Tweetweek: Voting, Holidate, and sick co-star burns

Curated by Nathaniel R

Since there's no avoiding politics at the moment, we give in for this twitter roundup but we keep it as movie-related as possible...

If Wisconsin were an actress, she'd win "Best Supporting Actress" every year. No one can milk more drama out of 10 Electoral Votes than good old Miss Forward.

— Ted Perry (@Fox6TedPerry) November 4, 2020

Every four years but great joke ;)

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1987: The Untouchable Sean Connery, a look at the late actor's Oscar-winning performance

by Josh Bierman

When I heard about our 1987 retrospective I wanted to choose a film that I had never seen. I’ve been striving to cover blindspots in my film viewing history since the start of quarantine. I looked at the list of movies released in that year and when I saw The Untouchables the choice became obvious. At my home film festival, Cinema Quarantino, I’ve fallen in love with Kevin Costner as if it was 1991. I’ve also been really drawn to the films of Brian De Palma. All of that fell by the wayside when I woke up on Saturday morning to the news of Sean Connery’s passing. 

We’re all friends here, so please don’t judge when I say in keeping with the theme of having serious blind spots, the only other Sean Connery movie I’d seen is Murder on the Orient Express. Connery released his last studio film just as I was becoming obsessed with movies around the age of ten, so he wasn’t someone who was on my radar. I mainly associated Connery with Darrell Hammond’s inimitable SNL impersonation on Celebrity Jeopardy as well as his later career interviews (we’d be remiss to forget his one worded declaration of the Best Supporting Actress winner of 2002, we know Kathy Bates hasn’t). As if I wasn’t eager enough to watch it already, I welcomed the opportunity to not only watch a bit of Connery’s filmography, but the movie that won him his Academy Award...

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Doc Corner: Experiments within reality as Glenn sits on DOKLeipzig's FIPRESCI Jury

By Glenn Dunks

In October, I had the pleasure of being on my first virtual FIPRESCI jury. The International Federation of Film Critics is an organisation that has allowed me to visit and judge both the San Francisco and Stockholm festivals in the past. Since moving back home to Australia it’s has become much harder to do. Still, I wouldn’t have been able to attend DOK Leipzig in Germany for a multitude of reasons this year even without a global pandemic halting international travel. But I was able to attend this doc and animation festival from the relative comfort of my couch! 

My fellow jurors were Yun-hua Chen (critic and film academy member from Germany) and Hrovje Puksek (programmer for the Festival of Tolerance in Zagreb in Croatia). We each watched 12 films from the international competition before landing on our winner: Darío Doria's Vicenta of Argentina.

Our statement...

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Review: Jungleland

By Abe Friedtanzer

There is a certain general structure that can be expected in films about fighters. A boxer or wrestler will be driven to succeed through sheer strength and commitment to their craft, and will usually have a firm supporter in their corner egging them on and ensuring that they don’t falter. Inevitably, an injury or some outside factor will threaten their physical ability, and that will be precisely the moment that everything is riding on their performance, including a large sum of money that will make or break their future. If that’s essentially the narrative framework, the richness of the characters and the performances is what’s needed to differentiate a specific film from the pack.

Let’s take a look at a new theatrical and VOD release, Jungleland…

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1987: Vanessa Redgrave in "Prick Up Your Ears"

Each month before the Smackdown, Nick Taylor looks at alternates to Oscar's ballot...

As Cláudio wrote sometime last year (that's how long ago Sunday was, right?), the 1987 Supporting Actress vintage boasts a truly unique set of contenders. Their specific careers, overall narratives, and individual performances and the films they were in could hardly have been more different. Add in the fact that all five were one-and-done nominees and the whole list takes on a genuinely ephemeral, one-of-a-kind quality, even if three of them have the same first name.

The presence of brand names just for A-list star power, would, in most years, dilute this quality. Still, it’s strange to see some of Oscar’s favorite names on the outside looking in during 1987. Top theorists have speculated for decades how Anjelica Huston failed to get cited for her sad, moving performance in The Dead. And what about Vanessa Redgrave in Prick Up Your Ears, who won NYFCC and was the only Golden Globe nominee who didn’t translate to Oscar’s ballot...

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