Online Film Critics Awards

2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010 | 2012 | 2013

WINNERS

Best Picture
Lord of the Rings:
The Return of the King
Producers: Peter Jackson, Barrie M. Osborne & Fran Walsh

Best Director
Peter Jackson
Lord of the Rings: Return of the King


Best Actor
Bill Murray
Lost in Translation

Best Actress
Naomi Watts
21 Grams

Best Supporting Actor
Peter Sarsgaard
Shattered Glass

Best Supporting Actress
Shohreh Aghdashloo
House of Sand and Fog

Best Original Screenplay
Sofia Coppola
Lost in Translation


Best Adapted Screenplay
Philippa Boyens, Peter Jackson & Fran Walsh
Lord of the Rings: Return of the King


Best Cinematography
Andrew Lesnie
Lord of the Rings: Return of the King

Best Original Score
Howard Shore
Lord of the Rings: Return of the King

Best Foreign Language Film
City of God

Best Documentary
Capturing the Friedmans


Breakthrough Filmmaker
Shari Springer Berman
& Robert Pulcini
American Splendor

Breakthrough Performance

Keisha Castle-Hughes
Whale Rider

Best Animated Feature
Finding Nemo

Best Visual Effects
Lord of the Rings:
Return of the King

Best Art Direction
Lord of the Rings:
Return of the King

Best Costume Design
Lord of the Rings:
Return of the King

Best Sound
Lord of the Rings:
Return of the King

NOMINATIONS

Best Picture

  • City of God (Producers: Mauricio Andrade Ramos & Andrea Barata Ribeiro)
  • Kill Bill: Volume 1 (Producer: Lawrence Bender)
  • The Lord of the Rings: The Return of the King (Producers: Peter Jackson, Barrie M. Osborne & Fran Walsh)
  • Lost in Translation (Producers: Sofia Coppola & Ross Katz)
  • Mystic River (Producers: Clint Eastwood, Judie Hoyt & Robert Lorenz)

Best Director

  • Sofia Coppola – Lost in Translation
  • Clint Eastwood- Mystic River
  • Alejandro González Iñárritu – 21 Grams
  • Peter Jackson – The Lord of the Rings: The Return of the King
  • Quentin Tarantino – Kill Bill: Volume 1

Best Actor

  • Johnny Depp – Pirates of the Caribbean: The Curse of the Black Pearl
  • Paul Giamatti – American Splendor
  • Ben Kingsley – House of Sand and Fog
  • Bill Murray – Lost in Translation
  • Sean Penn – Mystic River

Best Actress

  • Angela Bettis – May
  • Scarlett Johannson – Lost in Translation
  • Charlize Theron – Monster
  • Uma Thurman – Kill Bill: Volume 1
  • Naomi Watts – 21 Grams

Best Supporting Actor

  • Sean Astin – The Lord of the Rings: The Return of the King
  • Alec Baldwin – The Cooler
  • Tim Robbins – Mystic River
  • Peter Sarsgaard – Shattered Glass
  • Andy Serkis – The Lord of the Rings: The Return of the King

Best Supporting Actress

  • Shohreh Aghdashloo – House of Sand and Fog
  • Maria Bello – The Cooler
  • Patricia Clarkson – Pieces of April
  • Holly Hunter – Thirteen
  • Renee Zellweger – Cold Mountain

Best Original Screenplay

  • Guillermo Arriaga – 21 Grams
  • Sofia Coppola – Lost in Translation
  • Thomas McCarthy – The Station Agent
  • Jim Sheridan, Kirsten Sheridan & Naomi Sheridan – In America
  • Quentin Tarantino – Kill Bill: Volume 1

Best Adapted Screenplay

  • Shari Springer Berman & Robert Pulcini – American Splendor
  • Philippa Boyens, Peter Jackson & Fran Walsh – The Lord of the Rings: The Return of the King
  • Don Coscarelli – Bubba Ho-tep
  • Brian Helgeland – Mystic River
  • Billy Ray – Shattered Glass

Best Cinematography

  • Andrew Lesnie – The Lord of the Rings: The Return of the King
  • Robert Richardson – Kill Bill: Volume 1
  • Eduardo Serra – Girl with a Pearl Earring
  • John Toll – The Last Samurai
  • Olli Barbé, Michel Benjamin, Sylvie Carcedo-Dreujou, Laurent Charbonnier, Luc Drion, Laurent Fleutot, Philippe Garguil, Dominique Gentil, Bernard Lutic, Thierry Machado, Stéphane Martin, Fabrice Moindrot, Ernst Sasse, Michel Terrasse & Thierry Thomas – Winged Migration

Best Original Score

  • Klaus Badelt – Pirates of the Caribbean: The Curse of the Black Pearl
  • Brian Reitzell & Kevin Shields – Lost in Translation
  • RZA – Kill Bill: Volume 1
  • Howard Shore – The Lord of the Rings: The Return of the King
  • Hans Zimmer – The Last Samurai

Best Documentary

  • Capturing the Friedmans
  • The Fog of War
  • Lost In La Mancha
  • Spellbound
  • Winged Migration

Best Foreign Language Film

  • The Barbarian Invasions
  • City of God
  • Irreversible
  • The Man Without a Past
  • The Triplets of Belleville

Breakthrough Filmmaker

  • Shari Springer Berman & Robert Pulcini – American Splendor
  • Niki Caro – Whale Rider
  • Fernando Meirelles – City of God
  • Billy Ray – Shattered Glass
  • Peter Sollett – Raising Victor Vargas

Breakthrough Performance

  • Keisha Castle-Hughes – Whale Rider
  • Peter Dinklage – The Station Agent
  • Chiwetel Ejiofor – Dirty Pretty Things
  • Keira Knightley -Bend It Like Beckham
  • Cillian Murphy – 28 Days Later

Best Animated Feature

  • Cowboy Bebop: The Movie
  • Finding Nemo
  • Looney Tunes: Back in Action
  • Millennium Actress
  • The Triplets of Belleville

Best Visual Effects

  • Kill Bill: Volume 1
  • The Lord of the Rings: The Return of the King
  • Master and Commander: The Far Side of the World
  • Pirates of the Caribbean: The Curse of the Black Pearl
  • X2: X-Men United

Best Art Direction

  • Down with Love
  • Girl with a Pearl Earring
  • Kill Bill: Volume 1
  • The Lord of the Rings: The Return of the King
  • Master and Commander: The Far Side of the World

Best Costume Design

  • Down with Love
  • Girl with a Pearl Earring
  • Kill Bill: Volume 1
  • The Lord of the Rings: The Return of the King
  • Pirates of the Caribbean: The Curse of the Black Pearl

Best Sound

  • 28 Days Later
  • Kill Bill: Volume 1
  • The Lord of the Rings: The Return of the King
  • Master and Commander: The Far Side of the World
  • Pirates of the Caribbean: The Curse of the Black Pearl
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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon