BEST PICTURE
“The Artist,” Thomas Langmann, producer
“The Descendants,” Jim Burke, Alexander Payne and Jim Taylor, producers
“Extremely Loud & Incredibly Close,” Scott Rudin, producer
“The Help,” Brunson Green, Chris Columbus and Michael Barnathan, producers
“Hugo,” Graham King and Martin Scorsese, producers
“Midnight in Paris,” Letty Aronson and Stephen Tenenbaum, producers
“Moneyball,” Michael De Luca, Rachael Horovitz and Brad Pitt, producers
“The Tree of Life,” Nominees to be determined
“War Horse,” Steven Spielberg and Kathleen Kennedy, producers

LEAD ACTOR
Demián Bichir, “A Better Life”
George Clooney, “The Descendants”
Jean Dujardin, “The Artist”
Gary Oldman, “Tinker Tailor Soldier Spy “
Brad Pitt, “Moneyball”

LEAD ACTRESS
Glenn Close, “Albert Nobbs”
Viola Davis, “The Help”
Rooney Mara, “The Girl with the Dragon Tattoo”
Meryl Streep, “The Iron Lady”
Michelle Williams, “My Week With Marilyn”

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

SUPPORTING ACTOR
Kenneth Branagh, “My Week with Marilyn”
Jonah Hill, “Moneyball”
Nick Nolte, “Warrior”
Christopher Plummer, “Beginners”
Max von Sydow, “Extremely Loud & Incredibly Close”

SUPPORTING ACTRESS
Bérénice Bejo, “The Artist”
Jessica Chastain, “The Help”
Melissa McCarthy, “Bridesmaids”
Janet McTeer, “Albert Nobbs”
Octavia Spencer, “The Help”

WRITING (ADAPTED SCREENPLAY)
“The Descendants,” Alexander Payne and Nat Faxon & Jim Rash
“Hugo,” John Logan
“The Ides of March,” George Clooney & Grant Heslov and Beau Willimon
“Moneyball,” 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,” Michel Hazanavicius
“Bridesmaids,” Annie Mumolo & Kristen Wiig
“Margin Call,” J.C. Chandor
“Midnight in Paris,” Woody Allen
“A Separation,” Asghar Farhadi

ANIMATED FEATURE FILM
“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

FOREIGN LANGUAGE FILM
“Bullhead,” Belgium
“Footnote,” Israel
“In Darkness,” Poland
“Monsieur Lazhar,” Canada
“A Separation,” Iran

DOCUMENTARY (FEATURE)
“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,” Charles Ferguson and Audrey Marrs
“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

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

ART DIRECTION
“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

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

COSTUME DESIGN
Lisy Christl, “Anonymous”
Mark Bridges, “The Artist”
Sandy Powell, “Hugo”
Michael O’Connor, “Jane Eyre”
Arianne Phillips, “W.E”

FILM EDITING
“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

MAKEUP
“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 lyrics by Bret McKenzie
“Real in Rio,” from “Rio,” music by Sergio Mendes and Carlinhos Brown; lyrics by Siedah Garrett

SOUND EDITING
“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

SOUND MIXING
“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

VISUAL EFFECTS
“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

4 stars****

If you are one of the 65 million who have read Steig Larsson’s trilogy, there is a very good chance you will have already seen the first book’s movie, in Swedish, either dubbed into English or with English subtitles. You were probably worried about Hollywood getting its hands on the stories for fear of total ruination. You need not fear, they did quite a good job.

So what’s it all about?

Disgraced journalist Mikael Blomqvist is hired by Henrik Vanger to investigate the disappearance of Vanger’s great-niece Harriet. Henrik suspects that someone in his family, the powerful Vanger clan, murdered Harriet over forty years ago. Starting his investigation, Mikael realizes that Harriet’s disappearance is not a single event, but rather linked to series of gruesome murders in the past. He now crosses paths with Lisbeth Salander, a young computer hacker, an asocial punk and most importantly, a young woman driven by her vindictiveness. Together they form an unlikely couple as they dive deeper into the violent past of the secretive Vanger family.

