Todd McCarthy has written up the best films scores of the year. So I guess I’ll offer up some favorites. I love traditional stuff from John Williams (“The Adventures of Tintin”) and Howard Shore (“Hugo”) this year. I also delighted in the jazzy change of pace Alberto Iglesias gave “Tinker, Tailor, Soldier, Spy,” as well as the subtle grandeur Mychael Danna brought to “Moneyball.” Alexandre Desplat’s shifting gears in the midst of his work on “The Ides of March” was fantastic. Hans Zimmer’s “Rango” work was memorable and I actually dug what Patrick Doyle did on “Rise of the Planet of the Apes,” but I’d love to see Steven James get some recognition for what he did on “Attack the Block” some time this year. (As if.) [Hollywood Reporter]
A curiously nihilistic Tim Gray on Oscar campaigning: “Selling is…the Hollywood way.” And it always has been. [Variety]
The Raymond Chandler essay he quotes in his piece, which was a different year and a different outlet. [Atlantic]
Matt Zoller Seitz on Martin Scorsese’s greatest films. [Salon]
Owen Gleiberman asks when film critics suddenly got to be on a first-name basis with actors. [Entertainment Weekly]
“Lady Thatcher’s closest confidante has expressed concern at the way the former prime minister is portrayed in a new film about her life.” [Telegraph]
“Young Adult” gets prime real estate in the local paper. [Los Angeles Times]
Adam Chitwood on the Oscars “The Muppets” could win, though FYI, “Me Party” and “Let’s Talk About Me” were not submitted for Best Original Song consideration, so they are not eligible. [Collider]
Lou Lumenick writes up the non-news David Denby embargo break of “The Girl with the Dragon Tattoo,” a film not worth a fraction of the drama surrounding it this week. [New York Post]
Jeff Wells bends Robert Downey Jr. over his knee and spanks him for being a conservative. [Hollywood Elsewhere]