Today was a big day for critics’ groups weighing in on film year 2019. 1917, Once Upon a Time… In Hollywood, and Little Women all received Best Picture citations. Director prizes were split across all four critics’ groups reporting with Quentin Tarantino, Martin Scorsese, Bong Joon-ho, and Sam Mendes all receiving awards.
See below for winners and runners-up (where applicable) for the Kansas City Film Critics Circle, the Boston Society of Film Critics, the St. Louis Film Critics Association, and the Oklahoma Film Critics Circle.
2019 Kansas City Film Critics Circle
Best Picture: 1917
Best Director
Sam Mendes – 1917
Best Actor
Adam Driver – Marriage Story
Best Actress
Lupita Nyong’o – Us
Best Supporting Actor
Joe Pesci – The Irishman
Best Supporting Actress
Da’Vine Joy Randolph – Dolemite Is My Name
Best Original Screenplay
Knives Out
Best Adapted Screenplay
Little Women
Best Cinematography
1917
Best Animated Film
Toy Story 4
Best Foreign Language Film
Parasite
Best Documentary
Amazing Grace & Apollo 11 (TIE)
Vince Koehler Award For Best SciFi/Horror/Fantasy
Us
Tom Poe Award For Best LBGTQ Film
Portrait of a Lady on Fire
Boston Society Of Film Critics
Best Picture
Little Women
Runners Up: Portrait Of A Lady On Fire
Best Foreign Language Film
Parasite
Runner-up – Portrait Of A Lady On Fire
Best Director
Bong Joon-ho – Parasite
Runner-up: Greta Gerwig – Little Women
Best Ensemble
Little Women
Runner-up: Once Upon A Time In Hollywood & Parasite
Best Actor
Adam Sandler – Uncut Gems
Runner-up: Joaquin Phoenix – Joker
Best Actress
Saoirse Ronan – Little Women
Runner-up: Elisabeth Moss – Her Smell & Mary Kay Place – Diane (TIE)
Best Supporting Actor
Brad Pitt – Once Upon A Time In Hollywood
Runner-up: Joe Pesci – The Irishman
Best Supporting Actress
Laura Dern – Marriage Story
Runner-up: Florence Pugh – Little Women
Best Screenplay
Once Upon A Time In Hollywood
Runner-up: Marriage Story
Best Documentary
Honeyland
Runners Up: Apollo 11 & Hail Satan?
Best New Filmmaker
Joe Talbot – The Last Black Man In San Francisco
Runner-up: Mati Diop – Atlantics
Best Animated Feature
I Lost My Body
Runner-up: Toy Story 4
Best Cinematography
Portrait Of A Lady On Fire
Runner-up: Once Upon A Time In Hollywood
Best Editing
The Irishman
Runner-up: Uncut Gems
Best Score
Little Women
Runner-up: The Last Black Man In San Francisco
St. Louis Film Critics Association
BEST FILM
Once Upon a Time… In Hollywood – Winner
1917 – Runner-up
Dolemite is My Name
The Irishman
Jojo Rabbit
Long Day’s Journey into Night
Little Women
Marriage Story
The Two Popes
Waves
BEST DIRECTOR
Quentin Tarantino – Once Upon a Time…In Hollywood – Winner
Bong Joon-ho – Parasite – Runner-up
Sam Mendes – 1917
Martin Scorsese- The Irishman
Taika Waititi – JoJo Rabbit
BEST ACTOR
Adam Sandler – Uncut Gems – Winner
Joaquin Phoenix – Joker – Runner-up
Adam Driver – Marriage Story
Eddie Murphy – Dolemite is My Name
Jonathan Pryce – The Two Popes
BEST ACTRESS
Scarlett Johansson – Marriage Story – Winner
Renee Zellweger – Judy – Runner-up
Cynthia Erivo – Harriet
Saoirse Ronan – Little Women
Charlize Theron – Bombshell
BEST SUPPORTING ACTRESS
Margot Robbie – Bombshell / Once Upon a Time… In Hollywood – Winner
Laura Dern – Marriage Story – Runner-up
Annette Bening – The Report
Scarlett Johansson – JoJo Rabbit
Florence Pugh – Little Women
BEST SUPPORTING ACTOR
Brad Pitt – Once Upon a Time…In Hollywood – Winner
Joe Pesci – The Irishman – Runner-up
Anthony Hopkins – The Two Popes
Al Pacino – The Irishman
Wesley Snipes – Dolemite is My Name
BEST DOCUMENTARY
Apollo 11 – Winner
Linda Ronstadt: The Sound of My Voice – Runner-up
The Biggest Little Farm
Honeyland
Where’s My Roy Cohn?
BEST PRODUCTION DESIGN
Once Upon a Time…In Hollywood – Winner
1917 – Runner-up Tie
Little Women – Runner-up Tie
The Irishman
Parasite
BEST CINEMATOGRAPHY
1917 – Roger Deakins – Winner
The Lighthouse – Jarin Blaschke – Runner-up
The Irishman – Rodrigo Prieto
Joker – Lawrence Asher
Once Upon a Time…In Hollywood – Robert Richardson
BEST ORIGINAL SCREENPLAY
Marriage Story – Winner Tie
Once Upon a Time…In Hollywood – Winner Tie
Booksmart
Parasite
Queen and Slim
BEST ADAPTED SCREENPLAY
The Irishman – Winner
JoJo Rabbit – Runner-up Tie
Little Women – Runner-up Tie
Joker
The Two Popes
BEST SOUNDTRACK
Once Upon a Time…In Hollywood – Winner
Frozen 2 – Runner-up Tie
Waves – Runner-up Tie
Rocketman
Yesterday
BEST SCORE
1917 – Thomas Newman – Winner
Marriage Story – Randy Newman – Runner-up
Ad Astra – Max Richter
Avengers: Endgame – Alan Silvestri
How to Train Your Dragon: The Hidden World – John Powell
BEST EDITING
Once Upon a Time…In Hollywood – Winner
1917 – Runner-up
The Irishman – Runner-up
Ford v Ferrari
Marriage Story
BEST VISUAL EFFECTS
Avengers: Endgame – Winner
1917 – Runner-up Tie
Ad Astra – Runner-up Tie
Alita: Battle Angel
The Irishman
BEST ANIMATED FILM
Toy Story 4 – Winner
Frozen 2 – Runner-up Tie
Klaus – Runner-up Tie
How to Train Your Dragon: The Hidden World
Missing Link
BEST COMEDY FILM
Booksmart – Winner
JoJo Rabbit – Runner-up
Dolemite is My Name
The Farewell
Knives Out
BEST ACTION FILM
1917 – Winner
Avengers: Endgame – Runner-up
Alita: Battle Angel
Captain Marvel
John Wick: Chapter 3 – Parabellum
BEST HORROR FILM
Us – Winner
Parasite – Runner-up
The Lighthouse=
Midsommar
Ready or Not
BEST FOREIGN FILM
Parasite – Winner
A Long Day’s Journey into Night – Runner-up
By the Grace of God
Pain and Glory
Portrait of a Lady on Fire
BEST SCENE
Spahn Ranch in Once Upon a Time…In Hollywood – Winner
Jack Visits Cottage in Yesterday – Runner-up
Charlie Sings in Marriage Story
“Avengers Assemble” in Avengers: Endgame
Apartment fight in Marriage Story
WORST FILM
Dumbo – WINNER
Joker – Runner-up
Gemini Man
The Laundromat
Stuber
Oklahoma Film Critics Circle
Best Picture
Once Upon a Time… in Hollywood
Best Director
Martin Scorsese – The Irishman
Runner-up: Quentin Tarantino – Once Upon a Time… in Hollywood
Best First Feature
Joe Talbot – The Last Black Man in San Francisco
Runner-up: Olivia Wilde – Booksmart
Best Actor
Adam Sandler – Uncut Gems
Runner-up: Adam Driver – Marriage Story
Best Actress
Lupita Nyong’o – Us
Runner-up: Scarlett Johansson – Marriage Story
Best Supporting Actress
Jennifer Lopez – Hustlers
Runner-up: Laura Dern – Marriage Story
Best Supporting Actor
Brad Pitt – Once Upon a Time… in Hollywood
Runner-up: Willem Dafoe – The Lighthouse
Best Ensemble
Knives Out
Runner-up: Once Upon a Time… in Hollywood
Body of Work
Adam Driver – The Report and Marriage Story
Runners-up: Scarlett Johansson – Avengers: Endgame and Marriage Story & Brad Pitt – Ad Astra and Once Upon a Time in Hollywood
Best Original Screenplay
Knives Out
Runner-up: Once Upon a Time in Hollywood
Best Adapted Screenplay
The Irishman
Runner-up: Jojo Rabbit
Best Cinematography
Once Upon a Time in Hollywood
Runner-up: 1917
Best Score
Uncut Gems
Runner-up: Joker
Best Animated Film
Toy Story 4
Runner-up: I Lost My Body
Best Documentary
American Factory
Runner-up: Apollo 11
Best Foreign Language Film
Parasite
Runner-up: The Farewell
Top 10 Films
1. Once Upon a Time in Hollywood
2. Knives Out
3. The Irishman
4. Parasite
5. Uncut Gems
6. Jojo Rabbit
7. Marriage Story
8. Little Women
9. Avengers: Endgame
10. Midsommar
OSCAR SHORTLISTS ARE FINALLY OUT!
Interesting that Oklahoma cited ScaJo for her work in Avengers over that in JoJo.
Zellwelger isn’t a lock for a win based on the results from these critic awards.
She IS this year’s Glenn Close..better to accept that fact now than later. People WILL not vote for just like they didn’t last year. No love for the movie turns into no love for her and she already has an oscar.
She IS this year’s Glenn Close..better to accept that fact now than later. People WILL not vote for just like they didn’t last year. No love for the movie turns into no love for her and she already has an oscar.
A lot of winners (even a lot of “locks”) didn’t do that well at critics’ awards so I at least wouldn’t make choices about predictions too quickly based on what these awards are saying
Also alot of critics probably didn’t like the movie much.
The critics don’t really matter when it comes to Oscar, however.
Exactly. And these small critics groups really don’t matter. How does Kansas City have 40+ film critics? Seriously, who are these people voting? Where do they work? Where can you find their reviews? City groups are JOKE!!!
True how else to explain Crap Book winning. Also five time Oscar Winner Bohemian Rhapsody. It has more Oscars then Citizen Kane and Seven Samurai for peeks sake.
*4 timeOscarwinner
Still more then the two all time classics I mentioned. They should really only have one sound category.
I agree
She IS this year’s Glenn Close..better to accept that fact now than later. People WILL not vote for just like they didn’t last year. No love for the movie turns into no love for her and she already has an oscar.
Plus the Oscar she got was arguably a make-up Oscar for CHICAGO in the first place… If she wins it’ll be for the same reasons Malek did last year. Good performance in a decent movie (I assume) playing a loved entertainment icon lost before their time.
Except “Bohemian Rhapsody” was (for reasons that still escape me) loved in the industry, winning more Oscars last year than any other film.
“Judy” is slated to get only this one nomination.
not the same. Scale and magnitude of success of bohemian rhapsody is much different. Much of the success for that movie is deservedly or not attributed to rami malek’s performance.
This usually happens once in a while with certain movies/performances. Certain character driven movies make soo much money that the whole industry and academy voters will concede to the magic of cinema to touch 10s or 100s of millions of people and say that “even though the performance itself is not great it must have some magic to it that it touched so many millions of people.”
It happened with Sandra Bullock for the blind side and for american sniper and for bohemian rhapsody. When scale of success is that large, its hard to arguement against it even for academy voters. Voters will concede. But success if judy is very minute and success of harriet easily overshadows judy.
And Glenn has never won a Oscar unlike Zellwelger.
yes and that makes it even harder for reene to win
Waves is another fantastic film that has been ignored this season – too bad.
The African American Film Critics Association and Black Reel Awards gave the movie the love it deserves! Do you really think critics in Kansas City, Oklahoma City and St. Louis even saw “Waves?” Ask yourself…
Sterling K Brown should be a contender for a nomination for supporting. And the film should be appearing on more lists.
I’ve seen Waves. Why should we assume that people who watch films for a living didn’t? Perhaps they just thought that it wasn’t worthy of recognition. As I would’ve.
Once Upon a Time in Hollywood
Knives Out
The Irishman
Parasite
1917
Jojo Rabbit
Marriage Story
Little Women
Oscar Best Picture Nominees
I wouldn’t underestimate
– Ford v Ferrari (film is doing well with guilds + Bale is in at the Golden Globes and SAG)
– Bombshell (massive love from the biggest Academy branch, the Actors (field-leading 4 SAG nominations)
– Joker (big boost from Critics Choice (script) and Golden Globes (director).
I agree 100%!!!
I have no doubt Joker will be nominated.
I do. To me it is looking like a strong possibility but nowhere near lock status.
It hasn’t missed anywhere crucial. It got both the Globe and Critics Choice nomination for Best Picture. It’s not really a movie where it’s about the Cast so I’m not surprised it missed Best Cast at the SAG awards. I’d say it’s way more safe than most of the contenders except for Hollywood, Irishman, Parasite, Marriage Story, and 1917.
I think Ford v. Ferrari gets in too.
I don’t see any of these influencing anything
I think Adam Sandler is officially this years Ethan Hawke.
Isn’t that Banderas? He won NYFCC+LAFCA after all.
Yeah but he seems like he might actually end up getting nominated at the Oscars… But if he doesn’t than there are TWO Ethan Hawkes this year haha.
Hawks wasn’t nominated for the Globes like Banderas.
These critics don’t mean shit now that GG and SAG noms are out. That drives industry buzz, not what Kansas, etc think. It reminds me of last year when some local critics started to award MBJ in Supporting for Black Panther and some stans thought it was the sign of upcoming surge that would lead to surprise nom the Oscar morning. we know how that ended.
Point being, these critics are a way for us to bide time til DGA, PGA and BAFTA noms but have no relevance for anybody relevant to the oscar outcome. Voters don’t even know most of them exist.
They won’t guarantee Oscar nominations let alone wins but they are good for building perception. I mean will Adam Sandler get an Oscar nod because the Las Vegas critics gave him Best Actor ? No. Will Oscar voters who, in the same week or so, see six headlines about six different critics groups giving Best Actor to Sandler suddenly think “hmm maybe he SHOULD be on my radar, let’s pop that screener in” ? Probably. Not a guarantee but it doesn’t hurt. Also, even if one gets on their radar, it still doesn’t mean they will vote for the contender in question … but the chances definitely get better compared to when the contender wasn’t even on their radar at all.
P.S. And for the record in this season in particular every early award has an increased influence. The PGA, DGA, WGA, Bafta quartet will be announced way too late to have any sort of influence on Oscar voters and due to the short season, contenders will have to take the wins wherever they can to build buzz, so while the small wins don’t mean much, a lot of small wins combined could move the needle.
So ij short, expect shockers Oscar morning because small critics swayed votes. Ouch.
Expect potential shockers because small critics put certain contenders on the map that otherwise would have stayed under the radar. Not many, maybe one. Or two.
like who? Sandler made BFCA so not really their discover. Pugh also made BFCA so not really their discovery and she may profit more from #vote4women than local critics love. Lupita got BFCA and SAG so she’s rather secure for now. That leaves Lady on Fire but that’s foreign submission so it could technically pul a Pawlikowski in Director but that one had a big nom, BAFTA I think.
I think on some level we all pay attention to critics groups, big or small. We don’t consider their decision deciding factors for any contender but we do take notice when a contender otherwise underestimated by many, makes a splash and wins several awards in this first phase of the season. It doesn’t guarantee Oscar love but it does guarantee exposure. Not a lot of it but some.
I expect twists and turns this season. everything is still in the flux and we know that people who hit all televised precursors don’t necessarily make it (Chalamet last year, Adams, Gyllenhaal, Hanks). And after yalitza/Tavira stunt, I’m fully expecting parasite cast to make a shocking splash.
That could happen, an acting nod for Parasite that is.
