One Category at a Time: Picture

A year ago, when the Best Picture ten and that damned preferential ballot were first upon us, I questioned whether or not the conventional rules of what "can" win Best Picture would still apply. I analyzed the key nominations that the ten nominees either possessed or lacked in order to narrow them down to three frontrunners, and those three (assumed) frontrunners went on to win six of the eight major categories between them, so I'd say those conventional rules are still a fairly accurate barometer of which films are in the best position.

Let's try it again, shall we? To win Best Picture, a film needs nominations for Directing, Writing, and especially Editing. Let's see which of this year's crop have all three necessary nominations:

127 Hours: Editing (Y), Directing (N), Writing (Y)
Black Swan: Editing (Y), Directing (Y), Writing (N)
The Fighter: Editing (Y), Directing (Y), Writing (Y)
Inception: Editing (N), Directing (N), Writing (Y)
The Kids Are All Right: Editing (N), Directing (N), Writing (Y)
The King's Speech: Editing (Y), Directing (Y), Writing (Y)
The Social Network: Editing (Y), Directing (Y), Writing (Y)
Toy Story 3: Editing (N), Directing (N), Writing (Y)
True Grit: Editing (N), Directing (Y), Writing (Y)
Winter's Bone: Editing (N), Directing (N), Writing (Y)

And lo, there you have your three frontrunners: The King's Speech, The Social Network, and The Fighter.

The King's Speech is obviously the one out ahead. With twelve nominations total (including three acting nods), it's poised to rule the night, likely winning between five and eight categories on its way to Best Picture. It's simply the movie that pleases across the board. Everyone will have it near, if not at the very top of their ballot.


The Fighter, with three acting bids of its own, might be considered the most formidable challenger, but The Social Network's critical respect is nothing to sneeze at, and big wins from ACE and BAFTA have given some people enough confidence to predict either a Picture/Director split or an outright upset. It might be a close race for 2nd place between those two. Sadly, we'll never know who wins.

True Grit might be in better position if it weren't for that lack of an Editing nod, but it's probably your fourth place finisher. Ten nominations is an impressive showing of support. It's troubling to imagine that it might be shut out completely. Our hopes are dangling on Roger Deakins' in Best Cinematography (gulp).

You can order the remaining six nominees however you like, but none of them stand much a shot:

-True, Black Swan and 127 Hours each have two of those three necessary nods, but they both deal with subject matter that many a conservative Academy member is simply not going to get behind. They can forget those valuable 2nd, 3rd, and 4th place votes.
-Winter's Bone and The Kids Are All Right have a Writing and two Acting nominations a piece, but nothing else. They're likely too small in scope to register with enough voters in order to pull off an upset.
-Toy Story 3 has that blasted animation bias to contend with, although sentimentality could go a long way in keeping it alive through the first few elimination rounds.
-Inception was probably never that well liked with this group, as the egregious snubs for Director and Editing seem to suggest. Genre bias is a bitch.

Will win (ranks):
#1 The King's Speech
#2 The Social Network
#3 The Fighter
#4 True Grit
#5 Toy Story 3
#6 Black Swan
#7 The Kids Are All Right
#8 Inception
#9 Winter's Bone
#10 127 Hours

Should win (ranks):
#1 The Social Network
#2 Black Swan
#3 Inception
#4 The Kids Are All Right
#5 Toy Story 3
#6 True Grit
#7 The King's Speech
#8 127 Hours
#9 The Fighter
#10 Winter's Bone

Should have been nominated (top five):
#1 Exit Through the Gift Shop
#2 The Illusionist
#3 Another Year
#4 Fish Tank
#5 Rabbit Hole

One Category at a Time: Actress

There have been whisperings that Annette Bening is lurking as a serious spoiler threat in this category, pushing the publicity wagon hard as she can in the final weeks before ballots are due. And there's certainly a valid case you can make for her upsetting the frontrunner: she's a beloved actress who's put in years of hard work to create a diverse and respected filmography, she's due for a win, and her performance in The Kids Are All Right is a sincere one. However, if she was going to turn the corner, it had to be at this past Sunday's BAFTAs, and of course that didn't go her way.

