Top 10 Alfred Hitchcock Movies

This semester, I have had the privilege of taking a class all about the Master of Suspense: Alfred Hitchcock, arguably the greatest director ever to work in cinema. One of the main takeaways of the course was how versatile Hitchcock was as a filmmaker, not only in terms of genre, but also in the fascinating way he plays with narrative. The class made me appreciate his classics even more, introduced me to some of his lesser-known flicks, and consequently made me despise some of his more studied films (here's looking at you, Marnie). He has created some of the scariest, most suspenseful movies of all time, and of course I knew from the onset of the class that I would be making this Top 10 list by the end. I explored even more than the 14 films featured in the class, and found that though conceptually some are interesting, his execution isn't always perfect (he is only human after all). For my opinions and complete rankings of Hitchcock from Best to Worst, click here to check out my Letterboxd site, with posters and a definitive rating. And now, without holding you in suspense for any longer, here is my analysis of the Top 10 Alfred Hitchcock movies of all time!

10. The Lady Vanishes (1938)

This is one of the goofiest movies you'll ever see, and it's all in the guise of an international mystery. Never before or since has a train felt equally claustrophobic and wide open, and it's all in the way Hitchcock directs his players form one end to the other. The movie is Hitchcock's last in Britain before moving to Hollywood in 1940, and The Lady Vanishes feels like a proper send off to the overt British-ness Hitchcock loved to poke fun at (the entire premise of the film revolves around the fact that the enemies know every British person on the train is going to be at tea at a certain time- it's so ridiculous if you think about it). It's hilarious, and features spot-on chemistry between Margaret Lockwood and Michael Redgrave as strangers who get caught up in this whole affair entirely by coincidence. On that note, there's a certain kind of pleasure in having no lead character for the first 20 minutes; we get a nice overview of everyone pretty quickly, and it's great fun to see how all these characters interact throughout the plot. On a more somber note, the story accurately predicts the state of the world only a few years later during World War II, and shows great foresight on the part of Hitchcock.

9. Lifeboat (1944)

One of Hitchcock's lesser known films is a great directorial triumph, in ways both similar and incredibly different than anything else in his entire filmography. The movie takes place entirely on a tiny lifeboat with eight passengers who survive an attack on their battleship, and they must figure out a way to survive and trust each other (which is easier said than done, once they discover that a Nazi is among their ranks). Hitchcock gives just about equal screen time between the survivors, and each has a very distinct and relevant personality. All the cast's quirks and chemistry feels very realistic, in a way Hitchcock so rarely replicates in his oftentimes exaggerated movies. There's no star dominating the narrative (with the obvious exception of Tallulah Bankhead, who's character is really supposed to be over the top), and that allows for some really great acting to shine. Hitchcock's requisite cameo in the film is also hysterical if you can catch it!

8. Rebecca (1940)

Hitchcock's only win for Best Picture didn't even earn him an Oscar. His producer, the legendary David O. Selznick, won the award, after dominating the previous year's ceremony with Gone with the Wind. Rebecca feels like the appropriate follow up to that titan of a film, as it's a sprawling epic amidst gorgeous architecture and extravagant costuming. With Rebecca, Hitch found a source material that was an engaging mystery, a haunting love story, and a great set piece for Mrs. Danvers (Judith Anderson) to chew up and steal the show. Too bad about that last half hour, which shifts the tone to a courtroom drama not even focusing on the second Mrs. de Winter (Joan Fontaine). If the film ended on a tragic note, with Mrs. Danvers whispering into Mrs. de Winter's ear, then this may be Hitchcock's greatest triumph. But alas, the film falls flat at the end; but don't be discouraged from watching it- it's still a sweeping spectacle that keeps you guessing how it will all turn out, and is really the only "epic" film to come from the Master.

7. Dial M for Murder (1954)

In the 1950's, film companies started looking for ways to compete with the impeding threat of the television. They introduced wide screen that wouldn't translate to square boxes, and they also pushed the invention of 3D filmmaking. Hitchcock was assigned this new type of technological development, and Dial M for Murder is the result. It's not that it even needs the three dimensions in order to tell its story- at it's heart, it's really just a murder mystery, yet another gem in the "perfect murder" series exemplified by Hitchcock's classics. But the 3D works in a way that's not flashy, but emotionally defining of the characters in the apartment. It adds a layer of depth without cheap 3D gimmicks (for the most part), and focuses on the plot twists first and foremost. It's great fun to see Ray Milland scheme and sneak around the fact that he tries to murder his wife, and figure out how they're going to catch him by the end. It's full of delicious double meanings and puns about death- overall the most wonderful and perfect textbook example of Hitchcock's famous "perfect murder" franchise of pictures.

6. North by Northwest (1959)

The Master's return to the "wrong man" narrative is his best example of how pleasurable seeing a Hitchcock movie can be. There's not a lot of academic merit to this one, and doesn't really further any longstanding argument about the state of the world. Instead, what North by Northwest offers is a great sense of entertainment and infectious joy that comes from seeing a movie. The undeniable charm of Cary Grant, Eva Marie Saint's ice-cold portrayal of the girl, the frequent travel, and an international mystery that becomes fairly forgettable once a few things start blowing up clearly inspired the James Bond franchise, so at the very least we can thank the film for that. Plus there's more double entendres and hilarious quips than one knows what to do with. It's hard not to love North by Northwest really, and from the opening credits it delivers on its promise of providing one of the best escapist films ever produced.

5. Notorious (1946)

In my opinion, Notorious is Hitchcock's sexiest movie. Cary Grant and Ingrid Bergman are next to perfect in the film, and their nose nudging scene is just wonderful. In fact, it wouldn't have existed without that pesky Hays Code; Hitchcock wanted to subvert the censors by not breaking their rule of three-second kisses, so he had Bergman and Grant break every few seconds to nuzzle each other before resuming their make-out session. That's one of the two famous scenes from the movie, the other of course being the high-angle to close-up zoom of the key in Bergman's hand during a party. Claude Rains is also marvelous in easily his best role besides Casablanca, and the international intrigue angle of us vs. the Nazis is in full effect here. It's a neat spy movie, and one that feels both geuninely threatening and suspenseful. If you haven't seen Notorious, be sure to check it out!

