‘Nomadland’ and ‘The Crown’ Lead 26th Annual Critics Choice Awards

‘Nomadland’ and ‘The Crown’ Lead 26th Annual Critics Choice Awards

The Critics Choice Association (CCA) announced the winners of the 26th annual Critics Choice Awards LIVE on The CW during an in-person/virtual hybrid ceremony hosted for the third time by acclaimed film, television, and stage star Taye Diggs on Sunday, March 4.  The full list of winners can be found below. 

“Nomadland” led the winners in the film categories, taking home four awards including Best Picture, Best Director and Best Adapted Screenplay for Chloé Zhao, and Best Cinematography for Joshua James Richards.  Zhao is the first Chinese woman to win as either director or writer. 

“Ma Rainey’s Black Bottom” followed closely behind, winning three categories including Best Actor for the late Chadwick Boseman, Best Costume Design, and Best Hair and Makeup.  Best Actress was awarded to Carey Mulligan for “Promising Young Woman,” which also earned a Best Original Screenplay win for Emerald Fennell.  Best Supporting Actor went to Daniel Kaluuya for “Judas and the Black Messiah,” and Best Supporting Actress to Maria Bakalova for “Borat Subsequent Moviefilm.”   

In the series categories, “The Crown” took four categories, the most of the night, winning Best Drama Series, Best Actor in a Drama Series for Josh O’Connor, Best Actress in a Drama Series for Emma Corrin, and Best Supporting Actress in a Drama Series for Gillian Anderson.  In the comedy genre, “Ted Lasso” won all three categories for which it was nominated: Best Comedy Series, Best Actor in a Comedy Series for Jason Sudeikis, and Best Supporting Actress in a Comedy Series for Hannah Waddingham.  “The Queen’s Gambit” took the prize for Best Limited Series, and its leading lady Anya Taylor-Joy won Best Actress in a Limited Series or Movie Made for Television. 

The race for “Best Comedy Special,” which was dominated entirely by Netflix nominees, resulted in a tie between “Jerry Seinfeld: 23 Hours to Kill” and “Michelle Buteau: Welcome to Buteaupia.” 

As was previously announced, John David Washington presented this year’s SeeHer Award to his “Malcolm & Marie” co-star, Zendaya.  The SeeHer Award recognizes a woman who embodies the values set forth by the SeeHer movement, to push boundaries, defy stereotypes and acknowledge the importance of authentic portrayals of women across the entertainment landscape. 

After leading the nominations, Netflix also won the most awards of any studio/network with a total of 14.  Amazon Studios and Searchlight Pictures each won four. 

Critics Choice Awards are bestowed annually to honor the finest in cinematic and television achievement.  Historically, they are the most accurate predictor of Academy Award nominations. 

The 26th annual Critics Choice Awards show was produced by Bob Bain Productions and Berlin Entertainment.  The CCA is represented by Dan Black of Greenberg Traurig. 

Follow the 26th annual Critics Choice Awards on Twitter and Instagram @CriticsChoice and on Facebook/CriticsChoiceAwards.  Join the conversation using #CriticsChoice and #CriticsChoiceAwards. 

FILM CATEGORIES 

BEST PICTURE 

Nomadland (Searchlight Pictures) 

BEST ACTOR 

Chadwick Boseman – Ma Rainey’s Black Bottom (Netflix) 

BEST ACTRESS 

Carey Mulligan – Promising Young Woman (Focus Features) 

BEST SUPPORTING ACTOR 

Daniel Kaluuya – Judas and the Black Messiah (Warner Bros.) 

BEST SUPPORTING ACTRESS 

Maria Bakalova – Borat Subsequent Moviefilm (Amazon Studios) 

BEST YOUNG ACTOR/ACTRESS 

Alan Kim – Minari (A24) 

BEST ACTING ENSEMBLE 

The Trial of the Chicago 7 (Netflix) 

BEST DIRECTOR 

Chloé Zhao – Nomadland (Searchlight Pictures) 

BEST ORIGINAL SCREENPLAY 

Emerald Fennell – Promising Young Woman (Focus Features) 

BEST ADAPTED SCREENPLAY 

Chloé Zhao – Nomadland (Searchlight Pictures) 

BEST CINEMATOGRAPHY 

Joshua James Richards – Nomadland (Searchlight Pictures) 

BEST PRODUCTION DESIGN 

Donald Graham Burt, Jan Pascale – Mank (Netflix) 

BEST EDITING – TIE  

Alan Baumgarten – The Trial of the Chicago 7 (Netflix) 

Mikkel E. G. Nielsen – Sound of Metal (Amazon Studios) 

BEST COSTUME DESIGN 

Ann Roth – Ma Rainey’s Black Bottom (Netflix) 

BEST HAIR AND MAKEUP 

Ma Rainey’s Black Bottom (Netflix) 

BEST VISUAL EFFECTS 

Tenet (Warner Bros.) 

BEST COMEDY 

Palm Springs (Hulu and NEON) 

BEST FOREIGN LANGUAGE FILM 

Minari (A24) 

BEST SONG  

Speak Now – One Night in Miami (Amazon Studios) 

BEST SCORE 

Trent Reznor, Atticus Ross, and Jon Batiste – Soul (Disney) 

SERIES CATEGORIES 

BEST DRAMA SERIES 

The Crown (Netflix) 

BEST ACTOR IN A DRAMA SERIES 

Josh O’Connor – The Crown (Netflix) 

BEST ACTRESS IN A DRAMA SERIES 

Emma Corrin – The Crown (Netflix) 

BEST SUPPORTING ACTOR IN A DRAMA SERIES 

Michael K. Williams – Lovecraft Country (HBO)

BEST SUPPORTING ACTRESS IN A DRAMA SERIES 

Gillian Anderson – The Crown (Netflix) 

BEST COMEDY SERIES 

Ted Lasso (Apple TV+) 

BEST ACTOR IN A COMEDY SERIES 

Jason Sudeikis – Ted Lasso (Apple TV+) 

BEST ACTRESS IN A COMEDY SERIES 

Catherine O’Hara – Schitt’s Creek (Pop) 

BEST SUPPORTING ACTOR IN A COMEDY SERIES  

Daniel Levy – Schitt’s Creek (Pop) 

BEST SUPPORTING ACTRESS IN A COMEDY SERIES 

Hannah Waddingham – Ted Lasso (Apple TV+) 

BEST LIMITED SERIES 

The Queen’s Gambit (Netflix) 

BEST MOVIE MADE FOR TELEVISION 

Hamilton (Disney+) 

BEST ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION 

John Boyega – Small Axe (Amazon Studios) 

BEST ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION 

Anya Taylor-Joy – The Queen’s Gambit (Netflix) 

BEST SUPPORTING ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION 

Donald Sutherland – The Undoing (HBO) 

BEST SUPPORTING ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION   

Uzo Aduba – Mrs. America (FX) 

BEST TALK SHOW 

Late Night with Seth Meyers (NBC) 

BEST COMEDY SPECIAL – TIE  

Jerry Seinfeld: 23 Hours to Kill (Netflix) 

Michelle Buteau: Welcome to Buteaupia (Netflix) 

BEST SHORT FORM SERIES 

Better Call Saul: Ethics Training with Kim Wexler (AMC/Youtube) 

About the Critics Choice Association (CCA)  

The Critics Choice Association is the largest critics organization in the United States and Canada, representing more than 400 television, radio and online critics and entertainment reporters. It was established in 2019 with the formal merger of the Broadcast Film Critics Association and the Broadcast Television Journalists Association, recognizing the blurring of the distinctions between film, television, and streaming content. For more information, visit: www.CriticsChoice.com.  

Small Axe’s ‘Red, White and Blue’ Is a Tragic, Essential Story

Small Axe’s ‘Red, White and Blue’ Is a Tragic, Essential Story

By Alex McPherson

Director Steve McQueen’s “Red, White and Blue,” the third installment of “Small Axe,” provides a heartbreaking look at racism within policing, and a thought-provoking, brilliantly acted character study.