BSFC is a fairly high profile organization, even if it isn’t as big as the Big Three. But their influence in the race is much more subtle than “voters will look at them and copy their choices”. Take Lupita for example. When she won NYFCC, she made headlines in newspapers that voters and industry people do read. That probably helped her gain enough attention that these smaller groups are now rallying behind her. The choices of any of these groups won’t be in front of voters, but repeated mentions in the awards “news cycle” shape collective thinking, and might prompt pundits to put her more highly on their lists (something that affects voters’ picks) or a journalist to write a thinkpiece in Indiewire about whether she’s a serious Oscar contender. These things matter, and while the impact of any individual mention from a non-top3 group is miniscule, getting a bunch of them can actually help (which of course still doesn’t guarantee anything come Oscar morning)
We posted something similar at the exact same time, great minds think alike huh 🙂
I see your point but my point is that they stopped reading beyond NYFCC and LAFCA. those are the big ones and they happen before GG, SAG and even BFCA take over. Now it’s mostly buzz about those who made any of those 3 nominations especially those who hit all 3. til the next round (DGA, PGA, WGA, BAFTA).
Critics aren’t interested in predicting Oscars. Your comment is pointless.
I could agree and I should agree with you because a critic has to be independant and defend its choices with good reasons.
However, a few years from now aaall these critics associations are a boredom fest. Looks like predicting the Oscars and trying to be relevant as a group is more important than making courageous choices based on arguments.
Magazine’s end year lists are far way more interesting.
it isn’t because amateur oscar watchers read into every “hinterland bumblefuck” critics award if that supports the narrative for their favorites. I’m just saying that they have no relevance going forward but industry does.
Why didn’t American critics like Joker? One group even gave it runner up for worst movie! Da fuq?
It is a very divisive film. Some will love it, some will hate it. Or some, like me, will love certain aspects of it (Phoenix’s performance, the score, some though not all of the cinematography) while hate the rest.
And for the record the group that gave it runner-up in Worst Film, also gave it runner-up in Best Actor so even they couldn’t properly decide whether they are on the love or the hate side of it.
Phoenix Film Critics Society gave it BP. Maybe that’s got something to do with the lead’s name being Joaquin Phoenix, though. 🙂 (Just kidding…)
I’m tired of Renee and Joaquin losing the critics’ when they’re clearly (far and away in the case of Joaquin) the best of their respective fields. And Irishman’s script ain’t Goodfellas, nor did Scorsese or Tarantino do anything worthy of directing prizes for either of their films this year (sounds like Parasite, Jojo, and 1917 are the creative forces of the year). Critics are just plain biased, and that bias gets worse and worse, more and more obvious with each passing year. Still, critics hold power. They can withhold honors for someone like Glenn Close, and then her narrative becomes “she’s overdue” and not also “she’s the best.” Joaquin and Renee don’t look undeniable. Even Parasite isn’t as strong as Roma was last year simply because of the critics’ hard-ons for Marty and QT. It’s tiring. I’m sure the Academy will make its fair share of predictably biased, narrow-minded upset nominations, but many times I welcome the Oscar nominations for restoring some sort of order to the chaos. Critics-only flukes that are overrated are cast aside while certain crowdpleasers get the recognition they deserve.
Just wait ’til you get to the Hollywood awards. That’s when Joaquin and Renée will truly begin their award season sweep.
Well, hopefully. (That said, I haven’t seen most of the lead actress contenders, except for Scarjo, who deserves the nod, Lupita, who truly did something unique and would be an inspired nomination, and Awkwafina, who did a nice job in a film I loved. Charlize could wow me.) But I’m annoyed because Joaquin is clearly astounding. And because Renee in my mind NEEDS the critics’ awards to reinforce her win so she’s not cast aside as a returning winner/has-been like they usually do to older actresses. I know she already won one of the major NY or NBR awards, so she’s better off now than Glenn was last year, but still, it’s annoying. And we all know that Lupita and Awkwafina have no chance of winning. I like them both and I’m all for the top 7 or so contenders, including Alfre, who’s naturally getting the short shrift. I just want to see more critics truly awarding who and what they think are the best and not simply making political choices to influence the race / help fringe contenders.
This may be shocking to you, but it’s all subjective and it is not holy writ that Phoenix is “clearly astounding.” Clearly hundreds of film critics were more impressed by other actors’ work, as was I. I don’t even think Phoenix is good in the film, much less the best of the year and I’ve loved him in nearly everything else he’s ever done. He was given the task of trying to carry a movie with an atrocious script and terrible director and that proved to be impossible. I don’t think he’s primarily responsible for how bad it is it but find it insane that he’d receive the highest possible award for it.
It’s far more likely that critics merely liked other performances more and are in fact voting for who and what they think is best than it is there’s some conspiracy to make “political choices” to help “fringe contenders.” People just have different taste and a number of professional critics are less impressed by Phoenix’s wildly over-the-top stunt than you were.
“It’s all subjective” but my laughable is somehowe enlightened truth.
And you’re contradicting yourself by using critics awards and Joaquin not winning them as an argument. Becouse maybe he is not wiining them, but every damn regional critic award is nominating him and putting him in their top 5. I don’t know how anybody can be this bad as uou desscribing this and being in top 5 of the year for eveey american critics circle.
And your nad their precious Driver was way more over the top and cringeworthy overacting in key scene of Marriage Story.
not to spoil but the first of those was the Hollywood Film Awards and Banderas won it. 😉
Well that’s different because it’s not a pick from 5 nominees winner situation. It’s like the critics awards where they just pick one. Last year Glenn Close and Rachel Weisz won at the Hollywood Film Awards and they didn’t win the Oscars, and Hugh Jackman and Timothee Chalamet also won and weren’t even nominated at the Oscars. Also, back in 2014 Benedict Cumberbatch, Reese Witherspoon, Robert Duvall, and Keira Knightley all won there and while they all got nominated, they all lost the Oscar. Serious Oscar contenders don’t emerge until the Golden Globes announce their winners.
still, they got the ball rolling. Some campaigns catch fire, and some don’t. Banderas (out of the essential) only missed a SAG nom, so far. It is crucial, though. But he is won the two biggest critics and is nominated for Globe, Critics Choice and Satellite, in addition to his EFA win which can only help for a BAFTA nom.
Oh don’t get me wrong, I think Antonio Banderas is definitely getting the Oscar nom. There’s enough passion behind his performance for him to get the nom, I just don’t think he’s winning at all. My bold predictions is the Oscar Best Actor lineup is the same as SAG except Banderas replaces Taron Egerton (even though I love him and his performance).
And then I saw Joker today for the first time since opening Friday last October. And I honestly don’t see how anyone can overtake Joaquin Phoenix based on the showiness (which the actors tend to prefer) and degree of difficulty of his role (physical transformation, 50+ pound weight loss, playing a mentally ill person convincingly).
despite what I wrote, at this point I think Banderas is missing the nom for the Oscar. But also, I still think, that if he gets it, he is the dark horse for the win.
The SAG snub was kind of the death nail in terms of any chance for Banderas to win it. Regina King was only able to overcome it because the screeners for Beale Street didn’t go out in time, so that snub was a fluke. Pain and Glory has been around for awhile, so they saw it and intentionally left him off. The Best Actor race is and always was between Joaquin Phoenix and Adam Driver, but I just don’t see how Phoenix loses this.
You win the internet for the day!
Lol why
Because of what you said about Phoenix and Zellweger. I do think the Oscars will take the safe route and go with Driver, but the engraver is already up to the second “L” on Renee’s trophy. As for QT and Scorsese, let the critics Boyhood them to death. Oscar voters will see it differently. No one under 40 and no woman will vote for Old Fellas, and Hollywood is just so wafer thin that no one will take it seriously. Those TV spots for the DVD only remind people how inconsequential it really is.
Well, then I am fine with any alternative. Jojo? Looks better to me. Parasite? Looks like the best, and history deserves to be made. 1917? Looks cinematically the strongest. Marriage Story? Jesus, wouldn’t be my first pick in any year, but it’s starting to look better with each passing day, just for being a solid, smart film. Ugh, don’t want Adam to beat Joaquin though for such an unspectacular role, until the last scene. On the other hand, I’m nervous Renee will be publicly Glenn Closed, though I never think Charlize is unworthy.
while Joaquin Phoenix’s performance is extremely good… like, really, difficulty wise, it was an easy one for an extraordinary actor as he is. I will mantain (and I am not alone on that) that Antonio Banderas’ in Pain and Glory is way more challenging and forcing the actor to limit the resources into a master’s level, expressing everying with glances, little gestures, subtlely portraying an iteration of the persona of the director who has written and is directing you. Driver’s performance, in that sense, may come close to Banderas (a similar challenge) but with the difference that Driver is allowed to go into Oscar clip territory and Noah Baumbach’s persona IS NOT as well known in gestures and appearance as Almodovar, who has one of the most iconic looks of any director at work today, anywhere.
I haven’t seen Antonio yet but think he looks worthy of a nomination. Just saw Bale and am on board with a nom though it’s not undeniable. I liked Leo even though I didn’t like the film. Everyone in Marriage Story is good, but it’s sort of in A Star Is Born territory where no one is stretching themselves and Driver plays these roles all the time, even though the song was emotionally affecting. I agree Joker was less of a stretch or a challenge for Joaquin than it would’ve been for arguably anyone else, because he’s given crazy performances before. Still I was blown away. It doesn’t seem like anyone in the category comes close.
no one sane would deny Joaquin is great and award worthy for Joker. But I am surprised people that knows how difficult, acting can be, are skipping Banderas, who is really, on another level in that film. I was not that much surprised, that Time gave him Performance of the Year over everyone else.
That’s fine, I’m sure I will continue to predict him over at least De Niro, Murphy, Pryce (seems dead unless BAFTA revives), and Egerton (uncanny resemblance and nice singing but boring film and he lacks charisma). I’ll add now I don’t know what to make of Adam Sandler without seeing the film. I am open to anyone surprising me.
Jonathan Majors in Last Black Man in San Francisco
Adam Driver in Marriage Story
Andre Holland in High Flying Bird
Adam Sandler in Uncut Gems
Robert DeNiro in The Irishman
Ray Romano in Paddleton
Leonardo DiCaprio in Once Upon a Time in Hollywood
Kelvin Harrison Jr. in Luce & Waves
George MacKay in 1917
Andrew Garfield in Under the Silver Lake
Aaron Paul in El Camino
Antonio Banderas in Pain and Glory
Eddie Murphy in Dolemite is My Name
Matt Damon in Ford V Ferrari
Casey Affleck in Light of My Life
Franz Rogowski in Transit
August Diehl in A Hidden Life
Jonathan Pryce in The Two Popes
Matthias Schoenaerts in The Mustang
hell, even Zac Efron in Extremely Wicked, Shockingly Evil, and Vile and Ed Norton doing a similarly schticky bit in Motherless Brooklyn to much better effect.
There I just named 21 actors and 22 performances in the same field that are better than Phoenix.
Phoenix is if not the very best actor of his generation, certainly in the top 3 or so. He should have won Best Actor two years in a row for The Master and Her and deserved nominations for Inherent Vice, Walk the Line, and Return to Paradise. He is reliably excellent and Joker is on a very short list with Gladiator and U-Turn of exceptions, it’s probably his worst performance.
Todd Phillips is a terrible director and cretin of a human being who made a dull mess of a film that demanded nothing but tic-heavy, aimless, silly bullshit sans an emotional through line and wasted Phoenix’s massive talent (along with De Niro’s, Zazie Beetz’s, everyone but Bryan Tyree Henry who managed to come out unscathed in the film’s sole good scene). Phoenix deserves Oscars but should be nowhere near a nomination for lowering himself to the godawful nonsense that was Joker.
That is just your opinion and it’s fucking stupid one. Becouse you are saying some stupid shit, it doesn’t make it anymore near being a fact as morones saying Earth is flat.
Having seen De Niro, nahhhhh
no one sane would deny Joaquin is great and award worthy for Joker.
I guess I’m insane. *shrugs*
^ This.
Zellweger and Phoenix are both very, far from being “clearly” the best in their respective films, particularly as neither gives that good a performance
Most disagree
Here, sipping coffee, waiting for Cahiers du Cinema to give an actual BEST of the year list. That is a good guide, they went for films like Stranger by the Lake and Spring Breakers when almost no one was noticing them in the USA.
My 2 cents on Tarantino and Baumbach’s latest are well known by now… I find this QT sweep quite distressing and heartbreaking. Just for example (and if anyone is curious) of my (different) take on what a great film is, my “Best of the year” since 1970 (yeah, you will find I chose some odd films over the year’s sweepers, many times). Bolded, extremely solid number ones.
2019 – Pain and Glory (so far)
2018 – The Death of Stalin (almost a tie with The House that Jack Built)
2017 – Colossal
2016 – Moonlight
2015 – Mad Max: Fury Road
2014 – triple tie – Stranger by the Lake / Snowpiercer / The LEGO Movie
2013 – The Wolf of Wall Street
2012 – Life of Pi
2011 – The Tree of Life
2010 – The King’s Speech
2009 – In the Loop
2008 – The Dark Knight
2007 – Hairspray
2006 – Borat: or cultural learnings from America to benefit glorious people of Kazakhstan
2005 – Brokeback Mountain
2004 – Hero (Zhang Yimou)
2003 – Lost in Translation
2002 – Bowling for Columbine
2001 – Hedwig and the Angry Inch
2000 – Requiem for a Dream
1999 – Fight Club
1998 – El Milagro de P. Tinto
1997 – Chasing Amy
1996 – Trainspotting
1995 – Babe
1994 – Pulp Fiction
1993 – The Piano
1992 – Unforgiven
1991 – JFK
1990 – The Godfather, Part III
1989 – Do the Right Thing
1988 – Women on the Verge of a Nervous Breakdown
1987 – Good Morning, Vietnam
1986 – Little Shop of Horrors
1985 – The Color Purple
1984 – Amadeus
1983 – Monty Python’s The Meaning of Life
1982 – John Carpenter’s The Thing
1981 – Raiders of the lost Ark
1980 – Airplane!
1979 – Apocalypse Now
1978 – The Deer Hunter
1977 – Annie Hall
1976 – Network
1975 – Dersu Uzala
1974 – Day for Night
1973 – The Exorcist
1972 – Cabaret
1971 – A Clockwork Orange
1970 – M*A*S*H
Only directors to score a #1 spot on my yearly list, twice:
(So far) Pedro Almodóvar is close to achieve that, Women on the Verge of a Nervous Breakdown (1988) and Pain and Glory (2019). Came pretty close with What have I done to deserve this? (1984), Law of Desire (1987), All about my mother (1999), Talk to Her (2002) and The Skin I live in (2011).
Francis Ford Coppola: Apocalypse Now (1979) and The Godfather, Part III (1990). Came really close to that also, with The Godfather (1972) and The Godfather, Part II (1974)
Steven Spielberg: Raiders of the Lost Ark (1981) and The Color Purple (1985). Came really close with Jaws (1975), Close Encounters of the Third Kind (1977), Schindler’s List (1993) and Lincoln (2012)
Ang Lee: Brokeback Mountain (2005) and Life of Pi (2012). Came really close with The Wedding Banquet (1993), The Ice Storm (1997)
Armando Iannucci: In the Loop (2009) and The Death of Stalin (2018), so he is so far, 2 for 2. I am completely excited for his third theatrical release, The Personal History of David Copperfield, obviously.
Worth noting… Babe (1995) was directed by Chris Noonan but written and produced by George Miller, who also directed my 2015’s winner, Mad Max: Fury Road and also came close to another number one with Happy Feet (2006).
