National Board of Review

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Awards: December 12, 2005

Best Film
Good Night, And Good Luck

Best Foreign Language Film
Paradise Now

Best Documentary
March of the Penguins

Best Animated Feature
Tim Burton’s Corpse Bride

Best Director
Ang Lee, Brokeback Mountain

Best Actor
Philip Seymour Hoffman, Capote

Best Actress
Felicity Huffman, TransAmerica

Best Supporting Actor
Jake Gyllenhaal, Brokeback Mountain

Best Supporting Actress
Gong Li, Memoirs of a Geisha

Best Acting By An Ensemble
Mrs. Henderson Presents

Breakthrough Performance Actor
Terrence Howard, Crash, Get Rich or Die Tryin’ and Hustle & Flow

Breakthrough Performance Actress
Q’Orianka Kilcher, The New World

Best Directorial Debut
Julian Fellowes, Separate Lies

Best Adapted Screenplay
Stephen Gaghan, Syriana

Best Original Screenplay
Noah Baumbach, The Squid and the Whale

Best Film or Mini-Series Made for Cable TV
Lackawanna Blues

Career Achievement
Jane Fonda

Career Achievement in Film Music Composition
Howard Shore

Outstanding Achievement in Special Effects
King Kong

Billy Wilder Award for Excellence in Direction
David Cronenberg

William K. Everson Award for Film History
George Feltenstein

Producer of the Year Award
Saul Zaentz

BEST TEN FILMS OF 2005
Brokeback Mountain
Capote
Crash
Good Night, And Good Luck
History of Violence
Match Point
Memoirs of a Geisha
Munich
Syriana
Walk the Line

BEST FIVE FOREIGN-LANGUAGE FILMS OF 2005
2046
Balzac and the Little Chinese Seamstress
Downfall
Paradise Now
Walk on Water

BEST FIVE DOCUMENTARIES OF 2005
Ballets Russes
Grizzly Man
Mad Hot Ballroom
March of the Penguins
Murderball

Special Recognition of Films That Reflect Freedom of Expression
Innocent Voices and The Untold Story of Emmett Louis Till

Special Mention for Excellence in Filmmaking
The National Board of Review, in keeping with its long tradition of recognizing excellence in filmmaking, is proud to salute the following films crafted by visionary artists, which demonstrate the creativity and determination always vital to the film industry.
Breakfast on Pluto
Cape of Good Hope
The Dying Gaul
Everything Is Illuminated
Hustle & Flow
Junebug
Layer Cake
Lord of War
Nine Lives
The Thing About My Folks
The Upside of Anger

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“I was 15 when I first watched Sally Hardesty escape into the back of a pickup truck, covered in blood and cackling like a goddamn witch. All of her friends were dead. She had been kidnapped, tortured and even forced to feed her own blood to her cannibalistic captors’ impossibly shriveled patriarch. Being new to the horror genre, I was sure she was going to die. It had been a few months since I survived a violent sexual assault, where I subsequently ran from my assailant, tripped, fell and fought like hell. I crawled home with bloody knees, makeup-stained cheeks and a new void in both my mind and heart. My sense of safety, my ability to trust others, my willingness to form new relationships and my love of spending time with people I cared about were all taken from me. It wasn’t until I found the original The Texas Chain Saw Massacre that something clicked. It was Sally’s strength, and her resilience. It was watching her survive blows to the head from a hammer. It was watching her break free from her bonds and burst through a glass window. It was watching her get back up after she’d been stabbed. It was watching her crawl into the back of a truck, laughing as it drove away from Leatherface. She was the last one to confront the killer, and live. I remember sitting in front of the TV and thinking, There I am. That’s me.”
~ Lauren Milici On “The Final Girl”

“‘Thriller’ enforced its own reality principle; it was there, part of the every commute, a serenade to every errand, a referent to every purchase, a fact of every life. You didn’t have to like it, you only had to acknowledge it. By July 6, 1984, when the Jacksons played the first show of their ‘Victory’ tour, in Kansas City, Missouri, Jacksonism had produced a system of commodification so complete that whatever and whoever was admitted to it instantly became a new commodity. People were no longer comsuming commodities as such things are conventionally understood (records, videos, posters, books, magazines, key rings, earrings necklaces pins buttons wigs voice-altering devices Pepsis t-shirts underwear hats scarves gloves jackets – and why were there no jeans called Bille Jeans?); they were consuming their own gestures of consumption. That is, they were consuming not a Tayloristic Michael Jackson, or any licensed facsimile, but themselves. Riding a Mobius strip of pure capitalism, that was the transubstantiation.”
~ Greil Marcus On Michael Jackson