"To Die For" on its 25th Anniversary

To Die For was released nationwide in theaters on this day in 1995. Here's Christopher James...

Is Nicole Kidman funny? Critics of the Oscar winning actress have often called her “cold,” rendering her incapable of cracking a smile, much less a laugh. Given that perception it’s funny that Nicole Kidman was first taken seriously for her comedic chops. Best known in 1995 as Mrs. Tom Cruise and Dr. Chase Meridian in Batman Forever, Kidman was in search of a vehicle that would showcase more of her considerable talents. Along came To Die For, based on the Joyce Maynard book of the same name which borrowed details from the Pamela Smart case that took the media by storm. Originally offered to Meg Ryan, Kidman eventually won the part and received a fair share of accolades, including a Golden Globe win and a BAFTA nomination.

Talking about the virtues of Nicole Kidman on The Film Experience is the very definition of “preaching to the choir.” Yet, preach away I will...

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NYFF: Steve McQueen's "Red White and Blue"

by Jason Adams

And so we come to the third piece that the New York Film Festival is screening out of Steve McQueen's "Small Axe" series of five total films -- if you missed my thoughts on Lovers Rock you can read them here and if you missed my thoughts on Mangrove you can read those right here. NYFF flip-flopped the screening order on the previous chapters and Red White and Blue, today's focus, jumps us to all the way to the final chapter of the series, and you can sense that about it. It has the feel of a breath, a pause -- a looking back upon itself and taking tenative, pained stock.

As with Mangrove we're focusing again on a true story. This time it's the 1980s and John Boyega plays Leroy Logan, a young man who was on track to become a forensic scientist until his father was assaulted by a couple of racist cops...

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Spain's Three Oscar Submission Finalists

by Nathaniel R

Spain has been chasing Oscars in the Best International Feature category since the very first year of the category's existence. They've been quite successful at it, too, with the third highest nomination count of any country (after France and Italy). The Academia de las Artes y las Ciencias Cinematográficas de España reportedly considered 58 Spanish films this year and though we'd heard they weren't choosing their three finalists until October 10th, word is going around that they've made the decision a bit early and it's these three films as the finalist for the submission honor. In early November they'll choose which will be their submission to the Oscars...

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Monty @ 100: The influential peak of "A Place in the Sun"

We're watching all 17 of Montgomery Clift's films for his centennial. Here's Juan Carlos...

After starring in The Search, Red River, The Heiress, and The Big Lift, all but one of them either a critical or commercial success, Montgomery Clift reached an even great peak in 1951 with George Stevens’ A Place in the Sun. It was the adaptation of a novel and play, both called An American Tragedy, that were in turn inspired by the real-life murder of Grace Brown by Chester Gillette in 1906. The story, already made into a 1931 pre-Code drama as An American Tragedy, took on a life of its own in its 1951 form. A Place in the Sun's now classic tale of doomed romance and class divide proved a crucial success in the careers of all of its key players, winning six Oscars in a tight battle for Best Picture with An American in Paris. 

Shelley Winters stripped herself of the bombshell packaging that the studio system had placed on her and in turn earned her first Academy Award nomination. For Elizabeth Taylor, the film was a key act in her transition from juvenile star to legendary adult star. Meanwhile, the film gave director George Stevens his first Oscar on his second nomination. For Clift, this film, coupled with Marlon Brando’s smolderingly threatening work in Elia Kazan’s A Streetcar Named Desire released the same year, put The Method into the mainstream leading to an inevitable shift in acting styles in American cinema...

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Oscar Predictions: Cinematography, Production Design, Editing

by Nathaniel R

we're in mourning that we won't get to see DUNE this year...

You've probably heard that Dune is no longer a 2020 picture and will now arrive in the final quarter of 2021. This necessitated yet another revision just as we'd finished nearly all of the Oscar charts -- our work is never done! The biggest impact is in the visual categories. These should be interesting to follow this year in the absence of the kind of big budget spectacle films that often dominated visual categories. Does this mean voters will get more creative and search out further afield Production Design possibilities like, say, Shirley, or First Cow or I'm Thinking of Ending Things or more lax and just nominate their favourite Best Picture candidates in every visual category even if those pictures are mostly contained in one location (hi One Night in Miami, Ma Rainey's Black Bottom) or out on the open road in a beaten down van (hi Nomadland)... 

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