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)

On The Other Hand...

Awards Daily's Sasha Stone has suggested five rules to follow if you're trying to launch a grassroots/word-of-mouth Oscar nomination talking campaign. So I've come up with a few arguments, counter-suggestions and "oh, yeah?"s.

Stone Rule #1: "Never strong-arm people into voting for someone or something. People hate to be told what to do in general. No one wants to be thought of as stupid or out of touch."

Wells response: Yeah, except the majority of people out there are out of touch (or at least not as in touch as they should be). It's also a pretty safe bet that the main reason they're out of touch is that they live with certain levels of timidity and hesitancy. They tend to like the same things over and over in films and they don't particularly like to be challenged or provoked. It's also a fairly safe bet that deep down they know this about themselves. In short, most film industry people are walking around with the mentality of sophisticated, self-aware sheep. There's only way to respond to this, which is to treat them the way a shepherd treats his flock. Use your shepherd's staff and goad them along. Do it politely or sternly, but tell them what to do. Because deep down they want to be led. It's easier to follow a strong leader than make semi-nervy, semi-bold decisions on your lonesome.

Stone Rule #2: "Make them think it's their idea. Present all of the reasons a film or person is worthy without ever falling into the trap of saying 'nominate them now because they deserve it!'"

Wells response: I agree with this, but how provincial and donkey-stupid do you have to be to dig in your heels and decide to not see or admire a film or not vote for one of the people who helped make it, because you resent the manner of a person (or persons) telling you how great or at least worthwhile it is? When someone urgently tells me I need to put a film or filmmaker into the Oscar Balloon I never reject them out of hand. I always reconsider my thinking and/or my original reactions to the film in question.

Stone Rule #3: "Reverse psychology - it works quite well. The old 'this is the best film of the year but no way will the Academy nominate it...it's the best film to come along in ten years but it's too small, too dark, the genre isn't right...no way will the Academy go for it.' That works ten times better than 'of course they'll nominate it...there is no way they can't nominate it.'"

Wells response: Of course -- very wise thinking. But if the Academy doesn't nominate The Hurt Locker for Best Picture there'll be blood on the floor. Sometimes reverse psychology isn't all it's cracked up to be. Because sometimes the wrong film or filmmaker wins no matter what psychological strategy is in play. People like what they like while realizing deep down that they're a little bit lazy and Zelig-ish in their thinking. They secretly want to be led, driven, pushed, admonished, browbeaten. (See Stone Rule #1.)

Stone Rules #4 and #5 are okay with me.

"Flopping About"?<< previous | next >>Dead Wrong

Posted by Jeffrey Wells on October 24, 2009 at 4:21 PM

comment #1

Gordon27 Author Profile Page says ...

"It's also a fairly safe bet that deep down they know this about themselves."

Yes, it's a great idea to make an assumption about a persion, to then stick to believing it's true and never challenge that, and then further believe that the person knows it's true, even if they deny it.

Got that one from "How To Win Friends and Influence People", right Jeff?

Posted by Gordon27 Author Profile Page at October 24, 2009 11:50 PM

comment #2

adorian Author Profile Page says ...

Speaking of your Oscar Balloon, you still have Christopher Plummer listed under lead actor and Christopher Plumber (sic) listed under supporting actor.

Posted by adorian Author Profile Page at October 25, 2009 4:49 AM

comment #3

COCO Author Profile Page says ...

Make people aware...yes.
Hit them over the head.....no.
Promote your favorite films...yes.
Do the best you can do.
Never quit. But Eloi attitudes are not easily
persuaded to adapt or change.

Posted by COCO Author Profile Page at October 25, 2009 6:51 AM

comment #4

EDouglasCS Author Profile Page says ...

I'm still hoping for Jeffrey to pull a Kanye at the Oscars... I seriously think it would make people forget all about "Soy Bomb" and Brando's Native American.

Posted by EDouglasCS Author Profile Page at October 25, 2009 6:59 AM

comment #5

great scott Author Profile Page says ...

How provincial and donkey-stupid do you have to be to dig in your heels and decide to not see or admire a film or not vote for one of the people who helped make it, because you resent the manner of a person (or persons) who directed it or stars in it.

What if I went into a movie NOT wanting to like it just because it was directed by Peter Jackson or Steven Spielberg or starred Eddie Murphy?

Posted by great scott Author Profile Page at October 25, 2009 10:50 AM

comment #6

adorian Author Profile Page says ...

I have several women friends who absolutely refuse to see any Woody Allen movie because of what they perceive as his quasi-incestuous cradle-robbing.

Posted by adorian Author Profile Page at October 25, 2009 11:13 AM

comment #7

Gordon27 Author Profile Page says ...

Isn't that the nicest way to perceive what Woody Allen did (other than ignoring it)?

Posted by Gordon27 Author Profile Page at October 25, 2009 2:35 PM

Post a comment