January 30, 2018

FEBRUARY PROGRAMMING ON THE CRITERION CHANNEL ON FILMSTRUCK!

       
 
Includes 100 years of Olympic Glory, Night of the Living Dead,
Wong Kar-wai's In the Mood for Love, and Howard Hawks' His Girl Friday!
 
Thursday, February 1st
The Great Escape*
Based on the true story of an elaborately coordinated attempt to break out of a Nazi POW camp, John Sturges's The Great Escape is one of the most rousing adventure films of all time, anchored by Steve McQueen's rebellious turn as "Cooler King" Captain Virgil Hilts. Featuring a powerful ensemble that includes Richard Attenborough, James Garner, Charles Bronson, and James Coburn, the film pulses with the humor of the prisoners' camaraderie and the relentless suspense of their plan. Never released on DVD or Blu-ray, this 1993 Criterion laserdisc edition includes a long-unavailable commentary featuring Sturges, composer Elmer Bernstein, production manager and second-unit director Robert E. Relyea, stuntman Bud Ekins, and film historian Bruce Eder.
*Premiering on the Channel this month.
 
Friday, February 2nd
Friday Night Double Feature: The Front Page* and His Girl Friday

These two whiplash-fast newsroom comedies are based on Ben Hecht and Charles McArthur's 1928 stage hit The Front Page. Lewis Milestone scooped the story in 1931, directing a faithful adaptation that stars Adolphe Menjou as the cutthroat editor Walter Burns and Pat O'Brien as Hildy Johnson, his star reporter. The film is presented in its recently restored American version, Milestone's preferred cut. Nearly a decade later, Howard Hawks turned the play inside-out: in 1940's His Girl Friday, Hildy Johnson became a woman (Rosalind Russell), and Cary Grant's Burns is not only her editor but her ex-husband-making the film one of Hollywood's most irresistible comedies of remarriage.
*Premiering on the Channel this month.
 
Friday, February 2nd
Olympic Glory*

Spanning fifty-three movies and forty-one editions of the Olympic Games, 100 Years of Olympic Films: 1912-2012 is the culmination of a monumental, award-winning archival project encompassing dozens of new restorations by the International Olympic Committee. This selection gathers eleven films from the box set, offering a sampler of the history of the Games across continents and decades. Among the highlights in the program are landmark documentaries by some of the world's greatest filmmakers, including Leni Riefenstahl (Olympia); Kon Ichikawa (Tokyo Olympiad); Milos Forman, Claude Lelouch, Arthur Penn, and John Schlesinger (Visions of Eight); and Carlos Saura (Marathon).

Monday, February 5th
Eclipse Series 45: Claude Autant-Lara: Four Romantic Escapes from Occupied France

Spurned first by the French New Wave iconoclasts as belonging to the "tradition of quality" and later for the extremist political views their director embraced as a member of the right-wing National Front, Claude Autant-Lara's wartime films are rarely seen today. These four romances, produced during the dark days of the German occupation, are fueled by a slyly subversive voice and exquisite visual sense, and showcase the formidable talents of two of his closest collaborators. The charmingly impetuous Odette Joyeux sparkles at the height of her stardom in a quartet of protofeminist roles, crafted by screenwriter Jean Aurenche, who injects a strain of progressive social criticism that managed to evade the Nazi censors. Also noteworthy is the first screen appearance of Jacques Tati, in Autant-Lara's most popular and technically innovative success, Sylvie et le fantôme. These long unavailable gems deserve to be better known, if only as a record of some of the most talented film artists in France, working at the height of their powers during one of the most perilous periods in twentieth-century history.

Tuesday, February 6th
Tuesday's Short + Feature: Five Miles Out* and Life Is Sweet

Andrew Haigh and Mike Leigh, two of British cinema's sharpest observers of character, turn their attention to the close and sometimes painful bonds of sisterhood. Haigh's 2009 short reveals the volcanic emotions that lurk beneath everyday scenes, centering on a girl who is sent on vacation with her cousins but remains preoccupied with her hospital-bound sister back home. An international breakthrough for Leigh, Life Is Sweet is an intimate portrait of a working-class family with twin daughters who couldn't be more different: the bookish plumber Natalie (Claire Skinner) and the bulimic, ill-tempered Nicola (Jane Horrocks). Jim Broadbent and Alison Steadman exude warmth as the girls' parents, and Stephen Rea, David Thewlis, and Timothy Spall deliver winning performances as the eccentrics who orbit the family unit. The edition of Life Is Sweet is accompanied by an audio commentary by Leigh.
 
Wednesday, February 7th
Sweet Smell of Success: Edition #555

In this swift, cynical film by Alexander Mackendrick, Burt Lancaster stars as the vicious Broadway gossip columnist J. J. Hunsecker, and Tony Curtis as Sidney Falco, the unprincipled press agent Hunsecker ropes into smearing the up-and-coming jazz musician romancing his beloved sister. Featuring deliciously unsavory dialogue, in an acid, brilliantly structured script by Clifford Odets and Ernest Lehman, and noirish neon cityscapes from Oscar-winning cinematographer James Wong Howe, Sweet Smell of Success is a cracklingly cruel dispatch from the kill-or-be-killed wilds of 1950s Manhattan. SUPPLEMENTAL FEATURES: a 1986 documentary about Mackendrick, a 1973 documentary about Howe, a video interview with film critic and historian Neal Gabler, and more.

Friday, February 9th
Friday Night Double Feature: The Misfits and The Harder They Fall

These two swan songs herald the end of the Hollywood star system with a nearly mythical sense of finality. John Huston's The Misfits features the last performances of Marilyn Monroe and Clark Gable, and their costar Montgomery Clift would only appear in three more movies before dying at forty-five. Scripted by Monroe's husband Arthur Miller, the Nevada-set film sets the actress's inimitable mix of sensuality and vulnerability against the world-weary alienation of three hardened men, played by Gable, Clift, and Eli Wallach. Humphrey Bogart's last film, The Harder They Fall, stars the legendary actor as a down-on-his-luck sportswriter who gets roped into a scam by a fast-talking promoter (Rod Steiger) lining up fixed fights for a talentless (and clueless) Argentine heavyweight. Bogart would die less than a year after the film's premiere, and his understated portrayal of a reluctant hustler makes for a rich contrast with Steiger's Method-informed bluster, marking a shift in the tides of American film acting.
 
Tuesday, February 13
Tuesday's Short + Feature: Paul Robeson: Tribute to an Artist and The Emperor Jones

Courageously outspoken and wildly talented, Paul Robeson was one of the most commanding performers of his time. As a singer, actor, athlete, and activist, he broke barriers in Jim Crow-era America, campaigning for social justice and striving to reshape the public's idea of who a black man could be. Saul J. Turell's Oscar-winning documentary short, narrated by Sidney Poitier, traces the evolution of Robeson's career using a series of his performances of "Ol' Man River," a song that took on layers of meaning over time. That booming voice made its first appearance in sound cinema in The Emperor Jones, a 1933 adaptation of Eugene O'Neill's play about a Pullman porter who muscles his way to power on a Caribbean island. Though the fearsome Brutus Jones may not have been the type of stereotype-busting role that Robeson hoped to bring to the screen, the character made him the first African-American leading man in mainstream cinema.

Tuesday, February 13th
Night of the Living Dead*: Edition #909

Shot outside Pittsburgh on a shoestring budget by a band of self-taught filmmakers, horror master George A. Romero's Night of the Living Dead is a great story of independent cinema: a midnight hit turned box-office smash that became one of the most influential films of all time. A deceptively simple tale of a group of strangers trapped in a farmhouse who find themselves fending off a horde of recently dead, flesh-eating ghouls, Romero's claustrophobic vision of a late-1960s America literally tearing itself apart rewrote the rules of the horror genre, combined gruesome gore with acute social commentary, and quietly broke ground by casting a black actor (Duane Jones) in its lead role. Stark, haunting, and more relevant than ever, Night of the Living Dead is back. SUPPLEMENTAL FEATURES: Night of Anubis, a never-before-presented work-print edit of the film; a program featuring filmmakers Frank Darabont, Guillermo del Toro, and Robert Rodriguez; a never-before-seen 16 mm dailies reel; and more.
*Premiering on the Channel this month.
 
Wednesday, February 14th
In the Mood for Love: Edition #147

At once delicately mannered and visually extravagant, Wong Kar-wai's In the Mood for Loveis a masterful evocation of romantic longing and fleeting moments. In 1960s Hong Kong, Chow Mo-wan (Tony Leung Chiu-wai) and Su Li-zhen (Maggie Cheung Man-yuk) move into neighboring apartments on the same day. Their encounters are formal and polite-until a discovery about their spouses creates an intimate bond between them. With its aching musical soundtrack and exquisitely abstract cinematography by Christopher Doyle and Mark Lee Ping-bin, this film has been a major stylistic influence on the past decade of cinema, and is a milestone in Wong's redoubtable career. SUPPLEMENTAL FEATURES: a documentary on the making of the film; Hua yang de nian hua (2000), a short film by Wong; Toronto International Film Festival press conference from 2000, with Cheung and Leung; and more.

Thursday, February 15th
The Red Balloon and The Black Balloon

Floating from midcentury Paris to contemporary Manhattan, these two portraits of urban life breathe a whimsical sensibility into a particular inanimate item. In Albert Lamorisse's The Red Balloon (1956), a boy embarks on a series of adventures with an inflatable-yet sentient-companion. A gritty variation on that beloved classic, Josh and Benny Safdie's The Black Balloon (2012) follows the stray object of the title on an odyssey through the streets of the filmmakers' native New York City.
 
Friday, February 16th
Friday Night Double Feature: A Slave of Love and Knight Without Armor

The Russian Civil War provides the roiling backdrop for these two sweeping romantic adventures. Nikita Mikhalkov's A Slave of Love (1976) tells the tale of a silent-film star who falls for a Bolshevik on set. Jacques Feyder's Knight Without Armor (1937) revolves around a British spy posing as a revolutionary (Robert Donat) and the countess whom he loves and seeks to save (Marlene Dietrich).
 
Tuesday, February 20th
Tuesday's Short + Feature: Bluebeard* and Bluebeard

A classic fairy tale, read two ways. With his colorful claymation short Bluebeard (1938), Jean Painlevé departed from the nature filmmaking that was his specialty, giving a playful charge to the dark story of a young wife and her murderous new husband. For her 2009 adaptation of Charles Perrault's classic fable, French director Catherine Breillat keyed into the material's more provocative elements, using the fable to explore her perennial themes of sex, power, and sisterhood.
*Premiering on the Channel this month.
 
Wednesday, February 21
Frances Ha*: Edition #681

A leading contender for this year's best director Oscar, Greta Gerwig delivered one of her most enchanting performances as Frances, a woman in her late twenties in contemporary New York trying to sort out her ambitions, her finances, and, above all, her intimate but shifting bond with her best friend, Sophie (Mickey Sumner). Meticulously directed by Noah Baumbach with a free-and-easy vibe reminiscent of the French New Wave's most spirited films, and written by Baumbach and Gerwig with an effortless combination of sweetness and wit, Frances Ha gets at both the frustrations and the joys of being young and unsure of where to go next. This wry and sparkling city romance is a testament to the ongoing vitality of independent American cinema. SUPPLEMENTAL FEATURES: a conversation between filmmaker Peter Bogdanovich and Baumbach; a conversation between actor and filmmaker Sarah Polley and the film's cowriter and star, Greta Gerwig; and more.
*Premiering on the Channel this month.

Wednesday, February 21st
Festival*: Edition #892

Before Woodstock and Monterey Pop, there was Festival. From 1963 through 1966, Murray Lerner visited the annual Newport Folk Festival to document a thriving, idealistic musical movement as it reached its peak as a popular phenomenon. Joan Baez, Bob Dylan, Howlin' Wolf, Johnny Cash, the Staple Singers, Pete Seeger, Son House, and Peter, Paul and Mary were just a few of the legends who shared the stage at Newport, treating audiences to a range of folk music that encompassed the genre's roots in blues, country, and gospel as well as its newer flirtations with rock and roll. Shooting in gorgeous black and white, Lerner juxtaposes performances with snapshot interviews with artists and their fans, weaving footage from four years of the festival into an intimate record of a pivotal time in music-and in American culture at large. SUPPLEMENTAL FEATURES: a documentary about the making of the film; a selection of unreleased performances by Clarence Ashley, Johnny Cash, Elizabeth Cotten, John Lee Hooker, Odetta, and Tom Paxton; and more.
*Premiering on the Channel this month.
 
Thursday, February 22nd
Four Luis Buñuel Editions

One of cinema's great subversives, Luis Buñuel spent nearly half a century taking aim at a number of humankind's most cherished orthodoxies. This month, we're presenting editions of four of his late-career French films, which plunge into the surreal and satirical. A ribald deconstruction of contemporary and traditional views on Catholicism, 1969's The Milky Way(Criterion Collection Edition #402) inaugurated what Buñuel saw as a trilogy about "the search for truth." That cycle's next two films, the absurdist masterpieces The Discreet Charm of the Bourgeoisie (#102) and The Phantom of Liberty (#290), take place at high-society gatherings disrupted by absurd occurrences, revealing the hypocrisy of conventional morality and the arbitrariness of social arrangements. Buñuel's final film, 1977's That Obscure Object of Desire (#143), is a dizzying game of sexual politics that brings full circle the director's lifelong preoccupation with the darker side of desire. Supplements in this program include a documentary about Buñuel's life and work, and a video with Jean-Claude Carrière.

