Compiled Oscar Nominations Prediction

I found a list of all the major critics compiled together in a nicely done layout with their Academy Award predictions and now I can't find it. Anyone know what I'm talking about or know where I could find it?

The Derby is the best and most complete rankings of hopefuls, but the EW scorecard is pretty well laid out.
Link

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I think Glenn Close has a really strong chance at the Oscar-she's a beloved, respected veteran who's never won and she's getting very strong reviews for playing a man (and the distinction is that she's not being a woman being a man, but that she's also immersed herself into the role so much that she's believable as a man). I think Midnight in Paris could snag best screenplay (although I think it'll be neck-in-neck with The Artist, which I LOVED). I do think Midnight in Paris will get some nods-it was very well-received and the screenplay is very, very clever. (That and The Artist are my two favorites.)

Roscoe doth protest too much about how little he cares.

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"Roscoe doth protest too much about how little he cares."

Well duh. That's part of the joke -- bitching about the awards while acknowledging that they really mean nothing.

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I agree henrik.

It would be wonderful to see Close win after her string of 5 nominations. But I think (and this is based on buzz as I haven't seen Iron Lady) it's essentially a 2 horse race between Streep and Davis.

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Maybe I am reading the wrong critics but nobody seemed to be THAT in love with Michelle Williams as Marilyn to have her warrant an automatic spot. Yeah, mimicry of a screen legend is Oscar bait on a plate but compare it to Streep's performance that has critics saying she disappeared into the role of Thatcher whereas the stuff on Williams has been ranging from good to adequate to barely scratching the surface. Maybe it is just because while I have resigned to the fact Dunst (who I have always liked for reasons I cannot put my finger on) will not get nominated that I cannot handle the idea of Tilda not getting nominated too. There has to be at least one depressing performance of a leading actress nominated, dammit!

As for Davis, she may not be a star but she is the female equivalent of a Richard Jenkins or a Chris Cooper as an immediately recognizable, though not so much by their name, character actor. Sometimes those types of actors get rewarded by the Academy.

For Strummergirl:

ENTERTAINMENT WEEKLY:
"Michelle Williams plays Monroe, and she's a wonder. Working opposite a suitably florid Kenneth Branagh as that high thespian Sir Larry, a platinum, sultry Williams knows exactly how to throw the switch that turns on MM's movie-star incandescence, then flick it off to reveal the vulnerable young woman in the dark.... The film itself -- a drama about Marilyn Monroe's 1956 sojourn in Britain -- may be slight, but Williams is a revelation. She moves effortlessly between Monroe's private fragility and bombshell public personal, and all but guarantees herself nod."

ROGER EBERT:
"The success of 'My Week With Marilyn' centers on the success of Michelle Williams in embodying the role. With the blond hair, the red lipstick and the camera angles, she looks something like Monroe, although she's more petite. What she has is the quality that was most appealing: She makes you want to hug her, not have sex with her... The movie seems to be a fairly accurate re-creation of the making of a film at Pinewood Studios at that time. It hardly matters. What happens during the famous week hardly matters. What matters is the performance by Michelle Williams. She evokes so many Marilyns, public and private, real and make-believe. We didn't know Monroe, but we believe she must have been something like his. We're probably looking at one of this year's Oscar nominees."

LEONARD MALTIN:
"For the conceit to work, we first have to buy into the idea of Michelle Williams as Marilyn. She and the filmmakers pull this off by opening their movie with a musical number. As Williams sings and dances to “Heat Wave,” we see the familiar Marilyn figure and body language and hear her whispery singing voice. Director Simon Curtis saves his first closeup till the end of the song, when we’re already on the hook, and that seals the deal. If we can believe Williams as the famous sex symbol, we can begin to accept her as the real woman off-camera. What she achieves isn’t mimicry but an absorption of the character that is both persuasive and appealing. It’s easy to see how she manipulated the people around her, whether deliberately or not, and how a wide-eyed young man like Clark (played with just the right touch of naïveté by Eddie Redmayne) would become smitten with her... Michelle Williams deserves all the accolades she’s been receiving, because without her there’s no movie. She convinces us that she is that ravishing, impossible, heartbreaking figure we’ve all read so much about... and makes us wish we could have spent a week with her as Colin Clark did."

