Apr 052015
  April 5, 2015

So a few years pass and Sad Puppies have managed to keep the atmosphere tense. The Puppies continue to rail against non-existent leftist organizations and continue to make the Hugos far more political then it had been. I remember Eugie, in a day she was feeling sick, saying she was sorry, not for herself being in pain, but for the Hugo nominees as there would always be a taint on their nominations.

Sad Puppies leadership had changed. Correia turned it over to Brad Torgersen. Torgersen is a different kind of bird than Correia. He doesn’t burst into bouts of swearing, avoids blatantly racists statements, and his insult tend to avoid simply name-calling (though he did suddenly find the need to call me fat in a conversation that was irrelevant to my weight and that I wasn’t supposed to see, but I’ll just take that as his writer’s need to be descriptive, and I have put on a few pounds over the years). He’s still following the “leftist cliques are out to get us” troupe and he still names the same people Day did as opponents. But he has a lighter touch.

His line is that all the meaning in writing, all these themes and messages, are bad, and that science fiction needs to be fun tales of adventure. It needs to be about manly men (he actually uses that term) performing daring exciting deeds and things ending up happy in the end. That the leftists (social justice warriors) have been putting in all these messages into fiction (which is bad) and then getting those stories given awards (again, through secret insider trading). I tried to explain this view to a friend and she just stared at me. It is hard to imagine any artist objecting to theme. Pretty much every other artist I’ve ever met: filmmakers, painters, sculptors, and other writers, wanted to say something with their art. It’s kind of the point. Otherwise, what you’re making is equivalent to a rollercoaster. It can be fun, for a moment, but that’s about it.

It also doesn’t hold up. You see, a favorite author of the Puppies is Robert A. Heinlein.  However, RAH (as people insist on calling him on the internet) is the ultimate in message writers. I’d say the ultimate social justice warrior but then someone would argue with definitions so I’ll keep it to message writer. This was a man who loved his themes, far far more than adventure. Of his three most famous books, one is restatement of Plato’s Republic, one is an ode to free love, and one is a Bible for libertarianism. In all cases, he was happy to pause the plot to discuss philosophy and politics. Once you reach his Lazarus Long stories, pretty much all you have is philosophy. But it is, generally, philosophy that the Puppies can support. The other, funnier example, of great, non-message adventure fiction that Torgersen suggests is Star Trek. Yes, Star Trek, the most message-laden of all message-laden science fiction. Let’s look at it. A man with one black side and one white side. Hmmm. We’ve got the Organians, who show Kirk that the “good guy” soldiers in a war are no different from the “bad guys.” We’ve got a military, action episode when the Enterprise searches for an invisible Romulan ship, that actually is a look at racism from two different angles. Roddenberry repeatedly said what he was doing was all about the message. David Gerrold, who wrote for Star Trek, who worked on the show, who knew Roddenberry and what they were doing, saw Torgersen’s post and responded, saying that he was wrong. That what they were doing was social justice. That was the important thing. Humorously, Torgersen responded by saying that Gerrold was wrong. Umm. Just…wow.

Vox Day, while still a supporter, has his own Rabid Puppies slate, which as it turns out, is pretty much the same as the Sad Puppies slate, but with himself added to more slots. Torgersen, knowing that Day is always going to make them look bad, but also that he brings in his followers, acknowledged that Day can be a bit extreme, but that the Puppies would never reject him. In an odd bit of twisting, he made it a religious thing, connected to Mormons and “shunning.” He stated that he would never “shun” Day, although he has no trouble distancing himself from anyone left of him politically and insulting others such as ex-officers for the SFWA (and me—remember the “fat” thing; though he also said that I was an “exquisite piece of raw manliness.” Perhaps it would be best if I didn’t look too closely at that.) It is only Day that his upbringing insists he must not “shun.”

Torgersen’s assurance that Sad Puppies isn’t about them being racist or sexist or frightened of non-existent leftist cabals, or about politics, but about putting forth great, over-looked, adventure-type fiction for awards also falls apart when you look at the slate for 2015. It is hardly expansive, going to the same people over and over, but forget all that. Look only at Best Fanzine (yes, that’s a category for the Hugos; there are a few
odd categories). There are many Fanzines out there. Most cannot be seen as having any political position. Of the many possible, they chose three (a reasonable number). Of those, one is run by a very right wing guy, but it is a reasonable suggestion. But then there is The Revenge of Hump Day. It is a mildly racist publication attached to a convention and run by a man known for his right wing views. Now, I said mildly racist—and it is. No frothing Vox Day-type stuff. More off color jokes, particularly about President Obama. The problem isn’t that it is racist, but that it is primitive. It’s something I’d expect 12-year-olds to put together back when I was a kid and we didn’t have word processors. Now I know there’s no way that doesn’t sound insulting–I’m not talented enough to word it in a way that explains what it is without being insulting–but  I don’t mean it to be insulting. Because in it’s place, as a jokey pamphlet for convention attendees, it’s fine. No reason it has to be more. For its purpose, it is fine and dandy—it just shouldn’t be in an award discussion. No one, ever, would choose it for an award based on content. The only reason you choose it, over so many others, is for politics. And so, the example that proves the rule. Sad Puppies is what it is and a more polite front man doesn’t change that.

Of course there’s been lots of unpleasant conversations and posts from those supporting and opposing the Pups, though nothing like the rape and death threats connected to gamergate. There’s a lot of name-calling, a majority of it either coming from or about Vox Day. The next biggest collection of insults I’ve seen has come from Correia, who is really an artist with profanity. “idiot libprog pussies” and “sleazy shitwads” are shining examples of his skill, but my favorite is “you fucking twatwaffle.” Now that’s profanity. He claims that he’s received many insults and while I haven’t seen them, I tend to believe him. There’s not a lot of polite discourse.

I don’t know many of the Sad Puppies. A few are on my Facebook list, or on Eugie’s. I’ve never had any interaction with Larry Correia. Torgersen did tick me off somewhat by writing unnecessary thing on Eugie’s Facebook wall when she was violently ill. But it wasn’t anything evil, just inconsiderate, and not unlike many people on Facebook who think mainly about themselves. At the time I expected people to be more considerate of a girl with cancer, but I admit I should have known better.

And that brings us to now. Sad Puppies and Rabid Puppies took almost every nomination for the 2015 Hugos. Vox Day is on the ballot, multiple times as editor. Some categories have the same person repeatedly (three times in Best Novella) because the author was politically pure and the Pups weren’t looking for anything else (really—no other authors wrote a worthwhile Novella in 2014
really?). It doesn’t mean all of the stories nominated were bad. Simply quality had little to do with nomination. It’s a bit sad for the nominees. There will always be an asterisk by their nomination. They’ll always wonder if they could have gotten on the ballot legitimately, for the quality of their work. A few people who were put on the Puppies slate asked to be removed. One said being connected to Correia made him nervous and he wouldn’t want to be in the same room as Day. I applaud them; they gave up a serious chance at an award to keep themselves out of the Puppies Swamp.

The thing is, to paraphrase a greater author than we’re likely to hear from at the Hugo Awards, all this politicking and gaming the system and arguing is sound and fury signifying nothing. The Hugo’s are a popularity award voted on by people each year. It will all flop back to how it was before once the gaming stops. The Pups don’t understand this because many have told the lie so many times they believe it. They actually believe that there is some hidden clique, some leftist cabal, a SMOF, that they are taking the Hugo Awards back from. They believe it was taken by this group, so taking it back will create a new normal. It doesn’t work like that.

I do enjoy their claims that they are broadening the voting fan base to how it should be. Do they really not know that conservatives are not the ones missing from the voting pool? If you actually created a representative voting pool, every award would go to a genre romance or a young adult book—probably a dystopia. That I would like to see.

Instead, all the Pups have managed is to hurt a few individuals and taint the awards for a few years. The taint of racism, sexism, and politics will stick always with the awards given in 2015 and perhaps for a few more years, though in 50 years, that knowledge will fade just to those who study it. I doubt if Day or Correia will care that they have damaged this award they claim to care about. It’s harder to say with Torgersen. He’s young. Maybe when he gets older, maybe when he sees there was no opposing forces that were secretly manipulating things, perhaps when he sees that his world view is myopic, and that all he managed was to be a bit of a dick to a few, and to taint what I think he actually does care about, then maybe he’ll look back at all this with regret. Maybe not. It’s all sound and fury anyway.

