Love on the Shattered Lens: Barefoot In The Park (dir by Gene Saks)


The 1967 film, Barefoot in the Park, tells the story of two newlyweds.

Paul Bratter (Robert Redford) may have a terrible last name (seriously, Bratter?) but he’s an up-and-coming lawyer with a bright future.  He’s a little bit uptight and doesn’t seem to have the greatest understanding of human nature but he’s handsome and he’s charming and he means well.  Paul has just recently married Corie (Jane Fonda).  Corie is a free spirit who cringes at the idea of conformity.  Having been raised by a judgmental mother who has always told her that she will never be good enough to make it on her own, Corie has decided to murder Paul and steal all of his money by insisting that they live in a drafty apartment that’s on the fifth floor of an New York apartment building that doesn’t have an elevator.  If climbing up the stairs doesn’t kill Paul, the fact that the skylight has hole in it probably will.  Helping Corie with her plan is her eccentric neighbor, Victor Velasco (Charles Boyer).  When Paul comes home one day to discover Victor lifting up his lingerie-clad wife, Victor says, “We are heating up the apartment.”  Corie assures Paul that they’re just trying to get the radiator to start working but we know the truth….

Okay, that’s actually the Lifetime version of Barefoot in the Park.  The real Barefoot in the Park is a charming, lighter-than-light adaptation of Neil Simon’s famous play.  (If I’m biased towards the play, it’s because I once played Corie in a heavily edited version of the play that we put on in high school.  I was the perfect Corie, if I may say so myself.)  As played by Robert Redford, Paul is charming but uptight and, as played by Jane Fonda, Corie is a free spirit who doesn’t really seem to have much common sense about the realities of living in New York City.  (Running barefoot in Central Park?  Probably not a good idea in 1967.)  They do end up living on the fifth floor and there are a lot of jokes (in fact, there’s probably too many jokes) about people getting out of breath from having to climb all of the stairs.  There’s also a broken skylight, which is a problem since it snows in New York.  However, Corie never deliberately plots to kill Paul.  Instead, she tries to set her mom (played, in an Oscar-nominated performance, by Mildred Natwick) up with Victor.

Barefoot in the Park is probably one of those films that seemed semi-daring when it was originally released in 1967 (“Look!  A honeymoon sex joke!  Look!  Corie’s walking around in Paul’s shirt!  Look!  Paul looks like he’s about to say a forbidden word!”) but today, it seems like an old-fashioned but likable fantasy about what’s like to be a newlywed in New York.  The city’s beautiful and full of romance.  The dialogue is witty and zippy.  (Zippy’s a word, isn’t it?)  Charles Boyer overacts in the most charming way possible and Mildred Natwick has some good moments as Corie’s mom.  (To appreciate Natwick’s peformance, it helps to imagine what the film would have been like if Shelley Winters had played the role.)  Most importantly, Robert Redford and Jane Fonda have got an amazing chemistry and, as they were both young in 1967 and considerably less weather-beaten than they are today, it’s hard to imagine a more beautiful couple.  Though Gene Saks’s direction is visually flat and, cinematically, the film never quite breaks out of its stage-bound origins, the chemistry of Redford and Fonda and Boyer and Natwick carry you through the occasional rough patch.

Seriously, I kind of love this movie!

Lisa Reviews An Oscar Nominee: Coming Home (dir by Hal Ashby)


Well, here we are!  It’s January 1st.  In just a few days, the Oscar nominations will be announced and then, on February 9th, the winners will be revealed!  From now until the day of the ceremony, I will be taking a look at some of the films that were nominated for and won Oscars in the past.  As of this writing, 556 films have been nominated for best picture.  I hope that, some day, I will be able to say that I have seen and reviewed every single one of them.

Let’s start things off with the 1978 Best Picture nominee, Coming Home!

Coming Home takes place in California in 1968.  While hippies stand on street corners and flash peace signs, teenagers are being drafted and career military men are leaving for Vietnam and people continue to tell themselves that America is doing the right thing in Indochina, even though no one’s really sure just what exactly it is that’s going on over there.  At the local VA hospital, the wounded and the bitter try to recover from their wartime experiences while struggling with an often heartless bureaucracy and feelings of having been abandoned by their country.

When Marine Corps. Capt. Bob Hyde (Bruce Dern) is deployed to Vietnam, he leaves behind his wife, Sally (Jane Fonda).  Told that she can no longer live on the base while her husband is overseas, Sally gets an apartment, a new car, and eventually a new hairdo.  She also gets a new friend, Vi Munson (Penelope Milford).  Vi smokes weed and is critical of the war in Vietnam.  It doesn’t take long for Sally to start to enjoy the idea of being free and not having to cater to Bob’s every whim.  Sally even ends up volunteering at the local VA hospital.

That’s where she meets Luke (Jon Voight, looking youngish and incredibly sexy), a bitter but sensitive vet who, having gone to Vietnam and returned to the U.S. as a paraplegic, is now outspoken in his opposition to the war.  Luke is also friends with Billy (Robert Carradine), who is Vi’s shell-shocked brother.  When Luke and Sally first meet, they collide in a hallway and Sally gets a bag full of urine spilled on her.  It’s only later that Luke and Sally realize that they knew each other in high school and soon, they’re having an affair.  Luke, who is as gentle a lover as Bob is brutish, brings Sally to her first orgasm in a sensitively-directed scene that should be studied by any and all aspiring filmmakers.

Unfortunately, the problem with having an affair while your husband is away is that, eventually, your husband’s going to come back.  Bob returns from Vietnam and he’s no longer the confident and gung ho officer that he was at the start of the film.  He now walks with a pronounced limp and, like Luke, he’s angry.  However, whereas Luke has channeled his anger in to activism, Bob tries to keep his emotions bottled up.  (He does take the time to give the finger to a few protesters and, considering how obnoxious most of the protesters in this film are, you can’t help but feel that Bob may have had a point.)  When Bob discovers that Luke and Sally have been having an affair, he snaps….

Meanwhile, Billy is having a hard time readjusting to life, Vi is getting picked up by sleazy men in bars, and there’s a ventriloquist who shows up a few times.  There’s a lot going on in Coming Home and, at times, it feels like the film’s trying to cram in too much.  The film often seems a bit disjointed, with semi-documentary footage of Voight hanging out with real paraplegic vets awkwardly mixed in with didactic scenes of Sally turning against the war.

That the love story between Sally and Luke is so effective has far more to do with the performances of Jane Fonda and especially Jon Voight, than it does with anything in the film’s script.  Indeed, the script itself doesn’t seem to be too concerned with who Luke and Sally were before they collided in that hallway and it also doesn’t seem to be all that interested in who they’ll be after the end credits role.  As written, they’re just plot devices, specifically created and manipulated to express the film’s antiwar message.  But then you see Jon Voight’s haunted eyes while he’s listening to a group of vets discuss their experience or you hear the pain in his voice while he talks to a bunch of high school students and it’s those little moments and details that tell you who Luke is.  By that same token, Jane Fonda does a good job of showing each stage in Sally’s liberation, even if you can’t help but feel that the main reason Sally becomes an anti-war feminist is because she’s played by Jane Fonda.

Of course, in the end, the entire film is stolen by Bruce Dern.  You actually end up feeling very sorry for Bob Hyde (and, to the film’s credit, you’re meant to).  It would have been very easy to just portray Bob as being a close-minded pig but the film respects his pain just as much as it respects Luke’s anti-war activism and Sally’s need to be free.  In the end, you actually feel worse for Bob than you do for either Luke or Sally.  Bob is as much a victim of the war as anyone else in the film.

Coming Home was one of the first films about Vietnam to ever be nominated for best picture.  Jane Fonda and Jon Voight both won Oscars but the film itself lost to a far different look at the war in Vietnam, The Deer Hunter.

The Women Film Critics Circle Honors Portrait of a Lady on Fire!


The Hollywood Foreign Press Association weren’t the only ones making an announcement today!  The Women Film Critics Circle also announced their picks for the best of 2019!

And here they are:

BEST MOVIE ABOUT WOMEN

  • Portrait of a Lady on Fire (dir. Céline Sciamma)
    Runner-up: Little Women (dir. Greta Gerwig)

BEST MOVIE BY A WOMAN

  • Harriet (dir. Kasi Lemmons)
    Runner-up: Portrait of a Lady on Fire (dir. Céline Sciamma)

BEST WOMAN STORYTELLER (Screenwriting Award)

  • Greta Gerwig (Little Women)
    Runner-up: Céline Sciamma (Portrait of a Lady on Fire)

BEST ACTRESS

  • Tie: Cynthia Erivo (Harriet) and Lupita Nyong’o (US)
    Runner-up: Renée Zellweger (Judy)

BEST ACTOR

  • Adam Driver (Marriage Story)
    Runner-up: Joaquin Phoenix (Joker)

BEST FOREIGN FILM BY OR ABOUT WOMEN

  • Portrait of a Lady on Fire (dir. Céline Sciamma)
    Runner-up: Atlantics (dir. Mati Diop)

BEST DOCUMENTARY BY OR ABOUT WOMEN

  • Varda by Agnès (dir. Agnès Varda)
    Runner-ups: Maiden (dir. Alex Holmes) and Honeyland (dir. Tamara Kotevska, Ljubo Stefanov)

BEST EQUALITY OF THE SEXES

  • Marriage Story
    Runner-up: The Aeronauts

BEST ANIMATED FEMALE

  • Anna (Frozen 2)
    Runner-up: Bo Peep (Toy Story 4)

BEST SCREEN COUPLE

  • (TIE) Portrait of a Lady on Fire (Noémie Merlant/Adèle Haenel) and Marriage Story (Scarlett Johansson/Adam Driver)
    Runner-up: Hustlers (Jennifer Lopez/Constance Wu)

ADRIENNE SHELLY AWARD – For a film that most passionately opposes violence against women

  • (TIE) Bombshell (dir. Jay Roach) and The Nightingale (dir. Jennifer Kent)
    Runner-up: Hustlers (dir. Lorene Scafaria)

JOSEPHINE BAKER AWARD – For best expressing the woman of color experience in America

  • Harriet (dir. Kasi Lemmons)
    Runner-up: Queen & Slim (dir. Melina Matsoukas)

KAREN MORLEY AWARD – For best exemplifying a woman’s place in history or society, and a courageous search for identity

  • Harriet (dir. Kasi Lemmons)
    Runner-up: Little Women (dir. Greta Gerwig)

ACTING AND ACTIVISM AWARD
Jane Fonda

LIFETIME ACHIEVEMENT AWARD
Alfre Woodard

Queen of the Outlaws: CAT BALLOU (Columbia 1965)


cracked rear viewer

Lee Marvin  didn’t get many chances to show his comedic side; in fact, I can only think of two off the top of my head: the John Wayne/John Ford outing DONOVAN’S REEF (1963) and the 1976 spoof THE GREAT SCOUT AND CATHOUSE THURSDAY (I’ll be charitably silent about 1969’s PAINT YOUR WAGON!).  Then there’s the comedy western CAT BALLOU, for which Marvin won an Oscar in the dual roles of drunken, broken down outlaw Kid Shelleen and hired killer Tim Strawn. Marvin’s marvelous, but if the truth be told, it wasn’t much of a stretch for Marvin to play a hard drinker and a macho tough guy… there’s a little bit of Lee in both personas!

We know we’re in for a good time right off the get-go when the fabled Columbia Torch Lady morphs into an animated, six-gun packin’ cowgirl, a sure sign not to take things too seriously…

View original post 626 more words

Lisa Reviews An Oscar Nominee: On Golden Pond (dir by Mark Rydell)


(With the Oscars scheduled to be awarded on March 4th, I have decided to review at least one Oscar-nominated film a day.  These films could be nominees or they could be winners.  They could be from this year’s Oscars or they could be a previous year’s nominee!  We’ll see how things play out.  Today, I take a look at the 1981 best picture nominee, On Golden Pond!)

On Golden Pond takes place in a cottage that’s located on a lake called Golden Pond.  Hence, the title.  As far as title’s go, it’s not a bad one.  It’s a film about an elderly couple who spends every summer in that cottage.  They’re in their golden years so I guess it makes sense that they would feel an affinity for Golden Pond.

That said, I think that an even better title for the film would be Everything Annoys Norman.

Norman Thayer, Jr. (Henry Fonda) is a cantankerous old man.  He’s 79 and not particularly looking forward to celebrating his 80th birthday.  He’s a retired college professor.  His wife claims that the last time Norma was really happy was when Franklin Roosevelt was elected president.  Norman likes to fish and still brags about the time he caught a legendary trout named Walter.

What Norman doesn’t like is having to deal with the world.  When he stops to get gas, he loudly complains that, “in his day,” gas only cost eighty-five cents.  When he’s told that there’s another “middle-aged” couple on the lake, he says that, unless he’s going to live to be 150, he’s not middle-aged.  He gets frustrated because his memory isn’t as good as it used to be.  When he goes out for a walk in the woods, he forgets where the path is and he has to return to the house.  Sometimes, he calls people by the wrong name.  At one point, he struggles to use a landline phone.  (I can only imagine how annoyed Norman would be if he was alive today.)  Norman doesn’t like to deal with anyone other than his wife.

