Cinema Sight's Categories of the Day

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OscarGuy
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Postby OscarGuy » Sun Feb 21, 2010 3:31 pm

Wesley Lovell
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Postby OscarGuy » Sat Feb 20, 2010 5:20 pm

Wesley Lovell

"Any society that would give up a little liberty to gain a little security will deserve neither and lose both." - Benjamin Franklin

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Postby OscarGuy » Fri Feb 19, 2010 2:39 pm

We have revealed our Editing feature today.

http://www.cinemasight.com/2010/02/19/best-film-editing/
Wesley Lovell

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Postby OscarGuy » Thu Feb 18, 2010 2:57 pm

And let me clarify. Not only do we not discuss our lists or who/what should be on them, none of us review each others lists before submitting and no one, except me, even sees the others' selections before posting and I always make my selections before I look at what the others have submitted.

I think it's a great way to do it because it gives us a chance to be truly original and see where we actually agree and disagree. So far, we have had no least choices appear on best lists, but that will change when Best Editing is published tomorrow.

Now, that's not to say we don't disagree with the placements on some others' lists (like I don't mind Renee Zellweger that much even though I don't think she deserved to win), but when we agree on things, we often agree across the board (such as in the Animated Feature category, Tripp not having seen Happy Feet may have prevented our 100% agreement on the top 2 best and worst winners).
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Postby Big Magilla » Thu Feb 18, 2010 1:49 pm

ITALIANO wrote:
Big Magilla wrote: One was her "it's always nice to get an Oscar, but..." acceptance speech for that film.

She meant that she DIDN'T deserve it.

No, she meant Valentina Cortese deserved it more. I would agree, except that like Ingrid, I think Valentina should have won the year before.

The vagaries of U.S. theatrical distribution is always puzzling, but this one I don't get at all.

Day for Night was a Warner Bros. release in the U.S., a combined Warner Bros.-Columbia release in Europe. It was released in New York in the Fall of 1973 and was an immediate hit. From the moment it opened, Cortese was considered a front-runner for the Best Supporting Actress Oscar yet Warners didn't open it in L.A. until 1974. Why? Did they really want to keep her from competing with Linda Blair in The Exorcist?

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Postby OscarGuy » Thu Feb 18, 2010 12:56 pm

Wesley Lovell

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Postby ITALIANO » Thu Feb 18, 2010 12:37 pm

Big Magilla wrote: One was her "it's always nice to get an Oscar, but..." acceptance speech for that film.

She meant that she DIDN'T deserve it.

In chronological order:

The Best (too many too choose from, but these are very good)
Claire Tevor (Key Largo)
Lila Kedrova (Zorba the Greek)
Ruth Gordon (Rosemary's Baby)
Vanessa Redgrave (Julia)
Linda Hunt (The Years of Living Dangerously)

The Worst
Gloria Grahame (The Bad and the Beautiful)
Helen Hayes (Airport)
Renee Zellweger (Cold Mountain)
Cate Blanchett (The Aviator)
Jennifer Hudson (Dreamgirls)




Edited By ITALIANO on 1266514732

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Postby Big Magilla » Thu Feb 18, 2010 12:04 pm

I don't know how I managed to overlook Peggy Ashcroft whose Mrs. Moore in A Passage to India really is one of my faves.

It should probably be there in place of Ingrid Bergman whose performance in Murder on the Orient Express is not exactly one of her greatest, but one that I've also thought was under-rated. In fact I hadn't planned to include her until I sat down and listed my soon to be published ten favorite Oscar moments for Wesley and realized how many of them involved Bergman. One was her "it's always nice to get an Oscar, but..." acceptance speech for that film.

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Postby Mister Tee » Thu Feb 18, 2010 10:23 am

I want to endorse Uri's choices for supporting actress, and in fact wonder if you guys at the site had a pact to boycott the early 80s. For me, that three-year streak of Linda Hunt/Peggy Ashcroft/Anjelica Huston was maybe the best of any Oscar category ever (and why stop there? Wiest was also excellent in Hannah, though at least one of you guys chose her). I'd be hard-pressed not to include all of them on an all-time list.

Unfortunately, the past decade has been equivalently poor -- Zeta-Jones & Zellweger among my worst ever, and only Weisz and Harden qualifying for consideration on the high-positive side (very surprised someone would cite Weisz for worst).

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Postby OscarGuy » Thu Feb 18, 2010 7:19 am

yes and no, anonymous. While the number of nominees can be determined by the number eligible, the number of films that earn high rankings can also determine whether there's three or more. It's a fine distinction, but with animated feature, it's either three, five, one or none. Original Song could be two, three, four, five or none. There is no honorary trophy.

