USA FILM FESTIVAL 2025 preview

April 21, 2025

April 23-27, 2025

Angelika Film Center, Dallas

There may be no such thing as a Free Lunch, but thanks to the USA Film Festival, there is something even better … FREE MOVIES! Of course, not all screenings are held at no charge, yet this remains an affordable and entertaining festival experience for all film lovers.

Celebrating its 55th anniversary, the festival has long been one of my favorites due to the schedule of diverse films: narratives, documentaries, shorts, students, and experimental. Mix in a selection of repertory films, attendance by a slew of filmmakers and celebrities, and the annual tributes to industry icons, and you quickly see why this Dallas-based festival holds a special place in my heart.

This year’s opening night event on April 23 is “The World of Nancy Kwan – A Salute to Nancy Kwan”. The breakout star of THE WORLD OF SUZIE WONG (1960) will participate in a book signing and an on-stage conversation, following a career retrospective including clips of her performances in film and television. Also on opening day, there is a Salute to renowned director Jon Avnet with a screening of his new film, THE LAST RODEO. Mr. Avnet will attend along with the film’s co-stars, Neal McDonough and Mykelti Williamson. All three were involved with the fantastic TV series, “Justified” and “Boomtown”, and Mr. Avnet is known for having directed FRIED GREEN TOMATOES (1991), as well as Broadway plays.

Other highlights on the festival schedule include Beth Lane’s powerful documentary UnBROKEN, a look at how the Holocaust impacted her own family (with Q&A session); Mitch Yapko’s short film WATCHING WALTER featuring Ft Worth’s own Stephen Tobolowsky in the title role (director and star in attendance); William Shockley’s directorial debut, LONG SHADOWS, a western with an impressive cast; director Daniel Minahan’s stunning ON SWIFT HORSES (based on the novel by Shannon Pufahl) with another tremendous cast; and Jason Buxton’s psychological thriller, SHARP CORNER starring Ben Foster.

That’s just a quick taste of what’s coming, along with other feature films, documentaries, and short films. In a perfect example of what sets this festival apart, actor Martin Kove will attend and be honored at a special 50th anniversary screening of the cult classic, DEATH RACE 2000 (1975). The closing night film will be the soon-to-be-released TONIC from local filmmakers, writer-director Derek Presley and editor Jason Starne. Filmed entirely in Dallas’ Deep Ellum area, the film covers a rough night of what-else-can-go-wrong for a washed-up pianist played by Billy Blair.

USA Film Festival excels in offering a diverse festival experience with something for everyone.

For more details and to view the full schedule of programs, visit
https://www.usafilmfestival.com/
 
Tickets range from Free – $10 (quantities are limited).
https://www.eventbrite.com/cc/55th-annual-usa-film-festival-4150893
 
DAY-OF-SHOW TICKETS — (Based on availability) Any unsold/unreserved tickets will be made available  at the Angelika Film Center upstairs Sales Desk beginning ONE HOUR prior to EACH showtime.

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Posted by David Ferguson

Broadway Dallas: MAMMA MIA! (2025)

April 17, 2025

Music Hall at Fair Park

April 15-27, 2025

Sometimes a getaway to a Greek isle is meant only to be a good time. Such is the ongoing popularity of the stage production “based on the songs of ABBA”. The Swedish band’s global success was first derived through these songs in the 1970’s. In 1997, British playwright Catherine Johnson wrote the story that led to the smash stage musical (1998), followed up by the blockbuster film in 2008 (starring Meryl Streep and Amanda Seyfried). Both the stage production and the film were directed by Phyllida Lloyd. The most recent of many incarnations of the stage musical continues this year with a United States tour, a six-month stint on Broadway (beginning in August 2025), and finally, an international tour.

For those local to the area, Broadway Dallas features a two-week run of the production and if the audience from the April 16 show is any indication, the immense popularity of the show remains in place thanks to a blend of the comedy and music. You likely know the story of Donna Sheridan, a single mom who has raised her daughter Sophie while running a hotel on a picturesque Greek island. Twenty-year-old Sophie is preparing for her wedding to Sky, and unbeknownst to her mother, has invited three of Donna’s former lovers … one who is most likely Sophie’s unnamed father.

This talented cast consists of Christine Sherrill (Donna), Amy Weaver (Sophie), Carly Sakolove (Roxie), Jalynn Steele (Tanya), Rob Marnell (Harry Bright), Jim Newman (Bill Austin), Victor Wallace (Sam Carmichael), and Grant Reynolds (Sky). Although much of the focus is on Donna and Sophia, it’s really Donna’s friends, Roxie and Tanya, who steal the show as Donna and the Dynamos and in individual scenes that elicit roars from the appreciative audience. I found Ms. Steele’s Tanya to be especially entertaining (and energetic). Of course, the three men all have their moments in the spotlight, ensuring a love-love connection with those in attendance.

The music composed by Benny Andersson and Bjorn Ulvaeus (both of ABBA) is obviously an integral part of the production. Unfortunately, during this show, the vocals were often drowned out by the too-loud instrumentation of the band’s guitars, organs, and drums. This was especially disappointing during highlight moments for featured solos by Ms. Sherill and Ms. Steele. The distraction was lessened during the ballads, and when the ensemble was in full force, the choreography delivered rousing fun for all.

White walls and blue doors make up the simple set design, evoking the familiar images of Santorini. The only shifts occur when a bed is added for ‘indoor’ scenes or a boat (named “Waterloo”) takes us briefly to the shore – and a terrific ensemble number with flippers and snorkels. Overall, the show is quite the crowd-pleaser and the familiar songs (“Dancing Queen”, “Mamma Mia”, “S.O.S.”, “Super Trouper”) generated a bit of unsolicited audience sing-along and clapping-in-time. You will likely notice a few dedicated fans dressed in sparkles and spandex, fully committing to their adoration of “Mamma Mia!” … a show designed to deliver a good time for all.

https://broadwaydallas.org/shows/mamma-mia/

@BroadwayDallas

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Posted by David Ferguson

Best of 2024

January 12, 2025

Here is the link to my TOP 10 (actually 11) movies of 2024. In keeping with tradition, you will also find a list of the “Next best”, as well as designated categories: Documentaries, World Cinema, Animation, and a few other special notes. I hope you enjoy!

David’s Best of 2024

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Posted by David Ferguson

Dallas-Ft Worth Film Critics Assn 2024 AWARDS

December 27, 2024

Since I am a voting member of the Dallas – Ft Worth Film Critics Association, I wanted to share the link to this year’s awards page. You will find that Sean Baker’s ANORA was voted Best Picture, and can peruse the other categories as well.

My personal recap of 2024 movies will be published within the next few days, and I hope you’ll check that out as well.

Happy New Year to all … here is the link:

DFW FILM CRITICS NAME “ANORA” BEST PICTURE OF 2024

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Posted by David Ferguson

IT CAME FROM TEXAS Film Festival (2024, 2nd annual)

September 15, 2024

Greetings again from the darkness. The second annual IT CAME FROM TEXAS FILM FESTIVAL was held September 13-15 at the Plaza Theatre in Garland, Texas. The festival salutes films made in Texas illustrating the Independent Texas spirit. This year’s showcase included three Oscar-winning films: TENDER MERCIES (1983), THE LAST PICTURE SHOW (1971), and GIANT (1956). Although I was out of town and unable to attend, the festival’s director, Kelly Kitchens, was kind enough to provide screeners for three documentaries scheduled for the festival. Al three speak to the pride of Texas.

A FAIR TO REMEMBER (2008)

Co-directors: Allen Mondell, Cynthia Salzman Mondell, and Phil Allen

For so many kids who grew up in Texas, and certainly for those in the Dallas-Ft Worth area, a trip to the Great State Fair of Texas was an annual event, and remains so today. This hour-long documentary serves up details on the rich history of the largest State Fair in the U.S., including the rough beginnings dating to 1886. Author Nancy Wiley, historian Steven Butler, and actress and local celebrity Rose-Mary Rumbley recount personal stories and historical facts related to the Fair.

Narrated by beloved character actor (and Texan) Barry Corbin, segments cover early horse racing that transitioned to auto racing that later morphed into the popular Auto Show. Also receiving time are the Livestock auction, and the games and rides of the infamous Midway (including ‘guess your weight’). The old Wild West Show featuring Native Americans is discussed, as is the 1936 Centennial Fair, and the use of the fairgrounds during WWI and WWII. A brief history of the architectural changes is provided.

I was aware that Elvis played the Cotton Bowl in 1956, yet as many times as I’ve attended, I never knew the first electrical lights in Dallas, as well as the first local airplane flight can be traced to the Fair … or that there was once a Klan Day (exactly what you think) or a Negro Achievement Day. And yes, details are provided for butter sculpture, Fletcher’s Corny Dogs and Big Tex, the world’s tallest cowboy – all popular Fair traditions. The clips and photos provide the visual history and nostalgia that makes this a must-see for Texans.

HORTON FOOTE: THE ROAD TO HOME (2020)

Director: Anne Rapp

Playwright and Screenwriter Horton Foote was born in Wharton, Texas in 1916. You likely don’t know where Wharton is, but the distinguished Mr. Foote won a Pulitzer Prize, two Oscars, an Emmy, was nominated for a Tony, and was awarded the National Medal of Arts by President Bill Clinton.

We hear from those who worked with him, those who acted for him, and those who directed and respected his work … and even his daughter (an actor). Yet what sets this one apart is that we hear directly from 90-year-old Horton prior to his passing in 2009. His reflections on his process and his career are fascinating, even though he’s about the most humble man you’ll ever see interviewed.

His Oscars were won for his screenwriting on TO KILL A MOCKINGBIRD (1962) and TENDER MERCIES (1983), and he may be best known for his original script, THE TRIP TO BOUNTIFUL (1985). Some writers are renowned for their creativity, and Horton certainly possessed that trait, but apparently his greatest gift was that of absorbing and observing those he spent time around. His work is known for being grounded by real characters. He wrote the truth about people and became known as “America’s Chekhov”.

CHILDREN OF GIANT (2015)

Director: Hector Galan

Director George Stevens’ 1956 feature film GIANT received ten Oscar nominations and was based on the novel by Pulitzer Prize winning novelist and playwright, Edna Ferber. Yet, after all these years, it’s still best known as James Dean’s final film (he received a posthumous Oscar nomination). The film also starred Rock Hudson, Elizabeth Taylor, Dennis Hopper, Mercedes McCambridge, Carroll Baker, Sal Mineo, Earl Holliman, Chill Wills, Paul Fix, and Elsa Cardenas. The focus of this documentary, however, is not on the all-star cast, but rather on the tiny west Texas town of Marfa, where the exterior shots of Reata were shot.

Living up to the film’s title, we hear from many of the locals who were mere tykes when the movie stars and film crew hit town sixty years prior. This allows us to better understand that Stevens was intent on exposing more than ego and greed from Texas ranchers of the day. Racism was still rampant at the time, and though there are many obvious moments in the film where this plays a role, the viewpoint here digs even deeper.

Narrated by former San Antonio mayor Henry Cisneros, we hear from Earl Holliman, Stevens’ son, the film’s dialect coach, and the fascinating German on-set caterer, who offers up her own backstory that includes Dachau. We also learn how author Ferber was influenced by meeting the Kleberg’s of King Ranch, and there is speculation that oil tycoon Glenn McCarthy inspired Dean’s Jett Rink character. There is a terrific sequence where actor Elsa Cardenas returns to Marfa, and is saddened that only a few two-by-fours remain from the frame of the mansion’s set. A documentary that captures this much emotion while also enlightening us to a filmmaker’s out-of-the-box commitment is truly something special.

