This is the thread where we discuss matters pertaining to the detrius that accompanies the "End of the Year in Cinema" -- 2023

Sight and Sound

https://www.bfi.org.uk/sight-and-sound/polls/50-best-films-2023

10. May December
9. Do Not Expect Too Much from the End of the World
8. Anatomy of a Fall
7. Passages
6. Barbie
5. Oppenheimer
4. Poor Things
3. Past Lives
2. The Zone of Interest
1. Killers of the Flower Moon

Not a bad list.

I'm definitely getting to "that part of the season." Other than #9, that list feels a bit white noisy to me. We'll see what Film Comment comes up with

I do love seeing Barbenheimer permanently locked in a tie there, tho

Oh, maybe only three of those films at most would make my top 20

I do love that S&S evidently uses ILX film poll rules regarding eligibility. If you wanna list it, go ahead

Chicago does their "too much" thing (nominations, instead of just handing out some damned awards right off the bat):

BEST PICTURE
Barbie
Killers of the Flower Moon
May December
Oppenheimer
Poor Things

BEST DIRECTOR
Greta Gerwig, Barbie
Todd Haynes, May December
Yorgos Lanthimos, Poor Things
Christopher Nolan, Oppenheimer
Martin Scorsese, Killers of the Flower Moon

BEST ACTOR
Leonardo DiCaprio, Killers of the Flower Moon
Paul Giamatti, The Holdovers
Cillian Murphy, Oppenheimer
Andrew Scott, All of Us Strangers
Teo Yoo, Past Lives

BEST ACTRESS
Lily Gladstone, Killers of the Flower Moon
Sandra Huller, Anatomy of a Fall
Natalie Portman, May December
Margot Robbie, Barbie
Emma Stone, Poor Things

BEST SUPPORTING ACTOR
Robert Downey Jr., Oppenheimer
Ryan Gosling, Barbie
Glenn Howerton, Blackberry
Charles Melton, May December
Mark Ruffalo, Poor Things

BEST SUPPORTING ACTRESS
Jodie Foster, NYAD
Sandra Huller, The Zone of Interest
Rachel McAdams, Are You There, God? It’s Me, Margaret
Julianne Moore, May December
Da’Vine Joy Randolph, The Holdovers

BEST ORIGINAL SCREENPLAY
Anatomy of a Fall by Arthur Harari & Justine Triet
Barbie by Greta Gerwig
The Holdovers by David Hemingson
May December by Samy Burch
Past Lives by Celine Song

BEST ADAPTED SCREENPLAY
Are You There, God? It’s Me, Margaret by Kelly Fremon Craig
Killers of the Flower Moon by Eric Roth & Martin Scorsese
Oppenheimer by Christopher Nolan
Poor Things by Tony McNamara
The Zone of Interest by Jonathan Glazer

BEST ANIMATED FEATURE
The Boy and the Heron
Leo
Robot Dreams
Spider-Man: Across the Spider-verse
Teenage Mutant Ninja Turtles: Mutant Mayhem

BEST DOCUMENTARY
20 Days in Mariupol
Beyond Utopia
Kokomo City
Menus-Plaisirs - Les Troisgros
Still: A Michael J. Fox Movie

BEST FOREIGN LANGUAGE FILM
Anatomy of a Fall
The Boy and the Heron
Godzilla Minus One
The Teachers’ Lounge
The Zone of Interest

MILOS STEHLIK AWARD FOR BREAKTHROUGH FILMMAKER
Kyle Edward Ball, Skinamarink
Raven Jackson, All Dirt Roads Taste of Salt
Cord Jefferson, American Fiction
A.V. Rockwell, A Thousand and One
Celine Song, Past Lives

MOST PROMISING PERFORMER
Abby Ryder Fortson, Are You There, God? It’s Me, Margaret
Milo Machado Graner, Anatomy of a Fall
Charles Melton, May December
Dominic Sessa, The Holdovers
Teo Yoo, Past Lives

BEST ART DIRECTION/PRODUCTION DESIGN
Asteroid City
Barbie
Killers of the Flower Moon
Oppenheimer
Poor Things

BEST CINEMATOGRAPHY
Asteroid City, Robert D. Yeoman
Killers of the Flower Moon, Rodrigo Prieto
Oppenheimer, Hoyte Van Hoytema
Poor Things, Robbie Ryan
The Zone of Interest, Lukasz Zal

BEST COSTUME DESIGN
Asteroid City, Milena Canonero
Barbie, Jacqueline Durran
Killers of the Flower Moon, Jacqueline West
Poor Things, Holly Waddington
Priscilla, Stacey Battat

BEST EDITING
All Dirt Roads Taste of Salt
John Wick: Chapter 4
Killers of the Flower Moon
Mission: Impossible: Dead Reckoning – Part One
Oppenheimer

BEST ORIGINAL SCORE
Barbie, Mark Ronson & Andrew Wyatt
Killers of the Flower Moon, Robbie Robertson
Oppenheimer, Ludwig Goransson
Poor Things, Jerskin Fendrix
The Zone of Interest, Mica Levi

BEST USE OF VISUAL EFFECTS
Barbie
Godzilla Minus One
Mission: Impossible: Dead Reckoning – Part One
Oppenheimer
Poor Things

Florida does that too, missy.

Sorry to say it, but just hand out the awards

I will say this, if you're gonna nominate All of Us Strangers for only one thing, Chicago got that one thing right

Hey, I'm not the boss. It mean two press releases.

Best Hair -- Paul Mescal
Best Use of Body Fluid -- Paul Mescal and Andrew Scott

Best Hair -- M3GAN

I completely forgot the creepy robot movie even happened

LA and Boston (first runner up of the “not NY/LA/Nat’l Soc” groups imo) are voting today. Boston’s already given its first two awards (music and editing) to KILLER FLOWERS.

Both groups gave best director (and seem poised to give best film) to The Zone of Interest.

and LA loved Huller

LAFCA:

Best Picture: “The Zone of Interest” (A24)

Runner-up: “Oppenheimer” (Universal Pictures)

Best Director: Jonathan Glazer — “The Zone of Interest” (A24)

Runner-up: Yorgos Lanthimos — “Poor Things” (Searchlight Pictures)

Leading Performances: Sandra Hüller, “Anatomy of a Fall” (Neon) and “The Zone of Interest” (A24); Emma Stone, “Poor Things” (Searchlight Pictures)

Runners-up: Andrew Scott, “All of Us Strangers” (Searchlight Pictures); Jeffrey Wright, “American Fiction” (MGM)

Supporting Performances: Rachel McAdams, “Are You There God? It’s Me, Margaret” (Lionsgate); Da’Vine Joy Randolph, “The Holdovers” (Focus Features)

Runners-up: Lily Gladstone, “Killers of the Flower Moon” (Apple Original Films/Paramount Pictures); Ryan Gosling, “Barbie” (Warner Bros.)

Best Screenplay: “All of Us Strangers” (Searchlight Pictures) — Andrew Haigh

Runner-up: “May December” (Netflix) — Samy Burch

Best Cinematography: “Poor Things” (Searchlight Pictures) — Robbie Ryan

Runner-up: “Barbie” (Warner Bros.) and “Killers of the Flower Moon” (Apple Original Films/Paramount Pictures) — Rodrigo Prieto

Best Editing: “Anatomy of a Fall” (Neon) — Laurent Sénéchal

Runner-up: “All of Us Strangers” (Searchlight Pictures) — Jonathan Alberts

Best Production Design: “Barbie” (Warner Bros.) — Sarah Greenwood

Runner-up: “Poor Things” (Searchlight Pictures) — Shona Heath, James Price

Best Music Score: “The Zone of Interest” (A24) — Mica Levi (with special recognition of the contribution of sound designer Johnnie Burn)

Runner-up: “Barbie” (Warner Bros.) — Mark Ronson, Andrew Wyatt

Best Foreign Language: “Anatomy of a Fall” (Neon)

Runner-up: “Tótem”

Best Documentary/Non-Fiction Film: “Menus-Plaisirs – Les Troisgros” (Zipporah Films) — dir. Frederick Wiseman

Runner-up: “The Eternal Memory” (MTV Documentary Films)

Best Animation: “The Boy and the Heron” (GKids)

Runner-up: “Robot Dreams” (Neon)

New Generation Award: Celine Song for “Past Lives” (A24)

Douglas Edwards Experimental Film Prize: “Youth (Spring)” — Wang Bing

Career Achievement Award: Agnieszka Holland

I haven't seen any of these, but the LAFCA awards just look better than the NYFCC awards this year

I don't know - they mostly leaned on films that left me with very mixed feelings (i.e. none I'd call favorites). The Zone of Interest, Oppenheimer, Anatomy of a Fall...

Regardless, I thought it was a pretty solid year, if not spectacular.

It's a wonderful year! And my top twenty will likely only include Anatomy... in that list.

Glad the likes of J3ffr3y W and S4sh4 S will be mega triggered that only women won acting prizes from LA

And now the Golden Globes ... which, while usually the height of detrius, this year at least found room to nomninate Alma Pöysti in Fallen Leaves, which is really cool.

Best Motion Picture, Drama

“Oppenheimer” (Universal Pictures)
“Killers of the Flower Moon” (Apple Original Films/Paramount Pictures)
“Maestro” (Netflix)
“Past Lives” (A24)
“The Zone of Interest” (A24)
“Anatomy of a Fall” (Neon)

Best Picture, Musical or Comedy

“Barbie” (Warner Bros.)
“Poor Things” (Searchlight Pictures)
“American Fiction” (MGM)
“The Holdovers” (Focus Features)
“May December” (Netflix)
“Air” (Amazon MGM Studios)

Best Picture, Non-English Language

“Anatomy of a Fall” (Neon) — France
“Fallen Leaves” (Mubi) — Finland
“Io Capitano” (01 Distribution) — Italy
“Past Lives” (A24) — United States
“Society of the Snow” (Netflix) — Spain
“The Zone of Interest” (A24) — United Kingdom

Best Director, Motion Picture

Bradley Cooper — “Maestro”
Greta Gerwig — “Barbie”
Yorgos Lanthimos — “Poor Things”
Christopher Nolan — “Oppenheimer”
Martin Scorsese — “Killers of the Flower Moon”
Celine Song — “Past Lives”

Best Screenplay, Motion Picture

“Barbie” — Greta Gerwig, Noah Baumbach
“Poor Things” — Tony McNamara
“Oppenheimer” — Christopher Nolan
“Killers of the Flower Moon” — Eric Roth, Martin Scorsese
“Past Lives” — Celine Song
“Anatomy of a Fall” — Justine Triet, Arthur Harari

Best Performance by an Actor in a Motion Picture, Drama

Bradley Cooper — “Maestro”
Cillian Murphy — “Oppenheimer”
Leonardo DiCaprio — “Killers of the Flower Moon”
Colman Domingo — “Rustin”
Andrew Scott — “All of Us Strangers”
Barry Keoghan — “Saltburn”

Best Performance by an Actress in a Motion Picture, Drama

Lily Gladstone — “Killers of the Flower Moon”
Carey Mulligan – “Maestro”
Sandra Hüller – “Anatomy of a Fall”
Annette Bening — “Nyad”
Greta Lee — “Past Lives”
Cailee Spaeny — “Priscilla”

Best Performance by an Actress in a Motion Picture, Musical or Comedy

Fantasia Barrino – “The Color Purple”
Jennifer Lawrence – “No Hard Feelings”
Natalie Portman – “May December”
Alma Pöysti – “Fallen Leaves”
Margot Robbie – “Barbie”
Emma Stone – “Poor Things”

Best Performance by an Actor in a Motion Picture, Musical or Comedy

Nicolas Cage — “Dream Scenario”
Timothée Chalamet — “Wonka”
Matt Damon — “Air”
Paul Giamatti — “The Holdovers”
Joaquin Phoenix — “Beau Is Afraid”
Jeffrey Wright — “American Fiction”

Best Supporting Actor – Motion Picture

Willem Dafoe — “Poor Things”
Robert DeNiro — “Killers of the Flower Moon”
Robert Downey Jr. — “Oppenheimer”
Ryan Gosling — “Barbie”
Charles Melton — “May December”
Mark Ruffalo — “Poor Things”

Best Supporting Actress, Motion Picture

Emily Blunt — “Oppenheimer”
Danielle Brooks — “The Color Purple”
Jodie Foster — “Nyad”
Julianne Moore — “May December”
Rosamund Pike — “Saltburn”
Da’Vine Joy Randolph — “The Holdovers”

Best Original Score, Motion Picture

Ludwig Göransson — “Oppenheimer”
Jerskin Fendrix — “Poor Things”
Robbie Robertson — “Killers of the Flower Moon”
Mica Levi — “The Zone of Interest”
Daniel Pemberton — “Spider-Man: Across the Spider-Verse”
Joe Hisaishi — “The Boy and the Heron”

Best Original Song, Motion Picture

“Barbie” — “What Was I Made For?” by Billie Eilish and Finneas
“Barbie” — “Dance the Night” by Caroline Ailin, Dua Lipa, Mark Ronson and Andrew Wyatt
“She Came to Me” — “Addicted to Romance” by Bruce Springsteen and Patti Scialfa
“The Super Mario Bros. Movie” — “Peaches” by Jack Black, Aaron Horvath, Michael Jelenic, Eric Osmond, and John Spiker
“Barbie” — “I’m Just Ken” by Mark Ronson, Andrew Wyatt
“Rustin” — “Road to Freedom” by Lenny Kravitz

Best Motion Picture, Animated

“The Boy and the Heron” (GKids)
“Elemental” (Disney)
“Spider-Man: Across the Spider-Verse” (Sony Pictures)
“The Super Mario Bros. Movie” (Universal Pictures)
“Suzume” (Toho Co.)
“Wish” (Disney)

Cinematic and Box Office Achievement

“Barbie” (Warner Bros.)
“Guardians of the Galaxy Vol. 3” (Disney)
“John Wick: Chapter 4” (Lionsgate Films)
“Mission: Impossible — Dead Reckoning Part One” (Paramount Pictures)
“Oppenheimer” (Universal Pictures)
“Spider-Man: Across the Spider-Verse” (Sony Pictures)
“The Super Mario Bros. Movie” (Universal Pictures)
“Taylor Swift: The Eras Tour” (AMC Theatres)

Seems like Past Lives benefited from the expansion from 5 to 6 nominees per category.

Not sure about that foreign language nomination, tho

That supporting actor lineup will just not be cracked. Sorry, Glenn Howerton

Air over The Color Purple in best musical/comedy doesn't bode well for the latter's Oscar chances, though I think that could change if TCP does well at the box office.

If box office is robust, all bets are off, but it doesn't seem like the sort of movie that's going to do Greatest Showman numbers.

I'm not getting my hopes unnecessarily up for a best actress Oscar lineup that is majority foreign-language/bilingual

I'm filling out my FFCC ballot as I type.

Glad to see Portman in comedy!

Here we go -- another year when certain tropes in casting Black supporting actresses never get vetoed.

I didn’t remember Wonka is also a musical … so two big splashy year-end musicals fail to make best picture in a category partially designed specifically for them, and Air somehow momentarily escapes its fate as a movie no one remembers three years from now

Here’s Amy Taubin’s yanked-from-Artforum top 10 list;

We're humbled to share Amy Taubin's (@AmyOrNot) Best Films of 2023 list, which was pulled from the December issue of Artforum in protest against the firing of the magazine’s great editor-in-chief David Velasco. https://t.co/AbXrh6pTJZ

— Screen Slate (@ScreenSlate) December 12, 2023

May December is a comedy now? ok

Its own producer called it a funny movie fwiw

Another Artforum cast-off

The decision to retract my list from Artforum and publish it myself wasn't an easy one, but it felt like the right thing to do. And if you ask Artforum about this, they will deny it just to save face

— Charles Bramesco (@intothecrevasse) December 12, 2023

May December is a comedy now? ok

― I? not I! He! He! HIM! (akm), Tuesday, December 12, 2023 11:43 AM (twenty-four minutes ago) bookmarkflaglink

Yes. I laughed every few minutes

it is simultaneously fucking hilarious and deeply unsettling. just like all of my favorite novels

Yep, which is why I rank it right up there with Safe and Superstar as his best

From the BFI ballots, J.Ro’s top 10

Jonathan Rosenbaum
Critic, USA

Afire (Christian Petzold, Germany)
Barbie (Greta Gerwig, US)
The Daughters of Fire (Pedro Costa, Portugal)
Killers of the Flower Moon (Martin Scorsese, US)
Master Gardener (Paul Schrader, US)
No Bears (Jafar Panahi, Iran)
The Runner (1984) (Amir Naderi, Iran)
Saint Omer (Alice Diop, France)
The Taking (Alexandre O. Philippe, US)
The Wonderful Story of Henry Sugar (Wes Anderson, UK, US)

Alphabetical order. Although we tend to embrace the expedient fiction that all films are created equal, my inability to see the latest Radu Jude feature before the October deadline has to weighed against how much easier it was to get to the Anderson, Gerwig, Schrader, and Scorsese. Money talks – and, indeed, canonises.

Three of those are 2022 releases going with the U.S. theatrical release - maybe there was a belated U.K. release?

(The three being No Bears, the belated theatrical distribution of The Runner, and Saint Omer. All great FWIW.)

Chicago gets right into the middle(brow) of it all:

Best Picture: Killers of the Flower Moon
Best Director: Christopher Nolan, Oppenheimer
Best Actor: Paul Giamatti, The Holdovers
Best Actress: Emma Stone, Poor Things
Best Supporting Actor: Charles Melton, May December
Best Supporting Actress: Da’Vine Joy Randolph, The Holdovers
Best Original Screenplay: Samy Burch, May December
Best Adapted Screenplay: Eric Roth and Martin Scorsese, Killers of the Flower Moon
Best Animated Feature: The Boy and the Heron
Best Documentary: Kokomo City
Best Foreign Language Film: The Zone of Interest

We have spoken!

http://www.floridafilmcritics.com/2023/12/13/oppenheimer-killers-of-the-flower-moon-past-lives-lead-pack-with-most-nominations/

I only got a few of mine in, guess which

exp It's strange how Chicago really put middlebrow criticism on the map with Siskel & Ebert and yet it was also the home base to some of the very best alternative weekly critics of the past 50 years (maybe even the two best).

That's new - autocorrect turning xxp into exp

Rogowski, McAdams, and Weaver?

Were you among those holding Barbie off at the pass?

it was also the home base to some of the very best alternative weekly critics of the past 50 years (maybe even the two best).

Rosenbaum and ... Kehr?

Dave Kehr, correct - though it's kind of weird he did a stint at the Chicago Tribune while Siskel was still there. Per an interview he did decades later (after Siskel had long passed), I think he said the Trib had a falling out with Siskel over something to do with his TV show and hired Kehr to replace him, only to realize soon after that it was stupid to fire a critic who got the paper priceless advertising/publicity via a popular weekly TV show, so they hired him back as a "columnist" with Kehr in Siskel's old position.