Posts tagged “1955

Mike’s Top Ten of 1955

Well, I guess there’s really only one thing to discuss for 1955 — James Dean.

Not necessarily Dean himself, though he did have an amazing, brief career, with three all-time classics as his only features in which he starred. We need to talk about both what he represents — method acting, the teen culture of the 50s — and also how it relates to the big cultural film of the year: Rebel Without a Cause.

The 50s started to represent a societal disconnect between adults and teenagers. This was the first time the term generational gap became a thing. Here you have adults that were raised on wholesomeness and here are these teens that are listening to rock ‘n’ roll, smoking cigarettes and all this other stuff. The disconnect between parents and children would be a major theme of the next few years. You can’t discuss 1955 without James Dean and the generational gap being front and center.

Outside of that, there are some real classics we’re gonna talk about here. There are heavy hitters all over the board, across every genre. (more…)


A Pictorial History of the Movies: 1955 – Rebel Without a Cause

“You’re tearing me apart!”

Those words were pretty important in 1955. And pretty representative of the disconnect between the older generation and the younger generation. (Words that would also resonate just as loudly and beautifully when directed at Lisa in the iconic chamber drama and winner of seven Academy Awards The Room.)

Times were changing. Kids were listening to rock and roll and coming up with their own culture. The culture of the country was changing. This has been represented countless times in movies. I don’t need to get into that here. The landscape of the country and of film were both changing. And this film came at a very crucial time, and as such, has become one of the greatest and most iconic films of all time.

It’s rare to get a total package like this one. A film that represents actually everything going on in American culture at the time. (more…)


The Oscar Quest: My Oscar Nominations — Best Director (1950-1969)

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 (1950-1969)

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 (1950-1969)

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 (1950-1969)

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 (1950-1969)

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 (1950-1969)

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

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

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

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


Best Original Song: A Categorical History (1951-1955)

Today we hit the 50s, which is the golden age of the studio Technicolor musical and the golden age of the theme song. Let’s count how many times Sinatra and Dean Martin show up over the next decade.

1951: “IN THE COOL, COOL, COOL OF THE EVENING,” FROM HERE COMES THE GROOM

(more…)


Mike’s Top Tens of the Decade (1950-1959)

This has become, by far, my favorite part of this blog. These articles have introduced me to so many movies. Ones I needed to see but hadn’t, ones I’d wanted to see but never did, ones I had no idea about. They’re the perfect excuse to go out and see more things. Plus I get to uncover some real gems. I’m so excited to do these top tens lists that I’ve began starting them earlier and earlier each time. The last one, I finished with a month to spare. This one I started before that one even went up. That’s how much I love these lists.

I’ve done the 2000s, 1990s, 1980s, 1970s and 1960s already. The way I do them is — I list my favorite ten movies for each year, then put an 11-15 (or 11-20. This decade, we have all 11-20s, because it’s incredible) at the bottom, to both recommend more great films as well as make it easier on myself when I revisit these lists in the future to update them to account for the passage of time and my maturation of taste.

The other thing I do with each decade is, outside of the top 15-20, I include a “fun” list at the bottom. For the 2000s, it was the “Terrible Ten,” of films from each year that I hated. For the 90s, it was the “Films of My Childhood.” For the 80s, it was the “Awesomely 80s Movies.” For the 70s, it was the “70s Recommendations.” For the 60s, it was the “Out with the old, in with the new.” This time, I’m doing what I’m calling “Gems of the Studio System.” There were a lot of great films from the 50s, and I wanted to find a good way to describe all the extra films I included. And I noticed, while figuring out logistics for these lists, that almost all of them were films from major directors, and that a lot of them (the films) are relatively unknown (for the most part). So the idea behind the lists was to show some hidden gems that, because of the studio system and most directors making three, four pictures a year, got lost over time. (Not all of them are by famous directors, but 90% of them are.) I’ll also tell you which director did which one. I bet on more than a few you’ll go, “Really?”

Now that’s all explained, let’s get into the lists: (more…)


The Oscar Quest: Best Picture – 1955

1955 is one of the weakest single years in Academy history. And, like I always say, a year begins with Best Picture. And this year’s Best Picture field might be the single weakest in history (it probably is, actually). There’s nothing here that should win in a regular year. Which pretty much leaves this as a forgotten year in Academy history, just because nothing particularly memorable came from it.

Marty wins Best Picture, Best Director for Delbert Mann (talked about here) and Best Actor for Ernest Borgnine (talked about here). The first two I understand and the third — while I think Frank Sinatra gave the better performance in The Man with the Golden Arm, he had an Oscar from 1953 and Borgnine was just as good, so, it’s fine. Best Actress was Anna Magnani for The Rose Tattoo (talked about here), which is utterly forgettable, and, in my opinion, a poor decision. (I think Susan Hayward should have won for I’ll Cry Tomorrow, which would have allowed either Deborah Kerr or Rosalind Russell to win their overdue Oscars in 1958, or let Liz Taylor win, which would have allowed Shirley MacLaine win in 1960, which would have affected 1983… the consequences are far-reaching.) Then Jack Lemmon wins Best Supporting Actor for Mister Roberts (talked about here), which is fine. The category was horrendously weak, though, and Lemmon won Best Actor later on, so most people forget about this. And Jo Van Fleet won Best Supporting Actress for East of Eden (talked about here), which — fine. She was in a bunch of stuff — I don’t have a problem with it (even though I’d have given it to Betsy Blair. Just because I love Marty).

So, really, not one memorable decision this year, despite Marty being a terrific film. But really, when you get down to bare essentials — the Best Picture category — this year is really one of the most forgettable years in Academy history.

BEST PICTURE – 1955

And the nominees were…

Love is a Many-Splendored Thing (20thCentury Fox) 

Marty (United Artists)

Mister Roberts (Warner Bros.)

Picnic (Columbia)

The Rose Tattoo (Paramount) (more…)


The Oscar Quest: Best Supporting Actor – 1955

1955 is a bit of a forgotten year in Academy history. Mostly because it’s small. A small film won the big awards, and the rest of the awards aren’t particularly memorable. So most people tend to overlook it.

Marty wins Best Picture, Best Director for Delbert Mann (talked about here), and Best Actor for Ernest Borgnine (talked about here). I love all the decisions, mostly because I love Marty, and because the year was very weak, and I think it was the best film in the bunch. (Could have done without Best Director, but whatever. James L. Brooks won for his film, so it’s not like it hasn’t happened.)

Best Actress was Anna Magnani for The Rose Tattoo (talked about here), which I don’t like because she’s not really an actress who needs an Academy Award, plus I felt Susan Hayward was much better in I’ll Cry Tomorrow, and if she’d won here, she wouldn’t have had to win in 1958 and then either Deborah Kerr or Rosalind Russell or Elizabeth Taylor could have won. (Kerr and Russell never won Oscars, and if Taylor won that year, she wouldn’t have had to win in 1960, and then Shirley MacLaine, the fifth nominee in 1958, could have won. Amazing what one decision can do, huh?) Oh, and Jo Van Fleet won Best Supporting Actress for East of Eden (talked about here). I understand it, but I went another way.

And then this category — meh. Pretty weak. But, Jack Lemmon is awesome. So he makes this feel a bit better.

BEST SUPPORTING ACTOR – 1955

And the nominees were…

Arthur Kennedy, Trial

Jack Lemmon, Mister Roberts

Joe Mantell, Marty

Sal Mineo, Rebel Without a Cause

Arthur O’Connell, Picnic (more…)


The Oscar Quest: Best Supporting Actress – 1955

1955 is a year that seems to get lost in the shuffle among Oscar years. It’s wedged between the behemoth that is On the Waterfront, and the disaster (sort of) that is Around the World in 80 Days. Not to mentionFrom Here to Eternity and The Bridge on the River Kwai being on either side of those movies. So it makes sense that a small film about a lonely butcher finding love would get overlooked.

Marty wins Best Picture, Best Director for Delbert Mann (talked about here), and Best Actor for Ernest Borgnine (talked about here). I love the film. I think it’s perfect, and I think it was the best choice among the nominees. Sure, the set of nominees was weak, but best choice is the best choice. Anna Magnani wins Best Actress for The Rose Tattoo (talked about here). I don’t like it. I think Susan Hayward should have won for I’ll Cry Tomorrow, leaving the Hayward 1958 win open for one of several actresses who could have won (some of whom never won an Oscar). And Best Supporting Actor was Jack Lemmon for Mister Roberts, which I like very much, because Jack Lemmon is awesome (and the category really sucked).

And that brings us to this category, which is tough for me. Well, not really. It’s tough because I know I’m not gonna do the logical thing.

BEST SUPPORTING ACTRESS – 1955

And the nominees were…

Betsy Blair, Marty

Peggy Lee, Pete Kelly’s Blues

Marisa Pavan, The Rose Tattoo

Jo Van Fleet, East of Eden

Natalie Wood, Rebel Without a Cause (more…)


The Oscar Quest: Rankings — Best Director

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

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


Best Director

2013 – 1. Alfonso Cuaron, Gravity *

2. Steve McQueen, 12 Years a Slave

3. Martin Scorsese, The Wolf of Wall Street

4. David O. Russell, American Hustle

5. Alexander Payne, Nebraska

2012 – 1. Ang Lee, Life of Pi *

2. Steven Spielberg, Lincoln

3. David O. Russell, Silver Linings Playbook

4. Benh Zeitlin, Beasts of the Southern Wild

5. Michael Haneke, Amour

2011  1. Martin Scorsese, Hugo *

2. Michel Hazanavicius, The Artist

3. Terrence Malick, The Tree of Life

4. Woody Allen, Midnight in Paris

5. Alexander Payne, The Descendants (more…)


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

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

A reminder about the color code:

