Barbie led all films with eight wins at the Astra Film Awards on Saturday night, but the biggest winner of all may have been the Hca — an organization of “critics, entertainment journalists, content creators, industry insiders and creatives” formerly known as the Hollywood Critics Association and recently rebranded as the Hollywood Creative Alliance — which appears to have weathered external criticisms and internal dissension, given the sizable talent turnout at its flagship event.
Among those who came to the Biltmore in downtown L.A. to collect honors during a weekend packed with awards season activities leading up to the Golden Globe Awards: Barbie’s Greta Gerwig, who collected the best picture and best original screenplay prizes, the former with producer David Heyman, who, in turn, collected Margot Robbie’s best actress prize; Mark Ronson, who accepted best original song (“I’m Just Ken”) and, on behalf of Ryan Gosling, best supporting...
Among those who came to the Biltmore in downtown L.A. to collect honors during a weekend packed with awards season activities leading up to the Golden Globe Awards: Barbie’s Greta Gerwig, who collected the best picture and best original screenplay prizes, the former with producer David Heyman, who, in turn, collected Margot Robbie’s best actress prize; Mark Ronson, who accepted best original song (“I’m Just Ken”) and, on behalf of Ryan Gosling, best supporting...
- 1/7/2024
- by Scott Feinberg
- The Hollywood Reporter - Movie News
Oscars Predictions: Best Film Editing – ‘Anatomy of a Fall’ Picking Up Momentum From Critics’ Groups
Variety Awards Circuit section is the home for all awards news and related content throughout the year, featuring the following: the official predictions for the upcoming Oscars, Emmys, Grammys and Tony Awards ceremonies, curated by Variety senior awards editor Clayton Davis. The prediction pages reflect the current standings in the race and do not reflect personal preferences for any individual contender. As other formal (and informal) polls suggest, competitions are fluid and subject to change based on buzz and events. Predictions are updated every Thursday.
Visit the prediction pages for the respective ceremonies via the links below:
Oscars | Emmys | Grammys | Tonys
2024 Oscars Predictions:
Best Achievement in Film Editing All of Us Strangers
Weekly Commentary: Lafca has only been handing out prizes for editing since 2012. Out of the past 11 winners, six became Oscar nominees with one winner among them – “Gravity” (2013). Interestingly, last year’s Lafca recipient “Aftersun,” was the first narrative...
Visit the prediction pages for the respective ceremonies via the links below:
Oscars | Emmys | Grammys | Tonys
2024 Oscars Predictions:
Best Achievement in Film Editing All of Us Strangers
Weekly Commentary: Lafca has only been handing out prizes for editing since 2012. Out of the past 11 winners, six became Oscar nominees with one winner among them – “Gravity” (2013). Interestingly, last year’s Lafca recipient “Aftersun,” was the first narrative...
- 12/10/2023
- by Clayton Davis
- Variety Film + TV
When it comes to predicting the Oscar winner for Best Film Editing, you can’t go wrong by looking for the movie with the most cuts. Past winners “The Bourne Ultimatum” (2008), “Mad Max: Fury Road” (2016), “Ford v Ferrari” (2020), “Dune” (2022) and last year’s champ “Everything Everywhere All at Once” included high-octane action sequences with frenetic cutting. A slew of winners — including “Saving Private Ryan” in 1999, “Black Hawk Down” (2002), “The Hurt Locker” (2010), “Hacksaw Ridge” (2017) and “Dunkirk” (2018) — have been war pictures. (Scroll down for the most up-to-date 2024 Oscar predictions for Best Film Editing.)
Oscar voters also embrace film editors who skillfully juggle multiple storylines, as was the case with “Traffic” (2001) and “Crash” (2006). And they like films that expertly inter-cut music with images, such as “Cabaret” (1973), “Chicago” (2003), “Whiplash” (2015), “Bohemian Rhapsody” (2019) and 2021 winner “Sound of Metal.” Special effects extravaganzas like “The Lord of the Rings: The Return of the King” (2004) and “Gravity” (2014) won by...
Oscar voters also embrace film editors who skillfully juggle multiple storylines, as was the case with “Traffic” (2001) and “Crash” (2006). And they like films that expertly inter-cut music with images, such as “Cabaret” (1973), “Chicago” (2003), “Whiplash” (2015), “Bohemian Rhapsody” (2019) and 2021 winner “Sound of Metal.” Special effects extravaganzas like “The Lord of the Rings: The Return of the King” (2004) and “Gravity” (2014) won by...
- 9/13/2023
- by Paul Sheehan and Jacob Sarkisian
- Gold Derby
The London Action Festival has revealed a raft of new events joining the already impressive programme set to burst into London later this month. The one-of-a-kind Festival is year on year proving itself in its ambitions to be Britain’s biggest convention and will bring together influential figures responsible for creating some of the most iconic Action moments in Film and TV history, running from Wednesday 21st – Sunday 25th June.
The extensive program offers professionals and fans alike the opportunity to immerse themselves in all things Action. Every day is ‘action-packed’, with more events to be announced soon, and the program currently boasts:
Three Nights of Special Events – including the return of last year’s sell outs: The Friday Night Showdown – The Festival’s Moving Target Awards’ Show. Award Winner’s announced so far to be honoured for their Outstanding Contributions to Action Film & TV include:
For Direction: Martin Campbell,...
The extensive program offers professionals and fans alike the opportunity to immerse themselves in all things Action. Every day is ‘action-packed’, with more events to be announced soon, and the program currently boasts:
Three Nights of Special Events – including the return of last year’s sell outs: The Friday Night Showdown – The Festival’s Moving Target Awards’ Show. Award Winner’s announced so far to be honoured for their Outstanding Contributions to Action Film & TV include:
For Direction: Martin Campbell,...
- 6/7/2023
- by Phil Wheat
- Nerdly
An almost-mythical assassin ventures beyond the point of no return, now that he has nothing left to lose. As he nears the end of his long-winding, ultra-violent path to salvation, he beats up innumerable goons, faces off against crime bosses, and indiscriminately kills anyone standing in his way. Such is the scope and ambition of Chad Stahelski's "John Wick: Chapter 4," a nearly three hour long movie that's as fast and thrilling as action-driven films come. Not that longer movies, in general, are necessarily harder to sit through -- after all, an eight-minute short could be tedious to watch, whereas a four-hour cut of a deftly-crafted saga might feel like a breeze. "John Wick: Chapter 4" is near-perfect in terms of the quality it delivers within its runtime, as things are allowed to develop at an appropriate pace without ever feeling rushed or hackneyed.
When fans of the franchise learned that the first,...
When fans of the franchise learned that the first,...
- 5/14/2023
- by Debopriyaa Dutta
- Slash Film
I don't envy the editor of "John Wick: Chapter 4." Director Chad Stahelski basically used Lionsgate's money to shoot wildly extravagant action and combat sequences that went beyond anything in the previous "John Wick" movies — which, considering the action movie majesty of the "John Wick" franchise, is saying something.
Remember that club fight sequence in "Chapter 4," where Keanu Reeves' assassin faces off against stunt legend Scott Adkins in a fat suit? According to the film's stunt coordinators Stephen Dunlevy and Scott Rogers, it was actually the most challenging scene to film and believe it or not, was initially twice as long as what you see in the final movie. Then there's that entire third act that's basically one long action montage, as Baba Yaga fights his way across Paris toward his final showdown with Bill Skarsgård's Marquis Vincent de Gramont. And all of this even after Stahelski cut...
Remember that club fight sequence in "Chapter 4," where Keanu Reeves' assassin faces off against stunt legend Scott Adkins in a fat suit? According to the film's stunt coordinators Stephen Dunlevy and Scott Rogers, it was actually the most challenging scene to film and believe it or not, was initially twice as long as what you see in the final movie. Then there's that entire third act that's basically one long action montage, as Baba Yaga fights his way across Paris toward his final showdown with Bill Skarsgård's Marquis Vincent de Gramont. And all of this even after Stahelski cut...
