Almost There: It’s time to vote! (Halloween edition)

by Cláudio Alves

It’s been a while since you, the readers, have decided what performance should be analyzed in the Almost There series. Since it’s October, let’s do a Halloween-themed poll to spice things up. While AMPAS is notoriously allergic to horror movies, some performances came close to an Oscar nomination, whether their movies were otherwise embraced or not. Here are ten examples, complete with the precursors they won, why I think they were close, and where you can find each flick. The contenders are…

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Streaming Roulette, Oct: The Manor, Black Widow, 'Just a Girl' and more...

New month and a... oops, we're approaching the halfway mark. How did that happen? It's past time for another round of Streaming Roulette where we point out a handful or two of random titles that are streaming and just for fun, freeze frame them at totally random places in the scroll bar...

I brought a little something to get the party started...

THE MANOR on Prime
Barbara Hershey stars in this new horror film about a woman convinced that residents of a nursing home are being killed. Bruce Davison co-stars so you get two 1990s Oscar nominees in this new film from a director named Axelle Carolyn...

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Horror Costuming: Hellraiser (1987)

by Cláudio Alves

Last October, I had a lot of fun exploring the art of costume design in horror movies. This Halloween season, the miniseries is back with new misadventures through the annals of horror history and some of its boldest sartorial visions. To get some semblance of order, the write-ups will start with an iconic nightmare of 1980s cinema and move, decade by decade, until a grand finale in the form of an Oscar FYC for the current awards season. So let's start things off by looking towards the meeting point of pleasure and pain, seeking where they become indivisible, and contemplating how such ideas can be materialized in costumes. Clive Barker's Hellraiser has such sights to show us…

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Deborah Kerr @ 100: The legend, the legacy, "The Innocents"

by Cláudio Alves

For decades she held the record of being the most Oscar-nominated actress never to have won the statuette, with six unsuccessful nominations. In a piteous gesture, the Academy granted her an honorary award in 1994. How fitting that Deborah Kerr received such tribute from the hands of Glenn Close, the current holder of the older actress' erstwhile record. Considering this trivia, it'd be easy to remember Kerr's legacy through the prism of Oscar history. That would be a mistake. I state it as someone who first encountered the British thespian through her nominated roles, constructing a mental image limited by AMPAS' taste. As it turns out, despite her numerous nods, the most outstanding Kerr performances weren't so highly celebrated by the Academy. Simply told, that Oscar-y sextet doesn't do her justice. 

To celebrate Deborah Kerr's centennial, let's remember her range beyond golden laurels, her incandescent talent, the power she brought to her films. Let's honor her by reflecting on the actress' greatest work - the nightmare that is The Innocents…

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The Mad "Titane" Snaps

by Jason Adams

An inky black oil smudge smeared across a scarred face, big bosoms sway and heave, belly splitting up the seam, the space where sex begins to sound like a car engine revving up to eleven -- Julia Ducournau's Titane doesn't mince a breath of its runtime with anything but pedal-to-the-metal everything. Titane, the director's follow-up to her also-deranged (but somehow less so!) cannibal-drama Raw, won the Palme d'Or at this year's Cannes, a perfect signifier for the grease-fingered teetering psychosis of our age. After playing NYFF last weekend, it opens in US theaters tomorrow, October 1st.

And this movie, it is a lot!

As Raw already proved Ducournau loves a car accident (I can't imagine that David Cronenberg's Crash wasn't formative) and Titane offers up a doozy early on...

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