‘Oppenheimer’ Wins 7 Prizes, Including Best Picture, at the British Academy Film Awards 

Irish actor Cillian Murphy poses with the award for Best leading actor for his role in "Oppenheimer" during the BAFTA British Academy Film Awards ceremony at the Royal Festival Hall, Southbank Center, in London, on February 18, 2024. (AFP)
Irish actor Cillian Murphy poses with the award for Best leading actor for his role in "Oppenheimer" during the BAFTA British Academy Film Awards ceremony at the Royal Festival Hall, Southbank Center, in London, on February 18, 2024. (AFP)
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‘Oppenheimer’ Wins 7 Prizes, Including Best Picture, at the British Academy Film Awards 

Irish actor Cillian Murphy poses with the award for Best leading actor for his role in "Oppenheimer" during the BAFTA British Academy Film Awards ceremony at the Royal Festival Hall, Southbank Center, in London, on February 18, 2024. (AFP)
Irish actor Cillian Murphy poses with the award for Best leading actor for his role in "Oppenheimer" during the BAFTA British Academy Film Awards ceremony at the Royal Festival Hall, Southbank Center, in London, on February 18, 2024. (AFP)

Atom bomb epic "Oppenheimer" won seven prizes, including best picture, director and actor, at the 77th British Academy Film Awards on Sunday, cementing its front-runner status for the Oscars next month.

Gothic fantasia "Poor Things" took five prizes and Holocaust drama "The Zone of Interest" won three.

British-born filmmaker Christopher Nolan won his first best director BAFTA for "Oppenheimer," and Irish performer Cillian Murphy won the best actor prize for playing physicist J. Robert Oppenheimer, the father of the atomic bomb.

Murphy said he was grateful to play such a "colossally knotty, complex character."

Nolan noted that nuclear weapons are "a nihilistic subject and the film inevitably reflects that," telling the movie's backers: "Thank you for taking on something dark."

Emma Stone was named best actress for playing the wild and spirited Bella Baxter in "Poor Things," a steampunk-style visual extravaganza that won prizes for visual effects, production design, makeup and hair and costume design.

"Oppenheimer" had a field-leading 13 nominations, but missed out on the record of nine trophies, set in 1971 by "Butch Cassidy and the Sundance Kid."

It won the best film race against "Poor Things,Killers of the Flower Moon,Anatomy of a Fall" and "The Holdovers.Oppenheimer" also scooped trophies for editing, cinematography and musical score, as well as the best supporting actor prize for Robert Downey Jr., who played Atomic Energy Commission head Lewis Strauss.

Da’Vine Joy Randolph was named best supporting actress for playing a boarding school cook in "The Holdovers" and said she felt a "responsibility I don’t take lightly" to tell the stories of underrepresented people like her character Mary.

"Oppenheimer" faced stiff competition in what's widely considered a vintage year for cinema and an awards season energized by the end of actors’ and writers’ strikes that shut down Hollywood for months.

" The Zone of Interest," a British-produced film shot in Poland with a largely German cast, was named both best British film and best film not in English — a first — and also took the prize for its sound, which has been described as the real star of the film.

Jonathan Glazer's unsettling drama takes place in a family home just outside the walls of the Auschwitz death camp, whose horrors are heard and hinted at, rather than seen.

"Walls aren’t new from before or since the Holocaust, and it seems stark right now that we should care about innocent people being killed in Gaza or Yemen or Mariupol or Israel," producer James Wilson said. "Thank you for recognizing a film that asks us to think in those spaces."

Ukraine war documentary "20 Days in Mariupol," produced by The Associated Press and PBS "Frontline," won the prize for best documentary.

"This is not about us," said filmmaker Mstyslav Chernov, who captured the harrowing reality of life in the besieged city with an AP team. "This is about Ukraine, about the people of Mariupol."

Chernov said the story of the city and its fall into Russian occupation "is a symbol of struggle and a symbol of faith. Thank you for empowering our voice and let’s just keep fighting."

The awards ceremony, hosted by "Doctor Who" star David Tennant — who entered wearing a kilt and sequined top while carrying a dog named Bark Ruffalo — was a glitzy, British-accented appetizer for Hollywood’s Academy Awards, closely watched for hints about who might win at the Oscars on March 10.

The prize for original screenplay went to French courtroom drama "Anatomy of a Fall." The film about a woman on trial over the death of her husband was written by director Justine Triet and her partner, Arthur Harari.

"It’s a fiction, and we are reasonably fine," Triet joked.

Cord Jefferson won the adapted screenplay prize for the satirical "American Fiction," about the struggles of an African American novelist

Jefferson said he hoped the success of the movie "maybe changes the minds of the people who are in charge of greenlighting films and TV shows, allows them to be less risk-averse."

Historical epic "Killers of the Flower Moon," Leonard Bernstein biopic "Maestro," grief-flecked love story "All of Us Strangers" and class-war dramedy "Saltburn " all won nothing despite multiple nominations.

"Barbie," one half of 2023’s "Barbenheimer" box office juggernaut and the year’s top-grossing film, also came up empty from five nominations. "Barbie" director Greta Gerwig failed to get a directing nomination for either the BAFTAs or the Oscars, in what was seen by many as a major snub.

Britain’s film academy introduced changes to increase the awards’ diversity in 2020, when no women were nominated as best director for the seventh year running and all 20 nominees in the lead and supporting performer categories were white. However, Triet was the only woman among this year's six best-director nominees.

Before the ceremony, nominees, including Bradley Cooper, Carey Mulligan, Emily Blunt, Rosamund Pike, Ryan Gosling and Ayo Edebiri all walked the red carpet at London’s Royal Festival Hall, along with presenters Andrew Scott, Cate Blanchett, Idris Elba and David Beckham.

Guest of honor was Prince William, in his role as president of the British Academy of Film and Television Arts. He arrived without his wife, Kate, who is recovering from abdominal surgery last month.

The ceremony included musical performances by "Ted Lasso" star Hannah Waddingham, singing "Time After Time," and Sophie Ellis-Bextor, singing her 2001 hit "Murder on the Dancefloor," which shot back up the charts after featuring in "Saltburn."

Film curator June Givanni, founder of the June Givanni PanAfrican Cinema Archive, was honored for outstanding British contribution to cinema, while actress Samantha Morton received the academy’s highest honor, the BAFTA Fellowship.

Morton, who grew up in foster care and children’s homes, said that "representation matters."

"The stories we tell, they have the power to change people’s lives," she said. "Film changed my life, it transformed me, and it led me here today."



Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
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Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)

If one thing is certain about “Deadpool,” it’s that its titular hero, for reasons never explained, understands his place in the world — well, in our world.

Indeed, the irreverent and raunchy mutant is sure to belabor his awareness of the context in which he lives — namely an over-saturated, increasingly labyrinthine multibillion-dollar Marvel multiverse which spans decades, studios and too many films for most viewers to count.

From its inception, the “Deadpool” franchise has prided itself on a subversive, self-aware anti-superhero superhero movie, making fun of everything from comic books to Hollywood to its biggest champion, co-writer and star, Ryan Reynolds.

It’s no surprise then, as fans have come to expect, that the long-anticipated “Deadpool & Wolverine” further embraces its fourth wall-breaking self-awareness — even as it looks increasingly and more earnestly like the superhero movie blueprint it loves to exploit. That tension — the fact that “Deadpool” has called out comic book movie tropes despite being, in fact, a comic book movie — is somehow remedied in “Deadpool & Wolverine,” which leans into its genre more than the franchise’s first two movies.

Perhaps this gives viewers more clarity on its intended audience. After all, someone who hates superhero films — I’m looking at you, Scorsese — isn’t going to be won over because of a few self-deprecating jokes about lazy writing, budgets for A-list cameos and the overused “superhero landing” Reynolds’ Deadpool regularly refers to.

But this time around, director Shawn Levy — his first Marvel movie — seems to have found a sweet spot. Levy is surely helped by the fact that the third film in the franchise has a bigger budget, more hype and, of course, a brooding Hugh Jackman as Wolverine.

That anticipation makes their relationship, packed with hatred and fandom, all the more enticing. Their fight scenes against each other are just as compelling as their moments of self-sacrificial partnership in the spirit of, you guessed it, saving the world(s).

Speaking of worlds, there is one important development in our own to be aware of ahead of time. The first two “Deadpool” films were distributed by 20th Century Fox, whose $71.3 billion acquisition by the Walt Disney Co. in 2019 opened the door for the franchise to join the Marvel Cinematic Universe.

Perhaps unsurprisingly, “Deadpool & Wolverine” takes full advantage of that vast playground, which began in 2008 with Robert Downey Jr.’s “Iron Man” and now includes more than 30 films and a host of television shows. The acquisition is also a recurring target of Deadpool’s sarcasm throughout the movie.

Although steeped in references and cameos that can feel a bit like inside baseball for the less devoted, “Deadpool & Wolverine” is easy enough to follow for the casual Marvel viewer, though it wouldn’t hurt to have seen the first “Deadpool” and Jackman’s 2017 “Logan,” a harbinger of the increasing appetite for R-rated superhero violence. The Disney+ series “Loki” also gives helpful context, though is by no means a must watch, on the Time Variance Authority, which polices multiverse timelines to avoid “incursions,” or the catastrophic colliding of universes.

A defining feature of “Deadpool” has been its R rating and hyper violent action scenes. Whether thanks to more money, Levy’s direction or some combination of the two, these scenes are much more visually appealing.

But “Deadpool & Wolverine” does succumb to some of the deus ex machina writing that so often plagues superhero movies. Wade Wilson’s (the real identity of Deadpool) relationship with his ex (?) Vanessa is particularly underdeveloped — though it’s possible that ambiguity is a metaphor for Deadpool’s future within the MCU.

The plot feels aimless at points toward the end. One cameo-saturated battle scene in particular is resolved in a way that leaves its audience wanting after spending quite a bit of time building tension around it. While there are a few impressive stars who make an appearance, audiences may be disappointed by the amount of MCU characters referenced who don’t make it in.

The bloody but comedic final fight scene, however, is enough to perk viewers back up for the last act, solidifying the film’s identity as a fun, generally well-made summer movie.

The sole MCU release of 2024, “Deadpool & Wolverine” proves it’s not necessarily the source material that’s causing so-called superhero fatigue. It also suggests, in light of Marvel’s move to scale back production following a pandemic and historic Hollywood strikes, that increased attention given to making a movie will ultimately help the final product.