Tag Archives: Warren Beatty

‘Deadpool’ in, ‘Silence’ out and more Globes film surprises

The Hollywood Foreign Press Association never fails to disappoint with their assortment of nominees, which always seem to include some expected picks, some inspired ones and some headscratchers too.

The nominations for the 74th annual Golden Globes certainly had some bombshells, too. Here are a few notable snubs and surprises.


Past Globes glory didn’t seem to matter this year for Hollywood legends Clint Eastwood, Martin Scorsese and Warren Beatty, none of whom received directing nominations despite all having won in that category at least once. In fact, Eastwood’s “Sully” (that means no Tom Hanks nomination either) and Scorsese’s “Silence” were shut out completely, while Beatty’s big return to directing and acting, “Rules Don’t Apply,” scored only one nomination — for actress Lily Collins.


Whit Stillman’s Jane Austen adaptation “Love & Friendship” charmed audiences and critics, but was left without a single nomination — especially surprising in the case of Kate Beckinsale, whose performance as the conniving and ambitious Lady Susan Vernon has been widely regarded as one of her best. Instead, in the musical or comedy category, the HFPA singled out the little-seen John Carney musical “Sing Street.”


Besides being a superhero movie, the irreverent and very R-rated “Deadpool” is about as far away as one can get from a stereotypically tasteful awards choice, but somehow still scored two nominations — one for best motion picture in the musical or comedy category and another for star Ryan Reynolds. Perhaps they draw the line at animated food orgy, though — “Sausage Party,” despite a big awards push, was left out of the fun.


The comedy and drama distinction always allows for a few out-of-nowhere contenders, but the best performance by an actor in a musical or comedy was stacked with unexpected picks, including Colin Farrell for his performance as a single guy looking for love in the dark as night comedy “The Lobster,” Ryan Reynolds for “Deadpool,” and Jonah Hill as a bro arms dealer in the generally panned “War Dogs.” In the supporting category, Aaron Taylor-Johnson sneaked in with a nod for his portrayal of a sadistic Texan in “Nocturnal Animals” and Simon Helberg for his crowd-pleasing piano player in “Florence Foster Jenkins,” which elicited a gasp from those in the room at the Beverly Hilton while the nominations were being announced.


“Miss Sloane,” the Jessica Chastain-led lobbying thriller, might have bombed at the box office this weekend and received generally tepid reviews from critics, but it didn’t stop the HFPA taking notice of Chastain’s performance as the always three steps ahead of the competition Elizabeth Sloane. Since 2012, Chastain has been nominated for four Golden Globes and won once, in 2013, for “Zero Dark Thirty.”


With the statistics of female representation behind the camera as dismal as they are, it might not be that much of a surprise to find zero films directed by women up for best picture or best director this year. Yet it is notable, especially with critically acclaimed fare like Andrea Arnold’s “American Honey” and Mira Nair’s “Queen of Katwe,” both of which were shut out completely. The one saving grace is in the foreign category, where Maren Ade’s comedy “Toni Erdmann” is the nominee from Germany and Uda Benyamina’s “Divines” is nominated from France.

10 things to look for at this year’s fall movies

Out with the summer, in with the fall movies. Please hurry.

After a bruising three months when moviegoers often had to strain to find something good to see, the fall movies this year like an oasis. It’s about to get better at the multiplex. Here are 10 movies, performances and story lines that AP film writers Lindsey Bahr and Jake Coyle are most looking forward to, come autumn:

"Manchester by the Sea"
“Manchester by the Sea”

LONERGAN-MANIA: Little is settled about this fall’s coming awards season except for this: Kenneth Lonergan’s Manchester by the Sea (Nov. 18) is one of the best films of the year. Already celebrated at its Sundance premiere, it’s the third film from the acclaimed New York playwright following the wonderful You Can Count on Me and the criminally underseen Margaret. Casey Affleck excels as a small-town New Englander haunted by tragedy. Lonergan’s naturalistic touch and deft feel for the rhythms and details of life remain unmatched. — Jake Coyle

ANG LEE, INNOVATOR: Ang Lee is continually pushing cinema to new technological heights, and his adaptation of Billy Lynn’s Long Halftime Walk (Nov. 11) is no less ambitious than bringing a hyper realistic CG Bengal tiger to the frames of Life of Pi. The first screening will be in 4K, 3D and 120 frames per second — essentially, hyper reality. Oh, and he also manages to meld all that tech talk with some extremely resonant stories. Take us there, Mr. Lee. — Lindsey Bahr