Directors that came pretty close to score a #1 more than once but never did…
Coen Brothers (O Brother where art thou, The Big Lebowsky and No Country for Old Men)
Guillermo del Toro (The Devil’s Backbone and Pan’s Labyrinth)
James Cameron (Aliens and Terminator 2: Judgement Day)
Nanni Moretti (Caro Diario and Habemus Papam)
Brad Bird (The Incredibles, Ratatouile, The Iron Giant)
Wes Anderson (Fantastic Mr. Fox, Grand Budapest Hotel)
Ridley Scott (Alien, Blade Runner)
I am pretty sure I am forgetting some…
One hit wonders (scored a number 1, but never came even close to that, again):
Chris Noonan (Babe)
Michael Moore (Bowling for Columbine)
Borat (Larry Charles)
Hairspray (Adam Shankman)
Moonlight (Barry Jenkins – I haven’t seen If Beale Street could talk yet… I am certain it is a great film, but did not manage just yet)
Are Cahiers even releasing a top 10 this year? Usually they do it much sooner and in that slot they released their top of the decade (which I’ll repost here in case someone didn’t see it:
1. Twin Peaks: The Return
2. Holy Motors
3. P’tit Quinquin
4. Uncle Boonmee Who Can Recall His Past Lives
5. Le livre d’image
6. Toni Erdmann
7. Mia madre
8. Melancholia
9. Under the Skin
10. The Strange Case of Angelica
)
Also, I enjoy listing stuff like the best of the year so I’ll list my choices as well since 1970 (year based on stated US release date on IMDB unless this release date is over three years after the world premiere, at which point the world premiere year becomes the eligibility year once again) (edited to go into the 40s due to how impressed I was by Christophe going all the way to the 20s, original list cutoff at 1970):
2019: A Hidden Life or Portrait of a Lady on Fire
2018: Burning (runner-up: If Beale Street Could Talk)
2017: Twin Peaks: The Return (runner-up: Call Me by Your Name)
2016: Moonlight (runner-up: Silence)
2015: Carol (runner-up: Mad Max: Fury Road)
2014: Inherent Vice (runner-up: The Double)
2013: The Grandmaster (runner-up: The Wind Rises)
2012: The Master (runner-up: Holy Motors)
2011: The Tree of Life (runner-up: Tinker Tailor Soldier Spy)
2010: The Social Network (runner-up: The Illusionist)
2009: Ponyo (runner-up: Fantastic Mr. Fox)
2008: Hunger (runner-up: Synecdoche, New York)
2007: I’m Not There. (runner-up: Zodiac)
2006: Marie Antoinette (runner-up: Three Times)
2005: 2046 (runner-up: Brokeback Mountain)
2004: Eternal Sunshine of the Spotless Mind (runner-up: The Aviator)
2003: The Lord of the Rings (runner-up: Lost in Translation)
2002: Spirited Away (runner-up: Catch Me if You Can)
2001: Mulholland Dr. (runner-up: In the Mood for Love)
2000: Dancer in the Dark (runner-up: Crouching Tiger, Hidden Dragon)
1999: Magnolia (runner-up: Eyes Wide Shut)
1998: The Thin Red Line (runner-up: Velvet Goldmine)
1997: Happy Together (runner-up: Lost Highway)
1996: Chungking Express (runner-up: Fargo)
1995: Before Sunrise (runner-up: Safe)
1994: The Three Colors (runner-up: Porco rosso)
1993: A Brighter Summer Day (runner-up: The Remains of the Day)
1992: Twin Peaks: Fire Walk with Me (runner-up: Malcolm X)
1991: Barton Fink (runner-up: Lovers on the Bridge)
1990: My Neighbor Totoro (runner-up: Kiki’s Delivery Service)
1989: Do the Right Thing (runner-up: Dead Poets Society)
1988: Wings of Desire (runner-up: The Last Temptation of Christ)
1987: Broadcast News (runner-up: Au revoir les enfants)
1986: Blue Velvet (runner-up: Mauvais sang)
1985: Ran (runner-up: Mishima: A Life in Four Chapters)
1984: Amadeus (runner-up: Paris, Texas)
1983: Fanny and Alexander (the longer version) (runner-up: The Right Stuff)
1982: Stalker (runner-up: Une chambre en ville)
1981: Raiders of the Lost Ark (runner-up: Reds)
1980: Raging Bull (runner-up: The Elephant Man)
1979: All That Jazz (runner-up: Apocalypse Now)
1978: Days of Heaven (runner-up: The Deer Hunter)
1977: Eraserhead (runner-up: Annie Hall)
1976: Taxi Driver (runner-up: Duelle (une quarantine))
1975: Nashville (runner-up: Barry Lyndon)
1974: Céline and Julie Go Boating (runner-up: The Godfather Part II)
1973: Mean Streets (runner-up: The Last Detail)
1972: Cabaret (runner-up: The Godfather)
1971: Out 1, noli me tangere (runner-up: McCabe and Mrs. Miller)
1970: The Conformist (runner-up: Donkey Skin)
1969: Chronicle of Anna Magdalena Bach (runner-up: Once Upon a Time in the West)
1968: 2001: A Space Odyssey (runner-up The Young Girls of Rochefort)
1967: Persona (runner-up: Chimes at Midnight)
1966: Au hasard Balthasar (runner-up: Le bonheur)
1965: Pierrot le fou (by the way, my username here is lifted directly from this movie) (runner-up: Woman in the Dunes)
1964: The Umbrellas of Cherbourg (runner-up: Dr. Strangelove or How I Learned to Stop Worrying and Love the Bomb)
1963: Vivre sa vie (runner-up: 8 1/2)
1962: Last year at Marienbad (runner-up: Cléo from 5 to 7)
1961: Rocco and His Brothers (runner-up: La dolce vita)
1960: The Apartment (runner-up: Hiroshima, mon amour)
1959: The 400 Blows (runner-up: Pickpocket)
1958: Vertigo (runner-up: Touch of Evil)
1957: Throne of Blood (runner-up: A Man Escaped)
1956: The Red Balloon (runner-up: The Wrong Man)
1955: Rebel without a Cause (runner-up: Lola Montes)
1954: Diary of a Country Priest (runner-up: Ugetsu)
1953: Tokyo Story (runner-up: The Band Wagon)
1952: Singin’ in the Rain (runner-up: The Life of Oharu)
1951: Strangers on a Train (runner-up: Othello)
1950: Sunset Boulevard (runner-up: Orpheus)
1949: Late Spring (runner-up: The Third Man)
1948: The Red Shoes (runner-up: The Treasure of the Sierra Madre)
1947: L’atalante (runner-up: Beauty and the Beast)
1946: Notorious (runner-up: Rome, Open City)
1945: The Lost Weekend (runner-up: Brief Encounter)
1944: Double Indemnity (runner-up: Meet Me in St. Louis)
1943: Casablanca (runner-up: I Walked with a Zombie)
1942: The Magnificent Ambersons (runner-up: Mrs. Miniver)
1941: Citizen Kane (runner-up: The Maltese Falcon)
1940: La bête humaine (runner-up: The Philadelphia Story)
Nice list. Have you been rating films since 1970 or are these retrospective choices based on films you saw years later?
These are retrospective choices (I wasn’t alive for most of these years)
Au Revoir Les Enfants another beautiful choice
I chose 1970 as the limit, as that is the year I was born
Then cut it from 1999 for my list
Ah, there you go – I remembered it right.
The only film you and I coincide on are Broadcast News. The Elephant Man is one of my all time 10 favourite movies
Good to see another Dancer in the Dark stan.
I find it really frustrating that I love Von Trier’s films I’ve seen as much as I do. Even in the moments when his films in theory feel like they’re only self-centered and pretentious garbage (which are plenty), somehow in every situation the incredible form of the films digs an emotional, profund meaning out of the pretentiousness
7 times we chose the same best film of the year.
They will. On january, same time as the readers.
Since you mention “Vivre sa vie”… sad news about Anna Karina, she´ll be missed.
She was one of the greats. At least we’ll always have Vivre sa vie and her other films
I’m not compiling a list of my own because I feel like I still have gaps that are too important, things I should’ve seen by now and haven’t (like Magnolia or Mulholland Dr. – just two examples that randomly come to mind), plus, of course, I’ve not seen much from the very early years, let’s say pre-1950! You’re much younger than me (unless I’m mistaken), yet you’ve already seen a lot more of the essential stuff – and much, much besides… 🙂 Which is to be applauded, to say the least…
Anyway, I love these picks the most (of course, I haven’t seen a lot of your picks, especially pre-2010, when I slowly started watching more and more stuff, post 90’s T.V. viewings and a cool-off in the 2000’s):
2003: The Lord of the Rings (runner-up: Lost in Translation) [So, you liked 3 more than 1 & 2? I like it the least, although all three are TREMENDOUS; Capturing the Friedmans makes my top 2 if documentaries are taken into consideration. Otherwise, these are my 1 and 2 as well, in the same order – something which will not be repeated, it turns out!]
1993: … (runner-up: The Remains of the Day) [It’s that for me as well. I LOVE it! Not seen your winner.]
1989: … (runner-up: Dead Poets Society) [Winner for me! Not that into Do the Right Thing.]
1984: Amadeus [STILL haven’t seen the runner-up… 🙂 It’s on some list of things to watch soon, but I don’t get to go through those as much these days, due to lack of time.]
1980: Raging Bull (runner-up: The Elephant Man) [Other way around for me. I’ve come around to Raging Bull, with rewatches – I used to prefer Ordinary People.]
1979: … (runner-up: Apocalypse Now) [Same for me – but second to Alien. All That Jazz was good but I didn’t love it.]
1978: … (runner-up: The Deer Hunter) [Wins for me. Not yet seen your winner.]
1976: Taxi Driver [Second to ATPM, for me.]
1974: … (runner-up: The Godfather Part II) [Easy winner for me. Again haven’t seen your first place.]
1972: Cabaret (runner-up: The Godfather) [Still the other way around for me, probably, but one of the toughest decisions ever.]
1968: 2001: A Space Odyssey [Funny Girl is the one I’ve fallen in love with, but this is basically tied for second with The Lion in Winter.]
1964: … (runner-up: Dr. Strangelove or How I Learned to Stop Worrying and Love the Bomb) [Wins for me – MAYBE tied with My Fair Lady, which I do love; Becket is close too… Your winner I liked but again didn’t love.]
1960: The Apartment [Same. Easily. Your runner-up is one of my bigger gaps…]
1955: Rebel without a Cause [Second to, actually, East of Eden. 🙂 Although it’s not CLEAR that’s how I rank the two. But probably, for now. Your runner-up I’ve not seen.]
1952: Singin’ in the Rain [Definitely. Runner-up not seen.]
1950: Sunset Boulevard [Probably like Harvey a bit more – but it’s very close; not seen the runner-up, yet again…]
1948: The Red Shoes (runner-up: The Treasure of the Sierra Madre) [Your runner-up is my winner; your number one, which is also outstanding, is my #4 so far – great year, if you ask me…]
1945: The Lost Weekend (runner-up: Brief Encounter) [SO close to a perfect match! I do like Mildred Pierce a bit more than Brief Encounter – 2nd and 3rd.]
1943: Casablanca [Not seen more than 3-4 movies from that year, but this would probably still be first if I had – even if I’m not as big a fan of it as others; but it’s just undeniably awesome… Not seen the runner-up.]
1942: The Magnificent Ambersons [Brilliant movie, easy #1 so far! Did not like Mrs. Miniver very much…]
1941: Citizen Kane (runner-up: The Maltese Falcon) [Both fantastic, and Citizen Kane has grown on me, in time, but I still don’t rank these in the top 2, even having seen very little – I like both How Green Was My Valley and The Little Foxes more.]
About The Lord of the Rings, I like to name them all as a 2003 film and that’s what that pick is. Love them all but I’d probably rank the individual parts like this:
1. The Fellowship of the Ring
2. The Return of the King
3. The Two Towers
Ah – that makes even more sense!
That’s probably the correct, closest-to-objectivity ranking, by the way, and it was mine as well for many years. But at some point I realized The Two Towers was pretty clearly the one that held the most power of them all, for me (even though it pretty clearly also has the most and clearest imperfections), so now I have that in first place. 🙂
Also, by the way, I just watched The Farewell and it’s absolutely wonderful. Perhaps not one of my ten or even twenty favorites of the year but I can see why you love it so much and it’s really a stunning film
Sweet! 🙂 Yeah, I’m fixin’ to rewatch it soon, with my mom. Love the holidays!
“it’s absolutely wonderful. Perhaps not one of my ten or even twenty favorites of the year but I can see why you love it so much”
Damn! You have at least 10-15 movies you like as much or more than The Farewell?! I envy you…
My favorite thing about it is the score. It might end up my favorite of the whole year. The acting, obviously, is tremendous (by ALL, pretty much), the screenplay is great, the direction seems to me very precise and effective, etc.
I coincide with you just twice. I’ve been rating movies and favourites since 1977. Our two in common are Life of Pi and The Piano.
Cahiers’ list will be published this January. For the moment they’ve only published the top of the decade. Anyway, this looks fun!
2019. Bacurau
2018. La flor
2017. Let the sun shine in
2016. Elle
2015. Mistress America
2014. Maps to the stars
2013. Under the skin
2012. Holy motors
2011. Drive
2010. Le quattro volte
2009. Up
2008. Wendy & Lucy
2007. 4 months, 3 weeks, 2 days
2006. Inland empire
2005. Caché
2004 / 2003. Kill Bill
2002. Gerry
2001. Mulholland Dr.
2000. Cecil B. Demented
1999. The straight story
1998. Eternity and a day
1997. Tren de sombras
1996. Scream
1995. Showgirls (Yes, you read it right)
1994. Three colours: Red
1993. Caro diario
1992. Bitter moon
1991. The silence of the lambs
1990. Kurosawa’s dreams
1989. Santa sangre
1988. Cavalier’s portraits
1987. Full-metal jacket
1986. The green ray
1985. After hours
1984. Once upon a time in America
1983. Nostalgia
1982. Koyaanisqatsi
1981. Mur murs
1980. Heaven’s gate
1979. Alien
1978. The deer hunter
1977. Suspiria
1976. Carrie
1975. Barry Lyndon
1974. Bring me the head of Alfredo Garcia
1973. Amarcord
1972. Sleuth
1971. Harold & Maude
1970. Husbands
1969. Sayat Nova
1968. Teorema
1967. I am curious
1966. Andrei Rublev
1965. Doctor Zhivago
1964. The gospel according to St. Matthew
1963. Winter light
1962. La jetée
1961. Last year at Marienbad
1960. Psycho
1959. Floating weeds
1958. Vertigo
1957. Nights of Cabiria
1956. A man escaped
1955. Ordet
1954. Rear window
1953. Welcome, Mr. Marshall !
1952. Singing in the rain
1951. Summer interlude
1950. Rashomon
“2009. Up”
Same.
I thought The Death of Stalin was incredible and had it in my top 10, and Veep is one of the best TV shows ever made, so I was very surprised that I didn’t care for The Personal History of David Copperfield at all. Gotta check out In The Loop.
Okay, but these lists are always unsettled, at least for me:
2019: Once upon a time… in Hollywood
2018: Cold War
2017: Call me by your name
2016: The happiest day in the life of Olli Mäki
2015: The Look of Silence
2014: Ida
2013: Frances Ha
2012: Barbara (Director: Christian Petzold)
2011: The Artist
2010: The Social Network
2009: Un prophète
2008: Man on Wire
2007: The Diving Bell and the Butterfly
2006: Pan´s Labyrinth
2005: A History of Violence
2004: Motorcycle Diaries
2003: The Barbarian Invasion
2002: The Pianist
2001: The Royal Tenenbaums
2000: In the Mood for Love
1999: Being John Malkovich
1998: The Thin Red Line
1997: L.A. Confidential
1996: Box of Moonlight
1995: Before Sunrise
1994: Pulp Fiction
1993: Schindler´s List
1992: The Player
1991: The Silence of the Lambs
1990: Goodfellas
1989: Drugstore Cowboy
1988: Komissar (Alexander Askoldow)
The rest is in progress…
Oh what a challenging exercise that was and i think i have to share.
I’ ll go from 2010 until 1966.
Feel i will let the last decade sink in and then i guess i’m not really qualified for a dignified list b4 ’66.
(with runners up when needed…)
2010- Black Swan (Blue Valentine)
2009-The Road (Madeo)
2008- Lat Den Ratte Komma in( Wall E)
2007- Atonement (Into the Wild)
2006-Pan’s Labyrinth
2005-Munich (Match Point/ Grizzly man)
2004-Eternal sunshine of the spotless mind
2003-Old Boy(Kill Bill vol1)
2002-Irreversible(the Pianist)
2001-Moulin Rouge (A.I.)
