Posts tagged “1940

Mike’s Top Ten of 1940

You’d be hard pressed to find a bad choice in 1940’s list. Straight up, nine of them are legitimately among the biggest classics in cinema history. And the other (if you’ve seen it) is just incredible.

I feel like there’s gonna be a lot of this coming up in the future. A lot of top ten lists with mostly classics that we all agree are great. The real interest is gonna come in all the hidden gems below the line. The 40s is a decade full of amazing films that aren’t as well known simply because not everything can be.

One thing I like about this year in particular is how it has a nice pairing of films. You’ll see several times where two films are akin, either because they share the same director and stars, or are similar in story. Or they’re two of the greatest animated films ever made. (more…)


A Pictorial History of the Movies: 1940 – The Grapes of Wrath

1940 can be a very simple or very difficult year depending on how much thought you want to put into it.

There are a bunch of choices you can rationalize as being the choice. The Great Dictator? Sure. Only I already did Chaplin and wouldn’t have much to add to that article. The Philadelphia Story? Sure. If you like. But I don’t think that represents 1940. Rebecca? Great movie. Won Best Picture. But doesn’t represent the year. Fantasia? Pinocchio? I guess you could. But we already did Disney, and Fantasia was a flop when it came out.

The film that manages to hit all the right notes for me is this one. The Grapes of Wrath is an American classic. Both as a film and a novel. It was one of the biggest moneymakers of 1940, and has remained as one of the greatest films ever made. (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…)


Mike’s Top Tens of the Decade (1940-1949)

It’s that time again. I love doing these lists.

The thing about them, though, is that they’ve been progressively more work each time. The first few, the 2000s and the 1990s, I saw most of those by just being alive. And then the 1980s, all I really had to do was watch the big movies I’d never seen, so it wasn’t that bad. Then the 1970s, I had just finished the Oscar Quest and was looking for things to watch, so it was a smooth transition. Then the 1960s and 1950s (see how smoothly I worked in the links this time?) went up while I was in the middle of finishing the Quest articles, so I just powered through them. This time, though — I had stuff going on. I was watching Disney movies and writing a script. I barely got started on watching all the movies (and there were a lot) until the end of July.

To recap how these lists work: I list my ten favorite films for each year. Underneath that, I list an 11-20 of films just outside the top ten. Then, under that, is a “fun” list. To give you more stuff to watch. The 2000s had the “Terrible Ten,” of films I really disliked. The 90s had the “Films of My Childhood,” films I loved when I was growing up. The 80s had the “Awesomely 80s Movies,” films I feel perfectly capture that decade. The 70s had the “70s Recommendations,” a list of quintessentially “70s” films that I recommend highly (many of which are hidden gems). The 60s had “Out with the Old, In with the New,” films that represent the crumbling studio system and coming of New Hollywood. And the 50s had the “Gems of the Studio System,” which were (mostly) films from major directors that have flown under the radar among their filmographies (and history). This year, it’s going to be pretty simple — just “More Great 40s Movies.” I doubt most people are versed in the 40s, so I’m not gonna get complicated. Just 10 more great movies from each year on top of the other 20. Plain and simple. Also, since it bears repeating — I haven’t seen everything. I can only watch so much within three months. The lists are only based on what I’ve seen. I’ll update them as I watch more stuff and like it.

All right… list time: (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 – 1940

 It’s hard to follow up 1939. But 1940 makes a real go of it. This is, while not in 1939 territory, an exceptionally strong Best Picture list. And the decisions they made this year were really strong too. Which is a bit of a shame, since it’s sandwiched between the strongest year in film history and the biggest Best Picture screw job in Academy history.

Rebecca wins Best Picture, which isn’t a great decision based on the category, but is lessened by the fact that the film that should have won Best Picture, The Grapes of Wrath, won Best Director for John Ford (talked about here). If John Ford didn’t win Best Director, then we’d be talking about how weak a choice Rebecca is (if some people don’t already do that). It’s a great film (and a Hitchcock, which is what leads people to defend it so vehemently), but it’s just not on the level The Grapes of Wrath is. And the split does help alleviate some of that tension (kind of the way the Shakespeare in Love/Saving Private Ryan split does), because at least then you can say, “Well, at least they recognized one was superior, but they just preferred the other.” So I can accept it. Jane Darwell also won Best Supporting Actress for The Grapes of Wrath (talked about here), which is awesome, since she is the “Ma” of cinema. Best Actor this year was Jimmy Stewart for The Philadelphia Story (talked about here), which is the most blatant makeup Oscar perhaps in the history of cinema. It’s terrible. He should have won the year before this. But, it gave him an Oscar, and for that, it’s okay. Even though he did beat both Charlie Chaplin and Henry Fonda, depriving Chaplin of an Oscar and delaying Fonda’s win for 41 years. Best Actress was Ginger Rogers for Kitty Foyle (talked about here), which I love as a decision. Joan Fontaine, to me, gave the best performance, but Rogers was likely to never have another shot at winning, so I support the win (plus Fontaine got her makeup Oscar the year after this anyway. For a Hitchcock again, no less). And Best Supporting Actor was (surprise, surprise), Walter Brennan, for the third time in five years, for The Westerner (talked about here). This was actually the strongest of the three performances he won for (in a terribly weak category too), so he deserved it.

Overall, 1940 is a strong year, and anything weak about it is actually alleviated in context. Jimmy Stewart shouldn’t have won, but he should have won the year before this, so it’s understandable. Ginger Rogers never had another shot at an Oscar, so the win makes sense. And Rebecca isn’t as good as The Grapes of Wrath, but Grapes of Wrath won Best Director. So, to me, 1940, while not being a standout year, is still a damn good one.

BEST PICTURE – 1940

And the nominees were…

All This, and Heaven Too (Warner Bros.)

Foreign Correspondent (Wanger, United Artists)

The Grapes of Wrath (20th Century Fox)

The Great Dictator (Chaplin, United Artists)

Kitty Foyle (RKO Radio)

The Letter (Warner Bros.)

The Long Voyage Home (Argosy, Wanger, United Artists)

Our Town (Lesser, United Artists)

The Philadelphia Story (Metro-Goldwyn-Mayer)

Rebecca (Selznick, United Artists) (more…)


The Oscar Quest: Best Actress – 1940

I like 1940. Rebecca is a fine Best Picture choice, and while The Grapes of Wrath really should have beaten it (just because it’s stood up over time as the better film), it won Best Director for John Ford (talked about here), so that kind of made up for it.

Best Actor this year was Jimmy Stewart for The Philadelphia Story (talked about here), which is the most blatant makeup Oscar in Academy history. Good that he has an Oscar, but the performance was not even close to win-worthy. Best Supporting Actor was Walter Brennan for The Westerner (talked about here), which I actually like, because the category was so weak, and because Brennan was fantastic, despite it being his third Oscar. And Best Supporting Actress was Jane Darwell for The Grapes of Wrath (talked about here). Ain’t nobody gonna argue with “Ma.”

And then we have this category, which I’ve said many times is one where it was the only time they could really award an actress of this stature, and that, plus the performance itself, make this a perfect decision.

BEST ACTRESS – 1940

And the nominees were…

Bette Davis, The Letter

Joan Fontaine, Rebecca

Katharine Hepburn, The Philadelphia Story

Ginger Rogers, Kitty Foyle

Martha Scott, Our Town (more…)


The Oscar Quest: Best Director – 1940

1940 is a year that I always say is good, but possibly not as good as it could have been (yet, it still ranks as a solid year). Rebecca wins Best Picture, beating The Grapes of Wrath. Maybe not the best decision, historically, but it’s still a solid film. Plus, there was this category to even it out. So it actually kind of works.

Jimmy Stewart won Best Actor for The Philadelphia Story (talked about here), which is the most blatant makeup Oscar of all time. They were clearly giving it to him for Mr. Smith Goes to Washington the year before. Henry Fonda or Charlie Chaplin really should have won that one. Best Actress was Ginger Rogers for Kitty Foyle, which I love, since it was the only time they could really reward her, and Joan Fontaine, who probably should have won, won the year after this, so it worked out. Best Supporting Actor was Walter Brennan for The Westerner (talked about here), which, despite it being his third, I feel actually was a good decision. And Best Supporting Actress was Jane Darwell for The Grapes of Wrath (talked about here), which makes perfect sense, because she’s “Ma.”

And then there’s this category, which, aside from the fact that Hitchcock never won an Oscar (not this category’s fault, really), is a fantastic decision.

BEST DIRECTOR – 1940

And the nominees were…

George Cukor, The Philadelphia Story

John Ford, The Grapes of Wrath

Alfred Hitchcock, Rebecca

Sam Wood, Kitty Foyle

William Wyler, The Letter (more…)


The Oscar Quest: Best Supporting Actor – 1940

I like 1940 a lot, but I can’t help but feel they made the wrong choice. Rebecca is a fine film, and it winning Best Picture normally would be okay. But The Grapes of Wrath is an American classic. I’m not particularly sure why it didn’t win. Especially when John Ford won Best Director for the film. But, since I love both films, I don’t mind it so much.

Jane Darwell also won Best Supporting Actress for The Grapes of Wrath, which, as I said here, is a very acceptable decision, even if I think Judith Anderson gave a better performance than she did. Best Actor this year was Jimmy Stewart for The Philadelphia Story (talked about here), which is the most blatant makeup Oscar in the history of the Academy. Based on performance alone, it was a terrible decision (Henry Fonda and Charlie Chaplin were much better choices), but, in terms of Jimmy Stewart having an Oscar, it’s totally acceptable. And Best Actress this year was Ginger Rogers for Kitty Foyle, which I really like as a decision, since it was really her only chance to win one, and Joan Fontaine would get her Oscar the year after this for Suspicion. So it all worked out.

As for this category — this is actually the one of the three Walter Brennan Supporting Actor Oscars that I think is the strongest performance. And it’s the last one, so it’s the one where I’m most looking for someone else to vote for. So that should tell you something abut the category, when Brennan is a clear-cut winner.

BEST SUPPORTING ACTOR – 1940

And the nominees were…

Albert Bassermann, Foreign Correspondent

Walter Brennan, The Westerner

William Gargan, They Knew What They Wanted

Jack Oakie, The Great Dictator

James Stephensen, The Letter (more…)


The Oscar Quest: Best Supporting Actress – 1940

I’m not quite sure what to do with 1940. On one hand, Rebecca, which won Best Picture, is a fine film. A really fine film. The thing is, though, The Grapes of Wrath is a better film. And that didn’t win Best Picture. It did, however, win Best Director for John Ford, so I guess that makes everything okay (though Hitchcock fans might be pissed about that, considering this was probably the closest he ever got to winning).

Best Actor this year was Jimmy Stewart for The Philadelphia Story (talked about here), which is the most blatant makeup Oscar as has ever happened, and is a terrible decision in every way except the “Jimmy Stewart has an Oscar” way. Henry Fonda and Charlie Chaplin were much better decisions there. Best Actress was Ginger Rogers for Kitty Foyle, which some people don’t like because they feel Joan Fontaine should have won for Rebecca. I agree that Joan Fontaine was incredible in Rebecca, but I also love Ginger Rogers, and think she is one of the great actresses for all time, and I think her Kitty Foyle performance is strong enough where it was okay to reward her for all the great work she did over her career. Her winning there is no different from people like Reese Witherspoon or Sandra Bullock winning Oscars (except Ginger is better than they are). So I’m cool with it. (Plus Fontaine would get an Oscar, and things would mostly work themselves out smoothly. So everything worked out fine.) Then Best Supporting Actor was Walter Brennan for The Westerner, his third, which, I’m cool with, because the category sucked, and Brennan’s performance there was actually the best of all the three performances he won for.

And then there’s this category, which is just so goddamn strong. And no matter what anyone’s opinion on who should have won is (including mine) — it’s Ma. You can’t be upset that Ma won.

BEST SUPPORTING ACTRESS – 1940

And the nominees were…

Judith Anderson, Rebecca

Jane Darwell, The Grapes of Wrath

Ruth Hussey, The Philadelphia Story

Barbara O’Neil, All This, and Heaven Too

Marjorie Rambeau, Primrose Path (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…)