I have to say, a lot of this morning's poo-pooing of the Oscar ceremony last night is a bit hyperbolic for my taste.  The mixed critical reactions, that is.  I found the night to be rather swift and host Jon Stewart to be at the top of his game.  Sure, there were a number of montages that should have been nixed.  The Best Picture bit that Jack Nicholson presented comes to mind as considerably unnecessary.  But by my watch, the thing was over in less than four hours, something around three and a half...and that's ALWAYS a good thing.  Right?

But let's get into it.  The season has come to a close and the Coen brothers, Scott Rudin and "No Country for Old Men" had their day to shine.  Good for all involved.  It's the most un-Academy win since "The Silence of the Lambs," but that's the way things go sometimes.

There were surprises in store for some.  Such as Marion Cotillard and Tilda Swinton taking the leading and supporting actress trophies, swooping in at the last minute to steal away the thunder of the night's frontrunners.  Personally, I saw this coming, but no one could deny the possibility was there and the situations were ripe for upsets.  Both speeches, by the way, were quite good.  Cotillard was appropriately emotional (as was Diablo Cody, who even choked me up with her teary acceptance).  Swinton, meanwhile, offered that Tilda charm and sass that has become something of a staple this season for the "Michael Clayton" star.

The biggest shocks of the night for me came in the craft races, where "The Bourne Ultimatum" snuck in and grabbed the sound editing and sound mixing statuettes.  The latter category had been primed as a race between "Transformers" and "No Country for Old Men," a considerable media concentration given the nominations tally of Kevin O'Connell and Greg P. Russell.  Sadly, they missed yet again and this was their last shot at getting it together.  They'll go off and, obviously, churn out great work separately, so this isn't the end of days.  But it would have been a nice bow on their partnership, to be sure.

I think the best moments of the evening both involved the film "Once."  The first was Glen Hansard and Marketa Irglova's performance of "Falling Slowy," which elicited a huge cheer from the crowd.  The second was Jon Stewart's insistence that Irglova come back out and be given her moment to offer what ultimately was, let's face it, the bes speech of the evening.  Trigger happy bands really piss me off and someone needs to key them into the fact that some people you just don't scoot away like that.  This was a songwriting DUO, the two STARs of the film, for Pete's sake.  Give them both their moment, please.

The "Enchanted" numbers became a bit tedious after a while, and I couldn't help but wish Eddie Vedder had been there to mix things up.  There are no two ways about it.  The music branch embarassed itself this year.  That's my opinion, in any case.

Apparently the ratings were the lowest ever, which it is foolish to attribute (as some have) to the actual show.  I would say one need only look at the slate of rather unpopular Best Picture nominees to find out why the public at large wasn't very interested.  Personally, I thought it was the best year for movies in a long while.  But just look at the box office rankings to see what people preferred.  It's not in line with Oscar.

Anyway, now we look ahead to next year, right?  RIGHT?  Well, those of us who are nuts, in any case.  Scott Rudin and the Coens will be back, for different projects.  Josh Brolin, Sean Penn, Angelina Jolie, Frank Langella, Russell Crowe, George Clooney -- all heading back to the race.  Returning filmmakers include Ridley Scott, Joe Wright and David Fincher, while Paramount Pictures once again has the glut of product to consider.  And there'll be a "titanic" reunion in store for the nostalgic romantics in the crowd.

But we'll get there.  For now, let's just all enjoy the release of another Oscar year in the rear view mirror.  It's been a blast contributing here at variety this season,a nd I hope you've all enjoyed reading.  We'll weather the fallout in the coming days and call it quits at the end of the week.

Happy Monday.

The boys are livid as "Transformers" misses out on Best Sound Editing and Best Sound Mixing, and lets face it, that Kevin O'Connell and Greg P. Russell remain Oscarless is a total crock.  And now, they'll have to aim for thg old separately as "Transformers" was their final collaboration.  Also handed out was Best Actress, a three-way race and a big question finally answered.  Check it out.

•  Anne Thompson reports on last night's Miramax shindig before offering up her last minute guesses for tonight's awards. [Thompson on Hollywood]

•  David Carr was there, too, adding his unique spin on things. [The Carpetbagger]

•  Jeffrey Wells isn't too keen on "Juno" winning big at last night's IndieSpirits, but he sure did get low and close for a nice Ellen Page shot. [Hollywood Elsewhere]

•  Sasha Stone writes up her final "State of the Race" column, with predictions to boot. [Awards Daily]

•  Regarding predictions, by the way, yours truly is on the record. [In Contention]

•  Mary McNamara writes a "Dear JON" letter to Oscar host Jon Stewart. [The Envelope]

•  Tom O'Neil speculates about what this "special award" might be that Nicole Kidman is set to present this evening. [Gold Derby]

•  David Poland iphones it in fromthe Indie Spirits. [The Hot Blog]

•  Last minute snarkiness from The Reeler.  But at least it's a shade of different. [Little Gold Men]

•  Nathaniel Rogers writes up the Best Actress race one last time. [The Film Experience]

•  A.O. Scott finalizes the year by poo-pooing the Oscars, admits he wishies the strike had shut down the show.  No rhyme or reason, just Gray Lady distaste and snobbery. [New York Times]

•  Jeffrey Wells spotlights a hair-raising quote from "No End in Sight" helmer Charles Ferguson in that New York Times doc piece. [Hollywood Elsewhere]

•  Richard Corliss digs into the Academy membership in a slightly different piece on the Oscars. [Time]

•  Sasha Stone previews all the guild commotion this weekend. [Awards Daily]

•  Tom O'Neil wonders whether Entertainment Weekly Oscar voter collective can be trusted. [Gold Derby]

•  David Carr reviews "There Will Be Blood," bubble-wrap style. [The Carpetbagger]

•  Stu VanAirsdale comments on Jane Fonda's C-bomb from last week, worships its usage in "Atonement." [Little Gold Men]

•  Anita Gates writes up Oscar's memories throughout the boob-tube years. [New York Times]

•  Randee Dawn, via slideshow, takes a look at the making of an Oscar -- no, an ACTUAL Oscar, at the R.S. Owens & Company plant in Chicago. [Gold Rush]

•  Todd Leopold asks whether anyone cares about the Oscars. [CNN]

•  In his first post in nearly a month, Ramin Setoodeh responds to the piece. [The Gold Digger]

•  The media, who wanted so desperately to have a story like Diablo Cody to cover, continue to tear the poor woman down because they're bored with their own Frakenstein. [Cinematical]

•  Donna Freydkin sits down with "La Vie en Rose" star Marion Cotillard. [USA Today]

•  According to the local paper, surfers love Best Animated Feature Film nominee "Surf's Up." [Los Angeles Times]

•  Pete Hammond digs into the particulars of the season again this week, pondering a record-tying four wins for the Coens in one night. [The Envelope]

•  Gina Piccalo writes up Oscar's fashion preview. [The Envelope]

•  Sasha Stone points us to a Huffington Post item about Tilda Swnton, the playa. [Awards Daily]

•  The latest Buzzmeter hits, with one more week of guessing to go. [The Envelope]

•  Tom O'Neil, meanwhile, comments on the latest shake-up in the supporting actress ranks, with predictions spread all over the place. [Gold Derby]

•  David Carr remembers the romances of the year this Valentine's Day. [The Carpetbagger]

•  Carr also points us to an item that seems to be playing catch up, since "Michael Clayton" has been the threat to upset in the Best Picture category since the nominations were announced. [The Carpetbagger]

•  Nathaniel Rogers rounds up the Best Actress race with a little over a week to go in the race.  It's a nail-biter. [The Film Experience]

•  Jack Nicholson takes considerable umbrage with the length of the Oscar season. [Variety]

•  Jeffrey Wells digs the Oscar nominated short "I Met the Walrus." [Hollywood Elsewhere]

•  Sasha Stone digs into the Best Actress category, considered sewn up in some quarters, an open field in others. [Awards Daily]

•  Yours truly takes another stab at how the race might be shaping up in a few tricky categories. [In Contention]

•  Tom O'Neil has a chat with Pete Hammond, who thinks Tilda Swinton may pull off an upset.  I'm thinking the exact same thing (see link above). [Gold Derby]

•  Roger Ebert -- no shock here -- picks Ellen Page to win Best Actress. [Chicago Sun Times]

•  John Horn and Gina Piccalo take an interesting angle on the Oscar ceremony: the need to scramble a show together, now that the strike is kaput. [Los Angeles Times]

•  Donna Freydkin sits down with the chipper-as-always Saoirse Ronan. [USA Today]

Actress in a Leading Role Laura Linney
Writing (Original Screenplay) Tamara Jenkins

There's a really fun feature Variety cranked out this week for the Eye on the Oscars: The Actor/Actress issue that gives some added voices to various contenders and their chances.  It's a why and why not scenario for each nominee's hopes, plus a critical quote for added measure on each.  Yours truly wrote up the supporting actors.

Oh, I suppose I shouldn't forget the lede, which is kind of a cross-section of performances that walked a fine line between getting charismatic characters just right and flying off the rails of histrionics in 2007.  Also written by your truly.

Meanwhile, there's a "down to the wire" showcase, featuring four stories to sooth your Oscar sweet tooth in the coming weeks.  Jennifer Hutt gets into theps taking on dialect coaches to assist in their award-nominted portrayals, while Justin Chang digs into next year's crop of contenders, believe it or not (more on that in a moment).

There's also an interesting take on the editorial style of "There Will Be Blood" from David Bordwell, as well as an interesting Iain Blair story about some unusual places where you might unexpectedly find an Oscar.

