The Wolf of Wall Street Roars with Ferocity

The Wolf of Wall Street (4 1/2 out of 5 Stars)

Directed by: Martin Scorsese (The Departed, Goodfellas)

Written by: Terrence Winter (Boardwalk Empire, The Sopranos)

Starring: Leonardo DiCaprio, Margot Robbie, and Jonah Hill 

This film is going to be a mixed bag for people, most people want a moral to a story, or a "lesson learned."  The lesson learned in this film is that people are selfish, and within out society they are willing to lie, cheat, and steal to get snort and sleep with whoever they want.  Not exactly a good lesson.  If you are expecting these characters, and director Martin Scorsese to coddle you into making you feel like everything will turn out fine then go see a Disney flick.

Wall Street centers on the real life, Jordan Belfort (DiCaprio) a broker who is taught by a mentor played briefly by Matthew McCounaughey to pull a fugazi, namely steal from his clients.  The economic crisis in 1987 sends Jordan back to the bottom, where he must climb, or well claw his way back into the game.  While searching for a job he stumbles upon a small firm in Long Island that uses pink sheets selling penny stocks to the less financially solvent people.  While those around him fail to gain the big sales, Jordan dreams big in order to take the fifty percent commission, and boy can he sell

As his own person wealth begins to rise he meets Donnie (Hill).  Donnie questions Jordan on his fancy car, and on his bank statement.  In one of the most memorable moments of the film Donnie asks Jordan to prove he made 72 grand in one month, and he will quit his job, and work for him.  Soon Donnie is on a pay phone quitting his job, and the bond between best friends begins, and as their friendship grows, their goals of running their own con through their firm Stratton Oakmont begins.

This film is above conning the audience, this is proof as Martin Scorsese and Leonardo DiCaprio have worked together on five films starting with Gangs of New York, then The Aviator, The Departed, Shutter Island, and now this picture.  With every film they get bolder and magnetism on the screen grows, this is their best work together.

Leonardo DiCaprio pulls off another "Gatsby-like" role with Jordan, but within this film the material is much stronger, and the range of his performance is so damn convincing.  Jordan could and maybe should be described as a terrible person, but like the real life person many were drawn into his world, and you feel the same way about DiCaprio's performance.  DiCaprio speechifies, he has the command of his stock troops, or even when he's lying to the people he "loves" there is something so raw, and brutal about this performance.

Martin Scorsese adds to the decadence of his Jordan's surroundings with one of the most visually sumptuous looking films.  A lot of the credit should also go to cinematographer Rodrigo Prieto (Amorres Perros) who does a fantastic job highlighting the orgy (sometimes literally) of goods from mansions and yachts to sex crazed parties. 

Martin Scorsese's last film, Hugo, was also visually stunning, but these films are like night and day.  Scorsese uses the sharp wit from Terence Winter's script to help highlight this dark world with brutal honesty.  Leo is a funny guy, but Jonah Hill steals the show with comedy in this film, the guy is just funny; he knows how to deliver a line of sarcasm and humor with perfection.  Hill is a scene stealer.  The same can be said for Margot Robbie who bursts onto the screen the same way blonde bombshell Cathy Moriarty did in Raging Bull.  Robbie does not always deliver the laughs, but she draws you in, and eventually as she loses herself and Jordan you get the intensity you want from her character, this is what Jennifer Lawrence should have delivered in American Hustle.

Martin Scorsese pushes the limits; he tells a darker, braver story about a group of guys who con the pants off Wall Street.  Using Winter's brilliant script Scorsese's tale blends humor to show just how ridiculous the world of white collar crime has become, and some of the earliest stories from people stealing from the poor and keeping for themselves.  Scorsese does not clean up the story, he shines a bright spot light on just how nasty these men were, and that even in the end the they still try to sell themselves and other people their bull shit.  In the hands of a lesser team this could have gone badly, but with Scorsese and Leo they pull off another great work of art.

State of the Oscar Race 2013: Which of the Many Best Actor Candidates Make the Cut?

Yesterday's Independent Spirit Award Nominations proved one fact, there are so many great performances from male leads this year that there had to be six nominees.  The six nominees are Bruce Dern for Nebraska, Chiwetel Ejiofor for 12 Years a Slave, Oscar Isaacs for Inside Llewyn Davis, Michael B. Jordan for Fruitvale Station, Matthew McConaughey for Dallas Buyers Club, and Robert Redford for All is Lost.

