The Oscars Do-Over 98 and 99: Close out the 90s with Neo, The Dude and more (1 Viewer)

[KarmaPolice]

Voted SPR and American Beauty.

Lebowski is more rewatchable, but SPR gets the vote based solely on the technical achievements. Yeah, some of the acting was stilted, and yeah, some of the plot points were stereotypical "war movie by the numbers" fare. But so what? The plot and the acting were secondary to the directing. And Spielberg nailed it.

I could do without the heartstring-tugging scene at the end (in the cemetery), however. That moment seemed like cheesy filler that was added by executives in a boardroom after seeing negative feedback cards from an ignorant test audience.

As for the other movies of '98:

The Truman Show: great movie, but a little too "popcorn" to be an Oscar contender. Plus, I don't think that the Academy understood that it wasn't really a comedy.
American History X: too violent. No way the Academy would ever celebrate a movie like this.
Rushmore: I think it's too much of a comedy to be Oscar-worthy. And it's a little too quirky. Also, a lot of it just seems like an excuse to let Murray improvise.
The Thin Red Line: war-movie-by-the-numbers.
Shakespeare In Love: great acting and a fun, breezy plot. But ultimately forgettable. One of the least-deserved Best Picture winners in the history of the Oscars.

For '99, I think it's pretty clear that The Matrix and Fight Club split votes among the "pro action" members of the Academy, which resulted in a win by American Beauty. And I don't mind that at all. I think AB is a classic "adult drama" with superb acting by everyone involved.

The Matrix has certainly been a bigger influence on moviemaking over the past 20 years. But movies with lots of action and a confusing plot just aren't going to win the Best Picture Oscar.

As for the other movies of '99:

Magnolia & Being John Malkovich: too weird.
Sixth Sense: the twist ending makes you want to watch it a 2nd time, after which you realize that it's actually not that great of a movie.
The Insider: it's the kind of story that plays better as a documentary. All of the drama and the tension and the climax felt fake and manufactured.

Odd that Private Ryan got your vote, but your comment about Thin Red Line is that it's a war movie by the numbers. 

 

[Man of Constant Sorrow]

For The Big Lebowski fans out here, I was doin' a little research and found this:

Reel face & Real face

It is an interesting breakdown of the Trude, Jeff Dowd (Dowd = Dude from early age) & The Big Lebowski

I learned some cool new things. 

 

[wikkidpissah]

Yep, NY in the 70s seemed like a real dump but it made for a fascinating setting for so many movies. I find it interesting how the message and perception of a piece of art can bend as the world is reshaped over time. When released (and when I first watched it), TD felt a bit like the Michael Douglas movie Falling Down. We have an angry anti-hero acting very badly but a small part of us gets satisfaction from it because we too are sick of crime, corruption or the constraints of modern life. Looking back now from a perspective where we have seen so many real life Travis Bickle's, I hope a lot more people feel totally repulsed by it than any sense of vindication. 

The most fascinating part of Taxi Driver for me was something i heard about DeNiro prep for making Bickle as malevolent as possible. I was told that, just before filming, Deniro would blindly whip a sodapop cap with gum on it at his apartment wall and "play" the rest of the day as though a camera lens was shooting him from wherever it stuck.

 

[[scooter]]

Odd that Private Ryan got your vote, but your comment about Thin Red Line is that it's a war movie by the numbers. 

SPR has some "war movie by numbers" elements, but Spielberg's direction elevates it from being just "a war movie".

I just can't say the same for TRL. It's a "great war movie", but not a "great movie", IMO.

 

[krista4]

Also I must be the only on here who thinks Saving Private Ryan is a bit overrated.

+1

 

[Man of Constant Sorrow]

The most fascinating part of Taxi Driver for me was something i heard about DeNiro prep for making Bickle as malevolent as possible. I was told that, just before filming, Deniro would blindly whip a sodapop cap with gum on it at his apartment wall and "play" the rest of the day as though a camera lens was shooting him from wherever it stuck.

That be would be a good example of Method, in my opinion.

We were commenting much on Brando in various threads, and the thing that always appealed to me most about him, was the Method.

However, it can be a dangerous technique, for some, imo.  Getting lost in a character is not unheard of.

Cool stories.

 

[Ilov80s]

That be would be a good example of Method, in my opinion.

We were commenting much on Brando in various threads, and the thing that always appealed to me most about him, was the Method.

However, it can be a dangerous technique, for some, imo.  Getting lost in a character is not unheard of.

Cool stories.

Deniro is legendary for his prep. He worked a month as a real NY cab driver to get ready for the part. 

 

[Ilov80s]

+1

I also noticed when putting these together that they are almost all very male-centric. I am sure some of that is a reflection of Hollywood and the Academy but also myself. I know it has been the case every poll but this one seemed especially male focused. 

 

[joffer]

SPR and AB

 

[Man of Constant Sorrow]

Deniro is legendary for his prep. He worked a month as a real NY cab driver to get ready for the part. 

I did not know - cool - and the weight thingy in Raging Bull was pretty dedicated as well.

In the younger years, I had the actin' bug, and these were the kinda things I tried in small doses, as a grade-high school-er just can't go drive a cab for a month.

But, we were taught easy method techniques that tried to imitate the true Method. I was never good enough to continue my education on this, but I really love what little I experienced of it.

Soory for the hi-jack, but this is stuff I really enjoy. 

 

[Major]

Went Rushmore and American Beauty.  

Rushmore is a personal favorite and extremely rewatchable.  Bill Murray's best role and what really propelled his comeback.  I also grew up in the area and went to school where it took place so that may hinder my judgement.  Love Wes Anderson and his use of color/set design.  Great script and did a lot with a small budget.  American History X, Big Lebowski and SPR were also considered (in that order).  

American Beauty is just a brilliant film.  Loved Fight Club but I think reading the book before and being a Palahniuk fan probably hurt its chances fo rme.  

Other films I would have nominated:   1998: Lock Stock Two Smoking Barrels, Pleasantville, Pi 1999: Eyes Wide Shut, Office Space, Election

 

[Insein]

eXistenZ is a severely underrated movie.

As for SPR - I actually love the middle of it more than the battle scenes.  The battle scenes were going to be huge and epic and they were great and worth every minute spent watching them.  But the middle was, to me, very entertaining in its realness. These were regular men asked to do something dangerously irregular.  The death of the medic was one of the more powerful deaths of that type in movies for me.  It was extremely honest.  

Maybe a little more morphine...

 

[Ilov80s]

By far the lowest number of voters for this poll...by about 40. Hopefully we get another wave as 99 is so close. 

 

[Trey]

Feel like SPR lives on the opening beach scene alone. Admittedly a very well done scene, but the rest feels like a drag. 

Give me American History X as the best of 98. Though I do enjoy Shakespeare in Love and feel like it gets unnecessary hatred. Except Judi Dench getting a trophy . That deserves all the hate and more. 

 

[rockaction]

Last Days of Disco deserves consideration for 98. Just a wonderful movie.  

 

[The Dreaded Marco]

Last Days of Disco deserves consideration for 98. Just a wonderful movie.  

I’m a big fan of all 3 of Whit Stillman’s movies from the 90’s.

Not really Oscar fodder but Last Days of Disco is definitely in my personal top 5 for that year. 

 

[rockaction]

I’m a big fan of all 3 of Whit Stillman’s movies from the 90’s.

Not really Oscar fodder but Last Days of Disco is definitely in my personal top 5 for that year. 

Yeah, I was a big fan of Barcelona, too, and the bolded is, in my opinion, true on both fronts.  

 

[krista4]

By far the lowest number of voters for this poll...by about 40. Hopefully we get another wave as 99 is so close. 

I haven't voted yet and will.  I'm between American History X and Rushmore for '98 but don't feel either is completely worthy of Best Picture.  '99 is a lot tougher; all of American Beauty, Magnolia, and Being John Malkovich are favorites of mine.  Outstanding year.

 

[The Dreaded Marco]

Yeah, I was a big fan of Barcelona, too

Same.  As well as Metropolitan.  

I was very disappointed with his comeback film, Damsels in Distress, in 2012.  Love & Friendship was a return to, and a very different, form.

 

[rockaction]

Same.  As well as Metropolitan.  

I was very disappointed with his comeback film, Damsels in Distress, in 2012.  Love & Friendship was a return to, and a very different, form.

I didn't dig Metropolitan as much, hence the omission. I could have just been ornery that day and not wanted to watch the problems of the uber-privileged in NYC. 

Did not like Damsels in Distress, either, but it may be that it seemed too much like a Gilmore Girls episode. It was too rapid-paced in its dialogue and too cynical and quirky. For me. The international dance craze of the lame-assed Sambala or something like that, especially juxtaposed against, what, in a few years would show what a real international dance craze would look like with the Harlem Shake.  The movie felt stilted and a bit dated.  

I couldn't watch fifteen minutes of Love & Friendship.  

 

[The Dreaded Marco]

I didn't dig Metropolitan as much, hence the omission. I could have just been ornery that day and not wanted to watch the problems of the uber-privileged in NYC. 

Did not like Damsels in Distress, either, but it may be that it seemed too much like a Gilmore Girls episode. It was too rapid-paced in its dialogue and too cynical and quirky. For me. The international dance crazy of the lame-assed Sambala or something like that, especially juxtaposed against, what, in a few years would show what a real international dance craze would look like with the Harlem Shake.  The movie felt stilted and a bit dated.  

I couldn't watch fifteen minutes of Love & Friendship.  

Yeah, I see your point about Metropolitan, but the writing is still clever.  His dialogue is where he excels. 

L&F is far different than his previous work, and not as good as his 90's films, but I think it's far superior to Damsels in Distress.  I actively disliked that movie. As you obviously actively disliked L&F.    

 

[rockaction]

Yeah, I see your point about Metropolitan, but the writing is still clever.  His dialogue is where he excels. 

That's another reason to give it a re-watch, I guess. I have to be in the mood for rapid-fire dialogue, which I think feels forced and not how people talk. Barcelona and Last Days of Disco had a pacing that Metropolitan didn't. They didn't have to try because it feels like he knew the material like Tom Wolfe would know his material. He could let the characters breathe. Metropolitan was different to me at the time I saw it. It felt like every sentence tried to be a soliloquy that addressed the audience instead of each character addressing the other.  

 

[Ilov80s]

1998

Best Actor: Edward Norton for American History X

Best Actress: Gwyneth Paltrow for Shakespeare in Love

Best Supporting Actor: Bill Murray for Rushmore

Best Supporting Actress: Judy Dench, Shakespeare in Love

Best Screenplay: Andrew Niccol for The Truman Show

Best Director: Steven Spielberg for Saving Private Ryan

1998

Best Actor: Russell Crowe for The Insider 

Best Actress: Reese Witherspoon for Election 

Best Supporting Actor: Jude Law for The Talented Mr. Ripley

Best Supporting Actress: Catherine Keener for Being John Malkovich

Best Screenplay: Charlie Kaufman for Being John Malkovich

Best Director: Spike Jonze for Being John Malkovich

Will try to post write-ups soon, this will be a case where my choices are way out of line the Academy and Football Guys. Then on to the 80s.

 

[Man of Constant Sorrow]

Nice. Not totally in line with my choices, but nothing I would argue against.

I think the only thing worth mentioning is - I would have liked to have gotten some kind of award for The Big Lewbowski.

Thus - Ima gonna create some:

Best Ima' Human Bowlin' Ball scene

Best Jesus Polishn' His Balls scene

Best Jesus Lickin' His Balls scene (NSFW - language)

Best Barrin' the Door scene (NSFW - language)

Best OVER THE LINE! scene (NSFW - language)

Best YA SEE WHAT HAPPENS - LARRY? scene (NSFW - language)

There - that should do it... 

 

[Ilov80s]

For the first time I am going to disagree with FBG and the Academy. The Oscars went to Shakespeare in Love and American Beauty, the FBGs went to Saving Private Ryan and  Fight Club. However, the awards should have gone to..

1998 Best Picture: The Truman Show 

Good morning, and in case I don't see ya, good afternoon, good evening, and good night!

Cue the sun

Brilliant!

"The Truman Show," an ingenious and audacious satire of media manipulation from director Peter Weir, ingratiates itself so slyly-thanks to a performance by a genial and, yes, subtle Jim Carrey-that it is only in retrospect that one fully realizes just how deeply its corrosive wit has bitten into the flesh of our modern, TV-obsessed society. To be sure, the movie has plenty of laughs, but like sunlight on the deceptively calm surface of the sea, its light humor dances fitfully over dark and dangerous undercurrents

.http://www.washingtonpost.com/wp-srv/style/longterm/movies/videos/trumanshowosullivan.htm?noredirect=on

1999: Best Picture: Being John Malkovich

The 7 1/2 floor 

Let's have sex on his table and then make him eat an omelette off of it.

A puppeteer in today's wintery job climate 

Rare is the movie where the last half hour surprises you just as much as the first, and in ways you're not expecting. The movie has ideas enough for half a dozen films, but Jonze and his cast handle them so surely that we never feel hard-pressed; we're enchanted by one development after the next.

https://www.rogerebert.com/reviews/being-john-malkovich-1999

Two movies that are both funny but yet quite dark. Both call into question reality and the self. In one we see a man who has had the eyes of the world fixated oh him through careful outside manipulation. The other literally places the audience inside the man and manipulates him from within. In both we see people trying to find satisfaction through someone else: The TV audience getting catharsis through the perfectly staged life of Truman or the puppeteer who tries to find success by being someone he is not. As media, social media and video games have expanded since the late 90s, the more I believe themes of authenticity, reality vs a simulated reality and the way we live our lives and follow the lives of others through screens only makes these films seem all the more important. One can't help but think of Instagram influencers staging their fictional dream lives for their million followers or the people who use multi-player online video game universes to create a new life for themselves. Much like Network did in the 70s, these movies have only improved with time as they border now on prophetic. 

 

[Man of Constant Sorrow]

Both call into question reality and the self... 

I like this as well. 

... As media, social media and video games have expanded since the late 90s, the more I believe themes of authenticity, reality vs a simulated reality and the way we live our lives and follow the lives of others through screens only makes these films seem all the more important... 

Excellent.