Tag Archives: Julianna Margulies

Brad reviews OUT FOR JUSTICE (1991), starring Steven Seagal!

Posted on by Bradley Crain

17 year-old Brad Crain was at the movie theater in April of 1991 to see Steven Seagal’s latest action film, OUT FOR JUSTICE! Seagal’s career had shot out of a cannon with his first three films being the highly successful movies ABOVE THE LAW (1988), HARD TO KILL (1990), and MARKED FOR DEATH (1990). As a guy who loved action movies, Seagal (with his pony tail) was a cool new action star, and I was down for it.

Steven Seagal plays Detective Gino Felino, a Brooklyn cop called into duty when a guy who grew up with him in their neighborhood, mob enforcer Richie Madano (William Forsythe), goes completely off the rails. Hooked on drugs and looking to settle some personal scores, Richie murders Gino’s partner, and begins turning their neighborhood into a war zone, even pulling a woman out of her car and blowing her away in broad daylight over a simple traffic incident. Convinced that Richie will not leave the neighborhood he grew up in, Gino talks Captain Ronnie Danziger (Jerry Orbach) into letting him have an unmarked police car, a shotgun, and his approval to engage in a manhunt for the drugged out psycho. From that point forward, Gino shakes down Richie’s family members and associates to try to find out where he is. As bodies and broken bones pile up, Gino is determined to do whatever it takes to bring Richie to justice!

I’ll just say up front that OUT FOR JUSTICE is my personal favorite Steven Seagal film. It’s not the crowd pleaser or the box office champ that the next year’s UNDER SIEGE (1992) would be, and film critics largely blew it off when it first hit cinemas, but it does feature the star at his most charismatic, something that would all but disappear after the mid-90’s. I love the way Seagal plays Gino. Sure he’s tough, but he talks more, he laughs more, and it feels like he’s actually enjoying himself. His Gino isn’t just a badass cop, he’s a neighborhood guy, a former street punk who grew up and made something positive out of himself. Seagal’s performance here truly works, and he plays the role with so much confidence that it’s a shame that he didn’t remain this engaged in future performances.

OUT FOR JUSTICE is a badass action film. After it opens with Richie’s horrific murders, it then follows Gino’s hunt for the killer into smoky bars filled with wannabe tough guys who know more than they’re letting on. They get their asses handed to them. It follows Gino as Richie’s goons attack him at various places, from meat shops to apartment buildings, and he dispatches them with calm precision, but often in gruesome ways. I still wince when I see the results of meat cleaver fights and close quarter shotgun blasts. OUT FOR JUSTICE is a throwback to an era when action films featured men with integrity who kick ass and take names. While the movie does have some melodrama and humor, at the end of the day, this is tough-guy cinema done right. 

I did want to shout out a few other things about OUT FOR JUSTICE that helps put it over the top for me. William Forsythe is incredible as Richie Madano. He’s sweaty, twitchy, cruel, and completely unhinged. He makes you believe that he’s literally capable of doing anything, and it seems like his goons may be following more out of fear than anything else. His Richie is a man who doesn’t expect that he’ll be alive that much longer, so he’s willing to cross every line that may have once mattered in his life. Director John Flynn captures the urgency of the film’s action very well, and we can feel the tension as Gino tries to locate the crazy Richie as quickly as possible before more innocent people are killed. He isn’t afraid to show the brutality of the violence as part of Gino’s quest, either. This shouldn’t be surprising when you recognize that Flynn directed the revenge classic ROLLING THUNDER (1977) about fifteen years earlier. The one last thing I wanted to point out about OUT FOR JUSTICE is that it was written by R. Lance Hill, who wrote the brutal Charles Bronson hitman film THE EVIL THAT MEN DO (1984). These are talented guys who know how to tell tough stories about even tougher men who are willing to do what it takes to get justice when no one else can. 

At the end of the day, Steven Seagal would go on to make a lot more movies, but I don’t think he ever quite recaptured the balance of charisma and toughness that he shows here. And OUT FOR JUSTICE is a badass action movie that doesn’t really care what movie critics think, either. Buoyed by Seagal’s performance, the film’s action is angry, focused, unapologetic, and still hits hard over thirty years after it was originally released.

Retro Television Review: Homicide: Life On The Street 2.4 “A Many Splendored Thing”

Posted on by Lisa Marie Bowman

Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Sundays, I will be reviewing Homicide: Life On The Street, which aired from 1993 to 1999, on NBC!  It  can be viewed on Peacock.

This week, season 2 of Homicide comes to a close with an episode directed by John McNaughton, of Henry: Portrait of A Serial Killer fame.

Episode 2.4 “A Many Splendored Thing”

(Dir by John McNaughton, originally aired on January 27th, 1994)

The second season finale of Homicide opens with Bolander in a good mood and Munch feeling that life is pretty much pointless.  It’s a reversal from what we’ve seen over the last few episodes of Homicide and, as annoyed as I got with all the storylines about Bolander’s private life, I was still happy to see Bolander happy in this episode.  As an actor, Ned Beatty’s performance is a lot interesting when Bolander is looking forward to the future.  By that same token, Richard Belzer always seemed to be trying to hard whenever it came to playing Munch’s happiness.  Belzer was born to play a cynic and, in this episode, he delivers his lines with a bitterness that is both funny and authentic.

Bolander is dating Linda and I have to admit that, despite my initial weariness, I really like Ned Beatty and Julianna Margulies as a couple.  Bolander and Linda go on a double date with Kay and Danvers.  Awwww, two couples in love and having dinner together!  How sweet!  Uh-oh, here comes Munch….

While Munch is ruining Bolander’s date, Bayliss is getting in touch with his own dark side.  An investigation into the S&M-related death of a young woman leads to Bayliss and Pembleton arresting a man who killed her during rough (but consensual) sex.  Bayliss and Pembleton spend their investigation in Baltimore’s red light district.  Bayliss claims to be disgusted by the whole scene, leading to Pembleton calling him out for being judgmental.  Pembleton tells Bayliss that he can’t be a good detective unless he’s really in touch with every aspect of his existence.  After the murder is solved, the woman’s co-worker, Tanya, gives Bayliss the gift of a leather jacket.  Tanya is played, in a very good performance, by the actress Adrienne Shelley.  Tragically, Shelley herself would, 12 years later, be murdered in her New York apartment.  And while it’s tempting to write about the irony of Shelley appearing on a show like Homicide, I’d rather recommend that everyone see Waitress instead.  It was the second feature film that Shelley directed and it is very good.

Finally, Lewis investigates a man who committed murder because he felt someone had taken his favorite pen.  Lewis searches for a deeper motive but in the end, it really was all about a pen.  Lewis, I’ve noticed, always seems to get the cases that show just how random life and death can truly be.

The second season of Homicide ends with Lewis giving Felton a pen, Bayliss putting on his new leather jacket and walking the streets of Baltimore, and Munch, Bolander, and Linda watching fireworks explode over the harbor.  It’s a good way to end a season.  As dark as the show was (and as dark as this particular episode was), the season ends on a note of hope.  There is happiness out there for those willing to look for it.

 

 

Retro Television Review: Homicide: Life on the Street 2.3 “Black and Blue”

Posted on by Lisa Marie Bowman

Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Sundays, I will be reviewing Homicide: Life On The Street, which aired from 1993 to 1999, on NBC!  It  can be viewed on Peacock.

This week, Pembleton gets a confession.

Episode 2.3 “Black and Blue”

(Dir by Chris Menaul, originally aired on January 20th, 1994)

In this week’s episode, Pembleton manipulates a man into confessing to a murder that he didn’t commit.  Pembleton does it with the full knowledge that the man is innocent and that, if the man is indicted and goes to trial, he will undoubtedly be found guilty as a result of that coerced confession.  Pembleton does it to prove a point to Giardello.

The man is Lane Staley (Isaiah Washington), who has been identified (by his grandmother, who was just trying to be helpful) as an eyewitness to the shooting of Charles Courtland Cox.  Pembleton is convinced that Cox was shot by a policeman and he only wants to interrogate Staley as a witness.  Giardello, who feels that Pembleton is to obsessed with his cop theory and who, as a proud member of the police force, does not want Pembleton to be right, insists that Pembleton treat Staley as a suspect.  Pembleton responds by going into the Box and pretending to be sympathetic to Staley’s situation.  He and Staley talk about how they’re both expected to always be polite and careful about what they say around white detectives.  Pembleton jokes that he always has to be extra polite when he comes to work.

