It may currently be sitting at #6 in the US box-office chart for 2012, but impressive as that is, “Skyfall” is a phenomenon on a different scale across the pond. In its sixth week of release in the UK, James Bond’s latest outing has surpassed “Avatar” to become the highest-grossing film in British box-office history with a total of nearly $152 million. (Yes, we are a smaller country.) As well as being the best possible golden-anniversary gift for the franchise, it’s also likely to be labelled a major victory for comparatively old-school, adult-oriented commercial cinema that doesn’t even boast 3D premiums to jack up the numbers. The question from an awards standpoint now is whether BAFTA will dare ignore it in the top categories. Daniel Craig got nominated in 2006, so could  007 be in line for its first Best Film nod? [The Independent] 

“The Hunger Games,” “Brave” and “The Dark Knight Rises” are among the 2012 films nominated for Grammy Awards for their original compositions. [HitFix]

Joe Reid does a thorough sizing-up of the Best Actress race, and shares my position that those calling it a weak one really need to wake up. Also, Rachel Weisz is RIGHT BEHIND YOU. [Film.com]

Steven Spielberg has been invited to screen “Lincoln” in the US Senate on December 19. I imagine it’ll go down quite well. [Deadline]

Peter Jackson explains why it really was necessary to split “The Hobbit” into three films, and does so without referring to an accounts book. [The Guardian] 

“Zero Dark Thirty” is the subject of R. Kurt Osenlund’s latest Oscar Prospects column. As you might expect, its prospects are looking pretty good right now. [The House Next Door]

Lisa Schwarzbaum and Owen Gleiberman respectively rate “Zero Dark Thirty” and “Lincoln” as the year’s best. [Entertainment Weekly]

As part of Variety’s spotlight on the editing, effects and sound categories, “The Sessions” director Ben Lewin explains why he specifically sought out a female editor for his film. [Variety]

Still on editing, “Flight” cutter Jeremiah O’Driscoll talks about the process of assembling the film’s much-admired crash sequence. [New York Times]

On to more modestly-budgeted marvels, “Beasts of the Southern Wild’ director Benh Zeitlin explains how he created mythical creatures on a shoestring. [The Envelope]