Las Vegas Film Critics

2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010 | 2012 | 2013
Amy Ryan
Best Picture
No Country for Old Men

Best Actor
Daniel Day-Lewis, There Will Be Blood

Best Actress
Ellen Page, “Juno”

Best Supporting Actor
Javier Bardem, “No Country for Old Men”

Best Supporting Actress
Cate Blanchett, “I’m Not There”

Best Director
Joel & Ethan Coen, “No Country for Old Men

Best Screenplay (Original or Adapted)
Diablo Cody, “Juno”

Best Cinematography
Robert Elswit, “There Will Be Blood”

Best Film Editing
Christopher Rouse, “The Bourne Ultimatum”

Best Costume Design
Colleen Atwood, “Sweeney Todd: The Demon Barber of Fleet Street”

Best Art Direction
“Harry Potter and the Order of the Phoenix”

Best Visual Effects
“Transformers”

Best Score
Jonny Greenwood, “There Will Be Blood”

Best Song
“Walk Hard” by Marshall Crenshaw, John C. Reilly, Judd Apatow and Jake Kasdan
Performed by John C. Reilly

Best Animated Film
“Ratatouille”

Best Family Film
“Ratatouille”

Best Documentary
“Sicko”

Best Foreign Film
“The Diving Bell and the Butterfly”

Youth in Film Award (Male)
Ed Sanders, “Sweeney Todd: The Demon Barber of Fleet Street

Youth in Film Award (Female)
Saoirse Ronan, Atonement

Best DVD (Packaging, Design and Content)
Blade Runner Ultimate Edition (Warner Home Entertainment)

William Holden Lifetime Achievement Award
James Hong

LVFCS Top Ten Films for 2007
No Country for Old Men
Sweeney Todd
3:10 to Yuma
The Assassination of Jesse James by the Coward Robert Ford
Zodiac
Into the Wild
Juno
Eastern Promises
The Lookout Sunshine

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“With any character, the way I think about it is, you have the role on the page, you have the vision of the director and you have your life experience… I thought it was one of the foundations of the role for John Wick. I love his grief. For the character and in life, it’s about the love of the person you’re grieving for, and any time you can keep company with that fire, it is warm. I absolutely relate to that, and I don’t think you ever work through it. Grief and loss, those are things that don’t ever go away. They stay with you.”
~ Keanu Reeves

“I was checking through stuff the other day for technical reasons. I came across The Duellists on Netflix and I was absolutely stunned to see that it was exquisitely graded. So, while I rarely look up my old stuff, I stopped to give it ten minutes. Bugger me, I was there for two hours. I was really fucking pleased with what it was and how the engine still worked within the equation and that engine was the insanity and stupidity of war. War between two men, in that case, who fight on thought they both eventually can’t remember the reason why. It was great, yeah. The great thing about these platforms now is that, one way or another, they’ll seek out and then put out the best possible form and the long form. Frequently, films get cut down because of that curse in which the studio felt or feels that they have to preview. And there’s nothing worse than a preview to diminish the original intent.Oh, yeah, how about every fucking time? And I’ve stewed about films later even more because when you tell the same joke 20 times the joke’s no longer funny. When you tell a bad joke once or twice? It’s fine. But come on, now. Here’s the key on the way I feel when I approach the movie: I try to keep myself as withdrawn from the project as possible once I’ve filmed it. And – this is all key on this – then getting a really excellent editor so I never have to sit in on editing. What happens if you sit in is you become stale and every passage or joke, metaphorically speaking, gets more and more tired. You start cutting it all back because of fatigue. So what you have to do is keep your distance and therefore, in a funny kind of way, you, as the director, should be the preview and that’s it.”
~ Sir Ridley Scott