"Licorice Pizza" it is for NBR

by Nathaniel R

The National Board of Review has spoken naming Paul Thomas Anderson's Licorice Pizza, the best of the year. The meandering 'California in the 70s' romantic comedy between a directionless 25 year old woman and a 15 year old child star/entrepeneur has delighted critics since it started screening and the NBR (though they're not a critics group) also felt the vibes. It's still shocking to me, personally that the internet isn't outraged about the plot alone (even though the film is careful about not really going there) while at the same time the internet loves to harass fully-grown adult stars with age differences. But... that's a distraction since social media outrage is a very different thing than awards organization proclivities.

The full list of winners, Oscar stats, and more NBR history including their 'recency bias' problems follow after the jump...

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Doc Corner: 138 titles qualify for Best Documentary Feature

By Glenn Dunks

The Academy has released the longlist of titles in competition for the Best Documentary Feature category. The number is 138, a significant reduction from previous years that were well over the 200 mark. According to The Wrap, it is the lowest number since 2015. That certainly makes our job easier as well as that of the Academy’s documentary branch members who now have to get this down to a list 15 before the final five are announced on nomination morning.

Why is the number so much lower? Well, there are three good reasons for that... 

1. There’s still a pandemic happening, so fewer documentaries have been made let alone released.
2. The eligibility year is also shorter given those first few months of 2021 don’t count.
3. A new Emmy rule states that any film on the Academy’s viewing portal cannot then qualify for the television academy’s awards so if producers make this choice now they can't unmake it.

The full list, links to reviews, thoughts and other musings after the jump…

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Through Her Lens: 2018 (The 91st Oscars)

A series by Juan Carlos Ojano 
Previously: Episode 1 - 2020-21 / Episode 2 - 2019 

Eyes were on the Best Director category at the 91st Academy Awards after Greta Gerwig became only the fifth woman to be nominated in the said category the previous year. Contemporaneous articles expressed disappointment with this fact, but this Oscar year was also plagued with other issues: no ceremony host, plans to give out awards during commercial break, and divisive films like Green Book, Bohemian Rhapsody, and Vice being major factors, too.

In a way, these other controversies clouded what could have been a more extensive discussion regarding representation in the Best Director category. Out of the 347 films included in the Reminder List of Eligible Films in 2018 (91st Academy Awards), 62 of them (or 17.9%) were directed/co-directed by women.

OSCAR-NOMINATED FEMALE-DIRECTED FILMS (in alphabetical order): Animal Behaviour*, Bao*, Can You Ever Forgive Me?, Capernaum, Free Solo, Late Afternoon*, Marguerite*, Mary Queen of Scots,  Period. End of Sentence.*, and RBG. (*not in the eligibility list for Best Picture)

OUR ALTERNATIVE SET OF FIVE...

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Magic Mike's Last Link

• Stabroek News "Not a King but a Queenmaker" interesting take on King Richard
• Thrillist Esther Zuckerman talks to Paul Thomas Anderson about shooting a key scene in Licorice Pizza inside her childhood home
• Deadline Penelope Cruz teaming with Pedro's production company for a four-part documentary series on the global problem of child marriages
• Vulture on that impossible tracking shot in The French Dispatch
• InStyle Rita Moreno looks back on her career before hitting the big 9-0

More after the jump including Zendaya, Sondheim and New York City, C'mon C'mon, and the return of Magic Mike... 

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Almost There: Maggie Smith in "The Best Exotic Marigold Hotel"

by Cláudio Alves

It's time to wish a happy anniversary to The Best Exotic Marigold Hotel. John Madden's unlikely box-office juggernaut was first screened ten years ago on the Sorrento Incontro Internazionale del Cinema. Truth be told, it's not a fantastic flick, adapting a Deborah Moggach novel into a toothless feel-good comedy that reeks of good intentions corroded by colonialist condescension. Where it triumphs, however, is in casting. Madden managed to gather a remarkable ensemble, made up of charismatic British thespians who could deliver great performances with their eyes closed and a hand tied behind their back: Judi Dench! Maggie Smith! Bill Nighy! Penelope Wilton! Tom Wilkinson! And more. 

Indeed, their collective work singlehandedly makes the movie into a middlebrow delight. From that collection of beloved British entertainers, Maggie Smith probably came closest to an Oscar nomination…

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