Brad reviews NOTTING HILL (1999), starring Julia Roberts and Hugh Grant!


Life takes an unexpected turn for the reserved Englishman William Thacker (Hugh Grant) when the hugely popular American movie star Anna Scott (Julia Roberts) wanders into his humble little travel book shop in the district of Notting Hill in West London. When the initial meeting is followed up by some coincidentally spilled orange juice and an unexpected kiss, William finds himself completely smitten. After Anna leaves, and still in a state of disbelief, William struggles focusing on his normal life with his eccentrically odd flat mate Spike (Rhys Ifans). When Anna surprisingly reaches back out to him wanting to get back together, the sweet and shy William is ecstatic, but he remembers that he’s already obligated himself to attend his sister Honey’s (Emma Chambers) birthday party that night. Wanting to be part of something normal, Anna goes to the party as William’s date, where she has a wonderful, relaxing evening with Honey and their close-knit group of best friends that includes Max (Tim McInnerny), Bella (Gina McKee) and Bernie (Hugh Bonneville), even if she did give them quite the shock when she walked through the door. Everything seems to be going beautifully, but the life of an international film icon tends to be complicated, and William soon finds himself caught up in a whirlwind that includes her “boyfriend,” the arrogant American actor Jeff King (Alec Baldwin). He’s not really her boyfriend anymore, but that seems of little consequence to the press. And then there’s the sudden emergence of racy pictures of Anna from her past in the British tabloids. As much as William loves Anna, will he ever be able to deal with life in Anna’s superstar spotlight?

NOTTING HILL is part of a trilogy of modern-day love stories that I’m sure to watch every year, with the other two being RETURN TO ME (2000) and HITCH (2005). I’ve noticed that these three movies have plot points in common that I find extremely appealing. First, both NOTTING HILL and RETURN TO ME feature main characters who have a group of loyal family and friends who offer uncompromising love and support. William Thacker’s sister and friends clearly care about him and want what’s best for him. If necessary, they’re willing to prove it by being honest with him when he’s unwilling to be honest with himself. One of the best scenes of the film occurs near the end when William tells his group of friends that he’s turned down Anna’s request to continue their relationship, even after she says the famous lines, “I’m also just a girl, standing in front of a boy, asking him to love her.” While his friends struggle to find the right words, the flaky Spike, played superbly by Rhys Ifans, rushes into the meeting and when asked his opinion, says these three words to William, “You daft prick!” A memorable song on the movie’s excellent soundtrack reminds us sometimes that “you say it best when you say nothing at all,” but sometimes words need to be spoken, and Spike cares enough to tell William what he needs to hear. I’ve said it before, but I love it when a movie surrounds its characters with the type of people we’d love to have in our corner in real life. Second, both NOTTING HILL and HITCH feature plot lines that show a “star” falling for a sweet nobody. Maybe it’s because I’m a nobody myself, but the idea of the rich and powerful falling in love with regular people like me always strikes a nerve. Sure, it may be a fantasy, but it’s a fantasy I’m perfectly willing to roll with. 

As far as I’m concerned, Julia Roberts and Hugh Grant have never been more appealing than they are in NOTTING HILL. Julia is so beautiful, and I fell in love with her myself for the first time when I watched this movie at the theater in 1999. There are scenes where William is watching Anna Scott on the big screen and the small screen, whether it be a love story or a science fiction movie, and he’s clearly in complete awe of her. As a film buff going back to my early teens, I can relate so easily to his character, whether it be my crush on Elizabeth Shue in the 80’s or Salma Hayek in 90’s. Heck, as recently as a couple of years ago, after interviewing the lovely Jan Gan Boyd who starred with Charles Bronson in ASSASSINATION (1987), I can still identify with a man completely smitten with a beautiful actress. And Hugh Grant is so sweet, witty and funny as William Thacker. This was a big film for Grant, as a few years earlier his promising Hollywood career had somewhat stalled due to his arrest on Sunset Strip in Los Angeles for “lewd conduct in a public place” with a prostitute named Divine Brown. With the irony not lost on me, if you’ve seen NOTTING HILL before you’ll understand that my inclusion of this matter of public record proves the character of Anna Scott to be correct when she explains to William just how difficult it can be to live life in the public eye. Regardless of all that, Hugh Grant is great in the film, and with a few years separating the events, it seems the filmgoing public was ready for forgiveness. NOTTING HILL was a runaway box office success, raking in $365 million dollars at the worldwide box office. 

The final thing I want to point out about NOTTING HILL is the incredible talent behind the scenes. Director Roger Michell helmed one of my very favorite Jane Austen adaptations, PERSUASION from 1995, starring Amanda Root and Ciaran Hinds. It’s a perfect movie as far as I’m concerned, and I watch it several times every year. Writer Richard Curtis has written the wonderful films FOUR WEDDINGS AND A FUNERAL (1994), BRIDGET JONES’S DIARY (2001), and LOVE ACTUALLY (2003), and he clearly knows how to push our love buttons. Both Michell and Curtis do the most successful work in their careers here. Now whether or not it’s their very best is a matter of opinion, but it’s definitely great work that I can confidently recommend to anyone. 

Review: Glass Onion: A Knives Out Mystery (dir. by Rian Johnson)


“Everyone loves a puzzle until it’s time to solve it.” — Benoit Blanc

Glass Onion: A Knives Out Mystery is a follow-up to the original Knives Out film, starring Daniel Craig as the ingenious detective Benoit Blanc. It builds on the premise of a murder mystery but wraps it inside a colorful, satirical commentary on wealth, influence, and the human condition. Set on the private island of a tech billionaire named Miles Bron, the story assembles a quirky cast of characters, all entangled in complicated relationships that unravel layer by layer. The casual tone of the movie masks a sharp, incisive look at the absurdities of the ultra-rich and the moral compromises they often make.

From the outset, Glass Onion shines with its clever blending of classic whodunit tropes and contemporary social critique. The gathering on the island is ostensibly for a murder mystery party, but the tension quickly escalates when the lines between game and reality blur. As detective Benoit Blanc begins to peel back the layers, it becomes clear that the story is much more than just a puzzle; it’s a reflection on fame, fortune, intellectual theft, and the lengths people will go to protect their reputations and secrets. The mystery itself is engrossing, delivering plenty of twists and turns that keep viewers guessing without feeling predictable.

The characters are vividly drawn, each embodying a certain archetype of privilege and excess, yet crafted with enough depth to avoid caricature. Miles Bron, in particular, captures the archetypal tech mogul—brash, arrogant, and unapologetically wealthy—but his flaws and vulnerabilities make him an intriguing focal point. His colorful group of friends each contribute their quirks and motives, creating a dynamic interplay that enriches the plot. Through their interactions, the film deftly explores themes of betrayal, sycophantic behavior, and the moral decay that can accompany unchecked power.

Edward Norton’s portrayal of Miles Bron has often been linked to Elon Musk, mostly because Bron’s flamboyant personality and billionaire tech mogul status seem reminiscent of Musk. However, director Rian Johnson and Norton himself have been clear that the character is not based specifically on Musk. Instead, Miles embodies the broader archetype of “tech bros”: exceedingly wealthy, extremely arrogant, and more than a bit sociopathic. Norton’s portrayal blends charm, obliviousness, and bravado, embodying this tech mogul stereotype more than mimicking any particular real-life figure. This approach allows the film to critique the broader billionaire culture, using Miles as a symbol of its excesses and absurdities, rather than targeting one individual.

A distinctive feature of Glass Onion is how it incorporates the reality of its production during the height of the COVID-19 lockdown. Set in May 2020, during global lockdowns, the film naturally weaves in social distancing and mask-wearing as part of its narrative fabric. This not only adds an element of authenticity but also becomes a device to reveal character traits—whether sincere compliance or performative adherence. The pandemic protocols also shaped production logistics, reducing extras and focusing tightly on the main cast, creating an intimate but tense atmosphere. By anchoring the isolation of its characters in a real-world health crisis, the film echoes classic mystery confinements while feeling relevant and immediate.

Emotional stakes in Glass Onion are amplified through Helen, who arrives on a personal mission to uncover the truth behind her sister’s death. Unlike many self-interested guests on the island, Helen represents a disruptive force challenging the privileged elite. Her story adds urgency and depth, highlighting themes of justice, accountability, and silence’s costs. This subplot weaves seamlessly into the larger narrative, enriching the mystery’s resolution with meaningful emotional weight.

