Winona Ryder @50: the definitive "Reality Bites"

Team Experience is celebrating Winona Ryder this week for her 50th birthday

by Timothy Lyons

1994 was a watershed year for a young Winona Ryder. It started with her first Oscar nomination (and a Golden Globe win) for her performance in Martin Scorsese’s The Age of Innocence and would come to a close with the Christmas release of Gillian Armstrong’s superior adaptation of Little Women with Ryder’s performance as Jo leading to her second Oscar nomination in as many years (more on that tomorrow). Sandwiched between this diptych of heavily-costumed prestige pics was the release of Ben Stiller’s Reality Bites. Here was a film that would come to define a generation (Generation X) and featured the best, most natural, and luminescent performance of Ryder’s career.

I am a huge Winona Ryder fan - let me get that out of the way before we go further. She does however have a tendency towards the fidgety, the strangely mannered and vaguely uneasy in her performances. Sometimes this can lead to her work feeling slightly blank or disengaged, but more often than not (especially when called upon to play one of many outsiders) it is just right...

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Winona Ryder @ 50: "The Age of Innocence"

by Cláudio Alves

It didn't take long for Winona Ryder to capture the Academy's attention. In 1990, Mermaids marked the young actress' first brush with awards buzz, and, three years later, The Age of Innocence cashed in on that promise. For playing May Welland, the fiancée, then wife, of Daniel Day-Lewis' Newland Archer, Winona Ryder was nominated for the Best Supporting Actress Oscar and probably came quite close to winning. She won the Golden Globe and Anna Paquin's win at the Oscars for The Piano was considered a surprise at the time. And yet, reading reviews from the time and even modern considerations, it's clear that Ryder's performance isn't as universally beloved as her victories might imply. Indeed, it's divisive work…

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Almost There: Nicole Kidman in "To Die For"

by Cláudio Alves

This October, the Criterion Channel is celebrating all things death and murder, be it fantastical or otherwise. Indeed, amid its new collections, one can find a curated program of movies that reflect the idea of True Crime in some way or another. Gus Van Sant's pitch-black comedy To Die For is one of those films. The story of an ambitious weather girl with aspirations of TV fame who manipulates teenagers into killing her husband was a breakthrough for Nicole Kidman back in the mid-90s. After years of being systematically undervalued by audiences and critics alike, the actress got immense critical acclaim and came close to an Oscar nomination…

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Almost There: Jack Lemmon in "Glengarry Glen Ross"

by Cláudio Alves

Last week, in the Almost There series, I took a look at Shirley MacLaine's Volpi Cup-winning turn in Madame Sousatzka. This week, it's on to another Venice Film Festival champion who got some Oscar buzz but failed to make it to the Academy's lineup. From a Best Actress winner to a Best Actor victor, from one elderly Oscar-winner to another, from The Apartment's leading lady to its leading man. In 1992, Jack Lemmon won two prizes at Venice, both for his performance in James Foley's screen adaptation of David Mamet's most famous play, Glengarry Glen Ross. The movie is iconic, full of memorable dialogue and oft-quoted one-liners, a treasure trove of vociferous acting, bursting at the seams with tired testosterone. Still, amid such a powerhouse cast of characters and acclaimed thespians, Lemmon shines brightest…

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Almost There: Linda Fiorentino in "The Last Seduction"

by Cláudio Alves

Since last month, the Criterion Channel is offering a collection of neo-noirs, modern films from the 70s onwards that perpetuate the tradition of 1940s and 50s crime pictures. Freer to explore matters of sex and violence, these versions of film noir tend to be more visceral, updating old archetypes into vicious evocations of misanthropic cinema. For actressexuals, the evolution of the femme fatale is especially enticing. From Kathleen Turner's oversexed take on a Phyllis Dietrichson type in Body Heat to Nora Zehetner's mysterious high-schooler in Brick, this immortal character has gone through an infinite myriad of transfigurations. Maybe none of them caused as much hubbub during her awards season as Linda Fiorentino in John Dahl's The Last Seduction…

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