Daniel Craig is a good Mikael Blomkvist, better than he is a James Bond with the two roles being miles apart. Rooney Mara is a good Lisbeth Salander, but she’s a long way short of Noomi Rapace’s version. Noomi was close to the book’s heroine, but Ms Mara’s Lisbeth character has been toned down somewhat. You’ll almost wonder why the movie has an R rating, compared to the Swedish adaptation. Salander is just so much more frightening in the Swedish account.
To pull a book from 500 pages and turn it into a movie at just over 2 ½ hours is difficult. The screenplay writer has a tough call on what to leave out. If you’ve read the book you will notice that Lisbeth’s security company hardly gets a mention and the mixing of the girl in London with the girl in Australia saves time and money.

The wonderful (now deceased) book author Steig Larsson has said in an interview that he viewed Salander’s character as an adult version of Pippi Longstocking. Larsson obviously has more imagination than most who have read Astrid Lindgren’s wonderful tales.

The alternative poster drove up the hype that this movie would be explosive, but it skimmed along that level. For those expecting plenty of violence, it is more implied than seen. For those expecting a sexy movie, this initial teaser poster has more sex in it than the movie suggests. You will probably have seen more in a thirteen rated movie recently. It’s only the scenes they talk about in the movie that move this to an R rated arena.

As a standalone movie, this Dragon film does well. It’s difficult to fault and builds the level of suspense you would require to be a worried audience member, but if you read the book first then you would already have a movie in your mind. If you have seen the Swedish version after reading the book, this movie will leave you wanting more, much more.

The story delves more into violent forms in books 2 and 3. You will look forward to seeing how the director and actors cope with the level of blood and gore on screen. There are sure to be two more movies to complete the trilogy, unless the 4th book is completed; then more delights will follow, but who will win the rush to promote the movie first?

5 stars*****

The generous cast list might draw you to this movie, but the dolphin and the boy steal the scenes so consistently, the celebrity names weren’t required. If you like tears with your movies, then this Dolphin Tale is the best two hours of 2011.

So what’s it all about?

A lonely and friendless boy finds and untangles a hurt dolphin that is caught in a crab trap. He becomes very attached to the dolphin when the tail must be taken off to save the dolphin’s life. The boy believes the dolphin would be able to swim normally if it was given a prosthetic tail.

Karen Janszen and Noam Dromi have written a by the book Blake Synder special screenplay. They took the original story – which was quite something anyway – adding a boy and a financial crisis to draw the heartstrings even further, and have hit each page of Synder’s Save the Cat screenwriting 101. They’ve collected every idea possible and thrown them into the cook book – then failed to throw any out of the melting pot.

The audience will know what’s going to happen next all the way through the nearly two hours of this tale of hope and desperation.

This movie is surely the best family movie of the year. Even those with the hardest looking tattoos will be finding it difficult to fight back the tears even though you know the outcome will be good.

If you didn’t love dolphins before this movie, then you surely will as you leave the theatre. While not sure if animals can receive awards, Winter deserves the statue, ahead of acting friends Harry Connick, Jr., Nathan Gamble, Ashley Judd, Kris Kristofferson, Morgan Freeman and Jim Fitzpatrick.

If ever you need a way to bring your family together, rent or download the DVD.

4 stars****

Modern American society should be ashamed that a movie like The Help needs to be made. Showing when history went down a dreadful tunnel and that spirit cannot be broken, this well made movie should make you pick up the book (or your Kindle) and read for greater detail.

So what’s it all about?

Set in Mississippi during the 1960s, Skeeter is a southern society girl who returns from college determined to become a writer, but turns her friends’ lives — and a Mississippi town — upside down when she decides to interview the black women who have spent their lives taking care of prominent southern families. Aibileen, Skeeter’s best friend’s housekeeper, is the first to open up — to the dismay of her friends in the tight-knit black community. Despite Skeeter’s life-long friendships hanging in the balance, she and Aibileen continue their collaboration and soon more women come forward to tell their stories — and as it turns out, they have a lot to say. Along the way, unlikely friendships are forged and a new sisterhood emerges, but not before everyone in town has a thing or two to say themselves when they become unwittingly — and unwillingly — caught up in the changing times.