Friday, February 23rd
Friday Night Double Feature: Birdman of Alcatraz and Down by Law

Get a glimpse of life behind bars in John Frankenheimer's 1962 drama Birdman of Alcatraz and Jim Jarmusch's 1986 misfit "neo-Beat noir comedy" Down by Law. Featuring a powerful performance by Burt Lancaster, Frankenheimer's film is one of the blueprints of the prison movie, telling the story of a convicted murderer who, after developing an affinity for birds while in prison, goes on to become a distinguished ornithologist. Jarmusch's sophomore feature turns that blueprint on its head, bringing together Tom Waits, John Lurie, and Roberto Benigni for an idiosyncratic tale about a Louisiana prison break that leads to a dreamlike adventure.

Monday, February 26
Observations on Film Art No. 16: The Darkness of War in Wooden Crosses

Raymond Bernard's 1932 masterpiece Wooden Crosses, often referred to as France's All Quiet on the Western Front, is one of the most poignant films to envision the horrors of combat during World War I. Widely celebrated for its lavishly expensive and realistic reconstruction of life in the trenches, the film is also remarkable for the subtlety of Bernard's techniques. For this month's episode of Observations on Film Art, a Channel-exclusive series that takes a look at how great filmmakers use cinematic devices and conventions, film-studies scholar Kristin Thompson explores how Wooden Crosses combines the brutality of other war dramas of its era with a lyricism all its own, achieved largely through the film's exquisite use of lighting.

Tuesday, February 27
Tuesday's Short + Feature: Nadja in Paris and Breathless

Two French New Wave titans find inspiration in the experiences of young American women studying abroad in Paris. In his 1964 short Nadja in Paris, Rohmer teams up for the first time with the great cinematographer Néstor Almendros, observing the everyday comings and goings of an exchange student discovering the city while writing her thesis on Marcel Proust. In his landmark 1960 debut feature, Breathless, Godard pays tribute to American gangster movies with a jazzy tale of a criminal who becomes romantically involved with an American student (the incandescent Jean Seberg) living in Paris.
 
Tuesday, February 27
4 by Agnès Varda: Edition #418

Agnès Varda used the skills she honed early in her career as a photographer to create some of the most nuanced, thought-provoking films of the past fifty years. She is widely believed to have presaged the French New Wave with her first film, La Pointe Courte, long before creating one of the movement's benchmarks, Cléo from 5 to 7. Later, with Le bonheur and Vagabond, Varda further shook up art-house audiences, challenging bourgeois codes with her inscrutable characters and offering effortlessly beautiful compositions and editing. Now working largely as a documentarian, Varda remains one of the essential cinematic poets of our time and a true visionary. SUPPLEMENTAL FEATURES: video interviews with Varda; excerpts from a 1964 episode of the French television series Cinéastes de notre temps, in which Varda discusses her early career; a documentary about the making of Cléo from 5 to 7; and more.
 
Wednesday, February 28
Adventures in Moviegoing with Megan Abbott

An award-winning novelist and a writer for David Simon's HBO drama The Deuce, Megan Abbott joins film critic Michael Sragow to talk about her precocious filmgoing life, beginning with her family trips to the revival house in her hometown of Grosse Point, Michigan, where she first fell in love with the speed, grit, and thump of crime films like The Public Enemy. She also remembers her epiphany seeing Blue Velvet, which revealed a hidden world and new dimensions to an American suburb like her own. For the program that accompanies the interview, Abbott has picked a slate of films that echo that revelation in different ways, including Lynch's Twin Peaks: Fire Walk with Me and Samuel Fuller's The Naked Kiss, as well as movies like Blood Simple, which reflects her ongoing obsessions with film noir, and Picnic at Hanging Rock, which she regards as a breakthrough treatment of female adolescence.
 
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Complete list of films premiering on the Criterion Channel this month:

February 1
Tropical Malady, Apichatpong Weerasethakul, 2005
Syndromes and a Century, Apichatpong Weerasethakul, 2006
Uncle Boonmee Who Can Recall His Past Lives, Apichatpong Weerasethakul, 2010
Cemetery of Splendor, Apichatpong Weerasethakul, 2015
The Great Escape, John Sturges, 1963
 
February 2
Olympia Part One: Festival of the Nations, Leni Riefenstahl, 1938
Olympia Part Two: Festival of Beauty, Leni Riefenstahl, 1938
Tokyo Olympiad, Kon Ichikawa, 1965
13 Days in France, Claude Lelouch, 1968
Visions of Eight, Milos Forman, Kon Ichikawa, Claude Lelouch, Yuri Ozerov, Arthur Penn, Michael Pfleghar, John Schlesinger, Mai Zetterling, 1973
White Rock, Tony Maylam, 1977
16 Days of Glory, Bud Greenspan, 1986
Marathon, Carlos Saura, 1993
The Front Page, Lewis Milestone, 1931 
The Games of the V Olympiad Stockholm, 1912, Adrian Wood, 2016 
White Vertigo, Giorgio Ferroni, 1956
February 5
Lettres d'amour, Claude Autant-Lara, 1942
 
February 6
Five Miles Out, Andrew Haigh, 2009
 
February 13
Night of the Living Dead, George A. Romero, 1968
 
February 20
Bluebeard, Jean Painlevé, 1938
 
February 21
Festival, Murray Lerner, 1967
Francis Ha, Noah Baumbach, 2013
FOR MORE INFORMATION AND TO JOIN FILMSTRUCK VISIT HERE

ABOUT THE CRITERION CHANNEL
 
The Criterion Channel offers the largest streaming collection of Criterion films available, including classic and contemporary films from around the world, interviews and conversations with filmmakers and never-before-seen programming. The channel's weekly calendar features complete Criterion editions, thematic retrospectives, live events, short films, and select contemporary features, along with exclusive original programming that aims to enhance the Criterion experience for the brand's dedicated fans as well as expanding its reach to new audiences. Other recent additions to the programming include MEET THE FILMMAKER: ATHINA RACHEL TSANGARI and ADVENTURES IN MOVIEGOING WITH BILL HADER.

ABOUT FILMSTRUCK

FilmStruck is a new subscription on-demand service that offers film aficionados a comprehensive library of films including an eclectic mix of contemporary and classic art house, indie, foreign and cult films. Developed and managed by Turner Classic Movies (TCM) in collaboration with the Criterion Collection, FilmStruck will be the new exclusive streaming home for the critically acclaimed and award-winning Criterion Collection, including the Criterion Channel, a new premium service programmed and curated by the Criterion team.  FilmStruck is Turner's first domestic direct-to-consumer offering launched in November 2016.

