Criteria:
- All release dates are according to imdb (even if they are wrong).
- I must have seen at least 25 feature films from a calendar year before I can make a top 10 list of films for that year.
- I must have seen at least 35 feature films from a calendar year before I can make an awards list for that year. I try to see as many of the critically acclaimed performances as I can, though I am not an Oscar completist.
- These are not rolling lists and a new list will be completely redone at some point in the future. Usually, I will only redo a list if I have given particular study to that year (rewatching films on the list as well as watching previously unseen films).
Bias Caveat:
- I am an auteurist and often view “lesser works” by favorite filmmakers in higher esteem than many might afford.
- Time is always a bias as some films are impactful upon viewing and fade over time, and for other films, time and thought only increase appreciation. It is impossible to change this and is one of the beautiful variables in the appreciation of any artform.
- I live in a small town in northeast Mississippi. The 2 local theaters (totaling 18 screens) play the standard, mainstream Hollywood films of the moment. I see most of my films on DVD, Blu-ray or via internet streaming. I have a region-free DVD player but limited funds. Because of all of this, I have an extreme American/English language bias to my film viewing. I try to watch as broadly as I can, as I am able, but there are always the limits of knowledge, availability and language (I know of some films I'm anxious to see that have been released on DVD in France or Japan yet without English subtitles).
- I will disclose all the movies I have seen from a calendar year at the bottom of each list. I like knowing what pool of movies a list is made from so I assume others may be interested too. I first got the idea from Ed Gonzalez's lists over at Slant.
- Top Ten: Instead of a best picture award, I number a top 10 list in order of preference. These are the top feature films from that year in my estimation (no shorts or music videos, though miniseries and TV movies are eligible). I choose these films for very personal reasons. #1 can be assumed to win best picture. In addition, the Honorable mentions are just a continuation of the top 10 (though unnumbered, they are ordered in the same manner).
- Performances (Leading Actor/Actress, Supporting Actor/Actress): I choose 5 (occasionally 6) performances in each of the standard performance categories. These are chosen very carefully from a much broader field and are completely subjective. It is easy to name possibilities, harder to narrow it down. The nominees are harder for me to choose than the winners. When I narrow down my field, I am also deciding how quintessential a performance is (in my estimation) to my enjoyment/appreciation/understanding of that performer. That said, when I am nominating, I am still choosing what I truly believe to be the best performances in that category that calendar year. Previous wins/nominations have no bearing on my decision. I am usually more inclusive of comedy and action films in the acting categories than most end of the year awards groups.
- Best Director: I choose 5 directors to particularly highlight in the Best Director category. This is a very subjective category where I am awarding a director’s work that I feel displayed particular depth, clarity, insight, skill and carefulness while also giving the material the best chance to succeed. Naturally, the top 5 movies for the year give the majority of the director’s nominations, but it isn’t always a direct copy of the top 5. Sometimes I choose to highlight a director whom I feel “rose above” what they normally do to create a unique and lasting work.
- Best Screenplay: I don't differentiate between Adapted and Original scripts. It doesn't matter to me. What does matter is every aspect of writing -- story structure, dialogue, character development, thematic motifs, etc.
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Best Cinematography: A nomination based on how I feel the cinematography united itself with the story to create a unique synthesis that uniquely expresses the themes and narrative movements. It is not based on what I felt were the prettiest pictures made that year. For a film to be in contention for me, the cinematography (film stock, lighting, framing, filters) must be visually compelling and conceptually strong, tying the visual to the abstract narrative.
- Best Production Design: Again, I'm seeking to highlight synthesis not disconnected, abstract beauty. The production designer uses the sets, costumes and locations to best express the themes and narrative.
- Best Editing: Same as the above two technical categories, except with editing. Rhythm, unity, movement, focus, and purpose are essential.
- Best Score: The category that fluctuates the most for me. This is an award for the score that is compelling both as stand-alone music and as a musical expression or accompaniment to the narrative and themes. It is the hardest to judge because it is the easiest to separate from the narrative context and to appreciate on its own (and I do quite enjoy film scores as music). Usually, a score that evokes images and themes from the film when played as a stand-alone piece is a score I consider nominating. Other scores may be very serviceable in the film, but it does little to point me back to the film when I'm outside it. I may only nominate 2 or 3 scores a year, depending on how many I have truly gotten to experience.
- Ensemble Cast Performance: I choose 5 ensemble casts that highlight all the performances given in a film. These tend to be ensemble pieces where there are lots of bit parts and supporting performances, but not always.
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