Dune Part II Wins in St. Louis


Yesterday, the St. Louis Film Critics Association announced their picks for the best of 2024!  It was another victory for Dune Part II!

BEST FILM
Anora
The Brutalist
A Complete Unknown
Conclave
Dune: Part Two
Nickel Boys
The Seed of the Sacred Fig
September 5
Sing Sing
Wicked

BEST DIRECTOR
Edward Berger – “Conclave
Brady Corbet – “The Brutalist”
Mohammad Rasoulof – “The Seed of the Sacred Fig”
RaMell Ross – “Nickel Boys”
Denis Villeneuve – “Dune: Part Two

BEST ACTRESS
Pamela Anderson – “The Last Showgirl”
Cynthia Erivo – “Wicked
Marianne Jean-Baptiste – “Hard Truths”
Mikey Madison – “Anora”
Demi Moore – “The Substance”
Saoirse Ronan – “The Outrun”

BEST ACTOR
Adrien Brody – “The Brutalist”
Timothee Chalamet – “A Complete Unknown
Daniel Craig – “Queer”
Colman Domingo – “Sing Sing
Ralph Fiennes – “Conclave
Hugh Grant – “Heretic”

BEST SUPPORTING ACTRESS
Monica Barbaro – “A Complete Unknown
Danielle Deadwyler – “The Piano Lesson”
Aunjanue Ellis-Taylor – “Nickel Boys”
Ariana Grande – “Wicked
Zoe Saldana – “Emilia Perez”

BEST SUPPORTING ACTOR
Kieran Culkin – “A Real Pain”
Clarence Maclin “Sing Sing
Guy Pearce – “The Brutalist”
Stanley Tucci – “Conclave
Denzel Washington – “Gladiator II”

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

BEST ORIGINAL SCREENPLAY
Anora
The Brutalist
Hard Truths
A Real Pain
Saturday Night
The Seed of the Sacred Fig

BEST CINEMATOGRAPHY
The Brutalist
Dune: Part Two
Maria
Nosferatu
Nickel Boy

BEST COSTUME DESIGN
Dune: Part Two
Hundreds of Beavers
Maria
Nosferatu
Wicked

BEST EDITING
The Brutalist
Dune: Part Two
Nickel Boys
Saturday Night
September 5

BEST PRODUCTION DESIGN
The Brutalist
Conclave
Dune: Part Two
Nosferatu
Wicked

BEST ORIGINAL SCORE
The Brutalist
Challengers
Conclave
Dune: Part Two
The Wild Robot

BEST VISUAL EFFECTS
Alien: Romulus
Dune: Part Two
Furiosa: A Mad Max Saga
Kingdom of the Planet of the Apes
Nosferatu

BEST SOUNDTRACK
A Complete Unknown

Deadpool & Wolverine
I Saw the TV Glow
Maria
Wicked

BEST VOCAL PERFORMANCE

Maya Hawke – “Inside Out 2”
Lupita Nyong’o – “The Wild Robot”
Pedro Pascal – “The Wild Robot”
Amy Poehler – “Inside Out 2”
Sarah Snook – “Memoir of a Snail”

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

BEST ENSEMBLE

Conclave
Dune: Part Two
Saturday Night
Sing Sing
Wicked

BEST HORROR FILM
Heretic
I Saw the TV Glow
Late Night with the Devil
Longlegs
Nosferatu
The Substance

BEST STUNTS
Deadpool & Wolverine
The Fall Guy
Furiosa: A Mad Max Saga
Gladiator II
Monkey Man

BEST COMEDY FILM
Deadpool & Wolverine
The Fall Guy
Hundreds of Beavers
A Real Pain
Saturday Night

BEST ACTION FILM
Deadpool & Wolverine
Dune: Part Two
The Fall Guy
Furiosa: A Mad Max Saga
Monkey Man

BEST DOCUMENTARY FEATURE
Daughters
Music by John Williams
No Other Land
Sugarcane
Super/Man: The Christopher Reeve Story
Will & Harper

BEST INTERNATIONAL FEATURE FILM
All We Imagine As Light
Dahomey
Do Not Expect Too Much from the End of the World
Emilia Perez
The Seed of the Sacred Fig

BEST FIRST FEATURE FILM
Annie Baker – “Janet Planet”
Anna Kendrick – “Woman of the Hour”
Josh Margolin – “Thelma”
Dev Patel – “Monkey Man”
RaMell Ross – “Nickel Boys”
Malcolm Washington – “The Piano Lesson”

BEST SCENE
Civil War – “What kind of an American are you?”
Dune: Part Two – Riding the Sandworm
The Substance – New Year’s Eve performance
Furiosa: A Mad Max Saga – War Rig battle
His Three Daughters – Dad’s Chair

Here Are The 2024 Nominations of the Alliance of Women Film Journalists!


The Alliance of Women Film Journalists have announced their nominations for the best of 2024!  And here they are:

BEST FILM 
ANORA
CONCLAVE
EMILIA PÉREZ
NICKEL BOYS
SING SING
THE BRUTALIST
THE SUBSTANCE
WICKED

BEST DIRECTOR
JACQUES AUDIARD – EMILIA PÉREZ
SEAN BAKER – ANORA
EDWARD BERGER – CONCLAVE
BRADY CORBET – THE BRUTALIST
CORALIE FARGEAT – THE SUBSTANCE
PAYAL KAPADIA – ALL WE IMAGINE AS LIGHT

BEST SCREENPLAY, ORIGINAL
ALL WE IMAGINE AS LIGHT – PAYAL KAPADIA
ANORA – SEAN BAKER
A REAL PAIN – JESSE EISENBERG
HARD TRUTHS – MIKE LEIGH
THE SUBSTANCE – CORALIE FARGEAT
THE BRUTALIST – BRADY CORBET AND MONA FASTVOLD

