Chicago Loves Lady Bird. AAFCA Loves Get Out

The Chicago Film Critics Association was established in 1988. Last year they broke big for the three arguable top dogs with Oscar so their tastes, shall we say, align. This year there were only two clear favorites were Lady Bird (4 prizes) and Call Me By Your Name (3 prizes) with a surprise Director win for Christopher Nolan and Dunkirk. 

Chicago's winners and the African American Film Critics Association prizes are after the jump...

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The New York Times' Great Performers' Shorts, Ranked

by Ilich Mejia

Every year, The New York Times Magazine picks their greatest performers of the year. This year's top ten each got to star in their own silent, "Horror Show" themed short. Italian-Canadian photographer Floria Sigismondi directed the group as characters that wouldn't be out of place in Beyoncé's haunted house. Hopefully next year, the magazine will branch out and recognize some of television's equally terrific performances. Check out the spooky standouts after the cut...

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The Oscar Week: Greta, Jake, and Timothée

Murtada is back with his weekly Oscars feature for a new season, following Oscar contenders and examining how their many interviews and appearances impact their chances.

Gerwig at the Gotham Awards

Are you ready for another season of Oscar campaign shenanigans? Frankly I wasn’t. In the year in which Hollywood revealed its ugly hidden true self of rampant sexual harassment, maybe they shouldn’t spend so much time patting themselves on the back. Cancel the Oscars, I cried to one in particular.

But then Greta Gerwig took me out of my dark despair...

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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...

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Call Me With Kindness

by Jason Adams

Call Me By Your Name is turning out to be the sort of success none of us saw coming sixteen months ago when it was first announced that the director of I Am Love was tackling a little gay love story. It just broke the 2017 record for per theater average over the weekend, and its reviews have been unanimously stellar. It won Best Feature at the Gothams Monday night, it topped the Independent Spirit nominations, and it’s expected to stick around racking up such prizes all awards season long.

And yet there’s been one complaint that’s nagged at the movie from a determined bunch of folks (including the film’s own writer, legend James Ivory) since it first screened at Sundance in January – a supposed shyness about nudity and gay sex. Ivory told Variety it’s a “pity” there's no full-frontal nudity in the film, while The Guardian called the movie “coy” and Slate called it out for a “lack of explicit sex.” One shot in particular has rankled these folks the most – a seemingly old-fashioned pan out the window just as the characters finally approach their erotic consummation.

The film’s director Luca Guadagnino, who probably had to look up the word “coy” in the dictionary the first time it was lobbed at him for this, is nonplussed by the reaction – he told Vulture:

“It’s really something I don’t understand. It’s as if you said there are not enough shots of Shanghai. I don’t understand why there has to be Shanghai in this movie.”

I’m inclined to agree with him. Not only because I found the film sexy as hell, erotic in languorous, voyeuristic ways that movies don’t really approach anymore. Its sense of tactility, for sweat and fabric and skin, and its often-prurient stares – up the legs of swimming trunks, for example - are a welcome shock to the system that makes the forbidden seem commonplace, easy...

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