Friday Familiar Faces: Mark Strong

Welcome to a new weekly feature here at Movies With Abe! There are plenty of actors out there who people recognize by face but can’t identify because they just don’t tend to get the leading roles. There is a fantastic book (and website) dedicated to this phenomenon, appropriately titled “Hey! It’s That Guy” and touting the fantastic J.T. Walsh as the ultimate recognizable everyman.

This series will spotlight an actor or actress who has recently turned in a notable or scene-stealing performance and showcase some of their best cinematic appearances. More than other any feature, this series will merge the worlds of television and film as needed to highlight a performer’s best and most recognizable work.

Mark Strong

Where you’ve seen him most recently: As villain Matai Shang in “John Carter,” loyal agent Jim Prideaux in “Tinker, Tailor, Soldier, Spy,” and an intellectual criminal in “The Guard”

Where you might have first seen him: A number of roles since the early 1990s in England, and probably “Syriana” or “Sunshine” in terms of productions that made it over to the United States

Other notable appearances: A hilarious part as a henchman in “RocknRolla,” an AFT Award-winning performance as Jordanian Intelligence agent Hani Salaam in “Body of Lies,” and as villains Lord Blackwood and Sir Godfrey in “Sherlock Holmes” and “Robin Hood,” respectively

What you might expect from him: A serious, deep-voiced gangster or other villain not held back by conscience, most often extremely intelligent, cunning, and eager to outwit his rivals.

Thursday Theoretical Oscar Category

Welcome to a weekly feature here at Movies With Abe. In my love for everything Oscar, it’s always fun to speculate on who or what might have been included given different circumstances. Though there are twenty-four fields recognized on Oscar night, that still neglects a handful of key players. As a result, I’d like to take a look each week at imagined categories, and who or what might have benefited from their existence.

The category: Best Casting

Why it should exist: The role of the casting director is a crucial one, since assembling an ensemble makes the existing Oscar acting categories possible. The Casting Society of America has a handful of separate categories for productions of different financial and thematic natures. Enough people believe that this category is worthwhile that it’s been suggested three times in the past fifteen years, last rejected in 2011.

Why it doesn’t exist: The Academy’s justification was that it was too hard to determine who did the casting in a movie (the director, for instance, might also have been involved), and that there shouldn’t be any new categories (an irrelevant objection for our purposes). Most importantly, average viewers aren’t particularly interested in hearing speeches from other faces they don’t recognize.

Who might have been nominated the past five years:
2011: The Artist, The Descendants, The Help, Margin Call, Moneyball
2010: The Fighter, The King’s Speech, The Kids Are All Right, The Social Network, The Town
2009: Inglourious Basterds, The Hurt Locker, Nine, Sherlock Holmes, Up in the Air
2008: The Dark Knight, Doubt, Milk, Revolutionary Road, Star Trek
2007: Hairspray, Into the Wild, Juno, Michael Clayton, No Country for Old Men

Who do you think might have been nominated?

Wednesday Oscar Retrospective: The Real Best Pictures of 2009

Welcome back to a weekly feature here at Movies with Abe, Wednesday Oscar Retrospective. The Real Best Pictures is the seventh in a series of projects looking back at the past eight years of the Oscars, dating back to the first ceremony I watched and closely followed.

For this feature, imagine that an Oscar nomination for Best Picture was cumulative rather than based on votes in just that category. That means taking into account how well a film performed in other categories, and how many Oscars it eventually took home. Like the other series before it, this one is highly speculative, but the point is just to have fun, so chime in with your thoughts in the comments!

And the nominees were… Avatar, The Blind Side, District 9, An Education, The Hurt Locker, Inglourious Basterds, Precious, A Serious Man, Up, Up in the Air

The keepers, no questions: The five Best Director nominees - Avatar, The Hurt Locker, Inglourious Basterds, Precious, and Up in the Air.

The question marks: It’s not guaranteed that Up would have broken through to become the second-ever animated film to be nominated in the top race, but it is highly likely. District 9 and An Education were probably safe choices as well, earning a few other mentions. A Serious Man earned only one other nomination, for writing, which means it would have been very vulnerable.

The losers: The inexplicable nominee, The Blind Side. This may have been Sandra Bullock’s year to take home an Oscar, but there’s no reason her film should also have earned a nomination.

The new inclusions: It’s possible that Crazy Heart, Invictus, or The Messenger could be considered popular enough, but I'd say that it would have been Star Trek, a far superior fan choice than “The Blind Side.”

The new nominees: Avatar, District 9, An Education, The Hurt Locker, Inglourious Basterds, Precious, A Serious Man, Star Trek, Up, Up in the Air

Come back next week for a look at the Real Best Pictures of 2008 when we get back to just five nominees!

Tuesday’s Top Trailer: The Impossible

Welcome to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.

The Impossible – Opening December 21, 2012

The trailer for this late December release is incredibly emotional and makes the film look like one hell of a sobering and inspiring experience. Though it’s touted as a drama/thriller on IMDB, this is a movie that’s much more about the journey than anything else, as it proclaims a “true story of survival” and even shows the reunion between its main characters at the end of the trailer. This is sure to boost the career of Spanish director Juan Antonio Bayona, who helmed the acclaimed 2007 film “The Orphanage,” considerably, marking his first English-language production and one that managed to net two premiere actors. Ewan McGregor and Naomi Watts are both extremely adept at playing characters dealing with tragedy, and from the trailer, they appear to be delivering wrenching, heartfelt performances. The child actors are also likely to be excellent, and the graphics and visuals representing the tsunami and its aftermath. The initial arrival of the wave is reminiscent of a similar scene from Clint Eastwood’s “Hereafter,” but this one arrives with much more force, intensity, and shocking speed, indicating that this film is going to be one astonishing and heart-pounding journey.

Monday Movie Moments: A Few Good Men

Welcome to a new weekly feature here at Movies With Abe. There are great movies, and then there are great scenes. Ideally, the two come as a package deal, but sometimes there’s just a scene that’s memorable all by itself. Each week, I’ll be taking a look at a formative movie moment that may be notable for its style, content, technique, or something else altogether. Minor spoilers will be alluded to in each edition of the series, so please stop reading if you’ve somehow avoided seeing the movie in question.

This probably ranks as one of the most referenced movie scenes of all time, from Rob Reiner’s 1992 Best Picture nominee “A Few Good Men.” Jack Nicholson earned an obvious Oscar nomination for his portrayal as stern military man Colonel Nathan R. Jessup, who staunchly defends his right to do what he pleases in service of protecting his country. That includes talking to down to the excitable young lawyer portrayed by Tom Cruise, then thirty years old. The implications of this scene, which comes near the end of the film, are enormous for the film’s plot, but it’s also a sterling showcase of characters and dialogue. It’s no surprise that the script was in fact penned by one Aaron Sorkin, who inexplicably missed out on an Oscar nomination for adapting his own play. While this film is a quality military legal drama, this scene is what defines it.

Sunday Similar Subjects

Welcome to a new weekly feature here at Movies With Abe. After spending a number of weeks looking at actors who tend to play the same characters, it’s time to spotlight two films with eerily similar plots that came out at roughly the same time. There are surprisingly more examples than might be obvious, and this series will examine the similarities and differences between the two, and how their simultaneous releases affected each other.

Antz / A Bug’s Life

Release dates: October 2, 1998 / November 25, 1998

The similarities: Both were computer-animated films, the second and third in the United States, respectively, following one open-minded insect in his quest to revitalize the way his colony works and to pursue the ant princess.

The differences: The former was released by DreamWorks, and the latter by Pixar. Story-wise, the former featured a tyrannical structure within the ant colony itself, while the latter set its hero against his grasshopper oppressors.

The releases: Both films did well in theatres, with the former earning $90 million domestically and the latter earning $162 million. The Thanksgiving release of the latter almost certainly helped it. Both films opened to positive reviews, and both earned four Annie Award nominations, taking home zero trophies each.

Which one is more likely to be remembered? The latter, because it was put out by Pixar. This simultaneous release actually got people upset because of the rivalry between DreamWorks and Pixar, and while DreamWorks beat Pixar to the punch by releasing the second computer-generated film (“Toy Story” was the first), its film didn’t do quite as well and, perhaps unfairly, isn’t remembered as favorably.

Saturday Night Movie Recommendations with Abe

Welcome to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.

Now Playing in NYC

Hit and Run (mixed bag): This comedy co-directed and written by and starring Dax Shepard has a fun premise but gets carried away with its ridiculousness rather than stay solidly grounded. It still has its funny moments, and it’s decent light entertainment. Now playing in wide release. Read my review from yesterday.

New to DVD

A Separation (highly recommended): This spectacular Oscar winner for Best Foreign Film from Iran is an excellent portrait more about relationships between people and right and wrong than as the picture of divorce in a repressed society it’s been perceived to be. It’s equally fantastic on both fronts.

Now on Netflix Instant Streaming

Skin (recommended): This drama about apartheid-era South Africa features strong performances from Sophie Okonedo, Sam Neill, and Alice Krige and a compelling story of race politics and family dynamics.

Super 8 (recommended): J.J. Abrams’ super hit is a great throwback to films like “E.T.” that focus on children and their fascination with extraterrestrial occurrences. It contains some terrific effects, makeup, acting, and action, and it’s a hugely enjoyable and engrossing picture.

Movie with Abe: Hit and Run

Hit and Run
Directed by David Palmer and Dax Shepard
Released August 22, 2012

Sometimes, a film’s title is misleading. Anyone who hadn’t seen a trailer for this film might expect it to be a drama about a car accident or an action movie starring Nicolas Cage or Liam Neeson as they pursue the man who ran down some female family member of theirs. Rather than the conventional “fleeing the scene” definition, this comedy’s title refers to Charlie Bronson (Dax Shepard), a getaway driver in the Witness Protection Program after getting caught and turning in his accomplices, the central character in this excessively nutty film full of nice cars and stupid, selfish people.

The last collaboration between directors David Palmer and Dax Shepard was the unfortunate Tribeca Film Festival entry from last year, “Brother’s Justice.” Invented stories are clearly better than slightly fictional ones featuring real people playing themselves, and, as a result, “Hit and Run” is a more effective and entertaining flick. As with their last feature, however, it’s clear that bigger is better, and therefore all the characters are loud, obnoxious, and hell-bent on acting crazy, something that, more often than not, proves to be funny and enjoyable.

Shepard, who doesn’t vary the roles he plays much aside from his surprisingly heartfelt turn on NBC’s “Parenthood,” has enlisted a diverse and fun cast for this zany adventure. Tom Arnold and Bradley Cooper get the opportunity to go big or go home as an idiotic marshal and a hot-tempered criminal, respectively, and Joy Bryant, Kristin Chenoweth, and Beau Bridges get their own standout moments of comedy. The always wonderful Kristen Bell has had far better parts, and the real standout of the ensemble is Michael Rosenbaum, who proved himself excellent as a recurring guest on FOX’s “Breaking In” after spending seven stoic seasons as Lex Luthor on “Smallville,” as her jealous ex-boyfriend.

“Hit and Run” is a decent popcorn movie, but it’s disappointing since the comedic caliber of its cast and the premise could have resulted in a far more consistent and cohesive product. The film peaks halfway through when all of its plotlines begin to come together, and the denouement is hardly as exciting or fulfilling. The film rarely opts for extreme, R-rated humor, which is something that could have helped to enhance its otherwise tempered-down wackiness. Shepard, who penned the film, clearly has a sense of what’s funny, and it would have been great to see a more even and satisfying film emerge from his mind.

C+

Thursday Theoretical Oscar Category

Welcome to a weekly feature here at Movies With Abe. In my love for everything Oscar, it’s always fun to speculate on who or what might have been included given different circumstances. Though there are twenty-four fields recognized on Oscar night, that still neglects a handful of key players. As a result, I’d like to take a look each week at imagined categories, and who or what might have benefited from their existence.

The category: Best Comedic Performance

Why it should exist: Without adding a slew of acting categories akin to the Golden Globes, this would recognize the fact that comedies are, by and large, ignored by Oscar voters. It would also help to spotlight individual achievement by recognizing an actor or actress with comedic chops, and having Oscar reward comedy would be really cool.

Why it doesn’t exist: Most years, one comedic performer does break through, be it Diane Keaton in “Something’s Gotta Give” or Robert Downey Jr. in “Tropic Thunder,” and I think that’s about as far as Oscar voters will want to go in terms of both legitimizing comedy and admitting that they are biased towards much more serious fare.

Who might have been nominated the past five years:
2011: Jean Dujardin, Brendan Gleeson, Melissa McCarthy, Charlize Theron, Kristen Wiig
2010: Annette Bening, Jim Carrey, Rachel McAdams, Julianne Moore, Emma Stone
2009: Matt Damon, Robert Downey Jr., Zach Galifianakis, Meryl Streep, Sandra Bullock
2008: Penelope Cruz, Robert Downey Jr., James Franco, Sally Hawkins, Frances McDormand
2007: Katherine Heigl, Ellen Page, John C. Reilly, Seth Rogen, John Travolta

Who do you think might have been nominated?

Wednesday Oscar Retrospective: The Real Best Pictures of 2010

Welcome back to a weekly feature here at Movies with Abe, Wednesday Oscar Retrospective. The Real Best Pictures is the seventh in a series of projects looking back at the past eight years of the Oscars, dating back to the first ceremony I watched and closely followed.

For this feature, imagine that an Oscar nomination for Best Picture was cumulative rather than based on votes in just that category. That means taking into account how well a film performed in other categories, and how many Oscars it eventually took home. Like the other series before it, this one is highly speculative, but the point is just to have fun, so chime in with your thoughts in the comments!

And the nominees were… Black Swan, The Fighter, Inception, The Kids Are All Right, The King’s Speech, 127 Hours, The Social Network, Toy Story 3, True Grit, Winter’s Bone

The keepers, no questions: Well, The King’s Speech and The Social Network stay, as do directorial nominees The Fighter and Black Swan.

The question marks: Despite its directional snub, Inception would have still stayed, as would True Grit, which lost all ten of its bids. Toy Story 3 would likely have had enough power to remain in the race. Because there were ten nominees, both The Kids Are All Right and Winter’s Bone would have stuck it out, though an unfixed number of slots like the following year would have likely discounted both of them.

The losers: None, under a ten-wide system.

The new inclusions: No film not nominated for Best Picture earned more than three nominations, and that was Alice in Wonderland, which would most certainly not have made it into the top category.

The new nominees: This time, probably the same as the old nominees, though the list would have been capped at eight if there didn’t need to be ten nominees.

Come back next week for a look at the Real Best Pictures of 2009.

Tuesday’s Top Trailer: Trouble with the Curve

Welcome to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.

Trouble with the Curve – Opening September 21, 2012

Now 82 years old, Clint Eastwood returns with his first film role since 2008’s “Gran Torino,” in which he played a lonely old man stuck in his old ways who unexpectedly made new friendships in the pursuit of protecting his way of life. Now he’s back with a similar part that’s more family-focused, following up on the baseball focus of “Moneyball” with the story of a scout and his adult daughter, whose life spent with her father has given her a great perspective on sports ability. Eastwood’s last semi-foray into the world of sports, “Invictus,” was excellent, and he’s always managed to get terrific performances out of his lead actors. Amy Adams has already proven himself extremely talented and capable of fitting in with the boys after “The Fighter,” and Justin Timberlake keeps making strong movie choices that might even enable him to be better remembered years from now as an actor instead of a pop star. John Goodman, Bob Gunton, Mathew Lilllard, and a handful of others round out the supporting cast. While both “J. Edgar” and “Hereafter” had some issues, I think that this will be Eastwood’s subtle comeback, and I’m glad to see him casting himself in appropriate roles and still contributing to the cinematic universe. He doesn’t tend to release films as early as September, so we’ll get an early glimpse at a potential Oscar contender.

Monday Movie Moments: Back to the Future

Welcome to a new weekly feature here at Movies With Abe. There are great movies, and then there are great scenes. Ideally, the two come as a package deal, but sometimes there’s just a scene that’s memorable all by itself. Each week, I’ll be taking a look at a formative movie moment that may be notable for its style, content, technique, or something else altogether. Minor spoilers will be alluded to in each edition of the series, so please stop reading if you’ve somehow avoided seeing the movie in question.

This amazing science fiction classic is an incredible film whose campiness only makes it hold up better on the umpteenth viewing. Its dedication to relatively coherent theoretical science related to the idea of time travel is among its best assets, and therefore its most exciting scene is the one at the end of the first film where Marty needs to use the lightning that will strike the clock tower to propel him back to the future. The discovery that the cable is no longer connected means that Doc has to climb up onto the tower and manually connect the cable, and one of the best parts of the above clip is the way that Christopher Lloyd reacts so dramatically to everything. Alan Silvestri’s incredible score is a great assist as well, and as a result it’s a magnificent thing to see Marty go back to the future, made even more impactful by the disappearance of the DeLorean and the continued focus on 1955, as an amazed Doc dances in the street and celebrates the successful achievement of time travel. This is one of those films I could watch over and over, and this scene is one of the main reasons why.

Sunday Similar Subjects

Welcome to a new weekly feature here at Movies With Abe. After spending a number of weeks looking at actors who tend to play the same characters, it’s time to spotlight two films with eerily similar plots that came out at roughly the same time. There are surprisingly more examples than might be obvious, and this series will examine the similarities and differences between the two, and how their simultaneous releases affected each other.

Capote / Infamous

Release dates: September 30, 2005 / October 13, 2006

The similarities: This isn’t a case of movies just seeing similar – they’re actually about the same thing. Both tell the true story of author Truman Capote during the time that he was researching his book “In Cold Blood” and growing closer to Perry Smith, one of the murderers.

The differences: Though they were based on different biographies, there’s not much that’s different, aside from the actors involved. Philip Seymour Hoffman and Toby Jones share the role of Capote, while Catherine Keener and Sandra Bullock play Harper Lee, and Clifton Collins Jr. and Daniel Craig play Perry Smith. The former film was slightly darker than the latter, but the stories were largely the same.

The releases: Both independent films received generally positive reviews, though the first did handily better, earning five Oscar nominations and a truckload of awards for star Philip Seymour Hoffman. The comparative grosses of the film track when adjusted for the number of theatres in which they were released. The former brought in $28 million from 1,200 theatres, while the latter raked up less than $2 million from less than 200 theatres.

Which one is more likely to be remembered? The former. This is really just a case of two films featuring the same storyline and one having the advantage of being both first and more formidable. It’s likely that many have seen the former and have never even heard of the latter.

Saturday Night Movie Recommendations with Abe

Welcome to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.

Now Playing in NYC

I’ve been out of town on vacation in New England recently and didn’t have the chance to catch any new releases this week. I’m equally uninterested in The Expendables 2 and The Odd Life of Timothy Green, and I’d be willing to give Compliance a chance since it looks interesting. ParaNorman will probably be fun, and I imagine I’ll catch it on DVD.

New to DVD

Nothing I’ve seen this week, but I hear good things about The Hunger Games and last year’s Oscar nominee for Best Documentary, Paradise Lost 3: Purgatory.

Now on Netflix Instant Streaming

Seeking Justice (anti-recommended): This action thriller starring Nicolas Cage is exactly what you’d expect from such a film: senseless, illogical, infuriating, annoying, and ultimately unfulfilling. If Cage was Liam Neeson, this film might have been better, but, unfortunately, Cage can’t even shelter all the blame. Skip it!

Friday Familiar Faces: Ted Levine

Welcome to a new weekly feature here at Movies With Abe! There are plenty of actors out there who people recognize by face but can’t identify because they just don’t tend to get the leading roles. There is a fantastic book (and website) dedicated to this phenomenon, appropriately titled “Hey! It’s That Guy” and touting the fantastic J.T. Walsh as the ultimate recognizable everyman.

This series will spotlight an actor or actress who has recently turned in a notable or scene-stealing performance and showcase some of their best cinematic appearances. More than other any feature, this series will merge the worlds of television and film as needed to highlight a performer’s best and most recognizable work.

Ted Levine

Where you’ve seen him most recently: He’s been on TV a lot recently, playing a recurring part in “Luck” and a memorable role in the pilot of “Hell on Wheels”

Where you might have first seen him: As Buffalo Bill in “The Silence of the Lambs,” the killer about whom Clarice Starling is speaking with Hannibal Lecter

Other notable appearances: He’s probably best known for his eight-year stint as Captain Leland Stottlemeyer on USA’s “Monk.” He was an AFT Award winner for his limited performance as the warden in “Shutter Island,” and should also be familiar from his roles in “American Gangster,” “The Assassination of Jesse James,” and “The Fast and the Furious.” Channeling his psychopathic side, he was also the voice of the killer Rusty Nail in the 2001 film “Joy Ride.”

What you might expect from him: Either a terrifying villain or an officer of the law. The former comes with a lack of emotion, while the latter includes sarcasm and steadfastness. Both are equally fascinating, though entirely different.

Thursday Theoretical Oscar Category

Welcome to a weekly feature here at Movies With Abe. In my love for everything Oscar, it’s always fun to speculate on who or what might have been included given different circumstances. Though there are twenty-four fields recognized on Oscar night, that still neglects a handful of key players. As a result, I’d like to take a look each week at imagined categories, and who or what might have benefited from their existence.

The category: Best Family Film

Why it should exist: Family-friendly films don’t always get embraced by Oscars, and this category would underline the fact that not all movies for kids are animated, and vice-versa. There would have to be a rating requirement (G or PG only), and it would recognize heart-warming films for all ages. Both Best Animated Feature and Best Picture nominees would be eligible since a film can be both (or all three).

Why it doesn’t exist: Aside from the main fact that only one Best Picture category exists, it probably wouldn’t seem necessary to recognize family achievements. The Best Animated Feature category didn’t get added until 2001, long after animation had taken off, so it doesn’t seem likely that another category, which could also include the Best Picture choices, would be anyone’s priority. This category could also end up as a clone of the Best Animated Feature race.

Who might have been nominated the past five years:
2011: The Adventures of Tintin, Hugo, The Muppets, Puss in Boots, Winnie the Pooh
2010: Alice in Wonderland, Flipped, How To Train Your Dragon, Tangled, Toy Story 3
2009: Cloudy with a Chance of Meatballs, Coraline, The Princess and the Frog, Up, Where the Wild Things Are
2008: Bedtime Stories, Bolt, High School Musical 3, Kung Fu Panda, Wall-E
2007: Bee Movie, Enchanted, Hairspray, Ratatouille, Surf’s Up

Who do you think might have been nominated?

Wednesday Oscar Retrospective: The Real Best Pictures of 2011

Welcome back to a weekly feature here at Movies with Abe, Wednesday Oscar Retrospective. The Real Best Pictures is the seventh in a series of projects looking back at the past eight years of the Oscars, dating back to the first ceremony I watched and closely followed.

For this feature, imagine that an Oscar nomination for Best Picture was cumulative rather than based on votes in just that category. That means taking into account how well a film performed in other categories, and how many Oscars it eventually took home. Like the other series before it, this one is highly speculative, but the point is just to have fun, so chime in with your thoughts in the comments!

And the nominees were… The Artist, The Descendants, Extremely Loud and Incredibly Close, The Help, Hugo, Midnight in Paris, Moneyball, The Tree of Life, War Horse

The keepers, no questions: Best Picture winner The Artist is an obvious keeper, as are Hugo, The Descendants, and Midnight in Paris. Though it didn’t take home any Oscars in the end, Moneyball would have made it too.

The question marks: Though Best Director and Best Screenplay nominations seem like necessary prerequisites for this imagined eligibility, I think that both The Help and War Horse had enough acting and technical nominations, respectively, to merit them a Best Picture placement.

The losers: This doesn’t bode well for The Tree of Life, which just barely made it in with directorial and cinematographic mentions. Ditto Extremely Loud and Incredibly Close, an incredibly deserving but equally surprisingly nominee that objectively wouldn’t have figured in if it had to stack up its one acting mention against other films’ totals.

The new inclusions: Though it also performed less strongly than expected, in some respects, The Girl with the Dragon Tattoo still netted five nominations and a crucial win for Best Film Editing, which seems substantial enough to put it in the top race.

The new nominees: Since this year’s ceremony stipulated anywhere from five to ten inclusions, I say there would have been eight rather than nine: The Artist, The Descendants, The Girl with the Dragon Tattoo, The Help, Hugo, Midnight in Paris, Moneyball, and War Horse.

Come back next week for a look at the Real Best Pictures of 2010!

Tuesday’s Top Trailer: Zero Dark Thirty

Welcome to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.

Zero Dark Thirty – Opening December 19, 2012

A good teaser is supposed to show just enough to whet the appetite. This film has great credentials – Kathryn Bigelow and Mark Boal, the Oscar-winning director and writer of “The Hurt Locker” – and its subject matter, the hunt for Osama Bin Laden, is certainly intriguing. Visual redactions and faceless voices are effective to creative an air of mystery and suspense, and it highlights the film’s plot as its central element, rather than its cast. That said, an impressive list of names is affiliated with the film, including Jessica Chastain, Mark Strong, Mark Duplass, Kyle Chandler, Chris Pratt, Joel Edgerton, Harold Perrineau, Jason Clarke, and Stephen Dillane. The trailer makes it seem like much of the film will focus on the actual action overseas and the missions on the ground rather than the control room back in the United States, but it’s possible that the film will manage both, like “United 93” did. “The Hurt Locker” was an original screenplay, and so is this one, but, given that it is based on actual events, it may adhere to a stricter drama format, though the director’s previous project suggests that it will also incorporate action and suspense extremely well. No matter what, this is sure to be one of the most buzzed-about films of awards season.

Monday Movie Moments: The Silence of the Lambs

Welcome to a new weekly feature here at Movies With Abe. There are great movies, and then there are great scenes. Ideally, the two come as a package deal, but sometimes there’s just a scene that’s memorable all by itself. Each week, I’ll be taking a look at a formative movie moment that may be notable for its style, content, technique, or something else altogether. Minor spoilers will be alluded to in each edition of the series, so please stop reading if you’ve somehow avoided seeing the movie in question.

Warning: this is not for the faint of heart. This violent 1991 thriller took home the top five Oscars, for Best Picture, Best Director, Best Screenplay, Best Actor, and Best Actress. Jodie Foster, who turned in an incredible performance, doesn’t appear in this scene, but Anthony Hopkins does, and he’s magnificent. Though Hannibal Lecter isn’t technically the villain in this film, this scene sure indicates otherwise, as he makes a terrifying, meticulously-planned escape from his cage. His love for classical music is deeply disturbing, as he sits and enjoys it after he has brutally attacked his captors. Seeing him grab a cop’s face and just start eating it is frightening, but this scene makes excellent use of the unseen to an equally effective degree. The elevator moving on its own is one example, and all of the cops charging in to find one of their own crucified on the cage is another. There’s no comparison, however, to the final reveal that comes at the very end of the third clip. This is brilliant and horrifying stuff.

Sunday Similar Subjects

Welcome to a new weekly feature here at Movies With Abe. After spending a number of weeks looking at actors who tend to play the same characters, it’s time to spotlight two films with eerily similar plots that came out at roughly the same time. There are surprisingly more examples than might be obvious, and this series will examine the similarities and differences between the two, and how their simultaneous releases affected each other.

Deep Impact / Armageddon

Release dates: May 8, 1998 / July 1, 1998

The similarities: An asteroid/comet is heading towards Earth. Choose your savior: Robert Duvall or Bruce Willis.

The differences: The former film had much more to do with life back on planet Earth in preparation for the arrival of the comet, while the latter focused on the testosterone-heavy mission into space to destroy the damn thing. The respective taglines underline the difference between the tones of the film, both of which merge action and romance. The former’s was “Oceans rise. Cities fall. Hope survives.” The latter had many, the highlights of which were “School’s out...forever,” “Time to Kick Some Asteroid,” and “Take the Ride of Your Life.”

The releases: Both films made a lot of money, and most people didn’t care for either one of them. “Deep Impact” brought in $140 million domestically, while “Armageddon,” which had the benefit of being released right around July 4th, made $202 million, currently ranking as the 121st highest-grossing film of all time. The latter film earned a handful of award nominations, but topped its four technical Oscar mentions with seven Razzie Award nominations, and a win for lead actor Bruce Willis.

Which one is more likely to be remembered? Neither. They’re probably best remembered as a pair because of their similar themes more than anything else. Far better action movies have been made both before and since then. The former probably has less notoriety since its director is an Emmy-winning TV director, whereas the former was helmed by Michael Bay. Enough said.

Saturday Night Movie Recommendations with Abe

Welcome to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.

Now Playing in NYC

It Is No Dream (recommended): This documentary about the life of Theodor Herzl is an informational and informative portrait of a man defined by his dream and by a goal achieved long after his death. Now playing at the Quad Cinema. Read my review over at Shockya.

New to DVD

Nothing of note again this week!

Now on Netflix Instant Streaming

Albert Nobbs (mixed bag): This Oscar-nominated film features a calculated performance by Glenn Close and a humorous one from Janet McTeer, but the film itself isn’t quite certain what tone it wants to take and suffers as a result. It’s worthwhile from the performances, but that’s about it.

Margin Call (recommended): This moody drama about Wall Street features a handful of strong performances from the likes of Stanley Tucci, Kevin Spacey, and Jeremy Irons, and an intriguing story told with dark lighting and facial close-ups. Its Oscar nomination for Best Original Screenplay was well-deserved, and it’s definitely worth a look.

Warrior (highly recommended): This sports movie about two brothers both making separate strides towards an intense mixed martial arts competition really surprised me, since the genre hardly interests me. There are great performances, but more importantly, stellar depictions of the fights. Oscar-nominated Nick Nolte is hardly the best part.

Movie with Abe: It Is No Dream

I’m pleased to offer a review of the new Moriah Films documentary “It Is No Dream: The Life of Theodor Herzl,” a biography of the man considered to be the founder of the State of Israel, over at Shockya. The film opens today at the Quad Cinema.

