After a lot of deliberating and discussing, we compiled this list of the Best 50 Movies that came out between 2010 and 2014. These are films we love, cherish, and suspect we will remember years and years from now. A lot has changed with film in the last 5 years, but the quality of the creative output only seems to keep getting better. Here’s to an amazing first half of the decade, and let’s hope the next five years lead to even bigger and better things.

Every day this week we will release ten films from our list, here is #40 through #31.

Best 50 Movies Of The Decade So Far
(#40 – #31)

Spring Breakers

Harmony Korine’s Spring Breakers is a diabolically delicious assault of bleached-out colors, alcohol, and synthesized sounds. All of which makes for a ferociously dazzling watch. From its mesmerizing opening depicting hundreds of young adults participating in grossly outrageous spring break shenanigans,—while sounds of robotic vomiting (courtesy of dub-master Skrillex) discharge on the audio track—up until the final scene, a gun fight eruption (lit up with bright neon tints) at a South Floridian Oceanside manor, the film grabs hold tightly. So seldom are films released that are this audacious. The film follows four young college girls who will stop at nothing (and I mean nothing) to have the greatest spring break ever. The film is essentially a terrifying, unrelenting montage; we see the girls go from parties to robberies to gunfights and back again. James Franco owns every inch of the film while he’s on screen as cornrow-flowin’, gold teeth-showin’ drug lord/rapper Alien. He is on fire here in a career best performance that should’ve gotten him an Oscar nomination. While stars Franco, Vanessa Hudgens, Selena Gomez and Rachel Greene are all excellent, the real star here is Harmony Korine, who has found a way to sell his weird, subverted look at humanity to the masses. Spring Breakers is an instant classic. [Blake]

All is Lost

A spellbinding exercise in visual storytelling, J.C. Chandor’s All is Lost is a tale of survival at sea and a fascinating study in male ego. Robert Redford stars as the nearly-wordless film’s unnamed subject, a man alone on a boat in the middle of the ocean whose will to survive is immovable. Despite the elements threatening to rip his precious vessel to shreds, he fights tooth and nail to keep the boat (and his spirits) afloat. While his dogged refusal to perish at first looks a lot like bravery, as it becomes clear his efforts are futile, heroism turns into stubbornness. At what point does giving up become a virtuous act? Redford has enough experience to keep his performance reality-based, maintaining a deadpan expression in moments where lesser actors would look to the heavens with a face that screams, “Why me!?” He’s simply behaving, letting his body do the talking rather than relying on high drama and facial flourishes. The film’s presentation is as stunning and engrossing as Gravity’s, a similar film that came out in 2013 as well. (I prefer All is Lost’s grit and realism to Gravity’s sometimes maudlin tendencies.) If you haven’t seen this one, find it and make sure you watch it on a big screen with a muscly sound system. [Bernard]

The Wolf of Wall Street

Even in his 70’s, Martin Scorsese proves he’s intrinsically capable of capturing the enticing aspects of capitalism within the context of a searing indictment of greedy stock brokers. The Wolf of Wall Street may feel like an ode to opulence and apathy for those Wall Street bankers who allegedly cheered for the film’s characters in their most despicable moments, but for those in the audience with an understanding for the real world implications of Wolf, Jordan Belfort & Co. look like the band that played while the Titanic sank. Worse, they feel like the band’s onlookers. Among the most telling anecdotes from the film is one in which Belfort reminisces in voiceover about a ménage à trois he and Donnie Azoff (Jonah Hill) shared with the future wife of their co-worker. Belfort recounts with glee the lurid aspects of their tryst only to end the anecdote by mentioning that his co-worker later slit his wrists in a bathtub, before Belfort sighs and moves on to his next deplorable indulgence. That juxtaposition allows Scorsese’s film to serve as a criticism without coming across as preaching. The Wolf of Wall Street creates an engaging experience without neglecting substance. [Zach]

