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bolllywoodhungama · 3 months

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Critics Choice Awards 2024: Christopher Nolan, Oppenheimer, Barbie, Succession, The Bear lead the wins

The Critics Choice Awards 2024 celebrated cinematic and television excellence on Sunday night, January 14, 2024. Chelsea Handler returned as the host for the evening. Christopher Nolan’s Oppenheimer shone, securing eight wins, including Best Picture and Best Director though Cillian Murphy missed the Best Actor win. Greta Gerwig’s Barbie claimed six awards, winning in categories like Best Comedy and Best Original Screenplay. Emma Stone earned Best Actress for Poor Things. On the TV front, Succession, The Bear, and Beef led the wins.

FILM BEST PICTURE American Fiction Barbie The Color Purple The Holdovers Killers of the Flower Moon Maestro Oppenheimer - WINNER Past Lives Poor Things Saltburn

BEST ACTOR Bradley Cooper, Maestro Leonardo DiCaprio, Killers of the Flower Moon Colman Domingo, Rustin Paul Giamatti, The Holdovers - WINNER Cillian Murphy, Oppenheimer Jeffrey Wright, American Fiction

BEST ACTRESS Lily Gladstone, Killers of the Flower Moon Sandra Hüller, Anatomy of a Fall Greta Lee, Past Lives Carey Mulligan, Maestro Margot Robbie, Barbie Emma Stone, Poor Things - WINNER

BEST SUPPORTING ACTOR Sterling K. Brown, American Fiction Robert De Niro, Killers of the Flower Moon Robert Downey Jr., Oppenheimer - WINNER Ryan Gosling, Barbie Charles Melton, May December Mark Ruffalo, Poor Things

BEST SUPPORTING ACTRESS Emily Blunt, Oppenheimer Danielle Brooks, The Color Purple America Ferrera, Barbie Jodie Foster, Nyad Julianne Moore, May December Da'Vine Joy Randolph, The Holdovers - WINNER

BEST YOUNG ACTOR/ACTRESS Abby Ryder Fortson, Are You There God? It's Me, Margaret. Ariana Greenblatt, Barbie Calah Lane, Wonka Milo Machado Graner, Anatomy of a Fall Dominic Sessa, The Holdovers - WINNER Madeleine Yuna Voyles, The Creator

BEST ACTING ENSEMBLE Air Barbie The Color Purple The Holdovers Killers of the Flower Moon Oppenheimer - WINNER

BEST DIRECTOR Bradley Cooper, Maestro Greta Gerwig, Barbie Yorgos Lanthimos, Poor Things Christopher Nolan, Oppenheimer - WINNER Alexander Payne, The Holdovers Martin Scorsese, Killers of the Flower Moon

BEST ADAPTED SCREENPLAY Kelly Fremon Craig, Are You There God? It's Me, Margaret. Andrew Haigh, All of Us Strangers Cord Jefferson, American Fiction - WINNER Tony McNamara, Poor Things Christopher Nolan, Oppenheimer Eric Roth and Martin Scorsese, Killers of the Flower Moon

BEST ORIGINAL SCREENPLAY Samy Burch, May December Alex Convery, Air Bradley Cooper & Josh Singer, Maestro Greta Gerwig & Noah Baumbach, Barbie - WINNER David Hemingson, The Holdovers Celine Song, Past Lives

BEST CINEMATOGRAPHY Matthew Libatique, Maestro Rodrigo Prieto, Barbie Rodrigo Prieto, Killers of the Flower Moon Robbie Ryan, Poor Things Linus Sandgren, Saltburn Hoyte van Hoytema, Oppenheimer - WINNER

BEST PRODUCTION DESIGN Suzie Davies, Charlotte Dirickx, Saltburn Ruth De Jong, Claire Kaufman, Oppenheimer Jack Fisk, Adam Willis, Killers of the Flower Moon Sarah Greenwood, Katie Spencer, Barbie - WINNER James Price, Shona Heath, Szusza Mihalek, Poor Things Adam Stockhausen, Kris Moran, Asteroid City

BEST EDITING William Goldenberg – Air Nick Houy – Barbie Jennifer Lame – Oppenheimer - WINNER Yorgos Mavropsaridis – Poor Things Thelma Schoonmaker – Killers of the Flower Moon Michelle Tesoro – Maestro

BEST COSTUME DESIGN Jacqueline Durran, Barbie - WINNER Lindy Hemming, Wonka Francine Jamison-Tanchuck, The Color Purple Holly Waddington, Poor Things Jacqueline West, Killers of the Flower Moon Janty Yates, David Crossman, Napoleon

BEST HAIR AND MAKEUP Barbie - WINNER The Color Purple Maestro Oppenheimer Poor Things Priscilla

BEST VISUAL EFFECTS The Creator Guardians of the Galaxy Vol. 3 Mission: Impossible – Dead Reckoning Part One Oppenheimer - WINNER Poor Things Spider-Man: Across the Spider-Verse

BEST COMEDY American Fiction Barbie - WINNER Bottoms The Holdovers No Hard Feelings Poor Things

