Rating: 4/5

Sleepy Hollow was one of the first Tim Burton movies I ever saw and it has just gotten better the more times I've watched it.

Sleepy Hollow is an interesting snapshot of a point in Tim Burton's career. Ed Wood was a triumph and slightly different than his films prior, then Mars Attacks was released and it's just absolutely nuts and quite unlike anything he'd done before. Sleepy Hollow seems to be a great blend of the quirky oddities found in movies like Beetlejuice and Edward Scissorhands, with the addition of the creative lighting and look of Ed Wood.

In most of Burton's movies, other than Ed Wood, there's a mix between a black and white aesthetic and bright pastel or neon colors. Sleepy Hollow on the other hand, is rather anemic. Everything is very gray washed, thus making any splattering of blood stand out ruby red against the pale world around it. This design is the primary reason I enjoy Sleepy Hollow so much. The look of it is very intriguing. I love it when movies have a color scheme that you maybe don't even catch onto until something drastically different appears on the screen to create a brilliant contrast. There are a small handful of scenes in Sleepy Hollow that do have color, and they are almost a shock to the senses when you see them because they are so opposite to everything else in the movie. It's a fantastic impact.

What really sets Sleepy Hollow apart from its predecessors is the amount of gore in it, though it never goes over the top. There easily could've been a version of Sleepy Hollow that was incredibly gruesome and bloody. There are of course heads still being chopped off on a regular basis, it is the story of the Headless Horseman after all, so what else can one expect. But, in some instances, the decapitations are depicted almost comically, so it never feels like you're watching something too horrific, but instead, a very stylized retelling of a folktale.

During Halloween time, there are many movies that exude the spookiness of the season, and Sleepy Hollow is definitely one of them. Between the fog, the jack-o-lanterns, and the homicidal headless ghost, it pretty much screams Halloween. It's a great movie to watch at any time of the year, but is even better when the leaves start to fall.

2000 Best Art Direction-Set Decoration Winners - Rick Heinrichs & Peter Young

Rating: 5/5

Lately I’ve been working my way through all of the movies directed by Tim Burton. I hadn’t seen Ed Wood before, but it was one I was very excited to get to. It did not disappoint.

Tim Burton’s style has always seemed too bizarre to be nominated for Best Picture at the Oscars, but Ed Wood seems the most likely to be considered for that prize. For one, movies about Hollywood always seem to be in favor by the Academy, but also, Ed Wood is definitely one of Burton’s most sophisticated and grounded ventures. It certainly has many of his telltale quirks, but not so many oddities to potentially put off Academy voters. It wasn’t nominated for Best Picture, but Martin Landau won for Best Supporting Actor, which was immensely deserved.

Not unlike Edward Scissorhands, Ed Wood has an immense amount of heart and a message of acceptance within it. Before watching it, I didn’t know much else about Ed Wood other than it was a story about the supposed worst director of all time. From the moment it started, I knew I was going to love it, but getting as emotionally invested into it as I did was a wonderful surprise. The acting was top notch by all, aiding in the believability of the friendships and bonds created by the characters throughout the movie. Making you, the viewer, all the more vulnerable to have your heart strings pulled.

At the height of his career, Johnny Depp had fashioned himself a reputation of being quite the chameleon in his films. Ed Wood is a prime example of this. Physically, you can still tell it’s Johnny Depp behind the fake teeth, but his performance made any traces of Depp’s real life persona completely disappear. I only wish I’d seen Ed Wood before Charlie and the Chocolate Factory, because I couldn’t help but notice slight similarities between the way he played the two characters. Of course Depp’s turn as Ed Wood came long before his version of Willy Wonka, so obviously Wood is the far better performance, but it unfortunately made me less inclined to see his Ed Wood portrayal as something unique, but I was still very impressed by it. If anything, it made me dislike his Willy Wonka even more than I already had, because I realized it was essentially a twisted copy of something he’d done before.

It’s movies like Ed Wood that make me reminiscent for the old days of Tim Burton’s career. Lately, he seems to have lost some of what made his films so special once upon a time. Even so, at least we can watch movies like Ed Wood to be reminded of a time when Burton was something of a visionary, because this movie is without question one of his greatest achievements.

1995 Best Actor in a Supporting Role Winner - Martin Landau

1995 Best Make Winners - Rick Baker, Ve Neill, & Yolanda Toussieng

Rating: 3/5

I’m going to perfectly honest. It has been months since I watched Out of Africa and I remember virtually none of it.

I remember Meryl Streep’s performance being good, the aerial landscape shots being quite pretty, and something about hunting lions, but that’s about all I got.

Oh, I also remember Out of Africa just feeling incredibly long. A movie with a lengthy runtime isn’t a bad thing, but if the duration of the movie feels drawn out or endless, then it weakens the story. Therein lies the problem with Out of Africa.

1986 Best Picture Winner - Out of Africa

1986 Best Director Winner - Sydney Pollack

1986 Best Writing, Screenplay Based on Material from Another Medium Winner - Kurt Luedtke

1986 Best Cinematography Winner - David Watkin

1986 Best Art Direction - Set Decoration Winners - Stephen B. Grimes & Josie MacAvin

1986 Best Sound Winners - Christ Jenkins, Gary Alexander, Larry Stensvold, & Peter Handford

1986 Best Music, Original Score Winner - John Barry

Rating: 4/5

Prior to Michael Keaton’s Batman, the only other feature film caped crusader I’d seen was Christian Bale’s, so I was really curious to see another approach to the character. Well, I suppose I can technically say I’ve seen Ben Affleck’s, but I couldn’t even finish Batman vs Superman I hated it so much, so I’m not really counting it.

Overall, I thought Keaton was great as Mr. Wayne. He was able to be charming while being Bruce, and threatening as the winged vigilante. The Dark Knight trilogy was really my first exposure to heroes and villains within Gotham City, so I think in my head, Christian Bale will always be who I think of when I hear Batman, but I was definitely sold on Michael Keaton’s performance.

Jack Nicholson’s turn as Joker was fantastic, though that’s no surprise. Nicholson has basically made a career out playing different brands of crazy, so he was incredibly fitting to the role. Before watching this, I very wrongly assumed that Jack Nicholson’s Joker would essentially be Jack Torrence with makeup, but I was immensely far off. The Joker is a villain who’s so frightening because of how unhinged he is and how much joy he takes in inflicting pain on others, and Nicholson played that to perfection. He didn’t make it seem like Joker was slowly losing his mind, but just had his true inner insanity finally be unleashed, and was absolutely reveling in it. Also, his official entrance as Joker is quite possibly my favorite part of the movie, both in look and performance.

Admittedly, I’m not someone who’s read an abundance of comic books. I fell in love with superhero stories through film. Tim Burton’s Batman is a great snapshot of a different time period of comic book movies, and it was an absolute blast.

1990 Best Art Direction - Set Direction Winners - Anton Furst & Peter Young

Rating: 3.75/5

Amadeus is a movie that I know with 100% certainty I will be watching again.

Of the 93 movies that have won Best Picture, Amadeus was one I hadn’t seen, but knew very well. I took a music class in college where we were shown clips from it, and I’d seen it referenced many times. I was honestly looking forward to watching it, which is why I was so surprised I ended up not really enjoying it. To be fair, even if I can’t say I liked it, there’s no question about Amadeus being a well deserved Academy Award Winner. The acting is fantastic, the sets, phenomenal, and it’s ability to pull you into the music of Mozart is undeniable.

So with all that being said, why didn’t I like it? You see, I have a specific mindset when it comes to period pieces. I love them, but much of what I adore about costume dramas like Pride and Prejudice and Sense and Sensibility is the quiet romance of it all. The courting of one through a dance and handwritten letters. There’s something so simple yet impactful about those stories. Amadeus, though very much a period piece, takes a much raunchier approach, though I will say the portrayal of the music does have a sense of romance to it. I think the style of Amadeus caught me off guard, which is why I didn’t initially like it. I also could only find the director’s cut to watch, so it was even longer than it normally is.

I really do want to watch Amadeus again (preferably the theatrical cut). I have a feeling I will find myself liking it a lot more a second time around, plus it’s another chance to listen to the music within it, which is an added bonus.

1985 Best Picture Winner - Amadeus

1985 Best Actor in a Leading Role Winner - F. Murray Abraham

1985 Director Winner - Milos Forman

1985 Best Writing, Screenplay Based on Material from Another Medium Winner - Peter Shaffer

1985 Best Art Direction - Set Direction Winners - Patrizia von Brandenstein & Karel Cerny

1985 Best Costume Design Winners - Theodor Pistek

1985 Best Sound Winners - Mark Berger, Thomas Scott, Todd Boekelheide, & Christopher Newman

1985 Best Makeup Winners - Paul LeBlanc & Dick Smith

Rating: 3.25/5

Terms of Endearment is one of those movies where I watch it, understand that it's well made and well performed, but don't exactly enjoy it.

The trouble with classic or famous movies that one hasn't seen yet, is that there's a very high chance the movie will be spoiled for you by the time you finally watch it. This was the case for me with Terms of Endearment. Before finally seeing it as part of my Oscar Best Picture watch through, I already knew a lot about and how it ended. I'd heard how sad it was and was told by many to expect to cry. Well, I didn't. It's not because the story itself wasn't sad, it is, but when you already know what to expect, it's hard to have the feeling of being caught off guard and experiencing any genuine emotion.

I think the tricky thing with Terms of Endearment and actually liking it, is that I really didn't care for any of the characters in the movie, so it was hard to feel emotionally engaged in the plot. I did enjoy the scenes involving Shirley MacLaine and Jack Nicholson, especially the scene at the beach. And MacLaine's famous hospital scene is very impressive and well deserving of the Oscar it received, but beyond that, I can't say I liked much else. Truthfully though, I'm not sure if you're really supposed like the characters in Terms of Endearment, given that they all seem to be intentionally off-putting.

Given my thoughts on the movie, Terms of Endearment is receiving a relatively short review. Will I watch it again? Probably not, but who's to say. Maybe I'll decide I want to see it again someday, but right now, that prospect seems rather unlikely.

1984 Best Picture Winner - Terms of Endearment

1984 Best Actress in a Leading Role Winner - Shirley MacLaine

1984 Best Actor in a Supporting Role Winner - Jack Nicholson

1984 Best Director Winner - James L. Brooks

1984 Best Writing, Screenplay Based on Material from Another Medium Winner - James L. Brooks

Rating: 3.75/5

Gandhi, in both subject matter and duration, it is not an easy movie to get through.

If memory serves correct, Gandhi was one of, if not the last Best Picture winners to include an intermission part way through the film. For some movies, like Ben-Hur or The Godfather, that was a huge surprise, because it hadn’t felt like I’d already watched half the movie because it went by so fast. For Gandhi though, when that intermission came, I couldn’t believe I’d only watched half and there was still hours to go, because it felt like I’d already watched so much.

Gandhi isn't bad, not by a long shot, it’s just very heavy. There are scenes that are incredibly hard to watch, it spans a vast number of years, and if you don’t know the history very well already (which I’m embarrassed to say that aside from his assassination, there was a lot I did not know), the movie can feel almost like you have to work to make it to the end.

I do think I’ll be revisiting this again someday, even if it’s just to watch Ben Kingsley’s phenomenal performance another time around, but not for awhile. After watching all the Best Picture Winners, I had to take a bit of a hiatus from long movies. But I do believe Gandhi is one that deserves a second chance.

1983 Best Picture Winner - Gandhi

1983 Best Actor in a Leading Role Winner - Ben Kingsley

1983 Best Director Winner - Richard Attenborough

1983 Best Writing, Screenplay Written Directly for the Screen Winner - John Briley

1983 Best Cinematography Winners - Billy Williams & Ronnie Taylor

1983 Best Art Direction - Set Direction Winners - Stuart Craig, Robert W. Laing, & Michael Seirton

1983 Best Costume Design Winners - John Mollo & Bhanu Athaiya

1983 Best Film Editing Winner - John Bloom

Rating: 3.5/5

I’d be lying if I said I remembered a lot about Chariots of Fire, because other than it’s famous score and excessive use of slow motion, I can’t say there’s much more that I can recall.

My sentiments on Chariots of Fire is rather a surprise to me. I have loved and been fascinated by the Olympics for as long as I can remember, so it would only make sense that this movie would be right in my wheelhouse. I definitely didn’t dislike it, but instead just ended up being rather underwhelmed.

Here’s the thing though. I’ve always felt the environment in which you watch a movie can drastically impact your thoughts on it, and I feel that’s what happened here. I definitely need to give Chariots of Fire another shot, because I have a very strong hunch that would change my opinions on it quite a lot.

1982 Best Picture Winner - Chariots of Fire

1982 Best Writing, Screenplay Written Directly for the Screen Winner - Colin Welland

1982 Best Costume Design Winner - Milena Canonero

1982 Best Music, Original Score Winner- Vangelis

Rating: 4/5

When it comes to my journey through the Academy Award Best Picture Winners, the ‘70s was by far the most groundbreaking. There was an unmistakable shift that hit Hollywood during that time, so because of that, I was very intrigued to see what the ‘80s would bring, but was rather surprised with its first winner of the decade, Ordinary People.

My surprise however, was not something negative. I only mean to say that compared to most of the movies that came from the ten years before it, Ordinary People seemed to have a slightly more grounded or traditional sense of story. That being said, it also tackled topics of grief and loss in a way that I hadn’t seen in the Best Picture winners prior.

Ordinary People boasts a strong collection of impressive performances, especially in Donald Sutherland. I’ve often felt he deserves more awards recognition than he’s received in his lengthy career, and this movie is yet another showcase of his talents. Mary Tyler Moore is also phenomenal. She’s proof of the ongoing theory that many performers who are very gifted in comedy, can likely be equally as prolific in drama.

Ordinary People was a highlight movie for a decade of Best Picture Winners I found to be a little difficult to get through. It’s a movie I will certainly be revisiting in the near future.

1981 Best Picture Winner - Ordinary People

1981 Best Actor in a Supporting Role Winner - Timothy Hutton

1981 Best Director Winner - Robert Redford

1981 Best Writing, Screenplay Based on Material from Another Medium Winner - Alvin Sargent

Rating: 4.5/5

If I were to think of one word that would describe Kramer vs. Kramer, it would be impressive, and that word would solely describe the acting found within the movie.

By the time Kramer vs. Kramer came out, Meryl Streep was no longer an unknown, but she wasn't the Academy Awards powerhouse we all know her to be today. This film is where it all started. She had been nominated for The Deer Hunter prior to this, but with her win for Kramer vs. Kramer, it seemed as if her awards momentum couldn't be stopped, and decades later, it still hasn't slowed down. One viewing of this movie and it's impossible not to see why Streep's career continued on the path that it did. Though she's not in the bulk of the movie, every scene she's in is flawless.

The story of Kramer vs. Kramer is at times, hard to watch, and that is because of the heart wrenching portrayal of Billy given by Justin Henry. I'm always baffled by child actors and how they're able to put so much emotion and believability into their performances with so little life experience to draw from. I watched for the first time during Kramer vs. Kramer for my Academy Awards Best Picture watch through, so prior to this, when I thought of impactful and memorable child performances, I always thought of the same few, Haley Joel Osment, River Phoenix, Jacob Tremblay and Abigail Breslin. Now, Justin Henry is added to the list, because you cannot watch his scenes in Kramer vs. Kramer and not immediately be blown away by the poignancy he brings to every second he's on screen. It's not even scenes with big emotions. Sometimes, it's just the small looks he gives to his father when you can tell his character is trying to be brave. I don't know how he did it, but it's remarkable.

Kramer vs. Kramer is far from the type of movie I would categorize as a "comfort watch", meaning a film worth revisiting time and again, but even so, I know I'm going to be watching this for a second time very soon. For some of the movies I watched during my Oscar mania, I was really able to absorb the plot, but for others, they've nearly escaped my memory. Kramer vs. Kramer is still very much on my mind, but I still want to watch it again outside of the Oscar watch through, to give it a stand alone viewing and to once again watch the outstanding performances that make up the story.

1980 Best Picture Winner - Kramer vs. Kramer

1980 Best Actor in a Leading Role Winner - Dustin Hoffman

1980 Best Actress in a Supporting Role Winner - Meryl Streep

1980 Best Director Winner - Robert Benton

1980 Best Writing, Screenplay Based on Material from Another Medium Winner - Robert Benton

Rating: 4/5

An undoubtedly impressive and incredibly well made movie with phenomenal performances, but one I’ll likely never watch again.

I definitely had some trepidation before starting The Deer Hunter. I had heard time and time again how difficult a watch this movie was, and boy oh boy, were those sentiments accurate. It takes awhile in the movie's lengthy duration to get those moments so infamously spoken of, but once they occur in the plot, they'll make an indelible mark on your memory. It has been months since I watched The Deer Hunter, and I've yet to shake the scenes out of my memory. It's one of those movies where you don't exactly regret watching it, but you don't relish the idea of seeing it a second time around.

Meryl Streep being who we all know her as today, it's hard to imagine there ever being a time where she was a somewhat unknown actress, but such was the case for The Deer Hunter. She did have some credits to her name prior to this, but to my knowledge and understanding, this is the film that catapulted her into the career we all know and recognize her for. One viewing of any of her scenes in The Deer Hunter and it's incredibly easy to see why. Though she may not be the main character of the film, she absolutely captures your attention in any scene she's in. Though praise for her work is a broken record at this point, it's still highly deserved.

At this point in time, I don't believe I will see The Deer Hunter again, but who knows, that may change in the future. As difficult as it is to watch, it is a staple in cinema history for a reason, and should be viewed at least once.

1979 Best Picture Winner - The Deer Hunter

1979 Best Actor in a Supporting Role Winner - Christopher Walken

1979 Best Director Winner - Michael Cimino

1979 Best Sound Winners - Richard Portman, William L. McCaughey, Aaron Rochin, & C. Darin Knight

1979 Best Film Editing Winner - Peter Zinner

Rating: 2/5

I really wanted to give this movie a fair chance, because to be honest, I had somewhat assumed I wouldn’t like it, but I actually found myself looking forward to seeing why it was so famous. Well, my initial assumptions were correct, I did not like this, but not for the reasons I anticipated. It’s a very unpopular opinion, but I’ve never been the biggest fan of Diane Keaton. I’ve definitely seen things of her’s I’ve liked, but she’s just never been a favorite of mine. That’s what I had expected would be the reason I might not like Annie Hall, but in fact, she was my favorite part of it. She’s the only reason I can see why this movie won best picture, as she was the only natural thing about it. Her character is quirky and beats to her own drum, and though I may not understand why this film as a whole became so famous, I can certainly see why the character of Annie Hall has remained so iconic. If only she was in the movie more.

