In the opening scene of Kenneth Lonergan’s Manchester by the Sea, Lee (played by the underappreciated Casey Affleck) asks his nephew Patrick (Lucas Hedges) who he’d rather have with him if he got trapped on a deserted island; his father Joe (Kyle Chandler) or his uncle. He chooses his dad. This hypothetical question sounds arbitrary at first, but it becomes vital to the story as the film progresses.

Jumping ahead several years to the present, Lee lives a lonely, emotionless life as a handyman for an apartment complex. Something tragic happened to him that caused him to be this way, and everyone around town has their own rumor about him. One day he receives a phone call from the hospital informing him that his brother has passed away. Lee learns that he’s now the parental guardian of his nephew, Patrick, even though it’s quite obvious he’s not able to handle that level of responsibility.

Through various flashbacks (sometimes it’s difficult to tell the past from present since Affleck doesn’t seem to age) it’s divulged Lee had a wife (Michelle Williams) and three young kids. Lonergan (Margaret, You Can Count on Me) carefully fills in missing parts of the story, one fragment at a time. Manchester by the Sea primarily focuses on the relationship between Lee and Patrick as they try to cope with various tragedies.

Nearly every aspect of Manchester by the Sea is expertly crafted. Lonergan demonstrates tremendous grace in all of the heartbreaking moments, an area where some filmmakers lay it on too thick. The cinematography and editing are terrific and, aside from an oddly placed Matthew Broderick appearance, the performances are as well. There’s a masterful scene late in the film between Affleck and Williams that’s so powerful it may leave you in tears. Manchester by the Sea is a revelation, a story about admitting defeat and dealing with consequences.

Rating:
8.5/10

Somewhere buried in Kelly Reichardt‘s slice-of-life film, Certain Women, there’s a unified message of empowerment and alienation. Getting to this message, however, is an excruciating test of one’s patience. This is mostly by design as Reichardt focuses on aesthetics and mood more than the film’s narrative. The first story follows Laura (Laura Dern), a lawyer representing a client (Jared Harris) who insists he’s entitled to a workers’ comp settlement, despite being told repeatedly that he has no case. The shortest, and least developed, story is the second one, which involves a husband and wife (James Le Gros and Michelle Williams) constructing a remote weekend getaway home for their family. And the final story is about a Native American horse rancher (Lily Gladstone) who falls for a young lawyer (Kristen Stewart) teaching night classes, an innocent attraction that turns into blatant stalking.

The source material for Certain Women came from a collection of short stories and the film’s format reflects this directly. While each segment contains well-developed characters in unique circumstances, Reichardt drops us right into the middle of a story that’s already unfolding. Details of how the characters got where they are, or where they are going next, are excluded, a technique that can be frustrating. Shot gorgeously on 16mm, Certain Women is a studious slow burner that should appease fans of the auteur filmmaker while others may be left scratching their heads.

Rating:
6.5/10

In honor of Oscar season being fully upon us, we’ve created a new column that combines three of our favorite things: arguing about the Oscars, nostalgia, and passing judgment on others. Oscar Winners Revisited hopes to re-evaluate past Academy Awards results and see how well the winners and nominees held up versus the choices Way Too Indie Staff members would make today. We’ll be sticking to the big six categories: Best Picture, Director, Actor, Actress, Supporting Actor, and Supporting Actress. Make sure to check back on Way Too Indie tomorrow for another year’s batch of Academy Award winners, revisited.

Best Supporting Actress

Who Won – Melissa Leo, The Fighter
Who Should’ve Won – Hailee Steinfeld, True Grit

It’s hard to complain about Leo’s win for The Fighter, though her self-funded pleading for the award looks more desperate now than even then. Truthfully, her performance might be the year’s second Best Supporting Actress role, but her performance wasn’t the best in the category. As the lead of her film, True Grit’s Hailee Steinfeld carries a movie that also features major actors like Jeff Bridges, Matt Damon, and Josh Brolin. The 13-year old’s steely reserve, and scrappy determination in the face of an overwhelming Wild West is captivating filtered through the Coen’s vision for True Grit, and aided by a script packed with Southern idioms Steinfeld is a delight in the role. This is the type of performance Hilary Swank would have won an Oscar for if Steinfeld were 10 years older, but her relative youth makes the part easier to ignore. 4 years later, it’s impossible to overlook Steinfeld’s captivating performance. [Zach]