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Posted by David Ferguson

Book Review- WITH LOVE, MOMMIE DEAREST (2024)

April 29, 2024

With Love, Mommie Dearest: The Making of an Unintentional Camp Classic

By A. Ashley Hoff

Published by Chicago Review Press

Available May 7, 2024 at https://www.amazon.com/Love-Mommie-Dearest-Unintentional-Classic/dp/1641607688

“No wire hangers ever!” Thanks to the internet and memes and gifs, that iconic line is familiar today to some people who haven’t even seen the 1981 movie, MOMMIE DEAREST. Author A. Ashley Hoff is a Hollywood historian, researcher, and writer, and he takes us on a deep dive behind the scenes of one of the most notorious cinematic camp classics of all time.  “How did they do that?” “Who decided that?” “What were the filmmakers thinking?” What was it like on set?” If you are the kind who asks these types of questions about the movies you watch, Ashley’s book will deliver all the answers you could possibly desire, while also cluing us in a bit on the industry itself – including who holds the power.

Author Hoff does an excellent job distinguishing Christina Crawford’s best-selling 1978 memoir, “Mommie Dearest”, from the adapted screen version, MOMMIE DEAREST (1981). It’s likely many will be surprised at just how uninvolved Christina (Joan Crawford’s adopted daughter) was with the making of the movie. On the other hand, what’s not surprising is the amount of information and detail provided on lead actress, Faye Dunaway. By 1981, Ms. Dunaway was a true movie star. She exploded onto the screen with Warren Beatty in Arthur Penn’s BONNIE AND CLYDE (1967), and again with Jack Nicholson in Roman Polanski’s brilliant CHINATOWN (1974). It’s fair to say her career peaked from a prestige level with her Oscar winning performance in Sidney Lumet’s NETWORK (1977), and that MOMMIE DEAREST was integral to a change in the types of roles she was offered.

 Personal interviews with key players, as well as previously published comments, paint the mosaic of the many moving parts beginning in pre-production, and progressing through casting (Anne Bancroft!), set design, costuming, hair, and make-up, all while balancing the first ever child’s view of abuse, and the conflicts between producer, director, and diva star. ‘The Franks’ (Producer Yablans and Director Perry) were respected industry professionals, yet we are left with the impression that neither was able to exert much control over Faye Dunaway, infamous for both her preparation and inflexible views. Two of the more interesting perspectives are sprinkled throughout with observations from actress Ratanya Alda (who plays Joan Crawford’s assistant Carol Ann) and Tracy Hotchner, who wrote the original screenplay.

Remembered as Hollywood royalty, Joan Crawford passed away in 1977, before Christina’s memoir was published and obviously prior to the film’s release. She won an Oscar for her outstanding performance in MILDRED PIERCE (1945), and later appeared alongside her big screen rival, Bette Davis, in WHATEVER HAPPENED TO BABY JANE? (1962). These days, more people associate her with the infamous wire hangers and Dunaway’s portrayal of her in the film. It’s fascinating to read how those involved were absolutely convinced they were making a serious drama featuring an ultra-serious topic and a Hollywood legend. When the reviews became progressively more scathing and audiences began to laugh at the over-the-top moments, a camp classic was born. Since then, the comparisons to THE ROCKY HORROR PICTURE SHOW (1975) are inescapable. Midnight showings found audiences dressed in costumes, waving wire hangers, and shouting lines of dialogue at the screen.

As we make our way through Hoff’s book, we find ourselves feeling empathy towards the filmmakers, the cast, the crew, Joan Crawford, and Christine Crawford. No one received the acclaim they expected (instead, the film racked up some Razzies that year). Some viewed it as a missed opportunity to drive serious conversation on child abuse, yet ‘serious’ just seemed to be the one thing never associated with the film. Hoff has provided an extraordinary amount of information for those interested in the mysterious ways of Hollywood, or for those who simply can’t get enough of “Mommie Dearest” in any format.

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Posted by David Ferguson

BLOGATHON: MISMATCHED COUPLES (2024)

March 29, 2024

THE BANSHEES OF INISHERIN (2022)

Former BFF’s Colm and Padraig

Greetings again from the darkness. It’s always an honor to be invited to participate in the movie blogathons hosted by Gill and Barry. So many fine writers participate, and it’s a chance to really hone in on a particular topic, while learning what tickles the fancy of others taking part. Maintaining the pace of new movie reviews that I’ve committed to often prevents me from joining in, but this time, it worked out well.

