The 2001 BAM Awards

2001 BAM Awards

Introduction

As those who are my friends on Facebook, or follow me on Twitter know, in December I am gearing up for my annual film awards (The BAM Awards), and that only partially explains my recent reposting of all past winners.

Since these are picks made by one person, the nominating process is even more important. Aside from the the past years, the full slate of nominees from all years past was not public knowledge.

This is because the first time I did them, in 1996, I created them by myself, for myself. At the time, I knew a lot less about how these decisions are made, campaigning, the year-end barrage of contenders and the like, such that the releasing of the Academy Award nominees was more frustrating than it could be otherwise. Rather than just bemoan it I decided to create an award slate based on what I had seen.

Back then I was ticket-stub pack rat, at the time it was the only way I had to track anything. So I created the list, picked winners and printed it out. The fact that I stuck with hard copies and no back-up created issues later. However, it was just for me at the time.

I called them the BAM Awards because I needed a name. I suppose I came up with Bernardo Academy of Movies because I was being reactionary to The Academy. How one man by himself can be an Academy I didn’t fully consider. I thought it was kind of a silly name, even at the time, so eventually it just became the BAM Awards.

Slowly, the awards widened: soon I emailed a select group of friends (that created eventual storage issues), a few years ago when I was on the Site That Must Not Be Named I decided to really take it public. I didn’t think about it ahead of time, it just occurred to me roundabout late November of ’09 that I could.

The publication was an exciting and unnerving process, regardless of how many or how few people would actually care to see them. While there are a two categories (which I now and again consider ending, and have skipped on occasion) which are negative, it is a positive emotion that brings me to these announcements. I want to at the end of the year share what I thought and why, and all winner announcements come with some explanation, and I do belabor them and struggle with them.

So it is heartening that last year, for the first time, the actual honorees, be they nominees or winners, on occasion acknowledged it. Now that may seem like a self-aggrandizing statement, but what I liked was knowing the news reached them, and other people, and they were pleased to hear it. The design of these awards are to cement what performances, works and films most affected me, I make no bones about that, and sharing that felt like a gamble, but it’s been rewarding for that and many other reason.

Of course, if you see a film missing from any year you may inquire, and there is room for intelligent discourse, but the above statements are true: trolling or disrespectful comments aimed at those chosen won’t be tolerated. Your own awards are just a blog post away.

I apologize for even needing to insert that statement but I did have cause to make similar points last year. Anyway, with how much I enjoyed last year’s and how much I’m looking forward to this year’s awards, I thought it’d be a good idea to put all I have out there in a “reverse” countdown, a count -up if you will.

So here goes…

2001

-With A.I. sweeping through these awards this marks the pinnacle both of Haley Joel Osment’s four-year run in the Young Actor category, and of Janusz Kaminski’s run through the awards. Each is the winningest in their own field.

-Melanie Griffith joins the ranks of those who have won both Supporting and Leading Actor trophies.

-A Partilha is the first film to have three performers nominated in the same category.

-A.I. wins 10 awards in 11 nominations, the most awards and highest success rate to date.

Harry Potter begins its rather Lucciesque run racking up 9 nominations and one win here.

– I don’t watch too many made for TV movies, but they are not verboten in these awards. This year features one of the rare occasions they break into a positive category with Snow in August.

-Here again you see the need for equal categories between mature and youth performers.

-Until recently I had forgotten that Zoolander passed largely unnoticed due in part to its release occurring shortly after 9/11. The underrated nod affirms that notion.

-This was likely the first time I toyed with the notion of US Release dates. In this year The Wide Blue Road (1957) played for, what I perceived to be, the first time in the US. I made it eligible. I likely won’t stretch that far back ever again, but it did start me looking at US debuts more closely.

Winners are BOLD and pictured.

Best Picture

Artificial Intelligence: A.I. (2001, DreamWorks)

Mauvaises Frequentations
A Partilha
A.I.: Artificial Intelligence
Max Keeble’s Big Move
Harry Potter and the Sorcerer’s Stone

Best Director

Steven Spielberg (DreamWorks)

Steven Spielberg Artificial Intelligence: A.I.
Ridley Scott Gladiator
Jean-Pierre Améris Mauvaises Frequentations
Laís Bodanzky Bicho de Sete Cabeças
Ridley Scott Hannibal

Best Actor

Artificial Intelligence: A.I. (2001, DreamWorks)

Robinson Stévenin Mauvaises Frequentations
Rodrigo Santoro Bicho de Sete Cabeças
Haley Joel Osment Artificial Intelligence: A.I.
Daniel Radcliffe Harry Potter and the Sorcerer’s Stone
Tamineh Normatova The Silence

