Happy Birthday, Tracy

Concerning age: I won't go there on my sister.  Have a Happy Birthday, Tracy, and many, many, many more.

2013 Women Film Critics Circle Awards - Complete List

The Women Film Critics Circle (WFCC) is an association of women film critics, who are involved in print, radio, online and TV broadcast media.  Founded in 2004, this group is the first women critics’ organization in the United States.

2013 Women Film Critics Circle Awards:

BEST MOVIE ABOUT WOMEN: Philomena
RUNNER UP: Mother Of George

BEST MOVIE BY A WOMAN: Enough Said, Nicole Holofcener
RUNNER UP: Inch' Allah, Anaïs Barbeau-Lavalette

BEST WOMAN STORYTELLER [Screenwriting Award]: Julie Delpy: Before Midnight
RUNNER UP: Nicole Holofcener, Enough Said

BEST ACTRESS: Judi Dench: Philomena
RUNNER UP: Barbara Sukowa: Hannah Arendt

BEST ACTOR: Chiwetel Ejiofor: 12 Years A Slave
RUNNER UP: Michael B. Jordan: Fruitvale Station

BEST YOUNG ACTRESS: Onata Aprile: What Maisie Knew
RUNNER UP: Waad Mohammed: Wadjda

BEST COMEDIC ACTRESS: Melissa McCarthy: The Heat
RUNNER UP: Greta Gerwig, Frances Ha

BEST FOREIGN FILM BY OR ABOUT WOMEN: Wadjda
RUNNER UP: Inch' Allah

BEST FEMALE IMAGES IN A MOVIE: Philomena
RUNNER UP: Girls In The Band

WORST FEMALE IMAGES IN A MOVIE: The Bling Ring
RUNNER UP: Machete Kills

BEST MALE IMAGES IN A MOVIE: 12 years A Slave: Chiwetel Ejiofor
RUNNER UP: Enough Said: James Gandolfini

WORST MALE IMAGES IN A MOVIE: Only God Forgives
RUNNER UP: Out Of The Furnace

BEST DOCUMENTARY BY OR ABOUT WOMEN: Stories We Tell
RUNNER UP: Girls In The Band

BEST SCREEN COUPLE: Before Midnight: Julie Delpy and Ethan Hawke

BEST THEATRICALLY UNRELEASED MOVIE BY OR ABOUT WOMEN: Hellen Mirren in Phil Spector
RUNNER UP: Pussy Riot: A Punk Prayer

BEST EQUALITY OF THE SEXES: Before Midnight
RUNNER UP: Enough Said

BEST ANIMATED FEMALES: Frozen
RUNNER UP: The Croods

BEST FAMILY FILM: The Wind Rises
RUNNER UP: Black Nativity

WOMEN'S WORK/BEST ENSEMBLE: Ginger & Rosa
RUNNER UP TIE: Winnie Mandela and August: Osage County

*SPECIAL MENTION AWARDS*

LIFETIME ACHIEVEMENT AWARD
EMMA THOMPSON: For her eclecticism in switching from period films to fantasy genre, to contemporary settings. And embodying all kinds of women with raw and pure interpretations.

ACTING AND ACTIVISM AWARD
CHARLIZE THERON: For her work for The Global Fund, and for starting the Charlize Theron Africa Outreach Project. Which educates young people about HIV/AIDS

COURAGE IN FILMMAKING
LAURA POITRAS: For bringing the Edward Snowden NSA revelations to light, driven into exile in Germany for doing so, and currently making a documentary about it.

*ADRIENNE SHELLY AWARD: (A film that most passionately opposes violence against women): Augustine
RUNNER UP: Lovelace

*JOSEPHINE BAKER AWARD: For best expressing the woman of color experience in America: 12 Years A Slave
RUNNER UP: Go For Sisters

*KAREN MORLEY AWARD: For best exemplifying a woman’s place in history or society, and a courageous search for identity: Winnie Mandela
RUNNER UP: Wadjda

COURAGE IN ACTING: [Taking on unconventional roles that radically redefine the images of women on screen]: Soko: Augustine

THE INVISIBLE WOMAN AWARD [Performance by a woman whose exceptional impact on the film dramatically, socially or historically, has been ignored]
Sandra Bullock: Gravity

BEST SONG: “Would You Bleed For Love” Jennifer Hudson, Winnie Mandela

MOMMIE DEAREST WORST SCREEN MOM OF THE YEAR AWARD:
*Kristin Scott Thomas - Only God Forgives

JUST KIDDING AWARD: Best Male Images In A Movie: Last Vegas

*WFCC HALL OF SHAME*

Blue is the Warmest Color: I went in knowing almost nothing except general buzz but I hated the sex scenes which were way too long and midway thru I couldn’t wait to flee the theater. Coming out I read how many takes Kechiche required and I was thoroughly repulsed. Who was this for? Then I read the graphic novel and discovered that critical plot points were deleted. Like the fact that Adele’s parents find her in bed with Emma which is why she has to move out — and I was enraged. A three hour movie, and Kechiche is so busy salivating over his actresses that he can’t bother telling a coherent story. Hype for this film makes me nauseous!

