African-American Film Critics Honor "Zero Dark Thirty"

The African-American Film Critics Association (AAFCA) chose Zero Dark Thirty as the "Best Picture" of 2012, but honored the director of Argo, Ben Affleck, as "Best Director." The AAFCA is a group of African-American film critics that give various awards for excellence in film at the end of each year. The association was founded in 2003 by Gil L. Robertson IV and Shawn Edwards.

2012 African-American Film Critics Association Awards:

Best Picture: "Zero Dark Thirty"

Best Director: Ben Affleck, "Argo"

Best Actress: Emayatzy Corinealdi, "Middle of Nowhere"

Best Actor: Denzel Washington, "Flight"

Best Supporting Actress: Sally Field, "Lincoln"

Best Supporting Actor: Nate Parker, "Arbitrage"

Best Screenplay: Ava DuVernay, "Middle of Nowhere"

Best Foreign Language Film: "The Intouchables" (France)

Best Documentary: (tie) "The House I Live In" and "Versailles '73: American Runway Revolution"

Best Animated Feature: "Rise of the Guardians"

Best Independent Film: "Middle of Nowhere"

Best Breakthrough Performer: Quvenzhané Wallis, "Beasts of the Southern Wild"

Best Music: Kathryn Bostic and Morgan Rhodes, "Middle of Nowhere"

Special Achievement Awards: Cicely Tyson and Billy Dee Williams

Top 10:
1. "Zero Dark Thirty"

2. "Argo"

3. "Lincoln"

4. "Middle of Nowhere"

5. "Life of Pi"

6. "Les Misérables"

7. "Django Unchained"

8. "Beasts of the Southern Wild"

9. "Moonrise Kingdom"

10. "Think Like a Man"

Black Film Critics Circle Chooses "Zero Dark Thirty"

The Black Film Critics Circle (BFCC) chose Zero Dark Thirty as the best film of 2012.  The group was founded in 2010 and is a membership organization comprised of film critics of color from daily newspapers, weekly newspapers, magazines, radio, television and qualifying on-line publications.

2012 Black Film Critics Circle:

Best Film: "Zero Dark Thirty"

Best Director: Kathryn Bigelow, "Zero Dark Thirty"

Best Actor: Daniel Day-Lewis, "Lincoln"

Best Actress: Jessica Chastain, "Zero Dark Thirty"

Best Supporting Actor: Christoph Waltz, "Django Unchained"

Best Supporting Actress: Anne Hathaway, "Les Misérables"

Best Adapted Screenplay: "Argo"

Best Original Screenplay: "Django Unchained"

Best Animated Film: "Rise of the Guardians"

Best Foreign Film: "The Intouchables" (from France)

Best Documentary: "The Central Park Five"

Best Ensemble: "Lincoln"

Nevada Film Critics Choose "Argo" as 2012's Best Film

The Nevada Film Critics Society (NFCS) is apparently a society of film critics who reside in Nevada and produce film reviews for print, broadcast, radio, and online.

The Nevada Film Critics Society's 2012 Awards for Achievement in Film:

Best Film - Argo

Best Actor - John Hawkes (The Sessions)

Best Actress - TIE - Helen Hunt (The Sessions) and Jennifer Lawrence (Silver Linings Playbook)

Best Supporting Actor - Tommy Lee Jones (Lincoln)

Best Supporting Actress - Sally Field (Lincoln)

Best Youth Performance - Tom Holland (The Impossible)

Best Director - TIE - Ben Affleck (Argo) and Kathryn Bigelow (Zero Dark Thirty)

Best Ensemble Cast - Lincoln

Best Animated Movie - Frankenweenie

Best Production Design - Les Miserables

Best Cinematography - Life Of Pi

Best Visual Effects - Life Of Pi

http://nevadafilmcriticssociety.org/

Utah Film Critics Say "Zero Dark Thirty" the Best 2012

2012 Utah Film Critics Association winners:

Best Picture • "Zero Dark Thirty"
(runner-up: "Looper")

Directing • Wes Anderson, "Moonrise Kingdom"
(runner-up: Kathryn Bigelow, "Zero Dark Thirty")

Lead Actor • Joaquin Phoenix, "The Master"
(runners-up: Daniel Day-Lewis, "Lincoln," and John Hawkes, "The Sessions")

Lead actress TIE • Jennifer Lawrence, "Silver Linings Playbook," and Jessica Chastain, "Zero Dark Thirty"

Supporting Actor • Dwight Henry, "Beasts of the Southern Wild"
(runner-up: Philip Seymour Hoffman, "The Master")

Supporting Actress • Anne Hathaway, "Les Misérables"
(runner-up: Ann Dowd, "Compliance")

Original Screenplay • Rian Johnson, "Looper"
(runner-up: Joss Whedon & Drew Goddard, "The Cabin in the Woods")

Adapted Screenplay • Stephen Chbosky, "The Perks of Being a Wallflower"
(runner-up: David O. Russell, "Silver Linings Playbook")

Cinematography • Roger Deakins, "Skyfall"
(runner-up: Claudio Miranda, "Life of Pi")

Documentary Feature • "Indie Game: The Movie"
(runner-up: "The Invisible War")

Non-English Language Feature • "Headhunters" (from Norway)
(runner-up: "Amour" from France)

Animated Feature • "ParaNorman"
(runners-up: "Frankenweenie" and "Wreck-It Ralph")

NY Online Critics Anoint "Zero Dark Thirty" Best of 2012

The New York Film Critics Online is a group of Internet film critics based in New York City that meets once a year, in December, for voting on its annual NYFCO Awards.

A complete list of 2012 honorees follows:

Best Picture: Zero Dark Thirty

Best Director: Kathryn Bigelow – Zero Dark Thirty

Best Debut Director: Benh Zeitlin, Beasts of the Southern Wild

Best Actress: Emmanuelle Riva – Amour

Best Actor: Daniel Day-Lewis – Lincoln

Best Ensemble Cast: Argo

Best Supporting Actor: Tommy Lee Jones – Lincoln

Best Supporting Actress: Anne Hathaway – Les Miserables

Best Cinematography: Life of Pi – Claudio Miranda

Best Screenplay: Zero Dark Thirty – Mark Boal

Best Use of Music: Django Unchained – Mary Ramos

Breakthrough Performance: Quvenzhane Wallis – Beasts of the Southern Wild

Best Animated Feature: Chico and Rita

Best Documentary: The Central Park Five

Best Foreign Language Film: Amour (Austria)

Washington DC Critics Go "Zero Dark Thirty"

Founded in 2002, The Washington DC Area Film Critics Association (WAFCA) is comprised of professional DC-based film critics with affiliations in television, radio, print and the internet.

