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Ishtar
(May, 1987)
The Seven-Per-Cent Solution (OOP)
(Ross, 1976)
The Devils
(Russell, 1974)
The Pirates of Penzance
(Papp/Leach, 1983)
The Fortune
(Nichols, 1975)
-30-
(Webb, 1959)
Betrayal
(Jones, 1983)
Play It As It Lays
(Perry, 1972)
The Outfit
(Flynn, 1973)
Alex in Wonderland
(Mazursky, 1969)
The Legend of Lylah Clare
(Aldrich, 1968)
In The Cool of the Day
(Stevens, 1963)
That Cold Day in the Park
(Altman, 1969)
Thumb Trippin'
(Masters, 1972)
Midas Run
(Kjellin, 1969)
At Long Last Love
(Bogdanovich, 1973)
Brewster McCloud
(Altman, 1972)
Outcast of the Islands
(Reed, 1951)

Reader Submissions
1930's-1950's
The Moon's Our Home
(Seiter, 1936)
Sh! The Octopus
(McGann, 1937)
The Mating Season
(Leisen, 1951)
Bad for Each Other
(Rapper, 1953)
The Phenix City Story
(Karlson, 1955)
Run of the Arrow
(Fuller, 1956)
House of Secrets
(Green, 1956)
Saint Joan
(Preminger, 1957)
Macabre
(Castle, 1958)
The Fiend Who Walked the West
(G. Douglas, 1958
Five Gates to Hell
(Clavell, 1959)
1960's
Key Witness
(Karlson, 1960)
Summer and Smoke
(Glenville, 1961)
The Chapman Report
(Cukor,1962)
Bachelor Flat
(Tashlin, 1962) [on Hulu]
The L Shaped Room
(Forbes, 1963)
The Chalk Garden
(Neame, 1964)
A Thousand Clowns
(Coe, 1965)
You're a Big Boy Now
(Coppola, 1966)
The Whisperers
(Forbes, 1967)
Dark of the Sun
(Cardiff, 1968)
Skidoo
(Preminger, 1968)
Last Summer
(Perry, 1969)
The Comic
(C. Reiner, 1969)
1970-1974
The Revolutionary
(Williams, 1970)
The Landlord
(Ashby, 1970)
Diary of a Mad Housewife
(Perry, 1970)
Tropic of Cancer
(Strick, 1970)
I Never Sang for My Father
(Cates, 1970)
Sometimes a Great Notion
(Newman, 1971)
Marriage of a Young Stockbroker
(Turman, 1971)
The Music Lovers
(Russell, 1971)
Drive, He Said
(Nicholson, 1971)
The Steagle
(Sylbert, 1971)
The Last Movie
(Hopper, 1971)
Made For Each Other
(Bean, 1971)
The Day the Clown Cried
(Lewis, 1972)
Hickey & Boggs (OOP)
(Culp, 1972)
The Carey Treatment
(Edwards, 1972)
Pete 'n' Tillie
(Ritt, 1972)
Slither
(Zieff, 1973)
Man on a Swing
(Perry, 1974)
Open Season
(Collinson, 1974)
The Tamarind Seed
(Edwards, 1974)
Law and Disorder
(Passer, 1974)
Homebodies
(Yust, 1974)
Stardust
(Apted, 1974)
Celine and Julie Go Boating
(Rivette, 1974)
1975-1979
Rafferty and the Gold Dust Twins
(Richards, 1975
At Long Last Love
(Bogdanovich, 1975)
Hearts of the West
(Zieff, 1975)
Welcome to L.A.
(Rudolph, 1976)
W.C. Fields and Me
(Hiller, 1976)
Citizens Band
(Demme, 1977)
Twilight's Last Gleaming
(Aldrich, 1977)
Looking for Mr. Goodbar
(Brooks, 1977)
Girlfriends
(Weill, 1978)
Movie Movie
(Donen, 1978)
The Medusa Touch
(Gold, 1978)
American Hot Wax
(Mutrux, 1978)
Hot Stuff
(DeLuise, 1979)
Scavenger Hunt
(Schultz , 1979)
Players
(Harvey, 1979)
Rich Kids
(Young, 1979)
Nightwing
(Hiller, 1979)
Screams of a Winter's Night
(Wilson, 1979
When You Comin' Back Red Ryder?
(Katselas, 1979
1980's
Resurrection
(Petrie, 1980)
The Awakening
(Newell, 1980)
Simon
(Brickman, 1980)
God's Angry Man
(Herzog, 1980)
Fast-Walking
(Harris, 1982)
Twice Upon a Time
(Korty & Swenson, 1983)
Trouble in Mind
(Rudolph, 1985)
When the Wind Blows
(Murikami, 1986)
Housekeeping
(Forsyth, 1987)
The Glass Menagerie
(Newman, 1987)
Patty Hearst
(Schrader, 1988)
Drowning by Numbers
(Greenaway, 1988)
Haunted Summer
(Passer, 1988)
The Decline of Western Civilization Part II: The Metal Years
(Spheeris, 1988)
1990's
Old Times
(Curtis, 1991)
Prospero's Books
(Greenaway, 1991)
City of Hope
(Sayles, 1991)
The Baby of Macon
(Greenaway, 1993)
King of the Hill
(Soderbergh, 1993)
Dadetown
(Hexter, 1995)
SubUrbia
(Linklater, 1997)

