Scoreboards

DC Film Critics Nominate

DC Film Critics Nominate

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The Thrill Is Gone: B. B. King Was 89

The Thrill Is Gone: B. B. King Was 89

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2014 Critics Awards Scoreboard

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Critics Awards Scoreboard

The Awards season is in full swing. 22 critics groups have voted, and 12 Years a Slave is sitting alone at the top of the Scoreboard.

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2012 Critics Awards Scoreboard

With 29 critics groups voting, Lincoln is at the top of the scoreboard, with Zero Dark Thirty, The Master and Argo just behind. ParaNorman is the animated favorite, while is a wide field for documentaries…

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The 2011-2012 Critics Awards Scoreboard

The Tree of Life leads the Top Tens, but it’s The Artist at the top of the Critics Scoreboard. And The Descendants holds the number two spot on both charts.

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Nominations by Film

Alice in Wonderland, a Walt Disney Pictures Production (Walt Disney) (3 nominations) Art direction Costume design Visual effects Animal Kingdom, a Porchlight Films Production (Sony Pictures Classics) (1 nomination) Jacki Weaver – Performance by an actress in a supporting role Another Year, a Thin Man Films Production (Sony Pictures Classics) (1 nomination) Original screenplay Barney’s…

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2009-2010 Critics Scoreboard

Follow us as we shadow national and international awards among the following movies: (500) Days of Summer, A Serious Man, A Single Man, An Education, Avatar, Crazy Heart, District 9, Food Inc., Inglourious Basterds, Invictus, Julie & Julia, Me and Orson Welles, Nine, Precious: Based on the Novel ‘Push’ by Sapphire, Seraphine, Summer Hours, The Blind Side, The Cove, The Fantastic Mr. Fox, The Hurt Locker, The Last Station, The Lovely Bones, The Messenger, The White Ribbon, Up, and Up in the Air

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2008-2009 Critics Scoreboard

Follow us as we shadow national and international awards among the following movies: Australia, Changeling, Che, Defiance, Doubt, Frost/Nixon, Gran Torino, Happy-Go-Lucky, Let the Right One In, Man on Wire, Milk, Rachel Getting Married, Revolutionary Road, Seven Pounds, Slumdog Millionaire, The Curious Case of Benjamin Button, The Dark Knight, The Reader, The Road, The Soloist, The Wrestler, Vicky Cristina Barcelona, W., Wall-E, Waltz with Bashir

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2007-2008 Critics Scoreboard

Follow us as we shadow national and international awards among the following movies: 4 Months 3 Weeks and 2 Days, Assassination of Jesse James, Atonement, Away From Her, Black Book, Body of War, Caution, Charlie Wilson’s War, Crazy Love, Darjeeling Limited, Eastern Promise, Gone Baby Gone, I’m Not There, In the Shadow of the Moon, Juno, King of Kong, La Vie en Rose, Lars and the Real Girl, Lust, Michael Clayton, No Country for Old Men, No End In Sight, Persepolis, Ratatouille, Sicko, Starting Out in the Evening, Sweeney Todd, The Diving Bell and the Butterfly, The Host, The Lives of Others, The Savages, There Will Be Blood

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2006-2007 Critics Scoreboard

Follow us as we shadow national and international awards among the following movies: A Scanner Darkly, An Inconvenient Truth, Army of Shadows, Babel, Blood Diamond, Borat, Brick, Cars, Children of Men, Deliver Us from Evil, Dreamgirls, Factotum, Flags of Our Fathers, Flushed Away, For Your Consideration, Half Nelson, Happy Feet, Hard Candy, L’Enfant, Letters from Iwo Jima, Little Children, Little Miss Sunshine, Manufactured Landscapes, Monster House, Notes on a Scandal, Over the Hedge, Pan’s Labyrinth, Riding Alone For Thousands of Miles, Running with Scissors, Shut Up and Sing, Stranger Than Fiction, Thank You for Smoking, The Dead Girl, The Death of Mr. Lazarescu, The Departed, The Devil Wears Prada, The Last King of Scotland, The Lives of Others, The Painted Veil, The Queen, This Film is Not Yet Rated, United 93, Volver

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2005-2006 Critics Scoreboard

Follow us as we shadow national and international awards among the following movies: 2046, A History of Violence, Brokeback Mountain, Broken Flowers, Cache, Capote, Casanova, Chronicles of Narnia: The Lion The Witch and the Wardrobe, Cinderella Man, Crash, Down to the Bone, Downfall, Enron: Smartest Guys in the Room, Good Night and Good Luck., Grizzly Man, Head-On, Howl’s Moving Castle, Hustle & Flow, Innocent Voices, Junebug, King Kong, Kiss Kiss Bang Bang, Kung Fu Hustle, Mad Hot Ballroom, March of the Penguins, Me You and Everyone We Know, Memoirs of a Geisha, Mother of Mine, Mrs. Henderson Presents, Munich, Murderball, North Country, Paradise Now, Pride and Prejudice, Rent, Sin City, Syriana, The Consistant Gardener, The Corpse Bride, The Squid and the Whale, The Upside of Anger, Transamerica, Tsotsi, Walk the Line, Wallace and Gromit

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2004-2005 Critics Scoreboard

Follow us as we shadow national and international awards among the following movies: A Very Long Engagement, Bad Education, Before Sunset, Being Julia, Born Into Brothels: Calcutta’s Red Light Kids, Broadway: The Golden Age by the Legends Who Were There, Closer, Collateral, Control Room, Eternal Sunshine of the Spotless Mind, Fahrenheit 9/11, Finding Neverland, Hero, House of Flying Daggers, Kinsey, Maria Full of Grace, Million Dollar Baby, Moolaade, Ray, Sideways, Super Size Me, Tarnation, The Aviator, The Fog of War, The Incredibles, The Motorcycle Diaries, The Sea Inside, The Story of the Weeping Camel, The Triplets of Belleville, Touching the Void, Vera Drake, We Don’t Live Here Anymore

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2003-2004 Critics Scoreboard

Follow us as we shadow national and international awards among the following movies: 21 Grams, A Mighty Wind, All the Real Girls, American Splendor, Bad Santa, Bend it Like Beckham, Big Fish, Blue Car, Calendar Girls, City of God, Cold Mountain, Dirty Pretty Things, Elephant, Finding Nemo, Freaky Friday, Girl With a Pearl Earring, House of Sand and Fog, In America, Japanese Story, Kill Bill: Vol. 1, Laurel Canyon, Lost in Translation, Love Actually, Master and Commander: The Far Side of the World, Monsieur Ibrahim, Monster, Morvern Callar, Mystic River, Open Range, Pieces of April, Pirates of the Caribbean: The Curse of the Black Pearl, Raising Victor Vargas, Seabiscuit, Shattered Glass, Soldier’s Girl, Something’s Gotta Give, Spider, The Barbarian Invasions, The Cooler, The Human Stain, The Last Samurai, The Lord of the Rings: The Return of the King, The Magdalene Sisters, The School of Rock, The Secret Lives of Dentists, The Singing Detective, The Station Agent, Thirteen, Under the Tuscan Sun, Veronica Guerin, Virgin, Whale Rider

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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