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fewbat · 1 year

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Hello! Thank you for stopping by. Two years ago I established The Daveys (they may have been The Davies back then, I don’t know), an end-of-year fake movie awards body, just because I got bored one day and was like hey, doing something like that might be fun. Last year I switched to a non-competitive format because I wasn’t really feeling it, but this year I said you know what, let’s get gifting again, and so here we are.

As always there are films that I didn’t get around to seeing, mostly due to availability, and as such they don’t feature here but possibly would’ve had I been able to see them. Likewise, there are many films that almost made their way on here but ultimately didn’t. The point is - these are all silly, really. Don’t take this seriously.

This year also sees the introduction of a special celebratory award, the Davey Award for “Wow I hadn’t seen you on screen for a while and seeing you again made me feel kind of emotional.” This year’s inaugural recipients are:

For his role in The Fabelmans, David Lynch. For her role in The Power of the Doctor, Janet Fielding. I’m sure this is the most important thing they will ever win in their lives. Congrats to them both.

A reminder: There is one winner from each category, except for the acting categories. There are two winners from those. There is also a runner up for each single-winner category. Anyway.

And now…(in alphabetical order based on movie title within each respective category)

The nominees are…

Actor (Supporting):

Paul Mescal as Calum Paterson - Aftersun

Sigourney Weaver as Kiri te Suli Kìreysì'ite - Avatar: The Way of Water

Stephen Lang as Recombinant Colonel Miles Quaritch - Avatar: The Way of Water

Sophie Okonedo as Ethelfritha Rose Splinter of Devon - Catherine Called Birdy

Paul Dano as Burt Fabelman - The Fabelmans

Michelle Williams as Mitzi Schildkraut-Fabelman - The Fabelmans

‘Danger’ Ehren as himself - Jackass Forever

Isabella Rossellini as Nana Connie - Marcel the Shell with Shoes On

Greta Gerwig as Babette Gladney - White Noise

Don Cheadle as Prof. Murray Siskind - White Noise

Animated Feature:

The Bob’s Burgers Movie

Mad God

Marcel the Shell with Shoes On

Turning Red

Wendell & Wild

Production Design:

Dylan Cole, Ben Proctor - Avatar: The Way of Water

Catherine Martin, Karen Murphy - Elvis

Rick Carter - The Fabelmans

Craig Lathrop - The Northman

Jess Gonchor - White Noise

Costume Design:

Julian Day - Catherine Called Birdy

Jenny Beavan - Mrs. Harris Goes to Paris

Alex Bovaird and Leslie Sungail - Nope

Linda Muir and Louise Cassettari - The Northman

Ann Roth - White Noise

Screenplay (Original):

Charlotte Wells - Aftersun

Terence Davies - Benediction

Steven Spielberg & Tony Kushner - The Fabelmans

Jordan Peele- Nope

Screenplay by Julia Cho and Domee Shi, Story by Julia Cho, Domee Shi and Sarah Streicher - Turning Red

Screenplay (Adapted):

Kogonada - After Yang (based on the short story “Saying Goodbye to Yang” by Alexander Weinstein).

Screenplay by James Cameron, Rick Jaffa and Amanda Silver, Story by Cameron, Jaffa, Silver, Josh Friedman and Shane Salerno - Avatar: The Way of Water (based on characters created by James Cameron).

Lena Dunham - Catherine Called Birdy (based on the novel of the same name by Karen Cushman).

Chris Chibnall - The Power of the Doctor (based on characters created by various creators).

Noah Baumbach - White Noise (based on the novel of the same name by Don DeLillo)

VFX:

Avatar: The Way of Water

Crimes of the Future

Nope

Top Gun: Maverick

White Noise

Ensemble:

Avatar: The Way of Water

The Fabelmans

Jackass Forever

Nope

The Power of the Doctor

White Noise

Original Score:

Aska Matsumiya and Ryuichi Sakamoto - After Yang

Trent Reznor & Atticus Ross - Bones and All

John Williams - The Fabelmans

Tindersticks - Stars at Noon

Danny Elfman - White Noise

Editing:

Blair McClendon - Aftersun

Pietro Scalia, Doug Brandt, and Calvin Wimmer - Ambulance

Matt Villa and Jonathan Redmond - Elvis

Michael Kahn and Sarah Broshar - The Fabelmans

Matthew Hannam - White Noise

Cinematography:

Gregory Oke - Aftersun

Roberto de Angelis - Ambulance

Janusz Kamiński - The Fabelmans

Hoyte van Hoytema - Nope

Lol Crawley - White Noise

Actor (Lead):

Frankie Corio as Sophie - Aftersun

Jack Lowden as Young Siegfried Sassoon - Benediction

Bella Ramsey as Lady Catherine (Birdy) - Catherine Called Birdy

Léa Seydoux as Caprice - Crimes of the Future

Austin Butler as Elvis Presley - Elvis

Gabriel LaBelle as Sammy Fabelman - The Fabelmans

Daniel Kaluuya as Otis "OJ" Haywood Jr. - Nope

Keke Palmer as Emerald "Em" Haywood - Nope

Margaret Qualley as Trish Johnson - Stars at Noon

Adam Driver as Prof. Jack Gladney - White Noise

Director:

Charlotte Wells - Aftersun

James Cameron - Avatar: The Way of Water

Steven Spielberg - The Fabelmans

Jordan Peele - Nope

Noah Baumbach - White Noise

Picture:

Aftersun

Avatar: The Way of Water

The Banshees of Inisherin

Benediction

Elvis

The Fabelmans

Jackass Forever

Nope

Top Gun Maverick

White Noise

The winners will be announced in the near future

#fake movies awards #the daveys #2022 movies

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awardseasonblog · 1 year

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I premi assegnati fino a questo momento dalle Associazioni dei critici americani (Film Critics Awards) hanno sulla carta ribaltato le previsioni del mese di novembre per la categoria #Migliormontaggio con la risalita di Everything Everywhere All At Once che ha conquistato un numero considerevole di riconoscimenti per il #BestEditing. Di conseguenza la leadership di Top Gun: Maverick in questa categoria è ora a rischio. Al di là però del potenziale vincitore vediamo come potrebbe comporsi la cinquina di quest'anno sulla base soprattutto delle nominations ai premi chiave, in attesa delle candidature ai premi di settore (Eddie Awards) che spesso anticipano i verdetti per la categoria Miglior montaggio. In siffatto contesto tra i potenziali favoriti per la nomination agli Oscar 2023 per il Miglior montaggio si confermano in pole position: 1. #EverythingEverywhereAllAtOnce (Paul Rogers) -WINNERS:(9)LVFCS, BOFCA, UFCA, IFJA, StLFCA, PFCS, OAFFC, LFCC, CFCA -NOMINATIONS (13) (premi chiave: Critics Choice Award, HCA Film Award, Satellite Award) 2.#TopGunMaverick (Eddie Hamilton) -WINNERS (3) -NOMINATIONS (12) (premi chiave: Critics Choice Award, HCA Film Award, Satellite Award) 3.#Elvis (Jonathan Redmond e Matt Villa) -WINNERS (1): AACTA Award -NOMINATIONS (10) (premi chiave: Critics Choice Award, Satellite Award) 4.#TAR (Monika Willi) -WINNERS: -- -NOMINATIONS (8) (premi chiave: Critics Choice Award) 5.#Babylon (Tom Cross) -WINNERS: -- -NOMINATIONS (5) (premi chiave: Critics Choice Award) 6. #Ladonnadelmistero (Kim sang-bum) -WINNERS: BSFC -NOMINATIONS (5) (premi chiave: HCA Film Award) 7. #AvatarTheWayofWater (David Brenner, James Cameron, John Refoua, Stephen E. Rivkin e Ian Silverstein) -WINNERS: — -NOMINATIONS (1): Critics Choice Award 8. #Aftersun (Blair McClendon) -WINNERS (3): BIFA, LAFCA, BSFC -NOMINATIONS (3) 9. #RRR (A. Sreeker Prasad) -WINNERS: — -NOMINATIONS (2) (premi chiave: HCA Film Award) 10. #TheFabelmans (Sarah Broshar e Michael Kahn) -WINNERS: — -NOMINATIONS (2) (premi chiave: Satellite Award) #AwardsSeason #OscarsRace #Oscars2023 #OscarPredictions #StagionedeiPremi #Movies #Awards #PrevisioniOscar #PronosticiOscar https://www.instagram.com/p/CmuFvmSscvk/?igshid=NGJjMDIxMWI=

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sesiondemadrugada · 5 years

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Pet Sematary (Kevin Kölsch & Dennis Widmyer, 2019).

#pet sematary (2019)#pet sematary #kevin kölsch #dennis widmyer #stephen king #jason clarke #jeté laurence #laurie rose #sarah broshar #todd cherniawsky #mathieu giguère #félix larivière-charron #Léa-Valérie Létourneau #ann smart #simonetta mariano

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dweemeister · 6 years

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Ready Player One (2018)

On a recent episode of CBS Sunday Morning, author Ernest Cline attributed his debut novel’s success as, “a testament to what happens if you be free about what you love and why you love it.” That novel, filled with 1970s and 1980s pop culture, is Ready Player One, now directed by Steven Spielberg (who, arguably, defined cinema in those decades), co-adapted to the screen by Cline and Zak Penn, and retaining the ideas Cline sought to express. After a run of topical dramas, this is Spielberg’s first legitimately “fun movie” since 2011′s The Adventures of Tintin (as much as I liked 2016′s The BFG, it is tonally scattered). Jaws (1975) and Jurassic Park (1993) scared the pants off of sensitive viewers; E.T. the Extra-Terrestrial (1982) and Hook (1991) reached into childhood fears amid the entertainment. But of all of Spielberg’s “fun movies”, Ready Player One is the only one that is pure spectacle. Its nostalgia there for show, almost never in service of whatever themes the film happens to stumble upon. This pure spectacle is a fleeting, flashy thrill and little else – take the jump, because despite its weaknesses, there is no film analogous to Ready Player One.

