October 19, 2011 at 10:30 am #41464
The New York critics will be kicking off award season this year, handing out their awards on November 28th!October 19, 2011 at 10:37 am #41466
Nov 28? Really? That’s ridiculous – movies will still be opening 5 weeks later.
Of course they will have screened them, but there is always something weird about awards handed out before reviews are published and the public gets a chance to react. This is extreme.
One note on NY & other critics groups – In a Better World and Incendies are eligible, as well as initial VOD films that won’t be up for Oscars (although I’m not aware of any Carlos situation this year).October 19, 2011 at 10:48 am #41467
^I agree, SF. That’s WAY too early, to the point of being ridiculous. They’ll no doubt have several films listed that aren’t even in theaters yet, and regardless of if they were screened, it seems rather silly. Is it really that important to be the FIRST group out?October 19, 2011 at 10:55 am #41468
Anything that diminishes the impact of the GGs, BCs and NBR has something to be said for it, but that’s the only good excuse.October 19, 2011 at 11:12 am #41469
Among the films opening after this:
Shame, Tinker Tailor Soldier Spy, Young Adult, We Need to Talk About Heaven, Carnage, The Iron Lady, The Adventures of Tintin (in the US), Girl With the Dragon Tattoo, War Horse, Extremely Loud…, In the Land of Milk and Honey, Pariah, A Separation, Albert Knobbs
In other words, maybe half the nominees in the top categoriesOctober 19, 2011 at 11:37 am #41470
Of the in-the-awards-hunt films officially hitting theaters after the NYFCC announces its winners (Extremely Loud and Incredibly Close, The Girl With the Dragon Tattoo, etc. … basically the ones Scottferguson listed above) which ones do we think will be screened for voters?October 19, 2011 at 11:42 am #41471
All will be I would guess, although several probably on screen, not screeners, and in rough unfinished form.
Although it would be fun to hear a studio say, no can do (several of them likely have very tough schedules they are on, with the deadline they though being around Dec7-8, around when SAG and GG screenings need to be done. Pushing things up almost two weeks will be a big burden on some of these.
The critics basically can forget about Thanksgiving – they might be watching films all the previous weekend.
In other NYFC news, John Anderson has mercifully replaced Armond White as chairman.October 19, 2011 at 12:01 pm #41472
^Well, thank goodness for that.October 19, 2011 at 1:08 pm #41473
Here’s Awards Daily’s article:
This morning, the New York Film Critics announced that they’re moving up their voting date to November 28, before the National Board of Review announces and becoming the first major critics groups to announce their choices. This could have been done for two reasons. The first is that they want to put distance between themselves and the other award announcements. This, because they can no longer tolerate being one more member of the orgy. It could also be because they want to be first. I doubt that’s the reason. I think they are trying to create distance.
Let’s face it. No critics group with any self-respect wants to be associated with the ongoing circus of the awards race. They are all jointly horrified as to what it’s become. If they are somehow forced to write about it they must do so with either mild apathy or bemusement. Writing about the Oscars is itself judged fairly harshly by many film critics. Why, because to them it’s not about the films it’s about the contest, the sport, the competition, the money, the publicity. It’s about everything it shouldn’t be about. It has been polluted.
Writing a blog about the Oscars is sort of like being known as the girl who works the red light district. Everyone wants to know you but no one wants to admit they know you. Perhaps I’m overstating things. Or flattering myself in the blow job department. Either way, not a lot has changed. The fact remains that the film critics who take film criticism seriously do not take the Oscar race seriously.
The move to November 28 would be more suspect if it were any group BUT the NYFCC. While I don’t believe any group that hands out awards is immune to the inherent corruption that goes on in any sort of ceremony that requires voting, winners and losers — the NYFCC does try to maintain their integrity, as in, they want to sit as far across the room from Oscar as they possibly can. Here are the main reasons and let’s ruminate on the reprocussions of this move:
1. It’s about the movies, stupid, not about the awards
It’s hard not to take them at their word when they say they are voting for the films and performers they thought were the best of the year. Full stop. It’s always hard to reach a consensus, though, ain’t it? Their press release mentions Oscar, just as it also mentions the need to disassociate from Oscar.
2. We like the influence. But we don’t shape our tastes to try to influence.
It’s a slippery slope, though, ain’t it. Aim directly at Oscar and you look too desperate. But if Oscar somehow matches your own tastes? Does that mean more influence? Greater importance? Or does it just mean you are happy that they, the lowbrow Academy, had the good taste to think the way you did? It’s hard to say how much or little the NYFCC values its influence. It probably has the best track record, going back many decades, as it was, for years, the only critics group that gave out awards. They aren’t like the Broadcast Film Critics who make a point every year to talk about how well they match up with Oscar — I don’t think they got the memo that you’re not supposed to admit that publicly.
We’ve entered a new era, though, where writing about the Oscars is an economic decision now. So you see journalists and film critics, some of whom are members of the NYFCC, writing about the Oscar race. And if they’re writing about the race they are going to be accepting advertising from publicists for those movies on their websites. Is that, then, a conflict of interest? Many of the Broadcast Film Critics also accept Oscar ads. The point here, to me, is that when you’re talking about voting, when you’re talking about winners of any art form, you are basically talking about the same species as Oscar. Maybe the NYFCC is the mustang and the Oscar is the Clydesdale but they’re both horses and it is most definitely still a race for “best.”
3. Just how influential are the NYFCC?
Unless they go totally off the rails like the LA Film Critics sometimes do, like, for instance, American Splendor for Best Picture, they are tremendously influential. The reason being, that award sits mighty prettily on the For Your Consideration ads. Also, a win like that puts a contender in the race. They stood strong behind The Kids Are All Right. It was probably headed for an Oscar nomination anyway but that was a very good example of a critics group altering the race early on. From then on, of course, it was The Social Network all the way (even the NYFCC gave their award to the Fincher film, as if we need reminding).
Here is a chart for the Los Angeles, the NYFCC and Oscar.
New York, 24 match-ups for Best Picture with Oscar.
National Board of Review, 19.
So historically, the New York Film Critics beat the National Board of Review. But who’s counting.
NBR | Los Angeles | New York | Oscar
2010 The Social Network The Social Network The Social Network The King’s Speech 2009 Up in the Air The Hurt Locker The Hurt Locker The Hurt Locker 2008 Slumdog Millionaire Wall-E Milk* Slumdog Millionaire 2007 No Country for Old Men+ There Will Be Blood* No Country for Old Men+ No Country 2006 Letters from Iwo Jima* Letters from Iwo Jima* United 93 The Departed 2005 Good Night, and Good Luck Brokeback Mountain Brokeback Mountain* Crash 2004 Finding Neverland Sideways Sideways* Million Dollar Baby 2003 Mystic River American Splendour Return of the King+ Return of the King 2002 The Hours About Schmidt Far From Heaven Chicago 2001 Moulin Rouge In the Bedroom* Mulholland Drive A Beautiful Mind 2000 Quills Crouching Tiger* Traffic* Gladiator 1999 American Beauty+ The Insider* Topsy-Turvy American Beauty 1998 Gods and Monsters Saving Private Ryan* Saving Private Ryan* Shakespeare in Love 1997 L.A. Confidential L.A. Confidential* L.A. Confidential* Titanic 1996 Shine Secrets & Lies* Fargo* The English Patient 1995 Sense and Sensibility Leaving Las Vegas Leaving Las Vegas Braveheart 1994 Pulp Fiction and Forrest Gump Pulp Fiction* Quiz Show* Forrest Gump 1993 Schindler’s
Schindler’s List+ Schindler’s List+ Schindler’s List 1992 Howards End Unforgiven+ The Player Unforgiven 1991 Silence of the Lambs+ Bugsy* The Silence of the Lambs+ Silence of the Lambs 1990 Dances With Wolves+ Goodfellas* Goodfellas* Dances With Wolves 1989 Driving Miss Daisy+ Do the Right Thing My Left Foot* Driving Miss Daisy 1988 Mississippi Burning* Little Dorrit The Accidental Tourist* Rain Man 1987 Empire of the Sun Hope and Glory* Broadcast News* The Last Emperor 1986 A Room with a View* Hannah and Her Sisters* Hannah and Her Sisters* Platoon 1985 The Color Purple* Brazil Prizzi’s Honor* Out of Africa 1984 A Passage to India* Amadeus+ Passage to India* Amadeus 1983 Betrayal Terms of Endearment+ Terms of Endearment+ Terms of Endearment 1982 Gandhi+ E.T.* Gandhi+ Gandhi 1981 Chariots of Fire+ Atlantic City* Reds* Chariots of Fire 1980 Ordinary People+ Raging Bull* Ordinary People+ Ordinary People 1979 Manhattan Kramer Vs. Kramer+ Kramer Vs. Kramer+ Kramer Vs. Kramer 1978 Days of Heaven Coming Home* The Deer Hunter+ The Deer Hunter 1977 The Turning Point* Star Wars* Annie Hall+ Annie Hall 1976 All the President’s Men Network* All the President’s Men* Rocky 1975 Nashville/Barry Lyndon* Dog Day Afternoon* Nashville* One Flew Over/Cukoo’s Nest 1974 The Conversation Armacord Godfather II 1973 The Sting+ La Nuit Am√©ricaine The Sting 1972 Cabaret* Viskningar och rop The Godfather 1971 MacBeth A Clockwork Orange* The French Connection 1970 Patton+ Five Easy Pieces* Patton 1969 They Shoot Horses, Don’t They? Z* Midnight Cowboy 1968 The Shoes of the Fisherman Lion in Winter* Oliver 1967 Far from the Madding Crowd In the Heat of the Night+ In the Heat of the Night 1966 A Man for All Seasons+ A Man for All Seasons* A Man for all Seasons 1965 The Eleanor Roosevelt Story Darling* the Sound of Music 1964 Becket My Fair Lady+ My Fair Lady 1963 Tom Jones+ Tom Jones+ Tom Jones 1962 The Longest Day none Lawrence of Arabia 1961 Question 7 West Side Story+ West Side Story 1960 Sons and Lovers The Apartment+ Billy Wilder, The Apartment 1959 The Nun’s Story Ben Hur+ Ben Hur 1958 The Old Man and the Sea THe Defiant Ones* Gigi 1957 Bridge on the River Kwai + Bridge on the River Kwai+ Bridge on the River Kwai 1956 Around the World in 80 Days+ Around the World in 80 Days+ Around/World in 80 Days 1955 Marty+ Marty+ Marty 1954 On the Waterfront+ On the Waterfront+ On the Waterfront 1953 Julius Cesar From Here to Eternity+ From Here to Eternity 1952 The Quiet Man* High Noon* The Greatest Show on Earth 1951 A Place in the Sun* Streetcar Named Desire* An American in Paris 1950 Sunset Boulevard* All About Eve+ All About Eve
As you can see it almost never happens that the three line up at all. But it almost always happens that the film that wins the NYFCC almost always is, at the very least, nominated for Best Picture. What happened last year with the Social Network has never happened. No film has ever won all of the awards it won, even if you count only the major critics awards and forget all of the others — longtime awards bodies like the NYFCC and the Globes hardly ever match. But they did last year, unanimously. The closest like kind is LA Confidential, which won all three of these but lost the Globes and lost the Oscar. The Social Network won the Globes, famously.
But back to the NYFCC – theirs is, no matter how you slice it, a powerful voice. They reflect the tastes of a group of very smart and independent minded critics. It is, much of the time, different from what the industry believes is “best.” Either way, we’re still talking about voting on films. Either way, we’re still talking about winners. We’re still talking about voting. It’s a contest. It’s a game. It is nothing more or less than that.
However, the one thing the film awards race does do is promote films, actors and filmmakers. Money is made, careers are boosted, celebrities are born. What we do is silly. It isn’t Occupy Wall Street or brain cancer research or anything of the kind. It is deciding what a group of people will think is the best of the year. But “best” can change. It usually does.
Why people are interested in the race, beyond what it will do for their careers, is that we all have those we are championing.
Early guesses at to what the NYFCC will choose? It’s so hard to say right now, isn’t it? Usually, by now, we have an idea, but with so many films left to see … it’s almost impossible. I’m going to bet it’s something NOT Oscar-bound, though. I’m going to bet it’s something less along the lines of The Social Network and more along the lines of Tree of Life, or something much more obscure than that. Just a hunch. We’ll see if I’m right.October 19, 2011 at 2:03 pm #41474
Mulholland Drvie was named the best film of the decade by the LAFCA yet it didn’t even win Best Picture the year it could have….OK.October 19, 2011 at 2:07 pm #41475
@Pook- That picture of JT/Sean Parker made me literally LOL in relation to the article.October 20, 2011 at 7:17 am #41476
Speaking of critics awards, isn’t the Gotham critics supposed to be out today? What time will we know?October 20, 2011 at 7:48 am #41477
Those noms are up (Gotham, that is).October 20, 2011 at 7:53 am #41478
^Thanks, Logan! Would you happen to have a link?
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