Tuesday, November 24, 2015 at 11:07PM If there's a surprise SAG Best Ensemble nominee this year on December 9th, you should fully expect it to be Black Mass. Not that something can be a surprise when you fully expect it but let's not split hairs. Especially not hairs carefully threaded through bald caps.
Tuesday, November 24, 2015 at 2:00PM The Film Independent Spirit Award Nominations are out with Carol leading the way with six nominations. Cary Joji Fukunaga, who the Spirits have always loved, is also on fire with five nominations for his Netflix streaming Beasts of No Nation.
Yes, darling, six nominations!
BEST FEATURE
Two Oscar threats (Carol & Spotlight) two singular critical darlings (Anomalisa & Tangerine) and one whatsit straddling the line between TV & Movie & New Distribution Models (Beasts of No Nation). A shortlist with strong range of comedy, drama, procedural, romance, and queer content.
Sean Baker and his movie camera, the iPhoneBEST DIRECTOR
The critical darling horror flick It Follows (reviewed) just missed the Feature list but was probably close given that it forced a six-wide category for direction. Fun Fact: This is Todd Hayne's sixth (!) nomination at the Spirits for Best Director, which means that, yes, he has been nominated in this category for every single one of his theatrically released features. He's only won it once though (2002's Far From Heaven). More after the jump...
Monday, November 23, 2015 at 2:24PM 
Precursor awards are like microwave popcorn. It takes a second for the bag to heat up and then things really start popping. Today the Producers Guild of America named their nominees for Theatrical Documentary Features. The Producers Guild Award winners will be presented on Saturday, January 23, 2016 in Los Angeles.
Documentary Feature Nominees
The only one of these titles I hadn't personally heard of before today was Something Better to Come, a poverty-doc about children living on a gabarge dump in Moscow. More on what this list does and doesn't mean for Oscar after the jump...
Monday, November 23, 2015 at 12:10PM Nathaniel and Nick are back, after an unexpected podcast hiatus, to catch up before the Thanksgiving holiday.
43 minutes
00:01 Intros, Carol's opening, Hateful 8 gossip
04:30 Split feeling on Room
11:19 Saoirse Ronan in Brooklyn
20:06 Complicated platform releases, audience confusion, and dismissed "flops" of October including Truth
32:25 Delayed reaction to Black Mass
34:40 Spotlight's conflicts, arc, quality
You can listen to the podcast here at the bottom of the post or download from iTunes. Continue the conversation in the comments won't you?
Monday, November 23, 2015 at 10:00AM Our newest team member Chris Feil saw the latest in a long dormant franchise early. Here's his review - Editor
Making good on his mainstream sensibilities post-Fruitvale Station, Ryan Coogler returns with Rocky reboot/sequel/spin-off Creed. Born after his legendary father Apollo's death after an affair, Adonis (Michael B. Jordan) attempts to forge his own boxing path without the Creed namesake, recruiting his father's notorious opponent and comrade Rocky Balboa. Similarly, the film tries to have it both ways, attempting to be a sideways stand-alone film while borrowing heavily on the iconography of the original. It is a bit of a left turn for cinema's current trend of cut-and-paste nostalgia, giving Coogler's film a much needed edge for a tired genre, but cursing it with enormous shoes it falls short of filling.
If Fruitvale showed us anything about Ryan Coogler's potential, it was that he could both emotionally invest the audience with a charismatic subject and that he knew how to structure a film's most intense scenes for their maximum dramatic effect. These skills make him the perfect candidate for a mainstream actioner that pulls on the heartstrings, and Creed provides a solid larger platform for him to deliver those goods. Unfortunately still present is his diminished sense of confidence and clarity of vision in extended dialogue scenes, lending to an overall flabby structure. He knows what we want as audience and how to give it to us, but here he has a tricky time transitioning between story beats.
