Prey of the Jaguar (1996, directed by David DeCoteau)


Derek Leigh (Maxwell Caulfield) is a former Special Ops agent whose son and wife are killed by a drug lord (Trevor Goddard) than Leigh helped to put behind bars.  Inspired by his dead son’s love of super heroes, Leigh puts on a purple rubber suit and learns karate from Master Yee (John Fujioka) while The Toymaker (Paul Bartel) supplies him with an arsenal of weapons.  Calling himself the Jaguar, Leigh goes after the men who killed his family.

Caulfield wears an obviously fake mustache for the first half of the film so that he can shave it off when he becomes The Jaguar.  The camera never stops spinning around.  Most of the fights look fake and the exterior of Derek’s house changes from shot-to-shot.  Stacy Keach plays a high-ranking government official but doesn’t bother to get a haircut or hide his pony tail.  Linda Blair plays a cop and sounds like she sucked helium before filming her lines.  I’m not sure what she was doing in the movie.  She may not have been sure either.  Prey of the Jaguar is a reminder of just how cheap and cruddy most super hero films were before Marvel took over Hollywood.  Of course, Derek doesn’t really have any super powers, beyond getting proficient at martial arts in record time.  He is just wearing the outfit to honor the spirit of his dead son.  That actually makes more sense than most of the Marvel origin stories.  The movie itself was too cheap to work and the actors were so disinterested that they seemed to actively be trying to make sure that there would never be a Prey of the Jaguar 2.

The most interesting thing about the film are the opening credits, which reveal that this film was executive producer by the Wolf of Wall Street himself, Jordan Belfort.

Everything Everywhere Wins In North Carolina


The North Carolina Film Critics Associaiton has announced their picks for the best of 2022!  You can see the nominees by clicking here and the winners below!

BEST NARRATIVE FILM
Everything Everywhere All at Once

BEST DOCUMENTARY FILM
Fire of Love

BEST ANIMATED FILM
Marcel the Shell With Shoes On

BEST FOREIGN LANGUAGE FILM
RRR

BEST DIRECTOR
Daniels (Everything Everywhere All at Once)

BEST CINEMATOGRAPHY
Hoyte van Hoytema (Nope)

BEST ACTOR
Colin Farrell (The Banshees of Inisherin)

BEST SUPPORTING ACTOR
Ke Huy Quan (Everything Everywhere All at Once)

BEST ACTRESS
Michelle Yeoh (Everything Everywhere All at Once)

BEST SUPPORTING ACTRESS
Stephanie Hsu (Everything Everywhere All at Once)

BEST VOCAL PERFORMANCE IN ANIMATION OR MIXED MEDIA
Jenny Slate (Marcel the Shell With Shoes On)

BEST ACTING ENSEMBLE
Everything Everywhere All at Once

BEST ORIGINAL SCREENPLAY
Daniel Kwan and Daniel Scheinert (Everything Everywhere All at Once)

BEST ADAPTED SCREENPLAY
Sarah Polley (Women Talking)

BEST EDITING
Paul Rogers (Everything Everywhere All at Once)

BEST SPECIAL EFFECTS
Joe Letteri, Richard Baneham, Eric Saindon, and Daniel Barrett (Avatar: The Way of Water)

BEST STUNT COORDINATION
Nick Powell (RRR)

BEST COSTUME DESIGN
Ruth Carter (Black Panther: Wakanda Forever)

BEST HAIR & MAKE-UP
Shane Thomas, Mark Coulier, Jason Baird, and Louise Coulston (Elvis)

BEST PRODUCTION DESIGN
Jason Kisvarday and Kelsi Ephraim (Everything Everywhere All at Once)

BEST SCORE
Michael Giacchino (The Batman)

BEST ORIGINAL SONG
“Naatu Naatu” (RRR)

BEST SOUND DESIGN
Johnnie Burn and Jose Antonio Garcia (Nope)

BEST DIRECTORIAL DEBUT
Charlotte Wells (Aftersun)

BEST BREAKTHROUGH PERFORMANCE
Austin Butler (Elvis)

LIFETIME ACHIEVEMENT: COMPOSER
John Williams

KEN HANKE MEMORIAL TAR HEEL AWARD
Brian Tyree Henry (Causeway, Bullet Train, Atlanta) – From Fayetteville, North Carolina

Here Are The 2022 Music City Film Critics Association Nominations!


