Ghosts of Sundance Past #5: Marjorie Prime (dir by Michael Almereyda)


In the year 2050, a woman (Lois Smith) sits in the living room of her beautiful house.  Through the windows, we can see that she has a view of an even more beautiful beach.  In fact, the beach is nearly too pristine.  So is the house.  Somehow, everything about the location feels both inviting and fake at the same time.  We find ourselves wondering what could possibly be lurking underneath the surface.

The woman is 85 years old.  Her name is Marjorie.  She’s talking to a very handsome and charming man named Walter (Jon Hamm).  As they talk, it becomes obvious that Walter and Marjorie are married.  Walter mentions that he proposed to her after they saw the movie My Best Friend’s Wedding.  Marjorie doesn’t remember ever seeing a movie by that name and when Walter explains the plot to her, Marjorie simply smiles and nods along.  Afterwards, she says that she wishes they had gotten married after seeing Casablanca.  She wants a better memory than the one they have.

We can’t help but notice that Walter appears to be quite a bit younger than Marjorie, despite Marjorie saying that Walter was considerably older than her when they first got married.  This is because the Walter to whom she is speaking is not the real Walter.  The real Walter died years ago.  Walter Prime is a hologram, a computer program designed to give Marjorie someone to speak to.  Marjorie is in the early stages of Alzheimer’s.  When she first got Walter Prime, she specifically decided that she wanted to spend her days with the young Walter, as opposed to the old man that he became.  Sometimes, she knows that Walter is just a program and other times, she thinks that he’s real.

Living with Marjorie is her daughter, Tess (Geena Davis) and Tess’s husband, Jon (Tim Robbins).  Tess finds the hologram of her father to be somewhat creepy and she wonders why her mother treats the hologram better than she treats her own daughter.  Jon, on the other hand, feels that the hologram is just what Marjorie needs.

Time passes.  Marjorie grows closer to the hologram while Tess grows angrier and angrier over her mother’s condition.  When Tess discovers that Marjorie has been reading a bible, she has a meltdown because her mother has apparently forgotten that she was always a militant atheist.  Jon tries to keep everyone calm.  Is Jon trying to the inevitable better for everyone or is he just trying to distract himself from the pain that’s all around him?

The hologram and Jon have a meeting.  The hologram says that, even though Jon and Tess have programmed him to act, think, and talk just like the original Walter, there are still things that he hasn’t been properly programmed for.  While filling Walter Prime in on some more of Marjorie and Walter’s past, Jon reveals the family tragedy that has haunted the family for years….

Marjorie Prime is not a particularly happy movie.  It takes place over the course of several decades and we follow Marjorie, Jon, Tess, and Walter through a great deal of changes.  The only thing the remains consistent is that everyone is eventually left with only half-remembered fragments of their past.  Some of those fragments are happy and others are full of regret.  Everyone ages except for the holograms but, as becomes apparent in one particularly heart-breaking scene, a hologram is only as good as the person programming it.  A hologram can be programmed to superficially act like someone but it can never actually be that person.  As much as Jon, Tess, and Marjorie attempt to recreate the past, it can’t be done because the past can never truly be relived.

Marjorie Prime is science fiction without CGI.  It’s a film that’s designed to make you think and it succeeds.  It would also probably be unbearably depressing if not for the skills of the cast.  Lois Smith is heart-breaking and sympathetic as Marjorie while Jon Hamm does a good job of showing why Walter Prime would be so attractive in theory and so frustrating in reality.  (Walter Prime can be programmed to act like he cares but he can’t truly do it.)  Geena Davis gives an intelligent and thoughtful performance as Tess, capturing both her anger and regret and the film even makes good use of Tim Robbins’s tendency towards to smarminess.

Marjorie Prime, which was acclaimed when it premiered at Sundance in 2017, is currently streaming on Amazon Prime.

Ghosts of Sundance Past #2: The Report (dir by Scott Z. Burns)


Remember The Report?

