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https://www.thenerdelement.com/2022/03/13/critics-choice-awards-film-winners/
FILM WINNERS FOR THE 27TH ANNUAL CRITICS CHOICE AWARDS
The 27th Annual Critics Choice Awards took place on Sunday, with both film and television content being celebrated. On the film side of things, Belfast and West Side Story came into the night leading the nominations with 11 apiece.
The Power of the Dog was the big winner of the night, however, taking home 4 awards including Best Picture, Best Director, Best Adapted Screenplay and Best Cinematography. The acting award winners are very similar to the other awards shows that have taken place so far. Will Smith (King Richard), Jessica Chastain (The Eyes of Tammy Faye), Troy Kotsur (CODA) and Ariana DeBose (West Side Story) will all be confident going into the Oscars later this month.
As was previously announced, Issa Rae presented this year’s SeeHer Award to Halle Berry. The SeeHer Award recognizes a woman who embodies the values set forth by the SeeHer movement, to push boundaries, defy stereotypes and acknowledge the importance of authentic portrayals of women across the entertainment landscape. Jimmy Kimmel presented the Lifetime Achievement Award to Billy Crystal.
Click HERE for a full list of winners in the television categories.
Read on for the full list of winners. Winners are indicated in bold and red:
BEST PICTURE
Belfast
CODA
Don’t Look Up
Dune
King Richard
Licorice Pizza
Nightmare Alley
The Power of the Dog
tick, tick…Boom!
West Side Story
BEST ACTOR
Nicolas Cage – Pig
Benedict Cumberbatch – The Power of the Dog
Peter Dinklage – Cyrano
Andrew Garfield – tick, tick…Boom!
Will Smith – King Richard
Denzel Washington – The Tragedy of Macbeth
BEST ACTRESS
Jessica Chastain – The Eyes of Tammy Faye
Olivia Colman – The Lost Daughter
Lady Gaga – House of Gucci
Alana Haim – Licorice Pizza
Nicole Kidman – Being the Ricardos
Kristen Stewart – Spencer
BEST SUPPORTING ACTOR
Jamie Dornan – Belfast
Ciarán Hinds – Belfast
Troy Kotsur – CODA
Jared Leto – House of Gucci
J.K. Simmons – Being the Ricardos
Kodi Smit-McPhee – The Power of the Dog
BEST SUPPORTING ACTRESS
Caitríona Balfe – Belfast
Ariana DeBose – West Side Story
Ann Dowd – Mass
Kirsten Dunst – The Power of the Dog
Aunjanue Ellis – King Richard
Rita Moreno – West Side Story
BEST YOUNG ACTOR/ACTRESS
Jude Hill – Belfast
Cooper Hoffman – Licorice Pizza
Emilia Jones – CODA
Woody Norman – C’mon C’mon
Saniyya Sidney – King Richard
Rachel Zegler – West Side Story
BEST ACTING ENSEMBLE
Belfast
Don’t Look Up
The Harder They Fall
Licorice Pizza
The Power of the Dog
West Side Story
BEST DIRECTOR
Paul Thomas Anderson – Licorice Pizza
Kenneth Branagh – Belfast
Jane Campion – The Power of the Dog
Guillermo del Toro – Nightmare Alley
Steven Spielberg – West Side Story
Denis Villeneuve – Dune
BEST ORIGINAL SCREENPLAY
Paul Thomas Anderson – Licorice Pizza
Zach Baylin – King Richard
Kenneth Branagh – Belfast
Adam McKay, David Sirota – Don’t Look Up
Aaron Sorkin – Being the Ricardos
BEST ADAPTED SCREENPLAY
Jane Campion – The Power of the Dog
Maggie Gyllenhaal – The Lost Daughter
Siân Heder – CODA
Tony Kushner – West Side Story
Jon Spaihts, Denis Villeneuve, Eric Roth – Dune
BEST CINEMATOGRAPHY
Bruno Delbonnel – The Tragedy of Macbeth
Greig Fraser – Dune
Janusz Kaminski – West Side Story
Dan Laustsen – Nightmare Alley
Ari Wegner – The Power of the Dog
Haris Zambarloukos – Belfast
BEST PRODUCTION DESIGN
Jim Clay, Claire Nia Richards – Belfast
Tamara Deverell, Shane Vieau – Nightmare Alley
Adam Stockhausen, Rena DeAngelo – The French Dispatch
Adam Stockhausen, Rena DeAngelo – West Side Story
Patrice Vermette, Zsuzsanna Sipos – Dune
BEST EDITING
Sarah Broshar and Michael Kahn – West Side Story
Úna Ní Dhonghaíle – Belfast
Andy Jurgensen – Licorice Pizza
Peter Sciberras – The Power of the Dog
Joe Walker – Dune
BEST COSTUME DESIGN
Jenny Beavan – Cruella
Luis Sequeira – Nightmare Alley
Paul Tazewell – West Side Story
Jacqueline West, Robert Morgan – Dune
Janty Yates – House of Gucci
BEST HAIR AND MAKEUP
Cruella
Dune
The Eyes of Tammy Faye
House of Gucci
Nightmare Alley
BEST VISUAL EFFECTS
Dune
The Matrix Resurrections
Nightmare Alley
No Time to Die
Shang-Chi and the Legend of the Ten Rings
BEST COMEDY
Barb & Star Go to Vista Del Mar
Don’t Look Up
Free Guy
The French Dispatch
Licorice Pizza
BEST ANIMATED FEATURE
Encanto
Flee
Luca
The Mitchells vs the Machines
Raya and the Last Dragon
BEST FOREIGN LANGUAGE FILM
A Hero
Drive My Car
Flee
The Hand of God
The Worst Person in the World
BEST SONG
Be Alive – King Richard
Dos Oruguitas – Encanto
Guns Go Bang – The Harder They Fall
Just Look Up – Don’t Look Up
No Time to Die – No Time to Die
BEST SCORE
Nicholas Britell – Don’t Look Up
Jonny Greenwood – The Power of the Dog
Jonny Greenwood – Spencer
Nathan Johnson – Nightmare Alley
Hans Zimmer – Dune
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Writer: Jason Aaron / Artist: Juan Frigeri / Marvel Comics
I’m not a fan of joining in on the “Jason Aaron is doing a terrible job on the Avengers” crowd that I see in many online forums, but something about this issue rubbed me the wrong way. This idea of canon vs. taking liberties with characters and their history or origin is always a tough debate. Thor’s parentage is the biggest example of this right now and Avengers #54 really forces you to choose sides, and it should be interesting to see how the comic book world feels after it’s all said and done.
One of my main problems with Avengers #54 is the use of the villains. It seems like there’s no direction or logical use of Doom Supreme’s Masters of Evil. I wouldn’t hate finding out about Doom’s plan to sporadically throw different villains at our heroes, but the use of this issue’s corrupted Thor seems like Aaron doing his best to make this son of a Phoenix change more palatable.
The thing that does intrigue me is the mental chess match happening between Mephisto and Doom Supreme. The Orb will undoubtedly play a part in either side besting the other, so one of the upcoming issues of Avengers should shed more light on this cordial beef between devil and sorcerer. Juan Frigeri keeps me coming back to this Avengers book, so I hope he stays on board for a while.
6 “You Can Call Me Captain Rogers” out of 10
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In her 2011 book Sister Citizen: Shame, Stereotypes, and Black Women in America, Melissa Harris-Perry says this about Black women: “Sisters are more than the sum of their relative disadvantages: they are active agents who craft meaning out their circumstances and do so in complicated and diverse ways.”
This reaffirms the ideas of thought-leaders before her: the issues Black women face are complex and individual, but each example of how these women have overcome and thrived and made meaning out of their struggle inspires others to overcome and do the same.
Harris-Perry is a respected author, professor, political commentator, and host (of The Takeaway podcast). She is the Maya Angelou Presidential Chair at Wake Forest University in the Department of Politics and International Affairs, the Department of Women’s Gender, and Sexuality Studies, and the Program in Environment and Sustainability. Her writing has appeared in the Wall Street Journal, New York Times, and Chicago Tribune, and she has served as editor-at-large for Elle.com and ZORA.
Born in Seattle but growing up in Virginia, Melissa Harris-Perry graduated from Wake Forest University with a bachelor’s degree in English and received a PhD in political science from Duke University.
Yes, she’s got receipts, and they run long. Harris-Perry has been a formidable voice on issues surrounding race, gender, politics, and power for over 20 years.
Harris-Perry has occupied political spaces traditionally held by white men. She raises her voice on issues that affect the Black community, specifically Black womanhood and motherhood. It’s in her nature to educate, and she is a leader when it comes to Black women’s responses to negative depictions of race and gender, as she has faced them herself.
After being a frequent contributor to the MSNBC network, Harris-Perry received her own show, Melissa Harris-Perry, in 2012. This was a major milestone for her, as well as for Black women, because she primarily discussed issues impacting us, which was not common for the network (or anywhere else). She left in February 2016 because MSNBC wanted her to cover news that they considered important but not what her show normally discussed.
Harris-Perry would not be silenced. She said, “I will not be used as a tool for their purposes. I am not a token, mammy, or little brown bobble head.” MSNBC called her decision “really surprising, confusing, and disappointing.”
Shortly after her departure, I read a news headline, “Melissa Harris-Perry Goes Racial on MSNBC.” No surprise that the article was written by a white man. Yes, she said it — she would not be a mammy. Black women understood what she meant: She wasn’t going to sell her soul and care more about MSNBC’s reputation than her own dignity.
Her show was important because it centered Black women and marginalized voices. At the time, it was the only space on cable news that had intelligent and thoughtful conversations about us within politics and culture. She normalized a poised, intelligent, and educated Black woman who spoke unapologetically about what touched our community. It wasn’t even that her guests were all Black. It was that they weren’t all white.
