February 17, 2013


The Writers Guild of America Awards were held tonight, and Ben Affleck‘s Argo continued its sweep through awards season by netting Best Adapted Screenplay for writer Chris TerrioMark Boal won Best Original Screenplay for the film that will actually continue to resonate for years to come, Zero Dark Thirty.  Meanwhile, Malik Bendejelloul‘s won Best Documentary Screenplay for the wonderful Searching for Sugar Man.  Over on the TV side, Breaking Bad won Best Drama Series, Louie won Best Comedy Series, and Girls won Best New Series.  Hatfields & McCoys and Game Change continued their awards winning streaks by picking up Best Long Form (Original) and Long Form (Adapted), respectively.  Finally, Portlandia beat out some stiff competition (such as The Daily Show and The Colbert Report) to pick up Best Comedy/Variety.

  • DougW

    I think a number of films from 2012 will ‘continue to resonate for years to come,’ including “Argo,” “Silver Linings Playbook,” and “The Perks of Being A Wallflower.”

  • HM

    Zero Dark Thirty will not resonate for years to come. People already have stopped talking about it. The only film from 2012 that people are still talking about is Silver Linings Playbook. Audience reception to that is huge, even more so than Argo and ZD30.
    Silver Linings should have won Adapted
    Django Unchained should have won Original.
    (I don’t know if those films were eligible or not, but that’s how the Oscars should pick it Sunday)

    • filmquack

      Completely agree. I actually never understood what people saw in Zero Dark Thirty. It is three extremely long hours of “then this happened” story telling. At no point is there any real character arch or true development for the main characters other than “I want to catch the bad guys,” then a little later, “Now I REALLY want to catch the bad guys.” Nor is there any great philosophical statement or important messages to be discussed, as much as the films inflated self importance derived from its subject matter would like you to believe so.

      The filmmakers spent so much time being careful not to say the wrong thing, or to get too political, that they failed to say anything at all. Yes the subject matter is important, yes Chastane, despite her shallow one dimensional character, had a memorable performance, but none of that matters when my entire theater had fallen asleep by hour two and was only briefly roused from their slumber of boredom by the climactic mission in the last 15 minutes we had all been waiting to see for almost 3 hours. Subject matter alone does not make a movie great or memorable. I do not watch movies just so I can occasionally say, “Oh yeah, I remember when that happened.” There were so many things this movie could have said, there were so many aspects of the war on terror this movie could have examined, there are so many questions it could have demanded and forced the audience to answer. It did none of these things. It hid behind its own material and hoped that the scenario itself would make the audience think it was asking those questions, apparently it largely succeeded in that at least. Part of me almost feels like people felt like they had to love this movie, because of what it was about.

      • Person

        ^ Yes. This.

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