Awards Watch Archive for November, 2017

20 Weeks To Oscar: Year of the Reconstructed Rom-Com

Award seasons have a theme that emerges as the season progresses. With the arrival of Phantom Thread and The Post, this year is loaded with rom-coms that don’t want to be rom-coms.

The form has been torn down in recent years and barely exists now in Hollywood movies, indies, or even TV. But take the idea of a romantic comedy about, say, the black guy being brought home to meet the over-exuberant white suburban parents and give it a twist… and BAM!… Get Out.

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Gurus o’ Gold: Thanks

The Gurus offer their usual Best Picture chart, with The Post having arrived for screenings and Phantom Thread due a day after the turkey’s been eaten. In addition, please check out the Oscar nominations that The Gurus would be thankful for as the first groups start voting next week. Lots of wonderful treats voters should have an eye out for.

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Gurus o’ Gold: Oscars For The Ages

The Gurus do the normal Top 10, then take a look at what age groups in The Academy they think will be the primary base of support for each movie. (Here’s a hint… Get Out is for the young voters, Victoria & Abdul for the elders.)

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THE PGA ANNOUNCES 2018 PRODUCERS GUILD AWARDS NOMINEES FOR DOCUMENTARY MOTION PICTURES

 [pr] LOS ANGELES (November 20, 2017) – The Producers Guild of America (PGA) announced today its 2018 Documentary Motion Pictures nominees that will advance in the final voting process for the 29th Annual Producers Guild Awards. The Producers Guild Awards honor excellence in motion picture and television productions, as well as some of the living legends who shape…

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20 Weeks To Oscar: Season of a Different Color

I don’t know if this will be an #OscarSoWhite year. But even if Denzel Washington and Octavia Spencer are nominated, it will be the same way as two seasons ago… and likely, two seasons into the future.

The problem is not how many nominations people of color get from The Academy. The problem is that we have such a small group of “movies of color” for Academy members to consider.

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Oscar To Peruse 26 Animated Features

26 ANIMATED FEATURES SUBMITTED FOR 2017 OSCAR RACE LOS ANGELES, CA – Twenty-six features have been submitted for consideration in the Animated Feature Film category for the 90th Academy Awards. The submitted features, listed in alphabetical order, are: “The Big Bad Fox & Other Tales” “Birdboy: The Forgotten Children” “The Boss Baby” “The Breadwinner” “Captain Underpants The First Epic…

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Gurus o’ Gold: Pick The Winners Way Too Early

As The Gurus get into the weekly habit of prognosticating again, there was no messing around. Who is going to win? The Gurus, who are insightful, but not fools, didn’t vote for any of the movies or performances that haven’t yet been shown widely (that changes over Thanksgiving). For a “wide open season,” there are a bunch of categories that seem surprisingly close to settled in the minds of The Gurus.

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National, NY, LA, Boston Film Critics Groups DQ All Disney Films For Year-End Award Consideration

A STATEMENT FROM THE LOS ANGELES FILM CRITICS ASSOCIATION, THE NEW YORK FILM CRITICS CIRCLE, THE BOSTON SOCIETY OF FILM CRITICS AND THE NATIONAL SOCIETY OF FILM CRITICS Nov. 7, 2017 — The members of the Los Angeles Film Critics Association, the New York Film Critics Circle, the Boston Society of Film Critics and the National Society…

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BFCA Announces Nomination And Awards Dates

[PR] Los Angeles, CA – November 7, 2017) – The Broadcast Film Critics Association (BFCA) and the Broadcast Television Journalists Association (BTJA) are pleased to announce that the 23rd Annual Critics’ Choice Awards will air LIVE on The CW Network on Thursday, January 11, 2018 (8-10pm ET/PT).  The show will continue its combined Film and Television awards format, honoring the finest in…

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And The Cinema Eye Honors Nominees Are…

CINEMA EYE HONORS ANNOUNCES NOMINEES FOR 11th ANNUAL AWARDS Feature Film Nominees | City of Ghosts, Ex Libris: The New York Public Library, Faces Places, Last Men in Aleppo, Quest and Strong Island Brimstone and Glory, City of Ghosts and Strong Island lead with 4 nominations Each The Challenge, Chasing Coral, Faces Places, Jane and Quest receive 3 nominations Previous Cinema Eye winners Agnés…

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Jane Best Doc at Second Annual Critics’ Choice Documentary Awards

(Brooklyn, NY – November 2, 2017) – The Broadcast Film Critics Association (BFCA) and the Broadcast Television Journalists Association (BTJA) announced the winners of the second annual Critics’ Choice Documentary Awards tonight at a gala event, hosted by Penn Jillette at BRIC in Brooklyn. “We are so happy to be able to celebrate the supremely…

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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