Two rival awards ceremonies - the venerable but reputationally-battered 79th annual Golden Globe Awards and the ambitious upstart 27th annual Critics’ Choice Awards - have set themselves up for a clash of Hollywood politics (and calendar dates) by announcing their nominees on the same day. The two events will also announce their winners on the same night, January 9, 2022.
It might not seem like a war, but a great deal is at stake. For the Globes, its eight-decade history is on the line, as an influential bloc of Hollywood publicists attempt to push its organisers, the Hollywood Foreign Press Association, to the sidelines. For the Critics’ Choice Awards, with a less storied brand, it is an opportunity to push itself into the front line of film awards season.
Timothee Chalamet in a scene from Dune. Credit:Warner Bros.
“This has been a year of change and reflection for the HFPA,” said HFPA president Helen Hoehne, flanked by rapper Snoop Dogg. “For the past eight months we have worked tirelessly as an organisation to be better. We changed our rules, bylaws, added a new code of conduct and restructured our governance.”
Meanwhile, Critics’ Choice Association CEO Joey Berlin said his organisation was “proud to be honouring this amazing list of films and the incredibly talented people who made them during this extremely challenging time. The biggest stars in movies and television will be gathered [on January 9] to celebrate the best of the best in entertainment.”
On that point, Berlin is correct. The US network NBC cancelled the 2022 telecast of the Golden Globes, so there will be no red carpet or parade of celebrities. The Critics’ Choice Awards will be telecast on the US network, The CW, and is intending to position itself as a legitimate Globes alternative. No Australian broadcaster has announced plans to televise the Critics’ Choice Awards.
West Side Story, Belfast, Dune and The Power of the Dog dominated the Critics Choice’ Awards nominations. Belfast and The Power of the Dog were the most dominant films for the Golden Globes. For both awards nights, HBO’s media soap opera Succession dominated in the television categories. The year’s breakout hit, Netflix’s Korean drama Squid Game, was also nominated for both awards.
Jane Campion’s The Power of the Dog is up for Best Picture at both awards.
Among the Australians nominated for Critics’ Choice Awards were Nicole Kidman for Being the Ricardos, Kodi Smit-McPhee for The Power of the Dog, Sarah Snook for Succession, Murray Bartlett for The White Lotus, Jane Campion for best director and best adapted screenplay for The Power of the Dog, Greig Fraser for best cinematography for Dune, Peter Sciberras for best editing for The Power of the Dog and producer Tony McNamara for The Great.
Among the Australians nominated for Golden Globes were Nicole Kidman for Being The Ricardos, Kodi Smit-McPhee for The Power of the Dog, Sarah Snook for Succession, Jane Campion for both best director and best screenplay for The Power of the Dog and producer Tony McNamara for The Great.
In a break with precedent, the Globes organisers waived the requirement for an actor or studio to submit a performance or program for nomination, but did say today they had “accommodated filmmakers/studios who requested their content to be considered only for specific categories.” The move was designed to combat the position of several studios that they would not submit candidates for the event, but the accommodation may have mitigated the risk that an actor or studio might object to being included.
The manoeuvring of the two awards nights around one another comes after a year in which Hollywood’s establishment - or, at least, the phalanx of public relations firms who represent them - turned on the HFPA after decades of kowtowing to them, lambasting the organisation for unethical practices and a lack of black members.
The Golden Globe awards.Credit:AP
At stake is a place on the front line of “awards season”, a dense calendar of vote-begging “for your consideration” events and multiple awards nights, which are part of a movie marketing machine worth hundreds of millions of dollars, designed to sell movie tickets to audiences, and persuade voters of the Oscars - the season’s apex predator - that certain films deserve to win.
Who will emerge victorious from the stoush remains to be seen, and may swing on whether the Critics’ Choice Awards telecast draws a big audience, or whether Hollywood’s film studios can successfully use its winners to market their films.
For The Globes, the last three decades were substantially more important than the preceding five, largely thanks to two previous scandals, in the 1960s and 1980s, which kept them off piste for a long time. They will also likely shift the focus on January 9 to the organisation’s philanthropy, having given away around $US50 million over 27 years to various non-profits.
In contrast, the Critics’ Choice Awards has the challenge of creating a rival brand out of a fairly generic sounding name which is, sometimes, difficult to distinguish them from other, similar-sounding, awards nights, such as the Hollywood Film Awards and the National Society of Film Critics Awards.
All of that is happening in a perfect storm of secondary issues: that for the most part the audiences for televised awards ceremonies are shrinking year-on-year, and that long-term analysis of awards show results suggest that neither the Globes nor the Critics’ Choice Awards are big Oscar indicators. The industry guild awards - writers, actors, directors and producers - are far better predictors of Oscar winners.
Reaction to the Globes announcement was described by the film industry newspaper Variety as “subdued”, noting that many of the media outlets which would normally cover the Globes announcement, such as the TV programs Entertainment Tonight and Access Hollywood, did not attend. Others, such as Reuters, the local Los Angeles channel KNBC and the photo and video agency Getty, did.
