Tag Archives: Oscars

Cinema Eclectica 191 – Deep Purple’s Oscar Beef

Burnt-out, scrappy-haired and squinting through an agonising hangover – but that’s enough about Graham and Aidan as they’ve got to discuss Nicole Kidman’s transformative turn in Karyn Kusama’s grittier-than-thou cop thriller “Destroyer”. Does it pack the same tooth-loosening impact as the butt of Kidman’s gun?

Keyframe 130 – Those Goofy Cave People

On this episode of Keyframe, Tucky and Producer Rob attempt to unpick the Academy’s “For Your Consideration” list of animated feature films that are in the running to receive a nomination for an Oscar. Join them as they get wax cynical about the awards, lament

Separate Tables

One of the main extras on the BFI’s new dual format reissue of Separate Tables is an archive commentary by director Delbert Mann, who died in 2007. Mann is still probably best known for his Oscar-winning 1955 debut Marty, but he’d worked extensively in television

A Ciambra

A spectre is haunting cinema— the spectre of Italian neorealism. Spectral, because despite the critical and cultural ripples made by films like The Florida Project, American Honey, and Valeska Grisebach’s Western, these non-professional actors, semi-real situations and hitherto unexplored settings tend to be forgotten by

The Awful Truth

It is almost inconceivable today that Academy voters would award an Oscar to the director of a light, farcical comedy. But in 1938, not only did Leo McCarey’s The Awful Truth get the trophy, it won at the expense of that year’s other McCarey effort,

Alice Doesn’t Live Here Anymore

Ellen Burstyn was riding high off the back of The Exorcist and looking for a prospective project to make with Warner Brothers when Robert Getchell’s script for what was to become Alice Doesn’t Live Here Anymore fell into her lap. It was the early 1970s

The Last Command

By the time Josef von Sternberg made The Last Command in 1928, his lead actor had become such an institution in Germany that an entire genre was named after him. The Jannings-Film was used to describe any movie where Emil Jannings, the bearish icon of

Editorial: Oscar Bait

Here we are, right in the middle of the so-called Oscar season, but rather than simply damning the perennial practice of saving the “good” stuff for the end of the year (Editor: or the new year in the UK),  I think it would be wiser