Left off the "Cast" list! (Our annual SAG outrage)

by Nathaniel R

It's a tradition of ours at The Film Experience for a long time now to note the egregious problem that they never fix in SAG voting. Which is that you have to be famous enough to get your own title card in order to be included in your movie's "Outstanding Cast" nominations. This has led to some truly grotesque omissions over the years... especially for scene-stealers whose breakout performances weren't honored even though they definitely helped the film to that very same "Cast" nomination.

If you're curious about this rule we explain it better here. This year we're already very late with this annual article, so let's get right into the SAG Outstanding Cast nominations and complain about who ISN'T nominated despite doing great work in those ensembles...

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Almost There: Cameron Diaz in "Being John Malkovich"

by Cláudio Alves

We asked you to choose the next two subjects of the Almost There series, and you came through. After more than 800 votes overall, Cameron Diaz won out from the new-to-streaming batch. Her against-type supporting turn in Spike Jonze's 1999 Being John Malkovich conquered around 24% of your votes, with Jim Carrey in Eternal Sunshine of the Spotless Mind coming in as a close second. So, for now, let's focus on Diaz and her frizzy-haired Lotte…

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Doc Corner: Spike Jonze's 'Beastie Boys Story' + 'Coachella: 20 Years in the Desert'

By Glenn Dunks

If live experiences are one of the things you are missing most about being in isolation, then documentaries can be one small way of getting that groove back. Beastie Boys Story and Coachella: 20 Years in the Desert probably won’t be enough to recreate the experience—certainly, both are limited in their creative and technical scopes, nor are they the sort of concert extravaganzas that the subjects have released before—but for music-loving watchers, they may just offer at least something that approximates the joy of being among the throngs of others enthralled in musical rapture.

Beastie Boys Story in particular feels like a greater missed opportunity given it is directed by none other than Spike Jonze (he also directed the stage-show that it captures). But the band at its core are so interesting in their history and captivating in their stage presence that is almost doesn’t matter. Almost.

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DGA: The Spikes (Jonze & Lee), Bradley Cooper's Loss, and the Gowns (yes, the gowns)

by Nathaniel R

The big news coming out of the weekend's DGA ceremony was not Alfonso Cuarón's second win from the Director's Guild (he previously took the DGA for Gravity and had won nearly every award of note for Roma, making a repeat a foregone deal). Instead it was Bradley Cooper's surprise loss for First Time Feature A Star is Born and Spike Lee's speeches, which inevitably have a way of shaking up a room because Spike Lee always says what he has to say, unapologetically. The best element of the non-televised DGA ceremony is that they make a big deal of the nominees and not just the winner, giving all 5 top nominees a moment at the mic and a presentation of their nomination in medal form...

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Soundtracking: "Her"

by Chris Feil

Say what you will about its hipster, ukulele verve, but “The Moon Song” from Her is one of the most deserving Best Original Song nominees of the past decade. Some of the reward may be carryover from songwriter Karen O missing out for Where The Wild Things Are’s equally deserving “All is Love”, but both prove essential to the emotional experience of their films. Seriously, Karen O, please make more music for films and not just those from Spike Jonze.

This song is a deceptively simple ditty, a longing love song that slips into the deep melancholy and faint whimsy of the near-future that Jonze creates in the film. It belongs to Her’s manic pixie dream AI Samantha (voiced by Scarlett Johansson), but also the romantic imagination of Joaquin Pheonix’s Theodore. Every couple needs a song, even if one of the parties is solely digital.

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