American Cinema Editors announced winners in 14 categories March 5 during the 73rd annual Ace Eddie Awards. And all five Oscar nominees were included among the nominations — though spread out between two categories.
Historically, the Eddie winner for theatrical drama has also won the Academy Award 13 of 22 times‚ but not in the last three years. Whether or not that streak will hold remains murky since Oscar nominees “Top Gun: Maverick” and “Everything Everywhere All at Once” both took home trophies.
“The Woman King” director Gina Prince-Bythewood received the Golden Eddie Filmmaker of the Year Award, while film editors Lynne Willingham and Don Zimmerman received Career Achievement Awards.
Other winners included awards season faves “Guillermo del Toro’s Pinocchio,” “Fire of Love,” and “The Bear.” See the complete list of winners, marked in bold, below.
Best Edited Feature Film (Dramatic)
“All Quiet on the Western Front” – Sven Budelmann, Bfs
“Elvis” – Matt Villa, Ace Ase,...
Historically, the Eddie winner for theatrical drama has also won the Academy Award 13 of 22 times‚ but not in the last three years. Whether or not that streak will hold remains murky since Oscar nominees “Top Gun: Maverick” and “Everything Everywhere All at Once” both took home trophies.
“The Woman King” director Gina Prince-Bythewood received the Golden Eddie Filmmaker of the Year Award, while film editors Lynne Willingham and Don Zimmerman received Career Achievement Awards.
Other winners included awards season faves “Guillermo del Toro’s Pinocchio,” “Fire of Love,” and “The Bear.” See the complete list of winners, marked in bold, below.
Best Edited Feature Film (Dramatic)
“All Quiet on the Western Front” – Sven Budelmann, Bfs
“Elvis” – Matt Villa, Ace Ase,...
- 3/6/2023
- by Mark Peikert
- Indiewire
The American Cinema Editors (Ace) has nominated “Tár,” “All Quiet on the Western Front,” “Elvis, “Top Gun: Maverick” and “The Woman King” in the category of feature film drama for the 73rd annual Ace Eddie Awards.
“The Banshees of Inisherin,” “Everything Everywhere All at Once,” “Glass Onion: A Knives Out Mystery,” “The Menu” and “Triangle of Sadness” all received nominations in the best edited comedic feature category.
The TV nominees include “The Bear,” “Severance” and “The White Lotus.”
Since 1961, only 12 women have won in the best-edited drama feature category. This year, there are two women who made the cut: Terilyn Shropshire for “The Woman King” and Monika Willi for “Tár.” Willi also earned an Oscar nomination for her work.
As previously announced, the Ace Golden Eddie Filmmaker of the Year Award, recognizing a filmmaker who exemplifies distinguished achievements in the art and business of film, will be presented to Gina Prince-Bythewood...
“The Banshees of Inisherin,” “Everything Everywhere All at Once,” “Glass Onion: A Knives Out Mystery,” “The Menu” and “Triangle of Sadness” all received nominations in the best edited comedic feature category.
The TV nominees include “The Bear,” “Severance” and “The White Lotus.”
Since 1961, only 12 women have won in the best-edited drama feature category. This year, there are two women who made the cut: Terilyn Shropshire for “The Woman King” and Monika Willi for “Tár.” Willi also earned an Oscar nomination for her work.
As previously announced, the Ace Golden Eddie Filmmaker of the Year Award, recognizing a filmmaker who exemplifies distinguished achievements in the art and business of film, will be presented to Gina Prince-Bythewood...
- 2/1/2023
- by Jazz Tangcay
- Variety Film + TV
American Cinemas Editors has cut together the nominees for its 73rd annual Ace Eddie Awards, which will be handed out next month. See the list for all 14 categories below.
Vying for the marquee prize of Best Edited Feature Film prize are the editors behind All Quiet on the Western Front, Elvis, Tár, Top Gun: Maverick and The Woman King. The Comedy Theatrical race will be among The Banshees of Inisherin, Everything Everywhere All at Once, Glass Onion: A Knives Out Mystery, The Menu and Triangle of Sadness.
Related Story Gina Prince-Bythewood Set For Golden Eddie At 73rd Ace Eddie Awards, Editors Lynne Willingham & Don Zimmerman To Receive Career Achievement Honors Related Story Ace Eddie Awards 2023 Date Set; Timeline Revised – Update Related Story American Cinema Editors Condemns Oscars' Pre-Taped Category Revamp, Calls For Future Demonstration Of "Fairness And Inclusiveness"
Since the turn of the 21st century, the Eddie...
Vying for the marquee prize of Best Edited Feature Film prize are the editors behind All Quiet on the Western Front, Elvis, Tár, Top Gun: Maverick and The Woman King. The Comedy Theatrical race will be among The Banshees of Inisherin, Everything Everywhere All at Once, Glass Onion: A Knives Out Mystery, The Menu and Triangle of Sadness.
Related Story Gina Prince-Bythewood Set For Golden Eddie At 73rd Ace Eddie Awards, Editors Lynne Willingham & Don Zimmerman To Receive Career Achievement Honors Related Story Ace Eddie Awards 2023 Date Set; Timeline Revised – Update Related Story American Cinema Editors Condemns Oscars' Pre-Taped Category Revamp, Calls For Future Demonstration Of "Fairness And Inclusiveness"
Since the turn of the 21st century, the Eddie...
- 2/1/2023
- by Erik Pedersen
- Deadline Film + TV
Click here to read the full article.
Top Gun: Maverick, The Batman, Doctor Strange in the Multiverse of Madness and Dune are among the movies that received multiple Hpa (Hollywood Professional Association) Award nominations. The annual Hpa Awards recognizes postproduction talent in areas including color grading, editing, sound and visual effects.
The voting period runs from September to September, meaning that some of last year’s award season films will compete against this year’s contenders.
The awards will be handed out Nov. 17 at the Hollywood Legion Theater.
The complete list of nominees follow:
Outstanding Color Grading – Theatrical Feature
Top Gun: Maverick
Stefan Sonnenfeld, Adam Nazarenko / Company 3
Dune
David Cole / FotoKem
Nightmare Alley
Stefan Sonnenfeld, Adam Nazarenko / Company 3
The Batman
David Cole / FotoKem
No Time to Die
Matt Wallach / Company 3
Outstanding Color Grading – Episode or Non-Theatrical Feature
“1883 – 1883”
Mitch Paulson // Company 3
“Better Call Saul – Carrot and Stick”
Keith Shaw...
Top Gun: Maverick, The Batman, Doctor Strange in the Multiverse of Madness and Dune are among the movies that received multiple Hpa (Hollywood Professional Association) Award nominations. The annual Hpa Awards recognizes postproduction talent in areas including color grading, editing, sound and visual effects.
The voting period runs from September to September, meaning that some of last year’s award season films will compete against this year’s contenders.
The awards will be handed out Nov. 17 at the Hollywood Legion Theater.
The complete list of nominees follow:
Outstanding Color Grading – Theatrical Feature
Top Gun: Maverick
Stefan Sonnenfeld, Adam Nazarenko / Company 3
Dune
David Cole / FotoKem
Nightmare Alley
Stefan Sonnenfeld, Adam Nazarenko / Company 3
The Batman
David Cole / FotoKem
No Time to Die
Matt Wallach / Company 3
Outstanding Color Grading – Episode or Non-Theatrical Feature
“1883 – 1883”
Mitch Paulson // Company 3
“Better Call Saul – Carrot and Stick”
Keith Shaw...
- 10/4/2022
- by THR staff
- The Hollywood Reporter - Movie News
Click here to read the full article.
Apple TV+’s thriller Severance is centered on a fictional company that offers employees a “severance” procedure through which their memories are surgically separated between their work and home life — meaning that when in one state, there’s no recollection of the other. Lumon Industries claims this offers a work-life balance, or a way to recover from personal trauma. But not remembering does nothing to alter an unsettling reality in either state, nor can it mitigate abuse by the employer.
Establishing the disparate lives of manager Mark Scout (Adam Scott) in his “innie” (work) state and “outtie” (nonwork) state — where he is processing the death of his wife — was central to the series, which is nominated for 14 Emmys, including two for editing.
“At the beginning of the series there’s much more separation between the transitions from the innie to outtie world, so...
Apple TV+’s thriller Severance is centered on a fictional company that offers employees a “severance” procedure through which their memories are surgically separated between their work and home life — meaning that when in one state, there’s no recollection of the other. Lumon Industries claims this offers a work-life balance, or a way to recover from personal trauma. But not remembering does nothing to alter an unsettling reality in either state, nor can it mitigate abuse by the employer.
Establishing the disparate lives of manager Mark Scout (Adam Scott) in his “innie” (work) state and “outtie” (nonwork) state — where he is processing the death of his wife — was central to the series, which is nominated for 14 Emmys, including two for editing.
“At the beginning of the series there’s much more separation between the transitions from the innie to outtie world, so...
- 8/20/2022
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
African American history often gets buried in the bowels of the past. I am always embarrassed when I learn about moments from Black history that I feel I should already know. The subject of Margaret Brown’s documentary Descendant is the slave ship Clotilda, found off the coast of Plateau, Alabama (labeled Africatown). Having premiered at the Sundance Film Festival, then screened at SXSW, it is the first film to open the Martha’s Vineyard African American Film Festival. Descendant is also produced by Barack and Michelle Obama’s Higher Ground.
The documentary follows the living descendants of the enslaved on the ship that landed in Alabama, who are looking for validation and reparations. These people were tired of waiting around for someone to give them the answers, and shows how these individuals fought to bring this journey full circle.
The Clotilda slave ship arrived off the coast of Alabama...
The documentary follows the living descendants of the enslaved on the ship that landed in Alabama, who are looking for validation and reparations. These people were tired of waiting around for someone to give them the answers, and shows how these individuals fought to bring this journey full circle.
The Clotilda slave ship arrived off the coast of Alabama...
- 8/9/2022
- by Valerie Complex
- Deadline Film + TV
Seven editors honed footage for Netflix seven-part docu-series “Tiger King: Murder, Mayhem and Madness,” about the man who owns the largest collection of big cats in the U.S. The telling of the story of Joseph Maldonado-Passage, aka Joe Exotic, is a meta one, including a reality show-within-a-show, and it turns sinister very quickly. After all, there’s an attempted murder plot to sort out.