Staley starts to open up to Pembleton and eventually admits that he was present when Cox was shot.  That’s when Pembleton starts shouting at Staley, accusing him of being responsible and basically browbeating Staley until Staley is in tears.  Pembleton makes Staley feel guilty for not doing more to protect Cox and continues to yell at him until, eventually, Staley feels that Cox’s murder was his fault.  Staley finally signs a confession, even though it’s obvious that the sobbing man is not a murderer.  Pembleton hands Giardello the confession and reminds him that’s the way that the police have been getting confessions out of young black suspects for years.

It’s a powerful moment and one that took me totally by surprise.  Andre Braugher and Yaphet Kotto both gave excellent performances in this episode.  The dynamic between Pembleton and Giardello has always been one of the more interesting parts of the show.  The fact that both of them are black and both of them are portrayed as being fully aware of the racism surrounding them brings an extra edge to their debate as to whether or not the black Cox was shot by a white policeman. (At one point, Giardello snaps at Pembleton to speak to him as respectfully as he speaks to the white lieutenants and it’s the exact type of moment that most shows would never have the courage or insight to portray.)  Pembleton is a great detective because he’s laser-focused on getting a confession, to the exclusion of worrying about anything else.  Giardello is a great lieutenant because he’s enough of a pragmatist to understand that some battles are not worth the price of victory.  In the end, Giardello comes to realize that Pembleton is right about the shooting but one still has to wonder what would have happened in Giardello hadn’t torn up Staley’s confession.  The murder of Cox would have disappeared from the headlines but the innocent Staley would have disappeared into the system.

The scenes with Pembleton and Staley were so electrifying that it made up for the fact that this is yet another episode that features Bolander feeling sorry for himself after his divorce.  Fortunately, for Bolander, he meets and befriends a young waitress named Linda (Julianne Margulies) who mentions that she plays the violin.  Bolander reveals that he plays the cello — WHAT!?  Since when has Bolander, someone who has expressed no interest in art or creativity or even music during his entire time of the show, become a cello player?  The episode ends with Bolander and Linda playing their instruments together and it’s a sweet scene but it’s still a bit hard to buy that apparently every woman in Baltimore is instantly attracted to a middle-aged, balding cop who spends all of his time talking about his divorce.  Ned Beatty was one of the great character actors but it sometimes feels like Homicide wasn’t sure what to do with his character.

But, hey, maybe Bolander will finally stop being so whiny.  That’s my hope.  This episode found Munch breaking up with his girlfriend after he accidentally gave her a carnivorous fish that ate all of her other fish.  At one point, Munch says that he can’t accept the idea of Bolander being happier than him.  Seriously, Munch, don’t jinx this.  I’ve been listening to Bolander complain nonstop for 15 episodes.  If he’s happy now, let him have it!

Next week …. life on the street continues!

Film Review: The Upside (dir by Neil Burger)

Posted on by Lisa Marie Bowman

There’s a lot of opera in The Upside.

That, in itself, is not a surprise.  The Upside is about a wealthy, emotionally repressed white man and, if there’s anything we’ve learned from the movies, it’s that wealthy, repressed white people always love opera.

Another things that we’ve learned from the movies is that wealthy, emotionally repressed white people always hire a streetwise person of color to help them learn to appreciate life.  This person  of color will inevitably not care for all of the opera and will then introduce the wealthy, emotionally repressed white person to their own type of music.  If the movie’s a comedy, that music will be rap.  If it’s a drama, that music will be jazz.  The Upside is a dramedy so the music of emotional liberation is Aretha Franklin.

There’s not a single cliche that goes unused in The Upside.  Actually, I take that back.  As opposed to so many other films of this short, Phillip (Bryan Cranston) does not start the film as a politically incorrect bigot, which means that we’re spared of any cringey scenes of Philip trying to bait Dell (Kevin Hart) by being casually racist.  Otherwise, every cliche imaginable is present in The Upside and it all gets to be a bit much after a while.  I’m sure that the film means well and there’s a part of me that felt a little bit guilty about not liking it but seriously, this is one of those movie’s that just keeps coming at you.