Melancholia

Leave it to Lars Von Trier to make one of the best films ever made about depression. The titular planet at the center of Melancholia, which winds up annihilating Earth by smashing into it, isn’t exactly the most subtle allegory, but Von Trier makes it work. He understands how depression can be such a large, destructive, all-encompassing force, and by equating it with the end of existence he finds the perfect way to evoke the true power of despondency. With jaw-dropping visuals and sound (it’s hard to get tired of hearing Wagner), as well as two astounding performances from Kirsten Dunst and Charlotte Gainsbourg, Lars Von Trier wound up making one of his best works with Melancholia. [CJ]

Midnight in Paris

Not reading anything about Woody Allen’s fantastical and joyous comedy Midnight in Paris was the best choice I could have made. Admittedly, I didn’t do this on purpose; it was more by happenstance than anything. I say I didn’t know anything about the film, but actually knew that it stared Owen Wilson and it took place in Paris. If you’ve never been to Paris (like myself) the opening 5 minutes is a basically a montage of everything you’ve always dreamed about experiencing in the sprawling French capital. The food. The music. The people. The museums. If you have been to Paris, it’ll have you pining to go back. The film’s plot centers on Wilson (never better) as he peruses Paris and discovers a magical world that awakens at night, one that makes his wildest dreams come true. Allen’s film is a nostalgic fever dream aimed at those who wish to have lived and experienced an era unbeknownst to them. The Wilson character fantasizes about the wild nights in which Picasso, Hemingway and Fitzgerald drank alcohol and told old, grand stories about love lost. Allen has essentially made a film a year since the late ’60s; this is easily in his top five. Romantics and old souls will revel in Allen’s glorious world. [Blake]

Shame

Before Steve McQueen earned a Best Picture Oscar for 12 Years A Slave (which also made our list) and became a household name, he made a grueling, yet exquisite film about sex-addiction called Shame. Despite all the acclamation for Michael Fassbender’s flattering full-frontal scenes, the film itself offers little else to cheer for. McQueen presents a depressing look into the life of Brandon (Fassbender), a man who’s constantly in search of his next orgasm, though he never finds any kind of meaningful pleasure in them. He’s completely lost his ability to connect with people on an emotional level. The only emotions he experiences are dissatisfaction and shame (hence the title). As you’d probably expect, watching a man slip deeper and deeper into sexual addiction is emotionally exhausting, but Shame remains a profoundly powerful experience thanks to McQueen’s fearless filmmaking and brilliant vision. Shame is not an easy watch, but the discomfort is absolutely worth it. [Dustin]

The Place Beyond the Pines

A perfect example of the idea that a story isn’t nearly as important as how it’s told, The Place Beyond the Pines strives in its every moment to defy categorisation. Its three acts are entirely unlike one another in genre, and yet are harmoniously strung together in their aesthetic and thematic content. What begins as an honest insight into the lives of the working class ends as an introspective on the notion of how our lives eventually come to affect those of our children, in ways we don’t expect. What truly stands out about this film, however, is how bold every choice is, from the opening shot to a 15 year jump in the plot. Directed by Derek Cianfrance, who also co-wrote the script, the film allows its characters to develop as authentic people by providing foundations upon which the actors can build highly convincing emotions. Ryan Gosling, Bradley Cooper and Eva Mendes are all unforgettable in their own ways, and yet the film handles melodrama with the lightest touch, keeping emphasis firmly on the humanity behind its events. [Pavi]

Gravity

Gravity does two things extraordinarily well. In fact, it does one of those things so well it’s worth overlooking the film’s flaws. The out-of-this-world photography, aided by a partnership of special effects and star Sandra Bullock’s physicality, is the reason the film belongs on this list and will be remembered for a long, long time. There isn’t a film that looks like Gravity, and there honestly may never be another. Looks aside, the film’s ability to create intense emotional stakes is also remarkable. If our connection with astronaut Ryan Stone (Bullock) throughout her crazy journey was missing, it wouldn’t matter how amazing everything looked. But we do connect, thanks to Bullock, who gives a remarkable (I’d even argue underrated) performance, as well as the success of its excellent (though much-derided) script. Screenwriters Alfonso and Jonás Cuarón trade in big sci-fi mythology for a streamlined, simple approach, and it works. Not all of the dialogue plays well, but there is a beating heart at the center of Gravity that makes it more than just a pretty face. Additionally, the film’s achievements in 3D filmmaking are groundbreaking. Gravity wonderfully melds forward-thinking technological concepts in filmmaking with an old-fashioned, emotionally charged story—an uncommon balance pulled off extremely well. [Aaron]