- 5/7/2023
- by Joe Roberts
- Slash Film
Though it hasn’t reached the fever pitch of absurdity of The Fast and the Furious franchise just yet—a series that began as a Point Break riff but now includes nuclear submarines and Pontiac Fieros in space —the John Wick saga has certainly expanded from its humble beginnings. Produced independently and shot in New York on a budget in the mid-$20 million range, the original film found its titular assassin (played by Keanu Reeves) emerging from retirement to avenge the death of his dog. Four chapters later, Reeves is hopping between New York City, Osaka, Berlin, Paris and the Wadi Rum […]
The post “A Kick is Like a Line of Dialogue”: Editor Nathan Orloff on John Wick: Chapter 4 first appeared on Filmmaker Magazine.
The post “A Kick is Like a Line of Dialogue”: Editor Nathan Orloff on John Wick: Chapter 4 first appeared on Filmmaker Magazine.
- 5/3/2023
- by Matt Mulcahey
- Filmmaker Magazine - Blog
Though it hasn’t reached the fever pitch of absurdity of The Fast and the Furious franchise just yet—a series that began as a Point Break riff but now includes nuclear submarines and Pontiac Fieros in space —the John Wick saga has certainly expanded from its humble beginnings. Produced independently and shot in New York on a budget in the mid-$20 million range, the original film found its titular assassin (played by Keanu Reeves) emerging from retirement to avenge the death of his dog. Four chapters later, Reeves is hopping between New York City, Osaka, Berlin, Paris and the Wadi Rum […]
The post “A Kick is Like a Line of Dialogue”: Editor Nathan Orloff on John Wick: Chapter 4 first appeared on Filmmaker Magazine.
The post “A Kick is Like a Line of Dialogue”: Editor Nathan Orloff on John Wick: Chapter 4 first appeared on Filmmaker Magazine.
- 5/3/2023
- by Matt Mulcahey
- Filmmaker Magazine-Director Interviews
At the beginning of Chad Stahelski's epic action picture "John Wick: Chapter 4," the title character has been excommunicated from an ultra-dangerous, ultra-secret assassins guild -- the High Table -- that he and thousands of other professional assassins belong to. As the "John Wick" movies have progressed, the edicts of the High Table have become more and more complicated, and the rules of the films' assassin universe have become nearly impossible to comprehend. Luckily, John Wick -- and the audience -- can rest assured that there are "safe zones" in the world where murder shenanigans are not allowed. At the exclusive, assassins-only Continental Hotel, a high-end, privately run hospitality chain with branches all over the world, no violence is permitted. No matter how much a professional killer might want to off a rival, they will not be allowed to if either of them is at the Continental. Breaking this rule leads to excommunication.
- 5/1/2023
- by Witney Seibold
- Slash Film
One of the many pleasures of “John Wick: Chapter Four” is how it seamlessly integrates camera movement, editing, and action choreography with music — no surprise given that director Chad Stahelski has acknowledged “Singin’ in the Rain” and Bob Fosse as influences. The propulsive score by Tyler Bates and Joel J. Richard weaves in and out of needle drops by Le Castle Vania, Manon Hollander, and Lola Colette, whose cover of Martha and the Vandellas’ “Nowhere to Run” ties “John Wick: Chapter 4” to one of its primary sources of inspiration, Walter Hill’s “The Warriors.” The balance between score and source music mirrors and enhances the careful rhythms established by Stahelski’s staging and structuring of the set pieces, and it was one of the most enjoyable aspects of editor Nathan Orloff’s job.
“I had a lot of fun putting music to this,” Orloff told IndieWire, noting that the...
“I had a lot of fun putting music to this,” Orloff told IndieWire, noting that the...
- 4/8/2023
- by Jim Hemphill
- Indiewire
John Wick: Chapter 4 director Chad Stahelski admits he’s open to a fifth film in his assassin franchise starring Keanu Reeves for Lionsgate, following Chapter 4’s big debut. In its second weekend, the movie has already topped $245 million globally.
