Movie Nation

The blowback from last year’s underwhelming, over-long and tedious “Hobbit” installment — and maybe the whole greedy, aesthetically unjustifiable decision to turn a slim adventure fantasy into three movies — is showing up at the box office.

“An Unexpected Journey” did $84 million on its opening weekend. The lighter, more fun (but still absurdly long) “Desolation of Smaug” will be lucky to hit $73. $70, says Deadline.com.

For an established, reliable brand like Tolkien, that’s pretty bad. Look at the “Thor” sequel for comparison. Not a bomb, but plainly Jackson is paying the price for Warners’ decision to three-film this two 100 minute films (at most) project. It’s going to make a lot less than the first one.

Tyler Perry’s WORST MADEA MOVIE EVER is doing only $15 million. He used to open these movies in the $30 million range. He integrated the cast, made it about Madea interacting with white people (the play it is based on doesn’t work that way), pulled most of his cultural-racial punches and left out the jokes. The character is played out, the audience has moved on. Dude needs to hang up the dress. On screen, anyway.

But not from “Frozen.” I doubt if Disney Animation’s latest wins the best animated feature Oscar, but this better than most of the rest of a middling year’s offerings in animation (“Croods” and “Despicable Me 2” were a bit better) is OWNING this holiday season, pulling in well over $20 million.

“Hunger Games” is fading. Fast.

“American Hustle” is cleaning up on just a handful of screens.

It is, by most accounts (especially mine) a superior movie to “The Hobbit: An Unexpected Journey.” But “The Desolation of Smaug” is tracking lower, with expectations reduced for its blockbuster opening weekend.

It won’t, Box Office Mojo declares, match the $84 million that the first film pulled. Unheard of.

Box Office Guru says $78 million, for much the same reasons. People were disappointed with the first film, and fool bore me once, shame on you, bore me twice…

Last night’s midnight shows did $5 million less than the first film. Over $8, close to $9, and word of mouth and reviews might help. But $80 seems to be the high end of expectations — “Thor” numbers, not “Avengers.”

“A Madea Christmas” is a terrible movie. Will Tyler Perry’s audience show up? It has a mostly white cast, and Madea. Is he expecting Larry the Cable Guy to pull them in? Black or white, Hispanic or Asian, try “Black Nativity,” people. A much better movie.

Predictions are $27 million for this one. Let’s hope that’s too high. He can do better than this, but YOU have to start demanding it.

Perry has already gotten rich off recycling his tired old stage comedies into cheap, dull movies. He doesn’t need your sucker money.

It was time of wide ties and velvet suits, jangly jewelry, open shirts, big hair and boat-sized cars. After Watergate, cynicism was everybody’s default mode. The economy was in the toilet, disco was on the radio and everybody was corrupt.
“American Hustle” reminds us that as jaded as we’ve gotten about crime and a rigged economy and government and politics, none of this is new. And if you’re looking for a place where right and wrong dissolved from black and white to shades of grey, this might capture it.
David O. Russell’s caper comedy is built around the 1970s ABSCAM scandal, a wide-ranging FBI sting operation from the golden age of such stings. It’s a film of bottom-feeding con artists, ambitious politicians and insanely ambitious law enforcement folk. And it makes delicious fun of the zero tolerance zeal built into this scandal and its true cost to our ability to get big things done.
Christian Bale is Irving Rosenfeld, a New York low-life who runs loan scams, art forgery scams and a chain of dry cleaners and glass repair shops all over The Five Boroughs.
He’s got a soul-mate, a paramour and partner in crime — Sydney Prosser (Amy Adams). Like Irving, Sydney’s a dreamer. When she buys into his profession, a fake English accent becomes her calling card and Lady Edith Greensly becomes her name. She has “connections to London banking.”
Irving is fat, with an epic comb-over not quite covering his bald pate. But sexy Sydney, who never met a bra she liked, shrugs that off. She can see through people, size them up. And she’s good at rationalizing their scams, aimed mainly at desperate small business people.
“Everybody at the bottom crosses paths eventually, in a pool of desperation.”