13 Assassins

13 Assassins, despite being a remake of a different film, could easily be summed up as Seven Samurai for the 21st century, a leaner, meaner take on Akira Kurosawa’s classic. The film’s first hour briskly sets up the situation: a samurai gathers 12 other assassins to take out the Shogun’s tyrannical half-brother. Once all the pieces get put into place, 13 Assassins spends its second hour unleashing one of the great action sequences of this century, an epic battle between an army of hundreds and the small group of samurai. Takashi Miike, one of the most prolific and versatile directors working today, directs 13 Assassins with a level of classicism and efficiency that’s a complete breath of fresh air compared to today’s action films. 13 Assassins is near-flawless genre filmmaking of the highest order. [CJ]

Stories We Tell

There is a common misconception that documentaries must be concerned with the truth, and with facts. Stories We Tell is a documentary film that seems to be uncovering truth at its surface, but in reality is examining something much more human. Director Sarah Polley’s goal may at first seem to be uncovering the truth about her mother, but as the film progresses, we can see that it is specifically her family’s memories of her mother that she is actually interested in. This ties together the essence of family itself, highlighting the way in which her family continues to remain supportive of each other and place their relationships above all else. Taking an unusual but effective approach to her discoveries, Polley focuses not on creating an accurate narrative of her mother’s life, but on displaying the complexities inherently involved in storytelling. It is through this portrayal that a film about her family becomes much more universal, allowing us to partake in the shared memories even if only through our own nostalgia. After all, the past is only as significant as the story it tells. [Pavi]

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 (#30 – #21)
Best 50 Movies Of The Decade So Far (#20 – #11)
Best 50 Movies Of The Decade So Far (#10 – #1)

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

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

Last week we predicted that Gravity’s Alfonso Cuarón would get the win for Best Director, so historically speaking that would mean Gravity should have a 73% chance of winning Best Picture because of how closely tied those categories are. However, we do not have to go back very far to see split category winners. Last year Ang Lee received Best Director for the visually impressive Life of Pi, while Ben Affleck’s historic thriller Argo was awarded Best Picture. This year has a very similar setup. Winning the award at the Director’s Guild of America puts Cuarón in good position for Best Director, however, his technical marvel Gravity may be edged out by Steve McQueen’s historical drama 12 Years a Slave. Last week’s BAFTA (British Oscar equivalent) win for 12 Years a Slave was a major victory for the film. But make no mistake, this is still a very close race between the two films.

Marketing departments for the rest of the field will not likely be upgrading their materials beyond “Best Picture Nominated”. While it is still a monumental honor just to be nominated, Spike Jonze and company should feel disheartened that Her is not in contention. Though they are probably just happy their futuristic love story did not fly over the heads of the Academy whose median age is 62.

Because 2013 was such solid year for film, there are plenty of titles that deserved to be nominated: Blue Is the Warmest Color, Blue Jasmine, The Place Beyond the Pines, Frances Ha, Before Midnight, and Fruitvale Station just to name a few. But my top pick for the film that did not receive a nomination that should have is Short Term 12. Destin Cretton’s film blasted on to everyone’s radar after rave reviews from critics at its SXSW premiere. It is unfortunate that the film’s marketing budget and small distribution are its biggest flaws, because the film will make you laugh, cry, and smile more than most films that actually did get nominated.

Category Predictions

Best Picture Nominees

American Hustle (review)

Captain Phillips

Dallas Buyers Club (review)

Gravity (review)

Her (review)

Nebraska (review)

Philomena (review)

12 Years a Slave (review)

The Wolf of Wall Street (review)

Previous Category Analysis

Best Shorts
Best Supporting Actress
Best Supporting Actor
Best Original Screenplay
Best Adapted Screenplay
Best Foreign Film
Best Documentary
Best Actress
Best Actor
Best Director

Martin Scorsese went cold after surprising everybody with his 2006 Best Picture winning The Departed. Years of toiling for Oscar with big-scale period epics like Gangs of New York and The Aviator reaped little reward. Instead, it was a violent, rapidly-paced gangster picture with its loose roaming camera that finally gave a great director his due. In the seven years since, he’s made a slick thriller from a popcorn crime page-turner (Shutter Island), a couple of music documentaries (Shine a Light and George Harrison: Living in the Material World), a love-letter to his art disguised as a family movie (Hugo), but nothing to match the equal parts existential tragedy and offhanded comedy of the aforementioned Oscar champ; his best film since setting the mold with Goodfellas. Cue The Wolf of Wall Street, the 5-times nominated gonzo Jordan Belfort biopic that, while hardly ‘indie,’ is more against-grain than you’d think.

Working from a script by his Boardwalk Empire collaborator and show runner Terrence Winter, with The Wolf of Wall Street  Scorsese sets a feverish pace and never lets up, as if defying anyone to get bored across its epic, 180-minute runtime. A quick scene-setting with a wide-eyed graduate Belfort and his mentor, Mark Hanna (Matthew McConaughey, who can currently do no wrong) thrusts us right into the mindset of the wolfish stockbrokers that guide the audience through this twisted version of that elusive dream: pump some people up, screw some people over, then subject mind and body to enough excess to forget the amorality of it all. The film doesn’t waste it’s time getting into the specifics of the acts of swindling executed by Belfort and his merry pack of deranged bandits. Scorsese is more focused on the life they lived as a result of it: the seductive extravagance of it, the excitable glee we feel toward it as we live vicariously through the actions unfolding. It’s a hardline stance against giving the film a moral compass to relate to (and Academy members love their moral compasses) that has equally found detractors decrying Scorsese’s glorification of the depravity, and champions praising the artistic verve in his aligning the camera with the repugnant pricks, so that we experience the same empty, uncaring attitude they hold for their victims; the same selfishly indulgent attention for only their possessions, their own highs, their own comedowns and sexual coups.

It’s brash, bold filmmaking, but those qualities are worn like a face tattoo: overtly apparent and even attention-seeking, as if Scorsese wanted to subtly remind us he made Goodfellas by taking a megaphone into an echo chamber and blaring “Remember when I made Goodfellas?!?” Leonardo DiCaprio gives a brilliantly committed performance as a classically deluded Scorsesian protagonist, blind to his steadily advancing comeuppance because his brain renders ideas quicker than his rearview can reveal the speed bumps. But when he breaks the fourth wall to remind us we don’t really care about the technicalities of what he did, it’s his best Henry Hill conceding to the artifice of the work of art. And when he’s doing his best His Left Foot, in a magnificent expired quaaludes sequence that’s both a peak and nadir in Belfort’s story, it’s with the kind of satisfying, outwardly showy performing that makes you miss the frustrated, inwardly-focused anguish that so marked his unawarded career-best work in The Departed.

Still, add in the comic chops of Jonah Hill, as deranged caporegime Donnie, and a relatively unknown Margot Robbie (as Belfort’s second wife, Naomi) — who, for better or worse, has nailed the sort of role that will make her a lot better known — as well as bit parts from Hollywood’s finest just-shy-of-A-Listers (McConaughey, Kyle Chandler, Jean Dujardin, to name a few), and The Wolf of Wall Street offers more than enough to satisfy at the cineplex. It’s an explicitly funny, absolutely entertaining three hours that nonetheless leaves us with a distinctive sense of emptiness, despite the fullness of aesthetic experience to which we’ve just been subject. Scorsese means precisely to close the film with his camera turned back to the audience, with a moment that — in perhaps another nod to The Departed — is almost cheekily literal. In spite of its length, it’s been said that The Wolf of Wall Street barely scratches the surface, hardly covering half of the story contained in the book. It may have just been a running time thing. Maybe I look too hard for poetics. But I like the idea that Scorsese wanted his audience to close the loop by design.