“Red, White and Blue” depicts the true story of Leroy Logan (John Boyega), a forensic scientist living in London during the early 1980s with his West Indian family. Yearning to more directly impact the community he resides in, Leroy considers joining the local police force. After his father, Kenneth (Steve Touissant), is beaten by a couple of officers seemingly at random, Leroy’s motivation to become involved heightens, despite Kenneth’s fierce objection.

While Leroy understands the difficulties that this career choice entails, he believes, somewhat idealistically, that he can shift attitudes and mindsets from within it, helping to combat the flaws pervading policing. Although Leroy receives support from his loving wife, Gretl (Antonia Thomas), and family friend Jesse (Nadine Marshall), who works as a liaison for the Met, he soon finds himself ostracized by his own community and encounters challenges that leave him scarred and exhausted, yet ever aware that major systemic change must occur.

Featuring an absolutely incredible lead performance, and a story that viscerally showcases the difficulty of fighting a system much larger than any single person, “Red, White and Blue” is a sobering exploration of injustice and family bonds, providing some of the most powerful moments of the entire “Small Axe” series.

Similar to “Mangrove,” McQueen spends ample time establishing who Leroy is as a person and detailing his relationships with friends and family members, particularly his father. Leroy is an admirable, strong-willed individual with a warm heart and diligent work ethic, who’s determined to make a noticeable impact in the police force. He puts in his all, even outperforming a number of his peers in police training. Boyega is an endearing presence throughout the film, portraying Leroy’s skepticism and self-doubt later on with heartbreaking impact. 

Indeed, “Red, White and Blue” grows increasingly grim as it goes on, as Leroy’s own end goals seemingly slip away from him. The film frequently slows down to focus on Boyega’s reactions and Leroy’s self-reflection. As Leroy looks at himself in the mirror, for example, dressed up in uniform, we understand the inner conflict he feels, and appreciate the threats and dangers he faces in this line of work. With only one other person of color on the force with him, Leroy feels adrift and alienated practically wherever he goes, lacking figurative reinforcements to help him achieve his vision.  

Although he receives some aforementioned support from family members, Kenneth adamantly opposes Leroy’s decision to become a police officer — believing that Leroy is squandering his education to become involved in an organization pervaded by prejudice, putting his own and his family’s way of life at risk. In fact, this father-son relationship remains the film’s emotional core, providing two valid yet conflicting mentalities that provide much food for thought.

 Finding a balance between Leroy and Kenneth’s views is quite challenging — a balance between comfort and risk, between change and maintaining the status quo. McQueen depicts them both as weathered, wise individuals eventually sharing an understanding that they exist in a world where change is often slight and difficult to achieve, yet always worth fighting for, even if it means starting from scratch. As a result, “Red, White and Blue” lacks clear resolution or a sense of catharsis, ending on a note of meditative reflection that resonates with me long after the credits rolled. 

Despite the film’s intensity, however, there’s still much to relish in “Red, White and Blue,” just like the other “Small Axe” entries. McQueen’s attention to period detail is on full display, with a soundtrack featuring Al Green songs that infuses the proceedings with added emotional and symbolic weight.

The cinematography by Shabier Kirchner is outstanding, once again, containing numerous shots — especially during an atmospheric, nail-biting sequence where Leroy tracks down a criminal on his own — that have etched themselves into my psyche.

Even though I wish McQueen would have shown more of Leroy’s life story, such as his founding of the Black Police Association, the power of “Red, White and Blue” is undeniable. This is yet another fantastic entry in McQueen’s “Small Axe” series, tragic yet essential viewing. Although little has seemingly changed regarding policing between then and now, the film remains a testament to bravery, heroism, and perseverance to confront social issues that remain sadly relevant today.

“Red, White and Blue” is part of the “Small Axe” anthology, directed by Steve McQueen, that is a part of a TV mini-series on Amazon Prime. The drama’s run time is 1 hour, 20 minutes. Alex’s Rating: A