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Overstreet

2011 Critics' Lists, Awards Lists, MCN, etc.

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St. Louis Film Critics:

Best Art-House or Festival Film: We Need To Talk About Kevin

:lol:

Laughing not because of the choice, which is a great film, but because they had to find a ridiculous way to cite it, while still honoring the increasingly "safe" choice of The Artist.

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London Film Critics:

FILM OF THE YEAR

The Artist (Entertainment)

Drive (Icon)

A Separation (Artificial Eye)

Tinker Tailor Soldier Spy (StudioCanal)

The Tree Of Life (Fox)

The Attenborough Award:

BRITISH FILM OF THE YEAR

The Guard (StudioCanal)

Kill List (StudioCanal)

Shame (Momentum)

Tinker Tailor Soldier Spy (StudioCanal)

We Need To Talk About Kevin (Artificial Eye)

FOREIGN-LANGUAGE FILM OF THE YEAR

Mysteries Of Lisbon (New Wave)

Poetry (ICO/Arrow)

Le Quattro Volte (New Wave)

A Separation (Artificial Eye)

The Skin I Live In (Fox/Pathé)

DOCUMENTARY OF THE YEAR

Cave Of Forgotten Dreams (Picturehouse)

Dreams Of A Life (Dogwoof)

Pina (Artificial Eye)

Project Nim (Icon)

Senna (Universal)

DIRECTOR OF THE YEAR

Asghar Farhadi – A Separation (Artificial Eye)

Michel Hazanavicius – The Artist (Entertainment)

Terrence Malick – The Tree Of Life (Fox)

Lynne Ramsay – We Need To Talk About Kevin (Artificial Eye)

Nicolas Winding Refn – Drive (Icon)

SCREENWRITER OF THE YEAR

Asghar Farhadi – A Separation (Artificial Eye)

Michel Hazanavicius – The Artist (Entertainment)

Kenneth Lonergan – Margaret (Fox)

Bridget O’Connor & Peter Straughan – Tinker Tailor Soldier Spy (StudioCanal)

Alexander Payne, Nat Faxon & Jim Rash – The Descendants (Fox)

The Virgin Atlantic Award:

BREAKTHROUGH BRITISH FILM-MAKER

Richard Ayoade – Submarine (StudioCanal)

Paddy Considine – Tyrannosaur (StudioCanal)

Joe Cornish – Attack The Block (StudioCanal)

Andrew Haigh – Weekend (Peccadillo)

John Michael McDonagh – The Guard (StudioCanal)

ACTOR OF THE YEAR

George Clooney – The Descendants (Fox)

Jean Dujardin – The Artist (Entertainment)

Michael Fassbender – Shame (Momentum)

Ryan Gosling – Drive (Icon)

Gary Oldman – Tinker Tailor Soldier Spy (StudioCanal)

ACTRESS OF THE YEAR

Kirsten Dunst – Melancholia (Artificial Eye)

Anna Paquin – Margaret (Fox)

Meryl Streep – The Iron Lady (Fox/Pathé)

Tilda Swinton – We Need To Talk About Kevin (Artificial Eye)

Michelle Williams – My Week With Marilyn (Entertainment)

SUPPORTING ACTOR OF THE YEAR

Simon Russell Beale – The Deep Blue Sea (Artificial Eye)

Kenneth Branagh – My Week With Marilyn (Entertainment)

Albert Brooks – Drive (Icon)

Christopher Plummer – Beginners (Universal)

Michael Smiley - Kill List (StudioCanal)

SUPPORTING ACTRESS OF THE YEAR

Sareh Bayat – A Separation (Artificial Eye)

Jessica Chastain – The Help (Disney)

Vanessa Redgrave – Coriolanus (Lionsgate)

Octavia Spencer – The Help (Disney)

Jacki Weaver – Animal Kingdom (StudioCanal)

BRITISH ACTOR OF THE YEAR

Tom Cullen – Weekend (Peccadillo)

Michael Fassbender – A Dangerous Method (Lionsgate), Shame (Momentum)

Brendan Gleeson – The Guard (StudioCanal)

Peter Mullan – Tyrannosaur (StudioCanal), War Horse (Disney)

Gary Oldman – Tinker Tailor Soldier Spy (StudioCanal)

The Moët & Chandon Award:

BRITISH ACTRESS OF THE YEAR

Olivia Colman – The Iron Lady (Fox/Pathé), Tyrannosaur (StudioCanal)

Carey Mulligan – Drive (Icon), Shame (Momentum)

Vanessa Redgrave – Anonymous (Sony), Coriolanus (Lionsgate)

Tilda Swinton – We Need To Talk About Kevin (Artificial Eye)

Rachel Weisz – The Deep Blue Sea (Artificial Eye)

YOUNG BRITISH PERFORMER OF THE YEAR

John Boyega – Attack the Block (StudioCanal)

Jeremy Irvine – War Horse (Disney)

Yasmin Paige – Submarine (StudioCanal)

Craig Roberts - Submarine (StudioCanal)

Saoirse Ronan – Hanna (Universal)

The Sky 3D Award:

TECHNICAL ACHIEVEMENT

Manuel Alberto Claro, cinematography – Melancholia (Artificial Eye)

Paul Davies, sound design – We Need To Talk About Kevin (Artificial Eye)

Maria Djurkovic, production design – Tinker Tailor Soldier Spy (StudioCanal)

Dante Ferretti, production design – Hugo (Entertainment)

Alberto Iglesias, original score – The Skin I Live In (Fox/Pathé)

Chris King & Gregers Sall, editing – Senna (Universal)

Joe Letteri, visual effects – Rise Of The Planet Of The Apes (Fox)

Cliff Martinez, original score – Drive (Icon)

Robert Richardson, cinematography – Hugo (Entertainment)

Robbie Ryan, cinematography – Wuthering Heights (Artificial Eye)

The Dilys Powell Award:

EXCELLENCE IN FILM

Nicolas Roeg

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It's nice to see Fast Five getting some love in a few of these year-end lists. When I posted in early fall that Fast Five was my favorite "summer movie," I was a little embarrassed to admit it.

Watched it a second time earlier this week, and it got even better.

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David Edelstein's alphabetical top 10 includes a few I haven't heard of anywhere else. A note in the story says he called Melancholia a masterpiece, but couldn't put it on his list because ""It is such a hateful film. It is the work of a nihilistic annihilist."

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Alejandro Adams has one of the most unique top ten lists I've seen. He makes me want to reconsider my avoidance of a couple of films.

Very interesting list, to be sure.

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Overstreet wrote:

: The Vancouver Film Critics Nominations

That list omits the Canadian nominations. The full list is up on our website.

Small Town Murder Songs! I don't know if it rates the best of those three, but it's nice to see the nomination for a non-Toronto Ontario film that also happened to be pretty good. The way they swung for the fences with those musical asides was pretty bracing, for a contemporary Canadian film.

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Anne Thompson's Best Performances of 2011 is spot on! Well, let me soften that a bit. I can't confirm the performances in Tyrannosaur or Take Shelter -- both still unseen by me, much to my frustration. But I don't doubt that the performances are worthy of the list, based on the collective comments from other film writers. Also, I never was engaged with Beginners. Guess I should give it another shot.

So, the list is ... nearly spot on! I'm trying to think of who I might add. Maybe Keira Knightley in A Dangerous Method.

Edited by Christian

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So, the list is ... nearly spot on! I'm trying to think of who I might add. Maybe Keira Knightley in A Dangerous Method.

Good, but I really don't like anything about We Need to Talk About Kevin, including Swinton. Watching it again confirmed that really was one of the worst films I have seen for a long time. Somehow Ramsay went from Loach to Van Sant in the span of two films.

Would be slightly tempted to see Miranda July there on that list instead.

Edited by M. Leary

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Good, but I really don't like anything about We Need to Talk About Kevin, including Swinton. Watching it again confirmed that really was one of the worst films I have seen for a long time.

I am surprised to hear this. I was floored by the film, mainly by Swinton's performance. I've not seen anything else by the director.

The movie ended, and before I had given it much thought, my wife blurted out, "That was great!"

I was surprised by the intensity of her reaction.

Recently she was talking to a friend who has a son who has started manifesting disturbing behavior and saying awful things -- but only to her, when no one else is around. She started a video camera one day to capture him on video. She gave the tape to a doctor, or therapist, who the boy had been seeing because the parents couldn't account for his behavior and wanted to prove that their son was saying horrible things to his mother.

He's five years old.

My wife told me about this, and mentioned We Need to Talk About Kevin. FWIW.

Edited by Christian

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I have seen the film on a few top ten lists from critics I generally admire, which has thrown me for a loop. We should move this to the thread for the film, as I wouldn't mind hearing a spirited defense of the film from someone who appreciates it. Part of my animosity toward the film is a general disappointment in Ramsay as a stylist.

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I never was engaged with Beginners

I don't know why anyone would include this film in a discussion of "best ensemble" performances. I think I would've really enjoyed a 90-minute film starring Christopher Plummer as an elderly, dying widower who comes out, falls in love with an unfaithful man, and attempts to reconcile with his son (Ewan McGregor in a supporting role). The other story line bored me to tears, though. I'll never forgive Mike Mills for casting a talented actress -- and one of the most beautiful women on the planet (Melanie Laurent) -- and then crafting a performance with her that sucked the life out of every scene.

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I never was engaged with Beginners

I don't know why anyone would include this film in a discussion of "best ensemble" performances. I think I would've really enjoyed a 90-minute film starring Christopher Plummer as an elderly, dying widower who comes out, falls in love with an unfaithful man, and attempts to reconcile with his son (Ewan McGregor in a supporting role). The other story line bored me to tears, though. I'll never forgive Mike Mills for casting a talented actress -- and one of the most beautiful women on the planet (Melanie Laurent) -- and then crafting a performance with her that sucked the life out of every scene.

So that wasn't just me, then. Good to know.

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I'll never may not forgive Mike Mills Lynne Ramsay for casting a talented actress -- and one of the most beautiful women on the planet (Tilda Swinton) -- and then crafting a performance with her that sucked the life out of every scene.

Edited by M. Leary

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I'll never may not forgive Mike Mills Lynne Ramsay for casting a talented actress -- and one of the most beautiful women on the planet (Tilda Swinton) -- and then crafting a performance with her that sucked the life out of every scene.

Interesting that I just followed a tweet to Reverse Shot's takedown of the film. The writer gives several indications that the film is about Kevin -- hey, he's the focus of the title, so that's not incorrect. But the interest in the film is all about the mother and her baffled reaction to her own kid. I suppose you could say that we don't see a lot of development in her reaction, but it never failed to interest me.

As for the "f-o-r-e-s-h-a-d-o-w-i-n-g" dig, OK, I laughed, but the film frames what's already happened. We know that something was the instrument of the action. When we see the weapon, we realize what it was. But rather than rolling my eyes, I thought, "How horrifying."

The Columbine parallels had me thinking guns, of course.

EDIT: Oh, just re-read the Reverse Shot item and noticed this: "nothing can justify a film about a perpetrator of high-school mass murder that doesn’t have anything substantive to say, ethically or emotionally, about his predilections for cruelty."

This is what makes the film interesting, rather than a failure. It doesn't provide answers. It's troubling. I figured the Reverse Shot folks liked that sort of thing.

Edited by Christian

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