The winners will be announced on January 9th and, considering that this is a Nashville-based group, I will be massively disappointed if every award doesn’t go to Elvis.

Best Picture
Aftersun
Babylon
Elvis
Everything Everywhere All at Once
Guillermo del Toro’s Pinocchio
Nope
RRR
Tár
The Banshees of Inisherin
The Fabelmans
Top Gun: Maverick

Best Director
Damien Chazelle – Babylon
Martin McDonagh – The Banshees of Inisherin
S. S. Rajamouli – RRR
Steven Spielberg – The Fabelmans
The Daniels – Everything Everywhere All at Once
Todd Field – Tár

Best Actor
Austin Butler – Elvis
Brendan Fraser – The Whale
Colin Farrell – The Banshees of Inisherin
Diego Calva – Babylon
Paul Mescal – Aftersun

Best Actress
Cate Blanchett – Tár
Margot Robbie – Babylon
Mia Goth – Pearl
Michelle Yeoh – Everything Everywhere All at Once
Viola Davis – The Woman King

Best Supporting Actor
Barry Keoghan – The Banshees of Inisherin
Brendan Gleeson – The Banshees of Inisherin
Brian Tyree Henry – Causeway
Ke Huy Quan – Everything Everywhere All at Once
Paul Dano – The Fabelmans

Best Supporting Actress
Angela Bassett – Black Panther: Wakanda Forever
Hong Chau – The Whale
Jamie Lee Curtis – Everything Everywhere All at Once
Janelle Monáe – Glass Onion: A Knives Out Mystery
Kerry Condon – The Banshees of Inisherin

Best Young Actor
Banks Repeta – Armageddon Time
Gabriel LaBelle – The Fabelmans
Gregory Mann – Guillermo del Toro’s Pinocchio
Jalyn Hall – Till
Mason Thames – The Black Phone

Best Young Actress
Anna Cobb – We’re All Going to the World’s Fair
Bella Ramsey – Catherine Called Birdy
Frankie Corio – Aftersun
Julia Butters – The Fabelmans
Sadie Sink – The Whale

Best Acting Ensemble
Babylon
Everything Everywhere All at Once
Glass Onion: A Knives Out Mystery
The Fabelmans
Women Talking

Best Music Film
Elvis
Guillermo del Toro’s Pinocchio
Roald Dahl’s Matilda the Musical
Moonage Daydream
Tár

Best Animated Film
Guillermo del Toro’s Pinocchio
Marcel the Shell with Shoes On
Puss in Boots: The Last Wish
Turning Red
Wendell & Wild

Best Documentary
All that Breathes
All the Beauty and the Bloodshed
Fire of Love
Good Night Oppy
Moonage Daydream

Best International Film
All Quiet on the Western Front
Bardo: False Chronicle of a Handful of Truths
Decision to Leave
EO
RRR

Best Screenplay
Everything Everywhere All at Once
Tár
The Banshees of Inisherin
The Fabelmans
Women Talking

Best Original Song
“Ciao Papa” – Guillermo del Toro’s Pinocchio
“Hold My Hand” – Top Gun: Maverick
“Lift Me Up” – Black Panther: Wakanda Forever
“Naatu Naatu” – RRR
“New Body Rhumba” – White Noise

Best Score
Babylon
Guillermo del Toro’s Pinocchio
The Batman
The Fabelmans
Women Talking

Best Sound
Avatar: The Way of Water
Babylon
Elvis
Nope
Top Gun: Maverick

Best Cinematography
Avatar: The Way of Water
Babylon
Nope
The Batman
Top Gun: Maverick

Best Production Design
Avatar: The Way of Water
Babylon
Everything Everywhere All at Once
Guillermo del Toro’s Pinocchio
The Northman

Best Editing
Aftersun
Babylon
Elvis
Everything Everywhere All at Once
Top Gun: Maverick

Best Comedy Film
Confess, Fletch
Everything Everywhere All at Once
Glass Onion: A Knives Out Mystery
The Banshees of Inisherin
The Unbearable Weight of Massive Talent

Best Horror Film
Barbarian
Nope
Pearl
Smile
X

Best Action Film
Avatar: The Way of Water
Everything Everywhere All at Once
RRR
The Batman
Top Gun: Maverick

Best Stunt Work
Avatar: The Way of Water
Everything Everywhere All at Once
RRR
The Batman
Top Gun: Maverick

The Jim Ridley Award
Elvis
Moonage Daydream
Still Working 9 to 5
The Return of Tanya Tucker: Featuring Brandi Carlile
Nicole Kidman – The Northman

Here Are The 2022 Nominations of the Austin Film Critics Association!


