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Red Carpet Reveals: What Stars Depp, Brolin, Let Slip on Press Line & Katie Holmes Syndrome

by Quendrith Johnson, Los Angeles Correspondent

By now the “Disso Queen,” the nickname of Johnny Depp’s attorney Laura Wasser, has squared off against Amber Heard’s superhero-named legal eagle Samantha Spector in what looks to be A Divorce to Remember. But before allegations fly from both corners, the red carpet is where the first signs of trouble manifest. This is where being on the press line becomes an artform in reading star body language. JohnnyDeppHandWhen Depp appeared to collect a major life achievement award from Leonard Maltin in February, he was solo on the red carpet. Questions about Amber Heard’s whereabouts went unanswered, kind of down to mumbles. In fact, one could say Depp, 52, went from Trouble With Paradis, meaning long-time love Vanessa Paradis, 43, to Trouble in Paradise, meaning the current fracas with dishy Drive Angry star Amber Heard, who turned 30 in April. Angelina Jolie is reported to have been opposed to Heard from the beginning, especially the lack of pre-nup, so it’s no surprise that Depp has now retained Jolie’s former divorce lawyer Laura Wasser. “Dissolution” is the California word for divorce, hence this Disso Queen and opposing counsel Spector (both from Loyola Law School) have their battle to come on June 17, the next court date.

After Beds, Bets Are Being Made…

My money is on Wasser, because who couldn’t love a divorce attorney who went on the record with Interview Magazine in 2012 as quoting Samuel Johnson. As in, “My personal feelings on marriage? Samuel Johnson once said second marriages — although I could probably say this about any marriage — are about the triumph of hope over experience. I think that’s true. I don’t know that human beings were meant to mate for life or be monogamous.” HatterDepp16
Clearly Johnny Depp, JD to his friends, is in good hands. But those moments on the red carpet just stick in the memory, how the Black Mass star seemed reluctant to walk the press line, then makes direct eye contact and even collects a bouquet (huge security risk) from an elderly reporter across the velvet rope. This woman, in retrospect, may have reminded him of his ailing mother. For an A-Lister and franchise fronter, Jack Sparrow lost his persona for a moment and let you in, an unusual event for a movie star.

Right then it reminded of Josh Brolin, similar red carpet behavior before the story broke of his divorce from Diane Lane.  Son of well-liked actor James Brolin and step-son of Barbra Streisand, who adores Diane Lane, Brolin walked the red carpet for the 2009 WGA Awards for then-nominated movie Milk and exhibited the same Depp-like behavior, guarded and too available at the same time. BrolinLane16Diane Lane was noticeably absent from the red carpet. When asked about her, Josh Brolin evaded the issue deftly. Next time he is in the news, reports and photographs show that Brolin went off the rails briefly, in an eerie parallel to Johnny Depp’s current scenario, without the allegations of abuse, fortunately. In a relatively happy ending, Brolin is now engaged to his assistant, make that ex-assistant, Kathryn Boyd. And Diane Lane is the bigger star, so she wins.

All’s Fair in Love & Divorce

While the circumstances of Depp and Brolin’s relationships and marriage breakdown are very different, the red flags on the red carpet were the same. Oddly enough, when the news is good, as in the case of Jamie Kennedy, the red carpet behavior is the same. Kennedy was dating Jennifer Love Hewitt, but the news wasn’t broken yet. HewittKennedy16On the red carpet, Jennifer Love Hewitt was right behind him, as then co-star, but the proximity was too close. The next day Ryan Seacrest’s KISS-FM radio show broke the story about the dating, which ended within a year back in 2010.
But the big takeaway, besides the hiding in plain sight, was Jamie Kennedy’s admission in the aftermath about dating his more-famous ex: “People weren’t rooting for a good relationship,” he told Perez Hilton. “That was really hard to deal with. You see snarky headlines and eventually you just have to stop reading stuff.”

Looking Crass, Not Looking Glass?

Right now, and leading up to June 17, there is more bile than snark flying around in the Depp vs. Heard headlines. Disney is suffering bad box office for Depp-starrer Alice Through the Looking Glass; industry insiders, via The Hollywood Reporter for example, are doing a fair amount of hand-wringing, blaming Johnny Depp’s personal life (read: bad press) for the tanking BO. However, the real reflection staring back at Disney from the broken box office looking glass? The blank faces of movie-goers who are just done with recyquels (new word coined here!). Heard faces similar problems with the alleged ‘negative feedback’ coming back from her association and roles in Warner Bros’ DC Universe with an appearance in The Justice League and as a main player for the Aquaman franchise, in which she is inked to play Mera.

What Katie Did

KatieHolmes16Too bad Amber Heard didn’t read the fine print from the previous high-profile marriage meltdown, Tom Cruise vs. Katie Holmes. There should literally be a name for what happened to her, let’s call it The Katie Holmes Syndrome: meaning marrying a superstar will eclipse your career as the wife, and bury your career as the superstar’s ex. Both women gave up prime real estate in their 20’s for these mega-marriages. Holmes was already 28, but a repeat love-interest shoo-in for the Batman franchise. Which she skipped, then had to watch Maggie Gyllenhaal take over in what would become one of the biggest grossers of all time.

Consider also Michelle Williams’ career after Batman’s Heath Ledger faded. Williams was eclipsed by the bigger star and under a black cloud after The Joker‘s shock death, which literally sucked the life out of her career too. MichelleWilliams16 Heard was a huge sensation as evil-slaying hot mess Piper from sexy-psycho road movie Drive Angry with Nicolas Cage in 2011. She was 25 then, and already under Depp’s shadow. Instead of amping her career, the Johnny Depp association practically took her off the market in Hollywood. The moral of the story here is, to avoid Katie Holmes Syndrome, don’t marry the superstar if you want a career. Or simply hitch your wagon to a Star Waggon with your eyes wide open, shall we say.  Whatever the outcome, the first cracks, as mentioned, will happen on the carpet because Super Couples are literally attached at the hip for press junkets. You will be asked about your spouse, it’s a rule. Luckily, unlike TomKat and Brangelina, Depp and Heard never had a compound press moniker.

Always A Minor Hitch

Maybe it’s time for the studios to have a watcher on the red carpet to monitor tell-tale signs of personal upheavals. Or better yet, somewhere Depp’s Mortdecai co-star Gwyneth Paltrow is chuckling harder than Vanessa Paradis is said to be doing, because now the idea of “Conscious Uncoupling,” or a blood-less friendly divorce, seems like a welcome alternative. Ironically, Paltrow had to come forward to say that her marketing mind at goop, her online web lifestyle portal, had just used the term in a headline not even in the body copy of her divorce announcement. In fact, the real originator of the concept of Conscious Uncoupling, Pepper Potts had to admit, was psychologist Katherine Woodward Thomas. Woodward Thomas famously told The Telegraph, a UK newspaper, that “Gwyneth wasn’t aware I existed.” AmberHeard16The Conscious Uncoupling creator also said something at that time so telling that it applies to Depp vs. Heard, and likely to every celebrity divorce: “the grief of lost love is intensified by the sense of public shame and failure; of having your union judged and belittled.” It all starts to show when they’re called on the carpet, the dread carpet.

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Pixel-Perfect BILAL Screened at Cannes 69th & Took a Few Years, 22 Countries to Create

SCREENMANCER ANIMATION ALERT: Recently Dubai’s first-ever CGI animation, BILAL, screened at the 69th Cannes International Film Festival, which featured an Animation Night on May 18. But the story behind BILAL, a 1400-year-old animated saga, is even more notable. The cast includes excellent actors Adewale Akinnuoye-Agbaje (who played the yacht assassination target for Matt Damon in BOURNE IDENTITY), and Ian McShane from HBO’s “Game of Thrones” TV series, also PIRATES OF THE CARIBBEANBilalActor2BILAL had a sneak preview five months ago at the 3rd Ajyal Youth Festival, presented by the Doha Film Institute, in Doha, Qatar. This pixel-perfect, Disney-quality animation is said to have culled resources from 22 countries, tapping 327 creatives, in collaboration to complete on a budget of $30 M USD. Eponymous main character Bilal is actually based on a historic figure, a revered warrior, named Bilal bin Rabah. And who was he? “One of the most trusted companions of the Prophet Mohammed,” according to exhaustive research done by the film’s makers via Saudi-informed “forensic historians.”

What makes this film interesting is that you don’t necessarily have to know the backstory to appreciate the master-level craftsmanship on the CGI in BILAL. In fact, this project pays off the promise that ‘reality begins at 80 million polygons’ as coined by animation forefather Alvy Ray Smith, and really brings home the notion that this technology now has a life of its own as this fantastic tool available all over the world for people to tell make epic explorations.

When you watch this film, you see top drawer animation with a sincere message of “faith, hope and self-discovery inspired by the real life story,” as described by the filmmakers.

To quote them directly, “Director/producer Ayman Jamal said when casting the voice talent for the main characters they targeted the US because they wanted the actor playing Bilal ‘to be able to give an English and African accent and to convey the epic sense of the story inspired by real events that happened 1400 years ago.’” bilalarrow2American actor Jacob Latimore is teenage BILAL. According to Kidzworld, a portal for young actors, this Milwaukee native grew up with a love of Motown and singular gifts as a musician early on with a hit called “Superstar.” Which means he has the perfect voice control as a voice actor, not to mention his credits include roles in 2014’s RIDE ALONG (Kevin Hart, Ice Cube) and THE MAZE RUNNER, as well as a 2010 credit for VANISHING ON 7TH STREET. Over the course of this spirited and engaging film, Bilal’s character will age from 6 to 60 years old, and the intricate animation’s high-dollar production values make it a pleasure to sit through.

This is a multi-talent collaboration, as mentioned, with clever choices such as Atil Örvarsson, a composer from Iceland, to do the music. Örvarsson said he tried to “combine the archaelogical, historical nature of the story and make it accessible for an international audience. We used old instruments from the region and combined it with modern electronically synthesised music, we created themes for some of the characters and created a unique, other worldly sound for the witch doctor.”

Project point-person Jamal nailed the complexity of producing a movie of this scope in CGI, especially when the Dubai creative climate is more familiar with shorter projects. “The industry here is based on short movies and originally we wanted to work with an animation studio but we found there was no animation or CGI studio in the MENA region so we had to start the studio ourselves to make BILAL and that’s how we established Dubai-based Barajoun Studios.” BilalHugThe film itself was funded by individual investors from the Gulf Region, including Saudi Arabia with the Doha Film Institute. Expect BILAL to be on the radar this year, as Variety, Indiewire, Cartoon Brew, and Animation News have all tracked its progress thus far. Let’s hope this film has the harmonizing effect as intended, because the animation is truly pixel-perfect. Find out more about BILAL here, and watch for it to screen near you soon.

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A Tale of Two Maestros: John Williams & Spielberg at AFI, on TCM

SCREENMANCER GALA ALERT:

WilliamsSpielberg

STEVEN SPIELBERG TO PRESENT JOHN WILLIAMS
WITH AMERICAN FILM INSTITUTE’S LIFE ACHIEVEMENT AWARD

Williams to Be Honored at AFI Gala Tribute Event on Thursday, June 9, 2016

TNT to Premiere AFI LIFE ACHIEVEMENT AWARD: A TRIBUTE TO JOHN WILLIAMS
on June 15 at 10:00 p.m. ET/PT

Steven Spielberg will present John Williams with the American Film Institute’s 44th Life Achievement Award. This marks the first time in AFI history that America’s highest honor for a career in film will be bestowed upon a composer. Williams’ career will be celebrated at the private Gala Tribute on June 9, 2016, at the Dolby Theatre in Hollywood, CA. The televised special, AFI LIFE ACHIEVEMENT AWARD: A TRIBUTE TO JOHN WILLIAMS, will air on TNT on June 15 at 10:00 p.m. (ET/ PT), followed by an encore presentation on sister network Turner Classic Movies (TCM) on September 12 during a night of programming dedicated to John Williams. This marks the fourth year the Emmy®-winning AFI special has aired on Turner networks.

The September 12 TCM lineup, including presentations of AFI LIFE ACHIEVEMENT AWARD: A TRIBUTE TO JOHN WILLIAMS and the 2011 special AFI’S MASTER CLASS: THE ART OF COLLABORATION – STEVEN SPIELBERG AND JOHN WILLIAMS, will be as follows:

8:00 p.m. AFI LIFE ACHIEVEMENT AWARD: A TRIBUTE TO JOHN WILLIAMS (2016)
10:15 p.m. JAWS (1975)
12:30 a.m. AFI’S MASTER CLASS: THE ART OF COLLABORATION – STEVEN SPIELBERG AND JOHN WILLIAMS (2011)
1:30 a.m. AFI LIFE ACHIEVEMENT AWARD: A TRIBUTE TO JOHN WILLIAMS (2016)
2:45 a.m. THE COWBOYS (1972)
5:15 a.m. GOODBYE, MR. CHIPS (1969)

Spielberg received the 23rd AFI Life Achievement Award in 1995. Together, he and Williams have collaborated on over 25 projects including JAWS (1975), CLOSE ENCOUNTERS OF THE THIRD KIND (1977), RAIDERS OF THE LOST ARK (1981), E.T. THE EXTRA-TERRESTRIAL (1982), JURASSIC PARK (1993), SCHINDLER’S LIST (1993), SAVING PRIVATE RYAN (1998), CATCH ME IF YOU CAN (2002), LINCOLN (2012) and the upcoming THE BFG (2016).

John Williams’ storied career as the composer behind many of the greatest American films and television series of all time boasts more than 150 credits across seven decades. Whether epic in scale, jazz-infused, or intimate and personal, his music has helped define over half a century of the motion picture medium. Three of Williams’ scores landed on AFI’s 100 Years of Film Scores — a list of the 25 greatest American film scores of all time — including the unforgettable score for STAR WARS: EPISODE IV – A NEW HOPE (1977), which ranks at number one. With five Academy Award® wins and 50 nominations in total, Williams holds the record for the most Oscar® nominations of any living person.

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Why Sylvester Stallone Could Take Oscar, Thanks to Ryan Coogler’s CREED

by Quendrith Johnson, Awards Intelligencer (Feb.10, 2016) — awfj.org

Maybe it’s a little-known fact that a deep bond exists between Hollywood icon Sylvester Stallone and a newly minted phenom, Creed director Ryan Coogler. Coogler, who turns 30 in May, was also homeless once and had to fight his way to the big leagues in movies. Deadline’s reporter Pete Hammond, on hand to present Stallone with the Montecito Award in Santa Barbara, prods Stallone on this, skipping the connection with Coogler who lived in his car on-and-off while attending USC Film School. The “legend in the house,” as Hammond has introduced him, wags his head and looks toward the floor at this question. “I lived in my coat — you call it coat, I call it a house.” CreedJordanSly16In typical Rocky fashion, “Sly” Stallone, takes this loaded question and just detonates it to reveal something breathtakingly human. He recounts “living in the port authority bus station, outside a post office. My coat became my buddy, my house. But there’s something to be said about struggle.”

Later he will segue into one of the most beautiful and telling John Huston (Maltese Falcon, Key Largo, Asphalt Jungle) stories ever, from the 1981 film Victory with the unlikely cast of Stallone and a youngish Michael Caine in a politically charged soccer match against Nazi players, with Max von Sydow playing a heavy in jackboots. It even has a cameo by Pelé.

“He was a great storyteller,” Stallone exhales, before watching a clip of Victory. “So John Huston. You get two alpha dogs together. He’s like ‘hmm who’s this guy? We were in Hungary.” To make a long story short, Stallone quickly rattles off all the directions Huston gave him, hard ones, as in a whole list of physical demands: “go through the barbwire… down a hill… crawl through the grass… in one take. So ‘(Camera) Rolling.’”

Next thing, “I zip down, dip, zing… dogs are barking — I’m in grass crawling, crawling. I’ve gone 50 yards. No camera in the world can follow, unless it is connected to a lawn mower — the grass is five feet high. I stand up. No one around. They’re all leaving (up the hill).” A much younger Stallone is incensed, feels the humiliation. He goes to air his grievances with Huston. How does the wry John Huston react? SlyPeleCaineJH16

“He says, ‘If you have a problem with me, Mr. Stallone, put it in a letter. And I will read it in the morning.’ He had a sense of humor that was a little weirder than mine.” The “Italian Stallion” as he once was known in the 70’s from his blue film period, does a pitch perfect impersonation of Huston, complete with condescending pauses, as he recalls those words.

And while all the focus is on Creed right now, which is notable for being the first “Rocky Balboa” movie with Stallone in it, not penned by the actor, Sylvester Stallone’s history in show business can not be overlooked in thinking about Award Season. Another gem is when he tells of auditioning for Woody Allen for Bananas, where “Woody didn’t find us intimidating enough,” to be “muggers on a subway.” So he and a friend got Allen to “freak out,” when they came back “with Vaseline in our hair, soot, looking really ugly,” and scared Woody Allen into casting them. StalloneFB16

As for John Rambo franchise that began with First Blood, Stallone tosses off a shocking statistic. “We were losing 20,000 vets a month (men and women) by their own hand,” when they returned from Vietnam. His whole persona drops for a moment. That number rings in the air. Stallone invokes slogans of the period, saying he’d hate to come back from defending the country only to be “spit on,” and called a “Baby-killer.”

The most hair-raising story is from Rocky IV, where Swede Dolph Lundgren who plays the Russian villain who pulled no punches on set. “Next thing I know, I’m on a low attitude flight to St. Johns Hospital in Santa Monica. Seriously they had nun, actually nuns around the bed.” The doctors said “he hit you in the heart so hard, he made your pericardial sac swell. Its like you have been in a car accident. (Dolph) is like a Swedish truck.”

Carl Weathers,” who is here tonight to do the honors for the trophy presentation, “is by far the finest athlete I’ve ever worked with in the ring. He was so super. He is a world class athlete… It’s been a privilege to get punched out by these guys.” CarlWSlyStalloneSo the tribute clips, which Stallone claims “you’re killing me with this” each time he sees himself in early career, finally flicker to Creed starring Michael B. Jordan, directed and co-written by Ryan Coogler.

Coogler did the wildly acclaimed movie Fruitvale Station, “but he hadn’t even done that,” when he first approached a reluctant Stallone with an Apollo Creed-son storyline. In the old days, 2011, they used to list Coogler’s agent’s email as a contact, he was that unknown. Now that he has coached Rocky’s originator to raw heights as trainer to eponymous Creed’s son Adonis Johnson (Jordan), you won’t see his contact info anymore. But you will see woven into this tale, bits and pieces of fathers and sons on both sides. Which is why Sylvester Stallone — against all odds, meaning fellow noms Mark Ruffalo, Christian Bale, Mark Rylance, and Tom Hardy — could walk away with the gold this year.

Coogler has his own father-son story, but the fact that Stallone lost his son Sage Stallone, 35, under tragic circumstances in 2012. Michael B. Jordan, who also was in Coogler’s Fruitvale, becomes Stallone’s son here, and the tears aging Rocky holds back on screen just rip your heart out when you know the backstory on Sage. JennFlavinSo can Sylvester Stallone best heavily favored Ruffalo, perennial favorite Bale, a breakthrough by Rylance, and the mighty Tom Hardy? The answer might be “yes,” because the ‘heart wants what it wants,’ even among Academy members. This just might be seen as an Unforgiven, a movie that turns a genre on its head as Clint Eastwood did in that remarkable late-career defining Western.
As for tonight, accompanied by his very adoring wife Jennifer Flavin who laughingly admits “we’re praying” about the 88th Oscar presentation results, Sylvester Gardenzio Stallone who turns 70 in July, sums it all up with “I’m grateful,” and “life is pretty good.” On Sunday, Feb. 28, we’ll know just exactly how good.

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Spotlight

Why SPOTLIGHT Is Front Runner, #OscarsSoWhite, The Big Five & A Contentious Award Season

by Quendrith Johnson, Awards Intelligencer, 1/19/2016 (pick-up)

If Oscar-winner Sean Penn can go interview El Chapo, then the state of journalism really is in trouble — oh, never mind, this is just indicative of how movie people perceive and interpret the craft of journalistic writing and reporting. A cocky Penn goes on Charlie Rose to call out those who ‘don’t think I’m a real journalist,’ while having committed a de facto ethical violation of the profession by grandstanding for Rolling Stone with a fugitive, mass-murdering, drug Lord.
SpotlightBut, if turnabout is fair play, most journalists would happily take a shot at starring in his next straight-to-video motion picture. But what are we really discussing here, writing, reporting, The Death of The Media, The Rise of The Internet? Nope. This inelegant segue leads directly to our Oscar front runner for Best Picture, SPOTLIGHT. This movie is about a crack team of Boston Globe reporters who, in 2001, finally broke the priest sex-scandal story that dethroned Cardinal Law. And it will be winning a lot of awards this season. But, Dear Reader, please be advised it has very little to do with journalism. It has to do with Hollywood’s payback for all those religious types pointing a moralizing finger at the movie business for decades, when behind closed doors these same ultra-pious folks were involved in covering up a scandal of worldwide proportions that has damaged the lives of countless families and their small children via sex abuse by the clergy, resulting in about a billion dollars in payout settlements.

SPOTLIGHT LACKS RUFFALO’S “POLAR BEAR”

And, the movie is deserving, although Mark Ruffalo’s brooding thumbs-in-the-belt-loops portrayal of hunching amped journalist Michael Rezendes is not his finest work. (See: Infinitely Polar Bear for what should have been his nominated actor turn.) In SPOTLIGHT, Michael Keaton does a low-key (Oscar-spurned from last year) version of Michael Keaton as team editor Walter “Robby” Robinson of an investigative team that includes a fantastic Rachel McAdams’ performance as real-life reporter Sacha Pfeiffer. Liev Schreiber plays the incoming managing editor Marty Baron who kicks over this hornet’s nest. Baron assigns the story to Spotlight for investigation, and delivers one of the X-Men alum’s best career performances as an understated powerhouse. Schreiber and staff answer to another amped hyper-real impression of a journalist, that of Ben Bradlee Jr. (John Slattery). Wardrobe is a big winner here as the khaki’s and blue oxford shirts are true to the breed of these New England journalists, played spot on by Brian d’Arcy James as reporter Matty Carroll. And for full disclosure, having written for The Boston Globe in 2001 myself, let me state for the record this is a winning portrayal of their newsroom, accurate down to the cubicle configuration at the time.

AND NOW A MOMENT FOR SPIKE LEE & AMPAS

In the final analysis, perhaps the real winners for SPOTLIGHT this season will be the real-life survivors, who are vindicated as adults with regard to what happened to them as children. But this movie is headed into a very contentious award season.CherylSpikeOscarYesterday Spike Lee issued an Open Letter to AMPAS President Cheryl Boone Issacs, via the media, that pretty much said (in his initial caps here): “How Is It Possible For The 2nd Consecutive Year All 20 Contenders Under The Actor Categories Are White?” Spike Lee ranted after he thanked The Academy for his Honorary Oscar from May of 2015, of course. The email from his camp hit inboxes early in the morning, and when you saw the Subject Line, as a journalist, you instantly realized the biggest impact this would have would be in quite possibly forcing Chris Rock (who’d already called the Oscars “the white BET” awards) to quit his contract as Show Host for The Academy. (Imagine the hashtag BlackJobsMatter… sigh.)