THE 2012 WAFCA AWARD WINNERS (and nominees): Voting was conducted from December 7-9, 2012:

Best Film:
Zero Dark Thirty WINNER
Argo
Les Misérables
Lincoln
Silver Linings Playbook

Best Director:
Kathryn Bigelow (Zero Dark Thirty) WINNER
Ben Affleck (Argo)
Paul Thomas Anderson (The Master)
Tom Hooper (Les Misérables)
Steven Spielberg (Lincoln)

Best Actor:
Daniel Day-Lewis (Lincoln) WINNER
John Hawkes (The Sessions)
Hugh Jackman (Les Misérables)
Joaquin Phoenix (The Master)
Denzel Washington (Flight)

Best Actress:
Jessica Chastain (Zero Dark Thirty) WINNER
Marion Cotillard (Rust and Bone)
Jennifer Lawrence (Silver Linings Playbook)
Helen Mirren (Hitchcock)
Emmanuelle Riva (Amour)

Best Supporting Actor:
Philip Seymour Hoffman (The Master) WINNER
Alan Arkin (Argo)
Javier Bardem (Skyfall)
Leonardo DiCaprio (Django Unchained)
Tommy Lee Jones (Lincoln)

Best Supporting Actress:
Anne Hathaway (Les Misérables) WINNER
Amy Adams (The Master)
Samantha Barks (Les Misérables)
Sally Field (Lincoln)
Helen Hunt (The Sessions)

Best Acting Ensemble:
Les Misérables WINNER
Argo
Lincoln
Moonrise Kingdom
Zero Dark Thirty

Best Adapted Screenplay:
David O. Russell (Silver Linings Playbook) WINNER
Chris Terrio (Argo)
David Magee (Life of Pi)
Tony Kushner (Lincoln)
Stephen Chbosky (The Perks of Being a Wallflower)

Best Original Screenplay:
Rian Johnson (Looper) WINNER
Quentin Tarantino (Django Unchained)
Paul Thomas Anderson (The Master)
Wes Anderson & Roman Coppola (Moonrise Kingdom)
Mark Boal (Zero Dark Thirty)

Best Animated Feature:
ParaNorman WINNER
Brave
Frankenweenie
Rise of the Guardians
Wreck-It Ralph

Best Documentary:
Bully WINNER
The Imposter
The Invisible War
The Queen of Versailles
Searching for Sugar Man

Best Foreign Language Film:
Amour (from Austria) WINNER
The Intouchables (from France)
I Wish (from Japan)
A Royal Affair (from Denmark)
Rust and Bone (from France/Belgium)

Best Art Direction:
Uli Hanisch, Hugh Bateup - Production Designers; Peter Walpole, Rebecca Alleway - Set Decorators (Cloud Atlas) WINNER

Sarah Greenwood - Production Designer; Katie Spencer - Set Decorator (Anna Karenina)
Eve Stewart - Production Designer; Anna Lynch-Robinson - Set Decorator (Les Misérables)
Rick Carter - Production Designer; Jim Erickson - Set Decorator (Lincoln)
Adam Stockhausen - Production Designer; Kris Moran - Set Decorator (Moonrise Kingdom)

Best Cinematography:
Claudio Miranda (Life of Pi) WINNER
Danny Cohen (Les Misérables)
Mihai Malaimare Jr. (The Master)
Roger Deakins (Skyfall)
Greig Fraser (Zero Dark Thirty)

Best Score:
Jonny Greenwood (The Master) WINNER
Dan Romer & Benh Zeitlin (Beasts of the Southern Wild)
Howard Shore (The Hobbit: An Unexpected Journey)
John Williams (Lincoln)
Alexandre Desplat (Moonrise Kingdom)

Best Youth Performance:
Quvenzhané Wallis (Beasts of the Southern Wild) WINNER
Jared Gilman (Moonrise Kingdom)
Kara Hayward (Moonrise Kingdom)
Tom Holland (The Impossible)
Logan Lerman (The Perks of Being a Wallflower)

Chicago Film Critics Choose "Zero Dark Thirty" as 2012's Best

The Chicago Film Critics Association is a tax-exempt, not-for-profit organization that hands out the Chicago Film Critics Awards, hold critics roundtables, and takes on industry and artists’ rights issues. The parent association was founded in 1990 by film critic Sue Kiner after the successful launch of the Chicago Film Critics Awards in 1989.

2012 Chicago Film Critics Awards winners (in bold) and nominees:

Best Picture
WINNER - Zero Dark Thirty
Argo
Beasts of the Southern Wild
Lincoln
The Master

Best Director
WINNER - Kathryn Bigelow, Zero Dark Thirty
Ben Affleck, Argo
Paul Thomas Anderson, The Master
Steven Spielberg, Lincoln
Benh Zeitlin, Beasts of the Southern Wild

Best Actor
WINNER - Daniel Day-Lewis, Lincoln
John Hawkes, The Sessions
Denis Lavant, Holy Motors
Joaquin Phoenix, The Master
Denzel Washington, Flight

Best Actress
WINNER - Jessica Chastain, Zero Dark Thirty
Helen Hunt, The Sessions
Jennifer Lawrence, Silver Linings Playbook
Emmanuelle Riva, Amour
Quvenzhane Wallis, Beasts of the Southern Wild
Naomi Watts, The Impossible

Best Supporting Actor
WINNER - Phillip Seymour Hoffman, The Master
Jason Clarke, Zero Dark Thirty
Leonardo DiCaprio, Django Unchained
Dwight Henry, Beasts of the Southern Wild
Tommy Lee Jones, Lincoln

Best Supporting Actress
WINNER - Amy Adams, The Master
Emily Blunt, Looper
Judi Dench, Skyfall
Sally Field, Lincoln
Anne Hathaway, Les Misérables

Best Original Screenplay
WINNER - Zero Dark Thirty by Mark Boal
Django Unchained by Quentin Tarantino
Looper by Rian Johnson
The Master by Paul Thomas Anderson
Moonrise Kingdom by Wes Anderson & Roman Coppola

Best Adapted Screenplay
WINNER - Lincoln by Tony Kushner
Argo by Chris Terrio
Beasts of the Southern Wild by Lucy Alibar & Benh Zeitlin
The Perks of Being a Wallflower by Stephen Chbosky
Silver Linings Playbook by David O. Russell

Best Foreign Language Film
WINNER - Amour (Austria)
Holy Motors (France)
The Intouchables (France)
Once Upon a Time in Anatolia (Turkey)
Rust & Bone (France/Belgium)