BEST ANIMATED FILM The Boy and the Heron Elemental Nimona Spider-Man: Across the Spider-Verse - WINNER Teenage Mutant Ninja Turtles: Mutant Mayhem Wish

BEST FOREIGN LANGUAGE FILM Anatomy of a Fall - WINNER Godzilla Minus One Perfect Days Society of the Snow The Taste of Things The Zone of Interest

BEST SONG “Dance the Night," Barbie “I’m Just Ken," Barbie - WINNER “Peaches," The Super Mario Bros. Movie “Road to Freedom," Rustin "This Wish," Wish "What Was I Made For," Barbie

BEST SCORE Jerskin Fendrix, Poor Things Michael Giacchino, Society of the Snow Ludwig Göransson, Oppenheimer - WINNER Daniel Pemberton, Spider-Man: Across the Spider-Verse Robbie Robertson, Killers of the Flower Moon Mark Ronson, Andrew Wyatt, Barbie

TELEVISION BEST DRAMA SERIES The Crown The Diplomat The Last of Us Loki The Morning Show Stark Trek: Strange New Worlds Succession - WINNER Winning Time: The Rise of the Lakers Dynasty

BEST ACTOR IN A DRAMA SERIES Kieran Culkin – Succession - WINNER Tom Hiddleston – Loki Timothy Olyphant – Justified: City Primeval Pedro Pascal – The Last of Us Ramón Rodríguez – Will Trent Jeremy Strong – Succession

BEST ACTRESS IN A DRAMA SERIES Jennifer Aniston – The Morning Show Aunjanue Ellis – Justified: City Primeval Bella Ramsey – The Last of Us Keri Russell – The Diplomat Sarah Snook – Succession - WINNER Reese Witherspoon – The Morning Show

BEST SUPPORTING ACTOR IN A DRAMA SERIES Khalid Abdalla – The Crown Billy Crudup – The Morning Show - WINNER Ron Cephas Jones – Truth Be Told Matthew MacFadyen – Succession Ke Huy Quan – Loki Rufus Sewell – The Diplomat

BEST SUPPORTING ACTRESS IN A DRAMA SERIES Nicole Beharie – The Morning Show Elizabeth Debicki – The Crown - WINNER Sophia Di Martino – Loki Celia Rose Gooding – Star Trek: Strange New Worlds Karen Pittman – The Morning Show Christina Ricci – Yellowjackets

BEST COMEDY SERIES Abbott Elementary Barry The Bear - WINNER The Marvelous Mrs. Maisel Poker Face Reservation Dogs Shrinking What We Do in the Shadows

BEST ACTOR IN A COMEDY SERIES Bill Hader – Barry Steve Martin – Only Murders in the Building Kayvan Novak – What We Do in the Shadows Drew Tarver – The Other Two Jeremy Allen White – The Bear - WINNER D’Pharaoh Woon-A-Tai – Reservation Dogs

BEST ACTRESS IN A COMEDY SERIES Rachel Brosnahan – The Marvelous Mrs. Maisel Quinta Brunson – Abbott Elementary Ayo Edebiri – The Bear - WINNER Bridget Everett – Somebody Somewhere Devery Jacobs – Reservation Dogs Natasha Lyonne – Poker Face

BEST SUPPORTING ACTOR IN A COMEDY SERIES Phil Dunster – Ted Lasso Harrison Ford – Shrinking Harvey Guillén – What We Do in the Shadows James Marsden – Jury Duty Ebon Moss-Bachrach – The Bear - WINNER Henry Winkler – Barry

BEST SUPPORTING ACTRESS IN A COMEDY SERIES Paulina Alexis – Reservation Dogs Alex Borstein – The Marvelous Mrs. Maisel Janelle James – Abbott Elementary Sheryl Lee Ralph – Abbott Elementary Meryl Streep – Only Murders in the Building - WINNER Jessica Williams – Shrinking

BEST LIMITED SERIES Beef - WINNER Daisy Jones & the Six Fargo Fellow Travelers Lessons in Chemistry Love & Death A Murder at the End of the World A Small Light

BEST MOVIE MADE FOR TELEVISION The Caine Mutiny Court-Martial Finestkind Mr. Monk’s Last Case: A Monk Movie No One Will Save You Quiz Lady - WINNER Reality

BEST ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION Matt Bomer – Fellow Travelers Tom Holland – The Crowded Room David Oyelowo – Lawmen: Bass Reeves Tony Shalhoub – Mr. Monk’s Last Case: A Monk Movie Kiefer Sutherland – The Caine Mutiny Court-Martial Steven Yeun – Beef - WINNER

BEST ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION Kaitlyn Dever – No One Will Save You Carla Gugino – The Fall of the House of Usher Brie Larson – Lessons in Chemistry Bel Powley – A Small Light Sydney Sweeney – Reality Juno Temple – Fargo Ali Wong – Beef - WINNER

BEST SUPPORTING ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION Jonathan Bailey – Fellow Travelers - WINNER Taylor Kitsch – Painkiller Jesse Plemons – Love & Death Lewis Pullman – Lessons in Chemistry Liev Schreiber – A Small Light Justin Theroux – White House Plumbers

