Now, here are my winners for all of the best films of the year. This year was especially competitive, and for most categories I wished I could give the award to two or three of the nominees. So check out the nominees here, then check out my winners below.
BEST SUPPORTING ACTOR
Mark Rylance-Bridge of Spies
Runner up: Idris Elba-Beasts of No Nation
All Five nominated performances were excellent, but I knew from the moment I saw Bridge of Spies that Rylance would be getting my award. His work in the film was so subtle, yet emotionally powerful, that one could not help but be glued to the screen watching him. Bridge of Spies certainly isn't one of Spielberg's greatest films, but whenever Rylance was on screen it simply made us miss him that much more when he wasn't.
BEST COSTUME DESIGN
Macbeth-Jacqueline Durran
Runner up: Carol-Sandy Powell
Macbeth's costumes elevated the film over simply being another Shakespeare tale. They were realistic but beautiful. Colorful, but gritty and grounded. It's this mixture that added a layer of authenticity to the story that made it feel so unique and realistic. The huge variety of costumes also helped it achieve this win.
BEST MAKEUP AND HAIRSTYLING
Mad Max: Fury Road-Lesley Vanderwalt, Elka Wardega, Damian Martin
Runner up: The Hateful Eight-Camille Friend, Heba Thorisdottir
Each year seems to find fewer and fewer examples of great prosthetic makeup as more films turn to CGI for such creation. However, Mad Max, Fury Road is notable for having an extensive amound of interesting prosthetic, injury and nearly every other type of makeup work. Though it's hair work is less extensive than Hateful Eight's (Most characters in max are short on hair) it's an great example of using makeup to help build a world.
BEST SOUND MIXING
Mad Max: Fury Road-Chris Jenkins, Gregg Rudloff, Ben Osmo
Runner up: Straight Outta Compton-Willie D. Burton, Frank A. Montano, Jon Taylor
Mad Max: Fury Road has such a wide array of sounds that it had to put together throughout the entire film. That it is able to create such a cacophony of sound while helping to make it all easy to follow is a tremendous achievement. From cars, to gunshots, to brand new weapons, to a flamethrowing electric guitar on top of a car made out of drums and speakers, the soundscape of the film is nothing short of impressive and thrilling.
BEST SOUND EDITING
Star Wars: The Force Awakens-Matthew Wood, David Acord
Runner up: Mad Max: Fury Road-Mark A. Mangini, DAvid White
Star Wars: The Force Awakens truly hit it out of the park with their sound designs. The sounds all felt the same as the original films, but have been updated. This perfect blend helps to create the world, one which feels familiar and new all at the same time.
BEST SUPPORTING ACTRESS
Alicia Vikander-Ex Machina
Runner up: Joan Allen-Room
Playing a robot can seem like a thankless role. Playing a robot desperately trying to be human, however, is an incredibly complicated role that can be tremendously challenging for an actor, yet very rewarding. Much like the lead character, we in the audience are putting AVA through the Turing test throughout the film, and whether or not she passes may depend on the viewer, but that its always a question is a testament to Vikander's performance.
BEST VISUAL EFFECTS
Mad Max: Fury Road-Andrew Jackson, Tom Wood, Dan Oliver, Andy Williams
Runner up: Star Wars: The Force Awakens-Roger Guyatt, Pat Tubach, Neal Scanlan, Chris Corbould
Mad Max: Fury Road wins this award less for the effects themselves, and more for the way in which they're used. Mad Max: Fury Road uses its Computer Generated effects to enhance its practical effects. This allows the film to have insane car stunts that look and feel real, while being able to remove tracks and wires that keep the stuntmen safe. This is a great step forward in the use of effects to create more realistic action films.
BEST PRODUCTION DESIGN
Bridge of Spies-Adam Stockhausen, Rena DeAngelo, Bernard Henrich
Runner up: Star Wars: The Force Awakens-Rick Carter, Darren Gilford, Lee Sandales
Star Wars very nearly won this award. It would have easily been the winner, were it not for the fact that several of the locations and sets were incredibly similar to what we've seen before in the series, while trying to be new. Bridge of Spies, then takes the spot for its beautiful real world locations. The film must portray both America and Berlin in their cold war eras, and it makes them both feel strikingly different, while also creating some beautiful set pieces, such as the climactic bridge.
