The Los Angeles Film Critics Association Awards split the difference on its Best Picture award, naming “Everything Everywhere All At Once” and “Tar” in a tie.
Although surprising, the tie was not shocking. The LAFCA has done it four other times: 1975, its inaugural year, with “Dog Day Afternoon” and “One Flew Over Cuckoo’s Nest”; 1976, with “Network” and “Rocky”; and 2013, with “Her” and “Gravity.” The organization has arguably a better record of syncing up with Oscar’s ultimate Best Picture winner than some New York awards orgs, i.e.
some recent examples of their Best Picture Winners lining up with AMPAS include 2019’s Parasite, 2016’s Moonlight, 2015’s Spotlight, 2009’s The Hurt Locker.
However, one thing about LAFCA — they’re not afraid to go rogue: I.E. 1985 when they anointed Terry Gilliam’s carnivalesque, trippy epic Brazil Best Picture and Best Director; the filmmaker having made his war with Universal over the film, fresh meat for the trades.
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