Barbieheimer, the crafty, endearing portmanteau of Barbie and Oppenheimer, the two biggest blockbusters of the summer, became mainstream weeks and months before the dual-day release of each movie. Moviegoers flocked to the theaters in greater fashion than even 2022’s Top Gun: Maverick. This ultra-successful, undeniably popular film has become universally accepted as helping bring people back to theaters following the COVID-19 pandemic. Some would say that it saved movie theaters entirely. As someone who sees two, three, or sometimes even more movies in the theater each month, often being one of a small handful of patrons, I am in that camp.
Category Archives: Academy Award Nominees
Requiem for a Dream (2000)
One of the most recognizable and influential films about substance abuse in cinema history is Darren Aronofsky’s (Black Swan, The Wrestler) revolutionary cult classic Requiem for a Dream. While this movie certainly is not for everyone, it ages very well. Much like films such as Eternal Sunshine of the Spotless Mind or Fight Club, this one deserves a second chance for those who might have dismissed it after a first watch. This is especially true in today’s times, when drug abuse is as rampant as it is, with too many people dying because what they are purchasing and inserting into their bodies is often laced with substances unbeknownst to them.
The Social Network (2010)
2010 could live forever as the best year for movie releases in my lifetime. As I write this today (April 22, 2023), I, sadly but more confidently, feel like the years when we have two to three dozen quality movies are forever gone. With the advent of streaming television shows and series and the vast array of cable programming, the cinematic single-viewing experience may be left to blockbuster movies. There have been no better examples than 2020, which I discussed in previous reviews: it was the worst year of film in my lifetime, only for that argument to be surpassed by the 2021 cumulative list of below-average movies. 2021 is the first year when none of the Best Picture nominees will be in my end-of-year top ten list. Rewatching a film like The Social Network, despite its 100% rating, was just my fourth-favorite movie of 2010. This would have been my favorite movie in many other years. Still, with The Town (my second favorite movie of all time) and the incredible Blue Valentine and Shutter Island, even a perfect film finished outside my top three.
Eternal Sunshine of the Spotless Mind (2004)
Sad memories are the worst kind. Of all the memories, these are the ones that can flip the switch of a day at a moment’s notice. It could be the waft of a familiar fragrance once worn by a significant other who has since left your life. Or it might be a forgotten song that pops up on a playlist, instantly transporting you to the time and place you first heard it. Or perhaps it’s a photo, once a bookmark now wedged between a pair of books, that falls to the floor when reorganizing a room and evokes a memory you weren’t prepared to face on a particular day. If we could rid ourselves of our sad memories so that we no longer need to experience the pain associated with them, would we? Some of us would do this in a heartbeat, while others would never consider something so drastic. Most of us lie somewhere in between, and our resilience to these emotional triggers places us along that spectrum. Michel Gondry’s (The Green Hornet, Be Kind Rewind) universally revered cult classic, Eternal Sunshine of the Spotless Mind.
Continue reading Eternal Sunshine of the Spotless Mind (2004)
Living (2022)
While I wouldn’t go so far as to say that The Academy of Motion Picture Arts and Sciences did him a solid by selecting him as a Best Actor nominee, it does feel, in a way, that Bill Nighy (Love Actually, Notes on a Scandal) was chosen for a remarkable lengthy career rather than his performance in Oliver Hermanus (Moffie, The Endless River) underwhelming Living. While it scores high on Rotten Tomatoes (critics: 96%, audiences: 86%), the film has a more realistic 7.5/10 on IMDb and an 81 Metascore. Even those marks seem high for a mostly unremarkable movie. It earned just $2,000,000 domestically, which isn’t necessarily bad for an independent film but is relatively low for a movie with multiple Oscar nominations (Best Adapted Screenplay was the film’s second nomination category).