By Ray Pride Pride@moviecitynews.com

Online Film Critics Society Announces Winners

Posted Wednesday, January 4th, 2017 - Comments Off on Online Film Critics Society Announces Winners
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2016 ONLINE FILM CRITICS SOCIETY AWARDS – WINNERS PRESS RELEASE

The powerful coming-of-age drama Moonlight dominated the 2016 Online Film Critics Society Awards, winning a total of four awards out of seven nominations.

The film beat out competition from La La Land, Arrival, Jackie and Manchester by the Sea amongst others to be named Best Picture. Barry Jenkins won Best Director and Mahershala Ali and Naomie Harris won Best Supporting Actor and Best Supporting Actress, respectively.

The Online Film Critics Society’s Governing Committee said, “We’d like to congratulate all involved with Moonlight for the power and humanity of this extraordinary film. Topical and relevant, it is a timely reminder of that which unites us being greater than that which divides us.”

Damien Chazelle’s La La Land, which tied with Moonlight for seven nominations, won in the Best Editing and Best Cinematography categories.

Casey Affleck won Best Actor for his portrayal of a man consumed by grief in Manchester By the Sea, adding another accolade to the over 30 awards he has already garnered for the performance. Natalie Portman was named Best Actress for her portrayal of Jacqueline Kennedy in the days following the assassination of JFK in Pablo Larraín’s Jackie. Both actors are hotly tipped as Oscar favorites for their performances at the Academy Awards on 26th February.

Laika’s anime-flavored stop-motion fantasy Kubo and the Two Strings won Best Animated Feature. Kubo… won over three Disney nominees, Finding Dory, Moana and Zootopia, plus the dialogue free The Red Turtle, a Belgian-French-Japanese production with involvement from Studio Ghibli.

The Handmaiden, from South Korean director Park Chan-wook, won Best Film Not in the English Language, while O.J.: Made in America, Ezra Edelman’s epic dissection of celebrity and racial discord in latter 20th-century America, was awarded Best Documentary.

Best Original Screenplay went to Taylor Sheridan for his recession crime thriller Hell or High Water. Eric Heisserer won Best Adapted Screenplay for Arrival, adapting Ted Chiang’s short story, “Story of Your Life”.

Three Special Awards were voted for by the OFCS membership, all of them Memorials reflecting the number of cherished entertainers lost in 2016. These Memorial Awards were named for Carrie Fisher, Alan Rickman & Gene Wilder.

Alongside the films in competition, 10 films not released in the US were selected by the membership for special note. These include Hirokazu Kore-eda’s After the Storm, The Dardennes Brothers’ The Unknown Girl, Bertrand Bonello’s Nocturama, Hong Sang-soo’s Yourself and Yours and Colm McCarthy’s The Girl with All the Gifts.

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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