Posts tagged “1967

Mike’s Top Ten of 1967

There’s a whole lot to say about 1967. For starters, can you believe this is the first year so far that every single top ten film is in color? Get used to it, because there’s only like ten more black-and-white films total in the top ten for the next 35 years.

Other than that — I’ve been hinting to it for about six years now, but this is the year when the dam burst and the studio system as we knew it came to an end. Gone were the highly controlled, artificial, sound stage, cookie-cutter movies and in were the gritty, realistic films that dealt with subject matter never before seen, frankly discussing politics and race and sex and using violence and language and all these experimental techniques. This year changed cinema forever.

It’s also, I feel, one of those years where just about everyone has most of the same top films. At least half this list is gonna be uniform among everyone because these are some of the best films ever made and everyone loves them.

The other thing of note is that it’s really not as deep a year as the others, I think because of the amount of change going on at the time, as Hollywood was moving to smaller, more independent type material and away from the big budget stuff. So you’re left without a lot of those middle class gems that most of the other years are full of. (more…)


A Pictorial History of the Movies: 1967 – Bonnie and Clyde

This was almost one of the easiest decisions I had on the list.

Because, looking at this year… it’s four films. But In the Heat of the Night and Guess Who’s Coming to Dinner fall off pretty quickly. The only other choice that can hold a candle to this one is The Graduate. But, honestly… no film had as big an impact on cinema as this one did. The Graduate was more a cultural reflection and a great piece of cinema that was very popular that also crossed over into popular culture. This movie changed cinema forever.

When you mark the threshold between Old Hollywood and New Hollywood, this film is that threshold. It’s the only choice for 1967. (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 (1966-1970)

Oh man, there’s some great stuff 1966-1970.

1966: “BORN FREE,” FROM BORN FREE

(more…)


The Oscar Quest: Best Picture – 1967

This is the year everything changed. After a decade of the crumbling of the studio system, studios not knowing how to handle the changing times, the failures of this big-budget roadshow musicals, the rampant runaway production going on — something snapped. For a few years, these smaller, grittier, counter-culture films were starting to pop up. But this year is where one of them finally broke through into the mainstream: Bonnie and Clyde. Not to mention, you see a huge influx of socially conscious films among the nominees this year. Dealing with race and violence and sex — topics that were completely taboo less than a decade earlier. 1967 is the most socially important year in the history of cinema. No other year holds a candle to it in terms of social importance.

The year is also wonderfully spread out. They managed to get every major film an award. In the Heat of the Night wins Best Picture and Best Actor for Rod Steiger (talked about here). Steiger was pretty due by this point, so that was nice (even though I’d say Spencer Tracy and Paul Newman gave better performances. Not to mention an un-nominated and horribly snubbed Sidney Poitier). Best Actress was Katharine Hepburn for Guess Who’s Coming to Dinner (talked about here), a solid choice. Best Supporting Actor was George Kennedy for Cool Hand Luke (talked about here), which is so awesome I don’t even want to talk about it lest I somehow jinx it 45 years after the fact. Best Supporting Actress was Estelle Parsons for Bonnie and Clyde (talked about here), which — wow. If you’ve seen the performance, you know. And Best Director was Mike Nichols for The Graduate (talked about here), which he deserved, between this and not winning for Who’s Afraid of Virginia Woolf? the year before this. So, overall, they did a great job of awarding all the great films from the year.

However — and I’ve said this a lot — I can’t help but feel this Best Picture decision is a cop out decision.

BEST PICTURE – 1967

And the nominees were…

Bonnie and Clyde (Warner Bros., Seven Arts)

Doctor Dolittle (20th Century Fox)

The Graduate (Embassy)

Guess Who’s Coming to Dinner (Columbia)

In the Heat of the Night (United Artists) (more…)


The Oscar Quest: Best Actor – 1967

I love 1967, but I don’t necessarily love all the choices they made, Oscar-wise. At least in the sense of what people see. And what do people see when they look at 1967? In the Heat of the Night wins Best Picture. Which I feel is a bad choice, among a field of nominees that includes Bonnie and Clyde, The Graduate and Guess Who’s Coming to Dinner.

Fortunately, though, the rest of the year is spread out pretty well. Katharine Hepburn wins Best Actress for Guess Who’s Coming to Dinner (talked about here), George Kennedy wins Best Supporting Actor for Cool Hand Luke (talked about here), Estelle Parsons wins Best Supporting Actress for Bonnie and Clyde (talked about here), and Mike Nichols wins Best Director for The Graduate (talked about here). Nice way of spreading the wealth. Still, though, I’m not sure it makes up for the fact that the figurehead decision for the year is weak.

And then this category — a lot of people might have problems with it. And I understand that. But actually this is a very solid decision, and one that’s backed up by history (a bit). It also helps to lessen (slightly) the blow of the film winning Best Picture. So I’m actually okay with it (which I didn’t think would be the case).

BEST ACTOR – 1967

And the nominees were…

Warren Beatty, Bonnie and Clyde

Dustin Hoffman, The Graduate

Paul Newman, Cool Hand Luke

Rod Steiger, In the Heat of the Night

Spencer Tracy, Guess Who’s Coming to Dinner (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 Actress – 1967

1967. The landmark year. Hollywood breaks from classical tradition. But not so you’d really notice it, the Oscars seemingly try to mask that change by picking the most watered down version of it. Of the five Best Picture choices, here’s the order in which they’d have been good choices for the year that was 1967: Bonnie and Clyde, The Graduate, Guess Who’s Coming to Dinner, In the Heat of the Night, Doctor DolittleDolittle of course would have been a complete rejection of the situation, and that wasn’t gonna happen. And some people might put In the Heat of the Night third (but I don’t). But still — it was not an ideal choice.

I think that’s evident in the fact that Mike Nichols won Best Director for The Graduate (talked about here). Even bad Best Picture choices also won Best Director (King’s Speech, anyone?). Though they did do a good job of spreading the wealth. Best Actor was Rod Steiger for In the Heat of the Night. I wouldn’t have voted for it, but it’s an acceptable decision, since he’d earned one of these from ’65 for The Pawnbroker. Best Actress was Katharine Hepburn for Guess Who’s Coming to Dinner (talked about here), which, while I wouldn’t have voted for it, isn’t that bad, since all the other potential winners had, or later won, Oscars. Best Supporting Actor was George Kennedy for Cool Hand Luke (talked about here), which I love dearly.

Then there’s this category. Holy shit, was this a great decision. This is also one of the strongest Best Supporting Actress categories of all time.

BEST SUPPORTING ACTRESS – 1967

And the nominees were…

Carol Channing, Thoroughly Modern Millie

Mildred Natwick, Barefoot in the Park

Estelle Parsons, Bonnie and Clyde

Beah Richards, Guess Who’s Coming to Dinner

Katharine Ross, The Graudate (more…)


The Oscar Quest: Best Actress – 1967

What a let down 1967 is. Here’s a year where Hollywood made a break from tradition. The films were modern, realistic, gritty, violent, sexual — all the things classical Hollywood wasn’t. And then they chose In the Heat of the Night as Best Picture, which is like — music people will think up more examples of this than I can — when a new style of music is up and coming, like grunge or punk or something, and there are all those underground bands that really drive the movement forward, and are the backbone of it, and then the most corporate, watered down version of that movement becomes huge and has all the hits and is labeled as having started it. That’s what this is like to me. Here’s a category with three different films that perfectly capture what 1967 was about. And In the Heat of the Night wins Best Picture. Why not just fucking pick Doctor Dolittle and be done with it? Seriously. Fortunately, the other three choices did well elsewhere.

Best Actor this year was Rod Steiger for In the Heat of the Night, which I understand. Wouldn’t vote for it, but I understand. He was due. Totally cool with that. Best Supporting Actor was George Kennedy for Cool Hand Luke (talked about here), which I love. Best Supporting Actress was Estelle Parsons for Bonnie and Clyde, which I also love. And Best Director was Mike Nichols for The Graduate (talked about here). So essentially you have Hollywood spreading the wealth, but giving the top prize to the most controlled entity of the bunch. Terrible.

And then there’s this category. Most people would agree that the best choice was not made. However, on the other hand, you can’t really be too upset at the decision, because all of the principals contending for a vote all had (or later won) Oscars. So, while we’d all vote differently, it’s not that bad. And that’s good. One less thing.

BEST ACTRESS – 1967

And the nominees were…

Anne Bancroft, The Graduate

Faye Dunaway, Bonnie and Clyde

Edith Evans, The Whisperers

Audrey Hepburn, Wait Until Dark

Katharine Hepburn, Guess Who’s Coming to Dinner (more…)


The Oscar Quest: Best Supporting Actor – 1967

1967 is a landmark year made corporate, in my mind. In a year with Bonnie and Clyde and The Graduate, and even Guess Who’s Coming to Dinner, truly landmark films that mark the big break from classical Hollywood tradition, they go with In the Heat of the Night for Best Picture, which feels like the Hollywood version of one of those films. That’s just my own personal opinion on the matter.

Rod Steiger also won Best Actor for the film, which is cool. I wouldn’t necessarily vote for him, but he was good enough to win for The Pawnbroker, and this I look at as kind of a makeup Oscar. Best Actress was Katharine Hepburn for Guess Who’s Coming to Dinner, which is fine. I don’t think she beat anyone else who needed to win. Sure, I’d have voted differently, but it’s not that bad, because her competition also won Oscars. Best Supporting Actress was Estelle Parsons for Bonnie and Clyde, which was a fantastic decision. She was incredible. And Best Director (talked about here) was Mike Nichols for The Graduate. Fantastic decision.

The Best Picture decision does actually feel softened by the fact that the wealth was spread around very well, but still, that’s the one that gets remembered. And then there’s this category, which silently adds another great and classic film to the shared wealth. And I fucking love that.

BEST SUPPORTING ACTOR – 1967

And the nominees were…

John Cassavetes, The Dirty Dozen

Gene Hackman, Bonnie and Clyde

Cecil Kellaway, Guess Who’s Coming to Dinner

George Kennedy, Cool Hand Luke

Michael J. Pollard, Bonnie and Clyde (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…)