So, having nailed down the Critics' Choice, Golden Globe, SAG, and BAFTA, it would still be foolish to predict anyone but Natalie Portman taking the Oscar. You'll be hearing no complaints from me. It's a helluva performance that showcases such a wide range from the actress, and she still manages to keep it under control, which is remarkable given how out of control her character is. Even though Black Swan isn't really the Academy's cuppa tea, they surely won't mind awarding it this one prize. After last year's mini-travesty, looks like this category is gonna be right back on track with a quality winner.

But of course, that would still be the case even if Portman somehow loses, because every nominee is all aces. It's simply impossible for them to pick a bad winner from this bunch. Jennifer Lawrence owned Winter's Bone from start to finish with her no-bullshit stoicism, Michelle Williams spun a heartbreaking tandem with Ryan Gosling in Blue Valentine, and Nicole Kidman's brilliant turn in Rabbit Hole is one of the most emotionally flavourful she's ever given.

I know how corny this sounds, but seriously, they're all winners.

Will win: Natalie Portman, Black Swan
Runner-up: Annette Bening, The Kids Are All Right

Should win: Natalie Portman, Black Swan
Should have been nominated: Katie Jarvis, Fish Tank

One Category at a Time: Original Screenplay

This will probably the second year in a row that the Oscar winner here was not eligible for the WGA. (Silly me. Totally thought Basterds won WGA last year. Doi!)
While last year's showdown between Inglorious Basterds and eventual Oscar winner The Hurt Locker was cause for legitimate indecision before the outcome, this year's perceived showdown between WGA winner Inception and Best Picture juggernaut The King's Speech is probably not much of a fight.

You can't help but be happy for David Seidler. Having long since overcome his own stammer, it's clear his attachment to the story he tells is a passionate and personal one. In spite of what more deserving nominees there are, his is still a droll and sincere script. You can't begrudge him his success.

At least Christopher Nolan can take his WGA victory as consolation. The mind-fucking originality of Inception lingers and improves with age, while also delivering an understated emotional cadence. It's great to see him recognized for this extraordinary filmmaking achievement.

It's highly unfortunate that Mike Leigh and Lisa Cholodenko are going unrewarded. The Kids Are All Right is the finest original screenplay of the year; genuinely emotional and emotionally genuine, tackling the complexity of human relationships with wit and insight. Though much different in tone, the devastating honesty of Another Year leaves an impression no less unshakable.

I could have done without The Fighter in this category, which is gradually becoming my most overrated film of the year, but you knew it would show up here. People like the movie, and I have to hand it to the writers for hammering a relatively messy collection of events into something relatively cohesive.

Will win: The King's Speech
Runner-up: The Kids Are All Right

Should win: The Kids Are All Right
Should have been nominated: Toy Story 3

One Category at a Time: Supporting Actor

What more is there really to say about this category? Or any acting category for that matter? The same four performers have won the BFCA, Golden Globe, and SAG awards and will all probably continue on to take the Oscars.

There's only one possible scenario I can envision in which Christian Bale does not win this; a bona fide sweep for The King's Speech. If the voters really are as lazy as that when they have their ballots in hand, and vote for the film in every category, Geoffrey Rush can ride that pony all the way to podium. But that's not gonna happen. Performances are one thing that Academy members will vote for based on their own merits, rather than the merits of the film. That, or they vote for whichever star they like, and the way Bale's been walking the rope line and charming his way through the circuit, I can't see him not winning this. It also helps that his performance is by far more complex and fully realized than Rush's good-humoured but comparatively thin one.

Oh yeah, John Hawkes, Jeremy Renner, and Mark Ruffalo are all nominated too, but they're just along for the ride, which is too bad because they delivered some of the finest performances of the year, all of them making my own top five. Renner had us on edge all the way, Hawkes nailed nastiness and goodness all at once, and Ruffalo made easy-going look so much easier than it truly is! I really wish any of them could have won something this year, but you can't derail Bale!

Will win: Christian Bale, The Fighter
Runner-up: Geoffrey Rush, The King's Speech

Should win: Mark Ruffalo, The Kids Are All Right
Should have been nominated: Ed Harris, The Way Back

My 2010 Award winners!

