This is the thread where we discuss matters pertaining to the detrius that accompanies the "End of the Year in Cinema" -- 2022

Los Angeles film critics are the latest to switch to gender-neutral acting prizes.

For this year's awards vote, LAFCA will also introduce gender-neutral acting categories, with two awards for Best Lead Performance and two awards for Best Supporting Performance. Our voting meeting will take place on December 11, 2022.

— Los Angeles Film Critics Association (@LAFilmCritics) October 12, 2022

(The Gotham Award nominations are Oct. 25, for the more "official" start of the detrius season.)

Tár screening next week!

I can't imagine I'll ever be excited to see a Todd Field film.

I borrowed that exclamation point.

Latest check of the MD'A nerd group's 2022 top 10 thus far confirms it's ... been a year.

https://www.panix.com/~dangelo/crixpix.html

01. RRR (S S Rajamouli)
02. The Girl and the Spider (Ramon & Silvan Zürcher)
03. (tie) Barbarian (Zach Cregger)
03. (tie) Mad God (Phil Tippett)
05. Fire of Love (Sara Dosa)
06. Jackass Forever (Jeff Tremaine)
07. (tie) Apollo 10½: A Space-Age Childhood (Richard Linklater)
07. (tie) In Front of Your Face (Hong Sangsoo)
09. (tie) Happening (Audrey Diwan)
09. (tie) Top Gun: Maverick (Joseph Kosinski)

Not going to link out to her site, but Sasha Stone is taking the LAFCA decision to launch gender-neutral categories about as well as you'd expect. (Jeffrey Wells, too.)

If there's a designated Todd Field thread ... there shouldn't be, so posting this here:

https://www.nytimes.com/2022/10/21/opinion/tar-movie-cancel-culture.html

I didn't expect that byline.

Gotham Award nominees

Best Feature

Aftersun -- Charlotte Wells, director; Adele Romanski, Amy Jackson, Barry Jenkins, Mark Ceryak, producers (A24)
The Cathedral -- Ricky D’Ambrose, director; Graham Swon, producer (MUBI)
Dos Estaciones -- Juan Pablo González, director; Ilana Coleman, Jamie Gonçalves, Bruna Haddad, Makena Buchanan, producers (Cinema Guild)
Everything Everywhere All At Once -- Daniel Kwan, Daniel Scheinert, directors; Joe Russo, Anthony Russo, Mike Larocca, Daniel Kwan, Daniel Scheinert, Jonathan Wang, producers (A24)
Tár -- Todd Field, director; Alexandra Milchan, Scott Lambert, Todd Field, producers (Focus Features)

Best Documentary Feature

All That Breathes -- Shaunak Sen, director; Aman Mann, Shaunak Sen, Teddy Leifer producers (A Sideshow & Submarine Deluxe Release in Association with HBO Documentary Films)
All the Beauty and the Bloodshed -- Laura Poitras, director; Howard Gertler, John Lyons, Nan Goldin, Yoni Golijov, Laura Poitras, producers (NEON)
I Didn’t See You There -- Reid Davenport, director; Keith Wilson, producer (RePort Media)
The Territory -- Alex Pritz, director; Alex Pritz, Darren Aronofsky, Sigrid Dyekjær, Will N. Miller, Gabriel Uchida, Lizzie Gillett, producers (National Geographic Documentary Films)
What We Leave Behind -- Iliana Sosa, director; Emma D. Miller, Isidore Bethel, producers (ARRAY)

Best International Feature

Athena -- Romain Gavras, director; Romain Gavras, Charles-Marie Anthonioz, Mourad Belkeddar, Jean Duhamel, Nicolas Lhermitte, Ladj Ly, producers (Netflix)
The Banshees of Inisherin -- Martin McDonagh, director; Graham Broadbent, Pete Czernin, Martin McDonagh, producers (Searchlight Pictures)
Corsage -- Marie Kreutzer, director; Alexander Glehr, Johanna Scherz, Bernard Michaux, Jonas Dornbach, Janine Jackowski, Maren Ade, Jean-Christophe Reymond, producers (IFC Films)
Decision to Leave -- Park Chan-wook, director and producer (MUBI)
Happening -- Audrey Diwan, director; Edouard Weil, Alice Girard producers (IFC Films)
Saint Omer -- Alice Diop, director; Toufik Ayadi, Christophe Barral, producers (Super LTD)

Bingham Ray Breakthrough Director Award

Charlotte Wells for Aftersun (A24)
Owen Kline for Funny Pages (A24)
Elegance Bratton for The Inspection (A24)
Antoneta Alamat Kusijanovic for Murina (Kino Lorber)
Beth de Araújo for Soft & Quiet (Momentum Pictures / eOne)
Jane Schoenbrun for We’re All Going to the World’s Fair (Utopia)

Best Screenplay

After Yang, Kogonada (A24)
Armageddon Time, James Gray (Focus Features)
Catherine Called Birdy, Lena Dunham (Amazon Studios)
Tár, Todd Field (Focus Features)
Women Talking, Sarah Polley, based upon the book by Miriam Toews (United Artists Releasing / Orion Pictures)

Outstanding Lead Performance

Cate Blanchett in Tár (Focus Features)
Danielle Deadwyler in Till (United Artists Releasing / Orion Pictures)
Dale Dickey in A Love Song (Bleecker Street)
Colin Farrell in After Yang (A24)
Brendan Fraser in The Whale (A24)
Paul Mescal in Aftersun (A24)
Thandiwe Newton in God’s Country (IFC Films)
Aubrey Plaza in Emily the Criminal (Roadside Attractions and Vertical Entertainment)
Taylor Russell in Bones and All (United Artists Releasing / Metro Goldwyn Mayer Pictures)
Michelle Yeoh in Everything Everywhere All At Once (A24)

Outstanding Supporting Performance

Jessie Buckley in Women Talking (United Artists Releasing / Orion Pictures)
Raúl Castillo in The Inspection (A24)
Hong Chau in The Whale (A24)
Brian Tyree Henry in Causeway (Apple TV+)
Nina Hoss in Tár (Focus Features)
Noémie Merlant in Tár (Focus Features)
Ke Huy Quan in Everything Everywhere All At Once (A24)
Mark Rylance in Bones and All (United Artists Releasing / Metro Goldwyn Mayer Pictures)
Gabrielle Union in The Inspection (A24)
Ben Whishaw in Women Talking (United Artists Releasing / Orion Pictures)

Breakthrough Performer

Anna Cobb in We’re All Going to the World’s Fair (Utopia)
Frankie Corio Aftersun (A24)
Anna Diop in Nanny (Amazon Studios and Blumhouse)
Gracija Filipovic in Murina (Kino Lorber)
Kalie Reis in Catch the Fair One (IFC Films)

am I missing it or is there really no thread for TÁR?

Not as of yet

well, it was awesome. someone start a thread

I loved brody’s review because it was so wrong about everything it made me appreciate the film even more

Otherwise known as the Kael effect

I will see TÁR obv at some point, but there's no scenario in which I'm exited to watch the new film from the director of In the Bedroom and Little Children

TÁR, the cancel culture conversation piece of the year starring Cate Blanchett and Nina Hoss and directed by Todd Field

Whatever the hell these are ...

The 2022 Virtuosos Award honorees:
⁰AUSTIN BUTLER: Elvis⁰KERRY CONDON: The Banshees Of Inisherin⁰DANIELLE DEADWYLER: Till⁰NINA HOSS: TÁR⁰STEPHANIE HSU: Everything Everywhere All At Once (EEAAO)⁰JEREMY POPE: The Inspection⁰KE HUY QUAN: EEAAO⁰JEREMY STRONG: Armageddon Time pic.twitter.com/caqY0zHZR1

— Matt Neglia (@NextBestPicture) November 1, 2022

Jimmy Kimmel Returns as Host for the 95th Oscars https://t.co/ZFGAz1HpFr via @variety

— Jazz Tangcay (@jazzt) November 7, 2022

European Films Awards nominees

European Film:
• ALCARRÀS, directed by Carla Simón, produced by María Zamora, Stefan Schmitz, Tono Folguera & Giovanni Pompili (Spain/Italy)
• CLOSE, directed by Lukas Dhont, produced by Michiel Dhont, Dirk Impens, Michel Saint-Jean, Laurette Schillings, Arnold Heslenfeld, Frans van Gestel & Jacques-Henri Bronckart (Belgium/France/Netherlands)
• CORSAGE, directed by Marie Kreutzer, produced by Alexander Glehr, Johanna Scherz, Bernard Michaux, Jonas Dornbach, Janine Jackowski, Maren Ade & Jean-Christophe Reymond (Austria/Luxembourg/Germany/France)
• HOLY SPIDER, directed by Ali Abbasi, produced by Sol Bondy & Jacob Jarek (Denmark/Germany/Sweden/France)
• TRIANGLE OF SADNESS, directed by Ruben Östlund, produced by Erik Hemmendorff & Philippe Bober (Sweden/Germany/France/United Kingdom)

European Director:
• Lukas Dhont for CLOSE
• Marie Kreutzer for CORSAGE
• Jerzy Skolimowski for EO
• Ali Abbasi for HOLY SPIDER
• Alice Diop for SAINT OMER
• Ruben Östlund for TRIANGLE OF SADNESS

European Actress:
• Vicky Krieps in CORSAGE
• Zar Amir Ebrahimi in HOLY SPIDER
• Léa Seydoux in ONE FINE MORNING
• Penélope Cruz in PARALLEL MOTHERS
• Meltem Kaptan in RABIYE KURNAZ VS. GEORGE W. BUSH

European Actor:
• Paul Mescal in AFTERSUN
• Eden Dambrine in CLOSE
• Elliott Crosset Hove in GODLAND
• Pierfrancesco Favino in NOSTALGIA
• Zlatko Burić in TRIANGLE OF SADNESS

European Screenwriter:
• Carla Simón & Arnau Vilaró for ALCARRÀS
• Kenneth Branagh for BELFAST
• Lukas Dhont & Angelo Tijssens for CLOSE
• Ali Abbasi & Afshin Kamran Bahrami for HOLY SPIDER
• Ruben Östlund for TRIANGLE OF SADNESS

European Documentary:
• A HOUSE MADE OF SPLINTERS, directed by Simon Lereng Wilmont (Denmark/Sweden/Finland/Ukraine)
• GIRL GANG, directed by Susanne Regina Meures (Switzerland)
• MARIUPOLIS 2, directed by Mantas Kvedaravičius (Lithuania/France/Germany)
• THE BALCONY MOVIE (FILM BALKONOWY), directed by Paweł Łoziński (Poland)
• THE MARCH ON ROME (MARCIA SU ROMA), directed by Mark Cousins (Italy)

European Discovery – Prix FIPRESCI
• 107 MOTHERS (CENZORKA), directed by Peter Kerekes (Slovakia/Czech Republic/Ukraine)
• LOVE ACCORDING TO DALVA (DALVA), directed by Emmanuelle Nicot (Belgium/France)
• OTHER PEOPLE (INNI LUDZIE), directed by Aleksandra Terpińska (Poland/France)
• PAMFIR, directed by Dmytro Sukholytkyy-Sobchuk (Ukraine/France/Poland/Germany/ Chile)
• SMALL BODY (PICCOLO CORPO), directed by Laura Samani (Italy/Slovenia/France)
• SONNE, directed by Kurdwin Ayub, produced by Ulrich Seidl (Austria)

Corsage was good.

Reviews for She Said are about exactly what I'd have expected

Dec. 2nd – New York Film Critics Circle (NYFCC)

Tough to imagine most anyone caring in the immediate aftermath of the '22 Sight & Sound poll.

Independent Spirit nominations cement TAR and EEAAO:

Best Feature

“Bones and All”
“Everything Everywhere All at Once”
“Our Father the Devil”
“TÁR”
“Women Talking”

Best Director

Todd Field, “TÁR”
Kogonada, “After Yang”
Daniel Kwan and Daniel Scheinert, “Everything Everywhere All at Once”
Sarah Polley, “Women Talking”
Halina Reijn, “Bodies Bodies Bodies”

Best First Feature

“Aftersun”
“Emily the Criminal”
“The Inspection”
“Murina”
“Palm Trees and Power Lines”

Best Lead Performance

Cate Blanchett, “TÁR”
Dale Dickey, “A Love Song”
Mia Goth, “Pearl”
Regina Hall, “Honk for Jesus, Save Your Soul”
Paul Mescal, “Aftersun”
Aubrey Plaza, “Emily the Criminal”
Jeremy Pope, “The Inspection”
Taylor Russell, “Bones and All”
Andrea Riseborough, “To Leslie”
Michelle Yeoh, “Everything Everywhere All at Once”

Best Supporting Performance

Jamie Lee Curtis, “Everything Everywhere All at Once”
Brian Tyree Henry, “Causeway”
Nina Hoss, “TÁR”
Brian d’Arcy James, “The Cathedral”
Ke Huy Quan, “Everything Everywhere All at Once”
Trevante Rhodes, “Bruiser”
Theo Rossi, “Emily the Criminal”
Mark Rylance, “Bones and All”
Jonathan Tucker, “Palm Trees and Power Lines”
Gabrielle Union, “The Inspection”

Breakthrough Performance

Frankie Corio, “Aftersun”
Gracija Filipović, “Murina”
Stephanie Hsu, “Everything Everywhere All at Once”
Lily McInerny, “Palm Trees and Power Lines”
Daniel Zolghadri, “Funny Pages”

Best Screenplay

“After Yang”
“Catherine Called Birdy”
“Everything Everywhere All at Once”
“TÁR”
“Women Talking”

Best First Screenplay

“Bodies Bodies Bodies”
“Emergency”
“Emily the Criminal”
“Fire Island”
“Palm Trees and Power Lines”

Best Cinematography

“Aftersun”
“Murina”
“Neptune Frost”
“Pearl”
“TÁR”

Best Editing

“Aftersun”
“The Cathedral”
“Everything Everywhere All at Once”
“Marcel the Shell with Shoes On”
“TÁR”

Robert Altman Award

“Women Talking”

Best Documentary

“A House Made of Splinters”
“All That Breathes”
“All the Beauty and the Bloodshed”
“Midwives”
“Riotsville USA”

Best International Film

“Corsage”
“Joyland”
“Leonor Will Never Die”
“Return to Soul”
“Saint Omer”

Someone to Watch Award

Adamma Ebo, “Honk for Jesus, Save Your Soul”
Nikyatu Jusu, “Nanny”
Araceli Lemos, “Holy Emy”

Truer Than Fiction Award

Isabel Castro, “Mija”
Reid Davenport, “I Didn’t See You There”
Rebeca Huntt, “Beba (Bayba)”

John Cassavetes Award

“The African Desperate”
“A Love Song”
“The Cathedral”
“Holy Emy”
“Something in the Dirt”

Producers Award

Liz Cardenas

Tory Lenosky

David Grove Churchill Viste

I wanna keep seeing Nina Hoss' name.

Two men of the 10 lead performance nominees is going to piss the right people off

Gotham Award winners

Best Feature
Everything Everywhere All at Once -- Daniel Kwan, Daniel Scheinert, directors (A24)

Outstanding Lead Performance
Danielle Deadwyler in Till (United Artists Releasing / Orion Pictures)

Outstanding Supporting Performance
Ke Huy Quan in Everything Everywhere All at Once (A24)

Bingham Ray Breakthrough Director Award
Charlotte Wells for Aftersun (A24)

Breakthrough Series – Long Format (over 40 minutes)
Pachinko -- Soo Hugh, creator (Apple TV+)

Breakthrough Series – Short Format (under 40 minutes)
Mo -- Mohammed Amer, Ramy Youssef, creators (Netflix)

Breakthrough Nonfiction Series
We Need To Talk About Cosby -- W. Kamau Bell, creator and director (Showtime)

Outstanding Performance in a New Series
Ben Whishaw in This is Going to Hurt (AMC+ in association with BBC)

Best Documentary Feature
All That Breathes -- Shaunak Sen, director (A Sideshow & Submarine Deluxe Release in Association with HBO Documentary Films)

Best International Feature
Happening -- Audrey Diwan, director (IFC Films)

Best Screenplay
Tár, Todd Field (Focus Features)

Breakthrough Performer
Gracija Filipovic in Murina (Kino Lorber)

https://www.artforum.com/print/202210/john-waters-s-best-films-of-2022-89642

01 PETER VON KANT (François Ozon)
02 EO (Jerzy Skolimowski)
03 EVERYTHING WENT FINE (François Ozon—AGAIN!)
04 SICK OF MYSELF (Kristoffer Borgli)
05 BRUNO REIDAL, CONFESSIONS OF A MURDERER (Vincent Le Port)
06 DETAINEE 001 (Greg Barker)
07 DINNER IN AMERICA (Adam Rehmeier)
08 WILL-O’-THE-WISP (João Pedro Rodrigues)
09 SMOKING CAUSES COUGHING (Quentin Dupieux)
10 BONES AND ALL (Luca Guadagnino)

(As always, the blurbs are what really make it worth the click.)

But then also this roster too:

https://www.artforum.com/print/202210/amy-taubin-s-best-films-of-2022-89643
https://www.artforum.com/print/202210/james-quandt-s-best-films-of-2022-89644
https://www.artforum.com/print/202210/erika-balsom-s-best-films-of-2022-89645

The 25 Best Movies of 2022 https://t.co/K5pcJ3nqBr pic.twitter.com/x0PF1qMX88

— IndieWire (@IndieWire) December 1, 2022

I sort of forgot how many lists drop on the first of December

https://www.vox.com/culture/23484805/best-movies-2022-streaming-theaters

(Jackass Forever on both these last two lists.)

It's amusing and insane to me how studios still send boxes of swag: I had three Ark of the Covenant-sized crates outside my apt door yesterday filled with shit promoting Knives Out, White Noise, etc.

Each and every one of those boxes is a reminder how many lost their jobs at Netflix. It's infuriating.

Here's what's alleged to be Cahiers' top 10 for 2022

1) Pacifiction (Albert Serra)
2) Licorice Pizza (Paul Thomas Anderson)
3) Nope (Jordan Peele)
4) EO (Jerzy Skolimowski)
5) Wheel of Fortune and Fantasy (Ryusuke Hamaguchi)
6) Bowling Saturne (Patricia Mazuy)
7) Apollo 10 1/2 (Richard Linklater)
8) Introduction (Hong Sang-soo)
9) Nobody’s Hero (Alain Guiraudie)
10) Qui A Part Nous (Jonas Trueba)

Vanity Fair's top 10:

https://www.vanityfair.com/hollywood/2022/06/best-movies-2022

01. TÁR
02. You Won’t Be Alone
03. Empire of Light
04. Benediction
05. All the Beauty and the Bloodshed
06. Armageddon Time
07. One Fine Morning
08. Hit the Road
09. Saint Omer
10. Marcel the Shell with Shoes On

NYFFC gets the ball rolling for Paul Mescal:

BEST ACTOR: Paul Mescal, Aftersun #NYFCC

— New York Film Critics Circle (@NYFCCC) December 2, 2022

Nice. I've had the best success promoting Aftersun in recent weeks.

Gah, fake account, disregard.

OK, a REAL award now for Aftersun

BEST FIRST FILM: Aftersun

— New York Film Critics Circle (@nyfcc) December 2, 2022

BEST ANIMATED FEATURE: Marcel the Shell with Shoes On

— New York Film Critics Circle (@nyfcc) December 2, 2022

Nice. Was going to watch this weekend.

BEST NON-FICTION FILM: All the Beauty and the Bloodshed

— New York Film Critics Circle (@nyfcc) December 2, 2022

Not surprised at the speed on this decision

I'm going to knock ^^^^ down this weekend

i'm not mad at marcel winning best animated feature but i gotta say it didn't stick to me at all. i frankly liked the minions movie more lol

All the Beauty and the Bloodshed is easily in my top five of the year.

BEST SUPPORTING ACTOR: Ke Huy Quan, Everything Everywhere All At Once

— New York Film Critics Circle (@nyfcc) December 2, 2022

More Claire Denis than René Clair.

― Halfway there but for you, Saturday, 12 November 2022 02:15 (two weeks ago) link

My puissant powers of prediction prevail!

Wrong thread, never mind.

Props, but hasn't Clair been absent from these polls since 1962?

xp oh lol

I might finally try and get to EEAAO this weekend; been putting it off because I found Swiss Army Man so irritating.

were you irritated that it wasnt an hour longer and 10x more overwrought? bc if not...

BEST SUPPORTING ACTRESS: Keke Palmer, Nope

— New York Film Critics Circle (@nyfcc) December 2, 2022

Borderline category fraud but we've all seen worse

All in on populism at this point:

BEST CINEMATOGRAPHY: Claudio Miranda, Top Gun: Maverick

— New York Film Critics Circle (@nyfcc) December 2, 2022

BEST INTERNATIONAL FILM: EO

— New York Film Critics Circle (@nyfcc) December 2, 2022

OK this stinks

BEST SCREENPLAY: Martin McDonagh, The Banshees of Inisherin

— New York Film Critics Circle (@nyfcc) December 2, 2022

BEST ACTOR: Colin Farrell, After Yang and The Banshees of Inisherin

— New York Film Critics Circle (@nyfcc) December 2, 2022

Oh dear

I mean, he's fine but

I'd rank the movie's performances Kerry; Barry; Colly; Brendy.

BEST ACTRESS: Cate Blanchett, TÁR

— New York Film Critics Circle (@nyfcc) December 2, 2022

And here's this year's requisite flex

BEST DIRECTOR: S. S. Rajamouli, RRR

— New York Film Critics Circle (@nyfcc) December 2, 2022

BEST FILM: TÁR

— New York Film Critics Circle (@nyfcc) December 2, 2022

African American Film Critics Association top 10

1. The Woman King
2. Black Panther: Wakanda Forever
3. Till
4. Sidney
5. Emancipation
5. Glass Onion: A Knives Out Mystery
6. Inspection
7. Causeway
8. Everything Everywhere All at Once
9. Wendell & Wild
10. Devotion

That's fucking rough.

National Bored of Review

Best Film: “Top Gun: Maverick” (Paramount Pictures)

Best Director: Steven Spielberg, “The Fabelmans” (Universal Pictures)

Best Actor: Colin Farrell, “The Banshees of Inisherin” (Searchlight Pictures)

Best Actress: Michelle Yeoh, “Everything Everywhere All at Once” (A24)

Best Supporting Actor: Brendan Gleeson, “The Banshees of Inisherin” (Searchlight Pictures)

Best Supporting Actress: Janelle Monáe, “Glass Onion: A Knives Out Mystery” (Netflix)

Best Original Screenplay: Martin McDonagh, “The Banshees of Inisherin” (Searchlight Pictures)

Best Adapted Screenplay: Edward Berger, Lesley Paterson, Ian Stokell, “All Quiet on the Western Front” (Netflix)

Breakthrough Performance: Danielle Deadwyler, “Till” (Orion/United Artists Releasing)

Breakthrough Performance: Gabriel LaBelle, “The Fabelmans” (Universal Pictures)

Best Directorial Debut: Charlotte Wells, “Aftersun” (A24)

Best Animated Feature: “Marcel the Shell With Shoes On” (A24)

Best International Film: “Close” from Belgium (A24)

Best Documentary: “Sr.” (Netflix)

Best Ensemble: “Women Talking” (MGM/United Artists Releasing)

Outstanding Achievement in Cinematography: Claudio Miranda, “Top Gun: Maverick” (Paramount Pictures)

NBR Freedom of Expression Awards: “All the Beauty and the Bloodshed” (Neon) and “Argentina, 1985” (Amazon Studios)

Top Films (in alphabetical order):

“Aftersun” (A24)
“Avatar: The Way of Water” (20th Century Studios)
“The Banshees of Inisherin” (Searchlight Pictures)
“Everything Everywhere All at Once” (A24)
“The Fabelmans” (Universal Pictures)
“Glass Onion: A Knives Out Mystery” (Netflix)
“RRR” (Variance Films)
“Till” (Orion/United Artists Releasing)
“The Woman King” (Sony Pictures)
“Women Talking”
Top 5 International Films (in alphabetical order):

“All Quiet on the Western Front” (Germany)
“Argentina, 1985” (Argentina)
“Decision to Leave” (South Korea)
“EO” (Poland)
“Saint Omer” (France)
Top 5 Documentaries (in alphabetical order):

“All the Beauty and the Bloodshed” (Neon)
“All That Breathes” (HBO)
“Descendant” (Netflix)
“Turn Every Page – The Adventures of Robert Caro and Robert Gottlieb” (Sony Pictures Classics)
“Wildcat” (Amazon Studios)
Top 10 Independent Films (in alphabetical order):

“Armageddon Time” (Focus Features)
“Emily the Criminal” (Roadside Attractions/Vertical Entertainment)
“The Eternal Daughter” (A24)
“Funny Pages” (A24)
“The Inspection” (A24)
“Living” (Sony Pictures Classics)
“A Love Song” (Bleecker Street)
“Nanny” (Amazon Studios)
“The Wonder” (Netflix)
“To Leslie” (Momentum Pictures)

oh well Aftersun

To me it always felt like more of an Indie Spirit Awards kinda movie than a critics' awards kind of movie

I was genuinely surprised at what ended up our collective #1:

https://www.slantmagazine.com/features/the-25-best-films-of-2022/

(Sorry for click baiting there. Our #1 was The Fabelmans. But click thru anyway because I wrote the capsule.)

AFI Awards top 10

AVATAR: THE WAY OF WATER
ELVIS
EVERYTHING EVERYWHERE ALL AT ONCE
THE FABELMANS
NOPE
SHE SAID
TÁR
TOP GUN: MAVERICK
THE WOMAN KING
WOMEN TALKING

xp good capsule and good intro!

WINNER, Best Ensemble: A TIE

WOMEN TALKING
JACKASS FOREVER

— Boston Society of Film Critics (@TheBSFC) December 11, 2022

Tons of updates over the last few days

Starting with the rest of the Boston Society ...

Film: Return to Seoul
English-language Film: The Banshees of Inisherin
Actor: Colin Farrell (The Banshees of Inisherin)
Actress: Michelle Yeoh (Everything Everywhere All at Once)
Supporting actor: Ke Huy Quan (Everything Everywhere All at Once)
Supporting actress: Kerry Condon (The Banshees of Inisherin)
Director: Todd Field (TAR)
Ensemble (tie): Women Talking & Jackass Forever (????)
Adapted Screenplay: After Yang
Original Screenplay: The Banshees of Inisherin
Cinematography: Pearl
Score: RRR (runner-up: Women Talking)
Editing (tie): Aftersun & Decision to Leave (this category went six rounds, one reason for the overall slowness)
Animated feature: Turning Red
Documentary: All the Beauty and the Bloodshed
New Filmmaker: Charlotte Wells (Aftersun)

Here's Los Angeles:

BEST FILM

Winners: “TÁR” and “Everything Everywhere All at Once” (tie)

BEST FILM NOT IN THE ENGLISH LANGUAGE

Winner: “EO”
Runner-up: “St. Omer”

BEST CINEMATOGRAPHY

Winner: Michael Dymek, “EO”
Runner-up: Hoyte van Hoytema, “Nope”

BEST SUPPORTING PERFORMER

Winners: Dolly de Leon, “Triangle of Sadness” and Ke Huy Quan, “Everything Everywhere All at Once”
Runners-up: Jessie Buckley, “Women Talking” and Brian Tyree Henry, “Causeway”

BEST MUSIC/SCORE

Winner: M.M. Keeravani, “RRR”
Runner-up: Paweł Mykietyn, “EO”

BEST PRODUCTION DESIGN

Winner: Dylan Cole and Ben Procter, “Avatar: The Way of Water”
Runner-up: Jason Kisvarday, “Everything Everywhere All at Once”

BEST EDITING

Winner: Blair McClendon, “Aftersun”
Runner-up: Monika Willi, “TÁR”

BEST ANIMATION

Winner: “Guillermo del Toro’s Pinocchio”
Runner-up: “Marcel the Shell with Shoes On”

DOUGLAS EDWARDS EXPERIMENTAL FILM PRIZE

“De Humani Corporis Fabrica”

BEST SCREENPLAY

Winner: Todd Field, “TÁR”
Runner-up: Martin McDonagh, “The Banshees of Inisherin”

BEST LEAD PERFORMANCE

Winners: Cate Blanchett, “TÁR” and Bill Nighy, “Living”
Runners-up: Danielle Deadwyler, “Till” and Michelle Yeoh, “Everything Everywhere All at Once”

BEST DOCUMENTARY/NONFICTION

Winner: “All the Beauty and the Bloodshed”
Runner-up: “Fire of Love”

BEST DIRECTOR

Winner: “Todd Field,” “TÁR”
Runner-up: S.S. Rajamouli, “RRR”

NEW GENERATION

Winner: Davy Chou and Park Ji-Min, “Return to Seoul”

And, finally, the dumb Golden Globe nominations:

Best Picture, Drama
Avatar: The Way of Water
Elvis
The Fabelmans
Tar
Top Gun: Maverick

Best Actress, Drama
Cate Blanchett, Tár
Olivia Colman, Empire of Light
Viola Davis, The Woman King
Ana de Armas, Blonde
Michelle Williams, The Fabelmans

Best Actor, Drama
Austin Butler, Elvis
Brendan Fraser, The Whale
Hugh Jackman, The Son
Bill Nighy, Living
Jeremy Pope, The Inspection

Best Picture, Musical or Comedy
Babylon
The Banshees of Inisherin
Everything Everywhere All at Once
Glass Onion
Triangle of Sadness

Best Actor, Musical Comedy
Diego Calva, Babylon
Daniel Craig, Glass Onion
Adam Driver, White Noise
Colin Farrell, The Banshees of Inisherin
Ralph Fiennes, The Menu

Best Actress, Musical or Comedy
Lesley Manville, Mrs. Harris Goes to Paris
Margot Robbie, Babylon
Anya Taylor Joy, The Menu
Emma Thompson, Good Luck to You Leo Grande
Michelle Yeoh, Everything Everywhere All at Once

Best Supporting Actor
Brendan Gleeson, The Banshees of Inisherin
Barry Keoghan, The Banshees of Inisherin
Brad Pitt, Babylon
Ke Huy Quan, Everything Everywhere All at Once
Eddie Redmayne, The Good Nurse

Best Supporting Actress
Angela Bassett, Black Panther: Wakanda Forever
Kerry Condon, The Banshees of Inisherin
Jamie Lee Curtis, Everything Everywhere all at Once
Dolly de Leon, Triangle of Sadness
Carey Mulligan, She Said

Best Director
Jame Cameron, Avatar: The Way of Water
Daniel Kwan and Daniel Scheinert, Everything Everywhere All at Once
Baz Luhrmann, Elvis
Martin McDonagh, The Banshees of Inisherin
Steven Spielberg, The Fabelmans

Best Screenplay
Todd Field, Tár
Tony Kushner & Steven Spielberg, The Fabelmans
Daniel Kwan, Daniel Scheinert, Everything Everywhere All at Once
Martin McDonagh, The Banshees of Inisherin
Sarah Polley, Women Talking

Best Original Score
Alexandre Desplat, Guillermo del Toro’s Pinocchio
Hildur Guðnadóttir, Women Talking
Justin Hurwitz, Babylon
John Williams, The Fabelmans
Carter Burwell, The Banshees of Inisherin

Best Original Song
“Carolina,” Where the Crawdads Sing
“Ciao Papa,” Guillermo del Toro’s Pinocchio
“Hold My Hand,” Top Gun: Maverick
“Lift Me Up,” Black Panther: Wakanda Forever
“Naatu Naatu,” RRR

Best Animated Feature
Guillermo del Toro’s Pinocchio
Marcel the Shell With Shoes On
Puss in Boots: The Last Wish
Turning Red
Inu-oh

Best Non-English-Language Film
RRR (India)
All Quiet on the Western Front (Germany)
Argentina, 1985 (Argentina)
Close (Belgium)
Decision to Leave (South Korea)

The hell is it with Banshees? I want more comedy acknowledged, but come now.

I want a cumulative count of how many actual laughs are in those five movies in best picture-musical/comedy; to say nothing of how many musical numbers.

Here's one that's new to me. The Women Film Critics Circle:

BEST MOVIE ABOUT WOMEN
She Said
The Woman King
Till
Women Talking

BEST MOVIE BY A WOMAN
Don’t Worry Darling – Olivia Wilde
Till – Chinonye Chukwu
The Woman King – Gina Prince-Bythewood
Women Talking – Sarah Polley

BEST WOMAN STORYTELLER (Screenwriting Award)
Rebecca Lenkiewicz – She Said
Emma Donoghue – The Wonder
Dana Stevens (and Maria Bello, story) – The Woman King
Sarah Polley – Women Talking

BEST ACTRESS
Vicky Krieps – Corsage
Michelle Yeoh – Everything Everywhere All at Once
Danielle Deadwyler – Till
Cate Blanchett – TAR

BEST ACTOR
Colin Farrell – The Banshees of Inisherin
Ke Huy Quan – Everything Everywhere All at Once
Bill Nighy – Living
Brendan Fraser – The Whale

BEST FOREIGN FILM BY OR ABOUT WOMEN
Corsage
Girl
Happening
Murina
Rickshaw

BEST DOCUMENTARY BY OR ABOUT WOMEN
Aftershock
Gabby Giffords
The Janes
Lucy and Desi
Won’t Back Down

BEST EQUALITY OF THE SEXES
Black Panther: Wakanda Forever
Fire of Love
Good Luck To You, Leo Grande
The Woman King

BEST ANIMATED FEMALE
Izzy Hawthorne – Lightyear
Belle Bottom – Minions: The Rise of Gru
Meilin – Turning Red

BEST SCREEN COUPLE
Olivia Colman and Micheal Ward – Empire of Light
Michelle Yeoh and Ke Huy Quan – Everything Everywhere All at Once
Kevin Kline & Sigourney Weaver – The Good House
Emma Thompson and Daryl McCormack – Good Luck To You, Leo Grande

BEST TV SERIES
Dead to Me
The Handmaid’s Tale
Julia
Yellowjackets

ADRIENNE SHELLY AWARD – For a film that most passionately opposes violence against women

ADRIENNE SHELLY AWARD: Adrienne Shelly was a promising actress and filmmaker who was brutally strangled in her apartment in 2006 at the age of forty by a construction worker in the building, after she complained about noise. Her killer tried to cover up his crime by hanging her from a shower rack in her bathroom, to make it look like suicide. He later confessed that he was having a “bad day.” Shelly, who left behind a baby daughter, had just completed her film Waitress, which she also starred in, and which was honored at Sundance after her death.

Don’t Worry Darling
Holy Spider
She Said
Women Talking

JOSEPHINE BAKER AWARD – For best expressing the woman of colour experience in America

JOSEPHINE BAKER AWARD: The daughter of a laundress and a musician, Baker overcame being born black, female and poor, and marriage at age fifteen, to become an internationally acclaimed legendary performer, starring in the films Princess Tam Tam, Moulin Rouge and Zou Zou. She also survived the race riots in East St. Louis, Illinois as a child, and later expatriated to France to escape US racism. After participating heroically in the underground French Resistance during WWII, Baker returned to the US where she was a crusader for racial equality. Her activism led to attacks against her by reporter Walter Winchell who denounced her as a communist, leading her to wage a battle against him. Baker was instrumental in ending segregation in many theaters and clubs, where she refused to perform unless integration was implemented.

Alice
Master
Nanny
Till

KAREN MORLEY AWARD – For best exemplifying a woman’s place in history or society, and a courageous search for identity

KAREN MORLEY AWARD: Karen Morley was a promising Hollywood star in the 1930s, in such films as Mata Hari and Our Daily Bread. She was driven out of Hollywood for her leftist political convictions by the Blacklist and for refusing to testify against other actors, while Robert Taylor and Sterling Hayden were informants against her. And also for daring to have a child and become a mother, unacceptable for female stars in those days. Morley maintained her militant political activism for the rest of her life, running for Lieutenant Governor on the American Labor Party ticket in 1954. She passed away in 2003, unrepentant to the end, at the age of 93.

Alice
The Drover’s Wife: The Legend of Molly Johnson
The Woman King
Women Talking

ACTING AND ACTIVISM AWARD
Geena Davis
Frances McDormand
Nichelle Nichols

LIFETIME ACHIEVEMENT AWARD
Angela Lansbury
Rita Moreno

I tried: http://www.floridafilmcritics.com/2022/12/14/2022-ffcc-nominations/

I found EEAAO reasonably enjoyable, but the year-end praise is making me turn against it.

"reasonably enjoyable" is about right

I agree about EEAAO

regional film critics' groups should just announce their winners, like NYFC and LAFC, not their nominations

agreed

I think Chicago may have been the first to do that? Blame them

Yeah, Chicago has done that for a while.

Speaking of which, here's their winners (announced last night):

BEST PICTURE: "The Banshees of Inisherin"
BEST DIRECTOR: Dan Kwan & Daniel Scheinert, "Everything Everywhere All at Once"
BEST ACTRESS: Cate Blanchett, "TÁR"
BEST ACTOR: Colin Farrell, "The Banshees of Inisherin"
BEST SUPPORTING ACTRESS: Kerry Condon, "The Banshees of Inisherin"
BEST SUPPORTING ACTOR: Ke Huy Quan, "Everything Everywhere All at Once"
BEST ADAPTED SCREENPLAY: "Women Talking" by Sarah Polley
BEST ORIGINAL SCREENPLAY: "The Banshees of Inisherin" by Martin McDonagh
BEST ANIMATED FEATURE: "Guillermo del Toro's Pinocchio"
BEST DOCUMENTARY: "Fire of Love"
BEST FOREIGN LANGUAGE FILM: "Decision to Leave"
BEST ART DIRECTION: "Everything Everywhere All at Once," Jason Kisvarday & Amelia Brooke
BEST CINEMATOGRAPHY: "Decision to Leave," Kim Ji-Yong
BEST COSTUME DESIGN: "Everything Everywhere All at Once," Shirley Kurata
BEST EDITING: "Everything Everywhere All at Once," Paul Rogers
BEST ORIGINAL SCORE: "Babylon," Justin Hurwitz
BEST USE OF VISUAL EFFECTS: "Everything Everywhere All at Once"
MOST PROMISING PERFORMER: Austin Butler, "Elvis"
MILOS STEHLIK AWARD FOR BREAKTHROUGH FILMMAKER: Charlotte Wells, "Aftersun"

Banshees of Inisherin is not a good movie.

Film Comment's list

https://www.filmcomment.com/best-films-of-2022/

I agree about Banshees, but I have never been on the McDonagh train

Dear god at that Film Comment #1!

Two Hongs in the top 10 is very much the move for 2022

I'm in clemenza and cryptosicko's corner re Women Talking.

Which means what?

A well-intentioned slog.

The world needs more well-intentioned rides

so long as the axles work

I also don't really understand the acclaim for EO, which struck me as a more pretentious The Littlest Hobo.

Donkeys, iirc

film comment list insanely good

There's a donkey in Banshees of Inisherin too.

But enough about Colin Farrell.

I'm gonna go ahead and blame the overrating of Banshees on the donkey, as well, yes

Listening to the first part of the Film Comment "live reveal" podcast that just dropped and a moment of unintentional comedy when all panelists admit that none of their own personal #1 choices of the year didn't even make the aggregate top 10.

https://www.filmcomment.com/blog/the-film-comment-podcast-the-best-films-of-2022/

film comment list insanely good

― flamenco drop (BradNelson),

Insanely well-designed too.

I have been jealous of their template for some years now

I voted for Kristen Stewart in Best Supporting Actress fwiw

It's a bit crazy to compare the FC list to the one from 20 years ago to see just how much more diffuse and diverse (not a bad thing) critical consensus has become.

1. Far From Heaven (Todd Haynes, U.S.)
2. Adaptation (Spike Jonze, U.S.)
3. Y tu mama también (Alfonso Cuarón, Mexico)
4. Talk to Her (Pedro Almodóvar, Spain)
5. About Schmidt (Alexander Payne, U.S.)
6. Time Out (Laurent Cantet, France)
7. The Fast Runner (Zacharias Kunuk, Canada)
8. Punch-Drunk Love (Paul Thomas Anderson, U.S.)
9. Russian Ark (Alexander Sokurov, Russia/Germany)
10. Gangs of New York (Martin Scorsese, U.S.)
11. Minority Report (Steven Spielberg, U.S.)
12. Spirited Away (Hayao Miyazaki, Japan)
13. In Praise of Love (Jean-Luc Godard, France/Switzerland)
14. I’m Going Home (Manoel de Oliveira, Portugal/France)
15. Bloody Sunday (Paul Greengrass, U.K./Ireland)
16. The Piano Teacher (Michael Haneke, Austria/France)
17. What Time Is It There? (Tsai Ming-liang, Taiwan/France)
18. Femme Fatale (Brian De Palma, U.S.)
19. The Pianist (Roman Polanski, Poland/U.K./France)
20. Late Marriage (Dover Kosashvili, Israel)

Then again, maybe it's not so far off ... a lot of the names above were, in 2002, still pretty fresh on the scene.

Spirited Away is better than Punch-Drunk Love ffs

Their gushing over Far From Heaven messed with my head for years.

I get the reception for Gangs of New York in general back then but ... it's un-good

Spirited Away is better than Punch-Drunk Love ffs

Well it's better than all of the 19 other movies on this list, as we well know now

ANDELE ANDELE MAMI EO EO

Well one former ILXor is still in Ye's corner:

Chris Boeckmann (critic, programmer)

There Will Be No More Night
The Rehearsal
El gran movimiento
Mr. Bachmann and His Class
The Fire Within: A Requiem for Katia and Maurice Krafft
Petite maman
We
TÁR
We’re All Going to the World’s Fair
One Man Dies a Million Times
Jackass Forever
Friends and Strangers
Top Gun: Maverick
A Night of Knowing Nothing
Barbarian
jeen-yuhs: A Kanye Trilogy
Dog
I Didn't See You There
Deep Water
Dos Estaciones

there are a lot of films from the Film Comment list that I'm interested in seeing

I love when Keith unleashes the big guns, and am surprised this isn't a zero-star review:

https://www.slantmagazine.com/film/babylon-review-damien-chazelle-margot-robbie-brad-pitt/

Babylon is all exclamation points.

Darren Aronofsky has company.

Both can take a just back seat to S. S. Rajamouli from here on out

i just watched On Deadly Ground the other day and did not expect it to come up in that review

Running Time: 188 min

whyyyy?

I might be into seeing a movie as disastrous as this sounds, but even if it were as good as The Leopard, I cannot handle a three-hour movie without an intermission.

it's why I refused to go to the screening: a three-hour-plus Chazelle movie and you can't piss all over the screen?

Visualizing a future of cinema that none of his pastiche characters will live to see, Chazelle traces an extremely Western canon line from Singin’ in the Rain to Vivre Sa Vie to Persona to a certain James Cameron-helmed blockbuster that just so happens to have a belated sequel out this year.

Is there anything more Oscar-bait than putting a "Magic of Movies" montage right in your movie?

So if it really is going to be Banshees vs. Everything Everywhere for best picture, that'll be ... meh

I'm starting to think Farrell's got at least his first nomination.

So if it really is going to be Banshees vs. Everything Everywhere for best picture, that'll be ... meh

Tar will be in there, as will Triangle of Sadness.

Meant to clarify I was talking Oscar there. Variety is now floating the ridiculous (?) idea that the field is laying out so as to leave a wide path for Top Gun to win, which would be the perfect way to follow up a win for CODA tbh

feeling suspiciously like that field will include Decision to Leave

I'd be surprised about that. It's picked up a few critics' prizes for best foreign-language film and in categories like editing and cinematography, but it doesn't have much momentum in major categories like picture or director. At this time last year, Drive My Car (to pick an obvious comparison) had won best film from New York, Boston, and Los Angeles critics groups.

FWIW, this is the current Gold Derby expert predictions for Oscar best picture nominations:

1. The Fabelmans
2. Everything Everywhere All at Once
3. The Banshees of Inisherin
4. Top Gun: Maverick
5. TAR
6. Women Talking
7. Avatar: The Way of Water
8. Elvis
9. Glass Onion
10. The Woman King

(#11 is Babylon, which I think could easily sneak in there.)

i always feel like the oscars best picture noms need to include one unambiguously great film and i suppose i think that's the park chan wook this year

that is a great film, but I don't think it's likely.

i need to watch tar to see if that's unambiguously great. Maybe Women Talking is unambiguously great? I don't think anything else on that list could be.

Tar is very good

most great films are not destined for oscars

for sure! but it feels like there's always one in the list. this theory bears exploration.

? if i'm going based on reputation alone:

2021: Drive My Car?
2020: Minari
2019: I mean, I guess Parasite?
2018: The Favourite
2017: Get Out/Lady Bird/Phantom Thread
2016: Moonlight
2015: Fury Road
2014: Boyhood
2013: Wolf of Wall Street, maybe Nebraska?
2012: Amour?
2011: Tree of Life?

2011 is ROUGH man: Woody's last generally accepted film, War Horse, The Help, Scorcese's kids film...

I'd tag The Fabelmans unambiguously great but it doesn't exactly fit the profile outlined in forks' list

I was not crazy about Eo. Eo's cuter than Balthazar, I'll grant.

I had my issues with EO and yes, it's not the Balthazar we want ... but it's the Balthazar we deserve.

Sight and Sound Top 50:

https://www.bfi.org.uk/sight-and-sound/polls/50-best-films-2022

At some point, Aftersun landing atop an aggregate list was inevitable

Still haven't seen that damn Hansen-Løve.

Oscar shortlists:

Documentary Feature

“All That Breathes”
“All the Beauty and the Bloodshed”
“Bad Axe”
“Children of the Mist”
“Descendant”
“Fire of Love”
“Hallelujah: Leonard Cohen, a Journey, a Song”
“Hidden Letters”
“A House Made of Splinters”
“The Janes”
“Last Flight Home”
“Moonage Daydream”
“Navalny”
“Retrograde”
“The Territory”

Documentary Short Subject

“American Justice on Trial: People v. Newton”
“Anastasia”
“Angola Do You Hear Us? Voices from a Plantation Prison”
“As Far as They Can Run”
“The Elephant Whisperers”
“The Flagmakers”
“Happiness Is £4 Million”
“Haulout”
“Holding Moses”
“How Do You Measure a Year?”
“The Martha Mitchell Effect”
“Nuisance Bear”
“Shut Up and Paint”
“Stranger at the Gate”
“38 at the Garden”

International Feature Film

Argentina, “Argentina, 1985”
Austria, “Corsage”
Belgium, “Close”
Cambodia, “Return to Seoul”
Denmark, “Holy Spider”
France, “Saint Omer”
Germany, “All Quiet on the Western Front”
India, “Last Film Show”
Ireland, “The Quiet Girl”
Mexico, “Bardo, False Chronicle of a Handful of Truths”
Morocco, “The Blue Caftan”
Pakistan, “Joyland”
Poland, “EO”
South Korea, “Decision to Leave”
Sweden, “Cairo Conspiracy”

Live-Action Short Film

“All in Favor”
“Almost Home”
“An Irish Goodbye”
“Ivalu”
“Le Pupille”
“The Lone Wolf”
“Nakam”
“Night Ride”
“Plastic Killer”
“The Red Suitcase”
“The Right Words”
“Sideral”
“The Treatment”
“Tula”
“Warsha”

Animated Short Film

“Black Slide”
“The Boy, the Mole, the Fox and the Horse”
“The Debutante”
“The Flying Sailor”
“The Garbage Man”
“Ice Merchants”
“It’s Nice in Here”
“More than I Want to Remember”
“My Year of Dicks”
“New Moon”
“An Ostrich Told Me the World Is Fake and I Think I Believe It”
“Passenger”
“Save Ralph”
“Sierra”
“Steakhouse”

Original Song

“Time” from “Amsterdam”
“Nothing Is Lost (You Give Me Strength)” from “Avatar: The Way of Water”
“Lift Me Up” from “Black Panther: Wakanda Forever”
“This Is A Life” from “Everything Everywhere All at Once”
“Ciao Papa” from “Guillermo del Toro’s Pinocchio”
“Til You’re Home” from “A Man Called Otto”
“Naatu Naatu” from “RRR”
“My Mind & Me” from “Selena Gomez: My Mind & Me”
“Good Afternoon” from “Spirited”
“Applause” from “Tell It like a Woman”
“Stand Up” from “Till”
“Hold My Hand” from “Top Gun: Maverick”
“Dust & Ash” from “The Voice of Dust and Ash”
“Carolina” from “Where the Crawdads Sing”
“New Body Rhumba” from “White Noise”

Original Score

“All Quiet on the Western Front”
“Avatar: The Way of Water”
“Babylon”
“The Banshees of Inisherin”
“Black Panther: Wakanda Forever”
“Devotion”
“Don’t Worry Darling”
“Everything Everywhere All at Once”
“The Fabelmans”
“Glass Onion: A Knives Out Mystery”
“Guillermo del Toro’s Pinocchio”
“Nope”
“She Said”
“The Woman King”
“Women Talking”

Makeup and Hairstyling

“All Quiet on the Western Front”
“Amsterdam”
“Babylon”
“The Batman”
“Black Panther: Wakanda Forever”
“Blonde”
“Crimes of the Future”
“Elvis”
“Emancipation”
“The Whale”

Visual Effects

“All Quiet on the Western Front”
“Avatar: The Way of Water”
“The Batman”
“Black Panther: Wakanda Forever”
“Doctor Strange in the Multiverse of Madness”
“Fantastic Beasts: The Secrets of Dumbledore”
“Jurassic World Dominion”
“Nope”
“Thirteen Lives”
“Top Gun: Maverick”

Sound

“All Quiet on the Western Front”
“Avatar: The Way of Water”
“Babylon”
“The Batman”
“Black Panther: Wakanda Forever”
“Elvis”
“Everything Everywhere All at Once”
“Guillermo del Toro’s Pinocchio”
“Moonage Daydream”
“Top Gun: Maverick”

It's too short for that gesture.

it would be so rad if naatu naatu won best song

“Applause” from “Tell It like a Woman”

This is the Diane Warren presumptive nominee this year, for those keeping score

We could be looking at Oscar nominee James Murphy

was gonna happen sooner or later

“My Year of Dicks” is gonna be one hell of an animated short

the only thing that will get me to watch the oscars is the promise of a "naatu naatu" performance

I'm positive that one will get nominated

My best bets for the dumbest Oscar category:

“Lift Me Up” from “Black Panther: Wakanda Forever”
“Ciao Papa” from “Guillermo del Toro’s Pinocchio”
“Naatu Naatu” from “RRR”
“Stand Up” from “Till”
“Hold My Hand” from “Top Gun: Maverick”

New Christmas-themed Alice Rohrwacher short film on Disney Plus is supposed to be good.

It is! Do check it out ASAP.

I love when Keith unleashes the big guns, and am surprised this isn't a zero-star review:

https://www.slantmagazine.com/film/babylon-review-damien-chazelle-margot-robbie-brad-pitt/

― عباس کیارستمی (Eric H.), Friday, December 16, 2022 10:09 AM (six days ago) bookmarkflaglink

Apparently Babylon includes a bit alluding to the Arbuckle scandal. Chazelle is not only dead to me; it is my moral obligation to kick the corpse in the crotch.

and uh we have our winners:

BEST PICTURE: Everything Everywhere All at Once
Runner up: Decision to Leave
BEST ACTOR: Colin Farrell, The Banshees of Inisherin
Runner(s) up: Brendan Fraser, The Whale and Park Hae-il, Decision to Leave
BEST ACTRESS: Cate Blanchett, Tár
Runner up: Tang Wei, Decision to Leave
BEST SUPPORTING ACTOR: Ke Huy Quan, Everything Everywhere All at Once
Runner up: Paul Dano, The Fabelmans
BEST SUPPORTING ACTRESS: (tie) Jessie Buckley, Women Talking and Nina Hoss, Tár
BEST ENSEMBLE: Everything Everywhere All at Once
Runner up: Babylon
BEST DIRECTOR: Park Chan-wook, Decision to Leave
Runner up: Steven Spielberg, The Fabelmans
BEST ORIGINAL SCREENPLAY: Park Chan-wook and Jeong Seo-kyeong, Decision to Leave
Runner up: (tie) Martin McDonagh, The Banshees of Inisherin and Daniel Kwan & Daniel Scheinert, Everything Everywhere All at Once
BEST ADAPTED SCREENPLAY: Sarah Polley, Women Talking
Runner up: George Miller & Augusta Gore, Three Thousand Years of Longing and Rebecca Lenkiewicz, She Said
BEST CINEMATOGRAPHY: Kim Ji-yong, Decision to Leave
Runner up: Claudio Miranda, Top Gun: Maverick
BEST VISUAL EFFECTS: Avatar: The Way of Water
Runner up: Nope
BEST ART DIRECTION/PRODUCTION: Babylon
Runner up: Crimes of the Future
BEST SCORE: Justin Hurwitz, Babylon
Runner up: (tie) Trent Reznor & Atticus Ross, Empire of Light and Michael Abels, Nope
BEST DOCUMENTARY: All the Beauty and the Bloodshed
No clear runner up
BEST INTERNATIONAL FILM: Decision to Leave
No clear runner up
BEST ANIMATED FILM: Turning Red
No clear runner up
BEST FIRST FILM: Charlotte Wells, Aftersun
Runner up: John Patton Ford, Emily the Criminal
BREAKOUT AWARD: Austin Butler, Elvis
Runner up: Frankie Corio, Aftersun

I was Team Decision to Leave.

That Rohrwacher short is fun.

Here’s your zero-star Babylon review: https://www.filmfreakcentral.net/ffc/2022/12/babylon.html

lol good stuff

I saw some great movies this year – here are some of my favorites. What did I miss? pic.twitter.com/vsgEmc8cn8

— Barack Obama (@BarackObama) December 23, 2022

Dutch newspaper De Volkskrant has a good list:

1. The Worst Person in the World (Joachim Trier)
2. Hytti nro 6 (Juho Kuosmanen)
3. Vortex (Gaspar Noé)
4. Triangle of Sadness (Ruben Östlund)
5. Close (Lukas Dhont)
6. Memoria (Apichatpong Weerasethakul)
7. Cow (Andrea Arnold)
8. L’événement (Audrey Diwan)
9. Rimini (Ulrich Seidl)
10. Licorice Pizza (Paul Thomas Anderson)
11. R.M.N. (Cristian Mungiu)
12. Drive My Car (Ryusuke Hamaguchi)
13. Narcosis (Martijn de Jong)
14. Plus que jamais (Emily Atef)
15. Nope (Jordan Peele)
16. Las bestias (Rodrigo Sorogoyen)
17. Knor (Mascha Halberstad)
18. Avatar: The Way of Water (James Cameron)
19. Blonde (Andrew Dominik)
20. Dwelling in the Fuchun Mountains (Gu Xiaogang)
21. Housewitz (Oeke Hoogendijk)
22. Alcarràs (Carla Simón)
23. Silence of the Tides (Pieter-Rim de Kroon)
24. Les passagers de la nuit (Mikhaël Hers)
25. Top Gun: Maverick (Joseph Kosinski)

Read a Deadline piece about the death of "Babylon" and came across this honestly kind of shocking editorial fuck-up:

Examples of Hollywood insider movies that didn’t translate to mass audiences: The three-time Oscar-nominated Chaplin, starring Robert Downey Jr., which did only $9.5M stateside back in 1992 (though it did make Hollywood take the SNL alum seriously as an actor) and the Coen brothers’ two-time Cannes-winning title The Player only grossed $21.7M that year as well.

is babylon really this terrible?

xp among other things, I managed to forget that Not the Coen Brothers' The Player won 2 at Cannes

I'm amazed no one's talked about Armageddon Time. A way smaller scale The Fabelmans if you wanna sell it and be reductionist. Anthony Hopkins concludes a helluva octogenarian renaissance.

I admit that my cohort Odie H. calling the movie out on its purported racism kind of ended my desire to check it out, as a moderate James Gray fan

I...don't see it?

Ppl keep citing Armageddon Time as an example of a movie for adults that failed to draw audiences, but I feel like I barely had an opportunity. I wanted to see it, but it only played for a couple of weeks here in Chicago. Meanwhile, Tar, another supposed box-office disappointment, has been in theaters for almost three months straight.

It got no play here.

A way smaller scale Fablemans that came out this year was Ricky D'Ambrose's 'The Cathedral'. Quite Bressonian take on the disintegration of an American family.

Thanks for the reminder; it's on MUBI.

Probably belongs on the Arm0nd thread, but it's decidedly detrius:

https://www.nationalreview.com/2023/01/editors-groom-awards-and-moviegoers/

Going beyond movie news, the Los Angeles Times editorial board decided to forget the raging proxy war in Ukraine, inflation, our open border, tarnished elections, and single-party government to weigh in on “gender-neutral” film awards. This is another example of cultural revolution in reverse, where media elites use their commanding heights to influence popular opinion.

A thousand-word December 21 editorial urged, “Award shows can smartly lay out” what it called “a plan to get rid of these categories” of gender. The drastic proposal to reclassify prizes aligns with the media’s transsexual agenda.

But this grooming of the populace — disguised as social progress — went uncontested until film reviewer Wade Major of the CineGods website took the bold step of writing a corrective letter to the editor of the Times.

Major’s dissent should be saluted for bucking the politically correct coercion by journalists who want the Academy Awards and other film organizations to radicalize. Major warned the Times, “You’ve set the stage for a cultural dumpster fire.” But destruction is exactly what the Times wants when it promotes tyrannical change to how we perceive gender and make movies about it.

Defending the distinction between male and female, Major argued that “sex-segregated acting categories celebrate not just performance but the diversity of those differences, without which audiences would enjoy no emotional connection to performance.” This is the crux of the crisis: Men are not women, and vice versa; their souls are equal, yet acting and characterization express specific experiences. The Times editorial means to abolish more than categories; it aims to shatter ideas of spirituality and facts of human difference.

While endorsing the gender-neutral-awards trend already initiated by several industry groups, the Times got caught up in confusion: “Dissolving gendered categories for Oscars or Emmys would not magically give women parity with men in accessing substantial acting roles.” The editorial bemoaned that “the entertainment industry is still weighted in favor of men” and conceded that “awards still play a part in the ecosystem of Hollywood.” The term “ecosystem” exposes nebulous non-reasoning.

But Major’s doubt is more precise: The Times is “painting new-age misogyny with ‘progressive’ lipstick, notably the idea that if we pretend men and women aren’t different, inequality will disappear.”

The Times editorial is dishonest. Board members ought to individually sign the diatribe rather than pretend objective wisdom through an institutional stance on questions of gender and equity. They should admit to aiding the destruction of heterosexual identity. Not saying what they’re really after — a social transformation, transsocialism — is why we must read the media with skepticism.

The Times praised the ridiculous example of the Los Angeles Film Critics Association’s decision to go gender-neutral (declaring male and female ties in both lead and supporting-acting categories), but the facts are laughable. Major, a longtime LAFCA member, revealed the group’s actual lunacy: “I can testify that the group remains deeply divided. The change passed by a single vote, with insufficient debate, procedural anomalies and no outright majority.”

Fact is: Film journalists desperately yearn to appear progressive; legacy media then serve that bias to the public by implying a consensus that doesn’t exist. It’s merely fiat, same as Democratic Party dictates that corrupt media misrepresent as “bipartisan.”

Some back history: The farce of gender-neutral awards began at the far-left Village Voice when gender activism (feminist and queer-preferential practice) dominated that publication’s movie poll from 1999 to 2005; it was disbanded thereafter. Loss of interest? Coming to reason? Reason has disappeared from Millennial discourse. Now, the point is to turn moviegoers into deferential nonbinary soldiers.

That’s why the Times wants the Oscars and Oscar-watchers to ditch the basic idea of sexuality that makes life — and movies — fascinating.

Other than James Sweeney’s Straight Up, there hasn’t been a good sex comedy this millennium; #MeToo has destroyed cinema sexuality. Remember how Brando’s Terry Malloy in On the Waterfront and Sally Field in Norma Rae fought against and for unions (respectively), both using masculine and feminine approaches that made those issues fresh and interesting? Look at Vivien Leigh’s Scarlett O’Hara and Al Pacino’s Michael Corleone for female and male versions of the American dream, and marvel at the individual physical, moral, and historical performance that makes those characters recognizable and unforgettable.

Denying such gender differences is another form of media tyranny and progressive fascism. Seeking to abolish gender identity, the L.A. Times pushes for gender equity the same way mainstream media push for socialism — a backwards revolution in thinking and behavior.

Michael Corleone, symbol of the American Dream.

That plus women's American Dream is to be raped and go insane

Christ what an asshole

“Deferential nonbinary soldiers” surely slotted to be a right-wing buzz-phrase this year.

Armond gonna throw his shoulder out whacking at that straw man.

xp too many syllables

https://i.imgur.com/qE12P8v.gif

Too robbed of an Oscar ^^^

how is this new All Quiet on the Western Front? I didn't even know it existed until I started seeing Academy consideration ads for it.

will likely see it in theaters in a week or so, what I've read suggests it is an intentionally difficult watch.

The AMPAS shortlists indicate it's currently Netflix's best hope for a best pic nod

The Times editorial is dishonest ... They should admit to aiding the destruction of heterosexual identity.

Speaking of being dishonest

Major, a longtime LAFCA member, revealed the group’s actual lunacy:

Anything following this clause that isn't "that the LAFCA would allow Wade Major of the CineGods website as a member in the first place" is to be dismissed

the use of the phrase "grooming" early on in that piece is the equivalent of smelling cowshit before turning over your shoe

BAFTA longlists have a few WTFs

https://www.bafta.org/film/longlists-2023-ee-BAFTA-film-awards

Tom Hanks in supporting for Elvis?!

I will say it's a creepier performance than I thought Hanks had in him.

National Society vote has begun:

Best Actress: Cate Blanchett, TÁR (59 points)

Runners-up:
Michelle Yeoh, EVERYTHING EVERYWHERE ALL AT ONCE (38 points)
Tilda Swinton, THE ETERNAL DAUGHTER, and Michelle Williams, THE FABELMANS (27 points)

— National Society of Film Critics (@NatSocFilmCrix) January 7, 2023

Yow! Tilda Swintdon!

(who might've earned my vote)

I can't deny Blanchett, dammit.

Same; I genuinely agree with it being called the performance of the year

Best Supporting Actress: Kerry Condon, THE BANSHEES OF INISHERIN (57 points)

Runners-up:
Nina Hoss, TÁR (43 points)
Dolly de Leon, TRIANGLE OF SADNESS (35 points)

— National Society of Film Critics (@NatSocFilmCrix) January 7, 2023

Sort of wish they’d had the stones to make this one only for After Yang

Best Actor: Colin Farrell, AFTER YANG and THE BANSHEES OF INISHERIN (71 points)

Runners-up:
Paul Mescal, AFTERSUN (55 points)
Bill Nighy, LIVING (33 points)

— National Society of Film Critics (@NatSocFilmCrix) January 7, 2023

Should've been honest and given it to Paul Mescal.

Frankie Corio was even better

Alas, no NSFC curveballs this year

Best Supporting Actor: Ke Huy Quan, EVERYTHING EVERYWHERE ALL AT ONCE (45 points)

Runners-up:
Brian Tyree Henry, CAUSEWAY (35 points)
Barry Keoghan, THE BANSHEES OF INISHERIN (27 points)

— National Society of Film Critics (@NatSocFilmCrix) January 7, 2023

Best Picture: TÁR (61 points)

Runners-up:
AFTERSUN (49 points)
NO BEARS (32 points)

— National Society of Film Critics (@NatSocFilmCrix) January 7, 2023

"No Bears" our January gay thread title

YouTube has a version of Man with a Camera with what I think is Snow Patrol on the soundtrack.

Best Director: Charlotte Wells, AFTERSUN (60 points)

Runners-up:
Park Chan-wook, DECISION TO LEAVE (47 points)
Jafar Panahi, NO BEARS (36 points)

— National Society of Film Critics (@NatSocFilmCrix) January 7, 2023

Best Film Not in the English Language: EO (43 points)

Runners-up:
NO BEARS (37 points)
DECISION TO LEAVE (34 points)

— National Society of Film Critics (@NatSocFilmCrix) January 7, 2023

Best Nonfiction Film: ALL THE BEAUTY AND THE BLOODSHED (46 points)

Runners-up:
DESCENDANT (40 points)
ALL THAT BREATHES (27 points)

— National Society of Film Critics (@NatSocFilmCrix) January 7, 2023

I realized recently that EO is onomatopoeia for “hee haw”

So is Eeyore.

As good as Austin Butler was, Elvis was kind of pedestrian and disappointing. Ricky D'Ambrose's The Cathedral was better than I expected, and I thought Sebastian Meise's Great Freedom was really great

So is Eeyore.

― jaymc, Saturday, January 7, 2023 7:50 PM (one hour ago) bookmarkflaglink

omigod

I didn't review The Cathedral until last week. I"m glad I watched it.

So is Eeyore.
― jaymc

omigod
― Malevolent Arugula (Alfred, Lord Sotosyn)

Omigod x 2

and I thought Sebastian Meise's Great Freedom was really great

I count it as a 2021 flick.

Another reason to strip Will Smith of his booty

David Ehrlich's annual video countdown of the year is brilliant as always:

https://vimeo.com/786806921

Been awhile since we've had a good old-fashioned grassroots Sally Kirkland-style Oscar campaign:

https://www.hollywoodreporter.com/movies/movie-news/jennifer-aniston-sarah-paulson-andrea-riseborough-to-leslie-1235294300/

Oh, and the Critics' Choice Award winners (i.e. the apex of detrius season):

https://variety.com/2023/awards/news/critics-choice-awards-2023-winners-list-1235488828/

Best Picture
“Everything Everywhere All at Once” (A24)

Best Director
Daniel Kwan and Daniel Scheinert – “Everything Everywhere All at Once” (A24)

Best Actress
Cate Blanchett – “Tár” (Focus Features)

Best Actor
Brendan Fraser – “The Whale” (A24)

Best Supporting Actress
Angela Bassett – “Black Panther: Wakanda Forever” (Marvel Studios)

Best Supporting Actor
Ke Huy Quan – “Everything Everywhere All at Once” (A24)

Best Original Screenplay
Daniel Kwan, Daniel Scheinert – “Everything Everywhere All at Once” (A24)

Best Adapted Screenplay
Sarah Polley – “Women Talking” (MGM/United Artists Releasing)

i am thinking everything everywhere is gonna win the best screenplay oscar and get locked out of everything else, which is fine i guess
any other year, yeoh would have a shot at actress

Ke Huy Quan is he surest bet among the acting categories rn

Yeah, KHQ seems like a lock.

I'd say it's him, then Blanchett, then Bassett, then Butler, in order of likelihood

Butler over Farrell? I haven’t been paying much attention to awards conversation but figured Farrell would be a significant contender.

Legit it's a three-way contest still; but Butler feels pretty solid atm

Butler has the Academy's awful history of rewarding biopics in his favor.

Farrell has the Academy's awful history of ignoring comedy against him.

Fraser has the Academy's awful history

(I will have to watch it at some point, but if The Whale isn't the worst movie up for a top Oscar this year, I'll be surprised)

at this point I'm thinking the chances for best actor are between Farrell (resolute but unshowy performance, respect for his body of work) and Fraser (sentimental and emotional performance, a comeback), and that they are both more way more likely than Butler

The Whale is wore than your reckonings, my friend xpost

It's probably awful and I haven’t seen it, but given the sentimental gushing over the performance I’m guessing it’s not too bad a film for the Oscars.

On the other hand, most Best Actor wins don’t come from otherwise unloved films (Jeff Bridges in Crazy Heart and Forrest Whitaker in The Last King of Scotland come to mind, but they were well over a decade ago), unlike Best Actress wins

I don’t think Austin Butler is likely, he’s relatively unknown, hasn’t won any precursors so far, and Best Actor Oscars usually don’t go to handsome 30-year old men, especially for their first major roles. Adrien Brody was the only actor that age to win a Best Actor Oscar in recent memory

The narrative this year seems like it is about the comeback from obscurity - Michelle Yeoh, Angela Bassett, Brendan Fraser, and Ke Huy Kwan. Not saying they will all win, but Ke Huy Kwan definitely will

Rami Malek was 37 when he won (and already had an Emmy), but might be somewhat analogous to Butler.