Best Actress

Melanie Griffith in Cecil B. Demented (Artisan Enterment)

Melanie Griffith Cecil B. Demented
Andréa Beltrão A Partilha
Nicole Kidman The Others
Maud Forget Mauvaises Frequentations
Sandrine Bonnaire Est-Ouest

Best Supporting Actor

Artificial Intelligence: A.I. (2001, DreamWorks)

Ronaldo Bonacchi The Wide Blue Road
Jude Law Artificial Intelligence: A.I.
Jake Thomas Artificial Intelligence: A.I.
Rupert Grint Harry Potter and the Sorcerer’s Stone
Bruce Greenwood Thirteen Days

Best Supporting Actress

Hope Davis Hearts in Atlantis
Alicia Witt Cecil B. Demented
Paloma Duarte A Partilha
Lília Cabral A Partilha
Glória Pires A Partilha

Best Original Screenplay

Spy Kids (2001, Troublemaker Studios)

Alain Layrac Mauvaises Frequentations
David L. Watts, Jonathan Bernstein, Mark Blackwell, James Greer Max Keeble’s Big Move
Robert Rodriguez Spy Kids
John Waters Cecil B. Demented
Luis Bolognesi Bicho de Sete Cabeças

Best Adapted Screenplay

Artificial Intelligence: A.I. (2001, DreamWorks)

João Emmanuel Carneiro, Miguel Falabella, Daniel Filho, Mark Haskell A Partilha
Ian Watson, Brian Aldiss, Steven Spielberg Artificial Intelligence: A.I.
Thomas Harris, David Mamet and Steven Zaillian Hannibal
Steven Kloves and J.K. Rowling Harry Potter and the Sorcerer’s Stone
Stephen King and William Goldman Hearts in Atlantis

Best Score

Artificial Intelligence: A.I. (2001, DreamWorks)

John Williams Artificial Intelligence: A.I.
John Williams Harry Potter and the Sorcerer’s Stone
Michael Wandmacher Max Keeble’s Big Move
Hans Zimmer Gladiator
Danny Elfman Spy Kids

Best Visual Effects

Artificial Intelligence: A.I. (2001, DreamWorks)

Artificial Intelligence: A.I.
Spy Kids
Harry Potter and the Sorcerer’s Stone
The Others
Jurassic Park III

Best Performance by a Child Actor

Artificial Intelligence: A.I. (2001, DreamWorks)

Haley Joel Osment Artificial Intelligence: A.I.
Pete Tambakis Snow in August
Daniel Radcliffe Harry Potter and the Sorecer’s Stone
Rupert Grint Harry Potter and the Sorcerer’s Stone
Alex Linz Max Keeble’s Big Move

Best Cinematography

Artificial Intelligence: A.I. (2001, DreamWorks)

Janusz Kaminski Artificial Intelligence: A.I.
Andrew Lesnie Lord of the Rings: Fellowship of the Ring
Hugo Kavensky Bicho de Sete Cabeças
Javier Aguirrresarobe The Others
Ebrahim Ghafori The Silence

Best Cast

Emma Watson, Rupert Grint and Daniel Radcliffe in Harry Potter and the Sorcerer's Stone (Warner Bros.)

Haley Joel Osment, Jude Law, William Hurt, Frances O’Connor, etc. Artificial Intelligence: A.I.
Daniel Radcliffe, Rupert Grint, Emma Watson, Robert Harris, Robbie Coltrane, etc. Harry Potter and the Sorcerer’s Stone
Alex Linz, Larry Miller, Zena Gray, Nora Dunn,, etc. Max Keeble’s Big Move
Andréa Beltrão, Paloma Duarte, Lília Cabral, Glória Pires, Herson Capri A Partilha
Melanie Griffith, Stephen Dorff, Alicia Witt, Adrian Grenier Cecil B. Demented

Most Underrated Film

Artificial Intelligence: A.I. (2001, DreamWorks)

Articial Intelligence: A.I.
Max Keeble’s Big Move
Cecil B. Demented
Mauvaises Frequentations
Zoolander

Most Overated Film

Lord of the Rings: Fellowship of the Ring
Malena
Planet of the Apes
Hearts in Atlantis
The Others*

*A very good film touted as great.

Worst Picture

Believe (2001, LionsGate)

Hounded
Believe
The Poof Point
The Jennie Project
The Luck of the Irish

Nominations

Artificial Intelligence: A.I. 11
Harry Potter and the Sorcerer’s Stone 9
A Partilha 7
Mauvaises Frequentations 6
Max Keeble’s Big Move 6
Cecil B. Demented 5
Bicho de Sete Cabeças 4
The Others 4
Spy Kids 3
Hearts in Atlantis 3
Gladiator 2
Hannibal 2
The Silence 2
Lord of the Rings: The Fellowship of the Ring 2
Jurassic Park III 1
Snow in August 1
Est-Ouest 1
The Wide Blue Road 1
Thirteen Days 1
Zoolander 1
Malena 1
Planet of the Apes 1
Hounded 1
Believe 1
The Poof Point 1
The Jennie Project 1

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Christmas Special Review- A Garfield Christmas

A Garfield Christmas is the warmest/fuzziest of the three specials. I do not mean that to sound facetious, it does have its touching moments both with Garfield comforting Grandma and Garfield and Odie actually getting along for a change.

It does start off on a misfire with Jon’s song as they are driving towards his mother’s house. It is a prime example of original music in a Christmas special falling on its face, which is why sometimes Carols work better. What’s worse is that the music insists on staying in this special. However, to its credit the music is not the downfall of this story.

It is a fun little jaunt, I can’t say it’s the best of the Garfield holiday specials, but it is definitely a worthy addition to the trilogy.

This story opens in a dream that’s is quite funny and the transformation Garfield has from greedy glutton to understanding the true meaning of the holiday is gradual and rather invisible which is refreshing.

The 2000 BAM Awards

Introduction

As those who are my friends on Facebook, or follow me on Twitter know, in December I am gearing up for my annual film awards (The BAM Awards), and that only partially explains my recent reposting of all past winners.

Since these are picks made by one person, the nominating process is even more important. Aside from the the past years, the full slate of nominees from all years past was not public knowledge.

This is because the first time I did them, in 1996, I created them by myself, for myself. At the time, I knew a lot less about how these decisions are made, campaigning, the year-end barrage of contenders and the like, such that the releasing of the Academy Award nominees was more frustrating than it could be otherwise. Rather than just bemoan it I decided to create an award slate based on what I had seen.

Back then I was ticket-stub pack rat, at the time it was the only way I had to track anything. So I created the list, picked winners and printed it out. The fact that I stuck with hard copies and no back-up created issues later. However, it was just for me at the time.

I called them the BAM Awards because I needed a name. I suppose I came up with Bernardo Academy of Movies because I was being reactionary to The Academy. How one man by himself can be an Academy I didn’t fully consider. I thought it was kind of a silly name, even at the time, so eventually it just became the BAM Awards.

Slowly, the awards widened: soon I emailed a select group of friends (that created eventual storage issues), a few years ago when I was on the Site That Must Not Be Named I decided to really take it public. I didn’t think about it ahead of time, it just occurred to me roundabout late November of ’09 that I could.

The publication was an exciting and unnerving process, regardless of how many or how few people would actually care to see them. While there are a two categories (which I now and again consider ending, and have skipped on occasion) which are negative, it is a positive emotion that brings me to these announcements. I want to at the end of the year share what I thought and why, and all winner announcements come with some explanation, and I do belabor them and struggle with them.

So it is heartening that last year, for the first time, the actual honorees, be they nominees or winners, on occasion acknowledged it. Now that may seem like a self-aggrandizing statement, but what I liked was knowing the news reached them, and other people, and they were pleased to hear it. The design of these awards are to cement what performances, works and films most affected me, I make no bones about that, and sharing that felt like a gamble, but it’s been rewarding for that and many other reason.

Of course, if you see a film missing from any year you may inquire, and there is room for intelligent discourse, but the above statements are true: trolling or disrespectful comments aimed at those chosen won’t be tolerated. Your own awards are just a blog post away.

I apologize for even needing to insert that statement but I did have cause to make similar points last year. Anyway, with how much I enjoyed last year’s and how much I’m looking forward to this year’s awards, I thought it’d be a good idea to put all I have out there in a “reverse” countdown, a count -up if you will.

So here goes…

2000

-Comedic performances back with Drew Barrymore

-Goldie Hawn and Kate Hudson are first mother-daughter nominees.

-Perhaps the year most in need of youth categorical equality. There are many splits. Young performers making “open” categories, but not making the child actor cut.

-This was the first time a special achievement award was included in the proceedings, and I handed out two. The interesting thing about the Billy Elliot selection is that it circles around the idea that it should be a musical before that ever happened.

-There are only four nominees in Best Score, I’m not certain that’s intentional, but it may well have been based on the special achievements.

-Jessica Lange here earns her 4th nomination and 3rd win. She is the first, and only actress to date, to win back-to-back Best Actress prizes, and one of two to have a win in both lead and supporting categories, along with Melanie Griffith.

-Not only does a woman win Best Director here long before the Oscars, but Taymor also does so against a fellow female nominee (Leder).

-The 11 nominations for Titus was a record.

– The 10 nominations for Pay it Forward is likely the most for a film not nominated for Best Picture.

The Bernardo Academy of Movies

Best Picture

Titus (1999, Fox Searchlight)

The Patriot
The Red Violin
Titus
Ma Vie en Rose
Cradle Will Rock

Best Actress

Titus (1999, Fox Searchlight)

Julia Roberts Erin Brockovich
Susan Sarandon Anywhere But Here
Jessica Lange Titus
Helen Hunt Pay It Forward
Drew Barrymore Charlie’s Angels

Best Actor

Pay It Forward (2000, Warner Bros.)

Georges DuFresne Ma Vie en Rose
Mel Gibson The Patriot
Anthony Hopkins Titus
Kevin Spacey Pay it Forward
Jamie Bell Billy Elliot

Best Supporting Actress

Titus (1999, Fox Searchlight)

Laura Fraser Titus
Kate Hudson Almost Famous
Julie Walters Billy Elliot
Cameron Diaz Charlie’s Angels
Kathleen Turner The Virgin Suicides

Best Supporting Actor

Jean-Luc Bideau The Red Violin
Osheen Jones Titus
Haley Joel Osment Pay It Forward
Bill Murray Charlie’s Angels
Stuart Wells Billy Elliot

Best Director

JULIE TAYMOR PRESENTS BOOK OF HER FILM 'TITUS'

Julie Taymor Titus
Mimi Leder Pay it Forward
Stephen Daldry Billy Elliot
Tim Robbins Cradle Will Rock
Francois Girard The Red Violin

Best Original Screenplay

Bowfinger (1999, Universal)

Steve Martin Bowfinger
Tim Robbins Cradle Will Rock
Robert Rodat The Patriot
James Toback Black and White
Lee Hall Billy Elliot

Best Adapted Screenplay

JULIE TAYMOR PRESENTS BOOK OF HER FILM 'TITUS'

Julie Taymor, William Shakespeare Titus
Leslie Dixon, Catherine Ryan Hyde Pay It Forward
Scott Spencer and Robert Dillon Waking the Dead
Tim Sandlin Skipped Parts
John Hodge and Eric Garland The Beach

Best Cinematography

Unbreakable (2000, Touchstone Pictures)

Alain Dostie The Red Violin
Luciano Tovoli Titus
Brain Tufano Billy Elliot
Eduardo Serra Unbreakable
Paul Laufer The Cell

Best Visual Effects

The Patriot (2000, Columbia)

The Patriot
The Cell
Hollow Man
Mission to Mars
X-Men

Best Score

Pay it Forward (Warner Bros.)

Pay it Forward (Warner Bros.)

Elliot Goldenthal Titus
Thomas Newman Pay It Forward
John Corigliano The Red Violin
John Williams The Patriot

Best Performance By A Child Actor

Trevor Morgan The Patriot
Osheen Jones Titus
Haley Joel Osment Pay It Forward
Cristoph Koncz The Red Violin
Frankie Muniz My Dog Skip

Special Achievement Awards

The Exorcist (1973, Warner Bros.)

The Exorcist

For its re-releaseshowing the world how classics should be seen.

Billy Elliot (2000, Universal)

Billy Elliot

Stephen Daldry, Stephen Warbeck and Peter Darling for unparalleled musical arrangements and choreography in a new kind of musical.

Most Overrated Film

The Contender (2000, DreamWorks)

The Contender
American Psycho
Frequency
The Talented Mr. Ripley
Meet the Parents

Worst Picture

Stigmata (2000, MGM)

The Talented Mr. Ripley
Stigmata
Next Friday
Mission to Mars
Hollow Man

Best Cast

Pay it Forward (Warner Bros.)

Pay it Forward (Warner Bros.)

Titus
Pay it Forward
Billy Elliot
The Red Violin
The Virgin Suicides

Nominations

Titus 11
Pay it Forward 10
The Red Violin 8
Billy Elliot 6 (wins Special Achievement)
The Patriot 6
Cradle Will Rock 3
Charlie’s Angels 1
Ma Vie en Rose 2
The Virgin Suicides 2
Hollow Man 2
Mission to Mars 2
The Talented Mr. Ripley2
Almost Famous 1
Erin Brockovich 1
Anywhere but Here 1
Bowfinger 1
Black and White 1
Waking the Dead 1
Skipped Parts 1
The Beach 1
Unbreakable 1
The Cell 1
My Dog Skip 1
The Contender 1
American Psycho 1
Meet the Parents 1
Next Friday 1
Stigmata 1
Frequency 1