People love creating mashups of Wes Anderson’s unique style with other famous films. And we love to watch them (see the Star Wars/Wes Anderson mashup). For this mashup, editor Steve Ramsden stitched together Wes Anderson’s The Grand Budapest Hotel with Stanley Kubrick’s masterful horror film The Shining. The end result is quite fantastic. Ramsden was able to play around with some of the aspect ratios of the two films, and apply some hue shifting to match Anderson’s pastel color palette. Utilizing similarly framed shots from both films (watch for the tracking shot of Shelley Duvall walking into a room seamlessly blended with Ralph Fiennes walking through the room), Ramsden imagines The Grand Overlook Hotel—giving The Shining a slightly comedic tone, or The Grand Budapest Hotel a darker touch, depending on how you look at it.

Wes Anderson’s The Shining

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)

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

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.

At today’s British Academy Film Awards there were some expected wins (Boyhood) and some unexpected overhauls (The Grand Budapest Hotel), while one Oscar snub got their comeuppance (The Lego Movie). The Brits gave love to their own by bequeathing a couple of awards on The Theory of Everything, while The Imitation Game went home empty-handed. Stephen Hawking, himself, even made an appearance handing out the award for Visual Effects to a standing ovation.

Nothing too surprising, but a few satisfactory awards to those who will likely not find gold come February 22nd at the Oscars.

BEST FILM

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

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

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

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

DIRECTOR

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

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

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

LEADING ACTRESS

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

SUPPORTING ACTOR

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

SUPPORTING ACTRESS

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

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

CINEMATOGRAPHY

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

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

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

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

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

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

THE EE RISING STAR AWARD

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

After compiling their bestselling “The Wes Anderson Collection” cultural critic Matt Zoller Seitz must have been slightly disappointed to have just barely missed the release of Anderson’s 8th film to include in his book. So he’s giving The Grand Budapest Hotel it’s own book titled “The Wes Anderson Collection: The Grand Budapest Hotel”.

The book, which hit shelves February 10th, includes a series of interviews between Seitz and Anderson discussing his film at length and includes some beautiful pictures and illustrations by Max Dalton. Also included are “personal anecdotes about the making of the film, and the vide variety of sources that inspired him” according to the book’s website where a lovely and very Wes Anderson-esque trailer has been posted regarding the book.

Watch the trailer below and pick up a copy of the book at Abrams.

The Wes Anderson Collection: The Grand Budapest Hotel Trailer

FoxSearchlight has shared a video of Wes Anderson and other cast members of The Grand Budapest Hotel discussing the singular inspirations Anderson culled from when forming his latest film. Nominated for 9 Academy Awards, Anderson discusses especially being inspired by Ernst Lubitsch’s (Shop Around the Corner) hilarious, fast-talking, European comedies.

While The Grand Budapest Hotel’s nominations fall mainly within technical categories along with prestigious Best Picture and Best Director nominations, his cast is strangely not nominated for their work. The way they discuss Anderson throughout the video proves however that as wonderful as the performances of the cast are, their inspired and exceptional leader really is the force behind this fantastic film.

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!

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

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

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

Sometimes a single scene can elevate a good film into a great one. Other times a moment can single-handedly redeem a film, or save it from the brink of disaster. Like last year, 2014 had plenty of terrific scenes and moments out of the many films released over the last twelve months. Before we reveal our big list of 2014’s best films, along with plenty of other year-end goodies, a few of the Way Too Indie staff put together this list of our favorite movie moments of 2014. Whether these scenes made us laugh, cry, creeped us out or got our hearts racing, they’ll certainly stay in our brains long after the year is over.

Warning: Some of these descriptions contain spoilers.

The Babadook – Reading The Book

The best horror film of the year’s scariest scene doesn’t involve a murder, a monster or a bump in the night, but a single mother reading a children’s book to her troubled son. The book that releases Mister Babadook is a brilliant piece of design. Beautifully drawn and written, the book’s pop-ups start out as delightful before becoming more elaborate and psychotic. The further along Amelia and young Samuel get, the nastier it becomes, and the the more it sucks in the viewer. Suddenly, one might realize that this isn’t just a general warning, but a true foreshadowing of events to come. The book’s narrative directly impacts our expectations up until the end, making us truly dread what’s coming. The Babadook has so much more going for it than a typical haunted house horror flick, but this quiet scene is its scary height. [Aaron]

Blue Ruin – In The Trunk

Jeremy Saulnier’s fantastic debut feature, a moody, bluesy, violent deconstruction of the revenge thriller, is at its best when it’s also darkly comedic. No scene mixes the two better than when Dwight has his second of three confrontations with the Cleland family. By this point Dwight is already established as being completely out of his element, but now he’s been introduced to a firearm by a former friend he meets in the previous scene. Once Dwight opens the trunk to come face-to-face with Teddy, it is difficult to predict what exactly will happen, but it certainly won’t be good. Dwight is trying his best to end the blood feud here, not wishing to harm Teddy but nervously willing to use deadly force. Pettiness, or perhaps some effed up fate, won’t let that happen, however, especially after Dwight is tricked and overpowered by his hostage. I won’t spoil what happens next, but the scene ends on a perfect laugh to break this tension – first, horror over the remnants of a violent act, followed by a simple, yet philosophical decree: “That’s what guns do.” [Aaron]

Enemy – Spiders!

Denis Villeneuve’s deliberately confusing Enemy, an adaptation of José Saramago’s novel “The Double,” really loves to throw spider imagery around. The opening scene has a group of men watching a woman crush a spider with her foot. A shot of streetcar cables looks awfully similar to a spider web. And to make matters worse for arachnophobes, the protagonist repeatedly has nightmares involving disturbing, Cronenbergian images of giant spiders terrorizing Toronto. A shot of the Toronto skyline goes from ominous to severely creepy once you notice the massive spider towering over the city’s skyscrapers in the background. An image of a naked woman with a spider’s head comes straight out of a Lynchian nightmare. And oh yeah, that ending. I’m not gonna spoil it (and if you don’t want it spoiled, don’t go sniffing around on Google either). People have already called it one of the scariest endings to a movie, and while I don’t agree with that declaration, I don’t blame anyone for getting freaked out by those final frames. [C.J.]

Force Majeure – The Avalanche & Arguing In Bed

If someone were to explain the plot of Force Majeure outright, they would probably give the wrong impression. A well-to-do family’s vacation in paradise quickly upended by a natural disaster sounds more like The Impossible than its internalized examination of masculinity and familial responsibility. Without nailing the pivotal avalanche scene, there is no film, no matter how great the remainder may be. As the Swedish family enjoy their casual lunch on the side of a mountain, with a view as tasty as the expensive cuisine, someone notices a controlled avalanche building on the slopes in the distance. In the course of only a few minutes, the scene twists and turns as the blinding powder hurdles toward them. Is this truly a controlled blast, or something out of control? We can see the characters working through thoughts from the serene to the horrified, leading to the ultimate actions which set the film’s second and third acts. It perfectly connects with the plot and themes of the entire film, but could stand on its own as a wonderful short film that can adequately hit on these themes all on its own. The avalanche is beautifully shot in a single long take, a perspective allowing the intense background and the entire lunch crowd to be viewed together. Shoot it any other way, and the scene just wouldn’t build as organically as it does. [Aaron]

The avalanche at the crux of Force Majeure does more than test the relationship between the film’s lead couple. Tomas and Ebba’s concerns become the subject of several conversations, including a notable one between themselves and Tom’s full-bearded friend Mats (Kristofer Hivju) and Mats’ 20-year-old date Fanni (Fanni Metelius). At the end of an awkward night together, Mats and Fanni return to their room where the night of bickering has only just begun. Mats attempts to empathize with his friend, but Fanni suggests that, were he to be caught in a similar situation, Mats would have likely ran from the avalanche rather than returned to help his children. What Fanni means as an innocuous observation leads to the couple debating in bed throughout the night. Lying next to one another, Fanni attempts to explain her thinking while Mats continues to assert his masculinity, offended at her insinuation. As the lights keep flicking on and off, with the couple finishing and reopening their argument, the uncomfortable familiarity of getting stuck in an argument headed nowhere creeps in. This scene is one of the most relatable, hilarious moments of the year. [Zachary]

Gone Girl – Consummation

A warning: Readers shouldn’t be reading this if they haven’t seen David Fincher’s Gone Girl. But assuming those of you reading are film lovers who have already seen this fantastic modern satire, please proceed. Amy (Rosamund Pike) emerges halfway into the film as the antithesis to the cool girl, but then finds herself in a bit of a pickle with her ex-stalker Desi (Neil Patrick Harris). How she gets rid of him is one of my favorite moments in 2014. Fincher, working in tandem with regular collaborators Trent Reznor and Atticus Ross (music), Kirk Baxter (editing) and Jeff Cronenweth (cinematography), manages to shine a whole new light on Pike’s multifaceted performance; that of the psychotic, murderous, dangerously intelligent bitch. Luring Desi into the bedroom, Amy’s plan to “cry rape” works perfectly in the film’s highest dramatic moment when she slits Desi’s throat while he’s inside her, the blood spurting all over her body and Desi’s thousand dollar sheets, shown through slow-burning black fades and ominous chords. I’m pretty sure my irises expanded as if I had just been injected by a drug, and as shocking as it was, I couldn’t help but smile and admire all the artistry behind the creation. If I were to anatomize scenes from 2014, this would be the first. [Nik]

The Grand Budapest Hotel – Lobby Boy Interview

There are many, many wonderfully spiffy and affably hilarious moments to choose from in Wes Anderson’s The Grand Budapest Hotel. I equally love loads, but the one I’d like to signal out here is Zero’s (Tony Revolori) interview with M. Gustave (Ralph Fiennes)—centered around the cornerstone of the film’s marketing question, “Why do you want to be a lobby boy?” After shouting out various demands and instructions, Gustave realizes that he has no clue who this little earnest boy following him around is. “You’re now going to be officially interviewed” “Should I go and light the candles first, Sir?” “What? No.” This tit-for-tat between Revolori and Fiennes in the first of their many brilliant exchanges, mostly dominated by Fiennes’ spectacular comic timing. Not only do we get why Zero is called Zero (“Education. Zero”), but this moment also shows how well Anderson balances funny with poignant. When asked about his family and the young boy replies, “…zero,” it’s poignant enough to produce a lump in one’s throat. Anderson does that well throughout The Grand Budapest Hotel, but this early-on interview, which turns out to be the beginning of a wonderful bond between Gustave and Zero, is as good an example as any. [Nik]

Honeymoon – “Take it out”

In a year full of exciting horror debuts, many of which come from first-time female directors, Leigh Janiak’s debut feature Honeymoon has been somewhat overlooked. Perhaps this partially stems from the film’s minimalist approach to the actual scares. The movie largely confines its disturbing imagery and spilt blood to one intense, prolonged scene near the story’s end (Warning: Spoilers ahead). As the newlyweds lose their trust in one another, Paul (Harry Treadaway) decides he’s had enough of Bea’s (Rose Leslie) unexplained weirdness, tying her down to the bed until she reveals what’s really happening. Bea pleads with Paul, thrashes around, and attempts to break free, eventually falling silent instead of saying the words Paul needs to hear. As an audience member, Honeymoon makes you think that Paul has gone crazy as well, but when Bea finally begs for Paul to “take it out,” the real horror emerges. Paul sticks his hand deep inside Bea and pulls out a slimy, alien organ that has burrowed inside her. The “retrieval” is hard to watch, and harder to listen to with disgusting noises and Bea’s pained exhales. It’s a wonderfully gross reveal of what Honeymoon was hiding all along: a body snatching. [Zachary]

Interstellar – Tesseract

The “docking moment,” with its visual effects paired with Hans Zimmer’s ear-melting score halfway through Christopher Nolan’s arresting direction, is considered the ultimate highlight by many Interstellar fans. But, what personally took my breath away at the cinemas, and will end up being very high on my year-end list of awestruck theatre moments, was something that happens towards the end, “the big reveal” as it were. Obviously, if you have managed to still not see Interstellar, definitely stop reading this right now. But, if you have, then this should be familiar. Cooper (Matthew McConaughey) detaches from the main ship as a last attempt to collect the data from the black hole and save the human race. All his prayers made, his death an impending inevitability, he instead surprisingly finds himself in a multi-dimensional, time-warped “tesseract” (a.k.a. that colorful cube thingy) and realizes that he brought about his own future as his daughter Murphy’s (Mackenzie Foy) mysterious “ghost.” This moment of revelation should go down as one of the most unforgettable plot twists of the 21st century. The emotion, McConaughey’s performance, the visual effects, how it ties into the core of what Nolan’s sci-fi is truly about—the word ”awesome” can’t even do it justice. [Nik]

Journey to the West: Conquering the Demons – The Fish Demon

Stephen Chow, the director of Shaolin Soccer and Kung Fu Hustle, knows how to create grand visual comedy, combining lowbrow humour with pure, inventive spectacle. He’s credited as a co-director on Journey to the West: Conquering the Demons, but the opening sequence feels like it could only come directly from his brain. A fish demon terrorizes a small, ramshackle fishing village (think Waterworld), gobbling up anyone foolish enough to get near the water. Amateur demon hunter Xuan decides to take a crack at defeating the evil creature, resulting in one of the year’s best action sequences. The elaborately staged scene, including a bit with giant seesaws that feels straight out of silent-era comedy, shows the immense talent and precision on display, while the use of cheesy CGI and a fat suit as a punchline makes it hard not to burst out laughing at the lunacy on-screen. Journey to the West marks Chow’s first time back in the director’s chair since 2008, and it’s a reminder of how much his zany imagination has been missed. [C.J.]

Leviathan – Appeal Denied

Andrey Zvyagintsev’s Leviathan is a cinematic goliath, and it feels almost wrong to single out just one scene, when part of power the film holds is how gracefully it weaves all of its scenes together into one knockout punch. That said, I want to climb every mountain top and scream the praises of this wondrous film, so I’m grabbing every chance I get to talk about it. A standout scene is Nikolai (Aleskey Serebryakov) visiting the court, after hearing that the Mayor’s (Roman Madyanov) plans of demolishing his house are moving forward, and listening to the judge deny his appeal by reading out a litany of rules and clauses, loopholes upon loopholes which Nikolai gravely realizes he’ll never be able to jump through. The speed at which she spits his virtual sentence out, Serebryakov’s powerhouse subtlety, Zvyagintsev’s choice to slowly track towards her in a shot that is unexpectedly long. It’s but one masterstroke in a film satiated in them, and the first moment that makes one realize how cinematically rich this film is. [Nik]

Nightcrawler – The Car Chase

There have been plenty of car chases in the history of film, so at first glance it might seem unnecessary to single out this one, but the climactic chase in Dan Gilroy’s Nightcrawler is an exception. Why does this one stand out from the rest? Because of Lou Bloom’s (Jake Gyllenhaal) escalating obsession with capturing carnage on film to sell to the news. Bloom becomes more fanatical in his quest to capture great footage at blood-filled crime scenes, even going so far as to move a body so he can get a better angle. In the final act, Bloom deliberately creates a showdown between two dangerous criminals and police, and once the battle starts the film goes full throttle. The energy and intensity of the car chase is a massive expulsion of all the obsession brewing under Bloom’s façade the entire time. People die in the chase because of Bloom’s unsympathetic and greedy decision-making; but what does Louis think? All he cares about is if it looked good on camera. [Blake]

Nymphomaniac: Volume I – Mrs. H

The first part of Lars Von Trier’s epic, explicit saga of Joe, the titular sex addict (played in this scene by Stacy Martin) has plenty of sexual depravity going on, but the film’s knockout sequence doesn’t have anyone baring skin. In a chapter titled “Mrs. H,” one of Joe’s regular flings comes to her place with his bags. He’s left his wife and children, ready to finally come live with Joe. She isn’t actually interested in this man, but that’s the least of her problems. Suddenly the man’s wife (Uma Thurman, who needs to work more with Von Trier) shows up with their kids, letting herself in and unleashing a firestorm of emotions on Joe and her husband. The scene is Von Trier in top form: funny, unbearable, sad, provocative, and riveting all at once. It’s a sequence that lingers all the way through to the next volume, and while the rest of the film offers plenty to like, nothing comes close to matching the power of “Mrs. H.” [C.J.]

Rosewater – First Interrogation

When Maziar Bahari is first taken in by the Iranian government and questioned about his involvement covering the presidential election, it seems like a joke. Certainly, he’s not an American spy as he’s being accused. We’ve seen his incredible attempt at trying to stay unbiased while still being inquisitive. But his accusers are wrapped up in silly questions over his possession of Italian art films and misunderstand his appearance on a satirical political show. Javadi, his interrogator, seems like a brutish buffoon who will easily get his comeuppance. But then Javadi leans into Bahari, lowers his voice and changes his expression. He asks Bahari why he talks about Americans and Iranians as if they are similar. Suddenly, the entire mood of the scene and the film changes from a fish-out-of-water comedy to something much more serious. In a simple character moment, we understand that Javadi isn’t a clown or a buffoon, but a very serious man who is hurt and angered. He’s not just a powerful captor, but a wounded animal who poses a legitimate threat to Bahari’s freedom. There are louder, more dramatic interrogation scenes in Rosewater, but none crystallize the complex political environment as much as this moment. [Aaron]

Snowpiercer – The Classroom

The Snowpiercer classroom scene is a bit like the “Pay no attention to that man behind the curtain,” moment from The Wizard of Oz. It begins the unmasking of the surreal world brought to life by Bong Joon-ho in an abrupt shift of tone. Lead by an absolutely zany performance from Alison Pill, the schoolteacher guides her young class through ritualistic songs praising the train’s mighty engine and its creator Wilford. Sure, the scene’s use of propaganda as educational material serves for a convenient exposition dump, but the colorful classroom and its blissfully ignorant children occupants add a moment of levity between the movie’s frequent brutality that manages to somehow feel crazier than many of the story’s insane twists. This scene turns swiftly brutal too, after Teacher retrieves a hidden automatic gun only to be dispatched by a swiftly thrown knife. All of it is mesmerizing and bizarrely fun. [Zachary]

Stray Dogs – Final 2 Shots

Anyone familiar with Tsai Ming-Liang knows how duration plays a vital part in his work. I saw Stray Dogs in theatres last year during its festival run, hopeful that Tsai’s self-declared final film would have him close off his filmmaking career on a strong note. I did not expect something as powerful as the film’s final two scenes, possibly the best work Tsai has ever done, to come from it. It’s hard to explain exactly why the ending has the power of an emotional sledgehammer without getting into too much detail, so I’ll stick to the facts. Shooting on digital instead of film, Tsai no longer has the limitation of a film reel to stop him from rolling. The penultimate shot lasts for close to 15 minutes, and the next shot lasts closer to 10. The extended length turns both shots into something constantly changing with each minute, an engrossing and ultimately transcendent experience. Few films have moved me the same way as those final minutes of Stray Dogs. I’m sure that only a few films ever will. [C.J.]

Two Days, One Night – Meeting Timur

Marion Cotillard’s Sandra spends the length of Two Days, One Night attempting to convince a slew of co-workers to give up a significant bonus which will allow her to retain her job. The task is uncomfortable, and for Sandra incredibly anxiety-provoking, especially after her first couple of face-to-face interactions with co-workers don’t end in her favor; however, one excursion provides Sandra hope, and gives Two Days, One Night a much needed release of tension early in the film. As Sandra starts to hesitantly ask for empathy, becoming accustomed to the routine of being turned down by her colleagues, Timur instead is the one to break down into tears. He confesses that the decision to take his bonus rather than fight for his job has been haunting him. To Sandra’s surprise, Timur is relieved to have the opportunity she’s provided him, so much so that he’s even agreed to call another one of their co-workers. The scene comes unexpectedly, but is a beautiful and heartfelt moment that sets Two Days, One Night into motion. [Zachary]

Watchers of the Sky – Tycho Brahe

At the end of Watchers in the Sky, one of the documentary’s subjects relates a story about the 16th century astronomer Tycho Brahe. Brahe spent decades observing the stars and their position in the sky, writing his observations down every night. When someone asked Brahe what the purpose of his work was he said he didn’t know, but he was sure that, when someone does figure it out, he’ll have saved them several decades worth of work. And sure enough, Brahe’s measurements ended up being used by the first astronauts on the moon. It’s a moving, goosebump-inducing sequence because of how perfectly it ties into the film’s subject. Following different people fighting to end genocide, Watchers of the Sky commends them for their hard, thankless efforts. None of these people might ever see their goals fully realized, but their work will help make it easier for whoever ends up carrying their torch. It’s a level of selflessness that can inspire chills. [C.J.]

Whiplash – The Concert

If one thing’s obvious from Damien Chazelle’s 2nd film Whiplash, it’s the director’s impeccable sense of timing. The film moves along at a quick pace, settling into a rhythm of highs and lows for Miles Teller’s lead character Andrew. It’s in the film’s exhilarating finale that Chazelle allows his movie to hit the crescendo (Warning: Spoilers ahead). As Andrew performs with a band of professionals lead by the abusive conductor he’s just screwed over, he finds out Fletcher has set him up for disaster by not giving him sheet music to play. Andrew fumbles through one song so spectacularly that he leaves the stage out of embarrassment; however, just as you’ve become ready to accept this downer ending, Andrew storms back onto the stage. He interrupts Fletcher’s preamble with a energetic jazz beat and leads the band into an electric performance of “Caravan,” highlighted by a captivating drum solo. Andrew’s talent shines through so undeniably that he even wins over Fletcher. It’s an intensely visceral, satisfying moment that deserves a standing ovation. [Zachary]

What Else?

Working on this feature was like dealing with an embarrassment of riches. We could keep going on, talking about dozens of other scenes that left some sort of impact on us this year, but we all have our limits. In some cases it was simply too hard to pick one scene out of a film that contained so many amazing moments, like Under the Skin, A Spell to Ward off the Darkness and Winter Sleep. While we talked about the heart-pounding car chase in Nightcrawler, an earlier scene where Jake Gyllenhaal and Rene Russo “negotiate” over dinner, is also notably skin-crawling. 22 Jump Street wasn’t as funny as its predecessor  but its end credits, a hilarious montage of potential sequels, was ingenious;  the ending revelation of The Overnighters packs a wallop, tragically shedding everything that came before it in a new light; and the moment when Jean-Luc Godard “splits” his 3D cameras in Goodbye to Language 3D is, simply put, something that’s never been done in cinema before. Want to share the love of a moment we picked? Want to let us know how wrong we are for not including a scene you loved? Let us know what your favorite movie moments of 2014 are, and here’s hoping 2015 brings us many more unforgettable sequences.

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”

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

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

Now that we’re officially at the halfway mark of the year, we put our heads together here at Way Too Indie to come up with our favorite films of 2014 so far. Our list contains a variety of films ranging from festival darlings, indie dramas, horror movies, and even a couple of (really good) mainstream movies. We decided to only include films that had a North American release date between January 1st through June 30th to keep things consistent. Considering our list for the front-half of the year looks this solid, we’re eagerly waiting to see what the rest of year brings. In the meantime, here are the best films of 2014…so far.

Way Too Indie’s Best Films of 2014 (So Far)

#15 – The Immigrant

James Gray is quickly becoming one of the most shamefully unsung directors of American cinema today. He started off remarkably well in 1994, when his debut Little Odessa won the Silver Bear at Venice. Fast forward 20 years, and he’s only managed to complete four more features, mostly because his films haven’t been getting the critical and box-office love needed to stay prolific. The pattern continues with his latest, The Immigrant – which premiered at Cannes last year, and bless the French festival for realizing Gray’s talent because since his debut, every single one of his features unveiled there. If you’ve seen the first part of our Best Of 2014 (So Far) Hangouts session, you’ll hear me showering all kinds of praise on this beautiful, gentle, unique, and softly stirring picture about a woman’s unwavering love for her sister, a man’s wavering love for this woman, and the rock-solid strength of faith. Detractors like to call it out on its melodrama but I think Gray manages, thanks in large part to the orchestration of the mise-en-scene and cinematography which glide us back into its 1920s New York setting, to put the mellow in the real drama of the story. Marion Cotillard, Gray-regular Joaquin Phoenix, and Jeremy Renner deliver outstanding performances, and lovers of visual storytelling will be rightly gawking at the last shot of the film for some time. It’s still my favorite of the year. Don’t listen to the hushed-up welcome The Immigrant received once it finally got released this year, and go melt into it on the big screen as soon as you can. [Nik]
Watch Trailer

#14 – Oculus

I’ll be the first to admit that a horror film centered around a haunted mirror sounds ridiculous. While Mike Flanagan’s Oculus contains a simple premise—an antique mirror that possesses people to commit murder—the film is surprisingly smart. The film begins by having two siblings recall their past with wildly different interpretations, forcing the audience to pick a side. Then with fancy editing techniques, Oculus seamlessly blends flashbacks into the present, making it impossible to tell what’s real and what the mirror is manipulating. Like The Conjuring before it, Oculus demonstrates how unsettling suspense that sticks with you is far superior to temporary jump scares. [Dustin]
Oculus Review | Watch Trailer

#13 – A Spell To Ward off the Darkness

The symbol separating each of the three acts in A Spell to Ward off the Darkness is an equilateral triangle, an image that would appropriately sum up the film’s structure. As a mute, unnamed man (Robert A.A. Lowe) spends a third of the film trying out a specific lifestyle (living on an Estonian commune, living in isolation in Finland, performing with a black metal band in Norway) before promptly moving on to the next, directors Ben Rivers & Ben Russell craft a cinematic powerhouse about an existential quest for belonging. The sublime camerawork, from a hypnotic opening shot to a gorgeous long take watching the man fish, comes to a head in the film’s final third. As the man embraces primal fury through his playing with the metal band, the film’s themes come together in a spiritual, near-transcendental way. It’s sublime filmmaking, plain and simple. [CJ]
A Spell To Ward off the Darkness Review | Watch Trailer

#12 – Locke

On a late night highway drive into London, Tom Hardy navigates a series of phone calls that unravel his life in close to real time, despite his never leaving the confines of a BMW X5. If that idea doesn’t intrinsically sound compelling, there is little in Locke that will convince you otherwise; however, the subtle-yet-bold execution from writer-director Steven Knight (writer of Dirty Pretty Things & Eastern Promises) makes the film stand out even amongst one-man thrillers. In the lead role, Hardy delivers a strong performance that doesn’t require overt physicality. Despite its limiting setting, Locke remains compelling through carefully constructed dialogs and engaging until its ending. [Zachary]
Locke Review | Watch Trailer

#11 – Chef

Food porn it is, but one-dimensional it’s not. Jon Favreau’s winning, heartfelt dramedy Chef follows a creatively plateaued executive chef (Favreau) as he travels cross-country with his son and best friend (John Leguizamo) in the food truck of his dreams to rediscover his passion for food. From watching Favreau chomp on a crispy-on-the-outside, gooey-on-the-inside grilled cheese, to seeing him in ecstasy as he savors a smoky, tender morsel of Texas barbecue, the film will make you want to sprint out of the theater and straight to the closest eatery, guaranteed. The film’s got soul, too, as it tells a touching father-son tale that’ll make even the hardest of hearts a little sniffly. (Or maybe it’s the onions…) The cast of A-players, including Sofia Vergara, Oliver Platt, Robert Downey Jr., and Scarlett Johansson, are well-suited in their roles and each have good chemistry with Favreau. Post-movie dinner plans are a must! [Bernard]
Chef Review | Watch Trailer

#10 – Cold in July

Jim Mickle has been stunning audiences for a few years now with his run of successful indie horror films, but this sopping wet with sweat, moody and atmospheric 1980’s set Texan thriller is his best yet. When a decent man (Michael C. Hall) accidentally kills an intruder in his home, it brings the intruder’s father to town to even the score. When Hall does some digging into his own shooting he finds out that he may or may not be able to trust the cops that investigated the crime. From there Cold in July unspools into gritty grind house delight as loads of blood is spilled in a spectacular shootout. [Blake]
Cold in July Review | Watch Trailer

#9 – Blue Ruin

This Southern thriller is a mixture of revenge, brutal violence and unpredictability. A mysterious man, who happens to be horrible as an assassin, goes after a family of hicks who in some capacity (we never find out why) wronged his own. What makes Blue Ruin so good is that it never insults the audience’s intelligence and has a clear direction it wants to go in. It also has a lead character who chooses to carry out acts of violent vengeance and at times isn’t completely up to the task. Making a revenge film with a lead character that is very sloppy is a breath of fresh air. The lesson of the film? Revenge is never simple and it’s never clean. [Blake]
Blue Ruin Review | Watch Trailer

#8 – The Double

Two Jesse Eisenbergs: one painfully nebbish, the other unflappably confident. Many actors have pulled off portraying their own doppleganger but in The Double, Eisenberg’s dual roles exist in a beautifully detailed retro-futuristic environment reminiscent of Terry Gilliam’s Brazil. The 2nd feature from actor/filmmaker Richard Ayoade retains the quirky sense of humor that defined his teenage love comedy Submarine, but the tone is considerably more mature in The Double with darker jokes and deeper philosophical themes. Ayoade’s movie moves at a brisk pace, bouncing between comedy, drama, romance and thriller in an unpredictable manner until its shocking ending. Although The Double contains significant, notable influences from others filmmakers, the amalgam of ideas portrayed in this movie becomes the unique vision of Ayoade. [Zachary]
The Double Review | Watch Trailer

#7 – Stranger by the Lake

Set entirely on a beach where gay men rendezvous for brief sexual encounters, Stranger by the Lake is among the year’s best and most unusual thrillers. When Franck witnesses a man being drowned in the lake by his lover, he is pulled between fear and seduction, unsure whether to go to the police or get even closer to the mysterious killer. Still, Stranger by the Lake is much more than a run-of-the-mill murder thriller — though those elements are extraordinarily tuned. Dealing with many issues surrounding homosexuality, including inclusion, community and being “the other”, the film also becomes among the most probing films in a rapidly growing gay cinema. You can come for the exploration of these issues and then stay for the explicit sex scenes. All of this tension (sexual and otherwise) leads to a dynamite conclusion that will have you on the edge of your seat. [Aaron]
Stranger by the Lake Review | Watch Trailer

#6 – Snowpiercer

Summer is normally the breeding ground when studios launch their latest franchise/sequel blockbuster to the masses. At first glance, Snowpiercer seems to hit all the check marks for a standard popcorn movie: huge budget ($40 million), all-star cast (Chris Evans, Ed Harris, Tilda Swinton), and a graphic novel adaptation that promises action. But Snowpiercer remarkably satisfies both the arthouse and mainstream crowds with a high-concept plotline stuffed with stunning visuals and marvelous action sequences.

