Awards Watch Archive for January, 2017

20 Weeks To Oscar: The Simple Case For Moonlight

The phenomenon of Moonlight was on full display at the Telluride Film Festival. Audiences were not only screaming and standing on their feet when the movie ended, but many walked the intimate streets of Telliride in a kind of shock, rocked to their core. Men and women. Straight and gay. Some were black… but it is Telluride and well… most were not.

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SAG 2017 Awards

Outstanding Film and Television Performances Honored at the 23rd Annual Screen Actors Guild Awards® The Screen Actors Guild Awards® presented its coveted Actor® statuettes for the outstanding motion picture and primetime television performances of 2016 at the 23rd Annual Screen Actors Guild Awards® held Sunday, Jan. 29 at the Los Angeles Shrine Exposition Center. In…

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The 2017 ACE Eddie Awards

WINNERS ANNOUNCED FOR THE 67TH ANNUAL ACE EDDIE AWARDS RECOGNIZING THE BEST EDITING OF THE YEAR IN FILM, TELEVISION AND DOCUMENTARIES “ARRIVAL,” “LA LA LAND” AND “ZOOTOPIA” AMONG WINNERS AT THE 67TH ANNUAL ACE EDDIE AWARDS RECOGNIZING THE BEST FILM EDITING OF THE YEAR “Arrival” (edited by Joe Walker, ACE) and “La La Land” (edited by…

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Gurus o’ Gold: First Take At Ranking The Nominees

The Gurus ranked every Oscar category except for the shorts (even Gurus need to catch up with those nominees). And according to the Gurus, La La Land won’t break or tie the record for most wins. The film will have to settle for nine wins. The category in which The Gurus are the most indecisive? Make-up and Hair, with all three nominees ranked within two points of each other.

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20 Weeks To Oscar: The Simple Case FOR La La Land

How can anyone claim that a musical that opens with scores of people getting out of their cars to dance and sing on the freeway is “easy” “obvious” or “made for Oscar voters?” If audiences didn’t fall in love with that 5 minutes, the whole picture probably goes down. That is a massive risk.

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Nomination: Reaction

“I am thrilled! Loved making this film. I would work with Tom anytime, anywhere. Jake and Aaron and Karl made it easy for me. Nice to get some good news in the midst of all the carnage, so to speak.” – Michael Shannon   “I was just lying in bed when I found out. I…

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20 Weeks To Oscar: Right Before The Noms

This has been, perhaps, the most boring Oscar season in modern history.

But the other truth is, this has been a great award season for movies. Everyone has their personal preferences, but man, what a high quality line-up of product for awards this year. High and low.

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Gurus o’ Gold: Last Guesses Before Nominations

The Gurus are making their last group gasp before nominations arrive on Tuesday. (A couple Gurus, stuck in Sundance, may add to the charts.) Not a lot has changed in Best Picture, but some long-expected nominees have been pushed out in Actress. If the Gurus are channeling a true vibe, La La Land will lead the way with 14 nominations, followed by Arrival with 10. Dive in. Every category except for shorts is there this week. And after nominations, The Gurus will return with rankings of the nominees.

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Thelma Schoonmaker and Janet Ashikaga Honored by American Cinema Editors

American Cinema Editors (ACE) will present veteran editors Janet Ashikaga, ACE and Thelma Schoonmaker, ACE with the organization’s prestigious Career Achievement honors at the 67th Annual ACE Eddie Awards on Friday, January 27, 2017 in the International Ballroom of the Beverly Hilton Hotel.  The Career Achievement Award honors veteran editors whose body of work and reputation…

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Oscar Scraps Dawn Nominations Presser For Online Live Stream And Featured Placement On ABC’s “Good Morning America”

  [PR] We’ve got exciting news. To welcome our new class of nominees, several Oscar®-winning and nominated Academy members including Jennifer Hudson, Brie Larson, Emmanuel Lubezki, Jason Reitman and Ken Watanabe will join Academy President Cheryl Boone Isaacs to reveal the 89th Oscars® Nominations, on Tuesday, January 24, beginning at 5:18 a.m. PST/8:18 a.m. EST/1:18…

