Night Moves

Central Ohio Film Critics

2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2010 | 2012

Awards: January 12, 2005

Best Picture
A History of Violence
Runner up: Brokeback Mountain

Best Direction
David Cronenberg, A History of Violence
Runner up: Ang Lee, Brokeback Mountain

Best Lead Performance
Heath Ledger, Brokeback Mountain
Runner up: Reese Witherspoon, Walk the Line

Best Supporting Performance
Maria Bello, A History of Violence
Runner up: Amy Adams, Junebug

Actor of the Year
Heath Ledger
Brokeback Mountain, Casanova, Lords of Dogtown,
The Brothers Grimm
Runner up: Terrence Howard

Best Ensemble
The Cast of Munich
Runner up: The cast of Brokeback Mountain

Best Screenplay
Larry McMurtry and Diana Ossana, Brokeback Mountain
Runner up: George Clooney and Grant Heslov, Good Night, and Good Luck

Best Formal Design
Frank Miller’s Sin City
Runner up: Brokeback Mountain

Best Sound Design
War of the Worlds
Runner up: Walk the Line

Breakthrough Film Artist
Amy Adams, for her performance in Junebug
Runner up: Joe Wright, for directing Pride & Prejudice

Top Ten Films
A History of Violence
Brokeback Mountain
Wallace and Gromit in the Curse of the Were-Rabbit
Good Night, and Good Luck
Munich
Murderball
Crash
Frank Miller’s Sin City
Pride & Prejudice
Batman Begins

Comments are closed.

Quote Unquotesee all »

“By the time the sounds of the Von Trapp children warbling ‘Silent Night’ drift through The Giver, you may find yourself wondering what fresh movie hell this is. In truth, the enervating hash of dystopian dread, vague religiosity and commercial advertising-style uplift is nothing if not stale. Adapted from Lois Lowry’s book for young readers, the story involves an isolated society that, with its cubistic dwellings, mindless smiles, monochromatic environs and nebulous communitarianism, seem modeled on a Scandinavian country or an old Mentos commercial.”
~ Manohla Dargis’ Deadly Lede For Review Of The Giver

“It’s possible that in the coming days or, God forbid, weeks, the president could have something more specific to say about the freighted decades-long history of political imbalance at work, in this case between a mostly black working-class town and its majority white government and police force. But this is a black man who must choose his words about race, governance, and law enforcement even more carefully than a white politician would. And this is the third summer in which, as president, he would have to do so…

“Until this point in the turmoil, the absence of the crucial second face in the incident seemed to heighten the distance between police and the people they serve. It grants them both an anonymity and autonomy that matches the bizarre transformation, in Ferguson and elsewhere, of police into troops. The riot gear turns 2014 into a dot on a Jim Crow–era timeline. Since the officer’s name wasn’t made public more immediately, it should have seemed urgent for the police to lose the riot attire and take steps to minimize distrust, to dispel the contagious assumption that silence equates racism…

“What is so affecting isn’t just that 18-year-old Michael Brown was killed when he was barely a man. It’s other things as well. One was how many reports of the incident that first day mentioned that he was about to start college. That’s a rite that’s universally emotional. But for a black male from a poor family, the first day of college is a freighted day that usually requires the sacrifice of more than one person. Black people know the odds of getting to and graduating from college, and that they’re low. That Brown seemed to be on the right path compounded the parental, local, and national outrage over his being wiped from it.”

~ Wesley Morris On Let’s Be Cops, The Shooting In Ferguson, Obama…