PGA Nominations: The usual suspects plus "Deadpool"

Did Deadpool just shoot some Oscar dreams in the head?It's fitting that a year such as 2016, which gave us all the middle finger in such a crass broad strokes kind of way with T**** would also prove to be the year of Deadpool and his tiny baby hand gave the middle finger to superhero blockbusters (albeit a middle finger of love since it's gleefully being everything it's snarky about). I can't imagine Deadpool transferring from the Producers Guild Nomination to Oscar's Best Picture roster especially since they have yet to nominate 10 movies in their new rules of "5 to 10 nominees" in the years since that ruling but congratulations on making it this far!

While you're perusing the Producers Guild noms keep in mind that this is not necessarily the end of Best Picture dreams for a movie that missed and here's why...

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La La Demy Land

Now that La La Land is in wide release word of mouth from regular moviegoers (rather than critics) keeps expanding. As expected with Best Picture frontrunners, not all of it is kind. This unique and ravishing film has begun to suffer from the inevitable backlash.  Some of my musical theater friends are balking that neither star is a great singer, the songs aren’t sophisticated, and it doesn’t honor Hollywood musicals in the way they’d expected.

To harp on these issues misses the point of what director Damien Chazelle has created.  It's true that neither Emma Stone nor Ryan Gosling have Broadway-caliber singing voices, and it’s also true that future composers of musical theater are likelier to study Sondheim than Justin Hurwitz.  But Chazelle isn’t making a Broadway show, he’s crafting a wholly-original tone for a film, stealing bits and pieces from a wide variety of sources, and doesn’t seem interested in making a purely traditional Hollywood musical.

Chazelle has spoken in interviews about how the single greatest influence on La La Land were the two musical films of French director Jacques Demy:  The Umbrellas of Cherbourg, and The Young Girls of Rochefort...

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Your First Film Screening of 2017? Mine was "Casablanca"

Happy 2017, everyone! Dancin' Dan here, to celebrate how I rang in the New Year in cinema.

I personally opted not to go with any of the new releases, instead choosing January 1st to see a 35mm print of one of my Top Three films of all time, Casablanca. Apparently the print is making the rounds in honor of the 1943 Best Picture winner's 75th Anniversary. The timing, as always with Casablanca, is confusing: Casablanca premiered in New York in November of 1942 but it didn't become Oscar eligible until the 1943 film year winning the Oscar in March 1944 sixteen whole months after its premiere. Technically it's not quite 75 yet.

But never mind that, because Casablanca is always worth celebrating. It's so easy to fall in love with the shared beauty and charisma of stars Humphrey Bogart and Ingrid Bergman, and to applaud the film's witty, instant-classic lines. This time around, though, I was particularly struck by two things...

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Podcast: "Lion" and "La La Land"

Katey, Nick, Joe and Nathaniel talk two Best Picture contenders along with conversational detours that pop up as these detours do. The podcast will return in the New Year. 

Index (43 minutes)
00:01 LION (and movie titles) 
12:15 LA LA LAND (divisive direction!) 
27:10 BEST PIC & LIST-MAKING (tis the season)
31:13 CHRISTMAS MEDLEY (Rent, Kermit, Judy G)

You can listen to the podcast here at the bottom of the post or download from iTunes. Continue the conversations in the comments and please have very happy and safe holidays until we're chatting at you again in January (probably around Golden Globes weekend January 8th-ish). 

Lion & La La Land

25th Anniversary: Prince of Tides (1991)

by Eric Blume

Twenty five years ago, director Barbra Streisand delivered her big-screen adaptation of the Pat Conroy novel The Prince of Tides for Christmas.  The film went on to win the Best Actor Golden Globe for Nick Nolte, as well as seven Oscar nominations, including Best Picture (but famously not a Best Director nod for Streisand).  

Looking at the film now, The Prince of Tides feels like a remnant from a lost Hollywood genre:  the mainstream, gimmick-free adult drama.  Streisand’s instincts lean to the commercial, and she’s fully devoted to the film’s rather banal psychobabble that purports how one good solid cry can heal a childhood rape.  The script may be as deep as a raindrop, but it has its strengths as well, and they’re strengths that align with Streisand’s own...

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