Awards Watch Archive for December, 2017

Gurus o’ Gold: And The Horses Are In The Gate (And Going On Vacation)…

As Oscar voters head to the beach or the snow or lands of eternal beauty and dysentery, The Gurus take one more look at Best Picture, the Acting races, Director and Screenplay, Also, some suggestions about which DVDs should make the journey with you and fill your happy holiday nights. Even better, find a movie theater with these films and buy a ticket. You can afford it… you just got a big tax break! Happy, happy holidays from the Gurus o’ Gold.

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Makeup And Hairstyling Oscar Shortlist Of Seven

7 FEATURES ADVANCE IN RACE FOR MAKEUP AND HAIRSTYLING OSCAR® LOS ANGELES, CA – The Academy of Motion Picture Arts and Sciences today announced that seven films remain in competition in the Makeup and Hairstyling category for the 90th Academy Awards®. The films are listed below in alphabetical order: “Bright” “Darkest Hour” “Ghost in the Shell”…

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141 Original Scores Tune Up For Oscar

 141 ORIGINAL SCORES IN 2017 OSCAR RACE LOS ANGELES, CA – The Academy of Motion Picture Arts and Sciences today announced that 141 scores from eligible feature-length motion pictures released in 2017 are in contention for nominations in the Original Score category for the 90th Academy Awards. The eligible scores along with their composers are listed below, in…

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70 ORIGINAL SONGS VIE FOR 2017 OSCAR

70 ORIGINAL SONGS VIE FOR 2017 OSCAR LOS ANGELES, CA – The Academy of Motion Picture Arts and Sciences today announced that 70 songs from eligible feature-length motion pictures released in 2017 are in contention for nominations in the Original Song category for the 90th Academy Awards. The original songs, along with the motion picture in which…

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Indiana Film Journalists Like Lady Bird

“Lady Bird” big winner in  Indiana Film Journalists Association awards “Lady Bird” was the runaway winner in the 2017 Indiana Film Journalists Association (IFJA) awards, taking the top prize of Best Picture as well as Best Director and Best Original Screenplay for Greta Gerwig, Best Actress for Saoirse Ronan and Best Supporting Actress for Laurie Metcalf….

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10 Visual Effects Oscar Contenders Advance

The Academy of Motion Picture Arts and Sciences today announced that 10 films remain in the running in the Visual Effects category for the 90th Academy Awards. “Alien: Covenant” “Blade Runner 2049” “Dunkirk” “Guardians of the Galaxy Vol. 2” “Kong: Skull Island” “Okja” “The Shape of Water” “Star Wars: The Last Jedi” “Valerian and the…

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Oscar’s Best Foreign-Language Film Shortlist

9 FOREIGN LANGUAGE FILMS ADVANCE IN OSCAR® RACE LOS ANGELES, CA – The Academy of Motion Picture Arts and Sciences today announced that nine features will advance to the next round of voting in the Foreign Language Film category for the 90th Academy Awards ®. Ninety-two films had originally been considered in the category. The…

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Nominations Announced for the 24th Annual Screen Actors Guild Awards

LOS ANGELES (Dec. 13, 2017) – Nominees for the 24th Annual Screen Actors Guild Awards for outstanding individual, cast and ensemble performances in film and television of 2017, as well as the honorees for outstanding action performances by film and television stunt ensembles were announced this morning. Two nominating panels — one for television and one for film…

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African American Film Critics Association Names Get Out Top Film of 2017

AFRICAN AMERICAN FILM CRITICS ASSOCIATION NAMES “GET OUT” TOP FILM OF 2017  Daniel Kaluuya, Frances McDormand, Laurence Fishburne and Tiffany Haddish  Earn Acting Wins from the Nation’s Premiere Black Critics Group Los Angeles, CA (December 12, 2017) – Jordan Peele’s seismic thriller GET OUT captured the most wins from the members of the African American Film…

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Globe Reactions

“The Golden Globes, hooray! What wonderful news on such a snowy day in London.” Judi Dench, Others React to The Getting Global

