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New York Film Critics Circle add to consensus: NCFOM is the film to beat

Posted by Eric Lavallee on Dec 10, 2007
Source: Variety
These days No Country for Old Men is in total domination mood and the folks at the New York Film Critics Circle have come to the same conclusion. What is curious about this list is that There Will Be Blood actually shared in some of the honors and that The Diving Bell and the Butterfly is nowhere to be seen. A blast from the past in The Lives of Others only reminds us that it got a week one release in Los Angeles only - almost the same deal for 4 Months, 3 Weeks and 2 Days - whose distrib IFC can't seem to get their act together with a release strategy. My favorite award mentions are  Sidney Lumet's lifetime achievement award, and a special critics' award to Charles Burnett for his re-release of Killer of Sheep. The NYFCC awards ceremony is set for Jan. 6 at Spotlight in New York.

The complete list of winners is as follows:

Best Picture: No Country for Old Men

 
Best Director: Joel & Ethan Coen (No Country for Old Men)
Best Screenplay: Joel & Ethan Coen (No Country for Old Men)

 
Best Actress: Julie Christie (Away From Her)
 
Best Actor: Daniel Day-Lewis (There Will Be Blood)
 
Best Supporting Actress: Amy Ryan (Gone Baby Gone)
 
Best Supporting Actor: Javier Bardem (No Country for Old Men)
 
Best Cinematography: Robert Elswit (There Will Be Blood)
 
Best Animated Feature: Persepolis
 
Best Nonfiction film: No End in Sight
 
Best Foreign-language film: The Lives of Others
 

Best first film: Away From Her

Lifetime achievement award: Sidney Lumet

Special critics' award: Charles Burnett "Killer of Sheep" (Milestone Films)



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Review: The Kid With a Bike

Review: The Kid With a Bike

"Despite the one-dimensionality of its anti-patriarchal theme (appeasing the knee-jerk expectations of European film fest audiences), the Dardennes avoid cheapening the story with ideological smugness, achieving an emotional resonance without easy sentimentality."


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Review: Wrong

"Encoded in the outlandish humor that pervades the film are bits of commentary on everyday life. The most overt is Dupieux's urging to appreciate the relationships around you, which is manifested in the dog kidnapping, but also in a subplot in which a woman from the pizzeria moves between men without even realizing they have changed. Another cultural critique is found in the rainy office, an instantly recognizable visual metaphor for how dreary a 9 to 5 job can be."


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