We didn't need dialogue. We had FACES (1968)

The Honoraries: Debbie Reynolds in "The Unsinkable Molly Brown" (1964)

This week we're celebrating the three Honorary Oscar winners. Here's abstew on Debbie Reynolds' favorite role.

Molly Brown is my favorite of all the roles I've played. I love something about almost every part I've done, but I identified with Molly as soon as I met her. In the sometimes blurry line between art and and real life, Molly is the woman I've become as the years have passed. I'm right there with her when she declares, "I ain't down yet!"

-Debbie Reynolds Unsinkable: A Memoir

In her decades long show business career, amid the watchful eye of media scrutiny, Debbie Reynolds has endured trials and tribulations and come out the other side of it stronger. Caught in a Hollywood scandal, the original jilted girl-next-door (long before Jennifer Aniston was even born), Reynolds stood by while then husband Eddie Fisher left her and her two young children for screen siren Elizabeth Taylor. Her luck with men didn't improve later as second husband Harry Karl spent years gambling away her hard-earned money, leaving her with mounting debts to cover. Even her dream of finding a permanent home to house her legendary collection of movie memorabilia never came to pass and forced her to put them up for auction. So you can see how playing a character like the real life Molly Brown, who survived the sinking of the Titanic, earning her the moniker "Unsinkable", would find a kindred spirit in the guise of feisty spitfire Debbie Reynolds. The actress, like the legendary woman, simply doesn't know what it means to be defeated...

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DVD: Sherlock Holmes and the Case of the Missing Pimp

New on DVD & BluRay this week are three films which awards season completists will need to see...

• Mr Holmes in which 76 year-old spry Sir Ian McKellen is aged up to play the world's most famous detective at 93 years of age as he mind begins to deteriorate. Mr Holmes was a leggy arthouse hit this summer but can that be converted into an awards run for Sir Ian? We shall see...
• Tangerine, one of the year's best films, follows Sin-Dee (Kitana Kiki Rodriguez) & Alexandra (Mya Taylor), best friends & hookers, as they search for Sin-Dee's boyfriend/pimp (James Ransone) who cheated on her "with real fish!" during her latest prison stint. It's the most unexpected and awesome Christmas comedy ever. It's already snagged multiple Gotham nominations but pray for Golden Globe, BFCA, Spirit nominations and top ten lists because this Sean Baker gem deserves them.
• Trainwreck, or The Coronation of Amy Schumer as 2015's It Girl. Expect Golden Globe Comedy nominations

Also out this week

• Star Wars Episodes I-VI Steel Book Collection
  The amount of times they've convinced people to buy the Star Wars films in different versions / formats is like Swindling Achievement of the Century right?
• Pay the Ghost in which Nicolas Cage collects another paycheck. He collects loads of them but they surely have less zeroes on them by now.
• Self/Less in which Ben Kingsley steals Ryan Reynolds body (I mean... who wouldn't?)
• We'll Never Have Paris a romantic comedy with Melanie Lynskey, Simon Helberg, Maggie Grace, and Zachary Quinto
• Two Men in Town a restoration of the 1973 French ex-con drama with Jean  Gabin, beautiful Alain Delon, and young Gerard Depardieu

Review: Spectre

Tim here. Four films in, it feels like it's been enough time for the Daniel Craig era of James Bond films to stop doing the origin story thing, but nope, Spectre – the 24th film in the franchise, and the first in its second half-century of life – once again finds the rebooted series putting a whole movie's worth of energy into establishing something that was covered in, like, one scene back in 1963's From Russia with Love. That being the existence of the titular criminal organization, the Special Executive for Counterintelligence, Terrorism, Revenge, and Extortion. It's not so much frustrating as it is baffling: "learn more about Spectre" is basically the whole of the film's plot, with no real threat that needs to be stopped. There's some weird and unsatisfying business with a multinational agreement to share espionage resources, I guess that's the thing driving the plot. A cache of stolen nukes or an attempt to start World War III, it ain't.

Does any of that really matter? If anything, Spectre reveals the core pleasures of the Bond franchise, by removing even the vestige of an actual narrative. It's an exercise in lifestyle porn globetrotting, with Craig handsomely filling out a whole bunch of Tom Ford suits as director Sam Mendes and cinematographer Hoyte Van Hoytema take great pains to make a lot of extremely gorgeous locations in Europe and North Africa look, well, gorgeous. At frequent intervals there is an action setpiece, most of which are pretty terrific. [More...]

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Interview: Germán Tejeira on 'A Moonless Night,' Uruguay's Oscar Submission

Jose here. When I scheduled my interview with director Germán Tejeira who is based in Montevideo, I hadn’t been counting on the internet being unaware that Uruguay had gotten rid of their own Daylight Savings Time, a practice which was deemed “old fashioned” and “inefficient” by the progressive government. We had to reschedule the interview, but Tejeira was kind enough to laugh the confusion off and even sent me an article which explained how this new practice had brought chaos within his own country. It was an anecdote I found peculiarly surreal, something out of a movie perhaps, and one that for that matter reminded me of Tejeira’s own A Moonless Night, a charming account of three men trying to find their, existential, way in the Uruguayan countryside during New Year’s Eve.

Cesar (Marcel Keroglian) is a cab driver spending the holiday with his ex-wife’s new family, Antonio (Roberto Suarez) is a magician en route to a presentation whose car breaks down stranding him and his rabbit Oliver, Molgota (Daniel Melingo) is a singer released from jail a day earlier so he can perform at a New Year’s party. Their routine is altered by a blackout, but to say their stories cross paths in a traditional way would be a disservice to Tejeira’s lovely screenplay, and his perceptive direction. The film has been selected as Uruguay’s Oscar representative and I discussed that with the director, as well as his perception of what films should provoke in spectators, and whether Uruguay has a well defined “cinematic identity”.

Read the interview after the jump...

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