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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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Aloha is the movie equivalent of a man in a donkey suit with a tree branch growing out of his forehead. I don’t know what the fuck this movie is. It feels like Cameron Crowe tried to make some Pynchonesque contemporary riff on Casablanca, then either or he or the studio chickened out halfway through and tried to turn it back into Jerry Maguire. But don’t confuse Aloha with hackwork. It’s more like a mad scientist had 10 beakers bubbling, and instead of unlocking cold fusion, he blew up his lab and melted an ear. I swear, this movie is like some bastard offspring of Casablanca, Inherent Vice, ‘Goosebumps,’ and ‘Baywatch Hawaii.’ My takeaway? Making movies is hard, yo.”
~ Vince Mancini

“We don’t defy the laws of physics: There are no flying men or cars in this movie. So it made sense to do it old-school: real vehicles and real human beings in the desert. We shot the movie more or less in continuity, because the cars and the characters get really banged up along the way. The biggest benefit of digital technology for me was that the cameras were smaller and much more agile, so you could put them anywhere. We also spent a huge amount of time on spatial awareness—making sure the viewer could follow the action and understand what was happening. There has to be a strong causal connection from one shot to the next, just the same way that in music, there has to be a connection from one note to the next. Otherwise it’s just noise. Too often, if you just cram a lot of stuff into the frame, you get the illusion of a fast pace. But there’s no coherence. It doesn’t flow. It comes off as headbanging music, and it can be exhausting. We storyboarded the movie before we had a script: We had 3,500 boards, which helps the cast and crew understand how everything is going to fit together. Movies are getting faster and faster. The Road Warrior had 1,200 cuts. This one has 2,700 cuts. You have to treat it like a symphony.”
~ George Miller

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