Archives for : Susan Kamyab Stephens
Los Angeles, CA (Monday, October 18, 2021) — The Critics Choice Association(CCA) has announced the nominees for the Sixth Annual Critics Choice Documentary Awards (CCDA). The winners will be revealed at a Gala Event on Sunday, November 14, 2021 at BRIC in Brooklyn, NY.
The Critics Choice Associationwill once again be honoring the year’s finest achievements in documentaries released in theaters, on TV and on major digital platforms, as determined by the voting of qualified CCA members.
This year, the Critics Choice Documentary Awards proudly has its first Presenting Sponsor, National Geographic Documentary Films.
Catalyst Sponsors for the Sixth Annual Critics Choice Documentary Awards are HBO Max, Hulu, Netflix, and Showtime Documentary Films.
Last year at the Fifth Annual Critics Choice Documentary Awards, Dick Johnson is Dead took home the CCA’s top award for Best Documentary as well as the Best Director award for Kirsten Johnson.
The nominees for the Sixth Annual Critics Choice Documentary Awards Presented by National Geographic Documentary Films are:
BEST DOCUMENTARY FEATURE
Ascension (MTV Documentary Films)
Attica (Showtime)
Becoming Cousteau (Picturehouse/National Geographic Documentary Films)
The Crime of the Century (HBO Documentary Films)
A Crime on the Bayou (Augusta Films/Shout! Studios)
Flee (Neon)
Introducing, Selma Blair (Discovery+)
The Lost Leonardo (Sony Pictures Classics)
My Name is Pauli Murray (Amazon Studios)
Procession (Netflix)
The Rescue (National Geographic Documentary Films)
Summer of Soul (…Or, When the Revolution Could Not Be Televised) (Searchlight Pictures/Hulu)
BEST DIRECTOR
Elizabeth Chai Vasarhelyi and Jimmy Chin – The Rescue (National Geographic Documentary Films)
Liz Garbus – Becoming Cousteau (Picturehouse/National Geographic Documentary Films)
Jessica Kingdon – Ascension (MTV Documentary Films)
Stanley Nelson and Traci A. Curry – Attica (Showtime)
Jonas Poher Rasmussen – Flee (Neon)
Ahmir “Questlove” Thompson – Summer of Soul (…Or, When the Revolution Could Not Be Televised) (Searchlight Pictures/Hulu)
Edgar Wright – The Sparks Brothers (Focus Features)
BEST FIRST DOCUMENTARY FEATURE
Jessica Beshir – Faya Dayi (Janus Films)
Rachel Fleit – Introducing, Selma Blair (Discovery+)
Todd Haynes – The Velvet Underground (Apple TV+)
Jessica Kingdon – Ascension (MTV Documentary Films)
Kristine Stolakis – Pray Away (Netflix)
Ahmir “Questlove” Thompson – Summer of Soul (…Or, When the Revolution Could Not Be Televised)
(Searchlight Pictures/Hulu)
Edgar Wright – The Sparks Brothers (Focus Features)
BEST CINEMATOGRAPHY
Jessica Beshir – Faya Dayi (Janus Films)
Jonathan Griffith, Brett Lowell and Austin Siadak – The Alpinist (Roadside Attractions)
David Katznelson, Ian Seabrook and Picha Srisansanee – The Rescue
(National Geographic Documentary Films)
Jessica Kingdon and Nathan Truesdell – Ascension (MTV Documentary Films)
Nelson Hume and Alan Jacobsen – The Loneliest Whale: The Search for 52 (Bleecker Street Media)
Emiliano Villanueva – A Cop Movie (Netflix)
Pete West – Puff: Wonders of the Reef (Netflix)
BEST EDITING
Francisco Bello, Matthew Heineman, Gabriel Rhodes and David Zieff – The First Wave (National Geographic Documentary Films)
Jeff Consiglio – LFG (HBO Max and CNN Films)
Bob Eisenhardt – The Rescue (National Geographic Documentary Films)
Affonso Gonçalves and Adam Kurnitz – The Velvet Underground (Apple TV+)
Jessica Kingdon – Ascension (MTV Documentary Films)
Joshua L. Pearson – Summer of Soul (…Or, When the Revolution Could Not Be Televised) (Searchlight Pictures/Hulu)
Julian Quantrill – The Real Charlie Chaplin (Showtime)
BEST NARRATION
9/11: Inside the President’s War Room (Apple TV+) Jeff Daniels, Narrator
Becoming Cousteau (Picturehouse/National Geographic Documentary Films) Vincent Cassel, Narrator & Mark Monroe and Pax Wassermann, Writers
The Crime of the Century (HBO Documentary Films) Alex Gibney, Narrator & Writer
The Neutral Ground (PBS) CJ Hunt, Narrator & Writer
The Real Charlie Chaplin (Showtime) Pearl Mackie, Narrator & Oliver Kindeberg, Peter Middleton and James Spinney, Writers
Val (Amazon Studios) Jack Kilmer, Narrator & Val Kilmer, Writer
The Year Earth Changed (Apple TV+) David Attenborough, Narrator
BEST SCORE
Jongnic Bontemps – My Name is Pauli Murray (Amazon Studios)
Dan Deacon – Ascension (MTV Documentary Films)
Alex Lasarenko and David Little – The Loneliest Whale: The Search for 52 (Bleecker Street Media)
Cyrus Melchor – LFG (HBO/CNN)
Daniel Pemberton – The Rescue (National Geographic Documentary Films)
Rachel Portman – Julia (Sony Pictures Classics)
Dirac Sea – Final Account (Focus Features)
BEST ARCHIVAL DOCUMENTARY
Becoming Cousteau (Picturehouse/National Geographic Documentary Films)
The Real Charlie Chaplin (Showtime)
The Real Right Stuff (Disney+)
Street Gang: How We Got to Sesame Street (HBO Documentary Films)
Summer of Soul (…Or, When the Revolution Could Not Be Televised) (Searchlight Pictures/Hulu)
Val (Amazon Studios)
The Velvet Underground (Apple TV+)
BEST HISTORICAL OR BIOGRAPHICAL DOCUMENTARY
Attica (Showtime)
A Crime on the Bayou (Augusta Films/Shout! Studios)
Fauci (Magnolia Pictures/National Geographic Documentary Films)
Final Account (Focus Features)
Julia (Sony Pictures Classics)
My Name is Pauli Murray (Amazon Studios)
No Ordinary Man (Oscilloscope)
Val (Amazon Studios)
BEST MUSIC DOCUMENTARY
Billie Eilish: The World’s A Little Blurry (Apple TV+)
Bitchin’: The Sound and Fury of Rick James (Showtime)
Listening to Kenny G (HBO Documentary Films)
The Sparks Brothers (Focus Features)
Summer of Soul (…Or, When the Revolution Could Not Be Televised) (Searchlight Pictures/Hulu)
Tina (HBO Documentary Films)
The Velvet Underground (Apple TV+)
BEST POLITICAL DOCUMENTARY
The Crime of the Century (HBO Documentary Films)
Enemies of the State (IFC Films)
Four Hours at the Capitol (HBO Documentary Films)
Influence (StoryScope, EyeSteelFilm)
Mayor Pete (Amazon Studios)
Missing in Brooks County (Giant Pictures)
Nasrin (Hulu)
Not Going Quietly (Greenwich Entertainment)
BEST SCIENCE/NATURE DOCUMENTARY
Becoming Cousteau (Picturehouse/National Geographic Documentary Films)
Fauci (National Geographic Documentary Films)
The First Wave (National Geographic Documentary Films)
The Loneliest Whale: The Search for 52 (Bleecker Street Media)
Playing with Sharks (National Geographic Documentary Films)
Puff: Wonders of the Reef (Netflix)
The Year Earth Changed (Apple TV+)
BEST SPORTS DOCUMENTARY
The Alpinist (Roadside Attractions)
Changing the Game (Hulu)
The Day Sports Stood Still (HBO)
Kevin Garnett: Anything is Possible (Showtime)
LFG (HBO Max/CNN Films)
Tiger (HBO)
BEST SHORT DOCUMENTARY
Audible (Netflix)
Borat’s American Lockdown (Amazon Studios)
Camp Confidential: America’s Secret Nazis (Netflix)
Day of Rage: How Trump Supporters Took the U.S. Capitol (The New York Times)
The Doll (Jumping Ibex)
The Last Cruise (HBO Documentary Films)
The Queen of Basketball (The New York Times)
Snowy (TIME Studios)
MOST COMPELLING LIVING SUBJECTS OF A DOCUMENTARY (HONOR)
Ady Barkan – Not Going Quietly (Greenwich Entertainment)
Selma Blair – Introducing, Selma Blair (Discovery+)
Pete Buttigieg – Mayor Pete (Amazon Studios)
Anthony Fauci – Fauci (Magnolia Pictures/National Geographic Documentary Films)
Ben Fong-Torres – Like a Rolling Stone: The Life and Times of Ben Fong-Torres (StudioLA.TV)
Val Kilmer – Val (Amazon Studios)
Ron and Russell Mael – The Sparks Brothers (Focus Features)
Rita Moreno – Rita Moreno: Just a Girl Who Decided to Go For It (Roadside Attractions)
Valerie Taylor – Playing With Sharks: The Valerie Taylor Story (Disney+)
Roadside Attractions’ new film, “Hard Luck Love Song” is based off the song “Just Like Old Times” by Todd Snider. It’s a gritty love story about a troubled musician living out of motels and making bad choices. One night he reconnects with his old flame and the two experience an emotional and unforgettable evening. I spoke with the stars of the film, Michael Dorman and Sophia Bush, to talk about personal discoveries, what puts them at ease when meeting new people, and more.
