Review: "Snow White" exceeds expectations, but that's not saying much

by Cláudio Alves

When was the last time the live-action remake of one of Disney's animated properties presented something worth watching? One supposes Cruella had those Jenny Beavan-designed Oscar-winning costumes to recommend it for, and Winnie the Pooh was alright in its melancholic tone. By my account, the last wholly successful of these enterprises was Kenneth Branagh's Cinderella, released a whole decade ago this year. Part of it stemmed from a willingness to deviate from the original, an understanding of the tale's inherent qualities beyond its value as nostalgia fodder, and the lavish production values courtesy of Dante Ferretti and Sandy Powell. 

The latter is back to Disney's mercenary recycling scheme with Snow White, a project that harkens back to Cinderella without reaching the same modest heights. Sandy Powell innocent, though. Well, mostly…

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Scorsese at the Oscars: The Complete Tally

by Cláudio Alves

With Killers of the Flower Moon still in theaters, conversation on the film has drifted from first impressions to Oscar prognostication. Amid these talks, Martin Scorsese's golden record has been heavily debated. Some say he's been severely under-rewarded, while others regard such talking points with disdain usually reserved for teenaged pop stans. Wherever you fall in this spectrum, knowing the director's exact Oscar stats will be helpful, if not enlightening. None of his short or documentary work has ever been recognized by AMPAS, and out of 25 narrative features, 17 have received at least one nomination – or 68%. Seven of those won an Oscar – or roughly 41% of his nominated work.

For a more in-depth analysis, let's consider the complete tally, sorted by category…

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Queering the Oscars: The Costumes of "Orlando"

by Cláudio Alves

Sandy Powell's career has been closely tied to queer artistry since its genesis. After completing her education, the costume designer soon started collaborating with multi-hyphenated gay icon Lindsay Kemp whose stage work she had long admired, and, later, her jump from theater to film would be predicated on another queer genius, Derek Jarman. They'd work on four projects – Caravaggio, The Last of England, Edward II, and Wittgenstein – and the costumer would continue, keeping his memory alive after the director's death in 1994. Since then, even as her profile grew into the mainstream, Powell remained faithful to the idea and ideals of queerness in cinema, often joining forces with artists under the LGBTQ+ umbrella, Todd Haynes most of all.

As Pride Month 2023 reaches its end, let's remember this Academy darlings' first brush with Oscar. It was in 1993 when Sally Potter's adaptation of Virginia Woolf's Orlando earned Sandy Powell a Best Costume Design nomination…

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Who will be nominated for Costume Design?

by Nathaniel R

Shirley Kurata's costumes for "Jobu Tupaki" in EVERYTHING EVERYWHERE ALL AT ONCE are great chaotic fun

Let's tackle each Oscar category while there's still wiggle room for all contenders! Last season Best Costume Design was sewn up (sorry!) unusually early in the year when Jenny Beavan's garbage dress unfurled midway through Cruella (2021) in the summer movie season. From then on it was everyone versus Cruella and Beavan came out on top for the third time in her delicious career. The costumes of 2022 haven't really had one showstopping gown to end everyone else's Oscar dreams so it's anyone's guess at this point.

Let's discuss 8 films we think are major threats for those 5 nomination slots and why. It seems natural to start with two films where fashion is a co-lead of sorts...

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The Best Costumes of 1997

by Cláudio Alves

Before we say goodbye to 1997 and move on to 1951, let's indulge in what has become a Smackdown tradition. After Nathaniel and his panelist do their Supporting Actress analysis and podcast discussion, it's time for some costume-related musings. Like most of the categories in that year's Oscars, the Best Costume Design race was won by Titanic, which shouldn't be surprising. Not only was the movie a sweeper, but its wardrobe has achieved iconic status in the decades since its original release. Deborah Lynn Scott makes for a just victor, not only because of her work's iconographic power but also because it works within the picture's purview of history and romance…

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