A MORE DIVERSE OSCARS: After two straight years of “OscarsSoWhite” blanketing a dishearteningly homogenous Academy Awards, a richly diverse array of possible nominees is lining up for this season. Though a rape case from the past is clouding the once-bright fortunes of Nate Parker’s The Birth of a Nation, a revamped Academy of Motion Pictures may be hard pressed to ignore the likes of Denzel Washington’s Fences (Dec. 16), Barry Jenkins’ Moonlight (Oct. 21), Theodore Melfi’s Hidden Figures (Dec. 25) and Jeff Nichols’ interracial marriage tale Loving (Nov. 4). — Coyle

Denzel Washington and Viola Davis in "Fences"
Denzel Washington and Viola Davis in “Fences”

FEMALE DIRECTORS TO (RE)DISCOVER: While the percentage of female directors remains dismal, there are a number of exciting projects from new and veteran talents this fall, like the feature debuts of Julia Hart (Miss Stevens, Sept. 16) and Kelly Fremon Craig (The Edge of Seventeen, Nov. 18). Also coming are fall movies from exciting veterans like Jocelyn Moorehouse (The Dressmaker, Sept. 23), Andrea Arnold (American Honey, Sept. 30) and Kelly Reichardt (Certain Women, Oct. 14). — Bahr

EMMA STONE GETS A PROPER SHOWCASE: How do you come off of a dud like Aloha? By singing, dancing and romancing your way back into America’s hearts in what could be a career-defining performance in Damien Chazelle’s musical love story La La Land (Dec. 16) of course. Stone stars as Mia, a struggling actress in Los Angeles who falls for a moody musician in the form of Ryan Gosling. Looking like Singing in the Rain meets The Umbrellas of Cherbourg, La La Land — and Stone’s touching melodies and emotive almond eyes — promises to have audiences swooning and sobbing in no time. — Bahr

SMARTER SPECTACLES: Even the blockbusters among this year’s fall movies look more enticing than the summer’s. There’s Denzel in glorious cowboy-hero mode in The Magnificent Seven (Sept. 23), Peter Berg’s visceral true tale Deepwater Horizon (Sept. 30), the brainy smarts of Benedict Cumberbatch in Doctor Strange (Nov. 4), the mind-bending sci-fi of Denis Villeneuve’s Arrival (Nov. 11) and the cozy fantasy of J.K. Rowling’s Fantastic Beasts and Where to Find Them (Nov. 18). Oh, and another little Star Wars film is coming: Gareth Edwards’ spinoff Rogue One: A Star Wars Story (Dec. 16). — Coyle

OLD HOLLYWOOD THROUGH BEATTY’S LENS: The Golden Age of Hollywood holds a not-so-surprising allure for directors of a certain age, but perhaps none has seemed quite as suited to the task as Warren Beatty, coming off of a 15-year hiatus from acting and an 18-year break from directing with his long-time-coming Rules Don’t Apply (Nov. 23), once simply known as the Warren Beatty Howard Hughes pic. Beatty plays Hughes, but it looks to be more of a showcase for a youthful romance between an aspiring actress (Lily Collins) and her driver (young Han Solo himself, Alden Ehrenreich). — Bahr

Shia  LeBeouf in "American Honey"
Shia LeBeouf in “American Honey”

HAILEE STEINFELD GROWS UP: Steinfeld was just 13 when she made her Oscar-nominated breakout in the Coen brothers True Grit in 2010. In Kelly Fremon Craig’s The Edge of Seventeen (Nov. 18) — a coming-of-age tale in the John Hughes tradition — her maturation is self-evident. As a whip-smart but confidence-lacking high-schooler, Steinfeld navigates embarrassment after embarrassment with wit and spirit. — Coyle

THE UNDERSTATED MIKE MILLS: Director Mike Mills takes his time between projects, but each is a lovely, whispered little cinematic event, from the tender Thumbsucker to the achingly poignant Beginners. His latest, 20th Century Women (Dec. 21), takes him back in time to 1979 Santa Barbara, where three women (Annette Bening, Greta Gerwig and Elle Fanning) explore what love and freedom means in their time. — Bahr

A LEGITIMATELY GOOD SHIA LABEOUF: Performance-art theatrics have overshadowed the transformation Shia LaBeouf has undergone. He’s made it easy to not take him seriously in recent years, and maybe that’s been the point. But in Andrea Arnold’s Midwest teenage odyssey, American Honey (Sept. 30), LaBeouf and breakout star Sasha Lane are exceptional. This year’s fall movies offer your opportunity to 1) See why LaBeouf was sporting a rattail last year; 2) Watch him dance to Rihanna on a Walmart check-out counter; and 3) See the vibrant latest from one of the most interesting directors currently working. — Coyle