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Cinema Eye 2017 Awards

Cameraperson and OJ: Made In America Top 10th Annual Cinema Eye Honors Kirsten Johnson’s Cinematic Memoir Wins Outstanding Feature, Editing & Cinematography Ezra Edelman’s Epic Story of Race and Murder in Los Angeles takes Direction & Production January 11, 2017, Astoria, Queens, New York – Two of the year’s most acclaimed nonfiction films, Cameraperson and…

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The Tenth Annual Cinema Eye Honors

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ASC Nominations 2016

The American Society of Cinematographers (ASC) has announced nominees in the Theatrical Release and Spotlight categories for the 31sstAnnual ASC Awards for Outstanding Achievement in Cinematography. Winners will be named on February 4 at the Society’s awards gala held at Hollywood & Highland’s Ray Dolby Ballroom. Theatrical Release nominees this year include: Greig Fraser, ASC,…

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20 Weeks To Oscar: The 4 Kinds Of Best Picture Winners

I believe there are 4 kinds of Best Picture wins.

Big Love.
Big Obligation.
Big Avoidance.
Default.

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PGA Nominations For 2016

The Producers Guild of America (PGA) announced today the motion picture nominations for the 28th Annual Producers Guild Awards. The categories are The Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures and The Award for Outstanding Producer of Animated Theatrical Motion Pictures. All 2017 Producers Guild Award winners will be announced on Saturday,…

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BAFTA 2016 Nominations

2016 NOMINATIONS (presented in 2017) BEST FILM ARRIVAL Dan Levine, Shawn Levy, David Linde, Aaron Ryder I, DANIEL BLAKE Rebecca O’Brien LA LA LAND Fred Berger, Jordan Horowitz, Marc Platt MANCHESTER BY THE SEA Lauren Beck, Matt Damon, Chris Moore, Kimberly Steward, Kevin J. Walsh MOONLIGHT Dede Gardner, Jeremy Kleiner, Adele Romanski OUTSTANDING BRITISH FILM…

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Globes 2016

BEST MOTION PICTURE – DRAMA MOONLIGHT BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – DRAMA ISABELLE HUPPERT ELLE BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – DRAMA CASEY AFFLECK MANCHESTER BY THE SEA BEST MOTION PICTURE – MUSICAL OR COMEDY LA LA LAND Marc Platt Productions / Impostor Pictures / Gilbert…

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2016 National Film Critics Society Awards

Best Picture: Moonlight Best Actor: Casey Affleck, Manchester by the Sea Best Actress: Isabelle Huppert, Elle, Things to Come Best Supporting Actor: Mahershala Ali, Moonlight Best Supporting Actress: Michelle Williams, Manchester by the Sea Best Director: Barry Jenkins, Moonlight Best Screenplay: Kenneth Lonergan, Manchester by the Sea Best Cinematography:  James Laxton, Moonlight Best Foreign Film: Toni Erdmann Film Heritage Award:  “Pioneers of African-American…

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Houston Film Critics Society Awards

La Land Land Director — Damien Chazelle Screenplay — Hell Or High Water Actor — Casey Affleck, Manchester by the Sea Actress — Natalie Portman, Jackie Supporting Actor — Jeff Bridges, Hell Or High Water Supporting Actress — Viola Davis, Fences Animated Film — Kubo and the Two Strings Documentary — O.J.: Made in America Foreign…

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Gurus o’ Gold: Let The Ballots Be Filled

In the last pre-Globes Best Picture poll, a lot of stability on top of the Best Picture chart and a lot of instability in the last few potential slots for nomination. Also, The Gurus were asked if they had anything to say about it all at this moment… only 3 decided to speak up.

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This is probably going to sound petty, but Martin Scorsese insisting that critics see his film in theaters even though it’s going straight to Netflix and then not screening it in most American cities was a watershed moment for me in this theatrical versus streaming debate.

I completely respect when a filmmaker insists that their movie is meant to be seen in the theater, but the thing is, you got to actually make it possible to see it in the theater. Some movies may be too small for that, and that’s totally OK.

When your movie is largely financed by a streaming service and is going to appear on that streaming service instantly, I don’t really see the point of pretending that it’s a theatrical film. It just seems like we are needlessly indulging some kind of personal fantasy.

