Awards Watch Archive for December, 2012

Critics Top Ten List 2012: Tim Grierson

1. The Turin Horse
2. Elena
3. The Master
4. Compliance
5. It’s Such a Beautiful Day
6. Room 237
7. Zero Dark Thirty
8. Detropia
9. Amour
10. Holy Motors

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Critics Top Tens Update

The first 100 lists and Zero Dark Thirty leads the Top Tens by a significant margin. Further down the list, The Dark Knight Rises and The Sessions move into the Top 20, and The Master makes a leap forward. Still lots more lists to come …

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Critics Top Ten List 2012: Pete Timmerman

Beasts of the Southern Wild
The Invisible War
It’s Such a Beautiful Day
The Master
Not Fade Away
Beauty is Embarassing
Django Unchained
Moonrise Kingdom
The Secret World of Arrietty
The Perks of Being a Wallflower

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Critics Top Ten List 2012: Neil Rosen

Django Unchained
Argo
Flight
Game Change
21 Jump Street
Promised Land
The Impossible
Les Miserables
Men in Black III
360

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Critics Top Ten List 2012: Sarah Boslaugh

Zero Dark Thirty
Beasts of the Southern Wild
Lincoln
Moonrise Kingdom
The Kid with a Bike

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Critics Top Ten List 2012: Andrew Quinn

The Dark Knight Rises
Argo
Skyfall
Looper
The Hobbit: An Unexpected Journey
Sightseers
End of Watch
Ruby Sparks
Killing Them Softly
The Avengers

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Critics Top Ten List 2012: Kirk Baird

Argo
The Avengers
The House I Live In
The Imposter
Life of Pi
Lincoln
Ruby Sparks
Searching for Sugar Man
Silver Linings Playbook
Zero Dark Thirty

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Critics Top Ten List 2012: Wesley Morris

The Master
How to Survive a Plague
The Paperboy
Amour
Django Unchained
Moonrise Kingdom
Polisse
Holy Motors
Once Upon a Time in Anatolia
21 Jump Street

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Critics Top Ten List 2012: Ty Burr

Beasts of the Southern Wild
Amour
Zero Dark Thirty
Moonrise Kingdom
Holy Motors
Lincoln
Argo
Django Unchained
This is Not a Film
Oslo August 31st

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Critics Top Ten List 2012: Mick LaSalle

Lincoln
Django Unchained
Zero Dark Thirty
The Deep Blue Sea
The Waiting Room
Argo
The Details
Two Days in New York
Farewell My Queen
28 Hotel Rooms

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Thomson Sez Amour Is A Good Excuse For Him To Belittle Or Dismiss Every Other 2012 Film

Thomson Sez Amour Is A Good Excuse For Him To Belittle Or Dismiss Every Other 2012 Film

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Critics Top Ten List 2012: Jesse Hawthorne Ficks, SF Bay Guardian

1. Cosmopolis
2. In the Family
3. The Master
4. The Comedy
5. Florentina Hubaldo CTE
6. Shanghai
7. Holy Motors
8. The Grey
9a. Your Sister’s Sister
9b. Jeff, Who Lives At Home
10. Lotus Community Workshop
11. ParaNorman
12-14 [tie]. A Simple Life, Amour, The Turin Horse
15. Compliance
16. The Kid With a Bike
17. Beasts of the Southern Wild
18. Universal Soldier: Day of Reckoning
19. John Carter
20. The Dark Knight Rises

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Critics Top Ten List 2012: Dennis Harvey, SF Bay Guardian

Beasts of the Southern Wild
Bernie
Fat Kid Rules the World
The Eye of the Storm
Footnote
Girl Walk//All Day
Holy Motors
The Hunter
In Darkness
Keep the Lights On
Klown
Lincoln
The Master
Michael
Moonrise Kingdom
Natural Selection
Oslo, August 31st
Safety Not Guaranteed
Silver Linings Playbook
Sister
Skyfall
21 Jump Street
Wreck-It Ralph

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Critics Top Ten List 2012: Marc Mohan, Oregonian

1. The Master
2. Cloud Atlas
3. The House I Live In
4. Django Unchained
5. Compliance
6. The Grey
7. Argo
8. Silver Linings Playbook
9. Zero Dark Thirty
10. Chronicle

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Critics Top Ten List 2012: Dennis Hartley, Hullabaloo

Applause
Dark Horse
Killer Joe
Paul Williams: Still Alive
Rampart
Samsara
Skyfall
The Master
The Story of Film: an Odyssey
Your Sister’s Sister

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Critics Top Ten List 2012: Charles Mudede, Seattle Stranger

1. Beats Being Dead
2. Mekong Hotel
3. Once Upon a Time in Anatolia
4. Elena
5. Where Do We Go Now?

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Critics Top Ten List 2012: Matt Prigge, Philadelphia Weekly

1. It’s Such a Beautiful Day
2. The Comedy
3. Cosmopolis
4. Moonrise Kingdom
5. The Loneliest Planet
6. The Deep Blue Sea
7. The Grey
8. Damsels in Distress
9. This Is Not a Film
10. Holy Motors

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Critics Top Ten List 2012: Sean Burns, Philadelphia Weekly

1. Moonrise Kingdom
2. Lincoln
3. Zero Dark Thirty
4. Killer Joe
5. Oslo, August 31st
6. Cosmopolis
7. Holy Motors
8. The Master
9. Once Upon a Time in Anatolia
10. This Is Not a Film

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Critics Top Ten List 2012: Gabe Toro, Playlist

1. Holy Motors
2. Moonrise Kingdom
3. Wuthering Heights
4. This Is Not A Film
5. Alps
6. The Master
7. Killing Them Softly
8. Amour
9. Magic Mike
10. Zero Dark Thirty

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Critics Top Ten List 2012: Christopher Bell, Playlist

1. This Is Not A Film
2. Elena
3. Once Upon A Time In Anatolia
4. Tabu
5. Almayer’s Folly
6. The Comedy/New Jerusalem
7. Snow On Tha Bluff
8. Oki’s Movie/The Day He Arrives
9. The Turin Horse
10. Amour

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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