The Wolf of Wall Street trailer:

This morning the official announcement of nominations for the 2014 Oscars came in with Gravity and American Hustle on top with an impressive total of 10 nominations each. Not far behind was 12 Years A Slave which hauled in 9 nominations. The Best Picture race will almost certainly be between American Hustle and 12 Years A Slave with Gravity almost a lock to pick up several technical achievement awards. A pleasant surprise for me was to see the Academy’s love for Spike Jonze’s Her, which nabbed 5 nominations including Best Picture, while the Coen Brothers film Inside Llewyn Davis received nominations only for Best Cinematography and Best Sound Mixing.

Other surprises were Jonah Hill getting a Best Supporting nod for The Wolf of Wall Street, Saving Mr. Banks only receiving a single nomination for Best Original Score, despite many believing it had Best Actor and even Best Picture potential (though I agree with the Academy’s decision on this one). Another surprise were Blackfish and Stories We Tell getting nudged out of the Best Documentary category, as 20 Feet From Stardom slips in. The biggest disappointment for me was seeing Blue Is the Warmest Color getting snubbed in the Best Foreign Film category.

The 86th Academy Awards will air March 2, 2014 at 7 p.m. ET on ABC.

Full List of 2014 Oscar Nominations:

Best Picture:

American Hustle
Captain Phillips
Dallas Buyers Club
Gravity
Her
Nebraska
Philomena
12 Years a Slave
The Wolf of Wall Street

Best Director:

David O. Russell – American Hustle
Alfonso Cuarón – Gravity
Alexander Payne – Nebraska
Steve McQueen – 12 Years a Slave
Martin Scorsese – The Wolf of Wall Street

Best Actor:

Christian Bale – American Hustle
Bruce Dern – Nebraska
Leonardo DiCaprio – The Wolf of Wall Street
Chiwetel Ejiofor – 12 Years a Slave
Matthew McConaughey – Dallas Buyers Club

Best Actress:

Amy Adams – American Hustle
Cate Blanchett – Blue Jasmine
Sandra Bullock – Gravity
Judi Dench – Philomena
Meryl Streep – August: Osage County

Best Supporting Actor:

Barkhad Abdi – Captain Phillips
Bradley Cooper – American Hustle
Michael Fassbender – 12 Years a Slave
Jonah Hill – The Wolf of Wall Street
Jared Leto – Dallas Buyers Club

Best Supporting Actress:

Sally Hawkins – Blue Jasmine
Jennifer Lawrence – American Hustle
Lupita Nyong’o – 12 Years a Slave
Julia Roberts – August: Osage County
June Squibb – Nebraska

Best Original Screenplay:

Eric Warren Singer and David O. Russell – American Hustle
Woody Allen – Blue Jasmine
Craig Borten & Melisa Wallack – Dallas Buyers Club
Spike Jonze – Her
Bob Nelson – Nebraska

Best Adapted Screenplay:

Richard Linklater, Julie Delpy, Ethan Hawke – Before Midnight
Billy Ray – Captain Phillips
Steve Coogan and Jeff Pope – Philomena
John Ridley – 12 Years a Slave
Terence Winter – The Wolf of Wall Street

Best Foreign Film:

The Broken Circle Breakdown
The Great Beauty
The Hunt
The Missing Picture
Omar

Best Cinematography:

Philippe Le Sourd – The Grandmaster
Emmanuel Lubezki – Gravity
Bruno Delbonnel – Inside Llewyn Davis
Phedon Papamichael – Nebraska
Roger A. Deakins – Prisoners

Best Animated Film:

The Croods
Despicable Me 2
Ernest & Celestine
Frozen
The Wind Rises

Best Documentary:

The Act of Killing
Cutie and the Boxer
Dirty Wars
The Square
20 Feet from Stardom

Best Film Editing:

Jay Cassidy, Crispin Struthers and Alan Baumgarten – American Hustle
Christopher Rouse – Captain Phillips
John Mac McMurphy and Martin Pensa – Dallas Buyers Club
Alfonso Cuarón and Mark Sanger – Gravity
Joe Walker – 12 Years a Slave

Best Original Score:

John Williams – The Book Thief
Steven Price – Gravity
William Butler and Owen Pallett – Her
Alexandre Desplat – Philomena
Thomas Newman – Saving Mr. Banks

Best Original Song:

