The Washington D.C. Area Film Critics announced their picks for the best of 2015 today. In a move that many are predicting may be imitated by the Academy, they named Spotlight best film while giving director to Mad Max Fury Road‘s George Miller.
I love the Online Film Critics Society, I really do. Every year, when they announce the nominees for their end-of-the-year awards, they always seem to honor the films that truly deserve to be honored. For instance, this year, they found room to not only nominate the Academy front runners — like Spotlight, The Martian, Carol, Brooklyn, and Mad Max — but they also gave nominations to Ex Machina, Sicario, and Inside Out. Ex Machina, Sicario, and Inside Out all deserve to be in the Oscar conversation and hopefully, these nominations will help them stay there.
Here are the nominations from the Online Film Critics Society!
Best Supporting Actress:
Rooney Mara (Carol)
Cynthia Nixon (James White)
Kristen Stewart (Clouds of Sils Maria)
Alicia Vikander (The Danish Girl)
Kate Winslet (Steve Jobs)
Best Original Screenplay: Ex Machina (Alex Garland) Inside Out (Pete Docter, Ronnie Del Carmen, Meg LeFauve, Josh Cooley)
Mistress America (Greta Gerwig, Noah Baumbach) Sicario (Taylor Sheridan) Spotlight (Josh Singer, Tom McCarthy)
Awards season continues! Earlier today, the African-American Film Critics Association announced their picks for the best of 2015! They named Straight Outta Compton best picture and gave their best director award to Ryan Coogler for Creed.
Check out all of the awards below!
Best Picture: “Straight Outta Compton” (Universal Pictures)
Best Director: Ryan Coogler – “Creed” (Warner Bros.)
Best Ensemble: “Straight Outta Compton” (Universal Pictures)
Best Actor: Will Smith – “Concussion” (Sony)
Best Actress: Teyonah Parris – “Chi-Raq” (Roadside Attractions)
Best Supporting Actor: Jason Mitchell – “Straight Outta Compton” (Universal Pictures)
Best Supporting Actress: Tessa Thompson – “Creed” (Warner Bros.)
Best Independent Film: “Chi-Raq” (Roadside Attractions)
Best Screenplay: Rick Famuyiwa – “Dope” (Open Road Films)
Breakout Performance: Michael B. Jordan – “Creed” (Warner Bros.)
Best Animation: “The Peanuts Movie” (20th Century Fox)
Best Documentary: “A Ballerina’s Tale” (Sundance Selects)
Best Song: “See You Again” – Furious 7 (Atlantic Records)
Best TV Comedy: “Black-ish” (ABC)
Best TV Drama: “How to Get Away with Murder” (ABC)
Best Cable/New Media TV Show: “Survivor’s Remorse” (Starz)
What we have here is a story about an elf at the North Pole who becomes disillusioned with her job. She feels that there must be more out there. She has lost some of the Christmas spirit because she’s always making toys, but never really gets to see the lives she touches. Santa takes notice and decides to send her on a mission. There is a family who runs a Christmas store. They too have begun to loose the Christmas spirit. They are so tied up with the business that they are neglecting their children and look forward to Christmas being over. Santa sends her in to be a nanny for the kids and help them rediscover the Christmas spirit. She helps them to see that they are missing experiencing Christmas themselves by spending it with their children. She also helps them to see the lives they touch through their business that helps other people to celebrate Christmas. In the process, discovering the importance of her work at the North Pole. However, she also meets the uncle of the family who also tries to help people during Christmas, but in a little different way. The uncle and the family are a little on the outs, but she helps to bridge the gap so they can reconnect. She also falls in love with him even though that was against the rules. But since Santa isn’t a bad guy, he of course gives her the choice to become human. Although her passion for the work she does at the North Pole has been rekindled, she decides to become human. She can continue to help people have a Merry Christmas with the uncle whom she has fallen for. In the end, we see the newly extended family under the tree at Christmas as Santa looks on from the North Pole. The end.
Well, that’s not quite how it goes. That would’ve been nice. Instead, add more cliched writing and demonizing of the parents to that story, with less of the Christmas spirit stuff.
This is our elf Christine played by Summer Glau. She is not really disillusioned with her work, but kind of feeling cabin fever for lack of a better term. We get a brief scene to make sure we know the kids of the family aren’t happy, the parents have systematized “traditions”, and that their uncle disapproves. Then Santa sends her on her mission under the name of Christine Prancer.
Of course she gets hired immediately which is good. Unrealistic, but it would have felt like the movie stalling by not keeping things moving along. She encounters the parents issues with Christmas because as the mother puts it, they are “kneecap deep in it”. Understandable, but this won’t ultimately lead to any kind of discovery about taking some pride and enjoyment in what they are doing during Christmas to help people celebrate. They will just say they are going to cut back at work, have some of the employees do some of it, and spend more time with kids. The employee part certainly came as a surprise since everything leading up to that made me think the two parents ran the entire operation themselves.
Then we find out about the origin of the store. It was a family thing they used to do that ultimately expanded into a business. Again, this movie doesn’t do anything with this. They just have them cut back on work hours and spend more time with the kids.
Now the film starts to hit its stride so to speak. She starts to warm up to the uncle who certainly has the Christmas spirit. She starts to clash with the parents. Sometimes because she does sort of overstep her boundaries such as when she and the uncle decorate the home tree which the mother clearly wants to hold onto as a family thing. She feels that her trust has been violated, which it has. They also sneak in a line that hints that they only decorate the tree because they own a Christmas store, but they really don’t do anything with that. And of course she becomes good friends with the children. It ends the way I said, but not with a Christmas spirit thing really going on. Basically, the parents just reconnect with their kids at Christmas time.
It’s all nice and everything, but it’s not really a Christmas story. October Kiss is almost the same thing and takes place at Halloween. There’s really not much of a Christmas spirit rediscovery here. It’s a nanny brings a family together and finds love at the same time story that happens to take place with Christmas characters during the Christmas season. Nothing really wrong with that, but it is cliched and falls back on the old demonize the parents who work thing. The story afforded them the opportunity to bring the Christmas spirit into the story and instead of demonize, help the parents to step back and reevaluate the work they do in a new and more meaningful light.
The acting is fine all around, but I particularly liked Steve Larkin as Santa.
Nothing bad here, but it is nothing special when it could have been. It feels like a missed opportunity.
Boston and New York were not the only critics to vote today! The Los Angeles Film Critics Association announced their picks for the best of 2015 as well! Mad Max: Fury Road won best director but Spotlight won best picture with Fury Road as the runner-up. In other words, the LAFCA liked Fury Road but decided to play it safe. Let’s not forget that this is the same group of people who once named The Descendantsbest picture with The Tree of Lifeas the runner-up.
(Dear award-giving groups: Just so you know, playing it safe is really freaking boring.)
I really don’t know much about the New York Film Critics Online but, for whatever reason, the people at Awards Daily seem to hate them. And that’s more than enough reason for me to like them! Anyway, the NYFCO met today and announced their picks for the best of 2015.
And the big winner was Mad Ma…oh wait. No, sorry. The big winner was Spotlight. Check out the rest of the winners below:
Best Picture: Spotlight
Best Director: Tom McCarthy – Spotlight
Best Actress: Brie Larson – Room
Best Actor: Paul Dano – Love & Mercy
Best Supporting Actress: Rooney Mara – Carol
Best Supporting Actor: Mark Rylance – Bridge of Spies
Breakthrough Performance: Alicia Vikander – The Danish Girl
Best Screenplay: Tom McCarthy and Josh Singer – Spotlight
Best Use of Music: Love & Mercy
Best Debut Director: Alex Garland – Ex Machina
Best Ensemble Cast: Spotlight
Best Foreign Language Film: Son of Saul
Best Documentary Feature: Amy
Best Animated Feature: Inside Out
This Italian film from 1965 takes place in a future that is a lot like our present. After years of war and senseless violence, the world is finally at “peace.” Wars are avoided by allowing people to take part in the Big Hunt. When you join the Hunt, you’re agreeing to take part in 10 rounds of competition. For five rounds, you’re the hunter. For the other five rounds, you’re the hunted. Survive all 10 rounds and your reward will be money and retirement. So far, only 15 contestants have managed to survive.
