It is rare to see two different actors win an Oscar for playing the same role. I can only think of one—Marlon Brando and Robert De Niro as Vito Corleone in The Godfather and The Godfather II. John Wayne and Jeff Bridges were both nominated for playing Rooster Cogburn in two different True Grit adaptations, but only Wayne won.
This year, we could very well see a repeat character in Joker, which is somewhat surprising given the blockbuster films Joaquin Phoenix and Heath Ledger were a part of are not the usual suspects for the Academy Awards.
Twitter was ablaze the morning the Oscar nominations were announced. Joker received 11 (count ’em, 11!) nominations? No The Farewell? No Uncut Gems? No J-Lo? No Greta Gerwig for Best Director? No this. No that. Why this, but not that? There was room for X, but they choose Y? Blah-blah-blah.
The grumblings from Film Twitter is not without their merit. The Academy is known for its massive oversights year after year, and this has become particularly evident in the past few years. But there is a futile exhaustion to the Film Twitter banter, which is equal parts righteous, ironic, furious, annoyed, and contrarian. The reality is that the Academy is a somewhat arbitrary selection of industry insiders choosing what is culturally relevant. It has its limited import, but it is not worth getting up in arms about.
In one way or another, the movie Dolittle broke me. Coming home from the theater and sitting down to write this review, my mind still cannot think clearly after witnessing a film that my eyes actively rejected. Robert Downey Jr., coming off of his triumphant tenure as Iron Man in the Marvel films, leads an all star cast—a cast which includes Antonio Banderas, Emma Thompson, Rami Malek, Ralph Fiennes, Jim Broadbent, and Octavia Spencer, among many others—in what can only be described by technical definitions as cinema.
It might be important to note that the 1967 Doctor Dolittle, which starred Rex Harrison and was made with a lofty budget, was nominated for Best Picture at the Academy Awards and won in two other categories (despite how atrocious it is). It might be just as important to note that Continue reading Dolittle (2020) Movie Review→
The Oscar nominations have dropped. Among them are a number of great short films. Three of the contenders for Best Animated Short Film are currently available to view online: Hair Love, Kitbull, and Sister. And they’re all worth seeking out.
Following the huge success of Gore Verbinski’s The Ring in 2002, The J-horror franchise Ju-on was remade in the United States as The Grudge in 2004. It was also a success. In the first weekend of 2020, another remake of Ju-on appeared in theaters to little fanfare. To Sony, it seemed like a good idea. The time gap is big enough. The January market is (while a notorious dumping ground) not a moneyless area for horror.
And the premise of Ju-on, like any good myth, is worth retelling. The concept of a house whose primary tenant is a spiritual curse is (while by no means wholly original) intriguing. The story moves from Continue reading The Grudge (2020) Movie Review→