Casey Affleck too at 41. but 30 is very young for Best Actor.

anyway, I'm hoping the actors' branch comes through and Colin Farrell wins

Welp, BAFTA sure loved All Quiet on the Western Front (and didn't much like Top Gun ... or, probably appropriately, RRR)

[q]BEST FILM
All Quiet on the Western Front
The Banshees of Inisherin
Elvis
Everything Everywhere All At Once
Tár

OUTSTANDING BRITISH FILM
Aftersun
The Banshees of Inisherin
Brian And Charles
Empire of Light
Good Luck to You, Leo Grande
Living
Roald Dahl's Matilda The Musical
See How They Run
The Swimmers
The Wonder

OUTSTANDING DEBUT BY A BRITISH WRITER, DIRECTOR OR PRODUCER
Aftersun
Blue Jean
Electric Malady
Good Luck to You, Leo Grande
Rebellion

FILM NOT IN ENGLISH LANGUAGE
All Quiet on the Western Front
Argentina, 1985
Corsage
Decision To Leave
The Quiet Girl

DOCUMENTARY
All That Breathes
All the Beauty and the Bloodshed
Fire of Love
Moonage Daydream
Navalny

DIRECTOR
All Quiet on the Western Front
The Banshees of Inisherin
Decision To Leave
Everything Everywhere All At Once
Tár
The Woman King

LEADING ACTRESS
Cate Blanchett in Tár
Viola Davis in The Woman King
Danielle Deadwyler in Till
Ana de Armas in Blonde
Emma Thompson in Good Luck to You, Leo Grande
Michelle Yeoh in Everything Everywhere All At Once

LEADING ACTOR
Austin Butler in Elvis
Colin Farrell in The Banshees of Inisherin
Brendan Fraser in The Whale
Daryl McCormack in Good Luck to You, Leo Grande
Paul Mescal in Aftersun
Bill Nighy in Living

SUPPORTING ACTRESS
Angela Bassett in Black Panther: Wakanda Forever
Hong Chau in The Whale
Kerry Condon in The Banshees of Inisherin
Jamie Lee Curtis in Everything Everywhere All At Once
Dolly De Leon in Triangle of Sadness
Carey Mulligan in She Said

SUPPORTING ACTOR
Brendan Gleeson in The Banshees of Inisherin
Barry Keoghan in The Banshees of Inisherin
Ke Huy Quan in Everything Everywhere All At Once
Eddie Redmayne in The Good Nurse
Albrecht Schuch in All Quiet on the Western Front
Micheal Ward in Empire of Light

ORIGINAL SCREENPLAY
The Banshees of Inisherin
Everything Everywhere All At Once
The Fabelmans
Tár
Triangle of Sadness

ADAPTED SCREENPLAY
All Quiet on the Western Front
Living
The Quiet Girl
She Said
The Whale[q]

Seems pretty clear that The Fabelmans is quite down for the count, as is Women Talking and, arguably, Top Gun: Maverick

Oh it still gets in Best Picture and Director at the Oscars.

It's good not bad that the BAFTAs are snubbing Spielberg

Counterpoint: It's worse they nominated McDonagh twice

Someone said The Fabelmans will likely follow the Licorice Pizza nominations profile -- Picture, Director, Screenplay and nothing else. That seems sort of likely, though I think John Williams still gets in too

I've been surprised by the criticism that Michelle Williams has earned in some quarters.

It is, admittedly, a very mannered performance (and a good one)

The Fabelmans hasn't been released in the UK yet.

Oh wait, never mind, it got a screenplay nod.

https://apnews.com/article/best-movies-2022-325b1c1493a5a95f5cb94ce577612cb6

To honor the supporting role that entertainment journalism can play in this beloved pastime, The Associated Press on Thursday unveiled its inaugural AP Top 25 Movies list.

The AP Top 25 Movies ranking is a distinctive honor roll of films released in 2022, as determined by a truly representative panel of 26 of the U.S.′ smartest movie experts working for AP-affiliated news outlets.

Here, we explain what it is and how it works:

THE HISTORY
The AP Top 25 Movies ranking is a new initiative adapted from a rich legacy. The global not-for-profit news cooperative’s AP Top 25 college football poll has been the authority in the sport since the all-media survey began in 1936.

The sports poll has since expanded, including men’s college basketball in 1949 and women’s college basketball in 1977. The AP Top 25 Movies ranking now joins this storied tradition.

The sports polls are a weekly tally tracking the evolving dynamic throughout each sport’s season of play. In contrast, the AP Top 25 Movies ranking is a single definitive list reflecting the entire 2022 calendar year.

Results aren't terribly surprising, resembling other year-end polls (Banshees is #1). But it's nice that they publish the individual ballots. What would actually be interesting is if they leaned into the college football model more and did this as a weekly poll throughout the year.

oy Shawn Edwards is still around?

Anthony Hopkins walks away with The Son playing a way-too-articulate conservative monster who urges his kid Hugh Jackman, whom he'd abandoned decades earlier, to "fucking get over it." What a latter-day renaissance for this old ham.

I've been surprised by the criticism that Michelle Williams has earned in some quarters.

― Malevolent Arugula (Alfred, Lord Sotosyn), Thursday, January 19, 2023 7:47 AM (two days ago) bookmarkflaglink

It is, admittedly, a very mannered performance (and a good one)

― عباس کیارستمی (Eric H.), Thursday, January 19, 2023 7:48 AM (two days ago) bookmarkflaglink

i thought she was great too! but i love a "the gleam in her eyes means she's always sort of crying" performance. i saw it with my girlfriend and her friend and they both thought she was too much

_The Whale_ is wore than your reckonings, my friend xpost

Anti-human...like, in a bad way?

Yes, there’s a first for everything

Imagine if Cronenberg had written and directed that adaptation and even kept Fraser.

baby i hear the blues a calling

Tossed salad (on the laptop) and scrambled eggs with fried chicken and a 3 Musketeers bar

https://icsfilm.org/our-yearly-awards/2023-ics-award-nominees/

Finally, an interesting slate of acting contenders:

ACTOR
• Colin Farrell – The Banshees of Inisherin
• Cosmo Jarvis – It Is In Us All
• Benoît Magimel – Pacifiction
• Luca Marinelli – Le Otto Montagne
• Paul Mescal – Aftersun
• Park Hae-il – Decision to Leave

ACTRESS
• Cate Blanchett – TÁR
• Vicky Krieps – Corsage
• Guslagie Malanda – Saint Omer
• Rosy McEwen – Blue Jean
• Park Ji-Min – Return to Seoul
• Tang Wei – Decision to Leave

SUPPORTING ACTOR
• Alessandro Borghi – Le Otto Montagne
• Barry Keoghan – The Banshees of Inisherin
• Ke Huy Quan – Everything Everywhere All at Once
• Achille Reggiani – Saturn Bowling
• Ingvar Sigurðsson – Godland
• Luis Zahera – As Bestas

SUPPORTING ACTRESS
• Hong Chau – Showing Up
• Kerry Condon – The Banshees of Inisherin
• Dolly de Leon – Triangle of Sadness
• Pahoa Mahagafanau – Pacifiction
• Kristen Stewart – Crimes of the Future
• Michelle Williams – The Fabelmans

Suckass Razzie nominations:

Worst Picture
“Blonde”
“Disney’s Pinocchio”
“Good Mourning”
“The King’s Daughter”
“Morbius”

Worst Actor
Colson Baker (aka Machine Gun Kelly), “Good Mourning”
Pete Davidson (Voice Only), “Marmaduke”
Tom Hanks (As Gepetto), “Disney’s Pinocchio”
Jared Leto, “Morbius”
Sylvester Stallone, “Samaritan”

Worst Actress
Ryan Kiera Armstrong, “Firestarter”
Bryce Dallas Howard, “Jurassic Park: Dominion”
Diane Keaton, “Mack & Rita”
Kaya Scodelario, “The King’s Daughter”
Alicia Silverstone, “The Requin”

Worst Remake/Rip-off/Sequel
“Blonde”
BOTH “365 Days” Sequels – “365 Days: This Day” & “The Next 365 Days” [a Razzie BOGO]
“Disney’s Pinocchio”
“Firestarter”
“Jurassic World: Dominion”

Worst Supporting Actress
Adria Arjona, “Morbius”
Lorraine Bracco (Voice Only), “Disney’s Pinocchio”
Penelope Cruz, “The 355”
Bingbing Fan, “The 355” & “The King’s Daughter”
Mira Sorvino, “Lamborghini: The Man Behind the Legend”

Worst Supporting Actor
Pete Davidson (Cameo Role), “Good Mourning”
Tom Hanks, “Elvis”
Xavier Samuel, “Blonde”
Mod Sun, “Good Mourning”
Evan Williams, “Blonde”

Worst Screen Couple
Colson Baker (aka Machine Gun Kelly) & Mod Sun, “Good Mourning”
Both Real Life Characters in the Fallacious White House Bedroom Scene, “Blonde”
Tom Hanks & His Latex-Laden Face (and Ludicrous Accent), “Elvis”
Andrew Dominik & His Issues with Women, “Blonde”
The Two “365 Days” Sequels (both Released in 2022)

Worst Director
Judd Apatow, “The Bubble”
Colson Baker (aka Machine Gun Kelly) & Mod Sun, “Good Mourning”
Andrew Dominik, “Blonde”
Daniel Espinosa, “Morbius”
Robert Zemeckis, “Disney’s Pinocchio”

Worst Screenplay
“Blonde” / Written for the Screen by Andrew Dominik, Adapted from the “Bio-Novel” by Joyce Carol Oates
“Disney’s Pinocchio” / Screenplay by Robert Zemeckis & Chris Weitz (Not Authorized by the Estate of Carlo Collodi)
“Good Mourning” / “Written” by Machine Gun Kelly & Mod Sun
“Jurassic World: Dominion” / Screenplay by Emily Carmichael & Colin Treverrow,Story by Treverrow & Derek Connolly
“Morbius” / Screen Story and Screenplay by Matt Sazama & Burk Sharpless

Both Real Life Characters in the Fallacious White House Bedroom Scene, “Blonde”

Surely "fellacious"?

What a fellacy on the Razzies' part

This is now the most I’ve wanted to see Blonde.

Was hoping Ana de Armas would get simultaneous Oscar and Razzie nomination, like Glenn Close for Hillbilly Elegy

Their bravery knows many bounds

...wait hold on, Cosmo Jarvis is an actor? I thought he sung about gay pirates?

which makes him an actor!

Helluva log line for that movie in IMDB:

"A formidable man who cares for nothing is forced to confront his self-destructive core when a violent car crash involving a sexually charged boy who epitomizes life, challenges him to face his truth."

"A formidable man who cares for nothing is forced to confront his self-destructive core when a violent car crash involving a sexually charged boy who epitomizes life, challenges him to face his truth."

Wow, now I want to see Blonde.

what did people here think of All Quiet On the Western Front? I watched it but couldn't really make myself pay attention

too many uniforms, battles, trenches and dead people without any relief. I wonder if this will receive a Best Picture nomination tomorrow

Seems likely, given its strong showing on the craft category shortlists and in the BAFTA nominations.

To remember how three years ago the forgotten 1917 was a BP frontrunner

1917 was much more watchable than this for me. This is so grim

The Best Picture noms keep coming because they keep finding more prestigious ways to blow up soldiers.

Avatar: The Way of Water and Top Gun: Maverick both received Best Picture nominations, marketing the first time that the top 2 highest grossing movies of the year were both nominated in the top category since 1982, when E.T. and Tootsie were both nominated. pic.twitter.com/QmVaZftxNg

— Jonathan (@jonathanmb32) January 24, 2023

Is it also the first time that two "part two"s were nominated in a single year?

https://i.imgur.com/QbbVdkf.jpg

Most-nominated films at the #Oscars:

"Everything Everywhere All at Once" - 11
"All Quiet on the Western Front" - 9
"The Banshees of Inisherin" - 9
"Elvis" - 8
"The Fabelmans" - 7
"Tár" - 6
"Top Gun: Maverick" - 6
"Black Panther: Wakanda Forever" - 5https://t.co/xmqPGXGGS3

— Variety (@Variety) January 24, 2023

It's astonishing how Diane Warren will never NOT get nominated

Oscars got it right in that "Maverick" is without question the Best "Top Gun" Picture.

No song nomination for James Murphy

Nominations here: https://en.wikipedia.org/wiki/95th_Academy_Awards

Is it also the first time that two "part two"s were nominated in a single year?

― Beautiful Bean Footage Fetishist (Old Lunch), Tuesday, January 24, 2023 8:08 AM (twenty minutes ago) bookmarkflaglink

I think so, yeah. AFAIK, only seven sequels have been nominated before: The Bells of St. Mary's (1945), both Godfather sequels (1974, 1990), both Lord of the Rings sequels (2002, 2003), Toy Story 3 (2010), and Mad Max: Fury Road (2015).

I'm glad Williams made it after all.

Guess I have to finish Triangle of Sadness and watch All Quiet on the Western Front.

Another stat: Blanchett's the only Oscar winner among the nominees; only Williams, Bassett, and Hirsch were previously nominated.

Add to the two sequels a remake, just to sweeten the pot

I kept getting twitter spammed by netflix with All Quiet... on my phone to the point of irritation, find it hard to muster any enthusiasm for bang average, worthy-dull looking war movies. It might not be, but that's what it seemed like to me when I bailed out after 10 mins.

Next year's BP pool: Least promising Sequel/Remake/Franchise/IP-based flick of 2023

And whatever else the original isn't dull.

Huh

Not sure if I’ll watch the ceremony, but you never know

over/under?

Surprised She Said didn't get picture/screenplay/actress nominations. I guess I hope Tár wins, but no real rooting interest. Same day that the baseball HOF results will be announced; that must mean something.

the Menu got totally shut out, which is lame considering fucking Avatar and Top Gun got nominated for best picture.