It is 2045 and humans are addicted to the virtual reality world of OASIS. OASIS was designed by co-creators James Halliday (Mark Rylance; whose eccentric character has been deceased for some time) and Ogden Morrow (Simon Pegg; who left the developing company before OASIS became so widespread), who hid an Easter egg requiring three keys within his game. The Easter egg promises the winner ownership of OASIS. Living in a multi-tiered trailer park in Columbus, Ohio, is the orphaned Wade Watts (Tye Sheridan), whose OASIS username is Parzival. He befriends one of the game’s best players, Art3mis (the avatar of Samantha Cook, played by Olivia Cooke) on his way to acquire Halliday’s three keys and unearth the game’s deepest secrets that millions have tried to solve. Faster than Wade can tell Samantha, “I wanna be your lover”, she rebuffs his requests to meet her in person because she fears that he will not like the real her.

Everybody wants to rule the world. One corporation, Innovative Online Industries (IOI), has essentially dedicated itself thousands of employees to find the Easter egg to gain full control of OASIS. The CEO of IOI is Nolan Sorrento (Ben Mendelsohn), and he finds himself in conflict with Tye’s friends – who name themselves the “High Five”. The High Five will also include (actual name/username): Helen/Aech (Lena Waithe), Zhou/Sho (Philip Zhao), and Toshiro/Daito (Win Morisaki).

One could spend much longer explaining the world inhabited by the characters, but Ready Player One is up to the challenge of excessive exposition as Penn and Cline’s screenplay spend about twenty minutes with Wade explaining what has happened to 2045 Earth (or, at least, Columbus). The screenplay also refuses to grasp any of the implications of the dystopia it presents – having not read the book, my hope is that Cline does examine those social aspects more. How did the widespread disillusionment in real life that, apparently, the whole world (?) is connected to OASIS come to be? Aren’t humans, even those who believe they have no power, more resilient than that? How can an enormous conglomerate be able to have what basically is a paramilitary that engages in domestic terrorism (police forces exist, if the ending is any indication, so do cops work one day a week or something in 2045)? Given trends in gaming today, are there microtransactions or something similar in the OASIS that creates a class structure replicating itself in the real world and allowing for certain in-game or real-life advantages by class?

Maybe it is just my imagination running away with me, but why the hell are all the best players in the world living in Columbus, Ohio?

One way or another, enduring science-fiction asks questions of its characters’ humanity and dares the reader or viewer to understand, question, and improve their own being. In cinema, Metropolis (1927, Germany) comments on class power struggles and how society is impoverished with a permanent working class; Planet of the Apes (1968) is a sharp allegory of religious and scientific tensions; A.I. Artificial Intelligence (2001) asks if a synthetic being programmed to simulate love can feel love. Ready Player One’s stake in cinema’s science-fiction tradition is not as weighty as those films, but there are pressing thoughts to be gleamed from the film.

The movie presents fandom that is corporatized, excessive, or taken in moderation, as well as providing an environment of pandemic video game addiction (now a disorder recognized by the World Health Organization). On corporatized fandom, Ready Player One presents audiences with IOI – a combination of video gaming as sweatshop work and individuals whose job it is to know everything about twentieth-century cinematic (I might be a decent candidate in this department but turning it into soul-sucking work is too depressing to think about), comic book, and video gaming culture. Something like IOI is laughable now, but the film stands on it, so perhaps we will not be laughing if something resembling it emerges in the decades to come.

Regarding excessive fan culture, one could argue the whole conception of OASIS is a monument to one man’s uninhibited obsession with elements of pop culture. Ready Player One – at least in this adaptation – is unwilling to examine how damaging one’s fandom, when taken to extremes, can be (the throwaway epilogue in the film’s final frames is not enough). Outside of Halliday’s story, how does one’s fixation on video games or movies or other art forms make actual life easier or more difficult? The epilogue’s reveal that Wade and Samantha no longer log into the OASIS every day makes one wonder how prepared they are to go without a virtual reality where they have essentially lived their lives. Perhaps that latter point belongs to a different movie or the fan-fiction writing corners of the Internet, but the fact that Ready Player One only superficially touches upon these points adds little else to this reference-heavy movie.

