[UPDATE: Expanded list of winners including 2nd & 3rd place selections.]
BEST PICTURE
1. Waltz with Bashir, directed by Ari Folman (26)
2. Happy-Go-Lucky (20)
3. WALL-E (20)
BEST NON-FICTION FILM
1. Man on Wire, directed by James Marsh (55)
2. Trouble the Water (34)
3. Encounters at the End of the World (26)
BEST DIRECTOR
1. Mike Leigh, Happy-Go-Lucky (36)
2. Gus Van Sant, Milk & Paranoid Park (20)
3. Danny Boyle, Slumdog Millionaire (16)
BEST ACTOR
1. Sean Penn, Milk (87)
2. Mickey Rourke, The Wrestler (40)
3. Clint Eastwood, Gran Torino (38)
BEST ACTRESS
1. Sally Hawkins, Happy-Go-Lucky (65)
2. Melissa Leo, Frozen River (33)
3. Michelle Williams, Wendy and Lucy (31)
(more after the cut)
BEST SUPPORTING ACTOR
1. Eddie Marsan, Happy-Go-Lucky (41)
2. Heath Ledger, The Dark Knight (35)
3. Josh Brolin, Milk (29)
BEST SUPPORTING ACTRESS
1. Hanna Schygulla, The Edge of Heaven (29)
2. Viola Davis, Doubt (29, on fewer ballots)
3. Penelope Cruz, Vicky Cristina Barcelona (24)
BEST SCREENPLAY
1. Happy-Go-Lucky, by Mike Leigh (29)
2. A Christmas Tale (24)
3. Synecdoche, New York (17)
BEST CINEMATOGRAPHY
1. Slumdog Millionaire, Anthony Dod Mantle (29)
2. The Flight of the Red Balloon (22)
3. The Dark Knight (18)
4. Still Life
BEST EXPERIMENTAL FILM
1. Razzle Dazzle, directed by Ken Jacobs
FILM HERITAGE AWARDS
- The Criterion Collection for finally making Samuel Fuller’s suppressed White Dog (1982) available to a wide American audience via DVD release.
- The Exiles, Kent Mackenzie’s realistic 1961 independent film about Native Americans in Los Angeles. (Restored by Ross Lipman of the UCLA Television and Film Archives and distributed by Milestone.)
- Flicker Alley for releasing DVD collections of rare early U.S. and foreign silent films.
- Twentieth Century Fox Home Entertainment for its DVD set “Murnau, Borzage and Fox.”
136 Responses for "National Society of Film Critics Awards"
BOO!!!!!!!!!!! What a bore!!!!
whoa @ that best pic choice even when they have a best animated now…
Ahh, Waltz With Bashir, don’t know how I forgot about that one as a likely pick for this group.
But Mike Leigh? Meh. HGL wasn’t exactly a director’s showcase.
This is kind of anticlimatic…YAY Sally Hawkins!!!!
Waltz with Bashir is a NGNG-worthy selection. Can’t believe they chose that one for Best Picture (not that I’m complaining).
OMG! Yes!!! Waltz With Bashir, ftw!!!
SALLY YAAAAAAAAAAAAAAAAAAAAAAY!!!!!!!!!!!! AND MIKE!!!!!!!! HOPEFULLY EDDIE TO COME!!!!!!!!!!!
How is HGL not a “director’s showcase?” It feels to me like that’s exactly what it is. I wish more directors used more of Leigh’s methods. The results are beautiful, real and breathtaking. This is a well-deserved award.
Waltz with Bashir? Why not The Class? Or The Edge of Heaven? Well this choice is certainly different.
How did Happy-Go-Lucky lose the best picture award with all those other wins?
Hooray for Hanna S. though. The Edge of Heaven is a fantastic film.
Waltz With Bashir! I so want to make looove to these critics!
EEEEEEEEDDDDDDDDDDDDDDIEEEEEEEEEEEEEE!!!!!! YAAAAAAAY!!!!!!!!
Does this shake anything up?
I really don’t think I can handle Oscar porn getting in year after year after year after year (Doubt, Frost/Nixon, etc.) – and I thought Doubt was semi-decent.
“How did Happy-Go-Lucky lose the best picture award with all those other wins?”
Remember as a kid when you made yourself sick binging on Halloween candy corn — how it felt so good to end the evening with a healthy purge?
This should seal it for Sean.
Patrick G, Sean has been a seal for nomination for a long time. Unless you mean to win though, because that is still up in the air.
Am I the only one who thinks Mike Leigh is one of the most boring, overrated filmmakers in the world? He gets great performances out of his actors; that’s it. If you want a truly great British filmmaker, seek out Peter Greenaway or Derek Jarman. They understand the art of cinema.
Sean Penn and Sally Hawkins swept the three major critics groups.
Yet those same groups had three different BP winners: Milk, Wall-E and Waltz with Bashir – two of them animated. And Slumdog, the apparent critics’ fave, won none of them. This is a very strange year.
What do these winners mean as far as the Oscar race?
Not a damn thing.
Aaargh! That fifth Supporting Actor slot is stressing me out!
Ledger, Brolin, Downey and PSH are all easy picks. But that fifth one! The British members of the Academy always make sure that there is a Brit in each category, but WHICH ONE? Dev Patel, even though he’s in the wrong category? Ralph Fiennes, even though he’s got vote-split potential between his two films?
…Or could it be Eddie Marsan?
I swear if Hawkins wins the oscar I will vomit in someones hat.
What do these winners mean as far as the Oscar race?
Not a damn thing.
Not exactly true, Dan. Obviously this win doesn’t suddenly launch Waltz with Bashir into Best Picture contention, BUT, I think it does give it a huge boost in Best Original Screenplay. The writers’ branch of AMPAS thinks more like the critics than any other branch, and most of the heavyweights this year are in Adapted. Waltz with Bashir could be this year’s foreign nominee in the screenplay categories; there usually is one.
amanda I’m already sick with the thought of her garnering an Oscar nomination for that performance please don’t make me want to slit my wrists with the thought of her winning
“I swear if Hawkins wins the oscar I will vomit in someones hat.”
Make sure it aint a nice hat girl, cus thats gonna happen…
I hope Sally Hawkins wins. She was mesmerizing.
YES!!!
WALTZ WITH BASHIR!
It’s an amazing movie.
I’d recommend it to anyone, Jewish or Christian or Muslim or Scientologist.
The animation and soundtrack make it worth it. The story just makes it better.
Rest easy, Hawkins haters. If she wins the Oscar, she’ll be the first to win Best Actress without a nomination from the SAGs. Even if you look at all four categories, it’s exceedingly rare. The odds are heavily stacked against her.
The only way I could see her winning is if the Brits rise up and vote unanimously for her. But since Winslet, or KST, or both, will likely be on the slate as well, I doubt that will happen.
You’d better resign yourselves to the nomination, though. That’s gonna happen.
I am betting on Anne Hathaway winning Best Actress. I have just started blogging my Oscar thoughts.
http://obsessivekrasnerian.blogspot.com/
Wow! They really liked Happy-Go-Lucky, didn’t they?
So, WALL-E wins the LA Critics’ Best Picture award and Waltz with Bashir wins the Nat Soc of Film Critics’ Best Picture award.
It’s a good year for animation, isn’t it?
This is ridiculous. Please, no more.
I’m still kind of baffled at all the attention Happy Go Lucky has been getting in all these awards because it seemed to come out of nowhere. I know next to nothing about the film, don’t recall it ever coming to my local theaters (arthouses included), and don’t remember hearing anything really remarkable about the film until the end of the year when it started picking up awards. Perhaps I just wasn’t at the station when the train came through.
Indeed, Gentle Benj. There’s damn little in the way of her obtaining that Oscar nom, never mind the SAG snub, but she will not win. A new face without an SAG nom in a film which isn’t looking terribly likely for massive success in a lot of other categories? Not against big players like Streep, Winslet, Hathaway, maybe Blanchett or Jolie.
Noah R., the art of cinema can be a number of things – Jarman and Greenaway represent one end of it, Leigh represents the other. Look to Cristian Mungiu’s 4 Months, 3 Weeks and 2 Days; a film told with so little directorial flourish, so much focus on the ordinary, on the mundane and on the reality of the situation and the performances that it felt somewhat like a documentary. That’s Leigh’s sort of filmmaking, and art it is. Just because it’s not so easy to define, because it doesn’t quite conform to the traditional definition of ‘art’, does not mean that it isn’t artistic. Leigh has brilliant stories to tell and he tells them brilliantly. His art is a wholly cinematic one, for it would not have the same impact on stage or on page.
I think the biggest deal here is Sally Hawkins… the SAG snub really put her on the edge, but I have a hard time seeing her miss now. It’s not just her, it’s the whole film being recognized, which only raises her profile more. And it has to be considered a contender for original screenplay and even director at this point. This could also put Eddie Marsan in place for that 5th spot. Possibly.
AND it sounds sad, but I think the main boost Waltz With Bashir gets is for the animated feature nomination, which is not a sure thing (it was snubbed at the globes). WALL•E will still win it, though.
The other thing this does is really crowd the original screenplay race. We can now add Happy-Go-Lucky and maybe Waltz with Bashir (will it split votes with WALL•E?) to the list of serious contenders, which already includes Rachel Getting Married, Milk, WALL•E, The Wrestler, The Visitor, Frozen River, In Bruges, Synechdoche, NY, and others. Really tough race to call.
The WGA will help us out in the Original Screenplay race. The usual drill: take their list, remove the stupidest choice, and substitute something super artsy and/or foreign. Voila! The Oscar nominees.
Consider this also, folks…
When there’s an empty fifth space, or a category in confusion, where should you look? The important critics awards ie LAFCA, NSFC and NYFCC. Here’s what Happy-Go-Lucky has received from those three critics groups:
Best Director (Mike Leigh) NSFC and NYFCC
Best Actress (Sally Hawkins) LAFCA, NSFC and NYFCC
Best Supporting Actor (Eddie Marsan) NSFC and 2nd place LAFCA
Best Screenplay (Mike Leigh) LAFCA and NSFC
If it doesn’t pull at least two of those in the end, I will eat my hat. In fact, I’ll eat the hat that Amanda will vomit in. Please do not hold me to my word.
Paddy, i hope to Gawd you’re right.
LOL, Paddy! But it’s weird, isn’t it, how some people are talking as though Mike Leigh is an outside shot for Best Director? I mean, have they forgotten about Julian Schnabel, Mike Greengrass, Fernando Meirelles, Pedro Almodovar, David Lynch, and, um, Mike Leigh? Happy-Go-Lucky fits that mold so perfectly it’s almost too easy.
The question we should be asking is not “can Mike Leigh be nominated for Best Director?” It’s “can he bring Happy-Go-Lucky along with him, into the Best Picture line-up?” Now that’s a genuine outside shot, but one that we can’t rule out until we see the DGA and PGA.
“…don’t remember hearing anything really remarkable about the film until the end of the year when it started picking up awards. Perhaps I just wasn’t at the station when the train came through.”
There’s your problem, Ryan G. Poppy doesn’t arrive by train.
She comes in that flying car from Chitty Chitty Gang Bang.
Interesting group of winners. I like that there aren’t clear-cut favorites for the Oscars this year. Makes things so exciting.
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Sorry about that. Been having some problems posting here.
You can just about lock in Sally Hawkins along with Streep and Hathaway for a nomination.
This inches Marsan closer but he’s still got competition from James Franco for Milk and everyone’s one-time favorite (now favorite longshot) Michael Shannon for Revolutionary Road.
I don’t think Leigh has a shot at Director. Competition is too stiff. But I’d put Happy-Go-Lucky up into the three slot right now for Original Screenplay behind Milk and Rachel Getting Married, but with WALL-E, In Bruges and Synecdoche close behind.
Also, the National Society of Film Critics haven’t seen their screenplay pick get snubbed for a nomination since Albert Brooks’ Mother in 1996.
I don’t think either Synecdoche or In Bruges will get into original screenplay. There’s WAY too much competition in that category… I think it’ll be Milk, Rachel Getting Married, WALL*E, Happy-Go-Lucky and Vicky Cristina Barcelona.
Oh, and Waltz With Bashir? What a bore… they’re just trying to be different.
You can never count out Woody, especially when he makes a movie people like these days, but that screenplay hasn’t received a single mention in ANY of the awards to date. Not a win. Not a nomination. Nada. WALL-E I’m confident on though.
They should’ve gave Happy Go Lucky Best Picture. They gave it everything else, but Best Picture.
Interesting but annoyingly obtuse – not a great film and certainly one of Leigh’s best. Waltz with Bashir, though, was a great choice.
Oh, and duh… i forgot about the Wrestler and Gran Torino… There are a LOT of possibilities in the original screenplay category. Leigh is a favorite but he also has a strange nearly improvisational scripting technique that few writers fully understand… I do think there’s a lot more traditional candidates (even Tropic Thunder!) than WALL*E that should be considered.
SALLY HAWKINS WINNING THE ACADEMY AWARD? JA!!!!!!!!!! KEEP DREAMING, WHAT A WEIRD LIST!!
Gran Torino was singled out by the National Board of Review for Screenplay. Despite a rather solid record in that category, I see the focus on Clint and nowhere else.
Besides, if that film gets an Original Screenplay nomination I’m going to puke.
The Wrestler has a very good shot at being a late bloomer here and maybe grabbing that fifth slot away from In Bruges or Synecdoche. But, again, if you want to focus on the “Original” part of that award title, The Wrestler is hardly it – despite how good it is.
Question: did any other Americans have trouble listening to the relentless psychobabble in Happy-Go-Lucky? Maybe it’s just me, but I get a headache listening to a bunch of Brits jibjabbing like in this movie. I simply had to stop watching.
Variety has it fixed now to read “animated war doc” and “The innovative “Waltz” tells the story of one Israeli soldier’s viscous nightmares of the 1982 massacre of Palestinian civilians by Christian Phalangists at the Sabra and Shatila refugee camps” but just a few minutes ago, their story read “animated WWII doc” and “…one man’s nightmares of the Nazi concentration camps.”
Seriously. I shit you not.
(WHY DO DUMBFUCKS LIKE THIS EVEN HAVE JOBS?!)
Anyway, it’s an extremely timely choice by the NSFC, of course, and not a bad one either. It’s a movie I saw two months that I’m still trying to wrestle with; I have some reservations, but it’s an undeniably vital piece of work and a heck of a lot more interesting than most of what’s currently playing.
“Question: did any other Americans have trouble listening to the relentless psychobabble in Happy-Go-Lucky? Maybe it’s just me, but I get a headache listening to a bunch of Brits jibjabbing like in this movie. I simply had to stop watching.”
I liked Eddie Marsan because he seemed to be the only person in the movie who made any sense. Oh, and I liked Polly’s roomate. The movie is just so…so….irritating. It isn’t bad it’s just irritating. The NSFC, except for actor and picture, are IRRITATING this year. Irritating. Physically irritating. Like chafing underwear irritating.
Hmm…I was irritated a bit by Poppy’s unrelenting sunny nature but I came to accept about 15 minutes into the film and it now longer bothered me. I liked the film quite a bit and though the flamenco dance class was hysterical. And Poppy’s work with her class was touching. Her budding relationship with a social worker was also sweet. And her relationship with her roommate was well-done. The scenes with her learning driving from Eddie Marsan were priceless. The opening of the film following Poppy on her bike reminded me of the opening of French new wave films–it’s the first film Leigh has ever shot in Cinemascope. I don’t see giving the film a screenplay nomination, though, but Leigh often gets nominated in this category. I have to admit I’ve liked other Leigh films more such as Vera Drake, Naked, Topsy-Turvy, Secret and Lies, and Life is Sweet. But Leigh in the interview I attended seems happy with the film because it’s a little brighter than some of his previous efforts.
Happy-Go-Lucky is a fabulous movie and better than every single Best Picture contender. The “Poppy’s irritating, so I couldn’t like the film” comments are a bit weird, since I know a few people who really didn’t like Poppy at all but still loved/appreciated the film. You can interpret her character in many ways (always happy? somewhat happy? just an act?). Terrific performances by Eddie Marsan and Sally Hawkins.
And yes, it will get at least 2 nominations — screenplay and Hawkins being the likeliest.
I was wondering why Sasha was giving no love to Hawkins – the performance of the year – while rooting for lackluster acting such as Hathaway’s – a performance by the way just about any young actress could play with minimal effort. The awards are for who gave the best performance not who played with the cynically cool requisite amount of sarcasm or cruelty – which by the way is extremely easy to play. I’m also not sure I would call the racist, hate spewing stalker the only person who makes sense.
It was an OK movie. Just ok. It was no Vera Drake or Secrets and Lies. It wasn’t anywhere near Mike Leigh’s greatest and how annoying that the critics are creaming themselves over it – you’re going to tell me its better than Slumdog or Wall-E? No possible way, not on any planet. I liked alright. It was like a PBS Masterpiece Theater. She was irritating but beyond that, the film was just alright.
But p.s. I agree that it will do well with the anglophile Academy. It will get a screenplay nod, probably actress and maybe supporting actor and perhaps director. This would be hilarious to me because it would say that Mike Leigh could basically take a crap on a plate and he would get nominated for the sheer brilliance of it. Not saying this movie was crap on a plate, just saying…
Sally Hawkins gave a… decent performance in Happy-Go-Lucky. I’ll even admit that the movie was a bit cute. But the overwhelming love it’s getting from the critics is absolutely dumbfounding me. When there’s a real chance she’d shut Melissa Leo, Cate Blanchett or Kristin Scott Thomas out of the Best Actress category in such a strong year is something I really hope does not happen. If the movie had come out last year or the one before, yeah, maybe I could have seen her getting a nomination, but I will be bitterly disappointed if Hawkins manages to knock a more deserving candidate out of the running.
As far as Best Actress goes, I view it as a horse race between Streep, Hathaway and Winslet. All three performances were incredible, but I still feel this is Anne Hathaway’s year. She completely inhabited Kym and gave a star-making performance. I wouldn’t be mad if Streep or Winslet were to win (though I think Winslet has a better chance in Supporting), but I would be thrilled slap to death if Hathaway won the Oscar.
To me, Slumdog is just decent, and Wall-E’s third act is a terrible mess that ruins an otherwise excellent film, but to each their own.
And people should be complaining about Jolie’s chance of stealing a spot from a worthy actress, not Hawkins’s.
Actually. DoCH, you’re wrong. Both Ryan and I gave Sally Hawkins a lot of play this year – you just got here too late. I didn’t particularly praise Hathaway that much, though. You’re wrong there. Kate Winslet and Meryl Streep and especially Melissa Leo (she was acting, yeah?) are my favorites this year. http://www.awardsdaily.com/?tag=sally-hawkins – she’s probably the one who will get nominated over Melissa Leo or anyone else. It is a passing fancy, though. Mark my words.
Sasha, I am still looking for an explanation for why a hate filled racist stalker is the only character that made sense. For that matter should Poppy have allowed the boy to continue to be abused and should she have continued taking driving lessons from someone who unhinged and obsessed with her. These make sense to me and seem like the actions most people would hopefully take. The only moment I recall going that is a move lacking in sense was following the homeless man. I found Happy-Go-Lucky to be far superior to Wall-E or Slumdog Millionaire. I was not a big fan of either of those two films so I found many films to be superior (my favorite being either Secret of the Grain).
On a pure judgment of acting, Hathaway’s performance is not a challenging one and it is still not well played. There seems to be a loss of what is challenging to play and what is extremely easy to play. As I said, any actress could have played Hathaway’s role. Those are easy line readings. DeWitt has much more difficult material to work with. Hawkins’s performance on the other hand is as challenging as it gets. Playing authentic solemnity is not difficult. Playing authentic joy very much is. Try a monologue from Rachel Getting Married and one sees how easy it is. Now try one from Happy-Go-Lucky and one can see how challenging it can be. Hawkins is hardly a passing fancy. Those paying close attention know she is a remarkably talented actress – posts on your board on Cassandra’s Dream in most cases pointed out how strong she was. For that matter check her out in All or Nothing, Vera Drake (again), or Fingersmith. Leo’s performance is not that challenging. Which Winslet do you like – she didn’t seem to nail either role. As for Streep, again an easy performance to play – and still not effective. I highly recommend Secret of the Grain, A Girl Cut In Two, and The Edge of Heaven for strong acting in difficult roles.
Oh and why do you find Hannah Schygulla’s win irritating?
I don’t know why you keep going on and on about Anne Hathaway, DoCH. You want to talk about easy? You don’t think what Sally Hawkins did was easy? Are you kidding me? And you keep asking about the “racist stalker.” He made sense to me because he called the Sally Hawkins character on her silly behavior. A perfect person? No. An admirable person, no. Did he give what felt like the only real moment in the film? Yes.
In the forums, I admitted I was baffled for all the awards for Sally Hawkins and someone said I lacked “human intelligence” for my post. I guess critics like a fresh face. We all see films differently I guess but it does seem that Happy-Go-Lucky touched a chord with critics around the country even if it is not on the same level as Leigh’s finest films.
Most of the scenes played by Hawkins are almost unbearably hard to play. The hardest emotion to show on screen is joy. Not fake joy but authentic joy and happiness. Now mix in with that how that love of life works off people differently and making sure those reactions work properly in the character we have seen. It is difficult as all get out. That is one of the most difficult performances I’ve ever seen. Take a monologue that she has from that movie and act it out. See if you can capture an ounce of authenticity that Hawkins does. Granted that is why she is an actress. But here’s the catch. If you did the same for Leo, Streep or Blanchett in their supposedly Oscar worthy performances, you would find it not challenging at all. Would it be as good. Of course not. But you could play it to mediocrity. Hawkin’s on the other hand is virtually impossible. I think you are confusing acting with what characters. I guess we will just have to disagree.
“Physically irritating. Like chafing underwear irritating.”
Clinically, I believe that’s known as Poppy Apoplexy.
Technically, is that what Peter Travers has – or what he gives us all?
NSFCA is not an important prize. The 3 major critics groups are NY, LA, and the Broadcast Crix, for years. NSFCA has matched the Oscar only 4x in 40 years. Personally, I think they do a much much better job than the Academy overall, but they are not influential like the others. Waltz with Bashir will be an also-ran to Wall-E in the animation category, and continues to be a solid player for a Best Foreign Film nomination. I love that they gave Hanna Schygulla the award for Best Supporting Actress, she was my personal best this year, and the movie itself is in my top 3 with Wall-E and The Class.
As for Sally Hawkins, her performance was difficult and miraculous, the best female lead in a comedy since Diane Keaton in Annie Hall. Hawkins, Melissa Leo, Michelle Williams and especially Kristin Scott Thomas are all more worthy than the big-name front-runners (especially the usually great Streep, who chewed the scenery in her own little world and was one of the many factors that made Doubt the year’s biggest disappointment).
Degree of difficulty is a tricky thing to argue about a performance.
I finally saw Happy-Go-Lucky a couple of days ago, after weeks and weeks of reading here how annoying Poppy was. I was surprised to say I didn’t find her annoying to watch at all, although I am sure I would find her annoying to be around. But why didn’t anyone warn me about her wardrobe? Now that was annoying…
As soon as I got home from the screening, I did something I almost never do: I searched out as many Sally Hawkins performances as I could find on YouTube and among my DVDs. She really is a terrific actor, as is Eddie Marsan, who I checked out again too. Clearly Mike Leigh is a real actor’s director, if he can make one that curious about the rest of their body of work.
I think Vera Drake is a “weightier” piece than Happy-Go-Lucky, and Secrets and Lies a more timely one. I wouldn’t say that that necessarily makes them better films, though.
She had a couple of good scenes and she played the part probably as well as anyone could have. SHE isn’t annoying, btw, the character is. There is a difference. Level of difficulty does come into play, in my opinion, it’s like Kate Hudson vs. Marcia Gay Harden. People who seem to like Sally Hawkins in this role like the character – they find her charming and adorable. And that’s a matter of taste. But to give her the prize over Meryl Streep, for instance, or Kate Winslet (if you must go British) is bizarre and trust me on this. In ten years this choice will look very wrong.
Ben, I loved Hannah Schygulla too and think her performance is vastly superior to the performances being touted for a best supporting actress nomination. I was particularly impressed by the physical language of the performance. I thought all the women in the film were impressive – and I did not know Yesilcay had that in her. Schygulla really caught self awareness of a parent in seeing their own youthful passion and mistakes reflected in the child. Priceless performance. I think there is way too much star worship going on when a performance as poorly conceived and acted as Streep’s is a lock for a nomination. That Hawkins, Williams and Scott-Thomas may all be locked out while nonsense like that is nominated is appalling. I was also gravely disappointed by Blanchett, Winslet twice, and Jolie. When performances that are that average are nominated it seems more like a silly fanclub than an organization taking acting seriously.
Hawkins would defintely not be my pick, probably not even for a nomination. As much as I adore Keaton and Annie Hall, I would have rather have seen her be nominated and win for Looking for Mr. Goodyear that year. I have to find an actor miraculous in a comedy to shout “Oscar!” and that happens rarely.
No, my picks (not my predix) this year would be Kristin Scott Thomas, Blanchett, Winslet (I go back and forth between the two performances, despite what I thought of the films), Melissa Leo and Streep. And that’s without having seen Rachel Getting Married and Wendy and Lucy yet.
What Hawkins does, in terms of originality, blows stale old Meryl’s campy nun away.
Keaton is very good in Looking for Mr. Goodbar but she is more creative and multilayered in Annie Hall. Authentic comedic performances (retaining gravitas and not going too broad) are hard as hell and deserve all the recognition they get. Along with getting lost in star power and deglamorization, innately seeing comedic performances as lesser than dramatic performances is a major error in judgement to how strong a performance is.
Matt, you are so right. That Streep performance is all camp and no substance – besides being an easy performance to play.
BEST PICTURE
1. Waltz with Bashir, directed by Ari Folman (26)
2. Happy-Go-Lucky (20)
3. WALL-E (20)
BEST NON-FICTION FILM
1. Man on Wire, directed by James Marsh (55)
2. Trouble the Water (34)
3. Encounters at the End of the World (26)
BEST DIRECTOR
1. Mike Leigh, Happy-Go-Lucky (36)
2. Gus Van Sant, Milk & Paranoid Park (20)
3. Danny Boyle, Slumdog Millionaire (16)
BEST ACTOR
1. Sean Penn, Milk (87)
2. Mickey Rourke, The Wrestler (40)
3. Clint Eastwood, Gran Torino (38)
BEST ACTRESS
1. Sally Hawkins, Happy-Go-Lucky (65)
2. Melissa Leo, Frozen River (33)
3. Michelle Williams, Wendy and Lucy (31)
BEST SUPPORTING ACTOR
1. Eddie Marsan, Happy-Go-Lucky (41)
2. Heath Ledger, The Dark Knight (35)
3. Josh Brolin, Milk (29)
BEST SUPPORTING ACTRESS
1. Hanna Schygulla, The Edge of Heaven (29)
2. Viola Davis, Doubt (29, on fewer ballots)
3. Penelope Cruz, Vicky Cristina Barcelona (24)
BEST SCREENPLAY
1. Happy-Go-Lucky, by Mike Leigh (29)
2. A Christmas Tale (24)
3. Synecdoche, New York (17)
BEST CINEMATOGRAPHY
1. Slumdog Millionaire, Anthony Dod Mantle (29)
2. The Flight of the Red Balloon (22)
3. The Dark Knight (18)
4. Still Life
BEST EXPERIMENTAL FILM
1. Razzle Dazzle, directed by Ken Jacobs
FILM HERITAGE AWARDS
The Criterion Collection for finally making Samuel Fuller’s suppressed White Dog (1982) available to a wide American audience via DVD release.
The Exiles, Kent Mackenzie’s realistic 1961 independent film about Native Americans in Los Angeles. (Restored by Ross Lipman of the UCLA Television and Film Archives and distributed by Milestone.)
Flicker Alley for releasing DVD collections of rare early U.S. and foreign silent films.
Twentieth Century Fox Home Entertainment for its DVD set “Murnau, Borzage and Fox.”
At any rate, Hawkins fits into the historical mold of actresses who have gotten Oscar nominations without SAG nominations. It’s happened eleven times in the fourteen years that these awards have been handed out and it’s usually a non-American actress that the Guild overlooked:
2007: Laura Linney (replacing Jolie)
2005: Keira Knightley (replacing Zhang)
2003: Keisha Castle-Hughes, Samantha Morton (replacing Wood and Clarkson, who went Supporting for the Oscars)
2001: Nicole Kidman (replacing Connelly, who went Supporting for the Oscars)
1998: Fernanda Montenegro (replacing Horrocks)
1997: Julie Christie (replacing Pam Grier, Robin Wright Penn; SAG nommed 6 actresses)
1996: Kristin Scott Thomas (replacing Rowlands)
1995: Sharon Stone (replacing Allen)
1994: Winona Ryder, Miranda Richardson (replacing Ryan, Streep)
Sharon Stone is the anomaly here, but, as in the cases of Linney and Ryder, you can chalk it up to her taking the place of a fellow American…although the Academy could just as easily have nominated Kidman for To Die For.
Ben, Thanks. Blowouts in the lead performance categories but those supporting ones were tight. Add Kristin Scott-Thomas to the three contenders in that lead actress category. Toss in one of the following wonderful performances – Hafsia Herzi (Secret of the Grain), Ludivine Sagnier (Girl Cut In Two), or even the late Ann Savage who is wonderfully melodramatic in My Winnipeg (okay that’s pushing it but what a delightful piece of acting) and that’s a 5 to warm up to.
Getting back to the Best Picture choice; so who do you think will write a column denigrating the NSFC choice of WALTZ WITH BASHIR first, Patrick Goldstein or Peter Bart?
Why would anyone crap on a plate? So hilarious.
I’m still trying to figure out the love for Happy Go Lucky.
Where is the love for The Reader?
Seankgallagher, call the paramedics.
Peter Bart will not only have a case of Poppy Apoplexy, he’ll suffer an Animation Aneurysm. The only major Hollywood nomination among the NSFC choices is Milk — and wouldn’t you know, Bart is lactose intolerant.
The question should be why would there be any love for The Reader. That is an awful film. I mean a really lousy piece of crap hidden as oh so sophisticated masterpiece theater cinema. The praise, thankfully not unanimous, of these literature based clunkers such as The Reader, Revolutionary Road – a dumbed down adaptation of a classic – and The Curious Case of Benjamin Button – about as superficial a film as I can recall – is as unjustified as it is predictable. These films don’t have a single sincere thought in them – with the exception of Michael Shannon magic in one of them. This year had some wonderful cinema but those films are not representative of it.
DoCH, we really seem to be on the same wavelength, except for Wall-E, which I thought was mostly remarkable (yes, the last 1/2 hr is disappointing, but the first hour is the best hour I saw at the movies in 2008 – incredible visual imagination). I am seeing Secret of the Grain tomorrow, now I can’t wait based upon your high praise.
As for the Oscars though, I don’t watch anymore. I like the idea of singling out excellence in order to bring worthy films to people’s attention, but the Academy has disgraced themselves too many times for me, especially in 2005. The Los Angeles and New York critics have always done much better. The National Society is a bit too intentionally idiosyncratic, I think in no small part because they are among the last, but history has not shown them to be all that “accurate”, as these things go. Still, they have more integrity than the Academy. Oh, and by the way, I completely agree with you re: Meryl Streep, an amazing actress, but who really miscalculated her performance in Doubt. I don’t think Anne Hathaway deserves a nomination either, but I do think she was interesting and very watchable, so I’d give her more credit than you (plus she’s versatile – compare her with her roles in Brokeback and Prada, all very different; plus she can sing!). Hawkins & Kristin Scott Thomas were both remarkable, and Michelle Williams and Melissa Leo stood out next in my eyes. Juliette Binoche in Flight of the Red Balloon also gave a pure cinema performance. I really like Angelina Jolie as a person, and felt she should have been nominated for her relatively understated work in Mighty Heart (last year was so week for female leads), but her work in Changeling is passive-aggressive odd. Kate Winslet is also a very fine actress of course, she moved me in The Reader, but her work in Revolutionary Road left me cold and disinterested.
Bashir & Happy are totally boring choices, I just saw Revolutionary Road: that’s an extraordinary film…
I get why people don’t appreciate it right now, but wait for a couple of years when it’ll be revered…
DoCH: Yes, Revolutionary Road was dumbed down and directed with same lack-of-a-cinematic eye by Sam Mendes as he did in the ridiculously overrated American Beauty. Mendes should stick with theater, he did a great job on the revival of Cabaret in 1998. I also agree with you re: Benjamin Button. David Fincher is so hit or miss, having done great work on Fight Club and Zodiac, but with Button, he allows the shallow sketchy Eric Roth screenplay rule the day. For those who are moved by the last 20 minutes or so, sure, so was I, but that’s the story, not the filmmaking (just like Color Purple – Spielberg did everything possible to ruin that great book, but of course I was moved by the story, despite the awful in-your-face, complete-lack-of-understanding-of-human-beings filmmaker…that was one time the Academy truly got it right, they were trashed by the mainstream press for not nominating his bad work).
We mildly disagree on The Reader. Yes, Daldry’s direction was far too stiff, and the lack of cohesion in the script was also unfortunate, but I felt the film somewhat successfully explored the moral dilemmas presented by the book. One can love a monster because we can’t choose whom we love, and it conquers all. Cliched, but few stories tell it under such challenging circumstances. That the film succeeded at all (to me) was in large part due to Winslet’s multi-faceted performance. Of course she was the lead, but I won’t be sorry to read in the newspapers that she won a supporting actress Oscar. With Schygulla and Cruz and DeWitt and Vera Farmiga it will be the wrong choice, but that pleases me too, I actually dislike it when the Academy actually gains shreds of credibility. I wonder who member Dakota Fanning will be voting for this year.
Ben, I think we are both more interested in acting and less interested in hype and star power. You got me on Wall-E – that last 1/2 hour did kill it for me. It is sad that Zodiac went unnoticed at Oscar time and Fincher’s mediocre follow up to that great film will get a bushel of nominations. Agree on Mendes all the way. Strong stage director but really a hack as a filmmaker.
JK, I’ve been around a long time. Revolutionary Road’s status isn’t going to build over the years. There are plenty of great films, originally dismissed by many, whose reputations take on a revered status as the years go by. However, Revolutionary Road is cliff notes cinema. It is a film which strips away nuance and leaves nothing but a shiny, pretty surface. It will never be ranked with more esteem than it is now when it’s artifice and want by certain fans to be meaningful is enough to pass for greatness for many. It is not another The Ice Storm, a great overlooked film, but more like another The Hours, a tedious, self important and ultimately shallow adaptation.
Ben & DoCH: Get a room.
http://uk.youtube.com/watch?v=tZ9RfeOTY64&feature=channel_page
STAR AWARDS NOMINATIONS ANNOUNCEMENT!
John Givings: Get some taste and knowledge of cinema.
John Givings, now now. Just because it went beyond silly “irritating” comments to a discussion is no reason to be like that. Anyways it is time to go out. I loved discussing some of these movies. Now I am most excited on Mammoth, which should only be about 8 months in the offing. Anyways nice talking.
lol at John Givings
Seriously, though, i’m glad The Edge of Heaven is finally getting some attention, though I wish some of the other actresses in the film were also being mentioned. I know i sound like a bit of a broken record because i’ve been touting this film for a long time, but if you can ever catch it at your nearest rep theatre or get your hands on the DVD, watch it! You won’t be disappointed, particularly by the performances (though you may find the plot a little contrived–but hell, what plots aren’t?).
I always thought the big three were NYFCC, LAFCC, and NSFC–at least, that’s what i was led to believe when I started following such things in the 80s, because those were the 3 that always seemed to get press coverage. I thought the Broadcast film critics were a fairly recent addition to the awards schedule.
To Ben: There is nothing ‘miscalculated’ about Meryl Streep’s performance in “Doubt.” Did you ever attend a Catholic school? Were you ever taught by nuns? I was, same time period too as the movie, and her performance was pitch perfect. It reminded me so much of that time when children were disciplined in school with a wack across the back of the hand (or neck) with a stick, and there was absolutely no tolerance for gum chewing or talking out of turn. Sister Aloysius was everything I remember and was afraid of during that time of my life. When I saw the film, there wasn’t a peep from the audience, for Streep was in command. She will win the Oscar for a great performance–no doubt!
…you may find the plot a little contrived–but hell, what plots aren’t?).
Strangely, I’m gonna have to say Happy-Go-Lucky, Milk, Revolutionary Road, Hunger and Doubt in this year’s batch.
Don’t forget Gran Torino, Paul. Except for that last part — that last 110 minutes, yeah those were contrived.
Seriously, add Paranoid Park, Che, Gomorrah and we’ve got a deal.
No argument here, Ryan. (I thought about Gomorrah and Che after it was too late to edit anymore.)
I was going to include Wendy & Lucy, but then I thought… plot? W&L is beyond plot.
Very pleased to see Michelle Williams was at least able to come in third.
Thanks a lot, Michael. Didn’t know the runners up were announced too. Expanded the post to include the new info.
OMG! I am so glad that they recognised Razzle Dazzle. It is one of the few surprises I had this year. Thoroughly enjoyed it. The performances, the script and the docu-drama style, all of it combined to make it a one of my top ten films this year.
Can someone explain how Viola Davis got the same amount of votes but was on less ballots? Is that preferential balloting?
Cause to me, a tie is a tie…
wat do they mean viola davis was on fewer ballots!? she received 29 votes!! does anybody know their voting procedure?
Michelle Williams was a bore in Wendy and Lucy.
Lol, I did thought yesterday that the Best Picture award was between these three… shame on me for not following my instinct!
By the way, Cruz – Davis – Tomei is the kitten fight for the Oscar. I think Davis is winning now, but hold your breath.
White Dog! LOL. I really like that film, almost as much as Pickup on South Street. As for the rest, very boring.
The MOST AWFUL ASPECT of these awards is SEAN PENN for best actor! IT’S THE MOST OVERRATED PERFORMANCE OF THE YEAR! I can find at least ten more interesting performances!
About SALLY HAWKINS – nice to see her recognized, because these wins help her become an Oscar contender. She needs them really badly right now, because the SAG snub hurts the most. And come on, you all know HAWKINS is a long-shot for the Oscar itself. Why is SAG so crucial? Because it’s voted by the same people who vote for the acting nominations and most of them think her character Poppy is a real bore.
But I think that right now the Oscar line-up will look like:
Anne Hathaway
Sally Hawkins
Mellisa Leo
Meryl Streep
Kate Winslet OR Kristin Scott Thomas (hope it’s Thomas)
And MERYL will win the Oscar.
I’m watching HGL right now, it’s fine, interesting with a pretty good central performance but can someone explain to me why everyone is going ape-shit for it?
Ross, the idea of a Winslet snub is unconscionable. She deserves to win. April Wheeler is the pinnacle of her career so far.
Marshall, while I agree that Winslet’s April Wheeler is very good, but I think her Hanna Schmitz performance was much better. It’s so very sad to see her competing with herself this year. She deserves an Oscar nomination (and win) for both.
Ross, I just saw a documentary on Harvey Milk. It was crazy how good Sean Penn’s portrayal was. I’m not saying he should win the Oscar, but a nomination would be completely deserved.
Georgie, Elvis–
The Hollywood Reporter write-up on the awards concludes with this note:
“The National Society, made up of 63 critics from across the country, held its annual awards meeting at Sardi’s Restaurant in New York, with 49 members voting, using a weighted ballot system.”
Years ago I remember reading that they rank-order their top three choices in each category–the top choice getting 3 points, the second 2 points and the third 1 point–but who knows if that description was (or still is) accurate. Another interesting tidbit is that they allow proxy voting (ballots from members not present) on only the first ballot in each category; if there is no winner on the first ballot, all the proxy ballots are eliminated and the voting in that category continues for the critics in the room.
Oh dears, if “Happy-go-lucky” gets the fifth spot for “Best Picture” that most of you people are desperately pushing the overrated “TDK” for (overrated by awardsdaily, not metacritic-score, where it gets about 82, which is ok for me), I predit HELL BREAKS LOOSE on this site…
Well, call me pleasantly surprised with the choices of NSFC. I seem to be in the minority here, but Happy-Go-Lucky and Waltz with Bashir are boith in my top 5 films this year and I’d love to see any of these translate to Oscar noms (I’m not kidding myself about wins here, noms will do)
All things aside, Eddie Marsan should get a friggin oscar nod. I’ll be rooting for him all the way.
Ross, totally agreed on Penn’s performance. Him winning his second Oscar for “Milk” ain’t anything memorable. But well, I’m the one that thinks that “There Will Be Blood” is a boring flawed film undeserving of any Oscar, including Day Lewis, so sue me…
Ryan,
mannerism, mannerism, mannerism. I didn’t see the passion in Sean Penn’s performance. And Frank Langella’s performance in Frost/Nixon had heart and emotion. He didn’t make me understand Nixon, but I kind of felt for him. And Richard Jenkins is ways more interesting in The Visitor. And what are the critics doing? Throwing awards at Sean Penn for a performance, which is like a ticking clock. No heart, no emotion. And Clint Eastwood…..really?! over Langella, Jenkins and Roorke?!
And where is the love for Kristin Scott Thomas? They know that she’s in desperate need for some attention to get a shot at a nomination, but they don’t even bother.
And their choice of Waltz with Bashir is actually absurd, because it’s just them trying to be as cool as LAFCA.
Where the hell is revolutionary road?Not even cinematography?!!!It was brilliant!
So would that mean that Viola Davis got more first place votes? Because to me, the only way to get as many points but be on less ballots is to have more first place votes… and I think that would be a fairer tiebreaker, whoever got more first place votes… Call me crazy. Ha.
Can’t believe that The Boy In Striped Pajamas has not received any recognition yet and glad to see Revolutionary Road hasn’t!
This is a VERY interesting thread! This puts Sally Hawkins in serious nomination play. AGAIN. That she could bump Cate, Kristin and Melissa is amaaaazing. People just seem to LOVE her perf as Poppy.
And the AMPAS voters WILL watch HGL. It’s an easy one to like. It also is upbeat. Very much so. It explores the nature of happiness. What film has EVER done that? This also helps Eddie Marsan, I think.
And I like the comment way above in this thread that said something to the effect “When in doubt about a fifth slot nominee, bet on a Brit.”
Which would help Sally Hawkins and Eddie Marsan. And also Ralph Fiennes. For that fifth supp. actor slot.
Dying is easy. Comedy is hard. For the Academy always…but HGL now may really go the nomination distance…
I really do think this last national award ends the races for some of the actors running. Scott Thomas & Melissa Leo. AND Michael Shannon.
Correct me if I’m wrong, but “Rev Road” seems also to be bombing at the box-office. The Academy reads THOSE Oscar tea leaves more closely than it does this esoteric critics bunch.
And if anyone is going to surprise in Best Actress this year it’s not Streep it’s Anne Hathaway. Whom the NYTimes is now pushing like cra-zee. Anne’s pictures are on every Oscar article and all three critics, Scott, Dargis, Holden, all AGREE she should be nominated.
And David Karr’s LOVE POEM to Hathaway is an amaaaaingly inspired piece of puffery. Especially coming from the Times. It’s like a coronation of the New Hollywood Princess is occuring.
If Kate Winslet’s category confusion is hurting her chances(and “Rev Road” crashing at the box-office, or so it seems today) it helps the rising Hathaway’s chances. And “Bride Wars” opening right now when they are voting is going to help her, too, surprisingly, because she’s doing another round of press and once again, she’s EVERYWHERE!