Blue is the Warmest Color: It's so obvious a dude with a fetish directed this, it's not only unappealing, it's creepy. His overcompensating hubris isn't worth the praise this is receiving.

The Canyons: Women depicted as powerless and manipulative. Plus, the acting is horrid.

Captain Phillips: The whole might of the USA coming down on 3 starving Somalis?! Repulsive. When the obscenely beefy SEALS arrived and the audience started to cheer, I felt I was watching a “macho” director brainwash audience members into blindly accepting the worst stereotypes of jingoistic male behavior.

Dallas Buyers Club: Shame on Dallas Buyers Club for completely ignoring the LGBT as a group who drove the fight against AIDS to the forefront. The only time gays were mentioned was to let Matthew McConaughey's homophobic redneck character get a laugh at the expense of Jared Leto's transsexual character. The film made it seem as if the whole AIDS community stood on the shoulders of Ron Woodruff when in fact, groups like Act Up were starting the war for proper testing and more drugs way before Ron entered into the picture. It completely demeaned the backdrop Dallas Buyers Club was utilizing for their own characterizing "hero" agenda. Also the film took an extreme opinion against the AZT drug in favor for a plot line when in fact it was helping some patients. The only saving grace was Jared Leto's fantastic performance but unfortunately it wasn't enough.

Enough Already: Why is it that when actresses and even screen goddesses hit a certain age, they're all cast as nags, loons and shrews. No matter how accomplished any of these films may be, the tally of older actress shrewish nags on board is really high this year, as usual. Including Oprah Winfrey in The Butler, Meryl Streep and Julia Roberts in August: Osage County, Cate Blanchett and Sally Hawkins in Blue Jasmine, June Squibb in Nebraska, Kristin Scott Thomas in Only God Forgives, and Julianne Moore in Carrie. Refreshing exceptions being Judi Dench in Philomena, Yolonda Ross in Go For Sisters, and Mary Steenburgen in Last Vegas.

Gravity: The women in this group make meaningful choices each year so they speak for me in these areas, the lone exception being Sandra Bullock's performance in Gravity. She's a fine actress, but I found the character to be whiny, cowardly, and full of the wrong stuff - a damsel in distress who needed a man (even if it was just her imagination) to pull her out of danger. I can hardly believe they'd send someone so panicky into space. Give me Sigourney Weaver any day.

Les Salauds [Bastards]: All of the women in this film are depicted as complicit in their own oppression and exploitation. Though it’s a patriarchal system that they exist within, they refuse to fight for themselves or each other, even when a minor is involved. The indictment then is not of the men but of the women. I found this problematic and disappointing from Denis.

Spring Breakers: No depth, little plot and a pitiful depiction of today's college kids. Gratuitous in nothing more than flesh and violence. A grossly and dangerously skewed depiction of young women and their values in today's America.

*Please Note: The WFCC Top Ten Hall Of Shame represents the ‘don’t tell me to shut up’ sidebar contribution of individual members, and does not necessarily reflect the opinions of the entire Circle. Or may even dissent from an awarded nomination. Also, members may be objecting to particular characters in a film, and not the entire movie. Clarification: If an aspect of the movie is intentionally negative to make a point, rather than offensive, that is not under consideration for this category.

*ADRIENNE SHELLY AWARD: Adrienne Shelly was a promising actress and filmmaker who was brutally strangled in her apartment in 2006 at the age of forty by a construction worker in the building, after she complained about noise. Her killer tried to cover up his crime by hanging her from a shower rack in her bathroom, to make it look like a suicide. He later confessed that he was having a “bad day.” Shelly, who left behind a baby daughter, had just completed her film Waitress, which she also starred in, and which was honored at Sundance after her death.

*JOSEPHINE BAKER AWARD: The daughter of a laundress and a musician, Baker overcame being born black, female and poor, and marriage at age fifteen, to become an internationally acclaimed legendary performer, starring in the films Princess Tam Tam, Moulin Rouge and Zou Zou. She also survived the race riots in East St. Louis, Illinois as a child, and later expatriated to France to escape US racism. After participating heroically in the underground French Resistance during WWII, Baker returned to the US where she was a crusader for racial equality. Her activism led to attacks against her by reporter Walter Winchell who denounced her as a communist, leading her to wage a battle against him. Baker was instrumental in ending segregation in many theaters and clubs, where she refused to perform unless integration was implemented.

*KAREN MORLEY AWARD: Karen Morley was a promising Hollywood star in the 1930s, in such films as Mata Hari and Our Daily Bread. She was driven out of Hollywood for her leftist political convictions by the Blacklist and for refusing to testify against other actors, while Robert Taylor and Sterling Hayden were informants against her. And also for daring to have a child and become a mother, unacceptable for female stars in those days. Morley maintained her militant political activism for the rest of her life, running for Lieutenant Governor on the American Labor Party ticket in 1954. She passed away in 2003, unrepentant to the end, at the age of 93.

http://wfcc.wordpress.com/

-------------------------------------

Utah Film Critics Choose "Gravity" as the Best Picture of 2013

The Utah Film Critics Association is an organization of cinema journalists affiliated with publications, broadcasting stations, and online media based in the state of Utah.  The group meets every December to votr on the Utah Film Critics Association Awards.

2013 Utah Film Critics Association Award winners:

Best Picture: "Gravity"
(Runner-up: "12 Years a Slave")

Best Director: Alfonso Cuarón, "Gravity"
(Runner-up: Steve McQueen, "12 Years a Slave")

Best Actor: Chiwetel Ejiofor, "12 Years a Slave"
(Runner-up: Oscar Isaac, "Inside Llewyn Davis")

Best Actress: Adèle Exarchopoulos, "Blue is the Warmest Color"
(Runner-up: [tie] Cate Blanchett, "Blue Jasmine" and Sandra Bullock, "Gravity")

Best Supporting Actor: Bill Nighy, "About Time"
(Runner-up: Michael Fassbender, "12 Years a Slave")

Best Supporting Actress: Scarlett Johansson, "Her"
(Runner-up: Jennifer Lawrence, "American Hustle")

Best Adapted Screenplay: "Before Midnight"
(Runner-up: "12 Years a Slave")

Best Original Screenplay: "The World's End"
(Runner-up: "The Way, Way Back")

Best Cinematography: "Gravity"
(Runner-up: "Inside Llewyn Davis")

Best Animated Feature: "Frozen"
(Runner-up: [tie] "From Up on Poppy Hill" and "The Wind Rises")

Best Non-English Language Feature: "Blue is the Warmest Color"
(Runner-up: "The Past")

---------------------------------

Review: "Barton Fink" is Something ... Else (Happy B'day, John Turturro)

TRASH IN MY EYE No. 72 (of 2003) by Leroy Douresseaux

Barton Fink (1991)
Running time:  116 minutes (1 hour, 56 minutes)
MPAA – R for language and some scenes of violence
DIRECTOR:  Joel Coen
WRITERS:  Ethan Coen and Joel Coen
PRODUCER:  Ethan Coen
CINEMATOGRAPHER:  Roger Deakins (D.o.P.)
EDITOR:  Roderick Jaynes (The Coen Brothers)
COMPOSER:  Carter Burwell
Academy Award nominee

COMEDY/DRAMA/THRILLER

Starring:  John Turturro, John Goodman, Judy Davis, Michael Lerner, John Mahoney, Tony Shalhoub, Jon Polito, and Steve Buscemi

The subject of this movie review is Barton Fink, a 1991 period drama co-written and directed by Joel Coen and co-written and produced by Ethan Coen, although both brothers likely shared in producing and directing the film.  Barton Fink focuses on a renowned New York playwright who is enticed to Hollywood to write film scripts for a film studio only to discover hellish truths about his new job and home.

In 1991, The Coen Brothers, co-writer/director Joel and co-writer/producer Ethan, took the Cannes Film Festival by storm with their film Barton Fink, winning the Golden Palm as Best Picture and the award for Best Direction (an award that Joel has since won twice more).  John Turturro also won the Best Actor award for his role as the title character.  As much as I like the Coens' work, this is by far my least favorite film of theirs.

In 1941, intellectual New York playwright Barton Fink (John Turturro) moves to California to write a B-movie script for a major studio.  His new boss, Jack Lipnick (Michael Lerner) wants that Barton Fink touch for a new Wallace Beery wrestling movie.  Fink takes up residence in the Hotel Earle, a rundown establishment with a sheen of faux-grandeur.  He eventually meets his neighbor, the blustery, strange, and mysterious Charlie Meadows (John Goodman), who claims to be a traveling insurance salesman.  Although he meets many interesting characters, Fink is busy fighting writer’s block, and his new home becomes a hell for him as his deadline to deliver a script looms.

