Toronto Film Critics

2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010 | 2011 | 2012 | 2013

BEST PICTURE
The Queen

BEST PERFORMANCE, MALE
Sacha Baron Cohen, Borat: Cultural Learnings of America
for Make Benefit Glorious Nation of Kazakhstan

BEST PERFORMANCE, FEMALE
Helen Mirren, The Queen

BEST SUPPORTING PERFORMANCE, MALE
Michael Sheen, The Queen

BEST SUPPORTING PERFORMANCE, FEMALE
Cate Blanchett, Notes on a Scandal

BEST DIRECTOR (Tie)
Jean-Pierre Dardenne and Luc Dardenne, L’Enfant
Stephen Frears, The Queen

BEST SCREENPLAY
Peter Morgan, The Queen

BEST CANADIAN FILM
Manufactured Landscapes (Mongrel Media)

BEST FIRST FEATURE
Thank You for Smoking, directed by Jason Reitman

BEST ANIMATED FEATURE
Happy Feet (Warner Bros.)

BEST FOREIGN-LANGUAGE FILM
L’Enfant (Mongrel Media)

BEST DOCUMENTARY FEATURE
Manufactured Landscapes (Mongrel Media)

Nominations

BEST PICTURE
The Departed (Warner Bros.)
The Queen (Alliance Atlantis)
United 93 (Universal Pictures)

BEST PERFORMANCE, MALE
Sacha Baron Cohen, Borat: Cultural Learnings of America
for Make Benefit Glorious Nation of Kazakhstan
Ryan Gosling, Half Nelson
Forest Whitaker, The Last King of Scotland

BEST PERFORMANCE, FEMALE
Penelope Cruz, Volver
Judi Dench, Notes on a Scandal
Helen Mirren, The Queen

BEST SUPPORTING PERFORMANCE, MALE
Danny Huston, The Proposition
Michael Sheen, The Queen
Mark Wahlberg, The Departed

BEST SUPPORTING PERFORMANCE, FEMALE
Cate Blanchett, Notes on a Scandal
Jennifer Hudson, Dreamgirls
Rinko Kikuchi, Babel

BEST DIRECTOR
Jean-Pierre Dardenne and Luc Dardenne, L’Enfant
Stephen Frears, The Queen
Paul Greengrass, United 93
Martin Scorsese, The Departed

BEST SCREENPLAY
Guillermo Arriaga, Babel
William Monahan, The Departed
Peter Morgan, The Queen

BEST CANADIAN FILM
The Journals of Knud Rasmussen (Alliance Atlantis)
Manufactured Landscapes (Mongrel Media)
Monkey Warfare (Odeon Films)
Six Figures (Seville Pictures)

BEST FIRST FEATURE
Brick, directed by Rian Johnson
Little Miss Sunshine, directed by Jonathan Dayton & Valerie Faris
Thank You for Smoking, directed by Jason Reitman

BEST ANIMATED FEATURE
Happy Feet (Warner Bros.)
Over the Hedge (DreamWorks/Paramount)
A Scanner Darkly (Warner Independent Pictures)

BEST FOREIGN-LANGUAGE FILM
L’Enfant (Mongrel Media)
Pan’s Labyrinth (Odeon Films)
Volver (Mongrel Media)

BEST DOCUMENTARY FEATURE
Deliver Us from Evil (Maple Pictures)
An Inconvenient Truth (Paramount Classics)
Manufactured Landscapes (Mongrel Media)

The Toronto Film Critics Association is made up of film critics representing a cross-section of Toronto’s media, including daily and weekly newspapers, film magazines, radio and television.

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch