Nothing But the Best: "The Shape of Water" (2017)

Scene from The Shape of Water

Welcome to the series Nothing But the Best in which I chronicle all of the Academy Award Best Picture winners as they celebrate their anniversaries. Instead of going in chronological order, this series will be presented on each film's anniversary and will feature personal opinions as well as facts regarding its legacy and behind the scenes information. The goal is to create an in depth essay for each film while looking not only how the medium progressed, but how the film is integral to pop culture. In some cases, it will be easy. Others not so much. Without further ado, let's start the show.

Failed Oscar Campaigns: "Call Me By Your Name" (2017)

Scene from Call Me By Your Name

As awards seasons pick up, so do the campaigns to make your film have the best chances at the Best Picture race. However, like a drunken stupor, sometimes these efforts come off as trying too hard and leave behind a trailer of ridiculous flamboyance. Join me on every other Saturday for a highlight of the failed campaigns that make this season as much about prestige as it does about train wrecks. Come for the Harvey Weinstein comments and stay for the history. It's going to be a fun time as I explore cinema's rich history of attempting to matter.

"The Shape of Water" and the Three Forms of Loneliness

Scene from The Shape of Water

*Note: Spoilers for The Shape of Water

It is a moment that comes between two phases of Eliza (Sally Hawkins) and Amphibian Man's (Doug Jones) relationship. They have escaped the lab and are in their last passionate moments together before Amphibian Man returns to the sea, possibly without the requited love of Eliza. She is mute, only ever able to communicate through a mix of sign language, eggs, and Benny Goodman records. Yet it's in a fantasy moment that she gets her only spoken lines of the film. As the scene trades a dumpy apartment with a leaky room for a black-and-white set out of a musical set, she sings "You'll never know how much I love you." It's a moment where repression breaks through, and moves the subtle themes of the film to the forefront. The Shape of Water is more than a film about loving someone different, it's about understanding loneliness when you don't have love readily available. It's may be a story that's been trivialized as the "woman who loves a fish" story, but it's so much more. It's a look at how loneliness can be used for good as well as bad. 

Review: "Call Me By Your Name" is the Best Love Story of 2017

It starts with a stare. Elio (Timothee Chalamet) looks down as house guest Oliver (Armie Hammer) arrives. He is one of many men that have come to the countryside to stay with his father (Michael Stuhlbarg). However, there is something that goes unspoken; something that shines in the antagonistic play between these two young men who constantly try to impress each other. Director Luca Guadagnino's Call Me By Your Name is a confident love story that tackles a different kind of LGBT story. It's one of the bisexual, eager to make the most of his first major love. It's rarely spoken, but found in the stares that Elio and Oliver share throughout the film. It may be a relatively simple story, but it's also one of the truest of the year. Love is difficult not because of what's said, but what's felt.

Review: "The Shape of Water" Romanticizes Horror with Tenderness and Awe

Scene from The Shape of Water

Monsters are scary. It's a simple rule of life that all narrative forms have accepted as true. So why are we fascinated by them then? In director Guillermo del Toro's The Shape of Water, he updates the classic fairy tale structure in order to answer that question, using Amphibian Man (Doug Jones) as an allegory for interracial love. He presupposes that monsters are misunderstood, choosing to borrow an ethos dating back to James Whale's Bride of Frankenstein. With lavish productions and an amazing performance by Sally Hawkins as Eliza, del Toro has created a film that not only humanizes monster movies, but finds the tender heart and longing that make them not too different from you or I. It's a powerful film, and one that should appeal to fans of monster movies that do more than horrify. This one sympathizes so perfectly that it becomes less of a horror movie and more of a supernatural Guess Who's Coming to Dinner. It may be simple at heart, but it only adds to the profundity of its text. 

A24 A-to-Z: #19. "Cut Bank" (2015)

Scene from Cut Bank

In case you didn't know, A24 is one of the great purveyors of modern cinema. Since 2013, the studio has found a way to innovate independent cinema by turning each release into an event. As a result, A24 A-to-Z will be an ongoing series that looks at every release from the studio by analyzing its production history, release, criticisms, and any awards attention that it might've received. Join me on a quest to explore the modern heroes of cinema by exploring every hit and miss that comes with that magnificent logo. They may not all be great, but they more than make A24 what it is and what it will hopefully continue to be for ears to come.

The Runner-Ups: Fred Melamed in "A Serious Man" (2009)

Scene from A Serious Man

Every Oscar season, there are a handful of actors who get tagged with the "snubbed" moniker. While it is always unfortunate to see our favorites not honored with at very least a nomination, there's another trend that goes largely unnoticed: those who never even got that far. The Runner-Ups is a column meant to honor the greats in cinema who put in phenomenal work without getting the credit that they deserved from The Academy. Join me every other Saturday as I honor those who never received any love. This list will hopefully come to cover both the acting community, and the many crew members who put the production together.

"Arrival" to Return to Theaters This Weekend With Bonus Footage

Scene from Arrival

Now that the Oscar nominations are out, it's time for everyone to catch up on the titles that they've missed. In most cases, this includes many of the films that are still in theaters or are in the interim of making it to home video. If you're one of those who wishes to catch up on director Denis Villeneuve's Arrival, which earned eight nominations including Best Picture, you're in luck. This weekend marks the typical rerelease of an Oscar front runner. The only difference this time is that those patient enough to make it through the end credits will get a little something extra special.

Failed Oscar Campaigns: "Steve Jobs" (2015)

Michael Fassbender

As awards seasons pick up, so do the campaigns to make your film have the best chances at the Best Picture race. However, like a drunken stupor, sometimes these efforts come off as trying too hard and leave behind a trailer of ridiculous flamboyance. Join me on every other Saturday for a highlight of the failed campaigns that make this season as much about prestige as it does about train wrecks. Come for the Harvey Weinstein comments and stay for the history. It's going to be a fun time as I explore cinema's rich history of attempting to matter.