I don’t think that making a feature film length production that is going to go straight to a video platform is some sort of “step down.“ I really don’t. Theatrical exhibition as we know it is dying off anyway, for a variety of reasons.

I should clarify myself because this thread is already being misconstrued — I’m talking about how the movie is screened in advance. If it’s going straight to Netflix, why the ritual of demanding people see it in the theater?

There used to be a category that everyone recognized called “TV movie” or “made for television movie” and even though a lot of filmmakers considered that déclassé, it seems to me that probably 90% of feature films fit that description now.

Atlantis has mostly sunk into the ocean, only a few tower spires remain above the waterline, and I’m increasingly at peace with that, because it seems to be what the industry and much of the audience wants. We live in an age of convenience and information control.

Only a very elite group of filmmakers is still allowed to make movies “for theaters“ and actually have them seen and judged that way on a wide scale. Even platform releasing seems to be somewhat endangered. It can’t be fought. It has to be accepted.

9. Addendum: I’ve been informed that it wasn’t Scorsese who requested that the Bob Dylan documentary only be screened for critics in theaters, but a Netflix representative indicated the opposite to me, so I just don’t know what to believe.

It’s actually OK if your film is not eligible for an Oscar — we have a thing called the Emmys. A lot of this anxiety is just a holdover from the days when television was considered culturally inferior to theatrical feature films. Everybody needs to just get over it.

In another 10 to 20 years they’re probably going to merge the Emmys in the Oscars into one program anyway, maybe they’ll call it the Contentys.

“One of the fun things about seeing the new Quentin Tarantino film three months early in Cannes (did I mention this?) is that I know exactly why it’s going to make some people furious, and thus I have time to steel myself for the takes.

Back in July 2017, when it was revealed that Tarantino’s next project was connected to the Manson Family murders, it was condemned in some quarters as an insulting and exploitative stunt. We usually require at least a fig-leaf of compassion for the victims in true-crime adaptations, and even Tarantino partisans like myself – I don’t think he’s made a bad film yet – found ourselves wondering how he might square his more outré stylistic impulses with the depiction of a real mass murder in which five people and one unborn child lost their lives.

After all, it’s one thing to slice off with gusto a fictional policeman’s ear; it’s quite another to linger over the gory details of a massacre that took place within living memory, and which still carries a dread historical significance.

In her essay The White Album, Joan Didion wrote: “Many people I know in Los Angeles believe that the Sixties ended abruptly on August 9, 1969, ended at the exact moment when word of the murders on Cielo Drive traveled like brushfire through the community, and in a sense this is true.”

Early in Once Upon a Time in Hollywood, as Leonardo DiCaprio and Brad Pitt’s characters drive up the hill towards Leo’s bachelor pad, the camera cranes up gently to reveal a street sign: Cielo Drive. Tarantino understands how charged that name is; he can hear the Molotov cocktails clinking as he shoulders the crate.

As you may have read in the reviews from Cannes, much of the film is taken up with following DiCaprio and Pitt’s characters – a fading TV actor and his long-serving stunt double – as they amusingly go about their lives in Los Angeles, while Margot Robbie’s Sharon Tate is a relatively minor presence. But the spectre of the murders is just over the horizon, and when the night of the 9th finally arrives, you feel the mood in the cinema shift.

No spoilers whatsoever about what transpires on screen. But in the audience, as it became clear how Tarantino was going to handle this extraordinarily loaded moment, the room soured and split, like a pan of cream left too long on the hob. I craned in, amazed, but felt the person beside me recoil in either dismay or disgust.

Two weeks on, I’m convinced that the scene is the boldest and most graphically violent of Tarantino’s career – I had to shield my eyes at one point, found myself involuntarily groaning “oh no” at another – and a dead cert for the most controversial. People will be outraged by it, and with good reason. But in a strange and brilliant way, it takes Didion’s death-of-the-Sixties observation and pushes it through a hellfire-hot catharsis.

Hollywood summoned up this horror, the film seems to be saying, and now it’s Hollywood’s turn to exorcise it. I can’t wait until the release in August, when we can finally talk about why.

~ Robbie Collin