Lisa Marie’s Way Too Early Oscar Predictions For April

Posted on April 5, 2025 by Lisa Marie Bowman

Now that the 2024 Oscars are over with, it’s time to move on to the 2025 Oscars!

Needless to say, there’s probably nothing more pointless than trying to guess which films are going to be nominated a year from now. I can’t even guarantee that all of the films listed below are even going to be released this year. And, even if they are released this year, I can’t guarantee that they’ll actually be any good or that the Academy will show any interest in them. I mean, someone like Martin Scorsese always seems like a safe bet but we all remember what happened with Silence. For months, everyone said Silence would be the Oscar front runner. Then it was released to respectful but not ecstatic reviews. Audiences stayed away. The film ended up with one technical nomination. And let’s not forget that last year, at this time, the narrative was that it was going to be Ridley Scott’s year.

My point is that no one knows anything. As much as I hate quoting William Goldman (because, seriously, quoting Goldman on a film site is such a cliché at this point), Goldman was right.

(Add to that, 2025 is starting to look like it’s going to be a seriously underwhelming year as far as the movies are concerned.)

Anyway, here are my random guesses for April! A few months from now, we can look back at this list and have a good laugh.

Best Picture

After The Hunt

Avatar: Fire and Ash

Deliver Me From Nowhere

Eddington

Frankenstein

The Lost Bus

One Battle After Another

Wicked For Good

The Young Mothers Home

Best Director

Paul Thomas Anderson for One Battle After Another

Jon M. Chu for Wicked For Good

Jean-Pierre and Luc Dardenne for The Young Mother’s Home

Guillermo del Toro for Frankenstein

Joseph Kosinksi for FI

Best Actor

Austin Butler in Eddington

Timothee Chalamet in Marty Supreme

Leonardo DiCaprio in One Battle After Another

Matthew McConaughey in The Lost Bus

Jeremy Allen White in Deliver Me From Nowhere

Best Actress

Olivia Colman in The Roses

Cynthia Erivo in Wicked For Good

Julia Roberts in After The Hunt

Amanda Seyfried in Ann Lee

June Squibb in Eleanor The Great

Best Supporting Actor

Colman Domingo in Michael

Josh O’Connor in The History of Sound

Sean Penn in One Battle After Another

Joaquin Phoenix in Eddington

Christoph Waltz in Frankenstein

Best Supporting Actress

Fran Drescher in Marty Supreme

Ayo Edebri in After The Hunt

Ariana Grande in Wicked For Good

Gabby Hofman in Deliver Me From Nowhere

Nia Long in Michael

Documentary Review: Matthew Perry: A Hollywood Tragedy (dir by Robert Palumbo)

Posted on April 5, 2025 by Lisa Marie Bowman

It’s rare that I ever feel like I should apologize for having watched a documentary but that was the feeling I had after watching Matthew Perry: A Hollywood Tragedy.

This documentary examined the career and death of actor Matthew Perry, with most of the emphasis being put on Perry’s struggle with addiction. Excerpts were read from his book. Lots of clips were shared from Friends. People in the industry talked about what a charming actor Perry was and they also talked about how hard it is to free oneself from addiction. This is especially true when you’re rich enough to have a bunch of people around you who will literally respond to your every whim and not take a second to ask, “Are you sure?” One of the worst things about celebrity culture is that we tend to root for the worst until it actually happens. When an actor is publicly struggling with addiction or their mental health, it’s treated as entertainment It’s only after that actor dies that we talk about how tragic it was and people hop on social media to talk about how addiction is a disease and no one should be shamed for their struggle.

And that brings me to documentaries like this one. There’s something really hypocritical about these documentaries that take a real life tragedy and turn it into entertainment while pretending to be a tribute or a serious examination of the addiction crisis in America. For instance, this documentary tells you absolutely nothing that you didn’t already know about Matthew Perry and his tragic death and it really doesn’t do a good job of paying tribute to him as an actor either. Those clips from Friends are the same clips that you’ve seen on every other special about the life of Matthew Perry. There’s really no reason for this documentary to exist, other than to appeal to the desire of viewers to learn something sordid about a well-known figure. It’s a documentary that exploits Perry’s death while claiming to mourn it.

And I’m not saying anything that you haven’t already heard or which hasn’t been said by hundred other people. Nearly every review that I’ve read of this documentary says basically the same thing that I just said. It’s exploitive and doesn’t have much to add to our overall understanding of how someone with so much talent and so many fans could also be so self-destructive. And yet, while we all criticize documentaries like this, many of us still watch them. I still watch them. I watched this one. I learned absolutely nothing new and I felt fairly guilty afterwards. Matthew Perry’s death was a tragedy and a cautionary tale and, at the same time, it should take nothing away from the happiness that he brought his fans. He deserved better than this. For that matter, he deserved better than all of the speculative stories that came out after his appearance on the Friends Reunion Special.

But I can’t get self-righteous or too quick to condemn. Because I did watch this. I was bored, I saw that it was streaming, and I watched it. And I’ll probably watch the next trashy celebrity documentary that come out. I won’t feel good about it but I’ll probably do it. I doubt I’ll be alone.

The TSL Grindhouse: The Wild Angels (dir by Roger Corman)

Posted on April 5, 2025 by Lisa Marie Bowman

“What is it exactly that you want?” a preacher (Frank Maxwell) asks a congregation of leather-clad bikers.

“We want to get loaded!” Heavenly Blues (Peter Fonda) replies, “And we want to have a good time!”

And have a good time, they proceed to have. Of course, it’s a good time for them. Everyone else who meets the bikers at the center of 1966’s The Wild Angels are horrified by this collection of rebellious and violent outsiders. Sure, Heavenly Blues might actually be a soulful guy who mistakenly believes that he can control the gang’s more excessive tendencies. His girlfriend, Mike (Nancy Sinatra), actually seems rather reserved and conservative when compared to the rest of the gang. But make no mistake about it, the majority of the members of the gang are into violence for its own sake. They are bullies who couldn’t make the football team so, instead, they hopped on a motorcycle and formed their own society. They’re self-styled rebels but what are they rebelling against? What have you got?

I know, I know. That famous line comes from Marlon Brando and it was uttered in The Wild One. Peter Fonda, to put it lightly, was no Marlon Brando and, as directed by Roger Corman, The Wild Angels doesn’t have the societal concerns that lay at the hear of The Wild One. As Corman was often the first to admit, his main concern when it came to making movies was to make money. Corman wasn’t necessarily against message films. He often stated that, as a director, 1962’s The Intruder was the film in which he took the most pride. The Intruder took a firm stand against racism and it let everyone know where Corman stood on when it came to the Civil Rights Movement. It was also one of his few films to lose money. The Wild Angels celebrates rebellion but one gets the feeling that celebration is motivated by the fact that younger filmgoers would be happy to pay to see a movie about a bunch of “youngish” people telling the old folks to shut up and get out of the way. The Wild Angels themselves don’t seem to be motivated by any sort of grand ideology. Heavenly Blues preaches about getting loaded and having a good time and celebrating freedom but he also allows the members of the gang to drape a Nazi flag over a casket. What does Heavenly Blues actually believe in?

Heavenly Blues believes in loyalty to his friends. For all the fights and the orgies and the scenes of motorcycles roaring down country roads, this is ultimately just a film about a guy who wants to give his best friend a decent burial. The Loser (Bruce Dern) dies about halfway through the film and one gets the feeling that he probably would have lived if the gang hadn’t kidnapped him from the hospital. Heavenly Blues wants to give The Loser the type of wild funeral that Blues thinks he would have wanted though I think The Loser probably would have been happier not have been killed by the actions of his idiot friends. Diane Ladd, who was married to Bruce Dern at the time and who has said Laura Dern was conceived during the filming of The Wild Angels, is heart-breaking as The Loser’s girlfriend, Gaysh. Gaysh wants to mourn her boyfriend while the rest of the gang is more concerned with figuring out who her next boyfriend is going to be.

Does Heavenly Blues ever realize that he’s traveling with a bunch of animals? He does but one gets the feeling that he’s accepted his fate. There’s no going back. The past can’t change and the future cannot be controlled so Heavenly Blues is content to live in the present. All he can do is try to give his friend a decent burial while the sirens of cops shriek in the distance.

The Wild Angels was a controversial film when it was first released. It also made a lot of money and led to a whole cycle of outlaw biker films, culminating with Easy Rider. Seen today, it’s a portrait of a society coming apart, with the establishment and the bikers not even willing to stop fighting long enough to allow for a simple burial. It’s definitely a time capsule film, one of those productions that epitomizes an era. There’s not much going on underneath the surface and most of the film’s bikers really are awful people but there is something touching about Blues giving it all up just to try to give his friend a decent burial.

Live Tweet Alert: Watch The Stepfather With #ScarySocial!

Posted on April 5, 2025 by Lisa Marie Bowman

As some of our regular readers undoubtedly know, I am involved in a few weekly live tweets on twitter. I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of #MondayActionMovie! Every week, we get together. We watch a movie. We tweet our way through it.

Tonight, for #ScarySocial, I will be hosting 1987’s The Stepfather!

If you want to join us on Saturday night, just hop onto twitter, start the film at 9 pm et, and use the #ScarySocial hashtag! The film is available on Prime! I’ll be there co-hosting and I imagine some other members of the TSL Crew will be there as well. It’s a friendly group and welcoming of newcomers so don’t be shy!

Scenes That I Love: Peter Fonda Wants To Have A Good Time In The Wild Angels

Posted on April 5, 2025 by Lisa Marie Bowman

In this scene, from Roger Corman’s 1968 film The Wild Angels, Peter Fonda sets forth a manifesto for living. It’s not exactly a manifesto for living for a long time but it certainly seemed to work for him.

4 Shots From 4 Films: Special Roger Corman Edition

Posted on April 5, 2025 by Lisa Marie Bowman

4 (or more) Shots From 4 (or more) Films is just what it says it is, 4 (or more) shots from 4 (or more) of our favorite films. As opposed to the reviews and recaps that we usually post, 4 (or more) Shots From 4 (or more) Films lets the visuals do the talking.

Today would have been the 99th birthday of the legendary filmmaker, Roger Corman! And that means that it’s time for….

4 Shots From 4 Roger Corman Films

Not of this Earth (1957, dir by Roger Corman DP: John J. Mescall)

The Fall of the House of Usher (1960, dir by Roger Corman, DP: Floyd Crosby)

The Masque of the Red Death (1964, dir by Roger Corman, DP: Nicolas Roeg)

The Wild Angels (1966, dir by Roger Corman, DP: Richard Moore)

The Eric Roberts Collection: Devil’s Knight (dir by Adam Werth)

Posted on April 5, 2025 by Lisa Marie Bowman

2024’s Devil’s Knight opens in the kingdom of Veroka. A group of thieves all discuss what they’ve stolen over the course of the day. The leader of the thieves is named Orwell. Another thief — played by Daniel Baldwin — is named Camus. The group is joined by as stranger named Sigurd (John Wells), a man who has only one eye. He tells them the story of how he and his friends — The Lost Blades — were hired to vanquish the fearsome Bone Devil….

Yep, it’s one of those type of movies. There’s a lot of sword fights. There’s a lot of monsters. There’s a hint of sorcery, though not as much as you might expect from a movie like this. The thieves are named after philosophers. The huge cast is full of streaming stars and a handful of actors who are known for appearing in just about anything. Kevin Sorbo plays Baldur, the noble head of the king’s guards. Angie Everhart plays the Duchess who speaks French despite living in a mythical kingdom. Eric Roberts shows up as Lord Sussex. He only onscreen for a few minutes, though he does get a few funny lines. Sadly, Roberts doesn’t even get to fight a monster. At least Sorbo gets a big battle scene.

Here’s the thing, though. Taken on its own terms, Devil’s Knight is a lot of fun. You can tell it was made by people who have a genuine love for the sword and sorcery genre and there’s enough intentional humor to keep things interesting. With the exception of some blood splatter, there’s also a definite lack of CGI. The monsters are played by actual actors wearing costumes and under makeup and it’s surprisingly effective. The film’s plot is not always easy to follow. In the tradition of many medeival legends, the film’s story really is just one random incident after another, the majority of which lead to a fight and at least a few deaths. The cast is huge but few of the characters are still alive by the end of the movie. Monsters aren’t something to mess with and I actually appreciated that the film was willing to even kill off the characters who usually survive a film like this. It really did create the feeling that anyone could die if they ran into a monster in a hallway. (Even the stereotypical princess-who-wants-to-be-a-warrior character was taken in a surprising direction.) The film moves quickly with a lot of energy and enthusiasm. I enjoyed it.

Previous Eric Roberts Films That We Have Reviewed:

Shattered Politics: The Front Runner (dir by Jason Reitman)

Posted on April 4, 2025 by Lisa Marie Bowman

Based (loosely, I assume) on a true story, 2018’s The Front Runner tells the story of a politician named Gary Hart (played by Hugh Jackman).

The year is 1987 and former U.S. Sen. Gary Hart is preparing to announce that he will be seeking the Democratic nomination for the Presidency of the greatest nation of all time, the United States! (YAY!) Hart is widely seen as the front runner, for both the nomination and the general election. He’s got the youth vote sewn up. He’s energetic. He’s supposed to be intelligent. We are told that he is handsome and charismatic. (I say “told” because, in this film, they seem to be informed attributes as Hugh Jackman is given a truly terrible haircut and his performance here is a bit on the dull side.) Hart announced his candidacy while standing in the Rocky Mountains. His wife (Vera Farmiga) is behind him, even if she chooses not to join him on the campaign trail. His campaign manager (J.K. Simmons) is welcoming new and idealistic volunteers to the campaign headquarters and encouraging them to remember that all of the difficulties of the campaign will be worth it after Gary Hart is elected president. As for the press, they’re investigating long-standing rumors that Hart is a womanizer. “Follow me around, you’ll get bored,” Hart says. So, two reporters from the Miami Herald (Bill Burr and Steve Zissis) do just that they catch a young woman named Donna Rice (Sara Paxton) apparently staying over at Gary Hart’s Florida townhouse.

“It’s nobody’s business!” Hart snaps, when asked about his private life and it’s obvious that the film expects us to take Hart’s side. The problem, as Hart’s campaign manager points out, is that a lot of people are volunteering for Hart’s campaign and have sacrificed a lot to help him out and now, if Hart doesn’t figure out some way to deal with the story, it looks like it was all for nothing. Even if Hart didn’t cheat with Rice, he still showed remarkably poor judgment in spending time alone with her in Florida while his wife was back in Colorado. The film argues that the press went overboard pursuing the story and perhaps they did. The press tends to do that and really, no politician has any excuse not to realize that. But, even if we accept the argument that the press acted unethically, that doesn’t exactly exonerate Gary Hart, though this film certainly seems to think that it does. To a certain extent, this film reminded me a bit of James Vanderbilt’s Truth, in which it was assumed we would be so outraged that Cate Blanchett’s Mary Mapes was fired for producing a story about George W. Bush’s time in the National Guard that we would overlook that Mapes and CBS news tried to build a major story around a bunch of obviously forged documents.

(Of course, if Hart had been running today, I doubt the scandal would have ended his campaign. If anything, Donald Trump’s personal scandals seemed to play to his advantage when he ran in 2016 and 2024. To a find a 21st Century equivalent to Hart’s scandal, you’d probably have to go all the way back to John Edwards in 2008. Of course, Edwards was cheating on his wife while she was dying of breast cancer, which makes Edwards a special type of sleaze.)

As for the film itself, director Jason Reitman tries to take a Altmanesque approach, full of overlapping dialogue and deceptively casual camera moments. There are a few moments when Reitman’s approach work. The start of the film, in which the camera glided over hundreds of journalists reporting from outside the 1984 Democratic Convention, was so well-handled that I briefly had hope for the rest of the film. Reitman gets good performances from dependable veterans like J.K. Simmons and Alfred Molina. But, at the heart of the film, there’s a massive blank as Hugh Jackman gives an oddly listless performance as Hart. The film expects us to take it for granted that Gary Hart would have been a good President but there’s nothing about Jackman’s performance to back that up. It’s odd because, typically, Hugh Jackman is one of the most charismatic actors around. But, as Gary Hart, he comes across as being petulant and a bit whiny.

It’s an interesting story but ultimately, The Front Runner doesn’t do it justice.

Days of Paranoia: Edmond (dir by Stuart Gordon)

Posted on April 4, 2025 by Lisa Marie Bowman

Based on a one-act play by David Mamet, 2005’s Edmond tells the story of Edmond Burke (William H. Macy).

Edmond shares his name (if not the actual spelling) with the philosopher Edmund Burke. Edmund Burke was a strong believer that society had to put value in good manners to survive and that religious and moral institutions played an important role in promoting the idea of people treating each other with respect and decency. Edmund Burke knew what he believes and his writings continue to influence thinks to this day. Edmond Burke, on the other hand, doesn’t know what he believes. He doesn’t know who he wants to be. All he knows is that he doesn’t feel like he’s accomplished anything with his life. “I don’t feel like a man,” he says at one point to a racist bar patron (played by Joe Mantegna) who replies that Edmond needs to get laid.