“It’s very flattering for them to come back and, you know, say ‘We want more’ and it’s not just a cash grab. It’s legitimately the audience wants more,” he says in a new episode of The Hollywood Reporter’s Behind the Screen podcast series. “I think we all need that little bit of time to go, ‘Whew. Let’s see what’s next.’ … If Keanu and I, a few months from now sit down at a whiskey bar in Japan again and go, ‘Yep, we’ll never do another one of those,’ and then all of a sudden go, ‘Yeah, but I got an idea,’ we’re open to it.
“It’s very flattering for them to come back and, you know, say ‘We want more’ and it’s not just a cash grab. It’s legitimately the audience wants more,” he says in a new episode of The Hollywood Reporter’s Behind the Screen podcast series. “I think we all need that little bit of time to go, ‘Whew. Let’s see what’s next.’ … If Keanu and I, a few months from now sit down at a whiskey bar in Japan again and go, ‘Yep, we’ll never do another one of those,’ and then all of a sudden go, ‘Yeah, but I got an idea,’ we’re open to it.
- 4/2/2023
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
This John Wick: Chapter 4 article contains spoilers.
Even before the end credits run, John Wick: Chapter 4 is an exhausting movie. Exhilarating, but exhausting.
The latest, and potentially last, part of the Baba Yaga’s violent quest for puppy revenge lasts almost three hours, and nearly every second of the screen is filled with breathtaking action. By the time the closing credits roll, we might feel like John Wick, barely stumbling to the top of the Sacré Coeur staircase. And when the screen lights up again for one more scene after the credits, we might feel like Wick getting knocked down those stairs, forced to ascend them once again.
Those who did stick around for the last scene were treated to a glimpse of potential things to come. Freed from his obligations to the High Table, blind swordsman Caine (Donnie Yen) goes to visit his daughter. But the reunion...
Even before the end credits run, John Wick: Chapter 4 is an exhausting movie. Exhilarating, but exhausting.
The latest, and potentially last, part of the Baba Yaga’s violent quest for puppy revenge lasts almost three hours, and nearly every second of the screen is filled with breathtaking action. By the time the closing credits roll, we might feel like John Wick, barely stumbling to the top of the Sacré Coeur staircase. And when the screen lights up again for one more scene after the credits, we might feel like Wick getting knocked down those stairs, forced to ascend them once again.
Those who did stick around for the last scene were treated to a glimpse of potential things to come. Freed from his obligations to the High Table, blind swordsman Caine (Donnie Yen) goes to visit his daughter. But the reunion...
- 3/28/2023
- by Joe George
- Den of Geek
It only takes about five minutes of conversation with Chad Stahelski, the director of all four “John Wick” movies, to realize that he’s a passionate cinephile whose unique combination of influences is what gives the “Wick” franchise its distinct look. While Stahelski’s devotion to Sam Peckinpah, Sergio Leone, and other action directors might be expected, it’s an entirely different genre that provides the most important — and perhaps most surprising — basis for his work. “Everybody laughs when I say it, but I love musicals,” Stahelski told IndieWire. “Bob Fosse is a huge inspiration. Gene Kelly in ‘Singin’ in the Rain.’ We didn’t reinvent action or anything with ‘John Wick’ — we just spent all our money and time preparing Keanu to be our Gene Kelly.”
Read More: Why ‘John Wick: Chapter 4’ Earns Its Almost 3-Hour Running Time
All of the “John Wick” movies use Stahelski favorites like...
Read More: Why ‘John Wick: Chapter 4’ Earns Its Almost 3-Hour Running Time
All of the “John Wick” movies use Stahelski favorites like...
- 3/23/2023
- by Jim Hemphill
- Indiewire
The initial cut of 'John Wick: Chapter 4' was almost four hours long.Director Chad Stahelski was worried about the lengthy cut at first, even though he had been given no mandate about how long or short the project should be.Chad told IndieWire: "To be really honest with you, zero was planned out. Our first cut was three hours and 45 minutes, and it felt like three hours and 45 minutes. We were like, oh, we're so screwed."Editor Nathan Orloff had the task of cutting the movie down to 169 minutes and explained that he was able to make changes by keeping the plot focused on Keanu Reeves' titular assassin.He said: "I wanted to make sure that he was still at the centre of the universe, that everything always led back to him even though we were cutting away from him."Orloff revealed that he removed any...
- 3/23/2023
- by Joe Graber
- Bang Showbiz
Much has been made about the runtime of "John Wick: Chapter 4" in the lead up to the film's release. While the first three entries in the series were tight, two-ish hour action extravaganzas, director Chad Stahelski has delivered a monster 169-minute return for Keanu Reeves' expert assassin. Yep, nearly three hours of Mr. Wick doing his thing. But as we've now learned, the original cut of the film was far longer, and the filmmakers really had to work to get it down to something releasable.
Stahelski and the film's editor, Nathan Orloff, recently spoke with the folks at IndieWire, and during the conversation, the director revealed that the first cut they assembled was damn near four hours long. "To be really honest with you, zero was planned out. Our first cut was three hours and 45 minutes, and it felt like three hours and 45 minutes. We were like, 'Ih, we're so screwed,...
Stahelski and the film's editor, Nathan Orloff, recently spoke with the folks at IndieWire, and during the conversation, the director revealed that the first cut they assembled was damn near four hours long. "To be really honest with you, zero was planned out. Our first cut was three hours and 45 minutes, and it felt like three hours and 45 minutes. We were like, 'Ih, we're so screwed,...
- 3/22/2023
- by Ryan Scott
- Slash Film
At 169 minutes, “John Wick: Chapter 4” is a whole lot of movie. The two-hour-and-50-minute action extravaganza is powered by nonstop set pieces that are so frenetic and visceral that you’ll hardly realize you’ve been sitting in a movie theater for nearly three hours. Such breezy pacing did not exist in the film’s first cut, which director Chad Stahelski and editor Nathan Orloff told IndieWire clocked in at a whopping three hours and 45 minutes.
“To be really honest with you, zero was planned out,” Stahelski said about the movie’s runtime. “Our first cut was three hours and 45 minutes, and it felt like three hours and 45 minutes. We were like, ‘Oh, we’re so screwed.'”
Part of the reason “John Wick: Chapter 4” originally had and still has a massive runtime is because it greatly expands the world of its title character and introduces a handful...
“To be really honest with you, zero was planned out,” Stahelski said about the movie’s runtime. “Our first cut was three hours and 45 minutes, and it felt like three hours and 45 minutes. We were like, ‘Oh, we’re so screwed.'”
Part of the reason “John Wick: Chapter 4” originally had and still has a massive runtime is because it greatly expands the world of its title character and introduces a handful...
- 3/22/2023
- by Zack Sharf
- Variety Film + TV
When editor Nathan Orloff first met with “John Wick: Chapter 4” director Chad Stahelski about working on the latest entry in American cinema’s greatest franchise, he quickly realized that this “John Wick” was going to be a bit different. “Chad said that it was going to be more of an ensemble movie, where you’re toggling between different stories,” Orloff told IndieWire. If the stripped-down original was Stahelski’s “A Fistful of Dollars” and the second and third installments expanded the “John Wick” universe in a manner comparable to “For a Few Dollars More,” “John Wick: Chapter 4” is Stahelski’s “The Good, the Bad, and the Ugly,” the movie that takes “John Wick” into the realm of the epic.
At 169 minutes, the film is epic in length as well as scope, but it never feels overlong, the result of arduous but intuitive work in the editing room by Orloff and Stahelski.
At 169 minutes, the film is epic in length as well as scope, but it never feels overlong, the result of arduous but intuitive work in the editing room by Orloff and Stahelski.
- 3/22/2023
- by Jim Hemphill
- Indiewire
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