Tag Archives: Awards

Failed Critics Podcast: FC Awards 2017

Another year down, and another awards ceremony concluded. Hosts Steve Norman and Owen Hughes are joined by a returning Paul Field to produce another quality end-of-year quiz, and to help us round-up the results from the Failed Critics Awards 2017.

Our huge thanks go out to everybody who took the time to submit nominations in the various categories. We’ll be posting the results as a list later in the week, but for now we hope you have a great New Year!

We’ll return soon for another special live episode recorded in Oxford earlier this year.

Listen via Acast for the most interactive experience

Right-click to download the episode as an mp3

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Failed Critics Awards Voting 2017

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Come on folks, put the tinsel down and mince pies back in the cupboard for just one second and take five minutes out of your busy schedules to vote in the return of the annual Failed Critics Awards.

We’ve made some slight changes to the format from last year, but still hope to receive even more votes than last year. Some categories have been rejigged – top 5 male and top 5 female performances is now simply top 10 performances, and the documentary category now allows you to include documentary series and not just those that received a theatrical release – whilst a couple of additions have made their way into the selection.

To vote, simply complete the form below listing as many (or as few) submissions for each of the following categories:

  • Top 10 films of 2017*
  • Best documentary
  • Best British film
  • Best film not in the English language
  • Best soundtrack
  • Best performance
  • Best programme
  • Best podcast
  • Worst film

*Remember, that’s films that made their general release in the UK between 1 January until 31 December. Ergo, La La Land or Moonlight would count, despite being released in the US in 2016, whereas The Shape of Water and Molly’s Game would not as they are not due for release here until 2018. If you’re still unsure, bring the film up in IMDb and add /releaseinfo to the end of the url and look for ‘UK’.

Voting closes at midnight on Tuesday 26 December. Can’t say fairer than that; I’ve even left you time to watch and vote for Star Wars this year, should you so desire.

The winners will be revealed on our End of Year Awards podcast, released a few days later. A list will also be posted on our Failed Critics Awards page.

If you’re looking for some inspiration, you can flick through our reviews or listen to some of our podcasts over the past year.

VOTING HAS NOW ENDED – THANKS FOR TAKING PART!

Failed Critics Podcast: Awards 2016 – part 2

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Fanfare, please! It’s the final part of our Failed Critics Awards 2016 podcast. We’ve got the full list of all the films to make it onto our top 10 of the year, as voted for by you folks.

Also in part 2, Steve Norman, Owen Hughes, Andrew Brooker and Callum Petch reveal which have been the best performances of 2016 from both male and female actors. Spoiler: Mob Handed star, Yvette Rowland, didn’t make the shortlist – but did Mob Handed make it onto our worst 3 films of the year? Or even our top 10? You’ll just have to listen to find out.

If you missed the podcast yesterday, you can go back and listen to part 1 to find out what our best documentaries, British films, “foreign muck” and soundtracks are.

We’ll be back in the New Year, but until then, we’d just like to express our enormous gratitude to everybody who took the time to vote in this year’s Failed Critics Awards. We’re always surprised at just how many of you there are who are willing to give us any amount of your time, either to listen to the podcast, read our reviews or submit votes. Thanks and here’s hoping you’ll stick with us in 2017!

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Failed Critics Podcast: Awards 2016 – part 1

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Welcome to the first part of this year’s Failed Critics Awards!

Rather than force you to sit through a two-hour podcast only days after our three-hour compilation “best of” episode came out, we’ve split this year’s awards in half.

In part one, hosts Steve Norman and Owen Hughes are joined by Andrew Brooker and Callum Petch to scowl, whoop and whine about the winners in:

  • Best documentary
  • Best British film
  • Best film not in the English language
  • Best soundtrack

As well, of course, as our end of year quiz!

We’ll be back tomorrow (new year’s eve!) with the winners in our best male / female performances, worst films of the year and the big one: Our top 10 movies of 2016 – as voted for by you, our listeners and readers.

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Failed Critics Awards Voting 2016

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Everybody loves lists. Reading them, writing them, or even voting in them – as has happened every December since we began collecting results in 2012 for the annual Failed Critics Awards.

Last year saw us achieve our highest ever number of votes as Mad Max: Fury Road smashed all that came before it to reach top spot on our final 10. Without such a clear runaway leader emerging this year, whatever film you’re voting for has much more of a chance of reaching top spot than in any other year.

