2014 BAM Award Considerations – October

I decided that with the plethora of BAM Awards-related post towards the end of 2013 and the start of this year it was best to wait to the end of this month before officially recommencing the process.

I will post these lists towards the end of the month to allow for minimal updates. By creating a new post monthly, and creating massive combo files offline, it should make the process easier for me and more user-friendly for you, the esteemed reader. Enjoy.

Eligible Titles

Dracula Untold
Hellaware
Summer of Blood
Mercy
Alexander and the Terrible, No Good, Very Bad Day
Annabelle
Ouija
St. Vincent
The Day the Series Stopped
In the Heart
Abuse of Weakness
Moebius
1,000 Times Good Night
Fury
For a Woman
Cannibal
Finn
The Judge
Gone Girl

Best Picture

St. Vincent
Fury
Finn
The Judge
Gone Girl

Best Foreign Film

1,000 Times Good Night
Finn

Best Documentary

The Day the Series Stopped

Most Overlooked Film

As intimated in my Most Underrated announcement this year, I’ve decided to make a change here. Rather than get caught up in me vs. the world nonsense and what a film’s rating is on an aggregate site, the IMDb or anywhere else, I want to champion smaller, lesser-known films. In 2011 with the selection of Toast this move was really in the offing. The nominees from this past year echo that fact. So here, regardless of how well-received something is by those who’ve seen it, I’ll be championing indies and foreign films, and the occasional financial flop from a bigger entity.

Dracula Untold
Alexander and the Terrible, No Good, Very Bad Day
1,000 Times Good Night
Finn

Best Director
St. Vincent
Fury
Finn
The Judge
Gone Girl

Best Actress

Kim van Kooten In the Heart
Isabelle Huppert Abuse of Weakness
Juliette Binoche 1,000 Times Good Night
Mélanie Thierry For a Woman
Olimpia Melinte Cannibal
Rosamund Pike Gone Girl

Best Actor

Luke Evans Dracula Untold
Bill Murray St. Vincent
Koen de Graeve In the Heart
Jae-hyun Jo Moebius
Nikolaj Coster-Waldau 1,000 Times Good Night
Robert Downey, Jr. The Judge
Ben Affleck Gone Girl

Best Supporting Actress

Melissa McCarthy St. Vincent
Eun-woo Lee Moebius
Vera Farmiga The Judge

Best Supporting Actor

Youg-ju Seo Moebius
Logan Lerman Fury
Jan Decleir Finn
Robert Duvall The Judge

Best Performance by a Young Actress in a Leading Role

Lauren Canny 1,000 Times Good Night

Best Performance by a Young Actor in a Leading Role

Chandler Riggs Mercy
Ed Oxenbould Alexander and the Terrible, No Good, Very Bad Day
Jaeden Lieberher St. Vincent
Mels van der Hoeven Finn

Best Performance by a Young Actress in a Supporting Role

Emma Tremblay The Judge
Adrianna Cramer Curtis 1,000 Times Good Night
Kerris Dorsey Alexander and the Terrible, No Good, Very Bad Day

Best Performance by a Young Actor in a Supporting Role

Dario Barosso St. Vincent
Art Parkinson Dracula Untold
Joel Courtney Mercy

Best Cast

St. Vincent
Moebius
1,000 Times Good Night
Fury
Finn
The Judge
Gone Girl
Dracula Untold
Alexander and the Terrible, No Good, Very Bad Day

Best Youth Ensemble

1,000 Times Good Night
Finn
Mercy
Alexander and the Terrible, No Good, Very Bad Day

Best Original Screenplay

St. Vincent
Moebius
1,000 Times Good Night
Fury
Finn
The Judge

Best Adapted Screenplay

Gone Girl
Dracula Untold
Alexander and the Terrible, No Good, Very Bad Day

Best Score

Fury
Finn
Gone Girl
Dracula Untold

Best Editing

St. Vincent
Moebius
Fury
Finn
The Judge

Best Sound Editing/Mixing

Fury
Finn
The Judge
Gone Girl
Dracula Untold

Best Cinematography

St. Vincent
Moebius
1,000 Times Good Night
Fury
Finn
The Judge
Gone Girl

Best Art Direction

St. Vincent
Moebius
Cannibal
Finn
Gone Girl

Best Costume Design

St. Vincent
Moebius
Fury
Cannibal
Finn
Dracula Untold

Best Makeup

St. Vincent
In the Heart
Moebius
1,000 Times Good Night
Fury
The Judge
Gone Girl

Best Visual Effects

Dracula Untold

Best (Original) Song

St. Vincent
In the Heart
1,000 Times Good Night
Finn
The Judge

Advertisements

Review: 1,000 Times Good Night

Rebecca (Juliet Binoche) is one of the world’s foremost photojournalists. She specializes in going into war zones and getting the shots few would dare to. After a life-changing event she, her husband (Nikolaj Coster-Waldau) and her daughters (Lauren Canny and Adrianna Cramer Curtis) struggle to hold their family together as they wrestle mixed emotions about her employment.

1,000 Times Good Night drops you into the deep end from the start. It places you alongside an embedded journalist. With scarcely any dialogue of significance we follow Rebecca as a suicide bomber is prayed over and prepares to do what she sees as her duty. It is an affecting and hypnotic start to the film. Much like Rebecca herself we merely see her in the field, are just focused on her in the moment. That assignment having ended we see her making her way home. A family we didn’t know was there, that feared for her safety, emerges. As the film goes on to be about the family’s struggles with each other and the demands of the matriarch’s employment, we see what a sage beginning to the story this was. Instantly we are shown the dilemma facing them all: what Rebecca does matters, she’s excellent at it, and it separates her from her family and consistently threatens to tear them apart.

Having persistently been in war zones she faces battles at home. However, when dealing with a narrative such as this the tendency can be to treat this with too facile a touch, make conflicts too petulant and infantile (especially the adult ones). Similarly, there are also cycles of acceptance and rejection ongoing. The characters each struggle within themselves and then with one another.

Not only is there a fairly complicated relationship each character shares with the fact that Rebecca is a professional photographer but there are some reversals as well. The film also deals with two very different types of mise-en-scène to create: both area of conflict set-ups and more homey scenarios. The film excels in both and then really puts the cherry on top when it combines them both in a necessary narrative turning point.

The films direction from that crucial midpoint, how it deals with the secrets kept and lies told are the only significant slips in an otherwise sure-handed film. However, the sequence in question is not long and the ill-effects are overcome and backed up by a very strong and decisive third act.

The framing mechanism in the narrative works perfectly, and again almost entirely without any need of dialogue, encapsulates the central struggle of the story. The success of the final act of the film surpasses merely mechanical distinction. The visceral connection that conclusion makes is due in large part to Juliette Binoche’s interpretation of her character. Binoche is strong throughout, a women always seemingly entirely present in her current environs, a convincingly passionate crusader for justice and loving mother racked by guilt. Her performance alone is enough to carry the film, but she does have help.

Nikolaj Coster-Waldau does have to breakout from a personage that seemingly has less dimension than the other but he shows compassion, vulnerability and hurt anger and effectively creates the image of a father who not only raises his girls alone, but feels estranged from a wife he’s still married to. Lauryn Canny, as Rebecca’s eldest daughter, has the unenviable task of being a typically rebellious, dramatic teenager throughout much of the film. However, she does eventually shows other levels and to her character, even if she’s still a bit immature. Not to be undersold Adrianna Cramer Curtis’ quiet loyalty to begin with is a necessary counterpoint that adds much emotion.

1,000 Times Good Night
in dealing with a woman caught between two sets of responsibility and two worlds, the second where she wields a camera like a weapon, has the responsibility to be a highly visual film. It is so, but is also a fairly taut and moving account that offers a lot to think of as families the world over balance homebound and global responsibility in different ways all the time.

8/10