2015 - 50th Annual National Society of Film Critics AwardsBest Picture: Spotlight
Best Director: Todd Haynes, Carol(RU -
Tom McCarthy - Spotlight)
Best Actor: Michael B. Jordan, Creed(RU -
Geza Rohrig - Son of Saul)
Best Actress : Charlotte Rampling, 45 Years(RU -
Saoirse Ronan - Brooklyn)
Best Supporting Actor: Mark Rylance, Bridge of Spies(RU -
Michael Shannon - 99 Homes)
Best Supporting Actress : Kristen Stewart, Clouds of Sils Maria(RU -
Alicia Vikander - Ex Machina)
Screenplay : Spotlight, written by Josh Singer and Tom McCarthy(RU -
Best Cinematography : Carol, by Ed Lachman
Best Documentary : Amy, directed by Asif Kapadia
Best Foreign Film : Timbuktu, directed by Abderrahmane Sissako
Film Heritage Award:
Film Society of Lincoln Center and the programmers Jake Perlin and Michelle Materre, for the series Tell It Like It Is: Black Independents in New York, 1968-1986
The Criterion Collection and L'Immagine Ritrovata for the restoration and packaging of the reconstructed version of The Apu Trilogy by Satyajit Ray
Association Chaplin for supervising the digital restoration of Charlie Chaplin's Essanay Films
The meeting was dedicated to the late Richard Corliss, longtime critic at TIME magazine, not just a writer of extraordinary intelligence, wit, and energy, but also a generous friend and colleague.
2014 - 49th Annual National Society of Film Critics AwardsBest Picture: Goodbye to Language
Best Director: Richard Linklater, Boyhood(RU -
Jean-Luc Godard - Goodbye to Language)
Best Actor: Timothy Spall, Mr. Turner(RU -
Tom Hardy - Locke)
Best Actress : Marion Cotillard, The Immigrant & Two Days, One Night(RU -
Julianne Moore - Still Alice)
Best Supporting Actor: J.K. Simmons, Whiplash(RU -
Mark Ruffalo - Foxcatcher)
Best Supporting Actress : Patricia Arquette, Boyhood(RU -
Agata Kulesza - Ida)
Screenplay : The Grand Budapest Hotel, written by Wes Anderson(RU -
Inherent Vice & Birdman (tie))
Best Cinematography : Mr. Turner, by Dick Pope
Best Documentary : Citizenfour, directed by Laura Poitras
Film Still Awaiting U.S. Distribution: One Floor Below (Radu Muntean)
Film Heritage Award:
To Ron Magliozzi, associate curator, and Peter Williamson, film conservation manager, of the Museum of Modern Art, for identifying and assembling the earliest surviving footage of what would have been the feature film to star a black cast, the 1913 “Lime Kiln Field Day” starring Bert Williams.
To Ron Hutchinson, co-founder and director of The Vitaphone Project, which since 1991 has collected and restored countless original soundtrack discs for early sound short films and features, including the recent Warner Bros. restoration of William A. Seiter’s 1929 “Why Be Good?”
The meeting was dedicated to the memory of two distinguished members of the Society who died in 2014: Jay Carr and Charles Champlin.
2013 - 48th Annual National Society of Film Critics AwardsBest Picture: Inside Llewyn Davis
Best Director: Joel & Ethan Coen, Inside Llewyn Davis(RU -
Alfonso Cuaron - Gravity)
Best Actor: Oscar Isaac, Inside Llewyn Davis(RU -
Chiwetel Ejiofor - 12 Years a Slave)
Best Actress : Cate Blanchett, Blue Jasmine(RU -
Adele Exarchopoulos - Blue Is the Warmest Color)
Best Supporting Actor: James Franco, Spring Breakers(RU -
Jared Leto - Dallas Buyers Club)
Best Supporting Actress : Jennifer Lawrence, American Hustle(RU -
Lupita Nyong'o - 12 Years a Slave)
Screenplay : Before Midnight, written by Richard Linklater, Ethan Hawke & Julie Delpy(RU -
Inside Llewyn Davis)
Best Cinematography : Inside Llewyn Davis, by Bruno Delbonnel
Best Documentary : The Act of Killing, directed by Joshua Oppenheimer & At Berkeley
Best Foreign Film : Blue is the Warmest Color, directed by Abdellatif Kechiche
Experimental: Leviathan, by Lucien Castaing-Taylor and Verena Paravel
Film Still Awaiting U.S. Distribution: Stray Dogs (Tsai Ming-liang) & Hide Your Smiling Faces (Daniel Patrick Carbone)
Film Heritage Award:
To the Museum of Modern Art, for its wide-ranging retrospective of the films of Allan Dwan.
Too Much Johnson: the surviving reels from Orson Welles’s first professional film. Discovered by Cinemazero (Pordenone) and Cineteca del Friuli; funded by the National Film Preservation Foundation; and restored by the George Eastman House.
British Film Institute for restorations of Alfred Hitchcock’s nine silent features.
To the DVD American Treasures from the New Zealand Film Archive.
The meeting was dedicated to the memory of two distinguished members of the Society who died in 2013: Roger Ebert and Stanley Kauffmann.
2012 - 47th Annual National Society of Film Critics AwardsBest Picture: Amour
Best Director: Michael Haneke, Amour(RU -
Kathryn Bigelow - Zero Dark Thirty & Paul Thomas Anderson - The Master (TIE))
Best Actor: Daniel Day-Lewis, Lincoln(RU -
Denis Lavant - Holy Motors & Joaquin Phoenix - The Master (TIE))
Best Actress : Emmanuelle Riva, Amour(RU -
Jennifer Lawrence - Silver Linings Playbook)
Best Supporting Actor: Matthew McConaughey, Magic Mike & Bernie(RU -
Tommy Lee Jones - Lincoln)
Best Supporting Actress : Amy Adams, The Master(RU -
Sally Field - Lincoln)
Screenplay : Lincoln, written by Tony Kushner(RU -
Best Cinematography : The Master, by Mihai Malaimare, Jr.
Best Documentary : The Gatekeepers, directed by Dror Moreh
Experimental: Jafar Panahi, This Is Not a Film
Film Heritage Award:
To Laurence Kardish, Senior Film Curator at MoMA, for his extraordinary 44 years of service, including this year's Weimar Cinema retrospective.
To Milestone Film & Video for their ongoing Shirley Clarke project.
This year's awards are dedicated to the late Andrew Sarris, one of the most original and influential American film critics as well as a founding member of the Society.
2011 - 46th Annual National Society of Film Critics AwardsBest Picture: Melancholia
The Tree of Life)
Best Director: Terrence Malick, The Tree of Life(RU -
Martin Scorsese - Hugo)
Best Actor: Brad Pitt, Moneyball & The Tree of Life(RU -
Gary Oldman - Tinker Tailor Soldier Spy)
Best Actress : Kirsten Dunst, Melancholia(RU -
Yun Jung-hee - Poetry)
Best Supporting Actor: Albert Brooks, Drive(RU -
Christopher Plummer - Beginners)
Best Supporting Actress : Jessica Chastain, The Tree of Life, Take Shelter, The Help(RU -
Jeannie Berlin - Margaret)
Screenplay : A Separation, written by Asghar Farhadi(RU -
Best Cinematography : The Tree of Life, by Emmanuel Lubezki
Best Documentary : Cave of Forgotten Dreams, directed by Werner Herzog
Best Foreign Film: A Separation, directed by Asghar Farhadi
Experimental: Ken Jacobs, Seeking the Monkey King.
Film Heritage Award:
1. BAMcinématek for its complete Vincente Minnelli retrospective with all titles shown on 16 mm. or 35 mm. film.
2. Lobster Films, Groupama Gan Foundation for Cinema and the Technicolor Foundation for Cinema for the restoration of the color version of George Méliès's "A Trip to the Moon."
