Another Reason Not to Take the Oscars Too Seriously
Posted on February 23, 2019 at 9:43 pm
Some movie classics were not nominated for Best Picture.
Posted on February 23, 2019 at 9:43 pm
Some movie classics were not nominated for Best Picture.
Posted on February 23, 2019 at 8:04 pm
The Golden Raspberry Awards, known as the Razzies, announced their winners Saturday, awarding the best of the worst in film. As usual, the Razzies tend to go for the obvious and repetitive, and sometimes blame the performers when it isn’t their fault. This year they got rather political. And there’s a bit of a surprise here with Melissa McCarthy being called out for two terrible movies, when tomorrow night she’s up for an Oscar for an excellent one.
Worst picture: Holmes and Watson
Runners-up:
“Gotti”
“The Happytime Murders”
“Robin Hood”
“Winchester”
Worst director: Etan Cohen, “Holmes & Watson”
Runners-up:
Kevin Connolly, “Gotti”
James Foley, “Fifty Shades Freed”
Brian Henson, “The Happytime Murders”
The Spierig Brothers (Michael and Peter), “Winchester”
Worst actress: Melissa McCarthy, “The Happytime Murders”and “Life of the Party”
Runners-up:
Jennifer Garner, “Peppermint”
Amber Heard, “London Fields”
Helen Mirren, “Winchester”
Amanda Seyfried, “The Clapper”
Worst actor: Donald J. Trump (as himself), “Death of a Nation” and “Fahrenheit 11/9”
Runners-up:
Johnny Depp, “Sherlock Gnomes”
Will Ferrell, “Holmes & Watson”
John Travolta, “Gotti”
Bruce Willis, “Death Wish”
Worst supporting actress: Kellyanne Conway (as herself), “Fahrenheit 11/9”
Runners-up:
Marcia Gay Harden, “Fifty Shades Freed”
Kelly Preston, “Gotti”
Jaz Sinclair, “Slender Man”
Melania Trump (as herself), “Fahrenheit 11/9”
Worst supporting actor: John C. Reilly, “Holmes & Watson”
Runners-up:
Jamie Foxx, “Robin Hood”
Ludacris (voice), “Show Dogs”
Justice Smith, “Jurassic World: Fallen Kingdom”
Worst screen couple: “Donald J. Trump and his self-perpetuating pettiness,” “Death of a Nation” and “Fahrenheit 11/9”
Runners-up:
“Any two actors or puppets,” “Happytime Murders”
“Johnny Depp and his fast-fading film career,” “Sherlock Gnomes”
“Will Ferrell and John C. Reilly (trashing two of literature’s most beloved characters),” “Holmes & Watson”
“Kelly Preston and John Travolta (getting ‘Battlefield Earth’-type reviews!),” “Gotti”
Worst screenplay: “Fifty Shades Freed”
Runners-up:
“Death of a Nation”
“Gotti”
“The Happytime Murders”
“Winchester”
Worst remake, ripoff or sequel: “Holmes & Watson”
“Death of a Nation”
“Death Wish”
“The Meg” (ripoff of “Jaws”)
“Robin Hood”
Posted on February 23, 2019 at 6:07 pm
What’s more fun than watching the Oscars? Watching it with a bunch of cool movie critics! My colleagues and I will be chatting about the show and the awards in real time, and you can submit questions or comments. Hey, they don’t have a host, so you’ll need us!
You can join the conversation two ways:
1) click on the link
2) download the Goodtalk app, find “The Oscars” discussion on the main page
Posted on January 22, 2019 at 11:46 am
Where is Mr. Rogers? The documentary considered the Oscar front-runner is not even nominated for the 2019 awards. I was sorry not to see Michael B. Jordan nominated for Best Supporting Actor (“Black Panther”), though I am confident there will be an Oscar in his future, and I am glad to see the film make history as the first superhero movie to be nominated for Best Picture. I would like to have seen Timothée Chalamet nominated for “Beautiful Boy,” but like Jordan, he will have many other opportunities. Ryan Gosling should have been nominated for “First Man,” and its score deserved a nomination as well. And my favorite film of the year “If Beale Street Could Talk,” should have been nominated for Best Picture and Best Director.
It was good to see some lower-profile documentaries get recognition from the Academy. “Minding the Gap” chronicles the lives of the filmmaker’s friends from a small town outside Chicago. Director Bing Liu follows the group from their early teens up to the present day, grappling with what it means to be men in present-day America. Skateboarding is a central thread throughout the film. Accompanying the group on extensive high-speed rides, we begin to see how skateboarding is not just something to do, but a shared activity that is deeply meditative and therapeutic for each of them. Trying new tricks, encouraging each other and spending time together, they form a bond much stronger than the mere term “friend” indicates. Skateboarding is their connection and their escape. It premieres on PBS February 19, 2019.