Thursday Theoretical Oscar Category

Welcome to a weekly feature here at Movies With Abe. In my love for everything Oscar, it’s always fun to speculate on who or what might have been included given different circumstances. Though there are twenty-four fields recognized on Oscar night, that still neglects a handful of key players. As a result, I’d like to take a look each week at imagined categories, and who or what might have benefited from their existence.

The category: Best Stunt Coordination

Why it should exist: This would be a great way of recognizing action movies, which tend not to get nominated in many Oscar categories, and of rewarding those involved in the planning and execution of stunts. Sound, sound editing, and visual effects don’t quite capture the visual efforts involved with stunts. The Screen Actors Guild actually instituted a category for Stunt Ensemble starting in 2007.

Why it doesn’t exist: This category has actually been proposed three times, all in the last fifteen years, and rejected each time. While it would arguably present some of the best nominee clips during the Oscar show itself, it would also increase the number of awards given to people that most viewers don’t care about, which just wouldn’t make for great television.

Who might have been nominated the past five years:
2011: Captain America: The First Avenger, Harry Potter and the Deathly Hallows – Part 2, Mission Impossible: Ghost Protocol, Salt, X-Men: First Class
2010: Green Zone, Inception, Iron Man 2, Tron: Legacy
2009: Avatar, The Hurt Locker, Star Trek, Transformers: Revenge of the Fallen, 2012
2008: The Dark Knight, Indiana Jones and the Kingdom of the Crystal Skull, Iron Man, Quantum of Solace, Wanted
2007: 300, The Bourne Ultimatum, I Am Legend, Pirates of the Caribbean: At World’s End, Red, Transformers

Who do you think might have been nominated?

Wednesday Oscar Retrospective: The Deadlocked Duel of 2010

Welcome back to a weekly feature here at Movies with Abe, Wednesday Oscar Retrospective. The Deadlocked Duel was the fourth in a series of projects looking back at the past eight years of the Oscars, dating back to the first ceremony I watched and closely followed. Since I started this feature back in 2010, I’ll now be filling in the past two years.

Each year after the Oscar nominations are announced, there’s at least one category where two nominees end up in a heated battle for the award right up until Oscar night, dividing predictors and keeping Oscar watchers anxiously in suspense. This series is devoted to analyzing the biggest and most intense of those battles each year, in any category.

The Deadlocked Duel of 2010:

“The King’s Speech” vs. “The Social Network” for Best Picture and Best Director
The background: David Fincher, whose twenty-year cinematic career included such memorable hits as “Se7en” and “Fight Club,” and an Oscar tally of thirteen nominations for “The Curious Case of Benjamin Button,” was up against Tom Hooper, who had only two previous feature films credits to his name. “The Social Network” was a relevant, modern story about people and technology, while “The King’s Speech” was Oscar bait in every possible way.

Why it was just the two of them: Of the eight other contenders for Best Picture, “Black Swan” and “The Fighter” had acting trophies to serve as consolation prizes, “Toy Story 3” was a shoo-in for Best Animated Feature, and the other films didn’t have much of a shot. “Inception” was damned by its directorial snub, and, for some reason, “True Grit” didn’t have a chance, despite a somewhat unexpected Best Director nomination and a ten-nomination haul that resulted in zero wins.

Setting the stage: Things played out almost exactly like they had the year before with “Avatar” and “The Hurt Locker,” except this time the roles were reversed, since the Oscar-bait film peaked late rather than early. The movie of the moment, “The Social Network” swept the Golden Globes with trophies for its screenplay, score, director, and drama motion picture, while “The King’s Speech” earned just one Globe, for actor Colin Firth, who had lost the previous year to Jeff Bridges. After that, things didn’t look good for the former, as the latter won the DGA Award and the SAG Award for Best Cast. When nominations were announced, the former earned eight, and the latter got twelve.

Oscar night: Instead of the expected split which would have seen David Fincher picking up the Best Director trophy and “The King’s Speech” winning Best Picture, the latter took home both awards, as well as a Best Actor award for Firth and the Best Original Screenplay prize. Tom Hooper probably felt like the luckiest guy in the world.

Consolation prize for the loser: Though it didn’t earn the top awards, “The Social Network” still did pretty well, winning Best Adapted Screenplay, Best Film Editing, and Best Original Score, just one trophy short of its competitor’s haul.


Come back next week for a new Oscar retrospective feature!

Tuesday’s Top Trailer: Nobody Walks

Welcome to a weekly feature here at Movies with Abe, Tuesday's Top Trailer. One of my favorite parts about going to see movies is the series of trailers that airs beforehand and, more often than not, the trailer is far better than the actual film. Each week, I'll be sharing a trailer I've recently seen. Please chime in with comments on what you think of the trailer and how you think the movie is going to be.

Nobody Walks – Opening October 12, 2012

The trailer for this drama has a whole lot going for it. The co-writing credit given to Lena Dunham is an enormous attractor, especially since this is a foray into something considerably darker than the fascinating “Girls.” John Krasinski gets another serious role as well, something that he’s proven himself capable of in projects such as “Brief Interviews with Hideous Men,” and he’s surrounded by an exceptional cast, including Rosemarie DeWitt (“Your Sister’s Sister”), Olivia Thirlby (“Juno”), Justin Kirk (“Weeds”), India Ennenga (“Treme”), Jane Levy (“Suburgatory”), and Dylan McDermott. DeWitt plays scorned well, Kirk seductive, and Thirlby alluring in an inappropriate way, so they’re all sure to be excellent. The story appears to be extremely complex, and there’s a whole lot of infidelity being alluded to in the previews, some of which provokes angry and violent reactions. The end of the trailer in particular gets quite serious, and I’m very intrigued to see how these actors, whose material hasn’t been nearly as dramatic in the past, handle it. This Sundance Jury Prize winner is being released in September on iTunes being its theatrical premiere in October.

Monday Movie Moments: Jaws

Welcome to a new weekly feature here at Movies With Abe. There are great movies, and then there are great scenes. Ideally, the two come as a package deal, but sometimes there’s just a scene that’s memorable all by itself. Each week, I’ll be taking a look at a formative movie moment that may be notable for its style, content, technique, or something else altogether. Minor spoilers will be alluded to in each edition of the series, so please stop reading if you’ve somehow avoided seeing the movie in question.