Ethel (Katharine Hepburn) is Norman’s wife.  She loves him.  When she hears Norman referred to as being “a son of a bitch,” she replies, “That son of a bitch is my husband.”  Ethel is used to Norman and his ways.  As she puts it, she understands that he’s like a “lion” who has to roar just to remind himself that he still can.  Ethel is … well, basically, she’s Katharine Hepburn.

Ethel has invited their daughter, Chelsea (Jane Fonda), to celebrate Norman’s birthday with them.  Norman and Chelsea have a strained relationship.  It’s implied that Norman was an emotionally distant and overly critical father and that Chelsea has never been able to forgive him.  When she shows up with her new boyfriend, Bill Ray (Dabney Coleman) and his 13 year-old son, Billy Ray (Doug McKeon), Norman barely bothers to acknowledge her.  With Bill and Chelsea planning on vacation in Europe, they ask if Billy can stay at the cottage with Norman and Ethel.  Ethel agrees.  Norman acquiesces.

On Golden Pond is a film that I wanted to like more than I actually did.  After all, the film features two classic actors, Henry Fonda and Katharine Hepburn, appearing in their only film together.  (Both Henry Fonda and Hepburn won Oscars for their work here.)  Henry Fonda gives a good performance as a strong-willed man who is struggling to deal with his own mortality.  As for Hepburn, it’s not a great performance, largely because Ethel is a thinly written role, but she’s Katharine Hepburn so it doesn’t matter.  But almost everything about the film — from the tasteful music to the pretty but not overwhelming cinematography — feels more like something you’d expect to find in a television production instead of a feature film.  On Golden Pond was based on a play and, with almost all of the action set in that cottage, it really doesn’t escape its theatrical origins.  That said, it’s a sweet movie.  The love between Norman and Ethel feels real.  If nothing else, the film gave the great Henry Fonda his only Oscar.

On Golden Pond was nominated for Best Picture but lost to Chariots of Fire.

Short Horror Film Review: Spirits of the Dead — Metzengerstein (dir by Roger Vadim)


First released in 1968, Spirits of the Dead is an anthology film, one in which three famous international directors (Roger Vadim, Louis Malle, and Federico Fellini) each took a shot at adapting a short story by Edgar Allan Poe.  By their very nature, anthology films tend to be uneven and that’s certainly the case with Spirits of the Dead.

Consider the first story in the film, Roger Vadim’s adaptation of Metzengerstein.  Vadim was best known for his visually lavish films, the majority of which starred whoever he happened to be romantically involved with at the time.  Vadim’s films were sexually charged and decadent but it was a very specific, late 60s type of decadence.  They may have seemed wild when they were first released but, seen today, his films seem rather quaint (not to mention dated).

Anyway, when Vadim was hired to shoot his part of Spirits of the Dead, he was married to Jane Fonda so, of course, she stars as Countess Frederique Metzengerstein (Jane Fonda).  That Countess Frederique is evil is obvious from the start.  In between having tastefully shot orgies, she torments her servants.  She even has one servant boy hung so that she can see if she can shoot an arrow through the rope.  (Fortunately, for the servant boy, she can.)  It’s an evil, spiritually empty life but, as can be seen in the picture above, her clothes are to die for.

(Though Metzengerstein appears to be taking place in the 19th century, everyone looks like they’ve just flown over from swinging London.  There’s a lot of miniskirts, sideburns, and tinted glasses.)

Anyway, things change for Frederique when she meets her virtuous cousin, Wilhelm.  She immediately falls into lust with him but he wants nothing to do with her and her evil ways.  (Her cousin, I might add, is played by Peter Fonda, brother of Jane.)  Upset over being rejected, Frederique sets his stables on fire.  Wilhelm dies in the inferno.

After Wilhelm’s death, a new horse suddenly appears outside of Frederique’s castle.  Convinced that Wilhelm’s spirit has inhabited it, Frederique grows obsessed with the horse.  Soon, Frederique is spending all of her time riding the horse.  With no more time to be evil, Frederique becomes less feared.

But, in the distance, there are always flames calling out to her…

So, let’s just start with the obvious.  There is a huge ick factor to be found in Metzengerstein.  Just as Frederique spends the first half of the movie in love with her cousin, Jane Fonda spends the first half of the movie pretending to be in love with Peter Fonda.  Wilhelm, of course, rejects Frederique but still, it just feels undeniably … creepy.  What’s odd is that it’s difficult to tell if Vadim was trying to make the audience uncomfortable or if this casting was just a case of Peter having some time to kill while visiting his sister and brother-in-law.  For all the attention that he pays to the film’s lush visuals, Vadim is such a detached storyteller that it’s hard to guess what his intention was.

Jane Fonda gives a good performance as the cruel Frederique but otherwise, everyone else in the film is just a part of the scenery.  That’s the thing with Metzengerstein.  It’s a gorgeous film but, ultimately, it’s all scenery that adds up to nothing.

 

 

Here’s What Won At The Emmys Last Night!


Last night, Lisa Marie did not watch the Emmys because she says that, “I’m just not feeling TV this year.”  If Twin Peaks had been eligible to be nominated, I bet it would have been a different story!

Instead, she asked me to watch the ceremony and let everyone know what I thought.  It needed less politics and more cats.

Here’s the list of winners:

COMEDY

BEST COMEDY SERIES
“Atlanta”
“Black-ish”
“Masters of None”
“Modern Family”
“Silicon Valley”
“Unbreakable Kimmy Schmidt”
X — “Veep”

BEST COMEDY ACTRESS
Pamela Adlon, “Better Things”
Jane Fonda, “Grace and Frankie”
Allison Janney, “Mom”
Ellie Kemper, “Unbreakable Kimmy Schmidt”
X — Julia Louis-Dreyfus, “Veep”
Tracee Ellis Ross, “Black-ish”
Lily Tomlin, “Grace and Frankie”

BEST COMEDY ACTOR
Anthony Anderson, “Black-ish”
Aziz Ansari, “Master of None”
Zach Galifianaks, “Baskets”
X — Donald Glover, “Atlanta”
William H. Macy, “Shameless”
Jeffrey Tambor, “Transparent”

BEST COMEDY SUPPORTING ACTRESS
Vanessa Bayer, “Saturday Night Live”
Anna Chlumsky, “Veep”
Kathryn Hahn, “Transparent”
Leslie Jones, “Saturday Night Live”
Judith Light, “Transparent”
X — Kate McKinnon, “Saturday Night Live”

BEST COMEDY SUPPORTING ACTOR
Louie Anderson, “Baskets”
X — Alec Baldwin, “Saturday Night Live”
Tituss Burgess, “Unbreakable Kimmy Schmidt”
Ty Burrell, “Modern Family”
Tony Hale, “Veep”
Matt Walsh, “Veep”

BEST COMEDY DIRECTING
X — “Atlanta” (“B.A.N.”)
“Silicon Valley” (“Intellectual Property”)
“Silicon Valley” (“Server Error”)
“Veep” (“Justice”)
“Veep” (“Blurb”)
“Veep” (“Groundbreaking”)

BEST COMEDY WRITING
“Atlanta” (“B.A.N.”)
“Atlanta” (“Streets on Lock”)
X — “Master of None” (“Thanksgiving”)
“Silicon Valley” (“Success Failure”)
“Veep” (“Groundbreaking”)
“Veep” (“Georgia”)

DRAMA

BEST DRAMA SERIES
“Better Call Saul”
“The Crown”
X — “The Handmaid’s Tale”
“House of Cards”
“Stranger Things”
“This is Us”
“Westworld”

BEST DRAMA ACTRESS
Viola Davis, “How to Get Away with Murder”
Claire Foy, “The Crown”
X — Elisabeth Moss, “The Handmaid’s Tale”
Keri Russell, “The Americans”
Evan Rachel Wood, “Westworld”
Robin Wright, “House of Cards”

BEST DRAMA ACTOR
X — Sterling K. Brown, “This is Us”
Anthony Hopkins, “Westworld”
Bob Odenkirk, “Better Call Saul”
Matthew Rhys, “The Americans”
Liev Schreiber, “Ray Donovan”
Kevin Spacey, “House of Cards”
Milo Ventimiglia, “This is Us”

BEST DRAMA SUPPORTING ACTRESS
Uzo Aduba, “Orange is the New Black”
Millie Bobby Brown, “Stranger Things”
X — Ann Dowd, “The Handmaid’s Tale”
Chrissy Metz, “This is Us”
Thandie Newton, “Westworld”
Samira Wiley, “The Handmaid’s Tale”

BEST DRAMA SUPPORTING ACTOR
Jonathan Banks, “Better Call Saul”
David Harbour, “Stranger Things”
Ron Cephas Jones, “This is Us”
Michael Kelly, “House of Cards”
X — John Lithgow, “The Crown”
Mandy Patinkin, “Homeland”
Jeffrey Wright, “Westworld”

