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<p>&quot;Hugo&quot;&nbsp;shared the lead with 11 nominations.</p>

"Hugo" shared the lead with 11 nominations.

Credit: Paramount Pictures

'The Artist' and 'Hugo' lead the BFCA's Critics' Choice nominees

'Tinker, Tailor, Soldier, Spy' snubbed completely, Andy Serkis nominated for 'Apes'

The Broadcast Film Critics Association has announced its nominees for the 17th annual Critics' Choice Movie Awards, and there aren't really any surprises. Across the board, it's the roll call of Oscar contenders the announcement has turned into, more and more.

I went to the mat for "Margaret" throughout my ballot. Naturally, though, it doesn't show up. Leading the way was "The Artist" and "Hugo" with 11 nominations each. Not far behind were "Drive" and "The Help" with eight apiece. The biggest surprise, I suppose, is "Tinker, Tailor, Soldier, Spy" being snubbed completely. Nothing. Not even a notice for Gary Oldman in a Best Actor category of six.

Other things worth noting: Glenn Close didn't show up in the Best Actress category despite there being six nominees. Her film, "Albert Nobbs," only received a makeup nomination. "Extremely Loud & Incredibly Close" received nominations for Best Picture, Best Director, Best Adapted Screenplay and Best Young Actor/Actress, but nothing for Max von Sydow or Sandra Bullock. And Nick Nolte rallied to a supporting actor notice for his work in "Warrior."

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<p>Rooney Mara certainly went all out with the physical transformation into 'The Girl With The Dragon Tattoo'</p>

Rooney Mara certainly went all out with the physical transformation into 'The Girl With The Dragon Tattoo'

Credit: Sony Pictures

Review: Fincher's take on 'Dragon Tattoo' is visually striking and dramatically dormant

Rooney Mara does nice work, but to what avail?

There are few filmmakers whose work speaks more directly to me on an aesthetic level than David Fincher.

Even so, my first exposure to his work as a feature film director left me convinced that he was not worth paying attention to at all.  Considering how little he has to say about "Alien 3" at this point, it seems he agrees that it was not the best foot forward, and all accounts of the experience make it sound like it was a nightmare for all involved.

As a result, when I walked into his next film, I had no expectations at all, and I think I even had a bit of a chip on my shoulder about the movie.  A few hours later, I sat there, totally flattened by "Se7en," amazed at what the film accomplished and just how rough it played.  It seemed like a film made by someone who had decided to never compromise again, and there was something genuinely dangerous about it.  Immediately, my opinion of Fincher shifted, and in the years since, he's proven himself to be an immaculate visual artist, capable of creating some of the most arresting, electrifying images of the last fifteen years.

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<p>Orson Welles as Charles Foster Kane in &quot;Citizen Kane.&quot;</p>

Orson Welles as Charles Foster Kane in "Citizen Kane."

Credit: RKO Pictures

Orson Welles's Oscar on your mantle

The cinema icon’s singular Academy Award is up for auction

Here’s one for wealthy and eccentric cinephiles: The Wrap reports that Orson Welles’ solitary Oscar is up for auction.

Let's take a moment to pause and reflect on the fact that what is now considered one of the most significant films of all time, “Citizen Kane,” only took home the Oscar for Best Screenplay (though it was nominated for nine Academy Awards including Best Picture and Best Actor). If I were forced to select just one category for a “Citizen Kane” win, it would be Best Director. The innovative techniques Welles employed to get the shots he wanted to tell his story were as effective as they were influential. Alas, as Aaron Sorkin writes in the "Moneyball" script, “the first one through the wall always gets bloodied.”

The history of Welles's golden statue is storied and apropos. The writer/actor/director originally gave his Oscar to cinematographer Gary Graver (so much for sentiment). His daughter, Beatrice, then sued Graver for ownership. She went on to give the Award to a Los Angeles-based charity called Dax Foundation. (Looks like material detachment may be in the bloodlines – they took the lessons of “Kane” to heart it would seem).

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<p>Amani and Marcus of &quot;The Amazing Race&quot;</p>
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Amani and Marcus of "The Amazing Race"

Credit: CBS

HitFix Interview: Marcus & Amani talk 'The Amazing Race'

