Every Oscar Chart Updated!

Oscar voters don't begin voting for quite some time still but precursors season is off like a shot: we've already had the Gotham Awards, the Spirit nominations, the NBR and NYFCC announcements and the Directors Guild of America got their nomination ballots this week, too. They generally come close to matching Oscar's eventual list and in ye olden times of 5 wide categories they were considered the single best predictor for the eventual Best Picture nominees. We pray they choose wisely this year. It'd be so great to have a female director in the shortlist this year, wouldn't it? (hint hint) 

In case you've missed various posts like Adapted Screenplay confusion, the diverse director field, and the deep best actress & supporting actress bench, please to know that every Oscar prediction chart has been revamped. Some new text, some fresh images, and definite shifts in ranking. Read them and weep or rejoice depending on whether your favorites are predicted or not.

PICTURE | DIRECTOR | ACTRESS | ACTOR | SUPPORTING ACTRESS | SUPPORTING ACTOR | SCREENPLAYS | FOREIGN FILM | VISUAL CATEGORIES | AURAL CATEGORIES | ANIMATED AND DOCUMENTARY CATEGORIES

Blueprints: "Call Me by Your Name"

Wrapping up Call Me by Your Name week at The Film Experience, so Jorge takes a look at its screenplay to talk one of the biggest and most successful changes made from the novel to the screen. It’s peachy.

Perhaps the most challenging aspect about adapting a book into a movie is converting the literary language into something visual; show with images what in the page is being told with words. This is especially hard if the novel takes place within a single character’s mind and perception, like “Call Me by Your Name” does with Elio.

One of the easier solutions (sometimes merited, others not so much) is translating the thoughts that the character has on the book into voice-over. It’s a simple, straight-forward way to effectively convey ideas and feelings.

Call Me by Your Name, the film, has been lauded (among many other things) for avoiding this go-to trope, and instead using action and visual cues to convey Elio’s quiet longing for Oliver, and the intimacy and slow simmer of their romance. However, it wasn’t always like this...

Click to read more ...

New York Film Critic Circle's Best of 2017

by Nathaniel R

Founded in 1935 the New York Film Critics Circle remains one of the two most important film critics organizations in the country (the other being the Los Angeles Film Critics Association). They might not have the influencing power they once had when there weren't 30+ similar organizations but people still hear them out each year before the "critics named this the best" accolades start sounding like ambient noise. Last year they were heavy on Oscar frontrunners or presumed runners up in virtually every single category. Will their winners be such Oscar favorites this year. Time will tell.

It was quite a day for A24 with two of their films being the only multiple winners: Lady Bird (Best Picture and Best Actress) and The Florida Project (Best Director and Best Supporting Actor).  Complete list of winners including interesting statistics follow after the jump...

Click to read more ...

Linkheads

News, Bits, and Bobs
Trying to keep up with things we haven't mentioned of late

• The Hashtag Show on what the casting of Ben Mendelsohn and Jude Law in Captain Marvel probably means in terms of villain/story
• EW Ridley Scott on his last minute revamp of All the Money in the World
• The Guardian Fun interview with Michael Haneke who meets the man who created that parody twitter account of the master auteur

More after the jump including Lady Bird, Mulan, and the beginning of top ten lists...

Click to read more ...

Coco, CMBYN, and the Specificity of Feeling Seen at the Movies

by Jorge Molina

Award season means trying to watch as many movies as possible in the shortest amount of time to feel included in the zeitgeist (well, in our zeitgeist here, at least; movies from all across the board that, apart from wanting to be in the awards conversation, often have little in common.)

Recently I watched two movies that, at first glance, couldn’t be more different. On one hand there’s Coco, Pixar’s newest entry about a Mexican boy wandering into the Land of the Dead. And on the other, there’s Call Me by Your Name, the much-discussed festival favorite that follows the romance between a teenager and an older man in sun-drenched Italy. On the surface, these two films don’t share much yet they offered me a very similar cinematic experience.

Both made me feel seen (yes, in italics). They reflected parts of my identity that I rarely get to see reflected on screen. How did they do that? By being as specific as possible...

Click to read more ...