Thanks to Ron Reed for making it public!
This year’s nominees for the best films of 2007 according to the Faith and Film Critics Circle are quite surprising! That is to say, when the critics were polled, their favorite narrative films did not include one of the titles you’d most expect to see there. You’ll see what I mean in the list below.
The winners will be announced next week.
Who are the Faith and Film Critics Circle? Find out here.¬†I managed this endeavor for a while, and eventually had to step down due to the increasing demands of my writing endeavors. But I’m still a voting member, and the group goes on. I’m excited about this year’s nominations.
Most Significant Exploration of Spiritual Themes
After the Wedding
Amazing Grace
Atonement
Into Great Silence
Into the Wild
Lars and the Real Girl
Best Narrative Film
The Assassination of Jesse James by the Coward Robert Ford
The Diving Bell and the Butterfly
Lars and the Real Girl
No Country for Old Men
There Will Be Blood
Best Documentary
The Devil Came on Horseback
In the Shadow of the Moon
Into Great Silence
The King of Kong
No End in Sight
Best Film for the Whole Family
The Bridge to Terabithia
Dan in Real Life
Enchanted
In the Shadow of the Moon
Ratatouille
Best Director
Paul Thomas Anderson – There Will Be Blood
Brad Bird – Ratatouille
Joel and Ethan Coen – No Country for Old Men
Todd Haynes – I’m Not There
Julian Schnabel – The Diving Bell and the Butterfly
Best Performance by an Actor
Christian Bale – Rescue Dawn
Russell Crowe – 3:10 to Yuma
Daniel Day-Lewis – There Will Be Blood
Johnny Depp – Sweeney Todd: The Demon Barber of Fleet Street
Ryan Gosling – Lars and the Real Girl
Best Performance by an Actress
Amy Adams – Enchanted
Julie Christie – Away from Her
Marion Cotillard – La Vie en Rose
Laura Linney – The Savages
Ellen Page – Juno
Best Performance by a Child
Dillon Freasier – There Will Be Blood
AnnaSophia Robb – The Bridge to Terabithia
Saoirse Ronan – Atonement
Ed Sanders – Sweeney Todd: The Demon Barber of Fleet Street
Thomas Turgoose – This Is England
Best Supporting Performance by an Actor
Casey Affleck – The Assassination of Jesse James by the Coward Robert Ford
Javier Bardem – No Country for Old Men
Paul Dano – There Will Be Blood
Philip Seymour Hoffman – Charlie Wilson’s War
Hal Holbrook – Into the Wild
Best Supporting Performance by an Actress
Cate Blanchett – I’m Not There
Jennifer Garner – Juno
Emily Mortimer – Lars and the Real Girl
Amy Ryan – Gone Baby Gone
Tilda Swinton – Michael Clayton
Best Ensemble Cast
The Assassination of Jesse James by the Coward Robert Ford
I’m Not There
Juno
Lars and the Real Girl
Michael Clayton
Best Cinematography
Roger Deakins – The Assassination of Jesse James by the Coward Robert Ford
Roger Deakins – No Country for Old Men
Robert Elswit – There Will Be Blood
Eric Gautier – Into the Wild
Janusz Kaminski – The Diving Bell and the Butterfly
Best Original Screenplay
Brad Bird (et al.) – Ratatouille
Diablo Cody – Juno
Todd Haynes & Oren Moverman – I’m Not There
Anders Thomas Jensen & Susanne Bier – After the Wedding
Nancy Oliver – Lars and the Real Girl
Best Adapted Screenplay
Ben Affleck & Aaron Stockard – Gone Baby Gone
Paul Thomas Anderson – There Will Be Blood
Joel and Ethan Coen – No Country for Old Men
Andrew Dominik – The Assassination of Jesse James by the Coward Robert Ford
Ronald Harwood – The Diving Bell and the Butterfly
Sooni Taraporevala – The Namesake
Best Original Score
Klaus Badelt – Rescue Dawn
Nick Cave & Warren Ellis – The Assassination of Jesse James by the Coward Robert Ford
Michael Giacchino – Ratatouille
Jonny Greenwood – There Will Be Blood
Dario Marianelli – Atonement
Philip Sheppard – In the Shadow of the Moon
Those are some great picks.
I like them better than the Academy’s nominees.
Interesting list . . . I’d put “There Will Be Blood” in the first category. A neglected–in critical circles, anyway–facet of that film is that it explores the way American religion and capitalism reinforce one another, even while–at times–they are antagonistic. Both Plainview and Sunday benefit from their interaction, most obviously (but not exclusively) in Plainview getting his pipeline in return for joining the church, thus boosting Sunday’s prestige and that of his church.
Thus the film explores the peculiar American accommodation of religion to capitalism, realized as manifest destiny and modern prosperity doctrine. When Sunday comes back, ruined financially, it’s a repudiation of that doctrine–if God materially rewards those who are faithful and devout, and you are not so rewarded, you must not be very faithful or devout. This terrible realization is on Sunday’s face in the final scene long before Plainview makes him admit it aloud.
Wow, that’s a great insight RevRick! Very interesting. (Hope commenting on a comment doesn’t break a commenting rule).
Once again, Faith and Film Critics speak the truth.