2014 Critics Awards Online Film Critics Society

Best Picture
The Grand Budapest Hotel

Best Animated Feature
The Lego Movie

Best Film Not in the English Language
Two Days, One Night

Best Documentary
Life Itself

Best Director
Richard Linklater – Boyhood

Best Actor
Michael Keaton – Birdman
Best Actress
Rosamund Pike – Gone Girl
Best Supporting Actor
Edward Norton – Birdman
Best Supporting Actress
Patricia Arquette – Boyhood
Best Original Screenplay
The Grand Budapest Hotel

Best Adapted Screenplay
Gone Girl

Best Editing
Birdman
Best Cinematography
The Grand Budapest Hotel
Best Non-U.S. Release (non-competitive category)
’71
10,000 km
Entre Nós
Han Gong-ju
Hard to Be a God
The Look of Silence
The Salt of the Earth
What We Do in the Shadows
Timbuktu
The Tribe

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch