Most Wanted
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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)

Oscar Ninny Kingdom

Because N.Y. Times Oscar blogger David Carr (a.k.a. "the Bagger") managed to get only six people to talk to him about the Oscars during a 90-minute troll around Times Square, he's taken this to mean that the economically besieged Everyman is almost angrily dis-engaged from it all, in part, obviously, because the nominated films haven't connected in a big way (i.e., no Best Picture noms or Dark Knight or WALL*E), and therefore...no, he;s not saying the Oscar ratings are going to be totally toileted. But indications are, he reports, that "if people are going to tune into this year's Oscars, they haven't made their plans yet."

What happened to the old adage about people traditionally being keen to escape into fantasy reveries during tough economic times? What about the old example from the 1930s about the movie business being recession- or, more to the point, depression-proof? As Carr reports, the Grammy show ratings "perked up this year" and that "people are still going to the movies" with "admissions...up nearly 8 percent this year." Nonetheless, he warns, "It's going to take a lot more than a little song and dance from Hugh Jackman to bring home the Nielsen bacon.

"Those of us who live in the Oscar Ninny kingdom might have missed something. While we were all debating the whole Mickey vs. Sean thing, the rest of America has been out there living life on life's terms, which has not been a pleasant endeavor of late." Perhaps because deep down, he suggests, it's "hard to get past a president shouting we are all about to go over the waterfall if something isn't done soon."

Lips Sealed<< previous | next >>Bat Crazy

Posted by Jeffrey Wells on February 10, 2009 at 9:49 AM

comment #1

Renfield Author Profile Page says ...

I believe it is both the ecconomic times and the fact that a large majority of the public simply wasn't interested in the content of the films that are up for Best Picture.

People are not taking chances when it comes to movie watching these days. With the condition this country is in... what average American is going to plop down 40 bucks (ticket, parking, possible soda, gas used during the trip, etc.) to see 1) A story about an interview with Nixon 2) Another holocaust film that features underage sex 3) A fiilm about a gay activist 4) Forrest Gump with a creepy looking, old-man Brad Pitt 5) An indian movie

THAT'S what run-of-the-mill Americans are thniking. Right now, the only way they'll spend their money is if they see a product they are certain they'll be entertained by.

Posted by Renfield Author Profile Page at February 10, 2009 12:41 PM

comment #2

arturobandini2 Author Profile Page says ...

You know what would help the Oscar ratings? Turn it into a game show and have all the nominees compete, Who Wants to Be a Millionaire?-style. Then the victors can be determined by multiple-choice trivia quizzes.

Let's face facts. This country is made up of two factions: those who see art (movies) as spiritual nourishment, and those who see art as nothing more than entertainment. We know which group is shrinking into non-existence. I've Loved You So Long made a great case for art (books, museums, movies) providing a redemptive quality for lost souls. Maybe that's why it didn't resonate in America -- when we're down, we turn on the TV and gorge on humilitainment.

Posted by arturobandini2 Author Profile Page at February 10, 2009 12:49 PM

comment #3

ROTC Author Profile Page says ...

Renfield is basically right. With the possible exception of the gay community and Milk, I don't sense that the movie-going public feels passionately invested in any of the nominated films, if they've seen them at all. And whoever thought Hugh Jackman, who has never been able to open a non-Wolverine movie (or TV series, for that matter), was going to draw in viewers should have their head handed to them. I fully expect record-low ratings for the Oscar telecast this year.

Posted by ROTC Author Profile Page at February 10, 2009 12:54 PM

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