Christopher Wallace packed a lot of living into 24 years, and “Biggie: I Got a Story to Tell” goes a long way toward capturing his personal story alongside the legacy of his relatively brief but deeply influential career as hip-hop paradigm-shifter Notorious B.I.G.
Unlike 2009’s docudrama biopic “Notorious” (also made under the auspices of the rapper’s estate) which seemed determine to sand down the music legend’s rougher edges, this new Netflix documentary takes a more clear-eyed approach — to Wallace’s childhood, his teenage years on the street absorbed in hip-hop and making a living selling drugs, the adults who taught and protected him, and the musical influences that made his work unique and important.
Producer Sean Combs notes early on that Biggie was the first rapper whose style couldn’t be traced to the roots of hip-hop, and that’s not just hyperbole. Director Emmett Malloy digs...
Unlike 2009’s docudrama biopic “Notorious” (also made under the auspices of the rapper’s estate) which seemed determine to sand down the music legend’s rougher edges, this new Netflix documentary takes a more clear-eyed approach — to Wallace’s childhood, his teenage years on the street absorbed in hip-hop and making a living selling drugs, the adults who taught and protected him, and the musical influences that made his work unique and important.
Producer Sean Combs notes early on that Biggie was the first rapper whose style couldn’t be traced to the roots of hip-hop, and that’s not just hyperbole. Director Emmett Malloy digs...
- 2/24/2021
- by Alonso Duralde
- The Wrap
“Jane,” Brett Morgen’s popular documentary about primatologist Jane Goodall, was so lauded and applauded that most Oscar experts predicted that it would land an Oscar nomination, if not win. Instead, it never made the cut.
This happens with the Academy documentary branch. While its voter ranks have expanded by more than 50 percent in the last three years, from 204 to 320 members, it’s still a relatively insular group with strong ideas about what makes a great documentary. They tend to be slow to recognize innovation. They long frowned on dramatic re-enactments, strong personalities, and rousing scores, overlooking early Michael Moore entry “Roger and Me” and Errol Morris’ “The Thin Blue Line,” finally rewarding them with Oscars for anti-gun screed “Bowling for Columbine” and the Robert McNamara profile “The Fog of War,” respectively.
Moore returned to the Oscar fray for “Sicko,” but Morris was never nominated again. The doc branch nominated...
This happens with the Academy documentary branch. While its voter ranks have expanded by more than 50 percent in the last three years, from 204 to 320 members, it’s still a relatively insular group with strong ideas about what makes a great documentary. They tend to be slow to recognize innovation. They long frowned on dramatic re-enactments, strong personalities, and rousing scores, overlooking early Michael Moore entry “Roger and Me” and Errol Morris’ “The Thin Blue Line,” finally rewarding them with Oscars for anti-gun screed “Bowling for Columbine” and the Robert McNamara profile “The Fog of War,” respectively.
Moore returned to the Oscar fray for “Sicko,” but Morris was never nominated again. The doc branch nominated...
- 2/2/2018
- by Anne Thompson
- Thompson on Hollywood
“Jane,” Brett Morgen’s popular documentary about primatologist Jane Goodall, was so lauded and applauded that most Oscar experts predicted that it would land an Oscar nomination, if not win. Instead, it never made the cut.
This happens with the Academy documentary branch. While its voter ranks have expanded by more than 50 percent in the last three years, from 204 to 320 members, it’s still a relatively insular group with strong ideas about what makes a great documentary. They tend to be slow to recognize innovation. They long frowned on dramatic re-enactments, strong personalities, and rousing scores, overlooking early Michael Moore entry “Roger and Me” and Errol Morris’ “The Thin Blue Line,” finally rewarding them with Oscars for anti-gun screed “Bowling for Columbine” and the Robert McNamara profile “The Fog of War,” respectively.
Read More:Is Errol Morris’s ‘Wormwood’ a Documentary? Netflix Says Yes, Oscars Say No
Moore returned to the Oscar fray for “Sicko,...
This happens with the Academy documentary branch. While its voter ranks have expanded by more than 50 percent in the last three years, from 204 to 320 members, it’s still a relatively insular group with strong ideas about what makes a great documentary. They tend to be slow to recognize innovation. They long frowned on dramatic re-enactments, strong personalities, and rousing scores, overlooking early Michael Moore entry “Roger and Me” and Errol Morris’ “The Thin Blue Line,” finally rewarding them with Oscars for anti-gun screed “Bowling for Columbine” and the Robert McNamara profile “The Fog of War,” respectively.
