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Movies of 1998 Bracket Championship Round!: Out of Sight Vs. The Big Lebowski

Well, here we are in the championship round and despite some mild upsets along the way, we’ve pretty much got the pair of movies remaining that I thought we’d have. This pairing might have been surprising at another site, but knowing our readers as I do, I was pretty sure this is where we’d end up. By this point we’ve done a basic rundown on how these movies got made, some of the music they used, one of their supporting players, and what the reaction was when they were released. You guys know a lot about what we’re looking at so I’m not going to jaw your ear off at this stage. Instead, we’ll just enjoy a couple of clips from the movies in question. You probably already know which one you’re voting for anyway. Let’s look!
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December 5: Happy Birthday Fritz Lang and Otto Preminger


Our headliners today were both born in the old Austrian Empire, both worked in German film at one time, both became refugees from Nazism, and both were known for their contributions to film noir.

Fritz Lang (1890-1976) was born in Vienna, and while serving in the Austrian army during World War One, he began to have some ideas for films.  Shortly after the war ended, he was hired at the German studio UFA.  In over a decade at the studio, he made a number of famous films, including the first two in his Dr. Mabuse trilogy, the sci-fi drama Metropolis (which featured the robot character Maria, found in our Movie Robot Bracket Game), and his first sound picture, M, which starred Peter Lorre as a character often considered the first movie serial killer.  When the Nazis came to power, Lang (who was considered Jewish under the Nuremberg Laws even though he had been raised Catholic) decided to move to the US.

Lang’s first film in Hollywood was the crime drama Fury, and a lot of his American output consisted of crime films of some sort.  He made a few Westerns, like The Return of Frank James and Rancho Notorious, and a couple of war movies, but he was most at home in film noir; he made several major contributions to the genre.  The Woman in the Window and Scarlet Street were mid-forties noirs with the same three stars (Edward G. Robinson, Joan Bennett, and Dan Duryea) and several similarities of plot and character.  The Big Heat contains two scenes with levels of violence that, by the standards of the time, were very shocking—one involving a car bomb, the second a coffee pot.

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Best Supporting Actor Nominees (89th Academy Awards)


I consistently find the Best Supporting Actor category to be the most interesting and competitive group just about any Oscars night. Perhaps that’s because a high percentage of my own work in theatre has been done in supporting roles, but it’s also true that there are naturally more supporting roles available over the course of a year in film which tends to lead to more variety. This time we’ve got a couple of eccentric lawmen, an uncertain father figure, a son dealing with his father’s death, and another trying to find his way back home. Past winners in this category have included luminaries such as Karl Malden, Jack Lemmon, Walter Matthau, Robert DeNiro, Christopher Walken, Jack Nicholson, Michael Caine, Denzel Washington, Gene Hackman, Morgan Freeman, and Christopher Plummer. There have also been a bunch of guys you haven’t heard from since. Will this year’s winner fit into one of these categories? Join me below and we’ll discuss.
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December 4: Happy Birthday Jeff Bridges and Marisa Tomei


Oscar winner (and six-time nominee) Jeff Bridges is turning 67 today.  The son of actor Lloyd Bridges, his first major film role, and first Oscar nomination, was in the role of Duane Jackson in The Last Picture Show in 1971.  Bridges has been working consistently in film ever since then.  While his career has had the ebbs and flows you’d expect, every few years he seems to have one or more films that are commercial and/or critical successes.

After his debut, he went on to win another Oscar nomination for Thunderbolt and Lightfoot and star in films like John Huston’s Fat City, the 1976 remake of King Kong, the contemporary noir Cutter’s Way, and the pioneering sci-fi film Tron.  He received his third Oscar nomination, and his first for Best Actor, for the 1984 sci-fi romance Starman.

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Who’s the Best Actor in Hollywood?

Bridges - White Squall

For the October 1996 issue of Movieline, eight of the magazine’s writers made a case for who they thought was the best actor working in movies at that time.  Some of these choices have stood the test of time better than others, but all of them are still reasonably well-respected today and all but one is still actively working.

I’m expecting lively debate in the comments section.

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Review: Hell or High Water


Hell or High Water

Directed by: David McKenzie

Starring: Chris Pine, Ben Foster, Jeff Bridges

Grade: A-

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Movieline Cover Gallery 1993

Best Actor Oscars Bracket Game: Philip Seymour Hoffman vs Jeff Bridges

Screen Shot 2015-02-07 at 7.07.54 PM

There have been some truly legendary and some sadly under appreciated performers to be named Best Actor at the yearly Oscars party. Which is which? With the 87th annual Academy Awards ceremony approaching later this month, we here at LeBlog decided to have another of our popular bracket contests to throw a little attention at some of these great performances. There are only 16 available slots in these things, while there have been 86 Best Actor designees so far, leaving 70 acting greats on the outside looking in from the beginning. That’s some pretty brutal math. I tried to represent the entire history of the award by including at least two actors from each of the last eight decades and pairing those up in the first round. That will almost certainly result in some stunning early exits, but that’s how the cookie crumbles.
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“The Best Comedy of the Year!” 1990s


As I indicated in my previous post and in the comments section that came with it, I went into this project fully expecting to prefer the film comedies I would have to choose from as I moved back into my younger days. Is this a bias based on personal tastes? Is it a generational bias that we would see repeated reliably if we polled thousands of people of different ages? Or are there really certain eras for different art forms that are simply of a higher quality than others?

As we roll back into my young adulthood in the 1990s, my guess is that it’s a little bit of all of the above.
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