Sunday, March 26, 2023

THE 48TH IRA FILM AWARDS: ENJOYING "GREAT FREEDOM" (WHILE IT LASTS)

THE 48TH IRA FILM AWARDS: ENJOYING "GREAT FREEDOM" (WHILE IT LASTS)  

Date: March 25, 2023 

Location: New York City and far-flung locales via Zoom


The IRAs are a mysterious but august film society launched in 1976 when it proudly named Stanley Kubrick's Barry Lyndon the best film of 1975. Officially known as the New York Independent Film Critics Awards -- but lovingly nicknamed the IRAs -- it is more international and indie focused than the Oscars, more mercurial than the LA Film Critics and even more loyal to their favorites than the Golden Globes. The IRAs are proud to announce its picks for the best movies released commercially on any platform since the last IRAs in March of 2022.


Without further ado, the IRA goes to... 







Best Picture: Great Freedom 

           Runner-up: Petite Maman 


Best Director: Sebastian Miese for Great Freedom 

            Runner-up: Céline Sciamma for Petite Maman


Best Actors:  Franz Rogowski for Great Freedom 
                            
                            Aubrey Plaza for Emily The Criminal 

             Runner-up: Colin Farrell for After Yang and The Banshees Of Inisherin 


Best Supporting Actors: Hong Chau for The Menu and The Whale

                                                     Barry Keoghan for The Banshees Of Inisherin

            Runner-up: Dolly De Leon for Triangle Of Sadness


Best Nonfiction Film: The Fire Within: A Requiem For Katia and Maurice Krafft  

            Runner-up: The Territory 


Best Screenplay: Thomas Reider & Sebastian Miese for Great Freedom  

            Runner-up: John Patton Ford for Emily The Criminal


Best Cinematography: Hoyte Van Hotema for Nope  

            Runner-up: Katia and Maurice Krafft for Fire of Love and The Fire Within: A Requiem For Katia and Maurice Krafft 

Best Production Design: Michael Randel for Great Freedom    

            Runner-up: Alexandra Schaller for After Yang 


Best Score/Use Of Music: ASKA aka Aska Matsumiya  for After Yang  

            Runner-up: Hildur Guðnadóttir for Tár and Women Talking


Best Editing: Blair McClendon for Aftersun 

            Runner-up: Joe Murphy for Barbarian 

Best Costumes: Shirley Kurata  for Everything Everywhere All At Once 

            Runner-up: Arjun Bhasin for After Yang (tie) 

                                      Jenny Beavan for Mrs. Harris Goes To Paris (tie) 


Sominex Award (The Movie That Put Us To Sleep): All Quiet On The Western Front 

            Runner-up: Avatar: The Way Of Water (tie) 

                                      The Fabelmans (tie) 


Dramamine Award (The Movie That Made Us Sick): Tár 

            Runner-up: Triangle Of Sadness


Mechanical Actors: Tom Hanks for Elvis, A Man Called Otto and Pinocchio 

                                          Sadie Sink for The Whale

            Runner-up: Tom Cruise for Top Gun: Maverick


This year, the 48th Annual IRA Awards took place on March 25, 2023. Films are eligible based on our newly established standards. Any film that is widely available roughly since our last ceremony qualifies for an IRA. This includes any film you can see in any way: a streamer, a digital download, a rental, a BluRay, a drive-in or -- our favorite option -- an indoor movie theater. Festival play does not qualify on its own. 

And now a blow-by-blow description of the night, in order of voting. We begin, as always, with the category of Best Costumes. Instead of our traditional first vote led by the titular Ira (whose presence was greatly missed), we began with M. George reading the ballot of the absent Adam -- who was busy hobnobbing with Ethan Hawke -- and then Greg and so on.  The IRA goes to...


BEST COSTUME

1. Shirley Kurata  for Everything Everywhere All At Once -- 16 pts. out of a possible 50 pts.

2. Jenny Beavan for Mrs. Harris Goes To Paris (tie) -- 14 pts. 
    Arjun Bhasin for After Yang (tie) -- 14 pts. 
4. Jessica Ray Harrison for Down With The King -- 12 pts. 
5. Tanja Hausner and Andrea Hölzl for Great Freedom -- 11 pts. 
    

POINT OF ORDER: This year, about ten ballots were in play throughout the night for most categories. With a top score for each nominee of 5 pts, the maximum any one nominee could achieve in any category was 50 pts. when everyone was voting. Voting begins with each member naming their top pick. If a majority of the ballots name the same winner, this triumph is acknowledged as a win "by acclamation." However a winner is chosen (by acclamation or by a complete tally), this is followed by the automatic vote to rescind.

The Vote To Rescind is offered after every single category. Why? Once the totals are in, members may feel the actual winner doesn't reflect the best choice. Or perhaps they prefer the runner-up. After the winner is announced, members are asked to consider a Vote To Rescind. If a majority of the members actively voting support it, the winner is rescinded and the runner-up is made the official champion. The winner is then named the runner-up. The Vote To Rescind is seen by some as a last minute stop-gap to avoid a bland consensus pick. It is vehemently opposed by Andy, who registers his displeasure over this rule with the dependable consistency of Old Faithful.  

Oscar winner Everything Everywhere All At Once triumphs at the IRAs right off the bat. At the Academy Awards, it lost Best Costumes to Black Panther: Wakanda Forever. At the IRAs, it beat back close competition from Mrs. Harris Goes To Paris and After Yang (a film that will factor prominently throughout the night). The IRAs and the Oscars rarely overlap: only twice in the 48 year history of the IRAs have both named the same film as the Best Picture of the year.  1977's Annie Hall and 2016's Moonlight each won the top prize from both AMPAS and the IRAs. While the IRAs certainly lean more indie and international, even the Oscar winner for Best International/Foreign Film has never won the top IRA for Best Picture. 

In fact, the IRAs overlap very little with any other awards group. The films it honors are acclaimed, well reviewed all over the world and appear on many "best of the year" lists. And yet, its top honor often goes to a film overlooked by the others. Eclectic, thy name is IRA. And that's a great reason to check out our winners. 

 BEST EDITING


1. Blair McClendon for Aftersun -- 16 pts. 

2. Joe Murphy for Barbarian -- 13 pts.
3. Eddie Hamilton for Top Gun: Maverick -- 12pts.
4. Paul Rogers for Everything Everywhere All At Once  -- 11 pts. 
5. Géraldine Mangenot for Happening  -- 10 pts. 


NOTE: When editing was added to the list of categories that the IRAs vote on, some concern arose it might be dominated by nonfiction films. Not so! This year, no documentary made the shortlist. Aftersun is the winner, stoking Michael's hopes for both it and Happening to go the distance.   

 BEST SCORE/USE OF MUSIC


1. ASKA aka Aska Matsumiya  for After Yang -- 18 pts. 
2. Hildur Guðnadóttir for Tár and Women Talking -- 15 pts.
3. Carter Burwell for The Banshees Of Inisherin -- 14 pts.
4. Alexandre Desplat for Guillermo Del Toro's Pinocchio -- 12 pts. 
5. Jung Jae-Il for Broker -- 10 pts. 


NOTE: The first win for After Yang, a movie touted by Alex that gained momentum in the final days before voting -- and then some! -- thanks to a last-minute wave of viewing by other members. It's never been easier for IRA voters to watch most of the films people are raving about in our group. In the old day, that might have meant trading BluRays by mail or making a quick trip into a major city when a movie played in theaters (or re-opened briefly). Nowadays many films are available at the click of a button (and for less money). Yes, we'd prefer to see every film in a movie theater with an audience. But that's not the choice: it's online or not at all and so we'll gladly take online. Certainly everyone had plenty of time to catch The Banshees Of Inisherin, which ran and ran in movie theaters for months on end, a rare treat these days. For a movie that wouldn't prove a factor in Best Picture or Director, it did very well indeed in multiple categories. 


BEST PRODUCTION DESIGN

1. Michael Randel for Great Freedom -- 20 pts. 
2. Alexandra Schaller for After Yang -- 19 pts.
3. Ruth De Jong for Nope -- 13 pts.   
4. Mark Tildesley for The Banshees Of Inisherin and Empire Of Light -- 12 pts.
5. Rossitsa Bakeva for Barbarian -- 10 pts. 


NOTE: Great Freedom consistently ranked as one of the most popular films in regular polling during the year at the IRAs. (A new feature to keep members apprised of what movies we've seen and loved, this polling proved very popular. Humble brag!)  And here it snags its first IRA. Sometimes, tech awards like Production Design go to films with flashy work that otherwise don't factor in the big awards. "That space station was amazing!" or "Man, I'd love to have a villa on the South Of France" might prompt someone to vote for a film like Downton Abbey: A New Era even though the film itself wasn't very good.  Not this year. We honored the decades-spanning work of Michael Randel, who captured life in and out of prison for a gay man in Germany from World War II to the falling of the Berlin Wall with admirable specificity. The subtle near-future vibe of After Yang (dig the plants found inside their car/taxi/self-driving vehicle) was also highly admired, along with Nope (though as Greg wondered, is a camera in the bottom of a well even a thing?) and the rest. Newcomer Robert made his presence felt early on by rallying support for the Airbnb-gone-bad flick Barbarian. While the IRAs embrace genre pics ahead of noble, well-intentioned middlebrow fare, horror is not exactly a strength of the group. Robert would prove successful, enshrining Barbarian on the IRA honor list for the year. 


BEST CINEMATOGRAPHY

1. Hoyte Van Hotema for Nope -- 20 pts. 
2. Katia and Maurice Krafft for Fire of Love and The Fire Within: A Requiem For Katia and Maurice Krafft  -- 19 pts.
3. Roger Deakins for Empire Of Light -- 13 pts.
4. Benjamin Loeb for After Yang (tie)-- 12 pts.
    Claire Mathon for Petite Maman (tie) -- 12 pts. 


NOTE: Sometimes at the IRAs, you'r3e rooting against a film yuo really don't want to win the top prize just as much as you're rooting for a personal favorite. That was the case with Michael and Nope. He lived in fear that a film Michael just didn't get the fuss over (it was better than Us but not as good as Get Out, which was over-rated anyway) might triumph. He isn't vehemently opposed to Nope; if anything, it makes him shrug. But with Aftersun and After Yang and Great Freedom and Happening among his favorites and seemingly contenders for the top IRA Award, he'd rather say nope to Nope. And here it wins cinematography! Van Hotema is a talent, but Michael did not see that one coming. Production Design? Ok. Screenplay? Sure. Acting? Quite possibly. And of course Picture and Director. But Best Cinematography? That indicates a scary level of support, something more frightening than even whatever is hiding up in the clouds. But the second choice is inspired: two documentaries about the married scientists who died after a lifetime of studying and filming and photographing volcanoes. Both made extensive usage of their work and it was gorgeous, stunning, as George said simply some of the most beautiful images he'd ever seen on film. It's also a very IRA pick: unexpected, clever and spot-on. Now Alex is the king of supporting the Vote To Rescind, but he's also a big fan of Nope, so surely he won't -- wait! Yes, he IS supporting the Vote To Rescind! Michael eagerly chimes in. "What a cool win that would be!" And...nothing. Nope triumphs. Uh-oh. 


BEST SCREENPLAY

1. Thomas Reider & Sebastian Miese for Great Freedom  -- 27 pts. 
2. John Patton Ford for Emily The Criminal -- 19 pts.
3. James Gray for Armageddon Time-- 12 pts.
4. Céline Sciamma for Petite Maman -- 9 pts.
5. Kore-eda Hirokazu for Broker (tie) -- 8 pts. 
    Martin McDonagh for The Banshees Of Inisherin (tie) -- 8 pts.


NOTE: Here's where Great Freedom began to flex its muscles. Its 27 points for Best Screenplay was tied for the second-highest total of the night, adjusted for inflation (more on that later).  Only one other category winner racked up more points -- and that went to Great Freedom as well. Three more films established themselves as players: the widely admired Emily The Criminal, the Korean film Broker (a good double bill with the Belgian film L'Enfant, IRA winner for Best Picture in 2006) and Armageddon Time, quietly supported by the Merchant-Ivory contingent of the IRAs that appreciates solid, classic filmmaking. Insults were quickly lobbed and just as quickly returned. 


BEST NONFICTION FILM 

1. The Fire Within: A Requiem For Katia and Maurice Krafft  -- 14 pts. 
2. The Territory (tie) -- 12 pts. 
     The U.S. And The Holocaust (tie) -- 12 pts. 
4. Mr. Bachman And His Class (tie) -- 10 pts.
    Three Minutes: A Lengthening (tie) -- 10 pts. 


NOTE: The Best Nonfiction Film is a fairly recent add to the IRAs and not without controversy (of course), since creating a category like this almost ensures a nonfiction film won't win the much-desired top prize for Best Film ever again.  (Eyes On The Prize won for 1986 and Decasia won for 2003.) That's a pity since so many great documentaries are being released now. That's why The Fire Within: A Requiem For Katia and Maurice Krafft won with just 14 points and the category included two ties. The appreciation for documentaries is wide and deep. 


FOOD BREAK

Pizza!  


BEST SUPPORTING ACTORS

1. Hong Chau for The Menu and The Whale -- 54 pts. out of a possible 100 pts.

    Barry Keoghan for The Banshees Of Inisherin -- 39 pts. out of a possible 100 pts.

3. Dolly De Leon for Triangle Of Sadness -- 28 pts.
4. Theo Rossi for Emily The Criminal -- 26 pts.
5. Kerry Condon for The Banshees Of Inisherin --17 pts.
6. Ke Huy Quan for Everything Everywhere All At Once -- 16 pts. 
7. Anna Mouglalis for Happening -- 15 pts. 
8. Brendan Gleeson for The Banshees Of Inisherin -- 14 pts. 
9. Brian Tyree Henry for Causeway (tie) -- 13 pts. 
     Judith Ivey for Women Talking (tie) -- 13 pts. 
     Gabrielle Sanz for Petite Maman (tie) -- 13 pts.  

NOTE: This category marks a major change for the IRAs. A modest proposal that we treat the acting categories like every other category and not break it down by gender/body parts/how a person identifies themselves created a firestorm of controversy. We don't include a category for "female production designers" or "people of color screenplays" or "queer cinematographers," so why do that for acting? This follows in the footsteps of other awards groups and was intended as more practical than progressive, given the increase in nonbinary actors and so on. Nonetheless, it opened a can of worms -- the smaller the stakes the greater the passions, after all. Will female actors become invisible? Won't we be honoring fewer people? What happens with the vote to rescind? All valid points and all discussed at length, at least by Michael (who types very fast). Here is the result. 

We've added an official runner-up to every category. We've ended gendered acting categories so they reflect our approach to every other area of filmmaking. Voters may nominate up to ten people for Best Actor and Best Supporting Actor, rather than five. We will declare TWO winners -- they might be two women, two men, or RuPaul and Asia Kate Dillon or any other combination thereof. We'll celebrate the best, honor their talent, worry about how to properly spell their name and not worry about the politics of it all. 

Hong Chau and Barry Keoghan are honored here, a man and a woman, as it happens. Chau was arguably the best thing in two movies that had their fans and detractors. Chau's 54 points out of a possible 100 is equal to Great Freedom's Best Screenplay win with 27 points. Keoghan was the tip of the spear for Banshees, which saw all three of its secondary actors included here: Keoghan, Kerry Condon and Brendan Gleeson. This bodes well for fans of Colin Farrell and his chances as Best Actor. Not to mention Banshees for Best Director and Best Picture. 

One definite plus with the new voting system? We get to highlight eleven great performances. 

                                            
BEST ACTORS

1. Franz Rogowski for Great Freedom -- 62 pts. out of a possible 100 pts.
                            
    Aubrey Plaza for Emily The Criminal -- 42 pts. out of a possible 100 pts.

3. Colin Farrell for After Yang and The Banshees Of Inisherin -- 37 pts. 
4. Anamaria Vartolomei for Happening  -- 36 pts.
5. Frankie Corio for Aftersun -- 28 pts.
6. Maya Vanderbeque for Playground -- 23 pts.
7.  Mia Goth for Pearl, X -- 20 pts. 
8. Paul Mescal for Aftersun -- 18 pts. 
9. Josephine Sanz for Petite Maman -- 15 pts. 
10. Ralph Fiennes for The Menu (tie) -- 14 pts. 
      Brendan Fraser for The Whale (tie) -- 14 pts. 


NOTE: Again, our two Best Actors are a man and a woman. In both categories, the nominees split almost evenly between men and women. That won't happen every year, but at least this first time we didn't experience a worst-case scenario. And again, we get to highlight eleven great performances.  

That distracts from the big news: Franz Rogowski won Best Actor with a massive 62 points (31 p-points when comparing to most other categories). That's the biggest win of the night and showed the German film had three IRAs and was the front runner for Best Picture and Director. But here comes Emily The Criminal! Star Aubrey Plaza was a strong second for her turn in the much admired crime flick. Plus, it scored a second place finish in Best Screenplay. The only problem? Both times, it was beaten by Great Freedom. 

As expected, Colin Farrell was a favorite for his turn in Banshees and After Yang. Would he carry two films into the Top 5 IRA movies of the year list? Or which one would be the favorite? Don't ask Yang; he'd just turn the question back on you and ask what you think the favorite will be. Michael's hopes for Happening peaked here with the lead's solid placement on the list, though he kept hope alive. His hopes for the widely admired Apples -- which barely made a peep the entire night -- ended long ago. 

Worth noting are the four child performances in the two acting categories. Heck, Aftersun star Frankie Corio even placed higher than her Oscar-nominated costar Paul Mescal. She was that good. And isn't it interesting that the two child actors of IRA favorite Céline Sciamma's Petite Maman made the list? 


BEST DIRECTOR

1. 
Sebastian Miese for Great Freedom  -- 22 pts. 
2. Céline Sciamma for Petite Maman -- 20 pts.
3. Kogonada for After Yang -- 12 pts.
4. Audrey Diwan for Happening -- 10 pts. 
5. Jordan Peele for Nope -- 9 pts.

