Our staff at Way Too Indie compiled a list of the Best 50 Movies that came out between 2010 and 2014. These films mess with our heads, expand our imagination, push the art form forward, fill up our hearts, and then rip them out for good measure. And for all this, we’ll love and cherish them for years to come. Here’s to an amazing first half of the decade, and to an even better next five years.

Every day this week we are releasing ten films from our list, here is #30 through #21.

Best 50 Movies Of The Decade So Far
(#30 – #21)

Drive

I remember walking out of the theater one hot and muggy September night in Toronto after experiencing Nicolas Winding Refn’s Drive. I really didn’t care for it. Maybe it was the hype. I saw it again. And again. And again. It’s now one of my favorite films (when we made our individual lists that this list was culled from, I had it at number one). Refn’s film is colorfully bold. It’s loud. It’s vibrant. It’s violent. And it’s just so much goddamn fun. Ryan Gosling had a breakout year in 2011 and one of the reasons was this pseudo-Euro-pop-western set in the modern day metropolitan jungle of Los Angeles. Gosling plays a man with no name (wink-wink) who works at a body shop by day, but at night masquerades as a driver for hire whom criminals pay good money to extract their cohorts from robberies and other odd jobs. When one of these jobs goes wrong and a woman he is smitten with is put in danger, he reacts swiftly and violently. Refn won the Best Director prize at Cannes where the film premiered, and now four years later I’m sad it’s not universally loved. Drive is a pulsating work. Everyone involved is at the top of their game, especially Gosling, who here announced himself as one of Hollywood’s brightest young stars. [Blake]

Inception

Still a staple in film critics’ conversations since it’s inception into celluloid (I had to), Christopher Nolan’s sci-fi heist thriller won over our hearts and minds with it’s wig-out-worthy concept of dream hacking. Winning Oscars for Best Cinematography, Best Sound Editing, Best Sound Mixing, and Best Visual Effects, this epic sensory roller coaster garnered acclaim among critics and the box office, grossing over $800 million internationally. With incredible performances by an indomitable cast including Leonardo Dicaprio, Joseph Gordon-Levitt, Ellen Page, Michael Caine, Marion Cotillard, and Tom Hardy, it’s no wonder this film is likely to go down as one of the best in the century, let alone the decade. Personally, I think any movie that gives us an opportunity to experience that which is Lukas Haas is a winner. And who wasn’t holding onto their butts for the funhouse-like fight scene as they tumbled through the spinning hallway? It is rare that we see something that is not a recreation, adaptation, revision, or remake in Hollywood and it is always refreshing when a new concept is able to reawaken that ever sleeping giant that is our imagination. [Scarlet]

Silver Linings Playbook

One of the most charming, lovable and painfully honest depictions of mental illness I have ever seen in cinema, Silver Linings Playbook is a bona fide gem and a modern classic of the genre. Pat and Tiffany, our main characters, embark upon a journey that, for most others, would be a Hollywood cliché. But it has to be acknowledged from the beginning that these two are not most other characters. They do not act the way we expect them to; they live the way they expect themselves to. Bradley Cooper and Jennifer Lawrence provide stunning performances, demanding to be taken seriously whilst at the same time being entirely aware of the comedy they inspire. Perhaps this is key to understanding the characters themselves though—just a few scenes into the film we can tell that they are walking contradictions. Pat could genuinely be described as an optimistic pessimist. Tiffany seems to be both intrusive and elusive. In much the same way, Silver Linings Playbook couldn’t possibly be described as an ordinary romcom—not because it subverts the genre, but because it so thoroughly surmounts it. [Pavi]

Holy Motors

After his 1999 film, Pola X, ended up a disastrous financial failure, the peculiar French director Leos Carax recoiled into seclusion to lick his wounds. Aside from his contribution to the Tokyo! triptych of films in 2008, he hadn’t filmed anything for the public for over a decade, which turned the Holy Motors premiere at Cannes, in 2012, into an arthouse event and a triumphant return of a beloved film lover and emphatic romantic at heart. Working with his most trusted collaborator, Denis Lavant (who turns in an Oscar-worthy performance), Carax sets Holy Motors in a cinephile’s wet dream fantasy land, where a man pops in and out of various characters, various stages of film history, and multiple storylines revolving around love, loss, family, and coming home. It plays out concurrently as a love letter to everything that has inspired Carax as a filmmaker, and an elegy to the current state of an art dominated by technology and profit. Some have called it pretentious, some WTI staffers didn’t care for it, but the majority of us beg to differ (personally, it’s my second favorite film of the decade so far). By delving into the personal, Carax has made something enchantingly universal, where even the space between the frames captivates and celebrates cinema as poetry. At times hilarious, at times frightening, always passionate, Holy Motors is watching magic conjured on screen by a magician in love with creation itself. [Nik]

Before Midnight

Before Midnight, Richard Linklater’s third entry in his widely adored Before romance series, trades in Before Sunrise’s twenty-something charm and Before Sunrise’s lost-lover flirtation for mid-life fatigue and melancholy. As the loquacious Jesse and Celine, now together for several years and with children, Ethan Hawke and Julie Delpy are as verbally adept and compatible on screen as ever, but here they’re given decidedly heavier material than the previous entries in the series (a nine-year gap in between each), tasked with telling a story not about finding love, but about not letting it slip through your fingers. Shot on the stunning Greek isles, the film keeps in tradition with its predecessors, following Jesse and Celine as they flirt and chat and bicker (mostly bicker) walking down country lanes and driving down winding roads. The sense of dread that this may be the end for the once lovestruck couple, especially for those who’ve come to love the characters over the years, hangs over the movie like a dark cloud. Do they have it in them to stick together for another nine years? Before Midnight is so damn good you can’t help but want to see how it’ll all pan out come 2022. [Bernard]

The Grand Budapest Hotel

We’ve only yet had a year to appreciate this one (though we’re not the only ones as it took home four of the Academy’s Oscars this year), but it seems safe to say that The Grand Budapest Hotel will live on to see Best of the Decade lists five years from now. Indeed, Wes Anderson is likely to have this one attached to his name as one of the greatest of all his works, no matter what he goes on to achieve. Bombastic? Perhaps, but let’s just remember Anderson had another film out in the past five years (Moonrise Kingdom) and it didn’t make this list at all. The endearing story of a revered concierge at a mountaintop hotel and his growing friendship with devoted lobby boy, Zero, is told through Anderson’s unique and fantastical lens. Together they gallivant through diorama-like settings, each frame of the film a meticulously crafted scene out of Anderson’s colorful mind. While Anderson has a great many films under his belt, The Grand Budapest Hotel gleams as his best yet to pair his idiosyncratic imagination with likable and intricate characters. He hit new depth with this film, even with all its witty diversions. In fact I’d say it’s every wacky puzzle piece that makes the overall picture that much more splendid. [Ananda]

Birdman

Winner of the Academy Awards for Best Picture, Best Director, and Best Cinematography as well as Golden Globes for Best Screenplay and Best Actor in 2014, Birdman will sit solidly on our list making it strongly probable that it will remain in the Top 50 for the rest of the decade. Made to look like it was filmed in one continuous shot, there were actually at least 16 (visible) cuts. The actors had to memorize up to 15 pages of lines at a time while also landing on all of the choreographed marks set for the scenes. With this in mind, the performances of Edward Norton, Emma Stone, and Naomi Watts, were brilliant. The anticipation of seeing how Michael Keaton would play this out was almost more than I could bear, however. Four years since his last movie role and playing a part that seemed like it could truly be a glimpse into his real life, being an ex-superhero, one couldn’t help but await witnessing his artistry. And he did not disappoint. I think there has never been a doubt that Keaton has some mad acting skills, it’s just so nice to be able to experience it any time we can. We want more. [Scarlet]

The Lego Movie

Directed and co-written by Phil Lord and Christopher Miller, Warner Animation Group hadn’t produced a film since 2003’s Looney Tunes: Back in Action. Released to critical and commercial acclaim, The Lego Movie was nominated for a Golden Globe for Best Animated feature and an Oscar and Grammy for Best Original Song, “Everything is Awesome.” While it didn’t win any of those, it did win 48 other awards including the BAFTA award for Best Animated Film, as well as the Critic’s Choice Movie Award for Best Animated Feature. Its popularity was so great, actually, that there was a shortage of LEGO products in September. The animators paid such close attention to detail that only bricks from the official LEGO Brick Library were used to construct everything—with the exception of President Business’ hair and evil helmet—in the Lego universe. Amazingly, not once does the film mention the word “LEGO.” Characters were voiced by some of the industry’s biggest comics, most notably Chris Pratt, Will Ferrell, Elizabeth Banks, Will Arnett, and Nick Offerman, among many others. In fact, this was the first time Morgan Freeman had voiced an animated character. It was so successful that two spin-off films are already in the works as well as a sequel planned for a 2018 release. Which is just plain awesome. [Scarlet]

Cloud Atlas

Produced independently for over $100 million (one of the highest-budgeted indies of all-time), Cloud Atlas was doomed to fail from the beginning. With Lana & Andy Wachowski (whose previous film, Speed Racer, flopped hard) co-directing alongside Tom Tykwer to adapt a dense, structurally ambitious novel, all signs pointed to a bust. When Cloud Atlas finally came out, audiences rejected it wholeheartedly, but some people (including more than a few of us here) saw something amazing. Sure, Cloud Atlas has its flaws (no one’s going to defend those make-up effects), but it more than makes up for them with sheer ambition. Comprising of six stories ranging from the 1800’s to centuries in the future, Cloud Atlas shows how one act of defiance against oppression can inspire a revolution centuries later. And despite being an adaptation within the world of Hollywood tentpoles, Cloud Atlas is wholly original, the sort of film that should be championed rather than disparaged. The Wachowskis–whose follow-up Jupiter Ascending suffered a similar fate as this film–are some of the most earnest, daring and original filmmakers working on a large scale today, their films teeming with more ideas than an entire phase of Marvel films. Give Cloud Atlas a chance, and it may surprise you. [CJ]

Upstream Color

Eight years after he left audiences stunned and stumped with the sci-fi mind-fuck Primer, Shane Carruth returned out of nowhere with an ambitious and equally confusing film called Upstream Color. Perhaps he kept such a low-profile because he was so busy; he directed, produced, acted, shot, edited, scored, and even distributed Upstream Color. Trying to decipher the logic behind the film is challenging by design. As the story unfolds, two strangers develop an unexplainable connection when they begin to see each other’s memories, and eventually their memories mesh together, making it difficult to distinguish which memories came from who. Carruth creates this disorienting dream-like state by combining frequent narrative jumps and fragmented dialog. Adding to the film’s strangeness, the two characters also experience a bizarre physical and spiritual connection to nature through organisms such as blue orchids, worms, and pigs. Like a surrealist painting, Upstream Color is open for interpretation and practically dares you to only look at it once. [Dustin]

See the rest of our Best Movies Of The Decade lists!

View Other Lists of this Feature:
Best 50 Movies Of The Decade So Far (#50 – #41)
Best 50 Movies Of The Decade So Far (#40 – #31)
Best 50 Movies Of The Decade So Far (#20 – #11)
Best 50 Movies Of The Decade So Far (#10 – #1)

Granted, this year’s Oscars were by no means the most exciting, scandalous, or even most amusing we’ve seen in a while. But that’s not to say the evening didn’t have some great moments. Because honestly, at over three hours long what program is ever going to seem to be a hit in its entirety? The Oscars always have us talking about something, here’s the top moments from the 2015 Oscars that stood out.

#1. The Opening Number

Obviously Neil Patrick Harris is most known for his amazing Tony Awards hosting where he always does musical numbers. Which are of course expected for an evening celebrating theater. The Oscars also have a long history of musical openings, so this was an obvious but excellent decision. NPH sang a touching and catchy tune celebrating movies (of course) but the whole number was stepped up several notches when he was joined by current American Sweetheart Anna Kendrick donning her lovely Cinderella dress from Into the Woods. Just in case anyone worried it would get in schmaltz territory, Jack Black brought some dark moodiness to the affair joining the two on stage and bringing us back to the modern era by reminding us most people watch movies on their “screens in their jeans.” It’s our new favorite hashtag (#screensinjeans).

#2. J.K. Simmons Uses His Acceptance Speech to Get Us All to Call Our Parents

One hears a wealth of emotional and inspiring things in acceptance speeches, and often parents are thanked and appreciated in such speeches, but its more rare for the audience to be chided for neglecting their parents. Not that Best Supporting Actor winner J.K. Simmons meant to make us all feel super guilty that we only call our parents every once in a while, but when the man who threw stools at Miles Teller’s head tells you to call your parents you get the impression he means NOW. On it, sir.

#3. Tegan and Sara and The Lonely Island’s Performance of “Everything is Awesome”

Considering we all knew they weren’t nominated and weren’t likely to win anything at the Oscars, the people behind The Lego Movie still got the point across that they know their film is awesome and nothing has changed. Complete with dancers dressed as characters from the film and with that awesome energetic beat, “Everything is Awesome” was one of the bigger spectacles of the night and by far one of the lighter and more fun moments. When Will Arnett came out to do his solo as Lego Batman, the awesome levels truly were at an all-time high. The real winners were lucky audience members who were handed Lego statuettes, a throwback to director Philip Lord’s tweet that an Oscar nomination mattered not, he could make his own.

#4. NPH’s Birdman/Whiplash Mashup

Running around in his tightie-whities was good enough. Making the connection between Birdman’s erratic drums soundtrack and Miles Teller in Whiplash was perfect. A mostly naked NPH telling Teller his playing was “not my speed” made for some of the biggest laughs of the evening. And those feeling slightly scandalized by the whole thing are just silly. It’s the perfect meta-moment when a live television program references a film scene in which a celebrity endures a ridiculous moment during another piece of live theater. It’s a great scene in the movie and was great when NPH did it as well.

#5. Patricia Arquette’s Simple But Passionate Acceptance Speech/Meryl Streep’s Reaction

These two tie, mostly because they happened at the same time. Upon winning her Oscar for Best Supporting Actress, Patricia Arquette thanked all the appropriate people, referenced the sanitation organization she’s involved with and then somewhat unexpectedly threw out that it was time for equality for women in the workplace. Nothing new, granted, but during a night when everyone seemed to have left their soapboxes at home, it was a refreshing reminder that women especially need to use the spotlight whenever it’s given to them to remind others of where we stand. Almost just as stirring was Meryl Streep’s instant reaction, jumping to her feet and raising her arms in support (now our new favorite gif). The fact that such simple statements still get a rise out of those who hear them, means we’re not quite there yet with women’s equality—(not to mention the clarity the Sony hacking gave us in the differences in paychecks still happening in the industry). Thank you Patricia for the needed reminder.

#6. Common and John Legend’s Performance of “Glory”

We’ve seen this one performed a few times, the Golden Globes and the Grammys most recently, but somehow this performance beat out all the rest. For one because Common and John Legend had a powerful group of people walking slowly behind them as though down the road to Selma. The visuals were truly fantastic, but also since Selma was snubbed in many ways for these Oscars, it was as though these two men were committed to giving the film the recognition it deserved. And boy did they move us. There were tears a plenty in the audience, most notably streaming down star David Oyelowo’s face and also Chris Pine’s (causing female hearts around the country to simply snap in two.) The performance made their win for Best Song even more deserved, and the two men spoke so eloquently and with such conviction all the feels just came rushing back. A sincere congratulations to everyone involved with Selma.

#7. First Time Writer/Winner Graham Moore’s Acceptance Speech

As a complete newbie, it was heartwarming to see the young Graham Moore pick up an Oscar for Best Adapted Screenplay for The Imitation Game, but his speech went even further in making us love him. Falling in line with the slew of “it gets better” style speeches we’ve seen lately, Moore spoke of his attempt to commit suicide at 16 and that anyone out there thinking those same thoughts needs to “Stay weird. Stay different. And when it’s your turn, pass this message on to the next person.” It’s the sort of message we can always use reminding of. And those trolls of the Internet who poked fun at Moore, saying for someone calling for “weird and different” he had one of the more boring scripts of the year, should do well to remember it’s adapted. You can only work with what you got, people.

#8. John Travolta is Ridiculously Creepy to Idina Menzel

So John Travolta made for the best joke of last year’s Oscar show by weirdly mispronouncing Idina Menzel’s name as “Adele Dazeem” before her performance of “Let It Go” from Frozen. An entire meme was formed and we all had a great laugh. Idina Menzel got her much deserved revenge by announcing John Travolta as “Glom Gazingo” when he joined her on stage last night. This was plenty funny and much deserved but as though overly trying to endear the audience (and apparently Menzel) Travolta got extra touchy, weirdly closing in on Menzel and touching her face. It was strange and just reinforced our preconceived notion that Travolta is turning into one of the more eccentric characters in Hollywood.

#9. Eddie Redmayne Wins Best Actor and Oozes Adorableness

Even we were slightly torn over who would take this one home, Keaton and Redmayne had us guessing, even after Keaton took home the Spirit Award the night previous. So when Eddie Redmayne won the award for his role in The Theory of Everything we were happy for him and no one can say he didn’t deserve it. But his baffled expression, his humongous grin, and the exuberance with which he accepted the award sure make him that much more lovable. It’s the sort of excitement one hopes to see from an actor when they’ve truly done work that merits such accolade.

#10. Birdman Wins Best Picture

Ok, so this is obvious, whoever gets Best Picture always achieves one of the bigger events of the evening, but this one feels all the more significant because it didn’t seem likely to happen. Not that Birdman is any dark horse by any means. They were a close second pick in our minds, but Boyhood getting exactly one award (Best Supporting Actress) of its six nominations is a bit shocking. And maybe even a bit harsh. But once again the Academy proves their nostalgia and narcissism picking a film focused on the arts rather than a film that’s artistry was highly involved and historical. Rants aside, Birdman is an excellent picture and pitting two such dissimilar films against one another is hardly an even battle. Congrats to all, and Boyhood, don’t worry. You’ll still make it into all the history books.

Honorable Mentions: Lady Gaga killing it in her performance of songs from The Sound of Music in recognition of its 50th anniversary and then melting our hearts when hugging Julie Andrews. Sean Penn and his awkward and ill-timed joke before announcing Best Picture. Outrage online around Joan Rivers missing from the In Memoriam (despite being far more influential to the red carpet than to film itself.)

While it brought in some of the lowest ratings for the Oscar’s in a while (down 14% from last year), the evening proved to be enjoyable if mild.

Birdman and The Grand Budapest Hotel walked away from this year’s Oscar ceremony with four golden statues apiece. After early results didn’t seem to tip toward the night’s trend, Birdman broke away late in the ceremony, with wins in Cinematography, Original Screenplay, Director and Picture. Boyhood, considered a favorite by many pundits (and us), won only for the supporting performance of Patricia Arquette.

Besides the near lack of Boyhood there were many fun surprises on the night. Best Editing went to Whiplash, a very deserved win, however unexpected. Big Hero 6 beat out big favorite How to Train Your Dragon 2. The Academy finally gave some recognition to composer Alexandre Desplat, who won for the first time in eight nominations.

But, of course, the Oscars are more than just the awards, and overall this was a decent, if largely unremarkable, ceremony. First-time host Neil Patrick Harris kept things moving light and quickly through most of the night—with a few strangely controversial jokes. His opening musical performance (along with Anna Kendrick and a very welcome Jack Black) was produced extraordinarily well. All of the music segments, in fact, were the highlights of the show—from the emotionally charged “I’m Not Going to Miss You” to the rousing “Glory” it was a diverse and wonderful selection. Honestly, the production of the event, including the musical numbers and award presentations, may have saved a show that was lighter on humor and the memorable odd moments that tend to happen each year. You may also have noticed there were no clip montages, which I think we can all get behind.

There were also a number of great speeches. Patricia Arquette’s call for equal rights for women was straight-forward and strong. Eddie Redmayne seemed genuinely shocked and grateful for his win. Pawel Pawlikowski said what he was going to say, Academy orchestra be damned! Graham Moore (who won for his adapted screenplay for The Imitation Game) gave a beautiful message for all of us who feel out-of-place. And, finally, Alejandro Iñárritu, who had a lot of opportunities to speak, was just the right amount of humble and self-deprecating.

Here is a full list of the 2015 Academy Award winners from last night.

Tonight’s the night! Years of work (12 in at least one case), a year of movies, and a lot of hard work leads toward what is considered Hollywood’s highest honor, the Academy Awards. That said, the Academy’s tastes are particular and after last night’s Birdman upset at the Spirit Awards, we can expect a few surprises tonight, but perhaps not in the bigger categories.

Refresh on our predictions. But remember, as they say it absolutely is an honor to be nominated.

List of 2015 Oscar Winners

(Winners highlighted in bold font)

Best Picture
American Sniper
Birdman
Boyhood
The Grand Budapest Hotel
The Imitation Game
Selma
The Theory of Everything
Whiplash
Highlight: That it won AT ALL?! Not expecting it, but tough competition this year and Boyhood still holds our respect. 

Best Actor
Steve Carell – Foxcatcher
Bradley Cooper – American Sniper
Benedict Cumberbatch – The Imitation Game
Michael Keaton – Birdman
Eddie Redmayne – The Theory of Everything
Highlight: His adorable bashfulness and utter surprise and happiness at winning. 

Best Actress
Marion Cotillard – Two Days, One Night
Felicity Jones – The Theory of Everything
Julianne Moore – Still Alice
Rosamund Pike – Gone Girl
Reese Witherspoon – Wild
Highlight: Her joke about winning an Oscar adding years to one’s life (what science is that based on?!) which helps her out since she’s married to a younger man and also her call to trying to get patients of alzheimer’s to be seen and call attention to the disease. 

Best Supporting Actor
Robert Duvall – The Judge
Ethan Hawke – Boyhood
Edward Norton – Birdman
Mark Ruffalo – Foxcatcher
J.K. Simmons – Whiplash
Highlight: J.K. tells us all to call our parents. Lazy Sunday night parents everywhere tell their kids to “call back later.”

Best Supporting Actress
Patricia Arquette – Boyhood
Laura Dern – Wild
Keira Knightley – The Imitation Game
Emma Stone – Birdman
Meryl Streep – Into the Woods
Highlight: Patricia used a portion of her speech to call attention to her ecological sanitation organization givelove.org as well as an impassioned shoutout to women calling for “wage equality once and for all.”

Best Director
Alejandro G. Iñárritu – Birdman
Richard Linklater – Boyhood
Bennett Miller – Foxcatcher
Wes Anderson – The Grand Budapest Hotel
Morten Tyldum – The Imitation Game

Best Foreign Language Film
Ida – Poland
Leviathan – Russia
Tangerines – Estonia
Timbuktu – Mauritania
Wild Tales – Argentina
Highlight: Director Pawel Pawlikowski defies music deadlines and says his keep, thanking those he wishes to thank.

Best Animated Film
Big Hero 6
The Boxtrolls
How to Train Your Dragon 2
Song of the Sea
The Tale of the Princess Kaguya

Best Documentary Feature
CitizenFour
Finding Vivian Maier
Last Days in Vietnam
The Salt of the Earth
Virunga
Highlight: Neil Patrick Harris cracks the joke: “The subject of Citizenfour, Edward Snowden couldn’t be here for some treason.”

Best Original Screenplay
Birdman
Boyhood
Foxcatcher
The Grand Budapest Hotel
Nightcrawler

Best Adapted Screenplay
American Sniper
The Imitation Game
Inherent Vice
The Theory of Everything
Whiplash

Best Original Score
The Grand Budapest Hotel
The Imitation Game
Interstellar
Mr. Turner
The Theory of Everything
Highlight: Preceded by an amazing performance by Lady Gaga performing songs from The Sound of Music for its 50th Anniversary. 

Best Original Song
“Everything Is Awesome” – The Lego Movie
“Glory” – Selma
“Grateful” – Beyond the Lights
“I’m Not Gonna Miss You” – Glen Campbell…I’ll Be Me
“Lost Stars” – Begin Again
Highlight: Common and John Legend call attention to the current struggle for justice and spotlight on the number of black incarcerated men in America in an impassioned speech bringing tears to many eyes in the audience. 

Best Cinematography
Birdman
The Grand Budapest Hotel
Ida
Mr. Turner
Unbroken

Best Editing
American Sniper
Boyhood
The Grand Budapest Hotel
The Imitation Game
Whiplash
Highlight: Tom Cross thanks director Damien Chazelle for pushing him to create great art. 

Best Visual Effects
Captain America: The Winter Soldier
Dawn of the Planet of the Apes
Guardians of the Galaxy
Interstellar
X-Men: Days of Future Past

Best Sound Editing
American Sniper
Birdman
The Hobbit: The Battle of the Five Armies
Interstellar
Unbroken

Best Sound Mixing
American Sniper
Birdman
Interstellar
Unbroken
Whiplash

Best Production Design
The Grand Budapest Hotel
The Imitation Game
Interstellar
Into the Woods
Mr. Turner

Best Costume Design
The Grand Budapest Hotel
Inherent Vice
Into the Woods
Maleficent
Mr. Turner

Best Makeup and Hairstyling
Foxcatcher
The Grand Budapest Hotel
Guardians of the Galaxy

Best Live Action Short Film
Aya
Boogaloo and Graham
Butter Lamp
Parvaneh
The Phone Call

Best Documentary Short Subject
Crisis Hotline: Veterans Press 1
Joanna
Our Curse
The Reaper (La Parka)
White Earth

Best Animated Short Film
The Bigger Picture
The Dam Keeper
Feast
Me and My Moulton
A Single Life

The Independent Spirit Awards never fail to entertain us, here are the best moments from last night’s show.

#1. Fred Armisen and Kirsten Bell wrote a song making fun of themselves for being a little studio and a little indie.

#2. Nightcrawler picked up two awards! During his acceptance speech, Dan Gilroy calls for more indie movies, less superhero remakes.

Full quote: “Independent film, the foundation and everybody here today, I think are holdouts against a tsunami of superhero movies that have swept over this industry. We have survived and we have thrived and I think that’s true spirit.”

#3. Paul Thomas Anderson slams American Airlines for losing his luggage. Note: The airline is a major sponsor of the awards show.

Full quote: “Don’t fly American Airlines, man. They will f—ing lose your luggage.”

#4. Bennett Miller tried covering it up later, insisting it was United Airlines. Good save.

#5. Jared Leto’s err.. fashionable outfit?

#6. Justin Simien pleads for more diversity in acceptance speech for Dear White People.

Full quote: “I started writing this movie some 10 years ago as an impulse because I didn’t really see my story out there in the culture. I didn’t see myself reflected back at me in the films I love or the stories that resonated for me. I tried to put myself in the culture. That can be difficult when, along the way, there’s really nothing there to tell you that you belong there. I’m very grateful. If you don’t see yourself in the culture, please put yourself there, because we need you. We need to see the world from your eyes.”

#7. Birdman wins Best Picture over Boyhood. Nobody saw that coming. Oscar race heats up.

Fred Armisen and Kristen Bell show off their wit and charm as they host the 30th Independent Spirit Awards. We were reminded throughout the night why the Spirit Awards mean more to us than the Oscars, mostly because Nightcrawler received some deserved attention, winning Best Screenplay and Best First Feature. The biggest news of the night was Birdman winning the top prize of Best Feature, besting out category favorite Boyhood. Will this shake things up tomorrow night at the Oscars?!

Look for our full reactions to the winners and losers soon.

List of 2015 Independent Spirit Award Winners

(Winners highlighted in bold font)

Birdman
Boyhood
Love is Strange
Selma
Whiplash

Damien Chazelle – Whiplash
Ava DuVernay – Selma
Alejandro G. Iñárritu – Birdman
Richard Linklater – Boyhood
David Zellner – Kumiko, The Treasure Hunter

Scott Alexander & Larry Karaszewski – Big Eyes
J.C. Chandor – A Most Violent Year
Dan Gilroy – Nightcrawler
Jim Jarmusch – Only Lovers Left Alive
Ira Sachs & Mauricio Zacharias – Love is Strange

A Girl Walks Home Alone at Night
Dear White People
Nightcrawler
Obvious Child
She’s Lost Control

Desiree Akhavan – Appropriate Behavior
Sara Colangelo – Little Accidents
Justin Lader – The One I Love
Anja Marquardt – She’s Lost Control
Justin Simien – Dear White People

André Benjamin – Jimi: All Is By My Side
Jake Gyllenhaal – Nightcrawler
Michael Keaton – Birdman
John Lithgow- Love is Strange
David Oyelowo – Selma

Marion Cotillard – The Immigrant
Rinko Kikuchi – Kumiko, The Treasure Hunter
Julianne Moore – Still Alice
Jenny Slate – Obvious Child
Tilda Swinton – Only Lovers Left Alive

Riz Ahmed – Nightcrawler
Ethan Hawke – Boyhood
Alfred Molina – Love is Strange
Edward Norton – Birdman
J.K. Simmons – Whiplash

Patricia Arquette – Boyhood
Jessica Chastain – A Most Violent Year
Carmen Ejogo – Selma
Andrea Suarez Paz – Stand Clear of the Closing Doors
Emma Stone – Birdman

Darius Khondji – The Immigrant
Emmanuel Lubezki – Birdman
Sean Porter – It Felt Like Love
Lyle Vincent – A Girl Walks Home Alone at Night
Bradford Young – Selma

Sandra Adair – Boyhood
Tom Cross – Whiplash
John Gilroy – Nightcrawler
Ron Patane – A Most Violent Year
Adam Wingard – The Guest

Force Majeure
Ida
Leviathan
Mommy
Norte, the End of History
Under the Skin

20,000 Days on Earth
Citizenfour
Stray Dog
The Salt of the Earth
Virunga

Blue Ruin – Jeremy Saulnier
It Felt Like Love – Eliza Hittman
Land Ho! – Aaron Katz & Martha Stephens
Man From Reno – Dave Boyle
Test – Chris Mason Johnson

If the BAFTA’s are a sign of what’s going to happen at the Oscars then fans of Boyhood have a lot to look forward to. It may of not of swept the board but it took home the two biggest awards of the night winning best film with best director also going to Richard Linklater. Patricia Arquette also throughly deserves the BAFTA for Best Supporting Actress. Her performance grounded Boyhood giving it the emotional backbone that held the multiple strands of its story together.

Read: Full List of 2015 BAFTA Winners

I predicted that The Theory of Everything would win best film but whilst it may have missed out on that award it went on to take Outstanding British Film, Best Adapted Screenplay and Eddie Redmayne (who else was going to win it) picked up the BAFTA for Best Actor. With Steven Hawking in the audience the awards for The Theory of Everything also gave the academy to excuse to celebrate a British Icon. It was also stronger film than The Imitation Game and deserved to win the battle of the biopics.

It would have been a travesty had J.K. Simmons not one Best Supporting Actor for his performance and thankfully there was no disappointments on that front. Whiplash also went on to win Best Editing which was well deserved, if surprising to me, along with the more predictable Best Sound award.

There clearly is a lot of love in the UK for The Grand Budapest Hotel and it was one of the most successful films of the night. Wes Anderson’s film won a whole host of awards including Production Design, Costume Design, Best Original Music and Screenplay. Those of you who read Way Too Indie’s 2014 Best of the Year feature will know I am a big fan of the film and it was pleasant surprise to see the film walk away with so many awards. Losing out to The Grand Budapest Hotel marked a disappointing night for Birdman. The fact that it only picked up best Cinematography and may lead to some to predict that it will lose out to Boyhood at the Oscars.

Read: Our 2015 BAFTA Predictions

Elsewhere Ida was a predictable winner for best Foreign Language film, even if I felt that the academy might go for Leviathan. Coming from Nottingham myself I was proud to see Jack O’Connell win the Rising Star Ward and referencing the Television Workshop in the city as a key to his success. Although I was disappointed however to see 71’, starring O’Connell miss out on best debut film. However, given the success of the film director Yann Demange will hopefully have more opportunities to win awards in the future.

The BAFTA’s as it always has been was a rather tame awards ceremony. Stephen Fry was on auto-pilot and his jokes were painfully bad. It left you wondering whether the awards could do with a new presenter to liven the show, especially considering Tina Fey and Amy Poehler’s performance at the Golden Globes. The highlight of the night came from Mike Leigh who came to collect BAFTA Fellowship award and gave a brilliant speech on the importance of independent film. Leigh thanked those who had financed his films throughout his career. Yet, with his typical dry sense of humour, he also thanked those who had not describing them as ‘boneheads, Philistines and skinflints’, who could all ‘rot in hell’. Celebrating such an influential British director is what the BAFTA’s is all about and it almost made up for Mr. Turner picking up no awards at the ceremony.

As we inch closer and closer to Oscar night, more guilds, organizations, critics and associations continue handing out gold trophies to the best of 2014 in film. With the BAFTA Awards happening this Sunday, Way Too Indie writers C.J. Prince (from Canada) and Eddy Haynes (from the U.K.) sat down to discuss the awards and give their predictions.

C.J. Prince: I guess it makes sense that a Brit and a Canuck should predict the BAFTAs. I’ll be honest: I haven’t really paid attention to the BAFTAs over the years, and I’ve been meaning to change that. But I gotta say, these nominations seem a little off to me. Why did Mr. Turner not get any nods outside of a few small categories? I’m sure my predictions will be horrible since I have no idea how the BAFTAs go, so bear with me dear readers (and Eddy). Maybe you can help me out here Eddy. Are the BAFTAs like the Oscars, in that they tend to go for a certain kind of film (ex. weepy biopics and the like)?

Eddy Haynes: The BAFTAs usually follow the Oscars with the odd exception every now and then just to rebel a little. There is occasionally a bit of controversy, like how the Outstanding British Film had some people up in arms about Alfonso Cuaron winning for Gravity last year (the film was shot in the UK, but the director and cast are not British). (Article)

I was not surprised to see Mr. Turner lose out for Oscar nominations, but I was disappointed to see the BAFTAs not nominate the film for any of the big awards, especially Timothy Spall for Best Actor.  The whole point of the BAFTA’s is to celebrate British film, and it seems unjust to not acknowledge such a strong British performance. The same goes for missing out on a chance to give Mike Leigh a much deserved BAFTA for the film. The cynical part of me thinks as the film was released in the UK in October it has simply been forgotten about.

There has been a diverse range of films nominated this year, so it’s hard to predict, although if anyones going to win the lions share of awards it might be Theory of Everything.

C.J.: Well since you introduced that nice opportunity to segue, let’s start with the biggest category of them all:

BEST FILM

BIRDMAN
BOYHOOD
THE GRAND BUDAPEST HOTEL
THE IMITATION GAME
THE THEORY OF EVERYTHING

C.J.: Best film! I don’t know if the Brits will handle this one differently, but looking at the US it’s a battle between Birdman and Boyhood. I’m personally going to say Boyhood wins this one. I don’t think the Hollywood/industry aspects of Birdman will work on BAFTAs as much as it has been for those in the US, so Boyhood will get the edge here.

Eddy: Yes, I agree. Although we may give it to Theory of Everything out of love for the Britishness of the film. It would be a bit of a shock, but I wouldn’t rule out The Grand Budapest Hotel either. I am not sure about Boyhood. The BAFTAs usually tries to distance itself from the same decisions as the Golden Globes, even if it follows the Oscars.

C.J.: Well speaking of Britishness, let’s look at Outstanding British Film.

OUTSTANDING BRITISH FILM

’71 Yann Demange, Angus Lamont, Robin Gutch, Gregory Burke
THE IMITATION GAME Morten Tyldum, Nora Grossman, Ido Ostrowsky, Teddy Schwarzman, Graham Moore
PADDINGTON Paul King, David Heyman
PRIDE Matthew Warchus, David Livingstone, Stephen Beresford
THE THEORY OF EVERYTHING James Marsh, Tim Bevan, Eric Fellner, Lisa Bruce, Anthony McCarten
UNDER THE SKIN Jonathan Glazer, James Wilson, Nick Wechsler, Walter Campbell

Eddy: I would love Under the Skin to get the BAFTA, but I don’t think it is going to happen. It will probably go to The Theory of Everything. Pride might be a dark horse candidate. That would be a surprise.

C.J.: I have a feeling The Imitation Game will probably take this one because it has the prestige element behind its back, but Theory of Everything has been gaining a lot of momentum. In all honesty I’d prefer Under the Skin or Pride to win because a) Under the Skin is just plain weird, and b) I find the kind of gooey feel good qualities of Pride more enjoyable than “serious film” Oscar fare like The Imitation Game or The Theory of Everything.

Eddy: It is perhaps a little cynical, but there is also guilt in the UK about Alan Turing and how he was treated. He did get a royal pardon last year. I wonder if politics might lead to it getting the BAFTA (More Info Here, Warning Potential Spoilers).

C.J.: It’s possible. I personally didn’t factor that into my decision, but it could play a role in deciding its outcome in the category.

OUTSTANDING DEBUT BY A BRITISH WRITER, DIRECTOR OR PRODUCER

ELAINE CONSTANTINE (Writer/Director) Northern Soul
GREGORY BURKE (Writer), YANN DEMANGE (Director) ’71
HONG KHAOU (Writer/Director) Lilting
PAUL KATIS (Director/Producer), ANDREW DE LOTBINIÈRE (Producer) Kajaki: The True Story
STEPHEN BERESFORD (Writer), DAVID LIVINGSTONE (Producer) Pride

Eddy: ‘71 was one of my favourite films of the year, and it stands a pretty good chance of winning, but I think Pride is probably the favourite for this one.

C.J.: Agreed. I haven’t seen ’71 (I’m dying to!), but Pride looks like it’ll take this one. Huge crowd pleaser. If only every category was this easy to predict.

Pride

FILM NOT IN THE ENGLISH LANGUAGE

IDA
LEVIATHAN
THE LUNCHBOX
TRASH
TWO DAYS, ONE NIGHT

C.J.: I haven’t seen Trash but come on.

Eddy: Yes, I haven’t seen it either, but I wondered how much of a film has to not be English to qualify.

C.J.: I will research that (over 50% of the film’s dialogue must not be in English in order for it to qualify). For me this is another easy category. I know Leviathan winning the Golden Globe put a little wrench in the system, but I think Ida will win. It’s been getting every award under the sun for foreign film.

Eddy: I would rather have Ida win than Leviathan, which I didn’t really connect with. I think Leviathan might win just because it would annoy Putin (Article). I think Two Days, One Night is the strongest film in the category, but I don’t think it will win.

C.J.: Two Days, One Night is fantastic and should be the frontrunner. And thank you for not thinking Leviathan was all that. It’s one of those “Serious Films” that was too straightforward for me. I found it kind of boring, gorgeous cinematography aside.

Eddy: I thought I was alone. Every critic seems to have fallen in love with it. Ida is one of the most visually stunning films this year, and if doesn’t win here I hope it wins Best Cinematography.

DOCUMENTARY

20 FEET FROM STARDOM
20,000 DAYS ON EARTH
CITIZENFOUR
FINDING VIVIAN MAIER
VIRUNGA

Eddy: Well I thought Citizenfour was a strong film even if it was a little rushed at times. It’s probably my favourite to win in this category.

C.J.: Yeah, I mean this category is a joke. You have a feel good doc about backup singers, Nick Cave’s head up his own ass, a guy trying to profit off of a dead woman’s photography collection, some dumb looking activist doc about gorillas (I hate most primates), and then a documentary about one of the most important things happening in the world today. If Citizenfour doesn’t win, it’ll remove any credibility from this category in the future.

ANIMATED FILM

BIG HERO 6 Don Hall, Chris Williams
THE BOXTROLLS Anthony Stacchi, Graham Annable
THE LEGO MOVIE Phil Lord, Christopher Miller

C.J.: An easy category since it has 3 nominees, and I’ve only seen one of them. I’m going with The Lego Movie on this. I love it to pieces, and the Oscar snub has people on its side.

Eddy: I am in the same boat. I think The Lego Movie will win, although part of me wants The Boxtrolls to win just to see Twitter explode.

C.J.: It’s Twitter. That place is always exploding over something.

DIRECTOR

BIRDMAN Alejandro G. Iñárritu
BOYHOOD Richard Linklater
THE GRAND BUDAPEST HOTEL Wes Anderson
THE THEORY OF EVERYTHING James Marsh
WHIPLASH Damien Chazelle

Eddy: I think this is probably going to be between James Marsh and Richard Linklater. This one may go the same way as whoever gets Best Film.

C.J.: Yeah, Best Director and Best Film matching up is par for the course. Since I predicted Boyhood for Best Picture I’m going to say Richard Linklater takes this one. Ultimately I think the achievement of making the film over 12 years will trump the other nominees

Eddy: It will certainly give Linklater a lot to talk about in his speech.

Richard Linklater

ORIGINAL SCREENPLAY

BIRDMAN Alejandro G. Iñárritu, Nicolás Giacobone, Alexander Dinelaris Jr, Armando Bo
BOYHOOD Richard Linklater
THE GRAND BUDAPEST HOTEL Wes Anderson
NIGHTCRAWLER Dan Gilroy
WHIPLASH Damien Chazelle

C.J.: First off, what a great selection. Nightcrawler, Whiplash and The Grand Budapest Hotel all have terrific screenplays. But for some dumb reason Birdman’s dog shit script keeps winning, so I’m going to predict Birdman.

Eddy: Birdman would be the only winner whose opening line contains the phrase “Smells like balls.” Nightcrawler should win, but I think it will probably go to Birdman. The Grand Budapest Hotel might stand an outside chance though. It has been praised for its clever script.

C.J.: How can anyone hear a line like “Smells like balls” and think it’s some sort of brilliant piece of writing? Ugh. Anyway, I’ll stop myself. I can rant about Birdman’s awful script for hours.

ADAPTED SCREENPLAY

AMERICAN SNIPER Jason Hall
GONE GIRL Gillian Flynn
THE IMITATION GAME Graham Moore
PADDINGTON Paul King
THE THEORY OF EVERYTHING Anthony McCarten

C.J.: Adapted screenplay is a lot more interesting to me. I’m going to say The Theory of Everything wins this one.

Eddy: Yeah I am going to agree with you on The Theory of Everything. I would love to see the look on the academy’s face if Paddington won. I think Gone Girl should win purely because the script is such an improvement on the book. It has been adapted rather well.

C.J.: I absolutely agree with you. Gone Girl would be my pick for what should win. Gillian Flynn did a great job adapting her own book.

LEADING ACTOR

BENEDICT CUMBERBATCH The Imitation Game
EDDIE REDMAYNE The Theory of Everything
JAKE GYLLENHAAL Nightcrawler
MICHAEL KEATON Birdman
RALPH FIENNES The Grand Budapest Hotel

Eddy: I think Eddie Redmayne is going to get this. I can’t see anyone else getting it. I think only Michael Keaton stands a chance of stealing it from him.

C.J.: I’m really fascinated by how this category turned out. It was hyped up as one of the most competitive categories before the season started, and then Keaton became the frontrunner, only for Redmayne to slowly catch up and take over. I’m with you on this one. Eddie Redmayne will win. But let’s give a special mention to Jake Gyllenhaal (my personal pick) and Timothy Spall (why the hell isn’t he nominated??!?!)

Eddy: It is shocking about Spall, especially since he won at Cannes. I thought he was an odds on favourite to get nominated. Jake Gyllenhaal should win, but there doesn’t seem to be a lot of love for Nightcrawler at the awards so far.

C.J.: Yeah, Nightcrawler is a very dark movie. I think time will ultimately work in Gyllenhaal’s favour. It’s a performance he’ll be remembered for.

Eddie Redmayne in The Theory of Everything

LEADING ACTRESS

AMY ADAMS Big Eyes
FELICITY JONES The Theory of Everything
JULIANNE MOORE Still Alice
REESE WITHERSPOON Wild
ROSAMUND PIKE Gone Girl

Eddy: I think Felicity Jones will get this. I have yet to see Still Alice, but it has been getting a lot of buzz, so Julianne Moore might stand a good chance.

C.J.: I have seen Still Alice and it’s bad. Moore will win this one though. She’s a beloved actress, and this certainly feels like her time to win the big awards. I don’t mind her winning. I love J-Mo. I just wish she won for a better film.

Eddy: Personally I loved her in Maps to the Stars and was hoping she would get nominated. A win for Still Alice might make up for it.

C.J.: I actually prefer her role in Maps to the Stars, but that movie is far too strange to get proper recognition.

SUPPORTING ACTOR

EDWARD NORTON Birdman
ETHAN HAWKE Boyhood
J.K. SIMMONS Whiplash
MARK RUFFALO Foxcatcher
STEVE CARELL Foxcatcher

C.J.: This might be the easiest acting category to predict, but it’s easy because everyone agrees that one performance towers above the rest. J.K. Simmons will win.

Eddy: Yes I expect J.K. Simmons will. I find it odd that Steve Carell was nominated here, since I saw that role as a lead. It’s a shame because he deserves recognition for that role.

C.J.: Yeah, that is strange. It could be a strategic choice since Best Actor was crowded this year. I think that nose will give him all the recognition he needs.

Eddy: It is one of the most disturbing noses in film.

SUPPORTING ACTRESS

EMMA STONE Birdman
IMELDA STAUNTON Pride
KEIRA KNIGHTLEY The Imitation Game
PATRICIA ARQUETTE Boyhood
RENE RUSSO Nightcrawler

C.J.: I guess this is another easy category to predict. It seemed a little wide open early on in the season, but Patricia Arquette has emerged as a frontrunner. Personally I want to high five all the BAFTA members who nominated Rene Russo.

Eddy: Yes! Rene Russo’s performance was as good as Jake Gyllenhaal’s, and the film wouldn’t have worked without her. But I can’t see Patricia Arquette losing this one.

Patricia Arquette in Boyhood

ORIGINAL MUSIC

BIRDMAN Antonio Sanchez
THE GRAND BUDAPEST HOTEL Alexandre Desplat
INTERSTELLAR Hans Zimmer
THE THEORY OF EVERYTHING Jóhann Jóhannsson
UNDER THE SKIN Mica Levi

C.J.: Now we move on to the smaller, more technical categories, where I have no idea what to pick.

Eddy: I think Interstellar might stand a chance as they sometimes give the techs to big budget films that miss out at the main awards. The favourite to win is probably Birdman, though. It would be weird if Boyhood got it. I don’t remember the soundtrack being that great.

C.J.: Wasn’t Boyhood all songs? I don’t remember it having an original score.

Eddy: It might have been picked because it was nominated for Best Film.

C.J.: Well for this category I adore Mica Levi’s score for Under the Skin, but Birdman will probably win. Looks like we’re in agreement on this one.

CINEMATOGRAPHY

BIRDMAN Emmanuel Lubezki
THE GRAND BUDAPEST HOTEL Robert Yeoman
IDA Lukasz Zal, Ryzsard Lenczewski
INTERSTELLAR Hoyte van Hoytema
MR. TURNER Dick Pope

Eddy: Ida was stunning, but Mr. Turner surely has to get something. Something tells me Birdman could get this award too.

C.J.: Yeah, Birdman is all show so it’ll win. But personally I want Mr. Turner (Dick Poop!) or Ida to win.

C.J.: I actually don’t care much for Ida as a film, but it has excellent cinematography. There were a lot of great looking films last year. I would even be happy with The Grand Budapest Hotel winning.

EDITING

BIRDMAN Douglas Crise, Stephen Mirrione
THE GRAND BUDAPEST HOTEL Barney Pilling
THE IMITATION GAME William Goldenberg
NIGHTCRAWLER John Gilroy
THE THEORY OF EVERYTHING Jinx Godfrey
WHIPLASH Tom Cross

C.J.: Amazingly, Boyhood wasn’t nominated here since it seems to be the favourite everywhere else. I’m gonna say Whiplash wins this one. Birdman might be the odds on favourite, but I love love love Whiplash’s editing.

Eddy: It’s very odd that Boyhood wasn’t nominated. Surely a film shot over 12 years would get some praise for its editing. If The Theory of Everything gets best film, it will also get best editing. They usually seem to be paired together.

PRODUCTION DESIGN

BIG EYES Rick Heinrichs, Shane Vieau
THE GRAND BUDAPEST HOTEL Adam Stockhausen, Anna Pinnock
THE IMITATION GAME Maria Djurkovic, Tatiana MacDonald
INTERSTELLAR Nathan Crowley, Gary Fettis
MR. TURNER Suzie Davies, Charlotte Watts

Eddy: I think Interstellar might get this, but I want Mr. Turner to get it. It needs some awards.

C.J.: I’m going to go with The Grand Budapest Hotel. I have no idea why. I remember being really impressed by the design of the hotel. Mr. Turner would be the only other competition in my eyes because it’s a period piece. Like I said earlier, once we get down to these categories I get sort of lost.

The Grand Budapest Hotel

COSTUME DESIGN

THE GRAND BUDAPEST HOTEL Milena Canonero
THE IMITATION GAME Sammy Sheldon Differ
INTO THE WOODS Colleen Atwood
MR. TURNER Jacqueline Durran
THE THEORY OF EVERYTHING Steven Noble

C.J.: For Costume Design, I feel like people just vote for whatever looks like it had the most work done. In that case it comes down to Mr. Turner or Into the Woods. I think Into the Woods will take this.

Eddy: I agree. Into The Woods will probably get it, although I will be happy if Mr. Turner gets it of course. I have no idea why The Theory of Everything has been nominated here, but it could win too.

MAKE UP & HAIR

THE GRAND BUDAPEST HOTEL Frances Hannon
GUARDIANS OF THE GALAXY Elizabeth Yianni-Georgiou, David White
INTO THE WOODS  Peter Swords King, J. Roy Helland
MR. TURNER Christine Blundell, Lesa Warrener
THE THEORY OF EVERYTHING Jan Sewell

Eddy: I’m going to pick Guardians of the Galaxy just because Zoe Saldana’s skin was green, but Into the Woods will probably get it

C.J.: I wouldn’t be surprised if BAFTA voters pick Guardians of the Galaxy for the same reason. I’m going with the same pick, and Into the Woods will be my back-up pick in case voters want to give the award to a more “worthy” (aka prestigious) film.

SOUND

AMERICAN SNIPER Walt Martin, John Reitz, Gregg Rudloff, Alan Robert Murray, Bub Asman
BIRDMAN Thomas Varga, Martin Hernández, Aaron Glascock, Jon Taylor, Frank A. Montaño
THE GRAND BUDAPEST HOTEL Wayne Lemmer, Christopher Scarabosio, Pawel Wdowczak
THE IMITATION GAME John Midgley, Lee Walpole, Stuart Hilliker, Martin Jensen
WHIPLASH Thomas Curley, Ben Wilkins, Craig Mann

Eddy: I enjoyed the sound work in Birdman, but Whiplash has to win this.

C.J.: I’ll go with Whiplash as well. Part of me wants to go with American Sniper since usually these kinds of awards go to films with a lot of action, but Whiplash’s sound is so essential to the film.

SPECIAL VISUAL EFFECTS

DAWN OF THE PLANET OF THE APES Joe Letteri, Dan Lemmon, Erik Winquist, Daniel Barrett
GUARDIANS OF THE GALAXY Stephane Ceretti, Paul Corbould, Jonathan Fawkner, Nicolas Aithadi
THE HOBBIT: THE BATTLE OF THE FIVE ARMIES Joe Letteri, Eric Saindon, David Clayton, R. Christopher White
INTERSTELLAR Paul Franklin, Scott Fisher, Andrew Lockley
X-MEN: DAYS OF FUTURE PAST Richard Stammers, Anders Langlands, Tim Crosbie, Cameron Waldbauer

C.J.: I’m going with Interstellar. In my eyes, they’re just objectively the best special effects of this category. I think it’ll be an easy win for the film.

Eddy: Interstellar will probably win, although the scale of motion capture work is impressive in Dawn of the Planet of the Apes.

Interstellar

THE EE RISING STAR AWARD

GUGU MBATHA-RAW
JACK O’CONNELL
MARGOT ROBBIE
MILES TELLER
SHAILENE WOODLEY

C.J.: Now the final award, which gets voted on by the public. That means we could have actually voted on this one, I guess. I’m going to go with Jack O’Connell here. He really impressed me in Starred Up, and he seems to be making great choices for roles. But every person nominated here is terrific. I wouldn’t be surprised if Shailene Woodley ended up winning due to her having a YA novel fanbase, thanks to her work in Divergent and The Faults in our Stars

Eddy: Jack O’Connell is my pick as well. He’s been on great form recently. I will be interested to see who wins this one. Tom Hardy has won it previously, along with James McAvoy, so it can be good at predicting big stars. Then again, Shia LaBeouf was a winner too.

C.J.: Shia LaBeouf is a rising star. He’s just rising from a much lower place than everyone else!

Okay, so that wraps it all up. Any final thoughts before we see what happens this Sunday?

Eddy: Overall, other than Mr. Turner I find myself generally happy with the nominees this year. There have been some fantastic films from 2014, and there have been some quirky films like Birdman, which wouldn’t traditionally be considered awards bait. The only sad thing is that, in such a strong year, some films like Nightcrawler seem to fail to pick up all the nominations it deserves.

C.J.: Yeah, I think the BAFTAs have some weird choices and snubs, but after going through them like this I think they’re pushing more in the right direction than the Oscars. The Nightcrawler nods are great, as well as Damien Chazelle getting nominated for Best Director. Mr. Turner and Selma not showing up in major categories is pretty strange though. Ah well. I mean after all of our predicting I still feel pretty confused and unsure about the whole thing. Guess we’ll have to wait until Sunday to find out!

Like most years, there was a lot of controversy over the Academy’s choices for Oscar nominations this year. Some felt that the lack of Selma representation, namely in Best Actor and Best Director categories since it did receive a Best Picture nom, spoke volumes about the predominately white demographic of the Academy. Though lets not forget last year’s Best Picture winner was appropriately given to 12 Years a Slave. At the time of announcement others felt the love for American Sniper was a bit of a reach, though the film has since set numerous opening box office records. But don’t think for one second I’m completely siding with the Academy, there were big time snubs in most categories (including the enormous neglect for The LEGO Movie). Below are predictions on who will win an Oscar, who deserves to win, and who should’ve been nominated in all the major categories.

Complete List of 2015 Oscar Predictions

BEST PICTURE
American Sniper
Birdman
Boyhood
The Grand Budapest Hotel
The Imitation Game
Selma
The Theory of Everything
Whiplash

BEST ACTOR
Steve Carell – Foxcatcher
Bradley Cooper – American Sniper
Benedict Cumberbatch – The Imitation Game
Michael Keaton – Birdman
Eddie Redmayne – The Theory of Everything

BEST ACTRESS
Marion Cotillard – Two Days, One Night
Felicity Jones – The Theory of Everything
Julianne Moore – Still Alice
Rosamund Pike – Gone Girl
Reese Witherspoon – Wild

BEST SUPPORTING ACTOR
Robert Duvall – The Judge
Ethan Hawke – Boyhood
Edward Norton – Birdman
Mark Ruffalo – Foxcatcher
J.K. Simmons – Whiplash

BEST SUPPORTING ACTRESS
Patricia Arquette – Boyhood
Laura Dern – Wild
Keira Knightley – The Imitation Game
Emma Stone – Birdman
Meryl Streep – Into the Woods

BEST DIRECTOR
Alejandro G. Iñárritu – Birdman
Richard Linklater – Boyhood
Bennett Miller – Foxcatcher
Wes Anderson – The Grand Budapest Hotel
Morten Tyldum – The Imitation Game

BEST FOREIGN LANGUAGE FILM
Ida – Poland
Leviathan – Russia
Tangerines – Estonia
Timbuktu – Mauritania
Wild Tales – Argentina

BEST ANIMATED FILM
Big Hero 6
The Boxtrolls
How to Train Your Dragon 2
Song of the Sea
The Tale of the Princess Kaguya

BEST DOCUMENTARY FEATURE
CitizenFour
Finding Vivian Maier
Last Days in Vietnam
The Salt of the Earth
Virunga

BEST ORIGINAL SCREENPLAY
Birdman
Boyhood
Foxcatcher
The Grand Budapest Hotel
Nightcrawler

BEST ADAPTED SCREENPLAY
American Sniper
The Imitation Game
Inherent Vice
The Theory of Everything
Whiplash

BEST CINEMATOGRAPHY
Birdman
The Grand Budapest Hotel
Ida
Mr. Turner
Unbroken

BEST EDITING
American Sniper
Boyhood
The Grand Budapest Hotel
The Imitation Game
Whiplash

BEST VISUAL EFFECTS
Captain America: The Winter Soldier
Dawn of the Planet of the Apes
Guardians of the Galaxy
Interstellar
X-Men: Days of Future Past

BEST ORIGINAL SCORE
The Grand Budapest Hotel
The Imitation Game
Interstellar
Mr. Turner
The Theory of Everything

BEST ORIGINAL SONG
“Everything Is Awesome” – The Lego Movie
“Glory” – Selma
“Grateful” – Beyond the Lights
“I’m Not Gonna Miss You” – Glen Campbell…I’ll Be Me
“Lost Stars” – Begin Again

BEST SOUND EDITING
American Sniper
Birdman
The Hobbit: The Battle of the Five Armies
Interstellar
Unbroken

BEST SOUND MIXING
American Sniper
Birdman
Interstellar
Unbroken
Whiplash

BEST PRODUCTION DESIGN
The Grand Budapest Hotel
The Imitation Game
Interstellar
Into the Woods
Mr. Turner

BEST COSTUME DESIGN
The Grand Budapest Hotel
Inherent Vice
Into the Woods
Maleficent
Mr. Turner

BEST MAKEUP AND HAIRSTYLING
Foxcatcher
The Grand Budapest Hotel
Guardians of the Galaxy

While Birdman comes in with the most Independent Spirit Award nominations this year with a total of six, I’m predicting Richard Linklater’s Boyhood winning the most awards with four (including most of the big ones). Birdman will likely pick up at least two awards, same as Dan Gilroy’s Nightcrawler, and the rest of the field should be fairly spread out. You’re likely to see wins for smaller independent films like Dear White People, Blue Ruin, A Girl Walks Home Alone at Night, and CITIZENFOUR.

In addition to picking the winners, I explain the reasoning behind my picks underneath each category. There’s still plenty of time for some shakers and movers between now and when the winners are revealed as the award season continues on. Tune into IFC on Saturday, February 21st at 2PM PT and watch live to see if my predictions hold up.

2015 Independent Spirit Award Predictions

(My prediction for the winners are highlighted in bold red font)

Birdman
Boyhood
Love is Strange
Selma
Whiplash

Damien Chazelle – Whiplash
Ava DuVernay – Selma
Alejandro G. Iñárritu – Birdman
Richard Linklater – Boyhood
David Zellner – Kumiko, The Treasure Hunter

André Benjamin – Jimi: All Is By My Side
Jake Gyllenhaal – Nightcrawler
Michael Keaton – Birdman
John Lithgow – Love is Strange
David Oyelowo – Selma

Marion Cotillard – The Immigrant
Rinko Kikuchi – Kumiko, The Treasure Hunter
Julianne Moore – Still Alice
Jenny Slate – Obvious Child
Tilda Swinton – Only Lovers Left Alive

Riz Ahmed – Nightcrawler
Ethan Hawke – Boyhood
Alfred Molina – Love is Strange
Edward Norton- Birdman
J.K. Simmons – Whiplash

Patricia Arquette – Boyhood
Jessica Chastain – A Most Violent Year
Carmen Ejogo – Selma
Andrea Suarez Paz – Stand Clear of the Closing Doors
Emma Stone – Birdman

Scott Alexander & Larry Karaszewski – Big Eyes
J.C. Chandor – A Most Violent Year
Dan Gilroy – Nightcrawler
Jim Jarmusch – Only Lovers Left Alive
Ira Sachs & Mauricio Zacharias – Love is Strange

A Girl Walks Home Alone at Night
Dear White People
Nightcrawler
Obvious Child
She’s Lost Control

Desiree Akhavan – Appropriate Behavior
Sara Colangelo – Little Accidents
Justin Lader – The One I Love
Anja Marquardt – She’s Lost Control
Justin Simien – Dear White People

Darius Khondji – The Immigrant
Emmanuel Lubezki – Birdman
Sean Porter – It Felt Like Love
Lyle Vincent – A Girl Walks Home Alone at Night
Bradford Young – Selma

Sandra Adair – Boyhood
Tom Cross – Whiplash
John Gilroy- Nightcrawler
Ron Patane – A Most Violent Year
Adam Wingard – The Guest

Force Majeure
Ida
Leviathan
Mommy
Norte, the End of History
Under the Skin

20,000 Days on Earth
CITIZENFOUR
Stray Dog
The Salt of the Earth
Virunga

Blue Ruin – Jeremy Saulnier
It Felt Like Love – Eliza Hittman
Land Ho! – Aaron Katz & Martha Stephens
Man From Reno – Dave Boyle
Test – Chris Mason Johnson

Among the many organizations dolling out awards for the best movies and performances of 2014, The International Online Film Critics’ Poll this morning announced the winners of their biannual awards for excellence in film. These awards, now in their fourth cycle, allow for a comparison between different movie seasons to pick the absolute best of the biennium. The IOFCP was voted on this year by over 100 film critics from USA, UK, Italy, Spain, Canada, France, Mexico, Australia, India, Turkey, Kyrgyzstan, South Africa, Serbia, Poland, Romania, Estonia, Pakistan, Switzerland, Denmark and Sweden.

2014 awards front-runner Boyhood took home the IOFCP’s award for Best Film. The film’s director Richard Linklater and one of its stars, Patricia Arquette, won the votes for Best Director and Best Supporting Actress, respectively.

The other movies that won in three categories were The Grand Budapest Hotel (Best Ensemble Cast, Best Production Design and Best Original Score) and Gravity (Best Cinematography, Best Editing and Best Visual Effects). While The Grand Budapest Hotel was also nominated for Best Film, Gravity was not.

2015 Oscars frontrunners Michael Keaton (Birdman) and JK Simmons (Whiplash) won the votes for Best Actor and Best Supporting Actor; however, 2014 Oscar-winner Cate Blanchett won Best Actress for her performance in Blue Jasmine.

4th Bi-Annual IOFCP Awards

TOP TEN FILMS (alphabetical list)
12 Years a Slave
Blue is the Warmest Colour
Birdman
Boyhood
Her
Ida
The Grand Budapest Hotel
The Great Beauty
The Imitation Game
The Wolf of Wall Street

BEST PICTURE
12 Years a Slave
Birdman
Boyhood
The Grand Budapest Hotel
The Wolf of Wall Street

BEST DIRECTOR
Alejandro González Iñárritu – Birdman
Richard Linklater – Boyhood
Wes Anderson – The Grand Budapest Hotel
Paolo Sorrentino – The Great Beauty
Roman Polanski – Venus in Fur

BEST ACTOR
Michael Keaton – Birdman
Ralph Fiennes – The Grand Budapest Hotel
Mads Mikkelsen – The Hunt
Benedict Cumberbatch – The Imitation Game
Leonardo DiCaprio – The Wolf of Wall Street

BEST ACTRESS
Cate Blanchett – Blue Jasmine
Adele Exarchopoulos – Blue is the Warmest Colour
Rosamund Pike – Gone Girl
Julianne Moore – Still Alice
Marion Cotillard – The Immigrant

BEST SUPPORTING ACTOR
Edward Norton – Birdman
Ethan Hawke – Boyhood
Jared Leto – Dallas Buyers Club
Mark Ruffalo – Foxcatcher
J.K. Simmons – Whiplash

BEST SUPPORTING ACTRESS
Lupita Nyong’o – 12 Years a Slave
Emma Stone – Birdman
Sally Hawkins – Blue Jasmine
Patricia Arquette – Boyhood
June Squibb – Nebraska

BEST ENSEMBLE CAST
12 Years a Slave
Birdman
Boyhood
The Grand Budapest Hotel
The Imitation Game

BEST ORIGINAL SCREENPLAY
Birdman
Boyhood
Calvary
Her
The Grand Budapest Hotel

BEST ADAPTED SCREENPLAY
12 Years a Slave
Gone Girl
Snowpiercer
The Imitation Game
The Wolf of Wall Street

BEST CINEMATOGRAPHY
Birdman
Gravity
Ida
Nebraska
The Great Beauty

BEST PRODUCTION DESIGN
Gravity
Her
Mr. Turner
The Grand Budapest Hotel
The Imitation Game

BEST EDITING
Birdman
Boyhood
Gravity
The Grand Budapest Hotel
The Wolf of Wall Street

BEST ORIGINAL SCORE
Gravity
Her
Interstellar
The Grand Budapest Hotel
The Imitation Game

BEST VISUAL EFFECTS
Dawn of the Planet of the Apes
Interstellar
Gravity
Guardians of the Galaxy
The Hobbit: The Battle of the Five Armies

Anyone interested how the acting categories may pan out for the Oscars had their attention on the 2015 Screen Actors Guild Awards tonight, as this award show is much more reliable than say the Golden Globes, though there were a lot of overlap winners in the film categories. In fact, Patricia Arquette (Boyhood), J.K. Simmons (Whiplash), Julianne Moore (Still Alice) and Eddie Redmayne (The Theory of Everything) all repeated their wins in respected categorizes from the Globes two weeks ago. Redmayne continues his streak of edging out Michael Keaton (Birdman) who many consider to be the front-runner. This win might just shake things up for the category come Oscar night. Though Birdman wasn’t completely shut out, the film picked up the Outstanding Performance by a Cast award.

Orange Is the New Black picked up two awards on the television side of the awards, one for Outstanding Performance by an Ensemble in a Comedy Series and Uzo Aduba (for the role of Crazy Eyes) won for Outstanding Performance by a Female Actor in a Comedy Series. Kevin Spacey was the only Golden Globes repeat winner this year, earning Outstanding Performance by a Male Actor in a Drama Series in both awards shows. Other winners included Mark Ruffalo (The Normal Heart), Frances McDormand (Olive Kitteridge) and Viola Davis (How To Get Away With Murder).

List of 2015 Screen Actors Guild Award Winners

Film

Outstanding Performance by a Male Actor in a Leading Role
Eddie Redmayne – The Theory of Everything

Outstanding Performance by a Female Actor in a Leading Role
Julianne Moore – Still Alice

Outstanding Performance by a Male Actor in a Supporting Role
J.K. Simmons – Whiplash

Outstanding Performance by a Female Actor in a Supporting Role
Patricia Arquette – Boyhood

Outstanding Performance by a Cast in a Motion Picture
Birdman

Television

Outstanding Performance by a Male Actor in a Television Movie or Miniseries
Mark Ruffalo – The Normal Heart

Outstanding Performance by a Female Actor in a Television Movie or Miniseries
Frances McDormand – Olive Kitteridge

Outstanding Performance by a Male Actor in a Drama Series
Kevin Spacey – House of Cards

Outstanding Performance by a Female Actor in a Drama Series
Viola Davis – How To Get Away With Murder

Outstanding Performance by a Male Actor in a Comedy Series
William H. Macy – Shameless

Outstanding Performance by a Female Actor in a Comedy Series
Uzo Aduba – Orange Is the New Black

Outstanding Performance by an Ensemble in a Drama Series
Downton Abbey

Outstanding Performance by an Ensemble in a Comedy Series
Orange Is the New Black

The Academy finally announced their Oscar nominations for 2015, and they certainly created a lot of controversy. With plenty of surprise nominations (American Sniper?!), snubs (Selma), and surprises (Marion Cotillard!), there was plenty to like (and plenty more to dislike). On this edition of the Way Too Indiecast, editor-in-chief Dustin Jansick sits down with C.J. Prince to discuss the most interesting and surprising nominees. Topics include what might be the biggest snub of the year (hint: this snub was definitely the opposite of awesome), why people love nominating Meryl Streep for everything, a strange choice in Best Director, the success of The Grand Budapest Hotel and more.

Topics

• 2015 Oscar Nominations (0:35)
• Biggest Snubs (13:15)
• Best Foreign Films (18:30)
• Grand Budapest Hotel (24:25)

WTI Articles Referenced in the Podcast

2015 Oscar Nominations List

American Sniper Review

Selma Review

Into the Woods Review

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Like them or not, the 2015 Oscar nominations are in.

Snubbing seems to happen every year, apparent front-runners don’t receive nominations and the list of nominations are questioned. No The Lego Movie in Best Animated Film. No Life Itself or The Overnighters in Best Documentary Feature. Ava DuVernay and David Oyelowo walk away empty-handed. Gone Girl left out of Best Picture, Best Director, and (strangest of all) Best Adapted Screenplay. Foxcatcher has good enough direction, acting and screenplay, but not good enough for a Best Picture nomination.

Sometimes the list of snubs can shine a light on a great year, which by all means 2014 was (or at the very least, 2014 was better than people think). We all knew that categories like Best Actor, Best Original Screenplay, Best Director, etc. were going to be tight races, so it’s too easy for one of our favorites to just miss the cut (like Jake Gyllenhaal).

Shifting to a positive note, Way Too Indie favorites Birdman and The Grand Budapest Hotel led the nominations with nine each. Boyhood received six nominations, including Best Picture, Best Director, Best Original Screenplay and both supporting acting categories. Despite its snubs in all the other major categories, Selma was recognized with a Best Picture nomination. Ida, which was nominated for Best Foreign Language Film, also received a nomination for its stunning black-and-white cinematography. While we expected to see Force Majeure and Two Days, One Night on the list for Best Foreign Language Film, we’re equally happy to have Wild Tales and Leviathan. Meanwhile, Whiplash hauled in a whopping six nominations including Best Picture, Best Supporting Actor, Best Adapted Screenplay, Best Editing, and Best Sound Mixing.

Finally, American Sniper, a film that didn’t seem to have much buzz, received six nominations. And somehow the dismal Angelina Jolie film Unbroken wound up with three nominations. Let us know what you think in the comments below!

Full list of 2015 Oscar Nominations

BEST PICTURE
American Sniper
Birdman
Boyhood
The Grand Budapest Hotel
The Imitation Game
Selma
The Theory of Everything
Whiplash

BEST ACTOR
Steve Carell – Foxcatcher
Bradley Cooper – American Sniper
Benedict Cumberbatch – The Imitation Game
Michael Keaton – Birdman
Eddie Redmayne – The Theory of Everything

BEST ACTRESS
Marion Cotillard – Two Days, One Night
Felicity Jones – The Theory of Everything
Julianne Moore – Still Alice
Rosamund Pike – Gone Girl
Reese Witherspoon – Wild

BEST SUPPORTING ACTOR
Robert Duvall – The Judge
Ethan Hawke – Boyhood
Edward Norton – Birdman
Mark Ruffalo – Foxcatcher
J.K. Simmons – Whiplash

BEST SUPPORTING ACTRESS
Patricia Arquette – Boyhood
Laura Dern – Wild
Keira Knightley – The Imitation Game
Emma Stone – Birdman
Meryl Streep – Into the Woods

BEST DIRECTOR
Alejandro G. Iñárritu – Birdman
Richard Linklater – Boyhood
Bennett Miller – Foxcatcher
Wes Anderson – The Grand Budapest Hotel
Morten Tyldum – The Imitation Game

BEST FOREIGN LANGUAGE FILM
Ida – Poland
Leviathan – Russia
Tangerines – Estonia
Timbuktu – Mauritania
Wild Tales – Argentina

BEST ANIMATED FILM
Big Hero 6
The Boxtrolls
How to Train Your Dragon 2
Song of the Sea
The Tale of the Princess Kaguya

BEST DOCUMENTARY FEATURE
CitizenFour
Finding Vivian Maier
Last Days in Vietnam
The Salt of the Earth
Virunga

BEST ORIGINAL SCREENPLAY
Birdman
Boyhood
Foxcatcher
The Grand Budapest Hotel
Nightcrawler

BEST ADAPTED SCREENPLAY
American Sniper
The Imitation Game
Inherent Vice
The Theory of Everything
Whiplash

BEST ORIGINAL SCORE
The Grand Budapest Hotel
The Imitation Game
Interstellar
Mr. Turner
The Theory of Everything

BEST ORIGINAL SONG
“Everything Is Awesome” – The Lego Movie
“Glory” – Selma
“Grateful” – Beyond the Lights
“I’m Not Gonna Miss You” – Glen Campbell…I’ll Be Me
“Lost Stars” – Begin Again

BEST CINEMATOGRAPHY
Birdman
The Grand Budapest Hotel
Ida
Mr. Turner
Unbroken

BEST EDITING
American Sniper
Boyhood
The Grand Budapest Hotel
The Imitation Game
Whiplash

BEST VISUAL EFFECTS
Captain America: The Winter Soldier
Dawn of the Planet of the Apes
Guardians of the Galaxy
Interstellar
X-Men: Days of Future Past

BEST SOUND EDITING
American Sniper
Birdman
The Hobbit: The Battle of the Five Armies
Interstellar
Unbroken

BEST SOUND MIXING
American Sniper
Birdman
Interstellar
Unbroken
Whiplash

BEST PRODUCTION DESIGN
The Grand Budapest Hotel
The Imitation Game
Interstellar
Into the Woods
Mr. Turner

BEST COSTUME DESIGN
The Grand Budapest Hotel
Inherent Vice
Into the Woods
Maleficent
Mr. Turner

BEST MAKEUP AND HAIRSTYLING
Foxcatcher
The Grand Budapest Hotel
Guardians of the Galaxy

BEST LIVE ACTION SHORT FILM
Aya
Boogaloo and Graham
Butter Lamp
Parvaneh
The Phone Call

BEST DOCUMENTARY SHORT SUBJECT
Crisis Hotline: Veterans Press 1
Joanna
Our Curse
The Reaper (La Parka)
White Earth

BEST ANIMATED SHORT FILM
The Bigger Picture
The Dam Keeper
Feast
Me and My Moulton
A Single Life

So our first big awards ceremony of the season has now come and gone. In their third and final turn hosting, Tina Fey and Amy Poehler owned the opening monologue with some direct, honest, brave and spot-on hilarious jokes. Their were upsets (and quite a few instances where we didn’t predict the winners correctly) but here are our reactions to this year’s Golden Globe Awards.

Ananda Dillon

So there are plenty of things I didn’t call, let’s start there. The Grand Budapest Hotel taking home Comedy or Musical. I guess the only explanation I can think of there is that Birdman hardly fit the category anyway, though it was definitely the one we were expecting to hear called and that I was personally rooting for. There were the long shots I was hoping for, most specifically my call for Rosamund Pike for Actress in a Drama and Emma Stone for Supporting Actress. I knew they weren’t likely and am incredibly happy for Julianne Moore and Patricia Arquette so no hard feelings. All the other actor awards I called spot on. So I guess I can gloat about that. I had hoped the HFPA would get a little wacky with the women’s categories, but they went for the more obvious calls.

Obviously I wasn’t surprised by Richard Linklater‘s win for Best Director, nor Boyhood’s major take home as Best Drama, and while we were dead wrong about Best Screenplay it made me incredibly happy to see Alejandro G. Iñárritu up on stage accepting an award. We were also wrong when it came to the musical categories, but understand that the HFPA decided to be a bit more standard in those choices as well. We were also off with our choices for Foreign Language film and am a bit surprised they went with Leviathan over Ida, or even my backup vote of Force Majeure. Just makes it hard to predict where the Oscars might go. But the one category that I absolutely am flabbergasted by is the HFPA’s choice of How to Train Your Dragon 2 for Best Animated Film over the amazing and incomparable The Lego Movie. I’ve never had strong feelings about an animated film before and I’m truly despondent over their decision. Whatever, I expect the Academy to get it right.

I will say I thought Amy and Tina killed it, delivering jokes that were both daring and hilarious. Their jokes regarding Bill Cosby were of course the more triggering but they went next level delivering their best Cosby impressions, which before this whole scandal was everyone’s favorite way of poking fun at Cosby. It was absolutely meta and the best way to truly express the way humor allows us to showcase that no one deserves safety when using humor to cope with tragedy. Their jab at George Clooney and his more accomplished wife was pitch perfect in calling out Hollywood’s tendency to lose perspective, and the joke that Selma “totally worked and now everything is fine” was delivered perfectly by Tina Fey, casting a great light on unreasonable expectations for films of its ilk while also impressing that this isn’t the sort of conversation that should ever really end.

As for TV, once again the HFPA gets premature and gives too much love to first-season shows rather than reward the ones that have gotten stronger (a difficult feat these days) but if it gets more people to watch Transparent, fine by me. All in all, it was a fun evening, if a somewhat confusing one, and whether we can use much in the way of predictions for next Thursday’s Oscar nominations announcement seems unlikely.

C.J. Prince

Well, I guess I can’t say it was a particularly safe night, so that’s a positive. Tina and Amy were great, even though they were only on for a brief time after their monologue. But for the second year in the row they pull off a great George Clooney burn, and probably did the first funny Bill Cosby joke since that whole scandal broke out (there’s no point tiptoeing around it, so good for them for getting as tasteless as possible for network broadcast). But this is an awards show, so I guess I should talk about those…

I have to mention something about the TV awards first. In typical HFPA fashion, the awards went to freshmen shows instead of old favorites (remember Brooklyn Nine-Nine winning last year?). Sometimes that can lead to weird choices (how many people scratched their heads at Jane the Virgin winning Best Actress?), but other times an awesome show like Transparent ends up winning Best Comedy and Best Actor. So this is me saying that Transparent is an incredible show that deserves its awards, and if you haven’t seen it yet please do so immediately. So that’s that about TV.

Going back to the predictions Ananda and I made a few days ago, we wound up splitting on the acting awards. I was right about Julianne Moore, she was right about Eddie Redmayne. Apparently the HFPA love it when actors play people with horrible diseases. Don’t be surprised if Jennifer Aniston winds up playing a genius with ALS next year that discovers she has Alzheimers. We both wound up being right about Michael Keaton and Amy Adams in the comedy acting awards, but those seemed like obvious ones. What really took me by surprise (along with everyone else, I’m sure) is The Grand Budapest Hotel winning over Birdman. While I don’t love Wes Anderson’s latest film (I think it’s a pretty enjoyable trifle), I’m so happy it won over the annoying, unfunny Birdman. And hey, Wes Anderson just officially became a contender (I think?). HFPA also got the supporting actor/actress awards right, so good for them. Very happy Patricia Arquette won, and J.K. Simmons deserves every award under the sun for Whiplash. Some awards didn’t interest me in the slightest (I know my prediction was wrong about Best Score, but I don’t care about that category whatsoever), so I’ll just mention some notable wins and/or losses: Leviathan taking Best Foreign Film over Ida was great, and it gives me hope that Ida won’t get that Oscar so easily. I haven’t seen The Theory of Everything, but I’m bummed Oyelowo didn’t win for Selma. Ditto for Jake Gyllenhaal in Nightcrawler. And The Lego Movie losing Best Animated might have been my biggest disappointment because it totally deserved it.

So all in all, a little more interesting than usual I guess. I’m sad to see Tina and Amy go as hosts, and I’m sure the HFPA will have a hard time picking a suitable replacement. And, oh yeah, Boyhood. Well I’m not surprised it won. You might have seen my thoughts on Boyhood already. I say good for Linklater, because he’s always been a great director. I just wish all of these trophies went to a different, better film by him, like Bernie or any of the Before films or hell, even School of Rock. After tonight, I think that the big Oscar for Best Picture is Boyhood‘s to lose at this point. What’ll be interesting is seeing what other films will end up getting nominated with it.

Today’s the day! Our first big awards show of the season. If you aren’t able to watch or are keeping score, we’ll be live updating the winners as they are announced starting at 8 EST/5 PST. Refresh your browser to see winners throughout the evening.

Complete List of 2015 Golden Globe Winners

(Winners highlighted in bold font)

Best Motion Picture – Drama
Boyhood
Selma
The Imitation Game
Foxcatcher
The Theory of Everything

Best Motion Picture – Musical or Comedy
Birdman
The Grand Budapest Hotel
St. Vincent
Into the Woods
Pride

Best Performance by an Actor in a Motion Picture – Drama
Steve Carell, Foxcatcher
Benedict Cumberbatch, The Imitation Game
Jake Gyllenhaal, Nightcrawler
Eddie Redmayne, The Theory of Everything
David Oyelowo, Selma

Best Performance by an Actress in a Motion Picture – Drama
Jennifer Aniston, Cake
Julianne Moore, Still Alice
Rosamund Pike, Gone Girl
Reese Witherspoon, Wild
Felicity Jones, The Theory of Everything

Best Performance by an Actor in a Motion Picture – Musical or Comedy
Michael Keaton, Birdman
Ralph Fiennes, The Grand Budapest Hotel
Christoph Waltz, Big Eyes
Bill Murray, St. Vincent
Joaquin Phoenix, Inherent Vice

Best Performance by an Actress in a Motion Picture – Musical or Comedy
Amy Adams, Big Eyes
Emily Blunt, Into the Woods
Julianne Moore, Maps to the Stars
Helen Mirren, The Hundred-Foot Journey
Quvenzhané Wallis, Annie

Best Performance by an Actor in a Supporting Role in a Motion Picture
Mark Ruffalo, Foxcatcher
Ethan Hawke, Boyhood
J.K. Simmons, Whiplash
Robert Duvall, The Judge
Edward Norton, Birdman

Best Performance by an Actress in a Supporting Role in a Motion Picture
Patricia Arquette, Boyhood
Keira Knightley, The Imitation Game
Emma Stone, Birdman
Meryl Streep, Into the Woods
Jessica Chastain, A Most Violent Year

Best Director – Motion Picture
Alejandro González Iñárritu, Birdman
Richard Linklater, Boyhood
Ava DuVernay, Selma
David Fincher, Gone Girl
Wes Anderson, The Grand Budapest Hotel

Best Screenplay – Motion Picture
Boyhood
Birdman
Gone Girl
The Imitation Game
The Grand Budapest Hotel

Best Original Song – Motion Picture
Lana Del Ray – “Big Eyes” for Big Eyes
John Legend, Common – “Glory” for Selma
Patty Smith, Lenny Kaye – “Mercy Is” for Noah
Sia – “Opportunity” for Annie
Lorde – “Yellow Flicker Beat” for The Hunger Games: Mockingjay – Part 1

Best Original Score – Motion Picture
Alexandre Desplat, The Imitation Game
Jóhann Jóhannsson, The Theory of Everything
Trent Reznor, Gone Girl
Antonio Sanchez, Birdman
Hans Zimmer, Interstellar

Best Animated Film
The Book of Life
The Boxtrolls
Big Hero 6
How to Train Your Dragon 2
The Lego Movie

Best Foreign Language Film
Ida
Leviathan
Force Majeure
Gett: The Trial of Viviane Amsalem
Tangerines

Television Categories

Best Television Series – Drama
“Downton Abbey”
“The Good Wife”
“House of Cards”
“Game of Thrones”
“The Affair”

Best Television Series – Musical or Comedy
“Girls”
“Orange Is the New Black”
“Transparent”
“Silicon Valley”
“Jane the Virgin”

Best Mini-Series or Motion Picture Made for Television
“Olive Kitteridge”
“True Detective”
“Fargo”
“The Missing”
The Normal Heart

Best Performance by an Actor in a Television Series – Drama
Kevin Spacey, “House of Cards”
Liev Schreiber, “Ray Donovan”
James Spader, “The Blacklist”
Dominic West, “The Affair”
Clive Owen, “The Knick”

Best Performance by an Actress in a Television Series – Drama
Robin Wright, “House of Cards”
Julianna Margulies, “The Good Wife”
Viola Davis, “How to Get Away with Murder”
Claire Danes, “Homeland”
Ruth Wilson, “The Affair”

Best Performance by an Actor in a Television Series – Musical or Comedy
Don Cheadle, “House of Lies”
Ricky Gervais, “Derek”
Jeffrey Tambor, “Transparent”
William H. Macy, “Shameless”
Louis C.K., “Louie”

Best Performance by an Actress in a Television Series – Musical or Comedy
Lena Dunham, “Girls”
Edie Falco, “Nurse Jackie”
Julia Louis-Dreyfus, “Veep”
Taylor Schilling, “Orange Is the New Black”
Gina Rodriguez, “Jane the Virgin”

Best Performance by an Actor in a Mini-Series or a Motion Picture Made for Television
Martin Freeman, “Fargo”
Billy Bob Thornton, “Fargo”
Matthew McConaughey, “True Detective”
Woody Harrelson, “True Detective”
Mark Ruffalo, “The Normal Heart”

Best Performance by an Actress in a Mini-Series or a Motion Picture Made for Television
Jessica Lange, “American Horror Story”
Maggie Gyllenhaal, “The Honourable Woman”
Frances McDormand, “Olive Kitteridge”
Frances O’Connor, “The Missing”
Allison Tolman, “Fargo”

Best Performance by an Actor in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television
Jon Voight, “Ray Donovan”
Alan Cumming, “The Good Wife”
Bill Murray, “Olive Kitteridge”
Colin Hanks, “Fargo”
Matt Bomer, “The Normal Heart”

Best Performance by an Actress in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television
Allison Janney, “Mom”
Uzo Aduba, “Orange Is the New Black”
Kathy Bates, “American Horror Story”
Michelle Monaghan, “True Detective”
Joanne Froggatt, “Downton Abbey”

The British Academy of Film and Television Arts has released their nominations for this year’s awards, the 68th annual, airing February 8th. Releasing just a few days before the Golden Globes air and a week before Oscar nominations come out, our British comrades made a few interesting decisions deciding to favor the lighter fare over the heavier. A stark contrast to last year where Gravity led the pack with 11 nominations, this year it’s Wes Anderson’s The Grand Budapest Hotel with the same amount.

The BAFTAs are now considered a safer bet when making Oscar predictions, then say the Golden Globes, so we’ll see if this list is a preview of what we can expect to see next Thursday. Look for our BAFTA predictions closer to the ceremony and our Oscar coverage begins next week with the nominations.

2015 BAFTA Nominations

BEST FILM
Birdman
Boyhood
The Grand Budapest Hotel
The Imitation Game
The Theory of Everything

OUTSTANDING BRITISH FILM
’71
The Imitation Game
Paddington
Pride
The Theory of Everything
Under The Skin

DIRECTOR
Wes Anderson – The Grand Budapest Hotel
Damian Chazelle – Whiplash
Alejandro G. Iñárritu – Birdman
Richard Linklater – Boyhood
James Marsh – The Theory of Everything

ORIGINAL SCREENPLAY
Birdman – Alejandro G. Iñárritu, Nicolas Giacobone, Alexander Dinelaris Jr, Armando Bo
Boyhood – Richard Linklater
The Grand Budapest Hotel – Wes Anderson
Nightcrawler – Dan Gilroy
Whiplash – Damien Chazelle

ADAPTED SCREENPLAY
American Sniper – Jason Hall
Gone Girl – Gillian Flynn
The Imitation Game – Graham Moore
Paddington – Paul King
The Theory of Everything – Anthony McCarten

LEADING ACTOR
Benedict Cumberbatch – The Imitation Game
Ralph Fiennes – The Grand Budapest Hotel
Jake Gyllenhaal – Nightcrawler
Michael Keaton – Birdman
Eddie Redmayne – The Theory of Everything

LEADING ACTRESS
Amy Adams – Big Eyes
Felicity Jones – The Theory of Everything
Julianne Moore – Still Alice
Rosamund Pike – Gone Girl
Reese Witherspoon – Wild

SUPPORTING ACTOR
Steve Carell – Foxcatcher
Ethan Hawke – Boyhood
Edward Norton – Birdman
Mark Ruffalo – Foxcatcher
JK Simmons – Whiplash

SUPPORTING ACTRESS
Patricia Arquette – Boyhood
Rene Russo – Nightcrawler
Keira Knightley – The Imitation Game
Imelda Staunton – Pride
Emma Stone – Birdman

FILM NOT IN THE ENGLISH LANGUAGE
Ida
Leviathan
The Lunchbox
Trash
Two Days, One Night

DOCUMENTARY
20 Feet from Stardom
20,000 Days on Earth
Citizenfour
Finding Vivian Maier
Virunga

ANIMATED FILM
Big Hero 6
The Boxtrolls
The Lego Movie

CINEMATOGRAPHY
Birdman – Emmanuel Lubezki
The Grand Budapest Hotel – Robert Yeoman
Ida – Lukasz Zal, Ryszard Lenczewski
Interstellar – Hoyte van Hoytema
Mr. Turner – Dick Pope

EDITING
(Due to a tie in voting in this category, there are six nominations)
Birdman – Douglas Crise, Stephen Mirrione
The Grand Budapest Hotel – Barney Pilling
The Imitation Game – William Goldenberg
Nightcrawler – John Gilroy
The Theory of Everything – Jinx Godfrey
Whiplash – Tom Cross

OUTSTANDING DEBUT BY A BRITISH WRITER, DIRECTOR OR PRODUCER
Elaine Constantine (writer/director Northern Soul)
Gregory Burke, Yann Demange (writer and director ’71)
Hong Khaou (writer/director Lilting)
Paul Katis, Andrew De Lotbiniere (director/producer and producer Kajaki: The True Story)
Stephen Beresford, David Livingstone (writer and producer Pride)

PRODUCTION DESIGN
Big Eyes – Rick Heinrichs, Shane Vieau
The Grand Budapest Hotel – Adam Stockhausen, Anna Pinnock
The Imitation Game – Maria Djurkovic, Tatiana MacDonald
Interstellar – Nathan Crowley, Gary Fettis
Mr. Turner – Suzie Davies, Charlotte Watts

COSTUME DESIGN
The Grand Budapest Hotel
The Imitation Game
Into the Woods
Mr. Turner
The Theory of Everything

MAKE UP & HAIR
The Grand Budapest Hotel – Frances Hannon
Guardians of the Galaxy – Elizabeth Yianni-Georgiou, David White
Into the Woods – Peter Swords King, J Roy Helland
Mr. Turner – Christine Blundell, Lesa Warrener
The Theory of Everything – Jan Sewell

ORIGINAL MUSIC
Birdman – Antonio Sanchez
The Grand Budapest Hotel – Alexandre Desplat
Interstellar – Hans Zimmer
The Theory of Everything – Johann Johannsson
Under the Skin – Mica Levi

SOUND
American Sniper – Walt Martin, John Reitz, Gregg Rudloff, Alan Robert Murray, Bub Asman
Birdman – Thomas Varga, Martin Hernandez, Aaron Glascock, Jon Taylor, Frank A Montaño
The Grand Budapest Hotel – Wayne Lemmer, Christopher Scarabosio, Pawel Wdowczak
The Imitation Game – John Midgley, Lee Walpole, Stuart Hilliker, Martin Jensen
Whiplash – Thomas Curley, Ben Wilkins, Craig Mann

SPECIAL VISUAL EFFECTS
Dawn of the Planet of the Apes – Joe Letteri, Dan Lemmon, Erik Winquist, Daniel Barrett
Guardians of the Galaxy – Stephane Ceretti, Paul Corbould, Jonathan Fawkner, Nicolas Aithadi
The Hobbit: The Battle of the Five Armies – Joe Letteri, Eric Saindon, David Clayton, R Christopher White
Interstellar – Paul Franklin, Scott Fisher, Andrew Lockley
X-Men: Days of Future Past – Richard Stammers, Anders Langlands, Tim Crosbie, Cameron Waldbauer

BRITISH SHORT ANIMATION
The Bigger Picture – Chris Hees, Daisy Jacobs, Jennifer Majka
Monkey Love Experiments – Ainslie Henderson, Cam Fraser, Will Anderson
My Dad – Marcus Armitage

BRITISH SHORT FILM
Boogaloo and Graham – Brian J Falconer, Michael Lennox, Ronan Blaney
Emotional Fusebox – Michael Berliner, Rachel Tunnard
The Karman Line – Campbell Beaton, Dawn King, Tiernan Hanby, Oscar Sharp
Slap – Islay Bell-Webb, Michelangelo Fano, Nick Rowland
Three Brothers – Aleem Khan, Matthieu de Braconier, Stephanie Paeplow

RISING STAR AWARD
Gugu Mbatha-Raw
Jack O’Connell
Margot Robbie
Miles Teller
Shailene Woodley

This Sunday the 11th at 8pm ET we’ll be gluing our eyeballs to NBC ready for the real action of awards season to finally begin. With Amy Poehler and Tina Fey hosting, and the ever plentiful booze flowing, we imagine this year’s Golden Globe Awards should provide plenty of entertainment. And since the Golden Globes are unique in the crazy amount of categories they fill, the competition is plenty fierce.

The Hollywood Foreign Press Association tends to shake things up a bit (I mean who are they really anyway?) and Hollywood never fails to come out to pat themselves on the back. But honestly, the Globes are a great way to start getting Oscar predictions queued up (nominations are out next Thursday the 15th.) So since these awards are really just to spark discussion and squabbling, fellow staff writer CJ Prince and I lay out our predictions.

Other than Fey and Poehler undoubtedly dousing us with comedy gold, what do you expect will happen Sunday night? Let us know in the comments.

Our 2015 Golden Globe Predictions:

Best Motion Picture – Drama

CJ: Boyhood
Because: The current narrative of awards season has the race coming down to Boyhood and Birdman. Thanks to the Golden Globes splitting Drama and Musical/Comedy, Boyhood has no competition in this category. It’s Boyhood’s to lose (I wouldn’t mind Selma taking the gold, though).

Ananda: Boyhood
Because: Months later I still remember my initial impression of Boyhood, and while I have strong love for Foxcatcher, I don’t see it appealing as universally. This one’s a no-brainer.

All nominees: Boyhood, Selma, The Imitation Game, Foxcatcher, The Theory of Everything

Best Motion Picture – Musical or Comedy

CJ: Birdman
Because: I’d honestly prefer Grand Budapest to take this, but Birdman has it locked. Without Boyhood in the category, and with no real buzzy films competing, this one’s a no-brainer.

Ananda: Birdman
Because: All of these movies are awesome, and to be honest I think Birdman is a stretch in this category although it has very hilarious moments, but mostly I think it stands out because it’s not 100% comedy, though that may be an unfair advantage.

All nominees: Birdman, The Grand Budapest Hotel, St. Vincent, Into the Woods, Pride

Best Performance by an Actor in a Motion Picture – Drama

CJ: Benedict Cumberbatch
Because: Harvey Weinstein. He knows how to push a movie to voters, and he’s gotta take something home. My bet is he’ll convince HFPA voters to give this to Cumberbatch because it’s a respectable pick. If Oyelowo gets it I’ll be happy, and if Gyllenhaal gets it my whole night will be made. But for now my bets are on Cumberbatch.

Ananda: Eddie Redmayne
Because: Interesting to note all but one of these performances is based on a real-life person. And in a perfect world I’d say Steve Carell hands down, and Gyllenhaal would be awesome, but Redmayne just had the more overt transformation with his role.

All nominees: Steve Carell (Foxcatcher), Benedict Cumberbatch (The Imitation Game), Jake Gyllenhaal (Nightcrawler), Eddie Redmayne (The Theory of Everything), David Oyelowo (Selma)

Best Performance by an Actress in a Motion Picture – Drama

CJ: Julianne Moore
Because: She’s been racking up every award under the sun, and honestly it’s time. Give Julianne the damn award already. Plus, if anyone wants to join I’ll be holding a prayer ceremony on Sunday night where I pray for Jennifer Aniston to go home empty-handed. Sorry Jennifer, but that’s a campaign, not a performance.

Ananda: Rosamund Pike
Because: I may be reaching a bit, but based on Cate Blanchett’s win last year I just think Pike’s twisty cerebral performance has a chance over Moore’s more obvious dramatic turn.

All nominees: Jennifer Aniston (Cake), Julianne Moore (Still Alice), Rosamund Pike (Gone Girl), Reese Witherspoon (Wild), Felicity Jones (The Theory of Everything)

Best Performance by an Actor in a Motion Picture – Musical or Comedy

CJ: Michael Keaton
Because: After the completion of the McConaissance, we’ve all been itchy for another actor to make their triumphant return to the A-list. And with Keaton doing a great job in Birdman, it’s all a matter of time before the Keatonaissance begins! Personally I would give this one to Ralph Fiennes, but Fiennesaissance doesn’t have a nice ring to it (not that he needs a renaissance, he’s always been awesome).

Ananda: Michael Keaton
Because: Birdman was my favorite movie of the year and it had much to do with how brilliant Keaton was. No competition in my eyes, though he’s among great company.

All nominees: Michael Keaton (Birdman), Ralph Fiennes (The Grand Budapest Hotel), Christoph Waltz (Big Eyes), Bill Murray (St. Vincent), Joaquin Phoenix (Inherent Vice)

Best Performance by an Actress in a Motion Picture – Musical or Comedy

CJ: Amy Adams
Because: I’ve only seen Maps to the Stars in this category, so I’m blindly guessing Amy Adams because she’s a great actress and has been getting plenty of praise for her role in Bright Eyes.

Ananda: Amy Adams
Because: I don’t even necessarily think this is Adams most award-worthy performance, but considering the competition it’s all hers.

All nominees: Amy Adams (Big Eyes), Emily Blunt (Into the Woods), Julianne Moore (Maps to the Stars), Helen Mirren (The Hundred-Foot Journey), Quvenzhané Wallis (Annie)

Best Performance by an Actor in a Supporting Role in a Motion Picture

CJ: J.K. Simmons
Because: See Whiplash. Seriously, I don’t need to explain it. If you’ve seen it, you know exactly why I picked Simmons. If you haven’t seen it, fix that problem immediately.

Ananda: J.K. Simmons
Because: I can say awesome things about everyone nominated, but nobody freaked me out more than Simmons as the nazi-like music teacher from hell.

All nominees: Mark Ruffalo (Foxcatcher), Ethan Hawke (Boyhood), J.K. Simmons (Whiplash), Robert Duvall (The Judge), Edward Norton (Birdman)

Best Performance by an Actress in a Supporting Role in a Motion Picture

CJ: Meryl Streep
Because: Personally rooting for Patricia Arquette here, but awards shows handing statues to Meryl Streep is about as boring and predictable as the roles Meryl Streep chooses to play.

Ananda: Emma Stone
Because: Since no one has a problem writing a great supporting role for a female (if only lead roles were the same), this category should have at least five more names in it (Laura Dern? Rene Russo?). But from what we’ve got I’m going out on a limb and thinking they’ll stick with what they did last year with J-Law and push the young blood forward.

All nominees: Patricia Arquette (Boyhood), Keira Knightley (The Imitation Game), Emma Stone (Birdman), Meryl Streep (Into the Woods), Jessica Chastain (A Most Violent Year)

Best Director – Motion Picture

CJ: Alejandro González Iñárritu
Because: This was the toughest category for me to make a decision on because it comes down to Birdman or Boyhood. Ultimately I figured the HFPA would give it to Iñárritu because it’s the kind of direction that calls attention to itself. Usually awards like this tend to go to the most direction, not the best.

Ananda: Richard Linklater
Because: Also a tough call in terms of my own affection for all of these director’s work this past year, but Linklater spent 12 years on his film and that kind of perseverance deserves respect.

All nominees: Alejandro González Iñárritu (Birdman), Richard Linklater (Boyhood), Ava DuVernay (Selma), David Fincher (Gone Girl), Wes Anderson (The Grand Budapest Hotel)

Best Screenplay – Motion Picture

CJ: The Grand Budapest Hotel
Because: Much like Spike Jonze winning for Her, or Quentin Tarantino winning for Django Unchained, Best Screenplay goes to the kind of film where the writing really shines. Wes Anderson’s nesting egg structure and quick paced quippy dialogue makes it an easy pick for this award.

Ananda: The Grand Budapest Hotel
Because: It won’t win anything else and it’s a truly great film. Plus, Anderson is really getting his whole layered stories and quirky relationships thing down to an art.

All nominees: Boyhood, Birdman, Gone Girl, The Imitation Game, The Grand Budapest Hotel

Best Original Song – Motion Picture

CJ: The Hunger Games: Mockingjay – Part 1 (Yellow Flicker Beat)
Because: I figured one of the white pop girls would win, and Lorde seems to be more popular now (the honest truth: I’ve only heard this song out of the bunch).

Ananda: The Hunger Games: Mockingjay – Part 1 (Yellow Flicker Beat)
Because: I’ve been rocking out to this on the radio for months so…

All nominees: Big Eyes: Lana Del Ray (Big Eyes); Selma: John Legend, Common (Glory); Noah: Patty Smith, Lenny Kaye (Mercy Is); Annie: Sia (Opportunity); The Hunger Games: Mockingjay – Part 1: Lorde (Yellow Flicker Beat)

Best Original Score – Motion Picture

CJ: Gone Girl: Trent Reznor
Because: It’s a great score, and Reznor has earned himself a great reputation as a composer since collaborating with Fincher. I considered putting Birdman here (and won’t be shocked if it wins), but part of me feels like some people might be turned off by the nonstop percussion.

Ananda: Birdman: Antonio Sanchez
Because: I loved all the music listed below, but Sanchez’s sporadic and pulsating drums were one of the most noticeable (in a good way) soundtracks I’ve ever encountered.

All nominees: The Imitation Game: Alexandre Desplat, The Theory of Everything: Jóhann Jóhannsson, Gone Girl: Trent Reznor, Birdman: Antonio Sanchez, Interstellar: Hans Zimmer

Best Animated Film

CJ: The Lego Movie
Because: It’s an animated movie that’s funny without pandering, and it has an incredible, universal message. And I’m sick of Disney. They’re a meat factory.

Ananda: The Lego Movie
Because: Well duh. It’s beyond clever to watch and to look at it, but it also embodied the very message it was spouting to: think outside the box and forget the supposed instruction manuals of life.

All nominees: The Book of Life, The Boxtrolls, Big Hero 6, How to Train Your Dragon 2, The Lego Movie

Best Foreign Language Film

CJ: Ida
Because: Middlebrow Holocaust movie from Europe that strikes the perfect balance of arty without being too arty? Ida easily wins the Foreign Language Film jackpot. Just another statue for the mantle until it takes home the Oscar.

Ananda: Ida
Because: A difficult decision for sure, but damn if if Ida isn’t both pretty and universally appealing.

All nominees: Ida, Leviathan, Force Majeure, Gett: The Trial of Viviane Amsalem, Tangerines

We’re only predicting movie nominations this year, but if you want to make your own guesses on the TV categories or have a full list of the nominations on hand for the live broadcast, here’s a complete list of the nominations. And if you can’t watch, or someone talks over a winner announcement, we’ll be live updating the winners as they are announced.

I’m certainly not the first to admit 2014 wasn’t a ground-breaking year for cinema—Todd McCarthy from The Hollywood Reporter conceded it was “far from a great year,” Robbie Collin at The Telegraph declared it “a relatively placid year,” and Dana Stevens of Slate confessed it had “been kind of a rough year.” And I’m sure I won’t be the last to say 2014 wasn’t phenomenal. But that doesn’t mean it was a horrible year for movies. In fact, our overall favorite film of the year, Richard Linklater’s Boyhood, wasn’t just the best film of the year—it’s one of the best film of the past five years—at least in the humble opinion of this writer. So if it wasn’t such a poor year, why do many critics insist on calling it one? It might have something to do with release dates.

Movie studios spend a lot of time figuring out when they should release their film. And there’s a lot of different factors at play in this decision. The most important consideration is what kind of film they’re promoting. Summer months are for blockbuster movies like the latest Michael Bay film or the latest reboot of a comic book franchise. If a studio believes they have a flop on their hands they’ll screen it in what’s called the “dump months,” time periods which follow high attendance months when commercially promising movies are released. The dumping grounds are typically in the months of January/February and August/September. Now when a studio knows (or at least thinks) they have a critical hit, they’ll save it for an award season push sometime between October and December. There are outliers of course, but the movie industry has been around for a long time and have this strategy pretty much ironed out.

The Huffington Post recently did a study which found 77% of Oscar Best Picture winners were released between October and December, the three months before the Academy releases their list of Oscar nominations. Which makes perfect sense when you think about it. Films that remain fresh in the memories of voting members would logically increase their chances of being nominated. Studios are aware of our short-term memories and seize the opportunity by spending large amounts of money for an Oscar campaign.

The same basic principles of short-term memory applies to critics and moviegoers too. Our perception of an entire year’s worth of movies could easily be effected by the movies at the end of the year. Which might explain why 2013 felt like a speculator year for movies. Last year was stacked with good Oscar season releases, resulting in an exciting Oscar race led by two films which were released in October; 12 Years A Slave and Gravity. In fact, not a single film in last year’s Best Picture category was released before October. While it’s still too early to make definitive predictions for this year’s Oscars, since nominations haven’t even been announced yet, Boyhood seems to be the front-runner; a film that received the dreaded August wide release date.

Ellar Coltrane growing up in Boyhood

Boyhood is not alone. On our list of the 20 Best Films of 2014, 10 of those films were released before October. That means exactly half of our favorite films of the year were outside that favorable award season release zone. And most of them weren’t even close. All but one of those 10 films were released in June or even earlier.

Furthermore, several of our year-end favorites defied all odds by screening in the first few months of 2014. Specifically, The LEGO Movie which won over audiences all the way back in February and The Grand Budapest Hotel back in March, yet still found their way on Metacritic’s Top 20 list at the end of the year. Other great films including Under the Skin, Blue Ruin, Only Lovers Left Alive, and Oculus reached audiences as early as April. It’s impossible to predict what the impact would’ve been if these films waited for an October release instead, but they’d have better odds of landing higher on year-end lists.

Late season standouts this year included Alejandro González Iñárritu’s dazzling Birdman, Dan Gilroy’s creepy Nightcrawler, David Fincher’s murder mystery Gone Girl, Damien Chazelle’s brutal Whiplash, and Ava DuVernay’s vital Selma. But aside from Birdman, it was rare to find any of those picked as the Best Film of the year. There were several major studio films like Fury, The Theory of Everything, Interstellar, The Hobbit: The Battle of the Five Armies, and The Imitation Game which didn’t meet expectations and only made some Top 10 lists. Not to mention complete duds such as Unbroken, Annie, The Gambler, and Exodus: Gods and Kings. Even critic favorite Paul Thomas Anderson failed to crack most Top 10’s with his highly anticipated, but ultimately perplexing, Inherent Vice.

So what does all of this mean? Perhaps the batch of underwhelming movies towards the end of the year, combined with the excellent but distance memory of the first half, altered people’s overall impression of 2014 in terms of its movies. Maybe 2014 wasn’t such a downer year after all, and it was just more front-loaded than we’re used to. So if the year’s releases had been reversed, the discussion might just have been about how strong 2014 was for movies.

It’s that time of year again when we reflect back on everything we’ve seen in the past 12 months and attempt to make a grand verdict on the best films of 2014. For what it’s worth, 2014 was another strong year for independent film: at least half of our Best 20 Films of 2014 were independently made, and there were dozens more that just missed our list (Stray Dogs, The Guest, Only Lovers Left Alive and Oculus to name a few). It was weak year for blockbusters (though Guardians of the Galaxy was close to making our list) and a relatively quiet year for award season releases (save for a few like Selma and Inherent Vice, which weren’t seen in time by enough of our staff). Our results seem to suggest 2014 was front-loaded, as many of our favorites came out at the beginning of the year, including our top pick, which might not just be the best of this year, but one of the better films we’ve seen in recent years.

For your perusal and discussion, Way Too Indie presents our selections for the top 20 films of 2014.

Way Too Indie’s Best Films of 2014

#20 – Chef

Give me a movie with succulent shots of a crunchy, gooey grilled cheese sandwich and I’m hooked. Under the tutelage of Roy Choi, Chef writer/director Jon Favreau spent a week in intensive culinary boot camp to ensure his cooking scenes were on point. Many actors have been praised for doing their own death-defying stunts or putting their bodies through drastic weight changes for a role. Not to be overlooked, however, is the risk involved with the mad chopping skills of a true chef. And Favreau really brings it. But his appreciation of the culinary arts isn’t the only thing that shines through in this heartwarming film. Delving into the internal struggles of a man who sold out his unique genius for security, we see a man in need of redefinition, not only of who he is in the kitchen, but in the world. In his process of bottoming out professionally and creatively, and taking on a new venture in food-trucking, he also gets a chance to reconnect with his son. From the colors and flavors of Miami to French Quarter beignets and Austin’s smokehouse brisket, Chef is a gastronomical road trip of discovery that succeeds in capturing the supernatural powers of food. [Scarlet]

#19 – The Double

In 2010, cult comedian Richard Ayoade released his first feature, Submarine, which garnered mostly positive reviews and was a pretty decent directorial début. His follow-up, The Double, is a much darker and more stylish film, a quantum leap for the young filmmaker. The Double is bolstered by Jesse Eisenberg’s superb double performance as all-too-forgettable office lackey Simon James and his ultra-confident alter-ego James Simon, who unexpectedly shows up in Simon’s life to wreak havoc. Taking obvious tones from Brazil, the dystopian office environment is awesomely designed and endlessly funny. It is a horrendous, dingy world, which would undoubtedly be a miserable experience, though it seems to come entirely from Simon’s own worldview – in all, it is one of the best depictions of what it feels like to be a nameless, faceless workingman wishing to be noticed while entirely without the aptitude to stand out. Despite its intense outlook on life and its equally intense Dostoevsky source material, it is superbly shot and edited, with terrific wit, making The Double a strangely breezy, playful experience. [Aaron]

#18 – Foxcatcher

I wouldn’t place the affect of Foxcatcher entirely on Steve Carell’s shoulders (although clearly I’ve already written about the brilliance of his performance), but the profundity of this true-tale balances entirely on what he brings to this film. It could be the depressing, and not particularly exhilarating, tale of a man with any number of mental instabilities performing a heinous crime against an innocent man. Instead—with arresting ensemble collaboration with Mark Ruffalo and Channing Tatum—Foxcatcher becomes a nuanced look into the various ways we pursue fulfillment. As quiet and slow-paced as the film is, its tension builds as well as it does because the characters’ motivations are ones everyone experiences. Tatum’s Mark Schultz and Carell’s John du Pont, two men born into very different family and societal situations, seek the same thing: a sense of affirmation and respect. It’s what everyone wants in some small way, and the mental extremes both go to in pursuit of them remind us of what we might all be capable of. Bennet Miller has proven his capabilities with a film that never gets in its own way or stumbles over its huge performances. He clearly understands the delicacy of the craft.  [Ananda]

#17 – Two Days, One Night

The Dardenne brothers were bound to work with a famous actor at some point in their career, and in Two Days, One Night their first collaboration with an A-lister proves to be terrific, and for fans, assuaging. The Dardenne’s gritty, no-frills style of storytelling is challenging for any actor to interpret, but Marion Cotillard stuns as a dangerously depressed factory worker who over a weekend must convince her co-workers to forego their bonuses to save her job. Her conversations with her colleagues range from heart-warming, to infuriating, to violent, to uplifting, though they’re all awkward and uncomfortable. Two Days, One Night an exquisite, bite-sized tale that’s as engrossing as it is hyper-relevant to today’s economic landscape. One of the brothers’ best. [Bernard]

#16 – Wild

We’ve already declared Reese Witherspoon’s performance in Wild to be one of the best of the year. It takes, however, quite a collaboration to allow an actor’s skills and talents to be able to come to fruition within a two hour time span. It begins with an incredible story, and it helps that it’s true. Cheryl Strayed’s memoir had already been Number 1 on the New York Times’ Best Seller list for seven weeks straight in 2012. Successfully adapting it into a movie would take skilled screenwriter Nick Hornby and director Jean-Marc Vallee, who directed last year’s Academy Awards’ winners for Best Actor and Best Supporting Actor in Dallas Buyers Club. Throw in the incredible cinematography of Yves Belanger to capture the beautiful span of nature along the Pacific Crest Trail and I would say we’d have one of the best pictures of the year. The only thing missing might be a heart-wrenching performance by the glorious Laura Dern. But then, they have that too. [Scarlet]

#15 – Nymphomaniac

Lars Von Trier gave an extensive interview recently, confessing that he’s been high and drunk while writing a lot of his screenplays, and that Nymphomaniac was the first screenplay he’d written sober (it took him 18 months). If that’s the case, then he’s proven his talents even while sober because the 4 1/2 hour sex-capade—split into two volumes for release—is an embarrassment of cinematic riches in all shapes, sizes, and vocal groans. It follows Joe’s (Charlotte Gainsbourgh) story of sexual awakening (the Young Joe is played by Stacy Martin, a brilliant first-timer that we signaled out as one of the year’s best performers) as she tells it to the asexual hermit Seligman (Stelan Skarsgard) in Vol. 1. Her story continues into adulthood as a mother and a wife in Vol. 2, where laughs are exchanged for dark decisions and reflections. Nymphomaniac is novelistic in structure, operatic in scale, painterly in design, yet wholly, insatiably, and helplessly cinematic in result. It’s funny, dark, at moments gorgeous, at others repulsive, but never ever dull and always intellectually stimulating. The film packs in everything that’s been interesting and fascinating to von Trier recently, so it’s also—at its core—a look inside the mind of one of the world’s most fascinating and audacious artists. [Nik]

#14 – The Babadook

What makes Jennifer Kent’s The Babadook so terrifying is that long before the monster appears, the film is a study of a single mother’s descent into parental madness. The protagonist is a woman who is not only haunted by the loss of her husband six years prior, but slowly terrorized by the reminder that her six-year-old son is tangentially to blame for that loss. This builds a simmering parental resentment that is as unsettling as it is unnatural. Kent further builds on this by making the child an oppressive force of hyperactive energy and piercing volume, whose singular obsession is his terrorization by a monster that doesn’t (yet) exist. Add sleep deprivation, the weight of a demanding and thankless job, a collection of unsympathetic friends with enviable suburban lives, and absolutely no chance of finding love again anytime soon, and you have a woman on the brink of both implosion and explosion. You have a woman so weak, she is ripe for a good haunting. And a good haunting she gets. [Michael]

#13 – Blue Ruin

Blue Ruin is a rare film. A violent, wholly uncompromising thriller where the stakes of violence are raised with every turn. We see lots of films portraying vengeance but not a lot, if any, that involve a protagonist who is so amateurish at it. The film involves an unknown drifter, Dwight, who seeks retribution on a trashy small town Southern family who wronged his own family years before. Dwight is one of the most flawed anti-heroes in a long time. The best thing about the film is how little information we are given; Blue Ruin is bare bones, giving only the information needed to understand the dilemma. What I love about the film is how it shows the consequences of violence, a rare facet in films these days. Writer/director Jeremy Sauliner tells the story without any fat on its bones. His filmmaking is so focused and acute that the audience is able to feel Dwight’s every wound; emotional and physical. [Blake]

#12 – Mr. Turner

Whilst biopic’s are often awards-bait they are also films that are difficult to get right. They can be—when directed badly—pretentious, dull affairs. Yet with Mr. Turner, Mike Leigh has overcome inherent biopic challenges to produce one of the outstanding films of the year. Lit majestically by cinematographer Bob Pope, many of the film’s scenes echo the breathtaking beauty of Turner’s paintings. Mr. Turner features a standout performance from Timothy Spall, who grunts and wheezes his way into the shoes of the larger than life character. Yet Spall is also supported by brilliant performances from the rest of the cast, particularly Dorothy Atkinson, who puts in a subtle yet moving performance as Turner’s underappreciated housekeeper. Mr. Turner also adeptly manages the balance comedy and drama; Leigh pokes fun at Turner without the film being reduced to a ‘parody’, and equally celebrates the man’s artistic genius without pretentiousness, never losing sight of the very human flaws behind the brilliance. Mr. Turner, is a thought-provoking character study, energetic comedy and a brilliant piece of arthouse filmmaking which may well be Leigh’s best film yet. [Eddy]

#11 – Snowpiercer

Bong Joon-ho’s wickedly entertaining Snowpiercer was the subject of heavy word-of-mouth hype this summer after its distributors, The Weinstein Company, gave the movie a limited late June release before dumping it on VOD in July. At a time when Transformers and Tammy were at the top of the box office, Snowpiercer’s groundswell of support felt less like an indictment of Weinstein’s handling of the film, and more like a plea to get audiences to pay attention to a thrilling, sci-fi/action flick that dared to exhibit originality. Brought to life through Ondrej Nekvasil’s immersive production design, the bizarre world of Snowpiercer features a completely unique setting, brutal action, and a bonkers performance from Tilda Swinton. As Chris Evans’ Curtis battles his way from the back of the train to the front with his multi-ethnic cohorts, each new section brings a fresh set of circumstances and surprises. Finding out what actually goes into the protein blocks, discovering how the society aboard the train indoctrinates its youth, and realizing that even the train’s elite are stuck in a blissfully unaware state of drug addiction (kronol, please!) are all exciting revelations in the absurd and absurdly entertaining Snowpiercer. [Zachary]

#10 – Gone Girl

David Fincher is known for making some of Hollywood’s most intense thrillers throughout his 20-year tenancy in the film capital of the world, but none are more scathing and vicious than his newest film based on Gone Girl, Gillian Flynn’s best-selling novel. While Gone Girl is, at first, about the disappearance of a small town housewife, it’s really about peeling back the layers a seemingly happy couple upholds to expose the not so greener pastures that exist underneath. And when the media gets involved, Gone Girl narrows the lens on society’s own snap judgements and expectations of people we don’t truly know but have no problem judging. Aided by a scorching script written by Flynn herself, Fincher’s film is led by a duo of virtuoso lead performances in Ben Affleck and Rosamund Pike. Affleck has hardly, if ever, been better and Pike gives 2014’s best performance – man or woman. Give her the Oscar already. The film isn’t one of Fincher’s best by any means, but is nonetheless a stellar addition to his already impressive canon. [Blake]

#9 – Ida

The brilliance of Pawel Pawlikowski’s Ida starts with the bleak elegance of its aesthetic: a black-and-white palate presented in a 4:3 aspect ratio that is haunting in its simplicity. It’s the perfect presentation for the film, as it belies the weight of the story, yet sets the proper stage for it. And what a weighty story it is: on the brink of taking her final vows, a novice Catholic nun in 1960s Poland learns she is Jewish. She and her only living relative—an estranged, world-weary aunt with a formidable reputation as a post-war prosecutor—embark on a journey to learn the truth of their family’s past. The two women were strangers just days before, but as the story progresses and truths unfold, they find themselves dependent on each other in ways neither had anticipated. First-timer Agata Trzebuchowska is mesmerizing as the holy ingenue with hypnotic eyes, but it’s the devastating performance Agata Kulesza gives as Aunt Wanda, who begrudgingly plays part parent, pit bull, party gal, and private eye. And she’s not without her own soul-searching, either. Ida rightly earns every accolade and award it receives, as well as its spot on this list. [Michael]

#8 – Winter Sleep

Walking away with this year’s coveted Palme D’Or is pretty much tasting the crème de la crème of film awards (sorry, but not really, Oscars). And yet, Nuri Bilge Ceylan’s latest masterwork Winter Sleep has really loud detractors who call it “lesser Bergman” and deride it for its extensive dialogue scenes and interior shots. Not sure what those people have watched, but there’s simply no other film that will suck you into its world faster and smoother than this opulent Turkish delight. Set in the mountainous regions of Cappadocia, the film follows hotel owner Aydin (Haluk Bilginer) while he purveys the small town as its landlord and kingly lion in winter. The film truly comes alive in the conversations he has with wife Nihal (Melisa Sözen) and sister Necla (Demet Akbag), and the various townsfolk he meets along the way in the course of the film. Humanity is peeled in syllables, and the sins that shackle the human condition surface through jolts and pangs of emotional, subtle, revelations. Critics hail Boyhood as the film that most wholly reflects life in a grander scope, but in this writer’s opinion, that mantle belongs to Winter Sleep, as it digs much deeper towards what truly makes us who we are. [Nik]

#7 – The Grand Budapest Hotel

Wes Anderson can be an acquired taste and is often mocked and celebrated in equal measure. With The Grand Budapest Hotel however, Anderson has created his most accessible film to date. It has all the hallmarks of Wes Anderson (watch our video essay on his unique style); it’s typically kitschy and kooky, with its intricately detailed sets, elaborate costumes and dry sense of humor. Yet the real strength of the film comes from the relationship between hotel concierge Gustav H (Ralph Fiennes) and the lobby boy, Zero (Tony Revolori). This is due to a charming performance from Ralph Fiennes who clearly relishes escaping from the serious dramatic roles he seems to have been too often restricted to over the years. Tony Revolori also gives a terrific performance as Zero, Gustav’s bellboy, with Anderson seeming to have a knack for finding young talented actors and really letting them shine. The warmth in the relationship between these two helps prevent the film from becoming detached from its characters. This makes The Grand Budapest Hotel easily one of the most heartfelt films he has made, enjoyable and accessible even to those outside Anderson’s cult audience. It’s one of the funniest and most charming movies of the year, a feel good film with real class and a supporting cast including Tilda Swinton, Jude Law, Harvey Keitel, and long time collaborator Bill Murray all in top form. [Eddy]

#6 – Whiplash

Who knew a movie about jazz drumming would become 2014’s most exhilarating film? Whiplash follows first-year music student Andrew Neiman (Miles Teller) as he endures an onslaught of abuse from his jazz instructor Terence Fletcher (J.K. Simmons). Fletcher firmly believes in the end justifying the means, destroying the hopes and dreams of hundreds of young students if it means pushing one of them to become the next Buddy Rich. What Neiman represents for Fletcher is the opportunity he’s been waiting for: someone willing to swallow his twisted, bullshit philosophy without question.

Writer/director Damien Chazelle does what some would consider the unthinkable: he shows Fletcher’s horrifying methods paying off. But Chazelle also shows the agonizing, dehumanizing costs of getting to that point: shutting out loved ones, removing a social life, and not even caring for your own well-being if it gets in the way of “true greatness.” Yes, the film’s incredible finale depicts Andrew finally getting the approval he desperately seeks, but it’s a Pyrrhic victory. We watch in awe at the skills and primal fury on display, but we also stare in horror at what Andrew has become. [C.J.]

#5 – The LEGO Movie

Are there more pleasantly surprising filmmakers than Phil Lord and Christopher Miller working today? First, they turned a kids book into a cult classic. Then they revamped a 1980s television series at a time when reboots and rehashes were becoming sickening, and made a brilliantly funny and original comedy hit. Should we have ever doubted that these two could make a resonant, beautiful, and hilarious film based entirely on block toys? The LEGO Movie is widely being considered not just the best animated film of the year, but one of the most beloved films of 2014. From an animation standpoint, the film is interesting and beautiful, using the LEGO form beyond its furthest extent. The LEGO Movie features an eclectic group of voice performers, including Will Arnett’s take on the caped crusader, perhaps the best film representation of Batman there has ever been. The filmmaking duo’s sharp satirical wit and unique look at popular culture are on full display, making it one of the year’s best comedies for both kids and adults. But the film also has a lot of heart. Its messages of good teamwork and being yourself don’t feel cheap or dumbed down for a younger audience. Its greatest message, however, is aimed to the older generation who have let rules and stipulations get too involved with their entertainment pursuits. Toys (video games, films, cosplay outfits, etc.) are about creativity and imagination and don’t need to meet anyone else’s plans or expectations. The LEGO Movie wonderfully lives in this spirit. [Aaron]

#4 – Under the Skin

Of all the films on our list, none are as cinematically daring and bizarre as Jonathan Glazer’s sci-fi anomaly, Under the Skin. Scarlett Johansson stars as a predatory being from elsewhere, prowling the streets of Glasgow, using her body to ensnare hapless horny fellows off the street. The performance is divine: her face is stuck in a zombified state throughout the film, but her eyes tell another story, transforming from those of a sharp predator to those of a sick, lost puppy. If Johansson’s career-defining acting wasn’t enough, the film’s score is ethereal and unnerving, and Glazer’s imagery is minimalistic, elegant, and vicious, arguably the highest visual achievement of the year.

Several colleagues I’ve spoken to about Under the Skin didn’t click with the film quite like I did. But one thing they all say, without fail, is that it’s an important film whose artistic value is pretty much unimpeachable. As film lovers we should be staunch evangelists for risk-taking filmmakers like Glazer because, pass or fail, their films help expand the horizons of cinema past what we’re comfortable with or conditioned to accept. And where Johansson’s career goes from here is anybody’s guess, because for a young actress to star in The Avengers and yet still have the hunger to tackle a role like this is what earns the respect of peers, audiences, and critics alike. [Bernard]

#3 – Birdman

How to explain the significance of a film about a washed up actor trying to rebuild his reputation with the seemingly selfish act of creating his own spotlight and walking into it? Hollywood notoriously loves introspective films, but what makes Birdman unique in this regard is that not only does it poke fun of that egotism, and indeed hints at the madness behind it, but director Alejandro G. Iñárritu uses our beloved medium as a weapon, hitting any self-ascribed film enthusiast, actor, stage savant, or critic in the face with the art of it. Birdman contains some of the most impressive camera-work in a film all year, much of it in extended dizzying takes, a feat that also serves to prove the brilliance of the film’s performances as everyone in the film has to be amazing without much editing room help, and all of it is literally underscored by spastic moody jazz drums that provide one of the most inspired scores of the year. It’s a lot. And it’s just enough.

As a former superhero film star and failing father trying to prove his worth, Michael Keaton as Riggan Thomson is an insecure, egotistical, surreally magical, and often pathetic creature. And even while laughing at him, or wondering at the level of certifiability to his madness, he’s an engaging and easy to root for loser. And Keaton is just the tip of the acting greatness in the film. There’s Emma Stone as his daughter, reminding Riggan how out of touch he is; Edward Norton’s egomaniacal co-star demeaning his every attempt to be taken seriously; Zach Galifianakis as his tense and pandering best friend, producer and lawyer; Lindsay Duncan as a theatre critic determined to take Riggan down; and a host of others who all bring their A-game. What keeps Birdman from the darker end of the black comedy spectrum is the insinuation that all this madness might just be the key to great art. To which I say, go as mad as you want Iñárritu, it looks pretty damn good. [Ananda]

#2 – Nightcrawler

Dan Gilroy’s Nightcrawler is a nasty piece of work, and I mean that in the best way possible. Some have described it as a media satire, but that would be missing the forest for the trees. Gilroy sets his sights on the current state of business in America, viciously tearing into and exposing how the country’s late capitalist system thrives on sadism. That message takes the form of Louis Bloom (Jake Gyllenhaal in his best performance to date), the kind of person who drinks and regurgitates the corporate Kool-Aid with a grin on his face. Bloom, an unemployed and undereducated man whose go-getter attitude is really a sign of psychosis, discovers the potential for an exciting new business opportunity: capturing the bloody aftermath of crime scenes on camera and selling the footage to morning news outlets. Once he finds a news producer (Rene Russo, also doing amazing work) willing to buy his footage, Bloom begins building an empire on the pain and suffering of others.

Gilroy, making his directorial début, doesn’t hide his anger for one second. In a just world, Louis would get shunned or locked up for his behavior. Instead he’s rewarded, and the more he stomps on ethics and morals, the more successful he becomes. Nightcrawler makes it abundantly clear that this is a state of the nation address rather than a cautionary tale, a world where the moral compass has been replaced by the bottom line. It’s an uncompromising, cynical, darker than dark film, with such strong directing, writing, acting and cinematography (from the great Robert Elswit) it feels like the work of an established master instead of a first-time director. What Nightcrawler makes terrifyingly clear is that, through seeing Bloom’s sociopathic behavior push him up the ladder rather than into the gutter, this isn’t a case of the inmates taking over the asylum; it was always supposed to operate that way. [C.J.]

#1 – Boyhood

Despite all the early award season speculation and dominating year-end lists, there’s seemingly no limit to the amount of praise for the epic 12-year project Boyhood. Few films in the history of cinema have portrayed ordinary life so profoundly as Richard Linklater’s masterpiece. Yet for a film that took over a decade to make and spans nearly three hours, it’s remarkably simple. Boyhood literally observes actor Ellar Coltrane grow up on-screen from his early childhood through his adolescent years. But instead of focusing on pivotal milestones in life—first love, school dances, marriage, etc.—the film is about those moments between those milestones which are equally memorable. Rather than putting up title cards to signal a new year, Boyhood makes effective use of pop culture, technology advances, and haircuts for its transitions in time. These also serve as a nostalgic time capsule for the ’00s. Throughout the years the land-line phone, colorful iMac G3, and Gameboy Advance are naturally phased out by a cell phone, slim laptop, and Xbox 360. While these are all seemingly simple achievements, rarely do filmmakers take such an organic approach the way Linklater does here.

Even though the title implies just a coming-of-age story of a boy, it could have easily been called “Parenthood.” Patricia Arquette experiences the difficulties of raising two kids as a single-parent and it’s heartbreaking to watch her bounce from one abusive relationship to the next. While she’s the glue that holds everything together, frequent Linklater collaborator Ethan Hawke displays the most range as a character. Hawke first shows up as a reckless father who abandoned his children. But by the end he matures into a responsible parent and a caring husband happily remarried. This film demonstrates the process each of us undergoes on a constant basis, the evolution of trying to find ourselves at every age. A decade is a long time to shoot a film, but perhaps it’s the perfect way to capture the way life passes by. Boyhood is a sprawling cinematic achievement that could only come around every 12 years or so, and probably even more rarely than that. [Dustin]

In a minor surprise, the Online Film Critics Society named Wes Anderson’s The Grand Budapest Hotel as the Best Picture of the year. Richard Linklater received Best Director for Boyhood and Birdman received two acting awards.

The Online Film Critics Society is an international body of online film journalists and writers, established in 1997 as an alternative to the more exclusive print journalist societies. We have a couple of staff writers here at Way Too Indie that belong to the OFCS.

See below for the full list of the 18th Annual Online Film Critics Society awards winners:

Best Picture: The Grand Budapest Hotel
Best Animated Picture: The Lego Movie
Best Film Not in the English Language: Two Days, One Night
Best Documentary: Life Itself
Best Director: Richard Linklater, Boyhood
Best Actor: Michael Keaton, Birdman
Best Actress: Rosamund Pike, Gone Girl
Best Supporting Actor: Edward Norton, Birdman
Best Supporting Actress: Patricia Arquette, Boyhood
Best Original Screenplay: The Grand Budapest Hotel
Best Adapted Screenplay: Gone Girl
Best Editing: Birdman
Best Cinematography: The Grand Budapest Hotel

At an obscenely early ceremony, the Hollywood Foreign Press announced the nominees for the 2015 Golden Globes.

On the film side, Birdman led all nominees with seven – and will surely be helped pull in some awards being in the arguably less competitive “Musical or Comedy” categories. Boyhood and Selma each have five nominations, though they will have to battle each other in the Drama categories.

Because the Golden Globes breaks up lead acting and best film into the two categories, there are few major snubs. In the Best Actor categories, Carell, Cumberbatch, Gyllenhaal, Redmayne, Oyelowo, Keaton and Phoenix all got love, though more than likely two of them won’t be so lucky come Oscar noms, which is shaping up to be a brutally contentious group.

Possibly the biggest snub is no Best Picture for Gone Girl, despite receiving nominations for Best Actress, Director and Screenplay (no adapted/original clarification for the Globes). This may not be a death sentence for an Oscar nom, though, assuming ten nominees, Gone Girl would certainly get more love than a few of the nominations for Best Motion Picture – Musical or Comedy. Unbroken, however, may have received a bad omen when it comes to the Oscars, as it received zero nominations here.

The Golden Globes takes place on January 11th and will be hosted by a returning Tina Fey and Amy Poehler.

2015 Golden Globe Nominations

Best Motion Picture – Drama
Boyhood
Selma
The Imitation Game
Foxcatcher
The Theory of Everything

Best Motion Picture – Musical or Comedy
Birdman
The Grand Budapest Hotel
St. Vincent
Into the Woods
Pride

Best Performance by an Actor in a Motion Picture – Drama
Steve Carell, Foxcatcher
Benedict Cumberbatch, The Imitation Game
Jake Gyllenhaal, Nightcrawler
Eddie Redmayne, The Theory of Everything
David Oyelowo, Selma

Best Performance by an Actress in a Motion Picture – Drama
Jennifer Aniston, Cake
Julianne Moore, Still Alice
Rosamund Pike, Gone Girl
Reese Witherspoon, Wild
Felicity Jones, The Theory of Everything

Best Performance by an Actor in a Motion Picture – Musical or Comedy
Michael Keaton, Birdman
Ralph Fiennes, The Grand Budapest Hotel
Christoph Waltz, Big Eyes
Bill Murray, St. Vincent
Joaquin Phoenix, Inherent Vice

Best Performance by an Actress in a Motion Picture – Musical or Comedy
Amy Adams, Big Eyes
Emily Blunt, Into the Woods
Julianne Moore, Maps to the Stars
Helen Mirren, The Hundred-Foot Journey
Quvenzhané Wallis, Annie

Best Performance by an Actor in a Supporting Role in a Motion Picture
Mark Ruffalo, Foxcatcher
Ethan Hawke, Boyhood
J.K. Simmons, Whiplash
Robert Duvall, The Judge
Edward Norton, Birdman

Best Performance by an Actress in a Supporting Role in a Motion Picture
Patricia Arquette, Boyhood
Keira Knightley, The Imitation Game
Emma Stone, Birdman
Meryl Streep, Into the Woods
Jessica Chastain, A Most Violent Year

Best Director – Motion Picture
Alejandro González Iñárritu, Birdman
Richard Linklater, Boyhood
Ava DuVernay, Selma
David Fincher, Gone Girl
Wes Anderson, The Grand Budapest Hotel

Best Screenplay – Motion Picture
Boyhood
Birdman
Gone Girl
The Imitation Game
The Grand Budapest Hotel

Best Original Song – Motion Picture
Big Eyes: Lana Del Ray (Big Eyes)
Selma: John Legend, Common (Glory)
Noah: Patty Smith, Lenny Kaye (Mercy Is)
Annie: Sia (Opportunity)
The Hunger Games: Mockingjay – Part 1: Lorde (Yellow Flicker Beat)

Best Original Score – Motion Picture
The Imitation Game: Alexandre Desplat
The Theory of Everything: Jóhann Jóhannsson
Gone Girl: Trent Reznor
Birdman: Antonio Sanchez
Interstellar: Hans Zimmer

Best Animated Film
The Book of Life
The Boxtrolls
Big Hero 6
How to Train Your Dragon 2
The Lego Movie

Best Foreign Language Film
Ida
Leviathan
Force Majeure
Gett: The Trial of Viviane Amsalem
Tangerines

Television Categories

Best Television Series – Drama
“Downton Abbey”
“The Good Wife”
“House of Cards”
“Game of Thrones”
“The Affair”

Best Television Series – Musical or Comedy
“Girls”
“Orange Is the New Black”
“Transparent”
“Silicon Valley”
“Jane the Virgin”

Best Mini-Series or Motion Picture Made for Television
“Olive Kitteridge”
“True Detective”
“Fargo”
“The Missing”
The Normal Heart

Best Performance by an Actor in a Television Series – Drama
Kevin Spacey, “House of Cards”
Liev Schreiber, “Ray Donovan”
James Spader, “The Blacklist”
Dominic West, “The Affair”
Clive Owen, “The Knick”

Best Performance by an Actress in a Television Series – Drama
Robin Wright, “House of Cards”
Julianna Margulies, “The Good Wife”
Viola Davis, “How to Get Away with Murder”
Claire Danes, “Homeland”
Ruth Wilson, “The Affair”

Best Performance by an Actor in a Television Series – Musical or Comedy
Don Cheadle, “House of Lies”
Ricky Gervais, “Derek”
Jeffrey Tambor, “Transparent”
William H. Macy, “Shameless”
Louis C.K., “Louie”

Best Performance by an Actress in a Television Series – Musical or Comedy
Lena Dunham, “Girls”
Edie Falco, “Nurse Jackie”
Julia Louis-Dreyfus, “Veep”
Taylor Schilling, “Orange Is the New Black”
Gina Rodriguez, “Jane the Virgin”

Best Performance by an Actor in a Mini-Series or a Motion Picture Made for Television
Martin Freeman, “Fargo”
Billy Bob Thornton, “Fargo”
Matthew McConaughey, “True Detective”
Woody Harrelson, “True Detective”
Mark Ruffalo, “The Normal Heart”

Best Performance by an Actress in a Mini-Series or a Motion Picture Made for Television
Jessica Lange, “American Horror Story”
Maggie Gyllenhaal, “The Honourable Woman”
Frances McDormand, “Olive Kitteridge”
Frances O’Connor, “The Missing”
Allison Tolman, “Fargo”

Best Performance by an Actor in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television
Jon Voight, “Ray Donovan”
Alan Cumming, “The Good Wife”
Bill Murray, “Olive Kitteridge”
Colin Hanks, “Fargo”
Matt Bomer, The Normal Heart

Best Performance by an Actress in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television
Allison Janney, “Mom”
Uzo Aduba, “Orange Is the New Black”
Kathy Bates, “American Horror Story”
Michelle Monaghan, “True Detective”
Joanne Froggatt, “Downton Abbey”

While we anxiously await tomorrow’s Golden Globe nominations we can parse through today’s Screen Actor’s Guild announcements to see if there is any indication of how things may stack up. Birdman led with four nominations, including Outstanding Performance by a Cast. Boyhood, Theory of Everything, and Foxcatcher’s actors all got recognition as well.

If the Hollywood Foreign Press focuses on performances, the SAG nominations will be a useful road map. Inherent Vice, American Sniper, and A Most Violent Year are noticeably absent. At any rate we’re excited Jake Gyllenhaal is getting more traction for Nightcrawler, and Rosamund Pike for Gone Girl. Not to mention a big fat huzzah to J.K. Simmons for his role in Whiplash! We do have to wonder if Meryl Streep’s Supporting Actor nomination for Into the Woods has something to do with some secret rule that Meryl Streep must be nominated for something in any given year. Not that we’re sure she’s not wonderful, but seeing her name on these things is as commonplace as punctuation. Also a strange addition to that category is Naomi Watts for her role as a Russian stripper named Daka in St. Vincent alongside Bill Murray. Considering how cookie-cutter her ditzy stripper was, not to mention how distracting her accent was, this is incredibly surprising. Especially with Laura Dern’s amazing performance in Wild and Rene Russo’s turn in Nightcrawler being considerably stronger nomination options. Seriously SAG?

Anyway, look for Way Too Indie’s Best Performances list Monday, Dec. 15 to see our own picks for who wowed us this year.

The SAG Awards will air Sunday, January 25on TNT and TBS, live from the Shrine Auditorium in LA. See here for a more detailed list, along with television award nominations.

Here’s the film-related nominations list:

21st Annual Screen Actors Guild Awards Nominations

THEATRICAL MOTION PICTURES

Outstanding Performance by a Male Actor in a Leading Role
STEVE CARELL / John du Pont – FOXCATCHER
BENEDICT CUMBERBATCH / Alan Turing – THE IMITATION GAME
JAKE GYLLENHAAL / Louis Bloom – NIGHTCRAWLER
MICHAEL KEATON / Riggan – BIRDMAN
EDDIE REDMAYNE / Stephen Hawking – THE THEORY OF EVERYTHING

Outstanding Performance by a Female Actor in a Leading Role
JENNIFER ANISTON / Claire Bennett – CAKE
FELICITY JONES / Jane Hawking – THE THEORY OF EVERYTHING
JULIANNE MOORE / Alice Howland-Jones – STILL ALICE
ROSAMUND PIKE / Amy Dunne – GONE GIRL
REESE WITHERSPOON / Cheryl Strayed – WILD

Outstanding Performance by a Male Actor in a Supporting Role
ROBERT DUVALL / Joseph Palmer – THE JUDGE
ETHAN HAWKE / Mason, Sr. – BOYHOOD
EDWARD NORTON / Mike – BIRDMAN
MARK RUFFALO / Dave Schultz – FOXCATCHER
J.K. SIMMONS / Fletcher – WHIPLASH

Outstanding Performance by a Female Actor in a Supporting Role
PATRICIA ARQUETTE / Olivia – BOYHOOD
KEIRA KNIGHTLEY / Joan Clarke – THE IMITATION GAME
EMMA STONE / Sam – BIRDMAN
MERYL STREEP / The Witch – INTO THE WOODS
NAOMI WATTS / Daka – ST. VINCENT

Outstanding Performance by a Cast in a Motion Picture
BIRDMAN
BOYHOOD 
THE GRAND BUDAPEST HOTEL 
THE IMITATION GAME 
THE THEORY OF EVERYTHING

LIFE ACHIEVEMENT AWARD

Screen Actors Guild 51st Annual Life Achievement Award
DEBBIE REYNOLDS

Tonight, plenty of big names and stars in independent film gathered together for the Gotham Independent Film Awards in New York. Earlier today everyone was talking about the New York Film Critics Circle winners, but tonight was one of the first “true” award shows of Oscar season (sorry Hollywood Film Awards, you don’t count). And like the Independent Spirit Awards, Gotham spreads the love to the year’s best independent films. All in all, it was a nice way to sit back and see some genuinely great talent get rewarded.

Boyhood surprisingly lost the night’s main award, losing Best Picture to Birdman. Comparing the two films, Boyhood seems like the easier bet for an indie-based award show like this, but the award jury (including the likes of Jon Hamm and Jane Fonda) preferred Alejandro González Iñárritu’s visually crazy satire. We raved about the film back when it closed the New York Film Festival, so it’s sure to earn plenty of other trophies for its mantle in the coming months.

There were unsurprising wins, though: Best Documentary went to Citizenfour, Michael Keaton won Best Actor for Birdman (he’s already trying out material for if he wins the Oscar, based on his speech), and Julianne Moore won Best Actress for Still Alice. They’re all the current frontrunners in their respective categories, so it didn’t come as a shock to see them end up winning.

One of the night’s more pleasant surprises came when Ana Lily Amirpour, director of our Must See Indie pick A Girl Walks Home Alone at Night, won the Bingham Ray Breakthrough Director Award. It’s one of the year’s most accomplished debut features, and the fact alone that it beat out Dan Gilroy’s Nightcrawler says quite a lot. Also great: Tessa Thompson winning Breakthrough Performance for Dear White People, beating out Ellar Coltrane in Boyhood. Thompson was the best part of Dear White People by far, so it’s a deserved win.

Special awards were given to Steve Carrell, Channing Tatum and Mark Ruffalo for their work in Foxcatcher, as well as Tilda Swinton, Foxcatcher director Bennett Miller and Netflix CEO Ted Sarandos. Read the full list of winners below, and let us know what you think deserved to win or got robbed.

Gotham Independent Film Awards Winners

Best Feature: Birdman or (The Unexpected Virtue of Ignorance)
Best Actress: Julianne Moore in Still Alice
Best Actor: Michael Keaton in Birdman or (The Unexpected Virtue of Ignorance)
Best Documentary: Citizenfour
Breakthrough Actor: Tessa Thompson in Dear White People
Bingham Ray Breakthrough Director Award: Ana Lily Amirpour for A Girl Walks Home Alone at Night
Gotham Independent Film Audience Award: Boyhood

December hasn’t even started yet, and the lists are already starting to come out. Sight & Sound just put out their list of the year’s best films, and it’s quite the mix between awards fare and more out there material. Now you may be asking yourself, “Why are we talking about this list?” Well it’s because Sight & Sound, run by the BFI, is one of the most respected film publications in the world. They’re also responsible for the survey on the greatest films ever made that gets updated once a decade, the gold standard when it comes to all-time lists.

So what’s on this list? First off, it’s based on UK release, so some films like Wolf of Wall Street and The Wind Rises are on the list despite coming out last year in the US. Putting those aside, the top of the list doesn’t come as a surprise with Richard Linklater’s Boyhood at number one. Seeing the number 1 next to Boyhood is going to be a sight we all have to get used to by the end of the year (not that anyone’s complaining, though). After that it’s a range of titles from the more mainstream (The Grand Budapest Hotel, Ida, Mr. Turner, Birdman) to the extreme arthouse picks (Jauja, Horse Money, Goodbye to Language). In other words, watching these movies will give you a fair share of the accessible and inaccessible in 2014.

Read the list below, check out our reviews for some of the films by clicking on them, and take a peek over at the Sight & Sound website for more information on the list. And be sure to check out all of Way Too Indie’s year-end coverage coming up throughout December, when we reveal our list of the best films of 2014 at a more reasonable date than the end of November.

Sight & Sound’s Best Films of 2014

1. Boyhood
2. Goodbye to Language 3D
3. (tie) Leviathan
3. (tie) Horse Money
5. Under the Skin
6. The Grand Budapest Hotel
7. Winter Sleep
8. (tie) The Tribe
8. (tie) Ida
8. (tie) Jauja
11. (tie) Mr. Turner
11. (tie) National Gallery
11. (tie) The Wolf of Wall Street
11. (tie) Whiplash
15. The Duke of Burgundy
16. (tie) Birdman
16. (tie) Two Days, One Night
18. (tie) Citizenfour
18. (tie) The Look of Silence
18. (tie) The Wind Rises

It’s starting to feel like Christmas already as the nominations for our favorite awards show, the Film Independent Spirit Awards, were announced moments ago. Leading the pack with a total of six nominations was Alejandro G. Iñárritu‘s Birdman or (The Unexpected Virtue of Ignorance) grabbing nods for Best Feature, Best Director, Best Editing, and three acting categories. Not far behind it was Richard Linklater‘s masterful Boyhood which received a total of five nominations in major categories. Also landing five nominations were Dan Gilroy’s Nightcrawler, and Ava DuVernay’s Selma.

Perhaps the biggest surprise was the absence of Jean-Marc Vallée’s Dallas Buyer’s Club follow-up Wild, since a lot of people have been talking about Reese Witherspoon’s performance in it. However, the biggest snub this year belongs to The Overnighters for not getting a nod for Best Documentary, as this indie doc is getting some serious Oscar buzz. Also, I had to do a double take when seeing André Benjamin’s name under the Best Actor category, which seems a little out of left-field but also edged out Ellar Coltrane for Boyhood and Oscar Isaac for A Most Violent Year.

Here at Way Too Indie, we were especially happy to see nominations for some smaller films such as A Girl Walks Home Alone at Night (which picked up 3 noms and landed on our Must See Indie list), The One I Love, and It Felt Like Love. The 2015 Independent Spirit Awards will broadcast live (new this year) on IFC at 2:00/5:00pm PT/ET on Saturday, February 21, 2015.

Watch For: Our Spirit Award predictions coming soon.

2015 Independent Spirit Award Nominations:

Birdman
Boyhood
Love is Strange
Selma
Whiplash

Damien Chazelle – Whiplash
Ava DuVernay – Selma
Alejandro G. Iñárritu – Birdman
Richard Linklater – Boyhood
David Zellner – Kumiko, The Treasure Hunter

Scott Alexander & Larry Karaszewski – Big Eyes
J.C. Chandor – A Most Violent Year
Dan Gilroy – Nightcrawler
Jim Jarmusch – Only Lovers Left Alive
Ira Sachs & Mauricio Zacharias – Love is Strange

A Girl Walks Home Alone at Night
Dear White People
Nightcrawler
Obvious Child
She’s Lost Control

Desiree Akhavan – Appropriate Behavior
Sara Colangelo – Little Accidents
Justin Lader – The One I Love
Anja Marquardt – She’s Lost Control
Justin Simien – Dear White People

André Benjamin – Jimi: All Is By My Side
Jake Gyllenhaal – Nightcrawler
Michael Keaton – Birdman
John Lithgow – Love is Strange
David Oyelowo – Selma

Marion Cotillard – The Immigrant
Rinko Kikuchi – Kumiko, The Treasure Hunter
Julianne Moore – Still Alice
Jenny Slate – Obvious Child
Tilda Swinton – Only Lovers Left Alive

Riz Ahmed – Nightcrawler
Ethan Hawke – Boyhood
Alfred Molina – Love is Strange
Edward Norton – Birdman
J.K. Simmons – Whiplash

Patricia Arquette – Boyhood
Jessica Chastain – A Most Violent Year
Carmen Ejogo – Selma
Andrea Suarez Paz – Stand Clear of the Closing Doors
Emma Stone – Birdman

Darius Khondji – The Immigrant
Emmanuel Lubezki – Birdman
Sean Porter – It Felt Like Love
Lyle Vincent – A Girl Walks Home Alone at Night
Bradford Young – Selma

Sandra Adair – Boyhood
Tom Cross – Whiplash
John Gilroy – Nightcrawler
Ron Patane – A Most Violent Year
Adam Wingard – The Guest

Force Majeure (Sweden)
Ida (Poland)
Leviathan (Russia)
Mommy (Cananda)
Norte, the End of History (Philippines)
Under the Skin (United Kingdom)

20,000 Days on Earth
CITIZENFOUR
Stray Dog
The Salt of the Earth
Virunga

Blue Ruin – Jeremy Saulnier
It Felt Like Love – Eliza Hittman
Land Ho! – Aaron Katz & Martha Stephens
Man From Reno – Dave Boyle
Test – Chris Mason Johnson

Foxcatcher

Inherent Vice
Director: Paul Thomas Anderson
Casting Director: Cassandra Kulukundis
Ensemble Cast: Josh Brolin, Martin Donovan, Jena Malone, Joanna Newsom, Joaquin Phoenix, Eric Roberts, Maya Rudolph, Martin Short Serena Scott Thomas, Benicio Del Toro, Katherine Waterston, Michael Kenneth Williams, Owen Wilson, Reese Witherspoon

Chad Burris
Elisabeth Holm
Chris Ohlson

Amanda Rose Wilder – Approaching the Elephant
Darius Clark Monroe – Evolution of a Criminal
Dan Krauss – The Kill Team
Sara Dosa – The Last Season

Ana Lily Amirpour – A Girl Walks Home Alone at Night
Rania Attieh & Daniel Garcia – H.
Chris Eska – The Retrieval

As more audiences get to experience the bold technical achievements of Alejandro G. Iñárritu’s latest endeavor Birdman (read our review), a Vimeo user name Gwen Stacy has released some intriguing behind-the-scenes footage of the film’s cast and crew assembling their new film. The footage, which includes actors Michael Keaton, Zach Galifianakis, Amy Ryan, and Edward Norton as well as Iñárritu & the film’s cinematographer Emmanuel Lubezki, gives viewers an interesting glimpse at the production process on Birdman both in rehearsal and in production.

Aside from the chance to witness the much-discussed steadicam long shots in action, much of this footage includes Iñárritu mapping out shots with the Oscar-winning Lubezki, including a section on the street where the movie’s dynamic Birdman action sequence (from the trailers) takes place. Watch the clip below for Michael Keaton trying on the Birdman suit, Lubezki using an iPhone to shoot a moment from early in the film, and two Mexican filmmakers speaking excitedly in accented English.

You might be thinking “Already?!” but yes, award season is already starting. Today, New York’s Gotham Independent Film Awards put out their nominees, a list filled with pleasant surprises and some very obvious choices.

Let’s start with the obvious choice: Boyhood. Any indie award would be insane to deny Richard Linklater’s film, possibly the indie event of the year, some love, so Gotham understandably gave it four nominations: Best Picture, Best Actor (Ethan Hawke), Best Actress (Patricia Arquette) and Breakthrough Actor (Ellar Coltrane). Also unsurprising is Birdman nabbing three nominations for Best Picture and Best Actor (Michael Keaton). Expect to hear even more about Birdman in the months to come.

Because the Gotham Awards are about independent film, that gives some great underrated films and performances the chance for some exposure through a nomination. The biggest surprise might be Under the Skin and Scarlett Johansson scoring nominations for Best Picture and Actress. It’ll be unlikely for Jonathan Glazer’s strange sci-fi to get much love outside of critics’ circles this year, so nominations like these are nice to see. Another great choice by Gotham: Giving Ira Sachs’ wonderful Love is Strange a Best Picture nomination. Sachs’ film, a quietly heartbreaking drama, seems bound to get left out this year once the awards race kicks into high gear (if Best Actor weren’t so competitive this year, John Lithgow and Alfred Molina would have been locks). Any recognition for Love is Strange is a huge plus.

Read on below for the full list of nominees, including the nominees for Breakthrough Director and Actor. For those more interested in the bigger awards, take note of Oscar Isaac’s nomination for A Most Violent Year. The film hasn’t come out yet (it opens AFI Fest next month), so this nomination might be a hint of another shake-up in the coming weeks. And if anyone’s wondering where current Best Actor frontrunner Steve Carrell is, Gotham decided to give Carrell and co-stars Channing Tatum and Mark Ruffalo a special award for their ensemble performances in Foxcatcher.

The Gotham Independent Film Awards will hold their awards ceremony on December 1st.

Best Feature

Birdman or (The Unexpected Virtue of Ignorance)
Boyhood
The Grand Budapest Hotel
Love Is Strange
Under the Skin

Best Actor

Bill Hader in The Skeleton Twins
Ethan Hawke in Boyhood
Oscar Isaac in A Most Violent Year
Michael Keaton in Birdman or (The Unexpected Virtue of Ignorance)
Miles Teller in Whiplash (Sony Pictures Classics)

Best Actress

Patricia Arquette in Boyhood
Gugu Mbatha-Raw in Beyond the Lights
Julianne Moore in Still Alice
Scarlett Johansson in Under the Skin
Mia Wasikowska in Tracks

Best Documentary

Actress
CITIZENFOUR
Life Itself
Manakamana
Point and Shoot

Breakthrough Actor

Riz Ahmed in Nightcrawler
Macon Blair in Blue Ruin
Ellar Coltrane in Boyhood
Joey King in Wish I Was Here
Jenny Slate in Obvious Child
Tessa Thompson in Dear White People

Bingham Ray Breakthrough Director Award

Ana Lily Amirpour for A Girl Walks Home Alone at Night
James Ward Byrkit for Coherence
Dan Gilroy for Nightcrawler
Eliza Hittman for It Felt Like Love
Justin Simien for Dear White People

Overflowing with vividly imagined set pieces, Birdman (or the Unexpected Virtue of Ignorance) is a frenetic, beautiful movie with a compelling story at its center. The movie opens on Michael Keaton’s Riggan Thomson levitating in his dressing room, in one of the movie’s several implementations of magical realism. “How did we end up here?” growls his internal monologue. “You were a movie star, remember?” Throughout Birdman the voice in Riggan’s head returns with self-aggrandizing statements that nag at Riggan’s outer self-awareness. He’s an actor who’s been humbled by his years out of the spotlight. Like Keaton in real life, Riggan was the star of a popular superhero film franchise, the titular “Birdman,” however, in the film Birdman Riggan is staging a Broadway play in which he’s writing, directing and starring, hoping to reclaim some long-lost glory.

Shot in gorgeous long-takes by director Alejandro G. Iñárritu (who’s dropped the “Gonzales” on this film) and cinematographer Emmanuel Lubezki (Children of Men, Gravity), Birdman uses clever staging and editing tricks to make 98% of the film look as if it’s one long steadicam shot. Actors dip and dive into and out of the camera’s way while it makes 360-degree turns around the room. New characters will step into a scene then walk to the next scene through the busy backstage Broadway hallways while the camera hangs just behind their heads. Riggan walks with Edward Norton’s Mike Shiner, and the all-drums score becomes momentarily diegetic as Riggan flips a quarter to a drummer on the street. The whole endeavor becomes chaotic but completely enchanting, rarely allowing for a moment of rest.

Birdman relies on the flexible performance from Michael Keaton. With his character’s life thrown into straitened circumstances, his underlying egotism won’t let him fully accept his situation. In moments of rage, Riggan utilizes telepathy to toss items across his dressing room, fueled by his damaged self-image. These abstractions serve to symbolically elevate many scenes, and contained within Lubezki’s no-cut shots they come as delightful surprises during the film. But even in these instances, Keaton keeps the performance grounded in reality. He embodies the film’s bipolar tendencies, smoothly turning from somber confessions to searing punch lines.

Throughout the movie, Birdman takes aim at the complexities of the human ego. Feelings of grandeur, and the innate resentment we feel when things don’t go our way, are picked apart, revealed by the intrinsic pettiness of those thoughts. The movie is also a satirically dark look at the strangeness of celebrity. Actors who confuse admiration with love, who struggle with personal fulfillment because they’re too preoccupied with their careers, and the many arms of the entertainment industry, including producers, critics, and audiences, that hoist these movie stars onto an imagined podium. The film’s more meta-commentary adds a layer on already funny jokes, and while some of what Birdman’s referencing might skew too niche for many, most audiences will get a laugh from Zach Galifianakis’ mispronunciation of Martin “Scorsees”.

While the stylistic touches could be mislabeled as “gimmickry,” the uniqueness of Birdman’s ambition and the spectacular heights it’s able to achieve as a result of its approach justifies Iñárritu’s bold experiment. The amalgam of these effects is exhilarating, both commendably heartfelt and genuinely hysterical. Birdman is easily the least despondent movie in Inarritu’s filmography. In finding a glimmer of optimism, the Mexican director has crafted a bizarrely stunning, wildly joyful film that both celebrates and eviscerates its own medium.

If the multitude of pre-release clips and teaser trailers hasn’t done enough to quell your anticipation for this weekend’s rollout of Birdman in NYC and LA, the Milan Records SoundCloud page has something you might need to hear. Jazz drummer Antonio Sanchez put together an all-drum score that crashes and bangs in the background of Birdman‘s chaotic scenes, and now you can hear two snippets from that drum score online and embedded below.

Birdman, which had its World Premiere at the Venice Film Festival before making it’s debut as the Closing Night Film of the New York Film Festival, tells the story of Riggan Thomson, once famous for the popular superhero character “Birdman,” now attempting to reclaim his past glory on the Broadway stage. Starring Michael Keaton, Emma Stone, Edward Norton, Naomi Watts, Amy Ryan, Andrea Riseborough, and Zach Galifianakis, Birdman is the 5th feature film from director Alejandro González Iñárritu and is expected to make a splash during the upcoming awards season.

We may seem like reclusive budget-shirking obscure film enthusiasts over here at Way Too Indie, and well, some of us are, but we’re not living in any dark holes and far be it from of us to say that a film that had a little money behind it isn’t worth our notice. So here we are, covering our bases.

Mmm. Can you smell the PSL’s and the pumpkin candles? Taste the candy corn? Hear the sound of crunching leaves? See the tearstained faces of movie-goers?

It’s FALL! Bring. On. The. Drama.

You’ve probably already seen the excessive amounts of festival coverage we’ve been doing (No? Oh, here you go: TIFF, NYFF, and MVFF coming at you!) to ensure you know which fall films you MUST see. October is when we jump into film festivals and award-contenders, but the fun side of October is that some of that drama revolves around a few frights.

As far as screams go, we’re looking forward to squirming through a couple anticipated horror films, namely Annabelle (because the first ten minutes of last year’s The Conjuring were absolutely petrifying, and clearly deserving of a spinoff), Stonehearst Asylum (Ben Kingsley AND Michael Caine in a turn of the century insane asylum), and a film we’ve been quite curious about since Comic-Con, Horns (Daniel Radcliffe as the devil incarnate solving his girlfriend’s murder, um yes).

As far as drama goes, this Friday’s release of Gone Girl (our most anticipated film of the fall) has us beyond excited to be tantalized and tortured by the sort of thrilling film only David Fincher can produce. Robert Downey Jr.’s The Judge was buzzed about aplenty at TIFF and we’re excited to see him back in a roll that doesn’t include an iron suit. Whiplash already has our approval, so we say get out there and see it! As does Dear White People, which is a thought-provoking yet bitingly hilarious ensemble satire about race-relations on a fictional college campus. Mid-month you can stay on top of your must-see films by going out to see Birdman, which we’ve been pretty much drooling over since we saw the trailer.

With so much good stuff, we imagine choosing which films to see this month will be difficult, but don’t worry there’s not much you can choose wrong. Unless you choose Left Behind, the Nic Cage helmed remake of the Christian novel. That one we may not be able to give our stamp of approval. Watch at your own risk.

Sweater up, turn on the hot cider, and enjoy October!

October Preview

The Week of September 28

Men, Women, & Children, Annabelle, Gone Girl, The Good Lie, Left Behind, A Good Marriage, Drive Hard, The Hero of Color City

The Week of October 5

 Addicted, Dracula Untold, Alexander & the Terrible, Horrible, No Good, Very Bad Day, The Judge, One Chance, Kill the Messenger, Automata, I Am Ali, Whiplash, The Overnighters, Catch Hell

The Week of October 12

Fury, The Book of Life, The Tale of the Princess Kaguya, Dear White People, Birdman, Camp X-Ray, Young Ones, Felony, Rudderless, The Culture High

The Week of October 19

Ouija, John Wick, Stonehearst Asylum, Reach Me, Exists, White Bird in a Blizzard, St. Vincent 

The Week of October 26

 Nightcrawler, Before I Go to Sleep, Hit By Lightning, Horns, ABC’s of Death 2

September Box Office Domestic Grosses

1. The Maze Runner (Fox) – $58,923,753
2. No Good Deed (Screen Gems) – $46,817,985
3. The Equalizer (Sony) – $37, 108,173
4. Dolphin Tale 2 (WB) – $33,834,383
5. This is Where I Leave You (WB) – $23,016,446

Year-To-Date Box Office Domestic Grosses

1. Guardians of the Galaxy (Buena Vista) – $319,453,527
2. Captain America: The Winter Soldier (Buena Vista) – $259,766,572
3. The LEGO Movie (WB) – $257,760,692
4. Transformers: Age of Extinction (Paramount) – $245,376,378
5. Maleficent (Buena Vista) – $240,366,802

Consistently bringing in a wide array of compelling new films from unique voices of cinema, the 23rd Philadelphia Film Festival announced its packed new lineup and schedule yesterday. Bookended by beloved movie stars delivering awards-worthy performances, the festival opens with Alejandro G. Iñárritu’s vividly imagined Birdman on Thursday, October 16th and closes with Jean-Marc Vallée’s heart-wrenching Wild. Through 11 days, the Philadephia Film Festival will locally premiere more than 100 features and shorts from 28 countries.

“I think we’re really on the verge of some big years for cinema,” begins the festival’s Artistic Director Michael Lerman. “This festival will showcase the first steps in these innovative new directors.”

Beyond the buzzed about Centerpiece screenings (which includes The Good Lie, St. Vincent, Laggies, and the Toronto International Film Festival Audience Award winner The Imitation Game), Philly’s screenings includes programs like “Greater Filmadelphia” (with work from Philadelphia’s home grown talent), “Masters of Cinema” (movies from world-renowned filmmakers), and “The Graveyard Shift” (horror, action, and anything weird), providing a variety of options for audiences of all tastes.

The Philadelphia Film Festival’s “PFF On Us” program continues in 2014 with free tickets available for all the films featured in the “American Independents” and “Documentary Showcase” film categories. These selections include I Am Big Bird: The Carroll Spinney Story, Glass Chin, Kumiko the Treasure Hunter & Point and Shoot.

Tickets to these free screenings and more information about the 23rd annual Philadelphia Film Festival is available at the Philadelphia Film Society’s website: filmadelphia.org.

2014 Philadelphia Film Festival Full lineup

Opening Night Film
Birdman or (The Unexpected Virtue of Ignorance), Director Alejandro González Iñárritu, USA

Closing Night Film
Wild, Director Jean-Marc Vallée, USA

Centerpiece Screenings
The Good Lie, Director Philippe Falardeau, USA.
The Imitation Game, Director Morten Tyldum, USA, UK
Laggies, Director Lynn Shelton, USA
St. Vincent, Director Theodore Melfi, USA

American Independents
Presented by the Lincoln Motor Company: Featuring powerful new voices in American cinema, these fresh, gritty films explore a variety of subjects through the filmmaker’s uncompromising vision. All films in this series are a part of the “PFF On Us” free ticketing program.

Big Significant Things, Director Bryan Reisberg. 2014, USA
Glass Chin, DirectorNoah Buschel, USA
Imperial Dreams, Director Malik Vitthal, USA
Kumiko, the Treasure Hunter, Director David Zellner, USA
Man From Reno, Director Dave Boyle, USA, Japan
The Mirage, Director Kyle Roper, USA
Wild Canaries, Director Lawrence, Michael Levine, USA

Cinema Down
From the land that brought us Mad Max, Moulin Rouge! and Driving Miss Daisy comes brave new work from veteran and budding Australian voices alike

52 Tuesdays, Director Sophie Hyde, Australia
Charlie’s Country, Director Rolf de Heer, Australia
The Infinite Man, Director Hugh Sullivan, Australia
The Mule, Director Angus Sampson, Tony Mahony, Australia

Documentary Showcase
Presented by 500 Walnut: Comprising the best in documentary filmmaking, these compelling films feature everything from stirring character studies to fascinating looks at current global issues.

Art and Craft, Director Sam Cullman, Jennifer Grausman, co-directed by Mark Becker, USA
Ballet 422, Director Jody Lee Lipes, USA
The Great Invisible, Director Margaret Brown, USA
I Am Big Bird: The Carroll Spinney Story, Director Chad Walker, Dave LaMattina, USA
The Immortalists, Director David Alvarado, Jason Sussberg, USA
Mudbloods, Director Farzad Sangari, USA
The Overnighters, Director Jesse Moss, USA
Point and Shoot, Director Marshall Curry, USA
This Time Next Year, Director Jeff Reichert, Farihah Zaman, USA

From the Vaults
Film history comes alive as it was meant to be seen – on the big screen. Come see old favorites bigger than life once again

Blue Velvet, Director David Lynch, USA
Capote, Director Bennett Miller, USA
Mulholland Drive, Director David Lynch, USA
The Straight Story, Director David Lynch, USA
To Have and Have Not, Director Howard Hawks, USA
Wild at Heart, Director David Lynch, USA

The Graveyard Shift
Horror, action, suspense, and the downright weird, these films will keep you awake during the graveyard shift.

A Hard Day, Director Seong-hun Kim, South Korea
Housebound, Director Gerard Johnstone, New Zealand
In Order of Disappearance, Director Hans Petter Moland, Norway
It Follows, Director David Robert Mitchell, USA
Revenge of the Green Dragons, Director Andrew Lau, Andrew Loo, USA
V/H/S: Viral, Director Marcel Sarmiento, Nacho Vigalondo, Justin Benson, Aaron Moorhead, Gregg Bishop, USA, Spain

Greater Filmadelphia
Presented by Philadelphia Gas Works: Featuring work from some of our finest homegrown filmmakers, this category brings our city and its talent to the big screen.

Crescendo! The Power of Music, Director Jamie Bernstein, USA
Happy Valley, Director Amir Bar-Lev, USA
Listen Up Philip, Director Alex Ross Perry, USA
Love and Terror on the Howling Plains of Nowhere, Director Dave Jannetta, USA
Teacher of the Year, Director Jason Strouse, USA
Tomorrow We Disappear, Director Jimmy Goldblum, Adam Weber, USA

Masters of Cinema
Presented by Comcast: These new films exemplify the masterful work of world-renowned filmmakers as they continue to thrill and inspire audiences with cutting-edge features.

Clouds of Sils Maria, Director Olivier Assayas, France, USA
Goodbye to Language 3D, Director Jean-Luc Godard, France
Mommy, Director Xavier Dolan, Canada
Two Days, One Night, Director Luc Dardenne, Jean-Pierre Dardenne, Belgium, France
Winter Sleep, Director Nuri Bilge Ceylan, Turkey, France, Germany

New French Films
The birthplace of cinema, France continues to produce some of the best movies in the world with films that are funny, daring, sexy and uniquely French.

Breathe, Director Mélanie Laurent, France
Girlhood, Director Céline Sciamma, France
Hippocrates, Director Thomas Lilti, France
Love at First Fight, Director Thomas Cailley, France
This Is My Land, Director Tamara Erde, France

Sight and Soundtrack
Presented by Sweat Fitness: Featuring rockumentaries, musician biopics and films that are centered on the unifying power of music.

Beyond the Lights, Director Gina Prince-Bythewood, USA
Deep City: The Birth of the Miami Sound, Director Dennis Scholl, Marlon Johnson, Chad Tingle, USA
The Last Five Years, Director Richard LaGravenese, USA
Someone You Love, Director Pernille Fischer Christensen, Denmark, Sweden
Song One, Director Kate Barker-Froyland, USA
Traitors, Director Sean Gullette, Morocco
Tu Dors Nicole, Director Stéphane Lafleur, Canada

Spanish Language Stories
Presented by Southwest Airlines: Offering gripping stories and unique perspectives, these Spanish-language films explore a multitude of subjects ranging from the culturally specific to the universal.

10,000 Km, Director Carlos Marques-Marcet, Spain, USA
Güeros, Director Alonso Ruizpalacios, Mexico
Los Ángeles, Director Damian John Harper, Mexico, Germany
Manos Sucias, Director Josef Wladyka, USA, Colombia

Spotlights
Presented by Philadelphia Magazine: Highly-anticipated movies from some of the biggest names in the industry, these films shine a spotlight on top talent from around the world.

Big Hero 6, Director Don Hall, Chris Williams, USA
Creep, Director Patrick Brice, USA
Escobar: Paradise Lost, Director Andrea Di Stefano, France, Spain, Belgium
Faults, Director Riley Stearns, USA
Gabriel, Director Lou Howe, USA
Life Partners, Director Susanna Fogel, USA
Love, Rosie, Director Christian Ditter, UK, Germany

World Narratives
Presented by 6ABC: Explore the world through film with this diverse selection of international cinema that features distinct perspectives and images from around the globe.

Beloved Sisters, Director Dominik Graf, Germany, Austria
Cracks in Concrete, Director Umut Dağ, Austria
The Duke of Burgundy, Director Peter Strickland, UK
Force Majeure, Director Ruben Östlund, Sweden
Gett, the Trial of Viviane Amsalem, Director Ronit Elkabetz, Shlomi, Elkabetz, Israel, France, Germany
Human Capital, Director Paolo Virzì, Italy
Run, Director Philippe Lacôte, Ivory Coast, France
Stations of the Cross, Director Dietrich Brüggemann, Germany, France
The Tale of Princess Kaguya, Director Isao Takahata, Japan
Titli, Director Kanu Behl, India
The Tribe, Director Myroslav Slaboshpytskiy, Ukraine
Villa Touma, Director Suha Arraf, Palestine
The Way He Looks, Director Daniel Ribeiro, Brazil
When Animals Dream, Director Jonas Alexander Arnby, Denmark
Xenia, Director Panos H. Koutras, Greece, France, Belgium

Short Films
12 Years of DFA: Too Old To Be New, Too New To Be Classic, Director Max Joseph, USA
130919 * A Portrait of Marina Abramović, Director Matthu Placek, USA
8 Bullets, Director Frank Ternier, France
After School, Director Guillaume Renusson, France
Astigmatismo, Director Nicolai Troshinsky, Spain
The Chaperone, Director Fraser Munden, Neil Rathbone, Canada
Chevette 83, Director Luis Oliva, Canada
The Cut, Director Geneviève Dulude-De Celles, Canada
High Ground, Director Geoff Bailey, USA
Inside the Mind of Colin Furze, Director David Beazley, UK
Marilyn Myller, Director Mikey Please, USA, UK
Me + Her, Director Joseph Oxford, USA
The Obvious Child, Director Stephen Irwin, UK
Port Nasty, Director Rob Zywietz, UK
Tim and Susan Have Matching Handguns, Director Joe Callander, USA
A Town Called Panic: The Christmas Log, Director Stéphane Aubier, Vincent Patar, France, Belgium
The Video Dating Tape of Desmondo Ray, Aged 33 & 3/4, Director Steve Baker, Australia
Watch Out, Director Joshua Stewart, USA
The Way, Director Max Ksjonda, Ukraine
Yearbook, Director Bernardo Britto, USA

With the Oscars looming on the horizon, it’s time for filmmakers, actors, and studios to bring out the big guns and fight to nab one of those wee golden fellows. For cinema-goers, the fall season is the best time of year: With the summer blockbuster melee out of the way, our focus is shifted to the foreign dramas, auteur showcases, and breakout performances that will populate theaters through to the winter. It’s time to get down to the nitty-gritty, and with so many excellent films to look forward to in the next few months, we’ve compiled our list of 20 must-see films of the fall. Some we’ve seen, and some we haven’t, but all in all, this fall season is shaping up to be one to remember.

20 Essential Fall Films

#20 – Force Majeure

Ruben Östlund made a splash at Cannes back in 2011 with Play, a controversial film based on real-life incidents of a group of children elaborately mugging other kids their age. This year, Östlund returned to Cannes with a different kind of film. A family vacationing at a ski resort in the Alps has a close call with an avalanche, and an impulsive fight-or-flight action by the father causes the family unit to break down. Like it or hate it, Play showed that Östlund has remarkable directorial skills, and the praise from Cannes only has us more excited for his follow-up. After a bow at TIFF, Magnolia will release Force Majeure in October. Keep your eyes on this one, as it’s been one of the more buzzed about foreign films this year. [C.J.]

#19 – Tusk

In 2011, when Kevin Smith released his last feature film, Red State, he announced (with his usual long-windedness) that he’d be retiring from film directing after completing one more film. Since then he seems to have calmed down. At Comic-Con Smith did his usual “Evening with Kevin Smith” where he spent a lot of time talking about the new Star Wars film, before revealing the first trailer for his upcoming film Tusk. Based on a conversation Smith had on his podcast discussing a craigslist ad a man posted offering a free place to live to someone willing to dress as a walrus while there, Smith’s always-buzzing brain of course ran free with the very dark way such a scenario could play out. And the trailer indicates the film is just as creepy, dark, and (because it’s Smith) funny as his imagination could make it. Starring Justin Long as a podcast host investigating a reclusive old mariner in Canada, and playing up Smith’s offbeat sense of humor in lieu of Red State’s politically-charged tension, it seems like Smith may finally have found his perfect style of horror. Release date is September 19th, just in time for some pre-Halloween fun. [Ananda]

#18 – The Two Faces of January

A throwback to ‘60s romance thrillers (and appropriately set in the ‘60s itself), Hossein Amini’s The Two Faces of January throws three excellent actors—Viggo Mortensen, Oscar Isaac, and Kirsten Dunst—into a dizzying, dangerous love triangle set in sun-drenched Greece. An adaptation of a Patricia Highsmith novel, the film is rife with deception, jealousy, and murder, a treat for those of us with a taste for such noir-ish goodies. The film has gotten some decent buzz on the festival circuit, though it’ll likelier to please retro lovers than the mainstream masses when it hits in early October. [Bernard]

#17 – The Theory of Everything

I’m pretty much a sucker for anything involving Stephen Hawking. While he is most known for his brilliant advancements in physics, The Theory of Everything appears to center more around his personal life. Before being diagnosed with a fatal illness at 21 years old, he fell in love with his first wife while studying at Cambridge. Dealing with this tragedy, the film aims to be both heartbreaking and inspirational. Based on the trailer and the award season release date of November 7th, it seems that Eddie Redmayne (who plays Hawking) could be in early contention for an Oscar nomination. We hope to catch its premiere at the Toronto International Film Festival, so stay tuned for our coverage. [Dustin]

#16 – The Interview

The Interview received a good amount of unexpected publicity thanks to North Korea’s decision to file a complaint with the United Nations over the movie’s plot; TV personality Dave Skylark (James Franco) and his producer Aaron Rapoport (Seth Rogen) become involved in a secret CIA plot to assassinate North Korean dictator Kim Jong-un (Randall Park). This film, the 2nd from Rogen & his writing partner Evan Goldberg as directors following This Is The End, finds the Pineapple Express duo partying hard, rescuing puppies and manning DPRK tanks. Despite Sony’s decision to digitally alter aspects of the movie and (supposed) cutting of a rumored “face melting” scene, reuniting Rogen with Franco in this premise seems absurdly promising. [Zach]

#15 – Listen Up Philip

Because Alex Ross Perry had already mesmerized us with his previous no-budget film The Color Wheel, his newest film Listen Up Philip has been on our radar since its announcement. Then overwhelmingly positive reviews flew in from its Sundance premiere. Combine all of this with the fact Jason Schwartzman and Elisabeth Moss star in the film and you’ve got our full attention. Schwartzman playing an arrogant novelist seems like a perfect role considering his character from HBO’s Bored to Death. Perry is quickly becoming an independent director to keep an eye on, so mark your calendars for when Listen Up Philip opens in theaters on October 17th—we already have. [Dustin]

#14 – The Skeleton Twins

If someone wanted to convince me to watch Craig Johnson’s The Skeleton Twins and began the sentence with “Bill Hader and Kristen Wiig play twins,” I will most likely tune out anything else after that. Deep down I know my mind would already be made up: there’s no way I’m not watching this movie. Hader and Wiig have both grown out of their SNL multi-personas and transitioned into film; Wiig has been the more successful of the two thanks to Bridesmaids, but Hader’s small charming role in The Disappearance Of Eleanor Rigby hints at his untapped dramatic talent. In any case, The Skeleton Twins looks like a perfect showcase for both actors to show they have what it takes to be both funny and serious. Unveiled at Sundance to very positive response (it’s currently 100% fresh on the Tomatometer) the story deals with the reconnection of twins Milo and Maggie after they both manage to cheat death on the same day. [Nik]

#13 – Big Hero 6

Over the past two decades, Pixar Studios has taken most of the shine away from Disney Animation, and rightfully so. Toy Story is coming up on 20-years-old. Think about that for a second. Disney has had its share of recent hits with Tangled and Frozen, but those are films that aren’t really catered to me. What about a super-hero film about a boy and his robot companion with flavors of Japanese anime? Yeah, that sounds pretty good to me. Big Hero 6 has a lot of potential as a unique entry in the overpopulated super-hero genre. It doesn’t hurt that Baymax looks to be an impossibly cute robot character, on the level of Wall-E and the Iron Giant. I don’t know if the film will be as good as those films, but if it can deliver on the fun premise, it has a chance to be one of the most satisfying films of the year. [Aaron]

#12 – The Overnighters

Earlier this year at Hot Docs I called The Overnighters “a roller coaster” that’s bound to be one of 2014’s best documentaries. My feelings haven’t changed since. Jesse Moss’ remarkable film follows a small town in North Dakota going through an oil boom. As people across the country flock to the town looking for work, a local pastor’s decision to let new arrivals sleep in his church (housing is next to impossible to find) triggers a surprising chain of events. With a narrative so cinematic the doc could easily be adapted into a drama, The Overnighters starts out riveting and never stops. Drafthouse will release the film on October 24th, and don’t be surprised if this one ends up becoming an Oscar nominee. [C.J.]

#11 – White Bird in a Blizzard

This novel adaptation looks to be a stylized coming-of-age story about a teenager (played by Shailene Woodley) whose mother (Eva Green) suddenly disappears one day. The early buzz from its Sundance premiere had people praising Woodley’s brave performance as she swears up a storm and spends a fair amount of time undressed. Perhaps her acting career is evolving from Young Adult hits like Divergent and The Fault in Our Stars to more serious and adult roles. Although Green doesn’t have as much screen time as Woodley because of her character’s mysterious disappearance, it’s been said she makes every minute count. White Bird in a Blizzard will be available on VOD September 25th and in theaters October 24th. [Dustin]

#10 – The Guest

Adam Wingard is proving to be one of the most formidable directors in modern horror, with 2013’s excellent You’re Next infusing the tried-and-true slasher genre with a quirky style that’s both primal and electro-cool. The Guest, his latest offering, again takes an old-school set-up and kicks it in the teeth, straight into the new millennium. Dan Stevens plays a soldier who visits the Peterson family, claiming to have been a close friend of their son, who was killed in action. The family invites him to stay, but as random acts of violence begin to pop up throughout town, young Anna (Maika Monroe) suspects they may stem from their mysterious visitor. I’ve just come from a press screening of the film as I write this, and let me tell you—The Guest is bloody freakin’ brilliant. Go see it when it’s released on September 17th. [Bernard]

#9 – Nightcrawler

Dan Gilroy’s debut feature as a director burst onto the scene with a trailer full of frantic energy. Led by what looks like a batshit performance from Jake Gyllenhaal, he continually reiterates the motto, “If you want to win the lottery, you have to make the money to buy a ticket.” The actor looks increasingly unhinged as freelance crime journalist Lou Bloom, pursuing cop cars and moving bodies to get the perfect crime scene shot before that chill-inducing shot where he screams while grasping at the bathroom mirror. The director, Gilroy, has written several films including Tarsem’s The Fall; however, worthy of note he is the brother of Tony Gilroy (also a producer on Nightcrawler), whose debut as a director (Michael Clayton) became one of the most compelling adult dramas of the last decade. Nightcrawler debuts at TIFF in September before its October 31st U.S. release. [Zach]

#8 – The Disappearance of Eleanor Rigby

Most years when I sit down and think about the best films of the year, there is usually one or two picks near the top of my list that are unquestionably flawed, but incredibly daring in its writing and structure — last year’s The Place Beyond the Pines, for example. I don’t know a lot about The Disappearance of Eleanor Rigby, but the thought of one film basically splitting into two different films from the differing perspectives of a failed relationship has me beyond intrigued. The studios recent decision to theatrically release the film in three different version (labelled Them, Him, and Her) has me wondering if this is going to be cinema gold or a complete train wreck, but it definitely has my attention. [Aaron]

#7 – Stray Dogs

I caught Ming-liang Tsai’s movie at last year’s TIFF, and was floored by its audacious nature and relentless control. It’s a very particular wheelhouse that Tsai’s movies play in, but if it happens to be yours then Stray Dogs will not disappoint. The central narrative storyline deals with a small impoverished family unity (a father and his two children,) as they move around the outskirts of Taipei and try to survive. Those familiar with Tsai’s won’t be surprised to hear about incredibly long takes of actors staring off into oblivion, or a slightly grotesque scene featuring cabbage, but Stray Dogs is nothing if not one of the year’s greatest examples of transcendental and deeply captivating works of cinematic art. The film is finally getting a theatrical release on September 12th courtesy of Cinema Guild. [Nik]

#6 – Foxcatcher

Capote and Moneyball director Bennett Miller returns with what many have described as his passion project, a film about the late John du Pont, whose attempt to support the US wrestling program in spite of declining mental health. The unlikely actor portraying du Pont is comedian Steve Carell in a part tailored for Oscars consideration, flanked by both Channing Tatum and Mark Ruffalo in strong roles. While the film was among our writer Nik’s Cannes disappointments this year, there are many touting not only the highly anticipated performances. After stops at TIFF and NYFF in September and October, Foxcatcher opens everywhere on November 14th. [Zach]

#5 – Dear White People

It’s about time a filmmaker set their sights on race in America, especially with people claiming the country is now living in a “post-racial” society. Justin Simien’s debut feature Dear White People is an ensemble following several black students at an Ivy League school, a premise Simien uses to open up a funny and probing insight into what race and identity means today. Back at the LA Film Festival, our writer Ananda said Dear White People is “sharply written” and “progressive and humorous”, and we can’t wait to see it once it comes out on October 17. [C.J.]

#4 – Whiplash

Whipping up a mighty buzz-storm at Sundance, Damien Chazelle’s drummer drama Whiplash stars Miles Teller as a young percussionist pushed to the breaking point by his vicious drum instructor, played by JK Simmons. Teller has been living up to expectations with each role he tackles, proving to be one of the most promising new faces in movies, and combined with Simmons’ veteran savvy, sparks should fly as their combative mentor-pupil story unfolds. Since Sundance in January, the excitement surrounding the film hasn’t fizzled in the slightest, a strong indicator that we’re in for a treat when it drops in October. [Bernard]

#3 – Interstellar

I’m partly tempted to explain Interstellar’s placement toward the top of our most anticipated Fall films list by simply stating “Because Chris Nolan” and “Because Matthew McConaughey”, but if you need qualifiers, I bet I can think of a few. For starters, the ambiguity surrounding the film for so long indicates (and it would be par for the course with Nolan) that Interstellar might be more than we yet know. The latest trailer gives us plenty to stew over. Dirt storms show a water shortage on Earth and Matthew McConaughey’s character, Cooper, is a father faced with the difficult decision of leaving his children to travel through a wormhole to find a new planet for humans to survive on. Along with fellow spacetraveler, Brand (Anne Hathaway), and a few others, Cooper and the small team travels through some gorgeously crafted foreign galaxies. Further motivation to see the film in IMAX. But knowing Nolan, who loves his late reveals and complicated relationships, we can almost guarantee that Interstellar will, ahem, take us further into space and story than we can even imagine. The film releases on Nov. 7th, which seems like forever. [Ananda]

#2 – Birdman

Despite some slight foreboding after watching the trailer for Birdman, Alejandro González Iñárritu’s new film is still one of my personal must-see films of the year, mainly for two reasons. Firstly, Iñárritu has yet to truly disappoint me (yes, I even liked Babel) and perhaps I’m even more inclined towards his new film because his last one, Biutiful, was so undeservedly neglected by many. Secondly, this is cinematographer Emmanuel Lubezki’s first post-Gravity project to see release and he’s a guy who knows how to make pretty pictures, plus there’s reports of more long take wizardry in Birdman. Add to that the ensemble cast of Emma Stone, Edward Norton, Zach Galifianakis and Naomi Watts all lead by a resurgent Michael Keaton, and there’s really no need to go any further. The film will open the Venice Film festival, play the New York Film Festival, and then unspool for the public on October 17th. [Nik]

#1 – Gone Girl

Top of the list is the latest from a perennial favorite, David Fincher. Not only is he master of the book to film adaptation, but he excels when working with crooked characters. And Gillian Flynn’s bestselling novel Gone Girl is a character-study in marital crookedness. In the film, Ben Affleck plays Nick Dunne, a man whose wife, Amy (Rosamund Pike), goes missing on their 5th wedding anniversary. When her disappearance goes public, Nick finds himself the primary suspect and the most hated man in the country, and as detectives uncover more around the case, Nick begins to question just how well he knew his own wife. I predict the sort of character mastery we’ve seen in House of Cards and Social Network combined with the nerve-fraying plot development of Se7en and The Girl with the Dragon Tattoo. Rumor has it the ending is slightly different than the book, co-written by Flynn and thus having her blessing, so even those of us familiar with the novel should be in for some new twists come October 3 when the film is released. It’s going to be a dark and twisty fall, and we can’t wait. [Ananda]

Summer 2014 is coming to a close, and on episode 2 of The Way Too Indiecast we take a look back at the best and worst movies of the summer as well as look ahead to our most anticipated films of the fall. From indie duds (The Sacrament) to arthouse studs (Boyhood), from mainstream cop-outs (The Expendables 3) to foreign knockouts (Snowpiercer), this summer has given us loads of highs and lows at the movie theater. The upcoming fall schedule boasts a wealth of films to get excited about, including the latest from David Fincher, Christopher Nolan, and Alejandro González Iñárittu. In addition to our summer and fall discussions, Bernard and Ananda go head-to-head in our brand new game, “Synopsis Scramble”.

Topics

• Synopsis Scramble (1:00)
• Best & Worst of Summer 2014 (8:15)
• Fall Preview (27:52)

Please subscribe to our podcast on iTunes and leave us some feedback. Also, don’t hesitate leave us a comment below if we missed a film that should’ve been included!

Ominous, awash in blue, and unexpectedly epic-looking, Alejandro González Iñárritu‘s upcoming Birdman has an heir of something special from the looks of its first trailer. With a star-studded cast lead by Michael Keaton, Birdman follows a washed-up actor (Keaton), known for playing the titular superhero, who launches an attempted career comeback with a Broadway play. From the looks of this trailer Keaton butts heads with his Broadway co-star (played by Edward Norton) and causes a very concerned-looking Zach Galifianakis stress. Emma Stone, Naomi Watts, Andrea Riseborough, and Amy Ryan also star in the film shot by recent Oscar-winner Emmanuel Lubezki, who is responsible for the beautifully orchestrated long-takes on display in the trailer. Lubezki fans will remember his gripping long-take cinematography from 2006’s Children of Men.

Birdman is set for its domestic release on October 17th of this year, watch Michael Keaton walk through Times Square in his tightey whiteys set to a remix of Gnarls Barkley’s “Crazy” in the trailer below:

Watch trailer for Birdman