What non-readers of Ready Player One may have noticed is the presence of so many popular movie and video game characters. One begins to wonder about how much money was spent on licensing. Many detractors of Ready Player One, who aren’t gonna take it, have commented on how some of the references in the film are shallow, disrespectful of the original source materials. These critiques are mostly beside the point. Take the Iron Giant. The Iron Giant appears as Helen’s avatar in the climactic battle as she/it proceeds to punch the stuffing out of IOI’s mechanized tanks and Mechagodzilla. This goes against the character’s essence: that it will only use violence in cases of self-defense. True, but this is an Internet avatar and the OASIS not necessarily a strict role-playing environment.

Nevertheless, one’s personal sense of fandom always has some degree of appropriation. Understanding a person’s passions and the origin of those passions make for incredible emotional connections that can barely be described. Where Cline’s passion for largely 1970s and ‘80s popular culture is apparent, what about his characters? Halliday is a human compendium of knowledge and trivia of that period – its movies, television, video games, anime, comics, and more. But why does he love those things implemented into OASIS? Why is Wade’s ride a DeLorean? Is it because he identifies with Marty McFly from the Back to the Future series? Artemis has the motorcycle from Katsuhiro Otomo’s Akira (1988)? Is she an enormous anime fan, and is Akira a personal favorite anime film? Spielberg, Penn, and Cline need not have crafted indulgent soliloquies for every reference, but the audience is bereft of understanding why these references from these past works appeal so much to Ready Player One’s characters. It does not help that the romantic kindling between Sheridan and Cooke (as Samantha, she is very much ashamed of a sizable birthmark… thankfully, not to Phantom of the Opera levels of shame) is iffy at best.

The BFG was the motion-capture dress rehearsal for Ready Player One. Almost everything that occurs in the OASIS was shot using motion capture – a process that is similar to regular film shooting for actors but is more demanding for visual effects teams. The results produced by these hundreds of visual effects artists for Ready Player One are commendable, but Spielberg regulars cinematographer Janusz Kamiński and editors Michael Kahn and Sarah Broshar (not a Spielberg regular, but co-editor of 2017′s The Post) are more at ease in the non-OASIS scenes in how they use lighting to evoke the decrepit nature of Wade’s neighborhood. Production designer Adam Stockhausen (Wes Anderson’s primary production designer since 2012′s Moonrise Kingdom) makes these towers of trailer homes feel lived in and not soundstage-bound or CGI’d into the film. Contrast that with the sleek, ultramodern headquarters of IOI – which somewhat recalls the aesthetic in the Tron series.

This is only the fourth Spielberg movie not to be scored by John Williams, who withdrew from the project after scheduling conflicts with his work for Dear Basketball (2017), The Post, and Star Wars: The Last Jedi (2017). So in comes Alan Silvestri (1994′s Forrest Gump, 2012′s The Avengers), who worked with Spielberg when the latter served as producer on Back to the Future. Outside of the musical quotations Silvestri uses from Back to the Future and other films, his score successfully recalls the orchestral adventurism of 1980s action movies. Several are interspersed throughout, with the most commonly-used motifs – for Wade and Halliday, respectively – incorporated into the main titles. Lushly orchestrated and allowing strings, woodwinds, and brass jumping into the action-packed or romantic frays of the plot, Silvestri’s score is weakest when the cameras are inside IOI’s headquarters and the electronic elements reminiscent of a Marvel movie do little even to increase suspense.

Separate from the score is a ‘70s/’80s soundtrack that many viewers will be familiar with. A dance sequence using the Bee Gees’ “Stayin’ Alive” echoes John Travolta’s moves in Saturday Night Fever (1977). Many other songs are included in the soundtrack, but they have already been name-dropped in this review to prove a larger point (ahem).

Having already criticized Ready Player One for its insubstantial callbacks, I may be guilty of shameful hypocrisy because of this paragraph. One musical omission that defined Ready Player One’s marketing campaign should have been implemented into the film. “Pure Imagination”, composed by Leslie Bricusse and Anthony Newley for Willy Wonka & the Chocolate Factory (1971), played an important part in setting the tone for Ready Player One’s trailers. Whether integrated into the score or soundtrack, “Pure Imagination” is a widely-known song even to audiences who consider older movies not worth their time. I see Willy Wonka and Ready Player One as distant cousins: a young character embarks on an exhilarating, occasionally dangerous, adventure and – through their actions – will become the loving custodian of another person’s fantastical dream. Such a decision would not be unprecedented in a Spielberg movie. In Close Encounters of the Third Kind (1977), John Williams used “When You Wish Upon a Star” from Pinocchio (1940) in his score to underline the interstellar optimism and childlike wonderment in both films. Ready Player One never has a moment like that – where the film can make sense and explore the emotions behind what pieces of popular culture enabled the creation of the OASIS.