On a whim, Edmond steps into the shop of a fortune teller (Frances Bay), who flips a few Tarot cards and then tells Edmond that “You’re not where you’re supposed to be.” Edmond takes her words to heart. He starts the night by telling his wife (played by Mamet’s wife, Rebecca Pidgeon) that he’s leaving their apartment and he won’t be coming back. He goes to the bar, where he discusses his marriage with Mantegna. He goes to a strip club where he’s kicked out after he refuses to pay $100 for a drink. He goes to a peep show where he’s frustrated by the glass between him and the stripper and the stripper’s constant demand that he expose himself. He gets beaten in an alley by three men who were running a three-card monte scam. Edmond’s problem is that he left home without much cash and each encounter leads to him having less and less money. If he can’t pay, no one wants to help him, regardless of how much Edmond argues for a little kindness. He pawns his wedding ring for $120 but apparently, he just turns around and uses that money to buy a knife. An alley-way fight with a pimp leads to Edmond committing his first murder. A one-night stand with a waitress (a heart-breaking Julia Stiles) leads to a second murder after a conversation about whether or not the waitress is actually an actress leads to a sudden burst of violence. Edmond ends up eventually in prison, getting raped by his cellmate (Bookem Woodbine) and being told, “It happens.” Unable to accept that his actions have, in one night, led him from being a businessman to a prisoner, Edmond says, “I’m ready to go home now.” By the end of the film, Edmond realizes that perhaps he is now where he was meant to be.

It’s a disturbing film, all the more so because Edmond is played by the likable William H. Macy and watching Macy go from being a somewhat frustrated but mild-mannered businessman to becoming a blood-drenched, racial slur-shouting murderer is not a pleasant experience. Both the play and the film have generated a lot of controversy due to just how far Edmond goes. I don’t see either production as being an endorsement of Edmond or his actions. Instead, I see Edmond as a portrait of someone who, after a lifetime of being willfully blind to the world around him, ends up embracing all of the ugliness that he suddenly discovers around him. He’s driven mad by discovering, over the course of one night, that the world that is not as kind and well-mannered as he assumed that it was and it all hits him so suddenly that he can’t handle it. He discovers that he’s not special and that the world is largely indifferent to his feelings. He gets overwhelmed and, until he gets his hands on that knife, he feels powerless and emasculated. (The knife is an obvious phallic symbol.) It’s not until the film’s final scene that Edmond truly understands what he’s done and who he has become.

Edmond is not always an easy film to watch. The second murder scene is truly nightmarish, all the more so because the camera remains on Edmond as he’s drenched in blood. This is one of William H. Macy’s best performances and also one of his most disturbing characters. That said, it’s a play and a film that continues to be relevant today. There’s undoubtedly a lot of Edmonds out there.

The Eric Roberts Collection: Beyond The Trophy (dir by Daniel J. Gillin)

Posted on April 4, 2025 by Lisa Marie Bowman

Does this plot sound familiar?

There’s a gang war brewing. An undercover cop is sent into one of the gangs and ends up falling in love. Another cop is involved in the undercover operation but he’s actually working for one of the mob bosses. And then there’s a Russian mob boss who keeps complicating things. The whole thing plays out with a lot of scenes of people pointing guns at each other and randomly shouting before gunfire erupts. No one can trust. There’s plenty of twists. There’s narration from one of the mob bosses. The plot is actually pretty confusing as one person after another turns out to be working for someone else. The whole thing leads to so many betrayals that it almost become comical in its indulgence.

The Departed, you say?

No, this isn’t a Scorsese film. Instead, this is 2012’s Beyond The Trophy, which has a plot that borrows a lot from The Departed. Then again, the film actually borrows a lot from every other mobster film that’s ever been made. Most gangster films aren’t really about the activities of real-life gangsters as much as they’re about recreating the classic film scenes that the director enjoyed while growing up. As a result, we get a few Scorsese-style freeze frames to go along with the narration. We get plenty of Tarantino-style stand-offs. We got the Russian mob because every film has to have the Russian mob nowadays.

We also get Michael Madsen and Eric Roberts. Roberts plays Sgt. Bachman and his role is small. He smiles while barking out orders and he looks after his daughter, another undercover cop named Chastity (Brooke Newton). Roberts doesn’t get to do much and I’m not sure how many big city police departments are run by people with long hair but he’s Eric Roberts. You can’t help but love him. As for Madsen, he narrates in his trademark threatening whisper. Madsen is one of those actors who was born to play tough guys so he’s credible as a mob boss, even if he doesn’t really put much effort into the film. You can usually tell whether or not Madsen is invested in a film by whether or not he bothers to wash his hair. For the most part, his hair look pretty oily in this film.

The majority of the film revolves around Stephen Cloud and Michael Masini as the two cops and they both give credible-enough performances. Because the script is basically just a recreation of scenes from other mob films, neither one really gets a chance to surprise us. The one member of the cast who actually does manage to break free and make an impression is Robert Miano, who makes his Vegas mob boss into a somewhat sympathetic figure.

File this one under standard mafia nonsense.

Previous Eric Roberts Films That We Have Reviewed: