No one knows how to bring you back around better than Danny Boyle.

You can read more about this year in film here.  The Best Picture race is discussed here, with reviews of all the nominees.  First there are the categories, followed by all the films with their nominations, then the Globes, where I split the major awards by Drama and Comedy, followed by a few lists at the very end.  If there’s a film you expected to see and didn’t, check the very bottom – it might be eligible in a different year.  Films in red won the Oscar in that category (or Globe, in the Globes section).  Films in blue were nominated.  Films (or directors) in olive are links to earlier posts that I don’t want to have show up in blue and be mistaken for a nominee.  Films with an asterisk (*) were Consensus nominees (a scale I put together based on the various awards) while those with a double asterisk (**) were the Consensus winners.

I’m listing the top 20 in the categories but only the top 5 earn Nighthawk nominations.

Nighthawk Awards:

  • Best Picture
  1. Slumdog Millionaire  **
  2. The Dark Knight
  3. Wall-E  *
  4. Milk  *
  5. Revolutionary Road
  6. Rachel Getting Married
  7. Let the Right One In
  8. I’ve Loved You So Long
  9. Happy-Go-Lucky
  10. The Visitor
  11. In Bruges
  12. Iron Man
  13. Doubt
  14. Burn After Reading
  15. Vicky Cristina Barcelona
  16. A Christmas Tale
  17. The Reader
  18. The Wrestler
  19. Changeling
  20. Paranoid Park

(more…)

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“The only thing necessary for the triumph of evil is for good men to do nothing.” – Edmund Burke

You can read more about this year in film here.  The Best Picture race is discussed here, with reviews of all the nominees but I also wrote more about the year, originally, here.  First there are the categories, followed by all the films with their nominations, then the Globes, where I split the major awards by Drama and Comedy, followed by a few lists at the very end.  If there’s a film you expected to see and didn’t, check the very bottom – it might be eligible in a different year.  Films in red won the Oscar in that category (or Globe, in the Globes section).  Films in blue were nominated.  Films with an asterisk (*) were Consensus nominees (a scale I put together based on the various awards) while those with a double asterisk (**) were the Consensus winners.

I’m listing the top 20 in the categories but only the top 5 earn Nighthawk nominations.

Nighthawk Awards:

  • Best Picture
  1. Good Night and Good Luck  *
  2. Munich
  3. Brokeback Mountain  **
  4. King Kong
  5. Kingdom of Heaven
  6. A History of Violence
  7. Batman Begins
  8. The Constant Gardener
  9. Pride and Prejudice
  10. Downfall
  11. Cache
  12. Syriana
  13. Wallace & Gromit: The Curse of the Were-Rabbit
  14. Saraband
  15. Match Point
  16. Twin Sisters
  17. Corpse Bride
  18. Harry Potter and the Goblet of Fire
  19. Star Wars Episode III: Revenge of the Sith
  20. Kung Fu Hustle

Analysis:  A truly fantastic year.  Brokeback ranks among the best ever #3 films, King Kong among the best #4 films and Kingdom among the best #5 films.  A History of Violence would be a nominee in most years.  The Top 5 is tied for 10th all-time.  The Top 10 is second all-time behind only 2002.  Downfall is the third best #10 film ever.  The Top 20 is the best all-time as is the 11-20.  Not only are all 20 of these films **** films, but there are actually a record 26 (the others are Sin City, Capote, Proof, Cinderella Man, Don’t Move, Elizabethtown).
I feel a little weird about this year.  Brokeback is a brilliant film and I have thought so since I saw it in the theater, but except for the stretch from when I saw it to when I first saw Munich, it has never been my #1 film.  It was Munich for years then eventually moved to Good Night and Good Luck.  But all three films are just about a tie and they come one right after the other on my grand list of all Best Picture nominees.  There’s no question, given how the year went, that it should have won Best Picture.  It won three of the six critics awards and the other four awards groups.  Only three films have more Consensus points without winning the Oscar and all three of those (LA Confidential, Social Network, Boyhood) lost the PGA and DGA and the first two also lost the Globe while Brokeback won all of those.  It was the first film ever to sweep the other four awards groups and lose the Oscar (La La Land would later do it but it would lose to a film that won more critics awards and won the Globe – Drama).  It joined The Aviator as only the second film to this point to win both the Globe and the PGA and fail to win the Oscar.  It is the only film to win the PGA, DGA and WGA and fail to win the Oscar.  Yet, it would lose to Crash, the film with the lowest Consensus point total to win the Oscar since 1995 and the first film since 1973 to win the Oscar without a Globe nomination and only the second Oscar winner to fail to be nominated for a Globe.  In fact, ironically, the most comparable year to this one is 1995, when Ang Lee’s film also looked like it should have won but lost to a film that had not done nearly as well with earlier awards groups, though at least that year had been more telegraphed when Lee failed to earn a Best Director nomination at the Oscars.
Crash, at #101, becomes the fourth Oscar winner to fail to make the Top 100 for the year.  It also finishes a period of twelve years when the Oscars awarded the worst of the five nominees a whopping seven times; it has not done so again since (through 2016).  It joins 1989 and 2000 as years where the Picture winner isn’t in my Top 50 but the Director winner is my #2. (more…)

swI have always been a proponent of the idea that I can separate what I think is brilliant from what I personally enjoy.  Let’s just look at 2015.  I think that Carol and The Revenant were the two best films of the year.  But if I’m going to sit and watch a movie from 2015, odds are it will be The Force Awakens (this is borne out by the fact that I’ve seen Carol twice, The Revenant all the way through once and The Force Awakens, at a modest count, 21 times complete plus the final 20 minutes about 15 more).

To that extent, I have finally culled together a list of my 100 Favorite Films, the ones I am most likely to sit still and watch, or at least not change the station if I come across them.  They’re not heavy Drama.  In fact, when I went through the genres, only one film on the entire list is one that I classify primarily as Drama (Casablanca).

It’s really hard to do this kind of list when you’ve seen as many films as I have (14,000+).  I put it together by going through year by year and adding films, and once I hit 100, knocking off the films at the bottom.  When I first read Veronica a list of 50 films, I then pointed out that those were the 50 I was about to delete because they didn’t make the list and she was stunned.  “But you love those films!” she pointed out.  “But I love the Top 100 even more,” I replied.  It was very, very tough.  Though they are easily two of the greatest directors of all-time if not the two greatest directors of all-time, not a single Kurosawa or Kubrick film ended up on the list.  There is no Bergman.  There is no David Lean.  The Ealing Comedies and the Hammer Horror, both of which I love so much I wrote about them only have one film each.  I did For Love of Film posts for James Bond (1 film) and Star Trek (2 films).  It’s really, really hard to narrow it all down. (more…)

JLA_200Justice League of America #200

  • Writer:  Gerry Conway
  • Artists:  listed below
  • Published:  March, 1982
  • Publisher:  DC Comics
  • Pages:  72
  • First Line:  “They came from space, seven glowing meteors containing seven alien claimants for another world’s throne.”
  • Last Line:  “Snapping?  Cripes, now he’s got me doing it!”
  • First Read:  Early 1984?

My comic collecting began a bit haphazardly.  There were a number of random comics that my brothers had from when we lived in New York that had somehow ended up in my room.  My brothers both collected comics, and I would read what they had so I didn’t yet feel the need to buy any myself (and all my money in the early 80’s was going towards either Star Wars figures or baseball cards).  The first comic I remember buying was All-Star Squadron #31 at a drugstore on the day after Christmas in 1983.  But my older brother Kelly was collecting both Avengers and Justice League of America, the two major team books of the comics world and I started to gravitate towards them.  I liked the idea of books that combined so many characters.  Unlike Fantastic Four (which my brother John would collect) and X-Men (which all three of us would eventually collect), books in which the teams consisted of characters who didn’t have their own comics (yes, it’s true, there was a time when Wolverine appeared only in X-Men), Avengers and JLA were like getting several comics for the price of one because they each had so many characters who each had their own books.  While Kelly would collect a lot of books moving forward, I immediately began looking back into the past.  I became interested in what came before.  I wanted the whole story.  I had never heard of something called Obsessive Compulsive Disorder back then. (more…)

We all got it comin, kid.

We all got it comin, kid.

You can read more about this year in film here.  The Best Picture race is discussed here, with reviews of all the nominees.  First there are the categories, followed by all the films with their nominations, then the Globes, where I split the major awards by Drama and Comedy, followed by a few lists at the very end.  If there’s a film you expected to see and didn’t, check the very bottom – it might be eligible in a different year.  Films in red won the Oscar in that category (or Globe, in the Globes section).  Films in blue were nominated.  Films (or directors) in olive are links to earlier posts that I don’t want to have show up in blue and be mistaken for a nominee.  Films with an asterisk (*) were Consensus nominees (a scale I put together based on the various awards) while those with a double asterisk (**) were the Consensus winners.

I’m listing the top 10 in the categories but only the top 5 earn Nighthawk nominations.

Nighthawk Awards:

  • Best Picture
  1. Unforgiven  **
  2. The Crying Game  *
  3. The Player  *
  4. The Last of the Mohicans
  5. Howards End  *
  6. Reservoir Dogs
  7. Raise the Red Lantern
  8. Aladdin
  9. Flirting
  10. Singles

Analysis:  These are the only **** films.  There’s a four point drop from the #10 to the #11 film.  The #11 film is also an Oscar and Consensus nominee: A Few Good Men. (more…)

Everybody's favorite librarian superhero gets her debut - drawn by Infantino.

Everybody’s favorite librarian superhero gets her debut – drawn by Infantino.

Yesterday, I rushed to put up a short piece on the death of Roger Ebert before I left work (I was in such a hurry that I initially got his year of birth wrong).  I never even got around to mentioning that in his autobiography he has a whole chapter on Steak & Shake (which I once read aloud to Veronica).  But what got lost in all the news of the death of Ebert (front page news everywhere, something written by so many people I read) was the death of Carmine Infantino, who was influencing me long before I ever knew who Roger Ebert was.

Carmine Infantino was a comic book artist – he began as an inker, eventually moving on to be the penciller and eventually became the publisher of DC Comics itself.  If you know comic books at all, he is one of the giants from its history.  And if you don’t know comic books at all, well you still probably have seen a lot of his work. (more…)