I did a lovely interview with her at TIFF about “Rachel” which you can click on my name above and it will take you to my YouTube site.
Anne Hathaway is a tireless campaigner. Which you have to be to win.
And as Sasha said months back, “The youngest, cutest, prettiest girl wins.” Which in this case is Hathaway…
I just read this Gold Derby article:
http://goldderby.latimes.com/awards_goldderby/2009/01/flim-critics-ne.html
That voting system sounds ridiculous. And explains so much.
I think Anne Hathaway may suffer ‘the Eddie Murphy/Norbit effect.’ She will be nominated, but, come voting time, won’t be taken so seriously when “Bride Wars’ comes out. Let’s face it: “Bride Wars” looks pretty awful.l
Well, Stephen, I don’t think Melissa Leo can be counted out yet as a Best Actress nominee. She was nominated by Critic’s Choice and SAG, and she has finished second to Sally Hawkins in the major crit prizes (LAFC, NYFC, NSoFC).
I do think the lack of attention for Cate Blanchett probably knocks her out of the running, at this point, given the number of viable candidates we have in Best Actress. And I agree that Kristen Scott Thomas seems like a longshot now. I still think she has an outside chance of slipping on, although she really did need a crit prize to up her profile a bit, and she didn’t get that, and so has been pushed farther back in the pack.
I think six women are still strongly in the mix and vying for the five slots: Meryl, Anne Hathaway, Sally Hawkins, Melissa Leo, Kate W, and Angelina Jolie. Meryl and Anne seem good to go, but any of the other four could still be left off, I suppose (although Hawkins getting left off after winning the Critical Big Three would be rare).
Weird that Winslet no longer looks like a lock for even a nomination.
“AMPAS voters WILL watch HGL. It’s an easy one to like. It also is upbeat. Very much so. It explores the nature of happiness. What film has EVER done that?”
Barney’s Great Adventure (1998)
The further I get away from it, the more I don’t get the massive love for Man on Wire. It’s a fluff piece about an egocentric man who essentially did something spectacular that lost him all his friends.
I think this is one of those rare cases where there is an actual 9/11 factor at play in a film’s success.
thanks Haifa!!
Actually, it won’t seal it for Sean. It could. But the last time Sean was nominated and WON, he was up against Bill Murray – who won the Globe, the BAFTA and SURPRISE!!!! the NYFCC, the LAFCA and the NSFC. But I think Penn has too many detractors for a second win.
Interesting that “Happy Go Lucky” was called “Be Happy” in another country. I might be more inclined to see it with a different title. The title just makes Sally Hawkins sound annoying. I haven’t seen the movie so will no further comment on the performance.
w.j. I thought the exact same thing about Hathaway when I saw the “Bride Wars” trailer. I still think Kate Winslet is being nominated for “R.R.”
What’s the significance of the NSFCA again?
I LOVED DOUBT, MILK, REVOLUCIONARY ROAD AND HAPPY-GO-LUCY.
THE BEST FEMALE PERFORMARCES OF THE YEAR BELONG TO:
VIOLA DAVIS
MERYL STREEP
MARISA TOMEI
MELISSA LEO
SALLY HAWKINS
paranoid park sucks so hard
I was happy with the women who were on the list for best actress. Not the typical list that we’re starting to see over the last few weeks, and they were all outstanding performances. Michelle was 3rd, but that was a nice kudo. I read that someone said her performance was a bore. Hmm, Oh well, I gotta swollow that one. I thought she was powerful. I hope she is the surprise nomination this year.
Stephen Holt you’re totally WRONG saying that Revolutionary Road is bombing at the boxoffice, to the contrary it has the biggest per theatre average of 2008 and 2009, that’s in limited release….
You should do a better research beforme give misleading information
[...] National Society of Film Critics [...]
If that’s the per screen amounts then I stand corrected, but this is Paramount Vantage trying to create the same awards-hungry audiences in a teeny-tiny number of theatres, which is what they did so successfully with TWBB last year.
But correct me if I’m wrong, I think LAST year with TWBB they had the reviews to justify the hunger, but I’m disheartened by the rather *cough* mixed *cough*cough*reviews that Rev Road has gotten. The rather harsh New York Times review from Manola Dargis is an awards-killer for a film like this one. And she was REALLY harsh and dismissive to Kate W….
Then on New Year’s Eve the august body NYT writes one of the most GLOWING articles I’ve ever seen on a young actress = Anne Hathaway.
And AMPAS voters on both coasts pay attention to that. And yes, I think RR’s negative critics may make every one think twice about nominated KW in lead for it. As opposed to “The Reader” which has faired better.
I know KW was very distressed that they were both opening at the same time. Even though her work in “The Reader” is astonishing, I think she did it, thinking it was NEXT year’s release. Not something that could kill her & her hubby’s passion project RR.
common man, I agree with you. I just had to ignore that comment
. Obviously the movie isn’t for everyone though. I just have to try and keep some tact and not let my inner film snob come out when I read things like that 
.
I hope Michelle is the surprise nomination this year. I would be as happy as Sally’s character in Happy-Go-Lucky.
HEY Greenwaldt, you’re a good man. I agree that the film may not resinate with everyone. There were parts of Wendy and Lucy that did not “charge my batteries”. That being said, Michelle’s performance elevated those scenes where I was not connecting. That’s the stellar thing about acting, they can be quite seperate from the film (or tv show or theater) in which they are participating. Golly jeepers, there are sooooo many movies that I don’t care for, but there are roles within that I cannot help but be amazed (E Shue in Leaving Las Vegas, S Weaver in Working Girl to name a couple).
I love Streep, more than you know, but M. Williams role was fresh, and powerful. It was also something new. Darn it, I wish W&L’s studio had a few more bucks to promote the flick. I think people could not help but respond to this small flick.
Clint Eastwood makes the best performance of the year in gran Torino.
Two days with the comp. closed. A lot of action here. Go Eddie Marsam! The Oscar needs you.
did they name best foreign?
[...] 43º ano, o National Society of Film Critics, associação que reúne 49 críticos especializados norte-americanos, escolheu os destaques do [...]
OHMAGOSH! , where is meryl streep????? nor in 2nd & 3rd place selections … whats wrong??? im schocked o_O
anyway the oscar goes to her … she deserves it…and her fans neeeed it … forgod :p
[...] seriously, folks. Thanks to the good people at AD, I found out that the highly-regarded group just announced their winners for this past year. The [...]
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