Month: March 2013

Box Office Predictions: March 22-24

Three new high-profile titles plus a film that surprised box office analysts in limited release last weekend all go wide in a busy weekend.

The two-week reign of Oz The Great and Powerful is likely to come to a close as Dreamworks animated The Croods opens. The film, featuring the voices of Nicolas Cage and Emma Stone, has had an aggressive marketing campaign. It’s not Disney and shouldn’t do Disney level numbers, but animation sells. The Croods could make anywhere between $30 million (which would be highly disappointing) to $55 million (unlikely and anything over that number would be fantastic news for Dreamworks). A gross in the middle of that range is what I foresee.

Speaking of aggressive marketing campaigns, I admit to being quite impressed by Film District’s selling of Olympus Has Fallen, an action thriller with Gerard Butler, Aaron Eckhart, Morgan Freeman, and Senator Ashley Judd. Olympus is the first of two action flicks this year about the White House being taken over by bad guys. This one is likely to make less than the other one, White House Down (opening summer) with Channing Tatum and Jamie Foxx. Still, reviews for Olympus have been surprisingly positive and the trailers are solid. I look for the pic to make over $20 million for the weekend and could perhaps even get close to $30 million.

Last weekend, Steve Carell’s comedy The Incredible Burt Wonderstone bombed with an anemic $10.3 million opening. This weekend, his Date Night co-star Tina Fey and Anchorman co-star Paul Rudd may experience a similar result. Their comedy Admission really seems to be flying under the radar screen and critics haven’t been too kind. Even with the talent involved (like Wonderstone), I am predicting the makers of Admission will be displeased with the amount of moviegoers paying admission to see it.

Rounding out the newcomers opening wide is Spring Breakers, a comic thriller with James Franco, Selena Gomez, and Vanessa Hudgens. The indie film debuted to impressive results when it opened in limited release in New York and L.A. last weekend. It opens on a relatively small 1000 screens approximately now. For comparison’s sake, Croods opens on nearly 4,000 and Olympus on around 3,000. Still, Breakers could have a nice little opening on its limited number of screens and give Oz star Franco another hit for 2013.

As for Oz itself, the picture enters its third weekend with some real competition for the younger crowd. It dipped 48% in its second weekend (a decent hold) and I expect just a slightly bigger dip this frame.

Finally, the Halle Berry thriller The Call totally exceeded expectations in its opening last weekend, grossing an impressive $17.1 million. Audiences seem to like it and I expect a good hold for it as well.

With that, my predictions for a big weekend at the box office:

1. The Croods

Predicted Gross: $44.3 million

2. Olympus Has Fallen

Predicted Gross: $27.8 million

3. Oz The Great and Powerful

Predicted Gross: $20.7 million (representing a drop of 50%)

4. The Call

Predicted Gross: $10 million (representing a drop of 42%)

5. Admission

Predicted Gross: $7.6 million

6. Spring Breakers

Predicted Gross: $6.8 million

Be sure to check back through the weekend for updates and on Sunday for final results!

Oscar History: 1998

In 1989, Driving Miss Daisy was a surprise Best Picture winner over the frontrunner, Oliver Stone’s Born on the Fourth of July. In the 90s decade that followed, it could be said that every winner of the category was not a surprise at all:

Dances with Wolves in 1990. The Silence of the Lambs in 1991. Unforgiven in 1992. Schindler’s List in 1993. Forrest Gump in 1994 and Braveheart in 1995. The English Patient in 1996. Titanic in 1997.

This streak of non-surprises would end in 1998. Steven Spielberg’s Saving Private Ryan, his World War II epic, was the clear favorite to take home the gold. It didn’t turn out that way, however, when John Madden’s period drama Shakespeare in Love took Best Picture.

1998 was a rather weak year for films, not holding a candle to the great year that was 1997… or a really impressive year that would follow in 1999 (more on that year very soon). Besides Ryan, the other three nominees were Elizabeth, Life is Beautiful, and another World War II epic, Terence Malick’s The Thin Red Line.