Phillip is a paraplegic who wants to die, though not before listening to a lot of opera.  Dell is an ex-con who needs to find a job so his parole doesn’t get revoked.  Yvonne (Nicole Kidman) is Phillip’s personal assistant.  She’s obviously in love with Phillip, though for some reason this fact is never acknowledged until the end of the film.

Together …. they solve crimes!

No, actually, they all become friends and learn the importance of celebrating life.  It’s a good lesson to learn, make no mistake.  But it’s just all so predictable that it’s hard not to resent just how thoroughly and blatantly the film insists on trying to manipulate you.  You get the feeling that the filmmakers didn’t have any faith in their audience’s capability to feel empathy.  Director Neil Burger did such a great job with Limitless but, with this film, he seems to have lost his sense of pacing.  The movie drags from one heartwarming cliche to another, without any hints of the type of quirky self-awareness that would help to make those cliches easier to digest.

Bryan Cranston’s a great actor but, perhaps realizing that he’s merely playing a more a benign version of Walter White, he seems a bit bored here while Nicole Kidman is sabotaged by a script that doesn’t allow her to do much other than reproachfully shake her head.  Kevin Hart, however, actually gives a pretty good performance, one that suggests that he actually has a lot of potential as a dramatic actor.  The character may be a stereotype but Hart at least brings a bit of energy to the film.

The Upside came out this January and it was actually a modest box office hit.  I imagine that a lot of people loved this film for the exact reason that I disliked it.  The film’s just too predictable for me to embrace The Upside.

Horror Film Review: Ghost Ship (dir by Steve Beck)

Posted on by Lisa Marie Bowman

Way back when we first started this year’s horrorthon, Arleigh shared a horror scene that he loved.  That scene was the opening few minutes of the 2002 horror-at-sea film, Ghost Ship.

That scene featured a few dozen wealthy cruise ship passengers all getting bisected by a thin wire cord.  While a young girl named Kate (Emily Browning) watches, everyone on the ship’s dance floor literally falls to pieces.  Torsos slip off of legs.  Bodies split in half.  The captain’s head literally splits in two.  While gallons of blood gush everywhere, people vainly try to reattach their limbs.  Actually, some of them can’t even figure out which limb belongs to them.  By the time everyone’s collapsed, there’s a lot of arms and legs to sort through.

In short, it’s an absolute mess.  I wouldn’t want to be the person assigned to clean up after all that.

It’s also a rather brilliant opening, one that only takes a minute to go from romance and sophistication to bloody dismemberment.  It’s definitely the one moment that everyone remembers about Ghost Ship, which is a bit of a problem because, once that scene is done, there’s still 85 minutes of film to sit through.  Ghost Ship‘s opening is so shocking and visceral that there’s no way that the rest of the film can live up to it.

As for the rest of the film, it deals with a boat salvage crew.  Gabriel Byrne is Murphy, the captain.  Julianne Margulies is Maureen Epps, whose name might as well be Ellen Ripley.  Ron Eldard is Dodge, who is in love with Epps.  And then there’s Karl Urban, Isiah Washington, and Alex Dimitriades, who are all playing characters who you know are going to be doomed as soon as you see them.  When they’re told by a pilot named Jack Ferriman (Desmond Harrington) that he’s spotted a ghost ship in international waters, they set out to claim it for themselves.

Of course, what Jack has spotted is the same cruise ship where, forty years before, everyone was chopped in half.  After Murphy, Epps, and the crew board the ship, they discover a large amount of gold.  They also end up seeing a lot of ghosts, including the young girl from the start of the movie.  To their credit, the crew decides to leave the ship as quickly as they can.  Unfortunately, after their tugboat explodes, escape appears to be impossible and it becomes obvious that they have been lured to the cruise ship for a very specific purpose.

