Dallas-Fort Worth Film Critics Association 2010 Awards

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

TOP TEN
    
1. The Social Network
    2. The King`s Speech
    3. Black Swan
    4. 127 Hours
    5. Winter`s Bone
    6. Inception
    7. The Fighter
    8. True Grit
    9. The Town
    10. The Kids Are All Right

BEST PICTURE
The Social Network

BEST DIRECTOR
David Fincher, The Social Network

BEST ACTOR
James Franco, 127 Hours

BEST ACTRESS
Natalie Portman, Black Swan

BEST SUPPORTING ACTOR
Christian Bale, The Fighter

BEST SUPPORTING ACTRESS 
Melissa Leo, The Fighter

BEST SCREENPLAY
The Social Network

BEST FOREIGN FILM
Biutiful

BEST DOCUMENTARY
Waiting for Superman

BEST ANIMATED FILM
Toy Story 3

BEST CINEMATOGRAPHY
127 Hours

RUSSEL SMITH AWARD
Winter`s Bone

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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