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Oscar History

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Oscar Horrors: Kathy Bates in Misery

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Entries in Roger Deakins (32)


Links in the Shell

Apartment Therapy Nancy Meyers movie kitchens ranked (somehow The Intern only makes it to 5th. I just saw that and it was surprisingly warm and adorable... and yes still filled with real estate porn)
The New Yorker looks back at the Cassavates classic Faces (1968)
/Film Ghost in the Shell producers are finally responding to whitewashing casting controversies. They promise they've been 'very very careful' with the beloved material even though they cast a white actress (Scarlett Johansson) in the iconic Japanese role. We love Scarlett so so much but this type of thing continues to be a huge problem.


/Film There's going to be an actual Captain America statue in Brooklyn's Prospect Park
Cinematic Corner celebrates Margot Robbie (there will be a lot of that going around soon)
Variety Animation Awards for Europe soon -- their version of the Annies
Screen Crush Thor: Ragnarok officially began production in Australia yesterday
Awards Daily Why not give Roger Deakins the Oscar he has long deserved this year for Hail Caesar! 

Off Cinema
Theater Mania Lin-Manuel Miranda and JLo are collaborating on a song to benefit the victims of the recent Orlando shooting
EW American Horror Story Season 6 has a new logo (which looks like a devilish 6) a premiere date (9/14) and most of the cast from Hotel will be back though Lady Gaga is rumored to have a supporting role this time around which begs the question of who the lead will be? Let's hope it's Sarah Paulson. Why keep searching for new leads when your MVP is right there all the time.
AV Club CW seasons will now be available  just 8 days after their season finale on Netflix
Towleroad new behind the scenes photos from season 2 of Sense8
MNPP on the broken promise of Rick Yune's nude scene in Marco Polo Season 2
Comics Alliance the Harvey Award nominees for comics in 2016.  Valiant Entertainment thoroughly dominated the nominations. Here's one category you can investigate if you're interested

Two Controversial Pieces on Actresses
Variety's Owen Gleiberman is looking forward to Bridget Jones's baby, sort of, in the piece "Renée Zellweger: If She No Longer Looks Like Herself, Has She Become a Different Actress?." It's prompted lots of calls of sexism but it's an interesting article that wonders what we're supposed to do when actors who play characters we love who no longer look like the characters they created (not from aging... though people who are offended by the article keep saying that. Sorry people but Colin Firth still totally looks like D'Arcy. Just an older D'Arcy). I myself always wish actresses wouldn't mess with their faces (if they must, temporary measures are best since the effects wear off if they don't look right!). Their faces are their brand and actors are famous partially because they're so beautiful just as they are. Why mess with perfection? I don't think it's true -- and I keep reading it -- that if actresses don't mess with their faces they don't get work. From what I've seen actresses who mess with their faces in any noticeable permanent way actually STOP getting much work. It distracts audiences too much. Note how Kate Winslet, Annette Bening, Helen Mirren, Meryl Streep, and so on keep aging and keep working. 

Wesley Morris' piece for the New York Times "How I Learned to Tolerate Blake Lively" is ostensibly about her performance in The Shallows and Hollywood's ever rotating it girls. People are offended by this one too - partially due to the interchangeability notion of blonde actresses. But it's also interesting because it gets at something that I think anyone can relate to: the experience of loving an actor that Hollywood has moved on from. 'Wait, I wasn't done with _____! " that Wesley says this about Kate Hudson is bizarre but to each their own.


Nothing Compares 2 Link

MNPP picks 5 favorites from Roger Deakins great filmography - love the write up
i09 Netflix is going to be the exclusive home for Disney, Marvel, Lucasfilm, and Pixar movies when it comes to streaming
The Guardian looks back at the career of Burt Kwouk (RIP) who played Cato in The Pink Panther franchise
Variety looks at the top Emmy races. Where are we guaranteed movement in the often stagnant fields?

• Hypable Disney's gay erasure problem (not the pop band) and why the hashtags #GiveElsaAGirlfriend and #GiveCaptainAmericaABoyfriend are so popular. (Captain America already has a boyfriend, of course, but why did Disney include that Sharon Carter kiss?)
Flickering Myth Chris Nolan's Dunkirk shoot has begun (photos from the set). Since he's sick of not being Oscar nominated for directing he's making a World War II picture instead of sticking with sci-fi, magicians, or Batpeople
• Playbill the 61st annual Obie Awards, a prestigious off Broadway prize, have been announced. Winners include Red Speedo (which we briefly wrote about), the musical Dear Evan Hansen, and two shows that have transferred to Broadway and are now up for Tonys: The Humans and Eclipsed
Boy Culture on the Madonna Prince tribute at the BBMAs and subsequent fallout - there's always fallout. Haters gonna hate
MTV Teo Bugbee on the new "tasteful?" nudity in Game of Thrones. I feel bullied by the internet in regards to this show (i don't watch it and don't like it whenever I casually see part of an episode) but this piece is great

In Nostalgia We Trust
Have you seen the new Star Trek Beyond poster? It's pretty but wouldn't this tactic have made more sense for the initial reboot than for a third sequel?  Also just how long until we reach peak nostalgia as a culture? Everything is just old things repackaged.

Yes, we've always had remakes and franchises all the way back to the early talkies but it seems much more dominant now, the whole pie rather than two pieces. 




April Showers: Sicario

In April Showers, Team TFE looks at our favorite waterlogged moments in the movies. Here's Chris on Sicario (2015).

Sicario was one of last year's most underappreciated and perhaps misread films. Audience responses ranged from breathless praise (yours truly is guilty) to passive disregard to outright frustration. However, it's three Oscar nominations (Cinematography, Original Score, Sound Editing) are inarguables of the film's immaculate (if punishing) craft.

One of the major qualms against the film is its central characterization in Kate Macer - a tightly wound and multilayered Emily Blunt at her very best. Plenty have complained that she's too passive and changes little - but that ignores the fact that she's a woman who stands her ground and fights for her beliefs despite being up against forces stronger and more unshakable than her solitary point of view. She's swimming upstream and being pulled under fast...

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Undersung Works by the Oscar Nominated Cinematographers 

Jose here. The five gentlemen nominated for the Best Cinematography Oscar have amassed a more than respectable amount of accolades, they boast a collected 37 Oscar nominations between the 5 of them, with Edward Lachman being the least nominated having only two (both for his previous collaborations with Todd Haynes) and Roger Deakins being the perpetual bridesmaid with 13 career nominations and no wins (not that he needs them anyway, he has 3 BAFTAS and 3 ASC Awards to console him).

Even if these folks get nominated for awards all the time, some of their work has been received coolly by awards bodies. Unbelievable, I know. So, here are 5 “undersung” achievements by this year’s nominees...  

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ASC and BAFTA Go Cuckoo for Chivo 

Jose here. In what turned out to be a surprise to absolutely no one, Emmanuel Lubezki managed a historical threepeat from the American Society of Cinematographers who gave him yet another award for his use of natural light in The Revenant (he also won his third straight BAFTA).

Chivo is now the ASC’s biggest winner having earned five awards (out of six nominations) since 1999 (he has only lost for Sleepy Hollow) Somewhere Roger Deakins must be thrilled Lubezki didn’t have any movies out in 2012 (technically To the Wonder came out, but it sadly went by dismissed by most groups), since that year he won his third award for Skyfall and “prevented” Chivo from winning the award every year since 2011 (the Oscar-less Deakins more than doubles Chivo’s ASC nods though, having earned 14, the highest for any ASC member).