Civil rights in the US were set for change in the 1960s, just a couple of hundred years too late. This movie exposes the racism faced by families as they tried to live lives dominated by another race. The few that tried to cross the block faced the wrath of both sides.

This slow starting movie gathers pace in its second hour as reality hits home to all involved. At the time, people perhaps don’t know how much the future was going to change, but change was inevitable.

Kathryn Stockett’s novel is a masterpiece, which her friend Tate Taylor turns into one of the year’s best movies. Well acted throughout and presenting a balanced view of all sides of the equation, it allows you to sympathise with the winning team, but never allows a moment of sympathy with the leading antagonist, as she fails to eat humble pie.

Sissy Spacek is in fine form as she turns the tables on her horrific daughter. The daughter plays the part so well it’s difficult not to believe that this portrays reality, not another farfetched story.

Viola Davis and Emma Stone turn in wonderful performances that wouldn’t be out of place on the list of top ten actors, come the early 2012 for 2011 awards.

3 Stars***

The British teen comedy had proved to be a sensation in its thirty minute television regular slot. Unfortunately, over ninety minutes it loses its quick biting punch and although the jokes are there, a feeling of blandness creeps in. I so wanted to enjoy this movie after the television series, but found it was only just watchable.

So what’s it all about?

The film follows the misadventures of a group of teenage friends on holiday in Crete after the end of their final year at school together, and serves as an ending to the TV series.

The movie is very typically British, especially when they add in the teenage Brit on holiday in Greece, Spain or anywhere drinks are cheap and plentiful.

The four stars are mostly consistent with their television characters so Simon Bird, Joe Thomas, James Buckley and Blake Harrison can only blame the directors or the screenplay writer for leaving them in the middle of no-where.

Without giving away the ending, the particular traits of each character is broken in the last few scenes. While this feels a little disloyal to the series, it does roll into a natural progression for teenagers of their age and perceptions.

They next film will follow them a few years later. It will be interesting to see how the boys have developed during university and first job stages, but I guess they’ll still brag about their nonexistent conquests with women, who are treated so poorly, particularly by the dialogue, but that’s what makes it so funny.

The producers will be pleased, though. With a small budget of just £3.5 million, they’ve taken over £45 million at the box office (£25 million in the UK alone) and with the DVD becoming available two weeks before Christmas, it’s sure to sell well as a nice gift for your grandparents; just tell them to turn the volume off. The language is appalling all the way through – so it’s a guaranteed laugh for most.

He’ll communicate with you almost any way you can think, starting with the obvious Facebook and email. He’ll also use the iPhone and iTunes for podcasting. Checked out his YouTube access yet?

If you want to read his extensive list of articles about screenwriting, then visit him here:

http://www.filmmakingstuff.com/write-your-screenplay/

Apart from providing free information, he’ll sell you almost anything you need to make a movie.

The new rates from 2011 can be found on the WGA’s website in PODF format; fresh for you to download.

http://www.wga.org/uploadedFiles/writers_resources/contracts/MOA2011.pdf

If you’re writing a treatment, a screenplay or a television show, your pay went up this year if you’re working on a WAG project, It you weren’t on a WGA show, then it’s down to your negotiating skills.

Simply choosing a male or a female name, their country of abode and finally, the country base of their name (with many global options), you’re presented with a full character profile providing a full character listing. I wish I’d had this available before I started writing ‘Chasing the Will.’ It would have made my life easier. Listing:

• Name
• Address including post code/zip code
• Telephone number
• Website
• Email address which can be turned live
• A password for online access
• The mother’s maiden name
• Date of birth and age (for those without calculators)
• Credit card number and expiry date
• Insurance number or social security number
• Occupation
• Blood type
• Weight and height in imperial and metric versions

From an author’s point of view, this presents a detailed character map that can be used throughout a novel. Often writers map out an entire character’s life story so they’re consistent throughout a novel or screenplay. You still need to add their favourite likes and dislikes, their school record and their greater family make up, but you’ve saved hours of work. Just checking whether the person is online and seeing if you can use the name carefully is another task. You don’t want to use Joe Brown or Fred Smith or Barack Obama for your character’s name, which is the beauty of this software for authors. It provides real names from all aspects of the globe. You want a Japanese name, it’s yours in seconds. If you need a Polish name for a man working in Denmark, all the necessary accurate details are provided.

