Some Thoughts on the 2020 Oscar Nominations

Earlier this week the nominations for the 2020 Oscars were announced; and as expected there was controversy over who was nominated and who wasn't, especially in regards to race and gender. Greta Gerwig became the new Barbara Streisand as her adaptation of Louis May Alcott's Little Women garnered 6 nominations including Best Picture but she was left out of the Best Director line-up, which was completely absent of any women. I do wonder if the outcry over Gerwig's lack of a Best Director nomination will help her win Best Adapted Screenplay. Though if she wins there it'll feel like the Academy attempting to brush aside the problem. 

Todd Phillips' Joker led with 11 nominations, including Best Actor for its star Joaquin Phoenix and Best Picture. While I think they overdid it with the nominations I'll say it's incredible we're at a point where a film based on a comic book character can receive the most nominations from the Academy Awards. I do believe The Dark Knight paved the way for Joker, and Black Panther getting in last year. I remember the push to get Christopher Nolan's film to get in the Best Picture and Best Director race. Now with the expanded line-up, The Dark Knight would be a shoo-in for at least a nomination in both categories.

Could Joker win Best Picture? I know even the thought of the film winning gives certain people aneurysms. Many people believed the film would incite violence, claiming it appealed to incels, though the fact the film grossed a billion dollars and has received awards and nominations shows it appeals to people outside of that democratic. If Joker does win, there's a chance Best Director doesn't go to Phillips. Sam Mendes, who won Best Director 20 years ago for his debut film American Beauty, stands a very good shot at winning his second Oscar since his war epic 1917, crafted to look like one continuous shot, is perhaps the *most* directed of the Best Picture nominees, and the Academy often go for that kind of direction.

Then there's Quentin Tarantino, nominated for Once Upon a Time...in Hollywood, who's never won Best Director but has two screenwriting Oscars. Tarantino is arguably the most due of any Hollywood director right now, and if there's a film for which the Academy may finally give him Best Director, it's likely OUATIH, which feels like his most personal and humane film. Also, the film is a love letter to Hollywood, and the Academy has awarded films about itself in the past.

Brad Pitt appears to be a sure thing for OUATIH in the Best Supporting Actor category. He has the advantage of being the only nominee without an acting Oscar (he has one for producing Best Picture winner 12 Years a Slave) in this category. He also has the overdue factor and if he wins it'll be as much for his career as this particular performance. Joe Pesci could upset him. Martin Scorsese had to coax him out of retirement for The Irishman, so this will likely be Pesci's last appearance in a film. He has the sentimental factor, as does his co-star Al Pacino, who's nominated for the first since finally winning Best Actor for Scent of a Woman. I love Pacino and I think it's a shame he didn't win for either of the first two Godfather films, Serpico or Dog Day Afternoon. 

Tom Hanks received his first nomination in nearly 20 years (for Castaway) for playing Fred Rogers in A Beautiful Day in the Neighborhood. Hanks could win a third Oscar some day but I think this is a more of a "Welcome back Tom" nomination. The same goes for Anthony Hopkins in The Two Popes, his first nomination in 22 years, his last being for Amistad in this category.

As with Pitt, Laura Dern winning Best Supporting Actress for Marriage Story feels like a career win, though her speech about the double standards for men and women is a quintessential "Oscar scene." Her co-star Scarlett Johansson received not only her first Oscar nomination but two, Best Actress for Marriage Story, and in this category for JoJo Rabbit, Taika Waititi's satire about a boy in Nazi Germany whose imaginary friend is Adolf Hitler. 

While Renee Zellwegger's turn as Judy Garland in Judy has made her the de facto front-runner, I'm thinking Johansson could upset her here. I don't feel the passion around Judy and without Zellwegger  there'd likely be more of a narrative for Johansson winning. She's had a long career in Hollywood and has reinvented herself from child actress to indie darling. She became a sex symbol and Marvel hero. Now she's becoming somewhat of a character actress. And with Marriage Story having more support in other categories I think she genuinely has a shot. 

Saoirse Ronan received her fourth nomination for Little Women. An argument could be made she deserved to win for Gerwig's debut feature Lady Bird, the Academy likely feels they can get to her later. There's no urgency to reward her just yet.

Joaquin Phoenix has been the front-runner for Best Actor since Joker premiered at the Venice Film Festival back in September I feel he's pretty locked to win. He has the overdue factor as well as the big showy role. And if Joker wins awards through the night before Best Actor is announced, it'd be odd if its star is ignored. I also think Hildur Guonadottir could win Best Original Score for the film. She's already built up an impressive resume with her collaborations with Denis Villeneuve and Alejandro Inarritu and had a breakthrough year with Joker and the HBO miniseries Chernobyl.  She's only the seventh woman to be nominated for Best Original Score and would become the fourth recipient if she won. If the Academy feels they need to make up for the lack of female nominees this year it'd also help Gunadottir's chances. 

Thelma Schoonmaker, Martin Scorsese's long time editor, received her eighth nomination for The Irishman and has won three times previously for Raging Bull, The Aviator and The Departed.  I could see Parasite or Joker winning here. Joker feels like it could do really well on Oscar night though it could also under-perform. 

OUATIH missed out in editing; the editing nomination is seen as essential for a film to win Best Picture, with the exception of Birdman which was made to look like a continuous shot, which is likely the reason why 1917 also failed to receive an editing nomination as well. I think Best Picture is wide open. Parasite could become the first Foreign Language Best Picture winner. Alfonso Cuaron's Roma seemed pegged to take that honour but lost out to Green Book. If Parasite wins, it'll make history and act as a make-up for Roma.    

Now, I want to talk a little bit more about the controversy surrounding the lack of female and POC nominees this year, which has also been an issue previous years as well. I believe that the lack of diversity in the Oscar race is a symptom of the larger problem in Hollywood rather than the cause. If this problem is to be fixed we have to approach it from the angle from how movies are made and who gets to make them. I know this also easier to say then to do but it's important to remember the Oscars are part of a larger problem. 

So, those my overall thoughts on this year's nominations. How do you feel about the nominations? Who did want to get in and who do you think will win. Let me know.

Looking Forward to Oscars 2020

For film fans, the most important season isn't Halloween or Christmas, it's Oscar season. As much as I disagree with the Oscars' choices for nominees and winners, every year I get sucked back in to the race, the predictions, the controversies and the surprises. As I've done before, I want to go through the major categories and give my thoughts on the likely nominees and the dark horses. 

Best Picture/Director

While things may change by the time we get deep in to the season, I think the two films going head to head for Best Picture are the opuses by Martin Scorsese and Quentin Tarantino- The Irishman and Once Upon a Time... In Hollywood, respectively. The idea of Scorsese going for his second Best Director Oscar and Tarantino possibly winning his first (he's won two for Original Screenplay) is exciting. I thought Silence deserved more love from the Academy and The Irishman will likely be the polar opposite, getting plenty of nominations, in the same way Shutter Island was ignored and then Hugo became a huge contender. The Irishman has been called Scorsese's Unforgiven, a director looking back at his history in the genre, with Clint Eastwood it was the Western, with Scorsese, the gangster lifestyle. 

OUATIH is Tarantino's most humane film since Jackie Brown and perhaps his most personal. Hollywood loves films about itself and the film is a love letter to bygone era as well as Tarantino offering an "what if" question of what Hollywood would look like if the Manson cult hadn't succeeded in their murder spree. This combination of nostalgia and a "happy ending" could really take it all the way.

Then there's Noah Baumbach's Marriage Story, which provides an alternative to the two aforementioned epics. The film is an intimate drama about a divorce between Nicole (Scarlett Johansson) and Charlie (Adam Driver') and it's already received critical acclaim across the board. The film feels like the Lady Bird of this year. I don't know that it can win but it could come up the middle if there's a strong divide between The Irishman and OUATIH. Baumbach has been nominated once for Best Screenplay (2005's The Squid and the Whale) and everything points to him getting his first Best Director nomination.

I think those three are as of now the three big contenders. Then there's Parasite, Bong Joon Ho's highly praised drama that many have called the best film of 2019. It's a lock for Best Foreign Language film and like last year's Roma it will likely end up in the Best Picture race. 

Sam Mendes hasn't been nominated since winning for American Beauty nearly two decades ago, despite directing baity films like Road to Perdition and Revolutionary Road but that could change with 1917, his World War I film that's been shot and edited to look like one shot. It sounds like Dunkirk if it was Birdman and I think the Academy will really go for it based on it being a technical marvel. 

JoJo Rabbit, Taika Waititi's satire about a boy in Nazi Germany whose imaginary friend is Adolf Hitler, sounds like such an oddball film. However, we're in a different place now with the Oscars where their tastes have broadened. This film is so strikingly bizarre it'll be hard to ignore. 

The big dark horse of the season is Joker, which reinvents the most famous super villain in comic book history from the ground-up.  Black Panther broke the Superhero glass ceiling by getting a Best Picture nomination and Joker could follow suit. And if Joaquin Phoenix is going to be the Best Actor front-runner, it'd be odd for the film not to be nominated. The last time a Best Actor winner wasn't in a Best Picture nominee was Jeff Bridges in Crazy Heart. Todd Phillips is an even bigger dark horse for Best Director. 

Jay Roach's Bombshell, which chronicles the Fox News sexual assault scandal, is getting good early buzz and could be the Best Picture winner of the #metoo movement. Roach feels like Adam McKay getting nominated for The Big Short, a director known for comedies who makes a topical drama that gets respect from the Academy. Though to be fair, Roach has been doing this kind of material on TV>

Greta Gerwig's Little Women is still a question mark. I get the sense it could be a sophomore slump for Gerwig after Lady Bird. It's just feels unexciting as a project.

Best Actress

Renee Zellwegger winning for playing Judy Garland in Judy would be a really safe choice but the Academy does love transformative performances, especially when the actor is playing a real person. In that regard Zellwegger's closest competition may be Charlize Theron as Megyn Kelly in Bombshell. Scarlett Johansson, like Marriage Story itself, is an alternative to these performances. And unlike Zellwegger and Theron, Johansson has never won.

Even if Little Women isn't great, voters love Saoirse Ronan and she  could be looking at her fourth nomination and third in this category. 

Best Actor 

Joaquin Phoenix is my favourite working actor and I think he should've won for The Master and been nominated and won for Don't Worry, He Won't Get Far On Foot. He could possibly dominate the season for Joker. I think he'll benefit from the overdue narrative and the strength of his career overall.

I think it may be too early for Leonardo DiCaprio to win a second Oscar but he'll be nominated for his very funny performance in OUATIH.

Marriage Story keeps feeling like the alternative choice. I don't see Adam Driver, winning but he's a sure bet to get his second Oscar nomination after being nominated in Best Supporting Actor for BlacKkKlansman last year. 

Robert De Niro is up for The Irishman and this could be the last time to honor an acting legend. 

Jonathan Pryce has yet to be nominated and could be looking at his first for The Two Popes, written by Anthony McCarten. McCarten has written the screenplay for three Best Actors thus far: Eddie Redmayne in The Theory of Everything, Gary Oldman in Darkest Hour and Rami Malek in Bohemian Rhapsody. The story of The Two Popes centers around the relationship between Pope Benedict (Anthony Hopkins) and the future Pope Francis (Pryce).

Taron Egerton stands an outside shot for his portrayal of Elton John in Rocketman as does Adam Sandler in Uncut Gems, which has garnered him the best reviews of his career since Punch Drunk Love.

Best Supporting Actress

There's already a debate regarding which movie for which to campaign Margot Robbie: OUATIH or Bombshell. I think she stands a better chance for the latter, given her role in the former is too small and doesn't really have a big Oscar scene. Nicole Kidman, who's also in Bombshell, seems primed for another win in the coming years but I don't think it's her year. She may be left out entirely as she was last year for Boy Erased and Destroyer.. 

I think Laura Dern could be this year's Patricia Arquette  and dominating the season for Marriage Story. She has goodwill and the overdue narrative, plus the acclaimed drama behind her. Speaking of Marriage Story, Johansson could be a double nominee this year if she gets in here for JoJo

Rabbit.  Thomasin McKenzie, who deserved a nomination for Leave No Trace last year may get a makeup nomination for JoJo Rabbit as well.

Jennifer Lopez has gotten buzz for Hustlers, being called a reminder of her talent as an actress. If she gets in it's probably be the film's only nomination.

Best Supporting Actor

I love Al Pacino and it's great he'll be back in the race for The Irishman. And Joe Pesci too. I'd love to see Pacino win another Oscar. But Brad Pitt could be the won to beat this year for his loose, quintessentially movie-star performance in OUATIH.

It continues to be so strange Tom Hanks hasn't been nominated since Castaway. He feels like he should be like Meryl Streep, getting nominated every other year. I think it's because he makes it look so easy so it's easy to take him for granted. His casting as Fred Rogers in A Beautiful Day in the Neighborhood felt perfect even before the trailer- which itself is a tear jerker- was released. This could finally bring Hanks back. The film's director, Marielle Heller, directed Melissa McCarthy and Richard E. Grant to nominations for last year's Can You Ever Forgive Me? 

