney, "Up in the Air"; Colin Firth, "A Single Man"; Morgan Freeman, "Invictus"; Tobey Maguire, "Brothers."

Actress, Drama: Emily Blunt, "The Young Victoria"; Sandra Bullock, "The Blind Side"; Helen Mirren, "The Last Station"; Carey Mulligan, "An Education"; Gabourey Sidibe, "Precious: Based on the Novel ‘Push’ by Sapphire."

Director: Kathryn Bigelow, "The Hurt Locker"; James Cameron, "Avatar"; Clint Eastwood, "Invictus"; Jason Reitman, "Up in the Air"; Quentin Tarantino, "Inglorious Basterds."

Actor, Musical or Comedy: Matt Damon, "The Informant!"; Daniel Day-Lewis, "Nine"; Robert Downey Jr., "Sherlock Holmes"; Joseph Gordon-Levitt, "(500) Days of Summer"; Michael Stuhlbarg, "A Serious Man."

Actress, Musical or Comedy: Sandra Bullock, "The Proposal"; Marion Cotillard, "Nine"; Julia Roberts, "Duplicity"; Meryl Streep, "It’s Complicated"; Meryl Streep, "Julie & Julia."

Supporting Actor: Matt Damon, "Invictus"; Woody Harrelson, "The Messenger"; Christopher Plummer, "The Last Station"; Stanley Tucci, "The Lovely Bones"; Christoph Waltz, "Inglorious Basterds."

Supporting Actress: Penelope Cruz, "Nine"; Vera Farmiga, "Up in the Air"; Anna Kendrick, "Up in the Air"; Mo’Nique, "Precious: Based on the Novel ‘Push’ by Sapphire"; Julianne Moore, "A Single Man."

Foreign Language: "Baaria," "Broken Embraces," "The Maid (La Nana)," "A Prophet," "The White Ribbon."

Animated Film: "Cloudy With a Chance of Meatballs," "Coraline," "Fantastic Mr. Fox," "The Princess and the Frog," "Up."

Screenplay: Neill Blomkamp, "District 9"; Mark Boal, "The Hurt Locker"; Nancy Meyers, "It’s Complicated"; Jason Reitman, "Up in the Air"; Quentin Tarantino, "Inglorious Basterds."

Original Score: Michael Giacchino, "Up"; Marvin Hamlisch, "The Informant!"; James Horner, "Avatar"; Abel Korzeniowski, "A Single Man"; Karen O, Carter Burwell, "Where the Wild Things Are."

Original Song: "Cinema Italiano" (written by Maury Yeston), "Nine"; "I Want to Come Home" (written by Paul McCartney); "Everybody’s Fine"; "I Will See You" (written by James Horner, Simon Franglen, Kuk Harrell); "Avatar"; "The Weary Kind (Theme from ‘Crazy Heart’)" (written by Ryan Bingham, T Bone Burnett), "Crazy Heart"; "Winter" (written by U2), "Brothers.

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