Star Wars and the Oscars, a History.

Get away from Natalie Wood, Darth Vader, we're warning you!

Over at Vulture this weekend, yours truly has a piece up about the history of Oscar's affection (and lack thereof) for the Star Wars saga. I'm glad they liked my Diane Keaton / Annie Hall intro (though they added the Woody Allen bits -- I left him out as I didn't want to distract people) because I couldn't get the image of Diane callously "la-di-da"ing while wielding the Death Star out of my head. Anyway, it was great fun to write so I hope you enjoy. It was also a trip to source the FYC ads -- if only more of them were available online. I couldn't find a single FYC ad for The Empire Strikes Back or The Phantom Menace (among other films).

One thing I didn't have space for  that I could have written much more on was the individual categories over the years -- isn't it strange that Star Wars (1977) is the only time the series has ever been up for Costume Design?!? -- and the individual presentations. Look how excited Farrah Fawcett was to find out who won Best Editing!

And why did Oscar producers pair her with Marcello Mastroianni for a prize that was clearly going to Star Wars? The mysteries that emerge from history... even history as well documented as pop culture.  

Review: "Star Wars: Episode IX – The Rise of Skywalker"

by Cláudio Alves

"Let the past die. Kill it, if you have to." were the desperate words of an angry man. "The greatest teacher, failure is." was the philosophy of a wise master. Somewhere in between the two sentiments, those of Kylo Ren and Yoda, lies the ethos of Rian Johnson's The Last Jedi. There's no place for toxic nostalgia in that director's vision of the Star Wars universe, though a critical look at what came before is necessary or else we're bound to never grow. Independently of Episode VIII's other faults, one would think such a theme would be unanimously celebrated and generate little to no controversy. One would be mistaken. 

Johnson's Star Wars feature sparked a wave of antagonistic discourse that's still active two years after its release. While the perpetual litigation of that production's merits is no one's idea of a good time, it's crucial to consider its themes when analyzing the latest episode in the saga. If every film in a franchise is having a conversation with its brethren, The Rise of Skywalker represents a repudiation of The Last Jedi's core ideals. JJ Abrams' return to the saga is an open celebration of uncritical nostalgia. Indeed, it appears to have been conceived more as a cowed response to fans' complaints than as a satisfying narrative…

Click to read more ...

Podcast: Everything you wanted to know about precursor awards week ... but were afraid to ask*

Nathaniel R and Murtada Elfadl welcome back NICK DAVIS! 

In this hour long conversation Nick, Murtada, and your TFE mastermind Nathaniel discuss the first gigantic week of precursor season. What hath the Globes and SAG wrought and who are we sad about (Alfre Woodard!) and who are we rooting for (Antonio Banderas) and the like. We're divided on Judy and Dark Waters and Robert DeNiro's The Irishman and we dunk a little on Richard Jewell and The Two Popes (sorry!). We also have words for NEON not finding a way to honor Clemency while pushing Parasite. Finally we try to suss out the impossible "Best Actor" race which is giving everyone predictive pause.  

You can listen to the podcast here at the bottom of the post or download from iTunes. Continue the conversations in the comments, won't you? 

Precursor Madness

Scripter Awards Nominations

by Murtada Elfadl

The USC Scripter awards announced their nominations today. It was another good day for The Irishman and Jojo Rabbit as they continue collecting accolades this month. Joining them are The Two Popes and Little Women whose record so far has been spotty. In a surprise, the fifth spot went to Dark Waters, which means that this is another precursor that passed on honoring Hustlers. Also missing is A Beautiful Day in the Neighborhood. It seems both films awards strengths lie only in their supporting players, Jennifer Lopez and Tom Hanks respectively. The other title ignored today was Joker, which could still rally with the Academy. 

The Scripter is an award presented annually by the University of Southern California (USC) to honor both screenwriters and the authors whose work they adapted...

Click to read more ...

Year in Review: 50 Biggest Documentary Hits

Our year in review party begins. A different list each day. Here's Glenn Dunks...

The documentary box office of 2018 was always going to be hard to beat - impossible, even. Last year we had five documentaries reach totals greater than $10mil. This year, unfortunately, we had none, although one of those five, Peter Jackson's colorized war doc They Shall Not Grow Old made the bulk of its money in the new year so there's that, as did Oscar winner Free Solo.

 Nevertheless, the realm of non-fiction more or less thrived in cinemas across America. Where indie flicks with big names faultered, sputtered and got chewed up by the markets divergance towards streaming, documentaries continued to post solid numbers for their boutique distributors. The clear winner for 2019 was Apollo 11, which capitalized on the 50th anniversary of man's first walk on the moon as well as being marketed as an event movie in IMAX. It missed an Oscar nomination, but as last year's snubs for Won't You Be My Neighbour and Three Identical Strangers suggest, box office doesn't always make that a done deal.

Still, we are here to talk box office so let's look at the list. 

TOP 50 GROSSING DOCUMENTARIES FOR 2019
Domestic Box Office Totals Only - Figures as of March 12th, 2020
RANK | TITLE | (DISTRIBUTOR, RELEASE DATE) | DOMESTIC GROSS

01 Apollo 11 (Neon, March 1st) $9.0  [REVIEW] 

02 Penguins (Disney, April 17th) $7.6...

Click to read more ...