North Texas Critics Like 'The Martian'

I wasn't a big fan of The Martian, but it's nice to see at least one group pick a movie that's not Mad Max or Spotlight. These picks are refreshingly different in the top categories at least.

NORTH TEXAS FILM CRITICS ASSOCIATION

BEST PICTURE
The Martian

BEST DIRECTOR
Ridley Scott/The Martian

BEST ACTOR
Leo DiCaprio/The Revenant

BEST ACTRESS
Brie Larson/Room

BEST SUPPORTING ACTOR
Idris Elba/Beasts of No Nation

BEST SUPPORTING ACTRESS
Jennifer Jason Leigh/The Hateful Eight

BEST CINEMATOGRAPHY
Emmanuel Lubezki/The Revenant

BEST ANIMATED
Inside Out

BEST DOCUMENTARY
Amy

BEST FOREIGN LANGUAGE FILM
Son of Saul

BOX OFFICE 1/01-1/03: 'Star Wars' Continues to Dominate

The Force Awakens amassed 88 million for the third biggest domestic weekend ever, launching its domestic total to 740 million. It passed Titanic and Jurassic World this last week and is the fastest to hit the 700 million mark, and only the second movie to do so. It will topple Avatar tomorrow to become the biggest domestic movie of all time, unadjusted for inflation of course. I honestly would prefer it if we recorded box office numbers the way France does, in terms of pure tickets sold, because when you hear exaggerated numbers like this, it's still incredibly misleading. This movie has NOT sold anywhere near the amount of tickets films like Titanic did back in the day, or the original Star Wars, for example. Should we continue to gawk at these numbers even if they don't actually compare to massive hits of the past? Doesn't seem right to me.

Anyway, the holdover success in other areas went to Daddy's Home, which is a huge hit for Will Ferrell, despite the poor reviews, and is close to crossing 100 million. The Hateful Eight expanded wide this weekend, after a sterling opening in limited, but pulled in 16 million, on the lower end for a Tarantino film. It also earned a B Cinemascore, so we'll see if that one holds up well or not. Sisters and the Chipmunks movie rounded out the top five, as last week's Joy saw the steepest drop in the top ten.

Top 5:

Star Wars: The Force Awakens- 88.3 million
Daddy's Home- 29 million
The Hateful Eight- 16.2 million
Sisters- 12.6 million
Alvin and the Chipmunks: The Road Chip- 11.8 million

January is traditionally the worst month of the year for new releases, since it's basically reserved for boosting the success of the Oscar movies, with nominations set to be announced a week from Thursday. So far, Spotlight and Brooklyn continue to be the highest grossers on the indie circuit, having earned 27 and 20 million, respectively. Spotlight can probably boost that gross to at least 50 million, especially if it has the Oscar success many are predicting for it. Next week it's the horror movie The Forest, while The Revenant goes wide in expectation for an awards boost to come.

National Society of Film Critics Gives 'Spotlight' Best Picture

The NSFC is the last of the four "major" critics groups, along with New York, LA and the NBR, but they tend to want to go really idiosyncratic with their choices, like last year, when they picked not a single contender that was on anyone's radar, barely even critics themselves. But this time they were much more mainstream, going for critical darlings Spotlight, Charlotte Rampling, Mark Rylance, Amy, and Todd Haynes. The biggest out of left field pick was Michael B. Jordan for Creed, which is very cool. I wonder if he has an outside chance to land a Best Actor nomination, since that field isn't exactly packed this year. Also, Kristen Stewart is still a major long shot for a nomination, since there were no screeners sent out for that film, so despite her remarkable run with major critics this year, I'd still be shocked if that happened. Now, with only a couple of stragglers left for the critics groups, it's time to move on to the guilds, starting with the ACE Eddie nominees tomorrow, followed by the all important PGA noms the day after, and a major guild every day this week, ending with the BAFTA nominations on Friday. This is where the real hints come in.