For Chris Rock, a poignant stand-up comedian, there can be nothing worse than hosting hypocrisy on the scale of 1 Billion-plus viewers. Adding to his discomfort, Jada Pinkett Smith, also a seat filler no-show with Spike Lee, called for an Oscars Boycott. While David Oyelowo, and many others have cited the lack of diversity, next thing you know, AMPAS leader Cheryl Boone Isaacs was pressured into releasing a statement in response to Spike Lee’s letter. Isaacs basically puts a lot of rhetoric around the stark fact that most of the nominees are white males this year. The Best Director nominees are all white men, for example. There’s a very cringe-worthy aspect to AMPAS jumping into the fray in a tit-for-tat Open Letter war, when the facts speak for themselves in terms of the demographics of nominees — and you don’t have to be a journalist to do the math on the multi-cultural or gender percentages. Here’s just a cringe-inducing excerpt: “I am both heartbroken and frustrated about the lack of inclusion. This is a difficult but important conversation, and it’s tie for big changes.” Which haven’t happened yet, apparently, but “The Academy is taking dramatic steps…” (read: “fart in a stiff wind” as the Coen Bros would say.) to add insult to injury, The Academy posted this to Twitter, which just looks bad, because Spike Lee is right, 20 categories, all white (mostly male).

Speaking of women, minorities and diversity, Suffragette (women’s rights), Grandma (about abortion), Chi-raq (anti-gun violence), Straight Outta Compton (anti-thug life), and other important “message” pictures besides SPOTLIGHT got side-lined this year. Lily Tomlin starring in Grandma and Jane Fonda starring in Youth were two American grand dames with pictures for consideration, but mighty Charlotte Rampling with her quiet and elegant performance in 45 Years trampled both of them for an elder-nod nomination. In case you’ve forgotten what a very fine actress Rampling is, her filmography beckons. Meanwhile, another quiet performance in this contentious year made it forward: Saoirse Ronan in Brooklyn is a remarkable coming of age portrait that (don’t place any bets, please) will likely win Best Actress over Brie Larson in Room and the Great Cate Blanchett in Carol. Brooklyn is one of those solidly made features that The Academy loves because it portrays a real role model of emotional maturity in its subject (read; in contrast to our grasping consumerist American vanity-chasing youth culture).

LEO, YOUR OSCAR MIGHT GO TO FASSBENDER? NEVERMIND!

And what about Leonardo Di Caprio in his 12-times nominated The Revenant, the alleged front-runner? In keeping with our journalist theme, Dear Reader, the front-loading of nominations is one of the oldest Award Show tricks in the book. In most cases, the ruse works because it is an implied winner — yet the most nominated is very rarely (check the stats) the most winning, unless it is a sweep like Silence of the Lambs (1991). LeoAcademyMemeThe insider term is The Big Five. In a sweep, the awards are 1) Best Picture; 2); Best Director; 3) Best Actor; 4) Best Actress; 5) Best Screenplay. Only two other films besides Silence of the Lambs have made it, 1934’s It Happened One Night, and 1975’s One Flew Over the Cuckoo’s Nest. So, while everyone is buzzing about The Revenant and Will Leo Finally Get an Oscar, the diversion works to have SPOTLIGHT comes from shadows as Best Picture. (Don’t place any bets, just keep it in mind.) Note that The Revenant can’t sweep because it has so few women in it, that Best Actress is off the table from the get-go. That’s all for now on Oscars 2016, but stay tuned for more coverage here at Awards Intelligencer (www.awfj.org) as this controversial year continues…

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