Chadwick Boseman Oscar Chart Switcheroo

I got my time comin' to me.

You've surely heard that Chadwick Boseman's people have made the (correct) decision to place him in the Best Actor category for Ma Rainey's Black Bottom. Less category fraud makes the world a better place. And usually campaigns err on the side of fraud to make things easier for the big stars, so we couldn't applaud them more for it. While it's true that this considered a "featured" role on Broadway, so was Ma Rainey herself (so clearly Broadway sometimes has its own issues with "categories") and they're the two obvious big characters of the show. So we've updated both the Best Actor and Best Supporting Actor chart as a result. We still think the late beloved actor is likely to win (though it's so early, we must remind) only now that posthumous honor will be in the correct category. People who've seen the film think he's special in it. 

Chadwick Boseman will almost certainly win the Oscar for Best Actor, now that Netflix has officially decided to campaign him as a lead performer for MA RAINEY’S BLACK BOTTOM. He’s so good in his final film performance that it feels undeniable.

— Kyle Buchanan (@kylebuchanan) October 21, 2020

Almost There: Michael Fassbender in "Shame"

by Cláudio Alves

With the films of Steve McQueen's anthology, Small Axe, earning critical raves as they traverse through the festival circuit, it's a good time to remember some of his previous projects. While 12 Years a Slave was a great success that conquered acclaim and many awards, the rest of the director's filmography has been more polarizing and arguably underrated. It feels wrong, for instance, that his recurring muse, Michael Fassbender, got the first of two Oscar nominations for his least impressive contribution to McQueen's oeuvre. He was much more deserving two years before that best Picture winner, in 2011's Shame...

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AFI: Riz Ahmed in "Sound of Metal"

by Eurocheese

When putting together my list of films to catch at the festival, I threw this film in because I’d heard that it had an incredible sound design. Nobody told me that Riz Ahmed gives one of the best leading male performances that we’ve seen in years. Nobody told me that this passion project would have me emotionally on edge from start to finish, or that I’d leave feeling that it was unlike any film I’d seen before. The fact that the sound design buzz on the sound design proved true was the delicious cherry on top.

Ahmed plays Ruben, a drummer in a rock band, and the movie kicks off immersing us in one of his performances...

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Ranking Laurence Olivier's Oscar nominations

by Cláudio Alves

The Supporting Actress Smackdown of 1965 will be up on Sunday afternoon so here's an extra list before we get there. Before each event, I like to watch every nominated movie, even those I have already seen. Because of that, I found myself with the unenviable penance of revisiting 1965's Othello. Many of you surely did the same, exposing yourself to one of Sir Laurence Olivier's most problematic star turns, a Blackface version of Othello. I figured if I was going to force myself to watch this dirge, I should something productive with it. Hence, this write-up, in which that famous thespian's ten acting Oscar nominations are ranked...

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Monty @ 100: Stardom's Peak in "From Here To Eternity"

by Nathaniel R

Calling your picture From Here To Eternity, even if that's the name of the book its based on, is a major flex and a tempting of fate. How to live up to the title? 1950s and 1960s movies did this frequently, of course, in their battle against the looming threat of television. Screens got bigger and wider and the studio system was, if already mortally wounded, still working hard at making their movie stars iconic. Titles like Giant, The Greatest Story Ever Told, The Greatest Show on Earth, frequently dared to proclaim their epic-ness, and if the titles weren't size-conscious, why not add an exclamation point a la Oliver!, Hello, Dolly!, Viva Zapata! or I Want To Live!  In this lust for enormous movies, From Here To Eternity stands out, not just for living up to its promise and being eminently swoon-worthy but for its relative modesty -- capturing something grandiose merely by inhabiting the sealed world and social lives of soldiers and their women on the brink of cataclysmic change. It might have been mere soap opera without the skillful direction of Fred Zinneman and the simple fact that the stars themselves were monumental.

Chief among them was Montgomery Clift, scoring his third Best Actor nomination with his eighth film...

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