The winners, along with their picks for the best 10 films of 2022, will be announced on January 10th.  Keep Austin weird!

Best Director
Park Chan-wook, Decision to Leave
Daniel Kwan & Daniel Scheinert (Daniels), Everything Everywhere All at Once
Todd Field, Tár
Martin McDonagh, The Banshees of Inisherin
S.S. Rajamouli, RRR

Best Actress

Cate Blanchett, Tár
Viola Davis, The Woman King
Danielle Deadwyler, Till
Mia Goth, Pearl
Michelle Yeoh, Everything Everywhere All at Once

Best Actor
Austin Butler, Elvis
Tom Cruise, Top Gun: Maverick
Colin Farrell, The Banshees of Inisherin
Brendan Fraser, The Whale
Paul Mescal, Aftersun

Best Supporting Actor
Brendan Gleeson, The Banshees of Inisherin
Brian Tyree Henry, Causeway
Barry Keoghan, The Banshees of Inisherin
Mark Rylance, Bones and All
Ke Huy Quan, Everything Everywhere All at Once

Best Supporting Actress
Kerry Condon, The Banshees of Inisherin
Jamie Lee Curtis, Everything Everywhere All at Once
Stephanie Hsu, Everything Everywhere All at Once
Janelle Monae, Glass Onion: A Knives Out Mystery
Keke Palmer, Nope

Best Ensemble
The Banshees of Inisherin
Everything Everywhere All at Once
The Fabelmans
Glass Onion: A Knives Out Mystery
Women Talking

Best Original Screenplay
Daniel Kwan & Daniel Scheinert (Daniels), Everything Everywhere All at Once
Todd Fields, Tár
Martin McDonagh, The Banshees of Inisherin
Jordan Peele, Nope
Steven Spielberg and Tony Kushner, The Fabelmans

Best Adapted Screenplay
Sarah Polley and Miriam Toews, Women Talking
Rian Johnson, Glass Onion: A Knives Out Mystery
David Kajganich, Bones and All
Samuel D. Hunter, The Whale
Guillermo del Toro and Patrick McHale, Guillermo del Toro’s Pinocchio

Best Cinematography
Russell Carpenter, Avatar: The Way of Water
Hoyte van Hotema, Nope
Claudio Miranda, Top Gun: Maverick
Linus Sandgren, Babylon
Larkin Seiple, Everything Everywhere All at Once

Best Editing
Bob Ducsay, Glass Onion: A Knives Out Mystery
Eddie Hamilton, Top Gun: Maverick
A. Sreekar Prasad, RRR
Paul Rogers, Everything Everywhere All at Once
Monika Willi, Tár

Best Original Score
Carter Burwell, The Banshees of Inisherin
Son Lux, Everything Everywhere All at Once
Justin Hurwitz, Babylon
Michael Giacchino, The Batman
M.M. Keeravani, RRR

Best International Film
Close
Decision to Leave
EO
Holy Spider
RRR

Best Documentary
All the Beauty and the Bloodshed
Descendant
Fire of Love
Good Night Oppy
Moonage Daydream

Best Animated Film
Apollo 10 1/2: A Space Age Childhood
Guillermo del Toro’s Pinocchio
Mad God
Marcel the Shell with Shoes On
Turning Red

Best Voice Acting/Animated/Digital Performance
Stephen Lang, Avatar: The Way of Water
Ewan McGregor, Guillermo del Toro’s Pinocchio
Zoe Saldana, Avatar: The Way of Water
Jenny Slate, Marcel the Shell with Shoes On
Sigourney Weaver, Avatar: The Way of Water

Best Stunt Coordinator
Timothy Neulich, Everything Everywhere All at Once
Kevin LaRosa Jr. and Casey O’Neill, Top Gun: Maverick
Nick Powell, RRR
Daniel Hernandez, The Woman King
C.C. Smiff & Jón Viðar Arnþórsson, The Northman

Best First Film
Aftersun, Charlotte Wells
Emily the Criminal, John Patton Ford
Marcel the Shell with Shoes On, Dean Fleischer Camp
Turning Red, Domee Shi
Watcher, Chloe Okuno

The Robert R. “Bobby” McCurdy Memorial Breakthrough Artist Award
Austin Butler, Elvis
Frankie Corio, Aftersun
Amber Midthunder, Prey
Stephanie Hsu, Everything Everywhere All at Once
Jenna Ortega, The Fallout, Scream, X, Studio 666

Scene That I Love: “Want to go for a swim?” from Once Upon A Time In America


Since today is Sergio Leone’s birthday, it only seems appropriate to share one of my favorite scenes from Leone’s 1984 gangster epic, Once Upon A Time In America.

For some context, Noodles (Robert De Niro) has just gotten out of prison and has been reunited with Max (James Woods) and all of the other hoodlums that he grew up with.  While Noodles was away, Max has been building up their gang and becoming a force in the underworld.  One of the first post-prison jobs that Noodles is involved with turns out to be a hit on another gangster.  Max, however, did not let Noodles know ahead of time that it was going to be hit.

In this scene, Noodles attempts to learn why.

4 Shots From 4 Films: Special Sergio Leone Edition


Sergio Leone (1929 — 1989)

4 Or More Shots From 4 Or More Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

94 years ago today, Sergio Leone was born in Rome, Italy.  The son of actor/screenwriter Vincenzo Leone and silent actress Edvige Valcarenghi, Sergio was born into the Italian film industry.  He began his career in the post-war rebuilding period, working as an assistant to Vittorio De Sica and, as an assistant director, for American films that were shot in Italy.  (Albeit uncredited, he worked on two Oscar-nominated Biblical epics, Quo Vadis and Ben-Hur.)

After making his directorial debut with The Colossus of Rhodes, Leone went on to direct the films that would change the face of international cinema.  Though he was hardly the first director of Spaghetti westerns, he was was the first to achieve far-reaching acclaim.  With the Dollars Trilogy, he made Clint Eastwood a star and Eastwood has often said that the majority of what he knows about directing, he learned from working with Leone and later Don Siegel.  Leone went on to direct the brilliant Once Upon A Time In The West and Once Upon A Time in America, two epic visions of American history that, sadly, were not initially treated well by their distributors.

Though Leone is only credited with directing eight films, his influence cannot be underestimated.  As both a visual artist and a cultural and political commentator, his films continue to influence directors to this day.

For that reason, it’s time for….

4 Shots From 4 Sergio Leone Films

The Good, The Bad, and the Ugly (1966, dir by Sergio Leone, DP: Tonino Delli Colli)

Once Upon A Time In The West (1968, dir by Sergio Leone, DP: Tonino Delli Colli)

Duck, You Sucker (1971, dir by Sergio Leone, DP: Giuseppe Ruzzolini)

Once Upon A Time In America (1984, dir by Sergio Leone, DP: Tonino Delli Colli)

Catching Up With The Films of 2022: Emily The Criminal (dir by John Patton Ford)


An hour or so into Emily the Criminal, there’s a scene in which Emily (Aubrey Plaza) goes to what she thinks is a job interview with a prestigious ad agency.  For the second time in the film, Emily is forced to tell a potential employer that she has a felony conviction.  In this case, it doesn’t seem to matter.  Alice (Gina Gershon), the head of the agency, explains that she is looking for an intern to work in the design department.

Emily asks if Alice is asking her to take an unpaid internship.

Alice replies that everyone starts as an intern and that, if they do a great job, they might get a paid position in five to six months.

Emily asks how Alice can expect anyone to work regular hours without getting paid.

Alice replies that Emily will paid in experience.  “When I began in this industry,” Alice says, “I have no intention of just being a secretary….”

“But secretaries get paid!” Emily snaps.

Alice replies with an obviously well-rehearsed anecdote about how, when she started, there were no women in the executive office.  When Emily cuts her off again, Alice drops the Pelosiesque facade and accuses Emily of being spoiled.  When Emily tells her off before storming out of the office, you’ll want to cheer.  It doesn’t matter how you may feel about some of Emily’s earlier life decisions or Emily as a person.  When Emily calls out Alice for expecting people to work for free, you will totally be on Emily’s side.

