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nickdelo · 7 years
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Top 25 Films of the 21st Century
Nick’s List
1. Boyhood (Linklater, 2014) 2. Eternal Sunshine of the Spotless Mind (Gondry, 2004) 3. Before Sunset (Linklater, 2004) 4. In Bruges (McDonagh, 2008) 5. Children of Men (Cuaron, 2006) 6. There Will Be Blood (P.T. Anderson, 2007) 7. Inside Llewyn Davis (Ethan Coen, Joel Coen, 2013) 8. Before Midnight (Linklater, 2013) 9. The Master (P.T. Anderson, 2012) 10. The Social Network (Fincher, 2010) 11. In the Mood for Love (Kar-wai, 2000) 12. Nightcrawler (Gilroy, 2014) 13. Ex Machina (Garland, 2015) 14. Hell or High Water (Mackenzie, 2016) 15. Moonlight (Barry Jenkins, 2016) 16. Beasts of the Southern Wild (Zeitlin, 2012) 17. Catch Me If You Can (Spielberg, 2002) 18. The Hurt Locker (Bigelow, 2009) 19. The Departed (Scorses, 2006) 20. Short Term 12 (Cretton, 2013) 21. The Prestige (Nolan, 2006) 22. Mud (Nichols, 2013) 23. Y Tu Mama También (Cuaron, 2001) 24. Creed (Coogler, 2015) 25. Frances Ha (Baumbach, 2012)
John’s List 1. Gladiator (Scott, 2000) 2. Hot Fuzz (Wright, 2007) 3. Inside Llewyn Davis (Ethan Coen, Joel Coen, 2013) 4. Anchorman (McKay, 2004) 5. No Country for Old Men (Ethan Coen, Joel Coen, 2007) 6. Training Day (Fuqua, 2001) 7. Django Unchained (Tarantino, 2012) 8. There Will Be Blood (P.T. Anderson, 2007) 9. John Wick 2 (Stahelski, 2017) 10. Inside man (Lee, 2006) 11. Burn After Reading (Ethan Coen, Joel Coen, 2008) 12. American Psycho (Harron, 2000) 13. Gone Girl (Fincher, 2014) 14. Zoolander (Stiller, 2001) 15. Best in Show (Guest, 2000) 16. Nice Guys (Black, 2016) 17. Adaptation (Jonze, 2002) 18. Birdman (Inarritu, 2014) 19. Bernie (Linklater, 2011) 20. Sicario (Villeneuve, 2015) 21. The Master (P.T. Anderson, 2012) 22. The LEGO Movie (Lord and Miller, 2014) 23. Doubt (Shanley, 2008) 24. The Savages (Tamara Jenkins, 2008) 25. Silence (Scorsese, 2016)
ND: We've had this discussion a few times before: is there a difference between "best" and "favorite?" My initial reaction is no. We like what we like, for whatever reason you come to or criteria you choose, that's the grading scale, pure and simple.
The one glaring instance where the "best" and "favorite" line begins to blur is with the work of Richard Linklater, whose films are so emotionally vulnerable that they have effectively changed the way I see the world. In another filmmaker's hands, Boyhood would have been a showy gimmick, but Linklater understood what this project needed to be before shooting the first scene, allowing the deeply human nature of the film to unfold beautifully and organically. It deserves a spot on this list for innovation alone. Explain yourself, John!
JI: With a fear of being blocked from continuing this project, I must admit, I haven't seen Boyhood yet. That's is the plain and simple reason why it is not included on my list. Wish I had some lame, pretentious reason for its exclusion. 
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ND: I am happy to see you've somewhat made up for this oversight with the selection of other outstanding Linklater film, Bernie. It's a rare feat to so perfectly utilize two very specific actors (Jack Black and Matthew McConaughey). Walk me through your process a bit before we get into detail. JI: My process was pretty simple and I think you outlined it pretty well, I picked what I like. I could tell you why I picked each and every one of these movies individually but on the whole, you have to go with your gut and pick the movies you feel are the best to you. Also, as we have discussed previously, going into being best is staying power. There are a few movies I've only seen maybe once or twice but I still think of them to this day. Movies like Doubt and Silence are like that for me. I feel if a movie has that kind of power it is impossible to not include it on a "best" list. Please feel free to eviscerate me for not seeing Boyhood, I deserve it.  ND: You have shamed me, son. Boyhood is on Netflix so you're running out of excuses. Though I am not without sin, having not seen Doubt.
JI: Huge misstep on my part, for many reasons but especially since I really enjoy Ethan Hawke. ND: My girlfriend will be relieved to know I am not the only one.
Anyway, film-going experiences that resonate with me long after I leave the theater always score the highest on my lists, as the director's ability to utilize all aspects of the medium plays a huge part in landing an emotional impact or gathering more information upon repeat viewings. So it's no surprise the Coen Bros., Paul Thomas Anderson, Alfonso Cauron, and David Fincher are prominently featured throughout our lists as masters of blending the cerebral with a cinematic spectacle. I should address the lack of comedies on my list (though In Bruges, Eternal Sunshine, Llewyn Davis, and Frances Ha are all loosely comedic). Don't get me wrong, there are few things better than laughing your ass off in a theater, but when applying the "re-watch" test to some of my all-time favorite comedies (Walk Hard, Forgetting Sarah Marshall, 21 Jump Street), the jokes, once tread, aren't good enough to lift the film to the highest class, considering the low bar for cinematography, acting and, most importantly, narrative. I may be in the minority here, but these movies are largely fleeting experiences as I grow older. What are your insights into your comedic selections? I wouldn't classify Hot Fuzz as a strict comedy considering the high-wire act Edgar Wright always pulls off, nor Best in Show, a borderline Shakespearean experience with levels of complexity to the jokes. Anchorman is clearly a classic, and you obviously believe it has aged well. Zoolander, though, I'll need some convincing. JI: I think I largely agree with your take on comedies in regards to putting them on a best list but in terms of rewatchability I'm not sure I agree as much. Of course there are comedies that don't stand the test of time, Borat chief among them, but for the most part I feel great comedies stay funny no matter how many times you've heard the jokes. Addressing your second point about the two straight up comedies, Anchorman and Zoolander, there is a level of comfort and familiarity with those two. I'm not confident they actually do still hold up but since I saw them at the time I did I think they still hold that spot for me, if that makes any sense. A perfect example of being weary of their relevance now is the fact I haven't and never plan on seeing either sequel. On Zoolander specifically, I saw it in theaters and hated it but every subsequent viewing I've enjoyed it more and more and no matter how many times I've seen it there are still lines that crack me up. Not sure if that does anything to convince you but it just strikes a cord for me and I can't really explain it but seeing it when it came out in 2001 rather than today is a big part of that.
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About the other two, I just think they're great movies that happen to be really funny. Hot Fuzz is the perfect send up of the types of movies Nick Frost's character loves. The performances are great, I particularly love Timothy Dalton's character, there are impressive action sequences and I really relish all the cameos in the beginning between Martin Freeman, Steve Coogan and Cate Blanchett.  Not sure if this is a hot take, but it is the best movie from the Frost, Pegg, Wright trio. Best in Show gives such a realistic feeling to such absurd characters in an equally absurd premise. It is funny throughout without seeming cartoonish despite the cartoonish nature of the characters, like Eugene Levy's character and his two left feet. I haven't seen all of your films but one that I'm curious about and especially its place on the list is The Social Network. I liked it but my thoughts don't really seem to align with many people's on the quality of the movie. What standout so much for you with that movie that it is in your top 10?
ND: The Social Network opens with one of the most captivating scenes in recent memory. There's nothing to it -- two college kids are in a bar chatting across from one another, and eventually the girl breaks up with the guy. It's been done a thousand times before, but the way it's staged and written and performed is nothing short of memorizing. In five minutes of shot/reserve-shot dialogue we learn everything we need to know about Jesse Eisenberg's portrayal of Mark Zuckerberg -- how he's wired and what his motivations are. The scene is jammed with more character development that most movies can manage in their entire run-times, and when the fervently escalating discussion culminates in Rooney Mara's Becca telling Mark, "you're going to go through life thinking that girls don't like you because you're a nerd, and I want you to know, from the bottom of my heart, that that won't be true. It'll be because you're an asshole," it hits you like a freight train.
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That scene sets the stage for the whole movie, a rudimentary premise turned thrilling through the artful design of David Fincher. There's a perfect cross-section of seedy Ivy League ritual and lure, the dangerous hubris of a brilliant, spiteful teenager, and the lustful excitement of an unknown frontier. Fincher made a movie about Facebook -- FACEBOOK! -- a pulse-pounding high-wire act, which is miraculous.
I'd like to hear more about your no. 1 selection, Gladiator. It's unlike any other movie on your list, both in terms of genre and style. What about it has made such a lasting impression? 
JI: Gladiator is definitely one that even I didn't expect to be number one when I started out doing this. The first thing that made such an impression is that my dad took my to see it in the theater, I was about two months away from turning eight, so seeing such a violent movie in the theater was a big deal. (Questionable parenting? The world may never know). Beyond that though it is insanely re-watchable for me. I watched it twice over memorial day weekend! In terms of the movie itself, the action scenes are incredible, the performances from Crowe and Phoenix are really solid. Crowe is a little one-note throughout but I think he fluctuates that one note just enough to create a sympathetic hero and somewhat rounded character and Phoenix is always great as the weirdo bad guy. Has he ever not been really good in anything? There are definitely flaws with the movie, so it isn't number one because it is a flawless piece of art, but I find it to be highly entertaining (yes, I was entertained Maximus) and something you can always watch. I feel like this hasn't be a very articulate breakdown as to why, but it is just kind of a gut call.
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ND: Shame on you for spoiling my "Are you not entertained?" joke.
JI: Not including the comedies, is this the pick you have the biggest issue (if that's even the right word) with? Also, were there any movies for you that surprised you where you ended up slotting them, similar to my experience here with Gladiator?
ND: I don't want to be misunderstood. I don't have a problem with any of your picks; art is a very personal thing and who am I to judge how you or anyone else creates a criteria for greatness? I'm just trying to pick your brain a little bit. I will admit to having never seen Training Day. And I thought No Country for Old Men was underwhelming -- though I know I am in the vast minority and it might have been a case of the film being so hyped that I was predisposed to be disappointed.
JI: I wasn't trying to imply that you had a problem with any pick, that's why I hedged and said I don't think issue was the right word to use. No Country's ending falls a little flat but up until that point I find Javier Bardem too magnetic to be disappointed on the whole.
ND: In regards to the ordering, there were no surprises in the top 10. I'm sure on a different day Eternal Sunshine or Before Sunset or even In Bruges could have been no. 1, but I didn't overthink it with Boyhood (watched it again this weekend) and it's not worth splitting hairs over my best of the best.
I guess the biggest surprise is In the Mood for Love at no. 11, as I hadn't seen it until about a year ago. It's right up my ally in terms of a deeply melancholy romance story, chock full of utter beauty and heartbreak weaved together so seamlessly. It's a quiet film that speaks volumes in its slow, calculated moments. Recalling my The Social Network, Boyhood, et al picks, I am always impressed when filmmakers take a simple premise and do something inventive with it, and Wong Kar-wai brutally precise decisions are marvelous. 
Quick side bar: I learned about In the Mood for Love on CineFix, a YouTube channel that creates incredibly detailed and researched lists. It's a must-subscribe for any film buff.
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The next biggest surprise is Catch Me If You Can. It's decidedly unlike all my other selections, and very Spielbergian (not always a good thing), but god damn, that movie is just so much fun. It's a perfect caper, plain and simple.
JI: I was curious about your inclusion of Catch Me if You Can, because as you said it is so unlike any other movie on your list. Spielberg has been a little hit or miss since the turn of the century, good thing he's producing Gremlins 3. ND: I didn't want us to devote any space for honorable mention selections in order to make the 25 mean something, but I'm changing my tune a little bit. Give me ONE movie that hurt the most to leave off. I really wanted to find a spot for Wall-E. That movie blows my mind. JI: My original number 25 was going to be the documentary Let the Fire Burn. Probably a way out there choice considering the rest of my list. It is about MOVE in Philadelphia and what ultimately transpired when Mayor Goode effectively bombed the house that MOVE was in. Not sure if you've seen it but I loved how they used all archival footage to tell the story. There is no narration and from I remember very little on-screen text. The documentary plays out telling the cohesive story of MOVE and then the aftermath and fallout following all the destruction. It also features councilman Ed Rendell, which might be a nice easter egg for some. It also does a great job of bringing to light a story that even in Philadelphia isn't really talked about or told anymore and gives full context to both the MOVE members and the city.
ND: I actually just watched Let the Fire Burn not too long ago. I took a deep dive into the MOVE bombing earlier this year, absorbing as much about it as I could, because you're right, it goes largely un-talked about considering what a bonkers story it was (though just this week the city commemorated the event and the lives lost with a monument). And I definitely appreciate a documentary that is driven by facts and not an agenda. I'm surprised to see we only have three overlapping selections -- The Master, Inside Llewyn Davis, and There Will Be Blood. The former two we talked about in depth during our last collaboration, but let's discuss TWBB for a second, especially now that Daniel Day-Lewis is "retired." Even for a career as illustrious as DDL's, his turn as Daniel Plainview by far his crowning achievement, and I'd put it toe-to-toe with any performance ever put on screen. He carries every frame with such menace, vigor, and even surprising vulnerability that makes the viewer sympathize with a terrible man. It's unlike anything I've ever seen.
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JI: I haven't watched it all the way through in a while but I find myself often YouTubing scenes just to inject more DDL straight into my veins.  The only other character that has been so outright horrible, vindictive while retaining vulnerability and a likability to me was Gandolfini as Tony Soprano. However, that is comparing apples and oranges, with an 86 episode series compared to a single feature.
Back to DDL in TWBB. His Plainview is such a transformation that anytime I see the movie or see clips my brain doesn't even compute that DDL is Plainview. He truly takes on his characters and becomes them and it is incredible in the way he has been able to transform himself through his various roles. I can see why the say it takes him about three or so years to mentally prepare for a role. It is hard to imagine anyone ever topping his absolute mastery of the art.
Two questions about DDL I'd like to pose for you. 1) Do you think the retirement will stick? He has done this before where he took time off to be a cobble. Now he is supposedly retiring to become a dressmaker. I think he'll eventually make his way back to the screen. 2) This is more of a thought exercise than a black or white question but should we be grateful for the few performances he did produce and how outstanding those are or should we be disappointed we only got so little of him during his career? It is a little disappointing to me but the other side of the argument is that maybe his performances would have suffered if he took on more projects and didn't throw himself in fully as he did. ND: The answer to your first question is simple: no. Maybe at this very moment, DDL thinks that he's done all there is to do on screen, and considering he already-selective process, I bet this sabbatical lasts less than 7-8 years. But he will come back. DDL knows he's the best, and he will get that itch again once he reaches senior citizenry. And he's spent his entire adult life getting lost in other people that I'm not even sure he knows how to be himself. The more interesting question would be: what do you want his big comeback role to be? This is a hard question that I wasn't exactly prepared for, but we are so used to seeing him in these larger-than-life roles that I wouldn't his coming back in a simple, humanistic family drama. Mike Mills (Beginners, 20th Century Women) has the goods to write him a juicy role, but even more perfect would be Kenneth Lonergan (Manchester By the Sea). Holy shit, I want to see nothing more now. The second question is a bit more complex, because it was undoubtedly frustrating for DDL to take his good old time selecting only to leave us with Nine or The Ballad of Jake and Rose, but even in subpar movies (I didn't enjoy Lincoln, either), DDL always makes it worth watching, so his batting average, so to speak, is still remarkably high. If he were to have taken more roles along the way, could he have given us a few more classics? Probably, but more likely is he would have given us more disappointments. Look at De Niro and Pacino. The two have combined for dozens of duds in the past 20 years to only a handful of good roles. If the alternative to DDL's selectivity is Dirty Grandpa, Stand Up Guys, The Intern, Jack and Jill, etc., I'll take the former every time. JI: I think I'd like to see him comeback and do something totally unexpected. How fun would it be if he was in a comedy or a Tarantino movie? I'd love to see what he could do in something that is so very much outside his realm, without stepping into Jack and Jill territory like you mentioned previously. 
This is slightly (very) off topic, but since you mention De Niro and Pacino, you think they can turn their cold streaks around with Marty in The Irishman?
ND: I mean, if anyone's going to bring those two back from the dead, it's Scorsese. He has more than earned our trust at this point. I'd be lying if if wasn't a tiny bit worried about Marty going back to the gangster well -- and god forbid he ever cast a woman or a PoC -- but if it ain't broke, I guess.
Let’s leave it here since we’ve covered a lot. Though if you want to return with a deep dive on the John Wick 2 > John Wick decision, I’ll be here waiting.
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A Film Discussion: Favorite Movie for Every Year of Our Lives
Full disclosure, I flat-out stole this idea from the A.V. Club.  I called upon my old pal John Iatesta to compare and discuss our lists. Enjoy.
Nick’s List
1987: The Brave Little Toaster 1988: Rain Man 1989: Do the Right Thing 1990: Goodfellas 1991: Barton Fink 1992: Wayne’s World 1993: Groundhog Day 1994: Pulp Fiction 1995: Before Sunrise 1996: A Summer’s Tale 1997: Good Will Hunting 1998: The Big Lebowski 1999: Dogma 2000: In the Mood for Love 2001: Y Tu Mama También 2002: Catch Me If You Can 2003: 21 Grams 2004: Eternal Sunshine of the Spotless Mind 2005: The 40-Year-Old Virgin 2006: Children of Men 2007: There Will Be Blood 2008: In Bruges 2009: Moon 2010: The Social Network 2011: The Muppets 2012: The Master 2013: Inside Llewyn Davis 2014: Boyhood 2015: Ex Machina 2016: Hell or High Water 2017: Get Out
Honorable Mentions: Before Midnight (2013), Mud (2013), Beasts of the Southern Wild (2012), Dazed and Confused (1993), Say Anything... (1989)
John’s List
1992: Wayne's World 1993: Jurassic Park 1994: Dumb and Dumber 1995: Casino 1996: Fargo 1997: Jackie Brown 1998: The Big Lebowski 1999: Big Daddy 2000: Gladiator 2001: Training Day 2002: Adaptation 2003: Old School 2004: Anchorman 2005: The Weatherman 2006: Stranger than Fiction 2007: Hot Fuzz 2008: Burn After Reading 2009: Inglorious Basterds 2010: Shutter Island 2011: Paul 2012: Django Unchained 2013: Inside Llewyn Davis 2014: Birdman 2015: Star Wars: Episode VII - The Force Awakens 2016: The Nice Guys 2017: John Wick 2
Honorable Mentions: Sicario (2015), No Country for Old Men (2007), Inside Man (2006), Billy Madison (1995), My Cousin Vinny (1992)
ND: I think what stands out most is the specific gaps in our resumes, mostly in the early years. So it's easy to latch onto sentimental favorites (The Brave Little Toaster, Wayne's World, Dogma) and "prestigious" films I haven't seen in years and probably haven’t age well (Rain Man, Good Will Hunting). My movie-watching intake has gone up considerably as I’ve gotten older, allowing me to explore some classics well after the fact to up my credibility ever so slightly.
I'm as surprised as anyone to see the Coen Brothers as the most represented on my list with three films (as well as yours with four), edging out Richard Linklater, Alfonso Cuaron and Paul Thomas Anderson with two apiece. I routinely try to knock Coens down a peg, but when they hit, they are masters. Inside Llewyn Davis is their crowning achievement if you ask me, melding the best of their darkest and lightest, with a powerhouse performance from Oscar Isaac to boot -- and the songs! I could watch that movie every day.
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ND: Inside Llewyn Davis is so good that it managed to come out on top in my most contested year, 2013. Before Midnight and Mud are two of my all-time favorites. The former was easier to leave off with Before Sunrise's inclusion -- it's my least favorite of the trilogy, but 1995 had a clearer path than 2013 or 2004 (Before Sunset). Mud's exclusion was even more painful, leaving my list McConaughey-less
JI: I thank you for my Inside Llewyn Davis inclusion. You raved about that movie during our time at The Sports Network and it pushed me to watch it much sooner than I probably would have before. I agree with you to an extent about the Coens. I don't think they're overrated but when they miss its like Ryan Howard in the 2010 NLCS*, see: The Ladykillers and Hail, Caesar!.
*(Editor’s Note: I believe you mean the 2011 NLDS loss to the Cardinals, where Howard went 2-for-19 (.105) and ended the series with a blown-out Achilles tendon aka the downfall of the Philadelphia Phillies dynasty.)
ND: Our lists aren't so different. You have even more black comedies than me, with the four Coens, a handful of Tarantino, even Casino, Adaptation, Birdman and The Nice Guys would qualify with their mix of light and dark. I think it's important to bring levity to most dramas (though my selections of Children of Men, 21 Grams, and the works of PT Anderson run contrary), and you seem to agree. Enlighten me on your process, good man.
JI: I definitely agree with your first point in there being gaps in knowledge, but for me it’s more spotty than just one era. I found myself sometimes in the mid-2000s not having a real standout, but you aren't wrong about some movies having very strong sentimental value. Wayne's World still holds up though! 
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JI: Like you, my "good" movie intake has gone up as I've gotten older. I’ve developed my own taste for movies and can now afford to go see what I want. I recently saw Rain Man for the first time and while it wasn't bad, I'd agree it doesn't really hold up.
Brief aside, can we talk about Jim Carrey's 1994? Ace Ventura, Dumb and Dumber and The Mask. Dude was an absolute fireball that year.
ND: Jim Carrey was as integral part of my childhood as well. My brother and I used to recite Dumb and Dumber dialogue on car rides to the shore (I was Harry more often than not). But 1994 was never not going to be Pulp Fiction. It's become a cliche at this point -- film people clinging to Pulp Fiction like gospel -- but it's no exaggeration so say that discovering it changed my cinema-going outlook forever.
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JI: My process was to not just choose the best in terms of critical acclaim to trumpet myself up and say "look how well versed in film I am,” but to choose movies I could actually defend as being one of my favorites. I also excluded children's or Disney movies because they lean too heavily on sentimentality and felt like they'd be a crutch. This is why a movie like Billy Madison is on my Honorable Mention list. I can recite that movie nearly line-for-line. 
ND: So no to Billy Madison, but yes to Big Daddy?
JI: 1999 was just one of those years that had a bigger gap than 1995. I got halfway through Fight Club and was bored to tears, and I love Ed Norton (your long-lost brother) and Brad Pitt but I just didn't see what everyone else does. I've only seen The Matrix once and same with The Insider.  And probably the two biggest omissions from that year are The Sixth Sense and The Hurricane. All those factors considered, I couldn't in good faith put a movie I've only seen once above one I've seen two dozen times. Also, I'm semi acquaintances with Peter Dante now that I'm an LA hot shot (I gagged just typing that) and his "They're not scrawny, they're nice," line gets me every time.
Maybe the hardest part for me was not finding space for a PT Anderson movie, with There Will be Blood losing a close 2007 race to Hot Fuzz, or a true Philip Seymour Hoffman movie, (The Big Lebowski doesn't count). He’s likely my favorite actor of all time. I don't think I've seen a bad performance out of him and not being able to squeeze him in any year stings.
Only one Scorsese movie from you (Goodfellas) -- probably his second best behind Raging Bull -- and only two from me (Casino, Shutter Island). He’s long been considered my favorite director but most of his best came out prior to my birth. Is this a similar issue for you, or do you not hold him in such high regard?
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ND: Maybe the biggest catch with this project is the year arguably plays an even bigger role than the films themselves. So yes, I would never hesitate to put Scorsese in my top 3 favorite directors of all time, but I definitely prefer his pre-Goodfellas work (Taxi Driver, Raging Bull, Mean Streets) to his more recent films. Although The Departed gave Children of Men a run for its money in 2006, and The Wolf of Wall Street and Hugo made my top 10 lists in their respective years. I consider Casino to be B/B- material for Marty, though De Niro's suits suit game is elite.
I'm glad you made special mention of Philip Seymour Hoffman. We've really bonded over our love for him and I was surprised to see him shut out of your list. He's the primary reason why The Master outlasted a great 2012 field. It's a tough pill to swallow, but it gets even better as the years go on and will live on in the zeitgeist for decades. If you figure a way to live without serving a master, any master, then let the rest of us know, will you? For you'd be the first person in the history of the world. 
JI: Along Came Polly was a consideration for me solely for PSH as the unforgettable Sandy Lyle.
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ND: Long live PSH.
I think we both did a good job managing our sentimentality. I only have a few notable asterisks. It's been 25 years since I've watched The Brave Little Toaster, but all this time later, when I saw it listed among the 1987 films, I smiled. And in an otherwise terrible year for film (I know it's beyond your jurisdiction, youngin, but take a gander), that shit mattered the most to me. I will never apologize for 2011's The Muppets. There is preciously little in this world as important to me as the Muppets. I am forever indebted to Jason Segel for keeping their legacy alive in the spirit of Jim Henson's vision.
Can we talk about 2005, please? The consensus best pic is Brokeback Mountain, though I've regretfully never seen it. We both went with curveball selections: You with The Weatherman and me with The 40-Year-Old-Virgin. It's not my favorite Apatow production from that era (Forgetting Sarah Marshall and Walk Hard: The Dewey Cox Story stand tall above the rest), but its only real competition from 2005 was from Batman Begin and (yes, really) The Sisterhood of the Traveling Pants.
JI: 2005 was really rough. I'm a big Nic Cage fan and The Weatherman was kind of my default favorite. Coming off of a John Wick 2 high, I recently watched Constantine for the first time and considered selecting it just because of recency bias and it wasn't even very good. Batman Begins is really good but as time goes on, I feel like the Nolan Batman trilogy has become less rewatchable for some reason, and Batman is basically the only superhero movie I like. Keaton is a personal favorite for me so I can always watch his two Batman movies.
ND: I tend to agree with you about Nolan's Batman, though I think their lack of rewatchability is in no small part due to the superhero saturation of the past decade. The tropes and cliches that are getting beat into the ground now were created in Batman Begins, so it deserves a lot of credit for that. Anyway, neither of us picked a Batman film, so back to 2005 -- I remember liking The Weatherman! No one's had a more interesting career than Nic Cage. And he's still got the goods (see David Gordon Green's Joe).
JI: Cage definitely can still bring it, the problem is he's become such a joke to most people it feels like he can't break that persona even when he does get a really good role/performance like Joe. 
ND: I'm ready for a Cage Renaissance. We can call it the CageWakening. Not as catchy as the McConaissance, I admit.
JI: I’m dying for it.
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JI: Along with you, I haven't seen Brokeback Mountain, nor sadly have I seen Capote -- huge PSH gap for me -- so I was just kind of stuck on my choice. The 40-Year-Old Virgin, while good, just drags on too long, which I guess has become a common complaint against Apatow projects.
Fun note about the Muppets, when I was a little kid my mom took me to Muppet Treasure Island and we had to leave halfway through because it scared me too much. I was probably three at the time, so I feel this shouldn't be a ding against me here.
ND: Muppet Treasure Island is a trash movie anyway. Barely canon.
JI: What method did you use to find all the movies from each year? I went through Wikipedia Year in Film for each year and it led to some fun surprises along the way. It made me look at someone like Chris Evans and wonder where his career would be now without Captain America? I mean he had to the two Fantastic Four flops, The Perfect Score (Scar Jo and Darius Miles!) and Cellular, a movie I didn’t even know existed.
ND: Don't forget the other Chris Evans' classic, 2009's Push, whose biggest claim to fame is getting Liongate to actually title a film Precious: Based on the Novel "Push" by Sapphire to avoid confusion.
JI: I didn't know Push existed either. Man, he better be thanking Marvel every single day. 
ND: I too used good ole Wikipedia as my aid, though for my all-time favorites (Eternal Sunshine, In Bruges, Goodfellas), I plugged them in an left them there -- no use looking for anyone to dethrone them. I also looked at the lists of film critics I trust to maybe jog my memory on things I might have glossed over, which was the case for Wong Kar-wai's In the Mood For Love, one of my favorite recent discoveries that just happened to be released in a very weak year. And that got me thinking of other foreign films I love that might have been omitted on Wikipedia, like Eric Rohmer's A Summer's Tale. I’m the first to admit that these are my token pretentious picks, but they are both lovely little talky films that find relatable drama in human emotional, which is my cinematic wheelhouse (see: Linklater).
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ND: I need to hear the Paul story. A Pegg/Frost movie without Edgar Wright? I saw it and remember liking it fine but forgot all about it the minute I left the theater.
JI: Paul is a mix of a connection I have due to seeing a free early screening of it at Temple with our mutual friend Jason "Ball is Life" Quint and winning a poster at said screening and that 2011 is kind of a weak year. The year of The Artist! Also, I just really liked Paul's cast, Frost and Pegg are always great together along with Jason Bateman and Bill Hader and it just hit a lot of the right notes for me in an exceptionally weak year for truly outstanding movies. 
ND: I mean, I picked The Muppets for 2011, so I can't knock an unconventional selection.
JI: Since its early into 2017, did you have any other real contenders for this year's movies or was it hands down Get Out? It was a very close race for me between Get Out and John Wick 2 but ultimately went John Wick 2 because its so rewatchable. I saw it opening weekend twice, back-to-back nights. Only other movie I've seen from this year is Kong: Skull Island, which was good but not close to the level of those two for me.
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ND: I originally wasn't going to pick a 2017 movie for the same reason you mentioned: the sample size just isn't big enough yet. It's unlikely Get Out will be my favorite of the year when it's all said and done, but it definitely stands out in a typically weak January-March. Logan got some consideration; it plays more like a western than a superhero movie, and any departure from the comic book formula is welcomed. I enjoyed Kong just fine but it's still a ways off from "best." I have yet to hop aboard the John Wick bandwagon. I'm sure I'll enjoy the ride once I'm there.
You're successive screening of John Wick 2 reminded me of a similar experience from my childhood, coincidentally with another Keanu movie. I saw a matinee of Hardball with my grandfather one Saturday afternoon, only to find out afterwards that my friends were going to see it that night. I didn't even like it that much, but I didn't want to be left out either. I can't recall if I've ever gone for a rewatch on back-to-back nights, though the odds are strong it happened during one of my four theater viewings of the first Spider-Man. I was a strange teen.
JI: John Wick is a thrill ride you won't want to end. My situation with that was similar to yours with Hardball. Made plans for the Saturday showing with a friend but Friday afternoon another friend texted me wanting to go so I didn't want to flake on either and went twice. Did not regret my decision.
I got you beat! I saw the Spider-Man five times in theaters, which thinking about it now I don't know why I saw it that many times. I also saw Men in Black II five times in theaters thanks to my dad wanting to go that many times. Two very odd movies to see that many times.
ND: Who knew we had so many uber-specific things in common. I can feel our friendship growing by the minute.
JI: As we're winding down on our actual lists, what movies are you most looking forward to for the rest of the year? For me right now Guardians of the Galaxy Vol. 2 and The Last Jedi are at the top for me. Dunkirk could be interesting but its tough to get hyped over a movie with a tone like that, especially during July rather than the expected December release. The Dark Tower should be good especially with Elba and McConaughey, but I didn't read the books so I don't have a built in excitement for it like others likely will. A few other interesting ones should be the next Kingsman movie, I thought the first one was really fun and the new IT. I loved the TV miniseries as a kid and am interested to see how they can possibly top Tim Curry as Pennywise. And of course there's the usual slate of sequels coming this year. Did you know that Bad Moms is not only getting a sequel but a spin-off as well with Bad Dads, both coming out in 2017?
ND: As far as blockbusters go, Guardians and The Last Jedi shouldn't disappoint. I didn't love Rogue One but very much enjoyed The Force Awakens, and I trust Rian Johnson even more than J.J. Abrams to carry the torch. Blade Runner 2049 looks incredible -- Villeneuve can do no wrong. Dunkirk looks good, though I've been lukewarm on Nolan's recent efforts. I'm tempering my expectations for The Dark Tower, considering how rocky preproduction has been. It would be a shame to waste such a great cast. Despite Bad Moms earning me some valuable points in last summer's Fantasy Box Office League, I will not be indulging in their further money grabs.
Digging a little deeper, the trailer for Martin McDonagh's latest, Three Billboards Outside Ebbing, Missouri, just dropped and looks like a blast.It's been five years since our last McDonagh, and I'm hopeful this is more In Bruges than Seven Psychopaths (which I still liked). 
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ND: We're getting another Alex Garland/Oscar Isaac collaboration in Annihilation, and if it's anywhere near as good as Ex Machina, I'm all-in. Destin Daneil Cretton is releasing his long-awaited follow-up to 2012's outstanding Short Term 12 with The Glass Castle, also starring Brie Larson. And don't look now, but it looks like we're getting a Paul Thomas Anderson/Daniel Day-Lewis reunion next Oscar season. Huzzah.
JI: Ahh yes PTA and DDL reuniting for a movie about 50's era London fashion. I know it won't disappoint but so oddly specific.
ND: Is there anything else we need to discuss before wrapping up? Has this inspired you to catch up on any older flicks? I've got Brokeback Mountain and You Can Count on Me (Kenneth Lonergan's debut) queued up. 
JI: It’s definitely made me want to go back and fill in a bunch of holes. Possibly starting with rounding out my PSH gaps with Magnolia and Capote.
One final note from me, Jackie Brown is criminally underrated and my favorite QT movie. He says anyone of this mindset doesn't really like his movies because he didn't write and to that I say, you don't determine my taste, Quentin.
ND: Jackie Brown was on my 1997 shortlist for sure. Under-the-radar-great.
Thanks for indulging me, John. I'm happy to get out of my head every now and then when it comes to my writing. Things like this are a ton of fun. 
JI: This was fun. Hopefully we can collaborate again for another discussion. Maybe a post summer look back at surprise hits, biggest flops and how I managed to win the box office pool two years in a row (hopefully).  
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nickdelo · 7 years
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Mad Men 7x08, 1x03, 1x05, 1x10, 7x10, 2x05, 1x13, 6x01, 1x01, 1x08
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Recommended/Not Recommended -- Snowed In Edition
As Philadelphia was blanketed in a half-foot of solid ice, I stayed inside and watched a bunch of things.
The Last Man on Earth (Fox) 
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This show gets overlooked, even by the gaggle of TV critics I follow on Twitter. That’s not too surprising. It’s odd, balancing a bleak, post-apocalyptic survivor tale with the absurd comedic stylings of creator/star Will Forte. While the show has always succeeded with its visual flare and calculated plotting, it suffered early in its run with some jarring tonal missteps, alienating many viewers in the process. Deep into its third season, however, The Last Man on Earth has hit its creative peak, artfully walking the tightrope between nihilism and optimism in a way that is unique by broadcast TV standards. Its ambition is contagious, most notably when it embraces its episodic format to create some of the best standalone 30-minute pull-away stories since Enlightened. RECOMMENDED
Crashing (HBO) 
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Crashing gets a few benefit-of-the-doubt points for its decent premise: a struggling comedian tries to make it in New York while couch-surfing in the homes of/getting advice from more established standups. But most of that good will is nullified by the bland vanilla-ness of star Pete Holmes. Each episode meanders for 30 minutes on about six minutes worth of story, a staple of Judd Apatow productions that I’m growing more and more annoyed with (re: Netflix’s Love). Holmes isn’t an unfunny guy, so there are a handful of redeemable moments in each episode, but anyone who isn’t interested in the niche world of alt-comedy will find it a slog. NOT RECOMMENDED 
NOTE: Crashing is not to be confused with Crashing, the British comedy series from Fleabag creator Phoebe Waller-Bridge about six kooky flatmates living in an abandoned hospital. It’s very silly but a lot more fun than this show.
Ghost in the Shell (not the Scarlett Johansson movie) 
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Look, I get it. Lots of people love anime, and for good enough reasons. It was revolutionary in using animation as way to explore adult themes, and visually speaking it is often stunning, especially in its locations and grand set-pieces. These are some of the reasons to admire Ghost in the Shell, along with the surrealistic, existential tone and the obvious influence it’s made on contemporary sci-fi (The Matrix ripped off a bunch of it). That said, it was simply too convoluted for me to enjoy. Nearly every line of cheesy dialogue (delivered by stiff actors) is a piece of exposition attempting to explain this dystopian future and all its rules and characters. It’s easy to tell it’s part of an extended universe established during its Manga run, but as a standalone viewing experience, it’s narratively incoherent. NOT RECOMMENDED
Weiner (steaming on Showtime) 
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Upon hearing about this movie, everyone has the exact same reaction: “Anthony Weiner? The congressman with the dick pics? I remember him! That didn’t happen too long ago. Do I really need to watch a documentary about it?” You might be surprised to hear that, yes, you should watch Weiner. (insert Weiner pun here. Maybe get on Weiner. I don’t know. The NY Post already took all the good ones). We’ll never know if all politicians are as egomaniacal as Anthony Weiner (probably, though), but Weiner’s compliance in this project, baring it all (*Weiner bares all!*) to spotlight the man behind the dong is an unprecedented maneuver. The film exposes (*Weiner exposed!*) how narcissism can, in equal measure, give someone the drive to fight for change in what they believe in, as well as the hubris to make the same damaging mistakes over and over again. The film has the breakneck pace of a great thriller while painting a portrait of a troubled guy who, in spite of everything, you can’t help but pull for. (*Pull for Weiner!*) RECOMMENDED
NOTE: Weiner is not to be confused with Wiener-Dog, streaming on Amazon Prime. I haven’t seen it, so there will be no sub-recommendation.
Life, Animated (streaming on Amazon Prime) 
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Another ultra-specific documentary, Life, Animated is the story of an autistic man (Owen Suskind) who uses his love of Disney movies to help communicate and find meaning in the world. Like the films Owen holds so dear, Life, Animated is guilty of over-sentimentality, but god damn is it effective. His ability to take a passion and use it to help channel his emotions and creativity is inspiring as hell. Pop it on for a cathartic happy-cry. RECOMMENDED
SNOW DAY LIGHTNING ROUND 
- Making your own chili, RECOMMENDED. While a crockpot is not a suitable replacement for barbecue, it’s perfect for chili. The only skill needed for making crockpot chili is operating a can opener. - “Blowing the stink off,” RECOMMENDED. Basically, getting outside before Cabin Fever sets in. The phrase was coined by my girlfriend’s mom, “the stink” referring to a day’s worth of showerless inactivity. When venturing into a snowstorm, don’t forget to walk like a penguin. - Depending on a car in the city after a snowstorm, NOT RECOMMENDED. Digging yourself out and navigating the unplowed streets are the easy parts. The doozy is parking again once you get home with all the mounds of snow and ice piled up, along with assholes saving spots with cones and chairs. I’m so stressed about it I’m leaving work early every day this week to beat the rush.
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nickdelo · 7 years
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Recommended/Not Recommended -- March 9
Get Out (in theaters) 
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If you've been on the internet in the past two weeks, you've surely read about Get Out, Jordan Peele's smash hit social thriller. As of this writing, it has grossed over $85 million on a paltry $4.5 million budget and is well on its way to becoming one of the most profitable films of the decade. On the heels of Moonlight's upset victory at the Oscars, not only can we stave off the slow death of American Independent Cinema for a little while longer, but it's clear audiences and critics alike are hungry for more stories from PoC auteurs.
If you somehow haven't been spoiled by what Get Out is bringing to the table, a) good job and b) go see it as soon as possible (and c) don't read the YouTube comments section if you watch the trailer. Spoilers and soul-crushing hate speech await.) Anyone familiar with the dark genre-specific turns of many Key & Peele sketches won't be surprised that Peele has it in him to make a pitch-perfect, unironic thriller. It deftly examines implicit, systemic racism through the scope of the mythical "post-racial" society and is designed to spark plenty of conversation. It's a great theater-going experience and definitely tolerable for horror wimps like me. RECOMMENDED
Girls (HBO)
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I have a long, complicated history with Girls. I reviewed every episode of the first three seasons over at Screen Invasion, and I was a champion for the show early on. Sure, the irrevocably flawed characters were contemptible, but the writing and performances were always sharp and it had a unique ability to capture a specific moment in time for the aimless, privileged, entitled, white youth of Brooklyn. It proved that well-written and realized characters didn't have to be likable to be sympathetic. It also had the benefit of my cautious optimism back then, as it appeared Lena Dunham and company were laying the groundwork for a scathing satire on Millennial culture.
Over time, however, the show lost my trust, as it became more clear that Dunham is not in on the joke.
The show is careening towards unearned redemption for Hannah during its final season. Years ago, when the titular Girls were in their early-to-mid-20s, the motif of making the same mistakes over and over again was endearing because we thought it would eventually lead to a moment of clarity, but Hannah's awfulness has only continued to compound. Now she's finally finding success in her writing and we are supposed to feel proud of her. (A pet peeve of mine is when writer/director playing a version of themselves lays praise upon their "character," which has happened several times in regards to Hannah and her "brilliant" writing. I understand we should try our best to separate the artist from their art, but the parallels between Dunham and Hannah are just too hard to ignore.)
There have always been plot issues to quibble over, and this final season is no different, but the most unforgivable aspect of the show is how it reveals itself in the simple decisions, ones that should have consequence but don’t: Hannah doesn’t have insurance yet has no problem seeing a doctor, Adam and Jessa don’t have the money to make a movie but they can just “worry about that later,” Hannah fails as a writer so becomes a high school English teacher at the drop of a hat. Maybe one day Dunham will step away from Girls and create something completely outside her bubble, and I’ll be able to look back on the show more fondly knowing she has that ability, but for now, she has proven over and over again that she has no idea what it’s like to be a real person. NOT RECOMMENDED
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nickdelo · 7 years
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Recommended/Not Recommended -- March 2017
Here’s a new thing I’m going to try. It’s pretty self explanatory. I like to talk about the things I watch/read/listen to/eat and my opinion is very important.
Legion (FX) 
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As far as I'm concerned, the last thing we need is more Superheroes on our screens. Every story is the same – I'm just a troubled man who is burdened with the power to save or destroy the world. Let's defeat this forgettable villain or a neon light beam will tear a hole in the atmosphere. But there’s one thing Legion has that those other stories don’t: Noah Hawley. Similar to his other brilliant show (Fargo), Hawley uses an inside-out adaptation style that prioritizes mood and atmosphere over faithfulness to the source material, and the result is a wildly twisted, visually breathtaking study of the inner-workings of a damaged guy learning to live with his god-like abilities. ("Don't give a newbie a bazooka and act surprised when he blows shit up.") The evocative imagery, unconventional storytelling, and fantastic, vulnerable lead performance from Dan Stevens combine to make the best show of 2017 so far. RECOMMENDED
Table 19 (in theaters) 
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This film has a lot going for it on paper – a charming cast (Anna Kendrick, Lisa Kudrow, Craig Robinson, Stephen Merchant, Tony Revolori, June Squibb), a writer/director whose work I admire (Jeffrey Blitz of Comedy Central's outstanding Review) and a clever premise (misfits bonding at "the outsiders" table at a wedding). Sometimes the pieces just don’t fit together. Other than a few funny bits from Merchant, who uses his awkward physical stature and body language for more laughs than anything the script offers, nothing in Table 19 works. It's tonally unfocused, bouncing freely from broad farce to rom-com clichés to half-baked emotional cues without a shred of relevant character motivation. I didn't care about anyone and didn't even know why they were at this sterile wedding in the first place. NOT RECOMMENDED
Medicine for Melancholy (streaming on Netflix) 
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The debut feature from Barry Jenkins, director of the Oscar-winning Moonlight (RECOMMENDED), Medicine for Melancholy is as bare-bones as indie filmmaking gets, made on a budget of just $15,000. The intimate two-hander follows the aftermath of a drunken hook-up between Micah (Wyatt Cenac) and Jo' (Tracey Heggins), who spend the following day connecting over their black experience in the rapidly gentrifying, overwhelmingly non-black San Francisco. Films like this don't work without chemistry, and Cenac and Heggins are both brilliant in subtle, naturalistic performances that evolve in reaction to one another, careening every which way with beautifully calculated precision. RECOMMENDED
The Foot Book by Dr. Seuss 
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(That’s racist)
To commemorate both Dr. Seuss' birthday and Special Person's Day at the school in which my girlfriend teaches, I agreed to come in to read to some sweet, snot-faced kindergartners. Like any good performer, I did plenty of research for my role and studied up on the books available to me. Marvin K. Mooney Will You Please Go Now is an inherently hilarious tale about a narrator berating a guest for overstaying his welcome (relatable). Mr. Brown Can Moo! Can You? has a funky old man who throws about tons of dope onomatopoeia. But The Foot Book? The Foot Book is trash. Check out this poetry: "Left foot, right foot, left foot, right/Feet in the morning, feet at night." You know from Page 1 Seuss phoned it in for the paycheck. There’s no arc, other than “everyone has feet.” It's a shockingly uninspired effort from one of literature's most beloved visionaries. NOT RECOMMENDED
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nickdelo · 7 years
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World of Tomorrow (2015), dir. Don Hertzfeldt
“I am very proud of my sadness because it means that I am more alive.”
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The NICKADEMY Awards
Best Picture Hell or High Water Moonlight Manchester by the Sea La La Land Everybody Wants Some!! 20th Century Women Paterson Arrival Lion The Lobster Best Director David Mackenzie, Hell or High Water Barry Jenkins, Moonlight Damien Chazelle, La La Land Kenneth Lonergan, Manchester By the Sea Denis Villeneuve, Arrival Best Actor Ryan Gosling, The Nice Guys Ethan Hawke, Born to be Blue Casey Affleck, Manchester by the Sea Colin Farrell, The Lobster Adam Driver, Paterson Best Actress Kate Beckinsale, Love & Friendship Amy Adams, Arrival Annette Benning, 20th Century Women Hailee Steinfeld, Edge of Seventeen Royalty Hightower, The Fits
Best Supporting Actor Mahershala Ali, Moonlight Ashton Sanders, Moonlight Trevante Rhodes, Moonlight Andre Holland, Moonlight Dev Patel, Lion
Best Supporting Actress Naomie Harris, Moonlight Rachel Weitz, The Lobster Lupita Nyong'o, Queen of Katwe Greta Gerwig, 20th Century Women Janelle Monae, Hidden Figures
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Every day of 2017 so far
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Moonlight (2016)
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