Best Supporting Actor

Who Won – Christian Bale, The Fighter
Who Should’ve Won – John Hawkes, Winter’s Bone

The Academy loves when big name actors lose massive amounts of weight for their role, as if that’s the only way to show true dedication, and that’s exactly what Christian Bale did (for the second time in his career). Truth be told, Bale did a great job in David O. Russell’s The Fighter, it’s hard to imagine the film without him. But the best performance in this category goes to a different nominee who played a meth-addict; John Hawkes for Winter’s Bone. Here Hawkes makes the most of his limited screen time and perfectly counterbalancing the then little-known Jennifer Lawrence as her drugged up uncle. Hawkes embodies the part of the conflicted antihero with his natural scrappy grit, making him the perfect fit for the role. After picking up the win during the Independent Spirit Awards for this role, there were high hopes Hawkes would also win his first Oscar too. But to this day we’re still waiting for that to happen. [Dustin]

Best Actress

Who Won – Natalie Portman, Black Swan
Who Should’ve Won – Michelle Williams, Blue Valentine

I can’t think of a more heartbreaking performance from 2010 than Michelle Williams in Blue Valentine, it’s one of the best lead actress performances of the decade so far and right up there with Anne Dorval (Mommy), Cate Blanchett (Blue Jasmine), Marion Cotillard (Two Days, One Night) and so many others. Natalie Portman who won this year for Black Swan was incredible in that film, arguably the best she’s ever been, and that certainly made the loss for Williams easier to understand. But still as great as Portman is and she is great, Williams is just on another level with a performance full of tragic and beautiful moments (sometimes seconds apart) as a woman caught in the dissolution of her marriage. [Ryan]

Best Actor

Who Won – Colin Firth, The King’s Speech
Who Should’ve Won – James Franco, 127 Hours

Are you serious? James Franco plays a man who literally gets trapped between a rock and a hard place for 127 hours in agonizing pain and resorts to an unthinkable escape, and yet the Award goes to the portrayal of a British King with a speech impediment? Franco spent the entire film by himself, in a single setting, and wasn’t even able to move, yet his relentless determination proves the power of the human condition, inspiring everyone who watched it. In doing so, Franco demonstrated his ability to perform in a more serious role and earned an Independent Spirit Award in the process. The King’s Speech is one of those films that people forget about several years later, and while Colin Firth’s performance was sufficient, Franco’s is one that sticks with you over the years. [Dustin]

Best Director

Who Won – Tom Hooper, The King’s Speech
Who Should’ve Won – David Fincher, The Social Network

The Social Network isn’t David Fincher’s best work, not by a long stretch, he’s at his best on films like Se7en and Zodiac. But still it’s impossible to call any of the other nominees this year more deserving than the calculated, precise and damn near perfect work on display from Fincher here; it’s almost insulting to award it to anyone else in fact. Still, Tom Hooper and The King’s Speech rode a wave of late-season awards success and pulled the rug right out from under Fincher. It’s not that Hooper’s a totally undeserving winner, although between The Damned United and The King’s Speech I began to sour on his style, it’s that he’s undeserving in 2011. Aaron Sorkin wrote a great script, Jesse Eisenberg gave a career-best performance, but it’s Fincher who is the true MVP of The Social Network bringing his procedural leanings, unique style and oddly strong sense of humor to this story about the beginnings of Facebook or what could just as accurately be called a story of friends, betrayals, and human nature. Fincher’s presence at the helm can’t be undersold and is the biggest reason why this film is or will be considered a masterpiece by many. [Ryan]

Best Picture

Who Won – The King’s Speech
Who Should’ve Won – The Social Network

The Academy Awards have a penchant for looking back at history with the films they awards their top honors. The King’s Speech fits that mold, an ostensibly feel-good project that depicts a bygone era through the experience of a King and his speech therapist. It’s a pleasant film that for one Weinstein-fueled reason or another turned into the foregone conclusion of 2011’s Best Picture race. In awarding The King’s Speech, the Academy snubbed several films that will be remembered as various auteurs’ defining works, notably David Fincher’s The Social Network. “The Facebook Movie,” as many people dubbed the movie, retains the cold precision of Fincher’s other works but fills its story with damaged egos and big money squabbling. The script from Aaron Sorkin (which won Best Adapted Screenplay this year) features dialog delivered at the pace of a screwball comedy, while somehow communicating the intricacies of computer programming and web strategy. The Social Network is a distinctly modern movie, and it captures the rebirth of America’s tech boom without the benefit of hindsight. But far beyond that it’s a compelling story about human behavior, and the value of relationship vs. power. [Zach]

Take This Waltz plays out more like a fantasy than the traditional romantic comedy it is based upon. This sophomore feature from director Sarah Polley contains an outcome that leaves you with something to chew on, but it’s attempts in quirkiness results in awkwardness. It brilliantly showed how the grass is not as green as you may think, however, in that big achievement it tripped on small things along the way.

On this particular day, everything seems to be falling in place for Margot (Michelle Williams). While on a writing assignment for a tour guide brochure, Margot has a run in with a man named Daniel (Luke Kirby). On her flight back home the two happen to not only have the same flight, but actually sit next to one another. The two openly flirt with each other in the time they spend in the air.

Margot mentions that she has a fear of connections in airports; because there is too much rushing, not knowing, and concern if you are going to make it your flight. She admits she does not like to be between things. Or the very thought of wondering if she is going to miss things. Even though she is just talking about terminals in airports, there is an obvious metaphor between relationships in her life.

After the plane lands they share a taxi only to find out he lives right across the street from her. Just when things could not get any better for the two, we find out that she has been holding back something very important. She explains that she is married to which he replies, “That’s too bad”, as he walks across the street to his house.

The very next scene we see her waking up next to her husband Lou Rubin (Seth Rogen). The two indulge in pillow talk, like most people who are in a serious relationship do. When his entire family comes over for a visit she is very engaged with everyone, especially with his sister Geraldine (Sarah Silverman). We see no reason as to why she would want leave her happy marriage with Lou, yet we see her watching across the street in search for Daniel.

All along you wonder (and for good reason if you go back to the airport metaphor) if Margot is just tired of the routine in her life with Lou. Geraldine validates the suspicion while talking to Margot and some friends about how depressing marriage life can be when you start to think about trading it all in for something new. Someone wisely states that, “New things get old”, but that seemed to go in one ear and out the other of Margot. Which is a shame because that simple line is the most important line of the film. It is also the best scene, the display of naked female bodies, both of younger and older, to bluntly represent new and old.

The beginning of Take This Waltz does not try to distance itself from a typical romantic comedy. It is not until the third act that the film ditches the contrived plot to something a bit substantial. One thing they nailed though was the ending, which mostly makes up for the dreadful start.

On more than one occasion the dialog felt off. In times when characters were in awkward parts in conversation the dialog felt forced in an unnatural way. It was like they were trying too hard at times to be awkward and quirky. Luke Kirby seemed like he was reading his lines out loud instead of acting them out. Even the talented Michelle Williams felt off at times. But aside from that, she played the part of a happily married woman who was deeply confused and depressed well.

Take This Waltz had flashes of greatness but they vanished when outlandish coincidences and bizarre dialog arise. Therefore, the film felt very inconsistent; going back and forth between oddly executed conversations, to spot-on pillow talk, making it difficult not to have mixed feelings for it. A line in the film nearly sums up my thoughts on the film as a whole, “Life has a big gap in it. You don’t try to fill it like a fucking lunatic.”

The Artist won big at the 2012 Film Independent Spirit Awards by taking home most of the major awards such as Best Feature, Best Director, Best Male Lead and Best Cinematography. In fact, it won every award it was nominated for except for Best Screenplay. We will see tomorrow night if The Artist can win Best Picture for both the Independent Spirit Awards and The Oscars, something that has not been done since 1987 with Platoon.

I ended up doing pretty well with my predictions this year. Out of the total of 13 unannounced awards I got 9 of them correct, which is about 69% accuracy. Although this year there will likely be a lot of cross-over winners between the Spirit Awards and the more mainstream awards, it was great to see independent films get the recognition they deserve.

The full list of Independent Spirit Award winners:
(The winners are highlighted in bold red font)

50/50 – Seth Rogen, Evan Goldberg, Ben Karlin
Beginners – Miranda de Pencier, Lars Knudsen, Leslie Urdang, Jay Van Hoy, Dean Vanech
Drive – Michel Litvak, John Palermo, Marc Platt, Gigi Pritzker, Adam Siegel
Take Shelter – Tyler Davidson, Sophia Lin
The Artist – Thomas Langmann, Emmanuel Montamat
The Descendants – Jim Burke, Alexander Payne, Jim Taylor

Mike Mills – Beginners
Nicolas Winding Refn – Drive
Jeff Nichols- Take Shelter
Michel Hazanavicius – The Artist
Alexander Payne – The Descendants

