Each year I set aside time to highlight what I think are the best performances of the past movie year. In keeping with the upcoming Oscars I have adopted their format and for the next several days I’ll be sharing my favorite performances for each of the four acting categories. Ladies first so I’m starting with the Supporting Actress category. Women had a ton of fabulous performances to consider this year which made this tough to narrow down. Nonetheless here are my five favorites:

#5 – Octavia Spencer (“The Shape of Water”)

You could make an argument that Octavia Spencer could play this role in her sleep. I tend to agree, but that doesn’t make her any less fabulous in Guillermo del Toro’s “The Shape of Water”. There is an incredible natural quality to Spencer’s acting making it a perfect fit for characters like this. The movie certainly benefits from her presence.

#4 – Kirstin Dunst (“The Beguiled”)

With the many good performances in Sofia Coppola’s “The Beguiled” my mind kept coming back to Kirsten Dunst. It’s a fittingly low-key performance but one that’s hard to read. As the tension amps up in the film’s second half, Dunst is allowed to open up her character a tad more. But through it all she still remains a bit of a mystery.

#3 – Tatiana Maslany (“Stronger”)

One of the true surprises of the year came from Tatiana Maslany who plays Jake Gyllenhaal’s on again/off again girlfriend in David Gordan Green’s biopic “Stronger”. It would have been easy for Maslany to get lost behind Gyllenhaal’s attention-getting performance but she’s incredibly good and an anchor in many of the movie’s best scenes.

#2 – Mary J. Blige (“Mudbound”)

Drop this one into the “eye-opening” category. Mary J. Blige kills it in “Mudbound” and it’s great to see her getting some well-deserved attention along the awards circuit. I knew Blige had gotten into acting but I had never seen her work. After her performance as the matriarch of her 1940s Mississippi Delta family, you can expect to see a lot more of her.

#1 – Laurie Metcalf (“Lady Bird”)

There were several really good performances from women playing ‘complicated’ mothers. Laurie Metcalf’s from “Lady Bird” was easily my favorite. There is a complexity to the character that demands a very careful and precise performance. Metcalf gets it just right and delivers a character who walks the pivotal line between sympathetic and infuriating. Brilliant.

So what do you think? What did I get right and what did I miss. Share your thoughts and picks in the comments section. Supporting Actor is next.

It’s hard to believe the Golden Globes have (once again) come and gone and the Oscars are right around the corner. As always there were funny moments, some not so funny moments, some surprises, and some disappointments. As usual I have a few random thoughts I cant help but share. So here we go…

• There was definitely a theme of the night. Women rising up from Hollywood inequality seemed to make its way into every speech and in many awards. Some of the language was beautiful and inspiring. Others seemed a bit out of place. For example…
• Natalie Portman’s slam at the Best Director category. Presenting the award she said “And here are the all male nominees”. Now I have to admit it was a glorious shot. But it also felt a little dirty and demeaning to what the nominees accomplished. But they’re big boys. They’ll get over it.
• Another thing on the womens theme, did anyone else sense Hollywood saying great things about moving forward but very little about their culpability? It was Hollywood that allowed and maintained the sexist (and in many cases) abusive environments. I would have loved to see more of that introspection.
• And lastly let’s hope Hollywood is serious about moving forward and that this isn’t simply their “Cause of the Year”. The women of the industry deserve so much better.
• It was great seeing Daniel Day-Lewis there and heartbreaking to know it’s for his last film. Simply put he is one of the greatest actors of all time. In many ways I would have loved to see him win Best Actor but…
• Gary Oldman absolutely deserved it. Talk about an amazing performance. In his long line of great performances this could be his best and it was great to see him get recognition for it.

• Seth Myers was fine. Nothing bad. Nothing special. Simply okay. But did he have to yell practically every syllable of his monologue?
• As I watched winner after winner from the television categories I couldn’t help but notice the slew of ‘movie stars’ taking home statues. It just shows how television has changed. Big screen stars committing to 7-10 episode seasons. Seems weird.
• Oh, and I realized I haven’t seen one single episode of one single nominated TV show (pathetic, I know). I guess that’s why it’s called “Keith & the MOVIES”.
• “Three Billboards Outide Ebbing, Missouri” left the big winner and potentially the Oscar frontrunner. With all due respect to the great ensemble, the Globes love blew my mind. So many better films.
• I’m still shaking my head at Martin McDonagh’s Best Screenplay win for “Three Billboards”. How it beat Aaron Sorkin’s blazing script in “Molly’s Game” or Greta Gerwig’s “Lady Bird” is beyond me.
• Speaking of “Lady Bird” what a great win in the Best Musical or Comedy category. I’m so proud for Gerwig who was the true architect of that film.
• And speaking of “Lady Bird” again, Saoirse Ronan! I squealed when her name was announced. She’s been great so many times and it’s wonderful to see her get some much deserved recognition.
• But can Ronan knock off Frances McDormand who won the Best Actress Drama award? McDormand was good in “Three Billboards”. She always is. But I would have taken Chastain over her in a heartbeat.
• Speaking of always good, Allison Janney won for Best Supporting Actress Comedy. It’s really hard to argue that win but man I was rooting for Laurie Metcalf. Of the eccentric overbearing mothers, Metcalf moved me so much more.
• Sam Rockwell winning for Best Supporting Actor? Sure. It’s hard not to like Rockwell. But there were so many omissions from that category.

• The Hollywood Foreign Press must not care much for music. Did you see them fly through the nominees and winners for Best Original Score and Best Original Song?
• Gal Gadot and The Rock. Yes please.
• I can’t bark too much because I’ve only seen two of the nominees in the Best Foreign Language category. But may I say (again) that Angelina Jolie’s “First They Killed My Father” is one of the best film’s of the year? There, I said it.
• “Get Out” was shut out and I have to say (don’t crucify me) I was glad to see it. I know I’m practically alone but I just can’t see the fascination. Some cool ideas but far from awards-caliber execution.
• Speaking of “Get Out” I saw some interesting tweets insinuating the movie’s bad night may have racial foundations. I don’t buy that. “Get Out” isn’t good enough. But then I wonder where is Idris Elba, Dee Rees, and Rob Morgan? Hmm.
• Think about this – both Tommy Wiseau and Tonya Harding were celebrated in the same Golden Globes show.
• And James Franco winning Best Actor Comedy was okay I guess. It may see him at least get an Oscar night invite. But does anyone really think he has a shot at winning? Nope.
• “Coco” wins for Best Animated Feature. The most predictable win of the night in what turned out to be a very bland group of nominees.
• Let’s face it, Christopher Nolan apparently doesn’t make movies that appeal to these voters and I love him for it. Obviously they “appreciate” them but not enough to award them. That’s a shame. “Dunkirk” is phenomenal.
• Which brings me back to Best Director and its winner, Guillermo del Toro. There were some big omissions among the nominees. But of those listed, Christopher Nolan’s accomplishment was unlike any other. But see previous point.

• Another happy Greta Gerwig moment – how about her speech for the big “Lady Bird” win. Talk about humble, unscripted, and pure appreciation. It made me happy.
• I can’t tell you whether he deserved it or not, but Sterling Brown being the first black actor to win Best Actor in a TV Drama. Let that astounding fact sink in for a second.
• And Oprah. I’ve always been mixed on Oprah but never downplayed her cultural impact. Sure, parts of her speech were inspiring. But I still love it when these speeches focus on the art and the person’s accomplishment within the art. I know, but that’s just me.
• Those Kevin Spacey jokes…WOW!
• Speaking of Tommy Wiseau, did you notice how Franco, Rogan and company didn’t let him sit at their table? It looked like he was stuck in the back somewhere.
• Remember when Seth Myers introduced “TV Legends” Carol Burnett and Jennifer Aniston? TV Legends??? Carol Burnett absolutely. But Jennifer Aniston. Hmmm.

Well that’s enough randomness. Lets do it again next year!

It’s hard to believe it’s that time again – the time of the year where critics and bloggers throw together lists of the movies they felt shined the brightest during the past year. Sure, some turn their noses at these things, but I’ve always enjoyed them. Why not take time to promote the movies you feel were the real treats of the past 365 days. So here we go, reflecting back on 2017 and sharing my picks from what the year had to offer (At least out of what I’ve seen. Sadly, frustrating release schedules means some much anticipated films have yet to open near me. “Phantom Thread”, “Hostiles” and “The Post” head that list).

As always I’ll begin by showing some love to the fine movies that just missed my top 10. Here are my #11 – 20 picks:

• #20 – “Pilgrimage”
• #19 – “Roman J. Israel, Esq.”
• #18 – “Star Wars: The Last Jedi”
• #17 – “The Bachelors”
• #16 – “Lady Bird”
• #15 – “Frantz”
• #14 – “Wonderstruck”
• #13 – “Molly’s Game”
• #12 – “The Beguiled”
• #11 – “Maudie”

And now my Top 10 films of 2017..

#10 – “1922” There were plenty of surprises in 2017. In fact it was the surprises that saved the movie year for me. Perhaps the biggest one came in the small psychological horror film “1922” based on a Stephen King short story. Thomas Jane (in what may be my favorite performance of the year) plays a struggling Nebraska farmer at odds with his wife over keeping their land or moving to the city. Writer/director Zak Hilditch crafts a movie that gets under your skin and maintains a menacing vibe from start to finish without ever relying on overused genre gimmickry. It may be a tad too slow for some, but its steady sense of discomfort and dread had me hooked. What a year for Netflix.

#9 – “The Unknown Girl” The Belgian sibling duo of Luc and Jean-Pierre Dardenne have become some of my favorite filmmakers. There is an unvarnished naturalism in their handling of their characters, their circumstances, and the moral quandaries they face. All hold true in “The Unknown Girl”, a mesmerizing drama and personal journey veiled as a murder mystery. The Dardenne’s focus their real-world lens on a young doctor played with a magnetic measured intensity by Adèle Haenel. Her striking performance is almost Bressonian in its quiet authenticity – a perfect match for the Dardenne’s style.

#8 – “A Ghost Story” David Lowery’s meditative supernatural drama was unlike anything else I saw in 2017. There is nothing conventional or routine about Lowery’s film or his approach to storytelling and that’s part of its allure. “A Ghost Story” surprises at so many levels. It may be the seismic yet effective narrative shift midway through the movie. Or maybe the amount of emotion we get from Casey Affleck under a bedsheet. Or Rooney Mara’s soulful, evocative performance despite having little dialogue. I found it all to be both beautiful and tragic. Its story is patient and personal; its presentation audacious and impressionistic. It all had me under the film’s spell from the start.

#7  – “First They Killed My Father” Through four films Angelina Jolie has shown a sharp awareness of technique but has never quite hit her stride. That changes with her fifth film, “First They Killed My Father”. It’s a heart-wrenching true story of a young girl growing up during the Khmer Rouge reign in 1970s Cambodia. Jolie’s commitment to authenticity pays off. The movie was shot in Cambodia, with Cambodian performers, and uses the Khmer language. Also many films have told their story from a child’s perspective, but few have done it as well as Jolie does here. The true story in incredible, Jolie’s pacing is perfect, and the cinematography is stunning. It’s a difficult movie to watch but it’s an absolute must-see.