This is a scene that everyone knows, even those that haven’t seen the film. Most probably remember it best from the way it’s parodied in a clever commercial for Hostess Cupcakes. Like last week, this is another Steven Spielberg-John Williams collaboration, featuring another classic Williams score, this one the edgier and more frightening beat that precedes the shark’s deadly attack on an unsuspecting woman enjoying the water and resulting in her blood terrifying all of the eager swimmers at the beach. Watching police chief Martin Brody’s face is perhaps the best part, as he anticipates an attack earlier only to have it revealed as a false alarm, and then fails to stop another person from dying before his beach is closed down. The film contains a handful of other memorable moments, like “You’re gonna need a bigger boat,” but this is hands down the most significant and recognizable.

Sunday Similar Subjects

Welcome to a new weekly feature here at Movies With Abe. After spending a number of weeks looking at actors who tend to play the same characters, it’s time to spotlight two films with eerily similar plots that came out at roughly the same time. There are surprisingly more examples than might be obvious, and this series will examine the similarities and differences between the two, and how their simultaneous releases affected each other.

The Illusionist / The Prestige

Release dates: August 18, 2006 / October 20, 2006

The similarities: Both films featured high-profile actors starring as magicians in non-American countries in the past. The central point of each film involved the performance of a trick that defied explanation.

The differences: The former film was from director Neil Burger, who had only one feature film to his credit, while the latter was Christopher Nolan’s follow-up to “Batman Begins.” The former film, set in Vienna, featured just one magician (Edward Norton) lusting after a noble woman (Jessica Biel) and being pursued by both an agent of the law (Paul Giamatti) and a regal figure (Rufus Sewell). The latter starred Hugh Jackman and Christian Bale as rival magicians bitterly determined to outwit the other.

The releases: “The Illusionist” was released in limited theatres two months ahead of “The Prestige,” and so their similar debut dates weren’t destructively close together. The former film made less than the latter, though its budget was nearly a third of that of “The Prestige.” Both received technical Oscar nominations for Best Cinematography, and the latter was also nominated for Best Art Direction. Neither took home any awards.

Which one is more likely to be remembered? This reviewer didn’t particularly like other one, but the answer to public recollection is obvious. If only because of its director’s subsequent fame, “The Prestige” is the only one of these films that a casual moviegoer will remember. It’s also Christopher Nolan’s non-Batman collaboration with Christian Bale, which makes it even more noteworthy. The subsequent release of an Oscar-nominated French animated film called “The Illusionist” only made people vaguely recall a film by the same name, but likely nothing else about it.

Saturday Night Movie Recommendations with Abe

Welcome to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.

Now Playing in NYC

The Babymakers (mixed bag): This R-rated Broken Lizard comedy has the makings of a funny movie, but it doesn’t deliver the laughs by offering a relatively tame and unexciting story featuring affable enough lead performances from Paul Schneider and Olivia Munn. Now playing at the AMC Village 7. Read my review from yesterday.

New to DVD

Nothing of note this week!

Now on Netflix Instant Streaming

Capote: (recommended): This 2005 Best Picture nominee is most notable for its Oscar-winning lead performance from Philip Seymour Hoffman as famed author Truman Capote. The film itself, while haunting and compelling, isn’t quite as strong, but it’s still worth seeing.

Captain America: The First Avenger (highly recommended): It seems like there have been so many Marvel movies lately, especially featuring those superheroes that make up the Avengers team. I’m pleased to report that this latest entry is a superb, all-American success, perfectly enthralling and entertaining.

Death at a Funeral (mixed bag): This 2007 ensemble comedy, which was remade in 2010 with an all-African-American cast, is full of laughs but lacking in coherent content. It’s most worthwhile for the hilarious British-accented performance from Alan Tudyk of “Firefly” fame.

Dogtooth (highly recommended): This 2010 Oscar nominee for Best Foreign Film from Greece is an incredible exploration of a family whose adult children have a warped, wholly incorrect vision of the world thanks to the systematic deception practiced by their parents. It’s an utterly fascinating treasure not to be missed.

Extract (mixed bag): Like this week’s new theatrical comedy release, this 2009 film is very forgettable despite having great potential and showcasing the talents of stars Jason Bateman, Mila Kunis, and a handful of others. It’s not bad, but there just isn’t anything terrific about it.

In the Land of Blood and Honey (recommended): Aside from a Golden Globe nomination for Best Foreign Film, Angelina Jolie’s directorial debut didn’t capture much attention. Refreshingly, it’s an extremely affecting, sober, unsettling, and powerful dramatization of the 1990s Bosnian War.

National Security (anti-recommended): Unlike, say, “Bad Boys,” this 2003 action-comedy is not a highlight of Martin Lawrence’s career. In fact, it’s a miserable mess of a buddy cop comedy, and watching it should remind viewers that Steve Zahn can do much better, as evidenced by his role on HBO’s “Treme.” Just don’t see this movie.

Platoon (highly recommended): This 1986 Oscar Best Picture winner comes from director Oliver Stone and stars Charlie Sheen. It’s most memorable as an extraordinarily effective portrait of the Vietnam war and a showcase of excellent Oscar-nominated performances from Tom Berenger and Willem Dafoe as warring sergeants.

Small Soldiers (mixed bag): Unlike the above film, this 1998 kids’ movie isn’t about real soldiers, but rather toys that come to life. That said, it’s actually a remarkably violent and decently terrifying film that isn’t necessarily kid-appropriate, though adults likely won’t enjoy it either.

Movie with Abe: The Babymakers

The Babymakers
Directed by Jay Chandrasekhar
Released August 3, 2012

Comedy team Broken Lizard is back with its newest film, with a handful of familiar faces in the ensemble and two wider-known faces in the leading roles. Paul Schneider, who appeared as Mark in the first two seasons of NBC’s “Parks and Recreation,” and Olivia Munn, who currently stars as Sloan Sabbith on HBO’s “The Newsroom,” play Tommy and Audrey, whose inability to conceive reveals Tommy’s infertility. Remembering the many sperm donations he made to pay for a fancy engagement ring, Tommy is inspired to reclaim his swimming sperm. As expected, hijinks ensue.

