Posts tagged “1939

Mike’s Top Ten of 1939

There’s a reason 1939 is referred to as one of the greatest individual years in the history of cinema. Legitimately half this list is among the greatest films of the decade and all time. And it’s not just the choices on top. This year goes deep.

You have one of the greatest westerns ever made, perhaps Frank Capra’s finest achievement, and one of the most uplifting movies ever made, an all-time classic that is one of the most beloved films ever made and has become so iconic that it’s become part of the lexicon and a cultural touchstone for every single person. Oh, let’s not also forget the landmark achievement of 1939, what still may be the finest achievement in the history of American moviemaking.

The important thing about this year isn’t just to fete the classics, it’s to talk up all the other great stuff that got released alongside them. There’s gonna be some great stuff here you haven’t heard of. (more…)


A Pictorial History of the Movies: 1939 – Gone With the Wind

I don’t have to say anything this year.

1939. Gone With the Wind.

Obviously this is the choice, no matter how many other iconic movies there were this year.

They called it “The Golden Year,” and few years have come close to the amount of amazing movies this year had. And even so… Gone With the Wind trumps them all. No matter how much you want to say Wizard of Oz. Gone With the Wind is still the answer. It just is. (more…)


Mike’s Top Tens of the Decade (1930-1939)

Oh man, it’s the 30s.

Sadly, I think this is going to be my last decades list. It was fun while it lasted. I guess I could do the 20s if I wanted to, but… I don’t really want to. ’27 started the sound era, and 1930 is good enough for me. Plus I have another series of “top tens” I’m in the middle of (by director), and I really want to focus on those. That said, these lists have been so much fun for me, and they got me to see so many movies that I’d never seen (to the point where I’ve actually now seen about 80% of all the major releases of the 40s, 50s and 60s).

For those who don’t know, the way these lists have worked is, I go and list my ten favorite movies from each year. I also try to list ten more from each year as an 11-20. Originally I said I did it to give myself more options for when I revisited the lists a year, five years, whatever down the road, in case I decided I didn’t like a certain film as much anymore, the alternatives would be right there. Though mostly it’s become about sharing as many great films from these years as possible. I also, underneath the 11-20, created the “fun” lists, which would be extra recommendations (or, not, in the case of one decade) that were related to that specific decade. The 2000s, I actually had a list of what I thought the worst films of those years were, the Terrible Tens. The 1990s, I had the “Films of My Childhood.” The 1980s, I had the “Awesomely 80s Movies.” The 1970s were just great 70s movies, the “70s Recommendations.” The 1960s had “Out with the Old, In with the New,” with all the films representing “old” Hollywood and “new” Hollywood. The 1950s had the “Gems of the Studio System,” forgotten films of (mostly) major directors. The 1940s had “More Great 40s Films,” since people generally don’t delve too deeply into the 40s anyway unless they’re someone like me. This decade, I’m gonna keep it simple, like I’ve been doing. Just more great 30s gems. No need to get complicated.

All right friends. Once more, unto the breach: (more…)


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 Supporting Actress (1936-1949)

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 Supporting Actor (1936-1949)

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…)


Best Original Song: A Categorical History (1934-1940)

I’ve been wanting to do this for a while. Once I got done with all the Oscar Quest categories, I said to myself, “What other categories can I write up that would be fun?” And most of them wouldn’t be terribly interesting. Who really wants to hear me talk in depth about Best Sound? This one seemed like an obvious one because — we can all do it so easily.

All you really need to do to put forth an opinion on the Best Original Song category is listen to all the songs. Pretty simple. The hard part’s just finding them. Which I did. Though I’m linking to so many Youtube videos I can only do a couple of years at a time. Five, in fact. Otherwise it gets crazy and the pages take forever to load.

So that’s what we’re going to do. We’ll go through every year of Best Original Song, I’ll link to as many songs as I can find, and I’ll tell what I like and what I’d have voted for. And we’ll get to go over the rich history that is original songs in movies. (more…)


The Oscar Quest: Best Picture – 1938

This is another one of those years that I don’t much understand, that I try to explain by figuring the Academy went, “Well, it worked once before, let’s try it again!” It’s not that You Can’t Take It With You is a bad film — it’s terrific — it’s just that it’s a weak winner.

Frank Capra also winning Best Director for the film (talked about here), while it makes sense, is not a particularly good decision. Though it does fit with their Best Director choices over this first decade of the Oscars. Best Actor this year was Spencer Tracy for Boys Town (talked about here), which I consider the single worst Best Actor winning performance ever. He’s not the lead, and he barely does anything in the film. Him winning this is beyond laughable to me. Best Actress was Bette Davis for Jezebel (talked about here), which I think is also a poor decision, though an acceptable one. Fay Bainter won Best Supporting Actress for the film (talked about here) as well, which makes sense. She was nominated twice this year. And Best Supporting Actor was Walter Brennan for Kentucky (talked about here), which — it’s Walter Brennan, so it’s acceptable, but on the other hand, Basil Rathbone was so much better.

You can see why I consider this a year of, “Well, it worked the first time…” Capra, Tracy, Davis, Brennan — it’s almost like the Academy doubting themselves, having gone out on the tightrope and, midway through, looking down, and then holding onto where they are just because it’s safer there. I don’t care for this year much at all. It’s one of those things that holds the Academy back in my mind. Their reliance on safe things and fear of bold decisions.

BEST PICTURE – 1938

And the nominees were…

The Adventures of Robin Hood (Warner Bros.)

Alexander’s Ragtime Band (20th Century Fox)

Boys Town (Metro-Goldwyn-Mayer)

The Citadel (Metro-Goldwyn-Mayer)

Four Daughters (Warner Bros., First National)

Grand Illusion (R.A.O., World Pictures)

Jezebel (Warner Bros.)

Pygmalion (Metro-Goldwyn-Mayer)

Test Pilot (Metro-Goldwyn-Mayer)

You Can’t Take It With You (Columbia) (more…)


The Oscar Quest: Best Picture – 1939

1939 is the golden year of cinema. The amount of great (not good, great) films that came out in 1939 has never been matched in any other year, ever.

And as an Oscar year, this is also a year that, in terms of achievement, will never be matched. Gone With the Wind is the perhaps the greatest cinematic achievement in history. This is, to me, the quintessential Best Picture winner and the best Best Picture of all time. It also won Best Director for Victor Fleming (talked about here), who was basically a figurehead for what was essentially a David O. Selznick film, Best Actress for Vivien Leigh (talked about here), and Best Supporting Actress for Hattie McDaniel (talked about here), all of which are perfect decisions. Best Actor was Robert Donat for Goodbye, Mr. Chips (talked about here), which, while he was great in the film, Jimmy Stewart really should have won for Mr. Smith Goes to Washington. And Best Supporting Actor was Thomas Mitchell for Stagecoach (talked bout here), which was an awesome decision, as much as I love Claude Rains and would have liked to see him win.

This is the finest year of American cinema, and there was a guaranteed winner. Really, what you do with this year is just marvel at how great everything is. Don’t think, just marvel.

BEST PICTURE – 1939

And the nominees were…

Dark Victory (Warner Bros.)

Gone With the Wind (Selznick, Metro-Goldwyn-Mayer)

Goodbye, Mr. Chips (Metro-Goldwyn-Mayer)

Love Affair (RKO Radio)

Mr. Smith Goes to Washington (Columbia)

Ninotchka (Metro-Goldwyn-Mayer)

Of Mice and Men (Roach, United Artists)

Stagecoach (United Artists)

The Wizard of Oz (Metro-Goldwyn-Mayer)

Wuthering Heights (Goldwyn, United Artists) (more…)


The Oscar Quest: Best Actress – 1939

1939 is the best year for American movies. The Golden Year, as they call it. And it really was. And the best thing about a year that’s this strong is when it has a definitive Best Picture winner, like this one does.

Gone With the Wind wins Best Picture, Best Director for Victor Fleming (talked about here) and Best Supporting Actress for Hattie McDaniel (talked about here). Best Actor this year went to Robert Donat for Goodbye, Mr. Chips, which, as I said here, is an award that should have went to Jimmy Stewart for Mr. Smith Goes to Washington, and the Academy realized it so much that they gave him an Oscar the year after this for an unworthy performance. And Best Supporting Actor was Thomas Mitchell for Stagecoach, which, as I said here, is a brilliant decision (with my deepest condolences to Claude Rains).

And then there’s this category, which — it’s Gone With the Wind. It’s Scarlett O’Hara. Come on now.

BEST ACTRESS – 1939

And the nominees were…

Bette Davis, Dark Victory

Irene Dunne, Love Affair

Greta Garbo, Ninotchka

Greer Garson, Goodbye, Mr. Chips

Vivien Leigh, Gone With the Wind (more…)


The Oscar Quest: Best Supporting Actress – 1939

1939 was the greatest year in the history of movies. Bar none. There has never been so many great movies released in the same year outside of this one. It’s incredible. And the best thing about such a great year is, despite all the great movies, there was a definitive Best Picture winner: Gone With the Wind.

Gone With the Wind wins Best Picture, Best Director for Victor Fleming (talked about here), Best Actress for Vivien Leigh, and here. All perfect decisions. The only awards the film didn’t win were Best Actor, which went to Robert Donat for Goodbye Mr. Chips, which as I said here, is an award that should have went to Jimmy Stewart for Mr. Smith Goes to Washington (and the Academy knew it because they blatantly gave him an Oscar the year after this), and Best Supporting Actor, which went to Thomas Mitchell for Stagecoach, which, as I said here, I love (despite also loving Claude Rains).

And that brings us to this historic category, which features the first black actress (or black anyone) to win an Academy Award. This one needed to happen, and I approve.

BEST SUPPORTING ACTRESS – 1939

And the nominee were…

Olivia de Havilland, Gone With the Wind

Geraldine Fitzgerald, Wuthering Heights

Hattie McDaniel, Gone With the Wind

Edna May Oliver, Drums Along the Mohawk

Maria Ouspenskaya, Love Affair (more…)


The Oscar Quest: Best Supporting Actor – 1939

1939 is the best year in the history of movies. That’s not an embellishment. 9 of the 10 Best Picture nominees are legit classic (and amazing) films (Dark Victory is just okay). Goodbye, Mr. Chips, Love Affair (later remade as An Affair to Remember), Ninotchka, Of Mice and Men, Wuthering Heights. All pretty strong, right? Yeah? Now listen to this half of the Best Picture nominees. Stagecoach. Mr. Smith Goes to Washington. The Wizard of Oz. Oh, and a little film called Gone With the Wind. Yeah. It’s pretty famous.

Gone With the Wind rightfully wins Best Picture, Best Director for Victor Fleming (talked about here), Best Actress for Vivien Leigh and Best Supporting Actress for Hattie McDaniel. Automatically these are top three decisions of all time in their respective categories. (Well, maybe not Best Supporting Actress. That’s definitely a top ten, though, since she was the first black actor to win an Oscar.) This is a perfect film and deserved every award it won (and even more). Best Actor this year was Robert Donat for Goodbye, Mr. Chips, which, as I said here, is a pretty bad decision. Jimmy Stewart really should have won for Mr. Smith Goes to Washington. It was so bad they blatantly gave him a makeup Oscar the year after this for a performance that should never have won an Oscar in a hundred years.

So that’s 1939. A brilliant year all around. And then we have this category, which is amazingly strong.

BEST SUPPORTING ACTOR – 1939

And the nominees were…

Brian Ahene, Juarez

Harry Carey, Mr. Smith Goes to Washington

Brian Donlevy, Beau Geste

Thomas Mitchell, Stagecoach

Claude Rains, Mr. Smith Goes to Washington (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…)