2016 Endy Awards

These are the 2016 Endy Awards, wherein I pretend to give out maneki-neko statues to the best in that year in film. Awards for many other years can be found in the Rankings & Awards Index. Eligibility is determined by imdb date and by whether or not I’ve seen the movie in question. Nominees are listed in alphabetical order and the winners are bolded. You can see my live-tweeting of the ceremony here. And the Endy goes to. . .

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2015 Endy Awards

These are the 2015 Endy Awards, wherein I pretend to give out maneki-neko statues to the best in that year in film. Awards for many other years can be found in the Rankings & Awards Index. Eligibility is determined by imdb date and by whether or not I’ve seen the movie in question. Nominees are listed in alphabetical order. And the Endy goes to. . .

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Best Picture:

1. Arabian Nights
2. The Assassin
3. Baahubali: The Beginning
4. Blackhat
5. Cemetery of Splendour
6. Happy Hour
7. Kaili Blues
8. Mad Max: Fury Road
9. Mountains May Depart
10. The Royal Road

Best Director:

1. Miguel Gomes, Arabian Nights
2. Hou Hsiao-hsien, The Assassin
3. Bi Gan, Kaili Blues
4. George Miller, Mad Max: Fury Road
5. Jia Zhangke, Mountains May Depart

Best Actor:

1. Michael B. Jordan, Creed
2. Wang Baoqiang, Detective Chinatown
3. Samuel L. Jackson, The Hateful 8
4. Aaron Kwok, Port of Call
5. Jung Jaeyung, Right Now, Wrong Then

Honorable Mentions: Jafar Panahi (Taxi), Subaru Shibutani (La La La at Rock Bottom), Tom Courtenay (45 Years), Elmer Bäck (Eisenstein in Guanajuato), John Boyega (The Force Awakens), Li Wen (Li Wen at East Lake), Matt Damon (The Martian), Kurt Russell (The Hateful 8), Nick Cannon (Chi-Raq), Feng Xiaogang (Mr. Six), Guy Pearce (Results), and Tony Jaa (SPL 2).

Best Actress:

1. Shu Qi, The Assassin
2. Saoirse Ronan, Brooklyn
3. Daisy Ridley, The Force Awakens
4. Zhao Tao, Mountains May Depart
5. Kim Minhee, Right Now, Wrong Then

Honorable Mentions: Rooney Mara (Carol), Tang Wei (A Tale of Three Cities), Crista Alfaiate (Arabian Nights), Lola Kirke (Mistress America), Charlize Theron (Mad Max: Fury Road), Katana Kiki Rodriguez (Tangerine), Jenjira Pongpas (Cemetery of Splendour), Isabella Leong (Murmur of the Hearts), Ai Hashimoto (Little Forest: Winter/Spring), Bai Baihe (Go Away Mr. Tumor), Sarina Suzuki (La La La at Rock Bottom), Charlotte Rampling (45 Years), Elizabeth Moss (Queen of Earth), Carey Mulligan (Far from the Madding Crowd), Nithya Menen (O Kadhal Kanmani), Anya Taylor-Joy (The Witch), Agyness Deyn (Sunset Song), Akari Hayami (Forget Me Not) and the entire cast of Happy Hour.

Supporting Actor:

1. Michael Keaton, Spotlight
2. Richard Jenkins, Bone Tomahawk
3. Emory Cohen, Brooklyn
4. Harrison Ford, The Force Awakens
5. Walton Goggins, The Hateful 8

HM: Tom Hardy (The Revenant), Oscar Isaac (Ex Machina), Michael Ning (Port of Call), Kevin Corrigan (Results), Mark Rylance (Bridge of Spies), Liev Schreiber (Spotlight), Adam Scott (Sleeping with Other People), Sylvester Stallone (Creed), Chow Yun-fat (Office), Chico Chapas (Arabian Nights), and Liev Schreiber (Spotlight).

Supporting Actress:

1. Jennifer Jason Leigh, The Hateful 8
2. Greta Gerwig, Mistress America
3. Sylvia Chang, Mountains May Depart
4. Tang Wei, Office
5. Mya Taylor, Tangerine

HM: Cate Blanchett (Carol), Emma Stone (Aloha), Rebecca Ferguson (Mission: Impossible – Rogue Nation), Jessie Li, (Port of Call), Viola Davis (Blackhat), Katherine Waterston (Queen of Earth), Sylvia Chang (Office), Tang Wei (Blackhat), Tang Wei (Monster Hunt), Hana Saeidi (Taxi), and Tessa Thompson (Creed).

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Original Screenplay:

1. Evan Johnson, Robert Kotyk & Guy Maddin, The Forbidden Room
2. Luo Li, Li Wen at East Lake
3. Greta Gerwig & Noah Baumbach, Mistress America
4. Jenni Olson, The Royal Road
5. Don Hertzfeldt, World of Tomorrow

Adapted Screenplay:

1. Miguel Gomes, Mariana Ricardo & Telmo Churro, Arabian Nights
2. Hou Hsiao-Hsien, Chu Tien-wen, Hsieh Hai-Meng & Zhang Acheng, The Assassin
3. Phyllis Nagy, Carol
4. Andrew Haigh, 45 Years
5. George Miller, Brendan McCarthy & Nico Lathouris, Mad Max: Fury Road

Tough to leave a pair of adventurous Chinese films out of the Original Screenplay mix: Murmur of the Hearts and Kaili Blues. Laurie Anderson’s script for Heart of a Dog was another painful omission. And of course, the fact that Hong Sangsoo isn’t nominated is major Endy news. In fact, this is only the second year this century (the other being 2005) that neither a Hong nor a Johnnie To/Wai Ka-fai film is nominated for Best Screenplay.

