Posts Tagged ‘Academy Awards’

“Five Favorites” – Review of 2014 Best Picture Nominees

Thursday, July 10th, 2014

Donna: Welcome to this month’s edition of “Five Favorites” with Mike Siegel! This month we’re abandoning our formula of fives to bring you a review of the nine Best Picture nominees from the 2014 Academy Awards. Now that all nine nominees are available for rental we’ve both seen them all and will be ranking them in order of how much we liked them, starting with the ones we liked least and moving up to our favorite of the nominees. Before we get going, I’d like to tip my hat to a few films that I feel deserved a place on this list, in particular “Blue Jasmine”, “August: Osage County”, “Rush”, “Kill Your Darlings” and, for my daring outsider pick, “Upstream Color”, which should have at least gotten nominations for Best Director and Best Cinematography. I’ll know Hollywood has finally caught up to the burgeoning indie scene when films like “Upstream Color” gets the award nods they really should.

Mike: So, in going over the list, I first wanted to mention a few films that got snubbed. “Rush”, “Before Midnight” and “Fruitvale Station” were all among the best films of 2013 but were not nominated. And I have yet to see “The Wind Rises” and “Blue is the Warmest Color”, which I suspect might end up on my top films of 2013 list. Still, the overall Oscar selection was not horrible. While some of the films were not my cup of tea, I can see why each was nominated and none was a horrible selection.

Onto the nominees! We both rank them in reverse order of our opinion.

*************************************

Donna’s #9: “Nebraska” – I’m just going to start by saying I have no idea how this film made in onto the Best Picture list. Sure, it’s a good film, well acted and well scripted. But there’s nothing extraordinary about it that makes it jump out at me. I have a hard time remembering details about it, and that alone knocks it out of Best Picture contention in my mind. It’s good, but not great, and just not strong or compelling enough to be on this list.

Mike’s #9: “The Wolf of Wall Street” – I feel this film was massively over-rated, as Scorsese films tend to be when he returns to his oeuvre of awful people doing awful things. Dicaprio is great and the film certainly has a lot of energy. Matthew McConaughey has a wonderful five minutes as a guest star. But it way way too long, spending far too much time reveling in the supposed excesses of its main character. And as I wrote in my long-form review, I am uncomfortable with glorifying a narcissistic convicted financial criminal.

Donna’s #8: “Captain Phillips” – I seem to be in the minority of people who weren’t incredibly moved by “Captain Phillips”, but I believe I know why. You see, before I saw “Phillips” I watched “A Hijacking”, a Swedish film about a strikingly similar true story of pirate capture. I was incredibly moved by “A Hijacking” – I found it poetic, heart breaking, well acted and edited to a devastating conclusion. So when I saw “Phillips” I couldn’t help but compare it to “A Hijacking”, and I found it lacking in every single aspect. Perhaps if I had seen “Phillips” before “Hijacking” I would feel differently, but as such, knowing a very similar and superior film is out there, I just can’t rank “Phillips” any higher than this.

Mike’s #8: “Nebraska” – I enjoyed it this film, mainly because of the acting. It’s a solid film with good characters and some humor (although a bit of it feels forced, especially with Kate). But while I like almost everything by Alexander Payne, I didn’t see why people *loved* it. It seems like the critics read a lot more into his films than I see.

Donna’s #7: “Dallas Buyers Club” – Let me be clear – as a film, “Dallas Buyers Club” wasn’t strong enough to be nominated for Best Picture. Don’t get me wrong, it’s a solid film, but for me the plot wasn’t compelling or drawn well enough to deserve a nod for the best film of the year. The reason “Dallas Buyers Club” is here is because of the incredible acting of Jared Leto and Matthew McConaughey. Both men were absolutely marvelous in their roles, with Leto putting in one of the best performances of the year as Rayon. Both men deserved their Oscar nods for acting, but as far as best picture goes, it wasn’t enough for me. Good, but not extraordinary, and thus the low placement on my list.

