ACE Eddie Award Nominations

This morning the American Cinema Editors announced their nominees for the best achievements this year. Notable surprises were Florence Foster Jenkins and Sing Street being left off the nominations list in favor of Hail Caesar and The Jungle Book. Meanwhile on the other side, all five nominees for dramatic editing were as expected, although the editors of Silence, Jackie, and Hidden Figures did have some pull and would have been deserving nominees. 

Best Edited Feature Film (Dramatic) 

Arrival: Joe Walker, ACE
Hacksaw Ridge: John Gilbert, ACE

Hell or High Water: Jake Roberts

Manchester by the Sea: Jennifer Lame

Moonlight: Nat Sanders, Joi McMillon

Best Edited Feature Film (Comedy)

Deadpool: Julian Clarke, ACE

Hail, Caesar!: Roderick Jaynes

The Jungle Book: Mark Livolsi, ACE

La La Land: Tom Cross, ACE

The Lobster: Yorgos Mavropsaridis

Best Edited Feature Film (Animated)

Kubo and the Two Strings: Christopher Murrie, ACE

Moana: Jeff Draheim, ACE                                                   
Zootopia: Fabienne Rawley & Jeremy Milton

Best Edited Documentary (Feature)

13th: Spencer Averick                                                           

Amanda Knox: Matthew Hamachek                                   

The Beatles: Eight Days a Week – The Touring Years: Paul Crowder    
O.J.: Made in America: Bret Granato, Maya Mumma & Ben Sozanski      
Weiner: Eli B. Despres

Artios Casting Award Nominations

Today that Casting Society of America announced their nominees. Not many surprises here, with almost every potential front runner for best picture being nominated. However their is one glaring omission, Fences, which could have been nominated in place of Girl on the Train, a film which many already think is having an undeserved run this awards season. The voting commences immediately with the actual winners being announced on January 17, 2017.

BIG BUDGET – COMEDY

“Deadpool” Ronna Kress, Jennifer Page (Location Casting), Corinne Clark (Location Casting)
“Hail, Caesar!” Ellen Chenoweth, Susanne Scheel (Associate)
“La La Land” Deborah Aquila, Tricia Wood
“Rules Don’t Apply” David Rubin, Melissa Pryor (Associate)
“Whiskey Tango Foxtrot” Bernard Telsey, Tiffany Little Canfield, Jo Edna Boldin (Location Casting), Conrad Woolfe (Associate), Marie A.K. McMaster (Associate)

BIG BUDGET – DRAMA

“Arrival” Francine Maisler, Lucie Robitaille (Location Casting)
“Fantastic Beasts and Where to Find Them” Fiona Weir, Jim Carnahan (Location Casting)
“Hidden Figures” Victoria Thomas, Jackie Burch (Location Casting), Bonnie Grisan (Associate)
“Nocturnal Animals” Francine Maisler
“The Girl on the Train” Kerry Barden, Paul Schnee, Joey Montenarello (Associate), Adam Richards (Associate)

STUDIO OR INDEPENDENT – COMEDY

“20th Century Women” Laura Rosenthal, Mark Bennett
“Bad Moms” Cathy Sandrich Gelfond, Meagan Lewis (Location Casting)
“Café Society” Juliet Taylor, Patricia DiCerto, Meghan Rafferty (Associate)
“Hell or High Water” Richard Hicks, Jo Edna Boldin, Chris Redondo (Associate), Marie A.K. McMaster (Associate)
“The Edge of Seventeen” Melissa Kostenbauder, Coreen Mayrs (Location Casting), Heike Brandstatter (Location Casting)

STUDIO OR INDEPENDENT – DRAMA

“Captain Fantastic” Jeanne McCarthy, Angelique Midthunder (Location Casting), Amey Rene (Location Casting)
“Jackie” Mary Vernieu, Lindsay Graham, Jessica Kelly (Location Casting)
“Lion” Kirsty McGregor
“Loving” Francine Maisler, Erica Arvold (Location Casting), Anne N. Chapman (Location Casting), Michelle Kelly (Associate)
“Manchester By the Sea” Douglas Aibel, Carolyn Pickman (Location Casting), Henry Russell Bergstein (Associate)

LOW BUDGET – COMEDY OR DRAMA

“Christine” Douglas Aibel, Stephanie Holbrook, Tracy Kilpatrick (Location Casting), Blair Foster (Associate)
“Goat” Susan Shopmaker, D. Lynn Meyers (Location Casting)
“Hello, My Name is Doris” Sunday Boling, Meg Morman
“Moonlight” Yesi Ramirez
“White Girl” Jessica Daniels

ANIMATION

“Finding Dory” Kevin Reher, Natalie Lyon
“Moana” Jamie Sparer Roberts, Rachel Sutton (Location Casting)
“The Jungle Book” Sarah Halley Finn, Tamara Hunter (Associate)
“The Little Prince” Sarah Halley Finn, Tamara Hunter (Associate)
“Zootopia” Jamie Sparer Roberts

Sing Street Review

Sing Street examines just what level of dedication one would put into successfully obtaining the attention of a female compatriot, with the central subject of the film electing to band to successfully acquire that said affection. He begins by rounding other rejects from his new school, specifically the ones that are also bullied by the school's more vile and detestable attendees. The usual verdict for movies like this, is that they become more about appealing to romantics and less about isolating and focusing upon more mature and delicate subject matter. Bullying becomes a centralized portion of this narrative, focusing not just on the main leads youthful amour, but also on his problems with the vile headmaster of his new school, culminating with his band performing a catchy tune by the name of "Brown Shoes", late in the film. Lastly I appreciate that even though the romance between the leads becomes center stage, it does not feel fake or forced. Through the writing and directing it plays out so that the ending feels like something that realistically could happen. 

La La Land Review

La La Land Review

Ryan Gosling and Emma Stone "A Lovely Night" 

Starring: Emma Stone, Finn Wittrock, Ryan Gosling, JK Simmons, Rosemarie Dewitt

Directed By : Damien Chazelle

Written By: Damien Chazelle (Whiplash)

I have heard that Los Angeles, more specifically Hollywood, can either be a very gracious friend, turning a youthful child like Jacob Tremblay into the darlings of award season, simply for showing up in a tux, or a brutal mistress, constricting you until your forced to resign yourself to a life in a coffee shop. La La Land takes a look at this concept, taking two people, one who is trying to break unto the music scene, the other trying to become an actress and focusing on their lives ups and downs, in addition to their relationship. It is a simple story, one that is told in such a well mannered way, that you will come to appreciate it more for its quality than for its quantity. 

It beautifully juxtaposes the modern melancholy of modern romanticism with the joyous passion that we saw in innumerable musicals from the past, focusing on how even when you love someone, they might not be the person that you are supposed to end up with. It is self indulgent, in a "we are trying to resurrect a dying genre" sort of way, not a "look at me, I'm a heroic film needed for the future of cinema." Chazelle handles the jazz of the movie well, taking care of it like a mother might take care of a child, respecting what it has brought to the music world, not allowing the important members of its history to be forgot. 

Probably one of the greater elements of the second major cinematic effort of Rhode Island born director, Damien Chazelle, is the use of the cameras and lighting. It is colorful film, providing and amiable with it's application of shots and colorful clothing and camera angles playing off the light to provide a jovial feel to those watching. It is also unique to see them use old fade ins and fade outs and even old school fonting and even the final "the end" captioning. It is boisterous with it's aesthetic, working very hard to pop out of the screen, stimulating the senses and providing a pleasant sight for the eyes. 

Some of the more aesthetically impressionable scenes that utilize the talent of the DP include a scene where, Mia played by Emma is walking from the inside of house towards a pool and everyone is frozen, with people slowly dancing around her, white flakes of paper snow falling from above, a man flipping into a pool and the entire party erupting into dance. Another scene that testifies to the beauty but not necessarily to the story is a visually stimulating sequence where Mia and Sebastian(Gosling) allow their imaginations to consume them, dancing against a backdrop of stars. 

A criticism that has been pushed upon the positive feedback of this film, is that it is nothing more than a rom com with music added in as a shtick to win over fans. I disagree, as it feels like Damien Chazelle is simply trying to capture the appeal that made us fall in love with Hollywood in the first place. Yes we do not have to like all these people having parties every day, but it is more for humor and warmth, than as an assault on the snobbishness and elitism of the culture. This movie is a love letter to the movies that have come before it, utilizing the tropes and elements of historical films while embracing the direction that film is heading in today. 

One most admire Chazelle for taking a gambit on two vocalists who are closer to normal vocals than the stellar ear candy that was Debbie Reynolds or Gene Kelly. It's brilliant because should life be a musical in reality, it would play more like the b side of American Idol rejects and less like the vocals that Whitney Houston displayed every time she opened her mouth. 

Emma Stone and Ryan Gosling are the best they have ever been, with Emma stealing the show with a performance of "Audition (the fools who dream), near the end of the film, a pleasant solo, which takes place during an audition. This was such a chilling number, one which might even be superior to City of Stars, the song from the film that will go on to win the best original song oscar. It takes the cutesy romantic chemistry that elevated Crazy Stupid Love from just okay to decent, and elevates it into a coupling of historic proportions, or at least in regards to modern film history. The ending scene takes a lot of influences and works very beautifully, emulating Singing in the Rain's long ending scene. Lastly I must mention that one of the best shots of the year features a phenomenal choreographed opening scene on a freeway that is one for the ages. 

I would be neglectful if I did not mention the score so I will embed a quick link to one of the instrumental pieces from the soundtrack. 

Best Picture Wins 2016

Best Picture Wins 2016

Moonlight: 

African American Film Critics

Alliance of Women Film Journalists

Austin Film Critics

Black Film Critics Circle

Boston Online Film Critics Circle

Chicago Film Critics Circle

Dallas-Fort Worth Film Critics 

Indiana Film Critics

Los Angeles Film Critics

New Film Critics Online

Phoenix Film Critics

San Francisco Film Critics

Southeastern Film Critics

Toronto Film Critics

Boston Film Critics Circle

Manchester by the Sea:

International Press Academy

Kansas City Film Critics

National Board of Review

Vancouver Film Critics

La La Land:

Boston Film Critics

Atlanta Film Critics

North Carolina Film Critics

Oklahoma Film Critics

New York Film Critics

Broadcast Film Critics

Detroit Film Critics

International Press Academy

Las Vegas Film Critics

North Texas Film Critics

Phoenix Film Critics

St. Louis Film Critics

Utah Film Critics 

Washington D.C. Area Film Critics

Hell or High Water: 

San Diego Film Critics

Nevada Film Critics

The Lobster:

Florida Film Critics

Schedule of Upcoming Awards

January 2017

American Cinema Editors (ACE) Eddie Awards Nominations - Tuesday January 3, 2017

Writers Guild of America Nominations - Wednesday, January 4, 2017 

Art Directors Guild (ADG) Nominations - Thursday, January 5, 2017

National Society of Film Critics (NSFC) Winners - Saturday, January 7, 2017

74th Golden Globes (HFPA) Awards - Sunday, January 8, 2017

American Society of Cinematographers (ASC) Nominations - Tuesday, January 10, 2017

British Academy of Film and Television Arts (BAFTA) Nominations - Tuesday, January 10, 2017

Cinema Audio Society (ASC) Nominations - Tuesday, January 10, 2017

Producers Guild of America (PGA) Nominations - Tuesday, January 10, 2017 

Visual Effects Society (VES) Nominations - Tuesday, January 10, 2017

Makeup Artists and Hair Stylists Guild (MUAH) Nominations - Wednesday, January 11, 2017

Directors Guild of America (DGA) Nominations - Thursday, January 12, 2017

Casting Society of America (CSA) Winners - Thursday, January 19, 2017

Oscar Nominations - Tuesday, January 24, 2017

American Cinema Editors (ACE) Eddie Winners - Friday, January 27, 2017

Explanation of Oscar Voting Process

One of the biggest questions that come with Oscar season is how the nominees are selected. Well I will attempt to explain how this works to the best of my ability.

Step 1: The Oscar Ballots Are Sent Out

To begin the process, the oscar ballots are first sent out to individuals from each of the varying fields that will be voting for whom they think did the best job in any selective year.

Step 2: The Voting

This one is convoluted. Each field votes for their five favorite in just that field. Soon when someone reaches the magic number, they are set in stone and the lowest vote receiver is eliminated with their second place votes being added to the remaining contenders until five people have reached the requisite number of first place votes.  This number is usually twenty percent. So if five nominees get nineteen votes a piece with one hundred votes possible, and a last person receives five votes, that person is eliminated and his second place votes are redistributed. 

Leo - 19
Fassbender - 19
Redmayne - 19 
Damon - 19
Cranston - 19
Hanks - 5

Hanks is eliminated
Each of the remaining five were each second at least once on Hanks five first place ballots so they are automatically nominated.

Step 3: Winner Voting:

The academy votes, with the winner in each category being whomever received the highest number of  votes from the academy members, which is a change from when it was required that you must have received a majority of votes.

Top 10 of 2016

2016 like most years, ended with most people being left with a massive headache over the awfulness that was celebrity mortality being thrust unwillingly into our collective faces. Walter Scott once said, ” Death – the last sleep? No, it is the final awakening.” I elect myself to this optimistic belief that all the people we lost in 2016 are sitting up in heaven at a massive concert of musical geniuses, and cinematic festivals of the movie stars trading secrets of what made them so beloved and inspirational to society in the first place.

But I digress. Why should only mourn those we lost when we can celebrate what we have remaining. Film still exists without these people and a lot of the cinematic experiences that I partook in during that past year reminded me why I feel in love with Hollywood in the first place. I don’t care for Blake Lively and Ryan Reynold’s dating life, but I do love the story of how hard the latter worked to make the beloved Deadpool. So without further ado, here is my top ten films of 2016

Top Ten

1. La La Land: No movie this year made me feel as jovial as this film did. It beautifully juxtaposes the melancholy of romance today, with the nostalgic joy that was created with the use of singing and dancing. It is a musical crafted for those who appreciate Stranger Things for the nostalgia and not it’s contribution to art. It’s the Uptown Funk of the 21st century musical. It plays for those who love, while teaching that dreams can be achieved and love can remain, but not without sacrifice, and that sacrifice is worth it.
2. Sing Street: If any movie can claim the title of most joyous of 2016 it is this movie. It takes the ending of La La Land and works in the way that makes that audience leave with a smile on it’s face. It embraces it’s sap and schmaltzy love story in a way that works to it’s benefits. When I was a freshmen in college, my friends tried to start a band. One of the funnier moments of this endeavor was when a friend and fraternity brother tried to swing his guitar around his back and nailed himself in the face. This movie plays well in showing just how much fun the process can be and mastered it’s quirk. It also has the most “stuck in my head” soundtrack of 2016
3. Hell or High Water: What a film. This is a film that plays well to the humanity of it’s characters, sacrificing the shootouts and violence for a more “us against the man” narrative. One of the greatest achievements of this film is that you never dwell too long on the central ideal of the greed of modern banking, as it does point out it’s evils but does not make the whole centralized point about how awful banking can be. It’s a brotherly tale that plays like a modernized version of Bonnie and Clyde, while examining two different relationships. Jeff Bridges is better than he has ever been and Chris Pine delivers one of the best performances of his career.
4. Hacksaw Ridge: An ode to a war hero who did not need a gun to be heroic. Where to Hell and Back Again, the biographical motion picture about Audie Murphy’s life plays on the violence and shoot em up aspect, this movie plays more to the god fearing and pacifistic nature of it’s ideological hero. The persecution he faced for sticking to his ideologies is a great message for anyone who doesn’t believe they can be their best without selling out to the brutish ideologies of their comrades or compatriots.
5. Captain Fantastic: Now the biggest problem I found with this film was how the lead character raised his children. It was not that I disagreed with someone rearing their children to be methodical, well educated, and strong, but rather how was willing to sacrifice their futures for his own ideological principles. It also work’s amazingly as commentary on Plato’s closet and how those in our families should not be allowed to dictate our life with Viggo Mortensen’s character blasting Scotland the Brave as they drive across the countryside, a sort of musical metaphor for how they would not be held down by others.
6. The Nice Guys: This is the first time since Lethal Weapon that I have truly not been bored or let down by a buddy cop drama, as it is a masterful and very well written comedy about two brutish men, one a sort of paid for higher enforcer, and the second a private investigator struggling with alcoholism. It works so well for Shane Black, who had that same sort of hesitant friendship placed into his Robert Downey Jr film, Kiss Kiss Bang Bang. 
7. Sully: American Sniper was one of the more controversial movies of 2013 as it played Chris Kyle off as a hero to those who saw what he did as a crime against humanity. Where this movie diverges from that is Sully was also considered a hero, making a calculated decision that saved the lives of 155 people on board his air liner. It examines the extraordinary in a way is not spoon fed to us, showing that there was a chance that other alternative solutions were to be found. Also it’s not a piece about how we need to embrace Sullenberger as a hero, but rather why he was already embraced that way.
8. 10 Cloverfield Lane: This is a movie that is full of twists and turns and never leaves you with ideas of where it is going. It is written in a way that you never no the true motives of the bunker’s dictatorial leader, while leaving you guessing on if there truly is a “monster outside of the bunker”. It is one of the better productions of JJ Abram’s career and works well as a limited story telling piece. It is a welcome gift from Hollywood for their movie Buried, which was not well done.
9. Pete’s Dragon: What makes this film so good is that it beautifully captures family. Now one of the problems with cinematic works like this one is that sometimes its message plays a more sappy narrative that might off put a lot of the people who see it and leave them without much to take from it. But seeing how it played out for the young orphan, pulled at my heart strings and even drew a few tears from my eyes. It’s all about the love of a person for their pet, and unlike Marley and Me did it with crisp clean film making and storytelling.
10. Manchester by the Sea: The first time I saw this film I could not help but see it as anything more than an oscar grabbing piece of art. The artfulness of it was masterful but it’s accessibility to anyone outside of the Academy and critic’s circles seemed lost on me. Carrie Fisher died soon after this, and while looking at light saber tributes to the female Lead of Star Wars, I could not help but realize just how deeply and passionately it examined the grieving process. It is truly a work of art and a movie that should be looked at by anyone struggling with grief.

Honorable Mentions

1. Fundamentals of Caring
2. Rogue One
3. Deadpool
4. Imperium
5. Green Room
6. The Lobster
7. Kubo and the Two Strings
8. Deepwater Horizon