To vote, simply complete the form below listing as many (or as few) submissions for each of the following categories:

  • Top 10 films of 2016*
  • Best male performance
  • Best female performance
  • Best documentary
  • Best British film
  • Best film not in the English language
  • Best soundtrack
  • Worst film

*that’s films released in the UK in 2016 only (e.g. Spotlight counts as it was released here in January 2016, but La La Land doesn’t as it isn’t released in the UK until January 2017. If in doubt, add a ‘/releaseinfo’ to the IMDb URL (e.g. http://www.imdb.com/title/tt3783958/releaseinfo))

Voting closes at midnight on Tuesday 27th December. The winners will be revealed on our End of Year Awards podcast, released a few days later. A list will also be posted on our Failed Critics Awards page.

If you’re looking for some inspiration, you can flick through our reviews or listen to some of our podcasts over the past year.

VOTING HAS NOW CLOSED – THANKS FOR TAKING THE TIME TO SUBMIT YOUR NOMINATIONS! RESULTS WILL BE PUBLISHED ON THE AWARDS PAGE

UK Podcaster Awards 2016

Oh, yes, I know. I don’t mean to impose. Far be it from me to tell you what to do with your life. It is indeed a free country, you’re quite right. Nope, I don’t have any authority and no the UK isn’t a dictatorship. I just– it’s only that– I’d like to– yes, but– if you’d just let me speak!

Agh!

Nominating your own podcast for an award in the hope that people will vote for it seems a frightfully self-obssessed and ultimately worthless exercise in egotistical hubris. You scratch my back, and I’ll continue to use both of my hands to keep scratching my front thanks to this particularly arrogant strain of …shingles?… that I appear to have contracted.

I’d like to think I’m self aware enough to know that as weird as it is for me to put my own podcast forward for an award, quite honestly, you don’t podcast every week for four years unless you like the attention and recognition that comes with it – even if it’s just a smidge.

Being squished in between Kermode Uncut and the Barbican Film Podcast on iTunes’ Film Fanatics list is pretty cool, though. Making it to the iTunes front page recently is even cooler. But still, I selfishly want more.

Rather than be professional about all of this and wait until somebody else considers the show good enough to nominate it themselves, I added it to the list of nominees for you. No need to thank me. If you want to vote for the Failed Critics Podcast in the New Media Europe Awards 2016, then please vote via this Facebook poll before the 29th May.

If you haven’t heard of the UK Podcaster Awards before – don’t worry. It’s not just you. There’s a huge and engaging community of UK Podcasters on Facebook, which is updated all the time with useful bits and bobs. People share their expertise and experiences; most are even happy to chat off the main group too.

In fact, that’s what I did last year, which led to me interviewing co-creator of New Media Europe and the UK Podcaster Awards, Izabela Russell.

Inspired by their experiences of how podcasting and new media is treated in the US, Izabela and Mike Russell set up a smaller scale meet-up for UK Podcasters in March 2014 upon their return home.

Their very first event rather impressively had just slightly under 30 people pop along. Shortly afterwards, the larger UK Pod 14 was set up as a 1 day event, which around 100 people attended.

I spoke to Izabela Russell back in November 2015 for a news story I was working on about Wikishuffle, the winners of the inaugural Best Comedy Podcast award last year, who described the original event as “incredible”.

“We thought this is it. This is great,” she said.

“We are making friends the same way we made friends back in the US – and most of all, it’s great to see all of the podcasters that are out there, and they are very serious about podasting. This is definitely a growing niche.”

The success of UK Pod 14 led to the event doubling in size the following year, with the inception of New Media Europe expanding to encompass more than just podcasting. Over 200 podcast and other media enthusiasts and professionals attended the now 2-day long event. The third conference – and importantly for us, the awards ceremony – will be held in just over a month’s time on the 18th of June.

Aggressively going after votes in awards has never been a thing for us; excusing our own end of year awards, of course. Although we have (what I would consider to be) a healthy number of subscribers and downloads for each episode of the Failed Critics Podcast, it’s not necessarily the reason why Steve and I turn up every week. We treat the show as just a relaxed chat amongst pals about whatever films we’ve seen lately and would probably still do it even if we didn’t hit the record button.

But if I denied that even a little part of me wasn’t interested in winning or being nominated for an award at some point, I would be lying. I guess you could call it an ambivalent ambition? If it happens, great. If not, oh well.

This isn’t the first time I’ve talked about this. But I do feel proud to be a part of the indie UK podcast scene at the moment that is rife with talent. Black Hole Media, The Explosive Alan Podcast, Cinematic Dramatic, Podcasts from the Pub, Retro Asylum, Futhead, and they’re just some of the ones not nominated yet!

If you’d like to nominate a podcast or vote for Failed Critics, just visit our Facebook Page on the link below.