ABOUT THE CRITERION COLLECTION

Since 1984, the Criterion Collection has been dedicated to publishing important classic and contemporary films from around the world in editions that offer the highest technical quality and award-winning, original supplements. No matter the medium-from laserdisc to DVD and Blu-ray to FilmStruck, the streaming service developed in collaboration with Turner Classic Movies - Criterion has maintained its pioneering commitment to presenting each film as its maker would want it seen, in state-of-the-art restorations with special features designed to encourage repeated watching and deepen the viewer's appreciation of the art of film.

January 29, 2018

Coming to NETFLIX in February 2018

Screen Shot 2017-08-02 at 4.27.13 PM

Feb. 1

3000 Miles to Graceland
42 Grams
Aeon Flux
American Pie
American Pie 2
American Pie Presents: Band Camp
American Pie Presents: The Book of Love
American Pie Presents: The Naked Mile
Ella Enchanted
Extract
GoodFellas
Forgotten
How the Beatles Changed the World
John Mellencamp: Plain Spoken
Kill Bill: Vol. 1
Kill Bill: Vol. 2
Lara Croft: Tomb Raider
Liberated: The New Sexual Revolution
Lovesick
Meet the Fockers
Meet the Parents
Men in Black
National Parks Adventure
Ocean’s Eleven
Ocean’s Twelve
Ocean’s Thirteen
Paint It Black
Scream 3
The Hurt Locker
Walk Hard: The Dewey Cox Story
Z Nation: Season 4

Feb. 2 to Feb. 10

6 Days
Altered Carbon: Season 1
Cabin Fever
Coach Snoop: Season 1
Fate/Apocrypha: Part 2
Fred Armisen: Standup For Drummers
Imposters: Season 1
Kavin Jay: Everybody Calm Down!
Luna Petunia: Return to Amazia: Season 1
My Next Guest Needs No Introduction With David Letterman: George Clooney
On Body and Soul
Queer Eye: Season 1
Seeing Allred
The Emoji Movie
The Ritual

Feb. 11 to Feb. 20

Bates Motel: Season 5
Blood Money
Deep Undercover Collection: Collection 2
Dismissed
DreamWorks Dragons: Race to the Edge: Season 6
Everything Sucks!: Season 1
First Team: Juventus: Season 1
FullMetal Alchemist
Greenhouse Academy: Season 2
Evan Almighty
Irreplaceable You
Love Per Square Foot
Re:Mind: Season 1
The Frankenstein Chronicles: Season 1 and Season 2
The Joel McHale Show with Joel McHale

Feb. 21 to Feb. 28

Atomic Puppet: Season 1
Derren Brown: The Push
El Vato: Season 2
Heyday of the Insensitive Bastards
Jeepers Creepers 3
Lincoln
Marlon Wayans: Woke-ish
Marseille: Season 2
Mute
People You May Know
Seven Seconds: Season 1
Sin Senos sí Hay Paraíso: Season 2
The Bachelors
Ugly Delicious: Season 1
Winnie

January 28, 2018

THE STANDUPS — BETH STELLING

Beth Stelling

Check out the awesome and funny Beth Stelling on the Netflix standup comic anthology THE STANDUPS. Beth is by far the best and brightest of the bunch.

You wouldn't be wrong to skip straight to her episode; it's worthy of repeated viewings. This lady has great jokes, timing, and delivery.

Perhaps we'll have Beth Stelling as a guest co-host on LA GRANDE BOUFFE (THE BIG FEAST) some time.

Keep an eye out for Beth Stelling, and catch her live act if you can, you'll laugh, that's for sure. 

THE END OF THE F***ING WORLD

The-end-of-the-fucking-world-posterBased on Charles Forsman’s brilliant minicomics, “The End of the F***ing World” is an expertly crafted black comedy series similar in tone and delivery to “Twin Peaks,” but with a more approachable sense of humor.

If casting is nine-tenths of the battle, then co-directors Jonathan Entwistle and Lucy Tcherniak were destined for success from the start. Alex Lawther and Jessica Barden are the exquisite young British actors who transform into a would-be serial killer and a the kind of girl you don’t take home to meet the parents.

Alex Lawther

James (Lawther) is a 17-year-old oddball who witnessed his mother’s suicide (by driving her car into a lake) when he was 10. He’s a depressed kid who asks his goofy single dad for a machete for his birthday, but settles for a hunting knife. James once put his hand in boiling hot oil so he could “feel something.” He has a recent history of killing gradually larger animals. James is working up to killing a person. His first girlfriend (Alyssa — Jessica Barden) could be an ideal victim.

With each episode clocking in around 20-minutes, this Netflix-produced series is a bingeable treat akin to eating just the right amount of snacks so you don’t feel guilty for having two or three.

Garden Party

On Alyssa’s prompting, the teenaged duo run away from their respective homes to go on a road trip adventure through the underbelly of England’s hollow social shell. After her mom’s boyfriend flirts with her, Alyssa looks down on a garden party that her parental figures are hosting at her oh-so-perfect suburban home and takes inventory. “Fuck this shit,” is her final analysis. Janis Ian’s “At Seventeen” takes care of the musical counterpoint.

Jessica Barden

Teenaged angst, and lust, are put through a bloody blender before the first series’ eight episodes come to a satisfying stopping place. Thankfully, season 2 is already in the works.

Funny, frightening, naughty, and packed with chuckle inducing bits of scathing satire, “The End of the F****ing World” might just be better than “Twin Peaks” and “Fargo.”

Series (A+) (Five stars — out of five / no halves)


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Groupthink doesn't live here.

January 24, 2018

2018 Oscars: Early Predictions in all 24 categories

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Best Picture:

“Call Me by Your Name”
“Darkest Hour”
“Dunkirk”
“Get Out”
“Lady Bird”
“Phantom Thread”
“The Post”
“The Shape of Water”
Will win/should win — “Three Billboards Outside Ebbing, Missouri”

Lead Actor:

Timothée Chalamet, “Call Me by Your Name”
Daniel Day-Lewis, “Phantom Thread”
Daniel Kaluuya, “Get Out”
Will win/should win — Gary Oldman, “Darkest Hour”
Denzel Washington, “Roman J. Israel, Esq.”

