By Ray Pride Pride@moviecitynews.com

African American Film Critics Association Names Get Out Top Film of 2017

Posted Tuesday, December 12th, 2017 - Comments Off on African American Film Critics Association Names Get Out Top Film of 2017
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AFRICAN AMERICAN FILM CRITICS ASSOCIATION NAMES “GET OUT” TOP FILM OF 2017

 Daniel Kaluuya, Frances McDormand, Laurence Fishburne and Tiffany Haddish  Earn Acting Wins from the Nation’s Premiere Black Critics Group

Los Angeles, CA (December 12, 2017) – Jordan Peele’s seismic thriller GET OUT captured the most wins from the members of the African American Film Critics Association (AAFCA). Released early in 2017, the film earned Best Film, Best Directing, Best Acting and Best Screenplay recognition from the world’s largest group of professional Black film critics.

In addition to acting newcomer Daniel Kaluuya, AAFCA also recognized Frances McDormand for her tough-as-nails performance as a grieving mom in THREE BILLBOARDS OUTSIDE EBBING MISSOURI. Laurence Fishburne and Tiffany Haddish won Best Supporting nods for their performances in LAST FLAG FLYING and GIRLS TRIP, while actor Lakeith Stanfield (who also appears in GET OUT) earned Breakout Star for his lead role in CROWN HEIGHTS, which also won the group’s Best Independent Award.

“The films released in 2017 captured a plethora of lifestyles, experiences and emotions that allowed our members to engage with a different range of storylines from previous years,” stated AAFCA co-founder and president, Gil Robertson. “The success of GIRLS TRIP, the first R-rated film starring an all-Black female cast to surpass $100 million, and GET OUT, Jordan Peele’s directorial debut which surpassed $250 million worldwide, prove just how viable Black films are across the board. Also, GOOK, with its Asian-centered storyline, and COCO, the animated film spotlighting Dia de los Muertos, the revered Mexican tradition, provided our membership with an opportunity to recognize storylines that are relevant to communities that have not previously been included on our list. Overall, it was a great year for cinema that reflects the diverse and complicated world that we live in.”

“AAFCA’s Top 10 lists in Film and TV represent the organization’s commitment to an expanded analysis of both mediums,” stated AAFCA co-founder Shawn Edwards.  “While content targeting Black audiences dominates both charts, AAFCA is pleased to acknowledge and recognize content that represents the global community.  This wave of new content thrives in an environment where multiple voices are welcomed and championed. Inclusion is a win for everybody, especially audiences.”

As previously announced the 2018 AAFCA Awards Program will include two ceremonies – a Special Achievement Luncheon Sponsored by Morgan Stanley on February 3, 2018 at the California Yacht Club and the AAFCA Awards sponsored by Nissan on February 7, 2018 at the Taglyan Complex in Hollywood. For more information, please visit www.AAFCA.com.

The following is a complete list of 2017 AAFCA Awards winners. 

  1. BEST PICTURE: GET OUT (Universal Pictures)
  2. BEST DIRECTOR: JORDAN PEELE – GET OUT (Universal Pictures)
  3. BEST ACTOR: DANIEL KALUUYA – GET OUT (Universal Pictures)
  4. BEST ACTRESS: FRANCES McDORMAND – THREE BILLBOARDS OUTSIDE EBBING MISSOURI (Fox Searchlight)
  5. BEST SUPPORTING ACTOR: LAURENCE FISHBURNE – LAST FLAG FLYING (Amazon Studios/Lionsgate)
  6. BEST SUPPORTING ACTRESS: TIFFANY HADDISH – GIRLS TRIP (Universal Pictures)
  7. BEST COMEDY: GIRLS TRIP (Universal Pictures)
  8. BEST ENSEMBLE: DETROIT (Annapurna Pictures)
  9. BEST INDEPENDENT: CROWN HEIGHTS (Amazon Studios/IFC Films)
  10. BEST ANIMATED: COCO (Disney/Pixar)
  11. BEST DOCUMENTARY: STEP (Fox Searchlight)
  12. BEST FOREIGN: THE WOUND (Kino Lorber)
  13. BEST SCREENPLAY: GET OUT (Universal Pictures)
  14. BEST SONG: “IT AINT FAIR” – DETROIT – THE ROOTS featuring BILAL (Motown Records)
  15. BEST NEW MEDIA: MUDBOUND (Netflix)
  16. BEST TV SERIES (COMEDY): BLACKISH (ABC)
  17. BEST TV SERIES (DRAMA): QUEEN SUGAR (OWN)
  18. BREAKOUT: LAKEITH STANFIELD – CROWN HEIGHTS (Amazon Studios/IFC Films)

AAFCA TOP 10 FILMS OF 2017

  1. GET OUT (Universal Pictures)
  2. THREE BILLBOARDS OUTSIDE EBBING MISSOURI (Fox Searchlight)
  3. COCO (Disney/Pixar)
  4. GIRLS TRIP (Universal Pictures)
  5. DETROIT (Annapurna Pictures)
  6. CALL ME BY YOUR NAME (Sony Pictures Classics)
  7. THE SHAPE OF WATER (Fox Searchlight)
  8. GOOK (Samuel Goldwyn Films)
  9. CROWN HEIGHTS (Amazon Studios/IFC Films)
  10.  MARSHALL (Open Road Films)

 

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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