Awards Watch Archive for January, 2012

The Top Tens of 2011: 210 Lists And Counting

The top 20 stay the top 20, but Drive has moved around The Artist into the third position. The Tree of Life is too far out in front to chase, but overtaking The Descendants may still be possible.

See the individual Top Ten lists here.

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Critics Top Ten List 2011: Mal Vincent

“One of the funniest and most humane comedy-dramas of the year, this is about a young man who is presumably dying of cancer. Sure, the minute you read that sentence, you plan to stay away. You shouldn’t, and a surprising number of you didn’t. “

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Critics Top Ten List 2011: Peter Martin

My Top 10 released in the US.

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Critics Top Ten List 2011: Stephen Bradley

“There wasn’t a film this year that boasted more style or had a firmer idea how to effectively employ that style than “Drive.”

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Critics Top Ten List 2011: Gene Triplett

“You can dress up a turkey in IMAX, 3-D and ear-shattering Surround Sound and throw it up on the biggest screen in town, but if there’s no great story, direction or acting to go with the visual feast, it’s still just a big fat turkey that gobbles loudly. Here are 10 that weren’t turkeys in 2011. ”

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Critics Top Ten List 2011: Susan Tavernetti

“Infectiously joyful and charming, this black-and-white love letter to the movies reminds us that cinema is a universal language — no dialogue needed.”

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Critics Top Ten List 2011: Tyler Hanley

“Mastermind director Martin Scorsese’s longstanding affection for all things cinema is colorfully showcased in the enchanting “Hugo.” Scorsese paints a rich tapestry in adapting the Brian Selznick novel “The Invention of Hugo Cabret,” presenting a vibrant 1930s Paris with exceptional costuming, set design and cinematography.”

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Critics Top Ten List 2011: Peter Canavese

“No studio release this year was more ambitious, emotional or elegant than Terrence Malick’s searching epic about our place in a family, a town, a galaxy, the universe.”

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Critics Top Ten List 2011: Keith Cohen

Number One: Hugo

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Critics Top Ten List 2011: Carol Hemphill

“This picture begins by shocking. Before the end, it becomes twisted and grotesque; a disturbing vision fully realized by Pedro Almodovar.”

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Critics Top Ten List 2011: Kent Tentschert

“One of the most beautiful films of the year. This fictional account of Butch Cassidy’s later life is sad, poignant and emotional.”

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Oscar Gets His Own Trailer

Oscar Gets His Own Trailer

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The Oscars Get A Trailer

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Critics Top Ten List 2011: Brandy McDonnell

Brandy McDonnell The Oklahoman 1. The Artist 2. Drive 3. War Horse 4. Buck 5. The Girl With the Dragon Tattoo 6. Project Nim 7. Hanna 8. Hugo 9. Shame 10. The Way

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Critics Top Ten List 2011: Sara Vizcarrondo

Sara Vizcarrondo Box Office Magazine Tinker Tailor Soldier Spy Tabloid Certified Copy Drive No Strings Attached Martha Marcy May Marlene Rise Of The Planet Of The Apes Fright Night Love Exposure Tucker & Dale vs. Evil

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Critics Top Ten List 2011: Scott Renshaw

Scott Renshaw Charleston City Paper 1. Certified Copy 2. The Muppets 3. Martha Marcy May Marlene 4. We Need to Talk About Kevin 5. A Separation 6. Like Crazy 7. The Tree of Life 8. Drive 9. The Last Lions 10. Meek’s Cutoff

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Critics Top Ten List 2011: Anders Wright

Anders Wright San Diego City Beat The Descendants The Double Hour Drive Extremely Loud and Incredibly Close Of Gods and Men Hugo Into the Abyss Midnight in Paris Project Nim The Tree of Life Warrior

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Critics Top Ten List 2011: Orlando Weekly

Justin Stout, Rob Boylan, William Goss Orlando Weekly 1. The Tree of Life 2. The Descendants 3. Circumstance 4. Hesher 5. Hugo 6. Source Code 7. Being Elmo, Buck 8. Hanna 9. 50/50 10. Take Shelter

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Critics Top Ten List 2011: Brad Brevet

Brad Brevet Rope Of Silicon 1. DRIVE 2. HANNA 3. MIDNIGHT IN PARIS 4. WE NEED TO TALK ABOUT KEVIN 5. EXTREMELY LOUD AND INCREDIBLY CLOSE 6. MARTHA MARCY MAY MARLENE 7. THE ADJUSTMENT BUREAU 8. TYRANNOSAUR 9. MONEYBALL 10. BELLFLOWER

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Critics Top Ten List 2011: Clint O’Connor

Clint O’Connor Cleveland Plain Dealer 1. Margin Call 2. A Dangerous Method 3. Shame 4. The Tree of Life 5. Poetry 6. The Help 7. The Descendants 8. Harry Potter and the Deathly Hallows – Part 2 9. Another Earth 10. Bill Cunningham New York

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Awards Watch

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