If this review seems like poop in the punch bowl, that is not my intention. As a self-identified nerd who shuns nerd culture, I enjoyed Ready Player One and got a kick out of identifying the movie and video game characters my eyes could catch in time – I had fun, and that is important in watching movies. If Ready Player One is nothing more than a celebration of how our popular culture tastes makes us who we are, then that is fine. Yet it never asks where such love comes from because that is the most exciting thing we can ever learn about another person.

My rating: 7/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found here.

#Ready Player One #Steven Spielberg #Tye Sheridan #Olivia Cooke #Ben Mendelsohn #Lena Waithe #T.J. Miller #Simon Pegg #Mark Rylance #Philip Zhao #Tin Morisaki #Hannah John Kamen #Zak Penn #Ernest Cline #Janusz Kaminski #Michael Kahn #Sarah Broshar #Alan Silvestri #My Movie Odyssey

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nclkafilms · 6 years

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The First Rough Draft of History

(Review of ‘The Post’ seen on the 21st of February 2018)

Steven Spielberg is a productive director. His IMDb reveals no less than 57 Director credits. His latest, The Post, follows in slipstream of recent works, Lincoln and Bridge of Spies, in showcasing important, historical events in the relatively short history of the United States. This time it is not revolutionary leaders or spy exchanges that in the centre of events; in stead he know portrays a story of the free press that is so important to a modern democracy. As it is stated in the film: “The press is for the governed, not the governors!” As such the film has rarely seemed more relevant than it does today in the media presence of world leaders such as Trump and Putin alike. How far should the press go to reveal the truth and what should their relationship be to he leaders in charge? Those are the two central questions that Spielberg asks and answers with his most recent film.

It is the story of the Pentagon Papers and how these - confidential - papers were shared with the press at the height of Nixon’s presidency. We follow the newsroom crew at the Washington Post - at this time a local newspaper - as they observe the more prominent New York Times receive an indictment from the authorities as they publish a story based on the leak. When Post editor Ben Bradlee and his team finally gets a hold on the leaked papers, he and owner, Kay Graham (who have inherited the ownership from her late husband) faces the questions mentioned earlier as they are entangled in moral and ethical questions relating to personal relations, their journalistic oath, the disclosure of methodical government lies and injustices as well as the very future existence of the paper. As the papers threaten to uncover lies of not just Nixon’s administration but the three before him as well, the White House lures in a distance determined to prevent the publication…

At the centre of it all is a powerduo who remarkably stars in their first film together here: Meryl Streep as Kay Graham and Tom Hanks as Ben Bradlee. Hanks who is a Spielberg-usual (Bridge of Spies, The Terminal, Catch Me if you Can and Saving Private Ryan) delivers a well-balanced and convincing performance as Bradlee, who refuses to be bullied by neither the authorities or company big heads in his battle to uncover the truth. His performance bears many similarities to his turn in Bridge of Spies and it is hard to put a finger on it, although it is oddly anonymous at the same time.

Opposite of him, Spielberg first timer, Meryl Streep, is the films main asset as Kay Graham. Even though, I have an issue with Streep in the sense that I always see her in her characters (unlike Daniel Day-Lewis for instance) it is hard to look beyond her here and admittedly her Oscar nomination is one of her more well-deserved. She delivers one of her most nuanced performances in years as the insecure yet stubborn Graham, who faces a journalistic dilemma with the potential to change history without ever really having had her daily life in the newsroom or offices of the Post. Her character develops in a satisfying way throughout the film and despite a slightly overdone scene towards the end that highlights this in a blatant way, her character sure is a great role model and idol for women in leading jobs. In this way, the film becomes even more relevant in the 2018 political climate thanks to more than just its focus on the free press.

The supporting cast is great but also slightly forgettable; perhaps with the exception of Jesse Plemons’ legal advisor who provides an interesting and somewhat funny opposition to the stubborn journalists as he represents the harsh facts of the legal aspect of their otherwise heroic, journalistic mission. It is hard not to compare this film to recent journalistic portrayals as the one in Spotlight (2015); a film that was much more of an ensemble film. Make no mistake; here Meryl and Tom rule above all.

Despite its flaws in storytelling and character building (for the supporting roles), this is a master at work. Spielberg knows what he is doing and he masterfully manages to create not only a historically important film but also actual tension and suspense despite the fact that we know what happens. One great example of this is a scene in which all the important people are discussing whether or not to publish the papers. This is done over the phone, but obviously way before the age of conference calls. No, instead every single person stands in different places (some within the same house) with different telephones. A scene, which could so easily have been a scene of hopeless editing from one person to another, becomes a nail-biting and suspenseful scene in the hands of Spielberg. One of the best scenes in the entire film for sure.

