Z

2012 Critics Awards: San Francisco Film Critics

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

Best Picture: The Master

Best Director: Kathryn Bigelow

Best Documentary: The Waiting Room

Best Foreign Language Film: Amour

Best Animated Film: ParaNorman

Best Editing: William Goldenberg, Argo

Best Production Design: Adam Stockhausen, Moonrise Kingdom

Best Cinematography: Claudio Miranda, Life of Pi

Best Adapted Screenplay: Tony Kushner, Lincoln

Best Original Screenplay: Mark Boal, Zero Dark Thirty

Best Supporting Actress: Helen Hunt, The Sessions

Best Supporting Actor: Tommy Lee Jones, Lincoln

Best Actress: Emmanuelle Riva, Amour

Best Actor: Joaquin Phoenix, The Master

Special Citation: Girl Walk//All Day by Jacob Krupnick

Marlon Riggs Award: Peter Nicks for The Waiting Room

3 Responses to “2012 Critics Awards: San Francisco Film Critics”

  1. YancySkancy says:

    Marabou?

  2. YancySkancy says:

    Oh, and I think the link said THE MASTER was their Best Pic choice.

  3. Ray Pride says:

    Actually, the page was wrong. THE MASTER is correct. Fixed, thanks. [RP]

Leave a Reply

Quote Unquotesee all »

“I don’t believe in the Nietzschean notion that what doesn’t destroy you makes you stronger. You see these soldiers come back with PTSD; they’ve been to war and seen death and experienced these existential crises one after the other. There are traumas in life that weaken us for the future. And that’s what’s happened to me. The various slings and arrows of life have not strengthened me. I think I’m weaker. I think there are things I couldn’t take now that I would have been able to take when I was younger.”
~ Woody Allen

“Hitchcock films the story with a wide-eyed, astonished, fascinated, and disturbed camera stare that seems to shudder and tremble every time Hedren is onscreen. Even the director’s cameo—in which he watches Hedren walking down a hotel corridor and then turns back to look at the camera, shamefacedly caught in his own leer—suggests his self-aware sense of visual carnality. The images offer an extraordinary swing between blasts of heat and an eerie chill, sometimes bringing the two together. Even the film’s exterior locations have a fluorescent buzz that captures an ambient sense of derangement.”
~ Richard Brody on Marnie

 

Z Weekend Report