Lead Actress:

Sally Hawkins, “The Shape of Water”
Will win/should win — Frances McDormand, “Three Billboards Outside Ebbing, Missouri”
Margot Robbie, “I, Tonya”
Saoirse Ronan, “Lady Bird”
Meryl Streep, “The Post”

Supporting Actor:

Willem Dafoe, “The Florida Project”
Woody Harrelson, “Three Billboards Outside Ebbing, Missouri”
Richard Jenkins, “The Shape of Water”
Christopher Plummer, “All the Money in the World”
Will win/should win —  Sam Rockwell, “Three Billboards Outside Ebbing, Missouri”

Supporting Actress:

Mary J. Blige, “Mudbound”
Will win/should win — Allison Janney, “I, Tonya”
Lesley Manville, “Phantom Thread”
Laurie Metcalf, “Lady Bird”
Octavia Spencer, “The Shape of Water”

Director:

“Dunkirk,” Christopher Nolan
“Get Out,” Jordan Peele
“Lady Bird,” Greta Gerwig
“Phantom Thread,” Paul Thomas Anderson
Will win/should win — “The Shape of Water,” Guillermo del Toro

Animated Feature:

“The Boss Baby”
“The Breadwinner”
Will win — “Coco”
“Ferdinand”
Should win — “Loving Vincent”

Animated Short:

“Dear Basketball,” Glen Keane, Kobe Bryant
Will win/should win — “Garden Party,” Victor Caire, Gabriel Grapperon
“Lou,” Dave Mullins, Dana Murray
“Negative Space,” Max Porter, Ru Kuwahata
“Revolting Rhymes,” Jakob Schuh, Jan Lachauer

Adapted Screenplay:

Will win — “Call Me by Your Name,” James Ivory
“The Disaster Artist,” Scott Neustadter & Michael H. Weber
“Logan,” Scott Frank & James Mangold and Michael Green
Should win — “Molly’s Game,” Aaron Sorkin
“Mudbound,” Virgil Williams and Dee Rees

Original Screenplay:

“The Big Sick,” Emily V. Gordon & Kumail Nanjiani
“Get Out,” Jordan Peele
“Lady Bird,” Greta Gerwig
Will win — “The Shape of Water,” Guillermo del Toro, Vanessa Taylor
Should win — “Three Billboards Outside Ebbing, Missouri,” Martin McDonagh

Cinematography:

“Blade Runner 2049,” Roger Deakins
“Darkest Hour,” Bruno Delbonnel
“Dunkirk,” Hoyte van Hoytema
“Mudbound,” Rachel Morrison
Will win/should win — “The Shape of Water,” Dan Laustsen

Best Documentary Feature:

“Abacus: Small Enough to Jail”
Will win/should win — “Faces Places”
“Icarus”
“Last Men in Aleppo”
“Strong Island”

Best Documentary Short Subject:

Will win/should win — “Edith+Eddie”
“Heaven is a Traffic Jam on the 405”
“Heroin(e)”
“Knife Skills”
“Traffic Stop”

Best Live Action Short Film:

 Will win/should win — “DeKalb Elementary,” Reed Van Dyk
“The Eleven O’Clock,” Derin Seale, Josh Lawson
“My Nephew Emmett,” Kevin Wilson, Jr.
“The Silent Child,” Chris Overton, Rachel Shenton
“Watu Wote/All of Us,” Katja Benrath, Tobias Rosen

Best Foreign Language Film:

Will win/should win — “A Fantastic Woman” (Chile)
“The Insult” (Lebanon)
“Loveless” (Russia)
“On Body and Soul (Hungary)
“The Square” (Sweden)

Film Editing:

“Baby Driver,” Jonathan Amos, Paul Machliss
“Dunkirk,” Lee Smith
“Dunkirk,” Alex Gibson, Richard King
Will win/should win —  “I, Tonya,” Tatiana S. Riegel
“The Shape of Water,” Sidney Wolinsky
“Three Billboards Outside Ebbing, Missouri,” Jon Gregory

Sound Editing:

“Baby Driver,” Julian Slater
“Blade Runner 2049,” Mark Mangini, Theo Green
“Dunkirk,” Alex Gibson, Richard King
Will win/should win — “The Shape of Water,” Nathan Robitaille
“Star Wars: The Last Jedi,” Ren Klyce, Matthew Wood

Sound Mixing:

“Baby Driver,” Mary H. Ellis, Julian Slater, Tim Cavagin
“Blade Runner 2049,” Mac Ruth, Ron Bartlett, Doug Hephill
 Will win — “Dunkirk,” Mark Weingarten, Gregg Landaker, Gary A. Rizzo
Should win — “The Shape of Water,” Glen Gauthier, Christian Cooke, Brad Zoern
“Star Wars: The Last Jedi,” Stuart Wilson, Ren Klyce, David Parker, Michael Semanick

Original Score:

Will win — “Dunkirk,” Hans Zimmer
“Phantom Thread,” Jonny Greenwood
“The Shape of Water,” Alexandre Desplat
“Star Wars: The Last Jedi,” John Williams
 Should win — “Three Billboards Outside Ebbing, Missouri,” Carter Burwell

Original Song:

Will win/should win —  “Mighty River” from “Mudbound,” Mary J. Blige
“Mystery of Love” from “Call Me by Your Name,” Sufjan Stevens
“Remember Me” from “Coco,” Kristen Anderson-Lopez, Robert Lopez
“Stand Up for Something” from “Marshall,” Diane Warren, Common
“This Is Me” from “The Greatest Showman,” Benj Pasek, Justin Paul 

Makeup and Hair:

Will win/should win — “Darkest Hour,” Kazuhiro Tsuji, David Malinowski, Lucy Sibbick
“Victoria and Abdul,” Daniel Phillips and Lou Sheppard
“Wonder,” Arjen Tuiten

Costume Design:

“Beauty and the Beast”
“Darkest Hour
Will win— “Phantom Thread”
 Should win — “The Shape of Water”
“Victoria and Abdul”

Production Design:

“Beauty and the Beast” 
“Blade Runner 2049″
“Darkest Hour”
“Dunkirk”
“Dunkirk,” Alex Gibson, Richard King
Will win/should win —  “The Shape of Water”

Visual Effects:

Will win — “Blade Runner 2049,” John Nelson, Paul Lambert, Richard R. Hoover, Gerd Nefzer
Should win — “Guardians of the Galaxy Vol. 2,” Christopher Townsend, Guy Williams, Jonathan Fawkner, Dan Sudick
“Kong: Skull Island,” Stephen Rosenbaum, Jeff White, Scott Benza, Mike Meinardus
“Star Wars: The Last Jedi,”  Ben Morris, Mike Mulholland, Chris Corbould, Neal Scanlon
“War for the Planet of the Apes,” Joe Letteri, Dan Lemmon, Daniel Barrett, Joel Whist


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January 23, 2018

2018 OSCAR NOMINEES — COMPLETE LIST

Oscars

Best Picture:

“Call Me by Your Name”
“Darkest Hour”
“Dunkirk”
“Get Out”
“Lady Bird”
“Phantom Thread”
“The Post”
“The Shape of Water”
“Three Billboards Outside Ebbing, Missouri”

Lead Actor:

Timothée Chalamet, “Call Me by Your Name”
Daniel Day-Lewis, “Phantom Thread”
Daniel Kaluuya, “Get Out”
Gary Oldman, “Darkest Hour”
Denzel Washington, “Roman J. Israel, Esq.”

Lead Actress:

Sally Hawkins, “The Shape of Water”
Frances McDormand, “Three Billboards Outside Ebbing, Missouri”
Margot Robbie, “I, Tonya”
Saoirse Ronan, “Lady Bird”
Meryl Streep, “The Post”

Supporting Actor:

Willem Dafoe, “The Florida Project”
Woody Harrelson, “Three Billboards Outside Ebbing, Missouri”
Richard Jenkins, “The Shape of Water”
Christopher Plummer, “All the Money in the World”
Sam Rockwell, “Three Billboards Outside Ebbing, Missouri”

Supporting Actress:

Mary J. Blige, “Mudbound”
Allison Janney, “I, Tonya”
Lesley Manville, “Phantom Thread”
Laurie Metcalf, “Lady Bird”
Octavia Spencer, “The Shape of Water”

Director:

“Dunkirk,” Christopher Nolan
“Get Out,” Jordan Peele
“Lady Bird,” Greta Gerwig
“Phantom Thread,” Paul Thomas Anderson
“The Shape of Water,” Guillermo del Toro

Animated Feature:

“The Boss Baby”
“The Breadwinner”
“Coco”
“Ferdinand”
“Loving Vincent”

Animated Short:

“Dear Basketball,” Glen Keane, Kobe Bryant
“Garden Party,” Victor Caire, Gabriel Grapperon
“Lou,” Dave Mullins, Dana Murray
“Negative Space,” Max Porter, Ru Kuwahata
“Revolting Rhymes,” Jakob Schuh, Jan Lachauer

Adapted Screenplay:

“Call Me by Your Name,” James Ivory
“The Disaster Artist,” Scott Neustadter & Michael H. Weber
“Logan,” Scott Frank & James Mangold and Michael Green
“Molly’s Game,” Aaron Sorkin
“Mudbound,” Virgil Williams and Dee Rees

Original Screenplay:

“The Big Sick,” Emily V. Gordon & Kumail Nanjiani
“Get Out,” Jordan Peele
“Lady Bird,” Greta Gerwig
“The Shape of Water,” Guillermo del Toro, Vanessa Taylor
“Three Billboards Outside Ebbing, Missouri,” Martin McDonagh

Cinematography:

“Blade Runner 2049,” Roger Deakins
“Darkest Hour,” Bruno Delbonnel
“Dunkirk,” Hoyte van Hoytema
“Mudbound,” Rachel Morrison
“The Shape of Water,” Dan Laustsen

Best Documentary Feature:

“Abacus: Small Enough to Jail”
“Faces Places”
“Icarus”
“Last Men in Aleppo”
“Strong Island”

Best Documentary Short Subject:

“Edith+Eddie”
“Heaven is a Traffic Jam on the 405”
“Heroin(e)”
“Knife Skills”
“Traffic Stop”

Best Live Action Short Film:

“DeKalb Elementary,” Reed Van Dyk
“The Eleven O’Clock,” Derin Seale, Josh Lawson
“My Nephew Emmett,” Kevin Wilson, Jr.
“The Silent Child,” Chris Overton, Rachel Shenton
“Watu Wote/All of Us,” Katja Benrath, Tobias Rosen

Best Foreign Language Film:

“A Fantastic Woman” (Chile)
“The Insult” (Lebanon)
“Loveless” (Russia)
“On Body and Soul (Hungary)
“The Square” (Sweden)

Film Editing:

“Baby Driver,” Jonathan Amos, Paul Machliss
“Dunkirk,” Lee Smith
“I, Tonya,” Tatiana S. Riegel
“The Shape of Water,” Sidney Wolinsky
“Three Billboards Outside Ebbing, Missouri,” Jon Gregory

Sound Editing:

“Baby Driver,” Julian Slater
“Blade Runner 2049,” Mark Mangini, Theo Green
“Dunkirk,” Alex Gibson, Richard King
“The Shape of Water,” Nathan Robitaille
“Star Wars: The Last Jedi,” Ren Klyce, Matthew Wood

Sound Mixing:

“Baby Driver,” Mary H. Ellis, Julian Slater, Tim Cavagin
“Blade Runner 2049,” Mac Ruth, Ron Bartlett, Doug Hephill
“Dunkirk,” Mark Weingarten, Gregg Landaker, Gary A. Rizzo
“The Shape of Water,” Glen Gauthier, Christian Cooke, Brad Zoern
“Star Wars: The Last Jedi,” Stuart Wilson, Ren Klyce, David Parker, Michael Semanick

Production Design:

“Beauty and the Beast” 
“Blade Runner 2049″
“Darkest Hour”
“Dunkirk”
“The Shape of Water”

Original Score:

“Dunkirk,” Hans Zimmer
“Phantom Thread,” Jonny Greenwood
“The Shape of Water,” Alexandre Desplat
“Star Wars: The Last Jedi,” John Williams
“Three Billboards Outside Ebbing, Missouri,” Carter Burwell

Original Song:

“Mighty River” from “Mudbound,” Mary J. Blige
“Mystery of Love” from “Call Me by Your Name,” Sufjan Stevens
“Remember Me” from “Coco,” Kristen Anderson-Lopez, Robert Lopez
“Stand Up for Something” from “Marshall,” Diane Warren, Common
“This Is Me” from “The Greatest Showman,” Benj Pasek, Justin Paul

Makeup and Hair:

“Darkest Hour,” Kazuhiro Tsuji, David Malinowski, Lucy Sibbick
“Victoria and Abdul,” Daniel Phillips and Lou Sheppard
“Wonder,” Arjen Tuiten

Costume Design:

“Beauty and the Beast”
“Darkest Hour
“Phantom Thread”
“The Shape of Water”
“Victoria and Abdul”

Visual Effects:

“Blade Runner 2049,” John Nelson, Paul Lambert, Richard R. Hoover, Gerd Nefzer
“Guardians of the Galaxy Vol. 2,” Christopher Townsend, Guy Williams, Jonathan Fawkner, Dan Sudick
“Kong: Skull Island,” Stephen Rosenbaum, Jeff White, Scott Benza, Mike Meinardus
“Star Wars: The Last Jedi,”  Ben Morris, Mike Mulholland, Chris Corbould, Neal Scanlon
“War for the Planet of the Apes,” Joe Letteri, Dan Lemmon, Daniel Barrett, Joel Whist

The Academy Awards  (being hosted for the second time by Jimmy Kimmel) will air live on ABC television on Sunday, March 4.


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January 21, 2018

2018 SAG AWARDS — Complete List of Winners

SAG Awards

 

Outstanding Performance by a Cast in a Motion Picture:
“The Big Sick”
“Get Out”
“Lady Bird”
“Mudbound”
Three Billboards Outside EbbingMissouri” (WINNER)

Outstanding Performance by a Female Actor in a Leading Role:
Judi Dench, “Victoria & Abdul”
Sally Hawkins, “The Shape of Water”
Frances McDormand, “Three Billboards Outside Ebbing, Missouri” (WINNER)
Margot Robbie, “I, Tonya”
Saoirse Ronan, “Lady Bird”

Outstanding Performance by a Male Actor in a Leading Role:
Timothee Chalamet, “Call Me By Your Name”
James Franco, “The Disaster Artist”
Daniel Kaluuya, “Get Out”
Gary Oldman, “Darkest Hour” (WINNER)
Denzel Washington, “Roman J. Israel, Esq.”

