As expected, Alfonso Cuaron won at the Directors Guild Awards tonight, solidifying Gravity's frontrunner status at the Oscars, while The Square won for Best Documentary Feature. Historically, the DGA in its 65 year history has nearly always predicted the Best Picture winner (90% of the time actually), and Gravity's win combined with the PGA win last week would seem to launch it into first place. But since this year is a three way race, with two other very strong movies in the hunt- 12 Years a Slave and American Hustle- there may be time for things to shift before Oscar voting begins on February 14th. The smart money would be to bet on Gravity at this point, but with the guilds splitting up all over the place, the BAFTA awards may become the most important precursor now, which take place on February 16th. Because it happens during voting, that show will tell us which film has the momentum at that point, and since Gravity and 12 Years a Slave are both considered "British" productions, there's no telling what they'll prefer. I think 12 Years a Slave is still very much in contention here, as that PGA tie showed there's quite a lot of passion for it. But maybe Gravity is too big to be stopped? Stay tuned, as the most wide open Oscar race in years continues to play out.
Sundance Roundup: 5 Movies To See in 2014
The 2014 Sundance Film Festival is just starting to wrap up, and as it's usually the first venue to see what upcoming films might make a splash this year, it's time to look at several that received rapturous response and have already been bought by a distributor. These are the ones that caught my eye, and will be released sometime in the coming months:
WHIPLASH; Miles Teller, J.K. Simmons. Dir. Damien Chazelle
Miles Teller, the standout from The Spectacular Now, stars in this film about a teenage drummer who's run through the ringer by a near sadistic music teacher (J.K. Simmons). This was the first film of the festival to grab everybody's attention.
"This is a muscular and accomplished work of kinetic cinema based around two tremendous acting performances." (Salon)
"The film is gripping, funny and inspiring: Imagine 'The Karate Kid' with Mr. Miyagi played by R. Lee Armey." (New York Post)
LAGGIES; Keira Knightley, Sam Rockwell. Dir. Lynn Shelton
The new dramedy from indie director Lynn Shelton stars Keira Knightley as a directionless young woman who befriends teenager Chloe Grace Moretz. It also received a very positive response from the festival crowd and was picked up the new studio A24 for release.
"Funny, human, clean and still messy, 'Laggies' is the indie film equivalent of a bumblebee- it shouldn't be able to fly and manuever, but it does and does so superbly." (Film.com)
"Keira Knightley gives a delightfully loose-limbed performance in Lynn Shelton's polished sixth feature." (Variety)
THE SKELETON TWINS; Bill Hader, Kristen Wiig. Dir. Craig Johnson
I'm looking forward to this one- starring Bill Hader and Kristen Wiig as an estranged brother and sister who reunite after his suicide attempt, the performances are both highly praised and their chemistry is tops, as usual. Another comedy-drama, the kind of movie that tends to shine at Sundance.
"Sibling bonds are fertile territory for indie dramedies, but 'The Skeleton Twins' distinguishes itself from the pack with a pair of knockout performances from SNL veterans Bill Hader and Kristen Wiig." (Variety)
"It is rare to see a film as tonally balanced as 'The Skeleton Twins.' It is both a tearjerker and a crowdpleaser, often in the same scene." (Film Threat)
LIFE, ITSELF; Director Steve James
Another one I'm excited about- the director of Hoop Dreams, Steve James, began this documentary about the life of the great Roger Ebert in 2011, and it apparently brought audiences to tears at every festival showing. The title was taken from Ebert's own memoir, and he was thrilled to know that the director of a movie he so passionately championed from the beginning wanted to document his long, rich life.
"A fulsome appreciation of the life and work of the world's most famous film critic." (Hollywood Reporter)
"James cuts- as in all of his best work- straight to the human heart of the matter, celebrating both the writer and the man, the one inseparable from the other, largely in Ebert's own words." (Variety)
BOYHOOD; Director Richard Linklater
Finally, the last movie out of Sundance that really caught my attention is Boyhood, the epic coming of age film from director Richard Linklater, who's literally been filming this movie for 12 years. He followed a 6 year old boy as he grew to the age of 18, filming a couple of weeks every year, and according to critics, the result is a deeply moving tribute to the evolution of human life.
"Perhaps never has the long arc of the journey from childhood to college been portrayed as cohesively and convincingly as Richard Linklater has done in a film that can be plain on a moment-to-moment basis but is something quite special in its entirety." (Hollywood Reporter)
"Unshakeable, witty, and deeply felt, the film will be paying emotional dividends for a long, long time." (Time Out New York)
"There's a rough-edged, organic quality to 'Boyhood' that recalls the work of European helmers Linklater so admires: Fassbinder, Bergman, Bresson." (Variety)
REVIEW: "Inside Llewyn Davis" (2013) Oscar Isaac, Carey Mulligan. Dir. Joel and Ethan Coen
The Coen Brother's latest film is a lyrical, dreamlike ode to the beauty of failure, no matter how contradictory those terms may seem. It's a haunting evocation of the early 1960's Grenwich Village folk scene, and at the center of it is Llewyn Davis, a wannabe folk singer with loads of talent and even worse attitude. He's played by Oscar Isaac (known mostly for a bit part in Drive) in a fully lived in, incredibly natural performance, and the specific personal nature of the tale of one sad sack loser makes for one of the most beautiful and profound films of the year.
It's 1961 in New York City, at the very beginning of the burgeoning folk scene, and Llewyn is something of a lost soul, whose old partner killed himself and whose solo record is doing nothing on the charts. He spends his days drifting between different friends' couches, depending on who'll take him in, considering he's a bit of a shmuck who owes money to countless people and treats many of his so-called pals with a diffident attitude. The chip on his shoulder may well be earned, thanks to the dire circumstances he's stuck in, a constant loop of shit, as one of his friends, Jean calls it (a grumpy and hilarious Carey Mulligan). Show business is tough, and folk music hasn't quite taken off yet. But Llewyn is devoted to his artistry, and displays a terrific voice, as we get to hear in several scenes that show off Isaac's own, pretty decent set of pipes. The Coen's recreation of early 60's New York is drenched in sepia toned shading and smoke filled, dark and crowded bars, evocative of pictures and images you might have imagined those days to look like. Breaking with Roger Deakins for once, French cinematographer Bruno Delbonnel brings a whole new look to the Coen's world, one that adds even more to the mystique of this particular time and place.
As Llewyn stumbles from one episodic incident to another he bumps into several quirkily written, familiar Coen characters, from John Goodman as an eccentric old time jazz player, to Justin Timberlake in a bit part as the "sell-out" folk singer who writes commercial space songs, and F. Murray Abraham in a crucial role as music producer Bud Grossman who tells Llewyn in the movie's most devastating scene, "I don't see a lot of money in this." This film would be something of a downer if not for the joyous uplift of the music, and as much as the story examines one specific case of somebody who couldn't make it work, it's just as much a love letter to the beauty of art itself, and the incredible devotion of artistically driven people to express themselves through what it is they love and strive to create. T-Bone Burnett collaborated with the Coens on the music for this film, as he did with the best-selling soundtrack for O Brother Where Art Thou? in 2001, and they've got another winner here.
This lovely, strange, beautiful and exquisitely made movie is one of the Coen's very best, in a long filmography that is now filled with one American masterpiece after another. It's a small jewel of a film, and one that you should seek out as soon as possible, for the performances, the music, the look and the feeling that will enrich your life for having seen it.
* * * *
REVIEW: "The Hunger Games: Catching Fire" (2013) Jennifer Lawrence, Josh Hutcherson. Dir. Francis Lawrence
Boy, what a difference a director makes. Happily, The Hunger Games: Catching Fire is a huge improvement on its predecessor. Unhappily, you can only do so much with the source material, and much of Catching Fire was a rehash of the original Hunger Games novel, which conveniently placed Katniss and Peeta right back in the arena so they can battle a whole new set of artificial challenges sent in from above.
But we'll start with the good stuff first, and there's quite a bit. With new director Francis Lawrence at the helm, the pacing is hugely improved from the first outing, and the movie is purely entertaining throughout, moving along from one confrontation and crisis to another, with Katniss' own internal conflict increasing with every new hurdle thrown her way. Also welcome is the steady camera, as Gary Ross' ugly and unnecessary shakicam has disappeared entirely, allowing us to actually see everything they're able to make of the world of Panem this time around. The budget has clearly been magnified, and the production and costume designers make the most of it, showing off some spectacular settings and much improved CGI, along with outrageously colorful costumes on the citizens in the Capitol, who must have had a lot of fun getting dressed in the morning. An eyeful of this world at every moment adds to the enjoyment, and the film's never boring.
