YNMS: "Hostiles"

Chris here. The dry desert of the arid Best Actor race is about to get a bit of a transplant into the actual desert. Scott Cooper's Hostiles had one of the quieter debuts on the festival season, landing quiet praise and a tribute for Christian Bale when it went to Telluride. It got even quieter as it waited for a distributor while majors were already fully booked - but now it will be a last-minute arrival from a new mini-distrib with hopes for recognition for Bale. The film will open in limited release on December 22.

The director hasn't had Oscar success since winning Jeff Bridges a long-awaiting prize for Crazy Heart, but the film might just benefit from starring a beloved player in a less competitive year. Does it also help that the film will stand out from the pack by genre alone? Hold onto your spurs, we've got a western in the Oscar race! Take a look at the trailer before we break down the Yes No Maybe So...

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Honorary Oscars: Donald Sutherland in "Ordinary People"

Lynn Lee reflects on Honorary Oscar winner Donald Sutherland's work in a former Best Picture...

The first time I saw Ordinary People, I remember thinking it was very good, very sad, and very WASPy, and that the acting was outstanding across the board.  I was most impressed, if also most frustrated, by Mary Tyler Moore for playing so convincingly against type as the chilly, brittle, allergic-to-grief Beth Jarrett; found Timothy Hutton’s guilt-racked Conrad the most relatable; and Judd Hirsch’s warm, no-BS shrink the most appealing.  Yet the character I ended up feeling the most sympathy for was Donald Sutherland’s Calvin, who’s forced to accept the disintegration of the family he fought so hard to preserve.

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Exploring the Humanity of Deafness in "Wonderstruck"

By Spencer Coile  

At my showing for Wonderstruck this week, there were only six other people in the audience: a young couple and a gaggle of older ladies who felt comfortable talking their way through the whole movie. And while I was initially annoyed at this inconvenience, I was instantly sucked into the world Todd Haynes assembled in his period piece about loss, life, and the family we seek comfort in. Something was especially strange about my experience, though -- the entire film played with subtitles. Was this intentional and I just didn't know it was supposed to be shown this way? Was this a mistake by the theater? Or did one of my fellow moviegovers request this specifically? 

These questions were never answered, but it didn't matter. I personally consume all my media with the subtitles on, so this was a total delight. But how perfect it was to sit back and enjoy a film that celebrates our differences (one of which being the characters' deafness) while also incorporating a feature that is used to help enhance movie watching for those who are visually impaired. And so it began: Wonderstruck, another story suitable for Haynes' illustrious career. 

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Honorary Oscars: Owen Roizman and "Tootsie"

We're revisiting work from this year's Honorary Oscar winners. Here's Eric Blume on cinematography Owen Roizman

Sydney Pollack’s 1982 movie Tootsie is one of my all-time favorite films. It's a perfect treat to revisit when you need to feel like there’s hope in the world.  Despite many viewings, I’ve never truly contemplated the cinematography by one of this year’s Honorary Oscar recipients, Owen Roizman.

Tootsie marked Roizman’s fourth of five Academy Award nomination (the others are The French Connection, The Exorcist, Wyatt Earp and Network).  It’s not the kind of work that typically generates an Oscar nomination. Indeed, the competition that year (Gandhi, Das Boot, E.T., and Sophie’s Choice) were the more magical, lyrical, expansive sort of films that are usually recognized in that category.

But Roizman’s contribution to Tootsie is gigantic, key to the film’s tone and success. It's also an excellent example of how many careful, intelligent decisions go into a more typical, mainstream film and the difference they can make...

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Blueprints: "Evil Under the Sun"

In anticipation of the release of Murder on the Orient Express this weekend, Jorge Molina takes a look at a lesser known Agatha Christie adaptation to see how a mystery can introduce its suspects before it even begins.

There are few things that give me more comfort in life than murder mysteries. Clues woven cleverly through a narrative, the slow reveal of hidden motivations, the buildup to a clean and logical resolution. Watching one person inevitably emerge a criminal from a large group of eccentric and enigmatic characters. 

Agatha Christie is still the undeniable queen of the genre. In her novels she perfected the character archetypes for these stories: the charismatic millionaire, the begrudging femme fatale, the quiet foreign girl, the ambitious older lad... to name but a few.

And when her work started to inevitably get cinematic adaptations, with them came a pool of dramatic flair for actors to dive into...

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