The Oscar nominations came out on Thursday morning, and as of now, it's anybody's race. Some say 12 Years a Slave has it in the bag, while others think American Hustle will snatch the Best Picture trophy. There's no one way to know for sure — does the Academy weigh emotional impact? Flashy performances? The film's lasting message?
How about titles? Yes, you can tell a lot about a film by its title, and about its Oscar chances, too. We've compiled some handy data about each Best Picture nominee's title and what it says about the film's chances come time to hand out the awards. (You can also head over to BBC America to check out this fantastic infographic that predicts the Best Picture winner!)
Movies with the word "America" in their titles......to win a Best Picture Oscar: 2 (An American in Paris; American Beauty) ...to get nominated for BP, but not win: 2 (America, America; American Graffiti)
Movies whose titles refers to a crime or act of duplicity......to win a Best Picture Oscar: 2 (Mutiny on the Bounty; The Sting)...to get nominated for BP, but not win: 11 (The Racket; She Done Him Wrong; Imitation of Life; Libeled Lady; Grand Illusion; The Caine Mutiny; The Hustler; Mutiny on the Bounty; The Killing Fields; The Fugitive; Traffic)
Columbia Pictures via Everett Collection
Movies with a main character's surname in their titles......to win a Best Picture Oscar: 10 (The Great Ziegfeld; Ben-Hur; Tom Jones; Patton; Annie Hall; Kramer vs. Kramer; Gandhi; Schindler’s List; Forrest Gump; Shakespeare in Love)...to get nominated for BP, but not win: 45 (Disraeli; Trader Horn; Arrowsmith; The House of Rothschild; Alice Adams; Captain Blood; David Copperfield; Ruggles of Red Gap; Anthony Adverse; Dodsworth; Mr. Deeds Goes to Town; The Story of Louis Pasteur; The Life of Emile Zola; The Adventures of Robin Hood; Goodbye, Mr. Chips; Mr. Smith Goes to Washington; Kitty Foyle; Citizen Kane; Here Comes Mr. Jordan; Sergeant York; Mrs. Miniver; The Magnificent Ambersons; Madame Curie; Wilson; Mildred Pierce; Johnny Belinda; Julius Caesar; Mister Roberts; The Diary of Anne Frank; Elmer Gantry; Dr. Strangelove or How I Learned to Stop Worrying and Love the Bomb; Mary Poppins; Doctor Zhivago; Who’s Afraid of Virginia Woolf?; Doctor Dolittle; Butch Cassidy and the Sundance Kid; Barry Lyndon; Prizzi’s Honor; Jerry Maguire; Good Will Hunting; Saving Private Ryan; Erin Brokovich; Capote; Michael Clayton; Lincoln)
Movies whose titles include a military rank......to win a Best Picture Oscar: o...to get nominated for BP, but not win: 6 (The Smiling Lieutenant; Captain Blood; Captains Courageous; Sergeant York; Saving Private Ryan; Master and Commander: The Far Side of the World)
DALLAS BUYERS CLUB
Focus Features via Everett Collection
Movies with a city name in their titles......to win a Best Picture Oscar: 4 (Cimarron; Casablanca; An American in Paris; Chicago)...to get nominated for BP, but not win: 18 (Hollywood Revue; Shanghai Express; San Francisco; In Old Chicago; The Philadelphia Story; Mr. Smith Goes to Washington; Casablanca; Roman Holiday; Peyton Place; Judgment and Nuremberg; Chinatown; Nashville; Fargo; L.A. Confidential; Gangs of New York; Munich; Letters from Iwo Jima; Midnight in Paris)
Movies whose titles seem like they should probably have a possessive apostrophe, but don't......to win a Best Picture Oscar: 0...to get nominated for BP, but not win: 4 (Boys Town; Kings Row; Dead Poets Society; Howards End)
Warner Bros via Everett Collection
Movies whose titles are a single intangible noun......to win a Best Picture Oscar: 1 (Crash)...to get nominated for BP, but not win: 8 (Alibi; Suspicion; Crossfire; Deliverance; Traffic; Atonement; Inception; Moneyball)
Movies whose titles end in "ity"......to win a Best Picture Oscar: 1 (From Here to Eternity)...to get nominated for BP, but not win: 3 (Double Indemnity; Atlantic City; Sense and Sensibility)
Warner Bros via Everett Collection
Movies whose titles are made up three letters or fewer......to win a Best Picture Oscar: 0...to get nominated for BP, but not win: 4 (Z; JFK; Ray; Up)
Movies that have the word "her" in their titles......to win a Best Picture Oscar: 1 (Ben-Hur)...to get nominated for BP, but not win: 1 (Hannah and Her Sisters)
Paramount via Everett Collection
Movies with U.S. state names in their titles......to win a Best Picture Oscar: 0...to get nominated for BP, but not win: 2 (In Old Arizona; Mississippi Burning) *Note: Mr. Smith Goes to Washington and Gangs of New York both refer to cities, not states, and the "Virginia" in Who's Afraid of Virginia Woolf is a human woman.