NPR:
"But the film rests firmly on the shoulders of its central icon, and Williams, though she doesn't really resemble Monroe in either voice or visage, is pretty splendid at conjuring her. It's not an impersonation, exactly; for much of the picture, she seems more mousy Norma Jean Mortenson than sexy starlet. But when Williams turns on her inner Marilyn — surrounded by, say, the staff of a stately home she's visiting on the sly — she's a superstar, with a smile that could light up the surrounding county."


NEW YORK POST:
"Brilliantly playing doomed ’50s sex bomb Marilyn Monroe, Michelle Williams gets under the skin of the troubled yet vulnerable icon in a way no one else ever has. Her extraordinary performance in 'My Week With Marilyn' makes all of the many performers who have played Monroe previously seem like cheap imitators — and lends gravitas to a lightweight romantic fantasy that dubiously claims to be based on fact. In a tour de force, Williams subtly deploys her voice and body to effectively play three parts. In addition to a Marilyn who publicly flirts with reporters and young male fans, there’s the insecure diva who wreaks havoc on an English movie set in 1956 — enraging her haughty director and co-star, acting legend Sir Laurence Olivier (a hilarious Kenneth Branagh). Williams also toggles into the co-title role in the famously troubled movie they’re making, the period romantic farce 'The Prince and the Showgirl' (herein referred to by its working title, 'The Sleeping Prince')... 'My Week With Marilyn' seems destined for a much happier fate — very possibly including Williams going home with an Oscar for playing an actress who was never even nominated."

SALON.COM:
"Most of the chatter around 'My Week With Marilyn' will inevitably concern Michelle Williams’ magnetic Oscar-bait performance as the off-screen Monroe, and my only two words on that subject are yes and yes. (Yes, she’s wonderful and yes, she’ll probably win, although I’m still pulling for Ellen Barkin or Kirsten Dunst.)... I’m a huge admirer of Michelle Williams, but I’m used to seeing her play indie-film characters who sleep in their cars or brave the Oregon Trail. In the abstract I wouldn’t have assumed she had either the physicality or the luminosity to pull off Marilyn Monroe. But from her thoroughly delectable opening number, her performance is relaxed, natural and utterly captivating, capturing Monroe’s precise blend of innocence and eroticism. You could say that the character Williams develops is rootless and uncentered, but one suspects that was true of Marilyn in real life, vacillating between the public sex-symbol persona that threatened to swallow her and the uncertain girl from a messed-up family who was plagued by anxieties and the threat of mental illness."

USA TODAY:
"She may not be a dead ringer for Marilyn Monroe/Norma Jean Baker, but Williams embodies the legendary sex symbol in 'My Week With Marilyn.' Disappearing into the role of the troubled actress, Williams captures the star's breathy voice and distinctive mannerisms while delving a few notches deeper. Ever a chameleon, Williams conveys Monroe's vulnerability and peels back the sexpot image to reveal a woman who is alternately wistful, childlike, funny, needy and wise... Williams is bound to get an Oscar nomination, along with Kenneth Branagh, who plays Laurence Olivier."

ROLLING STONE:
"The luminous Michelle Williams goes bone-deep here. Monroe's beauty was one of a kind. No one, not even Williams, can act it. What Williams does, with fierce artistry and feeling, is illuminate Monroe's insights and insecurities about herself at the height of her fame. Her scenes with a superb Kenneth Branagh, his wit martini-dry as the thin-lipped, defensive Olivier, ignite. Less potent is Monroe's flirtation with Colin (Eddie Redmayne, solid nonetheless). It took a toll on Monroe to look effortlessly buoyant on camera. Williams lets us see why. It's a great, soulful performance. Sit back and behold."