You've seen the nominees. Time to see my winners:

Best Picture:
THE SOCIAL NETWORK (Dana Brunetti, Cean Chaffin, Michael De Luca, Scott Rudin, David Fincher)


Best Director:
DARREN ARONOFSKY, BLACK SWAN


Best Actor:
JESSE EISENBERG, THE SOCIAL NETWORK


Best Actress:
KATIE JARVIS, FISH TANK


Best Supporting Actor:
ED HARRIS, THE WAY BACK


Best Supporting Actress:
LESLEY MANVILLE, ANOTHER YEAR


Best Acting Ensemble:
THE KIDS ARE ALL RIGHT (Laura Rosenthal)


Best Original Screenplay:
THE KIDS ARE ALL RIGHT (Lisa Cholodenko, Stuart Blumberg)


Best Adapted Screenplay:
THE SOCIAL NETWORK (Aaron Sorkin)


Best Cinematography:
BLACK SWAN (Matthew Lebatique)


Best Film Editing:
EXIT THROUGH THE GIFT SHOP (Tom Fulford, Chris King)


Best Original Score:
INCEPTION (Hans Zimmer)


Best Original Song:
“SHINE” from WAITING FOR SUPERMAN (John Legend)


Best Production Design, Set Decoration, and Art Direction:
INCEPTION (Guy Dyas, Larry Dias, Douglas Mowat, Brad Ricker)


Best Costume Design:
GET LOW (Julie Weiss)


Best Sound Mixing:
BLACK SWAN (Ken Ishii, Craig Henighan, Dominick Tavella)


Best Sound Editing:
HOW TO TRAIN YOUR DRAGON (Al Nelson, Randy Thom, Jonathan Null)


Best Visual Effects:
INCEPTION (Chris Corbould, Paul Franklin, Andrew Lockley, Peter Bebb)


Best Makeup and Hair:
THE WOLFMAN (Rick Baker, Lisa Westcott)


Best Animated Feature:
TOY STORY 3 (Lee Unkrich)


Best Foreign Film:
THE ILLUSIONIST (Sylvain Chomet)


Best Documentary:
EXIT THROUGH THE GIFT SHOP (Banksy)


That makes three wins apiece for The Social Network, Black Swan, Inception, and two wins apiece for The Kids Are All Right and Exit Through the Gift Shop.

My Award nominations for 2010

Here's a one-stop recap of my own annual awards. I'll post the winners tomorrow.

The nomination leaders are Inception with 11, Black Swan with 9, The Social Network with 8, and The Kids Are All Right with 6.

Best Picture
Black Swan
Inception
The Kids Are All Right
The Social Network
Toy Story 3

My Award nominations: Best Picture, Best Director

There's a 4/5 overlap between my Best Picture and Best Director nominations this year, so I'm lumping them into one big post:

Best Picture AND Best Director:

Black Swan, directed by DARREN ARONOFSKY:

Darren Aronofsky's Black Swan is a staggering work of cinema about the artist's odyssey and the self-consuming quest for perfection. Aronosfsky, who has a way of getting his actors to turn themselves inside-out, draws a career-best performance out of Natalie Portman, whose transformation from 'sweet girl' Nina Sayers to the confident but vicious Black Swan is one of the best descents into madness put on film. But this is still Aronofsky's show, and what a terrifying show it is. He puts us inside Nina Sayers' head for a stylized exploration of a tragic artistic process. The screenwriters deserve credit for providing a strong, thematically rich story, but it's more by Aronofsky's direction that we understand Nina's doomed journey.

Inception, directed by CHRISTOPHER NOLAN:

Christopher Nolan's dreamy extravaganza excels both on an emotional level and as pure action entertainment. Nolan pushes the envelope on the tried and true “race against time” technique by staging races against time within races against time within races against time! The entire final hour of the film is a masterstroke of bravura storytelling, executed with infallible clockwork precision. Inception earns the right to have its faults (and it does have faults) forgiven. As far as ambitious, committed, exhilarating, and above all, intelligent movie entertainment goes, it's a winner. Nolan's influences and sources of inspiration are apparent, but you've still never seen anything quite like this. It's a true original.

The Kids Are All Right, by LISA CHOLODENKO:

Lisa Cholodenko's The Kids Are All Right is a wonderful dramedy of manners whose no-nonsense style delivers a perfectly measured emotional cadence by not drawing attention to itself. To try and pick a standout actor would be folly, as this is a true ensemble piece wherein all five principles give outstanding performances which add up to a whole that is so much greater than the sum of its parts. The film enjoys a genuine realism. Void of snappy one-liners or bold dramatic flare, the comedy and tragedy stem organically from the characters and the complex relationships they share with each other. Subtext abounds in every conversation, and Cholodenko's tactful direction lets it gleam through without ever relinquishing that realness of feeling.