4. Rear Window (1954)

What's not to love about Rear Window? Jimmy Stewart is arguably never better, and Grace Kelly is clearly having the time of her life. Plus, the movie's thin allegory as what it feels like to go to the movies is actually a really fascinating argument into society's obsession with voyeurism. It also begs interesting questions about what we do in these situations, and how we make judgements about what we see from afar without knowing the whole story. It's got some great shots, and Hitchcock scares the crap out of us without ever leaving Jefferie's apartment. I challenge you to find a movie that does this to any better effect, but I doubt you'll find one that's more entertaining and enlightening than Rear Window.

3. Rope (1948)

Rope remains one of Hitchcock's most experimental pictures, as it is designed a la Birdman to look like one continuous shot. Of course, this wasn't really possible in 1948, so there's some really cheesy cuts that happen when we zoom in on someone's backside; but hey, he actually tried, and it doesn't look half bad. What makes Rope truly spectacular is the way it features two gay men as the protagonists, unabashedly homosexual in a time where it would be a crime to admit it. Of course, these two (John Dall and Farley Granger, both gay in real life) are murderers. However, what's truly special about the film is how little Hitchcock cares about their sexual orientation; he gives them easily the juiciest parts in the film (and that's with some stellar supporting characters), and no one in the narrative seems to care that much about the fact than Brandon and Phillip are lovers. It's only through their murder, and of course Jimmy Stewart's obnoxious and prying eyes, that they get punished for their actions. The humor and death puns are never better here, and of course Hitchcock can't help but throw in some phallic objects for the protagonists to humorously stroke. Rope is one of Hitchcock's most undervalued films, but I beg you to seek out this movie more than any other on this list. It's an important, fun, fast-paced, and darkly wonderful little movie in Hitchcock's oeuvre that truly succeeds.

2. Psycho (1960)

From the opening orchestra's famous theme song, all the way to the checkered finale, Psycho keeps you on the edge of your seat. I've always loved Psycho and have discussed it at length on this blog before, but this recent classroom experience has made me fall in love with it even more. The main reason for this is that ignoring spoilers or how many times you've seen the movie, there is NO warning that Marion's shower scene will happen. Hitchcock punishes the viewer for playing detective (a trick they ironically learned by watching Hitchcock's films), killing off the main character thirty minutes into the film. There's no warning about who Norman Bates really is, and the film miraculously fools you into thinking each time you watch it that Marion will live; there's simply no way to not think that, as the evidence simply isn't there. All rules are thrown out the window once Marion dies, and you just have to go on the roller coaster with no hope of solving the case. The camera is also like a child in this picture, aimlessly choosing people to follow and becoming very sad once someone dies (watch the way it moves after the shower scene- it walks around looking for someone to follow until it reaches Norman)- you've never seen a camera so personified like a person as you do in Psycho. The film is bloody brilliant in every sense of the world, and taking this class further proves why many consider it to be Hitchcock's best film...

1. Vertigo (1958)

...however, as recently exemplified in many polls, Vertigo has begun to dominate the lists of the best films ever made. Hitchcock's masterpiece works against his normal conventions in much more subtle ways than Psycho, and it's much harder to get into Vertigo than his slasher flick. But, if you're patient, you'll realize there's never enough time to say all you want to say about Vertigo. Looking past it's twisty and unpredictable narrative, and beyond the stalker-like tendencies of Jimmy Stewart's character (though there's PLENTY to say about that), Vertigo is for my money one of the best films ever made. It's flawless in its execution, whether it be through set design, costuming, acting, writing, direction, production, editing, cinematography, sound design, music, or any multitude of different filmmaking techniques. Heck, the final transformation of Judy into Madeline, with the blonde hairdo done the right way and the green lights shining on her face, is one of my favorite movie scenes EVER. The more you watch it, the more you'll fall in love with it. It sucks you into the dark and seedy underbelly of manhood, and threatens to destroy you if you let it. Vertigo is that rare kind of movie that never ages, never feels irrelevant, and never quite meets its match. It was a box office bomb in 1958, but French critics reevaluated it as Hitchcock's masterpiece (thank you Laura Mulvey for putting it back on the radar) later down the line. You have to see Vertigo more than once, as you'll pick up on so much more the second time around. It's not everyone's favorite, but it's certainly mine; it's not as fun as Psycho, not as silly as North by Northwest, and not as suspenseful as Rear Window. But for my money, Vertigo is arguably the best movie ever made. It lets you fall in love with the movies every time you watch it, and you'll never want to stop talking about it. And really, isn't that the point of going to the movies?

Thanks for reading everyone, and once again click the link at the top of this post to see my complete rundown rankings of all the Hitchcock movies I've seen!

Marvel Cinematic Universe: Ranked from Worst to Best

This weekend, every person in America will likely be planning on seeing Avengers: Age of Ultron, the continuation of one of the most successful film franchises of all time. Adapting Marvel properties has proven to be a massive success, with the studio combing through some of their most popular, most exciting, and most unique projects and bringing them to life on the silver screen. I am a diehard fan of Marvel comics, and love their combination of mindless action and intelligent humor. A Marvel movie has opened the summer for several years now, and this summer is no exception: we have a new Marvel movie, so it's time for summer 2015! I thought a fun way to celebrate the release of Age of Ultron would be to look back at all the franchise's previous installments so far in the Marvel Cinematic Universe, and rank them from worst to best. I adore the way all these movies interact with each other in the universe, and I consider them all one story; however, here are all of the missteps, time-proven formulas, and innovative techniques that make each film unique. Let's get started off to a MARVELous weekend with this list! (NOTE: This list ONLY includes films that are part of MCU, and therefore do not include Fox properties like X-Men or Fantastic Four, nor Sony-owned Spider-Man.)

10. Thor: The Dark World (Alan Taylor, 2013)

Easily the weakest installment of the MCU so far is this shrug-ish Thor sequel. Phoned in at its best and just downright lazy at its worst, The Dark World suffers from having to follow on the heels of very successful films before it (Thor, Avengers, and Iron Man 3). The villain is so lackluster (something about a dark elf) that we hardly even care that his plan will plunge the universe into everlasting darkness (how lame of a story is that???). Natalie Portman's character, Jane Foster, gets reduced to a mere damsel-in-distress role, having nothing interesting to say or do throughout the narrative. Even Chris Hemsworth clearly loses some confidence in Thor this time around, and Anthony Hopkins just looks downright bored. The only good use of characters in the film include Tom Hiddleston's delicious Loki (who steals the show in every scene he's in), and a surprisingly hilarious Kat Dennings as Darcy- Jane's intern who was a throwaway character in the first installment. Thor 2 is largely devoid of interesting action sequences, and does not even attempt to throw plot twists or any sort of jazz into the script. I will say this- it does effectively play for comedy during the final battle sequence, but even that ultimately serves to remind us how laughable this movie remains. 

9. The Incredible Hulk (Louis Leterrier, 2008)

Coming off the heels of Iron Man must have been no easy feat, but Marvel seems genuinely caught off-guard in the only Hulk film so far. Edward Norton is awfully cast as the titular character, and has about zero chemistry with Liv Tyler's Betty Ross. William Hurt (as General "Thunderbolt" Ross) and Tim Roth (Emil "Abomination" Blonsky) actually do have a lot of fun in their scenes, and take the actions of their characters very seriously. The climactic Hulk vs. Abomination battle is actually a lot of fun in hindsight, and works well with some of the nicer touches in the picture (Robert Downey, Jr.'s cameo at the end, the foregoing of a nonsensical origin story, and small hints of SHIELD and what's to come in the MCU). It's fairly bland and humor-less when compared with other movies in the franchise, but Incredible Hulk really isn't as bad as you remember it. It's certainly better than that Ang Lee disaster in 2003. 

8. Captain America: The First Avenger (Joe Johnston, 2011)

Captain America has the potential to be a really lame/narcissistic character, and before Joss Whedon figured out what to do with him in The Avengers... well, he was. The first Cap film succeeds at introducing us to a likable hero in Chris Evans, and squares him off against a Nazi bad guy (played by the so-so Hugo Weaving) who's face proves more menacing that he actually is. The plot is also fairly difficult to follow, not that it particularly matters- because we pretty much know how this is going to go down. Hayley Atwell's Peggy Carter and Tommy Lee Jones' Col. Phillips are both really cool and hilarious characters, and there's a lot to be said for Dominic Cooper bringing Tony Stark's father Howard to life, and for Toby Jones' still-creepy portrayal of Red Skull's henchman; but, they all get sidelined in favor of Captain Righteous and Captain Megalomanic. The World War II production design is gorgeous, however, and Johnston takes care in crafting a world that seems realistic for this universe, and still evocative to the 1940s itself. This movie mostly harmless, but overall does nothing to excite me in any meaningful way. 

7. Iron Man 3 (Shane Black, 2013)

This movie brings forth an interesting conundrum to the usual MCU formula: I typically love watching movies over and over again, and the MCU flicks remain no exception (I can't even tell you how many times I've seen the first two Iron Man films or The Avengers or Guardians of the Galaxy). However, after falling in love with Iron Man 3 when it came out two summers ago, I just recently re-watched it- and find that it doesn't really hold up well to repeated viewings. The twist about the Mandarin (Ben Kingsley) still comes out of nowhere in a really positive way, and the fact that the film deals with Tony Stark's PTSD following the events of The Avengers makes TOTAL sense on why it would happen, and I'm so glad Marvel took a chance to pursue that storyline. That being said, Guy Pierce is kind of a train-wreck as the villain, seeming to go nowhere even by the end. For the most realistic of the Marvel properties in the MCU, the Extremis story can only go so far without seeming ridiculous- which it ultimately does by the end. Gwenyth Paltrow and Don Cheadle- whom I typically love in these movies- get terrible roles in this installment, and lose a lot of their heart and humor that drove them throughout the franchise up to this point. However, with all this in mind, Iron Man has always been about the titular character, and Robert Downey, Jr. does give a heck of a performance in this movie. He thankfully loses his devil-may-care attitude in favor of a more humanizing and well-rounded hero. Oh, and his chemistry with Ty Simpkins is on point. 

6. Iron Man (Jon Favreau, 2008)

Marvel's first film thankfully holds up really well on repeated viewings; and, of course, the fact that it started this whole obsession cannot be overlooked. It features a pitch-perfect performance from Downey, his comeback role that propelled him to one of the most bankable stars on the planet. It's freaking hilarious at points, and downright silly in others- both trademarks of a good Marvel movie. Iron Man is not without its problems, however, as Terrence Howard largely sucks as Rhodie (a role that Don Cheadle thankfully takes over later), and the final battle scene between Iron Monger and Iron Man is largely lackluster (though that does come from the fact that Iron Man really just has terrible villains in the comics to work with). Nevertheless, it's easy to overlook some of these glaring issues in favor of watching Jeff Bridges have a ton of glee playing Obadiah Stane, and Gwenyth Paltrow fits in better than expected as Stark's personal assistant, Pepper Potts. Also, shout out to Paul Bettany for playing JARVIS, Stark's sassy computer and character staple, who plays the faceless role with such ease and grace that it'd be weird to watch these movies without him. The opening sequence is more exciting than it has any right to be, and genuine emotions fuel the entire story. Iron Man also introduced us to fan favorite character Agent Coulson (Clark Gregg), as well as Samuel L. Jackson's Nick Fury, asking Stark about something called an "Avengers Initiative". 

5. Thor (Kenneth Branagh, 2011)

When Branagh signed on to direct Thor, it left many heads scratching (mine included)- why on Earth would a noted Shakespearean dramatist do a superhero movie? Once we saw the film, however, we no longer wondered what he was doing here. Thor works as a Shakespearean superhero film, filled with several themes of The Bard, including family turmoil, the presence of gods in our everyday lives, and not being able to move past one's destiny. Chris Hemsworth convinces us as Thor, a vain god who can't see past the glories of battle when trapped on Earth for a war he purposely caused. While Hiddleston is still testing the waters as Loki, he nevertheless introduces us to one of the best villains of the MCU thus far. However, the real crowning achievement is Anthony Hopkins, who gives a nuanced and rich portrayal as Odin- ruler of Asgard and Thor and Loki's father. Natalie Portman and Stellan Skarsgard also deliver admirable performances, making us truly empathize with their excitement about finding an alien on Earth. Thor's journey from vain child to "worthy" prince is a blast to watch unfold, and presents a fun treatment of Shakespeare for the comic book crowd. 

4. Iron Man 2 (Jon Favreau, 2010)

Ok, I KNOW I'm getting get some flack for ranking this one so high, but hear me out: I think Iron Man 2 is one of the most fun, exciting, and comical adventures an Avenger has faced thus far. Sure, the RDJ drunk party bit goes on a little too long, but that fight with Rhodie in the War Machine suit is so worth the wait. Plus, we get Sam Rockwell and Mickey Rourke being so ridiculously ludicrous it's hard not to love them. This is the film with the best chemistry between Downey and Paltrow, and all of their lines glimmer with the fast-paced hilarity that proved so resilient in the Katherine Hepburn-Cary Grant movies of the Golden Age of Hollywood. The special effects are top notch here, and the final battle scene seems neither tedious or stupid- it's genuinely a ton of fun to watch unfold. Scarlett Johansson is fantastically cast as the deadpan Black Widow, and her role in this, while limited, does give us hope that we will see great things from her down the line (which, of course, we do). This movie plays mostly for laughs, but unlike Thor 2, sprinkles in some of the most serious material the MCU has ever put out (Tony's alcoholism, his relationship with his father, and the turmoil Tony inflicts on Pepper by putting her in charge of the organization). Iron Man is arguably my favorite Avenger, and this is the movie where we really solidified how fun he can be. Can you honestly say that you didn't have a smile on your face the entire film? 

3. Captain America: The Winter Soldier (Anthony and Joe Russo, 2014)

I'm a huge proponent for SHIELD-driven stories, and political thrillers are always a fun genre to explore. The Russo brothers bring both of these to the forefront in a shockingly effective way with The Winter Soldier, becoming our best look into the corrupt organization so far. The Russos also realize something very important about Captain America: on his own, he's kind of a lame superhero, but when used as the lens for a much larger story, can be wonderfully effective. And so it is for Captain America 2, which basically throws him into this much larger world without ever feeling like the whole movie is revolved around him. Of course, we do get some inspired performances from Johansson's Black Widow and Jackson's Nick Fury, as well as one from newcomer Anthony Mackie as Falcon, to help balance out the responsibility of headlining the picture. The thrills are here and in full effect in Winter Soldier, and with the weird exception of the titular bad guy (who is fairly uninteresting in the already cluttered storyline), the villain are all marvelous. Robert Redford would typically feel somewhat out of place in the MCU, but as a high-ranking SHIELD agent, he not only tethers us to the 1970's political thrillers that inspired Winter Soldier, but also provides a good acting job from a legend. The plot-twists are fairly unpredictable, and though we never question specific characters' loyalties, we nevertheless feel swept up in the chaos of a government agency gone wild. It's a stellar episode in the Cinematic Universe, and one that hopefully paves the way for more ensemble-driven thrillers in the future. 

2. Guardians of the Galaxy (James Gunn, 2014)

Tell me you're not singing "Hooked on a Feeling" immediately after seeing the poster to this film. Marvel's most brilliant marketing ever convinced audiences to come in droves to see Guardians of the Galaxy, but its staying power in the North American box office came from incredibly strong word-of-mouth. GOG is a fast-paced roller coaster that never lets up, introducing us to an almost entirely-new cast filled with acting titans and relative newcomers. It's goofiness works really well to propel the film as an action-comedy that gives viewers immense satisfaction from beginning to end. It came out of nowhere, as well; aside from a few Marvel fans, hardly anyone knew anything about the Guardians. Now, that's all people can talk about, as it successfully reminds audiences how fun the MCU can really be. The soundtrack "Awesome Mix Vol. 1" is perfect, and drives the movie in terms of both narrative and general excitement. I can speak for days about the AMAZING performances by Chris Pratt (Star Lord), Zoe Saldana (Gamora), Bradley Cooper (Rocket Raccoon), Dave Bautista (Drax the Destroyer), and Vin Diesel (Groot), but I'll leave you to your fond memories instead. 

1. The Avengers (Joss Whedon, 2012)

Really no surprise here, but the film that really solidified the awesomeness of the Marvel Cinematic Universe was The Avengers. I already spoke praises of the cast, so I'll focus instead on how perfectly they mesh together. Their chemistry is practically flawless, and it's a special kind of joy seeing all six (including the yet-unmentioned Jeremy Renner as Hawkeye) Avengers interact with each other on the Helicarrier. The movie is also funnier than most modern comedies, and leaves you busting a gut for nearly the whole film. A film is only as good as its villain, however, and Hiddleston functions beautifully as a seemingly menacing, yet not that good of, a villain. His role reminds us of reading the comics and watching the animated series as a kid, and getting a particular type of glee from seeing the superheroes conquer the bad guys. No where in sight is the angsty and brooding darkness evocative of most superhero franchises, but instead Marvel succeeds at first and foremost allowing us to have a good time. The special effects are extraordinary, and the Battle of New York is easily the best sequence of any Marvel film thus far. The Avengers successfully proves that you can create a blockbuster with heart, wit, intensity, intelligence, and overall joy without ever compromising a sense of fun. And ultimately, that's what superhero movies are for: to give us the best time possible, and to allow us to escape into a world with super soldiers, men in iron suits, aliens, and megalomaniac villains. If Age of Ultron is half as good as The Avengers, then we're in for a cinematic treat unlike any other. 

Well, that's my list! Check in next week for the hardest Top 10 list I've ever had to make: the Top 10 Alfred Hitchcock movies!  

Hidden Gems of the Palme d'Or Winners

Hello everyone, and sorry for the long delay in my postings. It has been a crazy busy couple of months, and I appreciate those who read this blog's patience in waiting for the next post. For your long wait, the next three weeks will be PACKED with content- a new list every week! The 2015 Cannes Film Festival is coming up soon, and for those who don't know, I am going to it this year! So, a project I've undertaken these past few months is watching some of the winners of the Palme d'Or- the festival's highest award. To give you a crash course in Cannes Film Festival politics, there are several juries that hand out a multitude of awards. The Palme d'Or (The Golden Palm) has been around since 1955, though a high prize has always been given, albeit under a different name (it was previously called the Grand Prix). The winner is chosen from a list of films "in competition", usually between 20-25 films from across the globe.

I have been intending for a long time to make a Top 10 list for the winners of this award, but find myself in a bit of a conundrum. First of all, it's quite difficult to reasonably compare the winners of the Palme d'Or, as each year the Festival is headed by a different jury with their own tastes and preferences. So, it's not like comparing Oscar winners that have a stable Academy throughout the years; it's a completely overhauled set of international contenders year after year. But normally, I'd consider doing a "Best Of" list a cop out for not actually creating a discussion-furthering Top 10 ranking. I needed to strike a balance, and be decisive in my choices without actually ranking incomparable winners. My solution is doing a "Hidden Gems" list, as I think it is actually very appropriate in this case. There's a lot of great films that have come from the Festival that I'm sure most people haven't seen, so instead of going on and on about Apocalypse Now and Pulp Fiction (which I can very easily do), I'm going to go over some movies that I think you should really see. So, here you go: my picks for some of the best under-seen Palme d'Or winners (in chronological order, so some are Grand Prix winners):

Brief Encounter (David Lean, United Kingdom, 1946)

"I meant to do it, Fred, I really meant to do it. I stood there trembling right on the edge, but I couldn't. I wasn't brave enough. I should like to be able to say that it was the thought of you and the children that prevented me but it wasn't. I had no thoughts at all, only an overwhelming desire not to feel anything ever again. Not to be unhappy anymore." With these words, Brief Encounter takes a turn for the worst for our central love story. Nonexistent is the Hollywood rom-com formula, where our leading lady (Celia Johnson), a depressed housewife, and leading male (Trevor Howard), an unhappily married man, do not end up together. It's a film that directly challenges the positive effects of even the most affectionate of relationships; Laura's husband (Cyril Raymond) honestly doesn't know his wife is not happy, but loves her to pieces. It's a weepy-eyed look into an extramarital affair that the audience wants to see happen, punishing viewers for daring to defy the rules of marriage. It also has the most annoying entrance of a useless character of all time; we know she's coming, but it still doesn't save us from screaming at the screen to not ruin the end of the love story.

The Lost Weekend (Billy Wilder, United States, 1946)

Several films were awarded in 1946, but all shared the same theme: unflinching looks into the dark side of reality. Italian Neorealism classic Rome, Open City also took home a prize that year, but an arguably better (though less popular) film came from the USA. Wilder's sharply written and brutally executed The Lost Weekend offers audiences the chance to experience alcoholism firsthand. With Ray Milland as the lead role, it shows us the hopelessness of escaping the disease from the point of view of a man lost in the bottle. All he wants is to be an author, but since getting rejected time and time again, he feels like his only source of happiness comes from drinking. His family is sick of helping him, and only the love of his life (Jane Wyman) wants anything to do with him anymore. Minus the tacked-on happy ending, it's a realistic, hard to watch experience that truly captures what it feels like to feel alone in the world.

Kagemusha (Akira Kurosawa, Japan, 1980)

Akira Kurosawa has crafted some of the most memorable movies in Japanese history, including none less than Yojimbo, Seven Samurai, and Rashomon. However, one of his most overlooked films remains the 1980 masterpiece Kagemusha- a startling achievement in color and epic scope. George Lucas and Francis Ford Coppola, fans of Kurosawa since film school, secured the financing for the film that would restart Kurosawa's career in the '80's (cumulating of course in Ran), eventually taking it all the way to the Cannes Film Festival. There, it tied with Bob Fosse's autobiographical All That Jazz, so it remains overshadowed by that American landmark. But Kagemusha offers something to audiences that those since the '50's haven't experienced; namely, a chance to see the Japanese filmmaker translated to the big screen. It's epic in a way most films can only begin to imagine, and though the plot is hard to follow (something about a body double for a king?), Kagemusha succeeds at having harrowingly long takes (the opening shot is unusually still, but is about a 10-minute long shot that showcases amazing acting) mixed with big edits during battle sequences. The dream sequence is a trippy film in and of itself, and stands out as one of the most dizzyingly beautiful uses of color ever. Kurosawa may remain one of the best Japanese filmmakers, and this film, arguably his masterpiece, won him his only Palme d'Or.

Farewell My Concubine (Chen Kaige, China, 1993)

China did not win a Palme d'Or until 1993, but it has become overshadowed by the first female filmmaker ever to win the prize- Jane Campion for The Piano. Despite the tie, The Piano takes all the love for the 1993 Cannes Film Festival. However, I strongly believe that Farewell My Concubine remains a far better film, and one of the only recent examples of a motion picture that truly deserves the word "epic". Tracing the modern history of China from the perspective of two child actors, Kaige's movie has shockingly effective production design that feels like he made the movie Boyhood style across 53 years. Part of China's "Fifth Generation" of filmmakers that brought the country international cinematic attention, Kaige miraculously captures the contained story of two boys (Leslie Cheung and Zhang Fenghi) who perform the same play over their careers, despite the turmoil brought on by war and the rise of the Cultural Revolution. The costumes are gorgeous, the writing is tragic (reflecting the titular play), and the scenes are graphically intense. Despite its three hour runtime, the film remains gripping throughout- a testament to the power of the story and the filmmaking prowess of Kaige. I cannot speak highly enough of this motion picture, and hope that all of you see this movie at least once; it presents the best depiction of modern Chinese history ever captured on camera, and it should be seen by everyone who loves movies.

Elephant (Gus Van Sant, United States, 2003)

Before jumping into the mainstream with films like Good Will Hunting, Gus Van Sant was a popular art house director- a genre he returned to in the 2000's with his controversial "Death Trilogy". His middle film (between Gerry and Last Days), Elephant, took home the Palme d'Or in 2003. It became the first in a long series of fictional movies that tackled the issues of the Columbine Massacre, and set the precedent for emotionless violence in the face of an unstable world. It has a steady beat throughout, and despite its violent subject matter, never glorifies the carnage depicted on the screen. Following a group of unrelated students throughout one day in high school, Van Sant shoots each segment differently depending on the student. For example, he does long takes when he follows an amateur photographer, but jumps frequently when he follows a student confused about his place in the world. The acting is top notch, and all from unknowns- making the film feel disturbingly naturalistic. By the time the shooting comes, Van Sant has soaked all the "fun" that comes from violence in a bloody mess that never loses the beat set from the onset of the narrative. It should be seen by all high school students, as it depicts the problematic representations of bullying, popularity, and relationships. A powerful work, and much different than Good Will Hunting, Van Sant's Palme d'Or win feels deserved and important.

4 Months, 3 Weeks, and 2 Days (Cristian Mungiu, Romania, 2007)

One of the subtly quiet yet immensely intense Palme d'Or winners ever. Mungiu shoots the story of a woman (Anamaria Marinca) trying to help her friend (Laura Vasiliu) get an illegal abortion from a black market predatory doctor (Vlad Ivanov) with thrilling instinct and gripping sentiment. The film, part of Romania's New Wave, gravitates the story on the woman just trying to help her friend, unrelated to the actual incident yet always a prescience. It leaves the viewer powerless to do anything in this dark (literally, poorly lit) and foreboding world of black market abortions. There's very minimal going on in the narrative, yet you can't ever say you're bored- the powerhouse trio acting in the center and the daring long takes leave you cringing throughout the whole film. The best scene? Despite the strong chemistry between the three leads, there's a very long scene at the friend's boyfriend's (Alexandru Potocean) house- all while the abortion is in its final moments. It's randomly brilliant, that works mainly because of Marinca's distracted acting- where a nearly 10-minute long take has her sitting at a table looking at the grandmother blank. Heartbreaking

Amour (Michael Haneke, Austria, 2012)

Michael Haneke is one of the few directors to win not one, but two Palme d'Ors. His first, The White Ribbon, was popular for the filmmaker, but he received international stardom after an Oscar nomination for Best Picture and Best Director for 2012's Amour. Amour, which follows an elderly couple plagued by a stroke and old age. Jean-Louis Trintignant and Emanuelle Riva, popular stars from the 1960's, unite to give two of the most heartbreaking performances in Cannes history. They love each other deeply, which makes their decisions so much harder in the wake of tragedy. Haneke films their performances with clarity and grace, and reminds viewers the importance of sticking together even in the worst of times. I held back a tear many times throughout the movie, especially when Trintignant has to choose between putting his wife in a home (thereby breaking a promise he made to her to never do that), or taking drastic measures. As evidenced in the title, Amour remains a film about one thing: love, and viewers feel just that throughout the film.