3. New York's Museum of Modern Art for its extensive retrospective of Weimar Cinema.
4. Flicker Alley for their box set "Landmarks of Early Soviet Film."
5. Criterion Collecton for its 2-disc DVD package "The Complete Jean Vigo."
2010 - 45th Annual National Society of Film Critics AwardsBest Picture : The Social Network
(RU - Carlos)
Best Director : David Fincher, The Social Network(RU -
Olivier Assayas - Carlos)
Best Actor : Jesse Eisenberg, The Social Network(RU -
Colin Firth - The King's Speech)
Best Actress : Giovanna Mezzogiorno, Vincere(RU -
Annette Bening - The Kids Are All Right)
Best Supporting Actor: Geoffrey Rush, The King's Speech(RU -
Christian Bale - The Fighter)
Best Supporting Actress : Olivia Williams, The Ghost Writer(RU -
Amy Adams - The Fighter)
Screenplay : The Social Network, written by Aaron Sorkin(RU -
The King's Speech)
Best Cinematography : True Grit, by Roger Deakins
Best Documentary : Inside Job, directed by Charles Ferguson
Best Foreign Film: Carlos, directed by Olivier Assayas
Film Heritage Award:
1. The Film Foundation (20-year anniversary)
2. Chaplin at Keystone, Flicker Alley
3. Elia Kazan Collection (Fox)
4. Upstream, rediscovered 1927 film directed by John Ford. (National Film Preservation Foundation. )
5. On the Bowery (Milestone)
6. Word Is Out (Restored by the UCLA Film & Television Archive and distributed by Milestone)
STATEMENT ON THE MPAA RATINGS SYSTEM
The members of the National Society of Film Critics applaud the recent decision by the Classification & Ratings Administration of the Motion Picture Association of America to change the rating of "Blue Valentine" from NC-17 to R. But several other recent decisions by CARA have been allowed to stand, and these call into question the integrity and legitimacy of that office as it is presently constituted.
"The King's Speech," the drama about King George VI's attempt to overcome his speech impediment, was rated R for "language," specifically, several moments where the King is instructed by his speech therapist to swear to relieve the pressure of his stammer.
"The Tillman Story," the documentary about the military cover-up of the death of Corporal Pat Tillman in Afghanistan, was similarly rated R for "language." In the case of that film the offending content is the agitated language of soldiers in combat fearing for their lives.
"A Film Unfinished," which contains footage taken by the Nazis inside the Warsaw Ghetto, was given an R for "disturbing images of Holocaust atrocities, including graphic nudity."
In the case of the documentaries "The Tillman Story" and "A Film Unfinished," this amounts to CARA assigning a rating to reality.
In an editorial on the MPAA's web site, Joan Graves, the head of CARA, claims, "These ratings are purely informational."
This is simply untrue.
An R rating restricts who can get in to see a film and thus its potential earnings. An NC-17 rating, such as was originally assigned to "Blue Valentine," will keep a film out of many theater chains and can deny its being advertised on most television networks and in many newspapers.
This can have an especially damaging effect on the earning potential of independently made films, such as those mentioned above, which do not have access to the large advertising budgets at the disposal of the major studios - studios, which, as CARA's record indicates, have received much more lenient ratings for similar content.
Another damaging inconsistency is CARA's record of judging sexual content more harshly than it does violence. We by no means advocate condemning violence in movies, and we do not believe we are doing so by pointing out that there is no equivalence between an R given to the most explicit horror images and the same rating given to a drama in which King George VI utters a four letter word. And certainly no equivalence to a historical document showing the emaciated bodies of dead Jews in the Warsaw Ghetto.
Despite Ms. Graves' contention that CARA decisions are "purely informational," it's clear that the board has become an agency of de facto censorship. There is a difference between giving parents the information they need to make a decision as to which films they want their children to see, and a system whose decisions make it harder for adults - and their children - to see films clearly meant for them.
The National Society of Film Critics believes that CARA has for too long demonstrated these inconsistencies and has refused to explain itself. We would like to believe that the major studios who constitute the membership of the MPAA care enough about the availability of movies to recognize that the ratings system should be open and consistent, not arbitrary and unfair, and that films from independent distributors should be judged by the same criteria as their own releases. It has become a system that enforces the kind of moral policing that, when it was founded in 1968, it was intended to prevent.
STATEMENT ON JAILED IRANIAN DIRECTORS
On December 18, 2010, an Iranian court sentenced Jafar Panahi and Mohammad Rasoulof to six years in prison and banned both from filmmaking for 20 years for "colluding in gatherings and making propaganda against the regime."
The members of the National Society of Film Critics add their voices to those of the many other individuals and organizations who have protested this injustice. We strongly urge the Iranian government to release both artists, whose work can only further the advancement of such values as justice, compassion, tolerance, and human dignity. Jafar Panahi's films in particular have won international awards, earned the accolades of critics all over the world, and delighted and inspired audiences everywhere they are shown.
Not only does the court's decision impose an outrageous penalty on artists whose sole crime is telling the truth, but it deprives Iran and the world of future works by filmmakers of outstanding talent and vision.
We intend our protest to affirm the value of artistic expression and the power of cinema to transcend political differences and unite people in their common humanity. We hope that the Iranian government will recognize the wisdom of releasing Mr. Panahi and Mr. Rasoulof immediately in the name of these universal principles.