The SAG ensemble award is a strange beast, one that has made official nominees of such noted thespians as Gwen Stefani, Eli Roth and the RZA, sometimes at the expense of more accomplished colleagues. A quirk that causes trouble every year is their rigid but random method of determining which actors are key players in the ensemble, a screen credit issue that often leaves valued players out in the cold. This year, Corey Stoll, whose hilarious performance as Ernest Hemingway made him, for many critics, the MVP of “Midnight in Paris,” wasn”t included in the film”s ensemble nod, while Carla Bruni, perfectly fine in her bit part as a museum guide, was. Go figure. Nathaniel Rogers ponders this and other injustices, gets a diplomatic (but clearly vexed) response from Stoll, and offers a sensible solution. [Film Experience]
Armond White takes on the whole messy business of embargoes. You may find yourself agreeing with him for a change. [City Arts]
As you might expect, British journalist Sarah Hughes is upset that “Tinker, Tailor, Soldier, Spy” and “Shame” were absent from yesterday’s SAG list. [The Guardian]
Speaking of which, David Poland talks to “Tinker, Tailor” director Tomas Alfredson and screenwriter Peter Straughan. [Hot Blog]
The ever-perceptive Mark Harris evaluates how the critics’ awards have (or haven’t) affected the game so far, and further nags Fox Searchlight to put “Margaret” out there. [Grantland]
Tim Robey reflects on a standout year for non-Hollywood cinema, with a particularly strong British charge. Not the award season thus far would have you know it. [The Telegraph]
Over at the same paper, novelist and screenwriter William Boyd offers a balanced appreciation of “The Artist,” converting many detractors’ issues into positives. [The Telegraph]
Jack Egan spots a cinematographer who really should be getting more attention this year: Joe Luis Alcaine for “The Skin I Live In.” [Below the Line]
Rounding up and discussing key scenes from several of this year’s Oscar hopefuls, including “The Artist,” “The Descendants,” “Moneyball” and “Coriolanus.” [LA Times]
Larry Rohter wonders whether, like last year, both the USA’s neighbors can muscle into the foreign-language Oscar race. When it comes to “Miss Bala,” I certainly hope so. [The Carpetbagger]