Monologue: Judi Dench in “Shakespeare in Love” (and at the Oscars )

Andrew here. Jose was just talking about Romeo & Juliet so there's our blogging segueway to Shakespeare in Love! I love this movie, despite the less than stellar reputation it's built up since its release 15 years ago. I’d argue that it’s the most successfully executed romantic comedy in the past 20 years. Those that claime that Shakespeare in Love is little more than a bauble often forget that it was penned by one of the finest English language dramatists of the 20th century, Tom Stoppard. Films written by playwrights work well for this column because playwrights are innately aware that monologues are like great set-pieces to show off the acting craft. Shakespeare in Love is filled with monologues and sotto voce asides and it’s not just because of Stoppard’s playwright sensibilities. The very best trick Stoppard plays in Shakespeare in Love is delightfully imping Shakespeare’s technique in the film.

But the monologue. Today we focus on that slight, but effective Supporting turn which won the Oscar.

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Podcast: 12 Years A Slave To Horrors

Nick and Joe join Nathaniel to discuss the Chicago Film Festival where they're catching movies like August: Osage County during the day and falling asleep watching old Oscar broadcasts chez Nick (1991 and 2006 make vital cameo appearances in this 'cast). That's our kind of weekend!

We all share the love for Steve McQueen's amazingly powerful 12 Years a Slave which Nathaniel has just seen a second time. Then we're on to discussing some horror classics which we've been thinking about due to our recent Team Top Ten lists of the best of that genre. Horror films briefly discussed include: Carrie, Rosemary's Baby, The Night of the Living Dead, Carnival of Souls, Misery and Suspiria. 

You can listen at the bottom of the post or download it on iTunes. Join in the conversation in the comments.

12 Years a Slave to Horror

Team Top Ten: Biggest Awards Season Flops

Amir here, to bring you our newest edition of Team Top Ten. Festival season is in full force. Telluride just wrapped. Venice is going strong. And in just two days, Toronto will set the awards season ablaze (Nathaniel and I will be there covering the flames). So we thought we’d vote on something that captures the spirit of the season.

Sort of.

Looking ahead at this point, there are a lot of films that look like surefire Oscar contenders. Inevitably, some of them will miss out on nomination morning, but at this very moment, everyone’s got their hopes high. Even in a year where unfortunate circumstances led to widespread discussion of racism in America, one can’t expect Mandela, 12 Years a Slave, Lee Daniels' The Butler AND Fruitvale Station to be nominated, but all four films are certainly gunning for it. So has been the story with many films in the past couple of decades, since the Oscars became the most glamorous political race on the planet and the Weinstein’s at Miramax supercharged awards campaigning.  

We’re looking back today at the films of the past 25 years – let’s call it the Campaigning Era – that looked like major Oscar players this far out in the year, or hell, even five minutes before nominations were announced in some cases, but failed to make a dent of any size. This is Team Experience’s Top Ten Awards Season Flops. Note that this is not a qualitative judgment - some stank, some were superb. But, for one reason or another, they fell short of what The Golden Man deems "Best". In simple terms – borrowed from Team Experience member, Nick Davis – these are the ten films that have the largest gap between their Oscar hopes and their Oscar outcomes. Without further ado… 

Bobby and 9 more dashed-hopefuls after the jump...

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A Topic That Never Grows Old: Best Actress 1995

Elisabeth Shue had my vote among the Oscar nominees

With the time left -- you can have more money, you can drink all you want -- just stay. That's what I want. I want you to talk. Or listen. Just stay."

Alicia Silverstone, Clueless (MTV Winner, Globe Nominee)
Angela Bassett, Waiting to Exhale (Image Award Winner)
Annette Bening, The American President (Globe Nominee)
Gong Li, Shanghai Triad (None)
Joan Allen, Nixon (SAG Lead Nominee but Oscar Supporting Nominee)
Jennifer Jason Leigh, Georgia (NYFCC Winner, Spirit Nominee)
Jessica Lange, Rob Roy (None)
Julianne Moore, [safe] (Spirit Nominee)
Julie Delpy, Before Sunrise (None)
Kathy Bates, Delores Claiborne (Saturn Nominee)
Michelle Pfeiffer, Dangerous Minds (MTV Nominee, #1 Female Led Box Office Hit)
Nicole Kidman, To Die For (Globe Winner)
Sandra Bullock, While You Were Sleeping (Globe Nominee, #2 Female Led Box Office Hit)
Toni Collette, Muriel's Wedding (AFI Winner, Globe Nominee)

...and the Oscar nominees
Elisabeth Shue, Leaving Las Vegas 
Emma Thompson, Sense & Sensibility (won for Screenplay!)
Meryl Streep, The Bridges of Madison County (#3 Female Led Box Office Hit)
Sharon Stone, Casino (Globe Winner)
Susan Sarandon, Dead Man Walking (The Winner) 

*and I dedicate this list to Pocahontas in Pocahontas who I wish was a real actress

Such riches to choose from! Definitely in the running for Bestest Best Actress Year of All Time? Your ballots please.

Posterized: Disney/Pixar

My review of Monsters University will be up tomorrow but for now, let's revive our supposedly weekly (ahem) series Posterized to look back at all 13 Pixar Features and discuss their chronology and, the fun part, their hierarchy. AND... I just keep gilding this CGI lily,  how they compare to the first 13 DISNEY Animated Features. Yep, throwing a little curveball into the frequent "ranking Pixar" conversations, I am.

Toy Story (1995) 3 Oscar nominations. Won an Honorary Oscar. Basically changed the (showbiz) world forever. [my ten favorite moments from this classic]
A Bugs Life (1998) 1 Oscar nomination (Score, Musical or Comedy)
Toy Story 2 (1999)  1 Oscar nomination (Song). It was right about here that people started arguing for an Animated Feature Oscar category (Tarzan and The Iron Giant were also released this year) but that wouldn't happen for another couple of years. 

And then...

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