Also back is Jennifer Lawrence, herself a newly minted superstar after her blockbuster year in 2012, and she once again brings a fierce intensity to Katniss Everdeen. There's always intelligence and courage behind her eyes, and she's a worthy anchor to the franchise that will likely define her early career. Unfortunately, the two love interests she's saddled with are not nearly as interesting as she is, and she has no chemistry with either one of them, which makes it hard to get invested in the half-hearted love triangle that's been set up. I still maintain they should have jettisoned the Liam Hemsworth character entirely for the films, as he was tangential at best in the books and completely useless in the movies. Josh Hutcherson fares no better here, as Peeta is in the movie more, but hardly has anything interesting to do or say. Philip Seymour Hoffmann and Jeffrey Wright bring some more A-list talent to the increasing cast of characters, as a duplicitous agent of Donald Sutherland's evil President Snow, and a fellow older tribute in the games. Hoffmann basically sleepwalks through his role though, looking like he strolled onto the set every day smirking, happy to be cashing one of his easiest paychecks.
As for the story, Catching Fire details the aftermath of the last Hunger Games, as Katniss and Peeta are now celebrities, tasked with selling their fake love story to the increasingly rebellious citizens that populate the 12 districts of Panem, as they hunger for revolution in the wake of Katniss' example. Katniss also wavers between her love for Peeta or Gale, but all that is brought to a halt when Snow announces the new Hunger Games, which will be a special anniversary round that draws the tributes from the pool of existing victors (which of course, is what gets Katniss and Peeta back in the arena). By the way, if all that exposition sounds like another language, it basically is- these movies are for fans of the books and no effort is made to bring in anyone new (not that it needed to, as box office results have shown).
The Hunger Games books weren't exactly a beacon of originality. As I watched this movie I realized the games are essentially Survivor meets Jumanji, with a bit of The Truman Show thrown in. The books were actually quite violent as well, with the explicit death of another child just around every corner, but since these films are aimed at a teen audience, and corporate necessity dictates a PG-13 rating, you will never get the full impact of those deaths in the movies the way it was depicted on the page. But strictly as a franchise film, it does what it's supposed to do, and in a much more visually attractive, entertaining and satisfactory manner than the first one. If you're a Hunger Games fan, this is a faithful, well-acted rendering, and you will more than get your money's worth.
* * *
Blu-Ray Pick of the Week: "Captain Phillips" (2013)
Captain Phillips is out on blu-ray today and is by far the best of the bunch in the new release pile. Shamefully snubbed by the recent Oscar nominations in Director and Actor (although still a Best Picture nominee), this is a great movie, an exciting and visceral thriller about the hostage taking of Captain Richard Phillips by Somali pirates in 2009. Tom Hanks gives one of the best performances of his career in one of the best movies of the year, so if you didn't see it in theaters, now's the time to check it out.
Trailer:
REVIEW: "Blue Jasmine" (2013) Cate Blanchett, Sally Hawkins. Dir. Woody Allen
Woody Allen's latest film is a modern day twist on A Streetcar Named Desire, a story that follows one unstable, emotionally disturbed woman recovering from a nervous breakdown to her sister's house to find a new life, where she must come into contact with her sister's working class, brute-like boyfriend and less than favorable living circumstances.
Though the story is taken from Streetcar, Allen gives it a very timely focus by making the circumstances of Jasmine's (Cate Blanchett) plight directly related to the recent financial crises and scams perpetrated by the people on Wall Street. Jasmine was married to a man (Alec Baldwin), who was a flat out crook, making his living by ripping people off ala Bernie Madoff, while Jasmine reaps the benefits by looking the other way. Of course, Baldwin gets caught and their wealth disappears, which leads to Jasmine fleeing New York for San Francisco and her sister's (Sally Hawkins) supposedly low class apartment that she inhabits with her two kids. Cate Blanchett gives a fierce and dominating performance in the title role, which stands out especially in a Woody Allen film, where so many actors come and go in various roles without making much of an impression. But according to Blanchett she was essentially marooned by the director and given the room to completely create the character with nothing but her own impulses, and she kind of uses the opportunity to smash up the scenery around her at every turn. Given the fact that Jasmine is a spoiled, manipulative, selfish, self-centered woman who, on top of all that, is also suffering from a nervous breakdown and a drug addiction, that certainly gives Blanchett every excuse in the world to go nuts with the character- but for me there were still times where she stood out a little too much from the cast members surrounding her, none of whom are slouches themselves.
Sally Hawkins is great as her working class sister (despite a slightly shaky American accent), and Bobby Cannavale and Andrew Dice Clay of all people make appearances as her current boyfriend and ex-husband, respectively. Both guys shine in their roles, as this is the first time in a long while that Woody Allen has even attempted to step outside of his usual upper class, intellectual circle of elites that populate his every movie. What's nice is that he does so with the intention of sympathizing with the new characters and even vilifying the upper class in a lot of ways. That's new territory for the director and admirable for him to even try and go there, even if it does come with some occasionally awkward writing- for example, despite how good Cannavale and Clay are, I really don't know why working class San Francisco-ites sound like they're from the Jersey Shore...maybe the movie should have been set there instead? The obvious answer is that Allen wanted to film in San Francisco this time around, but come on Woody, west coasters of any class don't have that northeastern Guido-type attitude. There are some other details that are a bit out of touch, like Jasmine spending so much time taking classes in "computers" to learn how to take classes online. Huh? If she needs to learn how to take a class online, it sounds to me like all somebody has to show her is how to, you know, turn ON a computer and get on the internet. Then there's the issue of Hawkins' apartment, which I have a bad feeling is supposed to look tiny and cramped, when it actually comes across as near fancy, and then when we find out she's a grocery bagger? With two kids and an apartment like that? Yeah, that's not happening.
But overall, those are minor and actually kind of amusing bits in a very entertaining and witty movie that makes great use of every single cast member (Baldwin, Michael Stuhlbarg and Peter Sarsgaard all get meaty bit parts as well), and actually has something to say about the morality of so much of the 1% that tanked the economy in recent years. In other words, it's a lot more than just a showcase for Cate the Great, whose very big, very showy performance probably has the Oscar already engraved with her name. A worthy entry into the Allen canon, who just keeps cranking them out, even at 77 years old. But seriously, somebody has to show Woody how easy it is to get online.
* * *
Movie of the Day: "Talk to Me" (2007)
Today is a special entry for Martin Luther King Day, a lesser known movie about Petey Greene, the local Washington D.C. deejay in the 60's and 70's. He was an ex-con with an ear for the people's voice and what they wanted to hear, and he's played by Don Cheadle in one of his best performances, unlike anything else he's ever done. The movie was directed by Kasi Lemmons and focuses a lot on the relationship between Petey and his manager, played by Chiwetel Ejiofor in one of the many films he'd appeared in before he finally found spotlight recognition recently in 12 Years a Slave. It's a funny, exuberant movie that looks at the civil rights era through a different perspective and examines an area that's rarely explored (it also has a great, funny performance by Taraji P. Henson as Petey's girlfriend).
Trailer:
'Gravity' and '12 Years a Slave' Tie at the PGA Awards
In a massive upset, there was a tie at the Producers Guild for the first time ever, as Gravity and 12 Years a Slave both won the top prize for film:
- Animated Film: Frozen
- Documentary: We Steal Secrets: The Story of WikiLeaks
- Feature Film: Gravity and 12 Years a Slave (tie)
Consider me stunned. This is unprecedented, so what it means is that there is no frontrunner at this point. The tie may cancel out the statistic of the PGA winner going on to win Best Picture. If Gravity and 12 Years a Slave cancel each other out, American Hustle might still sneak in at the Oscars. There is passionate love for all three movies and no way to predict what might happen, especially because voting doesn't start for another month. All we can do is go on to the next guild award, the Directors Guild, which takes place next Saturday and historically, has nearly always lined up with Best Picture. Alfonso Cuaron is considered the frontrunner there, but with 12 Years winning the PGA, it means McQueen has a chance to upset. As of right now, things are simply too close to call.
BOX OFFICE 1/17-1/19: 'Ride Along' Dominates; 'Jack Ryan' Falters
The Kevin Hart/Ice Cube buddy comedy Ride Along debuted this holiday weekend with a smashing $41 million, which sets the record for a January opening. Despite dismal reviews, the movie received an "A" from audiences and will have pulled in about $47 million over the four day weekend. The movie officially launches Kevin Hart as a box office attraction, apparently, as we're sure to see more of him from now on. In second place was Lone Survivor, which dipped just 38% for a $23 million total this weekend, putting its box office at $74 million. The movie is benefiting from great word of mouth, as it also received that rare "A+" from audiences last week.
