If you want to honor Judy...

by Cláudio Alves

Within the realm of Oscar races, there are few campaign strategies more annoying than the "honor the movie, honor the man" variety.  It's reserved for biopics, putting forward the idea that to shower a certain production in gold laurels is a way to retroactively reward a dead celebrity. This same logic was somewhat utilized to catapult Renée Zellweger towards her second Oscar win. Let's make one thing clear, Renée's win for Judy is a prize for her bold performance but in no way does this victory actually honor the Oscarless Judy Garland. You don't get to pretend you gave Judy an award Academy -- you lost that chance long ago!

Still, we appreciate that Renée mentioned Garland in her speech and that her movie might inspire people to watch more of the late star's great roles. After all, there's no better way to honor her memory than to explore her wonderful filmography...

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The Link Jar

NewsTalk How Cartoon Saloon became a major draw and how those Oscar nominations helped
Playbill Stephen Schwartz says Wicked (the movie) will have several new songs. Geez, it already has a ton of songs. I guess he wants that Oscar.
MTV Frankie & Johnny is Garry Marshall's best film

Variety Idris Elba responds to those endless Next James Bond rumors
Coming Soon Star Wars: Episode VIII (as yet untitled) wraps production. It's due in theaters in December 2017 as these things take time in Post-Production
The Playlist the teasers for all the new Marvel/Netflix TV series: Iron Fist, Defenders, Luke Cage
Towleroad an interview with the stars of Looking 
Comics Alliance Wonder Woman gets her own US postage stamps for her 75th anniversary this year 
AV Club Brie Larson spoils Room for dumb people on Twitter 
The Retro Set looks back at Judy Garland in her final film I Could Go On Singing (1963)
The Guardian celebrates the five great screen moments for Penelope Wilton (of BFG & Downton Abbey fame)
EW Justin Timberlake talks about his theme song to the upcoming Trolls movie 

Finally....
I was going to write a piece about Kirsten Dunst choosing to direct the feature film adaptation fo Sylvia Path's famous novel "The Bell Jar" with Dakota Fanning in the starring role. But Indie Wire's Kate Erbland beat me to it and said basically everything I wanted to say. I love this part.

Dunst’s ability to dive deeply into depression was not just confined to her work in “The Virgin Suicides,” she also captured rich, worldly ennui in Coppola’s “Marie Antoinette” and terrifying, world-ending fear in Lars von Trier’s “Melancholia,” for which she won Cannes’ Best Actress award... Even in her younger years, Dunst was uncannily able to translate bone-deep sadness to the big screen in fascinating ways, like she did as a child in “Interview With the Vampire.” And while most fans of Michel Gondry’s “Eternal Sunshine of the Spotless Mind” remain hung up on Jim Carrey and Kate Winslet’s work in the film (and rightly so), Dunst’s own subplot about lost love (and lost memories) is one of the film’s most heartbreaking elements.

My only fear here with this project is that it's too on the nose for Dunst. Like Terry Gilliam's desire to make a Don Quixote Picture; haven't they already been making these pictures, figuratively speaking, for their whole careers?