BEST SCREENPLAY, ADAPTED
CONCLAVE – PETER STRAUGHAN, ROBERT HARRIS
EMILIA PÉREZ – JACQUES AUDIARD, THOMAS BIDEGAIN, LEA MYSIUS
NICKEL BOYS – RaMell ROSS, JOSLYN BARNES, COLSON WHITEHEAD
NOSFERATU – ROBERT EGGERS
SING SING – JOHN H. RICHARDSON, BRENT BUELL, CLINT BENTLEY
THE WILD ROBOT – CHRIS SANDERS, PETER BROWN

BEST DOCUMENTARY
BLACK BOX DIARIES – SHIDORI ITO
DAHOMEY – MATI DIOP
DAUGHTERS – ANGELA PATTON, NATALIE RAE
THE LAST OF THE SEA WOMEN – SUE KIM
SUGARCANE – EMILY KASSIE, JASON BRAVE NOISECAT
WILL & HARPER – JOSH GREENBAUM

BEST ANIMATED FILM
FLOW
HUNDREDS OF BEAVERS
INSIDE OUT 2
MEMOIR OF A SNAIL
THE WILD ROBOT
WALLACE & GROMIT: VENGEANCE MOST FOWL

BEST ACTRESS
CYNTHIA ERIVO – WICKED
KARLA SOFIA GASCON – EMILIA PÉREZ
MARIANNE JEAN-BAPTISTE – HARD TRUTHS
MIKEY MADISON – ANORA
DEMI MOORE – THE SUBSTANCE
JUNE SQUIBB – THELMA

BEST ACTRESS, SUPPORTING
JOAN CHEN – DIDI
DANIELLE DEADWYLER – THE PIANO LESSON
AUNJANUE ELLIS-TAYLOR – NICKEL BOYS
MARGARET QUALLEY – THE SUBSTANCE
ISABELLA ROSSELLINI – CONCLAVE
ZOE SALDANA – EMILIA PÉREZ

BEST ACTOR
ADRIEN BRODY – THE BRUTALIST
DANIEL CRAIG – QUEER
COLMAN DOMINGO – SING SING
RALPH FIENNES – CONCLAVE
HUGH GRANT – HERETIC
SEBASTIAN STAN – THE APPRENTICE

BEST ACTOR, SUPPORTING
YURA BORISOV – ANORA
KIERAN CULKIN – A REAL PAIN
CLARENCE MACLIN – SING SING
GUY PEARCE – THE BRUTALIST
STANLEY TUCCI – CONCLAVE
DENZEL WASHNGTON – GLADIATOR II

BEST ENSEMBLE CAST AND CASTING DIRECTOR
ANORA
CHALLENGERS
CONCLAVE
EMILIA PÉREZ
SATURDAY NIGHT
WICKED

BEST CINEMATOGRAPHY
CONCLAVE
DUNE: PART TWO
NICKEL BOYS
NOSFERATU
THE BRUTALIST
WICKED

BEST EDITING
ANORA
CONCLAVE
EMILIA PÉREZ
FURIOSA: A MAD MAX SAGA
THE BRUTALIST
THE SUBSTANCE

BEST INTERNATIONAL FILM
ALL WE IMAGINE AS LIGHT
DAHOMEY
EMILIA PÉREZ
FLOW
LA CHIMERA
THE SEED OF THE SACRED FIG

EDA FEMALE FOCUS AWARDS

EDA FEMALE FOCUS: BEST WOMAN DIRECTOR
ANDREA ARNOLD – BIRD
GIA COPPOLA – THE LAST SHOWGIRL
CORALIE FARGEAT – THE SUBSTANCE
PAYAL KAPADIA – ALL WE IMAGINE AS LIGHT
MEGAN PARK – MY OLD ASS
ALICE ROHRWACHER – LA CHIMERA

EDA FEMALE FOCUS: BEST FEMALE SCREENWRITER
ANDREA ARNOLD – BIRD
CORALIE FARGEAT – THE SUBSTANCE
PAYAL KAPADIA – ALL WE IMAGINE AS LIGHT
MEGAN PARK – MY OLD ASS
ALICE ROHRWACHER – LA CHIMERA
ERICA TREMBLAY, MICIANA ALISE – FANCY DANCE

EDA FEMALE FOCUS: BEST ANIMATED/VOICED PERFORMANCE
AYO EDEBIRI – INSIDE OUT 2
MAYA HAWKE – INSIDE OUT 2
LUPITA NYONG’O – THE WILD ROBOT
AMY POEHLER – INSIDE OUT 2
SARAH SNOOK – MEMOIR OF A SNAIL
JACKI WEAVER – MEMOIR OF A SNAIL

EDA FEMALE FOCUS: BEST WOMEN’S BREAKTHROUGH PERFORMANCE
NYKIYA ADAMS – BIRD
KARLA SOFIA GASCON – EMILIA PÉREZ
MIKEY MADISON – ANORA
KATY O’BRIAN – LOVE LIES BLEEDING
JUNE SQUIBB – THELMA
MAISY STELLA – MY OLD ASS

EDA FEMALE FOCUS: BEST STUNT PERFORMANCE
NIKKI BERWICK – STUNT COORDINATOR ON GLADIATOR II
ALEX JAY (for ZENDAYA) – DUNE: PART TWO
HAYLEY WRIGHT (for ANYA TAYLOR-JOY) – FURIOSA: A MAD MAX SAGA
KATY O’BRIAN – LOVE LIES BLEEDING
CAILEE SPAENY – ALIEN: ROMULUS
JUNE SQUIBB – THELMA

Sing Sing Wins In San Diego


Yesterday, the San Diego Film Critics Society named Sing Sing the best film of 2024!  All of the winners and nominees can be found below!