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

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


The Oscar Quest: Rankings — Best Supporting Actress

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

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


Best Supporting Actress

2013 – 1. Julia Roberts, August: Osage County

2. Lupita Nyong’o, 12 Years a Slave *

3. June Squibb, Nebraska

4. Sally Hawkins, Blue Jasmine

5. Jennifer Lawrence, American Hustle

2012 – 1. Anne Hathaway, Les Misérables *

2. Sally Field, Lincoln

3. Helen Hunt, The Sessions

4. Jacki Weaver, Silver Linings Playbook

5. Amy Adams, The Master

2011 – 1. Bérénice Bejo, The Artist

2. Jessica Chastain, The Help *

3. Octavia Spencer, The Help

4. Janet McTeer, Albert Nobbs

5. Melissa McCarthy, Bridesmaids (more…)


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

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

A reminder about the color code:

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

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


The Oscar Quest: Rankings – Best Supporting Actor

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

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


Best Supporting Actor

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

2. Jared Leto, Dallas Buyers Club

3. Michael Fassbender, 12 Years a Slave

4. Bradley Cooper, American Hustle

5. Barkhad Abdi, Captain Phillips

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

2. Christoph Waltz, Django Unchained

3. Tommy Lee Jones, Lincoln

4. Philip Seymour Hoffman, The Master

5. Alan Arkin, Argo

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

2. Christopher Plummer, Beginners

3. Kenneth Branagh, My Week with Marilyn

4. Nick Nolte, Warrior

5. Jonah Hill, Moneyball (more…)


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

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

A reminder about the color code:

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

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


The Oscar Quest: Rankings – Best Actress

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

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


Best Actress

2013 – 1. Judi Dench, Philomena *

2. Sandra Bullock, Gravity

3. Meryl Streep, August: Osage County

4. Cate Blanchett, Blue Jasmine

5. Amy Adams, American Hustle

2012 – 1. Jennifer Lawrence, Silver Linings Playbook *

2. Naomi Watts, The Impossible

3. Jessica Chastain, Zero Dark Thirty

4. Emmanuelle Riva, Amour

5. Quvenzhané Wallis, Beasts of the Southern Wild

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

2. Michelle Williams, My Week with Marilyn

3. Viola Davis, The Help

4. Meryl Streep, The Iron Lady

5. Glenn Close, Albert Nobbs (more…)


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

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

A reminder about the color code:

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

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


The Oscar Quest: Rankings – Best Actor

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

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

Best Actor

2013 – 1. Matthew McConaughey, Dallas Buyers Club *

2. Leonardo DiCaprio, The Wolf of Wall Street

3. Bruce Dern, Nebraska

4. Chiwetel Ejiofor, 12 Years a Slave

5. Christian Bale, American Hustle

2012 – 1. Daniel Day-Lewis, Lincoln *

2. Joaquin Phoenix, The Master

3. Hugh Jackman, Les Misérables

4. Bradley Cooper, Silver Linings Playbook

5. Denzel Washington, Flight

2011  1. Gary Oldman, Tinker Tailor Soldier Spy *

2. Jean Dujardin, The Artist

3. George Clooney, The Descendants

4. Brad Pitt, Moneyball

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


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

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

A reminder about the color code:

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

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


The Oscar Quest: Rankings – Best Picture

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

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


Best Picture

2013 – 1. Gravity (Warner Bros.) *

2. Her (Warner Bros., Annapurna)

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

4. 12 Years a Slave (Fox Searchlight)

5. Captain Phillips (Columbia)

6. American Hustle (Columbia, Annapurna)

7. Philomena (The Weinstein Co.)

8. Dallas Buyers Club (Focus Features)

9. Nebraska (Paramount Vantage)

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

2. Les Misérables (Universal, Working Title Films)

3. Silver Linings Playbook (The Weinstein Co.)

4. Argo (Warner Bros.)

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

6. Life of Pi (20th Century Fox)

7. Beasts of the Southern Wild (Fox Searchlight)

8. Zero Dark Thirty (Columbia)

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

2011  1. The Artist (The Weinstein Company) *

2. Hugo (Paramount)

3. Moneyball (Columbia)

4. War Horse (Touchstone, DreamWorks)

5. The Tree of Life (Fox Searchlight)

6. The Descendants (Fox Searchlight)

7. Midnight in Paris (Sony Pictures Classics)

8. The Help (Touchstone, DreamWorks)

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