2000-Requiem for a dream
1999-Eyes wide shut(Fight Club/ Sixth sense/ Talented Mr. Ripley/ Insider)
1998-Big Lebowski (Truman Show)
1997-Boogie Nights
1996-Trainspotting
1995-Apollo 13( Seven)
1994-Pulp Fiction (Hoop dreams)
1993-The Piano(Schindler’s list)
1992-Dracula
1991-Silence of the Lambs
1990-Good fellas
1989-When Harry me Sally( Do the right thing)
1988-Dead Ringers( Cinema Paradiso)
1987-Wings of Desire (The last emperor)
1986-Stand by me (Platoon)
1985-Ran (Idi i smotri)
1984-Paris, Texas
1983-Scarface (The right stuff)
1982-Bladerunner (Fitzcarraldo/ E.T./ Fanny and Alexander)
1981-Raiders of the lost ark
1980-Raging Bull(The shining)
1979-All that Jazz(Apocalypse now/ Alien/ Stalker/Nosferatu)
1978-The Deer Hunter (Midnight Express)
1977-Star Wars
1976-Taxi Driver (All the presidents’ men)
1975-The Mirror (One flew over the cuckoo’s nest)
1974-Godfather 2(Scenes from a marriage)
1973- The Exorcist (The holy mountain)
1972-Aguirre (Godfather/ Cabaret)
1971-Morte a Venezia
1970-El Topo
1969-Midnight Cowboy( Z)
1968-2001 a space odyssey (Rosemary’s Baby)
1967-The graduate (In cold blood)
1966-Andrey Rublev (Un homme et une femme).
ta ta
“1992-Dracula”
So underrated!…
“1997 – Chasing Amy”
Nice!… (Love that movie! Not my #1 for 1997 but close enough.)
I obviously agree with other stuff too.
Kevin Smith is a soooo underrated filmmaker (his strenght is the screenplay, obviously, but I also think he is pretty good with actors) that takes soooo many risks (even if they do not always pay off). My fave KS are Clerks, Chasing Amy, Clerks 2 and the amazing Red State.
Haven’t seen Red State yet.
I remember quite liking Mallrats, which I think is considered one of his worst. But, anyway, although I’ve liked everything of his I’ve seen, Chasing Amy is by far my favorite. It’s just different class… (The original Clerks in second place. Clerks 2 is also quite good.)
Red State has enormous, hairy balls. It is really a daredevil film, and to my taste, it completely succeeds.
OUATIH keeps on winning one of the top two prizes in most of the critics precursors, not to mention, the nods it has received at the guilds. It sure is the top contender for the Oscars. But what would break its momentum? I say if when it starts to lose on the televised awards and guilds. I could just hope for Robbie to be getting the same awards attention for her performance in the film.
What would break its momentum? Ooh, I know, I know, and so does Karen Smith. When voters realize they’d be voting for a bloated, overindulgent example of arrested adolescence.
https://uploads.disquscdn.com/images/b35275a46e979562599789dcfdf8d5d4324a56dc49244a31fbf74bf8e84e2213.gif
Omg thank you yes
I thought the reason will be because the filmmaker was a high school drop out.
No, that was in comparison to Cormac McCarthy. Keep up!
Okay, so I thought I’ve been paying attention to any group that has been giving “awards” and I don’t recall Phoenix winning one yet. Meanwhile, Driver and Sandler have been. Anyone care to tally them all up? I don’t see how Phoenix is the frontrunner although he’s my choice for Best Actor.
Be really careful conflating critic wins with frontrunner status. Critics are not the academy and there are times when there is an obvious frontrunner despite the fact that critics are crowding around someone else. An obvious example was Gary Oldman – everyone knew he was winning despite the fact that he won very few critics awards as they were all going to Timmy.
This can’t be emphasised enough. This first phase, the critics groups phase, usually only helps with securing the Oscar nomination and even with a sweep here, there are no guarantees (Hawke last year, Brooks for Drive in Supporting and the list goes on, none made the cut at the Oscars).
So while winning a few or even a lot of awards in this phase definitely helps with being perceived as a strong contender (or at least stronger than previously given credit for), we should all proceed carefully from here on out and not read too much into anything that happens before the guilds start announcing their winners.
Phoenix got Best Actor from the New York Online critics and from the San Diego critics in a tie with Driver. I am predicting him for the Oscar win but I never thought he would register in this phase, I could see him sweep the big ones or at least two of the 4 (SAG, Bafta, Golden Globe, Critics Choice).
The regional critics groups were never going to go for Joaquin Phoenix. Just like they would’ve never gone for Rami Malek. But then the industry spoke and rejected the critics opinions.
In malek’s case I believe he won because he campaigned HARD as f***. One of the dirtiest campagins in Oscar history
Can you elaborate? I kind of switched off on the race early last year and wasn’t following what was happening but I haven’t heard about this dirty campaign.
He’s just talking out of his ass IMO, no offense. Malek campaigned a lot like JLaw or Emma Stone would, and it helped he’d never won and was the new it boy in a really appealing, successful film with a transformative performance. The director story also made him more sympathetic and award-worthy in voters’ minds. Bradley might’ve had a better chance than Bale for Veep (as brilliant as Bale always is), but the critics and BFCA anointing Bale as the main rival didn’t prove much of a challenge for Rami in the end.
I don’t think it was dirty but it was definitely relentless campaigning. Positively Redmaynesque.
Also weaker competition.
To help you with this confusion just keep repeating “Roma, Roma, Roma…”
Phoenix won NYFCO.
95% of the time they predict right actor or actress. Lupita has no chance of winning so… You do the math
That makes it 20 critics groups to date this season. Brad Pitt won 13, he seems to be the only one with proper consensus (50% or more) at this stage. Lupita Nyong’O (11), Parasite in BP (10) and Adam Driver (10) are close behind.
https://uploads.disquscdn.com/images/31048fe34e4b2bd82e8f8504e2e5905c628e281d58ca79dfb79d16d99386e039.png
Well, Laura Dern, with 7 trophies confirm her status as early frontrunner and looks like a consensus too. Lopez has 3 and Robbie 2. So, Dern has more than the double of the runner up.
True but with only 35 % of the wins so far, it isn’t exactly a sweep. I still think – and hope – she will win the Oscar and she is definitely the early frontrunner but the consensus so far doesn’t seem to be as obvious in her category as in a few others. I mean Pitt has 65 % now that I consider a sweep / consensus.
P.S. Florence Pugh has 3 wins, as well.
Phantom, thank you SO MUCH for this chart. Is this online somewhere being tracked real-time? I started coming to this site to see the regional critics awards roll-in, but for some reason Sasha has stopped reporting on them altogether with a few exceptions. Is this being updated live somewhere, and if not, is there a website that is tracking regional critics awards in a similar fashion?
You’re welcome. I’m doing the chart myself, it is no trouble nor time commitment, really, have been doing them for a decade now (I started in 2010 in The King’s Speech / The Social Network year), and while I don’t really share it anywhere else, I do post the updated versions here in the comments section every few days.
Awesome chart! Thanks for this.
notice how the two biggest critic groups (in importance, LAFCA and NYFCC) went for Banderas… it is important because in those cities they pay more attention to foreign films and also the winner is then, polled from a larger scope of candidates. That is why I still insist, Banderas can actually win in the end, but he is a longshot right now, and will need not only the nomination, but also to score either (or both) Globes and BAFTA.
Problem there is that while Banderas, without doubt, won the two most prestigious Best Actor awards from critics groups (NYFCC + LAFCA) on top of the most prestigious Best Actor award from a film festival (Cannes), when it comes to going all the way unfortunately two unfair factors come into play : timing and perception.
And the trouble is that Banderas won those three very prestigious awards early and will be probably overshadowed by the SAG winner in the end, and perception-wise right now all the buzz from critics groups seems to be around field leader Driver (10 wins) and semi-surprise contender Sandler (5 wins).
The SAG snub puts Banderas in a position where not even his Oscar nomination seems secure anymore let alone his win. Having said that I’ve been predicting him for the nod since the start and I refuse to take him out of my top5 just yet. But he will need to make a big splash and he will need to make it soon : a win at either the Golden Globes or Bafta. And for the record if he doesn’t make the Bafta lineup, I think, outrageously enough, he will be snubbed by the Academy, too. The Bafta snub in itself wouldn’t influence Oscar voters since those nominations will be announced only a few hours before Oscar voting closes but it would nonetheless suggest that if Banderas doesn’t have the support of the British block, either, after not having the support of Actors (SAG snub), then he may not have as much industry support in the end as we thought. And as much as he most certainly, thoroughly deserves.
What a nice job
Wow Joaquin is getting trounced by Driver and Sandler. Why do people still think he’s a frontrunner.
Because he was never really expected to sweep in this first phase however he still easily can in the Oscar-wise more crucial second phase : SAG, Bafta, Golden Globe, Critics Choice.
And I say this as someone who while considered his performance brilliant, was not keen on his film. At all.
Do you think parasite can win ?
Could it be the first ever film in a foreign language to win Best Picture ? Technically speaking the answer is yes, I do think that could happen. Roma came close last year and Parasite is even better positioned than that film was since unlike Roma, Parasite has
– solid Box Office (120M worldwide on an 11M budget)
– an acclaimed director who has never been recognised by the Academy before (Cuaron had already won big once pre-Roma)
– massive support from the biggest Academy branch, the Actors (SAG Ensemble nod).
Having said that I’m not predicting it to go all the way, not yet anyway. I currently have it at #3 behind OUATIH and The Irishman in that order. It could get past those two but right now I wouldn’t count on it. And to be fair that top3 isn’t set in stone, either, I’m still not ruling out a last minute 1917 surge especially if the British block (Oscar / Bafta voters) embrace it in a big way (writing / acting nominations on top of the expected BP+BD nods).
Man he already won. Some people who know SAG voters told me their ballots. Phoenix has a LARGE advantage over all others.
That doesn’t surprise me at all! Joaquin Phoenix gives the actor’s actor performance that they go crazy for!
I have been saying for long. Phoenix has the role any actor wants. Banderas has the role every actor fears to land.
Very interesting analysis
Because critics awards mean absolutely nothing! None of these people vote at the Oscars. Remember two years ago when Timothee Chalamet, Sally Hawkins, Willem Dafoe, and Laurie Metcalf dominated the critics awards and then they all lost that momentum when it came to the “industry” awards? Yep. That’s why Joaquin Phoenix will start his march towards Oscar by winning the Golden Globe.
To be fair none of the Golden Globe members vote for the Oscars, either (actually I think 1 out of 90 does) so Phoenix will need to win SAG and / or Bafta, too, to be perceived as the frontrunner, after all those are the proper industry awards with Oscar overlap.
Of course. But the Golden Globes are considered a “Hollywood” organization. And of course, he’ll need to take SAG and BAFTA too.
Either SAG or Bafta will do. I expect him to win the Oscar but I don’t expect him to win Bafta, that will probably go to one of the very deserving European contenders (Banderas, Pryce, Egerton, MacKay). He is only in trouble if he fails to win SAG, until then he is fine with or without critics groups.
No the BAFTAs usually go with who’s been winning the previous precursors. Like last year they picked Mahershala Ali over their hometown favorite Richard E. Grant. And then the year before, they also picked Frances McDormand over Sally Hawkins and Allison Janney over Lesley Manville.
I wouldn’t be so sure this time around. Pryce is a beloved British veteran who has never won a Bafta before; Egerton will have British national treasure Elton John campaigning for him hard; MacKay could be in the film Bafta voters will embrace a whole lot more than any other group and Banderas is a European film icon who is arguably delivering his best performance to date.
Not saying Phoenix won’t win, I’m saying it won’t be as easy of a win as it may look at first glance.
Well let’s break down the names you mentioned. Jonathan Pryce has so far only made the Globes, he was shut out at Critics Choice and SAG. So overall I don’t think he’s a threat in this race at all. I love Taron Egerton, and his performance is amazing! However, I think he’ll be the Emily Blunt “Mary Poppins Returns” of this year and BAFTA will be where he’ll be shut out and then not get the Oscar nomination. It’s just too competitive for him to come out on top in my opinion. George McKay is a relative newcomer, and hasn’t gotten any love so far from any group so I have a difficult time seeing him win BAFTA. Finally, Antonio Banderas was snubbed at SAG, and that’s not because Pain and Glory was a late release, it was a pretty early release as a matter of fact, and they chose to leave him off. Also, his performance is WAY too subtle to come out on top when these Academy members especially actors much prefer showier roles.
My reasoning was for Bafta. I don’t think Pryce will get an Oscar nomination and Banderas, Egerton and MacKay are no locks for that, either, but I still think they could be relatively big deals at the Baftas regardless.
These last few years BAFTA seem to have gone out of their way NOT to embrace their own and gone with the imports and the same as most other guilds. I would have expected Sally Hawkins and Richard E Grant in recent years to win. They got it right when they awarded Mike Leigh and Imelda Staunton.
They have been definitely more into sheep mentality lately than usual but every now and then they still surprise. I think this year they may just do that in Best Actor.
with the nominations only or with an actual winner? Egerton? Pryce?
I think both. I fully expect at least two of the four (Banderas, Pryce, Egerton, MacKay) surprise in the Bafta 5 and then I could see one to go all the way, regardless of Oscar trajectory. I could be horribly wrong and my judgment could be just clouded by wishful thinking, but for now this is my take on Best Actor at the Baftas.
i’d love them to do an Emmanuelle Riva and give Antonio Banderas their prize
To some, critics’ awards are far more meaningful than Oscars.
I mean critics awards don’t mean anything in regards to who wins the Oscar.
To 55 people on twitter pretending to be cinephiles becouse they have letterboxd account. Lol
Critics groups often give honors to everybody but the frontrunner in an effort to ‘spread the wealth’ and possibly influence Oscar opinion. That’s why Lupita has more critics awards than Renee.
Alternate theory: Driver, Sandler, and N’yongo all give much better performances than the Oscar frontrunners and that’s why critics are giving them the awards they more rightly deserve.
Yeah becouse opinion of some american critics is enlightened truth.
Once Upon a Time in… a masterpiece.
Happy to see some love for Little Women, my second favorite movie this year.
little women love is just critics trying to make it happen. They are pissed that industry doesnt give a shit about the movie and feel that they “can” influence voters like they did with ethan hawke.
So critics are trying to make Little Women happen by giving it exactly 5 % (1 out of 20) of their BP awards so far ? Yeah, I don’t think that argument will fly.
there is a slight uptick in the attention it is getting from minor critics groups after it has been deservedly snubbed by industry. They are in righteous panic mode to right the wrongs in the whole wide world.
Ok kayshay, here’s the problem. If you want to champion whatever film you have seen, go for it. If you want to trash any film, you have seen, again, go for it.
BUT
if you could refrain from trashing films you not only haven’t seen but clearly have zero intention to ever see, that would be great. The truth is you will never know if Little Women was “deservedly snubbed” or not because you will never see that film – or any film about and from women with a budget under 100M – and that’s perfectly fine. As long as you don’t pretend you can trash it with cause.
generalizing is dangerous. I have seen annihilation more than once in theater and watched it 2 more times since then. For me that movie is the perfect example of how movies about women should be made and not some b.s agenda based move.
I mean, what good does it do getting in as a pity nominee
Fundamentally problematic approach. I haven’t seen Little Women so I can’t speak for that one but if a film like Portrait of a Lady on Fire makes the cut, that wouldn’t be a pity nomination, that would be thoroughly deserved on merit alone.
Also, generalizing is dangerous ? REALLY ? Coming from you who sight unseen decided that every indie and every film by female directors this year is undeserving ? That’s rich.
P.S. Let the record show that your answer to “Have you seen Little Women ?” basically was “I’ve seen films with women in it, I’ve seen Annihilation !”
Question to those who think Little Women is deservedly getting the shaft: did you dislike the film? Or do you simply think it was a blasé/ho-hum/been-there-done-that affair overshadowed by stronger films this year? Certainly the cries of sexism are tiring if a film is simply not good enough, but I’m curious to hear more. Sasha herself has alluded to the film being perfectly fine but nothing more.
the president of LAOFC said the movie is the most basic oscar bait movie you could ask for. All the actors were sleeping through the movie.
Translation : the answer to Zach’s question is no, you haven’t seen the film, you are trashing it sight unseen.
Link? Looks basic
Critics really couldn’t care less about influencing voters.
really ? i dont think so…their worth is nothing without the lead upto the oscars.
https://media2.giphy.com/media/RH8O0Nyi8wHOMRC53T/giphy.gif
all these actors are part of the quota program. Almost all of saoirse ronan movies have this inescapable feel of made for TV movie to them. Florence pugh is part of ari astar indie quota program as well as this gerwig program. Chalamet has the unfortunate luck of associating himself with greta gerwig.
That’s the most ludicrous bs you have written yet.
You are literally on crack.
Thanks for this list.
Do we know what time tomorrow for the shortlist for International film for the Oscars?
I think last year it was around 12-3pm ….
Love these awards… Quentin, Bong, Saoirse (!!!!), Scarlett and Lupita keeping on killing it… Love this season.