The film encourages us to wonder what the ship wants from the salvage crew but the answer to that question is never really in doubt.  For that matter, it’s not really a shock when it turns out that one member of the boarding party isn’t what he claims to be.  Despite being a bit predictable, Ghost Ship isn’t a bad film.  It has a reputation for being disappointing but actually it’s an atmospheric and competently directed horror film.  Though the characters are all thinly drawn, the talented cast does their best to try to bring them to life.  If the film ultimately doesn’t seem to work as well as it should, it’s largely because nothing that follows can match the power of that opening.  You watching the film waiting for a scene that’ll match that opening scene and when it never comes, it’s hard not to be disappointed.

 

 

Here Are The Very Confusing SAG Nominations!

Posted on by Lisa Marie Bowman

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

My 2012 Emmy Nominations

Posted on by Lisa Marie Bowman

So, for the past few days, I’ve been happily hopping around my section of the Shattered Lens Bunker and do you know why? 

Because it’s awards season, that’s why!  With the conclusion of the 2011-2012 TV season, Emmy ballots have been mailed and votes are being cast and, come July, we’ll know which shows and performers have been nominated for the 2012 Emmys. 

Before that happens, however, I would like to play a little game called “What if Lisa Was Solely Responsible For Picking the Nominees.”  Here’s how it works — I looked over and studied the complete list of the shows and performances that have been submitted this year for Emmy consideration.  And then, from that list, I picked my personal nominees.

(A complete list of every show and performer that’s been submitted for Emmy consideration can be found here.)

Below are my personal nominations in the major Emmy categories.  Again, note that these are not necessarily the shows and performers that I believe will be nominated.  Instead, these are the shows and performers that I would nominate if I was solely responsible for picking the nominees.

A complete list of my nominations in every single Emmy category can be found here.  (And yes, there’s a lot of Lifetime on the list.  There’s also a lot of Community.)

Best Comedy Series

Bored to Death (HBO)

Community (NBC)

Girls (HBO)

It’s Always Sunny In Philadelphia (FX)

Parks and Recreation (NBC)

Raising Hope (Fox)

Veep (HBO)

Best Drama Series

Boardwalk Empire (HBO)

Breaking Bad (AMC)

The Client List (Lifetime)

Downton Abbey (PBS)

Game of Thrones (HBO)

Homeland (Showtime)

Pan Am (ABC)

Ringer (The CW)

True Blood (HBO)

The Walking Dead (AMC)

Outstanding Miniseries or Movie

Blue-Eyed Butcher (Lifetime)

Cyberbully (ABC Family)

Drew Peterson: Untouchable (Lifetime)

Five (Lifetime)

Girl Fight (Lifetime)

Hatfields & McCoys (History Channel)

The Hour (BBC America)

Of Two Minds (Lifetime)

Outstanding Variety Series

Conan (TBS)

Fashion Police (E)

Key and Peele (Comedy Central)

The Soup (E)

Tosh .O (Comedy Central)

Outstanding Variety Special

Betty White’s 90th Birthday Party (NBC)

Celtic Women: Believe (PBS)

The Comedy Central Roast of Charlie Sheen (Comedy Central)

TV Land Awards (TV Land)

Wendy Liebman: Taller on TV (Showtime)

Outstanding Nonfiction Special

Bobby Fischer Against The World (HBO)

Catholicism: Amazed and Afraid (PBS)

Crime After Crime (OWN)

God Is The Bigger Elvis (HBO)

6 Days To Air: The Making of South Park (Comedy Central)

Outstanding Nonfiction Series

America in Primetime (PBS)

American Masters (PBS)

America’s Most Wanted (Lifetime)

Beyond Scared Straight (A&E)

Inside Story (Biography)

Outstanding Reality Program

Antiques Roadshow (PBS)

Dance Moms (Lifetime)

Kitchen Nightmares (Fox)

Scouted (E)

Storage Wars (A&E)

Outstanding Reality-Competition Program

The Amazing Race (CBS)

The Bachelor (ABC)

Big Brother (CBS)

The Celebrity Apprentice (NBC)

Hell’s Kitchen (Fox)

Project Runway (Lifetime)

So You Think You Can Dance (Fox)

Survivor (CBS)

Outstanding Lead Actor In A Comedy Series

Larry David in Curb Your Enthusiasm (HBO)

Johnny Galecki in The Big Bang Theory (CBS)