Honorable Mentions: As previously stated, I've spent the past few months watching some of the Palme d'Or winners, and while I wanted to highlight the hidden gems, I also want to call your attention to some of the other big winners. Here are all the other, more mainstream Palme d'Or winners I have ever seen (please comment if you want to talk about them!): Rome Open City, Marty, The Third Man, La Dolce Vita, MASH, The Conversation, Taxi Driver, Apocalypse Now, All That Jazz, Sex Lies and Videotape, Barton Fink, The Piano, Pulp Fiction, The Pianist, and The Tree of Life.

On Friday, we're turning our attention to the blockbuster sensations that have captivated the world's imagination: the Marvel Cinematic Universe movies, ranked from worst to best!

2015 Oscar Predictions

Well, folks: today is the day. In just a few short hours we'll see who has been selected as the winners of the 87th Academy Awards. "Imagine What's Possible" is the theme of this year's show, which promises to be jam-packed with performers and a celebration of the best movies of 2014. This year, I'm thankful to say that most of the films selected are honoring art instead of politics, so I'm excited to see how many of my favorite films do. So, without further adieu, here are my predictions for tonight's show... IN ALL 24 CATEGORIES! Here we go, speed round:

Best Picture:

Click here for my breakdown of all the nominees. This race is still locked pretty tight between Birdman and Boyhood, with American Sniper the likeliest dark horse contender. It's box office and intense media coverage right now give it a slight edge, though Academy history is not on the side of popular favorites (sorry, Avatar, Star Wars). Due to the Academy's preferential voting methods, the near-unanimous love for Boyhood could give it the edge to move forward. A Best Picture win for that film seems fitting and deserved, and I'm betting it takes the gold tonight. Don't be surprised or upset if Birdman wins however, because like Boyhood, it represents an exciting innovation in cinema that the Oscars should recognize. Either one is fine with me (though obviously I want Boyhood to win the most).
Will Win: Boyhood
Could Win: Birdman or (The Unexpected Virtue of Ignorance)
Should Win: Boyhood

Best Director:

Another 50/50 split between Birdman and Boyhood, this one is likely to go to Alejandro G Inarritu for his startling work with both a phenomenal cast and amazing cinematography. It's definitely a director's picture, and though Linklater's passion and commitment to the project cannot be ignored, I think the Academy is going to want to split the love between the two pictures. Like the past few years, there will be a Best Picture/Best Director split to shower the love between two great films. And if Birdman's going to get either, it's looking like it'll be Inarritu's day.
Will Win: Alejandro G. Inarritu, Birdman or (The Unexpected Virtue of Ignorance)
Could Win: Richard Linklater, Boyhood
Should Win: Richard Linklater, Boyhood

Best Actor in a Leading Role:

Click here to see my full coverage of this category. The only real unpredictable acting category, at this point it looks like Redmayne will take the gold for his physical transformation as Stephen Hawking. However, if Birdman love and career victories prevail (and rightfully so in this case), we will see Keaton take his first-ever Academy Award. There seems to be a lot of love for him, but you cannot argue with SAG's and BAFTA's for Redmayne. Keaton had the more complex and emotionally challenging role, but Redmayne's is just too appetizing and flashing to overlook.
Will Win: Eddie Redmayne, The Theory of Everything
Could Win: Michael Keaton, Birdman or (The Unexpected Virtue of Ignorance)
Should Win: Michael Keaton, Birdman or (The Unexpected Virtue of Ignorance)

Best Actress in a Leading Role:

Click here to see what I have to say about all five nominees. Vote for Julianne Moore. Just trust me.
Will Win: Julianne Moore, Still Alice
Could Win: Reese Witherspoon, Wild
Should Win: Rosamund Pike, Gone Girl

Best Actor in a Supporting Role:

Check out my thoughts of the nominees here. Go for Simmons. Wait, you want to lose your office poll? In that case, GO ROBERT DUVALL!
Will Win: J.K. Simmons, Whiplash
Could Win: Edward Norton, Birdman or (The Unexpected Virtue of Ignorance)
Should Win: J.K. Simmons, Whiplash

Best Actress in a Supporting Role:

Check out what I think of all five people here. Wait, ANOTHER lock?? This ceremony may not be too exciting, after all...
Will Win: Patricia Arquette, Boyhood
Could Win: Emma Stone, Birdman or (The Unexpected Virtue of Ignorance)
Should Win: Emma Stone, Birdman or (The Unexpected Virtue of Ignorance)

Best Original Screenplay:

Again, with all three of the major nominees in contention here, Foxcatcher and Nightcrawler do not stand much of a shot. Much like Best Picture/Best Director will split to spread the love, the Academy will likely give auteur Wes Anderson his first Oscar for favorite The Grand Budapest Hotel. He's won a slew of guild awards so far, and this is a great way of honoring the man since Best Picture/Best Director are likely going to someone else. He has a lot of respect in the industry, so tonight is likely his for the taking (of this particular award, at least).
Will Win: The Grand Budapest Hotel
Could Win: Birdman or (The Unexpected Virtue of Ignorance)
Should Win: The Grand Budapest Hotel

Best Adapted Screenplay:

Not nearly as exciting or interesting as Best Original Screenplay is it's Adapted counterpart, which features fairly non-interesting written works. Since it's lost steam pretty much everywhere else, I'm placing my bets on The Imitation Game, solely because it won the WGA. Don't lose sight of potential favorite Theory or fan-favorite Whiplash though, because they could upset.
Will Win: The Imitation Game
Could Win: The Theory of Everything 
Should Win: Whiplash