BEST DRAMA DIRECTING
“Better Call Saul” (“Witness”)
“The Crown” (“Hyde Park Corner”)
“The Handmaid’s Tale” (“The Bridge”)
X — “The Handmaid’s Tale” (“Offred”)
“Homeland” (“America First”)
“Stranger Things” (“Chapter One: The Vanishing of Will Byers”)
“Westworld” (“The Bicameral Mind”)

BEST DRAMA WRITING
“The Americans” (“The Soviet Division”)
“Better Call Saul” (“Chicanery”)
“The Crown” (“Assassins”)
X — “The Handmaid’s Tale” (“Offred”)
“Stranger Things” (“Chapter One: The Vanishing of Will Byers”)
“Westworld” (“The Bicameral Mind”)

MOVIE/LIMITED SERIES

BEST LIMITED SERIES
X — “Big Little Lies”
“Fargo”
“Feud: Bette and Joan”
“Genius”
“The Night Of”

BEST TV MOVIE
X — “Black Mirror: San Junipero”
“Christmas of Many Colors”
“The Immortal Life of Henrietta Lacks”
“Sherlock: The Lying Detective”
“The Wizard of Lies”

BEST MOVIE/MINI ACTRESS
Carrie Coon, “Fargo”
Felicity Huffman, “American Crime”
X — Nicole Kidman, “Big Little Lies”
Jessica Lange, “Feud: Bette and Joan”
Susan Sarandon, “Feud: Bette and Joan”
Reese Witherspoon, “Big Little Lies”

BEST MOVIE/MINI ACTOR
X — Riz Ahmed, “The Night Of”
Benedict Cumberbatch, “Sherlock: The Lying Detective”
Robert De Niro, “The Wizard of Lies”
Ewan McGregor, “Fargo”
Geoffrey Rush, “Genius”
John Turturro, “The Night Of”

BEST MOVIE/MINI SUPPORTING ACTRESS
Judy Davis, “Feud: Bette and Joan”
X — Laura Dern, “Big Little Lies”
Jackie Hoffman, “Feud: Bette and Joan”
Regina King, “American Crime”
Michelle Pfeiffer, “The Wizard of Lies”
Shailene Woodley, “Big Little Lies”

BEST MOVIE/MINI SUPPORTING ACTOR
Bill Camp, “The Night Of”
Alfred Molina, “Feud: Bette and Joan”
X — Alexander Skarsgard, “Big Little Lies”
David Thewlis, “Fargo”
Stanley Tucci, “Feud: Bette and Joan”
Michael Kenneth Williams, “The Night Of”

BEST MOVIE/MINI DIRECTING
X — “Big Little Lies”
“Fargo” (“The Law of Vacant Places”)
“Feud: Bette and Joan” (“And the Winner Is”)
“Genius” (“Einstein: Chapter One”)
“The Night Of” (“The Art of War”)
“The Night Of” (“The Beach”)

BEST MOVIE/MINI WRITING
“Big Little Lies”
X — “Black Mirror: San Junipero”
“Fargo” (“The Law of Vacant Places”)
“Feud: Bette and Joan” (“And the Winner Is”)
“Feud: Bette and Joan” (“Pilot”)
“The Night Of” (“Call of the Wild”)

VARIETY/REALITY

BEST REALITY COMPETITION PROGRAM
“The Amazing Race”
“Amercan Ninja Warrior”
“Project Runway”
“RuPaul’s Drag Race”
“Top Chef”
X — “The Voice”

BEST VARIETY TALK SERIES
“Full Frontal with Samantha Bee”
“Jimmy Kimmel Live”
X — “Last Week Tonight with John Oliver”
“Late Late Show with James Corden”
“Late Show with Stephen Colbert”
“Real Time with Bill Maher”

BEST VARIETY SKETCH SERIES
“Billy on the Street”
“Documentary Now”
“Drunk History”
“Portlandia”
X — “Saturday Night Live”
“Tracey Ullman’s Show”

BEST VARIETY SERIES DIRECTING
“Drunk History”
“Jimmy Kimmel Live”
“Last Week Tonight with John Oliver”
“Late Show with Stephen Colbert”
X — “Saturday Night Live”

BEST VARIETY SERIES WRITING
“Full Frontal with Samantha Bee”
X — “Last Week Tonight with John Oliver”
“Late Night with Seth Meyers”
“Late Show with Stephen Colbert

The SAG Nominations are here and … Hello there, Captain Fantastic!


captain-fantasticEarlier the year, I choose not to see Captain Fantastic.  Every bit of advertising that I saw for it led me to believe that Captain Fantastic was basically just Wes Anderson-lite and, as we all know, only Wes Anderson can successfully duplicate Wes Anderson.

Well, I think I may have made a mistake because Viggo Mortensen is definitely in the hunt for best actor.  Though most of the precursor awards (so far) have gone to Casey Affleck for Manchester By The Sea, Mortensen still seems like a likely nominee.

Just consider this: he got a SAG nomination!  And so did Captain Fantastic, itself!  It was nominated for best ensemble, which is the SAG equivalent of best picture…

Actually, maybe you shouldn’t spend too much time fixating on that.  People like me always talk about how the SAG awards are an obvious precursor for the Oscars.  Our logic is that the Actor’s Branch is the largest voting bloc in the Academy and the members of the Actor’s Branch are among those who also vote for the SAG awards.

Of course, we always forget that the majority of SAG members are themselves not a part of the Academy.  So, while enough members of SAG may have liked Captain Fantastic for it to get an unexpected ensemble nomination, that doesn’t necessarily mean that those voters are also members of the Academy.

I mean, let’s consider what happened last year.  Beasts of No Nation picked up an ensemble nomination.   So did Straight Outta Compton.  So did Trumbo.  None of those films proved to be an Oscar powerhouse.  In fact, Beasts of No Nation received a grand total of zero Oscar nominations.

So, let’s put it like this — it’s a good sign for a film or a performer to get a SAG nomination.  But there’s still no guarantee that it will translate into Oscar recognition. Captain Fantastic may have been nominated and La La Land was snubbed (for ensemble).  But I imagine that the reverse will happen when the Oscar noms are announced in January.

With all that in mind, here are the SAG nominations!

FILM

Best Film Ensemble
“Captain Fantastic”
“Fences”
“Hidden Figures”
“Manchester by the Sea”
“Moonlight”

Best Actor
Casey Affleck, “Manchester by the Sea”
Andrew Garfield, “Hacksaw Ridge”
Ryan Gosling, “La La Land”
Viggo Mortensen, “Captain Fantastic”
Denzel Washington, “Fences”

Best Actress
Amy Adams, “Arrival”
Emily Blunt, “The Girl on the Train”
Natalie Portman, “Jackie”
Emma Stone, “La La Land”
Meryl Streep, “Florence Foster Jenkins”

Best Supporting Actor
Mahershala Ali, “Moonlight”
Jeff Bridges, “Hell or High Water”
Hugh Grant, “Florence Foster Jenkins”
Lucas Hedges, “Manchester by the Sea”
Dev Patel, “Lion”

Best Supporting Actress
Viola Davis, “Fences”
Naomie Harris, “Moonlight”
Nicole Kidman, “Lion”
Octavia Spencer, “Hidden Figures
Michelle Williams, “Manchester by the Sea”

Best Stunt Ensemble
“Captain America: Civil War”
“Doctor Strange”
“Hacksaw Ridge”
“Jason Bourne”
“Nocturnal Animals”

TV

Best Comedy Ensemble
“The Big Bang Theory”
“Black-ish”
“Modern Family”
“Orange is the New Black”
“Veep”

Best Comedy Actor
Anthony Anderson, “Black-ish”
Titus Burgess, “Unbreakable Kimmy Schmidt”
Ty Burrell, “Modern Family”
William H. Macy, “Shameless”
Jeffrey Tambor, “Transparent”

Best Comedy Actress
Uzo Aduba, “Orange is the New Black”
Jane Fonda, “Grace & Frankie”
Ellie Kemper, “Unbreakable Kimmy Schmidt”
Julia Louis-Dreyfus, “Veep”
Lily Tomlin, “Grace & Frankie”

Best Drama Ensemble
“The Crown”
“Downton Abbey”
“Game of Thrones”
“Stranger Things”
“Westworld”

Best Drama Actor
Sterling K. Brown, “This Is Us”
Peter Dinklage, “Game of Thrones”
John Lithgow, “The Crown”
Rami Malek, “Mr. Robot”
Kevin Spacey, “House of Cards”

Best Drama Actress
Millie Bobby Brown, “Stranger Things”
Claire Foy, “The Crown”
Thandie Newton, “Westworld”
Winona Ryder, “Stranger Things”
Robin Wright, “House of Cards”

Best Movie/Miniseries Actor
Riz Ahmed, “The Night Of”
Sterling K. Brown, “The People v. O.J. Simpson”
Bryan Cranston, “All The Way”
John Turturro, “The Night Of”
Courtney B Vance, “The People v. O.J. Simpson”