Looking at this list of six most folks, including myself would go wow, this would be a great line-up for Oscar, and they and I would be right.  There is just one or well a few minor problems, and they include: Tom Hanks for Captain Phillips, Forrest Whitaker for Lee Daniels' The Butler, Christian Bale in Out of the Furnace or American Hustle, Leonardo DiCaprio for The Wolf of Wall Street or even The Great Gatsby, and the bigger long shots Idris Elba for Mandela: Long Walk to Freedom, Joaquin Phoenix for Her, and Ben Stiller for The Secret Life of Walter Mitty.  That is 15 possible candidates, and astounding.

Let's look at Independent Spirit Award Nominees past track record, meaning the last 5 years, or even 10 before that the amount of crossover between minimal.

2012

Only Bradley Cooper was nominated for both Oscar and and the Independent Spirit Award (ISA), but he did not win either John Hawkes who was a strong contender to be nominated, but missed out because of Joaquin Phoenix.  Hawkes won the Spirit Award.  Of the five nominees Cooper and Hawkes were the only strong contenders.

2011

Jean Dujardin won the ISA and the Oscar for Best Actor for The Artist, this rarely happens, but could happen again this year. Dujardin and Demian Bichir were the only two nominated for the ISA, and Oscar.  The only other nominee for the ISA who had a possibility of being nominated was Ryan Gosling for Driver, but the Academy appeared to hate this film.

2010

James Franco was the only person nominated for ISA, and Oscar of the five nominees; he won the ISA, but lost Oscar to Colin Firth.  None of the other four contenders were ever "serious" contenders for Oscar.

2009

Jeff Bridges won the Oscar and the ISA for Crazy Heart.  The only other person nominated for both ISA and Oscar was Colin Firth for A Single Man.  None of the other three men were "serious" contenders.

2008

If you want to find a year similar to to 2013, where ISA, and the Oscars line-up was 2008.  4 of the 5 nominees were nominated at both, and they were Sean Penn in Milk (who won the Oscar) Mickey Rourke for The Wrestler (won the ISA), Jeremy Renner for The Hurt Locker, and Richard Jenkins for The Visitor.  I could see a similar situation to this happening this year, 4 of the five nominees come from this line-up, while two are snubbed.

Let's look at this year's ISA nominees:

Locks:
Chiwetel Ejiofor-12 Years a Slave
Robert Redford-All is Lost
Matthew McConaughey-Dallas Buyers Club

Ejiofor and Redford are the two top contenders at the moment, but watch out for Matthew McConaughey his performance in Dallas Buyers Club is the thing Oscar performances are made of!

Near Lock:
Bruce Dern-Nebraska

Dern is almost the next closest thing as a lock in this category, with his buddies like Nicholson and his daughter Laura Dern championing him, he can/will be a strong contender to not only be an Oscar nominee, but a surprise winner.

Longshots:
Oscar Isaacs-Inside Llewyn Davis
Michael B. Jordan-Fruitvale Station

Isaacs and Jordan are the newcomers of this group, they have critically acclaimed performances, but breaking into this category as relative new comers is going to be tough.

Who takes the fifth spot of the non-ISA contenders?

Tom Hanks-Captain Phillips-The film just made 100 million and he is getting rave reviews for his performance.  The thing working against him is that people may just nominate him in supporting for Saving Mr. Banks.

Forrest Whitaker-Lee Daniels' The Butler-The film is going to better with Oscar voters than critics, and with Weinstein Company behind the film I can't imagine it not getting more than one acting nomination  Whitaker has won before, is the movie out of sight out of mind?

Christian Bale-Out of the Furnace or American Hustle-If he was going to get nominated my money would be on Hustle, but in this tough year his performance and weight gain may be overlooked.

Leonardo DiCaprio-The Wolf of Wall Street or The Great Gatsby-Wolf has not been seen by anyone, and DiCaprio is always a dark horse especially in a Scorsese film.  Gatsby is only a contender in the technical categories.

At the moment my prediction for Best Actor is:
Bruce Dern-Nebraska

Chiwetel Ejiofor-12 Years a Slave

Tom Hanks-Captain Phillips

Matthew McConaughey-Dallas Buyers Club

Robert Redford-All is Lost

Anything is possible in this category, but I only see one of these men losing out, if any.  The truth of the matter is that Oscar should take a note from the ISA nominees, and have 6 nominated performances.

Gatsby is a Mixed Bag, with Elements,that work and some which Fail, but Overall it's an Entertaining Experience.

The Great Gatsby (2 1/2 out of 5 Stars)

Director: Baz Lurhman (Romeo + Juliet, Moulin Rouge, Australia)

Written by: Baz Lurhmann, and Craig Pearce (Moulin Rouge)

Starring: Leonardo DiCaprio, Tobey Maguire, and Carey Mulligan

There are two ways to view this film, as an avid fan of literature who read and loved the book, or as film goer who has either never read the book or willing to let the book be manipulated into something different.  I am torn. I waited over a week to see the film, and I let the dust of the incredibly negative reviews settle.  I asked friends their opinions, and the reviews were mixed from love to hate i figure I had to settle this on my own.  What I found was a film that entertained me, but as avid fan of the beautiful novel angered me as well, as though I were a bi-polar film critic.

For me to summarize the film would be an insult, and if you have not read the book as most have you have missed out.  For those who do not know the story, the film centers on Nick Carraway (Maguire) who is narrates the story of his time living in West Egg on Long Island.  Nick's cottage is right next to the illustrious and elusive Gatsby (DiCaprio) who throws lavish parties almost constantly.  As Nick enters the world of privilege through his cousin Daisy (Mulligan) and her husband Tom (Joel Edgerton).  Tom was born into money, and he Daisy live in East Egg.  As the roaring 20s begin Nick gets dragged through the world of all these people, seeing the good, the bad, and the ugly.

That's as basic theme to this film, the good, the bad, and the ugly.  The film is a mixed bag, and the person responsible for all of this is producer, director, and writer Baz Lurhmann.  Lurhamann is the central force of gravity within his films.  All things come from him, his wife (Catherine Martin) is also a major part of all of his films.  Martin did production design on all of his films starting with Strictly Ballroom (1992), and has been a producer since Romeo + Juliet (1996).  Lurhmann has also written all of his films with Craig Pearce, except the most atrocious Australia (2008).  These three are back, and appear to be the core team behind this modern re-telling of one of the most classic pieces of American literature.  The question for many is did they capture this book, and the answer is yes and no.

Let's start with the problems, and that is namely Lurhmann himself who only recently (within the last many years according to his interview) became enamored with this story.  Lurhmann looks to be making Gatsby meets Moulin Rouge with a splash of Jay-Z.  I love Moulin Rouge, one of my favorite musicals of all time, and there is the element of the tragic love story in both, but they are different tales.  Lurhmann's lavish and fun parties mixed with drug trips feel too much like Moulin Rouge, and not like anything new or different.  On the good side this makes the movie a little more fun than the 1974 Jack Clayon version, which is a lot more subtle.  Lurhmann also needs to focus his direction a little bit more he lets length draw things out, and prevent his stories from being refined works of art. 

The script is probably one of the biggest problems.  Many of the major motifs of the book are in this film, the whole concept of the 20s, bootlegging, Prohibition, the Jazz Age, and the build up to the Depression.  Looking at the haves versus have nots, and old money versus new money was a major part of this book, and some Fitzgerald focused on as though he knew the fall or crash was coming.  Fitzgerald and his book were intuitive, and this film proves the theme does transcend time.  As financial woes become a major issue today, the film handles this topic well, showing the callous way in which people with money view the world, and the way things may not have changed.  While the film does not delve too deep into these issues they are present to make their mark and divide the characters.

The script misses the mark on many of the characters, including Daisy. I do not know if the film made me hate Daisy, but the only reason I did was because well I have read the book, and she is terrible person.  Mulligan played her part well enough, but the script from Lurhmann and Pearce made her more into a victim who was being fought over by two selfish men.  Tom is so brutish in this film, and he is in the book as well, but it almost becomes an over exaggeration, which forces you to feel sorry for Daisy because she has become a victim in the game between these two men.  Daisy is not victim; she is in fact the culprit to her own demise.   In the beginning Daisy states "All right...I'm glad it's a girl.  And. I hope she's a fool--that's the best thing a girl can be in this world, a beautiful little fool." Daisy's quote at the beginning should have signaled this direction for her character, but instead her foolishness becomes more pity.

In order to more closely resemble the book Lurhmann and Pearce used direct quotes from the book.  I liked this and thought it worked overall, but when you alter the material in film loses it's steam.  It's also a problem when you have Tobey Maguire as Nick Carraway the center of the film.  Maguire is one of the most wooden actor's out there; he is dry, wooden, and his emotional reactions do not come across as effective.  Maguire is the most miscast person in this film; he is not Nick Carraway.  This was the biggest problem with the film.  All of the elements people are frustrated with could be overlooked, but this role being miscast is a massive problem.  The story, and film hinge on Nick more so than Gatsby because Nick is your guide through the world of these deplorable people, but Maguire never sells the words, which Fitzgerald so beautifully put to paper.

One performance the film got right for me was Leonardo DiCaprio as J. Gatsby.  Robert Redford portrayed Gatsby well, getting the confidence part down but missing little insecurities and vulnerability.  DiCaprio hits these moments out of the park, especially the little obsessions like with the green light on the dock, or making sure his first meeting with Daisy is perfect.  DiCaprio is a great actor, and you see the flaws within the character because of his performance.  The rest of the cast loses these elements or they become muddled because of some over exaggeration.

I know many people will a problem with the flashy green screen, and the 3-D, but I found these elements to bring this world to life.  While I do not always love a lot of green screen or 3-D.  I found myself sucked in by the technical aspects of this film.  I think this film used 3-D well, and sucked me into the fast paced scenes, the lavish parties, and the journey through all the different worlds.  Simon Duggan's cinematography is spell binding, although  most of this is reliant of some gorgeous visual effects.  Lurhmann's better half Catherine Martin is the star of this film, her production and costume design are some of the best I have seen all year.  I want to run out and buy Gatsby's pink suit, and Nick's green cardigan (for sale at Brooks Brothers), they are flawless elements adding to the beauty of the look of this film.

The music within the film can be a distraction at times, but Jay-Z compilation of modern music with a 20s big band style feel, and Craig Armstrong's score help make this some memorable music.  Lana Del Rey's "Young and Beautiful" is this film's "Come What May" and it's haunting tone sets the tone perfectly for the tragic love story between Daisy and Gatsby.  

The music, the cars, the design they all scream 1920s, making these elements work in the film are important.  They add to the romanticism of this era, and of J. Gatsby himself.  This time period was a build up to the depression, and this book, and film to some extent capture the rise of the self made men to their downfall.  I think the film does a good job at tearing away at the illusions of this decade.  Were Gatsby and Daisy meant to be, or was their brief foray into love before the War (World War I) something which jaded them.  This theme of being jaded runs throughout the film, and book proving some success.

Overall the film is a mixed bag, with a weak screenplay direction, and poor casting.  The film is saved by some of the tried and true themes of the book, DiCaprio, and some incredible technical aspects.  One of the major problems is that sometimes a classic book is just that a classic, no one will ever be perfectly pleased, and there are elements which will never be just right.  I think Gatsby has elements, which work and some which fail, but overall it's an entertaining experience.

Django is a Bloody Good Time (Literally)

Django Unchained (3 1/2 out of 5 Stars)

Directed and Written by: Quentin Tarantino (Inglorious Basterds, Pulp Fiction, Kill Bill)

Starring: Jaime Foxx, Christoph Waltz, Leonardo DiCaprio, and Samuel L. Jackson

There is a lot of peripheral talk about this film from Spike Lee's Vibe interview about the insensitivity to his ancestors to the question of violence in cinema.  Spike Lee (who refuses to see the film) stated via twitter "slavery was not a Sergio Leone Spaghetti Western.  It was a Holocaust.

While Tarantino pays homage to the Spaghetti Western the central story of Django revolves two key concepts within this genre, the revenge story, and the cowboy buddy concept.  Dr. King Schultz (Waltz) in his horse drawn wagon with a tooth hanging from the top is in search for Django a slave from a plantation.  When Dr. King Schultz finds Django (Foxx) the two embark on a journey as bounty hunters to kill the three men who captured him and his wife Broomhilda (Kerry Washington) and sold them to other plantations in order to separate them.  While on their journey the duo begin to connect and threw German folklore they begin a journey as bounty hunters on a journey to save Broomhilda from Calvin Candie and his plantation Candyland in Mississippi.

While artists have their right to their opinion, I would respect Lee's thoughts on this journey if he had seen the film.  Lee and Tarantino both have used racial constructs in their films, in different ways, but they have been important to some of the construct of their films (Lee way more).  Avoiding seeing this film reminds me of the way in which the late Ernest Borgnine refused to see Brokeback Mountain, because he thought it defiled the legend of the cowboy flick.  While I can see and understand some of the racial problematic moments within the film.  Like Brokeback Django is more than the message on the outside, and I would be more curious to dialogue or speak with Lee  after he saw the film.

