The Hollywood Read ep. 10

THR LogoThe Bryan Singer expose finally arrived, published by The Atlantic after Esquire, or rather, Hearst Communications, declined to release it. Alex French and Maximillan Potter put a year’s worth of work into connecting the dots and laying out the trail of human destruction strewn in Bryan Singer’s wake. We discuss the article, Singer, the system that enables and protects him, and how that system will continue so that people can make money and win prizes. There is also some discussion of the Oscar nominations, which are also tainted with Singer’s presence because Bohemian Rhapsody earned five nominations, including one for Rami Malek and another for Best Picture. So one year after #MeToo and #TimesUp, this is what’s happening. Listen as we try and stave off existential despair and the creeping nihilistic belief that nothing is getting better. This is a tough subject, so be kind to yourselves.

The Atlantic‘s expose: https://www.theatlantic.com/magazine/archive/2019/03/bryan-singers-accusers-speak-out/580462/

Be Kind Rewind breaks down Harvey Weinstein’s Oscar campaigning: https://www.youtube.com/watch?v=6tihITlPAn4

If you are a survivor, and need to talk, RAINN offers 24/7 support: https://www.rainn.org/

Advertisements

The Hollywood Read ep. 9

THR LogoIn 1989, Spike Lee’s masterpiece Do the Right Thing premiered at Cannes, kicking off a year of controversy. Film critics blamed any potential race riots on Lee, the Cannes jury awarded Steven Soderbergh’s sex lies and videotape the Palme d’Or, something Spike Lee is still salty about, and then in 1990 came a truly momentous Academy Awards. This week, we take a look at the 62nd Oscars, honoring the films of 1989. This is the year Driving Miss Daisy won Best Picture and Do the Right Thing wasn’t even nominated. It’s the year Harvey Weinstein flexed real campaign muscle, guiding My Left Foot stars Daniel Day-Lewis and Brenda Fricker to Oscars–something he would lord over women in the industry for decades to come. With Spike Lee once again in contention this year, and up against the Miss Daisy-esque Green Book no less, we examine the narratives and Oscar strategies that took hold in 1990 and continue to impact the Academy Awards today.

Here is Matt Zoller Seitz on why Leonardo DiCaprio’s self-flagellating performance in The Revenant is bad for acting: https://www.rogerebert.com/mzs/why-leo-winning-an-oscar-for-the-revenant-would-be-bad-for-acting

And here is Natalie Walker’s epic Twitter thread mocking film stereotypes: https://twitter.com/nwalks/status/736046606940798977

The Hollywood Read ep. 2

THR LogoSteve McQueen’s new film, Widows, is not performing well at the box office, which could doom its Oscar hopes. It shouldn’t! But it does! Because the Oscars are ridiculous and only getting more so as the Academy tries to find ways to combat the slipping ratings which are still really high. This week Kayleigh Donaldson and Sarah Marrs discuss Widows, the Oscars, that proposed “popular Oscar” category everyone is ready to throw out of a moving car, and how box office and popularity impact award campaigns. So join us for the first in a series of discussions about the upcoming Oscars and how they will be different from any previous Oscars ceremony. Also: GO SEE WIDOWS.

Kayleigh’s Widows review can be found here.

Sarah’s Widows review can be found here.

Yell at Kayleigh here: 

And yell at Sarah here: @Cinesnark

Handicapping the Oscars: Too close to call

86th_Academy_Awards_posterMan, I thought last year was tough. Well, this year is just as bad. Maybe even worse because at least there year there are some really obvious films that ought to walk away with a lot of awards (12 Years a Slave for all the big stuff, Her for stuff like writing, production design and music, Gravity for technical categories), but because Her is “weird” and 12 Years doesn’t pat white people on the back for ending racism in 1962, what should be obvious becomes occluded. Last year, the politics of campaigning mattered. This year it’s less about that and more about the sheer arbitrariness of taste. Continue reading “Handicapping the Oscars: Too close to call”

Meet your totally expected 2014 Oscar nominees

2013 was a great year in film. It was a “dart year”, meaning that if you threw a dart, you would hit a movie deserving of recognition and praise. It’s the kind of year where there are no real snubs, simply because there was an abundance of good work, not only from actors and directors, but writers, cinematographers, editors, composers, stylists, and engineers—everyone was firing on all cylinders last year. That said, there will definitely be regrets about the 2014 Oscars within five years. Not all of these movies are going to hold up—in fact, I can already pick four on the Best Picture list that won’t hold up at all: American Hustle, Captain Phillips, Dallas Buyers Club and The Wolf of Wall Street.

american-hustle Continue reading “Meet your totally expected 2014 Oscar nominees”

Best & Worst of the Oscars 2013

That show felt really, really long, right? In actual running time it was average (around three and a half hours) but it felt like it took all year to watch. I’m putting it down to the horrible direction. That was a really, truly, terribly directed telecast. No sense of rhythm or pace and not nearly enough cutaways to the audience to make it worth our time. We watch for the cutaways as much for anything else. We want to see George Clooney’s face when someone makes a joke about his younger girlfriends. We want to see Joaquin Phoenix bitchfacing the host to death when he hopes Phoenix is “on his meds”. I, personally, wanted to see some cutaways to Academy bigwigs when Robert Downey, Jr., plainly annoyed, snapped, “Biggest movie of the year, but only got one Oscar nomination”.

seth-495x329

Continue reading “Best & Worst of the Oscars 2013”