'Furious 7' Wins Big at People's Choice Awards

My most despised awards show aired last night, and here are the low rent winners, if anyone cares. A lot of crap on this list- thanks to the "people." Jane Lynch hosted and everyone who showed up only did so because they knew they were already winning, as per usual.

2016 PEOPLE'S CHOICE WINNERS

Favorite Movie 
Furious 7 

Favorite Movie Actor 
Channing Tatum

Favorite Movie Actress 
Sandra Bullock

Favorite Action Movie 
Furious 7

Favorite Action Movie Actor 
Chris Hemsworth

Favorite Action Movie Actress 
Shailene Woodley  

Favorite Animated Movie Voice 
Selena Gomez  

Favorite Comedic Movie 
Pitch Perfect 2 

Favorite Comedic Movie Actor 
Kevin Hart

Favorite Comedic Movie Actress 
Melissa McCarthy

Favorite Dramatic Movie 
The Martian 

Favorite Dramatic Movie Actor 
Johnny Depp

Favorite Dramatic Movie Actress 
Dakota Johnson

Favorite Family Movie 
Minions   

Favorite Thriller Movie 
Taken 3 

WGA and ASC Announce Nominees

So, the Writer's Guild announced their picks today, and this is always a weird one because there are SO many Oscar contenders every year that aren't eligible for this guild. For example, Room and Brooklyn weren't eligible for adapted, and Inside Out, The Hateful Eight and Ex Machina weren't in for original. So expect to see some of these swapped out at the Oscars, most likely Trainwreck and Trumbo, in my opinion.

WRITER'S GUILD

Original Screenplay

• Bridge of Spies
• Sicario
• Straight Outta Compton
• Trainwreck
• Spotlight

Adapted Screenplay

• The Big Short
• Carol
• The Martian
• Steve Jobs
• Trumbo

I think Inside Out will take the place of Trainwreck, and either Brooklyn or Room, or maybe both, will make into adapted in place of at least Trumbo. The next most vulnerable script is probably Carol if both make it. Hateful Eight hasn't been showing up at the guilds, so even though Tarantino is an Academy favorite, he may not make it there this time. Ex Machina is a question mark as well- if anything takes another spot it will kick out either Sicario or Compton, probably Sicario. Compton has now hit the WGA, PGA and SAG, and the last movie to do that and not make a BP nomination was Bridesmaids in 2011. But that was a raunchy comedy they never take seriously, and this being a musical biopic gives it more weight, so I do think it's in.

AMERICAN SOCIETY OF CINEMATOGRAPHERS

The ASC is a small group that is actually one of the guilds most closely aligned with Oscar, so these nominees will probably match at least 4 for 5, if not all  of them.

• Bridge of Spies
• Carol
• Mad Max: Fury Road
• The Revenant
• Sicario

It's nice to see Carol finally show up in the guilds today, even if the movie is still following Far From Heaven's trajectory exactly and doesn't bode all that well for AMPAS. People were expecting The Hateful Eight's stunning cinematography to show up here, and that could be the one that makes it in at the Oscars, in place of Bridge of Spies, perhaps. Although honestly, this could be the exact lineup in this category as well.

Art Director's Guild Likes 'Bridge of Spies,' 'Danish Girl'

The ADG is the next guild to weigh in and most egregiously and inexplicably, in my opinion, they snubbed the superb 1950's art direction of both Carol and Brooklyn. I have no idea what that's about, since both had colorful, note perfect production design, the kind that the guild usually goes for. Did they cancel each other out? 

Art Direction- Period

• Bridge of Spies
• The Danish Girl
• Crimson Peak
• The Revenant
• Trumbo

Art Direction- Contemporary

• Ex Machina
• Joy
• The Martian
• Sicario
• Spectre

Art Direction- Fantasy

• Cinderella
• Jurassic World
• Mad Max: Fury Road
• Star Wars: The Force Awakens
• Tomorrowland

The Oscars choices for art direction will probably include the flashy period sets of Bridge of Spies, Crimson Peak and The Danish Girl, and if the branch comes to their senses, should also choose Brooklyn and Carol over Trumbo and The Revenant.

PGA Nominees Include 'Ex Machina,' 'Compton,' Snub 'Carol' and 'Room'

It's the big PGA nomination day, and this list is very important, because the Oscar Best Picture list will be this, minus one or two nominees, most likely. The trick is figuring out which ones are tossed and what the Academy might throw in on their own- no more than one, usually. This time I think it's obvious that Sicario and Ex Machina are the odd men out, but will the Academy replace them with either Carol or Room, both of which were surprisingly snubbed today? It's hard to say. I've long maintained that the Academy wasn't likely to nominate three female driven films for Best Picture (sad state of affairs but true), and it looks like I was correct in thinking Brooklyn would be the one, if any, that they'd like best. They've long held an aversion to Todd Haynes, and it looks like Carol is getting shut out by all the guilds just like Far From Heaven was in 2002, save for the actresses. As for Room, I just am not sure if that film will garner enough passion votes to get it in anywhere besides Actress and probably Screenplay. But Carol still has Weinstein behind it and maybe the heavy craft and tech potential will carry that one through. Or, maybe neither of them make it in the end.

• The Big Short
• Bridge of Spies
• Brooklyn
• Ex Machina
• Mad Max: Fury Road
• The Martian
• The Revenant
• Sicario
• Straight Outta Compton

I do think Straight Outta Compton has a real shot to sneak in for a Best Picture nom now- it has the PGA + SAG combination, and clearly people love it. I think the membership in the Academy has changed just enough in recent years to make Compton a passion pick for enough voters that it gets in, same as Selma did last year.

Chris Rock's First Promo for The Oscars

Here it is, the first ad for Chris Rock's second stint as host of the Oscars. I always thought he was funny the first time, but the people in the room didn't appear to love it back in 2004. Hopefully, they'll be more lightened up this time around.

North Carolina and Oklahoma Critics Like 'Spotlight'

Just as the first guild snubbed the frontrunner today, critics continue to support it, as it picked up two more Best Picture accolades from regional critics.

NORTH CAROLINA

These guys didn't do anything particularly interesting, but I like their picks for the lead acting categories- of course, that's because  they'd be my choices too.

• Best Film: Spotlight
• Best Documentary: Amy
• Best Foreign Language Film: Phoenix
• Best Animated Film: Inside Out
• Best Actor: Michael Fassbender, Steve Jobs
• Best Actress: Saoirse Ronan, Brooklyn
• Best Supporting Actor: Mark Ruffalo, Spotlight
• Best Supporting Actress: Alicia Vikander, Ex Machina
• Best Director: George Miller, Mad Max: Fury Road
• Best Original Screenplay: Spotlight
• Best Adapted Screenplay: The Big Short

OKLAHOMA

By contrast, this group awarded the two actors who likely will win the Oscars for lead acting, so they can congratulate themselves on being the better Oscar predictors I guess. They still agreed with NC on the Picture/Director split for Spotlight and George Miller though.

Best Actor – Leonardo DiCaprio, "The Revenant"

Best Actress – Brie Larson, "Room"

Best Animated Film - "Inside Out"

Best Body of Work – Alicia Vikander, "Ex Machina," "The Danish Girl," "Testament of Youth," "Burnt"

Best Director – George Miller, "Mad Max: Fury Road"

Best Documentary - "Amy"

Best First Feature – Alex Garland, "Ex Machina"

Best Foreign Language Film - "Son of Saul"

Best Original Screenplay - "Spotlight"

Best Adapted Screenplay – Charles Randolph and Adam McKay, "The Big Short"

Best Supporting Actor – Michael Keaton "Spotlight" and Sylvester Stallone "Creed" (tie)

Best Supporting Actress – Alicia Vikander, "Ex Machina"

Most Disappointing Film - "Tomorrowland"

Best PIcture - "Spotlight"

Editor's Guild Snubs 'Spotlight'

It's guild week, everyone! And the ACE Eddie, being the first guild to announce since SAG, handed down a bit of a shocker by completely snubbing Spotlight, the supposed Oscar frontrunner here. How rare is that? Well, editing is hugely important and it's been 26 years since a movie won BP without an Eddie nomination- that was Driving Miss Daisy. It's not a deal breaker, but since Spotlight's editing is pretty important to the film, what this could be is an indicator that it's a weak frontrunner at best. Perhaps not as loved in the industry as by the critics- could we be looking at another Boyhood? Maybe, but what's the alternative winner? If there is one, the PGA will the one to tell us, as they did last year when they awarded Birdman to everyone's shock. Notably, The Big Short is now the one movie to hit the guilds in both SAG and ACE, but with more to come, as the PGA announces their nominees tomorrow. Stay tuned.