Mike’s #7: “Dallas Buyers Club” – The main reason to watch this was McConaughey, who thoroughly dominated the film. It also has an appealing anti-establishment story about the buyer’s clubs and provides very strong insight into the early days of the AIDS crisis without being heavy-handed. Definitely a cut above the first two and worth the investment of time.

Donna’s #6: “Philomena” – The impact of this film didn’t quite hit me for a few days after I saw it. My initial reaction to “Philomena” was that it was good, but not good enough to make the Best Picture list. But, like all good films, this one sat with me for a long time, and I feel now upon reflection that it really was worthy of this nod. I’m a huge Coogan fan so it was lovely to see him in such fine form, and Dench is always magnificent. Frears really did himself proud with this film – a powerful story indeed.

Mike’s #6: “Philomena” – The brutal and cruel history of Ireland’s mother-child homes (and the Magdalene Laundries) cannot get enough attention. The tacked-on confrontation with the nun, which did not happen in real life, was the only real false note. I was reminded of the equally false and equally flawed scene in Schindler’s List where he breaks down. That having been said, the film builds itself around two very well-developed characters played perfectly, incorporates its low key humor well and builds its sense of outrage slowly and convincingly. This may stick with me for a while.

Donna’s #5: “Her” – Spike Jonze created something intensely beautiful with this lovely little film. It’s another simple story told well, and it’s the nuances of the script that make it such a powerful statement on love, lust, and power in relationships. I’m an enormous fan of Phoenix and it was gratifying to see him shine in this film. I was honestly quite shocked he didn’t get an Oscar nod for Best Actor for this performance. The only major flaw to this film was its length – it could have easily been about twenty minutes shorter. The story raises so many great questions about the dynamics of love – I feel this film will be talked about for quite some time.

Mike’s #5: “American Hustle” – I think the 70’s palette and styles caused this film to be a bit over-rated. I am not a huge fan of David O. Russell and don’t think Bradley Cooper is that great. That having been said, the film is very good, with solid dialogue, energy, style and some great performances, particularly the female leads. Frankly, I would watch a film about Amy Adams and Jennifer Lawrence reading the newspaper.

Donna’s #4: “The Wolf of Wall Street” – I actually debated for a while whether this film would wind up above or below “Her” as I liked them both rather equally, but “The Wolf of Wall Street” was compelling enough of a film for it to take the #4 spot. As much as I love McConaughey, I think DiCaprio should have taken the Oscar for his portrayal of the seedy Jordan Belfort, as he was quite amazing in this. I loved the direction of the film as well, although it certainly suffered from about thirty minutes of bloat. A strong film by Scorcese and a worthy contender for Best Picture.

Mike’s #4: “Her” – This is a bit long, but is quite a lovely film. The idea is intriguing even if the plot kind of fumbles around with it a bit. It takes a much more mature and realistic approach to its ideas than most sci-fi, making the world feel very real and very likely (example: almost all sci-fi films avoid the subject of sex; this one doesn’t). The two leads are excellent. Phoenix got all the attention but Johannson’s voice work anchored the emotional threads. As I’ve said before, if you look beyond the banner franchises, we are getting some very good sci-fi these days and “Her” is a perfect example.

Donna’s #3: “American Hustle” – This was easily one of my favorite films of the year for a whole host of reasons. I loved all of the acting in it – Bale, Cooper, Adams and Laurence were all exceptional. The direction and pacing of the film was stylish and flamboyant in all the right ways. The script was quite compelling and kept my attention throughout. Even the music was note-perfect. I truly enjoyed everything about this – it’s honestly only a tick below my #2 choice on my list.

Mike’s #3: “Captain Phillips” – This had me on the edge of my seat for two hours. It features another great “everyman” performance from Hanks but also excellent performances by the Somali cast. It was so enthralling, I didn’t mind Greengrass’s ridiculous shaky-cam style.

Donna’s #2: “Gravity” – To me, there’s nothing like a simple story told well, and that’s exactly what “Gravity” is – a straightforward tale told with incredible finesse. Cuaron allowed Bullock and Clooney to simply do their jobs, and both acted quite well throughout. But it was the astonishing directing that stole the show here, with the exquisite long opening shot setting the tone for the film (a Cuaron trademark, perhaps, as he did the same in “Children of Men”, one of my favorite films of all time). To top it off, given how much bloat most films seem to carry these days, the ninety minute length of it was just perfect. A beautiful film in every way.

Mike’s #2: “Gravity” – You know the best thing about “Gravity”? It’s only an hour and a half long. That sounds like faint praise or even damnation. But in an era where seemingly every Oscar nominee could easily be trimmed by 15 minutes to an hour, this is the only major film in recent years that had no fat. It is tense from beginning to end, the performances are great (Bullock has matured into a first-rate actress) and the filming is simply gorgeous. The opening unbroken shot is one of the most spectacular sequences in recent memory and I desperately wish I had seen this on the big screen. The science is bit questionable (orbital dynamics doesn’t work like that) but the film was so good that I didn’t care.

Donna’s #1: “12 Years a Slave” – Honestly, this wasn’t even a contest for me. In my opinion, “12 Years a Slave” was far and away the best picture of the year for a number of reasons. All of the acting was incredibly solid – not just the leads but all of the supporting actors as well. Fassbender, Dano, Giamatti and Cumberbatch were especially strong, and Chiwetel Ejiofor was a revelation in the lead. The direction by McQueen was unflinching and riveting with good editing that moved the story along. The script was very solid, believable and so gut-wrenching it was impossible not to cry. Outside of Brad Pitt’s appearance, which to me felt hammy and overwrought, I can’t think of a real flaw in this film. It utterly deserved to win Best Picture and I’m glad it took the top prize this year.

Mike’s #1: “12 Years a Slave” – When I look over an Oscar list, I like to think about which films people will be watching ten, twenty, fifty years from now. This and maybe “Gravity” are the only ones I think will really last the test of time. “12 Years a Slave” is transcendent. Many films have taken on the issue of slavery; few with as much resonance and power as this one. The performances are excellent all around — Ejiofor, Fassbender and Nyong’o especially (Fassbender is establishing an incredibly broad range; comparing this to his performance in “Prometheus”, you wouldn’t think it was the same actor). Even the supporting cast are outstanding. McQueen’s directing shows the brutality of slavery without wallowing in it or being exploitative. And it keeps the focus on the characters and the situation. I need to watch this again to confirm my initial thoughts that it might become a classic. But it was definitely my top film among the Oscar nominees.

******************************************

Thanks for joining us for another edition of “Five Favorites” and we’ll see you again next month!

The Worst of the Oscar: Round-Up

Saturday, July 20th, 2013

(Parts I, II, and III.)

In comparing the critics, the Academy and IMDB, I find that, with few exceptions (e.g, West Side Story, Crash, Braveheart) the critics and IMDB are in large agreement while the Academy is more often the outlier. That’s not entirely surprising, given that the Academy judges films in the moment while IMDB voters, for any year before about 1998, have the verdict of history on their side. Their ratings are reflective of the critic’s and historian’s opinions. If you look at the immediate judgement of IMDB — the last ten years, you’ll find some questionable favorites (The Dark knight Rises) but also some times when I think IMDB, even in the moment, did a better job than the Academy. Inception was a better film than the King’s Speech. Intouchables, from what I’ve heard, is better than The Artist. Batman Begins was better than Crash. Eternal Sunshine was better than Million Dollar Baby.

In short, I think my tendency to use IMDB ratings to judge films is justified provided one accounts for the biases it has. It is certainly less biased than the Academy.

Overall, however, I think while the Academy’s performance has waxed and waned, most of its picks aren’t horrific. I’ve sorted the Best PIcture winners into four categories:

Agreement: This is where the IMDB, the critics and the Academy all picked the best picture or the winners are neck-and-neck. Clearly, the Academy did its job. In this category, you would have All Quiet on The Western Front, It Happened One Night, Casablanca, The Lost Weekend, The Godfather, the Sting, The Godfather Part II, One Flew Over the Cuckoo’s Nest, the Deer Hunter, Amadeus, Silence of the Lambs, Schindler’s List, Forrest Gump, The Return of the King, the Departed. That’s 15 out of 85. I have seen all of those films except The Lost Weekend and agree with IMDB and history.

Defensible: There is some disagreement but the film has a place in the conversation as the best pic of the year. Generally I look for something rated at least an 8.0 on IMDB, in the top five and with either IMDB or the critics agreeing. Any film that makes the AFI top 100 or similar lists is defensible. In this category, you have Mutiny on the Bounty, You Can’t Take it With You, Gone with the Wind, Rebecca, Best Years of Our lives, All About Eve, On the Waterfront, Bridge on the River Kwai, Ben-Hur, The Apartment, West Side Story, Lawrence of Arabia, The Sound of Music, In the Heat of the Night, Midnight Cowboy, Patton, The French Connection, Rocky, Annie Hall, Gandhi, Platoon, Rain Man, Dances with Wolves, Unforgiven, Braveheart, Titanic, American Beauty, Gladiator, Million Dollar Baby, No Country for Old Men, A Beautiful Mind, Million Dollar Baby, No Country for Old Men. That’s another 31 films where the Academy’s choice is defensible. That’s 46 of 85 years where I would say they did their job. So about half the time. I have seen all of these films except You Can’t Take it With You and generally agree with the verdict.

Meh: A good film, by not a great one. Probably got swept up in some hype. There are better films that could have been recognized that year. There’s a bit of play in this one as a few of these are probably seen as bad picks by some. Ordinary People over Raging Bull is regarded as a bad choice now, but IMDB still regards Ordinary People as a good film. I’m trying to be a bit objective here and leave my opinions out. But the way I see it, the “meh” picks are: Wings, Grand Hotel, the Life of Emile Zola, How Green Was My Valley, Mrs. Miniver, Going My Way, Gentleman’s Agreement. Hamlet, All the King’s Men, An American in Paris, From Here to Eternity, Marty, My Fair Lady, A Man for All Seasons, Kramer vs. Kramer, Ordinary People, Terms of Endearment, the Last Emperor, The English Patient, Crash, Slumdog Millionaire, The Hurt Locker, The King’s Speech, The Artist, Argo. That’s 25 years where the Academy muffed it. I expect some of the recent titles like Crash to eventually slip down into the bad category.

I’ve only seen ten of the “meh” films, actually, which is why I’m relying as much as I can on critics and IMDB. Does that mean I can’t judge them? Perhaps. My priority when it comes to watching old films is to watch ones I have heard are good or ones I know I will enjoy. For the sake of completeness, I will eventually watch all of the Academy winners and will post on Twitter if I think history and/or IMDB got it wrong. But it will be slow. The limited time I have for movies is better spent on things like Frankenstein than Grand Hotel.

Bad: Generally, this is reserved for films that rate below a 7.0 but special mention will be made where even a good film nudged out a classic, especially if it was for stupid reasons. The designation of a film as a bad choice is almost entirely objective, based on IMDB ratings and historical consensus. This is because I have only seen five of these to completion and bits of others. As I said, I’m still working my way through the Best Picture winners. And Best Picture winners that history has judged poorly are very low on the priority list. Sorted from the biggest difference between the IMDB rating of the Best Picture winner and that of the film historically regarded as the best, the worst pictures are: Driving Miss Daisy, Oliver!, Around the World in Eighty Days, Chariots of Fire, Shakespeare in Love, out of Africa, Tom Jones, Chicago, Gigi, The Greatest Show on Earth, the Great Ziegfeld, Cavalcade, Broadway Melody and Cimarron. That is 14 years where the Academy completely stunk up the joint, picking a mediocre picture while classic went unrecognized.

If we designate the first category as an A, the second as a B, the third as a C and the fourth as a D, the Academy has earned 15 A’s, 31 B’s, 25 C’s and 14 D’s in its 85 years for a GPA of 2.55 GPA. Let’s call that a B-. But … I’m kind of surprised to find myself saying this … I think their reputation is worse than their actual performance. We have the benefit of history. We have the benefit of time. We don’t have the disadvantage of studios harassing us to hype their picture. Considering the pressure the Academy is under and the skewed distribution of the electorate, I don’t think they’ve actually done that bad a job. If you’re looking for a list of films to watch, the list of Academy Award winner is not that bad a place to start, especially in recent years where IMDB and history are still a bit uncertain.

I think the Academy is getting less relevant thanks to IMDB and the explosion of online critics. But as a historical perspective … they’re OK.

So what is the worst of the worst? As I noted in Part I of this series, I don’t think it’s illuminating to look at the first ten years of the Academy, when they were still sorting things out (even though snubbing City Lights was mind-boggling). That leaves off four pictures. I’m also going to exclude any year where the best picture of the year isn’t regarded as one of the best of all time. The Searchers is rated as one of the best westerns ever, but IMDB only rates it an 8.1 — great, but not historically so. Ignoring it was a terrible snub, but we’re looking for the absolute worst choices. That cuts out Around the World in 80 Days, Tom Jones and Driving Miss Daisy. Next I’ll cut out Oliver!, since IMDB rates it a 7.4 and the brilliance of 2001 and Once Upon a Time in The West became obvious later — a bad choice but not the worst.

That leaves us with six finalists for worst picks of all time. Of these, I have seen five and bits of the sixth. And I’ve seen most of the films they snubbed. So without further ado.

Actually, you know what? I like good numbers, so we’ll make this is a list of seven with the seventh being:

#7 – Lifetime Achievement Award: Cimarron over City Lights, The Great Ziegfeld over Modern Times and Broadway Melody over The Passion of Joan of Arc. The first decade of the Academy was terrible, far worse than we will ever seen again.

#6 – 1981: Chariots of Fire over Raiders of the Lost Ark, Das Boot, On Golden Pond, Gallipoli, Excalibur(!!) and Body Heat. Chariots is actually a decent film. But it won in a strong year over far superior films.

#5 – 1985: Out of Africa over Back to the Future, Ran, Brazil, The Purple Rose of Cairo, The Color Purple, Witness and A Room With A View. IMDB regards Better Off Dead as a better movie than Out of Africa. That’s Gen-X bias, of course. But … I’m not entirely sure they’re wrong.

#4 – 1998: Shakespeare in Love over American History X, Saving Private Ryan, The Big Lebowski, The Truman Show, Run Lola Run, Dark City, Lovers of the Arctic Circle, The Thin Red Line, Elizabeth. Yes, that’s right. SIL wasn’t even the best film that year about Elizabeth I.

#3 – 2002: Chicago over The Two Towers, City of God, the Pianist, Talk To Her, Lilya 4-Ever, The Magadalene Sisters, 25th Hour, In America, Road to Perdition, Adaptation, Minority Report, the Whale Rider, Gangs of New York, The Hours, Rabbit-Proof Fence, Far From Heaven, Dirt Pretty Things, About Schmidt, Insomnia. If you lower the vote threshold to 10,000 votes, Chicago was ranked 50th out of 184 films that year. This is not just about The Two Towers. This was a very strong year and the Academy picking a truly mediocre film. Appalling. I didn’t expect I would see this as worse than Shakespeare in Love. I originally ranked this choice #4. But the more I looked at it, the worse the pick looked. Another reason why I did this exercise. I’m aware of IMDB’s bias against musicals. Chicago was still a bad choice.

