Posts tagged “1947

Mike’s Top Ten of 1947

So 1944 for me was about the rise of the noirs. 1947 is the year of the noir. There are 22 of them on this list. 22! This is as cynical as it got for Hollywood.

That’s really the overwhelming theme for 1947: dark and cynical. Which is funny, because one of the most uplifting Christmas movies ever made (I guess, actually… two of them) came out this year. But man, there’s not a lot of uplift in here. Even the major film of the year about how awful society is.

But hey, alongside the darkness, we also have one of the most beautiful films ever shot. So there’s that. (more…)


A Pictorial History of the Movies: 1947 – Gentleman’s Agreement

Jews.

That’s what this one is about.

Take that, Hitler.

I mean, granted, every year in film history is represented by Jews (right, Mel?), but this film really takes the cake on that.

This film is why I avoided a lot of social problem films thus far. Because this film is really the big one of them all. (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 (1946-1950)

1946-1950 today. Let’s get started:

1946: “ON THE ATCHISON, TOPEKA AND SANTA FE,” FROM THE HARVEY GIRLS

(more…)


The Oscar Quest: Best Picture – 1947

1947 is one of the most boring years in the history of the Oscars. It’s so weak. But, they made a solid (and bold) choice, so that makes up for it.

Gentleman’s Agreement wins Best Picture, Best Director for Elia Kazan (talked about here) and Best Supporting Actress for Celeste Holm (talked about here). Best Actor was Ronald Colman for A Double Life (talked about here), a veteran Oscar if there ever was one (though he did do a good job). Best Actress was Loretta Young for The Farmer’s Daughter (talked about here), one of the greatest upsets in the history of the Oscars (and a terrible decision to boot). And Best Supporting Actor was Edmund Gwenn for Miracle on 34th Street (talked about here), which — he played Santa Claus. Obviously.

See what I mean? It’s a boring year. Gentleman’s Agreement is a great film, but it’s not a very sexy choice. And none of the acting winners is particularly memorable. I mean, Gwenn is good, but otherwise — no one really remembers anything. It’s just a boring year, 1947.

BEST PICTURE – 1947

And the nominees were…

The Bishop’s Wife (RKO Radio)

Crossfire (RKO Radio)

Gentleman’s Agreement (20th Century Fox)

Great Expectations (Rank-Cineguild, U-I)

Miracle on 34th Street (20th Century Fox) (more…)


The Oscar Quest: Best Actor – 1947

1947 is so boring. There’s nothing interesting about it. The nominees were just so weak. Sure, Gentleman’s Agreement was a solid Best Picture choice, but the field was so weak. Elia Kazan won Best Director for the film (talked about here) and Celeste Holm won Best Supporting Actress for it (talked about here), both of which were great decisions.

Best Actress this year was Loretta Young for The Farmer’s Daughter (talked about here), which is one of the worst Best Actress decisions of all time. Rosalind Russell was so horribly snubbed here it’s ridiculous. Awful, awful decision. And Best Supporting Actor was Edmund Gwenn for Miracle on 34th Street (talked about here), which — he played Santa Claus. End of story.

And then we have this category, which is career achievement Oscar, and one that actually works out, because the category wasn’t that strong, and the performance reads very well (as one that would win an Oscar) even though the actual performance is a bit overdone. So it’s actually not that bad.

BEST ACTOR – 1947

And the nominees were…

Ronald Colman, A Double Life

John Garfield, Body and Soul

Gregory Peck, Gentleman’s Agreement

William Powell, Life with Father

Michael Redgrave, Mourning Becomes Electra (more…)


The Oscar Quest: Best Actress – 1947

1947 is a year I constantly criticize for being weak because almost none of the Best Picture nominees were really strong enough to win. So while Gentleman’s Agreement is a great film and a good Best Picture choice, I always feel like it’s a bit of a let down, because, what if the category were stronger?

Elia Kazan won Best Director for the film (talked about here), which makes perfect sense and is a good decision, and Celeste Holm also won Best Supporting Actress for the film (talked about here), which makes sense but is the result of a shitty category. Best Actor was Ronald Colman for A Double Life, which I guess I can live with, him being respected and all (even though Gregory Peck gave the best performance and Colman being a bit — emotive). And Best Supporting Actor was Edmund Gwenn for Miracle on 34th Street (talked about here). He played Santa Claus. End of story.

So now we have this category, which we’ll just save time and leave it at — this is the biggest Best Actress upset of all time and is one of the worst Best Actress decisions of all time (as high as #2). It was horrible.

BEST ACTRESS – 1947

And the nominees were…

Joan Crawford, Possessed

Susan Hayward, Smash-Up: The Story of aWoman

Dorothy McGuire, Gentleman’s Agreement

Rosalind Russell, Mourning Becomes Electra

Loretta Young, The Farmer’s Daughter (more…)


The Oscar Quest: Best Director – 1947

1947 is a pretty weak year, I feel. Gentleman’s Agreement was the obvious choice for Best Picture, but the nominees felt really weak. The Bishop’s Wife is weak, Crossfire is a B movie, and, in a stronger year, it would be more awesome that it got nominated. Here, it brings the rest of the nominees down. Great Expectations also doesn’t help make the nominees any stronger, even though it’s a great film. And Miracle on 34th Street also doesn’t help make things stronger. So, while they made the right choice, I can’t help but feel the year is a blank in history. The other categories don’t help matters much.

