31 Days of Oscar: The Narrow Margin (1952)

The Narrow Margin (1952)

Here’s another film with a short running time but a hell of a lot of wallop. The setup is great: cops escorting a grand jury witness cross-country to testify against a mobster. When you throw in the fact that it’s a film noir tale, you know you’re gonna be thrown for a loop quite a few times and boy does it have some doozies up its sleeve. This movie’s the kind of good that had me absolutely buzzing after it was over. Amazing.

Score: 10/10
Oscar Nominations/Wins: 1/0

31 Days of Oscar: The Circus (1928)

The Circus (1928)

Unlike when I was watching Monsieur Verdoux, I received no confirmation that I had seen this film before. Some parts of it felt familiar, but I believe it was for the most part new. It’s a sweet, brisk, funny and refreshing tale that builds its characters as much as the comedic situations, which he can get into with ease. This film is silent, but is one that I consider to be during the beginning of Chaplin’s slow transition into the world of sound, which makes it standout as a silent film with a locked in score, which as you watch more of them you realize is very rare.

Score: 9/10
Oscar Nominations/Wins: 0/1 (Won Honorary Oscar “For versatility and genius in acting, writing, directing and producing The Circus. Though nominated for best actor, the academy decided to remove Chaplin’s name from the competitive classes and instead award him a Special Award” Kind of a back-handed complement, not sure why he needed his nomination removed when the honorary award decision was made.)

31 Days of Oscar: The Green Years (1946)

The Green Years (1946)

Oh, boy. It’s not a wonder that this one slipped my mind and I had to backtrack through my twitter feed to see if I missed something else. I asked rhetorically if a film could polarize one individual when I finished watching this film because the aspects I disliked about it I truly loathed and the things I loved I adored. It made for a very frustrating and difficult viewing experience. The film does have balance in showing its protagonist as a child and a young adult, however, the beginning is a bit repetitive and almost masochistic in the amounts of gruffness, insensitivity and bullying he comes across. Thankfully, he manages to get through to a few people who warm to him otherwise it would’ve made Dickens at his most dire look like Disney at his sunniest. Yet, there’s a bit too much deus ex machina at play later on and an albeit moving but all to typical All-This-Horrible-Stuff-Happened-To-Me-But-I’m-Fine-Now ending. I wanted to like this one but in the end I just couldn’t.

Oscar Nominations/Wins: 2/0
Score: 5/10

31 Days of Oscar: Lies My Father Told Me (1975)

Lies My Father Told Me (1975)

Sadly, I have to say that I chose the above image because of its orientation rather than because I agree wholeheartedly with all the sentiments conveyed therein. While the film does have its moments of charm and humor they aren’t consistent enough to sustain this film. The song is more grating than memorable, too many of the characters are tiresome, some scenes too repetitive and the edit is not tight enough. Had the film shifted focus some, tried to place David in the courtyard’s world more often it would have succeeded for me.

Oscar Nominations/Wins: 1/0
Score: 5/10

31 Days of Oscar: Saraband for Dead Lovers (1948)

Saraband for Dead Lovers (1948)

I like to try an avoid cliches at all costs, however, when I watched this film what came to mind was the thought that if you looked up “stuffy costume drama” in the dictionary you’d find a photo of this film. Yet, there was still something about it that oddly kind of worked for me. What I think made it connect is that it was a British production with a more classical, yet more restrained acting style than I’m accustomed to for the time period. Take the same plot points and similar performances and place them in a Hollywood studio era production and it likely feels flatter than it is. Here, somehow, it retains some buoyancy. The restraint doesn’t feel forced and similarly pumping up the melodrama would seem unnatural and inappropriate.

Score: 6/10
Oscar Nominations/Wins: 1/0

31 Days of Oscar: Wait Until Dark (1967)

Wait Until Dark (1967)

This is a film that after having seen it I expected it to have more than one nomination. The films is very tense and the set-up is brilliant. I take some issue with the way it decides to quickly, practically brusquely, resolve itself but most of what happens leading up to that point is great. Of course, Audrey Hepburn is great in one of her more celebrated roles but Alan Arkin is also very noteworthy in this film. The climax of the film nearly makes up for the unfortunate and quick ending.

Oscar Nominations/Wins: 1/0
Score: 9/10

31 Days of Oscar: Wuthering Heights (1939)

Wuthering Heights (1939)

There’s something to be said for one’s first exposure to a story. As hard as it is to believe I’d never seen any rendition of this tale. I can’t put my finger on the reason why, but I’m glad to have seen it now. It’s a truly great tragic romance with allusions to a ghost story.

Wins/Nominations: 1/8

31 Days of Oscar: The Ladykillers (1955)

The Ladykillers (1955)

To describe the humor of this film as dry would be an understatement. As a matter of fact most of its humor would be situational and not in the dialogue or actions, in fact, Katie Johnson as the old woman offers most of it in the film simply by being so kindly and oblivious. The film also serves to show a small glimpse of what Alec Guinness and Peter Sellers are capable of but is not among their peak performances.

Oscar Nominations/Wins: 1/0
Score: 6/10

31 Days of Oscar: Way Out West (1937)

Way Out West (1937)

I love Laurel and Hardy. I’m not sure how many of their features I’ve seen. I do fondly recall watching their shorts on weekends growing up. Overall this movie is good. I haven’t the heart to dislike one, but this one does bug me in a serious way because the bamboozlers make one too many bad mistakes right at the beginning that should have been caught. Aside from that, the film is fine and has some hysterical sequences. The Oscar nomination is for scoring, which is truth be told, is pretty special. I do like that the Academy had a proclivity for recognizing comedic scoring earlier on. It’s definitely worth a watch for fans who haven’t seen it I would introduce them with it though.

Score: 7/10
Oscar Nominations/Wins: 1/0

The 88th Annual Academy Awards

Introduction

Well, here it is again, It’s a weird year for me. My intake of the Oscar-nominated films is low, I’ll do something to address that soon; however, bottom-line is that many of the nominated films I will be catching up with in the longer-than-usual Gray Area.

So without further ado the more specific commentary…

Red Carpet

85th Annual Academy Awards - Arrivals

Still awaiting the first absolutely ridiculous commentary.

Film #1 that needs seeing soon: Room.

Eddie Redmayne on the carpet. He’s a BAM Award nominee for Les Mis. Please ask him about Fantastic Beasts too. Nope. They didn’t I enjoy looking forward a bit too guys.

If you need some viewing pleasure between now and the ceremony here is a hilarious Consequences of Sound video that came out over the weekend:

In a surprising twist, many of the worst dresses are on the fashion analyst panel.

“Did his wife dress him?” epitomize moments when I regret them deigning to discuss men’s looks.

Switched to ABC because enough is enough.

I’m frequently late to switching to ABC, they line up most of the bigger, exclusive interviews right before the show.

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“…The end of it all…”??? – Leo

 

—-BREAK—–

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Starting about a half hour behind because life.

New opening animation is a bit odd, always like these montages though.

Is there a prop bet on Trump/political statements?

Leave it to Chris Rock. Holy cow! Amazing. Still ongoing by the way.

Jamie Foxx love, is always welcome as is a random Paul Giamatti shoutout in a bit. Good stuff.

Like the filmmaking process approach to the nominees.

Spotlight on screenplay. This is one of the few I couldn’t get the gumption up to see. It could be very well executed indeed, but it’s a been-there-done-that ripped from the headlines story.

Gosling (Canadian) and Crow (Australian). Diversity.

I kid because I love.

The Big Short wins adapted so does that bode well for the end of the night? Still holding out hope for The Revenant.

Political message one: Pro-Sanders without saying his name explicitly.

OMG, Tracey Morgan at it again! LOL!

Stacy Dash bombed hard. So much so that his hilarious throw to Sarah Silverman didn’t land either.

Holy crap, as hilariously embarrassingly candid as that was, is anyone directing this show?

Two Best Picture nominees mean four of these awkward stand-ups. Is it time to shake this formula again?

Alicia Vikander!! YES!

Loved her since A Royal Affair.

We agree, Oscars! Mad Max Best Costumes indeed!

AP FILM REVIEW-MAD MAX: FURY ROAD A ENT

“The thing where a bear lives” for quote of the night.

FURY ROAD

Mad Max again – agrees with me on Production Design! I’m happy now but not holding out any hope for Best Picture.

And again! The Mad Max portion of this show is awesome!

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Yes, the Bear! and the Mad Max Best Picture montage.

Shoulda-been nominee is the best #OscarsSoWhite comment of the night.

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Lubezki’s work on The Revenant is not a choice I can knock, it’ll contend for my awards this year for sure.

They’ll keep making a point of calling editors artists until everyone gets it.

Again, Mad Max was impeccably cut. Check out my props to its cut, I gushed when awarding it.

If they felt the need to have to go public domain play off music, why always the same song? “Ride of the Valkyries” is good and all but…

OMG, Jack Black as the featured actor in the Black History Month segment, LOL.

Editing and Mixing up…

The first one to Max! I picked it for both in my joint category.

Two-for-two! Gotta love it!

Wow, awesome that Andy Serkis got that intro. Knew he’d announce special effect but glad they did it that way.

Not that surprised Ex Machina took it. That was the best part of it in my opinion.

Haha, robots take over on my birthday!

ParaNorman (2012, Focus Features)

Yes, Laika won an award!

Yes, Sci-Tech awards do count.

50 Oscar nominations for John Williams. Holy crap! Enjoy some now.

Obligatory animated presenters: The Minions!

Political reference #2 was Serkis mentioning Trump.

Did a minion just say Obama (#3)?

This is the first year in a while I come in to the Oscars having seen next to none of the shorts.

Political statement #4: The animated short that won is an allegory for those exiled from Chile during Pinochet’s regime. Awesome and powerful stuff, especially since it’s Chile’s first Oscar.

Whoop!

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Kind of a foregone conclusion but glad Inside Out wins. There’s a lot of importance in that film beneath its cutesy façade.

“Make stuff” acceptance speech the most inspirational so far.

Kevin Hart on stage, not making a movie at this time. Guffaw.

Didn’t listen to the nominated songs on hearing about them like I said I would. Oops!

Quite nearly live, maybe, maybe, maybe in the next commercial break I’ll catch up. had to check the latest promo for The Family though.

Supporting Actor, y’all!

Mark Rylance wins Best Supporting Actor, I’ve not seen Bridge of Spies yet to my shame, but it’s just another accolade one of his actors has gotten that he’ll not get due credit for molding because people perceive him being about story and the technical end and not performance like Bergman.

Yes, to The Good, the Bad, and the Ugly theme!

Leave it to Louis C.K. to make Documentary Short Subject matter in a hilarious way.

OK, “The Oscar goes to Mad Max” is the new best line.

Political statement #4: The biggest one the short documentary caused the Pakistani Prime Minister to change the law on honor killings. Another huge win for a country.

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Kapadia gets an Oscar, Senna should have gotten him one.

This Girl Scout Cookie bit was tired the second it started.

Whoopi introduced with “What’s Love Got to Do With It.” She’s not in that, but whatever it’s a good song, said the producers to themselves.

Cherly Boone Isaacs comes up for one of the most listened to and difficult addresses in the history of these awards I’d wager.

Was kinda dreading Grohl but it’s a cover song, so it’s cool.

Loved Robert Loggia in many things but always appreciated that he leant his voice to this bit.

RIP Alan Rickman now and always.

Finally live!

“For Best Foreign Language Film, foreign people…” Diversity.

To clarify I like Byung-Hung Lee and still think Sofía Vergara is still the funniest woman on TV. I just think it humorous that in a year when diversity is the biggest talking point at this year’s Oscars the presenters are all rather predictable. Kids for short film and so on. I’d like it mixed up some.

And now I get the Biden involvement. Political message #5: http://www.itsonus.org/

If it’s possible to have Lady Gaga bring the house down every Oscars, it should be arranged.

This is the part in the Oscars where I forget what categories are left.

Flag_of_Hungary.svg

 

Always glad to see Hungarian cinema recognized. Have to see The Son Saul.

This is the first Oscar for Ennio Morricone in competition? Really? Well, at leas that gets him off the Lifetime Achievement only list.

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Tear-jerking speech of the night so far: This guy!

Best Original Song: if you can’t say anything nice, don’t say anything at all, says I in response to that decision.

Ali G in da house!

“Now check out this movie about a room full of white people” gets into Gold Medal position.

My reaction to the Best Director presenter…

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I thought the smile meant Miller but, more importantly…

GOD FORBID, IÑARRITU BE ALLOWED TO UNDERSCORE THE SALIENT SOCIOLOGICAL POINT THE REVENANT MADE IN HIS SPEECH WITHOUT BEING DISTRACTED BY THE STUPID PLAY-OFF MUSIC. THE SHOW IS ALREADY RUNNING LATE GUYS, GIVE IT UP!

Brie’s win seals it, Room has to be first up.

Thank you, Academy for picking that clip instead of a wracked in agony one!

Third or fourth standing O?

If you follow Leo on social media that speech was no surprise, yet still amazing. Political moment #6.

Not gonna be that guy who comments on a movie he didn’t see, but I was surprised it was Spotlight.

The end.