As always, I have my own thoughts about movies that could have been included. Peter Weir’s The Truman Show represented Jim Carrey’s first (and best) foray into drama. Steven Soderbergh’s Out of Sight was a terrific crime caper that proved George Clooney was a true movie star and represents Jennifer Lopez’s best performance to date. And there’s the Coen Brothers brilliant comedy The Big Lebowski, which wouldn’t gain its deserved following until a little later on.

While Saving Private Ryan was not honored with Best Picture, Spielberg would win his second Best Director honor, beating out Madden, Peter Weir, Terence Malick, and Robert Benigni for Life is Beautiful.

Mr. Benigni, though, would provide two surprises in another major category. The Italian actor took home the Best Actor prize. His win was not expected at all, especially over frontrunners Ian McKellen for his wonderful performance in Gods and Monsters and Nick Nolte for his fine performance in Paul Schrader’s Affliction. Other nominees: Tom Hanks for Ryan and Edward Norton for his memorable role in American History X. The other surprise with Benigni’s win: his very exuberant acceptance of the award.

Other actors deserving of a nomination: well, there’s the aforementioned Jim Carrey for The Truman Show, George Clooney in Out of Sight, and, of course, Jeff Bridges for The Big Lebowski.

Gwyneth Paltrow would win Best Actress, as expected, for Shakespeare in Love. The four other nominees: Cate Blanchett for Elizabeth, Fernanda Montenegro for Central Station, Meryl Streep for One True Thing, and Emily Watson for Hilary and Jackie.

I mentioned J-Lo for her performance in Out of Sight. Others that could have been considered: Emma Thompson in Primary Colors and Kristin Scott Thomas in The Horse Whisperer. Once again, though, the Academy missed a golden chance to honor comedy and nominate Cameron Diaz for her hilarious turn in the Farrelly Brothers hit There’s Something About Mary.

Ed Harris was the frontrunner for the Supporting Actor race for his work in The Truman Show, but he would lose out to James Coburn for Affliction. The other nominees: Robert Duvall in A Civil Action, Geoffrey Rush in Shakespeare in Love, and Billy Bob Thornton for A Simple Plan.

Keeping with the Lebowski love, why not John Goodman’s uproarious turn as The Dude’s buddy? Also – Bill Murray for Rushmore and Don Cheadle for Out of Sight would’ve been high on my list.

A little history was made in the Supporting Actress race with its surprise winner, Judi Dench in Shakespeare in Love. She beat out frontrunners Kathy Bates in Primary Colors and Lynn Redgrave in Gods and Monsters, as well as Brenda Blethyn for Little Voice and Rachel Griffiths in Hilary and Jackie. The history? Dench had the least amount of screen time for any performer that won an Academy Award. Dench was on screen in Shakespeare for less than eight minutes!

Two more names that deserved consideration: Joan Allen (always wonderful) in Pleasantville and… of course, Julianne Moore for Lebowski.

All in all, 1998 represented a weak year at the Oscars that produced some truly surprising winners. Stay tuned for 1999!

Movie Review: Hitchcock

Much like Steven Spielberg’s Lincoln isn’t a biopic and instead focuses on one particular chapter of the 16th President’s life, the same can be said for Sacha Gervasi’s Hitchcock and its depiction of the greatest film director of all time as he made 1960’s Psycho.

Considered by many to be Hitch’s masterpiece (it’s certainly in top five of an incredible filmography), it’s truly surprising now to witness the skepticism of studio heads as Mr. Hitchcock embarks on filming his now-classic. The director must put up his own money and mortgage his home to complete the project. This is right after he’s directed one of his biggest financial and critical triumphs, 1959’s North by Northwest.

Psycho is considered to be too bloody, too garish, and too tasteless for mass consumption. Hitchcock battles the studio and the censors to get it completed. He also battles his personal demons, which is what the film mostly focuses on. For film lovers who have studied the director’s career, it’s no secret that Hitch was a rather insecure man who was prone to rather unhealthy fixations on his leading ladies.

Hitchcock incorporates those elements of his personality, including his issues with his wife Alma, whom he suspects is having an affair with a writer. The Hitchcocks are played by Oscar winning actors Anthony Hopkins and Helen Mirren. Much like his portrayal of Richard Nixon in Oliver Stone’s 1995 picture, Hopkins concentrates more on embodying the personality of his subject than do a direct impersonation. He’s such a great actor that he pulls it off. Mirren is fantastic as Alma, who contributed more to her husband’s success than most know.

The actual filming of Psycho is not a major focal point. Scarlett Johannson plays Janet Leigh, Jessica Biel is Vera Miles, and James D’Arcy is Anthony Perkins. As a movie buff, I would have preferred to see more of Mr. Hitchcock’s mastery of his technique as he made this quintessential film.

Additionally, a common thread throughout the picture is Hitchcock communicating in fantasy sequences with Ed Gein (Michael Wincott), the real-life killer who inspired the character of Norman Bates. These scenes are meant to serve as an insight into Hitch’s mind, but never really connect as they should.

Still, the performances are first-rate and there’s enough Hollywood history and intrigue to make Hitchcock a worthwhile experience. When Psycho does finally premiere after a lot of heartache on the director’s part, we see Hitchcock watching the audience as they watch the film for the first time. As the shower scene plays (one of the most famous scenes in film history) and the audience freaks out, Hitchcock experiences a kind of unbridled joy that we haven’t seen him experience for the whole picture (he’s a rather sour fellow). That scene in Hitchcock is marvelous, showing the Master of Suspense revel in what he does best. It’s a scene that reminded me of why I consider him to greatest director to ever live. For that alone, Hitchcock was worth the time.

*** (out of four)

Oscar History: 1997

1997 was quite a strong year for movies. Oscar voters, like that year’s audiences, bestowed their love to James Cameron’s Titanic, which became the highest grossing film of all time. It would hold that record for an astonishing 12 years… until Cameron’s follow-up Avatar supplanted it.

Titanic was an obvious choice to win Best Picture. It beat out As Good As It Gets, The Full Monty, Good Will Hunting, and L.A. Confidential. A strong lineup of titles, with the exception of Monty, which doesn’t belong here. Of the five, my personal pick would be Curtis Hanson’s terrific L.A. Confidential.

It’s worth noting that my favorite film of 1997, Paul Thomas Anderson’s brilliant Boogie Nights, didn’t make the cut. Perhaps the subject matter was too risque, but it deserved at least a nomination.

My love for Quentin Tarantino probably would’ve meant a nomination for Jackie Brown as well, a film that I feel is undeservedly underrated.

James Cameron would take Best Director honors over Peter Cattaneo (Full Monty), Hanson (Confidential), Gus Van Sant (Good Will Hunting), and Atom Egoyan (The Sweet Hereafter). James L. Brooks was the odd man out whose film (As Good As It Gets) got a Picture nod while he didn’t. Once again, Boogie Nights maker Anderson should be on here. I would’ve given strong consideration to David Fincher for his work in The Game as well.

The Best Actor race saw four veteran heavyweights competing with a newcomer. That newbie was Matt Damon in the title role in Good Will Hunting, up against Robert Duvall (The Apostle), Peter Fonda (Ulee’s Gold), Dustin Hoffman (Wag the Dog), and Jack Nicholson (As Good As It Gets). It was Nicholson who took the prize, winning his second Best Actor trophy. Many Titanic fans noted the exclusion of Leonardo DiCaprio in the category, but I have no problem with that and he would earn nominations in later years for more deserving performances. Keeping my Boogie Nights theme going, I would’ve found room for Mark Wahlberg in his breakout role. Same goes for Aaron Eckhart, who gave a fantastic performance in the indie drama In the Company of Men. I also would’ve considered Samuel L. Jackson for his great work in Jackie Brown. And just as I mentioned Eddie Murphy’s comedic brilliance being ignored in 1996’s The Nutty Professor, how about Mike Myers equally brilliant turn in Austin Powers: International Man of Mystery?

Nicholson’s co-star Helen Hunt would win Best Actress for As Good As It Gets. 

The other four nominees: Helena Bonham Carter (The Wings of the Dove), Julie Christie (Afterglow), Judi Dench (Mrs. Brown), and Kate Winslet (Titanic). A popular nominee choice would likely have been Julia Roberts for My Best Friend’s Wedding, but I certainly would’ve had Pam Grier’s performance in Jackie Brown in the mix.

Robin Williams would take the Supporting Actor category for his performance as Will’s shrink in Good Will Hunting. 

Other nominees: Robert Forster (Jackie Brown, well-deserved), Anthony Hopkins (Amistad), Greg Kinnear (As Good As It Gets), and Burt Reynolds (Boogie Nights). I love Anthony Hopkins, but his nomination here is questionable. This would’ve been another chance for the Academy to honor comedy with Rupert Everett’s hilarious turn as Julia’s BFF in My Best Friend’s Wedding. However, my personal choice would be for another comedy: Paul Giamatti’s unforgettable turn as Howard Stern’s producer Pig Vomit in Private Parts.

Kim Basinger would win Supporting Actress for her role in L.A. Confidential, beating out Joan Cusack (In&Out), Minnie Driver (Good Will Hunting), Julianne Moore (Boogie Nights), and Gloria Stuart (Titanic). Keeping with the Jackie Brown love, Bridget Fonda should have been nominated for her surfer girl part in that picture. And here’s another name: Charlize Theron’s fine work as Keanu Reeves’ supremely freaked out wife in The Devil’s Advocate.

Of course, the Titanic lovefest extended to Celine Dion for her song “My Heart Will Go On”, even though I don’t remember the Canadian songstress dancing with and rapping about aliens like this guy did in that very same year:

Box Office Results: March 15-17

There was little doubt that Sam Raimi’s Oz The Great and Powerful would repeat at #1 in its second weekend at the box office, which is precisely what it did. The biggest film of 2013 grossed a rock solid $41.3 million in its sophomore frame, right on target with my $42 million projection.

However, it was the weekend’s two new releases that provided the surprises. Halle Berry’s thriller The Call outperformed all expectations, managing to make an impressive $17.1 million, well beyond my $9.2M estimate. Even though reviews were mostly negative, the film’s marketing campaign did its job. This is great news for Berry, whose box office track record has been unimpressive lately.

On the other side of the fence, the comedy The Incredible Burt Wonderstone landed with a thud. The Steve Carell/Jim Carrey picture received mixed reviews and its trailers weren’t particularly funny, but I still figured it would manage a $16.3 million opening (by the way, my estimate was lower than many others). Wrong, wrong, wrong. Wonderstone is a legitimate bomb as it made only $10.2 million.

Rounding out the top five, Jack the Giant Slayer was fourth with $6.3 million (holding up better than my $4.3M estimate) and Identity Thief was fifth with $4.4 million (just above my $4M projection).

Oz gets some real challengers for the throne next weekend when the animated The Croods, the thriller Olympus Has Fallen, and the Tina Fey comedy Admission all debut. My predictions for next weekend will be up Wednesday. Stay tuned!

My Top Ten Movies Of All Time

***Blogger’s Note: I originally wrote this piece on Facebook notes in June 2012, a few months before my blog’s inception. The list hasn’t changed since then, so I’m republishing for your viewing pleasure.

Two reasons I write this today:

1) I love making lists

2) I get asked a lot “What’s your favorite movie of all time?” since people know I’m a big movie buff.

So, after a lot of thought, here are my top ten movies of all time. But before that, here’s an extensive list of other movies in no particular order that are probably in my top 50 or so:

 Raiders of the Lost Ark (1981), Star Wars (1977), National Lampoon’s Animal House (1978), Vacation (1983), Reservoir Dogs (1992), Halloween (1978), Seven (1995), Groundhog Day (1993), The Silence of the Lambs (1991), Boogie Nights (1997), North by Northwest (1959), Psycho (1960), E.T. (1982), Jaws (1975), Goldfinger (1964), Casablanca (1943), Midnight Run (1988), Scarface (1983), Alien (1979), Kill Bill – Vol. I and II (2003/2004), The Game (1997), Rear Window (1954), Strangers on a Train (1951), The Departed (2006), Heat (1995), The Shawshank Redemption (1994), Dr. Strangelove (1964), The Jerk (1979), Dumb and Dumber (1994).

And… now… my Top Ten of All Time (for today at least)

10. The Exorcist (1973) – quite simply the most scary thing ever put to film. I tried to watch it when I was 13 and had to turn it off, but was later able to appreciate this is the most effective and by far the greatest horror film ever made.

9. The Empire Strikes Back (1980) – the best Star Wars film. Period.

8. Taxi Driver (1976) – one of many Martin Scorsese masterpieces with Robert De Niro’s best performace ever.

7. Airplane! (1980) – my favorite comedy of all time. I laugh hard every single time I watch it, which has been many times.

6. Die Hard (1988) – the best action movie of all time and it’s influenced pretty much every action movie that’s followed it. Hans Gruber rivals Darth Vader and Hannibal Lecter as the best movie villain ever.

5. Vertigo (1958) – you’ll notice above I have several other Hitchcock movies listed. Vertigo gets in the Top Ten because it was Hitchcock at the top of his game, with an amazing performace by Jimmy Stewart and the incredible twists and turns you expect in a movie from the greatest director ever.

4. GoodFellas (1990) – every time I watch it, I can’t believe how brilliant it is. Scorsese’s best with unforgettable performaces, camera work, soundtrack, etc… It’s got everything.

3. Pulp Fiction (1994) – Quentin Tarantino has literally yet to make a movie I don’t love, but Pulp Fiction is his masterpiece so far. I saw this movie more times in the theater than any other movie. I’ve seen it countless times, but still find myself watching it every time it’s on.

1/2. The Godfather and The Godfather – Part II (1972/1974) – … and it’s not even close. There’s these two movies and then everything else. The only thing I can’t decide is which to rank #1 and #2, which could change on a day to day basis. So I’ll just list them as the top two. They’re both perfect movies. I’ve often said Pacino’s performance and transformation from a kid out of military school in #1 and a cold-blooded Mafia don in #2 is the best film acting ever.

So, there you have it. My favorite movies.

Box Office Predictions: March 15-17

Steve Carell, Jim Carrey, and Halle Berry enter the box office fray this weekend and try to muster up some competition for the second weekend of the biggest movie of the year so far, Oz The Great and Powerful as it enters weekend #2.

Neither title is likely to provide much of a threat for Oz to stay strong at the number spot. A better question is how far Oz falls in its sophomore frame. The Sam Raimi directed fantasy prequel opened to an impressive $79.1 million last weekend. A 50% drop or more is certainly possible, but with fairly weak competitors, I am projecting it won’t drop quite that far.

Steve Carell, Steve Buscemi, and Jim Carrey headline the new comedy The Incredible Burt Wonderstone. There is certainly a lot of talent involved here, but I must admit the trailers have underwhelmed me a bit. Wonderstone just doesn’t seem strong enough to be a comedy the masses will rush out and see, even with the principals involved. Reviews have been mixed and shouldn’t contribute to any positive buzz. I would say anything over $20 million for it would be solid and that’s not out of the question, but I’m not sold and will predict it doesn’t reach that mark.

The weekend’s other new entry is the thriller The Call starring Halle Berry and Abigail Breslin. Ms. Berry’s box office record has been spotty, at best, over the last several years and I don’t expect this to change her fortunes. Frankly, the trailers for this make it look like a direct-to-DVD or Lifetime movie if it wasn’t for the star’s involvement. Having said that, The Call is the type of film that could surprise… or completely bomb. I put the range on this opening from $5 to $15 million (though the latter seems highly unlikely). A gross somewhere in the middle seems more possible. Still, if you’ve been clamoring for a flick featuring Storm from X-Men saving Little Miss Sunshine from a child abduction, this is your movie.

Rounding out the Top Five, last weekend’s number two and three should slide to fourth and fifth. Jack the Giant Slayer has been a giant disappointment and will likely see a big slide in its third frame. Identity Thief should get the five spot in its sixth weekend. There is a distinct chance Thief could leap Slayer, switching up those spots.

Here are my predictions for the weekend box office:

1. Oz The Great and Powerful

Predicted Gross: $42 million (representing a drop of 47%)

2. The Incredible Burt Wonderstone

Predicted Gross: $16.3 million

3. The Call

Predicted Gross: $9.2 million

4. Jack the Giant Slayer

Predicted Gross: $4.3 million (representing a drop of 57%)

5. Identity Thief

Predicted Gross: $4 million (representing a drop of 37%)

Results as they come in throughout the weekend will be posted on Saturday and Sunday.

Jim Carrey’s Best Movies

It’s been nearly two decades since Mr. Jim Carrey has become a giant movie star. In 1994, Carrey capitalized on the promise he showed on the groundbreaking Fox sketch comedy show “In Living Color” by starring in three huge hits: Ace Ventura: Pet Detective, The Mask, and Dumb and Dumber.

His impressive box office streak started in ’94 would experience speed bumps in later years, with forgettable comedies like Fun with Dick and Jane and Yes Man. He would also delve into dramatic territory with titles like Man on the Moon and The Majestic.

This Friday, Carrey co-stars with Steve Carell and Steve Buscemi in the comedy The Incredible Burt Wonderstone. With Carrey in the limelight right now, it felt like an appropriate time to name my top five Carrey pictures.

There’s a lot you won’t find on here. I didn’t particularly care for either of the Ace Ventura pictures. Or How the Grinch Stole Christmas. While I liked The Mask and Bruce Almighty (two of his biggest hits), they didn’t make the cut. Same with Me, Myself, and Irene. And while he was an obvious choice to play The Riddler in Batman Forever, the film itself was a mediocre exercise that previewed the disaster that would be its follow-up, Batman and Robin. So what did make the cut? Read on:

5. Liar Liar (1997)

This perfect vehicle for the star has a simple and effective premise: Carrey is incapable of lying after his neglected kid makes a wish. Not an easy task for the fast-talking lawyer Carrey plays. Audiences responded and Liar Liar earned $181 million domestically.

4. Eternal Sunshine of the Spotless Mind (2004)

This strange mix of romance, comedy, and science fiction from director Michel Gondry (from a clever script by Charlie Kaufman) gave deserved indie cred for Carrey. It features Carrey in a fine performance with the best cast he’s ever worked with, including Kate Winslet, Mark Ruffalo, and Tom Wilkinson.

3. The Cable Guy (1996)

Audiences didn’t know what to make of this dark comedy when it premiered in the summer of 1996. The Cable Guy made $60 million domestic, well below Carrey’s previous five pictures. Since then, it’s become a cult classic. It should be. It’s filled with hilarious moments and a wonderfully out there Carrey performance. It features a terrific supporting cast including Matthew Broderick, Jack Black, Owen Wilson, and Leslie Mann. Ben Stiller did directing duties.

2. The Truman Show (1998)

Carrey’s first foray into dramatic territory is still his best. Peter Weir’s The Truman Show is a film as timely today as it was fifteen years ago (maybe more so), focusing on a seemingly normal fellow who has no clue his entire life is being filmed as a reality show. Carrey gives a fantastic performance, as does Ed Harris as the show’s creator.

1. Dumb and Dumber (1994)

Most of us can quote the film endlessly and it’s one of those movies you pretty much have to watch when it’s on. Dumb and Dumber is simply one of the funniest movies ever made. The Farrelly Brothers masterpiece features one of the greatest comedy duos of all time – Mr. Carrey and Mr. Jeff Daniels. Just reading this, you’re probably thinking “Pills are good!!!”, “So you’re telling me there’s a chance…”, and about that poor parakeet Petey.

So there you have it. My personal faves for Jim Carrey.

Box Office Results: March 8-10

The most eagerly awaited title of 2013 so far, Oz The Great and Powerful, managed to deliver the 39th biggest opening of all time this weekend, even while falling a bit below my projection.