We loved Nebraska, but this is really the only one we could think of for it. Sorry, Alexander Payne. Sorry, everybody.
Weinstein Company via Everett Collection
Movies whose titles are just a main character's first name......to win a Best Picture Oscar: 5 (Rebecca; Hamlet; Marty; Gigi; Oliver!)...to get nominated for BP, but not win: 20 (Skippy; Cleopatra; Ivanhoe; Shane; Fanny; Cleopatra; Alfie; Lenny; Rocky; Julia; Norma Rae; Tess; Bugsy; Babe; Elizabeth; Seabiscuit; Ray; Juno; Precious; Hugo)
Movies whose titles were mispronounced by Leonardo DiCaprio on live television......to win a Best Picture Oscar: 0...to get nominated for BP, but not win: 0 (There can be only one Philomania.)
12 YEARS A SLAVE
Movies with numbers in their titles......to win a Best Picture Oscar: 6 (It Happened One Night; Around the World in 80 Days; The Godfather Part II; One Flew Over the Cuckoo’s Nest; Million Dollar Baby; Slumdog Millionaire)...to get nominated for BP, but not win: 36 (Seventh Heaven; Five Star Final; One Hour with You; 42nd Street; The Private Life of Henry VIII; One Night of Love; Broadway Melody of 1936; A Tale of Two Cities; Three Smart Girls; One Hundred Men and a Girl; Four Daughters; One Foot in Heaven; 49th Parallel; Henry V; Miracle on 34th Street; A Letter to Three Wives; Twelve O’Clock High; Seven Brides for Seven Brothers; Three Coins in the Fountain; The Ten Commandments; 12 Angry Men; The Defiant Ones; A Thousand Clowns; Anne of the Thousand Days; Five Easy Pieces; Born on the Fourth of July; The Godfather Part III; Four Weddings and a Funeral; Apollo 13; The Sixth Sense; The Lord of the Rings: The Two Towers; District 9; 127 Hours; Toy Story 3; Zero Dark Thirty)
Movies that refer to a unit of time in their titles......to win a Best Picture Oscar: 2 (The Best Years of Our Lives; Around the World in 80 Days) ...to get nominated for BP, but not win: 9 (One Hour with You; Lady for a Day; The Yearling; The Longest Day; Anne of the Thousand Days; Dog Day Afternoon; Remains of the Day; The Hours; 127 Hours)
THE WOLF OF WALL STREET
Paramount via Everett Collection
Movies whose titles include mention of an animal......to win a Best Picture Oscar: 3 (The Deer Hunter; Dances with Wolves; The Silence of the Lambs)...to get nominated for BP, but not win: 17 (Of Mice and Men; The Little Foxes; The Maltese Falcon; The Ox-Bow Incident; The Snake Pit; Cat on a Hot Tin Roof; To Kill a Mockingbird; The Lion in Winter; One Flew Over the Cuckoo’s Nest; Dog Day Afternoon; The Elephant Man; Raging Bull; Kiss of the Spider Woman; Crouching Tiger, Hidden Dragon; Black Swan; War Horse)
Movies whose titles include the name of a street......to win a Best Picture Oscar: 1 (The Broadway Melody) ...to get nominated for BP, but not win: 5 (42nd Street; The Barretts of Wimpole Street; Broadway Melody of 1936; Miracle on 34th Street; Sunset Boulevard)
Cast your bets, folks. Captain Phillips looks like it has this one locked down.
*Special thanks to Hollywood.com writers Julia Emmanuele and Jordan Smith for helping to compile data and entertaining the madness of this post, and to our CTO Greg Zimerman for recovering hours of work after my Word Doc crashed. You're a hero, Greg.
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The first thing you notice about Jonah Hex is the fact that you can make a drinking game out of people saying the words "Jonah Hex." It happens so often I began to believe that this was simply how people used to greet one another in the Old West. You walk into a room: “Jonah Hex!” “Well Jonah Hex to you too buddy!” Take a bottle of whiskey with you into the movie* and take a shot every time someone says his name and you will have an incredible 74 minutes. You might also be dead at the end.
Why does it feel like I’m dedicating half the review to the use of the words "Jonah Hex?" Because half the movie is dedicated to uttering the words "Jonah Hex." Learn to love the sound of it. Josh Brolin sure did.
When our ‘hero’ (and I use that word in the loosest of possible terms) isn’t busy having people remind him of his name he is riding around killing people or being made fun of for his horribly scarred face. But when a villain from his past – and when I say "past " I mean from 10 minutes earlier in the film – turns out not to be as dead as we were led to believe in the opening monologue Hex sets out to get the revenge he really wish he could have gotten 15 minutes earlier. And that’s when the movie beings its plunge into logical implausibility. If you can find a single reason to give a rat's *** about anyone in this movie grip onto it with both hands brother and hold on tight – it’s the only way you’re going to care at all about this film.
It’s not the horse with side-mounted Gatling guns that got me or the silliness of dynamite crossbows; it was just how unlikable everyone was and how it leaned heavily upon cliché to tell a story without understanding how a story like this is supposed to be told. Revenge films are like romantic comedies: They rely entirely on a weak coincidence and delivering a series of emotional money shots that pay off for the audience in a big way. More importantly these money shots must be delivered in a very specific structure that allows people to forgive any thin or contrived story elements. Where a romantic comedy is "Boy Meets Girl Boy Loses Girl Boy gets Girl Back " revenge films are mostly comprised of "Guy Finds Simple Bliss Bad Guy Ruins Simple Bliss in a Cruel Manner Guy Left for Dead Guy Gets Revenge for All He’s Lost." Very simple stuff. Whether it’s Maximus in Gladitor or Eric Draven in The Crow or Charles Rane in Rolling Thunder the structure is the same. The key to a good revenge movie is a likable good guy a reason to care about his life truly despicable bad guys and a perfectly crafted ending for our hero in particular – often involving his death.
Right from the start Jonah Hex drops the ball. We open with him tied up and getting wailed on watching his family get murdered just out of frame and then get left for dead. But we haven’t found anything to care for yet and more importantly he immediately admits to having done everything he’s been accused of. This is revenge to begin with. Sure the movie eventually gets around to trying to explain why he didn’t really deserve it but only after 45 minutes of us pretty much disliking the guy. He’s mean unlikable murderous and his only friend in the world is a prostitute who tells us that she “Don’t play house ” just before begging Jonah to settle down with her. He’s got a great horse and a dog but doesn’t like them enough to have ever given them a name and every time someone finally gets around to killing him magical Native Americans show up to save his bacon AGAIN for no apparent reason other than his wife was Native American.
The only reason to root for Jonah at all is because he’s the protagonist and his antagonist (played comically by John Malkovich) is on a mission to I kid you not destroy America with a semi-magical nation-destroying weapon. Oh yes and we’re told the Mexicans call him “Terrorista.” A Terrorist hellbent on destroying America? In the Old West? You’d be hard pressed to find anyone you wouldn’t root for fighting that guy. This had all the hallmarks of being a WWE movie without the cool logo. If you’re 13 years old and you still believe wrestling is real this might be the movie for you. Otherwise it is an exercise in silliness designed to rob you of $10.
*Hollywood.com accepts no responsibility to cirrhosis of the liver or any sudden death caused by ingestion of alcohol occurring during the course of this game.
Randolph Smiley (Robin Williams) is on top of his game--he's the eponymous star of the highest rated kid's TV show Rainbow Randolph has his own Times Square billboard and makes lots of money. Until that is he gets caught taking bribes from stage parents. Suddenly he becomes the social pariah of the millennium and of course gets canned. Losing Rainbow Randolph however leaves the network in a bind. Now they have to find a squeaky-clean replacement pronto. Enter Sheldon Mopes (Edward Norton) and his alter-ego Smoochy an abnormally large fuschia rhino who sings children's songs about kicking drug habits and stepdads who aren't mean but simply adjusting. With his naivete unwavering ethics and unflagging ambition to make the world a better place he becomes the new number one show. Sheldon soon learns however how cutthroat children's entertainment can be as the powers that be try to corrupt his ideals. Meanwhile a homeless Randolph makes it his number-one priority to destroy the bastard who stole his life. Who's going to get Smoochy first the corrupt businessmen or crazy Rainbow Randy? Stay tuned...
When you hear the Smoochy cast list--Williams Danny DeVito Jon Stewart Catherine Keener--you automatically think mondo laughs. Added to the list is Norton who may not be known for his comedic talents but certainly adds credibility to the movie especially given that he rarely picks bad scripts. Luckily no one disappoints. Norton plays the straight guy with aplomb and shines brilliantly when singing his sappy yet lesson-filled songs. Keener whom we haven't seen since her Oscar-nominated turn in Being John Malkovich is also a standout as the jaded development VP who falls for Sheldon's sweet manner. She has an uncanny way of delivering lines that bite to the bone. And then there's Williams--as always he has extraordinary moments of sheer hilarity in the film. This isn't one of those films where the comedian has to attempt to act or simply be reined in by the director (as some have done) to give a good performance. Director DeVito (who also plays the greedy agent) is wise enough to simply turn the camera on the comedian and let him go. Just wish we could have seen more of him.
Ever wonder what it would be like to kill Barney? We're betting DeVito thought about it quite often--and things never turn out good for that purple dinosaur. The premise of Smoochy is one of the funnier ones in recent memory and seems to follow the dark comedic path DeVito has chosen in his other directorial efforts including War of the Roses and Throw Momma From the Train. Unfortunately Smoochy doesn't quite hold up to its hype (or its trailers) because basically it focuses on the wrong character. It's got some great moments granted especially when Smoochy is on his show. But instead of being about Randy's obsession to do away with his replacement the film chooses to follow Mopes and deal with the dirty business of making a kid's show which appears to involve the Mob (whatever). Smoochy would have been a lot funnier if Randolph could have finally succeeded in his quest instead of getting all sappy.
Worried you were dozing in Sunday School? Never knew God was a grandpa?
Don’t worry this isn’t sequel to the biblical TV miniseries. Set in the
early ’70s "Jesus’ Son" is the raw account of a young man (Billy
Crudup) shooting up throwing up and staggering through his wasted
youth. Through his journey he encounters a bizarre assortment of
misfits that make this film look like an indie "The Wizard of Oz" for
the messed up. Our hero collides with a beautiful and fragile heroine
addict (Samantha Morton) who becomes the cause of his downfall and
possibly his salvation.
Crudup could have capitalized on his teen-idol good looks to grab some
glossy Hollywood roles (and bucks). Instead he seems intent on using
his impressive acting skills to explore diverse and disturbing sides of
the human experience. As "Jesus’ Son " the actor gives an
inspirationally playful portrayal of the junkie’s arc from recklessness
to recovery as if he lived it. Morton (an Oscar nominee for "Sweet and
Lowdown") makes screwed-up nearly endearing as the woman who like Eve
turns her mate on to the forbidden fruit. The film is also blessed with
extended cameos from Denis Leary Jack Black Dennis Hopper Holly
Hunter and Greg Germann.
Far from glamorous or mainstream Allison MacLean has crafted a daring
grungy portrait of lost youth from Denis Johnson’s book. Brutal yet
compassionate MacLean rewards the adventurous with this disquieting
look at the wounded (literally and emotionally) that eventually leads to
a small but oddly uplifting triumph.