The 27th annual Critics’ Choice Awards
Best picture: Belfast, CODA, Don’t Look Up, Dune, King Richard, Licorice Pizza, Nightmare Alley, The Power of the Dog, Tick Tick Boom!, West Side Story.
Best actor: Nicolas Cage (Pig), Benedict Cumberbatch (The Power of the Dog), Peter Dinklage (Cyrano), Andrew Garfield (Tick Tick Boom!), Will Smith (King Richard), Denzel Washington (The Tragedy of Macbeth).
Best actress: Jessica Chastain (The Eyes of Tammy Faye), Olivia Colman (The Lost Daughter), Lady Gaga (House of Gucci), Alana Haim (Licorice Pizza), Nicole Kidman (Being the Ricardos), Kristen Stewart (Spencer).
Best supporting actor: Jamie Dornan (Belfast), Ciarán Hinds (Belfast), Troy Kotsur (CODA), Jared Leto (House of Gucci), J.K. Simmons (Being the Ricardos), Kodi Smit-McPhee (The Power of the Dog).
Best supporting actress: Caitríona Balfe (Belfast), Ariana DeBose (West Side Story), Ann Dowd (Mass), Kirsten Dunst (The Power of the Dog), Aunjanue Ellis (King Richard), Rita Moreno (West Side Story).
Best animated feature: Encanto, Flee, Luca, The Mitchells vs the Machines, Raya and the Last Dragon.
Best foreign language film: A Hero (France/Iran), Drive My Car (Japan), Flee (Denmark), The Hand of God (Italy), The Worst Person in the World (Norway).
Best director: Paul Thomas Anderson (Licorice Pizza), Kenneth Branagh (Belfast), Jane Campion (The Power of the Dog), Guillermo del Toro (Nightmare Alley), Steven Spielberg (West Side Story), Denis Villeneuve (Dune).
Best original screenplay: Paul Thomas Anderson (Licorice Pizza), Zach Baylin (King Richard), Kenneth Branagh (Belfast), Adam McKay, David Sirota (Don’t Look Up), Aaron Sorkin (Being the Ricardos).
Best adapted screenplay: Jane Campion (The Power of the Dog), Maggie Gyllenhaal (The Lost Daughter), Siân Heder (CODA), Tony Kushner (West Side Story), Jon Spaihts, Denis Villeneuve, Eric Roth (Dune).
79th Golden Globe Awards
Best motion picture, drama: Belfast, Coda, Dune, King Richard, The Power of the Dog.
Best performance by an actor in a motion picture, drama: Mahershala Ali (Swan Song), Javier Bardem (Being The Ricardos), Benedict Cumberbatch (The Power of the Dog), Will Smith (King Richard), Denzel Washington (The Tragedy of Macbeth).
Best performance by an actress in a motion picture, drama: Jessica Chastain (The Eyes of Tammy Faye), Olivia Colman (The Lost Daughter), Nicole Kidman (Being The Ricardos), Lady Gaga (House of Gucci), Kristin Stewart (Spencer).
Best motion picture, musical or comedy: Cyrano, Don’t Look Up, Licorice Pizza, Tick Tick Boom!, West Side Story.
Best performance by an actor in a motion picture, musical or comedy: Leonardo DiCaprio (Don’t Look Up), Peter Dinklage (Cyrano), Andrew Garfield (Tick Tick Boom!), Cooper Hoffman (Licorice Pizza), Anthony Ramos (Into The Heights).
Best performance by an actress in a motion picture, musical or comedy: Marion Cotillard (Annette); Alana Haim (Licorice Pizza), Jennifer Lawrence (Don’t Look Up), Emma Stone (Cruella), Rachel Zegler (West Side Story).
Best performance by an actor in a supporting role in any motion picture: Ben Affleck (The Tender Bar), Jamie Dornan (Belfast), Ciarán Hinds (Belfast), Troy Kotsur (CODA), Kodi Smit-McPhee (The Power of the Dog).
Best performance by an actress in a supporting role in any motion picture: Catriona Balfe (Belfast), Ariana DeBose (West Side Story), Kirsten Dunst (The Power of the Dog), Aunjanue Ellis (King Richard), Ruth Negga (Passing).
Best motion picture, animated: Encanto, Flee, Luca, My Sunny Maad, Raya and the Last Dragon.
Best motion picture, non-English language: Compartment No. 6 (Finland/Russia/Germany), Drive My Car (Japan), The Hand of God (Italy), A Hero (France/Iran), Parallel Mothers (Spain).
Best director, motion picture: Kenneth Branagh (Belfast), Jane Campion (The Power of the Dog), Maggie Gyllenhaal (The Lost Daughter), Steven Spielberg (West Side Story), Denis Villeneuve (Dune).
Best sreenplay, motion picture: Paul Thomas Anderson (Licorice Pizza), Kenneth Branagh (Belfast), Jane Campion (The Power of the Dog), Adam McKay (Don’t Look Up), Aaron Sorkin (Being The Ricardos).
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2021-12-13 21:11:07Z
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