The first warning to a viewer before he sees Barton Fink is that the film is surrealistic, a situation in which the story contains lots of symbolism.  This is not standard, linear filmmaking, so the viewer has to closely watch the film for visual hints and listen to the soundtrack for audio clues to understand the story in lieu of having literal, obvious story details.  Don’t read this sentence as it may spoil the surprise of unraveling this film’s mysteries:  Hotel Earle is hell, the hell in which Barton suffers writer’s block, and Charlie Meadows is not only a killer, but he may well be “the devil.”  If you try to take this film literally, you will find it atrocious and boring.  Creative people, especially writers, will certainly understand, through Barton, the intense frustration that writer’s block can cause a scribe.

Still, for all its pretensions to art and its portrayal of the intellectual’s strong need to produce “something good,” Barton Fink is a misstep.  I will give a hearty nod to the Coens' ambitious intentions.  The acting is very good.  It’s less technical and more show.  It’s flamboyant and colorful and immediately describes the characters to the audience, none of this serious method stuff, just old-fashioned, grand pretending that fills the screen.  I really liked the film’s element of suspense and mystery.  The hotel is automatically creepy, but it’s nothing compared to the unusual landscape of the relationship between the characters.  One thing that certainly kept my interest was trying to figure out what these people had going on amongst themselves.  I could understand when two people were connected, but the joy was figuring out why they had a relationship.

Overall, the film is slow and occasionally plodding, especially in between moments of drama and intrigue, but the brothers have a way of waking you up just when you think that their film is loosing steam.  I recommend this to fans of the Coens’ films and to people who like that different kind of film that is called “art,” the ones that are about something other than just entertaining you.

No sirree, Bob.  The Coens might entertain you, but never at the cost of giving you cheap candy, not when they can use their talents to make a complicated confection, even if the end result doesn’t quite taste right.

5 of 10
B-

NOTES:
1992 Academy Awards, USA:  3 nominations: “Best Actor in a Supporting Role” (Michael Lerner), “Best Art Direction-Set Decoration” (Dennis Gassner and Nancy Haigh), and “Best Costume Design” (Richard Hornung)

1992 Golden Globes, USA:  1 nomination: “Best Performance by an Actor in a Supporting Role in a Motion Picture” (John Goodman)

1991 Cannes Film Festival:  3 wins: “Best Actor” (John Turturro), “Best Director” (Joel Coen), and “Palme d'Or” (Joel Coen-won unanimously)

Updated:  Friday, February 28, 2014

The text is copyright © 2014 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

----------------------

"12 Years a Slave" Captures Southeastern Film Critics Awards

The Southeastern Film Critics Association (SEFCA) is a professional organization of more than 40 film journalists working in the print, radio and online media, representing the Southeastern section of the United States: Alabama, Arkansas, Florida, Georgia, Louisiana, North Carolina, South Carolina, Tennessee and Virginia.  Since 1992, SEFCA seeks to “promote the art of film criticism, the ethics of journalism and the camaraderie of peers among professionals working in the print, radio and online media in the Southeast.”

2013 SEFCA Winners:

Top 10
1. "12 Years a Slave"
2. "Gravity"
3. "American Hustle"
4. "Her"
5. "Inside Llewyn Davis"
6. "Nebraska"
7. "Dallas Buyers Club"
8. "Philomena"
9. "Captain Phillips"
10. "The Wolf of Wall Street"

Best Actor: Chiwetel Ejiofor, "12 Years a Slave" (Runner-up: Matthew McConaughey, "Dallas Buyers Club")

Best Actress: Cate Blanchett, "Blue Jasmine" (Runner-up: Judi Dench, "Philomena")

Best Supporting Actor: Jared Leto, "Dallas Buyers Club" (Runner-up: Michael Fassbender, "12

Best Supporting Actress: Lupita Nyong’o, "12 Years a Slave" (Runner-up: Jennifer Lawrence, "American Hustle")

Best Director: Steve McQueen, "12 Years a Slave" (Runner-up: Alfonso Cuaròn, "Gravity")

Best Ensemble: "American Hustle" (Runner-up: "12 Years a Slave")

Best Adapted Screenplay: "12 Years a Slave" (Runner-up: "Philomena")

Best Original Screenplay: "American Hustle" (Runner-up: "Her")

Best Documentary: "The Act of Killing" (Runners-up: "Blackfish," "Muscle Shoals")

Best Foreign Language Film: "The Hunt" (Runner-up: "Blue is the Warmest Color")

