Posts tagged “1928-1929

The Oscar Quest: My Oscar Nominations — Best Director (1927/1928-1949)

This is part of a series of articles where I’m putting forth my opinions about what I’d nominate in all of the Oscar Quest categories (Picture, Director, Actor, Actress, Supporting Actor and Supporting Actress). Normally I take the categories as they are, but I thought it would be fun to figure out what I’d vote for if I had a ballot each year. Keep in mind, this is only for NOMINATIONS and nothing else.

My only problem with this is that I knew if I did it, too many people, were they doing the same thing, would put on movies that just didn’t belong on an Oscar ballot. (I would too, in some cases. We just like what we like.) My problem was that people would take this exercise as an opportunity to really just go off the rails with stuff (which, if you read through all these articles, you’ll see me call people out for it, since I know exactly which films and which performances people would put on). So my way around this was by creating what I call a “Compromise List” — after I tell you what was actually nominated and what I’d put on my ballot, I’m making a list whereby I try to make everyone happy and keep it mostly close to what would be there, Academy-wise. You’ll see. My lists usually end up being better and not crazy.

The things to take into account with the performance categories — I can only nominate what I’ve seen. So me not seeing something will be a big reason why some stuff doesn’t appear. And, as always, I tell people not to bother me with one random person in one random category, since I have everything to think about. If you want to say something, wait until you’ve seen all the films/tried this yourself before you do it. And I don’t care about foreign performances, for the most part. There’s a long and complicated answer there, but — I don’t. And the big rule for anyone doing this — if someone won a category, YOU CAN’T LEAVE THEM OFF THE COMPROMISE LIST. Can’t do it.

Otherwise — here’s the next set of categories. (more…)


The Oscar Quest: My Oscar Nominations — Best Actress (1927/1928-1949)

This is part of a series of articles where I’m putting forth my opinions about what I’d nominate in all of the Oscar Quest categories (Picture, Director, Actor, Actress, Supporting Actor and Supporting Actress). Normally I take the categories as they are, but I thought it would be fun to figure out what I’d vote for if I had a ballot each year. Keep in mind, this is only for NOMINATIONS and nothing else.

My only problem with this is that I knew if I did it, too many people, were they doing the same thing, would put on movies that just didn’t belong on an Oscar ballot. (I would too, in some cases. We just like what we like.) My problem was that people would take this exercise as an opportunity to really just go off the rails with stuff (which, if you read through all these articles, you’ll see me call people out for it, since I know exactly which films and which performances people would put on). So my way around this was by creating what I call a “Compromise List” — after I tell you what was actually nominated and what I’d put on my ballot, I’m making a list whereby I try to make everyone happy and keep it mostly close to what would be there, Academy-wise. You’ll see. My lists usually end up being better and not crazy.

The things to take into account with the performance categories — I can only nominate what I’ve seen. So me not seeing something will be a big reason why some stuff doesn’t appear. And, as always, I tell people not to bother me with one random person in one random category, since I have everything to think about. If you want to say something, wait until you’ve seen all the films/tried this yourself before you do it. And I don’t care about foreign performances, for the most part. There’s a long and complicated answer there, but — I don’t. And the big rule for anyone doing this — if someone won a category, YOU CAN’T LEAVE THEM OFF THE COMPROMISE LIST. Can’t do it.

Otherwise — here’s the next set of categories. (more…)


The Oscar Quest: My Oscar Nominations — Best Actor (1927/1928-1949)

This is part of a series of articles where I’m putting forth my opinions about what I’d nominate in all of the Oscar Quest categories (Picture, Director, Actor, Actress, Supporting Actor and Supporting Actress). Normally I take the categories as they are, but I thought it would be fun to figure out what I’d vote for if I had a ballot each year. Keep in mind, this is only for NOMINATIONS and nothing else.

My only problem with this is that I knew if I did it, too many people, were they doing the same thing, would put on movies that just didn’t belong on an Oscar ballot. (I would too, in some cases. We just like what we like.) My problem was that people would take this exercise as an opportunity to really just go off the rails with stuff (which, if you read through all these articles, you’ll see me call people out for it, since I know exactly which films and which performances people would put on). So my way around this was by creating what I call a “Compromise List” — after I tell you what was actually nominated and what I’d put on my ballot, I’m making a list whereby I try to make everyone happy and keep it mostly close to what would be there, Academy-wise. You’ll see. My lists usually end up being better and not crazy.