The Report premiered at last year’s Sundance Film Festival, where it was a hit with the critics who saw it.  Amazon acquired the distribution rights and, for the first part of 2019, The Report was one of those films that was regularly discussed as being a potential Oscar nominee.  Not only was it based on a true story but it starred Adam Driver and Annette Bening.  There are several online film critics and award bloggers who are convinced that any film featuring Annette Bening will automatically be an Oscar contender, despite the fact that it rarely seems to work out that way.

Certainly, that ended up being the case with The Report.  Despite all of the hype from Sundance, The Report kind of fizzled when it was finally released.  That it didn’t do much business at the box office makes sense because it was only given a limited release and everyone knew that it would soon be available to stream on Prime.  But even after it was made available on Prime, The Report never really seemed to make much of a dent in the public consciousness.  When the Oscar nominations were announced, The Report was not mentioned once.  Adam Driver did receive a nomination for Best Actor but it was for Marriage Story.

What happened to The Report?  It may have been too low-key for audiences (and, let’s be honest, critics) who have come to expect even a movie about a Senate committee to be experimental and overly stylized.  It could be that, even though the film was critical of the CIA and the War on Terror, it wasn’t angry enough for the same people who thought Adam McKay’s Vice was a brilliantly conceived work of political cinema.  A more realistic explanation is probably that, in this hyper political age, people didn’t want to watch a 2-hour movie about a senate staffer.  Instead, people wanted an escape from all that.

It’s understandable but it’s also a shame because The Report is a very good film.  I mean, I usually hate films like this but I was surprised by how much I liked it.

The Report deals with the efforts of Senate staffer Daniel Jones (Adam Driver) and the members of the Senate Intelligence Committee to investigate the CIA’s use of torture in the aftermath of 9-11.  Skipping back and forth through time, the film shows us how Jones was first assigned to lead an investigation into the CIA’s activities in 2005 and how, over the course of seven years, Jones puts together not one but two reports that absolutely nobody wants released.  Along the way, Jones goes from being a generally idealistic and optimistic staffer to eventually becoming the type of paranoid and obsessive man who meets with reporters in underground garages and who considers leaking classified information.  Daniel has what he believes to be proof that using torture is not only unethical but also counter-productive but, as he discovers, even the members of his own political party aren’t particularly interested in releasing his report.  Adam Driver gives a memorably intense performance of Daniel, playing him as someone whose obsession with his report sometimes threatens to push him over the edge and transform him from being a crusader to being a zealot.

Annette Bening plays Daniel’s boss, Sen. Dianne Feinstein.  It’s interesting casting and, to be honest, it doesn’t quite work.  I almost feel like it would have been better for the film to have either kept Feinstein off-screen or to have at least minimized her role.  The problem is that Dianne Feinstein is a widely-known figure and it’s jarring to see Annette Bening, another well-known figure (at least among film fans), in the role.  Bening plays Feinstein as being a ethical and serious-minded stateswoman and she does what she can with what the film gives her but, at the same time, it’s still kind of a boring performance.  The film presents Feinstein, a not uncontroversial figure, in a positive light and I’m sure some, on both the Right and the Left would say that it’s perhaps a bit too positive.  One gets the feeling that Feinstein’s main role in the film is to assure us that the system works but we just have to take one look at Adam Driver losing his mind to realize that it doesn’t.

That misstep aside, The Report still works far better than I was expecting it too.  Taking obvious inspiration from All The President’s Men, Scott Z. Burns directs the film as if it were a thriller and the deeper that Adam Driver gets into his research, the darker and more shadowy Washington D.C. seems to become.  Even though the film clearly has an agenda, Burns gives the other side a chance to make their case without presenting them as being cartoonish villains.  In other words, this is the opposite of an Aaron Sorkin or Adam McKay-style diatribe.  Instead, this is an intelligent movie about intelligent people.  It’s a film that makes some of the same points as many other similarly liberal films but it makes them without taking cheap shots or resorting to a heavy hand. Long after Vice has been forgotten, The Report will be remembered.

And, if you haven’t seen it yet, it’s on Prime!

