Boston Film Critics

2003 | 2004 | 2006 | 2007 | 2008 | 2009 | 2010 | 2011 | 2012 | 2013 | 2014

Best Film
Sideways
Runner-up: Before Sunset

Best Foreign Language Film
House of Flying Daggers
Runner-up: Very Long Engagement

Best Director
Zhang Yimou (House of Flying Daggers)
Runner-up: Alexander Payne

Best Documentary
Control Room
Runner-up: Touching the Void

Best Actor
Jamie Foxx, Ray
Runner-up: Paul Giamatti

Best Actress
Hilary Swank, Million Dollar Baby
Runner-up: Annette Bening/Kim Basinger (tie)

Best Supporting Actor
Thomas Haden Church, Sideways
Runner-up: Clive Owen

Best Supporting Actress
Laura Dern and Sharon Warren (tie)
Runner-up: Cate Blanchett (Aviator)

Best Screenplay
Sideways
Runner-up: Eternal Sunshine

Best New Filmmaker
Jonathan Caouette
Runners-up: the directors of The Woodsman and Maria Full of Grace (tie)

Best Cinematography
House of Flying Daggers
Runner-up: Very Long Engagement

Best Ensemble Cast
Sideways
Runner-up: The Life Aquatic

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“Any time a movie causes a country to threaten nuclear retaliation, the higher-ups wanna get in a room with you… In terms of getting the word out about the movie, it’s not bad. If they actually make good on it, it would be bad for the world—but luckily that doesn’t seem like their style… We’ll make a movie that maybe for two seconds will make some 18-year-old think about North Korea in a way he never would have otherwise. Or who knows? We were told one of the reasons they’re so against the movie is that they’re afraid it’ll actually get into North Korea. They do have bootlegs and stuff. Maybe the tapes will make their way to North Korea and cause a fucking revolution. At best, it will cause a country to be free, and at worst, it will cause a nuclear war. Big margin with this movie.”
~ Seth Rogen In Rolling Stone 1224

“Yes, good movies sprout up, inevitably, in the cracks and seams between the tectonic plates on which all of these franchises stay balanced, and we are reassured of their hardiness. But we don’t see what we don’t see; we don’t see the effort, or the cost of the effort, or the movies of which we’re deprived because of the cost of the effort. Paul Thomas Anderson’s Inherent Vice may have come from a studio, but it still required a substantial chunk of outside financing, and at $35 million, it’s not even that expensive. No studio could find the $8.5 million it cost Dan Gilroy to make Nightcrawler. Birdman cost a mere $18 million and still had to scrape that together at the last minute. Imagine American movie culture for the last few years without Her or Foxcatcher or American Hustle or The Master or Zero Dark Thirty and it suddenly looks markedly more frail—and those movies exist only because of the fairy godmothership of independent producer Megan Ellison. The grace of billionaires is not a great business model on which to hang the hopes of an art form.”
~ Mark Harris On The State Of The Movies