The things to take into account with the performance categories — I can only nominate what I’ve seen. So me not seeing something will be a big reason why some stuff doesn’t appear. And, as always, I tell people not to bother me with one random person in one random category, since I have everything to think about. If you want to say something, wait until you’ve seen all the films/tried this yourself before you do it. And I don’t care about foreign performances, for the most part. There’s a long and complicated answer there, but — I don’t. And the big rule for anyone doing this — if someone won a category, YOU CAN’T LEAVE THEM OFF THE COMPROMISE LIST. Can’t do it.

Otherwise — here’s the next set of categories. (more…)


The Oscar Quest: My Oscar Nominations — Best Picture (1927/1928-1949)

To run down the intro quickly — this is a series of articles about what I would nominate in every single Oscar Quest category if I had a ballot. I always felt I should do them, but didn’t want to pull that shit everyone pulls of, “Here’s what I’d nominate,” even though it’s all the same five films they add on and they haven’t even seen half the stuff that was nominated. I know my stuff’s legit, because I’ve seen all the films, but I refused to start this discussion unless I was going to do it with the ability to tell people how to do it the right way, since unless you keep them honest, it’s fucking chaos.

So I decided to, along with picking what I’d vote for, create what I’m calling a Compromise List. The Compromise List is — aside from my personal nominations (which on the whole are pretty close to what would fit the typical notion of “Oscar,” since I’ve seen everything and know what is and what isn’t an “Oscar” movie and actually respect the precedents in place even though I don’t always agree with them enough to not be like, “I vote for Star Trek!”), a list of films that are basically a mix of my nominees and their nominees that I think everyone could live with. The idea is to make a list that works for everyone that’s great, and to cut out all the shit that so clearly shouldn’t be there.

The things to keep in mind: 1) if a category has five nominees, I’m only nominating five films. 2) The lists are only based on what I’ve seen. 3) Don’t bother me with your opinion unless you’re gonna go the full nine and do every single year. 4) If you’re going to attempt something like this — be honest. Don’t get too subjective, and DO NOT take off a film you haven’t seen just to put on a film you have seen. And most importantly, 5) YOU CANNOT take off a Best Picture winner. You can not vote for it on your list, but on your compromise list, the Best Picture winner MUST BE THERE. If it won, you have to include it. No exceptions.

Okay, let’s get to the next set of Best Picture years: (more…)


The Oscar Quest: Best Picture – 1928-1929

1928-1929 (which, for quick reference, use the year on the right side of the double years to know which year it’s really for) is the first really interesting year for the Oscars. The first one was just, “Let’s get this thing set up.” But now — now it’s a thing. Now there are now traditions to uphold and ideals to strive toward. That is — the first year was giving out awards. Now there are precedents. So you have the beginning of what will essentially be a trend that continues to this day, which is, do they vote with what’s best, or what fits in best with the Oscars? (Usually, it’s the latter.) 1928-1929 are the first years where films could be made with the goal of winning an Oscar. Which changes things.

The other reason this year is an interesting year is quite major, historically — sound. The industry as a whole was transitioning to sound. Several films have used the transition to sound as part of their narrative, the biggest probably being Singin’ in the Rain, with the whole “Talk into the plant!” thing. And then The Aviator hinted at it, with Hughes, after the premiere, saying he has to reshoot Hell’s Angels for sound. And then The Artist, of course, covering that period from a talent standpoint. This intro is basically going to be a history of the transition to sound, because I do like to educate as well as inform.

But what makes this period most interesting is that the transition to sound wasn’t this quick switchover . They had a lot of stuff to figure out, technologically. The entire industry was set up for silent films. And now, all of a sudden, they had to, on the fly, start making films with sound. Because that’s what the audiences wanted. And it was basically an experiment for like, four years, them figuring out how to successfully shoot films with sound. (This was even before learning how to tell a story with sound.) (more…)


The Oscar Quest: Best Director – 1928-1929

(Note: THIS CATEGORY IS NOT FINISHED. I still need to watch one of the nominees. I still have not been able to find Drag in any cheap/acceptable format. If anyone has it or knows where it can be procured, let me know, so this category can be finished.)

1928-1929 is the second year of the Oscars, one where there were no official nominees. They just mailed out ballots and whoever got the most votes won, and the unofficial nominees were the people who got the most votes. These were them for the Best Director category.

As for the rest of the year — The Broadway Melody wins Best Picture, because it was the film to best utilize the wonderful new technology called sound, Warner Baxter wins Best Actor for In Old Arizona (talked about here), quite possibly the least interesting or cared about category ever, and Mary Pickford wins Best Actress for Coquette (talked about here), which is a great historical decision that helped to legitimize the category. That’s it, really.

Remember, we’re working on a different set of rules for these categories than we would for contemporary ones. Though, even with the different set of rules, I really can’t understand this one. Not even a little bit. You just invented sound — why wouldn’t you give Best Director to a sound film? Or even if not, why would you give it to that film? (Though, admittedly, he was nominated three times, so maybe that had something to do with it.)

BEST DIRECTOR – 1928-1929

And the nominees were…

Lionel Barrymore, Madame X

Harry Beaumont, The Broadway Melody

Irving Cummings, In Old Arizona

Frank Lloyd, The Divine Lady & Drag & Weary River

Ernst Lubitsch, The Patriot (more…)


The Oscar Quest: Best Actress – 1928-1929

(Note: THIS CATEGORY IS NOT FINISHED. I still need to watch one of the nominees. I still have not been able to find The Barker in any cheap/acceptable format. If anyone has it or knows where it can be procured, let me know, so this category can be finished.)

1928-1929 is a unique year in Oscar history. It’s the only year without any official Oscar nominees. Which means (I guess), everyone was sent a ballot, and just voted. And whoever won, won. Interesting way to do it. Then again, it is the second one. I guess they were seeing what worked.

The Broadway Melody wins Best Picture, mostly because it was the only film among the “nominees” (which is basically the set of films that got the most votes, I guess) that used sound the best. Frank Lloyd won Best Director for The Divine Lady, which I don’t much understand. Why they’d give a non-sound film Best Director is beyond me. And Best Actor was Warner Baxter for In Old Arizona (talked about here). The transition to sound made it tough to gauge performances, so we pretty much just ignore this decision. (Though, Baxter did do some good work in the 30s, so it actually kind of worked out.)

This category — pretty much a blank except — Mary Pickford was the biggest star in Hollywood from like, 1915 through this point. Her and Douglas Fairbanks were basically considered ambassadors from Hollywood to the world. So it makes perfect sense that they’d go and give her an Oscar. Again — you have to treat these categories differently from how things normally work nowadays, because here, it’s all about legitimizing the awards. They’re just getting started, and they want to award what they think is best. And who better to award than your biggest star?

BEST ACTRESS – 1928-1929

And the nominees were…

Ruth Chatterton, Madame X

Betty Compson, The Barker

Jeanne Eagels, The Letter

Corinne Griffith, The Divine Lady

Bessie Love, The Broadway Melody

Mary Pickford, Coquette (more…)


The Oscar Quest: Best Actor – 1928-1929

1928-1929. The second year of the Oscars. This is the only year that didn’t have any official nominees. That is, people were just given ballots and voted, and whoever won, won. And I think the nominees that were listed were based off of who got the most votes. There are also a couple of issues to deal with for this year, but let’s recap first before we get into that. There were no Supporting categories, so it’ll be quick.

The Broadway Melody wins Best Picture. The first talkie to win, and the first musical to win. Of the nominated films, it was the one that did the most. That is, it used sound to its full effect, and, the industry being in the state that it was, that’s all it took to win. Obviously it wasn’t a particularly strong winner, but it makes sense. They needed to have a sound film win. Best Actress this year was Mary Pickford for Coquette, which — she’s Mary Pickford. She was the biggest female star in the business. Of course they’d give her an Oscar. So that’s fine. And Best Director was Frank Lloyd for The Divine Lady, which seems like a weak choice.

Okay, so now we’re at this category. The problem that gets posed with this one is — The Patriot is a lost film. All we have are some clips from a trailer and stuff that survived. So we have to go in blind  on that. That makes it slightly tougher, since — none of the nominees seemed particularly Best Actor-worthy. So, this is one of those where concessions need to be made.

BEST ACTOR – 1928-1929

And the nominees were…

George Bancroft, Thunderbolt

Warner Baxter, In Old Arizona

Chester Morris, Alibi

Paul Muni, The Valiant

Lewis Stone, The Patriot (more…)


The Oscar Quest: Rankings — Best Director

Here is my subset of The Oscar Quest Rankings, specifically for Best Actor. Just in case the one big article is too much for you and you just want one specific category.

(Underlined means that’s what won. An asterisk (*) means that’s what I’d have voted for. Anything in RED means I haven’t seen the film yet.)


Best Director

2013 – 1. Alfonso Cuaron, Gravity *

2. Steve McQueen, 12 Years a Slave

3. Martin Scorsese, The Wolf of Wall Street

4. David O. Russell, American Hustle

5. Alexander Payne, Nebraska

2012 – 1. Ang Lee, Life of Pi *

2. Steven Spielberg, Lincoln

3. David O. Russell, Silver Linings Playbook

4. Benh Zeitlin, Beasts of the Southern Wild

5. Michael Haneke, Amour

2011  1. Martin Scorsese, Hugo *

2. Michel Hazanavicius, The Artist

3. Terrence Malick, The Tree of Life

4. Woody Allen, Midnight in Paris

5. Alexander Payne, The Descendants (more…)


The Oscar Quest: A Viewer’s Guide — Best Director

Here is my subset of The Oscar Quest: A Viewer’s Guide, specifically for Best Director.

A reminder about the color code:

Films in RED are films that are essential. These are films you need to see, whether you like them or not. Though you’ll probably like most of them. A few of these may be part of a personal bias, but this is my list. Just think of the films in red as films you need to see if you want to be film literate (in the most basic sense). At least 70% of these are films that, if you haven’t seen them, you should be ashamed of yourself. These are the prerequisites you need to get into the class. (5-star films.)

Films in ORANGE are films that are my personal favorites (that aren’t already marked red). While not “essential” per say, these are films that I love dearly. They’re essential to me. They’re films that I will tell you that you need to see. I’d say that 80% of the time, these are going to be films that most people would enjoy. A few of them might be subjective to me, but on the whole, these are all very good films. I tried to limit the orange ones to only the best of the best, my absolute favorites. But either way, I love them, and you should definitely see at least 80% of them. (My 5-star films. At worst, most people’s 3-star films. Generally 4’s for everybody.) (more…)


The Oscar Quest: Rankings — Best Supporting Actress

Here is my subset of The Oscar Quest Rankings, specifically for Best Supporting Actress. Just in case the one big article is too much for you and you just want one specific category.

(Underlined means that’s what won. An asterisk (*) means that’s what I’d have voted for.)


Best Supporting Actress

2013 – 1. Julia Roberts, August: Osage County

2. Lupita Nyong’o, 12 Years a Slave *

3. June Squibb, Nebraska

4. Sally Hawkins, Blue Jasmine

5. Jennifer Lawrence, American Hustle

2012 – 1. Anne Hathaway, Les Misérables *

2. Sally Field, Lincoln

3. Helen Hunt, The Sessions

4. Jacki Weaver, Silver Linings Playbook

5. Amy Adams, The Master

2011 – 1. Bérénice Bejo, The Artist

2. Jessica Chastain, The Help *

3. Octavia Spencer, The Help

4. Janet McTeer, Albert Nobbs

5. Melissa McCarthy, Bridesmaids (more…)


The Oscar Quest: A Viewer’s Guide — Best Supporting Actress

Here is my subset of The Oscar Quest: A Viewer’s Guide, specifically for Best Supporting Actress.

A reminder about the color code:

Films in RED are films that are essential. These are films you need to see, whether you like them or not. Though you’ll probably like most of them. A few of these may be part of a personal bias, but this is my list. Just think of the films in red as films you need to see if you want to be film literate (in the most basic sense). At least 70% of these are films that, if you haven’t seen them, you should be ashamed of yourself. These are the prerequisites you need to get into the class. (5-star films.)

Films in ORANGE are films that are my personal favorites (that aren’t already marked red). While not “essential” per say, these are films that I love dearly. They’re essential to me. They’re films that I will tell you that you need to see. I’d say that 80% of the time, these are going to be films that most people would enjoy. A few of them might be subjective to me, but on the whole, these are all very good films. I tried to limit the orange ones to only the best of the best, my absolute favorites. But either way, I love them, and you should definitely see at least 80% of them. (My 5-star films. At worst, most people’s 3-star films. Generally 4’s for everybody.) (more…)


The Oscar Quest: Rankings – Best Supporting Actor

Here is my subset of The Oscar Quest Rankings, specifically for Best Supporting Actor. Just in case the one big article is too much for you and you just want one specific category.

(Underlined means that’s what won. An asterisk (*) means that’s what I’d have voted for. Anything in RED means I haven’t seen the film yet.)


Best Supporting Actor

2013 – 1. Jonah Hill, The Wolf of Wall Street *

2. Jared Leto, Dallas Buyers Club

3. Michael Fassbender, 12 Years a Slave

4. Bradley Cooper, American Hustle

5. Barkhad Abdi, Captain Phillips

2012 – 1. Robert De Niro, Silver Linings Playbook *

2. Christoph Waltz, Django Unchained

3. Tommy Lee Jones, Lincoln

4. Philip Seymour Hoffman, The Master

5. Alan Arkin, Argo

2011  1. Max von Sydow, Extremely Loud and Incredibly Close *

2. Christopher Plummer, Beginners

3. Kenneth Branagh, My Week with Marilyn

4. Nick Nolte, Warrior

5. Jonah Hill, Moneyball (more…)


The Oscar Quest: A Viewer’s Guide — Best Supporting Actor

Here is my subset of The Oscar Quest: A Viewer’s Guide, specifically for Best Supporting Actor.

A reminder about the color code:

Films in RED are films that are essential. These are films you need to see, whether you like them or not. Though you’ll probably like most of them. A few of these may be part of a personal bias, but this is my list. Just think of the films in red as films you need to see if you want to be film literate (in the most basic sense). At least 70% of these are films that, if you haven’t seen them, you should be ashamed of yourself. These are the prerequisites you need to get into the class. (5-star films.)

Films in ORANGE are films that are my personal favorites (that aren’t already marked red). While not “essential” per say, these are films that I love dearly. They’re essential to me. They’re films that I will tell you that you need to see. I’d say that 80% of the time, these are going to be films that most people would enjoy. A few of them might be subjective to me, but on the whole, these are all very good films. I tried to limit the orange ones to only the best of the best, my absolute favorites. But either way, I love them, and you should definitely see at least 80% of them. (My 5-star films. At worst, most people’s 3-star films. Generally 4’s for everybody.) (more…)


The Oscar Quest: Rankings – Best Actress

Here is my subset of The Oscar Quest Rankings, specifically for Best Actress.

(Underlined means that’s what won. An asterisk (*) means that’s what I’d have voted for. Anything in RED means I haven’t seen the film yet.)


Best Actress

2013 – 1. Judi Dench, Philomena *

2. Sandra Bullock, Gravity

3. Meryl Streep, August: Osage County

4. Cate Blanchett, Blue Jasmine

5. Amy Adams, American Hustle

2012 – 1. Jennifer Lawrence, Silver Linings Playbook *

2. Naomi Watts, The Impossible

3. Jessica Chastain, Zero Dark Thirty

4. Emmanuelle Riva, Amour

5. Quvenzhané Wallis, Beasts of the Southern Wild

2011  1. Rooney Mara, The Girl with the Dragon Tattoo *

2. Michelle Williams, My Week with Marilyn

3. Viola Davis, The Help

4. Meryl Streep, The Iron Lady

5. Glenn Close, Albert Nobbs (more…)


The Oscar Quest: A Viewer’s Guide – Best Actress

Here is my subset of The Oscar Quest: A Viewer’s Guide, specifically for Best Actress.

A reminder about the color code:

Films in RED are films that are essential. These are films you need to see, whether you like them or not. Though you’ll probably like most of them. A few of these may be part of a personal bias, but this is my list. Just think of the films in red as films you need to see if you want to be film literate (in the most basic sense). At least 70% of these are films that, if you haven’t seen them, you should be ashamed of yourself. These are the prerequisites you need to get into the class. (5-star films.)

Films in ORANGE are films that are my personal favorites (that aren’t already marked red). While not “essential” per say, these are films that I love dearly. They’re essential to me. They’re films that I will tell you that you need to see. I’d say that 80% of the time, these are going to be films that most people would enjoy. A few of them might be subjective to me, but on the whole, these are all very good films. I tried to limit the orange ones to only the best of the best, my absolute favorites. But either way, I love them, and you should definitely see at least 80% of them. (My 5-star films. At worst, most people’s 3-star films. Generally 4’s for everybody.) (more…)


The Oscar Quest: Rankings – Best Actor

Here is my subset of The Oscar Quest Rankings, specifically for Best Actor. Just in case the one big article is too much for you and you just want one specific category.

(Underlined means that’s what won. An asterisk (*) means that’s what I’d have voted for. Anything in RED means I haven’t seen the film yet.)

Best Actor

2013 – 1. Matthew McConaughey, Dallas Buyers Club *

2. Leonardo DiCaprio, The Wolf of Wall Street

3. Bruce Dern, Nebraska

4. Chiwetel Ejiofor, 12 Years a Slave

5. Christian Bale, American Hustle

2012 – 1. Daniel Day-Lewis, Lincoln *

2. Joaquin Phoenix, The Master

3. Hugh Jackman, Les Misérables

4. Bradley Cooper, Silver Linings Playbook

5. Denzel Washington, Flight

2011  1. Gary Oldman, Tinker Tailor Soldier Spy *

2. Jean Dujardin, The Artist

3. George Clooney, The Descendants

4. Brad Pitt, Moneyball

5. Demián Bichir, A Better Life (more…)


The Oscar Quest: A Viewer’s Guide – Best Actor

Here is my subset of The Oscar Quest: A Viewer’s Guide, specifically for Best Actor.

A reminder about the color code:

Films in RED are films that are essential. These are films you need to see, whether you like them or not. Though you’ll probably like most of them. A few of these may be part of a personal bias, but this is my list. Just think of the films in red as films you need to see if you want to be film literate (in the most basic sense). At least 70% of these are films that, if you haven’t seen them, you should be ashamed of yourself. These are the prerequisites you need to get into the class. (5-star films.)

Films in ORANGE are films that are my personal favorites (that aren’t already marked red). While not “essential” per say, these are films that I love dearly. They’re essential to me. They’re films that I will tell you that you need to see. I’d say that 80% of the time, these are going to be films that most people would enjoy. A few of them might be subjective to me, but on the whole, these are all very good films. I tried to limit the orange ones to only the best of the best, my absolute favorites. But either way, I love them, and you should definitely see at least 80% of them. (My 5-star films. At worst, most people’s 3-star films. Generally 4’s for everybody.) (more…)


The Oscar Quest: Rankings – Best Picture

Here is my subset of The Oscar Quest Rankings, specifically for Best Picture.

(Underlined means that’s what won. An asterisk (*) means that’s what I’d have voted for. Anything in RED means I haven’t seen the film yet.)


Best Picture

2013 – 1. Gravity (Warner Bros.) *

2. Her (Warner Bros., Annapurna)

3. The Wolf of Wall Street (Paramount, Universal)

4. 12 Years a Slave (Fox Searchlight)

5. Captain Phillips (Columbia)

6. American Hustle (Columbia, Annapurna)

7. Philomena (The Weinstein Co.)

8. Dallas Buyers Club (Focus Features)

9. Nebraska (Paramount Vantage)

2012  1. Django Unchained (The Weinstein Co., Columbia) *

2. Les Misérables (Universal, Working Title Films)

3. Silver Linings Playbook (The Weinstein Co.)

4. Argo (Warner Bros.)

5. Lincoln (Touchstone, DreamWorks, 20th Century Fox)

6. Life of Pi (20th Century Fox)

7. Beasts of the Southern Wild (Fox Searchlight)

8. Zero Dark Thirty (Columbia)

9. Amour (Les Films du Losange, X Filme Creative Pool, Wega Film Production)

2011  1. The Artist (The Weinstein Company) *

2. Hugo (Paramount)

3. Moneyball (Columbia)

4. War Horse (Touchstone, DreamWorks)

5. The Tree of Life (Fox Searchlight)

6. The Descendants (Fox Searchlight)

7. Midnight in Paris (Sony Pictures Classics)

8. The Help (Touchstone, DreamWorks)

9. Extremely Loud and Incredibly Close (Warner Bros.) (more…)


The Oscar Quest: A Viewer’s Guide – Best Picture

Here is my subset of The Oscar Quest Rankings, specifically for Best Picture.