Another Earth
In The Family
Margin Call
Martha Marcy May Marlene
Natural Selection

Demian Bichir – A Better Life
Jean Dujardin – The Artist
Ryan Gosling – Drive
Woody Harrelson – Rampart
Michael Shannon – Take Shelter

Lauren Ambrose – Think Of Me
Rachel Harris – Natural Selection
Adepero Oduye – Pariah
Elizabeth Olsen – Martha Marcy May Marlene
Michelle Williams – My Week With Marilyn

Albert Brooks – Drive
John Hawkes – Martha Marcy May Marlene
Christopher Plummer – Beginners
John C. Reilly – Cedar Rapids
Corey Stoll – Midnight In Paris

Jessica Chastain – Take Shelter
Angelica Huston – 50/50
Janet McTeer – Albert Nobbs
Harmony Santana – Gun Hill Road
Shaileen Woodley – The Descendants

Bellflower
Circumstance
Hello Lonesome
Lovers of Hate
The Dynamiter
Pariah

An African Election
Bill Cunningham New York
The Interrupters
The Redemption of General Butt Naked
We Were Here

A Separation
Melancholia
Shame
The Kid With A Bike
Tyrannosaur

Bellflower
The Off Hours
Midnight In Paris
The Artist
The Dynamiter

Footnote
The Artist
Win Win
Beginners
The Descendants

Another Earth
Margin Call
Terri
Cedar Rapids
50/50

Margin Call
Director: J.C. Chandor
Ensemble Cast: Kevin Spacey, Paul Bettany, Jeremy Irons, Zachary Quinto, Penn Badgley, Simon Baker, Mary McDonnell, Demi Moore

Chad Burris – Mosquita y Mari
Sophia Lin – Take Shelter
Josh Mond – Martha Marcy May Marlene

Where Soldiers Come From
Hell and Back Again
Bombay Beach

Simon Arthur – Silver Tongues
Mark Jackson – Without
Nicholas Ozeki – Mamitas

We are only 23 days away from hearing the winners of the 2012 Independent Spirit Awards so I thought I would give a shot at predictions who those winners will be. The Spirit Awards are a little be harder to predict than the Oscars because they do not tend to follow as many patterns nor does it have as wide of an audience. This year has a chance to be closer to the outcome of the Oscars than any other year with The Artist being the favorite at both shows. Christopher Plummer and A Separation also could be set to win both a Spirit Award and Oscar. In addition to picking the winners for each category I gave some insight as to why in the “Notes” section under the categories.

Tune in on Saturday February 25th to IFC and see how well I did (or did not do).

The full list of Independent Spirit Award predictions:
(My prediction for the winners are highlighted in bold red font)

50/50 – Seth Rogen, Evan Goldberg, Ben Karlin
Beginners – Miranda de Pencier, Lars Knudsen, Leslie Urdang, Jay Van Hoy, Dean Vanech
Drive – Michel Litvak, John Palermo, Marc Platt, Gigi Pritzker, Adam Siegel
Take Shelter – Tyler Davidson, Sophia Lin
The Artist – Thomas Langmann, Emmanuel Montamat
The Descendants – Jim Burke, Alexander Payne, Jim Taylor

Mike Mills – Beginners
Nicolas Winding Refn – Drive
Jeff Nichols- Take Shelter
Michel Hazanavicius – The Artist
Alexander Payne – The Descendants

Another Earth – Directed by Mike Cahill; Producers: Mike Cahill, Hunter Gray, Brit Marling, Nicholas Shumaker
In The Family – Directed by Patrick Wang; Producers: Robert Tonino, Andrew van den Houten, Patrick Wang
Margin Call – Directed by J.C. Chandor; Producers: Robert Ogden Barnum, Michael Benaroya, Neal Dodson, Joe Jenckes, Corey Moosa, Zachary Quinto
Martha Marcy May Marlene – Directed by Sean Durkin; Producers: Antonio Campos, Patrick Cunningham, Chris Maybach, Josh Mond
Natural Selection – Directed by Robbie Pickering; Producers: Brion Hambel, Paul Jensen

Demian Bichir – A Better Life
Jean Dujardin – The Artist
Ryan Gosling – Drive
Woody Harrelson – Rampart
Michael Shannon – Take Shelter

Lauren Ambrose – Think Of Me
Rachel Harris – Natural Selection
Adepero Oduye – Pariah
Elizabeth Olsen – Martha Marcy May Marlene
Michelle Williams – My Week With Marilyn

Albert Brooks – Drive
John Hawkes – Martha Marcy May Marlene
Christopher Plummer – Beginners
John C. Reilly – Cedar Rapids
Corey Stoll – Midnight In Paris

Jessica Chastain – Take Shelter
Angelica Huston – 50/50
Janet McTeer – Albert Nobbs
Harmony Santana – Gun Hill Road
Shaileen Woodley – The Descendants

Bellflower – Written and directed by Evan Glodell; Producers: Evan Glodell, Vincent Grashaw
Circumstance – Written and directed by Maryam Keshavarz; Producers: Karin Chien, Maryam Keshavarz, Melissa M. Lee
Hello Lonesome – Written and directed and produced by Adam Reid
Lovers of Hate – Written and directed by Dee Rees; Producer: Nekisa Cooper
The Dynamiter – Writters: Matthew Gordon and Brad Ingelsby; Directed by Matthew Gordon; Producers: Kevin Abrams, Matthew Gordon, Merilee Holt, Nate Tuck, Amile Wilson

An African Election – Jarreth J. Merz, Kevin Merz
Bill Cunningham New York – Richard Press
The Interrupters – Steve James
The Redemption of General Butt Naked – Daniele Anastasion, Eric Strauss
We Were Here – David Weissman, Bill Weber

A Separation – Asghar Farhadi
Melancholia – Lars von Trier
Shame – Steve McQueen
The Kid With A Bike – Jean-Pierre Dardenne, Luc Dardenne
Tyrannosaur – Paddy Considine

Joel Hodge – Bellflower
Benjamin Kasulke – The Off Hours
Darius Khondji – Midnight In Paris
Guillaume Schiffman – The Artist
Jeffrey Waldron – The Dynamiter

Joseph Cedar – Footnote
Michel Hazanivicius – The Artist
Tom McCarthy – Win Win
Mike Mills – Beginners
Alexander Payne, Nat Faxon & Jim Rash – The Descendants

Mike Cahill & Brit Marling – Another Earth
J.C. Chandor – Margin Call
Patreck DeWitt – Terri
Phil Johnston – Cedar Rapids
Will Reiser – 50/50

Ricky Gervais returned as the host for the 69th Golden Globe Awards offending attendees with a beer just as he did last year. Although, this year he was a little more tame with his jokes, he proved he was worthy of being a repeating host.

As expected The Artist ended up with the most wins with three (including Best Motion Picture – Comedy or Musical and Best Performance by an Actor in a Motion Picture – Comedy or Musical). But The Descendants was a close second with two big wins (Best Motion Picture — Drama and Best Performance by an Actor in a Motion Picture – Drama).

On the TV side of the awards no one show dominated and there were some surprises, namely Kelsey Grammer winning as Best Actor in a Drama and Matt LeBlanc getting a win for Best Actor in a Comedy. Game Of Thrones, Modern Family and American Horror Story each walked out with a win while Boardwalk Empire and Breaking Bad sadly going home empty handed.

The full list of Golden Globe film winners:
(The winners are highlighted in bold red font)

Best Motion Picture – Drama:
The Descendants
The Help
Hugo
The Ides of March
Moneyball
War Horse

Best Motion Picture – Comedy or Musical:
50/50
The Artist
Bridesmaids
Midnight in Paris
My Week With Marilyn

Best Director:
Woody Allen – Midnight in Paris
George Clooney – The Ides of March
Michel Hazanavicius – The Artist
Alexander Payne – The Descendants
Martin Scorsese – Hugo

Best Actress – Drama:
Glenn Close – Albert Nobbs
Viola Davis – The Help
Rooney Mara – The Girl With the Dragon Tattoo
Meryl Streep – The Iron Lady
Tilda Swinton – We Need to Talk About Kevin

Best Actor – Drama:
George Clooney – The Descendants
Leonardo DiCaprio – J. Edgar
Michael Fassbender – Shame
Ryan Gosling – The Ides of March
Brad Pitt – Moneyball

Best Actress – Comedy or Musical:
Jodie Foster – Carnage
Charlize Theron – Young Adult
Kristen Wiig – Bridesmaids
Michelle Williams – My Week With Marilyn
Kate Winslet – Carnage