In addition to her vast accomplishments in the political and educational spaces, she is also a mother whose journey was not traditional. After giving birth to her first daughter, her second daughter was born via surrogacy. After she shared with me that she had uterine fibroids, I felt connected because this condition disproportionately affects Black women. Harris-Perry made the decision to have her uterus removed in 2008 but was still devastated by the loss of her ability to become pregnant ever again. After learning about surrogacy, Harris-Perry and her husband began the journey to extend their family. On Valentine’s Day 2014, they welcomed their second daughter.
The fact that she shared her story — a very difficult and long journey — allowed other Black women who were dealing with uterine fibroids, infertility, and the stress of it all to not feel alone. She showed us another side to the story, when we thought we were at the end.
With her award-winning book, Sister Citizen: Shame, Stereotypes, and Black Women in America, Harris-Perry became acknowledged as a public intellectual. She pulled no punches with her insightful criticism of the institutions and damaging myths about Black womanhood that keep us from fully realizing our citizenship and our identity. It is a book that I consider required reading, and her meticulous research of novels that I love — The Color Purple, The Bluest Eye, Their Eyes Were Watching God, and For Colored Girls Who Have Considered Suicide When the Rainbow Is Not Enuf — are deeply insightful. She used these novels to connect Black women’s different experiences to the struggle for recognition and even personhood.
Harris-Perry is a strong tower of scholarly analysis and extraordinary wisdom. She is the professor I could have used in graduate school; the consummate mentor that I wish I had. I see her as the professor who encourages her students to challenge her and stay outside the box. Her intense critical thought on the scope of Black women’s experiences would have helped shape my thoughts and feelings in college as a young Black woman and blossoming feminist.
When we think about Black women who are contributing so much to shaping the world we live in, Melissa Harris-Perry is there. She has redefined what news journalists can look like and understands that the white male interpretation of a story is not the only one. She has also shown us how to understand our worth and stay true to ourselves no matter what.
Nope
2022 is not giving what the kids refer to as, “what it’s supposed to give.” A rapper that changed my whole taste in music has devolved into a stalker ex-husband, gas is climbing towards five dollars a gallon, Atlanta is ending later this year…And now Amazon has ruined my comic book reading experience. For the last few years, Comixology spared me a trudge across town to one of the only comic shops in said town worth visiting in search of my weekly haul. I never have to pre-order, the website never runs out of copies because it’s all digital and I saved physical space while still getting to collect comics. It was my slow ease into converting to digital comics.
Comixology has become an electronic ‘trudge across town’ in its own right. After fifteen years and over two hundred million downloads, Amazon did the only thing they could possibly do: they made a good thing bad. Last week, the platform released an update that essentially integrated it into a “Kindle Comics” Amazon page. See below:
Sure, there’s still all of the trademark signage of the original, but it’s still more or less an Amazon page. The Comixology reader has been replaced by a basic Kindle equivalent, far less specialized for reading comics than its predecessor.
Lemme Downgrade You
To say that this update was a catastrophic downgrade for the platform is a fighting words level insult to the phrase ‘catastrophe’. Even if you forget about how confounding the new site-slash-app is to navigate or how basic and uninviting. The reader can still compare it to what came before and that’s still not the worst part of this. The changes to publishing through Comixology have stirred up a completely valid controversy about the reduced royalties for independent content. Not to mention the massive backlash from readers concerning the thousands of dollars in purchased comics that have come up missing from their libraries in the update. The flagship platform for digital comics has become a corporate-controlled wasteland overnight. It’s more than a little wild that here, in the era of what’s being sold as “Web 3.0”, we still can’t trust companies to be competent stewards over digital content.
Today’s Price Is The Same As Yesterday’s Price
It’s already a seldom discussed issue that digital comics somehow have the same monetary value as their physical counterparts. After all, there was a time when physical comics became more expensive because they were being printed on higher quality paper. That way, they last longer so you don’t have your comics falling apart in twenty-five years unless you read them once and hermetically seal them forever. So, paying five bucks for digital content without that same tangible value is already hard to justify. Now, add the fact that your ability to retain your collection is hindered because of some conglomerate’s whims.
Granted, it’s true that music heads and cinephiles do have to re-buy their favorites in another form every so often. But that’s usually because some existing media format becomes outmoded by something that was already gaining popularity. Not because a company just up and lost their library. Also, it’s usually something that happens gradually over time, not all at once because an update was a failure. This is the sort of thing that makes collectors and comic fans give up on a format altogether.
In The End
Comixology has done the obligatory song and dance about, “hearing the overwhelming user response” on social media and done some patchwork to the comic reader so that it resembles the previous one. But the debacle has proven to be, at best, a sobering look at where we are in terms of ownership of digital content for those of us that don’t have the coin to spend on external or removable memory. Though, on the bright side, it’s still less expensive than any amount of gas it takes to get to your local comic shop. So, there’s that? Right?
The post Amazon Messing Up Reading Comics Is The Most 2022 Thing To Happen Yet. appeared first on Black Nerd Problems.