Podcast: Pre Oscar Grab-All

The gang gets back together as Oscar approaches. Nathaniel R, Nick Davis, Katey Rich, and Joe Reid discuss what they've been watching as they prep for Oscar night. How many movies do YOU still have left to see? (Or are you not a completist?)

Index (41 minutes)
00:01 What we still haven't seen
02:30 Loving Vincent & Animated Feature
08:40 Andrey Zvyagintsev's Loveless, Russia's nominee
12:00 Short Film categories
15:00 A Fantastic Woman & Foreign Film
20:00 Acting Categories
23:00 Lady Bird, actressy movies, messy trivia
29:30 Preferential ballot theories
33:00 Director/Pic splits and The Shape of Water
37:00 Who will present Best Picture?
38:30 RED ALERT: NICK IS GOING TO THE OSCARS !!!
40:30 The End

You can listen to the podcast here at the bottom of the post or download from iTunes. Continue the conversations in the comments, won't you? 

Grab-All Oscar Talk

Into the Link-Verse

• Dim the House Lights a conversation about those Sondheim auditions in Lady Bird
• /Film why is Big Little Lies still competing as "Limited Series" when it has a second season order. The controversy is starting to bubble up
• Cartoon Brew I didn't even know that there was ANOTHER new awards show but come to think of it there's always another new one, isn't there? We now have the European Animation Awards and they gave their top prize to Loving Vincent. This is not to be confused with the European Film Awards which also gave Loving Vincent Best Animated Feature
• Cartoon Brew on the key points of that giant Disney/Fox deal. It's scary people. Now basically only 4 American-owned entertainment companies have control over America’s cultural identity. 

• Forbes on the teaser for Into the Spider-Verse with Miles Morales finally making it to screen...
• Indie Wire talks to the great actress Lesley Manville about Phantom Thread and Hollywood for women over 40
• The Wrap ack. I totally forgot to link to this last week. In an unprecedented move The Academy added 'Standards of Conduct' to membership details after the explosion of sexual misconduct news this past month
• Coming Soon the first poster and teaser for New Mutants
• Out January 25th is when RuPaul's Drag Race returns
• Vogue Philip Seymour Hoffman's partner Mimi pens an essay with Adam Green about living with an addict and the actor's final sad year.

List-Mania
• EW a timeline of Nicole Kidman's most iconic 2017 moments
• After Ellen a list of the best lesbian or bi movies of the year
• GQ Top ten books of the year and each author chosen gets to recommend a book, too. Fun angle! Do you have a library card? You might need one after this.
• Variety Owen Gleiberman and Peter DeBruge's top ten lists
• EW best and worst tv shows of the year
• Out most iconic looks of 2017. It's heavy on music video ladies for some reason but there's some fun surprises like "Allison Janney with a parrot on her shoulder" from I, Tonya
• CBC an A-Z guide to the year in queer: God's Own Country, Melina Matsoukas, and much more
• THR top ten movies of the year from Todd McCarthy and staff. Call Me By Your Name all over the place.

Annie Nominations Embrace "Coco" and "The Breadwinner"

by Nathaniel R

Coco and The Breadwinner are the top competitors for the Annies (and maybe the Oscars)

The Annie Awards first began handing out prizes in 1992 but weren't quite on a calendar year yet with Beauty and The Beast, a 1991 film, honored in that inaugural year. They've since aligned themselves to the calendar and last year their top prize went to Zootopia, which also took the Oscar. Coco leads their nominations for 2017 and also presumably leads the Oscar race with The Breadwinner the widely admired darkhorse at both. Presumably again as we won't know what the Oscar nominations are until January 23rd. 

Both of the leaders are powerfully rooted in cultural specificity (Mexico and Afghanistan respectively) and are, in their own way, tearjerkers, rather than the more traditionally glib action comedies that tend to be the bread and butter of the animated film world... at least in America.

We'd love to raise a glass to the nominations for the streaming series Trollhunters which we're huge fans of but we'd rather throw the contents of that glass inb Annie's face for preferencing Cars 3 and Despicable Me 3 over the insanity of The Lego Batman Movie. If you wanted to honor a sequel, that's really the way you wanna go? The complete list of nominees and a few more comments, cheers, and jeers are after the jump...

Click to read more ...

Box Office: Animation of 2017

by Nathaniel R

This long holiday weekend saw the releases of three major Oscar contenders. Call Me By Your Name had a sensational per screen average (101,000 per screen). Darkest Hour also showed its prosthetic Churchill face for a good opening ($44,000 per screen). And then there was Pixar's Coco, which easily trounced Justice League to take the #1 spot. Critics are raving and, more importantly, Latino critics are raving, too, as you can see at Remezcla and here at The Film Experience.

So let's do the box office report differently this weekend and look at this year's Animated Features...

ANIMATED FEATURES AT THE BOX OFFICE IN 2017 GROSSES AS OF NOV 26th
1. Despicable Me 3  $264.3	6. Captain Underpants $73.9
2. Lego Batman Movie $175.7	7.🔺 Coco $71.1 REVIEW
3. The Boss Baby $175 REVIEW	8. Lego NinjaGo Movie $59
4. Cars 3  $152.9	9. Smurfs: Lost Village $45 REVIEW
5. The Emoji Movie $86 REVIEW	10. Nutjob 2 Nutty by Nature $28.3

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The 2017 Animated Contenders: "Loving Vincent"

by Tim Brayton

Last week, we got word of the 26 films declared eligible for Best Animated Feature at the 90th Academy Awards. That means it's time for the Film Experience's not-quite-annual look at some of the animated contenders that don't have the high profile and financial backing of a big studio affair like Coco or Despicable Me 3. Some of these might possibly be within hunting distance of an Oscar nomination; some, sad to say, won't have a chance in hell. But they're all worthy of attention.

I picked our first subject, Loving Vincent, for no particular reason other than because it's been one of my most-anticipated and because it's done quite well at arthouse theaters suggesting a good deal of interest. As such, it's with some qualified disappointment that I come to tell you all that it's... definitely not great.

 I certainly won't say it's bad. But it's kind of startlingly uninteresting as a narrative. So let's not start by talking about it as a narrative...

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