Phoenix Film Critics

2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010 | 2011 | 2012 | 2013


Best Picture
Lord of the Rings: The Return of the King

Best Director
Peter Jackson ‘The Lord of the Rings: The Return of the King’

Best Actor
Ben Kingsley ‘House of Sand and Fog’

Best Actress
Naomi Watts ’21 Grams’

Best Supporting Actor
Alec Baldwin ‘The Cooler’

Best Supporting Actress
Patricia Clarkson ‘Pieces of April’

Best Ensemble Acting
21 Grams

Best Original Screenplay
In America

Best Adapted Screenplay
Lord of the Rings: The Return of the King

The Overlooked Must See Film
Pieces of April

Best Animated Film
Finding Nemo

Best Foreign Language Film
City of God

Best Original Song
Time Enough for Tears ‘In America’

Best Original Score
Lord of the Rings: The Return of the King

Best Use of Previously Published or Recorded Music
School of Rock

Best Cinematography
Lord of the Rings: The Return of the King

Best Film Editing
Lord of the Rings: The Return of the King

Best Production Design
Lord of the Rings: The Return of the King

Best Costume Design
Down With Love

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

Best Makeup
Lord of the Rings: The Return of the King

Best Breakout Performance – On Screen
Evan Rachel Wood ‘Thirteen’

Best Breakout Performance – Behind the Camera
Sophia Coppola ‘Lost in Translation’

Best Performance by a Youth – Male
Brett Kelly ‘Bad Santa’

Best Performance by a Youth – Female
Sarah Bolger ‘In America’

FILM AWARD NOMINATIONS FOR 2003

Best Picture
Finding Nemo
In America
Lord of the Rings: The Return of the King
Lost in Translation
Pirates of the Caribbean: The Curse of the Black Pearl

Best Director
Sofia Coppola ‘Lost in Translation’
Peter Jackson ‘The Lord of the Rings: The Return of the King’
Jim Sheridan ‘In America’
Gore Verginski ‘Pirates of the Caribbean: The Curse of the Black Pearl’
Peter Weir ‘Master and Commander: The Far Side of the World’

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 ’21 Grams’

Best Actress
Scarlett Johansson ‘Lost in Translation’
Scarlett Johansson ‘Girl with a Pearl Earring’
Diane Keaton ‘Something’s Gotta Give’
Naomi Watts ’21 Grams’
Evan Rachel Wood ‘Thirteen’

Best Supporting Actor
Sean Astin ‘Lord of the Rings: The Return of the King’
Alec Baldwin ‘The Cooler’
Benicio del Toro ’21 Grams’
Tim Robbins ‘Mystic River’
Ken Watanabe ‘The Last Samurai’

Best Supporting Actress
Patricia Clarkson ‘Pieces of April’
Hope Davis ‘American Splendor’
Holly Hunter ‘Thirteen’
Emma Thompson ‘Love Actually’
Renee Zellweger ‘Cold Mountain’

Best Ensemble Acting
A Mighty WInd
Lord of the Rings: The Return of the King
Love Actually
The Station Agent
21 Grams

Best Original Screenplay
In America
Lost in Translation
Pieces of April
Thirteen
21 Grams

Best Adapted Screenplay
American Splendor
Big Fish
House of Sand and Fog
Lord of the Rings: The Return of the King
Master and Commander: The Far Side of the World

The Overlooked Must See Film
A Mighty Wind
Down With Love
Pieces of April
Shattered Glass
The Station Agent

Best Live Action Family Film
Elf
Freaky Friday
Holes
Peter Pan
Secondhand Lions

Best Animated Film
Brother Bear
Finding Nemo
Looney Tunes Back in Action

Best Foreign Language Film
Barbarian Invasions
City of God
He Loves Me, He Loves Me Not
Man on the Train
Swimming Pool

Best Original Song
Here’s to Love ‘Down With Love’
Into the West ‘Lord of the Rings: The Return of the King’
Man of the Hour ‘Big Fish’
Time Enough for Tears ‘In America’
You Will Be My Ain True Love ‘Cold Mountain’

Best Original Score
A Mighty Wind
Big Fish
Cold Mountain
The Last Samurai
Lord of the Rings: The Return of the King

Best Use of Previously Published or Recorded Music
American Splendor
Elf
Love Actually
Mona Lisa Smile
School of Rock

Best Cinematography
Cold Mountain
The Last Samurai
Lord of the Rings: The Return of the King
Master and Commander: The Far Side of the World
Winged Migration

Best Film Editing
American Splendor
Kill Bill, Volume 1
Lord of the Rings: The Return of the King
Master and Commander: The Far Side of the World
21 Grams

Best Production Design
Down With Love
Girl with a Pearl Earring
The Last Samurai
Lord of the Rings: The Return of the King
Pirates of the Caribbean: The Curse of the Black Pearl

Best Costume Design
Down With Love
The Last Samurai
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

Best Visual Effects
Kill Bill, Volume 1
Lord of the Rings: The Return of the King
Matirx Revolutions
Pirates of the Caribbean: The Curse of the Black Pearl
Terminator 3: Rise of the Machines

Best Makeup
Big Fish
Lord of the Rings: The Return of the King
Pirates of the Caribbean: The Curse of the Black Pearl
The Singing Detective
Underworld

Best Breakout Performance – On Screen
Peter Dinklage ‘The Station Agent’
Scarlett Johansson ‘Lost In Translation’
Kiera Knightly ‘Bend It Like Beckham’
Keira Knightly ‘Pirates of the Caribbean: The Curse of the Black Pearl’
Evan Rachel Wood ‘Thirteen’

Best Breakout Performance – Behind the Camera
Sophia Coppola ‘Lost in Translation’
Peter Hedges ‘Pieces of April’
Tom McCarthy ‘The Station Agent’
Vadim Perelman ‘House of Sand and Fog’
Nikki Reed ‘Thirteen’

Best Performance by a Youth – Male
Brett Kelly ‘Bad Santa’
Shia LaBeouf ‘Holes’
Max Pirkis ‘Master and Commander: The Far Side of the World’
Thomas Sangster ‘Love Actually’
Jeremy Sumpter ‘Peter Pan’

Best Performance by a Youth – Female
Emma Bolger ‘In America’
Sarah Bolger ‘In America’
Jenna Boyd ‘The Missing’
Keisha-Castle Hughes ‘Whale Rider’
Evan Rachel Wood ‘Thirteen’

Be Sociable, Share!

Posted in Awards Watch, Scoreboards - Critics Awards | Comments Off on Phoenix Film Critics

Comments are closed.

Quote Unquotesee all »

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