Best Animated Feature:

After a rather major snub, there's really no precedent for what will Best Animated Feature (except maybe the Globes, but they don't really count). Just because the first one lost, and the series is highly regarded, I'm betting it's going to go to How to Train Your Dragon 2. Though Disney could bring Big Hero 6 to victory, and this could be a good year for one of the foreign films. Just not The Boxtrolls.
Will Win: How to Train Your Dragon 2
Could Win: Song of the Sea
Should Win: Big Hero 6

Best Documentary Feature:

Citizenfour. No competition, and there really shouldn't be, because it's easily the most accessible, entertaining, and informative documentary since Searching for Sugar Man.
Will Win: Citizenfour
Could Win: Virunga
Should Win: Citizenfour

Best Foreign Language Film:

This is a really great category. Ida is the shortest, a throwback to Polish New Wave, black-and-white, about WWII, and is up for Best Cinematography. Leviathan is a controversial film about Russian politics today, and Wild Tales is a huge crowd-pleasing comedy. Due to Netflix's ease of access and short run time, I'm thinking it's going to be Ida.
Will Win: Ida
Could Win: Leviathan
Should Win: Ida

Best Original Score:

The yucky Theory of Everything score is fairly mundane, as is it's runner-up competition Imitation Game. The Grand Budapest Hotel is the most interesting in these fairly average compositions, so I hope that wins. Though don't bet on it; despite two nominations this year, Desplat is going to lose to favorite Johannsson.
Will Win: The Theory of Everything 
Could Win: The Imitation Game
Should Win: The Grand Budapest Hotel

Best Original Song:

The Academy is not going to miss an opportunity to pick a winner from Selma, and seeing as this is the Best Picture nominee's only other mention... well, we'll see you on the podium Common and John Legend. I personally hope Begin Again gets a chance to shine!
Will Win: "Glory", Selma 
Could Win: "Everything is Awesome", The Lego Movie 
Should Win: "Lost Stars", Begin Again

Best Cinematography:

Chivo! Better known as Emanuel Lubezki, Birdman's newly-minted Oscar-winner (for Gravity last year) is going to take home the gold again this year. But for some more truly gorgeous photography, look no further than Ida and Mr. Turner, crazy works of cinematography that proudly made their way to the final five. Grand Budapest is also kind of fun with the way Anderson plays with aspect ratios and symmetry, though how Unbroken made it in is beyond me.
Will Win: Birdman or (The Unexpected Virtue of Ignorance)
Could Win: The Grand Budapest Hotel
Should Win: Birdman or (The Unexpected Virtue of Ignorance)

Best Costume Design:

The popular Collen Atwood for dressing Meryl? Or Canonero for getting costumes to work within the quirky world of Wes Anderson? My bets are on the more popular of the two films.
Will Win: The Grand Budapest Hotel
Could Win: Into the Woods
Should Win: The Grand Budapest Hotel

Best Editing:

Though the frenetic American Sniper and Whiplash could sneak in a few votes, Boyhood's pretty much got this one in the bag. After all, it's already a major commitment to do a film for 12 years, but to make it look so seamless? Pure editing perfection.
Will Win: Boyhood
Could Win: Whiplash
Should Win: Boyhood

Best Makeup and Hairstyling:

Will it be Steve Carrell's nose, Tilda Swinton's near-unrecognziable facial, or the creation of the most fun aliens in the galaxy? I certainly hope it's the last one, though don't underestimate Grand Budapest Hotel's sweep in the technical categories.
Will Win: Guardians of the Galaxy
Could Win: The Grand Budapest Hotel
Should Win: Guardians of the Galaxy

Best Production Design:

If you've seen The Grand Budapest Hotel, or really any Wes Anderson movie, you know how gorgeous the production design of the film is. Fantasy forests and space operas ain't got nothin on a reimagining of WWII and symmetrical color pallets.
Will Win: The Grand Budapest Hotel
Could Win: Into the Woods
Should Win: The Grand Budapest Hotel


Best Sound Editing/Best Sound Mixing:

Sound editing involves the creation of new sounds, while mixing features the balancing of previously-established noises with the dialogue and music. While the difference is very clear, most Oscar voters don't recognize that, so they typically choose the same winner. In this case, they'll actually honor American Sniper's war footage.
Will Win: American Sniper
Could Win: Interstellar
Should Win: American Sniper for Editing, Whiplash for mixing

Best Visual Effects:

Interstellar is polarizing in terms of opinions, but the visual effects are pretty staggering to behold. However, I'm praying that Dawn of the Planet of the Apes pulls through, because of the breakthroughs of both films in the series made in terms of motion capture.
Will Win: Interstellar
Could Win: Guardians of the Galaxy
Should Win: Dawn of the Planet of the Apes

Best Live Action Short Film:

I saw all five of these yesterday, and by far the best one was The Phone Call, about a suicide hotline (deep and emotionally heartbreaking material). That it also stars two Oscar honorees, Sally Hawkins and Jim Broadbent, is icing on the cake.
Will Win: The Phone Call
Could Win: Aya
Should Win: The Phone Call

Best Documentary Short Film:

A suicide hotline for veterans will also prevail here.
Will Win: Crisis Hotline: Veterans Press 1
Could Win: Joanna

Should Win: Crisis Hotline: Veterans Press 1

Best Animated Short Film:

After robbing Disney Animated Studios last year, AMPAS is going to honor the studio's Feast this year, which was widely seen attached to Big Hero 6. Plus it features a puppy!
Will Win: Feast
Could Win: A Single Life
Should Win: Feast

Well, there you go: all 24 category predictions. Enjoy the show tonight, and remember that this is an honoring of the best films of 2014. Good luck to all your favorites! Thank you!

Oscar Countdown 2015: Best Picture

Welcome to Oscar Countdown 2015! Welcome to the final post, dedicated to Best Picture. Today, we'll be breaking down the eight movies selected by the Academy of Motion Picture Arts & Sciences as the best films of 2014. While not everyone agrees, and all politics aside, I accept the Academy's choices for the best of the year as a definitive guide to the year that was 2014. I, like everyone in the world, would rather see different nominees here, but I am also very happy to appreciate and celebrate the films that AMPAS have selected. So let's get started with breaking down each of the nominees for the Best Picture of 2014!

But before we do, let's look at all eight nominees together:

And now, on to the show!

