Nightmare Alley (1947)

Tyrone Power really fits in the role for this character, capable of looking derelict and beatdown but just as easily looking smooth, calm, and at the top of the world. He “can’t understand how anybody could get so low” is quote from his character early on and both he and the audience are set on a journey to find out. Carnivals make a wonderful backdrop for a variety of stories from people on the brink of desperation to those on the margins of society to others with grandiose ideas of becoming something bigger. Though only 1/3rd of the female supporting role, Joan Blondell is always worth watching. I’m surprised that Guillermo del Toro has adapted the story. Despite the presence of Bradley Cooper leading an otherwise impressive cast, I am intrigued.

The Incredible Shrinking Man (1957)

I haven’t seen a whole lot of them, but I do love Space Age era science fiction stories that don’t hold up in any way, shape, or form in modern times (or maybe even in any times). This one particularly gets many points for the special effects and playing with different set ratios. I wish they had done even more with those when the main character first started shrinking. It did drag a bit in the end, especially as the man made a few too many Too Dumb To Live decisions, but what do I know I’ve never shrunk to the size of a thimble. My teeny tiny brain might not work as well then either.

Equus (1977)

I admit that the lurid one line description of the story both made me not interested in watching this while also sincerely wondering what has made it successful. I don’t know about the play itself, but the film is also a bit slow in getting started. As the psychiatrist unravels the mystery of why this boy maimed six horses, it becomes quite compelling. I’ve spent a lot of time in recent years pondering how much we should push people to be more ‘normal’ and fit into the mainstream. Any adult who interacts regularly with children particularly should be asking that question and how much to push them into abiding by what you think they should believe and be. I have mixed feelings about the roles I’ve seen Richard Burton in, but this may be one of the best so far. I am now curious to see it on stage.

Oscar Nominations: Best Actor in a Leading Role; Best Actor in a Supporting Role; Best Writing, Screenplay Based on Material from Another Medium

Raya and the Last Dragon (2021)

Since Disney Animation Studios has given up on traditional animation, I’ve had a hard time really feeling the magic in their feature films. Maybe it’s just a matter of me being old and unreceptive to change, but visually many of these films don’t have much spark. Raya and the Last Dragon tries (there are some beautiful individual settings), but somehow it simultaneously doesn’t spend enough time world building and takes too much time getting to the actual adventure. There is little that makes Raya as a character unique or interesting and no real reason to care about her plight. Every character other than her is more interesting, including everyone stuck in stone through the entire film.

Oscar Nomination: Best Animated Feature Film

The Mauritanian (2021)

As a window into the atrocities that have been occurring at Guantanamo, this movie does its job well and it’s an important job. Other than that, it’s a tad boring and takes too long getting through the details it wants to convey. Jodie Foster is as good as expected; I particularly enjoy watching her in her older roles. Sadly I have a hard time not seeing Shailene Woodley as a teenager and her role here just feels like a bit of filler. Tahar Rahim does an incredible job and is believable through all the emotions from being kidnapped and tortured to small moments of hope and understandable cynicism.

Streetwise (1984)

I do enjoy watching films that show locations I’m familiar with, especially from times before they and I were acquainted. Particularly here, anyone who thinks the problems that Seattle currently is experiencing should watch this to see that while the problems may have gotten worse in recent years, none of them are new. Beyond locality, there are a lot of messages to take away here: how to deal with those who slip through the cracks (both voluntarily and involuntarily), the threads that continue to spin from generation to generation, the unequal treatment of girls and boys that leads to extreme differences in results for women and men. I still don’t know how to even process how young they all were.

Oscar Nomination: Best Documentary, Features

Nomadland (2020)

I only have one Best Picture nominee left to watch from this year (Minari is sitting next to my TV, waiting to be watched) so I can’t give a definitive answer whether this deserves to be Best Picture. Thus far I’m not mad at the pick. It doesn’t scream that it is entirely a new story, but it does feel like a now story: people driven from their homes and finding an alternative way to being when capitalism fails them. It is also provides beautiful views of Middle America. I don’t know what kind of life Frances McDormand would have had if she weren’t an award winning actress, but she is truly believable as a rugged, hard-working woman able to do whatever she needs to to get by. On the other hand, as much as I love David Strathairn, in a ‘normal’ Hollywood movie he could pass off as a fade into the background everyman, but in this one, he looked too clean and pretty.   Best Picture Winner

Oscar Wins: Best Motion Picture of the Year; Best Performance by an Actress in a Leading Role; Best Achievement in Directing

Oscar Nominations: Best Adapted Screenplay; Best Achievement in Film Editing; Best Achievement in Cinematography

Citizen Kane (1941) – Rewatch

After watching Mank, I decided I needed to revisit this. I honestly didn’t get a whole lot out of it the first time I had watched it many years ago. With more film knowledge under my belt, I sadly still don’t connect much with the story and really can’t find reason to care about a fictionalization of William Randolph Hearst and others like him. I appreciate that the story more or less circles back on itself in a creative, though not really surprising, way. Visually it is striking and this subsequent watch gave me an opportunity to appreciate the framing, which is innovative for its time even when it feels overused. I don’t know what the Best Movie Ever actually is, but this still wouldn’t get my vote.   Best Picture Nomination

Oscar Win: Best Writing, Original Screenplay

Oscar Nominations: Best Picture; Best Actor in a Leading Role; Best Cinematography, Black-and-White; Best Art Direction-Interior Decoration, Black-and-White; Best Sound, Recording; Best Film Editing; Best Music, Scoring of a Dramatic Picture

The Nest (2020)

Looking up the title of this movie, I’ve seen it categorized as romance and psychological thriller. Do not trust the categorizing of movies on popular websites: lesson learned. Jude Law is pretty much the same as he always is; Carrie Coons is unrecognizable at first, which means she is also pretty much the same as she always is. The acting is actually pretty good, but the movie takes an hour to even reach the point that the audience had seen coming from the beginning: a man determined that he deserves great things, lives beyond his means to the detriment of his family. A story that has been done many times before and here it isn’t done in any new ways.

Morning Glory (1933)

For a movie that’s barely over an hour long, this took me a long time to get through. There’s not much there in a tale about a wannabe actress who is more certain of her skills than anyone around her. Katharine Hepburn had so many great roles in her career, it’s odd that this is the one that received her first Oscar win.

Oscar Win: Best Actress in a Leading Role

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