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The Playlist

'Amour' Wins Best Picture, Best Director & Best Actress From The National Society Of Film Critics

  • By Kevin Jagernauth
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  • January 6, 2013 11:13 AM
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  • 1 Comment
The Oscar nominations are coming on Thursday morning, so that still leaves some time for critics groups to weigh in before the Academy Of Motion Picture Arts & Sciences makes their announcement, and pretty much determines the movies that will be focus of conversation until Febraury 26th. But one movie most safely predict will be discussed, is Michael Haneke's "Amour."

Christopher Bell's Best Films Of 2012

  • By Christopher Bell
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  • December 28, 2012 2:32 PM
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  • 23 Comments
Another year, another fifty lists. There were a lot of truly terrific movies to come out in 2012 and it was difficult to sit down and whittle away at a list that contained 30+ films that warranted special acknowledgement. Eventually you have to go with your gut, and I admit that this list may look different in a year, a month, a week, maybe even a day -- but these are the films that really stood out, the ones that had an especially resonant strength.

'Holy Motors' Tops Film Comment's Top 50 Films Of 2012, 'The Master,' 'Moonrise Kingdom' & 'Amour' In Top 10

  • By Kevin Jagernauth
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  • December 14, 2012 4:16 PM
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  • 14 Comments
Another awards season week draws to a close, and another poll drops, this time from Film Comment. And a few cinephile favorites feature in the top ten of a fifty strong list.

The Guardian Names 'The Master' The Best Film Of 2012, 'Ted' Is The Second Best

  • By Kevin Jagernauth
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  • December 13, 2012 6:24 PM
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  • 12 Comments
While the awards circuit hasn't been overly kind to Paul Thomas Anderson's "The Master," it seems to be from across the pond where it's getting the most love. The film topped the Sight & Sound poll for 2012, and now The Guardian has come out as well, naming it the best picture of the year. They in particular single out "[Joaquin] Phoenix's agonisingly intense and blazingly committed performance" as the big factor that pushed the movie to the top. And this is cool, but the rest of the top ten is perhaps even more fascinating.

Paul Thomas Anderson's 'The Master' Tops Sight & Sound's Best Of 2012

  • By Kevin Jagernauth
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  • December 1, 2012 11:04 AM
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  • 52 Comments
It's December 1st, which means we're just weeks away from 2013, and critics will be compiling their 'Best of 2012' lists over the next few weeks. The Cahiers Du Cinema already got the ball rolling with their selection of the best films of the year, and now another venerated cinema magazine has unveiled their choices.

The Best Films Of 2012...So Far

  • By The Playlist Staff
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  • June 21, 2012 9:58 AM
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  • 26 Comments
It feels like only yesterday that we were talking about the best films of 2011, and yet here we are, nearly at the end of June, and we've seen pretty much everything that the first half of the year has to offer. So with the mid-point of 2012 nearly upon us, we thought we'd look over the best films we've seen in theaters over the last six months.

Review: 'This Is Not A Film' Is Jafar Panahi's Highly Moving Depiction Of His Own House Arrest

  • By Alison Willmore
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  • February 28, 2012 2:04 PM
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  • 1 Comment
The title of Jafar Panahi's "This Is Not A Film" is a nod to the fact that the 75-minute feature is shot on a DV camera and an iPhone, and consists mostly of Panahi and his collaborator and friend Mojtaba Mirtahmasb hanging out in the former's high-rise apartment over the course of a day. But it's also a postmodern jab at the lousy circumstances that led to its own existence -- this is not a film, because Panahi is banned from making films for the next two decades. He's under house arrest, awaiting news of his appeal of the six-year prison sentence he was given for his actions in support of Iran's opposition movement, forbidden from talking to the press and from leaving the country, silenced. For its premiere at Cannes, which Panahi wasn't, of course, able to attend, it was reportedly smuggled out on a USB stick hidden inside a cake. "This Is Not A Film" is about the realities of being deprived of your voice, and it's funnier and sadder than any summary of its contents suggests, a work that's an act of protest that ties itself into its filmmaker's past before becoming a vulnerable, melancholy ode to carrying on and hoping you won't be left behind as the world you've been denied rolls on outside your gates.

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