Danny McBride in Eastbound and Down (HBO)

Joel McHale in Community (NBC)

Lucas Neff in Raising Hope (Fox)

Jason Schwartzman in Bored To Death (HBO)

Outstanding Lead Actor In A Drama

Steve Buscemi in Boardwalk Empire (HBO)

Bryan Cranston in Breaking Bad (AMC)

Jeffrey Donavon in Burn Notice (USA)

Damian Lewis in Homeland (Showtime)

Andrew Lincoln in The Walking Dead (AMC)

Timothy Olyphant in Justified (FX)

Outstanding Lead Actor In A Miniseries or Movie

Idris Elba in Luther (BBC America)

Rob Lowe in Drew Peterson: Untouchable (Lifetime)

Steven Weber in Duke (Hallmark Movie Channel)

Dominic West in The Hour (BBC America)

Ben Whishaw in The Hour (BBC America)

Outstanding Lead Actress In A Comedy

Zooey Deschanel in New Girl (Fox)

Lena Dunham in Girls (HBO)

Tina Fey in 30 Rock  (NBC)

Julia Louis Dreyfuss in Veep (HBO)

Mary-Louis Parker in Weeds (Showtime)

Martha Plimpton in Raising Hope (Fox)

Outstanding Lead Actress in a Drama

Claire Danes in Homeland (Showtime)

Sarah Michelle Gellar in Ringer (The CW)

Jennifer Love Hewitt in The Client List (Lifetime)

Julianna Margulies in The Good Wife (CBS)

Elizabeth McGovern in Downton Abbey (PBS)

Anna Paquin in True Blood (HBO)

Outstanding Lead Actress In A Miniseries or Movie

Kristin Davis in Of Two Minds (Lifetime)

Anne Heche in Girl Fight (Lifetime)

Rose McGowan in The Pastor’s Wife (Lifetime)

Emily Osment in Cyberbully (ABC Family)

Sara Paxton in Blue Eyed Butcher (Lifetime)

Outstanding Supporting Actor In A Comedy Series

Charlie Day in It’s Always Sunny in Philadelphia (FX)

Danny DeVito in It’s Always Sunny In Philadelphia (FX)

Donald Glover in Community (NBC)

Nick Offerman in Parks and Recreation (NBC)

Danny Pudi in Community (NBC)

Matt Walsh in Veep (HBO)

Outstanding Supporting Actor In A Drama

Bruce Campbell in Burn Notice (USA)

Peter Dinklage in Game of Thrones (HBO)

Giancarlo Espositto in Breaking Bad (AMC)

Michael Pitt in Boardwalk Empire (HBO)

Michael Shannon in Boardwalk Empire (HBO)

Alexander Skarsgard in True Blood (HBO)

Outstanding Supporting Actor In A Miniseries or Movie

Powers Boothe in Hatfields and McCoys (History Channel)

Justin Bruening in Blue-Eyed Butcher (Lifetime)

Mark-Paul Gosselaar in Hide (TNT)

Sir Roger Moore in A Princess For Christmas (Hallmark Movie Channel)

Tony Shalhoub in Five (Lifetime)

Outstanding Supporting Actress In A Comedy

Alison Brie in Community (NBC)

Kristen Chenoweth in GCB (ABC)

Anna Chlumsky in Veep (HBO)

Gillian Jacobs in Community (NBC)

Cloris Leachman in Raising Hope (Fox)

Aubrey Plaza in Parks and Recreation (NBC)

Outstanding Supporting Actress in Drama

Christine Baranski in The Good Wife (CBS)

Kristen Bauer Von Straten in True Blood (HBO)

Kelly MacDonald in Boardwalk Empire (HBO)

Christina Ricci in Pan Am (ABC)

Sophia Turner in Game of Thrones (HBO)

Deborah Ann Woll in True Blood (HBO)

Supporting Actress In A Miniseries or Movie

Tammy Blanchard in Of Two Minds (Lifetime)

Kaley Cuoco in Drew Peterson: Untouchable (Lifetime)

Lisa Edelstein in Blue-Eyed Butcher (Lifetime)

Jessica Lange in American Horror Story (FX)

Jena Malone in Hatfields and McCoy (History Channel)