Best known for the 2001 film “Super Troopers,” Broken Lizard isn’t exactly known for its elegance or maturity. Member Kevin Heffernan, who here plays one of his most subdued and tolerable roles to date, as Tommy’s best bud Wade, was on tap to direct 2009’s “The Slammin’ Salmon,” which featured a mad dash for a big tip at a restaurant in order to ensure that a gangster got paid his due. The concept was clever, but the execution failed because of an emphasis on gross-out humor and excessive, over-the-top characters. Interestingly, that’s not the problem here. Instead, it’s the reverse.

A film rich in sperm discussions suggests plenty of opportunities for hilarious, if off-putting, jokes and visuals that viewers might find amusing and horrifying at the same time. Yet, aside from a few memorable conversations, the film is remarkably and disappointingly tame. Tommy and Audrey occasionally have explicit talks about sex, but they stop long before they become funny enough to merit booming laughter. On the other hand, director Jay Chandrasekhar has an outrageously loud and distracting part, one that demands an extraordinary suspension of disbelief for which the rest of the film doesn’t call. Nat Faxon, a newly-minted Oscar winner as a co-screenwriter of “The Descendants,” also plays a lamentable character, though he’s merely stupid and doesn’t demand all attention on him each time he appears on screen.

Both Schneider and Munn are gifted straight men, and it’s fun to see them surrounded by less intelligent friends, including Aisha Tyler from “Friends” and “24,” and Constance Zimmer from “Entourage.” Schneider isn’t entirely likeable, but it’s still easy to root for him and the successful reclamation of his sperm. Munn, like many women in a male-driven comedy, doesn’t get much of a chance to develop her character. They’re generally affable leads playing mostly endearing characters, but the film around them just isn’t spectacular. An R-rated comedy about sperm donations should be much meatier, and much funnier.

B-

Thursday Theoretical Oscar Category

Welcome to a weekly feature here at Movies With Abe. In my love for everything Oscar, it’s always fun to speculate on who or what might have been included given different circumstances. Though there are twenty-four fields recognized on Oscar night, that still neglects a handful of key players. As a result, I’d like to take a look each week at imagined categories, and who or what might have benefited from their existence.

The category: Best Choreography

Why it should exist: There are a handful of musicals each year, and, beyond that, a good deal of dance numbers and other important staging that goes on in a good percentage of films each year. Both the Emmy Awards and the Tony Awards give out such a prize, and it would be a worthwhile endeavor for Oscar voters as well.

Why it doesn’t exist: There actually isn’t a good answer to this question. I suppose the best argument is that it might be hard to fill the list each year (I’ve illustrated that below, as nominees range from two to five depending on the year), and that musical films would dominate while those with only a number or two wouldn’t have much of a chance. Otherwise, I think this one is the closest of any to actually truly existing, not that it would be instated any time soon, of course.

Who might have been nominated the past five years:
2011: The Artist, Footloose, The Muppets
2010: Burlesque, Scott Pilgrim vs. the World
2009: 500 Days of Summer, Nine
2008: Hamlet 2, High School Musical 3, Mamma Mia
2007: Across the Universe, Enchanted, Hairspray, Music and Lyrics, Sweeney Todd

Who do you think might have been nominated?

Wednesday Oscar Retrospective: The Deadlocked Duel of 2011

Welcome back to a weekly feature here at Movies with Abe, Wednesday Oscar Retrospective. The Deadlocked Duel was the fourth in a series of projects looking back at the past eight years of the Oscars, dating back to the first ceremony I watched and closely followed. Since I started this feature back in 2010, I’ll now be filling in the past two years.

Each year after the Oscar nominations are announced, there’s at least one category where two nominees end up in a heated battle for the award right up until Oscar night, dividing predictors and keeping Oscar watchers anxiously in suspense. This series is devoted to analyzing the biggest and most intense of those battles each year, in any category.

The Deadlocked Duel of 2011:

Viola Davis (The Help) vs. Meryl Streep (The Iron Lady) for Best Actress
The background: Prior to the nominations announcement, Meryl Streep was the most-nominated performer in the history of the Oscars, with sixteen nominations and two wins from the very beginning of her career, in 1979 and 1982. Viola Davis, who made her first film and television appearances in 1996, had one Oscar nomination, for 2008’s “Doubt,” in which she co-starred with Streep, and two Tony Awards. Both had appeared in two of the most notable female-led films of the year.

Why it was just the two of them: Earning her second consecutive nomination, Michelle Williams probably had a better shot than the year before for her Golden-Globe winning portrayal of Marilyn Monroe. Still, being up against another master imitator, Streep, didn’t help her chances one bit. Glenn Close was well overdue for an Oscar win after losing five times during the 1980s, but the twenty-three-year time gap between her fifth and sixth nominations made that less relevant, as did her two Emmy Awards for TV’s “Damages.” Rooney Mara barely made it in for “The Girl with the Dragon Tattoo,” and a debut performance like that was just strong enough to capture voters’ attention, but not win them over entirely.

Setting the stage: “The Help” opened strong with five Golden Globe nominations and four SAG nods, while mentions for “The Iron Lady” from both organizations were reserved only for Streep. Though the former film had a greater nomination tally at the Golden Globes, Streep managed to eclipse that win. Come the SAG Awards, however, Davis triumphed, as her film took home the Best Cast award as well. The Oscar nominations revealed a surprising lack of enthusiasm for “The Help,” which lost out on writing and costume nods, earning three acting nominations and a Best Picture mention, while “The Iron Lady” performed as expected, with a nod for Streep and another for makeup.

Oscar night: This awards enthusiast cautiously predicted Streep to win mainly due to the low nomination tally for “The Help.” There was little to indicate either outcome, save for Oscar history and the fact that Streep had only won twice out of sixteen tries thus far. When the category finally arrived towards the end of the Oscar ceremony, Streep was the victor, earning a well-deserved standing ovation.

Consolation prize for the loser: Streep presented her good friend Davis with the Women in Film’s Crystal Award this past June.


Come back next week for a look at the Deadlocked Duel of 2010. If you have a prediction or a suggestion, please leave it in the comments.