BEST SUPPORTING ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION Maria Bello – Beef - WINNER Billie Boullet – A Small Light Willa Fitzgerald – The Fall of the House of Usher Aja Naomi King – Lessons in Chemistry Mary McDonnell – The Fall of the House of Usher Camila Morrone – Daisy Jones & the Six

BEST FOREIGN LANGUAGE SERIES Bargain The Glory The Good Mothers The Interpreter of Silence Lupin - WINNER Mask Girl Moving

BEST ANIMATED SERIES Bluey Bob’s Burgers Harley Quinn Scott Pilgrim Takes Off - WINNER Star Trek: Lower Decks Young Love

BEST TALK SHOW The Graham Norton Show Jimmy Kimmel Live! The Kelly Clarkson Show Last Week Tonight with John Oliver - WINNER Late Night with Seth Meyers The Late Show with Stephen Colbert

BEST COMEDY SPECIAL Mike Birbiglia: The Old Man and the Pool Alex Borstein: Corsets & Clown Suits John Early: Now More Than Ever John Mulaney: Baby J - Winner Trevor Noah: Where Was I Wanda Sykes – I’m an Entertainer

#Barbie #Barbie (English)#Christopher Nolan #Critics Choice Awards #Critics Choice Awards 2024 #Hollywood #International #Oppenheimer #Oppenheimer (English)#OTT #OTT Platform #Succession #Television #The Bear #TV #bollywood hungama

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nysocboy · 2 months

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How the Gemstone alums celebrated Valentine's Day

Tony Cavalero: spreading love at the Children's Hospital

Adam Devine: spreading love

Aaron Goldenberg: with a special lady

Robert Oberst: lifting weights

Skyler Gisondo: with his shirt off

#the righteous gemstones #Adam Devine #Tony Cavalero #Robert Oberst #Skyler Gisondo

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cheshirelibrary · 2 years

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What Your Astrological Sign Needs to Read This Month

[via Penguin Random House]

Aries

Hell of a Book by Jason Mott

Taurus

The Palace Papers by Tina Brown

Gemini

The Dead Romantics by Ashley Poston

Cancer

Walking Gentry Home by Alora Young

Leo

Mademoiselle Revolution by Zoe Sivak

Virgo

When I’m Gone, Look for Me in the East by Quan Barry

Libra

The Girls in the Picture by Melanie Benjamin

Scorpio

Chronicles from the Land of the Happiest People on Earth by Wole Soyinka

Sagittarius

Greenwood by Michael Christie

Capricorn

Braking Day by Adam Oyebanji

Aquarius

Radical Curiosity by Seth Goldenberg

Pisces

Bittersweet by Susan Cain

#cheshire library #zodiac #zodiac sign #astrology #book list

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byneddiedingo · 1 year

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James Mason, Raquel Welch, Joan Hackett, Ian McShane, Dyan Cannon, and Richard Benjamin in The Last of Sheila (Herbert Ross, 1973)

Cast: Richard Benjamin, Dyan Cannon, James Coburn, Joan Hackett, James Mason, Ian McShane, Raquel Welch. Screenplay: Steven Sondheim, Anthony Perkins. Cinematography: Gerry Turpin. Production design: Ken Adam. Film editing: Edward Warschilka. Music: Billy Goldenberg.

Actor Anthony Perkins and songwriter Stephen Sondheim moonlighted as screenwriters to create this jeu d'esprit, a murder mystery involving the kind of elaborate games that Perkins and Sondheim and their friends used to play: treasure hunts with ingenious clues. The setup is this: A year earlier, Sheila, the wife of film producer Clifton Green (James Coburn), was killed in a hit-and-run accident. Green invites six people who were at a party the night of her death to spend a week on his yacht, which is named for her. Before they board, he arranges them for a photo under her name on the prow of the yacht. Then he announces that he is going to give each of them an envelope that contains a secret: something that a person would want to conceal about themselves. Each night, they will dock at a different location and will be given a clue that they must follow to discover the secret. If the person who holds the card with the secret on it solves the puzzle, the hunt of the night is over. So, on the first night, the clues lead to the secret: "Shoplifter." And when Philip (James Mason), a washed-up film director who holds that clue, solves it, the game ends. But the next night, the game isn't completed: Green has been found murdered during the hunt. Meanwhile, realization dawns in the group that the secrets were their own: Philip wasn't a shoplifter, but the actress named Alice (Raquel Welch) admits that she once lifted a valuable fur coat from a store. And when the secret for the night Green is killed is revealed to be "Homosexual," Tom (Richard Benjamin), a screenwriter, admits that he and Green once had a brief affair. And so it appears that Green was murdered by someone who didn't want their secret to come out. But just when it appears that the murder has been solved, there's another intricate twist. The screenplay is fiendishly clever, and it's well acted: The other players include Dyan Cannon as a high-powered agent, Joan Hackett as Tom's rich heiress wife, and Ian McShane as Alice's manager-husband. Unfortunately, Herbert Ross directs things a little clunkily, although some of the awkwardness may come from the fact that shooting began on the yacht itself, but bad weather held up the shoot and sets eventually had to be constructed on a soundstage. There was also reportedly some conflict among the cast members and the director, centering on Welch. Today, some of the film's attitudes seem a little antique: Homosexuality is no longer such a terrible secret, although at the time Perkins and Sondheim, both of whom were gay, were still closeted. And perhaps not enough is made of the fact that one of the clues outs a character as a former child molester. The resulting film is something like a soufflé that didn't rise, turning out tasty but a little lumpy. The best moments belong to, not surprisingly, Cannon, one of those performers who make every film they're in a little better.

#The Last of Sheila #Herbert Ross #James Mason #Raquel Welch #Joan Hackett #Ian McShane #Dyan Cannon #Richard Benjamin

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deepredradio · 3 years

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Das Domino Komplott

Story: Der ausgebrannte Vietnam-Veteran und Scharfschütze Tucker ist mit einer Haftstrafe wegen Mordes am Boden der Tatsachen angelangt. Doch er bekommt eine unerwartete zweite Chance: Alles, was er tun muss, um aus der Haft entlassen zu werden, ist jemanden umzubringen… (more…)

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popentertainment-moviereviews · 3 years

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LOVE, WEDDINGS & OTHER DISASTERS (2020)

Starring Diane Keaton, Jeremy Irons, Maggie Grace, Diego Boneta, Andrew Bachelor, Andy Goldenberg, Melinda Hill, Caroline Portu, Jesse McCartney, JinJoo Lee, Rachel Wirtz, Veronica Ferres, Dennis Staroselsky, Todd Stashwick, Abbey Dubin, William Xifaras, Chandra West, Richard Kline, Elle King, Keaton Simons and Dennis Dugan.

Screenplay by Dennis Dugan.

Directed by Dennis Dugan.

Distributed by Saban Films. 96 minutes. Rated PG-13.

While Diane Keaton has been in more of her fair share of god-awful comedies over the years – Because I Said So or Poms, anyone? – it is still kind of disheartening to see such a wonderful, eccentric talent as Keaton stuck in crap like Love, Weddings & Other Disasters.

At least Keaton has a relatively smallish role in this ensemble misfire, and her character – a sightless woman who is set up on a blind date (blind date, gettit?) with a stuffy, OCD-afflicted caterer to the stars (Jeremy Irons) – is one of the less annoying characters in the film. Still, she (and Irons, for that matter) are way too good as actors to be stuck in a stink bomb like this.

Disasters is probably the defining word in the title of this cheeseball, silly rom-com. Figuratively, of course, but also literally.

We are introduced to Jessie (Maggie Grace), a young wannabe wedding planner, while her boyfriend is dumping her in the middle of a skydive, of all times. Of course, they end up crash landing in the middle of an outdoor wedding, and a video of Jessie knocking the bride and groom into a lake goes viral immediately, to the point when a mere day later, everyone in the world (it seems) recognizes her as the “Wedding Trasher” from Instagram.

It’s bad timing, because Jessie is up for her dream job, planning the wedding for the potential future mayor of Boston. The future politico is afraid Jessie will be too much bad publicity, but his bride-to-be takes a liking to the cute wedding planner. Jessie befriends a cute singer (Diego Bonita) who she wants to play the wedding, but the guy’s band is falling apart because his partner (Jesse McCartney) is falling for a cute new guitarist.

In the meantime, the future mayor’s loser brother (Andy Goldenberg) signs up for perhaps the slimiest reality game show ever, where the contestants have to find love by being chained to the other person for days on end. His partner in the show is a pretty Russian lawyer (Melinda Hill) who turns out to be a stripper (don’t ask…)

And did I forget the Captain of the local duck boat tour (Andrew Bachelor) who spends the entire film looking for a Cinderella fan at a bachelorette party who left her glass slipper on the tour boat? Yeah, I almost did.

There are more characters and stories strewn about in Love, Weddings & Other Disasters, but believe it or not they are even less interesting, and less likable.

Love, Weddings & Other Disasters is essentially an overlong sitcom, and not a good one at that.

Sadly, you can’t expect much more from a film by Dennis Dugan, who was a decent enough light actor in the 1970s and 1980s, but since the 1990s has made a living directing some of the worst movies ever, including several starring his friend Adam Sandler.

If possible, Love, Weddings and Other Disasters misses Sandler’s subtle humor (I was being ironic there…). This may not be Dennis Dugan’s worst film (though it may, there is just so much competition for the title), but that’s hardly a selling point. Avoid this movie like the disaster it is.

Jay S. Jacobs

#Love Weddings and Other Disasters #2021 #Movie Review #Diane Keaton #Jay S. Jacobs

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mrglitterati · 5 years

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Fabletics

Mr. Glitterati is very excited to announce Fabletics availability. I choose brands carefully and Fabletics couldn’t be more top shelf. #mrglitterati #glitterati #fabletics #katehudson

Mr. Glitterati is very excited to announce Fabletics availability. I choose brands carefully and Fabletics couldn’t be more in line with the top shelf brands and products here. Moreover, my female readers will certainly appreciate the deals and offerings I’m able to provide. Look for product availability in Mr. Glitterati’s store in the coming days and weeks.

