This is what success looks like now: 24-hour cocaine use, stripper parades, helicopters on yachts, quaaludes quaaludes quaaludes, tiers of high-priced prostitutes, European families flying your millions in their carry-ons to stash in Swiss banks, and other general excesses. Or more accurately, these are the accoutrement of a successful person. And the mantra of success is simple: “I deserve everything and I go first.” Jordan Belfort (played with contagious glee by Leonardo DiCaprio) articulated this in his autobiographical The Wolf of Wall Street, and Martin Scorsese has verified it in his three-hour epic of the same name.
Category Archives: Oscar Nominee
Way back in 1982, Vertigo debuted on BFI’s Sight & Sound Poll of Best Films at number 7. Since then it has slowly ascended, finally summiting the list in 2012, displacing the oft-thought irreplaceable Citizen Kane. No list is gospel, but the collaborative nature of the Sight & Sound, along with its tenure and visibility within the world of film lend the list a weight that few can counter. Which makes Vertigo a legitimate contender for the throne—the protean, elusive, much debated Best Film of All Time. Except, here’s the thing: it’s not.
Only recently has the bond between war and honor begun to fray. For millenia men have treated that most basic equation as gospel, but we’ve reached a point where the anti-war proselytizing, the media exposure, and the blurred lines between right and wrong have engineered a far more nuanced view. The realities of war have been planted deep into the fiber of our consciousness, allowing us to ponder the ways that it can adversely alter a man, even degrade him, without the interference of combat’s putative virtues. T.E. Lawrence is a man changed by war, and this volatile metamorphosis from intellectual dandy to merciless leader of desert warriors lies at the center of David Lean‘s arresting classic, Lawrence of Arabia.
2012 was a year to remember.
An exceptional and exceptionally diverse collection of film makers put together an array of movies that were, more often than not, pretty damn good. It’s years like this that remind a guy why he fell in love with film in the first place.
And with another year comes another Wertzies.
For this, my 3rd annual collection of the year’s Best Movie Stuff, I’ve added a few categories: Part One will include my picks for Best Visual Effects, and Part Three will feature a list of the year’s 10 Best Moments. Otherwise you can expect to see my favorite Screenplays, Directors, Actors & Actresses, the Most Overrated, and of course, the Best Movies of the Year*.
We tell ourselves that we deserve to know everything. That we can manage the truth, however burdensome it may be. The reality is that we want to hear a great story, and if the truth is part of it than all the better. Zero Dark Thirty is eager to give us both, revealing the epic tale behind the decade-long hunt for Osama bin Laden, and uncovering just enough gory detail to establish the film’s verisimilitude without melodramatics. Director Kathryn Bigelow and Writer Mark Boal aren’t interested in the mythology of this already mythologized tale, and their composure results in a deeply enthralling story. A story about a woman who spent the better part of her life hunting a man, and the considerable toll that process took.