Read More:Is Errol Morris’s ‘Wormwood’ a Documentary? Netflix Says Yes, Oscars Say No
Moore returned to the Oscar fray for “Sicko,...
- 2/2/2018
- by Anne Thompson
- Indiewire
Jane Goodall in Jane. Photo by Hugo van Lawick. © National Geographic
“Dunkirk” (edited by Lee Smith, Ace) and “I, Tonya” (edited by Tatiana S. Riegel, Ace) won Best Edited Feature Film (Dramatic) and Best Edited Feature Film (Comedy) respectively at the 68thAnnual Ace Eddie Awards Friday where trophies were handed out recognizing the best editing of 2017 in ten categories of film, television and documentaries.
“Coco” (edited by Steve Bloom) won Best Edited Animated Feature Film and “Jane” (edited by Joe Beshenkovsky, Ace, Will Znidaric and Brett Morgen) won Best Edited Documentary (Feature).
Television winners included “Black-ish — Lemons” (edited by John Peter Bernardo and Jamie Pedroza) for Best Edited Comedy Series for Commercial Television, “Curb Your Enthusiasm — The Shucker” (edited by Jonathan Corn, Ace) for Best Edited Comedy Series for Non-Commercial Television, “Fargo — Who Rules The Land of Denial” (edited by Andrew Seklir, Ace) for Best Edited Drama Series for Commercial Television,...
“Dunkirk” (edited by Lee Smith, Ace) and “I, Tonya” (edited by Tatiana S. Riegel, Ace) won Best Edited Feature Film (Dramatic) and Best Edited Feature Film (Comedy) respectively at the 68thAnnual Ace Eddie Awards Friday where trophies were handed out recognizing the best editing of 2017 in ten categories of film, television and documentaries.
“Coco” (edited by Steve Bloom) won Best Edited Animated Feature Film and “Jane” (edited by Joe Beshenkovsky, Ace, Will Znidaric and Brett Morgen) won Best Edited Documentary (Feature).
Television winners included “Black-ish — Lemons” (edited by John Peter Bernardo and Jamie Pedroza) for Best Edited Comedy Series for Commercial Television, “Curb Your Enthusiasm — The Shucker” (edited by Jonathan Corn, Ace) for Best Edited Comedy Series for Non-Commercial Television, “Fargo — Who Rules The Land of Denial” (edited by Andrew Seklir, Ace) for Best Edited Drama Series for Commercial Television,...
- 1/28/2018
- by Michelle Hannett
- WeAreMovieGeeks.com
Coco, Jane prevail in animation, doc categories.
Dunkirk’s Lee Smith and I, Tonya’s Tatiana S. Riegel earned the two top awards for drama and comedy at the 68th Annual Ace Eddie Awards on Friday night (January 26).
The editors’ guild handed out 10 prizes honouring the best work in 2017 in film, television and documentaries at the 2018 ceremony in Beverly Hills.
Coco edited by Steve Bloom won Best Edited Animated Feature Film and Jane – excluded in the Oscar nominations last week – edited by Joe Beshenkovsky, Will Znidaric and director Brett Morgen won Best Edited Documentary (Feature).
Television winners included Black-ish – Lemons (edited by John Peter Bernardo and Jamie Pedroza) for Best Edited Comedy Series for Commercial Television, and Curb Your Enthusiasm – The Shucker (edited by Jonathan Corn) for Best Edited Comedy Series for Non-Commercial Television.
Fargo – Who Rules The Land Of Denial (edited by Andrew Seklir) was named Best Edited Drama Series for Commercial Television while, The Handmaid’s Tale...
Dunkirk’s Lee Smith and I, Tonya’s Tatiana S. Riegel earned the two top awards for drama and comedy at the 68th Annual Ace Eddie Awards on Friday night (January 26).
The editors’ guild handed out 10 prizes honouring the best work in 2017 in film, television and documentaries at the 2018 ceremony in Beverly Hills.
Coco edited by Steve Bloom won Best Edited Animated Feature Film and Jane – excluded in the Oscar nominations last week – edited by Joe Beshenkovsky, Will Znidaric and director Brett Morgen won Best Edited Documentary (Feature).
Television winners included Black-ish – Lemons (edited by John Peter Bernardo and Jamie Pedroza) for Best Edited Comedy Series for Commercial Television, and Curb Your Enthusiasm – The Shucker (edited by Jonathan Corn) for Best Edited Comedy Series for Non-Commercial Television.
Fargo – Who Rules The Land Of Denial (edited by Andrew Seklir) was named Best Edited Drama Series for Commercial Television while, The Handmaid’s Tale...
- 1/27/2018
- by Jeremy Kay
- ScreenDaily
“Dunkirk,” Christopher Nolan’s trippy, clock-ticking experiment in pure cinema, “I, Tonya,” the black comedy about notorious figure skater Tonya Harding (Oscar nominee Margo Robbie), and “Coco,” Pixar’s ode to Día de los Muertos, took top editing honors in drama, comedy, and animation respectively at the 68th Ace Eddie Awards Friday at the Beverly Hilton.
Ace is a great Oscar predictor for editing (23 out of the last 27 years ), which now makes “Dunkirk” the favorite for editor Lee Smith. It beat Guillermo del Toro’s “The Shape of Water,” the Best Picture Oscar frontrunner, edited by Sidney Wolinsky. And, surprisingly, for comedy, “I Tonya” (Tatiana Riegel) triumphed over “Baby Driver” (Jonathan Amos & Paul Machliss) and “Three Billboards Outside Ebbing, Missouri” (Jon Gregory). These are the five Oscar nominees for Best Film Editing. However, as a Best Picture predictor, Ace hasn’t fared as well, picking the winner 16 out of the last 27 years.
Ace is a great Oscar predictor for editing (23 out of the last 27 years ), which now makes “Dunkirk” the favorite for editor Lee Smith. It beat Guillermo del Toro’s “The Shape of Water,” the Best Picture Oscar frontrunner, edited by Sidney Wolinsky. And, surprisingly, for comedy, “I Tonya” (Tatiana Riegel) triumphed over “Baby Driver” (Jonathan Amos & Paul Machliss) and “Three Billboards Outside Ebbing, Missouri” (Jon Gregory). These are the five Oscar nominees for Best Film Editing. However, as a Best Picture predictor, Ace hasn’t fared as well, picking the winner 16 out of the last 27 years.
- 1/27/2018
- by Bill Desowitz
- Indiewire
Best Edited Feature Film/Dramatic: “Dunkirk” Lee Smith, Ace Best Edited Feature Comedy I, Tonya Tatiana S. Riegel, Ace Animated Feature – Coco, Steve Bloom, Ace Best Edited Documentary, Feature. Joe Beshenkovsky,...
- 1/27/2018
- by Sasha Stone
- AwardsDaily.com
The American Cinema Editors handed out the Eddie Awards on Friday (Jan. 26). Oscar watchers were in attendance for the ceremony at the Beverly Hilton as they are keenly aware that Ace is aces as one of the best indicators of which film takes home the Best Picture Oscar
Since 1990, the film that came up with an Ace went on to win the top prize at the Academy Awards 17 times. And in seven of the 10 years when the Ace barometer was wrong, the Eddie champ was at least a contender for Best Picture, including last year when both the drama winner (“Arrival”) and the comedy/musical champ (“La La Land”) were among the eight Best Picture nominees that lost the top Oscar to “Moonlight.”
Refresh this page for the most up-to-date results
See 2018 Oscar nominations: Full list of Academy Awards nominees in all 24 categories
Six of this year’s nine Oscar nominees for Best Picture — “Dunkirk,...
Since 1990, the film that came up with an Ace went on to win the top prize at the Academy Awards 17 times. And in seven of the 10 years when the Ace barometer was wrong, the Eddie champ was at least a contender for Best Picture, including last year when both the drama winner (“Arrival”) and the comedy/musical champ (“La La Land”) were among the eight Best Picture nominees that lost the top Oscar to “Moonlight.”
Refresh this page for the most up-to-date results
See 2018 Oscar nominations: Full list of Academy Awards nominees in all 24 categories
Six of this year’s nine Oscar nominees for Best Picture — “Dunkirk,...
- 1/27/2018
- by Zach Laws
- Gold Derby
This morning, the American Cinema Editors announced their nominees for 68th annual Ace Eddie Awards. This is one of the most important guilds to take notice of, due to how Best Film Editing at the Academy Awards can often link up to Best Picture. It’s not a perfect correlation, but when looking for hints as to what voters might do, anything helps. Here, they’ve nominated almost all of the likely Best Picture nominees, so that’s a help. In fact, outside of Baby Driver and Molly’s Game, I’d say the other eight contenders here are among the favorites to make the big lineup. Time will tell, of course, but Ace is working from a list of frontrunners this year, that’s for sure. Below you can see the nominees for the Ace Eddie. Last year, the big winners were Arrival and La La Land, though Hacksaw Ridge...
- 1/3/2018
- by Joey Magidson
- Hollywoodnews.com
The American Cinema Editors (Ace) have announced nominations for the 68th Annual Ace Eddie Awards. The ceremony recognizes outstanding editing in 10 film, television, and documentary categories. Nominated for best edited feature film this year are “Dunkirk” and “Blade Runner 2049” in the dramatic category and “Baby Driver” and “Get Out” in the comedy category.
Read More:2018 Oscar Predictions: Best Editing
Emmy winners such as “Veep,” “Big Little Lies,” and “The Handmaid’s Tale” will also compete for Ace prizes this year. “Fargo,” “Better Call Saul,” and “Curb Your Enthusiasm” all have multiple Ace television nominees.
Winners will be revealed on January 26. Check out the full nominations list below.
Best Edited Feature Film (Dramatic)
“Blade Runner 2049,” Joe Walker
“Dunkirk,” Lee Smith
“Molly’s Game,” Alan Baumgarten, Josh Schaeffer & Elliot Graham
“The Post,” Michael Kahn & Sarah Broshar
“The Shape of Water.” Sidney Wolinsky
Best Edited Feature Film (Comedy)
“Baby Driver,” Jonathan Amos & Paul Machliss
“Get Out,...
Read More:2018 Oscar Predictions: Best Editing
Emmy winners such as “Veep,” “Big Little Lies,” and “The Handmaid’s Tale” will also compete for Ace prizes this year. “Fargo,” “Better Call Saul,” and “Curb Your Enthusiasm” all have multiple Ace television nominees.
Winners will be revealed on January 26. Check out the full nominations list below.
Best Edited Feature Film (Dramatic)
“Blade Runner 2049,” Joe Walker
“Dunkirk,” Lee Smith
“Molly’s Game,” Alan Baumgarten, Josh Schaeffer & Elliot Graham
“The Post,” Michael Kahn & Sarah Broshar
“The Shape of Water.” Sidney Wolinsky
Best Edited Feature Film (Comedy)
“Baby Driver,” Jonathan Amos & Paul Machliss
“Get Out,...
- 1/3/2018
- by Zack Sharf
- Indiewire
There was more than enough narrative complexity for editors to tackle in Emmy contenders “The Crown,” “American Gods,” “This Is Us,” “Fargo,” and “Five Came Back.” But through skill and finesse, they helped make these shows compelling and relevant by cutting through the multiple strands of history, mythology, melodrama, and black comedy.
“The Crown” focused on the public and private personas of Queen Elizabeth II (Claire Foy) in post-war England; “American Gods” explored how Old and New Gods fight for attention in modern society; “This Is Us” chose a non-linear structure to show the influence of the past on millennial siblings; “Fargo” dealt with twin brothers (Ewan McGregor) in a third season of absurd crime shenanigans; and “Five Came Back” revealed how the World War II propaganda campaign changed the lives of directors Frank Capra, John Ford, John Huston, George Stevens, and William Wyler.
“The Crown”
In “Hyde Park Corner,...
“The Crown” focused on the public and private personas of Queen Elizabeth II (Claire Foy) in post-war England; “American Gods” explored how Old and New Gods fight for attention in modern society; “This Is Us” chose a non-linear structure to show the influence of the past on millennial siblings; “Fargo” dealt with twin brothers (Ewan McGregor) in a third season of absurd crime shenanigans; and “Five Came Back” revealed how the World War II propaganda campaign changed the lives of directors Frank Capra, John Ford, John Huston, George Stevens, and William Wyler.
“The Crown”
In “Hyde Park Corner,...
- 6/16/2017
- by Bill Desowitz
- Indiewire
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