Considering Chivo is now the hands on favorite for the Oscar (in what will be yet another rare consecutive threepeat) it might be fruitless to point out that other than for the last two years, ASC and Oscar have had quite some disagreements; since the year 2000, ASC has awarded eight cinematographers their top prize while Oscar has gone a different route. All of those winners were also nominated for the Oscar though, so it’s unlikely we’ll see a Robert Richardson upset this year since ASC went for Janusz Kaminski’s work in Bridge of Spies instead. As The Revenant keeps steamrolling its competition, I can’t help but wish for a glamorous spread of Judy the Bear in Vanity Fair or Vogue sometime soon. Photographed by Chivo of course.  



Personal Ballots Cont'd: Best Cinematography & Production Design

We're almost done with the Oscar Correlative categories in the Film Bitch Awards. Then it's on to the silly & fun but still seriously chosen "extra" categories. Here are my choices for the best men behind the camera (always men. sigh) and the men and women designing and decorating those sets and the film's overall visual palette for your eye-candy pleasure. 

The big Oscar question this year is "Can Emmanuel Lubezki" win a third consecutive Oscar for The Revenant. He's dominated the category the past two years with Gravity (2013) and Birdman (2014). It won't be the longest consecutive winning streak ever -- that belongs to Walt Disney who won consistently in short film categories for seemingly ever in the early days of Oscar -- but it will be the single longest streak in modern history if he pulls it off. But the category already has something for the record books: With his 13th nomination Roger Deakins Sicario moves into a tie for 5th place for All Time Most Celebrated Cinematographer. He's now sharing the honor with George J. Folsey (Meet Me in St. Louis) who also never won an Oscar. Everyone higher on the list won the Oscar once or multiple times, all four of them; It's rarified air they're breathing. 

Deakins makes my own personal ballot this year but Lubezki just barely misses (I was more impressed with his work on The New World which also went all natural light on the frontier) because I had to make room for the emotionally expressive and flexible light of Phoenix (courtesy of Hans Fromm) and the jaw-dropping 'how'd they do that?' camerawork on Germany's Victoria. On the latter film the director was so impressed he gave DP Sturla Brandth Grølven billing above his own! 

Oscar Charts (now with trivia & predictions) & Nathaniel's Ballot  

We've already discussed the stupendous achievements in this category by Ethan Tobman on Room and Judy Becker on Carol so no need to rehash other than 'what is with Oscar sometimes. How could they ignore them?' Oscar voters have an anything goes choice in this category, though. If they don't just check off Mad Max Fury Road in most of the craft categories it's easy to imagine any of the films as winners, don'cha think?

Finally I wanted to give a shout out briefly to Thomas E Sanders work on Crimson Peak which the Academy also passed on. The movie has a lot of problems -- Guillermo del Toro can't seem to stay out of his own way with so much gilding of every gothic lily -- but Allerdale Hall is wonderfully decayed and oppressively decorative and all around drafty and decadent. And those vats in the basement! 

Oscar Charts (now with trivia & predictions) & Nathaniel's Ballot  


Sicario's Hell in Harmony

Chris here. Available this week on DVD/Blu-ray is Denis Villeneuve's Sicario, a controlled descent into the cartel battles being waged between the Mexican and American borders. Like the ongoing war on drugs, Villeneuve's film presents a complex landscape of violence wherein rulebooks have been forsaken - and on both sides. It's a masterful piece of filmmaking (recently nominated by the PGA, ADG, and WGA), and Villeneuve has assembled an intimidating group of craftspeople working harmoniously to create a living hell.

Front and center is Emily Blunt's idealistic and by-the-book agent Kate Macer, straining composure and grasping for opportunity while in over her head. Blunt is ferociously present and flummoxed, giving as much subtlety and nuance as she has in her broader roles like The Devil Wears Prada. She's so believably rattled that you're reaching for fistfuls of cigarettes along with her. It's a performance that deserves to be right in the thick of the Best Actress conversation, even in such a deep field as this. While many have claimed her to be far too passive, her lack of control is just another element of Villeneuve's all-pervasive synthesis.

more after the jump...

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