Many are familiar with the brand,…

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#Adam Goldenberg #Don Ressler #Fabletics #Fitness #JustFab #Kate Hudson #Luxury

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filmspun · 5 years

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In an open letter to the Academy, a long list of prominent filmmakers, including Oscar nominees and winners from branches including cinematographers, editors, production designers, sound and VFX, are calling for the decision to be reversed.

A lengthy list of leading filmmakers are blasting the Academy's plan to present four awards categories at the upcoming 91st Oscars during commercial breaks as "nothing less than an insult to those of us who have devoted our lives and passions to our chosen profession." They are calling for the Academy to reverse its decision.

Their remarks are part of an open letter that has been signed by such directors as Spike Lee, Martin Scorsese and Quentino Tarantino; cinematographers including Roger Deakins, Emmanuel "Chivo" Lubeski and Robert Richardson; editors Tom Cross, William Goldenberg and Mary Jo Markey; and additional past and present Oscar nominees and winners from those branches and others including production design, sound and VFX.

With the Feb. 24 awards show, set to air on ABC, just 11 days away, the Academy and the show's producers Donna Gigliotti and Glenn Weiss are now facing what is becoming an open revolt. The Academy did not immediately respond to requests for comment.

Relegating these essential cinematic crafts to lesser status in this 91st Academy Awards ceremony is nothing less than an insult to those of us who have devoted our lives and passions to our chosen profession," the letter reads. "When the recognition of those responsible for the creation of outstanding cinema is being diminished by the very institution whose purpose it is to protect it, then we are no longer upholding the spirit of the Academy’s promise to celebrate film as a collaborative art form."

In an email to the Academy membership on Monday, Academy president John Bailey, who belongs to the cinematographers branch, laid out the plan for this year's show, including the presentation of four Oscar categories — cinematography, film editing, live-action shorts and makeup and hairstyling — during commercial breaks. (This was first announced last year but without details and specific categories.)

Bailey emphasized that the Academy is "still honoring the achievements of all 24 awards on the Oscars." In the case of the four categories that will be announced during commercial breaks, the winners' speeches will air later in the broadcast, he said. The plans call for there to be a rotation each year, meaning that at least four different categories would use this format in 2020.

The complete letter follows. Additional names will be added at filmmakers' request.

An Open Letter to The Academy of Motion Picture Arts & Sciences and The Producers of the 91st Annual Academy Awards Broadcast:

On Monday, February 11, 2019, John Bailey, President of the Academy of Motion Picture Arts & Sciences, announced that this year’s Oscar presentations for Best Cinematography — along with Film Editing, Live Action Short and Makeup and Hairstyling — will not be broadcast live, but rather presented during a commercial break. This decision was made to reduce the length of the show from four hours to three. The vocal response from our peers and the immediate backlash from industry leaders over the Academy’s decision makes it clear that it’s not too late to have this decision reversed.

The Academy was founded in 1927 to recognize and uphold excellence in the cinematic arts, inspire imagination and help connect the world through the universal medium of motion pictures.

Unfortunately, we have drifted from this mission in our pursuit of presenting entertainment rather than in presenting a celebration of our art form and the people behind it.

The show’s director, Glenn Weiss, has stated that he will determine what “emotionally resonant” moments from the four winners’ speeches will be selected to air later in the broadcast. The show will cut any additional comment from presenters, as well as any recitation of the nominees as they see fit.

We consider this abbreviation and potential censorship to run contrary to the spirit of the Academy’s mission.

Since its inception, the Academy Awards telecast has been altered over time to keep the format fresh, but never by sacrificing the integrity of the Academy’s original mission.

When the recognition of those responsible for the creation of outstanding cinema is being diminished by the very institution whose purpose it is to protect it, then we are no longer upholding the spirit of the Academy’s promise to celebrate film as a collaborative art form.

To quote our colleague Seth Rogen, “What better way to celebrate achievements in film than to NOT publicly honor the people whose job it is to literally film things.”