“Alone Yet Not Alone” – Alone Yet Not Alone
“Happy” – Despicable Me 2
“Let It Go” – Frozen
“The Moon Song” – Her
“Ordinary Love” – Mandela: Long Walk to Freedom

Best Production Design:

American Hustle
Gravity
The Great Gatsby
Her
12 Years a Slave

Best Costume Design:

American Hustle
The Grandmaster
The Great Gatsby
The Invisible Woman
12 Years a Slave

Best Makeup & Hairstyling:

Dallas Buyers Club
Jackass Presents: Bad Grandpa
The Lone Ranger

Best Sound Editing:

All Is Lost
Captain Phillips
Gravity
The Hobbit: The Desolation of Smaug
Lone Survivor

Best Sound Mixing:

Captain Phillips
Gravity
The Hobbit: The Desolation of Smaug
Inside Llewyn Davis
Lone Survivor

Best Visual Effects:

Gravity
The Hobbit: The Desolation of Smaug
Iron Man 3
The Lone Ranger
Star Trek Into Darkness

Best Short Film (Live Action):

Aquel No Era Yo
Avant Que De Tout Perdre
Helium
Pitääkö Mun Kaikki Hoitaa?
The Voorman Problem

Best Visual Short Film (Animated):

Feral
Get a Horse!
Mr. Hublot
Possessions
Room on the Broom

Best Documentary (Short Subject):

CaveDigger
Facing Fear
Karama Has No Walls
The Lady in Number 6: Music Saved My Life
Prison Terminal: The Last Days of Private Jack Hall

Tina Fey and Amy Poehler continued hosting duties for the second consecutive year for the Hollywood Foreign Press Association’s Golden Globe awards. Over the course of the award ceremony there were many big winners which include: American Hustle which won three awards (Best Motion Picture Comedy, and two acting awards), 12 Years a Slave which surprisingly only won Best Motion Picture for Drama, and Alfonso Cuaron getting Best Director for Gravity. Some surprising but pleasing winners were: Jared Leto getting Best Support Actor for his wonderful role in Dallas Buyers Club, the deserving Spike Jonze winning for Best Screenplay for Her, and Amy Adams beating out Meryl Streep for Best Actress (Comedy/Musical). Some disappointments were Bono winning Best Song, All Is Lost winning Best Original Score, and the biggest disappointment of all, Blue Is The Warmest Color losing to The Great Beauty (even though it was good) for Best Foreign Film.

List of 2014 Golden Globes award winners:

(Winners are highlighted in bold red font)

FILM

Best Motion Picture – Drama
12 Years a Slave
Captain Phillips
Gravity
Philomena
Rush

Best Picture – Comedy/Musical
American Hustle
Her
Inside Llewyn Davis
Nebraska
The Wolf Of Wall Street

Best Director
Alfonso Cuaron – Gravity
Paul Greengrass – Captain Phillips
Steve McQueen – 12 Years a Slave
Alexander Payne – Nebraska
David O. Russell – American Hustle

Best Actress – Drama
Cate Blanchett – Blue Jasmine
Sandra Bullock – Gravity
Judi Dench – Philomena
Emma Thompson – Saving Mr. Banks
Kate Winslet – Labor Day

Best Actor – Drama
Chiwetel Ejiofor – 12 Years a Slave
Idris Elba – Mandela: Long Walk to Freedom
Tom Hanks – Captain Phillips
Matthew McConaughey – Dallas Buyers Club
Robert Redford – All Is Lost

Best Actress – Comedy/Musical
Amy Adams – American Hustle
Julie Delpy- Before Midnight
Greta Gerwig – Frances Ha
Julia Louis-Dreyfus – Enough Said
Meryl Streep – August: Osage County

Best Actor – Comedy/Musical
Christian Bale – American Hustle
Bruce Dern – Nebraska
Leonardo DiCaprio – The Wolf of Wall Street
Oscar Isaac – Inside Llewyn Davis
Joaquin Phoenix – Her

Best Supporting Actress In A Motion Picture
Sally Hawkins – Blue Jasmine
Jennifer Lawrence – American Hustle
Lupita Nyong’o – 12 Years a Slave
Julia Roberts – August: Osage County
June Squibb – Nebraska