We all knew who the WGA winners were going to be, given the slip up with announcing the nominees in order of vote tally.  But I decide to hit the beach for the early part of this weekend, and BAFTA goes and shoots its accidental load all over the net.

Tom O'Neil is pointing us to BAFTA's website announcing the winners in advance, and Sasha Stone is doing the same.  "Atonement," of course, will be taking Best Film, while Daniel Day-Lewis ("There Will Be Blood") and Marion Cotillard ("La Vie en Rose") took top acting honors.  The Coen brothers willt ake Best Director.

"Will take."  I sound like I'm Nostradamus.  But hey, apparently, it's true!

Actress in a Leading Role Cate Blanchett
Costume Design Alexandra Byrne

Actress in a Leading Role Marion Cotillard
Costume Design Marit Allen
Makeup Didier Lavergne and Jan Archibald

Actress in a Leading Role  Ellen Page
Directing  Jason Reitman
Best Picture  Lianne Halfon, Mason Novick and Russell Smith, Producers
Writing (Original Screenplay)  Written by Diablo Cody

The Hollywood publicity machine is well-oiled at the start of this week, to be sure.  I count at least four studios with events lined up this evening, and who knows what shin-digs I haven't been invited to today.  We all make our blacklists.

First, there's Picturehouse's celebration of Marion Cotillard, Oscar nominated for "La Vie en Rose," if you're into a poolside gathering at the Chateau Marmont.

If a nuts and bolts dialogue is more your speed, Paramount Vantage has set up the "There Will Be Blood" crew for a screening and Q&A over at the Harmony gold Theater on Sunset.  Film editor Dylan Tichenor, cinematographer Robert Elswit, sound designer Chris Scarabosio, supervising sound editor Matthew Wood, and set decorator Jim Erickson -- nominees all of them -- are expected to attend.

Down the street at Book Soup, screenwriter Christopher Hampton is participating in a book signing of his Oscar-nominated adaptation, "Atonement," while Ariana Huffington will be hosting a screening of Charles Ferguson's "No End In Sight" at the Paley Center for Media out in Beverly Hills, for those really jonsing for a political experience, what with Super Tuesday right around the corner.  Huffington just hosted a similar "No End" event over the weekend at the Hotel Plaza Athenee in New York.

Oh, and Tamara Jenkins was just at Book Soup yesterday reading from her "Savages" screenplay.

All of these events come on the heels of last weekend's spotlight of the below the line nominees from "No Country for Old Men" -- coverage of which I've yet to stumble across, by the way.  Come on.  Somebody was there, right?

Anyway, lots of media exposure for lots of deserving contenders this season.  Some might think no more than usual, but the agression on the part of campaigners and strategists seems to have slid up a notch to me this year.  Lucky us, eh?

Wading back out into the Oscar waters for post-nominations coverage is Variety's Features department, this weekend spotlighting the nominees in a few of the major races and a look at critical praise for nominated thesps.

Stu Levine has the lede on the former, running down the films in competition from the angle of wild card success.  Christine Champagne then steps in with a list of whys and why nots on the potential of the year's Best Picture contenders.

Also covered in similar fashion by various writers are the screenplay, directing, foreign language, animated feature and documentary races.  Yours truly will be on the supporting actor side of things with this next week, by the way.

Meanwhile, David Mermelstein kicks things off for the talent involved as he dives in from the perspective of foreign thesps opening U.S. doors with their Oscar bids.  I wrote a similar story last year for Variety with 2006's crop of foreign ladies in focus.  Awards success for foreign theps an interesting and ever-expanding trend.

Finally, there's all those love-fest quotes from various critics on the year's lead acting contenders.  Check it out.

Actress in a Leading Role  Julie Christie
Writing (Adapted Screenplay)  Written by Sarah Polley

I sort of stopped reading David Edelstein's New York Magazine blog, The Projectionist, because -- well -- he just didn't update enough.  But I came across his reaction to yesterday's Oscar nominations via Nathaniel Rogers' Film Experience Blog this morning.  Glad to see he's still generating some web content.

He spends plenty of time essentially re-reviewing "Juno" and calling the film's fans "duped" (no fan is he) before finally getting into some snubs he considers rather egregious. Frank Langella's performance in "Starting Out in the Evening," Ashley Judd's raw portrayal in "Bug" and the box office-challenged "Grace is Gone" are among them.

He starts out like so:

The announcement of the Academy Award nominations is always the saddest day of the year, not because the voters’ choices are lousy (although they tend to be) but because so many worthy movies suddenly lose their luster. As long as the potential for a nomination exists, attention will be paid. Once the field dwindles, audiences desert the also-rans faster than you can say “Fred Thompson.” And it’s on to DVD…

And wraps it up thusly:

What of the rest? The Academy went with the critics in giving No Country for Old Men and There Will Be Blood its love, but my hunch is that neither has many enthusiastic supporters among the voters and will split the vote anyway. Too grim, too weird. Atonement would have been perfect Oscar bait if it had been any good. Michael Clayton is terrific — but is it too conventional a conversion melodrama? Could Juno squeak through? Diablo Cody might be one doodle that can’t be undid.