Ronald Colman wins Best Actor for A Double Life, which is a career achievement award. The category was really weak. Gregory Peck gave the best performance, but he won one later, so the Colman win works. Though, again, it doesn’t help this year seem stronger. Best Actress went to Loretta Young for The Farmer’s Daughter, which is considered by many (but not me. You know my preoccupation with 1970) to be the worst Best Actress decision of all time. Rosalind Russell really should have won that for Mourning Becomes Electra. Then Best Supporting Actor was Edmund Gwenn for Miracle on 34th Street (talked about here), which makes perfect sense, since he played Santa Claus. The lone strong decision of this this year (outside of this category). And Best Supporting Actress was Celeste Holm for Gentleman’s Agreement (talked about here), which is a good decision, but the category was really shitty. It doesn’t help the year any.

And the year is capped off by this decision, which — what the hell did you think they were gonna do?

BEST DIRECTOR – 1947

And the nominees are…

George Cukor, A Double Life

Edward Dmytryk, Crossfire

Elia Kazan, Gentleman’s Agreement

Henry Koster, The Bishop’s Wife

David Lean, Great Expectations (more…)


The Oscar Quest: Best Supporting Actress – 1947

I don’t like 1947. I like the big decisions, but I feel the nominees this year were pretty weak, so, while they made the best decision, it just feels ho hum. Gentleman’s Agreement wins Best Picture and Best Director for Elia Kazan. Its competition was a B-movie version of the same story (Crossfire) two fantasies that are better served as Christmas films (The Bishop’s Wife and Miracle on 34th Street, which, if It’s a Wonderful Life didn’t win the year before this, these had no shot), and a classical literary adaptation (Great Expectations, which, is a great film, but not one that should win Best Picture. They wouldn’t make this mistake until the year after this). So, they made the right choice, but, the choices were pretty weak, so that’s why I don’t really think of this as such an amazing decision.

Best Actor this year was Ronald Colman for A Double Life. This was a “veteran” win, in that, he was a well-respected actor, and, like David Niven, it was only a matter of time before he won one of these. And, honestly, the category sucked so bad, I’m okay with it, even though I didn’t much like the performance (loved the concept behind the performance, but the performance itself felt very theatrical). Gregory Peck gave the best performance, but, he won an Oscar later, so it’s okay that he didn’t win. Then Best Actress this year was Loretta Young in The Farmer’s Daughter, which was probably the second worst Best Actress decision of all time. Rosalind Russell really should have won for Mourning Becomes Electra. This is considered to be the worst Best Actress decision, but, we already know my feelings on that one. And Best Supporting Actor this year was Edmund Gwenn for Miracle on 34th Street (talked about here), which I like a lot and accept, but Richard Widmark was so awesomely insane in Kiss of Death, I had to vote for him there. He pushes an old woman in a wheelchair down the stairs.

Which brings us to this category. It’s really weak. There were only two decisions they could have made that were okay. This was one of them.

BEST SUPPORTING ACTRESS – 1947

And the nominees were…

Ethel Barrymore, The Paradine Case

Gloria Grahame, Crossfire

Celeste Holm, Gentleman’s Agreement

Marjorie Mann, The Egg and I

Anne Revere, Gentleman’s Agreement (more…)


The Oscar Quest: Best Supporting Actor – 1947

Oh, I don’t like 1947. This year just reeks of weak to me. Not that Gentleman’s Agreement is a bad film, it’s just — the rest of the year is so weak around it, to me, it feels like a weak choice. It’s a great film, and in the category, it totally should have won Best Picture. It also won Best Director for Elia Kazan, which — no objections there, and Best Supporting Actress for Celeste Holm, which I’m cool with. I like her. And the category was weak.

Best Actor this year was Ronald Colman for A Double Life, which is a really weak choice. Gregory Peck was so much better in Gentleman’s Agreement. Best Actress this year was Loretta Young in The Farmer’s Daughter, which is one of the worst Best Actress decisions of all time (probably second, maybe third, still, really, really bad). Rosalind Russell definitely should have won for Mourning Becomes Electra. The performances aren’t even close.

So that’s 1947. Just a weak set of films, Academy-wise, and overall weak choices outside of Best Picture and Director. Fortunately, though, this category does redeem a lot of it, because — Santa Claus. Instant redemption.

BEST SUPPORTING ACTOR – 1947

And the nominees were…

Charles Bickford, The Farmer’s Daughter

Thomas Gomez, Ride the Pink Horse

Edmund Gwenn, Miracle on 34th Street

Robert Ryan, Crossfire

Richard Widmark, Kiss of Death (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…)