Visually, the film dazzles with opulent settings and a vibrant color palette that amplify the sense of excess and detachment characterizing the guests’ lives. The private island itself almost becomes a character—a lush, insular playground where drama explodes amid luxury. Production design and cinematography balance whimsy with darker undertones, while costumes and set details root satire in an authentic world.

Craig returns as Benoit Blanc with a mix of charm, wit, and gravitas, anchoring the film amidst eccentric chaos. Blanc’s character delights as a master detective who enjoys intellectual puzzles but wrestles with moral questions. Meanwhile, the supporting cast gives nuanced performances that capture their characters’ complexities and motivations.

Narratively, Glass Onion triumphs by delivering an engaging mystery while embedding incisive social commentary on inequality and hypocrisy. The film compellingly probes how wealth and influence can obscure truth and the costs endured by those who confront power. The sharp, often humorous writing makes it both entertaining and thought-provoking.

Whether viewed casually or analyzed deeply, Glass Onion offers much to enjoy. Plot twists, sharp dialogues, visual style, and strong performances combine for an engrossing experience. At its core, the story emphasizes how the pursuit of personal gain can harm others, and reckoning with uncomfortable truths demands courage and sacrifice.

Ultimately, Glass Onion is a skillfully crafted, entertaining mystery that surpasses typical genre fare. It balances suspense, humor, and social critique naturally and compellingly. Cementing Rian Johnson’s success in the Knives Out franchise, it reclaims his reputation after the contentious backlash to The Last Jedi. While fan expectations proved insurmountable in that galaxy far, far away, Glass Onion confirms Johnson as a brilliant filmmaker capable of crafting sharp, layered stories. The film invites audiences to not only solve a crime but also reflect on integrity, power, and humanity’s search for justice and meaning. Its impact lingers long after the credits roll.

Brad’s Scene of the Day – “I’ve made the wrong decision” from NOTTING HILL (1999)!


I love the movie NOTTING HILL. Directed by Roger Michell and written by Richard Curtis, it’s one of my all time favorite romantic comedies. I especially enjoy the close relationships that William Thacker (Hugh Grant) shares with his group of friends. The movie creates a world where these people truly love and care about each other. We all need a group of friends like this. 

In honor of the late Roger Michell’s birthday, I share this clip from NOTTING HILL:

SENSE AND SENSIBILITY – 1995 was a banner year for Jane Austen and cinematic romance. This is one of my favorite scenes!


I may write mostly about the film exploits of actors like Charles Bronson, Rutger Hauer, James Woods, Clint Eastwood, and Chow Yun-Fat, but there’s no doubt that I’m a sucker for a good romance. And my very favorite romantic films are based on the works of Jane Austen. I’ve watched the 1995 TV mini-series version of PRIDE AND PREJUDICE starring Colin Firth and Jennifer Ehle at least ten times in my life. It’s just so good. My favorite Austen “book-turned-film” just may be the 1995 version of PERSUASION starring Amanda Root and Ciaran Hinds. I’ve probably watched it at least twenty times in my life. I love to watch these movies when I need a pick me up, or when I need to relax. They have hard won “happy endings” and they always leave me with a tear in my eye.

Well, it’s obvious that 1995 was an amazing year for Jane Austen adaptations, because the year also featured the release of Ang Lee’s SENSE AND SENSIBILITY starring an incredible cast that included Emma Thompson, Kate Winslet, Hugh Grant and Alan Rickman. Emma Thompson would even win an Oscar for the screenplay that she adapted for the screen. If it was up to me, she would have also won an Oscar for her performance in this scene alone, and I still get happy tears every time I watch it. *(SPOILER ALERT)* If you’ve never seen the film, and you don’t want to see how it ends, do not watch this clip. However, if you love the movie, and the scene, as much as I do, enjoy. Happy Valentine’s Day, my friends!

The Greater Western New York Film Critics Association Honors Challengers


Yesterday, the Greater Western New York Film Critics Association announced its picks for the best of 2024.

BEST PICTURE
Anora
The Brutalist
Challengers
Dune: Part Two
Furiosa: A Mad Max Saga
I Saw the TV Glow
Nickel Boys
No Other Land
Nosferatu
A Real Pain

BEST FOREIGN FILM
All We Imagine as Light (India)
Evil Does Not Exist (Japan)
Kneecap (Ireland)
No Other Land (Israel)
Red Rooms (Canada)

BEST ANIMATED FILM
Flow
Inside Out 2
Memoir of a Snail
Wallace & Gromit: Vengeance Most Fowl
The Wild Robot

BEST DOCUMENTARY
Daughters
No Other Land
The Remarkable Life of Ibelin
Soundtrack to a Coup d’Etat
Super/Man: The Christopher Reeve Story

BEST DIRECTOR
Sean Baker – Anora
Brady Corbet – The Brutalist
Coralie Fargeat – The Substance
Luca Guadagnino – Challengers
RaMell Ross – Nickel Boys

LEAD ACTOR
Adrien Brody – The Brutalist
Timothée Chalamet – A Complete Unknown
Colman Domingo – Sing Sing
Hugh Grant – Heretic
Keith Kupferer – Ghostlight

LEAD ACTRESS
Pamela Anderson – The Last Showgirl
Marianne Jean-Baptiste – Hard Truths
Mikey Madison – Anora
Demi Moore – The Substance
Fernanda Torres – I’m Still Here

SUPPORTING ACTOR
Yura Borisov – Anora
Kieran Culkin – A Real Pain
Clarence Maclin – Sing Sing
Edward Norton – A Complete Unknown
Guy Pearce – The Brutalist

SUPPORTING ACTRESS
Monica Barbaro – A Complete Unknown
Joan Chen – Dìdi
Ariana Grande-Butera – Wicked
Natasha Lyonne – His Three Daughters
Margaret Qualley – The Substance

ORIGINAL SCREENPLAY
Anora – Sean Baker
The Brutalist – Brady Corbet & Mona Fastvold
Challengers – Justin Kuritzkes
A Different Man – Aaron Schimberg
A Real Pain – Jesse Eisenberg

ADAPTED SCREENPLAY
Conclave – Peter Straughan
Hit Man – Richard Linklater & Glen Powell
Nickel Boys – RaMell Ross & Joslyn Barnes
Oh, Canada – Paul Schrader
Sing Sing – Clint Bentley & Greg Kwedar / story by
Kwedar, Bentley, Clarence Maclin & John Whitfield

BEST CINEMATOGRAPHY
The Brutalist – Lol Crawley
Challengers – Sayombhu Mukdeeprom
Dune: Part Two – Greig Fraser
Nickel Boys – Jomo Fray
Nosferatu – Jarin Blaschke

BEST EDITING
The Brutalist – David Jancso
Challengers – Marco Costa
Dune: Part Two – Joe Walker
Nickel Boys – Nicholas Monsour
Saturday Night – Nathan Orloff & Shane Reid

BEST ORIGINAL SCORE
The Brutalist – Daniel Blumberg
Challengers – Trent Reznor & Atticus Ross
Conclave – Volker Bertelman
Nosferatu – Robin Carolan
The Wild Robot – Kris Bowers

BREAKTHROUGH PERFORMANCE
Yura Borisov – Anora
Lily Collias – Good One
Clarence Maclin – Sing Sing
Mikey Madison – Anora
Izaac Wang – Dìdi

BREAKTHROUGH DIRECTOR
India Donaldson – Good One
Vera Drew – The People’s Joker
Josh Margolin – Thelma
RaMell Ross – Nickel Boys
Aaron Schimberg – A Different Man

Here Are The 2024 Austin Film Critics Association!


Yesterday, the Austin Film Critics Association did their part to keep Austin weird by announcing their nominees for the best of 2024!  The winners will be announced January 6th!

Best Picture
Anora
The Brutalist
Dune: Part Two
Conclave
Love Lies Bleeding
Nosferatu
Nickel Boys
The Substance
Sing Sing
Wicked

Best Director
Sean Baker – Anora
Brady Corbet – The Brutalist
Coralie Fargeat – The Substance
Rose Glass – Love Lies Bleeding
Denis Villeneuve – Dune: Part Two

Best Actress
Pamela Anderson – The Last Showgirl
Marianne Jean-Baptiste – Hard Truths
Nicole Kidman – Babygirl
Mikey Madison – Anora
Demi Moore – The Substance

Best Actor
Adrien Brody – The Brutalist
Daniel Craig – Queer
Colman Domingo – Sing Sing
Ralph Fiennes – Conclave
Hugh Grant – Heretic

Best Supporting Actress
Danielle Deadwyler – The Piano Lesson
Ariana Grande – Wicked
Felicity Jones – The Brutalist
Katy O’Brian – Love Lies Bleeding
Margaret Qualley – The Substance

Best Supporting Actor
Yura Borisov – Anora
Kieran Culkin – A Real Pain
Clarence Maclin – Sing Sing
Guy Pearce – The Brutalist
Jeremy Strong – The Apprentice

Best Ensemble
Anora
The Brutalist
Conclave
Dune: Part Two
Sing Sing

Best Original Screenplay
Sean Baker – Anora
Brady Corbet & Mona Fastvold – The Brutalist
Jesse Eisenberg – A Real Pain
Coralie Fargeat – The Substance
Justin Kuritzkes – Challengers

Best Adapted Screenplay
Dana Fox & Winnie Holzman – Wicked
Greg Kwedar & Clint Bentley – Sing Sing
RaMell Ross & Joslyn Barnes – Nickel Boys
Peter Straughan – Conclave
Denis Villeneuve & Jon Spaihts – Dune: Part Two

Best Cinematography
Jarin Blaschke – Nosferatu
Lol Crawley – The Brutalist
Jomo Fray – Nickel Boys
Greig Frasier – Dune: Part Two
Benjamin Kracun – The Substance

Best Editing
Sean Baker – Anora
Coralie Fargeat, Jérôme Eltabet, & Valentin Féron – The Substance
Dávid Jancsó – The Brutalist
Joe Walker – Dune: Part Two
Hansjörg Weißbrich – September 5

Best Original Score
Daniel Blumberg – The Brutalist
Kris Bowers – The Wild Robot
Robin Carolan – Nosferatu
Trent Reznor & Atticus Ross – Challengers
Hans Zimmer – Dune: Part Two

Best International Film
Emilia Perez
Flow
I’m Still Here
Kneecap
The Seed of the Sacred Fig

Best Documentary
Dahomey
No Other Land
The Remarkable Life of Ibelin
Super/Man: The Christopher Reeve Story
Will & Harper

Best Animated Film
Flow
Inside Out 2
Memoir of a Snail
Wallace & Gromit: Vengeance Most Fowl
The Wild Robot

Best Voice Acting/Animated/Digital Performance
Kevin Durand – Kingdom of the Planet of the Apes
Lupita Nyong’o – The Wild Robot
Amy Poehler – Inside Out 2
Sarah Snook – Memoir of a Snail
Robbie Williams/Jonno Davies – Better Man

Best Stunt Work
Dune: Part Two
The Fall Guy
Furiosa: A Mad Max Saga
Kill
Monkey Man

Best First Film
Vera Drew – The People’s Joker
Zoe Kravitz – Blink Twice
Josh Margolin – Thelma
Arkasha Stevenson – The First Omen
Sean Wang – Didi

The AFCA also acknowledges standout works from directors who live in Austin. Our nominees for 2024:
The Bikeriders (Jeff Nichols)
Fugitive Dreams (Jason Neulander)
Hit Man (Richard Linklater)
Sasquatch Sunset (Nathan and David Zellner)
Sing Sing (Greg Kwedar)

Anora Wins In Dallas


Reunion Tower (picture by Erin Nicole)

On December 19th, the Dallas-Fort Worth Film Critics Association announced its picks for the best of 2024!

