Los Angeles Film Critics Association

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LOS ANGELES. Brokeback Mountain was voted Best Picture of the Year. It was announced tonight by Henry Sheehan, President of the Los Angeles Film Critics Association (LAFCA). The runner up was A History of Violence.

LAFCA’s 31st annual achievement awards ceremony will be held Thursday, January 17 at the Park Hyatt Hotel in Los Angeles.

Best Picture
Brokeback Mountain
Runner-up: A History of Violence

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

Best Actor
Phillip Seymour Hoffman, Capote
Runner-up: Heath Ledger, Brokeback Mountain

Best Actress
Vera Farmiga, Down to the Bone
Runner-up: Dame Judi Dench, Mrs. Henderson Presents

Best Supporting Actor
William Hurt, A History of Violence
Runner-up: Frank Langella, Good Night, and Good Luck

Best Supporting Actress
Catherine Keener, The 40-Year-Old Virgin, Capote, The Ballad of Jack and Rose, & The Interpreter
Runner-up: Amy Adams, Junebug

Best Screenplay
TIE between
Dan Futterman, Capote
and
Noah Baumbach, The Squid & The Whale

Best Cinematography
Robert Elswit, Good Night, and Good Luck.
Runner-up: Chris Doyle, Kwan Pun Leung, Yiu-Fai Lai, 2046

Best Production Design
William Chang, 2046
Runner-up: James D. Bissell, Good Night, And Good Luck.

Best Music Score
Howl’s Moving Castle, Joe Hisaishi
Runner-up: Tony Takatani, Ryuichi Sakamoto

Best Foreign-Language Film
Cache, directed by Michael Haneke
Runner-up: 2046, directed by Wong Kar Wai

Best Documentary/Non-Fiction Film
Grizzly Man, directed by Werner Herzog
Runner-up: Enron: The Smartest Guys in the Room directed by Alex Gibney

Best Animation
Nick Park and Steve Box, Wallace & Gromit in The Curse of the Were-Rabbit

The Douglas Edwards Experimental/Independent Film/Video Award
La Commune (Paris, 1871) directed by Peter Watkins

New Generation Award
Terrence Howard

Career Achievement Award
Richard Widmark

Special Citation
To Kevin Thomas for his contribution to film culture in Los Angeles.
To David Shepard, Bruce Posner and the Anthology Film Archive to honor Unseen Cinema,an unprecedented 8-disc collection of films from 1894-1941.

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“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

How do you make a Top Ten list? For tax and organizational purposes, I keep a log of every movie I see (Title, year, director, exhibition format, and location the film was viewed in). Anything with an asterisk to the left of its title means it’s a 2014 release (or something I saw at a festival which is somehow in play for the year). If there’s a performance, or sequence, or line of dialogue, even, that strikes me in a certain way, I’ll make a note of it. So when year end consideration time (that is, the month and change out of the year where I feel valued) rolls around, it’s a little easier to go through and pull some contenders for categories. For 2014, I’m voting in three polls: Indiewire, SEFCA (my critics’ guild), and the Muriels. Since Indiewire was first, it required the most consternation. There were lots of films that I simply never had a chance to see, so I just went with my gut. SEFCA requires a lot of hemming and hawing and trying to be strategic, even though there’s none of the in-person skullduggery that I hear of from folk whose critics’ guild is all in the same city. The Muriels is the most fun to contribute to because it’s after the meat market phase of awards season. Also, because it’s at the beginning of next year, I’ll generally have been able to see everything I wanted to by then. I love making hierarchical lists, partially because they are so subjective and mercurial. Every critical proclamation is based on who you are at that moment and what experiences you’ve had up until that point. So they change, and that’s okay. It’s all a weird game of timing and emotional waveforms, and I’m sure a scientist could do an in-depth dissection of the process that leads to the discovery of shocking trends in collective evaluation. But I love the year end awards crush, because I feel somewhat respected and because I have a wild-and-wooly work schedule that has me bouncing around the city to screenings, or power viewing the screeners I get sent.
Jason Shawhan of Nashville Scene Answers CriticWire 

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