The Social Network, directed by DAVID FINCHER:

Some may get hung up on the historical accuracy of the film (no one for sure knows the true story), but that would be missing the point. It's not a biopic. It can get away with taking creative liberties because of its unimpeachable trifecta of fine writing, intelligent direction, and authentic acting. Aaron Sorkin's screenplay slices through the perceived glory of the Internet with a cynical but perspicacious edge. Give David Fincher credit for extracting such terrific performances from all. He lets every character have just the right amount of exposure, and paces the story as only an expert can (with the help of his excellent film editors Kirk Baxter and Angus Wall, of course). It may not have an auteurial feel, but that's probably just as well.

(just Best Picture):
Toy Story 3, directed by Lee Unkrich:
The third instalment of the Toy Story franchise might not have seemed like a good idea on paper, but credit veteran story men John Lasseter, Andrew Stanton, Lee Unkrich, and new-to-the-team Michael Arndt for putting together yet another engaging story that continues to push the many themes explored by the two originals while still preserving their charm and wit. What allows the Toy Story movies to continue to resonate after the novelty of the 1995 original concept has worn off is an increasingly direct approach to mature ideas. The script moves swiftly and with purpose before settling into an ending so poignant and emotional it reduced me to a teary mess. They could not have ended this series on a better note. Utter perfection.

(just Best Director):
Exit Through the Gift Shop, directed by BANKSY:

The film threatens to end up as a one-note character study about a larger-than-life personality, but Banksy has bigger plans. By the end we realize that the real question Banksy has been posing is “what are the true natures of art and genius?”. He extrapolates from a wacky biography to a meditation on celebrity, culture, the death of a movement, and creative expression vs. creative pillaging. Is Giuetta a genius or a nut job? Is he the rabbit or the turtle? The answer proposed by Banksy to that small question is pretty obvious, but think about who won that fabled race, and you'll understand his definitive stance on the bigger issues.

Just missed:
Andrea Arnold Fish Tank, Charles Ferguson Inside Job, John Cameron Mitchell Rabbit Hole, Mike Leigh Another Year, Silvain Chomet The Illusionist, Peter Weir The Way Back

The Social Network owns the Golden Globes!

The Social Network wins 4, The Kids Are All Right and The Fighter each take two.

Best Picture (Drama): The Social Network
Best Picture (Comedy or Musical): The Kids Are All Right
Best Director: David Fincher, The Social Network
Best Actor (Drama): Colin Firth, The King's Speech
Best Actress (Drama): Natalie Portman, Black Swan
Best Actor (Comedy or Musical): Paul Giammatti, Barney's Version
Best Actress (Comedy or Musical): Annette Bening, The Kids Are All Right
Best Supporting Actor: Christian Bale, The Fighter
Best Supporting Actress: Melissa Leo, The Fighter Is the Oscar hers?
Best Screenplay: The Social Network
Best Animated Film: Toy Story 3
Best Foreign Language Film: In A Better World nice boost for this Oscar hopeful
Best Original Song: "You Haven't Seen The Last Of Me", Burlesque
Best Original Score: The Social Network

-Ricky Gervais wasn't funny at all. His jokes are so classless and unappealing. Fail.
-So The Social Network is clearly not just an early season fad. If the guilds confirm it has an industry favourite, then I'll have to finally put it in my #1 Best Picture slot.
-Does Melissa Leo have the Oscar wrapped up? Her precursor wins are lining up, but that acceptance speech was all kinds of arrogant. Will it hurt her chances?
-It's looking like "You Haven't Seen The Last Of Me" is primed to bring Dianne Warren her first Oscar after six (soon to be seven) nominations.

My Award nominations: Supporting Actor

Best Supporting Actor:

CHRISTIAN BALE in The Fighter:
I can't fault Bale for stealing the show away from its own central character, Micky Ward, because he just steals it so well! He delivers a memorable portrait of drug addiction, blind selfishness, and staunch denial that stem from years of living with unfulfilled dreams. He plays brilliantly off of his costars, as they play brilliantly off of him.

