Oscar Volleys: The Eye Candy Trifecta

Taking a break from the so-called “above the line” races, Nathaniel R and Cláudio Alves discuss the eye candy Oscar categories – Best Costume Design, Best Cinematography, and Best Production Design...

DUNE: PART TWO | © Warner Bros.

NATHANIEL: Hi, Cláudio. So this year, for time reasons, the pre-nomination Oscar Volleys are not covering every category and I'm feeling guilty about it. In the 21st century all 20+ Oscar categories have arguably more devout fanbases than ever thanks to the ease of catering to niche interests that the internet, streaming, and social media have all brought.  Yet the 'Below the Line' categories are somehow incongruously more disrespected than ever. Consider that the Oscars are now the ONLY major awards show (that's not an exaggeration) that doesn't pretend that craftsmen and artisans are less crucial to making art than actors and directors. Consider that time and again we get these horrid articles from the media about how to fix the Oscars that invariably suggest that they should be more like their less popular counterparts (Tonys, Grammys, Emmys, Globes, etcetera) and ditch the "crafts" or have them on another night altogether without the fanfare. This suggestion has made me redhot with anger from the very first time I heard it and the anger has never dissipated…

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Randomness... 1986

by Nathaniel R

Continuing our 80s retros for a couple more weeks. Strangely when I examined it on Letterboxd (are you following me there?) I realized I’d seen fewer films from 1986 than I had the years surrounding it. I'm not sure why this is. Anyway, I thought it might be fun to also share Letterboxd lists to go along with this 80s party, so 1986 is here. Okay, Let’s jump right into the favourites, alphabetically… 

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"Come to the Stable" and Tennis Nuns

by Nick Taylor

Today is the 75th anniversary of Come to the Stable, which has to rank among the most inoffensive, featherweight films to earn seven nominations from Thee Academy Awards. The story of two nuns, Sister Margaret (Loretta Young) and Sister Scholastica (Celeste Holm), who travel all the way from France to a wintry New England township so they can build a hospital. “Why do they go all the way to New England” you might ask, but who cares!

Specific details about why things happen are not the draw of Come to the Stable. A musician/landlord named Bob does not want the nuns to build their new hospital on a hill he owns for some reason, which doesn’t stop them from securing a plot of land and importing two dozen of their Sisters from France. At one point the nuns sneak into a gangster’s suite and successfully convince him to sell the aforementioned plot of land after they trade stories about serving in World War II. In short, every obstacle to Sister Margaret and Sister Scholastica getting what they want proves powerless in the face of their somewhat savvy, utterly guileless embodiments of faith. However, there is one enemy the women cannot pray away, one barrier they must overcome with strength, vigor, and attention. That barrier’s name, you might ask? She’s called tennis . . . .

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April Foolish Predictions: Eye Candy and Music

by Nathaniel R

The Dietzes are back in "Beetlejuice Beetlejuice" and so is costume design goddess Collen Atwood. Photo © Parisa Taghizadeh for Warner Bros

Our April Foolish tradition continues with the visual and sound categories. For this installment we're just picking highlights from our crystal ball. Read on...

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Split Decision: "Killers of the Flower Moon"

No two people feel the exact same way about any film. Thus, Team Experience is pairing up to debate the merits of this year’s Oscar movies. Here's Juan Carlos Ojano and Nathaniel Rogers on Killers of the Flower Moon...

CARLOS: Hi, Nathaniel! So excited to talk to you about this film. Confession time: this is the first time I've seen a Martin Scorsese film on the big screen, even though his works (Taxi Driver, Casino, The Departed, The Wolf of Wall Street, Silence, The Irishman) usually end up in my favorite films of their respective years. Maybe he is one of my favorite directors? But my respect for him goes beyond 'favorite'. This is also my first time seeing Leonardo DiCaprio (one of my favorite actors) on the big screen, with my "relationship" with him now spanning from Titanic to this. And my gosh, after months of buzz after its Cannes premiere, I can say I was floored and destroyed. Just in awe. I think it is one of the most powerful films I've seen from last year… 

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