No, it wasn’t Diane Keaton that made be really dislike Annie Hall. It was the pretentious little weasel Woody Allen that gave me such disdain for this film. I just wanted him to stop. talking! Every word out of his mouth was so pompous and arrogant, and it felt like practically the entirety of the movie was watching him walk through various landscapes, while he felt the need to flex the superior intelligence he oh so strongly felt he had. Trying to prove to all those around him why he was better than them through his endless rambling monologues.

I assume the many different styles of filmmaking that Allen incorporated into Annie Hall may have been seen as interesting or artistic at the time, but to me, it just felt like another way he was trying to show everyone just how fantastic he thinks he is. Thank god this was only 90 minutes.

Have to say, not a fan. But hey, at least I discovered I liked Diane Keaton more than I thought, so there’s that.

1978 Best Picture Winner - Annie Hall

1978 Best Actress in a Leading Role Winner - Diane Keaton

1978 Best Director Winner - Woody Allen

1978 Best Writing, Screenplay Written Directly for the Screen Winners - Woody Allen & Marshall Brickman

Rating: 4.5/5

Rocky, what was initially an Oscar Best Picture winner I was merely curious about, turned into one of my favorite films out of all 93.

When it comes to sports movies, the boxing genre is one where I had a major gap in my viewing past. Baseball has always been my number of sport movie of choice, so I had never really ventured into the boxing and/or fighting category. To be honest, looking back into all the movies I've watched over my lifetime, I don't believe I had seen any boxing movies prior to Rocky, but I'm sure glad that if that's the case, this is the first one I saw. I absolutely loved this. I certainly didn't expect not to, given its highly revered reputation, but I definitely didn't expect it to find its way into my top 25 for Best Picture winners.

Everything about this movie works. Sylvester Stallone is fantastic. He strikes the perfect balance for what his character needs to be. Rocky's not the brightest, but he's authentic, and his determination to become a boxer and to charm Adrian never feel false or fabricated. It is because of Stallone's excellent performance that I found myself filled with excitement as he trained for his fights, and effortlessly smiling as he showed his softer side in his attempts to woo the girl he fancied. I anticipated the former, but was pleasantly surprised by the latter.

I've yet to see the subsequent Rocky sequels, and I've heard they're not all hits, but given how much I enjoyed the original, and I can say with absolute certainty that I will be giving the entire series a watching in the near future.

1977 Best Picture Winner - Rocky

1977 Best Director Winner - John. G. Avildsen

1977 Best Film Editing Winner - Richard Halsey & Scott Conrad

Rating: 4/5

One Flew Over the Cuckoo's Nest; a prime example of what happens when a movie has been so highly praised to you by others that you go into it with wildly unrealistic expectations, are thrown off by those expectations not being fully met, and knowing you absolutely must watch it again to truly absorb the greatness you missed the first time around.

To set the record straight, it may sound bizarre, but I know this movie is better than what I have it rated as. I know that I have clearly missed something upon my first viewing of it. Before watching One Flew Over the Cuckoo's Nest, I had discussed my Academy Award Best Picture watch through with quite a few people, and many of them kept bringing up One Flew Over the Cuckoo's Nest and how it was an unbelievably phenomenal movie, how vile Nurse Ratched was, and how it was one of their favorite films of all time. I sat down to watch this movie with all of these opinions floating around in my head, and I think they somewhat clouded my ability to really take in Cuckoo's Nest with an open mind. They set the bar to an unattainable level.

Now, with that all being said, as soon as I finished my Best Picture marathon, I created a list of movies I needed to give a second chance, and One Flew Over the Cuckoo's Nest shot straight to the top. Even with all of those wild pre-viewing expectations, I couldn't watch this movie and not see and appreciate the stellar performances given by the cast, of course Jack Nicholson and Louise Fletcher being the ones to stick out the strongest. Their characters are wild contrasts of one another, and to see Nicholson's crazed demeanor have to ricochet off of Fletcher's quiet, but devilishly commanding presence, is without a doubt one of the best on screen pairings in existence.

One Flew Over the Cuckoo's Nest; a movie I didn't appreciate as much as I know I should have and one I look forward to giving it the second chance it so rightly deserves.

1976 Best Picture Winner - One Flew Over the Cuckoo's Nest

1976 Best Actor in a Leading Role Winner - Jack Nicholson

1976 Best Actress in a Leading Role Winner - Louise Fletcher

1976 Best Director Winner - Milos Forman

1976 Best Writing, Screenplay Adapted From Other Material Winners - Lawrence Hauben & Bo Goldman

Rating: 5+/5

Before making the decision to watch all of the Academy Award Best Picture winning films, there were some movies on that list that I'd never seen, but knew a fair amount about. When it came to The Godfather movies, I'd seen clips and heard the first installment quoted many times, I'd been told by many that the second was the best of the three, and that the third was the worst. Now, I'm still yet to see the third Godfather, but I can wholeheartedly say that everything I'd been told about the second Godfather being the best was absolutely true.

The first Godfather movie was incredible. It's an impeccable classic and its indelible mark upon cinema history is undeniable. That being said, I like many others, found the second to be even more substantial. I'm embarrassed to say it took me so long to finally see this movie, but I'm immensely glad I did. I'm not usually one to watch a movie that's part of a series out of order, but I can say without a shadow of a doubt that for future viewings, I will be doing that in this case. As much as I like the first Godfather, I know I'll be going back to watch Part II before I revisit Part I. This movie kept me on the edge of my seat with its intensity, but also had me admiring the breathtaking cinematography, even in scenes involving great violence. It's truly masterful. It's another example of a film whose runtime spans more than three hours, but feels as if it takes no time at all to get to the end. There isn't an ounce of wasted screen time.

I'm far from an expert on film, just someone who has always had a love for the movies. I know there are people who are much more qualified to discuss the impact and skill of a movie as influential as this, so really everything I write here is just to voice my humble novice opinions, so I'll keep this review short and just say that The Godfather Part II is a classic for a reason, and I greatly look forward to watching it again someday soon so I can watch it and again be in awe of all the incredible talent that is found within this masterpiece.

1975 Best Picture Winner - The Godfather Part II

1975 Best Actor in a Supporting Role Winner - Robert De Niro

1975 Best Director Winner - Francis Ford Coppola

1975 Best Writing, Screenplay Adapted From Other Material Winners - Francis Ford Coppola & Mario Puzo

1975 Best Art Direction - Set Direction Winners - Dean Tavoularis, Angelo P. Graham & George R. Nelson

1975 Best Music, Original Dramatic Score Winners - Nino Rota & Carmine Coppola

Rating: 4/5

Prior to seeing The Sting, I knew very, very little about. I could recognize it by the cover, I knew it starred Paul Newman and Robert Redford, but that was honestly about it. I also had no idea I would like it as much as I did.

Thinking back to all the classic movies I've seen in my lifetime, and believe me, there have been a lot, I was trying to recall whether or not I'd ever seen a Paul Newman film before, and I as best as I could remember, I don't believe I had. I'm sad to say that I mostly new him as the face I saw on my salad dressings. I of course knew he was a famous actor, and could name the titles of some of the movies he was in, but beyond that, I didn't have much else I could say I knew about him. Now, that's all just a very long winded way of me saying that I was wonderfully surprised that he became my favorite part of The Sting, because I had assumed it would be Robert Redford. Redford is fantastic as well, and the two leads' chemistry together is great, but it was Newman's scenes that really captured my attention. His cool demeanor, devastatingly handsome good looks, and ability to dominate a scene all made watching The Sting that much better. I'm sure with a story as compelling as this, it would've been fine had another actor been in his place, but there's no way it would've been nearly as fun.

Beyond the performances, what I absolutely loved was how The Sting transitioned from scene to scene, with title cards that appeared pulled straight from a book. In all the Best Picture winning films I'd seen leading up to this, I'd never experienced anything like it, and it added a wonderful sense of charm and whimsy to the movie. It's the main thing that comes to mind when I think about why I enjoyed The Sting so much.

In all fairness, it should be said that at this point in the Oscar Best Picture marathon I did, I definitely was experiencing some genre fatigue, meaning that I had watched so many dramatic films in close proximity, that any film with even the slightest bit of levity was a welcome relief. This very much could have impacted how much I liked The Sting. I will be revisiting it again in the not too distant future, so I will be very curious what I'll think of it a second time around, though I truly think I'll still love it.

1974 Best Picture Winner - The Sting

1974 Best Director Director - George Roy Hill

1974 Best Writing, Story and Screenplay Based on Factual Material or Material Not Previously Published or Produced Winner - David S. Ward

1974 Best Art Direction-Set Decoration Winners - Henry Bumstead & James W. Payne

1974 Best Costume Design Winner - Edith Head

1974 Best Film Editing Winner - William Reynolds

1974 Best Music, Scoring Original Score and/or Adaptation Winner - Marvin Hamlisch

Rating: 4.85/5

The Godfather, honestly, I was a little nervous going into this one. It’s so highly regarded and revered, that I was afraid I wouldn’t like it and my film fanatic card would be revoked. Thankfully, that was not the case.

Though I know I rated this slightly lower than one would expect, there’s no question in how phenomenal this movie is. The story and style are stunning, but it is the acting that shines above all. For Al Pacino, I had seen very few things he’d been in, but I was absolutely mesmerized by his performance in this. His character goes through such drastic changes, yet nothing happens quickly. You slowly see the influence of his family taking hold, and him trying to resist for as long as he can, but having his barrier to the Corleones’ way of life begin to crack and fall away, piece by piece.

The violence in The Godfather is part of what makes it so famous, and I’d be lying if I said it didn’t get to me, but that just means it was done impeccably well. Every gruesome moment seemed perfectly calculated, as to insure maximum impact.

There’s not much more about The Godfather that I could say that hasn’t already been said. There’s a reason it’s such a classic.

1973 Best Picture Winner - The Godfather

1973 Best Actor in a Leading Role Winner - Marlon Brando

1973 Best Writing, Screenplay Based on Material from Another Medium Winners - Mario Puzo & Francis Ford Coppola

Rating: 3/5

I know The French Connection is a highly famous movie and one of great critical acclaim. I went into it being fully aware of that. However, I just couldn’t get into it. Now honestly, I don’t blame the movie for this. It was at this point in my Oscar Best Picture Watch Through where I think I had hit a bit of movie fatigue. I had been watching so many lengthy, dramatic, and heavy movies back to back, that I don’t think my brain could fully absorb the greatness that some of these movies potentially possessed.

Because of this, The French Connection is on my list of movies I need to give a second chance. Maybe watching it another time around and with some distance away from all of those Oscar winners will give me a new perspective.

I will say that chase scene was killer though.

1972 Best Picture Winner - The French Connection

1972 Best Actor in a Leading Role Winner - Gene Hackman

1972 Best Director Winner - William Friedkin

1972 Best Writing, Screenplay Based on Material from Another Medium Winner - Ernest Tidyman

1972 Best Film Editing Winner - Gerald B. Greenberg

Rating: 3.75/5

Evita is a movie, where over time, my love for it has wained a bit, but hasn't gone away completely.

Years ago, my sister and I decided to sit down and watch Evita, not knowing much about it other than that it was a musical, and that was all we needed to know to give it a chance. That night, we were both ecstatic over it. We couldn't get enough of the soundtrack and we couldn't stop talking about how amazing Madonna was as the titular role. Now, quite a few years later, I still believe both of those things, but not as fully as I once did.

Though Madonna's voice is phenomenal in this movie, my favorite moments being in the song "A New Argentina", there are definitely times where her acting is a bit less impressive. Obviously Madonna is more famous for her voice than for her skills as an actress, so the fact that pieces of her acting aren't exactly stellar, isn't entirely unexpected. But even so, her singing is impeccable. The role of Eva Peron is a vocal marathon, one where the lead has to hit what appears to be almost every octave and be both powerful and feeble depending on the scene. Though her inexperience as an actress may show at times, her exquisite prowess as a singer never falters.

Evita may not be for everyone, especially someone who is perhaps just a casual musical fan or one who doesn't prefer the genre. This is basically an opera, given that there are hardly any lines of spoken dialogue, and the plot is explained and moved forward almost entirely by song. Even as someone who loves musicals as much as myself, I always find it to be a bit of an undertaking to watch a musical without any dialogue, yet I find myself ready to watch Evita fairly regularly. It certainly not without flaws, but it's still a great movie musical.

1997 Best Original Song Winner - "You Must Love Me" by Andrew Lloyd Webber and Tim Rice

Rating: 4.25/5

Overall, Patton is a pretty flawless movie. It boasts an immensely strong lead performance, powerful sequences showing the perils of war, and a scene that has become undoubtably famous and instantly recognizable.

Though I watched this movie months ago, what still sticks out to me about what I really noticed and appreciated about it was that it was a World War II film that felt entirely different than anything I'd seen before. It's no secret that the bulk of movies centered around this time period and topic are largely focused on either Germany and or the Holocaust. It's very understandable, as that's what likely comes to many minds when thinking about World War II. However, as someone who is fascinated by history but certainly needs to learn more about it, I have to say there were parts of Patton that I found to be quite eye opening. Now I know watching a movie isn't exactly a history lesson, but I have to imagine with a topic such as this, that it contained more fact than fiction.

I always say I need to work on adding more films from the war genre to my watched list, and the Oscar Best Picture watch through certainly helped me in that goal. I know I have a lot more that I need to see, but at least I can now say that I've watched one of the more famously revered films and can agree with why Patton is held in such high regard.

1971 Best Picture Winner - Patton

1971 Best Actor in a Leading Role Winner - George C. Scott

1971 Best Director Winner - Franklin J. Schaffner

1971 Best Writing, Story and Screenplay Based on Factual Material or Material Not Previously Published or Produced Winners - Francis Ford Coppola and Edmund H. North

1971 Winner Best Art Direction - Set Direction Winners - Urie McCleary, Gil Parrondo, Antonio Mateos, and Pierre-Louis Thevenet

1971 Best Sound Winners - Douglas O. Williams and Don J. Bassman

1971 Best Film Editing Winner - Hugh S. Fowler

Rating: 3/5

After In the Heat of the Night, it definitely seemed like Hollywood was heading in a new direction, but Oliver! was a bit of a step backward. It wasn't bad, but definitely had an older feel to it compared to where movies seemed to be going.

The 1960s were definitely the Oscar decade for musical winners. My Fair Lady, The Sound of Music, and then Oliver! The latter two are fantastic, especially The Sound of Music, so Oliver! had a lot to live up to by comparison, and it sadly falls a bit short. There were definitely scenes that I really enjoyed, namely the "Who Will Buy" sequence, but beyond that, I can't say that I was a major fan. To be honest, I truly don't blame the movie Oliver! for this, I just happened to discover that I wasn't the biggest fan of the musical itself. Prior to seeing the movie, I only knew bits and pieces of the music based on clips and references I'd heard as a lifetime musical obsessive, but I'd never listened to the soundtrack straight through or seen a production of the show.

Though it did seem a bit like Oliver! was the cinema's' last ditch effort to preserve the old ways of the movies, it certainly wasn't terrible. Just not on my list of favorite musicals.

1969 Honorary Award Winner for Achievement in Choreography - Onna White

1969 Best Picture Winner - Oliver!

1969 Best Director Winner - Carol Reed

1969 Best Art Direction - Set Direction Winner - John Box, Terence Marsh, Vernon Dixon & Ken Muggleston

1969 Best Sound Winner - Shepperton Studios

1969 Best Music, Score of a Musical Picture (Original or Adaptation Winner) - Johnny Green

Rating: 4/5

In the Heat of the Night is a profoundly important movie, for reasons that shouldn't really have to be outlined, but I'll do it anyways. Prior to this, the concept of diversity in Best Picture Winning films was either non existent or done with extreme racial stereotypes. None of that can be said to be true for In the Heat of the Night.

From In the Heat of the Night on, it was clear that the scope of cinema was heading towards a major change. Previous to this, Best Picture winning movies had been relatively safe. As film neared the '70s, the stories became more daring, thought provoking, and significant. This isn't to say that the Best Picture Winning movies prior to this time were bad, in fact the '40s was one of my favorite decades of Best Picture winners, and there were certainly many groundbreaking films before this, but there's no denying the transition that can be so clearly discerned in the style of filmmaking from this point forward.

Sidney Poitier is outstanding in this and he absolutely carries the film. When he has control of the scene, it's impossible to look away from his captivating performance. With that being said, I still found myself not completely loving this movie as much as I had expected to. I without question appreciated it, but it has a certain style to it that I've never really cared for, and that is of the bizarre edits and cuts that one can also find in a typical 1970s cop show. Weird and aggressive zooms, quick shifts in tone, and other over the top elements. Obviously this movie reflects its time period, so I'm not faulting it for those stylistic choices, it's just never been a favorite of mine.

I will be watching this again and perhaps a second viewing will give me even more appreciation for it. I liked it a lot the first time around, so I would hazard a guess that I'll enjoy it even more the next time.

1968 Best Picture Winner - In the Heat of the Night

1968 Best Actor in a Leading Role Winner - Rod Steiger

1968 Best Writing, Screenplay Based on Material from Another Medium Winner - Stirling Silliphant

1968 Best Sound Winner - Samuel Goldwyn Sound Department

1968 Best Film Editing Winner - Hal Ashby

Rating: 3/5

To be perfectly honest, this is one where my memory has failed me, big time. I remember the gist of this movie, but enough to give it a full detailed review? I'm afraid that's not the case.

I will definitely be giving A Man for All Seasons another viewing some day. I remember that I found the performances to be really well done and that the plot was somewhat interesting, but beyond that, there's not much I can really say about it.

I loved my Academy Awards Best Picture journey, but the big drawback was that by watching so many movies in such rapid succession, was that I got desperately behind on my review writing and therefore my memory has some lapses. One day I hope to go back and write a better review for A Man for All Seasons, but until that day comes, this is all I have.

