Houston Film Critics Society

2011 | 2012 | 2013

2011 Houston Film Critics Awards

Best Picture
The Descendants

Best Director
Nicholas Winding Refn, Drive

Best Actor
Michael Fassbender, Shame

Best Actress
Tilda Swinton, We Need To Talk About Kevin

Best Supporting Actor
Albert Brooks, Drive

Best Supporting Actress
Shailene Woodley, The Descendants

Best Screenplay
Alexander Payne, Nat Faxon, Jim Rash, The Descendants

Best Animated Film
Rango

Best Cinematography
Emmanuel Lubezki, The Tree of Life

Best Documentary
Project Nim  

Best Foreign Film
I Saw The Devil

Best Original Score
Ludovic Bource, The Artist

Best Original Song
“Life’s A Happy Song” from The Muppets, music & lyrics by Bret McKenzie

Technical Achievement
Rise of the Planet of the Apes

Worst Film of the Year
Your Highness

Humanitarian of the Year Award
Joanne King Herring

Lifetime Achievement Award 
Jeff Bridges

Outstanding Achievement
Hunter Todd

Outstanding Achievement
Mary Lampe

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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