BEST CINEMATOGRAPHY
Mad Max: Fury Road-John Seale
Runner up: Sicario-Roger Deakins
Mad Max: Fury Road's cinematography doesn't look like any other action film. It keeps things colorful, where most apocalyptic films go grey and gritty. It was able to shoot day for night exteriors through the use of coloration alone, and it manages to make sense of all of the chaos surrounding it. Truly an awe inspiring filmic achievement.
Mad Max: Fury Road's cinematography doesn't look like any other action film. It keeps things colorful, where most apocalyptic films go grey and gritty. It was able to shoot day for night exteriors through the use of coloration alone, and it manages to make sense of all of the chaos surrounding it. Truly an awe inspiring filmic achievement.
BEST FILM EDITING
Mad Max: Fury Road-Margaret Sixel
Runner up: The Big Short-Hank Corwin
While it's true that the editing-heavy nature of action films tends to give them a leg up on the competition in this category, The Big Short actually featured the most editing of the films in my nominations. Mad Max, however, was notable for editing the film in a style different from most action films. Eschewing the quick cut style that has become popular lately, it focuses instead on keeping the film easy to follow, despite the insane amount of things happening at any time, and does a great job of it.
While it's true that the editing-heavy nature of action films tends to give them a leg up on the competition in this category, The Big Short actually featured the most editing of the films in my nominations. Mad Max, however, was notable for editing the film in a style different from most action films. Eschewing the quick cut style that has become popular lately, it focuses instead on keeping the film easy to follow, despite the insane amount of things happening at any time, and does a great job of it.
BEST ACTION SEQUENCE
Mad Max: Fury Road-Return tot he Citadel
Runner up: Kingsman: The Secret Service-Church Scene
This nearly 20 minute long chase scene is the culmination of everything the film had been building towards. While the film itself is basically nonstop action, this final sequence still contains many of the most memorable moments. It has brilliant use of tension, escalation and pure excitement, the likes of which simply could not be equaled by anything else this year.
This nearly 20 minute long chase scene is the culmination of everything the film had been building towards. While the film itself is basically nonstop action, this final sequence still contains many of the most memorable moments. It has brilliant use of tension, escalation and pure excitement, the likes of which simply could not be equaled by anything else this year.
BEST ORIGINAL SONG
Kings Never Die-Southpaw-Eminem and Gwen Stefani
While unfortunately this category may seem lacking, I simply did not see many films this year which featured original songs. This song, however, is a very powerful song which fits the tone and theme of the film very well. While the film may be an edgier version of the Rocky story, this song establishes the emotional story of the character, and shows off Eminem's skill as a lyricist.
BEST ORIGNAL SCORE
Star Wars: The Force Awakens-John Williams
Runner up: The Hateful Eight-Ennio Morricone
This was probably the hardest category for me to choose a winner from. Both of the top two choices were fantastic scores, that would both win in almost any other year. In the end, I felt that John Williams work on the Force Awakens was one of the primary factors of my enjoyment of the films. It was an old school style orchestral score that managed to combine the old themes of the series with several new tunes and melodies to honor the new characters and the changed world in which the characters exist. I cannot, however, fail to mention the instantly iconic and original score that Ennio Morricone gave to The Hateful Eight, which I have listened to equally as often as The Force Awakens' score. If I could, I'd call it a tie, but since I must choose, Williams takes this one.
BEST ORIGINAL SCREENPLAY
Spotlight-Josh Singer, Tom McCarthy
Runner up: Inside Out-Pete Docter, Meg LeFauve, Josh Cooley
Spotlight is a perfect example of how to write realistic characters. Nothing in the film rings as false, and all characters behave as one expects they would. One must also credit the film for making the researching of this topic interesting, as it escalates the story at a perfect pace. Overall, the film manages to be a powerful and terrifying example of what people in power can get away with, and the Writing is the primary aspect of why this film works so effectively.
Spotlight is a perfect example of how to write realistic characters. Nothing in the film rings as false, and all characters behave as one expects they would. One must also credit the film for making the researching of this topic interesting, as it escalates the story at a perfect pace. Overall, the film manages to be a powerful and terrifying example of what people in power can get away with, and the Writing is the primary aspect of why this film works so effectively.