Best Picture
ANORA (1st RUNNER UP)
CHALLENGERS
CONCLAVE (2nd RUNNER UP)
DUNE: PART TWO
SING SING (WINNER)

Best Director
Brady Corbet – THE BRUTALIST
Coralie Fargeat – THE SUBSTANCE
Denis Villeneuve – DUNE: PART TWO (WINNER)
Edward Berger – CONCLAVE
Greg Kwedar – SING SING (RUNNER UP)

Best Actor
Adrien Brody – THE BRUTALIST (1st RUNNER UP)
Colman Domingo – SING SING (WINNER)
Daniel Craig – QUEER (2nd RUNNER UP)
Ralph Fiennes – CONCLAVE
Timothée Chalamet – A COMPLETE UNKNOWN

Best Actress
Amy Adams – NIGHTBITCH (RUNNER UP)
Cynthia Erivo – WICKED
Demi Moore – THE SUBSTANCE
Marianne Jean-Baptiste – HARD TRUTHS (WINNER)
Mikey Madison – ANORA

Best Supporting Actor
Clarence Maclin – SING SING
Denzel Washington – GLADIATOR II (RUNNER UP)
Guy Pearce – THE BRUTALIST
Kieran Culkin – A REAL PAIN (WINNER)
Stanley Tucci – CONCLAVE

Best Supporting Actress
Ariana Grande-Butera – WICKED (WINNER)
Danielle Deadwyler – THE PIANO LESSON
Jessie Buckley – WICKED LITTLE LETTERS
Joan Chen – DÌDI (RUNNER UP)
Natasha Lyonne – HIS THREE DAUGHTERS

Best Comedic Performance
Aubrey Plaza – MY OLD ASS
Channing Tatum – DEADPOOL & WOLVERINE
June Squibb – THELMA (WINNER)
Michael Keaton – BEETLEJUICE BEETLEJUICE (RUNNER UP)
Ryan Gosling – THE FALL GUY

Best Youth Performance (For a performer under the age of 18)
Alisha Weir – ABIGAIL
Alix West Lefler – SPEAK NO EVIL (RUNNER UP)
Elliott Heffernan – BLITZ
Izaac Wang – DÌDI (WINNER)
Katherine Mallen Kupferer – GHOSTLIGHT

Best Original Screenplay
Coralie Fargeat – THE SUBSTANCE
Jesse Eisenberg – A REAL PAIN
Justin Kuritzkes – CHALLENGERS (RUNNER UP)
Rose Glass and Weronika Tofilska – LOVE LIES BLEEDING
Sean Baker – ANORA (WINNER)

Best Adapted Screenplay
Chris Sanders – THE WILD ROBOT
Clint Bentley, Greg Kwedar – SING SING (WINNER)
Denis Villeneuve, Jon Spaihts – DUNE: PART TWO (RUNNER UP)
Malcolm Washington, Virgil Williams – THE PIANO LESSON
Peter Straughan – CONCLAVE

Best First Feature (Director)
Anna Kendrick – WOMAN OF THE HOUR
Dev Patel – MONKEY MAN
Rachel Morrison – THE FIRE INSIDE
Sean Wang – DÌDI (RUNNER UP)
Zoë Kravitz – BLINK TWICE (WINNER)

Best Documentary
DAUGHTERS (RUNNER UP)
MUSIC BY JOHN WILLIAMS
SUGARCANE
SUPER/MAN: THE CHRISTOPHER REEVE STORY (WINNER)
WILL & HARPER

Best Animated Film
FLOW (WINNER)
MEMOIR OF A SNAIL
TRANSFORMERS ONE
WALLACE & GROMIT: VENGEANCE MOST FOWL
THE WILD ROBOT (RUNNER UP)

Best Foreign Language Film
ALL WE IMAGINE AS LIGHT (WINNER)
THE GIRL WITH THE NEEDLE
NO OTHER LAND
THE SEED OF THE SACRED FIG
VERMIGLIO

Best Editing
Hansjörg Weißbrich – SEPTEMBER 5 (WINNER)
Joe Walker – DUNE: PART TWO
Kathryn J. Schubert – BLINK TWICE
Marco Costa – CHALLENGERS (RUNNER UP)
Sean Baker – ANORA

Best Cinematography
Alice Brooks – WICKED
Greig Fraser – DUNE: PART TWO
Jarin Blaschke – NOSFERATU (WINNER)
Pat Scola – SING SING
Stéphane Fontaine – CONCLAVE (RUNNER UP)

Best Production Design
Craig Lathrop, Beatrice Brentnerova – NOSFERATU (1st RUNNER UP)
Judy Becker – THE BRUTALIST
Nathan Crowley – WICKED (WINNER)
Patrice Vermette – DUNE: PART TWO (2nd RUNNER UP)
Suzie Davies – CONCLAVE

Best Visual Effects
ALIEN: ROMULUS
DUNE: PART TWO (1st RUNNER UP)
KINGDOM OF THE PLANET OF THE APES (2nd RUNNER UP)
NOSFERATU
THE SUBSTANCE (WINNER)

Best Costume Design
Colleen Atwood – BEETLEJUICE BEETLEJUICE
Jacqueline Getty, Rainy Jacobs – THE LAST SHOWGIRL (RUNNER UP)
Jacqueline West – DUNE: PART TWO
Lisy Christl – CONCLAVE
Paul Tazewell – WICKED (WINNER)

Best Sound Design
A QUIET PLACE: DAY ONE
ALIEN: ROMULUS
CIVIL WAR (RUNNER UP)
DUNE: PART TWO (WINNER)
WICKED

Best Use of Music
A COMPLETE UNKNOWN (WINNER)
CHALLENGERS (RUNNER UP)
DUNE: PART TWO
SING SING
WICKED

Best Stunt Choreography
ALIEN: ROMULUS
DUNE: PART TWO
THE FALL GUY (WINNER)
GLADIATOR II
MONKEY MAN (RUNNER UP)

Best Ensemble
CONCLAVE (RUNNER UP)
DUNE: PART TWO
SEPTEMBER 5 (WINNER)
SING SING
WICKED

Breakthrough Performance
Mikey Madison – ANORA (WINNER)
Nell Tiger Free – THE FIRST OMEN (RUNNER UP)

Special Award for Body of Work
Nicholas Hoult – JUROR #2, NOSFERATU, THE ORDER, THE GARFIELD MOVIE

Here Are The Nominations Of The St. Louis Film Critics Association!


Finally, the St. Louis Film Critics Association today announced their nominations for the best of 2024!  The winners will be announced on December 15.

BEST FILM
Anora
The Brutalist
A Complete Unknown
Conclave
Dune: Part Two
Nickel Boys
The Seed of the Sacred Fig
September 5
Sing Sing
Wicked

BEST DIRECTOR
Edward Berger – “Conclave
Brady Corbet – “The Brutalist”
Mohammad Rasoulof – “The Seed of the Sacred Fig”
RaMell Ross – “Nickel Boys”
Denis Villeneuve – “Dune: Part Two

BEST ACTRESS
Pamela Anderson – “The Last Showgirl”
Cynthia Erivo – “Wicked
Marianne Jean-Baptiste – “Hard Truths”
Mikey Madison – “Anora”
Demi Moore – “The Substance”
Saoirse Ronan – “The Outrun”

BEST ACTOR
Adrien Brody – “The Brutalist”
Timothee Chalamet – “A Complete Unknown
Daniel Craig – “Queer”
Colman Domingo – “Sing Sing
Ralph Fiennes – “Conclave
Hugh Grant – “Heretic”

BEST SUPPORTING ACTRESS
Monica Barbaro – “A Complete Unknown
Danielle Deadwyler – “The Piano Lesson”
Aunjanue Ellis-Taylor – “Nickel Boys”
Ariana Grande – “Wicked
Zoe Saldana – “Emilia Perez”

BEST SUPPORTING ACTOR
Kieran Culkin – “A Real Pain”
Clarence Maclin “Sing Sing
Guy Pearce – “The Brutalist”
Stanley Tucci – “Conclave
Denzel Washington – “Gladiator II”

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

BEST ORIGINAL SCREENPLAY
Anora
The Brutalist
Hard Truths
A Real Pain
Saturday Night
The Seed of the Sacred Fig

BEST CINEMATOGRAPHY
The Brutalist
Dune: Part Two
Maria
Nosferatu
Nickel Boy

BEST COSTUME DESIGN
Dune: Part Two
Hundreds of Beavers
Maria
Nosferatu
Wicked

BEST EDITING
The Brutalist
Dune: Part Two
Nickel Boys
Saturday Night
September 5

BEST PRODUCTION DESIGN
The Brutalist
Conclave
Dune: Part Two
Nosferatu
Wicked

BEST ORIGINAL SCORE
The Brutalist
Challengers
Conclave
Dune: Part Two
The Wild Robot

BEST VISUAL EFFECTS
Alien: Romulus
Dune: Part Two
Furiosa: A Mad Max Saga
Kingdom of the Planet of the Apes
Nosferatu

BEST SOUNDTRACK
A Complete Unknown
Deadpool & Wolverine
I Saw the TV Glow
Maria
Wicked

BEST VOCAL PERFORMANCE

Maya Hawke – “Inside Out 2”
Lupita Nyong’o – “The Wild Robot”
Pedro Pascal – “The Wild Robot”
Amy Poehler – “Inside Out 2”
Sarah Snook – “Memoir of a Snail”

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

BEST ENSEMBLE

Conclave
Dune: Part Two
Saturday Night
Sing Sing
Wicked

BEST HORROR FILM
Heretic
I Saw the TV Glow
Late Night with the Devil
Longlegs
Nosferatu
The Substance

BEST STUNTS
Deadpool & Wolverine
The Fall Guy
Furiosa: A Mad Max Saga
Gladiator II
Monkey Man

BEST COMEDY FILM
Deadpool & Wolverine
The Fall Guy
Hundreds of Beavers
A Real Pain
Saturday Night

BEST ACTION FILM
Deadpool & Wolverine
Dune: Part Two
The Fall Guy
Furiosa: A Mad Max Saga
Monkey Man

BEST DOCUMENTARY FEATURE
Daughters
Music by John Williams
No Other Land
Sugarcane
Super/Man: The Christopher Reeve Story
Will & Harper

BEST INTERNATIONAL FEATURE FILM
All We Imagine As Light
Dahomey
Do Not Expect Too Much from the End of the World
Emilia Perez
The Seed of the Sacred Fig

BEST FIRST FEATURE FILM
Annie Baker – “Janet Planet”
Anna Kendrick – “Woman of the Hour”
Josh Margolin – “Thelma”
Dev Patel – “Monkey Man”
RaMell Ross – “Nickel Boys”
Malcolm Washington – “The Piano Lesson”

BEST SCENE
Civil War – “What kind of an American are you?”
Dune: Part Two – Riding the Sandworm
The Substance – New Year’s Eve performance
Furiosa: A Mad Max Saga – War Rig battle
His Three Daughters – Dad’s Chair

Here Are The Nominations of the San Diego Film Critics Society!


Yesterday, the San Diego Film Critics Society announced their nominations for the best of 2024!  The winners will be announced on December 9th …. hey, that’s right around the corner!

Here are the nominees:

Best Picture
ANORA
CHALLENGERS
CONCLAVE
DUNE: PART TWO
SING SING

Best Director
Brady Corbet – THE BRUTALIST
Coralie Fargeat – THE SUBSTANCE
Denis Villeneuve – DUNE: PART TWO
Edward Berger – CONCLAVE
Greg Kwedar – SING SING

Best Actor
Adrien Brody – THE BRUTALIST
Colman Domingo – SING SING
Daniel Craig – QUEER
Ralph Fiennes – CONCLAVE
Timothée Chalamet – A COMPLETE UNKNOWN

Best Actress
Amy Adams – NIGHTBITCH
Cynthia Erivo – WICKED
Demi Moore – THE SUBSTANCE
Marianne Jean-Baptiste – HARD TRUTHS
Mikey Madison – ANORA

Best Supporting Actor
Clarence Maclin – SING SING
Denzel Washington – GLADIATOR II
Guy Pearce – THE BRUTALIST
Kieran Culkin – A REAL PAIN
Stanley Tucci – CONCLAVE

Best Supporting Actress
Ariana Grande-Butera – WICKED
Danielle Deadwyler – THE PIANO LESSON
Jessie Buckley – WICKED LITTLE LETTERS
Joan Chen – DÌDI
Natasha Lyonne – HIS THREE DAUGHTERS

Best Comedic Performance
Aubrey Plaza – MY OLD ASS
Channing Tatum – DEADPOOL & WOLVERINE
June Squibb – THELMA
Michael Keaton – BEETLEJUICE BEETLEJUICE
Ryan Gosling – THE FALL GUY

Best Youth Performance (For a performer under the age of 18)
Alisha Weir – ABIGAIL
Alix West Lefler – SPEAK NO EVIL
Elliott Heffernan – BLITZ
Izaac Wang – DÌDI
Katherine Mallen Kupferer – GHOSTLIGHT

Best Original Screenplay
Coralie Fargeat – THE SUBSTANCE
Jesse Eisenberg – A REAL PAIN
Justin Kuritzkes – CHALLENGERS
Rose Glass and Weronika Tofilska – LOVE LIES BLEEDING
Sean Baker – ANORA

Best Adapted Screenplay
Chris Sanders – THE WILD ROBOT
Craig Bentley, Greg Kwedar – SING SING
Denis Villeneuve, Jon Spaihts – DUNE: PART TWO
Malcolm Washington, Virgil Williams – THE PIANO LESSON
Peter Straughan – CONCLAVE

Best First Feature (Director)
Anna Kendrick – WOMAN OF THE HOUR
Dev Patel – MONKEY MAN
Rachel Morrison – THE FIRE INSIDE
Sean Wang – DÌDI
Zoë Kravitz – BLINK TWICE

Best Documentary
DAUGHTERS
MUSIC BY JOHN WILLIAMS
SUGARCANE
SUPER/MAN: THE CHRISTOPHER REEVE STORY
WILL & HARPER

Best Animated Film
FLOW
MEMOIR OF A SNAIL
TRANSFORMERS ONE
WALLACE & GROMIT: VENGEANCE MOST FOWL
THE WILD ROBOT

Best Foreign Language Film
ALL WE IMAGINE AS LIGHT
THE GIRL WITH THE NEEDLE
NO OTHER LAND
THE SEED OF THE SACRED FIG
VERMIGLIO

Best Editing
Hansjörg Weißbrich – SEPTEMBER 5
Joe Walker – DUNE: PART TWO
Kathryn J. Schubert – BLINK TWICE
Marco Costa – CHALLENGERS
Sean Baker – ANORA

Best Cinematography
Alice Brooks – WICKED
Greig Fraser – DUNE: PART TWO
Jarin Blaschke – NOSFERATU
Pat Scola – SING SING
Stéphane Fontaine – CONCLAVE

Best Production Design
Craig Lathrop, Beatrice Brentnerova – NOSFERATU
Judy Becker – THE BRUTALIST
Nathan Crowley – WICKED
Patrice Vermette – DUNE: PART TWO
Suzie Davies – CONCLAVE

Best Visual Effects
ALIEN: ROMULUS
DUNE: PART TWO
KINGDOM OF THE PLANET OF THE APES
NOSFERATU
THE SUBSTANCE

Best Costume Design
Colleen Atwood – BEETLEJUICE BEETLEJUICE
Jacqueline Getty, Rainy Jacobs – THE LAST SHOWGIRL
Jacqueline West – DUNE: PART TWO
Lisy Christl – CONCLAVE
Paul Tazewell – WICKED

Best Sound Design
A QUIET PLACE: DAY ONE
ALIEN: ROMULUS
CIVIL WAR
DUNE: PART TWO
WICKED

Best Use of Music
A COMPLETE UNKNOWN
CHALLENGERS
DUNE: PART TWO
SING SING
WICKED

Best Stunt Choreography
ALIEN: ROMULUS
DUNE: PART TWO
THE FALL GUY
GLADIATOR II
MONKEY MAN

Best Ensemble
CONCLAVE
DUNE: PART TWO
SEPTEMBER 5
SING SING
WICKED

Retro Television Review: Miami Vice 3.9 “Baby Blues”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Mondays, I will be reviewing Miami Vice, which ran on NBC from 1984 to 1989.  The entire show can be purchased on Prime!

This week, the Vice Squad investigates a baby broker!

Episode 3.9 “Baby Blues”

(Dir by Danial Attias, originally aired on November 21st, 1986)

In honor Miami Vice‘s violent nature (and in recognition of the fact that it’s the holidays and I’ve got a lot of things that I need to do), I’m going to review this week’s episode bullet-point style!

