Central Ohio Film Critics

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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

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“I’ve been pleasantly surprised by how many recappers, while clearly over their heads, are baseline sympathetic to finding themselves routinely unmoored, even if that means repeating over and over that this is closer to “avant-garde art” than  normal TV to meet the word count. My feed was busy connecting the dots to Peter Tscherkassky (gas station), Tony Conrad (the giant staring at feedback of what we’ve just seen), Pat O’Neill (bombs away) et al., and this is all apposite — visual and conceptual thinking along possibly inadvertent parallel lines. If recappers can’t find those exact reference points to latch onto, that speaks less to willful ignorance than to how unfortunately severed experimental film is from nearly all mainstream discussions of film because it’s generally hard to see outside of privileged contexts (fests, academia, the secret knowledge of a self-preserving circle working with a very finite set of resources and publicity access to the larger world); resources/capital/access/etc. So I won’t assign demerits for willful incuriosity, even if some recappers are reduced, in some unpleasantly condescending/bluffing cases, to dismissing this as a “student film” — because presumably experimentation is something the seasoned artist gets out of their system in maturity, following the George Lucas Model of graduating from Bruce Conner visuals to Lawrence Kasdan’s screenwriting.”
~ Vadim Rizov Goes For It, A Bit

“On the first ‘Twin Peaks,’ doing TV was like going from a mansion to a hut. But the arthouses are gone now, so cable television is a godsend — they’re the new art houses. You’ve got tons of freedom to do the work you want to do on TV, but there is a restriction in terms of picture and sound. The range of television is restricted. It’s hard for the power and the glory to come through. In other words, you can have things in a theater much louder and also much quieter. With TV, the quieter things have to be louder and the louder things have to be quieter, so you have less dynamics. The picture quality — it’s fine if you have a giant television with a good speaker system, but a lot of people will watch this on their laptops or whatever, so the picture and the sound are going to suffer big time. Optimally, people should be watching TV in a dark room with no disturbances and with as big and good a picture as possible and with as great sound as possible.”
~ David Lynch