‘Everything Everywhere All At Once’ Earns Five Awards, Including Best Film, from St Louis Film Critics Assn.

‘Everything Everywhere All At Once’ Earns Five Awards, Including Best Film, from St Louis Film Critics Assn.

The wild action, sci-fi and comedic adventure “Everything Everywhere All at Once” has been named Best Film of 2022 by the St. Louis Film Critics Association.

Writer-directors The Daniels’ chaotic tale of an overworked Chinese immigrant’s multiverse journey won five awards overall, including Michelle Yeoh for best actress. She plays Evelyn Wang, whose business is struggling, her marriage is on the rocks, and she has complicated relationships with her daughter and father.

As Evelyn’s milquetoast husband, Ke Huy Quan won supporting actor while Paul Rogers won for editing and The Daniels (Daniel Kwan and Daniel Scheinert), who directed, were named in a tie for best original screenplay.

SLFCA announced its awards in 23 categories on Dec. 18, with honors spread out among 13 films.

“The Banshees of Inisherin,” “Elvis” and “Women Talking” each received three awards.

 Martin McDonagh tied with the Daniels for original screenplay, for his pitch-black comedy “The Banshees of Inisherin,” which is about friends at an impasse, who live on a remote Irish island in 1923, while Kerry Condon won best supporting actress as the smart and feisty Siobhan, sister to Colin Farrell’s Padraic, and Ben Davis won for his moody and rugged cinematography.

This is the third year the group has selected a woman for its director award — Chloe Zhao, “Nomadland,” in 2020; Jane Campion for “The Power of the Dog” in 2021; and now, Sarah Polley for “Women Talking.”

“Women Talking,” about the women in an isolated religious community deciding on what action to take after a series of sexual assaults in 2010, also won for best ensemble cast and for Hildur Guðnadóttir’s acoustic music score that taps into community and hope.

Catherine Martin won for designing costumes and with Karen Murphy for production design on her husband Baz Luhrmann’s electric “Elvis” biopic, which was also singled out for best soundtrack.

For best actor, Brendan Fraser was selected for his bravura performance in “The Whale,” playing a 600-lb. recluse grappling with loss and guilt while trying to reconnect with his daughter.

The regional critics group announced its annual nominations Dec. 11, with “The Banshees of Inisherin” leading with 11 nominations, followed by ‘Everything Everywhere All at Once’ with 10; ‘Women Talking’ and ‘The Fabelmans’ earned eight each. Those nominations are listed here: http://www.stlfilmcritics.org/awards.

For Special Merit recognition, the St. Louis Film Critics selected three people for the honor:  imprisoned Iranian director Jafar Panahi, whistleblower actress Ashley Judd and posthumously, influential musician-actor David Bowie.

SLFCA President Jim Tudor said the group wanted to recognize filmmaker Jafar Panahi, who was sentenced to six years in prison by the Iranian government for inquiring about the arrests of his fellow filmmakers Mohammad Rasoulof and Mostafa Al-Ahmad.

The international film community has denounced his imprisonment as unjust. His latest work, “No Bears,” was shown at the Venice Film Festival and New York Film Festival this fall.

Jafar Panahi

The SLFCA statements on the three Special Merits:

Jafar Panahi

“In recognition of the courage of imprisoned Iranian director Jafar Panahi and all those film professionals confronting political oppression in the pursuit of free speech, human rights, and artistic expression.”

Ashley Judd

“We recognize Ashley Judd for the bravery and courage she demonstrated in portraying herself in ‘She Said.’”

David Bowie

“After nominating the experimental documentary “Moonage Daydream,” we want to also honor the expansive and continuing cinematic presence of singer-songwriter and actor David Bowie, whose life and music continues to permeate and enrich the cinema landscape.”

Here’s the list of our 2022 SLFCA Awards winners and runners-up:

Stephanie Hsu, Michelle Yeoh, Ke huy Quan of “Everything Everywhere All at Once”

BEST FILM

Everything Everywhere All at Once

Runner-up Women Talking

Best Director – Sarah Polley, “Women Talking”

Runner-up: The Daniels (Daniel Kwan and Daniel Scheinert) , “Everything Everywhere All at Once”

Best Actor – Brendan Fraser, “The Whale”

Runner-up: Austin Butler, “Elvis”

Best Actress – Michelle Yeoh, “Everything Everywhere All at Once”

Runner-up: Danielle Deadwyler, “Till”

Best Supporting Actor – Ke Huy Quan, “Everything Everywhere All at Once”
Runner-up: Brendan Gleeson, “The Banshees of Inisherin”