Upcoming

January 8

Bitch Slap

Waiting for Armageddon

Wonderful World

Youth in Revolt

January 15

January 22

Drool

Extraordinary Measures

The Girl on the Train

Backstage Bickering

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According to Patrick Goldstein's inside-the-LAFCA-awards-debate reporting, Slumdog Millionaire "sparked the most divisions of any film. Its partisans praised its filmmaking energy and social consciousness . But its scrum of detractors said they wouldn't vote for it under any circumstances, with some critics claiming it was too derivative, coming off like an amped-up Satyajit Ray film.

"The only slam dunks in the voting were Penelope Cruz, who won best supporting actress for Vicki Cristina Barcelona and Heath Ledger for The Dark Knight. The voting for best picture was extremely close, with the joke being that whether the vote went for WALL*E or The Dark Knight , that it was still a thumbs-up for an animated film, since Dark Knight is loaded with computer animation effects."

Between LAFCA's snub of Revolutionary Road Best Actress contender Kate Winslet (they went for Sally Hawkins first and Melissa Leo second) and Winslet being blown off yesterday morning by the Broadcast Film Critics' Association, there appears to be a block of serious (and perplexing) resistance to Sam Mendes' angst-ridden period drama. What is wrong with everyone? Why can't they see how sublimely made and full of feeling this film is?

Friends of Torino #3<< previous | next >>Wonderful Strife

Posted by Jeffrey Wells on December 10, 2008 at 6:29 AM

comment #1

byanyother says ...

Wall-E and The Dark Knight have been the two standouts of the year thus far - the other movies needed more time on the streets to feel their impact - this is what I don't get about this year, why the studios waited so long.

Anyway, it's worth noting that "everyone" isn't this handful of critics. The Critics Choice, according to Kris Tapley, didn't get the screeners of Revolutionary Road until late Friday and by then most of them had voted.

Posted by byanyother at December 10, 2008 7:03 AM

comment #2

CitizenKanedforChewingGum says ...

Uhhh....so how 'bout them movies you saw yesterday? Did I miss something?

Posted by CitizenKanedforChewingGum at December 10, 2008 7:06 AM

comment #3

Chris Willman says ...

" The voting for best picture was extremely close, with the joke being that whether the vote went for WALL*E or The Dark Knight , that it was still a thumbs-up for an animated film, since Dark Knight is loaded with computer animation effects.""

That's a pretty bad "joke," since "Dark Knight" has far fewer of those effects than they apparently think it does. Has there been any film done on this scale recently that relies on computer animation less than "Dark Knight"?

That said, hooray for "Wall-E."

Posted by Chris Willman at December 10, 2008 7:09 AM

comment #4

erniesouchak says ...

True, "Dark Knight" accomplished a lot of stuff in-camera. Is it surprising most critics don't know the difference?

Posted by erniesouchak at December 10, 2008 8:36 AM

comment #5

DavidF says ...

Even people who bitch about "Too much CGI" tend not to understand how things are done. A lot of stuff in the Star Wars prequels etc still involved building actual miniatures and compositing digitally.

Anyway, hooray for Wall*E. Now we can look forward to 2 months of bitching that animated films should get nominated for Best Picture even though it won't.

I still cannot remotely imagined Dark Knight winning but even scoring a nomination would be a huge breakthrough for "genre" films.

Posted by DavidF at December 10, 2008 9:04 AM

comment #6

K. Bowen says ...

Here's the thing ....

Why are people voting for the fake human spirit story (Slumdog Millionaire) and not voting for the genuine human spirit story (Man on Wire)?

Posted by K. Bowen at December 10, 2008 9:10 AM

comment #7

Phatang! says ...

Why is it a "snub" for critics to not think Winslett gave one of the two best performances of the year? I haven't seen the movie yet, but having read the book I can imagine that she isn't SURPRISING in it, and I think that's a major consideration in giving out these awards. Everyone knows she's a great actress. So she'll probably need to wear a fake nose or get juiced on steroids to win that Oscar.

Posted by Phatang! at December 10, 2008 10:16 AM