Toronto Film Critics Association Awards

2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010 | 2011 | 2012 | 2013

BEST PICTURE
“The Tree of Life” (eOne Films)
Runners-up:  “The Artist” (Alliance Films)
“The Descendants” (Fox Searchlight Pictures)

BEST ACTOR
Michael Shannon, “Take Shelter”
Runners-up: George Clooney, “The Descendants”
Michael Fassbender, “Shame”

BEST ACTRESS
Michelle Williams, “My Week With Marilyn”
Runners-up: Elizabeth Olsen, “Martha Marcy May Marlene”
Meryl Streep, “The Iron Lady”

BEST SUPPORTING ACTOR
Christopher Plummer, “Beginners”
Runners-up: Albert Brooks, “Drive”
Patton Oswalt, “Young Adult”

BEST SUPPORTING ACTRESS
Jessica Chastain, “Take Shelter”
Runners-up: Jessica Chastain, “The Tree of Life”
Shailene Woodley, “The Descendants”

BEST DIRECTOR
Terrence Malick, “The Tree of Life”
Runners-up: Michel Hazanavicius, “The Artist”
Nicolas Winding Refn, “Drive”

BEST SCREENPLAY
“Moneyball”, written by Steven Zaillian and Aaron Sorkin,
story by Stan Chervin, based on the book by Michael Lewis
Runners-up: “The Descendants”, written by Alexander Payne, Nat Faxon
& Jim Rash, based on the novel by Kaui Hart Hemmings
“The Tree of Life”, written by Terrence Malick

BEST FIRST FEATURE
“Attack the Block”, directed by Joe Cornish
Runners-up: “Margin Call”, directed by J.C. Chandor
“Martha Marcy May Marlene”, directed by Sean Durkin

BEST ANIMATED FEATURE
“The Adventures of Tintin” (DreamWorks Animation)
Runners-up: “Puss in Boots” (DreamWorks Animation)
“Rango” (Paramount Pictures)

BEST FOREIGN-LANGUAGE FILM
“Mysteries of Lisbon” (Alfama Films)
Runners-up: “Attenberg” (filmswelike)
“Le Havre” (filmswelike)
“A Separation” (Mongrel Media)

ALLAN KING DOCUMENTARY AWARD
“Nostalgia for the Light” (Icarus Films)
Runners-up: “Into the Abyss” (Mongrel Media)
“Project Nim” (Mongrel Media)

ROGERS CANADIAN FILM AWARD FINALISTS
“Café de Flore,” directed by Jean-Marc Vallée
“A Dangerous Method”, directed by David Cronenberg
“Monsieur Lazhar”, directed by Philippe Falardeau

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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