Signed,

Cinematographers

Dion Beebe

Bill Bennett

Roger Deakins

Peter Deming

Caleb Deschanel

Robert Elswit

Mauro Fiore

Greig Fraser

Janusz Kaminski

Ellen Kuras

Ed Lachman

Robert Legato

Emmanuel Lubezki

Anthony Dod Mantle

Seamus McGarvey

Chris Menges

Dan Mindel

Reed Morano

Rachel Morrison

Guillermo Navarro

Phedon Papamichael

Wally Pfister

Rodrigo Prieto

Robert Primes

Robert Richardson

Linus Sandgren

John Seale

Newton Thomas Sigel

Vittorio Storaro

John Toll

Hoyte van Hoytema

Kees van Oostrum

Roy Wagner

Directors

Damien Chazelle

Cary Joji Fukunaga

Spike Jonze

Ang Lee

Spike Lee

Dee Rees

Seth Rogen

Martin Scorsese

Quentin Tarantino

Filmmakers

Kym Barrett

Judy Becker

Alan Edward Bell

Erin Benach

Avril Beukes

Consolata Boyle

Maryann Brandon

Alexandra Byrne

Milena Canonero

Chris Corbould

Hank Corwin

Tom Cross

Nathan Crowley

Sophie De Rakoff

Chris Dickens

Bob Ducsay

Lou Eyrich

Dante Ferretti

Paul Franklin

Dana Glauberman

William Goldenberg

Affonso Goncalves

Adam Gough

Jon Gregory

Dorian Harris

Joanna Johnston

Paul Lambert

Mary Jo Markey

Joi McMillon

Ellen Mirojnick

Stephen Mirrione

Bob Murawski

John Ottman

Sandy Powell

Fred Raskin

Tatiana S. Riegel

Elísabet Ronaldsdóttir

Mayes Rubeo

Nat Sanders

J.D. Schwalm

Anna B. Sheppard

Terilyn A. Shropshire

Joan Sobel

Michael Tronick

Mark Ulano

Martin Walsh

David Wasco

Billy Weber

Julie Weiss

Michael Wilkinson

Hughes Winborne

Janty Yates

#oscars #oscars 2019 #insult #martin scorsese #quintin tarantino #spike lee #oscar controversy

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xtruss · 2 years

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New Yorkers In High Stop-and-Frisk Areas Subject To More Facial Recognition Tech

Amnesty International says technology championed by mayor reinforces discriminatory policing against minority communities

— Gloria Oladipo | Tuesday 15 February 2022

A New York City police department surveillance camera in Times Square, New York. Volunteers have mapped 25,500 CCTV cameras throughout the city.

New Yorkers who live in areas where controversial stop-and-frisk searches happen most frequently are also more likely to be surveilled by facial recognition technology, according to research by Amnesty International and other researchers.

Research also showed that in the Brooklyn, Bronx and Queens boroughs of the city there was a direct correlation between the proportion of non-white residents and the concentration of controversial facial recognition technology.

“Our analysis shows that the NYPD’s use of facial recognition technology helps to reinforce discriminatory policing against minority communities in New York City,” said Matt Mahmoudi, artificial intelligence and human rights researcher at Amnesty International.

While the NYPD has been using facial recognition technology for more than a decade, its use has not been without controversy.

According to Politico, the NYPD has faced at least six lawsuits over its facial recognition technology use. Additionally, in June 2020, the New York city council mandated that the NYPD publicly disclose information on its surveillance efforts.

Despite local and national pushback to facial recognition technology, its use has been fully supported by New York’s mayor, Eric Adams, as a tool to investigate crimes.

“If you’re on Facebook, Instagram, Twitter – no matter what, they can see and identify who you are without violating the rights of people,” said Adams in January while discussing a new plan to solve gun violence in New York City. “It’s going to be used for investigatory purposes.”

Previously, the use of facial recognition technology has led to false arrests, all of Black men.

In 2019, Michael Oliver, a 25-year-old Black man from Detroit, was wrongly identified by facial recognition technology and arrested for grabbing a teacher’s cellphone and damaging it as the teacher was recording a fight among students.

Oliver was also wrongly identified by the teacher in a photo lineup.

In 2020, Robert Julian-Borchak Williams was falsely arrested by Detroit police after facial recognition technology incorrectly identified him as a shoplifting suspect.

In the same year, Nijeer Parks, 33, spent 10 days in jail and $5,000 to defend himself after being falsely accused of stealing candy and trying to hit a police officer with a car in Woodbridge, New Jersey.

Parks, who was wrongly identified by facial recognition technology, was 30 miles away when the incident took place. He is now suing the police department, the city of Woodbridge and the prosecutor on his case, according to the New York Times.

New York: Adams Eyes Expansion of Highly Controversial Police Surveillance Technology

The Democratic mayor’s bullishness and the resources at his fingertips stand to put New York at the forefront of an evolving national debate over safety, privacy and the racial and gender biases tied to the controversial software.

— By Sally Goldenberg and Joe Anuta | 02/08/2022 | Source: POLITICO

Eric Adams, a centrist Democrat, is so convinced modern technology can accurately and ethically help identify perpetrators of crimes he has incorporated it into his plan for fighting violent crime in New York. | Spencer Platt/Getty Images

NEW YORK — Civil rights groups sued over its constitutionality. State legislatures are studying its efficacy. San Francisco declared it antithetical to democracy.

But the mayor of the nation’s most populous city is fully embracing the use of facial recognition technology by the police and is now exploring a dramatic expansion in how it is used.

“If you’re on Facebook, Instagram, Twitter — no matter what, they can see and identify who you are without violating the rights of people,” Adams said late last month as he pushed a new plan to end gun violence. “It’s going to be used for investigatory purposes.”

Facial recognition software has long been employed by governments across the world to assist in criminal probes and to screen people entering sensitive sites, from sports stadiums to customs checkpoints. An image captured from a surveillance video is compared to a photo database of known individuals, which increasingly includes billions of pictures scraped from social media. The software throws up a flag when, with some degree of probability, it spots a match.

But as other American cities have retreated from the technology or banned it altogether, Adams’ bullishness and the resources at his fingertips — the city is set to spend around $11 billion on the NYPD this budget cycle — stand to put New York at the forefront of an evolving national debate over safety, privacy and the racial and gender biases tied to the controversial software.

The NYPD has been using facial recognition technology for more than a decade, prompting at least six lawsuits and inspiring a New York statute mandating reams of public reporting. The same software used by the city, DataWorks Plus, led to the wrongful arrest of two men in Detroit.

Police officials have credited the tool with helping to solve murders, rapes and missing person cases, and they stress it is used fairly and only in a narrow capacity.

Now the mayor wants to go further.

“We will also move forward on using the latest in technology to identify problems, follow up on leads and collect evidence — from facial recognition technology to new tools that can spot those carrying weapons, we will use every available method to keep our people safe,” Adams, a retired police captain, said at a Jan. 24 press briefing.

A week later, he alluded to replacing metal detectors at public schools with new technology to scan students for weapons. A City Hall aide separately said the administration is exploring the use of infrared or thermal imaging cameras in the buildings.

The mayor’s zeal for high-tech policing tools was on display in his 15-page “Blueprint to End Gun Violence,” released last month on the heels of the shooting death of two NYPD officers responding to a 911 call of a domestic dispute. The document notes that new technologies used to identify suspects “will not be the sole means to make arrests, but as another tool as part of larger case-building effort.”

Those who have long warned about the department’s use of facial recognition technology were alarmed by the mayor’s plans.

“It just felt like the floor was dropping out from beneath me. To hear him this enamored with this sort of technology was incredibly disappointing,” Albert Fox Cahn, head of the nonprofit organization Surveillance Technology Oversight Project, said in an interview. “I was hopeful that he was someone uniquely positioned to push back against this sort of pseudo-science masquerading as public safety.”

The NYPD says it uses facial recognition to match surveillance or other crime-scene photos solely to its database of mugshots. But where law enforcement officers see an opportunity to close cases, watchdogs say the technology is largely unregulated, invades personal privacy and disproportionately targets people of color. The debate, which has played out in fits and starts in recent years, culminated in local legislation two years ago to mandate the NYPD regularly disclose details about its use of surveillance technology.

Adams is putting his faith in the software as he grapples with a scourge of gun violence — a matter he regards as the most profound problem facing the city, and one he discussed with President Joe Biden when the two met in New York last week.

“The city is at a critical turning point where we need to have more effective tools — plain and simple,” mayoral spokesperson Fabien Levy said. “The mayor is saying: Let’s study emerging technology and, if it’s effective, use it in a legal manner to make the streets safer while reasonably protecting the privacy of New Yorkers.”

Levy said the city would not use any software that results in biases against certain races or genders, though that is precisely what several facial recognition programs have been found to do. A 2019 study, for example, found that facial recognition programs across the country tended to be less accurate when analyzing Black or Asian individuals.

The NYPD’s use of facial recognition technology in particular was the subject of an unflattering report titled “Garbage In, Garbage Out,” penned in 2019 by privacy lawyer Clare Garvie.

“There are no rules when it comes to what images police can submit to face recognition algorithms to generate investigative leads,” Garvie wrote. “As a consequence, agencies across the country can — and do — submit all manner of ‘probe photos,’ photos of unknown individuals submitted for search against a police or driver license database.”

Garvie argued the pictures are sometimes poor quality or doctored through popular social media filters, rendering them unreliable evidence.

There have been at least three known cases of facial recognition resulting in a false arrest. In 2019, Detroit police used DataWorks Plus to identify 25-year-old Michael Oliver as a suspect in a theft case. An eyewitness later picked him in a lineup; he was arrested and falsely charged with a felony. Robert Julian-Borchak Williams was handcuffed on his front lawn in a Detroit suburb the following year, after the algorithm incorrectly identified him as a suspect in a theft case. That same year, New Jersey resident Nijeer Parks was jailed for 10 days after being falsely accused of stealing candy and attempting to hit a police officer with a car. He is now suing the township of Woodbridge.

NYPD has reported five misidentifications through its facial recognition technology between 2011 and 2017. But Supervising Attorney Jerome Greco of Legal Aid — which has represented clients in facial recognition cases and helped force the NYPD to disclose 58 private contracts with surveillance companies — said the criteria for what counts as a mismatch remains unclear.

And prior to a recent statewide change in the discovery process for criminal cases, the NYPD did not routinely disclose whether facial recognition was used at all. Thus, the true extent to which suspects have been falsely arrested or taken plea deals they otherwise might not have, based on faulty matches, will never be known.

“We’ve seen this already with stop and frisk,” he said, referring to the NYPD’s previous practice of conducting searches of mostly nonwhite New Yorkers with little pretext, which was found unconstitutional by a federal judge. “So you didn’t end up arresting someone, but you harassed the hell out of them. Why am I supposed to believe this is any different?”

Concerns like these led San Francisco, Seattle, Oakland and several other cities in America to ban the software altogether in recent years. Elsewhere, however, police forces have moved far beyond what Adams plans for New York City. Even the IRS has walked back a plan to use the software to confirm taxpayers’ identities following backlash from legislators and privacy groups.

