Under the Skin @10: A Perfect Opening

by Cláudio Alves

Jonathan Glazer has scarcely left the news cycle since Oscar night. His speech against genocide caused much furor in Hollywood, where accusations of anti-semitism were promptly lobbied against the filmmaker. That said, today's topic isn't that media storm or the director's recent contributions to the Cinema for Gaza campaign. Instead, it's time to honor Glazer's third feature, which celebrates ten years since its US release. Loosely adapted from a Michel Farber novel, Under the Skin follows Scarlett Johansson as she roams the Scottish landscape in search of men. She's an alien creature whose conquests meet a nightmarish demise, and her film is one of last decade's most tremendous cinematic achievements. 

I'd go so far as saying that any "best of the 2010s" list that doesn't include it is highly suspect. Indeed, Under the Skin secured its masterpiece status rather instantly in my eyes, its opening like the protagonist's seduction – impossible to resist even as it plunges you into oblivion…

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Split Decision: "The Zone of Interest"

No two people feels the exact same way about any film. Thus, Team Experience is pairing up to debate the merits of this year’s Oscar movies. Here's Ben Miller and Nick Taylor on The Zone of Interest...

BEN: Hey Nick!  I will freely admit that The Zone of Interest haunted me in a way that I won't soon forget.  I consider it among the absolute best of the year and one of the most impactful Holocaust films to come out in some time.  The praise for the film is near universal, so I know that you thought it was just as exceptional as I did. We can be in agreement, and then call it a day.  Quick and painless...you thoughts?

NICK: I am definitely haunted by it! There’s plenty to admire in Jonathan Glazer’s direction, and I can’t deny I was taken aback by its provocations when I watched it. But even without the comparison to Glazer’s previous stone-cold masterpieces, I felt myself disengaging from the movie’s rhythms as it went on. Intellectually, I get why we’re kept at such a remove from the Höss family, and what the oppressive sound design and spycam cinematography are meant to convey about these people. I swear I do. But this did not connect with me the way it clearly has with you, and I would love to hear more about why this is one of the best movies of the year for you . . . .

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One Week Later - Nomination Joys

by Nathaniel R

Mark Ruffalo in "Poor Things"

You've had time to thoroughly process the Oscar nominations and time to finish the quick grief cycle around "snubs". It's time to look on the bright side. We polled our team on which nominations, above and below the line, gave them the most joy. Here are their answers. We hope to hear yours, too, in the comments...

BIGGEST JOY (Above the Line)

Comedic performances rarely get any sort of recognition, and we had THREE in the same category! 

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Oscar Volley: Best Director could be 2012 all over again

Team Experience is discussing each Oscar category before the nominations come out. Here's Eric Blume and Glenn Dunks to talk Best Director...

ERIC:  Hi Glenn, excited to dive into this year's crop of Best Directors with you.  To me, the big question is whether all three of the "big gun pictures" will carry their directors to nominations.  That's Martin Scorsese for Killers of the Flower Moon; Christopher Nolan for Oppenheimer; and Greta Gerwig for Barbie.  I personally can't get too excited about Nolan or Scorsese, even though they both do expert work but nothing that rattled my cage.  I think one of Gerwig's biggest achievements directing that film...and this is no easy feat...was dealing with what must have been BINDERS of notes from Mattell and Warner Bros and still delivering the film she set out to make...

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For the LAFCA, the Future is Female

by Cláudio Alves

The Los Angeles Critics LOVE actresses, and Sandra Hüller most of all.

Many bristled (and still do) when some awards bodies started changing their acting awards to genderless categories. One of the principal complaints was that this would mean fewer artists awarded and that men would dominate. Or, in the LAFCA's case, a new name on the same system since having two winners each for Lead and Supporting meant they could go on giving prizes equivalent to the gendered divide of yore. That happened last year when Blanchett and Nighy took the Lead, Quan and de Leon Supporting. This year, however, the Los Angeles Film Critics Association decided to forego tradition altogether. Their four acting prizes went to women, making this their first edition without a single male actor among the honorees. 

Come discover the complete set of winners and a lot of statistics, after the jump…

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