Almost There: Faye Dunaway in "Barfly"

by Cláudio Alves

I confess myself surprised by the reader's choice in this last round of voting for the Almost There series. When it came time for you to select what 1987 performance should be explored this week, your votes decidedly indicate a preference for Faye Dunaway's post-Mommie Dearest Oscar bid, Barfly. This under-discussed Barbet Schroeder flick was made from a semiautobiographical script by the bonafide poet of the gutter, Charles Bukowski. It competed in Cannes but it didn't cause much fanfare, mainly valued as an acting showcase for its cast, led by Mickey Rourke as a tic-ridden sing-songy facsimile of Bukowski himself.

As for Faye Dunaway, she takes around 22 minutes to enter this picture about alcoholism and the addicts who scuttle from the light like bugs. Haggard-looking and sitting lonesome at the end of a bar, she's quite distant from the image of a glamourous diva many might associate with the actress' screen persona…

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Pt 2 - Looking at Netflix's contenders in all Oscar categories

by Juan Carlos Ojano

As explained in Part One we're looking at Netflix's deep slate this year and pinpointing how they might be competitive in each of the 23 Oscar categories (it used to be 24 categories but Sound Editing and Sound Mixing have now become one category). In part two, which follows after the jump, we're discussing the "big eight" marquee categories, plus animated feature...

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Over & Over: 1987's "Baby Boom"

by Eric Blume

Baby Boom, directed by Charles Shyer with a script by him and his then-wife Nancy Meyers, encapsulates 1987 beautifully.  From young James Spader's Wham!-like hair to Keaton's fashions to the dated woman-in-the-workplace-can-she-have-it-all plot, it could be a time capsule film for the year and its essence.  While we're celebrating 1987, this film couldn't be a better example of exactly where we were.

And yes, Baby Boom is a mercilessly commercial enterprise, engineered with cliche characters and "adorable" cutaway shots to the child inherited by the "Tiger Lady", J.C. Wiatt, played by Diane Keaton.  I can't defend this movie as a work of fine cinema, but I've returned to it over a dozen times for the sheer joy in Keaton's peerless performance...

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Joan Crawford on Criterion

Please welcome guest contributor David Rush...

Our Dancing Daughters

If an actress is to remain a star for six decades, she must expect some fluctuations in her career trajectory. This was most certainly the case for Joan Crawford, whose cinematic legacy – rather overshadowed in the years after her death for reasons we are all more than aware of – is currently showcased on The Criterion Channel.

The first two decades of Crawford’s stardom saw her go from strength to strength: her breakthrough role opposite Lon Chaney in The Unknown (1927); a series of flapper delights in Our Dancing Daughters (1928), Our Modern Maidens (1929) and Our Blushing Brides (1930); a key supporting role in Best Picture winner Grand Hotel (1932); her numerous popular collaborations with Clark Gable; and most importantly, the rags-to-riches vehicles that held particular appeal for aspirant young women during the Great Depression...

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Elisabeth Moss reads "The Lottery"

What a morbidly thoughtful surprise! NEON would you like to consider Elisabeth Moss as Shirley this season for awards. So here's Elisabeth Moss reading "The Lottery," the famous short story that catapulted noted horror novelist Shirley Jackson to fame. The video is 22 minutes long but if you don't like being read to you can always read to yourself direct from The New Yorker. 

If you haven't yet watched Shirley, streaming on Hulu, you should. It's a good creepy but non-scary option for the season with excellent performances from Moss and screen husband Michael Stuhlbarg and interesting production design too.