And then they con the wrong guy. Richie DiMaso (Bradley Cooper) is a fanatical F.B.I. agent living the “Saturday Night Fever” dream. He’s got a room in his mom’s home, a fiance that he has no interest in saddling his future to and his permed hair in curlers every night. Richie is every bit the striver that Irving and Sydney are. But what he wants is the glory of tearing down a culture of graft, fraud and corruption. These two, strong-armed into setting up cons to snare bigger fish, are his next promotion.
Russell has plenty of fun with the garish era that was the setting — “This new thing — a microwave…It’s scientific! Don’t put metal in it.” — and he never lets himself get too caught up in the actual facts of this sting. That involved a fake Arab sheik, a lot of money promised to help re-launch the casino industry in Atlantic City and the politicians and mobsters who desperately want that to happen.
“Some of this actually happened,” the opening credits joke.
The three leads narrate the tale. And through them, others find their way in.
Jeremy Renner is a hard-charging, idealistic mayor, Shea Whigham (of Boardwalk Empire) is a shady operator, Louis C.K. is the embattled, common-sense peddling F.B.I. boss that Richie crosses and Jack Huston is a mob lieutenant.
And Jennifer Lawrence is Rosalyn Rosenfeld, Irving’s wife. That’s right. He’s got an unstable child bride who was a single-mom when she married him. Rosalyn is the juiciest character of the lot, a  Martha Mitchell for this Watergate Scandal, a loony loose cannon who cluelessly acts on every impulse — and her favorite impulse is to hurt the husband she knows is cheating on her.
“American Hustle” is about over-reaching, about a sting that grows more dubious and more dangerous the more people it ensares. Irving, blackmailed by the Feds, can see this. Sydney, playing all the angles, worries. But Richie charges on, a lunatic on some sort of hang’em all mission. And he’s got his eye on Lady Edith.
Cooper gives Richie an antic dizziness, which really pays off in his confrontations with the hapless, put-upon comic Louis C.K. Bale plays Irving without a hint of vanity and cagey, overmatched resignation, a man who is no longer “in control” of his scams or his women.
Lawrence is getting the lion’s share of the Oscar buzz for her nasal-voiced, self-absorbed idiot, a happy drunk and a young woman jaded beyond her years. But Adams crackles with bitter longing in scene after scene. Lawrence has the showier moments in their confrontations, but Adams makes their scenes work.
The disco decadence, the seedy era before Times Square became a theme park, the lowered expectations of an endless recession, everything that was then and is now makes up “American Hustle.” And that’s what makes this the best movie of this holiday season.

MPAA Rating: R for pervasive language, some sexual content and brief violence
Cast: Christian Bale, Amy Adams, Jennifer Lawrence, Bradley Cooper, Jeremy Renner, Louis C.K., Jack Huston, Shea Whigham
Credits: Directed by David O. Russell, written by Eric Singer and David O. Russell.  A  Sony/Columbia release.
Running time: 2:18

