THB #93: The Batman (no spoilers)
| March 6, 2022
| Rank | Last Chart | Best Director | Adams | Bahr | Ellwood | Howell | Johnson | Karger | Morales | Patterson | Poland | Pond | Rogers | Sneider | Stone | Votes | Total | ||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 1 |
Martin Scorsese The Irishman |
1 | 3 | 2 | 1 | 2 | 1 | 3 | 3 | 1 | 1 | 1 | 2 | 12 | 75 | ||||
| 2 |
Quentin Tarantino Once Upon A Time ... |
5 | 2 | 1 | 2 | 1 | 2 | 2 | 2 | 2 | 2 | 3 | 1 | 12 | 71 | ||||
| 3 |
Bong Joon-ho Parasite |
4 | 1 | 3 | 3 | 4 | 3 | 1 | 4 | 3 | 3 | 2 | 3 | 12 | 62 | ||||
| 4 |
Noah Baumbach Marriage Story |
2 | 4 | 4 | 7 | 3 | 4 | 4 | 5 | 6 | 6 | 10 | 35 | ||||||
| 5 |
Sam Mendes 1917 |
4 | 5 | 5 | 1 | 4 | 5 | 5 | 4 | 8 | 31 | ||||||||
|
Taika Waititi Jojo Rabbit |
6 | 5 | 5 | 7 | 6 | 5 | 4 | 5 | 8 | 21 | |||||||||
|
Greta Gerwig Little Women |
3 | 5 | 6 | 6 | 7 | 6 | 4 | 7 | 19 | ||||||||||
|
Todd Phillips Joker |
6 | 7 | 7 | 6 | 4 | 6 | |||||||||||||
|
Fernando Meirelles The Two Popes |
7 | 6 | 2 | 3 | |||||||||||||||
|
Pedro Almodóvar Pain & Glory |
7 | 7 | 2 | 2 | |||||||||||||||
|
Marielle Heller A Beautiful Day... |
7 | 7 | 2 | 2 | |||||||||||||||
| One Vote Wonders | |||||||||||||||||||
|
The Safdies Uncut Gems |
6 | 1 | 2 | ||||||||||||||||
|
James Mangold Ford v Ferrari |
7 | 1 | 1 | ||||||||||||||||
| Rank | Last Chart | Original Screenplay | Adams | Bahr | Ellwood | Howell | Johnson | Karger | Morales | Patterson | Poland | Pond | Rogers | Sneider | Stone | Votes | Total | ||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 1 |
Marriage Story |
1 | 2 | 3 | 2 | 1 | 1 | 1 | 2 | 1 | 1 | 2 | 4 | 12 | 75 | ||||
| 2 |
Once Upon A Time ... |
2 | 3 | 1 | 1 | 3 | 2 | 2 | 1 | 3 | 2 | 1 | 1 | 12 | 74 | ||||
| 3 |
Parasite |
5 | 1 | 2 | 3 | 2 | 4 | 3 | 3 | 2 | 5 | 3 | 11 | 55 | |||||
| 4 |
The Farewell |
4 | 4 | 4 | 6 | 6 | 3 | 4 | 5 | 5 | 4 | 4 | 6 | 12 | 41 | ||||
| 5 |
Dolemite is My Name |
7 | 6 | 4 | 4 | 7 | 3 | 6 | 17 | ||||||||||
|
Ford v Ferrari |
7 | 7 | 7 | 6 | 6 | 2 | 6 | 13 | |||||||||||
|
Pain & Glory |
5 | 5 | 5 | 7 | 7 | 7 | 6 | 12 | |||||||||||
|
1917 |
5 | 7 | 6 | 5 | 4 | 9 | |||||||||||||
|
Bombshell |
4 | 5 | 6 | 3 | 9 | ||||||||||||||
|
Knives Out |
6 | 4 | 6 | 3 | 8 | ||||||||||||||
|
Booksmart |
6 | 7 | 2 | 3 | |||||||||||||||
|
Waves |
6 | 7 | 2 | 3 | |||||||||||||||
| One Vote Wonders | |||||||||||||||||||
|
Uncut Gems |
3 | 1 | 5 | ||||||||||||||||
|
Us |
5 | 1 | 3 | ||||||||||||||||
|
Queen & Slim |
5 | 1 | 3 | ||||||||||||||||
| Rank | Last Chart | Adapted Screenplay | Adams | Bahr | Ellwood | Howell | Johnson | Karger | Morales | Patterson | Poland | Pond | Rogers | Sneider | Stone | Votes | Total |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 1 |
The Irishman |
2 | 1 | 2 | 1 | 1 | 1 | 2 | 4 | 1 | 2 | 1 | 1 | 12 | 77 | ||
| 2 |
Jojo Rabbit |
3 | 3 | 1 | 3 | 4 | 2 | 1 | 2 | 4 | 1 | 3 | 2 | 12 | 67 | ||
| 3 |
Little Women |
1 | 2 | 5 | 4 | 5 | 4 | 4 | 3 | 2 | 4 | 2 | 3 | 12 | 57 | ||
| 4 |
The Two Popes |
4 | 3 | 2 | 2 | 5 | 3 | 1 | 3 | 4 | 4 | 10 | 49 | ||||
| 5 |
Joker |
6 | 4 | 5 | 7 | 6 | 5 | 7 | 6 | 6 | 5 | 10 | 23 | ||||
|
