The Nominations are in...

After Yesterday's announcement for the 31st Annual Razzie awards, The American Academy of Motion Picture Arts and Sciences have released the nominations for the 83rd Academy Awards and here the are. The winners will be announced on Sunday, February 27, 2011 at the Kodak Theater.

Best motion picture of the year

• Black Swan (Fox Searchlight) A Protozoa and Phoenix Pictures Production
  Mike Medavoy, Brian Oliver and Scott Franklin, Producers
• The Fighter (Paramount) A Relativity Media Production
  David Hoberman, Todd Lieberman and Mark Wahlberg, Producers
• Inception (Warner Bros.) A Warner Bros. UK Services Production
  Emma Thomas and Christopher Nolan, Producers)
• The Kids Are All Right (Focus Features) An Antidote Films, Mandalay Vision and Gilbert Films Production
  Gary Gilbert, Jeffrey Levy-Hinte and Celine Rattray, Producers
• The King's Speech (The Weinstein Company) A See-Saw Films and Bedlam Production
  Iain Canning, Emile Sherman and Gareth Unwin, Producers
• 127 Hours (Fox Searchlight) An Hours Production
  Christian Colson, Danny Boyle and John Smithson, Producers
• The Social Network (Sony Pictures Releasing) A Columbia Pictures Production
  Scott Rudin, Dana Brunetti, Michael De Luca and Ceán Chaffin, Producers
• Toy Story 3 (Walt Disney) A Pixar Production
  Darla K. Anderson, Producer
• True Grit (Paramount) A Paramount Pictures Production
  Scott Rudin, Ethan Coen and Joel Coen, Producers
• Winter's Bone (Roadside Attractions) A Winter's Bone Production
  Anne Rosellini and Alix Madigan-Yorkin, Producers

Performance by an actor in a leading role

• Javier Bardem in "Biutiful" (Roadside Attractions)
• Jeff Bridges in "True Grit" (Paramount)
• Jesse Eisenberg in "The Social Network" (Sony Pictures Releasing)
• Colin Firth in "The King's Speech" (The Weinstein Company)
• James Franco in "127 Hours" (Fox Searchlight)

Performance by an actor in a supporting role

• Christian Bale in "The Fighter" (Paramount)
• John Hawkes in "Winter's Bone" (Roadside Attractions)
• Jeremy Renner in "The Town" (Warner Bros.)
• Mark Ruffalo in "The Kids Are All Right" (Focus Features)
• Geoffrey Rush in "The King's Speech" (The Weinstein Company)

Performance by an actress in a leading role

• Annette Bening in "The Kids Are All Right" (Focus Features)
• Nicole Kidman in "Rabbit Hole" (Lionsgate)
• Jennifer Lawrence in "Winter's Bone" (Roadside Attractions)
• Natalie Portman in "Black Swan" (Fox Searchlight)
• Michelle Williams in "Blue Valentine" (The Weinstein Company)

Performance by an actress in a supporting role

• Amy Adams in "The Fighter" (Paramount)
• Helena Bonham Carter in "The King's Speech" (The Weinstein Company)
• Melissa Leo in "The Fighter" (Paramount)
• Hailee Steinfeld in "True Grit" (Paramount)
• Jacki Weaver in "Animal Kingdom" (Sony Pictures Classics)

Best animated feature film of the year

• How to Train Your Dragon (Paramount) Chris Sanders and Dean DeBlois
• The Illusionist (Sony Pictures Classics) Sylvain Chomet
• Toy Story 3 (Walt Disney) Lee Unkrich

Art Direction

• Alice in Wonderland (Walt Disney), Robert Stromberg (Production Design), Karen O'Hara (Set Decoration)
• Harry Potter and the Deathly Hallows Part 1 (Warner Bros.), Stuart Craig (Production Design), Stephenie McMillan (Set Decoration)
• Inception (Warner Bros.), Guy Hendrix Dyas (Production Design), Larry Dias and Doug Mowat (Set Decoration)
• The King's Speech (Paramount), Eve Stewart (Production Design), Judy Farr (Set Decoration)
• True Grit (Paramount), Jess Gonchor (Production Design), Nancy Haigh (Set Decoration)

