Demi Moore with her Golden Globe for best actress in a comedy, on January 5 at the Beverly Hilton hotel in Beverly Hills, California.RICH POLK (GETTY IMAGES)

The 2025 Golden Globes: A golden night for ‘Emilia Pérez,’ ‘The Brutalist’ and ‘Shogun’

Jacques Audiard’s narco-musical won four awards. ‘Hacks’ and ‘Baby Reindeer’ were also big winners of a glamorous night that kicked off the awards season

MARÍA PORCEL

Beverly Hills - JAN 06, 2025 - 04:25 COT

Under the hot California sun and with heavy police protection, the 82nd Annual Golden Globes award ceremony was held on the evening of January 5. The Beverly Hilton hotel rolled out its red carpet for the more than 1,300 guests at the dinner event and party where the first major awards of the season are given out each year. But this time, unlike other years, the award winners were less obvious, especially those in film categories, which gave added excitement to the gala. The prizes were widely distributed between series and films: four went to Emilia Pérez, including the best comedy or musical category, and three to The Brutalist,including for best drama. As for series, Shogun won four, Hacks won two and Baby Reindeer won another two, repeating the Emmy scheme.

John Patterson / Welcome back, Sissy Spacek

Welcome back, Sissy

By John Patterson John Patterson is thankful to still get a glimpse of Sissy Spacek - the artist formerly known as Rainbo

Saturday 30 October 2004

T

he good name of the great state of Texas may currently be mud among 50% of Americans, but in truth, Texas isn't just the home of Halliburton KBR, Enron and a fast-track death-penalty process. Lots of cool things have come out of the Lone Star state: Jewish country singer and comic mystery novelist Kinky Friedman, Bob Wills and his Texas Playboys, the Dallas Cowboys' Cheerleaders, T-Bone Walker, Patricia Highsmith, Tommy Lee Jones, Woody Harrelson - and Sissy Spacek.

Colin Farrell / Sissy Spacek / A Home at the End of the World

A Home at the End of the World (2004)

Cynthia Fuchs

21 Jul 2004

A HOME AT THE END OF THE WORLD

Director: Michael Mayer
Cast: Colin Farrell, Robin Wright Penn, Sissy Spacek, Dallas Roberts
MPAA rating: R
Studio: Warner Independent Pictures
FIRST DATE: 2004
US RELEASE DATE: 2004-07-23 (LIMITED RELEASE)

In Cleveland, 1967, cute-as-can-be Bobby Morrow (Andrew Chalmers as a nine-year-old) comes to self-consciousness with the help of his brother Carlton (Ryan Donowho). Or maybe more precisely, he comes to realize the world is a wildly beautiful and unpredictable place. Here he as likely to view his first sex scene (via Carlton's unlocked door: "It's just love, man, it's nothing to fear") as to have his mind expanded (via Carlton's LSD) or his heart broken (via an unexpected and quite brutal death). Wide-eyed and apparently cherubic (his favorite grave marker in the local cemetery is the angel), the child absorbs his lessons serenely, a proverbial blank screen onto which you're invited to project your own desires.

Unfortunately, Bobby's vagueness tends to be more tiresome than inspiring. This despite the fact that, after a few scenes as a 15-year-old (played by Erik Smith), he grows up to be Colin Farrell, whose full frontal has already-famously been cut from the finished film ("Too distracting" is the filmmakers' reported rationale). And, aside from this bit of promotional detail, A Home at the End of the World, written by Michael (The Hours) Cunningham from his novel, is doesn't have so much to frame its central character. The movie doesn't quite translate the book's lyrical internal monologues to embodied characters. Bobby's naïveté grants him a blithe ignorance of anything outside his narrow existence, everyone around him admires, resents, adores, resent and lusts after him, usually all at once. As complicated and intriguing as such a range of responses might sound, A Home at the End of the World, directed by Michael Mayer, doesn't provide much in the way of motivation for any of them. Why do all Bobby's acquaintances (okay, three characters) fall all over themselves to be in love with him?

Posters / Winter's Tale

Posters

Winter's Tale

The 50 best films of 2018 in the UK: No 8 – Widows

Steve McQueen’s heist drama is starry, sleek and majestically composed, with an emotional depth that sets it apart

Catherine Shoard

Wednesday 12 December 2018

S

teve McQueen’s previous film, 12 Years a Slave, won the best picture Oscar (plus supporting actress and adapted screenplay), the best picture Bafta (plus best actor), the Golden Globe for best drama and innumerable other prizes, including, perhaps most significantly, best director at the inaugural (and final) Guardian film awards.

It performed surprisingly well at the box office, too, taking $56m in the US despite scenes of a wildly upsetting nature, and changing the ambition, scope and effect of cinema for ever. (McQueen was, amazingly the first black director whose film won the top gong.) It also – not a little thing, this – affected many generations’ perception of the reality of slavery and its legacy for modern-day race relations.

Last week, McQueen’s follow-up failed to bag even a single Golden Globe nomination. It has also underperformed at the box office, so far taking less worldwide than Slave made in the States alone.

Why? On paper at least, Widows is an eminently commercial prospect: a whopping glossy thriller, with big stars (Viola Davis, Michelle Rodriguez, Liam Neeson, Colin Farrell), dazzling explosions, babes in vests firing off rounds of ammo and some flashy villainous business from Get Out’s Daniel Kaluuya.

It has a top – and topical – plot about a bunch of inexperienced women planning a big-bucks heist in Chicago to get heavies off their back, the genius of their plan being that their gender renders them all but invisible.

But for something so apparently mainstream it is also leftfield. I’m not sure what I was expecting Britain’s most talented director to do next, but it probably wasn’t to update a Lynda La Plante ITV big-hair mini-series from the mid 80s. It’s less audacious and ambitious than McQueen’s predecessor; essentially, it’s a genre piece, albeit one with the sort of sleekness and style you’d associate with a winner of the Turner prize.

What makes it great is its sombreness. This is a film that, despite some lighter touches, is steeped in fatalism and even grief. It’s reluctant to offer the kind of catharsis most action flicks indulge in – or even that audiences were permitted in the final scenes of Slave. It is majestically composed and spare; as much a meditation on the mourning process as a sisters-are-doin’-it-for-themselves slamdunk.

This is also, perhaps, what means it has proved resistible for audiences eager for either a sugar-rush brain-twister or a meaty piece of arthouse. It’s a pity: Widows is wonderful. Yes, it’s not McQueen’s best. But few films ever could be.

THE GUARDIAN