2013 Critics Awards: National Board Of Review

2003 | 2005 | 2006 | 2007 | 2008 | 2009 | 2011 | 2013 | 2014

 

Best Film: Zero Dark Thirty

Best Director: Kathryn Bigelow, Zero Dark Thirty

Best Actor: Bradley Cooper

Silver Linings Playbook

Best Actress: Jessica Chastain, Zero Dark Thirty

Best Supporting Actor: Leonardo DiCaprio, Django Unchained

Best Supporting Actress: Ann Dowd, Compliance

Best Original Screenplay: Rian Johnson ,Looper

Best Adapted Screenplay: David O. Russell, Silver Linings Playbook

Best Animated Feature: Wreck-It Ralph

Special Achievement in Filmmaking: Ben Affleck, Argo

Breakthrough Actor: Tom Holland, The Impossible

Breakthrough Actress: Quvenzhané Wallis, Beasts of the Southern Wild

Best Directorial Debut: Benh Zeitlin, Beasts of the Southern Wild

Best Foreign Language Film:  Amour

Best Documentary: Searching For Sugar Man

William K. Everson Film History Award: 50 Years of Bond Films

Best Ensemble: Les Misérables

Spotlight Award: John Goodman

NBR Freedom of Expression Award: Central Park Five

NBR Freedom of Expression Award: Promised Land

 

 

Top 10 films

Argo

Beasts of the Southern Wild

Django Unchained

Les Miserables

Lincoln

Looper

The Perks of Being a Wallflower

Promised Land

Silver Linings Playbook

 

Top 10 Independent Films

Arbitrage

Bernie

Compliance

End of Watch

Hello I Must Be Going

Little Birds

Moonrise Kingdom

On the Road

Quartet

Sleepwalk with Me

 

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“Yes, good movies sprout up, inevitably, in the cracks and seams between the tectonic plates on which all of these franchises stay balanced, and we are reassured of their hardiness. But we don’t see what we don’t see; we don’t see the effort, or the cost of the effort, or the movies of which we’re deprived because of the cost of the effort. Paul Thomas Anderson’s Inherent Vice may have come from a studio, but it still required a substantial chunk of outside financing, and at $35 million, it’s not even that expensive. No studio could find the $8.5 million it cost Dan Gilroy to make Nightcrawler. Birdman cost a mere $18 million and still had to scrape that together at the last minute. Imagine American movie culture for the last few years without Her or Foxcatcher or American Hustle or The Master or Zero Dark Thirty and it suddenly looks markedly more frail—and those movies exist only because of the fairy godmothership of independent producer Megan Ellison. The grace of billionaires is not a great business model on which to hang the hopes of an art form.”
~ Mark Harris On The State Of The Movies

How do you make a Top Ten list? For tax and organizational purposes, I keep a log of every movie I see (Title, year, director, exhibition format, and location the film was viewed in). Anything with an asterisk to the left of its title means it’s a 2014 release (or something I saw at a festival which is somehow in play for the year). If there’s a performance, or sequence, or line of dialogue, even, that strikes me in a certain way, I’ll make a note of it. So when year end consideration time (that is, the month and change out of the year where I feel valued) rolls around, it’s a little easier to go through and pull some contenders for categories. For 2014, I’m voting in three polls: Indiewire, SEFCA (my critics’ guild), and the Muriels. Since Indiewire was first, it required the most consternation. There were lots of films that I simply never had a chance to see, so I just went with my gut. SEFCA requires a lot of hemming and hawing and trying to be strategic, even though there’s none of the in-person skullduggery that I hear of from folk whose critics’ guild is all in the same city. The Muriels is the most fun to contribute to because it’s after the meat market phase of awards season. Also, because it’s at the beginning of next year, I’ll generally have been able to see everything I wanted to by then. I love making hierarchical lists, partially because they are so subjective and mercurial. Every critical proclamation is based on who you are at that moment and what experiences you’ve had up until that point. So they change, and that’s okay. It’s all a weird game of timing and emotional waveforms, and I’m sure a scientist could do an in-depth dissection of the process that leads to the discovery of shocking trends in collective evaluation. But I love the year end awards crush, because I feel somewhat respected and because I have a wild-and-wooly work schedule that has me bouncing around the city to screenings, or power viewing the screeners I get sent.
Jason Shawhan of Nashville Scene Answers CriticWire