Achievement in Cinematography

• Black Swan (Fox Searchlight) Matthew Libatique
• Inception (Warner Bros.) Wally Pfister
• The King's Speech (The Weinstein Company) Danny Cohen
• The Social Network (Sony Pictures Releasing) Jeff Cronenweth
• True Grit (Paramount) Roger Deakins

Achievement in costume design

• Alice in Wonderland (Walt Disney) Colleen Atwood
• I Am Love (Magnolia Pictures) Antonella Cannarozzi
• The King's Speech (The Weinstein Company) Jenny Beavan
• The Tempest (Miramax) Sandy Powell
• True Grit (Paramount) Mary Zophres

Achievement in directing

• Black Swan (Fox Searchlight), Darren Aronofsky
• The Fighter (Paramount), David O. Russell
• The King's Speech (The Weinstein Company), Tom Hooper
• The Social Network (Sony Pictures Releasing), David Fincher
• True Grit (Paramount), Joel Coen and Ethan Coen

Best Documentary Feature

• Exit through the Gift Shop (Producers Distribution Agency) Banksy and Jaimie D'Cruz A Paranoid Pictures Production
• Gasland Josh Fox and Trish Adlesic A Gasland Production
• Inside Job (Sony Pictures Classics) Charles Ferguson and Audrey Marrs A Representational Pictures Production
• Restrepo (National Geographic Entertainment) Tim Hetherington and Sebastian Junger An Outpost Films Production
• Waste Land Lucy Walker and Angus Aynsley (Arthouse Films) An Almega Projects Production

Best documentary short subject

• Killing in the Name Nominees to be determined A Moxie Firecracker Films Production
• Poster Girl Nominees to be determined A Portrayal Films Production
• Strangers No More Karen Goodman and Kirk Simon A Simon & Goodman Picture Company Production
• Sun Come Up Jennifer Redfearn and Tim Metzger A Sun Come Up Production
• The Warriors of Qiugang Ruby Yang and Thomas Lennon A Thomas Lennon Films Production

Achievement in film editing

• Black Swan (Fox Searchlight) Andrew Weisblum
• The Fighter Paramount Pamela Martin
• The King's Speech (The Weinstein Company) Tariq Anwar
• 127 Hours (Fox Searchlight) Jon Harris
• The Social Network (Sony Pictures Releasing) Angus Wall and Kirk Baxter

Best foreign language film of the year

• Biutiful Mexico
• Dogtooth Greece
• In a Better World Denmark
• Incendies Canada
• Outside the Law (Hors-la-loi) Algeria

Achievement in makeup

• Achievement in makeup (Sony Pictures Classics) Adrien Morot
• The Way Back (Newmarket Films in association with Wrekin Hill Entertainment and Image Entertainment) Edouard F. Henriques, Gregory Funk and Yolanda Toussieng
• The Wolfman (Universal) Rick Baker and Dave Elsey

Achievement in music written for motion pictures (Original score)

• How to Train Your Dragon (Paramount) John Powell
• Inception (Warner Bros.) Hans Zimmer
• The King's Speech (The Weinstein Company) Alexandre Desplat
• 127 Hours (Fox Searchlight) A.R. Rahman
• The Social Network (Sony Pictures Releasing) Trent Reznor and Atticus Ross

Achievement in music written for motion pictures (Original song)

• Coming Home from Country Strong (Sony Pictures Releasing (Screen Gems)) Music and Lyric by Tom Douglas, Troy Verges and Hillary Lindsey
• I See the Light from Tangled (Walt Disney) Music by Alan Menken Lyric by Glenn Slater
• If I Rise from 127 Hours (Fox Searchlight) Music by A.R. Rahman Lyric by Dido and Rollo Armstrong
• We Belong Together from Toy Story 3 (Walt Disney) Music and Lyric by Randy Newman

Best animated short film

• Day & Night (Walt Disney) A Pixar Animation Studios Production Teddy Newton
• The Gruffalo A Magic Light Pictures Production Jakob Schuh and Max Lang
• Let's Pollute A Geefwee Boedoe Production Geefwee Boedoe
• The Lost Thing (Nick Batzias for Madman Entertainment) A Passion Pictures Australia Production Shaun Tan and Andrew Ruhemann
• Madagascar, carnet de voyage (Madagascar, a Journey Diary) A Sacrebleu Production Bastien Dubois

Best live action short film

• The Confession (National Film and Television School) A National Film and Television School Production Tanel Toom
• The Crush (Network Ireland Television) A Purdy Pictures Production Michael Creagh
• God of Love A Luke Matheny Production Luke Matheny
• Na Wewe (Premium Films) A CUT! Production Ivan Goldschmidt
• Wish 143 A Swing and Shift Films/Union Pictures Production Ian Barnes and Samantha Waite

Achievement in sound editing

• Inception (Warner Bros.) Richard King
• Toy Story 3 (Walt Disney) Tom Myers and Michael Silvers
• Tron: Legacy (Walt Disney) Gwendolyn Yates Whittle and Addison Teague
• True Grit (Paramount) Skip Lievsay and Craig Berkey
• Unstoppable (20th Century Fox) Mark P. Stoeckinger

Achievement in sound mixing

• Inception (Warner Bros.) Lora Hirschberg, Gary A. Rizzo and Ed Novick
• The King's Speech (The Weinstein Company) Paul Hamblin, Martin Jensen and John Midgley
• Salt (Sony Pictures Releasing) Jeffrey J. Haboush, Greg P. Russell, Scott Millan and William Sarokin
• The Social Network (Sony Pictures Releasing) Ren Klyce, David Parker, Michael Semanick and Mark Weingarten
• True Grit (Paramount) Skip Lievsay, Craig Berkey, Greg Orloff and Peter F. Kurland

Achievement in visual effects

• Alice in Wonderland (Walt Disney) Ken Ralston, David Schaub, Carey Villegas and Sean Phillips
• Harry Potter and the Deathly Hallows Part 1 (Warner Bros.) Tim Burke, John Richardson, Christian Manz and Nicolas Aithadi
• Hereafter (Warner Bros.) Michael Owens, Bryan Grill, Stephan Trojanski and Joe Farrell
• Inception (Warner Bros.) Paul Franklin, Chris Corbould, Andrew Lockley and Peter Bebb
• Iron Man 2 (Paramount and Marvel Entertainment, Distributed by Paramount) Janek Sirrs, Ben Snow, Ged Wright and Daniel Sudick

Adapted screenplay

• 127 Hours (Fox Searchlight), Screenplay by Danny Boyle & Simon Beaufoy
• The Social Network (Sony Pictures Releasing), Screenplay by Aaron Sorkin
• Toy Story 3 (Walt Disney), Screenplay by Michael Arndt. Story by John Lasseter, Andrew Stanton and Lee Unkrich
• True Grit (Paramount), Written for the screen by Joel Coen & Ethan Coen
• Winter's Bone (Roadside Attractions), Adapted for the screen by Debra Granik & Anne Rosellini

Original screenplay

• Another Year (Sony Pictures Classics), Written by Mike Leigh
• The Fighter (Paramount), Screenplay by Scott Silver and Paul Tamasy & Eric Johnson. Story by Keith Dorrington & Paul Tamasy & Eric Johnson
• Inception (Warner Bros.), Written by Christopher Nolan
• The Kids Are All Right (Focus Features), Written by Lisa Cholodenko & Stuart Blumberg
• The King's Speech (The Weinstein Company), Screenplay by David Seidler

The Mechanic - Jason Statham Q & A

Jason Statham, 38, has been called Britain’s most bankable star  and one of its most valuable exports, in worldwide cinemas anyway. He first found fame, a lower-grade version anyway, as a champion diver and even represented Britain in the 1988 Olympic Games. He then became a model, street-seller and eventually, by accident or universal design, an actor in Guy Ritchie’s fresh, frenetic 1998 hit, Lock, Stock and Two Smoking Barrels. This brash handsome neophyte almost stole the show. No wonder then that by 2002, visionary French writer, director and producer Luc Besson had cast him as a new era of delivery man in The Transporter, a worldwide hit which spawned a trilogy and effectively crowned Hollywood’s new action king. Many films and rather more substantial fame later, Statham is Arthur Bishop, a brilliant, reclusive hit-man with a different kind of heart in acclaimed British director Simon West’s new film The Mechanic.

You’ve said you want to move towards more quality films. Is The Mechanic one of them?
I think it's definitely moving in a direction that I want to be moving in, yes. It's a little more interesting to play this kind of a character than some of the other roles I've done, and now I'm getting to work with more experienced producers and more experienced directors, like Simon West. And of course actors of great quality like Ben Foster [Statham’s Mechanic sidekick]. I think once you get a good screenplay, everything else about a film gets raised in some way. That's the driving force for me - to work with better people, doing better things, and having better scripts. This is certainly something going in the right direction. 

What makes you pick a film?
Gut instinct mostly. That and your intuition are the best things. You have to like the script and be involved with a director you think can steer the ship and keep it off the rocks. That’s a very important thing. [Director] Simon West comes with so much experience so it’s not like you have to make any second guesses that he’s going to know what he’s doing. I’ve worked with first-time directors and they seem cool but sometimes you go, “Am I doing the right thing? Does he know what he’s doing?” I was so pleased Simon was going to do an action film and I was going to be in it. And as soon as they told me they were trying to cast Ben Foster opposite me, I thought, “This is a no-brainer”.

Is there any sort of British “stamp” on the film given that you and Simon are both Brits?
I am a British guy in essentially an American film but I don’t think people really care too much about that although Simon and I are certainly the ones kicking this through. There’s a big British influence. That’s why it’s good. There’s a shorthand with anyone from the UK - you speak the language, the humour’s there. And I tend to work better when I can have a bit of a giggle. Simon supplied that and it takes the pressure off. When something’s good, it just feels easy. And we never take ourselves too seriously. I think that’s a great aspect of the Brits. We’re always laughing at ourselves.

Were you already a fan of Ben Foster’s work?
Oh yes. He’s great. He’s a real quality actor so for me to be able to work opposite someone like that and not some hairdresser cast off the street - which is what happened with Transporter 3 - well, it was fantastic.

The role of Bishop is incredibly physical. Can you talk about your preparation?
It changes so much, depending on how injured I am. I do try to work with stunt people that I've worked with before, so we have a certain amount of know-how in terms of what we are going to do together. It wasn't like we had a ton of extensive choreography to learn for this one but I have a gym I go to that preps me. A ton of stuntmen work out there all the time so it's great to go there before I shoot a film. I try not to focus too much on dieting and losing weight unless it's really, really necessary.

What about the mental side?
Well I'm not a method actor, I hope you know that! I just  find an ability to be able to play the roles that I do. The physical stuff is easy, the other prep comes from rehearsals and communication with the director, and that all comes whenever you get to where you are filming.

What was it like filming in New Orleans?
We had a great time down there. We met some great people, and made some great friends. It's the second film I've done down there. It's slightly more appealing in the wintertime than it is in the summer when it gets kind of sticky. 

This is a remake of the 1972 version of The Mechanic starring Charles Bronson. Were you a fan of his?
Of course, yeah. I've seen every film he made. That's why he’s so great.  You can watch those films time and time again. I've always been a fan of Bronson’s.

Did you have any reservations about tackling a character he had already made his own?
Comparisons are always going to be made, and it's not the first remake I've done. I did a remake of The Italian Job years ago, and again, that was a great, classic movie that some people think should never be touched but it ended up being a decent job. And it's the same with this. A lot of people won't remember the original, or won't even have seen it. It was nearly 40 years ago. So, yeah, I don't think we are too bothered about it being a remake.

Which was the most fun scene to film?
I think being strung up there on the outside of this huge building with Ben [Foster] and seeing how scared he was. He was pooping himself! It makes me sound a little bit sadistic but it’s great when you do something with real excitement to it. It seems there's always so much more reward in doing something in terms of the action than a good dramatic scene. There's no one clapping for that. People might be touched by it but it’s the action stuff which produces the euphoria on set.

Bishop is a huge classic car enthusiast who is restoring an E-Type Jaguar in the film. Do you share his passion?
I love cars actually, yes. I’m not much of a tinkerer but I could talk all day about vintage cars and the old E-Type is a great one. I'm particularly fond of all the Jags, the old Aston Martins, the British cars, but I don't have any classics myself. They tend to break down a lot and there's always a problem with that. There's nothing reliable about an old classic but they’re so great to sit in, walk around and admire.

How comfortable are you being perceived as the action man of your generation?
Very comfortable I suppose, if that's what you want to call me. I'm working away and I'm very happy doing what I'm doing, and things have been going well recently. I've been working with some good people.

You’ve been working as an actor for 13 years now. Can you talk about how you have developed.
I think I know what I'm doing now. Just. You get to know what you're doing and there's no substitute for the experience. The more experience you have, the more you know what will work for you and what won’t. Now I have 10 years of knowing what’s good for me. A lot of the elements are not in your control but when it all comes together, and in a good way, that’s the best. There are certain things I’ve done which make me bow my head with embarrassment and I won’t mention them because there’s no point. Then there are others I’m really proud of. It’s just about reducing the percentage of ones you’re not proud of. I mean I’ve just worked opposite Robert De Niro and Clive Owen in a film called The Killer Elite so that's definitely another step in the right direction.

Was it intimidating working with Robert De Niro?
Very intimidating, as you can only imagine.  You don't want to make a fool of yourself in front of that man. 

Luc Besson produced all three of the Transporter films you starred in. Do you feel he’s responsible for some of your success?
Oh, he's one of the key figures for me. He was basically the first person who gave me the lead in a movie. He’s a very significant man and had a huge effect on my career.

Who else has had a significant impact on you?
Guy Ritchie of course. [Ritchie has directed Statham in three films, including Lock, Stock and Two Smoking Barrels.] I remember being with Guy years ago and I asked him, “Should I go and sign myself up for drama school?” I’d just done Lock Stock on a whim and his words of advice were: “There’s a fine line between intuition and technique and I think you will serve yourself much better by going on your intuition”. The words and advice of Guy Ritchie seem to stick with me.

Any news on The Expendables 2?
Yes, I have heard about a sequel, and I'll be the first to say yes to a phone call from Sly [Stallone]. As soon as the movie started to do really well, he said, “You know, it would be great to do this again”. And if there's anyone that can do a good sequel, it's Sly. He's done a fair amount. We had a good time and it's definitely something I'd like to repeat.  

And what about a third Crank film?
It's a shame the second one [2009’s Crank: High Voltage] didn't do that well. The first one had a little bit more success and the second one was absolutely nuts. I don't know whether we'll do another one, I just know I had a great time working with Mark Neveldine and Brian Taylor [writers/directors]. They are absolutely mad as hatters. 

Do you see primarily action films in the cinema or other sorts too?
I like all kinds of films. I don't have any particular favourites. I enjoy myself. I go to the cinema and watch all different kinds of films. Recently I’ve seen The Fighter and The King’s Speech and I thought they were both terrific. Very good indeed. 

Did The King’s Speech make the hard man cry?
I do get teary you know. There’s a lot of films I get teary in. Another good film I saw that did make me get teary was Blue Valentine. I did cry in that. I was welling up in The King’s Speech but we watched that with a lot of people and I was trying to stay tough. But it’s so powerful.