NOTE: Unlike the Oscars, you get to see the level of support for a film all evening long. We've reached Best Director and the votes make clear its down to two films. Great freedom and Petite Maman duked it out with Great Freedom eking out a win by two points. The three other films were way back, reflecting a lot of good movies and strong support for the two on top. Last year, we saw a similar battle between Drive My Car and A Hero. Car steered its way to Best Director...and then A Hero flipped the script and stole Best Picture right from under Drive My Car's nose. Will Petite Maman get larcenous tonight? 


BEST PICTURE

1.
 Great Freedom -- 24 pts. 
2. Petite Maman -- 20 pts.
3. After Yang -- 16 pts.
4. Barbarian -- 11 pts.
5. Happening -- 10 pts.

Nope! Great Freedom was strong all  night long, winning Best Production Design, Best Screenplay, and dominating in Best Actor. So it's no surprise that one of the best films of the year, a movie passionately loved by many and admired by the rest (no one said a word against it) would also win Best Director and the top prize Best Picture. It's five IRAs make Great Freedom one of the most laureled IRA winners in history. But with nine films winning or sharing a top prize in the nine categories, it certainly didn't feel like a boring sweep or a fait accompli. 


FOOD BREAK 

Cake!  






 
SOMINEX (The movie that put us to sleep)


1. All Quiet On The Western Front -- 17 pts.
2. Avatar: The Way Of Water (tie) -- 11 pts.
    The Fabelmans (tie) -- 10 pts.
4. Benediction -- 7 pts.
5. Bardo (tie) -- 5 pts.
    The Eternal Daughter (tie) -- 5 pts. 
    Glass Onion: A Knives Out Mystery (tie) -- 5 pts. 
    Pleasure (tie) -- 5 pts. 
    Tár (tie) -- 5 pts. 
    Three Thousand Years Of Longing (tie) -- 5 pts. 
    Top Gun: Maverick (tie) -- 5 pts.
             

DRAMAMINE (The film that made us sick)

1    1. Tár -- 18 pts.
2. Triangle Of Sadness -- 17 pts.
3. The Whale -- 12 pts.
4. Blonde -- 11 pts. 
5. Avatar: The Way Of Water -- 10 pts. 
6. Babylon (tie) -- 5 pts. 
    Don't Worry Darling (tie) -- 5 pts. 
    Fire Island (tie) -- 5 pts. 
    To Leslie (tie) -- 5 pts. 
10. All Quiet On The Western Front (tie) -- 3 pts. 
      Bones And All (tie) -- 3 pts. 
      The Cathedral (tie) -- 3 pts. 
      Elvis (tie) -- 3 pts. 


MECHANICAL ACTOR

1. Tom Hanks for Elvis, A Man Called Otto and Pinocchio -- 32 pts. out of 100 pts.

     Sadie Sink for The Whale -- 28 pts. out of  possible 100 pts. 

3. Tom Cruise for Top Gun: Maverick -- 27 pts.
4. Adam Gopnik for Tár -- 21 pts.
5. Anthony Hopkins for Armageddon Time -- 19 pts.
6. Luma The Cow for Cow -- 17 pts. 
7. Anya Taylor-Joy for The Menu -- 14 pts.  
8. Michelle Williams for The Fabelmans -- 13 pts.  
9. Keke Palmer for Nope -- 12 pts. 
10. Evelyn Claire for Pleasure (tie) -- 10 pts. 
      Marc Maron for To Leslie (tie) -- 10 pts. 


THE 2021-2022 FILMS HONORED BY THE IRAS IN ALPHABETICAL ORDER 

Aftersun 
After Yang 
Armageddon Time 
The Banshees Of Inisherin 
Barbarian 
Broker 
Causeway 
Emily The Criminal 
Empire Of Light 
Everything Everywhere All At Once 
Fire of Love 
The Fire Within: A Requiem For Katia and Maurice Krafft
Great Freedom 
Guillermo Del Toro's Pinocchio 
Happening 
The Menu 
Mr. Bachman And His Class 
Nope 
Pearl
Petite Maman 
Playground 
Tár 
The Territory 
Three Minutes: A Lengthening 
Top Gun: Maverick  
Triangle Of Sadness 
The U.S. And The Holocaust 
The Whale 
Women Talking 
X


WHO OR WHAT ARE THE IRAS? A HISTORY

The IRAs are a mysterious but august film society that has voted on the best films of the year since 1976. Officially known as the New York Independent Film Critics Awards -- but lovingly nicknamed the IRAs -- they are more international and indie focused than the Oscars, more mercurial than the LA Film Critics, more loyal to their favorites than the Golden Globes. 

The IRAs began when passionate film students and friends complained about the parade of annual awards shows, declaring, "We could do better!" What followed was an all-night, knock-down, drag-out fight to establish the very first winners of the IRAs. (One of the members is named Ira, but how his name became the name of the award is a story lost in the mist of time, alcohol and since it was the 1970s perhaps cannabis.) The IRAs group has been profiled in The New Yorker, so it is officially a New York institution, though no one has ever heard of it. Over the years, its rotating cast of voting members have included Oscar-winning writers, major directors, top studio execs, best-selling and critically acclaimed authors of books on movies, critics, screenwriters, budding playwrights, film scholars, plain old movie buffs and so on. 

Every year, the IRAs shine a light on some of the best movies of the year. The secret reason the IRAs flourish is that its members are passionate film lovers. Many have careers involving the arts, but it's not always easy to stay in the swim of things, to keep on top of the flood of new releases every year, especially when the movies favored by IRA members are not always playing at your local multiplex for weeks at a time. The movies they appreciate tend to be harder to catch, playing in theaters only briefly before popping up (hopefully) eventually on some streaming service or DVD. Quite simply, the IRAs force them to stay committed to seeing new movies with the same fervor they felt in their college days when going to see a film was the only purpose in life, before jobs and family made frivolous claims on their time. So if you want to stay on top of great cinema every year or explore its history, there's no better place to start than the award winners of the IRAs. 

True, the IRAs have no more claim to pronounce the best films of the year than anyone else. But they've been doing it for decades so hey, it's tradition! 


PAST IRA WINNERS 



THE COMPLETE IRA MOVIE AWARD WINNERS

1975 IRA Film Award Winners
Best Picture: Barry Lyndon
Best Director: Claude Chabrol for La Rupture and Just Before Nightfall
Best Actor: Jack Nicholson in One Flew Over The Cuckoo’s Nest
Best Actress: Ellen Burstyn in Alice Doesn’t Live Here Anymore
Best Supporting Actor: François Perrier in Just Before Nightfall
Best Supporting Actress: Blythe Danner in Hearts Of The West
Best Screenplay: Tom Stoppard and Thomas Wiseman for The Romantic Englishwoman
Best Cinematography: John Alcott for Barry Lyndon


1976 IRA Film Award Winners
Best Picture: (tie) Lipstick and The Marquise Of O
Best Director: Eric Rohmer for The Marquise Of O
Best Actor: Sean Connery in Robin And Marian
Best Actress: Sissy Spacek in Carrie
Best Supporting Actor: Jason Robards in All The President’s Men
Best Supporting Actress: Anne Bancroft in Lipstick
Best Screenplay: Alain Tanner and John Berger for Jonah Who Will Be 25 In The Year 2000
Best Cinematography: Nestor Almendros for The Marquise Of O


1977 IRA Film Award Winners
Best Picture: Annie Hall
Best Director: Wim Wenders for The American Friend
Best Actor: John Gielgud in Providence
Best Actress: Dianne Keaton in Annie Hall and Looking For Mr. Goodbar
Best Supporting Actor: G. D. Spradlin in One On One
Best Supporting Actress: Vanessa Redgrave in Julia
Best Screenplay: Woody Allen and Marshall Brickman for Annie Hall
Best Cinematography: Robby Müller for The American Friend


1978 IRA Film Award Winners
Best Picture: Days Of Heaven
Best Director: Terence Malick for Days Of Heaven
Best Actor: Jon Voight in Coming Home
Best Actress: Jane Fonda in Coming Home
Best Supporting Actor: Dom DeLuise in The End
Best Supporting Actress: Stephane Audran in Violette
Best Screenplay: Eric Rohmer for Perceval
Best Cinematography: Nestor Almendros for Days Of Heaven


1979 IRA Film Award Winners
Best Picture: Fedora
Best Director: Blake Edwards for 10
Best Actor: Clint Eastwood in Escape From Alcatraz
Best Actress: Hanna Schygulla in The Marriage Of Maria Braun
Best Supporting Actor: Denholm Elliott in Cuba and Saint Jack
Best Supporting Actress: Frances Sternhagen in Fedora and Starting Over
Best Screenplay: Billy Wilder and I. A. L. Diamond for Fedora
Best Cinematography: Tak Fujimoto for Last Embrace and Remember My Name
Best Music: Miklos Rozsa for Fedora and Last Embrace
Best Production Design: Dean Edward Mitzner for 1941


1980 IRA Film Award Winners
Best Picture: The Big Red One
Best Director: Sam Fuller for The Big Red One
Best Actor: Lee Marvin for The Big Red One
Best Actress: Jodie Foster for Carny and Foxes
Best Supporting Actor: (tie) Joe Pesci in Raging Bull and Harry Dean Stanton in The Black Marble, The Long Riders, Private Benjamin and Wise Blood
Best Supporting Actress: Pamela Reed in The Long Riders and Melvin And Howard
Best Screenplay: Sam Fuller for The Big Red One
Best Cinematography: Jordan Cronenweth for Altered States
Best Music: Dana Kaproff for The Big Red One
Best Production Design: Tambi Larsen for Heaven’s Gate


1981 IRA Film Award Winners
Best Picture: Cutter’s Way
Best Director: Ivan Passer for Cutter’s Way
Best Actor: Jeff Bridges in Cutter’s Way
Best Actress: Faye Dunaway in Mommie Dearest
Best Supporting Actor: Jack Nicholson in Reds
Best Supporting Actress: Mona Washbouurne in Stevie
Best Screenplay: John Guare for Atlantic City
Best Cinematography: Jordan Cronenweth for Cutter’s Way
Best Music: Georges DeLerue for The Last Metro, Rich and Famous, True Confessions and The Woman Next Door
Best Production Design: Ken Adam for Pennies From Heaven
Best Costume Design: Shirley Russell for Reds


1982 IRA Film Award Winners
Best Picture: Victor/Victoria
Best Director: Blake Edwards for Victor/Victoria
Best Actor: Jack Lemmon in Missing
Best Actress: (tie) Julie Andrews in Victor/Victoria and Jessica Lange in Frances
Best Supporting Actor: Robert Preston in Victor/Victoria
Best Supporting Actress: Lesley Ann Warren in Victor/Victoria
Best Screenplay: Blake Edwards for Victor/Victoria
Best Cinematography: Xaver Schwartzenberger for Lola and Veronika Voss
Best Music: Henry Mancini and Leslie Bricusse for Victor/Victoria
Best Production Design: Rodger Maus for Victor/Victoria
Best Costume Design: Patricia Norris for Victor/Victoria


1983 IRA Film Award Winners
Best Picture: Berlin Alexanderplatz
Best Director: Andrzej Wajda for Danton
Best Actor: Eric Roberts for Star ’80
Best Actress: Shirley MacLaine for Terms Of Endearment
Best Supporting Actor: Jerry Lewis for The King Of Comedy
Best Supporting Actress: Jamie Lee Curtis for Trading Places
Best Screenplay: Bill Forsyth for Local Hero
Best Cinematography: Sven Nykvist for Star ’80
Best Music: Peer Raben for Berlin Alexanderplatz
Best Production Design: Fernando Scarfiotti for Scarface
Best Costume Design: Yvonne Sassinot DeNestle for Danton
Sominex Award: The Dresser
Dramamine Award: The Big Chill
Mechanical Actor: Matt Dillon for The Outsiders and Rumble Fish 
Mechanical Actress: Nastassja Kinski for The Moon In The Gutter and Exposed


1984 IRA Film Award Winners
Best Picture: (tie) L’Argent and Once Upon A Time In America
Best Director: Sergio Leone for Once Upon A Time In America
Best Actor: Clint Eastwood in Tightrope
Best Actress: Helen Mirren in Cal
Best Supporting Actor: Jean-Luc Godard in First Name: Carmen
Best Supporting Actress: Christine Lahti in Swing Shift
Best Screenplay: Franco Arcalli, Leonardo Benvenuti, Piero De Bernardi, Franco Ferrini, Sergio Leone, Enrico Medioli for Once Upon A Time In America
Best Cinematography: Robby Müller for Paris Texas and Repo Man
Best Music: Ennio Morricone for Once Upon A Time In America
Best Production Design: James Singelis for Once Upon A Time In America
Best Costume Design: Mic Cheminal for Entre Nous
Sominex Award: 
Dramamine Award: 
Mechanical Actor:  
Mechanical Actress: 


1985 IRA Film Award Winners
Best Picture: Prizzi’s Honor
Best Director: Martin Scorsese for After Hours
Best Actor: Jack Nicholson in Prizzi’s Honor
Best Actress: Mia Farrow in The Purple Rose Of Cairo
Best Supporting Actor: William Hickey in Prizzi’s Honor
Best Supporting Actress: Anjelica Huston in Prizzi’s Honor
Best Screenplay: Joseph Minion for After Hours
Best Cinematography: Andrzej Bartkowiak for Prizzi’s Honor
Best Music: Brian Gascoigne and Junior Hamrich for The Emerald Forest
Best Production Design: Jeffrey Townsend for After Hours
Best Costume Design: Ann Roth for The Jagged Edge and Sweet Dreams
Sominex Award: 
Dramamine Award: 
Mechanical Actor:  
Mechanical Actress: 


1986 IRA Film Award Winners
Best Picture: Eyes On The Prize
Best Director: David Lynch for Blue Velvet
Best Actor: (tie) Daniel Day-Lewis in My Beautiful Laundrette and Jeff Goldblum in The Fly
Best Actress: Laura Dern in Smooth Talk
Best Supporting Actor: Steve Buscemi in Parting Glances
Best Supporting Actress: Mary Stuart Masterson in At Close Range
Best Screenplay: Hanif Kureishi for My Beautiful Laundrette
Best Cinematography: Frederick Elmes for Blue Velvet
Best Music: (tie) George Delerue for Platoon and Herbie Hancock for Round Midnight
Best Production Design: Patricia Norris for Blue Velvet
Best Costume Design: Jenny Beaven and John Bright for A Room With A View
Sominex Award: Brighton Beach Memoirs
Dramamine Award: Crocodile Dundee
Mechanical Actor: Jon Cryer for Pretty In Pink 
Mechanical Actress: Meryl Streep for Heartburn


1987 IRA Film Award Winners
Best Picture: Housekeeping
Best Director: Bill Forsyth for Housekeeping
Best Actor: Gary Oldman in Prick Up Your Ears
Best Actress: Christine Lahti in Housekeeping
Best Supporting Actor: John Mahoney in Moonstruck and Tin Men
Best Supporting Actress: Vanessa Redgrave in Prick Up Your Ears
Best Screenplay: Bill Forsyth for Housekeeping
Best Cinematography: Phillippe Rousselot for Hope And Glory
Best Music: David Byrne, Ryuichi Sakamoto and Cong Su for The Last Emperor
Best Production Design: Santo Loquasto for Radio Days
Best Costume Design: Mary-Jane Reyner for Housekeeping
Sominex Award: Dark Eyes
Dramamine Award: Fatal Attraction
Mechanical Actor: Eddie Murphy for Beverly Hills Cop II 
Mechanical Actress: Sean Young for No Way Out and Wall Street


1988 IRA Film Award Winners
Best Picture: Dead Ringers
Best Director: David Cronenberg for Dead Ringers
Best Actor: Jeremy Irons in Dead Ringers
Best Actress: Jodie Foster in The Accused
Best Supporting Actor: Divine in Hairspray
Best Supporting Actress: Claudia Karvan in High Tide
Best Screenplay: Christopher Hampton for Dangerous Liaisons
Best Cinematography: Vittorio Storaro for Tucker: The Man And His Dream
Best Music: George Fenton for Dangerous Liaisons
Best Production Design: Dean Tavoularis for Tucker: The Man And His Dream
Best Costume Design: Van Smith for Hairspray
Sominex Award: Wings Of Desire
Dramamine Award: Mississippi Burning (by acclamation!)
Mechanical Actor: William Hurt for Broadcast News 
Mechanical Actress: Maria Conchita Alonso for Extreme Prejudice and The Running Man


1989 IRA Film Award Winners
Best Picture: Story Of Women
Best Director: Claude Chabrol for Story
Of Women

Best Actor: John Hurt in Scandal
Best Actress: Isabelle Huppert in Story Of Women
Best Supporting Actor: Ethan Hawke in Dad and Dead Poets Society
Best Supporting Actress: Anjelica Huston in Enemies: A Love Story
Best Screenplay: Blake Edwards for Skin Deep
Best Cinematography: Jeff Preiss for Let’s Get Lost
Best Music: Michael Kamen for The Adventures Of Baron Munchausen
Best Production Design: Dante Ferretti for The Adventures Of Baron Munchausen
Best Costume Design: Jane Robinson for Scandal
Sominex Award: Batman
Dramamine Award: Steel Magnolias
Mechanical Actor: Spike Lee for Do The Right Thing 
Mechanical Actress: Roseanne Barr for She-Devil


1990 IRA Film Award Winners
Best Picture: GoodFellas
Best Director: Martin Scorsese for GoodFellas
Best Actor: Michel Blanc in Monsieur Hire
Best Actress: Anjelica Huston in The Grifters
Best Supporting Actor: Joe Pesci in GoodFellas
Best Supporting Actress: Lorraine Bracco in GoodFellas
Best Screenplay: Craig Lucas for Longtime Companion
Best Cinematography: Oliver Stapleton for The Grifters
Best Music: Elmer Bernstein for The Grifters
Best Production Design: Dennis Gassner for The Grifters
Best Costume Design: Richard Bruno for The Grifters
Sominex Award: 
Dramamine Award: 
Mechanical Actor:  
Mechanical Actress: 


1991 IRA Film Award Winners
Best Picture: The Man In The Moon
Best Director: Robert Mulligan for The Man In The Moon
Best Actor: River Phoenix in Dogfight and My Own Private Idaho
Best Actress: Judy Davis in Barton Fink, Impromptu, and Naked Lunch
Best Supporting Actor: Harvey Keitel in Bugsy, Mortal Thoughts, and Thelma (ampersand) Louise
Best Supporting Actress: Juliette Lewis in Cape Fear
Best Screenplay: Michael Tolkin for The Rapture
Best Cinematography: Freddie Francis for Cape Fear and The Man In The Moon
Best Music: Ennio Morricone for Bugsy
Best Production Design: Dennis Gassner for Barton Fink and Bugsy
Best Costume Design: Albert Wolsky for Bugsy
Sominex Award: 
Dramamine Award: 
Mechanical Actor:  
Mechanical Actress: 


1992 IRA Film Award Winners
Best Picture: Raise The Red Lantern
Best Director: Robert Altman for The Player
Best Actor: Tim Robbins in Bob Roberts and The Player
Best Actress: Emma Thompson in Howards End
Best Supporting Actor: Jaye Davidson in The Crying Game
Best Supporting Actress: Judy Davis in Husbands And Wives
Best Screenplay: Michael Tolkin for The Player
Best Cinematography: Zhao Fei and Lun Yang for Raise The Red Lantern
Best Music: Lenny Niehaus for Unforgiven
Best Production Design: Marc Caro for Delicatessen
Best Costume Design: Alexander Julien for The Player
Sominex Award: A Few Good Men
Dramamine Award: Basic Instinct
Mechanical Actor: Michael Douglas in Basic Instinct
Mechanical Actress: ****


1993 IRA Film Award Winners
Best Picture: Six Degrees Of Separation
Best Director: Nancy Savoca for Household Saints
Best Actor: Dennis Quaid in Flesh And Bone
Best Actress: Stockard Channing in Six Degrees Of Separation
Best Supporting Actor: Leonardo DiCaprio in A Boy’s Life and What’s Eating Gilbert Grape?
Best Supporting Actress: Regina Tourney in Like Water For Chocolate
Best Screenplay: Mike Leigh for Naked
Best Cinematography: Michael Balhaus for The Age Of Innocence
Best Music: Elmer Bernstein for The Age Of Innocence and The Cemetery Club
Best Production Design: Dante Ferretti for The Age Of Innocence
Best Costume Design: Gabriella Pescucci for The Age Of Innocence
Sominex Award: Heaven And Earth
Dramamine Award: Falling Down
Mechanical Actor: Richard Gere in Sommersby
Mechanical Actress: Madonna in Body Of Evidence


1994 IRA Film Award Winners
Best Picture: Red
Best Director: Krzyzstof Kieslowski for Red and White
Best Actor: Terence Stamp in Priscilla, Queen of the Desert
Best Actress: Linda Fiorentino in The Last Seduction
Best Supporting Actor: Christian Bale in Little Women
Best Supporting Actress: Kristin Scott Thomas in Four Weddings and a Funeral
Best Screenplay: Steve Baranczek for The Last Seduction
Best Cinematography: Stephen Czapsky for Ed Wood
Best Music: Zbigniew Preissner for Red and White
Best Production Design: Dennis Gastner for The Hudsucker Proxy
Best Costume Design: Lizzie Gardiner and Tim Chappel for Priscilla, Queen of The Desert
Sominex Award: Wyatt Earp


1995 IRA Film Award Winners
Best Picture: Exotica
Best Director: Terry Zwigoff for Crumb
Best Actor: John Travolta in Get Shorty
Best Actress: (A three-way tie) Mia Kershner in Exotica; Alicia Silverstone in Clueless; Nicole Kidman in To Die For
Best Supporting Actor: Tim Roth in Rob Roy
Best Supporting Actress: Mare Winningham in Georgia
Best Screenplay: (tie) Atom Egoyan for Exotica and Buck Henry for To Die For
Best Cinematography: Newton Thomas Sigel for The Usual Suspects
Best Music: John Ottman for The Usual Suspects
Best Production Design: Dante Ferretti for Casino
Best Costumes: Mona May for Clueless
Sominex Award: The Brothers McMullen
Dramamine Award: Braveheart
Mechanical Actor: Dennis Miller in The Net and the cast of The Brothers McMullen
Mechanical Actress: Annette Bening in The American President


1996 IRA Film Award Winners
Best Picture: La Ceremonie
Best Director: Claude Chabrol for La Ceremonie
Best Actor: Ewen McGregor in Trainspotting
Best Actress: (tie) Kristin Scott Thomas in The English Patient and Emily Watson in Breaking The Waves
Best Supporting Actor: Ian Holm in Big Night
Best Supporting Actress: Mary Kay Place in Citizen Ruth and Manny and Lo
Best Screenplay: John Sayles for Lone Star
Best Cinematography: (tie) Darius Khondji for Stealing Beauty and Oliver Stapleton for Kansas City
Best Music: Tiffany Anders, Burt Bacharach, David Baerwald, Carole Bayer Sager, Ed Berghoff, Elvis Costello, Gerry Goffin, Louise Goffin, Tonio K, Larry Klein, J. Mascis, Joni Mitchell, Boyd Rice, David A. Stewart, and J. Mayo Williams for Grace Of My Heart
Best Production Design: Harley Jessup for James And The Giant Peach
Best Costume Design: Dona Granata for Kansas City
Sominex Award: The English Patient
Dramamine Award: A Time To Kill
Mechanical Actor: All the men in She’s The One
Mechanical Actress: Maxine Bahns in She’s The One


1997 IRA Film Award Winners
Best Picture: (tie) Crash and Grosse Pointe Blank
Best Director: David Cronenberg for Crash
Best Actor: John Cusack for Grosse Pointe Blank
Best Actress: Julie Christie in Afterglow
Best Supporting Actor: Kevin Spacey in L. A. Confidential
Best Supporting Actress: Christina Ricci in The Ice Storm
Best Screenplay: Neil LaBute for In The Company Of Men
Best Cinematography: Roger Deakins for Kundun
Best Music: (tie) Eleni Karaindrou for Ulysses’ Gaze and Michael Nyman for Gattaca
Best Production Design: (tie) Dan Weil for The Fifth Element and Jan Roelfs for Gattaca
Best Costume Design: Denise Cronenberg for Crash
Sominex Award: The Pillow Book
Dramamine Award: Con Air
Mechanical Actor: Billy Zane in Titanic
Mechanical Actress: Elisabeth Shue in Deconstructing Harry and The Saint


1998 IRA Film Award Winners
Best Picture: Gods And Monsters
Best Director: (tie) Bill Condon for Gods And Monsters and Todd Solondz for Happiness
Best Actor: Ian McKellen in Gods And Monsters
Best Actress: Christina Ricci in The Opposite Of Sex
Best Supporting Actor: Dylan Baker in Happiness
Best Supporting Actress: Lisa Kudrow in The Opposite Of Sex
Best Screenplay: Bill Condon for Gods And Monsters
Best Cinematography: Maryse Alberti for Happiness and Velvet Goldmine
Best Music: Carter Burwell for Gods And Monsters
Best Production Design: Thérèse DePrez for Happiness
Best Costume Design: Bruce Finlayson for Gods And Monsters
Sominex Award: Dangerous Beauty
Dramamine Award: Stepmom
Mechanical Actor: Bruce Willis in Armageddon, The Siege and Mercury Rising
Mechanical Actress: Jena Malone in Stepmom


1999 IRA Film Award Winners
Best Picture: Fight Club
Best Director: (tie) David Fincher for Fight Club and Spike Jonze for Being John Malkovich
Best Actor: Terence Stamp in The Limey
Best Actress: (tie) Nicole Kidman in Eyes Wide Shut and Hillary Swank in Boys Don’t Cry
Best Supporting Actor: Philip Seymour Hoffman in Magnolia and The Talented Mr. Ripley
Best Supporting Actress: Catherine Keener in Being John Malkovich
Best Screenplay: Alexander Payne and Jim Taylor for Election
Best Cinematography: Robert Richardson for Bringing Out The Dead and Snow Falling On Cedars
Best Music: Trey Parker and Marc Shaiman for South Park: Bigger, Longer and Uncut
Best Production Design: Owen Paterson for The Matrix
Best Costume Design: Michael Kaplan for Fight Club
Sominex Award: The World Is Not Enough
Dramamine Award: The Green Mile
Mechanical Actor: Kevin Spacey in American Beauty
Mechanical Actress: Annette Bening in American Beauty


2000 IRA Film Award Winners
Best Picture: L’ Humanite
Best Director: (tie) Terence Davies for The House Of Mirth and Jim Jarmusch for Ghost Dog: Way Of The Samurai
Best Actor: Forrest Whitaker in Ghost Dog: Way Of The Samurai
Best Actress: (tie) Severine Caneele in L’ Humanite and Michelle Yeoh in Crouching Tiger, Hidden Dragon
Best Supporting Actor: Jack Black in High Fidelity and Jesus’s Son
Best Supporting Actress: Lupe Ontiveros in Chuck And Buck
Best Screenplay: Kenneth Lonnergan for You Can Count On Me
Best Cinematography: Remi Adefarasin for The House Of Mirth
Best Music: RZA for Ghost Dog: Way Of The Samurai
Best Production Design: Gideon Ponte for American Psycho and Hamlet
Best Costume Design: Monica Howe for The House Of Mirth
Sominex Award: Mission Impossible 2
Dramamine Award: The Replacements (aka The Scabs)
Mechanical Actor: Ian Holm in Joe Gould’s Secret
Mechanical Actress: Charlize Theron in Reindeer Games


2001 IRA Film Award Winners
Best Picture: The Werckmeister Harmonies
Best Director: Bela Tarr for The Werckmeister Harmonies
Best Actor: John Cameron Mitchell for Hedwig And The Angry Inch
Best Actress: Naomi Watts in Mulholland Drive
Best Supporting Actor: Steve Buscemi in Ghost World
Best Supporting Actress: Scarlett Johansson in Ghost World and The Man Who Wasn’t There
Best Screenplay: Daniel Clowes and Terry Zwigoff for Ghost World
Best Cinematography: (tie) Peter Deming for From Hell and Mulholland Drive and Christopher Doyle and Mark Lee Ping-bin for In The Mood For Love
Best Music: Mihály Vig for The Werckmeister Harmonies
Best Production Design: Edward T. McAvoy for Ghost World
Best Costume Design: Mary Zophres for Ghost World
Sominex Award:
Dramamine Award:
Mechanical Actor:
Mechanical Actress:


2002 IRA Film Award Winners
Best Picture: (tie) Far From Heaven and The Son’s Room
Best Director: (tie) Todd Haynes for Far From Heaven and Aleksandr Sokurov for Russian Ark
Best Actor: Greg Kinnear in Auto Focus
Best Actress: (tie) Emmanuelle Devos in Read My Lips and Julianne Moore in Far From Heaven and Samantha Morton in Minority Report and Morvern Callar
Best Supporting Actor: Eddie Izzard in The Cat’s Meow
Best Supporting Actress: Patricia Clarkson in Far From Heaven
Best Screenplay: Bill Condon for Chicago
Best Cinematography: Tilman Büttner for Russian Ark
Best Music: Elmer Bernstein for Far From Heaven
Best Production Design: Mark Friedberg for Far From Heaven
Best Costume Design: Sandy Powell for Far From Heaven and Gangs Of New York
Sominex Award: Naqoyqatsi
Dramamine Award: Bowling For Dollars
Mechanical Actor: Anthony Hopkins in Red Dragon
Mechanical Actress: Catherine Keener in Lovely And Amazing


2003 IRA Film Award Winners
Best Picture: Decasia
Best Director: Bill Morrison for Decasia
Best Actor: Johnny Depp in Pirates Of The Caribbean
Best Actress: Hope Davis in American Splendor and The Secret Lives Of Dentists
Best Supporting Actor: Max Pirkis in Master and Commander: The Far Side Of The World
Best Supporting Actress: Ludivine Sagnier in Swimming Pool
Best Screenplay: Shari Springer Bergman and Robert Pulcini for American Splendor
Best Cinematography: Peter Suschitzky for Spider
Best Music: Michael Gordon for Decasia
Best Production Design: Andrew Laws for Down With Love
Best Costume Design: Daniel Orlandi for Down With Love
Sominex Award:
Dramamine Award: In My Skin
Mechanical Actor: Anthony Hopkins in The Human Stain
Mechanical Actress: Nicole Kidman in The Human Stain


2004 IRA Film Award Winners
Best Picture: Kinsey
Best Director: Bill Condon for Kinsey
Best Actor: Ethan Hawke in Before Sunset
Best Actress: Laura Linney in Kinsey and P.S.
Best Supporting Actor: Peter Sarsgaard in Kinsey
Best Supporting Actress: Kirsten Dunst in Eternal Sunshine Of The Spotless Mind
Best Screenplay: Bill Condon for Kinsey
Best Cinematography: Christopher Doyle for Hero, Last Life In The Universe and Days Of Being Wild
Best Music: Alberto Iglesias for Bad Education
Best Production Design: Dante Ferretti for The Aviator
Best Costume Design: Emi Wada for Hero and House Of The Flying Daggers
Sominex Award: The Village
Dramamine Award: The Passion Of The Christ
Mechanical Actor: Cate Blanchett in The Aviator
Mechanical Actress: Anthony Hopkins in Alexander


2005 IRA Film Award Winners
Best Picture: Mysterious Skin
Best Director: Gregg Araki for Mysterious Skin
Best Actor: Joseph Gordon-Leavitt in Mysterious Skin
Best Actress: Maria Bello in A History Of Violence
Best Supporting Actor: Paddy Constantine in My Summer Of Love
Best Supporting Actress: Catherine Keener in Capote
Best Screenplay: Gregg Araki for Mysterious Skin
Best Cinematography: Robert Elswit for Good Night And Good Luck and Syriana
Best Music: Howard Shore for A History Of Violence
Best Production Design: William Chang Suk Ping for 2046
Best Costume Design: William Chang Suk Ping for 2046
Sominex Award: Saraband
Dramamine Award: Crash
Mechanical Actor: Tom Cruise for War Of The Worlds
Mechanical Actress: Dakota Fanning for War Of The Worlds 
Complete coverage of the 2005 IRAs here.


2006 IRA Film Award Winners
Best Picture: L’Enfant
Best Director: Jean-Pierre Dardenne and Luc Dardenne for L’Enfant
Best Actor: Ryan Gosling in Half Nelson
Best Actress: Maggie Cheung in Clean
Best Supporting Actor: Anthony Mackie in Half Nelson
Best Supporting Actress: Carmen Maura in Volver
Best Screenplay: (tie) Guillermo Del Toro for Pan’s Labyrinth and Jean- Pierre Dardenne and Luc Dardenne for L’Enfant
Best Cinematography: Emmanuel Lubezki for Children Of Men
Best Production Design: Eugenio Caballero for Pan’s Labyrinth
Best Music: Philip Glass for Notes On A Scandal and The Illusionist
Best Costume Design: Sharon Davis for Dreamgirls
Sominex Award: The Da Vinci Code
Dramamine Award: Babel
Mechanical Actor: Robert Downey, Jr. in Fur and A Scanner Darkly
Mechanical Actress: Julianne Moore in Children Of Men 
Complete coverage of the 2006 IRAs here.


2007 IRA Film Award Winners
Best Picture: The Assassination Of Jesse James By The Coward Robert Ford
Best Director: Andrew Dominik for The Assassination Of Jesse James By The Coward Robert Ford
Best Actor: Casey Affleck in The Assassination Of Jesse James By The Coward Robert Ford and Gone Baby Gone
Best Actress: Marina Hands in Lady Chatterley
Best Supporting Actor: Paul Schneider in The Assassination Of Jesse James By The Coward Robert Ford and Lars And The Real Girl
Best Supporting Actress: Amy Ryan in Gone Baby Gone
Best Screenplay: Corneliu Porumboiu for 12:08 East Of Bucharest
Best Cinematography: Roger Deakins for The Assassination Of Jesse James By The Coward Robert Ford, In The Valley Of Elah and No Country For Old Men
Best Production Design: Patricia Norris for The Assassination Of Jesse James By The Coward Robert Ford
Best Music: Nick Cave and Warren Ellis for The Assassination Of Jesse James By The Coward Robert Ford
Best Costume Design: Patricia Norris for The Assassination Of Jesse James By The Coward Robert Ford
Sominex Award: Youth Without Youth
Dramamine Award: Before The Devil Knows You’re Dead
Mechanical Actor: John Travolta in Hairspray
Mechanical Actress: Meryl Streep in Lions For Lambs and Rendition 
Complete coverage of the 2007 IRAs here.


2008 IRA Film Award Winners
Best Picture: The Edge Of Heaven
Best Director: Fatih Akin - The Edge Of Heaven
Best Actor: Michael Shannon - Shotgun Stories
Best Actress: Anamaria Marinca - 4 Months, 3 Weeks and 2 Days
Best Supporting Actor: Emile Hirsch - Milk
Best Supporting Actress: Hanna Schygulla - The Edge Of Heaven
Best Screenplay: Fatih Akin - The Edge Of Heaven
Best Cinematography: Jody Shapiro - My Winnipeg
Best Production Design: Rejean Labrie - My Winnipeg
Best Music: Carter Burwell for In Bruges and Burn After Reading
Best Costumes: Danny Glicker - Milk
Sominex: The Happening
Dramamine: The Reader
Mechanical Actor: Mark Wahlberg for The Happening
Mechanical Actress: Meryl Streep for Doubt 
Complete coverage of the 2008 IRAs here.


2009 IRA Film Award Winners
Best Picture: Hunger
Best Director: Olivier Assayas - Summer Hours
Best Actor: Sharlto Copley - District 9
Best Actress: Catalina Saavedra - The Maid
Best Supporting Actor: Liam Cunningham - Hunger
Best Supporting Actress: Anna Faris - Observe And Report
Best Screenplay: Olivier Assayas - Summer Hours
Best Cinematography: Sean Bobbitt - Hunger
Best Production Design: Philip Ivey - District 9
Best Music: Marvin Hamlisch - The Informant!
Best Costumes: Janet Patterson - Bright Star
Sominex: Public Enemies
Dramamine: Anti-Christ
Mechanical Actor: Peter Sarsgaard for An Education
Mechanical Actress: Hilary Swank for Amelia


2010 IRA Film Award Winners
Best Picture: A Prophet/Un Prophete
Best Director: Jacques Audiard - A Prophet/Un Prophete
Best Actor: Edgar Ramirez - Carlos
Best Actress: Tilda Swinton - I Am Love
Best Supporting Actor: Niels Arestrup - A Prophet/Un Prophete
Best Supporting Actress: Dale Dickey - Winter's Bone
Best Screenplay: Thomas Bidegain and Jacques Audiard - A Prophet/Un Prophete
Best Cinematography: Yorick Le Saux - I Am Love
Best Production Design: Francesca Balestra Di Mottola - I Am Love
Best Music: John Adams - I Am Love
Best Costumes: Antonella Cannarozzi - I Am Love
Sominex: Cairo Time
Dramamine: Black Swan
Mechanical Actor: Vincent Cassel for Black Swan
Mechanical Actress: Natalie Portman for Black Swan
The Governor Scott Walker Award For Achievement In Political Thuggery: Waiting For "Superman" 
Complete coverage of the 2010 IRAs here.


2011 IRA FILM AWARD WINNERS
Best Picture: The Tree Of Life
Best Director: Terrence Malick - The Tree Of Life
Best Actor: Peyman Moadi - A Separation
Best Actress: Leila Hatami - A Separation
Best Supporting Actor: Hunter McCracken - The Tree Of Life
Best Supporting Actress: Sareh Bayet - A Separation
Best Screenplay: Ashgar Farhadi - A Separation
Best Cinematography: Emmanuel Lubezki - The Tree Of Life
Best Production Design: Dante Ferretti - Hugo
Best Score: Alberto Iglesias - Tinker Tailor Soldier Spy and The Skin I Live In
Best Editing: Hank Corwin, Jay Rabinowitz, Daniel Rezende, Billy Weber, Mark Yoshikawa - The Tree Of Life
Best Costumes: Jacqueline Durran - Tinker Tailor Soldier Spy
Sominex Award (The Movie That Put Us To Sleep): Midnight In Paris
Dramamine Award (The Movie That Made Us Sick): The Help
Mechanical Actress: Meryl Streep - The Iron Lady
Mechanical Actor: Owen Wilson - Midnight In Paris 
Complete coverage of the 2011 IRAs here.


2012 IRA FILM AWARD WINNERS
Best Picture: Once Upon A Time In Anatolia
Best Director: Nuri Bilge Ceylan - Once Upon A Time In Anatolia
Best Actor: Jean-Louis Trintignant - Amour
Best Actress: Rachel Weisz - The Deep Blue Sea
Best Supporting Actor: Taner Birsel - Once Upon A Time In Anatolia
Best Supporting Actress: Cecile De France - The Kid With A Bike
Best Screenplay: Ebru Ceylan and Nuri Bilge Ceylan and Ercan Kesal - Once Upon A Time In Anatolia
Best Cinematography: Gokhan Tiryaki - Once Upon A Time In Anatolia
Best Production Design: Arvinder Grewal - Cosmopolis
Best Score: Dan Romer and Benh Zeitlin - Beasts Of The Southern Wild
Best Editing: Todd Woody Richman and Tyler H. Walk - How To Survive A Plague
Best Costumes: Kari Perkins - Bernie
Sominex Award (The Movie That Put Us To Sleep): (tie) Les Miserables and Beasts Of The Southern Wild
Dramamine Award (The Movie That Made Us Sick): The Intouchables
Mechanical Actress: Anne Hathaway - Les Miserables
Mechanical Actor: Russell Crowe - Les Miserables 
Complete coverage of the 2012 IRAs here.


2013 IRA FILM AWARD WINNERS
Best Picture: Laurence Anyways
Best Director: Xavier Dolan for Laurence Anyways and I Killed My Mother
Best Actor: Joaquin Phoenix for Her
Best Actress: Hadas Yaron for Fill The Void
Best Supporting Actor: Daniel Bruhl for The Fifth Estate and Rush
Best Supporting Actress: Nathalie Baye for Laurence Anyways
Best Screenplay: Sarah Polley for Stories We Tell
Best Cinematography: Asaf Sudri for Fill The Void
Best Production Design: K.K. Barrett for Her
Best Score: (tie) Alex Ebert for All Is Lost and Arcade Fire for Her
Best Editing: Mike Munn for Stories We Tell
Best Costumes: Francois Barbeau, Xavier Dolan for Laurence Anyways
Sominex Award (The Movie That Put Us To Sleep): Faust
Dramamine Award (The Movie That Made Us Sick): The Great Gatsby
Mechanical Actress: Meryl Streep for August: Osage County
Mechanical Actor: Jared Leto for Dallas Buyers Club  
Complete coverage of the 2013 IRAs here. 


2014 IRA FILM AWARD WINNERS
Best Picture: Nightcrawler
Best Director: Dan Gilroy for Nightcrawler
Best Actor: Jake Gyllenhaal for Nightcrawler
Best Actress: Essie Davis for The Babadook
Best Supporting Actor: Ethan Hawke for Boyhood
Best Supporting Actress: Agata Kulesza for Ida
Best Screenplay:  Dan Gilroy for Nightcrawler
Best Cinematography: Robert Elswit for Nightcrawler and Inherent Vice
Best Production Design: Suzie Davies for Mr. Turner
Best Score: Mica Levi for Under The Skin
Best Editing: (tie) Simon Njoo for The Babadook; Jay Cassidy, Stuart Levy and Conor O'Neill for Foxcatcher
Best Costumes: (tie) Kasia Walicka-Maimone for Foxcatcher and A Most Violent Year (but not St. Vincent);       Jacqueline Durran for Mr. Turner
Sominex Award (The Movie That Put Us To Sleep): The Monuments Men
Dramamine Award (The Movie That Made Us Sick): The Imitation Game
Mechanical Actress: Lilla Crawford for Into The Woods
Mechanical Actor: The Entire Cast of The Monuments Men  
Complete coverage of the 2014 IRAs here. 


2015 IRA FILM AWARD WINNERS
Best Picture: Tangerine
Best Director: Miroslav Slaboshpytski for The Tribe
Best Actor: Jason Segel for The End Of The Tour 
Best Actress: (tie) Anne Dorval for Mommy
                   (tie) Kitana Kiki Rodriguez for Tangerine
Best Supporting Actor: Alexander Skarsgård for The Diary Of A Teenage Girl
Best Supporting Actress: Mya Taylor for Tangerine by acclamation
Best Nonfiction Film: In Jackson Heights 
Best Screenplay:  Donald Margulies for The End Of The Tour
Best Cinematography: Sean Baker and Radium Cheung for Tangerine
Best Production Design: (tie) Judy Becker for Carol
                                    (tie) Colin Gibson for Mad Max: Fury Road
Best Score: (tie) Junkie XL for Mad Max: Fury Road
                 (tie) Atticus Ross and Brian Wilson for Love And Mercy 
Best Editing: Sean Baker for Tangerine
Best Costumes: Shih-Ching Tsou for Tangerine
Sominex Award (The Movie That Put Us To Sleep): The Assassin
       Dramamine Award (The Movie That Made Us Sick): Chi-Raq
Mechanical Actress: Eddie Redmayne for The Danish Girl
Mechanical Actor: John Cusack for Chi-Raq and Love And Mercy 
Complete coverage of the 2015 IRAs here.


2016 IRA FILM AWARD WINNERS

Best Picture: Moonlight
Best Director: Barry Jenkins for Moonlight
Best Actor: Antonythasan Jesuthasan for Dheepan
Best Actress: Annette Bening for 20th Century Women
Best Supporting Actor: Ralph Fiennes for A Bigger Splash and Hail, Caesar!
Best Supporting Actress: Linda Emond for Indignation
Best Nonfiction Film: O.J.: Made In America
Best Screenplay: Taylor Sheridan for Hell Or High Water
Best Cinematography: James Laxton for Moonlight
Best Production Design: (tie) Craig Lathrop for The Witch
                                            (tie) Ryan Warren Smith for Green Room
Best Score: Nicholas Britell for Moonlight
Best Editing: Andrey Paperniy for Under The Sun
Best Costumes: Madeline Fontaine for Jackie
Sominex Award (The Movie That Put Us To Sleep): Girl On A Train
       Dramamine Award (The Movie That Made Us Sick): Nocturnal Animals
Mechanical Actress: Nicole Kidman for Lion
Mechanical Actor: Aaron Taylor-Johnson for Nocturnal Animals 
Complete coverage of the 2016 IRAs here.


2017 IRA FILM AWARD WINNERS

Best Picture: BPM
Best Director: Robin Campillo for BPM
Best Actor: Michael Keaton for The Founder
Best Actress: Daniela Vega for A Fantastic Woman (Una Mujer Fantástica)
Best Supporting Actor: Willem Dafoe for The Florida Project
Best Supporting Actress: Lesley Manville for Phantom Thread
Best Nonfiction Film: Dawson City: Frozen Time
Best Screenplay:  Robert Siegel for The Founder
Best Cinematography: Alexis Zabe for The Florida Project
Best Production Design: Stephonik Youth for The Florida Project
Best Score: Daniel Lopatin aka Oneohtrix Point Never for Good Time
Best Editing: Robin Campillo, Stéphanie Léger and Anita Roth for BPM
Best Costumes: Pascaline Chavanne for Frantz
Sominex Award (The Movie That Put Us To Sleep): The Post
Dramamine Award (The Movie That Made Us Sick): mother!
Mechanical Actress: Emma Watson for Beauty and the Beast and The Circle
Mechanical Actor: James Franco for The Disaster Artist, et. al 
Complete coverage of the 2017 IRAs here.


2018 IRA FILM AWARD WINNERS 

Best Picture: Capernaum
Best Director: Nadine Labaki for Capernaum
Best Actor: Joaquin Phoenix for Don't Worry, He Won't Get Far On Foot; Mary Magdalene; The Sisters Brothers; You Were Never Really Here
Best Actress: Sakura Andô for Shoplifters
Best Supporting Actor: Brian Tyree Henry for Hotel Artemis, If Beale Street Could Talk, Spiderman: Into The Spiderverse, White Boy Rick, Widows 
Best Supporting Actress: Regina King for If Beale Street Could Talk
Best Nonfiction Film: Won't You Be My Neighbor?
Best Screenplay:  Barry Jenkins for If Beale Street Could Talk
Best Cinematography: Alfonso Cuaron for Roma
Best Production Design: Eugenio Caballero for Roma
Best Score/Use Of Music: Nicholas Britell for If Beale Street Could Talk
Best Editing: Nick Fenton, Chris Gill and Julian Hart for American Animals
Best Costumes: Caroline Eselin for If Beale Street Could Talk
Sominex Award (The Movie That Put Us To Sleep): On The Basis Of Sex
Dramamine Award (The Movie That Made Us Sick): The Favourite
Mechanical Actress: Tilda Swinton for Suspiria 
Mechanical Actor: Rami Malek for Bohemian Rhapsody 
Complete coverage of the 2018 IRAs here. 



2019 IRA FILM AWARD WINNERS 

Best Picture: End Of The Century
Best Director: Lucio Castro for End Of The Century
Best Actor: Antonio Banderas for Pain And Glory
Best Actress: Lupita Nyong'o for Us
Best Supporting Actor: Asier Etxeandia for Pain And Glory 
Best Supporting Actress: Shuzhen Zhao for The Farewell 
Best Nonfiction Film: American Factory 
Best Screenplay:  Pedro Almodóvar for Pain And Glory
Best Cinematography: David Gallego for Birds Of Passage
Best Production Design: Barbara Ling for Once Upon A Time...In Hollywood 
Best Score/Use Of Music: Mary Ramos for Once Upon A Time...In Hollywood
Best Editing: Kim Horton for 63 Up 
Best Costumes: Arianne Phillips for Once Upon A Time...In Hollywood
Sominex Award (The Movie That Put Us To Sleep): The Lighthouse 
Dramamine Award (The Movie That Made Us Sick): Joker
Mechanical Actress: Renee Zellwegger for Judy  
Mechanical Actor: Joaquin Phoenix for Joker 


      2020 IRA FILM AWARD WINNERS 

Best Picture: Kajillionaire
Best Director: Miranda July for Kajillionaire
Best Actor: Bartosz Bielenia for Corpus Christi 
Best Actress: Kate Winslet for Ammonite
Best Supporting Actor: Glynn Turman for Ma Rainey's Black Bottom  
Best Supporting Actress: Robyn Nevin for Relic 
Best Nonfiction Film: Dick Johnson Is Dead and My Octopus Teacher (tie) 
Best Screenplay:  Miranda July for Kajillionaire 
Best Cinematography: Benjamin Kracun for Beats and Monsoon and Promising Young Woman 
Best Production Design: Mayne Berke for Sylvie's Love and Sergey Ovanov for Beanpole (tie)  
Best Score/Use Of Music: Volker Bertelmann and Dustin O'Halloran for Ammonite 
Best Editing: Andrew Patterson for The Vast Of Night 
Best Costumes: Michael O'Connor for Ammonite 
Sominex Award (The Movie That Put Us To Sleep): Tenet 
Dramamine Award (The Movie That Made Us Sick): Mank
Mechanical Actress: Elizabeth Moss for The Invisible Man and Shirley  
Mechanical Actor: James Corden for The Prom 

      2021 IRA FILM AWARD WINNERS 

Best Picture: A Hero 
Best Director: Ryûsuke Hamaguchi for Drive My Car 
Best Actor: Hidetoshi Nishijima for Drive My Car  
Best Actress: Jasna Djuricic for Quo Vadis, Aida? and Kristen Stewart for Spencer (tie)
Best Supporting Actor: Ethan Darbone for Red Rocket 
Best Supporting Actress: Suzanna Son for Red Rocket 
Best Nonfiction Film: Flee  
Best Screenplay:  Asghar Farhadi for A Hero  
Best Cinematography: Jessica Beshir for Faya Dayi  
Best Production Design: Adam Stockhausen for The French Dispatch and West Side Story   
Best Score/Use Of Music: Naren Chandavarkar (music producer and pre-mix) and Aneesh                                                Pradhan (music an research consultant/muisc design)  for The Disciple 
Best Editing: Jennifer Vecchiarello for C'mon C'mon 
Best Costumes: Mark Bridges  for Licorice Pizza 
Sominex Award (The Movie That Put Us To Sleep): Passing  
Dramamine Award (The Movie That Made Us Sick): The Lost Daughter 
Mechanical Actress: Cate Blanchett, Jennifer Lawrence & Meryl Streep  for Don't Look Up   
Mechanical Actor: 
Ansel Elgort for West Side Story 
 
  
     2022 IRA FILM AWARD WINNERS 

Best Picture: Great Freedom 
Best Director: Sebastian Miese for Great Freedom  
Best Actors: Franz Rogowski for Great Freedom   
                      Aubrey Plaza for Emily The Criminal
Best Supporting Actor: Hong Chau for The Menu and The Whale 
                                          Barry Keoghan for The Banshees Of Inisherin   
Best Nonfiction Film: The Fire Within: A Requiem For Katia and Maurice Krafft   
Best Screenplay: Thomas Reider & Sebastian Miese for Great Freedom  
Best Cinematography: Hoyte Van Hotema for Nope   
Best Production Design: Michael Randel for Great Freedom    
Best Score/Use Of Music: ASKA aka Aska Matsumiya  for After Yang  
Best Editing: Blair McClendon for Aftersun  
Best Costumes: Shirley Kurata  for Everything Everywhere All At Once  
Sominex Award (The Movie That Put Us To Sleep): All Quiet On The Western Front   
Dramamine Award (The Movie That Made Us Sick): Tár  
Mechanical Actor: 
Tom Hanks for Elvis, A Man Called Otto and Pinocchio 
                                   Sadie Sink for The Whale 
 



IRA BEST PICTURE WINNERS

Barry Lyndon (1975)
Lipstick and The Marquise Of O (tie) (1976)
Annie Hall (1977)
Days Of Heaven (1978)
Fedora (1979)

The Big Red One (1980)
Cutter’s Way (1981)
Victor/Victoria (1982)
Berlin Alexanderplatz (1983)
L’Argent and Once Upon A Time In America (tie) (1984)
Prizzi’s Honor (1985)
Eyes On The Prize (1986)
Housekeeping (1987)
Dead Ringers (1988)
Story Of Women (1989)

GoodFellas (1990)
The Man In The Moon (1991)
Raise The Red Lantern (1992)
Six Degrees Of Separation (1993)
Red (1994)
Exotica (1995)
La Ceremonie (1996)
Crash (the David Cronenberg film) and Grosse Pointe Blank (tie) (1997)
Gods And Monsters (1998)
Fight Club (1999)

L’ Humanite (2000)
The Werckmeister Harmonies (2001)
Far From Heaven and The Son’s Room (tie) (2002)
Decasia (2003)
Kinsey (2004)
Mysterious Skin (2005)
L’Enfant (2006)
The Assassination Of Jesse James By The Coward Robert Ford (2007)
The Edge Of Heaven (2008)
Hunger (2009)

A Prophet/Un Prophete (2010) 
The Tree Of Life (2011)
Once Upon A Time In Anatolia (2012)
Laurence Anyways (2013)
Nightcrawler (2014)
Tangerine (2015)
Moonlight (2016)
BPM (2017)
Capernaum (2018)
End Of The Century (2019)  

Kajillionaire (2020) 
A Hero (2021) 
Great Freedom (2022) 




THE IRA AWARDS: THE TOP 100 FILMS OF THE 1940S

1. Citizen Kane (Orson Welles, 1941)
2. Letter From An Unknown Woman (Max Ophüls, 1948)
3. The Magnificent Ambersons (Orson Welles, 1942)
4. Notorious (Alfred Hitchcock, 1946)
5. The Big Sleep (Howard Hawks, 1946)
6. Shadow Of A Doubt (Alfred Hitchcock, 1943)
7. Red River (Howard Hawks, 1948)
8. It's A Wonderful Life (Frank Capra, 1946)
9. To Have And Have Not (Howard Hawks, 1944)
10. The Palm Beach Story (Preston Sturges, 1942)

See the complete list of the Top 100 Films Of The 1940s here.


THE IRA AWARDS: THE TOP 100 FILMS OF THE 1950s

1. The Earrings of Madame de… (Max Ophüls, 1953)
2. Touch of Evil (Orson Welles, 1958)
3. Vertigo (Alfred Hitchcock, 1958)
4. Rear Window (Alfred Hitchcock, 1954) 
5. The Searchers (John Ford, 1956) 
6. In a Lonely Place (Nicholas Ray, 1950) 
7. Anatomy of a Murder (Otto Preminger, 1959) 
8. Tokyo Story (Yasujiro Ozu, 1953) 
9. North by Northwest (Alfred Hitchcock, 1959) 
10. Pickpocket (Robert Bresson, 1959) 

See the complete list of the Top 100 Films Of The 1950s here. 


THE IRA AWARDS: THE TOP 100 FILMS OF THE 1960s

1. Psycho (Alfred Hitchcock, 1960)
2. The Apartment (Billy Wilder, 1960)
3. The Man Who Shot Liberty Valance (John Ford, 1962)
4. 2001: A Space Odyssey (Stanley Kubrick, 1968)
5. Chimes At Midnight (Orson Welles, 1965)
6. Once Upon A Time In The West (Sergio Leone, 1968) 
7. The Birds (Alfred Hitchcock, 1963) 
8. Marnie (Alfred Hitchcock, 1964) 
9. When A Woman Ascends The Stairs (Mikio Naruse, 1960)
10. Contempt (Jean-Luc Godard, 1963)....

See the complete list here.


THE IRA AWARDS: THE TOP 100 FILMS OF THE 1980s


1. Dekalog 
2. Shoah  
3. Housekeeping 
4. Berlin Alexanderplatz
5. Raging Bull
6. Fanny and Alexander
7. Once Upon A Time In America  
8. Eyes On The Prize
9. Danton
10. Crimes and Misdemeanors



THE IRA AWARDS: THE BEST FILMS OF THE 2000s (2000-2009) (voted in 2010)

1. The Son/Le Fils (Jean-Pierre Dardenne and Luc Dardenne, 2002)
2. Zodiac (David Fincher, 2007)
3. Yi Yi (Edward Yang, 2000)
4. The Assassination Of Jesse James By The Coward Robert Ford (Andrew Dominik, 2007)
5. The Edge Of Heaven (Fatih Akin, 2007) (tie)
    In The Mood For Love 
(Kar Wai Wong, 2000) (tie)
7. The Heart Of The World 
(Guy Maddin, 2001)
8. Mysterious Skin 
(Gregg Araki, 2004) (tie)
    Bus 174 
(José Padilha and Felipe Lacerda, 2002) (tie)
10. The Death Of Mr. Lazarescu (Cristi Puiu, 2005) (tie)
      Head-On (Fatih Akin, 2004) (tie)
      Spirited Away (Hayao Miyazaki, 2001) (tie) 


THE IRA AWARDS: THE BEST FILMS OF THE 2010s (2010-2019) (voted in 2021)

1. A Separation (Asghar Farhadi, 2011)  
2. Nightcrawler (Dan Gilroy, 2014)  
3. Moonlight (Barry Jenkins, 2016)  
4. (tie) Un Prophète (Jacques Audiard, 2009/2010)  
    (tie) Tangerine (Sean Baker, 2015)  
6. Once Upon A Time...In Hollywood (Quentin Tarantino, 2019)  
7. Laurence Anyways (Xavier Dolan, 2012)  
8. In Jackson Heights (Frederick Wiseman, 2015)  
9. The Tree Of Life (Terrence Malick, 2011)  
10. The Tribe (Myroslav Slaboshpytskyi, 2014) 


THE IRA AWARDS: THE TOP 100 FILMS OF ALL TIME (voted in 2012)

1. The Rules Of The Game (Jean Renoir, 1939)
2. The Magnificent Ambersons (Orson Welles, 1942)
3. Citizen Kane (Orson Welles, 1941)
4. Vertigo (Alfred Hitchcock, 1958)
5. The Searchers (John Ford, 1956)
6. Letter From An Unknown Woman (Max Ophüls, 1948)
7. The Big Sleep (Howard Hawks, 1946)
8. Psycho (Alfred Hitchcock, 1960)
9. The Man Who Shot Liberty Valance (John Ford, 1962)
10. The Apartment (Billy Wilder, 1960)

See the complete list of the Top 100 Films Of All Time here. 


THE IRA AWARDS: THE TOP 100 FILMS OF ALL TIME (voted in 2022) 

1. The Rules Of The Game (Jean Renoir, 1939)
2. 
Citizen Kane (Orson Welles, 1941) 
3. The Earrings Of Madame de... (Max Ophuls, 1953) 
4. Vertigo (Alfred Hitchcock, 1958)
5. Tokyo Story (Yasujirō Ozu, 1953) 
6. 
The Apartment (Billy Wilder, 1960) 
7. The Searchers (John Ford, 1956)
8. Letter From An Unknown Woman (Max Ophüls, 1948) 
9. Sunrise: A Song Of Two Humans (F.W. Murnau, 1927)
10. 
The Magnificent Ambersons (Orson Welles, 1942) 

Friday, March 24, 2023

THE IRAS: HOW TO VOTE AT THE ANNUAL GATHERING

 As of March, 2023, these are the guidelines for how to vote at the annual IRA Awards. 


HOW TO VOTE AT THE IRAS

Currently, the IRAs include fourteen different categories, eleven traditional categories a la the Academy Awards and three barbed awards for the movies that put us to sleep, made us sick in one way or another and actors relying on the same old tricks we've seen from them before. These are the fourteen categories. 


THE CATEGORIES 

Best Picture

Best Director

Best Actor 

Best Supporting Actor 

Best Nonfiction Film

Best Screenplay 

Best Cinematography 

Best Production Design     

Best Score/Use Of Music   

Best Editing 

Best Costumes 

Sominex Award (The Movie That Put Us To Sleep)  

Dramamine Award (The Movie That Made Us Sick) 

Mechanical Actor (The Kevin Spacey Memorial Award) 


THE EVENING'S SCHEDULE 


We gather at the appointed hour in NYC or by video conference call. It takes at least half an hour for everyone to actually show up. After some chitchat, we begin voting in reverse order of importance. First we vote on Best Costumes and then Best Editing. After Best Cinematography, we pause to order food. After Best Nonfiction Film, we break for dinner. After Best Picture, we break for dessert and then wind it up with the viperish mean awards as an end-of-the-night treat. This seems straightforward, but takes a remarkably long time. 


YOUR BALLOT 


For every category, you are free to give points for up to five nominations. In the three acting categories, you may nominate up to ten actors in each. Most members sketch out their likely votes in each category before the night begins, looking at the movies they've seen and thinking "Oh yeah, that wasn't a great movie but boy it was shot well" and so on. Naturally, the movies you love the most will provide the most nominations in the most categories. But anything goes and offbeat nominations are appreciated. (I once got a chuckle by nominating Leni Riefenstahl for Best Actress the year a documentary about her came out, for which she was extensively interviewed. I've been trying to get a second chuckle ever since.) 

So you've come up with five artists you want to honor for Best Costumes. What happens next? We go around the room beginning with the titular Ira and announce our "five pointer," the work/artist we admire the most. This is where you get an idea of what movies people are passionate about. If a majority of people single out one artist/movie, that's the winner by acclamation. 

Most of the time, that isn't the case. (But we go through the rest of the process in any case.) Starting again with the first voter, they list their entire ballot. "I give five points to Mr. Smith Goes To Washington, four points to Stagecoach, three points to The Wizard of Oz, two points to The Roaring Twenties and one point to Midnight." Then the next person lists their entire ballot. Again, you may list up to five nominations, but it's not required. You can say, five points to Mr. Smith Goes To Washington, four points to Stagecoach and -- one point to The Wizard of Oz." You can't give extra points to any one film or list three movies with only one point each and so on. Let's not get clever. Generally, people vote for five nominations in most categories. If you've seen fewer films or just don't have enough nominations you're passionate about, don't worry. You won't be the only one to have a partial ballot.  

You are free to adjust your ballot on the fly. In fact, if your initial five pointer is a movie no one else has mentioned yet and you believe no one else saw it (or just didn't like it), when it's your turn you may say, "I'm changing my five pointer to The Wizard of Oz, four points for...." and so on. Strategic voting by switching your ballot around is fine, though some IRA members nobly refuse to do so. Film Such-and-Such had the best cinematography of the year and that's what they're giving five points to and they don't care if no one else saw it. 

You may only make nominations or change your ballot on the fly when it's your turn. Once you've voted, you can't speak up five minute later and say "Oh wait, I've changed my mind...." 

Please DO keep track of your ballot, especially any changes on the fly so you can clarify what you voted for if asked later. 


WHAT IF SOMEONE WORKED ON MORE THAN ONE MOVIE?

Typically we are honoring an artist's work accomplished since we voted at the last IRAs. So if you're voting for a composer, you are usually honoring two or three movies or if a costumer maybe just one movie or maybe four. In acting, naturally, we distinguish between lead and supporting performances, so arguments ensue as to whether a certain performance belongs in one or the other category. Sometimes people say, well I'm voting for Bette Davis for movie A but NOT for movie B. Don't sweat it and don't get caught up on how to classify a performance. If most people consider it lead, it's best not to "waste" your vote by insisting it was a supporting performance. 


WHAT ABOUT TIES? 

We love ties! Ties are never broken. It lets us honor multiple films and artists, often emphasizes the range of films we love and sometimes creates an amusing contrast. Bring 'em on! If three composers tie for first in the Best Use Of Music category, the one with the second most points takes the 4th slot and one more film is in fifth. 


WINNERS AND RUNNERS-UP 

Most categories will have one official winner and one runner-up. However, in acting the top two actors to receive points will both be named "winners" and the one with the third most points will be the runner-up.


WHAT'S THE VOTE TO RESCIND? 

After a winner is selected in a category, there is an automatic vote to rescind. If a majority of the voters present vote to rescind, the artist/film with the most points is named the runner-up and the film with the second-most points is named the winner. This might happen because a majority of people think the initial winner is a more bland consensus vote and they prefer the runner-up. Or the winner won an Oscar and that's boring to them. Or the voting was particularly spread out in a category and three passionate voters crowned a work that the majority of voters actively hate or maybe a majority simply prefer the runner-up. A vote to rescind is rarely successful and actually comes into play maybe once a year. On the plus side, it drives Andy bonkers. 


FAQ 

Can a nonfiction film win Best Picture? Yes. 

What is meant by the category Best Score/Best Use Of Music? This is to avoid worrying about what music and how much was original and to recognize that Kubrick using classical music in 2001: A Space Odyssey or Lucas using old pop songs in American Graffiti is just as creative and challenging as hiring Bernard Herrmann to write a score from scratch. 

Why ten nominations for the acting categories? Don't ask. (The reasoning is that a movie you love typically has one cinematographer and one set designer and so on but may have three or five great performances. Acting is one of the areas it's most fun to vote in and we want to make room for them all.) 

Why do the acting categories have two winners instead of one? See previous answer.


NEW YORK, NEW YORK: Two Plays, An Opera, A Museum and Two Musicals (But Not THAT Musical)

  

THE HARDER THEY COME ** 1/2 out of **** 

The Public 


MUSEUM OF BROADWAY ** 1/2 out of **** 

145 West 45th Street 


ARDEN OF FAVERSHAM ** out of **** 

Red Bull Theater at Lucille Lortel 


LOHENGRIN * 1/2 out of **** 

The Metropolitan Opera


DEAR WORLD *** out of **** (this presentation; the show is **) 

Encores at City Center 


LOVE **** out of **** 

Park Armoury 


One week in New York, New York. One week to catch as many shows as possible, check out the new Museum of Broadway and meet as many friends as I can. And sadly, one week BEFORE previews begin for the new musical New York, New York (based on the Scorsese film). Hey, that's one more reason to come back soon. Let's get started! 

First up, the new musical The Harder They Come at the Public. It's the latest attempt to turn the landmark movie into a theatrical show and no wonder: the film's soundtrack is filled with reggae classics. In many ways, it introduced reggae to the world, just as Black Orpheus made the bossa nova a hot property. Unlike Black Orpheus, the soundtrack dominated by Jimmy Cliff is really the only memorable thing about Jamaica's first feature film. The great Suzan-Lori Parks worked on the book and contributes new songs that fit capably alongside the now-classics peppered throughout. She fleshes out the female characters and deepens the complexity...all of which just reveals the contradictory and confusing narrative even more starkly than before. If the show has a future life -- and the temptation to keep working on it should be great -- she needs to be more ruthless. The mother really serves no purpose. All the supporting players need to be more consistent in their actions and the hero Ivan needs a clearer arc from country rube to righteous warrior. His best friend shakes his head over our hero buying a gun but praises Ivan publicly after a run-in with the police. His love interest chides the hero's friends for turning on him, but then makes a u-turn herself. Major emotional moments flit by without leading into song or leaving an impact. The mother is told in passing that her own mother has died -- two minutes later she's over it and making clear to her son that he can't expect any help from her. (Why not?) They barely see each other again, so why do we meet her in the first place? Our hero yearns to be a recording star, but loses his guitar in the first few minutes of the show...and never gets it back or mentions it again. Doesn't he want to write more songs? A hot-headed fellow, most of his problems seem of his own making; a threat to have him killed is too euphemistic; when he demands more money from a boss, his demand that others be paid more as well feels like an afterthought, not a driving reason. One could go on. 



But in a musical, great songs cover a host of sins and The Harder They Come is brimming over with marvelous tunes.  In the first minutes the show seems desperate to work in snatches of every song on the soundtrack as quickly as possible. Once they settle down and give each song its due, the show is a treat. The cast is marvelous from top to bottom and sings the songs beautifully. Natey Jones is bursting with charm as the hero Ivan, but one could mention almost everyone on stage with enthusiasm. And my guests were eager to hear the original soundtrack (not to mention the greatest hits of Jimmy Cliff)  when we left. What jukebox musical could ask for more than that?  


Before a matinee of Arden of Faversham, a guest and I headed to the Museum of Broadway on a late Wednesday morning to check out this long-overdue tribute to New York's greatest draw. It's an easy way for tourists to get in the mood before seeing a show and is what you might expect. You'll sit briefly for a five minute video intro to the history of Broadway and entertainment around Times Square. Then you'll proceed to a series of rooms on a number of floors. Major tributes to iconic shows like Oklahoma and West Side Story fill their own space and offer a photo opp of some sort, like a cornfield or a soda shop where the Jets street gang would hang out. In between, you'll find walls adorned with trivia and timelines stretching from vaudeville and minstrel shows right up to today. And of course, you'll see costumes and scripts and all sorts of treasure, from wigs worn by Patti LuPone to that iconic red footwear from Kinky Boots.  The audio playing in every room is very good -- it's not too loud (or quiet) and when you step from one area to another, you quickly hear only the music for that section, even if a few feet away you were hearing something entirely different. The staff is also a plus. Broadway Babies one and all, informed staffers are on hand to answer questions; they also offer up comments unasked but did so unobtrusively and easily. They avoided feeling pushy or over-sharing, which might have been tempting since they're bursting with info on whatever exhibit you're looking at. The grand finale is a large space that pays tribute to all the people who put on a show. A section for stage managers will show a video of several key talents explaining what they do along with some display of their tools of the trade. You can focus on what they're saying, but you're also aware that multiple other monitors are showing other people explaining the role of the costume designer or the publicist or the lighting designer or the writer and so on. That constant hum of voices makes clear how putting on a show is a massive effort involving a host of incredibly talented people. It's very effective. In the last space before exiting into the gift shop, rotating exhibits can be perused, currently a fine tribute to illustrator and caricaturist Al Hirschfeld. (The gift shop, by the way, wasn't wildly over-priced as gift shops often are.) 