Best Animated Film: "Frozen" (Runner-up: "The Wind Rises")

Best Cinematography: "Gravity" (Runner-up: "12 Years a Slave")

Gene Wyatt Award: Jeff Nichols, "Mud" (Runner-up: Greg "Freddy" Cammalier, "Muscle Shoals")

--------------------------------------------

"12 Years a Slave" Dominates St. Louis Film Critics Awards

The St. Louis Film Critics is an association of professional film critics operating in metropolitan St. Louis and adjoining areas of Missouri and Illinois.  Founded in late 2004, the group’s goals (according to the website) are to serve the interests of local film critics, and to promote an appreciation for cinema both as an art form and for its societal, cultural and historical context and impact.

The eligibility requirements for a SLFC Award, according to the group’s website:  a film must have been shown in the greater St. Louis area in a theater or at a film festival or series, or made available to SLFC members by screening or screener during the past year. Films opening in limited run elsewhere for Oscar qualification but which will open in the St. Louis area early in the next year are eligible.

2013 SLFC Awards:

Best Film: "12 Years a Slave"
(Runner-up: "American Hustle")

Best Director: Steve McQueen, "12 Years a Slave"
(Runner-up: Alfonso Cuarón, "Gravity")

Best Actor: Chiwetel Ejiofor, "12 Years a Slave"
(Runner-up: Matthew McConaughey, "Dallas Buyers Club")

Best Actress: Cate Blanchett, "Blue Jasmine"
(Runner-up: Meryl Streep, "August: Osage County")

Best Supporting Actor: Jared Leto, "Dallas Buyers Club"
(Runner-up: Will Forte, "Nebraska")

Best Supporting Actress: Lupita Nyong'o, "12 Years a Slave"
(Runner-up: June Squibb, "Nebraska")

Best Adapted Screenplay: "12 Years a Slave"
(Runner-up: "Philomena")

Best Original Screenplay: "Her"
(Runner-up: "American Hustle")

Best Art Direction: "The Great Gatsby"
(Runner-up: "Her")

Best Cinematography: "12 Years a Slave"
(Runner-up: "Gravity")

Best Musical Score: "Her"
(Runners-up: "Gravity," "Nebraska")

Best Soundtrack: "Inside Llewyn Davis"
(Runner-up: "Frozen")

Best Animated Film: "Frozen"
(Runner-up: "The Wind Rises")

Best Non-English Language Film: "Blue is the Warmest Color"
(Runner-up: "Wadjda")

Best Documentary: "Blackfish"
(Runners-up: "The Act of Killing," "Stories We Tell")

Best Art House or Festival Film: "Short Term 12"
(Runners-up: "Blue is the Warmest Color," "Frances Ha")

Best Comedy: (tie) "Enough Said" and "The World's End"

Best Scene (favorite movie scene or sequence): "12 Years a Slave" — The hanging scene
(Runner-up: "Gravity" — The opening tracking shot)

www.stlfilmcritics.org

------------------------------

Oklahoma Film Critics Love "Her" as Best of 2013

The Oklahoma Film Critics Circle (OFCC) is the statewide group of professional film critics.  OFCC members are Oklahoma-based movie critics who write for print, broadcast and online outlets that publish or post reviews of current film releases.

The OFCC announced its 8th annual awards list in early January of 2014.

The OFCC 2013 Film Awards:

Best Film: "Her"

Top 10 Films:
“Her”
“American Hustle”
“12 Years a Slave
“Gravity”
“Inside Llewyn Davis”
“Captain Philips”
“The Wolf of Wall Street”
“All Is Lost”
“Dallas Buyers Club”
“Prisoners”

Best Director: Alfonso Cuaron, “Gravity”

Best Actor: Chiwetel Ejiofor, “12 Years a Slave”

Best Actress: Cate Blanchett, “Blue Jasmine”

Best Animated Film: “Frozen”

Best Body of Work: Matthew McConaughey (“Dallas Buyers Club,” “Mud,” “The Wolf of Wall Street”)

Best Documentary: “The Act of Killing”

Best First Feature: “Fruitvale Station," Ryan Coogler

Best Foreign Language Film: “The Hunt”

Best Guilty Pleasure: “Iron Man 3”

Not-So-Obviously Worst Movie: “August: Osage County”

Obviously Worst Movie: “Grown Ups 2”

Best Original Screenplay: Spike Jonze, "Her"

Best Adapted Screenplay: John Ridley, "12 Years a Slave”

Best Supporting Actor: Jared Leto, “Dallas Buyers Club”

Best Supporting Actress: Jennifer Lawrence, “American Hustle”

---------------------------------