“Hard Luck Love Song” opens in theaters October 15, 2021.
“Dear Evan Hansen” is the Tony Award winning Broadway musical that’s been adored by millions. But for some reason, the film adaption doesn’t seem to be translating to audiences.
Sadly, I have yet to see this musical on Broadway, but look forward to one day hearing the soundtrack performed live. I am clearly in the minority of my colleagues, but I enjoyed this movie. I went in completely blind. I didn’t know the storyline or a single song beforehand; maybe that’s why it was easy for me to fall for this film.
For those who also might not know anything about this premise, “Dear Evan Hansen” follows Evan (Ben Platt) – a socially awkward High School senior with an absentee father, a loving mom (Julianne Moore) who is constantly working, and not a single friend to sign the cast on his broken arm. In an effort to help with his anxiety, Evan’s therapist suggests he write a letter to himself, encouraging himself throughout the day.
On a random day at school, the brooding at times hostile student, Connor Murphy (Colton Ryan) decides to sign Evan’s cast. The sweet moment is short lived because he finds one of Evan’s letters in where it mentions Connor’s sister, Zoe (Kaitlyn Dever) – Evan’s crush. He angrily pushes Evan, steals the letter, and keeps it in his coat. The next day, Evan is called to the principal’s office where Connor’s parents (Amy Adams and Danny Pino) are waiting for him. Connor has committed suicide. The only note he had on him was Evan’s letter, which they believe Connor wrote for him. The letter paired with his signature on Evan’s cast convinces his parents that this was his one true friend. In that moment, Evan can’t help but go along with the lie. He has good intentions, but the events that follow can be tough to watch.
I’ll admit, when this film gets going and the talented cast is pouring their heart into a heavy conversation about depression, suicide, or internal struggles, it can take you out of the moment when one someone suddenly burst into song. Most of the time you forget this film is a musical until the singing starts again. However, once the music begins, and you’re actually listening to the lyrics, you’re pulled back in by the powerful message the songs have to tell. And I guess there’s backlash for Platt playing the role of a high schooler at age 27, but I’m not sure why? Adults have played High School teens for years in film and television. Platt looks the age and embodies the high anxiety, awkward character, not to mention, his voice is incredible. It’s a true gift for fans of the Broadway show to see Platt reprise this role.
The majority of the high-profile cast do a wonderful job. But praise should be given to Kaitlyn Dever who plays the role of Zoe so effortlessly. She excels in her delivery and emotion as a sister who struggles to grieve the brother that was so cruel to her.
The runtime of 2 hours and 17 minutes is a bit long, but I’m not sure what to cut out. Every scene felt vital to the story. It’s understanding not everyone will be able to bare the length of this somber tale, but the film does end on an uplifting note.
“Dear Evan Hansen” may not be a smooth track, but it provides a compelling message that is still relevant to teens today: be kind and make efforts to those kids in school who are closed off and have difficulty building relationships. I remember those students. At times I even felt like those students.
Though it won’t appeal to everyone, “Dear Evan Hansen” is an emotional and heartwarming musical.
Rating: B-
Brother’s Justin and Christian Long directed and wrote the hilarious new comedy, “Lady of the Manor”. The film follows Hannah ( Melanie Lynskey), a sloppy, lazy mess who becomes a tour guide for a historic estate and winds up befriending the manor’s resident ghost (Judy Greer).
I got a chance to speak with Justin and Christian about the film and both the interview and film is a “laugh out loud” good time.
“Lady of the Manor” is currently playing in theaters.
“Everybody’s Talking About Jamie” is a film adaption of the musical about a teenager from England who wants to be a drag queen. It’s a touching and beautiful movie about embracing the “real” you. I sat down with the director and stars of the film, Jonathan Butterell, Max Harwood, and Lauren Patel. They discussed the film and even played a little rapid fire game!
Check out the interview and the film when it opens on September 17, 2021.
“Shang-Chi and the Legend of the Ten Rings” is Marvel Studios’ newest gem. Shang-Chi (Simu Liu) is a skilled Kung-Fu fighter, who’s forced to confront his past and return to the Ten Rings organization he ran away from. Find out my thoughts on the film in the video below.
“Shang-Chi and the Legend of the Ten Rings” opens in theaters September 3, 2021.
Even as I write this review, I am a little nervous to type “Candyman”. After seeing the new film, that name instills the same fear I felt after watching the original 1992 movie.
In case you’re new to the franchise, the original film follows Helen Lyle (Virginia Madsen), a grad student researching urban legends who learns of the mysterious murders that happened at the Cabrini-Green housing projects. Residents suspect the killer is the notorious Candyman (Tony Todd). He was born in the late 1800s and was the son of a slave. He grew up to be a well-known artist that wealthy white people sought out for their portraits. But when he fell in love with the daughter of one his upper-class customers, her father sent a lynch mob after him. They cut off his right hand, smeared him with honeycomb, let the bees sting him to death, and burned his body on the land that the Cabrini-Green neighborhood was eventually built. When a person says his name 5 times to a mirror, bees trickle in and a few candies drop before he appears and kills you with the hook attached to his bloody arm.
Fast forward to 2019 and we’re in the middle of a dinner party where couple, Anthony and Brianna (Yahya Abdul-Mateen II and Teyonah Parris) are learning about Candyman for the first time. Brianna is an art gallery director and her partner, Anthony is an aspiring artist whose suddenly fixated with Candyman. He paints the images of the most recent Candyman symbol, a misunderstood resident named Sherman Fields (Michael Hargrove), who was mistakenly accused of putting razorblades in Halloween candy. Eventually Anthony’s disturbing artwork inspires others to start uttering the word “Candyman” into a mirror 5 times, and that’s when the bodies begin to pile.
Director Nia DaCosta (Little Woods), Producer/Co-Writer Jordan Peele (Get Out), and Co-Writer Win Rosenfeld had a keen vision for this continuation of the legendary horror. Lots of praise goes into the storytelling. Instead of flashbacks of the original film, they use silhouettes of puppet paper cut-outs to explain the history. The images are unique and engaging. They also don’t take an extremely graphic route. Although blood is shed, there’s more reaction to the gore than action. One of my favorite scenes is the death shown through an apartment window as the camera zooms out. It’s subtle, but effective bloody art.
Abdul-Mateen II, Parris, and Coleman Domingo (plays William Burke) shine as standouts with their harrowing performances. But the movie does suffer from a few amateur, secondary characters. Luckily, they are not on screen for very long.
“Candyman” (2021) does a wonderful job connecting to the first film. There’s still the same essence of the original, with a modern and more stylistic vision complimented by a stellar score. But perhaps, the most unforgettable addition to this sequel is how DaCosta, Peele, and Rosenfeld turned Candyman into a metaphor for the trauma that has haunted the black community for years. To repeat a powerful quote from the film, “Candyman’s how we deal with the fact that these things happened. That they’re still happening!” Making Candyman a frightening but significant figure.
Audiences will be buzzing about “Candyman” (2021). It’s a fun and refreshing spin on the iconic cult classic.
Rating: A-
I’ll admit, I scare easily. Films that aren’t even scary (Boo! A Madea Halloween) make me jump. But when I watch a truly, good horror film, I am on the edge of my seat, holding my breath during the entirety of the film. The only breather breaks are my screams. In David Bruckner’s new horror, “The Night House”, I screamed three times.
After her husband, Owen’s (Evan Jonigkeit) unexpected suicide, Beth (Rebecca Hall) is left alone in their large lake house, and suddenly haunted by a mysterious spirit. Beth heads down a dangerous rabbit hole as this leads her to digging into her husband’s dark secrets.
What Bruckner captures here is a very real and painful portrayal grief and depression. It’s not an easy subject matter to tackle, but it’s handled so well here. From Beth’s drinking, re-watching old videos of her husband, to how she interacts with her colleagues and people around her. Owen’s death has consumed Beth and is affecting her daily life and personal relationships.
If you saw Hall in the underrated drama, “Christine”, you already know how well she can portray a woman on the edge struggling with depression. So, it comes as no surprise that Hall’s performance as a grief-stricken widow is incredibly powerful. Your heart absolutely breaks for Beth as she asks the questions one would probably have if their husband chose to end their life: Why? Was he that unhappy? How was he so good at hiding it? Did I really know him at all? Was he a monster and I had no idea? These are just a few of the questions the film will answer.
“The Night House” is shot and edited beautifully. Paired with Kathrin Eder’s unsettling production design and the eerie music by Ben Lovett, the film makes for an engaging and terrifying experience.
Where the film falls short, is that it’s slightly over ambitious. Though questions are answered for the most part, there might be some confusion at the end, and there are a few small plot holes. But if you can piece together a narrative that satisfies you, then this may not be an issue.
“The Night House” is a creative story with gripping visuals and captivating performances.
Rating: B +
