The 88th Academy Awards are less than a month away, so if you want to catch up on some of the nominees, the Kalamazoo Public Library can help you out! The following is a list of Oscar-nominated films that are available right now (or very soon) here at KPL:
Summer blockbuster (and, full disclosure, my favorite film of the year) Mad Max: Fury Road received ten nominations for Best Picture, Best Director (George Miller), Cinematography, Film Editing, Costume Design, Visual Effects, Makeup & Hairstyling, Production Design, and Sound Mixing & Editing.
Another popular Best Picture nominee, The Martian, scored a Best Actor nod for Matt Damon, as well as nominations for Best Adapted Screenplay (Drew Goddard), Production Design, Visual Effects, and Sound Mixing & Editing.
Steven Spielberg’s Cold War drama Bridge of Spies was recognized for Best Picture, Best Supporting Actor (Mark Rylance), Best Original Screenplay (Matt Charman, Joel & Ethan Coen), Original Score (Thomas Newman), Production Design, and Sound Mixing.
The riveting thriller Sicario received nominations for Best Original Score (Jóhann Jóhannsson), Best Cinematography, and Best Sound Editing.
Sci-fi thriller Ex Machina received nominations for Best Visual Effects and Best Original Screenplay (Alex Garland).
Three of the Best Animated Feature nominees are currently available: When Marnie Was There, Shaun the Sheep Movie, and Inside Out (which was also nominated for Best Original Screenplay).
Don’t miss must-see Best Documentary Feature nominees The Look of Silence and Amy.
Kenneth Branaugh’s Cinderella received a nomination for Best Costume Design.
The Hunting Ground and Fifty Shades of Grey received Best Original Song nominations.
The cumbersomely-titled The 100 Year-Old Man Who Climbed out the Window and Disappeared was nominated for Best Makeup & Hairstyling.
All-around juggernaut Star Wars: The Force Awakens received five nominations including Best Original Score (John Williams), Best Film Editing, Visual Effects, and Sound Mixing & Editing. The film is not available yet, but John Williams’ Oscar-nominated music is.
The nominees that are not yet available, but are expected within the month are Straight Outta Compton, Spectre, Creed, and Room. You can place a hold on these right now.
So start binging today, and be sure to keep checking our catalog for other Oscar nominated films as more of them become available. For many of the Oscar nominated films that are still in theaters, be sure to check out downtown Kalamazoo’s Alamo Drafthouse Theater, which is currently playing The Revenant (12 nominations), The Big Short (5 nominations), Carol (6 nominations), and the 2016 Oscar nominated shorts, both Live Action and Animated.
Year-end film lists are always difficult to make in a timely fashion for those of us who don’t live in a large city. A sizeable chunk of the movies that compete for awards tend to be released in only a handful of markets late in the year so that they can capitalize on nominations and guild recognitions; most of us won’t have the opportunity to catch them at our local Alamo Drafthouse until January or February. It is with this caveat that I recap my early best-of list, acknowledging that many of the season’s big contenders have yet to be screened, and others have not yet hit DVD.
Mad Max: Fury Road – George Miller’s masterpiece of dystopian demolition is the most exciting, progressive, and visually-stunning blockbuster in recent memory. I’m as surprised as you are.
It Follows – This slow-burn, instant-classic horror film somehow manages to make you both claustrophobic and agoraphobic at the same time.
Inside Out – The folks at Pixar prove their genius once again with this profound exploration of the emotions of a young girl struggling with the challenges of growing up.
Going Clear: Scientology and the Prison of Belief – This eye-opening documentary reveals the dark, tragic truth behind L. Ron Hubbard’s institutional legacy of tax evasion, blackmail, manipulation, and physical & emotional cruelty.
The Hunting Ground – Anyone who has a child in college needs to see this disturbing documentary about the legacy of sexual abuse that takes place on campuses across the country—and the shocking lengths to which universities will go to cover it all up.
What We Do in the Shadows – This hilarious vampire mockumentary from one-half of Flight of the Conchords rivals any of Christopher Guest’s improvised comedies.
Ex-Machina – This dark sci-fi film about artificial intelligence features stellar performances from Oscar Isaac and Alicia Vikander.
Mr. Holmes – Ian McKellen shines as a 93-year-old Sherlock Holmes who’s struggling to solve one final case despite dealing with increased memory loss.
The Look of Silence – This must-see companion piece to the 2013 documentary The Act of Killing explores the Indonesian genocide from the point of view of the victims who still live under the regime that murdered their friends and family.
The Martian – Matt Damon gets left behind on Mars and we’re all the better for it.
Sicario – Emily Blunt is terrific as a tactical expert who gets trapped in the dark, seedy political underbelly of the war on drugs. The film contains some of the most breath-taking scenes of suspense put on screen this year.
99 Homes – Michael Shannon chews the scenery as a real estate operative who evicts people from their homes in this thrilling exploration of the darkest side of the housing crisis.
Other films I enjoyed this year that aren’t available yet include Steve Jobs, Brooklyn, Spotlight, Bridge of Spies, Creed, Room, and a little can-do picture called Star Wars: The Force Awakens. Check them out in theaters or look for them on DVD in the next few months. I’ll be sure to give you a final top ten list right around Oscar time, as that’s when I’ve usually had a chance to see many more contenders.
I’m not gonna lie: As much as I personally loved Academy Award Best Picture winner Birdman more than expected winner Boyhood, I’m still shocked that the artsy and eccentric tale of a washed-up superhero actor trying to do “legitimate theater” (and please in your head imagine that pronounced as “theee-ATER”) beat out the wholesome, relatable, coming-of-age tale that was filmed over the course of twelve years. I’m certainly happy for Birdman—just not so happy about what it did to my Oscar pool. In addition to Best Picture, Birdman picked up wins for Best Director (Alejandro G. Iñárritu), Best Cinematography (Emmanuel Lubezki) and Best Original Screenplay (Alejandro G. Iñárritu, Nicolás Giacobone, Alexander Dinelaris, Jr. & Armando Bo).
In case you’d like to catch any of the other available Oscar winners that you may have missed, I’ve listed them below. Click on the links and place a hold on a copy today.
- My favorite film of the year, Whiplash, picked up three wins for Best Supporting Actor (J.K. Simmons), Best Film Editing (Tom Cross), and Best Sound Mixing.
- Many people won for working on Wes Anderson’s The Grand Budapest Hotel—except poor Wes Anderson himself; the film won for Best Original Score (Alexandre Desplat), Best Costume Design (Milena Canonero), Best Production Design (Adam Stockhausen), and Best Makeup and Hairstyling.
- Be sure to check out Eddie Redmayne’s Best Actor performance as Stephen Hawking in The Theory of Everything; it was a well-deserved win.
- Boyhood's lone win was for Best Supporting Actress (Patricia Arquette).
- Disney’s Big Hero 6 won for Best Animated Feature; the Best Animated Short winner, Feast, can be found on the Big Hero DVD or Blu-ray.
- Best Foreign Film winner Ida is amazing and you should watch it--regardless of your unfortunate and snooty hatred of subtitles.
The following winners will be released soon and are available for holds now:
Keep checking back for Still Alice, for which Julianne Moore won Best Actress, Selma, which featured Best Original Song winner “Glory” by John Legend and Common, and must-see Best Documentary Feature winner CitizenFour. We don’t have releases for these titles yet, but we will assuredly carry them.
Sometimes a film just does not hit you in that sweet spot the first time around. You leave the theater disappointed or mulling over what could have been. Maybe it was you all along, your mood, your unwillingness to open up and let the film work its magic. I’ve hated films that I later came to love and respect after my initial dismissal. There are those films that grow on you and seem to get better with multiple viewings. The first time I saw Frances Ha, I moaned about its obvious influences and reference points (Godard, Truffault). The protagonist’s personality was a bit grating and I just couldn’t give in to the film’s cloying repackaging of the classics of the 60’s and 70’s it so self-consciously aped. It simply felt derivative, the kind of film where its style devours its substance. I recently gave it a second chance and have subsequently modified my early misgivings. I think the elements of the film I enjoyed the most were the editing and the choice to convert the digital footage into black and white. It’s quite the looker. Now there are a lot of movies not worth a first viewing let alone a second but sometimes there comes a long a film that deserves a reconsideration.
Le Havre is a wonderful film that I missed seeing when it first showed at WMU’s Little Theater several years ago. Named for a provincial city on the northern, French coast, the film is one of Finnish director Aki Kaurismäki’s most warmhearted and charming. Known for his less is more approach to film making, his works tend to give birth to zany, working class characters whose expressions of both joy and futility come off as droll and darkly peculiar (fans of Wes Anderson and Jim Jarmusch will appreciate the brand of humor). Le Havre is a simple story: an elderly shoe shiner stumbles into a plot to hide a young, African boy from the authorities who seek his deportation. Ex “bohemian” Marcel Marx has a difficult enough time as it is in dealing with his critically ill wife. His newest project, one that he had not expected, is to safeguard with the help of his fellow townspeople, a young refuge named Idrissa, who is seeking to travel to London. With the authorities hot on his trail, Marcel keeps ahead of the fuzz with just enough assistance from Le Havre’s band of bartenders, rock musicians, and an unlikely detective. It’s a beautiful fantasy as much as it is a political fable about community and humanity.