Tyler Perry made his fortune by pandering to a predominantly African American audience. So a tip of the Santa hat for him trying to broaden his appeal by pandering to a white one with “A Madea Christmas,” his most integrated movie ever.
Give him respect for making an effort to go against the cultural grain, making a black female character a racist, spouting retrograde sentiments about how all a bully needs is a punch in the mouth and embracing the “War Against Christmas” meme of conservative news outlets.
But from its unfunny Madea-in-customer-service opening to the abrupt thud of a finale, on into the seriously stiff outtakes that cover the closing credits, “Christmas” is his worst Madea movie ever.
How bad is this tale of race, “Taking the Christ out of Christmas” and trouble down on the farm? You can’t wait for Larry the Cable Guy to show up. That bad.
And truth be told, Perry and Larry, two old pros at low comedy, could have done a simple two character farce, bickering about bigotry, hip hop vs. country music or what have you and produced a funnier movie. Their scenes at least have a little spark to them. The rest of the movie — none at all.
Madea is fired from her department store greeter gig thanks to assorted “slap the Hell outta you” threats. But Eileen (Anna Maria Horsford), her overbearing colleague, talks her into driving with her on a surprise Christmas visit to Eileen’s school teacher daughter, Lacey (Tika Sumpter).
Lacey’s a black teacher to a class full of white kids in tiny Buck Tussle (not to be confused with Bug Tussle), Alabama. It’s a town about to lose its Christmas festival due to lack of funds, until Lacey’s ex-beau Oliver (JR Lemon) steps in and finds a corporate (and secular) sponsor.
Times are hard in Buck Tussle, with farmers like Tanner (Chad Michael Murray) taking out his frustration on his wife (Alicia Witt) and son, Bailey (Noah Urrea). Lacey’s secret love, Conner (Eric Lively) is a college-trained crop specialist who somehow never learned which cows in his herd actually give the milk. Hilarious.
When Eileen, Madea and Oliver show up, things get complicated. When Connor’s parents (Larry the Cable Guy, Kathy Najimy) arrive, there’s almost no room at the inn.
Madea is famous for her malapropisms, mispronounced words in the manner of Mrs. Malaprop, a character from an 18th century play. Mrs. Madea-prop tells Lacey’s students “the story of the Nativitease. The Virgin Mary…J. Blige…she went into laborer…”
Najimy matches Madea’s word-botching, calling Madea everything from “Medium” to “Mrs. Mandela.”
What Perry doesn’t know about farming would fill a better movie than this. He toys with race, side-stepping into a couple of KKK jokes and making Eileen less than tolerant of “The Help”, which is what she believes Connor is.
The timeline is sloppy, the town “crisis” clumsily handled and the supporting cast — save for the bawdy Larry and Najimy — couldn’t find a laugh if their lives depended on it.
“The Nativitease,” a couple of mild Madea/Larry exchanges and this aphorism — “A lie — the longer you let it live, the harder it is to kill” — are all the movie has to recommend it.
That’s not enough to save “Christmas,” a lump of cinematic coal Perry’s shoving into America’s stockings this holiday season.

(The Ten Worst movies of 2013? “Madea” makes the cut.)

MPAA Rating: PG-13 for sexual references, crude humor and language
Cast: Tyler Perry, Larry the Cable Guy, Tika Sumpter, Kathy Najimy, Alicia Witt, Chad Michael Murray
Credits: Written and directed by Tyler Perry.  A Lionsgate release.
Running time: 1:41

“American Hustle” and “12 Years a Slave” led this year’s Golden Globes nominations, announced today.

A few quick observations — the broader Globes “comedy” vs. “Drama” categories always allows greater inclusion. So you get both Bruce Dern AND Robert Redford nominations, Amy Adams gets an “American Hustle” bump, along with Oscar favorite Jennifer Lawrence.

But they’ve still helped narrow the field, as did the SAG announcement.

“The Butler” took a pretty good sized hit, this time around.  “Inside Llewyn Davis” still has hope.

“Saving Mr. Banks” was left out of the best picture mix. I see it an as Oscar best picture nominee. “Rush” won’t be.

“Philomena” is getting more Globes love than I figure Oscar will show it, though Dame Judi seems like a cinch.

Love Greta Gerwig, but “Frances Ha”? That’s a stretch. No way she makes the Oscar field.

“Tellingly, “Mandela” pulled in three big nominations. Ignored by SAG, boosted by the Hollywood Foreign Press. Shocking. It’s good enough to merit the attention.

Ditto “Wolf of Wall Street,” perhaps a long shot for best picture, but Leonardo DiCaprio, ignored by SAG, gets his Globes due. As he should.

BEST MOTION PICTURE – DRAMA
“12 Years a Slave”
“Captain Phillips”
“Gravity”
“Philomena”
“Rush”

BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – DRAMA
Cate Blanchett, “Blue Jasmine”
Sandra Bullock, “Gravity”
Judi Dench, “Philomena”
Emma Thompson, “Saving Mr. Banks”
Kate Winslet, “Labor Day”

BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – DRAMA
Chiwetel Ejiofor, “12 Years a Slave”
Idris Elba, “Mandela: Long Walk to Freedom”
Tom Hanks, “Saving Mr. Banks”
Matthew McConaughey, “Dallas Buyers Club”
Robert Redford, “All Is Lost”

