By MCN Editor editor@moviecitynews.com

National Society Of Film Critics 2010 Awards & Statements

Best Picture: The Social Network

Best Director: David Fincher, The Social Network

Best Actor: Jesse Eisenberg, The Social Network

Best Actress: Giovanna Mezzogiorno, Vincere

Best Supporting Actor: Geoffrey Rush, The King’s Speech

Best Supporting Actress: Olivia Williams, The Ghost Writer

Best Nonfiction Film: Inside Job

Best Screenplay: The Social Network

Best Foreign Language Film: Carlos

Best Cinematography: True Grit

Version:1.0 StartHTML:0000000203 EndHTML:0000005837 StartFragment:0000002708 EndFragment:0000005801 SourceURL:file://localhost/Users/raypride/Downloads/Press%20release%20Jan%202011%20%20%20%20.doc

FILM HERITAGE AWARDS:

  1. The Film Foundation (on its 20-year anniversary)
  2. “Chaplin at Keystone” (Flicker Alley)
  3. “Elia Kazan Collection” (Fox)
  4. John Ford’s “Upstream” (1927), one of 75 films recently found in the New Zealand Film Archive and repatriated to the U.S. with the cooperation of the National Film Preservation Foundation
  5. “On the Bowery” (Restored by Davide Pozzi of the Cineteca del Comune di Bologna’s L’Immagine Ritrovata in cooperation with the Rogosin Heritage and Anthology Film Archives and distributed by Milestone.)
  6. “Word Is Out”  (Restored by Ross Lipman for the UCLA Film & Television Archive and the Outfest Legacy Project and distributed by Milestone.)

“The meeting was dedicated to the memory of our colleague Peter Brunette.”

STATEMENT ON THE MPAA RATINGS SYSTEM

The members of the National Society of Film Critics applaud the recent decision by the Classification & Ratings Administration of the Motion Picture Association of America to change the rating of “Blue Valentine” from NC-17 to R. But several other recent decisions by CARA have been allowed to stand, and these call into question the integrity and legitimacy of that office as it is presently constituted.

“The King’s Speech,” the drama about King George VI’s attempt to overcome his speech impediment, was rated R for “language,” specifically, several moments where the King is instructed by his speech therapist to swear to relieve the pressure of his stammer.

“The Tillman Story,” the documentary about the military cover-up of the death of Corporal Pat Tillman in Afghanistan, was similarly rated R for “language.” In the case of that film the offending content is the agitated language of soldiers in combat fearing for their lives.

“A Film Unfinished,” which contains footage taken by the Nazis inside the Warsaw Ghetto, was given an R for “disturbing images of Holocaust atrocities, including graphic nudity.”

In the case of the documentaries “The Tillman Story” and “A Film Unfinished,” this amounts to CARA assigning a rating to reality.

In an editorial on the MPAA’s web site, Joan Graves, the head of CARA, claims,  “These ratings are purely informational.”

This is simply untrue.

An R rating restricts who can get in to see a film and thus its potential earnings. An NC-17 rating, such as was originally assigned to “Blue Valentine,” will keep a film out of many theater chains and can deny its being advertised on most television networks and in many newspapers.

This can have an especially damaging effect on the earning potential of independently made films, such as those mentioned above, which do not have access to the large advertising budgets at the disposal of the major studios — studios, which, as CARA’s record indicates, have received much more lenient ratings for similar content.

Another damaging inconsistency is CARA’s record of judging sexual content more harshly than it does violence. We by no means advocate condemning violence in movies, and we do not believe we are doing so by pointing out that there is no equivalence between an R given to the most explicit horror images and the same rating given to a drama in which King George VI utters a four letter word. And certainly no equivalence to a historical document showing the emaciated bodies of dead Jews in the Warsaw Ghetto.

Despite Ms. Graves’ contention that CARA decisions are “purely informational,” it’s clear that the board has become an agency of de facto censorship. There is a difference between giving parents the information they need to make a decision as to which films they want their children to see, and a system whose decisions make it harder for adults — and their children — to see films clearly meant for them.

The National Society of Film Critics believes that CARA has for too long demonstrated these inconsistencies and has refused to explain itself.  We would like to believe that the major studios who constitute the membership of the MPAA care enough about the availability of movies to recognize that the ratings system should be open and consistent, not arbitrary and unfair, and that films from independent distributors should be judged by the same criteria as their own releases. It has become a system that enforces the kind of moral policing that, when it was founded in 1968, it was intended to prevent.

STATEMENT ON JAILED IRANIAN DIRECTORS
On December 18, 2010, an Iranian court sentenced Jafar Panahi and Mohammad Rasoulof to six years in prison and banned both from filmmaking for 20 years for “colluding in gatherings and making propaganda against the regime.”

The members of the National Society of Film Critics add their voices to those of the many other individuals and organizations who have protested this injustice. We strongly urge the Iranian government to release both artists, whose work can only further the advancement of such values as justice, compassion, tolerance, and human dignity. Jafar Panahi’s films in particular have won international awards, earned the accolades of critics all over the world, and delighted and inspired audiences everywhere they are shown.

Not only does the court’s decision impose an outrageous penalty on artists whose sole crime is telling the truth, but it deprives Iran and the world of future works by filmmakers of outstanding talent and vision.

We intend our protest to affirm the value of artistic expression and the power of cinema to transcend political differences and unite people in their common humanity. We hope that the Iranian government will recognize the wisdom of releasing Mr. Panahi and Mr. Rasoulof immediately in the name of these universal principles.

3 Responses to “National Society Of Film Critics 2010 Awards & Statements”

  1. EOTW says:

    Wow. NOTHING makes fear mongering, religious despots quake in their shoes like the condemnation of film critics.

  2. yancyskancy says:

    Yeah, I’m sure other critical bodies supported the sentencing. :) Nice gesture anyway.

    Also, it’s always nice to see some awards go to a couple of folks who are out of the Oscar “conversation.”

  3. movieman says:

    If “Vincere” had been given an awards marketing push by, say, Sony Classics or the Weinsteins, Mezzogiorno would have been a lock for a Best Actress nomination. It’s an extraordinary performance, and infinitely superior to (for example) Marion Cotillard’s (Oscar-winning) “La Vie En Rose” performance.
    Glad to see that one of the crix groups remembered her.

Quote Unquotesee all »

“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