The Politics of Avatar and Hurt Locker - Hype or Real?

One of the major plotlines of this Oscar season has revolved around the politics or lack thereof in The Hurt Locker.  As with most war films it’s difficult not to read some political subtext into Kathryn Bigelow’s masterful film.  Unlike her ex-husband’s film Avatar, Bigelow doesn’t bludgeon her audience with her message.  Whether Bigelow was successful in her attempt to show the dehumanizing aspects of war is debatable, what she does shows is that for even the most modest of people war can change them fundamentally.  Now that the film has reached frontrunner status, it has earned detractors.  Much of this has been highlighted by the recent news that one of the film’s producers has been sending emails asking voters for vote for the film.  Yet, many of these negative voices how come from veterans of our conflict in Iraq.  This only serves to heighten the political nature of the film.

Many of these negative voices have been raised about the realism of what is depicted, despite the so-called “independent” nature of the film; it presents a Hollywood version of war.  Regardless of intentions, the film is still profiting of a conflict in which we are still engaged.  Bigelow can make the point of how her film has anti-war message, the film works because it so exhilarating.  I’m as guilty as anyone for being caught up in the thrill ride; after all it is very well made.  Any political intentions are secondary to the audience identifying with these characters.      

Another point of controversy to arise over the last month is regarding Bigelow’s gender.  Many of the detractors have said she winning her awards based on her gender, rather than her work as a director.  To be sure Bigelow is not one of the top directors working today, but neither is she a complete hack.  As much as her supporters would like to beg to differ, at some level the fact she is a woman is driving their desire to see her win.  Considering no female director has ever won has to play on us at even a subconscious level.  The fact she has made a really good film heightens this desire.  This holds true to both men and women, women who want a support of girl power and guys that some sexiness added to the proceedings.  To be clear I fully support her win, but the work of other directors in this field does not make her a clear favorite and a win by any of them would not be a travesty.

Avatar on the other hand wears its politics on James Cameron’s sleeve.   Cameron’s action films in the past have always relied on underlying social messages to propel them past your average action flick.  With Titanic he extended those messages to class distinction and the arrogance of the rich.  I’m not so sure he is aware of his own arrogance, but seeing as hubris has yet to catch up with him, I think he remains acutely blind to it.  With Avatar he comments further on environmentalism, but also our unifying humanity.  Many have praised its criticism of imperialism and capitalism, others point out that it’s another story of a white man saving a native culture.  These debates make Avatar more controversial while also keeping the spotlight on it, an aspect that should hinder its chances of winning.

We haven’t been treated to such political questions regarding the Best Picture race since 2005 when Crash stole Brokeback’s thunder.  Both liberal films to be sure and the Academy certainly felt like they were being noble in honoring a film about race.  However, the film presents a very simplistic view on race relations, we all have prejudice but can also do great good and for such a large ensemble the audience is never given a chance to connect with many of the characters.   The fact that they passed over the more liberal minded Brokeback Mountain remains a head scratcher.  I’ve never been entirely convinced that its tale of forbidden love is a timeless classic, but the film was still much stronger than the mediocre Crash.      

Wrapping things up, I should note that Avatar is very much a war film, so the political debates remain just as relevant for it as they do for Hurt Locker.  Yet, despite the position of some Hut Locker isn’t a complex art film.  The movie plays out more as pure entertainment than many of the other nominees.  District 9 while highly entertaining is also very political, same holds true for Inglourious Basterds.  Precious has also been the center of political backlash and its focus on an inner-city teen certainly puts a large focus on race and class.  Lastly, The Blind Side has been bashed by many as being a Republican movie.  Of course that it seems to represent a Hollywood understanding of Republicans is rarely discussed.  With just a week to go expect these discussions to increase, and continue after the victor is announced.  

Burt Lancaster - Elmer Gantry

The latest addition of Best Actor Winnners

Year: 1960
Actor: Burt Lancaster
Film: Elmer Gantry
Director: Richard Brooks
Role: Elmer Gantry

Other Nominees:
Trevor Howard - Sons and Lovers
Jack Lemmon - The Apartment
Laurence Olivier - The Entertainer
Spencer Tracy - Inherit the Wind

Burt Lancaster was one of the most popular stars of the 50's and 60's, so it only made sense that once the right role and year came that he would win Oscar.  That time came in 1960 in Elmer Gantry.  Lancaster slips comfortably into the title role and charismatically carries the movie.  Lancaster's charm serves him well in winning supporting actress winner Jean Simmons over and winning coverts to his "ministry."

However, this one of the many examples of Oscar handing an Oscar to a charming performance.  Rarely does the award go to a more subtle nuanced performance.  That's not to cut down on Lancaster's win here, but both Lemmon and Tracy gave stronger performances in their respective films.  Of course Tracy had two wins to his name and Lemmon had won a few years earlier, so it was time to give Lancaster his due.

Other Wins and Nominations:
Best Foreign Actor Nomination: BAFTA
Best Actor Drama: Golden Globes
Best Actor: NYFCC

One More Week

One week til Oscar night and I can barely contain myself

Road to Perdition

Since Paul Newman's death just over a year ago there seems to have been a reevaluation of Sam Mendes' sophomore film, or perhaps it was due to Revolutionary Road his most celebrated film since his strong debut American Beauty.  As a graduation Senior in high school, I was anticipating Mendes' follow-up.  However, like many I admired his film, but felt kind of distanced from it.  There was no denying the stunning Conrad Hill's cinematography and Thomas Newton's score.  Additionally, Paul Newman gave his last great performance, while Tom Hanks gave perhaps his most underrated turn in a subtle quiet performance.  

I finally gave Road to Perdition another chance, and found it to be one of the last decade's most under-appreciated works.  Much like his first film, Mendes presents a cast of characters stuck in their lives.  Yet, the film becomes more than a that, a road movie that serves as a father/son story and a coming-of-age tale.  The film's detachment that seemed to be a detriment of the film, served as more of an asset on a repeated viewing.  Hank's son, whom narrates the story was very much detached from the details of his father's life, and that detachment only serves to bolster this point, making the conclusion more emotionally resonant.  


Another point that escaped me eight years ago was the parallel between Michael Jr. (Hank's son) and the growing nature.  While the film does sort of gloss over the depression hitting the heartland of America, Mendes makes a point to show a growing nation becoming less reliant on agriculture and industry.  Michael represents this new generation that shepherds America into the powerful nation that it will become.  


There is so much more that can be analyzed regarding this movie (sin, redemption, a furthering of the father/son angle and death), but what became apparent is that Road to Perdition deserves a second chance. Multiple viewings only enhance this nuanced picture that should stand the test of time stronger than many other films of 2002.

More Superman and Batman Stuff

These are simply rumors right now so I'm taking all of this with a grain of salt  More Nolan?

Al Pacino - Scent of a Woman

My latest in my series of Best Actor Winners

Year: 1992
Actor: Al Pacino
Film: Scent of a Woman
Director: Martin Brest
Role: Lt Col. Frank Slade

Other Nominees:
Robert Downey Jr. - Chaplin
Clint Eastwood - Unforgiven
Stephen Rea - The Crying Game
Denzel Washington - Malcolm X



Al Pacino one of the most beloved actor's of the 70's and 90's entered the 90's with out an Oscar to his name.  Other icons of the era Gene Hackman and Jack Nicholson had won their Oscars, while his Godfather co-stars Robert Duvall and Robert DeNiro has as well.  Pacino entered Oscar night nominated for two roles, as a blind lieutenant colonel in Scent of a Woman, and for his superior work in Glengarry Glen Ross.  In recent years his win for Scent of a Woman has been seen as one of the more egregious wins, and despite this not being one of his greatest roles the film has been unfairly maligned.  Yes, Pacino resorted to his now trademark screaming and Hoo-ha!

Yet, despite this somewhat strained performance the character actually works within the context of the movie.  Pacino plays him as more than a simple one-note character and the audience invests in his journey.  At first the character is seen simply as a jackass, but as the story continues he becomes far more understandable.  While some scenes are contrived (tango, car ride, the ending), Pacino gives enough energy into these scenes to buy it within the given context.  Other scenes such as the Thanksgiving dinner work very well with Pacino leading the way.  The Academy could have easily awarded this to Denzel Washington, Stephen Rea or Clint Eastwood (all gave better performances), but considering this is hardly the performance of a hack I can't totally be disappointed.

Other Wins:
Best Actor: Golden Globe Drama

bad ass kids

One of the most buzzed movies of the Spring has been Kick-Ass, thanks to a great marketing campaign and some amusing redband trailers. The most compelling of these characters is a foulmouthed pre-teen called Hit Girl. If you've seen the trailers you know she most certainly kicks some ass. As a result I've been inclined to make a list of the most badass kids in movies. The only rule be that the character is young enough to order off the kid's menu, so no teenagers allowed. Evil or good doesn't matter


Dishonorable Mention


Anakin Skywalker - The Phantom Menace (1999)


This is not to disparge Jake Lloyd's acting, but a shot at hack George Lucas has become.  Who wants a young Darth Vader screaming yippee.  Little Darth should've been blowing up his fellow podracers and feeding his owner to the sarlacc, while making Jar Jar his bottom bitch.


10. Michael Myers - Halloween (1978)


The opening of John Carpenter's horror classic has a kindergartner stabbing his sister to death as she babysits him.  Sure we don't see him doing anything else, but the fact alone that this how he prefers to spend his Halloween and that not even a child psych can save his warped mind earns a spot on this list.



9. Pancakes Kid - Cabin Fever (2002)


That this mentally disturbed kid knows martial arts is disturbing enough, couple with that his propensity to bite strangers after screaming pancakes at them is more so.  If I've learned anything about stopping at backwood's store from movies is to stay away from the kid with the bango and most defintely stay away from a kid screaming pancakes.  Anytime your dad needs to post a sign outside telling people not to sit next to you should be a cue not all is right with you.

8. Dash - The Incredibles (2004)

This kids knows he's fast and resents his parents from stifiling his talent.  Once allowed to use his skill he opens up an entire can of whoop-ass on Syndrome's bumbling henchmen.  Later he toys with his fellow racing competitors before whooping their butts.  Lastly he continually mocks his nerdy teacher by placing thumbtacks on his chair.  For this Dash is the coolest member of The Incredibles.

7. Girl Zombie - Dawn of the Dead (2004)


Zack Snyder's underrated remake of one of my favorite horror movies starts rather inncoently.  After a night of love making, Sarah Polley and her husband awaken to see the cute little neighbor girl with what appears to be a really bad case of herpes, instead this crazy little girl attacks him trying to eat his neck.  The fact she might have spent all night watching the two get on only helps her case as in the coolest little zombie kid this side of that zombie  baby in Dead Alive.

6. The Mole - South Park: Bigger, Longer and Uncut (1999)


Perhaps one of the few third or fourth graders to hold such a strong grudge against God.  He smokes and carries a shovel around to make other cower in fear.  The Mole bravely embraces his role to free Terrance and Philip, with only guard dogs as his weakness.  Stan was right in his assesment of The Mole, doesn't lessen his status as one badass kid.


5. John Conner - T2: Judgement Day (1991)


This kid disobeys his foster parents and steals their ATM card to play video games.  He was also mentored by Arnold Schwarzenegger and later Linda Hamilton.  With the help of Arnold he breaks into a mental instiution to break dear old mom out.  Maybe he loses some points for crying before Arnold lowers himself into molten steel.  Regardless little John Connor showed no fear as he faced off against the T-1000.    




4. Boomerang Boy (Feral Kid) -The Road Warrior (1981)


A child of the post-apocalyptic world, his only means of communication are growls and grunts.  These only add to his badass status.  The fact he crawls around the outback and wields a killer boomerang as his weapon of choice make him one of the coolest kids on this list.  Of course just possessing that boomerang isn't enough, that he can put down men three times his size makes him a boy to be reckoned with.


3. Samara - Ringu/The Ring (1998/2002)


Apparently so pissed off at her parent's this psycho child exacts revenge on killing innocent people.  Not exactly normal before her death, she's even crazier after death.  She gets her kicks out of crawling out of televisions and staring at her poor hopeless victims.  I can only imagine what would happen if you stole her lunch money.


2. Mathilda - Leon (1994)

The oldest kid on this list, Mathilda was Natalie Portman's blistering film debut.  So badass is this character she enlists hitman Jean Reno to train her and help her avenge her family's death (well her little brother's death - daddy Luis Guzman isn't exactly a great father figure).  Sure the movie gets odd when she comes on to Leon, but the two form a special type of father-daughter relationship.  What's  most important for this list is how badly she wants to learn how to "clean" like Leon.  Her most badass moment comes when she follows Gary Oldman into a DEA building to kill him herself - well done Miss Portman.


1. Damien - The Omen (1976)


I suppose being the son of Satan puts you in a whole other class of bad guys.  This little booger's presence makes his nanny hang herself at his birthday party, impales priests and decapitates photographers.  Not to mention the demon dog protecting his little butt.  His most badass moment comes when his apparently innocent looking tricycle ride sends his pregnant mother over a railing to killing his unborn brother.  Of course we learn his real mother is a jackal and that his new nanny is also willing to kill for him.  This is certainly one boy you don't piss off.

Prophet

One of my most anticapated movies of the year is now playing in New York and LA. This won heaps of praise last year at Cannes, including winning the Audience Award. It's also been nominated for Best Foreign Film at the Oscar's

New Nightmare Trailer

This debuted yesterday: I like the casting of Haley, but this can't even come close to Craven's classic

Greengrass Done With Bourne

The always reliable Devin Faraci over at CHUD is reproting that Paul Greengrass (the last two Bourne Movies, and United 93) will not direct another Bourne movie.  This comes after a conversation with the director, whom is saying that he wants to work on other projects.  I'm of the opinon that the Bourne series has run its course and rather than a make a medicore sequel or prequel, so this is not upsetting news. Greengrass is one of the most kinetic directors working today and his upcoming Green Zone looks to be one of the year's best.  Given how well he handles politically charged action movies I'm sure we'll get plenty of thrilling movies from Mr. Greengrass in the future.

                                   

10 Apocalyptic/Dystopian Movies

A list I did for Simon over at the Four of Them blog.  It's a good site so I recommend you head over there.

Apocalyptic movies have run the gamut of mass destruction (the resume of Roland Emmerich) to sci-fi dystopias (any movie based off a Philip K. Dick book) to gritty darker human drams (The Road). Considering the wide range of films dealing with the end of the world can be difficult to whittle a list of favorites. I have managed to narrow down an eclectic list of ten. Many of my movies take place future dystopias than being explicitly about the end of the world. What you will not see on my list is The Road and Metropolis (I have seen neither). Neither can you find 2012 or any movie with Godzilla. I’ve also passed on The Omega Man (no urgency), Knowing (comparing 8 year olds to mating babies?), The Stand (tv movie) or I Am Legend (too reliant on CGI). Anyway feel free to disagree, but these are the ten I like.




10. Independence Day (1996)

Back before the White House was destroyed three times over and Will Smith was still known as the Fresh Prince, Roland Emmerich embarked on a “modest” quest to destroy the world. Of course this is the movie that set forth Emmerich’s path of self indulgent disaster porn movies, and allowed Michael Bay to embark on his brain dead PG-13 thrill fests. Yet, despite all my ribbing Independence Day is chock full of fun from Will Smith’s one liners, destruction of cities, Jeff Goldblum being brainy and Randy Quaid flying up a spaceship’s anus, Independence Day offered the best in the long line of nameless disaster movie of the last fifteen years.

9. Children of Men (2006)

Not quite the masterpiece many people attach to this dystopian tale where women no longer bare children. Regardless of the film’s stature, it still delivers a thrilling ride. Alfonso Cauron masterfully directs a story that is little more than a chase movie. His use of using a single-shot in several key action sequences help ratchet up the tension, which is needed since the majority of characters aren’t very well fleshed out. The strongest performance comes from the always reliable Chiwetel Ejiofor as a conflicted man that has lost hope in humanity, but also struggles work against a corrupt government. The movie rightfully ends on a more ambiguous note as the future of humanity still remains in question.

8. The Road Warrior (1981)

Like Independence Day, The Road Warrior isn’t as thematically deep as other movies on this list. It still presents a bleak vision of a post-apocalyptic wasteland of a future. Never having seen Mad Max I can’t compare it to the first, but by all accounts this is superior to the first movie. The Road Warrior is a thrilling action movie that once it kicks in rarely lets off the throttle. Also featuring memorable characters and exploring the need for human interaction, The Road Warrior is a superior post-apocalyptic movie. And any movie that has a kid throwing a lethal boomerang is cool in my book.

7. The Matrix (1999)

The Matrix has lost some of the luster it originally attained over ten years ago, mostly due to its lackluster sequels. However, the story it told isn’t as original or fresh as one might imagine, its storyline does parallel the Allegory of the Cave very closely. However, the enthusiasm coupled with groundbreaking effects created one of the most thrilling action movies from the past ten years (ok 11 years). Like many other action sci-fi movies The Matrix focused on a world controlled by machines, where the very essence of humanity is quickly being destroyed. Filled with imagery, a killer soundtrack and Keanu Reeves acting appropriately confused, The Matrix still stands as a crowning achievement.

6. Dr. Strangelove or How I Learned to Stop Worrying and Love the Bomb (1964)

Stanley Kubrick’s only foray into comedy, Dr. Strangelove is a master satire on the nuclear scare. A movie that could have easily aged is still hilariously and frighteningly relevant today. One hopes as the world crashes down that things don’t play out like they do in this movie. Distracting the audience from the threat of nuclear annihilation are great performances by George C. Scott, Slim Pickens, Sterling Hayden and Peter Sellers (three great performances really).

5. The Terminator (1984)

I’ve always found the original Terminator superior to its fun but overblown sequel. While the sequel does a great job of exploring the meaning of humanity, its premise isn’t as strong. The battle between man and machine was far more compelling in the first. Not to mention the emotional aspect of the first is greater than that of the sequels. The sequels are also less hopeful than The Terminator, which opens up a more hopeful future. Granted the movie’s set pieces are dated, but its emotional impact has not. That combined with terrific action sequences along with one of the 80’s most memorable villains makes The Terminator a must see.

4. Koyannisqatsi (1982)

I first watched Koyannisqatsi in my Freshman year of college. Walking into my campus’s small little “mini” theatre that generally featured just released movies on DVD. Having never heard of the movie and intrigued by its strange title, I entered the movie with little expectations and an open mind. What followed was a barrage of connected and disconnected strung together by different moods. As I continued to be entranced by the images on screen, a narrative unfolded about the disconnect between nature and technology and the potential dangerous outcomes of that. Koyannisqatsi translates to “life out of balance” in the Hopi language, an apt description for the filmmakers’ vision of the current world. As the images unfold the movie’s images and music describe a world out of control hurtling towards its destruction. I rather not comment too much on this movie as it really requires an individual viewing to connect with the images and devise one’s own meaning.

3. Dawn of the Dead (1978)

My personal favorite of George Romero’s Dead series, Dawn of the Dead chronicles how the world adjusts after the sky has fallen. Romero always manages to bring his movie above your average horror movie clichés by infusing his films with social commentary. Dawn of the Dead does this best by taking on consumerism, but also looks at small group dynamics and even the creation of the family unit. Whether it’s our small band of heroes surviving in a shopping mall or the group of marauding bikers Dawn of the Dead explores these groups with keen insight. That the movie delivers laughs and plenty of thrills certainly help the overall experience.

2. Brazil (1985)

No one has ever accused Terry Gilliam’s films of lacking vision or atmosphere. A movie very similar to Orwell’s 1984, Brazil presents a dystopian society that’s far more comical than Orwell imagined. Like 1984, Brazil relies on its bureaucratic protagonist to fuel the plot. Like many other stories on this list, humanity has abandoned much of our logical processes in the name of technology and other tangible objects, knowledge and wisdom are no longer sought. Humanity has reached the point where men and women are a slave to processes they know nothing about, thus very little now separates man from the machine. Also of note is Robert DeNiro’s terrific small role as an air-conditioning repairman.

1. Blade Runner (1982)

Perhaps my favorite pure Sci-Fi movie outside of 2001 (a strong argument could be made that belongs on this list), Blade Runner like Brazil features striking set design, varying themes and most importantly a terrific story. Blade Runner explores all the same ideas of humanity, while also ruminating on the nature of the value of life. At what point do we become human? Do our memories make us distinctly human? Are we human if someone else makes our memories? After all memories whether recalled or repressed shape our very perception of our identity. What about identity? Are humans the product of design like replicants or do we exercise free will? These themes are also explored in Dark City (another movie that could easily make this list). What makes Blade Runner stand above the rest of these movies is the Deckard’s (our protagonist) own journey to self-discovery. Is he a replicant or isn’t he? Does it matter? In the end Deckard chooses his own path, in the process he is reborn.

Black Dynamite - Future Cult Classic

Black Dynamite has already received lots of notice since its recent release on DVD.  The movie is deserved of the all the attention that it has received, it works well as a spoof of blaxtopation flicks offering an assured performance from Michael Jai White.  I really can't recommend this movie enough, I would say Netflix it but it's well worth buying.  Make sure you catch this with a group of friends with a good six-pack.

Shutter Island

Shutter Island
Starring: Leonardo DiCaprio, Mark Ruffalo, Ben Kingsley, Michelle Williams, Max von Sydow, Patricia Clarkson
Director: Martin Scrosese
Runtime: 138 Minutes

Be advised that this review contains a discussion of key elements to the movie, while not exactly revealing spoilers, if you want to a fresh viewing of the movie I suggest you read with caution.

Much of the talk on Shutter Island the last few weeks has focused on in its supposed “twist” ending. This is a bit unfair as the movie should be viewed as an entire experience, where the reality of everything is questioned. That being said, I will keep this review brief as not to tread too far into spoiler territory.


Most of you will know the basic gist of the story, Leonardo DiCaprio plays a US Marshal in Boston that is sent to investigate the disappearance of patient at a facility for the criminally insane. Not helping matter is that this facility is located on an isolated island, and that his investigation coincides with an incoming hurricane. DiCaprio quickly gets the sense that all is not right with this particular facility.

Shutter Island could have easily played out as your standard genre film. Directed with forcefulness and a singular vision, Shutter Island rarely finds a dull moment in its 2 hour plus running time. Scorsese has never been accused on compromising his vision of a story and that holds true. Shutter Island oozes with atmosphere; from the head doctor’s office, to a sketchy lighthouse and images of the storm a sense of dread and confusion hangs over the proceedings. Scorsese and the entire production do a wonderful job of luring the viewer into this world.  I was struck with how closely the film’s mood reminded me of The Shining. Both movies play with reality and use an impending storm to heighten that sense of confusion.

Also present is Scorsese’s usual exploration of guilt. DiCaprio’s character is constantly haunted by the reminder of his wife’s cruel death and the atrocities he faced in Germany. He is unable to come to terms with what he has done and what he has seen, as the mystery on the island grows deeper so does DiCaprio’s guilt.

The movie is filled out nicely with a superb cast, with both Ben Kingsley and Max von Sydow delivering blistering supporting performances. Initially I was afraid Kingsley’s character would be too obvious, but he plays him just right, whether we should trust him or not remains a question to the very end. The always marvelous Patricia Clarkson also delivers a standout performance in her only scene. Michelle Williams, Mark Ruffalo, Ted Levine, Jackie Earle Haley, Emily Mortimer and Elias Koteas round out the cast nicely.

A few last words on the ending, while it doesn’t blindside you it works well with preceded it. Even in appears to be a conclusion, the viewer still has questions to what it all means and if he can still trust everything he has heard or seen.

Regardless, it’s great to Scorsese unrestrained from the burden of trying to win an Oscar. He forged a singular vision for this movie and ran with. Thankfully the movie fits nicely into his canon and acts as a nice introduction to those unfamiliar with is work.

B+

Avatar and the Actors?

One aspect that seems to be glossed over in the discussion of the Best Picture race is Avatar's lack of a SAG ensemble nomination.  Since the SAG started handing out awards some 15 years ago the only film to win Best Picture without it was Braveheart.  Given that many actor's mgiht not be too keen on Avatar's use of technology could hinder the movie even further.  Yes, of the favorites it's the most emotional, but given how cutting edge it is I wonder how much the older members of the Academy will be behind it?  Just some food for thought.  I hope to have another spreadsheet up on Monday chronicling the history of the Best Picture award and then my final predictions later next week.

Really Really Good Looking

If I wasn't watching The Big Lebowski in college it was the goofy and hilarous Zoolander, now word is out that a script is in the works for a second movie.  Now while I'm not always a fan of sequels for movies where it isn't need (please no Hangover 2), I'm fully behind following Derek around once more.  Justin Theroux is attached to help write the script, so given his success with Stiller on Tropic Thunder I have reaason to be optimistic.

Zoolander Sequel

William Hurt Delightfully Evil

It's not often I got behind a performance that revolves around one scene, but William Hurt was so awesome in about eight minutes of A History of Violence,that even I bit. 

Henry Fonda - On Golden Pond

My latest addition of Best Actor Winners

Year: 1981
Actor: Henry Fonda
Film: On Golden Pond
Director: Mark Rydell
Role: Norman Thayer

Other Nominees:
Warren Beatty - Reds
Burt Lancaster - Atlantic City
Dudley Moore - Arthur
Paul Newman - Absence of Malice

On Golden Pond is most notable for the pairing two of Hollywood's most beloved stars in their final roles.  For Henry Fonda this was his final role, which combined with the fact he had never won an Oscar likely contributed him winning for a rather average performance.  That's not to say Henry Fonda wasn't a great actor, but his performance essentially required him to be an old man.  His co-star Hepburn gave a more nuanced performance (she also won) of an aging woman embracing her silver years.  

Oddly enough Fonda's only other acting nomination came in The Grapes of Wrath, which itself was a fine performance.  However, he was overlooked for one of his best roles in 12 Angry Men.  Fonda's greatest performance in Once Upon a Time in the West has grown in stature over the years, so his snub is a bit more forgivable.  Instead we're left with somewhat of a lackluster win.  On Golden Pond is an average schmaltzy movie, whose appeal was a result of the two legendary leads playing a loving elderly couple.

Other Awards and Nominations:

Best Actor Nomination: BAFTA
Best Actor Drama: Golden Globes
Best Actor: National Board of Review

Superman and Captain America News

A few weeks ago I talked about Christopher Nolan's involvement in the upcoming Superman reboot.  Well today Latino Review has revealed that David Goyer will be writing the script for the upcoming movie.  Given their success together on the Batman movies this shouldn't really come as a surprise.  Sadly, Goyer has also written The Unborn and Jumper, but his work with superhero movies has been superb.  What is also known at this point is that this will not be an origin story and that The Daily Planet will be struggling like many other newspapers.  BRAINIAC will be joining Lex Luthor as one of Superman's foes, which is welcome news.  BRAINIAC was one of the best storylines of Smallville a few years ago and I think that will transfer well to the big screen.  No word yet on casting or a director.

Switching over to the world of Marvel, the search for Captain America has been narrowed to a few choices: Michael Cassidy (Smallville, The O.C.), Patrick Flueger (The 4400), Scott Porter (Friday Night Lights), Mike Vogel (Cloverfield) and John Krasinski.

Given Krasinski's popularity he would seem to be an odd choice, particularly if you want someone that isn't instantly recognizable.  Plus Krasinski would be far too sarcastic for the role, and Mike Vogel belongs in a frat house.  I would love to see Michael Cassidy in the role, he has just enough charisma to make it work while having that look of an all-American.

On the whole I'm less excited about this movie given the involvement of Joe Johnston as director.

What Happened to Neil LaBute?

Neil LaBute's directorial debut In the Company of Men, was a critical hit in 1997.  As with any great debut, LaBute's next movies were highly anticipated.  LaBute's next, Your Friends & Neighbors while not gaining quite the same praise was still highly regarded.  Finally came the criminally underrated Nurse Betty with Renee Zellweger at her most charming.  Also featuring Morgan Freeman, Chris Rock and Greg Kinnear was a very funny movie about our need to create fantasies to escape from the harsh realities of our lives.  LaBute continued his string of solid critical hits with Possession and The Shape of Things.

Then about five years ago something happened, LaBute turned Hollywood eschewing his previous independent tastes.  His next feature the horrendous Wicker Man feature Nic Cage at his most insane (see Cage in a bear suit punching a woman).  Then came Lakeview Terrace  in 2008, a terribly generic thriller about inter-racial relationships with Sam Jackson going bonkers on Patrick Wilson and Kerry Washington.

Finally last night I was watching Shutter Island and saw a preview starring Chris Rock who is attending his father's funeral.  While the movie hosts a large notable cast and is attempting dark comedy, the trailer fell flat, with a countless list of generic race, sex and midget jokes.  Once one of the beacon's of independent cinema, both a great director and screenwriter, LaBute has now turned out below average Hollywood trite.  I'm not quite sure how this transition happened, but somewhere along the line it seems as if LaBute grew uneasy about his status of a filmmaker and sold his soul.

The "New" Rules of Oscar Season

Matthew Belloni over at The Hollywood Reporter wrote a rather concise and insightful article regarding "old" Oscar rules as they apply to this year's slate of ten nominees.  The gist of Belloni's argument is that despite the supposed changing of the Oscar race, the expanded field did little to change the state of the race.  Admittedly the slate of nominees matches up well with the usual field of nominees, but with an extra five pictures thrown in.  Despite the lack of change I've been firmly on the record regarding my support for the ten nominee field.  Movies that have otherwise missed the shortlisted have been allowed their just recognition (District 9 and Up being my two favorites).  There are plenty of quibbles regarding the lack of Star Trek, The Hangover, (500) Days of Summer and Moon among others, but these films have always fallen outside of the usual Academy favorites.  A few short thoughts on Belloni's rules follow:



1. "No Laughing Matter" 


As Belloni points out, Annie Hall was the last fully comedic film to win Best Picture at the Oscar, though the film was released in 1977 not 1976.   Very few films have even successfully earned that coveted Best Picture nomination.  Instead comedies are usually reserved for nominations in the Screenplay categories, and occasionally acting categories.  Kevin Kline in A Fish Called Wanda and Alan Arkin in Little Miss Sunshine are some of the few examples of awards winning performances from comedies in recent years.  Many expected the expanded field to benefit The Hangover or It's Complicated,  but The Hangover is too much of a "guys nite out" and It's Complicated failed to gain the needed reviews of box office.  However, (500) Days of Summer is a quirkier comedy and more romantic than the other two, a quality lacking in the other two, but its lack of screenplay nomination doomed this critical favorite.  A greater inclination towards comedies would have been appreciated, but for now the Academy looks just as adverse to laughing as before.


2. "Brand Support"


Belloni's next point focused on The Coen Brothers and A Serious Man.  Given the Academy's inclination towards the Coen Brothers I was less than surprised than others to see this make their short list.  A Serious Man had serious supporters to help propel it towards a nomination in a nomination process that favors fervent support in small pockets as much as it does wide-spread acclaim.  In the past the iconic brothers needed their film to garner enough broad support to make the short list, but with the expanded field it only made sense for them to sneak in with a nomination.  Had the field been expanded to ten in the past I'm sure O'Brothe Where Art Thou would have been a nominee.  If the Academy likes a writer or director they get stuck on that director, look at Woody Allen's many writing nomination.  Much like Joel and Ethan, Woody would have likely seen more success in the Best Picture field.  The expanded field also benefited Pixar, as Up finally got the Lords of Animation a coveted Best Picture nomination, something I'm sure most other Pixar films would have achieved.    


