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Thursday, Feb 26, 2015
Sometimes, the Academy Awards a consolation prize of sorts for getting it wrong in a previous year. Here are 10 examples of this phenomenon.

When she took the stage last Sunday evening to pick up her first ever Oscar trophy, Julianne Moore was beaming. It was a face that felt the entirety of the event, matched with a meaning for those who’ve followed her career since she was a Frannie and Sabrina Hughes on the CBS soap opera As the World Turns. After five nominations and several more defining roles, Moore had finally earned the highest honor in her craft. Everyone was happy. Most wondered why it took so damn long.


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Wednesday, Feb 25, 2015
This quietly kinky and off-the-wall horror flick is one of the late, great Boris Karloff's last times in front of a camera.

“Aren’t you overdoing the local color bit?” asks a pretty woman of the French reporter as he poses a mute housekeeper in picturesque Spanish peasant garb before a log on the beach. The answer is “yes”, but you work with what you’ve got, and this American-Spanish co-production had four things to its credit.


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Tuesday, Feb 24, 2015
From luxurious estates (The Long Hair of Death) to mental asylums (Slaughter Hotel), these two Italian scare flicks depict women fighting against institutional power and sexism.

RaroVideo has released excellent discs of two very different types of Italian horror: the ‘60s black and white period gothic melodrama of The Long Hair of Death and the gaudy, contemporary ‘70s giallo Slaughter Hotel. Both are excellent examples of their types, and they’re united by a vision of how women are victimized by men in powerful institutions—royalty, the church, the medical establishment. The former is explicitly about the rage and revenge of women against these power systems.


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Monday, Feb 23, 2015
Oscars 2015 reminded everyone that while there's room for massive improvement, the AMPAS is at least capable of some self-reflection and response to criticism.

So American Sniper didn’t sneak into the Winner’s circle for either Best Picture and/or Best Actor. Boyhood, ballyhooed by almost everyone who saw it at Sundance last year as “the film to beat”, had to settle for a single Academy Award (for Best Supporting Actress Patricia Arquette).


Host Neil Patrick Harris neither saved nor sunk the annual combination of critical reevaluation and industry backslapping, and while at least one long standing wrong was righted (we can now call Julianne Moore “Academy Award Winner…”), Richard Linklater et. al. must feel like the rest of Selma right now (which picked up a trophy for Best Song).


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Monday, Feb 23, 2015
by Steve Leftridge and Steve Pick
Double Take wraps its mind around Charlie Kaufman's fractured tale of love, loss, memory, and hair dye. Does this film have the whole human race pegged?

The knowledge that at least one of the partners in a relationship will be guaranteed to lose the other eventually, by death or otherwise, makes love such a potent force. Kaufman’s brilliance is in finding such an entertaining way to make such a powerful point.


Steve Pick: Here we are with our first entry for a film from this century, Eternal Sunshine of the Spotless Mind. I remember seeing this in the theater back in 2004, excited because it was a new work from the crazy-quilt brain of Charlie Kaufman, who had already given us the brilliant Being John Malkovich and the very good Adaptation and Confessions of a Dangerous Mind. I remember leaving the theater all warm and fuzzy, with the sense that true love triumphed and those crazy kids played by Jim Carrey and Kate Winslet would be just fine together at last. But, upon watching it for the first time in over ten years, I realize that some of my memories had been wiped out, since this is a much darker and more complex investigation into the nature of love than I had thought.


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