#6 – “The Lost City of Z” James Gray’s masterful biographical adventure “The Lost City of Z” didn’t get a ton of buzz, but it is a film that has stuck with me since my first viewing. Its story of British officer, geographer, and eventual South American explorer Percy Fawcett is fascinating on its own, but Gray’s storytelling is just as absorbing.  You can’t help but see light shades of Herzog’s “Aguirre, the Wrath of God” and “Fitzcarraldo”. Even touches of John Huston come to mind. Yet remarkably James Gray has created a movie that feels completely of itself. It’s his best film. It’s Charlie Hunnam’s best performance to date. It’s easily one of my favorite movies of the year.

#5 – “Mudbound” Over the past few years there have been several movies willing to deal with slavery and the racial aftermath that reverberated for decades. “Mudbound” is the best of them. Set in the Mississippi delta during the 1940s, “Mudbound” tells the story of two families bound by the rugged farmland they work. Co-writer and director Dee Rees brilliantly portrays the harshness of the period setting while her shrewd handling of the racial climate is powerful and authentic. “Mudbound” is a devastating movie with a bold perspective, great performances throughout, and a young filmmaker with an incredible eye and great understanding of her material. The results are superb.

#4 – “Wonder Woman” DC’s attempts to match Marvel in the superhero genre haven’t been warmly received (sometimes unfairly but I’ll leave that be). “Wonder Woman” was the injection their shared universe needed. Director Patty Jenkins brings a fresh sensibility and perspective to the genre while still capturing what makes these comics-to-screen adventures so much fun. And of course there is Gal Gadot who not only makes Wonder Woman her own, but gives her more depth than I expected. And that’s what made this film one of the best of its genre – a protagonist with powers that leave us in awe but genuine emotions we can relate to.

#3 – “Columbus” One of the great surprises of 2017 was “Columbus” and its first-time feature filmmaker Kogonada. Rarely does a first film feature such a deft handling of story and visual technique. Set among the modernist architecture of Columbus, Indiana, Kogonada elegantly and meticulously composes shot after shot that are stunning but never without purpose. They always serve the beautiful but quietly devastating story of two wounded souls played by John Cho (who is fantastic) and Haley Lu Richardson who turns out to be a true revelation. It all melds into one of the most soulful experiences of the year and one of the strongest filmmaking debuts in decades.

#2 – “Phantom Thread” While I’ve always appreciated Paul Thomas Anderson’s talents as a filmmaker I often find myself mixed on his movies (“There Will Be Blood” aside). That’s certainly not the case with “Phantom Thread”, a masterful mixture of story and craft from a filmmaker perfectly in tune with his vision. Add in three superb performances led by the always spellbinding Daniel Day-Lewis (supposedly his last performance). The camerawork is exquisite, Jonny Greenwood’s score is intoxicating, the costume design is breathtaking and Anderson’s script is both beautiful and wildly unpredictable. Whether you’re an Anderson fan or not, “Phantom Thread” shows why he is considered among the great American directors.

#1 – “Dunkirk” In my mind Christopher Nolan has established himself as the premier big budget filmmaker of our time. Time and time again he has delivered fascinating cinematic experiences that make their own rules. “Dunkirk” is one of his best. This World War II action film honors an incredible true story by creating some of the most harrowing war sequences ever put to film. It fluidly moves between land, air, and sea campaigns while also using time in clever unexpected ways. But perhaps the most surprising element to “Dunkirk” is the emotional punch it packs. It’s not delivered through backstory or heavy plotting. The emotion builds through the intense visceral experience we share with the characters. The vividness of Nolan’s presentation puts us on that beach, aboard the boats, or in the planes. It’s a masterclass of filmmaking and storytelling.

Now it’s your turn. What did I get right? Where did I go horribly wrong? Please share your thoughts and your picks in the comments section below.

As I was visiting the site of one of my favorite long-time movie bloggers Nostra (My Filmviews) I noticed he had revived a cool feature of his – the movie relay race. And then another respected long-time movie blogging buddy Mark (Marked Movies) had joined it and tagged me as next in line. There is no way I could pass that up especially considering the topic – Christmas movies. You can see Nostra’s original lineup HERE and below you can see the current lineup following Mark’s addition and subtraction.

