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The Oscars’ connection to the commercial side of Hollywood has long been tenuous, with blockbusters rarely lining up with the Best Picture nominees. But there’s growing unrest among a crucial segment of movie production professionals over the lack of an award for what they consider to be their valuable contributions to the art and business of cinema.
“I don’t think there is a single good argument against stunt professionals at the Oscars,” director Chad Stahelski told TheWrap. His action-packed “John Wick: Chapter 4” has topped $270 million at the worldwide box office to become Hollywood’s biggest R-rated grosser since Sony’s pre-pandemic “Bad Boys for Life.”
Even lights and cameras get a nod from the Academy. So where’s the award for action? That’s the question the people...
The Oscars’ connection to the commercial side of Hollywood has long been tenuous, with blockbusters rarely lining up with the Best Picture nominees. But there’s growing unrest among a crucial segment of movie production professionals over the lack of an award for what they consider to be their valuable contributions to the art and business of cinema.
“I don’t think there is a single good argument against stunt professionals at the Oscars,” director Chad Stahelski told TheWrap. His action-packed “John Wick: Chapter 4” has topped $270 million at the worldwide box office to become Hollywood’s biggest R-rated grosser since Sony’s pre-pandemic “Bad Boys for Life.”
Even lights and cameras get a nod from the Academy. So where’s the award for action? That’s the question the people...
- 4/7/2023
- by Scott Mendelson
- The Wrap
Spike Lee’s Netflix venture Da 5 Bloods, in which four African-American vets return to Vietnam to retrieve their late squad leader’s remains (and a strongbox full of gold bars they hid in the jungle), is “the first major film that views Vietnam entirely through the eyes of black soldiers,” writes Peter Travers at Rolling Stone: Lee is just the trailblazer to bring passion and clarity to his presentation of the bloods as patriots who suffered disproportionate combat losses in an immoral war that wasn’t theirs, then came home to a country that denied them civil rights and left them alienated and adrift. It’s the unbroken line of black sacrifice that gives the movie its cumulative, confrontational power.The idea that wars never end for those who go through them may not be entirely novel, but the film, as remarked by Vulture’s Bilge Elbiri, adds a powerful spin,...
- 6/17/2020
- MUBI
David Lynch's The Elephant Man (1980) and Inland Empire (2006) are showing July and August on Mubi in the United Kingdom.“I am convinced we are all voyeurs. It’s part of the detective thing. We want to know secrets and we want to know what goes on behind those windows.” —David Lynch, interviewed by Newsday, March 9, 1997Whether or not you feel comfortable attaching the word horror to the universe of David Lynch depends on your receptiveness to the sort of terror that springs from the uncanny, from the moment familiar objects and situations take on the sinister glow of foreign, threatening things. To defend Lynch’s horror credentials is to embark in an act of taxonomical defence. For a genre that’s often seen to meddle with and grow alongside the thriller, Lynch’s version further obfuscates the distinction, conjuring up a hybrid that sits in between the two. Horror,...
- 7/29/2019
- MUBI
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