tag:blogger.com,1999:blog-47846656351049561422024-03-28T06:14:57.087-04:00And So It Begins...Alex Withrowhttp://www.blogger.com/profile/15887018476048271594noreply@blogger.comBlogger1426125tag:blogger.com,1999:blog-4784665635104956142.post-34618093914637812822024-01-29T15:37:00.001-05:002024-01-29T15:38:06.381-05:00Top 10 Films of 2023<div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://www.andsoitbeginsfilms.com/2024/01/top-10-films-of-2023.html" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="608" data-original-width="1080" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX4wmNan-y8geoyt1r0O0JOFA1h28DVuL_VO_fcHDT2ouqIskBONjfy7wlnne8KK-k8gHm8Q06kYiIGwx30RXOuHX8b0EuggalCamKviVDW9Px-RThhTpjY20OBeTIE3hTgrSrtbhlZYv0rEttBuIyhZx8LXXuGcvnbSv5wMHbQ1lSOXVHdCt_8YeF0CON/w640-h360/oppenheimer_4k-74.png" width="640" /></a></div>In my 2022 round-up, I tentatively asked if movies were back. In 2023, movies were back in a way I never saw coming. Last year, my favorite movie of the year was a film I think only 16 people have seen. This year, for the first time in my life, my favorite film is the frontrunner to win the Best Picture Oscar. How in the world did we get here?<div><br /><span><a name='more'></a></span><div style="text-align: center;"><b>10. <span style="font-size: medium;">The Zone of Interest</span></b></div><div style="text-align: center;"><b>Directed by Jonathan Glazer<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6qlcHIMI9Dt-jKaFHT6dKUA9NuRlLV7E9G8fsstqbvTNhNqa5TG1S6GSY2fXhLsYoD2RKuPHXqn1T-hTaVosyfUQabAPmOQm11RvmqtwIlnYBUVHl6XXHoZVrOld0P-LevNIAWsGLil4-2GQPJrZkxuMv-4l5FV5G7QhFIpUMSUsMiwgUKMawjgACvmsi/s3840/TheZoneOfInterest_UHD_SDR_FTR_Sub_2398_3840x2160_OAR_178_Rec709_20231101.01_06_30_08.Still003.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2160" data-original-width="3840" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6qlcHIMI9Dt-jKaFHT6dKUA9NuRlLV7E9G8fsstqbvTNhNqa5TG1S6GSY2fXhLsYoD2RKuPHXqn1T-hTaVosyfUQabAPmOQm11RvmqtwIlnYBUVHl6XXHoZVrOld0P-LevNIAWsGLil4-2GQPJrZkxuMv-4l5FV5G7QhFIpUMSUsMiwgUKMawjgACvmsi/w640-h360/TheZoneOfInterest_UHD_SDR_FTR_Sub_2398_3840x2160_OAR_178_Rec709_20231101.01_06_30_08.Still003.webp" width="640" /></a></div></b></div>I’ve been following the Oscars for the better part of three decades, and The Zone of Interest is the most experimental/arthouse/avant garde movie to ever be nominated for Best Picture. When I saw this film in a packed theater the weekend it opened in New York City, I never expected it to be embraced by an institution as mainstream as the Oscars. In fact, I didn’t even like the movie when I left that theater. But more so than any film this year, The Zone of Interest had a haunting staying power that forced me to change my opinion on it. I’m seeing it again this week; cautiously, though I’ll certainly be paying attention.<br /><br /><div style="text-align: center;"><b>9. <span style="font-size: medium;">Master Gardener</span></b></div><b><div style="text-align: center;"><b>Directed by Paul Schrader<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzYuQvzwPheGrGjz4tB0MUysFgFShjrV1E3G1nH4sVUQMsV44knOIwY81Nw1wduFfgX9CkNTJHKhowEv7sq6CqcFBwtKdjPVUn_V_gewnNkRd3hOidAo_t5H_-2eQQ2jpRqvN2ioG-8iFp6InytsM9MCM_Eoe-P-tsd4it49l2FBGIA55kWGmarUm0N3ee/s1755/Master%20Gardener.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="734" data-original-width="1755" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzYuQvzwPheGrGjz4tB0MUysFgFShjrV1E3G1nH4sVUQMsV44knOIwY81Nw1wduFfgX9CkNTJHKhowEv7sq6CqcFBwtKdjPVUn_V_gewnNkRd3hOidAo_t5H_-2eQQ2jpRqvN2ioG-8iFp6InytsM9MCM_Eoe-P-tsd4it49l2FBGIA55kWGmarUm0N3ee/w640-h268/Master%20Gardener.png" width="640" /></a></div></b></div></b>If you liked First Reformed and The Card Counter, you must finish Paul Schrader’s modern Lonely Man Trilogy. The pacing, tone, sound design, and camera work of all three movies help create a consistently bleak vision of world. But the smart casting choices allow the audience to latch on to some semblance of hope, however clouded it may be. <br /><br /><div style="text-align: center;"><b>8. <span style="font-size: medium;">May December</span></b></div><div style="text-align: center;"><b>Directed by Todd Haynes<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD288HK9knV5iRBkj2ZY2ajr4JiSBIs1okJGQjOboXV9CcOWBB8z3HNROhBO6ogmzeL16ApeT9L-ydENxY3L5hq5yPhh5ClZe26TAUWfpJ9OVwtDNxG73Sfpn6bFqAFm-5VaOMF3U8Lo2qO2cSy6Wm06r5RmN-1ysRyOfcxeI0FVE8yqh1WiwuyDkSG1KN/s1920/May_December_53.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1038" data-original-width="1920" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD288HK9knV5iRBkj2ZY2ajr4JiSBIs1okJGQjOboXV9CcOWBB8z3HNROhBO6ogmzeL16ApeT9L-ydENxY3L5hq5yPhh5ClZe26TAUWfpJ9OVwtDNxG73Sfpn6bFqAFm-5VaOMF3U8Lo2qO2cSy6Wm06r5RmN-1ysRyOfcxeI0FVE8yqh1WiwuyDkSG1KN/w640-h346/May_December_53.jpg" width="640" /></a></div></b></div>A fun movie to watch, but an absolute ball of a movie to <i>re</i>watch. Once I knew where the film was going, it allowed me to relax a bit and really enjoy the hospitably macabre sentiments of damn near every character in this film. Natalie Portman and Julianne Moore gave two of the best performances of their respective careers here. I truly think only Todd Hanyes could’ve pulled this off.<br /><br /><div style="text-align: center;"><b>7. <span style="font-size: medium;">Godzilla Minus One</span></b></div><div style="text-align: center;"><b>Directed by (Takashi Yamazaki)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPBgo8ExJ7uzeh0ut__OtYFTg2MsXs8kMENT6Kp95rFkoLW2gusj8sS65Fi3AEV4Kkc6hxIFqnIbGmMpTMV8U4iFAlWGmIEFBgs-qfuCSEvUbFnsF25R2ubnkgMWLb7IsmNDJA1CWry4ZO1AQaPvzS8e1ghRvH4258k0tCdPH-dxGwYv-2_M3Ruq3ceg2e/s1671/GQ1.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="939" data-original-width="1671" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPBgo8ExJ7uzeh0ut__OtYFTg2MsXs8kMENT6Kp95rFkoLW2gusj8sS65Fi3AEV4Kkc6hxIFqnIbGmMpTMV8U4iFAlWGmIEFBgs-qfuCSEvUbFnsF25R2ubnkgMWLb7IsmNDJA1CWry4ZO1AQaPvzS8e1ghRvH4258k0tCdPH-dxGwYv-2_M3Ruq3ceg2e/w640-h360/GQ1.png" width="640" /></a></div></b></div>Fantastically enjoyable, arguably the biggest movie surprise of the year. How in the world does a movie that cost $15 million have better computer graphics than movies with $200+ million budgets? If nothing else, Godzilla Minus One has completely ruined the notion of me accepting horrible CGI in modern films, simply because, “Well, it just all looks bad.” It doesn’t have to. And that’s just one thing I loved about this movie. So excited to see it in black and white in a few days.<br /><br /><div style="text-align: center;"><b>6. <span style="font-size: medium;">Fair Play</span></b></div><b><div style="text-align: center;"><b>Directed by Chloe Domont<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfej9QF71ry6CsO3M7wJKU0SrgXMzj6hdGNMaCTkM4oQ8N2_eWUdzUW_gzqrS4m6Ap7je6Xh0WYBaBUxOmZaF1I5PnlBfN0aZgQwW6ba_Ay1WdXN3MLyZloe0AjAjVtZ_YjbdZDzivV8j1fCQllOeIzkX5XVSEbtF_bvZxvl5-LAjTZNW_nzQwt8HLie6T/s2374/Fair%20Play2.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="991" data-original-width="2374" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfej9QF71ry6CsO3M7wJKU0SrgXMzj6hdGNMaCTkM4oQ8N2_eWUdzUW_gzqrS4m6Ap7je6Xh0WYBaBUxOmZaF1I5PnlBfN0aZgQwW6ba_Ay1WdXN3MLyZloe0AjAjVtZ_YjbdZDzivV8j1fCQllOeIzkX5XVSEbtF_bvZxvl5-LAjTZNW_nzQwt8HLie6T/w640-h268/Fair%20Play2.png" width="640" /></a></div></b></div></b>My favorite feature film debut of the year. Chloe Domont’s Fair Play is the kind of movie I complain that they don’t make anymore. But here it is, an unflinching look at a modern-day romance, and all the love, sex, fighting, backstabbing, and vicious behavior that can come with it. Phoebe Dynevor and Alden Ehrenreich do an incredibly rare thing in this movie, they convince us that these two people absolutely adore each other, and utterly detest one another. Occasionally at the same time. <br /><br /><div style="text-align: center;"><b>5. <span style="font-size: medium;">Poor Things</span></b></div><b><div style="text-align: center;"><b>Directed by Yorgos Lanthimos<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi12ihhUiq8ZO9cDyD7Tt9nKe5my4itR24GLGZ8bLNDxInkI-FACro9Lxqf5KolQKRC0e99gQ4rCaksGQNLire2FhqD8LWLnhcYFxOefdhff8BUyvw_llah3jC36eHwAc7FG-NFOJv5UAowi0Kka9cTfsNe5rfYcjtaZCy176La2oVXelAl2ANddEVv9Tle/s2162/Poor%20Things.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1099" data-original-width="2162" height="326" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi12ihhUiq8ZO9cDyD7Tt9nKe5my4itR24GLGZ8bLNDxInkI-FACro9Lxqf5KolQKRC0e99gQ4rCaksGQNLire2FhqD8LWLnhcYFxOefdhff8BUyvw_llah3jC36eHwAc7FG-NFOJv5UAowi0Kka9cTfsNe5rfYcjtaZCy176La2oVXelAl2ANddEVv9Tle/w640-h326/Poor%20Things.png" width="640" /></a></div></b></div></b>For the past 15 years, Lanthimos has quietly emerged as one of our best living filmmakers. All of his movies feel like they were made by the same person, but I still have never seen anything like them. The man is a genre in and of himself. Poor Things makes for a fantastic double feature with Lanthimos’ breakout film (and still my favorite of his work), Dogtooth. Both movies are about growing up, discovering independence, rejecting the system, and exploring sexuality. But while Dogtooth was confined by a small budget, and therefore limited in its scope, Poor Things soars as high as his imagination will allow. Emma Stone may have given the best performance of 2023 in this film. </div><div><div id="buzzsprout-player-14220567"></div><script charset="utf-8" src="https://www.buzzsprout.com/1176041/14220567-115-poor-things-2023-maestro-2023.js?container_id=buzzsprout-player-14220567&player=small" type="text/javascript"></script></div><div><br div="" gt="" style="text-align: center;" /><div style="text-align: center;"><b>4. <span style="font-size: medium;">Anatomy of a Fall</span></b></div></div><b><div style="text-align: center;"><b>Directed by Justine Triet<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT_JyOJelx28xQt-mECcEaGT_l_8h4SvJNL9Sm7gYpxeLdz0Kgj2Si50xiuVIk4fcj76XEsVJ8qDWmb1ihHt3_68PQ2B3mClKDsEn-MLAguDBwvxM6vee5GK5WPDj2-AK29SSQpVpqwZwku23LkrcclcsOkapgH8hwG-1ZBK8SV78C14mkc4RSQxafGCmN/s3996/64a70f1da7f079f477ba2af4_Anatomy%20Of%20A%20Fall%20-%20Still%202.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2160" data-original-width="3996" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT_JyOJelx28xQt-mECcEaGT_l_8h4SvJNL9Sm7gYpxeLdz0Kgj2Si50xiuVIk4fcj76XEsVJ8qDWmb1ihHt3_68PQ2B3mClKDsEn-MLAguDBwvxM6vee5GK5WPDj2-AK29SSQpVpqwZwku23LkrcclcsOkapgH8hwG-1ZBK8SV78C14mkc4RSQxafGCmN/w640-h346/64a70f1da7f079f477ba2af4_Anatomy%20Of%20A%20Fall%20-%20Still%202.jpg" width="640" /></a></div></b></div></b>While I was watching Anatomy of a Fall, I couldn’t wait to get home and research the case the movie was based on. Surely there were documentaries, TV shows, podcasts and books detailing this bizarre trial that happened France. Imagine my surprise when I realized that the entire film is a work of fiction, drafted from the minds of life partners Justine Triet and Arthur Harari. Everything matters in this film. Songs playing in the background, words being said, languages being spoken – it all must be accounted for. The attention to detail that went into crafting this original script, and executing it so brilliantly on screen, are just a few reasons why Anatomy of a Fall is deserving of every single Academy Award nomination it received. Period.<br /><br /><div style="text-align: center;"><b>3. <span style="font-size: medium;">Killers of the Flower Moon</span></b></div><b><div style="text-align: center;"><b>Directed by Martin Scorsese<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVjl3kmsQHGMB8c4mJo3LBDCqZl35vD6tZ7bm2xR_1LfHxbUYshSxLZb43G2BOqnneogEu7yTTDCcS9c1c4DtqGMAGA7O3Tlmg7-COk_SbzZlzy5IE3xS_Ns5I1grWCF-P_4lGTso9321DTrtxez13261q1us1bn-KZBsyaCQ_EhSZ25WZ0oBATLvwzeLI/s1200/KillersOfTheFlowerMoonLeoHatLilly.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="630" data-original-width="1200" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVjl3kmsQHGMB8c4mJo3LBDCqZl35vD6tZ7bm2xR_1LfHxbUYshSxLZb43G2BOqnneogEu7yTTDCcS9c1c4DtqGMAGA7O3Tlmg7-COk_SbzZlzy5IE3xS_Ns5I1grWCF-P_4lGTso9321DTrtxez13261q1us1bn-KZBsyaCQ_EhSZ25WZ0oBATLvwzeLI/w640-h336/KillersOfTheFlowerMoonLeoHatLilly.jpg" width="640" /></a></div></b></div></b>Another Marty masterpiece. I loved the film. I loved what it taught me, because I simply had never heard anything about this story. I loved that it reintroduced me to Lily Gladstone, who should certainly be a major force in cinema now. I loved that it gave Robert De Niro a chance to dig into a character to play a complete and utter monster. I loved the mother’s death scene in the film. I think it’s one of the most quietly profound things Scorsese has ever put on film. And, of course, I loved that in a year full of great movie endings, the gently simplicity of Killers of the Flower Moon won the day.<div><div id="buzzsprout-player-13851071"></div><script charset="utf-8" src="https://www.buzzsprout.com/1176041/13851071-109-killers-of-the-flower-moon-2023.js?container_id=buzzsprout-player-13851071&player=small" type="text/javascript"></script> <br /><br /><div style="text-align: center;"><b>2. <span style="font-size: medium;">The Killer</span></b></div><b><div style="text-align: center;"><b>Directed by David Fincher<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUsSAofrgV_sK7ATOMUJW6ORzLMwK9fl-5GfcPEOBAYU2pi5NCIF9lieB4iNZOCTK6JXxOG7NWt64hLAKlKL0qP3sojtFBX3lLFd-pTH_Qv_qWvVhCAOoQC22OwuROJPy30gBqnlhF4MvuSaYAK2d96YZuQYURFoqYIfl_3WA_MLdfygOXqfrPMU4UrE_4/s2222/KIller3.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="944" data-original-width="2222" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUsSAofrgV_sK7ATOMUJW6ORzLMwK9fl-5GfcPEOBAYU2pi5NCIF9lieB4iNZOCTK6JXxOG7NWt64hLAKlKL0qP3sojtFBX3lLFd-pTH_Qv_qWvVhCAOoQC22OwuROJPy30gBqnlhF4MvuSaYAK2d96YZuQYURFoqYIfl_3WA_MLdfygOXqfrPMU4UrE_4/w640-h272/KIller3.png" width="640" /></a></div></b></div></b>One of the coolest films David Fincher has ever made, and currently my fourth favorite Fincher film. I saw this movie three weeks in a row in the theater, and then two weeks in a row on Netflix. Se7en will always be the Fincher film I’ve seen the most, but The Killer is definitely going to creep up. Michael Fassbender, welcome back, I’ve missed you greatly.</div><div><div id="buzzsprout-player-13945996"></div><script charset="utf-8" src="https://www.buzzsprout.com/1176041/13945996-111-the-killer-2023.js?container_id=buzzsprout-player-13945996&player=small" type="text/javascript"></script> <br /><br /><div style="text-align: center;"><b>1. <span style="font-size: medium;">Oppenheimer</span></b></div><b><div style="text-align: center;"><b>Directed by Christopher Nolan</b></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRk9uZOafE87g8yDWsTz3VymLDm0ZzTE959ndlENdVc6maiZmtUuoXS7EjCZHhSEx3sHA9aRuwt7atMngKzMANE-UcAhaHNqm67sukjUNM6_FVfobqnrpq3oQVkZv-U4epNknWbJGJkwGfguMpYarmQNIYjRS6rHmoyqLggfBmmoFvH1DJl9OGm2xLe58T/s1080/oppenheimer_4k-13.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="608" data-original-width="1080" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRk9uZOafE87g8yDWsTz3VymLDm0ZzTE959ndlENdVc6maiZmtUuoXS7EjCZHhSEx3sHA9aRuwt7atMngKzMANE-UcAhaHNqm67sukjUNM6_FVfobqnrpq3oQVkZv-U4epNknWbJGJkwGfguMpYarmQNIYjRS6rHmoyqLggfBmmoFvH1DJl9OGm2xLe58T/w640-h360/oppenheimer_4k-13.png" width="640" /></a></div></div></b>For the first time in my adult life, my favorite film of the year is the current front runner to win the Oscars for Best Picture and Best Director. This has never happened to me. I’ve been in love with movies for my whole life. Because of this, the Oscars are a constant let down that I cannot turn my back on. They are ridiculous, but I am undeniably drawn to them. In my eye, the Oscars almost always get it wrong, so believe me when I say we are in the middle of the strangest Oscar season of my life. <br /><br />I’m sure people disagree with me, I’m sure plenty of people do not consider Christopher Nolan’s film to be the century-defining cinematic masterpiece that I do. That’s fine. I’m always you. I’m always the person who loves the movie that never has a chance at winning any awards. I still cannot believe that Oppenheimer’s Oscar chances are as locked as many pundits seem to believe, but regardless of the Academy Awards, I have spent two entire days of my life watching this film in the theater. And I regret nothing.<div id="buzzsprout-player-13578231"></div><script charset="utf-8" src="https://www.buzzsprout.com/1176041/13578231-oppenheimer-2023-update-a-timeline-of-obsession.js?container_id=buzzsprout-player-13578231&player=small" type="text/javascript"></script></div><div><div id="buzzsprout-player-14350246"></div><script charset="utf-8" src="https://www.buzzsprout.com/1176041/14350246-118-top-10-films-of-2023.js?container_id=buzzsprout-player-14350246&player=small" type="text/javascript"></script><br /><br /><br /><div style="text-align: center;"><b><u>Honorable Mentions</u></b></div><div style="text-align: center;"><i>The Artifice Girl</i> (Franklin Ritch)</div><div style="text-align: center;"><i>Beau is Afraid</i> (Ari Aster)</div><div style="text-align: center;"><i>Eileen</i> (William Oldroyd)</div><div style="text-align: center;"><i>Full Time</i> (Eric Gravel, US release)</div><div style="text-align: center;"><i>John Wick 4</i> (Chad Stahelski)</div><div style="text-align: center;"><i>Magic Mike’s Last Dance</i> (Steven Soderbergh)</div><div style="text-align: center;"><i>Napoleon</i> (Ridley Scott)</div><div style="text-align: center;"><i>Passages</i> (Ira Sachs)</div><div style="text-align: center;"><i>Scream VI</i> (Matt Bettinelli-Olpin & Tyler Gillett)</div><div style="text-align: center;"><i>To Catch a Killer</i> (Damián Szifron)</div><div><br /></div></div>Alex Withrowhttp://www.blogger.com/profile/15887018476048271594noreply@blogger.com8tag:blogger.com,1999:blog-4784665635104956142.post-9479445272969386582023-02-07T10:05:00.004-05:002023-02-07T10:05:49.845-05:00Top 10 Films of 2022<div class="separator" style="clear: both; text-align: center;"><a href="https://www.andsoitbeginsfilms.com/2023/02/top-10-films-of-2022.html" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="855" data-original-width="2048" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8ScMuDfGfo9b2Qf3JFp73DtYhrh2YhcemDj_tkpgIgz4-D9MQoPB7o88OJw0rYNHj3TZz08gxf5FV1Xp1X_BpmYzhUy-a77k-g_iSH59nqmgaRvwHpuRVRX6iEy-1bQHIB4AbcowmRXib2LKTHG26kaZg0y5e8s2WNfJH_cCA0VpMMBLmKiNj71CkFA/w640-h268/Screen%20Shot%202022-12-16%20at%208.49.31%20AM.png" width="640" /></a></div>Are movies “back”? Are studios allowed to stop blaming COVID for keeping people away from theaters? Was 2022 an encapsulation of where cinema is today? <div><br /></div><div>I’ll answer with a soft Yes to all of the above. I think 2022 was a far better year in film than the last two, and I’ll admit that the strength of this year gives me hope for 2023. </div><div><br /></div><span><a name='more'></a></span><div><div style="text-align: center;">10.<span style="font-size: medium;"> <b>All Quiet on the Western Front</b></span></div><div style="text-align: center;">Directed by Edward Berger</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKN85xlU-uEykwLV3iYKaD_VZlSPlgJcsuHj3_Ao1ouwfJSjyQArdXrJtQ98zmtbrIgF7fja1-vF8LLgvyPNmCLBCJV0dh23qpT61PB-JCKJecY5Yu2f7C3mz-q6Hxwk4QJZPYFwHLCAimos3YeQVrVoaE6TQFk_bOzXta3G4WFeVtsSBLOUJtF-LKMg/s1280/all-quiet-on-the-western-front2-1280x720.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKN85xlU-uEykwLV3iYKaD_VZlSPlgJcsuHj3_Ao1ouwfJSjyQArdXrJtQ98zmtbrIgF7fja1-vF8LLgvyPNmCLBCJV0dh23qpT61PB-JCKJecY5Yu2f7C3mz-q6Hxwk4QJZPYFwHLCAimos3YeQVrVoaE6TQFk_bOzXta3G4WFeVtsSBLOUJtF-LKMg/w640-h360/all-quiet-on-the-western-front2-1280x720.jpg" width="640" /></a></div><div>I’m so glad I got to see this in the theater, but it still holds up at home on Netflix too. This is war cinema at its most visceral. It has the empty humanity of <i>Come and See</i>, the battle brilliance of <i>Saving Private Ryan</i>, and the war futility of <i>Paths of Glor</i>y. I was pleasantly surprised that this landed nine Oscar nominations. Wonder how many it’ll win? </div><div><br /></div><div style="text-align: center;">9. <b><span style="font-size: medium;">Bones and All</span></b></div><div style="text-align: center;">Directed by Luca Guadagnino<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieEX2YimEeDKmxRvCbq3AINAPRBQR1eFm6REwVJigaRqoQUTEksAGg_p-9KzI7FpVa2cyFeVI-6TixOkBn5cjO9BLFmHOi_x3TGUdBFZpkV7BZQGhqa8rip4_QkMcPLrGtSAQSO08UjE6nKbks9MYHYFm66ApeE2f0RHDw6HNbTCyZ2tvkNVBj3fh5zw/s1769/Screen%20Shot%202022-12-12%20at%209.52.21%20AM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="953" data-original-width="1769" height="344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieEX2YimEeDKmxRvCbq3AINAPRBQR1eFm6REwVJigaRqoQUTEksAGg_p-9KzI7FpVa2cyFeVI-6TixOkBn5cjO9BLFmHOi_x3TGUdBFZpkV7BZQGhqa8rip4_QkMcPLrGtSAQSO08UjE6nKbks9MYHYFm66ApeE2f0RHDw6HNbTCyZ2tvkNVBj3fh5zw/w640-h344/Screen%20Shot%202022-12-12%20at%209.52.21%20AM.png" width="640" /></a></div></div><div>Such an honest love story set in such extreme circumstances. The cannibalism storyline is clearly in right now, but I’ve never seen it expressed the way it is in <i>Bones and All</i>. Taylor Russell (so good), Timothée Chalamet, Mark Rylance, and Michael Stuhlbarg all help sell the notion that if they do not feast, they will die. It plagues them like a disease. Lord knows how Guadagnino made such a great love story out of such bleak material. </div><div><br /></div><div style="text-align: center;">8. <b><span style="font-size: medium;">Emily the Criminal</span></b></div><div style="text-align: center;">Directed by John Patton Ford<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4yhnbLwRQpV1NrWXbsQOcTh5mlUIHRveeYCGswHLy9N-SHMofqcuMTGKNLKhmX8GH8wXrcYziG5F5KLnTRC9YOKh5XnP4MTwMlnJ-M3lgFLYwGI9vmyd7ipJQ1T70iX2y8JZ-J832RW_O42ps8rBOKg44Js8KmEDj8BIf3NvTL_NsAZK0q4GS6X8Fww/s2083/Emily2.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1173" data-original-width="2083" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4yhnbLwRQpV1NrWXbsQOcTh5mlUIHRveeYCGswHLy9N-SHMofqcuMTGKNLKhmX8GH8wXrcYziG5F5KLnTRC9YOKh5XnP4MTwMlnJ-M3lgFLYwGI9vmyd7ipJQ1T70iX2y8JZ-J832RW_O42ps8rBOKg44Js8KmEDj8BIf3NvTL_NsAZK0q4GS6X8Fww/w640-h360/Emily2.png" width="640" /></a></div></div><div>I loved this movie. It plays like a tough, capable street flick from the John Cassavetes School of ‘70s Cinema. Aubrey Plaza (her best role) plays a young woman from New Jersey struggling to make ends meet and pay off her student loans, so she falls quickly and organically into the dark world of credit card fraud. It’s such a believable film in terms of the process, they really make you understand how this type of fraud works. This isn’t a game changer movie or anything, just a very well-made, on the ground thriller. </div><div><br /></div><div style="text-align: center;">7. <b><span style="font-size: medium;">Top Gun: Maverick</span></b></div><div style="text-align: center;">Directed by Joseph Kosinski<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj06D1odPWW3nQR4r6pAi6zMzTlNYbYHjnpeIvgUKluXWAor6BlRo1C-_WNjYiE-dHdH8_E2YtGr_-JOETZ77NOU4v8Qu6wNiipRKl8Yo4TORvSmAwsUwxOUmeWxtuadp-oEl9fc2VLeriEf61nX58RqlzCPxh532ZVoSF-qXXUWdWi-JLg7BnozYXd-Q/s3840/Top%20Gun.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2010" data-original-width="3840" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj06D1odPWW3nQR4r6pAi6zMzTlNYbYHjnpeIvgUKluXWAor6BlRo1C-_WNjYiE-dHdH8_E2YtGr_-JOETZ77NOU4v8Qu6wNiipRKl8Yo4TORvSmAwsUwxOUmeWxtuadp-oEl9fc2VLeriEf61nX58RqlzCPxh532ZVoSF-qXXUWdWi-JLg7BnozYXd-Q/w640-h336/Top%20Gun.png" width="640" /></a></div></div><div>The most entertaining film of the year. Period.
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</div><div><br /></div><div style="text-align: center;">6. <b><span style="font-size: medium;">Blonde</span></b></div><div style="text-align: center;">Directed by Andrew Dominik<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCrdNQI81e-iTFVJr8QYCvljy4SPKcbqfNKm7SUUGNb4swje27KKke1oYGJFGBM_mrPzuSui9UxTo_OI0YIAGe_-Jpn4wf1pge5uhvk27khAosr_WDG4dQEUgTDc4k48TNz0Ghxgy3UkiLEw8cv2BrVVA0gQRAyI0VazMDKORUeuvMUQM1-CIKWFiJaw/s2874/1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2160" data-original-width="2874" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCrdNQI81e-iTFVJr8QYCvljy4SPKcbqfNKm7SUUGNb4swje27KKke1oYGJFGBM_mrPzuSui9UxTo_OI0YIAGe_-Jpn4wf1pge5uhvk27khAosr_WDG4dQEUgTDc4k48TNz0Ghxgy3UkiLEw8cv2BrVVA0gQRAyI0VazMDKORUeuvMUQM1-CIKWFiJaw/w400-h301/1.jpg" width="400" /></a></div></div><div>I’ve talked about <i>Blonde</i> a lot on my podcast since it was released on Netflix. You can listen to my full thoughts on the film here. Love that Ana got the Oscar nomination. I really didn’t think that was going to happen.
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</div><div><br /></div><div style="text-align: center;">5. <b><span style="font-size: medium;">Petite Maman</span></b></div><div style="text-align: center;">Directed by Céline Sciamma<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG7FcThvfMcvRnYFs0DGi496AqVgs62tplSCS6g5aHQXoFUeeCeHEnJBMvmlV1IaswsfxOspgwlEv788cNLu5zF7TbrMBjPlH1BMySrNLC-9E0Mui6JnBQo2ZSRtkxHVfeCbaBNYen5VK-0XEGLsIbQoqrucG2eCnemPkiXAiTU0TLdBgWIm0JInSXYA/s1200/Petite2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="649" data-original-width="1200" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG7FcThvfMcvRnYFs0DGi496AqVgs62tplSCS6g5aHQXoFUeeCeHEnJBMvmlV1IaswsfxOspgwlEv788cNLu5zF7TbrMBjPlH1BMySrNLC-9E0Mui6JnBQo2ZSRtkxHVfeCbaBNYen5VK-0XEGLsIbQoqrucG2eCnemPkiXAiTU0TLdBgWIm0JInSXYA/w640-h346/Petite2.jpg" width="640" /></a></div></div><div>I made myself a promise to put this simple, profound, 72-minute wonder of a film in my top 5 of the year. Made for $2 million, shot largely in one location, using only five principal actors, <i>Petite Maman</i> is about a young girl trying to connect with her mother, through the help of another young girl. It’s easy, it’s sweet, and the last scene is one of the most moving things I saw all year. If you liked Sciamma’s previous film, <i>Portrait of a Lady on Fire</i>, please watch <i>Petite Maman</i>. </div><div><br /></div><div style="text-align: center;">4. <b><span style="font-size: medium;">Babylon</span></b></div><div style="text-align: center;">Directed by Damien Chazelle<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgjkA7oX68ueumaIdL_qf1k3B9Mt9zQSjfcl24RB0m2hPv0-m2yQNOHB61BdBHq3224RfG1Nru8zWdzMFFi9S8gBFMNMS7-PWvrLGZgIXtur0hksI9wcLuqOdmhbUQrGtkKDnVueIk3PqiOH17GH5RbfvuBlilzxD8lrV4goo-1zJKIwQNW5Q4nloDfg/s1500/babylon-090822-4-98e504eb5b3445218631e509753f955c.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="673" data-original-width="1500" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgjkA7oX68ueumaIdL_qf1k3B9Mt9zQSjfcl24RB0m2hPv0-m2yQNOHB61BdBHq3224RfG1Nru8zWdzMFFi9S8gBFMNMS7-PWvrLGZgIXtur0hksI9wcLuqOdmhbUQrGtkKDnVueIk3PqiOH17GH5RbfvuBlilzxD8lrV4goo-1zJKIwQNW5Q4nloDfg/w640-h288/babylon-090822-4-98e504eb5b3445218631e509753f955c.jpg" width="640" /></a></div></div><div>Another complicated, if not grossly misunderstood, film from 2022 that I’ve talked about a lot on my podcast. I don’t know what in the world critics were on about with this one. <i>Babylon</i> is also a total love letter to the art form of cinema, which is evidenced so clearly in its final, breathtaking sequence. My jaw was hanging open as I watched it. Listen to my fill episode on <i>Babylon</i> here.
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</div><div><br /></div><div style="text-align: center;">3. <b><span style="font-size: medium;">Triangle of Sadness</span></b></div><div style="text-align: center;">Directed by Ruben Östlund<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie4bRv3YFZurcnzJM7fFUtp5S088MpR9MhDANfINcAs3kQVkEIiCzm_4kaY_rhL4JTvs1cZasdxBgV-MDWR5bZx4xA3YzBujFRMJk_4OMsvToHwFBW8MLRVRFFWQ8qTkxZ8N28ARwKPGD8eKLHSByDqbYrEq1yXPAuv4mBBUQmnExF28RWIzyUx1_pHA/s1786/1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1004" data-original-width="1786" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie4bRv3YFZurcnzJM7fFUtp5S088MpR9MhDANfINcAs3kQVkEIiCzm_4kaY_rhL4JTvs1cZasdxBgV-MDWR5bZx4xA3YzBujFRMJk_4OMsvToHwFBW8MLRVRFFWQ8qTkxZ8N28ARwKPGD8eKLHSByDqbYrEq1yXPAuv4mBBUQmnExF28RWIzyUx1_pHA/w640-h360/1.jpg" width="640" /></a></div></div><div>This is one of the most hysterical films I have ever seen, let alone the funniest film of 2022. I’m a fan of Ruben Östlund’s work, but he’s never had me gasping for breath like I do during this movie. I was so happy that this Cannes Palme d’Or-winner had such a nice showing in the Oscar nominations. If I was a member of the Academy, I’d vote for <i>Triangle of Sadness</i> to win everything it’s nominated for. </div><div><br /></div><div style="text-align: center;">2. <b><span style="font-size: medium;">Vortex</span></b></div><div style="text-align: center;">Directed by Gaspar Noé<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8fP-aJfLkHtuO_IsrtyRLXPOBfN7mWb8VKqqraRPK5bsuweAgHlfR1ITniUY8Uw8MOGElixl4bBB_c_qKqT6C8y0fkEr1Tk0CZhzDzAmzNUJ4wAMuzTHuhz_Xn8TYqzAo9jL1o9zoz5_S0w18lG0PDPNOhsMEhRlGaQxCqRgfBly5HqORe3qPI5hKuQ/s3000/VORTEX2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1302" data-original-width="3000" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8fP-aJfLkHtuO_IsrtyRLXPOBfN7mWb8VKqqraRPK5bsuweAgHlfR1ITniUY8Uw8MOGElixl4bBB_c_qKqT6C8y0fkEr1Tk0CZhzDzAmzNUJ4wAMuzTHuhz_Xn8TYqzAo9jL1o9zoz5_S0w18lG0PDPNOhsMEhRlGaQxCqRgfBly5HqORe3qPI5hKuQ/w640-h278/VORTEX2.jpg" width="640" /></a></div></div><div>Gaspar Noé is a very specific type of filmmaker, and <i>Vortex</i> is his most mature film yet. The fact that he decided to do the whole movie in split screen is something that, at first, seems like it’s going to be distracting. But after a few moments, you embrace it and find yourself falling into two concurrent worlds. It’s a massively experimental film made by an unapologetic master.
<i>Vortex</i> certainly isn't the most rewatchable movie of the year, but it’s one I’ll always appreciate. I also recorded two Gaspar Noé podcasts in 2022. The first was his work from <i>I Stand Alone</i> though <i>Climax</i>. The second part covers <i>Lux Æterna</i> and <i>Vortex</i>.
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</div><div><br /></div><div style="text-align: center;">1. <b><span style="font-size: medium;">Bardo, False Chronicle of a Handful of Truths</span></b></div><div style="text-align: center;">Directed by Alejandro G. Iñárritu<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEHN4IP4D4HKrQHhT_0bUZ6cjceJpCnBSApa_2VeNdBoz0dxk2TQ1IE1a5H23zp41OFPj7eDSDjR6AqCNZRmo7xVgL4_1Hbg5waA2aXqerozhykRD0mwedGHbNAz8CKL7wcHN48pjGfx7yydBiM8cAfx8OmaqRIo-FuAJ9aWAzWW7I6fJfeIRIVI9iEA/s2963/MV5BMjA2NGY1M2YtMjQ2Ny00ODFmLTljODQtNzJhNThjMjVkYjBmXkEyXkFqcGdeQWpnYW1i._V1_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1666" data-original-width="2963" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEHN4IP4D4HKrQHhT_0bUZ6cjceJpCnBSApa_2VeNdBoz0dxk2TQ1IE1a5H23zp41OFPj7eDSDjR6AqCNZRmo7xVgL4_1Hbg5waA2aXqerozhykRD0mwedGHbNAz8CKL7wcHN48pjGfx7yydBiM8cAfx8OmaqRIo-FuAJ9aWAzWW7I6fJfeIRIVI9iEA/w640-h360/MV5BMjA2NGY1M2YtMjQ2Ny00ODFmLTljODQtNzJhNThjMjVkYjBmXkEyXkFqcGdeQWpnYW1i._V1_.jpg" width="640" /></a></div></div><div>Yep, I absolutely love <i>Bardo</i>. It’s an absurdist work of art that I never could have expected. The entire time I watched it, I was on the journey of the film, but had no idea how to anticipate the destination. </div><div><br /></div><div>The proper way to talk about <i>Bardo</i> is by discussing the entire thing, including the end, which I don’t want to do here. But when I finally fucking figured out what this film was doing, I was moved in a way that is becoming increasingly rare for modern movies. </div><div><br /></div><div>I understand that I am seemingly alone on Bardo Island. That’s okay. I’ve read all the criticisms and heard all the complains. I get it. I typically react strongly to Iñárritu’s films, I’m not sure why. Maybe because he seems to understand pain in a way that I appreciate, and he’s so fearless in putting that understanding on the screen, film after film. Whether I’m alone with <i>Bardo</i> or not, I will cherish this film forever.</div></div>
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<div id="buzzsprout-player-12101722"></div><script charset="utf-8" src="https://www.buzzsprout.com/1176041/12101722-84-top-10-films-of-2022.js?container_id=buzzsprout-player-12101722&player=small" type="text/javascript"></script>Alex Withrowhttp://www.blogger.com/profile/15887018476048271594noreply@blogger.com10tag:blogger.com,1999:blog-4784665635104956142.post-54131133217739607972022-12-15T12:59:00.005-05:002022-12-15T13:01:30.958-05:00Favorite Films of 2007<div class="separator" style="clear: both; text-align: center;"><a href="https://www.andsoitbeginsfilms.com/2022/12/favorite-films-of-2007.html" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="811" data-original-width="1920" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlQQIhjLRiTHC14xDpR7INhEQA_zjJe9Kf7Em_4qQ6ifTf2LlkRUiFJ5hi3H59JHr3EU2hrGi-DQZfrpY7NFEo_r3ajw_BdXkACnqD_UawAGG7mqbIqWehAdptZb2YMyfXwuet2s3t-7CVW35Y4NIYb3yc3s3EPGADi252g0zorotOnuCrUswsFJtU0w/w640-h270/NC3.png" width="640" /></a></div><div><br /></div>It just dawned on me that I began this blog in September 2007 (wow does time fly) and while I spend more of my movie time on my <a href="https://www.buzzsprout.com/1176041">podcast</a>, I thought it be fun to circle all the way back to my (refined) list of the best movies released in 2007. <div><br /><span><a name='more'></a></span><div>Seriously, have we had a better movie year since? 2011 or 2019, maybe. I still think 2007 wins out.</div><div><br /></div>
<div id="buzzsprout-player-11530824"></div><script charset="utf-8" src="https://www.buzzsprout.com/1176041/11530824-75-favorite-films-of-2007.js?container_id=buzzsprout-player-11530824&player=small" type="text/javascript"></script></div>Alex Withrowhttp://www.blogger.com/profile/15887018476048271594noreply@blogger.com2tag:blogger.com,1999:blog-4784665635104956142.post-89377909948118305672022-08-17T13:45:00.008-04:002022-12-15T13:02:59.055-05:00Favorite Romantic Comedies<div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://www.andsoitbeginsfilms.com/2022/08/favorite-romantic-comedies.html" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1023" data-original-width="1914" height="342" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi78A35pZmnqvW6ewpek4I5JOlDtwpNDqL5LPHUfHfhtX0eLszkhxgaKmCnfpLG_dC6fdc3eAZbk_MKKKE2QgTKqQ49gwDLFGG1Dci_Vkci6ot8xhLp8jV2NZXsRtQyzLOH65bSEdryivdak_BRgkEM2kUaIaEoQf8ThbNuS73jxgccfdQgSAfO2yyGHw/w640-h342/when_harry_met_sally_30th_anniversary_edition_38.png" width="640" /></a></div><br />I love highlighting intense films. Movies that are emotionally brutal, devastating, gut-wrenching, you get it. I’ve done that for years on this blog, and now continue to do on my <a href="https://waywpodcast.buzzsprout.com">podcast</a>. Because I tend to focus so much on the films that capture the dark sides of human nature, it’s fun to occasionally do a complete 180 and discuss a handful of films that bring pure joy. <div><br /><span><a name='more'></a></span><div>Believe it or not, I love a well done romantic comedy, and in this episode, my co-host Nick and I dive into a lot of them. We go back to the 1940s, discuss 1989 as a banner romcom year, and highlight the great careers are Nora Ephron, Nancy Meyers, John Cusack, and much more.</div>
<div id="buzzsprout-player-11116046"></div><script charset="utf-8" src="https://www.buzzsprout.com/1176041/11116046-68-favorite-romantic-comedies.js?container_id=buzzsprout-player-11116046&player=small" type="text/javascript"></script></div>Alex Withrowhttp://www.blogger.com/profile/15887018476048271594noreply@blogger.com3tag:blogger.com,1999:blog-4784665635104956142.post-26046875907544064342022-05-10T08:33:00.008-04:002022-12-15T13:07:27.595-05:00The Departed Commentary<div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://www.andsoitbeginsfilms.com/2022/05/the-departed-commentary-watch-along.html" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="795" data-original-width="1585" height="322" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnPXqJr5vE3DaoRe3TtzNmSUF6F76Tf1AsetVMmElitVVT2QyYtTwySPv6btTFHjMkmD7eeB_81EIhLUCnmreRAfZTUWqdmdqbUPPXZqhgUP-1EE9AJQxcVwH6X6xu-2CZ1xJjgae9Vln5_w72cga1pk0hcHwDd9OKStklvj1afW9m-9ZsA5QtZlz91w/w640-h322/C80iv7E.png" width="640" /></a></div><br />The two things I miss most about blogging regularly is, first and foremost, being able to engage with the wonderful readers in the comment section (hi!), and the other is drafting my <a href="https://www.andsoitbeginsfilms.com/p/no-one-talks-about.html">No One Talks About posts</a>.<br /><br />The No One Talks About posts take a long time to research and write, but now that Blogger has destroyed their interface and made it absurdly complex to post content with a lot of pictures, I’ve all but abandoned that very fun blog series.<div><br /><span><a name='more'></a></span>Recording a commentary for a popular movie is the closest I can get to my No One Talks About Posts. So with that, I present the first <a href="https://waywpodcast.buzzsprout.com/">What Are You Watching podcast</a> commentary, and there’s no better film to start with than Martin Scorsese’s <i>The Departed</i>.<br /><br /><i>The Departed</i> is an immensely entertaining and rewatchable film, but this thing is not perfect. And if you want to be a crazy person and watch the film along with me, here’s the full episode!<div><br /></div><div style="text-align: center;"><span style="font-size: medium;"><b>Listen on Apple</b>: <a href="https://apple.co/3xJVxZL">https://apple.co/3xJVxZL</a></span></div><div style="text-align: center;"><span style="font-size: medium;"><b>Listen on Spotify</b>: <a href="https://spoti.fi/3K1x70f">https://spoti.fi/3K1x70f</a></span></div><div style="text-align: center;"><span style="font-size: medium;"><b>Listen on Google</b>: <a href="https://bit.ly/3L70H5X">https://bit.ly/3L70H5X</a></span></div><div><br /></div><div><br />
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</div></div>Alex Withrowhttp://www.blogger.com/profile/15887018476048271594noreply@blogger.com2tag:blogger.com,1999:blog-4784665635104956142.post-32856462649167189842022-02-10T13:54:00.008-05:002023-01-30T13:43:32.594-05:00Top 10 Films of 2021 <div class="separator" style="clear: both; text-align: center;"><a href="https://www.andsoitbeginsfilms.com/2022/02/top-10-films-of-2021.html" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="598" data-original-width="1442" height="266" src="https://blogger.googleusercontent.com/img/a/AVvXsEgDC5pcuCMjCPWYLAfI5HA6DhtkkMeHRLnP-Nf9RzrXmXDm5CAD1W9MQOjWpay-ShUUeF83GWcUAkEMeccxPBtaYchFlp6ACZG7iVr0HJHZ6oJPpzPnUxSl_4uifZa3DY8b22Hd2d449n3sT8Tcs3LtDKdTihE5dtz5hdZBhAgq0sj5A0upxA_gruv-1A=w640-h266" width="640" /></a></div>We made it through another year of pandemic cinema. In general, I think the industry found its footing a little better following a disastrous 2020 movie year. Here are some of my favorites I saw in 2021. What were some of your favorite movies from last year? <div><br /><div><span><a name='more'></a></span><div style="text-align: left;"><b>UPDATED</b> to add a movie I missed in 2021.</div><div style="text-align: center;"><br /></div><div style="text-align: center;">Honorable Mention: <b><span style="font-size: large;">Zola</span></b> </div></div><div style="text-align: center;">Directed by Janicza Bravo <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhZXX3qxa4pbkSJDq7zYzujBfbbjWHOALAc6V_SXEWwqfGzGLq-cQ6dDXLnqnwAxnPe48FFnMvHH42mhWu5DMUcTx0jKZPdnSsEizac6K1HExLh0aJt5lVvE3guzNUSF8wJ81DHMmkK9RCh-HR2ApRibWaR_q-mVTPP17VqJPyj8mp9PTigdvU05rgB8w=s1829" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1219" data-original-width="1829" height="266" src="https://blogger.googleusercontent.com/img/a/AVvXsEhZXX3qxa4pbkSJDq7zYzujBfbbjWHOALAc6V_SXEWwqfGzGLq-cQ6dDXLnqnwAxnPe48FFnMvHH42mhWu5DMUcTx0jKZPdnSsEizac6K1HExLh0aJt5lVvE3guzNUSF8wJ81DHMmkK9RCh-HR2ApRibWaR_q-mVTPP17VqJPyj8mp9PTigdvU05rgB8w=w400-h266" width="400" /></a></div></div><div>This has to be the best film ever made based on a <a href="https://www.dontdiewondering.com/check-out-the-full-zola-twitter-thread-ahead-of-jaw-dropping-new-movie/" target="_blank">viral Twitter thread</a>. <i>Zola</i> is a hilarious, perverse, at-times shocking movie that relies heavily on the use of social media, without ever being distracting. Riley Keough proves yet again that she’s one of the best performances working right now. <i>Available to stream on Showtime Anytime. </i></div><div><br /></div><div style="text-align: center;">10. <b><span style="font-size: large;">Pig</span></b> </div><div style="text-align: center;">Directed by Michael Sarnoski <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi08hpJqZCgnJwIAXoBq6C3GNmLJWEoU_MoG_F53J3V7g7ybGmADEYBKmdVMlk9usEojFE3kVWOZBZkWklHyqQrp6F3eT6QYYeCj2rJ1ktbawnYZhOF0GP_PoSc0f1OZTwW-BfNJarh-qhDft-4-86mL5wr1saHrI7gOCr0fJj1qwEXwtialJjOYgG5Yg=s1920" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="792" data-original-width="1920" height="264" src="https://blogger.googleusercontent.com/img/a/AVvXsEi08hpJqZCgnJwIAXoBq6C3GNmLJWEoU_MoG_F53J3V7g7ybGmADEYBKmdVMlk9usEojFE3kVWOZBZkWklHyqQrp6F3eT6QYYeCj2rJ1ktbawnYZhOF0GP_PoSc0f1OZTwW-BfNJarh-qhDft-4-86mL5wr1saHrI7gOCr0fJj1qwEXwtialJjOYgG5Yg=w640-h264" width="640" /></a></div></div><div>I love when Nicholas Cage goes all in. A simple story about a seedy underworld, my favorite moments in <i>Pig</i> were watching Cage and Adam Arkin quietly battle it out with stares, choice words, and damn fine food. <i>Available to stream on Hulu. </i></div><div><br /></div><div style="text-align: center;">9. <b><span style="font-size: large;">Riders of Justice </span></b></div><div style="text-align: center;">Directed by Anders Thomas Jensen <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh03jE_9DBrQffaMYJKdNEyAnQSM5-IuAMF7-iOnA3eRaGgJVTY5buuDG97xtx2JBvxIVyHEVl-dhD66IfnJ1Hu52VVfXb6fnQySQIGycT6ZieBjrMA9M0hF1NqXaYSPI1ZffunTw0VnS8jcMp5RofzmLBMoZEkPWwdYZOUy4kpTXpSRuqEBK31MHSO0g=s3508" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1470" data-original-width="3508" height="269" src="https://blogger.googleusercontent.com/img/a/AVvXsEh03jE_9DBrQffaMYJKdNEyAnQSM5-IuAMF7-iOnA3eRaGgJVTY5buuDG97xtx2JBvxIVyHEVl-dhD66IfnJ1Hu52VVfXb6fnQySQIGycT6ZieBjrMA9M0hF1NqXaYSPI1ZffunTw0VnS8jcMp5RofzmLBMoZEkPWwdYZOUy4kpTXpSRuqEBK31MHSO0g=w640-h269" width="640" /></a></div></div><div>This was released in its native Denmark in 2020 but hit the states in May 2021. I didn’t see it until a few weeks ago and holy shit, this movie is absolutely nuts. The trick of this film is that it fools you into thinking you’re watching a common revenge thriller. But <i>Riders of Justice</i> uses dark humor, advanced statistics (yep, really), and childhood trauma to color its characters. Certainly one of the biggest surprises of the year for me. <i>Available to stream on Hulu. </i></div><div><br /></div><div style="text-align: center;">8. <b><span style="font-size: large;">The Beta Test </span></b></div><div style="text-align: center;">Directed by Jim Cummings & PJ McCabe<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjYEMdC7NhAR5cJvffVb1xUp8fQyaUlFavVc8DGs52b7bP-bu_JMlF4Iof1zUA_4bc4LdiZDU-LaXuXVQxa5jh2AP-GIaVFIawqbd168kHU1ACXFe4ztxgQBdpgYpm5H_EWiXQXw3wjQrvdGof9hXouo-9jM0c1micL4OzCcAmuDkQruHOJUdmZFReNyQ=s1904" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="813" data-original-width="1904" height="274" src="https://blogger.googleusercontent.com/img/a/AVvXsEjYEMdC7NhAR5cJvffVb1xUp8fQyaUlFavVc8DGs52b7bP-bu_JMlF4Iof1zUA_4bc4LdiZDU-LaXuXVQxa5jh2AP-GIaVFIawqbd168kHU1ACXFe4ztxgQBdpgYpm5H_EWiXQXw3wjQrvdGof9hXouo-9jM0c1micL4OzCcAmuDkQruHOJUdmZFReNyQ=w640-h274" width="640" /></a></div></div><div>DIY filmmaker Jim Cummings follows up <i>Thunder Road</i> and <i>The Wolf of Snow Hollow</i> with this micro-budget thriller about love, sex, and office politics in 2021. Cummings and his team made <i>The Beta Test</i> for $250,000 and it looks and sounds better than most studio movies I saw last year. <i>Available to stream on Hulu. </i></div><div><br /></div><div style="text-align: center;">7. <b><span style="font-size: large;">Boiling Point </span></b></div><div style="text-align: center;">Directed by Philip Barantini <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgN7ezYNi7K4UKf6w5UGNZ-KD-H__zjOEnjYxSkrjoChdzq5zMSnvz2gkHXbuq6HKvq6puUu5DFS-b8SwjEHz0m6MjOgCLec7E_MJEgcrSja3IYtVj18CvoXQc8Me-SJ67oqDIl8o24QlV7h_Nm6Mllv8GOsW1eDAM3ebPeZbb-nKSzbjKPKhinziZIDg=s1600" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="794" data-original-width="1600" height="318" src="https://blogger.googleusercontent.com/img/a/AVvXsEgN7ezYNi7K4UKf6w5UGNZ-KD-H__zjOEnjYxSkrjoChdzq5zMSnvz2gkHXbuq6HKvq6puUu5DFS-b8SwjEHz0m6MjOgCLec7E_MJEgcrSja3IYtVj18CvoXQc8Me-SJ67oqDIl8o24QlV7h_Nm6Mllv8GOsW1eDAM3ebPeZbb-nKSzbjKPKhinziZIDg=w640-h318" width="640" /></a></div></div><div>Stephen Graham plays the head chef at a fancy London restaurant on one of the busiest nights of the year. This movie is 92 minutes long and is captured in one single unbroken shot. No tricks, no edit stitching in post-production, <i>Boiling Point</i> keeps you right in the middle of the frenzy until its manic conclusion. <i>Available to rent on-demand. </i></div><div><br /></div><div style="text-align: center;">6. <b><span style="font-size: large;">Dune</span></b> </div><div style="text-align: center;">Directed by Denis Villeneuve <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiVREItnNqHeetwSb_uyDZlDgQD-nfKeoxq2n5s_HOY6GNNUttocAZnBmxcl_4eFLLvYZHFm2emPWrriFmT_8kcKSwjVsewVYdTX22zSqEp8cQcF5iXEAOVfVaMZEOWYRiMLEGZzsKn5TfYBDLHtsmgevIfPPMf6Js0drpSvgS323Xk3BfYrezbdrMFQw=s1920" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="804" data-original-width="1920" height="268" src="https://blogger.googleusercontent.com/img/a/AVvXsEiVREItnNqHeetwSb_uyDZlDgQD-nfKeoxq2n5s_HOY6GNNUttocAZnBmxcl_4eFLLvYZHFm2emPWrriFmT_8kcKSwjVsewVYdTX22zSqEp8cQcF5iXEAOVfVaMZEOWYRiMLEGZzsKn5TfYBDLHtsmgevIfPPMf6Js0drpSvgS323Xk3BfYrezbdrMFQw=w640-h268" width="640" /></a></div></div><div>Oh, Oscar. I’ll never understand how you watch one of the best, most thrilling, most technically proficient movies of the year and not acknowledge its director. <i>Dune</i> justly received 10 Oscar nominations this week, and despite Villeneuve’s exclusion as Best Director, this movie was far better than I anticipated. Can’t wait for Part 2. <i>Available to rent on-demand. </i></div><div><br /></div><div style="text-align: center;">5. <b><span style="font-size: large;">Spencer</span></b> </div><div style="text-align: center;">Directed by Pablo Larraín <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh1tCDPGXp3FeOKMu8NaiRw-aIu45Ox-BjifY9nn-XHRfDCwQ1ozTLAp-xTgtdzaHpG6Lgk7hfDHkE7cOeevjeT4LrMBA2-zd2rwzluUgKJ4x2SA3ZHLQJEN_okW5-EO9zPB8YbBhNsbi5MOi-P7UHLUHFMidp-Gc-5Df6_CFkhtmGIg3nQiko2hgAk2g=s1628" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="979" data-original-width="1628" height="384" src="https://blogger.googleusercontent.com/img/a/AVvXsEh1tCDPGXp3FeOKMu8NaiRw-aIu45Ox-BjifY9nn-XHRfDCwQ1ozTLAp-xTgtdzaHpG6Lgk7hfDHkE7cOeevjeT4LrMBA2-zd2rwzluUgKJ4x2SA3ZHLQJEN_okW5-EO9zPB8YbBhNsbi5MOi-P7UHLUHFMidp-Gc-5Df6_CFkhtmGIg3nQiko2hgAk2g=w640-h384" width="640" /></a></div></div><div>I’m thrilled Kristen Stewart was nominated for an Oscar for playing Princess Diana, but I’ll never understand the almost universal rejection of this movie. I don’t follow the Royal Family closely, and I so appreciated this fever dream, mind fuck depiction of a woman in chaos. I guess audiences wanted two more hours of <i>The Crown</i>. Damn shame. <i>Available to stream on Hulu. </i></div><div><br /></div><div style="text-align: center;">4.<b> <span style="font-size: large;">No Sudden Move </span></b></div><div style="text-align: center;">Directed by Steven Soderbergh <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiKRWD8c-Z9rZ2k6S-IJrs0gT-4h1tI5sPjYn3UWRQjxajqDpNIJI0ZXVGalBNXSe0W3eK-5XD07x5kgbX_woPHjVLw9a4JY8oCtZGZrlV9-zpxVwILSrfJA3ZpgDG_a2q5q6_XBc17ctMp6fX63Z5SDRw8HXMe_Da_URPwDWbqTQqZvHrprgo9YEBgGw=s1200" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEiKRWD8c-Z9rZ2k6S-IJrs0gT-4h1tI5sPjYn3UWRQjxajqDpNIJI0ZXVGalBNXSe0W3eK-5XD07x5kgbX_woPHjVLw9a4JY8oCtZGZrlV9-zpxVwILSrfJA3ZpgDG_a2q5q6_XBc17ctMp6fX63Z5SDRw8HXMe_Da_URPwDWbqTQqZvHrprgo9YEBgGw=w640-h360" width="640" /></a></div></div><div>Steven Soderbergh keeps making genre films for streaming services, and very few people seem to care. Every time I watch one of these movies, I’m in awe of how technically brilliant they are (even if they’re shot on an iPhone), and stunned that no one bothers to watch them. This movie had the best cast of the year and a twisty narrative structure that makes it great to revisit. <i>Available to stream on HBO Max. </i></div><div><br /></div><div style="text-align: center;">3. <b><span style="font-size: large;">The Last Duel </span></b></div><div style="text-align: center;">Directed by Ridley Scott <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjlCBvbuOpERwnjJLa0At4ka9GNYqy0twIHdcJewLjM4KSqURPmpF37NAgATgw_ZJO4coe4vFNgmbujzHJAubp5jgTCUYAgAkdtOTJO-swW3EWPg72YZU_m8_MY6xAON9e6OhpaeF_mR0jK9VP5MfhtnNWw61g3Mhi9ti9XGmdfIWlQ3uhc9gt1aGy-dg=s3494" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1716" data-original-width="3494" height="314" src="https://blogger.googleusercontent.com/img/a/AVvXsEjlCBvbuOpERwnjJLa0At4ka9GNYqy0twIHdcJewLjM4KSqURPmpF37NAgATgw_ZJO4coe4vFNgmbujzHJAubp5jgTCUYAgAkdtOTJO-swW3EWPg72YZU_m8_MY6xAON9e6OhpaeF_mR0jK9VP5MfhtnNWw61g3Mhi9ti9XGmdfIWlQ3uhc9gt1aGy-dg=w640-h314" width="640" /></a></div></div><div>Ridley Scott’s <i>House of Gucci</i> is still playing in select theaters, while his 13th-century epic, <i>The Last Duel</i>, came and went from screens in a matter of weeks. Absolutely no one gave a shit about this movie, which is a very telling indication of how much the tastes of general movie audiences have changed. If <i>The Last Duel </i>came out in 2000, it would be a frontrunner for Best Picture. Poor Damon and Affleck; they took 24 years to write and act together again, and people completely slept on it. <i>Available to stream on HBO Max. </i></div><div><br /></div><div><div style="text-align: center;">2. <b><span style="font-size: large;">The Worst Person in the World</span></b></div><div style="text-align: center;">Directed by Joachim Trier<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgafNimFn_XusV6GtNw2k-Dd7Z8rv4EEshxWQxWSqf9wBeQejDAQ0s-juojmmsxgkep4QlFc_iMm7IUgbV6K0ozO3xc336h8sf44hm84xXv7wULqeIyLzd0yL37Ly55f9eJlNsz0n054IXJ78t4sgkz6h727l4kzNQbmxclSF9uJU4x5i9CrjpyosGT6g/s2104/f5274be0-fe7c-4680-a424-bab59933148f-50_Verdens_Verste_Menneske__Oslo_Pictures.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1183" data-original-width="2104" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgafNimFn_XusV6GtNw2k-Dd7Z8rv4EEshxWQxWSqf9wBeQejDAQ0s-juojmmsxgkep4QlFc_iMm7IUgbV6K0ozO3xc336h8sf44hm84xXv7wULqeIyLzd0yL37Ly55f9eJlNsz0n054IXJ78t4sgkz6h727l4kzNQbmxclSF9uJU4x5i9CrjpyosGT6g/w640-h360/f5274be0-fe7c-4680-a424-bab59933148f-50_Verdens_Verste_Menneske__Oslo_Pictures.webp" width="640" /></a></div></div><div>I missed this one when I first drafted this list, because the film wasn't made available in the US until a few months into 2022. At any rate, <i>The Worst Person in the World</i> was arguably the most original vision I saw in a 2021 film. Renate Reinsve gave one of the very best performances of the year. It's a shame when certain movies are given the fate of poor distribution. More people should've seen this and talked about it. <i>Available on Hulu.</i></div></div><div><br /></div><div style="text-align: center;">1. <b><span style="font-size: large;">Licorice Pizza </span></b></div><div style="text-align: center;">Directed by Paul Thomas Anderson <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiKAGa9ikBgPS8OCBQNzbpMX4t2c76RbaIlhBHet57Nvbby77uKuZ7EP7O3GViK_i58dPI7g1q0Zte5UXua1XE_3nWzkcBJ-hlXHQgd7t9R8MgW85XqqnBMUVrYVrZvdNyGBQFw_igAMkM_nfQyAi-7z9cK0b2frskVbatVOie6ZIJWu_dcdvdhQED3lQ=s1443" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="1443" height="266" src="https://blogger.googleusercontent.com/img/a/AVvXsEiKAGa9ikBgPS8OCBQNzbpMX4t2c76RbaIlhBHet57Nvbby77uKuZ7EP7O3GViK_i58dPI7g1q0Zte5UXua1XE_3nWzkcBJ-hlXHQgd7t9R8MgW85XqqnBMUVrYVrZvdNyGBQFw_igAMkM_nfQyAi-7z9cK0b2frskVbatVOie6ZIJWu_dcdvdhQED3lQ=w640-h266" width="640" /></a></div></div><div>I’ve listed some fine films here, but this is a no-brainer for me. Watching Paul Thomas Anderson bring his vision of 1973 San Fernando Valley to life was easily the best cinema experience I had in 2021. I have a <a href="https://www.youtube.com/watch?v=lQHyTalJ2XY">profoundly personal relationship with the music of Haim</a>, and watching Alana Haim completely own this character was such a pleasure. I loved everything about this movie, will it finally get PTA his Oscar? Let me roll it. <i>Available in select cinemas. </i></div><div><br /></div><div><b><span style="font-size: large;">For more thoughts on these films, listen to my podcast episode on our favorite films of 2021!</span></b></div><div><br /></div>
<div id="buzzsprout-player-9943956"></div><script charset="utf-8" src="https://www.buzzsprout.com/1176041/9943956-48-top-5-films-of-2021.js?container_id=buzzsprout-player-9943956&player=small" type="text/javascript"></script></div>Alex Withrowhttp://www.blogger.com/profile/15887018476048271594noreply@blogger.com11tag:blogger.com,1999:blog-4784665635104956142.post-45219331995933209352021-09-17T08:40:00.004-04:002022-12-15T13:05:34.712-05:00Favorite A24 Films <div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://www.andsoitbeginsfilms.com/2021/09/favorite-a24-films.html" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="804" data-original-width="1920" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieTQrrqhUh_ELhdfBq6LPmu0SSjVAbKsW-BEv0S0y7ptZSFk71sERPv1Y4ZTAUcU9PAjr_L_bXNf2IjRFkUPgPnlEo9SwLCLy3FYY066UoEvGJzf8tyK4wL7MSaHo9KLt08rkuNQPc7t4r2qP0Y9oO_hM6eQMR4Sh293RVTrX-7V88vlIHQDTmi7F5ZA/w640-h268/uncut%20gems.jpeg" width="640" /></a></div><br />When I started podcasting in July 2020, I promised myself that I wouldn’t let this blog fall off. But it only took me a few weeks to learn that podcasting and blogging with equal weight is not something I can sustain. </div><div><br /></div><div>The main downside to this is that I’m not regularly talking to the many amazing people I’ve met on this blog. People whose movie opinions I highly respect. </div><div><br /></div><div><span><a name='more'></a></span>The only advantage to not blogging is that I don’t have to wrestle with Blogger’s hilariously poor interface. What happened to this platform? The HTML has a mind of its own, and the process for posting pictures takes hours. (No joke, it took me longer to <a href="https://www.andsoitbeginsfilms.com/2020/11/top-58-things-i-love-about-wrestler.html">post this article</a> than it did to write and research it. No fun.) </div><div><br /></div><div>In an effort to blend my movie communities together, I’m going to post podcast episodes on the blog every once in a while. </div><div><br /></div><div>The film studio, A24, began distributing movies in early 2013, and quickly announced themselves as one of the premiere movie studios supporting independent film. In 2016, they began producing their own movies, which lead to a shocking Best Picture victory. </div><div><br /></div><div>We all have our favorite A24 films – the mind-bending horror films, the politically incorrect comedies, the brutal dramas, the trippy shit words can’t explain – and in this episode, we list our 10 favorite each. </div><div><br /></div><div>My podcast, <a href="https://podcasts.apple.com/us/podcast/what-are-you-watching/id1523096077?uo=4" target="_blank">What Are You Watching</a>, is on all major platforms, and my co-host Nick and I are always on Twitter <a href="https://twitter.com/wayw_podcast" target="_blank">@WAYW_Podcast</a>.</div><div><br /></div><div>I hope everyone is doing well! Thank you so much for listening, and happy watching!</div><div><br /></div><div><br /></div>
<div id="buzzsprout-player-9056463"></div>
<script charset="utf-8" src="https://www.buzzsprout.com/1176041/9056463-37-favorite-a24-films.js?container_id=buzzsprout-player-9056463&player=small" type="text/javascript"></script>Alex Withrowhttp://www.blogger.com/profile/15887018476048271594noreply@blogger.com8tag:blogger.com,1999:blog-4784665635104956142.post-51236804677335531462021-02-01T10:50:00.004-05:002023-01-30T13:37:20.961-05:00Top 10 Films of 2020 <div><div class="separator" style="clear: both; text-align: center;"><a href="https://www.andsoitbeginsfilms.com/2021/02/top-10-films-of-2020.html" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1150" data-original-width="2048" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt7B9IObtvRLWhmQxMKqeJBmrvzbSdxZtfpTJQRUdRflTdijnhFj4yj_ej_3umk9_4r7e_695uWa1k7tqYAcV8BX7hEXnd5TMce3N4qGqgRYJbgpR8mPpL14svt-3FcgIJ92VGAhs7_I4K/w640-h360/Lovers+Rock.png" width="640" /></a></div>Who could have guessed that when we sat down in the theater to watch <i>The Invisible Man</i>, or <i>Bad Boys 3</i>, or <i>The Lodge</i>, that it would be the last time we would set foot in a movie theater in 2020? While COVID kept theaters closed and pushed the release dates of several notable films, there was some movie gold to be found. Below are the 10 films I liked best from the mad-shit year that was 2020.</div><div><br /><span><a name='more'></a></span></div><div style="text-align: left;">UPDATED to reflect a movie I missed in 2020.</div><div style="text-align: left;"><br /></div><div style="text-align: center;">Honorable Mention: <b><span style="font-size: medium;">One Night in Miami</span></b></div><div style="text-align: center;">Directed by Regina King<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBGfo1ZSjNsGppnB46-oTRqPqVHDIFAcLGpNpcq-XGCHqJ7qwGDcAv58MYGgaHhhgW9VkfvdYpe5VErHDi4ssYTcQpLmXcxYItHEo-CsK0h5kUJeYEe77mD4Yy0WFMk_w8_Ojc451gDM46/s1170/One+Night+in+Miami.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="664" data-original-width="1170" height="364" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBGfo1ZSjNsGppnB46-oTRqPqVHDIFAcLGpNpcq-XGCHqJ7qwGDcAv58MYGgaHhhgW9VkfvdYpe5VErHDi4ssYTcQpLmXcxYItHEo-CsK0h5kUJeYEe77mD4Yy0WFMk_w8_Ojc451gDM46/w640-h364/One+Night+in+Miami.jpg" width="640" /></a></div></div><div>Putting Malcolm X, Muhammad Ali (then Cassius Clay), Jim Brown, and Sam Cooke in the same room is no easy feat, but first-time director Regina King seizes it. The final 10 minutes of this movie build to such a quiet resolve, that I found myself stuck in my seat long after the credits rolled. <i>Watch on Amazon Prime now. </i></div><div><br /></div><div style="text-align: center;">10. <b><span style="font-size: medium;">Rewind</span></b></div><div style="text-align: center;">Directed by Sasha Joseph Neulinger<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLmh9HZ9dcNYRBzYTa7qH4uXGeYeB9us9WbBcGsMmHRjLvxkVsP6SneOxraz3spGSc0S4Yi9LVkyvNur_HPtigFLToiaryagmogQCbix7ScK2SeTmnUuNgM2ArnnNVsoPxY_DEMc-HA_bR/s1170/Rewind+doc.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="664" data-original-width="1170" height="364" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLmh9HZ9dcNYRBzYTa7qH4uXGeYeB9us9WbBcGsMmHRjLvxkVsP6SneOxraz3spGSc0S4Yi9LVkyvNur_HPtigFLToiaryagmogQCbix7ScK2SeTmnUuNgM2ArnnNVsoPxY_DEMc-HA_bR/w640-h364/Rewind+doc.jpg" width="640" /></a></div></div><div><i>Rewind</i> is a DIY doc in which Neulinger uses his father’s home videos to piece together the horrific abuse that the director and his family suffered for decades. It isn’t really about “stranger danger” anymore, as 90 percent of childhood sexual abuse is committed by someone the child has been told to trust. A tough and necessary doc. <i>Watch on Amazon Prime now. </i></div><div><br /></div><div style="text-align: center;">9. <b><span style="font-size: medium;">Sound of Metal</span></b></div><div style="text-align: center;">Directed by Darius Marder<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbNyX4kCeB6plKquA_lsIPuOXG9ag7eHaWjk5m8Ov0eIjrsc77HwLZ_9q7XD-xEPB_G8xoYDeQZ1HvduT8Fq6NBoupRjkKRjcPLNyskDI51PrvSKZgoDaCtlw-8CUrK85jKgfZ3hEKyGFI/s1170/Sound+of+Metal.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="664" data-original-width="1170" height="364" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbNyX4kCeB6plKquA_lsIPuOXG9ag7eHaWjk5m8Ov0eIjrsc77HwLZ_9q7XD-xEPB_G8xoYDeQZ1HvduT8Fq6NBoupRjkKRjcPLNyskDI51PrvSKZgoDaCtlw-8CUrK85jKgfZ3hEKyGFI/w640-h364/Sound+of+Metal.jpg" width="640" /></a></div></div><div>What a perfect logline for a film: A heavy metal drummer loses his hearing. Marder could take a story like this in any number of directions, and he picks a correct one here, thanks largely to the Oscar-worthy performances of Riz Amhed and Paul Raci. <i>Watch on Amazon Prime now. </i></div><div><br /></div><div style="text-align: center;">8. <b><span style="font-size: medium;">Driveways</span></b></div><div style="text-align: center;">Directed by Andrew Ahn<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK4cGdogmBtHCN7uF-3m5ujYvu4TuMbe0GFspA5NlbmEX5WncNbdBU6xln3u9mhc6KPCXIjmW9qwLD42nQRITIaOyC1Aqek2dAZ8mrHUX37whlNIER8sSvjXP91J4uMCFVFjoQAPuWUad6/s1170/Driveways.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="664" data-original-width="1170" height="364" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK4cGdogmBtHCN7uF-3m5ujYvu4TuMbe0GFspA5NlbmEX5WncNbdBU6xln3u9mhc6KPCXIjmW9qwLD42nQRITIaOyC1Aqek2dAZ8mrHUX37whlNIER8sSvjXP91J4uMCFVFjoQAPuWUad6/w640-h364/Driveways.jpg" width="640" /></a></div></div><div>What a tender little film. Hong Chau (great in the otherwise forgettable Downsizing from 2017) plays a bitter woman forced to clean out her estranged sister’s house, after the sister has passed. The woman has a precocious boy who tags along, and the neighbor, played exquisitely by Brian Dennehy, helps out too. This is a simple, home-grown film that doesn’t ask a lot of its audience, but has great returns. <i>Watch on Showtime Anytime now. </i></div><div><br /></div><div style="text-align: center;">7. <b><span style="font-size: medium;">Let Them All Talk</span></b></div><div style="text-align: center;">Directed by Steven Soderbergh<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4BPSuIq4O-utbaTMXpEAS3ZXRgIKHWJohpWFPNHdQFxuPT1DULU9Ws_KmqVtYEOZQhiZIBB067y9cTUrhzb40TZEAg-xp7knvIozMKFVK9zu1mZwFEKf4mDOXrLyWouXZdSKlY5qnHfwO/s585/Let+them+all+talk.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="332" data-original-width="585" height="364" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4BPSuIq4O-utbaTMXpEAS3ZXRgIKHWJohpWFPNHdQFxuPT1DULU9Ws_KmqVtYEOZQhiZIBB067y9cTUrhzb40TZEAg-xp7knvIozMKFVK9zu1mZwFEKf4mDOXrLyWouXZdSKlY5qnHfwO/w640-h364/Let+them+all+talk.jpg" width="640" /></a></div></div><div>Oh Steve, how I love you so. Soderbergh, equipped with his fuck-it-let’s-try-it, would-be attitude, got a cast and crew of about 30 people, put them on the active Queen Mary II ship, and filmed an entire movie with Meryl Streep, Candice Bergen, and Dianne Wiest with no lights, an improvised script, and a whole lot of movie magic. <i>Watch on HBOMAX now. </i></div><div><br /></div><div style="text-align: center;">6. <b><span style="font-size: medium;">Another Round</span></b></div><div style="text-align: center;">Directed by Thomas Vinterberg<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyKkPnh955zRSLY9bI79Ffu9OXzDdIKOONfpfsytX9cqOZgMVm9Eql74Q8jC2nQ99RduhZbXGkGFn_20O1P2IC6PMS7z_Wj5T84QdYz7II6rBV6sKF5YSgYJ0b9DDDbpZW7dUckrZnzeo8/s1170/Another+Round.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="664" data-original-width="1170" height="364" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyKkPnh955zRSLY9bI79Ffu9OXzDdIKOONfpfsytX9cqOZgMVm9Eql74Q8jC2nQ99RduhZbXGkGFn_20O1P2IC6PMS7z_Wj5T84QdYz7II6rBV6sKF5YSgYJ0b9DDDbpZW7dUckrZnzeo8/w640-h364/Another+Round.jpg" width="640" /></a></div></div><div>Another “Yeah, I’m sold,” easy loglines: Four middle-aged friends decide to test a psychological theory that if you have a little alcohol in your system at all times (about two drinks), that will lead to an improvement in your overall life. Oh, and it teams up Mads Mikkelsen and Vinterberg from <i>The Hunt</i>? Yeah, I’m sold. <i>Pay to watch on VOD now. </i></div><div><br /></div><div><div style="text-align: center;">5. <b><span style="font-size: medium;">Quo Vadis, Aida?</span></b></div><div style="text-align: center;">Directed by Jasmila Žbanić<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipCchH1DAjjdMt0_GP1KTaW9k-q5d3pdq38naUYMvwcRrTB0kTCaf9xkGMpkNnWGSWkmEgxDaCmTzeMOxV5YSlzKvw4Ny9zHdkNbknWssFDoSLVU5CHTkL2XdjQClfIoqWiKPQM1mTZ9KRvtwLMeUqDmN2ma2twjMSnXeF4TFq2Mnl0bJQrljbBnWYAA/s2048/merlin_184834350_ba3a1af0-53fb-4a5b-b326-dcbc81782727-superJumbo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1107" data-original-width="2048" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipCchH1DAjjdMt0_GP1KTaW9k-q5d3pdq38naUYMvwcRrTB0kTCaf9xkGMpkNnWGSWkmEgxDaCmTzeMOxV5YSlzKvw4Ny9zHdkNbknWssFDoSLVU5CHTkL2XdjQClfIoqWiKPQM1mTZ9KRvtwLMeUqDmN2ma2twjMSnXeF4TFq2Mnl0bJQrljbBnWYAA/w640-h346/merlin_184834350_ba3a1af0-53fb-4a5b-b326-dcbc81782727-superJumbo.jpg" width="640" /></a></div></div><div>This is a great film, and I’m embarrassed that I didn’t get around to it before Oscar night. Nothing against Another Round, which I loved, but this gets my vote for the latest Best International Feature Film Oscar. This is a real movie with a very precise vision, which is all too rare for modern movies. Every shot is composed in what feels the most correct way possible, minimal score, impactful sound, flawless acting from performers I’d never seen before. What a fucking ending. <i>On Hulu now.</i></div></div><div style="text-align: center;">4. <b><span style="font-size: medium;">Mank</span></b></div><div style="text-align: center;">Directed by David Fincher<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGffq-DO2P3Fm9d5EVVinxb1BMuAZuMhWP7YI_AtE8Vq-A76XZWi7Ckf2fNjaVN4xo2aruZ8gICAZQfLnEx9Gng6n1kWYPzOU55w07gJaMmh6eiMazGTxxVctj0fBRz0iLHZPXAq80RN6L/s1280/Mank+movie.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGffq-DO2P3Fm9d5EVVinxb1BMuAZuMhWP7YI_AtE8Vq-A76XZWi7Ckf2fNjaVN4xo2aruZ8gICAZQfLnEx9Gng6n1kWYPzOU55w07gJaMmh6eiMazGTxxVctj0fBRz0iLHZPXAq80RN6L/w640-h272/Mank+movie.jpg" width="640" /></a></div></div><div>What happened to <i>Mank</i>? Did people care? <i>Do</i> people care? Is this decades-long passion project from David Fincher, about the writer of <i>Citizen Kane</i>, going to be remembered come awards time? The evolution of <i>Mank</i> was one of the most befuddling movie moments of 2020 to me. This movie did take two viewings to fully reveal itself to me, but from then on, I’ve held it in the highest regard. Am I alone on <i>Mank</i> island? <i>Watch on Netflix now. </i></div><div><br /></div><div style="text-align: center;">3. <b><span style="font-size: medium;">Possessor</span></b></div><div style="text-align: center;">Directed by Brandon Cronenberg<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1_tZs3oyBiJDqfUu6bDeWEpHHHrtp9WwDTCXSpvOFYj9sj2KZvDe3Cvh207L40YGBfMWk2jn_Np9-Ib-a-8_I6HQTRlP3E61GaKXmEZcTe3AIBCkBtl5sBvxy1mUCQe0kix_EI8__dBr4/s585/Possessor+Uncut.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="332" data-original-width="585" height="364" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1_tZs3oyBiJDqfUu6bDeWEpHHHrtp9WwDTCXSpvOFYj9sj2KZvDe3Cvh207L40YGBfMWk2jn_Np9-Ib-a-8_I6HQTRlP3E61GaKXmEZcTe3AIBCkBtl5sBvxy1mUCQe0kix_EI8__dBr4/w640-h364/Possessor+Uncut.jpg" width="640" /></a></div></div><div>A deliciously brutal throwback to smart, violent, sci-fi thrillers in which the audiences had to participate in, as opposed to simply watch. Christopher Abbott, the very finest actor of his generation, is mesmerizing to watch here: Confused, angry, insane. And he may be tired of hearing this, but Brandon Cronenberg is absolutely his father’s son. And that ain’t no bad thing. <i>Pay to watch on VOD now. </i></div><div><br /></div><div style="text-align: center;">2. <b><span style="font-size: medium;">Pieces of a Woman</span></b></div><div style="text-align: center;">Directed by Kornél Mundruczó<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtJgiH8fABBWYDjF5GgSuR3JNQZdU6ai1gCK9LTG4S1kFvo4_6A5u5dGrMpdqUJPDZhjhYo-JrXbQ-E1htAp-MwnehmAX1n-ZoBQnXjbDzH3JmsMm_uS0W2K63YSGyt3nevEbFO2ftP3G-/s1170/Pieces+of+a+woman.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="664" data-original-width="1170" height="364" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtJgiH8fABBWYDjF5GgSuR3JNQZdU6ai1gCK9LTG4S1kFvo4_6A5u5dGrMpdqUJPDZhjhYo-JrXbQ-E1htAp-MwnehmAX1n-ZoBQnXjbDzH3JmsMm_uS0W2K63YSGyt3nevEbFO2ftP3G-/w640-h364/Pieces+of+a+woman.jpg" width="640" /></a></div></div><div>The most gutting film of 2020. Fuck. <i>Pieces of a Woman</i> is a harrowing portray of love, loss, of grief. The shadows of pain that this film explores are areas that few filmmakers (and performers) are willing to go. Vanessa Kirby gives the best performance of the year as a shattered woman coming to terms with a horrific loss. I so appreciate the pain of this film, and, despite being on the biggest streaming platform in the world, I really wish more people were talking about it. Favorite movie ending of the year; it destroyed me. <i>Watch on Netflix now. </i></div><div><br /></div><div style="text-align: center;">1. <b><span style="font-size: medium;">Small Axe</span></b></div><div style="text-align: center;">Directed by Steve McQueen<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaxIAPSHD5yNCOx5_aqHJZPVbpx9ihtjiMqdHvUD_IsxAlSlNtGHgGuaUApBjT6w9_kQ9Y_lLULBuhVeBinYjMmNAtEsiyQo4YMn19RCNaW6SdR3nJ_SohoG5s0WZ1040aoytRUjGlyzF7/s1170/Lovers+Rock+Movie.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="664" data-original-width="1170" height="364" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaxIAPSHD5yNCOx5_aqHJZPVbpx9ihtjiMqdHvUD_IsxAlSlNtGHgGuaUApBjT6w9_kQ9Y_lLULBuhVeBinYjMmNAtEsiyQo4YMn19RCNaW6SdR3nJ_SohoG5s0WZ1040aoytRUjGlyzF7/w640-h364/Lovers+Rock+Movie.jpg" width="640" /></a></div></div><div>In the podcast episode linked below, Nick and I go into great detail about whether or not <i>Small Axe</i> is one film, a miniseries, a collection of films, a TV series – all that nonsense. But the point is, whether viewed as a collection, or five films individually, <i>Small Axe</i> is a work of art. I genuinely think Steve McQueen is one of the best living artists we have. Not just the art of film directing; but art as a whole. I have no idea how he decides to craft his stories the way he does; every choice he makes, from narrative structure, to camera placement, is astonishingly correct to my movie-obsessed mind. </div><div><br /></div><div><i>Small Axe</i> is, by my definition, an anthology series comprised of five feature films about five different stories, all involving West Indian immigrants in London in the ‘60s, ‘70s, and ‘80s. Three of the films are based on true events (<i>Mangrove</i>; <i>Red, White and Blue</i>; <i>Alex Wheatle</i>), one is a more general representation of a time and place (<i>Lovers Rock</i>), and one is McQueen’s own autobiographical statement (<i>Education</i>). </div><div><br /></div><div>I loved them all, damn near equally. The highlight of the group is <i>Lovers Rock</i>, a 70-minute-long museum installation of a film in which a group of people enjoy being themselves for one night of loving and rocking. They turn one of their homes into a musical haven that shields them from the outside white world. If it’s easier to digest, I’m completely fine calling <i>Lovers Rock</i> my favorite film of 2020. What a statement of powerful wonder, from a creator with a wholly singular vision. <i>Watch on Amazon Prime now.</i></div><div><i><br /><span><!--more--></span>
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<script charset="utf-8" src="https://www.buzzsprout.com/1176041/7289419-20-top-10-films-of-2020.js?container_id=buzzsprout-player-7289419&player=small" type="text/javascript"></script>
</div><div><br /></div>Alex Withrowhttp://www.blogger.com/profile/15887018476048271594noreply@blogger.com16tag:blogger.com,1999:blog-4784665635104956142.post-5596845066794429942020-11-12T14:19:00.003-05:002020-11-12T14:21:12.045-05:00Top 58 Things I Love About The Wrestler (that no one talks about)<div class="separator" style="clear: both; text-align: center;"><a href="https://www.andsoitbeginsfilms.com/2020/11/top-58-things-i-love-about-wrestler.html" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5WJjZtLjmpbsXK3N6aW68XBGD3BYp2Anh7tSDkA230GM7WhVH_UxhXPfHc8vRNboOo415FnEhecV8zRPtuq7CNduVcKIqJictw17yLuVQ_waWlb6dNs8SW25QraGgn6YvY3l7M82ETOhX/w640-h266/The+Wrestler+title+card.png" width="640" /></a></div>Darren Aronofsky’s <i>The Wrestler</i> is one of my favorite character studies of the last 15 years. It remains my favorite film of 2008, and one of my favorites of that decade. And while this may be Aronofsky’s most realistic and grounded film, there’s still <i>a lot</i> to explore here. I recently talked about this movie on my podcast (link at the bottom of this post!), and I thought it’d be fun to share some of my thoughts here as well.<div><br /><div><span><a name='more'></a></span><br /></div><div><div style="text-align: center;">I know I just showed it... but this is a grade-A title card; too big, too loud, too garish, so spot on considering the context of the movie.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5Ud-XU4x5_lXHaMny8uRJcyjYhAMuYDem6Z5gkah5OOpyl9LaO4vYAY_hVr7lta_ZtVtXHqhd-WYIGHK-gkGIjbwSmX0WkNqo-tAcBJRu-OwnWNCSH9B5ICq8ycfWdliOrRAHYXo8HWad/s1920/The+Wrestler+title+card.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5Ud-XU4x5_lXHaMny8uRJcyjYhAMuYDem6Z5gkah5OOpyl9LaO4vYAY_hVr7lta_ZtVtXHqhd-WYIGHK-gkGIjbwSmX0WkNqo-tAcBJRu-OwnWNCSH9B5ICq8ycfWdliOrRAHYXo8HWad/w640-h266/The+Wrestler+title+card.png" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;">This entire opening credit sequence is great. It gives us plenty of unforced narrative exposition; it’s fun, it’s quick, and it was done on the cheap, without looking so. The song is nice foreshadowing too.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9hYKkAC387mvo-yw5Vb4cUzBD9nmCfoZf4YzcFUfC4wvO_HVonDew_yn4jt6UvAdDT2iWdHVLfsQGYfPXiuGsE6mzxIM0Ql2wdgeaWF4Irdm8iPQ7dge3hpxuzJjpw93IatwpB8s9jMvi/s1920/The+Wrestler+Scott+Franklin.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9hYKkAC387mvo-yw5Vb4cUzBD9nmCfoZf4YzcFUfC4wvO_HVonDew_yn4jt6UvAdDT2iWdHVLfsQGYfPXiuGsE6mzxIM0Ql2wdgeaWF4Irdm8iPQ7dge3hpxuzJjpw93IatwpB8s9jMvi/w640-h266/The+Wrestler+Scott+Franklin.png" width="640" /></a></div><div style="text-align: center;"><br /></div><div style="text-align: center;">This is certainly one of the finest opening shots to any movie of the past 15 years. It tells us so much about the world we’re in and who we’re being introduced to. From sold out stadium to kindergarten classroom.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhW8_fKx9vymIFawi7ZyvOsPLAfKVQ7SREbJ8KoVjaLAJB-zi7hufgoRTPMcCAMtT5zlB82QoOhmcTBiD_6AYrCJ_8KIZTDv56C0LWDX2aRkRCV2lnmeixR3UVzC3kvJ8aVw2wyzoVugdn/s1920/The+Wrestler1.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhW8_fKx9vymIFawi7ZyvOsPLAfKVQ7SREbJ8KoVjaLAJB-zi7hufgoRTPMcCAMtT5zlB82QoOhmcTBiD_6AYrCJ_8KIZTDv56C0LWDX2aRkRCV2lnmeixR3UVzC3kvJ8aVw2wyzoVugdn/w640-h266/The+Wrestler1.png" width="640" /></a></div><div style="text-align: center;"><br /></div><div style="text-align: center;">Randy “The Ram” Robinson (Mickey Rourke) spinning this guy around so naturally, so that he can sign an autograph. He’s done this thousands of times.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGb02pWx0XKFTHZrvgE1u7StIkjArT873n2mg5QdHcPnJJZIYVpiWPGDQcRYLbAMIM_R-a-DgIr3rHRU9vbOIgVqHRQMYc4PnfIKd_gupxT97zYyUAEmCaI3awOr_uzqbwOphp3Bdgu2ms/s1920/The+Wrestler2.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGb02pWx0XKFTHZrvgE1u7StIkjArT873n2mg5QdHcPnJJZIYVpiWPGDQcRYLbAMIM_R-a-DgIr3rHRU9vbOIgVqHRQMYc4PnfIKd_gupxT97zYyUAEmCaI3awOr_uzqbwOphp3Bdgu2ms/w640-h266/The+Wrestler2.png" width="640" /></a></div><div style="text-align: center;"><br /></div><div style="text-align: center;">Really nice, subtle lift off the ground here, with Clint Mansell’s chilling music easing in. It’s little touches like this that help a $6 million-dollar movie feel much more expensive.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9VyQl_79Ueh5NKnabAm_ry2vbAZgZT0distCeWzxN_tAFvAWr1XlfC56vEqRP9rElGXrsvZfzmt_nA1MytWdN7JWtHGUmXlK7vO5isRIwEoYoHs8sqPZtGpRGGTxy7Un9HjnLdhWd37Rb/s1920/The+Wrestler3.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9VyQl_79Ueh5NKnabAm_ry2vbAZgZT0distCeWzxN_tAFvAWr1XlfC56vEqRP9rElGXrsvZfzmt_nA1MytWdN7JWtHGUmXlK7vO5isRIwEoYoHs8sqPZtGpRGGTxy7Un9HjnLdhWd37Rb/w640-h266/The+Wrestler3.png" width="640" /></a></div><div style="text-align: center;"><br /></div><div style="text-align: center;">I’ve always loved how Randy starts by gently tapping on his manager’s door, then straight up pounding on it. He can’t just knock; he can’t just do the simple thing.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghHOB38bEDZrXF7RxSj9jhR-KgEggDXSFLUUE4se_hH6VeOVqC7vneWzoIYzJPY9agwnmeoDyous8PTf9lbzdgJIAInSDHsfqM6yNhxTYGdGIYc7RpbLzZjuHROtGd2vJT9GisMv25YOYH/s1920/The+Wrestler4.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghHOB38bEDZrXF7RxSj9jhR-KgEggDXSFLUUE4se_hH6VeOVqC7vneWzoIYzJPY9agwnmeoDyous8PTf9lbzdgJIAInSDHsfqM6yNhxTYGdGIYc7RpbLzZjuHROtGd2vJT9GisMv25YOYH/w640-h266/The+Wrestler4.png" width="640" /></a></div><div style="text-align: center;"><br /></div><div style="text-align: center;">The ease in which Randy gets ready for bed in his truck… there’s a routine to his movements that is so damn sad.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLoZTuV0lNTfcEL70T8Q7cgc6y0_COxIzq7k0Tt8RoLmqFMTTM_7Rpo3MvgytOOky2FbT6D5XS_JV47fdWeT5HDglKt9lie40tRJw3jZ9QVVxdfRlKi3LOz1o59u4lGKoPaQQyyVRLIRtb/s1920/The+Wrestler5.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLoZTuV0lNTfcEL70T8Q7cgc6y0_COxIzq7k0Tt8RoLmqFMTTM_7Rpo3MvgytOOky2FbT6D5XS_JV47fdWeT5HDglKt9lie40tRJw3jZ9QVVxdfRlKi3LOz1o59u4lGKoPaQQyyVRLIRtb/w640-h266/The+Wrestler5.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">I love that the first time we clearly see Randy’s face, he’s playfully wrestling with a bunch of kids.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikmDWXERHQenWAZqL1Oonv9eSFYpOtsxZjH3oNYZ-RDew6B3tIsVmEVgfVrwNGcGDzOuAfZn_xM0g5M-uHdSV_IWHUsSrwfCbUs5y2efOfWGvOij8AeG-yLjkmwX2xNKFcIiuOsKkE7Whb/s1920/The+Wrestler6.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikmDWXERHQenWAZqL1Oonv9eSFYpOtsxZjH3oNYZ-RDew6B3tIsVmEVgfVrwNGcGDzOuAfZn_xM0g5M-uHdSV_IWHUsSrwfCbUs5y2efOfWGvOij8AeG-yLjkmwX2xNKFcIiuOsKkE7Whb/w640-h266/The+Wrestler6.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">So cool that Todd Barry is in this. He’s an unexpected choice, but he plays this Wayne goof so realistically.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzxo7ln2XAxs5gdExHcC82qt7io_MYlsqBUDjRm0Qq01qsH7ZUHo1FAXLRhFUN4YgBegwEs0gRgCzkkXkqvCgn8L3IEjHUICKDw3-FnqrGWalIkOh7jpfmuc89vXKRE25gC8QFlaayso-f/s1920/The+Wrestler7.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzxo7ln2XAxs5gdExHcC82qt7io_MYlsqBUDjRm0Qq01qsH7ZUHo1FAXLRhFUN4YgBegwEs0gRgCzkkXkqvCgn8L3IEjHUICKDw3-FnqrGWalIkOh7jpfmuc89vXKRE25gC8QFlaayso-f/w640-h266/The+Wrestler7.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">I LOVE the way you can hear and <i>feel</i> the energy change when Randy walks into this locker room. These guys really do respect him.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLhiUMq9B7ZgF3fKxwBrvDrEun_K8XLmfEf1uRFj8n001SNcwVh3JM6G0vyp8I89hKWaKbS3yxB5PSl4ClNHG2A4cpOMtNFW4vmE49fbNRFbTY58lM2EjHTibss0-3ma726AXaCUB5Q720/s1920/The+Wrestler8.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLhiUMq9B7ZgF3fKxwBrvDrEun_K8XLmfEf1uRFj8n001SNcwVh3JM6G0vyp8I89hKWaKbS3yxB5PSl4ClNHG2A4cpOMtNFW4vmE49fbNRFbTY58lM2EjHTibss0-3ma726AXaCUB5Q720/w640-h266/The+Wrestler8.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">Tommy (Tommy Farra) is the best. His appreciation for Randy’s praise is so genuine.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhORRL_-9iZc4KEnapgcTYlZ_4fvyPGpA45jwMA_qSxY_MRRxJtaA_knD2OMzQbUQH6otYYG3_Iq4VSNK3Lrphv2_sn75TRNH8dfHsU4WaIYIRL1ii3owI2GKTq3VHkRBXsb5KO9QAg1IYZ/s1920/The+Wrestler9.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhORRL_-9iZc4KEnapgcTYlZ_4fvyPGpA45jwMA_qSxY_MRRxJtaA_knD2OMzQbUQH6otYYG3_Iq4VSNK3Lrphv2_sn75TRNH8dfHsU4WaIYIRL1ii3owI2GKTq3VHkRBXsb5KO9QAg1IYZ/w640-h266/The+Wrestler9.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">This exchange is classic.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDz4IF2GJrhbovG6fihMO5xEjpRlymKjZ8j7j5aMshF3Cxw_NNWEgRWFOQTjA5RoQjn5fSfzxyToKlmBMVNkcjUp4TebfKyYqDkRg-OxP-A5BZ2InEhzEMQ8mJx1IMyZLu5GPtt_HIO6xI/s1920/The+Wrestler10.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDz4IF2GJrhbovG6fihMO5xEjpRlymKjZ8j7j5aMshF3Cxw_NNWEgRWFOQTjA5RoQjn5fSfzxyToKlmBMVNkcjUp4TebfKyYqDkRg-OxP-A5BZ2InEhzEMQ8mJx1IMyZLu5GPtt_HIO6xI/w640-h266/The+Wrestler10.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">Love The Ram’s backflip here.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEherbAOv2UPbOPRE21KDtKz4Gv4_I2qCSL7vRdyw8EIdhJkv2Ybv7Cjmh94WykpclawVboppevicjtRvJ-8deKlqpkX9LWMVuOUfcQucPiZdRriKWeWzvf3PAPbefN25G1w1EuPl9rYqBkj/s1920/The+Wrestler11.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEherbAOv2UPbOPRE21KDtKz4Gv4_I2qCSL7vRdyw8EIdhJkv2Ybv7Cjmh94WykpclawVboppevicjtRvJ-8deKlqpkX9LWMVuOUfcQucPiZdRriKWeWzvf3PAPbefN25G1w1EuPl9rYqBkj/w640-h266/The+Wrestler11.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">Nice bit of sound design right as The Ram cuts his forehead. It sounds like that razor feels.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-t044rogQ8x8M1_8JYgPkYy92u0JIj7619bDUYfYOMmCQah3xYXBhFxGjHDuDZ8rVR5J5TZboSlncxfLoFRKdoqzIQXGyvM9F-_xd8U3iNN8NX1-sBbmw7_8dgE66Iy5SoAraGQfyEEGB/s1920/The+Wrestler12.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-t044rogQ8x8M1_8JYgPkYy92u0JIj7619bDUYfYOMmCQah3xYXBhFxGjHDuDZ8rVR5J5TZboSlncxfLoFRKdoqzIQXGyvM9F-_xd8U3iNN8NX1-sBbmw7_8dgE66Iy5SoAraGQfyEEGB/w640-h266/The+Wrestler12.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">Medic: “You’re all set.” While Randy’s face continues to bleed. Can he get a band-aid?<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVJFmMw50kW6PeQrOOCxEILuR5v9pruiosQWP6s2fPAvwFBK7egCpxsKPDMVJ3WhwYwTay6N0WibK1mru_0xXEdQpeTlzokOvWDF6QCTKXwwAjnd-pKURSXHT3YovaHWs0mvfIVnA8iPrk/s1920/The+Wrestler13.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVJFmMw50kW6PeQrOOCxEILuR5v9pruiosQWP6s2fPAvwFBK7egCpxsKPDMVJ3WhwYwTay6N0WibK1mru_0xXEdQpeTlzokOvWDF6QCTKXwwAjnd-pKURSXHT3YovaHWs0mvfIVnA8iPrk/w640-h266/The+Wrestler13.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">Love how Big Chris (Vernon Campbell) refers to Randy’s drug dealer.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr-Te0eVrpfuun1w8jkKdw4r2HimeM7YIM2mz8EMfwSPHmZqoFgA2jD8Rb_fd_262ErfqIsHUWKUIOm3N95jSW9SXIMEMAvle0mVRG6LWgCeRzGCV6Pb3SH-zBffwCohezeTkYSTf9V-6k/s1920/The+Wrestler14.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr-Te0eVrpfuun1w8jkKdw4r2HimeM7YIM2mz8EMfwSPHmZqoFgA2jD8Rb_fd_262ErfqIsHUWKUIOm3N95jSW9SXIMEMAvle0mVRG6LWgCeRzGCV6Pb3SH-zBffwCohezeTkYSTf9V-6k/w640-h266/The+Wrestler14.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">Rourke’s delivery of “I’ll take a cold one,” is damn near my favorite line reading in the film. I <i>love</i> the way he says this.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij78Dg7ouurtaLJcLQd-5aK-6nh0D2YpUIPPYOdO6XMjNrdozYWMgdUQGRDZtMoOF5gOzM_aT-7WPSaHf8xFB6WklOy3kVEE-x5fF9KGr05G9Fd9fcJ4oY61a3kUWZzPGXR9n_Avn5eaGF/s1920/The+Wrestler15.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij78Dg7ouurtaLJcLQd-5aK-6nh0D2YpUIPPYOdO6XMjNrdozYWMgdUQGRDZtMoOF5gOzM_aT-7WPSaHf8xFB6WklOy3kVEE-x5fF9KGr05G9Fd9fcJ4oY61a3kUWZzPGXR9n_Avn5eaGF/w640-h266/The+Wrestler15.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">Randy checking himself out in the mirror before he goes to see Cassidy (Marisa Tomei).<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmiUJ8grZrFgV8cAugQVbJ4c7hT-fkuQ-IxY5xQAcwgRZUxFHozddiGiuvlfu5HmG3Hgdcyx-CvXfTK-JKikdDCTtYxQa_JsDbePFoUknZNOff5VTe_iRfpnkQBwxcWMqTWDVtA2-HiI37/s1920/The+Wrestler16.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmiUJ8grZrFgV8cAugQVbJ4c7hT-fkuQ-IxY5xQAcwgRZUxFHozddiGiuvlfu5HmG3Hgdcyx-CvXfTK-JKikdDCTtYxQa_JsDbePFoUknZNOff5VTe_iRfpnkQBwxcWMqTWDVtA2-HiI37/w640-h266/The+Wrestler16.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">The first interaction we see between Randy and Cassidy is great. In just 25 seconds, we know exactly who these two are to each other. And Cassidy pretending to hit Randy with the chair is such a nice touch.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPaKLnTMfShEGylH6gXH6br1ylASu8UECZTPXxbbC2MUVYciy0z7iaw9v-oUTHnKESL8FqOdo892KwNUaKPWHMMmQcQ2vq7-Bgp4_xaARkByupzCVdbPT-2KDiySPWA8txEFjAXqWvN8zm/s1920/The+Wrestler17.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPaKLnTMfShEGylH6gXH6br1ylASu8UECZTPXxbbC2MUVYciy0z7iaw9v-oUTHnKESL8FqOdo892KwNUaKPWHMMmQcQ2vq7-Bgp4_xaARkByupzCVdbPT-2KDiySPWA8txEFjAXqWvN8zm/w640-h266/The+Wrestler17.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">Scott Siegel is great as this drug dealer. And damn, he must have some story behind the scar on his head.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPTER1rmc3Gdka8FY3Tyh1_pYrqrAVoSdeTPgVzwEmmsMaA5MvSyOXSXyEdEX2F1UGXnT77c9V6kZG2m2y5jpqGJZkyzwKQqwBuloKAxxmwiVFeAFT4OWcc2cFOr-cLrO4O3BUPjMMeEAQ/s1920/The+Wrestler18.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPTER1rmc3Gdka8FY3Tyh1_pYrqrAVoSdeTPgVzwEmmsMaA5MvSyOXSXyEdEX2F1UGXnT77c9V6kZG2m2y5jpqGJZkyzwKQqwBuloKAxxmwiVFeAFT4OWcc2cFOr-cLrO4O3BUPjMMeEAQ/w640-h266/The+Wrestler18.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">This just feels like Mickey Rourke to me. Getting his hair dyed, drinking a muscle shake from the container, making pleasant small talk.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik8ylJsCBX1Nww1XQAlOtmUU1t_66C4sI6QyWPLAN0Tj5DgunjZhQ6bL6gklh09rt4rQ1LNUKiscU6YXL5Se0ynO5IzxzleQSU_5FuSkhuRytO7h79w5ZIfk2yDuKEPJFMGreJRYsI5Nd7/s1920/The+Wrestler20.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik8ylJsCBX1Nww1XQAlOtmUU1t_66C4sI6QyWPLAN0Tj5DgunjZhQ6bL6gklh09rt4rQ1LNUKiscU6YXL5Se0ynO5IzxzleQSU_5FuSkhuRytO7h79w5ZIfk2yDuKEPJFMGreJRYsI5Nd7/w640-h266/The+Wrestler20.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">The way Randy takes his jeans off before he goes tanning. Again, this is not a guy who knows how to do things the easy way. All that loose change he’s kicking around, I guarantee he tries to pick that all up later.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw-nreyQXtWb0px_F0M564U4jcnxfwjE1cJyXXPxHRpbsFqQTUDPVJuvFjteFEKIK3KwOyZ9DLqSfpJBw2jjJIB30zzLNboW6Z2VdsyosjyLqrDdHC69dKmiS2N3JoigNEMNcPya4vn_SH/s1920/The+Wrestler21.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw-nreyQXtWb0px_F0M564U4jcnxfwjE1cJyXXPxHRpbsFqQTUDPVJuvFjteFEKIK3KwOyZ9DLqSfpJBw2jjJIB30zzLNboW6Z2VdsyosjyLqrDdHC69dKmiS2N3JoigNEMNcPya4vn_SH/w640-h266/The+Wrestler21.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">The way this brutal match is conveyed is ingenious, specifically how the sequence is edited together non-linearly. Every other scene in this film is told straight, chronologically, but that narrative departure here injects some energy into the film, and perfect sets us up for the second act. Great filmmaking.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0lz8TRnlpDpe97eGVMsIQo0pQftNFnZrjXjYnFADPNxH9uM6-Pv6senPs2vySz_2pIndo26_qWFlBit-_SxGD_xFBXR0LoZl6LZ8Aid3MGG8tyWZTHUk78MEAmJgFxePSfay89NlUBJ4n/s1600/The+Wrestler+brutal+fight.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="666" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0lz8TRnlpDpe97eGVMsIQo0pQftNFnZrjXjYnFADPNxH9uM6-Pv6senPs2vySz_2pIndo26_qWFlBit-_SxGD_xFBXR0LoZl6LZ8Aid3MGG8tyWZTHUk78MEAmJgFxePSfay89NlUBJ4n/w640-h266/The+Wrestler+brutal+fight.jpg" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">This has to be one of the most realistic depictions of a heart attack in film. The fear mixed with resistance in his face is so believable.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0kVZtR-TeX5H8Iw_fCm5rLXDjLuZwPFtL-lAu78EY1NgeaVmvXnj4Yl7KsLs59KUMvxxs82CiThgc-ae0_VIIM8K-aAcwKYBtMs3CfpVwPPU7j_K5rFqtMKIwvu2cW0zOsrFBPK-4ZRVm/s1920/The+Wrestler23.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0kVZtR-TeX5H8Iw_fCm5rLXDjLuZwPFtL-lAu78EY1NgeaVmvXnj4Yl7KsLs59KUMvxxs82CiThgc-ae0_VIIM8K-aAcwKYBtMs3CfpVwPPU7j_K5rFqtMKIwvu2cW0zOsrFBPK-4ZRVm/w640-h266/The+Wrestler23.png" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div></div><div style="text-align: center;">I don’t know many times I’ve seen the waking-up-confused-in-a-hospital-bed scene, but I don’t know if it’s ever been more convincing than this.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_l7-J2HJ_X7ov_QxQLLEx-JbW9P_6E_WJz6yjdJNUdBxL9ags56fbFz13q_oAnuIMS-0vwXVYg510LSR401cRvhW_NRifATUyc6yW28fSb76Ze6-HQfCQR6qLKifP-FXCJtJmEPVny9WN/s1920/The+Wrestler24.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_l7-J2HJ_X7ov_QxQLLEx-JbW9P_6E_WJz6yjdJNUdBxL9ags56fbFz13q_oAnuIMS-0vwXVYg510LSR401cRvhW_NRifATUyc6yW28fSb76Ze6-HQfCQR6qLKifP-FXCJtJmEPVny9WN/w640-h266/The+Wrestler24.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">God, I adore Randy’s back-to-camera admission of his drug abuse.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmH2E9eC4mgEFGc0DtXiKTfGUvTWGtIwAqd5fH0GYYjTDdRh87ABBE5atxEB5j7OGICs8nstKAUe0FaZuWQewxQ8d_VVPJZL9PyRBk9xgTcHbQK8f_4JBdYV1lZWl36xrFVpm3UxQdMZCm/s1920/The+Wrestler25.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmH2E9eC4mgEFGc0DtXiKTfGUvTWGtIwAqd5fH0GYYjTDdRh87ABBE5atxEB5j7OGICs8nstKAUe0FaZuWQewxQ8d_VVPJZL9PyRBk9xgTcHbQK8f_4JBdYV1lZWl36xrFVpm3UxQdMZCm/w640-h266/The+Wrestler25.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">Again, we’ve all seen this scene dozens of times. The athlete being told that they can never compete again. And I love how simply it’s conveyed here. Just a simple shot reverse shot, with a really empathetic actor as the doctor (Armin Amiri), and a really broken Rourke. No flashy sound effects, focus pulls, or POV shots (all so common in scenes like this); just beautiful acting, simply told.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUlN91Luwa5mtrhU4ZCR7VuDzhpmNALa1gfC9HMSfQy1y8CpyOsZnKKAVv8zHz-b1sBy7MFFrq_GGJvugcGdSook1mSev28-JrGVnB2XmQcWSG_4B_ySV6SEgA4BFNw7-YAwpTX31dofr6/s1908/The+Wrestler+doctor.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1584" data-original-width="1908" height="333" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUlN91Luwa5mtrhU4ZCR7VuDzhpmNALa1gfC9HMSfQy1y8CpyOsZnKKAVv8zHz-b1sBy7MFFrq_GGJvugcGdSook1mSev28-JrGVnB2XmQcWSG_4B_ySV6SEgA4BFNw7-YAwpTX31dofr6/w400-h333/The+Wrestler+doctor.jpg" width="400" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">This poor guy. All that fame, all that glory. And now he doesn’t even have anyone who can give him a ride from the hospital after his heart attack.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRlpDZ0g0rmLseHmcOyE7ZFhNEyV6TaTFZDrK_AUlvoWs1fSShNZQQEx-AlvqQfu886OW5JHcQBTgQ0xn-_xEXDcbF1LDfcNAcwu1zz1JWfJCRz_FcR9mYtMVwJ_D_HhrlxtR4fqixwypc/s1920/The+Wrestler26.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRlpDZ0g0rmLseHmcOyE7ZFhNEyV6TaTFZDrK_AUlvoWs1fSShNZQQEx-AlvqQfu886OW5JHcQBTgQ0xn-_xEXDcbF1LDfcNAcwu1zz1JWfJCRz_FcR9mYtMVwJ_D_HhrlxtR4fqixwypc/w640-h266/The+Wrestler26.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">Like… we’re in minute 40 of this movie. This guy has already had two matches, a lap dance, and a heart attack, and he’s just <i>now</i> getting back into his home.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1HK9TmeX22CgHjgPtaj6jrREiMZrvb_p-ierfrvv46jZ5fBsoTWJC0ilXovwcSqDyfHh598ZggjpMPekILkL9oso6zJn5HirMI09s4tAoV6dF2CbwzXGLv_KMGcfH94x0Fg8nGSq__f2h/s1920/The+Wrestler27.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1HK9TmeX22CgHjgPtaj6jrREiMZrvb_p-ierfrvv46jZ5fBsoTWJC0ilXovwcSqDyfHh598ZggjpMPekILkL9oso6zJn5HirMI09s4tAoV6dF2CbwzXGLv_KMGcfH94x0Fg8nGSq__f2h/w640-h266/The+Wrestler27.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">Maryse Alberti’s cinematography in this film deserves endless credit. Alberti has extensive experience shooting challenging documentaries, and that immediate, cinema-verité approach marries perfectly with <i>The Wrestler</i>. The shot highlighted here really caught my eye, because it’s one of the few zoom shots I noticed in the film. We almost feel like we’re watching intimate moments with Randy that we shouldn’t be allowed to see. Almost like a documentary.</div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDVPfW_aH51X_a-dKgItPnb557dFG7bcLCdboAa9WlQeaYnEXOlEuyLzP6XmSBhu4O9Fp8X9RINKRlzS4xZ-Z6zZPz1cdCqaAWhrJpthvIdvXwuI5f6XoeuW7lyCPzOd7RQFpF3lqJR-Vz/s1908/The+Wrestler+zoom+shot.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1584" data-original-width="1908" height="333" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDVPfW_aH51X_a-dKgItPnb557dFG7bcLCdboAa9WlQeaYnEXOlEuyLzP6XmSBhu4O9Fp8X9RINKRlzS4xZ-Z6zZPz1cdCqaAWhrJpthvIdvXwuI5f6XoeuW7lyCPzOd7RQFpF3lqJR-Vz/w400-h333/The+Wrestler+zoom+shot.jpg" width="400" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">Also a great time to mention how sparse yet effective Clint Mansell’s original score is. Mansell knows how to go big when the material warrants it (he did the music for <i>Requiem for a Dream</i>, after all), but his light strings in <i>The Wrestler</i> are a perfect accompaniment to Randy’s isolation.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLJj3DaqQPQHx2c-AinxJVriji3Gv9oqIit1jHUeDhwVXAQjFyP5HkBT8j0HCS5ktC0gez7P_occbUy9gh3Pk2IMxd9GewL1lgIS7cwR74O9yaU0rCVAzEAGJFOXDQkezyIu-yKgnYcfKH/s1920/The+Wrestler28.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLJj3DaqQPQHx2c-AinxJVriji3Gv9oqIit1jHUeDhwVXAQjFyP5HkBT8j0HCS5ktC0gez7P_occbUy9gh3Pk2IMxd9GewL1lgIS7cwR74O9yaU0rCVAzEAGJFOXDQkezyIu-yKgnYcfKH/w640-h266/The+Wrestler28.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">He’s so damn good with the kid. So natural and kind. I love Rourke in this film.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3Ue6xcdLt3vYI9xrpK_SlXOiAOFmkNrhwWnm_oWzriFlB3MmaUZIFLiXLq1nK0WhhkJkDfr61tmsz4lngeKcMeQ2Y3IN4vLdleeTittbJ9b57HXCfr2z6zr3UuoD9FbLh9W9qCOxd9tSb/s1920/The+Wrestler29.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3Ue6xcdLt3vYI9xrpK_SlXOiAOFmkNrhwWnm_oWzriFlB3MmaUZIFLiXLq1nK0WhhkJkDfr61tmsz4lngeKcMeQ2Y3IN4vLdleeTittbJ9b57HXCfr2z6zr3UuoD9FbLh9W9qCOxd9tSb/w640-h266/The+Wrestler29.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">Stephanie’s (Evan Rachel Wood) reaction to Randy’s heart attack is so well earned. We only just met this woman and we understand where she’s coming from right away.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8FJX2jRODeZ9oYhl13QnF75t6fLf_5oo8-UiU7d_US2b6jS0LgGcQZfp4vWAI4A0EwgIQYSM9WLJ3e-xuxr6qFBkJUuo4BFl1SXwnKzcXF7L_ucehwzaS6aPKE-1X2VLFuSrB2GxcvF-M/s1920/The+Wrestler30.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8FJX2jRODeZ9oYhl13QnF75t6fLf_5oo8-UiU7d_US2b6jS0LgGcQZfp4vWAI4A0EwgIQYSM9WLJ3e-xuxr6qFBkJUuo4BFl1SXwnKzcXF7L_ucehwzaS6aPKE-1X2VLFuSrB2GxcvF-M/w640-h266/The+Wrestler30.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">When <i>The Wrestler</i> came out, <i>30 Rock</i> was at its peak popularity. And it still took me two viewings of this movie to realize this was Judah Friedlander.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPkI26oxh-q_cv2RJqv4DPEc9EHP1bdk5DorcigzBsfDXFKcfzBk1NAB1PCzo8VwH81BzgiU2asKnCrr7afeoCfU7xAhk7oOcPysdN4Zlb0WvfYyWqr2QJDLEoz_z6ftvcRfAxd52pXErV/s1920/The+Wrestler31.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPkI26oxh-q_cv2RJqv4DPEc9EHP1bdk5DorcigzBsfDXFKcfzBk1NAB1PCzo8VwH81BzgiU2asKnCrr7afeoCfU7xAhk7oOcPysdN4Zlb0WvfYyWqr2QJDLEoz_z6ftvcRfAxd52pXErV/w640-h266/The+Wrestler31.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">The way Randy says “It’s $8,” under his breath to this mom.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmxJJTPTalW_6UJBkJ0RAnSKttGJ7NYhEG3hG6eO6OpQ5alG2qOJ6hsx5mACjT6JcNx89SFGU0rJ7fWJuP9Lh1Uchzu8FdEbXHr22719qXgzcqlYZdiwbB_rlRWI4FneNBEHRo9DAX8kr5/s1920/The+Wrestler32.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmxJJTPTalW_6UJBkJ0RAnSKttGJ7NYhEG3hG6eO6OpQ5alG2qOJ6hsx5mACjT6JcNx89SFGU0rJ7fWJuP9Lh1Uchzu8FdEbXHr22719qXgzcqlYZdiwbB_rlRWI4FneNBEHRo9DAX8kr5/w640-h266/The+Wrestler32.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">I’m so glad we get to spend a little time in Cassidy’s world, because we really get to see that she’s excited when Randy shows up at her club.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWFHt1wqEdOUoA49vZVgNuHosx9reOAYg5GDvP4Y6PLeWzACJf_bpWt1mDj9nKcRPtwx9BGaZrF81ylAImAOmwCBIrT1lY7waEjrbXdOoqoJvNzuMtR4U1JsYdfQIWyg_UWf0FfqcI58yF/s1908/The+Wrestler+Marisa+Tomei.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1584" data-original-width="1908" height="333" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWFHt1wqEdOUoA49vZVgNuHosx9reOAYg5GDvP4Y6PLeWzACJf_bpWt1mDj9nKcRPtwx9BGaZrF81ylAImAOmwCBIrT1lY7waEjrbXdOoqoJvNzuMtR4U1JsYdfQIWyg_UWf0FfqcI58yF/w400-h333/The+Wrestler+Marisa+Tomei.jpg" width="400" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">Wayne doesn’t even bother to turn off what he’s watching. Tough flex.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0KxTu55W41qv7svuy6X1HjTqms3kXZmZhT307H5AJxPwTc5-muEHXcAYd0aB-Cq0ZslkFKFd0exuMPHainPCkSaZuyAnlo2JRkC9_4_h_V66a7v1repnZEUTjhCVaRhtIK8D0Eb3Bvqcz/s1920/The+Wrestler33.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0KxTu55W41qv7svuy6X1HjTqms3kXZmZhT307H5AJxPwTc5-muEHXcAYd0aB-Cq0ZslkFKFd0exuMPHainPCkSaZuyAnlo2JRkC9_4_h_V66a7v1repnZEUTjhCVaRhtIK8D0Eb3Bvqcz/w640-h266/The+Wrestler33.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">Can you imagine this scene taking place during a bright sunshiny day? Or <i>any</i> scene in the film? This movie is steeped in such a gray dread.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVj6jaO4dtV2p9-9alqe4Cmy8bWmHWuDd9sSGSsFKsHbZx2bcVPiQaq-ssgKkEj8EtttQg4Z-Z8oa8d1Ukruj9cfM9rxgW3db8pSUss5_2r6wWlG6UX70aVUE6k4W6T6HFw8dgSpONkXpf/s1920/The+Wrestler34.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVj6jaO4dtV2p9-9alqe4Cmy8bWmHWuDd9sSGSsFKsHbZx2bcVPiQaq-ssgKkEj8EtttQg4Z-Z8oa8d1Ukruj9cfM9rxgW3db8pSUss5_2r6wWlG6UX70aVUE6k4W6T6HFw8dgSpONkXpf/w640-h266/The+Wrestler34.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">I love the way Randy runs to his car like a little kid.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVh8xa6DjiCsl8M4hx2Zk_-MfeNjXWdJbuoenjdzWifp82r3BAwZyWtaZbghHzWA9Q-MZ_Yi8rO03cU0ioT72RzlZFlJ8kDlNLvGBrTN808dmzsgLf6gieUy1ZAUbp1Qr8l80DFEWlsskB/s1920/The+Wrestler35.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVh8xa6DjiCsl8M4hx2Zk_-MfeNjXWdJbuoenjdzWifp82r3BAwZyWtaZbghHzWA9Q-MZ_Yi8rO03cU0ioT72RzlZFlJ8kDlNLvGBrTN808dmzsgLf6gieUy1ZAUbp1Qr8l80DFEWlsskB/w640-h266/The+Wrestler35.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">Randy’s exchange with this woman is great. He really seems to adjusting to his new role as best he can.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgicqGr2qSjC9bC3xkn8f-2f6zRF7w0qf6LW-yvZ5dZxrukfTMNXsdJXMW5hKF_tg8eYykm-gZ52jr63dmRdOenBgNF5xaflbexro7jlXBvAfX4rRzzbenFF7_Cw2K2xLKvMOgaMsqu9PNP/s1920/The+Wrestler36.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgicqGr2qSjC9bC3xkn8f-2f6zRF7w0qf6LW-yvZ5dZxrukfTMNXsdJXMW5hKF_tg8eYykm-gZ52jr63dmRdOenBgNF5xaflbexro7jlXBvAfX4rRzzbenFF7_Cw2K2xLKvMOgaMsqu9PNP/w640-h266/The+Wrestler36.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">“Whatcha havin’, good lookin’?”<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUzPffKFfEUZMjEj49ifgbwMUWhZPj9qmnU48W5ChF-e8Sa5KmwM6iJERU_WwENkr63y3rr8MepDMUwlIXGcBoxpJu60DYV7Sx8jAFKR1odeC2Se-H-59bUro7MekE_aftJrfAymqGEU6V/s1920/The+Wrestler37.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUzPffKFfEUZMjEj49ifgbwMUWhZPj9qmnU48W5ChF-e8Sa5KmwM6iJERU_WwENkr63y3rr8MepDMUwlIXGcBoxpJu60DYV7Sx8jAFKR1odeC2Se-H-59bUro7MekE_aftJrfAymqGEU6V/w640-h266/The+Wrestler37.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">Love that Randy takes this flyer, crumbles it up, and puts it in his pocket. Most people folder papers they want to hang onto.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy3WElId2K2IoOUnLswWcbBDm1mZg_l93uzCReFFoDbTv5I-apehQyh6SxasGKb4N4XSoRqnD7-00Q4gxC7f4soJuS6F8YQOC5t_1F_AkeF4D2QWgdC-q5cutvKEksSPPeebbpNdKEOlNT/s1920/The+Wrestler38.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy3WElId2K2IoOUnLswWcbBDm1mZg_l93uzCReFFoDbTv5I-apehQyh6SxasGKb4N4XSoRqnD7-00Q4gxC7f4soJuS6F8YQOC5t_1F_AkeF4D2QWgdC-q5cutvKEksSPPeebbpNdKEOlNT/w640-h266/The+Wrestler38.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">Obviously this scene has been talked about plenty, but I have to mention it. Again, I want to draw attention to how simply told this is. Three shots: one establishing master, one over-the-shoulder of Wood, one over-the-shoulder of Rourke. No non-diegetic sound (SFX, music, etc.), no camera tricks, no editing gimmicks. The performances are the stars. Famously, Rourke rewrote much of his dialogue here. It could be the moment of his career. And the fact that Wood says nothing but still matches Rourke’s empathy is astounding. Best scene of the film.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEishGE-v1jg2jye8tM0oSlTP6UB4X5uSH_VP8-G76V0UulZkVcCfHzCSL6lJZyj939-WLAnAe8l5dGxVsb8osP0QDq2KQPEQKJJBJ17Rzv_ySsUABJ10JKRFBseo1d2IcRRqNWUt5uAhblX/s1908/The+Wrestler+Evan+Rachel+Wood.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1584" data-original-width="1908" height="333" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEishGE-v1jg2jye8tM0oSlTP6UB4X5uSH_VP8-G76V0UulZkVcCfHzCSL6lJZyj939-WLAnAe8l5dGxVsb8osP0QDq2KQPEQKJJBJ17Rzv_ySsUABJ10JKRFBseo1d2IcRRqNWUt5uAhblX/w400-h333/The+Wrestler+Evan+Rachel+Wood.jpg" width="400" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">Love the way Stephanie kicks this door open. She has a little of her dad in her, after all.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3K-MEYvnO1l4OVgDkX09gVH059fXMN9sOgl1I86YbuwqV0vLYQQlvjdAAJ7ZIw3Alb-fJwNz0d2D2xJ7brz6m2hMgYu3ImnOlSuRpcwUZmDCUIflIpDcqQDNxfbWuE98Mux7sNP2PEhny/s1920/The+Wrestler39.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3K-MEYvnO1l4OVgDkX09gVH059fXMN9sOgl1I86YbuwqV0vLYQQlvjdAAJ7ZIw3Alb-fJwNz0d2D2xJ7brz6m2hMgYu3ImnOlSuRpcwUZmDCUIflIpDcqQDNxfbWuE98Mux7sNP2PEhny/w640-h266/The+Wrestler39.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">Randy asking Big Chris if he wants a drink (off screen) while Randy is being bounced out of the club. Hilarious.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-YGHiHLYenTRjaE7glKrlBbRiYetJ31UY4C0laxNRi4aleu-YRZP9c8NauuVgqJyAedNZI-77qxoyyIbuwc-n1KQTKvo8wgurD7HDLnE3y9a9At0wX75L2u3tpnn0err9l37dpmnTMV8Z/s1920/The+Wrestler40.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-YGHiHLYenTRjaE7glKrlBbRiYetJ31UY4C0laxNRi4aleu-YRZP9c8NauuVgqJyAedNZI-77qxoyyIbuwc-n1KQTKvo8wgurD7HDLnE3y9a9At0wX75L2u3tpnn0err9l37dpmnTMV8Z/w640-h266/The+Wrestler40.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><i>The Wrestler </i>is a simple film, and simple films really come down to choices. Just imagine if Randy decided to stay home tonight, and not go back out. It’s not exactly conducive to look at life or movies in this “What If” way… but if Randy crashes at home early this night, then he’s likely still alive today. I love that Aronofsky lets the movie have this moment.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwr72d4cXah19XLuqRAJkEMrhcDDutvSuGlpq2f8EwdwEftZtDAIiRIYHdbIXxtfiNrovseV92QJmvHzfPfOhLuKjE8Jv_z8IV_KgjDT_GsprWb7kWd-VU7xXiBA0m7KJVa5pX8F5GsNcP/s1920/The+Wrestler41.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwr72d4cXah19XLuqRAJkEMrhcDDutvSuGlpq2f8EwdwEftZtDAIiRIYHdbIXxtfiNrovseV92QJmvHzfPfOhLuKjE8Jv_z8IV_KgjDT_GsprWb7kWd-VU7xXiBA0m7KJVa5pX8F5GsNcP/w640-h266/The+Wrestler41.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">And there it is. Your ill-timed night of fun made you miss the dinner with your daughter. And soon, in the absence of nothing, you choose death. Brutal.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV4QffMkR7DEIXKpmvBww-jslNeb3JKbuPLYmZb3-ELHmRwzq-rA9UbAZVDJs6zyuZkVwSLeIq7DRZR9J_GulDS-KbYnMUb1FgJ8fZz-GAbqNBP5rgv6OGSmBB_Gfs44xLLDzZReMQbPGc/s1920/The+Wrestler42.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV4QffMkR7DEIXKpmvBww-jslNeb3JKbuPLYmZb3-ELHmRwzq-rA9UbAZVDJs6zyuZkVwSLeIq7DRZR9J_GulDS-KbYnMUb1FgJ8fZz-GAbqNBP5rgv6OGSmBB_Gfs44xLLDzZReMQbPGc/w640-h266/The+Wrestler42.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">This is such an effective movie argument, thanks to how well it is played. Wood is firing away, and Rourke is a defeated beast. To see how Rourke got into character for this scene, you must watch the <a href="https://vimeo.com/20223769">incredible Making-Of feature </a>for this movie. The footage of this scene is so memorable.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUZsJhN-Kwx75oDtwQ_kT5GRdF3Z0VRxwv1ia9r-IlxUmanuVk-Krb-FNC3lg8Nd3O7R_1-KFHiN6tAKV5KNFnij6C-ay-Ei3RaGHeEFna6E5TcECN7KVBVFdfOsawixCkZDED4EFGIT0J/s1920/The+Wrestler43.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUZsJhN-Kwx75oDtwQ_kT5GRdF3Z0VRxwv1ia9r-IlxUmanuVk-Krb-FNC3lg8Nd3O7R_1-KFHiN6tAKV5KNFnij6C-ay-Ei3RaGHeEFna6E5TcECN7KVBVFdfOsawixCkZDED4EFGIT0J/w640-h266/The+Wrestler43.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">This is so wrenching, because at the end of his heartfelt plea on the boardwalk, Randy said to Stephanie, “I just don’t want you to hate me.” And now here we are.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtEArB3edNOdSFWP5s9-UuBtp_Dip9wPUqQ7zJSv3rRWTYVEecIRpmLJkGEoKs1VoPn-QO2q_YXpPyys9GRcWmgKk4cVqOh7Y3Xv2YyuFsYOuNBlliCoRrHnZahY7a4EgAdemiqTZo3h-b/s1920/The+Wrestler44.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtEArB3edNOdSFWP5s9-UuBtp_Dip9wPUqQ7zJSv3rRWTYVEecIRpmLJkGEoKs1VoPn-QO2q_YXpPyys9GRcWmgKk4cVqOh7Y3Xv2YyuFsYOuNBlliCoRrHnZahY7a4EgAdemiqTZo3h-b/w640-h266/The+Wrestler44.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">If you listen closely, you can hear Wayne even being a prick off-camera.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpU6HySoARk5FPonStekXHhjP3UHu4UaixyW5P6KAfoGd-F6BFvVPCniDHejLQTSPbBObHCH4Hm75i1z9V5EoFffCCw9iOn_jaVwqD8ezrIiGWJ01KLb1UJWk6rpcfdSoPKZD0R-R3rhFD/s1920/The+Wrestler45.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpU6HySoARk5FPonStekXHhjP3UHu4UaixyW5P6KAfoGd-F6BFvVPCniDHejLQTSPbBObHCH4Hm75i1z9V5EoFffCCw9iOn_jaVwqD8ezrIiGWJ01KLb1UJWk6rpcfdSoPKZD0R-R3rhFD/w640-h266/The+Wrestler45.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">LOVE the elbow to the Wheaties box.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUiJY8zpWzaF3nC_6GNrsYMn7I0fbi6ReIGzT5ZPc4qs68VoE_yTuWX831hTOrBSji_NAFU64LsRdXK2l9cDQmFlv-u5LrVPm57siml1TuYFE3azumqDteC0HUJBwkW7N3VmKfAL5CwEZV/s1920/The+Wrestler46.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUiJY8zpWzaF3nC_6GNrsYMn7I0fbi6ReIGzT5ZPc4qs68VoE_yTuWX831hTOrBSji_NAFU64LsRdXK2l9cDQmFlv-u5LrVPm57siml1TuYFE3azumqDteC0HUJBwkW7N3VmKfAL5CwEZV/w640-h266/The+Wrestler46.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">This poor damn guy. For likely the first time in his post-stardom life, he finally found someone he can have a genuine connection with. Yet he rejects it. Why? I’m not sure we’re supposed to know. Does Randy? This is the most significant moment of the film to me, because it proves that for the rest of Randy’s life, which may be 10 minutes or 20 years, he will only ever find solace in wrestling.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjROTSWqifnrvtwRXX4Fru5raNvoVNLPKUHOOB_oQ_QozfQbdMVAv3QKEN0D7DBAE7lRZe4vSEl4cCBPy0NRF_x16MxqMmsosq2kgVpUUH8ZXBaLKLYySGGfxzPEYnOwrrpTLHhYvyGsQtF/s1908/The+Wrestler+ending.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1584" data-original-width="1908" height="333" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjROTSWqifnrvtwRXX4Fru5raNvoVNLPKUHOOB_oQ_QozfQbdMVAv3QKEN0D7DBAE7lRZe4vSEl4cCBPy0NRF_x16MxqMmsosq2kgVpUUH8ZXBaLKLYySGGfxzPEYnOwrrpTLHhYvyGsQtF/w400-h333/The+Wrestler+ending.jpg" width="400" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">This ain’t Randy “The Ram” Robinson talking here. This is Mickey Rourke. That was his Oscar.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGUjy2ELVE_Ha8uO2qrxjde-GYYq6VJpRAUgDFii9Uo8wrfym7V4oFK-lsx0zIDjqNlpL7kGv72_pALCtO4vy6uVrOnOocRA_aI5NuBdqWc2HeajrNHS4uZ0OUQx4OrPzVHI1Ce7r9T335/s1920/The+Wrestler48.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGUjy2ELVE_Ha8uO2qrxjde-GYYq6VJpRAUgDFii9Uo8wrfym7V4oFK-lsx0zIDjqNlpL7kGv72_pALCtO4vy6uVrOnOocRA_aI5NuBdqWc2HeajrNHS4uZ0OUQx4OrPzVHI1Ce7r9T335/w640-h266/The+Wrestler48.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">Rourke’s stunt work in this really is impressive. He does this move in one shot; you can just tell he took his training seriously.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjeQKfKmF1wAmgaqpXJVEqsP8lZoNux3vQV03r2tBpLvo2-CxXsfjT_xg2PVa-cM_O-3PAZc2GiGgCgMYLgu9yWp6fpIY0Iac3t8Gn1lHTA9GtBEvyhfEHW6VAQd60lZSU9KharI_IWZnx/s1512/The+Wrestler+stunts.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1512" data-original-width="1170" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjeQKfKmF1wAmgaqpXJVEqsP8lZoNux3vQV03r2tBpLvo2-CxXsfjT_xg2PVa-cM_O-3PAZc2GiGgCgMYLgu9yWp6fpIY0Iac3t8Gn1lHTA9GtBEvyhfEHW6VAQd60lZSU9KharI_IWZnx/w310-h400/The+Wrestler+stunts.jpg" width="310" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">Really nice touch that Bob (Ernest Miller) seems genuinely concerned for The Ram.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjboXeV4Sfpioyj9gYsYXO06b5NK1djxzqBxVQhUcm6P-ist8kh8KTD1Q6NhTdmTPw2j3rg-rAuDvbC8fGsf2Yzw-Fa3Iw6vUQhbKhtNXjpKbkzX8NiQVKeZSPsyKaE5YhU_gH52tQ_Rqoo/s1920/The+Wrestler49.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjboXeV4Sfpioyj9gYsYXO06b5NK1djxzqBxVQhUcm6P-ist8kh8KTD1Q6NhTdmTPw2j3rg-rAuDvbC8fGsf2Yzw-Fa3Iw6vUQhbKhtNXjpKbkzX8NiQVKeZSPsyKaE5YhU_gH52tQ_Rqoo/w640-h266/The+Wrestler49.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">I always appreciate when a movie starts and ends (give or take) with similar sequences.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUThxa1b4411-81py-W35NAYSJgDe8k-uzRjIEjSYZeXIR4xmSJUxbcYxvuAHWnbJESrjL2QuZ3AP310sKUT03SNvsO7S5dcgdekQIAQ_gTlaf1Qv0vsZ8nOE-LnLQ4ACC5dbubVgMI1Kb/s1908/The+Wrestler+begin+and+end.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1584" data-original-width="1908" height="333" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUThxa1b4411-81py-W35NAYSJgDe8k-uzRjIEjSYZeXIR4xmSJUxbcYxvuAHWnbJESrjL2QuZ3AP310sKUT03SNvsO7S5dcgdekQIAQ_gTlaf1Qv0vsZ8nOE-LnLQ4ACC5dbubVgMI1Kb/w400-h333/The+Wrestler+begin+and+end.jpg" width="400" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">This is a perfect final frame to end this movie with. Unfocused, cluttered, bothered.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSJbbuibjEIjDWICEB4TwAAj6a9lNG_eZYfVN-6m7wCFQdXIzg7gqLwqrvZZXgnuCsv-8VWXgLMC5QNkMiFBL3fee-0acMm0vWjYTOFmEtC55WaCnJwZQHwedVlFI6jaSWtCRi5yt8NY0c/s1920/The+Wrestler50.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSJbbuibjEIjDWICEB4TwAAj6a9lNG_eZYfVN-6m7wCFQdXIzg7gqLwqrvZZXgnuCsv-8VWXgLMC5QNkMiFBL3fee-0acMm0vWjYTOFmEtC55WaCnJwZQHwedVlFI6jaSWtCRi5yt8NY0c/w640-h266/The+Wrestler50.png" width="640" /></a></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">The screen is black for 30 full seconds before the first end credit appears. That feels deliberate. I’ve personally always registered that as moment of pause in honor of Randy’s death, with the eulogy being sung by Bruce Springsteen in the background.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtUg5r5rIGyIEQevWA-d6_liIJkC3Rxqs64X-2IY5C7sDJhY1UrQ-ZiPHIOKyZlh-5DfZE2SmNCGZW0dUxMtm7SZncA6JpyHKoIb3FRWdQzRxC4LFnl171Vdbpi4EF0x6FEFwb2hhhjKh3/s1920/The+Wrestler51.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtUg5r5rIGyIEQevWA-d6_liIJkC3Rxqs64X-2IY5C7sDJhY1UrQ-ZiPHIOKyZlh-5DfZE2SmNCGZW0dUxMtm7SZncA6JpyHKoIb3FRWdQzRxC4LFnl171Vdbpi4EF0x6FEFwb2hhhjKh3/w640-h266/The+Wrestler51.png" width="640" /></a></div><br /></div></div><div><br /></div><div><b>For more on The Wrestler, check out my podcast episode about it! Nick is fanatical about pro wrestling, and also shares some similarities to Evan Rachael Wood's character. Fun and emotional episode.</b></div>
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</div></div>Alex Withrowhttp://www.blogger.com/profile/15887018476048271594noreply@blogger.com4tag:blogger.com,1999:blog-4784665635104956142.post-47904767439627760122020-09-28T15:01:00.008-04:002022-08-19T16:50:03.183-04:00Top 10 Films of the 2010s<div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://www.andsoitbeginsfilms.com/2020/09/top-10-films-of-2010s.html" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="366" data-original-width="844" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIymmCE3GUFhDh6CnjCWkubFzXwVg7bwJPC_AQTuybnRkz9YFKN7QRpxm2kE0fGYxt9RNnLhLhMMxflvdtgCvlcbvyiZMpqZZKo4QvtL92EQtB9at_nVbAS9TDG-p5uQmVTn3IlFmKuSAh/w640-h278/Shame+movie+subway.png" width="640" /></a></div>Well it’s about damn time I post my top 10 of the 2010 decade. Pro tip: Recording and editing your own podcast takes up a <i>shit load</i> of personal time. But I told myself when I started <a href="https://waywpodcast.buzzsprout.com/" target="_blank">that podcast</a> that I wouldn’t neglect this blog and my followers’ blogs. So, apologies for the brief absence, but I’m so excited to see what everyone has been writing lately.</div><div style="text-align: left;"><br />On to the list. I should have published this in January, but the good news is that these movies will never get old, to me anyway. I remember the first time I saw each of these movies so vividly; a few of them even changed how I approach my own filmmaking. This was a good decade for film, perhaps not as influential as the two decades prior, but a solid 10 years for films all the same. Here were my favorites, and if you posted your list and I missed it, please let me know so I can check it out!</div><div style="text-align: left;"><br /><span><a name='more'></a></span><div style="text-align: center;">10. <b><span style="font-size: medium;">Rust and Bone</span></b> (2012)</div><div style="text-align: center;">Directed by Jacques Audiard<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHNme4iKpgIBVUP6ZMjtqGatU-VEtt8WWWEcRAzwrNzZnTpBSnYe62U4m90U7qXSM92m8unkPFTquyqKjT4aAONVqg6hw5ztdzOGNd17g38_qq4Kp5hZX_cDREVA_x9eKR4lXULfDOPUIu/s1280/Rust+and+Bone.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="536" data-original-width="1280" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHNme4iKpgIBVUP6ZMjtqGatU-VEtt8WWWEcRAzwrNzZnTpBSnYe62U4m90U7qXSM92m8unkPFTquyqKjT4aAONVqg6hw5ztdzOGNd17g38_qq4Kp5hZX_cDREVA_x9eKR4lXULfDOPUIu/w640-h268/Rust+and+Bone.jpg" width="640" /></a></div></div>What happens when two deeply flawed people find one another amidst the muck and shit, the rust and bone of the world? Marion Cotillard (my vote for female performance of the decade) and Matthias Schoenaerts played one of the best, most unlikely couples in this painful film. A tough movie to take, but for my money, the last 15 minutes of this film stand up to damn near any consecutive 15 minutes of film in the decade.</div><div style="text-align: left;"><br /><div style="text-align: center;">9. <b><span style="font-size: medium;">The Wolf of Wall Street</span></b> (2013)</div><div style="text-align: center;">Directed by Martin Scorsese</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjQPMBgMgJp8qeqb2v6fxoE__d2F28BI5EUxGXIVgWeil1FXAcW6boZOZB1FRzZKQPSh8EAMvgPDlkhSq6xVgjX73aqPMMnwtDPxpa86kQw0GO0l55zWT1bRAXwwiYeTZ-Ge2RYPT3Ujyf/s1920/The+Wolf+of+Wall+Street.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="798" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjQPMBgMgJp8qeqb2v6fxoE__d2F28BI5EUxGXIVgWeil1FXAcW6boZOZB1FRzZKQPSh8EAMvgPDlkhSq6xVgjX73aqPMMnwtDPxpa86kQw0GO0l55zWT1bRAXwwiYeTZ-Ge2RYPT3Ujyf/w640-h266/The+Wolf+of+Wall+Street.jpg" width="640" /></a></div>Martin Scorsese was 71 when he released <i>The Wolf of Wall Street</i>, the most unapologetically depraved movie of his career. And the fact that this movie was released just two years after <i>Hugo</i>, Scorsese’s most family-friendly film, makes me appreciate <i>Wolf</i>’s wickedness even more. Has DiCaprio ever been better?</div><div style="text-align: left;"><br /><div style="text-align: center;">8. <b><span style="font-size: medium;">Phantom Thread</span></b> (2017)</div><div style="text-align: center;">Directed by Paul Thomas Anderson<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9UbSsO5OGIwEMIljI587_aNnm0n_8U5w1atXHW5PrkQ6he24f368vqs8Fp8ntHIQIn2jgVAp2TsESATuVnXN7au6cL5pP6ccXgNBZJaeW64YNPzIQwMnCcuAA6byrX9krOlcV5gK707lD/s1280/Phantom+Thread.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="706" data-original-width="1280" height="352" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9UbSsO5OGIwEMIljI587_aNnm0n_8U5w1atXHW5PrkQ6he24f368vqs8Fp8ntHIQIn2jgVAp2TsESATuVnXN7au6cL5pP6ccXgNBZJaeW64YNPzIQwMnCcuAA6byrX9krOlcV5gK707lD/w640-h352/Phantom+Thread.jpg" width="640" /></a></div></div>Oh <i>Phantom Thread</i>, how I love you so. Those decade middle years were tricky for me; but PTA’s equally gentle and ferocious masterwork was a pure standout. My mom died really suddenly a few months before this movie came out, and I connected with Reynolds Woodcock’s grief on such a visceral level. The way Daniel Day-Lewis masked the trauma of his character, by controlling everything with such delicate precision, was so quietly unsettling to watch. This is close to my favorite DDL performance, and if it is surely his last, then he left us with something remarkable. </div><div style="text-align: left;"><br /><div style="text-align: center;">7. <b><span style="font-size: medium;">Once Upon a Time… in Hollywood</span></b> (2019)</div><div style="text-align: center;">Directed by Quentin Tarantino<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig_Z2SxPfVoBeH1JnqgcX9BHlWtV6plpZnx6pDbkevOv_Lrr7d1SvEYxyvIUkp2DlPNJRy0tihXQts0YkAgTJS0cSlKrm0OLp4XkMDFYc6ZvNP_-FU7hZ7yTDkzJJvrOjS6sIbdyLbduNm/s1920/OUATIH.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="798" data-original-width="1920" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig_Z2SxPfVoBeH1JnqgcX9BHlWtV6plpZnx6pDbkevOv_Lrr7d1SvEYxyvIUkp2DlPNJRy0tihXQts0YkAgTJS0cSlKrm0OLp4XkMDFYc6ZvNP_-FU7hZ7yTDkzJJvrOjS6sIbdyLbduNm/w640-h266/OUATIH.jpg" width="640" /></a></div></div>My favorite 5-minute stretch of this 161-minute movie is a dude driving home. He zooms out of the Hills, cruises down Hollywood Boulevard, hops on the 101 to Van Nuys. The top’s down, the music’s blasting, his hair is blowing, and Cliff Booth is headin’ home. The lights, the cars, the vibe. This movie had a lot going on in it, but Tarantino making this drive feel so damn alive is what I’ll always hold on to. (Also, is Cliff Booth the coolest character of the decade?)</div><div style="text-align: left;"><br /><div style="text-align: center;">6. <b><span style="font-size: medium;">Upstream Color</span></b> (2013)</div><div style="text-align: center;">Directed by Shane Carruth<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPZDe90E6lqL2lqXMUd3eHkT5lPyg38w264H8nz9JasIwKG4e6czwcYV4hp1oh4H4qK7fgpA5_D6fCOmwr1ieIgYeoCevVjzjKd8oL-VsbNjzQExli9vwBeWdCeqT6DjvEp5xXp5cAh6SB/s1280/Upstream+Color.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPZDe90E6lqL2lqXMUd3eHkT5lPyg38w264H8nz9JasIwKG4e6czwcYV4hp1oh4H4qK7fgpA5_D6fCOmwr1ieIgYeoCevVjzjKd8oL-VsbNjzQExli9vwBeWdCeqT6DjvEp5xXp5cAh6SB/w640-h272/Upstream+Color.jpg" width="640" /></a></div></div>It takes a specific kind of person to write, direct, star in, produce, score, shoot, edit, market, and distribute a movie on your own. Shane Carruth certainly had collaborators when he made <i>Upstream Color</i>, but no one can deny that the movie represents his singular vision. This was the only movie of the decade that I saw back-to-back in the movie theater, with barely any break. I saw the 7:00 p.m. show, sat stunned in my car after, then walked back in and saw the 10:00 p.m. show. This movie had me from the first moment I laid eyes on it.</div><div style="text-align: left;"><br /><div style="text-align: center;">5. <b><span style="font-size: medium;">The Tree of Life</span></b> (2011)</div><div style="text-align: center;">Directed by Terrence Malick<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt8IsnTSRmPnkVi2yLcixeundT6df5H2sPOx0vlElhFwogwFmHte19MPr_f38g65GjRelFcdBtIoI9TuS85MJsl_h0H31WdBeSwKQIyFoEoMozulFl1H0rWdTCjvJ5bO4hZzasehbyswet/s1920/The+Tree+of+Life2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1038" data-original-width="1920" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt8IsnTSRmPnkVi2yLcixeundT6df5H2sPOx0vlElhFwogwFmHte19MPr_f38g65GjRelFcdBtIoI9TuS85MJsl_h0H31WdBeSwKQIyFoEoMozulFl1H0rWdTCjvJ5bO4hZzasehbyswet/w640-h346/The+Tree+of+Life2.jpg" width="640" /></a></div></div>There’s Terrence Malick before and after <i>The Tree of Life</i>. It’s always been my belief that <i>The Tree of Life</i> was the one film Malick always had to make. His entire career before had been leading up to it (including researching it tediously in the 20 years between <i>Days of Heaven</i> and <i>The Thin Red Line</i>), and most of his films since have adopted a much more fluid narrative style (save <i>A Hidden Life</i>, a great film from 2019 that Fox Searchlight barely released). In short, <i>The Tree of Life</i> is the magnum opus of one of our greatest filmmakers.</div><div style="text-align: left;"><br /><div style="text-align: center;">4. <span style="font-size: medium;"><b>Blue Valentine</b></span> (2010)</div><div style="text-align: center;">Directed by Derek Cianfrance<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOiClhbyj03LunnPm1XqrgB7iCUJZXZkWPVbNGj1Ma3vzhPkfB7XoHOvV_5-DOMfrKEeH96l94pUw5vILOwEfSJuAnpe3KgLjHN_XmGBlyaNWP3sYI3A946TZKhiYXZlKeIB3yoYyOeBYp/s949/Blue+Valentine.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="559" data-original-width="949" height="376" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOiClhbyj03LunnPm1XqrgB7iCUJZXZkWPVbNGj1Ma3vzhPkfB7XoHOvV_5-DOMfrKEeH96l94pUw5vILOwEfSJuAnpe3KgLjHN_XmGBlyaNWP3sYI3A946TZKhiYXZlKeIB3yoYyOeBYp/w640-h376/Blue+Valentine.jpg" width="640" /></a></div></div>The ballad of Dean and Cindy is one of the most painful film romances I’ve seen. Cianfrance, Ryan Gosling, and Michelle Williams were so committed to showing the highest and lowest dips of love. I’ve never been able to shake that ending, the way wedding vows are used against someone as a weapon. Or should those vows be honored? Maybe both people need to walk away to think about it. Damn.</div><div style="text-align: left;"><br /><div style="text-align: center;">3. <b><span style="font-size: medium;">Somewhere</span></b> (2010)</div><div style="text-align: center;">Directed by Sofia Coppola<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgegiURj8E6hasZ69HRboFWZVwb853q0oxzBM5M3C-dVDFrfIdmZnby_IAf95gFb5FAzHXDzq4VWzX44a0sawAQXUq7TvXNmB2_ZkjFEQ92L_1T_gW4eVpk73qi-_BqzyffmS43rigYB87B/s1002/Somewhere.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="552" data-original-width="1002" height="352" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgegiURj8E6hasZ69HRboFWZVwb853q0oxzBM5M3C-dVDFrfIdmZnby_IAf95gFb5FAzHXDzq4VWzX44a0sawAQXUq7TvXNmB2_ZkjFEQ92L_1T_gW4eVpk73qi-_BqzyffmS43rigYB87B/w640-h352/Somewhere.jpg" width="640" /></a></div></div>“Who is Johnny Marco?” This is a question the man himself, played to quiet perfection by Stephen Dorff, cannot answer. And if he doesn’t know who he is, how can we? That’s the exercise behind Sofia Coppola’s <i>Somewhere</i>. This film is a patient, European-inspired character study of a privileged life emotionally unlived. Dorff deserved more praise here, of what is surely one of the best performances of the decade. (For more of my thoughts on <i>Somewhere</i>, <a href="https://www.buzzsprout.com/1176041/5083358">check out the podcast I recorded</a> about it recently!)</div><div style="text-align: left;"><br /><div style="text-align: center;">2. <b><span style="font-size: medium;">Waves</span></b> (2019)</div><div style="text-align: center;">Directed by Trey Edward Shults<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIGLxsRxMQlqy5VMSiZmucAg5wV0b_kMzjQTaWJur3qNJb6hn-mrOg7e_CPYd8XLzn7BYZ9HN1b2iowTJxOQzUIxzk3psTT0QTCyFW_saEMFTX1Q2QTvCWeSEiMcqziNmkQm9iHFB1XPG6/s1789/Waves.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="958" data-original-width="1789" height="342" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIGLxsRxMQlqy5VMSiZmucAg5wV0b_kMzjQTaWJur3qNJb6hn-mrOg7e_CPYd8XLzn7BYZ9HN1b2iowTJxOQzUIxzk3psTT0QTCyFW_saEMFTX1Q2QTvCWeSEiMcqziNmkQm9iHFB1XPG6/w640-h342/Waves.png" width="640" /></a></div></div>Few films are able to match the raw energy of <i>Waves</i>. As I sat and watched this movie for the first time – entranced, engaged, sobbing – I identified that the film had its own language and poetry. I had never seen a movie told in this way; the opening frenzy met with the lasting calm. To go a step further, there are very few films I watch that make me actively approach my filmmaking in a new way. <i>Waves</i> is one of those movies, so no matter what life this movie takes on in the following years, I will personally always be indebted to it. The waves, you know? The waves.</div><div style="text-align: left;"><br /><div style="text-align: center;">1. <b><span style="font-size: medium;">Shame</span></b> (2011)</div><div style="text-align: center;">Directed by Steve McQueen<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhocgeggA5EibEbPG1JnQiYab7YVrJPMt5m9RnNxmbGNm8x8fQwqNwXiRIEGS7Kw4bJViHgA_a4Oh9uhHv3Kow9DQTvsB6nL0m19Fh-0mMv9xBkbnDY1sUad0QYudEzojrwZ1eNyhnfgwLC/s844/Shame+movie+out+of+focus.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="366" data-original-width="844" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhocgeggA5EibEbPG1JnQiYab7YVrJPMt5m9RnNxmbGNm8x8fQwqNwXiRIEGS7Kw4bJViHgA_a4Oh9uhHv3Kow9DQTvsB6nL0m19Fh-0mMv9xBkbnDY1sUad0QYudEzojrwZ1eNyhnfgwLC/w640-h278/Shame+movie+out+of+focus.png" width="640" /></a></div></div>This won’t surprise dedicated readers of this blog, as I haven’t shut up about it since December 2011, but Steve McQueen’s <i>Shame</i> is as fine a contemporary film as I’m going to see. This movie redefined the language of cinema for me. I so appreciate its coldness, is frank honesty, its deeply melancholic performances. Time is the greatest judge of all art, isn’t it? For me, time lets the sugar high wear off. It gives a movie space to breathe outside of hype, buzz, controversy, whatever. Time gives me the chance to look back and go, “Goddamn, I remember that movie, and it stills means something to me.” That’s Shame. That’s Michael Fassbender as Brandon. That’s Carey Mulligan as Sissy. </div><div style="text-align: left;"><br />The extended sequence that captures Brandon’s downfall toward the end of this film is my favorite film sequence of the decade. “We’re not bad people, we just come from a bad place.” Yes, certainly. And now, what of it?</div><div style="text-align: left;"><div style="text-align: center;"><u><span style="font-size: medium;">You May Also Like</span></u></div><div style="text-align: center;"><span style="font-size: medium;"><a href="https://www.andsoitbeginsfilms.com/2011/01/top-10-of-2010.html">Top 10 Films of 2010</a></span></div><div style="text-align: center;"><span style="font-size: medium;"><a href="https://www.andsoitbeginsfilms.com/2012/01/top-15-of-2011.html">Top 15 Films of 2011</a></span></div><div style="text-align: center;"><span style="font-size: medium;"><a href="https://www.andsoitbeginsfilms.com/2013/01/top-10-films-of-2012.html">Top 10 Films of 2012</a></span></div><div style="text-align: center;"><span style="font-size: medium;"><a href="https://www.andsoitbeginsfilms.com/2014/01/top-10-films-of-2013.html">Top 10 Films of 2013</a></span></div><div style="text-align: center;"><span style="font-size: medium;"><a href="https://www.andsoitbeginsfilms.com/2015/01/top-15-films-of-2014.html">Top 15 Films of 2014</a></span></div><div style="text-align: center;"><span style="font-size: medium;"><a href="https://www.andsoitbeginsfilms.com/2016/01/top-10-films-of-2015.html">Top 10 Films of 2015</a></span></div><div style="text-align: center;"><span style="font-size: medium;"><a href="https://www.andsoitbeginsfilms.com/2017/01/top-10-films-of-2016.html">Top 10 Films of 2016</a></span></div><div style="text-align: center;"><span style="font-size: medium;"><a href="https://www.andsoitbeginsfilms.com/2018/01/top-10-films-of-2017.html">Top 10 Films of 2017</a></span></div><div style="text-align: center;"><span style="font-size: medium;"><a href="https://www.andsoitbeginsfilms.com/2019/01/top-15-films-of-2018.html">Top 15 Films of 2018</a></span></div><div style="text-align: center;"><span style="font-size: medium;"><a href="https://www.andsoitbeginsfilms.com/2020/01/top-10-films-of-2019.html">Top 10 Films of 2019</a></span></div><div style="text-align: center;"><span style="font-size: medium;"><br /></span></div><div style="text-align: center;"><span><span style="text-align: left;"><b>For more on my favorite films of the 2010s, check out this episode of my podcast from July 2020!</b></span></span></div></div><p style="text-align: left;"></p><div id="buzzsprout-player-4550978"></div>
<script charset="utf-8" src="https://www.buzzsprout.com/1176041/4550978-2-top-10-films-of-the-2010s.js?container_id=buzzsprout-player-4550978&player=small" type="text/javascript"></script>
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<div style="text-align: center;"><span style="font-size: large;">Listen to my <b><a href="https://waywpodcast.buzzsprout.com">podcast</a></b> on the Top 10 Films of the 2010s:</span></div>
<div id="buzzsprout-player-4550978"></div><script src="https://www.buzzsprout.com/1176041/4550978-2-top-10-films-of-the-2010s.js?container_id=buzzsprout-player-4550978&player=small" type="text/javascript" charset="utf-8"></script>Alex Withrowhttp://www.blogger.com/profile/15887018476048271594noreply@blogger.com20tag:blogger.com,1999:blog-4784665635104956142.post-50694873822572886272020-07-21T13:26:00.001-04:002020-07-21T13:29:31.601-04:00Podcast: What Are You Watching?<div class="separator" style="clear: both; text-align: center;"><a href="https://www.andsoitbeginsfilms.com/2020/07/podcast-what-are-you-watching.html" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="1500" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-dfNeKMSJz66Mld0XEDuBpf6hV_q5rxH8FPc6XNgAx5IZxbDF5xXJ8xJL7AyYXf0VRhER2qcQhR2i0-SnITvMeHyu_psbwIEQjppLeIKLW6tqnWDadZB5GKhvT9A6l9kiyEleh932QKtV/w640-h214/Twitter+header2.png" width="640" /></a></div>Well, it looks like I’m just another asshole who started a movie podcast. For two years, my best friend and filmmaking partner, Nick Dostal, has been on my ass about starting a film podcast. I rejected the idea for all the obvious reasons, market saturation and time commitment being two major ones. But my biggest drawback was that I didn’t want Nick and I to just talk about how cool movies are. If we were going to talk movies, then we were going to talk about the genuine emotion we feel toward them.<br /><br />Why is <i>Terminator 2</i> one of Nick’s Top 10 Films of All Time? Why will I weep every time I watch <i>Phantom Thread</i>? Sure, we <i>love</i> these movies as movies, but beyond that, these films and countless others have touched us deeply, for incredibly personal reasons. So, my number one rule for the podcast was that we always tell the truth. And if Nick and I ever have something personal to say about a movie we love, then we should seriously consider disclosing it.<div><br /><span><a name='more'></a></span>That’s <b>What Are You Watching? </b>A movie podcast where Nick and I will talk all things film, but as indie filmmakers, and as two people whose psyches are forever linked to cinema. Nick and I are as close as brothers (he even played me in our latest movie, <i><a href="https://vimeo.com/357691906" target="_blank">I Am Alive</a></i>), and we’re really excited to bring our friendship to the podcast as well.<br /><br />The podcast will cover similar territory as this blog, but they’ll be two separate things; I’ll still be posting on here! On the podcast, we’re going to do fun lists, director breakdowns, character actor deep dives, and episodes about the films that inspire us as filmmakers. <b>What Are You Watching?</b> will be available most anywhere you listen to podcasts, and we’ll be releasing new episodes every Thursday.<br /><br />And look, here’s the thing. I’ve been running this blog since September 2007, and I’ve met a ton of incredible people along the way. So many of you have been so supportive of this blog and my films, and if you like podcasts, I hope you’ll give us a listen. Nick and I take this shit <i>very</i> seriously, and we always promise to keep the podcast fun, engaging, and emotional. And I apologize for slacking lately on new blog posts and blog comments on other sites. I’ve been drowning in Oscar movies and podcast maintenance, but everything seems to have leveled out now.<br /><br />Thanks again to everyone, we hope you like the show!<br /><br /><a href="https://twitter.com/wayw_podcast" target="_blank">Follow What Are You Watching? on Twitter</a><br /><a href="https://www.instagram.com/wayw_podcast/" target="_blank">Follow What Are You Watching? on Instagram</a><br /><br /><div><br /></div><div id="buzzsprout-large-player-1176041"></div><script charset="utf-8" src="https://www.buzzsprout.com/1176041.js?container_id=buzzsprout-large-player-1176041&player=large" type="text/javascript"></script></div>Alex Withrowhttp://www.blogger.com/profile/15887018476048271594noreply@blogger.com53tag:blogger.com,1999:blog-4784665635104956142.post-22957552674730519172020-07-09T13:07:00.004-04:002020-07-09T13:09:09.424-04:00Oscars Breakdown: Best Actor<div class="separator" style="clear: both; text-align: center;"><a href="https://www.andsoitbeginsfilms.com/2020/07/oscars-breakdown-best-actor.html" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMD7l-hcUBzra7MwDfNVpLdU03Lr_rRmvTLBd2gVJl2c41j7LHzj3lHbkBH6tEgJ87Hq2lCDrIamVCUBP23E-ZE9mxivuesr3fjd3gvscw9IsI8STeAh5mlZ4L5P9BCO8rGzrKB_Cl9B5k/w640-h272/Best+ACTOR+Oscar.jpg" width="640" /></a></div>The only issue with watching every movie that has won an Oscar for acting, Best Picture, Director, and Screenplay is that by the time I’m ready to actually write about the category, I’m burnt the hell out. I apologize for the delay with this post, and promise the remaining Oscar posts will come much sooner. I hope you enjoy my thoughts on Best Actor, and please share yours as well!<div><br /><span><a name='more'></a></span><div><br /><div><div><div style="text-align: center;"><b><font size="4"><span></span></font></b></div><div style="text-align: center;"><b><font size="4"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhF_nvduavWcbolxQ93BsW6Bbwy0OKREEf4CNBu1kaSC3mkbxsUT06YacFy9GXNofFp9CyJY0zf9nDmg7KAwXLLHVyEpK_rb3CZMzzNjWoYlkoOpgMm-2mJ9Hd5vHS2yQdIfK8cVjglw9t/s2201/Best+Actor.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="673" data-original-width="2201" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhF_nvduavWcbolxQ93BsW6Bbwy0OKREEf4CNBu1kaSC3mkbxsUT06YacFy9GXNofFp9CyJY0zf9nDmg7KAwXLLHVyEpK_rb3CZMzzNjWoYlkoOpgMm-2mJ9Hd5vHS2yQdIfK8cVjglw9t/w640-h198/Best+Actor.jpg" width="640" /></a></div>1927/1928 – Emil Jannings – The Last Command; The Way of All Fleshe</font></b></div><b>Nominees</b>: Richard Barthelmess (<i>The Noose</i>; <i>The Patent Leather Kid</i>)<br /><b>Thoughts</b>: Very fitting that Emil Jannings, who was such an important figure in early film, win this first Best Actor prize.<br /><br /><div style="text-align: center;"><b><font size="4">1928/1929 – Warner Baxter – In Old Arizona</font></b></div><b>Nominees</b>: George Bancroft (<i>Thunderbolt</i>), Chester Morris (<i>Alibi</i>), Paul Muni (<i>The Valiant</i>), Lewis Stone (<i>The Patriot</i>)<br /><b>Thoughts</b>: Baxter does a fine job as The Cisco Kid, no issue here at all.<br /><br /><div style="text-align: center;"><b><font size="4">1929/1930 – George Arliss – Disraeli</font></b></div><b>Nominees</b>: George Arliss (<i>The Green Goddess</i>), Wallace Beery (<i>The Big House</i>), Maurice Chevalier (<i>The Big Pond</i>; <i>The Love Parade</i>), Roland Colman (<i>Bulldog Drummond</i>; <i>Condemned</i>), Lawrence Tibbett (<i>The Rogue Song</i>)<br /><b>Fun Fact</b>: This was silent star George Arliss’ first speaking part. He previously played the part of Benjamin Disraeli in a 1921 silent film.<br /><br /><div style="text-align: center;"><b><font size="4"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFIJ7K-t34Fvas6fGPcSs0ptwUUyusfGBBNeV1ohG7xAgxAX_BwHZgbpKWtO_0YCwY47EWBnIymhRTqSY45wBZDHQcbU69p4eXQpuue1ZmxSn1TLiIry814hd9FQRTT5sMtQdp0KyHtChX/s2201/Best+Actor2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="673" data-original-width="2201" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFIJ7K-t34Fvas6fGPcSs0ptwUUyusfGBBNeV1ohG7xAgxAX_BwHZgbpKWtO_0YCwY47EWBnIymhRTqSY45wBZDHQcbU69p4eXQpuue1ZmxSn1TLiIry814hd9FQRTT5sMtQdp0KyHtChX/w640-h196/Best+Actor2.jpg" width="640" /></a></div>1930/1931 – Lionel Barrymore – A Free Soul</font></b></div><b>Nominees</b>: Jackie Cooper (<i>Skippy</i>), Richard Dix (<i>Cimarron</i>), Fredric March (<i>The Royal Family of Broadway</i>), Adolphe Menjou (<i>The Front Page</i>)<br /><b>Fun Fact</b>: Barrymore was the first person to receive multiple Oscar nominations in different categories, having been nominated for Best Director (<i>Madame X</i>) two years earlier.<br /><br /><div style="text-align: center;"><b><font size="4">1931/1932 – Wallace Berry – The Champ &</font></b></div><b><div style="text-align: center;"><b><font size="4">Fredric March – Dr. Jekyll and Mr. Hyde</font></b></div></b><b>Nominees</b>: Alfred Lunt (<i>The Guardsman</i>)<br /><b>Thoughts</b>: Yep, Best Actor once had a tie as well, and it’s understandable why. Both Berry and March are great in their respective roles. If forced to choose, Berry wins out for me.<br /><br /><div style="text-align: center;"><b><font size="4">1932/1933 – Charles Laughton – The Private Life of Henry VIII</font></b></div><b>Nominees</b>: Leslie Howard (<i>Berkeley Square</i>), Paul Muni (<i>I Am a Fugitive from a Chain Gang</i>)<br /><b>Thoughts</b>: It’s crazy that Laughton’s only win was so early in his career, but regardless, Charles Laughton should absolutely have an Oscar.<br /><br /><div style="text-align: center;"><b><font size="4">1934 – Clark Gable – It Happened One Night</font></b></div><b>Nominees</b>: Frank Morgan Moore (<i>The Affairs of Cellini</i>), William Powell (<i>The Thin Man</i>)<br /><b>Thoughts</b>: No arguments from me, love that this award helped <i>It Happened One Night</i> become the first movie to win the Big Five Oscars.<br /><br /><div style="text-align: center;"><b><font size="4"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi77ZQDLlrCU2M1A8qiqCKS5u0Su5voTjUri3N9djmlr08eb3EUdbEhru-Hq2M69Aq2hU4Cgc4HdIw2aBCWa07hn1MNCgfiyCfuCNN9zxNSRzrV_hxV38myMk2r1tVTlGHZzuh-flm9W-JE/s2201/Best+Actor3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="673" data-original-width="2201" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi77ZQDLlrCU2M1A8qiqCKS5u0Su5voTjUri3N9djmlr08eb3EUdbEhru-Hq2M69Aq2hU4Cgc4HdIw2aBCWa07hn1MNCgfiyCfuCNN9zxNSRzrV_hxV38myMk2r1tVTlGHZzuh-flm9W-JE/w640-h196/Best+Actor3.jpg" width="640" /></a></div>1935 – Victor McLaglen – The Informer</font></b></div><b>Nominees</b>: Clark Gable (<i>Mutiny of the Bounty</i>), Charles Laughton (<i>Mutiny of the Bounty</i>), Paul Muni (<i>Black Fury</i>), Franchot Tone (<i>Mutiny on the Bounty</i>)<br /><b>Thoughts</b>: Despite such a strong showing from <i>Mutiny of the Bounty</i>, McLaglen deserved to win this. He’s great in <i>The Informer</i>.<br /><b>Fun Fact</b>: <i>Mutiny of the Bounty</i> remains the only film to earn three Best Actor Oscar nominations.<br /><br /><div style="text-align: center;"><b><font size="4">1936 – Paul Muni – The Story of Louis Pasteur</font></b></div><b>Nominees</b>: Gary Cooper (<i>Mr. Deeds Goes to Town</i>), Walter Huston (<i>Dodsworth</i>), William Powell (<i>My Man Godfrey</i>), Spencer Tracy (<i>San Francisco</i>)<br /><b>Thoughts</b>: It’s great that Paul Muni has an Oscar, but I think he was better elsewhere. Cooper would get my vote here. Though it would’ve been nuts if Tracy won.<br /><br /><div style="text-align: center;"><b><font size="4">1937 – Spencer Tracy – Captain Courageous</font></b></div><b>Nominees</b>: Charles Boyer (<i>Conquest</i>), Fredric March (<i>A Star Is Born</i>), Robert Montgomery (<i>Night Must Fall</i>), Paul Muni (<i>The Life of Emile Zola</i>)<br /><b>Thoughts</b>: After <i>Captain Courageous</i> was released, Tracy was effusive in his praise of his child co-star, Freddie Bartholomew. The film isn’t Tracy’s best work, but his chemistry with Bartholomew is the highlight of the movie.<br /><br /><div style="text-align: center;"><b><font size="4">1938 – Spencer Tracy– Boys Town</font></b></div><b>Nominees</b>: Charles Boyer (<i>Algiers</i>), James Cagney (<i>Angels with Dirty Faces</i>), Robert Donat (<i>The Citadel</i>), Leslie Howard (<i>Pygmalion</i>)<br /><b>Thoughts</b>: Tracy is so alive in <i>Boys Town</i>, it’s a much fuller performance that <i>Captain Courageous</i>. Fair win.<br /><b>Fun Fact</b>: Tracy is one of two actors to win Best Actor two years in a row, followed by Tom Hanks 56 years later.<br /><br /><div style="text-align: center;"><b><font size="4">1939 – Robert Donat – Goodbye, Mr. Chips</font></b></div><b>Nominees</b>: Clark Gable (<i>Gone with the Wind</i>), Laurence Olivier (<i>Wuthering Heights</i>), Mickey Rooney (<i>Babes in Arms</i>), James Stewart (<i>Mr. Smith Goes to Washington</i>)<br /><b>Thoughts</b>: Donat is fine in <i>Goodbye, Mr. Chips</i>, but it’s still crazy that he beat out such notable competition. Gable and Stewart losing are big shocks.<br /><br /><div style="text-align: center;"><b><font size="4"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMMzDNek5V1VoF1ipMNlphROW-K8KeaiVhtu_mDWhyphenhyphenBx99aCREGx63TWvK8YOkIEQP6NyKs7z1Tjdlk8gErYx7B7c1CMRl89UPDCg7p8h9XowORBHPyEOO7p4Vp3cz6WMBAUcMptOHnD1G/s2201/Best+Actor4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="673" data-original-width="2201" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMMzDNek5V1VoF1ipMNlphROW-K8KeaiVhtu_mDWhyphenhyphenBx99aCREGx63TWvK8YOkIEQP6NyKs7z1Tjdlk8gErYx7B7c1CMRl89UPDCg7p8h9XowORBHPyEOO7p4Vp3cz6WMBAUcMptOHnD1G/w640-h196/Best+Actor4.jpg" width="640" /></a></div>1940 – James Stewart – The Philadelphia Story</font></b></div><b>Nominees</b>: Charlie Chaplin (<i>The Great Dictator</i>), Henry Fonda (<i>The Grapes of Wrath</i>), Raymond Massey (<i>Abe Lincoln in Illinois</i>), Laurence Olivier (<i>Rebecca</i>)<br /><b>Thoughts</b>: Jimmy Stewart always had tough Oscar years, so I’m glad he won early here. That’s some iconic competition though.<br /><b>Fun Fact</b>: Charlie Chaplin was the first person to direct himself to a Best Actor nomination.<br /><br /><div style="text-align: center;"><b><font size="4">1941 – Gary Cooper – Sergeant York</font></b></div><b>Nominees</b>: Cary Grant (<i>Penny Serenade</i>), Walter Huston (<i>The Devil and Daniel Webster</i>), Robert Montgomery (<i>Here Comes Mr. Jorda</i>n), Orson Welles (<i>Citizen Kane</i>)<br /><b>Thoughts</b>: Cooper is great in <i>Sergeant York</i>, but since he has two Best Actor trophies total, I’d give this to Welles.<br /><br /><div style="text-align: center;"><b><font size="4">1942 – James Cagney – Yankee Doodle Dandy</font></b></div><b>Nominees</b>: Ronald Colman (<i>Random Harvest</i>), Gary Cooper (<i>The Pride of the Yankees</i>), Walter Pidgeon (<i>Mrs. Miniver</i>), Monty Woolley (<i>The Pied Piper</i>)<br /><b>Thoughts</b>: It’s always important to remember that James Cagney didn’t win his Oscar for one of his violent, explosive characters, but rather for his lovely song-and-dance performance in <i>Yankee Doodle Dandy</i>. This is a great Oscar win.<br /><br /><div style="text-align: center;"><b><font size="4">1943 – Paul Lukas – Watch on the Rhine</font></b></div><b>Nominees</b>: Humphrey Bogart (<i>Casablanca</i>), Gary Cooper (<i>For Whom the Bell Tolls</i>), Walter Pidgeon (<i>Madame Curie</i>), Mickey Rooney (<i>The Human Comedy</i>)<br /><b>Thoughts</b>: Lukas gives a humane and commanding performance in <i>Watch on the Rhine</i>, but he ain’t no Rick Blaine. I really wish Bogart would have won here, freeing up 1951.<br /><br /><div style="text-align: center;"><b><font size="4">1944 – Bing Crosby – Going My Way</font></b></div><b>Nominees</b>: Charles Boyer (<i>Gaslight</i>), Barry Fitzgerald (<i>Going My Way</i>), Cary Grant (<i>None but the Lonely Heart</i>), Alexander Knox (<i>Wilson</i>)<br /><b>Fun Fact</b>: This is the only time one actor was nominated in two categories for the same performance. Barry Fitzgerald was nominated for Best Actor and Best Supporting Actor for playing Father Fitzgibbon in <i>Going My Way</i>. He won Supporting Actor.<br /><br /><div style="text-align: center;"><b><font size="4"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbdzS2_fIFKFQlYsG-kaxW3adt3qp8fiyTqIOhaNQAS16h5BYEcbmLMQNleCCjFS1WxfKmGTgjBPntzat2Bvqy9yUR_39-01o-gq-2XygOiqgyavHIreMFJcRh5NW2pLo3uaYbDijmX8QH/s2201/Best+Actor5.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="673" data-original-width="2201" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbdzS2_fIFKFQlYsG-kaxW3adt3qp8fiyTqIOhaNQAS16h5BYEcbmLMQNleCCjFS1WxfKmGTgjBPntzat2Bvqy9yUR_39-01o-gq-2XygOiqgyavHIreMFJcRh5NW2pLo3uaYbDijmX8QH/w640-h196/Best+Actor5.jpg" width="640" /></a></div>1945 – Ray Milland – The Lost Weekend</font></b></div><b>Nominees</b>: Bing Crosby (<i>The Bells of St. Mary’s</i>), Gene Kelly (<i>Anchors Aweigh</i>), Gregory Peck (<i>The Keys of the Kingdom</i>), Cornel Wilde (<i>A Song to Remember</i>)<br /><b>Thoughts</b>: I'm a broken record about <i>The Lost Weekend</i>, but this is one of the best movies ever made about addiction, and I still can’t believe it was made in 1945. Milland’s win is one of my favorite Best Actor wins.<br /><br /><div style="text-align: center;"><b><font size="4">1946 – Fredric March – The Best Years of Our Lives</font></b></div><b>Nominees</b>: Laurence Olivier (<i>Henry V</i>), Larry Parks (<i>The Jolson Story</i>), Gregory Peck (<i>The Yearling</i>), James Stewart (<i>It’s a Wonderful Life</i>)<br /><b>Fun Fact</b>: Stewart seems like the popular and obvious choice, but March is perfect in <i>The Best Years of Our Lives</i>.<br /><br /><div style="text-align: center;"><b><font size="4">1947 – Ronald Colman – A Double Life</font></b></div><b>Nominees</b>: John Garfield (<i>Body and Soul</i>), Gregory Peck (<i>Gentleman’s Agreement</i>), William Powell (<i>Life and Father</i>), Michael Redgrave (<i>Mourning Becomes Electra</i>)<br /><b>Thoughts</b>: <i>A Double Life</i> is about a stage actor (Ronald Colman) who becomes so obsessed researching his part in <i>Othello</i>, that he drives himself insane. Love this movie, love Colman in it.<br /><br /><div style="text-align: center;"><b><font size="4">1948 – Laurence Olivier – Hamlet</font></b></div><b>Nominees</b>: Lew Ayres (<i>Johnny Belinda</i>), Montgomery Clift (<i>The Search</i>), Dan Dailey (<i>When My Baby Smiles at Me</i>), Clifton Webb (<i>Sitting Pretty</i>)<br /><b>Thoughts</b>: <a href="https://www.andsoitbeginsfilms.com/2020/03/montgomery-clift-career-appreciation.html">Monty Clift obsession alert</a>. Montgomery Clift is brand new in <i>The Search</i>. He’s alive in a way no American actor had been before. He was kind, reserved, honest, real. It’s one of the best performances I’ve ever seen, so it gets my vote. Followed by Ayres.<br /><br /><div style="text-align: center;"><b><font size="4">1949 – Broderick Crawford – All the King’s Men</font></b></div><b>Nominees</b>: Kirk Douglas (<i>Champion</i>), Gregory Peck (<i>Twelve O’Clock High</i>), Richard Todd (<i>The Hasty Heart</i>), John Wayne (<i>Sands of Iwo Jima</i>)<br /><b>Thoughts</b>: Strong showing here, glad that Crawford’s Willie Stark won out.<br /><br /><div style="text-align: center;"><b><font size="4"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwCbCECxDqkIWQbVLBEhf7ajNZWZ7q27HP6RF5nxBwK3ibqxjq6ZY3ql5zgqWKc9zcrWCIUeZBo5Zo33Dv_ODPnc_lomjWh3ZkvPVq5dQov5j6b6zPi5yxmqraQWJy0AOZVEZOEWJI6h-d/s2201/Best+Actor6.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="673" data-original-width="2201" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwCbCECxDqkIWQbVLBEhf7ajNZWZ7q27HP6RF5nxBwK3ibqxjq6ZY3ql5zgqWKc9zcrWCIUeZBo5Zo33Dv_ODPnc_lomjWh3ZkvPVq5dQov5j6b6zPi5yxmqraQWJy0AOZVEZOEWJI6h-d/w640-h196/Best+Actor6.jpg" width="640" /></a></div>1950 – José Ferrer – Cyrano de Bergerac</font></b></div><b>Nominees</b>: Louis Calhern (<i>The Magnificent Yankee</i>), William Holden (<i>Sunset Boulevard</i>), James Stewart (<i>Harvey</i>), Spencer Tracy (<i>Father of the Bride</i>)<br /><b>Thoughts</b>: José Ferrer (father of Miguel, RIP) is game as Cyrano de Bergerac, but this is William Holden’s award. And the fact that Holden took on the role so late (Monty Clift dropped out at the last minute) makes me appreciate his work so much more.<br /><br /><div style="text-align: center;"><b><font size="4">1951 – Humphrey Bogart – The African Queen</font></b></div><b>Nominees</b>: Marlon Brando (<i>A Streetcar Named Desire</i>), Montgomery Clift (<i>A Place in the Sun</i>), Arthur Kennedy (<i>Bright Victory</i>), Fredric March (<i>Death of a Salesman</i>)<br /><b>Thoughts</b>: This is a tough beat. My two favorite male screen acting performances of all time are Montgomery Clift in <i>A Place in the Sun</i>, and Marlon Brando in <i>A Streetcar Named Desire</i>. Bang bang, right in a row. Bogart’s award was a career win, and though it feels right for Bogie to have an Oscar, it shouldn’t have been for this performance.<br /><br /><div style="text-align: center;"><b><font size="4">1952 – Gary Cooper – High Noon</font></b></div><b>Nominees</b>: Marlon Brando (<i>Viva Zapata!</i>), Kirk Douglas (<i>The Bad and the Beautiful</i>), José Ferrer (<i>Moulin Rouge</i>), Alec Guinness (<i>The Lavender Hill Mob</i>)<br /><b>Thoughts</b>: This is a tough one. It’s a damn near even split between Douglas and Cooper for me, with Douglas just winning out.<br /><br /><div style="text-align: center;"><b><font size="4">1953 – William Holden – Stalag 17</font></b></div><b>Nominees</b>: Marlon Brando (<i>Julius Caesar</i>), Richard Burton (<i>The Robe</i>), Montgomery Clift (<i>From Here to Eternity</i>), Burt Lancaster (<i>From Here to Eternity</i>)<br /><b>Thoughts</b>: Holden was outspoken in the fact that he didn’t think he deserved this award. He felt that Clift or Lancaster should’ve gotten it, and I agree (about Clift). I love Holden, but he’d rank fifth here for me.<br /><b>Fun Fact</b>: Perhaps sensing that this win wasn’t fully deserved, Holden’s Oscar speech consisted of him simply saying “Thank you.”<br /><br /><div style="text-align: center;"><b><font size="4">1954 – Marlon Brando – On the Waterfront</font></b></div><b>Nominees</b>: Humphrey Bogart (<i>The Caine Mutiny</i>), Bing Crosby (<i>The Country Girl</i>), James Mason (<i>A Star Is Born</i>), Dan O’Herlihy (<i>Robinson Crusoe</i>)<br /><b>Thoughts</b>: This is a no-brainer win. However, please don’t sleep on Crosby in <i>The Country Girl</i>. It’s by far his best performance, and if the film came out the year before or the year after, Crosby could’ve very easily won Best Actor.<br /><br /><div style="text-align: center;"><b><font size="4"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgZquqIcLhiqiRO4NyxK6SuGSAU0UcRwKF8jdquGmwNkhrh63oMu_iY6SJeS20rE94gvTOU3-Jtisr1agt_JC8ZrYHrhkzrwCKHa3kKIF7QUuu7DnZ6lT3izQXZjpVPFRAA5qZ5i_B_61-/s2201/Best+Actor7.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="673" data-original-width="2201" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgZquqIcLhiqiRO4NyxK6SuGSAU0UcRwKF8jdquGmwNkhrh63oMu_iY6SJeS20rE94gvTOU3-Jtisr1agt_JC8ZrYHrhkzrwCKHa3kKIF7QUuu7DnZ6lT3izQXZjpVPFRAA5qZ5i_B_61-/w640-h196/Best+Actor7.jpg" width="640" /></a></div>1955 – Ernest Borgnine – Marty</font></b></div><b>Nominees</b>: James Cagney (<i>Love Me or Leave Me</i>), James Dean (<i>East of Eden</i>), Frank Sinatra (<i>The Man with the Golden Arm</i>), Spencer Tracy (<i>Bad Day at Black Rock</i>)<br /><b>Thoughts</b>: Dean’s work was iconic and Sinatra give it his all in <i>Golden Arm</i>, but you can’t deny <i>Marty</i>. It’s just the best.<br /><br /><div style="text-align: center;"><b><font size="4">1956 – Yul Brynner – The King and I</font></b></div><b>Nominees</b>: James Dean (<i>Giant</i>), Kirk Douglas (<i>Lust for Life</i>), Rock Hudson (<i>Giant</i>), Laurence Olivier (<i>Richard III</i>)<br /><b>Thoughts</b>: Yul Brynner is a fine actor, but this award hasn’t aged well. It was common at the time for white actors to play Chinese characters (as was the case here), but it doesn’t hold up. Plus, Dean and Hudson are both immeasurably better.<br /><br /><div style="text-align: center;"><b><font size="4">1957 – Alec Guinness – The Bridge on the River Kwai</font></b></div><b>Nominees</b>: Marlon Brando (<i>Sayonara</i>), Anthony Franciosa (<i>A Hatful of Rain</i>), Charles Laughton (<i>Witness for the Prosecution</i>), Anthony Quinn (<i>Wild Is the Wind</i>)<br /><b>Thoughts</b>: Laughton is so great, but this justly went to Guinness. I rewatched <i>River Kwai</i> last year and was thrilled by how well it held up.<br /><br /><div style="text-align: center;"><b><font size="4">1958 – David Niven – Separate Tables</font></b></div><b>Nominees</b>: Tony Curtis (<i>The Defiant Ones</i>), Paul Newman (<i>Cat on a Hot Tin Roof</i>), Sidney Poitier (<i>The Defiant Ones</i>), Spencer Tracy (<i>The Old Man and the Sea</i>)<br /><b>Thoughts</b>: There’s a lot to unpack here actually. David Niven was a legendary performer, and it’s odd that this was his only Oscar nomination. And while I’m glad Niven has an Oscar, he really isn’t in <i>Separate Tables</i> much (but he is <i>really</i> good in it). This was also Tony Curtis’ only nomination, but I’m not sure he deserves to win. Newman or Poitier would’ve received my vote.<br /><b>Fun Fact</b>: Niven only appears in <i>Separate Tables</i> for roughly 25 minutes worth of scenes. I timed it. Because I am insane.<div><br /><div style="text-align: center;"><b><font size="4">1959 – Charlton Heston – Ben-Hur</font></b></div><b>Nominees</b>: Laurence Harvey (<i>Room at the Top</i>), Jack Lemmon (<i>Some Like It Hot</i>), Paul Muni (<i>The Last Angry Man</i>), James Stewart (<i>Anatomy of a Murder</i>)<br /><b>Thoughts</b>: Of course, nothing was going to stop <i>Ben-Hur</i>, but Lemmon, Harvey, and Stewart would’ve gotten my vote over Heston.<br /><br /><div style="text-align: center;"><b><font size="4"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimS1pdNltRY6KP0oyhD_06I5b0f7jfgkF5rwCh-WJHbHdhyHw-3PdFHLG3zM7cYUaijc4nPVI53rzPuLJRD5ijEs2ZPYNtmAOapkGSFL4ST2xFPUDxs_L27ffwoBHlz4UbiWnIcw_3009y/s2201/Best+Actor8.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="673" data-original-width="2201" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimS1pdNltRY6KP0oyhD_06I5b0f7jfgkF5rwCh-WJHbHdhyHw-3PdFHLG3zM7cYUaijc4nPVI53rzPuLJRD5ijEs2ZPYNtmAOapkGSFL4ST2xFPUDxs_L27ffwoBHlz4UbiWnIcw_3009y/w640-h196/Best+Actor8.jpg" width="640" /></a></div>1960 – Burt Lancaster – Elmer Gantry</font></b></div><b>Nominees</b>: Trevor Howard (<i>Sons and Lovers</i>), Jack Lemmon (<i>The Apartment</i>), Laurence Olivier (<i>The Entertainer</i>), Spencer Tracy (<i>Inherit the Wind</i>)<br /><b>Thoughts</b>: I’m a huge Lancaster fan, but as we see in the Best Actor category a lot, Lancaster won for the wrong movie. Lemmon is the standout here.<br /><br /><div style="text-align: center;"><b><font size="4">1961 – Maximilian Schell – Judgment at Nuremberg</font></b></div><b>Nominees</b>: Charles Boyer (<i>Fanny</i>), Paul Newman (<i>The Hustler</i>), Spencer Tracy (<i>Judgment at Nuremberg</i>), Stuart Whitman (<i>The Mark</i>)<br /><b>Thoughts</b>: It’s always hard to take an Oscar away from Paul Newman, but Schell deserved this. A tricky role in an important movie.<br /><b>Fun Fact</b>: Schell is reportedly the lowest-billed performer to win Best Actor. He received fifth billing, behind Spencer Tracy, Burt Lancaster, Richard Widmark, and Marlene Dietrich.<br /><br /><div style="text-align: center;"><b><font size="4">1962 – Gregory Peck – To Kill a Mockingbird</font></b></div><b>Nominees</b>: Burt Lancaster (<i>Birdman of Alcatraz</i>), Jack Lemmon (<i>Days of Wine and Roses</i>), Marcello Mastroianni (<i>Divorce Italian Style</i>), Peter O’Toole (<i>Lawrence of Arabia</i>)<br /><b>Thoughts</b>: Sorry folks, this is my favorite Jack Lemmon performance, so he wins out for me, followed by Lancaster, and O’Toole.<br /><br /><div style="text-align: center;"><b><font size="4">1963 – Sidney Poitier – Lilies of the Field</font></b></div><b>Nominees</b>: Albert Finney (<i>Tom Jones</i>), Richard Harris (<i>This Sporting Life</i>), Rex Harrison (<i>Cleopatra</i>), Paul Newman (<i>Hud</i>)<br /><b>Thoughts</b>: Sidney Poitier should absolutely have an Oscar, I just wish he would’ve received <i>some</i> awards attention for his career-best work in <i>A Raisin in the Sun</i> two years earlier. (Newman is my favorite performance here.)<br /><b>Fun Fact</b>: Sidney Poitier became the first black actor to win Best Actor.<br /><br /><div style="text-align: center;"><b><font size="4">1964 – Rex Harrison – My Fair Lady</font></b></div><b>Nominees</b>: Richard Burton (<i>Becket</i>), Peter O’Toole (<i>Becket</i>), Anthony Quinn (<i>Zorba the Greek</i>), Peter Sellers (<i>Dr. Strangelove</i>)<br /><b>Thoughts</b>: There are four decent performances here, and then there are three amazing performances by one actor. This should have been Sellers’ Oscar, bar none.<br /><br /><div style="text-align: center;"><b><font size="4"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3bnaoh4Aq-NJneRtuxNkgVwzvqE1pvHSxPZ-XL35JlDNq_GNmtCEHTBUu7xCZ8vha_Ugpw2dJKRk2bBG-keCqB60O7pA8wfT82l2j5UuyfnrOHMdWRCqOEdtU-nEESRhn1RliOGDqngz3/s2201/Best+Actor9.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="673" data-original-width="2201" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3bnaoh4Aq-NJneRtuxNkgVwzvqE1pvHSxPZ-XL35JlDNq_GNmtCEHTBUu7xCZ8vha_Ugpw2dJKRk2bBG-keCqB60O7pA8wfT82l2j5UuyfnrOHMdWRCqOEdtU-nEESRhn1RliOGDqngz3/w640-h196/Best+Actor9.jpg" width="640" /></a></div>1965 – Lee Marvin – Cat Ballou</font></b></div><b>Nominees</b>: Richard Burton (<i>The Spy Who Came In from the Cold</i>), Laurence Olivier (<i>Othello</i>), Rod Steiger (<i>The Pawnbroker</i>), Oskar Werner (<i>Ship of Fools</i>)<br /><b>Thoughts</b>: There are expressions on Steiger’s face in <i>The Pawnbroker </i>that I have never been able to get out of my head. Nothing against Lee Marvin, who I love, but Steiger wins out here.<br /><br /><div style="text-align: center;"><b><font size="4">1966 – Paul Scofield – A Man for All Seasons</font></b></div><b>Nominees</b>: Alan Arkin (<i>The Russians Are Coming, the Russians Are Coming</i>), Richard Burton (<i>Who’s Afraid of Virginia Woolf?</i>), Michael Caine (<i>Alfie</i>), Steve McQueen (<i>The Sand Pebbles</i>)<br /><b>Thoughts</b>: Richard Burton doesn’t have an Oscar, and that is absurd. Of his seven nominations, this should have been his clear win.<br /><br /><div style="text-align: center;"><b><font size="4">1967 – Rod Steiger – In the Heat of the Night</font></b></div><b>Nominees</b>: Warren Beatty (<i>Bonnie and Clyde</i>), Dustin Hoffman (<i>The Graduate</i>), Paul Newman (<i>Cool Hand Luke</i>), Spencer Tracy (<i>Guess Who’s Coming to Dinner</i>)<br /><b>Thoughts</b>: <i>Stacked</i> category. These are all grade-A performances, but my top-to-bottom ranking: Newman, Huffman, Beatty, Steiger, Tracy.<br /><br /><div style="text-align: center;"><b><font size="4">1968 – Cliff Robertson – Charly</font></b></div><b>Nominees</b>: Alan Arkin (<i>The Heart Is a Lonely Hunter</i>), Alan Bates (<i>The Fixer</i>), Ron Moody (<i>Oliver!</i>), Peter O’Toole (<i>The Lion in Winter</i>)<br /><b>Thoughts</b>: <i>Charly</i> is a very late-‘60s movie (i.e, randomly psychedelic, tonally confused), and it’s odd to me that Robertson won. Peter O’Toole never won an Oscar, and he was never more deserving than he was here.<br /><b>Fun Fact</b>: According to Oscar lore, Robertson went to great lengths to secure votes for his performance by tirelessly promoting his work. That is common practice now but was rare back then.<br /><br /><div style="text-align: center;"><span><b><font size="4">1969 – John Wayne – True Grit</font></b></span></div><b>Nominees</b>: Richard Burton (<i>Anne of the Thousand Days</i>), Dustin Hoffman (<i>Midnight Cowboy</i>), Peter O’Toole (<i>Goodbye, Mr. Chips</i>), Jon Voight (<i>Midnight Cowboy</i>)<br /><b>Thoughts</b>: Career win. This is Hoffman or Voight’s. I wouldn’t have even nominated Wayne, especially over Newman and/or Redford in <i>Butch Cassidy and the Sundance Kid</i>.<br /><br /><div style="text-align: center;"><b><font size="4"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAvsDXhdqHU6D6SaLMMxY3v3XqZO8zv5XfvxE1Jp4yZ4wc0Y9Mp23aM6ENsPJjpraa8neoDqtboqVpwoyjpjkn4B7Kwykaei2t22fb-82D5HCNAANSssBAQ-u8vnIsylJrXKEvnme10u6-/s2201/Best+Actor10.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="673" data-original-width="2201" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAvsDXhdqHU6D6SaLMMxY3v3XqZO8zv5XfvxE1Jp4yZ4wc0Y9Mp23aM6ENsPJjpraa8neoDqtboqVpwoyjpjkn4B7Kwykaei2t22fb-82D5HCNAANSssBAQ-u8vnIsylJrXKEvnme10u6-/w640-h196/Best+Actor10.jpg" width="640" /></a></div>1970 – George C. Scott – Patton</font></b></div><b>Nominees</b>: Melvyn Douglas (<i>I Never Sang for My Father</i>), James Earl Jones (<i>The Great White Hope</i>), Jack Nicholson (<i>Five Easy Pieces</i>), Ryan O’Neal (<i>Love Story</i>)<br /><b>Thoughts</b>: I saw <i>Patton</i> when I was really young, and for years, I thought George C. Scott actually <i>was</i> Patton. Iconic work.<br /><b>Fun Fact</b>: George C. Scott detested awards and was the first actor to publicly reject his Oscar win.<br /><br /><div style="text-align: center;"><b><font size="4">1971 – Gene Hackman – The French Connection</font></b></div><b>Nominees</b>: Peter Finch (<i>Sunday Bloody Sunday</i>), Walter Matthau (<i>Kotch</i>), George C. Scott (<i>The Hospital</i>), Topol (<i>Fiddler on the Roof</i>)<br /><b>Thoughts</b>: Scott is a <i>completely</i> different actor in <i>The Hospital</i> than he is in <i>Patton</i>, and it’s great to watch. But yes, obviously this is Hackman’s all day.<br /><br /><div style="text-align: center;"><b><font size="4">1972 – Marlon Brando – The Godfather</font></b></div><b>Nominees</b>: Michael Caine (<i>Sleuth</i>), Laurence Olivier (<i>Sleuth</i>), Peter O’Toole (<i>The Ruling Class</i>), Paul Winfield (<i>Sounder</i>)<br /><b>Thoughts</b>: Imagine if he didn’t win.<br /><br /><div style="text-align: center;"><b><font size="4">1973 – Jack Lemmon – Save the Tiger</font></b></div><b>Nominees</b>: Marlon Brando (<i>Last Tango in Paris</i>), Jack Nicholson (<i>The Last Detail</i>), Al Pacino (<i>Serpico</i>), Robert Redford (<i>The Sting</i>)<br /><b>Thoughts</b>: This is that rare Oscar that a veteran performer won for the work itself, and not their entire filmography. Lemmon is fantastic in <i>Save the Tiger</i>, and I’m glad he won. Now, is he better than the other four? Maybe not (I’d vote for Brando), but it was deserved all the same.<br /><b>Fun Fact</b>: Lemmon was the first actor to win Oscars for Best Actor and Best Supporting Actor.<br /><br /><div style="text-align: center;"><b><font size="4">1974 – Art Carney – Harry and Tonto</font></b></div><b>Nominees</b>: Albert Finney (<i>Murder on the Orient Express</i>), Dustin Hoffman (<i>Lenny</i>), Jack Nicholson (<i>Chinatown</i>), Al Pacino (<i>The Godfather: Part II</i>)<br /><b>Thoughts</b>: Art Carney’s win is, frankly, one of the most baffling in Oscar history, considering he was up against Nicholson and Pacino, who both may have never been better. This is the definition of a career win.<br /><br /><div style="text-align: center;"><b><font size="4"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKlyTzWXaIrKxr4U3yx5KOx8nLVDsCzOI-ZdIrAZRYB5uA6x0_s7rki-9RivF_QjZ-IRY5nOvelQPzhyphenhyphenvdswYSNLkx1_DzAC0ENbwY61MxnNoBHFNpXieUFnpiAHvMXqPGZpNjWAzNK5nJ/s2201/Best+Actor11.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="673" data-original-width="2201" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKlyTzWXaIrKxr4U3yx5KOx8nLVDsCzOI-ZdIrAZRYB5uA6x0_s7rki-9RivF_QjZ-IRY5nOvelQPzhyphenhyphenvdswYSNLkx1_DzAC0ENbwY61MxnNoBHFNpXieUFnpiAHvMXqPGZpNjWAzNK5nJ/w640-h196/Best+Actor11.jpg" width="640" /></a></div>1975 – Jack Nicholson – One Flew Over the Cuckoo’s Nest</font></b></div><b>Nominees</b>: Walter Matthau (<i>The Sunshine Boys</i>), Al Pacino (<i>Dog Day Afternoon</i>), Maximilian Schell (<i>The Man in the Glass Booth</i>), James Whitmore (<i>Give ‘em Hell, Harry!</i>)<br /><b>Thoughts</b>:<i> Dog Day</i> is my favorite Pacino, but I can’t rob <i>Cuckoo’s Nest </i>of its Big Five Oscar wins. My god, the ‘70s were so good.<br /><br /><div style="text-align: center;"><b><font size="4">1976 – Peter Finch – Network</font></b></div><b>Nominees</b>: Robert De Niro (<i>Taxi Driver</i>), Giancarlo Giannini (<i>Seven Beauties</i>), William Holden (<i>Network</i>), Sylvester Stallone (<i>Rocky</i>)<br /><b>Thoughts</b>: Finch, I love you! But it’s Robert De Niro. Also, no Dustin Hoffman nomination for <i>Marathon Man</i> (or <i>All the President’s Men</i>) is really odd.</div><div><br /><div style="text-align: center;"><b><font size="4">1977 – Richard Dreyfuss – The Goodbye Girl</font></b></div><b>Nominees</b>: Woody Allen (<i>Annie Hall</i>), Richard Burton (<i>Equus</i>), Marcello Mastroianni (<i>A Special Day</i>), John Travolta (<i>Saturday Night Fever</i>)<br /><b>Thoughts</b>: Dreyfuss is great in <i>The Goodbye Girl</i>, but I would’ve voted for Travolta here. That performance was too raw to win the Oscar, but I’m thrilled he was nominated.<br /><br /><div style="text-align: center;"><b><font size="4">1978 – Jon Voight – Coming Home</font></b></div><b>Nominees</b>: Warren Beatty (<i>Heaven Can Wait</i>). Gary Busey (<i>The Buddy Holly Story</i>), Robert De Niro (<i>The Deer Hunter</i>), Laurence Olivier (<i>The Boys from Brazil</i>)<br /><b>Thoughts</b>: De Niro and Voight both played men coming home from the Vietnam War, and while Voight is heartbreaking, I’ve always been more drawn to the torture of De Niro’s character. (Also, props to Busey for the early Oscar nom!)<br /><br /><div style="text-align: center;"><b><font size="4">1979 – Dustin Hoffman – Kramer vs. Kramer</font></b></div><b>Nominees</b>: Jack Lemmon (<i>The China Syndrome</i>), Al Pacino (<i>…And Justice for All.</i>), Roy Scheider (<i>All That Jazz</i>), Peter Sellers (<i>Being There</i>)<br /><b>Thoughts</b>: After three Best Actor loses, it was pretty hard for the Academy to keep denying Hoffman. This is a fair win, but I really think Scheider or Sellers should’ve taken this. <br /><br /><div style="text-align: center;"><b><font size="4"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlYC0ZEExxWhVlIWKBmBMd1VBR4_BtHOzfLHgMtEQfFc79mAq7zw6OnnRVbVz09MoMUqm1tcdkniI33dkwu6FXt5LP_vwlD-xrIfD39jZbWN0LnPpURaB8yAjxmB2XXaHiKyjsYqbgdgj5/s2201/Best+Actor12.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="673" data-original-width="2201" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlYC0ZEExxWhVlIWKBmBMd1VBR4_BtHOzfLHgMtEQfFc79mAq7zw6OnnRVbVz09MoMUqm1tcdkniI33dkwu6FXt5LP_vwlD-xrIfD39jZbWN0LnPpURaB8yAjxmB2XXaHiKyjsYqbgdgj5/w640-h196/Best+Actor12.jpg" width="640" /></a></div>1980 – Robert De Niro – Raging Bull</font></b></div><b>Nominees</b>: Robert Duvall (<i>The Great Santini</i>), John Hurt (<i>The Elephant Man</i>), Jack Lemmon (<i>Tribute</i>), Peter O’Toole (<i>The Stunt Man</i>)<br /><b>Thoughts</b>: It can’t not be De Niro here. (But Hurt, I see you.)<br /><br /><div style="text-align: center;"><b><font size="4">1981 – Henry Fonda – On Golden Pond</font></b></div><b>Nominees</b>: Warren Beatty (<i>Reds</i>), Burt Lancaster (<i>Atlantic City</i>), Dudley Moore (<i>Arthur</i>), Paul Newman (<i>Absence of Malice</i>)<br /><b>Thoughts</b>: Henry Fonda needed an Oscar, and this was his last chance.<br /><b>Fun Fact</b>: At 76 years old, Henry Fonda is the oldest performer to win the Best Actor Oscar.<br /><br /><div style="text-align: center;"><b><font size="4">1982 – Ben Kingsley – Gandhi</font></b></div><b>Nominees</b>: Dustin Hoffman (<i>Tootsie</i>), Jack Lemmon (<i>Missing</i>), Paul Newman (<i>The Verdict</i>), Peter O’Toole (<i>My Favorite Year</i>)<br /><b>Thoughts</b>: I adore Ben Kingsley, but awarding performances like this is largely based on the goodwill the actual subject has in voters’ hearts. I mean, how can you vote against Gandhi (even if Newman is more deserving)?<br /><br /><div style="text-align: center;"><b><font size="4">1983 – Robert Duvall – Tender Mercies</font></b></div><b>Nominees</b>: Michael Caine (<i>Educating Rita</i>), Tom Conti (<i>Reuben, Reuben</i>), Tom Courtenay (<i>The Dresser</i>), Albert Finney (<i>The Dresser</i>)<br /><b>Thoughts</b>: Somewhat quiet year, but great that Duvall has a Best Actor Oscar.<br /><br /><div style="text-align: center;"><b><font size="4">1984 – F. Murray Abraham – Amadeus</font></b></div><b>Nominees</b>: Jeff Bridges (<i>Starman</i>), Albert Finney (<i>Under the Volcano</i>), Tom Hulce (<i>Amadeus</i>), Sam Waterston (<i>The Killing Fields</i>)<br /><b>Thoughts</b>: It was a big deal when Abraham’s villainous turn beat out Hulce’s whimsical take on Mozart, but the right call was made.<br /><br /><div style="text-align: center;"><b><font size="4"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT6TjG8kanZztyt8sGm7ZPY5O6gjueUwPtI-nQLOU0Sozwr9ucz18Bb8s0HZprUBaYaKYGc5Pl8miMC8FAHWlFxnw2tNyz0OFB9QbrW5jlvicGKiov7Bz6eymSAdusY8LS-5oisegMVgUW/s2201/Best+Actor13.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="673" data-original-width="2201" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT6TjG8kanZztyt8sGm7ZPY5O6gjueUwPtI-nQLOU0Sozwr9ucz18Bb8s0HZprUBaYaKYGc5Pl8miMC8FAHWlFxnw2tNyz0OFB9QbrW5jlvicGKiov7Bz6eymSAdusY8LS-5oisegMVgUW/w640-h196/Best+Actor13.jpg" width="640" /></a></div>1985 – William Hurt – Kiss of the Spider Woman</font></b></div><b>Nominees</b>: Harrison Ford (<i>Witness</i>), James Garner (<i>Murphy’s Romance</i>), Jack Nicholson (<i>Prizzi’s Honor</i>), Jon Voight (<i>Runaway Train</i>)<br /><b>Thoughts</b>: Not too many actors <i>start</i> a great run with an Oscar, but Hurt deserved to do that here, even among such strong competition.<br /><b>Fun Fact</b>: Voight’s nomination for <i>Runaway Train</i> is one of the most bizarre performances to receive a Best Actor nomination. That’s just my opinion, but that movie is insane.<br /><br /><div style="text-align: center;"><b><font size="4">1986 – Paul Newman – The Color of Money</font></b></div><b>Nominees</b>: Dexter Gordon (<i>Round Midnight</i>), Bob Hoskins (<i>Mona Lisa</i>), William Hurt (<i>Children of a Lesser God</i>), James Woods (<i>Salvador</i>)<br /><b>Thoughts</b>: This award gets criticized as a career win, and while it certainly isn’t Newman’s best work, I honestly wouldn’t vote for anyone over him here. Even if I added Gene Hackman for <i>Hoosiers</i>, Newman would still win out.<br /><br /><div style="text-align: center;"><b><font size="4">1987 – Michael Douglas – Wall Street</font></b></div><b>Nominees</b>: William Hurt (<i>Broadcast News</i>), Marcello Mastroianni (<i>Dark Eyes</i>), Jack Nicholson (<i>Ironweed</i>), Robin Williams (<i>Good Morning, Vietnam</i>)<br /><b>Thoughts</b>: What an audacious win, I love that the Academy did this. Evil and menace aren’t awarded but the Academy often, but it feels right that Douglas’ iconic incarnation of Gordon Gekko was awarded so highly.<br /><br /><div style="text-align: center;"><b><font size="4">1988 – Dustin Hoffman – Rain Man</font></b></div><b>Nominees</b>: Gene Hackman (<i>Mississippi Burning</i>), Tom Hanks (<i>Big</i>), Edward James Olmos (<i>Stand and Deliver</i>), Max von Sydow (<i>Pelle the Conqueror</i>)<br /><b>Thoughts</b>: This is the type of performance that is baiting Oscar to award it. No argument from me; I still just love that Hanks was nominated.<br /><br /><div style="text-align: center;"><b><font size="4">1989 – Daniel Day-Lewis – My Left Foot</font></b></div><b>Nominees</b>: Kenneth Branagh (<i>Henry V</i>), Tom Cruise (<i>Born on the Fourth of July</i>), Morgan Freeman (<i>Driving Miss Daisy</i>), Robin Williams (<i>Dead Poets Society</i>)<br /><b>Thoughts</b>: I love to talk about this award, because context is important. This Best Actor prize was Tom Cruise’s. It was a lock. He had paid his dues, and his career had been leading up to this point. Playing a real-life alcoholic wounded Veteran checks a lot of boxes for the Academy. To say the place was shocked when Jodie Foster read Daniel Day-Lewis’ name is an understatement. DDL was the least known of the five actors, and he did something so rare: He actually won an Oscar against more popular competition for a role that completely deserved to win. No politics, no bullshit. Just the work.<br /><br /><div style="text-align: center;"><b><font size="4"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIa-eA_5cCAAbLshWFSId3T3EQsBDGcQjUdeL3M9bebWZyQtTSsHAhTPyqM2-1OzpuBsVqapcmCsG9dVaFEd7QxxPTEjGD1PCmpeFWh9aC9PpAhZxArQk0nSkPy7eUpNNQdl2YHB4dYGPk/s2201/Best+Actor14.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="673" data-original-width="2201" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIa-eA_5cCAAbLshWFSId3T3EQsBDGcQjUdeL3M9bebWZyQtTSsHAhTPyqM2-1OzpuBsVqapcmCsG9dVaFEd7QxxPTEjGD1PCmpeFWh9aC9PpAhZxArQk0nSkPy7eUpNNQdl2YHB4dYGPk/w640-h196/Best+Actor14.jpg" width="640" /></a></div>1990 – Jeremy Irons – Reversal of Fortune</font></b></div><b>Nominees</b>: Kevin Costner (<i>Dances with Wolves</i>), Robert De Niro (<i>Awakenings</i>), Gérard Depardieu (<i>Cyrano de Bergerac</i>), Richard Harris (<i>The Field</i>)<br /><b>Thoughts</b>: The Academy was on a nice evil character streak in the late ‘80s-early ‘90s. Well-deserved award in a little seen film. Great that Jeremy Irons has an Oscar.<br /><br /><div style="text-align: center;"><b><font size="4">1991 – Anthony Hopkins – The Silence of the Lambs</font></b></div><b>Nominees</b>: Warren Beatty (<i>Bugsy</i>), Robert De Niro (<i>Cape Fear</i>), Nick Nolte (<i>The Prince of Tides</i>), Robin Williams (<i>The Fisher King</i>)<br /><b>Thoughts</b>: The only thing I’ll add to this very well-deserved win is that Anthony Hopkins was not “Anthony Hopkins” when he played Hannibal Lecter. He was somewhat unknown in America, which made this performance that much better.<br /><b>Fun Fact</b>: Hopkins is featured in roughly 30 scene minutes in <i>The Silence of the Lambs</i>, but he is physically on screen for only about 16 minutes.<br /><br /><div style="text-align: center;"><b><font size="4">1992 – Al Pacino – Scent of a Woman</font></b></div><b>Nominees</b>: Robert Downey Jr. (<i>Chaplin</i>), Clint Eastwood (<i>Unforgiven</i>), Stephen Rea (<i>The Crying Game</i>), Denzel Washington (<i>Malcolm X</i>)<br /><b>Thoughts</b>: I love Al Pacino, and Al Pacino needs an Oscar. But there are two major problems here: Pacino won entirely too late and for the wrong movie. But more importantly, Pacino’s career win robbed Denzel Washington of one of the most deserving Best Actor prizes I can think of.<br /><br /><div style="text-align: center;"><b><font size="4">1993 – Tom Hanks – Philadelphia</font></b></div><b>Nominees</b>: Daniel Day-Lewis (<i>In the Name of the Father</i>), Laurence Fishburne (<i>What’s Love Go to Do with It</i>), Anthony Hopkins (<i>The Remains of the Day</i>), Liam Neeson (<i>Schindler’s List</i>)<br /><b>Thoughts</b>: I think Hanks is career-best in <i>Philadelphia</i>, and I love this win, even among some of the fiercest competition I’ve seen in this category. (<b>Please</b> watch Fishburne in <i>What’s Love Go to Do with It</i>.)<br /><b>Fun Fact</b>: Apparently, Jonathan Demme first offered the part of Andy Becket in <i>Philadelphia</i> to Daniel Day-Lewis, who had to turn the role down because he was committed to <i>In the Name of the Father</i>. Demme cast Hanks, and Hanks beat out DDL for the Oscar.<br /><br /><div style="text-align: center;"><b><font size="4">1994 – Tom Hanks – Forrest Gump</font></b></div><b>Nominees</b>: Morgan Freeman (<i>The Shawshank Redemption</i>), Nigel Newman (<i>The Madness of King George</i>), Paul Newman (<i>Nobody’s Fool</i>), John Travolta (<i>Pulp Fiction</i>)<br /><b>Thoughts</b>: The Oscar politics of this win are very heartwarming (Tom Hanks is the second person ever to win two Best Actor Oscars in a row), but it’s Vincent Vega for me. All day.<br /><br /><div style="text-align: center;"><b><font size="4"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFxciqf21AFYkfJiv4oH0Y0HCnaR6BHU9qEeJvH7ezsZOPE5_q6JckbX4wHUKolwIyj7sVa-vjsZx1u0wArWIrDEXfxrREPylSdxrcuKC07UPNsX91Wcz5uSlqaXRm1GVvx6sw_pcMVBfi/s2201/Best+Actor15.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="673" data-original-width="2201" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFxciqf21AFYkfJiv4oH0Y0HCnaR6BHU9qEeJvH7ezsZOPE5_q6JckbX4wHUKolwIyj7sVa-vjsZx1u0wArWIrDEXfxrREPylSdxrcuKC07UPNsX91Wcz5uSlqaXRm1GVvx6sw_pcMVBfi/w640-h196/Best+Actor15.jpg" width="640" /></a></div>1995 – Nicholas Cage – Leaving Las Vegas</font></b></div><b>Nominees</b>: Richard Dreyfuss (<i>Mr. Holland’s Opus</i>), Anthony Hopkins (<i>Nixon</i>), Sean Penn (<i>Dead Man Walking</i>) Massimo Troisi (<i>Il Postino: The Postman</i>)<br /><b>Thoughts</b>: One of my favorite Best Actor wins, as Cage’s performance in this film is the most unflinching portrayal of alcoholism that I’ve ever seen. God that movie is a fuckin’ bruise. Also, this may have been a bit much, but no Tom Hanks love for <i>Apollo 13</i>?<br /><br /><div style="text-align: center;"><b><font size="4">1996 – Geoffrey Rush – Shine</font></b></div><b>Nominees</b>: Tom Cruise (<i>Jerry Maguire</i>), Ralph Fiennes (<i>The English Patient</i>), Woody Harrelson (<i>The People vs. Larry Flynt</i>), Billy Bob Thornton (<i>Sling Blade</i>)<br /><b>Thoughts</b>: This is tough to say, because Rush is such a talented actor, but he’d be my fifth pick here. I’d vote Thornton, Cruise, Harrelson, Fiennes, and then Rush.<br /><br /><div style="text-align: center;"><b><font size="4">1997 – Jack Nicholson – As Good as It Gets</font></b></div><b>Nominees</b>: Matt Damon (<i>Good Will Hunting</i>), Robert Duvall (<i>The Apostle</i>), Peter Fonda (<i>Ulee’s Gold</i>), Dustin Hoffman (<i>Wag the Dog</i>)<br /><b>Thoughts</b>: I love Jack in <i>As Good as It Gets</i>, always have. I may honestly prefer Damon or Duvall here, but I’m fine with this win. It’s Jack, you know?<br /><b>Fun Fact</b>: Only seven films have won both Best Actor and Best Actress, and <i>As Good as It Gets</i> was the last film to do so.<br /><br /><div style="text-align: center;"><b><font size="4">1998 – Roberto Benigni – Life is Beautiful</font></b></div><b>Nominees</b>: Tom Hanks (<i>Saving Private Ryan</i>), Ian McKellen (<i>Gods and Monsters</i>), Nick Nolte (<i>Affliction</i>), Edward Norton (<i>American History X</i>)<br /><b>Thoughts</b>: Never understood it, still don’t today, sorry. Nolte and Norton gave career-best performances, and McKellen and Hanks played their parts wonderfully. This was a hype win that hasn’t stood up well for me.<br /><br /><div style="text-align: center;"><b><font size="4">1999 – Kevin Spacey – American Beauty</font></b></div><b>Nominees</b>: Russell Crowe (<i>The Insider</i>), Richard Farnsworth (<i>The Straight Story</i>), Sean Penn (<i>Sweet and Lowdown</i>), Denzel Washington (<i>The Hurricane</i>)<br /><b>Thoughts</b>: It’s tough to comment on this performance now for obvious reasons, but in truth, I would have voted for Spacey in 1999. Today, Crowe or Washington would get my vote.<br /><b>Fun Fact</b>: At 79 years old, Richard Farnsworth is the oldest Best Actor nominee in Oscar history.<br /><br /><div style="text-align: center;"><b><font size="4"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXB2SlF78KZ0UNlaI6MWXvvBZvukuNneXOXLClj7B_8K_R7vKgfkthYoBxscii_dlDC4UY_aapSaj6_3K0i09r6JW_W0Rc_aYvBietwG1VejiDzzad-guFIEFWLk_DXfSjah1-3jm5atkK/s2201/Best+Actor16.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="673" data-original-width="2201" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXB2SlF78KZ0UNlaI6MWXvvBZvukuNneXOXLClj7B_8K_R7vKgfkthYoBxscii_dlDC4UY_aapSaj6_3K0i09r6JW_W0Rc_aYvBietwG1VejiDzzad-guFIEFWLk_DXfSjah1-3jm5atkK/w640-h196/Best+Actor16.jpg" width="640" /></a></div>2000 – Russell Crowe – Gladiator</font></b></div><b>Nominees</b>: Javier Bardem (<i>Before Night Falls</i>), Tom Hanks (<i>Cast Away</i>) Ed Harris (<i>Pollock</i>), Geoffrey Rush (<i>Quills</i>)<br /><b>Thoughts</b>: Damn do I wish Crowe would’ve won in 1999, because that could’ve freed this up for Hanks. That would’ve made Hanks the first Oscar with three Best Actor Oscars, and clearly the Academy wasn’t ready to go there yet.<br /><br /><div style="text-align: center;"><b><font size="4">2001 – Denzel Washington – Training Day</font></b></div><b>Nominees</b>: Russell Crowe (<i>A Beautiful Mind</i>), Sean Penn (<i>I Am Sam</i>), Will Smith (<i>Ali</i>), Tom Wilkinson (<i>In the Bedroom</i>)<br /><b>Thoughts</b>: No argument from me, though if Denzel won in 1992, my vote would’ve been for Smith here, no bullshit.<br /><br /><div style="text-align: center;"><b><font size="4">2002 – Adrien Brody – The Pianist</font></b></div><b>Nominees</b>: Nicholas Cage (<i>Adaptation</i>), Michael Caine (<i>The Quiet American</i>), Daniel Day-Lewis (<i>Gangs of New York</i>), Jack Nicholson (<i>About Schmidt</i>)<br /><b>Thoughts</b>: One of the all-time great Oscar wins, and arguably my favorite Oscar moment ever. I’ve written about this win <a href="https://www.andsoitbeginsfilms.com/2015/02/oscar-night-always-holding-out-for-brody.html">a lot on my blog</a>, but this was Day-Lewis and Nicholson in one of the tightest Best Actor races ever. No one saw Brody’s win coming, most of all him. I love everything about this win.<br /><br /><div style="text-align: center;"><b><font size="4">2003 – Sean Penn – Mystic River</font></b></div><b>Nominees</b>: Johnny Depp (<i>Pirates of the Caribbean: The Curse of the Black Pearl</i>), Ben Kingsley (<i>House of Sand and Fog</i>), Jude Law (<i>Cold Mountain</i>), Bill Murray (<i>Lost in Translation</i>)<br /><b>Thoughts</b>: People remain deeply split between Murray and Penn here. Tough call, but Penn still gets my vote.<br /><br /><div style="text-align: center;"><b><font size="4">2004 – Jamie Foxx – Ray</font></b></div><b>Nominees</b>: Don Cheadle (<i>Hotel Rwanda</i>), Johnny Depp (<i>Finding Neverland</i>), Leonardo DiCaprio (<i>The Aviator</i>), Clint Eastwood (<i>Million Dollar Baby</i>)<br /><b>Thoughts</b>: Foxx really didn’t have much competition; and I personally remember pulling for his win a lot during this Oscar season. I wish people talked about Cheadle’s work in <i>Hotel Rwanda </i>more, but Foxx’s win is fair.<br /><br /><div style="text-align: center;"><b><font size="4"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTq0vNmJvga2d_AOwooUTI7-WWkALNZfg9X7a9l2umwHIarN8DAwrLa3_xkhEfUiDUauQgZX4RIa0svUvc3-ZM4RJZx5W9mOnJJzCAa6Thd7mpO4LXD7_yXMTcrc_EbAdy0eqGFbhFXT2h/s2201/Best+Actor17.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="673" data-original-width="2201" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTq0vNmJvga2d_AOwooUTI7-WWkALNZfg9X7a9l2umwHIarN8DAwrLa3_xkhEfUiDUauQgZX4RIa0svUvc3-ZM4RJZx5W9mOnJJzCAa6Thd7mpO4LXD7_yXMTcrc_EbAdy0eqGFbhFXT2h/w640-h196/Best+Actor17.jpg" width="640" /></a></div>2005 – Philip Seymour Hoffman – Capote</font></b></div><b>Nominees</b>: Terrence Howard (<i>Hustle & Flow</i>), Heath Ledger (<i>Brokeback Mountain</i>), Joaquin Phoenix (<i>Walk the Line</i>), David Strathairn (<i>Good Night, and Good Luck</i>)<br /><b>Thoughts</b>: Jesus, this is tough now. I always wanted Heath Ledger to win this, because I genuinely think his work in <i>Brokeback Mountain</i> is as good as screen acting gets. But that isn’t to take away from Hoffman’s work at all. I just wish they both could’ve won this prize in their lifetimes. <br /><b>Fun Fact</b>: With this nomination, Joaquin Phoenix and River Phoenix became the only brothers to ever be nominated for Oscars.<br /><br /><div style="text-align: center;"><b><font size="4">2006 – Forest Whitaker – The Last Kind of Scotland</font></b></div><b>Nominees</b>: Leonardo DiCaprio (<i>Blood Diamond</i>), Ryan Gosling (<i>Half Nelson</i>), Peter O’Toole (<i>Venus</i>), Will Smith (<i>The Pursuit of Happyness</i>)<br /><b>Thoughts</b>: Whitaker’s performance is a supporting one, but his win was an absolute lock. No complaint from me, but Gosling better win one someday.<br /><b>Fun Fact</b>: This is far from fun, but Peter O’Toole was nominated for Best Actor eight times, and is therefore the most nominated actor without a single Best Actor win.<br /><br /><div style="text-align: center;"><b><font size="4">2007 – Daniel Day-Lewis – There Will Be Blood</font></b></div><b>Nominees</b>: George Clooney (<i>Michael Clayton</i>), Johnny Depp (<i>Sweeney Todd: The Demon Barber of Fleet Street</i>), Tommy Lee Jones (<i>In the Valley of Elah</i>), Viggo Mortensen (<i>Eastern Promises</i>)<br /><b>Thoughts</b>: It’s so great when one of my favorite film performances of all time wins the highest prize. This performance was so good that Clooney himself admitted that no other Best Actor nominee was in the running for this.<br /><br /><div style="text-align: center;"><b><font size="4">2008 – Sean Penn – Milk</font></b></div><b>Nominees</b>: Richard Jenkins (<i>The Visitor</i>), Frank Langella (<i>Frost/Nixon</i>), Brad Pitt (<i>The Curious Case of Benjamin Button</i>), Mickey Rourke (<i>The Wrestler</i>)<br /><b>Thoughts</b>: That goodwill I mentioned about Ben Kingsley as Gandhi can be applied here as well. Voters brought the benevolence of the real Harvey Milk to their ballots, and I think that’s what pushed Penn over Mickey Rourke. I love Sean Penn, but this was Mickey Rourke’s Oscar.<br /><br /><div style="text-align: center;"><b><font size="4">2009 – Jeff Bridges – Crazy Heart</font></b></div><b>Nominees</b>: George Clooney (<i>Up in the Air</i>), Colin Firth (<i>A Single Man</i>), Morgan Freeman (<i>Invictus</i>), Jeremy Renner (<i>The Hurt Locker</i>)<br /><b>Thoughts</b>: The Dude abides, but this was a perfectly package career win performance. Bridges should have an Oscar, but Clooney, Firth, and Renner would’ve gotten my vote here.<br /><br /><div style="text-align: center;"><b><font size="4"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAnluPKLc1tH_jZtbMM_rvAfIkrRXrBhOYVgguph4qCFYtdqXstB_BdX3yWVWi4me_SECvH24ISy7M8sgRuixlS1Wft7T6IK93LCG9Y9jAbfHrJoCmMheSjCH5V-4lBquut-yfo4HgRC3o/s2201/Best+Actor18.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="673" data-original-width="2201" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAnluPKLc1tH_jZtbMM_rvAfIkrRXrBhOYVgguph4qCFYtdqXstB_BdX3yWVWi4me_SECvH24ISy7M8sgRuixlS1Wft7T6IK93LCG9Y9jAbfHrJoCmMheSjCH5V-4lBquut-yfo4HgRC3o/w640-h196/Best+Actor18.jpg" width="640" /></a></div>2010 – Colin Firth – The King’s Speech</font></b></div><b>Nominees</b>: Javier Bardem (<i>Biutiful</i>), Jeff Bridges (<i>True Grit</i>), Jesse Eisenberg (<i>The Social Network</i>), James Franco (<i>127 Hours</i>)<br /><b>Thoughts</b>: I never got on <i>The King’s Speech</i> train. I actually wish Firth won the year before and Bridges won here. But overall, my favorite performance on this list is Bardem’s.<br /><br /><div style="text-align: center;"><b><font size="4">2011 – Jean Dujardin – The Artist</font></b></div><b>Nominees</b>: Demián Bichir (<i>A Better Life</i>), George Clooney (<i>The Descendants</i>), Gary Oldman (<i>Tinker Tailor Soldier Spy</i>), Brad Pitt (<i>Moneyball</i>)<br /><b>Thoughts</b>: It’s Pitt all the way for me here. That damn movie, and Pitt’s work in it, hold up better than I could have anticipated. I liked <i>Moneyball</i> in 2011, but I fucking love that movie now.<br /><br /><div style="text-align: center;"><b><font size="4">2012 – Daniel Day-Lewis – Lincoln</font></b></div><b>Nominees</b>: Bradley Cooper (<i>Silver Linings Playbook</i>), Hugh Jackman (<i>Les Misérables</i>), Joaquin Phoenix (<i>The Master</i>), Denzel Washington (<i>Flight</i>)<br /><b>Thoughts</b>: And here it is, the master is officially crowned. With this win, Daniel Day-Lewis became the first man in Oscar history to win three Best Actor prizes. It had to happen eventually, and there’s no better way it could have. One of my favorite Oscar wins.<br /><b>Fun Fact</b>: I keep wondering when or if someone will tie DDL. There are four living actors with two Best Actor Oscars: Jack Nicholson (who’s now retired), Dustin Hoffman, Tom Hanks, and Sean Penn. Wonder if Hanks has one left in him?<br /><br /><div style="text-align: center;"><b><font size="4">2013 – Matthew McConaughey – Dallas Buyers Club</font></b></div><b>Nominees</b>: Christian Bale (<i>American Hustle</i>), Bruce Dern (<i>Nebraska</i>), Leonardo DiCaprio (<i>The Wolf of Wall Street</i>), Chiwetel Ejiofor (<i>12 Years a Slave</i>)<br /><b>Thoughts</b>: DiCaprio and Ejiofor split my vote here; I would’ve voted for Ejiofor at the time, but probably DiCaprio now.<br /><br /><div style="text-align: center;"><b><font size="4">2014 – Eddie Redmayne – The Theory of Everything</font></b></div><b>Nominees</b>: Steve Carell (<i>Foxcatcher</i>), Bradley Cooper (<i>American Sniper</i>), Benedict Cumberbatch (<i>The Imitation Game</i>), Michael Keaton (<i>Birdman</i>)<br /><b>Thoughts</b>: Nope. Nope, nope, nope. I did not understand this win then, I do not understand it now, and I will not understand it tomorrow. This was Michael Keaton’s Oscar. Period.<br /><br /><div style="text-align: center;"><b><font size="4"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXsY5EC0L8-9GhLRpqATF1f7qlalxTu9HKYCHBqzTqCaABKSi-D3wWgFs28EJ8PdOp1-OSqukyx2IMPYgwbZuvipw_fbL3s_qkY52uCUxlyaiO75Ysq5-y2Y0WK3dXJU49OOF3Mm8Z9WeU/s2201/Best+Actor19.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="673" data-original-width="2201" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXsY5EC0L8-9GhLRpqATF1f7qlalxTu9HKYCHBqzTqCaABKSi-D3wWgFs28EJ8PdOp1-OSqukyx2IMPYgwbZuvipw_fbL3s_qkY52uCUxlyaiO75Ysq5-y2Y0WK3dXJU49OOF3Mm8Z9WeU/w640-h196/Best+Actor19.jpg" width="640" /></a></div>2015 – Leonardo DiCaprio – The Revenant</font></b></div><b>Nominees</b>: Bryan Cranston (<i>Trumbo</i>), Matt Damon (<i>The Martian</i>), Michael Fassbender (<i>Steve Jobs</i>), Eddie Redmayne (<i>The Danish Girl</i>)<br /><b>Thoughts</b>: Damn near all of pop culture was supporting the fact that Leonardo DiCaprio needed an Oscar. And I do not see this performance as a career win at all. Yes, DiCaprio pushed himself to extremes that would naturally be challenging for anyone, but he absolutely deserved this.<br /><br /><div style="text-align: center;"><b><font size="4">2016 – Casey Affleck – Manchester by the Sea</font></b></div><b>Nominees</b>: Andrew Garfield (<i>Hacksaw Ridge</i>), Ryan Gosling (<i>La La Land</i>), Viggo Mortensen (<i>Captain Fantastic</i>), Denzel Washington (<i>Fences</i>)<br /><b>Thoughts</b>: As the Oscars got closer, this award became more neck-and-neck between Affleck and Washington. I’m glad Affleck one, because he captured emotional torment in a way few actors can.<br /><br /><div style="text-align: center;"><b><font size="4">2017 – Gary Oldman – Darkest Hour</font></b></div><b>Nominees</b>: Timothée Chalamet (<i>Call Me by Your Name</i>), Daniel Day-Lewis (<i>Phantom Thread</i>), Daniel Kaluuya (<i>Get Out</i>), Denzel Washington (<i>Roman J. Israel Esq.</i>)<br /><b>Thoughts</b>: I’m never going to complain about Gary Oldman having an Oscar, and the Acedmay never would have given DDL a fourth Oscar, but DDL’s work in Phantom Thread is one of my favorite screen performances. He so easily wins for me here.<br /><br /><div style="text-align: center;"><b><font size="4">2018 – Rami Malek – Bohemian Rhapsody</font></b></div><b>Nominees</b>: Christian Bale (<i>Vice</i>), Bradley Cooper (<i>A Star Is Born</i>), Willem Dafoe (<i>At Eternity’s Gate</i>), Viggo Mortensen (<i>Green Book</i>)<br /><b>Thoughts</b>: Ha.<br /><br /><div style="text-align: center;"><b><font size="4">2019 – Joaquin Phoenix – Joker</font></b></div><b>Nominees</b>: Antonio Banderas (<i>Pain and Glory</i>), Leonardo DiCaprio (<i>Once Upon a Time in Hollywood</i>), Adam Driver (<i>Marriage Story</i>), Jonathan Pryce (<i>The Two Popes</i>)<br /><b>Thoughts</b>: I’m so curious to see how this win ages. I can’t remember the last time such a controversial film was awarded so highly. And there was Phoenix, begrudgingly along for the ride. Wonder what the hell he did with his statue.<br /><br /></div><div><div style="text-align: center;"><u><span style="font-size: large;">More Oscar Breakdowns</span></u></div><div style="text-align: center;"><span style="font-size: large;"><a href="https://www.andsoitbeginsfilms.com/2020/04/oscars-breakdown-best-picture.html">Best Picture</a></span><br /><span style="font-size: large;"><a href="https://www.andsoitbeginsfilms.com/2020/04/oscars-breakdown-best-director.html">Best Director</a></span></div><div style="text-align: center;"><span style="font-size: large;"><a href="https://www.andsoitbeginsfilms.com/2020/06/oscars-breakdown-best-actress.html">Best Actress</a></span></div><div style="text-align: center;"><span style="font-size: large;"><a href="https://www.andsoitbeginsfilms.com/2020/07/oscars-breakdown-best-actor.html">Best Actor</a></span></div><div style="text-align: center;"><span style="font-size: large;">Best Supporting Actress (coming soon)</span></div><div style="text-align: center;"><span style="font-size: large;">Best Supporting Actor (coming soon)</span></div><div style="text-align: center;"><span style="font-size: large;">Best Original Screenplay (coming soon)</span></div><div style="text-align: center;"><span style="font-size: large;">Best Adapted Screenplay (coming soon)</span></div></div><div style="text-align: center;"><span style="font-size: large;"><br /></span></div></div><span><!--more--></span><span><!--more--></span></div></div></div>Alex Withrowhttp://www.blogger.com/profile/15887018476048271594noreply@blogger.com15tag:blogger.com,1999:blog-4784665635104956142.post-55930426436964529592020-06-02T15:41:00.004-04:002020-08-28T11:17:20.805-04:00Oscars Breakdown: Best Actress<div class="separator" style="clear: both; text-align: center;">
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I’ve been taking a little blogging break because, hell, I don’t know, it seems weird to write about movies when so many American streets look like fucking war zones. I’ve found a little comfort among the chaos by diving into old Oscar flicks. Please feel free to share your thoughts, and please be safe out there, wherever “there” is.<br />
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<b><b><span style="font-size: large;">1927/1928 – Janet Gaynor – 7th Heaven; Street Angel; Sunrise</span></b></b></div>
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<b>Nominees</b>: Louise Dresser (<i>A Ship Comes In</i>), Gloria Swanson (<i>Sadie Thompson</i>)<br />
<b>Thoughts</b>: It makes perfect sense that silent-era screen goddess, Janet Gaynor, would take the first Oscar for Best Actress. She won the award for her work in three films, <i>Sunrise</i> being the best among them.<br />
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<span style="font-size: large;"><b>1928/1929 – Mary Pickford – Coquette</b></span></div>
<b>Nominees</b>: Ruth Chatterton (<i>Madame X</i>), Betty Compson (<i>The Barker</i>), Jeanne Eagels (<i>The Letter</i>), Corinne Griffith (<i>The Divine Lady</i>), Bessie Love (<i>The Broadway Melody</i>)<br />
<b>Fun Fact</b>: Jeanne Eagels was the first actress nominated for an Oscar posthumously.<br />
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<span style="font-size: large;"><b>1929/1930 – Norma Shearer – The Divorcee</b></span></div>
<b>Nominees</b>: Nancy Carroll (<i>The Devil’s Holiday</i>), Ruth Chatterton (<i>Sarah and Son</i>), Greta Garbo (<i>Anna Christie</i>), Norma Shearer (<i>Their Own Desir</i>e), Gloria Swanson (<i>The Trespasser</i>)<br />
<b>Thoughts</b>: <i>The Divorcee</i> is the kind of risqué pre-Code movie that would have never been made a few years later. Shearer is great in it, but it’s a shame to see Swanson lost twice so early.<br />
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<b><span style="font-size: large;">1930/1931 – Marie Dressler – Min and Bill</span></b></div>
<b>Nominees</b>: Marlene Dietrich (<i>Morocco</i>), Irene Dunne (<i>Cimarron</i>), Ann Harding (<i>Holiday</i>), Norma Shearer (<i>A Free Soul</i>)<br />
<b>Thoughts</b>: I love <i>Min and Bill</i>, and Dressler absolutely deserved to win here.<br />
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<b><span style="font-size: large;">1931/1932 – Helen Hayes – The Sin of Madelon Claudet</span></b></div>
<b>Nominees</b>: Marie Dressler (<i>Emma</i>), Lynn Fontanne (<i>The Guardsman</i>)<br />
<b>Thoughts</b>: <i>The Sin of Madelon Claudet</i> is another daring pre-Code film; and though not as compelling as other movies of its kind, Hayes is great here. And I love when actors win an Oscar when they’re young, then come back decades later and win another (as Hayes did in 1970 for Best Supporting Actress in <i>Airport</i>).<br />
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<b><span style="font-size: large;">1932/1933 – Katharine Hepburn – Morning Glory</span></b></div>
<b>Nominees</b>: May Robson (<i>Lady for a Day</i>), Diana Wynyard (<i>Cavalcade</i>)<br />
<b>Thoughts</b>: Hepburn won her first of four Oscars playing an ambitious actress who talks a mile a minute in order to establish and maintain her career. It was the beginning of a true acting legacy.<br />
<b>Fun Fact</b>: <i>Morning Glory</i> was shot in sequence (incredibly rare for a feature film), and Hepburn earned $2,500 per week for working on the film.<br />
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<b><span style="font-size: large;">1934 – Claudette Colbert – It Happened One Night</span></b></div>
<b>Nominees</b>: Grace Moore (<i>One Night of Love</i>), Norma Shearer (<i>The Barretts of Wimpole Street</i>), Bette Davis (<i>Of Human Bondage</i>; write-in)<br />
<b>Thoughts</b>: Colbert deserved to win here, making <i>It Happened One Night</i> the first movie to nab the Big Five Oscars (Picture, Director, Actor, Actress, Screenplay).<br />
<b>Fun Fact</b>: This was one of two years in which write-in nominees were allowed on ballots, a response to Bette Davis’ egregious snub for <i>Of Human Bondage</i>.<br />
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<b><span style="font-size: large;">1935 – Bette Davis – Dangerous</span></b></div>
<b>Nominees</b>: Elisabeth Bergner (<i>Escape Me Never</i>), Claudette Colbert (<i>Private Worlds</i>), Katharine Hepburn (<i>Alice Adams</i>), Miriam Hopkins (<i>Becky Sharp</i>), Merle Oberon (<i>The Dark Angel</i>)<br />
<b>Thoughts</b>: Many thought Davis should have one the year before, but it’s fair that she won here regardless.<br />
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<b><span style="font-size: large;">1936 – Luise Rainer – The Great Ziegfeld</span></b></div>
<b>Nominees</b>: Irene Dunne (<i>Theodora Goes Wild</i>), Gladys George (<i>Valiant Is the Word for Carrie</i>), Carole Lombard (<i>My Man Godfrey</i>), Norma Shearer (<i>Romeo and Juliet</i>)<br />
<b>Thoughts</b>: Relatively weak year; I’d say that Shearer’s work has held up the best overall.<br />
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<b><span style="font-size: large;">1937 – Luise Rainer – The Good Earth</span></b></div>
<b>Nominees</b>: Irene Dunne (<i>The Awful Truth</i>), Greta Garbo (<i>Camille</i>), Janet Gaynor (<i>A Star Is Born</i>), Barbara Stanwyck (<i>Stella Dallas</i>)<br />
<b>Thoughts</b>: Well, there’s no real way to avoid this. Throughout Oscar history, the Academy has occasionally given awards to white performers playing non-white roles. Here we have the white, German-born Luise Rainer winning an Oscar for playing a Chinese slave. I’m not here to re-write history; obviously times were very different then. But needless to say, this win hasn’t aged well.<br />
<b>Fun Fact</b>: Rainer became the first performer to win two acting Oscars, and the first performer to win two Oscars in a row.<br />
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<b><span style="font-size: large;">1938 – Bette Davis – Jezebel</span></b></div>
<b>Nominees</b>: Fay Bainter (<i>White Banners</i>), Wendy Hiller (<i>Pygmalion</i>), Norma Shearer (<i>Marie Antoinette</i>), Margaret Sullavan (<i>Three Comrades</i>)<br />
<b>Thoughts</b>: Great that Davis won twice so quickly; I love her stellar work in William Wyler’s <i>Jezebel</i>.<br />
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<b><span style="font-size: large;">1939 – Vivien Leigh – Gone With the Wind</span></b></div>
<b>Nominees</b>: Bette Davis (<i>Dark Victory</i>), Irene Dunne (<i>Love Affair</i>), Greta Garbo (<i>Ninotchka</i>), Greer Garson (<i>Goodbye, Mr. Chips</i>)<br />
<b>Thoughts</b>: No brainer here, as Leigh’s work as Scarlett O’Hara is one of the most iconic performances in film history.<br />
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<b><span style="font-size: large;">1940 – Ginger Rogers – Kitty Foyle</span></b></div>
<b>Nominees</b>: Bette Davis (<i>The Letter</i>), Joan Fontaine (<i>Rebecca</i>), Katharine Hepburn (<i>The Philadelphia Story</i>), Martha Scott (<i>Our Town as Emily Webb</i>)<br />
<b>Thoughts</b>: Ginger Rogers is perfectly fine in <i>Kitty Foyle</i> (a performance Rachel Brosnahan is clearly getting <i>a lot</i> of inspiration from for her part in <i>The Marvelous Mrs. Maisel</i>), but this award should have gone to Joan Fontaine.<br />
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<b><span style="font-size: large;">1941 – Joan Fontaine – Suspicion</span></b></div>
<b>Nominees</b>: Bette Davis (<i>The Little Foxes</i>), Olivia de Havilland (<i>Hold Back the Dawn</i>), Greer Garson (<i>Blossoms in the Dust</i>), Barbara Stanwyck (<i>Ball of Fire</i>)<br />
<b>Thoughts</b>: It’s the battle of the sisters! Biological siblings, Joan Fontaine and Olivia de Havilland, faced off here, with Fontaine winning, in part because she lost the year before.<br />
<b>Fun Fact</b>: Fontaine’s win marked the only time a performer won an Oscar for acting in an Alfred Hitchcock movie. That’s wild.<br />
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<b><span style="font-size: large;">1942 – Greer Garson – Mrs. Miniver</span></b></div>
<b>Nominees</b>: Bette Davis (<i>Now, Voyager</i>), Katharine Hepburn (<i>Woman of the Year</i>), Rosalind Russell (<i>My Sister Eileen</i>), Teresa Wright (<i>The Pride of the Yankees</i>)<br />
<b>Fun Fact</b>: Garson’s acceptance speech for <i>Mrs. Miniver</i> is the longest recorded acceptance speech in Oscar history, lasting somewhere between 5 and a half to seven minutes.<br />
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<b><span style="font-size: large;">1943 – Jennifer Jones – The Song of Bernadette</span></b></div>
<b>Nominees</b>: Jean Arthur (<i>The More the Merrier</i>), Ingrid Bergman (<i>For Whom the Bell Tolls</i>), Joan Fontaine (<i>The Constant Nymph</i>), Greer Garson (<i>Madame Curie</i>)<br />
<b>Thoughts</b>: I’m a fan of Jennifer Jones’ work, but <i>The Song of Bernadette</i> is such a slog. I would have given this to Jean Arthur.<br />
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<b><span style="font-size: large;">1944 – Ingrid Bergman – Gaslight</span></b></div>
<b>Nominees</b>: Claudette Colbert (<i>Since Your Went Away</i>), Bette Davis (<i>Mr. Skeffington</i>), Greer Garson (<i>Mrs. Parkington</i>), Barbara Stanwyck (<i>Double Indemnity</i>)<br />
<b>Thoughts</b>: This is a tough call. Ingrid Bergman is good in <i>Gaslight</i>, but wouldn’t it be great for Barbara Stanwyck to have an Oscar?<br />
<b>Fun Fact</b>: The movie title “Gaslight,” is the genesis of the word “gaslighting” that is commonly used today.<br />
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<b><span style="font-size: large;">1945 – Joan Crawford – Mildred Pierce</span></b></div>
<b>Nominees</b>: Ingrid Bergman (<i>The Bells of St. Mary’s</i>), Greer Garson (<i>The Valley of Decision</i>), Jennifer Jones (<i>Love Letters</i>), Gene Tierney (<i>Leave Her to Heaven</i>)<br />
<b>Thoughts</b>: I love that Joan Crawford won her first (but sadly, only) Oscar for her excellent work in <i>Mildred Pierce</i>. If you’re a fan of the Todd Haynes/Kate Winslet remake, check out the original as well.<br />
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<b><span style="font-size: large;">1946 – Olivia de Havilland – To Each His Own</span></b></div>
<b>Nominees</b>: Celia Johnson (<i>Brief Encounter</i>), Jennifer Jones (<i>Duel in the Sun</i>), Rosalind Russell (<i>Sister Kenny</i>), Jane Wyman (<i>The Yearling</i>)<br />
<b>Fun Fact</b>: With this win, Olivia de Havilland and Joan Fontaine became the only sisters to have won Best Actress Oscars.<br />
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<b><span style="font-size: large;">1947 – Loretta Young – The Farmer’s Daughter</span></b></div>
<b>Nominees</b>: Joan Crawford (<i>Possessed</i>), Susan Hayward (<i>Smash-Up, the Story of a Woman</i>), Dorothy McGuire (<i>Gentleman’s Agreement</i>), Rosalind Russell (<i>Mourning Becomes Electra</i>)<br />
<b>Thoughts</b>: <i>The Farmer’s Daughter </i>was a wholesome find among the Best Actress winners. Great message, superb ending.<br />
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<b><span style="font-size: large;">1948 – Jane Wyman – Johnny Belinda</span></b></div>
<b>Nominees</b>: Ingrid Bergman (<i>Joan of Arc</i>), Olivia de Havilland (<i>The Snake Pit</i>), Irene Dunne (<i>I Remember Mama</i>), Barbara Stanwyck (<i>Sorry, Wrong Number</i>)<br />
<b>Thoughts</b>: I had never heard of <i>Johnny Belinda</i> before researching this post, and I can honestly say that Jane Wyman’s work in it represents one of my favorite Best Actress wins. Wyman does not utter a single word in the film, and her performance will floor you.<br />
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<b><span style="font-size: large;">1949 – Olivia de Havilland – The Heiress</span></b></div>
<b>Nominees</b>: Jeanne Crain (<i>Pinky</i>), Susan Hayward (<i>My Foolish Heart</i>), Deborah Kerr (<i>Edward, My Son</i>), Loretta Young (<i>Come to the Stable</i>)<br />
<b>Thoughts</b>: No problem at all with de Havilland’s second win. <i>The Heiress</i> is a movie designed to showcase her talents; she more than holds her own against Monty Clift here, after all.<br />
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<b><span style="font-size: large;">1950 – Judy Holliday – Born Yesterday</span></b></div>
<b>Nominees</b>: Anne Baxter (<i>All About Eve</i>), Bette Davis (<i>All About Eve</i>), Eleanor Parker (<i>Caged</i>), Gloria Swanson (<i>Sunset Boulevard</i>)<br />
<b>Thoughts</b>: I do not intend to disparage Judy Holliday, but this is a truly baffling win. Holliday is fine in <i>Born Yesterday</i>, but nowhere near as good as Baxter, Davis, or Swanson. Perhaps Baxter and Davis canceled each other out, and Holliday barely got more votes than Swanson? Tough to say, but this is a really odd win.<br />
<b>Fun Fact</b>: Holliday was the first of four performers to win an Oscar for playing a role they originally played on stage. The others: Shirley Booth (<i>Come Back, Little Sheba</i>) Anne Bancroft (<i>The Miracle Worker</i>), and Barbra Streisand (<i>Funny Girl</i>).<br />
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<b><span style="font-size: large;">1951 – Vivien Leigh – A Streetcar Named Desire</span></b></div>
<b>Nominees</b>: Katharine Hepburn (<i>The African Queen</i>), Eleanor Parker (<i>Detective Story</i>), Shelley Winters (<i>A Place in the Sun</i>), Jane Wyman (<i>The Blue Veil</i>)<br />
<b>Thoughts</b>: To say I am obsessed with <i>A Place in the Sun</i> is an understatement, but nothing could have or should have topped Leigh here.<br />
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<b><span style="font-size: large;">1952 – Shirley Booth – Come Back, Little Sheba</span></b></div>
<b>Nominees</b>: Joan Crawford (<i>Sudden Fear</i>), Bette Davis (<i>The Star</i>), Julie Harris (<i>The Member of the Wedding</i>), Susan Hayward (<i>With a Song in My Heart</i>)<br />
<b>Thoughts</b>: Shirley Booth is so damn heartbreaking in <i>Come Back, Little Sheba</i>. What a fantastic and subdued performance.<br />
<b>Fun Fact</b>: Booth was the first Best Actress winner to win for her debut performance.<br />
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<b><span style="font-size: large;">1953 – Aurdrey Hepburn – Roman Holiday</span></b></div>
<b>Nominees</b>: Leslie Caron (<i>Lili</i>), Ava Gardner (<i>Mogambo</i>), Deborah Kerr (<i>From Here to Eternity</i>), Maggie McNamara (<i>The Moon Is Blue</i>)<br />
<b>Thoughts</b>: <i>Roman Holiday</i> is the kind of movie that you don’t expect to hit as hard as it does, but this thing really packs a punch, thanks much in part to the way Hepburn plays her final moments in the film.<br />
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<b><span style="font-size: large;">1954 – Grace Kelly – The Country Girl</span></b></div>
<b>Nominees</b>: Dorothy Dandridge (<i>Carmen Jones</i>), Judy Garland (<i>A Star Is Born</i>), Audrey Hepburn (<i>Sabrina</i>), Jane Wyman (<i>Magnificent Obsession</i>)<br />
<b>Thoughts</b>: The fact that Grace Kelly beat Judy Garland here is widely considered the biggest upset in Best Actress Oscar history. Grace Kelly was a fine performer, but she does nothing exceptional in <i>The Country Girl</i>. In fact, she’s not even in it that much. (That movie belongs to Bing Crosby, who plays a hopeless alcoholic in the film. And, moreover, Kelly was better in two other 1954 films: <i>Rear Window</i> and <i>Dial M for Murder</i>.) This should have been Garland’s all the way.<br />
<b>Fun Fact</b>: Dorothy Dandridge became the first black woman nominated for Best Actress.<br />
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<b><span style="font-size: large;">1955 – Anna Magnani – The Rose Tattoo</span></b></div>
<b>Nominees</b>: Susan Hayward (<i>I’ll Cry Tomorrow</i>), Katharine Hepburn (<i>Summertime</i>), Jennifer Jones (<i>Love is a Many-Splendored Thing</i>), Eleanor Parker (<i>Interrupted Melody</i>)<br />
<b>Thoughts</b>: Tennessee Williams wrote <i>The Rose Tattoo</i> specifically for Anna Magnani, and she seized her moment with a grueling performance. Damn well earned.<br />
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<b><span style="font-size: large;">1956 – Ingrid Bergman – Anastasia</span></b></div>
<b>Nominees</b>: Carroll Baker (<i>Baby Doll</i>), Katharine Hepburn (<i>The Rainmaker</i>), Nancy Kelly (<i>The Bad Seed</i>), Deborah Kerr (<i>The King and I</i>)<br />
<b>Thoughts</b>: Carroll Baker, <i>Baby Doll</i>. No question. <i>Anastasia</i> isn’t even Bergman’s sixth best performance.<br />
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<b><span style="font-size: large;">1957 – Joanne Woodward – The Three Faces of Eve</span></b></div>
<b>Nominees</b>: Deborah Kerr (<i>Heaven Knows, Mr. Allison</i>), Anna Magnani (<i>Wild is the Wind</i>), Elizabeth Taylor (<i>Raintree Country</i>), Lana Turner (<i>Peyton Place</i>)<br />
<b>Thoughts</b>: Joanne Woodward is all-in for <i>The Three Faces of Eve</i>. I’m so happy she won her only Oscar for this performance.<br />
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<b><span style="font-size: large;">1958 – Susan Hayward – I Want to Live!</span></b></div>
<b>Nominees</b>: Deborah Kerr (<i>Separate Tables</i>), Shirley MacLaine (<i>Some Came Running</i>), Rosalind Russell (<i>Auntie Mame</i>), Elizabeth Taylor (<i>Cat on a Hot Tin Roof</i>)<br />
<b>Thoughts</b>: Huge upset, as Taylor was an assumed lock here. And yet, it’s so refreshing that Hayward won for her strong work in the real-life prison drama, <i>I Want to Live!</i><br />
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<b><span style="font-size: large;">1959 – Simone Signoret – Room at the Top</span></b></div>
<b>Nominees</b>: Doris Day (<i>Pillow Talk</i>), Audrey Hepburn (<i>The Nun’s Story</i>), Katharine Hepburn (<i>Suddenly, Last Summer</i>), Elizabeth Taylor (<i>Suddenly, Last Summer</i>)<br />
<b>Thoughts</b>: Big surprise for me. Hepburn and Taylor are both marvelously unhinged in <i>Suddenly, Last Summer</i>, and I couldn’t believe someone beat them here. Then I watched <i>Room at the Top</i>, and realized Signoret absolutely deserved to win this for her wonderfully melancholic performance.<br />
<b>Fun Fact</b>: Signoret became the first French performer to win Best Actress.<br />
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<b><span style="font-size: large;">1960 – Elizabeth Taylor – Butterfield 8</span></b></div>
<b>Nominees</b>: Greer Garson (<i>Sunrise at Campobello</i>), Deborah Kerr (<i>The Sundowners</i>), Shirley MacLaine (<i>The Apartment</i>), Melina Mercouri (<i>Never on Sunday</i>)<br />
<b>Thoughts</b>: After four Best Actress nominations in a row, it seems it was impossible for the Oscars to deny Taylor any longer. If Taylor won in 1958, MacLaine would’ve won here, but so it goes.<br />
<b>Fun Fact</b>: This marked Deborah Kerr’s sixth Oscar nomination, making her the actress with the most nominations without any wins. Tough break. (If I had to pick a year for Kerr to win, I’d give it to her for <i>Separate Tables</i> in 1958.)<br />
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<b><span style="font-size: large;">1961 – Sophia Loren – Two Women</span></b></div>
<b>Nominees</b>: Audrey Hepburn (<i>Breakfast at Tiffany’s</i>), Piper Laurie (<i>The Hustler</i>), Geraldine Page (<i>Summer and Smoke</i>), Natalie Wood (<i>Splendor in the Grass</i>)<br />
<b>Thoughts</b>: This is one of the performances that has been showered with praise over the years, and when you watch the movie, you will certainly know why. What a final 20 minutes of film, good God.<br />
<b>Fun Facts</b>: Loren’s win marked the first Best Actress win for a non-English language performance.<br />
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<b><span style="font-size: large;">1962 – Anne Bancroft – The Miracle Worker</span></b></div>
<b>Nominees</b>: Bette Davis (<i>What Ever Happened to Baby Jane?</i>), Katharine Hepburn (<i>Long Day’s Journey into Night</i>), Geraldine Page (<i>Sweet Bird of Youth</i>), Lee Remick (<i>Days of Wine and Roses</i>)<br />
<b>Thoughts</b>: Anne Bancroft, I love you, but my vote is for Davis, followed closely by Lee Remick.<br />
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<b><span style="font-size: large;">1963 – Patricia Neal – Hud</span></b></div>
<b>Nominees</b>: Leslie Caron (<i>The L-Shaped Room</i>), Shirley MacLaine (<i>Irma la Douce</i>), Rachel Roberts (<i>This Sporting Life</i>), Natalie Wood (<i>Love with the Proper Stranger</i>)<br />
<b>Thoughts</b>: Interesting win, because the truth is, Patricia Neal is not in <i>Hud</i> much, yet she is perfect in every moment she has in the film. I’m okay with her win here, even if it is more of a supporting performance.<br />
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<b><span style="font-size: large;">1964 – Julie Andrews – Marry Poppins</span></b></div>
<b>Nominees</b>: Anne Bancroft (<i>The Pumpkin Eater</i>), Sophia Loren (<i>Marriage Italian Style</i>), Debbie Reynolds (<i>The Unsinkable Molly Brown</i>), Kim Stanley (<i>Séance on a Wet Afternoon</i>)<br />
<b>Thoughts</b>: Relatively weak year for me. Kind of difficult to imagine anyone other than Andrews winning this.<br />
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<b><span style="font-size: large;">1965 – Julie Christie - Darling</span></b></div>
<b>Nominees</b>: Julie Andrews (<i>The Sound of Music</i>), Samantha Eggar (<i>The Collector</i>), Elizabeth Hartman (<i>A Patch of Blue</i>), Simone Signoret (<i>Ship of Fools</i>)<br />
<b>Thoughts</b>: No shade for Christie, but I’m team Elizabeth Hartman here, who gives an endearing performance as a blind girl in <i>A Patch of Blue</i>.<br />
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<b><span style="font-size: large;">1966 – Elizabeth Taylor – Who’s Afraid of Virginia Woolf?</span></b></div>
<b>Nominees</b>: Anouk Aimée (<i>A Man and a Woman</i>), Ida Kamińska (<i>The Shop on Main Street</i>), Lynn Redgrave (<i>Georgy Girl</i>), Vanessa Redgrave (<i>Morgan!</i>)<br />
<b>Thoughts</b>: Please don’t sleep on <i>A Man and a Woman</i>, which is one of the best relationship movies I’ve ever seen, but, yes, duh, Taylor is a queen here.<br />
<b>Fun Fact</b>: Lynn and Vanessa Redgrave’s nominations were the second and last time sisters have been nominated for Best Actress in the same year.<br />
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<b><span style="font-size: large;">1967 – Katharine Hepburn – Guess Who’s Coming to Dinner</span></b></div>
<b>Nominees</b>: Anne Bancroft (<i>The Graduate</i>), Faye Dunaway (<i>Bonnie and Clyde</i>), Edith Evans (<i>The Whisperers</i>), Audrey Hepburn (<i>Wait Until Dark</i>)<br />
<b>Thoughts</b>: I can’t be mad at a Katharine Hepburn win, but I would’ve given his to Bancroft, Dunaway, or Hepburn first.<br />
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<span style="font-size: large;"><b>1968 – Katharine Hepburn – The Lion in Winter & </b></span></div>
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<span style="font-size: large;"><b>Barbra Streisand – Funny Girl</b></span></div>
<b>Nominees</b>: Patricia Neal (<i>The Subject Was Roses</i>), Vanessa Redgrave (<i>Isadora</i>), Joanne Woodward (<i>Rachel, Rachel</i>)<br />
<b>Thoughts</b>: It’s so cool and weird that a major Oscar category ended in a tie. But my hot take here is that Neal deserved to win over everyone else.<br />
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<b><span style="font-size: large;">1969 – Maggie Smith – The Prime of Miss Jean Brodie</span></b></div>
<b>Nominees</b>: Geneviève Bujold (<i>Anne of a Thousand Days</i>), Jane Fonda (<i>They Shoot Horses, Don’t They?</i>), Liza Minnelli (<i>The Sterile Cuckoo</i>), Jean Simmons (<i>The Happy Ending</i>)<br />
<b>Thoughts</b>: Smith is fine here, it’s an easy film. Jane Fonda would have absolutely received my vote, for what is the most exhausting performance of her career.<br />
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<b><span style="font-size: large;">1970 – Glenda Jackson – Women in Love</span></b></div>
<b>Nominees</b>: Jane Alexander (<i>The Great White Hope</i>), Ali MacGraw (<i>Love Story</i>), Sarah Miles (<i>Ryan’s Daughter</i>), Carrie Snodgress (<i>Diary of a Mad Housewife</i>)<br />
<b>Thoughts</b>: Not the strongest line-up; Alexander would’ve gotten my vote.<br />
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<b><span style="font-size: large;">1971 – Jane Fonda – Klute</span></b></div>
<b>Nominees</b>: Julie Christie (<i>McCabe & Mrs. Miller</i>), Glenda Jackson (<i>Sunday Bloody Sunday</i>), Vanessa Redgrave (<i>Mary, Queen of Scots</i>), Janet Suzman (<i>Nicholas and Alexandra</i>)<br />
<b>Thoughts</b>: Love <i>Klute</i>, love Fonda in it. A well-deserved win, and a daring one for the Academy.<br />
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<b><span style="font-size: large;">1972 – Liza Minnelli – Cabaret</span></b></div>
<b>Nominees</b>: Diana Ross (<i>Lady Sings the Blues</i>), Maggie Smith (<i>Travels with My Aunt</i>), Cicely Tyson (<i>Sounder</i>), Liv Ullmann (<i>The Emigrants</i>)<br />
<b>Thoughts</b>: Minnelli is iconic in <i>Cabaret</i>, and it’s hard picturing anyone else coming close to winning this.<br />
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<b><span style="font-size: large;">1973 – Glenda Jackson – A Touch of Class</span></b></div>
<b>Nominees</b>: Ellen Burstyn (<i>The Exorcist</i>), Marsha Mason (<i>Cinderella Liberty</i>), Barbra Streisand (<i>The Way We Were</i>), Joanne Woodward (<i>Summer Wishes, Winter Dreams</i>)<br />
<b>Thoughts</b>: I like Glenda Jackson, but I don’t think her two Oscar wins represent her strongest work. Baffling that Burstyn didn’t win here.<br />
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<b><span style="font-size: large;">1974 – Ellen Burstyn – Alice Doesn’t Live Here Anymore</span></b></div>
<b>Nominees</b>: Diahann Carroll (<i>Claudine</i>), Faye Dunaway (<i>Chinatown</i>), Valarie Perrine (<i>Lenny</i>), Gena Rowlands (<i>A Woman Under the Influence</i>)<br />
<b>Thoughts</b>: This feels like an obvious make-up for the year before. Ellen Burstyn should have won for <i>The Exorcist</i>, thereby giving this award to Rowlands or Dunaway.<br />
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<b><span style="font-size: large;">1975 – Louise Fletcher – One Flew Over the Cuckoo’s Nest</span></b></div>
<b>Nominees</b>: Isabelle Adjani (<i>The Story of Adele H.</i>), Ann-Margret (<i>Tommy</i>), Glenda Jackson (<i>Hedda</i>), Carol Kane (<i>Hester Street</i>)<br />
<b>Thoughts</b>: No issue whatsoever. What truly terrifying and controlled work from Fletcher.<br />
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<b><span style="font-size: large;">1976 – Faye Dunaway – Network</span></b></div>
<b>Nominees</b>: Marie-Christine Barrault (<i>Cousin Cousine</i>), Talia Shire (<i>Rocky</i>), Sissy Spacek (<i>Carrie</i>), Liv Ullmann (<i>Face to Face</i>)<br />
<b>Thoughts</b>: It’s hard for me to vote against an Ingmar Bergman performance, so while my heart belongs to Liv Ullmann, I adore Dunaway’s quietly vicious work in <i>Network</i>.<br />
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<b><span style="font-size: large;">1977 – Diane Keaton – Annie Hall</span></b></div>
<b>Nominees</b>: Anne Bancroft (<i>The Turning Point</i>), Jane Fonda (<i>Julia</i>), Shirley MacLaine (<i>The Turning Point</i>), Marsha Mason (<i>The Goodbye Girl</i>)<br />
<b>Thoughts</b>: I know people who still refer to Diane Keaton as Annie Hall. Like, they actually think that is Diane Keaton’s real name. Fair win.<br />
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<b><span style="font-size: large;">1978 – Jane Fonda – Coming Home</span></b></div>
<b>Nominees</b>: Ingrid Bergman (<i>Autumn Sonata</i>), Ellen Burstyn (<i>Same Time, Next Year</i>), Jill Clayburgh (<i>An Unmarried Woman</i>), Geraldine Page (<i>Interiors</i>)<br />
<b>Thoughts</b>: Jane, how I love you so, but this award should have been Ingrid Bergman’s, for delivering one of the most heartbreaking performances I’ve ever seen.<br />
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<b><span style="font-size: large;">1979 – Sally Field – Norma Rae</span></b></div>
<b>Nominees</b>: Jill Clayburgh (<i>Starting Over</i>), Jane Fonda (<i>The China Syndrome</i>), Marsha Mason (<i>Chapter Two</i>), Bette Midler (<i>The Rose</i>)<br />
<b>Thoughts</b>: Great win for Field, who may have been beat if Meryl Streep was placed in this category for <i>Kramer vs. Kramer</i> (she won Supporting Actress).<br />
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<b><span style="font-size: large;">1980 – Sissy Spacek – Coal Miner’s Daughter</span></b></div>
<b>Nominees</b>: Ellen Burstyn (<i>Resurrection</i>), Goldie Hawn (<i>Private Benjamin</i>), Mary Tyler Moore (<i>Ordinary People</i>), Gena Rowlands (<i>Gloria</i>)<br />
<b>Thoughts</b>: Okay, so when I say things like, “This was a make-up for a previous loss…” that isn’t meant to take away from the movie the actor <i>did</i> win for. But some thought Spacek should’ve won for <i>Carrie</i>, and since she didn’t, they made up for it this year. And while it’s great that Spacek has an Oscar, that type of voting style is problematic, because it knocks out truly astounding performances like Mary Tyler Moore’s in <i>Ordinary People</i>.<br />
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<b><span style="font-size: large;">1981 – Katharine Hepburn – On Golden Pond</span></b></div>
<b>Nominees</b>: Diane Keaton (<i>Reds</i>), Marsha Mason (<i>Only When I Laugh</i>), Susan Sarandon (<i>Atlantic City</i>), Meryl Streep (<i>The French Lieutenant’s Woman</i>)<br />
<b>Fun Facts</b>: (1) With this win, Hepburn became the most awarded actor in Oscar history, with four Best Actress statues. (2) Streep is the only actress to be nominated for playing two roles, here as Sara Woodruff and Anna in <i>The French Lieutenant’s Woman</i>.<br />
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<b><span style="font-size: large;">1982 – Meryl Streep – Sophie’s Choice</span></b></div>
<b>Nominees</b>: Julie Andrews (<i>Victor/Victoria</i>), Jessica Lange (<i>Frances</i>), Sissy Spacek (<i>Missing</i>), Debra Winger (<i>An Officer and a Gentleman</i>)<br />
<b>Thoughts</b>: Meryl Streep can’t not win for <i>Sophie’s Choice</i>. It’s the Oscar performance of Oscar performances.<br />
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<b><span style="font-size: large;">1983 – Shirley MacLaine – Terms of Endearment</span></b></div>
<b>Nominees</b>: Jane Alexander (<i>Testament</i>), Meryl Streep (<i>Silkwood</i>), Julie Waters (<i>Educating Rita</i>), Debra Winger (<i>Terms of Endearment</i>)<br />
<b>Thoughts</b>: This was MacLaine vs. Winger all the way. The two famously battled during the making of <i>Terms of Endearment</i>, and it seemed like that animosity remained through this evening. I’m good with MacLaine winning, but this could have gone either way.<br />
<b>Fun Fact</b>: Only five times in Oscar history have two actresses been nominated for the same film: 1950, 1959, 1977, 1983, and 1991. Shirley MacLaine’s win was the only time any of these nominees won.<br />
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<b><span style="font-size: large;">1984 – Sally Field – Places in the Heart</span></b></div>
<b>Nominees</b>: Judy Davis (<i>A Passage to India</i>), Jessica Lange (<i>Country</i>), Vanessa Redgrave (<i>The Bostonians</i>), Sissy Spacek (<i>The River</i>)<br />
<b>Thoughts</b>: <i>Places in the Heart </i>is the kind of low-key forgotten movie that really deserves a second chance. It could very well contain Field’s best role.<br />
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<b><span style="font-size: large;">1985 – Geraldine Page – The Trip to Bountiful</span></b></div>
<b>Nominees</b>: Anne Bancroft (<i>Anges of God</i>), Whoopi Goldberg (<i>The Color Purple</i>), Jessica Lange (<i>Sweet Dreams</i>), Meryl Streep (<i>Out of Africa</i>)<br />
<b>Thoughts</b>: If only Lange had done her own singing in <i>Sweet Dreams</i>, this likely could have been hers. However, Page is great in <i>The Trip to Bountiful</i>, a movie I enjoyed far more than I thought I would.<br />
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<b><span style="font-size: large;">1986 – Marlee Matlin – Children of a Lesser God</span></b></div>
<b>Nominees</b>: Jane Fonda (<i>The Morning After</i>), Sissy Spacek (<i>Crimes of the Heart</i>), Kathleen Turner (<i>Peggy Sue Got Married)</i>, Sigourney Weaver (<i>Aliens</i>)<br />
<b>Fun Facts</b>: (1) At age 21, Marlee Matlin became the youngest actress to win this award. (2) Matlin was the first deaf performer to win an Oscar.<br />
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<b><span style="font-size: large;">1987 – Cher – Moonstruck</span></b></div>
<b>Nominees</b>: Glenn Close (<i>Fatal Attraction</i>), Holly Hunter (<i>Broadcast News</i>), Sally Kirkland (<i>Anna</i>), Meryl Streep (<i>Ironweed</i>)<br />
<b>Thoughts</b>: I know Cher had a huge cultural moment at this time, but there is no argument I can hear that would justify taking this away from Glenn Close. And Hunter is second.<br />
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<b><span style="font-size: large;">1988 – Jodie Foster – The Accused</span></b></div>
<b>Nominees</b>: Glenn Close (<i>Dangerous Liaisons</i>), Melanie Griffith (<i>Working Girl</i>), Meryl Streep (<i>A Cry in the Dark</i>), Sigourney Weaver (<i>Gorillas in the Mist</i>)<br />
<b>Thoughts</b>: This is a really strong group of nominees, but holy hell, Foster’s win was more than well earned.<br />
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<b><span style="font-size: large;">1989 – Jessica Tandy – Driving Miss Daisy</span></b></div>
<b>Nominees</b>: Isabelle Adjani (<i>Camille Claudel</i>), Pauline Collins (<i>Shirley Valentine</i>), Jessica Lange (<i>Music Box</i>), Michelle Pfeiffer (<i>The Fabulous Baker Boys</i>)<br />
<b>Fun Fact</b>: At age 80, Jessica Tandy became the oldest winner in this category.<br />
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<b><span style="font-size: large;">1990 – Kathy Bates – Misery</span></b></div>
<b>Nominees</b>: Anjelica Huston (<i>The Grifters</i>), Julia Roberts (<i>Pretty Women</i>), Meryl Streep (<i>Postcards from the Edge</i>), Joanne Woodward (<i>Mr. & Mrs. Bridge</i>)<br />
<b>Thoughts</b>: I love when villains win, and it’s hard to top good old Annie Wilkes. This is an especially triumphant win, as Roberts was the front runner.<br />
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<b><span style="font-size: large;">1991 – Jodie Foster – The Silence of the Lambs</span></b></div>
<b>Nominees</b>: Geena Davis (<i>Thelma & Louise</i>), Laura Dern (<i>Rambling Rose</i>), Bette Midler (<i>For the Boys</i>), Susan Sarandon (<i>Thelma & Louise</i>)<br />
<b>Thoughts</b>: Really strong year, though a nomination for Jessica Lange in <i>Cape Fear</i> would’ve been nice. Sarandon is a strong second place here, but I have no problem with Foster winning her second Oscar in three years.<br />
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<b><span style="font-size: large;">1992 – Emma Thompson – Howards End</span></b></div>
<b>Nominees</b>: Catherine Deneuve (<i>Indochine</i>), Mary McDonnell (<i>Passion Fish</i>), Michelle Pfeiffer (<i>Love Field</i>), Susan Sarandon (<i>Lorenzo’s Oil</i>)<br />
<b>Thoughts</b>: This is a fair win, but shout outs for McDonnell and Sarandon are deserved.<br />
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<b><span style="font-size: large;">1993 – Holly Hunter – The Piano</span></b></div>
<b>Nominees</b>: Angela Bassett (<i>What’s Love Got to Do with It</i>), Stockard Channing (<i>Six Degrees of Separation</i>), Emma Thompson (<i>The Remains of the Day</i>), Debra Winger (<i>Shadowlands</i>)<br />
<b>Thoughts</b>: I don’t have a disparaging word for Hunter’s performance in <i>The Piano</i>. Great work, and I’m happy she has an Oscar. However, Angela Bassett’s work as Tina Turner is one of the best biopic performances ever captured. This should have been hers.<br />
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<b><span style="font-size: large;">1994 – Jessica Lange – Blue Sky</span></b></div>
<b>Nominees</b>: Jodie Foster (<i>Nell</i>), Miranda Richardson (<i>Tom & Viv</i>), Winona Ryder (<i>Little Women</i>), Susan Sarandon (<i>The Client</i>)<br />
<b>Thoughts</b>: Pretty weird year (my favorite lead female performance was Irène Jacob in <i>Three Colors: Red</i>). No argument from me about Lange having a Best Actress Oscar, but she should’ve won earlier.<br />
<b>Fun Fact</b>: <i>Blue Sky</i> completed filming in mid 1990 but was shelved for four years after Orion Pictures went bankrupt. By the time the film was released, its director, Tony Richardson, had been dead for three years.<br />
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<b><span style="font-size: large;">1995 – Susan Sarandon – Dead Man Walking</span></b></div>
<b>Nominees</b>: Elisabeth Shue (<i>Leaving Las Vegas</i>), Sharon Stone (<i>Casino</i>), Meryl Streep (<i>The Bridges of Madison Country</i>), Emma Thompson (<i>Sense and Sensibility</i>)<br />
<b>Thoughts</b>: This is tough. I love that Sarandon won for this performance, but my vote is a dead-even split between Shue and Stone. Damn strong category in an otherwise weak Oscar year. (And Jennifer Jason Leigh being snubbed for <i>Georgia</i> is crazy.)<br />
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<b><span style="font-size: large;">1996 – Frances McDormand – Fargo</span></b></div>
<b>Nominees</b>: Brenda Blethyn (<i>Secrets & Lies</i>), Diane Keaton (<i>Marvin’s Room</i>), Kristin Scott Thomas (<i>The English Patient</i>), Emily Watson (<i>Breaking the Waves</i>)<br />
<b>Thoughts</b>: Watson deserves endless praise for her debut performance in <i>Breaking the Waves</i>, but hell yes to McDormand winning here.<br />
<b>Fun Fact</b>: McDormand was the first Best Actress to win an Oscar for a film that was directed by her spouse. (Though Sarandon and Tim Robbins were in a long-term relationship when he directed her to a win the year before.)<br />
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<b><span style="font-size: large;">1997 – Helen Hunt – As Good as It Gets</span></b></div>
<b>Nominees</b>: Helena Bonham Carter (<i>The Wings of the Dov</i>e), Julie Christie (<i>Afterglow</i>), Judi Dench (<i>Mrs. Brown</i>), Kate Winslet (<i>Titanic</i>)<br />
<b>Thoughts</b>: I’ve seen some revisionist history that says Winslet was a lock for this award, but that’s false. Her name wasn’t really mentioned much in terms of winning (Gloria Stuart’s loss was the big surprise).<br />
<b>Fun Facts</b>: (1) Hunt became the first actor to win an Oscar while starring on a TV show. In fact, Hunt won an Emmy for starring in <i>Mad About You</i> the same year she won this Oscar. That’s <i>nuts</i>. (2) Only seven films have won Oscars for Best Actor and Best Actress. <i>As Good As It Gets </i>was the last film to do so.<br />
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<b><span style="font-size: large;">1998 – Gwyneth Paltrow – Shakespeare in Love</span></b></div>
<b>Nominees</b>: Cate Blanchett (<i>Elizabeth</i>), Fernanda Montenegro (<i>Central Station</i>), Meryl Streep (<i>One True Thing</i>), Emily Watson (<i>Hillary and Jackie</i>)<br />
<b>Thoughts</b>: Paltrow won damn near every award leading up to this, so this kind of a paint by numbers win.<br />
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<b><span style="font-size: large;">1999 – Hilary Swank – Boys Don’t Cry</span></b></div>
<b>Nominees</b>: Annette Bening (<i>American Beauty</i>), Janet McTeer (<i>Tumbleweeds</i>), Julianne Moore (<i>The End of the Affair</i>), Meryl Streep (<i>Music of the Heart</i>)<br />
<b>Thoughts</b>: As this Oscar night began, it seemed fairly clear that <i>American Beauty</i> would win Best Picture, Director, Actor, and Original Screenplay. The lone holdout for <i>American Beauty</i>’s Big Five Oscar wins was Bening, and it was pretty shocking when she lost. But how refreshing it was for such a small movie to win such a major award.<br />
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<b><span style="font-size: large;">2000 – Julia Roberts – Erin Brockovich</span></b></div>
<b>Nominees</b>: Joan Allen (<i>The Contender</i>), Juliette Binoche (<i>Chocolat</i>), Ellen Burstyn (<i>Requiem for a Dream</i>), Laura Linney (<i>You Can Count On Me</i>)<br />
<b>Thoughts</b>: This is probably the surest lock of any Oscar in my lifetime. Steve Martin hosted the ceremony, and he joked in his opening monologue how Roberts was going to win. My picks in order would’ve been: Burstyn with the win, then Allen, Linney, Roberts, and Binoche.<br />
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<b><span style="font-size: large;">2001 – Halle Berry – Monster’s Ball</span></b></div>
<b>Nominees</b>: Judi Dench (<i>Iris</i>), Nicole Kidman (<i>Moulin Rouge!</i>), Sissy Spacek (<i>In the Bedroo</i>m), Renée Zellweger (<i>Bridget Jones’s Diary</i>)<br />
<b>Thoughts</b>: There was some talk that Spacek may win this, which would not have aged well. Berry went for it in <i>Monster’s Ball</i>, and this award was long overdue, for many reasons.<br />
<b>Fun Fact</b>: Berry remains the only black woman to win Best Actress, which is great for her, but awful for Oscar history. Interestingly, Berry won an Emmy and Golden Globe in 1999 for her work in <i>Introducing Dorothy Dandridg</i>e, in which she played the first black woman who was ever nominated for an Oscar.<br />
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<b><span style="font-size: large;">2002 – Nicole Kidman – The Hours</span></b></div>
<b>Nominees</b>: Salma Hayek (<i>Frida</i>), Diane Lane (<i>Unfaithful</i>), Julianne Moore (<i>Far From Heaven</i>), Renée Zellweger (<i>Chicago</i>)<br />
<b>Thoughts</b>: We’re deep into surefire lock territory now. For the past 20 years or so, there are typically two Best Actress scenarios: Two actresses battling it out for the prize, or the somewhat bland scenario of the winner being a foregone conclusion. Kidman’s win was the latter. I would’ve voted for Lane; I thought her work in <i>Unfaithful</i> was so powerful and real.<br />
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<b><span style="font-size: large;">2003 – Charlize Theron – Monster</span></b></div>
<b>Nominees</b>: Keisha Castle-Hughes (<i>Whale Rider</i>), Diane Keaton (<i>Something’s Gotta Give</i>), Samantha Morton (<i>In America</i>), Naomi Watts (<i>21 Grams</i>)<br />
<b>Thoughts</b>: Whew, tough. Very personally tough. Theron was another lock, and no one was going to beat her. But Naomi Watts in <i>21 Grams</i>… good Christ, I can’t shake her. Ever since I saw that movie in December 2003, I haven’t been able to get her final lock of harsh acceptance toward Benicio Del Toro out of my head. For me, Theron vs. Watts is a double overtime basketball game, and Theron wins by a point.<br />
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<b><span style="font-size: large;">2004 – Hilary Swank – Million Dollar Baby</span></b></div>
<b>Nominees</b>: Annette Bening (<i>Being Julia</i>), Catalina Sandino Moreno (<i>Maria Full of Grace</i>), Imelda Staunton (<i>Vera Drake</i>), Kate Winslet (<i>Eternal Sunshine of the Spotless Mind</i>)<br />
<b>Thoughts</b>: I’m still high on <i>Million Dollar Baby</i>, so I’m cool with this win. If I voted now, though, Moreno would be my pick.<br />
<b>Fun Fact</b>: Swank joins Luise Rainer, Vivien Leigh, and Helen Hayes as the only actresses who won every Oscar they were nominated for.<br />
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<b><span style="font-size: large;">2005 – Reese Witherspoon – Walk the Line</span></b></div>
<b>Nominees</b>: Judi Dench (<i>Mrs. Henderson Presents</i>), Felicity Huffman (<i>Transamerica</i>), Keira Knightley (<i>Pride & Prejudice</i>), Charlize Theron (<i>North Country</i>)<br />
<b>Thoughts</b>: Shame that my favorite performance of the year (Maria Bello in <i>A History of Violence</i>) was snubbed, but Witherspoon was another lock anyhow.<br />
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<b><span style="font-size: large;">2006 – Helen Mirren – The Queen</span></b></div>
<b>Nominees</b>: Penélope Cruz (<i>Volver</i>), Judi Dench (<i>Notes on a Scandal</i>), Meryl Streep (<i>The Devil Wears Prada</i>), Kate Winslet (<i>Little Children</i>)<br />
<b>Thoughts</b>: I can’t remember which publication I read this in (it may have been Entertainment Weekly), but I swear to God, a few weeks before this Oscar ceremony, I read an interview with Kate Winslet, and the reporter asked, “So how does it feel knowing you’re going to lose the Oscar to Helen Mirren?” That’s how much of a lock this was.<br />
<b>Fun Fact</b>: Penélope Cruz became the first Spanish woman to be nominated for Best Actress for a non-English speaking role.<br />
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<b><span style="font-size: large;">2007 – Marion Cotillard – La Vie en Rose</span></b></div>
<b>Nominees</b>: Cate Blanchett (<i>Elizabeth: The Golden Age</i>), Julie Christie (<i>Away from Her</i>), Laura Linney (<i>The Savages</i>), Ellen Page (<i>Juno</i>)<br />
<b>Thoughts</b>: One of my favorite wins in Oscar history. The joy I felt as Forest Whitaker read Cotillard’s name aloud. This was between Christie and Cotillard, and I think everyone thought Christie would win. Just <a href="https://www.youtube.com/watch?v=MbM88BG9Ae8">look at Cotillard’s shock here</a>! I love this shit.<br />
<b>Fun Fact</b>: Cate Blanchett is the only actress to be nominated twice for playing the same character in two different movies.<br />
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<b><span style="font-size: large;">2008 – Kate Winslet – The Reader</span></b></div>
<b>Nominees</b>: Anne Hathaway (<i>Rachel Getting Married</i>), Angelina Jolie (<i>Changeling</i>), Melissa Leo (<i>Frozen River</i>), Meryl Streep (<i>Doubt</i>)<br />
<b>Thoughts</b>: Okay here’s the thing. It’s good that Kate Winslet has an Oscar, but her role in <i>The Reader</i> is clearly a supporting part. Harvey Weinstein campaigned hard for Winslet to be placed in the lead actress category, and then pressed even harder for her to win. A win is a win, I suppose, it’s just a shame when the eventual win isn’t for the actor’s best work. But so goes the Oscars.<br />
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<b><span style="font-size: large;">2009 – Sandra Bullock – The Blind Side</span></b></div>
<b>Nominees</b>: Helen Mirren (<i>The Last Station</i>), Carey Mulligan (<i>An Education</i>), Gabourey Sidibe (<i>Precious</i>), Meryl Streep (<i>Julia & Julia</i>)<br />
<b>Fun Fact</b>: With 17 nominations, Meryl Streep is the most nominated performer in the Best Actress category. (In fact, her 13th nomination for <i>Julie & Julia</i> made her the most nominated actor ever, besting Katharine Hepburn’s 12 noms.)<br />
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<b><span style="font-size: large;">2010 – Natalie Portman – Black Swan</span></b></div>
<b>Nominees</b>: Annette Bening (<i>The Kids Are All Right</i>), Nicole Kidman (<i>Rabbit Hole</i>), Jennifer Lawrence (<i>Winter’s Bone</i>), Michelle Williams (<i>Blue Valentine</i>)<br />
<b>Thoughts</b>: Damn strong year. No complaints from me. My vote may have gone to Williams, but it’s close.<br />
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<b><span style="font-size: large;">2011 – Meryl Streep – The Iron Lady</span></b></div>
<b>Nominees</b>: Glenn Close (<i>Albert Nobb</i>s), Viola Davis (<i>The Help</i>), Rooney Mara (<i>The Girl with the Dragon Tattoo</i>), Michelle Williams (<i>My Week with Marilyn</i>)<br />
<b>Thoughts</b>: This was a really random win. Leading up to the ceremony, it seemed like Davis was a lock here. People were reporting on it and everything. I think Streep was as surprised as everyone when she won. Still, you better believe that Rooney would get my vote.<br />
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<span style="font-size: large;"><b>2012 – Jennifer Lawrence – Silver Linings Playbook</b></span></div>
<b>Nominees</b>: Jessica Chastain (<i>Zero Dark Thirty</i>), Emmanuelle Riva (<i>Amour</i>), Quvenzhané Wallis (<i>Beasts of the Southern Wind</i>), Naomi Watts (<i>The Impossible</i>)<br />
<b>Thoughts</b>: It wasn’t really a surprise when Lawrence won, but it feels like this award was a bit premature. I would’ve voted for Chastain or Riva, though I still can’t get over that Marion Cotillard’s work in <i>Rust and Bone</i> was snubbed. It could be the best performance of her career.<br />
<b>Fun Facts</b>: (1) At age 85, Emmanuelle Riva became the oldest Best Actress nominee ever. (2) At age 9, Quvenzhané Wallis became the youngest Best Actress nominee ever.<br />
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<b><span style="font-size: large;">2013 – Cate Blanchett – Blue Jasmine</span></b></div>
<b>Nominees</b>: Amy Adams (<i>American Hustle</i>), Sandra Bullock (<i>Gravity</i>), Judi Dench (<i>Philomena</i>), Meryl Streep (<i>August: Osage County</i>)<br />
<b>Thoughts</b>: Cate Blanchett wins her first Best Actress Oscar for a truly singular portrayal of a woman in peril. Wonder when she’ll win again? Also, I’d replace Dench and Streep with Adèle Exarchopoulos (<i>Blue is the Warmest Color</i>) and Julie Delpy (<i>Before Midnight</i>).<br />
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<b><span style="font-size: large;">2014 – Julianne Moore – Still Alice</span></b></div>
<b>Nominees</b>: Marion Cotillard (<i>Two Days, One Night</i>), Felicity Jones (<i>The Theory of Everything</i>), Rosamund Pike (<i>Gone Girl</i>), Reese Witherspoon (<i>Wild</i>)<br />
<b>Thoughts</b>: <i>Still Alice</i> is the kind of movie that feels tailor-made to win its star an Oscar. It’s right that Julianne Moore has an Oscar, but Cotillard or Pike would’ve received my vote.<br />
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<b><span style="font-size: large;">2015 – Brie Larson – Room</span></b></div>
<b>Nominees</b>: Cate Blanchett (<i>Carol</i>), Jennifer Lawrence (<i>Joy</i>), Charlotte Rampling (<i>45 Years</i>), Saoirse Ronan (<i>Brooklyn</i>)<br />
<b>Thoughts</b>: Brie Larson somewhat followed the Jennifer Lawrence playbook of delivering stellar work in a few indies, then coming in heavy with a lead Oscar performance. It’s a fair win, among realty strong competition.<br />
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<b><span style="font-size: large;">2016 – Emma Stone – La La Land</span></b></div>
<b>Nominees</b>: Isabelle Huppert (<i>Elle</i>), Ruth Negga (<i>Loving</i>), Natalie Portman (<i>Jackie</i>), Meryl Streep (<i>Florence Foster Jenkins</i>)<br />
<b>Thoughts</b>: I would have voted for Huppert, but Stone’s win is my favorite of the recent younger Best Actress winners.<br />
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<b><span style="font-size: large;">2017 – Frances McDormand – Three Billboards Outside Ebbing, Missouri</span></b></div>
<b>Nominees</b>: Sally Hawkins (<i>The Shape of Water</i>), Margot Robbie (<i>I, Tonya</i>), Saoirse Ronan (<i>Lady Bird</i>), Meryl Streep (<i>The Post</i>)<br />
<b>Thoughts</b>: Another surefire lock. I wonder how this win will age, as Ronan’s work in <i>Lady Bird</i> is still so heavily talked about. My three wish list nominees: Tatiana Maslany (<i>Stronger</i>), Jennifer Lawrence (<i>mother!</i>), and Vicky Krieps (<i>Phantom Thread</i>).<br />
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<b><span style="font-size: large;">2018 – Olivia Colman – The Favourite</span></b></div>
<b>Nominees</b>: Yalitza Aparicio (<i>Roma</i>), Glenn Close (<i>The Wife</i>), Lady Gaga (<i>A Star Is Born</i>), Melissa McCarthy (<i>Can You Ever Forgive Me?</i>)<br />
<b>Thoughts</b>: This is genuinely one of the best, most surprising Oscar wins I’ve seen in years. Early on, this race was between Gaga and Close. As Oscar night got closer, Close was pretty much a lock to take this, which many people noted would be more of a Lifetime Achievement win. Colman’s victory is that rare win that not many people saw coming, but no one can really argue against.<br />
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<b><span style="font-size: large;">2019 – Renée Zellweger – Judy</span></b></div>
<b>Nominees</b>: Cynthia Erivo (<i>Harriet</i>), Scarlett Johansson (<i>Marriage Story</i>), Saoirse Ronan (<i>Little Women</i>), Charlize Theron (<i>Bombshell</i>)<br />
<b>Thoughts</b>: A lock from the moment <i>Judy</i>’s film trailer was released. I liked watching Zellweger’s journey throughout this Oscar race, taking every award with grace and dignity. I’m really curious to see what she delivers next.<br />
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<u><span style="font-size: large;">More Oscar Breakdowns</span></u></div>
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<span style="font-size: large;"><a href="https://www.andsoitbeginsfilms.com/2020/04/oscars-breakdown-best-picture.html">Best Picture</a></span><br />
<span style="font-size: large;"><a href="https://www.andsoitbeginsfilms.com/2020/04/oscars-breakdown-best-director.html">Best Director</a></span></div>
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<span style="font-size: large;"><a href="https://www.andsoitbeginsfilms.com/2020/06/oscars-breakdown-best-actress.html">Best Actress</a></span></div>
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<span style="font-size: large;"><a href="https://www.andsoitbeginsfilms.com/2020/07/oscars-breakdown-best-actor.html">Best Actor</a></span></div>
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<span style="font-size: large;">Best Supporting Actress (coming soon)</span></div>
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<span style="font-size: large;">Best Supporting Actor (coming soon)</span></div>
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<span style="font-size: large;">Best Original Screenplay (coming soon)</span></div>
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<span style="font-size: large;">Best Adapted Screenplay (coming soon)</span><br />
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<br />Alex Withrowhttp://www.blogger.com/profile/15887018476048271594noreply@blogger.com14tag:blogger.com,1999:blog-4784665635104956142.post-15257375271594001802020-04-29T15:22:00.003-04:002020-07-09T13:11:24.327-04:00Oscars Breakdown: Best Director<div class="separator" style="clear: both; text-align: center;">
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My Oscar binge continues, this time with thoughts on every Best Director Oscar. Best Director and Best Picture have gone to different films 26 times in Oscar history, and I was interested to find that I far prefer the Best Director winners.<br />
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Please enjoy my thoughts and the trivia below, and be sure to share any opinions you have about these races as well!<br />
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<b><b><span style="font-size: large;">1927/1928, Drama – Frank Borzage – 7th Heaven</span></b></b></div>
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<b><b><span style="font-size: large;">1927/1928, Comedy – Lewis Milestone – Two Arabian Knights</span></b></b></div>
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<b>Nominees, Drama</b>: Herbert Brenon (<i>Sorrell and Son</i>), King Vidor (<i>The Crowd</i>)<br />
<b>Nominees, Comedy</b>: Ted Wilde (<i>Speedy</i>)<br />
<b>Thoughts</b>: For the Oscars’ first year, they split Best Director into drama and comedy categories. <i>Two Arabian Knights</i> is the best film here. It features some inventive camera compositions for its time.<br />
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<b><span style="font-size: large;">1928/1929 – Frank Lloyd – The Divine Lady</span></b></div>
<b>Nominees</b>: Lionel Barrymore (<i>Madame X</i>), Harry Beaumont (<i>The Broadway Melody</i>), Irving Cummings (<i>In Old Arizona</i>), Frank Lloyd (<i>Drag</i>; <i>Weary</i> <i>River</i>), Ernst Lubitsch (<i>The</i> <i>Patriot</i>)<br />
<b>Thoughts</b>: Ernst Lubitsch should have an Oscar, but he ways always nominated in competitive years. If he was going to win, it likely would have been here.<br />
<b>Fun Fact</b>: Not since <i>The Divine Lady</i> has a film won Best Director <i>without</i> being nominated for Best Picture.<br />
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<b><span style="font-size: large;">1929/1930 – Lewis Milestone – All Quiet on the Western Front</span></b></div>
<b>Nominees</b>: Clarence Brown (<i>Anna Christie</i>; <i>Romance</i>), Robert Z. Leonard (<i>The Divorcee</i>), Ernst Lubitsch (<i>The Love Parade</i>), King Vidor (<i>Hallelujah!</i>)<br />
<b>Fun Fact</b>: Milestone was the first person to win two Best Director Oscars. Got that out of the way quick.<br />
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<b><span style="font-size: large;">1930/1931 – Norman Taurog – Skippy</span></b></div>
<b>Nominees</b>: Clarence Brown (<i>A Free Soul</i>), Lewis Milestone (<i>The Front Page</i>), Wesley Ruggles (<i>Cimarron</i>), Josef von Sternberg (<i>Morocco</i>)<br />
<b>Fun Fact</b>: Taurog would hold the title of youngest Best Director Oscar winner for 85 years, bested by Damien Chazelle in 2016.<br />
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<b><span style="font-size: large;">1931/1932 – Frank Borzage – Bad Girl</span></b></div>
<b>Nominees</b>: King Vidor (<i>The Champ</i>), Josef von Sternberg (<i>Shanghai Express</i>)<br />
<b>Thoughts</b>: <i>Bad Girl</i> is an audacious pre-Code movie about a husband and wife failing to understand each other during the woman’s pregnancy, but this should have gone to Vidor for his father and son boxing classic, <i>The Champ</i>.<br />
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<b><span style="font-size: large;">1932/1933 – Frank Lloyd – Cavalcade</span></b></div>
<b>Nominees</b>: Frank Capra (<i>Lady for a Day</i>), George Cukor (<i>Little Women</i>)<br />
<b>Fun Fact</b>: According to Oscar lore, when presenter Will Rogers opened the Best Director envelope, he said, “Come up and get it, Frank.” Frank Capra ran to the stage to accept the award, and Rogers apologized and said he meant Frank <i>Lloyd</i>. I’m sure Capra’s disappointment was short-lived though, seeing as he would win three Best Director Oscars in the next five years.<br />
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<b><span style="font-size: large;">1934 – Frank Capra – It Happened One Night</span></b></div>
<b>Nominees</b>: Victor Schertzinger (<i>One Night of Love</i>), W. S. Van Dyke (<i>The Thin Man</i>)<br />
<b>Fun Fact</b>: Capra became the first of three directors to direct a film to the Big Five Academy Awards (Best Picture, Director, Actor, Actress, and Screenplay).<br />
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<b><span style="font-size: large;">1935 – John Ford – The Informer</span></b></div>
<b>Nominees</b>: Henry Hathaway (<i>The Lives of a Bengal Lancer</i>), Frank Lloyd (<i>Mutiny on the Bounty</i>)<br />
<b>Thoughts</b>: Interesting that Ford’s small-scale film won over Lloyd’s Best Picture-winning epic, but this is a smart choice.<br />
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<b><span style="font-size: large;">1936 – Frank Capra – Mr. Deeds Goes to Town</span></b></div>
<b>Nominees</b>: Gregory La Cava (<i>My Man Godfrey</i>), Robert Z. Leonard (<i>The Great Ziegfeld</i>), W. S. Van Dyke (<i>San Francisco</i>), William Wyler (<i>Dodsworth</i>)<br />
<b>Thoughts</b>: Good call giving this to Capra over Leonard, even though Leonard’s film won Best Picture.<br />
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<b><span style="font-size: large;">1937 – Leo McCarey – The Awful Truth</span></b></div>
<b>Nominees</b>: William Dieterle (<i>The Life of Emile Zola</i>), Sidney Franklin (<i>The Good Earth</i>), Gregory La Cava (<i>Stage Door</i>), William A. Wellman (<i>A Star Is Born</i>)<br />
<b>Thoughts</b>: Another good example of the Academy giving Best Director to a smaller scale film and reserving Best Picture for a stuffy epic (in this case, <i>The Life of Emile Zola</i>).<br />
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<b><span style="font-size: large;">1938 – Frank Capra – You Can’t Take It with You</span></b></div>
<b>Nominees</b>: Michael Curtiz (<i>Angels with Dirty Faces</i>; <i>Four Daughters</i>), Norman Taurog (<i>Boys Town</i>), King Vidor (<i>The Citadel</i>)<br />
<b>Fun Fact</b>: Capra became the first person to win three Best Director Oscars, which would soon be matched by John Ford.<br />
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<b><span style="font-size: large;">1939 – Victor Fleming – Gone with the Wind</span></b></div>
<b>Nominees</b>: Frank Capra (<i>Mr. Smith Goes to Washington</i>), John Ford (<i>Stagecoach</i>), Sam Wood (<i>Goodbye, Mr. Chips</i>), William Wyler (<i>Wuthering Heights</i>)<br />
<b>Thoughts</b>: Strong year for film, led by <i>Gone with the Wind</i>, which was arguably the most widely known movie ever made at the time of its release.<br />
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<b><span style="font-size: large;">1940 – John Ford – The Grapes of Wrath</span></b></div>
<b>Nominees</b>: George Cukor (<i>The Philadelphia Story</i>), Alfred Hitchcock (<i>Rebecca</i>), Sam Wood (<i>Kitty Foyle</i>), William Wyler (<i>The Letter</i>)<br />
<b>Thoughts</b>: It’s always been odd to me that <i>The Grapes of Wrath</i> and <i>Rebecca</i> split Best Director and Best Picture. Producer David O. Selznick campaigned heavily for <i>Rebecca</i> to win Best Picture, but apparently he forgot to lobby for Hitch.<br />
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<b><span style="font-size: large;">1941 – John Ford – How Green Was My Valley</span></b></div>
<b>Nominees</b>: Alexander Hall (<i>Here Comes Mr. Jordan</i>), Howard Hawks (<i>Sergeant York</i>), Orson Welles (<i>Citizen Kane</i>), William Wyler (<i>The Little Foxes</i>)<br />
<b>Thoughts</b>: Lot to dive into here. First, this was Howard Hawks’ only Oscar nomination, which is insane. And of course Welles’ loss here is a rather glaring one. But in my research, it was the shared opinion that <i>Citizen Kane</i> was too new, radical, and ahead of its time to be awarded so highly.<br />
<b>Fun Fact</b>: Welles was the first director nominated for their debut film and the first person nominated for Best Actor and Best Director in the same year.<br />
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<b><span style="font-size: large;">1942 – William Wyler – Mrs. Miniver</span></b></div>
<b>Nominees</b>: Michael Curtiz (<i>Yankee Doodle Dandy</i>), John Farrow (<i>Wake Island</i>), Mervyn LeRoy (<i>Random Harvest</i>), Sam Wood (<i>Kings Row</i>)<br />
<b>Thoughts</b>: Though far from Wyler’s best work, it makes sense that he won for the WWII survival film, <i>Mrs. Miniver</i>.<br />
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<b><span style="font-size: large;">1943 – Michael Curtiz – Casablanca</span></b></div>
<b>Nominees</b>: Clarence Brown (<i>The Human Comedy</i>), Henry King (<i>The Song of Bernadette</i>), Ernst Lubitsch (<i>Heaven Can Wait</i>), George Stevens (<i>The More the Merrier</i>)<br />
<b>Thoughts</b>: Absolutely no argument from me here (even though I adore <i>The More the Merrier</i>). <i>Casablanca</i> is a great achievement and deserved to be awarded as much as possible.<br />
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<b><span style="font-size: large;">1944 – Leo McCarey – Going My Way</span></b></div>
<b>Nominees</b>: Alfred Hitchcock (<i>Lifeboat</i>), Henry King (<i>Wilson</i>), Otto Preminger (<i>Laura</i>), Billy Wilder (<i>Double Indemnity</i>)<br />
<b>Thoughts</b>: Hitchcock, Preminger, and particularly Wilder would’ve received my vote over McCarey, but <i>Going My Way</i> was the feel-good movie America presumably needed at the time.<br />
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<b><span style="font-size: large;">1945 – Billy Wilder – The Lost Weekend</span></b></div>
<b>Nominees</b>: Clarence Brown (<i>National Velvet</i>), Alfred Hitchcock (<i>Spellbound</i>), Leo McCarey (<i>The Bells of St. Mary’s</i>), Jean Renoir (<i>The Southerner</i>)<br />
<b>Thoughts</b>: This is one of my favorite Best Director wins. Wilder dared to push the content of his films, of which <i>The Lost Weekend</i> is a shining example. It’s still one of the best movies about alcoholism that I’ve ever seen.<br />
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<b><span style="font-size: large;">1946 – William Wyler – The Best Years of Our Lives</span></b></div>
<b>Nominees</b>: Clarence Brown (<i>The Yearling</i>), Frank Capra (<i>It’s a Wonderful Life</i>), David Lean (<i>Brief Encounter</i>), Robert Siodmak (<i>The Killers</i>)<br />
<b>Fun Fact</b>: This marked the sixth Best Director loss for Clarence Brown, who still has the most Best Director losses without a win. Poor guy.<br />
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<b><span style="font-size: large;">1947 – Elia Kazan – Gentleman’s Agreement</span></b></div>
<b>Nominees</b>: George Cukor (<i>A Double Life</i>), Edward Dmytryk (Crossfire), Henry Koster (<i>The Bishop’s Wife</i>), David Lean (<i>Great Expectations</i>)<br />
<b>Thoughts</b>: <i>A Double Life</i> is a really fun movie, but Kazan deserved his first win here.<br />
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<b><span style="font-size: large;">1948 – John Huston – The Treasure of the Sierra Madre</span></b></div>
<b>Nominees</b>: Anatole Litvak (<i>The Snake Pit</i>), Jean Negulesco (<i>Johnny Belinda</i>), Laurence Olivier (<i>Hamlet</i>), Fred Zinnemann (<i>The Search</i>)<br />
<b>Thoughts</b>: I adore <i>The Search</i>, and <i>Johnny Belinda</i> is damn good, but this absolutely belonged to Huston, who won for <i>Sierra Madre</i>, but also released the great noir, <i>Key Largo</i>, the same year.<br />
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<b><span style="font-size: large;">1949 – Joseph L. Mankiewicz – A Letter to Three Wives</span></b></div>
<b>Nominees</b>: Carol Reed (<i>The Fallen Idol</i>), Robert Rossen (<i>All the King’s Men</i>), William A. Wellman (<i>Battleground</i>), William Wyler (<i>The Heiress</i>)<br />
<b>Thoughts</b>: <i>A Letter to Three Wives</i> was one of the great surprises as I made my way through these winners. It’s tightly written, playfully acted, and perfectly directed. Check it out if you can, it’s delightful.<br />
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<b><span style="font-size: large;">1950 – Joseph L. Mankiewicz – All About Eve</span></b></div>
<b>Nominees</b>: George Cukor (<i>Born Yesterday</i>), John Huston (<i>The Asphalt Jungle</i>), Carol Reed (<i>The Third Man</i>), Billy Wilder (<i>Sunset Boulevard</i>)<br />
<b>Thoughts</b>: Damn strong year, any of them could have won. I love that Mankiewicz won twice in a row, and <i>All About Eve </i>is pretty much perfect, but I would have been okay with a win for Reed or Wilder here.<br />
<b>Fun Fact</b>: Mankiewicz is one of three directors to win consecutive Oscars, following John Ford (<i>The Grapes of Wrath;</i> <i>How Green Was My Valley</i>), and preceding Alejandro G. Iñárritu (<i>Birdman;</i> <i>The Revenant</i>).<br />
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<b><span style="font-size: large;">1951 – George Stevens – A Place in the Sun</span></b></div>
<b>Nominees</b>: John Huston (<i>The African Queen</i>), Elia Kazan (<i>A Streetcar Named Desire</i>), Vincente Minnelli (<i>An American in Paris</i>), William Wyler (<i>Detective Story</i>)<br />
<b>Thoughts</b>: Another one of my favorite Best Director wins. Instead of giving it to Minnelli, whose film won Best Picture, they justly gave it to Stevens for his American masterpiece. If only it had won Best Picture, too.<br />
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<b><span style="font-size: large;">1952 – John Ford – The Quiet Man</span></b></div>
<b>Nominees</b>: Cecil B. DeMille (<i>The Greatest Show on Earth</i>), John Huston (<i>Moulin Rouge</i>), Joseph L. Mankiewicz (<i>5 Fingers</i>), Fred Zinnemann (<i>High Noon</i>)<br />
<b>Thoughts</b>: I’d argue that <i>High Noon</i> is the best-directed film here, but I appreciate how much of a departure <i>The Quiet Man </i>was for Ford and John Wayne.<br />
<b>Fun Facts</b>: (1) With this win, John Ford became the only director to win four Best Director Oscars. (2) In <i>E.T.</i>, <i>The Quiet Man</i> is the movie E.T. watches that Elliot mimics in his classroom.<br />
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<b><span style="font-size: large;">1953 – Fred Zinnemann – From Here to Eternity</span></b></div>
<b>Nominees</b>: George Stevens (<i>Shane</i>), Charles Walters (<i>Lili</i>), Billy Wilder (<i>Stalag 17</i>), William Wyler (<i>Roman Holiday</i>)<br />
<b>Thoughts</b>: Zinnemann finally wins his Best Director Oscar, among strong competition. Damn well deserved. <i>From Here to Eternity </i>holds up for several reasons.<br />
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<b><span style="font-size: large;">1954 – Elia Kazan – On the Waterfront</span></b></div>
<b>Nominees</b>: Alfred Hitchcock (<i>Rear Window</i>), George Seaton (<i>The Country Girl</i>), William A. Wellman (<i>The High and the Mighty</i>), Billy Wilder (<i>Sabrina</i>)<br />
<b>Thoughts</b>: I’ve always wanted more context for this award. Based solely on his work on the movie, yes, Kazan deserved to win this. But it’s odd to me that he would win just two years after his extremely controversial testimony before the House Committee on Un-American Activities, which ruined the careers of several people. Maybe it’s evidence that <i>On the Waterfront</i> is <i>that</i> good.<br />
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<b><span style="font-size: large;">1955 – Delbert Mann – Marty</span></b></div>
<b>Nominees</b>: Elia Kazan<span style="white-space: pre;"> </span>(<i>East of Eden</i>), David Lean (<i>Summertime</i>), Joshua Logan (<i>Picnic</i>), John Sturges (<i>Bad Day at Black Rock</i>)<br />
<b>Thoughts</b>: Up until this point, <i>Marty</i> was unlike most any other movie that won Best Picture or Director. It’s lean, fun, and simply told. I love that it won.<br />
<b>Fun Fact</b>: Mann was the first person to win Best Director for their debut film.<br />
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<b><span style="font-size: large;">1956 – George Stevens – Giant</span></b></div>
<b>Nominees</b>: Michael Anderson<span style="white-space: pre;"> </span>(<i>Around the World in 80 Days</i>), Walter Lang (<i>The King and I</i>), King Vidor (<i>War and Peace</i>), William Wyler (<i>Friendly Persuasion</i>)<br />
<b>Thoughts</b>: Another justified win for Stevens, even though <i>Around the World in 80 Days</i> beat <i>Giant</i> for the top prize (which remains a bad call).<br />
<b>Fun Fact</b>: This was Wyler’s tenth nomination for Best Director, making him the most nominated director in history. He eventually landed 12 total Best Director nominations.<br />
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<b><span style="font-size: large;">1957 – David Lean – The Bridge on the River Kwai</span></b></div>
<b>Nominees</b>: Joshua Logan (<i>Sayonara</i>), Sidney Lumet<span style="white-space: pre;"> </span>(<i>12 Angry Men</i>), Mark Robson (<i>Peyton Place</i>), Billy Wilder (<i>Witness for the Prosecution</i>)<br />
<b>Thoughts</b>: Tough call. It’s Lean’s Technicolor epic verses Lumet’s single-location masterpiece. Both films are directed to perfection and haven’t aged a day. I prefer Lumet’s film, but a win for Lean feels fair.<br />
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<b><span style="font-size: large;">1958 – Vincente Minnelli – Gigi</span></b></div>
<b>Nominees</b>: Richard Brooks (<i>Cat on a Hot Tin Roof</i>), Stanley Kramer (<i>The Defiant Ones</i>), Mark Robson (<i>The Inn of the Sixth Happiness</i>), Robert Wise (<i>I Want to Live!</i>)<br />
<b>Thoughts</b>: Not the strongest year. Wise would have gotten my vote, with Kramer in second. But nominations for Alfred Hitchcock (<i>Vertigo</i>), Roy Ward Baker (<i>A Night to Remember</i>), and/or Orson Welles (<i>Touch of Evil</i>) would have been deserved.<br />
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<b><span style="font-size: large;">1959 – William Wyler – Ben-Hur</span></b></div>
<b>Nominees</b>: Jack Clayton (<i>Room at the Top</i>), George Stevens (<i>The Diary of Anne Frank</i>), Billy Wilder<span style="white-space: pre;"> </span>(<i>Some Like It Hot</i>), Fred Zinnemann (<i>The Nun’s Story</i>)<br />
<b>Thoughts</b>: <i>Room at the Top</i> is my favorite film here, but I cannot imagine anyone but Wyler winning this. <i>Ben-Hur</i> was, at the time, the most expensive movie ever made. Wyler put all those resources on the screen to classic results.<br />
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<b><span style="font-size: large;">1960 – Billy Wilder – The Apartment</span></b></div>
<b>Nominees</b>: Jack Cardiff (<i>Sons and Lovers</i>), Jules Dassin (<i>Never on Sunday</i>), Alfred Hitchcock (<i>Psycho</i>), Fred Zinnemann (<i>The Sundowners</i>)<br />
<b>Thoughts</b>: I hate to take this away from Wilder, but I hate that Alfred Hitchcock doesn’t have an Oscar even more. I would’ve given this to ole Hitch, for what remains my favorite film of his.<br />
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<b><span style="font-size: large;">1961 – Robert Wise & Jerome Robbins – West Side Story</span></b></div>
<b>Nominees</b>: Federico Fellini (<i>La Dolce Vita</i>), Stanley Kramer (<i>Judgment at Nuremberg</i>), Robert Rossen<span style="white-space: pre;"> </span>(<i>The Hustler</i>), J. Lee Thompson (<i>The Guns of Navarone</i>)<br />
<b>Thoughts</b>: Fellini is my choice, but Wise and Robbins were destined to win.<br />
<b>Fun Facts</b>: (1) Fellini’s nomination marked the first time a director was nominated for directing a foreign language movie. (2) Wise and Robbins were the first duo to be nominated for, and win, Best Director.<br />
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<b><span style="font-size: large;">1962 – David Lean – Lawrence of Arabia</span></b></div>
<b>Nominees</b>: Pietro Germi (<i>Divorce Italian Style</i>), Robert Mulligan (<i>To Kill a Mockingbird</i>), Arthur Penn (<i>The Miracle Worker</i>), Frank Perry (<i>David and Lisa</i>)<br />
<b>Thoughts</b>: Another very worthy win for Lean. Can’t picture any of the other nominees knocking him out here. But for the love of God, Robert Aldrich should’ve been nominated for <i>Whatever Happened to Baby Jane?</i><br />
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<b><span style="font-size: large;">1963 – Tony Richardson – Tom Jones</span></b></div>
<b>Nominees</b>: Federico Fellini (<i>8½</i>), Elia Kazan (<i>America America</i>), Otto Preminger (<i>The Cardinal</i>), Martin Ritt<span style="white-space: pre;"> </span>(<i>Hud</i>)<br />
<b>Thoughts</b>: Joseph L. Mankiewicz should be here for making it through <i>Cleopatra</i> in one piece, but Fellini absolutely gets my vote for directing one of the most influential movies ever made.<br />
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<b><span style="font-size: large;">1964 – George Cukor – My Fair Lady</span></b></div>
<b>Nominees</b>: Michael Cacoyannis (<i>Zorba the Greek)</i>, Peter Glenville<span style="white-space: pre;"> </span>(<i>Becket</i>), Stanley Kubrick (<i>Dr. Strangelove</i>), Robert Stevenson<span style="white-space: pre;"> </span>(<i>Mary Poppins</i>)<br />
<b>Thoughts</b>: The Academy has always had a fondness for musicals, epics, and epic musicals. And while musicals are far from my favorite genre, I appreciate the impact they had on film, especially during this time. Still, this should have been Kubrick’s, no question.<br />
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<b><span style="font-size: large;">1965 – Robert Wise – The Sound of Music</span></b></div>
<b>Nominees</b>: David Lean (<i>Doctor Zhivago</i>), John Schlesinger<span style="white-space: pre;"> </span>(<i>Darling</i>), Hiroshi Teshigahara (<i>Woman in the Dunes</i>), William Wyler (<i>The Collector</i>)<br />
<b>Thoughts</b>: Not the strongest year (depending on your taste); another win for Wise makes sense.<br />
<b>Fun Fact</b>: Hiroshi Teshigahara was the first Asian nominated for Best Director.<br />
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<b><span style="font-size: large;">1966 – Fred Zinnemann – A Man for All Seasons</span></b></div>
<b>Nominees</b>: Michelangelo Antonioni (<i>Blow-Up</i>), Richard Brooks (<i>The Professionals</i>), Claude Lelouch (<i>A Man and a Woman</i>), Mike Nichols (<i>Who’s Afraid of Virginia Woolf?</i>)<br />
<b>Thoughts</b>: Zinnemann is a damn fine director, but this absolutely should have gone to Mike Nichols. I don’t think the Academy knew what they had.<br />
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<b><span style="font-size: large;">1967 – Mike Nichols – The Graduate</span></b></div>
<b>Nominees</b>: Richard Brooks (<i>In Cold Blood</i>), Norman Jewison (<i>In the Heat of the Night</i>), Stanley Kramer (<i>Guess Who’s Coming to Dinner</i>), Arthur Penn (<i>Bonnie and Clyde</i>)<br />
<b>Thoughts</b>: It’s crazy that Brooks, Jewison, Kramer, and Penn never won an Oscar for Best Director (they were each nominated three times), and they likely all came close here, but this belongs to Nichols. Not only was it a make-up for last year, but it was damn well deserved for <i>The Graduate </i>alone.<br />
<b>Fun Fact</b>: As of 2020, Nichols’ win marks the last time a film won the Best Director Oscar, and nothing else.<br />
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<b><span style="font-size: large;">1968 – Carol Reed – Oliver!</span></b></div>
<b>Nominees</b>: Anthony Harvey (<i>The Lion in Winter</i>), Stanley Kubrick<span style="white-space: pre;"> </span>(<i>2001: A Space Odyssey</i>), Gillo Pontecorvo (<i>The Battle of Algiers</i>), Franco Zeffirelli (<i>Romeo and Juliet</i>)<br />
<b>Thoughts</b>: Without reservation, this award should have been Kubrick’s. However, <i>2001</i> still feels ahead of its time, so there’s no way the Academy was ready for it 52 years ago.<br />
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<b><span style="font-size: large;">1969 – John Schlesinger – Midnight Cowboy</span></b></div>
<b>Nominees</b>: Costa-Gavras (<i>Z</i>), George Roy Hill (<i>Butch Cassidy and the Sundance Kid</i>), Arthur Penn (<i>Alice’s Restaurant</i>), Sydney Pollack (<i>They Shoot Horses, Don’t They?</i>)<br />
<b>Thoughts</b>: Sneakily strong year, as Gavras, Hill, and Pollack all deserved it, but Schlesinger’s win was not only just, it was important.<br />
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<b><span style="font-size: large;">1970 – Franklin J. Schaffner – Patton</span></b></div>
<b>Nominees</b>: Robert Altman (<i>M*A*S*H</i>), Federico Fellini (<i>Fellini Satyricon</i>), Arthur Hiller (<i>Love Story</i>), Ken Russell (<i>Women in Love</i>)<br />
<b>Thoughts</b>: Altman could have won this, but I wonder if <i>M*A*S*H</i> was too disruptive for its time. Schaffner is the safe and more obvious choice for the Academy.<br />
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<b><span style="font-size: large;">1971 – William Friedkin – The French Connection</span></b></div>
<b>Nominees</b>: Peter Bogdanovich (<i>The Last Picture Show</i>), Norman Jewison (<i>Fiddler on the Roof</i>), Stanley Kubrick (<i>A Clockwork Orange</i>), John Schlesinger (<i>Sunday Bloody Sunday</i>)<br />
<b>Thoughts</b>: Now we’re stepping into the full potential that ‘70s American cinema had to offer. I <i>love</i> that Friedkin won this, but here’s a question for you: If Friedkin could only win one Best Director Oscar, would you give it to him for <i>The French Connection</i> or <i>The Exorcist</i>?<br />
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<b><span style="font-size: large;">1972 – Bob Fosse – Cabaret</span></b></div>
<b>Nominees</b>: John Boorman (<i>Deliverance</i>), Francis Ford Coppola (<i>The Godfather</i>), Joseph L. Mankiewicz (<i>Sleuth</i>), Jan Troell (<i>The Emigrants</i>)<br />
<b>Thoughts</b>: I know Fosse has some loyal supporters here, but I can’t give him this win. It’d be Coppola first, and Boorman a close second.<br />
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<b><span style="font-size: large;">1973 – George Roy Hill – The Sting</span></b></div>
<b>Nominees</b>: Ingmar Bergman (<i>Cries and Whispers</i>), Bernardo Bertolucci (<i>Last Tango in Paris</i>), William Friedkin (<i>The Exorcist</i>), George Lucas (<i>American Graffiti</i>)<br />
<b>Thoughts</b>: This is one of the strongest years for the Best Director category. And here’s the thing, I really like <i>The Sting</i>, it holds up damn well. Yet Hill would be my last pick here. My order: Bergman, Friedkin, Bertolucci, Lucas, then Hill. And again, <i>not</i> intended as a dig against <i>The Sting</i>.<br />
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<b><span style="font-size: large;">1974 – Francis Ford Coppola – The Godfather: Part II</span></b></div>
<b>Nominees</b>: John Cassavetes (<i>A Woman Under the Influence</i>), Bob Fosse (<i>Lenny</i>), Roman Polanski (<i>Chinatown</i>), François Truffaut (<i>Day for Night</i>)<br />
<b>Thoughts</b>: Arguably a stronger year than 1973. Insane competition here. Coppola, Cassavetes, Polanski, and Truffaut all made films that are indelible to me. I think Coppola’s win is more than fair, but I wouldn’t have complained if any four of them won.<br />
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<b><span style="font-size: large;">1975 – Miloš Forman – One Flew Over the Cuckoo’s Nest</span></b></div>
<b>Nominees</b>: Robert Altman (<i>Nashville</i>), Federico Fellini (<i>Amarcord</i>), Stanley Kubrick (<i>Barry Lyndon</i>), Sidney Lumet (<i>Dog Day Afternoon</i>)<br />
<b>Thoughts</b>: Wow. <i>Cuckoo’s Nest </i>vs. <i>Dog Day</i> is a battle I’ve been waging for a long time, in Picture, Director, and Actor. Lumet needed a Best Director Oscar, and it would have been appropriate here, but I can’t rob <i>Cuckoo’s Nest</i> of its Big Five wins. (And that isn’t even taking Altman, Fellini, and Kubrick’s amazing work into account.)<br />
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<b><span style="font-size: large;">1976 – John G. Avildsen – Rocky</span></b></div>
<b>Nominees</b>: Ingmar Bergman (<i>Face to Face</i>), Sidney Lumet (<i>Network</i>), Alan J. Pakula (<i>All the President’s Men</i>), Lina Wertmüller (<i>Seven Beauties</i>)<br />
<b>Thoughts</b>: Martin Scorsese, <i>Taxi Driver</i>. Ohh right, he wasn’t even nominated. This is Lumet’s win, with Pakula second.<br />
<b>Fun Fact</b>: Lina Wertmüller became the first woman nominated for Best Director, which wouldn’t happen again for 17 years.<br />
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<b><span style="font-size: large;">1977 – Woody Allen – Annie Hall</span></b></div>
<b>Nominees</b>: George Lucas (<i>Star Wars</i>), Herbert Ross (<i>The Turning Point</i>), Steven Spielberg (<i>Close Encounters of the Third Kind</i>), Fred Zinnemann (<i>Julia</i>)<br />
<b>Thoughts</b>: I know many people would choose Lucas here, but Spielberg would get my vote. Though John Badham should be here for directing <i>Saturday Night Fever</i>.<br />
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<b><span style="font-size: large;">1978 – Michael Cimino – The Deer Hunter</span></b></div>
<b>Nominees</b>: Woody Allen (<i>Interiors</i>), Hal Ashby (<i>Coming Home</i>), Warren Beatty & Buck Henry (<i>Heaven Can Wait</i>), Alan Parker (<i>Midnight Express</i>)<br />
<b>Thoughts</b>: Definitely the right call, as Cimino’s work remains a towering war masterpiece. Odd that this was Ashby’s only nomination for Best Director. He should’ve been here at least two other times (for <i>Shampoo</i> and <i>Being There</i>, perhaps).<br />
<b>Fun Fact</b>: Warren Beatty was the first person to earn acting, directing, producing, and screenwriting nominations for the same film.<br />
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<b><span style="font-size: large;">1979 – Robert Benton – Kramer vs. Kramer</span></b></div>
<b>Nominees</b>: Francis Ford Coppola (<i>Apocalypse Now</i>), Bob Fosse (<i>All That Jazz</i>), Édouard Molinaro (<i>La Cage aux Folles</i>), Peter Yates (<i>Breaking Away</i>)<br />
<b>Thoughts</b>: <i>Kramer vs. Kramer</i> is a fine film, but its direction is nowhere near as accomplished as <i>Apocalypse Now</i>. Or <i>All That Jazz</i>, frankly.<br />
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<b><span style="font-size: large;">1980 – Robert Redford – Ordinary People</span></b></div>
<b>Nominees</b>: David Lynch (<i>The Elephant Man</i>), Roman Polanski (<i>Tess</i>), Richard Rush (<i>The Stunt Man</i>), Martin Scorsese (<i>Raging Bull</i>)<br />
<b>Thoughts</b>: While this remains one of most glaring mistakes in Oscar history (nearly as bad as what happened 10 years later), I do think it’s important to note that <i>Ordinary People</i> is a really good movie. It’s well made, impeccably written, and perfectly acted. It’s just no <i>Raging Bull</i>.<br />
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<b><span style="font-size: large;">1981 – Warren Beatty – Reds</span></b></div>
<b>Nominees</b>: Hugh Hudson (<i>Chariots of Fire</i>), Louis Malle (<i>Atlantic City</i>), Mark Rydell (<i>On Golden Pond</i>), Steven Spielberg (<i>Raiders of the Lost Ark</i>)<br />
<b>Thoughts</b>: I know this won’t make me any friends, but I think Beatty’s win was a just one. It feels right that Warren Beatty has a Best Director Oscar.<br />
<b>Fun Fact</b>: Before 2009, there are only five years in Oscar history when the Best Director and Best Picture nominees were the same: 1957, 1964, 1981, 2005, and 2008. (In 2009, the Academy began allowing up to 10 Best Picture nominees, making this feat easier to accomplish.)<br />
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<b><span style="font-size: large;">1982 – Richard Attenborough – Gandhi</span></b></div>
<b>Nominees</b>: Sidney Lumet (<i>The Verdict</i>), Wolfgang Petersen (<i>Das Boot</i>), Sydney Pollack (<i>Tootsie</i>), Steven Spielberg (<i>E.T. the Extra-Terrestrial</i>)<br />
<b>Thoughts</b>: <i>Gandhi</i> is the type of big sweeping epic the Oscars love to award, so it’s no surprise that Attenborough took this. But my vote would’ve been for Spielberg, followed by Petersen, and Lumet.<br />
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<b><span style="font-size: large;">1983 – James L. Brooks – Terms of Endearment</span></b></div>
<b>Nominees</b>: Bruce Beresford (<i>Tender Mercies</i>), Ingmar Bergman (<i>Fanny and Alexander</i>), Mike Nichols (<i>Silkwood</i>), Peter Yates (<i>The Dresser</i>)<br />
<b>Thoughts</b>: This would have <i>never</i> happened in 1983, but how lovely it would have been for Ingmar Bergman to win this, for one of the best-directed films I’ve ever seen.<br />
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<b><span style="font-size: large;">1984 – Miloš Forman – Amadeus</span></b></div>
<b>Nominees</b>: Woody Allen (<i>Broadway Danny Rose</i>), Robert Benton (<i>Places in the Heart</i>), Roland Joffé (<i>The Killing Fields</i>), David Lean (<i>A Passage to India</i>)<br />
<b>Thoughts</b>: <i>Amadeus</i> is such an audacious achievement; I rewatched it a few weeks ago and that thing is so unapologetically unconventional. Forman rewrote history and worked on every level.<br />
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<b><span style="font-size: large;">1985 – Sydney Pollack – Out of Africa</span></b></div>
<b>Nominees</b>: Héctor Babenco (<i>Kiss of the Spider Woman</i>), John Huston (<i>Prizzi’s Honor</i>), Akira Kurosawa (<i>Ran</i>), Peter Weir (<i>Witness</i>)<br />
<b>Thoughts</b>: Again, seeing how foreign-born nominees are rarely awarded Best Director, it’s no surprise that Kurosawa didn’t win here, but he really should have. I adore Sydney Pollack, but <i>Out of Africa</i> is one of his most forgettable films.<br />
<b>Fun Fact</b>: Huston was 79 when he was nominated here, making him the oldest Best Director nominee ever.<br />
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<b><span style="font-size: large;">1986 – Oliver Stone – Platoon</span></b></div>
<b>Nominees</b>: Woody Allen (<i>Hannah and Her Sisters</i>), James Ivory (<i>A Room with a View</i>), Roland Joffé (<i>The Mission</i>), David Lynch (<i>Blue Velvet</i>)<br />
<b>Thoughts</b>: I love <i>Blue Velvet</i>, but the Academy made the right call in awarding Stone for his autobiographical, eye-opening war film. However, a Rob Reiner nomination for <i>Stand By Me</i> should be here.<br />
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<b><span style="font-size: large;">1987 – Bernardo Bertolucci – The Last Emperor</span></b></div>
<b>Nominees</b>: John Boorman (<i>Hope and Glory</i>), Lasse Hallström (<i>My Life as a Dog</i>), Norman Jewison (<i>Moonstruck</i>), Adrian Lyne (<i>Fatal Attraction</i>)<br />
<b>Thoughts</b>: Pretty weak year. It would have been nice to see any of the following: James L. Brooks (<i>Broadcast News</i>), Brian De Palma (<i>The Untouchables</i>), Stanley Kubrick (<i>Full Metal Jacket</i>), Rob Reiner (<i>The Princess Bride</i>), and/or Joel Coen (<i>Raising Arizona</i>), but oh well.<br />
<b>Fun Fact</b>: This is the first and only time all of the Best Director nominees were foreign-born.<br />
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<b><span style="font-size: large;">1988 – Barry Levinson – Rain Man</span></b></div>
<b>Nominees</b>: Charles Crichton (<i>A Fish Called Wanda</i>), Mike Nichols<span style="white-space: pre;"> </span>(<i>Working Girl</i>), Alan Parker (<i>Mississippi Burning</i>), Martin Scorsese (<i>The Last Temptation of Christ</i>)<br />
<b>Thoughts</b>: The genre movie fun of 1988 certainly wasn’t reflected here (this was the year of D<i>ie Hard</i>, <i>Bull Durham</i>, <i>Big</i>, <i>Midnight Run</i>, and <i>Beetlejuice</i>, to name a few), but Levinson’s win is a fair one. I would’ve given it to Scorsese, but his nomination was his consolation prize.<br />
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<b><span style="font-size: large;">1989 – Oliver Stone – Born on the Fourth of July</span></b></div>
<b>Nominees</b>: Woody Allen (<i>Crimes and Misdemeanors</i>), Kenneth Branagh (<i>Henry V</i>), Jim Sheridan (<i>My Left Foot</i>), Peter Weir (<i>Dead Poets Society</i>)<br />
<b>Thoughts</b>: Of the nominees, I’m fine with Stone winning his second in four years. But there is a very glaring omission here, and that is Spike Lee’s direction for <i>Do the Right Thing</i>. The fact that he isn’t here has aged very poorly.<br />
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<b><span style="font-size: large;">1990 – Kevin Costner – Dances with Wolves</span></b></div>
<b>Nominees</b>: Francis Ford Coppola (<i>The Godfather: Part III</i>), Stephen Frears (<i>The Grifters</i>), Barbet Schroeder (<i>Reversal of Fortune</i>), Martin Scorsese (<i>Goodfellas</i>)<br />
<b>Thoughts</b>: In one of the most stunning upsets in Oscar history, Scorsese was beaten yet again by an actor-turned-director who made an inferior film. With full context, I understand why <i>Wolves</i> won Best Picture, but it’ll never make sense that Scorsese lost here.<br />
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<b><span style="font-size: large;">1991 – Jonathan Demme – The Silence of the Lambs</span></b></div>
<b>Nominees</b>: Barry Levinson (<i>Bugsy</i>), Ridley Scott (<i>Thelma & Louise</i>), John Singleton (B<i>oyz n the Hood</i>), Oliver Stone (<i>JFK</i>)<br />
<b>Thoughts</b>: This is one of the strongest years the Best Director race has ever seen. Each film is directed to near perfection within their respective genre; an argument could be made for any of the directors to win. <i>Boyz n the Hood </i>is my favorite film here, but <i>JFK</i> may be the best-directed film on this list. But does Stone need a third Oscar? Why not Scott, who doesn’t have any? But then we rob <i>Lambs</i> of its distinct Big Five honor (winning Best Picture, Director, Actress, Actress, and Screenplay). I’m fine with Demme winning, he directed a film that remains the highbrow of its genre.<br />
<b>Fun Facts</b>: (1) John Singleton was the first black person to be nominated for Best Director (which wouldn’t happen again until 2009), and remains the youngest nominee, at 24 years old. (2) <i>The Silence of Lambs</i> was the first Best Picture to be released on home video before it won Best Picture.<br />
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<b><span style="font-size: large;">1992 – Clint Eastwood – Unforgiven</span></b></div>
<b>Nominees</b>: Robert Altman (<i>The Player</i>), Martin Brest (<i>Scent of a Woman</i>), James Ivory (<i>Howards End</i>), Neil Jordan (<i>The Crying Game</i>)<br />
<b>Thoughts</b>: Both Eastwood and Altman’s films were comebacks for their directors, and <i>Unforgiven</i> still really holds up, I think Altman should have won here (especially if we know that Clint would win later). But my real wish list vote would be Spike Lee, <i>Malcolm X</i>.<br />
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<b><span style="font-size: large;">1993 – Steven Spielberg – Schindler’s List</span></b></div>
<b>Nominees</b>: Robert Altman (<i>Short Cuts</i>), Jane Campion (<i>The Piano</i>), James Ivory (<i>The Remains of the Day</i>), Jim Sheridan (<i>In the Name of the Father</i>)<br />
<b>Thoughts</b>: I adore <i>In the Name of the Father</i>, but this was always Spielberg’s.<br />
<b>Fun Fact</b>: Spielberg holds the record for directing the most Oscar wins for multiple films in the same year, after <i>Schindler’s List</i> won seven, and <i>Jurassic Park</i> won three.<br />
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<b><span style="font-size: large;">1994 – Robert Zemeckis – Forrest Gump</span></b></div>
<b>Nominees</b>: Woody Allen (<i>Bullets over Broadway</i>), Krzysztof Kieślowski (<i>Three Colours: Red</i>), Robert Redford (<i>Quiz Show</i>), Quentin Tarantino (<i>Pulp Fiction</i>)<br />
<b>Thoughts</b>: <i>Forrest Gump</i> has always been a fun rewatchable, but <i>Pulp Fiction</i> changed cinema. This absolutely should have been Tarantino’s.<br />
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<b><span style="font-size: large;">1995 – Mel Gibson – Braveheart</span></b></div>
<b>Nominees</b>: Mike Figgis (<i>Leaving Las Vegas</i>), Chris Noonan (<i>Babe</i>), Michael Radford (<i>Il Postino: The Postman</i>), Tim Robbins<span style="white-space: pre;"> </span>(<i>Dead Man Walking</i>)<br />
<b>Thoughts</b>: I’ve never gone all-in on <i>Braveheart</i>. It’s certainly well-directed, but I prefer Ron Howard’s direction of <i>Apollo 13</i>, which wasn’t even nominated. Another wish list nominee: Martin Scorsese for <i>Casino</i>. Of the nominees, Figgis made my favorite film, but Gibson is the safe choice.<br />
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<b><span style="font-size: large;">1996 – Anthony Minghella – The English Patient</span></b></div>
<b>Nominees</b>: Joel Coen (<i>Fargo</i>), Miloš Forman<span style="white-space: pre;"> </span>(<i>The People vs. Larry Flynt</i>), Scott Hicks (<i>Shine</i>), Mike Leigh (<i>Secrets & Lies</i>)<br />
<b>Thoughts</b>: Similar to <i>Braveheart</i>, it’s easy to see why the Academy awarded <i>The English Patient </i>so highly. But <i>Fargo</i> is such a tightly directed film, I can’t imagine anyone being mad if it won Picture or Director.<br />
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<b><span style="font-size: large;">1997 – James Cameron – Titanic</span></b></div>
<b>Nominees</b>: Peter Cattaneo (<i>The Full Monty</i>), Atom Egoyan<span style="white-space: pre;"> </span>(<i>The Sweet Hereafter</i>), Curtis Hanson (<i>L.A. Confidential</i>), Gus Van Sant (<i>Good Will Hunting</i>)<br />
<b>Thoughts</b>: This was the year I really started paying attention to the Oscars, seeing as many of the nominees as possible, and handicapping the winners as best I could. I can promise you that during the 1997 Oscar season, no name was remotely considered to win this award unless that name was James Cameron.<br />
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<b><span style="font-size: large;">1998 – Steven Spielberg – Saving Private Ryan</span></b></div>
<b>Nominees</b>: Roberto Benigni (<i>Life Is Beautiful</i>), John Madden (<i>Shakespeare in Love</i>), Terrence Malick<span style="white-space: pre;"> </span>(<i>The Thin Red Line</i>), Peter Weir (<i>The Truman Show</i>)<br />
<b>Thoughts</b>: Malick would have received my vote, but similar to Cameron the year before, no one was winning this over Spielberg.<br />
<b>Fun Fact</b>: Benigni became the second director to direct himself to a Best Actor win (following Laurence Olivier for <i>Hamlet</i> in 1948).<br />
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<b><span style="font-size: large;">1999 – Sam Mendes – American Beauty</span></b></div>
<b>Nominees</b>: Lasse Hallström (<i>The Cider House Rules</i>), Spike Jonze<span style="white-space: pre;"> </span>(<i>Being John Malkovich</i>), Michael Mann<span style="white-space: pre;"> </span>(<i>The Insider</i>), M. Night Shyamalan (<i>The Sixth Sense</i>)<br />
<b>Thoughts</b>: Such a fun group of nominees, one that underscores how influential 1999 was for movies. Jonze would have been a fun winner, but <i>The Insider</i> is the best-directed film here. The older I get, the better it gets.<br />
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<b><span style="font-size: large;">2000 – Steven Soderbergh – Traffic</span></b></div>
<b>Nominees</b>: Stephen Daldry (<i>Billy Elliot</i>), Ang Lee (<i>Crouching Tiger, Hidden Dragon</i>), Ridley Scott (<i>Gladiator</i>), Steven Soderbergh<span style="white-space: pre;"> </span>(<i>Erin Brockovich</i>)<br />
<b>Thoughts</b>: I remember this race so vividly; it was so fun to track. Soderbergh’s double nominations, Lee’s runaway hit (that movie was <i>everywhere</i>), Scott’s presumed overdue win. Technically speaking, <i>Traffic</i> is one of the least traditional films to win this award, and I credit the Academy for awarding an experimental film so highly.<br />
<b>Fun Facts</b>: (1) Soderbergh is only the third director to receive multiple nominations for Best Director in the same year, after Frank Lloyd in 1928/1929, and Michael Curtiz in 1938. (2) Four people won Oscars for <i>Traffic</i>, their first names are: Steven, Stephen, Stephen, and Benicio.<br />
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<b><span style="font-size: large;">2001 – Ron Howard – A Beautiful Mind</span></b></div>
<b>Nominees</b>: Robert Altman (<i>Gosford Park</i>), Peter Jackson (<i>The Lord of the Rings: The Fellowship of the Ring</i>), David Lynch (<i>Mulholland Drive</i>), Ridley Scott (<i>Black Hawk Down</i>)<br />
<b>Thoughts</b>: <i>A Beautiful Mind</i> winning Best Picture was a lock, but this race was a little bit open. Lynch would’ve gotten my vote, but many thought Scott and Altman were overdue and could win. Ultimately, it was no major surprise when Howard took it.<br />
<b>Fun Fact</b>: It’s very rare that a film’s only Oscar nomination is for Best Director. It’s only happened 13 times in Academy history, and Lynch is the only person that it’s happened to twice (with <i>Blue Velvet</i> in 1986, and <i>Mulholland Drive</i> here).<br />
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<b><span style="font-size: large;">2002 – Roman Polanski – The Pianist</span></b></div>
<b>Nominees</b>: Pedro Almodóvar (<i>Talk to Her</i>), Stephen Daldry (<i>The Hours</i>), Rob Marshall (<i>Chicago</i>), Martin Scorsese (<i>Gangs of New York</i>)<br />
<b>Thoughts</b>: <i>The Pianist </i>was not predicted to win any major awards, and it was so crazy to watch it quickly nab Adapted Screenplay, Actor, and Director late on Oscar night. Those wins (particularly Adrien Brody and Polanski’s) remain two of the biggest Oscar surprises I’ve ever seen.<br />
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<b><span style="font-size: large;">2003 – Peter Jackson – The Lord of the Rings: The Return of the King</span></b></div>
<b>Nominees</b>: Sofia Coppola (<i>Lost in Translation</i>), Clint Eastwood (<i>Mystic River</i>), Fernando Meirelles (<i>City of God</i>), Peter Weir (<i>Master and Commander: The Far Side of the World</i>)<br />
<b>Thoughts</b>: I was high on the <i>Mystic River </i>train at the time, but today, I think Meirelles’ film is the best-directed one here.<br />
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<b><span style="font-size: large;">2004 – Clint Eastwood – Million Dollar Baby</span></b></div>
<b>Nominees</b>: Taylor Hackford (<i>Ray</i>), Mike Leigh (<i>Vera Drake</i>), Alexander Payne (<i>Sideways</i>), Martin Scorsese (<i>The Aviator</i>)<br />
<b>Thoughts</b>: This was a fun Clint vs. Marty race early on, but by the time Oscar night rolled around, it was assumed Eastwood would win. Smart call.<br />
<b>Fun Fact</b>: At 74 years old, ole Clint became the oldest director to ever win this prize.<br />
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<b><span style="font-size: large;">2005 – Ang Lee – Brokeback Mountain</span></b></div>
<b>Nominees</b>: George Clooney (<i>Good Night, and Good Luck</i>), Paul Haggis (<i>Crash</i>), Bennett Miller (<i>Capote</i>), Steven Spielberg (<i>Munich</i>)<br />
<b>Thoughts</b>: I cannot overstate this enough, in late 2005/early 2006, it was a certainly that Ang Lee would win Best Director, and <i>Brokeback Mountain</i> would win Best Picture. No one even talked about these races, because they were so easy to predict. Lee winning made perfect sense. His film losing Best Picture still does not.<br />
<b>Fun Fact</b>: With this win, Ang Lee became the first non-white Best Director winner.<br />
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<b><span style="font-size: large;">2006 – Martin Scorsese – The Departed</span></b></div>
<b>Nominees</b>: Clint Eastwood (<i>Letters from Iwo Jima</i>), Stephen Frears (<i>The Queen</i>), Paul Greengrass (<i>United 93</i>), Alejandro G. Iñárritu (<i>Babel</i>)<br />
<b>Thoughts</b>: This actually isn’t that black or white for me. I think <i>United 93</i> and <i>Babel</i> are better-directed films than <i>The Departed</i>, but I obviously wouldn’t want to rob Scorsese of his only Oscar. <i>However</i>, Scorsese should’ve had at least two Best Director wins by this point. So, in this zany world of Oscar hypotheticals, if Scorsese had won before, I would have given this to Greengrass. But since Scorsese hadn’t won yet, I’m completely fine with this going to Marty.<br />
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<b><span style="font-size: large;">2007 – Joel and Ethan Coen – No Country for Old Men</span></b></div>
<b>Nominees</b>: Paul Thomas Anderson (<i>There Will Be Blood</i>), Tony Gilroy (<i>Michael Clayton</i>), Jason Reitman<span style="white-space: pre;"> </span>(<i>Juno</i>), Julian Schnabel (<i>The Diving Bell and the Butterfly</i>)<br />
<b>Thoughts</b>: Great race in a great movie year. I can’t complain about the Coen brothers winning, but I do wish the wealth was spread a little bit. <i>No Country</i> and <i>There Will Be Blood</i> faced off for several Oscars, including Adapted Screenplay, Director, and Best Picture. <i>No Country</i> won all of those, but <i>There Will Be Blood</i> was equally, if not more, deserving to win at least one.<br />
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<b><span style="font-size: large;">2008 – Danny Boyle – Slumdog Millionaire</span></b></div>
<b>Nominees</b>: Stephen Daldry (<i>The Reader</i>), David Fincher (<i>The Curious Case of Benjamin Button</i>), Ron Howard (<i>Frost/Nixon</i>), Gus Van Sant (<i>Milk</i>)<br />
<b>Thoughts</b>: This was a weak category in a dull movie year. My winner would have been Darren Aronofsky for <i>The Wrestler</i>, but he wasn’t even nominated. And although Fincher and Van Sant’s works were adored, Boyle was a lock here. I’m okay with it, even if I haven’t seen <i>Slumdog</i> since theaters.<br />
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<b><span style="font-size: large;">2009 – Kathryn Bigelow – The Hurt Locker</span></b></div>
<b>Nominees</b>: James Cameron (<i>Avatar</i>), Lee Daniels (<i>Precious</i>), Jason Reitman (<i>Up in the Air</i>), Quentin Tarantino (<i>Inglourious Basterds</i>)<br />
<b>Thoughts</b>: It would have aged very poorly if Cameron won this, as many thought he would. Bigelow’s win was overdue for a few reasons; no argument at all from me about her win.<br />
<b>Fun Fact</b>: Bigelow remains the only female to win this award. She’s only one of five women who have ever even been nominated. That’s insane.<br />
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<b><span style="font-size: large;">2010 – Tom Hooper – The King’s Speech</span></b></div>
<b>Nominees</b>: Darren Aronofsky<span style="white-space: pre;"> </span>(<i>Black Swan</i>), Joel Coen and Ethan Coen (<i>True Grit</i>), David Fincher (<i>The Social Network</i>), David O. Russell (<i>The Fighter</i>)<br />
<b>Thoughts</b>: The biggest Best Director mistake since Costner/Scorsese in 1990. I’m not surprised that <i>The King’s Speech</i> won Best Picture, but it remains unfathomable to me that thousands of people thought <i>The King’s Speech</i> was a better-directed movie than <i>The Social Network</i>. This remains a seriously disappointing blunder.<br />
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<b><span style="font-size: large;">2011 – Michel Hazanavicius – The Artist</span></b></div>
<b>Nominees</b>: Woody Allen (<i>Midnight in Paris</i>), Terrence Malick (<i>The Tree of Life</i>), Alexander Payne (<i>The Descendants</i>), Martin Scorsese (<i>Hugo</i>)<br />
<b>Thoughts</b>: As soon as <i>The Artist</i> premiered at the Cannes Film Festival in May 2011, I assumed it would win Best Picture and Director. This movie was <i>made</i> to please the conventional Oscar voter. I’m not hating on <i>The Artist</i>, but it ain’t no <i>Tree of Life</i>.<br />
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<b><span style="font-size: large;">2012 – Ang Lee – Life of Pi</span></b></div>
<b>Nominees</b>: Michael Haneke (<i>Amour</i>), David O. Russell (<i>Silver Linings Playbook</i>), Steven Spielberg (<i>Lincoln</i>), Benh Zeitlin (<i>Beasts of the Southern Wild</i>)<br />
<b>Thoughts</b>: Weak showing in a mediocre year. In my world, Haneke would be the only nominee here, the others perhaps replaced by Paul Thomas Anderson (<i>The Master</i>), Jacques Audiard (<i>Rust and Bone</i>), Kathryn Bigelow (<i>Zero Dark Thirty</i>), and Quentin Tarantino (<i>Django Unchained</i>).<br />
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<b><span style="font-size: large;">2013 – Alfonso Cuarón – Gravity</span></b></div>
<b>Nominees</b>: Steve McQueen (<i>12 Years a Slave</i>), Alexander Payne (<i>Nebraska</i>), David O. Russell (<i>American Hustle</i>), Martin Scorsese (<i>The Wolf of Wall Street</i>)<br />
<b>Thoughts</b>: I would’ve voted for McQueen or Scorsese over Cuarón, but I have no objection to Cuarón winning.<br />
<b>Fun Fact</b>: Alfonso Cuarón was the first Mexican-born filmmaker to win Best Director.<br />
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<b><span style="font-size: large;">2014 – Alejandro G. Iñárritu – Birdman</span></b></div>
<b>Nominees</b>: Wes Anderson (<i>The Grand Budapest Hotel</i>), Richard Linklater (<i>Boyhood</i>), Bennett Miller (<i>Foxcatcher</i>), Morten Tyldum (<i>The Imitation Game</i>)<br />
<b>Thoughts</b>: Similar to the <i>No Country</i> vs. <i>There Will Be Blood</i> matchups in 2007, I would have preferred that <i>Boyhood</i> win either Best Original Screenplay, Picture, or particularly Director, over <i>Birdman</i>, but I’m not mad at Iñárritu’s achievements.<br />
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<b><span style="font-size: large;">2015 – Alejandro G. Iñárritu – The Revenant</span></b></div>
<b>Nominees</b>: Lenny Abrahamson (<i>Room</i>), Tom McCarthy (<i>Spotlight</i>), Adam McKay (<i>The Big Short</i>), George Miller (<i>Mad Max: Fury Road</i>)<br />
<b>Thoughts</b>: No issue here. But Iñárritu’s second win really makes me wish Linklater had won the year before.<br />
<b>Fun Fact</b>: Iñárritu became the first director in 65 years (and only the third director overall) to win back-to-back Best Director Oscars.<br />
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<b><span style="font-size: large;">2016 – Damien Chazelle – La La Land</span></b></div>
<b>Nominees</b>: Mel Gibson (<i>Hacksaw Ridge</i>), Barry Jenkins (<i>Moonlight</i>), Kenneth Lonergan (<i>Manchester by the Sea</i>), Denis Villeneuve (<i>Arrival</i>)<br />
<b>Thoughts</b>: It’s still bizarre to see Mel Gibson here, given that he was one of the most controversial figures in Hollywood for nearly 15 years prior. Chazelle would have received my vote, followed by Villeneuve.<br />
<b>Fun Fact</b>: At 32 years and 39 days old, Damien Chazelle became the youngest Best Director winner, knocking out Norman Taurog, who was 32 years and 260 days old when he won for directing <i>Skippy</i>.<br />
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<b><span style="font-size: large;">2017 – Guillermo del Toro – The Shape of Water</span></b></div>
<b>Nominees</b>: Paul Thomas Anderson (<i>Phantom Thread</i>), Greta Gerwig (<i>Lady Bird</i>), Christopher Nolan (<i>Dunkirk</i>), Jordan Peele (<i>Get Out</i>)<br />
<b>Thoughts</b>: You aren’t going to hear any objection from me concerning the Mexican-born dominance of this category recently, but my heart is with Anderson and Nolan here.<br />
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<b><span style="font-size: large;">2018 – Alfonso Cuarón – Roma</span></b></div>
<b>Nominees</b>: Yorgos Lanthimos (<i>The Favourite</i>), Spike Lee (<i>BlacKkKlansman</i>), Adam McKay (<i>Vice</i>), Paweł Pawlikowski (<i>Cold War</i>)<br />
<b>Thoughts</b>: Poor showing for the year. I’m thrilled that Lee was finally nominated, but it was 30 years too late. Lanthimos would have gotten my vote, but the Academy would have never gone for it.<br />
<b>Fun Fact</b>: Alfonso Cuarón is the only person to win Oscars for Best Director and Best Cinematography, let alone in the same year, for the same film.<br />
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<b><span style="font-size: large;">2019 – Bong Joon–ho – Parasite</span></b></div>
<b>Nominees</b>: Sam Mendes (<i>1917</i>), Todd Phillips (<i>Joker</i>), Martin Scorsese (<i>The Irishman</i>), Quentin Tarantino (<i>Once Upon a Time in Hollywood</i>)<br />
<b>Thoughts</b>: What a strong year. Tarantino should have a Best Director Oscar, and it would’ve been great to see Scorsese win for his passion project, but holy hell did I scream with joy with Joon-ho won. No objection whatsoever.<br />
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<u><span style="font-size: large;">More Oscar Breakdowns</span></u>
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<span style="font-size: large;"><a href="https://www.andsoitbeginsfilms.com/2020/04/oscars-breakdown-best-picture.html">Best Picture</a></span><br />
<span style="font-size: large;"><a href="https://www.andsoitbeginsfilms.com/2020/04/oscars-breakdown-best-director.html">Best Director</a></span></div>
<div style="text-align: center;"><a href="https://www.andsoitbeginsfilms.com/2020/06/oscars-breakdown-best-actress.html" style="font-size: large;">Best Actress</a></div>
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<span style="font-size: large;"><a href="https://www.andsoitbeginsfilms.com/2020/07/oscars-breakdown-best-actor.html">Best Actor</a></span></div>
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<span style="font-size: large;">Best Supporting Actress (coming soon)</span></div>
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<span style="font-size: large;">Best Supporting Actor (coming soon)</span></div>
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<span style="font-size: large;">Best Original Screenplay (coming soon)</span></div>
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<span style="font-size: large;">Best Adapted Screenplay (coming soon)</span></div>
<br />Alex Withrowhttp://www.blogger.com/profile/15887018476048271594noreply@blogger.com12tag:blogger.com,1999:blog-4784665635104956142.post-63997900151355901222020-04-22T16:47:00.002-04:002022-03-01T12:19:51.378-05:00Oscars Breakdown: Best Picture<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.andsoitbeginsfilms.com/2020/04/oscars-breakdown-best-picture.html" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIqt9enwHTMUkKWZJ2-dAvdylQfBe4iWEvLpyxL4JrPSOVmGASHOSsmdDcwNRiRkuDeOuIHUKcYPxnff3qA47bmcSsMWDKY_9Altl7yuRWh6Ud3KrOOhobbMUHmtLWnWcKn6jCnc26Ozjh/s640/Best+PICTURE+Oscar.jpg" width="640" /></a></div>
I’m been making use of my COVID-19 quarantine the best way I know how, by watching a ton of movies and writing about them.<br />
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When I was a teenager, I watched every movie that won the Oscar for Best Picture, and when the pandemic hit, I figured I’d try to watch as many additional Oscar movies as possible, just for the hell. Below are thoughts on every Best Picture winner, along with tons of fun trivia. Other category breakdowns will follow soon!<br />
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<b><span style="font-size: large;">1927/1928 – Wings</span></b></div>
<b>Nominees</b>: <i>The Racket</i>, <i>Seventh Heaven</i><br />
<b>Thoughts</b>: <i>Wings</i> is an impressive achievement, and it makes sense that it’s the first Best Picture winner. <i>Two Arabian Knights</i> should’ve been nominated, but oh well.<br />
<b>Fun Fact</b>: The first Academy Awards took place on May 16, 1929, at the Hollywood Roosevelt Hotel in Los Angeles. Tickets to the event cost $5, and the ceremony lasted 15 minutes.<br />
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<b><span style="font-size: large;">1928/1929 – The Broadway Melody</span></b></div>
<b>Nominees</b>: <i>Alibi, The Hollywood Revue of 1929</i>, <i>In Old Arizona</i>, <i>The Patriot</i><br />
<b>Thoughts</b>: <i>The Divine Lady</i>, which won Best Director this year, is better than <i>The Broadway Melody</i>, but it wasn’t even nominated.<br />
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<b><span style="font-size: large;">1929/1930 – All Quiet on the Western Front</span></b></div>
<b>Nominees</b>: <i>The Big House</i>, <i>Disraeli</i>, <i>The Divorcee</i>, <i>The Love Parade</i><br />
<b>Thoughts</b>: Definitely the right call here. <i>All Quiet on the Western Front</i> is an incredible achievement for its time. See it if you can.<br />
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<b><span style="font-size: large;">1930/1931 – Cimarron</span></b></div>
<b>Nominees</b>: <i>East Lynne</i>, <i>The Front Page</i>, <i>Skippy</i>, <i>Trader Horn</i><br />
<b>Fun Fact</b>: <i>Cimarron</i> was the last western to win Best Picture until <i>Unforgiven</i> in 1992.<br />
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<b><span style="font-size: large;">1931/1932 – Grand Hotel</span></b></div>
<b>Nominees</b>: <i>Arrowsmith, Bad Girl, The Champ, Five Star Final, One Hour with You, Shanghai Express, The Smiling Lieutenant</i><br />
<b>Thoughts</b>: <i>Bad Girl </i>is a fun movie (it won Best Director), but the winner should have been <i>The Champ</i>. The last five minutes of that movie still hit so hard.<br />
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<b><span style="font-size: large;">1932/1933 – Cavalcade</span></b></div>
<b>Nominees</b>: <i>A Farewell to Arms, 42nd Street, I Am a Fugitive from a Chain Gang, Lady for a Day, Little Women, The Private Life of Henry VIII, She Done Him Wrong, Smilin’ Through, State Fair</i><br />
<b>Thoughts</b>: Pretty weak year. Of the nominees, <i>The Private Life of Henry VIII</i> is the best film I’ve seen (it ends with a great moment of Charles Laughton breaking the fourth wall). <i>Morning Glory</i>, which Katharine Hepburn won her first Oscar for, should’ve been nominated.<br />
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<b><span style="font-size: large;">1934 – It Happened One Night</span></b></div>
<b>Nominees</b>: <i>The Barretts of Wimpole Street, Cleopatra, Flirtation Walk, The Gay Divorcee, Here Comes the Navy, The House of Rothschild, Imitation of Life, One Night of Love, The Thin Man, Viva Villa!, The White Parade</i><br />
<b>Thoughts</b>: Yep, right call here. <i>It Happened One Night</i> is still my favorite Frank Capra film.<br />
<b>Fun Fact</b>: <i>In Happened One Night </i>was the first of three movies to win the Big Five Oscars (Best Picture, Best Director, Best Actor, Best Actress, and Best Screenplay). The others are <i>One Flew Over the Cuckoo’s Nest </i>(1975), and <i>The Silence of the Lambs</i> (1991). No film has done it for 28 years and running.<br />
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<b><span style="font-size: large;">1935 – Mutiny on the Bounty</span></b></div>
<b>Nominees</b>: <i>Alice Adams, Broadway Melody of 1936, Captain Blood, David Copperfield, The Informer, The Lives of a Bengal Lancer, A Midsummer Night’s Dream, Les Misérables, Naughty Marietta, Ruggles of Red Gap, Top Hat</i><br />
<b>Thoughts</b>: I’m not surprised the Academy awarded the large scope of <i>Mutiny on the Bounty</i>, but I prefer <i>The Informer </i>and <i>Top Hat.</i><br />
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<b><span style="font-size: large;">1936 – The Great Ziegfeld</span></b></div>
<b>Nominees</b>: <i>Anthony Adverse, Dodsworth, Libeled Lady, Mr. Deeds Goes to Town, Romeo and Juliet, San Francisco, The Story of Louis Pasteur, A Tale of Two Cities, Three Smart Girls</i><br />
<b>Thoughts</b>: I like <i>Mr. Deeds Goes to Town</i> (which won Frank Capra his second Oscar for Best Director) but the Academy has always been fond of large scope movies like <i>The Great Ziegfeld</i>.<br />
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<b><span style="font-size: large;">1937 – The Life of Emile Zola</span></b></div>
<b>Nominees</b>: <i>The Awful Truth, Captains Courageous, Dead End, The Good Earth, Lost Horizon, In Old Chicago, One Hundred Men and a Girl, Stage Door, A Star is Born</i><br />
<b>Thoughts</b>: It’s a bit hard to tell <i>The Life of Emile Zola</i> apart from the other 1930s Hollywood biopics; certainly, <i>The Awful Truth</i>, <i>In Old Chicago</i>, and the first <i>A Star is Born</i> are better films.<br />
<b>Fun Fact</b>: <i>A Star is Born</i> was the first color movie nominated for Best Picture.<br />
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<b><span style="font-size: large;">1938 – You Can’t Take It with You</span></b></div>
<b>Nominees</b>: <i>The Adventures of Robin Hood, Alexander’s Ragtime Band, Boys Town, The Citadel, Four Daughters, Grand Illusion, Jezebel, Pygmalion, Test Pilot</i><br />
<b>Thoughts</b>: By this point, Capra’s films had been awarded plenty. <i>Grand Illusion</i> would get my vote, followed by <i>Robin Hood</i>, and <i>Boys Town</i>, which features a charming performance from Spencer Tracy.<br />
<b>Fun Fact</b>: <i>Grand Illusion</i> was the first foreign-language film nominated for Best Picture.<br />
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<b><span style="font-size: large;">1939 – Gone with the Wind</span></b></div>
<b>Nominees</b>: <i>Dark Victory, Goodbye, Mr. Chips, Love Affair, Mr. Smith Goes to Washington, Ninotchka, Of Mice and Men, Stagecoach, The Wizard of Oz, Wuthering Heights</i><br />
<b>Thoughts</b>: One of the most influential years in movie history, appropriately capped by awarding one of the grandest films of all time.<br />
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<b><span style="font-size: large;">1940 – Rebecca</span></b></div>
<b>Nominees</b>: <i>All This, and Heaven Too, Foreign Correspondent, The Grapes of Wrath, The Great Dictator, Kitty Foyle, The Letter, The Long Voyage Home, Our Town, The Philadelphia Story</i><br />
<b>Thoughts</b>: Despite strong competition, <i>Rebecca</i> is the right call here. Shame it was the only Alfred Hitchcock film to win Best Picture.<br />
<b>Fun Fact</b>: Producer David O. Selznick, wanting to repeat the success he had producing <i>Gone with the Wind </i>a year earlier, campaigned hard for <i>Rebecca</i> to win the Oscar. It’s hilarious to me that Oscar campaigning has been around since the beginning.<br />
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<b><span style="font-size: large;">1941 – How Green Was My Valley</span></b></div>
<b>Nominees</b>: <i>Blossoms in the Dust, Citizen Kane, Here Comes Mr. Jordan, Hold Back the Dawn, The Little Foxes, The Maltese Falcon, One Foot in Heaven, Sergeant York, Suspicion</i><br />
<b>Thoughts</b>: <i>How Green Was My Valley</i> winning Best Picture over <i>Citizen Kane</i> obviously hasn’t aged well, but it makes sense. <i>Citizen Kane </i>was far too radical at the time to be awarded so highly. Still, if it was going to lose, it would have been nice if it lost to <i>The Maltese Falcon</i>, <i>Sergeant York</i>, or <i>Suspicion</i>.<br />
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<b><span style="font-size: large;">1942 – Mrs. Miniver</span></b></div>
<b>Nominees</b>: <i>Kings Row, 49th Parallel, The Magnificent Ambersons, The Pied Piper, The Pride of the Yankees, Random Harvest, The Talk of the Town, Wake Island, Yankee Doodle Dandy</i><br />
<b>Thoughts</b>: Not the strongest of years, which makes sense as the world was engaged in a world war, but awarding the romantic WWII movie, <i>Mrs. Miniver,</i> feels right.<br />
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<b><span style="font-size: large;">1943 – Casablanca</span></b></div>
<b>Nominees</b>: <i>For Whom the Bell Tolls, Heaven Can Wait, The Human Comedy, In Which We Serve, Madame Curie, The More the Merrier, The Ox-Bow Incident, The Song of Bernadette, Watch on the Rhine</i><br />
<b>Thoughts</b>: While I absolutely adore George Stevens’ <i>The More the Merrier</i>, nothing deserves to beat <i>Casablanca</i>, one of the great romance films.<br />
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<b><span style="font-size: large;">1944 – Going My Way</span></b></div>
<b>Nominees</b>: <i>Double Indemnity, Gaslight, Since You Went Away, Wilson</i><br />
<b>Thoughts</b>: <i>Going My Way</i> is the feel-good film the country presumably needed at the time, but I much prefer the two nominated classic noirs, <i>Double Indemnity</i>, and <i>Gaslight</i>.<br />
<b>Fun Fact</b>: This was the first year the Academy began nominated five films for Best Picture. If only it were still that way.<br />
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<b><span style="font-size: large;">1945 – The Lost Weekend</span></b></div>
<b>Nominees</b>: <i>Anchors Aweigh, The Bells of St. Mary’s, Mildred Pierce, Spellbound</i><br />
<b>Thoughts</b>: <i>The Lost Weekend </i>is one of my favorite films of all time; a truly unflinching portrayal of alcoholism. I cannot believe the Academy awarded such an audacious movie in 1945.<br />
<b>Fun Fact</b>: Only three movies have won Best Picture and the Cannes Film Festival’s Palme d’Or: <i>The Lost Weekend</i>, <i>Marty</i> (1955), and <i>Parasite</i> (2019). Pretty cool.<br />
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<b><span style="font-size: large;">1946 – The Best Years of Our Lives</span></b></div>
<b>Nominees</b>: <i>Henry V, It’s a Wonderful Life, The Razor’s Edge, The Yearling</i><br />
<b>Thoughts</b>: This is one of the Oscars’ most appropriately timed Best Picture wins. <i>The Best Years of Our Lives</i> is about damaged men coming home from war and learning how to endure at home. America needed a movie like this at the time, and William Wyler absolutely delivered.<br />
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<b><span style="font-size: large;">1947 – Gentleman’s Agreement</span></b></div>
<b>Nominees</b>: <i>The Bishop’s Wife, Crossfire, Great Expectations, Miracle on 34th Street</i><br />
<b>Thoughts</b>: Another really bold win. People don’t talk about <i>Gentleman’s Agreement</i> enough among Elia Kazan’s body of work, but it’s a great film.<br />
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<b><span style="font-size: large;">1948 – Hamlet</span></b></div>
<b>Nominees</b>: <i>Johnny Belinda, The Red Shoes, The Snake Pit, The Treasure of the Sierra Madre</i><br />
<b>Thoughts</b>: I’ve never been able to get on board with this win. <i>Hamlet</i> is the fifth-best film here, with <i>The Treasure of the Sierra Madre</i> in front, followed by <i>The Red Shoes</i>.<br />
<b>Fun Fact</b>: <i>Hamlet</i>’s win was the first time a non-Hollywood movie won Best Picture.<br />
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<b><span style="font-size: large;">1949 – All the King’s Men</span></b></div>
<b>Nominees</b>: <i>Battleground, The Heiress, A Letter to Three Wives, Twelve O’Clock High</i><br />
<b>Thoughts</b>: <i>A Letter to Three Wives</i> is easily my favorite film here (I <i>love</i> that movie), but <i>All the King’s Men</i> has a power to it that still holds up.<br />
<b>Fun Facts</b>: (1) <i>All the King’s Men</i> and <i>Gone with the Wind</i> (1939) are the only novels that were made into films that won both the Pulitzer Prize and the Best Picture Oscar. (2) This was the last year that every movie nominated for Best Picture was in black and white.<br />
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<b><span style="font-size: large;">1950 – All About Eve</span></b></div>
<b>Nominees</b>: <i>Born Yesterday, Father of the Bride, King Solomon’s Mines, Sunset Boulevard</i><br />
<b>Thoughts</b>: <i>All About Eve</i> vs. <i>Sunset Boulevard </i>is a <i>tough</i> call. I’ve seen <i>Sunset Boulevard</i> more, and I do prefer it, but I’m happy with <i>All About Eve</i>’s win.<br />
<b>Fun Fact</b>: Two films hold the record for the most Oscar nominations (14): <i>All About Eve</i> and <i>Titanic</i> (1997).<br />
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<b><span style="font-size: large;">1951 – An American in Paris</span></b></div>
<b>Nominees</b>: <i>Decision Before Dawn, A Place in the Sun, Quo Vadis, A Streetcar Named Desire</i><br />
<b>Thoughts</b>: This was an important year, as it helped promote the established trend of giving Best Picture to a bigger, happier, more musically themed film, and Best Director to a smaller, more daring film (in this case, George Stevens won for <i>A Place in the Sun</i>). <i>A Place in the Sun</i> is in my top 10 of all time, and it absolutely deserved to win over <i>An American in Paris</i>. As did <i>A Streetcar Named Desire</i>, almost equally.<br />
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<b><span style="font-size: large;">1952 – The Greatest Show on Earth</span></b></div>
<b>Nominees</b>: <i>High Noon, Ivanhoe, Moulin Rouge, The Quiet Man</i><br />
<b>Thoughts</b>: <i>High Noon</i> and <i>The Quiet Man</i> are the two nominees I like here. I would have preferred if <i>The Bad and the Beautiful</i>, <i>Five Fingers</i>, and <i>Come Back, Little Sheba</i>, occupied the other three spots.<br />
<b>Fun Fact</b>: According to Oscar lore, it was a major upset that <i>The Greatest Show on Earth </i>won over the heavily favored <i>High Noon</i>. Maybe that’s one of the reasons <i>The Greatest Show on Earth</i> is widely considered one of the least deserving of all Best Picture winners.<br />
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<b><span style="font-size: large;">1953 – From Here to Eternity</span></b></div>
<b>Nominees</b>: <i>Julius Caesar, The Robe, Roman Holiday, Shane</i><br />
<b>Thoughts</b>: <i>From Here to Eternity</i> is one of the great American romances, so the right call was made here, despite strong contenders.<br />
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<b><span style="font-size: large;">1954 – On the Waterfront</span></b></div>
<b>Nominees</b>: <i>The Caine Mutiny, The Country Girl, Seven Brides for Seven Brothers, Three Coins in the Fountain</i><br />
<b>Thoughts</b>: Despite director Elia Kazan's controversial testimony before the House Committee on Un-American Activities just two years earlier, his masterpiece justly won the Best Picture Oscar. Weird that <i>Rear Window</i> and <i>Sabrina</i> weren’t among the nominees.<br />
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<b><span style="font-size: large;">1955 – Marty</span></b></div>
<b>Nominees</b>: <i>Love is a Many-Splendored Thing, Mister Roberts, Picnic, The Rose Tattoo</i><br />
<b>Thoughts</b>: <i>Marty</i> is the kind of small-scale character study that the Oscars don’t typically award so highly, but it was so appropriate here. However, no Best Picture nominations for <i>East of Eden</i> or <i>Rebel Without a Cause</i>?<br />
<b>Fun Fact</b>: At 91 minutes long, <i>Marty</i> is the shortest Best Picture winner ever.<br />
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<b><span style="font-size: large;">1956 – Around the World in 80 Days</span></b></div>
<b>Nominees</b>: <i>Friendly Persuasion, Giant, The King and I, The Ten Commandments</i><br />
<b>Thoughts</b>: These are five epic nominees, and <i>Giant</i> is by long and far the finest achievement among them. At least George Stevens won Best Director for it.<br />
<b>Fun Fact</b>: Just an observation here, but, weirdly, John Ford’s <i>The Searchers</i> didn’t receive a single Oscar nomination, let alone a Best Picture nom.<br />
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<b><span style="font-size: large;">1957 – The Bridge on the River Kwai</span></b></div>
<b>Nominees</b>: <i>Peyton Place, Sayonara, 12 Angry Men, Witness for the Prosecution</i><br />
<b>Thoughts</b>: This is a really tough call. <i>12 Angry Men</i> is one of my favorite films, but it just feels right that <i>The Bridge on the River Kwai</i> won. And it helps that Kwai still holds up damn well today.<br />
<b>Fun Fact</b>: This was the first year that the nominations for Best Picture and Best Director were the same.<br />
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<b><span style="font-size: large;">1958 – Gigi</span></b></div>
<b>Nominees</b>: <i>Auntie Mame, Cat on a Hot Tin Roof, The Defiant Ones, Separate Tables</i><br />
<b>Thoughts</b>: Really weird year for me. I’ve never understood the lavish praise for <i>Gigi</i>. At the time, it became the most awarded film in Oscar history, winning all of its nine categories. Among the nominations, <i>The Defiant Ones </i>would get my vote, but this was a pretty weak showing. <i>Vertigo</i> (which admittedly wasn’t well-liked at the time), <i>Touch of Evil</i>, and <i>A Night to Remember </i>all should’ve been here.<br />
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<b><span style="font-size: large;">1959 – Ben-Hur</span></b></div>
<b>Nominees</b>: <i>Anatomy of a Murder, The Diary of Anne Frank, The Nun’s Story, Room at the Top</i><br />
<b>Thoughts</b>: The fact that <i>Some Like It Hot </i>wasn’t nominated is bizarre. And it’s strange how the Academy was on board with second-tier Hitchcock (<i>Foreign Correspondent</i>, <i>Suspicion</i>, and <i>Spellbound</i> were all nominated for Best Picture), but never nominated his most well known works, such as <i>North by Northwest</i> this year. Still, <i>Ben-Hur </i>was the obvious and inevitable win here.<br />
<b>Fun Fact</b>: Three movies are tied for the most Oscar wins (11): <i>Ben-Hur</i>, <i>Titanic</i> (1997), and <i>The Lord of the Rings: Return of the King</i> (2003).<br />
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<b><span style="font-size: large;">1960 – The Apartment</span></b></div>
<b>Nominees</b>: <i>The Alamo, Elmer Gantry, Sons of Lovers, The Sundowners</i><br />
<b>Thoughts</b>: I only think one film deserves to be here, and it thankfully won. <i>Psycho</i> is the most glaring exclusion, and it would have been great for some iconic foreign films from the year (namely <i>The Virgin Spring</i>, <i>Breathless</i>, <i>L’Avventura</i>, and <i>Shoot the Piano Player</i>) to be recognized.<br />
<b>Fun Fact</b>: <i>The Apartment</i> was the last black and white film to win Best Picture until <i>Schindler’s List</i> (1993).<br />
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<b><span style="font-size: large;">1961 – West Side Story</span></b></div>
<b>Nominees</b>: <i>Fanny, The Guns of Navarone, The Hustler, Judgment at Nuremberg</i><br />
<b>Thoughts</b>: Not exactly the strongest year, though nothing was going to beat <i>West Side Story</i>. It would’ve been great for John Huston’s <i>The Misfits </i>to land a nomination.<br />
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<b><span style="font-size: large;">1962 – Lawrence of Arabia</span></b></div>
<b>Nominees</b>: <i>The Longest Day, The Music Man, Mutiny on the Bounty, To Kill a Mockingbird</i><br />
<b>Thoughts</b>: Some movies feel like they were made to deservedly win Best Picture, and <i>Lawrence of Arabia</i> is one such film. Though a damn nomination for <i>Whatever Happened to Baby Jane?</i> would’ve been nice.<br />
<b>Fun Fact</b>: If counting the runtime of just the film itself (excluding the Overture, Intermission, and Walkout Music), <i>Lawrence of Arabia</i> is the longest Best Picture winner. (If we include all of those music components, <i>Gone with the Wind </i>is technically the longest film to win.)<br />
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<b><span style="font-size: large;">1963 – Tom Jones</span></b></div>
<b>Nominees</b>: <i>America, America, Cleopatra, How the West Was Won, Lilies of the Field</i><br />
<b>Thoughts</b>: I’m going out on a limb here and saying that I genuinely would’ve voted for <i>Cleopatra</i>. It’s big, it’s long, it’s certainly flawed, but I’m undeniably drawn to it. Plus, it’s better than other epics that have won, so why not? <i>Hud</i> should’ve been nominated though, along with <i>8 ½</i>.<br />
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<b><span style="font-size: large;">1964 – My Fair Lady</span></b></div>
<b>Nominees</b>: <i>Becket, Dr. Strangelove, Mary Poppins, Zorba the Greek</i><br />
<b>Thoughts</b>: The 1960s were a weird time for the Oscars. They kept awarding traditional films while nominating emerging talent. I’d argue that <i>Dr. Strangelove</i> is the more significant film than <i>My Fair Lady</i>, but it’s no surprise <i>My Fair Lady</i> won.<br />
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<b><span style="font-size: large;">1965 – The Sound of Music</span></b></div>
<b>Nominees</b>: <i>Darling, Doctor Zhivago, Ship of Fools, A Thousand Clowns</i><br />
<b>Thoughts</b>: The musical streak continues, and no surprises are found. Not the strongest of years, but <i>A Thousand Clowns</i> would’ve gotten my vote. I really like that movie.<br />
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<b><span style="font-size: large;">1966 – A Man for All Seasons</span></b></div>
<b>Nominees</b>: <i>Alfie, The Russians Are Coming, The Russians Are Coming, The Sand Pebbles, Who’s Afraid of Virginia Woolf?</i><br />
<b>Thoughts</b>: I adore Fred Zinnemann, but <i>A Man for All Seasons</i> is one of his weakest films, and the Academy’s embrace of it has always been odd to me, especially when they had something as special as <i>Who’s Afraid of Virginia Woolf? </i>to vote for. This is what I mean about the 1960s Oscars: the old guard was still standing firm, but new voices were desperate to announce themselves. (Which is a dichotomy still in effect today.)<br />
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<b><span style="font-size: large;">1967 – In the Heat of the Night</span></b></div>
<b>Nominees</b>: <i>Bonnie and Clyde, Doctor Dolittle, The Graduate, Guess Who’s Coming to Dinner</i><br />
<b>Thoughts</b>: Except <i>Doctor Dolittle</i>, these films represent one of the strongest showings for Best Picture in Oscar history. They were four important, groundbreaking works that all could have won. I can’t be mad at <i>In the Heat of the Night </i>winning, but <i>The Graduate</i> gets my vote here. And while we’re on the subject, couldn’t <i>Doctor Dolittle </i>have been replaced by <i>Cool Hand Luke</i>?<br />
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<b><span style="font-size: large;">1968 – Oliver!</span></b></div>
<b>Nominees</b>: <i>Funny Girl, The Lion in Winter, Rachel, Rachel, Romeo and Juliet</i><br />
<b>Thoughts</b>: I can’t get behind any of these movies, especially considering that <i>2001: A Space Odyssey</i>, one of the most groundbreaking and influential of all films, wasn’t nominated. Basically, 1968 was one of those good movie years that was not represented well by the Academy. In addition to <i>2001</i>, nominations for <i>Rosemary’s Baby</i>, <i>The Odd Couple</i>, <i>The Battle of Algiers</i>, and <i>Once Upon a Time in the West </i>may have aged better.<br />
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<b><span style="font-size: large;">1969 – Midnight Cowboy</span></b></div>
<b>Nominees</b>: <i>Anne of the Thousand Days, Butch Cassidy and the Sundance Kid, Hello, Dolly!, Z</i><br />
<b>Thoughts</b>: After the prohibitive Motion Picture Production Code was stopped, movies changed for the better. They became more daring and controversial. Some of the best evidence of this cultural shift can be found in <i>Midnight Cowboy</i>’s Best Picture win. This movie was so unlike anything American audiences had seen before, and the Academy had certainly never awarded something so radical for Best Picture. With this win, the new regime of talent had officially arrived.<br />
<b>Fun Fact</b>: <i>Midnight Cowboy</i> was the first rated-X movie to win Best Picture.<br />
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<b><span style="font-size: large;">1970 – Patton</span></b></div>
<b>Nominees</b>: <i>Airport, Five Easy Pieces, Love Story, M*A*S*H</i><br />
<b>Thoughts</b>: The “new regime” stepped aside for a year while the traditional war epic, <i>Patton</i>, was given Best Picture. No argument or surprise from me. <i>Five Easy Pieces</i> is my favorite among the nominees, but Bernardo Bertolucci’s <i>The Conformist </i>was my favorite movie released that year.<br />
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<b><span style="font-size: large;">1971 – The French Connection</span></b></div>
<b>Nominees</b>: <i>A Clockwork Orange, Fiddler on the Roof, The Last Picture Show, Nicholas and Alexandra</i><br />
<b>Thoughts</b>: Strong and bold showing with <i>The French Connection</i>, <i>A Clockwork Orange</i>, and <i>The Last Picture Show</i> (my other two nominees: <i>Carnal Knowledge</i>, and <i>Klute</i>). <i>A Clockwork Orange </i>will live forever, but I think the right call was made here.<br />
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<b><span style="font-size: large;">1972 – The Godfather</span></b></div>
<b>Nominees</b>: <i>Cabaret, Deliverance, The Emigrants, Sounder</i><br />
<b>Thoughts</b>: I’ve always wondered if <i>Cabaret</i> came close to winning this. It seems inconceivable that any film would beat <i>The Godfather</i>, but <i>Cabaret</i> won far more Oscars than <i>The Godfather</i> (including Best Director). I’m glad it went the way it did, but I bet this race was closer than people think.<br />
<b>Fun Fact</b>: <i>Cabaret</i> holds the record for winning the most Oscars without winning Best Picture. <i>Cabaret</i> won eight; <i>The Godfather </i>won three.<br />
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<b><span style="font-size: large;">1973 – The Sting</span></b></div>
<b>Nominees</b>: <i>American Graffiti, Cries and Whispers, The Exorcist, A Touch of Class</i><br />
<b>Thoughts</b>: We’re venturing into some of the strongest Best Picture races the Oscars ever saw. This was a damn good year (I’d replace <i>A Touch of Class</i> with <i>Last Tango in Paris</i>, <i>The Last Detail</i>, <i>The Day of the Jackal</i>, or <i>Badlands</i>.) <i>Cries and Whispers </i>is one of my favorite films of all time, but it would never win. Today, <i>The Sting </i>gets slighted for winning over more popular movies, but that movie holds up and is worth checking out. Even if you’ve seen <i>The Exorcist</i> way more.<br />
<b>Fun Fact</b>: <i>The Exorcist </i>was the first horror film nominated for Best Picture.<br />
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<b><span style="font-size: large;">1974 – The Godfather: Part II</span></b></div>
<b>Nominees</b>: <i>Chinatown, The Conversation, Lenny, The Towering Inferno</i><br />
<b>Thoughts</b>: I mean, good God, look at that race. It’s silly that <i>The Towering Inferno</i> is here (the Academy used to love disaster thrillers), and though <i>Lenny</i> is better than I remember, I’d give those two spots to <i>A Woman Under the Influence</i> and <i>Day for Night</i>. But<i> The Godfather: Part II</i>, <i>Chinatown</i>, <i>The Conversation</i>… take your pick. Three American masterpieces that all deserved to win.<br />
<b>Fun Fact</b>: <i>The Godfather: Part II</i> was the first sequel to win Best Picture, the only other one is <i>The Lord of the Rings: The Return of the King</i> (2003).<br />
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<b><span style="font-size: large;">1975 – One Flew Over the Cuckoo’s Nest</span></b></div>
<b>Nominees</b>: <i>Barry Lyndon, Dog Day Afternoon, Jaws, Nashville</i><br />
<b>Thoughts</b>: It’s pretty rare when every film nominated for Best Picture is an A+ movie. Any one of these was worthy of the top prize. Twist my arm and <i>Dog Day</i> is my favorite movie here, but I would never want to strip <i>Cuckoo’s Nest </i>of its Big Five Oscar wins. Damn well deserved.<br />
<b>Fun Fact</b>: <i>Jaws</i> is one of 15 films to win every category it was nominated for, <i>except</i> Best Picture. That wouldn’t be done again until <i>Traffic</i> in 2000.<br />
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<b><span style="font-size: large;">1976 – Rocky</span></b></div>
<b>Nominees</b>: <i>All the President’s Men, Bound for Glory, Network, Taxi Driver</i><br />
<b>Thoughts</b>: It’s pretty wild that <i>Network</i> came close to repeating <i>Cuckoo’s Nest</i>’s Big Five wins. <i>Taxi Driver</i> is my favorite film of all time, but the Academy wasn’t ready to award a movie like that so highly. <i>Network</i> is second, and <i>All the President’s Men</i> is a close third, but <i>Rocky</i> was the sentimental film the world needed after Vietnam. Contextually, it makes sense that it won.<br />
<b>Fun Fact</b>: Not only was <i>Network</i> a rare film nominated in every acting category, but no film since <i>Network</i> has received five acting nominations.<br />
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<b><span style="font-size: large;">1977 – Annie Hall</span></b></div>
<b>Nominees</b>: <i>The Goodbye Girl, Julia, Star Wars, The Turning Point</i><br />
<b>Thoughts</b>: There’s actually a logical reason why <i>Star Wars</i> may have lost here. <i>Annie Hall</i> was released in theaters in April 1977. When its theatrical run was done, the movie replayed constantly on the Los Angeles–based pay television channel, Z Channel, which many Oscar voters watched. Perhaps <i>Annie Hall</i>’s consistent rotation on Z Channel was enough to tip the Oscar scales its way. <i>Sorcerer</i> and <i>Saturday Night Fever </i>were my two favorite films of the year; shame they weren’t nominated.<br />
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<b><span style="font-size: large;">1978 – The Deer Hunter</span></b></div>
<b>Nominees</b>: <i>Coming Home, Heaven Can Wait, Midnight Express, An Unmarried Woman</i><br />
<b>Thoughts</b>: I’d have <i>Autumn Sonata </i>take <i>An Unmarried Woman</i>’s place, but this is a relatively smooth year. The proper film won, after all.<br />
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<b><span style="font-size: large;">1979 – Kramer vs. Kramer</span></b></div>
<b>Nominees</b>: <i>All That Jazz, Apocalypse Now, Breaking Away, Norma Rae</i><br />
<b>Thoughts</b>: This is first of two consecutive years where the Academy favored a sentimental picture over a tough front runner. I like <i>Kramer vs. Kramer</i> plenty, but it’s certainly no <i>Apocalypse Now</i>. Perhaps the Academy needed a break from war after <i>The Deer Hunter</i> and <i>Coming Home</i> the year before?<br />
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<b><span style="font-size: large;">1980 – Ordinary People</span></b></div>
<b>Nominees</b>:<i> Coal Miner’s Daughter, The Elephant Man, Raging Bull, Tess</i><br />
<b>Thoughts</b>: Same argument as 1979. <i>Ordinary People</i> is a good movie whose Oscar win over <i>Raging Bull </i>will always out shadow the film itself. I’m not sure why it won over <i>Raging Bull</i>, but it’s a film that deserves to be seen all the same.<br />
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<b><span style="font-size: large;">1981 – Chariots of Fire</span></b></div>
<b>Nominees</b>: <i>Atlantic City, On Golden Pond, Raiders of the Lost Ark, Reds</i><br />
<b>Thoughts</b>: Great year for genre film, bad year for prestige cinema. <i>Reds</i> was favored to win, and it was a shock when <i>Chariots of Fire </i>took it.<br />
<b>Fun Fact</b>: In a rare feat, three of the Best Picture nominations (<i>Atlantic City</i>, <i>On Golden Pond</i>, and <i>Reds</i>) were nominated for the Big Five Oscars (Picture, Director, Actor, Actress, Screenplay).<br />
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<b><span style="font-size: large;">1982 – Gandhi</span></b></div>
<b>Nominees</b>: <i>E.T. the Extra-Terrestrial, Missing, Tootsie, The Verdict</i><br />
<b>Thoughts</b>: Film at this time was in a weird transition. In the ‘70s, the highest-grossing movies of the year and the most critically adored movies of the year were usually the same. But after the failure of <i>Heaven’s Gate</i> (1980) caused studios to take control away from auteur directors, studios began making either prestige films, or popcorn genre movies. That’s why when you look up the most notable movies of 1982, you’ll find that many iconic genre films aren’t listed here. Of course, <i>Gandhi</i> was going to win regardless, but this is when you really started seeing fewer entertaining films nominated for Best Picture.<br />
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<b><span style="font-size: large;">1983 – Terms of Endearment</span></b></div>
<b>Nominees</b>: <i>The Big Chill, The Dresser, The Right Stuff, Tender Mercies</i><br />
<b>Thoughts</b>: <i>Fanny and Alexander </i>should absolutely be here, but its Best Director nomination for Ingmar Bergman, and four Oscar wins, were deserved consolation prizes. <i>The Big Chill</i> is one of my favorite films, but I’m not upset with <i>Terms of Endearment </i>winning.<br />
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<b><span style="font-size: large;">1984 – Amadeus</span></b></div>
<b>Nominees</b>: <i>The Killing Fields, A Passage to India, Places in the Heart, A Soldier’s Story</i><br />
<b>Thoughts</b>: The 1980s gave us some stuffy Oscar years. Here are five heavy-handed epics, with the correct one winning. I watched <i>Amadeus</i> last week and that thing still hits, but couldn’t at least one of these nominees be something a little more fun?<br />
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<b><span style="font-size: large;">1985 – Out of Africa</span></b></div>
<b>Nominees</b>: <i>The Color Purple, Kiss of the Spider Woman, Prizzi’s Honor, Witness</i><br />
<b>Thoughts</b>: <i>Out of Africa</i> is the weakest film here, but this isn’t exactly the strongest year. Would have been nice for <i>Back to the Future</i> to land a nomination.<br />
<b>Fun Fact</b>: <i>The Color Purple</i> is tied with <i>The Turning Point</i> (1977) as the movie that received the most Oscar nominations (11) without winning any award.<br />
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<b><span style="font-size: large;">1986 – Platoon</span></b></div>
<b>Nominees</b>: <i>Children of a Lesser God, Hannah and Her Sisters, The Mission, A Room with a View</i><br />
<b>Thoughts</b>: Definitely my favorite Best Picture winner of the 1980s; it’s still surprising that such a radical movie like <i>Platoon</i> was embraced so well by the Academy. I’d add <i>Blue Velvet </i>to the nominees list, but I think its nomination for Best Director was the best it could expect.<br />
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<b><span style="font-size: large;">1987 – The Last Emperor</span></b></div>
<b>Nominees</b>: <i>Broadcast News, Fatal Attraction, Hope and Glory, Moonstruck</i><br />
<b>Thoughts</b>: I’m really glad Bernardo Bertolucci has an Oscar, I just wish it was for something a bit more memorable than <i>The Last Emperor</i>.<br />
<b>Fun Fact</b>: This marked the 12th Best Picture win for Columbia Pictures, which remains the most for any studio.<br />
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<b><span style="font-size: large;">1988 – Rain Man</span></b></div>
<b>Nominees</b>: <i>The Accidental Tourist, Dangerous Liaisons, Mississippi Burning, Working Girl</i><br />
<b>Thoughts</b>: Two pretty weak years in a row. <i>Rain Man</i> is a quality film, but none of these movies really feel like Best Picture films to me.<br />
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<b><span style="font-size: large;">1989 – Driving Miss Daisy</span></b></div>
<b>Nominees</b>: <i>Born on the Fourth of July, Dead Poets Society, Field of Dreams, My Left Foot</i><br />
<b>Thoughts</b>: I’ve noticed a trend here. I’ve seen half of the 1980s Best Picture winners once. I’ve seen four of the remaining winners two times each; <i>Platoon</i> is the only one I’ve watched several times. Don’t get me wrong, there are a lot of quality films here (<i>Amadeus</i> really is great), but many of the 1980s Best Picture winners don’t rank very highly among <i>all</i> Best Picture winners. As for <i>Driving Miss Daisy</i>, even with <i>Do the Right Thing</i> not nominated, <i>Driving Miss Daisy</i> is the fifth-best film here.<br />
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<b><span style="font-size: large;">1990 – Dances with Wolves</span></b></div>
<b>Nominees</b>: <i>Awakenings, Ghost, The Godfather: Part III, Goodfellas</i><br />
<b>Thoughts</b>: Full context is important here, because according to <a href="https://www.gq.com/story/goodfellas-making-of-behind-the-scenes-interview-scorsese-deniro" target="_blank">GQ’s incredible oral history</a> on <i>Goodfellas</i>, as Oscar night approached, it seemed clear to Hollywood insiders that <i>Dances with Wolves</i> would win Best Picture, and Martin Scorsese would win Director. But even with that in mind, Michael Imperioli, via the GQ profile, said it best: “When was the last time you rented <i>Dances with Wolves</i>?”<br />
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<b><span style="font-size: large;">1991 – The Silence of the Lambs</span></b></div>
<b>Nominees</b>: <i>Beauty and the Beast, Bugsy, JFK, The Prince of Tides</i><br />
<b>Thoughts</b>: This was a stronger year in the Best Director category (<i>Thelma & Louise</i> and <i>Boyz n the Hood</i> should be here), but I’ll always be perfectly fine with <i>The Silence of the Lambs </i>winning the Big Five.<br />
<b>Fun Facts</b>: (1) <i>Beauty and the Beast </i>was the first animated film nominated for Best Picture. (2) <i>The Silence of the Lambs</i> is the last film to win the Big Five Oscars (Picture, Director, Actor, Actress, Screenplay). Wonder when it’ll happen again?<br />
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<b><span style="font-size: large;">1992 – Unforgiven</span></b></div>
<b>Nominees</b>: <i>The Crying Game, A Few Good Men, Howards End, Scent of a Woman</i><br />
<b>Thoughts</b>: Not the strongest overall year (<i>The Player </i>should absolutely be here), but it makes sense that Clint Eastwood finally got Best Picture and Director Oscars, for a great revisionist western, no less.<br />
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<b><span style="font-size: large;">1993 – Schindler’s List</span></b></div>
<b>Nominees</b>: <i>The Fugitive, In the Name of the Father, The Piano, The Remains of the Day</i><br />
<b>Thoughts</b>: I cannot imagine anything beating <i>Schindler’s List</i>, another film born to win the Best Picture Oscar. No complaints. Also, props to the Academy for nominating such a shamelessly entertaining movie as <i>The Fugitive</i>. They didn’t really do that again until 2009, when they began allowing up to 10 movies to be nominated for Best Picture.<br />
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<b><span style="font-size: large;">1994 – Forrest Gump</span></b></div>
<b>Nominees</b>: <i>Four Weddings and a Funeral, Pulp Fiction, Quiz Show, The Shawshank Redemption</i><br />
<b>Thoughts</b>: <i>Pulp Fiction</i> would absolutely get my vote; it has the most cinematic influence here. But the Academy isn’t ready to award a movie like that now, let alone in 1994. <i>Forrest Gump </i>checks so many emotional boxes for voters; it makes perfect sense that it won.<br />
<b>Fun Fact</b>: <i>Forrest Gump </i>was nominated for 13 Oscars, making it the most nominated film since <i>Who’s Afraid of Virginia Woolf? </i>(1966).<br />
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<b><span style="font-size: large;">1995 – Braveheart</span></b></div>
<b>Nominees</b>: <i>Apollo 13, Babe, The Postman</i> (<i>Il Postino</i>), <i>Sense and Sensibility</i><br />
<b>Thoughts</b>: I’m repeating what I said in the ‘80s – I don’t agree with a lot of these Best Picture winners, but given the type of films they are, it makes sense that they won Best Picture. <i>Apollo 13</i> is my favorite film here, and given how well it pulls on the heartstrings, I wonder if it gave <i>Braveheart</i> some good competition.<br />
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<b><span style="font-size: large;">1996 – The English Patient</span></b></div>
<b>Nominees</b>: <i>Fargo, Jerry Maguire, Secrets & Lies, Shine</i><br />
<b>Thoughts</b>: <i>The English Patient </i>is the safe Best Picture winner, but <i>Fargo</i> is the superior film. It would have been great for <i>Sling Blade</i> to get a nomination here as well.<br />
<b>Fun Fact</b>: My dad tried to see <i>The English Patient</i> twice in the theater, and fell asleep within the first 20 minutes both times. He’s still never seen it.<br />
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<b><span style="font-size: large;">1997 – Titanic</span></b></div>
<b>Nominees</b>: <i>As Good as It Gets, The Full Monty, Good Will Hunting, L.A. Confidential</i><br />
<b>Thoughts</b>: The second these nominations were announced, the people behind <i>As Good as It Gets</i>, <i>The Full Monty</i>, <i>Good Will Hunting</i>, and <i>L.A. Confidential</i> knew they could sit Best Picture and Best Director out. <i>The Full Monty</i>’s nomination was <i>a lot </i>of fun at the time, but nothing was going to top <i>Titanic</i>.<br />
<b>Fun Fact</b>: The Academy loved <i>Titanic</i>. The film is tied with <i>All About Eve</i> for the most nominations (14) and tied with <i>Ben-Hur </i>and <i>The Lord of the Rings: Return of the King</i> with the most wins (11).<br />
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<b><span style="font-size: large;">1998 – Shakespeare in Love</span></b></div>
<b>Nominees</b>: <i>Elizabeth, Life is Beautiful, Saving Private Ryan, The Thin Red Line</i><br />
<b>Thoughts</b>: The most shocking Best Picture win of my lifetime. It was such a surprise, that people felt there had to be context to it. Within days of the win, reports came out that <i>Shakespeare in Love</i>’s producer, Harvey Weinstein, had campaigned heavily for his film to beat <i>Saving Private Ryan</i>. He apparently sent Academy members gifts (including DVD players and copies of the film, which was a big deal at the time), started a smear campaign against <i>Saving Private Ryan</i>, and went full-court-press on the film’s promotional tour. A win is a win, I suppose, but does it feel the same if you bought it?<br />
<b>Fun Fact</b>: In 2015, the Hollywood Reporter polled Academy members, and if given a chance to vote again, they said they would award Best Picture to <i>Saving Private Ryan</i>.<br />
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<b><span style="font-size: large;">1999 – American Beauty</span></b></div>
<b>Nominees</b>: <i>The Cider House Rules, The Green Mile, The Insider, The Sixth Sense</i><br />
<b>Thoughts</b>: This was a great year for film and a pretty important Oscar year. <i>American Beauty</i>’s win may not have aged well for some (<i>The Insider </i>would get my vote), but it was really significant when it won. It proved that the smaller films still had a chance against the epics.<br />
<b>Fun Fact</b>: <i>The Matrix</i> won all four Oscars it was nominated for, making it the film with the biggest Oscar sweep that <i>wasn’t</i> nominated for Best Picture.<br />
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<b><span style="font-size: large;">2000 – Gladiator</span></b></div>
<b>Nominees</b>: <i>Chocolat, Crouching Tiger, Hidden Dragon, Erin Brockovich, Traffic</i><br />
<b>Thoughts</b>: <i>Gladiator</i>’s win wasn’t a surprise, even though everyone was talking about <i>Crouching Tiger</i>, and Steven Soderbergh had two movies nominated for Best Picture.<br />
<b>Fun Fact</b>: <i>Gladiator</i> was the first movie to win Best Picture <i>without</i> winning Best Director or Best Screenplay since <i>All the King’s Men </i>(1949).<br />
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<b><span style="font-size: large;">2001 – A Beautiful Mind</span></b></div>
<b>Nominees</b>: <i>Gosford Park, In the Bedroom, The Lord of the Rings: The Fellowship of the Ring, Moulin Rouge!</i><br />
<b>Thoughts</b>: Weak and safe representation here; many of the other categories this year featured more exciting movies (<i>Mulholland Drive</i>, <i>Black Hawk Dawn</i>, <i>Monster’s Ball</i>, <i>Ali</i>, <i>Memento</i>, <i>The Royal Tenenbaums</i>, <i>Amélie</i>, etc.). <i>In the Bedroom</i> is my favorite among the nominees, but <i>A Beautiful Mind</i> was the expected sentimental choice.<br />
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<b><span style="font-size: large;">2002 – Chicago</span></b></div>
<b>Nominees</b>: <i>Gangs of New York, The Hours, The Lord of the Rings: The Two Towers, The Pianist</i><br />
<b>Thoughts</b>: This was one of the all-time great Oscar ceremonies. Michael Moore starting shit with his <i>Bowling for Columbine </i>speech, Eminem winning Best Song, and <i>The Pianist</i>’s late surge of wins, surprisingly taking Best Actor, Director, and Screenplay. For a second there, I really thought <i>The Pianist </i>was going to take, but <i>Chiacgo</i>’s win brought the night back to reality.<br />
<b>Fun Fact</b>: Only five actors have starred in three Best Picture-nominated films in the same year. The last time it happened was John C. Reilly this year, who starred in <i>Gangs of New York</i> and <i>The Hours</i>, and was nominated for <i>Chicago</i>.<br />
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<b><span style="font-size: large;">2003 – The Lord of the Rings: The Return of the King</span></b></div>
<b>Nominees</b>: <i>Lost in Translation, Master and Commander: The Far Side of the World, Mystic River, Seabiscuit</i><br />
<b>Thoughts</b>: Weak year for me. I wish <i>In America</i> was nominated here, maybe that would encourage more people to see it. I adore that little movie.<br />
<b>Fun Fact</b>: <i>The Lord of the Rings: The Return of the King</i> has the biggest sweep in Oscar history, winning all of the 11 Oscars it was nominated for.<br />
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<b><span style="font-size: large;">2004 – Million Dollar Baby</span></b></div>
<b>Nominees</b>: <i>The Aviator, Finding Neverland, Ray, Sideways</i><br />
<b>Thoughts</b>: I guess it’s a hot take now to say that you love <i>Million Dollar Baby</i>, and always have?<br />
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<b><span style="font-size: large;">2005 – Crash</span></b></div>
<b>Nominees</b>: <i>Brokeback Mountain, Capote, Good Night, and Good Luck, Munich</i><br />
<b>Thoughts</b>: <i>Brokeback Mountain</i> was a lock here. As Ang Lee was giving his Best Director speech, you could almost start cleaning up your Oscar party, assuming <i>Brokeback</i> would win Best Picture next. But when Jack Nicholson read <i>Crash</i> as the winner, it was truly shocking. This win will always act as one of the biggest mistakes in Oscar history.<br />
<b>Fun Fact</b>: <i>Crash</i> was the first Best Picture winner that was initially acquired at a film festival, having premiered at the Toronto Film Festival in 2004.<br />
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<b><span style="font-size: large;">2006 – The Departed</span></b></div>
<b>Nominees</b>: <i>Babel, Letters from Iwo Jima, Little Miss Sunshine, The Queen</i><br />
<b>Thoughts</b>: I wish <i>United 93</i> landed a nomination, but there’s no objection from me about a Martin Scorsese Picture finally winning Best Picture.<br />
<b>Fun Fact</b>: According to editor Thelma Schoonmaker, a lot of <i>The Departed</i> was found in the editing room; it’s fun trying to think of all the different approaches to that story.<br />
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<b><span style="font-size: large;">2007 – No Country for Old Men</span></b></div>
<b>Nominees</b>: <i>Atonement, Juno, Michael Clayton, There Will Be Blood</i><br />
<b>Thoughts</b>: This was one of the best movie years in recent memory and a solid year for the Academy as well. I love <i>No Country for Old Men</i>, but I wish <i>There Will Be Blood </i>won at least one of <i>No Country</i>’s major Oscars (Best Picture, Director, or Adapted Screenplay). <i>There Will Be Blood </i>deserved to win one.<br />
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<b><span style="font-size: large;">2008 – Slumdog Millionaire</span></b></div>
<b>Nominees</b>: <i>The Curious Case of Benjamin Button, Frost/Nixon, Milk, The Reader</i><br />
<b>Thoughts</b>: <i>The Wrestler </i>should be here, and <i>Rachel Getting Married</i> would have been nice, but I suppose I’m not upset that a Danny Boyle film has won Best Picture.<br />
<b>Fun Facts</b>: Though never officially proven, it has been speculated that the reason the Best Picture category began nominating up to 10 films is because <i>The Dark Knight</i> was not nominated this year. By allowing up to 10 nominees, the Academy assumed more popular films would get nominated (there were correct) thereby increasing viewership of the broadcast (that still has not happened).<br />
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<b><span style="font-size: large;">2009 – The Hurt Locker</span></b></div>
<b>Nominees</b>: <i>Avatar, The Blind Side, District 9, An Education, Inglourious Basterds, Precious, A Serious Man, Up, Up in the Air</i><br />
<b>Thoughts</b>: I have never been a fan of the “up to 10” Best Picture nominees. Most years, it’s obvious which films should be taken out so that there are only five nominees. Frankly, it makes the race, and the overall show, less interesting. With all that noted, I’m very pleased <i>The Hurt Locker </i>won here.<br />
<b>Fun Fact</b>: <i>The Hurt Locker</i> is the lowest-grossing Best Picture winner ever, earning only $14.7 million by the time it won.<br />
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<b><span style="font-size: large;">2010 – The King’s Speech</span></b></div>
<b>Nominees</b>: <i>Black Swan, The Fighter, Inception, The Kids Are All Right, 127 Hours, The Social Network, Toy Story 3, True Grit, Winter’s Bone</i><br />
<b>Thoughts</b>: Echoes of 1990, an extremely close race in which a sentimental film was slightly favored to win Best Picture, and the auteur behind the more daring film would win Best Director. Translation: David Fincher absolutely should have won Director. When he lost to Tom Hooper, I assumed <i>The King’s Speech</i> was going to win Best Picture over <i>The Social Network</i>. Regardless, it’s still an embarrassing win, and always will be.<br />
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<b><span style="font-size: large;">2011 – The Artist</span></b></div>
<b>Nominees</b>: T<i>he Descendants, Extremely Loud and Incredibly Close, The Help, Hugo, Midnight in Paris, Moneyball, The Tree of Life, War Horse</i><br />
<b>Thoughts</b>: I always knew <i>The Artist</i> was going to win, it’s a fine throwback for the Academy. But some of these nominees are genuinely bad films, which is such a shame given that 2011 was a great movie year. <i>The Tree of Life</i> would’ve been my pick, followed by <i>Moneyball</i>, a film that <i>really</i> holds up with each passing viewing.<br />
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<b><span style="font-size: large;">2012 – Argo</span></b></div>
<b>Nominees</b>: <i>Amour, Beasts of the Southern Wild, Django Unchained, Les Misérables, Life of Pi, Lincoln, Silver Linings Playbook, Zero Dark Thirty</i><br />
<b>Thoughts</b>: This was a weak and unmemorable year for me, and that is because of the new Best Picture voting system. When the category changed to up to 10 nominees, Oscar voters had to begin filling out a preferential ballot for Best Picture. In every other race, you simply pick the single winner, but for Best Picture, you have to rank the nominees, and how the winner is chosen is confusing as all hell (Collider did a good job <a href="https://collider.com/how-best-picture-oscar-voting-works/" target="_blank">making sense of it here</a>). I believe this is why we have seen several somewhat forgettable films winning this prize lately. Or maybe the movies are getting duller.<br />
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<b><span style="font-size: large;">2013 – 12 Years a Slave</span></b></div>
<b>Nominees</b>: <i>American Hustle, Captain Phillips, Dallas Buyers Club, Gravity, Her, Nebraska, Philomena, The Wolf of Wall Street</i><br />
<b>Thoughts</b>: Steve McQueen is one of my favorite filmmakers, and I’ll never object to a movie of his having a Best Picture Oscar. I like <i>The Wolf of Wall Street</i> more, but I still can’t believe the Academy even nominated it.<br />
<b>Fun Fact</b>: With this win, Steve McQueen became the first black person to win Best Picture.<br />
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<b><span style="font-size: large;">2014 – Birdman</span></b></div>
<b>Nominees</b>: <i>American Sniper, Boyhood, The Grand Budapest Hotel, The Imitation Game, Selma, The Theory of Everything, Whiplash</i><br />
<b>Thoughts</b>: Same argument as 2007. I adored <i>Birdman</i>, but couldn’t <i>Boyhood</i> have won Best Picture, Director, or Original Screenplay over <i>Birdman</i>?<br />
Fun Fact: Since the Best Picture category was expanded, all Best Picture nominees won at least one Oscar in just two years: 2014 and 2018.<br />
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<b><span style="font-size: large;">2015 – Spotlight</span></b></div>
<b>Nominees</b>: <i>The Big Short, Bridge of Spies, Brooklyn, Mad Max: Fury Road, The Martian, The Revenant, Room</i><br />
<b>Thoughts</b>: I think it’s telling when the Best Picture winner only takes home one other additional prize (in <i>Spotlight</i>’s case, it also won Best Original Screenplay).<br />
<b>Fun Fact</b>: <i>Spotlight</i> was the first Best Picture winner to only win one other award since <i>The Greatest Show on Earth</i> (1952).<br />
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<b><span style="font-size: large;">2016 – Moonlight</span></b></div>
<b>Nominees</b>: <i>Arrival, Fences, Hacksaw Ridge, Hell or High Water, Hidden Figures, La La Land, Lion, Manchester by the Sea</i><br />
<b>Thoughts</b>: Envelopgate! Sadly, for <i>Moonlight</i>, its Best Picture win will always be out shadowed by the fact that Warren Beatty and Faye Dunaway were given the wrong envelope, and incorrectly read <i>La La Land</i> as the winner. <i>La La Land</i> is still my pick, but I love that <i>Moonlight</i> won. It had a $1.5 million production budget, which means that new, small films have a shot.<br />
<b>Fun Fact</b>: <i>Moonlight</i> was the first Best Picture winner to feature an all-black cast.<br />
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<b><span style="font-size: large;">2017 – The Shape of Water</span></b></div>
<b>Nominees</b>: <i>Call Me by Your Name, Darkest Hour, Dunkirk, Get Out, Lady Bird, Phantom Thread, The Post, Three Billboards Outside Ebbing, Missouri</i><br />
<b>Thoughts</b>: This was always a bizarre year for me. I love Guillermo del Toro and dug <i>The Shape of Water</i>, but that is a <i>weird</i> damn movie. I’ll be interested to see how this win ages.<br />
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<b><span style="font-size: large;">2018 – Green Book</span></b></div>
<b>Nominees</b>: <i>Black Panther, BlaKkKlansman, Bohemian Rhapsody, The Favourite, Roma, A Star is Born, Vice</i><br />
<b>Thoughts</b>: Stay with me here. After #OscarSoWhite in 2015, which saw no people of color nominated in acting categories, the Academy invited thousands of new diverse members to the club, effectively bringing in a New Guard to the Academy. This New Guard was made up of young, progressive voters who are likely responsible for wins like <i>Moonlight</i> and <i>Parasite</i>. But the Old Guard still remains, and sometimes they band together and award movies like <i>Green Book</i>.<br />
<b>Fun Fact</b>: <i>Green Book</i> is one of five films to win Best Picture without a Best Director nomination, joining <i>Wings</i> (1927/28), <i>Grand Hotel </i>(1931/32), <i>Driving Miss Daisy</i> (1989), and <i>Argo</i> (2012).<br />
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<b><span style="font-size: large;">2019 – Parasite</span></b></div>
<b>Nominees</b>: <i>Ford v Ferrari, The Irishman, Jojo Rabbit, Joker, Little Women, Marriage Story, 1917, Once Upon a Time in Hollywood</i><br />
<b>Thoughts</b>: The impact of this win won’t be felt for a few years, but <i>Parasite</i>’s Best Picture win is a true game-changer. For the first time in Oscar history, a movie not in the English language won the top prize. Hopefully this opens Oscar voters’ minds to something many of us have known for decades: that foreign films often represent some, if not the, best movies of each year.<br />
<b>Fun Fact</b>: As mentioned, <i>Parasite</i> is the first foreign-language film to win Best Picture.<br />
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<u><span style="font-size: large;">More Oscar Breakdowns</span></u></div>
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<span style="font-size: large;"><a href="https://www.andsoitbeginsfilms.com/2020/04/oscars-breakdown-best-picture.html">Best Picture</a></span><br />
<span style="font-size: large;"><a href="https://www.andsoitbeginsfilms.com/2020/04/oscars-breakdown-best-director.html">Best Director</a></span></div>
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<span style="font-size: large;"><a href="https://www.andsoitbeginsfilms.com/2020/06/oscars-breakdown-best-actress.html">Best Actress</a></span></div>
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<span style="font-size: large;"><a href="https://www.andsoitbeginsfilms.com/2020/07/oscars-breakdown-best-actor.html">Best Actor</a></span></div>
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<span style="font-size: large;">Best Supporting Actress (coming soon)</span></div>
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<span style="font-size: large;">Best Supporting Actor (coming soon)</span></div>
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<span style="font-size: large;">Best Original Screenplay (coming soon)</span></div>
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<span style="font-size: large;">Best Adapted Screenplay (coming soon)</span></div>
<br />Alex Withrowhttp://www.blogger.com/profile/15887018476048271594noreply@blogger.com18tag:blogger.com,1999:blog-4784665635104956142.post-75469053706115916412020-03-25T15:27:00.001-04:002022-03-01T11:55:25.496-05:00Montgomery Clift: A Career Appreciation<div class="separator" style="clear: both; text-align: center;">
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Montgomery Clift is my favorite performer to ever appear in film. He had a magnetism to him, a pain and vulnerability that still pours out of the screen. In 1948, most all American leading men were stuck in the alpha-male, tough guy persona. They delivered their lines stoically, they slapped their women, they robbed, they killed, they were “<i>men</i>.” And then a quiet, assertive young man from Omaha, Nebraska graced the screen for the first time, and film acting was never the same.<br />
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That year, Montgomery Clift appeared in Fred Zinnemann’s <i>The Search</i>, and Clift was simply... human. He played his character as kind, supportive, mildly sarcastic, and vulnerable. With this performance and subsequent roles, Clift pioneered the “method” style of acting, which completely changed the art form. It was an acting style that let men be real people, in all their flaws and sadness. Clift’s acting style helped inform Marlon Brando’s craft, which helped inform James Dean, then Paul Newman, Pacino, De Niro, Keitel, Nicholson, and on and on. Because of this, I’ve always considered Montgomery Clift one of the most important figures in cinema history. His acting influence is damn near without equal.<br />
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<a name='more'></a>Clift <i>always</i> put material first, even to his detriment. He was the first major actor to ignore the studio system, choosing instead to pick his own roles, as opposed to having a studio pick them for him. Clift always insisted on autonomy in his performances, including changing his dialogue and having an acting coach direct him on set. He was thorough, meticulous, and exacting. And he was also a complete fucking mess.<br />
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Of course, one cannot talk about Montgomery Clift without noting the tragedy that followed him through most of his life. It’s hard to trace exactly where Clift’s demons came from. Many suspect it was because he was bisexual and feared that coming out would ruin his career. Whatever the reasons were, Clift sunk into a life of heavy drinking and drug use, often delaying production on his films so he could get himself together. After his nearly fatal car accident in 1956 outside of Elizabeth Taylor’s house, many suggest that Clift spent the next decade dying by suicide in slow motion. When he did eventually pass away in 1966 at 45, the world lost one of its all-time great tortured geniuses.<br />
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I’ve been wanting to write this post since I started this blog 13 years ago. To prepare for it, I have spent the past month watching Montgomery Clift’s entire filmography (he was only in 17 films) in order, tracing all the wonderful yet tragic steps of his career. I hope you enjoy the read and find some new amazing films to watch. If nothing else, I promise they all feature at least one incredible performer.<br />
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<b><span style="font-size: large;">The Search</span></b> (1948)</div>
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as Ralph Stevenson<br />
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I believe <i>The Search</i> is the earliest movie I’ve seen that uses the horrors of the Holocaust as its setting. It is definitely the earliest movie I’ve seen in which an electric razor is used, and it is absolutely the earliest movie I’ve seen that features such a vulnerable, sarcastic, real performance from an American actor. To explain, there’s a scene midway through <i>The Search</i> where Montgomery Clift licks an envelope to seal it shut. After he licks the envelope, he looks down and lets out the slightest “blech” sound of disgust. That is a gesture that I have seen dozens of people make in real life, but I have never once seen that in a movie before, let alone a movie made in 1948. What Clift did with this performance was single handedly usher in a new era of film acting. An era in which men could be soft, vulnerable, compassionate, emotionally tormented and confused. Men who could be real.<br />
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Historically, I’ve seen Marlon Brando get the credit for fostering this type of acting. And he was followed shortly by James Dean as Hollywood’s leading tormented man. But when you take in the full context of performances from this era, I believe this monumental shift in male screen acting started with Montgomery Clift.<br />
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The movie itself is about a mother and son who are split up in Auschwitz. They both survive but cannot find each other in post-war Germany. Clift doesn’t even show up until 35 minutes into the movie, and when he does, he isn’t given a grand introduction like, say, John Wayne in <i>Stagecoach</i>. Instead, Montgomery Clift’s first scene in a movie is him casually eating a sandwich in his Jeep. He’s just sitting there, being natural, waiting. Waiting to introduce himself to us not with a scream, but with a much needed whisper. <b>Movie: A+, Clift: A+</b><br />
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<b><span style="font-size: large;">Red River</span></b> (1948)</div>
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as Matt Garth<br />
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Howard Hawks’ <i>Red River</i> is one of the finest westerns ever made. It’s a towering achievement with thrilling set pieces (How the hell did they pull off a massive cattle stampede?), John Wayne playing the protagonist-turned-antagonist, and a beautifully restrained Montgomery Clift. The film is about a once-successful cattle rancher (Wayne) who is forced to move more than ten thousand cattle from Texas to Missouri because of diminishing sales. His right-hand man is his adopted son (Clift), who has a fast gun and a mostly even temper. The two men work well together on their journey until the pressures of the job force them to square off.<br />
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A few interesting things to note here. <i>Red River</i> was actually Montgomery Clift’s first movie role, but because the film spent more than a year in post-production, <i>The Search</i> was released first. Noting that, the innocence Clift has in <i>The Search</i> started with his performance in <i>Red River</i>. In my research, I discovered that Clift was nervous to work with such a commanding figure as Wayne, so Hawks advised Clift to not compete with Wayne, and instead underplay his performance. The result is a dichotomy that probably shouldn’t work (Wayne and Clift could not be more different, both personally and professionally), but ends up working really well. Their chemistry, along with the as-mentioned set pieces, Wayne’s revelatory dramatic work, and Clift’s playful sexual tension with John Ireland (as gunman Cherry Valance), make <i>Red River </i>a necessary watch. <b>Movie: A+, Clift: A+</b><br />
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<b><span style="font-size: large;">The Heiress</span></b> (1949)</div>
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as Morris Townsend<br />
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First and foremost, William Wyler’s <i>The Heiress</i> is Olivia de Havilland’s show. She justly won her second Oscar for her work as Catherine, a well-to-do but timid young woman who finally meets a warm suitor in Morris (Clift). Catherine is naïve and rich, a dangerous combination to her emotional venomous father, who is weary of Morris because he believes Morris only wants Catherine for her fortune.<br />
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While Clift’s role is a decidedly supporting one, it’s a lot of fun watching him toe the moral gray lines of his character. Clift is so good at never revealing his hand; we genuinely don’t know if Morris loves Catherine, or just loves her money. And what a joy it is to watch Clift play buttoned-up and proper, all while a brooding intensity storms underneath. As mentioned, <i>The Heiress</i> belongs to Olivia de Havilland, and though the movie runs long, she and Clift are on fire together, resulting in a true bruiser of an ending that I did not expect. Some of these older movies really knew how to cut deep with those words, “The end.” <b>Movie: B+, Clift: A-</b><br />
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<b><span style="font-size: large;">The Big Lift</span></b> (1950)</div>
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as Danny MacCullough<br />
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<i>The Big Lift</i> is the type of movie that takes too much on, and never really delivers on any of it. At its core, the film is about two Air Force pilots, Danny and Hank (Clift and Paul Douglas, respectively), dropping supplies into West Berlin during the Berlin Airlift. The film juggles many unfocused subplots, including life in post-war Germany, former POWs unable to adapt, mistaken identity, and a war-torn romance between Danny and a German widow.<br />
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Most interestingly, Clift was supposed to play the lead in <i>Sunset Boulevard</i> but dropped out shortly before filming began. In the time he had before he shot <i>A Place in the Sun</i>, Clift took on this role in <i>The Big Lift</i>. That context is especially important here, as Clift was known for meticulously researching his roles. But his Danny in <i>The Big Lift</i> feels rushed, and Clift seems uninterested in the material, which is not a characteristic I would normally attribute to his acting.<br />
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The aerial photography in the film is compelling for its time, but not enough to sustain the entire movie. And while I appreciate the film’s setting and cast (it was filmed in post-war Germany and exclusively featured real life military personnel playing supporting roles), I wish it would’ve focused on just one or two stories, as opposed to taking so much on. <b>Movie: C, Clift: C+</b><br />
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<b><span style="font-size: large;">A Place in the Sun</span></b> (1951)</div>
<div style="text-align: center;">
as George Eastman<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSbK8LYetneI96ijsCAhPPZ2Kyp5QNAgNO-ErgLX7M8856hroaiwgPj2MjVdk3BvWI3DJ5n4TYbYRWQp3auawI-zjknODGUEKquBzyUTQNGjudBdjW-B9DazZ8zMTwvXLcOZRMhi_jOTRe/s1600/Montgomery+Clift+A+Place+in+the+Sun.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSbK8LYetneI96ijsCAhPPZ2Kyp5QNAgNO-ErgLX7M8856hroaiwgPj2MjVdk3BvWI3DJ5n4TYbYRWQp3auawI-zjknODGUEKquBzyUTQNGjudBdjW-B9DazZ8zMTwvXLcOZRMhi_jOTRe/s400/Montgomery+Clift+A+Place+in+the+Sun.jpg" width="400" /></a></div>
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The game changers are always the hardest to write about. I could fill 10 pages with the importance of <i>A Place in the Sun</i>. So important was this film to cinema, to acting, to censorship. So important was this film to my personal life; it helped inform my overall opinion on <i>all</i> of film. The plot of the movie is easy to describe. Its impact, however, can never have a period. A hardworking, well-intentioned poor kid, George Eastman (Clift), lands an entry-level job at his rich uncle’s factory. George works his way up through the professional and societal ranks, earning more responsibility at work, and learning how to blend in with his wealthy relatives. George begins a relationship with Alice (Shelley Winters), a kind, quiet woman he works with. Their relationship is emotionally rich and simple. If only that were enough. Concurrently, George falls for Angela Vickers (Elizabeth Taylor), a rich, outspoken family friend who falls in love with George, despite his lack of wealth. And so George is split—choose the safe, poor life with Alice, or the potentially lavish life with Angela.<br />
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I’ll never forget the first time I watched this movie. I was 15 years old, my parents had just split up, and I was staying at my dad’s place for the night. When deciding what to watch that evening, my dad held up his copy of <i>A Place in the Sun</i> and said that despite it being 50 years old, he thought I would really like it. He was correct. For the next two hours, I was completely transported as a new chapter of my movie-obsessed world was introduced before my very eyes. I had been in love with movies since cognitive thought (not an exaggeration), and I had seen plenty of old movies before, but I had never seen an old movie that felt as contemporary as a modern film. Nothing in <i>A Place in the Sun </i>felt dated. The pain, turmoil, flaws and sacrifice in the film were themes I had seen in cinema, but not in this early of a film. I honestly could not believe that a movie made in 1951 got away with everything <i>A Place in the Sun</i> got away with.<br />
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<i>A Place in the Sun</i> started my obsession with older films, and it introduced a new love in my life, the acting craft of Montgomery Clift. I couldn’t take my eyes off George Eastman. His earnestness, his flaws, his pain—what a truly tormented character. The anguish in Shelley Winters’ voice was just so heartbreaking, and Elizabeth Taylor’s Angela Vickers was so damn believable. It’s been reported that Clift and Taylor were genuine soulmates. While likely not romantically involved, they loved each other dearly, and that comes through in every second they share here.<br />
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Recently, I realized that <i>A Place in the Sun</i> had snuck into my top 10 films of all time. And as George Eastman, Montgomery Clift could, perhaps, give my very favorite screen performance. And for that, all I can think to say is: Thanks, dad. <b>Movie: A+, Clift: A+</b><br />
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<b><span style="font-size: large;">I Confess</span></b> (1953)</div>
<div style="text-align: center;">
as Father Michael Logan<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOwrGTiY_81BSQAGusqtNEVIjWa1nAfJKfOBb87uvYBIi2fhsSAaUzOU93ao1myVfg5jKbxTTJCKEnxaV6cJfqf4GJ27QbYnA158sk1i52sU9cLJy9w0qi0Dm0Tlq-83mQ8Wcr8LWJb4f3/s1600/Montgomery+Clift+I+Confess.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOwrGTiY_81BSQAGusqtNEVIjWa1nAfJKfOBb87uvYBIi2fhsSAaUzOU93ao1myVfg5jKbxTTJCKEnxaV6cJfqf4GJ27QbYnA158sk1i52sU9cLJy9w0qi0Dm0Tlq-83mQ8Wcr8LWJb4f3/s400/Montgomery+Clift+I+Confess.jpg" width="400" /></a></div>
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It pains me to admit that <i>I Confess</i> is one of the most disappointing films on this list. On paper, it seems like the film should have worked so well. You have near-peak Alfred Hitchcock (he was coming off <i>Notorious</i> and <i>Strangers on a Train</i>, and about to make <i>Rear Window</i>). You have peak Clift, performing between his two most famous roles (<i>A Place in the Sun</i> and <i>From Here to Eternity</i>). You have a morally complex plot, and fine performances from Anne Baxter and Karl Malden, but ultimately, the movie does not come together. To be clear, <i>I Confess</i> isn’t a <i>bad</i> film, it’s just a weak Hitchcock movie.<br />
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Clift plays Father Logan, a noble priest who listens to his caretaker confess to killing a man. When the police question Father Logan about the murder, he refuses to give them any information, as it would break the vow of confession. But because of his silence, the police assume Father Logan is the murderer. And round and round Hitchcock goes.<br />
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That plot has the makings of a fine Hitchcock thriller, but it’s clear early on that <i>I Confess</i> can’t find its footing. The movie is 91 minutes long but feels much longer, and Clift seems somewhat absent. Apparently, there was a lot of tension behind the scenes of <i>I Confess</i>, namely with Hitch being unable to work with Clift’s method style of acting. Clift and Hitch each had huge personalities, and polar opposite approaches to telling a story. They didn’t align fully, and the film suffered as a result. <b>Movie: B-, Clift: B</b><br />
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<b><span style="font-size: large;">Terminal Station</span></b> aka <b><span style="font-size: large;">Indiscretion of an American Wife</span></b> (1953)</div>
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as Giovanni Doria<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp-C9GoF1Xc58ZHHwNqFrJa8UIZ9ENulLg7VxK4lB0t_-D7RGT0Tfs5F-Qb3frUP3SOwBj6WzaV1aklrrv-duhXOfL0BicfXanVODo8HHAPrgi8E_acraPZMg2xFHBOi7OXuljwOOlPhCC/s1600/Montgomery+Clift+Terminal+Station.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp-C9GoF1Xc58ZHHwNqFrJa8UIZ9ENulLg7VxK4lB0t_-D7RGT0Tfs5F-Qb3frUP3SOwBj6WzaV1aklrrv-duhXOfL0BicfXanVODo8HHAPrgi8E_acraPZMg2xFHBOi7OXuljwOOlPhCC/s400/Montgomery+Clift+Terminal+Station.jpg" width="400" /></a></div>
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Similar to <i>I Confess</i>, <i>Terminal Station</i> is often regarded as a mediocre film that could’ve been great. But much to my surprise, I loved <i>Terminal Station</i> and think it’s a somewhat hidden mini masterpiece, despite its clear flaws. Mary (Jennifer Jones) is a married American who has recently indulged in an affair with an Italian teacher, Giovanni (Clift), in Rome. As Mary prepares to board a train back to her family, Giovanni shows up at the station and convinces her to stay awhile. What unfolds is really interesting, as director Vittorio De Sica (fresh off <i>The Bicycle Thieves</i>) goes to great lengths to ensure that <i>Terminal Station</i> is told in legitimate real time. Mary has about 90 minutes to catch the next train to Paris, and that is precisely how long the total narrative of <i>Terminal Station </i>lasts.<br />
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I’m a huge sucker for movies that take place in real time. I think it’s a challenging gimmick that, if done right, can have thrilling results. And while <i>Terminal Station</i> appears to be remembered for its flaws, I found the film to be a great exercise in narrative restraint, thanks in part to Clift and Jones’ dedicated and believable performances.<br />
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Now for the drama. Famed Hollywood producer, David O. Selznick, created the film as a star vehicle for his wife, Jennifer Jones. But Selznick and De Sica did not get on well. Selznick would send De Sica mountains of notes, and De Sica would just ignore them, as he didn’t speak English. De Sica eventually delivered his 89-minute film, <i>Terminal Station</i>, and Selznick was so unsatisfied with it, that he cut <i>26 minutes</i> from it without De Sica’s input and released the 63-minute version in the states with the title, <i>Indiscretion of an American Wife</i>. The bastardized version is currently available on Amazon Prime, but I implore you to seek out the De Sica’s intended cut. Not all the material holds up well (Clift plays a misogynistic asshole), but damn if I didn’t appreciate the hell out of this movie. I watched both versions back to back and then rewatched the longer cut the following day. It may not be the most polished film, but <i>Terminal Station </i>works far better than people remember. <b>Movie: A-, Clift: A-</b><br />
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<b><span style="font-size: large;">From Here to Eternity </span></b>(1953)</div>
<div style="text-align: center;">
as Private Robert E. Lee “Prew” Prewitt<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLROUrfLvdaGte3lNPtiGSeEXmaDKRcy8JjP3TbwU_u4Ea3pph4FHD-a97alb8KauacKKaooeKijceIpTBrqQyfrg-R7TfYLXNnoa5jllTZJw6Iu6-_e1u_pqf6ELgxbGw736lf_4xtPE6/s1600/Montgomery+Clift+From+Here+to+Eternity.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLROUrfLvdaGte3lNPtiGSeEXmaDKRcy8JjP3TbwU_u4Ea3pph4FHD-a97alb8KauacKKaooeKijceIpTBrqQyfrg-R7TfYLXNnoa5jllTZJw6Iu6-_e1u_pqf6ELgxbGw736lf_4xtPE6/s400/Montgomery+Clift+From+Here+to+Eternity.jpg" width="400" /></a></div>
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Every movie freak has the <i>eat your vegetable </i>movies to get through. The “classics” that we’re told we must see. When I was a teenager, I figured one of the best ways to mitigate this would be to spend a summer watching every movie that had won the Best Picture Oscar. <i>From Here to Eternity </i>was one of the greatest surprises that summer. I had foolishly judged a book by its cover and was thrilled when I realized the movie was the classic I always heard it was.<br />
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Clift plays Private Robert E. Lee “Prew” Prewitt, a considerate soldier who transfers to a base in Hawaii on the heels of World War II. It is well known that Prew is an exceptional boxer, and commanding officers want Prew to take part in an upcoming boxing tournament. Prew refuses, having turned his back on boxing, and he is mercilessly bullied by men in his company as a result. Prew befriends alpha-male First Sergeant Warden (Burt Lancaster) and likable Private Maggio (Frank Sinatra), all while the impending dangers of December 7, 1941 loom in the background.<br />
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<i>From Here to Eternity</i> is a great film, and Clift is great in it. He’s young, fresh, and determined. Besides being an ex-fighter, Prew is an ace bugler who uses his music skills twice to great effect—first in a bar to gain respect from his men, and second in a moment of tear-stained remembrance.<br />
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Many have speculated that Lancaster and Clift canceled themselves out for the Best Actor Oscar that year (they were both nominated, but William Holden won for his <i>Stalag 17</i> performance). And while both men are great in the film, Lancaster is still doing the tough guy macho thing that dominated male screen acting for decades, whereas Montgomery Clift is playing a real human being. One method isn’t right and the other isn’t wrong, but I’ll take Clift’s craft over just about everything else. <b>Movie: A+, Clift: A+</b><br />
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<b><span style="font-size: large;">Raintree County</span></b> (1957)</div>
<div style="text-align: center;">
as John Wickliff Shawnessy<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0aYNPCMy7h_YmmpuqLw8WfDUu7Y1r51LdrF9i35EbdaDbElcJwh2QUA9A31ehCsKW9Qb2WcaTzya0dn0xESg3ib5M99m3OVyVx4BLoNo7Qd0x7RFRIiUKwPMtM5fy4rX28J3uHwD3Peq2/s1600/Montgomery+Clift+Raintree+County+-+before.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0aYNPCMy7h_YmmpuqLw8WfDUu7Y1r51LdrF9i35EbdaDbElcJwh2QUA9A31ehCsKW9Qb2WcaTzya0dn0xESg3ib5M99m3OVyVx4BLoNo7Qd0x7RFRIiUKwPMtM5fy4rX28J3uHwD3Peq2/s640/Montgomery+Clift+Raintree+County+-+before.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Clift in Raintree County, before the accident</td></tr>
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<i>Raintree County </i>is a film that will always be marred in infamy. On May 12, 1956, while filming <i>Raintree County</i>, Clift attended a party thrown by his good friend and co-star, Elizabeth Taylor. Clift was tired and hungover and left the party early. Shortly after leaving Taylor’s Beverly Hills home, Clift fell asleep at the wheel and his car slammed into a telephone pole, nearly killing him.<br />
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Clift lived that night, but his life was not the same. His face required extensive surgery, which, by 1956 standards, looked pretty remarkable, but evidence of the accident was clear. Clift’s cheeks were swollen, and his face looked noticeably older, but the real proof was in his eyes. His eyes that were once filled with so much innocence and vulnerability were now sunken and hollow.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqLr69I5TCu8nyk0eB_R__pv_1OGd9ZdO5RNoVLBeuHBdouBCrbl0WPt5qiJ5s4-_TNZLIDmA9d6pglYtij5h5XEFrngRXijSu7dlA5pIf89LtlSSg7QvTFEaWYFlVW18yzkC1KWSBruyV/s1600/Montgomery+Clift+Raintree+County+-+after.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqLr69I5TCu8nyk0eB_R__pv_1OGd9ZdO5RNoVLBeuHBdouBCrbl0WPt5qiJ5s4-_TNZLIDmA9d6pglYtij5h5XEFrngRXijSu7dlA5pIf89LtlSSg7QvTFEaWYFlVW18yzkC1KWSBruyV/s640/Montgomery+Clift+Raintree+County+-+after.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Clift (with Elizabeth Taylor) in Raintree County, after the accident</td></tr>
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Clift had already filmed more than half of his scenes for <i>Raintree County</i>, and MGM, realizing it would be more expensive to recast and reshoot Clift’s scenes, waited two months for Clift to recover and resume filming. Noting all this, I’m almost ashamed to admit that watching <i>Raintree County</i> becomes a cruel guessing game of Clift’s health. <i>Was this scene pre or post-accident? Oh wow, his face looks so swollen there. </i>And truthfully, the physical toll of the accident wasn’t apparent right away. That transformation became clearer within a few years, as Clift drowned himself in alcohol and drugs.<br />
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As for the film itself, <i>Raintree County</i> is a weak <i>Gone with the Wind </i>knockoff that runs too long and doesn’t do its great cast justice. However, the movie is a Technicolor marvel to look at (Clift’s pre-accident scenes are the only time Clift appeared in a color motion picture before his accident), and early in the film, Clift has a playfulness that he hadn’t displayed since <i>The Search</i>. While <i>Raintree County</i> is far from the best film on this list, it was genuinely exciting to see Clift having a little fun again. If ever so briefly. <b>Movie: C+, Clift: B</b><br />
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<b><span style="font-size: large;">The Young Lions</span></b> (1958)</div>
<div style="text-align: center;">
as Noah Ackerman<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpTlrWUaALi1T-gZwQSBRX3Te7pQt67gnrUHrpSX3uFUAZRMx47F2_f2cnPSUXDUjIUwp0WhrX4LCfnaT9FM_Kns9h1ER5l6mZ6Su693Pd3IkHeTt0ONDFBgmRYrLM-BlpmKqlRZRgEX9H/s1600/Montgomery+Clift+The+Young+Lions.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="272" data-original-width="630" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpTlrWUaALi1T-gZwQSBRX3Te7pQt67gnrUHrpSX3uFUAZRMx47F2_f2cnPSUXDUjIUwp0WhrX4LCfnaT9FM_Kns9h1ER5l6mZ6Su693Pd3IkHeTt0ONDFBgmRYrLM-BlpmKqlRZRgEX9H/s640/Montgomery+Clift+The+Young+Lions.jpg" width="640" /></a></div>
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<i>The Young Lions</i> is a mediocre film that contains a perfect Montgomery Clift performance. Of his work in the film, Clift famously said, “Noah from <i>The Young Lions</i> was the best performance of my life. I couldn’t have given more of myself. I’ll never be able to do it again. Never.” Clift maintained that position until he died, hailing his work in <i>The Young Lions</i> and <i>Judgement at Nuremberg</i> as the two best performances of his career.<br />
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<i>The Young Lions</i> follows three characters simultaneously: Marlon Brando as a bleach-blonde Nazi with a heart of gold (he has a stereotypical German accent and everything), Dean Martin as a Broadway star who enlists in WWII, and Montgomery Clift as an emotionally tortured Jewish man who also enlists. The Clift and Martin characters intersect occasionally (though Martin’s story is far less interesting), while Brando’s story feels like it should be in an entirely different movie. What’s the overall purpose of this character? To show that not all Nazis are bad? This sympathetic Nazi character must have been a <i>bold</i> choice for 1958, and it is one that has not aged well. We’ve seen the caring Nazi as a sub character (notably in <i>Le Silence de la mer </i>and <i>The Pianist</i>), but putting him front and center, even if he’s played by someone as charming as Marlon Brando, is off-putting. However, I appreciate the film showing the horrors that incurred inside a concentration camp, even if censors insured that these scenes from <i>The Young Lions</i> were surface level. But in 1958, this is what the world needed to be talking about, and maybe movies like <i>The Young Lions</i> helped.<br />
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If the film is worth seeing now, it is surely because of Clift’s fearless performance. It feels like Noah is an aged and older version of Prew from <i>From Here to Eternity</i>. Both men are kind solders who can fight and are bullied mercilessly by men in their companies. But watching <i>The Young Lions</i>, one does not forget the scene in which Clift hesitantly beats one of his aggressors to the ground, screaming, “Don’t fall! Don’t fall!” with every passing punch. Noah is a performance of complete immersion; with Clift’s demons manifesting themselves in the most profound way on screen. <b>Movie: B-, Clift: A+</b><br />
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<b><span style="font-size: large;">Lonelyhearts</span></b> (1958)</div>
<div style="text-align: center;">
as Adam White<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioaQSQqmYQsGqfe4JEaOFQhT2K2Fc4_VGyXU44CUn1OsHNUlis_ZqyoWRs8kg8mckF5ho-3CcW3-wtA0E0E1BIiW_WH-yrG0hfvHWa-19FjUCn_HLQlXU3bsejqVfbo05HZpi5ZB5aVQ1I/s1600/Montgomery+Clift+Lonelyhearts.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="480" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioaQSQqmYQsGqfe4JEaOFQhT2K2Fc4_VGyXU44CUn1OsHNUlis_ZqyoWRs8kg8mckF5ho-3CcW3-wtA0E0E1BIiW_WH-yrG0hfvHWa-19FjUCn_HLQlXU3bsejqVfbo05HZpi5ZB5aVQ1I/s400/Montgomery+Clift+Lonelyhearts.png" width="400" /></a></div>
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The only remotely negative thing I can say about Vincent J. Donehue’s <i>Lonelyhearts</i> is that it is damn near impossible to find. The film was adapted from a stage play; it’s long sequences of complex verbal warfare never feel stuffy, and its dedicated cast never backs down. This movie is so damn hard to find that it is just begging for the Criterion Collection treatment. If only.<br />
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Adam White (Clift) is desperate to write for the Chronicle newspaper, so much so that he stalks a popular nightspot where many Chronicle staff hang out. At that bar, Adam impresses the Chronicle’s Editor-in-Chief, William Shrike (Robert Ryan), who hires Adam to write the advice column, Miss Lonelyhearts. Adam isn’t exactly keen to write for the column, he finds the assignment cheap and below him, but he soon starts taking his work seriously.<br />
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Clift is on fire in this film. His gestures, mannerisms, and way of speaking were so singular to his talent; he has a grace and intensity that a young Daniel Day-Lewis must have been influenced by. Ryan proves to be a great antagonist for Clift, his character is a ceaselessly talking, tirelessly cynical blowhard, and it is such a thrill to watch Clift and Ryan spar together. It’s unfortunate that this movie is so hard to track down because it contains a great, unseen Montgomery Clift performance. <b>Movie: A, Clift: A</b><br />
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<div style="text-align: center;">
<b><span style="font-size: large;">Suddenly, Last Summer </span></b>(1959)</div>
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as Dr. Cukrowicz<br />
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What’s most interesting about <i>Suddenly, Last Summer </i>is that Clift plays the straight man to Katharine Hepburn and Elizabeth Taylor, who respectively give two of the most unhinged performances of their careers. Violet Venable (Hepburn) is a wealthy woman who believes that her emotionally tortured niece, Catherine (Taylor), would benefit from a lobotomy by the famed Dr. Cukrowicz (Clift). Violet maintains that Catherine has been suffering from a breakdown since the death of Violet’s son/Catherine’s cousin, Sebastian, and that a lobotomy is the only way to help her. But because the procedure is so final, Cukrowicz wonders if Violet is attempting to erase some damaging evidence about Sebastian from Catherine’s mind.<br />
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Hepburn and Taylor are all in here. They’re better than the movie, which runs too long and makes us endure each of its 114 minutes. Taylor is especially transfixing; her Catherine is lost, manic, desperate for a cigarette. Watching her scenes with Clift always proves to be a joy. The two so clearly loved each other (platonically, by most accounts), and the respect they had for each other’s talents is so evident on screen. The way these two used to occupy a room together is something that is rarely matched on screen today. You just don’t see natural chemistry like this anymore.<br />
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My initial take on Clift’s performance here was that he looked alert, sober, and happy to take on the challenging material. He seemed excited to play opposite Hepburn, and eager to act with Taylor again. But Clift was suffering badly during the making of this film. His addiction was swallowing him whole, and he was often late to set and unable to memorize his lines, which infuriated director Joseph L. Mankiewicz. Taylor used her clout to demand that the studio hire Clift for the part, and Hepburn got so defensive of Clift while making the film, that she spit in Mankiewicz’s face as soon as the movie wrapped. All told, Cukrowicz is a restrained character by design, and Clift seems game to step aside and let the women shine brightest. <b>Movie: B-, Clift: B+</b> (<b>Hepburn and Taylor: A+</b>)<br />
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<b><span style="font-size: large;">Wild River </span></b>(1960)</div>
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as Chuck Glover<br />
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It’s Garthville, Tennessee circa the 1930s and in a few short weeks, the Tennessee Valley Authority (TVA) will open its new dam, flooding much of Garthville’s shoreline around the Tennessee River. TVA has purchased most of this land already, but the lone holdout is an elderly woman name Ella Garth (Jo Van Fleet), who refuses to sell her small island—Garth Island—which her family has owned for decades. To convince Ella to sell her land, TVA sends in Chuck Glover (Clift), an understated working stiff who genuinely wants to please his bosses, without causing disruption in Ella’s life.<br />
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You know that sequence in <i>There Will Be Blood</i> where Daniel Plainview has to convince William Bandy to sell the Bandy land so that Plainview can have his oil pipeline? Stretch that sequence out for an entire film, and you’re close to Elia Kazan’s <i>Wild River.</i> The main difference is that Chuck enters Garthville as a Washington D.C. stooge with a political assignment, and slowly becomes empathetic to Ella’s plight, thanks much in part to Ella’s granddaughter, Carol (Lee Remick), who catches Chuck’s eye.<br />
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<i>Wild River</i> looks <i>stunning</i> in color CinemaScope, and was clearly made by a master. The film is classically constructed and acted to perfection. It’s a simple story, but every component of the story is told beautifully and without flaw. Clift is great here, infusing some of his playfulness into the role, and ultimately playing Chuck as relaxed and understanding. It’s a nice change of pace from the brooding intensity found in so many Clift characters.<br />
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There’s another aspect of <i>Wild River</i> that deserves mention. I couldn’t help but notice how unabashedly progressive this film was, especially racially. (Chuck routinely makes a strong case that every working man deserves the same wage, regardless of the color of their skin.) I wondered if Kazan hammered these liberal points home to save face for his controversial testimony before the House Committee on Un-American Activities a few years earlier. Whatever the reasoning, it’s great to watch such a well-made film, and see how it influenced works like <i>In the Heat of the Night</i>, <i>Deliverance</i>, <i>There Will Be Blood</i>, and countless others. <b>Movie: A+, Clift: A+</b><br />
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<b><span style="font-size: large;">The Misfits</span></b> (1961)</div>
<div style="text-align: center;">
as Perce Howland<br />
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One of the best scenes of Clift’s career is his first scene in John Huston’s <i>The Misfits</i>. This scene takes place 45 minutes into the movie (Clift is a supporting player in the film), and features Clift’s character, Perce Howland, talking on a payphone to his mother. The scene lasts for only two minutes, but it is a masterclass in Clift’s acting strengths. Describing a rodeo accident Perce was in, Perce says to his mom, “Oh no, my face is fine, it’s all healed up. Just as good as new. You would to recognize me.” Just watching the way Clift plays this scene, rubbing his face as if to convince himself that it’s still there, one has to imagine that Clift is talking about himself.<br />
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<i>The Misfits</i> is a damn near perfect revisionist western about an aging cowboy, Gay (Clarke Cable, who died before the film was release), who falls for a recently divorced woman, Roslyn (Marilyn Monroe, who died a year after the film was released). The two shack up in an old house owned by Gay’s friend, Guido (Eli Wallach), who has his eyes on Roslyn as well. Perce (Clift) shows up later to accompany the group on their homely adventures.<br />
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<i>The Misfits</i> is a simple tale about a few people who are tired, drunk, and probably on the tail end of their lives, despite being so young. Mostly, the movie is Gable and Monroe’s show. It was the last full movie they were both in, and it’s impossible to watch the film now without feeling nostalgic. Another great scene is when Clift and Monroe share an extended moment together, with Clift resting his head in Monroe’s lap. The scene feels natural and special. Because of this scene, Clift reportedly said that Monroe was the best actress he ever worked with, while she famously said that Clift was, “The only person I know who is in even worse shape than I am.”<br />
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Perce is Clift at his most pleasantly understated. For a great Monty Clift double feature, watch <i>Red River</i> and <i>The Misfits</i> back-to-back. Two acclaimed westerns—one traditional, one revisionist—containing two discreet Clift performances at the book ends of his career. <b>Movie: A+, Clift: A+</b><br />
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<b><span style="font-size: large;">Judgement at Nuremberg</span></b> (1961) </div>
<div style="text-align: center;">
as Rudolph Peterson<br />
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If there is a single scene that best represents Montgomery Clift’s strength as an actor, and torment as a human being, it is his scene in J<i>udgement at Nuremberg</i>. An hour into the film, Clift shows up for 20 consecutive minutes, and delivers a monologue of haunting power. It’s a deliriously tortured performance, as if Clift is almost possessed by anger and fear.<br />
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During the Nuremberg trials, Rudolph Peterson is called as a witness to describe his experience of being sterilized by the Nazis. As he retells the story, Clift frantically bounces back and forth within Rudolph, giving Rudolph a strange sense of detachment in recalling the events, and other times making it seem like Rudolph is reliving the pain of the experience all over again.<br />
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During these 20 minutes, Clift seems scared, drunk, and lost, which mirrored how he was during filming. Director Stanley Kramer originally offered Clift the bigger part of Col. Tad Lawson (played well by Richard Widmark in the film), but Clift thought Lawson was too dry, and he asked to play Rudolph instead. And because Clift was not needed on set for many days, he decided to not dry out from booze and pills (as he usually did before a shoot) and instead play Rudolph as Clift’s natural, fucked up self. Clift was in such bad shape when they shot, that he couldn’t even remember his lines, so Kramer told him to make them all up, which Clift did. And while it’s difficult to watch the pain that it took to fulfill this performance, there’s no denying that this is one of Clift’s crowning achievements.<br />
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Clift was nominated for four Oscars in his life: Best Actor for <i>The Search </i>(lost to Laurence Olivier in <i>Hamlet</i>), Best Actor for <i>A Place in the Sun</i> (lost to Humphrey Bogart in <i>The African Queen</i>, a criminal Oscar mistake), Best Actor for <i>From Here to Eternity</i> (lost to William Holden in <i>Stalag 17</i>), and Best Supporting Actor for <i>Judgement at Nuremberg</i> (lost to George Chakiris in <i>West Side Story</i>). Clift had strong competition in his Best Actor years, but there is no compelling reason for him losing to Chakiris. Clift said that his performances in <i>The Young Lions</i> and <i>Judgement at Nuremberg</i> were the best of his career, and it would’ve been magical to see this performance awarded appropriately. <b>Movie: A-, Clift: A+</b><br />
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<b><span style="font-size: large;">Freud: The Secret Passion</span> </b>(1962)</div>
<div style="text-align: center;">
as Sigmund Freud<br />
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More so than perhaps any film on this list, John Huston’s <i>Freud</i> is a movie that should have worked on most every level, but simply does not. The film traces Sigmund Freud’s life for a few years in the late 1800s, as he was trying to prove that mental hysteria is real and can be treated. But the movie is too slow, too misguided, too faux experimental to resonate. Clift gives an at-times wonderfully frenzied performance, but the movie doesn’t give Clift much more to do beyond sitting in a chair and talking at length about complex psychological concepts.<br />
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Monty Clift as the father of psychoanalysis could have completely rejuvenated Clift’s career, but instead, it helped tank it. Clift was in such bad shape during the making the film (the drink, the drugs) that Universal sued him for causing so many production delays. Additionally, Huston, who became a father figure to Clift on the set of <i>The Misfits</i>, started treating Clift poorly on the <i>Freud</i> set. This resulted in a difficult shoot, but Clift had a plan. He was so confident in his performance as Freud, that he assumed the movie would be a hit, he’d win the Best Actor Oscar for his work, and then the studio wouldn’t have any grounds to sue him.<br />
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And, minus the Oscar win (Clift wasn’t nominated), that’s exactly what happened. <i>Freud</i> was well received by critics and was a box office success, so Universal dropped the lawsuit. But while Clift did win that battle, he could never find his footing as an actor again. <b>Movie: C, Clift: B</b><br />
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<b><span style="font-size: large;">The Defector</span></b> (1966)</div>
<div style="text-align: center;">
as Professor James Bower<br />
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Montgomery Clift’s reputation took such a hit after his <i>Freud</i> antics, that he could not find acting work for nearly four years. It was during this time that Clift’s demons all but consumed him. Thankfully, Clift had a champion in Elizabeth Taylor, who vouched for him financially and insisted that he star alongside her in John Huston’s upcoming film, <i>Reflections in a Golden Eye</i>. The deal was inked, but before shooting on that film began, Clift thought he needed a warm-up performance to get back into it. And so represents Montgomery Clift’s performance in <i>The Defector</i>, which would ultimately be his last screen role, as he would die one month after filming wrapped.<br />
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The movie is a rough-around-the-edges Russian spy thriller that casts Clift as James Bower, an American professor forced to help the CIA get secret microfilm. <i>The Defector </i>is an otherwise carbon-copy spy thriller, notable for no reason other than it stars Montgomery Clift in his final screen appearance.<br />
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The movie does have one really cool scene though. Early in the film, James is forced into a hotel room that he cannot escape from. The door is sealed shut, and the walls of the room can change in a way that disorients the person inside. During this sequence, we aren’t sure if James is sleeping, dreaming, hallucinating, or maybe all three. At one point, his bed ends up on the street outside, surrounded by construction, but in a flash, we’re suddenly back in the hotel room. As the sequence is close to concluding, James looks around and mutters to himself that he will not let this room turn him insane. It’s a wonderfully disorienting scene that the rest of the movie can’t live up to.<br />
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By this point, Clift’s face was weathered and worn, and he looked 20 years older than he was. But as James, Clift seemed to enjoy himself, not taking matters too seriously, and not making a joke out of things either. He seemed ready to work with Elizabeth Taylor again. He seemed ready to show Hollywood what more he had to offer. He seemed ready to live. This performance only makes me yearn for what Montgomery Clift’s full career could have been. But I remain forever grateful for what his career was. <b>Movie: C-, Clift: B</b><br />
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<b><span style="font-size: large;"><u>Further Reading</u></span></b></div>
<div style="text-align: center;">
<b>“Montgomery Clift”</b> by Patricia Bosworth (1978)</div>
Essential reading for any fan of Montgomery Clift, old Hollywood, or damn well written biographies. I’d say skip “Monty: A Biography of Monty Clift” (1977) by Robert LaGuardia, as much of that text was deemed false and sensationalized.<br />
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<b>Making Montgomery Clift </b>(2018)</div>
I wanted to like this documentary more, which was co-directed by Clift’s own nephew, Robert Anderson Clift. However, <i>Making Montgomery Clift</i> is chiefly concerned with disproving rumors about Clift that appeared in the Clift biographies by LaGuardia and Boswell. Most of these rumors are focused on Clift’s love life (Was he gay or bisexual? Did he sleep with Elizabeth Taylor? Did he date much younger men?). There is very little insight into Clift’s craft or his characters. The exception is an extended recording between Clift and Stanley Kramer, in which they discuss Clift’s <i>Judgment at Nuremberg</i> character at length, before they shot the scene. It is a thrill to listen to. Imagine a documentary made up entirely of these conversations.<br />
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<b>Hy Gardner Calling</b> (1963)</div>
This is an absolute must watch for all Clift fans. A 48-minute-long rare candid interview with one of cinema’s most elusive stars. The standout moments from the discussion are Clift talking at length about his car accident in 1956, and the fallout of the complex <i>Freud</i> shoot. I was also so taken with how kind and self-effacing Clift is here. He always made it clear when he was expressing an opinion, and not a fact, and he is first to give credit to his co-stars. Watch this interview <a href="https://www.youtube.com/watch?v=zg0LJQRPimY">on YouTube now</a>!<br />
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<b>Sunset Boulevard</b> (1950)</div>
Clift was signed and sealed to star in Billy Wilder’s iconic film noir, but just before shooting began, Clift dropped out. This incensed Wilder, who had to scramble to cast William Holden in the part at the last second. I love Holden in this movie, but just imagine Montgomery Clift in his prime taking on the role of Joe Gillis.<br />
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<b>Reflections in a Golden Eye</b> (1967)</div>
Elizabeth Taylor lobbied hard to have Clift in this film with her, even offering to put up some of her salary to cover Clift’s insurance. Clift’s role, which eventually went to Marlon Brando, would have been a repressed Army officer who begins falling in love with a male private, while his sexually mischievous wife flaunts behind his back. Brando tries, but is miscast here. He looks too buttoned up and nervous. There’s no fear or panic or dread. No anguish behind sunken eyes. But damn, can I think of an actor who could have played that part to perfection.<br />
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<b><u><span style="font-size: large;">Final Thoughts</span></u></b></div>
<b>Top 5 Montgomery Clift Performances</b>: <i>A Place in the Sun</i> (1), <i>The Search</i> (2), <i>From Here to Eternity</i> (3), <i>The Young Lions</i> (4), <i>Judgement at Nuremberg</i> (5)<br />
<b>Biggest Surprises</b>: <i>Lonelyhearts</i>, <i>Wild River</i><br />
<b>Biggest Letdowns</b>: <i>The Big Lift</i>, <i>Freud</i><br />
<b>Best Film Featuring Montgomery Clift</b>: <i>A Place in the Sun</i><br />
<b>Best Chemistry with an Actress</b>: Elizabeth Taylor (<i>A Place in the Sun</i>; <i>Raintree County</i>; <i>Suddenly, Last Summer</i>)<br />
<b>Best Chemistry with an Actor</b>: Ivan Jandl (<i>The Search</i>)<br />
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<u><span style="font-size: large;">In Summation: Montgomery Clift’s Performances</span></u><br />
<b><span style="font-size: large;">Masterful</span></b><br />
<i>The Search</i><br />
<i>Red River</i><br />
<i>A Place in the Sun</i><br />
<i>From Here to Eternity</i><br />
<i>The Young Lions</i><br />
<i>Lonelyhearts</i><br />
<i>Wild River</i><br />
<i>The Misfits</i><br />
<i>Judgement at Nuremberg</i><br />
<br />
<b><span style="font-size: large;">Great</span></b><br />
<i>The Heiress</i><br />
<i>Terminal Station</i><br />
<i>Suddenly, Last Summer</i><br />
<br />
<b><span style="font-size: large;">Good</span></b><br />
<i>The Big Lift</i><br />
<i>I Confess</i><br />
<i>Raintree County</i><br />
<i>Freud: A Secret Passion</i><br />
<i>The Defector</i><br />
<br />
<b><span style="font-size: large;">Meh</span></b><br />
None<br />
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<b><span style="font-size: large;">Just Plain Bad</span></b><br />
None<br />
<br />Alex Withrowhttp://www.blogger.com/profile/15887018476048271594noreply@blogger.com21tag:blogger.com,1999:blog-4784665635104956142.post-74959384657100442782020-02-24T14:25:00.000-05:002020-04-24T10:55:59.580-04:00In Character: 2019 Oscar Nominees<div class="MsoNormal">
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I know, I know. The 2019 Oscars have come and gone, and I didn’t make time to post
my annual In Character Oscar piece. Still wanting to keep up the tradition, I present you with my favorite roles from each recent acting Oscar nominee. Be
sure to share your favorites as well!<br />
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<u><u><span style="font-size: large;">BEST ACTRESS</span></u></u></div>
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<b><span style="font-size: large;">Cynthia Erivo – Harriet</span></b></div>
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<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHR_9evWchrpjd4yIubK8dF6kz0O7kYZjPgLv7D24EES_gcyW37yQtB_FB6iLMmloxFVBqRsEGHgFSiTKVo43ZmoXhxUIfu8-pFe8dv8UQph43fmpg0Bm_GqCwoTvHJCqw2P2hnCyBoSDW/s1600/Cynthia+Erivo+Widows.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="272" data-original-width="630" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHR_9evWchrpjd4yIubK8dF6kz0O7kYZjPgLv7D24EES_gcyW37yQtB_FB6iLMmloxFVBqRsEGHgFSiTKVo43ZmoXhxUIfu8-pFe8dv8UQph43fmpg0Bm_GqCwoTvHJCqw2P2hnCyBoSDW/s640/Cynthia+Erivo+Widows.jpg" width="640" /></a></span></b></div>
<b><o:p></o:p></b></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>Bad Times at the El Royale</i>, <i>Broad
City</i>, <i>The Outsider</i>, <i>Genius</i><o:p></o:p></div>
<div class="MsoNormal">
<u>Best Role</u>: As the badass Belle from <i>Widows</i>. Still
a damn shame that so many people slept on that movie. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><span style="font-size: large;">Scarlett Johansson – Marriage Story</span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghEfOnM1O6wZBe7wLlm0JTCrJaGnRBPI2ir_HFzSsGYvBCmcbS7lpp-t70HDC8wF3SwFuk6iFojoNhFeYhekUe2jVQklU4_srYWIygy7XnIz_OEJbTR8GIr6p63CbwYDX7JcdfkwwXSupT/s1600/Scarlett+Johansson+Lost+in+Translation2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="272" data-original-width="630" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghEfOnM1O6wZBe7wLlm0JTCrJaGnRBPI2ir_HFzSsGYvBCmcbS7lpp-t70HDC8wF3SwFuk6iFojoNhFeYhekUe2jVQklU4_srYWIygy7XnIz_OEJbTR8GIr6p63CbwYDX7JcdfkwwXSupT/s640/Scarlett+Johansson+Lost+in+Translation2.jpg" width="640" /></a></span></b></div>
<b><o:p></o:p></b></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>Match Point</i>, <i>Vicky Cristina
Barcelona</i>, <i>The Avengers</i>, <i>Under the Skin</i>, <i>Her</i><o:p></o:p></div>
<div class="MsoNormal">
<u>Best Role</u>: It must be her charming, effortless
innocence from <i>Lost in Translation</i>.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><span style="font-size: large;">Saoirse Ronan – Little Women </span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQyE6hZTJw-wtytYFxTbFDVvvajgL_AMx7oQKk-cFQaAvn6ltSksimAtxuaq_pynfJVK3hryMNdSDfJinc08wDZLN3OUI0IANr0sARnLQhycZsvcGrxpRj2gIGCMwE5HvRGvw6KH9Pf8wZ/s1600/Saoirse+Ronan+Lady+Bird.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="272" data-original-width="630" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQyE6hZTJw-wtytYFxTbFDVvvajgL_AMx7oQKk-cFQaAvn6ltSksimAtxuaq_pynfJVK3hryMNdSDfJinc08wDZLN3OUI0IANr0sARnLQhycZsvcGrxpRj2gIGCMwE5HvRGvw6KH9Pf8wZ/s640/Saoirse+Ronan+Lady+Bird.jpg" width="640" /></a></span></b></div>
<b><o:p></o:p></b></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>Atonement</i>, <i>The Lovely Bones</i>,
<i>Hanna</i>, <i>The Grand Budapest Hotel</i>, <i>Brooklyn</i><o:p></o:p></div>
<div class="MsoNormal">
<u>Best Role</u>: What a great career Ronan has had so far.
Her leading work in <i>Lady Bird</i> still wins out for me.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><span style="font-size: large;">Charlize Theron – Bombshell</span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDcJ5pDPffTsv_VKxCkchyvN-AHRoneab96Jj0hTn6FVVgEVsD245wLSY9RcrRZMcePlpbdOwTh1XH1UxWM5OAdMuGdOW4oPI_K-QhkHUiM-88_Vzeq68O2hzZ-HluSs9-UhzGeQpvGS9g/s1600/Charlize+Theron+Monster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="272" data-original-width="630" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDcJ5pDPffTsv_VKxCkchyvN-AHRoneab96Jj0hTn6FVVgEVsD245wLSY9RcrRZMcePlpbdOwTh1XH1UxWM5OAdMuGdOW4oPI_K-QhkHUiM-88_Vzeq68O2hzZ-HluSs9-UhzGeQpvGS9g/s640/Charlize+Theron+Monster.jpg" width="640" /></a></span></b></div>
<b><o:p></o:p></b></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>North Country</i>, <i>In the Valley
of Elah</i>, <i>Prometheus</i>, <i>Mad Max: Fury Road<o:p></o:p></i></div>
<div class="MsoNormal">
<u>Best Role</u>: Hard to imagine this being anything other
than <i>Monster</i>.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><span style="font-size: large;">Renée Zellweger – Judy</span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEpC7NivMiefMnNziWXuHK7JRCKvprMCX89vaiovy2TmUoAfzGK5YRQJVR4FtvVlKKBCEQja8jyzKxDWo65SfByg2JuvBDRuzBgkY941aLw092u7BloVrp9fIFzg4x2gw6tvryF449QSON/s1600/Rene%25CC%2581e+Zellweger+Judy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="272" data-original-width="630" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEpC7NivMiefMnNziWXuHK7JRCKvprMCX89vaiovy2TmUoAfzGK5YRQJVR4FtvVlKKBCEQja8jyzKxDWo65SfByg2JuvBDRuzBgkY941aLw092u7BloVrp9fIFzg4x2gw6tvryF449QSON/s640/Rene%25CC%2581e+Zellweger+Judy.jpg" width="640" /></a></span></b></div>
<b><o:p></o:p></b></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>Jerry Maguire</i>, <i>Bridget Jones’s
Diary</i>, <i>Chicago</i>, <i>Cold Mountain</i>, <i>Cinderella Man</i><o:p></o:p></div>
<div class="MsoNormal">
<u>Best Role</u>: <i>Jerry Maguire</i> will always hold a
special place in my heart, but her best work is <i>Judy</i>.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<u><span style="font-size: large;">BEST ACTOR<o:p></o:p></span></u></div>
</div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><span style="font-size: large;">Antonio Banderas – Pain and Glory</span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQH5rkNpR11xmWyWr29dQ0cgKbVT5oHT5UhIMF7wJANnNM8LmHPYEydMJ6HOVJuRERM_MGIFJGHHFPVNNYvvJuIakIAnV6oqqRNFiAEXgMmdTzmA80zZ9WYVsx4pijjlcVzwBVMIwj8cor/s1600/Antonio+Banderas+Pain+and+Glory.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="272" data-original-width="630" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQH5rkNpR11xmWyWr29dQ0cgKbVT5oHT5UhIMF7wJANnNM8LmHPYEydMJ6HOVJuRERM_MGIFJGHHFPVNNYvvJuIakIAnV6oqqRNFiAEXgMmdTzmA80zZ9WYVsx4pijjlcVzwBVMIwj8cor/s640/Antonio+Banderas+Pain+and+Glory.jpg" width="640" /></a></span></b></div>
<b><o:p></o:p></b></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>Philadelphia</i>, <i>Desperado</i>,
<i>The Mask of Zorro</i>, <i>Spy Kids</i>, <i>The Skin I Live In<o:p></o:p></i></div>
<div class="MsoNormal">
<u>Best Role</u>: Such a tough call, but I actually think I have
to go with <i>Pain and Glory</i>. It felt like Banderas and Pedro Almodóvar’s
careers had been leading up to the moment they could make that film together.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><span style="font-size: large;">Leonardo DiCaprio – Once Upon a Time… in
Hollywood</span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd0JpLtPqKAmPMXHOXlwCB9QioSEWQIBysMpDjDcgf2yWCxAgesmaM7jbcIb_KeYPUggSPkuYsxcEpibL9KhEA1XlFr71_GugaKnBi8kxhyesX-JKVT3Wht9-VIJ9aFTEJQ_nac1D11_cP/s1600/Leonardo+DiCaprio+The+Wolf+of+Wall+Street.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="272" data-original-width="630" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd0JpLtPqKAmPMXHOXlwCB9QioSEWQIBysMpDjDcgf2yWCxAgesmaM7jbcIb_KeYPUggSPkuYsxcEpibL9KhEA1XlFr71_GugaKnBi8kxhyesX-JKVT3Wht9-VIJ9aFTEJQ_nac1D11_cP/s640/Leonardo+DiCaprio+The+Wolf+of+Wall+Street.jpg" width="640" /></a></span></b></div>
<b><o:p></o:p></b></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>Catch Me If You Can</i>, <i>Revolutionary
Road</i>, <i>Django Unchained</i>, <i>The Revenant</i><o:p></o:p></div>
<div class="MsoNormal">
<u>Best Role</u>: It could be any number of roles, including
the four listed above, but having let it sit for a few years, I feel comfortable
calling his work in <i>The Wolf of Wall Street</i> his best yet.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><span style="font-size: large;">Adam Driver – Marriage Story</span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJReIw2smiXTAUOXYxvc9udl_5W0ti6GFAL6GoQzAPp1xOPtXQ7Aaz1cbQIeInim770Qzsis9dMUwkUzeqc7PGZM0LCpUMwQJarjsY1q8SndvvaiH22L3aWDZcCUHrt-vFJ3W3MHtrRygv/s1600/Adam+Driver+Marriage+Story.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="272" data-original-width="630" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJReIw2smiXTAUOXYxvc9udl_5W0ti6GFAL6GoQzAPp1xOPtXQ7Aaz1cbQIeInim770Qzsis9dMUwkUzeqc7PGZM0LCpUMwQJarjsY1q8SndvvaiH22L3aWDZcCUHrt-vFJ3W3MHtrRygv/s640/Adam+Driver+Marriage+Story.jpg" width="640" /></a></span></b></div>
<b><o:p></o:p></b></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>Girls</i>, <i>Paterson</i>, <i>Star
Wars</i>, <i>Silence</i>, <i>Logan Lucky</i>, <i>BlacKkKlansman</i>, <i>The
Report</i><o:p></o:p></div>
<div class="MsoNormal">
<u>Best Role</u>: <i>Marriage Story</i>. Driver has become a
huge player so quickly, and it’ll be a marvel to watch where his career goes
from here.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><span style="font-size: large;">Joaquin Phoenix – Joker</span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnEkO_T1g2kf2nlYPAWaBtwJ0MFsOWhLFKxhe5cTMwA3VgbIKNMVtZ5nevcvFijUWaq6_14Y-VhePbzROXq6ZKKOjELe39m_zb1xxdmiOkx_tzc3RCiVOP2jZ83e0iwQaVprijF2eLXvM8/s1600/Joaquin+Phoenix+you+were+never+really+here.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="272" data-original-width="630" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnEkO_T1g2kf2nlYPAWaBtwJ0MFsOWhLFKxhe5cTMwA3VgbIKNMVtZ5nevcvFijUWaq6_14Y-VhePbzROXq6ZKKOjELe39m_zb1xxdmiOkx_tzc3RCiVOP2jZ83e0iwQaVprijF2eLXvM8/s640/Joaquin+Phoenix+you+were+never+really+here.jpg" width="640" /></a></span></b></div>
<b><o:p></o:p></b></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>To Die For</i>, <i>Gladiator</i>, <i>Walk
the Line</i>, <i>Two Lovers</i>, <i>Her</i>, <i>Inherent Vice</i><o:p></o:p></div>
<div class="MsoNormal">
<u>Best Role</u>: I can’t decide between <i>The Master</i>
and <i>You Were Never Really Here</i>. He was so uniquely dedicated to each
role. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><span style="font-size: large;">Jonathan Pryce – The Two Popes</span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNSDU67mWWqljwTUWUIWWF08mpRq78gHqHa0P006dRX8Zu8TYQushb9tZY3YWzzrHqFo4vZWhbbuheXhcg2yc5wAka4_3_0Ly5ziZO60V2okCRDTQ9HYdoDXnfjc_1SyLtnKOF8DSjJGGo/s1600/Jonathan+Pryce+Brazil.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="272" data-original-width="630" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNSDU67mWWqljwTUWUIWWF08mpRq78gHqHa0P006dRX8Zu8TYQushb9tZY3YWzzrHqFo4vZWhbbuheXhcg2yc5wAka4_3_0Ly5ziZO60V2okCRDTQ9HYdoDXnfjc_1SyLtnKOF8DSjJGGo/s640/Jonathan+Pryce+Brazil.jpg" width="640" /></a></span></b></div>
<b><o:p></o:p></b></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>Glengarry Glen Ross</i>, <i>Game of
Thrones</i>, <i>The Wife</i>, <i>The Man Who Killed Don Quixote<o:p></o:p></i></div>
<div class="MsoNormal">
<u>Best Role</u>: Oh god, how do you pick the top
performance from one of the best character actors who’s ever lived? I’ll go
with <i>Brazil</i> for now, but <i>any</i> number of performances are correct
here.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<u><span style="font-size: large;">BEST SUPPORTING ACTRESS<o:p></o:p></span></u></div>
</div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><span style="font-size: large;">Kathy Bates – Richard Jewell</span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-AI4Kc0moOVIa_OIYBu0vNUwm5CVrceRp5dZygvNylVA1PGX__2CKUtxmpqniw5vgUGzh2-4aiu2tYPiMT4LHreNaKKFF6NxGo3U9_DA94u8er386pgXP3qP4GIRjLncWtRoRHVyrFVCx/s1600/Kathy+Bates+Misery.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="272" data-original-width="630" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-AI4Kc0moOVIa_OIYBu0vNUwm5CVrceRp5dZygvNylVA1PGX__2CKUtxmpqniw5vgUGzh2-4aiu2tYPiMT4LHreNaKKFF6NxGo3U9_DA94u8er386pgXP3qP4GIRjLncWtRoRHVyrFVCx/s640/Kathy+Bates+Misery.jpg" width="640" /></a></span></b></div>
<b><o:p></o:p></b></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>Dolores Claiborne</i>, <i>Primary
Colors</i>, <i>About Schmidt</i>, <i>American Horror Story</i><o:p></o:p></div>
<div class="MsoNormal">
<u>Best Role</u>: It must be <i>Misery</i>. That movie, and
Bates’ terrifying work in it, really hold up well.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><span style="font-size: large;">Laura Dern – Marriage Story</span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiKQAKhb2iXuN8XmAtlA1Mwzd6KtridB-k4PJf76iUGmIPvWTs6JqyfwIAsKe5C8IT6zl4D-un-qAeDAGd6t6qTat7qRO91C9egQzC5tEEe5J6xCCYu8qhQ2xPofCuggEPMa4viQnK7gPw/s1600/Laura+Dern+Inland+Empire.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="272" data-original-width="630" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiKQAKhb2iXuN8XmAtlA1Mwzd6KtridB-k4PJf76iUGmIPvWTs6JqyfwIAsKe5C8IT6zl4D-un-qAeDAGd6t6qTat7qRO91C9egQzC5tEEe5J6xCCYu8qhQ2xPofCuggEPMa4viQnK7gPw/s640/Laura+Dern+Inland+Empire.jpg" width="640" /></a></span></b></div>
<b><o:p></o:p></b></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>Blue Velvet</i>, <i>Wild at Heart</i>,
<i>Jurassic Park</i>, <i>Citizen Ruth</i>, <i>Enlightened</i>, <i>Wild</i><o:p></o:p></div>
<div class="MsoNormal">
<u>Best Role</u>: I will never be able to deny the full-tilt
mania she brought to <i>Inland Empire</i>.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><span style="font-size: large;">Scarlett Johansson – Jojo Rabbit</span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV5x58zNEXgR58L8pOwyJnT0i1zsF8_CxLdMafuq-H8lD8YAqv-nvZPBapCm-DDUwmp8UvJVwzcEQPjsACUUFjriBLyOY50FPWp_ZIl9G-6GR30jDhIBz4g7lG64UB7WftlwI8ua44vwtf/s1600/Scarlett+Johansson+Lost+in+Translation.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="272" data-original-width="630" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV5x58zNEXgR58L8pOwyJnT0i1zsF8_CxLdMafuq-H8lD8YAqv-nvZPBapCm-DDUwmp8UvJVwzcEQPjsACUUFjriBLyOY50FPWp_ZIl9G-6GR30jDhIBz4g7lG64UB7WftlwI8ua44vwtf/s640/Scarlett+Johansson+Lost+in+Translation.jpg" width="640" /></a></span></b></div>
<b><o:p></o:p></b></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>Ghost World</i>, <i>Girl with a
Pearl Earring</i>, <i>The Prestige</i>, <i>Lucy</i>, <i>Hail, Caesar!<o:p></o:p></i></div>
<div class="MsoNormal">
<u>Best Role</u>: Yep, still <i>Lost in Translation</i>.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><span style="font-size: large;">Florence Pugh – Little Women</span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdcB2dGoGQGxu3JS5Mq7Z2h1irJpML01A3K6QLHdh8v_phyTy9JoOvGflbG2S81noIqZpJd7eCur5LqmwPnb3lStiGFLkAdKJ8j3jiuLKjTykgxvgPzUoShC-URPXUPnnQQGNDeZJFYpjD/s1600/Florence+Pugh+Midsommar.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="272" data-original-width="630" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdcB2dGoGQGxu3JS5Mq7Z2h1irJpML01A3K6QLHdh8v_phyTy9JoOvGflbG2S81noIqZpJd7eCur5LqmwPnb3lStiGFLkAdKJ8j3jiuLKjTykgxvgPzUoShC-URPXUPnnQQGNDeZJFYpjD/s640/Florence+Pugh+Midsommar.jpg" width="640" /></a></span></b></div>
<b><o:p></o:p></b></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>Lady Macbeth</i>, <i>The Commuter</i>,
<i>Outlaw King</i>, <i>Fighting with My Family</i><o:p></o:p></div>
<div class="MsoNormal">
<u>Best Role</u>: Her tortured work in <i>Midsommar</i> remains
the stand out, though Pugh is going to have a great career.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><span style="font-size: large;">Margot Robbie – Bombshell</span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNHAJuauUtpkvAJNMBuW9S2rX6djOQ7D4z_vJDw1pCJ90OrX5CmJk-Qj_V7fRNtHZz3MWu3TEzgtZrbHA4xNlj5pJ5_Ld8wYGIRuWk4nMTbgNdwf4rpg5DFHh0FrnNjxgOa0k8GsrCYWEY/s1600/Margot+Robbie+Once+Upon+a+Time...+in+Hollywood.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="272" data-original-width="630" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNHAJuauUtpkvAJNMBuW9S2rX6djOQ7D4z_vJDw1pCJ90OrX5CmJk-Qj_V7fRNtHZz3MWu3TEzgtZrbHA4xNlj5pJ5_Ld8wYGIRuWk4nMTbgNdwf4rpg5DFHh0FrnNjxgOa0k8GsrCYWEY/s640/Margot+Robbie+Once+Upon+a+Time...+in+Hollywood.jpg" width="640" /></a></span></b></div>
<b><o:p></o:p></b></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>Neighbours</i>, <i>The Wolf of Wall
Street</i>, <i>Focus</i>, <i>I, Tonya</i>, <i>Mary Queen of Scots<o:p></o:p></i></div>
<div class="MsoNormal">
<u>Best Role</u>: Sharon Tate, <i>Once Upon a Time... in
Hollywood</i>.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<u><span style="font-size: large;">BEST SUPPORTING ACTOR<o:p></o:p></span></u></div>
</div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><span style="font-size: large;">Tom Hanks – A Beautiful Day in the Neighborhood</span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlndjWlrN7v4HYCmOrmCoEPPZWNsFYKTk_lnUc5H8tJeW1cHObh61DAshvGGT1WF8YVeO-0pqEvttnpo90vApTHpbldwwm60N4vvsaRNhobDzOXj7AnQwqmQ685qxQAt0CI1mqeW1q9Q5I/s1600/Tom+hanks+philadelphia.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="272" data-original-width="630" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlndjWlrN7v4HYCmOrmCoEPPZWNsFYKTk_lnUc5H8tJeW1cHObh61DAshvGGT1WF8YVeO-0pqEvttnpo90vApTHpbldwwm60N4vvsaRNhobDzOXj7AnQwqmQ685qxQAt0CI1mqeW1q9Q5I/s640/Tom+hanks+philadelphia.jpg" width="640" /></a></span></b></div>
<b><o:p></o:p></b></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>Big</i>, <i>Forrest Gump</i>, <i>Saving
Private Ryan</i>, <i>Cast Away</i>, <i>Captain Phillips</i><o:p></o:p></div>
<div class="MsoNormal">
<u>Best Role</u>: After all these years, I’m still so drawn
to Andy Beckett from <i>Philadelphia</i>. The pain in his eyes.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><span style="font-size: large;">Anthony Hopkins – The Two Popes</span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjwegms64CVA81wyyU_vBeRnnq1YlDQS3ODrVnjl9hxY7cV58NQAVBAx9qGEZmL6Gv_L-Ni4X-Dj9gSp_Mc3lpAbg9W6KvYh_6JTAqVxxzZuiyI3M1DNM74qqkI2lUyAHaBRzafaoJdIpb/s1600/Anthony+Hopkins+The+Silence+of+the+Lambs.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="272" data-original-width="630" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjwegms64CVA81wyyU_vBeRnnq1YlDQS3ODrVnjl9hxY7cV58NQAVBAx9qGEZmL6Gv_L-Ni4X-Dj9gSp_Mc3lpAbg9W6KvYh_6JTAqVxxzZuiyI3M1DNM74qqkI2lUyAHaBRzafaoJdIpb/s640/Anthony+Hopkins+The+Silence+of+the+Lambs.jpg" width="640" /></a></span></b></div>
<b><o:p></o:p></b></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>The Remains of the Day</i>, <i>Nixon</i>,
<i>The Edge</i>, <i>Proof</i>, <i>Westworld</i><o:p></o:p></div>
<div class="MsoNormal">
<u>Best Role</u>: It can’t not be Hannibal Lecter, <i>The
Silence of the Lambs</i>.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><span style="font-size: large;">Al Pacino – The Irishman</span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLDfC0kJEKKgGgO6m4ttfF4ZQf7J_Ng-HYbDlXdtuYQtVOzJjAQA7fpiYO1d6FPkfO2U54dQET9SdQzT_NVpVjjHcg36TyLUUoEmQ0o8FGQPsVQ1iaqHqb5YGj8p0JHwC5eMAro1_xxgVg/s1600/Al+Pacino+Dog+Day+Afternoon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="272" data-original-width="630" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLDfC0kJEKKgGgO6m4ttfF4ZQf7J_Ng-HYbDlXdtuYQtVOzJjAQA7fpiYO1d6FPkfO2U54dQET9SdQzT_NVpVjjHcg36TyLUUoEmQ0o8FGQPsVQ1iaqHqb5YGj8p0JHwC5eMAro1_xxgVg/s640/Al+Pacino+Dog+Day+Afternoon.jpg" width="640" /></a></span></b></div>
<b><o:p></o:p></b></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>The Godfather</i> saga, <i>Serpico</i>,
<i>Scarface</i>, <i>Glengarry Glen Ross</i>, <i>Heat</i><o:p></o:p></div>
<div class="MsoNormal">
<u>Best Role</u>: <i>Dog Day Afternoon</i>. I rewatched it a
few months ago and damn does his work as Sonny hold up.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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<div style="text-align: center;">
<b><span style="font-size: large;">Joe Pesci – The Irishman</span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8owXtIluQheTrn0P0F8zhgco7gjSv5dPBFSLgL_tCgM4ZoQ-rcJcQfwgjK3JJPZCYRLDQHwxIOSYiKK-5FDuRxPI6uHWyXcrSOCZjTwqdrv6Po95KtVvDnuJiak3gJD3f1BJrD7MHyqZQ/s1600/Joe+Pesci+The+Irishman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="272" data-original-width="630" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8owXtIluQheTrn0P0F8zhgco7gjSv5dPBFSLgL_tCgM4ZoQ-rcJcQfwgjK3JJPZCYRLDQHwxIOSYiKK-5FDuRxPI6uHWyXcrSOCZjTwqdrv6Po95KtVvDnuJiak3gJD3f1BJrD7MHyqZQ/s640/Joe+Pesci+The+Irishman.jpg" width="640" /></a></span></b></div>
<b><o:p></o:p></b></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>Raging Bull</i>, <i>Lethal Weapon</i>
series, <i>Goodfellas</i>, <i>Home Alone</i>, <i>JFK</i>, <i>Casino</i><o:p></o:p></div>
<div class="MsoNormal">
<u>Best Role</u>: I’ve thought a lot about this over the
past few months, and no bullshit, I think I have to go with Russell Bufalino
from <i>The Irishman</i>. If Pesci never acts again, I think this will be
considered one of the finest swan songs in modern film acting.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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<div style="text-align: center;">
<b><span style="font-size: large;">Brad Pitt – Once Upon a Time… in Hollywood</span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj78uHm6RqQ9ZNK3eHXSLNJWUkSlXMV8pF3vG-9ELoBhq_Q1uP0c5iUYoWCcjSDd3_j2J8I3KB9MHECXJY4sHm2u9qmAgHN0yXZuIvStldEFohOY1OynU2BoWsuTgqGHf9VqQ9VMRePWEB/s1600/Brad+Pitt+%25E2%2580%2593+Once+Upon+a+Time%25E2%2580%25A6+in+Hollywood.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="272" data-original-width="630" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj78uHm6RqQ9ZNK3eHXSLNJWUkSlXMV8pF3vG-9ELoBhq_Q1uP0c5iUYoWCcjSDd3_j2J8I3KB9MHECXJY4sHm2u9qmAgHN0yXZuIvStldEFohOY1OynU2BoWsuTgqGHf9VqQ9VMRePWEB/s640/Brad+Pitt+%25E2%2580%2593+Once+Upon+a+Time%25E2%2580%25A6+in+Hollywood.jpg" width="640" /></a></span></b></div>
<b><o:p></o:p></b></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>Thelma & Louise</i>, <i>Se7en</i>,
<i>Fight Club</i>, <i>Ocean’s Eleven</i>, <i>Moneyball</i>, <i>Ad Astra<o:p></o:p></i></div>
<div class="MsoNormal">
<u>Best Role</u>: That would be Cliff Booth, <i>Once Upon a
Time… in Hollywood</i>. You’re damn right.<o:p></o:p></div>
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<div style="text-align: center;">
<u><span style="font-size: large;">You May Also Like<o:p></o:p></span></u></div>
</div>
<div class="MsoNormal">
<div style="text-align: center;">
<span style="font-size: large;"><a href="https://www.andsoitbeginsfilms.com/2020/01/top-10-films-of-2019.html">Top 10 Films of 2019</a><o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: center;">
<span style="font-size: large;"><a href="https://www.andsoitbeginsfilms.com/2020/01/top-10-actress-performances-of-2019.html">Top 10 Actress Performances of 2019</a><o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: center;">
<span style="font-size: large;"><a href="https://www.andsoitbeginsfilms.com/2020/02/top-10-actor-performances-of-2019.html">Top 10 Actor Performances of 2019</a><o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: center;">
<span style="font-size: large;"><a href="https://www.andsoitbeginsfilms.com/2020/02/top-5-rotten-films-of-2019.html">Top 5 “Rotten” Films of 2019</a><o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: center;">
<span style="font-size: large;"><a href="http://www.andsoitbeginsfilms.com/2013/03/in-character-laura-dern.html">In Character: Laura Dern</a><o:p></o:p></span></div>
</div>
<div class="MsoNormal">
<div style="text-align: center;">
<span style="font-size: large;"><a href="http://www.andsoitbeginsfilms.com/2015/12/in-character-joe-pesci.html">In Character: Joe Pesci</a></span></div>
</div>
<br />
<a href="http://www.andsoitbeginsfilms.com/p/in-character.html" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfC5r2ARZZ8-vRuNKgb53BTEYC2yGmmfEKxLOzXCTXN-IHB0eO8BN-JL_XodXXsecA0D0yqLZSiEQ8Um4aty9Mb32E-o3DkX6X1dy6rrtiYNSFSS481cDCCUo9U2qvzQg4U1FhyphenhyphenH9So9E/s640/In+Characters+And+So+it+Begins2.jpg" width="640" /></a>
<!--EndFragment-->Alex Withrowhttp://www.blogger.com/profile/15887018476048271594noreply@blogger.com18tag:blogger.com,1999:blog-4784665635104956142.post-11720220115126948302020-02-05T09:41:00.003-05:002020-02-05T09:41:38.512-05:00Top 5 “Rotten” Films of 2019<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.andsoitbeginsfilms.com/2020/02/top-5-rotten-films-of-2019.html" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKNuSKnDig_XIp0aAGybHVhXXAHeQOp4rdlVMwpHvjQGmAVaNtK2SOJFdcZAEaPmH52hh3VlYvXTOnUyscEFtOLxnXdzAe_hG0E60E02XlLsSAsGdY-bkVU8s9IbxJS3gzz1k4kK7p_LFM/s640/Glass+movie.jpg" width="640" /></a></div>
Every year, I like to call attention to a handful of movies
that are deemed “rotten” by Rotten Tomatoes. I found value in each of the films
below, and would love to know your picks as well. (Note: The RT scores below are
from Dec. 31, 2019.)<br />
<br />
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<o:p></o:p></div>
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<a name='more'></a><div style="text-align: center;">
<span style="font-size: large;"><u>Honorable Mention</u></span></div>
</div>
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<span style="font-size: large;"><o:p></o:p></span></div>
<div class="MsoNormal">
<div style="text-align: center;">
<span style="font-size: large;"><b>6 Underground</b></span><o:p></o:p></div>
</div>
<div class="MsoNormal">
<div style="text-align: center;">
Rotten Tomatoes score: 38%</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoVTslD_WEVQKoGJ01ivXuVlF9KbYoE0m6rSmyuXz8ax3_txPiCgJkSl2tXIMVm8cN0irDTqdP_xfvWExUnzM6bfnGZ_HBYOdb8fEk5kSwULQdbCNaomjITvU5E5_QST3gPmHp9g_4NYuQ/s1600/6+Underground.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoVTslD_WEVQKoGJ01ivXuVlF9KbYoE0m6rSmyuXz8ax3_txPiCgJkSl2tXIMVm8cN0irDTqdP_xfvWExUnzM6bfnGZ_HBYOdb8fEk5kSwULQdbCNaomjITvU5E5_QST3gPmHp9g_4NYuQ/s640/6+Underground.jpg" width="640" /></a></div>
<o:p></o:p></div>
<div class="MsoNormal">
What happens when Netflix gives Michael Bay a check for $150
million and lets Bay do whatever the hell he wants with it? <i>6 Underground</i>
happens. A movie so absolutely insane and nonsensical, that I find myself oddly
respecting its hubris. <o:p></o:p></div>
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<div style="text-align: center;">
5. <b><span style="font-size: large;">Glass</span></b><o:p></o:p></div>
</div>
<div class="MsoNormal">
<div style="text-align: center;">
Rotten Tomatoes score: 37%</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_qsmaHNt63vJKWePhJc1-vjKjBV2cLjYNZ0mdyuWcGOxhxSI-YUc9TDd0NaxUYkf19VXqi_m8ex0Gy-GMMnnnhougv6TPnl7wlYJsRTlCWEvQtd6U5lWn6Xwh_15jOb8tG8FFk2XtwLNw/s1600/Glass+Samuel+L+Jackson.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_qsmaHNt63vJKWePhJc1-vjKjBV2cLjYNZ0mdyuWcGOxhxSI-YUc9TDd0NaxUYkf19VXqi_m8ex0Gy-GMMnnnhougv6TPnl7wlYJsRTlCWEvQtd6U5lWn6Xwh_15jOb8tG8FFk2XtwLNw/s640/Glass+Samuel+L+Jackson.jpg" width="640" /></a></div>
<o:p></o:p></div>
<div class="MsoNormal">
Sure, it was too long, and it didn’t know how to end, and
Samuel L. Jackson was criminally underused in the first half, but hell, I
enjoyed <i>Glass</i>. It was great to see Jackson and Bruce Willis stepping back into
their <i>Unbreakable</i> roles, and am I the only one who’s impressed that M. Night
Shyamalan was able to make this on a $20 million budget?<o:p></o:p></div>
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4. <b><span style="font-size: large;">Godzilla: King of the Monsters</span></b><o:p></o:p></div>
</div>
<div class="MsoNormal">
<div style="text-align: center;">
Rotten Tomatoes score: 42%</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-VEO8POrhfIqbEp5WtEYU8_Jd7a2f9m9yTYwB3Yoq0BmEBCGze0Oouh2ncL9pcRR9EnizDDaYZP5_4-oEeVFtYvVXVTQkc-AxGndEtNIKczs0ICKCMEyEa9gc2Kx31X3RZLbtxmfTbZiP/s1600/Godzilla+King+of+Monsters.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-VEO8POrhfIqbEp5WtEYU8_Jd7a2f9m9yTYwB3Yoq0BmEBCGze0Oouh2ncL9pcRR9EnizDDaYZP5_4-oEeVFtYvVXVTQkc-AxGndEtNIKczs0ICKCMEyEa9gc2Kx31X3RZLbtxmfTbZiP/s640/Godzilla+King+of+Monsters.jpg" width="640" /></a></div>
<o:p></o:p></div>
<div class="MsoNormal">
I dunno, sometimes it’s fun to watch monsters fighting
monsters in IMAX for a few hours. You enjoy your time with it, and when the
movie’s done, you go about your day and let that be that.<o:p></o:p></div>
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3. <b><span style="font-size: large;">The Laundromat</span></b><o:p></o:p></div>
</div>
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<div style="text-align: center;">
Rotten Tomatoes score: 41%</div>
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Steven Soderbergh is one of my gods, and I find value in
everything he does. <i>The Laundromat</i> shit the bed in its final moments,
delivering the most un-Soderbergh ending to a Soderbergh film I’ve ever seen,
but a lot of this movie was fun. I still have the sequence involving an African
billionaire, his daughter, and his daughter’s best friend pleasantly stuck in my head.<o:p></o:p></div>
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2.<b><span style="font-size: large;"> Under the Silver Lake</span></b><o:p></o:p></div>
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Rotten Tomatoes score: 58%</div>
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I’m stunned that A24 let writer/director David Robert
Mitchell make such a singular and meandering film. I didn’t love
everything about <i>Under the Silver Lake</i>, but I love that it exists. Leaning into
the film’s diversions was the real trick for me. Like <i>Inherent Vice</i>, you have
to go along for the ride and understand that not every path you go down has a
final resolve. (It also helps that one of my best friends is a practical mirror image of Andrew Garfield’s character in this film. Hi Dan.)<br />
<o:p></o:p></div>
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1. <b><span style="font-size: large;">The Beach Bum</span></b><o:p></o:p></div>
</div>
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Rotten Tomatoes score: 56%</div>
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I imagine you’d have to be a fan of Harmony Korine to even
give <i>The Beach Bum</i> a chance. But holy hell did I enjoy this trip. For $5 million,
Korine create a stoned-out neon adventure that I’ve found myself watching
on Hulu a few times over these past months. Is there any other
actor who could play a character like Moondog as successfully as Matthew
McConaughey? In some ways, it kind of felt like McConaughey was born to play
this role.<o:p></o:p></div>
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<div style="text-align: center;">
<!--EndFragment--><span style="font-size: large;"><u>More Best of 2019 Lists </u></span></div>
<div style="text-align: center;">
<span style="font-size: large;"><b><a href="https://www.andsoitbeginsfilms.com/2020/01/top-10-films-of-2019.html">Top 10 Films of 2019 </a></b></span></div>
<div style="text-align: center;">
<span style="font-size: large;"><b><a href="https://www.andsoitbeginsfilms.com/2020/01/top-10-actress-performances-of-2019.html">Top 10 Actress Performances of 2019</a></b></span></div>
<div style="text-align: center;">
<span style="font-size: large;"><b><a href="https://www.andsoitbeginsfilms.com/2020/02/top-10-actor-performances-of-2019.html">Top 10 Actor Performances of 2019</a></b></span></div>
<div style="text-align: center;">
<br /></div>
Alex Withrowhttp://www.blogger.com/profile/15887018476048271594noreply@blogger.com23tag:blogger.com,1999:blog-4784665635104956142.post-43435504511075168682020-02-01T09:52:00.000-05:002020-02-05T09:42:38.011-05:00Top 10 Actor Performances of 2019<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.andsoitbeginsfilms.com/2020/02/top-10-actor-performances-of-2019.html" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="666" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXJ2sPz7isNjAYG7iZhCVi89LkWJzBpYDlDbAl70DFV0S3ZjkDQ7mM3KUK0S4t7KYw4ZY3OPWt4mSHqE1y94SAGrGMgLGYre1J9KGiai8b21xmz9WspqdNM2LcMSMS70LSu8PNNIiOATTx/s640/Actors+2019.jpg" width="640" /></a></div>
For old timers and newcomers alike, 2019 was a banner year
for film acting. Some of the performances below were so strong because they
subverted expectations, while others leaned directly into the actor’s
respective strengths. Be sure to share your favorite roles as well!<br />
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10. <b><span style="font-size: large;">Chris Cooper in Little Women</span></b></div>
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<o:p></o:p></div>
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as Mr. Laurence</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgju0gO7OjoNIEU1Lr0MYnjRkT4mCh7JCSmGJMpYUR89N7vWrwYeOK5mry_seCTpry5GFHT2esw9jdKsAqa4ufTo8T_6AsifQRz8cPD0Mt7o_bl_aAICFRho0AXnjyiH3yI5glP8xrEaieV/s1600/Chris+Cooper+Little+Women.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="272" data-original-width="630" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgju0gO7OjoNIEU1Lr0MYnjRkT4mCh7JCSmGJMpYUR89N7vWrwYeOK5mry_seCTpry5GFHT2esw9jdKsAqa4ufTo8T_6AsifQRz8cPD0Mt7o_bl_aAICFRho0AXnjyiH3yI5glP8xrEaieV/s640/Chris+Cooper+Little+Women.jpg" width="640" /></a></div>
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The ensemble of <i>Little Women</i> was great, but I thought
Chris Cooper was <i>stunning</i> in this film. I’m so used to seeing Cooper
play angry, gruff, and ill-tempered. And to see all of that energy harnessed
into genuine grief was absolutely breathtaking.<o:p></o:p></div>
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9. <b><span style="font-size: large;">Adam Sandler in Uncut Gems</span></b><o:p></o:p></div>
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as Howard Ratner</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpl3S-HnlcanehMFnffMcBmSlL4f9vTAWOrXIM1Tvrf3llt8f1pZHouxbcphtc1-BVRNYShJDKRw1Uvyygw6ATg0HiiWgYaQzoj-kco0AdKyq55j9vjtRTucEmCORQxrrR_468cftBhLw4/s1600/Adam+Sandler+Uncut+Gems.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpl3S-HnlcanehMFnffMcBmSlL4f9vTAWOrXIM1Tvrf3llt8f1pZHouxbcphtc1-BVRNYShJDKRw1Uvyygw6ATg0HiiWgYaQzoj-kco0AdKyq55j9vjtRTucEmCORQxrrR_468cftBhLw4/s640/Adam+Sandler+Uncut+Gems.jpg" width="640" /></a></div>
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I’m not sure if Adam Sandler isn’t offered enough roles like
Howard Ratner, or if Sandler <i>is</i> offered these roles but turns them down,
but either way, I wish Sandler dove into dramatic work more often. He
completely immersed himself into Howard’s manic life, and the result was
arguably the best work Sandler has done yet.<o:p></o:p></div>
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8. <b><span style="font-size: large;">Adam Driver in Marriage Story</span></b><o:p></o:p></div>
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as Charlie</div>
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I’ve really enjoyed watching Driver’s meteoric rise to fame
over the past decade, and <i>Marriage Story</i> could be his finest work. The
brutal argument, the night with the court-appointed evaluator, reading the
letter – all scenes that will be shared during Driver’s Lifetime Achievement Award
a few decades from now. <o:p></o:p></div>
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7. <b><span style="font-size: large;">Paul Walter Hauser in Richard Jewell</span></b><o:p></o:p></div>
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as Richard Jewell</div>
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I guess I’m one of the few people who really liked <i>Richard
Jewell</i>, and much of that is thanks to Hauser, who went for broke in his heartfelt
capture of Jewell. This was truly a star-making turn, and I only hope it affords
Hauser more excellent roles.<o:p></o:p></div>
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6. <b><span style="font-size: large;">Leonardo DiCaprio in Once Upon a Time… in Hollywood</span></b><o:p></o:p></div>
</div>
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as Rick Fuckin’ Dalton</div>
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<o:p></o:p></div>
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Has Leonardo DiCaprio ever had more fun on screen? <i>The
Wolf of Wall Street</i>, maybe, but the point is that I love seeing DiCaprio
throw his manic humor into a role. Dirty fuckin’ hippies.<o:p></o:p></div>
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5. <b><span style="font-size: large;">Joaquin Phoenix in Joker</span></b><o:p></o:p></div>
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as Arthur Fleck</div>
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Listen you fuckers, you screwheads, here is a man who would
not take it anymore. A man who stood up against the scum, the dogs, the filth,
the shit. Here is someone who stood up. Here is…<o:p></o:p></div>
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4. <b><span style="font-size: large;">Robert De Niro, Al Pacino, and Joe Pesci in The
Irishman</span></b><o:p></o:p></div>
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as Frank Sheeran. Jimmy Hoffa, and Russell Bufalino</div>
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<o:p></o:p></div>
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Perhaps unfair to group these three together, but I <i>loved</i> all of their work in <i>The Irishman</i>. De Niro played such a
convincingly subdued sociopath, Pacino felt born to play Jimmy Hoffa, and Pesci
could have very well delivered his finest work as the boss who controls everything
with a whisper. I’m not sure what films these three guys will deliver in the
future, but these performances could very well be their legendary swan songs.<o:p></o:p></div>
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3. <b><span style="font-size: large;">Brad Pitt in Ad Astra</span></b><o:p></o:p></div>
</div>
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as Roy McBride</div>
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<o:p></o:p></div>
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I read criticism that Brad Pitt’s work as Roy McBride was bored,
sluggish, absent. I suppose we all see what we see, and what I saw was Pitt
inhabit an abandoned, adult boy whose traumatic childhood left him with no idea how to share a human connection. To achieve that connection, he
travels to the end of our solar system, and to what avail? To learn, quite simply,
that we’re all we’ve got. This performance knocks the wind out of me.<o:p></o:p></div>
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2. <b><span style="font-size: large;">Kelvin Harrison Jr. in Waves</span></b><o:p></o:p></div>
</div>
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as Tyler</div>
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<o:p></o:p></div>
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Kelvin Harrison Jr’s work in <i>Waves</i> is one of the most
honest coming-of-age performances I’ve ever seen. There was so much realistic
joy and tragic pain in this work. Tyler makes several poor decisions in the
film, and not only did I understand why he made those decisions, but even when I
didn’t agree with him (which was often), I just wanted to help the poor kid.
This performance, and this film, will live in my heart forever.<o:p></o:p></div>
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1. <b><span style="font-size: large;">Brad Pitt in Once Upon a Time… in Hollywood</span><o:p></o:p></b></div>
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<div style="text-align: center;">
as Cliff Booth</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEw6Wb8TYcg2RTntkuY__GJnS_5uZBsm3Z7qkMBJF3sGRSvwDtTyNHNY0VwHzS_KCV7vLgsLxC7UZiQZreFZ8Ht4Y7wkd6bB3o7_UdaMzLwiNK679AlyOsctREKx0FkdNHMI7sa98mYYuZ/s1600/Brad+Pitt+Hollywood.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEw6Wb8TYcg2RTntkuY__GJnS_5uZBsm3Z7qkMBJF3sGRSvwDtTyNHNY0VwHzS_KCV7vLgsLxC7UZiQZreFZ8Ht4Y7wkd6bB3o7_UdaMzLwiNK679AlyOsctREKx0FkdNHMI7sa98mYYuZ/s640/Brad+Pitt+Hollywood.jpg" width="640" /></a></div>
<o:p></o:p></div>
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I can’t remember the last time an actor was at such ease on
screen, to such astonishing results. Whether he’s feeding his dog, fixing an antenna,
picking up a hitchhiker, or just fucking driving home, every act Cliff Booth
undertakes is worth watching, simply because Brad Pitt plays him with such
effortless command. Please, for the love of God, let this be Brad Pitt’s Oscar.
Long overdue, and long well deserved. <o:p></o:p><br />
<br />
<div style="text-align: center;">
<u><span style="font-size: large;">Honorable Mentions</span></u></div>
<div class="separator" style="clear: both; font-weight: bold; text-align: center;">
<u><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibZKjSUJ9UmdsbWHhyphenhyphen7GiBvzYsUJEdhpeyHrIl75YsdXaBL-VKUxY0sqC-5ZNzPsS-Nz1BDEtHp24XW1pOb4bM8BxSdjy4z2T3CALkQFA44UMdh3tWBE259Hz0v1vl-P13QMtwel7l80Mg/s1600/2019+actors.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="664" data-original-width="1170" height="362" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibZKjSUJ9UmdsbWHhyphenhyphen7GiBvzYsUJEdhpeyHrIl75YsdXaBL-VKUxY0sqC-5ZNzPsS-Nz1BDEtHp24XW1pOb4bM8BxSdjy4z2T3CALkQFA44UMdh3tWBE259Hz0v1vl-P13QMtwel7l80Mg/s640/2019+actors.jpg" width="640" /></a></span></u></div>
</div>
<div style="text-align: center;">
<!--EndFragment--><br /></div>
<div style="text-align: center;">
<u><span style="font-size: large;">More Best of 2019 Lists</span></u></div>
<div style="text-align: center;">
<span style="font-size: large;"><a href="http://www.andsoitbeginsfilms.com/2020/01/top-10-films-of-2019.html"><b>Top 10 Films of 2019</b></a></span></div>
<div style="text-align: center;">
<span style="font-size: large;"><b><a href="http://www.andsoitbeginsfilms.com/2020/01/top-10-actress-performances-of-2019.html">Top 10 Actress Performances of 2019</a></b></span><br />
<span style="font-size: large;"><b><a href="https://www.andsoitbeginsfilms.com/2020/02/top-5-rotten-films-of-2019.html">Top 5 “Rotten” Films of 2019</a></b></span><br />
<span style="font-size: large;"><br /></span></div>
Alex Withrowhttp://www.blogger.com/profile/15887018476048271594noreply@blogger.com16tag:blogger.com,1999:blog-4784665635104956142.post-87095330507250932872020-01-20T08:04:00.003-05:002020-02-05T09:43:15.078-05:00Top 10 Actress Performances of 2019<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.andsoitbeginsfilms.com/2020/01/top-10-actress-performances-of-2019.html" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="666" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAJa1UJG2i7hpZtTg298IiQvbeAjG3LJmUZxJlb4qGtjTNh5k9GwnI8V-PzXalrKxJ4pMINqd-NwMzrwngMpCH4UiBkpzHvFJmWpK_FNpvtWsRAZ8vogf18BfXS06KzLaem-JJnITsIdPq/s640/2019+actresses.jpg" width="640" /></a></div>
Because 2019 was a great year for film, it was undoubtedly a
great year for performances as well. I love that four of the performers below
were unknown to me as 2019 began, while others have careers that I’ve followed
for decades. Be sure to share your favorites as well!<br />
<br />
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10. <b><span style="font-size: large;">Park So-dam in Parasite</span></b></div>
<div style="text-align: center;">
as Kim Ki-jung<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwCpI6IQJyee1ADUtXZgsSpH1zTzaf2ymY1rWD0Y5V9-A1oWZi4-Fl4y5Rcg-HnGK1Cq3aPkF0xPMAi1AmeA5bqAZ_tdvAGoufAAXsbmGY71PxK8qaXIPsTpUcLmYDhZqR3NjEkuzgc4Op/s1600/Park+So-dam+Parasite.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwCpI6IQJyee1ADUtXZgsSpH1zTzaf2ymY1rWD0Y5V9-A1oWZi4-Fl4y5Rcg-HnGK1Cq3aPkF0xPMAi1AmeA5bqAZ_tdvAGoufAAXsbmGY71PxK8qaXIPsTpUcLmYDhZqR3NjEkuzgc4Op/s640/Park+So-dam+Parasite.jpg" width="640" /></a></div>
</div>
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<o:p></o:p></div>
<div class="MsoNormal">
Everyone in <i>Parasite</i> was perfect, but Park So-damn
was the highlight for me. The sarcasm, the intelligence, the smoking – Kim
Ki-jung committed to her “role” is such an amusing way. I still laugh at the
way she corralled that boy and whipped him into shape.<o:p></o:p></div>
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<div style="text-align: center;">
9. <b><span style="font-size: large;">Laura Dern in Marriage Story</span></b></div>
<div style="text-align: center;">
as Nora Fanshaw</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7I13moCGmmw6KzyHYfs-xLsRO-aKbzI8bp4pndgPdq_V-E3AjdzgLMZm4DvPWAN-vxSjL_t7nDgwaoD5NhJS74rs8meZH1sd2_jpYTdQ4cwoeb5dS-n-Up32I1ZDg6kFBCCTi0LNASnST/s1600/Laura+Dern+Marriage+Story.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7I13moCGmmw6KzyHYfs-xLsRO-aKbzI8bp4pndgPdq_V-E3AjdzgLMZm4DvPWAN-vxSjL_t7nDgwaoD5NhJS74rs8meZH1sd2_jpYTdQ4cwoeb5dS-n-Up32I1ZDg6kFBCCTi0LNASnST/s640/Laura+Dern+Marriage+Story.jpg" width="640" /></a></div>
<o:p></o:p></div>
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In <i>Marriage Story</i>, divorce is well-oiled machine,
thanks in part to the crafty work of skilled divorce lawyer, Nora Fanshaw.
Dern’s steely, charismatic take on this character was terrifying. I keep
thinking of the brief scene where Dern and Ray Liotta’s character shake hands
in a courthouse hallway. It’s all smiles and handshakes, until it’s a knife in
the back.<o:p></o:p></div>
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<div style="text-align: center;">
8. <b><span style="font-size: large;">Lupita Nyong’o in Us</span></b></div>
<div style="text-align: center;">
as Adelaide Wilson & Red</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh321VYYSFzCJcKVJiK-V-oqe1LVs_FVtgERl2_EtzNlG_NL_78eUFRjbRMe65kNMXQh8J8FcDqmxkU9P-EIIk9qdo6M75K0M8UWzOKYnF1bHJVLIzAoAaqoV3Zfqjmfpj6JXyYcwoEk_p_/s1600/Lupita+Nyong%25E2%2580%2599o+Us+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh321VYYSFzCJcKVJiK-V-oqe1LVs_FVtgERl2_EtzNlG_NL_78eUFRjbRMe65kNMXQh8J8FcDqmxkU9P-EIIk9qdo6M75K0M8UWzOKYnF1bHJVLIzAoAaqoV3Zfqjmfpj6JXyYcwoEk_p_/s640/Lupita+Nyong%25E2%2580%2599o+Us+.jpg" width="640" /></a></div>
<o:p></o:p></div>
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Even though I ultimately thought <i>Us</i> let Lupita
Nyong’o down, Nyong’o managed to deliver two great performances in the movie, often
at the same time. Adelaide and Red were diametrically opposite, and it was such
a thrill to watch Nyong’o juggle one character’s rationality with another’s insanity.
<o:p></o:p></div>
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7. <b><span style="font-size: large;">Margot Robbie in Once Upon a Time… in Hollywood</span></b></div>
<div style="text-align: center;">
as
Sharon Tate</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj24lFXMTRtfbf2N_vrUBB6ACJAYNDkBwIRuJNhsonNua9VQ0AxQYfDdPFeOuhTPuaxTj0wSbesFQwhe6DnviLH6tl9KLO54KzZ90Q9S3eLtu7fyth2_swlR4eOslw98rqT_OjORy5H7nh4/s1600/Margot+Robbie+Hollywood.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj24lFXMTRtfbf2N_vrUBB6ACJAYNDkBwIRuJNhsonNua9VQ0AxQYfDdPFeOuhTPuaxTj0wSbesFQwhe6DnviLH6tl9KLO54KzZ90Q9S3eLtu7fyth2_swlR4eOslw98rqT_OjORy5H7nh4/s640/Margot+Robbie+Hollywood.jpg" width="640" /></a></div>
<o:p></o:p></div>
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Margot Robbie gave us the version of Sharon Tate that we
deserved. Robbie’s Tate wasn’t a victim, she was a wide-eyed, freshly talented
Hollywood player on her way to making a name for herself. Robbie had an
innocence to her here, a mystery that was so compelling. I get chills when I
hear Robbie’s voice on the Cielo Drive loudspeaker toward the end of the film.
She still has so much life to live.<o:p></o:p></div>
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<div style="text-align: center;">
6. <b><span style="font-size: large;">Renée Zellweger in Judy</span></b></div>
<div style="text-align: center;">
as Judy Garland</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq5PRBQapAngIu4_Y9gRKT4b4IDvYYz2C6ibzq7kacx2jH5ts_ixl1l9N_j5bpuIYxbntqTMYqaZ8j5i52U7XKdnhMCqg10ObJBJpoVnrUw3gPHwNR6krcpbn19Jyz_YZ3cduGZrTay9VU/s1600/Rene%25CC%2581e+Zellweger+in+Judy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq5PRBQapAngIu4_Y9gRKT4b4IDvYYz2C6ibzq7kacx2jH5ts_ixl1l9N_j5bpuIYxbntqTMYqaZ8j5i52U7XKdnhMCqg10ObJBJpoVnrUw3gPHwNR6krcpbn19Jyz_YZ3cduGZrTay9VU/s640/Rene%25CC%2581e+Zellweger+in+Judy.jpg" width="640" /></a></div>
<o:p></o:p></div>
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The Oscar-bait biopic performance is the closest thing
Hollywood has for a scientific formula on how to win an Oscar. For the past
several years, I’ve strained to believe that most of these performances
actually deserved the Oscar (Best Actor 2014 and 2018, anyone?), but Zellweger
lives up to the hype as Judy Garland. This will be the rare year that I have no
problem with an actor utilizing that Oscar formula, and ultimately winning as a
result.<o:p></o:p></div>
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<div style="text-align: center;">
5. <b><span style="font-size: large;">Sofia Boutella in Climax</span></b></div>
<div style="text-align: center;">
as Selva</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitXTcTDVABAs_HE93EhzkI2REmV-0AGTI5E0Y60p6KKqR3aQ3q46PxgshKGI7y2QsVx3pedR4smHl1q_6IqajVqIA3bu4Z55YTAhO0ccAEr4zFzIZsm2rn1cGYxic394zp6bq0VIkemjT-/s1600/Sofia+Boutella+in+Climax+.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="666" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitXTcTDVABAs_HE93EhzkI2REmV-0AGTI5E0Y60p6KKqR3aQ3q46PxgshKGI7y2QsVx3pedR4smHl1q_6IqajVqIA3bu4Z55YTAhO0ccAEr4zFzIZsm2rn1cGYxic394zp6bq0VIkemjT-/s640/Sofia+Boutella+in+Climax+.png" width="640" /></a></div>
<o:p></o:p></div>
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I find a lot of value in an actor seemingly pushing
themselves to the brink of madness. Like every performer in <i>Climax</i>,
Sofia Boutella was stone cold sober when she shot the film. But in playing
Selva, the good-spirited leader of a troupe of dancers who are all drugged with
LSD, Boutella delivered one of the most convincing substance abuse performances
I have ever seen. And that isn’t even mentioning Boutella’s incredible dancing
that opens the film, which is arguably even more thrilling than Selva’s acid trip.
<b><o:p></o:p></b></div>
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<div style="text-align: center;">
4. <b><span style="font-size: large;">Elisabeth Moss in Her Smell</span></b></div>
<div style="text-align: center;">
as Becky Something</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGvgLXsDMBP2N0HtUatMoipf_DWXa4SyinxfnhpKDiVXoKFNsFdpbJI1La_EomR2Ll7KMKaAihma4UyLPwPB2z1QjF04LYrMpsxoHpkifgMwZflbW0MXDRn52kMA4sFZhDLbn6JNWUOxDq/s1600/Elisabeth+Moss+in+Her+Smell.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGvgLXsDMBP2N0HtUatMoipf_DWXa4SyinxfnhpKDiVXoKFNsFdpbJI1La_EomR2Ll7KMKaAihma4UyLPwPB2z1QjF04LYrMpsxoHpkifgMwZflbW0MXDRn52kMA4sFZhDLbn6JNWUOxDq/s640/Elisabeth+Moss+in+Her+Smell.jpg" width="640" /></a></div>
<o:p></o:p></div>
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Here’s another performance that feels <i>just</i> on the
brink of insanity. Becky is a famed and deeply troubled punk rock star that we catch
glimpses of over an 11-year period in <i>Her Smell</i>. We see Becky as a destructive
nightmare, a buttoned-up mom, and, ultimately, as a woman struggling to make it
through every day intact. <i>Her Smell</i> is a challenging film that deserved
a bigger audience, if for no other reason than it contains Elisabeth Moss’ best
work to date. <o:p></o:p></div>
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<div style="text-align: center;">
3. <b><span style="font-size: large;">Sienna Miller in American Woman</span></b></div>
<div style="text-align: center;">
as Debra</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-23y8Z0Lhn2nzVXHcp-m6U-GDYcoy06uSjkV418vtk6ETotaLMAbMS1bpAh1d0ohyphenhyphenmm0apf7CQu3ZySBHlfMKFQIvGzt54hr6bTMxEgrf2OswAH5VUJ9-oo0SbihtYNBSY4l5qO2nTmoC/s1600/Sienna+Miller+American+Woman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-23y8Z0Lhn2nzVXHcp-m6U-GDYcoy06uSjkV418vtk6ETotaLMAbMS1bpAh1d0ohyphenhyphenmm0apf7CQu3ZySBHlfMKFQIvGzt54hr6bTMxEgrf2OswAH5VUJ9-oo0SbihtYNBSY4l5qO2nTmoC/s640/Sienna+Miller+American+Woman.jpg" width="640" /></a></div>
<o:p></o:p></div>
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In July, I wrote that I feared <i>American Woman</i> would
be too small of a film to be remembered come awards time. And sadly, that was
right. The film premiered at TIFF in September 2018 and was quietly released in
a handful of theaters for a week or so this past June. It’s a shame that the
film didn’t get a better push, as it contains Sienna Miller’s finest work to
date, as a woman who is relentlessly grief-stricken over the disappearance of
her daughter. When the hell is Sienna Miller going to get her due?<o:p></o:p></div>
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<div style="text-align: center;">
2. <b><span style="font-size: large;">Florence Pugh in Midsommar</span></b></div>
<div style="text-align: center;">
as Dani</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8JS0p6YVtcvm4PdLP7DScpQX20HYhxHH4CAgdMM14yKWOydPULpzYEC3Vh_m73_E0zESooIlmtFwtpt6eY0u4gYMVw9RaOqhvA9ZiIsHByWksjGGpT9aMyA-nDZCaPiGT_WKsKcnc0cj-/s1600/Florence+Pugh+in+Midsommar.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8JS0p6YVtcvm4PdLP7DScpQX20HYhxHH4CAgdMM14yKWOydPULpzYEC3Vh_m73_E0zESooIlmtFwtpt6eY0u4gYMVw9RaOqhvA9ZiIsHByWksjGGpT9aMyA-nDZCaPiGT_WKsKcnc0cj-/s640/Florence+Pugh+in+Midsommar.jpg" width="640" /></a></div>
<o:p></o:p></div>
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I’m embarrassed to admit that I still haven’t seen <i>Lady
Macbeth</i>, the period piece indie from 2016 that put Florence Pugh on the
map. So, the first time I saw Pugh was as the hopelessly devastated Dani in <i>Midsommar</i>.
This character asks <i>a lot</i> out of Pugh, as Dani is almost always on the
verge of a complete nervous breakdown. And whether she’s playing Dani through
confusion and tears, or cries and whispers, every note of this performance is convincing. Pugh makes us <i>feel </i>Dani’s pain in the most unsettling
way possible.<o:p></o:p></div>
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<div style="text-align: center;">
1. <span style="font-size: large;"><b>Taylor Russell in Waves</b> </span></div>
<div style="text-align: center;">
as Emily</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggqyMz1KH067YHKV7svCTa5GjbXxtLKxHD6_6iplJuKyENofn9hw1pPJqe3cSScL-rvjsd41WBsdBhTmPvDMM2OKNk_LjUjSdqdwL3jNCDzzvgvypuIV2PgAmqljC2ZBMBaex2Y_CJHxf_/s1600/Taylor+Russell+Waves.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="272" data-original-width="630" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggqyMz1KH067YHKV7svCTa5GjbXxtLKxHD6_6iplJuKyENofn9hw1pPJqe3cSScL-rvjsd41WBsdBhTmPvDMM2OKNk_LjUjSdqdwL3jNCDzzvgvypuIV2PgAmqljC2ZBMBaex2Y_CJHxf_/s640/Taylor+Russell+Waves.jpg" width="640" /></a></div>
<o:p></o:p></div>
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There’s a scene midway through <i>Waves</i> that stole my
heart. It’s the moment I knew I was in love with the film. Tyler (played by Kelvin
Harrison Jr.) is in a bad way and comes home good and trashed. As he starts vomiting
in the bathroom, his timid younger sister, Emily, approaches him and <i>holds</i>
him back to normalcy. She doesn’t yell or get angry at him for puking on the
floor. Instead, she keeps whispering that things are okay, that he’ll be okay,
that they’ll be okay. The way Taylor Russell approached this scene, with such a
distinct gentleness and calm, completely made me fall in love with the
character, and the film itself. <o:p></o:p></div>
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I have to choose my words carefully here, as I know a lot of
people still haven’t seen <i>Waves</i>. But early in the film, Emily is treated
as secondary. She comes in and out of scenes, sort of in the background,
stepping up where she can. Later in the film, much to my delight, Emily is
given plenty more to do, and the result is one of the finest coming-of-age
performances I have ever seen. By this point, Emily has been through a lot
in her life, and I found the snapshot sequences of Emily becoming an adult to
be simply astounding. I love that in a year of intentionally loud and frantic
performances, the one that stuck out the most for me was Russell’s poised and innocent
take on Emily. Culturally speaking, we’re hit with more noise than ever before,
and it’s great to see a character like Emily remind us that being kind still has
its place in our world.<o:p></o:p><br />
<br />
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<u><span style="font-size: large;">Honorable Mentions</span></u></div>
<div class="separator" style="clear: both; text-align: center;">
<u><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-h0qdDxyhKf4MAWbH40SDKgHXoiZzEuCS-fJMlizJZhst5yOkCWQ2kUr8VhMFp-90v04davubdzyLu9X_YS5kZiB9w2CTZgDBWXPtPv8I2TNeYKFDZcOQhkoiQpg96WflgMvnOsYTQnjR/s1600/2019+women.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="664" data-original-width="1170" height="362" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-h0qdDxyhKf4MAWbH40SDKgHXoiZzEuCS-fJMlizJZhst5yOkCWQ2kUr8VhMFp-90v04davubdzyLu9X_YS5kZiB9w2CTZgDBWXPtPv8I2TNeYKFDZcOQhkoiQpg96WflgMvnOsYTQnjR/s640/2019+women.jpg" width="640" /></a></span></u></div>
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<u><span style="font-size: large;">More Best of 2019 Lists</span></u></div>
<div style="text-align: center;">
<b><span style="font-size: large;"><a href="https://www.andsoitbeginsfilms.com/2020/01/top-10-films-of-2019.html">Top 10 Films of 2019</a></span></b><br />
<b><a href="https://www.andsoitbeginsfilms.com/2020/02/top-10-actor-performances-of-2019.html"><span style="font-size: large;">Top 10 Actor Performances of 2019</span></a></b></div>
<div style="text-align: center;">
<b><a href="https://www.andsoitbeginsfilms.com/2020/02/top-5-rotten-films-of-2019.html"><span style="font-size: large;">Top 5 “Rotten” Films of 2019</span></a></b><br />
<br /></div>
</div>
Alex Withrowhttp://www.blogger.com/profile/15887018476048271594noreply@blogger.com18tag:blogger.com,1999:blog-4784665635104956142.post-34244791529869564692020-01-12T08:36:00.002-05:002020-02-05T09:42:23.309-05:00Top 10 Films of 2019<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.andsoitbeginsfilms.com/2020/01/top-10-films-of-2019.html" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGwImbNiQJoMnX9lyGSlp3iCsI2xNn3UN0ntOnC4IDkKIndtN7zyZBOQhmZDFBB7h6hUr8OJCiqxOiz1aW-zhzmyut0O8VKrT0k85va7hpDnCI945N-Lmtey12O1uLeQSkIYxdz-VI1eXJ/s640/Waves+movie.jpg" width="640" /></a></div>
For the past few years, it has been hard for me to come up
with a handful of films worth listing as the year’s best. But that certainly
wasn’t the case for 2019. Truly, in any other year, any of the top six movies
ranked below could be hailed as my favorite of the year. I thought 2019 was a
fantastic year for film, and of the 141 new theatrical releases I saw this
year, here were a few of my favorites.<br />
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10. <b><span style="font-size: large;">Midsommar</span></b></div>
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Directed by Ari Aster</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJgv6QiXuY9EnY4chEYH5HI-7nqrM66F8ar7VcyNyBExxMb1ZrTXDEkumoo6UohMF1CJ1GplxnxwJ0oPprFqH6i1wy_uQ71w-I7yhsXRi0jlkfJg4Vg1erRi810Texf05v6fTvXSMvOY4Y/s1600/Midsommar+film.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJgv6QiXuY9EnY4chEYH5HI-7nqrM66F8ar7VcyNyBExxMb1ZrTXDEkumoo6UohMF1CJ1GplxnxwJ0oPprFqH6i1wy_uQ71w-I7yhsXRi0jlkfJg4Vg1erRi810Texf05v6fTvXSMvOY4Y/s640/Midsommar+film.jpg" width="640" /></a></div>
<o:p></o:p></div>
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Ari Aster’s new nightmare of a film didn’t didn’t fully
click for me on first viewing. Too long, too slow, a bit too up its own ass.
But upon rewatching it last week, I was stunned how much it resonated with me.
All of my earlier annoyances had turned into genuine appreciation. I saw the
craft of Bergman and Kubrick, let alone a perfect performance by Florence Hugh.
<i>Midsommar</i> was definitely my biggest <a href="http://www.andsoitbeginsfilms.com/2015/10/top-10-about-face-movies.html">about-face
film</a> of the year. (Also, anyone else wish Aster would expand the first 11
minutes of this movie into a feature film? There’s a terrifying domestic drama
in there.)<o:p></o:p></div>
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9. <b><span style="font-size: large;">Uncut Gems</span></b><o:p></o:p></div>
</div>
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Directed by the Safdie Brothers</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcAY8CzabI0UHkku5PmcvKdQu7EZxoj03VvlmtRwnVJ51tVneu0tRNmPaDgjVV5bupSRrHlKFNyarKCYpjYYnGenAPLz_LgoVTz0nlog6-ohyphenhyphenZwfkwxq9TKwXaXM64xniqu7VQaxI5ShAF/s1600/Uncut+Gems.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcAY8CzabI0UHkku5PmcvKdQu7EZxoj03VvlmtRwnVJ51tVneu0tRNmPaDgjVV5bupSRrHlKFNyarKCYpjYYnGenAPLz_LgoVTz0nlog6-ohyphenhyphenZwfkwxq9TKwXaXM64xniqu7VQaxI5ShAF/s640/Uncut+Gems.jpg" width="640" /></a></div>
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<i>Uncut Gems</i> is a great mix of polished filmmaking and
gorilla-style energy. The Safdie Brothers know how to immerse their audience in an urban
nightmare and never let us up for air. Their casting choices (many of their
performers are non-professional actors), fluid camera work, pulsating score,
and distinct editing helped make <i>Uncut Gems</i> one of the most manic movies
of the year. Where’s Adam Sandler’s Oscar nomination?<o:p></o:p></div>
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8. <b><span style="font-size: large;">1917</span></b><o:p></o:p></div>
</div>
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Directed by Sam Mendes</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO6-tGNUmDMNzgXfcYaJ9aZchIJs5WL7XryAofMlaHJDQPZ0DklllP41M81sBXAc5syjU7oNbrApLK6gqG6RHNbD55pq-tKBLa1kknRVfuYBVMlBTxjmi55QICaCEpsobQXT4gJgwHt8jU/s1600/1917+Sam+Mendes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO6-tGNUmDMNzgXfcYaJ9aZchIJs5WL7XryAofMlaHJDQPZ0DklllP41M81sBXAc5syjU7oNbrApLK6gqG6RHNbD55pq-tKBLa1kknRVfuYBVMlBTxjmi55QICaCEpsobQXT4gJgwHt8jU/s640/1917+Sam+Mendes.jpg" width="640" /></a></div>
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One of the great journey films of recent years. Emotionally
gut-wrenching, visually stunning, pure spectacle. There are passages of <i>1917</i>
(particularly the nighttime Écoust-Saint-Mein sequence) that will be remembered
as some of the finest work Mendes and legendary cinematographer, <a href="http://www.andsoitbeginsfilms.com/2018/02/breaking-down-cinematographer-roger.html">Roger
Deakins</a>, ever captured on film. I won’t be surprised if this wins the Best
Picture and Best Director Oscars this year. (Side note: Why is this movie being
marketed as a one-take film? It clearly cuts to black halfway through the
movie. I mean, it… cuts.)<o:p></o:p></div>
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7. <b><span style="font-size: large;">Ford v Ferrari</span></b><o:p></o:p></div>
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Directed by James Mangold</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNOk37EwRTjbAvkiTBUADmDRV9GbW9tLp0fgDwen1OkUgZq8ApDjOSrO_4ijDMXHbCO5ozvuE_dL4WTDdYEHp9W9qSx1_y-rM4J3JbANYMbu1bFMe6-2hCIGWMU7bRVUBLwToxsThZSOb3/s1600/Ford+v+Ferrari.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNOk37EwRTjbAvkiTBUADmDRV9GbW9tLp0fgDwen1OkUgZq8ApDjOSrO_4ijDMXHbCO5ozvuE_dL4WTDdYEHp9W9qSx1_y-rM4J3JbANYMbu1bFMe6-2hCIGWMU7bRVUBLwToxsThZSOb3/s640/Ford+v+Ferrari.jpg" width="640" /></a></div>
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<i>Ford v Ferrari</i> fucks. It’s a classically structured,
endlessly entertaining buddy movie that doesn’t asked much of its audience, and ends up working in every way. Christian Bale’s
charisma is everlasting, and Matt Damon’s tearful admission at the film’s end
is some of his finest work yet. Oh, and is there anything Tracey Letts <i>can’t</i>
do?<br />
<o:p></o:p></div>
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6. <b><span style="font-size: large;">Parasite</span></b><o:p></o:p></div>
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Directed by Bong Joon-ho</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj224-eEoaUQQ5B-j5Fevbc2VXHMRJPoqjOP_WjmSALaKt-z9W3oCMOr3TfC_iuvytpt0EqfO-mnV0mjup7_3i-1-5FxFeUm0-R50p3vvmrCDqJZo4Tb4hzDXFj6a28Le93vOQUL702FS6/s1600/Parasite.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj224-eEoaUQQ5B-j5Fevbc2VXHMRJPoqjOP_WjmSALaKt-z9W3oCMOr3TfC_iuvytpt0EqfO-mnV0mjup7_3i-1-5FxFeUm0-R50p3vvmrCDqJZo4Tb4hzDXFj6a28Le93vOQUL702FS6/s640/Parasite.jpg" width="640" /></a></div>
<o:p></o:p></div>
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Was there a film from 2019 with a more unique tone than <i>Parasite</i>?
Fun, brutal, and completely of its own, <i>Parasite</i> is Bong Joon-ho’s
distinct masterpiece. It’s also one of the best films I’ve ever seen that
details the differences in class structure. For people who don’t take in a lot
of foreign films, just remember Bong Joon-ho’s remarks during his recent Golden
Globe speech, “Once you overcome the one-inch tall barrier of subtitles, you
will be introduced to so many more amazing films.” That’s damn right.<o:p></o:p></div>
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5.<span style="font-size: large;"> <b>The Irishman</b></span><o:p></o:p></div>
</div>
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Directed by Martin Scorsese</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT-nxdMwcUtLgzSdTPUL9shpZnYBwA0ENTm5WsA7B6ib8a5xJpadJGwFe2MbyAF-xwCfR7Aj6L-PV2PZeB016CRbIpWl-fok5sNlih7e73UInv88_j4nj2Hz8RhgKkoo_UdebvGxUDSpkZ/s1600/The+Irishman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT-nxdMwcUtLgzSdTPUL9shpZnYBwA0ENTm5WsA7B6ib8a5xJpadJGwFe2MbyAF-xwCfR7Aj6L-PV2PZeB016CRbIpWl-fok5sNlih7e73UInv88_j4nj2Hz8RhgKkoo_UdebvGxUDSpkZ/s640/The+Irishman.jpg" width="640" /></a></div>
<o:p></o:p></div>
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I loved it. I loved all of it. The performances, the relaxed
pacing, the visual effects – none of it bothered me, all of it excited me. What
an odd thing it was to watch <a href="http://www.andsoitbeginsfilms.com/2019/12/in-character-cast-of-irishman.html">all
of these</a> former tough-guy actors play characters who are left with nothing.
What’s the saying, that the longer a story goes, the closer it is to ending in
tragedy? <i>The Irishman</i> posits a notion that Scorsese’s other gangster
movies haven’t, which is: What was the point of it all? I’ll be very interested
to see how <i>The Irishman</i> stacks up in Scorsese’s filmography 20 years from
now. <o:p></o:p></div>
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4. <b><span style="font-size: large;">Climax</span></b><o:p></o:p></div>
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Directed by Gaspar Noé</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTVFxzjVUBeBDIegfLUuN7nN5xa14onXI-GbeLTzaZVrBYKFbnU64sxo_8UISwN0eosj6R6zxjNUTcQnO5QyGteWA6AuRsP3KuBGTUqHyRkIdUDYZhmzTNIpWj_sWvj1fxrIRNoG8z3zWy/s1600/Climax+Gaspar+Noe.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTVFxzjVUBeBDIegfLUuN7nN5xa14onXI-GbeLTzaZVrBYKFbnU64sxo_8UISwN0eosj6R6zxjNUTcQnO5QyGteWA6AuRsP3KuBGTUqHyRkIdUDYZhmzTNIpWj_sWvj1fxrIRNoG8z3zWy/s640/Climax+Gaspar+Noe.jpg" width="640" /></a></div>
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Abandon all faith, ye who enter here. Gaspar Noé’s new
mind fuck made for one of the most visceral movie-going experiences of the
decade. I’m a steadfast admirer of <a href="http://www.andsoitbeginsfilms.com/2019/03/the-directors-gaspar-noe.html">Gaspar
Noé’s</a> unique brand of terror, and with <i>Climax</i>, Noé immersed us in a drug-fueled
fever dream that was sensory overload in the best, most hyperbolic way. Also, <a href="https://www.youtube.com/watch?v=y4kJ_o_7Xiw">the dance sequence</a> near
the beginning of this film was my single favorite movie scene of the year.<o:p></o:p></div>
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3. <b><span style="font-size: large;">Ad Astra</span></b><o:p></o:p></div>
</div>
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Directed by James Gray</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjARY5LCJmYuU5ZaqTunRaLgJqjv1N0H_a3D2bxSUmGQsb93hT5ytviI1KbHeDA_KKnn7muAxlkQ9sJCtui-LIhCAIX-1Kfye671OLJTSR18WijchG2Uf0lbnqDkUHeFxVbJhJosaeU0RXH/s1600/Ad+Astra+Brad+Pitt.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjARY5LCJmYuU5ZaqTunRaLgJqjv1N0H_a3D2bxSUmGQsb93hT5ytviI1KbHeDA_KKnn7muAxlkQ9sJCtui-LIhCAIX-1Kfye671OLJTSR18WijchG2Uf0lbnqDkUHeFxVbJhJosaeU0RXH/s640/Ad+Astra+Brad+Pitt.jpg" width="640" /></a></div>
<o:p></o:p></div>
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I don’t expect anyone to like <i>Ad Astra</i> as much as I
did, and here’s why. I honestly cannot recall the last time I identified with a
film character’s emotional journey as profoundly as I did with Brad Pitt’s in
this film. I saw so much of myself in Pitt’s Roy McBride, that it was genuinely
uncomfortable to watch. McBride’s transformation from a numb, hollow shell of a
man to a person of unique empathy is something I truly identified with. I mean
shit, in my own, much smaller way, <a href="http://www.andsoitbeginsfilms.com/2019/10/i-am-alive-watch-now.html">the
film I released this year</a> was an attempt to highlight a similar emotional
journey. <i>Ad Astra</i> is a deeply reflective work that I won’t soon forget. <o:p></o:p></div>
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2. <b><span style="font-size: large;">Once Upon a Time… in Hollywood</span></b><o:p></o:p></div>
</div>
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Directed by Quentin Tarantino</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN62T91QyB4r25Uu6TNO5vJbsYlw2i9op7DLL_h-FE0Lt-Spabk6wCMP-6_BwNwZCczjGkk-75aAiSK543180A-ma5r7oc_cB5yu70TgxdcBN-FTumUlnttvGmaE6xjirbsHmv6jVgkc_v/s1600/Once+Upon+a+Time%25E2%2580%25A6+in+Hollywood.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="667" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN62T91QyB4r25Uu6TNO5vJbsYlw2i9op7DLL_h-FE0Lt-Spabk6wCMP-6_BwNwZCczjGkk-75aAiSK543180A-ma5r7oc_cB5yu70TgxdcBN-FTumUlnttvGmaE6xjirbsHmv6jVgkc_v/s640/Once+Upon+a+Time%25E2%2580%25A6+in+Hollywood.png" width="640" /></a></div>
<o:p></o:p></div>
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(First off, I cannot <i>believe</i> I’m ranking this movie
second, but more on that in a bit.) I absolutely, feverishly, wholeheartedly
loved everything about <i>Once Upon a Time… in Hollywood</i>. It’s Tarantino’s
ultimate hang movie, where complex sequences of great peril (like the Spahn
Ranch scene) are equally as compelling as Brad Pitt’s Cliff Booth cruising home
on Hollywood Boulevard. <i>Once Upon a Time… in Hollywood</i> establishes a
world I felt the need to revisit <i>five fucking times</i> in the theater. This
is one of the best pop culture auteur films I’ve ever seen; I envision myself
rewatching it annually, just to delight in its world.<o:p></o:p></div>
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1. <b><span style="font-size: large;">Waves</span><o:p></o:p></b></div>
</div>
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Directed by Trey Edward Shults</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0JnkMwa58dxAorAAwYotxP3XrEE82tz4IEX-yvSZlxRQxpZrz5D26iEcgYbCDJ78HannAaajbBScWgdT3baZghBCD3-hGcAGu3_obOVRWFAbCQZ8d92ashRqQVodCgGqtXl1_27mF7BRi/s1600/Waves+Taylor+Russell.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0JnkMwa58dxAorAAwYotxP3XrEE82tz4IEX-yvSZlxRQxpZrz5D26iEcgYbCDJ78HannAaajbBScWgdT3baZghBCD3-hGcAGu3_obOVRWFAbCQZ8d92ashRqQVodCgGqtXl1_27mF7BRi/s640/Waves+Taylor+Russell.jpg" width="640" /></a></div>
<o:p></o:p></div>
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<i>Once Upon a Time… in Hollywood</i> was my movie of the
year. It just was. I <i>loved</i> Tarantino’s film, and I knew nothing would
beat it. So imagine my complete and utter dumbfounded shock as I sat in
an 11:15 a.m. Saturday showing of <a href="http://www.andsoitbeginsfilms.com/2019/11/waves_26.html"><i>Waves</i></a>
in November, and had my heart completely fucking ripped out. It’s impossible
for me to talk about <i>Waves</i> without overstating its impact, but I’m not
sure I’ll ever be able to fully explain what this movie did to me. It tapped into my heart and made me… <i>better</i>. It made me view aspects of my
life differently, and it certainly makes me look at my filmmaking style with a
whole new lens <o:p></o:p></div>
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There are two factors to <i>Waves</i> that help make it one
of my favorite films of all time (yeah, no bullshit.) Emotionally, I
understood, identified with, and accepted the choices every character made in
this movie. They weren’t all choices I agreed with, but I believed everything
these characters stood for, which caused me to break down and sob no less than
four times while I watched the film. Creatively, the raw energy of the film
(captured by cinematography, editing, music, performance, and more) is unmatched in recent cinema, and something I have been dying to make myself. <o:p></o:p></div>
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The very act of watching <i>Waves</i> has made me a fuller
person, and a more adventurous filmmaker. Not since Steve McQueen’s <i><a href="http://www.andsoitbeginsfilms.com/2014/03/top-42-things-i-love-about-shame-that.html">Shame</a></i>,
a film of enormous importance to me, have I loved a film so intensely so
quickly. I will never forget <i>Waves</i>, for <i>Waves</i>, to me, is life.<o:p></o:p></div>
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<div style="text-align: center;">
<u><span style="font-size: large;">Ten More I Loved</span></u></div>
<div class="separator" style="clear: both; text-align: center;">
<u><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi1nQ8c1TVE3FvNMtzkjQSDBYVRxwK6bSLrP8NYi33qjf0zSF2MrK8MXppryf8Hu1U5AVBztipMlgiBpwesE8JTpasvyfJxkkDHK-At7gxMuHSAqixXZZlJqcJlZ6TsjKyUvniXqIVI3K-/s1600/top+20+of+2019.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="664" data-original-width="1170" height="362" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi1nQ8c1TVE3FvNMtzkjQSDBYVRxwK6bSLrP8NYi33qjf0zSF2MrK8MXppryf8Hu1U5AVBztipMlgiBpwesE8JTpasvyfJxkkDHK-At7gxMuHSAqixXZZlJqcJlZ6TsjKyUvniXqIVI3K-/s640/top+20+of+2019.jpg" width="640" /></a></span></u></div>
<div class="separator" style="clear: both; text-align: center;">
<u><span style="font-size: large;"><br /></span></u></div>
<div class="separator" style="clear: both; text-align: center;">
<u><span style="font-size: large;">More Best Of 2019 Lists</span></u></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: large;"><b><a href="https://www.andsoitbeginsfilms.com/2020/01/top-10-actress-performances-of-2019.html">Top 10 Actress Performances of 2019</a></b></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: large;"><b><u><a href="https://www.andsoitbeginsfilms.com/2020/02/top-10-actor-performances-of-2019.html">Top 10 Actor Performances of 2019</a></u></b></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: large;"><b><a href="https://www.andsoitbeginsfilms.com/2020/02/top-5-rotten-films-of-2019.html">Top 5 “Rotten” Films of 2019</a></b></span></div>
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<span style="font-size: large;"><b><br /></b></span></div>
</div>
Alex Withrowhttp://www.blogger.com/profile/15887018476048271594noreply@blogger.com33tag:blogger.com,1999:blog-4784665635104956142.post-53535354903862552692019-12-31T13:42:00.002-05:002022-12-09T16:34:35.930-05:00Top 20 Films of 1999<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.andsoitbeginsfilms.com/2019/12/top-20-films-of-1999.html" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_vbwrdrrE6Y0YUxey-H6oTU1AgQMqCQskTC-tDkkDIeV6eDbhJ5rZBPtcLqXvU2Nl2ifZz21SbvXkQwarrl0TRRhP9he-m9XYHCyhgkzAGRNsABSqPKjC9CSjsFqz0O82UdPppKxdKYGb/s640/The+Matrix.jpg" width="640" /></a></div>
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So far in my lifetime, I can confidently say that there hasn’t
been a movie year more impactful than 1999. Veteran filmmakers and young auteurs
alike released bold, independent, experimental films that continue to hugely
influence pop culture. And as we close out one decade, I thought it be fun to
jump back two decades and list my favorite flicks from a truly great film year.</div>
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<o:p></o:p></div>
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20. <b><span style="font-size: large;">The Straight Story</span></b></div>
</div>
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<o:p></o:p></div>
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<div style="text-align: center;">
Directed by David Lynch</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXNAQr3fsEgB8kwrmM3KxMAxKG4MfVw-Q5RUIL8KHwXO6eB2XwNl28uzePNZBxWfdqtuyxplrldBqWI8oIeghYaFH739LnKgXbx2RHY-uH9leEwTUdafJqCnvYQQtA6HloazLrF-i_84Z_/s1600/The+Straight+Story.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXNAQr3fsEgB8kwrmM3KxMAxKG4MfVw-Q5RUIL8KHwXO6eB2XwNl28uzePNZBxWfdqtuyxplrldBqWI8oIeghYaFH739LnKgXbx2RHY-uH9leEwTUdafJqCnvYQQtA6HloazLrF-i_84Z_/s640/The+Straight+Story.jpg" width="640" /></a></div>
<o:p></o:p></div>
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In the months leading up to this film’s fall release, I
could not fathom that David Lynch made a G-rated Disney film. How could Lynch
pull this off? Wouldn’t the family-friendly rating rob him of his uniquely terrifying
narrative style? And sure, <i>The Straight Story</i> is much more akin to <i>The
Elephant Man</i> than <i>Lost Highway</i>, but the remains an absolutely
poignant, well-earned road movie helmed by a distinct master.<o:p></o:p></div>
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19. <b><span style="font-size: large;">Man on the Moon</span></b><o:p></o:p></div>
</div>
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<div style="text-align: center;">
Directed by Miloš Forman</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgErU8vNwSYNr9YTDpO-f9o8BcdWmNnDs1E6Dw7b3AuYdtCtLj0NF8yKbQmub5QssJS3OPhg71Gec4bwgvZmhMJYx1nKc5vrsN2Sy4p28IoxeZOelFnW5jHpMiOo-TS9EAlOdc-woASJ-l2/s1600/Man+on+the+Moon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="272" data-original-width="630" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgErU8vNwSYNr9YTDpO-f9o8BcdWmNnDs1E6Dw7b3AuYdtCtLj0NF8yKbQmub5QssJS3OPhg71Gec4bwgvZmhMJYx1nKc5vrsN2Sy4p28IoxeZOelFnW5jHpMiOo-TS9EAlOdc-woASJ-l2/s640/Man+on+the+Moon.jpg" width="640" /></a></div>
<o:p></o:p></div>
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Though not as popular as Forman’s other biopics (<i>Amadeus</i>,
<i>The People vs. Larry Flynt</i>) <i>Man on the Moon</i> sought to tell the
story of a man whose story couldn’t be told. Like Andy Kaufman himself, <i>Man
on the Moon</i> does a great job at defying convention, while capturing a truly
immersed Jim Carrey.<o:p></o:p></div>
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18. <b><span style="font-size: large;">The Virgin Suicides</span></b><o:p></o:p></div>
</div>
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<div style="text-align: center;">
Directed by Sofia Coppola</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivkgzrHfcbHJu_WRQjM7x7oxfB8AEdb_XlNxLj3JCHl2bUDeT7oyY1dvAmVMTqPZxrYhZ5ClcMi8dCWimV1qgXbUg0EK_uikiP-v-bEplBdOrZ2vOKoYNozcP6otSxXWjy_yCJJItBvC09/s1600/The+Virgin+Suicides.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="272" data-original-width="630" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivkgzrHfcbHJu_WRQjM7x7oxfB8AEdb_XlNxLj3JCHl2bUDeT7oyY1dvAmVMTqPZxrYhZ5ClcMi8dCWimV1qgXbUg0EK_uikiP-v-bEplBdOrZ2vOKoYNozcP6otSxXWjy_yCJJItBvC09/s640/The+Virgin+Suicides.jpg" width="640" /></a></div>
<o:p></o:p></div>
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As the decade close out, leave it to Sofia Coppola to come in and completely define her own unique style with her debut film. <i>The Virgin Suicides</i>,
perhaps above all else, captures its director’s confident vision and distinct
tone perfectly.<o:p></o:p></div>
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17. <b><span style="font-size: large;">All About My Mother</span></b><o:p></o:p></div>
</div>
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<div style="text-align: center;">
Directed by Pedro Almodóvar</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPB7uEoTfcSnctZpOLrsN-D44tuaCfORuHusom95H1xJJhjwH8NlgexNt-yNaOnL0ajsAcJVU6JPWgTIy_WrVV0A_A-K8qBkpkt8aaL_kLk6TJa6i-jEWWYVXYY9eMFmWdRM6FrByMXtcL/s1600/All+About+My+Mother.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPB7uEoTfcSnctZpOLrsN-D44tuaCfORuHusom95H1xJJhjwH8NlgexNt-yNaOnL0ajsAcJVU6JPWgTIy_WrVV0A_A-K8qBkpkt8aaL_kLk6TJa6i-jEWWYVXYY9eMFmWdRM6FrByMXtcL/s640/All+About+My+Mother.jpg" width="640" /></a></div>
<o:p></o:p></div>
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Occasionally throughout the year, you’d hear people
whispering about this weird little avant-garde Spanish movie that you just <i>had</i>
to track down. <i>Life is Beautiful</i> started the lone-foreign-film-of-the-year-that-people-flip-about
trend a year earlier (and <i>Crouching Tiger, Hidden Drago</i>n would take that
spot a year later), but the 1999 foreign film landscape was owned by Almodóvar’s
painful masterpiece.<o:p></o:p></div>
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16. <b><span style="font-size: large;">South Park: Bigger, Longer & Uncut</span></b><o:p></o:p></div>
</div>
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<div style="text-align: center;">
Directed by Trey Parker</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq13Jx7AetSWYVsmX3pg-AJ4XlOZvuUXtslSPaGHifqLpoHt8J-CjcN9bge6g5_NG6TaDZ67IVAyh6nitqMwtso_m7awIwyyIKWv6jt6TX1Ha_kwmZEdl8SpusOyH2ZuJgcI5gRg7K8_oi/s1600/South+Park.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="272" data-original-width="630" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq13Jx7AetSWYVsmX3pg-AJ4XlOZvuUXtslSPaGHifqLpoHt8J-CjcN9bge6g5_NG6TaDZ67IVAyh6nitqMwtso_m7awIwyyIKWv6jt6TX1Ha_kwmZEdl8SpusOyH2ZuJgcI5gRg7K8_oi/s640/South+Park.jpg" width="640" /></a></div>
<o:p></o:p></div>
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I cannot express how much of a disruption this movie was to
the summer of 1999. <i>Everyone</i> was talking about the <i>South Park</i>
movie. It was ludicrous, profane, and… surprisingly well done. I remember
taking my mom to see this movie in the theater (I was 14!) and a few days
later, I heard her pleasantly humming “Blame Canada” while she cooked dinner. It
had begun.<o:p></o:p></div>
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15. <b><span style="font-size: large;">The Blair Witch Project</span></b><o:p></o:p></div>
</div>
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<div style="text-align: center;">
Directed by Daniel Myrick and Eduardo Sánchez</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidHbAPwlq_6qAtw_uGnWqWkYJymJgv4zNuRMs62pLaTPqbjvoWmmDdLafiQ6bgZJZtHlhYMjqNdxeHefyVlfgJQP5Bbd7OXPrFR-I63-2_QoJy3O0beuZEAn04dVcVnVW6WWAlsAfd5I0Y/s1600/The+Blair+Witch+Project.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1076" data-original-width="1473" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidHbAPwlq_6qAtw_uGnWqWkYJymJgv4zNuRMs62pLaTPqbjvoWmmDdLafiQ6bgZJZtHlhYMjqNdxeHefyVlfgJQP5Bbd7OXPrFR-I63-2_QoJy3O0beuZEAn04dVcVnVW6WWAlsAfd5I0Y/s400/The+Blair+Witch+Project.jpg" width="400" /></a></div>
<o:p></o:p></div>
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When <i>The Blair Witch Project</i> was released in the middle
of 1999, every person you encountered had an opinion about it. It. Was. <i>Everywhere</i>.