So, it's fine. Wanting to place it amidst the theater district always meant space would be at a premium, of course. Even with a small weekday crowd brought in on timed entry, it felt...full. But if the Museum lasts and wants to improve, it has many areas to work on. The tight space can't be helped, so this museum involves a lot of walking up and down stairs. I assume elevators are available on every floor, but it's definitely a challenge for those in wheelchairs or with mobility issues. The video at the very beginning is pro forma and not very well done. At least it's brief! But it's displayed on a white wall with jutting out sections clearly there before the museum was set up. At first I thought it was meant to be a skyline or something; it's very distracting. These protrusions break up the images of the video, in some cases distorting people's heads in strange ways. It's thoroughly unnecessary since one could easily drop a screen and display the video on that. The labels identifying the photos and objects on display are disastrously small. My vision is fine and even I had to really squint to read some of the text; eventually I stopped bothering and that's not good. It makes you less willing to peruse the images. Further, many displays feature a "key" mapping out the photos or whatever is featured. One of the keys was literally at floor level and you had to crouch down to even have a hope of reading it. Others were similarly placed in unnecessarily awkward positions. The same was true of items on display. One wall contained those red kinky boots. They're huge but were placed with the heels almost at knee or waist height. Meanwhile, some other display boxes on that wall contained small items down at floor level. Without squatting down (not easy unless you're a Broadway hoofer), you couldn't even see what was in them. Waist high boots? They should be placed dow towards the floor. Small stuff? Higher up! Throughout the museum features original works of art to capture some sense of a show or type of theater -- I guess they'll have to do until actual pieces from actual shows become available. We want actual Broadway stuff, not someone's interpretation of Broadway, however fine the artist. (One example is an exploding script that fills up an entire corner; it's neat to see, actually, but surely it would be better to see something from an actual show? Let's hope these are place-holders, waiting for donations as time goes on and the Museum establishes itself. The final room was really the highlight of the museum. But by the time you reach it, you're probably tired (we'd been there for 90 minutes already) and just not in the mood. Thematically and realistically, it should be at the beginning of the tour when you have more energy. Put it first and the Museum of Broadway will show you who puts on a show and then you can celebrate individual shows. Plus, the hardcore theater lovers will want to savor every section of this display while more casual fans will quickly move on to the flashy displays for major shows, making it a great way to filter each group when it arrives. And where are the critics? They surely are a part of Broadway's history and charting their rise and fall, from the era when Frank Rich of the New York Times was the Butcher of Broadway to today, when fans offer their thoughts on video and TikTok and have more sway than any ink-stained wretch. Heck, if they wanted to be catty, they could have just labeled some bricks on the wall with the names of famous critics or put a pile of tomatoes in the corner and enjoyed some revenge. Famous flops? Scandals? This history isn't nearly as spicy and fun as it might have been. Finally, is there any way to see just the rotating exhibits -- like the fine one for Hirschfeld -- at a lower price without going through the rest of the museum? That seems like a lost opportunity as well, especially if you hope to lure the locals more than once. Plus, it's $40, which is even more than sex! The Museum of Sex, that is. This is a self-funded operation, as far as I know. Still, it's a heavy lift to ask for more money almost any other museums in the city. Here's hoping the show will go on and they'll make improvements as they can to turn the Museum Of Broadway into something as great as the shows it celebrates. 


Maybe the noir-ish comedy Arden Of Faversham has an identity crisis. Sometimes, you feel a show just doesn't know what tone it wants to strike. This Elizabethan play may or may not contain some of the earliest writing by Shakespeare (who possibly/probably/maybe but who knows? contributed a chunk in the middle) so even its authorship is a little confused. In any case, it's based on a then-infamous case of a woman and her lover poisoning her husband, an act that shocked everyone and led to this 1592 play, an early case of media cashing in on true crime. Adapted by Jeffrey Hatcher & Kathryn Walat, this version reportedly beefs up the female characters and presumably the humor, thanks to numerous failed attempts at offing poor Arden. The technical elements from the handsome and effective set to the lighting and costumes are the strong suit here. 



But problems begin right away. Alice (Cara Ricketts) walks onstage wearing a slinky nightgown as noir-ish music plays. She's in Murder, My Sweet. Her husband (the dependable Thomas Jay Ryan), however, is in a Shakespearean drama. Her lover (the square-jawed Tony Roach) is in a Carol Burnett spoof and standing in for Lyle Waggoner. The guns for hire trying and failing to kill Arden are in Monty Python. Best of all is Zachary Fine as an aide to the husband; he simply finds the humor and heart in any scene by being as true to the moment as he can. One must blame director Jesse Berger for failing to get everyone on the same page. Worse, as can happen, at the matinee I caught Ricketts fumbled over her lines multiple times. That sort of thing is catching and therefore so did several others in the show, though her case was by far the worse. Nonetheless, I found Ricketts an appealing talent, wondered what Roach might be like under better circumstances, felt for Thom Sesma given a forced subtext to play with his secondary role, felt even more for Ryan and marveled at how Fine could look good amidst all this. To be clear, it was a painless afternoon at the theater, messy and bloody though it was. 

Fans of Red Bull Theater can enjoy a post-show discussion of Arden of Faversham streaming on YouTube March 26 at 7:30 pm EST, with the director, members of the cast and scholar Tonya Pollard.


I went into Arden of Faversham with no expectations, so they couldn't be crushed. Lohengrin is another story. It was overseen by Francois Girard, who helmed the Metropolitan Opera's 2013 Parsifal in a production so moving and beautiful I was overwhelmed. Lohengrin is a sequel of sorts, focusing on the son of Parsifal doing his own holy deeds. 



Like so many sequels, this production compares poorly to the original in every way. The choreography is misbegotten. A disastrous costume decision -- the chorus has capes which can digitally change the color they display -- led to a laughable series of tableaux. Essentially, they must stretch out their hands for the effect, making the stage look like it's populated again and again by flying squirrels. And once you think such a thing, you can't un-think it during the near five hour length of the show. While Parsifal had a shimmering, otherworldly atmosphere, Lohengrin is decidedly earthbound. It's my first exposure to this opera, so I'll save judgment until another production. But surely the only fun role is the witchy Ortrud, played here to the hilt by Christine Goerke. At least she was having a good time. 


Encores! by all accounts lost its way for a while. It was conceived as a way to showcase musicals that slipped through the cracks. Shows too unwieldy to mount again or shows that were deeply flawed or shows unfairly maligned or ahead of their time that might never get done again if someone didn't make a case for them -- these were the bread and butter of Encores! Then came Chicago, a semi-staged performance so stupendously successful it practically leaped to Broadway, becoming the longest running revival in history and indeed the longest-running U.S. musical in history, full stop. Naturally, that went to Encores!'s head and it seemed many of the later musicals it showcased were auditions for Broadway rather than misfit toys given a showcase they otherwise would lack. 

Happily, that isn't the case with Dear World, which most definitely will not be returning to Broadway. Its plot is daft and the chances of this show enjoying a commercial run on the Great White Way are practically nil, even if composer Jerry Herman was the first person to have three musicals running simultaneously on Broadway. Did I say the plot was daft? Yes daft, implausible, silly, barely-there and then it's over. 



Yet the score has some gems, including "I Don't Want To Know" and the act one closer "One Person," a song so rat-a-tat emphatic in its cockeyed optimism you hear it once and think, "Now THAT'S a Jerry Herman song!" Others are just fine and fun to hear, like the kooky scene-setter "Through The Bottom Of The Glass," the sweet "And I Was Beautiful" and the tricky, complex interweaving of three songs by the madwomen of Paris in act two. Everyone is having a hoot and it's all presided over by Donna Murphy, script in hand (COVID kept her from many rehearsals), which somehow added to the charm of the evening. This nutty, rarely if ever to be seen show is precisely what Encores! is meant to do. Mind you, I also want to see its two week production of Oliver! which surely deserves to be back on Broadway. So sue me for inconsistency, which is precisely what makes Dear World such a nutty treat. 


Finally, I loved Love. We've heard a lot about writer/director Alexander Zeldin for years. He's a major player in the UK, where Zeldin is now an Associate Director at the National. His work is rooted in documentary but deeply theatrical, by which I mean he's not delivering docudrama or turning found text into a drama. In Love, he focuses on a homeless shelter. After a long time immersing himself in that world, Zeldin worked with people caught up in that circumstance, inviting them to workshops and hearing their stories. Then he transmuted all that lived experience into a work of art. How could this 2016 play just be making its New York City debut? And when will we see 2019's Faith, Hope and Charity? And what will he do next? First, Love is set around the holidays in a temporary shelter for people who are homeless and hoping for more permanent lodgings from the government. We see a middle-aged man caring for his elderly mother; a young couple caring for his two children from an earlier relationship, with one more baby on the way; a Syrian refugee just given asylum in the UK and a Sudanese woman who can only speak to her children on the phone. They're all quietly desperate. 



Then what happens? Very little, for the play doesn't traffic in melodrama. We get to know all the characters in ways large and small. But no major conflicts arise. No one is screwing up or revealed to be worse or better than we imagine. Everyone is just doing their best, getting by, trying to stay afloat. And that everyday reality is bone deep, thanks to the set, the lighting, the pinpoint direction and the marvelous performances that rarely seem like performances. The play just...happens. But it's so involving, the predicaments so worrisome, the stakes so very high that the 90 minutes feel more like nine minutes or perhaps nine hours. You're wrung out at the end, after an evening in which the audience is focused and as quiet in the face of this humanity as any audience could be. Its attention is riveted and thoroughly rewarded. I described it to someone as "brutal" and yet not to be missed. They knew what I meant, they went to see it and they loved it too. This is what theater strives to be but rarely achieves. 

Thursday, February 02, 2023

THE ALTERNATE GRAMMYS -- THE BEST ALBUMS OF 2022

Here's a look at the music I loved and listened to the most from 2022. If you enjoy the genre one of my picks is from, chances are it's worth a listen. Let me know what albums I'm missing! 

While you're here, check out my list of the Best Albums of All Time! You'll find my #1 pick for every year from 1924 to the Present. Then under each year you'll find a list of all the albums I love that first came out that year. 


THE BEST ALBUMS OF THE YEAR -- 1924 TO THE PRESENT 


Now, onto this year! First, I list my favorite albums. Then I list them again, with a few comments about why I love them. Below that you'll find links to my in-depth library of music, presented by artist and then to cap it off, my #1 picks of all time, with the latest lucky artist at the top. This year, that artist is...


 THE BEST ALBUMS OF 2022  








ELVIS COSTELLO -- The Boy Named If /The Resurrection of Rust 
HARRY STYLES -- Harry's House 
ESLABÓN ARMADO -- Nostalgia 
BARBRA STREISAND -- Live At The Bon Soir 
ROLLING STONES -- Live At The El Mocambo 
iLe -- Nacarile 
ALTAMEDA -- Born Losers 
TOMMY MCLAIN -- I Ran Down Every Dream 
CHARLIE GABRIEL AND THE PRESERVATION HALL JAZZ BAND -- 89 
WET LEG -- Wet Leg 
BUZZARD BUZZARD BUZZARD -- Backhand Deals 
TCHOTCHKE -- Tchotchke 
CÉCILE MCLORIN SALVANT -- Ghost Song 


WEYES BLOOD -- And In The Darkness, Hearts Aglow 
BAD BUNNY  -- Un Verano Sin Ti 
MIRANDA LAMBERT -- Palomino 
JÓHANN JÓHANNSSON -- Drone Mass 
LADY BLACKBIRD -- Black Acid Soul 
NOORI & HIS DORPA BAND -- Beja Power! Electric Soul & Brass From Sudan's Red Sea Coast  
THE LICKERISH QUARTET -- Threesome  
SILVANA ESTRADA -- Marchita
DR. JOHN -- Things Happen That Way 
JOEL ROSS -- The Parable Of The Poet 

VARIOUS ARTISTS -- Gotta Get A Good Thing Goin': Black Music In Britain In The Sixties 
ASHLEY MCBRYDE -- Presents Lindeville 
IAN NOE -- River Fools and Mountain Saints 
JULIA BULLOCK -- Walking In The Dark 
STEVE LACY -- Gemini Rights 
JUDY COLLINS -- Spellbound 
VARIOUS ARTISTS -- Black Panther: Wakanda Forever Music From And Inspired By
COLIN HAY -- Now and The Evermore 
OUMOU SANGARÉ -- Timbuktu 
DUNCAN SHEIK -- Claptrap 

GOGOL BORDELLO -- Solidaritine 
MADONNA -- Finally Enough Love: 50 Number Ones 
VIGÜELA -- A La Manera Artesana 
PANIC! AT THE DISCO -- Viva Las Vengeance 
BINKER & MOSES -- Feeding The Machine 
MEGHAN TRAINOR -- Takin' It Back 
ALEC BENJAMIN -- (Un)Commentary 
THE MOVERS -- Vol. 1: 1970-1976
MIDLAKE -- For The Sake Of Bethel Woods 
RENÉE FLEMING -- Voice Of Nature: The Anthropocene 



 THE BEST ALBUMS OF 2022 (a breakdown)  





1-10 (plus 3) 


ELVIS COSTELLO -- The Boy Named If /The Resurrection of Rust 

Check out my list of the best albums of all time and you'll see him year after year after year. From 1977 with his debut My Aim Is True to the 1980s with the infectious Get Happy! and the baroque Imperial Bedroom to the 1990s and the 2000s and the 2010s right up to today, Elvis Costello has consistently delivered great music for almost 50 years. Indeed, 18 albums and 1 EP of his have popped onto my "best of" lists over the years, often right near the top. Whether he's collaborating with Burt Bacharach or the Roots, exploring New Orleans jazz or singing with a classical quartet,  Costello is always fascinating, always great. His voice has a timbre all its own, cutting through with its nervy anger or gorgeous croon. Maybe those marvelous experimentations of recent years weren't quite your cup of tea. If not, The Boy Named If is your chance to dive right back in. Costello pounds it out with one great rock song after another. This is a mature, adult Costello, but any song on here would sound right at home in concert side by side with songs from This Year's Model. Remember when everyone assumed watching grown men try to rock out would be embarrassing? Surely the Rolling Stones would have to hang it up when they hit, say, 40 years old! Well, here's Costello at 68 sounding as brash and hungry as ever. Just to prove his consistency, Costello "reunites" his original band Rusty by bringing pal Allan Mayes into the studio to rerecord six songs their group covered back in the day. Like Tom Petty's late career reunion with Mudcrutch, it's not nostalgia or generosity here-- they sound damn good. But then, Elvis Costello always does.  


HARRY STYLES -- Harry's House 

Apparently, One Direction was a super group. All the lads enjoy solo success, with my money still on Niall Horan to break even bigger than he has so far. But clearly Harry Styles is the one. If 1D has a reunion, it will be because Harry decides they should. (And why not Harry; it would be fun.) His solo success wasn't fore-ordained. Sure, Harry co-wrote some of their songs (including the not-so-swift Taylor retort "Perfect"), but he wasn't the driving creative force any more than Robbie Williams was in Take That. Yet the band took a "break" and Harry turned out his debut solo album which was ok and then another one which was solid and now this. Yes, each album was better than the one before, with Styles working through his influences. But I still wasn't ready for the sonic delight on display here or the pop song-craft. Now he just sounds like...Harry Styles. It's quiet, sad, open-hearted and sometimes creepy. (Those lines "Cocaine, side boob/ Choke her with a sea view" contrast darkly with the sensitive soul listening to a friend's woes in "Matilda," for example.) And it's so compulsively listenable, with every track on side one sounding like a monster hit, not just the unstoppable "As It Was." All the songs were written by Styles with at least one collaborator, but they sure sound personal.  Maybe a good comparison is Carole King for its vibe of feeling confessional and universal at the same time. Here's hoping he can follow up this tapestry with a lot more like it. 


ESLABÓN ARMADO -- Nostalgia 

Combining the ethnic pride of ranchero with the socially conscious lyrics of norteño, the young band Eslabón Armado has -- wait. Actually I don't know a damn thing about Sierreña or how these guys combine the sounds they heard diving into their parents' album collections with one ear cocked to the radio. All I know is they hit the Billboard Album Top 10 chart, the first Regional Mexican artist to ever do so. That caught my attention. Thanks to streaming, I didn't have to agonize about spending $15 on a compact disc just to check them out. Two minutes after hearing about them, I'm nodding my head along with vocals that burst with charisma and acoustic guitar interplay that makes me yearn to see them in concert. And if you don't speak the language, don't worry. Just listen and you'll know they're having their hearts broken. (Or you can use Google Translate.)  I first listened to them back in May of 2022. Eight months later I'm still digging them, exploring their four earlier albums and wondering when they'll make it to Alabama and...hold on. A quick search shows they're playing Montgomery, Alabama on February 26! You know, the internet isn't all bad. 


BARBRA STREISAND -- Live At The Bon Soir 
ROLLING STONES -- Live At The El Mocambo 

Like a god, Barbra Streisand arrived fully formed during club dates in 1962. She had no learning curve; we had a learning curve to keep up with her. The vocal acrobatics, the humor, the insight into the lyrics, the performance of those lyrics akin to a great actor tackling a role, the pacing, the perfectionism, the taste in material...it was all there. These performances were unavailable for decades and naturally they grew in the telling. No actual recording could live up to the hype, except they do. Astonishing. 

In contrast, I've never hungered for any live albums from the Rolling Stones. I'm a Beatles fan in the great Stones vs. Beatles debate (as if one had to choose) and I've always loved the Beatles and merely appreciated the Stones. Never wanted to see one of their massive stadium shows, even if Mick and Keith can hold the attention of 80,000 fans whenever they want. But yeah, if I was going to see the Stones, I'd want it to be the impossible fantasy of a club date. Something like their Live At The El Mocambo performances from 1977. Ronnie Wood is new to the band and they've got something to prove and clearly a club is the place to prove it. Fans knew via bootleg these shows were special, but damn. It can make even a hold-out like me learn to love 'em. 


iLe -- Nacarile 
ALTAMEDA -- Born Losers 

Whew! I named iLe's album Almadura as the best album of 2019. Pretty bold to back such a young act. Her follow-up proves my faith in this Puerto Rican talent is well-founded. Not that anyone else is paying enough attention this time around. Similarly, Canadian act Altameda seems to be flying dangerously under the radar. With their third album, they are ready for the spotlight, having built on their first two albums and honed their chops in concert. Both acts are lyrically precise, musically captivating, alive. Either one could easily be the Act Of The Moment and I've loved them so much it's a shock to look online and discover precious little attention. Maybe college radio or some alternative Latin formats are embracing them? All I know is, you should. 

iLe's new album features a panoply of guest artists, but it feels as fully her own as ever. She's definitely in charge, twisting sexist comments back on the men who say them, embracing an image as "difficult" because what's wrong with knowing who you are and wrapping it all up in music as sonically adventurous as ever. It's a treat and a wake-up call at the same time. It took me a while to track it down, but the word "nacarile" means sort of being in a place that's the middle of nowhere and a slang way of saying "no, uh-uh, not happening." So iLe can't be tied down to this or that location or region or style of music. And no,  you're not going to forget her. Not happening. Nacarile. 

Altameda is a rock band. The opener on their latest album is "Dead Man's Suit," a song about a thrift store purchase that includes lyrics worthy of John Prine. The centerpiece "Everybody's Got To Bleed" has a Stones-like crunch. They portray females with empathy on "Ramona Retreat" (about a woman slipping away from her lover to return home for good) and "Sweet Susie." Really their third album feels more confident musically and lyrically than ever, from "Wheel of Love" to the title track (with guitar echoing George Harrison) and the gorgeous closer "In Time They Say." They nod to Dylan and the Band here and there. Like Springsteen, on "Nightmare Town" they detail with care the places that formed them, but at the same time convey the desperate desire to get the hell out of there. Wilco? The Jayhawks? Those are useful touchstones here. Like them and you'll probably like Altameda. Only 50 years of Elvis Costello's genius kept me from naming this rocker the best album of the year. If you're in the market for "favorite new band," Altameda is ready for you.


TOMMY MCLAIN -- I Ran Down Every Dream 
CHARLIE GABRIEL AND THE PRESERVATION HALL JAZZ BAND -- 89 

Oh I love a great backstory as much as anyone. Beloved but obscure act gets their moment of glory? Aging veteran given a showcase with the help of their more famous friends? Sign me up! So let me be clear. Both these albums came on my radar not because of their backstories but because my friend Sal said they were worth my time. I put them on the to-be-listened-to list and when I got around to them, I wasn't even sure why they were on the pile. But the moment the music starts, you know they're special. Tommy McLain has a long, funky career and here's the aging vet making the artistic statement of a lifetime. Charlie Gabriel is a key member of the legendary Preservation Hall Jazz Band. He plays multiple instruments, is revered in New Orleans and is releasing his debut album...at the age of 89. EIGHTY NINE! If that doesn't scream feature story for NPR and CBS Sunday Morning and the like, I don't know what does. But I knew NONE OF THIS when I played them. The wisdom, the strongly etched lyrics of McLain blew me away. The sheer beauty of Charlie Gabriel's playing on classic standards held me still. And then I checked out their stories. Just play them. McLain's is a treat. Gabriel mixes a few genial originals with some lovely versions of classic tunes. What exactly happens on his version of "Stardust" that makes me sigh with pleasure? He doesn't radically rework the song or deconstruct it with flair, the way John Coltrane blew apart "My Favorite Things." It's a simple duet with guitar and Gabriel on clarinet. He doesn't worry about a purity of tone. In fact, a few times, he allows a little distortion to show us he's only human, though by and large his sound is lovely here.  I think what makes it special is that the musicians clearly love this song. Maybe they've played it a thousand times but they're paying attention to it. And so we pay attention to them. Gabriel begins in an ever so sprightly manner and then at about the 1:08 mark, he clears his throat and launches into the main melody and it's just...heart-stopping.

And do check out Burning Wood, the music blog of my friend Sal Nunziato. He's turned me on to great new music over the years, almost as often as he's championed classic albums I need to listen to again or for the first time. His Top 10 albums of 2022 contain seven albums I also loved. So clearly he's got good taste...or I'm just cribbing from him. 

Also if you've got vinyl to sell, he's your man. (If you want to buy vinyl, he's got you covered there as well.)


WET LEG -- Wet Leg 
BUZZARD BUZZARD BUZZARD -- Backhand Deals 
TCHOTCHKE -- Tchotchke 

Okay, there's world music and hip hop and acts devising music that can catch your ear in ten seconds on TikTok. But don't worry. Kids will always grab some guitars, a drum, a bass and start pounding out \ rock and roll. Hence the pleasure of these three acts. Wet Legs got all the buzz and like any music consumer burned many times in the past by music industry hype, I wasn't jumping to check out a band suddenly buried in press clippings. I've seen that hustle before. But people with good taste kept mentioning them too and well, what the heck, why not give them a listen? Damn if Wet Leg isn't a blast with its meat and potatoes rock and roll, which is a compliment in my book. The star-making machinery might just as easily have singled out Buzzard Buzzard, Buzzard, a pretty obscure UK act. Wet Legs is deservedly touring the world and playing music festivals like Coachella. Meanwhile fellow UK act Buzzard Buzzard Buzzard (one of my least favorite band names; I mean, really guys?) is just as awesome and promising. They sing "Come on, rock on!" without irony, and who could ask for more than that.Their upcoming tour dates include...maybe some shows in Bristol in March?  And yet another act (this one with the cool name of Tchotchke) is also delivering the goods. They might actually slipstream behind Wet Legs since both are all-female acts, a still too rare occurrence in rock. Their album is more eclectic and pop-friendly than the others. But all three could set up their gear in your garage, plug in and thrash away to the delight of friends and neighbors. If you like Wet Leg, jump on the other two right away. 


CÉCILE MCLORIN SALVANT -- Ghost Song 

Cécile McLorin Salvant was already one of the boldest and most exciting jazz singers around, building on the brilliant, path-breaking recordings of Cassandra Wilson with her own singular vision. I named her album Dreams and Daggers the best of 2017. Now she's expanded even my idea of what a jazz vocalist might encompass with her latest, most theatrical album yet. It contains a clutch of originals sitting comfortably alongside  a number of songs you can only describe as "eclectic." It opens with an astonishing cover of Kate Bush's delirious debut single "Wuthering Heights," a song I love and yet never imagined someone else covering. You'll also find -- among others -- a very obscure song by Sting ("Until," a tune rescued from the soundtrack of the modest Hugh Jackman film Kate & Leopold), Kurt Weill's "The World Is Mean," a traditional number and "Optimistic Voices" from The Wizard of Oz. What's that? You thought you knew The Wizard of Oz and haven't heard of that song? Tell me about it. I was listening to the album when she sang it and without looking at the liner notes I just knew I was familiar with this song but I was damned if I could remember from where. It drove me nuts but I refused to look it up until finally my aging brain clicked into action. Dorothy is entering the Emerald City and a chorus of voices perkily delivers "Optimistic Voices," telling her how much she's really really going to like her time visiting there. You've heard it countless times and it's part of your subconsciousness, just sitting there until Salvant brings it up to the surface. Her great achievement is not reviving obscure gems or casting familiar songs in a new light. It's all of that and more -- an expansive embrace of popular music as broad as her vocal range. Salvant can do it all. And does. 

NOTE: It's been pointed out to me that Pat Benatar covered "Wuthering Heights" on her second album Crimes Of Passion, the best-selling album of her career. Bette Midler covered "Optimistic Voices" on her second album, 1973's Bette Midler. So take away my rock card and my gay card. 


11-20 


WEYES BLOOD -- And In The Darkness, Hearts Aglow 

A Seventies vibe, sure, but she's not retro. Weyes Blood is delivering a very distinctive body of work in the singer-songwriter but-I-know-what-I'm-doing-in-a-studio genre. You might just start with the album Titanic Rising (I really can't get the should-have-been-a-hit song "Everyday" out of my head). If you do, before you know it you'll be listening to this excellent follow-up as well. 


BAD BUNNY  -- Un Verano Sin Ti 

The artist of the year. We're in an era that devalues the album and hey, that's how music was heard for most of the past 100 years, with singles and a stream of music mattering more than the album, that unhip artistic statement of a 40 minute song cycle. For two or three years now, the singles and collaborations and albums of Bad Bunny kept coming and kept delighting. And I've had albums of his higher on my lists. I just wish I would hold up one of them and say, HERE! Start here. But you know, start here. 


MIRANDA LAMBERT -- Palomino 

Miranda Lambert really is astonishing, never putting a foot wrong. She pivots from an expansive double album to a Pistol Annies Christmas album to the stripped down Marfa Tapes and tosses off a couple of terrific studio albums before and after. Palomino is terrific. It doesn't explicitly echo any of her musical explorations alongside others. But you get the sense her palette is more varied than ever. I'll follow her anywhere. 


JÓHANN JÓHANNSSON -- Drone Mass 

A marvelous composer, Jóhannsson died too soon, so this is a posthumous release. He's best known for film scores, including the towering achievement of The Miners' Hymns, a brilliant documentary that combines archival footage with Jóhannsson's music to triumphant effect. (It was my favorite film of 2012.) Here he's composed a mass, a mass one might imagine is a requiem though it doesn't have the weighty sadness of such an enterprise. He's especially good at using voices in choral arrangements that are haunting and classical in nature. Clearly Jóhannsson enjoyed Arvo Pärt as much as anyone. But he's his own artist and this is perhaps a final reminder of how much we lost when he died in 2018. 


LADY BLACKBIRD -- Black Acid Soul 

I listened to Black Acid Soul. Vaguely retro soul music with a strong voice, but I've heard it all before. Months later, I put it on again and wow! How does it happen that an album can strike you so differently on a second listen? Suddenly, Lady Blackbird is an artist I'm dying to see in concert and tell friends about and anxiously hope she'll deliver the goods next time around. Because I want more music. A real talent and yet more proof that sometimes it not them, it's you. Keep an open ear. 


NOORI & HIS DORPA BAND -- Beja Power! Electric Soul & Brass From Sudan's Red Sea Coast  

What do I know about the music of Sudan? About as much as I know about ranchero. (Check out Eslabón Armado, above.) What do I know about the travails of the Beja people? Even less. Apparently music has been stifled and suppressed in Sudan in countless ways over the years. Maybe that's why this album is so joyous. This new band kicks out the jams and delivers world music, which is to say music for the world. Infectious, fun, compulsively listenable and when you hear it you'll want to learn more about Noori & His Dorpa Band. as well as Sudan and the Beja people. Or you can just dance to it. 


THE LICKERISH QUARTET -- Threesome  

Power pop heaven. I never listen to EPs but somehow I stumbled across an EP of this band. Damn it was good. Straightforward, catchy pop-leaning rock and roll with clever lyrics. In other words, power pop that's compulsively listenable. When would a proper album out? Months and months later a second EP appeared. I never listen to EPs but I listened to that one too and damned if it wasn't just as high in quality as the first. Finally, in 2023 the third and final EP in the trilogy came out. I'm retroactively declaring this an album (you can buy it on vinyl as such, I think or follow me on Amazon Music and click onto my playlist combining the three EPs) and putting it on this list now. The Raspberries, Fountains of Wayne and the like are good comparisons. Just terrific. But wait, there's more! After falling in love with them, I discovered they rose from the ashes of the legendary power pop band Jellyfish. That group released two beloved albums in the 1990s and then disappeared. And no, I'd never even heard of Jellyfish, much less heard them, if you follow me. Now I'm gaga for Bellybutton (1990) and Spilt Milk (1993) and you'll find them on my lists of the best albums of those years so I look like I was really cool and smart back in 1990, even though I wasn't. So check out The Lickerish Quartet and you'll discover two great bands for the price of one. 


SILVANA ESTRADA -- Marchita

It's not her debut  but singer-songwriter Silvana Estrada comes into her own with this Blue album of heartbreak. Estrada performs on the cuatro -- a sort of smallish guitar I'd never heard of before -- and it's the key instrument here, keeping the music intimate and folk-ish even as Estrada employs everything from an organ to a cello to complement the simple directness of her voice and her playing. Mesmerizing. 


DR. JOHN -- Things Happen That Way 

What a great country detour for Dr. -- kidding! It's not a country album. It's just a Dr. John album, the voodoo/bayou/New Orleans gumbo you expect from one of the city's most famous performers. Sure he covers some country classics like "Funny How Time Slips Away" and "I'm So Lonesome I Could Cry." But it's the swampy, soulful sound the Dr. has been prescribing to audiences for more than 50 years. He died in 2019 in the midst of recording this, but they must have been about to wrap things up because it sure sounds complete. It's a great, mellow capper to a marvelous career. How often can you tell people that if they want to check someone out, that the 33rd or so album he recorded is a great place to start? 


JOEL ROSS -- The Parable Of The Poet 

Entire sub-genres of jazz are devoted to spiritual matters. They can be searching, questioning works like A Love Supreme or they can offer solace and contemplation. That's what you get here with vibraphonist Joel Ross's new work. Ross composed seven movements, from Prayer to Benediction and assembled a terrific group of musicians to bring his piece to life, especially Immanuel Wilkins on alto sax. This isn't aural wallpaper, it's not soothing as such. But it does offer a calm and centeredness amidst the spiritual journey Ross embarks on. Apparently that journey is a self-effacing one: Ross is the guiding force here but his vibraphone is not front and center. You'll have to check out his other albums to savor it more, but after hearing this you'll be doing so. 



21-30 


VARIOUS ARTISTS -- Gotta Get A Good Thing Goin': Black Music In Britain In The Sixties 

What a terrific compilation. (By the way, kids, a "compilation" or "boxed set" is a sort of physical playlist. Someone came up with a terrific playlist but instead of just posting it online, they were so proud of it they put it out on vinyl or CD or cassette for all I know so people could buy it and put it on their shelf. Go figure!) As the subtitle says, it gathers Black music in Britain in the Sixties. As far as I can tell, these weren't by and large big hits in the Sixties, but the Northern Soul movement in the UK has long rediscovered relatively obscure songs and given them a second life. For example, the Flirtations had one modest Top 40 hit in the U.S. with "Nothing But A Heartache." Carl Douglas enjoyed a fluke novelty hit with "Kung Fu Fighting" in 1974...but six years earlier in 1968 he put out the memorable "Serving A Sentence Of Life." Nobody paid it any attention. They're both on here with a host of other songs by acts only hardcore enthusiasts would know. The full boxed set features more than 100 tracks, though only 30+ are available to stream on Amazon Music. (If you're obsessive like me, you can check out the track list and hear the rest by heading to YouTube or searching for individual acts on your streamer of choice.) The music is so fun, I haven't felt this giddy since diving into the Rhino Records boxed set Beg, Scream & Shout, a similar Aladdin's cave of riches. The acts here are not so hefty artistically as the better-known ones on that set, not by a country mile, yet both collections opened up vistas for me and kind of blew my mind. Gotta Get A Good Thing Goin' is a testament to just how much damn good music is out there. 


ASHLEY MCBRYDE -- Presents Lindeville 
IAN NOE -- River Fools and Mountain Saints 

The working class. The working poor. Poor people. Country and folk music is where you can dependably find them presented with affection and clarity of the "don't pull that shit with me, I know the game" variety. They know life is hard in country and folk, but that's no excuse. 

Ashley McBryde gathers a host of musicians to offer a variety show of sorts depicting regular folk. It's a hoot from the opening track, "Brenda Put Your Bra On." She leans heavily into the humor at first. But as her concept album deepens, so do the shadows until they're enjoying gospel night at a strip club and it's no joke when they sing "Jesus loves the drunkards and the whores and the queers." It's a prayer. 

Ian Noe is deadly serious in capturing the underbelly of serious poverty and despair. His folk-rock album River Fools and Mountain Saints is a series of short stories set in the heartland where the heart is in love with opioids, not love. If there's a swing set in the yard, it's rusted. Drunkards, veterans, mountain saint mothers who do what they must to get by and wouldn't know how to complain if it ever occurred to them to try -- they're all here. All here in songs that pierce the Appalachian haze with a spotlight because what else can you do but write it down? 


JULIA BULLOCK -- Walking In The Dark 

A rising classical star, soprano Julia Bullock does it right with her solo debut. Her husband Christian Reif conducts the London Philharmonic and accompanies her on piano. Composer John Adams called Bullock his muse so she returns the favor by including an aria from his work El Niño. The other major outing is "Knoxville: Summer Of 1915," which I forever associate with Dawn Upshaw. Other songs include the Connie Converse piece "One By One," a spiritual and even Sandy Denny's "Who Knows Where The Time Goes?" You might chide it for following the blueprint of such albums to a fault, if she didn't deliver the goods. 


STEVE LACY -- Gemini Rights 

While we wait for Maxwell's blacksummerNIGHT, this soulful and psychedelic offering will do just fine. Stevie Wonder is a heady but worthy comparison.


JUDY COLLINS -- Spellbound 

Late in her career, Judy Collins is on a hitting streak, knocking out one excellent album after another. Think Johnny Cash in his final days or Rosemary Clooney once she paired up with Concord Records. This 29th (!) studio album is the first on which Collins wrote all the songs. Well, no wonder, since she built her carer on showing great taste in the songs of others, ranging from Joni Mitchell and Stephen Sondheim to Leonard Cohen and beyond. When you've got a gift for uncovering gems by others, focusing on just your own songs might take a back seat. The happy surprise is how good her own songs are here. Forgive yourself if you didn't know better and kept wondering what talented songwriter Collins lit upon this time. And her voice is in fine form. Whatever agility or heights she has lost are more than made up for by knowing exactly how to use the instrument she has. 


VARIOUS ARTISTS -- Black Panther: Wakanda Forever Music From And Inspired By

Both times, I've enjoyed the soundtrack more than the film. The first one was overseen by Kendrick Lamar, wonderfully so. This time the soundtrack has a more expansive, world music scope, even if the song getting much of the attention is Rihanna's return to the spotlight. In many ways, it captures the vibe of the Black Panther ethos even better this time around. Instead of heavyweights stopping by, listening to it is like heading to Wakanda and discovering all sorts of riches you had no idea were available. 


COLIN HAY -- Now and The Evermore 

Zach Braff was right. Okay, I won't stick with just that one-liner. But Braff really has kept me on top of the solo career of Colin Hay, the Men At Work frontman who has delivered so many solo albums by now he really wishes we'd quit with the Men At Work references. But now you know who he is and that the mellow angst of "Overkill" wasn't a downer misstep by the band but a hint at the rich territory Hay would explore on his own. I enjoyed his recent covers album but this new collection of tunes might be his peak. Think solo Sting. 


OUMOU SANGARÉ -- Timbuktu 

The Mali singer Oumou Sangaré has nothing to prove after decades of vibrant recordings, social activism, a worldwide profile as a feminist leader and success as a businessperson. But here she is, heading to the US during the COVID lockdowns and recording a new album embracing elements of the blues and folk without ever abandoning the Malian sound that is at her core. It's fresh and exciting without ever stooping to an attempt at cross-over. Sangaré doesn't stoop, unless it's to help others up. 


DUNCAN SHEIK -- Claptrap 

Maybe it's the voice. Duncan Sheik sings and you lean in. His singing is intimate and confessional; his best album -- the Nick Drake-inspired Phantom Moon -- should be played as dusk settles into night. He sings and you want to hear what he's saying. Here, finally, he's discovering a sort of peace. Sheik's gone from struggling to catch his breath to struggling to understand the world around him. Maybe we're surrounded by love, he says. Maybe we can find an opportunity for grace. He's still searching but maybe he's more confident there's something worth finding. Claptrap? Not at all. 



31-40  


GOGOL BORDELLO -- Solidaritine 

Surely we're ALL ready for a loud, raucous new album championing Ukraine. It's from the NYC-formed punk band Gogol Bordello.  The lead singer is from Ukraine; it's named in part for the Ukrainian writer Nikolai Gogol; and like Goran Bregovíc's Wedding and Funeral Orchestra, the musicians are exuberant, seemingly prone to drinking, fervently inspired by the sounds of the Romani and ready to rock. Solidaritine  is political, angry, ferocious and about as much fun as you can have right now. Think The Pogues but not nearly so low-key. 


MADONNA -- Finally Enough Love: 50 Number Ones 

I can't review this boxed set. It contains the 50 #1 hits Madonna has achieved on the Billboard dance music charts, so far. No other artist has ever created 50 #1 hits in a single genre before. To my knowledge, no artist has ever created 50 different songs that have hit #1 even in multiple genres. That's remarkable. Scan the titles or start playing them and you won't even think about asking yourself whether you really like a song until you reach #25 or #28 or so. Madonna spins out one classic single after another and you're dazzled and -- if you're me -- slightly surprised at how well you know these specific mixes. I"m no club goer, never was, and yet many of these tweaks of her album tracks are familiar to me. Once I hit the last 15 or 20 songs, well then I'm in new territory, songs that didn't quite land with me or songs I actively disliked or simply weren't up to Madonna's standards. (Please don't tell her; she'd kick my ass.) And yet...and yet the versions contained here, the versions reimagined and rethought by some of the best in the business (and all undeniably still the songs she created) have me thinking twice about my opinion on the later, lesser songs. Still, I can't review it. I can't listen to dance music at home on my iPhone or even in my car driving down the road in Birmingham, Alabama. I need to head to New York City, re-open the Limelight, have a drink or two and then head to the dance floor preferably with a date dancing by my side while the deejay spins this album. Then and only then can I hear these songs in the context they deserve and know what I think about them.  Meanwhile, it's not too late for Madonna to clean up her discography and put out The Immaculate Collection Vol. 2, the much-needed follow-up to The Immaculate Collection, one of the most astute greatest hits compilations ever released. Separate the wheat from the chaff, Madonna and deliver a statement about the singles that matter.


VIGÜELA -- A La Manera Artesana 

Literally, music from la Mancha, Spain. A regional style that might evoke the Gipsy Kings to my ears, but Vigüela isn't interested in combining the music handed down to them with modern pop sounds.  They'll pound out percussion grabbing a tool from the barn or a spoon from the kitchen and get on with it. Neither approach is better or purer. All that matters is that they're passionate about what they're doing. The Gipsy Kings have that and so does Vigüela and so will you when listening to them. 


PANIC! AT THE DISCO -- Viva Las Vengeance 

My Chemical Romance. Fall Out Boy. Panic! At The Disco. These emo bands that listened to Queen and thought, hmm, what if we went bigger are all a blast. I'm a little bummed to hear Panic is calling it a day after this final tour. But it's become a solo vehicle for singer Brendan Urie and presumably he'll carry on under his own name in the future. So not to worry. For now, if you want propulsive music that takes you higher, if you know a crafty hook is just as important as a guitar solo, if you understand that stadium moves aren't selling out dude but precisely what they've been aiming for since singing along to the radio in their bedroom as kids, well dive into Viva Las Vengeance. 


BINKER & MOSES -- Feeding The Machine 

Saxophonist Binker Golding and drummer Moses Boyd are mainstays of the London jazz scene. Here they collaborate with synth wizard Max Luthert on a set of restless, freewheeling instrumentals that would sound right at home in the films of Davids Cronenberg or Lynch. Not that the vibe here is creepy; it's just mind-blowing and eager to take you on a ride. Golding blows away in sheets of sound, Boyd anchors it all when he's not flying off into orbit himself and Luthert is always there with shadings and loops and echos to make clear this is no ordinary set. It's free jazz and everything that doesn't interest me in jazz...except when it's this good. Anyone rightly enamored by the great recent work of Kamasi Washington, Immanuel Wilkins and the like should dive right in. 


MEGHAN TRAINOR -- Takin' It Back 
ALEC BENJAMIN -- (Un)Commentary 

Pure pop pleasure. Meghan Trainor lost her way a bit. But here she is hitting the sweet spot of catchy, memorable songs with a delightful retro vibe. Alec Benjamin was poised to break out when the pandemic upended everything. I'm not quite ready to declare any of his albums as great, but since I keep listening to them over and over there's clearly something going on. With both these acts, I have to admit that -- often enough -- passionate teenage fans know what they're talking about. 


THE MOVERS -- Vol. 1: 1970-1976

I headed to South Africa for a wedding over the New Year. As is my wont, I prepared by reading about a dozen novels and works of history about the country, watched some South African movies and dived back into the wealth of music I was introduced to in the wake of Paul Simon's Graceland. Happily, I also discovered some bands new to me, especially the groovy, organ-driven group The Movers, who flourished in the 1970s. Think Booker T & the M.G.'s and you'll get a good sense of what a blast these tracks can be. Don't hesitate. Seriously, start playing this right now. 


MIDLAKE -- For The Sake Of Bethel Woods 

Here is the obligatory reference to Midlake's The Trials Of Van Occupanther, one of the best albums of 2006 and a landmark of indie rock. Here is the obligatory reference to former lead singer Tim Smith, who left the group after 2010's The Courage of Others. He announced a new band called Harp and then got all The Las on us, trapping himself in the studio to seek that sonic perfection that always stays on the horizon, tantalizingly out of reach. Perhaps that's what drove his bandmates bonkers, who put out an entirely new album -- Antiphon -- just six months after he walked away. But then they took nine years before putting out For The Sake Of Bethel Woods, so maybe it's just something in the waters of Denton, Texas. Mind you, the members released five different side projects in recent years, so, they haven't been silent. But still, nine years! And just to shock everyone, Smith announced recently that yes, indeed, Harp will be putting out a proper album in 2023. Why should you care? Well, you're just admitting you haven't listened to The Trials of Van Occupanther, a moody atmospheric masterpiece following in the wake of R.E.M.'s Murmur and sitting comfortably alongside Fleet Foxes and the like. Get on that. Then you'll enjoy the British folkie vibe of The Courage Of Others and that will set you up to appreciate For The Sake Of Bethel Woods. Bethel Woods is a reference to Woodstock, which the late father of one of the member's attended as a youth, the same dad who appeared to him in a dream recently and said, "Hey, you should get the band back together." So they did. The result is a nifty opener, setting up the religious undertones of an album that celebrates family, friends and the music that knits them together. It's heart-warming, really, just to hear them again. In typical Midlake fashion, track 10 is "The End," but it's not the end. They have more to say with the next song, "Of Desire," confessing, "We're working it out/ But time can really, really play some tricks on us now." It's sweet and quiet until it explodes into the sound of six friends making a beautiful noise, simply because they can. 


RENÉE FLEMING -- Voice Of Nature: The Anthropocene 

Soprano Renée Fleming is in excellent form here, celebrating the natural world she found consolation in during lockdown. The "anthropocene" refers to the current era, when humanity's impact on the environment is undeniable. This isn't a requiem, even though the centerpiece and longest track is Nico Muhly's "Endless Space," which underlines and exclamation points the dire threat of the climate crisis. That's the only misstep on an otherwise faultless recital ranging from newly commissioned pieces to Romantic classics. Fleming is especially marvelous on French songs by Liszt and Fauré, her light precise vocals making you wonder anew at her instrument. Just to prove she can do anything, Fleming segues from some Edvard Grieg to her best new commission: the marvelous "Aurora Borealis" by Caroline Shaw. But she's not done yet, capping it off with a cover of Jackson Browne's "Before The Deluge" where she's joined by Alison Krauss and Rhiannon Giddens and sounds right at home. In that tune, almost everyone is swept away by nature's wrath, even as they sing, "Now let the music keep our spirits high/ And let the buildings keep our children dry." It's a prayer Jackson Browne sang in 1974. Some fifty years later, it's more urgent than ever. 



MUSIC LIBRARY LIST OF ALBUMS BY ARTIST 

Wondering what I think about Bruce Springsteen's body of work? Or where to start with Prefab Sprout (who?) or Frank Sinatra? Check out my list of albums, organized alphabetically by artist and then chronologically by album with a rating for each one. Under A-E you'll find ABBA to the Everly Brothers, from F to J Marianne Faithful to Damien Jurado, from K-O the Kaiser Chiefs to Buck Owens and so on. 





THE BEST ALBUMS OF ALL TIME (MY #1 PICK EACH YEAR 1924 TO THE PRESENT)


THE 2020s 

ELVIS COSTELLO -- The Boy Named If /The Resurrection of Rust (2022) 
FLOATING POINTS AND PHAROAH SANDERS -- Promises (2021)
A GIRL CALLED EDDY -- Been Around  (2020) 


THE 2010s

iLe -- Almadura (2019) 
BOBBIE GENTRY -- The Girl From Chickasaw County: The Complete Capitol Masters (2018) 
CÉCILE MCLORIN SALVANT -- Dreams And Daggers (2017) 
DAVID BOWIE -- Blackstar and Lazarus ep (2016 tie)
LEONARD COHEN -- You Want It Darker (2016 tie) 
SUFJAN STEVENS -- Carrie and Lowell (2015)
KAISER CHIEFS -- Education, Education, Education and War (2014)
JANELLE MONAE -- The Electric Lady (2013)
RUMER -- Seasons Of My Soul/Boys Don't Cry (2012)
FLEET FOXES -- Hopelessness Blues (2011)
THE TALLEST MAN ON EARTH -- The Wild Hunt (2010)


THE 2000s

THE AVETT BROTHERS -- I And Love And You (2009)
WILLIE NELSON AND WYNTON MARSALIS -- Two Men With The Blues (2008)
SHARON JONES AND THE DAP KINGS -- 100 Days 100 Nights (2007)
CORINNE BAILEY RAE -- Corinne Bailey Rae (2006 tie)
JAMES HUNTER -- People Gonna Talk (2006 tie)
SUFJAN STEVENS -- Illinois (2005)
GREEN DAY -- American Idiot (2004)
THE WHITE STRIPES -- Elephant (2003)
NORAH JONES -- Come Away With Me (2002)
MANU CHAO -- Proxima Estacion: Esperanza (2001)
EMINEM -- The Marshall Mathers LP (2000)


THE 1990s

DAVID GRAY -- White Ladder (1999)
BILLY BRAGG AND WILCO -- Mermaid Avenue (1998)
RADIOHEAD -- O.K. Computer (1997)
BECK -- Odelay (1996)
THE MAVERICKS -- Music For All Occasions (1995 -- tie)
ALISON KRAUSS -- Now That I've Found You: A Collection (1995 -- tie)
JOHNNY CASH -- American Recordings (1994)
CASSANDRA WILSON -- Blue Light 'Til Dawn (1993)
kd lang -- Ingenue (1992)
NIRVANA -- Nevermind (1991)
MADONNA -- The Immaculate Collection (1990)


THE 1980s

BEASTIE BOYS -- Paul's Boutique (1989)
PUBLIC ENEMY -- It Takes A Nation Of Millions To Hold Us Back (1988)
DOLLY PARTON, LINDA RONSTADT, EMMYLOU HARRIS -- Trio (1987)
PAUL SIMON -- Graceland (1986 -- tie)
VARIOUS ARTISTS -- The Indestructible Beat Of Soweto Volume One (1986 -- tie)
BARBRA STREISAND -- The Broadway Album (1985 -- tie)
PREFAB SPROUT -- Steve McQueen aka Two Wheels Good (1985 -- tie)
U2 -- The Unforgettable Fire (1984)
R.E.M. -- Murmur (1983)
BRUCE SPRINGSTEEN -- Nebraska (1982)
QUEEN -- Greatest Hits (1981)
JOHN LENNON AND YOKO ONO -- Double Fantasy (1980)


THE 1970s

THE CLASH -- London Calling (1979)
WILLIE NELSON -- Stardust (1978)
STEELY DAN -- Aja (1977)
STEVIE WONDER -- Songs In The Key Of Life (1976)
BOB DYLAN -- Blood On The Tracks/The Basement Tapes (1975)
RICHARD AND LINDA THOMPSON -- I Want To See The Bright Lights Tonight (1974)
BOB MARLEY AND THE WAILERS -- Catch A Fire/Burnin' (1973)
SIMON AND GARFUNKEL -- Greatest Hits (1972)
JONI MITCHELL -- Blue (1971)
RANDY NEWMAN -- 12 Songs (1970 -- tie)
HARRY NILSSON -- Nilsson Sings Newman (1970 -- tie)


THE 1960s

THE BEATLES -- Abbey Road (1969)
VAN MORRISON -- Astral Weeks (1968)
ARETHA FRANKLIN -- I Never Loved A Man (The Way I Love You) (1967)
THE BEACH BOYS -- Pet Sounds (1966 -- tie)
THE BEATLES -- Revolver (1966 -- tie)
BOB DYLAN -- Bringing It All Back Home/Highway 61 (1965)
STAN GETZ AND JOAO GILBERTO -- Getz/Gilberto (1964)
PATSY CLINE -- The Patsy Cline Story (1963)
RAY CHARLES -- Modern Sounds In Country and Western Music Vol 1 and 2 (1962)
BILL EVANS -- Sunday At The Village Vanguard/Waltz For Debby (1961)
ELLA FITZGERALD -- The Intimate Ella (1960)


THE 1950s

MILES DAVIS -- Kind Of Blue/Workin'/Porgy and Bess (1959)
ELVIS PRESLEY -- Elvis' Golden Records Vol. 1 (1958)
LERNER AND LOEWE -- My Fair Lady Original Broadway Cast (1957)
ELLA FITZGERALD -- Sings The Cole Porter Songbook (1956)
FRANK SINATRA -- In The Wee Small Hours (1955)
DINAH WASHINGTON -- Dinah Jams (1954)
PEGGY LEE -- Black Coffee (1953)
VARIOUS ARTISTS/HARRY SMITH -- The Anthology Of American Folk Music (1952)
HANK WILLIAMS -- 40 Greatest Hits (1951)
BILLIE HOLIDAY -- The Complete Decca Recordings (1944-1950) (1950)


THE 1940s

DJANGO REINHARDT -- Djangology 49 (1949)
HANK WILLIAMS -- 40 Greatest Hits (1948)
WOODY GUTHRIE -- Songs To Grow On: Nursery Days aka For Mother And Child (1947)
BING CROSY AND THE ANDREWS SISTERS -- Their Complete Recordings Together (1939-1951) (1946)
BING CROSBY -- Merry Christmas (1945)
RODGERS AND HAMMERSTEIN -- Oklahoma! (1944)
DUKE ELLINGTON -- The Carnegie Hall Concerts: January 1943 (1943)
FRANK SINATRA AND TOMMY DORSEY-- The Song Is You! 1940-1942 on RCA Victor (1942)
DUKE ELLINGTON -- The Blanton-Webster Band (1941)
DUKE ELLINGTON -- The Blanton-Webster Band/1937-1940 on Classics Label (1940)


THE 1930s

GLENN MILLER -- The Essential Glenn Miller (1939)
BENNY GOODMAN -- Benny Goodman At Carnegie Hall (1938)
BILLIE HOLIDAY -- The Quintessential Billie Holiday Vol 3-4 1936-1937 (1937)
ROBERT JOHNSON -- King Of The Delta Blues Singers Vol. 1 (1936)
BING CROSY -- Bing Crosby: His Legendary Years (1931-1957) [Decca 1934-1954] (1935)
BING CROSY -- Bing Crosby: His Legendary Years (1931-1957) [Brunswick 1931-1934; Decca 1934-1954] (1934)
BESSIE SMITH -- The Collection (1933)
THE MILLS BROTHERS -- The 1930's Recordings (1932)
BING CROSY -- Bing Crosby: His Legendary Years (1931-1957) [Brunswick 1931-1934] (1931)
DUKE ELLINGTON -- The OKeh Ellington 1927-1930/1924-1930 on Classics Label (1930)


THE 1920s

CHARLEY PATTON -- King Of The Delta Blues (1929-1934) (1929)
MISSISSIPPI JOHN HURT -- Avalon Blues: The Complete 1928 Okeh Recordings (1928)
HENRY THOMAS -- Bull Doze Blues (1927-1929)
LOUIS ARMSTRONG -- The Complete Hot Five And Seven Recordings (1927)
LOUIS ARMSTRONG -- The Complete Hot Five And Seven Recordings (1926)
LOUIS ARMSTRONG -- The Complete Hot Five And Seven Recordings (1925)
DUKE ELLINGTON -- 1924-1930 on Classics Label (1924) 

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