Best Supporting Actor In A Motion Picture
Barkhad Abd – Captain Phillips
Daniel Brühl – Rush
Bradley Cooper – American Hustle
Michael Fassbender – 12 Years a Slave
Jared Leto – Dallas Buyers Club

Best Screenplay
Spike Jonze – Her
Bob Nelson – Nebraska
Jeff Pope, Steve Coogan – Philomena
John Ridley – 12 Years A Slave
Eric Warren Singer, David O. Russell – American Hustle

Best Original Score
Alex Ebert – All Is Lost
Alex Heffes – Mandela: Long Walk To Freedom
Steven Price – Gravity
John Williams – The Book Thief
Hans Zimmer – 12 Years A Slave

Best Original Song
Chris Martin, Guy Berryman, Jonny Buckland, Will Champion – Atlas (Hunger Games: Catching Fire)
Kristen Anderson Lopez, Robert Lopez – Let It Go (Frozen)
Bono, The Edge, Adam Clayton, Larry Mullen, Jr., Brian Burton – Ordinary Love (Mandela: Long Walk to Freedom)
Ed Rush, George Cromarty, T Bone Burnett, Justin Timberlake, Joel Coen, Ethan Coen – Please Mr Kennedy (Inside Llewyn Davis)
Taylor Swift, Jack Antonoff – Sweeter Than Fiction – (One Chance)

Best Animated Feature Film
The Croods
Despicable Me 2
Frozen

Best Foreign Film
Blue is the Warmest Color
The Great Beauty
The Hunt
The Past
The Wind Rises

TELEVISION

Best Television Series – Drama
Breaking Bad
Downton Abbey
The Good Wife
House Of Cards
Masters Of Sex

Best Performance by an Actress In A Television Series – Drama
Julianna Margulies – The Good Wife
Tatiana Maslany – Orphan Black
Taylor Schilling – Orange Is The New Black
Kerry Washington – Scandal
Robin Wright – House Of Cards

Best Performance by an Actor In A Television Series – Drama
Bryan Cranston – Breaking Bad
Liev Schreiber – Ray Donovan
Michael Sheen – Masters of Sex
Kevin Spacey – House of Cards
James Spader – The Blacklist

Best Television Series – Comedy Or Musical
The Big Bang Theory
Brooklyn Nine-Nine
Girls
Modern Family
Parks and Recreation

Best Performance by an Actress In A Television Series – Comedy Or Musical
Zooey Deschanel – New Girl
Lena Dunham – Girls
Edie Falco – Nurse Jackie
Julia Louis-Dreyfus – Veep
Amy Poehler – Parks and Recreation

Best Performance by an Actor In A Television Series – Comedy Or Musical
Jason Bateman – Arrested Development
Don Cheadle – House of Lies
Michael J. Fox – The Michael J. Fox Show
Jim Parsons – The Big Bang Theory
Andy Samberg – Brooklyn Nine-Nine

Best Mini-Series Or Motion Picture Made for Television
American Horror Story: Coven
Behind The Candelabra
Dancing on the Edge
Top of the Lake
White Queen

Best Performance by an Actress In A Mini-series or Motion Picture Made for Television
Helena Bonham Carter – Burton and Taylor
Rebecca Ferguson – White Queen
Jessica Lange – American Horror Story: Coven
Helen Mirren – Phil Spector
Elisabeth Moss – Top of the Lake

Best Performance by an Actor in a Mini-Series or Motion Picture Made for Television
Matt Damon – Behind the Candelabra
Michael Douglas – Behind the Candelabra
Chiwetel Ejiofor – Dancing on the Edge
Idris Elba – Luther
Al Pacino – Phil Spector

Best Performance by an Actress in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television
Jacqueline Bisset – Dancing on the Edge
Janet McTeer – White Queen
Hayden Panettiere – Nashville
Monica Potter – Parenthood
Sofia Vergara – Modern Family

Best Performance by an Actor in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television
Josh Charles – The Good Wife
Rob Lowe – Behind the Candelabra
Aaron Paul – Breaking Bad
Corey Stoll – House of Cards
Jon Voight – Ray Donovan