Best Supporting Actress – Kerry Condon, “The Banshees of Inisherin”

Runners-up: (tie) Angela Bassett, “Black Panther: Wakanda Forever” and Janelle Monae, “Glass Onion: A Knives Out Mystery”

Women Talking

Best Ensemble – Women Talking

Runner-up: Glass Onion: A Knives Out Mystery

Best Adapted Screenplay – She Said Rebecca Lenkiewicz; based on the book She Said by Jodi Cantor and Megan Twohey, and on the New York Times investigation by Jodi Kantor, Megan Twohey, and Rebecca Corbett

Runner-up: Women Talking – Sarah Polley, adapted from book by Miriam Toews

Best Original Screenplay – tie “The Banshees of Inisherin,” Martin McDonagh, and The Daniels (Daniel Kwan and Daniel Scheinert) “Everything Everywhere All at Once”

Runner-up: “The Menu,” Will Tracy and Seth Reiss

Best Cinematography – Ben Davis, “The Banshees of Inisherin”

Runner-up: Greig Fraser, “The Batman”

Best Editing – Paul Rogers, “Everything Everywhere All at Once”

Runner-up: Matt Villa and Jonathan Redmond, “Elvis “

Best Production Design – Elvis, Catherine Martin and Karen Murphy 

Runner-up: “Glass Onion: A Knives Out Mystery,” Rick Heinrichs

Best Costume Design – “Elvis,” Catherine Martin 

Runner-up: “Black Panther: Wakanda Forever,” Ruth E. Carter

Best Visual Effects – Avatar: The Way of Water”

Joe Letteri, Richard Baneham, Eric Saindon, and Daniel Barrett

Runner-Up: Everything Everywhere All at Once

Best Music Score – “Women Talking,” Hilda Guðnadóttir

Runner up (tie): Carter Burwell, “The Banshees of Inisherin”;  Michael Giacchino, “The Batman” and John Williams, “The Fabelmans.”

Best Soundtrack – Elvis

Runner-up: Moonage Daydream

Best Action Film – Top Gun: Maverick
Runner-up: RRR

Best Comedy Film – Weird: The Al Yankovic Story

Runner-up: Glass Onion: A Knives Out Mystery

Best Horror Film – Nope
Runner-up: X

Best Animated Film – Marcel the Shell with Shoes On

Runner-up: Guillermo del Toro’s Pinocchio

Marcel the Shell with Shoes On


Best International Feature – Decision to Leave

Runner-up: RRR


Best Documentary Feature – All the Beauty and the Bloodshed

Runner-up (tie): Good Night Oppy and Moonage Daydream


Best Scene – Sam Fabelman meets one of his idols on the studio lot in “The Fabelmans”

Runner-up: Iceman meets with Maverick in “Top Gun: Maverick”

Founded in 2004, the St. Louis Film Critics Association is a nonprofit organization of professional film reviewers who regularly publish current and timely film criticism, support local productions and festivals, and enhance public education, awareness, and appreciation of films. Vetted members are affiliated with qualifying media outlets in the St. Louis metropolitan region. (Note: PopLifeSTL.com critics Alex McPherson and Lynn Venhaus are members).

For the awards, eligible films are those that opened in the greater St. Louis area or had an online premiere during the 2022 calendar year – including those film that were given awards-qualifying runs in 2021 but were not available to all SLFCA members until 2022. Films slated for release in early 2023 are also eligible if a press screening, DVD screener, or screening link was provided to all SLFCA members.

For more information, visit http://www.stlfilmcritics.org

In addition, follow us on Twitter (@stlfilmcritics) and “Like” our Facebook page.

The Banshees of Inisherin

‘The Fabelmans’ Lacks That Special Spark of Most Top-Shelf Spielberg Movies

‘The Fabelmans’ Lacks That Special Spark of Most Top-Shelf Spielberg Movies

By Lynn Venhaus

Dear Mr. Spielberg,
Your movies have given my family and I so much joy over the years. I was away at college the summer of 1975 when one warm July night, my roommates and I went to see “Jaws” at the local movie theater. You invented the summer blockbuster, and ever since, all your movies have been an event.

I introduced my children to “E.T.” first, and I still tear up every time I watch it. “Jurassic Park,” “Saving Private Ryan,” “Schindler’s List,” “Raiders of the Lost Ark” and “Lincoln” — you’ve made some of the best films of all-time.

“Bridge of Spies,” “Catch Me If You Can,” and “The Post” are personal favorites, and your adaptation of “West Side Story” was at the top of my Ten Best List last year.

So, I had very high expectations for “The Fabelmans,” especially after viewing the “Spielberg” documentary on HBO. I know it’s “loosely based on your childhood, from age 7 to 18, and it explores the power of how movies help us see the truth about each other and ourselves.

Maybe that adage, “Never meet your heroes” applies here.

Because, while I find the performances exceptional and the production elements superb, your retelling of your ‘semi-autobiographical’ coming-of-age story isn’t as magical as your other films.

THE FABELMANS, from left: Paul Dano, Michelle Williams, Seth Rogen, 2022. ph: Merie Weismiller Wallace / © Universal Pictures / Courtesy Everett Collection

Yes, you followed your dream, but turns out your childhood isn’t all that extraordinary. Except for the reason your parents’ marriage broke up, your early life was like many other kids – divorced parents, dad moving because of work, an artistic kid being bullied and for Jews, antisemitism.

Basically, you had a rather “Leave It to Beaver” childhood, not as vanilla as many a WASP, but fairly typical — your parents loved you and your sisters, attempted to give you a wonderful life, and your dad was a genius engineer.

As a filmmaker, you were too close to the subject matter, and needed to get out of your own way.

When you concentrate on discovering your passion for filmmaking and finding ways to tell a story, now that’s fascinating.

But all that high school drama with the mean jocks, yawn. Except for the Ditch Day film, which really highlighted your gifts and how people are revealed upon observation.

But — two and a half hours? And the best scene is at the end! You stuck the landing beautifully – and that little nod to Charlie Chaplin’s The Tramp before the credits roll, chef’s kiss.

That final encounter on the studio lot gives the film the zest that was missing – and it was the spark that propelled your drive to be in the business.

It’s the best cameo of the year, no spoiler from me!

Gabriel LaBelle as Sammy Fabelman

Your life as a golden boy of cinema has introduced you – and us — to worlds of wonder, and we feel like we know you.

The film is heartfelt and shows how much love you have for your family and the movie-making process. Artists must create and you have been able to make an impact on a global scale. Truly remarkable.

You will be remembered as one of the greatest directors of all time, and we see the effort.

I will wait for the sequel that discloses your early career milestones, breaking through in Hollywood, and the people that shaped you along the way. Now, that story may be the extraordinary one that I was expecting here.

Sincerely, an unabashed fan whose favorite thing is discussing entertainment, and thinks that all of life’s riddles are answered in the movies.

Back to the nuts and bolts for review purposes — Gabriel LaBelle makes quite an introduction as gawky young Sammy Fabelman, who makes movies using his Boy Scout troop as cast and crew.

Paul Dano and Michelle Williams are well-suited to play parents Burt and Mitzi, who bring up four children born during the post-World War II Baby Boom and moved the family from New Jersey to Arizona to Southern California before finally divorcing.

Williams has flashes of brilliance as the mercurial mom, a classically trained pianist whose concert days are past, but the longing isn’t. She’s in love with Bennie (Seth Rogen), Burt’s best friend, and they are eventually together.

When Sammy’s keen eye discovers a little too intimate interaction between the pair during a family camping trip, he’s devastated, resulting in viewing his mother differently. It’s a powerful scene when he shows, not tells, her what he saw.

That conflict is a major focus of the original screenplay co-penned by Spielberg and collaborator Tony Kushner.

A smaller one is his computer whiz dad thinking filmmaking is a hobby and that Sammy needs a more stable career pursuit, but that is a standard trope between artists and scientists. Dano’s quiet demeanor effectively contrasts with Williams’ more flamboyant personality.

Appearing briefly in a slight but showy role that screams supporting actor nomination, Judd Hirsch is an eccentric uncle who used to be in the circus and recognizes a kindred spirit in Sammy.

Young Sammy, who must react to his first film, “The Greatest Show on Earth,” in 1952, is played by standout Mateo Zoryan.

Janusz Kaminski’s cinematography is splendid, so is Rick Carter’s production design, and John Williams has produced a fine score.

But, there is just something nagging about a film that I wanted to be great, but is just good.

“The Fabelmans” is a 2022 drama directed by Steven Spielberg and stars Gabriel LaBelle, Michelle Williams, Paul Dano, Judd Hirsch and Seth Rogen. Rated PG-13 for some strong language, thematic elements, brief violence, and drug use, and run time is 2 hours, 31 minutes. In theaters Nov. 23. Lynn’s Grade: B