Trailer – Top Gun: Maverick


Maverick is back in the skies in Top Gun: Maverick. In the newly released trailer, it looks like Pete Mitchell (Tom Cruise) is still flying after all these years, which explains why he isn’t an Admiral by now. He still has that old motorcycle, though it looks like he rides a newer one and we’re seeing F-18 Hornets in combat, which should be cool. Tomcats are also still in flight, bless the angels.

Not much is known about Top Gun: Maverick save that Christopher McQuarrie (Mission Impossible: Rogue Nation and Mission Impossible: Fallout) has the writing duties here along with a few others. The directing duties are tied to Joseph Kosinski (Tron: Legacy). Kosinski and Cruise also worked together on Oblivion.

Top Gun: Maverick also stars Academy Award Winner Jennifer Connelly, Jon Hamm, Lewis Pullman, Ed Harris and Val Kilmer.

The movie will be released in theatres next Summer.

Enjoy.

Weekly Trailer Round-Up: Bad Times At The El Royale, First Man, Air Strike, E-Demon


This week, Lisa and Arleigh already shared the latest trailers for:

The Predator

The Other Side of the Wind

The Front Runner

Here’s the best of the rest.

Six years after making his directorial debut with The Cabin In The Wood, Drew Goddard returns to the director’s chair with Bad Times at the El Royale.  Featuring Jeff Bridges, Jon Hamm, Dakota Johnson, and Chris Hemsworth, Bad Times at the El Royale will be released on October 12th.

From Universal Pictures, here is the second trailer to First Man.  Damien Chazelle’s upcoming film stars Ryan Gosling as the first man on the Moon, Neil Armstrong, and Claire Foy as his first wife.  First Man will be released on October 12th, putting it in head-to-head competition with Bad Times At the El Royale.

If you have ever wondered what you would get if you combined Bruce Willis, Adrien Brody, and unconvincing CGI, Air Strike is here to answer your question.  Air Strike will be released on October 26th.  Mel Gibson (yes, that Mel Gibson) was the production designer.

Finally, if you missed the first two Unfriended movies, E-Demon is here to shock you.  E-Demon will be released on September 14th.

 

 

 

Film Review: Baby Driver (dir by Edgar Wright)


Baby Driver, the new film from director Edgar Wright, is awesome!

That’s the succinct way of putting it and, if you really want to fully enjoy this film, I suggest that you stop reading this review now. There’s no way that a review cannot, to a certain extent, spoil a movie.  Baby Driver is a kinetic blend of action, comedy, romance, and music and it is a movie that you should see without any preconceived notions and expectations.  It’s a movie that earns the right to surprise you with just how good and entertaining it is.  It’s a movie that you should experience fresh.

So, go see the movie.  Seriously, go right now.  GET OUT OF HERE AND SEE THE MOVIE!  This review will still be waiting for you when you get back.  Who knows?  Maybe, while you’re watching the movie, I’ll actually correct some of the typos.  Or maybe not.

Anyway, go away.  I’ll wait for you to return.

la dee da la dee da…

Okay, did you see the movie?  It’s really great, isn’t it?

As a result of the childhood car accident that killed his parents, Baby (Ansel Elgort) has been left with a permanent case of tinnitus.  He uses music to drown out the constant ringing in his ears.  There’s almost never a time that Baby isn’t listening to his ipod.  When we first see Baby, he’s sitting behind the wheel of a car, singing along with Jon Spencer and the Blues Explosion.  The second time that we see him, he’s getting coffee while listening to Harlem Shuffle.  In a delirious homage to Singin’ In The Rain (and in a scene that puts the opening traffic jam of La La Land to shame), Baby literally dances across the streets of Los Angeles.  For Baby, every day is a musical.

Of course, Baby doesn’t just use music to block out the ringing.  He also uses the music (and an ever-present pair of sunglasses) to keep the world out.  He rarely speaks or even makes eye contact and, as long as he’s listening to his ipod, he has an excuse not to interact.  He doesn’t have to explain the small scars around his eyes or how he makes his money.  The few times that he does speak to people, it’s to record their voices, which he then turns into music.  Music and the driving are the only two ways this orphan can express his feelings.

When the movie begins, Baby appears to be close to only two men.  One is his deaf foster father, Joseph (CJ Jones).  Baby lives with Joseph, in an apartment where Baby regularly stashes thousands of dollars.  Joseph always watches in disapproval as Baby hides the money under the floorboards.  Joseph signs at Baby that he deserves better than the life he’s leading.  Baby always signs back that he’s only a few jobs away from being done.

Baby’s other father figure is Doc (Kevin Spacey).  Doc is a rich and connected man.  At times, he seems to sincerely care about Baby but there are other times when Doc is just as quick to threaten to kill him and everyone that he loves.  Doc plans bank robberies for a living.  Doc may change associates from robbery to robbery but one thing always remains consistent.  Baby is always his driver because Baby is the best.  As Doc explains it, the first time he saw Baby, he was stealing Doc’s Mercedes.  Baby drives for Doc as a way of paying off his debt to the older man but you still believe Baby’s sincerity when he tells Doc, “We’re a team.”  (One the film’s best throw-away jokes is the line where Doc reveals that he knows where Baby got the idea to say that.)

Things start to change for Baby when he meets Debora (Lily James), a waitress who appears to love music just as much he does.  For Baby and Debora, it’s love at first sight but Doc has one more job that he needs Baby for.  It’s their most dangerous job yet and, making thing even more complicated, are the three people who Doc has recruited to work with Baby.  Buddy (Jon Hamm) is a former wall street banker who is eager to prove what a badass he is.  Darling (Eiza Gonzalez) is his wife, who enjoys talking about how many of their former partners have died.  And finally, there’s Bats (Jamie Foxx), a complete and total psycho who brags about never telling a single story that doesn’t end with someone getting killed.

Baby Driver is a propulsive blast of pure adrenaline, perhaps the closest that we will ever get to a genuine pulp musical.  The action scenes left me literally breathless.  I saw the movie at the Alamo Drafthouse and, before the film started, there was a clip of Edgar Wright listing his favorite car chases.  He listed all of the usual suspects, Bullitt, The French Connection, Mad Max: Thunder Road.  The chases scenes in Baby Driver can proudly be listed next to all of those scenes.  This is genuinely exciting crime film, featuring wonderfully over-the-top turns from Foxx, Hamm, and especially Spacey.

But you know what?  Baby Driver may be a great action film but what makes it special is that it’s also a film with a heart.  Rather bravely, Edgar Wright has not only made an action musical but he’s also mixed in a very sincere and unabashedly sentimental love story.  You never doubt for a second that Baby would give up everything — music, driving, even his life — for Debora.  The scenes between Baby and Debora are almost deliriously romantic.  Ansel Elgort and Lily James both share a very likable and very real chemistry.  You want things to work out for Debora and Baby.  You feel like they belong together and, when it looks like either Baby or Debora might be in danger, you worry for both of them.  As exciting as the film’s action sequences were, it was the ending that brought tears to my eyes and that was almost totally due to the performances of Elgort and James.

Baby Driver is one of the best films that I’ve seen so far this year.  See it this weekend!  If you’ve already seen it, see it again!  This film deserves to be rewarded.

 

 

What If Lisa Had All The Power And Picked The Oscar Nominees: 2015 Edition


oscar trailer kitties

With the Oscar nominations due to be announced tomorrow, now is the time that the Shattered Lens indulges in a little something called, “What if Lisa had all the power.” Listed below are my personal Oscar nominations. Please note that these are not the films that I necessarily think will be nominated. The fact of the matter is that the many of them will not. Instead, these are the films that would be nominated if I was solely responsible for deciding the nominees this year. Winners are starred and listed in bold.

(You’ll also note that I’ve added four categories, all of which I believe the Academy should adopt — Best Voice-Over Performance, Best Casting, Best Stunt Work, and Best Overall Use Of Music In A Film.)

(Click on the links to see my nominations for 2014, 2013, 2012, 2011, and 2010!)

best picture

Best Picture
Brooklyn
*Carol*
Clouds of Sils Maria
Ex Machina
The Final Girls
Inside Out
Mad Max: Fury Road
Room
Sicario
Straight Outta Compton

George Miller

Best Director
John Crowley for Brooklyn
Alex Garland for Ex Machina
F. Gary Gray for Straight Outta Compton
Todd Haynes for Carol
*George Miller for Mad Max: Fury Road*
Denis Villeneuve for Sicario

Jacob Tremblay

Best Actor
John Cusack in Love & Mercy
Gerard Depardieu in Welcome To New York
Johnny Depp in Black Mass
Leonardo DiCaprio in The Revenant
Michael B. Jordan in Creed
*Jacob Tremblay in Room*

alicia vikander

Best Actress
Katharine Isabelle in 88
Brie Larson in Room
Rooney Mara in Carol
Saoirse Ronan in Brooklyn
Amy Schumer in Trainwreck
*Alicia Vikander in Ex Machina*

Del Toro

Best Supporting Actor
Michael Angarano in The Stanford Prison Experiment
Paul Dano in Love & Mercy
*Benicio Del Toro in Sicario*
Idris Elba in Beasts of No Nation
Arnold Schwarzenegger in Maggie
Sylvester Stallone in Creed

MA

Best Supporting Actress
*Malin Akerman in The Final Girls*
Elizabeth Banks in Love & Mercy
Cate Blanchett in Carol
Jessica Chastain in Crimson Peak
Jennifer Jason Leigh in The Hateful Eight
Kristen Stewart in Clouds of Sils Maria

amyp

Best Voice Over Performance
Jon Hamm in Minions
Richard Kind in Inside Out
Jason Mantzoukas in The Regular Show Movie
*Amy Poehler in Inside Out*
James Spader in Avengers: The Age Of Ultron
Steve Zahn in The Good Dinosaur

EM

Best Original Screenplay
Clouds of Sils Maria
*Ex Machina*
The Final Girls
Inside Out
Sicario
Trainwreck

mara_blanchett_carol

Best Adapted Screenplay
Brooklyn
*Carol*
The End of the Tour
Love & Mercy
Room
The Walk

Inside_Out_(2015_film)_poster

Best Animated Film
*Inside Out*
The Good Dinosaur
Minions
The Peanuts Movie
The Regular Show Movie
Shaun The Sheep

Amy_Movie_Poster

Best Documentary Feature:
3 ½ Minutes 10 Bullets
*Amy*
Going Clear: Scientology and the Prison of Belief
Lost Soul: The Doomed Journey of Richard Stanley’s The Island of Dr. Moreau
Prophet’s Prey
The Wolfpack

The_Tribe_poster

Best Foreign Language Film
The Connection
Gloria
The Mafia Only Kills In Summer
Misunderstood
A Pigeon Sat On A Branch Contemplating Existence
*The Tribe*

Brooklyn

Best Casting
*Brooklyn*
Carol
Mad Max: Fury Road
Sicario
Straight Outta Compton
Star Wars: The Force Awakens

Sicario

Best Cinematography
Carol
Clouds of Sils Maria
The Green Inferno
Mad Max: Fury Road
The Revenant
*Sicario*

carol3

Best Costume Design
Brooklyn
*Carol*
Cinderella
Ex Machina
Star Wars: The Force Awakens
Suffragette

MMedit

Best Editing
Carol
Ex Machina
*Mad Max: Fury Road*
Room
Sicario
Straight Outta Compton

Arnold-Schwarzenegger-in-Maggie

Best Makeup and Hairstyling
Black Mass
Brooklyn
Carol
Mad Max: Fury Road
*Maggie*
Star Wars: The Force Awakens

bl

Best Original Score
*Carol*
The Hateful Eight
It Follows
Mad Max: Fury Road
The Revenant
Star Wars: The Force Awakens

Spy2015_TeaserPoster

Best Original Song
“Love Me Like You Do” from Fifty Shades of Grey
“See You Again” from Furious 7
“Better When I’m Dancing” from The Peanuts Movie
“Flashlight” from Pitch Perfect 2
“Feels Like Summer” from Shaun the Sheep
*“Who Can You Trust” from Spy*

