London Film Critics

2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009
Amy Ryan
Film of the Year
No Country For Old Men  (Paramount)

The Attenborough Award for British Film of the Year
Control  (Momentum Pictures)

Director of the Year
Paul Thomas Anderson – There Will Be Blood (Miramax)

British Director of the Year
Paul Greengrass – The Bourne Ultimatum

Actor of the Year
Daniel Day Lewis – There Will Be Blood

Actress of the Year
Marion Cotillard – La Vie En Rose

Actress in a Supporting Role
Vanessa Redgrave – Atonement and
Kelly Macdonald – No Country for Old Men

Actor in a Supporting Role
Tom Wilkinson – Michael Clayton

British Actress of the Year
Julie Christie – Away From Her

British Actor of the Year
James McAvoy – Atonement

Breakthrough Award – Film-making
Anton Corbijn – Control

Breakthrough Award – Acting
Sam Riley – Control

Screenwriter of the Year
Florian Henckel von Donnersmarck – The Lives of Others

Foreign Language Film of the Year
The Lives of Others – Florian Henckel von Donnersmarck

The Dilys Powell Award for Excellence in Film
Julie Walters

Nominations

Film of the Year
No Country For Old Men  (Paramount)
The Assassination of Jesse James by the Coward Robert Ford (Warner Bros)
There Will Be Blood (Miramax)
Zodiac (Warner Bros)
The Bourne Ultimatum (Universal)

The Attenborough Award for British Film of the Year
Once  (Icon)
Control  (Momentum Pictures)
Atonement  (Universal)
Eastern Promises  (Pathe)
This Is England  (Optimum Releasing)

Director of the Year
Florian Henckel von Donnersmarck  – The Lives of Others (Lionsgate UK)
Paul Thomas Anderson – There Will Be Blood (Miramax)
Joel and Ethan Coen – No Country For Old Men (Paramount)
David Fincher – Zodiac (Warner Bros)
Cristian Mungui – 4 Months, 3 Weeks & 2 Days (Artificial Eye)

British Director of the Year
Anton Corbijn – Control (Momentum Pictures)
Paul Greengrass – The Bourne Ultimatum (Universal)
Shane Meadows – This Is England (Optimum Releasing)
Joe Wright – Atonement  (Universal)
Danny Boyle – Sunshine (20th Century Fox)

Actor of the Year
Ulrich Muhe – The Lives of Others (Lionsgate UK)
Casey Affleck – The Assassination of Jesse James by the Coward Robert Ford  (Warner Bros)
George Clooney – Michael Clayton(Pathe)
Tommy Lee Jones – In the Valley of Elah (Optimum Releasing)
Daniel Day Lewis – There Will Be Blood (Miramax)

Actress of the Year
Laura Linney – The Savages (20th Century Fox)
Marion Cotillard – La Vie En Rose (Icon)
Maggie Gyllenhaal – Sherry Baby (Metrodome)
Angelina Jolie – A Mighty Heart  (Paramount)
Anamaria Marinca – 4 Months, 3 Weeks & 2 Days (Artificial Eye)

British Actor of the Year
Sam Riley  – Control (Momentum Pictures)
James McAvoy – Atonement  (Universal)
Christian Bale – 3:10 to Yuma  (Lionsgate UK)
Jim Broadbent – And When Did You Last See Your Father (Walt Disney)
Jonny Lee Miller – The Flying Scotsman (Verve Pictures)

British Actress of the Year
Samantha Morton – Control (Momentum Pictures)
Julie Christie – Away From Her (Metrodome)
Keira Knightley – Atonement (Universal)
Helena Bonham Carter – Sweeney Todd (Warner Bros)
Sienna Miller – Interview (The Works)

British Actor in a Supporting Role
Tom Wilkinson – Michael Clayton (Pathe)
Toby Jones – The Painted Veil (Momentum Pictures)
Alfred Molina – The Hoax (Momentum Pictures)
Tobey Kebell – Control (Momentum Pictures)
Albert Finney – Before The Devil Knows You’re Dead (Entertainment)

British Actress in a Supporting Role
Saoirse Ronan – Atonement (Universal)
Imelda Staunton – Harry Potter and the Order of the Phoenix  (Warner Bros)
Tilda Swinton – Michael Clayton (Pathe)
Kelly Macdonald – No Country for Old Men (Paramount)
Vanessa Redgrave – Atonement (Universal)

Screenwriter of the Year
Florian Henckel von Donnersmarck – The Lives of Others (Lionsgate UK)
Joel and Ethan Coen – No Country for Old Men (Paramount)
Paul Thomas Anderson – There Will Be Blood (Miramax)
Ronald Harwood – The Diving Bell and the Butterfly (Pathe)
Christopher Hampton – Atonement (Universal)

British Breakthrough – Acting
Saoirse Ronan – Atonement (Universal)
Sam Riley  – Control – (Momentum Pictures)
Thomas Turgoose – This Is England (Optimum Releasing)
Benedict Cumberbatch – Amazing Grace (Momentum Pictures)
Dakota Blue Richards – The Golden Compass (Entertainment)

British Breakthrough – Film-making
John Carney, writer and director  – Once (Icon)
Sarah Gavron, director – Brick Lane (Optimum Releasing)
Anton Corbijn, director – Control (Momentum Pictures)
Matt Greenhalgh, writer – Control (Momentum Pictures)
Stevan Riley, writer, director, producer – Blue Blood (Miracle/Warner Music)

Foreign Language Film of the Year
The Diving Bell and the Butterfly (Pathe)
4 Months, 3 Weeks & 2 Days  (Artificial Eye)
The Lives of Others (Lionsgate UK)
Letters from Iwo Jima  (Warner Bros)Tell No One (Revolver Entertainment)

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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