Online Film Critics Awards

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

Nominations: January 10, 2006
Winners: January 16, 2006

Best Picture
A History of Violence

Best Director
David Cronenberg, A History of Violence

Best Actor
Philip Seymour Hoffman, Capote

Best Actress
Reese Witherspoon, Walk the Line

Best Supporting Actor
Mickey Rourke, Sin City

Best Supporting Actress
Maria Bello, A History of Violence

Best Original Screenplay
George Clooney and Grant Heslov, Good Night and Good Luck

Best Adapted Screenplay
Larry McMurtry & Diana Ossana, Brokeback Mountain

Best Cinematography
Robert Rodriguez, Sin City

Best Editing
Robert Rodriguez, Sin City

Best Score
Gustavo Santaolalla, Brokeback Mountain

Best Documentary
Grizzly Man

Best Foreign Language Films
Downfall

Best Animated Feature
Wallace & Gromit in The Curse of the Were-Rabbit

Breakthrough Filmmaker
Paul Haggis, Crash

Breakthrough Performer
Owen Kline, The Squid and the Whale

Nominations

Best Picture
Brokeback Mountain
Crash
Good Night and Good Luck
A History of Violence
Munich

Best Director
George Clooney, Good Night and Good Luck
David Cronenberg, A History of Violence
Ang Lee, Brokeback Mountain
Peter Jackson, King Kong
Steven Spielberg, Munich

Best Actor
Terrence Howard, Hustle & Flow
Heath Ledger, Brokeback Mountain
Joaquin Phoenix, Walk The Line
Philip Seymour Hoffman, Capote
David Straithairn, Good Night and Good Luck

Best Actress
Joan Allen, The Upside of Anger
Felicity Huffman, Transamerica
Keira Knightley, Pride and Prejudice
Naomi Watts, King Kong
Reese Witherspoon, Walk the Line

Best Supporting Actor
Matt Dillon, Crash
Paul Giamatti, Cinderella Man
Jake Gyllenhaal, Brokeback Mountain
William Hurt, A History of Violence
Mickey Rourke, Sin City

Best Supporting Actress
Amy Adams, Junebug
Maria Bello, A History of Violence
Catherine Keener, Capote
Rachel Weisz, The Constant Gardener
Michelle Williams, Brokeback Mountain

Best Original Screenplay
Woody Allen, Match Point
Noah Baumbach, The Squid and the Whale
George Clooney and Grant Heslov, Good Night and Good Luck
Paul Haggis & Bobby Moresco, Crash
Jim Jarmusch, Broken Flowers

Best Adapted Screenplay
Jeffrey Caine, The Constant Gardener
Dan Futterman, Capote
Tony Kushner & Eric Roth, Munich
Larry McMurtry & Diana Ossana, Brokeback Mountain
Josh Olson, A History of Violence

Best Cinematography
Christopher Doyle, Kwan Pun Leung and Yiu-Fai Lai, 2046
Robert Elswit, Good Night and Good Luck
Emmanuel Lubezki , The New World
Rodrigo Prieto, Brokeback Mountain
Robert Rodriguez, Sin City

Best Editing
Michael Kahn, Munich
Stephen Mirrione, Good Night and Good Luck
Robert Rodriguez, Sin City
Ronald Sanders , A History of Violence
Claire Simpson, The Constant Gardener

Best Score
James Horner, The New World
James Newton Howard and Hans Zimmer, Batman Begins
James Newton Howard, King Kong
Gustavo Santaolalla, Brokeback Mountain
John Williams, Munich

Best Documentary
The Aristocrats
Enron: The Smartest Guys in the Room
Grizzly Man
March of the Penguins
Murderball

Best Foreign Language Films
2046
Caché
Downfall
Kung Fu Hustle
Oldboy

Best Animated Feature
Howl’s Moving Castle
Madagascar
Robots
Tim Burton’s Corpse Bride
Wallace & Gromit in The Curse of the Were-Rabbit

Breakthrough Filmmaker
Judd Apatow, The 40-Year-Old Virgin
Craig Brewer, Hustle & Flow
Paul Haggis, Crash
Bennett Miller, Capote
Joe Wright, Pride and Prejudice

Breakthrough Performer
Nathan Fillion, Serenity
Georgie Henley, The Chronicles of Narnia
Tony Jaa, Ong-Bak
Q’Orianka Kilcher, The New World
Owen Kline, The Squid and the Whale

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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