Posts tagged “1960

Mike’s Top Ten of 1960

I love 1960. I look at my favorite films of this year, and they make me smile. Not just because one of my five favorite films of all time came out this year, but also because legitimately half this top ten list (minimum) is widely considered among the absolute greatest films ever made. Personally, I think that distinction goes about seven or eight deep for this one. Plus, there’s a lot of cool under-the-radar stuff this year as well.

As far as the year goes, I think the major note is that you’re starting to see things turn. You don’t see the standard “studio” movie anymore. You look at most movies from the 50s, and they just feel like studio system movies. The movies are getting longer, they’re starting to feel less artificial and the subject matter is starting to broaden.

You also start to see way more foreign films permeating the lists, as this is part of the golden era of foreign cinema. Certain countries had movements before now, but in the 60s, you’re gonna see a lot of countries producing masterpieces left and right.

1960 is a good year. (more…)


A Pictorial History of the Movies: 1960 – Breathless

And this is where everything changed.

Foreign cinema was a huge factor in the fall of the old school studio system and classical Hollywood as it existed in the 30s, 40s and 50s. The studios had already lost all their theaters through the Paramount Case, so the monopoly was over, but even so, the studio system was still in prime form until now. This is when you start to see it decline. Part of that is the changing culture of the country, part of that is the end of the production code and censorship, and part of it is the influx of foreign films, which proved they could cross over and become part of the marketplace. And part of it is Doris Day. Fucking Doris Day.

Not to mention, more countries were able to have sustained film industries that could churn out movies of merit. The Foreign Language Film category at the Oscars didn’t even have nominees until 1956. But, starting around this time, you started to see more and more foreign films break through and get actual U.S. releases. The films began to be rated on par with American films, and a lot of that is (at least perceptually) due to this movie.

Because when you go over the influx of foreign films that broke through into Hollywood during the 60s, and their importance to the medium of film itself, you have to start with Breathless. (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 (1956-1960)

Today we round out the 50s. There’s some great stuff on here.

1956: “WHATEVER WILL BE, WILL BE (QUÉ SERÁ, SERÁ), FROM THE MAN WHO KNEW TOO MUCH

(more…)


The Oscar Quest: Best Picture – 1960

I have quite fond memories of 1960. Mostly because The Apartment is one of my five favorite movies of all time. The Best Picture nominees this year are also very strong. (Sure, we’d all love Psycho here, but even so — they’re strong.)

Outside of Best Picture, The Apartment wins Best Director for Billy Wilder (talked about here), which is nice to see, though I think we can all agree that Hitchcock gave the better effort. It also should have won Best Actress for Shirley MacLaine, but she lost to Elizabeth Taylor for BUtterfield 8 (talked about here). Most people agree that Liz only won because she was very ill at the time and they feared she was going to die. Best Actor was Burt Lancaster for Elmer Gantry (talked about here), which was a perfect decision. This was probably Lancaster’s greatest performance (this, Birdman of Alcatraz and Sweet Smell of Success are the top three. To me, anyway). He so deserved it. Shirley Jones also won Best Supporting Actress for the film (talked about here), which is fine, though I’d have voted for Janet Leigh in Psycho (because of the tricky nature of the performance). And Best Supporting Actor was Peter Ustinov for Spartacus (talked about here), which is terrific.

Overall, it’s a very strong year. Even the one questionable decision was remedied after the fact, so it’s just a simple, “Yeah, that shouldn’t have happened,” but isn’t so bad outside of the actual category. In all, this is a strong year, anchored by what I consider one of the top ten or fifteen best Best Picture decisions of all time.

BEST PICTURE – 1960

And the nominees were…

The Alamo (United Artists)

The Apartment (United Artists)

Elmer Gantry (United Artists)

Sons and Lovers (20th Century Fox)

The Sundowners (Warner Bros.) (more…)


Mike’s Top Tens of the Decade (1960-1969)

We’ve reached the 1960s. We had the 2000s and its Terrible Tens, the 1990s and the Films of My Childhood, the 1980s and the Awesomely 80s Movies, and the 1970s and my 70s Recommendations. Now come my favorite films of the 1960s.

Just like the other decades, along with the Top Ten, I’ll also list an 11-15 (or 20, depending on how strong the year is) list at the bottom to make it easier for me in the future. The idea is that when I do revisit these lists and see how my tastes have changed, I’ll have more than just ten films immediately on hand to get a sense of which films made it on or fell off the Top Ten list. (Let me remind you: the lists only include (or exclude) the films from these years that I’ve seen. As I see and like more films from the decade, the lists will be updated accordingly.)

Now there’s the issue of the extra category. As I always do, I like to include an extra category besides the 11-15; the Terrible Ten, the Films of My Childhood, the Awesomely 80s Movies, etc. This time, for the 60s — it’s not a particularly consistent decade. That is, with the 80s, they had 80s movies. The 60s don’t really have that. They were more of a combination of the end of the studio system and the changing film landscape and the end of the production code (epitomized by Bonnie and Clyde). So my 60s list will be what I’m calling “Out with the old, In with the new.” That is, films (good films, mind you. Not just any films. I had to have least liked them enough to put them on) that either typify the fading studio system (“out with the old”) or the emergence of New Hollywood (“in with the new”), as well as “other good films too,” which are ones that don’t necessarily fit in either category, but are also pretty great. “Out with the old, in with the new, and other good films too.”

So here are my Top Tens of the 1960s: (more…)


The Oscar Quest: Best Supporting Actor – 1960

I love 1960. Mostly because The Apartment, one of my favorite films of all time (top five, even), wins Best Picture and Best Director for Billy Wilder (talked about here). I love both decisions, even though Hitchcock probably should have won Best Director for Psycho.

Best Actor this year was Burt Lancaster for Elmer Gantry (talked about here), which was a gerat decision (and was so well-deserved). Shirley Jones also won Best Supporting Actress for the film (talked about here), which was a good decision, even though I’d have gone another way. Best Actress was Elizabeth Taylor for BUtterfield 8 (talked about here), which we all recognize as a bad decision, but it’s not a terrible one, just because they did think Taylor might die and because Shirley MacLaine eventually did win an Oscar. In all, we have a strong year, with all decisions making sense, even if they weren’t necessarily the best decisions.

And then we have this category, which — there was no way any other decision was gonna happen.

BEST SUPPORTING ACTOR – 1960

And the nominees were…

Peter Falk, Murder, Inc.

Jack Kruschen, The Apartment

Sal Mineo, Exodus

Peter Ustinov, Spartacus

Chill Wills, The Alamo (more…)


The Oscar Quest: Best Supporting Actress – 1960

Love me some 1960. That’s been the gist of all the articles I’ve written about it so far. The Apartment is one of my five favorite films of all time. I think it was one of the best Best Picture choices of all time. And I love Billy Wilder winning Best Director for it, though, as I said here, Hitchcock really should have won this for Psycho. It’s just a fact of life.

Then, Best Actor (which I talked about here) was Burt Lancaster for Elmer Gantry, which is just a wonderful decision, Best Actress was Elizabeth Taylor for BUtterfield 8, which, as I said here,  was a tough situation, and has a reputation for being a terrible decision, and it is a terrible decision, but the Academy kind of had their hands tied here, so, I understand it. And Best Supporting Actor was Peter Ustinov for Spartacus, which is a great decision. Peter Ustinov is awesome.

The real reason I love this year though is the films. The Apartment, Psycho, The Sundowners, Elmer Gantry, Spartacus, Peeping Tom, The Magnificent Seven, Inherit the Wind, La Dolce Vita, Breathless — there are some great films that came out this year. That’s why I love me some 1960.

BEST SUPPORTING ACTRESS – 1960

And the nominees were…

Glynis Johns, The Sundowners

Shirley Jones, Elmer Gantry

Shirley Knight, The Dark at the Top of the Stairs

Janet Leigh, Psycho

Mary Ure, Sons and Lovers (more…)


The Oscar Quest: Best Actor – 1960

I love 1960. To me, it’s one of the best years in Academy history. Maybe that’s because one of my favorite films of all time won Best Picture. Might have something to do with it. The Apartment is a film I love dearly. I love that it won. It’s perfect. Billy Wilder winning Best Director? I like it, but, as I said here, it probably wasn’t the best of the decisions that could have been made. (Juuusst a bit outside.)

Then, Best Actress was Elizabeth Taylor for BUtterfield 8, which I talked about here, so I won’t get into it too much, but, the gist of it is, Shirley MacLaine should have won. Read the article to get the full scoop. Then Best Supporting Actor was Peter Ustinov for Spartacus, and Best Supporting Actress was Shirley Jones for Elmer Gantry. All in all, pretty much every decision here was solid. And then there’s this category, which, while I do have a sentimental favorite, is a well-deserved Oscar to a much-deserved actor for a fantastic performance.

BEST ACTOR – 1960

And the nominees were…

Trevor Howard, Sons and Lovers

Burt Lancaster, Elmer Gantry

Jack Lemmon, The Apartment

Laurence Olivier, The Entertainer

Spencer Tracy, Inherit the Wind (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…)