In Contention

Tag: Slumdog Millionaire

  • Dickens for today… ‘Slumdog’ meets the zeitgeist

    (from left) Azharuddin Mohammed Ismail and Ayush Mahesh Khedekar in Slumdog MillionaireNew York Times op-ed columnist Frank Rich has turned his focus toward Danny Boyle’s “Slumdog Millionaire” in a recent column detailing capitalistic corruption in America today and the hopelessness it breeds.  This is the kind of thing Best Picture winners tap into, folks

    Here are the opening graphs and the closer::

    During the Great Depression, American moviegoers seeking escape could ogle platoons of glamorous chorus girls in “Gold Diggers of 1933.” Our feel-good movie of the year is “Slumdog Millionaire,” a Dickensian tale in which we root for an impoverished orphan from Mumbai’s slums to hit the jackpot on the Indian edition of “Who Wants to Be a Millionaire.”

    It’s a virtuoso feast of filmmaking by Danny Boyle, but it’s also the perfect fairy tale for our hard times. The hero labors as a serf in the toilet of globalization: one of those mammoth call centers Westerners reach when ringing an 800 number to, say, check on credit card debt. When he gets his unlikely crack at instant wealth, the whole system is stacked against him, including the corrupt back office of a slick game show too good to be true.

    We cheer the young man on screen even if we’ve lost the hope to root for ourselves. The vicarious victory of a third world protagonist must be this year’s stocking stuffer. The trouble with “Slumdog Millionaire” is that it, like all classic movie fables, comes to an end — as it happens, with an elaborately choreographed Bollywood musical number redolent of “Gold Diggers of 1933.” Then we are delivered back to the inescapable and chilling reality outside the theater’s doors…

    We’ll keep believing, not without reason, that the whole game is as corrupt as the game show in “Slumdog Millionaire” — only without the Hollywood/Bollywood ending. We’ll keep wondering how so many at the top keep avoiding responsibility and reaping taxpayers’ billions while relief for those at the bottom remains as elusive as straight answers from those Mumbai call centers fielding American debtors.

    Check out the rest here.

  • 12/22 Oscarweb Round-up

    Marisa Tomei• The “Seven Pounds” dogpile continues. [/Film]

    • Ditto Baz Luhrmann and “Australia.” [Hollywood Elsewhere]

    • Regarding Luhrmann, Peter Bart warns the director away from F. Scott Fitzgerald’s “The Great Gasby.” [Peter Bart]

    • David Gritten talks to Danny Boyle and Simon Beaufoy about critics’ favorite “Slumdog Millionaire.” [Daily Telegraph]

    • Donna Freydkin spends some time with Marisa Tomei, makes this site’s editor insanely jealous. [USA Today]

    • Reed Tucker looks into Brad Pitt’s love affair…with David Fincher. [New York Post]

    • Mark Olsen spends some time with the Laurent Cantet regarding French Oscar entrant “The Class.” [Los Angeles Times]

    • On the “disturbing tendency” to portray Nazis in a sympathetic light on the big screen as of late. [The Times]

  • 12/20 Oscarweb Round-up

    Amy Adams• Darren Aronofsky interviews Danny Boyle about the technical aspects of “Slumdog Millioniare.” [/Film]

    • Erik Childress catches up with the season mid-way through the first phase. [eFilmCritic]

    • David Carr takes note of the big Universal trade spend.  Hey, if you’re going to decide against advertising with the lowly online types, you might as well make it count in traditional media. [The Carpetbagger]

    • Tom O’Neil gets together a bunch of us Oscar bozos to talk the Best Picture chances of “WALL-E.” [Gold Derby]

    • The film, meanwhile, tops Anne Thompson’s diverse list of the year’s best.  Oy. [Thompson on Hollywood]

    • Patrick Goldstein gives a few column inches to an under-the-radar documentary short, Leslie Iwerks’s “Downstream.” [The Big Picture]

    • The hull is breached!!  By the way, that’s Barry Dale JOHNSON.  Fact checker needed on aisle three. [Washington Post]

    • Noah Forrest podcasts it up with “Gomorrah” helmer Matteo Garrone. [Movie City News]

    • Donna Freydkin catches up with increasingly Oscar-likely Amy Adams. [USA Today]

    • Somehow this escaped me all week, but rest in peace Sam Bottoms. [Los Angeles Times]

    • Brent Simon spends a little quality time with “Nothing But the Truth” star Kate Beckinsale. [Vulture]

  • Detroit critics go for ‘Slumdog,’ Tomei neck-and-neck with Cruz with sixth win

    (Updated to amend tally error on my part.)