Failed Critics Podcast: End of Year Awards 2015

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Votes have been counted, booze has been consumed and a resulting two hour long podcast has been produced, examining each of the winners (and some of the losers) in this year’s Failed Critics Awards.

With Steve Norman absent, it’s up to Matt Lambourne to step in and host our final podcast of the year as Owen Hughes runs through who has won what in all eight of the different categories that our listeners have submitted votes in. Accompanying them both are special guests Callum Petch and Phil Sharman, who duke it out in the opening quiz, before laughing/lamenting the choices for:

Best soundtrack of 2015

Best documentary

Best film not in the English language

Best British film

Best male performance

Best female performance

Worst film of 2015

and of course the definitive Top 10 films of the year.

Thank you to everybody who spared 5 minutes to send in your picks for each of the above – and thanks to all of you who have downloaded our podcast over the past 12 months. You’ve made this year the most successful in our relatively short history and without you, it’d just be Steve and I talking over Skype each week to an invisible audience. Which, quite frankly, would be a bit weird. So thanks for sparing us that indignity, at least!

We’ll be back again the first week of January to review Joy, The Danish Girl and no doubt some other stuff too.

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Vote in the Failed Critics Awards 2015

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With only four podcasts left until the end of 2015 (that’s how we measure time around here) that can mean only one thing: It’s time for you all to vote in this year’s Failed Critics Awards!

Last year we had a record number of voters and with a bit of luck, we hope even more of you will get involved this year too.

To vote, simply complete the form below listing as many (or as few) submissions for each of the following categories:

  1. Top 10 films of 2015*
  2. Best male performance
  3. Best female performance
  4. Best documentary
  5. Best British film
  6. Best film not in the English language
  7. Best soundtrack
  8. Worst film

*that’s films released in the UK in 2015 only (e.g. Whiplash counts, Creed doesn’t)

Voting closes on Sunday 27th December. The winners will be revealed on our End of Year Awards podcast, released a few days later. A list will also be posted on our Failed Critics Awards page.

If you’re looking for some inspiration, you can flick through our reviews or listen to some of our podcasts over the past year.

[VOTING HAS NOW CLOSED]

The 2015 BAFTA Nominees Rundown

With the 2015 BAFTAs coming up, Callum Petch guides you through the likely winners and losers of all of the major categories.

by Callum Petch (Twitter: @CallumPetch)

We have one final stop on the awards train before we reach The 2015 Oscars in almost exactly one month’s time, and that’s The 2015 British Academy Film Awards.  The BAFTAs, for those who don’t know, celebrate the best in the past year of film with an added British tinge due their being a British awards body and all.  Although their main purpose for people like us is to get one last indicator as to how The Academy will be voting come February 22nd, since all of their nominations and eventual awards typically line up with one another.

So, that’s what we’re here to do.  With the awards themselves in just over two weeks, and my having seen just about every single one of the major nominees, I am here to guide you through the major categories, tell you who I feel deserves to win, who you should probably put your money on if you’re a betting kinda person, and any snubs, rule-flaking inclusions or just plain weird things that caught my fancy.  We’re not covering all of them, because we’ll be here all day – although other members of the site may fill in those blanks later if they wish – but we’re doing most of them.  So, without further delay, GRAPPLING HOOK!


lefoBest Animated Film

Nominees: Big Hero 6, The Boxtrolls, The Lego Movie

Who Should Win: Soooo…  I know that I’m supposed to say The Lego Movie, and I do really, really like The Lego Movie, but…  Big Hero 6 is currently playing to my heart way more.  I’m sorry, but it is!  I was actually sat writing about Kung Fu Panda 2 the other day when this quietly devastating yet heart-warming scene from Big Hero 6 popped up into my head and now I just want to go and spend more time with that cast again.  I’m sure whenever I eventually get around to watching The Lego Movie again, I’ll put that back on top but, yeah, I guess I’m switching teams and rooting for Disney.  Sorry, folks.

Who Will Win: Time was that I would say that this was The Lego Movie’s to lose, but with How To Train Your Dragon 2 upsetting it at the Golden Globes and not even being considered in the Oscar category – although I still find that a mostly strong list, so I’m not going to complain much – I really don’t think this is a safe bet anymore.  Big Hero 6 is Disney, so that will always be in the running, and awards bodies are really loving The Boxtrolls it just racked up 13 nominations at this year’s Annie Awards (which, incidentally, is a very lazy set of nominees this year, but this is not the place to talk about that) – so that has a good shot.  My money’s still on The Lego Movie leaving with the award, but don’t be surprised if either of the other two take it instead.

Other Notes: The BAFTAs have always only had three nominees for this category, so that makes snubs more obvious but also, sometimes, more understandable.  Although I was lukewarm on it, I am glad to see Laika rack up another nomination with The Boxtrolls and it deserves that spot more than How To Train Your Dragon 2.  That being said, colour me disappointed that there’s no room for The Book Of Life, which sadly seems destined for cult status rather than mainstream acceptance.  Also, even though there was clearly no chance in hell of it ever happening, I would like to have seen the genuinely excellent My Little Pony: Equestria Girls: Rainbow Rocks get a look-in.


71Outstanding British Film

Nominees: ’71, Paddington, Pride, The Imitation Game, The Theory Of Everything, Under The Skin

Who Should Win: Under The Skin is a film that deserved far more love and attention from awards bodies than it has gotten, although the fact that it’s slipped away with barely any recognition outside of the BAFTAs – Mica Levi’s excellently unsettling score is also up for an award – is kinda fitting really.  It is really not a film for everyone, but its quiet study of gender, sexuality, and gender performance – as well as its quietly furious screed about how casually, and occasionally outwardly hateful, sexist society views and treats women – is utterly gripping and compelling viewing for those willing to work for their films, and Scarlett Johannson puts in the single best performance of all of last year in it, too.  It’s my no. 5 film of 2014, and it deserves this award.

Who Will Win: It won’t, though.  Not by a long shot.  Nor will Paddingtonwhich I did like but don’t get the intense passionate love that critics and audiences are throwing its way – nor will ’71, and most certainly nor will Pride.  See, The Imitation Game and The Theory Of Everything are up for Best Film and it looks real bad if the films that are up for Best Film don’t win Outstanding British Film.  The Weinsteins have been campaigning hard for Imitation Game, but this is the home turf of Working Title’s Tim Bevan and Eric Fellner, which may sway voters towards The Theory Of Everything.  I’m leaning more towards the former, though, so those of you looking for a definite bet should put money on The Imitation Game.

Other Notes: Starred Up should really be in contention.  One of the best British dramas in years and it’s kept out by two slops of porridge?  Ugh.  Ditto for Richard Ayoade’s The Double, which everybody seems to have let undeservedly slide into the background since last April.  I can’t really complain too much, though, 2014 was a very good year for British film and I’m just glad we’ve gotten actual British films filling up the list this year.  You know, unlike last year.


GHB_9907 20130130.CR2Best Original Screenplay

Nominees: Wes Anderson & Hugo Guinness for The Grand Budapest Hotel, Damien Chazelle for Whiplash, Dan Gilroy for Nightcrawler, Alejandro Gonzalez Iñárritu and Nicholás Giacobone and Alexander Dinelaris Jr. and Armando Bo for Birdman, Richard Linklater for Boyhood

Who Should Win: Nice strong list here.  As much as I like Whiplash and Birdman, though, I feel that they are great scripts that are elevated to excellent scripts by everything else from the movie – performances, direction, editing, etc. – so I’m not particularly rooting for them.  The script for The Grand Budapest Hotel is excellent, managing to balance whimsy and light-hearted farcical caper antics with this constant undercurrent of sadness and melancholy, a tale of men born out of time and a nostalgic longing that is admirable but foolhardy.  Meanwhile, Nightcrawler’s script has a tonne of things to say about capitalism, the media, classism, business, and the kind of sociopathic monster that one can be yet still win in our broken society.  I’m good with either of those taking it, leaning more towards Nightcrawler.

Who Will Win: This will be The Grand Budapest Hotel’s consolation prize.  Sure, it received 13 nominations overall, but most of those were in the technical categories that, although deserved, most people, and especially headline writers, don’t care about.  This is where it gets its due in the major categories, to apologise for it having no chance in anything else.  Whiplash has garnered enormous traction as of late, but I still don’t see it going over Grand Budapest here; this one’s basically set in stone.

Other Notes: You will notice that I left out Boyhood whilst I was going through complimenting the nominees.  We’ll come back to that.


gone girlBest Adapted Screenplay

Nominees: Jason Hall for American Sniper, Gillian Flynn for Gone Girl, Paul King & Hamish McCall for Paddington, Anthony McCarten for The Theory Of Everything, Graham Moore for The Imitation Game

Who Should Win: Gillian Flynn for Gone Girl.  Duh.  I really don’t have to say any more than that, do I?  Considering the rest of this field, I really don’t think I do.

Who Will Win: This field is suspiciously weak, full of films that have nothing to say or actively steer themselves away from having anything to say about their subjects or themes (although I do find that a plus in surprise nominee Paddington’s case), almost like it’s been designed with the express purpose of making sure that Gillian Flynn will win.  Hmm, funny that.

Other Notes: Something that became immediately clear to me when this season’s awards films were lined up like this: this was very much a year of films, and especially biopics, about men that spectacularly failed to have anything to say about the men that they’re about.  I mean, this is often a problem with awards bait films – failing to have any thematic arc or insight into their subjects but superficially arranging the beats of a feel-good story to create the illusion that something is being said – but it’s especially true this year.  Maybe that’s a sign that we should diversify who we tell our stories about?


Film Review FoxcatcherBest Supporting Actor

Nominees: Steve Carell as Jon du Pont (Foxcatcher), Ethan Hawke as Mason Evans, Sr. (Boyhood), Edward Norton as Mark Shiner (Birdman), Mark Ruffalo as Dave Schultz (Foxcatcher), J. K. Simmons as Terence Fletcher (Whiplash)

Who Should Win: J. K. Simmons, hands down, no contest.  If you disagree then, quite frankly, you just haven’t seen Whiplash.  Simmons takes the two registers that he typically operates on – hammy shouting fury, and warm paternal comfort – and weaponises them to stunning effect, adding nuance to the character of Fletcher whilst still frequently keeping him at the level of a complete monster.  He is utterly sensational as this utterly inhuman force of nature and rage and he deserves this award far more than anyone else.

Who Will Win: Good thing that he’s guaranteed the win, then.  He’s basically been on a well-deserved awards tour which, on February 22nd, will culminate with the 60 year-old taking the stage at the Dolby Theatre in Los Angeles to collect his first ever Oscar.  For one of our best and most consistent character actors for the last 20 years, in a career-defining role, it will be incredibly satisfying to see.  We’ll get a taste of that feeling at the BAFTAs and it will be wonderful.

Other Notes: Two well-earned nominations for Foxcatcher, although Steve Carell’s appearance here reeks of canny studio awards gaming.  I mean, Best Actor has been a tight lock for months and the chance of anybody unexpected breaking in is slim, so why not position one of the leads of the film as a Supporting Actor in the hopes of at least scoring a nomination?  Of course, there is a case to be made for Ruffalo also being the main character in Foxcatcher, too, but I think this all says more about the clever protagonist shuffling nature of Foxcatcher than anything else.


imitation gameBest Supporting Actress

Nominees: Patricia Arquette as Olivia Evans (Boyhood), Keira Knightley as Joan Clarke (The Imitation Game), Rene Russo as Nina Romina (Nightcrawler), Imelda Staunton as Hefina Headon (Pride), Emma Stone as Sam Thomson (Birdman)

Who Should Win: It takes a damn strong actress willing to put in the extra work to not have the film completely whisked away from them by Jake Gyllenhaal in Nightcrawler, but Rene Russo was more than up to the task.  She excellently embodies a woman who has to fight every day for the power she wields, who hates having to rely on Lou Bloom but recognises his value, and seizes on every possible advantage and opportunity in a desire to raise her stature and influence.  She’s a more socially acceptable version of Lou Bloom, basically, only with some inherent sympathy ingrained in her due to the institutionalised sexism of her line of work, and Russo nails it all totally.  So, yeah, I’m on the Russo train.

Who Will Win: Patricia Arquette has been the front-runner since the second Boyhood had its festival premieres, she has been sweeping practically every awards body that nominates her, and if she doesn’t win the Oscar I will be utterly floored.  She’s going over here.  I am fine with that, she is quite literally the only thing I actually liked about Boyhood, but I’m still going to be a little bitter regardless.

Other Notes: Nice to see Pride get a non-Britain-specific nod!  Really annoyed that it’s not for any of the cast members who played a homosexual – who were the actual goddamn protagonists for that film which, lest we forget, is the reason why Pride works – but at least it’s being recognised for something; that film was a very nice surprise for me.  In terms of snubs, four words, to be repeated for Best Actress: where is Emily Blunt?  Seriously, between Edge Of Tomorrow, Into The Woods, and even her voice work in the dub of The Wind Rises, she’s spent the last year reminding us all that she’s one of the best actresses in film today, but we’ll snub her totally come awards time?  I don’t get that.


TTOE_D17_ 05356.NEFBest Actor

Nominees: Benedict Cumberbatch as Alan Turing (The Imitation Game), Ralph Fiennes as Gustav H. (The Grand Budapest Hotel), Jake Gyllenhaal as Louis Bloom (Nightcrawler), Michael Keaton as Riggan Thomson (Birdman), Eddie Redmayne as Stephen Hawking (The Theory of Everything)

Who Should Win: My heart wants Keaton to win, because it’s Michael Keaton, he is great in Birdman, and I want nice things to happen to the guy.  However, my head has to admit that Gyllenhaal put in the better performance this year – the much better performance – and so I’m backing him to take home the statue.  Plus, based on how The 2014 Failed Critics Awards went, you all would probably tear me shreds if I didn’t.

Who Will Win: All signs point to Eddie Redmayne taking this one with very little effort.  This category has been a constant fight between Redmayne and Keaton since awards season started up in earnest, but the splitting of their performances into separate “Drama/Comedy” categories has made it harder to gauge which is taking the biggest prize home with them.  Keaton has the comeback and long-overdue narrative ingrained in a victory that awards bodies love, but Redmayne has the exact kind of showy, yet empty and trying-way-too-hard performance that awards bodies love.  I think Redmayne is going to take it here, also because he’s on home turf, and then he’ll also pick it up at the Oscars.  Dammit.  Maybe he’ll at least be good in Jupiter Ascending.

Other Notes: Very nice to see Ralph Fiennes get a nomination for Grand Budapest.  This does make me wonder why, mind, Tony Revolori has been totally skipped over for any Best Supporting Actor nominations.  He is very much the heart of the film, arguably more so than Gustave, and Revolori puts in a quietly strong and personal performance that has curiously gone uncelebrated.  Also, we’ll nominate Benedict Cumberbatch but not Ben Affleck for Gone Girl?  Fine, sure, whatever.


la_ca_1202_still_aliceBest Actress

Nominees: Amy Adams as Margaret Keane (Big Eyes), Felicity Jones as Jane Hawking (The Theory of Everything), Julianne Moore as Dr. Alice Howland (Still Alice), Rosamund Pike as Amy Elliott-Dunne (Gone Girl), Reese Witherspoon as Cheryl Strayed (Wild)

Who Should Win: We all saw Gone Girl, yeah?  We all saw Rosamund Pike with her captivating note-perfect Lauren Bacall-referencing performance?  Good, then I don’t have to explain myself further.

Who Will Win: Julianne Moore has been due for decades, she’s finally going over here.  The problem is that she shouldn’t.  I don’t mean this in a subjective opinion way, either, I mean that the BAFTA Eligibility Rules should disqualify her from contention.  As you can check on their own website, only films released in UK cinemas to the general public between January 1st and December 31st of any given year are eligible.  However, if you are a film released in UK cinemas for the general public between January 1st and February 14th of the year in which the awards take place, then you are still eligible for awards contention as long as you screen the film to BAFTA members by December 19th.

Yes, this does all sound more than a little shady and cop-out-y.  It gets worse.  See, even with that very generous window, Still Alice still doesn’t qualify – it doesn’t receive a UK cinema release until March 6th, well past the closing eligibility date – and, therefore, shouldn’t be here!  Selma meanwhile, which does qualify – UK cinema release: February 6th – and which I haven’t seen but I’ve heard is great, is shut out completely.  So, yeah, I am against all of this.  Julianne Moore could put in the single most outstanding performance I have ever seen, and I will still be against her winning.  I’m sorry, but it’s against the rules and am I the only one around here who gives a shit about the rules?

Other Notes: Scarlett Johannson.  Emily Blunt.  That is all.


Whiplash-6606.cr2Best Director

Nominees: Wes Anderson (The Grand Budapest Hotel), Damien Chazelle (Whiplash), Alejandro Gonzalez Iñárritu (Birdman), Richard Linklater (Boyhood), James Marsh (The Theory of Everything)

Who Should Win: Look, I really dislike Boyhood, but I cannot deny the commitment, the energy, the time, and the skill that Richard Linklater put into making the thing.  To shoot one film over 12 years, the logistical and financial nightmare of organising and lining up everyone’s schedules to get this thing to happen, the hard work put in to keeping everyone’s character consistent, and to keep the film looking and remaining visually consistent despite progressing as a director significantly in the space of a decade…  Yeah, I have to respect that and admit that this is an award he should walk away with.

Who Will Win: Like hell is this not going to Linklater.  Maker, from the second this film was in the can, every Best Director gong going today was pre-packaged and all set to be FedExed to his front doorstep.  If he doesn’t win, then I quite frankly have no idea what to believe any more.