The first 10 minutes reveal how Exotic winds up in jail, an editing choice made at the behest of Netflix. “Without the promise of things getting bonkers, you don’t know if people will stay tuned,” says editor Doug Abel, the first to come on board the series, in 2017. At that time, he says, the production had a broader concept. “It was about animal trafficking,” he explains.
As director Eric Goode reveals in the series’ opening moments, the instant he’s shown a snow leopard in...
The first 10 minutes reveal how Exotic winds up in jail, an editing choice made at the behest of Netflix. “Without the promise of things getting bonkers, you don’t know if people will stay tuned,” says editor Doug Abel, the first to come on board the series, in 2017. At that time, he says, the production had a broader concept. “It was about animal trafficking,” he explains.
As director Eric Goode reveals in the series’ opening moments, the instant he’s shown a snow leopard in...
- 4/10/2020
- by Jazz Tangcay
- Variety Film + TV
Last night saw an under the radar precursor give out its prizes, which in turn may have shifted one of the Oscar categories. Yes, Friday evening saw the American Cinema Editors give out their annual Ace Eddie awards. This yearly event usually can clue us in to what the frontrunners for Best Film Editing at the Academy Awards are. That may well be the case again here, though if that’s true, the Academy and its voters are going to be making an usual choice. They already did in terms of their nominees in the category though, so I suppose this is just par for the course… In a bit of a surprise, the award for Best Edited Feature Film (Dramatic) went to John Ottman for his work on Bohemian Rhapsody. Ottman won in an upset over Barry Alexander Brown for BlacKkKlansman, Jay Cassidy for A Star Is Born, Tom Cross for First Man,...
- 2/2/2019
- by Joey Magidson
- Hollywoodnews.com
“Bohemian Rhapsody,” which has been on a roll since the Golden Globes, was the surprise dramatic editing winner for John Ottman at the 69th Ace Eddie Awards Friday at the Beverly Hilton.
“The Favourite” (Yorgos Mavropsaridis), “Spider-Man: Into the Spider-Verse” (Robert Fisher Jr.), and “Free Solo” (Bob Eisenhardt) took home comedy, animation, and documentary feature honors.
Ace is usually a great Oscar bellwether for editing (24 out of the last 28 years ), so Ottman now becomes the favorite for his deft balancing of the Freddie Mercury story (Best Actor frontrunner Rami Malek) with the Queen story under difficult circumstances when director Bryan Singer was fired and replaced by Dexter Fletcher. Ottman beat “Roma” director/editor Alfonso Cuarón and co-editor Adam Gough, Barry Alexander Brown (“BlacKkKlansman”), Tom Cross (“First Man”), and Jay Cassidy (“A Star Is Born”).
However, Ottman faces Oscar competition from Brown, Mavropsaridis, Hank Corwin (“Vice”), and Patrick J. Don Vito...
“The Favourite” (Yorgos Mavropsaridis), “Spider-Man: Into the Spider-Verse” (Robert Fisher Jr.), and “Free Solo” (Bob Eisenhardt) took home comedy, animation, and documentary feature honors.
Ace is usually a great Oscar bellwether for editing (24 out of the last 28 years ), so Ottman now becomes the favorite for his deft balancing of the Freddie Mercury story (Best Actor frontrunner Rami Malek) with the Queen story under difficult circumstances when director Bryan Singer was fired and replaced by Dexter Fletcher. Ottman beat “Roma” director/editor Alfonso Cuarón and co-editor Adam Gough, Barry Alexander Brown (“BlacKkKlansman”), Tom Cross (“First Man”), and Jay Cassidy (“A Star Is Born”).
However, Ottman faces Oscar competition from Brown, Mavropsaridis, Hank Corwin (“Vice”), and Patrick J. Don Vito...
- 2/2/2019
- by Bill Desowitz
- Indiewire
“Bohemian Rhapsody” and “The Favourite” have been named the best-edited feature films of 2018 at the American Cinema Editors’ Ace Eddie Awards, which took place on Friday night at the Beverly Hilton Hotel.
“Bohemian Rhapsody” won in the Best Edited Feature Film (Dramatic) category, while “The Favourite” topped the Best Edited Feature Film (Comedy) category.
Since the Ace Eddie for feature film was split into separate drama and comedy or musical categories 19 years ago, the winner in the drama category has gone on to win the Academy Award for film editing 13 times, and the Best Picture Oscar seven times. The winner in the comedy or musical category has only won the Oscar in those categories once, when “Chicago” did it in 2003.
Also Read: 'The Favourite': Oscar-Nominated Editor, Production Designer Explain Why Film is Yorgos Lanthimos' Most Accessible
But over the last five years, the two groups have diverged,...
“Bohemian Rhapsody” won in the Best Edited Feature Film (Dramatic) category, while “The Favourite” topped the Best Edited Feature Film (Comedy) category.
Since the Ace Eddie for feature film was split into separate drama and comedy or musical categories 19 years ago, the winner in the drama category has gone on to win the Academy Award for film editing 13 times, and the Best Picture Oscar seven times. The winner in the comedy or musical category has only won the Oscar in those categories once, when “Chicago” did it in 2003.
Also Read: 'The Favourite': Oscar-Nominated Editor, Production Designer Explain Why Film is Yorgos Lanthimos' Most Accessible
But over the last five years, the two groups have diverged,...
- 2/2/2019
- by Steve Pond
- The Wrap
Two films about Brits of very different eras took the marquee trophies at the Ace Eddie Awards tonight as Bohemian Rhapsody and The Favourite took home the respective marquee prizes for Best Edited Feature Dramatic and Comedy.
“I was expecting the worst, I was not prepared for this at all,” Rhapsodyd editor John Ottman said from the stage. He called the film a “labor of love in trying circumstances but joked: “No one [was] miscast, thank God, so you don’t have to polish that turd for a year.”
In accepting his stauette for The Favourite, editor Yorgos Mavropsaridis told the crowd of 1,000-plus he was impressed to get the award because he is from such a “small country like Greece.”
Recognizing outstanding editing in film, TV and documentaries, the Eddies have a strong track record of predicting the Best Editing winner at the Academy Awards. Twenty-one of the past 28 Ace...
“I was expecting the worst, I was not prepared for this at all,” Rhapsodyd editor John Ottman said from the stage. He called the film a “labor of love in trying circumstances but joked: “No one [was] miscast, thank God, so you don’t have to polish that turd for a year.”
In accepting his stauette for The Favourite, editor Yorgos Mavropsaridis told the crowd of 1,000-plus he was impressed to get the award because he is from such a “small country like Greece.”
Recognizing outstanding editing in film, TV and documentaries, the Eddies have a strong track record of predicting the Best Editing winner at the Academy Awards. Twenty-one of the past 28 Ace...
- 2/2/2019
- by Erik Pedersen and Diane Haithman
- Deadline Film + TV
Queen biopic “Bohemian Rhapsody” and period romp “The Favourite” walked away with top film honors at the 69th annual Ace Eddie Awards Friday night.
Both films were nominated for the film editing Oscar last week. In the Ace drama category, “Bohemian Rhapsody” bested fellow Oscar contender “BlacKkKlansman,” as well as “First Man,” “Roma” and “A Star Is Born.” In the comedy field, “The Favourite” beat out two Oscar nominees — “Green Book” and “Vice” — as well as “Crazy Rich Asians” and “Deadpool 2.”
“Spider-Man: Into the Spider-Verse” won the animated feature prize, while “Free Solo” took the award for theatrical documentaries. “Robin Williams: Come Inside My Mind” won for non-theatrical documentaries.
Other television winners included “Atlanta,” “The Marvelous Mrs. Maisel,” “Killing Eve,” “Bodyguard,” “Escape at Dannemora” and “Anthony Bourdain: Parts Unknown.”
See below for a full list of winners.
Best Edited Feature Film (Dramatic)
“Bohemian Rhapsody”
John Ottman, Ace
Best Edited...
Both films were nominated for the film editing Oscar last week. In the Ace drama category, “Bohemian Rhapsody” bested fellow Oscar contender “BlacKkKlansman,” as well as “First Man,” “Roma” and “A Star Is Born.” In the comedy field, “The Favourite” beat out two Oscar nominees — “Green Book” and “Vice” — as well as “Crazy Rich Asians” and “Deadpool 2.”
“Spider-Man: Into the Spider-Verse” won the animated feature prize, while “Free Solo” took the award for theatrical documentaries. “Robin Williams: Come Inside My Mind” won for non-theatrical documentaries.
Other television winners included “Atlanta,” “The Marvelous Mrs. Maisel,” “Killing Eve,” “Bodyguard,” “Escape at Dannemora” and “Anthony Bourdain: Parts Unknown.”
See below for a full list of winners.
Best Edited Feature Film (Dramatic)
“Bohemian Rhapsody”
John Ottman, Ace
Best Edited...
- 2/2/2019
- by Kristopher Tapley
- Variety Film + TV
The American Cinema Editors is honoring its own tonight with the 69th annual Ace Eddie Awards in Los Angeles, and Deadline is live blogging it all. We’ll post the winners in all 11 categories as they’re announced and pass along quotes from their speeches as well as describing the atmosphere.
Tom Kenny, who has voiced SpongeBob SquarePants for the past 20 years, is hosting the shindig from the International Ballroom at the Beverly Hilton.
Recognizing outstanding editing in film, TV and documentaries, the Eddies have a strong track record of predicting the Best Editing winner at the Academy Awards. Twenty-one of the past 28 Ace winners for best edited dramatic film and 10 of the past 14 have gone on to score the Oscar, including Lee Smith for Dunkirk last year.
In fact, the Eddies are a pretty good barometer for the Best Picture Oscar as well, predicting 17 of the past 28 winners of the Academy’s biggest prize.
Tom Kenny, who has voiced SpongeBob SquarePants for the past 20 years, is hosting the shindig from the International Ballroom at the Beverly Hilton.
Recognizing outstanding editing in film, TV and documentaries, the Eddies have a strong track record of predicting the Best Editing winner at the Academy Awards. Twenty-one of the past 28 Ace winners for best edited dramatic film and 10 of the past 14 have gone on to score the Oscar, including Lee Smith for Dunkirk last year.
In fact, the Eddies are a pretty good barometer for the Best Picture Oscar as well, predicting 17 of the past 28 winners of the Academy’s biggest prize.
- 2/2/2019
- by Diane Haithman and Erik Pedersen
- Deadline Film + TV
Marco Gonzalez of Boston University wins Anne V. Coates Student Editing Award.
Bohemian Rhapsody edited by John Ottman and The Favourite edited by Yorgos Mavropsaridis won best edited feature dramatic and comedy at Friday’s (February 1) 69th Annual Ace Eddie Awards in Hollywood.
Spider-Man: Into The Spider-Verse edited by Robert Fisher Jr. won best edited animated feature film, while Free Solo edited by Bob Eisenhardt took home the best edited documentary feature prize.
Among the television winners were Atlanta – ‘Teddy Perkins’ edited by Kyle Reiter for best edited comedy series for commercial television, The Marvelous Mrs. Maisel – ‘Simone’ edited by...
Bohemian Rhapsody edited by John Ottman and The Favourite edited by Yorgos Mavropsaridis won best edited feature dramatic and comedy at Friday’s (February 1) 69th Annual Ace Eddie Awards in Hollywood.
Spider-Man: Into The Spider-Verse edited by Robert Fisher Jr. won best edited animated feature film, while Free Solo edited by Bob Eisenhardt took home the best edited documentary feature prize.
Among the television winners were Atlanta – ‘Teddy Perkins’ edited by Kyle Reiter for best edited comedy series for commercial television, The Marvelous Mrs. Maisel – ‘Simone’ edited by...
- 2/1/2019
- by Jeremy Kay
- ScreenDaily
“Roma” director Alfonso Cuarón and co-editor Adam Gough led the 9th annual Ace Eddie feature film nominations, joining Barry Alexander Brown (“BlacKkKlansman”), John Ottman (“Bohemian Rhapsody”), Tom Cross (“First Man”), and Jay Cassidy (“A Star Is Born”). The awards will be presented on February 1 at the Beverly Hilton Hotel.
Nominated for comedy feature were Myron Kerstein (“Crazy Rich Asians”), Craig Alpert, Elísabet Ronaldsdóttir and Dirk Westervelt (“Deadpool 2”), Yorgos Mavropsaridis (“The Favourite”), Patrick J. Don Vito (“Green Book”), and Hank Corwin (Vice”).
Left out were “If Beale Street Could Talk,” “Mary Poppins Returns,” and “Black Panther.” Editing nominations tend to include the eventual Best Picture winner.
Animation nominees included Golden Globe winner “Spider-Man: Into the Spider-Verse”, “Incredibles 2” (Stephen Schaffer), and “Isle of Dogs”.
Feature documentary nominees were led by “Free Solo” (Bob Eisenhardt), “Rbg” (Carla Gutierrez), “Three Identical Strangers” (Michael Harte), and “Won’t You Be My Neighbor?” (Jeff Malmberg and Aaron Wickenden.
Nominated for comedy feature were Myron Kerstein (“Crazy Rich Asians”), Craig Alpert, Elísabet Ronaldsdóttir and Dirk Westervelt (“Deadpool 2”), Yorgos Mavropsaridis (“The Favourite”), Patrick J. Don Vito (“Green Book”), and Hank Corwin (Vice”).
Left out were “If Beale Street Could Talk,” “Mary Poppins Returns,” and “Black Panther.” Editing nominations tend to include the eventual Best Picture winner.
Animation nominees included Golden Globe winner “Spider-Man: Into the Spider-Verse”, “Incredibles 2” (Stephen Schaffer), and “Isle of Dogs”.
Feature documentary nominees were led by “Free Solo” (Bob Eisenhardt), “Rbg” (Carla Gutierrez), “Three Identical Strangers” (Michael Harte), and “Won’t You Be My Neighbor?” (Jeff Malmberg and Aaron Wickenden.
- 1/7/2019
- by Bill Desowitz
- Indiewire
Adam Driver stars as Flip Zimmerman and John David Washington as Ron Stallworth in Spike Lee’s BlacKkKlansman, a Focus Features release.
Credit: David Lee / Focus Features
American Cinema Editors (Ace), the honorary society of the world’s top film editors, today announced nominations for the 69th Annual Ace Eddie Awards recognizing outstanding editing in 11 categories of film, television and documentaries. Winners will be revealed during Ace’s annual black-tie awards ceremony on Friday, Feb. 1 in the International Ballroom of the Beverly Hilton Hotel and will be presided over by Ace President, Stephen Rivkin, Ace.
Final ballots open Jan. 11 and close on Jan. 21
Nominees For 69th Annual Ace Eddie Awards
Best Edited Feature Film (Dramatic):
BlacKkKlansman
Barry Alexander Brown
Bohemian Rhapsody
John Ottman, Ace
First Man
Tom Cross, Ace
Roma
Alfonso Cuarón & Adam Gough
A Star is Born
Jay Cassidy, Ace
Ryan Reynolds stars as Deadpool in Twentieth Century Fox’s Deadpool 2.
Credit: David Lee / Focus Features
American Cinema Editors (Ace), the honorary society of the world’s top film editors, today announced nominations for the 69th Annual Ace Eddie Awards recognizing outstanding editing in 11 categories of film, television and documentaries. Winners will be revealed during Ace’s annual black-tie awards ceremony on Friday, Feb. 1 in the International Ballroom of the Beverly Hilton Hotel and will be presided over by Ace President, Stephen Rivkin, Ace.
Final ballots open Jan. 11 and close on Jan. 21
Nominees For 69th Annual Ace Eddie Awards
Best Edited Feature Film (Dramatic):
BlacKkKlansman
Barry Alexander Brown
Bohemian Rhapsody
John Ottman, Ace
First Man
Tom Cross, Ace
Roma
Alfonso Cuarón & Adam Gough
A Star is Born
Jay Cassidy, Ace
Ryan Reynolds stars as Deadpool in Twentieth Century Fox’s Deadpool 2.
- 1/7/2019
- by Michelle Hannett
- WeAreMovieGeeks.com
Bohemian Rhapsody, BlacKkKlansman, Roma and The Assassination of Gianni Versace are among the films and TV shows that can add another nomination to their 2019 tallies as the American Cinema Editors announced candidates today for the 69th Annual Ace Eddie Awards.
Ace announced nominations to recognize outstanding editing in 11 categories of film, television and documentaries. Winners will be revealed at Ace’s annual awards ceremony at the Beverly Hilton Hotel on Friday, Feb. 1. Final ballots open Jan. 11 and close on Jan. 21.
Here is the full list of nominees:
Best Edited Feature Film (Dramatic):
BlacKkKlansman Barry Alexander Brown
Bohemian Rhapsody John Ottman, Ace
First Man Tom Cross, Ace
Roma Alfonso Cuarón & Adam Gough
A Star is Born Jay Cassidy, Ace
Best Edited Feature Film (Comedy):
Crazy Rich Asians Myron Kerstein
Deadpool 2 Craig Alpert, Ace, Elísabet Ronaldsdóttir & Dirk Westervelt
The Favourite Yorgos Mavropsaridis, Ace
Green Book Patrick J. Don Vito
Vice Hank Corwin,...
Ace announced nominations to recognize outstanding editing in 11 categories of film, television and documentaries. Winners will be revealed at Ace’s annual awards ceremony at the Beverly Hilton Hotel on Friday, Feb. 1. Final ballots open Jan. 11 and close on Jan. 21.
Here is the full list of nominees:
Best Edited Feature Film (Dramatic):
BlacKkKlansman Barry Alexander Brown
Bohemian Rhapsody John Ottman, Ace
First Man Tom Cross, Ace
Roma Alfonso Cuarón & Adam Gough
A Star is Born Jay Cassidy, Ace
Best Edited Feature Film (Comedy):
Crazy Rich Asians Myron Kerstein
Deadpool 2 Craig Alpert, Ace, Elísabet Ronaldsdóttir & Dirk Westervelt
The Favourite Yorgos Mavropsaridis, Ace
Green Book Patrick J. Don Vito
Vice Hank Corwin,...
- 1/7/2019
- by Greg Evans
- Deadline Film + TV
Nominations for the 69th annual edition of the Ace Eddie Awards bestowed by the American Cinema Editors were announced on Monday (Jan. 7). Our top five frontrunners for Best Picture at the Oscars — “A Star is Born,” “BlacKklansman,” “Green Book,” “The Favourite” and “Roma” — number among the 10 feature films in contention here as do several of their lower ranked rivals. Scroll down to see the full list of nominations.
The nearly 1,000 members of Ace will get their final ballots on Jan. 11 and have until Jan. 21 to complete them. These kudos, honoring the best cutting in film and television, will be handed out on Feb. 1 in a ceremony at the Beverly Hilton. (Read our full report on the Ace Eddie Awards nominations.)
In 1992, the Eddies went from three to five nominees (matching that of the Oscars) and in 2000 it split the award in two, with five nominees for each of drama and comedy/musical.
The nearly 1,000 members of Ace will get their final ballots on Jan. 11 and have until Jan. 21 to complete them. These kudos, honoring the best cutting in film and television, will be handed out on Feb. 1 in a ceremony at the Beverly Hilton. (Read our full report on the Ace Eddie Awards nominations.)
In 1992, the Eddies went from three to five nominees (matching that of the Oscars) and in 2000 it split the award in two, with five nominees for each of drama and comedy/musical.
- 1/7/2019
- by Paul Sheehan
- Gold Derby
69th Annual Ace Eddie Awards to take place on February 1 in Los Angeles.
First Man, Roma, Bohemian Rhapsody, BlacKkKlansman, and A Star Is Born have been nominated for dramatic feature editing honours by the American Cinema Editors (Ace).
The group also announced on Monday (6) that Crazy Rich Asians, Deadpool 2, The Favourite, Green Book, and Vice will contest the comedy feature category.
In the television categories, there is recognition for Barry and The Marvelous Mrs. Maisel in the non-commercial comedy TV category, and Ozark and Bodyguard in the non-commercial dramatic TV contest.
The 69th Annual Ace Eddie Awards will take place on February 1 in Los Angeles.
First Man, Roma, Bohemian Rhapsody, BlacKkKlansman, and A Star Is Born have been nominated for dramatic feature editing honours by the American Cinema Editors (Ace).
The group also announced on Monday (6) that Crazy Rich Asians, Deadpool 2, The Favourite, Green Book, and Vice will contest the comedy feature category.
In the television categories, there is recognition for Barry and The Marvelous Mrs. Maisel in the non-commercial comedy TV category, and Ozark and Bodyguard in the non-commercial dramatic TV contest.
The 69th Annual Ace Eddie Awards will take place on February 1 in Los Angeles.
- 1/7/2019
- by Jeremy Kay
- ScreenDaily
Golden Globe winners “Bohemian Rhapsody” and “Green Book” were among the nominees for this year’s American Cinema Editors Eddie Awards, it was announced Monday.
In the dramatic field, members of the organization voted “BlacKkKlansman,” “Bohemian Rhapsody,” “First Man” and “Roma” alongside Bradley Cooper and Lady Gaga’s celebrated remake. In comedy, “Crazy Rich Asians,” “Deadpool 2,” “The Favourite” and “Vice” joined Peter Farrelly’s ’60s-set race-relations yarn starring Viggo Mortensen and Mahershala Ali.
Animated nominees were “Incredibles 2,” “Isle of Dogs” and “Spider-Man: Into the Spider-Verse,” while feature documentary nominees included “Free Solo,” “Rbg,” “Three Identical Strangers” and “Won’t You Be My Neighbor?”
On the television side, FX’s “Atlanta,” AMC’s “Better Call Saul” and Amazon’s “The Marvelous Mrs. Maisel” each picked up nominations for multiple episodes. They were joined by entries from HBO’s “Barry” and “Insecure,” NBC’s “The Good Place,” IFC’s “Portlandia,...
In the dramatic field, members of the organization voted “BlacKkKlansman,” “Bohemian Rhapsody,” “First Man” and “Roma” alongside Bradley Cooper and Lady Gaga’s celebrated remake. In comedy, “Crazy Rich Asians,” “Deadpool 2,” “The Favourite” and “Vice” joined Peter Farrelly’s ’60s-set race-relations yarn starring Viggo Mortensen and Mahershala Ali.
Animated nominees were “Incredibles 2,” “Isle of Dogs” and “Spider-Man: Into the Spider-Verse,” while feature documentary nominees included “Free Solo,” “Rbg,” “Three Identical Strangers” and “Won’t You Be My Neighbor?”
On the television side, FX’s “Atlanta,” AMC’s “Better Call Saul” and Amazon’s “The Marvelous Mrs. Maisel” each picked up nominations for multiple episodes. They were joined by entries from HBO’s “Barry” and “Insecure,” NBC’s “The Good Place,” IFC’s “Portlandia,...
- 1/7/2019
- by Kristopher Tapley
- Variety Film + TV
They Knew Him Well: Malick’s Sublime Existential Search for the Pearl
To many, Terrence Malick, perhaps the most revered of modern American auteurs, has ascended to his own idiosyncratic, esoteric doss, entering his most prolific decade in his forty years of filmmaking with confounding illustrations of pronounced existential ennui. Following 2011’s Palme d’Or winning The Tree of Life, he unleashed the belabored To the Wonder, cementing a pretentious predilection for wandering, rambling lost souls. His latest, Knight of Cups is certainly as impressionistic as these last two features, and hinges once again on a restless nomad, this time a faded Hollywood screenwriter hovering betwixt the sacred labors of his profession and the profane temptations of his surroundings. Inundated with notable celebrities, it’s too abstruse for a legion of starfuckers to fathom, much less righteously embrace its rather obvious critique of how completely commodifying an art form eventually...
To many, Terrence Malick, perhaps the most revered of modern American auteurs, has ascended to his own idiosyncratic, esoteric doss, entering his most prolific decade in his forty years of filmmaking with confounding illustrations of pronounced existential ennui. Following 2011’s Palme d’Or winning The Tree of Life, he unleashed the belabored To the Wonder, cementing a pretentious predilection for wandering, rambling lost souls. His latest, Knight of Cups is certainly as impressionistic as these last two features, and hinges once again on a restless nomad, this time a faded Hollywood screenwriter hovering betwixt the sacred labors of his profession and the profane temptations of his surroundings. Inundated with notable celebrities, it’s too abstruse for a legion of starfuckers to fathom, much less righteously embrace its rather obvious critique of how completely commodifying an art form eventually...
- 3/3/2016
- by Nicholas Bell
- IONCINEMA.com
While not all receive the golden ticket for a Park City premiere, the invaluable support available at the Sundance Institute is ongoing and takes several shapes and forms. Last year’s batch of Documentary Edit and Story Labs attendees included Anna Sandilands & Ewan McNicol who trimmed Uncertain, while Lyric Cabral & David Felix Sutcliffe spliced into shape (T)Error. As underlined in the press release, this year’s eight projects touches of subjects of transgender parents, the aftermath of Sandy Hook tragedy, exonerated death row inmates and AIDS. Among the noteworthy names attending (June 19-27 and July 3-11) we find Lost in La Mancha duo of Keith Fulton & Lou Pepe (see pic above) and Informant director Jamie Meltzer’s tentatively titled Freedom Fighters. Here are the participants and creative folk for ’15.
Editors serving as Creative Advisors for the June 19-27 session are Marshall Curry (Point and Shoot), Ra’anan Alexandrowicz (The...
Editors serving as Creative Advisors for the June 19-27 session are Marshall Curry (Point and Shoot), Ra’anan Alexandrowicz (The...
- 6/15/2015
- by Eric Lavallee
- IONCINEMA.com
The Sundance Institute has announced the eight projects that will take part in their Documentary Edit and Story lab at the Sundance Resort in June and July. All participating projects are in the advanced stages of post-production and will work on their rough cuts in the two-part lab. This year’s Creative Advisors include Marshall Curry (Point and Shoot), Geoffrey Richman (Racing Extinction), Kate Amend (The Case Against 8), Richard Hankin (God Loves Uganda), Victor Livingston (The Queen of Versailles) and more. The full list of projects and synopses is below. The Bad Kids Director: Keith Fulton & Lou Pepe Editor: Jacob Bricca At […]...
- 6/15/2015
- by Sarah Salovaara
- Filmmaker Magazine - Blog
The Sundance Institute has announced the eight projects that will take part in their Documentary Edit and Story lab at the Sundance Resort in June and July. All participating projects are in the advanced stages of post-production and will work on their rough cuts in the two-part lab. This year’s Creative Advisors include Marshall Curry (Point and Shoot), Geoffrey Richman (Racing Extinction), Kate Amend (The Case Against 8), Richard Hankin (God Loves Uganda), Victor Livingston (The Queen of Versailles) and more. The full list of projects and synopses is below. The Bad Kids Director: Keith Fulton & Lou Pepe Editor: Jacob Bricca At […]...
- 6/15/2015
- by Sarah Salovaara
- Filmmaker Magazine-Director Interviews
Sundance Institute today announced the eight projects selected for its annual Documentary Edit and Story Labs, taking place in two sessions at the Sundance Resort in Utah from June 19-27 and July 3-11. The Documentary Edit and Story Labs support projects in later stages of post-production work to hone story, structure and character development. Director and editor teams unite under the stewardship of world-class doc filmmakers and Sundance Institute staff. Projects that have gone through these labs include "(T)Error," "The Queen of Versailles," "Rich Hill" and "The Kill Team." Editors serving as Creative Advisors for the June 19-27 session are Marshall Curry ("Point and Shoot"), Ra’anan Alexandrowicz ("The Law In These Parts"), Tom Haneke ("Where Soldiers Come From"), Mary Lampson ("Harlan County"), Geoffrey Richman ("Racing Extinction") and Jean Tsien ("Shut Up and Sing"). Editors...
- 6/15/2015
- by Ryan Lattanzio
- Thompson on Hollywood
Sundance Institute today announced the eight projects selected for the annual Documentary Edit and Story Labs in Utah from June 19-27 and July 3-11.
The Labs focus on projects in the latter stages of post-production and this year’s topics include transgender parents, the Sandy Hook Elementary School massacre and education and poverty.
Recent participants in the Documentary Edit and Story Lab include (T)Error, The Queen Of Versailles (pictured) and The Kill Team.
“The work of this year’s fellows is a reflection of some of the richness and purpose to be found in contemporary non-fiction storytelling,” said Documentary Film Program director Tabitha Jackson.
“We are excited not just about the projects, but also about the alchemy that will happen on the mountain when these directors and editors, first-time and mid-career, national and international come together to form the creative connections that will continue to inspire them in their brave and challenging work.”
Creative Advisors...
The Labs focus on projects in the latter stages of post-production and this year’s topics include transgender parents, the Sandy Hook Elementary School massacre and education and poverty.
Recent participants in the Documentary Edit and Story Lab include (T)Error, The Queen Of Versailles (pictured) and The Kill Team.
“The work of this year’s fellows is a reflection of some of the richness and purpose to be found in contemporary non-fiction storytelling,” said Documentary Film Program director Tabitha Jackson.
“We are excited not just about the projects, but also about the alchemy that will happen on the mountain when these directors and editors, first-time and mid-career, national and international come together to form the creative connections that will continue to inspire them in their brave and challenging work.”
Creative Advisors...
- 6/15/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Chicago – Sometimes the best way for comics to find an ideal vehicle for their abilities is to direct it themselves. 2012 offered ample proof of that, with Louis C.K. and Lena Dunham setting a stupendously high bar for TV comedy with their respective self-made programs. Of course, “Louis” and “Girls” benefit greatly from the contributions of their first-rate ensembles, yet both are also driven by a singular vision.
I can’t imagine a better person to direct the adaptation of Mike Birbiglia’s 2008 one-man stage show than Birbiglia himself. He’s already proven in a series of bit roles (most notably in Lynn Shelton’s “Your Sister’s Sister” and on Dunham’s “Girls”) that he’s a master of awkward humor as excruciatingly funny as it is painfully authentic. His nonchalant mannerisms and seemingly offhanded line delivery are so believable that it frankly hurts to watch his alter ego bomb onstage,...
I can’t imagine a better person to direct the adaptation of Mike Birbiglia’s 2008 one-man stage show than Birbiglia himself. He’s already proven in a series of bit roles (most notably in Lynn Shelton’s “Your Sister’s Sister” and on Dunham’s “Girls”) that he’s a master of awkward humor as excruciatingly funny as it is painfully authentic. His nonchalant mannerisms and seemingly offhanded line delivery are so believable that it frankly hurts to watch his alter ego bomb onstage,...
- 1/3/2013
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Winner of a 2012 Audience Award at Sundance, comedian Mike Birbiglia wrote, directed and stars in this sincere and hilarious film, based on his off-Broadway show and bestselling book. It’s also the first movie co-written by Ira Glass and co-produced by “This American Life.” The story: when an aspiring stand-up fails to express his true feelings about his girlfriend and his stalled career, his anxiety comes out in increasingly funny and dangerous sleepwalking incidents.
Sleepwalk With Me features Lauren Ambrose (“Six Feet Under”), Carol Kane (“Taxi”), James Rebhorn (“Meet the Parents”), Cristin Milioti (star of Broadway’s “Once”), plus comedians Marc Maron, Kristen Schaal, Wyatt Cenac, Jesse Klein, Henry Phillips and David Wain.
“A funny and insightful movie. I could have watched it for ten hours.”
- Judd Apatow
IFC Films and Wamg invite you to enter to win passes to the advance screening of Sleepwalk With Me in St.
Sleepwalk With Me features Lauren Ambrose (“Six Feet Under”), Carol Kane (“Taxi”), James Rebhorn (“Meet the Parents”), Cristin Milioti (star of Broadway’s “Once”), plus comedians Marc Maron, Kristen Schaal, Wyatt Cenac, Jesse Klein, Henry Phillips and David Wain.
“A funny and insightful movie. I could have watched it for ten hours.”
- Judd Apatow
IFC Films and Wamg invite you to enter to win passes to the advance screening of Sleepwalk With Me in St.
- 9/6/2012
- by Movie Geeks
- WeAreMovieGeeks.com
After winning the Best Of Next audience award at the Sundance Film Festival in January, comedian Mike Birbiglia's "Sleepwalk With Me" was so popular at the South By Southwest Film Festival in Austin, that organizers had to turn fans away at each of its screenings last week. Too bad for them: "Sleepwalk With Me," Birbiglia's directorial debut, is a charming bit of indie dramedy that manages to combine elements of "Annie Hall," "Funny People," and even "Goodfellas" into one heartfelt story about relationships and nocturnal activity.
Based on Birbiglia's one-man, off-Broadway show -- which also spawned a book, comedy album and segment on "This American Life" -- "Sleepwalk With Me" follows Matt (Birbiglia), a struggling comic at a crossroads in life: his eight-year relationship with Abbie (Lauren Ambrose) is drifting into dead-shark territory, and his Rem behavior disorder is getting more and more out of hand. Funny and filled with great character beats,...
Based on Birbiglia's one-man, off-Broadway show -- which also spawned a book, comedy album and segment on "This American Life" -- "Sleepwalk With Me" follows Matt (Birbiglia), a struggling comic at a crossroads in life: his eight-year relationship with Abbie (Lauren Ambrose) is drifting into dead-shark territory, and his Rem behavior disorder is getting more and more out of hand. Funny and filled with great character beats,...
- 3/17/2012
- by The Huffington Post
- Huffington Post
After winning the Best Of Next audience award at the Sundance Film Festival in January, comedian Mike Birbiglia's "Sleepwalk With Me" was so popular at the South By Southwest Film Festival in Austin, that organizers had to turn fans away at each of its screenings last week. Too bad for them: "Sleepwalk With Me," Birbiglia's directorial debut, is a charming bit of indie dramedy that manages to combine elements of "Annie Hall," "Funny People," and even "Goodfellas" into one heartfelt story about relationships and nocturnal activity. Based on Birbiglia's one-man, off-Broadway show -- which also spawned a book, comedy album and segment on "This American Life" -- "Sleepwalk With Me" follows Matt (Birbiglia), a struggling comic at a crossroads in life: his eight-year relationship with Abbie (Lauren Ambrose) is drifting into dead-shark territory, and his Rem behavior disorder is getting more and more out of hand. Funny and filled with great character beats,...
- 3/17/2012
- by Christopher Rosen
- Moviefone
Remember the movie you thought Judd Apatow wanted to make when he directed "Funny People"? Picture if he had gotten the tone right, swapped out Seth Rogen's whining with some Woody Allen-style meditations on modern romance, and used Mates of State as a key music cue instead of Ringo Starr. The result might look something like "Sleepwalk With Me," comedian Mike Birbiglia's very funny -- and very honest -- new film, which screened to a packed house at the South By Southwest Film Festival on Tuesday night. That stuff you read after "Sleepwalk With Me" debuted at Sundance about how it's one of those festival favorites not to be missed? It's all true.
(Thankfully, IFC picked up "Sleepwalk With Me" for theatrical distribution, so you'll actually have a chance to see it sometime soon.)
Based on Birbiglia's one-man off-Broadway show of the same name (which has spawned...
(Thankfully, IFC picked up "Sleepwalk With Me" for theatrical distribution, so you'll actually have a chance to see it sometime soon.)
Based on Birbiglia's one-man off-Broadway show of the same name (which has spawned...
- 3/14/2012
- by The Huffington Post
- Huffington Post
Remember the movie you thought Judd Apatow wanted to make when he directed "Funny People"? Picture if he had gotten the tone right, swapped out Seth Rogen's whining with some Woody Allen-style meditations on modern romance, and used Mates of State as a key music cue instead of Ringo Starr. The result might look something like "Sleepwalk With Me," comedian Mike Birbiglia's very funny -- and very honest -- new film, which screened to a packed house at the South By Southwest Film Festival on Tuesday night. That stuff you read after "Sleepwalk With Me" debuted at Sundance about how it's one of those festival favorites not to be missed? It's all true. (Thankfully, IFC picked up "Sleepwalk With Me" for theatrical distribution, so you'll actually have a chance to see it sometime soon.) Based on Birbiglia's one-man off-Broadway show of the same name (which has spawned...
- 3/14/2012
- by Christopher Rosen
- Moviefone
Best Documentary, The Cove Louie Psihoyos‘ The Cove, about the abuse and indiscriminate slaughter of dolphins at a secluded cove near Taiji, Japan, has been the most honored documentary of 2009. The Cove has won awards from various Us critics groups, in addition to top awards from the Producers Guild, the Directors Guild, the Writers Guild (for Mark Monroe), and the American Cinema Editors (for Geoffrey Richman). It’s the clear favorite to win the Best Documentary Feature Academy Award. The Cove’s competitors are The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers, Which Way Home, Burma VJ, and Food, Inc. None of them has much of a chance. The Cove (Courtesy of the Oceanic Preservation Society)...
- 3/1/2010
- by Steve Montgomery
- Alt Film Guide
The American Cinema Editors (Ace) have picked the best edited films of 2009. "The Hurt Locker," "The Hangover," and "Up" won feature film competitions at the 60th annual Ace Eddie Awards.
"The Hurt Locker" won the dramatic category, "The Hangover" won for comedy or musical, and "Up" for the best animated feature film. "The Cove" won for best edited documentary.
Here's the complete list of Ace Eddie winners (For complete list of nominees, click here):
Best Edited Feature Film (Dramatic):
.The Hurt Locker.
Bob Murawski & Chris Innis
Best Edited Feature Film (Comedy Or Musical):
.The Hangover.
Debra Neil-Fisher, A.C.E.
Best Edited Animated Feature Film
.Up.
Kevin Nolting
Best Edited Documentary
.The Cove.
Geoffrey Richman
Best Edited Half-hour Series For Television
30 Rock: .Apollo Apollo.
Ken Eluto, A.C.E.
Best Edited One-hour Series For Commercial Television
Breaking Bad: .Abq.
Lynne Willingham, A.C.E.
Best Edited...
"The Hurt Locker" won the dramatic category, "The Hangover" won for comedy or musical, and "Up" for the best animated feature film. "The Cove" won for best edited documentary.
Here's the complete list of Ace Eddie winners (For complete list of nominees, click here):
Best Edited Feature Film (Dramatic):
.The Hurt Locker.
Bob Murawski & Chris Innis
Best Edited Feature Film (Comedy Or Musical):
.The Hangover.
Debra Neil-Fisher, A.C.E.
Best Edited Animated Feature Film
.Up.
Kevin Nolting
Best Edited Documentary
.The Cove.
Geoffrey Richman
Best Edited Half-hour Series For Television
30 Rock: .Apollo Apollo.
Ken Eluto, A.C.E.
Best Edited One-hour Series For Commercial Television
Breaking Bad: .Abq.
Lynne Willingham, A.C.E.
Best Edited...
- 2/16/2010
- by Manny
- Manny the Movie Guy
Kathryn Bigelow’s The Hurt Locker was voted the best edited feature film (drama) by the American Cinema Editors on Sunday night. Previously, The Hurt Locker won awards from the Producers Guild, the Directors Guild, and the Art Directors Guild. James Cameron’s super blockbuster Avatar has thus far won only one guild award, for art direction in the "fantasy" category. Bob Murawski and Chris Innis were The Hurt Locker’s Eddie Award recipients for their tension-building work. Other motion picture Eddie Award winners were The Hangover (Debra Neil-Fisher) in the comedy or musical category, Up (Kevin Nolting) for animated feature, and The Cove (Geoffrey Richman) for best-edited documentary. Among the television winners were the made-for-tv movie Grey Gardens (Alan Heim and Lee [...]...
- 2/15/2010
- by Steve Montgomery
- Alt Film Guide
Up, The Hurt Locker and The Cove just keep on winning. Sunday night they won Eddies from the Editors Guild for best animated feature (Kevin Nolting), best feature film drama (Bob Murawski & Chris Innis) and best documentary (Geoffrey Richman), respectively. The Hangover won best feature comedy or musical (Debra Neil-Fisher). The Hurt Locker beat Avatar again, as it did with the Producers and Directors, but lost the Screen Actors Guild ensemble to Inglourious Basterds. The next significant awards are this coming weekend: the Writers Guild and BAFTA.
- 2/15/2010
- Thompson on Hollywood
The editors of "The Hurt Locker," "The Hangover" and "Up" won feature film competitions Sunday at the 60th annual American Cinema Editors Eddie Awards at the Beverly Hilton.
"The Hurt Locker" editors, husband-and-wife team Bob Murawski and Chris Innis, earned the trophy for a dramatic film, topping a category that included "Avatar," "District 9," "Star Trek" and "Up in the Air."
"It's a great way to spend Valentine's Day, to win an award with my wife," Murawski said onstage, adding with a smile, "she did most of the work."
"The Hangover" editor Debra Neil-Fisher, Ace, topped the category for comedy or musical, which included nominees "500 Days of Summer," "Julie & Julia," "A Serious Man" and "It's Complicated."
Editor Kevin Nolting earned the award for best edited animated feature for "Up," leading a group that included "Coraline" and "Fantastic Mr. Fox." Additionally, "The Cove" editor Geoffrey Richman won best edited documentary, a...
"The Hurt Locker" editors, husband-and-wife team Bob Murawski and Chris Innis, earned the trophy for a dramatic film, topping a category that included "Avatar," "District 9," "Star Trek" and "Up in the Air."
"It's a great way to spend Valentine's Day, to win an award with my wife," Murawski said onstage, adding with a smile, "she did most of the work."
"The Hangover" editor Debra Neil-Fisher, Ace, topped the category for comedy or musical, which included nominees "500 Days of Summer," "Julie & Julia," "A Serious Man" and "It's Complicated."
Editor Kevin Nolting earned the award for best edited animated feature for "Up," leading a group that included "Coraline" and "Fantastic Mr. Fox." Additionally, "The Cove" editor Geoffrey Richman won best edited documentary, a...
- 2/14/2010
- by By Carolyn Giardina
- The Hollywood Reporter - Movie News
The American Cinema Editors have released their nominations for the 2010 Ace Eddie Awards and sci-fi films dominated the Feature Film category.
Winners will be revealed on Feb. 14th at the Beverly Hilton Hotel. And there's a strong chance that the winner of the Ace Eddie will also win the Oscar for Best Editing.
Here are the nominees for the 60th Annual Ace Eddie Awards:
Best Edited Feature Film (Dramatic):
Avatar
Stephen Rivkin, A.C.E., John Refoua, A.C.E. &
James Cameron, A.C.E.
District 9
Julian Clarke
The Hurt Locker
Bob Murawski & Chris Innis
Star Trek
Maryann Brandon, A.C.E. & Mary Jo Markey, A.C.E.
Up in the Air
Dana Glauberman, A.C.E.
Best Edited Feature Film (Comedy Or Musical):
500 Days of Summer
Alan Edward Bell
The Hangover
Debra Neil-Fisher, A.C.E.
Julie & Julia
Richard Marks, A.C.E.
A Serious Man...
Winners will be revealed on Feb. 14th at the Beverly Hilton Hotel. And there's a strong chance that the winner of the Ace Eddie will also win the Oscar for Best Editing.
Here are the nominees for the 60th Annual Ace Eddie Awards:
Best Edited Feature Film (Dramatic):
Avatar
Stephen Rivkin, A.C.E., John Refoua, A.C.E. &
James Cameron, A.C.E.
District 9
Julian Clarke
The Hurt Locker
Bob Murawski & Chris Innis
Star Trek
Maryann Brandon, A.C.E. & Mary Jo Markey, A.C.E.
Up in the Air
Dana Glauberman, A.C.E.
Best Edited Feature Film (Comedy Or Musical):
500 Days of Summer
Alan Edward Bell
The Hangover
Debra Neil-Fisher, A.C.E.
Julie & Julia
Richard Marks, A.C.E.
A Serious Man...
- 1/12/2010
- by Manny
- Manny the Movie Guy
Stellar times for Star Trek….a Writers Guild nomination, a Producers Guild nomination and now this! But where are those Inglorious Basterds among the editors? One of the most interesting noms among the Ace’s lists is in the Documentary category – This Is It. Almost all but forgotten, except for those full-page Fyc ads of the Jackson rehearsal documentary in Variety. I’d love to see it as the big surprise Best Picture nominee on nomination morning. No film has won the Academy Award for Best Picture without also having received an Ace editing nom since “Ordinary People” in 1981.
60th annual Ace Eddie Awards nominees are….
Feature film (dramatic):
Avatar, Stephen Rivkin, John Refua & James Cameron District 9, Julian Clarke The Hurt Locker, Bob Murawski & Chris Innis Star Trek, Maryann Brandon & Mary Jo Markey Up in the Air, Dana Glauberman
Feature film (comedy or musical):
500 Days of Summer,...
60th annual Ace Eddie Awards nominees are….
Feature film (dramatic):
Avatar, Stephen Rivkin, John Refua & James Cameron District 9, Julian Clarke The Hurt Locker, Bob Murawski & Chris Innis Star Trek, Maryann Brandon & Mary Jo Markey Up in the Air, Dana Glauberman
Feature film (comedy or musical):
500 Days of Summer,...
- 1/12/2010
- by Michelle
- WeAreMovieGeeks.com
As the nominations were unveiled Tuesday morning for the American Cinema Editors' 60th annual Ace Eddie Awards, this year's awards season is looking more and more like a Hollywood version of Comic-Con.
Just like the Art Directors Guild, the editors organization nominated "Avatar," "District 9" and "Star Trek."
Those three movies will compete for best edited dramatic feature film along with "The Hurt Locker" and "Up in the Air."
Two Meryl Streep vehicles -- "Julie & Julia" and "It's Complicated" -- were nominated in the best comedy or musical category along with "(500) Days of Summer," "The Hangover" and "A Serious Man."
For best animated film, the contenders are "Coraline," "Fantastic Mr. Fox" and "Up."
"This Is It," the Michael Jackson documentary, scored a slot in Ace's best documentary race alongside "The Cove" and "Food, Inc."
An honorary society of motion picture editors founded in 1950, Ace's noms usually point toward Oscar victory...
Just like the Art Directors Guild, the editors organization nominated "Avatar," "District 9" and "Star Trek."
Those three movies will compete for best edited dramatic feature film along with "The Hurt Locker" and "Up in the Air."
Two Meryl Streep vehicles -- "Julie & Julia" and "It's Complicated" -- were nominated in the best comedy or musical category along with "(500) Days of Summer," "The Hangover" and "A Serious Man."
For best animated film, the contenders are "Coraline," "Fantastic Mr. Fox" and "Up."
"This Is It," the Michael Jackson documentary, scored a slot in Ace's best documentary race alongside "The Cove" and "Food, Inc."
An honorary society of motion picture editors founded in 1950, Ace's noms usually point toward Oscar victory...
- 1/11/2010
- by By Gregg Kilday
- The Hollywood Reporter - Movie News
- Many would say that at this year's Academy Awards got the documentary film category "right". The "right" doc film won and even the final nominees were worthy mentions. But all this doesn't make the Cinema Eye Honors mission less "important". Now in their second year and with eleven categories, a quirky film such as Guy Maddin's My Winnipeg receives a little bit more acknowledgement before disappearing on shelves, those who edit and photograph doc films have any evening reserved all to themselves and newbies to docu filmmaking world have a shot at getting some cred and mingle with the right crowd. The ceremonies take place on Sunday, we'll be reporting on who the winners are from the categories below. Make sure to check out their newly designed website. Outstanding Achievement In Production Henry Kaiser - Encounters At The End Of The World Simon Chinn - Man On Wire
- 3/24/2009
- IONCINEMA.com
Sundance Film Festival
PARK CITY -- In The Order of Myths, filmmaker Margaret Brown returns to her hometown of Mobile, Ala., to see how the city has progressed since her youth. The answer is surprisingly little as she looks at the community through its major social event of the year: the Mardi Gras. Exotic and thoughtful, film is entertaining enough to capture a modest theatrical audience before enjoying a healthy run on cable outlets.
In this vision of the South, separate but equal is not only alive and well, it is the dominant mode of interaction. The film gets under your skin with its celebratory colors and vibrant music, and then creeps you out with its conclusions, which is probably Brown's intention, but she allows the events to speak for themselves.
The film's title refers to the oldest of a group of all-white secret fraternal societies that plan parades and parties to celebrate the holiday. Members speak to the camera only with their masks on as identities cannot be revealed. One masked man says blacks and whites get along fine in the city, but one suspects this is the case only as long as everyone knows their place.
The Mobile Mardi Gras, started in 1703, is the oldest in the country. Until 1938, blacks participated in the celebration only as dancers and torchbearers accompanying white floats. Then with the founding of the Mobile Area Mardi Gras Association (MAMGA), the blacks residents created their own events to go along with the white celebration staged by the Mobil Carnival Association (MCA).
Chronicling the 2007 Mardi Gras, Brown cuts back and forth between the two celebrations as if they were running on separate, parallel tracks, crossing only occasionally. To tell her story she follows five key participants: the Black King and queen; the white queen; a white debutante who claims to be liberal but is still a member of the white court; and a black activist who tells it like it is.
The points of intersection between the two worlds are seen where blacks work for wealthy white families, either as waiters for exclusive events or beloved nanny's who helped raise the children. As an insider, Brown is allowed unprecedented access, but even she is cautious not to jeopardize her welcome by asking the hard questions. Instead, she observes and let's viewers draw their own conclusions.
