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)
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)
If I seem a little bit excited, that’s because I am. I’ve been excited about seeing Brooklyn ever since it was first acclaimed at the Sundance Film Festival earlier this year. I was excited before I watched the film, I was excited while I watched it, and now I’m excited about the prospect of you seeing it.
The thing is, it’s a little bit hard to explain just what makes Brooklyn such a wonderful film. I will admit that, in my case, it probably helps that it’s a deliriously romantic (yet realistic) portrait of a young woman who immigrates from Ireland to Brooklyn in the 1950s. Since I’m an incurable romantic of Irish descent, I suppose it was somewhat predestined that I would love Brooklyn. But, ultimately, you don’t have to be Irish to love Brooklyn. The story that Brooklyn tells is a universal one.
When we first meet Eilis Lacey (Saoirse Ronan), she is a quiet and meek girl living in a small Irish town. She spends her weekends working in a shop owned by the spiteful Ms. Kelly (Brid Brennan) and looks up to her older sister, Rose (Fiona Glascott). It is Rose who contacts Father Flood (Jim Broadbent) in Brooklyn and who arranges, with him, for Eilis to come to America.
After a nightmarish crossing that is marked by a Hellish case of seasickness, Eilis finds herself in Brooklyn and living in a boarding house, under the watchful and protective eye of Miss Kehoe (Julie Walters). At first, Eilis is homesick and struggles to adjust to her new surroundings. It’s only after Father Flood arranges for Eilis to take a night class in bookkeeping that Eilis starts to discover her confidence. (Somewhat poignantly, Rose is also a bookkeeper. Even separated by an ocean, Eilis is still trying to impress her big sister.)
Eventually, Eilis meets and starts to date a sweet-natured plumber named Tony (Emory Cohen). Now, in the past, I’ve actually been pretty critical of Emory Cohen as an actor. On twitter, I made some unkind comments about the performance that he gave in the TV series Smash. (He played Debra Messing’s son.) Though I didn’t make a point of mentioning it in my review, I also thought he was the weakest link in the otherwise excellent ensemble of The Place Beyond The Pines. So, when I first heard that he gave an excellent performance in Brooklyn, I was a little bit skeptical. But then I saw the movie and believe it or not, Emory Cohen gives an excellent performance. As Tony, he is sweet and tough and funny and truly the ideal boyfriend. He also flashes the sweetest smile imaginable, which is one thing that he was not allowed to do in either Smash or The Place Beyond The Pines.
Brooklyn handles Eilis and Tony’s relationship with a commendable honesty. This is a wonderfully romantic movie but, at the same time, it retains a realistic edge. As characters, Eilis and Tony are never idealized. When Tony tells Eilis that he loves her, we’re just as torn as she is because we’ve gotten to know both of them. We know that Tony is a good man but we also know and understand Eilis’s struggle to establish a life and an identity of her own in America. We know how important her independence is to her and it’s equally important to us.
As a result of unforseen circumstances, Eilis eventually finds herself returning to Ireland. Though Eilis insists that she’s only going to stay for a few months, she soon finds herself torn. Should she return to her old home, where she is now viewed as being a bit of a glamorous celebrity and is romantically pursued by the handsome and charming Jim Farrell (Domhnall Gleeson)? Or should she go back to Brooklyn, to Tony and an unpredictable future?
Brooklyn is a deceptively low-key film. Eilis changes from being a shy and insecure girl to being a strong and confident woman so gradually that both she and the viewer are initially taken by surprise when the new Eilis emerges from her shell. This is a film that both demands and rewards your patience. At the same time, it’s also a film about universal desires and experiences to which we can all relate. At some point in our life and in some way, we have all been Eilis Lacey.
Saoirse Ronan — oh my God, what can I say about Saoirse Ronan? How can I possibly describe what a wonderful performance she gives? Ever since she first came to the public’s attention in Atonement, Saoirse Ronan has been one of the best and most underrated actresses around. In Brooklyn, she gives her best performance yet. She deserved an Oscar for Hanna and she’ll hopefully win one for Brooklyn.
(Incidentally, Brooklyn was written by Nick Hornby, who also wrote another one of my favorite films, An Education. Hopefully, Brooklyn will do for Saoirse Ronan what An Education did for Carey Mulligan.)
The Boston Online Film Critics announced their picks for the best of 2015 earlier today and once again, my expectations have been defied! I figured that since Spotlight is a Boston-story, it would be an easy pick for the Boston critics.
But no! The Boston Online Critics went for … MAD MAX: FURY ROAD! According to Awards Circuit, Creed was the runner-up. (Though, to be clear, the Boston Online Critics definitely did like Spotlight, naming it the 5th best film of 2015 and giving it awards for screenplay and ensemble.) Now again, that doesn’t mean that either Fury Road or Creed is going to be Oscar-nominated. But, every bit helps. With each victory, the idea of a Fury Road best picture nomination becomes just a little more plausible.
Here’s my question — one month ago, would you have believed that the early critics awards would be dominated by Mad Max, Sylvester Stallone, and Kristen Stewart?