Non-English Language Film:

1. Arabian Nights (Miguel Gomes)
2. The Assassin (Hou Hsiao-hsien)
3. Baahubali: The Beginning (SS Rajamouli)
4. Happy Hour (Ryusuke Hamaguchi)
5. Mountains May Depart (Jia Zhangke)

Baahubali is the big surprise here, as Rajamouli’s gonzo CGI musical epic gets the nod over fine films from established Endy favorites Johnnie To, Apichatpong Weerasethakul and Hong Sangsoo.

Non-Fiction Feature:

1. Heart of a Dog (Laurie Anderson)
2. In Jackson Heights (Frederick Wiseman)
3. Junun (Paul Thomas Anderson)
4. The Royal Road (Jenni Olson)
5. The Thoughts that Once We Had (Thom Andersen)

This is the strongest set of five Non-Fiction Feature nominees in Endy history.

Animated Feature:

1. Anomalisa (Charlie Kaufman & Duke Johnson)
2. Inside Out (Pete Docter & Ronnie del Carmen)
3. The Peanuts Movie (Steve Martino)
4. Shaun the Sheep Movie (Mark Burton & Richard Starzak)

Short Film:

1. Bring Me the Head of Tim Horton (Guy Maddin, Evan Johnson & Galen Johnson)
2. Greed: Ghost Light (Kim Nakyung)
3. Night Without Distance (Lois Patiño)
4. No No Sleep (Tsai Ming-liang)
5. World of Tomorrow (Don Hertzfeldt)

Unseen Film:

1. Aferim! (Radu Jude)
2. Afternoon (Tsai Ming-liang)
4. No Home Movie (Chantal Akerman)

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Film Editing:

1. The Assassin
2. 88:88
3. The Forbidden Room
4. Mad Max: Fury Road
5. SPL 2: A Time for Consequences

Cinematography:

1. The Assassin
2. Kaili Blues
3. Mad Max: Fury Road
4. Mountains May Depart
5. Night Without Distance

Production Design:

1. The Assassin
2. Baahubali: The Beginning
3. Crimson Peak
4. Office
5. The Witch

Costume Design:

1. The Assassin
2. Carol
3. Crimson Peak
4. Far from the Madding Crowd
5. Mad Max: Fury Road

Make-up:

1. Baahubali: The Beginning
2. Crimson Peak
3. The Forbidden Room
4. Jupiter Ascending
5. Mad Max: Fury Road

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Original Score:

1. The Assassin
2. Blackhat
3. Heart of a Dog
4. O Kadhal Kanmani
5. The Revenant

Adapted Score:

1. Arabian Nights
2. The Hateful 8
3. La La La at Rock Bottom
4. Mountains May Depart
5. Office

Sound Design:

1. The Assassin
2. Blackhat
3. 88:88
4. Heart of a Dog
5. Topophilia

Sound Editing:

1. Blackhat
2. Crimson Peak
3. The Force Awakens
4. Mad Max: Fury Road
5. Mission: Impossible – Rogue Nation

Visual Effects:

1. Baahubali: The Beginning
2. The Forbidden Room
3. The Force Awakens
4. Go Away, Mr. Tumor
5. Jupiter Ascending

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Predictions for the 88th Annual Academy Awards

These are my picks for the winners of this year’s Academy Awards. On Sunday night, I’ll be tweeting out the winners of the 2015 Endy Awards during the Oscar ceremony. You can follow me there @theendofcinema. Here are the current 2015 Endy Award Nominees. We also had a special Oscar edition of The George Sanders Show last weekend, picking our 2015 favorites and discussing two Oscar films from 1946, best Picture nominee The Razor’s Edge and Best Song nominee Canyon Passage. My predictions are the ones in bold.
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On the 2014 Academy Awards (Or the Vice of Intended Ignorance)

I do love the Oscars. As long as I can remember, I’ve watched them. The first ceremony I have any memory of was the one held in 1982, just days shy of my sixth birthday. I had only seen one of the films in contention, Raiders of the Lost Ark, of course, but all I really remember is the theme song from Chariots of Fire. We watched the show every year, whether we’d seen any of the movies or not (my mom would race home from work to catch the beginning (back when the show used to be on a Monday so that it wouldn’t compete with weekend theatrical movie business, remember when that was a thing that mattered?) and I’d have to fill her in on any awards she’d just missed (Supporting Actor or Actress, always). I remember ET inexplicably losing to Gandhi (though mom raved about Ben Kingsley’s performance). I remember The Right Stuff (a very popular film among the grown-ups I knew; though I’d seen it, it was too slow and boring for me at that point) being upset by Terms of Endearment and mom’s love of Out of Africa (big Redford fan) and Amadeus. I remember someone on television claiming that Dustin Hoffman in Rain Man was one of the best performances ever. I remember rooting for Dead Poets Society or Field of Dreams and being as baffled as anyone by Driving Miss Daisy‘s win.

1990, when I was 14, was the first time I saw all of the nominees for Best Picture. I can’t say if I saw them all before the ceremony, but I made the effort to see them as soon as possible (Goodfellas had to wait until HBO, for sure). I loved Dances with Wolves that year, and Silence of the Lambs the next (HBO again, I read the book too), though I was rooting for JFK. Unforgiven was my favorite in 1992, a movie I saw multiple times, once in a drive-in even, on a double bill with Terminator 2. Schindler’s List I saw three times in the theatre, I was convinced that, as I kept hearing, it was indeed the greatest movie ever made. The Oscars, as long as I could remember, were for big movies, important movies, great movies. And then, in 1994, the year I started college, Forrest Gump beat Pulp Fiction and the Academy Awards, or at least, my relation to them, have never been the same.


I’ve often referred to 1994 as Year Zero for cinephiles of my generation. Growing up in the hinterlands, a world of chain video stores and zero repertory film, our exposure to the films of the past, especially foreign and art films, was severely limited. Every video store had a foreign film section, of course, but those usually consisted of a few Kurosawa epics and a handful of Gerard Depardieu spectacles. The classic film sections were better stocked, but without a reliable guide, no one knew where to begin. The film sections of the local bookstores mostly consisted of Leonard Maltin and his imitators, and when I was in college my friends and I would spend hours pouring through his guides along with the Video Hound Golden Movie Retriever (which rated everything on a scale of “Woof” to “Four Bones”). So we had a passing familiarity with Hitchcock, Welles, Scorsese, and the Best Picture Oscar winners, but not much else. But then Quentin Tarantino came along, bursting with big city video store knowledge, urging, demanding that the kids like us who loved his movies seek out in turn the films he loved. (An example, in June 1995 Tarantino presented Jackie Chan with the Lifetime Achievement MTV Movie Award, which was accompanied by a greatest hits reel of Chan stunts. I had never seen a Hong Kong movie, I’d never heard of Jackie Chan. But that award led to a wide US release for Rumble in the Bronx, so wide it even played Spokane. I saw that and the few other Chans I could find on video (dubbed, badly, of course), and when I moved to Seattle, I dived headfirst into Hong Kong cinema, an obsession that has yet to subside.)  Reservoir Dogs, True Romance and Pulp Fiction (the first two I watched back to back one weekend afternoon, after my friends learned I’d never seen a Tarantino film; I had heard he’d won the Palme d’Or, but didn’t know he’d made any other movies) demanded we familiarize ourselves with their influences: film noir, Howard Hawks, Jean-Luc Godard (one of our favorite pass-times was driving around to all the video stores in town looking for a copy of Breathless. After years of searching, when finally found it for a $10 rental at a short-lived Jazz record store downtown). Movies with Christopher Walken and John Travolta and Harvey Keitel. We sought them all out, and each new discovery led to three more must-see films. Around the same time, Turner Classic Movies launched, opening a whole new front in the war on limited distribution. I’d always been a movie fan, going to the theatre was the one thing my mom, my sister and I ever did as a family, but 1994 was the year I became a cinephile, and Pulp Fiction was the spark.

And then it lost Best Picture to Forrest Gump. A fine movie, sure, one we’d all liked when it came out that summer. But it looked positively ⃞  next to Pulp Fiction. The divide was cultural, political, generational. That was their movie and this was ours, and we’d been robbed. The pattern continued, year after year: our favorites always just losing to something bigger, blander, more mainstream. I don’t know if that was new, I suspect it wasn’t, but it seemed like a new development. Like there really was a generational war at play in Hollywood, between the old guard of respectable spectacle and a new wave of independent, Alternative to use the word of the times, cinema. The consensus of the 1980s, where every couple of years it seemed everyone agreed that the Best Picture really was The Best, and would therefore reward it with a multi-Oscar sweep, were gone. But it would take a few years for this split to play itself out, the big sweeps would continue for the rest of the 90s, though the rhetoric around the Oscars and their wrongness would grow with each middlebrow choice.

Here are the Best Picture winners from 1980-1993, along with their total number of Oscars won:

1980: Ordinary People – 4
1981: Chariots of Fire – 4
1982: Ghandi – 8
1983: Terms of Endearment – 5
1984: Amadeus – 8
1985: Out of Africa – 7
1986: Platoon – 4
1987: The Last Emperor – 9
1988: Rain Man – 4
1989: Driving Miss Daisy – 4
1990: Dances with Wolves – 7
1991: Silence of the Lambs – 5
1992: Unforgiven – 4
1993: Schindler’s List – 7

That’s an average of 5.7 Oscars per winner, with 6 films out of 14 winning 7 or more awards. The average would actually go up over the next 10 years, with 4 big sweeps leading to 6.9 Oscars per winner:

1994: Forrest Gump – 6
1995: Braveheart – 5
1996: The English Patient – 9
1997: Titanic – 11
1998: Shakespeare in Love – 7
1999: American Beauty – 5
2000: Gladiator – 5
2001: A Beautiful Mind – 4
2002: Chicago – 6
2003: Return of the King – 11

But that was the last time there was any real consensus, and one could argue the Return of the King number is a fluke, driven by three years of wonder at Peter Jackson’s epic trilogy. The next 11 years show a striking break with tradition, with an average of only 4.3 Oscars per Best Picture winner:

2004: Million Dollar Baby – 4
2005: Crash – 3
2006: The Departed – 4
2007: No Country for Old Men – 4
2008: Slumdog Millionaire – 8
2009: The Hurt Locker – 6
2010: The King’s Speech – 4
2011: The Artist – 5
2012: Argo – 3
2013: 12 Years a Slave – 3
2014: Birdman – 4

There are any number of possible explanations for this trend, most probable simply being the increasing split between blockbuster “entertainment” films that dominate the technical categories while low-budget (in)dependent films, driven by strong acting, directing and writing, dominate the more prestigious awards, making a 7 Oscar win relatively rare (in order to reach that number, a film has to do well in either the effects or design categories, areas which favor big-budget spectacle). But is there in fact some more ideological, something like my (perceived) generational split at work?

Oscar season has increasingly come to be defined as a race, with the contenders and dark horses defined long before any of the films in question have been seen, and then adjusted up and down the odds tables throughout the fall festival season and into the end-of-the-year awards deluge, with critics’ groups routinely seen as mere precursors to the main events, and therefore their relevance defined by their relation to the established narrative (thus the cries of anguish from the awards bloggers when the National Society of Film Critics awarded Adieu au langage their Best Picture this past year: the Godard film wasn’t part of the defined race, and therefore the group was marginalizing themselves by choosing to acknowledge its existence, a decision that could only be made by obstinate refusal to play the game by the rules, or, in other words, snobbery). The Race is good for business: people like gossip and they like competition, awards commentary provides both in spades. Driven in no small part from the ad revenue from studio’s Oscar campaigns (the ubiquitous FYC ads you see on every major film site during voting season), there’s a vested interest in heightening the controversy, in making a compelling story out of a bunch of people getting together and voting on their favorite movies of the year.

The awards season is now a narrative-driven event, and the simplest narratives put two things in opposition to each other, thus most years, the Oscar race seems to come down to two films, and everyone is encouraged to align themselves with one camp or another. These are the years 1994-2003 of the Best Picture race, the years of heavy consensus, with the winner and the runner-up listed. Note that some years there wasn’t a clear runner-up, in which case I’ve picked the film that seemed like the #2 to me at the time. I could have been wrong. We’ll never know for sure as the Academy doesn’t release voting results.

Year Oscar Winner Runner-Up
1994 Forrest Gump Pulp Fiction
1995 Braveheart Sense & Sensibility
1996 The English Patient Fargo
1997 Titanic LA Confidential
1998 Shakespeare in Love Saving Private Ryan
1999 American Beauty The Insider
2000 Gladiator Crouching Tiger, Hidden Dragon
2001 A Beautiful Mind The Fellowship of the Ring
2002 Chicago The Pianist
2003 Return of the King Master and Commander
It looks to me like in most of these years, the race has been defined by a choice between one traditional Hollywood film and one “edgy” independent. Love stories are pitted against violent dramas, serious melodramas against genre fare, big-budget spectacle against intimate character stories. One could debate the details, but it looks to me like in every year but (possibly) one from 1994 until 2003, the Academy chose the more traditionally appealing film at the expense of the artier, hipper movie. The outlier is 1995, but I’d argue that Ang Lee’s Jane Austen film is much more modern than Mel Gibson’s war epic, though obviously far less violent. Anyway, a reasonable case could be made that the runner-up that year was actually Apollo 13, which is the most traditional of the three, but I think it and Braveheart appealed to the same core audience and was thus unlikely to have been the second-place finisher. Regardless, even with that one outlier, the trend is fairly clear. (A personal note that not every one of the winners this year was my least favorite, I would have made the same choice in three of these years (96, 97 and 98) and am fairly ambivalent about a fourth (2003)).
Now let’s look at the same chart for 2004-2014:

Year Oscar Winner Runner-Up
2004 Million Dollar Baby The Aviator
2005 Crash Brokeback Mountain
2006 The Departed Little Miss Sunshine
2007 No Country for Old Men There Will Be Blood
2008 Slumdog Millionaire The Curious Case of Benjamin Button
2009 The Hurt Locker Avatar
2010 The King’s Speech The Social Network
2011 The Artist The Tree of Life
2012 Argo Lincoln
2013 12 Years a Slave Gravity
2014 Birdman Boyhood
Here we have chaos. The “edgy” film wins in 2004, 2006-09 and 2013-14, while the more traditionally appealing film wins in 2005 and 2010-12. Though the distinctions between camps are harder than ever to define. Take this past year for example. Boyhood was the consensus critics choice, which would lead one to assume it was the “artier” movie. But its style, aside from the unique method of production, is resolutely traditional, a coming of age story/family drama of the type that has broad mainstream appeal. Birdman, on the other hand, declares itself Edgy with an ostentatious pseudeo-single-take visual style, jarring tonal swings and a deeply cynical screenplay. It is most certainly a film descended from Pulp Fiction (though, I’d argue, one that learned all the wrong lessons from its forebears, but that’s not relevant here). If there is a generational war at play within the Academy, this is what one would expect the Oscar results to look like: pendulum swings back and forth, with neither side gaining enough momentum to push the consensus in one unified direction. Thus we have the significantly lower average totals of wins by Best Picture winners. Whether that represents an actual conflict or one manufactured by journalists pushing a story, I can’t say: the two feed off themselves in such a way that one can only expect further polarization and less consensus as time goes on, absent structural change of some kind.
Looking at these lists, I can’t help but compare them to my own personal award winners. Here’s the full chart for 1994-2014, with the Best Picture Endys added into the mix:

Year Oscar Winner Runner-Up Endy Winner
1994 Forrest Gump Pulp Fiction Chungking Express
1995 Braveheart Sense & Sensibility Dead Man
1996 The English Patient Fargo Comrades, Almost a Love Story
1997 Titanic LA Confidential Boogie Nights
1998 Shakespeare in Love Saving Private Ryan The Big Lebowski
1999 American Beauty The Insider Beau travail
2000 Gladiator Crouching Tiger, Hidden Dragon La Commune (Paris 1871)
2001 A Beautiful Mind The Fellowship of the Ring Millennium Mambo
2002 Chicago The Pianist Punch-Drunk Love
2003 Return of the King Master and Commander Running on Karma
2004 Million Dollar Baby The Aviator Tropical Malady
2005 Crash Brokeback Mountain The New World
2006 The Departed Little Miss Sunshine The Wind that Shakes the Barley
2007 No Country for Old Men There Will Be Blood Flight of the Red Balloon
2008 Slumdog Millionaire The Curious Case of Benjamin Button Sparrow
2009 The Hurt Locker Avatar Oxhide II
2010 The King’s Speech The Social Network Oki’s Movie
2011 The Artist The Tree of Life The Tree of Life
2012 Argo Lincoln Moonrise Kingdom
2013 12 Years a Slave Gravity La última película
2014 Birdman Boyhood The Midnight After

A few obvious things jump out. Only in one case does my winner match one of the top two Oscar films (though Pulp Fiction is my #2 film of 1994). As they should in comparing a consensus vote to an individual one, my choices are personal and idiosyncratic. This will happen when you compare anyone’s picks to that of a large body: the larger the voting pool, the less unique the winner. My particular idiosyncrasy appears in two forms on this list. Most obvious is the large number of Asian films, 9 out of 21, from China, Hong Kong, South Korea, Thailand and Taiwan (and a 10th that’s a French film made by a Taiwanese director). But also apparent, and more important, are the large number of films that never received wide distribution in the United States (that Asian films are less likely to receive US distribution than comparable European films is a (debatable) issue for another time). Only 10 of my 21 winners had even a reasonably-sized art house run in American theatres, a few have never even qualified for major critics awards, almost all of which tie their eligibility rules to week-long theatrical runs in New York City. Instead I’ve had to seek these films out at festivals or on imported video, bypassing the establishment distribution channels entirely. Critics groups can’t and won’t do this because they are inextricably tied into the distribution system: they depend on studios for screeners and local theatrical audiences for readership.

This raises the question of the purpose of awards. Is it to raise awareness of excellence in motion pictures, to record for posterity the movies we think are great, the ones we recommend viewers of the future to seek out? Or is it a matter of marketing? Do awards matter because, as we hear every year as a justification for the countless words printed on the subject, an Oscar win significantly increases a film’s total gross, in theatrical revenue and on video, for years and decades to come? One may as well ask what is the function of film criticism: to guide the prospective viewer into places they might not go on their own, or to confirm for them what they already believe? If a critic is a guide, then it doesn’t matter whether a film they recommend is immediately available or not: it’s their job to instill the desire to seek in the audience. I think most critics would aspire to that ideal, see for example the flabbergasted responses to this week’s New York Times column lambasting the Oscars for failing to be relevant because they didn’t give awards to the highest-grossing films. Of course, the idea is absurd on its face, but the critical response is telling: to them, the Oscars, in choosing Birdman are not only not elitist, but are resolutely middle of the road. To the critical community, Birdman‘s win is a sign of the Academy’s bowing to the mainstream, of a failure to be sufficiently elite. (I’m speaking in general terms here: there is no “critical community”, there is instead a collection of individuals who disagree with each other as a matter of principle, that is part of their charm. This is, however, the reaction as I understand it in a broad sense).

Why then should critics, critics who travel the festival circuit year-round, who make yearly pilgrimages to Sundance, Locarno, Cannes, Toronto, New York, Vancouver, Berlin, Austin, Venice, Vienna and more, tie themselves to an awards model that narrowly defines what counts as a film in any given year. If awards are a snapshot, preserving the consensus thoughts about cinema at a given time for the sake of posterity, a report from a group of passionate lovers of film about what they believe is great in the present moment, then why should they define that snapshot by the parameters of an industry that views their efforts only in the crudest terms? Should critics not be in opposition to the forces that drive the awards industry, that attempt to limit what we can see? Strong reviews at film festivals can and have led to otherwise invisible films being picked up for US release by adventurous distributors, why does that noble mission stop when awards season begins? The awards bloggers want to limit our conversation to a simple narrative, they want a few, clearly defined poles: good and bad, liberal and conservative, traditional and arty, edgy and populist. The major distributors want to limit our conversation to the films they own and make available to the public: criticism is advertising, no more, no less. We shouldn’t let them. We can’t let every year come down to Forrest Gump vs. Pulp Fiction, that’s not how cinema works and it’s not how history will remember it. It has to be about Forrest Gump and Pulp Fiction and Chungking Express (a film many of us only saw because Quentin Tarantino forced Harvey Weinstein to release it uncut and in its original language, something Weinstein is loathe to do with his Hong Kong properties to this day), not to mention Sátántangó and Ed Wood and Pom Poko and Exotica and The Shawshank Redemption and He’s a Woman, She’s a Man and Three Colors: Red and Drunken Master II and I Can’t Sleep and Hoop Dreams and Clerks and Speed and In the Mouth of Madness and and and.

2005 Endy Awards

These are the 2005 Endy Awards, wherein I pretend to give out maneki-neko statues to the best in that year in film. Awards for many other years can be found in the Rankings & Awards Index. Eligibility is determined by imdb date and by whether or not I’ve seen the movie in question. Nominees are listed in alphabetical order and the winners are bolded. And the Endy goes to. . .


Best Picture:

1. Dave Chappelle’s Block Party
2. Election
3. A History of Violence
4. Linda Linda Linda
5. The New World
6. Oxhide
7. Princess Raccoon
8. Revenge of the Sith
9. Tale of Cinema
10. Three Times

Best Director:

1. Nobuhiro Yamashita, Linda Linda Linda
2. Terrence Malick, The New World
3. Liu Jiayin, Oxhide
4. Seijun Suzuki, Princess Raccoon
5. Hou Hsiao-hsien, Three Times

Terrence Malick’s story of the discovery of America by Europeans, and of the discovery of Europeans by America is probably my favorite film of the 21st Century thus far.

Best Actor:

1. Lee Byung-hun, A Bittersweet Life
2. Heath Ledger, Brokeback Mountain
3. Simon Yam, Election
4. Viggo Mortensen, A History of Violence
5. Steve Coogan, Tristram Shandy

Best Actress:

1. Luminiţa Gheorghiu, The Death of Mr. Lazarescu
2. Bae Doona, Linda Linda Linda
3. Q’orianka Kilcher, The New World
4. Zhang Ziyi, Princess Raccoon
5. Shu Qi, Three Times

Supporting Actor:

1. Tony Leung Ka-fai, Election
2. Jacky Cheung, Perhaps Love
3. Ian McDiarmid, Revenge of the Sith
4. Mickey Rourke, Sin City
5. Jeff Daniels, The Squid & the Whale

Supporting Actress:

1. Michelle Williams, Brokeback Mountain
2. Maria Bello, A History of Violence
3. Yû Kashii, Linda Linda Linda
4. Aki Maeda, Linda Linda Linda
5. Uhm Ji-won, Tale of Cinema

Original Screenplay:

1. Kôsuke Mukai, Wakako Miyashita & Nobuhiro Yamashita, Linda Linda Linda
2. Terrence Malick, The New World
3. Liu Jiayin, Oxhide
4. Yoshio Urasawa, Princess Raccoon
5. Chu T’ien-wen & Hou Hsiao-hsien, Three Times

Adapted Screenplay:

1. Larry McMurtry & Diana Ossana, Brokeback Mountain
2. Josh Olson, A History of Violence
3. Shane Black, Kiss Kiss Bang Bang
4. Tony Kushner & Eric Roth, Munich
5. Frank Cottrell Boyce, Tristram Shandy

Not a fan of the Adapted Screenplay category this year. There were probably another four or five original screenplays I would have rather nominated than some of these. Still, Tristram Shandy made me laugh, so that’s good.

Non-English Language Film:

1. Election (Johnnie To)
2. Linda Linda Linda (Nobuhiro Yamashita)
3. Oxhide (Liu Jiayin)
4. Tale of Cinema (Hong Sangsoo)
5. Three Times (Hou Hsiao-hsien)

Documentary Film:

1. The Aristocrats (Paul Provenza)
2. Dave Chappelle’s Block Party (Michel Gondry)
3. Grizzly Man (Werner Herzog)
4. My Dad is 100 Years Old (Isabella Rossellini)
5. No Direction Home (Martin Scorsese)

I continue to believe that this is Michel Gondry’s best film.

Animated Film:

1. 9 (Shane Acker)
2. The Curse of the Were-Rabbit (Nick Park & Steve Box)
3. One Man Band (Mark Andrews & Andrew Jimenez)

Unseen Film:

1. L’enfant (The Dardennes)
2. Last Days (Gus Van Sant)
3. Pride & Prejudice (Joe Wright)
4. The Wayward Cloud (Tsai Ming-liang)

Film Editing:

1. Domino
2. Election
3. The New World
4. Revenge of the Sith
5. Three Times

Cinematography:

1. Domino
2. King Kong
3. The New World
4. Perhaps Love
5. Three Times

Art Direction:

1. King Kong
2. The New World
3. Princess Raccoon
4. Seven Swords
5. Three Times

Seijun Suzuki’s musical is one of the weirdest films of the decade, and its stage is essential to its charm.

Costume Design:

1. Kingdom of Heaven
2. Munich
3. The New World
4. Princess Raccoon
5. Seven Swords

Make-up:

1. Domino
2. Kingdom of Heaven
3. Revenge of the Sith
4. Seven Swords
5. Sin City

Original Score:

1. Brokeback Mountain
2. Linda Linda Linda
3. Perhaps Love
4. Princess Raccoon
5. Revenge of the Sith

Giving the nod to Perhaps Love‘s array of musical styles (big Broadway tunes, operetta-style monologues, pop ballads) over Princess Raccoon‘s folk eclecticism and Brokeback Mountain‘s groovy guitar.

Adapted Score:

1. Dave Chappelle’s Block Party
2. Linda Linda Linda
3. The New World
4. No Direction Home
5. Walk the Line

Japanese punk over Dylan, Wagner, Johnny Cash, and one awesome concert.

Sound:

1. Domino
2. The New World
3. Perhaps Love
4. Three Times
5. The War of the Worlds

Sound Editing:

1. Domino
2. King Kong
3. Revenge of the Sith
4. Serenity
5. The War of the Worlds

Visual Effects:

1. Himalaya Singh
2. King Kong
3. Revenge of the Sith
4. Serenity
5. The War of the Worlds

True story: when I was watching King Kong, the Empire State Building sequence, which I knew was totally fake, all special effects, was dizzying enough that it gave me an attack of vertigo and I had to watch the rest of the film lying on the floor. That’s what the Endys are all about.

2006 Endy Awards

These are the 2006 Endy Awards, wherein I pretend to give out maneki-neko statues to the best in that year in film. Awards for many other years can be found in the Ranking & Awards Index. Eligibility is determined by imdb date and by whether or not I’ve seen the movie in question. Nominees are listed in alphabetical order and the winners are bolded. And the Endy goes to. . .

Best Picture:

1. Déjà Vu
2. The Departed
3. Election 2
4. Exiled
5. I Don’t Want to Sleep Alone
6. Miami Vice
7. Still Life
8. Syndromes and a Century
9. The Wind that Shakes the Barley
10. Private Fears in Public Places

A bit of an upset from this Johnnie To fan, but I have always been a huge fan of Ken Loach’s Cannes-winning IRA epic and remain so almost a decade later.

Best Director:

1. Johnnie To, Exiled
2. Michael Mann, Miami Vice
3. Jia Zhangke, Still Life
4. Apichatpong Weerasethakul, Syndromes and a Century
5. Ken Loach, The Wind that Shakes the Barley

To gets the make-up award here, with one of his best films of the decade. He just edges out Apichatpong Weerasethakul, who will narrowly best him for this award in 2004.

Best Actor:

1. Aaron Kwok, After This Our Exile
2. Michel Piccoli, Belle toujours
4. Jason Statham, Crank
3. Denzel Washington, Déjà vu
5. Cillian Murphy, The Wind that Shakes the Barley

Best Actress:

1. Ebru Ceylan, Climates
2. Laura Dern, Inland Empire
3. Isabella Leong, Isabella
4. Kirsten Dunst, Marie Antoinette
5. Go Hyun-jung, Woman on the Beach

Supporting Actor:

1. Jack Nicholson, The Departed
2. Anthony Wong, Exiled
3. Adam Beach, Flags of Our Fathers
4. John Ortiz, Miami Vice
5. Pádraic Delaney, The Wind that Shakes the Barley

Supporting Actress:

1. Vera Farmiga, The Departed
2. Gong Li, Miami Vice
3. Margo Martindale, Paris je t’aime
4. Zhao Wei, The Postmodern Life of My Aunt
5. Lindsay Lohan, A Prairie Home Companion

Some may say Nicholson’s performance is too big, too hammy. I say the more the merrier.

Original Screenplay:

1. Szeto Kam-Yuen & Yip Tin-Shing, Exiled
2. Tsai Ming-liang, I Don’t Want to Sleep Alone
3. Wai Ka-fai & Au Kin-yee, The Shopaholics
4. Apichatpoing Weereasethakul, Syndromes and a Century
5. Paul Laverty, The Wind that Shakes the Barley

Adapted Screenplay:

1. William Monahan, The Departed
2. Yau Nai-hoi & Yip Tin-shing, Election 2
3. Garrison Keillor, A Prairie Home Companion
4. Jean-Michel Ribes, Private Fears in Public Places
5. Richard Linklater, A Scanner Darkly

Non-English Language Film:

1. Election 2
2. Exiled
3. Isabella
4. Still Life
5. Syndromes and a Century

Documentary Film:

1. This Film is Not Yet Rated
2. Wordplay

Animated Film:

1. Cars
2. The Girl Who Leapt Through Time
3. Paprika
4. A Scanner Darkly

This was a tough category, as three of these films are really good. In the end, Satoshi Kon and Mamoru Hosada split the anime vote and Richard Linklater’s rotoscoped Philip K. Dick adaptation sneaks away with the win.

Unseen Film:

1. Black Book (Paul Veerhoeven)
2. Fireworks Wednesday (Asghar Farhadi)
3. I’m a Cyborg, but That’s OK (Park Chan-wook)
4. Old Joy (Kelly Reichardt)
5. Volver (Pedro Almodovar)

As rough as this year seems, there really isn’t a whole lot out there I feel I need to see.

Film Editing:

1. The Departed
2. Crank
3. Exiled
4. Miami Vice
5. Syndromes and a Century

Cinematography:

1. Climates
3. Marie Antoinette
4. Miami Vice
2. Syndromes and a Century
5. The Wind that Shakes the Barley

A watershed year for the digital camera, with Climates and Vice pushing it to its limits.

Art Direction:

1. The Fall
2. Marie Antoinette
3. Pan’s Labyrinth
4. Syndromes and a Century
5. The Wind that Shakes the Barley

Costume Design:

1. Curse of the Golden Flower
2. The Fall
3. Marie Antoinette
4. Pirates of the Caribbean: Dead Man’s Chest
5. The Wind that Shakes the Barley

Make-up:

1. Election 2
2. Exiled
3. Marie Antoinette
4. Pan’s Labyrinth
5. Pirates of the Caribbean: Dead Man’s Chest

Original Score:

1. Exiled
2. Isabella
3. Once
4. A Scanner Darkly
5. The Wind that Shakes the Barley

Adapted Score:

1. The Departed
2. Marie Antoinette
3. Miami Vice
4. A Prairie Home Companion
5. Southland Tales

I wish I liked Marie Antoinette more than I do. I dig Coppola’s music though.

Sound:

1. The Departed
2. Exiled
3. Inland Empire
4. Miami Vice
5. Syndromes and a Century

Sound Editing:

1. The Departed
2. Exiled
3. Letters from Iwo Jima
4. Miami Vice
5. Pirates of the Caribbean: Dead Man’s Chest

Visual Effects:

1. Deja vu
2. The Host
3. Pan’s Labyrinth
4. Pirates of the Caribbean: Dead Man’s Chest
5. Superman Returns

2007 Endy Awards

These are the 2007 Endy Awards, wherein I pretend to give out maneki-neko statues to the best in that year in film. Awards for many other years can be found in the Rankings & Awards Index. Eligibility is determined by imdb date and by whether or not I’ve seen the movie in question. Nominees are listed in alphabetical order and the winners are bolded. And the Endy goes to. . .