Other Notes: No Ava DuVarney for Selma, which is the sole thing that I am saying on the subject until I finally get to see the thing.  More egregiously, no David Fincher – the man who BAFTA quite rightly acknowledged as a superior filmmaker to Tom Hooper 4 years ago, and who put out quite possibly his best work ever, or at least his best directing work ever, this year, is apparently just no match for James Marsh’s directing for The Theory of Everything, a film that I fell asleep during for about five minutes.  Sure, of course he isn’t.


boyhoodBest Film

Nominees: Birdman, Boyhood, The Grand Budapest Hotel, The Imitation Game, The Theory of Everything

Who Should Win: Despite this sudden backlash that has collectively greeted the thing – because apparently we don’t even wait two months now before we try and backpedal on our opinions – I still think Birdman is brilliant and maybe even quietly genius in the way that it’s able to walk so many tightropes without ever properly falling over into un-self-aware “Artist Rants About Mainstream Film, Critics, The Internet and Clouds”.  However, I find The Grand Budapest Hotel to be the best of all of these nominees by a country mile, so I am flying that flag all the way.

Who Will Win: I know that the current narrative is that this is a straight fight between Birdman and Boyhood, with The Imitation Game sneaking its way into contention thanks to the usual Weinstein efforts, but those people are just trying to spice up a narrative to which the ending has been pre-ordained since June.  Boyhood will win with no contest and Richard Linklater will finally pick up a Best Film award, along with finally getting the Oscar equivalent a few weeks’ later.  Shame the film in question sucks.  I broke down here why I strongly dislike Boyhood and why it is objectively a bad film beyond its central gimmick, so I won’t waste time repeating myself.  Just know that I am against this disappointingly inevitable outcome.

Other Notes: 2014 Awards Season.  Otherwise known as “Yay, White Men: Hooray for White Men”.  In fairness, it’s been a pretty poor awards season and Grand Budapest absolutely deserves its spot up there – and I don’t object to Birdman showing up, either.  But it’s also such a safe and blindingly obvious list with little of interest and few of the genuinely interesting or exciting films from this past year.  Where’s NightcrawlerStarred UpWhiplashFoxcatcher?  If you’re gonna choose films about men, why snub the ones that actually have something to say about masculinity and men and challenge current societal notions?  How about Under The SkinGone Girl?  Films that look at the female gender, gender performance, and how society views them?  What happened to Pride, which had things to say about sexuality – far more so than The f*cking Imitation Game – or Belle and Selma, which said cogent things about race (and which I haven’t seen yet but heard excellent things about)?

Look, I and everybody else wouldn’t be getting so angry and worked up and vocal about this if you awards bodies didn’t keep shutting films like those out in favour of paint-by-numbers surface-level slop like The Imitation Game or The Theorzzzzzzzzzzzzzzzzzzzzzzzz.  When you shut out genuinely original and diverse films in favour of interchangeable porridge like those, it’s a slap in the face to those films that try, that offer up a different perspective, and to those of us who demand and wish for diversity and greater representation in film.  You awards bodies carry way more power than you think you do in this day and age, so what you nominate and reward matters.  So when the awards end up as white and male as this, with many of them genuinely not being the best films released in the past 12 months, you’ll have to excuse us for getting upset and calling you out on it.


That’s the rundown.  The BAFTAs themselves occur on February 8th.  Feel free to throw your insights and predictions for the ceremony into the comments below!

Callum Petch is gonna kill yr boyfriend.  Follow him on the Twitters (@CallumPetch) and listen to Screen 1 on Hullfire Radio every Monday at 9PM BST (site link)!

Failed Critics Awards 2014

interstellar 2This time of year always comes around so quickly. No sooner have you sat down to finally get around to loading up Netflix and catching up on some of those films you’ve missed over the last 12 months than we’re asking you to vote in our end of year awards.

If you’re looking for some inspiration, you can flick through our reviews or listen to some of our podcasts over the past year.

To vote for your top 10 films of 2014, top 5 performances, worst 3 films and a few other categories that we’re sure you’re just dying to tell us all about, simply visit our awards page and complete the submission form: https://failedcritics.com/failed-critics-awards/

Voting closes on Monday 22nd December 2014 at 5pm.

Euro Stars

oscarsI’m watching a film trailer for a 2012 release longlisted for an Academy Award, and from what I can gather this is the kind of film which would ordinarily do well with those who hand out the statuettes every spring. Unusually for a film which could be sharing the stage amongst the biggest superstars in Hollywood, there’s very little coverage out there in English, although twelve people have provided ratings for it on IMDB. The trailer suggests this is classic Hollywood territory: girl goes off the rails, is knocked up, kicked about, falls pregnant and then is laughed at by a woman with large glasses and wide gums. Oh, and she speaks in Kyrgyz and the film only has Russian subtitles.  That aside, it’s your typical mainstream storyline transferred to very atypical surroundings.