A reminder about the color code:

Films in RED are films that are essential. These are films you need to see, whether you like them or not. Though you’ll probably like most of them. A few of these may be part of a personal bias, but this is my list. Just think of the films in red as films you need to see if you want to be film literate (in the most basic sense). At least 70% of these are films that, if you haven’t seen them, you should be ashamed of yourself. These are the prerequisites you need to get into the class. (5-star films.)

Films in ORANGE are films that are my personal favorites (that aren’t already marked red). While not “essential” per say, these are films that I love dearly. They’re essential to me. They’re films that I will tell you that you need to see. I’d say that 80% of the time, these are going to be films that most people would enjoy. A few of them might be subjective to me, but on the whole, these are all very good films. I tried to limit the orange ones to only the best of the best, my absolute favorites. But either way, I love them, and you should definitely see at least 80% of them. (My 5-star films. At worst, most people’s 3-star films. Generally 4’s for everybody.) (more…)


The Oscar Quest: Rankings

At the bottom of all my Oscar Quest articles, after talking about the films and performances and how I ranked them in that specific category, I ranked all the nominees. This article is a collection of those rankings. (Any changes from what I originally wrote we’ll mediate as they pop up.)

There’s no real set criteria to explain how I ranked everything. I’m sure there’s some overly complicated formula I have in my head, but let’s not try to explain what goes on in my head. The general rules for the rankings are: almost always do my favorite films and performances take precedent. They’ll usually go first. Sometimes the order will be solely how I like the films, and sometimes they’ll be solely how I rate the performances. Most times, it’s a bit of both. Usually there’s a clear #1 (or lack thereof) that dictates how the rest of the list proceeds. There’s really no definitive explanation, so I’ll leave it at: I’ve Santa Claus’d this list multiple times, and I stand by every one of these rankings.

The goal of all of this was always to recommend films for you to see (being able to put forth my opinion on it was a bonus). Use this alongside The Oscar Quest: A Viewer’s Guide article as a way of finding films to see. With these, you can very quickly find out which films I love and think you should see, no reading required. And any reading you care to do is just a click away. Plus, by reading the articles and seeing the films (even if it’s just simply the small handful of ones I say you need to see), you’ll have more knowledge of the Oscars and their history than the av-er-age person, making you that much more qualified to say, “What? That? Fuck no, that shouldn’t have won!” Who doesn’t want that? (more…)


The Oscar Quest: A Viewer’s Guide

This is it, folks. This is what it’s all been building towards. One article encompassing everything. Here is a list of every film ever nominated for Best Picture, Best Actor, Best Actress, Best Supporting Actor, Best Supporting Actress and Best Director. A cheat sheet, of sorts. If you’re looking for Oscar films to watch, and don’t want to read all the articles (or say you’ve read the articles, but now want a list of films to see, and don’t want to reread them all), you can just go to this article and everything is right at your fingertips. Let me explain how it works:

The list descends by category (Picture, Actor, Actress, Supporting Actor, Supporting Actress, Director) and by year, starting with the most recent. Each film on the list will be color-coded based on how much I like it/how essential it is. I’ll explain the color code in a second. Using the colors, you can instantly know whether or not I think you should see a film as well as (generally) how I feel about it. You can also use The Oscar Quest: Rankings article to see how I ranked the films/performances in their specific categories. Between the two, you’ll have as much information as you can possibly get about my opinion of a film on its own and in the context of a category without reading anything.

And if that’s not enough, next to each category, when I list what year it is, I’ll link to the article I wrote about it, which contains in depth (or not) thoughts about the films, synopses, and just more specific information on how I rank it, how I figured out my vote, things like that. So, with this one article, you have as much or as little information you could want about every movie from this Oscar Quest. Aren’t I great? (more…)