Are the Hugos broken? Well, any award that didn’t go to Eugie’s Running on Two Legs a few years ago is broken, but outside of that, it is as broken as every popular vote award. I stopped doing a popular vote for the DCI Film Festival and keep to a juried competition, but in the larger world, you want different types of voting. So, no, I wouldn’t call them broken. Someone played the system. It’s playable. Such is life.

I think my disappointment was just enough to have me write this. That’s about what it is worth. I’m going to the Nebula Award Weekend in a couple months, and I always did prefer the Nebulas to the Hugos. I think I should seek out the Sturgeon Award winners—an award lacking the Hugo taint. There are other awards where quality still counts. I’ll look at those.

 

Apr 052015
  April 5, 2015

The Hugo Award nominations were revealed yesterday and they brought some sadness with them as Eugie wasn’t nominated. Not all that much sadness, as I’m pretty much sad all the time, so this was a very minor prick. And not that disappointing as her chances weren’t great (she’d only been nominated once before). But this was her best chance (since her previous nomination). Her story, When It Ends, He Catches Her, was nominated for a Nebula Award, and awards can affect awards—sort of like the Golden Globes affecting the Oscars. Though the metaphor ends there as The Nebulas are more like the Oscars; The Hugos would be The People’s Choice Awards.

It’s just a bit more depressing because any chance she did have was taken away by The Sad Puppies. Now my writer friends all know about The Sad Puppies, but outside of the fantasy and SF writing community, they are not so well known, so let me give you a run down. This may take a moment.

In simplest terms, The Sad Puppies are the culture war as it has intruded into F&SF literature, but that terminology can create a mistaken impression that there were organized sides—something you need for a war. There were not. But it is about politics. It started a few years back in a atmosphere of racial tension in the writing community (community being a really vague term in this case). Following the overly dramatically named Racefail (which was really just a lot of people overreacting to posts on the Internet—you know, normal Internet usage) there was a minor argument about the cover and an essay for the professional journal of the SFWA (Science Fiction & Fantasy Writers of America). Some claimed it was sexist. Instead of the reaction you’d expect with mature adults and a professional journal (i.e. a polite smile, and changing the document to make it a bit more professional and everyone nodding and going on), a group of right wing people screamed bloody murder and then went all ’70s hippy, claiming they must have freedom of expression, apparently mistaking a professional journal with their own novels. This was a bit like the accounting department of State Farm rising up to demand that they be able to express their artistic and political thoughts on rates spreadsheets. So, the sexist-yelling folks double-downed and the right wing hippies double-downed and everyone was unhappy.

Into this atmosphere enters Theodore Beale, who likes to go by Vox Day for reasons that are hard to fathom. OK, he’d been very much around, but he just became louder. From here on out, everything has his touch. Day is foamingly racist and sexist (supposedly also anti-Semitic, but I haven’t read his thoughts on Jews). Some of my favorite Day quotes include:

  • “it is not that I, and others, do not view [a black woman] as human, (although genetic science presently suggests that we are not equally homo sapiens sapiens), it is that we simply do not view her as being fully civilized”
  • Stand your ground laws have “been put in place to let white defend themselves by shooting people, like her [a black woman], who are savages”
  • “It is absurd to imagine that there is absolutely no link between race and intelligence”
  • “a few acid-burned faces [of women] is a small price to pay for lasting marriages “
  • “raping and killing a woman is demonstrably more attractive to women than behaving like a gentleman”

So
really really racist and sexist.

Day, in some kind of fear state that the white man is being held down in genre fiction, and that there is some invisible liberal enemy organized against him and his ilk, ran for president of the SFWA. He lost, but it is scary that he got even 10% of the vote. He was soon after kicked out of the SFWA for using its official communication channels to issues some of the racist statements above.

With the defeat of Day, one right wing blogger said that they had lost the Nebulas, so on to the Hugos. This goes with the very strange belief that somehow the president of the SFWA has great power over the Nebula awards (the president can vote, but that’s about the extent of power).

So, in the wake of Day’s loss, comes The Sad Puppies—a campaign to game the Hugo awards. It (or the group behind the campaign which sometimes calls itself The Evil League of Evil—all the naming is supposed to be tongue in cheek) took on Day’s world view (that there was a secret organization of leftists that control conventions and awards). It took on his enemies as their enemies. It supported Day for awards, and Day supported the Puppies. Technically, he was not the leader. He is the godfather, the inspiration, but the leadership went to Larry Correia, an author with better sales.

I find it easiest to call the actual group that met and discussed their plans The Evil League of Evil (ELoE) and use Sad Puppies to include the larger group of supporters.

As for gaming the Hugo awards, it is surprisingly easy. Like all popularity contests, it doesn’t take much to mess it all up. It only keeps a feeling of legitimacy as long as everyone is very polite and careful, because there’s no rule that says you can’t muck it up. The Hugo nominations come from the attendees of this year’s, last year’s, and next year’s WorldCon convention. That’s not a huge group (and figure many people haven’t bought their memberships to this year’s or next year’s yet). Actual number of ballots comes out not greatly over 2000, and if no one is playing games, the nominations are spread out over a huge number of different stories, books, etc. So, if you can get 200 people to vote along a party line, you’ll win. This is even easier since you don’t have to go to the convention, just sign up for a voting membership, pay $40, and you’re good to go.

Individuals have been making suggestions for nominations for years—as individuals. A writer or editor might suggest the stories they thought were worthy of an award. Individuals would suggest what they liked. Sad Puppies, though, was a political movement. It wasn’t an individual saying what he liked, but a group, bound together, to stop things from winning that didn’t share their politics. And while following the rules, is a dick thing to do. It is like those films that won Oscars after their distributers went over the normally expected promoting, and basically bought the statue. Talk to film fanatics, and those awards will always be tainted.

ELoE doesn’t make Vox Day-type racist/sexist statements to lead their band (though looking through the general Sad Puppies comments on their posts can turn up all the racism/sexism you could desire). Correia’s motivation changes depending on how angry he’s trying to appear in a post, but I tend to believe him when he says it is to fuck with, or explode the minds of those politically left of him.

To rally their troops, they use paranoia. Over and over they talk about hidden leftist groups running things—SMOF which stands for “Secret Masters of Fandom.” A joke to others, Puppies treat it as real.  A few Correia quotes:

  • “When one of their beloved leaders “
  • “work that would normally be ignored or actively shunned or sabotaged by insider assholes”
  • “to suck up to one of the insider cliques.”

There is no leader, there are no insiders, and there are no cliques, and certainly no SMOF. There is no group shunning. Individual editors might have views, but it is individuals. Individual readers and fans may have left leaning political views, or right leaning ones, but again, it is individuals. Worldcon doesn’t even have a board. It is run by a different set of people every year who put together that year’s convention. I suppose it must come from not being able to believe that a black or Asian could win awards, or a woman, without there being a conspiracy. They add that to hearing an editor say something progressive and they invent secret insiders.

Eugie and I were acquainted with, or friends with most of the people the Puppies point out as leftist leaders. We were both directors at Dragon Con, just about the biggest genre convention around, and know the organizers of many other conventions. Eugie was a Nebula winner, female, and Asian American. Trust me Puppies, if there was an organized society or just a clique working against you, we’d have been in it.

So Sad Puppies put up their suggested slate of nominees that all right wing people should vote for. It naturally contained the works of members of ELoE, and Vox Day. How well the slate did is a matter of spin. They did get works on the ballot, but none won in the end, and Day’s work had fewer votes than “Let’s just not give an award this year.”

This is getting long, so a break, and continued in part 2

Mar 302015
  March 30, 2015

Today’s the last day for SFWA members to vote for the Nebula awards. I admit to having a few fingers crossed for Eugie’s When It Ends, He Catches Her. Well, obviously I do. Of course we don’t get the results till June, so I can be nervous till then.

Mar 262015
 
three reels

At an archaeological dig, Hu Bayi (Mark Chao) volunteers, along with other soldiers, to accompany Professor Yan and his daughter Ping (Yao Chen) down a dangerous tunnel. These leads to fire bats, avalanches, and a mysterious temple, and also the deaths of most of the party. Several years later Bayi and his childhood friend Wang Kaixuan (Li Feng) are given a chance to return to the area to uncover its secrets and stop additional deaths.

The only one of the three films without professional grave robbers, Chronicles of the Ghostly Tribe is as much a horror story as an adventure tale. There’s an equal helping of Lovecraft’s “At the Mountains of Madness” to go with the Lost Ark raiding. Bayi is a soldier at a legitimate, government-sanctioned dig and gets in over his head. While he ends up having a few special powers, he has no Laura Croft abilities. He’s a typical Lovecraftian lead, stumbling into things best left unknown. It’s easy to empathize with him, as well as with Ping—later renamed Shirley.

The opening act is dark and exciting and everything you’d want in an horrific underground tomb story. But things slacken off after that. The problem with Bayi not being skilled is he stops being a protagonist. Thing happen to him, but he rarely chooses or discovers anything. The answers to the big questions of the film are handed to him. Someone slips him an old academic paper of the professor’s that explains precisely what happened in the past. A librarian shows him the “magic.” The plot would have been far more engaging if Bayi had acted in some way to uncover the secrets.

Things pick up again at the end when it morphs into a creature feature, which only suffers from too many loose threads. The studio is clearly counting on making a sequel, but it’s a sequel worth seeing.

Perhaps the most interesting—and definitely the most fun—part of the film is its commentary on late ‘70s and early ‘80s communist fanaticism. With the cultural revolution still visible in the rear view mirror, Chronicles of the Ghostly Tribe offers up a mob of singing, chanting, hard core party members who cheer on the actual workers while doing nothing productive themselves, and yet still exhaust themselves with their never ending propaganda. Similarly, the stage song on the wonders of Chinese oil production is clearly meant as a poke at a country that took itself far too seriously. As for those pesky censors, they are satisfied with a little science fiction lip service.

Mar 042015
 
one reel

In the near future, a plague has stripped humans of a majority of their memories, and it continues to destroy any new ones in a matter of minutes or hours (it isn’t clear which or if it varies with the individual). For nine years, a young woman and her artistically inclined father have survived in a sealed bunker. Outside in the ruins of civilization, two people who assume they are a couple because they woke up together, a violent man, a child, and a scientist all mill about on their separate and seldom intersecting paths.

Embers starts with a hearty science fiction premise: What if no one could remember anything. But from there it goes nowhere. Only the scientist has seen Memento, so knows to write down his past. Thus he alone can set goals, but as his memory departs so quickly, he can never carry them out. For the rest, they move around (or in the case of the two in the bunker, they don’t move around). They stumble here and there, unhappy if they are alone and reasonably happy if they are not. There’s no more plot than that, no direction, and no ending. We watch things happen for a time, and then it stops.

With no story to tell, random events, and not a whole lot of character, there was little to keep me engaged. All that’s left is theme, which means Embers has to be a pretty clever movie. Unfortunately it’s not.

Trauma vanishes with memory. Is this a statement on the human condition, or just how the virus works? Likewise people tend to keep their personalities, as best as I could tell, without their memories. Again, is this a philosophical comment, or just a world building exercise? It doesn’t really matter as Embers has no new insights to bring to bear. I’m assuming that most viewers will already have speculated on how much of identity is memory. If you haven’t, this isn’t the film for you. If you have, this film has nothing to offer you.

Since merely asking the question, “Are we more than our memories?” is the only reason this film exists, it should have gone in a more metaphysical direction, with the memory loss due to the actions of higher beings. Because it went the sci-fi route, it needed to play fair, and it doesn’t. Our characters (one can’t call them protagonists) lack primal survival skills. So without memories, how are they still alive? Just by finding can goods? After nine years? How is there a child walking around when his parents would have forgotten he existed shortly after setting him down as a baby? And where are the bodies, since we do have a massively reduced population. Sure, there could be solutions to these problems, but they are all unlikely (a hidden master class of unaffected elites that sneak canned food out into the ruins and pick up the dead, perhaps) and so really need to be touched on. Since they aren’t, I was left thinking for the last hour of the film, “That guy should be dead.”

If it was cut in half, Embers could play at the beginning of a Freshmen philosophy class, before the interesting discussion started. But as is, though reasonably well made, it is not entertaining, interesting, nor enlightening.

Feb 282015
 
four reels

Tony Stark’s (Robert Downey Jr.) need to find a way to defend the Earth leads to the creation of Ultron (James Spader), an artificial intelligence more attuned to destroying the planet. Iron Man, Thor (Chris Hemsworth), Bruce Banner (Mark Ruffalo), Captain America (Chris Evans), Black Widow (Scarlett Johansson), and Hawkeye (Jeremy Renner) team up to face Ultron, as well as the threat caused by two Hydra-created meta-humans, Wanda & Pietro Maximoff (Elizabeth Olsen, Aaron Taylor-Johnson). Things become more complicated with the creation of the artificial entity, Vision (Paul Bettany) who may save or destroy them all. With the world at stake, the Avengers need assistance from the remains of SHIELD, Nick Fury (Samuel L. Jackson) and Maria Hill (Cobie Smulders), along with James Rhodes (Don Cheadle) and Falcon (Anthony Mackie).

Joss Whedon does it again, brilliantly crafting an extravaganza that’s really a character piece. No one can work with ensembles like he can, making each line count, slipping levels of meaning into every interaction so that it feels like all of the characters have had complete and compelling arcs, even though most only have a few minutes of screen time.

Sure, this second Avengers outing doesn’t rival the first, but then that’s a high bar. The action is a bit much (quite a bit—I’d have exchanged fifteen minutes of crowd saving and building breaking for a couple more group discussions) and a few of the characters are slipping into their clichĂ©s (Captain America, Iron Man, Thor, I’m looking at you). No problem. There’s lots of heart, lots of wit, and fabulous new characters to take up the slack. Scarlet Witch, Quicksilver, and Vision are exactly what the franchise needed, and I’d be content with an entirely new Avengers team as long as several of these new characters are a part of it.

Ultron may not be Loki, but he’s an excellent villain, avoiding the dull, emotionless-but-with-a-tinge-of-anger AI stereotype and instead giving us a robot that’s off his rocker. He has issues.

I’m sorry to see Whedon leaving the Avengers’ directing chair. In lesser hands, this could have collapsed into a Transformers movie.

 Reviews, Superhero Tagged with:
Feb 222015
  February 22, 2015

Nominees for Worst Feature Film

  • Hercules
  • Left Behind
  • Noah
  • Teenage Mutant Ninja Turtles (Winner)
  • Transformers: Age of Extinction

 

Nominees for Most Painful Performance

  • Johnny Depp as Napping Guy in Transcendence
  • Kelsey Grammer as Guy Just Getting a Paycheck in Transformers: Age of Extinction
  • Mark Wahlberg as Overacting Abusive Father in Transformers: Age of Extinction
  • Megan Fox as Drunk & Confused Gal in Teenage Mutant Ninja Turtles (Winner)
  • Nicolas Cage as Under-acting Nicolas Cage in Left Behind

 

Nominees for Most Ridiculous Time Filler

  • Godzilla – The human soldier does
things
  • The Hobbit: The Battle of the Five Armies – No, really, another orc getting stabbed
  • The Hobbit: The Battle of the Five Armies – Every other frame
  • Interstellar – Earth
  • Noah – Let’s kill the grandchildren (Winner)
  • Transformers: Age of Extinction – Every scene with Mark Wahlberg

 

Nominees for Most Egregious Exposition

  • Dracula Untold – Voice over
  • The Giver – Voice over
  • Interstellar – Explanatory speeches masquerading as dialog. (Winner)
  • Teenage Mutant Ninja Turtles – Turtles explaining the story
  • Noah – Recap of The Bible

 

Nominees for Most Disappointing

  • Godzilla
  • The Hobbit: The Battle of the Five Armies
  • Interstellar (Winner)
  • The One I Love
  • The Tale of Princess Kaguya

 

Nominees for Best Song/Use of a Song

  • Come and Get Your Love – Guardians of the Galaxy
  • Everything Is Awesome – The Lego Movie
  • The Hanging Tree – The Hunger Games
  • Little Boxes – The Boxtrolls
  • Once Upon a Dream – Maleficent (Winner)

 

Nominees for Best Screenplay

  • Captain America: The Winter Soldier (Winner)
  •  Edge of Tomorrow
  • Guardians of the Galaxy
  • The Lego Movie
  • Predestination

 

Nominees for Best Character Creation

  • Beauty and the Beast – The Beast
  • Dawn of the Planet of the Apes – Caesar/the apes
  • Guardians of the Galaxy – Rocket
  • The Hobbit: The Battle of the Five Armies – Bilbo/Thorin/Tauriel
  • Maleficent – Maleficent (Winner)

 

Nominees for Best Animated Feature Film

  • Big Hero 6
  • The Boxtrolls
  • How to Train Your Dragon 2
  • The Lego Movie (Winner)
  • Penguins of Madagascar

 

Nominees for Best Feature Film

  • Captain America: The Winter Soldier (Winner)
  • Guardians of the Galaxy
  • Maleficent
  • Predestination
  • X-Men: Days of Future Past
Feb 212015
  February 21, 2015

This is it. The end of the road. The final category. Once you’ve read this, you are done and are free to ignore the Oscars, Independent Spirit, and Razzies. Yup, awards season is over. Return to your homes. But first


The nominees for 2014, Best Feature Film are:

  • Captain America: The Winter Soldier
  • Guardians of the Galaxy
  • Maleficent
  • Predestination
  • X-Men: Days of Future Past

And the winner is:

.

.

.

Captain America: The Winter Soldier

The Captain was fun and fast. The action worked and the plot was pleasantly twisty with the more unlikely elements hidden under all the razzle dazzle. It had more to say than most critics were expecting and put real effort into character development. The hook was the dialog. This might not have been a banner year, but the top films were strong, and this was the strongest.

 

Feb 212015
  February 21, 2015

The nominees for 2014, Best Animated Feature Film are:

  • Big Hero 6
  • The Boxtrolls
  • How to Train Your Dragon 2
  • The Lego Movie
  • Penguins of Madagascar

And the winner is:

.

.

.

The Lego Movie

The surprise of the year, The Lego Movie was smart and contains the best rendition of Batman on film. Yes, really.

Feb 212015
  February 21, 2015

The nominees for 2014, Best Character Creation are:

  • Beauty and the Beast – The Beast
  • Dawn of the Planet of the Apes – Caesar/the apes
  • Guardians of the Galaxy – Rocket
  • The Hobbit: The Battle of the Five Armies – Bilbo/Thorin/Tauriel
  • Maleficent – Maleficent

And the winner is:

.

.

.

Maleficent – Maleficent

A lot of impressive work in this category, but Maleficent is spectacular. Even the film’s detractors admit the altered Angelina Jolie was breathtaking.

Feb 212015
  February 21, 2015

The nominees for 2014, Best Screenplay are:

  • Captain America: The Winter Soldier
  •  Edge of Tomorrow
  • Guardians of the Galaxy
  • The Lego Movie
  • Predestination

And the winner is:

.

.

.

Captain America: The Winter Soldier

It was a battle of clever dialog and Cap edged out the competition.

Feb 212015
  February 21, 2015

Alright, so enough of the bad, and onto the good.

The nominees for 2014, Best Song/Use of a Song are:

  • Come and Get Your Love – Guardians of the Galaxy
  • Everything Is Awesome – The Lego Movie
  • The Hanging Tree – The Hunger Games
  • Little Boxes – The Boxtrolls
  • Once Upon a Dream – Maleficent

And the winner is:

.

.

.

Once Upon a DreamMaleficent.

This was a tight category, with some really good, in some cases surprisingly good (The Hanging Tree), nominees, but the goth version of Once Upon a Dream perfectly defines the film, plus, it is beautiful.