Let's move beyond Lee's problems, and talk about the actual film.  Django is a bloody good time, but also one that over stayed its welcome, by thirty minutes.  Tarantino's script is bold, mesmerizing, and often hilarious.  While not one of the best screenplays of the year this film crosses barriers in only ways that Tarantino, a master craftsmen, can manipulate.  There is something brave about Tarantino's direction, and writing.  Within his last two films (Django, and Basterds) there is a fuck history mentality.  Tarantino is constructing films which blend aspects of history within this film with the Spaghetti Western where a black man becomes a bounty hunter killing white men.  In both Basterds and Django the victims become the victimizers in a way pushes film to the next level.  Mix all of this creativity with of a soundtrack that includes a combination of music from Tupac, Johnny Cash, and Ennio Morricone-you can't help but get pulled into the story and the characters.

While Jamie Foxx is the star, and the center of all the action, the most talented cast member within this film, is Academy Award winner Christoph Waltz.  Waltz won his Academy Award playing a Nazi in Tarantino's last film Inglorious Basterds, a role which helped garner a lot of attention.  Waltz steals the show, once again, but not as the dastardly villain, rather as the man helping Django on his journey to get his wife back.  Foxx and Waltz, dance this dance almost as though it were a perfect Waltz.  The embody one of the key elements within this Spaghetti Western.  Their work as this sheriff and deputy like bounty hunters may provide more blood than I have seen in a long time.

This leads to another one of the other peripheral topics the film raises in regard to violence.  With recent incidents in Colorado, and Connecticut there is a question being posed, and now directly to Tarantino does the incredible amount of violence need to happen?  Artistically this has been one of his signature style choices.  Tarantino without violence is like Ben without Jerry, lost.  Does he cross the line too much?  There is an eternal blood bath within the film, but the goal of the film is vengeance and within a film that not only offends on many levels.  Tarantino uses the N-word more than I have even heard on film and almost becomes just as common as saying "hello."  As much as Tarantino offends he also challenges by showing the racism within the fascination the mammy and mandigo.  Going back to the violence, while he may push the line, that's the goal of the film.

Along with pushing boundaries Django and the good doctor are tying to get to Broomhilda, and the only way to do this is through Calvin Candie, and his ever faithful house slave Stephen (Jackson), well them and the many men who oversee the fields.  DiCaprio's Francophile Candie is one bad dude, and DiCaprio is one great scene stealer.  Yet Jackson's Uncle Tom like character is the person who steals the scenes most while in Candyland; he plays the darkest character in the film, and his abhorrence to those who do not help his master are what sets him off more than anything.

These two evil men, help Tarantino juxtapose the "heroes." and provide an interesting, and harsh reality on the evil within slavery.  Tarantino along with Cinematographer Robert Richardson create a visually sumptuous story that once you are strapped in, you do not want to hit eject, until the last thirty minutes. The film loses a little steam as the blood bath rises at the end of the film.  While the film is by no means perfect, and there are reasons people may struggle with the way things are portrayed this is still one solid film that challenges the film landscape, you would expect nothing less from Tarantino.  

A Tribute to Great Film: Titanic (1997)

Fifteen years ago on December 19th 1997 one of the most popular/successful films opened at the box office, Titanic.  After being plagued with a problematic production, and going way over budget many were worried this would be the biggest box office flop of all time. They were wrong, and at the end the box office run this was highest grossing film of all time (without adjusted gross statistics).

When my friend Alex came over on the 20th who knew that we would be celebrating (almost exactly) the films 15th anniversary.  While we started the movie after a night of drinking and we never made it to any scenes with Kate or Leo, I finished the film the next day.

As Gloria Stuart stated Titanic was "the ship of dreams" this film was one of those experiences that transcended the actual quality of film.  People were seeing this movie three, four, or seven times.  There was something about this experience where no one cared that they knew the boat was going to sink.  The stars of the film Leonardo DiCaprio (Jack Dawson) and Kate Winslet (Rose DeWitt Bukater) and their love story was one that captured hearts time and time again.

Titanic was not the best film of the 1997, that honor belongs to L.A. Confidential, from director Curtis Hanson, but this film brings out many of the great emotional aspects of film.  Titanic had all the elements which make a film magnetic. Besides the love story between Rose and Jack, the production, visual effects, costumes, score, and a song that people would love and be annoyed with permeated popular culture.  The man behind two of the most successful films of all time was James Cameron.

Cameron has been part of my tribute to great film before this with the film Aliens.  After Aliens Cameron was responsible for directing Terminator, T-2: Judgement Day, and True Lies.  Cameron has laid his mark on film, proving his direction created some of the best film experiences in the latter part of the 20th Century (although his writing is less then desirable).  Titanic proved to be a movie that pleased audiences most because he took a real life emotional event, mixed in a love story with two compelling leads, and much like with Gone with the Wind he created a film that would have an incredible impact on the face of popular culture.

Cameron won three Oscars for the film including Best Director, Best Editing, and he won as Producer on the film.  Along with these three Oscars the film took home 11 Academy Awards total, making it won of the most honored films of all time at the Oscars.  Meanwhile after the film had this monstrous success it had an huge impact on the careers of the three main players.

This film propelled both Leo and Kate into super stardom, and made Cameron more respected by larger audiences.  People waited 12 years for Cameron's next film to be released in 2009, and Avatar exceeded expectations becoming the largest grossing film of all time (without adjusted inflation).

Leo was seen as the main draw for young girls to see the picture several times, and while he still remains a massive reason for people to go to the movies; he has also starred in some incredibly well made films.  Leo was nominated for Oscar prior to Titanic (What's Eating Gilbert Grape-Best Supporting Actor), but after his role he became Martin Scorsese's golden boy, and was nominated for two Academy Awards in the Lead Actor category, one for The Aviator, and one for Blood Diamond.

Kate was always taken more seriously, and was always considered the "true actor" of the two stars; she was in fact nominated for Best Lead Actress for the film.  Kate has been nominated for a total of six Oscars, two in the Supporting Actress category for Sense and Sensibility (1995), and Iris (2001).  Four in the Lead Actress category (Titanic was her first Lead Actress nominations), including Eternal Sunshine of the Spotless Mind (2005), Little Children (2007), and her only win The Reader (2009).

This film had a massive impact on the landscape of popular culture, and me.  1997 was the first year I paid attention to the Academy Awards, and was the first year I had an investment in the outcome of the winners.  At the time I had not paid attention to film, as much, but Titanic drew me in, and never let me go, unlike the way Rose let go of Jack (I still say there was enough room for him on that door).  The film was and still remains to be a cultural phenomenon.

While I did not cry the first time I saw the film, this past week I cried at the end, and my favorite scene where Rose and Jack are reunited at the end in a dream sequence, and all of the passengers applaud, this still remains one of my favorite film scenes of all time, and is proof that even the romantic elements of this film are some of the most powerful of all time.  The film proves that Camerone was "king of the world" and that our "hearts would go on" for Leo and Kate.

Pretty Boys and Oscar: Where Have all the Hot Men Gone?

Throughout the many years I have followed the Oscars and become an award show junky, there has been one fact that was evident, Oscar is not a huge fan of the "pretty boys."  Who are the pretty boys you ask?  Well you could also define these "pretty boys" as the attractive leading men of their time.  Throughout the year men like Cary Grant, Robert Redford,  Tom Cruise, Brad Pitt,  (and many more) would fit into this category.

Throughout the years award show expert Tom O'Neil (from goldderby.com) has cited this to be a fact, that for some reason the Oscar voters do not crown the heart throbs.  Tom has a point, and while I have never been in 100 percent agreement with the theory, the proof is in the pudding.  I am going to use the men listed  above to talk about their history with Oscar.

Cary Grant was seen as a heart throb, the leading man of his time; he not only did films like Philadelphia Story, but did some other great dramatic films like Charade, Notorious, and North by Northwest.  Grant was nominated for two Academy Awards in the Lead Actor Category, and the films were Penny Serenade (1942) and None but the Lonely Heart (1945).  Grant did not win for either film, but he did an Honorary Oscar in 1970 four years after his last credited role.

Perhaps Grant is the first example of some of the reasons the "heart throb" is never taken seriously.  Cary Grant reminds me of a modern day George Clooney he is charming and suave, and a lot of his work takes on blended comedic/dramatic elements.  Comedy is rarely honored at the Oscars.  Grant is the only one on this specific list who would fit that mold.  The other reason Grant missed out on nominations for some of his most famous works like North by Northwest, Notorious, and Charade, was because throughout the years there has been a bias against genre films.  The Academy has gotten better with this but grant could or should have been nominated for one of these films, if not them then Philadelphia Story where two of his co-stars were nominated and one of them one.

The perfect modern example of the "pretty boy" is Brad Pitt.  Pitt hit the silver screen in 1991 with a small role in Thelma and Louise, the role focused on his good looks, and focused on Pitt as a sex symbol.  This status continued, and Pitt was known as the celebrity straight men would consider s

Let's look at Grant's co-star Jimmy Stewart who wont the Oscar for Philadelphia Story.  Stewart never was seen as a "looker" he was tall skinny bean pole who was a great leading man, but was never considered to the ladies or man's choice in regards to looks.  While many may look at Grant today and think the same thing; he was in fact one of the "studs" of his time.

Let's transition from the end of Cary Grant's career when he was older and won his Honorary Academy Award to one of the major "heart throbs" of the late 60s, 70s, and early 80s. Robert Redford.  Redford was in numerous films popular and well received films during this time Butch Cassidy and the Sundance Kid (1969), The Way We Were (1973), The Sting (1973), Three Days at the Condor (1975), All the President's Men (1976), The Natural (1984), and Out of Africa (1985).

Throughout his years as an Actor Redford was only nominated once for acting Oscar for The Sting.  Of the films that received Oscar nominations (beyond The Sting) most of his female co-stars received nominations while Redford did not, Barbara Streisand (The Way We Were), Jane Alexander (All the President's Men), Glenn Close (The Natural), and Meryl Streep (Out of Africa).  You have to think that as the lead in these films Redford deserved some recognition for his acting, but he was never honored in this field.

I can already hear the dissension from folk saying "But wait didn't Robert Redford win an Oscar in 1980  Directing Ordinary People?  The answer is yes, but this started a trend where the Academy Awards loved to honor those actors who stepped behind the camera rather than showing off their pretty face on screen all the time.  Warren Beatty (who was also another heart throb) fit this model just won year later winning Best Director for Reds (1981).  Redford's leading man looks proved that he could never be taken seriously in front of the camera, but only behind the scenes.

After Redford the next example of a "pretty boy" was the young, and talented Tom Cruise.  Cruise not only made great quality films, but set the example of a box office super star.  Cruise has not only had major box office success with films like Top Gun, and the Mission Impossible series, but has been nominated for three acting Oscars.  Cruises has two Best Actor nominations for Born on the Fourth of July (1989), and Jerry Maguire (1996), and Supporting Actor nomination for Magnolia (1999).  While Cruise never had a shot for his first two nominations; he lost to two of the best working actors today Daniel Day-Lewis in My Left Foot (1989), and Geoffrey Rush in Shine (1996). Cruise had his best shot to win for Magnolia; he was the favorite with many critics wins, and a win at the Golden Globes, but eventually lost to Michael Caine in The Cider House Rules.

Cruise is started the de-glam of the pretty boy, which helped nab more acting trophies.  Born on the Fourth of July is a great example, where he transforms himself from an optimistic youth to an angry Vietnam War veteran in a wheel chair.  Magnolia also showed a different side to Cruise proving he has the chops to pull off darker material.  Throughout the years Cruise has gained attention from these "de-glam" roles, like his role as the fat movie producer in Tropic Thunder.  Cruise is a solid modern day example of the Academy still never taking the pretty boy seriously, especially with his loss for Magnolia, Cruise may have to wait until much later in his career, the way his co-star Paul Newman (another good example of his looks preventing him from a win) won for Color of Money.

Brad Pitt is the best example of the modern day heart throb.  Pitt's first major role on the silver screen was in 1991's Thelma and Louise.  While Pitt's role was small, the film focused on his ripped body, getting women and men to consider him as an object of affection.  Pitt would forever be known as sex symbol, getting even straight men to consider going to bed with him.  While over the years Pitt has proven himself more than a pretty face getting some great dramatic and comedic roles, and proving he has true talent.

Like Cruise Pitt has only been nominated for three acting trophies at the Oscars, one Supporting Actor Oscar nomination, and two Lead Actor Oscar nominations.  Pitt's first nomination came in 1995 for the film 12 Monkeys (Best Supporting Actor); he took away all the frills of his looks and "de-glammed" for this role.  Like with Cruise Pitt won the Golden Globe for this film but lost the Oscar to Kevin Spacey. Pitt's Lead Actor Oscar nominations came much later in his acting career, first in 2009 for The Curious Case of Benjamin Button, and then in 2012 for Moneyball.  The majority of his award show attention from the Oscars has come as he has aged and reached his late 40s.

These four examples are just the icing on the cake, there is Leonardo DiCaprio who was snubbed for Titanic (1997) while co-star Kate Winslet was nominated, Ryan Gosling snubbed for both Driver and The Ides of March (2012), and many more.  These are two current working actors who have recieved Oscar nominations, but have never been honored.  Are their looks to blame?  Ar Oscar voters jealous?  These men have turned in some great performances, but none have them have made it to the Oscar podium for an acting win.