Best Documentary
WINNER - The Invisible War
The Central Park Five
The Queen of Versailles
Searching For Sugar Man
West of Memphis

Best Animated Feature
WINNER - ParaNorman
Brave
Frankenweenie
The Secret World of Arrietty
Wreck-It Ralph

Best Cinematography
WINNER - Mihai Malaimare Jr., The Master
Claudio Miranda, Life of Pi
Janusz Kaminski, Lincoln
Roger Deakins, Skyfall
Greig Fraser, Zero Dark Thirty

Best Original Score
WINNER - Jonny Greenwood, The Master
Alexandre Desplat, Argo
Dan Romer & Benh Zeitlin, Beasts of the Southern Wild
Alexandre Desplat, Moonrise Kingdom
Alexandre Desplat, Zero Dark Thirty

Best Art Direction
WINNER - Moonrise Kingdom
Anna Karenina
Les Misérables
Lincoln
The Master

Best Editing
WINNER - William Goldenberg & Dylan Tichenor, Zero Dark Thirty
Willian Goldenberg, Argo
Alexander Berner, Cloud Atlas
Leslie Jones & Peter McNulty, The Master
Stuart Baird, Skyfall

Most Promising Performer
WINNER - Quvenzhane Wallis, Beasts of the Southern Wild
Samantha Barks, Les Misérables
Kara Hayward, Moonrise Kingdom
Dwight Henry, Beasts of the Southern Wild
Tom Holland, The Impossible

Most Promising Filmmaker
WINNER - Benh Zeitlin, Beasts of the Southern Wild
Stephen Chbosky, The Perks of Being a Wallflower
Drew Goddard, The Cabin in the Woods
Nicholas Jarecki, Arbitrage
Colin Trevorrow, Safety Not Guaranteed

Phoenix Film Critics Say "Argo" is Best Film of 2012

After showering Les Misérables with 12 nominations, the Phoenix Film Critics Society 2012 Annual Awards gives the film one win, Anne Hathaway as best supporting actress.  Argo gets "Best Picture," but "Best Director" goes to Zero Dark Thirty's Kathryn Bigelow.

Phoenix Film Critics Society 2012 Annual Awards winners:

Best Picture: Argo

Top Ten Films
•"Argo"
•"The Avengers"
•"Beasts of the Southern Wild"
•"Les Misérables"
•"Life of Pi"
•"Lincoln"
•"Moonrise Kingdom"
•"Silver Linings Playbook"
•"Skyfall"
•"Zero Dark T`hirty"

Best Director: Kathryn Bigelow - "Zero Dark Thirty"

Best Actor in a Leading Role: Daniel Day-Lewis - "Lincoln"

Best Actress in a Leading Role: Jessica Chastain - "Zero Dark Thirty"

Best Actor in a Supporting Role: Philip Seymour Hoffman - "The Master"

Best Actress in a Supporting Role: Anne Hathaway - "Les Misérables"

Best Ensemble Acting: "Moonrise Kingdom"

Best Screenplay Written Directly for the Screen: "Moonrise Kingdom"

Best Screenplay Adapted from Another Medium: "Argo"

Best Live Action Family Film: "Life of Pi"

Overlooked Film of the Year: "Safety Not Guaranteed"

Best Animated Film: "Wreck-It Ralph"

Best Foreign Language Film: "The Intouchables" (France)

Best Documentary: "Searching for Sugar Man"

Best Original Song: "Skyfall" from "Skyfall"

Best Original Score: "Skyfall"

Best Cinematography: "Life of Pi"

Best Film Editing: "Argo"

Best Production Design: "Moonrise Kingdom"

Best Costume Design: "Anna Karenina"

Best Visual Effects: "Life of Pi"

Best Stunts: "Skyfall"

Breakthrough Performance on Camera: Quvenzhané Wallis - "Beasts of the Southern Wild"

Breakthrough Performance Behind the Camera: Benh Zeitlin - "Beasts of the Southern Wild"

Best Youth Performance in a Lead or Supporting Role – Male: Tom Holland - "The Impossible"

Best Youth Performance in a Lead or Supporting Role – Female: Quvenzhané Wallis - "Beasts of the Southern Wild"

Boston Film Critics Name "Zero Dark Thirty" 2012's Best Film

The Boston Society of Film Critics was formed in 1981. The group claims that its mission is to make “Boston's unique critical perspective heard on a national and international level by awarding commendations to the best of the year's films and filmmakers and local film theaters and film societies that offer outstanding film programming.” One of the society’s members, Wesley Morris, won 2012 Pulitzer Prize for Criticism.

2012 Winners:

Best Picture - Zero Dark Thirty

Best Actor - Daniel Day Lewis for Lincoln

Best Actress - Emmanuelle Riva for Amour

Best Supporting Actor - Ezra Miller for Perks of Being a Wallflower

Best Supporting Actress - Sally Field for Lincoln

Best Director - Kathryn Bigelow for Zero Dark Thirty

Best Screenplay - Tony Kushner fro Lincoln

Best Cinematography - Mihai Malaimare Jr for The Master

Best Documentary - How to Survive a Plague

Best Foreign-Language Film - Amour

Best Animated Film - Frankenweenie

Best Film Editing (awarded in memory of Karen Schmeer) - William Goldenberg and Dylan Tichenor for Zero Dark Thirty

Best New Filmmaker (awarded in memory of David Brudnoy) - David France for How to Survive a Plague

Best Ensemble Cast - Seven Psychopaths

Best Use of Music in a Film - Moonrise Kingdom

American Film Institute Announces 2012 Awards

The American Film Institute (AFI) describes itself as “America’s promise to preserve the history of the motion picture, to honor the artists and their work and to educate the next generation of storytellers.” Their awards focus on American feature films and television programs.

Some of the "best film" selections are expected, such as Zero Dark Thirty, Lincoln, and Beasts of the Southern Wild (which seems to be gaining not just momentum, but also a big head of steam).  The Dark Knight Rises, which I found to be loud and self-important (acceptable traits if you're a film critic), would make my bottom ten.  I have not watched any of the honored television series, and I've grown tired of "Modern Family."

AFI MOVIES OF THE YEAR – 2012:

ARGO

BEASTS OF THE SOUTHERN WILD

THE DARK KNIGHT RISES

DJANGO UNCHAINED

LES MISÉRABLES

LIFE OF PI

LINCOLN

MOONRISE KINGDOM

SILVER LININGS PLAYBOOK

ZERO DARK THIRTY

AFI TV PROGRAMS OF THE YEAR:

AMERICAN HORROR STORY: ASYLUM

BREAKING BAD

GAME OF THRONES

GIRLS

HOMELAND

LOUIE

MAD MEN

MODERN FAMILY

THE WALKING DEAD

AFI has stated that it will honor the creative ensembles for each of the selections at an invitation-only luncheon on Friday, January 11, 2013 in Los Angeles, California.

National Board of Review Best Film: Zero Dark Thirty

The National Board of Review of Motion Pictures, which is made up of film enthusiasts, academics, students, and filmmakers, historically launches the movie awards season. The group named the winners for the year 2012, yesterday, Wednesday, December 5. The NBR’s awards gala will be held Tuesday, January 8, 2013 and will be hosted by Meredith Vieira.

Zero Dark Thirty, a film about the hunt for Osama bin Laden, was named the “2012 Best Film of the Year” by the National Board of Review. The film’s director, Kathryn Bigelow, was named “Best Director.” Bigelow previously won the best director Oscar for The Hurt Locker.

Below is a full list of the awards given by the National Board of Review for 2012:

Best Film: ZERO DARK THIRTY

Best Director: Kathryn Bigelow, ZERO DARK THIRTY

Best Actor: Bradley Cooper, SILVER LININGS PLAYBOOK

Best Actress: Jessica Chastain, ZERO DARK THIRTY

Best Supporting Actor: Leonardo DiCaprio, DJANGO UNCHAINED

Best Supporting Actress: Ann Dowd, COMPLIANCE

Best Original Screenplay: Rian Johnson, LOOPER

Best Adapted Screenplay: David O. Russell, SILVER LININGS PLAYBOOK

Best Animated Feature: WRECK-IT RALPH

Special Achievement in Filmmaking: Ben Affleck, ARGO

Breakthrough Actor: Tom Holland, THE IMPOSSIBLE

Breakthrough Actress: Quvenzhané Wallis BEASTS OF THE SOUTHERN WILD

Best Directorial Debut: Benh Zeitlin, BEASTS OF THE SOUTHERN WILD

Best Foreign Language Film: AMOUR (Austria)

Best Documentary: SEARCHING FOR SUGARMAN

William K. Everson Film History Award: 50 YEARS OF BOND FILMS

Best Ensemble: LES MISÉRABLES

Spotlight Award: John Goodman (ARGO, FLIGHT, PARANORMAN, TROUBLE WITH THE CURVE)

NBR Freedom of Expression Award: CENTRAL PARK FIVE

NBR Freedom of Expression Award: PROMISED LAND


Top Films (in alphabetical order):
ARGO

BEASTS OF THE SOUTHERN WILD

DJANGO UNCHAINED

LES MISÉRABLES

LINCOLN

LOOPER

THE PERKS OF BEING A WALLFLOWER

PROMISED LAND

SILVER LININGS PLAYBOOK

Top 5 Foreign Language Films (In Alphabetical Order):
BARBARA

THE INTOUCHABLES

THE KID WITH A BIKE

NO

WAR WITCH

Top 5 Documentaries (In Alphabetical Order):
AI WEIWEI: NEVER SORRY

DETROPIA

THE GATEKEEPERS

THE INVISIBLE WAR

ONLY THE YOUNG

Top 10 Independent Films (In Alphabetical Order):
ARBITRAGE

BERNIE

COMPLIANCE

END OF WATCH

HELLO I MUST BE GOING

LITTLE BIRDS

MOONRISE KINGDOM

ON THE ROAD

QUARTET

SLEEPWALK WITH ME

NY Film Critics Name "Zero Dark Thirty" Best Picture of 2012

If I'm not mistaken, the New York Film Critics Circle did manage to be the first film critics' organization to announce its awards for this year.  They were not last year.

They've named Zero Dark Thirty, Kathryn Bigelow's movie about the hunt for Osama bin Laden, the "Best Picture" of 2012.  Bigelow, who also won the best director Oscar for The Hurt Locker, won the Circle's "Best Director" prize for Zero Dark Thirty.  Steven Spielberg's Lincoln was also a big winner, snagging three prizes, including acting honors for Daniel Day-Lewis and Sally Field.

Founded in 1935, the New York Film Critics Circle is, according to their website, “an organization of film reviewers from New York-based publications that exists to honor excellence in U.S. and world cinema.” Members are critics from daily newspapers, weekly newspapers, magazines, and online general-interest publications (that meet certain qualifications). Every year in December, Circle members meet in New York to vote on awards for the year's films.

Here's the complete list of the 2012 winners:

Best Picture - Zero Dark Thirty

Best Director - Kathryn Bigelow for Zero Dark Thirty

Best Screenplay - Tony Kushner for Lincoln

Best Actress - Rachel Weisz for The Deep Blue Sea

Best Actor - Daniel Day-Lewis for Lincoln

Best Supporting Actress - Sally Field for Lincoln

Best Supporting Actor - Matthew McConaughey for 2 films: Bernie, Magic Mike

Best Cinematographer - Greig Fraser for Zero Dark Thirty

Best Animated Film – Frankenweenie

Best Non-Fiction Film (Documentary) - The Central Park Five

Best Foreign Film – Amour

Best First Film - David France for How to Survive a Plague

Review: "Blue Steel" is Mixes Horror and Crime Genres (Happy B'day, Kathryn Bigelow)

TRASH IN MY EYE No. 75 (of 2007) by Leroy Douresseaux

Blue Steel (1990)
Running time: 102 minutes (1 hour, 42 minutes)
MPAA - R
DIRECTOR: Kathryn Bigelow
WRITERS: Kathryn Bigelow and Eric Red
PRODUCERS: Edward R. Pressman and Oliver Stone
CINEMATOGRAPHER: Amir Mokri
EDITOR: Lee Percy
COMPOSER: Brad Fiedel

CRIME/THRILLER with elements of horror

Starring: Jamie Lee Curtis, Ron Silver, Clancy Brown, Elizabeth Pena, Louise Fletcher, Philip Bosco, Kevin Dunn, Tom Sizemore, Matt Craven, and Richard Jenkins

Blue Steel was director Kathryn Bigelow’s third directorial effort (her second solo feature), and like her earlier mixed genre efforts, the film is a horror flick dressed in the clothes of a cop movie.

When rookie policewoman Megan Turner (Jamie Lee Curtis) shoots an armed robber during a holdup, one of the witnesses is Wall Street broker, Eugene Hunt (Ron Silver). A psychotic who hears voices talking to him, Hunt becomes obsessed with Megan. He cunningly removes the robber’s gun, and quietly leaves the store without Megan ever realizing he was there. Hunt carves her name on the bullets and begins a killing spree. Later, Megan meets Eugene, and he woos her into a budding romance, but his extreme mental illness causes him to reveal his crimes to Megan. However, virtually no one believes that he is the killer. As the deadly psychopath draws the young cop into a deadly game of wits, Megan thinks she’s one step ahead of him, but Hunt is much closer than she thinks.

Casting Jamie Lee Curtis as the rookie female policeman was a good move. Having spent much of her early film career playing beautiful young women stalked by mad killers in such films as Halloween (1978), The Fog and Terror Train (both 1980), and Halloween II (1981), Curtis just feels right in Blue Steel as the feisty girl against the seemingly unstoppable mass murderer. She also looks the same in her early 30’s when Blue Steel was filmed as she did when she was just in his 20’s and starring in slasher movies in the late 70’s and early 80’s. The general idea of Blue Steel seems to be that Curtis’s Megan Turner never realizes just how precarious her situation is, whether she is at home (where her father is an abusive husband), in the office (where her colleagues don’t respect her), or on the streets of New York City (where the killer stalks her).

The problem is Kathryn Bigelow and Eric Red’s screenplay, which attacks plausibility at every turn. This is a brutal cat and mouse game, and Bigelow presents Blue Steel as an exercise of urban violence and fierce gunplay – the kind that was fashionable in 1980’s action movies such as Die Hard and Lethal Weapon. Much of the violence is a kick in the gut, but this concept plays with the conceit of horror movies (where many things that happen don’t have to make sense) rather than cop movies (where most things should make real world sense). In the Blue Steel, the killer is unstoppable and somewhat supernatural and the girl hero and the police department don’t seem to have much common sense, which they should.

5 of 10
C+

Thursday, May 10, 2007

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Review: New Talent Emerges in "The Loveless" (Happy B'day, Willem Dafoe)

TRASH IN MY EYE No. 68 (of 2007) by Leroy Douresseaux

The Loveless (1982)
Theatrical release: Jan. 1984 (USA)
Running time: 82 minutes (1 hour, 22 minutes)
MPAA – R
WRITERS/DIRECTORS: Kathryn Bigelow and Monty Montgomery
PRODUCERS: A. Kitman Ho and Grafton Nunes
CINEMATOGRAPHER: Doyle Smith
EDITOR: Nancy Kanter
COMPOSER: Robert Gordon

DRAMA

Starring: Willem Dafoe, Robert Gordon, Marin Kanter, J. Don Ferguson, Tina L’Hotsky, Lawrence Matarese, Danny Rosen, Phillip Kimbrough, Ken Call, and Elizabeth Gans

The subject of this movie review is The Loveless, a 1982 outlaw biker drama. The film is notable for being the actor Willem Dafoe’s debut as a lead and for also being the first feature film by Kathryn Bigelow (The Hurt Locker). According to the Internet Movie Database, The Loveless appeared in film festivals in 1982 and was released theatrically in the United States and Sweden in 1984.

Leather-clad biker, Vance (Willem Dafoe), leads a group of fellow leather-clad bikers who make a pit stop in a backwater Georgia town en route to a stock car race in Daytona, Florida. While waiting for one of their bikes to be repaired, the gang takes a measure of the town and finds it woefully wanting. On the other side of this equation, some of the townsfolk, from a distance, grudgingly admire the bikers’ freedom. There are also a few troublemakers, and one of them, Tarver (J. Don Ferguson), looks to bring this story to an explosive conclusion.

The Loveless was Willem Dafoe’s film debut, and it was also the first feature film directed by Kathryn Bigelow (who actually co-wrote and co-directed this with Monty Montgomery). Bigelow would go onto to direct such films as Near Dark, Point Break, and Strange Days (in addition to being married to James Cameron for two years). The Loveless is a stylish ode to the Marlon Brando film, The Wild One. It’s violent, a little randy, and its mood perfectly captures the essence of an isolated Deep South hamlet stuck in the past, suspicious of strangers and all things different. Incest, bigotry, prejudice, and murder, The Loveless delves into Southern Gothic while worshiping the post-World War II era biker in a languid, sensuous fashion.

The film’s pace and acting style recalls pre-method acting Hollywood films. The performances are very affected in that stage acting manner of movies of old Hollywood. Dafoe gives one his sexiest performances. Dangerous, young, and reeking of raw sex, he wouldn’t appear like this again until 2002’s Spider-Man. The Loveless isn’t great, but its raw, almost amateurish atmosphere and execution is mesmerizing.

5 of 10
B-

Thursday, April 26, 2007

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Review: "Point Break" is Still On-Point (Happy B'day, Gary Busey)

TRASH IN MY EYE No. 146 (of 2007) by Leroy Douresseaux

Point Break (1991)
Running time: 122 minutes (2 hours, 2 minutes)
MPAA – R for violence and adult language
DIRECTOR: Kathryn Bigelow
WRITERS: W. Peter Iliff; from a story by Rick King and W. Peter Iliff
PRODUCERS: Peter Abrams and Robert L. Levy
CINEMATOGRAPHER: Donald Peterman (D.o.P.)
EDITORS: Bert Lovitt and Howard E. Smith

ACTION/CRIME/DRAMA

Starring: Patrick Swayze, Keanu Reeves, Gary Busey, Lori Petty, John C. McGinley, James LeGros, John Philbin, Bojesse Christopher, Julian Reyes, Daniel Beer, Chris Pedersen, Vincent Klyn, and Anthony Kiedis

The subject of this movie review is Point Break, a 1991 action film and crime drama from director Kathryn Bigelow and starring Patrick Swayze and Keanu Reeves. The title, “Point Break,” refers to a surfing term, and the film follows an undercover FBI agent who infiltrates a band of bank robbers who are also surfers.

Keanu Reeves wasn’t a good actor early in his career, but it was obvious from the moment he started appearing in films in the mid to late 1980’s, that he had star quality – that something, that essence that makes the camera love him. A skillful director can manage a real movie star’s deficiencies and make a credible film, which is what director Kathryn Bigelow did in the 1991 summer action flick, Point Break.

Young FBI Special Agent Johnny Utah (Keanu Reeves) goes undercover and joins a group of surfers while searching for a gang of bank robbers. Calling themselves the “Ex-Presidents,” each member of a bank-robbing quartet wears a Halloween rubber mask of one of four former presidents, and they’ve successfully pulled off 30 robberies in the Los Angeles area in three years without being caught. The FBI is puzzled, but Utah and his veteran partner, Angelo Poppas (Gary Busey, being a ham and generally acting nuts), believe they have an angle on catching the robbers. Angelo is sure that the thieves are surfers, and he convinces Utah to take up the sport.

Johnny meets girl surfer, Tyler Ann Endicott (Lori Petty), and convinces her to teach him to surf. Johnny eventually meets Tyler’s former boyfriend, Bodhi (Patrick Swayze), the leader of a small circle of local surfers. Bodhi takes a liking to Utah and quickly draws him into the surfing subculture. Entangled in this new lifestyle, Utah earns the ire of his boss, FBI Agent Ben Harp (John C. McGinley), and when Utah later discovers the identity of the Ex-Presidents, he finds himself ensnared in a trap of his own making.

Point Break was the movie that established Keanu Reeves as a convincing action star, when up to the time of this film, he’d mostly played naïve and/or goofy boys in a series of comedies and dramas (including Dangerous Liaisons, believe it or not). Overall, the acting here is mostly mediocre to bad, and the dialogue is a combination of hokey surf philosophy and the kind of phony law enforcement dialogue frequently found in cop movies. All of it sounds the worst coming from Reeves. However, the film features striking aerial photography and beautiful cinematography. Bigelow skillfully stages all the actions scenes to get the most out of them – including a thrilling scene when Utah chases Bodhi on foot. Point Break isn’t great, but the surfing and masked bank robbers angles make it memorable and definitely worth a view.

6 of 10
B

Saturday, May 12, 2007

Review: 'The Widowmaker" is a Cool Cold War Film (Happy B'day, Liam Neeson)

TRASH IN MY EYE No. 82 (of 2007) by Leroy Douresseaux

K-19: The Widowmaker (2002)
Running time: 138 minutes (2 hours, 18 minutes)
MPAA – PG-13 for disturbing images
DIRECTOR: Kathryn Bigelow
WRITERS: Christopher Kyle; from a story by Louis Nowra
PRODUCERS: Kathryn Bigelow, Edward S. Feldman, Sigurjon Sighvatsson, and Christine Whitaker
CINEMATOGRAPHER: Jeff Cronenweth
EDITOR: Walter Murch

DRAMA/ADVENTURE/THRILLER/HISTORICAL

Starring: Harrison Ford, Liam Neeson, Peter Sarsgaard, Sam Spruell, Christian Camargo, Sam Redford, and Ravil Isyanov

Based upon actual events, K-19: The Widowmaker is the dramatization of the inaugural voyage of the Russia’s first nuclear ballistic submarine, which suffered a nuclear reactor malfunction during its maiden voyage in the North Atlantic in 1961. The film begins in the midst of the nuclear arms race between the United States and the Soviet Union. K-19, called “the Widowmaker,” because of the number of men who have died working on the sub before it even launched, is the Soviet Union’s attempt to catch up to the U.S., which already has nuclear-powered (and armed) submarines.

The film fictionalizes the relationship between the unyielding Captain Alexei Vostrikov (Harrison Ford) and his second in command, Captain Mikhail Polenin (Liam Neeson), who was K-19’s Captain until politics unseated him. The two men and their gallant crew must race against time to prevent a nuclear explosion that would destroy them and inadvertently ignite a world war between the Soviets and the Americans, but the crew also finds itself caught between the two captain’s test of wills.

Kathryn Bigelow’s K-19: The Widowmaker does the fine old genre of submarine movies proud by telling an astonishing true story as an engaging and riveting dramatic tale of survival, grace under fire, and solidarity among military men. This absorbing and scary flick is a testament to Bigelow’s technical skill as a filmmaker. One would think that as a woman, she would focus primarily on character and relationships, but Bigelow is a whiz at staging big action sequences, thrilling chases, and the kind of violent confrontations for which male action movie directors are known.

When this film was first released, some critics took issue with Harrison Ford’s weak Russian accent, which comes and goes (but is quite strong in the movie’s closing sequences), but the way Ford plays the character hits the right note. Ford finds a way to balance his Vostrikov for the way Liam Neeson plays Polenin, and Ford clearly understood the role both characters played in the larger narrative. Ford and Neeson fit their characters neatly into the context of the other characters and the setting. Together they sell K-19: The Widowmaker’s central conflict – Polenin versus Vostrikov, while making neither man a villain, because Christopher Kyle’s excellent screenplay gives both men ample opportunity to be heroic.

A winning adventure at sea and (Cold) war movie, K-19: The Widowmaker respects its audience, and the smart viewer who is willing to engage this film will find a treasure beneath the waves.

7 of 10
A-

Friday, May 25, 2007

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Negromancer New Bits and Bites for August 19 2011

Stuff I found interesting:

Deadline has the details on anti-Muslin toad, Congressman Peter King's plan to launch an investigation into Kathryn Bigelow's Bin Laden Film.

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Remember Hong Kong Phooey, the 1970s Hanna-Barbera animated series about a mild-mannered janitor-dog who is really masked crime fighter, Hong Kong Phooey?  There has been talk about a movie version going back to the early 1990s (that I remember).  I think the success of The Smurfs film means we'll be seeing more live-action/animation films made of old Saturdamy morning series.

Well, Eddie Murphy will be the voice of Penry the mild-mannered dog in Alcon Entertainment's live-action/animated Hong Kong Phooey.  For those who don't know, the late great Scatman Crothers was the voice of Penry.  Entertainment Weekly has some details.

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Variety reports that Disney is filling out its Summer 2014 schedule with three pictures:  There will be a Marvel Studios movie May 16.  Two weeks later, a Pixar film arrives on May 30.  The second Marvel picture arrives on June 27.  The films are unnamed, but Variety reports that Marvel has a number of projects in development, including a Captain America sequel and an Avengers spinoff.

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Deadline has an exclusive:  After finishing Prometheus, a kind of prequel to his 1979 classic, Alien, director Ridley Scott will return to another of his sci-fi classics.  Deadline is reporting that Scott has signed on to direct and produce a new installment of Blade Runner, with Alcon Entertainment, producing with Alcon partners Broderick Johnson and Andrew Kosove. Alcon apparently gained control of the Blade Runner franchise earlier this year.  There are conflicting reports about whether Harrison Ford, the star of the original Blade Runner will return, with some stating that he won't.

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Huffington Post reports that Will Smith is working on a double comeback.  I don't think Smith needs to come back from anything, but let's humor them for the sake of this story.  Smith is working on his first album since 2005.  He hasn't been in a film since 2008's Seven Pounds, but he is working on "Men in Black 3."  Also, Shawn Levy is trying to get Smith for a remake of the 1966 science fiction film, Fantastic Voyage.

Columbia Pictures to Distribute Bigelow-Boal "Bin Laden" Movie

COLUMBIA PICTURES ACQUIRES UNITED STATES DISTRIBUTION RIGHTS TO THE FORTHCOMING FILM FROM OSCAR®-WINNING “HURT LOCKER” TEAM OF DIRECTOR KATHRYN BIGELOW AND SCREENWRITER MARK BOAL

Columbia Pictures has acquired United States distribution rights to the forthcoming motion picture from Oscar®-winners Kathryn Bigelow and Mark Boal, director and screenwriter, respectively, of the Best Picture-winning film The Hurt Locker, it was announced by Amy Pascal, Co-Chairman of Sony Pictures Entertainment.

The untitled film focuses on the black ops mission to capture or kill Osama bin Laden, which culminated in his death earlier this month during a high-stakes raid on his compound in Pakistan. Bigelow and Boal have been developing the project since 2008 and plan to incorporate recent events into the film.

Boal and Bigelow will produce the project, along with Annapurna Picture’s Megan Ellison, and executive producer, Greg Shapiro, with production slated to commence in the late summer of 2011. The film will be released in the United States in the 4th quarter of 2012.

Commenting on the announcement, Pascal said, “With the death of Osama bin Laden, this film could not be more relevant. Kathryn and Mark have an outstanding perspective on the team that was hunting the most wanted man in the world. . Mark is second to none as an investigative journalist, and Kathryn will bring the same kind of compelling authenticity and urgency that distinguished The Hurt Locker and made that film so memorable and special.”

Kathryn Bigelow won Academy Awards® for directing and producing her most recent feature film, The Hurt Locker, a look at an elite Explosive Ordinance Disposal squad in Iraq. The film starred Jeremy Renner, Anthony Mackie and Brian Geraghty, and won a total of six Oscars®, including Best Picture. Bigelow’s other films include Near Dark, Point Break, Strange Days, The Weight of Water, and K-19: The Widowmaker.

Mark Boal won the Academy Award® for his original screenplay for The Hurt Locker. He also won an Oscar® for producing the Best Picture winner. As an investigative reporter, he has written for such national publications as Rolling Stone, The Village Voice, Brill’s Content, Mother Jones, and Playboy. In 2003, he wrote Death and Dishonor, the true story of a military veteran who goes searching for his missing son, which later became the basis for Paul Haggis’s follow up to Crash, In the Valley of Elah, released by Warner Bros. in 2007. Boal collaborated with Paul Haggis on the script and shares a co-story credit on the film.

Megan Ellison is the owner and CEO of Annapurna Pictures and the producer of the forthcoming Wettest County, directed by John Hillcoat. She was the Executive Producer of True Grit. Annapurna is financing and producing upcoming films by Paul Thomas Anderson, Martin McDonagh, and Andrew Dominik.

Greg Shapiro won an Academy Award® for producing The Hurt Locker. His recent credits include The Conspirator, directed by Robert Redford, and A Very Harold and Kumar Christmas.


About Columbia Pictures
Columbia Pictures, part of the Columbia TriStar Motion Picture Group, is a Sony Pictures Entertainment company. Sony Pictures Entertainment (SPE) is a subsidiary ofSony Corporation of America, a subsidiary of Tokyo-based Sony Corporation. SPE's global operations encompass motion picture production and distribution; television production and distribution; home entertainment acquisition and distribution; a global channel network; digital content creation and distribution; operation of studio facilities; development of new entertainment products, services and technologies; and distribution of entertainment in more than 140 countries. Sony Pictures Entertainment can be found on the World Wide Web at http://www.sonypictures.com/.

Review: "Strange Days" is a Vastly Underrated Sci-Fi Movie (Happy B'day, Katheryn Bigelow)

TRASH IN MY EYE No. 78 (of 2007) by Leroy Douresseaux

Strange Days (1995)
Running time: 145 minutes (2 hours, 25 minutes)
MPAA – R for intense disturbing violence, sexuality, and pervasive strong language
DIRECTOR: Kathryn Bigelow
WRITERS: James Cameron and Jay Cocks; from a story by Cameron
PRODUCERS: James Cameron and Steven-Charles Jaffe
CINEMATOGRAPHER: Matthew F. Leonetti
EDITOR: Howard E. Smith (and James Cameron who did not receive a screen credit)

DRAMA/CRIME/SCI-FI/THRILLER

Starring: Ralph Fiennes, Angela Bassett, Juliette Lewis, Tom Sizemore, Michael Wincott, Vincent D’Onofrio, Glenn Plummer, Brigitte Bako, Richard Edson, William Fichtner, and Josef Sommer

Set in a quasi-futuristic or near future Los Angeles on the eve of the new millennium, Strange Days was, at the time, director Kathryn Bigelow’s most ambitious film. This is especially true from the technical and production standpoints, as special cameras were designed to shoot the film and filming certain sequences required complex production planning. Bigelow also collaborated on Strange Days with her then-former husband James Cameron (they were married from 1989-91) who wrote the film’s story, co-wrote the screenplay, co-produced the film, and edited the film’s final cut (although he didn’t receive a screen credit as an editor because he wasn’t at the time a member of the film editors guild).

This neo-noir thriller opens on Dec. 30, 1999 and introduces ex-cop, Lenny Nero (Ralph Fiennes). Lenny is a pusher of illegal virtual reality clips. This potent technology records everything a person experiences on a small disc. Later, a special player sends a signal straight into the cerebral cortex of the brain and allows the wearer to relive those sensations. Of course, recordings of sex, murder, and violence are the most popular clips. When Lenny gets a clip that captured the murder of Jeriko One (Glenn Plummer), a high-profile rap musician and anti-government activist, he finds himself ensnared in a manhunt in which he can never be sure of the hunters’ identities. With the help of Lornette “Mace” Mason (Angela Bassett) an old friend and limo driver who is quite the fighter, Lenny tries to stay ahead of the danger and protect his old girlfriend, Faith Justin (Juliette Lewis), a musician who is somehow part of this. All the while, Lenny is trying to figure out what to do with a clip that could ignite the power keg that is Los Angeles on the eve of the year 2000 and set a fire that won’t stop burning.

Strange Days is a top-notch sci-fi drama, and it starts off with a good script and concept, for most of which visionary filmmaker James Cameron (The Terminator, Titanic) is responsible. This was also the film in which Kathryn Bigelow’s potential paid off quite nicely. Her choice of filmmaking genres likely surprised people early in a career, but this movie shows that she is more than capable of mounting a big production and controlling it. She maintains the integrity of Cameron’s vision, while visualizing it with consummate skill. She presents Strange Days as a plausible quasi-future and presents a frame of reference the audience can recognize. While Cameron’s stories have generally dealt with a strong action heroine or woman who can move to action, Bigelow emphasized gender stereotypes and portrayed the male, Lenny Nero, especially weak and enormously dependent upon the female, Lornette “Mace” Mason, who doesn’t back down or take prisoners in a fight.

There are good performances all around, in particularly Ralph Fiennes and Angela Bassett. In Lenny Nero, Fiennes defines the noble criminal, a slick huckster constantly fending off his conscience. Bassett is a heavyweight, breathing life into Mace Mason, as she reveals so much about her in a subtle fashion. She helps us discover one side of Mace so quietly that it’s surprising to realize that by the middle of the film, we know Mace as well as we know Lenny. Then, Bassett will explode in a flurry of punches and whip out a pistol, and we’re looking at Mace as an entirely different person.

Looking back on Strange Days, Cameron’s script seems slightly prophetic and may yet reveal a few more prophecies. In the end, however, Bigelow guides her cast, in particularly her stellar leads, and creative crew into creating a vision of the future that wallows in the excesses of our present, showing us how social ills will likely get worse. Then, Bigelow tells us that the future promises hope and brings out the best of those who want to show their best.

7 of 10
A-

Thursday, May 17, 2007

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The Hurt Locker: Do Believe the Hype

TRASH IN MY EYE No. 40 (of 2010) by Leroy Douresseaux


The Hurt Locker (2008/2009)
Running time: 131 minutes (2 hours, 11 minutes)
MPAA – R for war violence and language
DIRECTOR: Kathryn Bigelow
WRITER: Mark Boal
PRODUCERS: Kathryn Bigelow, Mark Boal, Nicolas Chartier, and Greg Shapiro
CINEMATOGRAPHER: Barry Ackroyd
EDITORS: Chris Innis and Bob Murawski
COMPOSERS: Marco Beltrami and Buck Sanders
Academy Award winner

WAR/DRAMA/ACTION

Starring: Jeremy Renner, Anthony Mackie, Brian Geraghty, Christian Camargo, Guy Pearce, Ralph Fiennes, David Morse, and Evangeline Lilly

When the 2010 Academy Awards ceremony was over, The Hurt Locker, an independently produced war movie set in Iraq, was named “Best Picture” of 2009. The film’s director, Kathryn Bigelow, became the first woman to win the Oscar for “Best Director.” That would have seem unlikely just two years earlier because films about the war in Iraq were failing at the box office and getting mostly mixed reviews from film critics. The Hurt Locker is special, however; it is truly a great film.

The Hurt Locker is set in the summer of 2004. Sergeant JT Sanborn (Anthony Mackie) and Specialist Owen Eldridge (Brian Geraghty) of Bravo Company are part of a small counterforce specifically trained to deal with the homemade bombs know as IEDs (Improvised Explosive Devices), and they’ve just lost their team leader. The officer who takes over the team, Sergeant First Class William James (Jeremy Renner), shocks Sanborn and Eldridge with how he simply disregards military protocol and basic safety measures. Depending upon one’s perspective, James is either a swaggering cowboy looking for kicks even when the margin of error is zero, or he is the consummate professional, meticulous in the mastery of his treacherous craft.

Sanborn and Eldridge have only 38 days left in their tour of Iraq, and if they are to survive that remaining time, they must learn to understand James and to work with him, even if they cannot contain him or control his behavior. With each mission seemingly more dangerous than the last, James blurs the line between inspiring bravery and reckless bravado, and for Sanborn and Eldridge, it seems as if it is only a matter of time before disaster strikes.

If someone asked me if I were surprised at how good The Hurt Locker is, I would say yes. If someone asked me if I were surprised that Kathryn Bigelow could make a film as good as The Hurt Locker, I would say no. Prior to this film, Bigelow had shown a penchant for tense thrillers (Near Dark) and evocative character drama (The Weight of Water), and The Hurt Locker is a taut, riveting, psychological thriller, rich with resonant character drama. This film is a confluence of events, in which a great script needed a skilled and talented director to turn it into an incredible film.

In fact, everything about The Hurt Locker is superbly done. The script by Mark Boal, who was an imbedded journalist in Iraq in 2004, is one of those screenplays that is a memorable story of war because it is also an incredible story not about the war, but about the young men on the ground fighting it. Bigelow transforms the power of Boal’s screenplay (which eventually won an Oscar) into a film that captures Boal’s spellbinding story of unique warriors.

This film feels explosively real because Bigelow gets great performances of her characters, especially the Bravo company trio of James, Sanborn, and Eldridge. Jeremy Renner makes James’ addiction to his job and the way he does it a beautiful, mesmerizing thing. The underrated and underappreciated Anthony Mackie is consummate in his depiction of the by-the-book Sanborn. Brian Geraghty is a delight as the conflicted, boyish Eldridge.

Kathryn Bigelow and her creative crew and collaborators turned the war film into art. Bigelow’s actors made The Hurt Locker the great modern war film about modern war. In their performances, they say everything about war and about the kind of war that is Iraq without being political.

10 of 10

NOTES:
2010 Academy Awards: 6 wins: “Best Motion Picture of the Year” (Kathryn Bigelow. Mark Boal, Nicolas Chartier, and Greg Shapiro), “Best Achievement in Directing” (Kathryn Bigelow), “Best Achievement in Editing” (Bob Murawski and Chris Innis), “Best Achievement in Sound” (Paul N.J. Ottosson and Ray Beckett), “Best Achievement in Sound Editing” (Paul N.J. Ottosson), “Best Writing, Screenplay Written Directly for the Screen” (Mark Boal); 3 nominations: “Best Achievement in Cinematography” (Barry Ackroyd), “Best Achievement in Music Written for Motion Pictures, Original Score” (Marco Beltrami and Buck Sanders), and “Best Performance by an Actor in a Leading Role” (Jeremy Renner)

2010 BAFTA Awards: 6 wins: “Best Film” (Kathryn Bigelow, Mark Boal, Nicolas Chartier, and Greg Shapiro), “Best Cinematography” (Barry Ackroyd), “Best Director” (Kathryn Bigelow), “Best Editing” (Bob Murawski and Chris Innis), “Best Screenplay – Original” (Mark Boal), “Best Sound” (Ray Beckett, Paul N.J. Ottosson, and Craig Stauffer); 2 nominations: “Best Leading Actor” (Jeremy Renner) and “Best Special Visual Effects” (Richard Stutsman)

2010 Golden Globes: 3 nominations: “Best Director - Motion Picture” (Kathryn Bigelow), “Best Motion Picture – Drama, and “Best Screenplay - Motion Picture” (Mark Boal)

Friday, June 04, 2010