At the Golden Globes on Sunday night, both Jenna Bush and Michael Keaton made the embarrassing faux pas of conflating new releases Hidden Figures and Fences into the single title Hidden Fences. It’s an easy enough mistake to make — when there are a whopping two movies featuring black ensembles in theaters at the same time, who can expect anyone to keep them straight, least of all people whose one job revolves around the ability to keep them straight? It was a real foot-in-mouth moment for both celebrities, reflective of the minimal attention that white audiences pay to film championing black performers and creators.
La La Land, duh. Manchester By the Sea, right. Moonlight, you better. Deadpool – excuse me? It’s true, Ryan Reynolds’ superhero movie has just been named one of the 10 best films of 2016 by the Producers Guild of America (via Variety). Many of us thought its Golden Globes nominations were just a result of the HFPA’s always wacky taste, but it seems the Deadpool virus has spread across the nation to multiple voting bodies, from the Writer’s Guild of America to the Producers.
While some actresses would shy away from letting their line deliveries get emotional enough that their spit and snot practically flies at the camera, Viola Davis is not some actresses. If you feel like you’ve heard the word “Oscar” more than enough when it comes to Davis and Denzel Washington’s Fences, get ready to hear it one more time: Viola. Davis. Is. Going. To. Win. Best. Actress. This. Year.
The major inside-industry awards come from the Producers’ Guild of America, the Writers’ Guild of America, the Directors’ Guild of America, and the Screen Actors’ Guild. This morning, the nominations for the 2017 SAG Awards were announced from Los Angeles, with a smattering of surprises and populist favorites (what’s up, Stranger Things) among the established awards season juggernauts. (The Natalie Portman v. Emma Stone showdown continues.)
As December rolls on, so too does the cavalcade of year-end lists. The latest authority to weigh in is AFI, by which I mean the American Film Institute and not the Californian alternative-rock group also known as A Fire Inside. While we may never know which films the quartet behind “Miss Murder” favored this year, the other AFI has released their list of 2016’s ten best releases, and it’s a little more varied than some of the heretofore published lists, bringing in some films with less awards buzz along with your usual suspects of Moonlight, Manchester by the Sea, and La La Land.
Film critics and awards pundits have been talking about Oscar frontrunners for months now, but it’s that time of the year when all that prognostication finally matters. This week marked the beginning of awards season with the Gotham Awards, the National Board of Review’s list of winners and yesterday’s New York Film Critics’ Circle picks. It’s still too early to tell who and what will win the gold come Oscar night, but when it comes to predictions, we’ve got you covered.
Has the word “Oscar” been thrown around enough lately in regards to Denzel Washington and Viola Davis’s Fences? No? We can keep saying it some more? Good. The latest trailer for the film, adapted from August Wilson’s play and directed by Washington himself, shows off the kind of vibrant acting that these two won Tonys for in the first place.
What’s in a poster? It might seem simple enough — photograph the stars in a flattering light, find an inoffensive font, call it a day and crack open a cold one — but ad executives don’t get paid what I assume is a million dollars an hour for nothing. (Everyone on Mad Men ended up so rich, and that was at 1968 rates!) Careful consideration from the designers makes each poster into a fully-analyzable text packed with unspoken meaning, and the new one-sheet for Denzel Washington’s upcoming drama Fences is no exce
The Oscar season chatter may only just be kicking off, but trust me, you’ll be hearing that “O” word a lot when it comes to Denzel Washington’s ‘Fences.’
Turn back the clock to 2010, and the hottest ticket on Broadway is a revival of August Wilson’s Pulitzer-winning play Fences, a poignant and daring meditation on race relations in America with a focus on the hardships of the black experience. It has all the necessary qualifications for a bona fide Broadway smash: a handsome pedigree of awards and acclaim (the production took the Tony Award for Best Revival of a Play in 2010), urgent social significance, and some Hollywood talent slumming it on the boards in between film projects. Denzel Washington and Viola Davis starred as the married couple at the heart of Fences, winning raves and a Tony apiece, and created a rare sensation that dazzled audiences for thirteen weeks and then vanished.