Best Picture:

1. 5 Centimeters per Second
2. Flight of the Red Balloon
3. I’m Not There
4. My Winnipeg
5. No Country for Old Men
6. Ratatouille
7. The Romance of Astrea and Celadon
8. The Sun Also Rises
9. There Will Be Blood
10. The Trap: What Happened to Our Dream of Freedom

Best Director:

1. Makoto Shinkai, 5 Centimeters per Second
2. Hou Hsiao-hsien, Flight of the Red Balloon
3. Todd Haynes, I’m Not There
4. Guy Maddin, My Winnipeg
5. Paul Thomas Anderson, There Will Be Blood

Best Actor:

1. Mathieu Amalric, The Diving Bell & the Butterfly
2. Alejandro Polanco, Chop Shop
3. Lau Ching-wan, Mad Detective
4. Josh Brolin, No Country for Old Men
5. Daniel Day-Lewis, There Will Be Blood

Best Actress:

1. Anamaria Marinca, 4 Months, 3 Weeks, 2 Days
2. Asia Argento, Boarding Gate
3. Juliette Binoche, Flight of the Red Balloon
4. Tang Wei, Lust, Caution
5. Nicole Kidman, Margot at the Wedding

Supporting Actor:

1. Kurt Russell, Grindhouse
2. Ben Whishaw, I’m Not There
3. Marcus Carl Franklin, I’m Not There
4. Javier Bardem, No Country for Old Men
5. Tommy Lee Jones, No Country for Old Men

Supporting Actress:

1. Marie-Josée Croze, The Diving Bell & the Butterfly
2. Song Fang, Flight of the Red Balloon
3. Cate Blanchett, I’m Not There
4. Tilda Swinton, Michael Clayton
5. Rachel Weisz, My Blueberry Nights

Original Screenplay:

1. Makoto Shinkai, 5 Centimeters per Second
2. Hou Hsiao-hsien & François Margolin, Flight of the Red Balloon
3. Todd Haynes & Oren Moverman, I’m Not There
4. Wai Ka-fai & Au Kin-yee, Mad Detective
5. Guy Maddin & George Toles, My Winnipeg

Adapted Screenplay:

1. Joel & Ethan Coen, No Country for Old Men
2. Gus van Sant, Paranoid Park
3. Eric Rohmer, The Romance of Astrea and Celadon
4. Paul Thomas Anderson, There Will Be Blood
5. James Vanderbilt, Zodiac

Non-English Language Film:

1. 5 Centimeters per Second (Makoto Shinkai)
2. Flight of the Red Balloon (Hou Hsiao-hsien)
3. Mad Detective (Johnnie To & Wai Ka-fai)
4. The Romance of Astrea and Celadon (Eric Rohmer)
5. The Sun Also Rises (Jiang Wen)

Documentary Film:

1. Encounters at the End of the World (Werner Herzog)
2. Helvetica (Gary Hustwit)
3. The King of Kong (Seth Gordon)
4. My Winnipeg (Guy Maddin)
5. The Trap: What Happened to Our Dream of Freedom (Adam Curtis)

Animated Film:

1. 5 Centimeters per Second (Makoto Shinkai)
2. Beowulf (Robert Zemeckis)
3. Ratatouille (Brad Bird)
4. The Simpsons Movie (David Silverman)

Unseen Film:

1. The Duchess of Langeais (Jacques Rivette)
2. The Man from London (Bela Tarr & Ágnes Hranitzky)
3. Persepolis (Vincent Paronnaud & Marjane Satrapi)
4. Secret Sunshine (Lee Changdong)
5. We Own the Night (James Gray)

Film Editing:

1. I’m Not There
2. My Winnipeg
3. No Country for Old Men
4. There Will Be Blood
5. You, the Living

Cinematography:

1. Flight of the Red Balloon
2. My Blueberry Nights
3. The Sun Also Rises
4. There Will Be Blood
5. Zodiac

Art Direction:

1. The Darjeeling Limited
2. I’m Not There
3. The Romance of Astrea and Celadon
4. You, the Living
5. Zodiac

Costume Design:

1. I’m Not There
2. The Romance of Astrea and Celadon
3. There Will Be Blood
4. You, the Living
5. Zodiac

Make-up:

1. The Diving Bell and the Butterfly
2. Grindhouse
3. Mad Detective
4. Pirates of the Caribbean: At World’s End
5. Sukiyaki Western Django

Original Score:

1. Atonement
2. 5 Centimeters per Second
3. No Country for Old Men
4. Ratatouille
5. There Will Be Blood

Adapted Score:

1. The Darjeeling Limited
2. The Diving Bell & the Butterfly
3. I’m Not There
4. Paranoid Park
5. Sweeney Todd: The Demon Barber of Fleet Street

Sound:

1. Grindhouse
2. I’m Not There
3. No Country for Old Men
4. Ratatouille
5. There Will Be Blood

Sound Editing:

1. The Bourne Ultimatum
2. No Country for Old Men
3. Pirates of the Caribbean: At World’s End
4. Ratatouille
5. There Will Be Blood

Visual Effects:

1. Grindhouse
2. Pirates of the Caribbean: At World’s End
3. Resident Evil: Extinction
4. Transformers
5. Zodiac

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