London is rolling out a program that will scan the faces of pedestrians in real-time and run them through facial recognition software in an attempt to match them with a database of wanted individuals. The process is similar in scope to China’s surveillance of its citizenry. London leaders have defended it as a necessary tool to get dangerous people off the streets, especially in the wake of terror attacks that have rocked the city.

Police officials in New York say their more tailored use of facial recognition has been an invaluable tool for combating crime. Most major offenses with the exception of murder were up in January compared to the same time last year, according to NYPD statistics.

“It’s been very helpful in a lot of cases in identifying violent suspects in crimes — quite a few sexual-related assaults and shootings where they were able to identify or get a lead to enhance the investigation through the facial recognition,” Paul DiGiacomo, president of law enforcement union the Detectives’ Endowment Association, said in an interview. “These anti-police groups keep trying to take away the tools that detectives use to investigate crimes and bring closure to some of these families that lost loved ones.”

Facial recognition is also more accurate than eyewitness identification, and like DNA evidence, can assist in solving cold cases and exonerating innocent people when applied with proper human oversight, according to former NYPD Commissioner William Bratton. He penned an op-ed defending the practice in 2020.

Bratton is now with global consulting firm Teneo and sits on the board of Shotspotter, a technology used by the NYPD and other American police departments to triangulate the sound of gunshots. He slammed what he considers a trend of left-leaning legislatures reflexively opposing arming police with new investigatory capabilities. He cited as an example concerns raised over the NYPD’s testing of a canine robot named Digidog — equipped with a camera and microphone, and designed to trot into situations hazardous to humans — that ended up forcing the agency to cancel the tryout last year.

“So many policies advanced by the progressive left are actually harming the people they are trying to protect,” Bratton, who served under former mayors Rudy Giuliani and Bill de Blasio, said in an interview. “And AOC’s comments on that robot are the case in point.”

Last February, Rep. Alexandria Ocasio-Cortez argued that the $75,000 device epitomized excess police funding and a willingness to infringe on the civil rights of New Yorkers with low incomes.

Her comments followed the New York City Council’s passage of the Public Oversight of Surveillance Technology Act, which monitors the police department’s use of technology. It was hastened by clashes between NYPD officers and protesters following the murder of George Floyd.

The bill requires public reporting. So far it has yielded 36 disclosures around the department’s monitoring of both cryptocurrency and social media, as well as a system that can locate phones or computers using a WiFi signal. It also mandates the city Department of Investigation annually produce an oversight report, which a spokesperson said is due in April.

Among the sponsors of the measure were Adrienne Adams, who now leads the 51-member Council, and Brad Lander, the recently-elected city comptroller with oversight of NYPD spending. Both are Democrats.

“When it comes to increasing the use of surveillance tools like facial recognition, we first have to ask – what safeguards are we using to protect civil rights?” Lander asked in a statement. “Facial recognition is notoriously inaccurate when it comes to identifying people of color generally and women of color in particular. We shouldn’t rush into expanding the use of technology that may increase the risk of racial profiling and false arrests.”

Lander’s predecessor, Democrat Scott Stringer, notified former Police Commissioner Dermot Shea in 2020 that he would begin compiling the NYPD’s contracts with surveillance companies, after being kept in the dark about the agency spending for years due to an earlier agreement allowing the department to bypass standard procurement rules for surveillance materials.

Shea’s subsequent disclosures made no mention of the NYPD’s murky relationship with Clearview AI — a company that scrapes billions of public photographs from social media sites without permission and distributes the information to police officers across the country.

Former NYPD Commissioner Raymond Kelly sits on the company’s advisory board. The police department has no formal agreement with the firm, but Legal Aid obtained emails documenting the relationship. Fox Cahn believes officers continue to utilize the software through individual trial accounts — something the NYPD strongly denied.

The department said it is constantly updating its guidelines as new technologies emerge, and changed its facial recognition rules to ban the use of Clearview AI in 2020.

The NYPD’s software is regularly reviewed by the National Institute of Standards and Technology to assess its accuracy and compare demographic data. Matches cannot be used as the sole basis for an arrest, and its policies are now clearly posted for the public to comment on, department spokesperson Jessica McRorie, a police sergeant, said in an email.

“In response to studies around bias, we recognize that there are concerns,” McRorie said. “This is why facial recognition is used in combination with human analysis, as NYPD human investigators are integrated into all the phases of the process and facial recognition findings are reviewed by these investigators.”

New York City Public Advocate Jumaane Williams, who is running for governor in the June Democratic primary, voiced support for some of the NYPD’s high-tech tools, like ShotSpotter. But he firmly opposes the use of facial recognition, citing concerns over flawed algorithms and what he views as undue privacy violations. He is part of Amnesty International’s Ban the Scan coalition, which seeks to outlaw the use of the technology in New York City.

“There is always a willingness to give up civil liberties when it is to protect yourself from ‘the other,’” he said. “But we have to strike a balance. And especially with the inherent flaws and concerns about data, I think [facial recognition] tips that balance.”

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