Outstanding Performance by an Ensemble in a Drama Series:
“The Crown”
“Game of Thrones”
“The Handmaid’s Tale”
“Stranger Things”
This Is Us” (WINNER)

Outstanding Performance by a Female Actor in a Drama Series:
Millie Bobby Brown, “Stranger Things”
Claire Foy, “The Crown” (WINNER)
Laura Linney, “Ozark”
Elisabeth Moss, “The Handmaid’s Tale”
Robin Wright, “House of Cards”

Outstanding Performance by a Male Actor in a Drama Series:
Jason Bateman, “Ozark”
Sterling K. Brown, “This Is Us” (WINNER)
Peter Dinklage, “Game of Thrones”
David Harbour, “Stranger Things”
Bob Odenkirk, “Better Call Saul”

Outstanding Performance by a Female Actor in a Television Movie or Miniseries:
Laura Dern, “Big Little Lies”
Nicole Kidman, “Big Little Lies” (WINNER)
Jessica Lange, “Feud: Bette & Joan”
Susan Sarandon, “Feud: Bette & Joan”
Reese Witherspoon, “Big Little Lies”

Outstanding Performance by a Male Actor in a Television Movie or Miniseries:
Benedict Cumberbatch, “Sherlock”
Jeff Daniels, “Godless”
Robert De Niro, “The Wizard of Lies”
Geoffrey Rush, “Genius”
Alexander Skarsgard, “Big Little Lies” (WINNER)

Outstanding Performance by a Male Actor in a Supporting Role:
Steve Carell, “Battle of the Sexes”
Willem Dafoe, “The Florida Project”
Woody Harrelson,”Three Billboards Outside Ebbing, Missouri”
Richard Jenkins, “The Shape of Water”
Sam Rockwell, “Three Billboards Outside Ebbing, Missouri” (WINNER)

Outstanding Performance by a Female Actor in a Supporting Role:
Mary J. Blige, “Mudbound”
Hong Chau, “Downsizing”
Holly Hunter, “The Big Sick”
Allison Janney, “I, Tonya” (WINNER)
Laurie Metcalf, “Lady Bird”

Outstanding Performance by an Ensemble in a Comedy Series:
“Black-ish”
“Curb Your Enthusiasm”
“GLOW”
“Orange is the New Black”
Veep” (WINNER)

Outstanding Performance by a Female Actor in a Comedy Series:
Uzo Aduba, “Orange Is the New Black”
Alison Brie, “GLOW”
Jane Fonda, “Grace and Frankie”
Julia Louis-Dreyfus, “Veep” (WINNER)
Lily Tomlin, “Grace and Frankie”

Outstanding Performance by a Male Actor in a Comedy Series:
Anthony Anderson, “Black-ish”
Aziz Ansari, “Master of None”
Larry David, “Curb Your Enthusiasm”
Sean Hayes, “Will & Grace”
William H. Macy, “Shameless” (WINNER)
Marc Maron, “GLOW”

Outstanding Action Performance by a Stunt Ensemble in a Comedy or Drama Series:
“Game of Thrones” (WINNER)
“GLOW”
“Homeland”
“Stranger Things”
“The Walking Dead”

Outstanding Action Performance by a Stunt Ensemble in a Motion Picture:
“Wonder Woman” (WINNER)
“Baby Driver”
“Dunkirk”
“Logan”
“War For The Planet Of The Apes”


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January 19, 2018

WORMWOOD

WormwoodErrol Morris’s six-part Netflix documentary series “Wormwood” wears out its welcome by the end of the fourth episode. It’s not that the subject matter isn’t as gripping as it is disturbing — you’ll come away being as fearful of C.I.A. spooks as you are of ISIS — but rather that there is so much repetition and filler that you can’t help being bored long before the long-telegraphed narrative hook comes along in the sixth episode. How many times do you need to see a guy falling out of a window to get the point?

Perhaps Morris was too in tune with his subject to exert his traditionally reliable editorial expertise. “Wormwood” could easily have worked as a two-hour movie, but it simply doesn’t hang together for four-hour’s worth of screentime. As such, “Wormwood” represents Morris’s weakest effort to date.

Wormwood

Nevertheless, the story is compelling. In 1953 Frank Olson, a U.S. Army scientist working on a chemical weapons program (dubbed Artichoke) geared for use in the Korean War, fell, jumped, was pushed or “dropped” from the 13th floor of the Statler Hotel (a.k.a. the Hotel Pennsylvania) in midtown Manhattan. Splat.

Since then, Frank Olson’s son Eric (who was nine-years-old at the time of his father’s suspicious death) has been preoccupied with getting to the bottom of the story behind his father’s bizarre demise, which the C.I.A. attributed to an LSD experiment gone wrong.

Eric Olson proves to be an ideal participant in Morris’s signature fever-pitched procedure for incendiary question-and-answer sessions. Both men speak in confrontational upper register clips that urgently demand no-nonsense answers.

Eric Olson

Morris notably eschews using his go-to Interrotron machine that allows interviewees to speak direct-to-camera (see "The Fog of War"), in favor of a more casual setting of talking across a table in an unadorned room. The only embellishment is a clock that hangs behind Eric Olson’s head, stopped at the exact moment that his father perished on the asphalt of 7th avenue. Another drawback to the series is its dark, drab visual style that has a droning effect. It nearly puts the viewer to sleep.

Morris uses the ever impenetrable Peter Sarsgaard to play the part of Frank Olson in reenactments of events leading up to the wee hours of November 28, 1953 when Olson’s life came to an end. Tim Blake Nelson, Bob Balaban, Molly Parker, and Christian Camargo function well in other supporting roles however unnecessary many of their scenes become by the time the final episode rolls around.

Hamlet

“Wormwood” is a lurid Cold War scenario that shows the U.S. Government at its worst, weaving skullduggery like so much wool at the hands of such real-life goons as Donald Rumsfeld and Dick Cheney. Indeed, this is nightmare-producing stuff. It comes as a relief when Morris intercuts footage from Laurence Olivier’s famous 1948 film version of “Hamlet” to give literary resonance to Eric Olson’s ongoing rabbit-hole existence as a man consumed with the meaning of his father’s death. It's enough to drive a man, or an audience, to drink.

Peter Sarsgaard

Not rated. 241 mins. (B-) (Three stars — out of five / no halves)


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January 09, 2018

COMEDIANS IN CARS GETTING COFFEE

Comedians-in-cars-getting-coffeeConan O’Brien isn’t funny because he isn’t a comedian; he’s a talk show host. Chris Rock’s pithy explanation of the problem with Conan O’Brien’s lame attempts at being funny is just one tiny example of the granular level of Jerry Seinfeld’s popular, and deceptively informative, web series. Currently streaming on Netflix, the eminently bingeable “Comedians In Cars Getting Coffee” goes down like a root beer float with a surprise at the bottom of every glass.

If ever there was a crash course in what it takes to be a comedian, from a to z, this is it. Why isn’t Judd Apatow funny as a stand-up comedian? Clearly, it’s because he hasn’t paid his dues of honing his “material” on stage for the years that it takes to get good at it.

Jerry Seinfeld

Comedians or actors? Easy. Comedians portray themselves, whereas actors desperately want to inhabit anyone but themselves. Thus, comedians can act, but actors can’t become comedians. Mind blown.

Why is Barak Obama a terrible person? Because he’s a blow-hard bully. Obama’s transparent attempts to big-dog Jerry Seinfeld backfire noticeably during the episode where Seinfeld visits the President at the White House. Obama chides Seinfeld for leaving a once-bitten apple on a table in the Oval Office before trying way too hard to seem cool by draping his limp hand over the steering wheel of the 1963 Corvette that Seinfeld has brought for the occasion. The kicker comes when Obama insists on plugging Obamacare only to have Seinfeld emphasize the faux pas with a withering direct-to-camera pitch that slays. There’s also the fact of Seinfeld’s monetary success eclipsing Obama’s in rough comparison of Jupiter to the Earth’s moon.  

Julia-louis-dreyfus

You get to judge for yourself which comedians Jerry gets along with better than others. Seinfeld’s chemistry is much stronger with comedians such as Jimmy Fallon, and Chris Rock than it is with David Letterman, Howard Stern, or Ali Wentworth, three distinctly uncomfortable human beings whose unpleasantness may make you want to reach for an Alka Seltzer.

Jerry chooses a car he thinks best aligns with the personality of the comedian with whom he’ll imbibe coffee while chatting. For example, a 1965 SAAB MONTE CARLO 850 in olive green is the car of choice to go for a drive around Portland, Oregon with Fred Armisen. An onscreen clock (the WAIT-O-METER) registers the seven minutes it takes for Hipster Service at a local roastery to hand over two cups of “delicious” coffee for our comedian pals to chew over the definition of art.  

Garry Shandling

You can tell a lot about Jerry’s guest by the car he chooses. The 1976 Ford LTD Country Squire station wagon Jerry picks out for his coffee-attended chat with Sarah Jessica Parker signals that this might be an episode to skip. Episodes you don’t want to miss include: Michael Richards, Alec Baldwin, Julia Louis-Dreyfus, Kevin Hart, Trevor Noah, Garry Shandling, and Lorne Michaels.  

In its open-faced simplicity “Comedians In Cars Getting Coffee” holds a charm and candidness about the comedic process unavailable in any other setting. Five stars isn’t a high enough grade for this brilliant series where even the episodes with the worst guests show you something valuable about what makes the true greats (Don Rickles, Carl Reiner, Mel Brooks, Robert Klein) all the more memorable. 

58 (12  to 20 minute) episodes.  (Five stars — out of five / no halves)


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January 08, 2018

THE 2018 GOLDEN GLOBES WINNERS — COMPLETE LIST

Golden globes

Best Picture – Drama:
“Call Me by Your Name”
“Dunkirk”
“The Post”
“The Shape of Water”
“Three Billboards Outside Ebbing, Missouri”

Best Performance by an Actress in a Motion Picture – Drama:
Jessica Chastain, “Molly’s Game”
Sally Hawkins, “The Shape of Water”
Frances McDormand, “Three Billboards Outside Ebbing, Missouri”
Meryl Streep, “The Post”
Michelle Williams, “All the Money in the World”

Best Performance by an Actor in a Motion Picture – Drama:
Timothée Chalamet, “Call Me by Your Name”
Daniel Day-Lewis, “Phantom Thread”
Tom Hanks, “The Post”
Gary Oldman, “Darkest Hour”
Denzel Washington, “Roman J. Israel, Esq.”

Best Picture – Comedy or Musical: 
“The Disaster Artist”
“Get Out”
“The Greatest Showman”
“I, Tonya”
“Lady Bird”

Best Performance by an Actress in a Motion Picture – Musical or Comedy: 
Judi Dench, “Victoria & Abdul”
Helen Mirren, “The Leisure Seeker”
Margot Robbie, “I, Tonya”
Saoirse Ronan, “Lady Bird”
Emma Stone, “Battle of the Sexes”

Best Television Limited Series or Motion Picture Made for Television:
“Big Little Lies”
“Fargo”
“Feud: Bette and Joan”
“The Sinner”
“Top of the Lake: China Girl”

Best Director – Motion Picture:
Guillermo del Toro, “The Shape of Water”
Martin McDonagh, “Three Billboards Outside Ebbing, Missouri”
Christopher Nolan, “Dunkirk”
Ridley Scott, “All The Money in the World”
Steven Spielberg, “The Post”

Best Performance by an Actor in a Television Series – Musical or Comedy:
Anthony Anderson, “Black-ish”
Aziz Ansari, “Master of None”
Kevin Bacon, “I Love Dick”
William H. Macy, “Shameless”
Eric McCormack, “Will & Grace”

Best Television Series – Comedy:
“Black-ish”
“The Marvelous Mrs. Maisel”
“Master of None”
“SMILF”
“Will & Grace”

Best Performance by an Actor in a Limited Series or Motion Picture Made for Television:
Robert De Niro, “The Wizard of Lies”
Jude Law, “The Young Pope”
Kyle MacLachlan, “Twin Peaks”
Ewan McGregor, “Fargo”
Geoffrey Rush, “Genius”

Best Motion Picture – Foreign Language
“A Fantastic Woman”
“First They Killed My Father”
“In the Fade”
“Loveless”
“The Square”

Best Screenplay – Motion Picture:
Guillermo Del Toro, Vanessa Taylor, “The Shape of Water”
Greta Gerwig, “Lady Bird”
Liz Hannah, Josh Singer, “The Post”
Martin McDonagh, “Three Billboards Outside Ebbing, Missouri”
Aaron Sorkin, “Molly’s Game”

Best Performance by an Actress in a Supporting Role in a Motion Picture:
Mary J. Blige, “Mudbound”
Hong Chau, “Downsizing”
Allison Janney, “I, Tonya”
Laurie Metcalf, “Lady Bird”
Octavia Spencer, “The Shape of Water”

Best Animated Film:
“The Boss Baby”
“The Breadwinner”
“Coco”
“Ferdinand”
“Loving Vincent”

Best Performance by an Actress in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television:
Laura Dern, “Big Little Lies”
Ann Dowd, “The Handmaid’s Tale”
Chrissy Metz, “This Is Us”
Michelle Pfeiffer, “The Wizard of Lies”
Shailene Woodley, “Big Little Lies”


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