MICHAEL FASSBENDER in Fish Tank:
This is a slippery, tightrope-walking performance that constantly shifts and wiggles around in our mind. It's easy for us to love Fassbender's character at first, and it's still hard for us not to love him as the film's sticky sexuality starts to play itself out. It's simultaneously bold and understated work from one of the finest actors working.

ED HARRIS in The Way Back:
In an age where awards are naturally attracted to performances that live by flash and overt displays of emotion, it's so satisfying to behold a settled, sincere performance that's more emotive because it's so understated. Harris' lived-in portrayal of Mr. Smith is as calm but layered as any performance I've seen this year.

JEREMY RENNER in The Town:
The live wire of The Town's sprawling ensemble, Renner makes you tighten your grip on your armrest every time he's on screen. The unpredictability of his performance pays off in numerous and surprising ways, from the tensely soft-spoken conversation he has with Affleck and Hall, to his comedic final actions in the climactic shootout.

MARK RUFFALO in The Kids Are All Right:
Ruffalo's performance is relaxed and naturalistic, slipping into the character with a disarming ease that misdirects us from his own insecurities, namely his reluctance to truly grow up and start the family he wants but lacks the commitment to create. His crushing final scenes perfectly convey his character's vulnerability and regret.

Just missed: John Hawkes, Winter's Bone

My Award nominations: Acting Ensemble

Best Acting Ensemble:

Another Year:

Every actor brings something slightly different to the table, they all perform together in perfect harmony, projecting a convincing group dynamic that serves Mike Leigh's focus on character.

The Kids Are All Right:

All five principles give outstanding performances which add up to a whole that is so much greater than the sum of its parts. Interaction between the characters feels genuine and relatable.

The Social Network:

The cast is tops across the board. Everyone knows their character and, more importantly, how to flesh it out through Aaron Sorkin's daunting dialogue; No one is just speaking the words.

The Town:

Perhaps Ben Affleck's most noticeable directorial flourish is constituted by the infallible performances he got out of his cast. Nobody hits a false note. Even those with very little screen time are memorable.

The Way Back:

The strength of this movie is the quiet observation of an evolving band of brothers. No one actor tries to steal the show with unneeded pizazz. Every one of them is supporting the rest.

Just missed: Easy A, The Fighter, Four Lions, Scott Pilgrim vs the World

My Award nominations: Original Screenplay

It's a crowded field this year, and there are a couple of scripts I really wanted to include in Best Original Screenplay, but five is the limit, and they are:

Another Year (Mike Leigh):
A devastating study of middle class monotony, manifested by a handful of beautifully written characters. His humour feels organic and genuine, his tragedy equally so. The character arcs are a subtle extension of character bakcstories that sneak up on the audience before the final crushing scenes.

Four Lions (Jesse Armstrong, Sam Bain, Christopher Morris, Simon Blackwell):
This wickedly funny farce about an incompetent quintet of British-Muslim suicide bombers not only features some of the year's most hilarious dialogue, but also a razor-sharp satirical edge, mocking the idiocy of multiple philosophies regarding terrorism in hysterically grotesque fashion!

Inception (Christopher Nolan):
An ingenious and wholly original concept from Nolan's head-spinning imagination is what gives rise to the roller coaster ride that is Inception. Beyond the cerebral heist storyline, his script is a complex and literally layered character study about grief, regret, and coming to terms with both, from which stems a surprisingly moving payoff.

The Kids Are All Right (Lisa Cholodenko, Stuart Blumberg):
Void of snappy one-liners or bold dramatic flare, the comedy and tragedy of this story stem organically from the characters and the complex relationships they share with each other, lending the whole film an understated realism. The authenticity of the dialogue and characterizations is what makes the story so relatable and affecting.

Toy Story 3* (Michael Arndt, John Lasseter, Andrew Stanton, Lee Unkrich):
Another wonderful yarn, brilliantly spun as always by Pixar's unrivaled storytellers. The script moves with purpose, pushing forward the many themes explored by the two originals while still preserving their charm and wit. A droll, insightful, and timeless fable that concludes with one of the most poignant and moving endings in recent memory.

Just missed: Black Swan, Blue Valentine, Fish Tank, The Illusionist, Inside Job

*Yes, I'm aware the Academy is classifying Toy Story 3 as Adapted, but I don't consider a sequel of an original concept to be an adaptation, especially since they had to concoct a completely new story for the film.

PGA nominees

Best Picture:
127 Hours
Black Swan
The Fighter
Inception
The Kids Are All Right
The King's Speech
The Social Network
The Town
Toy Story 3
True Grit

Best Animated Feature:
Despicable Me
How to Train Your Dragon
Toy Story 3

No surprises here. Correctly guessed nine of the ten, only missing The Kids Are All Right in the thought that there may be one unexpected nominee. Not the case.

Although I will voice my displeasure at seeing the wonderful Tangled sidelined in favour of the obnoxious Despicable Me. How discouraging.

Recall that the previously announced nominees for Best Documentary are:
Client 9
Earth Made of Glass
Inside Job
Smash His Camera
The Tillman Story
Waiting for Superman

Eye on NYFCC

The New York Film Critics Circle's announcement of their year's best is imminent. Will The Social Network continue its critical steamroll over the competition?
UPDATE: Yes. Yes it will.

Best Picture: The Social Network

Best Director: David Fincher, The Social Network

Best Actor: Colin Firth, The King's Speech

Best Actress: Annette Bening, The Kids Are All Right

Best Supporting Actor: Mark Ruffalo, The Kids Are All Right

Best Supporting Actress: Melissa Leo, The Fighter

Best Screenplay: The Kids Are All Right

Best Cinematography: Black Swan

Best Animated Film: The Illusionist

Best Documentary: Inside Job

Best Foreign Film: Carlos

Best First Feature: Animal Kingdom

Gotta say, I dig the love for The Kids Are All Right, which before now had been tragically overlooked by NBR and LAFCA. The Best Screenplay win is particularly satisfying. Aaron Sorkin shouldn't win EVERYTHING.

LAFCA on the way (among others)

The Washington D.C. Area film critics got a head start on the year's critics awards last week, but the big kickoff is today when the highly revered (and at times, influential) Los Angeles Film Critics Association will announce their favourites of 2010.

The organization has been on a red hot streak over the last 3 years, selecting inspired masterworks There Will Be Blood, WALL-E, and The Hurt Locker as the respective Best Pictures of 2007, 2008, and 2009. Who will it be this year?

The logical choice (and as far as I'm concerned, the best choice) would be The Social Network, which seems poised to become the critics darling of 2010. But this group hasn't always sprung for the logical choice, and they have other options that could use the publicity boost more than David Fincher's film.

Lisa Cholodenko's L.A.-set The Kids Are All Right, one of the year's best films by any account, might find a welcome home with the LAFCA for instance. Its complete shutout from the National Board of Review stung a bit, and while it may not win the group's Best Picture prize today, I expect it to show up somewhere. Perhaps Best Actress or a Special Citation?

Let's not forget Darren Aronofsky's artsy psycho-thriller Black Swan, which I could envision coming away with either the club's Best Picture, Director, or Actress prize.

Results will go up sometime in the afternoon. Also announcing today are the New York Film Critics Online and the Boston Society of Film Critics. The season is underway!

NBR Winners!

The Social Network is the big winner in this early precursor, which only gives us more reason to believe that The King's Speech will be triumphant on Oscar night.

Jackie Weaver's campaign gets a helpful shot in the arm with a Supporting Actress win here, and I'm thrilled to see the cast of The Town (one of the year's absolute best in my opinion) win Best Ensemble.

One incredulity of note: Where the hell is The Kids Are All Right? You mean to tell me it isn't even one of the ten best independent films of the year, let alone one of the ten best overall? Ridiculous. But I won't waste my rage on the NBR. Gotta save some vitriol for AMPAS, don'tcha know.

BEST FILM
The Social Network

BEST DIRECTOR
David Fincher, The Social Network

BEST ACTOR
Jesse Eisenberg, The Social Network

BEST ACTRESS
Lesley Manville, Another Year

BEST SUPPORTING ACTOR
Christian Bale, The Fighter

BEST SUPPORTING ACTRESS
Jacki Weaver, Animal Kingdom

BEST ADAPTED SCREENPLAY
Aaron Sorkin, The Social Network

BEST ORIGINL SCREENPLAY
Chris Sparling, Buried

BEST FOREIGN LANGUAGE FILM
Of Gods and Men

BEST DOCUMENTARY
Waiting for Superman

BEST ANIMATED FEATURE
Toy Story 3

BEST ENSEMBLE
The Town