BEST PICTURE
Winner: ANORA
Runners-up: THE BRUTALIST (2); CONCLAVE (3); DUNE: PART TWO (4); A COMPLETE UNKNOWN (5); THE SUBSTANCE (6); WICKED (7); NICKEL BOYS (8); A REAL PAIN (9); SING SING (10)

BEST DIRECTOR
Winner: Sean Baker, ANORA
Runners-up: Brady Corbet, THE BRUTALIST (2); Denis Villeneuve, DUNE: PART TWO (3); Coralie Fargeat, THE SUBSTANCE (4); RaMell Ross, NICKEL BOYS (5)

BEST ACTOR
Winner: Ralph Fiennes, CONCLAVE
Runners-up: Adrien Brody, THE BRUTALIST (2); Timothee Chalamet, A COMPLETE UNKNOWN (3); Colman Domingo, SING SING (4); Hugh Grant, HERETIC (5)

BEST ACTRESS
Winner: Mikey Madison, ANORA
Runners-up: Demi Moore, THE SUBSTANCE (2); Karla Sofia Gascon, EMILIA PÉREZ (3); Angelina Jolie, MARIA (4); Marianne Jean-Baptiste, HARD TRUTHS (5, tie); Nicole Kidman, BABYGIRL (5, tie)

BEST SUPPORTING ACTOR
Winner: Guy Pearce, THE BRUTALIST
Runners-up: Kieran Culkin, A REAL PAIN (2); Edward Norton, A COMPLETE UNKNOWN (3); Denzel Washington, GLADIATOR II (4); Clarence Maclin, SING SING (5)

BEST SUPPORTING ACTRESS
Winner: Zoe Saldaña, EMILIA PÉREZ
Runners-up: Margaret Qualley, THE SUBSTANCE (2); Ariana Grande, WICKED (3); Danielle Deadwyler, THE PIANO LESSON (4); Monica Barbaro, A COMPLETE UNKNOWN (5)

BEST FOREIGN LANGUAGE FILM
Winner: THE SEED OF THE SACRED FIG
Runners-up: EMILIA PÉREZ (2); ALL WE IMAGINE AS LIGHT (3); I’M STILL HERE (4); KNEECAP (5)

BEST DOCUMENTARY
Winner: SUGARCANE
Runners-up: DAUGHTERS (2); WILL AND HARPER (3); SUPER/MAN: THE CHRISTOPHER REEVE STORY (4); DAHOMEY (5)

BEST ANIMATED FILM
Winner: THE WILD ROBOT
Runner-up: FLOW

BEST SCREENPLAY
Winner: Brady Corbet and Mona Fastvold, THE BRUTALIST
Runner-up: Sean Baker, ANORA

BEST CINEMATOGRAPHY
Winner: Grieg Fraser, DUNE: PART TWO
Runner-up: Lol Crawley, THE BRUTALIST

BEST MUSICAL SCORE
Winner: Kris Bowers, THE WILD ROBOT
Runner-up: Trent Reznor and Atticus Ross, CHALLENGERS

RUSSELL SMITH AWARD (best low-budget or cutting-edge independent film)
Winner: THE SEED OF THE SACRED FIG

Anora Wins In Philadelphia


On the 21st, the Philadelphia Film Critics Circle named Anora the best film of 2024.

Best Film
Winner: ANORA
Runner-Up: THE BRUTALIST

Best Director
Winner: Sean Baker – ANORA
Runner-Up: RaMell Ross – NICKEL BOYS

Best Actress
Winner: Mikey Madison – ANORA
Runner-Up: Demi Moore – THE SUBSTANCE

​Best Actor
Winner: Adrien Brody – THE BRUTALIST
Runner-Up: Hugh Grant – HERETIC

Best Supporting Actress
Winner: Margaret Qualley – THE SUBSTANCE
​Runner-Up: Aubrey Plaza – MEGALOPOLIS

​Best Supporting Actor
Winner: Kieran Culkin – A REAL PAIN
Runner-Up: Guy Pearce – THE BRUTALIST

Best Screenplay
Winner: ANORA
Runner-Up: NICKEL BOYS

Best Score/Soundtrack
Winner: THE BRUTALIST
Runner-Up: DUNE: PART TWO

Best Directorial Debut
Winner: Vera Drew – THE PEOPLE’S JOKER
Runner-Up: India Donaldson – GOOD ONE

Best Breakthrough Performance
Winner: Mikey Madison – ANORA
Runner-Up: Yura Borisov – ANORA