Best Actor: Michael B. Jordan, Creed
Best Actress: Charlotte Rampling, 45 Years
Best Supporting Actor: Mark Rylance, Bridge of Spies
Best Supporting Actress: Kristen Stewart, Clouds of Sils Maria
Best Screenplay: Spotlight
Best Cinematography: Carol
Best Documentary: Amy
Best Foreign Language Film: Timbuktu
Best Director: Todd Haynes, Carol
Best Picture: Spotlight

Blood Splatters in New Red-Band Trailer for 'Deadpool'

This movie is still a big question mark, since it's so obviously a complete tonal shift from most superhero movies. What's weird is that it's actually still wanting to be a part of the X-Men universe in spite of it- it looks exactly like the comic on which it's based, but will that brutally violent/simultaneously humorous tone work for audiences used to so many innocuous fast food comic book movies? I do give the movie all the credit in the world for at least trying something different, but that didn't exactly work out so well for Kick Ass, if I recall. It may have some devoted cult fans though.

REVIEW: "Spotlight" (2015) Michael Keaton, Mark Ruffalo. Dir. Tom McCarthy

2001 may have been the last year of a major investigative reporting story in American journalism. In the last 15 years we've seen massive changes regarding the newspaper business, with almost everything shifting online towards the bloggers, hackers and whistleblowers who embdy no real editorial responsibility for what they do or what they uncover. In that sense, Spotlight, which recalls the process the investigative team at the Boston Globe undertook to uncover the massive abuse and cover up scandal the Catholic Church had been involved in for decades, is like a period piece celebrating a bygone era.

It's also a riveting procedural, directed with an invisible and flawless eye by Tom McCarthy, the independent filmmaker whose past work includes The Station Agent and The Visitor. There's not a single wasted scene in Spotlight, named for the investigative team at the Globe, as it documents the frame by frame process that began in July of 2001, when new editor Marty Baron (a quietly outstanding Liev Schreiber) arrived in Boston and set to work ordering the Spotlight team to start digging around stories of child abuse by a Boston priest said to have molested 80 kids over the years. At Baron's orders, Spotlight editor Walter "Robbie" Robertson leads his team as they go step by step, interviewing lawyers for the church and the victims, uncovering more and more cases of abuse and eventually discovering how high up the scandal went, as the Archdiocese becomes implicated in the investigation. As we all now know, the church would pay off victims in under the table settlements and take the accused priests out of circulation, moving them from parish to parish in different cities, letting them abuse more and more kids before being transferred to their next residence.

The horror of the scandal is not really news however, since the Globe's revelations were worldwide headlines 15 years ago, and the film is more about the work it took to uncover the truth, as the Globe dug deeper and worked hard to get the facts right, waiting 6 months before going to print, a process that'd be unimaginable now. Much is made of the Globe's resources and ability to provide backing for such a long and detailed investigation, as subtle nods toward the encroaching ubiquity of the Internet is alluded to, while the reporters work in an old school, door to door fashion, traveling all over Boston to get at the heart of the city's penchant for protecting the Catholic Church. The ensemble cast is fantastic, all working in tandem with each other as every performance strikes the perfect note and is on the same level, with only Mark Ruffalo's excitable Mike Rezendes getting anything close to a scenery chewing moment. Rachel McAdams, John Slattery, Billy Crudup and Stanley Tucci are all in sync with the rhythm of the material, as McCarthy exhibits perfect control over every scene as they move seamlessly from one to another, in service of a near perfect script from McCarthy and Josh Singer.

Spotlight is such a good movie that a couple of small moments, minor as they are, threaten the impact as a whole in ways they would not in a lesser film overall- Schreiber gets a monologue near the end that tries to absolve the team from blame for burying pieces of the story ten years earlier, and he seems to be speaking more the audience than the other actors in the room. It's the only moment that feels the least bit preachy, and a small diversion into McAdams and Ruffalo's personal reactions towards the story as it reaches publication also feels a tad disruptive of the tightly dispassionate tone the film has so effortlessly produced thus far, but moments like that do not ultimately blunt the impact of the film as it barrels toward its conclusion. This is a great movie about process, and about a moment in recent American history before everything would change. Whether it was for the better or not is a question left up to us.

