Critics Awards


You would not believe the sheer volume of critics awards that are about to come at you. For our purposes, the most important critics are: the New York Film Critics, the National Board of Review, the Los Angeles Film Critics, the National Society of Film Critics, the AFI’s Top Ten and the Broadcast Film Critics. You could maybe add Chicago and Boston if you wanted to. The other groups mostly serve to form a critical consensus but these really are the big ones.  As they come in, there will be a certain point where people stop caring. I can’t really tell when that point happens but jokes will be made at the expense of the smaller groups because by then it will seem like everyone and their brother and their mother had critics awards to announce. Essentially these groups are all pretty much the same people rescrambled in a different order.

Either way, this weekend, believe it or not, Los Angeles makes their big statement. Last year they opted, as did New York and the National Society, not to award the best reviewed film of the year, 12 Years a Slave, going instead for a tie between Gravity and Her.  They stepped outside the box a bit with James Franco for Spring Breakers… remember that? Bruce Dern won Best Actor while Cate Blanchett won Best Actress.

This year, there will be some speculation, I’m sure, as to which direction they will go. I would expect them to go for Birdman, Boyhood or something outside the consensus, like Under the Skin or even something foreign, like Ida. You just never know how those wacky voting members will go.

Tomorrow, the Boston Critics Online announce their awards. Sunday, LAFCA and Boston, plus  New York Film Critics online. Monday the AFI announces.  After that, the bigger announcements of the SAG awards and the Golden Globes.  We will be putting up a contest for LAFCA and AFI in just a little while.

In the meantime, here is a great rundown of the coming awards from Maverick’s Movies:

Saturday, December 6th- Washington DC Area Film Critics Award Nominations

Sunday, December 7th – Los Angeles Film Critics Awards

Sunday, December 7th- British Independent Film Awards

Sunday, December 7th- Boston Society of Film Critics Awards

Sunday, December 7th- New York Film Critics Online Awards

Monday, December 8th- AFI Top 10 List Announced

Monday, December 8th- Washington DC Area Film Critics Awards

Monday, December 8th- Online Film Critics Society Nominations

Wednesday, December 10th – SAG Awards Nominations Announced at 6 AM PT

Thursday, December 11 – Golden Globe Nominations Announced at 5 AM PT

Friday, December 12- Detroit Film Critics Society Nominees

Friday, December 12- African American Film Critics Association Awards

Sunday, December 14th- San Francisco Film Critics Awards

Sunday, December 14th- Kansas City Film Critics Circle Awards

Monday, December 15th – Critics’ Choice Movie Awards Nominations

Monday, December 15th- Online Film Critics Society Awards

Monday, December 15th- Chicago Film Critics Awards

Monday, December 15th- Dallas-Fort Worth Film Critics Awards

Tuesday, December 16th- Toronto Film Critics Awards

Wednesday, December 17th- Black Reel Award Nominations

Thursday, December 18th- Utah Film Critics Awards

Friday, December 19th- Detroit Film Critics Society Awards

Friday, December 19th- Florida Film Critics Society Awards

I’ll keep updating as I learn more.






2014 Gala to be held on Tuesday, January 6, 2015 hosted by Lara Spencer 


New York, NY – (December 2, 2014) – The National Board of Review has named A MOST VIOLENT YEARthe 2014 Best Film of the Year.

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

Best Film:  A Most Violent Year
Best Director:  Clint Eastwood – American Sniper
Best Actor (TIE):  Oscar Isaac – A Most Violent Year; Michael Keaton – Birdman
Best Actress: Julianne Moore – Still Alice
Best Supporting Actor:  Edward Norton – Birdman
Best Supporting Actress:  Jessica Chastain – A Most Violent Year
Best Original Screenplay:  Phil Lord & Christopher Miller – The Lego Movie
Best Adapted Screenplay:  Paul Thomas Anderson – Inherent Vice
Best Animated Feature:  How to Train Your Dragon 2
Breakthrough Performance:  Jack O’Connell – Starred Up & Unbroken
Best Directorial Debut:  Gillian Robespierre – Obvious Child
Best Foreign Language Film:  Wild Tales
Best Documentary:  Life Itself
William K. Everson Film History Award:  Scott Eyman
Best Ensemble:  Fury
Spotlight Award:  Chris Rock for writing, directing, and starring in – Top Five
NBR Freedom of Expression Award:  Rosewater
NBR Freedom of Expression Award:  Selma

Top Films

American Sniper
Gone Girl
The Imitation Game
Inherent Vice
The Lego Movie

Top 5 Foreign Language Films

Force Majeure
Gett: The Trial of Vivian Amsalem
Two Days, One Night
We Are the Best!

 Top 5 Documentaries

Art and Craft
Jodorowsky’s Dune
Keep On Keepin’ On
The Kill Team
Last Days in Vietnam

Top 10 Independent Films

Blue Ruin
A Most Wanted Man
Mr. Turner
Obvious Child
The Skeleton Twins
Stand Clear of the Closing Doors
Starred Up
Still Alice

1743361_et_sundance_studio _JLC

Best Picture: Boyhood
Best Director: Richard Linklater (Boyhood)
Best First Film: Jennifer Kent (The Babadook)
Best Actress: Marion Cotillard (for The Immigrant and Two Days, One Night)
Best Actor: Timothy Spall (Mr. Turner)
Best Supporting Actress: Patricia Arquette (Boyhood)
Best Supporting Actor: J.K. Simmons (Whiplash)
Best Screenplay: The Grand Budapest Hotel
Best Cinematography: Darius Khondji (The Immigrant)
Best Animated Film: The Lego Movie
Best Foreign Language Film: Ida
Best Nonfiction Film: Citizenfour
Special Award: Adrienne Mancia


The National Board of Review, which traditionally announced first during awards season now announces a day after the New York Film Critics. They have impact because they announce so early. Any bit of prestige early on always helps a contender get recognition. Most people “out there” and in fact, many industry voters, don’t really care whether the NYFCC are “real critics” and the NBR aren’t – they are both considered major critics awards, sorry NYFCC. The day the New York Film Critics pick a film like the Babadook for Best Picture – one that isn’t even eligible for the Oscars? They can say they cut the cord to the awards season for good. But for now, they are right in line with awards season groupthink.

The NBR has less of an Oscartastic track record and often thinks just a little bit outside the box. Last year, they picked Spike Jonze’s Her for Best Picture of the year. They then get ten more choices to name for Best Film of the year, though their picks can sometimes we kind of weird, like The Secret Life of Walter Mitty last year. My predictions for their their top choice, as follows:

Best Picture of the Year: Unbroken
And the top ten of the year:
American Sniper
Gone Girl
Into the Woods
The Imitation Game
The Theory of Everything
A Most Violent Year

Please enter our contest and post your predictions in the comments. They will be announcing on Tuesday morning.


On Monday, the New York Film Critics will begin voting. Tuesday, the following day, will be the National Board of Review’s announcement.  The New York Film Critics are probably the most Oscar friendly of the big critics groups, for whatever reason, but have, in the last two years, picked films no one else has yet seen, or seen but not yet reviewed. Zero Dark Thirty in 2012 and last year’s American Hustle. Will they do that again this year? There are really only two films they could do that with and that’s Unbroken, which has been seen by SOME but has a strict embargo enforced until December 1. They could do that with Selma, which has been seen but hasn’t yet been reviewed.

Either way, I expect, and probably most people expect, the New York Film Critics to go for either Boyhood or Birdman – making Oscars 2015 officially Boyman. Or Birdhood. Is there an American Hustle that might there to interrupt the flow of the two favorites so far? Not sure. Either way, it’s your turn to tell me. Your prize for winning this is $50 gift card at Amazon.