With the score composed by living legend John Williams (his 143rd composer credit that is!!), Janusz Kaminski behind the camera with his ever observant eye and Michael Kahn (along with newcomer Sarah Broshar) in the editing room, this is Spielberg playing it safe. However, it is difficult to blame him for doing so when the result is such a well-functioning film finished in an unprecedented timeframe with just 9 months from finished script to final cut that hits right into the political climate of its time. That is a proof of not only a masterful filmmaker, but also a filmmaker who knows and acknowledges the power of the medium to promote and provide a perspective on current issues. Much like the press in the film, arts share the same possibility of commenting on and revealing truths.

4/5

#Film #Film Review #Movie #Movie Review #Oscars #Oscars 2018 #academy awards #Best Picture #Best Actress in a Leading Role #The Post #steven spielberg #Tom Hanks #Meryl Streep #Jesse Plemons #John Williams #Janusz Kaminski #Michael Kahn #Sarah Broshar

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awardseason · 2 years

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2022 Critics’ Choice Awards — Film Nominees

BEST PICTURE Belfast CODA Don’t Look Up Dune King Richard Licorice Pizza Nightmare Alley The Power of the Dog tick, tick…Boom! West Side Story

BEST DIRECTOR Paul Thomas Anderson – Licorice Pizza Kenneth Branagh – Belfast Jane Campion – The Power of the Dog Guillermo del Toro – Nightmare Alley Steven Spielberg – West Side Story Denis Villeneuve – Dune

BEST ACTOR Nicolas Cage – Pig Benedict Cumberbatch – The Power of the Dog Peter Dinklage – Cyrano Andrew Garfield – tick, tick…Boom! Will Smith – King Richard Denzel Washington – The Tragedy of Macbeth

BEST ACTRESS Jessica Chastain – The Eyes of Tammy Faye Olivia Colman – The Lost Daughter Lady Gaga – House of Gucci Alana Haim – Licorice Pizza Nicole Kidman – Being the Ricardos Kristen Stewart – Spencer

BEST SUPPORTING ACTOR Jamie Dornan – Belfast Ciarán Hinds – Belfast Troy Kotsur – CODA Jared Leto – House of Gucci J.K. Simmons – Being the Ricardos Kodi Smit-McPhee – The Power of the Dog

BEST SUPPORTING ACTRESS Caitríona Balfe – Belfast Ariana DeBose – West Side Story Ann Dowd – Mass Kirsten Dunst – The Power of the Dog Aunjanue Ellis – King Richard Rita Moreno – West Side Story

BEST ACTING ENSEMBLE Belfast Don’t Look Up The Harder They Fall Licorice Pizza The Power of the Dog West Side Story

BEST YOUNG ACTOR/ACTRESS Jude Hill – Belfast Cooper Hoffman – Licorice Pizza Emilia Jones – CODA Woody Norman – C’mon C’mon Saniyya Sidney – King Richard Rachel Zegler – West Side Story

BEST ORIGINAL SCREENPLAY Paul Thomas Anderson – Licorice Pizza Zach Baylin – King Richard Kenneth Branagh – Belfast Adam McKay, David Sirota – Don’t Look Up Aaron Sorkin – Being the Ricardos

BEST ADAPTED SCREENPLAY Jane Campion – The Power of the Dog Maggie Gyllenhaal – The Lost Daughter Siân Heder – CODA Tony Kushner – West Side Story Jon Spaihts, Denis Villeneuve, Eric Roth – Dune

BEST CINEMATOGRAPHY Bruno Delbonnel – The Tragedy of Macbeth Greig Fraser – Dune Janusz Kaminski – West Side Story Dan Laustsen – Nightmare Alley Ari Wegner – The Power of the Dog Haris Zambarloukos – Belfast

BEST PRODUCTION DESIGN Jim Clay, Claire Nia Richards – Belfast Tamara Deverell, Shane Vieau – Nightmare Alley Adam Stockhausen, Rena DeAngelo – The French Dispatch Adam Stockhausen, Rena DeAngelo – West Side Story Patrice Vermette, Zsuzsanna Sipos – Dune

BEST EDITING Sarah Broshar and Michael Kahn – West Side Story Úna Ní Dhonghaíle – Belfast Andy Jurgensen – Licorice Pizza Peter Sciberras – The Power of the Dog Joe Walker – Dune

BEST COSTUME DESIGN Jenny Beavan – Cruella Luis Sequeira – Nightmare Alley Paul Tazewell – West Side Story Jacqueline West, Robert Morgan – Dune Janty Yates – House of Gucci

BEST HAIR AND MAKEUP Cruella Dune The Eyes of Tammy Faye House of Gucci Nightmare Alley

BEST VISUAL EFFECTS Dune The Matrix Resurrections Nightmare Alley No Time to Die Shang-Chi and the Legend of the Ten Rings

BEST COMEDY Barb & Star Go to Vista Del Mar Don’t Look Up Free Guy The French Dispatch Licorice Pizza

BEST ANIMATED FEATURE Encanto Flee Luca The Mitchells vs the Machines Raya and the Last Dragon

BEST FOREIGN LANGUAGE FILM A Hero Drive My Car Flee The Hand of God The Worst Person in the World

BEST SONG Be Alive – King Richard Dos Oruguitas – Encanto Guns Go Bang – The Harder They Fall Just Look Up – Don’t Look Up No Time to Die – No Time to Die

BEST SCORE Nicholas Britell – Don’t Look Up Jonny Greenwood – The Power of the Dog Jonny Greenwood – Spencer Nathan Johnson – Nightmare Alley Hans Zimmer – Dune

#critics choice awards #critics choice #critics choice 2022 #cca 2022 #nominees

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guillotineman · 1 year

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December 10th, 2021

1 Year ago, Steven Spielberg's West Side Story premiered in theaters...

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genevieveetguy · 2 years

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All my life, it's like I'm always just about to fall off the edge of the world's tallest building. I stopped falling the second I saw you.

West Side Story, Steven Spielberg (2021)

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brian-in-finance · 2 years

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2021 Critics Choice Awards • Nominations

BEST PICTURE

Belfast

CODA

Don’t Look Up

Dune

King Richard

Licorice Pizza

Nightmare Alley

The Power of the Dog

tick, tick…Boom!

West Side Story

BEST DIRECTOR

Paul Thomas Anderson – Licorice Pizza

Kenneth Branagh – Belfast

Jane Campion – The Power of the Dog

Guillermo del Toro – Nightmare Alley

Steven Spielberg – West Side Story

Denis Villeneuve – Dune

BEST SUPPORTING ACTOR

Jamie Dornan – Belfast

Ciarán Hinds – Belfast

Troy Kotsur – CODA

Jared Leto – House of Gucci

J.K. Simmons – Being the Ricardos

Kodi Smit-McPhee – The Power of the Dog

BEST SUPPORTING ACTRESS

Caitríona Balfe – Belfast

Ariana DeBose – West Side Story

Ann Dowd – Mass

Kirsten Dunst – The Power of the Dog

Aunjanue Ellis – King Richard

Rita Moreno – West Side Story

BEST ORIGINAL SCREENPLAY

Paul Thomas Anderson – Licorice Pizza

Zach Baylin – King Richard

Kenneth Branagh – Belfast

Adam McKay, David Sirota – Don’t Look Up

Aaron Sorkin – Being the Rica

BEST CINEMATOGRAPHY

Bruno Delbonnel – The Tragedy of Macbeth

Greig Fraser – Dune

Janusz Kaminski – West Side Story

Dan Laustsen – Nightmare Alley

Ari Wegner – The Power of the Dog

Haris Zambarloukos – Belfast

BEST FILM EDITING

Sarah Broshar and Michael Kahn – West Side Story

Úna Ní Dhonghaíle – Belfast

Andy Jurgensen – Licorice Pizza

Peter Sciberras – The Power of the Dog

Joe Walker – Dune

BEST PRODUCTION DESIGN

Jim Clay, Claire Nia Richards – Belfast

Tamara Deverell, Shane Vieau – Nightmare Alley

Adam Stockhausen, Rena DeAngelo – The French Dispatch

Adam Stockhausen, Rena DeAngelo – West Side Story

Patrice Vermette, Zsuzsanna Sipos – Dune

BEST YOUNG ACTOR/ACTRESS

Jude Hill – Belfast

Cooper Hoffman – Licorice Pizza

Emilia Jones – CODA

Woody Norman – C’mon C’mon

Saniyya Sidney – King Richard

Rachel Zegler – West Side Story

BEST ACTING ENSEMBLE

Belfast

Don’t Look Up

The Harder They Fall

Licorice Pizza

The Power of the Dog

West Side Story

Remember when the critics made 11 grand choices?

#Tait rhymes with hat #Good times #BelfastMovie #Broadcast Film Journalists Association #BFJA #2021 #Awards #Nominations #Critics Choice Association #CriticsChoice #13 December 2021 #Belfast #Now in North America #Worldwide 2022 #Twitter #Campaign To Shorten Awards Season

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andikablogs1505 · 4 years

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READY PLAYER ONE

Ready Player One adalah film fantasi fiksi ilmiah petualangan Amerika Serikat tahun 2018 yang disutradarai oleh Steven Spielberg dan diproduseri oleh Steven Spielberg, Donald De Line, Dan Farah dan Kristie Macosko Krieger. Naskah film ini ditulis oleh Zak Penn dan Ernest Cline berdasarkan novel Ready Player One karya Ernest Cline. Film ini dibintangi oleh Tye Sheridan, Olivia Cooke, Ben Mendelsohn, T.J. Miller, Simon Pegg dan Mark Rylance.

Sutradara : Steven Spielberg

Produser : Steven Spielberg

Donald De Line

Dan Farah

Kristie Macosko Krieger

Skenario : Zak Penn

Ernest Cline

Pemeran :Tye Sheridan

Olivia Cooke

Ben Mendelsohn

T. J. Miller

Simon Pegg

Mark Rylance

Musik : Alan Silvestri

Sinematografi : Janusz Kamiński

Penyunting : Michael Kahn

Sarah Broshar

Perusahaan : Warner Bros. Pictures

produksi Amblin Partners

Amblin Entertainment

Village Roadshow Pictures

De Line Pictures

Farah Films & Management

Distributor : Warner Bros. Pictures

Tanggal rilis 29 Maret 2018 (Amerika Serikat)

Durasi :140 menit

Negara :Amerika Serikat

Bahasa :Inggris

Anggaran :$175 juta[4]

Pendapatan kotor :$582.890.172[5]

Film Ready Player One mendapatkan $137.690.172 di Amerika Utara dan $445.200.000 di negara lain. Total pendapatan yang dihasilkan oleh film ini mencapai $582.890.172, melebihi anggaran produksi film $175 juta.

Pada pembukaan akhir pekan, film ini mendapatkan $41.764.050, menempati posisi teratas di box office.

•SINOPSIS

Film ini bercerita tentang seorang remaja berusia 18 tahun bernama Wade Watts yang hidup di Columbus, Ohio pada tahun 2045. Saat itu, dunia begitu "keras."

Satu-satunya waktu Wade Watts (Tye Sheridan) benar-benar terasa "hidup" ketika ia pergi ke Oasis, sebuah dunia maya yang imersif tempat sebagian besar manusia menghabiskan hari-harinya.

Oasis diciptakan oleh James Halliday yang sangat brilian dan eksentrik (Mark Rylance), seperti dikutip dari sinopsis IMDB. Suatu saat, James Halliday membuat sayembara. Ia meminta kepada para peserta untuk menemukan sebuah telur Paskah yang terdapat di dalam game virtual yang ia ciptakan.

•AKTOR DAN AKTRIS

(lahir di Elkhart, Texas, Amerika Serikat, 11 November 1996; umur 23 tahun) merupakan seorang aktor Amerika Serikat. Ia memulai peran pertamanya sebagai aktor dalam film The Tree of Life (2011) dan Mud (2012). Ia juga dikenal karena perannya sebagai aktor dalam film Joe (2013) dan The Stanford Prison Experiment (2015). Ia berperan sebagai Cyclops dalam film X-Men: Apocalypse dan sebagai Wade Watts dalam film Ready Player One, yang dijadwalkan rilis tanggal 29 Maret 2018. Ia kembali berperan sebagai Cyclops dalam film mendatang X-Men: Dark Phoenix.

1.Tye Kayle Sheridan

(lahir di Manchester, Inggris, Britania Raya, 27 Desember 1993; umur 26 tahun) merupakan seorang aktris Britania Raya. Pada tahun 2014, ia bermain dalam tiga film horor: The Quiet Ones, The Signal dan Ouija. Peran ini dia mendapatkan gelar Scream Queen. Pada tahun 2015, ia memerankan Rachel Kushner di film drama komedi Me and Earl and the Dying Girl.

2.Olivia Kate Cooke

(lahir 3 April 1969) adalah aktor Australia yang mulai terkenal sejak terlibat dalam film The Year My Voice Broke (1987) dan drama kriminal Animal Kingdom (2010).

3.aul Benjamin "Ben" Mendelsohn

(lahir 4 Juni 1981; umur 38 tahun) lebih dikenal sebagai T. J. Miller adalah aktor dan komedian asal Amerika Serikat.

4.Todd Joseph Miller

(lahir Simon John Beckingham; 14 Februari 1970) merupakan seorang aktor, komedian, sutradara, dan penulis berkebangsaan Inggris. Dia menjadi terkenal saat bermain di film utamanya seperti Shaun of the Dead, Hot Fuzz, Run, Fatboy, Run, dan seri komedi Spaced. Dia dilahirkan di Gloucester. Dia berkarier di dunia film sejak tahun 1995.

6.David Mark Rylance Waters

5.Simon Pegg

(lahir 18 Januari 1960), dikenal dengan nama Mark Rylance, adalah aktor, sutradara teater, dan penulis lakon Inggris. Ia merupakan pengarah seni Shakespeare's Globe pertama di London dan menjabat tahun 1995 sampai 2005. Ia tampil di beberapa film seperti Prospero's Books (1991), Angels and Insects (1995), Institute Benjamenta (1996), dan Intimacy (2001). Atas pemeranan Rudolf Abel dalam film Bridge of Spies (2015), ia mendapat nominasi Academy Award for Best Supporting Actor.

•SHOT DAN ANGEL YANG SERING DIGUNAKAN

1.shot

*close up

*medium close up

*extrime close up

*OSS (over shoulder shot)

*two shot

*total shot

2.angel

*normal angel

*bird angel

*subyektif angel