Best Movie/Miniseries Actress
Bryce Dallas Howard, “Black Mirror”
Felicity Huffman, “American Crime”
Audra McDonald, “Lady Day at Emerson’s Bar & Grill”
Sarah Paulson, “The People v. O.J. Simpson”
Kerry Washington, “Confirmation”

Best Stunt Ensemble
“Game of Thrones”
“Daredevil”
“Luke Cage”
“The Walking Dead”
“Westworld”

Somebody’s Watching Me: Jane Fonda in KLUTE (Warner Brothers 1971)


cracked rear viewer

Original Cinema Quad Poster - Movie Film Posters

I was going to post on KLUTE last week, but between my Internet service going on the fritz and getting swept up in Oscar Fever, I never got around to it. Better late than never though, and KLUTE is definitely a film worth your time. It’s a neo-noir directed by that master of 70’s paranoia, Alan J. Pakula, who’s also responsible for THE PARALLAX VIEW, ALL THE PRESIDENT’S MEN, and SOPHIE’S CHOICE. KLUTE is both an intense thriller and character study, with an Oscar-winning performance by Jane Fonda.

PI John Klute is sent to New York City to investigate the disappearance of his friend, Tom Gruneman. Seems Gruneman has been sending obscene letters to Bree Daniels, a call girl he met there. Klute sets up shop in her apartment building, shadowing her and tapping her phone. When he finally goes to question her, Bree says she doesn’t remember Gruneman, but it’s possible he could…

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Here Are The Golden Globe Nominations And Did You Know The Martian’s A Comedy?


The_Martian_film_poster

Did you know that The Martian was a comedy?

Well, no, actually it’s not.  It’s a very serious film that has a few comedic moments.  Matt Damon makes a few jokes but that’s largely because he’s trying not to lose his mind and commit suicide.  However, The Martian was submitted to the Golden Globes as a comedy.  Why?  Probably because the producers realized that it would be easier for them to win if their film was the only big-budget drama nominated in the comedy category.  It’s dishonest, it’s unethical, and it totally worked.  This morning, when the Golden Globe nominations were announced, The Martian was nominated for Best Picture, Comedy or Musical.

I was not a particularly huge fan of The Martian to begin with.  The fact that it has now been nominated for Best Comedy while Inside Out was not does not help matters.

Anyway, as for the rest of the Golden Globe nominations … actually, I like a lot of them.  Mad Max: Fury Road was nominated for Best Picture, Drama and that should help it regain whatever momentum it may have lost after not being nominated by the SAG.  The Big Short was also nominated for Best Picture, Comedy so I guess I really will have to see it, despite having no desire to do so.  Trumbo was not nominated for Best Picture but it did pick up nominations for Bryan Cranston and Helen Mirren.  Spotlight was naturally nominated for best picture but received no acting nominations, which means that either all the actors are splitting the votes among themselves or maybe Spotlight, while remaining the front-runner, is not as universally loved as some are thinking.  It’s impossible for me to say because I haven’t seen Spotlight yet but I have noticed that a lot of critics seem to be more respectful than enthusiastic about it.

(At the same time, my friend, the sportswriter Jason Tarwater, was quite enthusiastic after seeing Spotlight and I usually trust his opinion on these things.)

Anyway, here are the Golden Globe Film nominations!

Best Picture (Drama)

Best Picture (Musical or Comedy)

Best Director – Motion Picture

Best Actor (Drama)

  • Bryan Cranston – Trumbo
  • Leonardo DiCaprio – The Revenant
  • Michael Fassbender – Steve Jobs
  • Eddie Redmayne – The Danish Girl
  • Will Smith – Concussion

Best Actress (Drama)

  • Cate Blanchett – Carol
  • Brie Larson – Room
  • Rooney Mara – Carol
  • Saoirse Ronan – Brooklyn
  • Alicia Vikander – The Danish Girl

Best Actor (Musical or Comedy)

Best Actress (Musical or Comedy)

  • Jennifer Lawrence – Joy
  • Amy Schumer – Trainwreck
  • Melissa McCarthy – Spy
  • Maggie Smith – The Lady in the Van
  • Lily Tomlin – Grandma

Best Supporting Actor in a Motion Picture

Best Supporting Actress in a Motion Picture

Best Screenplay

Best Original Score

 

Best Original Song

Best Foreign Language Film

  • The Brand New Testament (Belgium)
  • The Club (Chile)
  • The Fencer (Finland)
  • Mustang (France)
  • Son of Saul (Hungary)

Best Animated Feature