Best Cinematography
Winner: NOSFERATU
Runner-Up: THE BRUTALIST

Best Documentary
Winner: SUPER/MAN: THE CHRISTOPHER REEVE STORY
Runner-Up: WILL & HARPER

​Best Foreign Film
Winner: ALL WE IMAGINE AS LIGHT
Runner-Up: THE SEED OF THE SACRED FIG

Best Animated Film
Winner: MEMOIR OF A SNAIL
Runner-Up: FLOW

Best Ensemble
Winner: ANORA
Runner-Up: CONCLAVE

The Elaine May Award – For a deserving person or film that brings awareness to a story from a woman’s perspective
Winner: THE SUBSTANCE

The Cheesesteak Award (Sponsored by Philips Steaks)
Winner: THE FALL GUY
Runner-up: THE BEEKEEPER

Here Are The 2024 Nominations of The Greater Western New York Film Critics Assocation!


On the 23rd, the Greater Western New York Film Critics Association announced its nominations for the best of 2024.  The winners will be announced on January 4th!

BEST PICTURE
Anora
The Brutalist
Challengers
Dune: Part Two
Furiosa: A Mad Max Saga
I Saw the TV Glow
Nickel Boys
No Other Land
Nosferatu
A Real Pain

BEST FOREIGN FILM
All We Imagine as Light (India)
Evil Does Not Exist (Japan)
Kneecap (Ireland)
No Other Land (Palestine)
Red Rooms (Canada)

BEST ANIMATED FILM
Flow
Inside Out 2
Memoir of a Snail
Wallace & Gromit: Vengeance Most Fowl
The Wild Robot

BEST DOCUMENTARY
Daughters
No Other Land
The Remarkable Life of Ibelin
Soundtrack to a Coup d’Etat
Super/Man: The Christopher Reeve Story

BEST DIRECTOR
Sean Baker – Anora
Brady Corbet – The Brutalist
Coralie Fargeat – The Substance
Luca Guadagnino – Challengers
RaMell Ross – Nickel Boys

LEAD ACTOR
Adrien Brody – The Brutalist
Timothée Chalamet – A Complete Unknown
Colman Domingo – Sing Sing
Hugh Grant – Heretic
Keith Kupferer – Ghostlight

LEAD ACTRESS
Pamela Anderson – The Last Showgirl
Marianne Jean-Baptiste – Hard Truths
Mikey Madison – Anora
Demi Moore – The Substance
Fernanda Torres – I’m Still Here

SUPPORTING ACTOR
Yura Borisov – Anora
Kieran Culkin – A Real Pain
Clarence Maclin – Sing Sing
Edward Norton – A Complete Unknown
Guy Pearce – The Brutalist

SUPPORTING ACTRESS
Monica Barbaro – A Complete Unknown
Joan Chen – Dìdi
Ariana Grande-Butera – Wicked
Natasha Lyonne – His Three Daughters
Margaret Qualley – The Substance

ORIGINAL SCREENPLAY
Anora – Sean Baker
The Brutalist – Brady Corbet & Mona Fastvold
Challengers – Justin Kuritzkes
A Different Man – Aaron Schimberg
A Real Pain – Jesse Eisenberg

ADAPTED SCREENPLAY
Conclave – Peter Straughan
Hit Man – Richard Linklater & Glen Powell
Nickel Boys – RaMell Ross & Joslyn Barnes
Oh, Canada – Paul Schrader
Sing Sing – Clint Bentley & Greg Kwedar / story by
Kwedar, Bentley, Clarence Maclin & John Whitfield

BEST CINEMATOGRAPHY
The Brutalist – Lol Crawley
Challengers – Sayombhu Mukdeeprom
Dune: Part Two – Greig Fraser
Nickel Boys – Jomo Fray
Nosferatu – Jarin Blaschke

BEST EDITING
The Brutalist – David Jancso
Challengers – Marco Costa
Dune: Part Two – Joe Walker
Nickel Boys – Nicholas Monsour
Saturday Night – Nathan Orloff & Shane Reid

BEST ORIGINAL SCORE
The Brutalist – Daniel Blumberg
Challengers – Trent Reznor & Atticus Ross
Conclave – Volker Bertelman
Nosferatu – Robin Carolan
The Wild Robot – Kris Bowers

BREAKTHROUGH PERFORMANCE
Yura Borisov – Anora
Lily Collias – Good One
Clarence Maclin – Sing Sing
Mikey Madison – Anora
Izaac Wang – Dìdi

BREAKTHROUGH DIRECTOR
India Donaldson – Good One
Vera Drew – The People’s Joker
Josh Margolin – Thelma
RaMell Ross – Nickel Boys
Aaron Schimberg – A Different Man

The Online Association Of Female Film Critics Honors Both Anora and The Substance


On December 23rd. the Online Association of Female Film Critics announced their picks for the best of 2024.  And here they are!

