New Oscar Predictions: Best Actor

by Nathaniel R

Curiously all the action, or "buzz", to date is in the Best Actress and Best Supporting Actor races. The other two acting competitions are seriously wanting... at least from this vantage point. We haven't seen a Best Actor race this empty of potential players since circa 2003. Sir Anthony Hopkins (The Father) may well be destined to become the oldest actor ever to win in the male leading category (he's 82, and the current record holder Henry Fonda was 76). Gary Oldman's upcoming take on Mank and Delroy Lindo's much acclaimed turn in Da 5 Bloods are probably can't-miss nominees given the lack of competition unless something goes very wrong for them. But the 4th and 5th slots just might be a free-for-all. 

Much of that is due of course to the sparse field of films planning on opening before the eligibility deadline in February of 2021. Given this (currently) wide open race we might see someone from an ensemble picture like Trial of the Chicago 7 or One Night in Miami campaigning as lead. Who do you think might surprise us with a robust campaign and/or wild acclaim? Check out the new Best Actor chart. 

1965: "Thunderball" and the heavenly choirs of 007

By Deborah Lipp, author of The Ultimate James Bond Fan Book

 But of course, I forgot your ego, Mr. Bond. James Bond, who only has to make love to a woman and she starts to hear heavenly choirs singing. She repents, and immediately returns to the side of right and virtue. But not this one.

The first, and arguably greatest femme fatale of the James Bond movies was introduced in 1965’s Thunderball, the fourth James Bond movie. Fiona Volpe, played by Luciana Paluzzi was both thunderously femme and stunningly fatale. We meet her as the very sensual, very beautiful lover of Francois Derval. Soon, though, she is supervising his murder and replacement by a surgical double. Next, she is the mysterious motorcyclist who murders a SPECTRE agent who was indiscreet. 

So, before Bond ever encounters her, she’s shown us the full range of thrills and chills; sex, death, and speed...

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Monty @ 100: The Italian misadventure of "Terminal Station"

by Cláudio Alves

Some movies are more fascinating than they are engaging, working better as a discussion topic than as cinema. Such pictures tend to find their home in writings about film history or critical academia, living on as curious artifacts that thrive on the page while failing on screen. Montgomery Clift's seventh feature, the only time he ever worked with celebrated Italian auteur Vittorio De Sica, is one of such films. Perhaps more accurately, it's two of them…

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Doc Corner: Jamal Khashoggi and the 'Kingdom of Silence'

By Glenn Dunks

It has been a while since I was quite so turned off by a documentary as quickly as I was by Kingdom of Silence. Well-intentioned in its exploration of the special relationship between the United States and Saudi Arabia, and how journalist Jamal Khashoggi came to be executed, but built in a fashion that mimics some sort of Tony Scott crime thriller from the 1990s. Using every trick in the book when the story at its core is so interesting only seeks to diminish its impact.

Director Rick Rowley, an Oscar-nominee for Dirty Wars, isn’t just content with verite filmmaking to create a sense of urgency. Rather his film is edited through a woodchipper, it has an over-abundance of unnecessary focus pulling and slow-motion, plus over-the-top zooms and anonymous overhead camerawork of cities and crowds implying menace everywhere you look. All played against an incessant droning soundtrack full of technological bleeps right out of The Matrix. And that’s just its first two minutes and 51 seconds.

The cumulative effect of it all is exhaustion.

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NYFF: Dea Kulumbegashvili's "Beginning"

by Jason Adams

If you throw a ball, or even better a stick of dynamite, straight up into the air there is a moment of pause, of tranquility, at its peak, before it comes tumbling down. The apogee, as its known, is a fascinating word to me, close as it is to apology -- in my mind I always picture the shrug of the cartoon Coyote as he begins his plummet. Apogee, but whoops here I come. Georgian filmmaker Dea Kulumbegashvili's Beginning, as stunning a debut film as any I've seen, lingers in the feeling of that pause -- the world feels suspended, we're light of breath and danger is nigh, but man the view is something.

The film begins and we meet Yana (Ia Sukhitashvili, staggeringly good) and her husband David (Rati Oneli) as they greet parishioners inside their sparse, fresh-smelling new Jehovah's Witness church, and immediately we notice two things. First that the film was filmed in the squarish frame ratio that's become shorthand for art-minded movie-makers looking to quick express claustrophobia -- think First Reformed or The Lighthouse; right away we know that these are people who are stifled by their surroundings...

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