Compton 2

Best Overall Use Of Music
Furious 7
The Hateful Eight
Joy
Love & Mercy
The Martian
*Straight Outta Compton*

cp

Best Production Design
*Crimson Peak*
Ex Machina
The Final Girls
Mad Max: Fury Road
Star Wars: The Force Awakens
Unfriended

sicario-emily-blunt-trailer

Best Sound Editing
Avengers: Age of Ultron
Furious 7
The Revenant
*Sicario*
Star Wars: The Force Awakens
Straight Outta Compton

Compton

Best Sound Mixing
Avengers: Age of Ultron
Furious 7
The Revenant
Sicario
Star Wars: The Force Awakens
*Straight Outta Compton*

MM Stunt

Best Stunt Work
Furious 7
Kingsman: The Secret Service
*Mad Max: Fury Road*
Mission Impossible: Rogue Nation
Spy
Star Wars: The Force Awakens

star-wars-force-awakens-official-poster

Best Visual Effects
Ant-Man
Avengers: The Age of Ultron
Ex Machina
Mad Max: Fury Road
*Star Wars: The Force Awakens*
The Walk

Films By Number of Nominations:
11 Nominations – Carol
10 Nominations – Mad Max: Fury Road
9 Nominations – Sicario, Star Wars: The Force Awakens
8 Nominations – Ex Machina
7 Nominations – Brooklyn, Straight Outta Compton
5 Nominations – Furious 7, Inside Out, Love & Mercy, The Revenant, Room
4 Nominations – Avengers: The Age of Ultron, Clouds of Sils MariaThe Final Girls
3 Nominations – The Hateful Eight
2 Nominations – Black Mass, Creed, Crimson Peak, The Good Dinosaur, Maggie, Minions, The Peanuts Movie, The Regular Show Movie, Shaun the SheepSpy, Trainwreck, The Walk
1 Nomination – 3 ½ Minutes 10 Bullets, 50 Shades of Grey, 88, Amy, Ant-Man, Beasts of No Nation, Cinderella, The Connection, The End of The Tour, Gloria, Going Clear, The Green Inferno, It Follows, Joy, Kingsman: The Secret Service, Lost Soul: The Doomed Journey of Richard Stanley’s The Island of Dr. Moreau, The Mafia Only Kills in Summer, The Martian, Mission Impossible: Rogue Nation, Misunderstood, A Pigeon Sat On A Branch Reflecting On Existence, Pitch Perfect 2, Prophet’s Prey, The Stanford Prison Experiment, Suffragette, The Tribe, UnfriendedWelcome to New York, The Wolfpack

Films By Number of Oscars Won:
4 Oscars – Carol
3 Oscars – Mad Max: Fury Road, Sicario
2 Oscars – Ex Machina, Inside Out, Straight Outta Compton
1 Oscar – Amy, Brooklyn, Crimson Peak, The Final Girls, Maggie, Room, Spy, Star Wars: The Force Awakens, The Tribe

Will the Academy be smart enough to agree with me on these picks?  We will find out on Thursday!

Lisa and Evelyn at the Oscars

Lisa and Evelyn at the Oscars

Here Are The Very Confusing SAG Nominations!


Spotlight

The nominees for the SAG Awards were announced earlier today!  The SAG Awards are usually one of the more accurate of the various Oscar precursors.  Because so many members of the Academy are also members of the Screen Actors Guild, the SAG Awards are usually a pretty good indication of what films are on the Academy’s radar and which ones aren’t.  Occasionally, an actor will be nominated by SAG and then snubbed by the Academy.  Last year, for instance, SAG nominated Jake Gyllenhall for Nightcrawler, Jennifer Aniston for Cake, and Naomi Watts for St. Vincent.  None of those three received any love from the Academy.  But, for the most part, SAG is one of the most reliable precursors out there.

