Almost There: Tim Robbins in "The Player"

by Cláudio Alves

For the past few weeks, the Almost There series has been focused on performances that won at Cannes. Tomorrow, the latest edition of Europe's most prestigious film festival begins, so it's time to end our journey through the Croisette's past. After Woodward, Duvall, and Whitaker, it's time to take a look at Tim Robbins' work in Robert Altman's The Player. The flick marked its director's splashy comeback after a decade of minor works. Playing a venal big shot producer in a skewering of the movie business, Robbins won the Best Actor prize at Cannes, got terrific reviews, but failed to secure an Oscar nomination…

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Dead Man Walking @ 25: Susan Sarandon's long road to the Oscar

by Cláudio Alves

25 years ago, Tim Robbins' Dead Man Walking opened in theatres. The film dramatizes the true story of Sister Helen Prejean, the close relationship she forged, as a spiritual adviser, with convicted murderers on death row. Here, they are made into the composite fictional figure of Matthew Poncelet. Susan Sarandon and Sean Penn take on the lead roles, delivering two of the best performances of their respective careers. He received his first Oscar nomination out of it. She was honored with her fifth nod and, presently, her last. And she finally won the Best Actress trophy. 

The actress may be a controversial figure, but I'm not here to litigate her politics or the way she chooses to express them. Instead, I'd like to look at her achievements as a performer, specifically the five works that paved the way to that triumph on the night of the 67th Academy Awards. Join me – won't you? – as we explore Susan Sarandon's long road to the Oscar… 

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Over & Overs: The Hudsucker Proxy (1994)

by Mark Brinkerhoff

The Coen Brothers have no shortage of veritable classics on their résumé (Fargo, No Country for Old Men, Raising Arizona, etc.), but somewhat overlooked within their filmography are the quirky, sweet (read: non-violent, still absurdist) little diversions into optimism, vs. their patented nihilism. And so, sandwiched between the critical and commercial triumphs Barton Fink and Fargo, arrived The Hudsucker Proxy, the Coens’ mid-‘90s (25th anniversary, y’all!) ode to the zany, screwball comedies of Hollywood’s Golden Age.

They had me at "You know, for kids.”

I was one of the few who saw The Hudsucker Proxy in theaters—it bombed…hard—at the mall where I worked as a teen (at Subway in the food court, natch). In fact, it wasn’t by chance that I saw The Hudsucker Proxy; I actually sought it out, for reasons I can’t totally recall. But loved it I did, from the very first watch... 

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Chloë Moretz is Ruining My Life

It's been so long since I had a cinematic arch-enemy: Daughter of Tippi who haunted my youth is rarely onscreen; The Swankster is hibernating (it can't be long before a "comeback" though, right?); Zeéeeee has receded so suddenly that it's feeling like Meg Ryan 2.0 (and Meg never deserved the sub zero shoulder she got so abruptly); and Nicolas Cage has marginalized himself into the peripheries of bargain bin movies... though he still has an uncanny ability to find ways to co-star with my most beloved leading ladies of various eras (Turner, Cher, Streep, Moore, Kidman).

Enter Chloë Grace Moretz.  

It's been so long since I had a cinematic arch-enemy maybe I should try to enjoy this. In a "boo hiss" sort of way, mind you. In addition to Chloë's general smug ubiquity and her sacriligeous miscasting in the Carrie remake alongside my goddess Julianne Moore (who should know better post Hannibal) she has now decided to double down on forcing me to look at her; she's attaching herself like a parasite to my all time favorite actress. She's already played Michelle Pfeiffer's daughter once in Dark Shadows. She's doing it again in Tim Robbins next directorial effort. The film, which Robbins will also star in, is called Man Under.

Variety describes it like so:

In the vein of "American Beauty" and "The Royal Tenenbaums," pic follows a Yonkers family whose lives are changed forever when a photo of them ends up in the Museum of Modern Art.

Now, there's no word yet on if they're officially mother and daughter again this time but considering it's a movie about a troubled family, it's a safe bet.

The silver lining? At least this means Michelle Pfeiffer wasn't lying when she said she wanted to get back to work. If filming gets under way soon on this one, we'll have two Pfeiffer pictures in 2013! See also the crime comedy Malavita.