Some trivia:

-John Williams, at 90, is now the oldest-ever Oscar nominee, for The Fablemans score (was James Ivory, 89, for Call Me by Your Name script)

-Judd Hirsch has the longest gap between nominations, at 42 years between Ordinary People and The Fablemans (was Henry Fonda, 41 years between The Grapes of Wrath and On Golden Pond)

the Menu got totally shut out, which is lame considering fucking Avatar and Top Gun got nominated for best picture.

Something I kept meaning to post somewhere -- I was really intrigued/surprised to see that The Menu had massive legs, at least in my neck of the woods. End of the year at my local Alamo was essentially only Avatar, Babylon (which had just gotten released) and The Menu, and in the latter case we're talking multiple screenings a day throughout the day. All the other November films of any stripe, big or small, were long gone.

I did sort of think The Menu might land a surprise screenplay nomination, but alas

Surprised She Said didn't get picture/screenplay/actress nominations

Its overall chances faded quite a while ago. It probably had the best shot at a screenplay nomination, and might've gotten it if not for the All Quiet on the Western Front momentum.

The Menu's been playing at Miami multiplexes since Thanksgiving. Several students have watched it, which, given their usual inclinations, surprised me.

(xpost) Besides just the fact that I liked it, I would have thought it nicely fits Hollywood's and the Academy Awards' eagerness to embrace self-flagellation (A Star Is Born, Sunset Boulevard, The Player, etc., etc.).

There's plenty of alternatives this (and every year) ... on a related note, big LOL at Women Talking getting into best picture with one single other nomination

xp I liked it, too. After its release, there was a weird amount of focus on its disappointing box-office numbers, which may have stifled its campaign.

We're in a world where The Menu, at something like $38M in domestic grosses, is considered a "success"

Neither of my kids have seen Top Gun or Avatar, but one of them has seen The Menu twice.

The Menu depends on you hating rich people enough to ignore that the movie is dumb and doesn't make sense; seems to be working.

idk it's also funny

I would have enjoyed The Menu a lot more if it had been dumber tbh

A lot of handwringing these days over what even is satire

i think more than a send-up of the rich or whatever it's a depiction of how hollow any artform becomes once its reached a rarified enough air that its audience is snobs, dilettantes, and people with so much money they don't care about what they're consuming. a good companion piece with pig which people also found dumb and nonsensical so fair enough. nicholas hault gives a perfectly abhorrent performance and i love the scene where he has to make his own dish and it sucks ass

it's not on my year-end list or anything but idk, it was fun, i loled

for a minute I srsly thought you were writing about Triangle of Sadness, lol

brad otm

“Rich people are deluded and stupid” is the plot du jour for sure, so much that films are forgetting to move to step two

Which is to say I saw a preview screening of When You’re Done Saving the World. Eisenberg likely has a good movie in him but this isn’t it

Yeah, Brad otm. I thought the fact that they were rich was almost incidental. It's a broader (in every sense) critique of a class of people that includes but is not limited to the rich. I mean, there's no real indication that Hault is necessarily rich, just that this (final) meal is how he chose to prioritize his money. Also worth keeping in the mind that the staff, too, is insane/enthralled, part of the same elitist system that causes the chef to snap (albeit in the most snobby, elitist way).

Apparently I'll give almost any satire the comparative benefit of the doubt. I didn't even hate Don't Look Up, in its entirety.

it was entertaining enough for a night at the movies but i thought it was trying to punch way above its weight with what it was Trying To Say, i found the critiques unsatisfying and not v coherent (in other words nothocked to see Adam McKay's name in the credits.) overall a lot less fun than a movie about a homicidal haute cuisine chef should have been. would have been much more enjoyable and a sharper satire imo if it had let itself be a blumhouse b movie about wealthy people getting offed one by one in creative restaurant-related ways. isnt there some famous saying about what should be done with the rich?

I think that's the movie many expected.

TIL that any and every sequel or pseudo-sequel can get nominated only for Best Adapted Screenplay, not Best Original Screenplay.

I've had a couple friends prefer The Menu to Tar among rich-privileged-people-are-bastards movies. The latter, I guess, makes its obvious points in a crisper way; it's obvious why it's the far bigger hit.

The latter or the former?

Ha! The Menu, sorry.

https://m.media-amazon.com/images/M/MV5BYjdjZDczYWYtZjU5Ny00ZTY1LTg5YTItY2FiMzM0MzZkOWM4XkEyXkFqcGdeQXVyMjUyNDk2ODc@._V1_.jpg

^^^ I've wanted to watch that one for years

you might need a trigger warning if you are a dog owner!

pics of Robert Morley make me smile

https://i.imgur.com/QCDSrvv.png

The Menu was very enjoyable and completely ridiculous and made no sort of sense and I enjoyed it a great deal and thought it made some decent points (and a few very glib ones) - I went into the cinema with no expectations and walked out thinking "what the fuck have I just seen?" and sometimes that's more than enough.

THE MENU sucked, prestige TV ass bullshit

also brad the overwhelming consensus about the cheeseburger is that it looked really awesome

Have not seen The Menu, but I enjoyed Triangle of Sadness. Sure, it makes obvious points about class and wealth, but the characters are fun, and the narrative is artfully constructed.

ACADEMY AWARD NOMINEE FOR BEST EDITING BABYYYYYYYYYYYY https://t.co/5HxKVjVvMT

— Michael Christie 🦑🧲🐸🦛 (@mschristie587) January 24, 2023

I expected the Menu to be much dumber than it was, because I didn't think the marketing for it was very good. I was pleasantly surprised by the performances in it which were across the board excellent. I'm surprised to hear that anyone else may have thought Pig was dumb though, that was also one of my favorite movies of the previous year and one that I thought was really overlooked at awards season.

I think I prefer the Menu to Triangle of Sadness, in the end.

sure

Still haven't seen most of the films discussed here, including Triangle of Sadness, which I'm looking forward to. The Menu doesn't interest me as much

RRR was fun, but was way too long for what it was

thought this was an interesting article

https://www.nytimes.com/2023/01/24/dining/noma-fruit-beetle-fine-dining.html

Kind of agree with this deleted Peter Labuza tweet:

https://pbs.twimg.com/media/FnQDYu4aEAQO9aX?format=jpg&name=900x900

It's been a long time since I saw Eternal Sunshine, and I suspect that I might not love it as much as I did when I was 25. It's also not exactly the same movie, obviously.

But my main complaint about EEAAO is that the emotional thread felt kind of flimsy and obscured by the whizbang multiverse stuff rather than enhanced by it. I was rooting for the family in a general sense, but the characters and relationships weren't nuanced or grounded enough to give it much emotional payoff at the end.

I very much do not agree with that.

yeah the key to the movie for me was how detailed and true to life the family relationships were, just on a personal basis it seemed like a kind of life I know personally and haven't seen represented at all.

agh, too many personals, but just the everyday struggle to keep on top of life and the chaos and constant worry that things are falling apart, the striving to provide and taking care of older relatives, and people are not cool or confident or sassy, they're all only just about holding it together in their own ways and are unable to easily empathise with each other even though we're all in the same boat, because we're too busy dealing with our own shit, that speech about emotional strength is exactly the one I've tried to have with my wife so many times - and seeing all of this represented not as a dour drama that nobody will see but as a mainstream movie everyone is watching, it's just one of the best things that happened in 2022.

Lydia Tár belittled a pangender BIPOC student. She groomed young women. One of them committed suicide.

This morning she got multiple Oscar nominations. Please tell me again how cancel culture is real.

— Nick Newman (@Nick_Newman) January 24, 2023

Keep the bad tweets coming

There's a segment of Film Twitter that's so irony-poisoned it's stifling (I know this is not exclusive to Film Twitter).

agh, too many personals, but just the everyday struggle to keep on top of life and the chaos and constant worry that things are falling apart, the striving to provide and taking care of older relatives, and people are not cool or confident or sassy, they're all only just about holding it together in their own ways and are unable to easily empathise with each other even though we're all in the same boat, because we're too busy dealing with our own shit, that speech about emotional strength is exactly the one I've tried to have with my wife so many times - and seeing all of this represented not as a dour drama that nobody will see but as a mainstream movie everyone is watching, it's just one of the best things that happened in 2022.

― Camaraderie at Arms Length, Wednesday, January 25, 2023 1:14 AM (seven hours ago) bookmarkflaglink

Would love to see this movie without all the "Marvel bullshit."

Yeah but that approach could be its own problem. I said this on FB in a thread about the film yesterday:

...(imagine if) it kept the same general cast and setting it could have in other hands and in other times been nothing more than a vaguely worthy Oscar-bait drama, one that Hollywood would use to pat itself on the back that they're 'telling these stories now' -- a very 90s kind of nominee in turn, maybe the space (from lack of multiverse etc) would have been filled in with a 'wacky but loveable' laundry patron with a catchphrase or two, etc. etc. Maybe it could work that way, maybe it would be just dull.

And I'll add now I'm willing to believe it would be very earnest and very dull that way! That Daniels are clearly incredibly visually oriented by default is a major plus.

Separately, saw this new All Quiet on the Western Front: I do wonder if being very familiar with the original 1930 movie as well as having read the original novel shapes my thought on it. I agreed with a friend that the real pathos of those versions is lost in the new plot construction here. Essentially I wasn't feeling the running subplot of the official armistice negotiations and the actions of the German general and all that -- the point of the book/original movie lies in the ground's eye view, and the novel and original movie both end some time short of the actual armistice, so the dynamic is different in key ways in this one. Still, it did do a lot of riffing on many of the key 'set pieces' of the core narrative -- the 'food for 150 men but only 80 here' part, the torn poster, etc. and that was nice to see; certainly gruesome at many points, it's no more or less artful/realistic than 1917 visually, and no one-take gimmick as such applies. And, admittedly, really nice to finally have an adaptation of the story in German. I did find out the 1979 version is on Kanopy over here so I'm going to go back to that in turn at some point; that was the first version I ever saw back when it aired.

The original Milestone film uses the limitations of sound design with imagination; you hear every cry of agony, every muffled cry for help.

many many xps but i also thought of pig when watching the menu, tho the former was vastly better on every level (the menu was fine)

xpost Yeah the sound design has always sat with me from that version. The general lack of a musical soundtrack, careful editing, a bit of diagetic music here and there and attention to detail with the conversations and exchanges, but above all else the impact of every shell, somehow worse in impact and feeling than anything in a modern sound mix.

I haven't watched it yet but all signs point to All Quiet being the very prestige TV version of the material

It's also inescapable that in 1930 the impact of those shells only had a decade-plus to reverberate.

I'd like to think there's a middle ground between the hyperactive, visually maximalist comic-book version and the earnest, dull '90s Oscar bait version of EEAAO. Thinking about the sensibilities of filmmakers like Mike Leigh or Nicole Holofcener, who obviously wouldn't be the right fit for telling the story of this particular family, but who excel at portrayals of families and relationships that are messy and humanistic and leavened by humor. IDK.

But whatever. I didn't actually hate EEAAO, I actually thought a lot of it was pretty fun. I just didn't connect with it on more than a superficial level, and so all of the awards attention makes me a bit grumpy.

I'm glad EEAAO got made, attracted this cast, and was the right sort of movie to draw people into theaters (again and again). It earned its good will. But count me among those exhausted by the 50-minute mark.

I think the problem for me is that something like the buttplug fight is also, just, dull. It might prompt an easy laugh at first, but it isn't interesting or fun to think about later on. Most of the visual gags and action bits in the movie felt like that to me.

The core idea of a family multiverse movie is not the problem, but the flipping between universes starts to feel really excessive and unconstrained at a certain point. To me it would be more satisfying if the travel between universes felt more genuinely clever and controlled (which it is for much of the first half).

This was the rest of my FB comment about that point -- obviously it won't be for everyone, but here's how I felt it:

But the seemingly exhausting overload of all the everything else is something that resonates with me in particular -- obviously I'm not saying I suddenly equate myself with these core characters on a deep personal level, I do not! Their experiences aren't mine. But the quicksilver nature of accumulated cultural imagery and flights of fancy, the what ifs and the surrealisms, how we shape and process it all internally as it all accelerates with time, these have shaped me now for maybe my whole life in a default, and I suspect that's the case for a lot of us one way or another. Watching it was like riding the best rollercoaster ever, the happiest and craziest ride, and with a hell of an emotional undertow at the heart of it all. It wasn't exhausting, it was thrilling, it was like a peek into how the mind works, and it felt like a relief to actually see that being engaged and illustrated, like we don't experience something as one story but multiple ones, and how the serious moments in life can have strange images crowd into our heads unbidden, as much as the silly ones do.

I like how chaotic it is, how this very complex plot is almost left in the background, using ridiculously high-concept fantasy ideas to explore the human condition is an underexploited trope if anything IMO.

Now yes, the buttplug fight, and the hot dog fingers universe and especially the chef with a racoon under his hat were weak parts for sure, but I can accept all as "stuff for other viewers" which is quickly moved on from - I also generally have no time for action movies, especially Marvel superhero movies, but I didn't see much of that at all - it was more like if Stephen Chow made a superhero movie (which would obviously be 1000x better than anything from the MCU) But so much of the self-discovery required this extreme perspective, and some of the fantastic conceits (like when they are rocks) are genuinely brilliant.

I would like a film about this family made by a Chinese Mike Leigh, I might even like it more than EEAAO, but it would be a fundamentally different film.

I'm surprised I haven't seen more discussion of Scott Pilgrim in re EEAAO, since it seems like an obvious precursor in using superhero/fantasy tropes to tell a story about normal people's emotional lives.

Also very well put Ned, great post(s)

But count me among those exhausted by the 50-minute mark.

