Camellias – In Birdman, Riggan (Michael Keaton) asks for camellias for his dressing room and wants anything except roses; his daughter later brings him lilacs. (We could have also gone with the theater critic’s martinis or the sliced lunch meat in Riggan’s dressing room.)
Beverages
Pub pints of beer – Frequently consumed in pub scenes in The Imitation Game and The Theory of Everything.
Starter
Pizza – from Andrew and Nicole’s pizza date in Whiplash.
Hummus – Chris Kyle and his buddies share a family meal at the Iraqi home of the guy hiding a cache of arms in American Sniper. (With so many excellent recent movies set in the Middle East, we’ve had Hummus before along with Kabob Koubideh, Khoresh Ghormeh and Fatayer bi Sabanekh.)
Graduation party appetizers – from Boyhood , a movie with MANY unforgettable scenes (lots of family dining, snacks and the diner scene), but with pretty unmemorable food choices. We thought that tortilla chips with a five layer bean and guacamole dip would fit with this Texas graduation party.
Main Course
Fried chicken and fixins – requested by the appreciative Southern Christian Leadership Conference team upon their arrival at their hostess’ home in Selma.
Dessert
Courtesan au chocolate – the elaborate filled pastry smuggled to Gustave (Ray Fiennes) in The Grand Budapest Hotel.
On my Oscar Dinner page, you can see past menus and some photos of past Oscar Dinners, including the famous Severed Hand Ice Sculpture for 127 Hours and Winter’s Bone.
Every year, we watch the Oscars while enjoying a meal inspired by the Best Picture nominees. For example, we had sushi for Lost in Translation and cowboy campfire beans for Brokeback Mountain – you get the idea.
On my Oscar Dinner page, you can see past menus and some photos. In 2009, Frost/Nixon and Milk were stumping me until I realized that they were all set in the 1970s. So we had celery sticks stuffed with pimento spread, pigs in a blanket and Tequila Sunrises. And we’ll never top the Severed Hand Ice Sculpture for 127 Hours and Winter’s Bone (above).
Anyway, here’s our menu for 2015:
Table decorations
Lilacs – In Birdman, Riggan asks for camellias for his dressing room and wants anything except roses; his daughter later brings him lilacs. (We could have also gone with the theater critic’s martinis or the sliced lunch meat in Riggan’s dressing room.)
Beverages
Pub pints of beer – Frequently consumed in pub scenes in The Imitation Game and The Theory of Everything. (I drink Ballast Point Sculpin, but we’re going to pretend that it’s Newcastle.)
Starter
Pizza – from the pizza date in Whiplash.
Hummus – Chris Kyle and his buddies share a family meal at the Iraqi home of the guy hiding a cache of arms in American Sniper. (With so many excellent recent movies set in the Middle East, we’ve had Hummus before along with Kabob Koubideh, Khoresh Ghormeh and Fatayer bi Sabanekh.)
Graduation party appetizers – from Boyhood , a movie with MANY unforgettable scenes (lots of family dining, snacks and the diner scene), but with pretty unmemorable food choices.
Main Course
Fried chicken and fixins – requested by the appreciative Southern Christian Leadership Conference team upon their arrival at their hostess’ home in Selma.
Dessert
Courtesan au chocolate – the elaborate filled pastry smuggled to the Ray Fiennes character in The Grand Budapest Hotel.
Eller Coltrane, Ethan Hawke and Lorelei Linklater in BOYHOOD
It’s time for the Oscars, so you really should watch the year’s best film (and Oscar favorite) Boyhood if you haven’t seen it yet. It’s available on DVD from Netflix and streaming from Amazon Instant, iTunes, Vudu, YouTube, Google Play and Xbox Video. Otherwise:
Clint Eastwood’s thoughtful and compelling American Sniper, with harrowing action and a career-best performance from Bradley Cooper.
The inspiring Selma, well-crafted and gripping throughout (but with an unfortunate historical depiction of LBJ).
The Belgian drama Two Days, One Night with Marion Cotillard, which explores the limits of emotional endurance.
The cinematically important and very funny Birdman. You can still find Birdman, but you may have to look around a bit. It has justifiably garnered several Oscar nominations, including for Best Picture.
