It’s An Ideal For Which I Am Prepared To Die

Justin Chadwick

Idris Elba
Naomie Harris

All biopics suffer from the same flaw. The towering central performance overshadows not only the supporting characters but also the story and factual history of the individual being portrayed. Thankfully, this film benefits from two very powerful lead performances and manages to feel like a representation, not an elaborate glorification but it still faces the issue of trying to cram seventy five years into two and a half hours.

For those unaware, in the early 1940’s Nelson Mandela [Elba] was a lawyer in South Africa but despite his credentials, he was still treated as a second class citizen, due to the colour of his skin. Witnessing so many clients abused and ignored by a white dominant government, Mandela joins a small group known as the ANC, in an attempt to spread awareness. Without significant progress, this escalated to peaceful protests of social disorder: boycotting buses, charging “Europeans only” gates and infiltrating other white only areas. The result of which was always arrest and release by the police. After protestors (reacting to a new law that all black citizens must carry ID at all times) are fired upon outside a police station, Mandela convinces his group that violence is the only language the government will understand. So begins a series of raids, bombings and burnings. Eventually the police catch up with the lead members of the ANC and in 1962 they are all arrested. Hoping to avoid martyrdom and further rioting, the presiding judge sentences the accused to life imprisonment, rather than the state preferred death penalty. For twenty seven years, Mandela is kept behind bars, away from his family and the outside world. All the while, disdain for apartheid grows and the rest of the world begins to blacklist South Africa for its politics and principles. All the while, Mandela struggles with the conditions of his imprisonment and a life without his wife [Harris] and daughters.

The narrative is split into two clear segments. The first details Mandela’s younger years from a humble lawyer, to active insurgent against apartheid. The second half illustrates his incrimination and imprisonment. Then we get this tricky third act of his release and running for President of South Africa. This is where the film starts to wane a little. Having witnessed the key moments in his opposition and incarceration, we’re given this comparatively brief summary of his rise to power – which, considering the outside world seemed to love him (and the South Africans slowly began to accept him) and anyone’s knowledge of history, feels a little obvious and a lot of the tension is quelled. Having said that, this film makes no attempt to hide the unpleasantness of Mandela’s life, seducing several women, leaving his wife and son at home, coordinating and executing raids and bombings. This isn’t your atypical edited version of history from a contemporary perspective. The story acknowledges Mandela’s pro-violence past and his anti-violence attitude in his later years and it’s this balance that really cements the difference between an angry young man and a tired old man. A view which is paralleled by the persecution and unrelenting rage of his second wife, Winnie, who uses her experiences to fuel her rage and hatred of her oppressors.

As acceptable as the supporting cast are, they are not as crucial as the roles of Nelson and Winnie Mandela. I’m not saying their real-life counterparts were in anyway unimportant or boring but a story of this scope and scale will always need to cut down the content and actions of the surrounding characters. Idris Elba gives a fantastic performance and while he’s far too tall and bears no resemblance to Mandela, he recreates the iconic voice with sincerity and his body language evolves as time progresses, convincing us with each stage that we are witnessing the embodiment of Nelson Mandela. Naomi Harris gives an equally powerful performance but somehow she irked me. Her ordeal was just as harrowing (if not more so), her struggles, trials and tribulations were the similar and yet something about the portrayal left me cold. I could be alone in this and while I will happily admit, her role is brilliantly played, I think I simply haven’t enjoyed Harris’ acting in recent years – feeling she has waded hip deep into very hammy am-dram territory.

Several films have been made on the subject of Nelson Mandela and South African apartheid from many perspectives but the majority come off with an odd air of made-for-TV amateurism. The only one that distanced itself was Invictus but even that seemed to underplay the severity of what the man had witnessed, committed and endured. I wouldn’t have thought Justin Chadwick was capable of handling such a mature release but he does a very commendable job. Sure, he slips up every now-and-then, giving audiences a Lord Of The Rings style multiple endings, lacking all subtlety and tact with his execution of key emotional developments and favouring verbose patronising speeches, rather than credible dialogue. The production value is spectacular, recreating several decades of South African history; from the clothing, hair, props, sets, everything is impressively recreated. Part of me thinks Alex Heffes was chosen for his impressive work on Last King Of Scotland but that’s probably a cynical side of me. Either way, the score is pretty impressive and fitting to the on-screen drama but feels a little lightweight in memorability and presence.

All things considered, Mandela is a very informative and entertaining narrative, helmed by a wholly convincing lead performance but it suffers from a bloated running time and pacing that loses steam once it strides into its second hour. There’s no way of telling how it will be received by the general public or award ceremonies but it is certainly a Nelson Mandela portrayal for the ages.

Release Date:
3rd January 2014

The Scene To Look Out For:
As much as Nelson’s time in prison was thoroughly unpleasant and demoralising, it seems to pale in comparison to the mistreatment of his wife, who was often picked up for no other reason than to be brutally interrogated, bullied in front of her children and peers and as a means to psychologically break Nelson.

Notable Characters:
I never would have cast Idris Elba in this role. Furthermore, I never would have thought he had the range to play a character of this nature and stature (and this is speaking as an Elba fan and advocate). Yet the man achieves greatness in personifying such an iconic individual and bringing us a man we can understand, relate to, believe and follow.

Highlighted Quote:
“As your leader it is my job to tell you when you are wrong. And my friends, you are wrong”

In A Few Words:
“Heavily weighted and sluggish at times but significantly more impressive than most biopics”

Total Score:



Darkness Has Survived

Francis Lawrence

Jennifer Lawrence
Josh Hutcherson
Woody Harrelson
Donald Sutherland

Set one year after the events in The Hunger Games, victors Katniss Everdeen [Lawrence] and Peeta Mellark [Hutcherson] are suffering post-traumatic stress while trying to maintain the public illusion that they are in fact a loving couple. To quell dissidence in the impoverished Districts, President Snow [Sutherland] tasks Katniss and Peeta to tour the country of Panem and recite propaganda. As the seventy fifth annual Hunger Games approaches, it becomes obvious that the simple riots in the Districts are the beginnings of revolution. In an attempt to snuff this spark before it gets going, Snow unleashes a brutal increase in police presence and enforcement. As the population continue to resist, he becomes acutely aware that Katniss is no longer just a defiant victor but a symbol to the people. It is this concern that leads him to draft previous victors in the upcoming Hunger Games.

One of the reasons I believe this series works is the rich setting and strong concept. Much like dystopian films of the 80’s, the Hunger Games series points an accusatory finger at the well-off and empathising, audiences immediately rally behind the lead underdog. My only real disappointment with the first film was not seeing more of the other Districts; thankfully, this is immediately taken care of with Katniss and Peeta’s whistle stop PR tour. One could argue that this is atypical sequel territory. The same characters re-treading familiar ground, with bigger and more elaborate fallout. The structure is exactly the same but there is a feeling that this time is different, like revisiting a childhood location as an adult. No longer simply “will Katniss survive this brutal ordeal”, the story now focuses on the system itself; its cruelty and the need to tear it down. This sort of totalitarian socio-political analysis makes for a much more mature story than several of these teen-lit adaptations and the adult pacing and complex character developments cement this as a noteworthy addition to the series. Much like the first film, Catching Fire isn’t limited by its 12a/PG-13 rating and provides a thrilling and believable action thriller. But this time around the violence is different. Rather than children killing each other, there is the potential for adults killing kids. Perversely, while one is cinematically acceptable, the other is apparently not. So the violence is inter-spread throughout the opening half, detailing the oppression of the citizens in the Districts.

Despite the change of hands between Gary Ross and Francis Lawrence, Catching Fire maintains the same level of keen directing, editing and production value. From the dingy downtrodden Districts to the lush eccentricities of the Capital, the sets and costumes are spectacular. One of the highlights of the first film was the really engrossing and fitting score by James Newton Howard’s; saturated with soaring pomp and ceremony alongside tender harmonic melodies when necessary. While there wasn’t a great deal of additional development, the return of the central themes was greatly appreciated. Matching the on-screen visuals, the performances are more explored this time around. No longer stumbling through the getting-to-know-you stages, we see Katniss weaken and falter rather than being an implausible being of determination and drive. Equally, the supporting characters feel real and evolve outside of the expected portrayal one would expect or assume. Point in case, Donald Sutherland isn’t just an established actor wheeled out to deliver a few lines, he exudes an in-depth, malicious presence and presents himself as a formidable antagonist. The additions of Jena Malone, Sam Claflin (I’m now officially stating Claflin should be Aquaman) and Jeffrey Wright were pleasantly welcome but Philip Seymour Hoffman felt flat and a little dull after the absurdity of Wes Bentley in the previous release.

The biggest criticism this film may encounter is that it is a bridge. As an adaptation of a trilogy, the story is clearly set to continue and closes on a cliff-hanger; a development which plays out nicely but may leave audiences without a sense of closure or resolve – which they will continue to be deprived of until the second instalment of Mockingjay. Owing to this, some people may also complain about the length of the film, or the pacing. Personally, I think these are solid elements and show a maturity and respect for the audience, rather than pummelling them continually in the hope they won’t get distracted or simply walk away. This stems from the fact that several casual cinemagoers aren’t going to understand or appreciate the nature of these stories. Sure, the film is gladiatorial in nature yet it’s not all about the televised massacres but the reason this institution has been crafted in the first place. The way I’m defending these films, one would probably expect a higher ranking than 8/10 but no matter how well these movies are executed, they are still somewhat flawed in their simplistic, straight forward story-telling and pale in comparison to the monumentally exquisite Battle Royale.

Having crashed through the debut release obstacles and now raised itself above the tricky ‘follow-up’ problems, The Huger Games has achieved that cinematic holy grail: franchise. With this calibre of writing, acting and direction, I imagine this series will continue to press on into Twilight and Harry Potter figures, without overstaying its welcome.

Release Date:
22nd November 2013

The Scene To Look Out For:
Once in the game, Katniss, Peeta and Finnick [Claflin] are pursued by a poisonous fog, while causes horrific boils and burns. Now, I can understand how water would soothe and possibly reverse this effect but the immediacy of its removal is a bit ridiculous. Having said that, I’m happy to suspend disbelief and this isn’t my main problem with this scene. Plunging her hand underwater, Katniss lets out a shriek and explains to her allies that although it hurts, “it helps”. So they all slide into the water and begin writhing, grunting and screaming. I don’t know whether it’s just my immaturity or the fact that my screening was populated by teenagers but everyone in the audience started to openly giggle at the overtly sexual exclamations. So that’s the scene that stuck out in my head. Insightful critiquing, I know.

Notable Characters:
Jennifer Lawrence and Woody Harrelson are great actors, so their engrossing performances are no real surprise. Hutcherson as Peeta Mellark on the other hand, is proving more and more interesting. In the first film he felt a little peripheral, despite being a leading character but that’s primarily due to the fact that the story is told from Katniss’ perspective and her indifference to him is mirrored by the audience. With his victory, public pressure and an inherent need to protect Katniss, he becomes more interesting to watch and a deeper character than simply ‘the guy from District 12’.

Highlighted Quote:
“Drink this. It’ll make you sick. So you can keep eating. How else could we sample everything?”

In A Few Words:
“A healthy sequel which expands the setting, furthers the character development and morphs the story into something more complicated and engrossing than one could have predicted – which is exactly what a sequel should do”

Total Score:



Where Her Book Ended, Their Story Began

John Lee Hancock

Tom Hanks
Emma Thompson
Colin Farrell

There is a misconception among creative types that the story surrounding how iconic or beloved tales were created is sometimes just as interesting or important as the finished release itself. On occasion, this can be true. Finding Neverland, for instance, is a charming reassessment of something incredibly familiar. But as stated, this ‘backstage’ mentality is a misconception. The subtle in-jokes and frustrations that go into making a movie are almost always lost on your garden variety audience and any suspense or tension is completely eradicated by the fact that we all know the final product will be completed and a roaring success. This particular analysis focuses on the cinematic adaptation of P.L. Travers’ [Thompson] Mary Poppins books. The narrative is split between life in rural Australia, 1906 and 1961 Los Angeles, detailing Travers’ childhood and her stubborn refusal to simply hand over the rights to Walt Disney [Hanks] and his studio. All of which can be quickly summarised by explaining that her father (played by Colin Farrell) was a loving man but a terrible alcoholic who had difficulty holding down a job and the author’s initially acceptable changes to the script grow increasingly out of hand to the extent that she finally demands that absolutely no red must be seen in the film, as she has “gone off the colour red but can’t understand why.” That’s pretty much it, rinsed and repeated for a solid two hours. But will the film ever be made? Will it be a musical? Will Dick Van Dyke play the loveable chimney sweep? Will it contain animated segments? Oh, who could know? Well, we do. It does. The end.

Reviewing biopics and documentaries isn’t my strong suit. When penning your critique, it often feels like you are chastising the subject matter, rather than how they have been presented by the movie industry. This film is one of those extreme rarities that is the exact opposite. Hanks, Thompson and Farrell are not only incredibly well cast but they manage to bring an exceptional amount of personality to an otherwise bland premise. But from the brief excerpts of real recordings, we are left with the impression that Travers was a contradictory curmudgeon of a beast who was thoroughly unreasonable from start to end, rather than being a complex individual who has suffered a hard life and created a stony persona from it. After all, there’s a distinct difference between protecting one’s creation and plain rudeness and without any charisma or charm, Travers’ plight is lost on us. Then there are the supporting roles, which are completely dull, two dimensional and criminally unexplored. There’s the continually upbeat driver, Ralph [Paul Giamatti]; Don DaGradi [Bradley Whitford], Richard Sherman [Jason Schwartzman] and Robert Sherman [B.J. Novak], who are given the unenviable task of negotiating the script daily to come to some sort of compromise; Travers’ mother Margaret Goff [Ruth Wilson] who does her best to raise three young girls in the outback of Allora and young Travers herself [Annie Rose Buckley] who is expected to just stare solemnly as her father slips into.. well.. it’s never explained but it’s cinema alcoholism: lots of sweating, falling over and coughing up tiny spatterings of blood before a quiet death.

The film is a marvel in technological mediocrity. The directing, the cinematography, the editing, the score, everything is just so delightfully acceptable. But when you realise this is from the director of The Alamo and The Blind Side, it makes perfect sense. John Lee Hancock is known for his ability to present an unadventurous made-for-TV tale but somehow convince talented people to give impressive performances, elevating his drably shot stories. Having said that, he has the support and power of the Disney studios behind him and as such, the production design and attention to detail are superb. Both the scenes set in turn of the century Australia and sixties Los Angeles really live and breathe the respective era. Having said that, looking at the Australian scenes, I would assume it was all shot in LA but whatever, it looked the part.

In my opinion, this really isn’t a good film to release in a time of creative and economic hardship. I never side with the corporate magnate. Who does? Who wants to see the big successful company succeed? But when you cast Tom Hanks as Walt Disney and have him expand on his philosophy as a creative individual, it changes everything. Phrases such as “You think I’ve made an empire and I want Mary Poppins to simply be another brick in the wall” “I know where she’s coming from, I’ve been there myself. That mouse is family” and “I made a promise to my girls that I would make this movie .. you have to share Mary Poppins with the world” convince you that this isn’t just a money-grubbing mogul but a passionate creator who understands and loves the source material. Now, how much of that is actually true or not is not for me to say but what’s presented in the film does not lend itself to support Mrs. Travers’ case; if anything, this woman’s cantankerous and stubborn refusal makes her the film’s antagonist.

Will Saving Mr. Banks do well? Almost certainly. Critics will lavish it with praise, studios will push for nominations in every respected award and the public that actually see it will eat up the heavy handed emotional elements gleefully. But is it any good? Not at all.

Release Date:
29th November 2013

The Scene To Look Out For:
Mrs. Travers’ ever chirpy, well-mannered driver, Ralph, is just as dull as the rest of the supporting cast but when we are given the briefest of glimpses into his life, he becomes a fascinating individual. A hardworking man with no friends or family ever mentioned, other than his disabled daughter, explaining that he revels in a beautiful day because it means his daughter can sit outside while he’s at work, rather than cooped up indoors all day. And how does the abrasive Mrs. Travers respond? She lists successful individuals who overcame great odds to become great, echoed with a pompous and thoroughly arrogant “your daughter can do anything she wants.” It should be a heart-warming moment but it’s really not. It’s an incredibly condescending and trite remark made by someone who has absolutely no idea what Ralph’s daughter is suffering from. Optimistic, of course but patronising nevertheless.

Notable Characters:
As wonderfully crafted as Thompson’s performance is, I can’t highlight it as the actual life of P.L. Travers is one of great strife and determination as an author and journalist, set in Australia, London and New York. The story of how this woman came to be and the various unanswered questions about her evolution from a carefree young girl to a crotchety old git is disappointingly absent. Tom Hanks’ portrayal of Walt Disney (the first time Disney has featured as a main character on film), on the other hand, treads a fine line of brilliant idolatry and malevolence. At the same time, he’s a charming old man, a father and genuinely interested in bringing happiness to others. Yet within him is the ability to be relentless, manipulative and mercilessly shrewd. A fascinating study, masterfully duplicated and one which is all too brief.

Highlighted Quote:
“We share a Celtic soul you and I. The whole world, it’s just an illusion, Ginty, old girl”

In A Few Words:
“Despite what industry professionals or nostalgia riddled reviewers will say, Saving Mr. Banks is a very weak and thin story saved only by thoroughly impressive lead performances”

Total Score:


Cinema City Film Quiz #109

[10 November 2013]

Winning Team:
Star Trek Into The Dark Avenger’s Skyfall

Genre – Erotic sci-fi thriller

Runners Up:
Genre – The awesome adventures of Thor
Flap Trap
Genre – Giant lady ensnares criminals in her snatch. Family fun with a kung-fu twist
Avengers II: No Disassemble
Genre – Iron Man & Johnny 5 battle for robot supremacy with sexy results
Nightmare On Sesame Street II: Elmo’s Revenge
Genre – Lame puppet horror sequel
Crystals Are Not For Everyone
Genre – Thriller

ROUND I: Pre-Production
1. The documentary filmmakers in Anaconda are terrorised by which breed of snake?
2. Aliens Vs. Predator: Requiem was marketed with which acronym?
3. How many individuals make up the title crew in the 2010 film The A-Team?
4. Happy Gilmore is about which two sports? (one point per correct answer)
5. Das Boot takes place on which military vehicle?
6. Which three actors play the roles of the Apollo 13 crew, in Apollo 13? (one point per correct answer)
7. Which film stars Kevin Spacey as a man suffering a mid-life crisis, who becomes infatuated with his teenage daughter’s cheerleader friend?
8. What is the name of the indigenous population of Pandora, in Avatar?
9. Which actor starred in Carlito’s Way, Mystic River and Gangster Squad?
10. Bob Harris is promoting Suntory Whiskey in which city, in Lost In Translation?

ROUND II: Filming [Films in which villains get caught on purpose Special]
1. Which actor plays the role of John Harrison in Star Trek Into Darkness? Chris Pine? Bruce Greenwood? Benedict Cumberbatch?
2. Die Hard 2 takes place in what kind of building? Skyscraper? Airport? Bank?
3. Who is Clyde Shelton avenging when he targets the US justice system, in Law Abiding Citizen? His wife and daughter? His wife and son? His parents?
4. The opening scene of Skyfall takes place in which city? Budapest? Prague? Istanbul?
5. Which character said the following quote, in The Dark Knight Rises, “You do not fear death. You think this makes you strong. It makes you weak”? Bane? Blind prisoner? John Daggett?
6. How many years has Ripley been in stasis when she is picked up by the Weyland-Yutani Corporation, in Aliens? 57? 67? 77?
7. What is John Doe’s apartment number in Se7en? 235? 497? 604?
8. Which of the following was not one of the scripted masked robbers during the opening scene of The Dark Knight? Chuckles? Dopey? Bobo?
9. How many of the Avengers team debuted in The Avengers (meaning no prior appearances by that character)? 0? 1? 2?
10. The keyring to Colm Meaney’s car in Con Air has a Star Trek insignia on it, as an homage to his role as Miles O’Brien. True or False?

ROUND III: Post-Production
1. Which actor has played a Nazi, a holocaust survivor, a wizard, a king, a polar bear and death?
2. What was the full title of the 2007 western starring Casey Affleck and Brad Pitt as Jesse James?
3. All Quiet On The Western Front has been adapted for cinema twice, name the years of release. (one point per correct answer)
1930 / 1979
4. In the 2010 adaptation of Alice In Wonderland, which character was used most to market the film?
5. What is the title of the only sequel in which Jim Carrey reprised a role?
6. What is Annie Wilkes’ profession in Misery?
7. The following quote is from which film, “Do you know what it’s like to fall in the mud and get kicked in the head with an iron boot? Of course you don’t, no one does. It never happens.”?
8. The Departed is a remake of which Hong Kong film?
9. How many of Alfred Hitchcock’s films were set in San Francisco?
THREE (Shadow Of A Doubt, Vertigo, The Birds)
10. Finish the following quote, “For thirty years under the Borgias the Italians had warfare, terror, murder and bloodshed but they produced Michelangelo, Da Vinci and the Renaissance. In Switzerland they had brotherly love and five hundred years of democracy and peace. And what did they produce?” [bonus point for naming the film]

ROUND IV: Promotion & Release
1. Which Doctor Who actor played Rasputin in the 1971 epic Nicholas and Alexandra? Patrick Troughton? Sylvester McCoy? Tom Baker?
2. What was the title of the animated film Disney released in 2001? Treasure Planet? Atlantis: The Lost Empire? Brother Bear?
3. Attack Of The 50 Foot Woman was released in which year? 1958? 1961? 1967?
4. How many films has Mel Gibson directed? 4? 5? 6?
5. The spider in Arachnophobia is finally killed by Jeff Daniels with a combination of fire and which hardware tool? Angle grinder? Nail gun? Soldering iron?
6. Alive was released in 1993 but set in which year? 1968? 1970? 1972?
7. What did Spike Jonze direct after Being John Malkovich? Confessions Of A Dangerous Mind? Eternal Sunshine Of The Spotless Mind? Adaptation?
8. In Aladdin, what does Abu touch that causes the cave of wonders to collapse? Emerald? Ruby? Saphire?
9. After his time in prison, Robbie is shipped off to join the army and fight in which country, in Atonement? France? Germany? Belgium?
10. Syrup was used to apply wigs to the six month old twins playing Elora in Willow. True or False?

Screenshots: Pirates Of The Caribbean: Dead Man’s Chest / Indiana Jones And The Last Crusade / The Lord Of The Rings: Return Of The King
Poster: Tombstone
Actor: Bruce Willis


Best Motion Picture of the Year

Silver Linings Playbook
The Avengers
The Cabin In The Woods
The Artist
The Hobbit: An Unexpected Journey
Life Of Pi

Worst Motion Picture of the Year

Abraham Lincoln: Vampire Hunter
Silent Hill: Revelation
The Iron Lady
The Watch
Men In Black III

Most Under-Rated Motion Picture of 2012

John Carter

Most Over-Rated Motion Picture of 2012

Magic Mike

Best Animated Feature

Wreck It Ralph
The Pirates! In An Adventure With Scientists!
Hotel Transylvania

Best Performance by an Actor in a Leading Role

Shia LaBeouf [Lawless]
Joseph Gordon-Levitt [Looper]
Michael Fassbender [Prometheus]

Best Performance by an Actress in a Leading Role

Jennifer Lawrence [Silver Linings Playbook]
Marion Cotillard [De Rouille Et D’os (Rust And Bone)]
Carey Mulligan [Shame]

Best Performance by an Actor in a Supporting Role

Guy Pearce [Lawless]
Tom Hiddleston [The Avengers]
Sam Rockwell [Seven Psychopaths]

Best Performance by an Actress in a Supporting Role

Maggie Smith [The Best Exotic Marigold Hotel]
Amy Adams [The Master]
Anne Hathaway [The Dark Knight Rises]

Best Achievement in Directing

Joss Whedon [The Avengers]
Rian Johnson [Looper]
John Hillcoat [Lawless]

Best Writing, Screenplay Written Directly for the Screen

Rian Johnson [Looper]
Drew Goddard / Joss Whedon [The Cabin In The Woods]
Steve McQueen / Abi Morgan [Shame]

Best Writing, Screenplay Based on Material Previously Produced or Published

Nick Cave [Lawless]
Joss Whedon [The Avengers]
David O. Russell [Silver Linings Playbook]

Best Achievement for Original Musical Score

Nick Cave / Warren Ellis [Lawless]
Jonny Greenwood [The Master]
Howard Shore [The Hobbit: An Unexpected Journey]

Best Achievement in Cinematography

Mihai Malaimare Jnr [The Master]
Dariusz Wolski [Prometheus]
Wally Pfister [The Dark Knight Rises]

Best Achievement in Editing

William Goldenberg [Argo]
Jeffrey Ford / Lisa Lassek [The Avengers]
Stuart Baird [Skyfall]

Best Achievement in Set/Art Direction

Fainche MacCarthy / Steve Ritchie [Snow White & The Huntsman]
Sonja Klaus [Prometheus]
Michelle Day [Dredd]

Best Achievement in Costume Design

Bob Buck / Ann Maskrey / Richard Taylor [The Hobbit: An Unexpected Journey]
Colleen Atwood [Snow White And The Huntsman]
Alexandra Byrne [The Avengers]

Best Achievement in Hair & Makeup

Marnie Wong / Gitte Axen [The Cabin In The Woods]
Tami Lane [The Hobbit: An Unexpected Journey]
Kelvin R. Trahan / Kate Bisco [Argo]

Best Achievement in Sound

Frank E. Eulner [The Avengers]
Paul Aulicino [The Hunger Games]
Karen M. Baker [Skyfall]

Best Achievement in Visual Effects

Chris Brenczewski / Daniel Sudick [The Avengers]
Bill Westenhofer [Life Of Pi]
Jalila Otky [Prometheus]