Almost There: Barry Keoghan in "Saltburn" & Andrew Scott in "All of Us Strangers"

by Cláudio Alves

Earlier this week, the Almost There series returned with a look at Penélope Cruz's failed bid for the Best Supporting Actress Oscar. Now, it's time to move on to Lead Actor, where the season's most prominent contender without a nomination was Leonardo DiCaprio in Killers of the Flower Moon. But since you're probably tired of reading my defense of Scorsese's latest, I decided to focus on two others instead. The first victim is Barry Keoghan in Saltburn, for which he was nominated at the Golden Globes, BAFTAS, and Critics Choice Awards. Our second sacrifice is Andrew Scott, whose campaign for All of Us Strangers was full of passion but few actual plaudits. There were nominations at the Globes, Spirit and British Independent Film Awards, little else...

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Paul Mescal must be stopped

by Cláudio Alves

Something must be done about that Irish menace known as Paul Mescal. He's out there ruining perfectly great songs, attaching such emotional devastation to them one can't help but start tearing up when listening to them. It's akin to a cinema-induced Pavlovian response, and it's making me feel like an insane crybaby. Last year, it was "Under Pressure," forever bound to Aftersun. This year, it's "The Power of Love" by Frankie Goes to Hollywood and the ending to All of Us Strangers. Twisting the horror out of Taichi Yamada's ghost story, Andrew Haigh re-imagined the book's conclusion as a melancholic gut punch, romance played for earnestness rather than betrayal.

It's probably the picture's most divisive element, but it works partly because of Mescal and how fleshed out his depressed stranger grows into being, narrative circumstances notwithstanding. I won't go further because everyone deserves to discover those surprises by themselves. However, I want to pose a couple of questions. First, has any film forever changed the meaning and effect of a song? Second, what did you think about the All of Us Strangers final goodbye?

Paul Mescal is the Melancholic Heartthrob of Our Dreams...

by Cláudio Alves

...but not even he could make Foe worth watching.

Since Normal People hit the small screen in 2020, the Irish actor has enjoyed a rise to fame like few before. Still, his breakthrough performance as Connell Waldron could have been a one-hit wonder with its staggering vulnerability never to be repeated. Thankfully, that wasn't to be. Though his big-screen debut, The Lost Daughter, didn't ask much from the Maynooth-born hunk with perpetually sad eyes, the 2022 double feature of Aftersun and God's Creatures revealed surprising range. So much so that he secured his first Oscar nomination for the Charlotte Wells stunner, a rare honor for its kind of understated work.

Garth Davis' Foe is the first significant stumble in a mostly impeccable resume. Still, that need not be the end-all-be-all of Mescal's 2023…

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Blurb Attack! Go see "Carmen" (and more) this weekend

Congratulations to Abe Friedtanzer whose review of Carmen for The Film Experience is quoted in the trailer.

Sometimes studios ask about these things but in this case we were taken by surprise...

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What's next for the recently Oscar-nominated: Pt 3 - Actors

by Nathaniel R

Austin Butler and co-stars in "Masters of the Air"

With the 95th Academy Awards wrapped, it's time to look to the future. We already talked about the next projects for this past season's hot directors and actresses. Now let's look at the leading and supporting men. What's next for them? 

AUSTIN BUTLER
Like most modern stars, Butler is juggling both TV and movies now. He's already shot the World War II miniseries Masters of the Air (fellow Oscar nominee Barry Keoghan is also in it). The big movie news...

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