The Hobbit: Battle of the Five Armies

By Ray Pride Pride@moviecitynews.com

National Society Of Film Critics 2012 Awards

National Society Of Film Critics

Best Picture: Amour
Best Director: Michael Haneke
Best Actor: Daniel Day-Lewis
Best Actress: Emmanuelle Riva
Best Screenplay: Tony Kushner
Best Supporting Actor: Matthew McConaughey, Magic Mike and Bernie
Best Supporting Actress: Amy Adams, The Master
Best Cinematography: Mihai Malaimare, Jr., The Master
Best Nonfiction Film: The Gatekeepers
Best Experimental Film: This Is Not a Film
Film Heritage Prizes: Laurence Kardish; Milestone Film and Video

2 Responses to “National Society Of Film Critics 2012 Awards”

  1. Daniella Isaacs says:

    Hummm. Well, I have to say they’ve had the best track record (in terms of my taste, anyway) of all the awards giving groups in the past, though I wouldn’t give prizes to Kushner or McConaughey this year. I guess I have to see AMOUR as soon as it comes my way.

  2. Al Alexander says:

    Amour is incredibly overrated. And Amy Adams, really? Almost as nonsensical as McConaughey choice. Spots should have gone to Sally Field and Alan Arkin

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“Any time a movie causes a country to threaten nuclear retaliation, the higher-ups wanna get in a room with you… In terms of getting the word out about the movie, it’s not bad. If they actually make good on it, it would be bad for the world—but luckily that doesn’t seem like their style… We’ll make a movie that maybe for two seconds will make some 18-year-old think about North Korea in a way he never would have otherwise. Or who knows? We were told one of the reasons they’re so against the movie is that they’re afraid it’ll actually get into North Korea. They do have bootlegs and stuff. Maybe the tapes will make their way to North Korea and cause a fucking revolution. At best, it will cause a country to be free, and at worst, it will cause a nuclear war. Big margin with this movie.”
~ Seth Rogen In Rolling Stone 1224

“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