If you’re being hunted, you get a letter informing you that you are now being hunted. The only way to win is to kill the person who has been assigned to hunt you. Unfortunately, you’re not told who is hunting you and, if you accidentally kill someone who is not hunting you, you’ll be sent to prison for 30 years. And, of course, the whole time you’re trying to avoid getting killed, others are being hunted around you. World peace means that there are constant gun battles in the streets, all of which are calmly observed by a rather apathetic populace. It’s a violent world but it’s legal violence so it doesn’t really concern anyone beyond the people that are getting killed.
(At one point, an announcement is heard while a hunter guns down his target: “Live dangerously but obey the law…live dangerously but obey the law…”)
Coverage of the Big Hunt is the world’s most popular television show and, as a result, legalized murder has become big business. Companies regularly sponsor hunters and turn their kills into elaborate commercials for their products.
When we first meet Caroline Meredith (Ursula Andress), she is using a literal bullet bra to shoot a man dead. Caroline is sponsored by Ming Tea and, when she is assigned to hunt Marcello Pollitti (Marcello Mastroianni), the company flies her out to Italy. In order to make Marcello’s death as cinematic and commercial as possible, Ming Tea and Caroline decide to lure him to Rome’s Temple of Venus. The Ming Tea dancers are flown in, a choreographer starts working on their routine, and Caroline tracks down Marcello.
Marcello has just found out that he’s being hunted and he’s more than a little depressed. He’s also paranoid and when Caroline first approaches him, Marcello suspects that she’s his hunter and not, as she claims, a journalist. However, because of the legal penalty for killing a non-hunter, Marcello cannot kill Caroline until he’s sure that she wants to kill him. Meanwhile, Caroline cannot kill Marcello until they’re at the Temple of Venus, in front of the cameras and the dancers.
And, of course, there’s also the fact that, as they get to know each other, Caroline and Marcello start to fall in love. When Caroline observes Marcello conducting a bizarre religious ceremony (he’s the head of a cult of sun worshippers), she is so touched that she starts to cry. Or does she? Are her tears just a ploy to keep Marcello from suspecting that she wants to kill him? We’re never quite sure.
If you didn’t already know that The 10th Victim was made in 1965, you would guess it after just a few minutes. This is one of those hyperstylized works of pop art that, for many people, define 60s cinema. How you react to the film will depend on how much tolerance you have for its nonstop style. Speaking as someone who happens to love over-the-top pop art, I enjoyed it but I could imagine other viewers ripping out their hair at the sound of the film’s peppy theme song.
But, if you’re patient, you will eventually discover that, underneath the film’s excesses, it’s actually a rather clever satire of media, politics, culture, religion, and just about everything else that deserves to be satirized. Marcello Mastroianni and Ursula Andress are both a lot of fun and, in the end, the whole thing works as both a surprisingly accurate prophecy of today’s world and as a time capsule of the 1960s.
Plus, I loved the bullet bra. I need to get one of those.
With three major groups of critics scheduled to announce their picks for the best of 2015, today is a big day for those of us who love Awards Season. First off, here are the picks of the Boston Society of Film Critics! While the awards are nicely spread around, it’s not surprising that the Boston Society of Film Critics picked a Boston film for best picture.
One good thing about Mad Max: Fury Road doing so well during award seasion is that it gives me an excuse to say that “So-and-so Is Mad About Max!” Thank you, film critics, for making my job a lot easier.
Anyway, yesterday, the Washington D.C. Area Film Critics announced their nominees for the best of 2015! And, once again, a lot of love was shown to Fury Road. However, I am even happier to see that they also gave some attention to one of my favorite films of the year, Ex Machina.
Best Original Screenplay:
Matt Charman and Ethan Coen & Joel Coen (Bridge of Spies)
Alex Garland (Ex Machina)
Pete Docter, Meg LeFauve and Josh Cooley (Original Story by Pete Docter and Ronnie Del Carmen) (Inside Out)
Tom McCarthy and Josh Singer (Spotlight)
Amy Schumer (Trainwreck)