“Apollo 11” snatched 5 wins at the Critics Choice Awards in Brooklyn Sunday night. Frederick Wiseman was presented the first ever DA Pennebaker Lifetime Achievement Award, and Michael Apted was saluted for a lifetime of filmmaking including his extraordinary series of films culminating in the new “63 Up.” The former award was presented by filmmaker Chris Hegedus in memory of her late husband. Michael Moore presented to Apted.

The awards ceremony, held at BRIC on the BAM campus, drew an appropriately starry crowd including Zoey Deschanel, who came with the evening’s emcee Jonathan Scott of “Property Brothers.” Other presenters were an eclectic group including Rose McGowan (Citizen Rose), Jim Gaffigan, Dr. Ruth Westheimer, Wyatt Cenac (Wyatt Cenac’s Problem Areas), Lou Diamond Phillips, Gloria Reuben (Mr. Robot), Erich Bergen (Madam Secretary), Nicole J. Butler and Reggie Currelley (She Shed State Farm commercial), Aasif Mandvi (The Daily Show), Ryan Serhant (Million Dollar Listing New York), and Amir Arison (The Blacklist).

Dr. Ruth received a nice standing ovation when she presented the Documentary Short Subject award. “I am short,” she said, “and I will make this short.” She’s 91 years young.

Apollo 11 took home the evening’s most prestigious award for Best Documentary Feature as well as Best Editing for Todd Douglas Miller, Best Score for Matt Morton, Best Archival Documentary, and Best Science/Nature Documentary. This could mean it’s set up nicely for the Oscars. But let’s not forget that last year’s winning doc, the popular “Will You Be My Neighbor?” by Morgan Neville, failed to score an Oscar nomination. It was bewildering. I do think “Apollo 11” will make it, however.

There was a tie for Best Director between Peter Jackson for They Shall Not Grow Old, and Julia Reichert and Steven Bognar for American Factory. They Shall Not Grow Old also brought home the award for Most Innovative Documentary. American Factory also won the award for Best Political Documentary.

Producer James Keach accepted the award for the Linda Ronstadt movie.

“Once again, we are thrilled to celebrate and support the vibrant and groundbreaking work of these talented documentarians. We are proud that our yearly gala event has become an informed and valuable way for people to find the best films out there and for the work of these filmmakers to find their audiences,” said CCA CEO Joey Berlin. “It was a great night of lauding the greats in the documentary field as well as some outstanding newcomers.”

The award for Best Cinematography went to John Chester for The Biggest Little Farm.

Best Narration went to Bruce Springsteen for Western Stars.

Honeyland took home the award for Best First Documentary Feature for directors Tamara Kotevska an Ljubomir Stefanov.

The award for Best Biographical Documentary went to Toni Morrison: The Pieces I Am.

The Best Music Documentary award went to Linda Ronstadt: The Sound of My Voice.

Maiden won the Best Sports Documentary award.

The Best Short Documentary Award was given to Period. End of Sentence.

This year’s honorees for Most Compelling Living Subject of a Documentary are Dr. Amani Ballor (The Cave), David Crosby (David Crosby: Remember My Name), Tracy Edwards (Maiden), Imelda Marcos (The Kingmaker), Hatidze Muratova (Honeyland), Alexandria Ocasio-Cortez, Amy Vilela, Cori Bush, and Paula Jean Swearengin (Knock Down the House), Linda Ronstadt (Linda Ronstadt: The Sound of My Voice), and Dr. Ruth Westheimer (Ask Dr. Ruth).

I seriously don’t know why this is going on and on and no one says anything.

I’ve just received a press release announcing that yet another “D” movie from Bruce Willis, this one called “Breach,” has a distributor. It’s low end Saban Films, which makes movies that you will never see. No one sees them. They fill space on VOD services. You can’t even say they’re DVDs anymore.

I’m worrying about Bruce. He’s in project after project from the bottom of the movie barrel, movies in which his name is used to get publicity, but he’s only in the film for a couple of minutes. In these movies, Bruce’s work is done in one way, two at most. Clever editing cuts around him, sometimes one or two lines are ADR’d in so it sounds like he has dialogue.

In “Breach,” it’s a sci fi thing, and two young guys are the leads. The director, named John Suits, has never made anything we’ve heard of unless you were a fan of “Pandemic” or “The Scribbler.” I mean, this is sad.

Bruce currently appears, briefly, in “Motherless Brooklyn.”

This is Bruce Willis, and he deserves a little better. He also cannot possibly need the money.

Woody Allen and Amazon have settled their lawsuit to release four movies including “A Rainy Day in New York.” That one has made nearly $12 million in limited release abroad. I saw it last summer and liked it very much. It’s Woody’s best work since “Blue Jasmine.”

But Amazon freaked out two years ago when the #MeToo scandals broke and Woody was in appropriately lopped in with other predators. The accusations against never resulted in a legal situation, he wasn’t arrested or tried for anything. The accusations came in a custody case, were never proven. Unlike other men swept up in that scandal, Woody had one lone accusation, nothing else.

Amazon couldn’t the heat. They were in the midst of releasing his “Wonder Wheel,” which they abandoned, and then reneged on following through with the contract. “Rainy Day” was ready to go and they wouldn’t release it.

Since then, “Rainy Day” has been a success abroad and should be seen here. Woody made a new film this past summer in Spain with Chistoph Waltz and Gina Gershon. I’m sure he’s writing a new screenplay as we speak.

Woody did not marry his daughter or step-daughter. He married his girlfriend’s adopted daughter, who was over 21. They have now been together since 1992 and have two grown daughters. It is important to remember the facts. He’s a great filmmaker, one of America’s finest, and his work, his entire library, speaks for itself. I hope one day everyone in the US can see “Rainy Day” and enjoy it as I did.

As predicted, this is not a great box office weekend. It should be, this is counting down six weeks to Christmas. This used to be prime movie releasing time. But with Netflix eating up the quality product, and “The Irishman”– our putative Best Picture– in just a few odd theaters, this is a weird season.

“The Shining” sequel called “Dr. Sleep” is in such deep repose as to almost be dead. Tracking indicated maybe a $25 million opening weekend. But with $5 million Friday night (including $925K on Thursday), the total weekend looks at $15 million maybe. Ouch.

Then there’s “Last Christmas,” which seems so…last Christmas, took in $4 million Friday and will be regifted to airplanes soon.

The WW2 adventure that no one wanted, “Midway,” has bombed and crashed, and will sputter to an ignominious end. A total of $6.4 mil for Friday (including Thursday previews) for a $125 million extravaganza is a major disappointment. Maybe somewhere around the globe it will find an audience of Nick Jonas fans.

I’ve hesitated to look again at “Jojo Rabbit.” But it’s not a popular movie. Last night Fox Searchlight jacked up the number of theaters to 802 and made just $1.13 million. I can’t imagine what the word of mouth is, but this lack of enthusiasm is an indication. “Jojo Rabbit” will not make the Best Picture category, which so far includes “The Irishman,” “Once Upon a Time in Hollywood,” “Two Popes,” “Marriage Story,” “Little Women,” maybe “1917,” possibly “Joker,” with a slot left for an indie film, or possibly, “Dolemite.”

Shia LaBeouf’s autobiographical story of his tumultuous childhood, “Honey Boy,” is out today on amazon.com Directed beautifully by the first-time feature director, Alma Har’el, the powerful, moving, brutally honest film  hits you in the gut with humor, pathos and poignancy.

LaBeouf plays his father, James, a Vietnam veteran who is a drug addict and registered sex offender. He is also a manager/chaperone to his son’s acting career, which is his sole source of income. With his PTSD, his resentment towards his son and to the world, yet with a love for his son, the complexity of the performance is astounding. Young Shia, named Otis in the film, is played with an otherworldliness by Noah Jupe (“A Quiet Place”), the older Shia in rehab is played spectacularly by Lucas Hedges. James lives in a crap motel where prostitutes are neighbors, cigarettes are a treat, being a dude instead of a father and being emotionally and at times physically abusive. And yet his son, so much older than his years because of necessity, still loves him.

All the performances ring true to the soul, are raw and 100 percent authentic.  Har’el cinematically nailed it. The fact that LaBeouf wrote it really as a form of therapy and turned it into this painful, at times horrifying, yet loving, connecting film is simply a work of art. This must be seen by everyone. Shia LaBeouf exposes the deepest most vulnerable sides of himself and the riveting “Honey Boy” deserves much awards buzz because of it.