A Beautiful Day... |
4 | 7 | 6 | 7 | 6 | 5 | 3 | 5 | 8 | 21 | |||||||
|
Hustlers |
5 | 7 | 5 | 7 | 6 | 7 | 7 | 7 | 12 | ||||||||
|
Toy Story 4 |
5 | 3 | 6 | 3 | 10 | ||||||||||||
|
Just Mercy |
6 | 7 | 7 | 6 | 6 | 5 | 8 | ||||||||||
|
Richard Jewell |
6 | 7 | 2 | 3 |
The Gurus, At Your Service
Thelma Adams: Author, Critic, Oscar Expert
Robyn Bahr: Freelance (Hollywood Reporter, Vanity Fair, Guardian)
Gregory Ellwood: The Playlist
Peter Howell: Toronto Star
Mark Johnson: Awards Circuit
Dave Karger: TCM, IMDb
Tomris Laffly: Freelance (RogerEbert.com, Time Out New York, Film Journal International)
Wilson Morales: BlackFilm.com
Michael Patterson: Michael’s Telluride Film Blog; Twitter; Facebook
David Poland
Steve Pond: The Wrap
NathanielR: The Film Experience
Sasha Stone: Awards Daily
Jeff Sneider: Collider
-30-
May 1, 2022
"Netflix, the great disrupter whose algorithms and direct-to-consumer platform have forced powerful media incumbents to rethink their economic models, now seems to need a big strategy change itself. It got me thinking about the simple idea that my film and TV production company Blumhouse is built on: If you give artists a lot of creative freedom and a little money upfront but a big stake in the movie’s or TV show’s commercial success, more often than not the result will be both commercial (the filmmakers are incentivized to make films that will resonate with audiences) and artistically interesting (creative freedom!). This approach has yielded movies as varied as Get Out (made for $4.5 million, with worldwide box office receipts of more than $250 million), Whiplash (made for $3.3 million, winner of three Academy Awards), The Invisible Man (made for $7 million, earned more than $140 million) and Paranormal Activity (made for $15,000, grossed more than $190 million).From the beginning, the most important strategy I used to persuade artists to work with me was to make radically transparent deals: We usually paid the artists (“participants” in Hollywood lingo) the absolute minimum allowable by union contracts upfront, with the promise of healthy bonuses based on actual box office results—instead of the opaque 'percentage points' that artists are usually offered. Anyone can see box office results immediately, so creators don’t quarrel with the payouts. In fact, when it comes time for an artist to collect a bonus based on box office receipts, I email a video clip of myself dropping the check off at FedEx to the recipient."
Jason Blum Sees Room For "Scrappier" Netflix
| April 30, 2022
"As a critic Gavin was entertaining, wry, questioning, sensitive, perceptive"
Critic-Filmmaker Gavin Millar Was 84; Films Include Cream In My Coffee, Dreamchild
April 29, 2022
| January 24, 2022
DP/30 Audio: Bombshell, Jay Roach
| December 13, 2019
DP/30 Audio: The Last Black Man in San Francisco, Jonathan Majors
| December 4, 2019
DP/30 Audio: The Mustang, Laure de Clermont-Tonnerre
| December 4, 2019
Are there any ideas about the Best Documentary Feature long list, or “shortlist” nominees?
I assume this is so strange a year, in the news, that documentary subjects must be easy to find.