What really matters, as far as critics are concerned, these four groups, New York, LA, and the NBR (we’ll deal with the Golden Globes in a separate post). They matter for various reasons. First, why do any awards matter at all, from critics, to industry, to Oscar? They matter to studios for two reasons, leaving off gratification of earned career high. 1) they lend prestige, and 2) they can make the difference between someone deciding to buy a ticket or not.  The Oscar brand is, right now, the most expensive of these because it’s by far the most valuable. This is why the Academy works so hard not to dilute that brand, especially where Best Picture is concerned.

In order to address the changing face of the film industry they could, for example, have a separate category for Best Effects Driven Film. But that almost always leads to diluting the brand. Look at the Broadcast Film Critics that birthed so many new categories (to ensure more stars attended their shows and perhaps to make it easier to pick winners across the board). Is anyone going to care if a film wins Best Action Movie by the BFCA? Similarly, who is going to care if a film wins Best Effects Driven Picture? One award, Best Picture, means everything.

The first Academy Awards in 1928 had a marvelous division of “best production overall” and “artistic achievement.” That is how Sunrise and Wings both won. What a marvelous idea that is. It addresses the continual conflict between popular entertainment/money makers and artistic daring. For instance, this year, you could give Best Production to, say, Interstellar and artistic achievement to Boyhood.  But that isn’t happening any time soon, so we have to deal with what is, not what should be.

December 1st is fast approaching. The New York Film Critics deliberately pushed their awards back to be “first” in the awards race and indeed, they have taken back power from the National Board of Review in a rushed season. Before Oscar pushed their own date back a month, the National Board of Review came out so early, too early. They could push a film into the race but they were considered too early to matter.  Later, the New York and Los Angeles Critics would take center stage and really drive the race (most of the time).  But the date change smushed everything together, so that Telluride became the most important film festival (over Toronto, for instance) and the NBR had the cat bird’s seat with early critics awards. The New York Film Critics then pushed their own date back to be first. And so it goes.

Los Angeles doesn’t seem to care to be first but they like to be different, especially these days. They seem to want to vote against what New York and the Oscar pundits have decided. In other words, they don’t feel like wasting their time merely confirming what everyone else has to say. Rather, they seem eager to be different, more challenging, to go against the grain a bit.  One of the strange side effects from an abundance of supply without corresponding demand is that writers, bloggers, critics and journalists are desperate for any sort of drama in the race and often concoct their own to keep things humming along.

The National Board of Review names a Best Picture and ten more best films. The Best Picture matters, and it’s nice to see some titles on their top ten, but their top ten matters less than, say, the AFI’s top ten. Their Best Picture DOES matter, it seems.  The New York and LA Film critics also have power to influence the acting and directing categories, perhaps more than any other group in the early part of the race.  Which director is named best by New York and LA really does count for something.

These announcements will come just before the DGA, PGA, SAG and Oscar voters fill out their nominees. Human nature dictates that most of us, except the most confident and assured among us, don’t know what is really the best, or what is thought of as the best. We like what we like but we also like to get along with our fellow humans. While some of us delight in being “different,” generally speaking human beings are inclined towards harmonious agreement, a sense of belonging to something. This is often how consensus votes are formed: what unites, rather than divides, voters?

So when the early awards come down, many humans feel inclined to agree, in order to get along and find harmonious sense of belonging. This consensus builds and becomes hard to shake.  That was why 2010 was so odd, with the entire film critic community backing the Social Network while the industry rejected it outright — they didn’t want t belong to a group that admired such cold and calculating characters. They’d much rather belong to the group that admired a sweet, cuddly, stuttering King with his cute little family and a while bunch of cute British people uniting against Hitler.  It remains the most interesting Best Picture race that I’ve ever seen, with the possible exception of the year 2000, when Gladiator, Traffic and Crouching Tiger, Hidden Dragon were headed for the big prize.  There was division in the ranks for various reasons, most of them good.

When you think about what New York is going to do, you have to think: big statement. The past two years they’ve picked movies most people hadn’t seen. How dramatic that they named American Hustle Best Picture when everyone already knew that the two movies that could win were either Gravity or 12 Years a Slave (both films divided the consensus, uniting them over separate issues and objectives).  That prize launched American Hustle squarely in the race at a time when no one knew if the movie would land or not. When I saw it at a SAG screening I thought it went down badly. I thought: what a sloppy mess of a movie – while “fun” and entertaining, it is not going to have a shot against the other two films. Boy was I wrong. All it took was the anointing of “best” from the New York Film Critics OVER Gravity and 12 Years a Slave for that movie to suddenly become a powerful player. The Emperor’s New Clothes look mighty pretty today.  But here’s the question, did those critics really think American Hustle was better than Gravity or 12 Years a Slave, two films they reviewed as best of the year? Or did they merely want to stand out in a season that stuffs the turkey to the point of bursting?

12 Years a Slave Metacritic rating: 97
Gravity’s Metacritic rating: 96
American Hustle’s Metacritic rating: 90

90 is still very respectable. To me, that movie is about a 70, or a 75 to be charitable. But that just shows how little I know about what critics like.

Did they think it was best or did they want to stand out? Hard to say.  The National Board of Review then named Her Best Picture. They like to pick movies that no one else has chosen, thus making sure they also stand apart. That film was launched into the race in a big way.

Los Angeles then went for a tie between Gravity and Her, eliminating any big city critic’s approval of Steve McQueen’s 12 Years a Slave. The film had been declared the Best Picture winner by Kyle Buchanan early in the race, which put a giant target on its back. Though it won, it was touch and go for a while there, with even the BAFTA awarding it their top prize but not screenplay, actor, etc.


In predicting these major awards, one has to factor in the desire to be different, not just from other critics but from what the predicted Oscar winner.  That’s a tough one. In the old days, before the awards-as-overstuffed-turkey days, they would merely pick “best” of the year.

They sometimes unite, as they did in 2012 with Zero Dark Thirty. Named “best picture and director” early, by the New York Film Critics, the film went on to be named best by the National Board of Review. But remember, the Los Angeles Film Critics mostly like to set themselves apart, so they went with Amour instead, which likely pushed Amour into the race, which also then gave Michael Haneke a Best Director nod instead of Kathryn Bigelow. It wouldn’t matter in the end because people like Glenn Greenwald and Andrew Sullivan would help lead a charge that demolished Zero Dark Thirty’s chances and pit film critics against political journalists until the movie was destroyed, perception wise. I remember one Los Angeles Film Critic member saying on Twitter, “we’re not going to vote for Zero Dark Thirty, I can tell you that.”  It wasn’t because they thought the film celebrated torture or admitted Americans got information from torturing (that is exactly what the movie says and exactly what really happened) but because the movie was winning everything and LA likes to stand apart.

The last time they were united in holy matrimony was – say it with me now:

2010 – The Social Network

But let’s do a quick chart of the last ten years since the date for Oscar changed to see how the three groups align for Best Picture:


Two things should be immediately apparent. 1) The Social Network is the only film in the last ten years to win all three critics groups, and the only film in their entire history to win all three groups and not win Best Picture other than LA Confidential (if you factor in the Golden Globes for Best Film Social Network is the only one to manage that).


2) since the Academy expanded their Best Picture category from 5 to 10, and then from 10 to a number between 5 and 10, all of their winners have gone on to be nominees.

Now, let’s get on to predictions.  We’ll be putting up our contest in the coming days but let’s start with a preliminary cheat sheet.

New York Film Critics
Top choices: Birdman, Boyhood or Foxcatcher
Would drastically change the race: Unbroken
Would really shift things: Selma

Los Angeles Film Critics
Top choices: Birdman, Boyhood or Foxcatcher
Depending on what New York decides, but we’re probably still looking at these.
The Scott Feinberg/Jeff Wells dream come true: CitizenFour
Big shocker that would change the race: A Most Violent Year

National Board of Review
Top choices: American Sniper, Selma, Unbroken
But would not surprise me if: Birdman, Boyhood or Foxcatcher

As you can see by the chart, it’s extremely rare to have the critics determine WHAT WILL WIN Best Picture but they are crucial in deciding which films start the proper race on top.  They generally pick films that are well reviewed, so you have to start there. So many films this year are surprisingly not that well reviewed as you’d think but Boyhood, Birdman and Foxcatcher seem to be the critics’ darlings thus far.