BEST EDITED FEATURE FILM- DRAMATIC:

• Mad Max: Fury Road
• The Martian
• The Revenant
• Sicario
• Star Wars: The Force Awakens

BEST EDITED FEATURE FILM- COMEDIC

• Ant-Man
• The Big Short
• Joy
• Me and Earl and the Dying Girl
• Trainwreck

Regarding guild snubs, Birdman was snubbed for Editing at the Oscars and Argo was famously snubbed for Best Director and they both still won Picture, but neither of them were snubbed by the guilds in the same category, which are bigger groups comprised of thousands of voters compared to the Academy's individual branches. Could mean something more, but we'll see. Also, I should probably mention that this Star Wars nomination here could mean something too- if that movie shows up strong in the guilds, I guess there's a chance it could snag a BP nomination after all, especially considering the Academy is voting on nominations as we speak, right during the height of all this box office madness. Maybe they'll go for it after all. Yikes. (Sorry, I normally endorse popular nominations on some level, but this fan fiction rehash movie does NOT deserve to be a Best Picture nominee- that's total crap).

North Texas Critics Like 'The Martian'

I wasn't a big fan of The Martian, but it's nice to see at least one group pick a movie that's not Mad Max or Spotlight. These picks are refreshingly different in the top categories at least.

NORTH TEXAS FILM CRITICS ASSOCIATION

BEST PICTURE
The Martian

BEST DIRECTOR
Ridley Scott/The Martian

BEST ACTOR
Leo DiCaprio/The Revenant

BEST ACTRESS
Brie Larson/Room

BEST SUPPORTING ACTOR
Idris Elba/Beasts of No Nation

BEST SUPPORTING ACTRESS
Jennifer Jason Leigh/The Hateful Eight

BEST CINEMATOGRAPHY
Emmanuel Lubezki/The Revenant

BEST ANIMATED
Inside Out

BEST DOCUMENTARY
Amy

BEST FOREIGN LANGUAGE FILM
Son of Saul

BOX OFFICE 1/01-1/03: 'Star Wars' Continues to Dominate

The Force Awakens amassed 88 million for the third biggest domestic weekend ever, launching its domestic total to 740 million. It passed Titanic and Jurassic World this last week and is the fastest to hit the 700 million mark, and only the second movie to do so. It will topple Avatar tomorrow to become the biggest domestic movie of all time, unadjusted for inflation of course. I honestly would prefer it if we recorded box office numbers the way France does, in terms of pure tickets sold, because when you hear exaggerated numbers like this, it's still incredibly misleading. This movie has NOT sold anywhere near the amount of tickets films like Titanic did back in the day, or the original Star Wars, for example. Should we continue to gawk at these numbers even if they don't actually compare to massive hits of the past? Doesn't seem right to me.

Anyway, the holdover success in other areas went to Daddy's Home, which is a huge hit for Will Ferrell, despite the poor reviews, and is close to crossing 100 million. The Hateful Eight expanded wide this weekend, after a sterling opening in limited, but pulled in 16 million, on the lower end for a Tarantino film. It also earned a B Cinemascore, so we'll see if that one holds up well or not. Sisters and the Chipmunks movie rounded out the top five, as last week's Joy saw the steepest drop in the top ten.

Top 5:

1. Star Wars: The Force Awakens- 88.3 million
2. Daddy's Home- 29 million
3. The Hateful Eight- 16.2 million
4. Sisters- 12.6 million
5. Alvin and the Chipmunks: The Road Chip- 11.8 million

January is traditionally the worst month of the year for new releases, since it's basically reserved for boosting the success of the Oscar movies, with nominations set to be announced a week from Thursday. So far, Spotlight and Brooklyn continue to be the highest grossers on the indie circuit, having earned 27 and 20 million, respectively. Spotlight can probably boost that gross to at least 50 million, especially if it has the Oscar success many are predicting for it. Next week it's the horror movie The Forest, while The Revenant goes wide in expectation for an awards boost to come.

National Society of Film Critics Gives 'Spotlight' Best Picture

The NSFC is the last of the four "major" critics groups, along with New York, LA and the NBR, but they tend to want to go really idiosyncratic with their choices, like last year, when they picked not a single contender that was on anyone's radar, barely even critics themselves. But this time they were much more mainstream, going for critical darlings Spotlight, Charlotte Rampling, Mark Rylance, Amy, and Todd Haynes. The biggest out of left field pick was Michael B. Jordan for Creed, which is very cool. I wonder if he has an outside chance to land a Best Actor nomination, since that field isn't exactly packed this year. Also, Kristen Stewart is still a major long shot for a nomination, since there were no screeners sent out for that film, so despite her remarkable run with major critics this year, I'd still be shocked if that happened. Now, with only a couple of stragglers left for the critics groups, it's time to move on to the guilds, starting with the ACE Eddie nominees tomorrow, followed by the all important PGA noms the day after, and a major guild every day this week, ending with the BAFTA nominations on Friday. This is where the real hints come in.

