Phoenix Film Critics

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

Best Picture
The Aviator

Best Director
Martin Scorsese, The Aviator

Best Performance by an Actor in a Leading Role
Jaime Foxx, Ray

Best Performance by an Actress in a Leading Role
Hillary Swank, Million Dollar Baby

Best Performance by an Actor in a Supporting Role
Thomas Haden Church, Sideways

Best Performance by an Actress in a Supporting Role
Laura Linney, Kinsey

Best Ensemble Acting

Best Screenplay written directly for the screen
Charlie Kaufman, Eternal Sunshine of the Spotless Mind

Best Screenplay adapted from another medium
Alexander Payne & Jim Taylor, Sideways

Overlooked Film of the Year
Stage Beauty

Best Live Action Family Film
Harry Potter and the Prisoner of Azkaban

Best Animated Film
The Incredibles

Best Foreign Language Film

Best Documentary Film
Fahrenheir 9/11

Best Original Song
Accidentally in Love, Shrek 2

Best Original Score

Best Use of Previously Published or Recorded Music

Best Cinematography
The Aviator

Best Editing
Eternal Sunshine of the Spotless Mind

Best Production Design
The Aviator

Best Costume Design
The Aviator

Best Visual Effects
Sky Captain and the World of Tomorrow

Best Makeup
Lemony Snicket’s A Series of Unfortunate Events

Breakout of the Year – On Screen
Paz Vega, Spanglish

Breakout of the Year – Behind the Camera
Zach Braff, Garden State

Best Performance by Youth in a Leading or Supporting Role – Male
Freddie Highmore, Finding Neverland

Best Performance by Youth in a Leading or Supporting Role – Female
Sarah Steele, Spanglish

Top Ten Films
(in alphabetical order)
The Aviator
Eternal Sunshine of the Spotless Mind
Finding Neverland
Hotel Rwanda
The Incredibles
Million Dollar Baby

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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