Unbroken is really the big question mark – if the New York Film Critics wanted to pull a third rabbit out of their hat they might pick that movie, which would then give the pundits further ammo to keep predicting a film they haven’t seen to win.  That still doesn’t mean it wins Best Picture at the Oscars, but it would sure help.

What they probably will shy away from overall? Gone Girl (except maybe the NBR that might name it as one of their top ten).  It earned mixed reviews from the critics and after the Social Network he’ll have to make a movie critics, not the ticket buying public, approve of.  If it were me voting, it would be a toss up between the films I think are the best of the year: Gone Girl, Selma, Boyhood, Inherent Vice.

How about you? How do you think they’re going to go?


John Ridley brought some of Solomon Northup’s descendants as he accepted his awards, choking back tears. He thanked honoree Robert Towne, “without you I would not be here.” He beat the writers of Philomena, Captain Phillips, The Spectacular Now, and What Maisy Knew. Ridley said he was significantly moved in reading and writing the memoir for Northup.

Continue reading…

12 years dd

(thanks to Paddy at ScreenOnScreen)

Film of the Year
12 Years a Slave

Director of the Year
Alfonso Cuaron (Gravity)

Actor of the Year
Chiwetel Ejiofor (12 Years a Slave)

Actress of the Year
Cate Blanchett (Blue Jasmine)

Continue reading…


We’ll leave the nominees listed in this post as a reminder of who the BFCA passed over in favor of the winners (noted in * bold).

American Hustle
Captain Phillips
Dallas Buyers Club
Inside Llewyn Davis
Saving Mr. Banks
* 12 Years a Slave
The Wolf of Wall Street

Christian Bale – American Hustle
Bruce Dern – Nebraska
Chiwetel Ejiofor – 12 Years a Slave
Tom Hanks – Captain Phillips
* Matthew McConaughey – Dallas Buyers Club
Robert Redford – All Is Lost

* Cate Blanchett – Blue Jasmine
Sandra Bullock – Gravity
Judi Dench – Philomena
Brie Larson – Short Term 12
Meryl Streep – August: Osage County
Emma Thompson – Saving Mr. Banks

Continue reading…

Not too far from now, the Critics Choice will begin handing out their awards. The big question is really what is going to win Best Picture. We probably won’t know for sure until the Producers Guild on Sunday. If the SAG ensemble and the Producers Guild match then the mystery might be over. Gravity, it’s worth noting, is not nominated for the SAG but it might win the PGA, putting the whole thing into flux.

At any rate, many over at Gold Derby are predicting 12 Years a Slave to win the CCMA’s. I seriously doubt it. This is an American Hustle crowd if there ever was one. I fully expect it to win tonight, along with David O. Russell and it will give the film and its director its first real moment to shine after the Globes.

Here are my predictions, such as they are:

American Hustle <—predicted winner
Captain Phillips
Dallas Buyers Club
Gravity  <—but it might be
Inside Llewyn Davis
Saving Mr. Banks
12 Years a Slave The Wolf of Wall Street<—Wouldn’t it be funny if?

Christian Bale – American Hustle  <–Caught up in Hustle love.
Bruce Dern – Nebraska <–or maybe..
Chiwetel Ejiofor – 12 Years a Slave
Tom Hanks – Captain Phillips
Matthew McConaughey – Dallas Buyers Club  <–predicted winner
Robert Redford – All Is Lost
Continue reading…

Film of the Year

  • American Hustle (Sony)
  • Blue is the Warmest Color (Sundance Selects)
  • Dallas Buyers Club (Focus)
  • Gravity (WB)
  • Her (WB)
  • Laurence Anyways (Breaking Glass)
  • 12 Years a Slave (Fox Searchlight)

Film Performance of the Year – Actor

  • Leonardo DiCaprio, The Wolf of Wall Street (Paramount)
  • Chiwetel Ejiofor, 12 Years a Slave (Fox Searchlight)
  • James Franco, Spring Breakers (A24)
  • Jared Leto, Dallas Buyer Club (Focus)
  • Matthew McConaughey, Dallas Buyers Club (Focus)

Film Performance of the Year – Actress

  • Cate Blanchett, Blue Jasmine (Sony Classics)
  • Sandra Bullock, Gravity (WB)
  • Judi Dench, Philomena (Weinstein)
  • Adele Exarchopoulos, Blue is the Warmest Color (Sundance Selects)
  • Lupita Nyong’o, 12 Years a Slave (Fox Searchlight)

LGBT Film of the Year

  • Blue is the Warmest Color (Sundance Selects)
  • Dallas Buyers Club (Focus)
  • Kill Your Darlings (Sony Classics)
  • Laurence Anyways (Breaking Glass)
  • Philomena (Weinstein)

Continue reading…

Armond White tossed from the New York Film Critics

The story goes that contrarian film critic Armond White was heckling Steve McQueen as he took the stage for the New York Film Critics – this, being the first time any black director has ever won the honor.  White, being one of the few black critics in any film critics group, had panned 12 Years a Slave while simultaneously losing his shit for American Hustle.

“The New York Film Critics Circle deeply regrets any embarrassment caused its guests or honorees by any member’s recent actions,” Stephen Whitty, critic for the Star-Ledger and the group’s new chairman, said in the statement “Sadly, disciplinary measures had to be taken, to prevent any reoccurrence.”

The moment was soured by White and others. There are many witnesses who can confirm what was said and by whom. But nonetheless, White has denied the allegations:

“The allegations are flat out untrue,” Mr. White said in a phone interview Monday afternoon. “There was no heckling from my table.”

He also said that he suspected the expulsion was fueled by animosity from other critics. “I don’t cozy up to the hype machine,” he said. “I think other film critics are embarrassed by the way they cozy up. So they attack me.”

Well, it’s one thing to cozy up — he thinks the NYFCC are bad, try checking out the Broadcast Film Critics. Everybody mostly likes to rub up against celebs.  But it’s a whole other thing to bring dishonor not just to the critics group, which has been around since the 1930s, but to McQueen himself.  I am sure it bothered us a lot more than it bothered him but nonetheless.

(thanks to Kenny Miles @kmiles723)


BEST DIRECTOR: Alfonso Cuaron, “Gravity”

BEST ACTOR: Matthew McConaughey, “Dallas Buyers Club”

BEST ACTRESS: Cate Blanchett, “Blue Jasmine”

Continue reading…

(thanks to Paddy at ScreenOnScreen)

Best Picture
1. 12 Years a Slave
2. Nebraska
3. American Hustle

Best Director
1. Steve McQueen (12 Years a Slave)
2. David O. Russell (American Hustle)
3. Alfonso Cuarón (Gravity)

Best Actor
1. Chiwetel Ejiofor (12 Years a Slave)
2. Oscar Isaac (Inside Llewyn Davis)
3. Bruce Dern (Nebraska)

Best Actress
1. Cate Blanchett (Blue Jasmine)
2. Amy Adams (American Hustle)
3. Sandra Bullock (Gravity)

Continue reading…

  • Carroll Cartwright and Nancy Doyne – screenwriters, and Henry James – author of the novel of the same name (What Maisie Knew)
  • Steve Coogan and Jeff Pope – screenwriters, and Martin Sixsmith – author of The Lost Child of Philomena Lee (Philomena)
  • Scott Neustadter and Michael H. Weber – screenwriters, and Tim Tharp – author of the novel of the same name (The Spectacular Now)
  • Billy Ray – screenwriter, and Richard Phillips and Stephen Talty – authors of A Captain’s Duty: Somali Pirates, Navy SEALs, and Dangerous Days at Sea (Captain Phillips)
  • John Ridley – screenwriter, and Solomon Northup – author of Twelve Years a Slave (12 Years a Slave)

(thanks to Paddy, at ScreenOnScreen)


12 Years a Slave

Alfonso Cuarón, Gravity

Oscar Isaac, Inside Llewyn Davis

Cate Blanchett, Blue Jasmine

Continue reading…

Astonishingly, it  looks as if the NYFCC might be impotent when it comes time to scold their star weasel, Armond White. The group could try to claim that there’s no way to deal with the exhibitionist prick stinking up their reputation. As long as White stops short of actually physically assaulting filmmakers with a salad fork, we’re all forced to watch whenever the grandiose Ass of the New York Critics Circle feels like slinging poop at anyone close to his cage?

NYFCC chairman Joshua Rothkopf has said the group will be taking “disciplinary action” against White.

But another source with close ties to the organization questioned if that’s possible, since the Critics Circle’s bylaws don’t include a method for expelling one of its members. In other words, they might have to write a law about heckling and see what happens next year.

Nice. Be sure to include a bylaw that forbids critics from spitting phlegm in the faces of actresses or stabbing cinematographers in the eye with a pencil. I mean, just so the New York critics understand how much they can get away with in the future. Variety reports:

The New York Film Critics Circle is reeling today after its annual gala made headlines for a heckling incident between one of its members and “12 Years a Slave” director Steve McQueen. The organization has set an emergency meeting for Monday, Jan. 13 at Lincoln Center to discuss what to do about the situation.

Continue reading…

The complete list of DFCS nominations via our friends Kenny Miles at TheMovieBlog:

Best Picture:

* “American Hustle”
* “Captain Phillips”
* “Gravity”
* “12 Years a Slave”
* “The Wolf of Wall Street”

Best Director:

* Alfonso Cuaron, “Gravity”
* Paul Greengrass, “Captain Phillips”
* Steve McQueen, “12 Years a Slave”
* David O. Russell, “American Hustle”
* Martin Scorsese, “The Wolf of Wall Street”

Best Actor:

* Matthew McConaughey, “Dallas Buyers Club”
* Chiwetel Ejiofor, “12 Years a Slave”
* Tom Hanks, “Captain Phillips”
* Leonardo DiCaprio, “The Wolf of Wall Street”
* Christian Bale, “American Hustle”

Best Actress:

* Cate Blanchett, “Blue Jasmine”
* Sandra Bullock, “Gravity”
* Brie Larson, “Short Term 12“
* Emma Thompson, “Saving Mr. Banks”
* Amy Adams, “American Hustle”

Continue reading…

Thanks to Paddy at ScreenOnScreen

Best Narrative Film

  • · 12 Years a Slave
  • · American Hustle
  • · Gravity
  • · Inside Llewyn Davis
  • · The Wolf of Wall Street

Best Director

  • · Alfonso Cuarón (Gravity)
  • · Steve McQueen (12 Years a Slave)
  • · Alexander Payne (Nebraska)
  • · David O. Russell (American Hustle)
  • · Martin Scorsese (The Wolf of Wall Street)

Continue reading…


Best Picture: “Inside Llewyn Davis” (23)
Runners-up: “American Hustle” (17); “12 Years a Slave” (16); “Her” (16)

Director: Joel and Ethan Coen, “Inside Llewyn Davis” (25)
Runners-up: Alfonso Cuaron, “Gravity” (18); Steve McQueen, “12 Years a Slave” (15)

Actor: Oscar Isaac, “Inside Llewyn Davis” (28)
Runners-up: Chiwetel Ejiofor, “12 Years a Slave” (19); Robert Redford, “All Is Lost” (12)

Actress: Cate Blanchett, “Blue Jasmine” (57)
Runners-up: Adele Exarchopoulos, “Blue Is the Warmest Color” (36); Julie Delpy, “Before Midnight” (26)

Continue reading…

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