The underground marketing of the film, in which Artisan Entertainment quietly convinced
people that the found footage in the film was real, was ingenious, and
completely worked. Watching the film at home now, it may seem a bit pedestrian,
but believe me, if you saw <i>The Blair Witch Project</i> in a movie theater in
1999, you were absolutely fucking terrified. This remains the only film I have seen where people literally ran screaming out of the movie theater during the middle of the movie. It was such a pop culture moment.<o:p></o:p></div>
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<div style="text-align: center;">
14. <span style="font-size: large;"><b>American Beauty</b></span><o:p></o:p></div>
</div>
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<div style="text-align: center;">
Directed by Sam Mendes</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLqH9Yodhws9WWrfp_gJbb23VHN3dwlKl7efy1ATyMdhmKn_Dlr8nwNgmSZpy_X4aVTfmFgomQrsS9SyJEuHMlZu9qYxooarT0_MUbE-218bfrDHk3mxE5GTCMPWm60DnWE87KZgNIa-aT/s1600/American+Beauty.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLqH9Yodhws9WWrfp_gJbb23VHN3dwlKl7efy1ATyMdhmKn_Dlr8nwNgmSZpy_X4aVTfmFgomQrsS9SyJEuHMlZu9qYxooarT0_MUbE-218bfrDHk3mxE5GTCMPWm60DnWE87KZgNIa-aT/s640/American+Beauty.jpg" width="640" /></a></div>
<o:p></o:p></div>
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I know. But if we can just focus on cultural influence, I
promise this was another movie people could not stop talking about in 1999. I
mean hell, with the exception of <i>The Silence of the Lambs</i>, the Best
Picture winners of the 1990s read like a syllabus for modern, stuffy cinema. Seven
long, epic, sweeping movies took Oscar’s top prize that decade, and when a
weird little family dramedy by a first-time director won Best Picture, it
helped shake up the Oscars . I wish another movie
would come along and energize the Oscars the way <i>American Beauty</i> did in
1999.<o:p></o:p></div>
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13. <b><span style="font-size: large;">Election</span></b><o:p></o:p></div>
</div>
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<div style="text-align: center;">
Directed by Alexander Payne</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivcrHgqoMiGIs6QqAQNYvV1g6W91rnwcrBNIih6GRxU5eAv39Gfl4K0jJHmCWMLDpxJsqfgliTgS-qP_Bcb9dS6oPNx1Q7eWJ7mt-97QwMN9c3Jh7aQ4px9Y8HnvW2Hvj8dzv_1tt67fNc/s1600/Election.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivcrHgqoMiGIs6QqAQNYvV1g6W91rnwcrBNIih6GRxU5eAv39Gfl4K0jJHmCWMLDpxJsqfgliTgS-qP_Bcb9dS6oPNx1Q7eWJ7mt-97QwMN9c3Jh7aQ4px9Y8HnvW2Hvj8dzv_1tt67fNc/s640/Election.jpg" width="640" /></a></div>
<o:p></o:p></div>
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Unlike many movies on this list, <i>no one</i> talked about <i>Election</i>
when it came out. It wasn’t until it hit DVD that it started making its way
into the conversation. (Remember the days when a great movie could bomb in theaters
but find life on DVD?) Today, <i>Election</i> is a milestone that helps define
a decade of culture, while preparing us for the new century to come. This one
will never get older.<o:p></o:p></div>
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12. <b><span style="font-size: large;">The Talented Mr. Ripley</span></b><o:p></o:p></div>
</div>
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<div style="text-align: center;">
Directed by Anthony Minghella</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLEwSOMLnJDqQYjefuN4mmS7qgmbWBT6uKq22szh9gAwddtEQEj_y4VyQ_rjubuc4WZn_5LdXfNfhy_tdthKk7MvkZXSDsAudCQ4W_24ahQSS9AgN9FWcJuxVj3tr_KrMN4x-pQ6WDbx0D/s1600/The+Talented+Mr.+Ripley.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLEwSOMLnJDqQYjefuN4mmS7qgmbWBT6uKq22szh9gAwddtEQEj_y4VyQ_rjubuc4WZn_5LdXfNfhy_tdthKk7MvkZXSDsAudCQ4W_24ahQSS9AgN9FWcJuxVj3tr_KrMN4x-pQ6WDbx0D/s640/The+Talented+Mr.+Ripley.jpg" width="640" /></a></div>
<o:p></o:p></div>
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Everyone was expecting another <i>English Patient</i>, and
everyone was stunned to find out that Anthony Minghella’s latest film was a
supremely weird, trippy psychological thriller. I watch this one every few
years, and it still holds up perfectly. <span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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11. <b><span style="font-size: large;">The Matrix</span></b><o:p></o:p></div>
</div>
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Directed by Lana Wachowski and Lilly Wachowski</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOJA3MZ8EjsIjRuUl_JX8YzVLPBiUaaqeqjCUT1iXr9w1V2kToFbYN8tUnZCUs4qw93MH_K98Li9HosyL7pRAd5AVZlS1SpepTzwrlio4EUff7s9sj7dxn_Hcewg682dKtrABL298SvVH-/s1600/The+Matrix+film.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOJA3MZ8EjsIjRuUl_JX8YzVLPBiUaaqeqjCUT1iXr9w1V2kToFbYN8tUnZCUs4qw93MH_K98Li9HosyL7pRAd5AVZlS1SpepTzwrlio4EUff7s9sj7dxn_Hcewg682dKtrABL298SvVH-/s640/The+Matrix+film.jpg" width="640" /></a></div>
<o:p></o:p></div>
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I may get taken to task for not including <i>The Matrix</i>
higher on this list, but please chalk that up to personal preference, and not
cultural significance. Because if we really examine 1999, one could make an easy argument that <i>The Matrix</i> was the most influential film of the year.
Also, it’s worth pointing out that this movie would <i>never</i> get made
today. Studio-funded, mid-budget, non-franchise, original story, huge scope,
starring a fledging action star, directed by two people with only a single
indie film to their name. I wish studios still took chances like this.<o:p></o:p></div>
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10. <b><span style="font-size: large;">Fight Club</span></b><o:p></o:p></div>
</div>
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Directed by David Fincher</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSSOzc4uBoazxOS9JnV9BS6UJdHnbyUkz6hnopr9owB8xMtesMwE9xV0S8LTcqEVngF-X4SClO9nLKP8VgdYxnJ9WNsrWGI8yh3zY1rZ4LcLhc5w68Ept-l-GUppmfyK-3qemr81wNXuXF/s1600/Fight+Club.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="272" data-original-width="630" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSSOzc4uBoazxOS9JnV9BS6UJdHnbyUkz6hnopr9owB8xMtesMwE9xV0S8LTcqEVngF-X4SClO9nLKP8VgdYxnJ9WNsrWGI8yh3zY1rZ4LcLhc5w68Ept-l-GUppmfyK-3qemr81wNXuXF/s640/Fight+Club.jpg" width="640" /></a></div>
<o:p></o:p></div>
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<i>Fight Club</i> was not
received as the massive game-changer it is revered as today. Theaters weren’t
full, critics weren’t jazzed – it just wasn’t around. But the moment the film
hit DVD, with the help of the internet finding its legs, <i>Fight Club</i> absolutely
fucking exploded. The film itself is a nihilistic rock-opera
nightmare that is endlessly rewatchable. I may like other Fincher films better,
but the significance of <i>Fight Club</i> is inarguable.<o:p></o:p></div>
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9. <b><span style="font-size: large;">The Sixth Sense</span></b><o:p></o:p></div>
</div>
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Directed by M. Night Shyamalan</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUFvnLcnttW4_2G0NkQyBYBvxsF4Q-IrJ5PRTs0me8tNttA1wLLiTczIhPz0PygqR1kly54ZJbYGp7llHQNDlnlw50Y6NIleBZZ6BQsVTdJA5Syvg96IzpcJoQcTz_KP3wIgmfHpJlwlqD/s1600/The+Sixth+Sense.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUFvnLcnttW4_2G0NkQyBYBvxsF4Q-IrJ5PRTs0me8tNttA1wLLiTczIhPz0PygqR1kly54ZJbYGp7llHQNDlnlw50Y6NIleBZZ6BQsVTdJA5Syvg96IzpcJoQcTz_KP3wIgmfHpJlwlqD/s640/The+Sixth+Sense.jpg" width="640" /></a></div>
<o:p></o:p></div>
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<i>The Sixth Sense</i> was <b>the</b> water cooler movie of
the year. More so than <i>The Blair Witch Project</i>, more so than <i>The
Matrix</i> or <i>Fight Club</i>. If you lived and breathed in 1999, you talked
about <i>The Sixth Sense</i>. And because this was still in the early years of
the internet, it was actually possible to go for weeks without having a movie
spoiled for you. And when you saw <i>The Sixth Sense</i>, you likely saw it
two, three, four times, to try and crack its code. Few films have dominated the
cultural conversation more since this one. <o:p></o:p></div>
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8. <b><span style="font-size: large;">Any Given Sunday</span></b><o:p></o:p></div>
</div>
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<div style="text-align: center;">
Directed by Oliver Stone</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsEqYlu_yf_YChiQUXRD2ETYyPQdmKPIgYkc4O4gVfkfLvmjwm018n6Y1wvRUFAhfS5wUn-r0ITu3Di_FGpPg56d280HzeEqPtBvrEhvUBNsFG32YZmuK9t1eKPe8OxzSq3dcg8nfQNCm8/s1600/Any+Given+Sunday.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsEqYlu_yf_YChiQUXRD2ETYyPQdmKPIgYkc4O4gVfkfLvmjwm018n6Y1wvRUFAhfS5wUn-r0ITu3Di_FGpPg56d280HzeEqPtBvrEhvUBNsFG32YZmuK9t1eKPe8OxzSq3dcg8nfQNCm8/s640/Any+Given+Sunday.jpg" width="640" /></a></div>
<o:p></o:p></div>
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I know some people think I’m crazy for placing this movie so
high, but I fucking love <i>Any Given Sunday</i>. It is the movie on this list
that I have seen the most, no bullshit. Oliver Stone has made better films (<i>Platoon</i>,
<i>JFK</i>) and more culturally significant films (<i>Wall Street</i>, <i>Natural
Born Killers</i>), but <i>Any Given Sunday</i> will always be my favorite Oliver Stone movie. A
completely go-for-broke, gonzo work of maximalist art.<o:p></o:p></div>
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7. <b><span style="font-size: large;">The Hurricane</span></b><o:p></o:p></div>
</div>
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<div style="text-align: center;">
Directed by Norman Jewison</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3mFGf2e7XkXoHUQ7uR0I4JIvWyo50rHOh8n-BuXRBRbloB0PQLv2XBZxCzCxZU27wZW7o46-8VBIx-JaGI4LfDKpF7Iyhn5mwvAEQwubg7hTrOs_ES9C7ySDz8ZNNsCRKFUchGprmnSGb/s1600/Roger+Deakins+The+Hurricane.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3mFGf2e7XkXoHUQ7uR0I4JIvWyo50rHOh8n-BuXRBRbloB0PQLv2XBZxCzCxZU27wZW7o46-8VBIx-JaGI4LfDKpF7Iyhn5mwvAEQwubg7hTrOs_ES9C7ySDz8ZNNsCRKFUchGprmnSGb/s640/Roger+Deakins+The+Hurricane.jpg" width="640" /></a></div>
<o:p></o:p></div>
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The most heartfelt movie of 1999 for me. A classically
constructed biopic that captured one of Denzel Washington’s best performances. I
was surprised that <i>The Hurricane</i> didn’t do better with audiences and
critics. I’ve always been so drawn to its earnestness.<o:p></o:p></div>
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6. <b><span style="font-size: large;">Three Kings</span></b><o:p></o:p></div>
</div>
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Directed by David O. Russell</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2l9bJn8HWg7HeVIh42L0SFxVnAUeWZ53o_3r3BRpMLHaIwqRUNbZpRCtyliuObI_Ox88G-uoDrLVSNFXfvuTbhVphUJZ4oZqJ74RoF5HQQQ30eXh4oflSlXPQhYksLE-yq5HorE29Oy_V/s1600/Three+Kings.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="272" data-original-width="630" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2l9bJn8HWg7HeVIh42L0SFxVnAUeWZ53o_3r3BRpMLHaIwqRUNbZpRCtyliuObI_Ox88G-uoDrLVSNFXfvuTbhVphUJZ4oZqJ74RoF5HQQQ30eXh4oflSlXPQhYksLE-yq5HorE29Oy_V/s640/Three+Kings.jpg" width="640" /></a></div>
<o:p></o:p></div>
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For my money, <i>Three Kings</i> remains David O. Russell’s
masterpiece. Its style is completely singular, its performances totally
genuine, and its message absolutely genuine. <i>Three Kings</i> was a movie
no one really saw coming in 1999. It dropped out of nowhere and stunned people
to the point that I don’t think they knew what to do with it. It’s too bad it
didn’t catch on faster, because this one deserved Oscar nominations for just
about everything.<o:p></o:p></div>
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5. <b><span style="font-size: large;">Being John Malkovich</span></b><o:p></o:p></div>
</div>
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<div style="text-align: center;">
Directed by Spike Jonze</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2pIsJEwBAcoMHRJwpMM_zY6zgIqpe4Ig3tEoaroXjlEPI35gO3361i6s0LHVhSsKD6ulkLurqZIMKZi9der0ixHuLfSYoDtyxmfzG-G2gjAWhQqN2BWj-jINcJln2i6JRlWMc3aMqxBfz/s1600/Being+John+Malkovich.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2pIsJEwBAcoMHRJwpMM_zY6zgIqpe4Ig3tEoaroXjlEPI35gO3361i6s0LHVhSsKD6ulkLurqZIMKZi9der0ixHuLfSYoDtyxmfzG-G2gjAWhQqN2BWj-jINcJln2i6JRlWMc3aMqxBfz/s640/Being+John+Malkovich.jpg" width="640" /></a></div>
<o:p></o:p></div>
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The weird mainstream movie is a popular thing today, but 20
years ago, it was very rare for a movie as goddamn strange as <i>Being John
Malkovich</i> to hit the culture. This was the movie that inspired people to
drive to the independent movie theater a little farther away. If you saw it in
the theater, it was like you were part of this weird little club. You’d stand in
the corner with the other weirdos and just laugh about how insane the movie
was.<o:p></o:p></div>
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4. <b><span style="font-size: large;">The Limey</span></b><o:p></o:p></div>
</div>
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Directed by Steven Soderbergh</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJDWhrRYA8KAQmjMSKF0yQM7m0BHNhjcwBV22c-HtH2dNH2H50AD8Ya_IQwz11_9mFpzNeie98U4BjQUp0cydTHYCq1fjufAbiWKairBFPNpV_N2QTQSXqRwku61AzAV5FXuKeyJNg1bfi/s1600/The+Limey.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="272" data-original-width="630" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJDWhrRYA8KAQmjMSKF0yQM7m0BHNhjcwBV22c-HtH2dNH2H50AD8Ya_IQwz11_9mFpzNeie98U4BjQUp0cydTHYCq1fjufAbiWKairBFPNpV_N2QTQSXqRwku61AzAV5FXuKeyJNg1bfi/s640/The+Limey.jpg" width="640" /></a></div>
<o:p></o:p></div>
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I technically did not see <i>The Limey</i> in 1999, but I can
tell you that few movies on this list have influenced my own filmmaking as much
as this one. To see this movie in the theater must have been sensory overload.
How would you keep up with its groundbreaking structure? I remember watching
this movie at home when I was 15 and being completely dumbfounded by its
choices. I had the benefit of hitting rewind, though. Which I did, repeatedly.<o:p></o:p></div>
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3. <b><span style="font-size: large;">The Insider</span></b><o:p></o:p></div>
</div>
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<div style="text-align: center;">
Directed by Michael Mann</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzIXOkTB1F07OVifYN98sQFzW9vju7jBFTaB8FnkHmDZfnURtgOYD2yuDxxhPQbfnIGb3UvfJPW6-aKyLBS51TdEMkUbO5IRBeqE4yZ-4ysDit_NzTPOQUmm-u4OY1-43LreV7himOgonu/s1600/The+Insider+Al+Pacino.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="266" data-original-width="640" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzIXOkTB1F07OVifYN98sQFzW9vju7jBFTaB8FnkHmDZfnURtgOYD2yuDxxhPQbfnIGb3UvfJPW6-aKyLBS51TdEMkUbO5IRBeqE4yZ-4ysDit_NzTPOQUmm-u4OY1-43LreV7himOgonu/s640/The+Insider+Al+Pacino.jpg" width="640" /></a></div>
<o:p></o:p></div>
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Even though I saw this movie in the theater and understood
very little of it, I was aware of its technical power and commanding
performances. And as I grew older, <i>The Insider</i> got better. Still today,
everytime I see this movie, I appreciate it even more. This isn’t my favorite
Michael Mann film, but I’d argue that it is the best movie he has made. In any other
year, this would’ve made a serious run for Best Picture and Best Director.<o:p></o:p></div>
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2. <b><span style="font-size: large;">Magnolia</span></b> <o:p></o:p></div>
</div>
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<div style="text-align: center;">
Directed by Paul Thomas Anderson</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSYyJmaIcAIY78wTO4sqM0hfmjw8jXHSLxmnOaZqTKCuPyj7v5tD96FPhowcFqND4cfDPqKMVSHhzhkJavjA620B48Z1ROyQfJSL7Z392ZW7BqTojt7WTOribeCblFfKwZpwjNaDJOpKqz/s1600/Magnolia+film.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="272" data-original-width="630" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSYyJmaIcAIY78wTO4sqM0hfmjw8jXHSLxmnOaZqTKCuPyj7v5tD96FPhowcFqND4cfDPqKMVSHhzhkJavjA620B48Z1ROyQfJSL7Z392ZW7BqTojt7WTOribeCblFfKwZpwjNaDJOpKqz/s640/Magnolia+film.jpg" width="640" /></a></div>
<o:p></o:p></div>
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It’s the day after Christmas, 1999, and I drag my entire
family to see <i>Magnolia</i>, which none of us knew anything about. Ten
minutes into the film, right around the time Ricky Jay is closing up the prologue,
my mom leaned over to my aunt and loudly whispered, “There’s no fuckin’ way I can
do this for three full hours.” But we did. All of us. We sat and we marveled at
a completely unique American epic. And when it was done, the only time I stopped talking about it was when I saw it again.<o:p></o:p></div>
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1. <b><span style="font-size: large;">Eyes Wide Shut</span><o:p></o:p></b></div>
</div>
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<div style="text-align: center;">
Directed by Stanley Kubrick</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVI5VRV6nwcmiNi0x8a-FKmAoiFxSyLyvnLzpp-mHY4ULiYQgcfZ1uOGpum0yxQlukNmOwRgX4c-kzMsdRo6fBGWMQmky-Fvk90YUAciTxumzkIkKJ06jasc3OkELZkvccMRZkzUD4zZBW/s1600/Eyes+Wide+Shut.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="1280" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVI5VRV6nwcmiNi0x8a-FKmAoiFxSyLyvnLzpp-mHY4ULiYQgcfZ1uOGpum0yxQlukNmOwRgX4c-kzMsdRo6fBGWMQmky-Fvk90YUAciTxumzkIkKJ06jasc3OkELZkvccMRZkzUD4zZBW/s640/Eyes+Wide+Shut.jpg" width="640" /></a></div>
<o:p></o:p></div>
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Another story. You’re 14 years old, it’s a few weeks after
the Fourth of July, and your friend’s mom drops you both at the shit tiny local two screen movie theater. You buy two tickets to <i>Inspector Gadget</i>, and you
enter that theater, unamused. You look at your friend and silently agree to
sneak into the other theater, which is playing some weird movie starring two of
the most famous people in the world, directed by the guy who made that violent <i>Clockwork
Orange</i> thing that has terrified you for the past year. You sit in the very
back of the theater and remain there for all 160 minutes of <i>Eyes Wide Shut</i>.
You’re 14 years old. You’ll <i>never</i> forget this moment.<o:p></o:p></div>
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Directors: David. O. Russell</a><o:p></o:p></span></div>
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<div style="text-align: center;"><span style="font-size: large;">Listen to my <b><a href="https://waywpodcast.buzzsprout.com">podcast</a></b> on Top 10 Films of 1999:</span></div>
<div id="buzzsprout-player-5540011"></div><script src="https://www.buzzsprout.com/1176041/5540011-11-top-10-films-of-1999.js?container_id=buzzsprout-player-5540011&player=small" type="text/javascript" charset="utf-8"></script>
Alex Withrowhttp://www.blogger.com/profile/15887018476048271594noreply@blogger.com19tag:blogger.com,1999:blog-4784665635104956142.post-12155202529054420082019-12-20T16:04:00.001-05:002019-12-20T16:07:21.698-05:00 In Character: The Cast of The Irishman<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.andsoitbeginsfilms.com/2019/12/in-character-cast-of-irishman.html" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="666" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghw-IWRUhbnk3Ea_8jJGNGxudDrxZ16y16h3LAbqBNRu1D794-Mlp6xuyBdH-bcnKUzP3bXKd38X8xJPK-mZCqe8NurUIXfqWxenaJDf0wbhKgRA7fq5-5OvhfppgyY1hmfptORjLNa2DG/s640/The+Irishman.jpg" width="640" /></a></div>
As of this writing, I am currently on my fourth viewing of <i>The
Irishman</i>. I love everything about
this movie; it’s demanding, singularly paced, and expertly acted. To highlight many
of the performers involved, I thought it’d be fun to dedicate an entire <a href="https://www.andsoitbeginsfilms.com/p/in-character.html">In Character</a> post to them. Please note that because seemingly <i>everyone</i> is
in <i>The Irishman</i>, not all of the actors are listed here.<br />
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<b><span style="font-size: large;">Gary Basaraba</span></b><br />
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<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg577yjx4dsMkv218LpnFhaEYsmHxr-t2kf-o-cdxG19h7WLVc3eDGQHXaQJ2WpR7ZQ0LvCTG5YLlSAudJIx2F_XFIqVQmovgxwg7YyaUDc6lE82o5L35NQ3kOLPhBzL2V6jq_t3-umVN6J/s1600/Gary+Basaraba+Boomtown.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="332" data-original-width="585" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg577yjx4dsMkv218LpnFhaEYsmHxr-t2kf-o-cdxG19h7WLVc3eDGQHXaQJ2WpR7ZQ0LvCTG5YLlSAudJIx2F_XFIqVQmovgxwg7YyaUDc6lE82o5L35NQ3kOLPhBzL2V6jq_t3-umVN6J/s400/Gary+Basaraba+Boomtown.jpg" width="400" /></a></span></b></div>
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<u>Role in <i>The Irishman</i></u>: Frank “Fitz” Fitzsimmons<o:p></o:p></div>
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<u>Notable Roles</u>: <i>Fried Green Tomatoes</i>, <i>Brooklyn
South</i>, <i>Charlotte’s Web</i>, <i>Mad Men</i>, <i>Suburbicon</i><o:p></o:p></div>
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<u>Best Role</u>: Basaraba is a great character actor who’s
been delivering steady performances for decades, my favorite being his
sarcastic yet empathic turn as Officer Ray in the criminally ignored show, <i>Boomtown</i>.
<o:p></o:p></div>
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<b><span style="font-size: large;">Paul Ben-Victor</span></b><br />
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<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGMekzY2pPFXWWfn0_0uUbKohHPzrfa6VF34jiNTuPkf3kEkL55-d5SlNV7yAx0_EKR0z4WucCAMLbfywVOwJSkU6u2lbDMm5Sl7qss-5Aj_E7Z1lG0W3NKncBLTNWp7-TvTfuT-CRa9Gw/s1600/Paul+Ben-Victor+The+Wire.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="332" data-original-width="585" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGMekzY2pPFXWWfn0_0uUbKohHPzrfa6VF34jiNTuPkf3kEkL55-d5SlNV7yAx0_EKR0z4WucCAMLbfywVOwJSkU6u2lbDMm5Sl7qss-5Aj_E7Z1lG0W3NKncBLTNWp7-TvTfuT-CRa9Gw/s400/Paul+Ben-Victor+The+Wire.jpg" width="400" /></a></span></b></div>
<b><o:p></o:p></b></div>
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<u>Role in <i>The Irishman</i></u>: Jake Gottlieb<o:p></o:p></div>
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<u>Notable Roles</u>: <i>True Romance</i>, <i>Entourage</i>,
<i>John from Cincinnati</i>, <i>In Plain Sight</i>, <i>Vinyl</i><o:p></o:p></div>
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<u>Best Role</u>: Ben-Victor is one of those amazing
character actors who pops up everywhere, but I’ve never liked him
more than as ruthless drug lord, Vondas, in <i>The Wire</i>.<o:p></o:p></div>
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<b><span style="font-size: large;">Louis Cancelmi</span></b><br />
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<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAuui-iiZb3qA33jTcFYPAeXqOicbtZplux33hCgyu_OGupPjmVN_LTp-jgU6d85nTg8nYui6-Ob9292lYpWJXj_IzPrjBRYdB_uNHZ4Bop4ES0vOEBkfXQw2RI2mPAEZwfUIJG7LA-vY9/s1600/Louis+Cancelmi+The+Looming+Tower.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="332" data-original-width="585" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAuui-iiZb3qA33jTcFYPAeXqOicbtZplux33hCgyu_OGupPjmVN_LTp-jgU6d85nTg8nYui6-Ob9292lYpWJXj_IzPrjBRYdB_uNHZ4Bop4ES0vOEBkfXQw2RI2mPAEZwfUIJG7LA-vY9/s400/Louis+Cancelmi+The+Looming+Tower.jpg" width="400" /></a></span></b></div>
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<u>Role in <i>The Irishman</i></u>: Sally Bugs<o:p></o:p></div>
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<u>Notable Roles</u>: <i>Gabi on the Roof in July</i>, <i>Boardwalk
Empire</i>, <i>Billions</i>, <i>21 Bridges</i><o:p></o:p></div>
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<u>Best Role</u>: Cancelmi (and his flawless cheekbones) is
great in everything, but his strongest work was as a stifled FBI agent stationed
at Langley in <i>The Looming Tower</i> (which is a really underrated
miniseries, by the way).<o:p></o:p></div>
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<b><span style="font-size: large;">Bobby Cannavale</span></b><br />
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<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivlFmlEz5K0WgHxZr9wBorn1j1AxqAH_U5eHRtnQa7F9MkEM1-58hQfFKNzk7RFoeUC4OJzepgW18inSjni_PgD8Jhs_VecahzT4SjYrh004P7P4f0rI7ncZ1xMjMCFZO79CRw8PPWTgcC/s1600/Bobby+Cannavale+Boardwalk+Empire.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="332" data-original-width="585" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivlFmlEz5K0WgHxZr9wBorn1j1AxqAH_U5eHRtnQa7F9MkEM1-58hQfFKNzk7RFoeUC4OJzepgW18inSjni_PgD8Jhs_VecahzT4SjYrh004P7P4f0rI7ncZ1xMjMCFZO79CRw8PPWTgcC/s400/Bobby+Cannavale+Boardwalk+Empire.jpg" width="400" /></a></span></b></div>
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<u>Role in <i>The Irishman</i></u>: Skinny Razor<o:p></o:p></div>
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<u>Notable Roles</u>: <i>The Station Agent</i>, <i>Win Win</i>,
<i>Vinyl</i>, <i>Master of None</i>, <i>Homecoming</i><o:p></o:p></div>
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<u>Best Role</u>: I have never seen an even mediocre
Cannavale performance, so this is a hard choice. Ultimately, I have to go with
his psychopathic turn as Gyp Rosetti in <i>Boardwalk Empire</i>. <o:p></o:p></div>
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<b><span style="font-size: large;">Robert De Niro</span></b><br />
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<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpeKRRjA65PW3mSKLaQP3EKIUQEuXkHjfMxuFW4BG-7ma6u1F5fD8JTG6lCflaT_C_FATaJinCI9tfIGpjxa2H2RIkyDF2HbbUjf5lEhDoJZ4-c_Z5n9_wSJopopnCdFhY3YA51rbp8uC6/s1600/Robert+De+Niro+Raging+Bull.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="332" data-original-width="585" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpeKRRjA65PW3mSKLaQP3EKIUQEuXkHjfMxuFW4BG-7ma6u1F5fD8JTG6lCflaT_C_FATaJinCI9tfIGpjxa2H2RIkyDF2HbbUjf5lEhDoJZ4-c_Z5n9_wSJopopnCdFhY3YA51rbp8uC6/s400/Robert+De+Niro+Raging+Bull.jpg" width="400" /></a></span></b></div>
<b><o:p></o:p></b></div>
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<u>Role in <i>The Irishman</i></u>: Frank Sheeran<o:p></o:p></div>
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<u>Notable Roles</u>: <i>Mean Streets</i>, <i>The Godfather:
Part II</i>, <i>Taxi Driver</i>, <i>The Deer Hunter</i>, <i>Goodfellas</i><o:p></o:p></div>
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<u>Best Role</u>: Jake La Motta in <i>Raging Bull</i>. As
good as acting gets.<o:p></o:p></div>
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<b><span style="font-size: large;">Bo Dietl</span></b><br />
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<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzSAsSDBs-6cfBsFEp0lksk5NV2gmUyHiSo0cSCPileKcrEka5vLwvFSZeYUjMFQW15K4GOymuwNBjm46NBXTc9vF2y7ZpYPta94XpfG_X2G1pc3FnKYC3dlm4LeiEyydiOpAWdzYk8_XR/s1600/Bo+Dietl+The+Wolf+of+Wall+Street.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="332" data-original-width="585" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzSAsSDBs-6cfBsFEp0lksk5NV2gmUyHiSo0cSCPileKcrEka5vLwvFSZeYUjMFQW15K4GOymuwNBjm46NBXTc9vF2y7ZpYPta94XpfG_X2G1pc3FnKYC3dlm4LeiEyydiOpAWdzYk8_XR/s400/Bo+Dietl+The+Wolf+of+Wall+Street.jpg" width="400" /></a></span></b></div>
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<u>Role in <i>The Irishman</i></u>: Joe Glimco<o:p></o:p></div>
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<u>Notable Roles</u>: <i>Bad Lieutenant</i>, <i>One Tough
Cop</i>, <i>Vinyl</i><o:p></o:p></div>
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<u>Best Role</u>: Bo Dietl used to work for the real Jordan
Belfort, so I love watching Dietl chastise Leonardo DiCaprio in <i>The Wolf of
Wall Street</i>: “Are we talking tonight or are you gonna get schwacked? The
last time you took these fuckin’ pills you put your head in the fucking
macaroni I had to pick it up!”<o:p></o:p></div>
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<b><span style="font-size: large;">Lucy Gallina</span></b><br />
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<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuVT9OUksZ_n2-dAbjST4lB1dj05Bw1NWOwT7hI3PWV48wkD-lmQM6muVlihLUwhRMnUcyAFivpu9_0GWMk_4_624vsgOYPk3_goXr3DjZtzYAY7BeaiE5cfzTrbbdPxc1aiQZ6HdNxE-G/s1600/Lucy+Gallina+The+Irishman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="332" data-original-width="585" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuVT9OUksZ_n2-dAbjST4lB1dj05Bw1NWOwT7hI3PWV48wkD-lmQM6muVlihLUwhRMnUcyAFivpu9_0GWMk_4_624vsgOYPk3_goXr3DjZtzYAY7BeaiE5cfzTrbbdPxc1aiQZ6HdNxE-G/s400/Lucy+Gallina+The+Irishman.jpg" width="400" /></a></span></b></div>
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<u>Role in <i>The Irishman</i></u>: Peggy Sheeran<o:p></o:p></div>
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<u>Notable Roles</u>: <i>Boardwalk Empire<o:p></o:p></i></div>
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<u>Best Role</u>: Peggy in <i>The Irishman</i>. Her curious
eyes steal every scene she’s in.<o:p></o:p></div>
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<b><span style="font-size: large;">Stephen Graham</span></b><br />
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<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyMrrwmKYXDdp6RUdkiSCqI1kVYyO-aQ0dEcoOxfTs933jJ-qrZtA7f7U1NVzOhyphenhyphen_FFXKEiRn9_SWNa9IDSh1cDk3PisHQF0kE5yw7bdFR1zOXiUMisVrdilHPr4uN8d9iTEANrPFQPhNe/s1600/Stephen+Graham+The+Irishman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="332" data-original-width="585" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyMrrwmKYXDdp6RUdkiSCqI1kVYyO-aQ0dEcoOxfTs933jJ-qrZtA7f7U1NVzOhyphenhyphen_FFXKEiRn9_SWNa9IDSh1cDk3PisHQF0kE5yw7bdFR1zOXiUMisVrdilHPr4uN8d9iTEANrPFQPhNe/s400/Stephen+Graham+The+Irishman.jpg" width="400" /></a></span></b></div>
<b><o:p></o:p></b></div>
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<u>Role in <i>The Irishman</i></u>: Tony Pro<o:p></o:p></div>
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<u>Notable Roles</u>: <i>Snatch</i>, <i>This is England</i>,
<i>Public Enemies</i>, <i>Boardwalk Empire</i>, <i>Taboo</i><o:p></o:p></div>
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<u>Best Role</u>: I was going to choose Graham’s uncanny
work as Al Capone in <i>Boardwalk Empire</i>, but having watched <i>The
Irishman</i> multiple times, I have to go with Tony Pro here. Graham goes
toe-to-toe with Pacino and doesn’t flinch.<o:p></o:p></div>
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<b><span style="font-size: large;">Paul Herman</span></b><br />
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<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwTezV9Vv3CVSQB-XaOgUmOSX4KAc3VIHW_2Xc7aVPHt3Mdj36sCs9mHeN_NPov43m4QsZ7Jm4NS9u0Aj7uNuEEg6ll8nNcBXnSbwhjemnChwJb7JMEyfUH55yvu1KqAUp9E8A1uoZti-Z/s1600/Paul+Herman+Silver+Linings+Playbook.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="332" data-original-width="585" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwTezV9Vv3CVSQB-XaOgUmOSX4KAc3VIHW_2Xc7aVPHt3Mdj36sCs9mHeN_NPov43m4QsZ7Jm4NS9u0Aj7uNuEEg6ll8nNcBXnSbwhjemnChwJb7JMEyfUH55yvu1KqAUp9E8A1uoZti-Z/s400/Paul+Herman+Silver+Linings+Playbook.jpg" width="400" /></a></span></b></div>
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<u>Role in <i>The Irishman</i></u>: Whispers DiTullio<o:p></o:p></div>
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<u>Notable Roles</u>: <i>Goodfellas</i>, <i>Casino</i>, <i>The
Sopranos</i>, <i>Crazy Heart</i>, <i>Entourage</i><o:p></o:p></div>
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<u>Best Role</u>: Herman is great in everything, whether he’s
a cranked coke dealer in <i>Goodfellas</i> (“You wanna see helicopters?!”), or a
financial adviser in <i>Entourage</i>, Herman always brings a reliable energy
to his work. But I think my current favorite Herman performance is as a
hilariously degenerate gambler in <i>Silver Linings Playbook</i>.<o:p></o:p></div>
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<b><span style="font-size: large;">Jake Hoffman</span></b><br />
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<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzno9P5ELdMT4cQBV3TmHCcSmuQZFx1aTvoxta_0ifWdhcfj_7YA0BU6thdxlfwpHMdz1gXj8B9S6iZN36GBw2afoDnZr79jYhUzBBOUfuB7qDdLo68nqbuKMbrmZ_q9AhtYVs2R-X6GUu/s1600/Jake+Hoffman+The+Irishman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="332" data-original-width="585" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzno9P5ELdMT4cQBV3TmHCcSmuQZFx1aTvoxta_0ifWdhcfj_7YA0BU6thdxlfwpHMdz1gXj8B9S6iZN36GBw2afoDnZr79jYhUzBBOUfuB7qDdLo68nqbuKMbrmZ_q9AhtYVs2R-X6GUu/s400/Jake+Hoffman+The+Irishman.jpg" width="400" /></a></span></b></div>
<b><o:p></o:p></b></div>
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<u>Role in <i>The Irishman</i></u>: Allen Dorfman<o:p></o:p></div>
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<u>Notable Roles</u>: <i>Barney’s Version</i>, <i>Luck</i>, <i>The
Wolf of Wall Street<o:p></o:p></i></div>
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<u>Best Role</u>: Hoffman, son of Dustin, has a fun turn as “Steeeeveeee
Maaaaddeeen” in <i>The Wolf of Wall Street</i>, but I’m going to go with “that ball-bustin’ Dorfman” in <i>The Irishman</i> as his current best.<o:p></o:p></div>
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<b><span style="font-size: large;">Jack Huston</span></b><br />
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<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGxIZbjDrCtkgVS1kL2oPlusch7J4LySJ3KynIb-mxNWepxXJk-oTmjDnZDyK71JmACYtznuQApkQ-h9knrPJ2YhB8ShmEtpNzulHFZzb5VL3uIZBYAQD0OMBRVLrBXVmhDYaF2N7APD8T/s1600/Jack+Huston+Boardwalk+Empire.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="332" data-original-width="585" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGxIZbjDrCtkgVS1kL2oPlusch7J4LySJ3KynIb-mxNWepxXJk-oTmjDnZDyK71JmACYtznuQApkQ-h9knrPJ2YhB8ShmEtpNzulHFZzb5VL3uIZBYAQD0OMBRVLrBXVmhDYaF2N7APD8T/s400/Jack+Huston+Boardwalk+Empire.jpg" width="400" /></a></span></b></div>
<b><o:p></o:p></b></div>
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<u>Role in <i>The Irishman</i></u>: Bobby Kennedy<o:p></o:p></div>
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<u>Notable Roles</u>: <i>Not Fade Away</i>, <i>Kill Your Darlings</i>,
<i>Pride and Prejudice and Zombies</i>, <i>Ben-Hur<o:p></o:p></i></div>
<div class="MsoNormal">
<u>Best Role</u>: It must be the loyal, disfigured, lethal
Richard Harrow from <i>Boardwalk Empire</i>.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><span style="font-size: large;">Marin Ireland</span></b><br />
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2WQDt9GYaY4Z96v7d4JxJeOeqKCu9i1gOanMutIt3YvGjAMSt4srk_7b9uuQwlI2tgrPvaeDnEN1GyKDFKCrvdmWQEmhHIFTmvt2MJH5u-s0RvVlHwXGM6qIj489zZB6lvFqXI4XN9D_q/s1600/Marin+Ireland+28+Hotel+Rooms.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="432" data-original-width="768" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2WQDt9GYaY4Z96v7d4JxJeOeqKCu9i1gOanMutIt3YvGjAMSt4srk_7b9uuQwlI2tgrPvaeDnEN1GyKDFKCrvdmWQEmhHIFTmvt2MJH5u-s0RvVlHwXGM6qIj489zZB6lvFqXI4XN9D_q/s400/Marin+Ireland+28+Hotel+Rooms.jpg" width="400" /></a></span></b></div>
<b><o:p></o:p></b></div>
</div>
<div class="MsoNormal">
<u>Role in <i>The Irishman</i></u>: Dolores Sheeran<o:p></o:p></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>Mildred Pierce</i>, <i>Girls</i>, <i>The
Slap</i>, <i>Hell or High Water</i>, <i>Sneaky Pete<o:p></o:p></i></div>
<div class="MsoNormal">
<u>Best Role</u>: I love Ireland’s work
in <i>28 Hotel Rooms</i>. She and Chris Messina tapped into something unique there.<br />
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><a href="https://www.andsoitbeginsfilms.com/2019/06/in-character-harvey-keitel.html"><span style="font-size: large;">Harvey
Keitel</span></a></b><br />
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhegMCeZI_hK2pmKlo-E0H6itV9VNdXPkJlP9h0MVegP1wr5VkpaPr-n_65StCTAy1HgxQ6zLMJcvVg1EdLoUveYAmn-EIzqaA-DnwUW1YCtCtIfIV6CX31qyZnmxluMLZlNpl1kGOPUYiz/s1600/Harvey+Keitel+Bad+Lieutenant.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="332" data-original-width="585" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhegMCeZI_hK2pmKlo-E0H6itV9VNdXPkJlP9h0MVegP1wr5VkpaPr-n_65StCTAy1HgxQ6zLMJcvVg1EdLoUveYAmn-EIzqaA-DnwUW1YCtCtIfIV6CX31qyZnmxluMLZlNpl1kGOPUYiz/s400/Harvey+Keitel+Bad+Lieutenant.jpg" width="400" /></a></span></b></div>
<b><o:p></o:p></b></div>
</div>
<div class="MsoNormal">
<u>Role in <i>The Irishman</i></u>: Angelo Bruno<o:p></o:p></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>Mean Streets</i>, <i>Taxi Driver</i>,
<i>Bugsy</i>, <i>Reservoir Dogs</i>, <i>Pulp Fiction<o:p></o:p></i></div>
<div class="MsoNormal">
<u>Best Role</u>: <i>Bad Lieutenant</i>. It will always be <i>Bad
Lieutenant</i>. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><span style="font-size: large;">Stephanie Kurtzuba</span></b><br />
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitV3KLjL76TRCfhk5Ipsq2XUf6AXftAwMIuilpasICOiiczlLGw6znG-jRHVQhCoQJGdho-dC5IevFWSq_JSwlIFgPH87wWTxHC_fQ7pdX6R75g9E-ch-LMgfIvaNF2c_77wj0iS9OTntt/s1600/Stephanie+Kurtzuba+The+Wolf+of+Wall+Street.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="332" data-original-width="585" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitV3KLjL76TRCfhk5Ipsq2XUf6AXftAwMIuilpasICOiiczlLGw6znG-jRHVQhCoQJGdho-dC5IevFWSq_JSwlIFgPH87wWTxHC_fQ7pdX6R75g9E-ch-LMgfIvaNF2c_77wj0iS9OTntt/s400/Stephanie+Kurtzuba+The+Wolf+of+Wall+Street.jpg" width="400" /></a></span></b></div>
<b><o:p></o:p></b></div>
</div>
<div class="MsoNormal">
<u>Role in <i>The Irishman</i></u>: Irene Sheeran<o:p></o:p></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>The Good Wife</i>, <i>The Leftovers</i>,
<i>Annie</i>, <i>Waco</i><o:p></o:p></div>
<div class="MsoNormal">
<u>Best Role</u>: Kimmie Belzer in <i>The Wolf of Wall
Street</i>. She provides one of the rare tender moments in that film, and I’ve
never forgotten it.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><span style="font-size: large;">Domenick Lombardozzi</span></b><br />
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimWuGziVDsPp0dtjDW6cVzVF8Ht7X6OqqQXXROxhyphenhyphenX37jTt6xPI_1EZUTLkhHcRInvfz0hFW1lA7QhZtmvOirsLMElYLzPb-KnmV0GBJndfhIbepN1y2hyphenhyphenLkz7dequ-t5T9SE9AvaIF2II/s1600/Domenick+Lombardozzi+The+Wire.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="332" data-original-width="585" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimWuGziVDsPp0dtjDW6cVzVF8Ht7X6OqqQXXROxhyphenhyphenX37jTt6xPI_1EZUTLkhHcRInvfz0hFW1lA7QhZtmvOirsLMElYLzPb-KnmV0GBJndfhIbepN1y2hyphenhyphenLkz7dequ-t5T9SE9AvaIF2II/s400/Domenick+Lombardozzi+The+Wire.jpg" width="400" /></a></span></b></div>
<b><o:p></o:p></b></div>
</div>
<div class="MsoNormal">
<u>Role in <i>The Irishman</i></u>: Fat Tony Salerno<o:p></o:p></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>Miami Vice</i>, <i>Entourage</i>, <i>Public
Enemies</i>, <i>Boardwalk Empire</i>, <i>Ray Donovan</i><o:p></o:p></div>
<div class="MsoNormal">
<u>Best Role</u>: I love where Lombardozzi’s career has
gone, but I’m partial to his breakout turn as Herc, the perpetually two-steps-behind
cop in <i>The Wire</i>.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><span style="color: black; mso-themecolor: text1;"><span style="font-size: large;">J.C.
MacKenzie</span></span></b><br />
<div class="separator" style="clear: both; text-align: center;">
<b><span style="color: black; mso-themecolor: text1;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqx4FgGmuWVhmf1TcsGtmKgtd-DxZP8_RFO-CP3dfb9tPnDV3EbvB40va29wkBTicc_J2h09JXLXJnYTd7-G__3BhEsLyEdPTbcdFkhNoXkfI8IwYRujuBAIk_9mXo6w1wC_aerLAFyS7D/s1600/J.C.+MacKenzie+The+Irishman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="332" data-original-width="585" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqx4FgGmuWVhmf1TcsGtmKgtd-DxZP8_RFO-CP3dfb9tPnDV3EbvB40va29wkBTicc_J2h09JXLXJnYTd7-G__3BhEsLyEdPTbcdFkhNoXkfI8IwYRujuBAIk_9mXo6w1wC_aerLAFyS7D/s400/J.C.+MacKenzie+The+Irishman.jpg" width="400" /></a></span></span></b></div>
<b><span style="color: black; mso-themecolor: text1;"><o:p></o:p></span></b></div>
</div>
<div class="MsoNormal">
<u>Role in <i>The Irishman</i></u>: Jimmy Neal<o:p></o:p></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>Dark Angel</i>, <i>The Aviator, The
Departed</i>, <i>The Wolf of Wall Street</i>, <i>Vinyl</i><o:p></o:p></div>
<div class="MsoNormal">
<u>Best Role</u>: I love when MacKenzie pops up in a
Scorsese film for a scene or two. His Jimmy Neal in <i>The Irishman</i> being a
standing example.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><span style="color: black; mso-themecolor: text1;"><span style="font-size: large;">Sebastian
Maniscalco</span></span></b><br />
<div class="separator" style="clear: both; text-align: center;">
<b><span style="color: black; mso-themecolor: text1;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig2up0fkgCMFOcIxPbTzK1rHh58en2yysD2rZEMFquLjtIbKtM1EI2NCD341WsaXEfRJWxYaOYXBOtFrlMcPNbCjdvuFkUioLAWLK1S2eOhVH8mz8PN3FVI2lFPgePCP27p1oaXf7XTflD/s1600/Sebastian+Maniscalco+The+Irishman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="332" data-original-width="585" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig2up0fkgCMFOcIxPbTzK1rHh58en2yysD2rZEMFquLjtIbKtM1EI2NCD341WsaXEfRJWxYaOYXBOtFrlMcPNbCjdvuFkUioLAWLK1S2eOhVH8mz8PN3FVI2lFPgePCP27p1oaXf7XTflD/s400/Sebastian+Maniscalco+The+Irishman.jpg" width="400" /></a></span></span></b></div>
<b><span style="color: black; mso-themecolor: text1;"><o:p></o:p></span></b></div>
</div>
<div class="MsoNormal">
<u>Role in <i>The Irishman</i></u>: Crazy Joe Gallo<o:p></o:p></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>Tag</i>, <i>Green Book</i><o:p></o:p></div>
<div class="MsoNormal">
<u>Best Role</u>: Crazy Joe Gallo, no question. This performance
makes you completely forget that Maniscalco is a great stand-up comedian.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><span style="font-size: large;">Kathrine Narducci</span></b><br />
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXmqNiLOevgBQI7BVb87j9gTUAPNYKeIiDd5FPpeQ4WB3UpHVGlia5MZ6mf_bK1-0bRRUu-Ybd4cKnbphwfsUTGmxafHXz2wgB7Nf63XQ6mRjM6d02ZVvv0thB_JAGNTuYEfV81LYAgiN4/s1600/Kathrine+Narducci+The+Irishman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="332" data-original-width="585" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXmqNiLOevgBQI7BVb87j9gTUAPNYKeIiDd5FPpeQ4WB3UpHVGlia5MZ6mf_bK1-0bRRUu-Ybd4cKnbphwfsUTGmxafHXz2wgB7Nf63XQ6mRjM6d02ZVvv0thB_JAGNTuYEfV81LYAgiN4/s400/Kathrine+Narducci+The+Irishman.jpg" width="400" /></a></span></b></div>
<b><o:p></o:p></b></div>
</div>
<div class="MsoNormal">
<u>Role in <i>The Irishman</i></u>: Carrie Bufalino<o:p></o:p></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>A Bronx Tale</i>, <i>The Sopranos</i>,
<i>Jersey Boys</i>, <i>Power</i><o:p></o:p></div>
<div class="MsoNormal">
<u>Best Role</u>: Narducci’s ongoing cigarette smoking bit
in <i>The Irishman</i> brings some much-needed levity to the film, and that
scene with her and Pesci in the hallway is so damn haunting. “Don’t forget your
shoes, Russell.”<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><span style="font-size: large;">Jim Norton</span></b><br />
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgowPQfJxYmfdC5WUd551Zmh35iuGbYvCHextDGhV-p7GaWDPxEoQFmr12q4w3fsb01G1PD-J_dPb8iSnS7J8Xi8meKj4ZsNf5dOMp3N2TczK-hgzIzT6pJ5VcsEdNWIShU6bOqKZWXrp1q/s1600/Jim+Norton+Don+Rickles.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="332" data-original-width="585" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgowPQfJxYmfdC5WUd551Zmh35iuGbYvCHextDGhV-p7GaWDPxEoQFmr12q4w3fsb01G1PD-J_dPb8iSnS7J8Xi8meKj4ZsNf5dOMp3N2TczK-hgzIzT6pJ5VcsEdNWIShU6bOqKZWXrp1q/s400/Jim+Norton+Don+Rickles.jpg" width="400" /></a></span></b></div>
<b><o:p></o:p></b></div>
</div>
<div class="MsoNormal">
<u>Role in <i>The Irishman</i></u>: Don Rickles<o:p></o:p></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>Cop Out</i>, <i>Louie</i>, <i>Inside
Amy Schumer</i>, <i>Power</i><o:p></o:p></div>
<div class="MsoNormal">
<u>Best Role</u>: I love Norton’s cameo as Don Rickles in <i>The
Irishman</i> (pictured), but I can’t deny his hilarious work as a version of
himself on FX’s <i>Louie</i>.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><span style="font-size: large;">Al Pacino</span></b><br />
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTOJE89kvC3Eq610EY7eAeoYDjVSxKSZsYZwvG7sn1VSONl-PypO-__ppWNFxdGKn1un6KPwIoqoRtn5_KQI0GZmgeg2P7YfoRApX1Up-AM4A3UrdEy5kVQXHo5lg-EmlK0w6cVeFFMzaz/s1600/Al+Pacino+Dog+Day+Afternoon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="332" data-original-width="585" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTOJE89kvC3Eq610EY7eAeoYDjVSxKSZsYZwvG7sn1VSONl-PypO-__ppWNFxdGKn1un6KPwIoqoRtn5_KQI0GZmgeg2P7YfoRApX1Up-AM4A3UrdEy5kVQXHo5lg-EmlK0w6cVeFFMzaz/s400/Al+Pacino+Dog+Day+Afternoon.jpg" width="400" /></a></span></b></div>
<b><o:p></o:p></b></div>
</div>
<div class="MsoNormal">
<u>Role in <i>The Irishman</i></u>: Jimmy Hoffa<o:p></o:p></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>The Godfather</i>, <i>Serpico</i>, <i>The
Godfather: Part II</i>, <i>Scarface</i>, <i>Glengarry Glen Ross<o:p></o:p></i></div>
<div class="MsoNormal">
<u>Best Role</u>: Take your pick, but for me, it’s always
been Sonny from <i>Dog Day Afternoon</i>. The fear, the desperation, the
clumsiness, the vulnerability – I’m undeniably drawn to all of it.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><span style="font-size: large;">Aleksa Palladino</span></b><br />
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6I3KswbrWPdT9WU-8W-dQBR5pp_OTg-FgYCO3l7y3AwXxZux4jmWrFCf0Mt3gal0FL6mAY05kcQUmqA57dpy2VJ3dYg-8_VR4f_vi92DKeOAE6u4uPgYSJMrb0aH_c_cXxKxUrDRhvJza/s1600/Aleksa+Palladino+The+Loudest+Voice.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="332" data-original-width="585" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6I3KswbrWPdT9WU-8W-dQBR5pp_OTg-FgYCO3l7y3AwXxZux4jmWrFCf0Mt3gal0FL6mAY05kcQUmqA57dpy2VJ3dYg-8_VR4f_vi92DKeOAE6u4uPgYSJMrb0aH_c_cXxKxUrDRhvJza/s400/Aleksa+Palladino+The+Loudest+Voice.jpg" width="400" /></a></span></b></div>
<b><o:p></o:p></b></div>
</div>
<div class="MsoNormal">
<u>Role in <i>The Irishman</i></u>: Mary Sheeran<o:p></o:p></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>Before the Devil Knows You’re Dead</i>,
<i>Boardwalk Empire</i>, <i>Halt and Catch Fire</i><o:p></o:p></div>
<div class="MsoNormal">
<u>Best Role</u>: Judy from <i>The Loudest Voice</i>. I haven’t
heard many people talking about this miniseries (perhaps <i>Bombshell</i> is stealing
its thunder), but Palladino’s emotionless turn as Roger Ailes’ assistant was
the best part of <i>The Loudest Voice</i>.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><span style="font-size: large;">Anna Paquin</span></b><br />
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyd3_fdXVhQF8WViL7mcAN15CvubUpPyloCTzqBEPj7hZtZfK-FeDTZxBZEU5G9hCrSLnOHfaB8xd7czRQJUV6Q-72UEm9dVeLtsKDr6mANwNWjKmVaE4GqQgEvzPbanN4ELDgYDDbFKks/s1600/Anna+Paquin+The+Piano.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="332" data-original-width="585" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyd3_fdXVhQF8WViL7mcAN15CvubUpPyloCTzqBEPj7hZtZfK-FeDTZxBZEU5G9hCrSLnOHfaB8xd7czRQJUV6Q-72UEm9dVeLtsKDr6mANwNWjKmVaE4GqQgEvzPbanN4ELDgYDDbFKks/s400/Anna+Paquin+The+Piano.jpg" width="400" /></a></span></b></div>
<b><o:p></o:p></b></div>
</div>
<div class="MsoNormal">
<u>Role in <i>The Irishman</i></u>: Peggy Sheeran<o:p></o:p></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>X-Men</i> franchise, <i>Finding
Forrester</i>, <i>25<sup>th</sup> Hour</i>, <i>True Blood</i>, <i>The Affair</i><o:p></o:p></div>
<div class="MsoNormal">
<u>Best Role</u>: Either her Oscar-winning work in <i>The
Piano</i>, which is surely one of the best child performances captured on film,
or her tonally unique turn as Lisa in <i>Margaret</i>.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><a href="http://www.andsoitbeginsfilms.com/2015/12/in-character-joe-pesci.html"><span style="font-size: large;">Joe
Pesci</span></a></b><br />
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyrHPKFs8dcBTS69jPSfXTmHLZ5D9uaAAOuWqsACdv2UFofI3hzyNHof9jDeYXt-VuZSt_vTNYvL9JuryP2pHUHOTqnW1bh3GybmKZjG0Hr41y8x4ntXNHpJEdnGxf8ETZzIIi0zxAehvL/s1600/Joe+Pesci+Raging+Bull.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyrHPKFs8dcBTS69jPSfXTmHLZ5D9uaAAOuWqsACdv2UFofI3hzyNHof9jDeYXt-VuZSt_vTNYvL9JuryP2pHUHOTqnW1bh3GybmKZjG0Hr41y8x4ntXNHpJEdnGxf8ETZzIIi0zxAehvL/s400/Joe+Pesci+Raging+Bull.jpg" width="400" /></a></span></b></div>
<b><o:p></o:p></b></div>
</div>
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<u>Role in <i>The Irishman</i></u>: Russell Bufalino<o:p></o:p></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>Lethal Weapon</i> franchise, <i>Goodfellas</i>,
<i>Home</i> <i>Alone</i>, <i>My Cousin Vinny</i>, <i>Casino</i><o:p></o:p></div>
<div class="MsoNormal">
<u>Best Role</u>: I can’t lie, Pesci’s work as Russell
Bufalino could very well be remembered as his best. But for now, I’m sticking with
his profane performance in <i>Raging Bull</i>. But, really, this is Joe Pesci, so take
your pick.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><span style="font-size: large;">Jesse Plemons</span></b><br />
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4sHiuAt-FynyqRp4q3c7RZv1wY_OKuCOCZTAYYMMYrf7MmznE_iS9kYjRFu8PxWV3hsZVPHb7OHG92x8c3bKBV2c6V2Nq2lyPJXJhYTotrmieFtGr88UQlrv3E8mi8V2QZViSagt-pBHa/s1600/Jesse+Plemmons+Breaking+Bad.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="332" data-original-width="585" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4sHiuAt-FynyqRp4q3c7RZv1wY_OKuCOCZTAYYMMYrf7MmznE_iS9kYjRFu8PxWV3hsZVPHb7OHG92x8c3bKBV2c6V2Nq2lyPJXJhYTotrmieFtGr88UQlrv3E8mi8V2QZViSagt-pBHa/s400/Jesse+Plemmons+Breaking+Bad.jpg" width="400" /></a></span></b></div>
<b><o:p></o:p></b></div>
</div>
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<u>Role in <i>The Irishman</i></u>: Chuckie O’Brien<o:p></o:p></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>Friday Night Lights</i>, <i>The
Master</i>, <i>Black Mass</i>, <i>Fargo</i>, <i>Other People</i>, <i>Game Night<o:p></o:p></i></div>
<div class="MsoNormal">
<u>Best Role</u>: Plemons is superb in <i>everything</i>,
so this isn’t easy. But I’ll go with good old psychopathic Todd in <i>Breaking Bad</i>.
Fuckin’ Todd.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><span style="font-size: large;">Dascha Polanco</span></b><br />
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<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit3eh5CGGQkAT7uV9x8_3sG8NgI5buI5TYk9UPHUctGbxHZN4uFXMHbJxFWY_yyM3qO5jpmkuHCqzL205bPIAPdPDq_yFX2lSz_rIcq47Lhmvw2AmmY8kMoGDUE5epPwqHYw5H5iKj98yf/s1600/Dascha+Polanco+OITNB.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="332" data-original-width="585" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit3eh5CGGQkAT7uV9x8_3sG8NgI5buI5TYk9UPHUctGbxHZN4uFXMHbJxFWY_yyM3qO5jpmkuHCqzL205bPIAPdPDq_yFX2lSz_rIcq47Lhmvw2AmmY8kMoGDUE5epPwqHYw5H5iKj98yf/s400/Dascha+Polanco+OITNB.jpg" width="400" /></a></span></b></div>
<b><o:p></o:p></b></div>
</div>
<div class="MsoNormal">
<u>Role in <i>The Irishman</i></u>: Nurse<o:p></o:p></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>Joy</i>, <i>The Cobbler</i>, <i>Russian
Doll</i>, <i>When They See Us<o:p></o:p></i></div>
<div class="MsoNormal">
<u>Best Role</u>: Definitely Dayanara Diaz from <i>Orange is
the New Black</i>.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><span style="font-size: large;">Ray Romano</span></b><br />
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNmNMdZlaExkwYDMfwqBT1AdEcyfSzPRxT6jnI0jSSiEv40D4gi0YHLROJVu8wLnxiGQeKqWi6p_lNlQ7OS3dKHhbDV9M7PUzZmQpW8cJWoq4IsEDuFZRp8S_vx9e0sLn_FnW6Cof9ha-_/s1600/Ray+Romano+The+Irishman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="332" data-original-width="585" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNmNMdZlaExkwYDMfwqBT1AdEcyfSzPRxT6jnI0jSSiEv40D4gi0YHLROJVu8wLnxiGQeKqWi6p_lNlQ7OS3dKHhbDV9M7PUzZmQpW8cJWoq4IsEDuFZRp8S_vx9e0sLn_FnW6Cof9ha-_/s400/Ray+Romano+The+Irishman.jpg" width="400" /></a></span></b></div>
<b><o:p></o:p></b></div>
</div>
<div class="MsoNormal">
<u>Role in <i>The Irishman</i></u>: Bill Bufalino<o:p></o:p></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>Everybody Loves Raymond</i>, <i>Parenthood</i>,
<i>Vinyl</i>, <i>The Big Sick</i>, <i>Get Shorty<o:p></o:p></i></div>
<div class="MsoNormal">
<u>Best Role</u>: <i>Everybody Loves Raymond</i> may be the
obvious choice here, but I haven’t seen an episode of it (I’ve never had luck
with sitcoms). I’m genuinely going with Bill Bufalino here. I believed every
note of Romano’s work in <i>The Irishman</i>.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><span style="font-size: large;">John Scurti</span></b><br />
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_n00W-BLpGykXvxR5R2o5diAFRh_VFiEnfsJbyxZtvs8gCrV3ASRV-RhJnboKzEiABBBiMhh-8fWc2MvGXw1MRI1C9CbXYJNIzLYVwYduj_apzxm5O-POEmTAPNp-p7z8QcPIzmEh0GTf/s1600/John+Scurti+Rescue+Me.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="332" data-original-width="585" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_n00W-BLpGykXvxR5R2o5diAFRh_VFiEnfsJbyxZtvs8gCrV3ASRV-RhJnboKzEiABBBiMhh-8fWc2MvGXw1MRI1C9CbXYJNIzLYVwYduj_apzxm5O-POEmTAPNp-p7z8QcPIzmEh0GTf/s400/John+Scurti+Rescue+Me.jpg" width="400" /></a></span></b></div>
<b><o:p></o:p></b></div>
</div>
<div class="MsoNormal">
<u>Role in <i>The Irishman</i></u>: Bertram B. Beveridge<o:p></o:p></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>The Ref</i>, <i>War of the Worlds</i>,
<i>Luke Cage</i>, <i>The Marvelous Mrs. Maisel<o:p></o:p></i></div>
<div class="MsoNormal">
<u>Best Role</u>: Lou from <i>Rescue Me</i>. God, I loved old
Lou.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><span style="font-size: large;">Steven Van Zandt</span></b><br />
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwV7cVLGDC8iLpEFeaP7_Zb569xGGpa9Wv9bhuJzzxJY-CMs3p8DqmV2ERbShNqaSQeXDEcqhHmkOGlQERUm1ZmXaBLzb8R9sq8YFWF9CTygg8y7mLEtaTStRcl3YDKLyVU2oYbrQgAvdw/s1600/Steven+Van+Zandt+The+Sopranos.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="332" data-original-width="585" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwV7cVLGDC8iLpEFeaP7_Zb569xGGpa9Wv9bhuJzzxJY-CMs3p8DqmV2ERbShNqaSQeXDEcqhHmkOGlQERUm1ZmXaBLzb8R9sq8YFWF9CTygg8y7mLEtaTStRcl3YDKLyVU2oYbrQgAvdw/s400/Steven+Van+Zandt+The+Sopranos.jpg" width="400" /></a></span></b></div>
<b><o:p></o:p></b></div>
</div>
<div class="MsoNormal">
<u>Role in <i>The Irishman</i></u>: Jerry Vale<o:p></o:p></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>Lilyhammer</i>, <i>The Christmas
Chronicles</i><o:p></o:p></div>
<div class="MsoNormal">
<u>Best Role</u>: Silvo from <i>The Sopranos</i>, no
question.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div style="text-align: center;">
<b><span style="font-size: large;">Welker White</span></b><br />
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht4L1jFpIKl3VhUU0ZDrCJ82eEuh7tY86fYcxF6bXDBMpLymN-S1wHqwuSBdAeZcuwbtfEdtMsxR5CQZ4TzBLExo_AazGSIHAfReK4RCIL9gOUs_tVRleeoakQnNli7GXYYOA4ZQgUJfGV/s1600/Welker+White+The+Irishman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="332" data-original-width="585" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht4L1jFpIKl3VhUU0ZDrCJ82eEuh7tY86fYcxF6bXDBMpLymN-S1wHqwuSBdAeZcuwbtfEdtMsxR5CQZ4TzBLExo_AazGSIHAfReK4RCIL9gOUs_tVRleeoakQnNli7GXYYOA4ZQgUJfGV/s400/Welker+White+The+Irishman.jpg" width="400" /></a></span></b></div>
<b><o:p></o:p></b></div>
</div>
<div class="MsoNormal">
<u>Role in <i>The Irishman</i></u>: Josephine Hoffa<o:p></o:p></div>
<div class="MsoNormal">
<u>Notable Roles</u>: <i>Goodfellas</i>, <i>Dead Poets Society</i>,
<i>Chasing Amy</i>, <i>Law & Order</i>, <i>Eat Pray Love<o:p></o:p></i></div>
<div class="MsoNormal">
<u>Best Role</u>: <i>Goodfellas</i> is a close choice here: “I
need it, I got to have it. It’s my lucky hat. I never fly without it.” But her
phone call with De Niro in <i>The Irishman</i> wins out. Devastating.<o:p></o:p><br />
<br /></div>
<a href="http://www.andsoitbeginsfilms.com/p/in-character.html" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfC5r2ARZZ8-vRuNKgb53BTEYC2yGmmfEKxLOzXCTXN-IHB0eO8BN-JL_XodXXsecA0D0yqLZSiEQ8Um4aty9Mb32E-o3DkX6X1dy6rrtiYNSFSS481cDCCUo9U2qvzQg4U1FhyphenhyphenH9So9E/s640/In+Characters+And+So+it+Begins2.jpg" width="640" /></a>
<!--EndFragment-->Alex Withrowhttp://www.blogger.com/profile/15887018476048271594noreply@blogger.com15tag:blogger.com,1999:blog-4784665635104956142.post-68630090854006823842019-11-26T08:48:00.000-05:002019-11-26T08:49:12.767-05:00Waves<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.andsoitbeginsfilms.com/2019/11/waves_26.html" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="664" data-original-width="1170" height="362" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP1bhXuA59Nh-Z9tvsoH2jC4ZPx-Cjjd7V_w9pS-y7idqc2eSv_I-wG_zTjFX3cfwdKcQE-mvkt1fxGE7it-38iT9nKbinEhhlt3mMpzTFNG5KJXrBrZBrb3sYCGZqS4cBD5t6SD4bRHXL/s640/Waves+film.jpg" width="640" /></a></div>
I watch movies as someone who desperately wants to make more
movies. I try to find inspiration in everything I watch, whether that
inspiration motivates me to create something similar, or cautions me to avoid
themes and techniques completely. In real life, I’m constantly putting images
into aspect ratios; I’m listening to songs on repeat and creating montages
around them. There is a mechanism in my brain that does not allow me to
experience situations idly. I am <i>always</i> trying to frame my experiences into
a film.<br />
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<o:p></o:p></div>
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<br />
<a name='more'></a>I say all of this to explain the impact Trey Edward Shults’ <i>Waves
</i>had on me. Early in the film, I noted how strange it was that <i>every</i>
choice being made in the movie was a choice I fully agreed with. Every camera
movement, light placement, acting beat, song drop, and editing cut seamlessly
aligned with my personal taste. Watching <i>Waves</i> felt like I was watching
a film I’ve wanted to make in my dreams. I truly cannot remember the last time
I connected with a movie so intensely.</div>
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<o:p></o:p></div>
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With no degree of uncertainty, <i>Waves</i> is one of the
very best films I have seen in years. I know I’m at risk for being hyperbolic
here, but I cannot overstate the impact this movie had on me. Every word of its
script is written with dignity and poise, and every visual and auditory choice
is made to enhance the film’s singular atmosphere.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0mo7wUa3HiMgs6UG2dpGuYbXaIdgcYufr7__jvffzkBpr8rlb1qZs6MLYBKnxynC_1LAGZuvbEzfQ5IiNTsVsAa4T0FRLm84a3qd5uaaUnQWHTNWp8AG47fLkCxglZQHjdhzgH7Gj8oOB/s1600/Waves+movie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="664" data-original-width="1170" height="362" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0mo7wUa3HiMgs6UG2dpGuYbXaIdgcYufr7__jvffzkBpr8rlb1qZs6MLYBKnxynC_1LAGZuvbEzfQ5IiNTsVsAa4T0FRLm84a3qd5uaaUnQWHTNWp8AG47fLkCxglZQHjdhzgH7Gj8oOB/s640/Waves+movie.jpg" width="640" /></a></div>
<i>Waves</i> is about family. It’s about youth, love, and
disruption. It’s about the emotional virtues of ascent, and the devastating
impact of descent. <i>Waves</i> is about the mistakes we make – ranging from
careless to criminal – and the lasting effects those mistakes have on us, and the people who love us.</div>
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<o:p></o:p></div>
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This is a film that should be <i>experienced</i>, as opposed
to read about, but the core of <i>Waves</i> is about a family of four, anchored
by a motivated high school kid named Tyler (Kelvin Harrison Jr.). Tyler is an
intelligent, musically inclined, star athlete who works for a business run by
his demanding father, Ronald (Sterling K. Brown), and his supportive mother,
Catharine (Renée Elise Goldsberry). But perhaps the most sacred relationship in
the house is between Tyler and his younger sister, Emily (Taylor Russell), who
herself is learning about the waves of life. <i>Everyone</i> in the film is
great, but Russell may be the most magnetic. It’s difficult to describe Emily
without revealing too much about the film’s story, but so much of the emotional
impact of <i>Waves</i> rests on Russell’s eyes. She is a performer of
astounding emotional command. <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyqwmlMaMkZYAvtxIwlEOOWH1ADABX3EqK0p1KuhTbx3Q8R7u6PhtGk6uLmixW7XkSNNEraZcVO6kEupycx1e3soE7rlwGS8yIRAkRngVeWvYMZ0GkpUayB6yOCOAxxAP8b-KA7iGPMEbR/s1600/Waves+Taylor+Russell.jpg" imageanchor="1"><img border="0" data-original-height="664" data-original-width="1170" height="362" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyqwmlMaMkZYAvtxIwlEOOWH1ADABX3EqK0p1KuhTbx3Q8R7u6PhtGk6uLmixW7XkSNNEraZcVO6kEupycx1e3soE7rlwGS8yIRAkRngVeWvYMZ0GkpUayB6yOCOAxxAP8b-KA7iGPMEbR/s640/Waves+Taylor+Russell.jpg" width="640" /></a></div>
Things go well for Tyler and his family, until they don’t.
Some of this is circumstantial and beyond Tyler’s control. Other issues are the
result of poor choices that catch up with him. And much like in life, when the
deck is stacked against you, it can be hard to find someone to listen, let
alone trust. Some of us cope by keeping quiet and fighting through the pain.
But sometimes the pain is so loud, it’s bound to erupt.</div>
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<i>Waves</i> captures those eruptions through fierce
performances (the four lead actors all deliver career-best work), colorful and
fluid cinematography (DP Drew Daniels deserves endless praise for his visual
technique), scene-appropriate editing (co-editors Shults and Isaac Hagy know
exactly how to cover each scene), and one of the finest soundtracks of recent
memory, with contributing tracks from Tame Impala, Kendrick Lamar, Kanye West,
Frank Ocean, and Radiohead, and an accompanying score by Trent Reznor and
Atticus Ross.<o:p></o:p></div>
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The resulting film is a miraculous emotional achievement
that spends each one of its 135 minutes showcasing honest truth and pain.
Everyone involved in this movie has contributed to artistic excellence. They’ve
created something so profoundly moving that it can genuinely effect change. <span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9Hwrij9WHViZ2kfVSRQir51_HE4mLtg8NiMnjWUr0REKYvAb_0Df194hputfxNpCus2uYX5FD-cLV5qsMsyfKPNrGOEJY1Gs2-3nFP1es9wv_q6KxfqGKWNfGo-sCp-BmaJ0AvzK2Z_JI/s1600/Waves+Sterling+K+Brown.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="664" data-original-width="1170" height="362" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9Hwrij9WHViZ2kfVSRQir51_HE4mLtg8NiMnjWUr0REKYvAb_0Df194hputfxNpCus2uYX5FD-cLV5qsMsyfKPNrGOEJY1Gs2-3nFP1es9wv_q6KxfqGKWNfGo-sCp-BmaJ0AvzK2Z_JI/s640/Waves+Sterling+K+Brown.jpg" width="640" /></a></div>
Trey Edward Shults started small with his debut feature, <i>Krisha</i>,
a mostly perfect family drama made for $30,000, shot in Shults’ actual home (a
location used again in <i>Waves</i>), using many of Shults’ real family members
as actors. Shults didn’t wait to make <i>Krisha</i>. He didn’t rely on studio
money coming in, or a fancy independent investor to write a massive check.
Instead, he had an idea to make a movie, and he made it using the resources available
to him. I absolutely love that Shults made his first film that way, because it
proves that if you have vision, and you have intention, then that deserves to
be captured on film.</div>
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<o:p></o:p></div>
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<i>Waves</i> is not only good, it is life. I saw the film two
days ago and have avoided reading anything about it. I honestly have no clue
how other people are responding to it, and that really shouldn’t matter. The
artistry displayed in the film is nearly unmatched in contemporary cinema, at
least by my standards. And the emotional implications of the film are nothing
less than profound. After all, isn’t life a series of waves? Most of us are
doing our best. Some of us are struggling. We all come from a place that has
helped shape who we are, and how we respond to things. We can try to predict
the harsh terrors of life, or stay stuck on the past, but maybe it’s best to
ride whatever wave you’re currently on, and only hope to find some peace at the
end of it. <b><span style="font-size: medium;">A+</span></b></div>
Alex Withrowhttp://www.blogger.com/profile/15887018476048271594noreply@blogger.com9tag:blogger.com,1999:blog-4784665635104956142.post-65105765611990850742019-10-19T11:59:00.000-04:002019-10-19T12:00:06.315-04:00I Am Alive: Watch Now<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.andsoitbeginsfilms.com/2019/10/i-am-alive-watch-now.html" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="1500" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2vK6GcgEj-dDybffZBlFRZRn72YrMPJsj1owMUl-cQfxo9fuX8k_Tu0YNddDm8qzTr0BiiZ602VuZN8JuYTHTCX7_2fDYIM3WqXxV8nfhdGgTq3P9qvRBZrAzjy1h-HhZamBDCW17cEf_/s640/VIMEO+header.jpg" width="640" /></a></div>
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It’s been one hell of a long journey to get to this point,
and I’m so grateful to anyone who spends some time watching my latest film, <i>I
Am Alive</i>.<o:p></o:p></div>
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Time to pull back the curtain and let it all play out.</div>
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<iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" height="338" src="https://player.vimeo.com/video/357691906" width="640"></iframe>
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Alex Withrowhttp://www.blogger.com/profile/15887018476048271594noreply@blogger.com14