Review: "Arrival" is a Smart and Timely Film About More Than Aliens

Scene from Arrival

It is difficult to watch director Denis Villeneuve's latest Arrival and not think about the real world. This is in part because of the film's theatrical release being a few days after the 2016 American presidential election; itself a motive that feels intentional the further along the film goes. With the results leading to controversy and outrage, there's questions as to whether the world can truly come together and understand differences. This is a central piece to Arrival: a film that contradicts the alien invasion story by focusing on a more intellectual debate. Unlike this past summer's Independence Day: Resurgence, Arrival wants to better humanity. It is the perfect film for the moment as well as further proof that Villeneuve is one of modern cinema's most challenging, engaging mainstream voices. 

Theory Thursday: "A Serious Man" is The Coen Brothers' Best Movie

Michael Stuhlbarg

Welcome to a weekly column called Theory Thursdays, which will be released every Thursday and discuss my "controversial opinion" related to something relative to the week of release. Sometimes it will be birthdays while others is current events or a new film release. Whatever the case may be, this is a personal defense for why I disagree with the general opinion and hope to convince you of the same. While I don't expect you to be on my side, I do hope for a rational argument. After all, film is a subjective medium and this is merely just a theory that can be proven either way. 

"Steve Jobs" Continues to Fail, Drops From 2,000 Theaters

Michael Fassbender in Steve Jobs

It has become one of the most gossiped about flops of the Fall. Two weeks after its notoriously underwhelming box office debut, it looks like the worst has finally happened for director Danny Boyle's Steve Jobs movie. The film, once considered to be one of the biggest films of the season, has now been pulled from over 2,000 screens nationwide due to abysmal box office. If this doesn't mark the end of its hold on the Oscar season, then it's definitely going to be one of its strongest detractors. 

The New "Steve Jobs" Movie Bombs at the Box Office

Michael Fassbender in Steve Jobs

Every year has their share of movie bombs. In recent months, the likes of Pan have opened to disastrous numbers. While most of the films that fall this fate usually have to do with bad reviews, some good films get sucked in due to less fortunate reasons. This past weekend marked arguably one of the worst box office returns of the year with no less than four new releases being appropriately called a "box office bomb." Of course, these films - Jem and the Holograms, The Last Witch Hunter, Rock the Kasbah - were met with generally bad reviews. However, there's one closely tied to this year's Oscar Buzz that is more surprising than all of these. Director Danny Boyle's Steve Jobs went wide released this week on 2,433 screens. The results weren't pretty.

Review: "Steve Jobs" is a Flawed Yet Captivating Masterpiece

Left to right: Seth Rogen and Michael Fassbender

Ever since the dawn of celebrity culture, the concept of the larger than life individual has always fascinated us. They seem like infallible life forms sent to Earth to entertain while serving no other use. It has been chronicled throughout film history going back to films like The Great Ziegfeld and The Pride of the Yankees. These are films that tell a story that is often stranger than fiction. To a large demographic, Apple founder Steve Jobs is arguably among the largest of the larger than life celebrity; revolutionizing technology and building himself up from nothing on multiple occasions. With the latest film from director Danny Boyle and writer Aaron Sorkin, the story plays like what happens when Dorothy pulls back the curtain in The Wizard of Oz. We see the fractured life of a charismatic man; creating one of the most artful, fast paced looks into acclaim that has been captured on film this year thanks in large part to Michael Fassbender's brilliant performance.

Review: "Blue Jasmine" is One of the Most Creatively Twisted Woody Allen Film in Years

Cate Blanchett

In Annie Hall, Woody Allen famously said about people in Hollywood: "They don't throw their garbage away, they turn it into television shows." In a sense, the director's career has almost seemed to be a huge tirade against the west coast lifestyle. His films were always famously shot in New York or later on Europe. With the announcement that his latest film Blue Jasmine would be taking place on the coast he had so long chosen to ignore, it almost seemed like a resurgence for the American filmmaker to make something equivalent to the west coast as his films like Manhattan did for the east. In a way, it does live up to Allen's vision as predicted in Annie Hall. It is by no means a flattering vision.

Will "Blue Jasmine" Spice Up the Oscar Race?

Cate Blanchett

*I would just like to say thank you to everyone who has been reading my work. As of this piece, I have published 100 entries. Quite a milestone and I hope to do a lot more as the months drag on.


For most cinephiles, the gift of a Woody Allen movie every year comes as a mixed bag. Sometimes it produces gems, and others end up awkwardly. That is the pain of releasing a film annually, though it has resulted in some exciting prospects, including Vicky Christina Barcelona and Midnight in Paris. With Allen's latest film, Blue Jasmine, he tackles a new place and a new coast: San Francisco. With an eclectic cast and a new location, is it possible for the savant to strike inspiration once again from someplace new?

The "Hitchcock" Trailer Shows the Acting Fields Filling Up Fast

Anthony Hopkins

Today saw the release of the trailer for what has long been considered "the other Alfred Hitchcock film." That's right, first the HBO film The Girl directed by Julian Jarrold and starring Toby Jones and Sienna Miller focusing on Hitchcock's relationship with Tippi Hedron (Miller) and more specifically The Birds. Now comes the less inspired title Hitchcock, directed by Sacha Gervasi and starring Anthony Hopkins, Helen Mirren, and Scarlett Johansson focusing on the making of Psycho. Despite the dueling banjos aspect of these two films, buzz has been around Hopkins and his portrayal, which is pretty uncanny in the trailer. However, is the film capable of landing more credibility than this?