18th Annual Screen Actors Guild Award Winners

"The Help" dominated last night's 18th Annual Screen Actors Guild Awards, and doesn't it make perfect sense? It was a film domineered by great actresses giving deservedly great performances. It ended up taking home three SAG awards including the top prize of Best Ensemble. Though it may seem like it, this last win for "The Help" doesn't bolster its Best Picture win chances at the Oscars.

All of the acting categories are locks now except one. Viola Davis for "The Help" won for Best Actress, Octavia Spencer also for "The Help" won Best Supporting Actress and Christopher Plummer took home Best Supporting Actor for "Beginners." All of these will be repeated at the Oscars.

The only one that's up in the air now is whether Jean Dujardin for "The Artist" or George Clooney for "The Descendants" will take home the Best Actor prize. With Dujardin's SAG win last night, it looks to be the latter because these awards truly are the best predictor for the acting categories. I could see the Academy showing their love of "The Artist" by giving the win to Dujardin although Clooney seems to be the current front-runner.

Check here for a full list of winners from the 18th Annual SAG Awards.

84th Annual Academy Award Nominations

It's as if the Academy knew we became tired of being able to predict all the nominations because this year things are definitely shaken up. The announcement this morning for the 84th Annual Academy Award nominations provided a hefty number of surprises most notably when the Best Picture nominee title cards flipped over to show a symmetrical eight...and then a ninth. So there you have it: the first year not five, not ten, but nine films have been nominated for Best Picture.

The only thing not surprising was "Hugo" leading the nominations with 11 closely followed by "The Artist" with ten, then "Moneyball" and "War Horse" tied at six, "The Descendants" and "The Girl with the Dragon Tattoo" tied at five and finally "The Help" with four.

The biggest surprise of the morning goes to "Extremely Loud and Incredibly Close" which was originally thought to be left out of the race. Instead, it was the ninth nominee to be included for Best Picture along with "The Artist," "The Descendants," "The Help," "Midnight in Paris," "Hugo," "War Horse," and yes, "The Tree of Life" got recognized.

Best Director paired these nominees down to which ones really matter and included Martin Scorsese for "Hugo," Michel Hazanavicius for "The Artist," Alexander Payne for "The Descendants," Woody Allen for "Midnight in Paris" and Terrence Malick for "The Tree of Life" who clearly won over Steven Spielberg for "War Horse."

The renewed love for "Tree of Life" should come as no surprise, but it did seem like it might had been forgotten considering previous award show proceedings.

Every acting category but one provided a surprise. Let's start with the not-surprise of Best Supporting Actress which went to Janet McTeer for "Albert Nobbs," Jessica Chastain and Octavia Spencer for "The Help," Berenice Bejo for "The Artist" and yes, Melissa McCarthy for "Bridesmaids." I'm ecstatic about McCarthy's nod but equally upset over the snub for Shailene Woodley in "The Descendants."

Now for the surprises. In Best Actress, Rooney Mara for "The Girl with the Dragon Tattoo" managed to edge out Tilda Swinton for "We Need to Talk About Kevin," a switch that I'm absolutely thrilled with. With Mara were the expected nominees of Viola Davis for "The Help," Glenn Close for "Albert Nobbs," Michelle Williams for "My Week with Marilyn" and Meryl Streep for "The Iron Lady." It's between Streep and Davis for taking this win.

The Best Actor category included not Leonardo DiCaprio for "J. Edgar" nor Michael Fassbender for "Shame" but instead accompanying the expected George Clooney for "The Descendants," Jean Dujardin for "The Artist" and Brad Pitt for "Moneyball" were the surprises of Gary Oldman for "Tinker Tailor Soldier Spy" and Demian Bichir for "A Better Life."

The Best Supporting Actor category gave "Extremely Loud and Incredibly Close" its second nomination, this time for veteran Max von Sydow. Joining him were the front-runner Christopher Plummer for "Beginners," Jonah Hill for "Moneyball," Kenneth Branagh for "My Week with Marilyn" and Nick Nolte for "Warrior." The fact that trailers can now proclaim Academy Award-nominated Jonah Hill still baffles me.