Whether the good folk of Kyrgyzstan had their hopes of Oscar glory with Пустой дом” (“Pustoy Dom” or “The Empty House”) is anyone’s guess, but even if they did have their collective fingers crossed, the Academy shortlist released this week dashed those hopes in one whoosh of a fax machine. A record seventy-one submissions for “Best Film in A Foreign Langauge” were received this year of which just nine were chosen as potential winners. These nine, including some of the most well regarded critics’ favourites of the year such as the devastatingly beautiful “Amour” and lavish “A Royal Affair, will be whittled down to five next month, a final figure which has been the only constant in the ‘Foreign Films’ category since the very first was handed out in the 1950s.

What strikes me about the class of 2013 is another common theme they have with their predecessors over the years. They are predominately European, and West European at that, and even those which don’t come from our continental neighbours fail to provide much of an exploration of world cinema. Canada’s submission this year, for example, is the sixth to make at least the shortlist in the last seven years.  Whilst France, perennial nominees with this being their sixth in the last decade, is a country you’d expect to see in the mix or thereabouts, this year sees the first ever shortlist inclusion for Chile. Now I’m no expert in Chilean cinema,  so maybe everything thus far submitted has been awful, but the law of averages suggests that to be unlikely. For the record, I’ve watched the trailer for their entry No, and whilst the deliberate use of outdated video stock is a bit glaring, it looks like an engrossing and madcap political drama, with the added bonus of a staring role for the ever dashing “Amores Perros” star Gael García Bernal.

Here’s the number crunching science part. This year seven of the 71 shortlisted entries are from Western Europe, last year it was six from 63, the year before four from 66, whilst for 2010 it was six out of 67. If I go back to the year of my birth, four of the five final nominees were Western European, with Japan making up the fifth, and there’s a country which is not a stranger to being amongst the possible winners. However you look at it, the most basic conclusion is either the basic fact that European cinema is intrinsically better than anywhere else, or the Academy has a blindspot-cum-love affair with the industry as an institution. Have they been in a spell since the days of Fellini or is there something more sinister going on? I don’t often fling around the accusation of imperialism, though when there’s an award specifically designed to celebrate non-American cinema it does strike an odd note that so much of it originates from developed, Western countries.

Another fact which strikes me as incongruous is the lack of recognition for perhaps the most prolific film producing country in the world; India. There’s been no shortlisted entry from India for twelve years, and before that it was 1988, a year when I was just about to start revising for my GCSEs. As with the Kyrgyzstan entry I checked out earlier, I’ve no doubt that the film was well regarded within its home market, so unless Bollywood is deliberately barring submissions from established directors I’ve no idea why there’s such an obvious snub. That said, I have to point this year’s Indian submission, “Barfi!, is one of the highest-grossing Bollywood movies of all time, even though its synopsis doesn’t sound like my kind of thing – deaf and dumb man has relationship with two women, one of whom is autistic, and if you want to know if there’s a happy ending don’t scroll down too quickly on Wikipedia….

Economic power house China has yet to win an Oscar and has once again failed to be nominated this year. I found a trailer with English subtitles for 搜索 (or “Sōusuǒ“, released with the English name “Caught in the Web”) and to be honest it seems to be part-pot boiling nonsense and part Chinese propaganda against the Internet, but that doesn’t mean every other entry they’ve tried is without greater merit. It was through Taiwan/Republic of China that the exceptional “Crouching Tiger Hidden Dragon” was submitted in the year 2000, and of course it won, though it’s worth pointing out that even then the majority of nominees were European – and one of those was from Belgium. Belgium!

Maybe I’m being naive and a little idealistic. Looking at this from the other side, could it just be that European cinema is better, broader, more mature and accessible to the jury? Could it be that the ideal of the award is to celebrate a good film rather than opening doors to the world of developing cinema? After all this is the Academy Awards and not a Sight & Sound Festival, and since the year 2000 the winners have included Iran’s “A Separation” and South Africa’s “Tsotsi“. If there’s a undeniable bias it’s towards drama and particularly morality tale drama, rich in the kind of lessons which could be lip service to liberal critics. What it could have been is an opportunity to taste cinema from different palates and with over 70% of Oscar winners coming from Europe, I’m not getting out my best plate and cutlery yet.

 

Liam Pennington is at the action side of 30 years old and is the On-Line Editor for High Voltage. When not making good use of PR companies’ guff, he can be found groundhopping, writing for whoever else wants him, singing along to Eurovision records and sitting through arthouse films at Cornerhouse, Manchester.

@doktorb
www.liampennington.blogspot.com