Online Film Critics Awards

2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010 | 2012 | 2013

BEST PICTURE
United 93

BEST DIRECTOR
Martin Scorsese – The Departed

BEST ACTOR
Forest Whitaker – The Last King of Scotland

BEST ACTRESS

Helen Mirren – The Queen

BEST SUPPORTING ACTOR
Jackie Earle Haley – Little Children

BEST SUPPORTING ACTRESS
Abigail Breslin – Little Miss Sunshine

BEST ORIGINAL SCREENPLAY
Pan’s Labyrinth

BEST ADAPTED SCREENPLAY
Children of Men

BEST CINEMATOGRAPHY
Children of Men

BEST EDITING
United 93

BEST ORIGINAL SCORE
The Fountain

BEST DOCUMENTARY
An Inconvenient Truth

BEST FOREIGN LANGUAGE FILM
Pan’s Labyrinth (Mexico)

BEST ANIMATED FILM
A Scanner Darkly

BREAKTHROUGH FILMMAKER
Jonathan Dayton & Valerie Faris – Little Miss Sunshine

BREAKTHROUGH PERFORMER
Sacha Baron Cohen – Borat

BEST PICTURE
Babel
Children Of Men
The Departed
Pan’s Labyrinth
United 93

BEST DIRECTOR
Alfonso Cuaron – Children of Men
Guillermo del Toro – Pan’s Labyrinth
Paul Greengrass – United 93
Alejandro Gonzalez Inarritu – Babel
Martin Scorsese – The Departed

BEST ACTOR
Sacha Baron Cohen – Borat
Leonardo Di Caprio – The Departed
Ryan Gosling – Half Nelson
Peter O’Toole – Venus
Forest Whitaker – The Last King of Scotland

BEST ACTRESS

Penelope Cruz – Volver
Judi Dench – Notes On A Scandal
Helen Mirren – The Queen
Meryl Streep – The Devil Wears Prada
Kate Winslet – Little Children

BEST SUPPORTING ACTOR
Alan Arkin – Little Miss Sunshine
Jackie Earle Haley – Little Children
Eddie Murphy – Dreamgirls
Jack Nicholson – The Departed
Mark Wahlberg – The Departed

BEST SUPPORTING ACTRESS
Adriana Barraza – Babel
Cate Blanchett – Notes on a Scandal
Abigail Breslin – Little Miss Sunshine
Jennifer Hudson – Dreamgirls
Rinko Kikuchi – Babel

BEST ORIGINAL SCREENPLAY
Babel
Little Miss Sunshine
Pan’s Labyrinth
The Queen
United 93

BEST ADAPTED SCREENPLAY
Children of Men
The Departed
Little Children
The Prestige
Thank You For Smoking

BEST CINEMATOGRAPHY
Apocalypto
Babel
Children of Men
The Fountain
Pan’s Labyrinth

BEST EDITING

Babel
Children Of Men
The Departed
The Fountain
United 93

BEST ORIGINAL SCORE
Babel
The Fountain
The Illusionist
Notes On A Scandal
Pan’s Labyrinth

BEST DOCUMENTARY
An Inconvenient Truth
Dave Chappelle’s Block Party
Dixie Chicks: Shut Up and Sing
Jesus Camp
Neil Young: Heart Of Gold

BEST FOREIGN LANGUAGE FILM
The Death of Mr. Lazarescu (Romania)
L’Enfant (Belgium)
Pan’s Labyrinth (Mexico)
Volver (Spain)
Water (India)

BEST ANIMATED FILM
Cars
Happy Feet
Monster House
Over the Hedge
A Scanner Darkly

BREAKTHROUGH FILMMAKER
Jonathan Dayton & Valerie Faris – Little Miss Sunshine
Ryan Fleck – Half Nelson
Rian Johnson – Brick
Neil Marshall – The Descent
Jason Reitman – Thank You for Smoking

BREAKTHROUGH PERFORMER
Sacha Baron Cohen – Borat
Shareeka Epps – Half Nelson
Jennifer Hudson – Dreamgirls Rinko Kikuchi – Babel

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This is probably going to sound petty, but Martin Scorsese insisting that critics see his film in theaters even though it’s going straight to Netflix and then not screening it in most American cities was a watershed moment for me in this theatrical versus streaming debate.

I completely respect when a filmmaker insists that their movie is meant to be seen in the theater, but the thing is, you got to actually make it possible to see it in the theater. Some movies may be too small for that, and that’s totally OK.