Reese Witherspoon is superb in the Fight Your Demons drama Wild, and Laura Dern may be even better.
Julianne Moore’s superb performance is the only reason to see Still Alice;
The Imitation Game – the riveting true story about the guy who invented the computer and defeated the Nazis and was then hounded for his homosexuality.
I was underwhelmed by the brooding drama A Most Violent Year – well-acted and a superb sense of time and place (NYC in 1981) but not gripping enough to thrill.
My DVD/Stream of the Week is the droll Swedish dramedy Force Majeure, Sweden’s submission for the Best Foreign Language Oscar. It is available on DVD from Netflix and streaming from Amazon, iTunes, Vudu and Xbox Video.
It’s time for Turner Classic Movies’ annual 31 Days of Oscar – a glorious month of Oscar-nominated and Oscar-winning films on TCM. This week, I am highlighting:
The Producers (February 21): This zany 1967 Mel Brooks madcap classic is probably my nominee for Funniest Movie of All Time. (Much better than the 2005 remake.) Deliverance(February 21): Our of my all-time favorites – still gripping today – with a famous scene that still shocks. Jon Voigt, Burt Reynolds, Ned Beatty and Ronny Cox form an impressive ensemble cast. Seven Days in May (February 26): A GREAT political thriller The Emigrants(February 27): This Swedish film remains the best depiction of pioneer settlers in the American West.
In the droll Swedish dramedy Force Majeure, a smugly affluent family of four vacations at an upscale ski resort in the French Alps. The wife explains to a friend that they take the vacation because otherwise the husband never sees the family. But, while the wife is blissed out, the kids fidget and complain, and the hubby sneaks peeks at his phone.
Then there’s a sudden moment of apparent life-and-death peril; the husband has a chance to protect the wife and kids, but instead – after first securing his iPhone – runs for his life. How do they all go on from that revealing moment? The extent that one incident can bring relationships into focus is the core of Force Majeure.
Clearly, the family has a serious issue to resolve, but there’s plenty of dry humor. In the most cringe worthy moments, the wife tries to contain her disgust, but can’t keep it bottled up when she’s in the most social situations. The couple repeatedly huddle outside their room in their underwear to talk things out, only to find themselves observed by the same impassive French hotel worker. The most tense moments are interrupted by an insistent cell phone vibration, another guest’s birthday party and a child’s remotely out-of-control flying toy.
Force Majeure is exceptionally well-written by writer-director Ruben Ostlund. It’s just his fourth feature and the first widely seen outside Scandinavia. He transitions between scenes by showing the machinery of the ski resort accompanied by Baroque organ music – a singular and very effective directorial choice.
Force Majeure was Sweden’s submission for the Best Foreign Language Oscar. It is available on DVD from Netflix and streaming from Amazon, iTunes, Vudu and Xbox Video.
[I’ve included the trailer as always, but I recommend that you see the movie WITHOUT watching this trailer – mild spoilers]
My recommendation this week – don’t go see Fifty Shades of Grey; instead see a good movie and then have real sex.
Clint Eastwood’s thoughtful and compelling American Sniper, with harrowing action and a career-best performance from Bradley Cooper.
The inspiring Selma, well-crafted and gripping throughout (but with an unfortunate historical depiction of LBJ).
The Belgian drama Two Days, One Night with Marion Cotillard, which explores the limits of emotional endurance.
The cinematically important and very funny Birdman. You can still find Birdman, but you may have to look around a bit. It has justifiably garnered several Oscar nominations, including for Best Picture.
Reese Witherspoon is superb in the Fight Your Demons drama Wild, and Laura Dern may be even better.
Julianne Moore’s superb performance is the only reason to see Still Alice;
The Imitation Game – the riveting true story about the guy who invented the computer and defeated the Nazis and was then hounded for his homosexuality.
I was underwhelmed by the brooding drama A Most Violent Year – well-acted and a superb sense of time and place (NYC in 1981) but not gripping enough to thrill.
My DVD/Stream of the week is the period thriller The Two Faces of January, available on DVD from Netflix and streaming on Amazon, iTunes, Vudu, YouTube, Google Play and Xbox Video.
We’re enjoying Turner Classic Movies’ annual 31 Days of Oscar – a glorious month of Oscar-nominated and Oscar-winning films on TCM. This week, I am highlighting:
I Want to Live!(February 15): Susan Hayward’s performance as a good hearted but very unlucky floozy won her an Oscar. It’s about a party girl who takes up with a couple of lowlifes. The lowlifes commit a murder and pin it on her. There is a great jazz soundtrack and a dramatic walk to The Chair.
Inherit the Wind (February 19): Watch Spencer Tracy and Frederic March recreate the Scopes Monkey Trial in this character-driven courtroom drama.
Caged (February 20): Want to see the prototype for Orange Is the New Black? Eleanor Parker (who died last year) played the naive young woman plunged into a harsh women’s prison filled with hard-bitten fellow prisoners and compassion-free guards. Parker was nominated for an acting Oscar, but her performance pales next to that of Hope Emerson, whose electric portrayal of a hulking guard also got an Oscar nod. Caged also features the fine character actresses Thelma Moorhead, Jane Darwell (Ma Joad in The Grapes of Wrath) and Ellen Corby (Grandma Walton here as a young woman). Sixty-four years later, Caged might still be the best women’s prison movie ever. Here’s my post on Caged for the 31 Days of Oscar blogathon.
Easter always triggers television networks to pull out their Biblical epics. If you’re going to watch just one Sword-and-Sandal classic, I recommend going full tilt with Barrabas, broadcast by Turner Classic Movies on April 16. This 1961 cornball stars Anthony Quinn as the Zelig-like title character. The story begins with the thief Barabbas avoiding crucifixion when Pontius Pilate swaps him out for Jesus (this part is actually in the Bible). Because the Crucifixion isn’t enough action for a two hour 17 minute movie, Barabbas is soon sent off as a slave to the salt mines, where he is rescued by a miraculously timely earthquake. He then joins the Roman gladiators, complete with a javelin-firing squad, gets lost in the catacombs and emerges to the Burning of Rome. He has encounters with the Emperor Nero and the Apostle Peter before he converts to Christianity – just in time for the mass crucifixion. Watch for an uncredited Sharon Tate as a patrician in the arena.
The successful period thriller The Two Faces of January, set in gloriously bright Greek tourist destinations, may not have the shadowy look of a traditional film noir, but its story is fundamentally noirish. Viggo Mortenson and Kirsten Dunst play an affluent couple vacationing in Athens in the early 1960s. They meet a handsome young American expat (Oscar Isaacs from Inside Llewyn Davis) knocking around Greece. The husband quickly and accurately sizes up the younger man as a con man – “I wouldn’t trust him to mow my lawn”. The central noir element is that NO ONE is as innocent as they seem, and the three become interlocked in a situation that becomes increasingly desperate for all three, culminating in a thrilling manhunt.
It’s the first feature directed by Hossein Amini, who adapted the screenplay for the markedly intense Drive, and he does a fine job here with a film that becomes more and more tense each time more information about the characters is revealed.
The Two Faces of January is available on DVD from Netflix and streaming on Amazon, iTunes, Vudu, YouTube, Google Play and Xbox Video.
Julianne Moore will win this year’s Best Actress Oscar for her portrayal of a professor faced with the early onset of Alzheimer’s in the otherwise pedestrian disease drama Still Alice. Moore’s character is a brainiac who is by nature a hyper-achiever, so the disease strips away both her memories and the identity that she has striven to mold for herself. Of course, once she receives the diagnosis, she harnesses both her brainpower and drive to prepare herself and her family for the eventualities. It’s a breathtakingly brilliant performance, with never a false note, as we see the professor slipping from the occasional memory lapse to the ravages of dementia.
The movie’s strongest scenes are those when she is floundering with the as yet undiagnosed affliction and when she tells her family about her diagnosis, with a particularly wrenching implication for her kids. Disease movies present a challenge for any filmmaker – how can the grimness of an irreversible and progressive illness be leavened by moments of redemption and humor so it’s not too painful to watch? And here, Still Alice falls short – the redemptive moments, most particularly a corny speech before Alzheimer’s advocates, just seem phony and manipulative. And the story walks right up to the edge of a better ending and then steps away.