American Sniper (Clint Eastwood)

Clint Eastwood's examination of Chris Kyle is an intense, thrilling ride into the mind of the deadliest sniper in US history. With a fine performance by my current obsession Bradley Cooper, the film has become a shockingly massive box office smash, almost taking the spot of the highest grossing domestic film of 2014. It hits all the chords of a typical, gung ho military flick that the Academy tends to favor, but it also addresses the severe problem of PTSD among returning soldiers (interestingly enough, a documentary short up this year also deals with that issue, pertaining to a suicide hotline for veterans). American Sniper also represents a silent threat for Best Picture in so much that because of its growing popularity and late-season entrance into the awards game, it's easily the freshest on voters minds. This gives it a slight edge, though it'll be hard to see the movie pull a Million Dollar Baby and show up the competition. But who knows- the strong support for this film may pull through in the end (and who doesn't want to see Cooper win an Oscar for producing?). Oscar Chances: Medium

Birdman or (The Unexpected Virtue of Ignorance) (Alejandro G. Innaritu)

A PGA. A DGA. A SAG. These aren't just random acronyms- these are all the guild awards, arguably the three most important ones, that Birdman has won in the past month. Though considered second after Boyhood a few weeks ago, Birdman now looks into the position to take Best Picture by storm. The film, much like it's close competition, is fairly experimental: designed to look like a single long take, the film bends reality and offers a dark comedy about the state of showbiz today. Not to mention the fact that it has a crazy good cast in it, filled with some of Hollywood's finest, led by the fearless Michael Keaton. It ties Grand Budapest for the most nominations, and though it certainly won't win them all, it may take the greatest prize of the evening. For with the exception of Braveheart's defeat of Apollo 13 in 1995, no film has ever won all three of these guild awards and not won Best Picture. I'd be ok with Birdman winning, because even though it's not my favorite of the possibilities, it's so different than any other film to win Best Picture. Oscar Chances: High

Boyhood (Richard Linklater)

The sentimental favorite of the evening just happens to be one of the best movies of this decade. Linklater's sprawling, intimate yet simple look into the life of a boy from age six to eighteen. By this point, you know the story: Linklater filmmed for a few weeks every year from 2002 to 2014, cumulating in a three-hour opus where you actually see these characters age. It's unlike anything ever attempted before, and something that likely won't happen again anytime soon. For this reason, it stands on the same shoulders of the sprawling Lawrence of Arabia and the epic Gone with the Wind in terms of representing breakthroughs in cinema. I love this little movie, and hopefully enough Academy voters agree that they do too; and, with preferential ballots (don't ask), most believe will likely love it enough to win Best Picture. A Best Picture Oscar would be the ultimate end to Boyhood's long road. Oscar Chances: High

The Grand Budapest Hotel (Wes Anderson)

Ah Wes. Poor ol' boy hasn't been nominated for Best Picture until this film, but man does he deserve it. Even a February release date hasn't slowed down this titanic picture from racking up many technical awards over the past few months, notably in the screenplay department. With a gorgeous production design, escapist caricatures of a fantasy period piece, and many great performances (including the shamefully overlooked Ralph Fiennes), Grand Budapest ticks off a lot of buttons that Academy members like. In addition, it shares the most nominations with Birdman (with nine a piece), so the love is clearly there. Finally, add Wes's lack of an Oscar win up to this point, and you may get a huge shove for the Grand Budapest. Though, they may feel all this and give him Best Original Screenplay, which would be great as well. Oscar Chances: Medium-High

The Imitation Game (Morten Tyldum)

More so than any other nominee this year, The Imitation Game actually tries to be a prestige Best Picture contender in it's own creation. The film desperately reeks of Oscar attention, and the trick paid off- up for eight nominations, the Weinstein's favorite child right now won over the the voting body. It deals with some topical issues, but always keeps them restrained enough where they are not overly risky in their execution. With that in mind, Game is mostly an entertaining period piece with good performances and an amusing screenplay. But while the film appears to be an awards frontrunner in its look, it's hardly won any precursor awards, despite nominations at virtually every show. The adapted screenplay seems to have the film's best shot, because even with so many nominations and an obviously popular method, The Imitation Game hardly looks like a strong Best Picture contender. Oscar Chances: Low-Medium

Selma (Ava DuVernay)

The Best Picture contender with only two total nominations, this socially resonant film isn't winning Best Picture. While by no means a perfect film, it still is one of the best of 2014, and the fact that it made the list of the best of the year shows that the Academy really did like it. Slow dialogue scenes suddenly (and sometimes literally) explode into brutal massacres, all over the racial tension that divided America during the 1960's. Oprah gives a heartbreaking turn as a woman who just wants to vote, and this simple right that should be bestowed on all Americans is lost during this time period. Martin Luther King Jr.'s fight for that basic freedom deserves to be recognized, and a Best Picture nomination is a just celebration for the first motion picture to trace that legendary man's actions. I'm looking forward to seeing Common and John Legend celebrate the film by performing "Glory" at the Oscars this Sunday. Oscar Chances: Low

The Theory of Everything (James Marsh)

A case of the performances were better than the movie itself, The Theory of Everything snuck into this list because of two powerhouse performances. Eddie Redmayne physically transforms into the near-impossible-to-repliacte role of Stephen Hawking, while Felicity Jones gives a much more honed and emotional role the humanizing edge. We relate to her story more than his, and find her strength and courage in sticking with him to be hugely inspiring. Nevertheless, besides these two great acting jobs, the film itself is relatively one-key: ugly cinematography mixes with a bland screenplay and phoned-in music score to create your fairly average melodrama. Though the tale is inspiring, and the acting is great, Theory is the most curious of the Best Picture nominees. Oscar Chances: Low 

Whiplash (Damien Chazelle)

The poster says it all: this movie is "electrifying". This is an energetic, frantic, fast-paced thriller... about a jazz band. That simple idea is enough, when done as successfully as Whiplash, to warrant a Best Picture nomination then and there. Though it likely won't win, it's very nice to see my second favorite movie of the year gain last-minute momentum in this race. It's terrifying to behold, and the chemistry between Miles Teller and Oscar-frontrunner J.K. Simmons is nothing short of a miracle. The music is addicting, and reflects the state of mind of our lead character throughout the picture. It honors jazz bands and the cutthroat music industry in more ways than one, and I found the story to be very compelling as well. Whiplash is not going to win Best Picture, but this is definitely one I'll look back on in a few years and say, "I'm glad this made it in." It really was a privilege just for this movie to be nominated. Oscar Chances: Low

Thanks for reading! I'll be posting my final Oscar ballot in the next few days. Until then, go check out some of these great films in theaters before the Academy Awards!