So, while it is true, it is also not true and the years that have had three nominees have had more than 25 qualified works submitted.
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Postby Big Magilla » Thu Feb 18, 2010 2:24 am

The Supporting Actress category is one that really started off on the wrong foot.

Of the actual nominees I would have chosen only Alice Brady in My Man Godfrey. Beulah Bondi should have nominated, but for The Trail of the Lonesome Pine, a film she dominates, not The Gorgeous Hussy in which she's killed off in the first reel.

An actress from Dodsworth should have been nominated, but it should have been Mary Astor, not Maria Ouspenskaya.

An actress new to films playing a villainess should have been nominated, but it should have been Blanche Yurka for her vile, despicable Madame DeFarge in A Tale of Two Cities, not Gale Sondergaard for her slinky conniving in Anthony Adverse.

If they had to nominate someone from These Three, it might more appropriately have been Alma Kruger as the grandmother of the brat instead of the brat herself, Bonita Granville.

Better than either, though, were Elsa Lanchester in Rembrandt and Edna May Oliver in both Romeo and Juliet and A Tale of Two Cities.

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Postby anonymous1980 » Thu Feb 18, 2010 1:30 am

In the Best Animated Feature category:

■This is the only Oscar category where the quantity of eligible submissions determines the number of films that can be nominated. If there are from 8 to 15 submissions, there will be a maximum of 3 nominations. If there are more than 16, there will be 5 nominations. Only twice in the category's history have there been five-nominee fields (2002 and this year, 2009). They use a rated voting system to determine how many nominees there will be. They may also recommend only a single award be given or no award given based on the quality of submitted achievements.


I do believe the Best Original Song category is the same way.

P.S. I disagree with Tripp Burton 100% on Catherine Zeta Jones.




Edited By anonymous on 1266474890

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Postby Uri » Thu Feb 18, 2010 1:01 am

Surprisingly, over the years the academy came up with a very respectable list, at least until the early '90s. Apart for those I'd place in the bottom 10, all the rest were not disgraceful choices. My best list could have been any 5 out of 20 or 30 winners. (I haven't seen Gale Sondergaard, Alice Brady, Anne Revere and Anne Baxter).

Best:
Anjelica Huston, Prizzi’s Honor
Vanessa Redgrave, Julia
Peggy Ashcroft, A Passage to India
Meryl Streep, Kramer vs. Kramer
Linda Hunt, The Year of Living Dangerously

Worst:
Renee Zellweger, Cold Mountain
Jennifer Hudson, Dreamgirls
Angelina Jolie, Girl, Interrupted
Helen Hayes, Airport
Penelope Cruz, Vicky Christina Barcelona




Edited By Uri on 1266472978

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Postby Sabin » Wed Feb 17, 2010 2:11 pm

...of those I've seen.

BEST
Jane Darwell, The Grapes of Wrath
Eva Marie Saint, On the Waterfront
Jo Van Fleet, East of Eden
Vanessa Redgrave, Julia
Dianne Wiest, Bullets over Broadway (edging out Dianne Wiest, Hannah and Her Sisters)
Special Mention to -- Tatum O'Neal, for giving a brilliant leading performance.


WORST
Donna Reed, From Here to Eternity
Helen Hayes, Airport
Jessica Lange, Tootsie
Jennifer Connelly, A Beautiful Mind
Catherine Zeta-Jones, Chicago
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Postby OscarGuy » Wed Feb 17, 2010 2:02 pm

On my main page, Peter, Tripp, Wes and I are putting together a day-by-day list of every category at the Oscars, examining who we think will win as well as presenting interesting facts and covering our favorite and least favorite winners of those categories. Every day until the Oscars we'll be covering a different category. We just started yesterday, so we haven't gotten too far for you to tune in.

Feb. 16: Best Supporting Actress
Feb. 17: Best Animated Feature
Feb. 18: Best Supporting Actor
Feb. 19: Best Film Editing
Feb. 20: Best Art Direction
Feb. 21: Best Director
Feb. 22: Best Foreign Language Film
Feb. 23: Best Makeup
Feb. 24: Best Original & Adapted Screenplay
Feb. 25: Best Documentary Feature, Documentary Short Subject, Animated Short Film & Live Action Short Film
Feb. 26: Best Original Song & Original Score
Feb. 27: Best Actor
Feb. 28: Best Costume Design
Mar. 1: Best Sound Mixing & Sound Editing
Mar. 2: Best Cinematography
Mar. 3: Best Actress
Mar. 4: Best Visual Effects
Mar. 5: Best Picture




Edited By OscarGuy on 1267813988
Wesley Lovell

"Any society that would give up a little liberty to gain a little security will deserve neither and lose both." - Benjamin Franklin


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