Linking With Yourself

Vulture A fine appreciation of Jonathan Demme's stellar crime comedy Married to the Mob
Deadline Hilary Swank to play a "seductive female police detective" in a new film called Fatale.  Hmmm, not sure this is in her range. Remember Black Dahlia?
Slate What's fact and what's fiction in BlacKkKlansman?
AV Club Chris Pine and Chris Hemsworth are playing hardball with Paramount over their Star Trek paychecks

Awards Daily Sasha has quite a different take on the Oscar's new decision to include some kind of "popular achievement" award. (One thing I think we can all agree on: since we actually know nothing about the Academy's plans with their extremely vague announcement, it's really hard to say anything about what it might be or look like or mean.
Salon Casey Affleck breaks his silence on his behavior on the set of I'm Still Here
Boy Culture Cher's ABBA album now available for pre-orders
/Film Japanese film Mirai getting a US release from GKids in the fall. Oscar possibility?
Gothamist oh dear. Sean Young is in trouble again. The Blade Runner actress is wanted for questioning about a burglarly in Queens.
Coming Soon Paul Rudd to co-star with himself in philosophical Netflix comedy Living With Yourself
Coming Soon Ava DuVernay has cast her Central Park Five. It's mostly unknowns but Jharrel Jerome (Moonlight) and Jovan Adepo (Fences) are in there, too. 

Doc Corner: 'Southwest of Salem: The Story of the San Antonio Four'

Glenn here. Each Tuesday bringing you reviews of documentaries from theatres, festivals and on demand.

The title of Deborah Esquenazi’s film Southwest of Salem: The Story of the San Antonio Four is not an accident. It has been done to deliberately reference both West of Memphis and The Central Park Five. Those two films were also true crime documentaries that focused on cases in which the wrong people – bundled together under one umbrella with a numerical media savvy nickname – were convicted of a heinous crime. The mistrials of justice in both of those cases were so monumental that multiple films, non-fiction and dramatic, exist about each.

It’s doubtful the same will become true of the San Antonio Four given the crimes for which the four women at the centre of its terribly heartbreaking story were charged and found guilty of were not as sensationally savage as those other stories. In fact, as Esquenazi’s film details, there was no crime at all. No bloodied body for which somebody absolutely had to held accountable. Rather, just a particularly cruel and shockingly stupid lie that steamrolled into the imprisonment of four innocent women. [more...]

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Elusive As Ever: Academy's Documentary Shortlist

As if announcing NYFCC's winners and the nominations for the Annies on the same day weren't indicative that awards season is officially upon us, the Academy went ahead and released the 15-film shortlist of documentaries in contention for gold. For all the talk about the new voting system, this list seems to be no different that what we've seen in previous years. It has left off several of the year's most acclaimed titles. That being said, there is a vintage crop of five nominees waiting to happen since the inclusions here are, for the most part, all worthy of their spot. What can I say? It has been an absolutely incredible year for documentaries. But let's get to the most shocking snubs.

The Central Park Five, which won best doc at the NYFCC a few hours earlier, is the biggest exclusion. I reviewed the film at TIFF, where I fell for its exposé of institutionalized racism in the American justice system and I'm genuinely surprised that the voters didn't take to it. Queen of Versailles is another major surprise, though lacking the apparent "importance" factor of The Central Park Five, this one is not quite as inexplicable. When I first watched the film, I described it as "an exquisite treatise on everything that's wrong with our society today, shot through the lens of reality television" and I stand by it as one of the year's best films from any genre and medium. Then there's West of Memphis, one of Nathaniel's predictions, which despite massive thematic and structural differences with the Paradise Lost series, is quite possibly the victim of the previous film's success just last year. Further off the field where Marley and Jiro Dreams of Sushi, both of which I loved but expected not to see on today's list.

On the flip side, I'm ecstatic to see the Israeli documentary The Gatekeepers. It is by far the most important film to be released this year and one that I expect to see among the final nominees.

More worthy inclusions and the full list of nominees after the jump:

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For Your Consideration: "Central Park Five" and "The Gatekeepers"

Amir here looking at two films we should keep an eye on in Oscar's documentary race.

"The Central Park Five"

I’ll be the first to admit that when it comes to judging the quality of documentaries, I have a particular bias. My favourite docs tend to be innovative films that aren’t necessarily “significant” in the grand scheme of things, like Grizzly Man or Senna, but I often find myself giving a pass to films that use a conventional structure to tell an important story, merely because thee subject matter does the work, towering above the film itself. Every once in a while, however, I’m confronted with a film that utilizes the old “talking heads intercut with archival footage” formula so powerfully that it becomes impossible to imagine it in any other way. Two such films came my way during TIFF that absolutely blew me away.

The first is Ken Burns, Sarah Burns and David McMahon’s The Central Park Five, which tells the story of five black and Latino youths who were arrested in 1989 for the alleged rape and physical abuse of a white female jogger in Central Park. Despite a lack of evidence to support the charges and their youth (they were all between 14 and 17), they each ended up serving several years in prison or juvenile detention centres. In 2002, more than a decade after their first trial, the real criminal stepped out and confessed; DNA evidence supported his claim. But the irreversible damage had been done. [more after the jump...]

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