Oscars Fortnight: Mrs. Miniver

Mrs. Miniver (1942)

15th Academy Awards (1943)
Nominations:
12
Wins: 6

I’m writing about Mrs. Miniver today because this Sunday Adrien Brody broke Greer Garson’s Guinness World Record for longest Oscars acceptance speech, which had stood for more than 80 years. How’s that for a state of affairs for the Academy Awards? Here’s the thing… as much shit as Hollywood gets, I’m rooting for it. I think that, more than most of the world, Hollywood has genuinely tried to be a better, more inclusive place year over year, even if that effort is most often merely superficial. Hey, you know, with so many people decrying the increasingly vague term “woke,” I’m inclined at this point to give props for anyone seeming to sincerely try to be better. More than that, I know that the real people who make movies, the vast majority of these people, are hardworking, passionate dreamers and that’s cool as hell. And yet, every year more and more people seem to care less and less about cinema in general and this ceremony in particular.

As the veil gets pulled back further and also farther, it’s become impossible to deny that the Academy Awards (and all of awards season) is a sport. A game played by some of the worst people in the world who spend ungodly amounts of money in the hopes of earning… clout, I guess? These days, the movies that get Oscars are the movies that are made by studios who hired awards consultant firms when they greenlit the picture. These awards, like so much of our reality now, are defined by billionaires trying to fill holes in their hearts. Oscar prestige, if there ever really was such a thing, is almost totally meaningless in 2025. It’s not really the case anymore that an Oscar will change career trajectories or shine a light on a diamond in the rough. Best case scenario, an Oscar is a trophy that says you played the game best. More often than not, it’s just a piece of bar trivia.

Does it have to be this way? Was it always this way? And what the hell does this have to do with Mrs. Miniver?

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Oscars Fortnight: Elmer Gantry

Elmer Gantry (1960)

The 33rd Academy Awards (1961)
Nominations:
5
Wins: 3

Three years ago, I watched Burt Lancaster in the 1968 film The Swimmer and was blown away. There’s something about Burt’s raw physicality and charisma, but also his vulnerability, that captivated me in that performance. His character, Ned Merrill, is this charming, handsome, confident guy, but as we delve deeper, we discover he’s actually a scared, depressed, and much darker figure than we were led to believe.

The character of Elmer Gantry is similar in that he projects confidence and thoughtfulness, but the real Elmer is conniving and self-centered. It’s a façade that we see through right from the beginning, as do many of the characters in the film, yet people can’t seem to look away. He creates a “cult of personality,” which makes watching this film in 2025 eerily relatable.

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Oscars Fortnight: Auntie Mame

Auntie Mame (1958)

The 31st Academy Awards (1959)
Nominations:
6
Wins: 0

Welcome once again to Oscar Fortnight, the time each year where we take two weeks to look back on past films that have achieved Oscar glory, or in the case of my first film, was happy just to be nominated. This year, we’re doing things a bit differently, since a certain recent bachelor party derailed our plans of posting a review each day leading up to Hollywood’s Biggest Night. So instead we’re doing these reviews preceding the Oscars ceremony last night in what we’ve referred to as our March of The Ten Wins (Sean’s idea, not mine). Considering Anora‘s big wins last night, it feels appropriate to start things off with another film showing that every once in a while the Academy will give a little love to a kooky comedy. Continue reading

Fe-Burt-uary: The End

The End (1978)

Before Fe-Burt-uary, I had been dismissive of Burt Reynolds’ film career. I even went so far on a recent podcast as to unfavorably compare Burt to Dwayne Johnson, as two actors who care more about their celebrity than being artists. I was wrong. As a Millennial, the only Burt performances I was familiar with for most of my life were Deliverance, which is celebrated more as an ensemble piece than a Burt vehicle, and Boogie Nights, where Burt is great, but his performance is overshadowed by being another notch in film auteur Paul Thomas Anderson’s belt.

This month, I’ve learned that Burt did care about being an artist. He was never one to turn down a big paycheck for a dumb action flick, but he was also interested in telling good stories and broadening himself as a performer. Just this month, I’ve learned about Burt the action star, Burt the comedian, Burt the dramatist, and now, Burt the director. Where do we start? What better place than with The End?

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Most Anticipated Movies of 2025

We’re already a month and a half into 2025, but with the release of the year’s first blockbuster this weekend (Captain America: Brave New World), the year in movies is just getting started. As is tradition, we once again get together to talk about the movies we’re looking forward to the most in the coming year, as well as the movies we’re either dreading or will just plan on skipping entirely. In a year where it’ll be hard to find much to look forward to, hopefully there at least will be some bright spots at the cinema if some of these films manage to live up to our eager expectations. Continue reading

Fe-Burt-uary: Starting Over

Starting Over (1979)

It’s a special week for Fe-Burt-uary! Not only is it Valentine’s Day, but this week also marks what would have been Burt Reynolds’ 89th birthday—his birthday was February 11th. Sadly, Burt passed away from a heart attack in 2018, leaving behind a rich legacy of 20ish box-office hits, a successful sitcom Evening Shade (CBS, 1990–1994), seven Golden Globe nominations and two wins, two Emmy nominations, and a single Oscar nomination. After watching Starting Over, I would argue that it should have been two Oscar nominations.

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