#2 – 1958 : Gigi over Vertigo, Touch of Evil, A Night to Remember, Auntie Mame, The Fly. I went over this before. Gigi is a bit of a stand-in for the snubbing of Hitch. I’m aware that it swept the awards and is regarded by many as one of the best winners. Those many are wrong. It wasn’t even close to the best picture of the year. Look beyond the number of awards it won and it’s an awful pick.

#1 – 1952: I’m probably over-correcting for my bias against bad picks in my lifetime. In time, Shakespeare or Chicago could take over this spot. But consider what The Greatest Show on Earth (the only bad pick I have not seen in its entirety) stomped on to win the statue: Singin’ in the Rain, Ikiru, Umberto D, High Noon, Limelight, The Quiet Man, Othello, the Importance of Being Earnest, Moulin Rouge, Monkey Business, Ivanhoe. Some of those are over-rated, I grant you. But in 1952, you could have wandered into a theater at random and seen a better movie than The Greatest Show on Earth.

The Worst of the Oscars: 1978-2012

Saturday, July 13th, 2013

One of the things that happens from this point forward is that action movies and cult movies begin to take over the IMDB ratings. We also, by the 90′s, begin to run into IMDB’s bias toward recent films. So the comparison of Academy to IMDB becomes steadily less useful.

IMDB’s temporal bias is the result, in my opinion, of fanboys and excited audiences wildly over-rating pictures right when they see them and then not going back to revisit their ratings. There’s a sort of “observer effect” in films since the late 90′s where IMDB itself has become part of the process. So people, in the moment, think “Best. Movie. Ever!” rush over to IMDB and rate it a 10. Five years later, they’d probably rate it an 8.

IMDB ratings have a predictable rhythm. New movies shoot up to the top, sometimes to #1, based on early fanboy ratings and deliberate attempt to raise the rating. Then they slowly sink down to Earth as general audiences catch up. I don’t think they are as bad as critics say nor are as manipulated as snobby websites like to pretend. But they do have issues.

At some point, IMDB is going to have to tweak their formula to downweight votes that were cast (1) for movies that debuted since IMDB was inaugurated, and (2) in the immediate months after a movie was released. I think this would remove a lot of the bias, at least for anything less than ten years old.

(more…)

The Worst of the Oscars: 1953-1977

Thursday, July 11th, 2013

Let’s just dive right back in, shall we?

This exercise turned out to be very revealing about the biases built into IMDB ratings. IMDB tends to over-rate science fiction, westerns and movies by certain directors (Tarantino, Leone, Kubrick). It tends to underrate musicals and movies with women leads. This is not entirely surprising if you know about the internet. But it is fascinating to see it in such fine grain.

(more…)

The Worst of the Oscars: 1928-1952

Tuesday, July 9th, 2013

Some time ago, I got into a Twitter discussion about the worst films to be tabbed by the Academy as the Best Picture of the Year. The usual nominees were bruited about but I wanted to approach it in a more systematic way.

So what I did was go through the list of Academy Awards winners for every years since 1928. What I was looking for was the answer to several interlocked questions: Was it the best picture of the year? If not, what was the best picture of the year? How is the film regarded historically?

I’ve talked about the limitations of IMDB ratings before, especially when it comes to films over the last 20 years. But my feeling is that comparing the films within any single year can be illuminating. This took a little bit of work since movies from early years don’t have a lot of votes. I’ve also taken the liberty of figuring out which movie for any particular years is the “consensus” best film, based on perusing the AFI and other critics’ ratings. I think the method to my madness will become clear once we get going.

The short story is this: the Academy has rarely done a great job, has sometimes done a horrible job but has mostly done an OK job. They rarely select the best picture but huge snubs are kind of rare. They clearly have biases: against silent movies, against comedies, against certain genres like science fiction. They clearly favor “important” movies that make them feel smart or politically aware and they are very prone to the flavor of the month. There’s a reason all the Oscar nominees are released in December.

Let’s go year-by-year. To save some sanity, I’ll break this up into three posts with a fourth to sum up.

(more…)