  • The episode starts in Colombia.  Babies are being kidnapped from local villages.  In  some cases, they’re literally snatched from the arms of their mothers.  The babies are taken to Miami where a sleazy lawyer named Howard Famiglia (Tommy Koenig) essentially sells them to wealthy families.
  • Maria Escobar (Patrice Martinez) illegally crosses the border to search for her son in Miami.  She nearly dies in the attempt.  When she and a planeload of babies are discovered on a Miami runway, law enforcement gets involved.
  • Castillo doesn’t think that the case is one that Vice should be investigating.  Gina and Trudy set him straight.
  • It doesn’t take long for the Vice Squad to discover that Famiglia is a baby broker.  One of his customers is played by a young Stanley Tucci.  The customer is willing to testify against Famiglia.
  • Famiglia sends his henchmen out to intimidate and kill all of the witnesses.
  • Famiglia also kills his main hitman and then booby traps his apartment.  When Crockett and Tubbs jump out of the exploding apartment, it looked like Tubbs leg caught on fire.  “Wow,” I said, “that really looked real!”
  • It turns that it was real.  Philip Michael Thomas’s stunt double was severely burned as a result.
  • Eventually, the Vice Squad is able to trick Famiglia into believing that Maria is being kept at a local hospital.  Famiglia sets up a meeting for women looking to adopt.  While the women watch an educational film, Famiglia crawls through a ventilation shaft and tries to enter Maria’s room.
  • SURPRISE!  That’s not Maria in that hospital bed …. it’s Gina!  The Vice Squad shoots Famglia dead, leaving his corpse awkwardly hanging out of the hospital room wall.  For some reason, that sight really disturbed me.
  • Maria is reunited with her son but, upon realizing that he now has a life and a family in America, she decides to let him stay with his new parents.  She is then deported back to Colombia, where she will probably be killed by the same people who stole her baby in the first place.
  • Overall, this episode suffered because the villain was miscast.  Looking at the imdb, the majority of Tommy Koenig’s credits appear to have been comedic.  He’s an actor who looks like he should be on a sketch comedy show and not a gritty crime drama.  Even when Famiglia is crawling through an air duct with a gun, he just looks goofy.  Plus, considering that he had a people working for him who were willing to murder, would Famiglia really have gone to the hospital himself?
  • Stanley Tucci and Tommy Koenig should have switched roles.
  • This episode gave Trudy, Gina, Switek, and Zito more to do than usual.  That was good.  This show often underused its supporting cast.
  • Miami Vice was often a cop show with a political subtext.  In this case (and I’m just pointing it out, I’m not necessarily agreeing or disagreeing), the subtext was that America’s immigration system sucked, as Maria only had a limited amount of time to  find her son before being deported.  But then she decided to leave him in America rather than take him back to Colombia.  Miami Vice was not just political.  It was also usually kind of depressing.

Next week’s episode features Bill Paxton and Wesley Snipes!  I’m looking forward to it!

 

Here Are The 2024 AARP Movies For Grown-Ups Nominations


The awards precursor season is getting started …. kinda.

The AARP Movies For Grown-Ups Nominations were announced last week, on the 20th.  I’m only now getting around to sharing them because I’m not a member of AARP and therefore, I had no idea these nominations had even been announced.  It seems a bit earlier than usual, for them.  Then again, you know how retired folks are about getting up early.

How influential are the AARP nominations?  Not very.  These nominations were not made being film critics or people who work in the industry.  They were made by the editors of AARP’s magazine.  That said, it’s always good to get mentioned somewhere.  If nothing else, this list might indicate which films are resonating with the over-5o set.

Or maybe I just like long lists.

Anyway, here are the nominations!  The winners will be announced on January 11th, during the Denny’s breakfast special.

Best Picture/Best Movie for Grownups
A Complete Unknown
Conclave
Emilia Pérez
Gladiator II
September 5

Best Actress
Pamela Anderson (The Last Showgirl)
Marianne Jean-Baptiste (Hard Truths)
Nicole Kidman (Babygirl)
Demi Moore (The Substance)
June Squibb (Thelma)

Best Actor
Adrien Brody (The Brutalist)
Daniel Craig (Queer)
Colman Domingo (Sing Sing)
Ralph Fiennes (Conclave)
Jude Law (The Order)

Best Supporting Actress
Joan Chen (Didi)
Aunjanue Ellis-Taylor (Nickel Boys)
Lesley Manville (Queer)
Connie Nielsen (Gladiator II)
Isabella Rossellini (Conclave)

Best Supporting Actor
Clarence Maclin (Sing Sing)
Guy Pearce (The Brutalist)
Peter Sarsgaard (September 5)
Stanley Tucci (Conclave)
Denzel Washington (Gladiator II)

Best Director
Pedro Almodóvar (The Room Next Door)
Jacques Audiard (Emilia Pérez)
Edward Berger (Conclave)
James Mangold (A Complete Unknown)
Ridley Scott (Gladiator II)

Best Screenwriter
Jacques Audiard, Thomas Bidegain, Nicolas Livecchi (Emilia Pérez)
Jay Cocks and James Mangold (A Complete Unknown)
Winnie Holzman (Wicked)
Peter Straughan (Conclave)
Denis Villeneuve and Jon Spaihts (Dune: Part Two)

Best Ensemble
A Complete Unknown
Beetlejuice Beetlejuice
His Three Daughters
September 5
Sing Sing

Best Actress (TV)
Jennifer Aniston (The Morning Show)
Jodie Foster (True Detective: Night Country)
Jean Smart (Hacks)
Meryl Streep (Only Murders in the Building)
Sofia Vergara (Griselda)

Best Actor (TV)
Billy Crudup (The Morning Show)
Idris Elba (Hijack)
Jon Hamm (Fargo)
Gary Oldman (Slow Horses)
Hiroyuki Sanada (Shōgun)

Best TV Series or Limited Series
The Crown
Hacks
Palm Royale
Shōgun
Slow Horses

Best Intergenerational Film
Didi
Here
His Three Daughters
The Piano Lesson
Thelma

Best Time Capsule
A Complete Unknown
The Brutalist
Here
Maria
September 5

Best Documentary
I Am: Celine Dion
Luther: Never Too Much
Piece by Piece
Super/Man: The Christopher Reeve Story
Will & Harper

Film Review: Conspiracy (dir by Frank Pierson)


The 2001 film, Conspiracy, takes place at a villa on the outskirts of Berlin.  It’s a lovely villa and, as we can see during the film’s opening moments, it’s about to play host to a meeting of very important people.