Sports metaphors, flight simulators and life lessons from the third place team
In his 13-year NFL career, Marcus Pollard had 40 touchdown receptions and made the postseason with the Indianapolis Colts, Seattle Seahawks and Atlanta Falcons. 
Pollard never made it to the Super Bowl, though, a fact he mentioned this season on "The Amazing Race," as he and wife Amani made it all the way to Sunday (December 11) night's finale.
Marcus & Amani came up short on "The Amazing Race," finishing third after a  series of flight simulator miscues left them unable to make up enough time in Atlanta. Even in defeat, Marcus & Amani were one of this season's most popular pairs, earning a reputation as the Comeback Kids, surviving a Non-Elimination Leg and several other close calls to make it all the way to the last Pit Stop.
Marcus' irrepressible enthusiasm and love for sports metaphors, and Amani's boundless patience with Marcus' enthusiasm and sports metaphors made then fan favorites in a Race they often said they were running to set a positive and enriching example for their four children.
Click through for my "Amazing Race" exit interview with Marcus & Amani (and check back over the next couple days for the season's last two exit interviews)...
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<p>Guy Ritchie works with Jared Harris and Robert Downey Jr. on the climax of 'Sherlock Holmes - A Game Of Shadows'</p>

Guy Ritchie works with Jared Harris and Robert Downey Jr. on the climax of 'Sherlock Holmes - A Game Of Shadows'

Credit: Warner Bros.

Listen: Guy Ritchie talks about building a better Moriarty

Plus call-in games and a conversation about the death of 35MM film

I know this is confusing, but this podcast was recorded between the Bret McKenzie and the Edgar Wright one.  I just wanted to get the Edgar one up before tonight's programming began at the New Beverly.

The first time I met Guy Ritchie, Harry and I were trying to get him to bring "Snatch" to Butt-Numb-A-Thon.  We had lunch with him and with Matthew Vaughn, who was still Guy's producer at the time, and by the end of the lunch, we had the film, and I'd really come to like the two of them just as film fans and guys.

The next time I saw him was on the set of "Sherlock Holmes," and he'd covered quite a bit of ground as a person and as a filmmaker in the years between those encounters.  What struck me about that encounter was that he seemed to have made a choice about what he wanted, and that choice involved giant-budget tentpole movies.  I certainly don't think that big-budget films are "better" than independent movies, or vice-versa, but I do think that the best way to get some creative freedom is by making a studio some serious money.  Ritchie was coming off a series of misfires like "Swept Away" and "Revolver," and it seemed fitting that he had Robert Downey Jr. starring in his film, as Downey had also made that jump into franchise filmmaking with a real passion.

Now, as Ritchie prepares to release his first sequel, we sat down to talk about how he approached his interpretation of Professor Moriarty, the most famous villain ever faced by Sherlock Holmes, and how he felt about stepping back into the world.  It's a pretty loose conversation, one of two I had with Ritchie last week.  You'll see the other one as a video interview sometime this week.

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"The Real Housewives of Beverly Hills"

 "The Real Housewives of Beverly Hills"

Credit: Bravo

Recap: 'The Real Housewives of Beverly Hills' - 'A Book, a Bachelorette and a Breakdown'

It's time for more hysterical crying - and not from Taylor

I hope everyone has recovered from last week's wholly uncomfortable Taylor trainwreck last week. I was thinking we might kick off this week with a limo drive through the gates of a mental institution or maybe a shelter for battered women, but no such luck. Instead, we will start the way all deep emotional healing in Beverly Hills begins -- at lunch.

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<p>Allison Miller of &quot;Terra Nova&quot;</p>
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Allison Miller of "Terra Nova"

Credit: FOX

Recap: 'Terra Nova' - 'Within'

A familiar friend helps us break down why this show was such a missed opportunity
To call tonight’s penultimate episode of “Terra Nova” an exercise in stalling would imply that the rest of the season has been chock full o’ narrative momentum. That clearly isn’t the case, as it’s pretty obvious by now that this series has, at best, a 4-hour mini-series worth of story. Why else would the second to last episode of the season (and maybe series) devote 10 minutes on Maddy trying to find a battery for her prehistoric iPad? Sure, education’s important, but I’d wager there are slightly bigger concerns at this moment in the colony’s history. “Within” set up the fireworks for next week, but it will more than likely be sound and fury, signifying nothing.
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<p>Rooney Mara in &quot;The Girl with the Dragon Tattoo&quot;</p>

Rooney Mara in "The Girl with the Dragon Tattoo"

Watch: 'Dragon Tattoo' combines Trent Reznor Karen O for 'Immigrant Song' film opener

Opening credit sequence to David Fincher's new adaptation is pretty-fluid

It's no new news that Trent Reznor had Karen O's help in re-creating Led Zeppelin's classic "Immigrant Song" for "The Girl with the Dragon Tattoo." What's fresh is the way David Fincher introduces it in the opening credit sequence to his adaptation.

Check out the very liquid, very dark animated video clip to the much-anticipated film.

I already have some feelings about the Nine Inch Nails' frontman's contributions overall, and those are to come. But the lo-rez version of this opening clip has nothing on the reality on the big-screen version. It's visually abstract and then sensually sick as it rolls on, much like the movie itself. See it in the theater if you can.

The approach to "Immigrant Song" is especially poignant, a woman singing Robert Plant's part, the lyrics literally about over-lording and imperialism. It's a very masculine song, from it's infamous riff and it's rallying cry. Vikings, too, are also ironically associated with that good old-fashioned rote "raping and pillaging."

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Win the screenplay of "The Ides of March," among others.
Win the screenplay of "The Ides of March," among others.
Credit: Columbia Pictures

Contest: Screenplay giveaway

Win copies of 'The Descendants,' 'Win Win,' 'The Help' and more

Thanks to everyone who entered the "Rango" contest last week. The winners were ETHAN G. and SHARKMAN. So if you guys are reading, drop me a line so we can get you your prizes. (Additionally, I'm still waiting on you, GRUBI, to do the same following the "Super 8" contest. You were a winner!)

Today we have a set of screenplays to give away. Included are Tom McCarthy's "Win Win," Steve McQueen and Abi Morgan's "Shame," Sean Durkin's "Martha Marcy May Marlene," George Clooney, Grant Heslov and Beau Willimon's "The Ides of March," Tate Taylor's "The Help" and Alexander Payne's "The Descendants."

For this, I think we're going to dust off the ole' limerick contest. If you feel up to the challenge, rifle off a limerick inspired by one of the above-mentioned films. The best one wins.

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<p>Going to a film festival programmed by Edgar Wright at the New Beverly is a lot like this, only the rock stars are old movies, and everyone's invited.</p>

Going to a film festival programmed by Edgar Wright at the New Beverly is a lot like this, only the rock stars are old movies, and everyone's invited.

Credit: Universal Pictures

Listen: Edgar Wright on New Beverly programming and the death of 35MM

Plus the Movie God that finally broke Drew

That's right… the second podcast of the day, and this one is hot off the presses.  Or the microphone.  Or whatever a podcast is hot off of.

This morning, I talked to Edgar Wright about his New Beverly programming series, The Wright Stuff III, and we also talked about the idea that 35MM film is on its way out.  This is something that is upsetting even if you understand the forces at play that are making it happen.  I know how important the theatrical experience is to Edgar, and I wanted to ask him about how the festival's going so far.

For those of you who aren't aware of it, he's running a series of well-known films that he hasn't seen before, all picked by friends and fans and fellow film freaks, and he's finally seeing them on the bigscreen where they belong.  They had a silent movie night with "The Gold Rush" and "Steamboat Bill Jr." the other night, and they had a great crazy night of surrealism last night with the Japanese ghost story "Kwaidan" and the Dr. Seuss film "The 5000 Fingers Of Dr. T," and he's had guests to introduce the films like John Landis and Joe Dante and Alan Arkush and Patton Oswalt.  Basically, this is film nerd central in Los Angeles all week long.

What else is playing?  Well, here's the rundown of the rest of the programming, along with some special guests who will be there to introduce the films:

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<p>Neon Hitch with Gym Class Heroes' Travie McCoy at Jingle Ball</p>

Neon Hitch with Gym Class Heroes' Travie McCoy at Jingle Ball

Credit: AP Photo/Evan Agostino

Watch: Gym Class Heroes and Neon Hitch in 'Ass Back Home'

Can Travis be trusted on the road?

If you’re keeping the home fires burning while your loved one is touring in a rock band, that can be a recipe for disaster. That’s the situation Neon Hitch finds herself, as she plays Travie McCoy’s honey in Gym Class Heroes new video for “Ass Back Home.”

She doesn’t know where he’s going or when he’s coming back home, and she certainly doesn’t know what he’s doing on those nights without her.

[More after the jump...]

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<p> in 'T.H.E.'</p>
<br /> in 'T.H.E.'

Watch: Will.I.Am uses every means of transportation possible in 'T.H.E'

Except, perhaps, a yellow submarine

After delivering  a splintered, technology- challenged debut of “T.H.E.” (The Hardest Ever) during the American Music Awards last month,  Will.I.Am decided to go the easy route on the video for the solo song. Not....

The sleek video features the Black Eyed Pea taking trains, planes and automobiles (where’s the ghost of John Candy when you need it?) to get to some celestial destination because he’s gotta, you know, go hard.  There’s a lot of product placements and a car, Hummer, bullet train, plane and space ship —all in white, to match Will.I.Am’s white outfit and his HTC phone.

The Peas are known for their futuristic, hi-tech videos and this solo effort is another in a series of forward-looking clips. It’s got a little “Mission Impossible” and “Speed Racer” thrown in for good measure as Will accomplishes all feats of derring-do.

[More after the jump...]

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