Back in 2011, I experimented with something that I like to call “Let’s second guess the Academy.” Basically, we take a look at past Oscar contestants and we ask ourselves if 1) the Academy made the right choice and 2) what else would we have nominated if we had all the power. It was always a lot of fun (and occasionally surprising) to see which films ended up getting the most love in hindsight.
So, I figured why not revive the tradition by considering the race for best picture of 2009. This was the first contest, since the 1943, to feature 10 nominees. At the time, most critics felt that the race was between Avatar and The Hurt Locker. Personally, as happy as I was to see a woman finally win best director, I thought The Hurt Locker was overrated and I hated Avatar. Which of the 10 nominated films would I have voted for? Well, as much as I loved both District 9 and A Serious Man, I would have voted for An Education. How about you?
Now, here comes the fun part. Let’s say that James Cameron never made Avatar. Let’s say that An Education never made it over from the UK. And maybe The Hurt Locker never got a distributor and just remained an independent film that occasionally popped up on the program at various film festivals. In other words, let’s say that none of the 10 best picture nominees for 2009 had been available to be nominated. Which ten films would have nominated in their place?
You can vote for up to 10 of the films listed below and yes, we do accept write-ins!
Personally, I voted for: Adventureland, The Girlfriend Experience, Moon, (500) Days of Summer, The Informant!, Bright Star, Where The Wild Things Are, The Fantastic Mr. Fox, The Bad Lieutenant: Port of Call New Orleans, and Me And Orson Welles.
Say what you will about this trailer and the idea of having a concert on an airplane, Slade Craven is a great name.
2) Harrad Summer (1974)
This film is a sequel to the Harrad Experiment, which I reviewed earlier this year. From what I can gather, this film is about the values of the future challenging the values of today…
3) Parasite (1982)
Speaking of the values of the future…
4) Score (1974)
“Amyl Nitrate? What’s this?” For some reason, that line made me laugh.
5) Screamtime (1983)
This trailer is actually scared me a little. It was the puppet.
6) In Love (1983)
In Love was apparently an attempt to make a “real film” that just happened to feature hardcore sex scenes. For that reason, the trailer’s been edited but you can probably guess what’s going on behind those “Scene Missing” cards. I just like the trailer because of the theme song.
Currently, my sister, the Dazzling Erin, and I are relaxing down at Lake Texoma. However, if you’ve been reading this site for a while, you know that I would never let a little thing like a vacation keep me from offering up another edition of Lisa Marie’s Favorite Grindhouse and Exploitation Film Trailers!
Before I left for the lake, I sent out the Trailer Kitties and here’s what they brought back!
1) The Terminators (2009)
This film is from our friends at the Asylum so you know it has to be good!
In many ways, I wish I had been born several decades earlier. I would have loved to have been a teenager during the early to mid-60s. From what I can tell from the films made during that period, people use to break out into dance at the slightest provocation.
As of this month, I have been reviewing films here at the Shattered Lens for 3 years. In honor of that anniversary, I thought I’d post my picks for the 50 best films that have been released in the U.S. since 2010.
Without further ado, here’s the list!
Black Swan (directed by Darren Aronofsky)
Exit Through The Gift Shop (directed by Banksy)
Hanna (directed by Joe Wright)
Fish Tank (directed by Andrea Arnold)
Higher Ground (directed by Vera Farmiga)
Shame (directed by Steve McQueen)
Anna Karenina (directed by Joe Wright)
The Cabin In The Woods (directed by Drew Goddard)
127 Hours (directed by Danny Boyle)
Somewhere (directed by Sofia Coppola)
Life of Pi (directed by Ang Lee)
Hugo (directed by Martin Scorsese)
Inception (directed by Christopher Nolan)
Animal Kingdom (directed by David Michod)
Winter’s Bone (directed by Debra Granik)
The Artist (directed by Michel Hazanavicius)
The Guard (directed by John Michael McDonagh)
Bernie (directed by Richard Linklater)
The King’s Speech (directed by Tom Hooper)
Bridesmaids (directed by Paul Feig)
Tinker, Tailor, Soldier, Spy (directed by Thomas Alfredson)
Django Unchained (directed by Quentin Tarantino)
Never Let Me Go (directed by Mark Romanek)
Toy Story 3 (directed by Lee Unkrich)
The Girl With the Dragon Tattoo (directed by Niels Arden Oplev)
Young Adult (directed by Jason Reitman)
Sucker Punch (directed by Zack Snyder)
The Master (directed by Paul Thomas Anderson)
Incendies (directed by Denis Villeneuve)
Melancholia (directed by Lars Von Trier)
Super (directed by James Gunn)
Silver Linings Playbook (directed by David O. Russell)
Scott Pilgrim Vs. The World (directed by Edgar Wright)
The Last Exorcism (directed by Daniel Stamm)
Skyfall (directed by Sam Mendes)
Easy A (directed by Will Gluck)
Harry Potter and the Deathly Hallows Parts 1 and 2 (directed by David Yates)
The Avengers (directed by Joss Whedon)
How To Train Your Dragon (directed by Chris Sanders and Dean DeBois)
Win Win (directed by Thomas McCarthy)
Les Miserables (directed by Tom Hooper)
Take This Waltz (directed by Sarah Polley)
Cave of Forgotten Dreams (directed by Werner Herzog)
Rust and Bone (directed by Jacques Audiard)
Cosmopolis (directed by David Cronenberg)
Ruby Sparks (directed by Jonathan Dayton and Valarie Faris)
Brave (directed by Mark Andrews and Brenda Chapman)
Martha Marcy May Marlene (directed by Sean Durkin)
I was saddened to learn of the passing of Jess Franco. Franco directed at least 199 films and, while he was never a favorite of the critics, he was a favorite for those of us who appreciated his unique aesthetic and improvisational style of filmmaking. Franco made a few good films and a lot of a bad films but even his worse films were usually more interesting than the usual films churned out by more “respectable” filmmakers. In a time when every director is claiming to be an independent artist, Franco truly was.