How do you like spending your free time?
I like to relax and spend it with people that I've grown up with, people that I care about. I’m happy to just sit around, doing nothing. On a beach is fine.

Are you into soccer?
Not so much. All my friends are. I'm not as big a soccer fan as people might imagine, being British. 

You were on the British Olympic diving team when you were younger. Do you still follow diving?
No, it's probably the smallest sport in the world. It’s not even follow-able. Literally, as soon as I retired from diving, I had no interest in it. 

How did you get to become a champion diver anyway?
I tried it and then within a year I was on the British team. All of a sudden you are travelling around the world competing, and there's a certain aspect of that which is very appealing to a young man. The next thing you know, you click your fingers, you turn around and 12 years have gone by!

Did your diving career help with this markedly different one?
It was very good for me to do that in terms of what I'm doing now because a lot of the training was about gaining aerial awareness. If you’re doing a lot of stunts, you need a great sense of distance and timing so a lot of the tumbling and trampolining I used to do has paid huge dividends.  

What do you have coming up, work-wise?
This is the first period in several years where for the next few months I'm not doing anything. The last three years, I’ve always had something in front of me. Now I'm just waiting for The Expendables 2.

How will you spend your time?
Dropping down two or three gears and just breathing for a few months. I did go back to Britain at Christmas and saw everyone but it’s the wrong time of year to go. It’s hectic and it was too much. I think I will get to go back and see someone I want to see and didn’t get to see, and all the people I hold close. I’ll do that in the next couple of months. Recharge! Get to the spa! Get my nails done!

Arthur Bishop (Jason Statham) is the 'mechanic' - an elite assassin with a unique talent for eliminating targets with deadly skill and total emotional detachment. To be the best in the business Bishop has given everything to realising professional perfection, the last and only attachment in his life is to his mentor and friend Harry (Donald Sutherland). When Harry is murdered Bishop takes on a self-imposed assignment to kill the murderers, using Harry’s own legacy to avenge his death. Things get complicated when Harry’s son Steve (Ben Foster) emerges with the same vengeful goal and a determination to learn Bishop's trade. Unable to turn his back on Harry’s son, Bishop goes against his vow to always work alone and takes on an apprentice; and when the methodical, detached professional takes on the impulsive, emotional student a deadly partnership is born. But while in pursuit of their ultimate mark, deceptions threaten to surface and those hired to fix problems become the problems themselves.

Released into Cinemas January 28, 2011
© LIONSGATE ENTERTAINMENT 2010

Brighton Rock new poster

It's not that long to go before Brighton Rock hits UK cinemas. With this and the fact that the reviews are starting to appear, Optimum has released a new poster for the film.  I actually prefer the old poster as it seems to feel a lot more intimidating that the one below.

BRIGHTON ROCK charts the headlong fall of Pinkie, a razor-wielding disadvantaged teenager hell bent on clawing his way up through the ranks of organized crime. At the heart of the story is the anti-hero Pinkie’s relationship with Rose - an apparently innocent young waitress who stumbles on evidence linking Pinkie and his gang to a revenge killing that Pinkie commits. After the murder, Pinkie seduces Rose, first in an effort to find out how much she knows and latterly to ensure she will not talk to the police. A love story between a murderer and a witness; can Pinkie trust Rose or should he kill her before she talks to the police? Can Rose trust Pinkie or is she next in line?

Brighton Rock hits UK cinemas on February 4, 2011
© 2010 Optimum Releasing

Unknown new trailer and poster

Earlier today Optimum released a new, 30 second, trailer for the film. This is a follow up to the release of the trailer in December. Also, I have managed to find the poster for the film as well.

Dr. Martin Harris (Liam Neeson, TAKEN) awakens after a car accident in Berlin to discover that his wife (January Jones, MAD MEN) suddenly doesn't recognise him, and another man has assumed his identity. Ignored by disbelieving authorities and hunted by mysterious assassins, he finds himself alone, tired and on the run. Aided by an unlikely ally (Diane Kruger, INGLORIOUS BASTARDS), Martin plunges headlong into a deadly mystery that will force him to question his sanity, his identity, and just how far he's willing to go to uncover the truth.

Unknown is released in cinemas on 25th February 2011.
Find out more on Facebook

Behind The Adjustment Bureau

Universal has just released a featurette to explain more about the film.  It also explains more about the, classic, Dick theme of Fate vs. Freewill.  How far would you go for the woman you love?

Do we control our destiny, or do unseen forces manipulate us? Matt Damon stars in the thriller The Adjustment Bureau as a man who glimpses the future Fate has planned for him and realizes he wants something else. To get it, he must pursue the only woman he’s ever loved across, under and through the streets of modern-day New York.

On the brink of winning a seat in the U.S. Senate, ambitious politician David Norris (Damon) meets beautiful contemporary ballet dancer Elise Sellas (Emily Blunt)—a woman like none he’s ever known. But just as he realizes he’s falling for her, mysterious men conspire to keep the two apart.

David learns he is up against the agents of Fate itself—the men of The Adjustment Bureau—who will do everything in their considerable power to prevent David and Elise from being together. In the face of overwhelming odds, he must either let her go and accept a predetermined path…or risk everything to defy Fate and be with her.

In Cinemas March 4th 2011

© Universal

The 31st RAZZIE nominations announced.

The nominations have been announced for The 31st Annual RAZZIE® Awards and there are some "amazing" films up for the "award".

With 9 nominations each it does look like a head to head race between M. Night Shyamalan and Twilight Saga: Eclipse have the best chance of sweeping the award ceremony.

WORST PICTURE

• THE BOUNTY HUNTER (Columbia Pictures/Relativity Media)
• THE LAST AIRBENDER (Paramount/Nickelodeon Movies)
• SEX & THE CITY #2 (Warner Bros/New Line/HBO Pictures)
• TWILIGHT SAGA: ECLIPSE (Summit Entertainment)
• VAMPIRES SUCK (20th Century-Fox/Regency Enterprises)

WORST ACTOR

• Jack Black / GULLIVER’S TRAVELS
• Gerard Butler / THE BOUNTY HUNTER
• Ashton Kutcher / KILLERS and VALENTINE’S DAY
• Taylor Lautner / TWILIGHT SAGA: ECLIPSE and VALENTINE’S DAY
• Robert Pattinson / REMEMBER ME and TWILIGHT SAGA: ECLIPSE

WORST ACTRESS

• Jennifer Aniston / THE BOUNTY HUNTER and THE SWITCH
• Mylie Cyrus / THE LAST SONG
• Sarah Jessica Parker, Kim Cattrall, Kristin Davis & Cynthia Nixon / SEX & THE CITY 2
• Megan Fox / JONAH HEX
• Kristen Stewart / TWILIGHT SAGA: ECLIPSE

WORST SUPPORTING ACTRESS

• Jessica Alba / THE KILLER INSIDE ME, LITTLE FOCKERS, MACHETE and VALENTINE’S DAY
• Cher / BURLESQUE
• Liza Minnelli / SEX & THE CITY 2
• Nicola Peltz / THE LAST AIRBENDER
• Barbra Streisand / LITTLE FOCKERS

WORST SUPPORTING ACTOR

• Billy Ray Cyrus / THE SPY NEXT DOOR
• George Lopez / MARMADUKE, THE SPY NEXT DOOR and VALENTINE’S DAY
• Dev Patel / THE LAST AIRBENDER
• Jackson Rathbone / THE LAST AIRBENDER and TWILIGHT SAGA: ECLIPSE
• Rob Schneider / GROWN UPS

WORST EYE-GOUGING MIS-USE Of 3-D (Special Category for 2010!)

• CATS & DOGS #2: REVENGE OF KITTY GALORE
• CLASH OF THE TITANS
• THE LAST AIRBENDER
• NUTCRACKER 3-D
• SAW 3-D (aka SAW VII)

WORST SCREEN COUPLE / WORST SCREEN ENSEMBLE

• Jennifer Aniston & Gerard Butler / THE BOUNTY HUNTER
• Josh Brolin’s Face & Megan Fox’s Accent / JONAH HEX
• The Entire Cast of THE LAST AIRBENDER
• The Entire Cast of SEX & THE CITY #2
• The Entire Cast of TWILIGHT SAGA: ECLIPSE

WORST DIRECTOR

• Jason Friedberg & Aaron Seltzer / VAMPIRES SUCK
• Michael Patrick King / SEX & THE CITY #2
• M. Night Shyamalan / THE LAST AIRBENDER
• David Slade / TWILIGHT SAGA: ECLIPSE
• Sylvester Stallone / THE EXPENDABLES

WORST SCREENPLAY

• LAST AIRBENDER Written by M. Night Shyamalan, based on the TV series created by Michael Dante DiMartino and Brian Konietzko
• LITTLE FOCKERS, Written by John Hamburg and Larry Stuckey, based on Characters Created by Greg Glenna & Mary Roth Clarke
• SEX & THE CITY #2, Written by Michael Patrick King, Based on the TV Series Created by Darren Star
• TWILIGHT SAGA: ECLIPSE, Screenplay by Melissa Rosenberg, Based on the Novel by Stephenie Meyer
• VAMPIRES SUCK, Written by Jason Friedberg & Aaron Seltzer

WORST PREQUEL, REMAKE, RIP-OFF or SEQUEL (Combined Category for 2010)

• CLASH OF THE TITANS
• THE LAST AIRBENDER
• SEX & THE CITY #2
• TWILIGHT SAGA: ECLIPSE
• VAMPIRES SUCK!

I have to thank the guys over at HeyUGuys for letting us all know that this, prestigious award released its nominees.

INDY filmmaker needs YOUR help!

Got £10 to spare? Then why not help out a budding filmmaker to fullfill his dream to make his zombie movie, "Invasion of the not quite dead". Also, you will get a credit at the end of the film!

UPDATE: I've managed to find the "teaser promo" for the film on youTube. Either that or scroll down and watch it here.

On TUESDAY 25th JANUARY 2011, Independent filmmaker AD LANE is using TWITTER to FAN FUND RAISE for 85 hours straight, in the hope of raising £10,000 to make his epic 1978 INTRO in Bulgaria.

In November 2010, AD and his team flew out to Bulgaria where they did all the pre-production, which included arranging a flamethrower, a car explosion, a helicopter for the opening shot, a vast arsenal of military men & vehicles and a very cinematic village & village house to shoot in.

All being well, AD will be aiming to shoot the INTRO in either late MARCH or early APRIL to get the most out of the cinematic looking snow.

The whole point of the INDYWOOD MOVIE PROJECT is to be 100% fan funded, meaning we don’t have investors, funding bodies or a studio on standby, this whole production is being funded by the fans, the more fans that want to see this movie and donate, the bigger and better this movie can be, which is why AD Lane is doing something most filmmakers wouldn’t dare to do, going several days without sleep to raise funds for his feature.

So far, AD has raised £35,000 from FAN FUNDING, which began in MAY 2009, AD has spent every day using twitter to FAN FUND RAISE, putting in over 15 hours a day for a year and a half, he has so far done a 50 Hour non stop Tweetathon, a 72 Hour Tweetathon & an 80 Hour Tweetathon, All to incredible success.

Attached to ‘INVASION’ is the amazing ZACH GALLIGAN (Gremlins), FRANK JAKEMAN (Breathe), HOLLY MATTHEWS (Waterloo Road), TERRY STONE (Rise Of The Footsoldier), JAMES FISHER (The Zombie Diaries).

Find out more about the project and the Tweetathon at:
OFFICIAL 85 HOUR TWEETATHON SITE: www.indywood.co.uk
THE PROJECT SITE: www.theindywoodproject.com
or follow AD on twitter @indywoodFILMS