Taika Waititi, aside from writing and directing JoJo Rabbit, also co-stars as the imaginary Adolf Hitler. It'd be one of the most outlandish performances ever nominated; but like I said about the movie, it's a performance that's hard to ignore.

Chrisitian Bale could also pop up for James Mangold's Ford v. Ferrari. He was nominated this year for Vice and this could be an afterglow nomination.

John Lithgow, who's way overdue for a nomination, is a possible contender for playing Roger Ailes in Bombshell. Covered in make-up and essentially playing the villain, it's the type of role the Academy eats up.

Best Original Screenplay

Is this Noah Baumbach's to lose? Unless voters want to give Quentin Tarantino a third Best Original Screenplay Oscar. 

Bong Joon-Ho will likely be a multiple nominee this year, with nominations for Director, Picture, Foreign Language and here in screenplay. 

I'd like to see Jordan Peele nominated here for Us but I don't think that film hit off the same way Get Out did.  

I can honestly see Rian Johnson's script for Knives Out getting in here.

Best Adapted Screenplay

Waititi's screenplay for Jojo Rabbit, based on Christine Leunens' novel, could have its best chance to win here.

McCarten has been nominated three times thus far and is looking at a fourth for The Two Popes, based on his play. McCarten specializes in dramatizing real life events and it's worked our for him so far.

If The Irishman really sweeps, Steve Zaillian's screenplay, based on former lawyer Charles Brandt's narrative nonfiction account of hitman Frank "The Irishman" Sheeran, could be the front runner, with Zaillian his second Oscar, his first since Schindler's List.

Other Categories

Cinematography: Roger Deakins- 1917,  Rodrigo Prieto- The Irishman, Robert Richardson- OUATIH, Hong Gyeong-Pyo- Parasite, Robbie Ryan- Marriage Story,  

Editing: Chris Dickens- Rocketman, Thelma Schoonmaker- The Irishman, Fred Raskin- OUATIH, Jennifer Lame- Marriage Story, 

Score: Randy Newman- Marriage Story, Seann Sara Sella- The Irishman, Hildur Guonadittor- Joker, Michael Giacchino- JoJo Rabbit

So, those are my basic thoughts on the race thus far. Who do you think will be nominated? Who should be nominated? Comment below and let me know.

Am I Just Praying To Silence?: "Silence"

Warning: Spoilers Will Follow

Martin Scorsese's Silence is a film one has to give themselves over to completely. It's a somber, meditative, quiet, slow, and challenging experience. It's refreshingly uncompromised and never feels like it was made for all audiences- or even one audience in particular.  It feels very specific, not just to Scorsese's relationship with faith, but to a particular feeling of guilt and what it means to wrestle with one own's faith. It's my favourite film of 2016 and while watching it I was amazed this was a film coming out of a Hollywood studio in 2016. It feels very European and something that belongs to an earlier era. For me, I think it's up there with Ingmar Bergman's The Seventh Seal in regards to films about the nature of faith and wanting an answer from God. I think To Scorsese the cinema is like a religion, and a cinema is a church; and Silence is a film that calls out to be seen in a on a huge screen, similar to 2001 or the epics of David Lean.

The film takes place in the 17th century. Sebastiao Rodrigues (Andrew Garfield) and Francisco Garupe (Adam Driver) are Portuguese Jesuit priests who learn their mentor and fellow priest Cristovao Ferreira (Liam Neeson) has committed apostasy while in Japan. Rodrigues and Garupe have doubts as to the truth of this story so they travel to Japan in search of Ferreira. In Japan Japanese Christians are being prosecuted and forced to renounce Christianity. Rodrigues and Garupe help the Christians who have been driven underground by the Shoguns's Grand Inquisitor Inoue (Issei Ogata). Rodrigues and Garupe eventually split up and Rodrigues is captured by the Inquisitor's men. Rodrigues is told to apostatise or others will be tortured until he does.

The film is based on Shusaku Endo's 1966 novel of the same name, which was made in to a previous film in 1971 by Masahiro Shinoda. The screenplay for Scorsese's adaptation was co-written by Scorsese with Jay Cocks, who co-wrote Scorsese's Gangs of New York. Scorsese has been wanting to direct a film of Endo's novel for years. Having finally made the film, Silence does feel like something Scorsese has been working towards for years, largely because it doesn't move, sound or look like our collective image of a Scorsese film. It's almost like Scorsese has been living with this novel for so long that his passion for it become bigger than his own stylistic sensibilities. The story couldn't be boxed in by an established style.

Scorsese's films are known for their quick-fire editing, which can largely be credited to Scorsese's long time collaborator Thelma Schoonmaker, whose has edited Scorsese's every non-documentary film since Raging Bull. Here, the editing isn't as frantic, the shots last longer, and with one exception there's no sweeping camera moves. Scorsese wants you to soak in the film's atmosphere and feel it in your bones and soul. The film is largely set outdoors and Rodrigo Prieto's cinematography makes you feel the nature of Japan in all its beauty and mystery. 

As with the the search for Marlon Brando's Colonel Kurtz in Francis Ford Coppola's Apocalypse Now we're kept in the dark as to Ferreira's fate until the final act. But as with Coppola's film, Silence is more than just the story about searching for some. The film becomes a spiritual search- a search for meaning amongst unbearable suffering and an answer from God. Throughout the film Rodrigues struggles with his faith and is given a choice between watching others suffer and committing apostasy. The question Rodrigues faces is whether renouncing God is the most Christian thing he can do- if it does stop people from torment. 

But forcing someone to apostatise doesn't prevent that person from still believing in God. However, if you do apostatise, psychologically, you may feel you truly have turned your back on God and can't be redeemed, that what you've said reflects what you feel. But thoughts and words are always in an ambiguous intertwined relationship. Throughout the film Rodrigues thoughts are filled with doubt but what he says never betrays those thoughts. It's only near the end of the film that he verbalizes these doubts. When spreading religion, a man like Rodrigues cannot verbally express doubt. He has to be a figure of zero ambiguity.

As the film goes along we come to understand- to an extent- Inoue's perspective on Christianity in Japan. It is arrogant for people to enter another country and telling people what to believe. Rodrigues exemplifies this arrogance when he says there is one universal truth the Jesuits are spreading. 