The supporting cast, including Kristen Stewart, are all okay (although Alec Baldwin seems a bit checked out). All in all, there’s not much else here. But Julianne Moore might be enough.
David Oyelowo as Martin Luther King Jr. (center back) in SELMA
The best films in theaters right now are no secret – most are Oscar-nominated:
Clint Eastwood’s thoughtful and compelling American Sniper, with harrowing action and a career-best performance from Bradley Cooper.
The inspiring Selma, well-crafted and gripping throughout (but with an unfortunate historical depiction of LBJ).
The Belgian drama Two Days, One Night with Marion Cotillard, which explores the limits of emotional endurance.
The cinematically important and very funny Birdman. You can still find Birdman, but you may have to look around a bit. It has justifiably garnered several Oscar nominations, including for Best Picture.
Reese Witherspoon is superb in the Fight Your Demons drama Wild, and Laura Dern may be even better.
The Imitation Game – the riveting true story about the guy who invented the computer and defeated the Nazis and was then hounded for his homosexuality.
I was underwhelmed by the brooding drama A Most Violent Year – well-acted and a superb sense of time and place (NYC in 1981) but not gripping enough to thrill.
My DVD/Stream of the week is last year’s best Hollywood movie, the psychological thriller Gone Girl, with a star-making performance by Rosamund Pike. It’s now available on DVD from Netflix and streaming on Amazon Instant, iTunes, Vudu, YouTube, Google Play, Xbox Video and Flixster.
It’s time for Turner Classic Movies’ annual 31 Days of Oscar – a glorious month of Oscar-nominated and Oscar-winning films on TCM. This week, I am highlighting:
The Great Dictator (February 7): Charlie Chaplin’s hilarious and devastating takedown of a thinly disguised Adolph Hitler – almost two years before the US entered WW II.
Laura (February 9): perhaps my favorite thriller from the noir era, with an unforgettable performance by Clifton Webb as a megalomaniac with one vulnerability – the dazzling beauty of Gene Tierney. The musical theme is unforgettable, too.
All the King’s Men (February 11): one of the best political movies of all time, from the novel based on the saga of Huey Long . Watch for the brilliant, Oscar-winning supporting performance by Mercedes McCambridge.
The Bad Seed (February 13): very bad things are happening – the chill comes from the revelation that the murderous fiend is a child with blonde pigtails.
In the marvelously entertaining Gone Girl, Ben Affleck plays Nick, a good-looking lug who can turn a phrase. At a party one night, he’s on his A game, and he snags the beautiful Amy (Rosamund Pike). She’s smarter, a good rung on the ladder more attractive than he is, has parents with some money and is a second-hand celebrity to boot. Not particularly gifted and certainly not a striver, he knows he’s the Lucky One. He has married above himself, but he doesn’t have a clue HOW MUCH above until she suddenly disappears.
Based on the enormously popular novel by Gillian Flynn (who also wrote the screenplay), Gone Girl is the mystery of what has happened to Amy and what is Nick’s role in the disappearance. Plot twists abound, but you won’t get any spoilers from The Movie Gourmet.
This is Rosamund Pike’s movie. Her appearance is so elegant – she looks like a crystal champagne flute with blonde hair – that pulling her out of Victorian period romances into this thriller is inspired. And Pike responds with the performance of her career. She’s just brilliant as she makes us realize that there’s something behind her eyes that we hadn’t anticipated, and then keeps us watching what she is thinking throughout the story.
Gone Girl is directed by the contemporary master David Fincher (Fight Club, Se7en, Zodiac,The Social Network, The Girl with the Dragon Tattoo). Here, Fincher has successfully chosen to rely on Flynn’s page turner of a story and the compelling characters, so Gone Girl is the least flashy of his films, but one of the most accessible. I’ll say this for Fincher – I can’t remember a more perfectly cast movie.
Kim Dickens (Treme, Deadwood) is superb as the investigating detective – this time almost unrecognizable as a brunette. Tyler Perry is wonderfully fun as a crafty celebrity attorney. The unheralded Carrie Coon is excellent as Nick’s twin sister (I want to see more of her in the movies). Missi Pyle does such a good job as a despicable cable TV personality that I thought I was actually watching a despicable cable TV personality. And David Clennon and (especially) Lisa Banes positively gleam as Amy’s parents. (Carefully observe every behavior by the parents in this movie.)
Just like the thug in The Guard who forget whether he had been diagnosed in prison as a sociopath or a psychopath, I had the ask The Wife, who turned me on to this passage from Psychology Today. It’s useful to read this because, although you don’t realize it for forty-five minutes or so, Gone Girl is also a study of psychopathy.
Psychopaths … are unable to form emotional attachments or feel real empathy with others, although they often have disarming or even charming personalities. Psychopaths are very manipulative and can easily gain people’s trust. They learn to mimic emotions, despite their inability to actually feel them, and will appear normal to unsuspecting people. Psychopaths are often well educated and hold steady jobs. Some are so good at manipulation and mimicry that they have families and other long-term relationships without those around them ever suspecting their true nature.
When committing crimes, psychopaths carefully plan out every detail in advance and often have contingency plans in place. Unlike their sociopathic counterparts, psychopathic criminals are cool, calm, and meticulous. Their crimes, whether violent or non-violent, will be highly organized and generally offer few clues for authorities to pursue. Intelligent psychopaths make excellent white-collar criminals and “con artists” due to their calm and charismatic natures.
Gillian Flynn changed the story’s ending for the movie. The Wife, who is a big fan of the novel, didn’t mind. Gone Girl is recommended for both those who have and have not read the book. I understand that there’s more humor in the movie, as we occasionally laugh at the extremity of the behavior of one of the characters.
It all adds up into a remarkably fun movie and one that I was still mulling it over days later. Gone Girl was the best big Hollywood studio movie of 2014 (not counting releases from the prestige distribution arms of the major studios). It’s now available on DVD from Netflix and streaming on Amazon Instant, iTunes, Vudu, YouTube, Google Play, Xbox Video and Flixster.
Want to see the prototype for Orange Is the New Black? In the 1950 Caged, Eleanor Parker (who died last year) played the naive young woman plunged into a harsh women’s prison filled with hard-bitten fellow prisoners and compassion-free guards. Parker was nominated for an acting Oscar, but her performance pales next to that of Hope Emerson, whose electric portrayal of a hulking guard also got an Oscar nod.
Caged is a Message Picture, editorializing that the prison experience unnecessarily molds inmates into criminals. Although its trailer (available on IMDb), with its breathlessly sensationalistic narration, makes the film appear overwrought, Caged is edgy enough to have currency with modern sensibilities. Parker’s newbie is NOT innocent and wrongly convicted – as the movie opens, she’s one of the crew in a bank heist. She experiences hellish brutalization behind bars. There’s also behind-the-bars pregnancy, inmate suicide and implied lesbianism. The ending, when the protagonist is finally released and can choose between going straight or going bad, is filled with the cynicism and despair of film noir.
Eleanor Parker hit every note on her character’s slide from the Good Kid who made a dumb mistake all the way down to a Hard Case seasoned with hopelessness. (In a stunningly competitive year, she lost the Oscar to Judy Holliday for Born Yesterday, along with Gloria Swanson for Sunset Boulevard, and both Bette Davis and Anne Baxter for All About Eve.)
But this is Hope Emerson’s movie. Emerson draws the audience’s attention every moment that she’s on-screen. Her prison matron is not just harsh but sadistic. Emerson was able to radiate meanness with every glance, and took full advantage of her dominating physicality. It’s a performance that still works today.
This was the apex of Emerson’s career. She stood a big-boned 6″2″, and then as now, Hollywood didn’t have many parts for an actress with her appearance. She started on Broadway in her early 30s (as an Amazon in Lysistrata), was successful in radio voice-over work and managed 43 screen credits. She was 53 years old when she made Caged.
Caged also features the fine character actresses Agnes Moorehead, Jane Darwell (Ma Joad in The Grapes of Wrath) and Ellen Corby (Grandma Walton here as a young woman).
Sixty-five years later, Caged might still be the best women’s prison movie ever. TCM is featuring Caged on February 20 during its 31 Days of Oscar. It’s also available on DVD from Netflix and streaming on iTunes, Vudu, YouTube, Xbox Video and Flixster.