1967 Best Picture Winner - A Man for All Seasons

1967 Best Actor in a Leading Role Winner - Paul Scofield

1967 Best Director Winner - Fred Zinnemann

1967 Best Writing, Screenplay Based on Material from Another Medium Winner - Robert Bolt

1967 Best Cinematography, Color Winner - Ted Moore

1967 Best Costume Design, Color Winners - Elizabeth Haffenden & Joan Bridge

Rating: 5+/5

Of all 93 features in my Oscar Best Picture Watch Through, The Sound of Music was one of the handful that I was most excited to get to.

I grew up with dedication and adoration for Julie Andrews. The moment I saw Mary Poppins and The Sound of Music, I was absolutely hooked. Then when I discovered that she and I shared the same birthday, young me took that as a sign that I was destined to love practically anything Dame Andrews put her stamp on.

As a young girl, I grew up in a musical household. Whether we were watching them on our modest tv or seeing them live in a theater, I was always enthralled by the creativity behind telling a story through song. The Sound of Music was one that made a major impact. From the moment you see Maria on the hills to the finale of seeing the Von Trapps escape through those very same mountains, you cannot turn your eyes or ears away.

Julie Andrews voice is like no other. It is filled with kindness and enchantment. Even though I was perfectly happy with my home life, I couldn't help wanting to be a Von Trapp and sing through the mountains of Austria while wearing my newly made curtain dress. The Sound of Music is a classic, because even though I first saw this marvel over two decades ago, I still find myself with the same feelings of joy and excitement, plus the same urge to sing along as I did when I was little.

The Sound of Music is another film where, though it has a rather long runtime, it absolutely flies by. So much so, that when it ends, I yearn to start back over again.

Movie musicals have a history of being Oscar nominated, regardless of whether they are great or not, but The Sound of Music is not only without question the best musical to win an Academy Award for Best Picture, but perhaps the greatest movie musical in existence. Strong words I know, but, when you have Julie Andrews leading your story, there's usually only perfection to be found.

1966 Best Picture Winner - The Sound of Music

1966 Best Director Winner - Robert Wise

1966 Best Sound Winners - James Corcoran & Fred Hynes

1966 Best Music, Scoring of Music, Adaptation or Treatment Winner - Irwin Kostal

1966 Best Film Editing Winner - William Reynolds

Rating: 4.5/5

When setting out to watch every Academy Award Best Picture Winner, I'll be honest. I wasn't overly ecstatic to get to My Fair Lady. All I had ever seen of this movie prior to watching the whole thing, was the "I'm Getting Married in the Morning" scene, and I was not a fan. I had presumed the rest of the film would be similarly repetitive and obnoxious, but I was so happy to find myself proven very wrong.

I really, really enjoyed My Fair Lady. I watched this movie almost a month and a half ago now, and I still have had the songs blissfully stuck in my head almost daily. As a Julie Andrews obsessive, I had always had a bit of an issue with this movie, even though I had never seen it. I knew Julie Andrews had originated the role on the stage, and it really bothered me that the creators didn't deem her suited for the film version. But, because of their casting choices, we were blessed with Julie creating Mary Poppins for Disney, as well as a very humorous and charming Audrey Hepburn performance in My Fair Lady, so I suppose it all worked out somewhat in the end, though I still think Julie Andrews would've done marvelously had they given her the chance.

Audrey Hepburn, though no Dame Julie, is really wonderful as Eliza. Her character is one who could be seen is as slightly obnoxious if not performed well, but Hepburn makes her effortlessly endearing. And boy does she ever wear those costumes well. All the costuming in My Fair Lady is spectacular. Had this movie not won Best Picture, it would've been an absolute outrage if hadn't at least been awarded for its costume design. Thankfully, it won both, plus many more accolades, and deservedly so.

Had I grown up with My Fair Lady, I know it would've been a staple of my childhood favorites. I really wish I had seen it when I was younger, because it would've allowed me more time to fall in love with this absolutely charming and beautiful musical.

1965 Best Picture Winner - My Fair Lady

1965 Best Actor in a Leading Role Winner - Rex Harrison

1965 Best Director Winner - George Cukor

1965 Best Cinematography, Color Winner - Harry Stradling Sr.

1965 Best Art Direction - Set Decoration, Color Winners - Gene Allen, Cecil Beaton, & George James Hopkins

1965 Best Costume Design, Color Winner - Cecil Beaton

1965 Best Sound Winner - George Groves

1965 Best Music, Scoring of Music, Adaptation or Treatment Winner - Andre Previn

Rating: 0/5

I very much despised this.

So much screaming. So much disgusting eating. And bonus! Rape humor! 

This movie is horrible

For some of these Best Picture winners that I haven’t exactly liked, I’ve tried to put myself into the mindset of the time of its release to get a sense of why it would’ve won. But for this one, I got nothing. I cannot fathom a reason why anyone would like this atrocity.

1964 Best Picture Winner - Tom Jones

1964 Best Director Winner - Tony Richardson

1964 Best Writing, Screenplay Based on Material from Another Medium Winner - John Osborne

1964 Best Music, Score - Substantially Original Winner - John Addison

Rating: 4.85/5

To be perfectly honest, Lawrence of Arabia was a movie that took me a little while to fully appreciate. Prior to watching it, I knew very little about it. I of course knew of its existence and could name it based on pictures pulled from its scenes, but other than that, my knowledge of the plot was basically nonexistent.

At that point during my Oscar Best Picture Watch Through, I was no stranger to very lengthy movies, but still, I found the near four hour runtime to be quite daunting. That being said, the movie itself does a spectacular job at keeping the story going fast and almost completely making the viewer forget just how long the it is.

On the night that I watched it, I didn't really know what I thought about Lawrence of Arabia. I wasn't underwhelmed exactly, but based on the movie's revered reputation, I wasn't as enthusiastic about it as I would've liked. But, that particular feeling or opinion didn't last long. Because Lawrence of Arabia is so long, I honestly think it took my brain a few days to really process what an impressive and impactful feat the entire film was. The more I thought on it, the more I realized how much I truly enjoyed and appreciated it.

Lawrence of Arabia is almost a film relic of sorts. Even with the great epics of today's cinema, you rarely get a movie that goes beyond the three hour mark. The amount of dedication, passion, creativity, and stamina it must have taken to create this legend is absolutely staggering. And what's almost even more impressive is that, now, nearly six decades later, this movie still doesn't fail to astound.

When I first watched this, that same night, I remember thinking to myself that I likely wouldn't watch Lawrence of Arabia again. But, like mentioned before, a little time and perspective made me realize not only that I want to watch this movie again, but that I truly look forward to doing so.

1963 Best Picture Winner - Lawrence of Arabia

1963 Best Director Winner - David Lean

1963 Best Cinematography, Color Winner - Freddie Young

1963 Best Art Direction - Set Direction, Color Winners - John Box, John Small, & Dario Simoni

1963 Best Sound Winner - John Cox

1963 Best Film Editing Winner - Anne V. Coates

1963 Best Music, Score - Substantially Original Winner - Maurice Jarre

Rating: 4/5

A classic musical that took me far too long to see.

West Side Story is very unlike the typical modern movie musical, as it is heavily stylized in its appearance, but even more so in the performances. No scene is this concept more prominent than in the "Cool" scene. The tensions are high, so every moment, gesture, and emotion is dialed up to twenty. It may seem odd in comparison to other movie musicals that go for a slightly more naturalistic approach, but it's also part of what makes West Side Story so great.

Whenever you see a musical on the stage, the actors have to add extra emphasis to their performances in order for it to be read all the way in the back of the theater. Now, obviously West Side Story didn't need to do this, but there's something really admirable about about the bold choices made by everyone involved in the making of this film. Had anyone in the cast not fully committed to style expected of their characters, the end result wouldn't have been nearly as effective.

What's so great about the way West Side Story is structured, is that the highly choreographed and intentionally over the top performances create for more impactful and poignant scenes of emotion. When things in the plot quiet down, it's incredibly easy to get pulled into those moments of serenity, whether they be romantic, heartbreaking, or otherwise.

I have loved musicals all my life, so why it took me so long to see West Side Story is beyond me. But I am incredibly glad I finally watched it. It's truly one of the great movie musicals in existence.

1962 Best Picture Winner - West Side Story

1962 Best Actor in a Supporting Role Winner - George Chakiris

1962 Best Actress in a Supporting Role Winner - Rita Moreno

1962 Best Director Winners - Robert Wise & Jerome Robbins

1962 Best Cinematography, Color Winner - Daniel L. Fapp

1962 Best Art Direction - Set Direction, Color Winners - Boris Leven & Victor A. Gangelin

1962 Best Costume Design, Color Winner - Irene Sharaff

1962 Best Sound Winners - Fred Hynes & Gordon Sawyer

1962 Best Film Editing Winner - Thomas Stanford

1962 Best Music, Scoring of a Musical Picture Winners - Saul Chaplin, Johnny Green, Sid Ramin, & Irwin Kostal

Rating: 5+/5

The Apartment is perfection.

After marathoning my way through all 93 Best Picture winners, The Apartment is the first one I wanted to revisit. Prior to watching this for the first time, I had been excited to see it because I have loved Some Like it Hot for many years, so I was eager to see another collaboration with Billy Wilder and Jack Lemmon. After watching it, I was as far from disappointed as one could possibly be. In fact, I cannot decide which of those two movies I enjoyed more, because they're both the epitome of excellence.

There are countless things that make The Apartment such a favorite of mine, to name them all would take far too many words for a quick review, so I'll do my best to narrow it down. You see, even though the premise of The Apartment is rather simple, it's that simplicity that makes it so marvelous. The plot isn't complicated, so instead of trying to figure out what's going on, you're able to get a well rounded perspective on who the characters are, and I really think that's my favorite piece.

Though I wouldn't consider myself and expert on the genre, I've seen many, many classic films in my lifetime. Certainly more than most people my age, and in those films, you definitely get some unique characters, but many of the male ones fall into very similar categories. There's the classic hero figure, ruggedly handsome and ready to save the day. Sometimes they're the sidekick, prone to making goofy faces and the occasional gag in order to get a laugh. Or they're the villain, suave yet dangerous. Jack Lemmon's character, C.C. Baxter, blissfully doesn't fit into any of those descriptions. He's a genuinely nice guy, one who's just trying to do the right thing, but not seeking recognition for it. He likes a girl at his work, and he just wants her to like him back. There's nothing showy in any of his actions, he just wants to see her happy. As I write this, there's a scene that sticks out in my mind like a neon road sign on a stretch of dark highway. It is in this scene that you see the full scope of why his character is so wonderful. He's trying to take care of Shirley MacLaine's Ms.Kubelik, and in doing so, he's more caring and more considerate than I've ever seen any male character be in classic film, or any era of film for that matter. He's real and he's genuine. Now, C.C. Baxter was obviously written to be this way, but there's no doubt in my mind that the reason it was so convincing was that Jack Lemmon was the one to bring him to life. I watch this scene, and a smile spreads across my face. I think about this scene and achieve the same results.

Prior to watching this, I have to admit I wasn't the biggest Shirley MacLaine fan. I didn't dislike her, but I'd only seen her more recent movies, where she plays a feisty older woman who appears to only be in the film for the sake of her name. The Apartment completely changed my entire opinion on MacLaine. She's absolutely phenomenal in this movie. Again, like Lemmon, her character is very unusual for the time in which this film came out. Though The Apartment was released in 1960, you could start to see the slight shift in the Hollywood perspective, and that is clearly present in her character. Fran Kubelik doesn't fit the mold of the classic movie heroine. Her romantic relationships aren't exactly honest and she struggles with her own self worth. She doesn't see in herself what C.C. Baxter clearly sees in her. Making for one of the best on screen relationships out there.

Sometimes, when I love a movie as much as I love The Apartment, I find it difficult to truly put into words why I feel about it the way that I do. It's one of those times where, to articulate my true opinion, I find words to be lacking. The last I'll attempt to say is that I cannot express enough just how fantastic I find The Apartment to be. If you've never seen it, or think you aren't a fan of classic film, do yourselves a favor and watch this. It's truly one of the best.

1961 Best Picture Winner - The Apartment

1961 Best Director Winner - Billy Wilder

1961 Best Writing, Story and Screenplay - Written Directly for the Screen Winners - Billy Wilder & I.A.L. Diamond

1961 Best Art Direction - Set Decoration, Black and White Winners - Alexandre Trauner & Edward G. Boyle

1961 Best Film Editing Winner - Daniel Mandell

Rating: 5+/5

The Father is absolutely stunning, mesmerizing, and crushing.

There have been many films that tell the story of someone whose life has been marred by horrific diseases of the mind, but few are able to get across how truly terrifying, confusing, and hopeless they can be. In The Father, we are given a window into the mind of Anthony; a man crippled by dementia who can no longer discern reality from the cruel tricks his brain is now playing on him. He struggles to remember the past for what it was, who his daughter is, and where he is in his everyday life. Anthony Hopkins brings this character to life with heartbreaking results. There are times where he must be filled with rage, fully unable to understand what is happening to him and fueled by an anger for people to tell him the truth. Then there are other times where, so distressed by his inability to comprehend his circumstances, where he becomes a child, begging for his mother to help him. You cannot watch this movie and not feel a lump swell in your throat as you see such a poignant performance.

Olivia Colman matches Hopkin's brilliance in every way. To be the person going through the stages of dementia is indescribably horrid, but to be someone watching it happening is equally as distressing. Coleman's character is desperate to do what's best for her father, but is reaching a point where she isn't sure what options she has left and doesn't know what to do or where to turn. You feel her frustrations and sorrow as she watches her father sink further and further into the depths of his disease.

Aside from the performances, what truly makes The Father shine is the editing. Because you are viewing this movie from Anthony's perspective, you are just as lost and baffled as he is. You don't know what's real or what's a figment of his mind. There are moments that shock you, not knowing if it's truly happening, and others where you are just trying to uncover the truth.

As much as I expected for Chadwick Boseman to win Best Actor at this year's Academy Awards, I can't say I feel that Anthony Hopkins didn't earn his win. Both performances were incredible and deserving of any awards they received. I only wish The Father as a whole had received more at the ceremony. It's an incredible feat of cinema, one which deserves to be praised in every respect.

2021 Best Performance by an Actor in a Leading Role Winner - Anthony Hopkins

2021 Best Adapted Screenplay Winners - Christopher Hampton & Florian Zeller

Rating: 4.85/5

Ben-Hur, though incredibly long in runtime, does not feel as if you're watching a movie that is close to four hours. In fact, when the intermission appeared on the screen, I was genuinely shocked. I could not believe that I had already made it to the halfway point.

To be perfectly honest, Ben-Hur was not a film in my Oscar marathon that I was exactly eager to get to. I knew it was going to be well made and a movie that I would likely appreciate from a technical standpoint, but I didn't expect to genuinely like it as much as I did. It's not that I thought it would be bad, it's just that I've never been overly drawn to the more sword & sandal related epics.

Ben-Hur is impressive from beginning to end, but let's talk about its most famous moment; the chariot race. What. A. Scene! Twenty minutes of action, that to me, feels more dangerous than almost anything I've seen in modern filmmaking. Yes, today's movies have intense car chases and people jumping from building to building, but with all the strict rules and guidelines movie sets have to follow, the element of imminent danger just doesn't feel quite as present, plus when you add in CGI, it makes it even less so. The chariot race in Ben-Hur feels wildly unpredictable and insane to me that this sequence was able to be filmed without anyone being gravely injured, but also in such a spectacular way. I'm going to take a wild guess and assume Charlton Heston wasn't a trained chariot racer prior to making this movie, but somehow he, and his fellow actors, were able to learn and seemingly master this ancient skill. It's truly incredible. I rarely, if ever, talk or yell at a movie while watching it. In fact, it is one of my bigger pet peeves when people do this, but I couldn't help myself with this scene. I was so enveloped into every moment of action, every turn the horses made around the track, that I couldn't help but gasp or comment whenever something seemed as if it were going to go devastatingly wrong. A master scene of filmmaking.

Ben-Hur is not a movie you just decide to throw on the tv on a whim. It's one where you have to know you can carve out a good day's worth of movie watching time in order to get through it. Yet, with that being said, I know it's one I'll be watching again sometime in the near future.

1960 Best Picture Winner - Ben-Hur

1960 Best Actor in a Leading Role Winner - Charlton Heston

1960 Best Actor in a Supporting Role Winner - Hugh Griffith

1960 Best Director Winner - William Wyler

1960 Best Cinematography, Color Winner - Robert Surtees

1960 Best Art Direction - Set Direction, Color Winner - William A. Horning, Edward C, Carfagno & Irene Hunt

1960 Best Costume Design, Color Winner - Elizabeth Haffaenden

1960 Best Sound Winner - Franklin Milton

1960 Best Film Editing Winner - Ralph E. Winters & John D. Dunning

1960 Best Effects, Special Effects Winner - A. Arnold Gillespie, R.A. MacDonald & Milo B. Lory

1960 Best Music, Scoring of a Dramatic or Comedy Picture Winner - Miklos Rozsa

Rating: 2.5/5

Gigi was such a disappointment. I had somewhat high hopes for it, given that it was directed by Vincente Minelli and also starred Leslie Caron, but my hopeful expectations were far from met.

Yes, at times Gigi's cinematography is really great and the use of color and costume is wonderful. Minelli has a clear knack for making his films incredibly bold and vibrant. But none of that could make up for the awful story that this musical tells. It unfolds the tale of a young girl, full of life and spunk, openly defying the "sophisticated young lady" expectations that everyone keeps trying to force her to be. But instead of a triumphant story, where the heroine gets to remain her lively and unique self, you get a story where the plot's resolution is that breaking the spirit of originality and taming the "inelegant" ways of a woman is a triumph. A round of applause for male chauvinism and dated ideals of a woman's role in the world.

There are a fair share of musicals that have won the title of Best Picture, and many of them are wonderful, but Gigi certainly is not.