One of the best scenes in the film is between Rodrigues and Inoue, discussing religion's place in Japan. It's in this scene where we truly see the point of view of the Japanese. Inoue uses the analogy of a daimyo who had four concubines and were jealous. Eventually the daimyo and was at peace. In the analogy the daimyo is Japan and the concubines are the different countries which are attempting to win Japan over to their side. Rodrigues proposes that Japan take one wife, to which Inoue says Rodrigues means Japan should pick Portugal. Rodrigues says he means the Holy Church but one feels Inoue is right. It's not just about one universal truth, it's about Portugal and having power over Japan. Rodrigues presumes he knows more than Inoue and can convince him that he is right. But Inoue is arguably the more intelligent of the two. Though in many ways Rodrigues and Inoue are to each other the most formidable foe either has encountered. And ultimately, both are stuck in a way of thinking that will either be vindicated or will lead to their destruction.
   

Garfield's performance is truly transformative. I haven't seen his Oscar-nominated work in Mel Gibson's Hacksaw Ridge but I feel he should have been nominated for this. With Garfield, Scorsese is doing what he did with Leonardo DiCaprio, in that he's really pushing Garfield and allowing us to see a different side of the actor. It's amazing this is the same actor that played Spider-Man. Ogata' performance is exaggerated but subdued, he plays Inoue almost but not quite a parody. We're left a little off balance by him, which gives him the advantage. It's kind of a brilliant performance. Driver, whose been building up an impressive performance since appearing on HBO's Girls. I wish he had a little more screentime as Garupe but like Garfield he truly embodies his character. We don't Adam from Girls or Kylo Ren from Star Wars. 

Neeson doesn't reappear until the third act but through his performance we see the culmination of many of the film's thematic threads. As was told, Ferreira has taken a Japanese name and has renounced God. He tells Rodrigues that Japan only believes in their distortion of the Bible and they can't conceive of anything beyond nature, of the Christian God. Ultimately, one religion cannot fit every culture, which is why there must be doubt of a universal truth.  

Viewing Ferreira through Rodrigues' point of view, he's the mentor figure who has drastically changed and can offer no comfort. Rodrigues has found his former master but Ferreira now wants Rodrigues to renounce God. By having Rodrigues renounce God, Ferreira will eliminate the last part of his previous life as a Jesuit priest. Rodrigues' view Ferreira reflects how we can imagine Inoue views Japanese Christians- they are no longer who they were before. Maybe after finally finding Ferreira Rodrigues can finally understand Inoue on some level.

Ferreira tells Rodrigues he can't compare his suffering to Jesus. Rodrigues can't place his suffering above other peoples' which is a difference between Jesus and Rodrigues. Rodrigues is made to look like  Jesus- his facial hair and wardrobe; and there's a great shot where he sees his reflection it changes in to an image of Jesus. But despite these deliberate aesthetic parallels, Ferreira's point of view subverts our expectations that Rodrigues is supposed to be a literal Jesus figure; ultimately Rodrigues' path and destiny is different than Jesus.

Rodrigues' journey doesn't end the way he thought it would, but no one's ever does, another reason we can't really be like Jesus. Our fates are not foretold to us. Rodrigues does not die for anyone's sins and fades in to obscurity. Is Rodrigues' fate our own?  We are left with the question of whether Rodrigues was lost to God, which only God can answer. Hypothetically if there was a God only that God can speak or him/her/itself. I feel this question asks us not to attempt an answer but to be compassionate and not dole out judgement. 

Unfortunately the film has not fared well at the box office. This is really a shame because it's so deserving of an audience and feels like it would have garnered more of an audience decades ago. But it's understandable a mainstream film, religious or otherwise. But I hope it gains more of an audience in the coming years. It's a brutal but I think rewarding film that almost feels like a miracle. 

Some Brief Thoughts on the "Shutter Island" and "Minority Report" TV Series.

I remember when a common trope in Hollywood was to adapt classic TV series for the big screen. Now it appears we’re entering a period where more movies will be adapted for TV. Just recently the adaptation of the Coen Brothers’ Fargo (which they executive produced) was met with critical acclaim. Just this past week two new movies inspired- TV series were announced; and both have the respective directors of those films as part of the series.

Steven Spielberg is developing a series based on his 2002 film Minority Report. The film starred Tom Cruise as a police officer in a distant future where people known as precogs can see murders before they happen.  Martin Scorsese is also set to direct a pilot for HBO based on his 2010 film Shutter Island, entitled Ashecliffe.  In the film Leonardo DiCaprio played a US Marshall in 1954 who is sent to investigate the disappearance of an inmate at Ashecliffe mental hospital . He then discovers not everything is what it seems and there may be a sinister conspiracy against him. The series will explore the origins of Ashecliffe in the early 20^th Century. The pilot will be scripted by Dennis Lehane, who authored the book upon which the film was based.

It’s not surprising we’re getting more films adapted in TV series.  We’re living in a second Golden Age of Television. TV is the now the place where talented artists experiment in dense and nuanced long form storytelling. Instead of a sequel or remake for the big screen, it’s now a option to explore of a film world’s mythology through TV.  

Full disclosure: I love Shutter Island and it’s actually a favourite film of mine. I also like Lehane’s original novel. The fact that both he and Scorsese are involved in this project lends it certain amount of legitimacy. I loved how Scorsese visualized that film so seeing him return to that world is a big deal for me. I’m intrigued by the idea of exploring how mental institutions were run in the early parts of the 20^th Century, when mental illness and how to treat it wasn’t completely understood. I think we’re looking at a potentially compelling psychological horror/period piece series.

However, I’m still scratching my head over how they’ll approach making Minority Report in to a series. I don’t think it can be a sequel to the film- since the film ended with the government not using precogs anymore- unless the series wanted to explore how Washington’s police force- the only  city where the “Pre-crime Unit” operated- went about adjusting to investigating murders and other crimes without the use of precogs. Maybe it’ll also go the prequel route- maybe they’ll recast the role of Chief John Anderton. They could also go the Prometheus route, with the series taking place in the same universe but telling a different kind of story. Spielberg’s involvement- similar to Scorsese and Lehane’s with Ashecliffe- does lend the project some legitimacy. And ideally, once we learn more details about the show’s premise, it'll make perfect sense how the film’s mythology will work as a TV series.

Both these projects, based on films I admire, are definitely ones which to look forward. The internal mythologies of both Minority Report and Shutter Island provide potential for intriguing science fiction and horror story telling. Count me in for both series.

Some Brief Thoughts on the 2014 Oscar Nominations

The Academy Award nominations were announced earlier this morning. As always there were the sure things, the occasional surprise inclusion or "snub" as well as the complete shut outs. These will be my brief thoughts on the major categories. I haven't seen every film nominated so I won't be judging each performance in terms of whether it "deserves" to be nominated- this will be more about what direction I think the race will be going in each category. So, without further ado, the nominees...