* * * 1/2

Ring in 2016 With 10 Movie Musicals

Happy New Year everybody! Just for the occasion, we've got ten great movie musicals to help you ring in 2016 with a song. One of my favorite genres of film, it's not for everyone, but for those who can appreciate them, musicals can give you more joy than so many other kinds of movies put together. Including classics like The Band Wagon, The Sound of Music, Beauty and the Beast, Love Me Tonight, Spinal Tap and many more, just head over to the Movies For Every Month page to read the description for January, and click on the January movie page to see the full list of ten musicals along with their complete trailers. Happy Movie Watching and Happy New Year!

Go Back to the 1980's in 'Everybody Wants Some' Trailer

Richard Linklater is back with his first film since Boyhood, and I really have no idea what this movie is about, except that maybe it's meant to be a similar kind of thing to Dazed and Confused, but set in the '80's. It's probably another look back on Linklater's own life in that sense, since these guys are college age, and the '70's were his teen years. It's coming out in April.

New Trailer for Disney's 'Zootopia'

The fact that this is the first film from Rich Moore, the Wreck-it Ralph guy, has me a little more optimistic about this new Disney movie. I wasn't a big fan of Big Hero 6, and though I liked Frozen, I found it to be insanely overrated, and I really think Ralph was the best of the new crop of Disney movies since they found their footing with CG. So hopefully this one, which wants to be a throwback to stuff like Robin Hood, is cleverer and funnier than their last couple. It's coming out March 4th.

Austin Film Critics Anoint 'Mad Max'

The Austin critics liked Mad Max for the top prize, along with Fassbender, Larson, Stallone and Vikander in the acting races. Everything looks pretty standard in terms of critics preferences this year. We are nearing the end of the seemingly endless critics awards, by the way. The National Society of Film Critics, the last of the big four alongside NY, LA and NBR, is set to finally weigh in on Saturday, while the last few regional groups come in next week. But next week will be focused on the deluge of industry awards, as the guild nominations all come in, which will tell us for sure what's really taking hold or not, with the Academy, which announces on Jan 21st.

AUSTIN CRITICS

Best Film:“Mad Max: Fury Road”

Best Director: George Miller, “Mad Max: Fury Road”

Best Actor: Michael Fassbender, Steve Jobs

Best Actress: Brie Larson, “Room”

Best Supporting Actor: Sylvester Stallone, “Creed”

Best Supporting Actress: Alicia Vikander, “Ex Machina”

Best Original Screenplay: Pete Docter, Meg LeFauve, Josh Cooley, “Inside Out”

Best Adapted Screenplay: Emma Donoghue, “Room”

Best Cinematography: Edward Lachman, “Carol”

Best Score: Ennio Morricone, “The Hateful Eight”

Best Foreign-Language Film: “Son of Saul”

Best Documentary: “The Look of Silence”

Best Animated Film: “Inside Out”

Best First Film: “Ex Machina”

First Look at Benedict Cumberbatch as 'Dr. Strange'

Entertainment Weekly has an early look at Benedict Cumberbatch as Marvel's Dr. Strange, the sorcerer hero whose movie is coming out next Thanksgiving. He looks pretty good in the flamboyant cape and everything- not familiar with the character but he does look like he fits the part perfectly.

BOX OFFICE 12/25-12/27: 'Star Wars' Crosses 1 Billion Mark in Record Speed

The Christmas weekend was all about The Force Awakens again, as Episode VII crossed 1 billion globally in just 12 days, making it the fastest movie to reach that milestone ever. Domestically is no less impressive, as the movie earned 153 million here in the states over the weekend, the second biggest weekend of all time, again beating Jurassic World's second week of 106 million. It has now earned 545 million, landing in the No. 5 spot of all time, in just 10 days. At this rate it seems fairly certain to beat Avatar's 750 million total, especially given the holiday box office pattern of high earning weekdays until the end of the year.

There were other new releases over Christmas that did well this weekend too, with second place going to Daddy's Home, the Will Ferrell/Mark Wahlberg comedy that earned 38 million, and the Jennifer Lawrence/David O. Russell dramedy Joy opening in third with 17 million. The holdovers in the top five included Sisters, which pulled in another 13 million, bringing its total to 37 million, and Alvin and the Chipmunks: The Road Trip, taking in another 12 million. Will Smith's Concussion fell flat, opening to just 11 million.

Top 5:

Star Wars: The Force Awakens- 153.5 million
Daddy's Home- 38.8 million
Joy- 17.5 million
Sisters- 13.9 million
Alvin and the Chipmunks: The Road Trip- 12.7 million

Other new films released on less screens did spectacularly well this weekend too, all helping to make it the biggest Christmas weekend ever at the box office. Quentin Tarantino's The Hateful Eight opened on just 100 screens for its special 70mm run, and got into the top ten with 4.5 million and a fantastic PTA of 45k. Leo Dicaprio's The Revenant opened in 4 theaters for a 471k total and a stellar 117k PTA, the second best of the year, and The Big Short expanded to 1500 screens and earned 10.2 million. Tune in next week for New Year's weekend as most of these films will continue to do well over the holiday break.

Florida Critics Choose 'Mad Max,' Daisy Ridley in Breakthrough

Rack up another one for Mad Max and George Miller here, while Brie Larson wins her 16th critics award, and Paul Dano gets one for Best Actor. He's won several across the board, because there's no real consensus for Best Actor this year, but I wonder what's going to happen with him at the Oscars. I have a feeling he could be overlooked entirely, due to category confusion and the fact that Love and Mercy isn't a contender in major categories besides him. Also, Daisy Ridley is suddenly showing up in these breakthrough awards now- maybe she can use this success to forge a career outside Star Wars.

FLORIDA FILM CRITICS

BEST PICTURE: Mad Max: Fury Road
(Runner-up: Spotlight)

BEST DIRECTOR: George Miller, Mad Max: Fury Road
(Runner-up: Todd Haynes, Carol)

BEST ACTRESS: Brie Larson, Room
(Runner-up: Charlotte Rampling, 45 Years)

BEST ACTOR: Paul Dano, Love & Mercy
(Runner-up: Leonardo DiCaprio, The Revenant)

BEST ENSEMBLE: Spotlight
(Runner-up: Tangerine)

BEST ORIGINAL SCREENPLAY: Spotlight
(Runner-up: Mistress America)

BEST ADAPTED SCREENPLAY: The Big Short
(Runner-up: Carol)

BEST SUPPORTING ACTOR: Oscar Isaac, Ex Machina
(Runner-up: Michael Shannon, 99 Homes)

BEST SUPPORTING ACTRESS: Kristen Stewart, Clouds of Sils Maria
(Runner-up: Jennifer Jason Leigh, The Hateful Eight)

BEST CINEMATOGRAPHY: Mad Max: Fury Road
(Runner-up: Carol)

BEST VISUAL EFFECTS: Mad Max: Fury Road
(Runner-up: Star Wars: The Force Awakens)

BEST ART DIRECTION/PRODUCTION DESIGN: Carol
(Runner-up: Mad Max: Fury Road)

BEST SCORE: Love & Mercy
(Runner-up: Carol)

BEST DOCUMENTARY: Amy
(Runner-up: Heart of a Dog)

BEST FOREIGN LANGUAGE FILM: The Assassin
(Runner-up: Mommy)

BEST ANIMATED FEATURE: Inside Out
(Runner-up: Anomalisa)

BREAKOUT AWARD: Daisy Ridley, Star Wars: The Force Awakens
(Runner-up: Alicia Vikander, Ex Machina & The Danish Girl)