LAFCA hands their top prize to a series rather than a film with "Small Axe"

by Nathaniel R

The Los Angeles Film Critics have spoken awarding two prizes each to Steve McQueen's series Small Axe (film and cinematography), the new adaptation of Ma Rainey's Black Bottom (winning both male acting awards), and the controversial rape revenge comedy Promising Young Woman (actress and screenplay). Because I am something of a purist when it comes to movie awards I have to sigh a bit at their reaction to Small Axe. It's like pick a lane, LA critics. You're obviously trying to make a statement that it's a film rather than tv series (and from our understanding it was pitched and produced as the latter and will definitely be considered television for its awards campaign) but if it is one mammoth film why are you also admitting that it's a series by singling out one "episode" for a runner up Best Score prize? So which is it, LA? Or were you arguing amongst yourselves about this during voting...

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Which Limited Series Will Dominate Year-End Awards?

By Abe Friedtanzer

There are more limited series than ever before on the air, though that classification is in itself complicated because of all the anthology series that introduce new characters and storylines each season. As we approach year-end awards that will, unlikee the Emmys, pull from both halves of 2020, which of the buzzy shows we talked about around Emmy time will still be in the running? What other offerings from the last few months will zoom ahead of them?

It’s worth remembering that the overall Emmy nominations leader this past season was a limited series, albeit not one that was considered as such at the end of 2019. Before its staggering 26-nomination haul at the Emmys, Watchmen competed as a drama series, landing four bids and two wins from the Critics Choice Association, a stunt ensemble nod from SAG, and absolutely nothing at the Golden Globes...

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In 2020, what is a "theatrical film"?

by Juan Carlos

2020 is the year that altered the face of cinema as we know it. After cinemas closed all over the world, films were either delayed or released in modified platforms like virtual cinemas and VOD. Indoor gathering restrictions also led to a resurgence of drive-in theaters. Meanwhile, streaming became an even more vital way for films to reach audiences. Platforms like Netflix, Amazon, and Hulu all have Oscar contenders this season.

This shift in movie-watching was further validated by the Academy’s decision earlier this year to allow films released via streaming and VOD to be eligible for the Academy Awards, provided that they were previously intended for theatrical release and that they will be available in the Academy Screening Room. This amendment to the eligibility rules is major, especially given the Academy’s previous adherence to the traditional definition of what a “theatrical film” is. Pre-COVID eligibility rules state that...

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NYFF: Steve McQueen's "Red White and Blue"

by Jason Adams

And so we come to the third piece that the New York Film Festival is screening out of Steve McQueen's "Small Axe" series of five total films -- if you missed my thoughts on Lovers Rock you can read them here and if you missed my thoughts on Mangrove you can read those right here. NYFF flip-flopped the screening order on the previous chapters and Red White and Blue, today's focus, jumps us to all the way to the final chapter of the series, and you can sense that about it. It has the feel of a breath, a pause -- a looking back upon itself and taking tenative, pained stock.

As with Mangrove we're focusing again on a true story. This time it's the 1980s and John Boyega plays Leroy Logan, a young man who was on track to become a forensic scientist until his father was assaulted by a couple of racist cops...

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