Links: Oscar Goodies Elsewhere

Tom & Lorenzo Janelle Monáe owns everything and wore it all out last night
Vulture theories on why Moonlight won
AV Club "Why does Nicole Kidman clap like that and will she stop it please?" LOL

Deadline Iran and France praise Asghar Farhadi's Oscar win 
The Hill the State department does too but then quickly deletes the tweet 
Out Michael Musto on queer moments from the broadcast and Brokeback payback
Vanity Fair fashion transformations from the Oscars to the after parties 

Oscar Snafus
HuffPo This is interesting. Turns out HuffPo posted an article BEFORE the Oscars about what would happen if the wrong winner was read out on Oscar night and the procedure that would follow. Not everything lines up with what happened Sunday
Slate reviews the tape to illustrated what happened when during the Best Picture mix-up which is what I said I wanted done but knew I didn't have the strength to do (in this piece on the Oscar's own dream ballet)
Variety the other snafu at the Oscars during "In Memorium". Whod'a thunk that The Piano (1993) woud resurface in a huge gaffe kind of way with Oscar mixing up its producer Jan Chapman and its Costume Designer Janet Patterson? 

Exit Trivia
Thanks to THR's Scott Feinberg for uncovering this. The La La Land / Moonlight envelope fiasco was the second time in history that this happened. The first was for the 1963 Oscars when eventual Best Picture winner Tom Jones was named as the Best Original Score winner. But the winner was actually Andre Previn for Irma La Douce. Sammy Davis Jr handled it well, you must admit.

In related news that proposed upcoming Sammy Davis Jr biopic could be so great. The career, cast of characters, and context in which it happened is so rich for storytelling. Let's hope they cast, write, and direct it well.

Podcast: Critics Awards, Elle, Hacksaw Ridge, More...

This week a bifurcated podcast. In the first half Nick, Joe, and Nathaniel continue their discussion of Elle. Then Katey joins us to talk about the recent surge of critics awards. 

Index (42 minutes)
00:01 A little more on Elle, Huppert, and provocateur auteurs
13:00 Bleed For This, The Fighter, Hidden Figures
19:20 Katey joins us & Nick goes to New Zealand
23:00 Critic prizes, Critics Choice Nomination, NBR, the lack of transparency, and Mel Gibson's Hacksaw Ridge
40:00 A bit on Hell or High Water

You can listen to the podcast here at the bottom of the post or download from iTunes. Continue the conversations in the comments. On the next podcast: Manchester by the Sea and Reader Questions Answered! 

Critics Award Rush...

Stream This: The Others, The Piano, Inside Llewyn Davis

In the effort to stay au courant we'll alternate between Netflix and Amazon Prime for streaming news each week. And we'll freeze frame select titles at random places just for fun and see what image comes up. You know how we do! 

LAST CHANCE AMAZON PRIME

Felton: I look... is distinguished a word?
Lange: It's a word.

In Secret (2014, expires August 18th)
What is this? Oscar Isaac, Elizabeth Olsen, Tom Felton and Jessica Lange? Big name casts for movies that don't seem to actually exist that you suddenly realize do, in fact, exist, are kind of unnerving. Like how do movies that never really get released find financing to get made in the first place? Apparently Oscar Isaac plays an artist in this one (they're looking at a portrait he painted of Felton) so that's kind of smudgy hot regardless. Isaac with paint stains I mean.

Men weren't up to the task!

Robocop (2014, expires august 18th) 
So that errant quote that popped up when I slid the bar to a random point in this useless movie is as good a quote as any to describe the foolhardiness of remaking a Paul Verhoeven picture. The Dutch auteur is many things but "remakeable" is not one of them. You've lost before you've begun essentially. See also the Total Recall remake and whichever one gets remade after that... maybe Basic Instinct?

seven more freeze framed films, some great/some terrible, after the jump...

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Women's Pictures - Jane Campion's The Piano

The Piano contains many stories. It is a love story between two outsiders: a mute woman, and an uneducated man. It is an allegory about oppression: a white landowner in New Zealand treats his wife and the Maori people like children or property. It is a study of conflicted characters: a repressed, oppressive landowner; his passionate, mute wife; the lower class man who falls in love with her; and her wild, intelligent daughter. It is a warning about the hazards of refusing to listen: a failed marriage, a soured initial seduction, and the climax of the film are all spurred by lacking communication.  The Piano also has its roots in the fairy tale “Bluebeard;” a sinister story about a newlywed who discovers that her husband murders his wives. But as we’ve seen, Jane Campion doesn’t do easy fairy tale morality.

Campion’s story opens with the only words we will hear its main character speak:

The voice you hear is not my speaking voice - but my mind's voice. I have not spoken since I was six years old. No one knows why - not even me...

Ada (Holly Hunter) is a mute Scottish woman shipped to Victorian New Zealand to marry a stranger, Alisdair (Sam Neill). Ada carries with her the two possessions that make up her voice: her headstrong daughter (Anna Paquin), and her piano. Alisdair leaves the piano, to Ada’s dismay, but a former whaler named George (Harvey Keitel) senses the piano’s importance, and shelters it in his house. He uses it to start an affair with Ada. Considering that this is a story set in the Victorian era, it is a welcome surprise that Campion refuses to make Ada a victim of anything (except maybe circumstance). But that initial image, the piano on the beach, lingers. The incongruous image of a piano on a beach sets the theme for the film - melancholy, and tinged with magical realism.

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Team Top Ten: The Best Cannes Winners of All Time

Amir here, to bring you this month’s edition of Team Top Ten, a monthly poll by all of our contributing team at The Film Experience. Cinephiles all around the world turn their attention to the south of France in May as the most prestigious film festival in the world gets underway in Cannes.

The festival’s history is a rich one, full of interesting cinematic and political narratives. It’s an event that has celebrated the best in cinema and operated as a launching pad for emerging artists as much as it has played games of politics and festival world favouritism. Still, when all is said and done, the list of Palme d’Or winners can rival any list of the best films ever made.

With this year’s edition of the festival just about to begin, we thought it would be a good time to revisit the past and choose our Top Ten Favourite Cannes Winners of All Time. For this poll, we’ve excluded the first two editions of the festival (1939, retroactively awarded to Union Pacific, and 1946, when the top prize was shared between 11 films.)

There is really no easy way to select the cream of the crop here, because these films are already... well, the cream of the crop. Consider the eight films that finished behind our top dozen: Pulp Fiction; Dancer in the Dark; Viridiana; 4 Months, 3 Weeks and 2 Days; Farewell My Concubine; Secrets & Lies; The Tree of Life; The Pianist. Not to mention masterpieces like Black Orpheus, Wages of Fear and Rosetta that placed outside the top 20. The point is that this is the highest echelon of films awards so the standards are high and margins are slim. Some of you will surely disagree with our ranking, but we welcome that. Let us know what you think in the comments.

THE BEST CANNES WINNERS OF ALL TIME
a non-definitive poll which begins with a three-way tie for tenth

10= La Dolce Vita (Fellini, 1960)

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