When people talk about Oscar snubs, they’re usually speaking emotionally. But we can quantify snubs, at least when it comes to Best Picture. You’ll need to accept one major assumption: that critics in the aggregate are good arbiters of the quality of films. Here is a list of movies – the Best Picture nominees, other serious contenders, and a few never-weres – ranked by their combined scores from Rotten Tomatoes and Metacritic.
Sidney Lumet’s Before the Devil Knows You’re Dead starts with a sex scene that’s important for being so out-of-place. In movie shorthand, it suggests a prostitute and a john: The man is paunchy, she is lithe, and he’s taking her from behind. Surely, one of them will awaken in the morning and find the other dead. Isn’t that nearly always the aftermath? It turns out they’re married, and on vacation. They’re briefly happy, and they’re as surprised by that as the audience should be that they both survive the sexual encounter.
Bashing The Village, of course, is easy. But out of M. Night Shyamalan’s plodding, over-deliberate bore — neither intellectually stimulating nor marginally entertaining — could have been salvaged a good, serious, potentially wrenching exploration of the concept of the social contract.
From December 2 through 8, Culture Snob and Ed Howard’s Only the Cinema are hosting the Short-Film Week blog-a-thon.
Is it any wonder the dead are fed up and primed for revolt? Is it any surprise that writer/director George A. Romero is cheering them on in Land of the Dead? And is it so hard to see these zombies as a blunt allegory for racial minorities, the impoverished, the politically disenfranchised? On the final question, apparently so.
Describing the Shondes’ new album My Dear One, violinist Elijah Oberman noted in a recent interview that “it’s basically a break-up record. … We’re both happy and terrified to be participating in that tradition. On the one hand, it’s a very universal topic, and something that most people can relate to. And on the other hand, you really have to work to make it your own.” Mission accomplished. Because the New York-based band so masterfully blends its atypical identities into rock music, this break-up record sounds like no other.
My predictive powers have again proved to be less than stellar. (Anxiety over imminent surgery is my excuse.)
Last week, I predicted that a steady Ocean’s Thirteen would displace Knocked Up at the top of Culture Snob’s Box Office Power Rankings.
Not only did that not happen, but 1408 – an adaptation of a Stephen King story – came out of nowhere to tie Knocked Up for the top spot in this week’s rankings. It placed second to Evan Almighty in box office and per-screen average and was shockingly well-received by critics.
I won’t get burned again. This weekend, I’m taking the easy money and saying that Pixar’s Ratatouille will top our rankings, barring stellar notices for Live Free or Die Hard. See how I hedged?
Continue reading for the full rankings and the methodology.
With no serious new-release competition, Harry Potter’s box office and generally positive reviews propelled it to second place in the rankings. Ratatouille, buoyed by stellar notices and continued strength at the box office, took the top spot for the third week in a row.
So Hairspray knocked the rat off its pedestal after three weeks at the top, ranking second or third in all four components of the Box Office Power Rankings to sneak past Pixar’s latest offering. But I’m more interested in The Simpsons Movie.
I’m a big enough person to admit that I was wrong, particularly when I was wrong in such a public fashion. So: I was wrong. My prediction that The Simpsons Movie would tank was woefully off the mark, and two bottles of wine have been delivered to Mike, per our bet. I shan’t even mention the fact that Mike bought 5,632,229 tickets to The Simpsons Movie last weekend.
