Bernardo Villela is like a mallrat except at the movies. He is a writer, director, editor and film enthusiast who seeks to continue to explore and learn about cinema, chronicle the journey and share his findings.
So, first here come a couple of notes about the history of this category: again this category only started in the middle part of the last decade, as I began to become cognizant of all the facets of filmmaking. I cannot be certain there was an ’03 award as my records from that year have vanished and winners are being recalled. I am pretty confident there was and that in ’05 and ’06 my notes made it such that I couldn’t award a prize.
It will be awarded from here on out as all I have to do is have films to consider as all narrative films do qualify.
Art Direction is vitally important as it is the job of this department to interpret the director’s vision and aside from the camera department has the most control of the mise en scene, aside from the director.
So here is the eye candy award. As always there are a few things to note: first, among my favorite winners are the back-to-back tandem of Jurassic Park: The Lost World and Small Soldiers simply because I like to award combined efforts whenever possible. Combined efforts meaning many techniques were used to create the effects of a film like robotics, prosthetic, models in tandem with CGI. Had I known how some effects were achieved for Inception it may have swayed my 2010 vote, having said that I was glad it won the Oscar. Second, one curious thing to note is that you have at times here streaks like 20th Century Fox is on a run as a studio and the Narnia series is 3-for-3 as they always up the ante in combining their work with real elements.
Lastly, I must’ve learned something about how certain shots in The Patriot were achieved in 2000 that influenced my vote but I honestly cannot recall what but as I have stated before I am not revisiting these awards merely posting them for posterity. I, of course, could never have predicted my fatigue of disaster films in 1996 or how much more unsavory that White House shot in Independence Day would grow over the years.
Nevertheless, I hope you enjoy the winners as much as I have.
A few notes worth mentioning when it comes to the Best Cast category: First, I did borrow this concept from the SAG Awards. I just love the idea of honoring an entire cast from top to bottom and just wish they’d list and/or invite more people. There have been years when, if I was patient enough, I listed many of the players in the cast. Needless to say if one cast member wins they all do whether listed or not.
Second, there is one statistical oddity I noticed while assembling this list is that only four of the winners of Best Cast also were awarded my Best Picture prize. This kind of illustrates my point that acting is very important in a film but a film is so collaborative that its success does not necessarily hinge on its players’ ability.
Also interesting to note is that the Harry Potter series has two wins here whereas it has not captured Best Picture in a rather Susan Lucci-like fashion. Lastly, when looking closely enough you’ll note some actors played parts, whether lead, supporting or tertiary, in multiple Best Casts. One such case would be Trevor Morgan, who only really had one major scene in The Sixth Sense wherein he bullies Haley Joel Osment but then plays a much more significant part in Mean Creek. I have not yet verified it but then there’s also the odd case of Hugh Mitchell, who was Colin Creevey in Harry Potter and the Chamber of Secrets and Boy Nicholas Nickleby in Nicholas Nickleby and thus, is to my knowledge, the only actor to ever get nominated twice in the same year for the Best Cast category.
Were I to dig deep enough I’m sure there’d be other interesting stats to find like Alan Rickman’s three wins but alas here are the winners…
In many ways this category exists now because of Waiting for ‘Superman’. As I intimate in the review linked below, I have come full circle with regards to documentary films. I can embrace them as a separate but equal entity to narrative film. I will strive to qualify this category annually but while I can appreciate documentaries fully now I acknowledge my proclivity for fiction whereas when I’m given a choice between which two to watch at a given time I will invariably choose the narrative. Having said that the category is, of course, valid and proved it can threaten to be the best of the year.
This one may have been a bit lacking in the drama department because Superman did make my Top 10 and no other doc crashed the Top 15, however it is truly an amazing experience but none of these others should be missed either. They are all on Netflix (the nominees being: Prodigal Sons, Killing Kasztner, Waiting for ‘Superman‘, Best Worst Movie, The Art of the Steal)
I’ll try and make my commentary on these films brief but there are several noteworthy selections that deserve some preface.
Firstly, I slam the Razzies on an annual basis because they never pick anything low budget. Birdemic became infamous due to its cheesy nature, it was “snubbed” conversely Alice in Wonderland was reviled by many critics but due to the fact that it was nominated for a handful of technical Oscars it was left out. Now I do have some widely seen films down below but my mandate is not to find and slam the worst of the worst. I try and seek out that which I will like and comment on what I find to be the worst. Mind you I do not choose some of the more popular titles for shock effect either. I literally fell asleep during the Pirates film “honored” below and liked others in the series.
As I said in my Overrated category there are people who participated in, and in some cases made, the films below that I really like and it pains me to have to include them on this list. However, I find it hilarious that Charlie Sheen is in one of them. He’d call that winning even if I don’t.
Anyway, just a few more caveats, yes, here, like in other categories, Made for TV Movies are not expressly forbidden so a few will be of that nature and a few will be direct-to-video I believe. I knock them because I didn’t like them, though, not because of the distribution path. Straight-to-video and Made for TV have earned nominees in positive categories also.
In 2002 I skipped the Award, I believe I brought it back the next year and in reconstructing ’03 (lost records) I added a “winner.”
My 2006 film was one I saw at a film festival that doesn’t have a one-sheet up anywhere. I have included a YouTube clip of the opening.
2012 Award Discontinued. This post will remain for archival. Please check 2012 winners post, which is linked here for the reasoning.
From 1996–2009 I had been satisfied with having but one category in which to honor the talented youths on film. This was one of the only places to honor them alongside their counterparts who are of age. In 2011, and perhaps more so in 2012, the nominating process became more difficult than ever as the talent pool seemed to be, if not the deepest ever, then one of them. Suddenly, I realized that I would have been eliminating people based on the size of their role and not on the quality of their performance. People like Janina Fautz in The White Ribbon and Billy Unger in You Again would be shutout of the nominating process. One of the benefits of creating your own awards is the ability to improvise.
Looking at the films and performances I’d seen I was able to create two new categories: I was able to make unisex categories for lead and supporting performances and one for ensemble work by youths, which seemed equally overdue. The goal in the 2011 awards was parity, meaning male and female lead and supporting categories and ensemble. This was achieved.
These categories have always been of great importance to me, not just because I was 15 when I started picking these awards but because youth performers are and have been greatly overlooked and under-appreciated and deserve some recognition. Especially when you consider that the Academy used to have a Juvenile Award and stopped awarding it.
UPDATE 2012:To venture even further away from negative connotations, I have decided to rename this post to remove the ‘child actor’ moniker, which to some can be seen as a slight. It’s a symbolic and semantical gesture, but no less significant for that. The group of categories and individual category names will be adjusted as necessary in the 2012 awards. Previous year will retain the same verbiage, but this post and future winners will not.
UPDATE 2013:To give each of the Youth Categories their due and for browsing convenience this post will act as a jump station to the new posts created for each of five youth categories, plus an additional post for the 1996-2009 winners.
I try to keep my mind as open as possible during the year, and as you start assembling a list like this you see there could be perceived slights. The fact of the matter is making this list was brutal. More than once I had to consider if I can stick to a previously made proclamation, more than once I jotted down additional titles to see if they could slide into the top 25.
Few films can go for lyrical simplicity and capture it so well. Equally difficult is capturing the unspeakable wonders of childhood creativity and a young protagonist alone. This film succeeds in all those areas and more. It truly deserves a worldwide audience.
9. The Perks of Being a Wallflower
This film is one of the best heartfelt teen movies in quite some time. Yes, there was Easy A a few years ago, but that was primarily satirical comedy. There’s humor here but it’s mostly a drama, and has three characters you end up knowing and caring about a great deal.
I could’ve mentioned this for quite a few entries, but aside from all these films being quality pieces, this was really a year of tear-jerkers crowding this list. Making someone cry is one thing, but doing so and being all around great is something else. This film works so subtly and softly I never felt it coming, but when it hit, it hit so hard.
7. Les Misérables
The rip-your-heart-out-bawl-your-eyes-out emotions of the show are here cinematic, raw, in your face here and I for one love it. Some songs are redefined, others reinvented; the cast breathes new life into this classic tale.
If there’s one genre that needs a jolt of energy every so often, it’s horror. The proliferation of horror films will continue, so originality and reflexivity need to be injected to keep it vibrant. This is one of the best films in the genre in years.
Here you see the benefits of festival-going, for had I not made a point of attending QFest in Philadelphia I wouldn’t have seen it. The limited release of this film never really came anywhere close to me.
Thus, I haven’t been fortunate enough to re-view the film, but I firmly believe what I said prior: this will stand the test of time as an important work.
4. The Dark Knight Rises
I love Batman. I do. Had I not gotten bogged down, and behind schedule, I would’ve written a Hero Whipped about it. Nolan’s trilogy is brilliant, but mostly due to the way this one closes it. Enjoyable as the first two were, I always felt I didn’t like them as much as everyone else. This one I love a lot and was very emotionally involving.
This and the title that follows on the list are the ones that really grew upon thought. I never expected this to be such an emotionally involving experience and I was very glad it turned out to be one.
This film is about as perfect a swan song as you could want.
1. Django Unchained
I wrote a bit about this in the BAM Award Winners post. To summarize here: this is a film about slavery that’s as funny as it is smart, and as brash as it is enjoyable.
So here you have the dreamer category; those who want to bring an entirely new conception to the big screen. It is not inherent that the winner must present the most unique concept unleashed on the cinematic landscape but just the fact that something not pre-sold is being done is enough and when that film is great it’s even better. Here are the winners for Best Original Screenplay:
As I have stated in a series of articles not yet transcribed to this blog, a good adaptation is not necessarily a literal one but a vital and cinematically compelling and vibrant one. In these winners I feel there is communicated more story than is written on the screenplay’s page, hints at other avenues and imbues within its narrative a spirit of a story that was not originally written for the screen but was made so through much thought, love and skill.
2024 Cord Jefferson, Percival Everett American Fiction
Here in this category there are a few things that may not be noticed if looking at it on a year-by-year basis. Namely not only are there two two-time winners (Osment and Robbins) but also four cross-over winners (Meaning they won both Lead and Supporting prizes).
Without much further ado The Best Supporting Actor Winners: