One Score and Five Years Ago: Revisiting "The American President" at 25

by Josh Bierman

As we are only 62 days away from a new, brighter era in the White House, now is the perfect time to revisit the Rob Reiner/Aaron Sorkin classic, The American President which is celebrating its 25th birthday this week. Back when it was released, Joe Biden was still a senator from Delaware and Tronald Dump had declared a loss of $915.7 million on his tax returns. I don’t want to make this piece a reflection on the Dump years through the lens of The American President, but as we’ve found in the years since Dump took that fateful ride down a golden escalator, it’s hard to avoid him when watching something overtly political. Or is that just me?

Let’s take it back a little bit. If you haven’t seen The American President since Hillary was just a First Lady, allow me to give a refresher. President Andrew Shepherd (Michael Douglas) is in his first term with high approval ratings, poised to cruise to a reelection victory. Enter Sydney Ellen Wade (Annette Bening), an environmental lobbyist, who catches the widowed president’s eye. But the president’s popularity and reelection chances begin to wane due to their courtship...

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Horror Costuming: Bram Stoker's Dracula

by Cláudio Alves

For the past few weeks, I've been exploring the greatness of costume design in the realm of horror cinema. None of the movies we discussed, not even those somewhat embraced in the awards circuit, got many golden laurels for their feats of costuming. That's, unfortunately, what usually happens to cinematic excellence that happens to manifest outside the boundaries of prestige drama. However, there are always a few exceptions that prove the rule. Such is the case of Francis Ford Coppola's 1992 adaptation of Bram Stoker's Dracula. The picture won three Academy Awards, including the prize for Best Costume Design.

The creations of the late Eiko Ishioka are some of the weirdest and most spellbinding costumes ever made for cinema and, as far as I'm concerned, she's the greatest recipient of my favorite Oscar. Michael has recently explored his first foray into the dark marvels of Dracula, and Jason has previously explored Eiko's Oscar win. Nonetheless, I couldn't let Halloween go by without revisiting this most wondrous of big-screen wardrobes. Join me on this deep dive into the nightmarish fantasy of Eiko Ishioka's Dracula…

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Fargo: Kindness in an Unkind World

by Cláudio Alves

With Frances McDormand back in the Oscar conversation thanks to Chloe Zhao's Nomadland, I'm reminded of some discussions I had when Three Billboards Outside Ebbing Missouri was making its way through the festival circuit. On first viewing, I was more charmed by the movie than many of my friends and colleagues (subsequent re-watches killed that initial goodwill), finding myself defending some of the picture's elements to its impassioned detractors. Three years later, there's still a critique of Frances McDormand's second Oscar-winning performance that infuriates me, even though I'm no big fan of her turn as Mildred Hayes. 

According to people whose opinions I respect, McDormand was doing the same thing she always does. More alarmingly, I was told that the actress was just repeating her first Oscar-winning performance in Fargo. Whatever one may think about this thespian's pair of Academy Award-winning works, they are different, diametrically opposed even. In many ways, Mildred is the antithesis of Marge Gunderson…

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The Damon Identity

Please welcome new contributor Patrick Gratton...

To succeed in Hollywood, one must finesse the art of self-branding. Moving up the echelon of struggling up-and-comers trying to break out is, often enough, an impossible task. Self-branding helps gets you through doors and to build a following. It also builds the foundation for narratives, whether it be industry, populist or award based (these narratives don’t happen in a vacuum). But brands can be a double-edged sword, pigeonholing and often crippling the potential to explore and grow as an artist.  Winning Oscars early on in one’s career is problematic too. It can either derail a narrative, or implement a forced one. Today, commemorating Matt Damon's 50th birthday, let's look at how major misconceptions of his work have plagued him through a 30 year run on screen.

As narratives go, sometimes it’s a burden to win an Oscar at the outset of someone’s career. Granted, Damon’s Oscar for Gus Van Sant’s 1997 film Good Will Hunting, was for the screenplay he co-wrote with childhood best friend and soon-to-be Hollywood heartthrob Ben Affleck, and not for his performance, but the point still stands...

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Almost There: Nathan Lane in "The Birdcage"

by Cláudio Alves

For as long as queer narratives have attracted prestige and awards buzz, straight actors have earned praise for playing LGBTQ+ characters. They're often complimented for being brave, risky, for putting their careers on the line in pursuit of some grand artistic merit. Even in 2020, once you move away from the festival circuit and regard more mainstream productions, it's hard to find actual queer actors portraying these roles. Ammonite and Supernova are just the latest examples of this trend. This isn't to say that cishet actors can't be great at playing queer roles, but we'd like some variety, especially in the context of Oscars.

Back in 1996, AMPAS had a good opportunity to honor a gay actor playing a gay role. Nathan Lane, who admittedly wasn't out yet, was in contention for a Best Supporting Actor nomination for his work in Mike Nichols' The Birdcage…

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