• Best Actor: Michael B. Jordan, Creed
• Best Actress: Charlotte Rampling, 45 Years
• Best Supporting Actor: Mark Rylance, Bridge of Spies
• Best Supporting Actress: Kristen Stewart, Clouds of Sils Maria
• Best Screenplay: Spotlight
• Best Cinematography: Carol
• Best Documentary: Amy
• Best Foreign Language Film: Timbuktu
• Best Director: Todd Haynes, Carol
• Best Picture: Spotlight

Blood Splatters in New Red-Band Trailer for 'Deadpool'

This movie is still a big question mark, since it's so obviously a complete tonal shift from most superhero movies. What's weird is that it's actually still wanting to be a part of the X-Men universe in spite of it- it looks exactly like the comic on which it's based, but will that brutally violent/simultaneously humorous tone work for audiences used to so many innocuous fast food comic book movies? I do give the movie all the credit in the world for at least trying something different, but that didn't exactly work out so well for Kick Ass, if I recall. It may have some devoted cult fans though.

REVIEW: "Spotlight" (2015) Michael Keaton, Mark Ruffalo. Dir. Tom McCarthy

2001 may have been the last year of a major investigative reporting story in American journalism. In the last 15 years we've seen massive changes regarding the newspaper business, with almost everything shifting online towards the bloggers, hackers and whistleblowers who embdy no real editorial responsibility for what they do or what they uncover. In that sense, Spotlight, which recalls the process the investigative team at the Boston Globe undertook to uncover the massive abuse and cover up scandal the Catholic Church had been involved in for decades, is like a period piece celebrating a bygone era.

It's also a riveting procedural, directed with an invisible and flawless eye by Tom McCarthy, the independent filmmaker whose past work includes The Station Agent and The Visitor. There's not a single wasted scene in Spotlight, named for the investigative team at the Globe, as it documents the frame by frame process that began in July of 2001, when new editor Marty Baron (a quietly outstanding Liev Schreiber) arrived in Boston and set to work ordering the Spotlight team to start digging around stories of child abuse by a Boston priest said to have molested 80 kids over the years. At Baron's orders, Spotlight editor Walter "Robbie" Robertson leads his team as they go step by step, interviewing lawyers for the church and the victims, uncovering more and more cases of abuse and eventually discovering how high up the scandal went, as the Archdiocese becomes implicated in the investigation. As we all now know, the church would pay off victims in under the table settlements and take the accused priests out of circulation, moving them from parish to parish in different cities, letting them abuse more and more kids before being transferred to their next residence.

The horror of the scandal is not really news however, since the Globe's revelations were worldwide headlines 15 years ago, and the film is more about the work it took to uncover the truth, as the Globe dug deeper and worked hard to get the facts right, waiting 6 months before going to print, a process that'd be unimaginable now. Much is made of the Globe's resources and ability to provide backing for such a long and detailed investigation, as subtle nods toward the encroaching ubiquity of the Internet is alluded to, while the reporters work in an old school, door to door fashion, traveling all over Boston to get at the heart of the city's penchant for protecting the Catholic Church. The ensemble cast is fantastic, all working in tandem with each other as every performance strikes the perfect note and is on the same level, with only Mark Ruffalo's excitable Mike Rezendes getting anything close to a scenery chewing moment. Rachel McAdams, John Slattery, Billy Crudup and Stanley Tucci are all in sync with the rhythm of the material, as McCarthy exhibits perfect control over every scene as they move seamlessly from one to another, in service of a near perfect script from McCarthy and Josh Singer.

Spotlight is such a good movie that a couple of small moments, minor as they are, threaten the impact as a whole in ways they would not in a lesser film overall- Schreiber gets a monologue near the end that tries to absolve the team from blame for burying pieces of the story ten years earlier, and he seems to be speaking more the audience than the other actors in the room. It's the only moment that feels the least bit preachy, and a small diversion into McAdams and Ruffalo's personal reactions towards the story as it reaches publication also feels a tad disruptive of the tightly dispassionate tone the film has so effortlessly produced thus far, but moments like that do not ultimately blunt the impact of the film as it barrels toward its conclusion. This is a great movie about process, and about a moment in recent American history before everything would change. Whether it was for the better or not is a question left up to us.

* * * 1/2