BEST MOTION PICTURE – COMEDY OR MUSICAL
“American Hustle”
“Her”
“Inside Llewyn Davis”
“Nebraska”
“The Wolf Of Wall Street”

BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – COMEDY OR MUSICAL
Amy Adams, “American Hustle”
Julie Delpy, “Before Midnight”
Greta Gerwig, “Frances Ha”
Julia Louis-Dreyfus, “Enough Said”
Meryl Streep, “August: Osage County”

BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – COMEDY OR MUSICAL
Christian Bale, “American Hustle”
Bruce Dern, “Nebraska”
Leonardo DiCaprio, “The Wolf of Wall Street”
Oscar Isaac, “Inside Llewyn Davis”
Joaquin Phoenix, “Her”

BEST ANIMATED FEATURE FILM
“The Croods”
“Despicable Me 2″
“Frozen”

BEST FOREIGN LANGUAGE FILM
“Blue is the Warmest Color”
“The Great Beauty”
“The Hunt”
“The Past”
“The Wind Rises”

BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A MOTION PICTURE
Sally Hawkins, “Blue Jasmine”
Jennifer Lawrence “American Hustle”
Lupita Nyong’o, “12 Years a Slave”
Julia Roberts, “August: Osage County”
June Squibb, “Nebraska”

BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A MOTION PICTURE
Barkhad Abdi, “Captain Phillips”

Daniel Brühl, “Rush”
Bradley Cooper, “American Hustle”
Michael Fassbender, “12 Years a Slave”
Jared Leto, “Dallas Buyers Club”

BEST DIRECTOR – MOTION PICTURE

Alfonso Cuaron, “Gravity”
Paul Greengrass, Captain Phillips”
Steve McQueen, “12 Years a Slave”
Alexander Payne, “Nebraska”
David O. Russell, “American Hustle”

BEST SCREENPLAY – MOTION PICTURE
Spike Jonze, “Her”
Bob Nelson, “Nebraska”
Jeff Pope, Steve Coogan, “Philomena”
John Ridley, “12 Years A Slave”
Eric Warren Singer, David O. Russell, “American Hustle”

BEST ORIGINAL SCORE – MOTION PICTURE
Alex Ebert, “All Is Lost”
Alex Heffes, “Mandela: Long Walk To Freedom”
Steven Price, “Gravity”
John Williams, “The Book Thief”
Hans Zimmer, “12 Years A Slave”

BEST ORIGINAL SONG – MOTION PICTURE
“Atlas,” “Hunger Games: Catching Fire”
Music by: Chris Martin, Guy Berryman, Jonny Buckland, Will Champion
Lyrics by: Chris Martin, Guy Berryman, Jonny Buckland, Will Champion

“Let It Go,” “Frozen”
Music by: Kristen Anderson Lopez, Robert Lopez
Lyrics by: Kristen Anderson Lopez, Robert Lopez

“Ordinary Love,” “Mandela: Long Walk to Freedom”
Music by: Bono, The Edge, Adam Clayton, Larry Mullen, Jr., Brian Burton
Lyrics by: Bono

“Please Mr Kennedy,” “Inside Llewyn Davis”
Music by: Ed Rush, George Cromarty, T Bone Burnett, Justin Timberlake, Joel
Coen, Ethan Coen
Lyrics by: Ed Rush, George Cromarty, T Bone Burnett, Justin Timberlake, Joel
Coen, Ethan Coen

“Sweeter Than Fiction,” “One Chance”
Music by: Taylor Swift, Jack Antonoff
Lyrics by: Taylor Swift, Jack Antonoff

Steve Carell is determined to lower expectations for “Anchorman 2: The Legend Continues.”
“It’s SO stupid. I couldn’t believe how stupid it is.”
And in a world of stupid and a cast ’70s era TV news buffoons, Steve’s character, the ditzy, naive TV weatherman Brick Tamland, stands out. “Unrelentingly dumb,” Carell says. He’s being kind.
“It was the easiest movie ever, because I got to just stand there and look dumb. For two months. I rarely had to say anything. Empty every thought out of my head, and just blurt out words.”
The script doesn’t give Brick, a nitwit’s nitwit, much to say. But director and longtime Will Ferrell writing partner Adam McKay would stand off camera, and at the end of a take say “give me something extra. Just say something, anything,” McKay recalls.
Lines like, “Would you like to see the smile I use when I pose for photographs?” came out.
McKay made his directing debut with 2004’s “Anchorman.” He’s had time to figure out why the film, not a blockbuster hit in theaters, became a cultural phenomenon. The “news team” in the movie, the foursome of blow-dried anchor Ron Burgundy (Will Ferrell), weather dunce Brick (Carell), investigative reporter/ladykiller Brian Fantana (Paul Rudd) and racist, alcoholic loose cannon sportscaster Champ Kind (David Koechner) are — to McKay — the new Marx Brothers.
“You’ve got the blowhard, misguided leader, Burgundy, who is Groucho. Then there’s the slick womanizer, Fantana.” He could be Chico Marx. “The out of control, high energy nut, Champ.”
OK, he sounds a little more “Three Stooges.”
“And the naive, irrepressibly goofball? Brick Tamland is Harpo Marx. That’s obvious.”
“The Legend Continues” is set in 1980, as the unemployed news team is rounded up for a new venture — 24 hour news. And that presented co-writers Ferrell and McKay with a chance for satire, a more pointed commentary on the state of TV news.
“It was right in front of us,” McKay says. “News got dumber with 24 hours news. Babies in the wells, car chases, Pee Wee Herman in the porno theater. We decided to make all that Ron Burgundy’s fault.”
And another thing right in front of them? The birth of the green screen weather segment, when weather-casters learned to stand in front of a blank, green wall and point to a map that was super-imposed behind them. Brick, of course, was going to have trouble with that.
“I first did green screen stuff back when I was on ‘The Daily Show,'” Carell recalls. “And it was…awkward. So I pitched that idea to Adam. Brick’s a weather guy, it’s 1980. Put him in this new situation with this new technology. Weathermen had to deal with this. I’m sure some of them reacted the same way. Well, maybe not the SAME way.”
In the movie, Brick’s exposure to the technology comes on the most inopportune day.
“Happy St. Patricks’ Day, for all our Native American viewers.”
McKay says that “I’ve never been that confidant in a laugh. Never. After we shot it, Steve was like, ‘Are you sure it works? Is it funny?’ I was all, ‘You are out of your mind. It’s hilarious.'”
One piece of the “Anchorman” phenomenon that’s changed in the past decade is its reception by TV news folks. Mocking airhead, over-coiffed TV news anchors, even in a period piece set in the ’70s, was going to hit close to home for America’s chattering-on-TV-classes.Some newspaper film critics, such as Roger Ebert, dared to suggest that these idiots were based on notoriously dim TV personalities in their own market.
“Television journalists weren’t immediately enamored of it,” remembers Carell, laughing. “Maybe they took it personally. But they kept it at arm’s length.”
McKay noticed that, too. He thinks TV news, sports and weather reporters were just hoping it would just go away.
“When it’s just an odd comedy with inside jokes about your business, and nobody sees it, you can ignore it,” McKay says. “But that didn’t happen.”
“Anchorman” became a decent hit in theaters, and a cultural phenomenon on home video. And now, the “Anchorman” team is turning up on all manner of news and sports programs, with Ferrell, in character, even traveling to Bismarck, North Dakota, to co-anchor a weekend newscast.
“These TV news guys, now they can’t get enough of us,” Carell jokes.
Or, McKay adds, “of us making fun of them.”

“Here Comes the Devil” is a case study in how to make your low-budget horror movie sellable.
It barely has a fright in it on its own, this bloody, Mexican-made supernatural thriller set in the hill country near Tijuana.
But open it with a hot “Blue is the Warmest Color” sex scene, toss in a few other hot and heavy moments and a generous helping of nudity and you can be sure, at least, of getting a Hollywood studio’s attention.
The movie surrounding that sexual stuff? Meh.
That opening all-female sex scene ends with a brutal, bloody attack, with the crazed killer escaping to a mysterious, rock-covered hill. That’s the perfect place for Sol (Laura Caro) and Felix (Francisco Barreiro) to let their kids take off for a hike. The grownups need a little make-out and talk-dirty time in the car.
It’s only after the kids fail to come back that the locals warn (in Spanish, with English subtitles) that “Too many people have gone missing up there.”
But no harm, no foul. Sara (Michelle Garcia) and Adolfo (Alan Martinez) show up the next day, their ordeal in a cave over. Or is it? Sara’s burgeoning sexuality and odd behavior make the parents suspect something happened to her. A creepy loner named Lucio (David Arturo Cabezud) figures as the prime suspect. Hey, his name’s close to “Lucifer,” so go figure.
Writer-director Adrian Garcia Bogliano toys with a Hitchcockian touch, here and there — parents skipping past the cops and seeking answers, and maybe revenge. The leads — Caro and Barreiro — nicely suggest the confusion, paranoia and terror that takes over when you fear the worst for your kids. “Devil” is in able hands so long as Caro is carrying it.
But the supernatural scares that start happening around our stricken family — flickering lights, random shrieks, “earthquakes” and the like — take “Here Comes the Devil” over much too-familiar ground.
And the best Bogliano can come up with for a flimsy-effects finale is such pure queso that if it weren’t for the subtitles and the sex, “Here Comes the Devil” would have traveled straight to video, where it belongs.
 
MPAA Rating: unrated, with graphic violence, explicit sex
Cast: Laura Caro, Francisco Barreiro, Michelle Garcia, Alan Martinez, David Arturo Cabezud, Giancarlo Ruiz
Credits: Written and directed by Adrián García Bogliano. A Magnet release.
Running time: 1:37

“The Butler” scored nominations for best picture (is IS an ensemble piece, and SAG loves to see members working), best actor and best supporting actress from the Screen Actor’s Guild today.

“12 Years a Slave,” “Dallas Buyer’s Club,” “American Hustle” and “August: Osage County,” all pictures with big performances at their core, were the other best pic nominees.

Missing? “The Wolf of Wall Street,” “Nebraska,” “Gravity,” “Inside Llewyn Davis” and “Nebraska” for starters, “All is Lost” and “Fruitvale Station” as well.

Cate Blanchett scored her expected “Blue Jasmine” tip of the hat, with Judi Dench and Merly Streep and Sandra Bullock and Emma Thompson — all of them Oscar owners — in the best actress field.

Matthew McConaughey and Jared Leto landed “Dallas Buyers Club” nods, with Tom Hanks (“Captain Phillips”), Forest Whitaker (“The Butler”) and Chiwetel Ejiofor and Bruce Dern also up for acting honors.

Daniel Bruhl was a modest surprise, stealing “Rush” from Chris Hemsworth.

Barkhad Abdi, the pirate from “Captain Phillips,” will compete with Bruhl for best supporting actor.  Michael Fassbender and the late James Gandolfini (“Enough Said”) round out best supporting actor.

Pity Stacy Keach (“Nebraska”) didn’t earn a nod, or Will Forte (“Nebraska”).

Mattin Scorsese’s “Wolf of Wall Street” does not appear to be able to deliver Leonardo DiCaprio an Oscar any more than their other collaborations. “Wolf” was shut out, as was “Walter Mitty” and the over-rated “Llewyn Davis.”

In its 20 years of existence, the SAG awards have proven to be pretty good Oscar indicators. So

Outstanding Performance by a Cast in a Motion Picture

12 Years a Slave

American Hustle

August: Osage County

Dallas Buyers Club

Lee Daniels’ The Butler

Outstanding Performance by a Male Actor in a Leading Role

Bruce Dern / Woody Grant – “Nebraska”

Chiwetel Ejiofor / Solomon Northup – “12 Years a Slave”

Tom Hanks / Capt. Richard Phillips – “Captain Phillips”

Matthew McConaughey / Ron Woodroof – “Dallas Buyers Club”

Forest Whitaker / Cecil Gaines – “Lee Daniels’ The Butler”