Read the rest.

I was all set to tap out an Oscarweb Round-up, but the usual suspects (linked in the right sidebar) have reactions up all over the place.  Suffice it to say, the mood out there is one of..."eh."  But there's plenty to read at The Envelope, Awards Daily, The Carpetbagger and, as always, Award Central.

But scouring the net this morning for anything not Globe-related, I came across this little item at The Film Experience.  The consensus for some time in the Best Actress category has been that either Ellen Page ("Juno"), Julie Christie ("Away from Her") or Marion Cotillard ("La Vie en Rose") is going to win the Oscar.  The latter two ladies took down wins last night, adding wind to their sails.  But whichever of these dames takes the win, according to Nathaniel Rogers, it'll be a historic moment for the category.

Rogers writes:

Julie Christie enchanted Oscar voters at that dazzling sunshine girl in 1965's Darling and should "Away From Her" bring her second win, it'll mark the longest time between acting wins for anyone. The current record holder is Helen Hayes who won Best Actress for "The Sin of Madelon Claudet" (1931) and then again in the supporting category for "Airport" (1970). Most dual winners actually win their second within a decade of their first.

If Marion Cotillard wins [for "La Vie en Rose"] it'll mark only the second time a foreign language performance has won Best Actress. And that happened even longer ago then Julie Christie's first triumph. The one and only recipient: Sophia Loren for "Two Women" (1961).

If Ellen Page wins for "Juno," she'll become the youngest Best Actress winner ever. She turns 21 three days before the Oscars which will be held (we think [gulp]) on February 24th. That makes her the youngest. Marlee Matlin ("Children of a Lesser God," 1986) currently holds the record for youngest lead actress win. She was also 21 but 2/3rds of the way to her 22nd birthday.

Very interesting indeed.  With Page missing last night, and with "Juno" not exactly tearing up the guild circuit (though a PGA nod is likely today), most are thinking the contest is between Christie and Cotillard, with the former getting the benefit of the prognostication doubt given that she is a screen icon.  We'll see how it pans out, but it's nice to know -- barring any out of the blue revelations in the Best Actress category -- that history will probably be made on Oscar night this year.

Variety looks at the acting races this weekend with an Awards Season Focus: 10 stories, all built around the thespians.

To kick it off, Stu Levine surveys the dark horse Oscar hopefuls that grabbed Golden Globe nominations, James McAvoy ("Atonement") and Helena Bonham Carter ("Sweeney Todd") among them.  But it begs the question, and not just for the dark horses that already need all the publicity they can get: Will contenders simply be hurting themselves by not showing up?  The dress rehearsal for Oscar is always the acceptance speech at a Golden Globe ceremony, so...just sayin...

Anyway, continuing, Robert Hofler gets into comedic performances getting the shaft, while Peter Debruge takes a healthy look at critical consensus building for various portrayals.  Despite consensus, however, Robert Abele wonders whether old-timers like Frank Langella ("Starting Out in the Evening") or youthful hopefuls like Emile Hirsch ("Into the Wild") could step in and surprise a la Adrien Brody's 2002 victory for "The Pianist."

There's also a great piece from Sandee Angulo Chen about the modern abandonment of Method acting technique, but take a look at the full range of stories, there's plenty to chew on.

The Oscar hopefuls are coming back to the late night circuit, starting last night with Ellen Page's appearance on The Late Show with David Letterman as "Juno" continues to dazzle at the box office.  The film got a little round of applause when Letterman mentioned it leading into the clip, which caught my attention.

Anyway, here's the interview:

•  AMPAS narrows Best Visual Effects down to seven. [Variety]

•  BAFTA nominated five foreign language films. [Variety]

•  Sasha Stone calls Jodie Foster the year's "silent standout" in "The Brave One." [Awards Daily]

•  Tom O'Neil and Pete Hammond look at the lead acting contenders in a podcast. [Gold Derby]

•  David Poland sizes things up in the his first Oscar column of 2008, calls the season "one of the most legitimately competitive" seasons in a long time. [Movie City News]

•  Meanwhile, the Gurus o' Gold are back with scattered opinions. [Movie City News]

•  Nathaniel Rogers takes a look ahead to the Best Actress race of 2008. [The Film Experience]

•  Scott Bowles runs through the acting frontrunners, but gets a few journos on the record touting contenders not to be forgotten. [USA Today]

•  New York Magazine keeps its own FYC train moving along.  This week: Edgar Wright's "Hot Fuzz." [Vulture]

•  Matt Zoller Sitz plays psychiatrist to Paul Thomas Anderson's genius. [New York Times]

•  Oh, and in case your head has been in the sand, Huckabee and Obama won in Iowa. [MSNBC]

Happy New Year from Catalina!

•  Yours truly rolls out the year's most anticipated films. [In Contention]

•  In the wake of box office success for Jason Reitman's "Juno," Tom O'Neil wonders if Ellen Page has become the new frontrunner for Best Actress. [Gold Derby]

•  Speaking of box office and Oscar, Lou Lumenick gives the numbers a once over. [New York Post]

•  Jeffrey Wells seems happy to find that someone is "vaguely irritated" by "Starting Out in the Evening," a film I have to say I never quite responded to myself. [Hollywood Elsewhere]

•  The over-deification of "No Country for Old Men" continues. [Awards Daily]

First and foremost, a happy and safe New Year to you all.  With 2008 coming in, oh, about fifteen and a half hours (for us west coasters, anyway), I thought it would be beneficial to offer up a list of important dates.  A lot of key events are slated for the next few weeks and the Oscar season will pretty much be full steam ahead from here on out.

The guilds are the focus of January, all of which are more likely to forecast the Oscar situation more than any critics group thus far, of that you can be sure.  Taking a measure of the guilds is key when it comes to gauging apparent disinterest ("Cold Mountain") or surprising unanimity for films that might have otherwise been considered far-fetched in the big race ("Capote," "Little Miss Sunshine").

Here's what to look for next month:

January 3: Five finalists for USC Scripter award announced.
January 7: BFCA hosts the Critics Choice Awards (Live on VH1).
January 7: VES nominees announced (Visual Effects Society).
January 7: ASC theatrical and TV nominees announced (American Society of Cinematographers)*
January 8: DGA feature film nominees announced (Directors Guild of America).
January 9: Winners of USC Scripter awards announced.
January 10: CAS nominees announced (Cinema Audio Society).
January 10: DGA documentary nominees announced.
January 10: WGA screen nominees announced (Writers Guild of America).
January 11: ACE nominees announced (American Cinema Editors).
January 11: ADG announces nominees (Art Directors Guild).
January 12: AMPAS nominations polls close, end of Oscar voting.
January 13: HFPA hosts Golden Globe Awards (Live on NBC...maybe).
January 14: PGA motion picture and long-form television nominees announced. (Producers Guild of America).
January 16: AMPAS announces seven bake-off finalists for Best Visual Effects category.
January 16: BAFTA nominations announced (British Academy).
January 18: CDG nomees announced (Costume Designers Guild).
January 22: Oscar nominees announced for the 80th Annual Academy Awards (Live on E!, et al).
January 26: DGA Awards.
January 27: SAG Awards (Live on TNT, except on west coast).

Whew.  Hope you're ready...

*This is listed as "week of" at the ASC's official website, so expect a date to be nailed down in due time.

David Carr (sporting shaggier hair than the last time I had a drink or two with him on this coast) sat down for dinner and an interview with "Juno" star Ellen Page recently, and we the viewers are lucky enough to be a fly on the wall with this video of the conversation.

Personally, I liked the lead-in with Carr hailing a cab, jumping on the subway, etc., on the way to the interview better than the interview itself.  But the bit about the Hamburger phone (which has already made a brilliant Christmas present on this end) was cute too.

The Screen Actors Guild announced its list of nominees in five cateogries today, and boy did Focus Features' "Atonement" take a major hit.  The Golden Globe nom leader showed a big goose egg from the actors, leaving some serious doubt for its Best Picture prospects this season.

On the other hand, Paramount Vantage's "Into the Wild" picked up a major head of steam after a weak HFPA showing by grabbing four nods, including a mention for Best Performance by a Cast in a Motion Picture.  The film led the pack with four nods altogether.

Surprises included Johnny Depp (and his film, "Sweeney Todd") being absent from the roster, the first major mention of the season for Ruby Dee's supporting performance in "American Gangster" and, in a total head-spinner, "3:10 to Yuma" picking up some attention for its enemble.

Regarding the latter, it seems all the hard work Ben Foster and Peter Fonda have been putting into Q&A appearances for the film, not to mention Christian Bale's latest wave of December publicity here in town, paid off in the long run.  I couldn't be happier as I've been waiting patiently for some awards notice for the film all season long.

Typically SAG gets the ladies' categories right when i t comes to forecasting Oscar, especially in the leading category.  So we might have those arenas sewn up.  The fellas' areas are a different bag of tricks, however, seeing past mentions for actors like Russel Crowe ("Cinderella Man"), Don Cheadle ("Crash") and James Garner ("The Notebook") that didn't carry over with AMPAS.  With that in mind, I would personally say the weak spots are Ryan Gosling ("Lars and the Real Girl"), Viggo Mortensen ("Eastern Promises") and Tommy Lee Jones ("No Country for Old Men").