And that’s why so many of us are in shock today!  The SAG Awards in no way resembled what many of us were expecting.  Other than Spotlight, none of the film’s that many of us expected to be nominated for best ensemble (the SAG’s equivalent of the Academy’s best picture) were nominated (and even Spotlight only received one other nomination, for Rachel McAdams who, up to this point, hasn’t really figured into the Oscar discussion).  The Martian was not nominated for best ensemble or anything else for that matter.  Creed was totally snubbed.  Brooklyn was nominated for actress but not ensemble.  Mad Mad: Fury Road was nominated for its stunt work and nothing else.  Helen Mirren received two nominations, for films that hardly anyone (outside of the SAG, obviously) was really paying any attention to.  Sarah Silverman received a best actress nomination for I Smile Back, which I hadn’t even heard of until about a week ago.  It’s an unexpected and strange group of nominees.

Keep in mind, it’s not necessarily a bad thing that the nominees are unexpected.  Beasts of No Nation and Straight Outta Compton will both receive deserved boosts in their hunt for Oscar gold.  At the same time, I have to admit that I wasn’t happy to see either The Big Short or Trumbo nominated for best ensemble because I know I’m going to feel obligated to see them and they both look so freaking tedious and blandly political!  But consider this: if The Big Short and Trumbo are both huge Oscar contenders, we may face a situation where both Jay Roach and Adam McKay are nominated for best director in the same year.  I think that’s one of the signs of the apocalypse and, at this point, I’m kind of ready to welcome the end of the world.

Anyway, here are the SAG nominations!  Look them over and, after the Golden Globe nominations are announced tomorrow, update your Oscar predictions accordingly.

Best Performance by a Cast Ensemble in a Motion Picture

Best Performance by a Male Actor in a Leading Role

Best Performance by a Female Actor in a Leading Role

  • Cate Blanchett – Carol
  • Brie Larson – Room
  • Helen Mirren – Woman in Gold
  • Saoirse Ronan – Brooklyn
  • Sarah Silverman – I Smile Back

Best Performance by a Male Actor in a Supporting Role

Best Performance by a Female Actor in a Supporting Role

  • Rooney Mara – Carol
  • Rachel McAdams – Spotlight
  • Helen Mirren – Trumbo
  • Alicia Vikander – The Danish Girl
  • Kate Winslet – Steve Jobs

Best Performance by a Stunt Ensemble in a Motion Picture

Best Performance by an Ensemble in a Drama Series

  • Downton Abbey
  • Game of Thrones
  • Homeland
  • House of Cards
  • Mad Men

Best Performance by a Male Actor in a Drama Series

  • Peter Dinklage – Game of Thrones
  • Jon Hamm – Mad Men
  • Rami Malek – Mr. Robot
  • Bob Odenkirk – Better Call Saul
  • Kevin Spacey – House of Cards

Best Performance by a Female Actor in a Drama Series

  • Claire Danes – Homeland
  • Viola Davis – How to Get Away with Murder
  • Julianna Marguilles – The Good Wife
  • Maggie Smith – Downton Abbey
  • Robin Wright – House of Cards

Best Performance by an Ensemble in a Comedy Series

  • The Big Bang Theory
  • Key and Peele
  • Modern Family
  • Orange is the New Black
  • Transparent
  • Veep

Best Performance by a Male Actor in a Comedy Series

  • Ty Burrell – Modern Family
  • Louis CK – Louie
  • William H. Macy – Shameless
  • Jim Parsons – The Big Bang Theory
  • Jeffrey Tambor – Transparent

Best Performance by a Female Actor in a Comedy Series

  • Uzo Aduba – Orange is the New Black
  • Edie Falco – Nurse Jackie
  • Ellie Kemper – Unbreakable Kimmy Schmidt
  • Julia Louis-Dreyfus – Veep
  • Amy Poehler – Parks and Recreation

Best Performance by a Male Actor in a TV Movie or Mini-Series

  • Idris Elba – Luther
  • Ben Kingsley – Tut
  • Ray Liotta — Texas Rising
  • Bill Murray – A Very Murray Christmas
  • Mark Rylance – Wolf Hall

Best Performance by a Female Actor in a TV Movie or Mini-Series

Best Performance by a Stunt Ensemble in a Comedy or Drama Series

  • Blacklist
  • Game of Thrones
  • Homeland
  • Marvel’s Daredevil
  • The Walking Dead