2014 BOX OFFICE AWARDS: The Official Ceremony (BEST PICTURE: GRAVITY)

[MrPink]

And the Boffy for Best Ensemble goes to:

 

 

12 YEARS A SLAVE

[ChD]

No... ... ... ... So wrong.

[MovieGuyKyle17]

WOW I was kinda expecting American Hustle to win at least this award. To me that film at least deserved to win that award. 

[Chewy]

We move to our first screenplay award, BEST ORIGINAL SCREENPLAY

 

Nominees:

HerBlue JasmineThe World's EndInside Llewyn DavisNebraska

[CJohn]

And the Boffy for Best Ensemble goes to:

 

 

12 YEARS A SLAVE

The hate for AH continues. This community never fails to amaze. 

[CJohn]

We move to our first screenplay award, BEST ORIGINAL SCREENPLAY

 

Nominees:

HerBlue JasmineThe World's EndInside Llewyn DavisNebraska

Her, next please.

[iceroll]

Shit won a BOFFY. Over WOWS. How surprising. Now just say Gravity won for everyone to go home happy.

Yea, no.  TITE was actually HILARIOUS, WOWS had some funny moments but for a comedy, it didn't even come close.  IMO, WOWS is one of the most overrated films on here.

[Chewy]

And the Boffy goes to...

 

 

HER!

[CJohn]

Yea, no.  TITE was actually HILARIOUS, WOWS had some funny moments but for a comedy, it didn't even come close.  IMO, WOWS is one of the most overrated films on here.

TITE is so shitty and boring. Really, just painfully bad. I laughed, maybe, once. Not sure. I think was laughing of sadness for spending 90 minutes of my life watching that pile of garbage.

[MrPink]

And now for BEST ADAPTED SCREENPLAY, the nominees are:

 

BEFORE MIDNIGHT

 

THE WOLF OF WALL STREET

 

THIS IS THE END

 

SHORT TERM 12

 

12 YEARS A SLAVE

 

CAPTAIN PHILLIPS

 

PHILOMANIA (PHILOMENA)

[MrPink]

And the Boffy for Best Adapted Screenplay goes to:

 

 

BEFORE MIDNIGHT

[Chewy]

The eighth BEST PICTURE nominee is the animated smash hit FROZEN

 

 

"Over the past two decades Disney animation has gone from the sole industry titan to an afterthought in both accolades and box office. It could coast on past greatness and occasional success, but anything further seemed elusive. Until now.

 

With Frozen, Disney’s managed an amazing trick: they’ve both reclaimed both their past greatness by exploiting their tried and true musical princess formula but also shown massive innovation in creating one of the most progressive movies Hollywood has turned out. It’s a film that takes expectations and turns on them. It’s a film that dishes out plates of tropes regarding royalty and love and family and character progression so that we know exactly how this is going to play out. And then Frozen says “No” and hits with a third act that is as moving and surprising as any in film.

 

Films that give us what we want to see can be enjoyable. Films that give us what we need to see can be important. It’s rare for a film to give us what we need to see and at the same time show us that it’s what we wanted as well. Frozen does that. I went into the theater to see it with fairly low expectations: advertising had been uninspiring, hype had been iffy, and at best I expected I’d enjoy myself because I liked Disney, liked Kristen Bell, and liked Idina Menzel. If it turned out to be a Tangled 2.0, that would be okay.

 

Instead, I got what can only be described as a religious experience. From the hauntingly eerie opening bars of the title music to the amazing joke in the end credits, Frozen is a film that shocked me. It was a sort of soul-moving moment that is difficult to put into words. Perhaps the easiest way is to say that instead of being an incredibly annoying comedy sidekick, Olaf the Snowman is one of the most endearing characters ever. And that’s only one of the smaller ways Frozen affected me.

 

I’m not alone. Frozen is a worldwide phenomenon. And it’s important that it’s doing this well. The movie industry, like much of society, has become incredibly gendered, where it’s taken as fact that movies by women, starring women, about women, and for women cannot succeed beyond being chick flicks. Frozen puts that all to a lie. We can only hope that the rest of the industry sits up and takes notice."

 

-Commentary by DamienRoc

[Jake Gittes]

And the Boffy for Best Adapted Screenplay goes to:

 

 

BEFORE MIDNIGHT

Pretty awesome and 100% deserved.

[Chewy]

And we finally get to the acting categories. The nominees for BEST SUPPORTING ACTOR are:

 

James Franco, Spring BreakersMichael Fassbender, 12 Years A SlaveJonah Hill, The Wolf of Wall StreetBarkhad Abdi, Captain PhillipsDaniel Bruhl, Rush

[ChD]

Go Bruhl. Come on!

[Chewy]

And the Boffy goes to...

 

 

Michael Fassbender!

[CJohn]

And the Boffy goes to...

 

 

Michael Fassbender!

Holy shit, a fantastic decision by BOF, finally. He totally deserves.

[MovieGuyKyle17]

Go Hill!

[MrPink]

For BEST SUPPORTING ACTRESS, the nominees are:

 

Margot Robbie, The Wolf of Wall Street

 

Scarlett Johansson, Her

 

Lupita Nyong'o, 12 Years a Slave

 

Jennifer Lawrence, American Hustle

 

Sally Hawkins, Blue Jasmine

[MovieGuyKyle17]

And the Boffy goes to...

 

 

Michael Fassbender!

Didn't see that one coming