Per tradition, the day after the Oscar nominations are announced is also the day I begin the annual process of counting backwards in celebration of the best films of the prior year. Most other fervent film fans engaged in this … Continue reading Top Ten Movies of 2017 — An Introduction
Heading into this morning, I was fully prepared to tap out a furious diatribe about the likely distribution of this year’s Academy Awards, the ninetieth go-round of the film industry’s highest honor. Although there are always disappointments for those of … Continue reading The Shape of Upset: Hopeful Thoughts on the Oscar Nominations
It’s probably not one-hundred percent correct to say that Phantom Thread is unmistakably a Paul Thomas Anderson film, but it sure feels right. The new cinematic offering is meticulously crafted, resolutely erudite, psychologically complicated, packed with insightful acting, and careens … Continue reading Now Playing — Phantom Thread
The nominations for the ninetieth Academy Awards will be announced this coming Tuesday, which I will, by self-set tradition, use as impetus to begin counting down my selections for the ten best films of 2017, six weeks or so after … Continue reading From the Archive — The Diving Bell and the Butterfly
Payment on Demand (Curtis Bernhardt, 1951). Bette Davis was a tough customer from the very beginning, but as she edged into middle age there was a special pleasure in watching her disdainfully browbeat all those wronged her. In Payment on … Continue reading Playing Catch-Up — Payment on Demand; The Florida Project; Money Monster
#34 — Mira Sorvino as Dr. Susan Tyler in Mimic (Guillermo del Toro, 1997) It was not, according to entertainment industry conventional wisdom, the right sort of project for a freshly minted Oscar winner. A horror film directed by a … Continue reading Greatish Performances #34
#33 — Ashley Judd as Charlene Shiherlis in Heat (Michael Mann, 1995) When Michael Mann’s Heat was released, in 1995, most of the chatter was about the plentiful elements that could be fairly described as highly masculine. The centerpiece was … Continue reading Greatish Performances #33
Even without director Steven Spielberg offering fairly unequivocal explanations of his motivation behind signing on for The Post — and working overtime to deliver a finished product as quickly as possible — it’s not difficult to ascertain the film’s sharp … Continue reading Now Playing — The Post
As this slightly worrisome Oscar season continues to shower precursor awards on the problematic film about mass advertising on the outskirts of a small community, spare a thought for the fleeting front-runners from earlier in the cycle. Barring a major … Continue reading From the Archive — Happy-Go-Lucky
The Final Girls (Todd Strauss-Schulson, 2015). This send-up of horror films — with special satiric sanctimony leveled at the slasher films of the nineteen-eighties — can’t help but draw comparisons to similar efforts in recent years. And already muddled film … Continue reading Playing Catch-Up — The Final Girls; Baby Face; Lightning Strikes Twice