She's also been nominated/won the following awards:

WON
- Boston Society of Film Critics Award for Best Actress
- Chicago Film Critics Association Award for Best Actress
- Dallas-Fort Worth Film Critics Association Award for Best Actress
- Detroit Film Critics Society Award for Best Actress
- Florida Film Critics Circle Award for Best Actress
- Hollywood Film Festival Award for Best Actress (also for - Meek's Cutoff and Take This Waltz)
- Las Vegas Film Critics Society Award for Best Actress
- Palm Springs International Film Festival – Desert Palm Achievement Actress Award
- Washington D.C. Area Film Critics Association Award for Best Actress
- Toronto Film Critics Association Award for Best Actress
- Utah Film Critics Association Award for Best Actress

NOMINATED:
- Houston Film Critics Award for Best Actress
- New York Film Critics Circle Award for Best Actress (runner-up)
- San Diego Film Critics Society Awards for Best Actress
- Satellite Award for Best Actress in a Motion Picture Drama
- St. Louis Gateway Film Critics Association Award for Best Actress (runner-up)

PENDING:
- Broadcast Film Critics Association Award for Best Actress
- Golden Globe Award for Best Actress – Motion Picture Musical or Comedy
- Independent Spirit Award for Best Female Lead
- London Film Critics Circle Award for Actress of the Year
- Phoenix Film Critics Society Award for Best Actress
- Screen Actors Guild Award for Outstanding Performance by a Female Actor in a Leading Role

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strummergirl, Williams has been a lock since the film first screened. It's not just her performance: it's the category of performance and the genre of film. She's doing mimicry in a behind-the-scenes/Hollywood unveiled circle-jerk of a picture that will hit the voters just right. I think I know the critics you're reading because there's a loud minority that is doing everything they can to convince people Michelle Williams isn't that good in the film. The same thing is happening in other circles with Streep and Davis, the other locks in the category. I understand why. There are some amazing performances this year in films that won't hit with the Oscars. That doesn't mean the people winning the awards are doing bad work by any stretch of the imagination.

Swinton's challenge is the screening situation. Are people going to pop the screeners into the DVD players for a film like that? The description is depressing. That's been Tilda's problem for years. I don't see how anyone can see Julia or I Am Love and not think this woman deserved the Oscar. However, those films are so off-putting on paper but so right when you watch them. Momentum seems to be on her side this time.

Dunst and Olsen are out, a shame on both counts. The Carnage ladies are campaigning supporting and won't get in. The only wild cards are Swinton, Theron, Close, and Mara for that last spot. Theron is fading because Young Adult did not do well at the Box Office. Close's film is splitting critics and her co-star (McTeer) is drawing focus. Mara has to compete with the still fresh memory of Noomi Rapace's performance in the same role and the super-violent subject matter. Close has the best chance because the Academy has a history of nominating actresses who get pet projects made and made well.

"strummergirl, Williams has been a lock since the film first screened. It's not just her performance: it's the category of performance and the genre of film. She's doing mimicry in a behind-the-scenes/Hollywood unveiled circle-jerk of a picture that will hit the voters just right. I think I know the critics you're reading because there's a loud minority that is doing everything they can to convince people Michelle Williams isn't that good in the film."

Yep, you nailed my thoughts on it. I've strayed from the critical praise of a performance since Reese Witherspoon won an Oscar and somehow overshadowed the performance Joaquin Phoenix with critics in Walk the Line.

And at this rate Streep could do a film reading a phone book in a bathtub and get nominated.

After seeing YOUNG ADULT today, I firmly believe Theron will take one of those 5 spots.

I agree about Theron in YOUNG ADULT. Definitely my favorite leading actress performance of the year. I found Williams perfectly suitable in a poorly written role.

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Theron really is very talented, but I agree that a lot of people just think of her as a pretty face. She picks daring roles that really buck against expectation- even her role in Arrested Development.

I saw My Week With Marilyn yesterday. Michelle Williams and Kenneth Brannagh are both wonderful, but the film is merely decent. It's hindered by a script in which characters reveal their deepest fears at the drop of a hat without provocation. And, despite Eddie Redmayne's infinite cuteness, his character is pretty boring- as those roles often are in these "Me & A Famous Person" films.

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