Polemics is not her point. She shows the pomp and circumstance of the events: the elaborate embroidery of the costumes, the balls, the coronation, and the actual parades. It is in the playing out of the traditions that Brown examines and questions the ingrained social fabric of her city. Her mother was a Mardi Gras queen in 1996 and her grandfather is still active in a mystic society, so Brown has ambivalent feelings about the events and how they are conducted.
Representing the Meaher family, one of the oldest and wealthiest in Mobile, is Helen Meaher, this year's queen. In tracing her family's history, the film shockingly reveals that her ancestor was responsible for bringing the last slave ship into this county in Mobile harbor, more than 50 years after the U.S. had outlawed the slave trade. It's a heritage that people don't speak of directly, but it is the kind of thing that hovers beneath the surface and defines all that we see.
Moving from shots of shacks that sell fried oxtails in the black neighborhood to the splendor of the white-gloved parties on the other side of town, Brown and her cinematographers Michael Simmonds and Lee Daniel always seem to have the camera in the right spot. And editors Michael Taylor, Geoffrey Richman and Brown have stitched the material together to make a lively and revealing portrait of life in the New South.
THE ORDER OF MYTHS
A NetPoint Prods. presentation in association with Lucky Hat Entertainment
Credits:
Director: Margaret Brown
Producers: Margaret Brow, Sara Alize Cross
Executive producer: Christine Mattsson
Director of cinematography: Michael Simmonds, Lee Daniel
Editors: Michael Taylor, Geoffrey Richman, Margaret Brown
Running time -- 80 minutes
No MPAA rating...
PARK CITY -- In The Order of Myths, filmmaker Margaret Brown returns to her hometown of Mobile, Ala., to see how the city has progressed since her youth. The answer is surprisingly little as she looks at the community through its major social event of the year: the Mardi Gras. Exotic and thoughtful, film is entertaining enough to capture a modest theatrical audience before enjoying a healthy run on cable outlets.
In this vision of the South, separate but equal is not only alive and well, it is the dominant mode of interaction. The film gets under your skin with its celebratory colors and vibrant music, and then creeps you out with its conclusions, which is probably Brown's intention, but she allows the events to speak for themselves.
The film's title refers to the oldest of a group of all-white secret fraternal societies that plan parades and parties to celebrate the holiday. Members speak to the camera only with their masks on as identities cannot be revealed. One masked man says blacks and whites get along fine in the city, but one suspects this is the case only as long as everyone knows their place.
The Mobile Mardi Gras, started in 1703, is the oldest in the country. Until 1938, blacks participated in the celebration only as dancers and torchbearers accompanying white floats. Then with the founding of the Mobile Area Mardi Gras Association (MAMGA), the blacks residents created their own events to go along with the white celebration staged by the Mobil Carnival Association (MCA).
Chronicling the 2007 Mardi Gras, Brown cuts back and forth between the two celebrations as if they were running on separate, parallel tracks, crossing only occasionally. To tell her story she follows five key participants: the Black King and queen; the white queen; a white debutante who claims to be liberal but is still a member of the white court; and a black activist who tells it like it is.
The points of intersection between the two worlds are seen where blacks work for wealthy white families, either as waiters for exclusive events or beloved nanny's who helped raise the children. As an insider, Brown is allowed unprecedented access, but even she is cautious not to jeopardize her welcome by asking the hard questions. Instead, she observes and let's viewers draw their own conclusions.
Polemics is not her point. She shows the pomp and circumstance of the events: the elaborate embroidery of the costumes, the balls, the coronation, and the actual parades. It is in the playing out of the traditions that Brown examines and questions the ingrained social fabric of her city. Her mother was a Mardi Gras queen in 1996 and her grandfather is still active in a mystic society, so Brown has ambivalent feelings about the events and how they are conducted.
Representing the Meaher family, one of the oldest and wealthiest in Mobile, is Helen Meaher, this year's queen. In tracing her family's history, the film shockingly reveals that her ancestor was responsible for bringing the last slave ship into this county in Mobile harbor, more than 50 years after the U.S. had outlawed the slave trade. It's a heritage that people don't speak of directly, but it is the kind of thing that hovers beneath the surface and defines all that we see.
Moving from shots of shacks that sell fried oxtails in the black neighborhood to the splendor of the white-gloved parties on the other side of town, Brown and her cinematographers Michael Simmonds and Lee Daniel always seem to have the camera in the right spot. And editors Michael Taylor, Geoffrey Richman and Brown have stitched the material together to make a lively and revealing portrait of life in the New South.
THE ORDER OF MYTHS
A NetPoint Prods. presentation in association with Lucky Hat Entertainment
Credits:
Director: Margaret Brown
Producers: Margaret Brow, Sara Alize Cross
Executive producer: Christine Mattsson
Director of cinematography: Michael Simmonds, Lee Daniel
Editors: Michael Taylor, Geoffrey Richman, Margaret Brown
Running time -- 80 minutes
No MPAA rating...
- 1/30/2008
- The Hollywood Reporter - Movie News
American Cinema Editors have announced 10 feature film nominations for the 58th annual ACE Eddie Awards, set for Feb. 16 at the Beverly Hilton.
Christopher Rouse for The Bourne Ultimatum, Jay Cassidy for Into the Wild, John Gilroy for Michael Clayton, Roderick Jaynes for No Country for Old Men and Dylan Tichenor for There Will Be Blood will compete for best edited dramatic feature.
Nominees for best edited feature, comedy or musical are Michael Tronick for Hairspray, Dana E. Glauberman for Juno, Craig Wood and Stephen Rivkin for Pirates of the Caribbean: At World's End, Darren Holmes for Ratatouille and Chris Lebenzon for Sweeney Todd: The Demon Barber of Fleet Street.
Two-thirds of the films that won Eddies during the past 15 years have also been best picture nominees.
Competing in the documentary category are Edgar Burcksen & Leonard Feinstein for Darfur Now, Leslie Iwerks & Stephen Myers for The Pixar Story and Geoffrey Richman, Chris Seward & Dan Swietlik for Sicko.
In television, the nominees for half-hour series are Ken Eluto for 30 Rock (The C Word episode), Shannon Mitchell for Californication (Hell-A Woman) and Grady Cooper for Curb Your Enthusiasm (The Bat Mitzvah). Contenders for their work on one-hour series for commercial TV are Norman Buckley for Chuck (Pilot), Malcolm Jamieson for Damages (Pilot) and Karen Stern for Law & Order: SVU (Paternity).
Stewart Schill for Dexter (It's Alive), David Siegel for Rome (De Patre Vostro) and Sidney Wolinsky for The Sopranos (Made in America) are nominated for one-hour series for non-commercial TV.
Christopher Rouse for The Bourne Ultimatum, Jay Cassidy for Into the Wild, John Gilroy for Michael Clayton, Roderick Jaynes for No Country for Old Men and Dylan Tichenor for There Will Be Blood will compete for best edited dramatic feature.
Nominees for best edited feature, comedy or musical are Michael Tronick for Hairspray, Dana E. Glauberman for Juno, Craig Wood and Stephen Rivkin for Pirates of the Caribbean: At World's End, Darren Holmes for Ratatouille and Chris Lebenzon for Sweeney Todd: The Demon Barber of Fleet Street.
Two-thirds of the films that won Eddies during the past 15 years have also been best picture nominees.
Competing in the documentary category are Edgar Burcksen & Leonard Feinstein for Darfur Now, Leslie Iwerks & Stephen Myers for The Pixar Story and Geoffrey Richman, Chris Seward & Dan Swietlik for Sicko.
In television, the nominees for half-hour series are Ken Eluto for 30 Rock (The C Word episode), Shannon Mitchell for Californication (Hell-A Woman) and Grady Cooper for Curb Your Enthusiasm (The Bat Mitzvah). Contenders for their work on one-hour series for commercial TV are Norman Buckley for Chuck (Pilot), Malcolm Jamieson for Damages (Pilot) and Karen Stern for Law & Order: SVU (Paternity).
Stewart Schill for Dexter (It's Alive), David Siegel for Rome (De Patre Vostro) and Sidney Wolinsky for The Sopranos (Made in America) are nominated for one-hour series for non-commercial TV.
- 1/12/2008
- The Hollywood Reporter - Movie News
PARK CITY -- Four-and-a-half years in the making, "God Grew Tired of Us" is a labor of love not only for the director Christopher Quinn but for the three Lost Boys of Sudan who are the subject of the film. An incredibly powerful story of renewal, commitment and the resiliency of the human spirit, this is a movie that should attract a large theatrical audience, and no one will go home disappointed.
In 1983 some 25,000 boys from the southern Sudan, most of them 5-10 years old, fled the advancing Muslim army from the north which was seeking to exterminate the male population of black Christians. The Lost Boys, as they came to be known, trekked barefoot for over a thousand miles and eventually settled in a UN refuge camp in Kakuma, Kenya, which is where Quinn started filming.
Rather than becoming bitter and hostile, the boys formed a close-knit society in which they all took care of each other, boys as young as 11 taking on the responsibility of surrogate fathers. What is remarkable to see in Quinn's footage is that these children have not let their sadness and suffering--many buried their families--wipe out their good will and kind nature.
While at the camp, Quinn chose three boys to follow as they left their community to resettle in the U.S. Before they leave, their cultural fears are amusing, but not in a condescending way. These people have great dignity even as they worry about the difficulty of using electricity and whether they will have to bring water from the river to bathe.
In selecting John Bul Dau, Panther Bior and Daniel Abul Pach, Quinn has picked excellent stars for his film. They are intelligent, engaging and a pleasure to spend ninety minutes with. Although their arrival in America has many humorous moments, this is not another fish out of water story. These are not people simply trying to adapt to a foreign culture, they bring with them spiritual values that are intrinsically the opposite of American life. They really do love their neighbors and Daniel marvels at how you can't just go into a stranger's house for help if you need something.
Panther and Daniel are situated in Pittsburgh while John moves to Syracuse. They are lonely at first but what they have in common from their Dinka tradition and what keeps them going is their commitment to help their family and friends who still don't have a home or a homeland. John works three jobs to send money to his family in a Uganda refuge camp.
After the initial phase of shooting, Quinn returned to Syracuse and Pittsburgh every other month to record their progress through the modern world, their various jobs and return to school. One of the most moving of many moving scenes in the film occurs when John brings his mother to America after not knowing for many years if she was even alive. She is so overcome with joy at their reunion that she can barely stand up and walks through the airport calling out Dinka chants of delight.
Quinn always seems to have his camera in the right place at the right time, thanks in no small part to cinematographer Paul Daley's vibrant colors and Geoffrey Richman's crisp editing. Film also features a tuneful soundtrack of African music that carries the uplifting message of these wonderful, wounded Lost Boys who never lost their faith.
GOD GREW TIRED OF US
LBS Films
Credits:
Director: Christopher Quinn
Producers: Molly Bradford Pace, Quinn
Executive producers: Bard Pitt, Adam Schlesinger, Jack Schneider
Director of photography: Paul Daley
Music: Mark McAdam, Mark Nelson, Jamie Staff
Editor: Geoffrey Richman.
Cast:
John Bul Dau, Panther Bior, Daniel Abul Pach
No MPAA rating
Running time -- 90 minutes...
In 1983 some 25,000 boys from the southern Sudan, most of them 5-10 years old, fled the advancing Muslim army from the north which was seeking to exterminate the male population of black Christians. The Lost Boys, as they came to be known, trekked barefoot for over a thousand miles and eventually settled in a UN refuge camp in Kakuma, Kenya, which is where Quinn started filming.
Rather than becoming bitter and hostile, the boys formed a close-knit society in which they all took care of each other, boys as young as 11 taking on the responsibility of surrogate fathers. What is remarkable to see in Quinn's footage is that these children have not let their sadness and suffering--many buried their families--wipe out their good will and kind nature.
While at the camp, Quinn chose three boys to follow as they left their community to resettle in the U.S. Before they leave, their cultural fears are amusing, but not in a condescending way. These people have great dignity even as they worry about the difficulty of using electricity and whether they will have to bring water from the river to bathe.
In selecting John Bul Dau, Panther Bior and Daniel Abul Pach, Quinn has picked excellent stars for his film. They are intelligent, engaging and a pleasure to spend ninety minutes with. Although their arrival in America has many humorous moments, this is not another fish out of water story. These are not people simply trying to adapt to a foreign culture, they bring with them spiritual values that are intrinsically the opposite of American life. They really do love their neighbors and Daniel marvels at how you can't just go into a stranger's house for help if you need something.
Panther and Daniel are situated in Pittsburgh while John moves to Syracuse. They are lonely at first but what they have in common from their Dinka tradition and what keeps them going is their commitment to help their family and friends who still don't have a home or a homeland. John works three jobs to send money to his family in a Uganda refuge camp.
After the initial phase of shooting, Quinn returned to Syracuse and Pittsburgh every other month to record their progress through the modern world, their various jobs and return to school. One of the most moving of many moving scenes in the film occurs when John brings his mother to America after not knowing for many years if she was even alive. She is so overcome with joy at their reunion that she can barely stand up and walks through the airport calling out Dinka chants of delight.
Quinn always seems to have his camera in the right place at the right time, thanks in no small part to cinematographer Paul Daley's vibrant colors and Geoffrey Richman's crisp editing. Film also features a tuneful soundtrack of African music that carries the uplifting message of these wonderful, wounded Lost Boys who never lost their faith.
GOD GREW TIRED OF US
LBS Films
Credits:
Director: Christopher Quinn
Producers: Molly Bradford Pace, Quinn
Executive producers: Bard Pitt, Adam Schlesinger, Jack Schneider
Director of photography: Paul Daley
Music: Mark McAdam, Mark Nelson, Jamie Staff
Editor: Geoffrey Richman.
Cast:
John Bul Dau, Panther Bior, Daniel Abul Pach
No MPAA rating
Running time -- 90 minutes...
- 1/25/2006
- The Hollywood Reporter - Movie News
PARK CITY -- Murderball is the original name for the contact sport now called quad rugby, which is played by quadriplegics in custom-made wheelchairs that look like the armored vehicles in Mad Max movies. In "Murderball", filmmakers Dana Adam Shapiro, Jeffrey Mandel and Henry Alex Rubin show us some of the fiercest competitors in all sports. These guys can hit -- and take hits -- without flinching. It's almost a kamikaze game, played without helmets or pads, and off the court the jocks drink, swear, gamble and chase women just like pro athletes.
So what "Murderball" does is bring viewers into the world of the severely handicapped without any high-mindedness or sentimentality. So the shock to the film is not how badly a body can get ravaged, but rather how the mind and spirit can let the injured move on to a kick-ass lifestyle.
If a marketing campaign can emphasize that spirit and the sport over hospitals and rehabs, then "Murderball" might enjoy success theatrically. It certainly will be a hit on the festival circuit.
From the 2002 World Championship in Sweden, two protagonists -- who are antagonists to each other -- emerge. Joe Soares, a fortysomething Portuguese-American and former all-star, was cut from the U.S. team two years before; he angrily went north to coach the Canadian team. Mark Zupan, one of Team USA's leading scorers and the team spokesman, takes this betrayal personally. When Canada wins by a point in the final moments, the stage is set for a grudge rematch at the Paralympics in Athens in 2004.
Through these two men, we discover what driven men all the players are. We also learn how they cope with their handicaps in daily life as well as the answers to some of those questions one is afraid to ask, such as how does a quad have sex?
Zupan and his teammates visit rehab centers to talk to and recruit players from among those more recently injured. This lets us see and imagine what they went through. The first two years after a crippling injury are a "mind fuck," Zupan admits.
Zupan was asleep in a car his best buddy drunkenly crashed, leaving Zupan crippled for life but his buddy uninjured. That buddy, Chris Igoe, still shies away from the friendship out of guilt. In the course of the movie, the two manage to get past that and bond once more.
Joe's combative nature takes its toll on the family. His 12-year-old son, Robert, deeply desires his dad's love and approval, but since Robert's goals lie in music and not sports, his disappointed father finds reasons to complain about him. Then a heart attack -- the filmmakers actually got inside the surgery room -- changes Joe's outlook drastically.
The human drama is matched by the sports footage. We get enough of the rough-and-tumble action and macho posturing to get the idea without "Murderball" turning into a sports movie.
The film does leave some questions unanswered: Why the hell don't players wear helmets and pads? How often and what kind of injuries do occur in quad rugby? Do any of these guys have jobs, or must they live on disability? Possibly, some answers might erode the good feeling with which the movie want to leave us.
Rubin's cinematography is superb, Geoffrey Richman and Conor O'Neill's editing always isolates key moments, and a jaunty musical score by Jamie Saft make this a most polished work.
MURDERBALL
ThinkFilm
ThinkFilm in association with A&E Indie Films presentsan Eat Films production
Credits:
Directors: Henry Alex Rubin, Dana Adam Shapiro
Based on an article by: Dana Adam Shapiro
Producers: Jeffrey Mandel, Dana Adam Shapiro
Executive producers: Randy Manis, Jeff Sackman, Mark Urman, Micah Green
Director of photography: Henry Alex Rubin
Music: Jamie Saft
Editors: Geoffrey Richman, Conor O'Neill
No MPAA rating
Running time -- 86 minutes...
So what "Murderball" does is bring viewers into the world of the severely handicapped without any high-mindedness or sentimentality. So the shock to the film is not how badly a body can get ravaged, but rather how the mind and spirit can let the injured move on to a kick-ass lifestyle.
If a marketing campaign can emphasize that spirit and the sport over hospitals and rehabs, then "Murderball" might enjoy success theatrically. It certainly will be a hit on the festival circuit.
From the 2002 World Championship in Sweden, two protagonists -- who are antagonists to each other -- emerge. Joe Soares, a fortysomething Portuguese-American and former all-star, was cut from the U.S. team two years before; he angrily went north to coach the Canadian team. Mark Zupan, one of Team USA's leading scorers and the team spokesman, takes this betrayal personally. When Canada wins by a point in the final moments, the stage is set for a grudge rematch at the Paralympics in Athens in 2004.
Through these two men, we discover what driven men all the players are. We also learn how they cope with their handicaps in daily life as well as the answers to some of those questions one is afraid to ask, such as how does a quad have sex?
Zupan and his teammates visit rehab centers to talk to and recruit players from among those more recently injured. This lets us see and imagine what they went through. The first two years after a crippling injury are a "mind fuck," Zupan admits.
Zupan was asleep in a car his best buddy drunkenly crashed, leaving Zupan crippled for life but his buddy uninjured. That buddy, Chris Igoe, still shies away from the friendship out of guilt. In the course of the movie, the two manage to get past that and bond once more.
Joe's combative nature takes its toll on the family. His 12-year-old son, Robert, deeply desires his dad's love and approval, but since Robert's goals lie in music and not sports, his disappointed father finds reasons to complain about him. Then a heart attack -- the filmmakers actually got inside the surgery room -- changes Joe's outlook drastically.
The human drama is matched by the sports footage. We get enough of the rough-and-tumble action and macho posturing to get the idea without "Murderball" turning into a sports movie.
The film does leave some questions unanswered: Why the hell don't players wear helmets and pads? How often and what kind of injuries do occur in quad rugby? Do any of these guys have jobs, or must they live on disability? Possibly, some answers might erode the good feeling with which the movie want to leave us.
Rubin's cinematography is superb, Geoffrey Richman and Conor O'Neill's editing always isolates key moments, and a jaunty musical score by Jamie Saft make this a most polished work.
MURDERBALL
ThinkFilm
ThinkFilm in association with A&E Indie Films presentsan Eat Films production
Credits:
Directors: Henry Alex Rubin, Dana Adam Shapiro
Based on an article by: Dana Adam Shapiro
Producers: Jeffrey Mandel, Dana Adam Shapiro
Executive producers: Randy Manis, Jeff Sackman, Mark Urman, Micah Green
Director of photography: Henry Alex Rubin
Music: Jamie Saft
Editors: Geoffrey Richman, Conor O'Neill
No MPAA rating
Running time -- 86 minutes...
- 1/28/2005
- The Hollywood Reporter - Movie News
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