Some deserving films were left out of the drama category, but thankfully, many deserving actors were awarded their due. The few exceptions most definitely include Best Actress contender Quvenzhane` Wallis, the pint-sized wonder who enchanted in the emotional and profound Beasts of the Southern Wild, as well as Paul Thomas Anderson’s The Master for Best Picture. Perhaps the film was a bit beyond its time, or perhaps star Joaquin Phoenix’s flippant comments hurt The Master’s chances. Let’s hope it wasn’t the latter, because Phoenix gives a gut-wrenching, career-best performance in the film (and thankfully he was nominated for Best Actor.) Let’s also hope that the Oscars wise up and learn from the Globes’ mistake.

In a commercial film industry increasingly dominated by derivative fare, writer-director Wes Anderson is a beacon of creativity and inspiration. Anderson established himself as a force with his first feature film, 1996’s “Bottle Rocket,” and his follow-up movies – including “The Life Aquatic with Steve Zissou” and “Fantastic Mr. Fox” – have been equally unique and appealing. His latest, “Moonrise Kingdom,” is set in 1965 and tells the quirky story of Sam (Jared Gilman) and Suzy (Kara Hayward), troubled 12-year-olds who run away together and hide in the countryside of a New England island. 

The sparse dialogue in Wes Anderson’s films captures detachment and suppression – a part of all human relationships. Yet, his films also portray misfortunes and difficulties we encounter with those closest to us in a warmhearted, positive light. His films manage to capture the joys of relationships, despite their challenging complexities. Anderson’s success rides largely on his unique depiction of these two conflicting sides of human behavior -- our social tendencies and our hermetic ones.