When your movie is largely financed by a streaming service and is going to appear on that streaming service instantly, I don’t really see the point of pretending that it’s a theatrical film. It just seems like we are needlessly indulging some kind of personal fantasy.

I don’t think that making a feature film length production that is going to go straight to a video platform is some sort of “step down.“ I really don’t. Theatrical exhibition as we know it is dying off anyway, for a variety of reasons.

I should clarify myself because this thread is already being misconstrued — I’m talking about how the movie is screened in advance. If it’s going straight to Netflix, why the ritual of demanding people see it in the theater?

There used to be a category that everyone recognized called “TV movie” or “made for television movie” and even though a lot of filmmakers considered that déclassé, it seems to me that probably 90% of feature films fit that description now.

Atlantis has mostly sunk into the ocean, only a few tower spires remain above the waterline, and I’m increasingly at peace with that, because it seems to be what the industry and much of the audience wants. We live in an age of convenience and information control.

Only a very elite group of filmmakers is still allowed to make movies “for theaters“ and actually have them seen and judged that way on a wide scale. Even platform releasing seems to be somewhat endangered. It can’t be fought. It has to be accepted.

9. Addendum: I’ve been informed that it wasn’t Scorsese who requested that the Bob Dylan documentary only be screened for critics in theaters, but a Netflix representative indicated the opposite to me, so I just don’t know what to believe.

It’s actually OK if your film is not eligible for an Oscar — we have a thing called the Emmys. A lot of this anxiety is just a holdover from the days when television was considered culturally inferior to theatrical feature films. Everybody needs to just get over it.

In another 10 to 20 years they’re probably going to merge the Emmys in the Oscars into one program anyway, maybe they’ll call it the Contentys.

“One of the fun things about seeing the new Quentin Tarantino film three months early in Cannes (did I mention this?) is that I know exactly why it’s going to make some people furious, and thus I have time to steel myself for the takes.

Back in July 2017, when it was revealed that Tarantino’s next project was connected to the Manson Family murders, it was condemned in some quarters as an insulting and exploitative stunt. We usually require at least a fig-leaf of compassion for the victims in true-crime adaptations, and even Tarantino partisans like myself – I don’t think he’s made a bad film yet – found ourselves wondering how he might square his more outré stylistic impulses with the depiction of a real mass murder in which five people and one unborn child lost their lives.

After all, it’s one thing to slice off with gusto a fictional policeman’s ear; it’s quite another to linger over the gory details of a massacre that took place within living memory, and which still carries a dread historical significance.

In her essay The White Album, Joan Didion wrote: “Many people I know in Los Angeles believe that the Sixties ended abruptly on August 9, 1969, ended at the exact moment when word of the murders on Cielo Drive traveled like brushfire through the community, and in a sense this is true.”

Early in Once Upon a Time in Hollywood, as Leonardo DiCaprio and Brad Pitt’s characters drive up the hill towards Leo’s bachelor pad, the camera cranes up gently to reveal a street sign: Cielo Drive. Tarantino understands how charged that name is; he can hear the Molotov cocktails clinking as he shoulders the crate.

As you may have read in the reviews from Cannes, much of the film is taken up with following DiCaprio and Pitt’s characters – a fading TV actor and his long-serving stunt double – as they amusingly go about their lives in Los Angeles, while Margot Robbie’s Sharon Tate is a relatively minor presence. But the spectre of the murders is just over the horizon, and when the night of the 9th finally arrives, you feel the mood in the cinema shift.

No spoilers whatsoever about what transpires on screen. But in the audience, as it became clear how Tarantino was going to handle this extraordinarily loaded moment, the room soured and split, like a pan of cream left too long on the hob. I craned in, amazed, but felt the person beside me recoil in either dismay or disgust.

Two weeks on, I’m convinced that the scene is the boldest and most graphically violent of Tarantino’s career – I had to shield my eyes at one point, found myself involuntarily groaning “oh no” at another – and a dead cert for the most controversial. People will be outraged by it, and with good reason. But in a strange and brilliant way, it takes Didion’s death-of-the-Sixties observation and pushes it through a hellfire-hot catharsis.

Hollywood summoned up this horror, the film seems to be saying, and now it’s Hollywood’s turn to exorcise it. I can’t wait until the release in August, when we can finally talk about why.

~ Robbie Collin