3. "Performance Art"


This is one category I'm less inclined to side with Belloni on.  Belloni's assertion is that a performance with strong buzz (Sandra Bullock in The Blind Side) can propel a movie towards a best picture nomination now.  However, he seems to neglect that Jeff Bridges couldn't translate that buzz into a nomination for Crazy Heart.  Of course The Blind Side has made close to 200 million more than Crazy Heart, so box office success may have influenced part The Blind Side's inclusion.  Belloni cites performances of Bates, Lange and Theoron in their Oscar winning performances as films that won Best Actress without any other nomination.  However, for much of the same reason Bridges' performance (though Crazy Heart took two other nominations) those movies lacked the box office pull of The Blind Side.  Whether strong performances will fuel other Oscar nominations in the future seems more questionable to me.


4. "Cost of Doing Business"


Oscar campaigning has become a major part of the Awards season, and strong campaigns can certainly help in gaining actors and movies nominations.  In the past this hasn't always worked, Road to Perdition had a beautiful campaign some eight years ago, only to receive six nominations without making the shortlist in Picture.  Campaigns also help voters stay aware of smaller films they might otherwise miss, Little Miss Sunshine had a campaign critical to its awards success.  The Hurt Locker this has also used a well run campaign this past Winter.  Yet as Belloni correctly points independent films like Hurt Locker are funded by distributors with considerable clout and more money to spend then truly marginal distributors like Magnolia or Oscilloscope have.  Belloni points to the later distributor's failed effort to gain a picture nomination for The Messenger.  Belloni is dead on when he says you still need money to get your film in the coveted ten.


5. "Franchise flounder"


Belloni's last rule focuses on the lack of franchise films in the field of 10. However, I don't know if citing Harry Potter supports his argument, as the Harry Potter series has never garnered serious consideration at the Oscars.  The Academy still sees the series as geared towards youngsters to seriously consider it.  On the other hand is reference of Star Trek makes a strong argument.  However, Stat Trek is seen largely as a genre film (Sci-Fi) something the Academy avoids, particularly the sci-fi genre.  Yes, District 9 gained a nomination, but that also boasted larger critical support.  There was certainly hope that a commercial hit like Star Trek could make the field, but without the universal acclaim a franchise type film is still going to be shutout.   


My only problem with Belloni's list is his lack of attention towards genre films in general.  Genre films were expected to make a larger impact on the race given the expanded field, but aside from District 9 genre films struggled again.  Additionally, his exclusion of Up when talking about many of these categories is also confusing, Up seems to support several of his arguments.  Of course we might have to wait next year to see how these rules hold up again, but for now the movies that make the most sense next year should be our ten nominated movies.  

Update on Pirates 4

Not that anyone particularly cares about the latest news on the next Pirates installment, but Ian McShane as has reportedly been cast as Blackbeard.  An inspiring choice to be sure alongside the rumor Penelope Cruz and Rob Marshall as director.  Yet, a fail to see the need to keep this franchise going as is.  The films have been quite profitable (though World's End took in a $100 less than Dead Man's Chest), but their must be some fatigue for this franchise.  Rob Marshall will sure bring some needed theatricality to Jack Sparrow's story, but the give plot (looking for the Fountain of Youth) screams of a movie trying to be like Indiana Jones but with pirates.  Also of note is how Johnny Depp continues to thin out his resume by only playing cartoonish characters.  However at least we'll be spared the so-called acting of Orlando Bloom in this latest installment.

Twilight? Seriously Oscar, Twilight?!

Hollywood Reporter announced earlier today that Twilight stars Kristen Stewart and Taylor Lautner will be announcing awards at the Academy Awards.  I didn't know that the Oscar's were desperate for the 12 year old demographic, but apparently the inclusion of Miley Cyrus and Zac Efron suggests that they are.  I'm all for the Academy branching out to recognize and feature stars outside of the mainstream or even foreign stars (Felinni did receive 12 nominations from the group after all), but to include such nominal stars of a niche group seems questionable and may move the needle in the other direction.  On another note, voters have just over a week to get ballots in and sneak in viewings of films they have yet to see (if any of them care to see The Last Station or Il Divo).

What's Her Name? - Melinda Dillon

I'm planning to start a new weekly series on character actors and other underrated actors. For the most part they will be faces you recognize but are unable to attach a name to. Others are more recognizable but are often under-appreciated. The first of this series is devoted to Melinda Dillon better known as the mom from A Christmas Story.

Close Encounters of the Third Kind (1977)
Close Encounters garnered Dillion the first of two Oscar nominations (the other being in Absence of Malice.  Playing the mother of the abducted boy in Spielberg's classic Dillion brings a level of honesty and desperation of a mother desperate to be reunited with her son.  Much a parallel to Richard Dreyfus' character, Dillion believes that hope exists beyond the known cosmos.  Dillon used her role here to help nail down her role later in A Christmas Story.

A Christmas Story (1983)
One of the most beloved Christmas movies all time, Dillion leaves an indelible mark as the loving mother of Ralphie.  Dillion imbues sweetness, toughness and commitment as the matriarch of her family.  Dillion's performance rises her character above the stereotype of the 40's and 50's housewife and makes her an independent woman.  Whether it be washing her son's mouth at with soap or demanding he try on a horrible Christmas present Dillion scores.

Magnolia (1999)
Her last major movie role, Dillion is one of the more forgotten members of Magnolia's sprawling ensemble cast.  Not as central to the story as Julianne Moore, Tom Cruise or Melora Walters; Dillion's character still represents one of the overarching themes of a wife or child being neglected or forgotten by a man.  In her limited screen-time Dillion achieves a sense of loneliness and anger.

Other notable movies:
Bound For Glory (1976)
Slap Shot (1977)
Absence of Malice (1981)

The Hurt Locker wins in England and a Few Other Weekend Thoughts

In somewhat of a surprise The Hurt Locker won today at the BAFTA's beating out An Education. Given the critical success and its British pedigree, I expected An Education to take a win on its home soil. The Aviator was the last film helmed by an American director to win here, this and the six other wins show large support for this American war drama over in England. Only three films this decade have translated a BAFTA win into an Oscar win. Hopefully the American Academy follows the British Academy's lead once more.

This weekend also showed another strong weekend for Avatar as it inched closer to $700 million, and climbed past The Sting on the all-time adjusted gross box office list for fifteenth place. Looking over the list I realized that only two of these films have been released in my lifetime, the other of course being Titanic. Despite what some cynics downplaying the movie's inflated gross due to 3-D sales, this is still an impressive performance. The first memory of a large box office performer was seeing Jurassic Park on Father's Day in 1993, the theatre I went to with my family day had a large dinosaur in the lobby, and I remember standing in line for what felt like hours to get in. Today with bigger theatres and larger screen counts those long lines are quickly becoming a thing of the past.

BAFTA's

The BAFTA's are today, winners as they come in

Best Picture: The Hurt Locker
Best Actress: Carey Mulligan - An Education
Best Actor: Colin Firth - A Single Man - (not really an upset here)
Director: Kathryn Bigelow - The Hurt Locker
Film Not in English Language: Un Prophete
Animated Film: Up
Adapted Screenplay: Up in the Air
Rising Star: Kristen Stewart
Production Design: The Hurt Locker
Original Screenplay: The Hurt Locker
Outstanding British Film: Fish Tank
Supporting Actress: Mo’nique - Precious
Makeup and Hair: The Young Victoria
Costume Design: The Young Victoria
Supporting Actor – Christoph Waltz - Inglourious Basterds
Visual Effects – Avatar
Cinematography – The Hurt Locker
Editing – The Hurt Locker
Sound – The Hurt Locker
Music – Michael Giacchino for Up
Outstanding British Debut: Duncan Jones - Moon
Short Film – I Do Air
Short Animation – Mother Of Many

Alan Rickman

To most of the younger crowd Alan Rickman is Professor Snape, but for me and those who remember when action movies didn't have to be loud and dumb, Rickman will always be Hans Gruber. Rickman turns 64 today allowing me to lament a bit about he has never been nominated for an Oscar. Rickman's Gruber is the villain that all other action villains are compared to. He's sophistacated, smart, cunning with a touch of charm as well, a perfect foil for the everyman of Bruce Willis. In many ways Gruber epiotmized the more modern or 80's version of man with his fancy suit, with Willis symbolizing the mythos of the western man. Die Hard hardly gets credited for mirroring a Western, but it has a robbery, a damsel in distress, the unknown hero and hey it even takes place in the West. I could go on and on about the masculine symbolism in this movie (the really really tall building), but instead I'll just finish with a lament regarding how this movie spawned mostly thankless rip-offs. A few action movies of the 90's work, but none could equal Die Hard.

Hello Clarice

Last weekend was the nineteenth birthday of The Silence of the Lambs, a great movie to be released right after Valentine's Day.  I'll be watching this Oscar weekend in my celebration of Oscar winners - until then heres a clip

Shutter Island and Who's That Knocking at My Door

Scorsese had a good weekend as Shutter Island easily took number one at the box office at this weekend.  All the fuss over this being a genre flick confuses me somewhat considering Scorsese has made more mainstream fare like Cape Fear and The Color of Money.  I also caught his first feature Who's That Knocking at My Door tonight, a mixed-bag of a movie.  The end result clearly exhibits Scorsese's progression of the film from a student movie to feature film, creating an effort that isn't as strong as other debut features.  However, given the ardent following Scorsese has, I'm a little shocked to how little seen this small movie is.  Two things stick out watching this movie, (Scorsese's love of movies and his love of music).  As has become standard Scorsese uses a bold soundtrack to bolster his story. Any fan of Scorsese should check this out.

Jeff Bridges Will Be a Deserved Winner - Crazy Heart Review

Crazy Heart                                                                                          
Starring: Jeff Bridges, Maggie Gyllenhaal, Colin Farrell, Robert Duvall
Director: Scott Cooper
Runtime: 112 minutes

Critiquing movies like Crazy Heart can be a little difficult, when the movie is dominated by the presence of its lead actor. Jeff Bridges inhabits Bad Blake so completely the performance really does become the movie.

The story is very familiar, a washed up singer struggling with his aging body and his loss of relevance in the world. The most direct performance to compare Bridges here is to Robert Duvall's turn Oscar winning turn in Tender Mercies. Duvall and Bridges both nail their roles of drunken country singers lured into romance with a middle-aged woman with a young son. Despite Crazy Heart's familiar storyline, also similar to last year's The Wrestler, Bridge's performance along with Maggie Gyllenhaal make us care enough to watch for two hours.

Bridge's relationship with Gyllenhaal gets the most screen time, and Gyleenhaal does a fine job with a simply written character. It might be a stretch to consider her work one of the year's best, but given the simple nature of the screenplay and character she does a fine job of making her three-dimensonal. She never makes it difficult to understand what she finds appealing in Blake, she's a writer that has never seen much success. A chance to interview a once successful country singer is a great oppurtinity to gain some notice. Blake has considerable charm and sees someone who isn't interested in who he was but rather who he is. The relationship the two embark on takes up a majority of the movie's screentime and is the central event that changes Blake.

However, the real reason to see Crazy Heart is Jeff Bridges in one of his finest performances. Bridge doesn't play Blake as a caricature but rather as a man that is trying to stay relevant in an industry that has passed him by. Yes, the booze is important to him but so Jean (Gyllenhaal), and he struggles to find the balance between whiskey and the younger woman and son that show him great affection. Blake is a man determined to do things his own way, he reluctantly agrees to open at a large concert for his protege, but in agreeing to he opens up more possibilites. Bridges performance is made stronger by his own singing, which adds more to the realism of the performance, it's not difficult to see Blake having written these songs based on his life experience (much credit goes to T-Bone Burnett for providing original music for the movie).

Supporting work from Colin Farrel and Robert Duvall helps to round out the cast. Crazy Heart may not break any new ground in an too familiar story, but Bridge's winning performance makes Crazy Heart worth seeing.

B

Five Favorite Oscar Winners

Not really a list of what consider the greatest Oscar winners, but a small listing of a few of my favorites listed chronologically.

On the Waterfront (1954)

Featuring Marlon Brando's greatest performance and the won for which he won his first Oscar, On the Waterfront is highly deserving of the many accolades it has received in the last 55 years. Brando's embodiment of Terry Malloy fuels this great drama of a dockworker taking a stand against the mob control of the docks. Also featuring an award winning performance from Eva Marie Saint and a terrific supporting cast, On the Waterfront is required viewing.

Patton (1970)

Patton's success hinges on George C. Scott's towering portrayal of World War II's infamous general. From the opening monologue Scott and director Franklin Schaffner hook the audience into Patton's world. Scott nails down the dominant figure of Patton, while never forgetting that he was still just a man. Patton remains one of the greatest biopics, but also works effectively well as a war film.

One Flew Over the Cuckoo's Nest (1975)

One of the few Best Picture winners known just as well for its source material, One Flew Over the Cuckoo's Nest is a shining example of 70's cinema. Jack Nicholson's winning performance helped to mold as the crazy persona for which he is now famous for. Louise Fletcher is also terrific as the oppressive nurse, emasculating the men she treats. The theme of male identity is fully fleshed out by the supporting cast of patients. Ken Kesey never liked this adaptation, which skipped over several key themes of his novel. Regardless of Kesey's opinion, the movie succeeds through its terrific performances, a great script and assured direction.

The Silence of the Lambs (1991)
Like the Cuckoo's Nest, Silence of the Lambs dominated the Oscars in its respective year, by winning both lead acting categories, Best Director and Screenplay to sweep the five major awards. Anthony Hopkins and Jodie Foster both fit comfortably in their roles and have terrific chemistry despite being separated by glass and bars. Hopkins manages to frighten us, but at the same time appreciate Lecter's intellect, while Foster stands strong as a woman standing out in a world dominated by men. The movie never fully receives its proper due for exploring themes of gender identity and personal identity, but Ted Tally's writing fleshes out this context for Thomas Harris' novel. Lastly Jonathon Demme's direction prevents the film from becoming a simple procedural drama.

American Beauty (1999)
Some have claimed this movie hasn't aged as well over the past decade, and admittedly 1999 had better movies that could have taken the Oscar. However, after intially being on the fence with it, American Beauty has grown into a favorite movie of mine. Kevin Spacey leads a terrific cast of people trapped in conventions of surbibia. What has led them down this path is not important, what is important is how they respond when they realize that happiness has eluded them for years. The movie isn't as anti-family as it might appear, but rather demonstrates how easily we can get trapped by those conventions. Aside from the cheesiness of the dancing bag, American Beauty reminds us not get too caught up in commercialism or success at the expense of our soul.

Other Favorites: It Happened One Night (1934), Rebecca (1940), The Best Years of Our Lives (1946), Marty (1955), The Bridge on the River Kwai (1957), The Apartment (1960), Lawrence of Arabia (1962), The French Connection (1971), The Godfather I,II (1972,74), Annie Hall (1977), The Deer Hunter (1978), Amadeus (1984), The Last Emperor (1987), Unforgiven (1992), Braveheart (1995), Return of the King (2003), The Departed (2006), No Country For Old Men (2007)

Jeremy Irons - Reversal of Fortune

My latest addition of Best Actor Oscar Winners

Year: 1990
Actor: Jeremy Irons
Movie: Reversal of Fortune
Director: Barbet Schroeder
Role: Claus von Bulow

Other Nominees:
Robert DeNiro - Awakenings
Gerard Depardieu - Cyrano de Bergerac
Kevin Costner - Dances With Wolves
Richard Harris - The Field


I always approach Courtroom Dramas with some trepidation, a genre that usually follows a strict formula and rarely delivers on suspense or even compelling character to root for or against. Thankfully while Reversal of Fortune isn't much more compelling than most movies in the genre, Jeremy Irons' performance allows the movie to succeed.

Irons character Claus von Bulow is a character we never quite understand, he is part of an elite class and he does well to hides behind his quiet eccentricity. To his lawyer and the lawyer's students he is odd and somewhat disconnected, he is part of an aristocracy they don't understand. It's difficult to tell when Claus is being honest, and he rarely gives insight into his character. Irons play this perfectly by not allowing the audience to understand his character but to wrap in some mystery, while also playing up his elitism and his disconcerting attitude. The film's success hinges on us not knowing the truth regarding Claus's wife's death, and Irons does a wonderful job of keeping that hidden. Iron's performance doesn't rely on the histrionics, scene-chewing or deep insight that we associate with some of the great performances and lacks any one scene that one might point towards as brilliant. However, with Iron's mannerisms (the way he smokes his cigarettes and even the way he slips on his robe and slippers) and the mystery he wraps his character around makes this as one of the shining and more underrated performances of the 90's.

By the way it was a travesty Robert DeNiro was overlooked for his performance in Goodfellas.

Other Wins and Nominations:
Best Actor: Boston Film Critics
Best Actor: Chicago Film Critics
Best Foreign Actor: David di Donatello
Best Actor Drama: Golden Globes
Best Actor: Kansas City Film Critics
Best Actor: Los Angeles Film Critics
Best Actor: National Society of Film Critics

Worst Best Picture Winners

The last two days I took a look at overrated and some under-appreciated Best Pictures. Today I look at some of the worst movies to win the big prize. Many of the titles considered were from the early days of the prize, which have not aged particularly well. I've narrowed the list to five, but could've included several more. Once such example was Elia Kazan's Gentleman's Agreement which is simply a dated movie about anti-Semitism in America. A good movie for its time no doubt, but the emotional impact has been mooted over the last several decades. Other movies just prove to be rather ordinary (In the Heat of the Night, Chariots of Fire, Kramer vs. Kramer, A Beautiful Mind). Look tomorrow for a list of five of my favorite Oscar winners.

5. The Greatest Show on Earth (1952)

Cecil B. DeMille's lone Oscar winner is a bloated epic, that was a box office smash of 1952. A prime example of a movie owing its success to large cast of stars, The Greatest Show on Earth lacked a story then and nothing memorable for modern audiences to care about.

4. Out of Africa (1985)

Out of Africa has beautiful cinematography and little else going for it. One of Meryl Streep's least impressive performances and a less than compelling romance make for one of the Academy's larger bores. There is nothing inherently terrible about this movie, but neither does is it compelling. To care about someone's affair you must first care about the character, and the movie doesn't portray that effectively. However, the movie had little competition and easily won the Oscar.


3. Cimarron (1931)

An early Western that takes place over several decades, but fails to engage the audience in any meaningful way. Cimarron is a rather difficult movie to sit through and to keep your attention on. The story lacks any connective tissue to scenes and time frames, and its racial stereotypes have shown how we have progressed.

2. Shakespeare in Love (1998)

If you read my column Wednesday you know why

1. Gigi (1958)
I hated this movie, from its arranged marriage of a 14 year old to the disturbing opening number Thank Heaven For Little Girls. Gigi continually asserts that young girls exist only to be shaped by other women to marry men and little else, yet argues that our title character somehow falls in love with the douchebag Gaston. Containing not one catchy song or a character to care about along with its horrible story and disgusting themes Gigi easily takes the crown as my least favorite Best Picture.