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by Bill Gibron

8 Dec 2011


Gwyneth Paltrow has one. So does Natalie Portman. Marlee Matlin, Halle Berry, and Reese Witherspoon are all walking around with the accolade attached to their brand. Heck, even Helen Hunt can claim her place in the pantheon of Oscar winning actresses (Really? REALLY???). In fact, over the last two decades, it seems that publicity and warped media sentiment have skewed the awarding of Academy gold more so than actual talent. It’s as if the PR companies and the various critics groups get together, whittle down the list of potential candidates to a “who hasn’t got one yet?” collection of names, and then begins the process of setting the Year-End agenda. Perhaps that explains why Hillary Swank has two statues while Gena Rowlands has none.

As we did last week, List This will once again pinpoint ten specific instances where the voting members of the movie business got it wrong - or failed to recognize a worthy role all together. Again, we will present them in alphabetical order, along with the film we feel makes our case. In certain instances, an actress may have already been nominated for said effort, but ended up losing for reasons that routinely boggle the mind. While not at all inclusive, it is clear that, in most cases, the tide or time was simply not in their favor. In other situations, however, there is no explanation for their exclusion (or possible exclusion).

by Bill Gibron

30 Nov 2011


As November grinds to a halt, as December announces the arrival of the end of each particular year, film critics and fans of the medium start contemplating awards—bests and worsts, the deserving and the soon to be discarded. It’s a ritual as traditional as pumpkin pie, fantasy football, the tannenbaum, and of course, the complementary complaining about movies and makers still MIA. Sit in on any cinematic sewing circle and just listen to the laundry list of complaints—director’s wrongfully snubbed, films erroneously praised—and you come to a clear conclusion: even within groups where consensus seems to strive for balance, the good aren’t always given their due and the dreadful often walk away with gold.

Sometimes, however, the failures are more than egregious. They stare you squarely in the face and announce their lack of careful consideration. Roberto Benigni may have wowed the unfamiliar with his farcical take on the Holocaust, but in retrospect, Life Is Beautiful didn’t deserve any of the accolades it received. In fact, similar statements can be made about titles as diverse as West Side Story or The Return of the King. With that in mind, the next four installments of List This will try and highlight ten of the many slights experienced by actors, actresses, directors, and their movies. While there are many, many more, the one’s selected represent a real lack of vision on the part of voters and those who support such annual appraisals. Beginning with the men, we offer the following:

by Bill Gibron

25 Nov 2011


Film goes through phases. Sometime, digital animation rules. Then we get a heaping helping of gross out comedies. A gimmick like 3D can come along and set the standard for a while only to make way for something even more stunt-like. The cyclical nature of cinema can be sparked by the times (the post-modern movement of the ‘70s) or the arrival of a game changing concept (the sci-fi blockbuster bonanza post-Star Wars). In Italy, at the end of the ‘50s, filmmakers were looking for a way out of the gloomy authenticity of neo-realism. They wanted more entertainment value and less social commentary. Enter the peplum, the sword and sandal epics that saw stars like Steve Reeves reinvent their image as mighty gladiatorial warriors.

With the success of the genre came an entire new realm of action and adventure. Filmmakers around the world embraced the concept and then decided to expand its elements. They found new and often exciting ways to reinvent it for their own needs, looking to both the distant past and the far off future. Thus, we had variations such as the historical period piece, the barely costumed cautionary tale, and of course, the sci-fi influenced sword and sorcery take. Over the last four decades there have been dozens of attempts to take the material out of its comic book/pulp fiction orientation and turn it into something magical. For the most part, they are often considered nothing more than bumbling b-movies.

by Bill Gibron

22 Nov 2011


We’re almost done. For critics and film people worldwide, the prickly PR push toward a general Best of consensus is well underway. Mailboxes are overflowing with “For Your Consideration” calls, screeners piling up like publicity messages in many email accounts. With several press circles preparing to announce who they believe deserves recognition for their work in 2011, minds throughout the media are trying to get a grip on what made their job so enjoyable over the last 11 months. Sure, the surge of last minute invitations and interview opportunities may change a few minds, but for the most part, those empowered to provide such perspective have been thinking on these things for weeks now.

For us, the final call is never made until all the suspects are in. However, we can recognize some reasons to be thankful this holiday season. Readers often forget that for every great experience in a darkened theater (or with a watermarked check disc), there are literally dozens of depressing dives into mediocrity. So when something good comes along, it’s not only worth celebrating but repeating ad nauseum. Sure, some of the titles mentioned below have been the subject of blog fever pitching since they first arrived on the scene. Still, when faced with an onrush of micromanaged junk, it’s hard not to go back and give props one more time.

by Bill Gibron

18 Nov 2011


As critic proof as the product from Pixar or the latest in a long line of unnecessary Underworld/Resident Evil/ Saw sequels, Twilight is getting ready to spin its final endgame in the two-part trial known as Breaking Dawn. Why a film focusing on the marriage of vampire Edward and his mope-about gal pal Bella and their eventual offspring requires four hours to tell its tale will always remains a Harry Potter inspired mystery (Deathly Hallows was a massive finale, book wise). What’s even more shocking, however, are the ridiculous lengths that author Stephanie Meyers will go to maintain her disaster-piece’s market share. Having already taken the slight premise of her initial novel and blown it up to all manner of illogical proportions, Breaking Dawn drives the over the top elements into the stratosphere, creating a conclusion that’s so clueless it’s like a teenager taking an Algebra II exam.

While there are dozens of dopey decision made throughout the course of this nutty narrative, at least ten stick out as more misguided than usual. Perhaps they tread all over established cliches only to embrace the truisms later on, or spend their weak-willed ingenuity like so much birthday money before going bankrupt. Whatever the case, we have chosen to preview this piecemeal entertainment by highlighting this collection of laughable logistics. While one assumes a bit of stupidity when it comes to Twilight - scratch that, a LOT of stupidity - the concepts here are more than pathetic. Instead, they show how thin an already wafer-like franchise can be expanded in order to earn more of that sweet, sweet international box office sugar, beginning with some beefcake for the shameful soccer moms in the audience:

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