Months of Meryl: The Hours (2002)

John and Matthew are watching every single live-action film starring Meryl Streep. 

#29 —Clarissa Vaughan, a higher-up and hostess of the New York literary scene attempting to throw a party for her dying friend.

MATTHEW:  Even before Meryl Streep stepped before the cameras as the unraveling hostess Clarissa Vaughan on Stephen Daldry’s The Hours, the actress already possessed a role in Michael Cunningham’s Pulitzer-winning, tripartite meditation on love, loss, and Virginia Woolf. Early on in Cunningham’s 1999 novel, Clarissa, while shopping for flower, catches sight of a movie star who may be Streep or Vanessa Redgrave or, much less excitingly for Clarissa, Susan Sarandon emerging from her trailer with an “aura of regal assurance.” Streep’s ephemeral appearance in what will prove to be one of the most pivotal days of Clarissa’s life signifies, quite literally, the sublime; her quasi-cameo is a perfect encapsulation of one of those chance, indirect encounters with a famous face that we use, with varying levels of embarrassment, to distract us from the mundanities of our daily routine, a glimpse of the extraordinary amid the everyday. That Streep the Star, who was gifted a copy of "The Hours" by Redgrave’s late daughter Natasha Richardson, is removed from Daldry’s film speaks to the many, many excisions that occur within any page-to-screen transfer, but it also informs us that Streep’s cinematized Clarissa Vaughan is simply beyond distraction...

I will always appreciate Daldry’s version as a rare if principally partitioned meeting of three extraordinary screen stars...

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Thoughts I Had... Rewatching "The Dark Knight"

by Nathaniel R

Why so serious? Yes, you're 10 years older on this anniversary of The Dark Knight's release and probably watching the world burn with significantly less glee than The Joker would but still. Lighten up! At least we have the movies! I was commissioned to write a piece about The Dark Knight's Oscar history elsewhere but I jotted down more film-centric notes during a recent rewatch and will now share them here.

This a chronological skip through the movie. It made such a cultural impact you surely remember its release and maybe even the circumstances in which you saw it. If so, do share in the comments. Ready? Let's press play...

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What will Israel submit to the Oscars?

by Nathaniel

Flawless, which is called "The Prom" at home stars Stav Strashko (the one behind the wheel) who is a trans actress

The Ophir nominations were recently announced in Israel and we thought we'd share their Best Picture nominees. The winner of the Ophir -- which will be announced September 6th -- is almost always submitted for the Oscar's Foreign Language Film category. There are two LGBTQ films in the mix this year. Thanks to our loyal Israeli reader Yonatan for alerting us to the nominees. They're after the jump along with some stats about Israel's history with the Oscars and in US arthouse movie theaters...

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Burning Question: Most egregious Weinstein-backed Oscar Nods?

Upon seeing Harvey Weinstein in handcuffs yesterday our friend Rob asked a very timely question on Twitter which we though we'd share here for rabid discussion purposes. 

In the spirit of the day: Which ridiculous Oscar nomination that Harvey Weinstein facilitated was the most infuriatingly egregious?

My personal vote goes to Chocolat's 5 nominations (including Best Picture!!!) in 2000. The fluffy disposable film was nominated over obviously well-liked films like Billy Elliott, Wonder Boys, and Almost Famous... and great but divisive films like Dancer in the Dark and. 

And though Juliette Binoche is one of the all time great screen actors, there was simply no excuse for that Best Actress nod when Michelle Yeoh (Crouching Tiger Hidden Dragon) and Björk (Dancer in the Dark) were both RIGHT THERE, totally inspired, and more than worthy of nominations. Even further outside the race there were still other leading ladies who were running circles around one of Binoche's least impressive performances including Michelle Pfeiffer's genre transcending in What Lies Beneath, Renée Zellweger's comic skill in Nurse Betty, and Gillian Anderson, all tragic and ravishing in The House of Mirth! 

But what's your answer to the question? And if you are 2000 focused, please let us know you're ideal Best Picture/Best Actress lineup that year.

Blueprints: "Juno"

This week Juno celebrated its tenth anniversary, so Jorge takes a look at how Diablo Cody’s iconic dialogue was inflicted with meaning by the cast.

Juno first hit theaters ten years ago as a low budget indie hopeful. It ended its run as a major box office hit and Oscar favorite. It was the movie that put Ellen Page on the map, boosted Jason Reitman’s career, and gave us arguably the definitive Jennifer Garner performance. 

Screenwriter Diablo Cody won the Oscar for her debut screenplay, and she instantly became a recognizable name, the way many directors but few writers are. And not without merit. One of Juno’s biggest legacy is its quick-witted, snarky dialogue that, many times since then, has tried to be replicated...

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