Today's announcement is significant in that it is the first set of nominations to come from the industry rather than critics groups and journalists.  The guilds are where it's at where predicting Oscar is concerned, so stay tuned over the next couple of weeks.

The full list of nominees:

Performance by a Male Actor in a Leading Role
George Clooney, "Michael Clayton"
Daniel Day-Lewis, "There Will Be Blood"
Ryan Gosling, "Lars and the Real Girl"
Emile Hirsch, "Into the Wild"
Viggo Mortensen, "Eastern Promises"

Performance by a Female Actor in a Leading Role
Cate Blanchett, "Elizabeth: The Golden Age"
Julie Christie, "Away from Her"
Marion Cotillard, "La Vie en Rose"
Angelina Jolie, "A Mighty Heart"
Ellen Page, "Juno"

Performance by a Male Actor in a Supporting Role
Casey Affleck, "The Assassination of Jesse James by the Coward Robert Ford"
Javier Bardem, "No Country for Old Men"
Hal Holbrook, "Into the Wild"
Tommy Lee Jones, "No Country for Old Men"
Tom Wilkinson, "Michael Clayton"

Performance by a Female Actor in a Supporting Role
Cate Blanchett, "I'm Not There"
Ruby Dee, "American Gangster"
Catherine Keener, "Into the Wild"
Amy Ryan, "Gone Baby Gone"
Tilda Swinton, "Michael Clayton"

Performance by a Cast in a Motion Picture
"3:10 to Yuma"
"American Gangster"
"Hairspray"
"Into the Wild"
"No Country for Old Men"

Performance by a Stunt Ensemble in a Motion Picture
"300"
"The Bourne Ultimatum"
"I Am Legend"
"The Kingdom"
"Pirates of the Caribbean: At World's End"

•  Ah, the great interview ops -- Scott Bowles corners Morgan Freeman on a schooner off of Marina Del Rey. [USA Today]

•  A bit of a stretch, but we come up with nine "scandals" this Oscar season nonetheless. [The Envelope]

•  James McAvoy talks to "Atonement" star James McAvoy. [The Envelope]

•  Creative Screenwriting's Jeff Goldsmith gets some quality time with "Lars and the Real Girl" scribe Nancy Oliver. [The Envelope]

•  Amy Adams, Jennifer Garner and "The Diving Bell and the Butterfly" make some serious leaps at the Buzzmeter. [The Envelope]

•  Speaking of Adams, David Poland makes mention of the current media "crush" on the actress. [The Hot Blog]

•  Tom O'Neil thinks the Alliance of Film Journalists' decision to go with the macho-heavy "No Country for Old Men" is unexpected to say the least. [Gold Derby]

•  Jeffrey Wells takes in a Denzel Washington event at Harvard. [Hollywood Elsewhere]

•  Nathaniel Rogers sits down with "Margot at the Wedding" star Jennifer Jason Leigh. [The Film Experience]

•  New York Magazine closes up the year by giving Judd Apatow more publicity. [Vulture]

•  T.L. Stanley responds to Patrick Goldstein's latest blind swing at the "evil" Oscar bloggers -- more on that later. [Gold Rush]

•  Michael Wood talks to Golden Globe nominee John C. Reilly about "Walk Hard: The Dewey Cox Story." [Los Angeles Times]

•  Warner Bros. unleashes the high def tailer for "The Dark Knight" onto a salivating web-geek community. [A Taste for the Theatrical]

•  Pete Hammond keeps those speculative wheels spinning on Will Smith's "I Am Legend" turn. [The Envelope]

•  That's probably because the film shattered box office records this weekend. [Variety]

•  Tom O'Neil calls the Lond critics noms "curious."  Why, because they strayed from the herd? [Gold Derby]

•  The American Film Institute sticks with the herd. [Variety]

•  Jeffrey Wells responds... [Hollywood Elsewhere]

•  ...and gets into the ins and outs of Daniel Day-Lewis' wardrobe choices. [Hollywood Elsewhere]

•  David Poland gets into the specifics of the year's top ten lists. [The Hot Blog]

•  Speaking of top tens, yours truly adds his opinion to the collective. [In Contention]

•  Jesse Green gets into Stephen Sondheim and "Sweeney Todd" at the Gray Lady. [New York Times]

•  Richard Berke, meanwhile, reports on screenplay alterations that led to something of a white-washed "Charlie Wilson's War," among other things. [New York Times]

•  Glenn Kenny also does "Wilson," with director Mike Nichols. [Los Angeles Times]

•  Sasha Stone points us to a massive collection of FYC ads (though hers is still fabulous). [Awards Daily]

•  "Juno" seems to have a new fan site on the web. [And the Winner Is...]

•  Speaking of which, star Ellen Page fields unnecessary "Knocked Up" comparisons at New York Magazine. [Vulture]

Sean Penn's "Into the Wild" led the BFCA nominations tally today with seven tips of the hat, including nods for Best Director, Best Actor, Best Adapted Screenplay and, of course, a spot in the group's top ten list.

