Most Wanted
Email here for additions & corrections.

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)

Understand This

"The problem with [all Oscar] formulations, and the reason they tend to stumble over themselves almost as soon as they emerge from a would-be-Oscar analyst's cortex, begins with the phrase 'the Academy', and its implicit assumption that each year's nominations represent an act of coherent collective will that is designed to reflect a particular set of truths.

"In fact, the Academy is, much like its home country, a hydra-headed agglomeration of different constituencies, often in fierce conflict, and the electoral decisions it makes can in different years reflect fearfulness, defensiveness and retreat, or a kind of split decision that denotes a compromise between the past and the future, or, on certain delightful occasions, an unexpected surge of thoughtfulness, good taste and high aspiration." -- from Mark Harris's impressively well-written assessment of the '098 Oscar race that appeared in Sunday's Observer.

"Ohhh, Good!"<< previous | next >>Camouflage

Posted by Jeffrey Wells on February 2, 2009 at 11:11 PM

comment #1

byanyother Author Profile Page says ...

He's such a good writer.

Posted by byanyother Author Profile Page at February 3, 2009 5:26 AM

comment #2

Calraigh Bracken Author Profile Page says ...

Does anyone know when exactly the Academy decide who the winners are? Like, what day/time period are they decided on/within?

Posted by Calraigh Bracken Author Profile Page at February 3, 2009 7:33 AM

comment #3

DeafBrownTrashPunk Author Profile Page says ...

I wonder that, too, Calraigh. and who type those "and the winner is..." winner results? I wonder if they're kept locked inside a room until the very last minute so that the winner results won't be leaked to the media.

Posted by DeafBrownTrashPunk Author Profile Page at February 3, 2009 8:03 AM

comment #4

Krillian Author Profile Page says ...

And the winners will be...

Pic - Slumdog
Actor - Penn, Milk
Actress - Winslet - Reader
Supp Actor - Ledger, TDK
Supp Actress - Viola, Doubt
Director- Boyle, Slumdog
Or Screen - Milk
Ad Screen - Frost/Nixon
Tech awards - split between TDK and Ben Button
Doc - Man on Wire
Anim - Wall-E

I think Rourke had a shot until that WrestleMania rumor surfaced.

Posted by Krillian Author Profile Page at February 3, 2009 12:36 PM

comment #5

moviemaniac2002 Author Profile Page says ...

For decades, the Academy existed as way for
Factory workers to celebrate Factory product.
In the 60's and 70's, as the studio Factory
system began to deteriorate....the Factory product now competed with the "new cinema"
(or in simple terms, the ancestors and forefathers or our current indie-art films.(Best historic example and required reading..."Pictures At A
Revolution" about the year when studio spam like
"Dr.Dolittle" competed with "Bonnie & Clyde")
And strangely enough, look where we've arrived now at the Oscars....topsy turvy....studio popcorn product driven out and largely exiled from the awards, even when it's as artistically
rendered as any Coen Brothers head-scratcher.
("The Dark Knight") Once upon a time, art and commerce actually intertwined at the Academy Awards...now they're paralell lines, farther apart than ever...(the Best Actress award summed it up for me perfectly last year....given to a woman
nobody ever heard of for a movie nobody ever
went to see....not to mention a Best Picture award to a film that had most audiences walking out in disbelief and frustration.)
As for this years noms.....I'm torn on the Kate
Winslet issue.....I'd like her to win for no other reason than to end the ad nauseum "youngest actress with most nominations and no wins' blathering.....but if she does win, it means enduring another one of her odious, simpering, yammering acceptance speeches. Good luck , Kate....I'm with ya all the way, with my finger on
the 'mute' button.

Posted by moviemaniac2002 Author Profile Page at February 5, 2009 8:21 AM

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