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Golden Globes Reactions

“THE DISASTER ARTIST gets nominated for big Hollywood awards!! What a story!!” – Seth Rogan via Twitter “Thank you to the HFPA for this honor and thank you beyond measure to the one and only Billie Jean King. She is a brilliant, brave and game-changing human being, and I wish to be half the woman…

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NY Film Critics Online Awards for 2017

PICTURE The Florida Project (A24) (tie) Mudbound (Netflix) (tie)   DIRECTOR Dee Rees for Mudbound (Netflix)   ACTOR Gary Oldman for Darkest Hour (Focus)   ACTRESS Margot Robbie for I, Tonya (Neon)   SUPPORTING ACTOR Willem Dafoe for The Florida Project (A24)   SUPPORTING ACTRESS Allison Janney for I, Tonya (Neon)   SCREENPLAY Jordan Peele for Get Out (Universal)   BREAKTHROUGH PERFORMER Timothée Chalamet for Call Me By Your Name (Sony…

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Gurus o’ Gold: Precursors Narrow The Field

The Gurus lay out Picture, Acting, Directing and Screenwriting in the hours before Golden Globes nominations. The groups of potential nominees get smaller as the year gets shorter.

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Oscar Shortlists 15 Feature Docs From 170 Submissions

The Academy of Motion Picture Arts and Sciences today announced that 15 films in the Documentary Feature category will advance in the voting process for the 90th Academy Award. One hundred seventy films were originally submitted in the category. The 15 films are listed below in alphabetical order by title, with their production companies: “Abacus: Small…

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Cinema Eye Honors Set Legacy Award; Heterodox Award Nominees

When We Were Kings to Receive 2018 Cinema Eye Legacy Award Heterodox Nominees Announced: Films That Blur the Line Between Fiction & Documentary December 6, 2017 | New York City NY – Cinema Eye today announced that Leon Gast’s When We Were Kings is the recipient of the 2018 Legacy Award, a recognition of classic nonfiction filmmaking that continues to…

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BFCA Nominations Announced

[pr]  – The Broadcast Film Critics Association (BFCA) announced today the nominees for the 23rd Annual Critics’ Choice Awards.  The winners will be revealed live on Thursday, January 11, 2018.  The awards show will return to The CW Network and will be broadcast live night from 8–10pm ET/PT. “The Shape of Water” leads all films this year with…

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Oscar Shortlists Ten Doc Shorts

 LOS ANGELES, CA – The Academy of Motion Picture Arts and Sciences today announced that the field of Documentary Short Subject contenders for the 90th Academy Awards was narrowed to 10 films, of which 5 will earn Oscar nominations. Voters from the Academy’s Documentary Branch viewed this year’s 77 eligible entries and submitted their ballots to PricewaterhouseCoopers for…

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Academy Museum Names Board of Trustees, Led By Ron Meyer, With Hanks, Sarandos, von Furstenberg, Gianopulos, Bailey, Blum

LOS ANGELES, CA – Kerry Brougher, Director of the Academy Museum of Motion Pictures, announced that the institution has completed the formation of its Board of Trustees, under the leadership of Ron Meyer as Chair. Plans for the new museum were originally spearheaded by the Board of Governors of the Academy of Motion Picture Arts and…

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Oscar Shortlist for VFX Has 20 Contenders

[pr]  LOS ANGELES, CA – The Academy of Motion Picture Arts and Sciences today announced that 20 films are in the running in the Visual Effects category for the 90th Academy Awards®. The films are listed below in alphabetical order: “Alien: Covenant” “Beauty and the Beast” “Blade Runner 2049 “Dunkirk” ‘‘Ghost in the Shell” “Guardians…

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10 Animated Shorts Shortlisted For Oscar 2017

[pr] LOS ANGELES, CA – The Academy of Motion Picture Arts and Sciences today announced that 10 animated short films will advance in the voting process for the 90th Academy Awards. Sixty-three pictures had originally qualified in the category. The 10 films are listed below in alphabetical order by title, with their production companies: “Cradle,” Devon Manney,…

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Awards Watch

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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