George Clooney is one of the rare cases of "heart throbs" who have won Oscars for an acting performance.  Clooney did not however win in the Lead Actor Category he won for his "supporting "de-glammed" performance in Syriana.  Clooney was also nominated in two other categories this year Best Director (he was up against Ang Lee), and Best Original Screenplay (he was up against Crash-the eventual Best Picture winner).  Academy voters knew they needed to honor him so they picked the least competitive category.

This year's Best Actor race will provide the opportunity for two men who fit within this category to be nominated Hugh Jackman (Les Miserables), and Bradley Cooper (Silver Linings Playbook).  At the moment neither stands a chance of beating the method acting of Daniel Day-Lewis in Lincoln.  Maybe being a "pretty boy" is enough, but these men deserve their due, and should not have to wait until their looks fade, the way many actors have to wait.

Zero Dark Thirty Wins Big (Again) at the National Board of Review Awards

Two films scored big today, Zero Dark Thirty and Silver Linings Playbook.  Zero Dark Thirty took home three awards again, but this time instead of Cinematography, Jessica Chastain took home the Best Actress prize.  Zero looks to be the front runner at the moment for both Best Picture and Best Director, winning two prizes right off the bat (do not count out Lincoln).

Silver Linings Playbook scored two major wins, one shocker in the Best Actor category for Bradley Cooper, although I think he is the best part of the film, and a win for Best Adapted Screenplay.  The film also made the top ten list for Best Picture.  I knew this would be a film they loved, but I thought it was going to steal two different prizes (Best Picture and Actress).

Two films with no momentum gained ground today as well, Django Unchained, and Looper.  Both films made the top ten list for Best Picture, which gives them a little more attention, and they each one a major award.  Leonardo DiCaprio won Best Supporting Actor for Django, and Rian John won Best Original Screenplay for Looper.  I have high hopes the Looper wins will translate into a few Oscar nominations.

Listed Below is the full list of winners:

Best Film:  ZERO DARK THIRTY (lsted below are the top ten in alpha order)

Best Director: Kathryn Bigelow, ZERO DARK THIRTY

Best Actor: Bradley Cooper, SILVER LININGS PLAYBOOK

Best Actress: Jessica Chastain, ZERO DARK THIRTY

Best Supporting Actor: Leonardo DiCaprio, DJANGO UNCHAINED

Best Supporting Actress: Ann Dowd, COMPLIANCE

Best Original Screenplay: Rian Johnson, LOOPER

Best Adapted Screenplay: David O. Russell, SILVER LININGS PLAYBOOK

Best Animated Feature: WRECK-IT RALPH

Special Achievement in Filmmaking: Ben Affleck, ARGO

Breakthrough Actor: Tom Holland, THE IMPOSSIBLEBreakthrough Actress: Quvenzhané Wallis,  BEASTS OF THE SOUTHERN WILD

Best Directorial Debut: Benh Zeitlin, BEASTS OF THE SOUTHERN WILD

Best Foreign Language Film:  AMOUR

Best Documentary: SEARCHING FOR SUGARMAN

William K. Everson Film History Award: 50 YEARS OF BOND FILMS

Best Ensemble: LES MISÉRABLES

Spotlight Award: John Goodman (ARGO, FLIGHT, PARANORMAN, TROUBLE WITH THE CURVE)

NBR Freedom of Expression Award: CENTRAL PARK FIVE

NBR Freedom of Expression Award: PROMISED LAND

Top 10 Films and other lists after the cut.

Top Films
(in alphabetical order)

ARGO

BEASTS OF THE SOUTHERN WILD

DJANGO UNCHAINED

LES MISÉRABLES

LINCOLN

LOOPER

THE PERKS OF BEING A WALLFLOWER

PROMISED LAND

SILVER LININGS PLAYBOOK

Top 5 Foreign Language Films

(In Alphabetical Order)

BARBARA

THE INTOUCHABLES

THE KID WITH A BIKE

NO

WAR WITCH

Top 5 Documentaries

(In Alphabetical Order)

AI WEIWEI: NEVER SORRY

DETROPIA

THE GATEKEEPERS

THE INVISIBLE WAR

ONLY THE YOUNG

 Top 10 Independent Films

(In Alphabetical Order)

ARBITRAGE

BERNIE

COMPLIANCE

END OF WATCH

HELLO I MUST BE GOING

LITTLE BIRDS

MOONRISE KINGDOM

ON THE ROAD

QUARTET

SLEEPWALK WITH ME