What about Albert Brooks for "Drive," you ask? Well, much like the rest of the film he got snubbed. "Drive" walked away with only one nomination -- for Sound Editing. It's a shame it couldn't even land a Best Cinematography nod.

The Animated Feature category made absolutely no sense to probably everybody. With nominees like "A Cat in Paris" and "Chico & Rita," it left people scratching their heads. No "Adventures of Tintin" to be found. "Kung Fu Panda 2" made it in along with "Puss in Boots" next to the front-runner "Rango." Except perhaps "Rango" is no longer the front-runner maybe replaced by one of the unknowns from abroad. "Cars 2" getting shut out marks the first time a Pixar movie has not been nominated. That's what you get for selling out.

Trent Reznor and Atticus Ross' score for "The Girl with the Dragon Tattoo" got ignored over Best Score nominees "The Adventures of Tintin," "The Artist," "Hugo," "Tinker Tailor Solder Spy" and "War Horse."

"Dragon Tattoo" made up for it in other technical categories, however, including Sound Mixing, Sound Editing, Film Editing and Cinematography.

Although it deserved much more, "Harry Potter and the Deathly Hallows: Part 2" made its appearance in the usual "Harry Potter"-nominated categories including Best Makeup, Art Direction and Visual Effects.

And what of the Best Original Song nominees? Only two? And the song nominated from the "Muppets" was "Man or Muppet?" The other nominee went to "Real in Rio" from the not-nominated animated feature "Rio." At least it could supposedly make for a shorter ceremony without as many performances.

The Best Adapted Screenplay nominees included "The Descendants," "Hugo," "Moneyball" and the surprises of "Tinker Tailor Soldier Spy" and even "The Ides of March."

"Bridesmaids" represented comedy at the nominations this year with its Best Original Screenplay nod alongside "Margin Call," "The Artist," "Midnight in Paris," and finally, the foreign language "A Separation" which leads in its Best Foreign Language Film category.

So what can we take away from all of this? The Academy decided to sufficiently surprise us this year without really throwing a wrench in the whole thing. Yes, the "Extremely Loud and Incredibly Close" Best Picture nomination will cause an uproar if it hasn't already (I, for one, am over the moon about it). And yes, the re-emerged love for "The Tree of Life" is welcome to many. Still, though, "The Artist" will be the prize winner of the night come time for Oscar Sunday. The nominations may be switched up, but the winners remain the same.

It's the last stop, everybody! Tune in for the 84th Annual Academy Award ceremony on Sunday, February 26 at 8 p.m. on ABC. And check here for a full list of the Oscar nominations.

84th Annual Academy Award Nomination Predictions

Here I'll be predicting all the major categories for the 84th Annual Academy Award nominations which get announced tomorrow morning!


Best Picture
1. The Artist
2. The Descendants
3. Hugo
4. The Help
5. Midnight in Paris
6. War Horse
7. Moneyball

I predict there will be seven nominees, but here's the rest if it gets expanded to ten:

8. The Girl with the Dragon Tattoo
9. Bridesmaids
10. Tinker Tailor Soldier Spy

Best Director
1. Martin Scorsese, "Hugo"
2. Michel Hazanavicius, "The Artist"
3. Alexander Payne, "The Descendants"
4. Woody Allen, "Midnight in Paris"
5. Steven Spielberg, "War Horse"

Best Actor
1. Jean Dujardin, "The Artist"
2. George Clooney, "The Descendants"
3. Brad Pitt, "Moneyball"
4. Leonardo DiCaprio, "J. Edgar"
5. Michael Fassbender, "Shame"

Best Actress
1. Viola Davis, "The Help"
2. Michelle Williams, "My Week with Marilyn"
3. Tilda Swinton, "We Need to Talk About Kevin"
4. Meryl Streep, "The Iron Lady"
5. Glenn Close, "Albert Nobbs"

Best Supporting Actress
1. Berenice Bejo, "The Artist"
2. Octavia Spencer, "The Help"
3. Jessica Chastain, "The Help
4. Melissa McCarthy, "Bridesmaids"
5. Shailene Woodley, "The Descendants"

Best Supporting Actor
1. Christopher Plummer, "Beginners"
2. Albert Brooks, "Drive"
3. Kenneth Branagh, "My Week with Marilyn"
4. Nick Nolte, "Warrior"
5. Jonah Hill, "Moneyball"

Best Original Screenplay
1. 50/50
2. Midnight in Paris
3. The Artist
4. Bridesmaids
5. Beginners

Best Adapted Screenplay
1. Moneyball
2. The Descendants
3. Hugo
4. The Girl with the Dragon Tattoo
5. The Help

EXTREMELY LOUD AND INCREDIBLY CLOSE Review

I don't understand all the criticism toward Stephen Daldry's "Extremely Loud and Incredibly Close." We need to get past it being another movie about 9/11. Yes, it takes place directly after what young Oskar calls "the worst day," but the movie is about much more than that specific tragedy in our history. It's about how people cope with tragedy in general, how to deal with loss and grief -- and yes, in this example, how to view a city after such devastation. In that, Daldry succeeds in crafting something memorable. Through tricks in cinematography and vibrant art direction, he creates an original portrait of New York City. From the sights and sounds that disturb the rapid senses of Oskar to a miniature photography technique that makes the city look like a toyland, the movie is bravely quirky. This doesn't serve as a hindrance to the very human story at its center but instead wonderfully matches the quirkiness of Jonathan Safran Foer's 2005 bestselling novel upon which the movie is based.

The biggest gamble was deciding who to cast as the precocious young boy, Oskar Schell. It's an unusual role that must carry the whole movie, and thankfully Thomas Horn absolutely does the job. The 14-year-old newcomer is a powerhouse getting inside the whirling head of Oskar with ease. He's perhaps autistic, could have Asperger's syndrome, but he's crazy intelligent and knows facts on just about anything. He's inspired by his inventive father, Thomas (Tom Hanks), who fuels his son's imagination with what they call reconnaissance expeditions. He urges Oskar out of his comfort zone, out of his phobia of going into the world to talk to people. The remarkable young actor dominates every scene showing Oskar as insufferable, erratic, eccentric and tiresome spouting off crazed rants.

After his father is killed in 9/11, Oskar comes across a key in his untouched closet and immediately becomes obsessed with it. He believes his father left the key for him so he could find the lock that it opens. The key came in an envelope with the name "Black" scribbled on it, and so Oskar concocts his own expedition to journey all across the city finding every person with that last name. While Oskar goes out every day on his venture, there's a rift between him and his mother (Sandra Bullock) because it's clear who he was closer with. This makes it increasingly difficult for his mother, and the explosive fights between them are gut-wrenching.

Oskar's first stop on his journey ends up leaving the most lasting impression. He knocks on the door of Abby Black (Viola Davis) who lets him inside and hears his story. She tries her best to help him but doesn't know what to do. Oskar's social skills don't even allow him to realize he's witnessing a marital crisis between Abby and her husband (Jeffrey Wright). Davis and Wright are superb here in subtle implication.

Oskar soon makes a friend, a mysterious old man referred to only as the Renter (Max von Sydow). He has moved in with Oskar's grandmother, cannot or will not speak, communicates only through the words "yes" and "no" tattooed on his palms or through written notes and has agreed to help Oskar find the lock. He is a reassuring companion for Oskar much like his father was. Von Sydow is brilliant even while wordless with soulful gazes and sly gestures that bring a wealth of meaning.

If Oskar's journey sounds preposterous, that's because it probably is. In that sense it plays a bit like a fairy tale, and maybe that's not the whimsical approach people want to the 9/11 tragedy. For me, it wins by wearing symbolism on its sleeve finding the key to unlocking the answer as to why anything cruel or irrational happens in the world. Best of all, among all the heartbreaking and intimate exchanges, it ends on an uplifting spirit, one of hope and rejuvenation. That's a fine message for over a decade later.