The date is January 20th and the year is 1942.  Having conquered much of Europe, Nazi Germany is now at war with the Allies.  Reinhard Heydrich (Kenneth Branagh), the young chief of the Reich Security Main Office and the man who many feel will eventually succeed Adolf Hitler as the leader of the Third Reich, has been directed to call a conference so that he and his deputy, Adolf Eichmann (Stanley Tucci), can “discuss” ways to solve “the Jewish question.”  One-by-one, representatives of the Reich’s bureaucracy show up at the villa.

At the start of the meeting, the men discuss various ways to force the Jews out of Germany and all of the occupied territories.  The men chose their words carefully, speaking in euphemisms and doing their best to sound like concerned government officials.  The men know what they’re talking about but they still seem to feel the need to avoid coming right and saying it.  As they talk, it becomes clear that everyone is trying to stay in Heydrich’s good graces while, at the same time, avoiding the fact that they understand the truth about what Germany is doing.  It’s not until halfway through the meeting that Heydrich and Eichmann reveal that Germany’s policy has already been determined and that concentration camps with gas chambers have already been designed and built.  The meeting is less about discussing the policy and more about getting each man at the meeting to sign off on it.  The unspoken subtext is that each man is being tested to determine who will support (and, if need be, help to cover up) the Final Solution and who will have to be otherwise dealt with.

Based on the actual minutes of the meeting, Conspiracy is film that is perhaps even more important now than when it was first released.  It’s a film that explores not only the banality of evil but also seeks to answer the question of why no one in Hitler’s government forcefully objected to the Final Solution.  (Many, of course, claimed not to know what was going on.  This film reveals just how little credibility that claim had.)  Some of the men go along because they understand not going along would mean the end of their careers and maybe their lives.  Some of the men agree because, as members of the military, they believe in supporting their country’s leadership, regardless of what that leadership represents.  Some of the men agree because they want to stay in Heydrich’s good graces.  These men represent a society where anti-Semitism is so normalized that it is accepted as a given and, while some of the men are not as outspoken in their prejudice as the others, it’s clear that all of them view the Jewish people as being a unique problem.  Those who do raise concerns do so only out of worry of what will happen to them if the rest of the world discovers what Germany is planning.  Heydrich insists that there is no need to worry because Germany will win the war.  Some of the men at the Conference are clearly not convinced of Germany’s pre-destined victory but not a single one has either the morality or the courage to refuse to endorse the Final Solution.  The film ends with a series of title cards, letting us know what became of the men who attended the Wannsee Conference.  Heydrich was assassinated during the war.  Eichmann fled to South America and hid there until he was captured by Israel in 1960.  Many of the men were executed for war crimes but a surprising number of them were either acquitted or never put on trial and went to live peacefully after the war.

Well-directed by Frank Pierson, Conspiracy has a distinguished cast who brings the historical characters to terrible life.  It’s one thing to read about what was said and planned at the Conference.  It’s another thing to actually hear those words spoken aloud and it’s a reminder that the evil of the Holocaust was not an accident nor was it something that took its perpetrators by surprise.  It was something that meticulously planned by human beings who were fully aware of what they were doing.  Kenneth Branagh makes for an arrogant and intimidating Heydrich while Stanley Tucci plays Eichmann as being the type of bureaucratic robot who is incapable of seeing human beings as anything more than just dwindling numbers on a report.  Colin Firth and David Threlfall make strong impressions as two of the more weary members of the Conference, as does Ian McNeice in the role of the type of crude, career-driven government functionary who has survived by pretending to be dumb.

At a time when anti-Semitism is on the upswing and Holocaust denialism is being mainstreamed, Conspiracy is an important film.  When others say that the Holocaust didn’t happen or that it doesn’t matter, Conspiracy defiantly says, “Yes, it did and yes, it does.”

Lisa Reviews An Oscar Nominee: Prizzi’s Honor (dir by John Huston)


First released in 1985, Prizzi’s Honor tells the story of Charley Partanna (Jack Nicholson), a blue collar guy who lives in Brooklyn and who is a hard-working hit man for the Prizzi crime family.  Charley is the son of Angelo (John Randolph), who is the right-hand man to the family’s elderly but still ruthless Don (William Hickey).  In the past, Charley came close to marrying the Don’s daughter, Maerose Prizzi (Anjelica Huston), and he is almost as much a member of the family as the Don’s two sons, Eduardo (Robert Loggia) and Dominic (Lee Richardson).

While attending a family wedding, Charley meets and is immediately infatuated with a woman named Irene Walker (Kathleen Turner).  Later, when Charley is sent to California to kill a man who robbed one of the family’s Vegas casinos, he is shocked to discover that the man is Irene’s husband.  Irene swears that she didn’t have anything to do with the casino theft and, after a whirlwind courtship, Charley and Irene get married in Mexico.  What Charley doesn’t know (but eventually discovers) is that Irene is herself a professional killer.  While Charley and Irene try to balance work and love, Maerose conspires to turn the family against Irene and win Charley back.