This single location blockbuster is set in the near feature where a chemical reaction creates a new ice age, survived only by a small group of people aboard a sophisticated train that travels around the world on an endless loop. A class system divides the train’s society, causing the lower class to revolt against the billionaire industrialist at the helm. The film’s pacing perfectly balances thoughtful backstories with action-packed mayhem. The Weinstein Company’s decision to make Snowpiercer a limited release is a shame, this is a rare science-fiction film that everyone should see. [Dustin]
Snowpiercer Review | Watch Trailer

#5 – Only Lovers Left Alive

Yes, Only Lovers Left Alive is one of the best vampire films in ages, but calling it a “vampire movie” would be selling it short. Jarmusch is more fascinated by immortality and human creativity. Vampire couple Adam & Eve (Tom Hiddleston and Tilda Swinton, both fantastic), while madly in love with each other, differ on their view of humans. Adam’s cynicism toward “zombies” consistently goes up against Eve’s optimism (when Adam says he feels like the sand is at the bottom of the hourglass, she tells him to turn it over), but Jarmusch clearly takes Eve’s side on the debate. Only Lovers Left Alive is a celebration of artistic triumphs, with piles of literary and musical references only Jarmusch is able to pull off without any sense of pomposity. These characters have lived for centuries, and it becomes clear that, for them, their only true friends are the various forms of art they surround themselves with. Through this Jarmusch paints a different view of eternal life; humans may not live forever, but their art and legacy will never die. [CJ]
Only Lovers Left Alive Review | Watch Trailer

#4 – Under The Skin

If there is a more alluring and visually striking film than Under the Skin to come out this year, I want to see it immediately (and then probably disagree). Jonathan Glazer’s nine-year return to feature filmmaking is a strange mix of science fiction and horror, though it doesn’t really try hard to be either. Instead, it simplifies everything (almost radical for modern sci-fi), taking out most of a conventional plot for mood and visual poetry. The film never gives us any direct explanation of who our alien protagonist is and why she is on her mission, but these answers probably aren’t that important. Scarlett Johansson’s unnamed visitor, who roams through the misty Scottish cities looking to trap men to steal their essence, is both otherworldly and human, frightening and sympathetic. Even though there isn’t a lot of plot for her to deliver, it is one of the most challenging performances of the year so far and one of her best. Add in one of the most interesting productions ever, an unforgettable score, and a repeated haunting scene featuring total blackness, and Under the Skin is creeping in on special distinction. [Aaron]

Under The Skin Review | Watch Trailer

#3 – Nymphomaniac (Vol 1+2)

Lars Von Trier, you lunatic. Much has been said about Von Trier’s latest opus, starting with its various lengths, versions, and parts. The bottom line on that is that the original 5 and a half hour uncut full version has yet to see a theatrical light of day anywhere, the film was split into two volumes for easier distribution, and both volumes were censored and cut down into two 2-hour-long parts. An uncut Vol.1 premiered at the Berlinale, and an uncut Vol.2 will premiere at TIFF later this year, but consider this entry as the full, censored & stripped-down version of Nymphomaniac that’s seen public release. There should be colossal quotations marks around stripped down, of course, since even a censored and cut Von Trier manages to protrude, probe, and puncture all kinds of safety nets to make – in my opinion – the greatest film in 2014 released so far. What makes Nymphomaniac one of Von Trier’s greatest accomplishments and something of a crowning achievement for his career thus far, is that the film manages to be his funniest, most entertaining, deeply felt, super-intellectual, and most vulnerable to date. Through the character of Joe (Charlotte Gainsbourg), Von Trier gets to criticize humanity’s hypocritical ethics and morals, and through Seligman (Stellan Skarsgaard) he gets to make the most wonderful digressions about the art of fly-fishing and Edgar Allan Poe, among other things. Nymphomaniac is also a film about storytelling, individual freedom, identity, sanctity of faith, and sex. Lots and lots of sex. It’s something of a miracle, then, that it’s one of the most tasteful and thought-provoking films of the past few years. [Nik]
Nymphomaniac Review | Watch Trailer

#2 – The Grand Budapest Hotel

Never has Wes Anderson worked with such precision, elegance, and style as he does in The Grand Budapest Hotel. Brimming with delectable fancies, the tale of hotel concierge M. Gustave (Ralph Fiennes) and his misadventures with his loyal lobby boy Zero (newcomer Tony Revolori) is one of Anderson’s best, transforming from murder mystery to heist film seamlessly all while telling a charming story of friendship throughout. Fiennes gives one of the deftest performances of his career, bringing M. Gustave to life while upholding the character’s rigid formality. The period setting of the remote, 1930s European resort plays to Anderson’s strengths, fitting his colorful visual style like a glove and making the film a wonder to behold. It’s hard to think of a moviemaker more technically sound, and The Grand Budapest Hotel is quite possibly the finest demonstration of his skills. [Bernard]
The Grand Budapest Hotel Review | Watch Trailer

#1 – The LEGO Movie

If you’ve seen The Lego Movie, you probably aren’t judging us right now quite so harshly as our indie-devoted followers are, because you are in on it. We know guys, we know. Our #1 of the year so far is an animated so-called children’s movie starring a toy brand. Which just proves great movies can come out of anywhere.

Directing-writing duo Phil Lord and Christopher Miller have written a script that jumps the adult-child barrier possibly better than any family film ever has. Employing major voice talent throughout, the film features the voice of Chris Pratt as Emmet, a construction worker Lego who wholeheartedly embraces the Lego drone lifestyle, being the best version of the limited self he can be. When he finds a strange red block that attaches itself to him in a construction zone one day, badass chick Wildstyle (voiced in sultry tones by Elizabeth Banks) declares him the prophesied ‘Special’, the Lego hero who will save them all from Lord Business (Will Ferrell, of course) and encourage creativity in the Lego world. Emmet accepts the title, hoping to get in with Wildstyle, and the two, along with Batman (Will Arnett), Unikitty (Alison Brie), Spaceman Benny (Charlie Day), and the Gandalf/God-like Vitruvius (Morgan Freeman), embark on an epic journey to save the people of their world. The film is sharply hilarious and perfectly poignant. Opting for a refreshing think for yourself message and positing that being oneself is better than hoping for ‘specialness’, The Lego Movie throws the usual themes of uniquely qualified heroes down the drain. Adding to the impressive story and non-stop laughs is a film that looks truly innovative. Bright and colorful, the film looks like a stop-animated film made from real Lego materials, the details are simply astounding.

When a film gets all the elements right, it doesn’t matter if it was made for 4-year-olds or 40-year-olds, it’s just damn good. [Ananda]
Watch Trailer

We’re already halfway through 2014, so that means it’s time to take a look back over the last 6 months and see what’s stood out. As a preview for our staff list of the 15 best films of 2014 so far, a few of us will be pairing up and going through our top five films of the year.

Welcome to the second installment of a three part Hangout series of our Best Films of 2014 (So Far). In this video, Ananda and I talk each talk about our Top 5 films of 2014. Watch our Hangout to see where we agreed and disagreed on each other’s list! We also discuss a couple honorable mentions that didn’t quite make our list.