Outstanding Performance by a Female Actor in a Leading Role

Cate Blanchett / Jasmine – “Blue Jasmine”

Sandra Bullock / Ryan Stone – “Gravity”

Judi Dench / Philomena Lee – “Philomena”

Meryl Streep / Violet Weston – “August: Osage County”

Emma Thompson / P.L. Travers – “Saving Mr. Banks”

Outstanding Performance by a Male Actor in a Supporting Role

Barkhad Abdi / Muse – “Captain Phillips”

Daniel Brühl / Niki Lauda – “Rush”

Michael Fassbender / Edwin Epps – “12 Years a Slave”

James Gandolfini / Albert – “Enough Said”

Jared Leto / Rayon – “Dallas Buyers Club”

Outstanding Performance by a Female Actor in a Supporting Role

Jennifer Lawrence / Rosalyn Rosenfeld – “American Hustle”

Lupita Nyong’o / Patsey – “12 Years a Slave”

Julia Roberts / Barbara Weston – “August: Osage County”

June Squibb / Kate Grant – “Nebraska”

Oprah Winfrey / Gloria Gaines – “Lee Daniels’ The Butler”

FULL COVERAGE: Oscars 2014

Primetime Television

Outstanding Performance by a Male Actor in a Television Movie or Miniseries

Matt Damon / Scott Thorson – “Behind the Candelabra”

Michael Douglas / Liberace – “Behind the Candelabra”

Jeremy Irons / King Henry IV – “The Hollow Crown”

Rob Lowe / John F. Kennedy – “Killing Kennedy”

Al Pacino / Phil Spector – “Phil Spector”

Outstanding Performance by a Female Actor in a Television Movie or Miniseries

Angela Bassett / Coretta Scott King – “Betty & Coretta”

Helena Bonham Carter / Elizabeth Taylor – “Burton and Taylor”

Holly Hunter / G.J. – “Top of the Lake”

Helen Mirren / Linda Kenney Baden – “Phil Spector”

Elisabeth Moss / Robin Griffin – “Top of the Lake”

Outstanding Performance by a Male Actor in a Drama Series

Steve Buscemi / Enoch “Nucky” Thompson – “Boardwalk Empire”

Bryan Cranston / Walter White – “Breaking Bad”

Jeff Daniels / Will McAvoy – “The Newsroom”

Peter Dinklage / Tyrion Lannister – “Game of Thrones”

Kevin Spacey / Francis Underwood – “House of Cards”

PHOTOS: SAG 2014 top nominees

Outstanding Performance by a Female Actor in a Drama Series

Claire Danes / Carrie Mathison – “Homeland”

Anna Gunn / Skyler White – “Breaking Bad”

Jessica Lange / Fiona Goode – “American Horror Story: Coven”

Maggie Smith / Violet, Dowager Countess of Grantham – “Downton Abbey”

Kerry Washington / Olivia Pope – “Scandal”

Outstanding Performance by an Ensemble in a Drama Series

Boardwalk Empire

Breaking Bad

Downton Abbey

Game of Thrones

Homeland

Outstanding Performance by a Male Actor in a Comedy Series

Alec Baldwin / Jack Donaghy – “30 Rock”

Jason Bateman / Michael Bluth – “Arrested Development”

Ty Burrell / Phil Dunphy – “Modern Family”

Don Cheadle / Martin “Marty” Kaan – “House of Lies”

Jim Parsons / Sheldon Cooper – “The Big Bang Theory”

TIMELINE: The Academy Awards through the years

Outstanding Performance by a Female Actor in a Comedy Series

Mayim Bialik / Amy Farrah Fowler – “The Big Bang Theory”

Julie Bowen / Claire Dunphy – “Modern Family”

Edie Falco / Jackie Peyton – “Nurse Jackie”

Tina Fey / Liz Lemon – “30 Rock”

Julia Louis-Dreyfus / Vice President Selina Meyer – “Veep”

Outstanding Performance by an Ensemble in a Comedy Series

30 Rock

Arrested Development

The Big Bang Theory

Modern Family

Veep