Directed by the legendary John Huston, Prizzi’s Honor is pitch black comedy about two hard-working people who kill for a living.  (The film’s big set piece is an extended sequence in which Charley and Irene’s attempt to pull a job together goes wrong in every way and they end up arguing about their relationship while dragging dead bodies from one room to another.)  Though Prizzi’s Honor was released long before the series premiered on HBO, the film feels almost like a companion piece to The Sopranos, full of mobsters who are not as clever as they think they are and who struggle to uphold the old ways in an increasingly complicated world.  Particularly when compared to the gangster who populate a film like The Godfather, the Prizzis are defined by their pettiness.  If Don Corleone epitomized wisdom and honor, Don Prizzi epitomizes someone who holds onto power solely for power’s sake.

Prizzi’s Honor is one of those films that probably seemed a bit more revolutionary when it was first released than it does today.  At this point, we’ve seen so many films about hired killers who have quirky conversations while carrying out their work that the mix of violence and dark humor can feel almost like a cliché.  As well, there are certain parts of the film, like the opening wedding sequence, that feel as if they go on for just a few minutes too long, as if John Huston himself was not always comfortable with the balance between the dark drama and the comedy of mob manners.  That said, Jack Nicholson, Kathleen Turner (who gives a performance worthy of the great femme fatales of film noir), Anjelica Huston, John Randolph, and especially William Hickey all give strong enough performances to hold the audience’s attention and the film’s finale cuts to the point in such a way that it leaves you reconsidering everything that you’ve previously seen.  Prizzi’s Honor has its flaws but Nicholson and Turner have such chemistry that the film’s ending sticks with you.

Prizzi’s Honor was nominated for 8 Oscars, including Best Picture, Best Director, Best Actor, and Best Supporting Actor for William Hickey.  (Oddly, Kathleen Turner was not nominated for playing Irene.)  In the end, it only won one Oscar that year, for supporting actress Anjelica Huston.  The Oscars that year were dominated by a far more convention love story, Out of Africa.

Film Review: Worth (dir by Sara Colangelo)


How much is one life worth?

That’s the question that is asked in a film that’s appropriately titled Worth.

Based on a true story, Worth centers around Kenneth D. Feinberg.  Played by Michael Keaton, Fienberg was the Washington lawyer who, in the days after 9/11, was appointed the Special Master of the September 11th Victims Compensation Fund.  In that role, Feinberg was in charge of determining how much money should be given to the families who lost someone in the 9/11 attacks.  At first, Feinberg tries to reduce his job to just numbers.  He resists the efforts of his law partner, Camille Biros (Amy Ryan), to convince him to meet with any of the families one-on-one.  Instead, he tries to make it all about how much the victims would have earned if they had lived.  When Camille tries to get him to listen to a recording of the final phone call of a man trapped in the Pentagon, Feinberg refuses to do it.

Not surprisingly, Feinberg gets a reputation for being insensitive and many of the families signal that, rather than accepting the government’s compensation, they would rather sue the airlines and the city of New York, a move that we’re told could crash the U.S. economy or bankrupt the families or both.  It’s only after the workaholic Feinberg makes the mistake of staying in the office after everyone else has left that he actually meets one of the families.  With the help of activist Charles Wolf (Stanley Tucci), Feinberg finally starts to care about the people behind the numbers.

Worth is a bit of an old-fashioned film, a throw-back to the type of well-meaning, competently produced films that used to come out every December so that they could compete for the Academy Awards.  Even the film’s rather stolid, middle-of-the road liberalism feels like an artifact of another age.  (I had to laugh a little when the film assured us that, despite sometimes coming across like a jackass, Feinberg was a good guy because he had been a senior aide to Ted Kennedy, the senator who left a woman to drown in a car while he went back to his hotel and got some sleep.)  At a time when Adam McKay is being treated as a serious thought leader and Aaron Sorkin has somehow been recast as a sensible moderate, Worth’s fairly even-handed and nonjudgmental approach feels like almost an act of rebellion.  That said, Worth’s approach works for the story that it’s telling.  9/11 was such a huge tragedy that it doesn’t need to be talked to death, as it would be in a Sorkin film.  Nor do we need the heavy hand of Adam McKay to tell us that there’s something inherently disturbing about reducing the value of someone’s life to a mere number.  Unlike the films of McKay, Sorkin, or Jay Roach (Hell, why not throw him in there, too?), Worth trusts the audience to be able to figure out certain truths on its own.  After a decade of heavy-handed political agitprop, Worth’s nonshowy approach is actually a bit refreshing.

As a character, Kenneth Feinberg is not always easy to like.  That’s especially true during the first half of the film, when Feinberg seems to be more interested in the challenge of running the compensation fund as opposed to the people that he’s supposed to be helping.  When the film begins, Feinberg is the epitome of the technocrat who can figure out the numbers but who has no idea how to actually deal with human beings.  Fortunately, Feinberg is also played by Michael Keaton, who is one of the few actors to be capable of projecting the natural authority necessary to make Feinberg compelling without also resorting to begging us to like the character.  Keaton does a good job portraying both Feinberg’s quick mind but also his social awkwardness.  When we first meet him, he’s someone who has been an insider for so long that he can’t even imagine that an outside exists.  Keaton plays him as a man who does not mean to be callous but who is so work-obsessed that he doesn’t understand how his job comes across to other people.  Even more importantly, though, Keaton does a good job of portraying Feinberg’s transformation from being a detached bureaucrat to being someone who actually cares about the people who will effected by his decisions.  A lesser actor would have overplayed these scenes and the film would have felt mawkish.  Keaton underplays and it saves the film.

As I said before, Worth is an old-fashioned film.  Visually, it sometimes resembles the type of movie that HBO used to win Emmys with in the mid-aughts.  Keaton so dominates the film that, only afterwards, do you realize that the talented supporting cast was often underused.  Worth is not a perfect film but it is a good film and a thought-provoking one.  It’s currently showing on Netflix.