The Sam Raimi directed Wizard of Oz prequel grossed $79.1 million, under my $87.4M estimate. Still, the opening is solid. A sequel has already been greenlighted. It will be interesting to see how the picture holds up in its second weekend. Stay tuned for my post this week projecting Oz‘s grosses then.

The first big bomb of 2013, Jack the Giant Slayer, had a disappointing second weekend as well, dipping a hefty 63% for a gross of $9.8 million, below my $12.7M estimate. Identity Thief placed third in its fifth weekend with $6.3 million, which I predicted exactly on the nose.

The weekend’s other new release, Colin Farrell’s Dead Man Down, did not fare well. It grossed a meager $5.3 million, slightly below my $5.9M projection.

Finally, the comedy 21&Over tied with Snitch for fifth, grossing $5.1 million, a bit above my $4.3M estimate.

Stay tuned for estimates for next weekend, when the comedy The Incredible Burt Wonderstone and the Halle Berry thriller The Call attempt to compete with Oz‘s second weekend.

Oscar History: 1996

1996 was a rather lackluster year for movies. The year’s releases, as a whole, didn’t come close to matching the couple years before it or what would follow in 1997.

The Oscars for ’96 reflected that. The big winner for the evening: the late Anthony Minghella’s The English Patient, starring Ralph Fiennes, Kristin Scott Thomas, and Juliette Binoche. A good film, yes, but one of the less memorable Best Picture winners of the last two decades.

Patient would win over Fargo, the Coen Brothers quirky crime comedy/drama masterpiece. My vote certainly would’ve gone to that.

Jerry Maguire, Cameron Crowe’s sports drama/comedy, would also earn a nomination, along with indie titles Secrets&Lies (from director Mike Leigh) and Shine (from director Scott Hicks).

Other pictures that should have merited consideration in my view: Danny Boyle’s Trainspotting and Stanley Tucci and Campbell Scott’s Big Night.

Minghella would win Best Director for Patient, beating out Joel Coen, Mike Leigh, Scott Hicks, and Milos Forman for The People Vs. Larry Flynt. Crowe was the only director not nominated whose film was.

In the Best Actor race, Geoffrey Rush would be honored for Shine over Tom Cruise in Maguire, Ralph Fiennes in Patient, Woody Harrelson for Flynt, and Billy Bob Thornton for his very memorable performance in Sling Blade. 

The Best Actor category gave a perfect opportunity for the Academy to honor comedy, which they rarely do. Eddie Murphy deserved a nod for his brilliant work in The Nutty Professor. The Academy, as usual, didn’t take the bait.

Frances McDormand would deservedly take the Best Actress prize for her terrific performance in Fargo. She beat out Brenda Blethyn in Secrets&Lies, Diane Keaton in Marvin’s Room, Kristin Scott Thomas for Patient, and Emily Watson in Breaking the Waves. Other deserving nominees not to make the list: Courtney Love for People Vs. Larry Flynt and Laura Dern for Citizen Ruth.

In the Best Supporting Actor race, Cuba Gooding Jr. inexplicably won for his part in Jerry Maguire over a much better choice, William H. Macy’s fabulous work in Fargo. Other nominees: Edward Norton in Primal Fear, Armin Mueller-Stahl for Shine, and James Woods in Ghosts of Mississippi. 

Once again, the Academy could have honored comedy here. An obvious choice would have been Nathan Lane in The Birdcage. For me, personally, I would’ve gone way outside the box and honored Bill Murray’s scene-stealing turn in Kingpin. Watch this compilation and tell me I’m wrong.

Juliette Binoche was a surprise winner for Best Supporting Actress for Patient, beating the odds-on favorite Lauren Bacall for The Mirror Has Two Faces. Other nominees: Joan Allen for The Crucible, Barbara Hershey for Portrait of a Lady, and Marianne Jean-Baptiste for Secrets&Lies.

Finally, while Fargo won Original Screenplay (as it should have), they should have made room to nominate the excellent screenplay for Doug Liman’s Swingers with Jon Favreau and Vince Vaughn.

All in all, the 1996 Oscars reflected the lackluster year that it was. I shall return soon with a recap of the 1997 ceremony.