Central Ohio Film Critics Association 2013 Awards

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COFCA

The 11th Annual Central Ohio Film Critics Association Awards, honoring the best in film for 2012, were announced on January 3, 2013.

Best Film
1. Moonrise Kingdom
2. Argo
3. Django Unchained
4. Zero Dark Thirty
5. The Cabin in the Woods
6. Silver Linings Playbook
7. Lincoln
8. Looper
9. The Master
10. Les Misérables

Best Director
• Wes Anderson – (Moonrise Kingdom)
• Runner-Up: Ben Affleck – (Argo)

Best Actor
• Daniel Day-Lewis – (Lincoln)
• Runner-Up: John Hawkes – (The Sessions)

Best Actress
• Jennifer Lawrence – (Silver Linings Playbook)
• Runner-Up: Naomi Watts – (The Impossible)

Best Supporting Actor
• Christoph Waltz – (Django Unchained)
• Runner-Up: Leonardo DiCaprio – (Django Unchained)

Best Supporting Actress
• Anne Hathaway – (Les Misérables)
• Runner-Up (tie): Helen Hunt – (The Sessions)
• Runner-Up (tie): Ann Dowd – (Compliance)

Best Ensemble
• Moonrise Kingdom
• Runner-Up: Lincoln

Actor of the Year (for an exemplary body of work)
• Matthew McConaughey – (Bernie, Killer Joe, Magic Mike, and The Paperboy)
• Runner-Up: Anne Hathaway – (The Dark Knight Rises and Les Misérables)

Breakthrough Film Artist
• Bart Layton – (The Imposter) – (for directing)
• Runner-Up: Quvenzhané Wallis – (Beasts of the Southern Wild) – (for acting)

Best Cinematography
• Roger Deakins – (Skyfall)
• Runner-Up: Claudio Miranda – (Life of Pi)

Best Adapted Screenplay
• Tony Kushner – (Lincoln)
• Runner-Up: Chris Terrio – (Argo)

Best Original Screenplay
• Wes Anderson and Roman Coppola – (Moonrise Kingdom)
• Runner-Up: Drew Goddard and Joss Whedon – (The Cabin in the Woods)

Best Score
• Alexandre Desplat – (Moonrise Kingdom)
• Runner-Up: Reinhold Heil, Johnny Klimek, and Tom Tykwer – (Cloud Atlas)

Best Documentary
• How to Survive a Plague
• Runner-Up: The Imposter

Best Foreign Language Film
• The Kid with a Bike (Le gamin au vélo)
• Runner-Up: Headhunters (Hodejegerne)

Best Animated Film
• ParaNorman
• Runner-Up: Wreck-It Ralph

Best Overlooked Film
• Killer Joe
• Runner-Up: Safety Not Guaranteed

 

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“There are critics who see their job as to be on the side of the artist, or in a state of imaginative sympathy or alliance with the artist. I think it’s important for a critic to be populist in the sense that we’re on the side of the public. I think one of the reasons is, frankly, capitalism. Whether you’re talking about restaurants or you’re talking about movies, you’re talking about large-scale commercial enterprises that are trying to sell themselves and market themselves and publicize themselves. A critic is, in a way, offering consumer advice. I think it’s very, very important in a time where everything is commercialized, commodified, and branded, where advertising is constantly bleeding into other forms of discourse, for there to be an independent voice kind of speaking to—and to some extent on behalf of—the public.”
~ A. O. Scott On One Role Of The Critic

“Every night, we’d sit and talk for a long, long time and talk about the process and I knew he was very, very intrigued about what could be happening. Then of course, one of the fascinating things he told me about was how he had readers who were reading for him that never knew it was Stanley Kubrick. So if he heard of a novel, he would send it out to people. I think he did it through newspaper ads at the time. And he would send it out to people and ask for a kind of synopsis or a critique of the novel. And he would read those. And it was done anonymously. But he said there were housewives and there were barristers and all sorts of people doing that. And I thought, yeah, that’s a really good way to open up the possibilities. Because otherwise, you’re randomly looking, walking through a bookstore or an airport. I said, “How many people are doing this?” It was about 30 people.”
~ George Miller’s Conversations With Kubrick