You’ll also understand why Emily would chose to be, as the title makes clear, a criminal.

When we first meet Emily, she is a part of the gig economy, delivering food for a catering company.  There was a time when she dreamed of becoming a professional artist and living in South America.  Now, she’s just trying to figure out how to pay the huge amount of student loan debt that she owes, despite the fact that she never graduated from college.  When she learns of an opportunity to make $200 in one hour, she takes it.  As Youcef (Theo Rossi) explains it, all she has to do is use a fake credit card to buy a flat-screen TV so that Youcef and his associates can then sell it.  (In a nice bit of irony, it later turns out that Youcef is basically an unpaid intern for his cousin.)  After her first job is a success, Youcef starts to trust Emily with making bigger and riskier purchases.  Soon, Emily is making her own fake credit cards and running her own scams.  She’s still an independent contractor but now she’s making a lot more money.

Emily the Criminal takes a matter-of-fact approach to Emily’s activities.  There’s none of the condemnation that one might expect as the result of having seen other movies and, regardless of how dangerous things get for her, there’s never a moment where Emily herself reconsiders whether or not she wants to be a criminal.  The film doesn’t necessarily celebrate criminality but it does ask why Emily should care about the rules of society that obviously doesn’t care about her.  If Emily remains law-abiding, she’ll be stuck in a demeaning job and she’ll never pay off her debts, which means that she’ll just become a criminal by default.  (And, let’s be honest, we all know that all the talk about canceling student debt is just something that gets trotted out during an election year.  We’ll hear it again in 2024 and again, nothing will happen.)  As a criminal, the only risk is that Emily could be arrested or attacked by another criminal but, as the film makes clear from the start, Emily already has a criminal record so what’s one more charge?  As for being attacked, Emily continually proves herself to be tougher and far more ruthless than the other criminals around her.  Alice might brag about how she’s found success in an industry dominated by men but Emily actually does it.

Emily the Criminal is a relentlessly-paced journey through the shadows of the gig economy, a world where the only law is that everyone is looking out for themselves.  Aubrey Plaza gives a career best performance as Emily, playing her as someone who not only turns out to have a natural talent for being a criminal but who occasionally shocks herself with how ruthless she can be.  Emily may be a criminal but its hard to judge her.  It’s just a job.

January Positivity: Forever and a Day (dir by Zeke Jeremiah)


In a small Texas town, life seems to be going as it always does.

High school freshman Daniel (Keegan Bouton) spends most of his time hanging out with his best friend, Haley (Charlotte Delaney Riggs).  They walk around town together.  They explore the woods together.  They talk about their first year in high school and which teachers they like and which they dislike.  When they see one of their classmates getting picked on by a group of bullies, Haley wants to do something to stop it while Daniel argues that there’s nothing they can do.

Besides, they have an even more pressing concern.  Haley’s mother (Mercedes Peterson) has begun to flirt with Daniel’s father (Trey Guinn)!  In a well-written and well-acted scene, they sit in a car and watch as Haley’s mom talks to Daniel’s dad and both of them discuss the things that their parents do while flirting, just to watch in silent horror as their parents proceed to do every one of those things.  Though they may be best friends, they’re still a little bit creeped out by the idea of their parents dating.  Daniel, especially, still thinks that his father and mother might someday get back together.

From the start, the viewer is aware that something tragic is going to happen.  The town is too perfect and Haley and Daniel’s friendship is too heartfelt for there not to be a tragedy waiting around the corner.  And, from the minute we see poor Colby (Holdan Mallouf) getting pushed around by Travis (Blaze Freeman) and his gang, we can pretty much guess what that tragedy will involve.  It’s just a question of who, amongst the character that we’ve met, will be unlucky enough to be in the hallway when Colby finally snaps.

It may sounds melodramatic but, unfortunately, it’s also an honest portrayal of the fears that everyone has when it now comes to high school.  School shooting are a tragedy that few of us can get our heads around, which is one reason why people are often more interested in using them to score political points than to actually discuss the events that led up to each shooting and the culture that produced them.  This film does a good job of examining the aftermath of the shooting and the struggle of people to understand both how it could have happened and how it could have been prevented.  This film emphasizes love and faith as a way to both deal with tragedy and to combat the anger and depression that leads to it happening.  No one was willing to stand up for Colby and the only person who shows any real concern for him was led away by her best friend.

(I do have to say that I cringe a little bit whenever school shooters are portrayed as just being stereotypical nerds who snapped because the bullies wouldn’t leave them alone.  That describes a few school shooter but it certainly doesn’t describe shooters like Nikolas Cruz, Adam Lanza, or the two Columbine shooters.  Portraying any kid who is picked on as being a ticking time bomb just further stigmatizes the socially awkward.)

Forever and a Day is a low-budget film and it’s hardly flawless.  (I could have done without the narrator.)  But, at the same time, it deals with a difficult subject with emotional honesty and the cast does a good job inhabiting their characters.  In the end, it’s a film that asks all of us to treat each other with kindness and there’s nothing wrong with that.

McBain (1991, directed by James Glickenhaus)


In the year 1973, Bobby McBain (Christopher Walken) was an American POW, fighting for his life in a North Vietnamese prison camp that was run by a general so evil that he wore a necklace of human ears.  Luckily, on the last day of the war, McBain was rescued by Roberto Santos (Chick Vennerra).  When Bobby asked how he could ever repay Santos, Santos gave him half of a hundred dollar bill and told him that someday, Santos would give him the other half.  McBain swears that he will be ready when the day comes to get the other half.  I guess he’s like Caine in Kung Fu, waiting for the chance to snatch the pebble from his master’s hand.

15 years later, McBain is a welder in New York.  One day, while sitting in a bar, he watches as Santos is executed on live television after a failed attempt to overthrow the dictator of Colombia.  Shortly afterwards, McBain is approached by Santos’s sister (Maria Conchita Alonzo), who asks McBain to help her finish Santos’s revolution.  McBain tells her a long story about attending Woodstock and then reunites with his Vietnam War buddies, Frank (Michael Ironside!), Eastland (Steve James), Dr. Dalton (Jay Patterson), and Gil (Thomas G. Waites).  After killing a bunch of drug dealers, stealing their money, and harassing Luis Guzman, the gang heads for Colombia.

I wonder how many people have watched this movie over the years with the expectation that it would be a live action version of the famous Rainier Wolfcastle film that was featured in several episodes of The Simpsons.  Unfortunately, this movie has nothing to do with the Simpsons version of McBain.  (Sorry, no “Bye, book.”)  Instead, it’s just another strange and overlong action film from director James Glickenhaus.  The film mixes scene of total carnage with dialogue that often seems to be going off on a totally unrelated tangent, like McBain’s musings about what Woodstock ultimately stood for.  Walken doesn’t seem to be acting as much as he’s parodying his own eccentric image.  Walken takes all of his usual quirks and trademark vocal tics and turns them up to 11 for this movie.

Even though the movie is twenty minutes too long, it still feels like scenes are missing.  Alonzo leaves Colombia on a mule and then is suddenly in New York.  (The mule is nowhere to be seen.)  We don’t actually see Walken recruiting the majority of his team.  Instead, they just show up in his house.  Once the action moves to Colombia, it turns out that overthrowing the government is much simpler than it looks.  While the rebels lay down their lives while attacking the palace, McBain and his crew pretty much stroll through the movie without receiving even a scratch.  Maybe welders should be put in charge of all of America’s foreign policy adventures.  It couldn’t hurt.

With its hole-filled plot and confusingly edited combat scenes, McBain isn’t great but 80s action enthusiasts should enjoy seeing Michael Ironside and Steve James doing their thing.  Others will want to see it just for Christopher Walken’s characteristically odd performance.  He may not be Rainier Wolfcastle but, for this movie, Christopher Walken is McBain.

Here Are The 2022 Nominations of the Columbus Film Critics Association!


Last night, the Columbus Film Critics Association announced their nominations for the best of 2022!