BEST FILM
Anora (TIE)
The Brutalist
Conclave
Nickel Boys
The Substance (TIE)

BEST DIRECTOR
Sean Baker – Anora
Edward Berger – Conclave
Brady Corbet – The Brutalist
Coralie Fargeat – The Substance
RaMell Ross – Nickel Boys

BEST MALE LEAD
Adrien Brody – The Brutalist
Timothée Chalamet – A Complete Unknown
Colman Domingo – Sing Sing
Ralph Fiennes – Conclave
Hugh Grant – Heretic

BEST FEMALE LEAD
Cynthia Erivo – Wicked
Marianne Jean-Baptiste – Hard Truths
Mikey Madison – Anora
Demi Moore – The Substance
Zendaya – Challengers

BEST SUPPORTING MALE
Yura Borisov – Anora
Kieran Culkin – A Real Pain
Clarence “Divine Eye” Maclin – Sing Sing
Stanley Tucci – Conclave
Denzel Washington – Gladiator II

BEST SUPPORTING FEMALE
Jamie Lee Curtis – The Last Showgirl
Danielle Deadwyler – The Piano Lesson
Margaret Qualley – The Substance
Isabella Rossellini – Conclave
Zoe Saldaña – Emilia Pérez

BEST ACTING ENSEMBLE
Anora
Challengers
Conclave
The Piano Lesson
Sing Sing

BEST ORIGINAL SCREENPLAY
A Real Pain
Anora
Challengers
His Three Daughters
The Substance

BEST ADAPTED SCREENPLAY
Conclave (TIE)
Dune: Part Two
Nickel Boys (TIE)
Sing Sing
Wicked

BEST DOCUMENTARY
Black Box Diaries
Daughters
No Other Land
Sugarcane
Will & Harper

BEST ANIMATED FEATURE
Flow
Inside Out 2
Memoir of a Snail
The Wild Robot
Wallace & Gromit: Vengeance Most Fowl

BEST INTERNATIONAL FEATURE
All We Imagine As Light
Dahomey
Flow
The Girl With the Needle
The Seed of the Sacred Fig

BEST CINEMATOGRAPHY
The Brutalist – Lol Crawley
Conclave – Stéphane Fontaine
Dune: Part Two – Greig Fraser
Nickel Boys – Jomo Fray
Nosferatu – Jarin Blaschke

BEST EDITING
The Brutalist
Challengers
Conclave
Nickel Boys
The Substance

BEST STUNTS
Dune: Part Two
The Fall Guy
Furiosa: A Mad Max Saga
Gladiator II
Monkey Man

BEST VISUAL EFFECTS
Dune: Part Two
Furiosa: A Mad Max Saga
Kingdom of the Planet of the Apes
The Substance
Wicked

BEST COSTUME DESIGN
Beetlejuice Beetlejuice
Dune: Part Two
Maria
Nosferatu
Wicked

BREAKTHROUGH FILMMAKER
Vera Drew – The People’s Joker
Coralie Fargeat – The Substance
Zoë Kravitz – Blink Twice
Malcolm Washington – The Piano Lesson
Dev Patel – Monkey Man

BREAKTHROUGH PERFORMANCE
Nykiya Adams – Bird
Clarence “Divine Eye” Maclin – Sing Sing
Mikey Madison – Anora
Katy O’Brian – Love Lies Bleeding
Maisy Stella – My Old Ass

THE ROSIE
The OAFFC’s signature award celebrates the film that “best promotes women, their voices, and the female experience through cinema.”
All We Imagine As Light
His Three Daughters
The Last Showgirl
Nightbitch
The Substance