Posts tagged “1942

Mike’s Top Ten of 1942

You’d think maybe there’d be a bit of a drop off, the year after Citizen Kane. But no, we come right back with Casablanca. And about five or six other really iconic and incredible movies. (I mean like, all-time iconic and not just regular iconic.)

The big thing to discuss for 1942 is that it’s the first year of World War II. The U.S. entered the war at the end of 1941, and this was the first year you start to see incredibly pro-war effort films start to come out there. That is really the main trend for the year.

Outside of that, the year is full of terrific biopics and classy dramas. And one film that is one of the most entertaining and underrated hidden gems out there, that almost nobody knows about today. (more…)


A Pictorial History of the Movies: 1942 – Casablanca

Casablanca.

I probably could just end the article there, but, these stupid rules I’ve imposed upon myself prevent me from doing so.

It’s one of the greatest movies ever made, everyone will tell you so. One of the most quotable movies of all time. The list goes on and on. It’s the only choice for 1942.

So now… what are we going to talk about? (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 (1941-1945)

This is a lot of fun for me. I’m not even going to waste time with an introduction. Today we do Best Original Song from 1941-1945.

1941: “THE LAST TIME I SAW PARIS,” FROM LADY BE GOOD

(more…)


The Oscar Quest: Best Picture – 1942

 Things changed this year. Now America is in the war. So you have to shift your thinking to taking that into account. The war was a huge deal. Patriotism (and to an extent propaganda) was a big thing. And that’s ultimately what helps this year make sense.

Mrs. Miniver is a good film, but more importantly — it’s a good war film. It promotes the values of the family sticking together during war time and doing their part to help out their country, despite hardships that come of it. A film like this makes sense for 1942. It also won Best Director for William Wyler (talked about here), Best Actress for Greer Garson (talked about here), and Best Supporting Actress for Teresa Wright (talked about here). All were fine decisions, ranging from simply okay to really great. Best Actor was James Cagney for Yankee Doodle Dandy (talked about here), which was an amazing decision. And Best Supporting Actor was Van Heflin for Johnny Eager (talked about here), which was a pretty insignificant decision in one of the weakest Best Supporting Actor categories of all time.

So, overall, while I’m sure we all prefer a different film for Best Picture, 1942 is a solid year. There’s really not much else to say. There’s a war on, Fink.

BEST PICTURE – 1942

And the nominees were…

49th Parallel (GFD, Columbia)

Kings Row (Warner Bros.)

The Magnificent Ambersons (Mercury, RKO Radio)

Mrs. Miniver (Metro-Goldwyn-Mayer)

The Pied Piper (20th Century Fox)

The Pride of the Yankees (Goldwyn, RKO Radio)

Random Harvest (Metro-Goldwyn-Mayer)

The Talk of the Town (Columbia)

Wake Island (Paramount)

Yankee Doodle Dandy (Warner Bros.) (more…)


The Oscar Quest: Best Supporting Actor – 1942

I call 1942 an “of course” year. Because of course a film like Mrs. Miniver would win Best Picture in a year like this. Middle of the war — film about a family dealing with war — of course it would win.

William Wyler won Best Director for the film (talked about here), Greer Garson won Best Actress for it (talked about here), and Teresa Wright won Best Supporting Actress for it (talked about here). And James Cagney won Best Actor for Yankee Doodle Dandy (talked about here). All decisions ranging from good to great.

But this category — holy shit is it bad. One of the single weakest — if not the weakest — Best Supporting Actor categories of all time. It’s really, really awful. And it’s so bad, that — honestly it didn’t matter who won. It’s that bad. I skip over this one constantly. It’s like that one family member everyone forgets to invite to stuff. You know — what’s his name. Who sucks.

BEST SUPPORTING ACTOR – 1942

And the nominees were…

William Bendix, Wake Island

Van Heflin, Johnny Eager

Walter Huston, Yankee Doodle Dandy

Frank Morgan, Tortilla Flat

Henry Travers, Mrs. Miniver (more…)


The Oscar Quest: Best Actress – 1942

1942. It’s pretty cut and dry and understandable all the way through. I like that.

Mrs. Miniver wins Best Picture, Best Director for William Wyler (talked about here), this category, and Best Supporting Actress for Teresa Wright (talked about here). Picture had to happen, because it’s a war film made during the peak war years, promoting family and strength and togetherness, and — it just had to win. It wasn’t going to not win. Director was going the way of Picture, so that’s that Teresa Wright — she was also nominated for Best Actress this year, and was up-and-coming. There was no way she wasn’t winning something. And this category I’ll tell you about in just a second.

The other categories this year were Best Actor, which went to James Cagney for Yankee Doodle Dandy (talked about here), which was a terrific decision (especially since Gary Cooper won the year before this), and Best Supporting Actor, which went to Van Heflin for Johnny Eager, which was a bad decision in a terrible category. So whatever.

And this category — had to happen. She was really overdue by this point, and the only reason she didn’t have won already was because she lost to a makeup Oscar. So now she gets her makeup Oscar, and everything works out just fine.

BEST ACTRESS – 1942

And the nominees are…

Bette Davis, Now, Voyager

Greer Garson, Mrs. Miniver

Katharine Hepburn, Woman of the Year

Rosalind Russell, My Sister Eileen

Teresa Wright, Pride of the Yankees (more…)


The Oscar Quest: Best Actor – 1942

1942 is a year that — kind of like a lesser 1946, no one could really do anything about. World War II was in full swing, and the Academy was obviously gonna go with a film that pushed forward the war effort. That, mixed with the fact that it was a relatively weak set of Best Picture nominees — it makes sense.

Mrs. Miniver wins Best Picture, Best Actress for Greer Garson, Best Supporting Actress for Teresa Wright (talked about here), and Best Director for William Wyler (talked about here). All were actually great decisions.

The non-Miniver decisions for the year were Van Heflin as Best Supporting Actor for Johnny Eager, which might have been the weakest Best Supporting Actor category of all time, and this category.

This category is actually a great one, because it was a perfect opportunity to award James Cagney. If Gary Cooper didn’t win this category the year before this, chances are Cagney wouldn’t have won here. But Cooper did win, so Cagney was able to get his well-deserved Oscar. And that’s good.

BEST ACTOR – 1942

And the nominees were…

James Cagney, Yankee Doodle Dandy

Gary Cooper, The Pride of the Yankees

Ronald Colman, Random Harvest

Walter Pidgeon, Mrs. Miniver

Monty Woolley, The Pied Piper (more…)


The Oscar Quest: Best Supporting Actress – 1942

Like 1942 but don’t love it. A lot of that has to do with the fact that the Best Picture choice feels too easy. It’s a good film, but not a definitive winner to me. And the year doesn’t seem to have that definitive winner (though, historically, they did make a good choice. I’m all about how the Oscars tie into history).

Mrs. Miniver wins Best Picture, Best Director for William Wyler (talked about here), Best Actress for Greer Garson, and this category. I love all of these decisions. (Though as an addendum to that, I’d have voted for Teresa Wright in Best Actress, because I voted for Greer Garson the year before this in Blossoms in the Dust because I think that performance was better, so me voting for Garson there and Wright this year meant that I voted for someone else in this category. Ya follow?)

The non-Miniver Oscars went to James Cagney, as Best Actor for Yankee Doodle Dandy (a fantastic decision) and Best Supporting Actor was Van Heflin for Johnny Eager, which is the biggest blank in the history of that category.

So let’s get into this one, which, as I already said, I love the decision, but through my bookkeeping, I’m voting for something else. Don’t worry, I’ll explain everything.

BEST SUPPORTING ACTRESS – 1942

And the nominees were…

Gladys Cooper, Now Voyager

Agnes Moorehead, The Magnificent Ambersons

Susan Peters, Random Harvest

Dame May Whitty, Mrs. Miniver

Teresa Wright, Mrs. Miniver (more…)


The Oscar Quest: Best Director – 1942

1942, to me, is a lot of bridesmaids without a bride. I understand why Mrs. Miniver won Best Picture — it’s a solid film, a wartime story, and it’s about family, and that’s what they needed during WW II — but to me, there could have been a better choice. And yet, of the rest of the choices, the only films I could see possibly voting for over it were, 49th Parallel, The Magnificent Ambersons, The Pride of the Yankees, and Yankee Doodle Dandy. But of those, 49th Parallel isn’t a good choice, Ambersons was so creatively compromised, Dandy shouldn’t have won, and Pride of the Yankees, while my favorite film nominated, feels like a lesser choice, historically, than Mrs. Miniver.

Teresa Wright also won Best Supporting Actress for Mrs. Miniver, which is a great decision, since she probably should have won Best Actress this year (in this man’s opinion), but Greer Garson (who also won for Miniver) really needed to win because she was passed over the year before this so they could give Joan Fontaine her makeup Oscar. So what ended up happening was, Fontaine wins, bumps Garson to here, and Garson bumps Wright to Supporting, so everything worked out. Then Best Actor this year was James Cagney for Yankee Doodle Dandy, a decision I’m sure everyone loves (to me, Gary Cooper was better in Pride of the Yankees, but he won the year before this, so it all worked out). And Best Supporting Actor was Van Heflin in Johnny Eager, which, I don’t like, but, in a category that weak, it’s not like it matters at all.

And this category — pretty simple. Comes with the territory. Sure, based on the fact that he won three times, you could say, “Give it to someone else here,” but, honestly, I don’t see anyone else with an effort that deserves to beat it.

BEST DIRECTOR – 1942

And the nominees were…

Michael Curtiz, Yankee Doodle Dandy

John Farrow, Wake Island

Meryn LeRoy, Random Harvest

Sam Wood, Kings Row

William Wyler, Mrs. Miniver (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…)