Too restless by then!

yeah, I tried watching EEAAO on a plane, which was probably not the ideal setting, but I also had to tap out after about an hour. I did feel like there was something to the characters and the story but overall just found it too overwhelming and silly

i found the 2nd half particularly excruciating. it felt like the epic Marvel version of every bad improv show: "ok now suggest an item for us to fight with. BUTT plugs?! haha oh man, this audience tonight is crazy, but ok, you asked for it!!" call me a fun-hater if you must, i dont need it to be some boring Sundance drama, but 2h20m of LOL Random Epic Zombie Bacon: The Movie was... not for me

butt plugs was from the first half, also fuck off

sorry CaAL. ive done a lot of talking, now its time to do some listening and make room for healing, i hope we can all grow from this experience of me forgetting which part of the movie had the butt plugs

There's a segment of Film Twitter that's so irony-poisoned it's stifling (I know this is not exclusive to Film Twitter).

― Chris L, Wednesday, January 25, 2023 6:31 AM (five hours ago) bookmarkflaglink

it's the worst aspect of film twitter, so much of it comes off as dead-eyed sociopath anti-discourse

very very not exclusive to film twitter obv

sorry to be clear the "fuck off" was for "Random Epic Zombie Bacon: The Movie" - the "I hate the second half of this film because (something from the first half)" was incidental.

oh cool

xxp Guessing part of the reason is that it's very hard to stand out for film opinions/analysis

Watching WOMEN TALKING, the film allegory of the feminist movement, I was struck at how in the film, as in real life, no women of color were included. The film stated it was a true story in “the female imagination”. Even in the feminist utopia, women of color aren’t considered.

— Wendell Pierce (@WendellPierce) January 24, 2023

Says a guy who not long ago was charged with assaulting a woman for talking.

https://variety.com/2023/awards/news/razzies-apologize-age-limit-ryan-kiera-armstrong-1235502000/

Sometimes, you do things without thinking, Then you are called out for it. Then you get it. It’s why the Razzies were created in the first place.

The recent valid criticism of the choice of 11 year old Armstrong as a nominee for one of our awards brought our attention to how insensitive we’ve been in this instance. As a result, we have removed Armstrong’s name from the Final Ballot that our members will cast next month. We also believe a public apology is owed Ms. Armstrong, and wish to say we regret any hurt she experienced as a result of our choices.

Having learned from this lesson, we would also like to announce that, from this point forward, we are adopting a Voting Guideline precluding any performer or film-maker under 18 years of age from being considered for our awards.

We have never intended to bury anyone’s career. It is why our Redeemer Award was created. We all make mistakes, very much us included.

Since our motto is “Own Your Bad,” we realize that we ourselves must also live up to it.

Sincerely,
John Wilson, The Razzie Awards

https://variety.com/2023/awards/awards/andrea-riseborough-to-leslie-oscars-academy-review-1235504914/

Academy of Motion Picture Arts and Sciences confirmed Friday that it is “conducting a review of campaign procedures” in the wake of Andrea Riseborough’s surprise Oscar nomination for the small indie film “To Leslie.”

The Academy released a statement Friday regarding the campaign, though it didn’t mention “To Leslie” specifically.

“It is the Academy’s goal to ensure that the Awards competition is conducted in a fair and ethical manner, and we are committed to ensuring an inclusive awards process,” the statement reads. “We are conducting a review of the campaign procedures around this year’s nominees, to ensure that no guidelines were violated, and to inform us whether changes to the guidelines may be needed in a new era of social media and digital communication. We have confidence in the integrity of our nomination and voting procedures, and support genuine grassroots campaigns for outstanding performances.”

how is a successful campaign by celebrity fans less valid than one involving a push by a studio and publicists and ads?

supposedly if people phoned up members directly and asked them to promote it/vote for it that's bad? and/or if people involved with the film explicitly mentioned other possible candidates for nomination? it all seems very baroque tbh

it's horseshit imo.
Riseborough's a good actress but this film looks slight. I should watch it.

finally saw aftersun and it is 100 percent great

yay!

The New Yorker’s YouTube channel has five of the nominated short films (2 animated, 2 docs, 1 live action).

I just finished Stranger at the Gate, one of the documentary short nominees. Not totally sure how I feel about it but it is definitely compelling - about a war vet with ptsd who comes to the brink of committing a mass shooting.

btw in case you're curious, a quick search on these platforms will find these various shorts, all ranging from about 7 to 40 minutes.

Documentary Short
THE ELEPHANT WHISPERERS - Netflix

HAULOUT - YouTube

HOW DO YOU MEASURE A YEAR? - not currently on streaming

THE MARTHA MITCHELL EFFECT - Netflix

STRANGER AT THE GATE - YouTube

Animated Short
THE BOY, THE MOLE, THE FOX AND THE HORSE - AppleTV+

THE FLYING SAILOR - YouTube

ICE MERCHANTS - YouTube

MY YEAR OF DICKS - Vimeo

AN OSTRICH TOLD ME THE WORLD IS FAKE AND I THINK I BELIEVE IT - not on streaming

Live Action Short
AN IRISH GOODBYE - not on streaming

IVALU - not on streaming

LE PUPILLE - Disney+

NIGHT RIDE - YouTube

THE RED SUITCASE - not on streaming

Haulout dropped my jaw

night ride sucks
my year of dicks and the ostrich short are both pretty good

Yeah, Night Ride was a big disappointment; Ivalu was even worse

I liked Haulout too.

The more I think about Stranger at the Gate, the more I wish it were a much longer doc. At ~25 minutes it really simplifies what was likely an extremely layered and complex reality.

In the animated category, The Ice Merchants and The Flying Sailor both had nice animation styles but the narratives were kinda nothing, just excuses to draw something. I didn't really care for My Year of Dicks. It was just OK. The Boy, The Mole etc is the only one in the category that actually seemed made for kids and maybe that's why I found it so touching. There were things in it that, maybe coincidentally, felt like things I needed to hear. I didn't see the Ostrich film.

hahaha @ that wendell pierce tweet

jesus he just doubles, triples, and quadruples down on that dumb statement the further down the thread you go. I haven't even seen this film and I knew what it was about.

Riseborough's a good actress but this film looks slight. I should watch it.

― POLIZISTEN VERSINKEN IM SCHLAMM (forksclovetofu), Saturday, January 28, 2023 12:25 AM (two days ago) bookmarkflaglink

Please report back--I'm skeptical when a non-American actress gets raves for playing a gritty role with an American accent. (Do American actresses simply never get a chance at these roles, or do the critics not pay attention when they do?)

British/Irish actors get raves for playing Americans all the time. And they are really good at it. I will watch this film. The hype for it seems kind of manufactured to me though

it does, yet, everyone I know who watched it loved it (this is three people) so maybe the hype is justified. dunno guess I'll watch it later this week.

mescal’s scottish accent is actually half decent

Watched the Navalny doc in HBO today—worth watching for the middle section when they figure out who attempted his assassination and how they did it. Really a mind blowing scene.

Mike D'Angelo's started up his annual unveiling of the Skandies with the 20th place finishers:

Picture: Benediction (36/5)
Director: James Vaughan, Friends and Strangers (36/3)
Actress: Anna Cobb, We're All Going to the World's Fair (30/3)
Actor: RJ Cyler, Emergency (40/4)
S. Actor: Dave Bautista, Glass Onion (40/3)
S. Actress: Anne Hathaway, Armageddon Time (35/4)
Screenplay: Emmanuel Mouret, The Things We Say, the Things We Do (31/3)
Scene: [Arrgh!] (30/3)

Because a lot of voters lazily allotted 10 points across the board in Scene this year, there's actually a fucking six-way tie for #20, as that's how many films wound up with 30 points from three votes. Here they are, with a link to the scene in question (or part of it) if I could quickly find it on YouTube:

• Bonfire, Bones and All
• Eve's kitchen, Confess, Fletch
• Benoit Blanc vs. Gillian Flynn, Glass Onion
• "KIMI, play 'Sabotage,'" KIMI
• Lydia's new gig (final scene), TÁR
• "New Body Rhumba," White Noise

Benediction just barely making the top 20 is a flat out crime

it’s hard to see most of these films winning the Academy Award for Best Picture honestly. Top Gun is way too up its ass in being macho and it is pedestrian and not of the moment, Everything Everywhere All At Once is a mess and is super chaotic and hard to watch, The Banshees of Inisherin is as my sister says a completely pointless film albeit with good acting, The Triangle of Sadness has some elements of interest but it should have had an hour of it cut out easily, Elvis was a few electrifying performance scenes in a very long and flaccid movie, Women Talking is not going to win let’s be real, All Quiet On the Western Front was so tedious, and Avatar, come on.

That leaves The Fabelmans and Tár. One of those two has to win Best Picture imo

Those are the only two I particularly like and neither has a shot

I did a double feature of All Quiet and Top Gun, which just made TG all the more laughable.

Started watching All Quiet... tonight; I'm about an hour in and it's pretty good so far. The only thing I don't like is the stupid three-note score. This movie shouldn't have any music at all.

Everything Everywhere is still considered the favorite, right? It certainly has its enthusiasts, though it also seems like a movie that you're either on board with or you're not. With ranked-choice voting, I could see Everything Everywhere getting a plurality (but not a majority) of 1st-place votes -- but then Banshees overtaking it with more 2nd- and 3rd-place votes.

That's the going theory, that Banshees will CODA its way to a surprise win. (It'd be just about dead last on my ballot.)

Still, the raw enthusiasm factor may be enough this contest:

Biggest applause-getters when their names were announced: Everyone from EEAAO (the actors, the directors, and producer Jonathan Wang) Colin Farrell, Nan Goldin, and Tom Cruise

— Kyle Buchanan (@kylebuchanan) February 13, 2023

All Quiet was as pointless and dreadful as I feared. I think it's gonna beat EEAAO for the best picture Oscar, for sure.

After the BAFTAs win, it's putting me in the position of suddenly rooting for EEAAO, which would at least be an interesting Oscar winner, even if I'm lukewarm on the movie itself.

(Interestingly, though, of the previous eight BAFTA Best Film winners, only one -- Nomadland -- went on to win the Oscar.)

Just finished watching Close, my first from the director. Visually beautiful, but too visual. It starts on identity, before turning to grief / trauma. The first 20 minutes are quite perfect, you think of Malick. But after that, there's an event where I had to suspend my judgment to let the film go, which is "fine, ok". But then it becomes heavy-handed, and it drowns in repetition, and the narrative becomes sluggish. Especially, I found the lack of meaningful dialogue irritating, for example the choice to depict the children entirely cut out from parents and adults is rather unrealistic. I would still recommend a watch to make your own opinion.

With each nominee I catch up with, I get increasingly irritated at The Fabelmans’ inevitable across the board snub

If it weren’t a preferential ballot I’d say EEAAO has it in the bag, but I expect a LOT of last-place votes for that one

I still haven’t seen EEAAO, The Fablemans, or Tar, but I’ve been catching up on a lot of the other films that have been nominated across the categories and thus far it’s all just really underwhelming.

All Quiet was as pointless and dreadful as I feared. I think it's gonna beat EEAAO for the best picture Oscar, for sure.

― عباس کیارستمی (Eric H.),

Really?!

Here's the thing that I still don't get about All Quiet, which tbf I haven't seen: I know ppl are impressed by the technical achievements, but are they connecting with it emotionally? I really haven't gotten any sense of that, which is why it's hard for me to believe it as a Best Picture winner.

"That's the going theory, that Banshees will CODA its way to a surprise win"

On an elemental emotional level I loved CODA so much more than Banshees. I'm not that on board with the almost certain win for Everything Everywhere All at Once. I think The Fabelmans and Tár were the best of these

All Quiet was as pointless and dreadful as I feared. I think it's gonna beat EEAAO for the best picture Oscar, for sure.
― عباس کیارستمی (Eric H.),

Really?!
― Malevolent Arugula (Alfred, Lord Sotosyn), Saturday, February 25, 2023 4:29 PM

I honestly don't really know. Maybe tomorrow's SAG awards will make me feel better about predicting an EEAAO win, but the people who hate it really hate it and are not a small group of people in general.

Thought One Fine Morning was okay--so determined to be quiet and observant, though, that it could have used...I really don't know; something. I liked Eden from a few years ago better.

Now that Everything Everywhere All At Once has won the DGA, PGA and SAG awards, it will inevitably win the Oscar. I really liked the speeches given by the winners at the SAG awards

It got three of the four acting wins as well as Ensemble. The Jamie Lee Curtis win was a surprise, and she gave a great speech

SAG award winner Biff Wiff

Agreed that EEAAO has solidified its chances as the Oscar favorite, though there's an argument that All Quiet missed out on guild nominations only because it crested too late and, now that people have seen it, it has the momentum to take Best Picture. I'm skeptical of that, but also not 100% sure about EEAAO.

Can't remember the last time that 3/4 acting nominees felt so up in the air before the Oscars.

Was gonna say just that … for even two to be real toss ups in the final stages is really rare at this point

All Quiet on the Western Front won't win Best Picture.

I think Cate Blanchett gave the best performance of the year, in any category. It was so fierce and memorable

I also really liked Michelle Yeoh and will be happy if either of them wins

my favorites are

Cate Blanchett

Colin Farrell, give him the Oscar already

Brian Tyree Henry, who I think illuminated a believable and lived-in character who revealed who he was without many words but with a mesmerizing performance

Stephanie Hsu or Jamie Lee Curtis or Kerry Condon, can't decide

Meantime, an urgent and key thread

In honour of the fact that there is now one week left until the Oscars, here is Kate Bush as each of the ten Best Picture nominees. 🧵

— 𝕋𝕠𝕞𝕒𝕤 (@cinema_gay) March 5, 2023

I maybe obliged to do that, but with Björk, before the week is up

https://www.hollywoodreporter.com/movies/movie-features/oscars-brutally-honest-ballot-top-gun-riseborough-1235342054/