BEST ADAPTED SCREENPLAY
Room-Emma Donaghue (Based on her novel)
Room accomplishes a very difficult task, believably writing from the point of view of a young child. Even tougher, the child has been brought up in a unique and strange environment. By examining the way a lifetime of confinement affects two young people and their loved ones, Room paints a fascinating portrait of connection and consequence that is powerful and emotional to watch unfold.
BEST LEADING ACTOR
Jacob Tremblay-Room
Runner up: Johnny Depp-Black Mass
Despite being less than 10 years old, Jacob Tremblay gave a challenging and emotional performance in Room. He was given a difficult task, playing a child who had grown up in such a strange environment. He managed to play all of the heightened emotions that children face very well, blowing all expectations out of the water.
Despite being less than 10 years old, Jacob Tremblay gave a challenging and emotional performance in Room. He was given a difficult task, playing a child who had grown up in such a strange environment. He managed to play all of the heightened emotions that children face very well, blowing all expectations out of the water.
BEST LEADING ACTRESS
Brie Larson-Room
Runner up: Rooney Mara-Carol
Though the film Room is told from the point of view of Jacob Tremblay's character, Brie Larson's role as his young mother is just as much a focal point. She has to go to places that are rarely seen in films nowadays, and Larson fully commits to the emotional high and low points that the role requires of her without ever overdoing it. In case it was needed, this film makes the case for a wonderful and long career ahead for Brie Larson.
Though the film Room is told from the point of view of Jacob Tremblay's character, Brie Larson's role as his young mother is just as much a focal point. She has to go to places that are rarely seen in films nowadays, and Larson fully commits to the emotional high and low points that the role requires of her without ever overdoing it. In case it was needed, this film makes the case for a wonderful and long career ahead for Brie Larson.
BEST ENSEMBLE CAST
Spotlight-Mark Ruffalo, Michael Keaton, Rachel McAdams, Liev Schreiber, John Slattery, Brian D'Arcy James, Stanley Tucci, Gene Amoroso, Jamey Sheridan, Billy Crudup
Runner up: Star Wars: The Force Awakens-Harrison Ford, Mark Hamill, Carrie Fisher, Adam Driver, Daisy Ridley, John Boyega, Oscar Isaac, Lupita Nyong'o, Andy Serkis, Domnhall Gleeson
Spotlight-Mark Ruffalo, Michael Keaton, Rachel McAdams, Liev Schreiber, John Slattery, Brian D'Arcy James, Stanley Tucci, Gene Amoroso, Jamey Sheridan, Billy Crudup
Though all give very understated perfomances, the cast of Spotlight together form a wonderful groups of characters being played realistically and carefully by veteran character actors. Though this film is more about the story than the characters, these actors all do their characters justice through their quiet, but no less powerful, mannerisms and manage to play characters who all feel real and different, truly working with each other and the script to all serve the film as a whole, which is exactly what a cast should do.
BEST DIRECTOR
George Miller-Mad Max: Fury Road
Runner up: Lenny Abrahamson-Room
George Miller-Mad Max: Fury Road
This once again goes back to all of the achievements that the film has made in its technical aspects. Miller, despite being 70 years old, manages to create a relentlessly thrilling film that is probably the greatest action film in several years. While the story itself is simple, Miller makes the constant action easy to follow, helps keep the character motivations clear without them having to speak very much, dials things back at the right moments without letting go of the tension it has built throughout the film. The film is an exhausting experience, but the fact that the film is able to achieve such a visceral reaction shows just how monumental a job George Miller did with the material he had to work with.
BEST PICTURE
Mad Max: Fury Road
Runner up: Room
Mad Max: Fury Road
Yes, this is probably not very surprising considering that I gave this film 7 other awards. There is a good reason for all of this, however, and it's that Mad Max: Fury Road did more than any other film this year to elevate the medium. It had a goal, and it achieved everything it had set out to do with reckless abandon. It used the language of film to create a world, capture the audience's attention, and provide an experience of excitement unlike any that has been seen in the last few years. The only reason I could think of not to give it Best Picture would be because, as an action movie, it was less important than some of the other nominees. In truth, however, that is not the case. It's a movie that features cool, unique characters in a simple, yet certainly not weak, story. Most of all, however, it uses every technique at its disposal to create a visual action experience that puts all others in recent years to shame.
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