The title of the blogathon makes the mission crystal clear. We are to select a mismatched couple/pair from a film and write about why it was interesting and/or entertaining. Mismatched couples have been a staple of cinema since the early days, and the trope is certainly not tied to any particular genre. Maybe “Cop” movies are most commonly recognized for this, as they often use the “good cop vs bad cop” approach, but it’s also prevalent in domestic dramas (THE ODD COUPLE), action movies (TANGO & CASH), mysteries (Sherlock Holmes and Dr Watson), classic films (Rhett and Scarlet in GONE WITH THE WIND) and even romantic-comedies (WHEN HARRY MET SALLY). For my entry, I chose former BFF’s Colm and Padraig from THE BANSHEES OF INISHERIN, which also happens to be my favorite movie of 2022.

Wickedly talented writer-director Martin McDonagh is the creative force behind this movie, as well as the instant classic, IN BRUGES (2008). In a brilliant move, McDonagh re-paired the lead actors from the earlier film in hopes of re-capturing their onscreen magic. The move definitely worked, as Colin Farrell as Padraic and Brendan Gleeson as Colm are both terrific in this film as they personify “Mismatched Couples.”

It’s 2:00 in the afternoon and Padraic does what he does every day. He knocks on the door of his lifelong friend, Colm, so they can head to the pub for a pint. Only this isn’t every other day. It’s a new day. Colm doesn’t answer. Padraig is a simple man who thrives on his routine and his friendship with Colm. Now for this to qualify as a ‘mismatched couple’, there must be conflict and tension. Initially we are as confused as Padraig, but soon enough Colm bluntly informs him that they are no longer friends, and that not even pleasantries will be exchanged – despite their history, and the forced proximity of living in the same village on an island. Colm has visions of a brighter future without Padraig, and Padraig is bewildered as he tries to figure out what he did wrong.

Part of the brilliance of the film and this relationship stems from the fact that these two gents are not the only mismatched couple, yet it’s their abrupt fallout that has an impact on so many others in the close-knit community. As Colm pursues his fiddle music and builds a new network, Padraig plunges into a funk, and finds the troubled town oddball (an excellent Barry Keoghan) buddying up to him in hopes of befriending Padraig’s sister (a terrific Kerry Condon). All of this creates choppy waters and dark comedic elements (just as McDonagh designed it), yet the driving force here is the broken relationship between Padraig and Colm. Both actors are so good. The turns of violence are shocking, and because of it, fiddle playing becomes more challenging … and things don’t go so well for Jenny the miniature donkey either (yet another victim of the broken relationship).

Watching these two actors at the top of their game (Farrell received an Oscar nomination) allows us to buy into this unfortunate break in what had been a long friendship. Some of the situations come across as outlandish, yet the actors bring a nuance to the characters that draws in as we anxiously hope for reconciliation, rather than a war to match what’s occurring across the bay. The idea of a couple of buddies becoming ‘mismatched’ after years of friendship makes this one of the more unusual … and interesting … and tragic … ‘mismatched’ couples in cinema.

Here is my original review of THE BANSHEES OF INISHERIN from November 2022

https://moviereviewsfromthedark.com/2022/11/03/the-banshees-of-inisherin-2022/

To read more entries in this blogathon and to access sites for Gill and Barry:

https://weegiemidget.wordpress.com

https://cinematiccatharsis.blogspot.com

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Posted by David Ferguson

OSCARS 2024 recap

March 13, 2024

OSCARS 2024 recap

The year of “Barbenheimer” concluded with one of the best and best-paced Oscars ceremonies in recent history. Of course, there were ups and downs … even an awkward Best Picture finale (which isn’t far off from becoming a tradition). Despite the bumps, the show served up plenty of entertainment for movie lovers and very few surprises for followers of the awards circuit.

Talk show host (and overall nasty comedian) Jimmy Kimmel returned as emcee, and his opening monologue set the tone with very little political commentary (other than his support of industry unions) – an approach that most presenters and winners maintained throughout, with only a couple of exceptions. The ceremony was what it should be: a celebration of the year in movies. And as my “Best of 2023” showed, it was an excellent year for a wide variety of film genres.

My favorite movie of the year, OPPENHEIMER, was the night’s big winner with 7 Oscars, including Best Picture. Christopher Nolan’s film is quite an achievement, juggling history, a deep roster of actors, and an era that now seems foreign to most people under 40. However, this film is only half of the “Barbenheimer” label, and the BARBIE faction delivered the showstopper thanks to sparkly pink suit attired Ryan Gosling and his rousing “I’m Just Ken”. It was the kind of spectacle and audience participation moment that will go down in Oscars lore.

There were plenty of other moments worth mentioning. How about Robert DeNiro and Jodie Foster both being nominated again – just like in 1976 (48 years ago for TAXI DRIVER)? Best actress nominee Sandra Huller starred in two foreign language films that were both nominated for Best Features this year. The Academy made the absolutely brilliant decision to replace clips of each acting nominee with a short tribute given live by a previous winner in the category. Let’s hope this tradition is back to stay as it lends an air of intimacy and professionalism. The evening’s first announced winner, Da’Vine Joy Randolph (THE HOLDOVERS), had one of the most heartfelt and emotional responses one will ever witness at an awards show. Hands down, my two favorite scripts of the year won both writing categories, Original (ANATOMY OF A FALL) and Adapted (AMERICAN FICTION). Billie Eilish and her brother and co-writer Finneas O’Connell gave a nice performance (with Barbie pink backlighting) of their nominated and ultimately winning song, “What was I Made For?”.

Comedy kicked in when nominees Emily Blunt and Ryan Gosling offered a tribute to Stunt performers in the form of a competitive rivalry between OPPENHEIMER and BARBIE (their two movies). Two other comedy bits also stood out, one for falling so flat. Presenters Melissa McCarthy and Octavia Spencer pushed an unfunny gag based on Chippendale/Chip ‘n Dale, while John Cena nailed it in his faux-streaker bit. In a touching moment with a comedy background, Robert Downey Jr became the first former “Saturday Night Live” cast member to win an acting Oscar, and his long-overdue recognition reinforced his real-life comeback (thus overshadowing Jimmy Kimmel’s went-too-far monologue attack). The show ended with three of the final four “big” awards going to OPPENHEIMER (Actor, the humble Cillian Murphy; Director, the brilliant Christopher Nolan; and Best Picture). The extraordinary performance Emma Stone gave in POOR THINGS was justly rewarded with the Best Actress award.

As for surprises, I missed out on two winners in my predictions. In the Special Effects category, GODZILLA MINUS ONE bested my pick MISSION: IMPOSSIBLE – DEAD RECKONING PART ONE, and for Cinematography, Hoyte Van Hoytema (OPPENHEIMER) edged out my choice, Rodrigo Prieto (KILLERS OF THE FLOWER MOON).  The latter film, directed by Martin Scorsese, was shut out despite ten nominations, (remarkably) making it the esteemed filmmaker’s third film to go O-for-10 at Oscar. Many expected Lily Gladstone to take home the award for Best Actress in a Leading Role, and as important has her performance was to the film, I remain solid in my belief that Emma Stone’s Oscar-winning performance was transformative and will stand the test of time. 

Overall, I would rate the presentation as pretty darn good, and fitting for a year that featured so many fine films (and, perhaps not coincidentally, so few superhero movies). TV ratings were up, and we hope the Academy can actually stimulate some box office action, rather than exist for the sole purpose of critical bashing. And yes, acting legend Al Pacino gave us a near-MOONLIGHTING disaster as he skipped the listing of nominees and just blurted out “Oppenheimer” to end things. This is one trending tradition that could be skipped and no one outside of the media would mind.

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Posted by David Ferguson

Best of 2023

December 29, 2023

This may be the first time I’ve beaten the calendar in a race towards year end! All that means is my BEST OF 2023 … the Top 10 list plus many other bonus categories … has posted. Feel free to check it out and share it, and let me know how it compares to yours. 2023 was such an interesting year for movies!

David’s BEST OF 2023

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Posted by David Ferguson

DFW Film Critics – Best of 2023

December 18, 2023

As a voting member of the Dallas-Ft Worth Film Critics Association, I want to share the final results of the Best of 2023 for the group. Soon I will be posting my personal Best of 2023 and (as always) you can expect some differences of opinion!