    I know I declared a moratorium on these until the dust settles, but I stumbled onto the list of winners for the Detroit Film Critics Society while compiling the master list and didn’t see them reported elsehwere yet, so here you go.  This list is significant to me, though, because Marisa Tomei has officially pulled up right along side of Penelope Cruz, winning her sixth critical kudo.  SAG sure is looking silly for that slight.

    The winners, via the DFCS website (nominees were announced Tuesday):

    Best Picture: “Slumdog Millionaire”
    Best Director: Danny Boyle, “Slumdog Millionaire”
    Best Actor: Mickey Rourke, “The Wrestler”
    Best Actress: Kate Winslet, “Revolutionary Road”
    Best Supporting Actor: Heath Ledger, “The Dark Knight”
    Best Supporting Actress: Marisa Tomei, “The Wrestler”
    Best Ensemble: “Frost/Nixon”
    Best Newcomer: Martin McDonough, writer/director, “In Bruges”

  • TECH SUPPORT: Best Original Song

    Tech Support at In ContentionAs I said a few weeks ago, I would not analyze the last “tech” category until the eligible entries had been announced. Now that the Academy has named 49 finalists for Best Original Song, and with the BFCA and HFPA rattling off their list of nominees (though they are, admittedly, not great predictors), the time seems appropriate to have an in depth look into the category.

    It’s a good mantra to say “there are no locks” in this field. Since the rules were changed three years ago, forcing voters to watch the songs in the context of the movie, some surprises have certainly been in store.  Nonetheless, there are two titles this year I’d be very surprised to see miss the cut.

    The first is Bruce Springsteen’s title track for Darren Aronofsky’s “The Wrestler.” One of the most deserving winners ever in this category (for “Streets of Philadelphia”), his ends credits track seems poised to bring him his third Oscar nomination. In addition to the song perfectly fitting the film, it is also simply a great tune.

    I expect Springsteen to battle it out for the win with “Down to Earth,” the “WALL-E” tune from Peter Gabriel and Thomas Newman.  Now here is a film whose performance in the precursors has absolutely shocked me (albeit in the best way possible). Gabriel has yet to have a hit with the Academy but he’s never written anything that was so Oscar friendly before either. And while Newman has yet to be nominated for a song, he’s never had a song in contention before and he’s also yet to win for his portfolio of classic scores.

    Admittedly, both these tunes only play at the end of the movie, over the credit roll. This seems to have become a disadvantage in recent years. But I still would be surprised if either title failed to make the cut when all is said and done.

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  • Best in show: the year in superlatives

    Cate Blanchett in The Curious Case of Benjamin ButtonThe year is slowly coming to a close, and after this week’s year-in-review pieces, I’m happy to see so much healthy and spirited discussion on my humble picks for the year’s best films.  Today I’m wrapping all of that up with a list of superlatives, some of them in your usual categories, the staples, some of them in a couple of, oh, let’s call it “fun” arenas that I like to mix in year in and year out.

    I should note, however, that Nathaniel Rogers at The Film Experience is the king at this stuff.  His annual “Film Bitch Awards” are a must-read.  Here’s last year’s set.

    So with that, let’s get into the awards.  I used to call these the “In Contention Awards,” but I don’t think that’s fair anymore now that we have a slew of contributors.  So I’ll let them speak to their favorites at their leisure.  These reflect my views of the season and mine only.  You know the Best Picture champ, of course, but beyond that, I hope you enjoy the rundown.  Just keep the (inevitable) disagreement friendly:

    Best Picture
    “Slumdog Millionaire” (Fox Searchlight Pictures/Warner Bros. Pictures)

    Best Director
    Danny Boyle, “Slumdog Millionaire”

    Best Actor
    Mickey Rourke, “The Wrestler”

    Best Actress
    Cate Blanchett, “The Curious Case of Benjamin Button”

    Best Supporting Actor
    Heath Ledger, “The Dark Knight”

    Best Supporting Actress
    Samantha Morton, “Synecdoche, New York”

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  • ‘Slumdog,’ ‘Hunger,’ ‘Happy’ rule London crix nods

    Sorry for following up on this so long after Kris’ teaser… what can I say? It’s Christmas party central round these parts.

    Anyway, the London Film Critics’ Circle Awards are a bit of an odd duck in the kudos calendar, but not an uninteresting one. They tend to try to have their cake and eat it — honouring both British and international achievements in categories that seem segregated at first glance, but actually aren’t. So this year, you’ll see Danny Boyle crop up in both the Director of the Year and British Director of the Year fields. The same goes for Kate Winslet in the actress races. (They also hedge their bets there, nominating her jointly for “Revolutionary Road” and “The Reader.”)

    Meanwhile, only one screenwriting category exists, while only British actors are singled out for supporting honours. Which is why non-British supporting players like Heath Ledger and Penelope Cruz are competing in the Actor and Actress of the Year categories, respectively — so don’t get too excited about that. (Meanwhile, the Brit supporting categories are a real stretch… I mean, Toby Jones?)

    If you’re confused, I don’t blame you. It’s a haphazard system, but nonetheless, when you dig through the nominations there’s some real gold to be found. The nod for Tilda Swinton’s extraordinary work in Eric Zoncka’s “Julia” is truly inspired, while one has to applaud the anti-herd mentality that leads to such inclusions as Josh Brolin for “W.” or Terence Davies in the British Director category. Compared to the dull-as-dishwater SAG nominees foisted upon us this morning, at least there’s a little initiative at play here.

    More commentary, and a full list of nominees, after the cut.

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  • Academy shortlists 49 original songs

    High School Musical 3… and 11 of them (count ’em) are from “High School Musical 3: Senior Year.” That’s over a fifth of the contenders, so I’m guessing the folks at Disney will be pretty mortified if at least one of them doesn’t make the final five.

    And hell, one of them should. I’m not too snobbish to admit that “HSM3” is an immaculately produced entertainment that succeeds squarely on its own terms, and the same goes for its song score. Those songs are certainly a lot more integral to the film than, say, Peter Gabriel’s track for “WALL-E.” Credit where it’s due.

    Otherwise everything that you’d expect to be on the list is there — including the tracks from “The Wrestler,” “Slumdog Millionaire” (nice to see “O Saya” listed as well as “Jai Ho”) and “Synecdoche, New York,” which I know has a lot of fans (myself included) on this site. Elsewhere, I’m happy to see Jenny Lewis’ cute ditty for “Bolt” contending alongside Miley Cyrus’s composition — though to be honest, I’m just happy to see Jenny Lewis in any context.

    Some will be surprised by the exclusion of Jennifer Hudson’s “Sex and the City” ballad “All Dressed in Love,” but it was closing credits filler, and godawful at that.

    As for predictions, one must bear in mind that the Academy has frequently gone its own way in this category over the last few years, nominating songs that weren’t on anyone’s radar, much less any precursor lists. (Think “Raise It Up” last year, or the French-language “Look to Your Path” in 2005.)

    I’m thinking Norah Jones’ pretty, easygoing “The Story” from the otherwise ill-fated “My Blueberry Nights” will be right up their alley: throwback sound, credible middle-of-the-road artist, story-serving song from a film with a strong musical theme. Bullseye.

    I’ve also been predicting for months that the rousing title song from “Trouble the Water” will surprise in this category, so I’m chuffed to see it crop up here. It’s a terrific hip-hop track with a great story behind it — it’s by Kimberly Rivers Roberts, the struggling rap artist whose remarkable personal narrative, overcoming the horrors of Hurricane Katrina, forms the heart of the film. It’d be pretty damn inspiring to see her perform on the Oscar stage come February, and I have a hunch the Academy’s music branch (who have become more receptive to hip-hop in recent years) will feel the same way.

    Full list after the cut.

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  • And the critics just keep on coming

    Thanks to AwardsDaily, ever on the ball, for pointing out yet another set of critics’ awards, this time the Phoenix Film Critics Society. Somebody stop the madness!

    Anyway, more gongs for “Slumdog,” “Let the Right One In,” Danny Boyle, Sean Penn, Heath Ledger zzzzzzzzz…

    Sorry, dozed off there. But hey, any “In Bruges” love is good love. The full (and very long) list after the cut, including such exciting categories as Best Live-Action Family Film. Enjoy:

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  • The Sans weigh in

    Francisco and Diego, that is. Anyone else think there are a tad too many critics’ awards floating around out there? Seriously, what do they all mean? New York, Los Angeles, Boston and the National Society are the only ones that really register with me… maybe Chicago, if I’m feeling generous.

    The rest really kind of blur into one, particularly when they elect the same winners over and over again. Anyway, you won’t be surprised to hear that the San Franciscans went for “Milk” in a big way, while San Diego continued the lovefest for “Slumdog Millionaire.”

    The San Francisco picks:

    Best Picture: “Milk”
    Best Director: Gus Van Sant, “Milk”
    Best Actor: Sean Penn, “Milk” & Mickey Rourke, “The Wrestler”
    Best Actress: Sally Hawkins, “Happy-Go-Lucky”
    Best Supporting Actor: Heath Ledger, “The Dark Knight”
    Best Supporting Actress: Marisa Tomei, “The Wrestler”
    Best Original Screenplay: Dustin Lance Black, “Milk”
    Best Adapted Screenplay: Peter Morgan, “Frost/Nixon”
    Best Foreign Language Film: “Let the Right One In”
    Best Documentary Feature: “My Winnipeg”
    Best Cinematography: Wally Pfister, “The Dark Knight”

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  • Critics, critics, critics…

    I’ve been out all day long so I haven’t been able to post, let alone comment on the array of awards that were dished out today (beyond the Golden Satellites).  Luckily, Sasha Stone and Ryan Adams are, as always, on top of it, so check out their posts regarding the St. Louis winners (topped by “The Curious Case of Benjamin Button”), the Southeastern Film Critics nominees (with a top 10) and the Alliance of Women Film Journalists Awards (with high marks for “Slumdog Millionaire”).

    Tom O’Neil also has some brief commentary on the multitude of kudos at Gold Derby.  Just nevermind the unnecessary Sean Penn swipe.

    Truthfully, it’s all running together in my head now.  Too many to count.

  • Runnin’ on empty: the best films of 2008

    Javier Bardem and Rebecca Hall in Vicky Cristina BarcelonaJust to say it once more, because I’ve certainly brought it up enough, 2008 was not a good year for film-goers.

    That’s an incredibly subjective quip, of course, but I certainly found myself struggling with the level of quality on display with each and every screening, the oasis of the Oscar season ultimately proving to be a trickster mirage on the horizon as contenders ultimately fell flat or disappointed in various ways. And suddenly, we’re two weeks away from 2009.

    Who let the goods out?

    But a year lacking broad quality can be a fun “Where’s Waldo” for the impassioned film lover, and so it is that I found some truly wonderful, praise-worthy work from a number of driven and creative filmmakers this year. But a peculiarity began to arise as I sifted through the year’s offerings: What a load of downer cinema.

    I first noticed it in the documentary offerings, heavier on morose subject matter than any other year I can remember. Depictions of the horrors of Katrina, the passionate life and tragic death of a Neil Diamond impersonator, the work of a journalist obsessed with his own inevitable suicide, the nation’s stance on the death penalty, the life and times of a child molester, a heart-breaking family drama in St. John’s, Newfoundland, a national economy on life support, despicable soldier etiquette at our global detention facilities -– it is hardly surprising that the most well-received documentary of the year is a celebration of an “artistic crime” in James Marsh’s “Man on Wire.” But how odd that the genre’s resident cynic, Werner Herzog, was responsible for one of the few other positive doc titles that made the rounds this year?

    Moving into the realm of fiction, even the usually jubilant folks at Pixar couldn’t help but crank out their most sobering film to date, a cautionary tale wrapped in the guise of a love story that conveyed a creepy sense of inevitability despite a hopeful denouement.

    I bring these observations up for a reason, and that is to add some perspective to the list you’ll find below. 2008 was a bellwether for me personally as I began to let the idea of “best” as a definitive slip away and become something more akin to a solid if flexible representation of the times, and how those times affect the viewer.

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  • ‘Dark Knight’ and ‘Slumdog’ lead list of Chicago critics nominees

    Nothing in the way of major surprises, but I’m stoked for the “Let the Right One In” love.  The rundown:

    Best Picture
    “The Curious Case of Benjamin Button”
    “The Dark Knight”
    “Milk”
    “Slumdog Millionaire”
    “WALL-E”

    Best Director
    Danny Boyle, “Slumdog Millionaire”
    David Fincher, “The Curious Case of Benjamin Button”
    Christopher Nolan, “The Dark Knight”
    Andrew Stanton, “WALL-E”
    Gus Van Sant, “Milk”

    Best Actor
    Clint Eastwood, “Gran Torino”
    Richard Jenkins, “The Visitor”
    Frank Langella, “Frost/Nixon”
    Sean Penn, “Milk”
    Mickey Rourke, “The Wrestler”

    Best Actress
    Anne Hathaway, “Rachel Getting Married”
    Sally Hawkins, “Happy-Go-Lucky”
    Angelina Jolie, “Changeling”
    Melissa Leo, “Frozen River”
    Meryl Streep, “Doubt”

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  • ‘Slumdog,’ ‘WALL-E’ tie for top honors with Beantown critics

    Two ties from the Boston crowd, actually.  In big categories.  Have some balls.  Take a stand.  Anyway, Sally Hawkins gets yet another boost, while “Man on Wire” remains the only (boringly) undefeated contender so far.

    Here’s the list:

    Best Picture: (tie) “Slumdog Millionaire” and “WALL-E”
    Best Director: Gus Van Sant, “Milk,” “Paranoid Park”
    Best Actor: (tie) Sean Penn, “Milk” and Mickey Rourke, “The Wrestler”
    Best Actress: Sally Hawkins, “Happy-Go-Lucky”
    Best Supporting Actor: Heath Ledger, “The Dark Knight”
    Best Supporting Actress: Penélope Cruz, “Vicky Cristina Barcelona”
    Best Screenplay: “Milk”
    Best Cinematography: “Paranoid Park”
    Best Documentary: “Man on Wire”
    Best Foreign-Language Film: “Let the Right One In”
    Best Animatd Film: “WALL-E”
    Best Film Editing: “Slumdog Millionaire”
    Best New Filmmaker: Martin McDonough, “In Bruges”
    Best Ensemble Cast: “Tropic Thunder”

  • 12/12 Oscarweb Round-up

    (from left) Ben Stiller aand Robert Downey Jr. in Tropic Thunder• Sean Penn writes in support of dictators Hugo Chavez and Raul Castro. [The Nation]

    • James Kirchick skewers him as “a friend to gays and anti-gay dictators alike.” [The Advocate]

    • And Patrick Goldstien is right on top of it. [The Big Picture]

    • Earlier, Goldstein calls the Golden Globes “the ultimate Hollywood fantasy.” [The Big Picture]

    • Speaking of the Globes, Rachel Abramowitz sees the nominations for Tom Cruise, Robert Downey Jr. and James Franco as “recognition…of that Apatow brand of ribald comedy.” [The Envelope]

    • Susan King, meanwhile, talks to a couple of actors who’ve taken on the task of portraying Richard Nixon on the big and small screens. [The Envelope]

    • Simon Beaufoy recalls the inspiration for “Slumdog Millionaire” on the streets of Mumbai. [The Guardian]

    • Meanwhile, safely landed back east, David Carr gets Danny Boyle on the phone for reaction to the film’s HFPA acknowledgments. [The Carpetbagger]

    • British talent glitters at the Golden Globes. [The Independent]

    • Eugene Hernandez and Peter Knegt go back and forth on the week in critics kudos. [indieWIRE]

    • Brad Brevet chats with “Wrestler” director Darren Aronofsky. [Rope of Silicon]

    • Kevin Kelly talks to “Reader” screenwriter David Hare. [Spout Blog]

    • T.L. Stanley spotlights Sarah Jessica Parker’s “Sex and the City” Globe snub. [Gold Rush]

    • With “Doubt” releasing, Susan Wloszczyna looks at nuns on the big screen. [USA Today]

    • If Christopher Nolan won’t do a “Dark Knight’” DVD commentary, we’ll step up to the plate. [The Movie Blog]

  • Golden Globes: ‘Slumdog,’ ‘Button’ steady…whither ‘Milk?’

    Well, I said yesterday one should always expect oddities with the Golden Globes … but even with that in mind, they never fail to pull out some genuine “WTF” moments.

    Tom Cruise’s goofy Best Supporting Actor nod for “Tropic Thunder” may have been the most eccentric revelation of the morning, but surely the most significant shocker is the absence of “Milk” — presumed by many to be “Slumdog Millionaire”‘s chief rival in the Oscar race — in the Best Picture (Drama) category.

    The shut-out proved even more blatant when neither Josh Brolin nor James Franco, who have been making healthy progress in the precursors, landed in the Supporting Actor race. Still processing that one — right now, I can’t think of a suitable theory to explain its absence. (But hey, at least Franco landed a left-field comedy-category nod for “Pineapple Express” … I think I know one guy who will be stoked with that.)

    The producers of “Slumdog Millionaire” will no doubt be thrilled by the news, as will those of “The Curious Case of Benjamin Button,” which claws back some momentum after taking a knock in this week’s precursors. In an unusually spread-out slate, “Button” and “Frost/Nixon” lead the pack of Best Picture nominees, with 5 nods apiece — I must admit I never expected the latter to be a field leader. (Meanwhile, in yet another of the morning’s oddities, their tally is equalled by the Best Picture-omitted “Doubt.”)

    Some will be surprised by the failure of “The Dark Knight” to land Picture or Director nods, though I personally didn’t see the film the registering that strongly with the Foreign Press.

    On the other hand, I naively failed to foresee that Harvey Weinstein would work his magic once more on the organisation — Kris’ prediction of a strong showing for “The Reader” was right on the money. Meanwhile, despite whispers that the HFPA wasn’t all that keen on “Revolutionary Road,” the nominations tell a different story. The nod for Sam Mendes is one I find particularly surprising; Paramount Vantage will no doubt heave a huge sigh of relief after a terrible precursor week that saw the film blanked in the Broadcast Film Critics’ nominations.

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  • Backlash on backlash

    Quite why certain factions have taken it upon themselves to heap such scorn upon “Slumdog Millionaire,” a film that I thought had to rank among the year’s most likeable, is something that escapes me. Who’d be a frontrunner, eh?

    Anyway, I was glad to read the Vulture wags take on the “Slumdog” backlash with typically acidic wit. This particular entry in their facetious list of the film’s cons had me snorting my tea through my nose:

    Not WWII-y enough: Were you aware that Slumdog Millionaire is one of the few films coming out this fall that doesn’t feature Nazis? Is Danny Boyle trying to make us forget the Holocaust?

    Brilliant. The rest here.

  • ‘Milk,’ ‘Happy’ win big with NYFCC

    Sally Hawkins in Happy-Go-LuckyThe Best Picture victory for “Milk” is going to be the lede for most people as far as today’s New York Film Critics Circle awards is concerned, but the bigger story is “Happy-Go-Lucky,” which finds itself right back in the thick of the Oscar conversation.

    The group handed Mike Leigh and Sally Hawkins honors for Best Director and Best Actress respectively for the film.  This marks the second award in as many days for both.  Leigh won the screenplay award yesterday with the Los Angeles Film Critics Association and Hawkins was also singled out for her performance.

    But back to “Milk,” I was a little surprised to see the film do so well here, also taking honors for Best Actor (Sean Penn) and Best Supporting Actor (Josh Brolin).  It’s a slightly more populist opinion from a crowd that likes to be fringe, though Jenny Lumet’s screenplay win for “Rachel Getting Married” was anything but a shock.

    Penelope Cruz continued her expected steamroll through the Oscar season with yet another supporting actress win (she won with LAFCA as well), while “WALL-E” surprised no one with a victory as Best Animated Film.  Meanwhile, Anthony Dod Mantle, who came in as a runner-up with the L.A. critics for his work behind the camera on “Slumdog Millionaire,” happened to walk away with the honor today.

    “Man on Wire” took honors for Best Documentary, while “4 Months, 3 Weeks and 2 Days” won for Best Foreign Film.

    It was yet another day of snubs for “Revolutionary Road,” which turned up with zero nominations from the BFCA and no mentions from the L.A. critics.  And a film that has suddenly become a real threat as the first major precursors have begun to arrive, “The Dark Knight,” hit an expected roadblock with the Gotham crew, finding no love in any category.  Slightly more surprising, however, is the lack of recognition for Darren Aronofsky’s “The Wrestler.”  But I have a hunch it was in the hunt throughout, maybe just coming up short in this category or that.

    (Full list of winners after the jump.)

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