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Sunday
Nov112018

Critics Choice Documentary Winners 2018

In an unusually successful year for documentaries in terms of audience interest, two of the biggest hits, Won't You Be My Neighbor? ($22.6 million) and Free Solo ($7.3 million and climbing) now have yet more to crow about. They each won three prizes at the 3rd annual Critics Choice Documentary Awards last night. Though they both appear to be likely future Oscar nominees you just never know with the documentary branch. 

The winners in each of the Critics Choice doc categories are listed after the jump... 

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Sunday
Nov112018

105 Days until Oscar Night! Let's talk running times.

by Nathaniel R

Did you know that only two Best Picture winners ever have been 105 minutes long? Well, now you do. They were  It Happened One Night (1934) and Kramer vs Kramer (1979). We hope you are wise enough to love both of them. When we first listed the Best Picture winners from longest to shortest by length four years ago we realized that the average Best Picture winner length was a whopping 138 minutes long. Since then, rather shockingly, given how longwinded storytellers on TV and in film are getting, all four of the new winners have been shorter than that... 

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Saturday
Nov102018

The 166 Documentaries Competing for Oscar's Love

Yesterday AMPAS released the list of the documentaries that are eligible for this year's Oscar. The list is always crazy long (even longer than the other top 'specialty' prize -foreign language film). Members of the doc branch have 166 films to sift through from which they will draw a final 15 and then vote from those 15 for the 5 nominees. We wish the Foreign Film committee would do the same since it strikes us as odd that they only get 9 finalists. But we digress.

Because Glenn Dunks does such fine work for us here in his series Doc Corner, we've already written up 24 of these contenders. If the title is linked below it goes to our review. The complete list of eligible documentaries follows after the jump...

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Saturday
Nov102018

Why does everyone want to talk about Chris Pine's penis?

Guest article from Anna from Defiant Success

Following its premiere at the Toronto International Film Festival this past September, film critics who had seen David Mackenzie’s Outlaw King were all abuzz on Twitter. The one scene they were very vocal about: star Chris Pine going full frontal. Following the social media explosion, Pine expressed his discomfort not at filming the scene but rather at how it was receiving more attention than the rest of the movie. (“There’s so much beheading in this. And yet people wanna talk about my penis.”) Subsequent interviews had Pine talking about how there’s a double standard in Hollywood towards performers going full frontal for their work; men receive a lot of press for whipping it out but when women bare it all for the camera, it’s barely noteworthy. In all honestly, Pine isn’t wrong in the slightest.

Mind you, there have been male frontal nudity scenes for decades -- at least for as long as the MPAA rating system has been in existence...

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Saturday
Nov102018

Doc Corner: DOC NYC - Michael Moore's 'Fahrenheit 11/9'

DOC NYC is currently underway in New York and one of the great things is that alongside all the world, American, and New York premieres, the festival includes significant documentary titles from throughout the year. We’re using this opportunity to catch up with the latest from Michael Moore, Fahrenheit 11/9, which screened at the fest and is still in limited release across America.

Love him or loathe him – or probably more likely, sit somewhere in the middle of the two emotions – it’s hard to overstate Michael Moore’s importance to American documentary filmmaking. It’s not often that documentaries become pop culture touchstones and he has several that have become just that. The film that this new title is theoretically a sequel to will likely remain the highest grossing documentary of all time for the foreseeable future of cinema. It is interesting to note, however, that the two biggest zeitgeist-hitting political documentaries of the new century – that would be Fahrenheit 9/11 and An Inconvenient Truth – have floundered at the box office with much-belated sequels. Are audiences simply too bombarded by news that the thought of going to see a two-hour movie about the horrors of modern politics is just too much to bear?

Moore's decision to make a sequel to Fahrenheit 9/11 makes a lot of sense in theory, although watching the final product is a curious experience.

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