Best Actor

Christian Bale, American Hustle
Bruce Dern, Nebraska
Leonardo DiCaprio, The Wolf of Wall Street
Chiwetel Ejiofor, 12 Years a Slave
Matthew McConaughey, Dallas Buyers Club


Certain pundits weren't sure if it'd be Bruce Dern in Nebraska or Robert Redford in All is Lost- both are Hollywood veterans- that'd get a nomination in this category, or if both would be shut out. Dern has taken the veteran slot, with Redford shut out. Dern has the veteran card but he faces stiff competition, particularly since the film, while nominated for Picture and Director, still seems a little under the radar.


I'm happy Leonardo DiCaprio made it, especially since there was some doubt about his chances around the time The Wolf of Wall Street was released. If you remember, the academy screening of the film ended with one member blasting Scorsese, leading to people believing the film was too edgy for certain members. Of course that didn't stop the film from gaining several nominations this morning. This is DiCaprio's first nomination since 2006's Blood Diamond and I feel he's been shut out a few times since then, particularly for 2010's Shutter Island. I really think DiCaprio should win. I'm not going to lie, DiCaprio is a favourite actor of mine and this may be his best performance yet. While some may say the performance is just showboating I think DiCaprio nails the character of Jordan Belfort and that his theatrical/method style of acting is more perfectly suited for this character than his previous roles.


I also wouldn't mind see Chiwetel Ejiofor winning. He's one of those hard working actors who's paid his dues and definitely deserves to be here. In another year, he'd absolutely be the frontrunner for his portrayal of Solomon Northrup, a  black man born free but sold in to slavery- a man who attempts to retain his humanity and his sense of self under inhuman conditions.

Despite America Hustle being a frontrunner in several categories, including Best Picture,  I don't see Christian Bale winning. I think Matthew McConaughey, particularly after his Golden Globe win on Sunday, may take it. That's right, we may soon be living in a world where Academy "Award winner Matthew McConaughey" will start being heard and seen in movie trailers. I haven't seen Dallas Buyers Club yet but his role in the true story of a man who was diagnosed with AIDS while helping other AIDS patients get hold of a medication that can prolong their lives- just sounds like the type of role that wins an actor an Oscar, especially since he lost more than 40 pounds to play the part. It'd also cement his career reinvention.


Will Win: Matthew McConaughey
My Pick: Leonardo DiCaprio

Best Actress

Amy Adams, American Hustle,
Cate Blanchett, Blue Jasmine,
Sandra Bullock, Gravity
Judi Dench, Philomena
Meryl Streep, August Osage County




Back in August when Woody Allen's Blue Jasmine was released it really felt like the Best Actress Oscar was Cate Blanchett's in a walk. And more than 4 months later, despite some heavy hitters in the race, Blanchett still appears to be the frontrunner. Her role as a former socialite- who has to live with her adopted sister after her husband (Alec Baldwin), a Bernie Madoff inspired businessman goes to prison- is a devastating portrayal of a woman unable to embrace reality. Some feel the performance is too hammy but I don't think a role like this would work unless it was broad.


Sandra Bullok brings humanity to the spectacle that is Gravity- and certain pundits suggested she could win her second Oscar after winning for The Blind Side in 2010 but I feel that her competition is a little too strong for her to win a second time.


Poor Amy Adams can't catch a break. In a weaker year she could've walked away with the Oscar. This is her first nomination in the Best Actress category after four nominations in the Supporting Actress category. Though you never know. Some voters may feel she's due, which could lead to her upsetting Blanchett.


Judi Dench won Best Supporting Actress for 8 minutes of screen time in Shakespeare In Love. But many voters probably want her to win for a more prominent performance. Like Adams, Dench may be the upset in this category.


Meryl Streep is on her 18th nomination for August: Osage County. I think this is more of a obligatory nomination for Streep rather than a nomination that'll lead to a win. Though no doubt Streep will eventually win a fourth Oscar.


Will Win: Cate Blanchett
My Pick: For now, Blanchett

Best Supporting Actor

Barkhad Abdi, Captain Phillips
Bradley Cooper, American Hustle
Michael Fassbender, 12 Years a Slave
Jonah Hill, The Wolf of Wall Street
Jared Leto, Dallas Buyers Club




A big congratulations to Barkhad Abdi, who made his film debut as the Somali pirate leader who hijacks the merchant ship in Captain Phillips. Abdi was a limousine driver and disc jockey before starring in the film. It's a great little story and I'm happy for him.




Michael Fassbender, who many felt was shut out for his role as a sex addict in Shame received his first nomination this morning for his performance as Northrup's most ruthless slave master. It's a performance that's both ferociously evil but layered and if I was voting I would cast my ballot for him.




Jonah Hill was a bit of a surprise but he has really come in to his own as a genuine actor with this role. Cooper scores his second consecutive nomination at the Oscars, showing that his first nomination for Silver Linings Playbook, another
David O. Russell joint, wasn't a fluke.

But I think this is Jared Leto's to lose. The film not only marks his return to acting after several years of being the frontman of the band 30 Seconds to Mars, like McConaughey, his role as Rayon, a transgendered man with AIDS is the type of performance that screams Oscar.

Will Win: Jared Leto

My pick: Michael Fassbender

Best Supporting Actress

Sally Hawkins, Blue Jasmine

Jennifer Lawrence, American Hustle

Lupita Nyong'o, 12 Years a Slave

Julia Roberts, August: Osage County

June Squibb, Nebraska

It's nice to see Sally Hawkins here. She got Oscar buzz for her breakthrough performance in Mike Leigh's Happy-Go-Lucky but didn't make the cut. Her performance in Blue Jasmine is usually the type of performance that can be overshadowed by an actor like Blanchett. But you need Hawkins' to help ground the film.

Jennifer Lawrence appears to be the frontrunner which is unfortunate. Lawrence is a talented and charming actress but I don't think she really deserves to win two consecutive Oscars. There are so many actors who have to pay their dues, including certain actresses in this category. I genuinely don't think Lawrence has earned the right to be a two time Oscar winner. Now, I haven't seen American Hustle so I could be totally blown away when I see the film but I think someone else deserves a shot at the win.

If 12 Years a Slave was more of a frontrunner for Best Picture, Nyong'o could be swept along but it appears the film, despite receiving nine nominations, faces more of an uphill climb than it did back in September.

While I'm not overly familiar with June Squibb's work, she's definitely one of those "paid his/her dues" actors and even without even without seeing Nebraska I think she deserves more of a chance at the win.




This is Julia Roberts' first nomination since her Oscar winning role for Erin Brockovich. In another year she'd have a better chance but this may very well be Lawrence's to lose.




Will Win: Jennifer Lawrence
My Pick: Sally Hawkins

Best Director  

Alfonso Cuaron, Gravity
Steve McQueen, 12 Years a Slave,
Alexander Payne, Nebraska
David O. Russell, American Hustle
Martin Scorsese, The Wolf of Wall Street




The Best Director category didn't offer too many surprises. Scorsese made it, which is good. While there's not as much pressure on the Academy to honor him after finally giving him an Oscar for 2006's The Departed, Scorsese definitely deservers to be a repeat winner. Winning for The Wolf of Wall Street may actually be a more "deserving" win than The Departed. At 71 his film had more pure cinematic energy than ones made by directors half his age.




Alexander Payne's due factor in this category is growing but he was more of a contender for 2011's The Descendants.


If Alfonso Cuaron won Best Director it'd be the second year in row a director won for helming a 3D film. Last year Ang Lee won for Life of Pi. Cuaron won the Golden Globe on Sunday but the Golden Globes haven't matched with the Best Director Oscar that often these past several years. David Fincher won the Golden Globe while losing the Oscar to Tom Hooper. James Cameron won the Golden Globe for Avatar but Kathryn Bigelow- his ex-wife no less- won the Oscar for The Hurt Locker. And some voters may view Gravity as more of a technical achievement than a brilliantly directed film. Still, he has a good chance since many view his work on Gravity ground-breaking.




If Steve McQueen won he'd make history as the first Black director to receive the Best Director Oscar. If I was voting I think I'd go for McQueen, not just for history sake but because his direction was nothing short of stunning. The shot of Solomon hanging in that tree for what seems like a lifetime may be the most unforgettable cinematic image of 2013.




Last year I though David O. Russell could possibly win for Silver Linings Playbook but he walked away empty handed. American Hustle is viewed as the frontrunner so this could be his year. Though if there's a split between Picture and Director someone else could win over Russell even with American Hustle winning Best Picture.




Will Win: Alfonso Cuaron
My Pick: Steve McQueen

Best Picture
American Hustle
Captain Phillips
Dallas Buyers Club
Her
Gravity
Nebraska
Philomena
12 Years a Slave
The Wolf of Wall Street


This past September 12 Years a Slave was deemed the frontrunner for Best Picture. In a more just world it'd still be the frontrunner. 12 Years a Slave will be looked back on as one of the most important and essential films made about American slavery and a lasting testament to the story of Solomon Northrup. I feel that if America Hustle wins future generations will look back and say "That won?" As I mentioned earlier, Gravity may be deemed more of a spectacle than a genuinely great film, which may hurt its chances. The Wolf of Wall Street may still be too edgy and raunchy for older viewers. Philomena and Nebraska seem a little too small scale to win Best Picture and Her has a better shot in the Original Screenplay category. Dallas Buyers Club's big wins will be in the acting categories. For now, I'll go with American Hustle for the win, with Gravity and 12 Years a Slave as its biggest competition.




Will Win: American Hustle
My Pick: 12 Years a Slave

Original Screenplay

Woody Allen, Blue Jasmine
Spike Jonze, Her
Bob Nelson, Nebraska
Erin Warren Singer and David O. Russell, American Hustle
Craig Borten and Melissa Wallack, Dallas Buyers Club


If Her doesn't strike Oscar voters as too weird Jonze has a good shot at taking this. Woody Allen's last win in this category was for 2011's Midnight in Paris. While Blue Jasmine's script is arguably even stronger than Midnight, I feel either Her or America Hustle will take it. There's also the resurgence of the controversy surrounding Allen's personal life after Ronan and Mia Farrow's tweets during last Sunday's Golden Globes.




Will Win: Her 
My Pick: For now, Blue Jasmine, but it'll probably be Her after I've seen it.

Adapted Screenplay
Richard Linklater, Julie Delpy and Ethan Hawke, Before Midnight
Steve Coogan and Jeff Pope, Philomena
Billy Ray, Captain Phillips
John Ridley, 12 Years a Slave
Terence Winter, The Wolf of Wall Street.




I would love for Before Midnight to win here, despite feeling that it's a bit odd that a sequel automatically considered adapted, though I guess it's understandable. Linklater and his actors know Jesse and Celine so well that the ark of this screenplay feels completely organic. Winter's screenplay may be deemed too scattered and not focused enough. I feel Before Midnight does have a good chance at the win though Ridley's screenplay could win if 12 Years a Slave is voted Best Picture.




Will Win: Before Midnight
My Pick: Before Midnight


So, those are my initial thoughts on the nominations. I'm disappointed Inside Llewyn Davis and its star Oscar Isaac were shut out, as well as Blue is the Warmest Color not being deemed eligible for Best Foreign Language film. So, what are your thoughts on the nominations and the Oscars in general? Who was snubbed and who are you happy for? The Oscars will air on March 2nd, 2014 with Ellen DeGeneres.

My Favourite Films of 2013

These past few years, I always find it a tad difficult to do a top ten list at the end of the year. Not being a professional critic I haven't seen everything. That, and I find that I often have to give certain films a second look before I can be sure how I feel about them. A lot of the time I enjoy a film more on the second watch. There's also the question I always face, which is, what films from this year did I truly love and stood out to me? What are the ones I'll want to go back and watch as the years go by? It's a difficult question, especially when you don't know how a certain film will age or how you'll feel in five years about a film you love now. All that being said, here are my favourite films of 2013, starting with number 1 and proceeding alphabetically.

1. Blue Is the Warmest Color

When I saw Abdellatif Kechiche's film back at the Atlantic Film Festival here in Halifax this past September I immediately thought it was the best film I had seen in 2013. While I may have seen better films over the next few months, this is still my favourite film of 2013, a love story both of our time and timeless, a film that captures the pain and joy of love better than many other films I've seen. It tells the story of a young high school student named Adele (Adele Exarchopoulos) who falls in love with a fine arts student named Emma (Lea Seydoux).  The two embark on a passionate love affair that changes both their lives. The film is seen through Adele's eyes, who, through her attraction to Emma, discovers her sexuality. While Emma has known her own sexual identity for years Adele is only beginning to understand herself.

The term "coming of age film" has become somewhat of a cliché but Blue Is the Warmest Color painfully and beautifully portrays a woman "coming of age" in ways both positive and heartbreaking. Exarchopoulos' performance is a big factor in why we feel Adele's transformation so deeply. Exarchopoulous seems to age and grow right before our eyes, and we feel we're on the journey with her. Sadly, Exarchopoulos probably won't be nominated for an Academy Award for her magnificent performance.

Before Midnight

After viewing Before Midnight this past summer, the third in Richard Linklater's series chronicling the relationship between Jesse (Ethan Hawke) and Celine (Julie Delpy), I walked away somewhat disappointed, despite admiring the acting and writing on display. I think it was due to wanting to see more in the style two films in the series, Before Sunrise and Before Sunset,  whereas I viewed this film as the "couple fighting" installment. I also felt the structure of the film was "off." It was only on a second viewing and third (with commentary by Linklater, Hawke and Delpy) that I truly came to appreciate how excellent this film truly is. Hawke and Delpy give lived in performances- they've known these characters for almost 20 years and surely Jesse and Celine have not only become their signature roles but integral part of their lives. It's hard to imagine any one else playing either of these parts.

What's fascinating about Before Midnight, in contrast with the previous two films, is while those films showed us the only two instances these characters met, Before Midnight picks up after nine years of living together, of conversations and complications. This is immediately clear during a extended long take during a car drive (a virtuoso feat of filmmaking with only one cutaway) where Jesse and Celine's conversation no longer feels like it's betwee just two young people who've jut me. Instead the dialogue captures the rhythms of people who've lived together and know each other well. There are still talks of philosophy that remind us of the first film- notably during a dinner at a writer's villa in Greece, where we're introduced to a few new characters- a change of pace from the mostly Jesse/Celine format of these films. But most of the conversation in this film between Jesse and Celine deal with their own personal issues as a couple, notably Jesse wanting to move to Chicago to be with his son from his first marriage.

I mentioned earlier that I was disappointed this film had Jesse and Celine fighting. I  think I missed the way they talked in the first two films. But the hotel sequence which climaxes the film is truly amazing in how it's structured, the way the dynamic changes and how it tempts us in to choosing sides. But we really can't. Both Jesse and Celine are flawed people who both fight in ways that stop communication from flowing. Celine is overly passionate while Jesse is sarcastic and dismissive. Before Midnight strips away the idealized nature of Before Sunrise and shows us the organic evolution of this relationship, which can be almost painful to watch. But Before Midnight isn't really cynical about love and marriage, just honest, funny, and ultimately hopeful, albeit cautiously about the future.

The Conjuring

One of the most effective horror films in recent memory, The Conjuring demonstrates how a talented filmmaker can take familiar genre elements and make them fresh and exciting. The Conjuring is based on a real life case from the files of paranormal investigators Ed and Lorraine Warren (Patrick Wilson and Vera Farmiga) concerning the haunting of a house occupied by the Perron family. I love old fashioned haunted house films so The Conjuring definitely appealed to my sensibilities. Director James Wan crafts sequences that are as horrifying and nerve shattering as anything in the classic horror movie pantheon, all while allowing his actors to give well defined portraits of good people confronting evil.

Gravity

I'm still not sure how well Alfonso Cuaron's Gravity works as actual movie but as an experience (I saw it in IMAX 3D) it's one of my favourite film going memories of 2013. In an age where blockbusters have numbed us and taken the wonder out of big budget spectacle, Gravity was genuinely mind-blowing. Love it or hate it, for better or worse, I think this film is a game changer and I can already see a young kid watching this film and sparking a passion for filmmaking.

While it's largely a technical achievement, the film isn't soulless. The film has a deeply spiritual core. Stranded in space, astronaut Ryan Stone (Sandra Bullock) goes through a rebirth as she struggles to survive, all while remembering the death of her young daughter. Bullock and George Clooney, perfectly cast as veteran astronaut Matt Kowalski ground the film and give it humanity. Gravity is at once a revolutionary exercise in spectacle as well as timeless and inspiring tale of human survival.

 

Inside Llewyn Davis

The Coen Brothers returned this year with a quiet triumph of a film. Inside Llewyn Davis chronicles one week in the life of folk singer Llewyn Davis (Oscar Isaac), circa 1961, as he struggles to make it big . Unfortunately for Llewyn, artistic success doesn't seem to be his future. This is before Bob Dylan came on the scene and ignited the folk music genre. Inside Llewyn Davis is essentially a film about being unsuccessful- but instead of being depressing it has a perfect sense of melancholy that never completely dips in to tragedy or optimism. I don't believe the Coens view Llewyn as a failure but they do believe- and demonstrate- that even a talented artist won't always become a legend. But while Llewyn may never become a legendary musician like Dylan, Inside Llewyn Davis is a film for the ages.

The Past

Asghar Farhadi's follow up to A Separation is, like that film, both a family drama and a mystery. In both films the mystery isn't simply a whodunit but an existential quest for truth and a exploration of morality and responsibility. It tells the story of Ahmad (Ali Mosfatta) an Iranian man who returns to Paris after several years due to his wife Marie (Berenice Bejo from The Artist) wanting a divorce. Marie is in a relationship with an Arab man named Samir (Tahar Rahim from A Prophet), whose wife is in a coma. Marie and Ahmad's daughter does not approve of Marie's relationship with Samir, which complicates matters. While The Past tells a somewhat familiar story and its plot can verge on what some naysayers call "soap operish," The Past is adult filmmaking at its best, examining the complexities of family dynamics and the inability to find an objective truth about events. And like A Separation it's also a very accessible film for those who haven't seen many foreign language films

The Place Beyond the Pines

While I knew the structure of The Place Beyond the Pines before viewing the film I was still quietly blown away and shaken by where this film begins and eventually ends. It's rare that films have this type of expansive scope. The Place Beyond the Pines explores a simple and old theme, that of persona; choices reverberating throughout the years, particularly in terms of fathers and sons. Motorcycle stuntman turned bank robber Luke (Ryan Gosling) and rookie cop Avery Cross (Bradley Cooper) cross paths one fateful day, changing the course of Avery's life and of Luke's newborn son Jason. Director Derek Cianfrance has crafted what may eventually be called an American film classic.

This Is the End/The World's End

Both This Is the End and The World's End are- on the surface-comedies about the end of the world and alien invasions- but at their heart are actually painfully honest films about broken relationships and wanting to get back what's now in the past. In This Is the End, Seth Rogen and Jay Barachel (playing versions of themselves) deal with Jay's outsider status amongst Seth's L.A. friends, including James Franco and Jonah Hill (also playing themselves). While Seth, Jay and others are holed up in James' house, tensions come to a head and the meta humour of the actors playing themselves gives us as the audience insight in to these men's lives

In The World's End, the final film in Edgar Wright's Cornetto Trilogy, after Shaun of the Dead and Hot Fuzz, Gary King (Simon Pegg) wants to recapture his youth by finally finish a famous pub crawl he and his friends didn't complete after high school graduation. He gets the old gang, including Andy (Nick Frost) and Oliver (Martin Freeman), back together. While Gary's friends have grown up he still hasn't moved on from his high school days. As the film goes on we realize what a tragic character Gary is. While I don't love The World's End as much as Hot Fuzz, it may actually have the most depth of the Cornetto Trilogy. I think The World's End is a better film than This Is the End- it's a narratively tighter film- but both are two of the smarter comedies in recent memory.

12 Years a Slave

It may come across as cliché to call 12 Years a Slave an important film, as well as making the film seem stuffy, but 12 Years a Slave is truly an important piece of filmmaking by director Steve McQueen. Not just because it deals with one of the most horrific crimes against humanity in our history but because it's one of the most essential documents of American slavery on film. The film portrays the inhuman treatment of men and women in a brutal and uncompromising fashion. The film is based on the memoir of the same name by Solomon Northrup (Chiwetel Ejiofor), a black man born free in New York who was kidnapped and sold in slavery. Ejiofor, in the role that may win him an Academy Award conveys dignity in the face of inhuman treatment as well as the emotional toil life as a slave takes on him. Michael Fassbender, as one of Solomon's several masters, shows us a horrifying vision of true evil.  While period pieces can sometimes feel a little dry cinematically, McQueen's visual style makes this a truly cinematic film. A long take of Solomon hanging by a tree may be the most unforgettable and powerful shot of the year. As the film ended, after Solomon is reunited with his family and words are unable to describe the emotions in that room, I was overwhelmed in a way I rarely am by a film.


The Wolf of Wall Street

If Martin Scorsese's Goodfellas and Casino were siblings then his latest film The Wolf of Wall Street is their twisted cousin, showing us that maybe those ruthless gangsters weren't that bad compared to the slimy stock brokers on Wall Street. The Wolf of Wall Street is a period piece, taking place in the late 80s and 90s- but it has a modern feel and its depiction of these crooked men still seems relevant. Leonardo DiCaprio plays Jordan Belfort, who in 1987 takes a job at a firm run by Mark Hanna (Matthew McConaughey). Belfort loses his job when the stock market crash of Black Monday happens. Belfort then creates his own firm, which grows in prominence and comes to the attention of the FBI.

DiCaprio gives what is arguably his best performance of this career thus far. As much as I like DiCaprio he can come across as trying too hard with some of his performances but here, as with last year's Django Unchained, His theatrical style of acting perfectly suits the character of Belfort. He creates a vivid portrayal of a man who in any other film would be self destructive- but as addicted to cocaine and sex as Belfort is, he never really gets his comeuppance or experiences any kind of moral epiphany. Belfort may not be the deepest character DiCaprio has played but it allows him to be freer as an actor. The "lemmons" sequence also demonstrates what a great comedic actor DiCaprio can be.

The film has been criticized a condoning the actions of Belfort and his cohorts. I think the film, while entertaining, ileaves it to the audience to both have fun watching the insane antics of these men but also acknowledge the immorality and stupidity of several of the characters. By doing this the film avoids being hypocritical and trusts the intelligence of its audience.

It can't be said enough how amazing it is that Scorsese, at 71, can still make a more exciting and purely cinematic movie than most filmmakers half his age. While one does feel the three hour length and it is a little meandering the film never really drags. The film is tinged with so much energy and hilarity that the three hours move by pretty quickly. The fast paced nature of the film is not only due to Scorsese's live wire direction but also the editing of frequent collaborator, Thelma Scoonmaker.

While I'm still partial to DiCaprio and Scorsese's last collaboration, the underrated Shutter Island, The Wolf of Wall Street is still a vital and bold film, and one of the most entertaining films of 2013.


Some other films I liked: Much Ado About Nothing, Drinking Buddies,  Iron Man 3, The Wolverine, Man of Steel, Insidious Chapter 2, Warm Bodies, The Heat, The Hobbit: The Desolation of Smaug, Now You See Me, Mud, Evil Dead, I Give It a Year, To The Wonder

Still need to see: Frozen, The Hunger Games: Catching Fire, The Spectacular Now, Short Term 12, The Act of Killing, American Hustle, Dallas Buyer's Club, Her, Fast and Furious 6, All is Lost, Nebraska

Looking forward to: Interstellar, Guardians of the Galaxy, X-Men: Days of Future Past, The Amazing Spider-Man 2, Inherent Vice, Gone Girl, Godzilla, The Hobbit: There and Back Again, Captain America: The Winter Soldier, Dawn of the Planet of the Apes


The Davies Awards:

Favourite Actors:
Leonardo DiCaprio, The Wolf of Wall Street
Chiwetel Ejiofor, 12 Years a Slave
Martin Freeman, The Hobbit: The Desolation of Smaug
Oscar Isaac, Inside Llewyn Davis

Favourite Actresses:
Adele Exarchopoulos, Blue Is the Warmest Color
Olga Kurylenko, To the Wonder
Jane Levy, Evil Dead

Favourite Supporting Actors:
Benedict Cumberbatch, Star Trek Into Darkness and The Hobbit: The Desolation of Smaug
Charlie Day and Burn Gorman, Pacific Rim
Tom Hiddleston, Thor: The Dark World
Danny McBride, This Is the End
Matthew McConaughey, The Wolf of Wall Street

Favourite Supporting Actresses:
Kat Dennings, Thor The Dark World
Carey Mulligan, Inside Llewyn Davis
Margot Robbie, The Wolf of Wall Street

Favourite Directors:
Alfonso Cuaron, Gravity
Joel and Ethan Coen, Inside Llewyn Davis
Abdellatif Kechiche, Blue Is the Warmest Color
Terrence Malick, To the Wonder,
Nicholas Winding Refn, Only God Forgives
Steve McQueen, 12 Years a Slave
Martin Scorsese, The Wolf of Wall Street
James Wan, The Conjuring and Insidious Chapter 2

Favourite Cinematography: To the Wonder

Favourite Action Sequences:
The barrel sequence, The Hobbit: The Desolation of Smaug
Plane rescue, Iron Man 3
Bullet train fight, The Wolverine
Superman vs. Zod, Man of Steel

Happy Anniversary Awards: The Exorcist, Badlands and Mean Streets, 40th Anniversaries, Die Hard, 25th Anniversary, From Russia With Love, 50th Anniversary, Jurassic Park and Schindler's List, 20th Anniversaries, A Nightmare Before Christmas, 20th Anniversary, Return of the Jedi, 30th Anniversary.