Not sure how it all works? Here’s a rundown from Nostra himself:

The rules are, just like the past relay races, very simple: The list has 10 Christmas movies (in random order) and when the baton is handed over to a new blogger, he or she has to remove one title of the list (with an explanation why) and add one new title. Once that is done a new blogger is contacted who will take the baton and run with it, doing the same (you can reinstate a title which has been previously removed). As Christmas is in three weeks I want to ask you to publish your entry as quickly as possible to make sure the list changes as much as possible before the 25th of December. Add the logo of this relay race to your post and also add links to those who came before you making it easy for everyone to find all the entries.

So here is the list of the 10 Best Christmas Movies as it stands now:

HOME ALONE

There are a number of Christmas films that I actually watch annually and Home Alone has been one of my favorites for years. This film, written by John Hughes, has all the elements to amuse and get you in the mood Christmas. And Joe Pesci and Daniel Stern are of course hilarious when the “Wet bandits” Harry and Marv.

ELF

The film is almost fifteen years old, but the timeless story of a grown man who grew up among the elves and heads to New York, looking for his father, still is very funny and entertaining. Will Ferrell is the perfect “man child” and the short animated parts are a pleasure to watch. A real Christmas classic.

A MUPPET CHRISTMAS CAROL

Although Charles Dickens story has been translated to film many times, this version is still my personal favorite. A film with a lot of atmosphere and the warmth of the Muppets.

DIE HARD

Every year people argue whether or not Die Hard can be labeled a Christmas film. Yet it is very simple: Although there is a lot of action, the story takes place around Christmas. And Bruce Willis might play his best role ever.

BAD SANTA

Almost everything that Christmas should not be and therefore wrong at the same time, but fun.

GREMLINS

Although you might not associate this horror comedy with Christmas immediately, this film is set during this period and the gremlins even sing Christmas songs. A title that can not be missed.

IT’S A WONDERFUL LIFE

It’s a Wonderful Life is a movie which is watched by lots of people every year. Rightly so, because it is a beautiful film that fits the Christmas period.

MIRACLE ON 34TH STREET

Another title that I have to think about immediately during this period. Although the opinions are divided which two of the two versions is the best.

ARTHUR CHRISTMAS

The clumsy son of Santa, Arthur, has to make sure that a forgotten package is delivered on time, doing this together with his grandfather. A very nice film from Aardman studios (also responsible for the Wallace & Gromit films).

EYES WIDE SHUT (Mark’s addition)

I’m using the same argument here that many Die Hard fans cling to. The story is set during the festive season and, in actual fact, most if not all scenes are introduced by depicting a Christmas tree. It’s fair to say, that it’s dark psychological mystery isn’t exactly in tune with the Christmas cheer but if Die Hard can be tenuously linked to this joyful season then so can Kubrick’s masterpiece.

Deciding what to remove was a painful task. I first considered tossing out “Miracle on 34th Street” and replacing it with the 1947 original which I feel is the true treasure of the three versions. But ultimately it came down to a film I genuinely can’t stand. Therefore bye-bye “BAD SANTA“!

What am I replacing it with?

A CHRISTMAS STORY

Few films have defined my Christmas movie watching like Bob Clark’s delightful “A Christmas Story”. Sure, I gets overplayed during the season, but it is such a fabulous concoction filled with humor and heart. So many memorable scenes, so many memorable lines, so many memorable characters. This one simply has to be here.

So now I pass the yuletide baton to my friend Ruth over at Flixchatter!

Over the last few years there have been several prominent movies dealing with the issue of slavery or the racial aftermath that reverberated for decades. Movies like “12 Years a Slave”, “Selma”, and “The Birth of a Nation” each had their strong points, but also fell victim to certain creative and narrative choices of their directors.

Enter “Mudbound” from director and co-writer Dee Rees. “Mudbound”, based on Hillary Jordan’s 2008 debut novel, is a period drama set in the Mississippi Delta during the 1940s. The story deals with a variety of potent issues – racism, poverty, and PTSD just to name a few. Rees’ adaptation gives them all form through an intensely honest and clear-eyed perspective.

Rees anchors her film in the right place – with her characters. “Mudbound” is essentially the story of two families. Henry McAllan (Jason Clarke) marries Laura (Carey Mulligan) in 1939 and soon moves her, their two daughters, and his racist father (Jonathan Banks) to a Mississippi farm he abruptly purchased. Hap Jackson (Rob Morgan giving some of the year’s finest supporting work) is a tenant farmer whose family has worked Henry’s newly acquired land since his grandfather was a slave. Hap dreams of owning his own farm but always puts the aspirations of his kids ahead of his own.

Both families are compelling but in dramatically different ways. Each face the brunt of harsh deep south poverty and both face it the best way they know how. But their struggles and circumstances couldn’t be more different both inside and outside of their homes. And despite their mutual see-through pleasantries and respect, the sting of a morally corrupt social order is felt in nearly every conversation the two families share.

But there is one earnest thread that connects them. It comes in the form of Henry’s younger brother Jamie (Garrett Hedlund) and Hap’s oldest son Ronsel (Jason Mitchell). Both young men return to Mississippi after fighting in Europe during the final days of World War II. They both are scarred from the war and find solace in their new friendship which bucks the gross social norms of their small town. While their relationship offers a little light in a period of darkness, it potentially sets in motion trouble that will ripple through both families.

Another key element is the setting which Rees portrays with gritty realism. There is no luscious coat of studio paint. The land isn’t glamorized through cinematographer Rachel Morrison’s camera. Instead the beauty is in the authenticity and how the characters perceive it. It’s a fittingly unpolished presentation of a land aching almost as much as the people tending it.

Not all the visuals are as impressive. The action scenes featuring Jamie as a pilot aren’t very convincing and clearly didn’t get much attention. But this is such a minor complaint considering Rees and company nail the important stuff – the characters. “Mudbound” digs deep into their individual psyches often giving them their own moments of narration to express their feelings and perspectives. It’s a risky narrative technique but Rees weaves it seamlessly throughout the story.

And then you have the acting featuring an entire cast in top form. I mentioned Ron Morgan but there is also Mary J. Blige who gives an eye-opening performance as Hap’s wife Florence. Mulligan, Clarke, and Hedlund each fall right into their characters and the period, and there is a particularly vile (and that’s a compliment) performance from Banks.

“Mudbound” debuted on Netflix with practically no theater release to speak of (minus a handful of screens). Some speculate this could hurt the film come Oscar time. I hope that’s not the case. This film deserves to be in the conversation. It’s a difficult movie but an honest one that isn’t afraid to examine the stains of our past earnestly and without manipulation. It’s handling of poverty, hardship, self-destruction and family dysfunction also wields a piercing edge. It all works together in a deeply penetrating harmony and with striking authenticity that pulls you into this troubled period and never lets you go.

VERDICT – 4.5 STARS

Yesterday was a tough day for lovers of cinema. First there was the passing of the wonderful Jeanne Moreau. Later we heard the news that the great playwright and actor Sam Shepard had died. Shepard penned over forty plays and appeared in over fifty films. He received the Pulitzer Prize for Drama and has been nominated for an Academy Award. There was a gritty authenticity to most of Shepard’s roles and he made acting appear effortless. He was still working until recently when his health prohibited it. He passed away July 31 due to complications from Lou Gehrig’s disease. He was 73.

“Days of Heaven”

The Right Stuff”

“Safe House”

“Thunderheart”

“Mud”

“The Assassination of Jessie James by the Coward Robert Ford”

“Country”

“Blackthorn”

“Black Hawk Down”

“Midnight Special”