Surprisingly, in third place with $20 million was The Nut Job, an animated family film starring the voice Will Arnett, which surpassed expectations, signaling that families were looking for a movie other than Frozen to see over the holiday. It got a "B" Cinemascore, but might hold on as it's already done much better than expected. In fourth was the underwhelming new Jack Ryan film, which came in with a weak $17 million- not much for what was supposed to be a reboot of the franchise which has starred actors like Sean Connery, Harrison Ford and Ben Affleck in the past. It won't do much more either, as it also received a middling "B" from crowds and played 85% over the age of 25. Finally, Frozen took fifth, pulling in another $12 million for a $333 million total, and trying to pass Despicable Me 2's box office to take the crown for biggest animated film of 2013.
Top 5
- Ride Along- $41.2 million
- Lone Survivor- $23.3 million
- The Nut Job- $20.6 million
- Jack Ryan: Shadow Recruit- $17.2 million
- Frozen- $12 million
American Hustle was by far the movie that benefited most from the Oscar nominations on Thursday, jumping 24% to pull in another $10 million for a $116 million total so far, and with probably a lot more to go before Oscar night. Other received similar boosts, especially August: Osage County, which was lifted to $7.6 million this weekend. Next week it's I, Frankenstein with Aaron Eckhart, as the fairly dismal month for new releases continues.
American Hustle Wins the SAG
As expected, American Hustle won the SAG award for ensemble, indicating it has broad support within the industry:
- Male Actor in a Leading Role: Matthew McConaughey, Dallas Buyers Club
- Female Actor in a Leading Role: Cate Blanchett, Blue Jasmine
- Male Actor in a Supporting Role: Jared Leto, Dallas Buyers Club
- Female Actor in a Supporting Role: Lupita Nyong'o, 12 Years a Slave
- Ensemble Cast: American Hustle
- Stunt Ensemble: Lone Survivor
Happily, I predicted every acting award right! What this means now is that, along with frontrunners Cate Blanchett and Jared Leto, Matthew McConaughey steps into that circle, as he gave an excited and exuberant speech and probably won himself even more support from voters, who are now getting used to seeing him up on that stage. And I also think Lupita Nyong'o will now become the frontrunner in Supporting Actress. I never believed Jennifer Lawrence was going to pull off two Oscar wins in a row at her age, and Nyong'o is the clear alternative and a good place to award 12 Years a Slave as whole. As for the Best Picture race, American Hustle may be the frontrunner now, but it all comes down to the Producer's Guild, which votes tomorrow night. The PGA uses the same exact ballot as the Academy (a preferential one), and has correctly lined up with Best Picture ever since the field expanded to ten nominees four years ago. Whatever movie wins there will become the default movie to beat.
SAG Predictions
Time to predict the Screen Actors Guild Awards, which take place tomorrow night, and are finally the first award voted on by actual industry voters. Not the Hollywood Foreign Press, not the critics, but an actual voting group that can really tell us something about what a voting body with some overlap with the Academy prefers. The guild awards are where we can really see what's out in front (and finally see 12 Years a Slave and American Hustle go head to head without them having an excuse to split categories and reward one in comedy). SAG can often be the least important precursor, since the Ensemble prize doesn't necessarily translate to Best Picture, but occasionally they do use it as their Best Picture bellwether (for example, both Slumdog Millionaire and Argo won here unexpectedly, which signaled extremely heavy support for those movies in Best Picture).
Male Actor in a Leading Role
- Bruce Dern, Nebraska
- Chiwetel Ejiofor, 12 Years a Slave
- Tom Hanks, Captain Phillips
- Matthew McConaughey, Dallas Buyers Club
- Forest Whitaker, The Butler
Since Leo DiCaprio isn't even nominated here, whoever wins this award probably keeps the race wide open going ahead, unless it's McConaughey, who will officially become the frontrunner if he takes it. And I do think he's likely to, as a popular actor who's never won before, although SAG does have a history of supporting veteran actors, so Bruce Dern can win. And I also think Ejiofor stands a good chance, as a place to reward 12 Years. But my instinct says it's McConaughey, who will then vault into first place for the Oscar as well.
Female Actor in a Leading Role
- Cate Blanchett, Blue Jasmine
- Sandra Bullock, Gravity
- Judi Dench, Philomena
- Meryl Streep, August: Osage County
- Emma Thompson, Saving Mr. Banks
Cate Blanchett has this in the bag. Amy Adams was not nominated here, so her only real competition at the Oscars hasn't come yet. Sandra Bullock has an outside chance, since SAG is such a broad, mainstream group, but yeah- this is Cate's to lose.
Male Actor in a Supporting Role
- Barkhad Abdi, Captain Phillips
- Daniel Bruhl, Rush
- Michael Fassbender, 12 Years a Slave
- James Gandolfini, Enough Said
- Jared Leto, Dallas Buyers Club
Jared Leto, although James Gandolfini has a major chance to upset with a posthumous win. SAG being such a broad group comprised of a lot of TV actors give him that edge, actually. In fact, I think this race could be closer than some might think, since Leto is a bit of an outsider himself, and Gandolfini has won 5 SAG awards. The safe bet is Leto, but watch out for an upset here (which wouldn't mean anything for the Oscar, of course).
Female Actor in a Supporting Role
- Jennifer Lawrence, American Hustle
- Lupita Nyong'o, 12 Years a Slave
- Julia Roberts, August: Osage County
- June Squibb, Nebraska
- Oprah Winfrey, The Butler
Again, the broadness of the voting group tells me these guys will go for Jennifer Lawrence over newcomer Nyong'o, but Oprah might stand a chance here too. And it is rare to repeat at SAG (not on the TV side, but on the movie side). I'm really wavering over this one, but I think I'm going to pick Lupita and say this is where they reward 12 Years a Slave. But admittedly, this is more of a risky call
Cast in a Motion Picture
- 12 Years a Slave
- American Hustle
- August: Osage County
- Dallas Buyers Club
- Lee Daniels' The Butler
Ok, so American Hustle has won every ensemble critics prize there is, it makes sense that they'd win here. In fact, if anything else does win, that would tells us something very significant about where Best Picture's headed. For example, if 12 Years a Slave pulls this out, that means they have a LOT of support within the industry and in that case I'd think it's on its way to winning Best Picture for sure. If it's Hustle, as expected, the status quo remains the same, and the PGA award on Sunday is going to tell us who the true frontrunner is, as they have for the last five consecutive years. If it's anything else, that would just tell us that American Hustle might be weaker in the Best Picture race than we think, but 12 Years a Slave isn't as strong either. But American Hustle is the safe choice.
Critics Choice Award Winners
The Broadcast Film Critics chose 12 Years a Slave tonight, but rewarded quite a few other movies as well, since they split a few categories into comedy this year, like the Golden Globes:
- Best Action Movie: Lone Survivor
- Best Original Screenplay: Her
- Best Actor in a Comedy: Leonardo DiCaprio, The Wolf of Wall Street
- Best Actress in a Comedy: Amy Adams, American Hustle
- Best Comedy: American Hustle
- Best Actor in an Action Movie: Mark Wahlberg, Lone Survivor
- Best Actress in an Action Movie: Sandra Bullock, Gravity
- Best Ensemble: American Hustle
- Best Foreign Language Film: Blue is the Warmest Color
- Best Animated Film: Frozen
- Best Documentary: 20 Feet From Stardom
- Best Young Actor/Actress: Adele Exarchopoulos, Blue is the Warmest Color
- Best Supporting Actor: Jared Leto, Dallas Buyers Club
- Best Supporting Actress: Lupita Nyong'o, 12 Years a Slave
- Best Director: Alfonso Cuaron, Gravity
- Best Score: Gravity
- Best Adapted Screenplay: 12 Years a Slave
- Best Song: "Let it Go," Frozen
- Best Sci-Fi/Horror Movie: Gravity
- Best Actor: Matthew McConaughey, Dallas Buyers Club
- Best Art Direction: The Great Gatsby
- Best Costumes: The Great Gatsby
- Best Hair & Makeup: American Hustle
- Best Visual Effects: Gravity
- Best Cinematography: Gravity
- Best Film Editing: Gravity
- Best Actress: Cate Blanchett, Blue Jasmine
- Best Film: 12 Years a Slave