The problem begins with the incorrect use of this information. Knowing the credit card number is a valid number and all the other information provided starts a team game. Registering gas or electric in the new names, the criminal starts to map out a future. Eventually he’s able to provide full information for opening a bank account and pulling stunts to gain goods and services illegally. This is then just one step away from identity theft. Our criminal can mix real knowledge with false information gained from this website to take over someone’s life.
So how do we ensure only fiction writers use this website?

http://www.fakenamegenerator.com/

The excellent Kierston Wareing continues to shine as this movie, The Holding, is less horrific and less gory than you’d expect, (you see the action, but not in graphic detail – the camera moves on after you know what happens) which bodes well for this thrilling drama. Initially on a small distribution release aiming at the opinion of the Nottingham and Derby people in England (why those great towns specifically?) what appears to be a slow start lulls you into a sense of oncoming doom, which duly appears in startling fashion just ten minutes in.

So what’s it all about?

A heart-pounding suspense thriller set in the rugged and atmospheric Derbyshire landscape. Cassie Naylor’s husband Dean has mysteriously disappeared and now she’s desperately trying to run their isolated farm alone with her two girls. An enigmatic stranger arrives at the smallholding, claiming to be an old friend of her husband. Aden knows all about the family, surprising personal details, and soon charms his way into their lives. But unknown to Cassie, Aden’s altruism has a sinister edge.

The lack of early dialogue has the audience wondering what’s going on, but don’t worry, it’s all explained, gradually. The film progressively draws out its secrets in an excellent screenplay by James Dormer who chooses to write like an independent, rather than a Hollywood studio express.

With excellent direction by Susan Jacobson, the small cast make the most of excellent location of British farmlands, suggesting the Peak District, which might explain the initial screenings.

Kierston Wareing is almost hidden in her brown hair, such a change from her usual blond look. The Leigh-on- Sea, Essex girl starred in Ken Loach’s film ‘It’s a Free World’ as Angie. She has also played in Andrea Arnold’s ‘Fish Tank’ (2009) and Martina Cole’s ‘The Take’. She has been nominated for one BAFTA award and two British Independent Film Awards. Her acting skill in this movie is so good you side with her despite the attempted murder of her husband and potential lover, with the approval of her children.

There’s a thought to mention this movie in connection with traditional pieces like Straw Dogs, but The Holding is placed in the thriller genre, not the blood smattered variety. They just both happen to use isolated landscapes with farm buildings.

The movie was also, quite brilliant. Director Sam Peckinpah made a film that hit you like you’ve just walked into a fast train. You gripped the theater seat to ensure your own safety.

Dustin Hoffman played the part of a man mouse whose motivation caused his character arc to change to man mountain. He was going to defend his wife, whatever the consequences.

The director also wrote the screenplay, which stands the test of time to make magic on the screen.

Susan George became the face to be seen leading her to a series of quality films. So realistic were her rape scenes that many thought they were true rather than acted.

The movie was banned for a while, but this only proved to hype it further. Looking at it today, it’s no longer the shock film it was back 40 years ago as we’re beaten with similar shock tactics on a regular basis. What the studios can do with CGI, special effects and our mind goes beyond the pale.

So why make an updated version? I really can’t see the point. It almost certainly can’t be bettered, which leaves it struggling from the get-go. There are enough great screenplays of movies not yet made that we don’t need to rehash the past. For no particular reason, the location has changed as has the occupation of the man-mouse.

I haven’t seen it yet and I hope they’ve completed a great job, but what chances have they of beating the original: none. They could have built a few elementary schools with the budget. I’ll go see and try not to pre-judge, but that’s a difficult ask when a new movie could have been made. I suppose all of us who saw the original will go if we’re still alive now and a new audience might be tempted to download the original.

I wouldn’t mind, (yes I do actually,) but they’ve used the same film poster with minor changes. Why, oh why?