One of the things I love about Kalamazoo is the Kalamazoo Film Society. Every month for the past 25 years, this great organization has brought a film to Kalamazoo that would otherwise not have been shown locally. The Society recently celebrated its 25th anniversary with two classic films: Federico Fellini's Amarcord, and Ingmar Bergman's Wild strawberries. Those screenings, earlier this month, were the last at the KFS's long-time home, WMU's Little Theatre. Due to the switch to digital projection, and the lack of the necessary equipment at the Little Theatre, the KFS has entered into a partnership with the Alamo Drafthouse, and will continue bringing great movies to Kalamazoo.
One of the things I love about the Kalamazoo Public Library is that we seem to get everything the KFS shows, allowing me to catch up on anything I missed on the big screen. If you haven't seen every single movie they've brought to town over the years, you can find a list of what they've shown that we've got, which at 196 items as of this writing, covers over 16 years.
As rabid a film watcher as I am, time restrictions will forever thwart my capacity to plow through KPL’s stellar movie collection but here is an abbreviated list of some of my favorite films from KPL’s collection, watched over the past year. While we add new releases each week, don’t forget about the diversified depth of our collection. We can’t purchase every movie that is requested or inquired about but we can work toward the goal of having most titles for most of our patrons, most of the time.
Upstream Color: With the exception of the increasingly abstract, fragmented and non-linear narratives of Terrence Malick, there have been few notable American films over the past decade or so that have attempted to remake the kind of Eurocentric, anti-classical/realist/romantic films of the 1960’s and 70’s (think: Godard, Bresson, Tarr, Tarkovsky, Resnais, Warhol, Antonioni). With Upstream Color, a sort of Hiroshima Mon Amour for our contemporary times, one hopes that young filmmakers will continue to take the value of abstraction seriously, reimagining it in new and thoughtful ways.
Hedwig and the Angry Inch: A film that came out (pun intended) way ahead of its time. It’s kind of an absurdist musical that is in-your-face bonkers, but bonkers in the most vital, transgressive and beautifully rebellious way. A postmodern Hair.
Young Adult: Charlize Theron gives a great performance as an unraveled mess of a person that attempts to transition from a life of boredom and narcissism toward a more complete, self-aware state where the adjective ‘young’ can finally wither away.
Sullivan’s Travels: I checked this film out because the great American director Preston Sturges’ name kept popping up in literature on director/writer Wes Anderson (a favorite of mine). This well-written and acted screwball comedy hits the mark and lives up to its acclaim as one of the 1940’s best films.
My Dinner with Andre: A film like few others--this conventions-busting mixture of fiction and nonfiction, storytelling and improvised riffing will either bore you into slumber or thrill you with its originality. We almost forget, due to the strong writing, that the great French autuer Louis Malle was its director.
Insignificance: I’m still not sure I ‘get’ this peculiar film but it was certainly compelling, the way in which a film can unfold as both an irritant and a puzzling enigma.
Hiroshima Mon Amour: Before I saw this Alain Resnais masterpiece about memory, love and loss, I considered Harold and Maude my favorite film. Now it’s number two.
12 Angry Men: Watch this fictional, court room drama and then the documentary The Central Park Five. The very notion of facts, evidence, justice and human objectivity are brilliantly rendered as a hollow collection of outdated concepts with tragic application.
Hunger: Not to be mistaken with Steve McQueen’s first film about the imprisonment of IRA soldiers of the same name but rather the nimble and haunting adaptation of the classic, existential novella by Danish writer Knut Hamsun.
Summer with Monika: Arguably, my favorite film of Bergman’s but nowhere near his best. That distinction belongs to his magnum opus Scenes from a Marriage, a film that should only be approached by the single and the happily married couple.
Rules of the Game: My goal for movie watching this year was to view a handful of those classics considered important to the historical development of the art form according to the Sight and Sound Magazine’s list of 250 Greatest Films; a list created every ten years by an esteemed cadre of critics. Renoir’s masterpiece (rated at No. 4) is there for a reason and its influence can be seen in almost every film made since 1939 that skewers the vacuity of the rich and clueless.
La Jetee/Sans Soleil: Made by maverick film essayist Chris Marker, these two films are quite distinct from one another in both content and style. Both represent the best in avant-garde, envelope-pushing cinema that emerged parallel with the various manifestations of the European New Wave movement.
Picnic at Hanging Rock: This 70’s cult classic by Peter Weir still holds up as a truly original film that tackles the subject of loss, regret and repressed longing, all of which are tied to a mystery that leaves an Australian women’s school in shock and confusion.
Other notable films: L’ Avventura, Stroszek, Bringing Up Baby, Amarcord, The Killing, Neighboring Sounds, Damnation, The Lives of Others, Magnificent Ambersons, Harvey, Pat and Mike, The Third Man, Ali: Fear Eats the Soul, The Searchers, Elevator to the Gallows, As I Lay Dying, Cleo from 5 to 7, Frances Ha, The Silence, Winter Light, Cries and Whispers, Blast of Silence, Through a Glass Darkly, Argo, Shallow Grave, Band of Outsiders, Fanny and Alexander, Mud, Harry and Tonto, Chasing Ice, and Guess Who’s Coming to Dinner.
Another Oscar season has come to a close, and it was quite a successful one at that. There were very few upsets or surprises, which helped this movie geek dominate his Oscar pool, getting 21 out of 24 correct – a tie for my all-time best. The Academy made up for snubbing director Ben Affleck by awarding Best Picture to the well-deserved Argo. The visually-stunning Life of Pi took home the most of the night with four, including one for director Ang Lee, who managed to turn what many felt was an unfilmable book into a crowd-pleaser. Skyfall became the first James Bond film to win an Oscar since 1965’s Thunderball. Lincoln ’s Daniel Day-Lewis became the first person ever to win Best Actor three times. And Pixar’s Brave just beat out the video-game-themed Wreck-It Ralph for Best Animated Feature, which is ironic considering poor Ralph spends his entire movie trying to win a trophy just so people will love him. You’ve earned top score from me, Ralph.
If you’re behind in your Oscar viewing, a handful of these award-winners are available for home viewing now, right here at the Kalamazoo Public Library:
Several of the Oscar winners are coming soon, and you can place a hold on them now:
Check back for the availability of Silver Linings Playbook, winner of Best Actress (Jennifer Lawrence); Les Misérables, winner of Best Supporting Actress (Anne Hathaway), Makeup & Hairstyling, and Sound Mixing; and Amour, winner of Best Foreign Film. The release dates of these films will probably be announced soon.
So what did you think of the Oscars? What were you glad to see win? Which categories would you have preferred to go differently? What was your favorite film of 2012?
The Guard is a dark comedy set in a small town in Ireland. It's also a throwback buddy film where two cops from different backgrounds work together to fight crime while insulting eachother. It has its tender moments but for the most part, The Guard is all about the genre and complying with the dictates of cliche. The great character actor Don Cheadle plays an uptight FBI agent sent to provincial Ireland to bust a drug ring. Along the way, he encounters the eccentric and verbally unfiltered policeman Gerry Boyle, who has his own method of conducting police investigations. The two bristle at one another’s approach, disliking the other’s personality but like all buddy films, they come to find common ground in bringing the bad guys to justice.
For a guy who insists he’s deliberately “doing nothing” with his life, Greenberg’s title character (Ben Stiller) keeps pretty busy. He’s building a doghouse for his brother’s pet while housesitting for him; he's constantly penning letters to businesses expressing his dissatisfaction with the most minute details of their services; he takes up an offer from women half his age to go on a deep-sea diving expedition in Australia, despite the fact that he’s a terrible swimmer.
From the sounds of it, this quirky, aging slacker’s screen saga – last June's Kalamazoo Film Society selection - might make for light viewing with plenty of laughs, except for one detail – Greenberg’s trying to deal with life outside an institution, from which he’s recently been released after recovering from a breakdown of an unspecified nature. Watching his brother’s house, in a city he left behind years ago, gives him an opportunity to reconnect with members of his old social circle, but since social norms are no longer a constraint for him, the expression of his feelings and impulses can be cause for embarrassment, pain, and alienation, as well as a certain poignancy (and laughs – this is still a comedy). Greenberg’s caught in a vicious cycle of feeling discomfort, which feeds others’ discomfort, which further feeds his own.
Stiller’s pitch-perfect performance – not too wacky, not too angst-ridden – is beautifully complemented by Greta Gerwig’s performance as his brother’s assistant, a woman in her mid-twenties whose impulsive life reflects Greenberg’s own. The two forge a tentative bond that’s constantly tested throughout the film, and one wonders if the bond can possibly last when both people live so in the moment. As with the best character-study films, Noah Baumbach’s latest doesn’t force-feed any resolutions – it’s simply enough to watch these characters try to make sense of their lives, even when they don’t live them sensibly... but who does?