Split Decision: “Train Dreams”

In the Split Decision series, two of our writers face off on an Oscar-nominated movie one loves and the other doesn't. Today, JUAN CARLOS OJANO and CLÁUDIO ALVES discuss Train Dreams...

JUAN CARLOS: So why don't you like Train Dreams?

CLÁUDIO: Seriously, that's how you start our convo?

I guess it's an appropriately blunt opening to argue over a blunt movie that wears the costume of subtlety and gentleness without quite pulling it off. Well, in my opinion, of course, since being the one organizing this series has made me well aware that everyone on the team likes Train Dreams. And, to be fair, the picture's grown on me to the point I'm actually rooting for it in the Best Cinematography race and wouldn't even be mad if it pulled off an unprecedented victory in Best Original Song. It's a picture full of great elements that ultimately falters under the weight of one or two major failures, some misbegotten choices that collapse the potential it might have had in different circumstances…

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Oscar Volleys: Best Supporting Actress is a Disappointment

The Oscar Volleys are back for some post-nomination talks. Tonight, Nathaniel Rogers and Cláudio Alves discuss Best Supporting Actress...

A COMPLETE UNKNOWN | © Searchlight Pictures

NATHANIEL: Cláudio it falls on us to discuss Supporting Actress. I thought it only fitting that we approach this as a callback to Supporting Actress Smackdowns of the past, and start the hype by discussing their character's introductions. But I could only remember two of them so there goes that idea. I'm beginning this way so as to not bury the lede: I REALLY don't like the category this year. I would not have been tempted to nominate a single one of these performances even though I like three of them just fine. The fact that I've already forgotten how they're introduced in the context of their films reinforces the mediocrity of the chosen five. To dispel this immediate negativity (sorry sorry) let's just say that I felt like one of the extras in A Complete Unknown in the sequence where we meet Joan Baez.  Had I been in that cafe I, too, would have fallen silent utterly bewitched by stage presence and voice. The film doesn't make much room for Baez/Barbaro thereafter but what a voice! 

Did you love any of their introduction scenes? Or, alternately if you also feel the category is weak, were you excited by any of their introductions in terms of anticipation as to what that character and that actress might bring to the rest of the film?

CLÁUDIO: Oh, how I wish I could come in as a contrarian and sing the praises of this lineup. Sadly, that would be dishonest and we're all about truth-tellin’…

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Split Decision: "The Brutalist"

In the Split Decision series, two of our writers face off on an Oscar-nominated movie one loves and the other doesn't. Today, Nick Taylor and Abe Friedtanzer discuss The Brutalist...

NICK TAYLOR: Hi Abe! I hope the cinematic year of 2024 and the numerical year of 2025 have been treating you well! Today we’re here to talk about The Brutalist, which is one of my favorite films from 2024 and one of the most nominated films at this year’s Oscars. Because this is the Split Decision series, I’m gonna guess you are not a fan of this film, or you’re at least more ambivalent about it than I am. But an object this self-consciously huge deserves to be argued about, and I would love for you to start us off by sharing what you think of The Brutalist.

ABE FRIEDTANZER: Hey Nick! I will say that I didn’t hate this film, and even found much to admire about it. I saw it at a morning press screening at the Toronto International Film Festival back in September, so early enough to not have heard much about it and to be able to fully appreciate it. I knew very little of the story, and so naturally my interest was piqued. As soon as the film ended, I wanted to research the true story, only to find out that its events were invented. I had seen Brady Corbet’s previous film Vox Lux (which I hated with a passion) as well as The Sleepwalker (directed by Mona Fastvold with a screenplay by her and Corbet, a role reversal of their duties on this film), which I liked much more. From what I could find, and have been able to since, it doesn’t seem like either of them are Jewish or have any Jewish heritage. Those two factors have irreversibly impacted my perception of the film and made it hard to truly process it in a positive way...

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Hello, Gorgeous: Best Actress of 2014

A returning series by Juan Carlos Ojano

Nice to be back doing this series after last year's Oscars.

One fascinating thing about this group of nominees is how, in medias res, they provide a lot of context as to what their respective arcs will be: a depressed worker being awakened, a mother on the verge of isolation, a mysterious wife to be cracked open, and an injured traveler hitting a roadblock. Only one of the nominees gets a traditional introductione, and even that is already in establishing her dynamic with her male co-star. It’s a fun lineup of first moments with key details sprinkled in from the get-go.

Are you ready? The year is 2014...

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Review: The Midnight Sky

by Tony Ruggio

The Midnight Sky is a mild return to form for director George Cloonney. It’s simultaneously a greatest-hits album of science fiction filmmaking of the last ten years and a beautiful, melancholic story about regret. In the midst of a global pandemic, with more proof arriving every year of what danger might await us in our planet’s future (or even right now), we’re all more aware than ever of what terrible things are possible in this world. Somehow, decades of apocalyptic cinema did not prepare us.

Clooney is Augustine Lofthouse, a scientist who has spent his life finding habitable planets at the expense of his personal life, pushing away those closest to him to devote his life to saving our future...

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