And here they are:

Best Film
Aftersun
Everything Everywhere All at Once
Glass Onion
Guillermo del Toro’s Pinocchio
Marcel the Shell with Shoes On
Nope
Tár
The Banshees of Inisherin
The Fabelmans
The Menu
Women Talking

Best Director
Todd Field, Tár
Daniel Kwan and Daniel Scheinert, Everything Everywhere All at Once
Martin McDonagh, The Banshees of Inisherin
Sarah Polley, Women Talking
Steven Spielberg, The Fabelmans

Best Lead Performance
Cate Blanchett, Tár
Olivia Colman, Empire of Light
Danielle Deadwyler, Till
Colin Farrell, The Banshees of Inisherin
Ralph Fiennes, The Menu
Brendan Fraser, The Whale
Mia Goth, Pearl
Paul Mescal, Aftersun
Margot Robbie, Babylon
Michelle Williams, The Fabelmans
Michelle Yeoh, Everything Everywhere All at Once

Best Supporting Performance
Angela Bassett, Black Panther: Wakanda Forever
Kerry Condon, The Banshees of Inisherin
Jamie Lee Curtis, Everything Everywhere All at Once
Paul Dano, The Fabelmans
Dolly De Leon, Triangle of Sadness
Brendan Gleeson, The Banshees of Inisherin
Barry Keoghan, The Banshees of Inisherin
Janelle Monáe, Glass Onion
Keke Palmer, Nope
Ke Huy Quan, Everything Everywhere All at Once

Best Ensemble
The Banshees of Inisherin
Everything Everywhere All at Once
The Fabelmans
Glass Onion
Women Talking

Actor of the Year (for an exemplary body of work)
Hong Chau, The Menu and The Whale
Jamie Lee Curtis, Everything Everywhere All at Once and Halloween Ends
Colin Farrell, The Banshees of Inisherin, The Batman, and Thirteen Lives
Mia Goth, Pearl and X
Tilda Swinton, The Eternal Daughter, Guillermo del Toro’s Pinocchio, and Three Thousand Years of Longing
Anya Taylor-Joy, Amsterdam, The Menu, and The Northman

Breakthrough Film Artist
Austin Butler, Elvis – (for acting)
Hong Chau, The Menu and The Whale – (for acting)
Zach Cregger, Barbarian – (for directing, screenwriting, and acting)
Gabriel LaBelle, The Fabelmans – (for acting)
Charlotte Wells, Aftersun – (for directing and screenwriting)

Best Cinematography
Russell Carpenter, Avatar: The Way of Water
Ben Davis, The Banshees of Inisherin
Claudio Miranda, Top Gun: Maverick
Linus Sandgren, Babylon
Hoyte Van Hoytema, Nope

Best Film Editing
Sarah Broshar and Michael Kahn, The Fabelmans
Bob Ducsay, Glass Onion
Eddie Hamilton, Top Gun: Maverick
A. Sreekar Prasad, RRR
Paul Rogers, Everything Everywhere All at Once

Best Adapted Screenplay
Guillermo del Toro and Patrick McHale, Guillermo del Toro’s Pinocchio
Dean Fleischer-Camp, Jenny Slate, and Nick Paley, Marcel the Shell with Shoes On
Samuel D. Hunter, The Whale
Rian Johnson, Glass Onion
Rebecca Lenkiewicz, She Said
Sarah Polley and Miriam Toews, Women Talking

Best Original Screenplay
Todd Field, Tár
Daniel Kwan and Daniel Scheinert, Everything Everywhere All at Once
Martin McDonagh, The Banshees of Inisherin
Jordan Peele, Nope
Seth Reiss and Will Tracy, The Menu
Steven Spielberg and Tony Kushner, The Fabelmans

Best Score
Michael Abels, Nope
Carter Burwell, The Banshees of Inisherin
Alexandre Desplat, Guillermo del Toro’s Pinocchio
Justin Hurwitz, Babylon
Trent Reznor and Atticus Ross, Bones and All
John Williams, The Fabelmans

Best Documentary
All the Beauty and the Bloodshed
Fire of Love
Good Night Oppy
Moonage Daydream
Navalny
Sr.

Best Foreign Language Film
All Quiet on the Western Front
Decision to Leave
RRR
Saint Omer

Best Animated Film
Guillermo del Toro’s Pinocchio
Mad God
Marcel the Shell with Shoes On
Puss in Boots: The Last Wish
Turning Red

Best Comedy
The Banshees of Inisherin
Everything Everywhere All at Once
Glass Onion
The Menu
Triangle of Sadness
The Unbearable Weight of Massive Talent

Best Overlooked Film
After Yang
Confess, Fletch
God’s Country
Men
The Unbearable Weight of Massive Talent

The winners will be announced on January 5th!