Jason Reitman's "Juno" wasn't far behind with six nods, while "Atonement," "Michael Clayton," "No Country for Old Men" and "Sweeney Todd" each managed five.

The morning's announcement was a huge boost -- nay, a shot in the arm for "Wild," one of a trio of Paramount Vantage hopefuls in this year's race.  Combined with a number of key mentions in yesterday's Chicago Film Critics nominations and the fact that, as far as I can tell, no film has ever solely led the BFCA field and missed out on a Best Picture nomination with the Academy, I'd say the Sean Penn effort is looking better than ever for a slot in the big five come January.

"Juno"'s tally of six was also exactly what Fox Searchlight's comedy hopeful needed to silence nay-sayers regarding its Academy potential.  It's clearly a formiddable contender.

Surprises included Best Actor mentions for Ryan Gosling ("Lars and the Real Girl") and Viggo Mortensen ("Eastern Promises"), as well as supporting actress berths for Catherine Keener in "Into the Wild" (a quiet contender this season) and Vanessa Redgrave in "Atonement" (for all of five minutes of screentime).

Casey Affleck, meanwhile, grabbed some more steam for his supporting portrayal in "The Assassination of Jesse James by the Coward Robert Ford," perhaps on his way to securing the same nod with the Academy.  And Amy Adams finally makes a significant appearance this awards season for her performance in "Enchanted."

A definite nod of note is Cate Blanchett's citation for Best Actress in "Elizabeth: The Golden Age."  It might perhaps be read as Oscar tea leaf reading on the BFCA's part more than anything, given how critically reviled the film was, yet how undeniably Academy friendly the performance might still be perceived.

Finally, six composers were allowed room to wiggle in that category, including the first notices of the season for Marco Beltrami ("3:10 to Yuma"), Clint Eastwood ("Grace is Gone") and Alan Menken ("Enchanted").

The BFCA tends to be the best precursor for predicting the eventual Oscar turn-out, mostly due to a list of ten Best Picture contenders and a willingness to nominate across a wide spectrum of categories.  This year they seem to have spread the wealth evenly enough to have a decent prediction percentage yet again.

The BFCA's ten Best Picture nominees (with vote totals):

"American Gangster" (2)
"Atonement" (5)
"The Diving Bell and the Butterfly" (4)
"Into the Wild" (7)
"Juno" (6)
"The Kite Runner" (2)
"Michael Clayton" (5)
"No Country for Old Men" (5)
"Sweeney Todd" (5)
"There Will Be Blood" (3)

The full list of nominees can be found on the BFCA website.  The awards will be broadcast live on VH1 on Monday, January 7, 2008, LIVE at 9:00 p/m. (e.s.t.).

Erik Childress' "Oscar Eye" column has the full list of Chicago Film Critics nominations mixed in with his tally of who's won what.  You have to kind of pick things out, but the full list is there.

"No Country for Old Men" and "There Will Be Blood" continue to show up, but the group went out of its way to personally champion "Once" in more than a few areas, including Best Picture.

Casey Affleck popped up again for his supporting turn in "The Assassination of Jesse James by the Coward Robert Ford," while Viggo Mortensen found some Best Actor love for his work in David Cronenberg's "Eastern Promises."  Frank Langella also made another appearance in the lead field for "Starting Out in the Evening."

Another key contender showing up in the nominations is "Zodiac," which managed citations for Best Director (david Fincher) and Best Adapted Screenplay.

"Michael Clayton" led the way with seven nominations.  "Blood" wasn't far behind with six.  Nothing for "The Kite Runner" or "Sweeney Todd."

Best Picture
"Into the Wild"
"Michael Clayton"
"No Country for Old Men"
"Once"
"There Will Be Blood"

Best Director
Paul Thomas Anderson, "There Will Be Blood"
Ethan Coen, Joel Coen, "No Country for Old Men"
Tony Gilroy, "Michael Clayton"
David Fincher, "Zodiac"
Jason Reitman, "Juno"

Best Actor
George Clooney, "Michael Clayton"
Daniel Day-Lewis, "There Will Be Blood"
Ryan Gosling, "Lars and the Real Girl"
Frank Langella, "Starting Out in the Evening"
Viggo Mortensen, "Eastern Promises"

Best Actress
Julie Christie, "Away from Her"
Marion Cotillard, "La Vie en Rose"
Angelina Jolie, "A Mighty Heart"
Laura Linney, "The Savages"
Ellen Page, "Juno"

Best Supporting Actor
Casey Affleck, "The Assassination of Jesse James by the Coward Robert Ford"
Javier Bardem, "No Country for Old Men"
Phillip Seymour Hoffman, "Charlie Wilson's War"
Hal Holbrook, "Into the Wild"
Tom Wilkinson, "Michael Clayton"

Best Supporting Actress
Cate Blanchet, "I'm Not There"
Jennifer Jason Leigh, "Margot at the Wedding"
Leslie Mann, "Knocked Up"
Amy Ryan, "Gone Baby Gone"
Tilda Swinton, "Michael Clayton"

Best Adapted Screenplay
"Atonement"
"Into the Wild"
"No Country for Old Men"
"There Will Be Blood"
"Zodiac"

Best Original Screenplay
"Before the Devil Knows You're Dead"
"Juno"
"Michael Clayton"
"Ratatouille"
"The Savages"

Best Cinematography
"The Assassination of Jesse James by the Coward Robert Ford"
"Atonement"
"The Diving Bell and the Butterfly"
"No Country for Old Men"
"There Will Be Blood"

Best Score
"The Assassination of Jesse James by the Coward Robert Ford"
"Atonement"
"Lust, Caution"
"Once"
"There Will Be Blood"

Best Animated Feature
"Beowulf"
"Meet the Robinsons"
"Persepolis"
"Ratatouille"
"The Simpsons Movie"

Best Foreign Film
"4 Months, 3 Weeks and 2 Days"
"The Diving Bell and the Butterfly"
"La Vie en Rose"
"Lust, Caution"
"The Orphanage"

Best Documentary
"Darfur Now"
"The King of Kong: A Fistful of Quarters"
"Lake of Fire"
"No End in Sight"
"Sicko"

Promising Director
Ben Affleck, "Gone Baby Gone"
John Carney, "Once"
Craig Gillespie, "Lars and the Real Girl"
Tony Gilroy, "Michael Clayton"
Sarah Polley, "Away from Her"

Promising Performer
Nikki Blonsky, "Hairspray"
Michael Cera, "Juno"/"Superbad"
Glen Hansard, "Once"
Carice van Houten, "Black Book"
Tang Wei, "Lust, Caution"

I just noticed a new online marketing scheme for Marion Cotillard's performance in "La Vie en Rose."  There's Marion's beautiful, flawless face, big and bright, and then there are three screenshots of her in full makeup as Edith Piaf in the Picturehouse film -- a totally different person.

That big and bold Stephen Holden quote from the New York Times is pretty helpful as well, to say the least.

With the critics giving Cotillard awards left and right, it's safe to say she's well on her way to an Oscar nomination for Best Actress.  But what these ads might do is give the film a leg up for Best Makeup.

It didn't happen for "Monster" in 2003, but Cotillard's transformation seems even more dramatic than when Charlize Theron was turned into a -- shall we say, unattractive -- Florida serial killer.

Picturehouse honcho Bob Berney first clued me into this earlier in the year during an interview about foreign acting contenders, but it didn't really gel for me at that time.  The more I see the film, however, and the more these ads keep popping up all over the place, the more I think the film could zip past "Hairspray" and "Sweeney Todd" and actually win the makeup award.  After all, it's up against a fat suit and spurting blood.

The New York Film Critics Circle had absolutely no surprises in store today, handing "No Country for Old Men" four awards, including one for Best Pic.

Daniel Day-Lewis and Robert Elswit represented Paul Thomas Anderson's "There Will Be Blood," which swept the LA critics' awards yesterday, while Julie Christie positioned herself again as the competition for Marion Cotillard in the Best Actress race (where's Ellen Page been this whole time?).  Amy Ryan also continues to scorch the earth as THE supporting actress frontrunner of the year.

"The Diving Bell and the Butterfly" was surprisingly snubbed throughout.  Nothing, also, for Sidney Lumet's "Before the Devil Knows You're Dead," a Gotham film if there ever was one.  The director did, however, pick up a lifetime achievement award.

This weekend's activity and today's awards have put "No Country' and "Blood" at the top of everyone's rontrunner lists for Oscar, two brutal, cold films that are not the Academy pedigree at all.  But perhaps the critics will muscle them into the dance if this continues to be the case, each of them constantly duking it out.  Tomorrow, the Broadcast Film Critics Association announces its list of nominees, always a pretty good indication of where the Academy will ultimately go.

The full list of NYFCC winners:

Best Picture: "No Country for Old Men"
Best Director: Ethan Coen, Joel Coen, "No Country for Old Men"
Best Actor: Daniel Day-Lewis, "There Will Be Blood"
Best Actress: Julie Christie, "Away from Her"
Best Supporting Actor: Javier Bardem, "No Country for Old Men"
Best Supporting Actress: Amy Ryan, "Gone Baby Gone"
Best Screenplay: "No Country for Old Men"
Best Cinematographer: Robert Elswit, "There Will Be Blood"
Best Documentary: "No End in Sight"
Best First Film: Sarah Polley, "Away from Her"
Best Animated Film: "Persepolis"
Best Foreign Film: "The Lives of Others"
Lifetime Achievement Award: Sidney Lumet
Special Critics' Award: Charles Burnett, "Killer of Sheep"