Be sure to check out our Part 1 of this series and look out for the final Part 3 of our Best of 2014 (So Far) Hangouts, where our Midwest writers Dustin Jansick and Blake Ginithan discuss their picks.

Bernard’s Top 5

#1  Under The Skin (review)

#2  The Grand Budapest Hotel (review)

#3  The Raid 2 (review)

#4  Locke (review)

#5  Tim’s Vermeer (review)

Ananda’s Top 5

#1  The LEGO Movie

#2  Snowpiercer (review)

#3  The Grand Budapest Hotel (review)

#4  Only Lovers Left Alive (review)

#5  Frank

Hangout Timestamps

0:00 – 2:20 – Intro
2:21 – 7:30 – Honorable Mentions
7:31 – 10:00 – Ananda’s #5
10:01 – 13:13 – Bernard’s #5
13:14 – 18:25 – Ananda’s #4
18:26 – 21:49 – Bernard’s #4
21:50 – 27:30 – Ananda’s #3
27:31 – 31:00 – Bernard’s #3
31:01 – 35:35 – Ananda’s #2
35:36 – 38:00 – Bernard’s #2
38:01 – 47:05 – Ananda’s #1
47:06 – 53:15 – Bernard’s #1
53:16 – 54:10 – Recap of lists
54:11 – 60:00 – Looking ahead

Wes Anderson’s highest-grossing film to date, The Grand Budapest Hotel, has been officially announced for a Blu-ray & DVD street date of June 17th. The film not only pleased moviegoers, but critics were also enamored with Anderson’s film ever since its premiere in Berlin. And rightfully so. The Grand Budapest Hotel dazzles with plenty of Anderson’s usual visual flair, but the film doesn’t compromise substance for style. As always, each character has their own quirky personality and the cast is full of Anderson regulars including; Bill Murray, Jason Schwartzman, Tilda Swinton, Jude Law, Owen Wilson, and Adrien Brody.

The Grand Budapest Hotel releases on Blu-ray and DVD on June 17th

The Grand Budapest Hotel Special Features

• Bill Murray Tours The Town
• Kunstmuseum Zubrowka Lecture
• The Society of the Crossed Keys
• The Making of the Grand Budapest Hotel
• Mendl’s Secret Recipe
• Promotional Featurettes – “Cast” and “Wes Anderson”
• Stills Gallery
• Theatrical Trailer

The Grand Budapest Hotel Blu-ray + Digital HD

• Street Date: June 17, 2014
• Screen Format: 1.85:1
• Subtitles: English/French/Spanish
• U.S. Rating: R
• Total Run Time: 100 minutes

Trailer

The Grand Budapest Hotel Blu-ray cover

It’s a new year, and that means new films, right? 2013 gave us some truly wonderful films, but amongst catching up on those that we missed and all the Oscar buzz, we’re also thinking about what’s on offer this year. Narrowing these films down to just a few was an incredibly difficult task, as not only are there so many films set to come out, but some are so clouded in mystery that you just don’t know where to start. Nevertheless, we have selected 10 films that we’re looking forward to the most in 2014, and they come from just about every genre. Let us know if there are any you think we missed, but as far as just these 10 are concerned, the anticipation is killing us.

10 Most Anticipated Films of 2014

Gone Girl

David Fincher makes the movies I love to see. The man seems to have a knack with twisty tales, whether they be completely crazy endings (like Se7en or Fight Club) or characters you love to hate (like The Social Network or Netflix’s House of Cards). Having read the novel, I know Gone Girl has both. And with a great cast that includes power-hitter Ben Affleck playing Nick Dunne, the husband who is unexpectedly thrown into the national spotlight when his wife goes missing, my expectations are pretty high for the film adaptation. Casting for the lead part of Amy, the housewife-gone-missing, took some time to be solidified, with several major actresses in consideration. But Rosamund Pike was finally chosen, which has me quite curious. Pike has played some really soft roles in the past and, without giving any of the story away, Amy is the sort of character that could either show off Pike’s versatility or ruin the whole thing. The book is known for it’s major plot twists and I for one can’t wait to see Fincher put his own mark on the visuality of the story. Slated for an October release, it should be exactly the sort of chilly Fall tale we’ll be craving. [Ananda]

The Grand Budapest Hotel

Wes Anderson is famous for his distinctive visual and narrative style in such films as Moonrise Kingdom, Fantastic Mr. Fox, and The Darjeeling Limited, and will be releasing his latest quirky comedy The Grand Budapest Hotel in March of this year. The film follows the adventures of an infamous concierge at a well-known and well-frequented European hotel. Their experiences are shared with an all-star cast, most of which have worked with Anderson in the past; Jude Law, Bill Murray, Tilda Swinton, Willem Dafoe, Owen Wilson, and Adrien Brody. The Grand Budapest Hotel looks to be quite the dramatic comedy with the charm and flare we all know Wes Anderson films to behold. [Amy]

While We’re Young

Last Year my faith was restored in Noah Baumbach as a filmmaker to be vigilant of again after supplying his delightful indie comedy Frances Ha, a film that landed the #2 spot on our Best Films of 2013. Reuniting with the director again for the first time since 2010’s Greenberg is Ben Stiller, playing the part of a middle-aged filmmaker whose marriage gets more tranquil after making friends with a young free-spirited couple. Joining Stiller as part of the cast are Amanda Seyfried, Naomi Watts, Adam Driver, and Brady Corbet. It will be interesting to see if While We’re Young plays out to be more like his earlier work (The Squid and the Whale), or more like his re in nt work (France Ha). Though a happy medium between the two could be in order. Either way, we are glad to see the uptick in frequency which Baumbach is making films as of late, he even has another film in post-production at the moment. [Dustin]

Nymphomaniac

At this point it’s hard to find someone who doesn’t know about Nymphomaniac. Split into 2 films, and running for 4.5 hours total, Nymphomaniac is Lars Von Trier’s newest film. It tells the story of Joe (Charlotte Gainsbourg), the titular sex addict who explains her life story to a stranger (Stellan Skarsgard) after he saves her life. The eclectic cast includes Shia LaBeouf, Uma Thurman, Christian Slater, Willem Dafoe, Udo Kier and Jamie Bell, just to name a few, and it`s already been widely reported how porn actors were used as doubles for the film`s hardcore sex scenes. The film`s marketing, including ‘appetizer’ teaser clips and a provocative series of character posters, have helped make Nymphomaniac the arthouse event of 2014. The film will be out in theatres and on VOD in March, but Lars Von Trier purists might have to wait even longer. The theatrical version wasn’t put together by Von Trier, and he’s already preparing a 5.5 hour director’s cut that will presumably come out later this year (Volume 1 of the “uncut” version is set to premiere at Berlin, and it won’t be a surprise if Volume 2 pops up at Cannes). [CJ]

Knight of Cups

Just as Flaubert and Joyce understood the need for literary revolution in the face of an unstable society, so did certain filmmakers understand cinematic development as part of a larger social reality: Griffith, Welles, and Hitchcock to name a few, and now, Terrence Malick. Some people are just game-changers, and there is no denying that Malick has changed the world of cinema irrevocably. I could wax lyrical for hours about his conceptualisation of film – his work is nothing short of a feast for the eyes and indeed the very soul – but truly, all you need to do to understand is watch some of his work. His recent association with Brad Pitt and Sean Penn in The Tree of Life brought mainstream audiences just a little closer to Malick’s world, so it’s incredibly exciting to think of what he could have in mind to really show audiences what he is capable of. Knight of Cups is in post-production and has been for a while now; while we’re still not entirely certain it will come out this year, we can but hope. With names like Christian Bale, Natalie Portman and Teresa Palmer on the bill, there’s no doubt Malick has something breathtaking in store for us – I’m certainly going to keep my eyes peeled for this one. [Pavi]

Interstellar

It’s time to let him off the leash again. Christopher Nolan has proven he can sell a movie ticket or two with his Dark Knight trilogy, which has earned him the freedom (granted by big studios like Paramount) to make movies and tell stories on his terms. Based on the theories of relativity physicist Kip Thorne, Interstellar looks to excite the senses and tickle the imagination in the same way Inception did. The film follows a group of scientists who, with their home planet drying up, travel to different dimensions in search of a place to grow crops so that their people can endure. Boasting a killer ensemble cast featuring Michael Caine (surprise, surprise), Anne Hathaway, Casey Afleck, Matthew McConaughy, Ellen Burstyn, Wes Bentley, Jessica Chastain, David Oyelowo, John Lithgow, Bill Irwin, and Mackenzie Foy, Interstellar is sure to get sci-fi geeks all hot and bothered leading up to its November release. Plus, Nolan strapped an IMAX camera to the nose of a freaking learjet. Hold on to your butts! [Bernard]

Journey to the West

Back in September at the Venice Film Festival Tsai Ming-Liang publicly stated that he hoped Stray Dogs would be his last film. The news was disappointing, especially since Stray Dogs was his best film in years (it went on to win the Grand Jury Prize at Venice). It came as a surprise, then, that the Berlin Film Festival announced a new Tsai Ming-Liang film would be premiering in February. There isn’t much information out there on Journey to the West, but from what we know it’s going to be a loose adaptation of the classic Chinese tale. Knowing Tsai’s style, this will probably be a very loose adaptation, but regardless it’s exciting to see him continue to work. Tsai is one of the most distinct filmmakers working today, and while his style may not appeal to everyone (the last two shots of Stray Dogs combined come close to breaking the 30 minute mark) it’s undeniable that no one out there is making films in the same way. [CJ]

Jupiter Ascending

While Cloud Atlas was not the return of the Wachowskis I had hoped for, I’m giving them the benefit of the doubt that it’s because they were working with someone else’s writing, and an incredibly complex novel at that. This time Andy and Lana are back to writing a story of their own, and hopefully tapping into the vein that brought us the complex and sci-fi world of The Matrix. Granted, it has Channing Tatum, and he’s wearing eyeliner. But if there’s anything the trailer proves, it will definitely be up to par with the visual grandeur that we’ve come to expect from the Wachowskis. Similar to The Matrix, Jupiter Ascending is the tale of a girl with a genetic destiny, Jupiter Jones (Mila Kunis). Destined to overthrow the Queen of the Universe, Jupiter is rescued from her life of toilet cleaning by Tatum’s genetically engineered hunter. She discovers the vastness of the universe she lives in and that she has an important place in it. Who doesn’t love a good tale of comeuppance, on an intergalactic scale? Even if it’s got a bit of cheese, it comes out in July when we’ll all be glad for an excuse to escape to the theater, and I for one will gladly splurge to see the Wachowskis first 3D endeavor. [Ananda]

The Double

Richard Ayoade began his career as a comedy actor starring in relatively popular television shows such as The IT Crowd and he Mighty Boosh, before making his incredible feature directorial debut with Submarine. The Double is Ayoade’s sophomore film that stars Jesse Eisenberg as a man who goes crazy after running into this doppleganger. The film already premiered last fall at the Toronto International Film Festival and received a lot of praise for its trippy mind games and quirky comedy–which is exactly the kind of films we kind to enjoy here at Way Too Indie. Make sure that The Double is on your list of films to catch in 2014. [Dustin]

Inherent Vice

Set in 1970s Los Angeles, Paul Thomas Anderson’s Inherent Vice follows the fuck-ups and follies of druggy detective Larry “Doc” Sportello (Joaquin Phoenix), who’s surprised to find that the kidnapped girl of a case he’s investigating is his ex-girlfriend. What’s most exciting to me about the project (aside from the obvious fact that ol’ PT never fails) is that Anderson is reuniting with director of photography Robert Elswit, who helped him make There Will Be Blood look so damn pretty. As per usual for Anderson, everything will be filmed in 35mm film stock. The cast is stacked, with Phoenix being joined by Josh Brolin, Martin Short, Benicio Del Toro, Jena Malone, Reese Witherspoon, Owen Wilson, Kevin J. O’Connor, Maya Rudolph, and more. [Bernard]

Wes Anderson is certainly keeping himself busy these days (lucky us!) A short film written and directed by Anderson himself and produced for Prada, Castello Cavalcanti follows Jed Cavalcanti (Anderson favorite Jason Schwartzman) as he ends up stranded in 1955 Italy during a car race. It retains all the whimsy, vibrant colors, and rigid compositions the director is so beloved for, which makes this fun 8-minute nugget fit quite snugly in between his last film, Moonrise Kingdom, and his upcoming The Grand Budapest Hotel, which we at Way Too Indie can’t hardly wait for. For now, we have Mr. Cavalcanti and his mustachioed machismo to tide us over. Check it out below.