“Hale County This Morning, This Evening” will also premiere on PBS in February. My friend Odie Henderson wrote a beautiful review of the film on rogerebert.com.
The film has an unusual, time-jumping cadence that’s punctuated by strange sounds, odd music and beautiful, superimposed visions of sky and earth. There are unexpected camera angles and long moments that at first seem monotonous but pay big dividends. Ross weaves all these elements together in such a way that you eventually realize the film is teaching you how to watch it, subtly coaxing you onto its wavelength. Suddenly, you feel like an honorary citizen of the titular place, someone temporarily woven into its fabric…”Hale County This Morning, This Evening” is all about how perception changes depending on whose gaze is being reflected and how informed the owner of that gaze is. Events happen in this non-fiction film that, in a fictionalized film, are often depicted in scenes heightened by melodrama and stereotype. Ross’ intimate knowledge of the location and of his subjects, Daniel and Quincy, strips away the usual artifice and baggage, presenting these events as matter-of-factly as life itself. It’s an uncorrupted viewpoint, though Ross is on occasion quick to remind you of prior cinematic and societal reflections of Southern Blacks.
It will premiere on the Independent Lens series February 11, 2019.
Other omissions: Ryan Coogler as director of “Black Panther and the overlooking of every single female director in a year when there were more female-directed films in top-ten lists than ever, including Debra Granik (“Leave no Trace”), Elizabeth Chomko (“What They Had”), Lynne Ramsay (“You Were Never Really Here”), Chloé Zhao (“The Rider”), Marielle Heller (“Can You Ever Forgive Me?”), Josie Rourke (“Mary Queen of Scots”), Josephine Decker (“Madeline’s Madeline”), and Desiree Akhavan (“The Miseducation of Cameron Post”). I expect to see at least some of them in the Spirit Award nominations for independent films along with some of my other 2018 favorites like “Blindspotting,” “Support the Girls,” “Sorry to Bother You,” “Eighth Grade,” and “The Hate U Give.”
Perhaps the most significant development is about Netflix, which got its first Best Picture nomination with Roma and fourteen other nominations as well. This is a stunning achievement for an organization that has only been producing original content for a few years. It is great to see vital, creative new producers doing so well.
Here are this year’s Oscar nominees:
BEST PICTURE
Black Panther
BlacKkKlansman
Bohemian Rhapsody
The Favourite
Green Book
Roma
A Star Is Born
Vice
BEST ACTRESS
Yalitza Aparicio, Roma
Glenn Close, The Wife
Olivia Colman, The Favourite
Lady Gaga, A Star Is Born
Melissa McCarthy, Can You Ever Forgive Me?
BEST ACTOR
Christian Bale, Vice
Bradley Cooper, A Star Is Born
Willem Dafoe, At Eternity’s Gate
Rami Malek, Bohemian Rhapsody
Viggo Mortensen, Green Book
BEST DIRECTOR
Alfonso Cuarón, Roma
Yorgos Lanthimos, The Favourite
Spike Lee, BlacKkKlansman
Adam McKay, Vice
Pawel Pawlikowski, Cold War
BEST SUPPORTING ACTRESS
Amy Adams, Vice
Marina de Tavira, Roma
Regina King, If Beale Street Could Talk
Emma Stone, The Favourite
Rachel Weisz, The Favourite
BEST SUPPORTING ACTOR
Mahershala Ali, Green Book
Adam Driver, BlacKkKlansman
Sam Elliott, A Star Is Born
Richard E. Grant, Can You Ever Forgive Me?
Sam Rockwell, Vice
BEST ORIGINAL SCREENPLAY
The Favourite
First Reformed
Green Book
Roma
Vice
BEST ADAPTED SCREENPLAY
The Ballad of Buster Scruggs
BlacKkKlansman
Can You Ever Forgive Me?
If Beale Street Could Talk
A Star Is Born
BEST ORIGINAL SCORE
Black Panther
BlacKkKlansman
If Beale Street Could Talk
Isle of Dogs
Mary Poppins Returns
BEST ORIGINAL SONG
“All the Stars,” Black Panther
“I’ll Fight,” RBG
“The Place Where Lost Things Go,” Mary Poppins Returns
“Shallow,” A Star Is Born
“When a Cowboy Trades His Spurs for Wings,” The Ballad of Buster Scruggs
BEST FILM EDITING
BlacKkKlansman
Bohemian Rhapsody
The Favourite
Green Book
Vice
BEST FOREIGN LANGUAGE FILM
Capernaum (Lebanon)
Cold War (Poland)
Never Look Away (Germany)
Roma (Mexico)
Shoplifters (Japan)
BEST ANIMATED FEATURE
Incredibles 2
Isle of Dogs
Mirai
Ralph Breaks the Internet
Spider-Man: Into the Spider-Verse
BEST DOCUMENTARY FEATURE
Free Solo
Hale County This Morning, This Evening
Minding the Gap
Of Fathers and Sons
RBG
BEST CINEMATOGRAPHY
Cold War
The Favourite
Never Look Away
Roma
A Star Is Born
BEST PRODUCTION DESIGN
Black Panther
The Favourite
First Man
Mary Poppins Returns
Roma
Posted on January 10, 2019 at 4:00 pm
I am proud to be a member of the Alliance of Women Film Journalists and proud of our 2019 awards.
These awards are presented to women and/or men without gender consideration.
Best Film
ROMA
Best Director
Alfonso Cuaron
ROMA
Best Screenplay, Original
THE FAVOURITE
Deborah Davis, Tony McNamara
Best Screenplay, Adapted
CAN YOU EVER FORGIVE ME?
Nicole Holofcener, Jeff Whitty
Best Documentary
WON’T YOU BE MY NEIGHBOR?
Morgan Neville
Best Animated Film
SPIDER-MAN INTO SPIDER-VERSE
Bob Persichetti, Peter Ramsay, Rodney Rothman
Best Actress
Olivia Colman
THE FAVOURITE
Best Actress in a Supporting Role
Regina King
IF BEALE STREET COULD TALK
Best Actor
Ethan Hawke
FIRST REFORMED
Best Actor in a Supporting Role
Richard E Grant
CAN YOU EVER FORGIVE ME?
Best Ensemble Cast
BLACK PANTHER
Sarah Finn, Casting Director
Best Cinematography
ROMA
Alfonso Cuaron
Best Editing
ROMA
Alfonso Cuaron, Adam Gough
Best Non-English-Language Film
ROMA
Alfonso Cuaron
Mexico
EDA FEMALE FOCUS AWARDS
These awards honor WOMEN only.
Best Woman Director
Marielle Heller
CAN YOU EVER FORGIVE ME?
Best Woman Screenwriter
Deborah Davis
THE FAVOURITE
Best Animated Female
Elastagirl
Holly Hunter
INCREDIBLES 2
Best Breakthrough Performance
Thomasin McKenzie
LEAVE NO TRACE
Outstanding Achievement by A Woman in The Film Industry
Rachel Morrison
For paving the road for women cinematographers with her Oscar nomination for MUDBOUND and scoring as DP on BLACK PANTHER.
EDA SPECIAL MENTION AWARDS
Actress Defying Age and Ageism
Viola Davis – WIDOWS
Bravest Performance
Olivia Colman – THE FAVOURITE
Actress Most in Need Of A New Agent
Jennifer Lawrence – RED SPARROW
Most Egregious Age Difference Between The Lead and The Love Interest Award
MISSION IMPOSSIBLE FALLOUT – Tom Cruise and Rebecca Ferguson
Remake or Sequel That Shouldn’t Have Been Made
OVERBOARD
AWFJ Hall of Shame Award
ALL ALLEGED ABUSERS: Including Weinstein, Moonves, CK, Spacey, Rush, Franco, Singer, Rose, Lauer et al.
ABOUT THE ALLIANCE OF WOMEN FILM JOURNALISTS: AWFJ, a not-for-profit corporation, is an international association of professional female movie critics, reporters and feature writers working in print, broadcast and online media, dedicated to raising the volume on women’s voices in the film community by broadening opportunities for women who write about film and supporting films by and about women – both in front of and behind the cameras – through intra-group promotional activities, outreach programs and by presenting EDA awards in recognition of outstanding accomplishments (the best and worst) by and about women in the movies. More information about AWFJ, including the membership list, can be accessed at www.awfj.org or sending inquiries to awfjinc@gmail.com.
ABOUT THE EDA AWARDS: The AWFJ presents EDA Awards to honor women’s achievements in front of and behind the cameras. In addition to the annual end of the year awards, AWFJ presents EDA Awards for Best Female-Directed Films at select film festivals, including IDFA, Whistler Film Festival, DOXA. Edinburgh Film Festival. St. Louis International Film Festival and others. The EDAs are named in honor of AWFJ founder Jennifer Merin’s mother, Eda Reiss Merin, a stage, film and screen actress whose career spanned more than 60 years. A dedicated foot soldier in the industry, Eda was one of the founders of AFTRA and a long-standing member of AMPAS.