Best Actor – Comedy or Musical:
Jean Dujardin – The Artist
Brendan Gleeson – The Guard
Joseph Gordon-Levitt – 50/50
Ryan Gosling – Crazy, Stupid, Love
Owen Wilson – Midnight In Paris

Best Supporting Actress:
Berenice Bejo – The Artist
Jessica Chastain – The Help
Janet McTeer – Albert Nobbs
Octavia Spencer – The Help
Shailene Woodley – The Descendants

Best Supporting Actor:
Kenneth Branagh – My Week with Marilyn
Albert Brooks – Drive
Jonah Hill – Moneyball
Viggo Mortensen – A Dangerous Method
Christopher Plummer, Beginners

Best Foreign Language Film:
The Flowers of War (China)
In the Land of Blood and Honey (USA)
The Kid With a Bike (Belgium)
A Separation (Iran)
The Skin I Live In (Spain)

Best Screenplay – Motion Picture:
Woody Allen – Midnight in Paris
George Clooney, Grant Heslov, Beau Willimon – The Ides of March
Michel Hazanavicius – The Artist
Alexander Payne, Nat Faxon, Jim Rash – The Descendants
Steven Zaillian, Aaron Sorkin – Moneyball

Best Original Score – Motion Picture:
Ludovic Bource – The Artist
Abel Korzeniowski – W.E.
Trent Reznor, Atticus Ross – The Girl With the Dragon Tattoo
Howard Shore – Hugo
John Williams – War Horse

Best Animated Feature Film:
The Adventures of Tintin
Arthur Christmas
Cars 2
Puss in Boots
Rango

Best Original Song – Motion Picture:
Hello Hello – Gnomeo & Juliet, music by Elton John, lyrics by Bernie Taupin
The Keeper – Machine Gun Preacher, music and lyrics by Chris Cornell
Lay Your Head Down – Albert Nobbs, music by Brian Byrne, lyrics by Glenn Close
The Living Proof – The Help, music by Mary J. Blige, Thomas Newman, Harvey Mason Jr.; lyrics by Mary J. Blige, Harvey Mason Jr., Damon Thomas
Masterpiece – W.E., music and lyrics by Madonna, Julie Frost, Jimmy Harry

Cecil B. DeMille Award:
Morgan Freeman

The full list of Golden Globe television winners:

Best Drama Series:
American Horror Story
Boardwalk Empire
Boss
Game of Thrones
Homeland

Best Comedy Or Musical:
Enlightened
Episodes
Glee
Modern Family
New Girl

Best TV Movie/Miniseries:
Cinema Verite
Downton Abbey
The Hour
Mildred Pierce
Too Big to Fail

Best Actress – Drama:
Claire Danes – Homeland
Mireille Enos – The Killing
Julianna Margulies – The Good Wife
Madeleine Stowe – Revenge
Callie Thorne – Necessary Roughness

Best Actor – Drama:
Steve Buscemi – Boardwalk Empire
Bryan Cranston – Breaking Bad
Kelsey Grammer – Boss
Jeremy Irons – The Borgias
Damian Lewis – Homeland

Best Actress – Comedy or Musical:
Laura Dern – Enlightened
Zooey Deschanel – New Girl
Tina Fey – 30 Rock
Laura Linney – The Big C
Amy Poehler – Parks and Recreation

Best Actor – Comedy or Musical:
Hugh Bonneville – Downtown Abbey
Idris Elba – Luther
William Hurt – Too Big to Fail
Bill Nighy – Page Eight
Dominic West – The Hour

Best Actress – TV Movie/Miniseries:
Romola Garai – The Hour
Diane Lane – Cinema Verite
Elizabeth McGovern – Downton Abbey
Emily Watson – Appropriate Adult
Kate Winslet – Mildred Pierce

Best Actor – TV Movie/Miniseries:
Alec Baldwin – 30 Rock
David Duchovny – Californication
Johnny Galecki – The Big Bang Theory
Thomas Jane – Hung
Matt LeBlanc – Episodes

Best Supporting Actress – TV Series:
Jessica Lange – American Horror Story
Kelly MacDonald – Boardwalk Empire
Maggie Smith – Downtown Abbey
Sofia Vergara – Modern Family
Evan Rachel Wood – Mildred Pierce

Best Supporting Actor – TV Series:
Peter Dinklage – Game of Thrones
Paul Giamatti – Too Big to Fail
Guy Pearce – Mildred Pierce
Tim Robbins – Cinema Verite
Eric Stonestreet – Modern Family