DFW FILM CRITICS NAME “THE HOLDOVERS” BEST PICTURE OF 2023

   

The Dallas-Fort Worth Film Critics Association voted the comedy-drama THE HOLDOVERS as the best film of 2023, according to the results of its 30th annual critics’ poll. Following is a complete list of award winners, with choices listed in order of votes received.

BEST PICTURE

Winner: THE HOLDOVERS

Runners-up: OPPENHEIMER (2); KILLERS OF THE FLOWER MOON (3); POOR THINGS (4); AMERICAN FICTION (5); PAST LIVES (6); MAESTRO (7); ANATOMY OF A FALL (8); BARBIE (9); MAY DECEMBER (10)

BEST ACTOR

Winner: Cillian Murphy, OPPENHEIMER

Runners-up: Paul Giamatti, THE HOLDOVERS (2); Bradley Cooper, MAESTRO (3); Jeffrey Wright, AMERICAN FICTION (4); Leonardo DiCaprio, KILLERS OF THE FLOWER MOON (5, tie); Colman Domingo, RUSTIN (5, tie)

BEST ACTRESS

Winner: Lily Gladstone, KILLERS OF THE FLOWER MOON

Runners-up: Emma Stone, POOR THINGS (2); Carey Mulligan, MAESTRO (3); Greta Lee, PAST LIVES (4); Sandra Huller, ANATOMY OF A FALL (5)

BEST SUPPORTING ACTOR

Winner: Robert Downey Jr., OPPENHEIMER

Runners-up: Charles Melton, MAY DECEMBER (2); Robert De Niro, KILLERS OF THE FLOWER MOON (3); Mark Ruffalo, POOR THINGS (4); Dominic Sessa, THE HOLDOVERS (5)

BEST SUPPORTING ACTRESS

Winner: Da’Vine Joy Randolph, THE HOLDOVERS

Runners-up: Danielle Brooks, THE COLOR PURPLE (2); Emily Blunt, OPPENHEIMER (3); Jodie Foster, NYAD (4); Julianne Moore, MAY DECEMBER (5)

BEST DIRECTOR

Winner: Christopher Nolan, OPPENHEIMER

Runners-up: Martin Scorsese, KILLERS OF THE FLOWER MOON (2); Alexander Payne, THE HOLDOVERS (3); Yorgos Lanthimos, POOR THINGS (4); Celine Song, PAST LIVES (5)

BEST FOREIGN LANGUAGE FILM

Winner: ANATOMY OF A FALL

Runners-up: THE ZONE OF INTEREST (2); THE TASTE OF THINGS (3); SOCIETY OF THE SNOW (4); FALLEN LEAVES (5)

BEST DOCUMENTARY

Winner: AMERICAN SYMPHONY

Runners-up: 20 DAYS IN MARIUPOL (2); STILL: A MICHAEL J. FOX MOVIE (3); THE DEEPEST BREATH (4); THE PIGEON TUNNEL (5)

BEST ANIMATED FILM

Winner: THE BOY AND THE HERON

Runner-up: SPIDER-MAN: ACROSS THE SPIDER-VERSE

BEST SCREENPLAY

Winner: David Hemingson, THE HOLDOVERS

Runner-up: Justine Triet and Arthur Harari, ANATOMY OF A FALL

BEST CINEMATOGRAPHY

Winner: Hoyte van Hoytema, OPPENHEIMER

Runner-up: Rodrigo Prieto, KILLERS OF THE FLOWER MOON

BEST MUSICAL SCORE

Winner: Robbie Robertson, KILLERS OF THE FLOWER MOON

Runner-up: Ludwig Goransson, OPPENHEIMER

RUSSELL SMITH AWARD (best low-budget or cutting-edge independent film)

Winner: THE ZONE OF INTEREST

The Dallas-Fort Worth Film Critics Association consists of 24 broadcast, print and online journalists from throughout North Texas. For more information, visit dfwcritics.com or follow us on Facebook or X (formerly Twitter) @dfwfilmcritics.

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Posted by David Ferguson

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