1958 Best Picture Winner - Gigi

1958 Best Director Winner - Vincente Minnelli

1958 Best Writing, Screeplay Based on Material from Another Medium Winner - Alan Jay Lerner

1958 Best Cinematography, Color - Joseph Ruttenberg

1958 Best Art Direction - Set Direction, Black-and-White or Color Winner - William A. Horning, E. Preston Ames, Henry Grace & F. Keogh Gleason

1958 Best Costume Designm Black-and-White or Color Winner - Cecil Beaton

1958 Best Film Editing Winner - Adrienne Fazan

1958 Best Music, Original Song Winner - "Gigi"

1958 Best Music, Scoring of a Musical Picture Winner - Andre Previn

Rating: 4/5

All stars given to this movie go to the performances. Period.

As a whole, Ma Rainey's Black Bottom isn't the best movie I've ever seen. Because it is so clearly based on the play, the dialogue doesn't really translate incredibly well to the screen. Countless movies have been adapted from stage plays, but it's not usually as obvious as it is here. Granted, if I had to hazard a guess, I would say that was the point the creators were going for, so if that's the case, they definitely succeeded.

The problem with movies that are adapted from the stage, but don't really make any adjustments to it, is that it can be difficult to really get pulled into the concept of the story as a film. I spent more time imagining when the scene changes would be and how the stage would be set up than I did focusing on Ma Rainey's Black Bottom strengths as a movie.

With all that being said, Chadwick Boseman and Viola Davis give staggering performances in this. Boseman absolutely radiates off the screen with his character portrayal, and though it can be said for many of his roles prior to this, the immense loss of Chadwick Boseman is painfully present in this film. To imagine what phenomenal work was possible for him in the future, but that he's never going to be able to do is truly devastating.

Davis absolutely transforms in to Ma Rainey. Disappearing behind the makeup and commanding personality of the character she's embodying. Even though I may not love the entirety of the movie, I would watch it again just to be able to witness these performances again.

2021 Best Achievement in Makeup and Hairstyling Winner - Sergio Lopez-Rivera, Mia Neal & Jamika Wilson

2021 Best Achievement in Costume Design Winner - Ann Roth

Rating: 4.75/5

War films have always been a rather large blindspot in my own movie viewing history, and I knew this Best Picture Watch Through would allow me to add more of those to my "watched" list. The Bridge on the River Kwai has without a doubt been one of my favorites of the Academy Awards winners.

This is a lengthy film, but it goes by in a flash. It's intense, as most war movies are, but not to the point where it gets classified into the lists of "great movies you'll never watch again". There are war films that are graphic, intense, and terribly hard to watch (I'm looking at you Deerhunter), and there's absolutely a need for movies like that. They cast a spotlight onto the unthinkable tragedy and perils of war, but they certainly aren't the type that most people would ever watch numerous times.

Though Bridge on the River Kwai certainly has its very difficult moments, there's something about it that makes it seem much more rewatchable than other films in its genre. Honestly, a huge factor to this could be that it doesn't involve the storyline of innocent children being thrown into the horrors of war, but it's also because it's such an unusual take on a war film. The soldiers aren't in constant battle. There isn't really a lot of action. But what there is, is two leaders from opposing sides who, in an effort to do what they think is best for their troops, unintentionally almost forget about the fact that they're enemies.

I know Bridge on the River Kwai isn't exactly historically accurate, but given the time period of its release, I can't say that I'm shocked. Either way, if I had a ranked list of war movies, it would be very near the top.

1958 Best Picture Winner - The Bridge on the River Kwai

1958 Best Actor in a Leading Role Winner - Alec Guiness

1958 Best Director Winner - David Lean

1958 Best Writing, Screenplay Based on Material from Another Medium Winner - Pierre Boulle, Carl Foreman & Michael Wilson

1958 Best Cinematography Winner - Jack Hildyard

1958 Best FIlm Editing Winner - Peter Taylor

1958 Best Music, Scoring Winner - Malcolm Arnold

Rating: 0.5/5

Oh man, this movie. What an incredibly bloated, racist, and ridiculous waste of time!

There are some movies in the Best Picture archives that have lengthy runtimes. The Godfather (both parts), Ben-Hur, Lawrence of Arabia; all have a duration of well over three hours, but that span of time feels incredibly necessary to the characters, and crucial to plot. Around the World in 80 Days, though it does attempt to span the globe in one film, absolutely did not need to be as long as it was. There were so many scenes that could've been entirely omitted, and if not that, at least shortened by ten minutes or more. For example, a bull fighting scene when they go to Spain. This scene went on for twenty minutes. Twenty! I actually had to fast forward it because I couldn't take the repetitive crowd noises nor the bull fighting any longer.

I can see why from a 1950s standpoint that this would've won Best Picture-what with its cameos and it being this grand adventure of sorts. But boy oh boy, by today's standards, this movie is just one seemingly never-ending, horrendously racist, bomb that is almost unbearable to sit through.

1957 Best Picture Winner - Around the World in 80 Days

1957 Best Writing, Screenplay - Adapted Winner - James Poe, John Farrow & S.J. Perelman

1957 Best Cinematography, Color Winner - Lionel Lindon

1957 Best Film Editing Winner - Gene Ruggiero & Paul Weatherwax

1957 Best Music, Scoring of a Dramatic or Comedy Picture Winner - Victor Young

Rating: 3.75/5

Marty was an incredibly welcome and unexpected film in a list of Oscar Best Picture winners that have a large number of movies with runtimes over 3 hours.

Marty is very simple, very sweet, and very short. It tells the story of a man named Marty, played by Ernest Borgnine, who feels as if he'll never find love and be able to move out of his mother's house. He meets a girl named Clara, played by Betsy Blair. Clara isn't what the men in the film would describe as striking, and in fact call her all sorts of horrid names that belittle her appearance. Marty, being ever the gentleman, sees the beauty in Clara that the other men who are too ignorant and superficial cannot. The two begin a romance.

Marty takes place over a very short span of time, yet you never for a moment doubt that Clara and Marty's romance is too expedited or unrealistic. Their characters are ones who have been longing for love and companionship, but have never found anyone who wasn't so focused on outward appearances. To be clear, Clara is not unattractive, but it's obvious that the movie intended her to look very plain in comparison to the other more dolled up women in the film.

There are definitely some aspects to Marty that may not fly in some movies by today's standards, but even so, there are still countless titles being released where characters are supposed to be the "ugly" one of the group, and I've always found that to be really unfortunate and honestly quite cruel. Marty, however, takes a different approach to it. Even though there are scenes where the words being thrown at Clara make me cringe with anger towards the behavior of the characters, the end result is an incredibly charming little love story, that proves that a Best Picture doesn't have to be a four hour long epic in order to be taken seriously.

1956 Best Picture Winner - Marty

1956 Best Actor in a Leading Role Winner - Ernest Borgnine

1956 Best Director Winner - Delbert Mann

1956 Best Writing, Screenplay Winner - Paddy Chayefsky

Rating: 4.75/5

On the Waterfront is another movie in my Oscar Best Picture Watch-Through that I will absolutely be revisiting.

Unfortunately, during this Academy Awards marathon, there was a stretch in the '50s where I for some reason or another, had a hard time retaining much memory about the movie I had literally watched only moments before. Perhaps my brain was getting clouded by watching so many films in rapid succession, or it could very much also have been distractions off screen, but whatever the cause may have been, I sadly don't remember as much about On the Waterfront as I would like.

The reason On the Waterfront has such a high rating, but remains below other movies on my Best Picture Rankings list, is simply just because I can't remember it well enough to say if I liked it more than other movies I've watched after it. That being said, I absolutely recall being immensely impressed by Marlon Brando and Eva Marie Saint in this film. Their on screen chemistry was perfect and believable, and not at all like the typical movie romances one might normally find in the Golden days of Hollywood. It was very real, very palpable, and completely convincing.

As I write this review, more and more of the plot is starting to flood back into my memories, making me realize I not only need to adjust my rankings, but that I very much look forward to watching On the Waterfront again. But perhaps I should wait until some more time passes now that I've completed my massive Oscar journey.

1955 Best Picture Winner - On the Waterfront

1955 Best Actor in a Leading Role Winner - Marlon Brando

1955 Best Actress in a Supporting Role Winner - Eva Marie Saint

1955 Best Director Winner - Elia Kazan

1955 Best Writing, Story and Screenplay Winner - Budd Schulberg

1955 Best Cinematography, Black & White Winner - Boris Kaufman

1955 Best Art Direction - Set Direction, Black & White Winner - Richard Day

1955 Best Film Editing Winner - Gene Milford

Rating: 3.75/5

For such a famous movie, I wish I remembered From Here to Eternity better. Granted, I am so far behind on my reviews for this Oscar Best Picture Watch-through Challenge, that it has been almost two months since I've seen this.

What I do remember about From Here to Eternity, was that I was a little bored in the beginning, but was incredibly impressed with the entire Pearl Harbor sequence. Not only was this entire portion of the movie incredibly intense, but also majorly impactful by the way it was shot.

Aside from the famous kiss in the waves, I may not recall a whole lot about From Here to Eternity, but I will certainly always remember the moment when you see an uncut sequence of a soldier running across the open court of the military base, trying to alert his fellow soldiers about the attack at Pearl Harbor, only to be gunned down by bullets raining from the sky. From that moment on, everything is kicked into high gear, and it's impossible to look away from the screen.

With it having such a famous reputation, I know I will be watching From Here to Eternity again, if only so I can remember more about it.

1954 Best Picture Winner - From Here to Eternity

1954 Best Actor in a Supporting Role Winner - Frank Sinatra

1954 Best Actress in a Supporting Role Winner - Donna Reed

1954 Best Director Winner - Fred Zinnemann

1954 Best Writing, Screenplay Winner - Daniel Taradash

1954 Best Cinematography, Black and White Winner - Burnett Guffey

1954 Best Sound, Recording Winner - John P. Livadary

1954 Best Film Editing Winner - William A. Lyon

Rating: 1/5

Literally couldn’t look at the screen for a large portion of the movie due to all the animal scenes. It’s shocking that it took until so recently for animals to be banned from the circus.

I will say this movie has an impressive train crash, and that, compared to some of the other bottom of the barrel Oscar winners, the story for The Greatest Show on Earth does have an ever so slightly more compelling story, but that doesn't make up for the other hundreds of factors that make this movie so bad.

Also, Jimmy Stewart looks terrifying as a clown.

1953 Best Picture Winner - The Greatest Show on Earth

1953 Best Writing, Motion Picture Story Winner - Fredric M. Frank, Theodore St. John, & Frank Cavett

Rating: 4/5

An American in Paris is truly beautiful to look at, but has an ending that is dated by today's movie musical standards.

Growing up with a love for musicals, I was quite excited to get to An American in Paris on my Oscar Best Picture journey. I can honestly say that I really loved about 90% of it. Something you don't find in modern film musicals is the use of very, very long dance numbers. Of course, almost every musical is going to involve a myriad of dance sequences, but over time, the length of those have been drastically trimmed down from what used to be roughly twenty minutes, to now be perhaps ten minutes, tops. To be clear, I don't consider An American in Paris' final musical number to be a detriment to the film. It's impeccably choreographed, masterfully executed, and the costumes are stunning. However, when one is more used to the more current style of musical, it's a tad difficult to remain fully attentive to it. That being said, the ending to this epic musical feat creates on of my favorite shots I've seen so far in my watching of all the Academy Award Best Picture winners.

What An American in Paris does really well, besides having Gene Kelly as its lead, is sprinkle it's dancing vignettes evenly throughout the movie. The most notable in my opinion, would be where Henri, played by Georges Guétary, attempts to describe his new girlfriend Lise (Leslie Caron) to his two friends. As he tries to explain who she is and what she's like, we see how she appears in the imaginations of the three men based on the descriptions, and she dances through brilliant colors and silhouettes. A marvelous scene.

An American in Paris didn't become one of my favorite musicals, but you can't watch it without being highly impressed by the skill and talent that is exhibited in every second of runtime.

1952 Best Picture Winner - An American in Paris

1952 Best Writing, Story and Screenplay Winner - Alan Jay Lerner

1952 Best Cinematography, Color Winner - Alfred Gilks & John Alton

1952 Best Art Direction - Set Decoration, Color Winner - Cedric Gibbons, E. Preston Ames, Edwin B. Willis & F. Keogh Gleason

1952 Best Costume Design, Color Winner - Orry-Kelly, Walter Plunkett & Irene Sharaff

1952 Best Music, Scoring of a Musical Picture Winner - Johnny Green & Saul Chaplin

Rating: 5/5

Nobody throws shade like Bette Davis. No one.

I had been meaning to see All About Eve for years, but somehow, other movies took precedence, but I am beyond ecstatic that this Oscar Best Picture watch through forced me to finally get around to seeing this masterpiece.

All About Eve doesn't possess a particularly dramatic or intense plot. Instead, it has phenomenal performances, impeccably written dialogue, and a highly engaging story. Bette Davis stars as Margo Channing, a renowned stage actress, but one who's beginning to worry that her age will soon make her star begin to fade. She meets Eve Harrington (Anne Baxter), a seemingly innocent and devoted fan. Margo decides to take Eve under her wing, but is quick to realize that her act of good will may have been a huge mistake.

On screen and off, it was clear that Bette Davis was not someone to be trifled with. She stood her ground and didn't ever appear to be afraid to say what was on her mind. That bold and brilliant quality absolutely shines in All About Eve. Once Margo begins to see her career fade before her eyes, her determination to keep her fame comes out in venomous insults and masterful manipulation. What makes Davis' performance so memorably stunning, is not just her ability to take down her on screen opponents through her wit and words, but how she allows Margo's vulnerabilities be shown as well. Only a select few get to see her insecurities, but those moments are equally as captivating as any of Davis' other, more energetic scenes.

All About Eve tackles a topic that Hollywood seemingly tried to ignore. That of a woman's star power diminishing as they grow older in age. It was quite daring for Davis to do this role, as it forced the filmmakers and audience to zero in on the fact that Bette Davis, not unlike her character, was reaching an age where she was in danger of being cast out of the movies and replaced by the new wave of younger actresses. In a way, it seems as if Davis was proving a point to the studios of the time. Showing that, just because someone is younger, doesn't necessarily mean they're always the better choice for a role. Davis is at the top of her game in All About Eve, and as brilliant as Anne Baxter was, and don't get me wrong, she was fantastic in this, it was Davis who effortlessly carried the weight of the film on her shoulders. So much so, that prior to seeing this, I had assumed Bette Davis' character's name was Eve, because the only scenes I'd ever seen from the movie were of Davis, so I figured her name must be the one in the title.

If you haven't seen this gem, watch it. It's wonderful. I can't recommend it enough.

1951 Best Actor in a Supporting Role Winner - George Sanders

1951 Best Director Winner - Joseph L. Mankiewicz

1951 Best Writing, Screenplay Winner - Joseph L. Mankiewicz

1951 Best Costume Design, Black and White Winner - Edith Head & Charles Le Maire

1951 Best Sound, Recording Winner - Thomas T. Moulton

1951 Best Picture Winner - All About Eve

Rating: 3/5

Well this freakishly predicted the future...

All the Kings Men boasts both impressive and obnoxious performances. Broderick Crawford, who plays crazed politician Willie Stark, is a strong lead, and Mercedes McCambridge and John Ireland, whose characters are part of his team, are no slouches either. The three, especially McCambridge and Ireland, easily carry the film and make it compelling to watch. The only person I found lacking in this movie was Joanne Dru. Her performance lacked subtlety and fell into the many traps that befell some of the actors from the classic movie era. I love that time period of cinema immensely, but there was without a doubt a trained aspect to many of the performances, and for some people, that heavily stylized acting worked very well, but Dru’s over the top line deliveries and gestures just didn’t blend well with the more down to earth performances that were being delivered by the rest of the cast. 

Though All the Kings Men is memorable enough just as a film, what makes me remember it most is how much it eerily mirrored the current day horrific political climate of when I watched it. I’m behind on my reviews, so I watched this movie roughly a month and a half ago, and this movie focuses on a corrupt politician being impeached, and is so desperate to prove that he’s done no wrong, that he tells his followers they cannot leave the courthouse where the trial is being held until he is declared innocent and allowed to return to his political position. A riot ensues as his followers listen to him. Sound familiar?

1950 Best Picture Winner - All the King's Men

1950 Best Actor in a Leading Role Winner - Broderick Crawford

1950 Best Actress in a Supporting Role Winner - Mercedes McCambridge

Rating: 2/5

There's no denying that the acting in Hamlet is very impressive, but it's one of those things where, if you are a die hard Shakespeare fan, then you'll love it. If you don't like Shakespeare at all, then you'll probably hate it. I find myself somewhere in the middle, so I didn't despise this movie, but I definitely didn't love it.

Shakespeare is definitely hit or miss with me. I'm a little cliched in the ones that I prefer; Romeo and Juliet, Macbeth, A Midsummer Night's Dream, but Hamlet has never been a favorite of mine. There just really isn't as much in the story that captures my attention, so I will fully admit that I had a hard time getting through Hamlet.

It's clear that Laurence Olivier is a very skilled Shakespearian actor, but I think what bothered me was how clear it was that he knew that. The character of Hamlet is fairly arrogant in his own right, but Olivier made him seem so pompous, that I just couldn't bring myself to care or root for him at all.

My rating for Hamlet really doesn't reflect the quality of it, because I'm not the target audience for it. I can definitely appreciate it for what it is, but it's not one that I can honestly say I enjoyed.

1949 Best Picture Winner - Hamlet

1949 Best Actor in a Leading Role Winner - Laurence Olivier

1949 Best Art Direction-Set Decoration, Black-and-White Winner - Roger K. Furse & Carmen Dillon

1949 Best Costume Design, Black-and-White Winner - Roger K. Furse

Rating: 3.5/5

Gentleman's Agreement is a decent film with strong performances.

I wouldn't call this particular entry from the '40s one of my favorites, but it definitely wasn't my least favorite. Gregory Peck is a strong lead, and it's very easy to get invested in the story by his distinct and impactful presence.

Prior to seeing Gentleman's Agreement, Celeste Holm was fairly unknown to me, but she quickly became my favorite in this film. Her character easily steals every scene she's in and even though she's not the lead, she was the person I was most interested in watching throughout the entire movie.

I'm sure I'll see Gentleman's Agreement again someday, but it's not exactly one that I'm racing to watch again anytime soon.

1948 Best Picture Winner- Gentleman's Agreement

1948 Best Actress in a Supporting Role Winner- Celeste Holm

1948 Best Director Winner- Elia Kazan

Rating: 4.5/5

The Best Years of Our Lives was a lot longer than I realized, but while watching it, it felt the runtime flew by.

This movie chronicles the lives of three men returning home from war, each coping with their own adversities of adapting to civilian life. Homer (Harold Russell) lost his hands in the war and now has hooks at the ends of his arms. Al (Fredric March) must try and become part of his family again, though his relationships with his wife and children are far more distant than he expected, and Fred (Dana Andrews) struggles to find employment now that he feels he doesn't have any skills that can be used outside of the Air Force.

Many of the Best Picture winners who's duration reached the near three hour mark are ones that are considered grand, cinematic epics, but The Best Years of Our Lives is definitely not part of that category, and it's better off for it. By being so long, we really get a sense of who everyone is and the struggles that they're facing. It's a deep dive into the emotions of each character, pulling the audience in close to their stories.

Everyone in The Best Years of Our Lives is giving A+ performances, but it is Harold Russell who makes his portrayal of Homer be the clear standout. Russell is one of the rare cases of someone without any previous acting experience, giving an incredibly impressive and earnest performance of a lifetime, and then receiving the well deserved accolades for it. It was 100% clear that Russell knew how to use the hooks he had in place of his hands, and that it wasn't an actor who was only wearing the prosthetics while the cameras were rolling. This authenticity added so much to Russell's performance, but it wasn't just his real life injuries that made his role in The Best of Years of Our Lives so memorable, but the way he portrayed the character. Homer is trying to prove to everyone around him that he is fully capable of living a normal life, but he's having such a hard time convincing them of that concept, that he starts to believe it as well. You get to see the ups and downs of him adapting to his "new" life, and whenever he succeeds, his moments of triumph are guaranteed to put a smile on the audience's face and have them rooting for him from the moment the film's title is shown at the beginning, to the minute the credits roll at the end.

The Best of Years of Our Lives is something I will definitely revisit, and is truly a must see for any fan of classic film.

1947 Honorary Award Winner- Harold Russell

1947 Best Picture Winner- The Best Years of Our Lives

1947 Best Actor in a Leading Role Winner- Fredric March

1947 Best Actor in a Supporting Role Winner- Harold Russell

1947 Best Director Winner- William Wyler

1947 Best Writing, Screenplay Winner- Robert E. Sherwood

1947 Best Film Editing Winner- Daniel Mandell

1947 Best Music, Scoring of a Dramatic or Comedy Picture Winner- Hugo Friedhofer

Rating: 4/5

The Lost Weekend is a movie that's primarily impressive for its lead performance. Ray Milland plays Don Birnam, a struggling alcoholic who believes he has fooled his brother and girlfriend into thinking he's sober. One weekend, all his efforts to remain on the wagon are derailed, and Don gets incredibly drunk in a bar. Throughout the movie, Don recounts the events in his life that have lead him to his current predicament.

The Lost Weekend is far from flashy. It has a modest runtime, a small cast, and a simple story, however, it is very effective. As you begin to learn more about Don's past and about his girlfriend Helen, played by Jane Wyman, you get more and more invested in his life. While watching, every time he reached for a bottle, I found myself getting tensed up, not knowing what repercussions would unfold based on his actions. I was honestly a little surprised how much I found myself being pulled into the plot, and it's without a doubt majorly in part to Ray Milland's and Jane Wyman's performances. When Don was at his lowest, it looked painstakingly real. He'd practically pushed away everyone who cared about him, and as harsh as his reality was, you couldn't exactly blame Helen for being fed up with his behavior, but you also strongly sympathized with him, and hoped that by the end of the movie, his character would be somehow redeemed.

I didn't know much about The Lost Weekend before watching it, but it's definitely one of the many reasons why the 1940s have been one of my favorite movie decades so far in this Oscar Best Picture Challenge.

1946 Best Picture Winner- The Lost Weekend

1946 Best Actor in a Leading Role Winner- Ray Milland

1946 Best Director Winner- Billy Wilder

1946 Best Writing, Screenplay Winner- Charles Brackett and Billy Wilder

Rating: 4/5

Going My Way is a perfectly pleasant, sweet little movie. Not one of the big standouts of all the Oscar Best Picture Winners, but one that I will genuinely enjoyed from start to finish.

Though I didn't know much about Going My Way before watching it, I grew up watching Bing Crosby in White Christmas, so I was already very familiar with his mannerisms and voice, so I was looking forward to seeing this movie just to get a chance to see Bing Crosby in something different. Then when I read the plot for the movie, I figured it would be a very simple, but enjoyable film, and I was correct. Coming after Casablanca, it definitely suffered from not feeling as impressive as that classic, but it also showed that, unlike many of the very long Oscar winners that came after it, that you don't need to be a big budget cinema epic in order to be recognized as Best Picture.

Now, based on today's standards of what wins for Best Picture at the Academy Awards, I'm not sure if something this subtle would win the top prize, but it would likely get decent reviews and have a large number of people who really enjoyed it.

For some of these Best Picture winners, I find myself questioning if I'll ever take the time to watch them again, but Going My Way is one I know I will. I love a musical, and even though this isn't a musical in the traditional sense, it still has that same uplifting feel as some of the greats.

1945 Best Picture Winner- Going My Way

1945 Best Actor in a Leading Role Winner- Bing Crosby

1945 Best Actor in a Supporting Role Winner- Barry Fitzgerald

1945 Best Director Winner- Leo McCarey

1945 Best Writing, Original Story Winner- Leo McCarey

1945 Best Writing, Screenplay Winner- Frank Butler & Frank Cavett

1945 Best Music, Original Song- "Swinging on a Star"

Rating: 5/5

One of the greatest classics of all time.

Casablanca is a movie that took me far too long to see for the first time, and then had too long a gap before giving it a second viewing. Prior to this most recent watch of Casablanca, I couldn't really remember much about it , which was to no fault of the movie. If memory serves correctly, I had been incredibly tired when I first saw it, and wasn't able to give Casablanca the full, undivided attention that it deserved. I remember appreciating it at the time, but it wasn't until watching it for my Academy Award Best Picture challenge that I fully understood why Casablanca was considered such a classic. I completely get it now.

Casablanca was released during a time where Hollywood was producing a massive collection of films centered around the war. Many of these could very much be seen as propaganda movies, and though Casablanca does discuss the concept of World War II and resisting the Nazis, it doesn't feel like a 90 minute add for war bonds. There's an effortless sense of class and elegance when it comes to Casablanca. A huge part of that is the ease of Ingrid Bergman's glamour, but it's also the on screen chemistry she has with Humphrey Bogart and the beautiful way their story is shot.

When you think about it, there's very little change in location for Casablanca. Without the flashback scenes, pretty much the entirety of the story would take place in Morocco and in Rick's nightclub. It can't be an easy task to make such a limited number of locations remain interesting for an entire film's runtime, but even though we see that nightclub a myriad of times throughout all of Casablanca, it never feels the same from one shot to the next. In some scenes, it's boisterous with the sounds of gambling and drinking, a place full of life. In others, the lights are dimmed, only the sound of a single piano is heard, and it's suddenly a location for painful memories and reflection. It's amazing to see how one venue can turn from a location of triumph to one of despair, just by the way the performances within the space are being done, and the way it's being filmed. True art on the screen.

I really look forward to seeing Casablanca again, because it seems that every time I watch it, I enjoy and appreciate it more and more. There are some movies that are labeled as classics, where it may not seem obvious to the masses why it's considered so, but Casablanca is proof of why some films, no matter how long it's been since being initially released, will never and should never be forgotten.

1944 Best Picture Winner- Casablanca

1944 Best Director Winner- Michael Curtiz

1944 Best Writing, Screenplay Winner- Julius J. Epstein, Philip G. Epstein & Howard Koch

Rating: 4.85/5

Mrs. Miniver has been one of the most wonderful surprises throughout this Oscar journey. I know I've said that before, but prior to this film, it mostly pertained to movies that I was aware of, but just wasn't a huge fan of the genre. For Mrs.Miniver, other than the title and lead actress, I was completely unfamiliar with it. I went into it not knowing what it was about or what to expect, and found myself completely infatuated and enthralled by it.

Mrs.Miniver is another addition to the 1940s World War II films, but it doesn't disappear into the archives of the countless movies that came out during that decade that dealt with the topic of the war. The story itself isn't anything groundbreaking, but it's lead performance and cinematography are what makes it stand out from the crowd.

Before watching Mrs.Miniver, I had only seen Greer Garson in one film, a lesser known Joan Crawford vehicle, and she was great in that, but it was in this film where I truly got to see why she was considered such a highly revered actress of her time. Her character's family is dealing with the perils of war, worried at every moment that their home may be demolished by the bombs that are raining down from the sky. Mrs.Miniver has to remain unwaveringly strong for her family, even though you can see that she herself is terrified of what's to come. There's a scene in particular where her resilience and courage are put to the test, and Garson shows the myriad of emotions that are going through her character's mind, but it's incredibly clear that Miniver will be able to handle anything she's suddenly having to endure.

Mrs. Miniver is primarily famous for Garson's performance, and as I just spent an entire paragraph gushing about it, I shall refrain from continuing on. Though Garson's portrayal of Miniver is the clear highlight of the film, there's also some very impressive cinematography as well. In particular, there's a sequence where a fleet of boats begin their long journey to Dunkirk. It's a short scene, but one that's left an indelible mark on my memory.

When I started watching Mrs.Miniver, I had a bunch of thank you notes that I had to write and had a deadline in which I had to get them done. I thought I'd be able to multitask and do both. Well, that didn't happen. Needless to say, within ten minutes of the movie beginning, I found my hand frozen in mid air, pen still gripped between my fingers, and my letters of thank you completely forgotten. Mrs.Miniver was just too great for me to pull my attention away from it.

1943 Best Picture Winner- Mrs. Miniver

1943 Best Actress in a Leading Role Winner-Greer Garson

1943 Best Actress in a Supporting Role Winner- Teresa Wright

1943 Best Director- William Wyler

1943 Best Writing, Screenplay-George Froeschel, James Hilton, Claudine West, & Arthur Wimperis

1943 Best Cinematography, Black & White- Joseph Ruttenberg

Rating 5/5

A wonderful book turned into an equally wonderful movie.

Rebecca is a film based on the novel written by Daphne Du Maurier. It tells the story of a young woman, who's first name is never revealed, that goes from being the paid companion of a pompous aristocrat, to the wife of Maxim de Winter (Laurence Olivier).

The new Mrs. de Winter (Joan Fontaine) couldn't be happier with her whirlwind romance and marriage, that is until she gets to Maxim's estate, Manderley. Trapped within the walls of Manderley are the memories of Maxim's late wife, Rebecca. Throughout the film, Mrs. de Winter's struggles with adapting to her new life, but mostly living in Rebecca's shadow. Mrs. Danvers (Judith Anderson), the lead housekeeper of Manderley, refuses to give the new Mrs. de Winter any kindness, as she was fiercely devoted to Rebecca.

Rebecca is what I would consider to be one of Alfred Hitchcock's best movies. I have personally seen many Hitchcock films, and I think he truly shines in his black and white work. Of course his movies like the Birds, and Vertigo are suspense masterpieces, but when he works with black and white, his skill truly seems to shine. The one exception that I'd say exists for this rule would be Rear Window, because in my opinion, that is Hitchcock's best film.

What makes the black and white aspect of Rebecca so important, is how the use of shadow is essentially a character. It is there to shroud and conceal all the mysteries that dwell within Manderley, and make it so the viewer is just as uneasy and unsure about what's around each corner as the new Mrs. de Winter is. Hitchcock's use of shadow in Rebecca proves why he is still considered one of the greatest filmmakers of all time. He knows how to take something as simple as Mrs. de Winter or Mrs. Danvers entering a room, and turn it into something visually stunning and frightening.

Compared to some of the other films that Hitchcock had in his archives, Rebecca is rather quiet. There's no blood, espionage, or obvious sense of peril, yet, you never sense that Mrs. de Winter is safe. Part of this feeling is largely due to the impeccable writing of the story's creator, Daphne Du Maurier, but it's also the way that Hitchcock portrays the characters around Mrs. de Winter and the estate of Manderlay. There's so much unknown, that the suspense doesn't come from the imminent danger of a knife wielding murderer, but from the past that Mrs. de Winter must uncover.

As a final note on this movie, it should also be mentioned that it does an excellent job of following its' original source material. I have personally read Rebecca, and I can honestly say it is one of the better book to film adaptations that I have ever seen. In my journey of watching every Academy Award Best Picture winner, this film reigned number one for a very long time, and was only recently dethroned. However, it still stands in a respectable second place, I doubt it will find its way out of the top ten by the time I'm done with this cinema adventure.

1940 Best Picture Winner-Rebecca

1940 Best Cinematography, Black and White Winner-George Barnes

Rating: 3/5

Adjusting for inflation, Gone With the Wind is still the highest box office grossing film. Though by today's standards, there are many, many reasons to criticize this almost four hour long epic, if you try to put yourself into the mindset of an audience member in the year 1939, you can clearly see why this film was such a success.

Gone With the Wind boasts an all star cast, a sweeping romance, and a very big budget. Though I don't claim to be an expert on the subject of classic film, I have seen more than my fair share of movies from this time, and with this Best Picture Winning Oscar Project, have watched many more of the supposedly "critically acclaimed" films from the classic movie era. Prior to this, to my knowledge, there hadn't been a long epic movie of this kind, and as an added draw, all 233 minutes are in vibrant, silhouetted sunset color. To watch the movie in its entirety, it's not hard to see why it won so many awards, why it made so much money, and why it has carved itself a hefty space in the cinema history archives.

With all that being said, Gone With the Wind is obviously problematic for its grossly inaccurate and offensive portrayal of life in the South and its viewpoint on race. The problems are so crystal clear, that if someone watches this movie in present day and can't figure out why it has glaring historical and representational problems, then perhaps there's more issues to address other than their lack of film analysis skills.

From a cinematic and technical standpoint, is Gone With the Wind an impressively made film? Yes. I'd be kidding myself if I stated otherwise. Did I watch this movie and find myself cringing with irritation and anger numerous times during its seemingly endless duration? Absolutely. Gone With the Wind has definitely not aged well, but from a 1939 perspective, its Academy Awards domination makes sense. From my own personal ratings standpoint, I couldn't bring myself to give it any higher than three stars, and that rating is really only that high because visually, it has some pretty beautiful shots in it, though I do think the whole sunset motif overstays its welcome a bit.

1940 Best Picture Winner-Gone With the Wind

1940 Best Actress in Leading Role Winner- Vivien Leigh

1940 Best Actress in a Supporting Role Winner-Hattie McDaniel

1940 Best Director Winner-Victor Fleming

1940 Best Writing, Screenplay Winner-Sidney Howard

1940 Best Cinematography, Color Winner- Ernest Haller and Ray Rennahan

1940 Best Art Direction Winner-Lyle R. Wheeler

1940 Best Film Editing Winner-Hal C. Kern and James E. Newcom

Rating: 3.5/5

You Can't Take It With You is perfectly enjoyable and filled with great performances, though I did find it unable able to hold up to the expectations I had for it.

Jimmy Stewart is charming as always in this, but it is Jean Arthur that single-handedly steals the show in this movie. Placed against such big Hollywood names as her costars in this film, especially Lionel Barrymore, she is without a doubt the best part of the entire cast. Her character comes from a family that allows themselves to indulge in their every whim and passion, but of all her quirky relatives, she is certainly the most grounded, but by no means your typical leading lady. Her character is full of spunk and life, and is absolutely charming. For a time period where performances that felt natural and less stylized weren't entirely common, Jean Arthur makes her character feel truly real.

The main issue I had with You Can't Take It With You was how obvious it was that it was adapted from a play. Many films have had their origins on the stage, but they usually try to make that concept feel less blatant. You could see the clear moments where the film was broken up into it's stage acts, and the zany characters seemed a bit too over the top, like they had forgotten their performances didn't need to be large enough so they could be viewed by people in the back of a theater. Jimmy Stewart, Jean Arthur, and Penny Sycamore (who played the matriarch of the family) were the only ones who really seemed fitting to this story as a film.

I've certainly seen worse movies in this Academy Award Best Picture watch through, but given that this was directed by Frank Capra and my love for his film It Happened One Night, I have to say I was a trifle disappointed with You Can't Take It With You.

1939 Best Picture Winner-You Can't Take It With You

1939 Best Director Winner-Frank Capra

Rating: 1/5

To be perfectly honest, I couldn't tell you much about this movie, as it captured my attention so little, I fell asleep mid way through, then had to forcibly pry my eyes open in order to watch the rest of it.

It's just another one of the forgettable early Oscar winners. From what little I can remember, I can remember thinking the performances were decent, but that's about it.

1938 Best Picture Winner-The Life of Emile Zola

1938 Best Actor in a Supporting Role Winner-Joseph Schildkraut

1938 Best Writing, Screenplay Winner-Heinz Herald, Geza Herczeg, Norman Reilly Raine

Rating: 1.5/5

The Great Ziegfeld is part of that unfortunate old Hollywood film trend where the movie only had three main purposes-1. To show off all the talent they had under contract, 2. To show off how impressive their sets and costumes could be, and 3. To show off just how much money their film studio possessed.

The Great Ziegfeld does have a plot, but it is scattered throughout painfully long musical numbers that have nothing to do with the actual story. All they are is, close to twenty minute long random acts that are all part of Ziegfeld's Follies. So in a way, yes the spectacular numbers are technically part of the plot because this is a biopic of sorts about Ziegfeld and his follies, but the acts are just so long that you practically forget about anything that had occurred before it.

Now, I love musicals, always have, always will, but I have never loved musicals that don't have a plot threaded through the music. This is a big reason why I've never loved Cats, because it's just a show about felines introducing themselves through song. Cats is a show that is guaranteed to be more impressive live, and the same could be said for Ziegfeld's Follies. On film, the musical numbers, though highly impressive with their crazy elaborate sets and costumes, get a bit boring after awhile, though I would imagine seeing it live would be such a spectacle that it would be very easy to be entertained and impressed.

The Great Ziegfeld isn't the worst of the Oscar Winners I've seen, but it's definitely not one that I'm eager to ever watch again.

1937 Best Picture Winner- The Great Ziegfeld

1937 Best Actress in a Leading Role Winner-Luise Rainer

1937 Best Dance Direction Winner-Seymour Felix

Rating: 4.5/5

As I've mentioned in my previous reviews based on my self appointed challenge to watch every Academy Award Winning Best Picture film, I'm quite behind on my writing, but as of this time, I can certainly say that Mutiny on the Bounty has been one of the best surprises so far.

Sailors board the H.M.S. Bounty, expecting a typical journey. Being lead by First Lieutenant Fletcher Christian (Clark Gabled) and Captain Bligh (Charles Laughton), they set out to sea. It takes the crew aboard the Bounty no time to realize that their Captain is vile, ruthless, and viscous. His commands are outlandish and his punishments unjust. First Lieutenant Christian has no choice but to obey orders, but the morale of the crew is dropping fast and Christian knows there's only so long that he and his men can handle the tyranny of Captain Bligh.

When I set out to do this so called "Oscar Challenge", there were a select few movies that I just wasn't excited to get to. Some that made this list were put there either because of sheer length, topic, or both, and originally, Mutiny on the Bounty had made that list, but it took me mere minutes into the film to realize it certainly didn't belong there. Yes, I was prejudging the movie before seeing it, which is something I always try not to do, but I just couldn't find myself getting psyched up to watch it, but was very wrong in my initial prejudgment. Mutiny on the Bounty is filled with excitement and excellent performances. For the time in which this was made, the amount of shots of the ship on turbulent seas is incredibly impressive and without question one of the main reasons there's so much adrenaline fueled into the story. You see the waves appear as if they threaten to capsize the vessel, but know that even the most horrific of seas cannot hold a candle to the dangers of the captain dwelling inside the ship's walls.

Charles Laughton is known as one of the greatest performers of the classic Hollywood era. Prior to this, I had only seen two films he was involved in, one where he was virtually unrecognizable as Quasimodo, in the Hunchback of Notre Dame, and the other in which he was behind the camera directing for Night of the Hunter, so I had never seen him, looking like himself, performing in a role. Though Bligh's stature is much smaller than the many men who make up the crew, his temperament and immoral ways strike fear into the hearts of even the biggest of sailors. To sell this role, Laughton had to truly make the audience think he was capable of such abominable acts, and there isn't a moment where you don't believe him to be every ounce the character he plays. Clark Gable was no slouch in this film either. At first I had my doubts, because I'd mostly only seen him in roles where he played somewhat dapper society fellows, so I wasn't sure if I'd buy him as a commanding ship's Lieutenant, but I was pleasantly surprised. Though he did have a lot of his typical Gable tendencies in his performance, he did seem quite fitting for the role.

When I think of the 32 Best Picture winners I've watched so far (like I said, I'm way behind on my reviews for these), Mutiny on the Bounty is one that springs to my mind more often than some. I think about how much I really enjoyed watching this, and how much I look forward to seeing it again.

1936 Best Picture Winner-Mutiny on the Bounty

Rating: 4.85/5

It Happened One Night-just as fantastic this time around as it was when I first saw it.

Through a series of unexpected events, socialite Ellie Andrews (Claudette Colbert) and reporter Peter Warne (Clark Gable) are paired together as they travel across the country with the intention of getting Ellie back to her soon to be husband. The two couldn't be more opposite, Ellie is spoiled and Peter is used to "roughing it". Both have lots to learn from each other and find during their time together, the other may not be as insufferable as they once thought.

Let me just start off by saying I adore this movie. I had only seen it once before my most recent viewing and for some unfathomable reason, it took me almost ten years to get around to watching this classic gem for the second time. TEN years! What on Earth took me so long? I feel bad for myself that I deprived my eyes of getting to see this masterpiece for such a lengthy stretch of time.

What I really love about It Happened One Night is not only the sharp and witty writing, but also the performances, and primarily Claudette Colbert's. This movie is fairly fresh out of the silent movie era, and with that transition came some actors and actresses who didn't exactly adapt to the change. For example, see Greta Garbo in Grand Hotel. Like Garbo in the before-mentioned film, many performers didn't seem to realize that their expressions and mannerisms didn't need to be so exaggerated now that their voices were being heard, but that notion is incredibly far from what a viewer experiences with Claudette Colbert's lovable, memorable, and skilled performance in It Happened One Night. You fall in love with her character within minutes and you just wait with bated breath to see how long it takes for Clark Gable to follow suit.

When I first saw It Happened One Night, I was notably quite green when it came to my cinema knowledge. Not to say I was a complete novice, as I'd been fascinated and quite obsessed with film and filmmaking for as long as I could remember, and I had certainly seen more classic movies than the average person my age, but I had never really taken that next step of analyzing and studying film until I was fortunate enough to take a class in college on film study. It was in that class where I got to see this movie for this first time, and it really made a profound impact on me. I remember taking the new terms I learned in class and being able to see how those theories of what it means to be a great film be put to use in this very feature. Those years ago, I remember getting to see the scene in the motel room, watching Gable hang the sheet to divide the space, watching him and Colbert have their conversation in near darkness, and just being completely captivated by every moment.

As I've made my way through the Academy Award Best Picture winners, I have only found one so far that I would rank higher than this, and I'm quite behind on my reviews at this point, so I'm well beyond the 1930s as I write this. It Happened One Night is a classic for a reason and I definitely will not be waiting nearly as long as I did before to give this another viewing.

1935 Best Picture Winner-It Happened One Night

1935 Best Actor in a Leading Role Winner-Clark Gable

1935 Best Actress in a Leading Role Winner-Claudette Colbert

1935 Best Director Winner-Frank Capra

1935 Best Writing, Adaptation Winner-Robert Riskin

Rating: 2.5/5

Cavalcade is perfectly fine, but rather boring.

It's one of those stories where its drama comes from the many decades in which its plot sweeps, but because time is traveled through so quickly, you don't really get a sense of who the characters are, and therefore, don't really feel that invested in their story.

As I've been working my way through all the Academy Award Best Picture winners, this is one that hasn't exactly left a lasting mark on my memory. Though I will say the concept of using New Year's Eve as a time marker throughout each segment of the movie was a good way to keep the events of the plot easily understandable.

1934 Best Picture Winner-Cavalcade

1934 Best Director Winner-Frank Lloyd

1934 Best Art Direction Winner-William S. Darling

Rating: 0/5

Oh man, this movie. Yikes...

Boring? Check. Dull or overdone performances? Check. Blatant racism? Double check.

Some movies just don’t age well, even Academy Award winning Best Picture ones.

Yay for the costume designs?

Rating: 4.75/5

I'm a little behind on my review writing for my Oscar Best Picture Winners watch through. As I write this, I've just finished watching Gone With the Wind, which was winner number 12 in the lineup. Of the ones that I've watched so far, I would say that hands down, All Quiet on the Western Front has been my biggest surprise.

I've mentioned it before, but war films have never been my favorite genre. Many times, I watch movies for the purposes of escapism, and on especially difficult days, I usually find myself watching a Nora Ephron favorite or something nostalgic from my childhood-All Quiet on the Western Front is clearly neither of those two things, but I am pleased to say that I greatly enjoyed this movie. Well, perhaps "enjoyed" is the incorrect word for such an important and impactful film as this, so let me rephrase that to, I greatly appreciated and was awed by this movie.

I love classic film, but I knew this Oscar Challenge was going to present me with movies that I wouldn't classify as favorites, and I genuinely thought this was going to be one of them. Based on its reputation, I had a feeling I was going to be impressed by it, but not find myself liking it. How ignorant I was prior to seeing this stunning piece of cinema.

What struck me the most in All Quiet on the Western Front was its acting, cinematography, and ability to genuinely get under my skin and impact me to my core. To see a group of young school boys, keen with excitement for fighting for their country, be blasted into the reality and horrors of war as they watch their boyhood friend be struck blind by an explosion and then riddled with bullets, is a scene filled with strife that is painted in a gut wrenchingly clear picture by the actors in this film. Though this movie is almost a century old, the performances feel as real as if they'd happened only moments ago.

All Quiet on the Western Front is an incredibly well made movie, though I'm not sure if it will be one that I will be readily be watching again anytime soon. The scenes of war caused devastation are still fresh in my mind, such as the phenomenal sequence when you, the viewer, follow a singular pair of boots as they are passed on from fallen soldier to soldier. It's a film that proves that no amount of time can tarnish truly impeccable filmmaking.

1930 Best Picture Winner-All Quiet on the Western Front

1930 Best Director Winner-Lewis Milestone

Rating: 3/5

For some of these Best Picture entries, I will be doing somewhat micro-reviews. This could be because, perhaps I don't feel there is much to say, the movie has aged rather poorly, or it just may not have enough content to warrant a full review. For The Broadway Melody, there's nothing inherently wrong with the movie at all, just doesn't have a lot going on.

A decent musical, but nothing overly special.

I can only assume that this won an Academy Award for Best Picture because it was really one of, if not the first of its kind. Otherwise, it doesn't seem much better than your typical MGM musical from the classic Hollywood days. Not that that's an overly negative comment, because I myself love a good musical.

1930 Best Picture Winner-The Broadway Melody

Rating: 3.5/5

The first ever Academy Award winner for Best Picture, Wings is a technical feat.

War epics have always been a pretty big blindspot for me when it comes to the genres of movies I tend to gravitate towards. I appreciate them as a whole and fully understand why people like them, but they've just never been my cup of tea. There are, of course, exceptions, but as a general rule, not my favorite genre.

Recently I've tasked myself with the challenge of watching all Academy Award Best Picture winners in chronological order and my deadline is the 2021 Oscars. I've chosen to do this for two main reasons: one, I've always wanted to give this a shot, and two, I knew it would force me to go out of my cinema comfort zone and dive into films and genres I likely wouldn't otherwise get around to seeing. To start this journey off, I had to watch Wings, the silent film about two men, both in love with the same girl, who go off to be soldiers in the first World War. They find themselves the fighting from the air and growing up faster than they expected. Meanwhile, Mary, played by Clara Bow, decides to enlist as a driver so she can be closer to the boy she loves.

Wings is famous for its aerial scenes, where the opposing sides use their planes for battle. Given the year in which this film came out, 1927, the off the ground fight sequences are really and truly, very impressive. You can tell that the action was actually shot while in flight, and it's almost hard to believe that anyone involved in the making of those scenes made it out alive.

From a visual and technical standpoint, Wings is an absolute triumph. Aside from the plane battles, there's also a scene from a nightclub in Paris where the camera zooms straight across a line of tables, showcasing each couple sitting at their own spot until it reaches one of the main soldiers surrounded by a group of women. It's a very short sequence, but a really impressive one nonetheless.

Overall, I'd say I liked Wings, but I would definitely be lying if I didn't say I got a bit bored on occasion. It's not because it was a silent film, because I've certainly seen silent films that I really enjoyed, I think it had more to do with the length of some of the aerial scenes. As previously mentioned, these scenes are remarkably well done, but some of them go on for almost close to ten minutes, and as someone who already doesn't fully love war movies, it started to become a tad much as the film progressed.

1929 Best Picture Winner-Wings

1929 Best Effects, Engineering Effects Winner-Roy Pomeroy

Rating: 5/5

A more emotional watch now than it once was, Black Panther still remains to be one of the very best films to come from the MCU.

Following the death of his father, Prince T'Challa (Chadwick Boseman) is now heir to the throne of Wakanda. With the responsibility of being the next king, also comes the power of the Black Panther, but before T'Challa can claim the throne and the suit, he must participate in ritual combat, and either go unchallenged or win the fight against whomever believes they deserve to rule Wakanda. At first, it appears that T'Challa will be the official king, but when a distant relative makes himself known, the lives of everyone in Wakanda will be at risk of changing forever.

Ever since its release back in 2018, Black Panther has been considered one of, if not the best films in the Marvel franchise, and for the most part, that title has gone uncontested. There have certainly been some phenomenal origin stories and sequels that have been released in the many phases of the MCU, but very few are able to hold a candle to the visuals, villain, and story that are delivered in Black Panther. Given that Wakanda is a country that thrives on technology and culture, there are plot points and action sequences in this film that absolutely dazzle. Whether it be when T'Challa, Okoye, and Nakia fight against Klaue's henchmen in South Korea, each exhibiting their strength and power, or when T'Challa visits his father in the Ancestral Plane, every second of screen time creates a stunning balance between beautiful visuals and inventive and exciting action.

Black Panther is technically considered to be T'Challa's origin story, though he does get his official entry into the Avengers in Captain America: Civil War. So similar to Peter "Spider-Man" Parker, we don't have a back to basics origin story like Iron Man or even Captain Marvel, because we already got a pretty good glimpse into the character's powers in a previous film. So instead of Black Panther being a true origin story, it is a continuation of things we already know, but also a movie that provides plenty of background information to help fully understand and appreciate the character more. One of the many things that makes this film seem so special, is how deeply it dives into the culture in which T'Challa comes from. Other MCU origin stories have gone into the world where the hero is derived, but Black Panther fully envelops the viewer into the country of Wakanda, and all the beauty that comes with it. Though it is said to take place in the world that we all live in, and not in a far away galaxy like some of the MCU films, there's an attractive magic that pulls the viewer's focus to the screen like a moth to a flame. Though we, the audience, know in the back of our minds that the technology shown doesn't exist, it all feels incredibly real. Whether that be primarily due to the look of the film, the exemplary performances, or both, it doesn't matter. It all blends together perfectly to create an incredibly impressive film.

Marvel has been infamously criticized for its "villain problem", citing that many of the antagonists that fight against the hero are just one offs that don't have enough depth to them. This complaint cannot be said for Black Panther. Just as the late, and astounding Chadwick Boseman gave a remarkable performance as T'Challa, Michael B. Jordan gave an equally as brilliant portrayal of the film's villain, Killmonger. The best villains are the ones who test the audience's sense of right and wrong. You know that what they're doing is evil, but at the same time, you can also see why they're choosing to exact their vengeance. In Black Panther, Killmonger feels he has the right to fight for the throne, and he's not wrong, and T'Challa sees this too. The tension between the two characters would have been palpable just based on premise alone, but add in the outstanding performances by Michael B. Jordan and Chadwick Boseman, and you are presented with perfection. T'Challa is experiencing the whirlwind of conflicting emotions about Killmonger right along with the audience, and we are convinced into every enticing second of it.

Black Panther is so far, the only film in MCU to receive any accolades from the Academy Awards. There were other films to be nominated, primarily for special effects and makeup, but Black Panther was the first to receive a Best Picture nomination. Though some may not think a superhero film to be deserving of such a title, I would say to any who believe that, that they clearly didn't watch this film with open eyes and mind. Black Panther is groundbreaking on numerous levels, but it's not just its ability to break the mold of traditional superhero movies that makes it so deserving of such praise. It's the performances, the action, the heart, and the story that make it an exceptional film.

2019 Best Achievement in Music Written for Motion Pictures Winner-Ludwig Göransson

2019 Best Achievement in Costume Design Winner- Ruth E. Carter

2019 Best Achievement in Production Design Winner-Hannah Beachler and Jay Hart

Rating: 5/5

An absolute classic, Mrs. Doubtifre is comedy gold.

Daniel Hillard (Robin Williams) is a voice actor, who loves his kids more than anything, but isn't exactly the most responsible father. When one of his antics goes too far, his wife Miranda (Sally Field) decides she wants a divorce. During a custody hearing, Daniel learns he will not be granted permission to see his kids more than once a week for two hours. Desperate for a way to keep them in his life, he decides to use his skills as an actor and turn himself into Mrs. Doubtfire, a loving but no nonsense nanny for hire.

Mrs. Doubtfire is a movie that I grew up on. I found it incredibly funny when I was little, but as an adult, even more so. There were many, many little comments made by Robin Williams in this film that definitely went straight over my head when I was younger, but I find incredibly hilarious now. This movie is one of my favorite brands of comedy. It certainly has its moments of physical and sarcastic humor, but it also has moments of real emotion and depth to it as well. It is perfectly balanced. I've never been a fan of the all out, constant gags type of movies, so that's a big reason why Mrs. Doubtfire ranks so high on my list of favorite comedies.

There's absolutely no way that Mrs. Doubtfire would have stood the test of time and turned into the classic it has without the brilliance of Robin Williams. I've seen this movie more times than I can count, and yet I still find myself completely forgetting that Mrs. Doubtfire and Daniel Hillard are the same human being. Williams is so transformative in the role, that, similar to Dustin Hoffman in Tootsie, you find yourself missing their female alter ego once they turn back to their original characters. When I watch Mrs.Doubtfire, it sometimes doesn't even register to me that the woman extinguishing her blouse with pot lids is actually Robin Williams. This movie is certainly not the first to use makeup and prosthetics to turn its lead into another person, but very few are as convincing as this.

It has been said a countless amount of times how genius Robin Williams' quick witted comedy is in this film, and it should be said thousands of times more, but what I really want to focus on right now is his amazing dramatic performance. There aren't very many for him in Mrs. Doubtfire, but the few he has are exceedingly memorable. When Daniel learns he won't be able to be with his children, the heartbreak in every facet of his being is incredibly palpable. The heights he reaches with his comedy is equally matched in these moments of emotion. I would imagine it is a very difficult balance to find, but Williams makes it appear effortless.

When I watch Mrs. Doubtfire, I often wonder why it only received one Academy Award. It certainly deserved the one it got, but I feel like acting accolades should have been given as well. This film is timeless, and one that I doubt will ever lose its luster; it's just too wonderful to ever fade away and be forgotten.

1994 Winner Best Makeup-Mrs. Doubtfire

Rating: 3/5

Though it certainly has its moments of merit, Les Miserables is probably one of the more disappointed I've ever been for a movie I was greatly anticipating.

Jean Valjean (Hugh Jackman) has been a prisoner for 19 years for simply stealing a loaf of bread, and is now finally being released from the clutches of the horrid Inspector Javert (Russell Crowe). Because he is a former prisoner, Valjean is unable to find employment, and feels he is doomed to resort to a life of petty crime until a kindly Bishop takes pity on him. Many years later, Valjean has worked his way towards becoming a wealthy man, but has broken his parole and therefore still wanted by Javert. Though he is now a man of stature, Valjean seems doomed to continue the game of cat and mouse with Javert until the day one of them dies.

Les Miserables is the first musical I have memory of being introduced to. It's powerful melodies rang through the halls of my home growing up and I knew most of the words by heart before the age of ten. We listened to the soundtrack, watched the anniversary concerts, saw any stage production we could, and then I got the opportunity to perform in this show while in high school; so it would only figure that when I heard they were making a film version of the musical and not just the book, that I, and the rest of my family, would be incredibly excited. We were, but our excitement was not matched by what director Tom Hooper did with this musical theater masterpiece. Sadly, with Les Miserables I found much more fault in it than I did good.

So, where I unfortunately have more negative opinions about Hooper's Les Miserables, let's start with those, so we can end on the positive. I know many people love Hugh Jackman, and think he's a wonderful musical performer, and there are times where I would agree, but not for this role. Jackman boasts an incredibly noticeable vibrato with his voice, which in some scenarios may work for the character, but it is a real detriment to the power that is supposed to emanate from Jean Valjean's songs. Valjean certainly has numbers that show his vulnerabilities, like in "Bring Him Home", but even in those melodies, his voice has a strength to it that shows how much his character is pushing through the turmoil he is experiencing. Jackman just wasn't able to bring justice to this incredibly difficult balance. Valjean is famously one of the most complicated male roles to play, due to the immense vocal range required of the performer. Hugh Jackman, in all fairness, could hit the notes, but you could plainly see just how hard he was trying, too hard in fact, but at the same time, it felt like he thought he was giving the performance of his lifetime. All of it just seemed way over done, like a bad high school lead who has been the star of the school for four years, but doesn't realize until they tryout for the big time that they may not be as good as they think.

I could continue my thoughts on some of the poor casting choices in this film by talking about Russell Crowe, but I think he's received enough criticism for his singing, or lack there of, in this movie, so let's move on. The music in Les Miserables is undeniably some of the best to ever be brought to Broadway. Hearing it live is an experience unlike any other, and therein lies the problem with putting it to film. There's something uniquely remarkable about a moment in live theater, where the entire cast are on the stage, and they blend together for the most empowering and memorable song, one that is usually right before intermission. In Les Miserables, that song would be "One Day More". Each main character gets their moment of music to describe what they are feeling and the major choices they must make, then their beautiful voices overlap each other, in a vocal feat of athleticism. I remember hearing my high school cast do this for the first time and being covered in chills from head to toe, then seeing it done live by professionals brought tears to my eyes. The strength and intensity of hearing those voices harmonize and reverberate around a theater is completely lost in the film. They tried, but by not being able to have each character share the same space, the moment is completely missed.

Ok, finally, some positive thoughts towards Les Miserables. Though I have some very strong aversions to some of the casting choices, I will say that Helena Bonham Carter and Sacha Baron Cohen as the vile Thénardiers were a stroke of brilliance. These characters famously don't have to be pitch perfect, and Cohen and Carter did splendidly. Eddie Redmayne, though a little too vibrato filled for my liking, was a perfectly adequate Marius. Of course, Anne Hathaway was a wonderful Fantine, as she did win an Oscar for her performance, but Samantha Barks' Eponine was my favorite. Now, that's slightly biased considering her character has always been my favorite in the entire show, but given that Barks played Eponine on Broadway, she seemed to be the most in tune to the real feeling of the musical. Casting aside, both good and bad, there's no doubting Les Miserables has incredibly impressive production value. It's a massive show, and the sets most certainly hit the mark.

This is definitely one of my longer reviews, but that's because musicals, especially ones as close to me as this, are something I feel very strongly about. Tom Hooper isn't a bad director, I've seen other films of his that I've loved, but maybe he should walk away from the world of musicals. He just doesn't really seem to have a the knack for them; I mean, we all know what he did to Cats.

2013 Best Actress in a Supporting Role Winner-Anne Hathaway

2013 Best Achievement in Makeup & Hairstyling Winner-Lisa Westcott, Julie Dartnell

2013 Best Achievement in Sound Mixing Winner- Andy Nelson, Mark Paterson, Simon Hayes

Rating: 4.75/5

I, Tonya; a typical biopic this is not.

When people hear the name Tonya Harding (Margot Robbie), they immediately think of one of the most infamous scandals in sporting history. However, most don't know of the notorious ice skater's life beforehand, and that's where I, Tonya comes into play; well sort of. Before Harding was tangled in the plot to take out Nancy Kerrigan, she was a little girl raised by her chain-smoking, abusive mother, LaVona (Allison Janney). Tonya just wanted to skate, but felt she was never given a fair chance by the prejudice judges due to her poor upbringing. Her journey to the Olympics was anything but easy.

Whenever there's a new film depicting the life of someone famous, they generally follow a typical pattern. We see them in their youth, the moment where something sparked their interest in what they became known for, we watch them struggle and fight against adversity to make their way, and we see them become triumphant in whatever field they've pursued. I, Tonya by no means follows these typical patterns. Yes, we do see Tonya struggling as a child due to her tumultuous home life, but we never fully know what is true or not, as the confessional scenes are constantly giving contradicting stories about how the events really unfolded. Your gut tends to lean towards Harding being the one telling the truth, as, aside from her coach, she is really the only redeemable character in the bunch, but you still can't fully be sure.

I've never really seen a biopic done like this; it's quite a unique way to tell a story. There are times where amid the action of the scene, a character will stop dead in their tracks, break the fourth wall and turn to camera to express their frustration with the lies that are being told by whomever is telling the plot at that particular time. For a story like Tonya Harding's, this was such a brilliant way to tell the tale. Anyone who knew of the Tonya Harding, Nancy Kerrigan conflict, would look at Harding as the villain of it all, and based on the media coverage, who could blame them. But I, Tonya starts to allow doubt to creep into your mind, making you really question whether what you believed about the whole ordeal was fully true. You don't leave the film wanting to ring out to the world about Harding's innocence, but you maybe don't feel like she was as completely guilty as one would have been lead to believe.

Margot Robbie is quickly becoming one of my favorite performers of this current generation of filmmaking. I've seen a fair amount of her work, and it's incredibly diverse. Other than the fact that they're both blonde, you couldn't look at her portrayal of Tonya Harding and then put it against her role of Harley Quinn and say there were any resemblances. Harding couldn't have been an easy role to take on, given that she's supposed to somewhat be the hero of the film, yet many already have predetermined opinions on her that would say otherwise. She had to make Harding someone who people would sympathize with, despite what they already knew about her involvement in the Olympic scandal. With any sports film, you usually feel the urge to cheer or be excited when the main character or team completes some major athletic feat, and even though Harding faces an uphill battle in that respect, you can't help but root for her to nail her routines. It's a definite testament to Robbie's performance that such mixed emotions can be felt by the viewer as they watch I, Tonya.

When I first watched this movie a few years back, I wasn't really sure what to expect, because I had originally thought it a little odd that they were making a feature where Tonya Harding was the hero. I wouldn't say I've completely changed my tune on the who debacle, but, if the events in the movie hold even the slightest bit of truth, which I believe they do, I've certainly gained much more understanding and empathy into her complicated and tragic life. In the future, I would love for more biopics to try and be as daring and innovative as I, Tonya, because it was certainly a breath of fresh air for the genre.

2018 Best Performance by an Actress in a Supporting Role Winner-Allison Janney

Rating: 5/5

Coco; what an absolutely beautiful film.

Miguel (Anthony Gonzalez) is passionate about music, especially the songs of his favorite singer, Ernesto de la Cruz (Benjamin Bratt). The only problem; he has to keep his love for music a secret, because his family has vowed to hate all musicians ever since his great-great grandfather left his wife and child to pursue a career in music. Miguel desperately wants to play in the local talent show, but his family forbids it. When Day of the Dead arrives, Miguel and his family are putting up the photos of their ancestors for ofrenda. He accidentally knocks over a frame containing a photo of his great-grandmother Coco (Ana Ofelia Murguía) as a little girl with her mother and father, though the father's head has been torn from the picture. When Miguel unfolds it, he sees the guitar of Ernesto de la Cruz in his great-great grandfather's hands. Now Miguel knows he must perform in the talent show, but is in need of an instrument. Knowing de la Cruz's guitar is at his grave, Miguel goes to borrow it for the show, but instead finds himself transported into the Land of the Dead.

Coco was the last Pixar film that had been released that I had not seen. I can't remember why I never saw it in the theaters, but whatever the reason was, I never did and then it took me far too long to finally see it at home. Between Cars 2 and up to this film, Pixar had had a somewhat rocky stretch. Of course there were some definite standouts like Inside Out and Brave, but it also had some incredibly low points; I'm looking at you Good Dinosaur. Pixar has almost always done really well with their sequels, and that's what mostly made up this time frame of their releases, and they hadn't had a true masterpiece since the release of Inside Out, so they were definitely due for one, and Coco without a doubt delivered. This movie reminds me of everything that is wonderful about Pixar; original stories, vibrant colors, mature themes, and the ability to have a one way ticket to the viewers' heartstrings.

In my opinion, Pixar is always the best when they aren't afraid to bring content to their stories that could be seen as dark or "too grown up" for a children's film. Just look at Up, a movie that is legendary for its ability to make its viewers cry, no matter their age. Inside Out tackled the complexity of emotion, and Coco takes on the concept of family and death, showing that even though someone may no longer physically be with us, it doesn't mean they are gone from our hearts. It paints a story ripe with tradition, but also focuses on the importance of being true to yourself and your dreams. There's so many wonderful lessons to be learned from watching this film, and in true Pixar fashion, it can speak to any age.

What I had really disliked about The Good Dinosaur, was the voice acting. I just found the main character's voice to be incredibly grating over time, but the same cannot be said for Anthony Gonzalez who voiced Miguel. For such a young actor, the amount of emotion he was able to bring into his character was absolutely stunning. When you think about the fact that with animated films, many times the people doing the voice acting haven't even seen moving footage about what their characters are doing and are sometimes only presented with a sketch, it's really quite phenomenal that anyone is able to bring such depth to their character, let alone someone as young as Gonzalez. Every single vocal performance in this film was fantastic, but I was definitely the most impressed by the him.

Before seeing this movie, I had a pretty good idea of what my top five Pixar features would be, but Coco completely derailed that lineup. I was so surprised by how much I loved this film that I really have to rethink the order in which I would rank my favorite to least favorite movies put out by the studio. It's a movie that I implore anyone who has yet to see it to make time to do so, because it is without a doubt one of the best things Pixar has put out within the past decade.

2018 Best Achievement in Music Written for Motion Pictures (Original Song) Winner-"Remember Me"

2018 Best Animated Feature Film Winner-Coco

Rating: 5/5

Misery is an exercise in how to make a claustrophobic horror masterpiece.

Paul Sheldon (James Caan) is a writer, famous for his "Misery" series. Upon leaving the Silver Creek Lodge after finishing his latest novel, he drives through a blizzard and gets in a horrible car crash. A stranger pulls him from the wreckage and takes the unconscious Sheldon back to their home to recover. When Paul awakens, he discovers his savior is a woman named Annie Wilkes (Kathy Bates), who just so happens to be his number one fan. At first, Paul thinks he will just be under Annie's care for a short while until the roads are clear, but soon he begins to realize that being rescued by Wilkes may not have been as fortunate as he first thought.

Stephen King is an author who has had his works adapted time and time again, and there generally seem to be more misses than hits. Misery is one of the adaptations that falls into the "hit" category along with movies like Shawshank Redemption, Stand By Me, IT (2017), The Shining, and a handful of others. Everything about Misery is brilliantly done. The acting is top notch, the sense of tension is incredibly palpable, and its few but famous moments of gore are nauseatingly realistic. No matter how many times you watch this movie, you can't help but to instinctively cringe when you see that sledgehammer appear.

I have been a huge fan of Kathy Bates for many years, and this film is definitely one of her crowning achievements. There are so many ways that the portrayal of Annie Wilkes could have gone terribly wrong. Her character has to appear kind, albeit a little bizarre and naive, at first, and then slowly reveal the true insanity that lives within. I've seen this story done live as a play, and though the woman who played Wilkes did a fine job, she pushed the crazy factor just a bit too far beyond the point of believability, and couldn't even come close to holding a candle to the original. Kathy Bates created a character, that, as mad as she may be, you couldn't help but sympathize with her, even if it was for the briefest of moments. Sure, after everything she does to Paul you aren't exactly hoping she doesn't receive her comeuppance, but I always feel bad for her when she has dinner with Paul and truly believes he could be romantically interested in her. Bates' performance is just absolutely phenomenal.

Misery is one of the rare occasions where I've seen the movie easily a half a dozen times, but I still always find myself being completely roped into the story, hoping for certain character's fates to not happen. I get so invested, that I sometimes can almost trick myself into thinking that, maybe I remembered that part of the movie wrong, but I know I'm only fooling myself. Every character, even the side ones, are so wonderfully portrayed, that it's incredibly easy to get quite attached to them. There are very few movies that have the ability to make me think this way, and it is a testament to the actors and writing that Misery is able to get into the minds of its viewers in such a strong way. It never ceases to amaze me when a story practically takes place in one setting manages to be incredibly engaging from beginning to end.

Now, being from Maine, I've read my fair share of Stephen King novels, but I've actually never read Misery, so I don't know how the comparison from the book to the film adds up, but I'd have to imagine that given how great this movie is, it has to be pretty darn close.

1991 Best Actress in a Leading Role Winner-Kathy Bates

Rating: 4.25/5

Though not my favorite in the Toy Story franchise, the third installment is still a wonderful children's film.

Years have passed since Jessie (Joan Cusak) and Bullseye joined Woody (Tom Hanks) and the gang and now Andy (John Morris) is ready to head off to college. Though he has outgrown playing with them, Andy can't seem to fully pull himself away from his childhood toys, especially Woody. So he decides to take his favorite cowboy with him to school and put the rest of his toys in the attic for safe keeping. Through a mishap, the toys find themselves on the side of the road and about to be taken out with the trash. To save themselves, they find their way to a local daycare, hoping to get a new life of being children's toys, but very quickly realize they're in over their heads.

It had been many years since I had revisited Toy Story 3 before my most recent viewing and watching it now, knowing it is in fact not the conclusion to the franchise, was a very different experience. When I saw this in the theater when it was first released, everyone assumed that this was going to be the end of Woody and Buzz's journey with Andy and that this would be the last we saw of them, aside from the occasional Pixar holiday special. So the ending, which is pretty famous, but I will refrain from divulging too much information to prevent any spoiling of the plot, was very emotional and one that brought countless viewers to tears. Now watching it, the ending sequence is still packed with feeling, but doesn't hit quite as hard now that the viewer has the knowledge that there will still be more toy filled antics to come. Even though I know this isn't the last in the series, the ending of this film still has some major pull on the heart strings. The camaraderie of the toys, the ending of an era, and the score all easily evoke strong emotion.

Whenever I looked back on Toy Story 3, I remembered it quite fondly, but I had clearly forgotten how dark this particular story gets towards the middle. I was in high school when I first saw this and found Big Baby to be quite unsettling, and a decade later, I still do. I for one really love that about this movie. Toy Story 2, which is my personal favorite of the franchise, is a fantastic film, but the third installment definitely takes the beloved collection of toys on a much more complicated and perilous adventure. To me, it seemed as if the creators of this film made the assumption that a large portion of its audience would be made up of people who had grown up with Woody and Buzz, and were now at an age where they could be a little more daring with their plot. In my eyes, it was a risk that certainly paid off.

Toy Story 3 takes the familiar characters to an all new setting. Though in Toy Story 2 we got to see some of them leave their home, there was still a large portion of the plot that took place in Andy's room. In this movie, very little of the film actually takes place there, so we get to see how all the toys react to a brand new environment. I loved seeing the different levels of the daycare they arrive at, the impeccable detail that was put into every inch of the world around them, and even getting to meet new toys when Woody first meets Bonnie. Initially I had assumed I wouldn't have wanted any new major characters to be introduced, because I loved the preexisting group so much, but the creators of Toy Story have an uncanny ability to know what a viewer would want, even if that person may not even know it yet.

When I think of all four Toy Story movies and try to put them in order from favorite to least favorite, it is not an easy task. If I had to choose, I would likely put this film at the bottom of the pack, but just barely. These films are so brilliantly made that it is really pulling hairs to rank them in any way. The tried and true formula of putting together Woody, Buzz, and and exciting adventure are just too wonderful to ever truly fail.

2010 Best Animated Feature Film of the Year Winner- Toy Story 3

2010 Best Achievement in Music Written for Motion Pictures, Original Song Winner-"We Belong Together"

Rating: 5/5

Between the colors and animation style, Pocahontas is without a doubt one of Disney's more visually stunning works.

Captain John Smith (Mel Gibson) is heading an expedition to an "undiscovered" world, under the orders of Governor Ratcliffe (David Ogden Stiers). Ratcliffe hopes that his men will be able to find gold when they finally hit land, and then deliver to him whatever endless riches they unearth.

Meanwhile, a young Native American woman named Pocahontas (Irene Bedard), who is also the daughter of Chief Powhatan (Russell Means), is struggling with the idea of being forced to marry a man she has no feelings for. Pocahontas is perfectly content with spending her days embracing the nature that surrounds her, but when she comes in contact with John Smith, her normal life gets a drastic change.

Pocahontas is very commonly disliked and looked down upon due to its loose telling of historical events. So let me just say before diving into the entirety of the review that I am well aware that Pocahontas' historical accuracy would be the equivalent of Titanic ending with the ship missing the iceberg. With that being said, I still find it impossible to dislike this movie because of the incredibly strong memories I have attached to it and how absolutely beautiful the score and animation is. So, know that my review is based on looking at this film as a complete work of fiction and not a historical document.

A common thread found in Disney films made before the heavy use of CGI, were storylines that were technically targeted towards children, but also carried some serious emotional heft as well. In the '90s alone, you had the Lion King, Hunchback of Notre Dame, and Tarzan, all movies famously known for evoking tears from both it's younger and older audiences. Pocahontas is no exception to this Disney trend. In fact, this film is very similar to Hunchback, in that it has very little content that would be considered amusing to a child at all. It does however, have the occasional comedic moment between Pocahontas' raccoon and hummingbird friends, but those scenes take up very little of the film's total screen time. For the most part, the plot involved with Pocahontas is focused on relaying its message of the importance of nature and culture, and exploiting the dangers of destroying something, simply because one doesn't take the time to understand it.

As a child, I always gravitated towards stories that possessed darker and more ominous storylines, because I always felt they had the better music, and they usually did. Pocahontas' score has been one that has had the ability to give me chills ever since I first heard it over two decades ago. The music, just by itself, is almost too beautiful to comprehend, with each note and lyric making a mark on your senses, but when you add in the artistry of the scenes with their color schemes that could only have been inspired by the most vibrant of sunsets, the combination creates a genuinely remarkable film experience.

The '90s was a time where it seemed as if Disney put out a new film practically every year, so there were definitely some that didn't carry the same legacy as others. Obviously, the Lion King dominated this time period as the most successful, but Mulan and Pocahontas were the two that left the most lasting memories for me. Over twenty years after both my sister and I first watched Pocahontas, we were discussing what made this movie so great. I commented on how the music had always been what impacted me most, and my sister said that for her, it was the colors. I think Pocahontas is the epitome of what makes film so great. It had the ability to reach two viewers in entirely different ways, and make an impression that was strong enough to last well into adulthood.

As much as I love how far we've come in the world of animation, I think that the constant use of CGI deprives a film of its' ability to really stand out from the crowd. With the newer films, the breathtaking combination of art and music seems to be slightly lost. Pocahontas is a brilliant example of why the older style of animation was so impactful, and how it was really able to trust in a child's patience and imagination. You can see the unbelievable amount of work that went into each second of the film, and that tireless effort in turn became what I would consider to be one of Disney's best pieces of cinema.

1996 Best Music, Original Song Winner- "Colors of the Wind"

1996 Best Music, Original Music or Comedy Score Winner- Alan Menken and Stephen Schwartz

Rating: 4.75/5

Perhaps one of Pixar's riskier ventures, WALL-E is cleverly humorous, touching, and impactful.

In the future, humans have had to vacate planet Earth due to over-polluting it. They now live in space, while robots are left in charge of cleaning up the planet in order to make it habitable again. The plans to heal the earth have seemingly failed, as it is still completely covered in garbage, and only one lone robot appears to be left; a WALL-E whose purpose is to collect trash and put it into cubes. WALL-E has collected many trinkets in his solitary time on Earth, and appears contented in his day to day routine. When a sleek and powerful robot called EVE arrives, WALL-E's simple existence is suddenly propelled into a new adventure.

The Pixar animation company is no stranger to making children's films that tackle important and sometimes mature themes. Whether the focus of the plot be friendship, change, or dealing with loss, Pixar has been able to deliver their films' messages with subtlety, tact and grace. Of the many movies in their catalogue, WALL-E is perhaps one of their more obvious theme driven stories. There's no way you can watch this film and miss the big environmentalism message that carries WALL-E to the beginning and end of his journey. It is because of this, and a handful of other reasons, that this movie seems like a larger gamble than most of the other Pixar features, which also cary some weighty plot lines, but are generally brighter and follow a slightly more traditional path. Yet, with all that being said, WALL-E is an incredibly powerful and successful children's film with a crucially important story to tell.

What I love about this movie, is that Pixar dared to make a film targeted for kids, yet weren't afraid to have a large portion of its first act be basically in the style of a silent film. Aside from the occasional robotic squeal or mechanical utterance of "EVE" and "WALL-E", there isn't much dialogue to be had. The narrative is entirely told through the motions of the two androids, and yet, it is engaging and though the main characters are not even human, you care a great deal about them. Now, I watched this movie for the first time in high school, and then again many more times as an adult, so I don't know exactly how this film landed with much younger viewers, but I did get a chance to watch it with middle schoolers, and I can say at least from their reactions and from my own point of view, that I found WALL-E to be really quite special and the middle schoolers appeared to think so too.

A couple years back, there was an instance where for work, I had to watch this movie twice a day for two days in a row, and I honestly thought after having to see so much of it back to back, that I would never want to watch WALL-E again, or at least not for a very long time. So when I decided to rewatch all of the Pixar films in order from beginning to their most recent release, I had some scruples about whether or not I was going to skip this one, but the completist in me wouldn't allow it. When I sat down to watch WALL-E again, I was actually quite surprised how much I enjoyed watching it this time around. I had forgotten how stunning the cinematography was, and how genuinely funny it was. Where this movie is so different from your typical children's film, many of the laughs come in unexpected ways, but mostly from spot on comedic timing. I feel WALL-E gives kids the opportunity to watch a movie in a new way, and maybe will give them a larger interest in exploring other types of storytelling. It is a film the very clearly doesn't underestimate its viewer, no matter what their age might be.

WALL-E, though not my all time favorite Pixar film, is a wonderfully beautiful movie. It is so different from any of the other additions to the studio's releases and it's hard to find, at least from my own knowledge, any other main stream children's film that is like it. It is truly one of a kind.

2009 Best Animated Feature Film of the Year Winner-WALL-E

Rating: 3.85/5

Though it's a Disney classic that has never been a personal favorite of mine, Aladdin is visually stunning and boasts some incredibly strong voice performances.

A street urchin named Aladdin (Scott Weinger) spends his days in the streets of Agrabah stealing food while avoiding the palace guards. One day, he meets Princess Jasmine (Linda Larkin) while she's in disguise and walking through the town. When the two begin to fall for each other, Aladdin is captured by the guards and locked away. With the help of his monkey Abu and a deceptively kind old man, Aladdin is freed from the Palace dungeons and sent on a quest to find the Cave of Wonders. He unexpectedly finds a lamp that releases a Genie (Robin Williams), who helps Aladdin try to become worthy of Jasmine and save her from the Sultan's adviser Jafar (Jonathan Freeman).

Ok, for starters, I know that my opinion on Aladdin is a highly unpopular one. So let me just make it very clear, that I do not think Aladdn is a bad movie, it's just not one that I have loved as much as some of the other Princess films put out by Disney. When you rewatch a movie that you first saw as a child, it's hard to shake the initial impression you had of that film. If it was a something you absolutely adored as a kid, you can watch it as an adult and still love it, even if the movie isn't fantastic; hence my ability to rewatch Mary-Kate and Ashley movies and still find some enjoyment out of them. The same goes for a rewatching a film you didn't categorize as a particular favorite. You can watch it many years later, but you still have a similar feeling about it that you did then. That's the way it is for me and Aladdin. I watch it now, knowing it is an impressive film, but I just can't seem to rid myself of my childhood opinion of it.

When I decided to watch through all of the Disney Princess films in order, I wasn't exactly excited to get to this one, but I was curious, because though I have seen it more than once, I still always seem to have a hard time remembering a lot about it. I know when I was little I was terrified of Jafar, and that is very likely one the reasons it never became a favorite of mine, but I still couldn't remember much other than the "Whole New World" magic carpet ride. In my most recent viewing, I was quite taken aback with how much more I liked Jasmine's character than I had remembered. She's daring, kind, and confident. The '90s brought a new wave of Disney Princesses, ones that didn't just fall head over heals in love with a man just based on a first glance, and ones that were less helpless and more powerful. This trend really seemed to kick off with Jasmine, especially when you consider the climactic scenes towards the end of this film.

Though I did not watch Aladdin even remotely as much as I did other films, what I do remember from my viewings of this movie as a kid was finding the Genie hilarious, and I still did with this most recent watch, and in fact found him more comical than I ever did. Some of the references the Genie makes and imitations he does would very clearly go right over a child's head, but as an adult, they're easier to pick up on, and absolutely hysterical. When I hear the Genie talk, I just imagine Robin Williams in the Disney studios, full of energy, delivering rapid fire comedy, and the filmmakers just letting him fly. Genie is without a doubt one of the best sidekick/mentor characters ever put to animation.

I know many would put Aladdin at the top of their favorite Disney movie lists, and there's definitely a lot of ways I can see why people would do that, it's just not that way for me. Even though I don't love this film like I do some others, I can still greatly respect it and appreciate it for being a strong entry into the Disney catalogue.

1993 Best Music, Original Song-"A Whole New World"

1993 Best Music, Original Score-Alan Menken

Rating: 5/5

Easily one of the best films Disney ever made, Beauty and the Beast is a true classic.

Belle (Paige O'Hara) lives in a small town, and doesn't feel like she really fits in. She is the daughter of an inventor, and is seemingly the only person in her village who loves to read as much as she. When her father goes missing after leaving for a convention, Belle sets out to find him, and discovers a castle hidden in the woods, filled with magic and mystery.

When I've looked at lists where people rank all of Disney's films, or just the princess ones, Beauty and the Beast very commonly takes the number one spot. For me, I wouldn't put it in that coveted location, but it would definitely crack the top five. The film has wonderful music, phenomenal animation (especially the rose in the West Wing), a lead princess that is more heroic than some of her predecessors, and a large collection of charming characters to fill up it's runtime. The tale is daring at times and tells a love story that has incredible depth.

Beauty and the Beast is a show that I have actually directed as a stage production, and something I've discovered through my time vigorously working on these shows, is that the music, no matter how much you loved it beforehand, starts to become a bit grating overtime. This happened while I was directing Beauty and the Beast, so I wondered, as I was making my way through all of the Disney princess catalogue, if I was going to find the score and film to be less enjoyable than I once had. Thankfully, I was able to love this movie just as much as I had before I ever directed a version of the tale. There's such perfection to be found in Beauty and the Beast, that even if you have heard the music too much, you can't help but fall in love with it all over again. The opening notes that begin the Prologue are just as chilling and enchanting as they ever were, I still love listening to Mrs.Potts serenade Belle and the Beast as they dance, and the "Mob Song" led by Gaston is hands down one of the best moments of musical villainy in all of Disney.

What is so striking about Beauty and the Beast, is how big the story is. Prior to this film, most of the princess movies had a fairly basic character line up; one princess, one prince, between one to three helpful sidekicks, and a villain. Beauty and the Beast really opened up their world with the number of characters that are found in Beast's castle. Yes, Lumiere, Cogsworth and the other cursed castle dwellers could all be seen as sidekicks, which they technically are, but it is the sheer number of them that is impressive. They all have crucially important roles in the story, and they also add a lot of whimsy to an otherwise rather dark tale.

When it came to the live action remakes, I think the most recent Beauty and the Beast was such a major disappointment to me because of how much I cherished the original. 1991's Beauty and the Beast is incredibly special and should go down in history as one of Disney's greatest triumphs.

1992 Best Music, Original Song Winner- "Beauty and the Beast"

1992 Best Music, Original Score Winner-Alan Menken

Rating:4/5

Though not my favorite of Disney's princess films, The Little Mermaid still boasts a great soundtrack and beautiful visuals.

Ariel (Jodi Benson) is a teenage mermaid who is the daughter of King Triton (Kenneth Mars). She dreams of a life away from the water, and yearns to walk on land and be amongst the humans. When she saves a handsome prince from a shipwreck, Ariel knows she needs to find a way to rid herself of her tail and get legs so she can be with the one she loves.

As beloved and cherished as The Little Mermaid is, it's never been one of my favorites when it comes to the Disney princess films. I definitely enjoy it, but I don't have as strong of memories tied to it like I do other movies like Mulan, Pocahontas, or Cinderella. As a child, it wasn't that I hated The Little Mermaid or anything resembling a strong aversion to it, I just remember finding myself a little bored. I loved the beginning when Ariel saved Prince Eric, and the scene of her giving her voice to Ursula, but I was never exactly over the moon when it came to her time spent on land, though I did enjoy the ending, and to this day, still do. I think I actually like The Little Mermaid more now than I did then, which does seem a little backwards, but as an older viewer, I find more to appreciate about it, especially the darkness of some of the scenes. Even though Ariel is the heroine of the story, I still find myself being much more entertained by the scenes involving the infamous sea witch rather than the lead mermaid.

A staple found in Disney's princess films are the songs found in the beginning where the princess sings a melody about her hopes and dreams. They have evolved over time, but they all serve the same purpose; to set up what the main character is searching for and what will lead her to her adventure. Even though Ariel isn't my favorite princess (I find her to be a little too spoiled), she definitely has one of the best "I wish" songs. "Part of Your World" is a song I've known by heart for as long as I can remember and I never tire of hearing it. Though it is quite a simple song, it helps to explain how little Ariel understands of the world she dreams of belonging to, and it gives a great insight into the character; as a side-note, it's also quite fun to sing along too.

As I've been watching my way through the princess catalogue, it really surprised me to realize the sizable gap between the number of years it took Disney to release another princess film. I had never noticed that it had taken practically thirty years after Sleeping Beauty for another likeminded film to come out. Now, I don't know the history of why it took so long, but from a viewers standpoint, it is really amazing to see the jump in animation between the two films. Sleeping Beauty was highly illustrative in it's animation, especially in the backgrounds, and was absolutely stunning. The Little Mermaid looks closer to what people today might associate with cartoons. The colors are bolder and the lines a little smoother. It's so interesting to see the changing animation styles over time, and the skilled hands of the artists involved in making these films are truly remarkable.

Based on this review, it may seem as if I don't like The Little Mermaid, but that's certainly not true. I really do enjoy it, especially for its villain. Like everyone else who's a fan of a particular franchise, I have my favorites, least favorites, and the ones that fall in the middle. The Little Mermaid is a wonderful movie, just not one that makes it to the top of my list when it comes to Disney princess films.

1990 Best Original Song Winner- "Under the Sea"

1990 Best Music, Original Score-Alan Menken

Rating 5+/5

The Incredibles is hands down one of Pixar's greatest works and is a joy to revisit every time I watch it.

Once, the world needed superheroes to look after its streets and citizens. Famed protectors like Mr.Incredible (Craig T. Nelson) and Elastagirl (Holly Hunter) were just two of the many heroes who looked after their city. They were celebrated and loved by most, but after a series of mishaps involving supers, all the heroes were forced to go into hiding, suppress their natural abilities, and try to lead normal lives. For Bob Parr, the former Mr.Incredible, this proves to be quite a challenge for him and his children. Bob cannot let go of the old days, so when he hears of a secret program in need of his super strength, he doesn't hesitate to sign on, not knowing what dangers may be ahead for him or for his family.

For my own personal viewing history, there are few animated movies that live up to the greatness of The Incredibles. There are a handful that come close, some that are about on par with its excellence, and maybe only a few I can think of that could surpass it. What makes The Incredibles so special, is that it is not just a great movie by animated standards. It is a fantastic example of a stellar superhero film as well as a showcase of the power that can be found in the art of storytelling. The arc the characters take are exciting and at times quite dark considering the target audience for the film, and even though they are in a world created by Pixar, you are never fully sure of the characters' safety. Most children's films are quite predictable, but The Incredibles keeps you on your toes from beginning to end.

Pixar has a wonderful habit of creating incredibly unique and impactful opening sequences. Up is famous for it, and Inside Out is no slouch either. The before-mentioned films and The Incredibles all have a way of creating a type of prologue that will introduce you to the characters, let you know more about their lives before the main plot line begins, and completely pull you into their story. The first ten minutes or so of The Incredibles is honestly some of my favorite moments throughout the entire film. I love the vintage tone that is given off by the interviews with the supers, the intensity of some of the rescues that have to be done, and the chemistry that is introduced between Mr.Incredible and Elastagirl. Within those first few minutes, it is clear that, though this movie is intended for kids, the film will not be afraid to shy away from content perhaps deemed too intense by the standards set for other children's movies.

I've seen The Incredibles more times than I can recall, but on my most recent rewatch, I was really struck by how, if the characters were live-action and not animated, the movie could potentially be branded as an action film and not a children's one. In no way is this a critical statement towards The Incredibles, in fact, it's a compliment. I've said it many times in my reviews for children's films, but I will say it again. I always have appreciated when movies meant for younger audiences create stories that don't treat the viewers as if the only things they could enjoy are crude and juvenile humor. The filmmakers provide a story that has depth, intelligence, and just enough joviality to keep even the youngest of viewers happy. The Incredibles is not only entertaining to kids, but I feel it is respectful to them as well.

There's really nothing negative I could ever say about The Incredibles. It's sheer perfection in the form of computer animation. I loved it when I first saw it sixteen years ago, and I still adore it today, perhaps even more.

2004 Best Achievement in Sound Editing Winner-Michael Silvers, Randy Thom

2004 Best Animated Feature Film of the Year-The Incredibles

Rating: 5+/5

Whether it be the poster, the music, or the story itself, everything about Jaws is absolutely iconic.

In the small vacation town of Amity Island, the residents are gearing up for the busiest time of the summer, the 4th of July. The biggest draw the island has are its beaches, and the residents and visitors are excited to get their feet in the water. The only problem is, a massive shark is stalking the shore and no matter how hard the new head of law enforcement, Chief Brody (Roy Sheider), tries to convince the mayor to close the beaches, his demands are ignored. Now everyone who enters the water is at risk of being prey to the great white, and there's no knowing when it's going to strike next.

Many years ago, I sat down to watch my first scary movie. I'd heard my parents talking about Jaws and I'd had a fascination with sharks for as long as I could remember, so though, at the time, I was more than a little nervous to watch it, I got ready to see the movie that would make a major impact on my life as a film fanatic. The first time I saw it, I was quite young, so admittedly I closed my eyes numerous times, but just with the score and the cinematography leading up to the attacks, I was completely pulled in. I remember it not even being a week later that I sat down to watch Jaws again, and this time, I kept my eyes completely open and got the full impact of what it takes to make a film into a masterpiece. The switching of the perspectives, the haunting sound of the strings as the shark narrows in on its next victim, the first sight the audience gets of the shark in all its massive glory, everything about it won me over and helped turned me into the film obsessive I am today.

There's something so jarring about having frightening sequences happen during the daytime. In almost every movie classified as horror or thriller, the scares occur when the sun goes down. Jaws famously brings the fear into the light, making it so that at no time does it ever feel like the characters are truly safe if they're not on land. Such a simple concept, but one that completely changes the overall effect the movie has. Yes, there are many times where the shark appears at night, but it is those daytime sequences that really get the anxious heart pumping.

Jaws is the film that notoriously kept first time viewers out of the water and though it is many years later, it still has the same effect. I have seen this movie easily over a dozen times, but if I ever watch it in the summer, which is when I normally find myself with the urge for yet another viewing, I still find the fear of what lurks beneath the waves creeping into the back of my mind once I step foot into the ocean. I've seen numerous shark movies since first seeing Jaws, but it is this particular film that has the greatest impact on my nerves whenever I go to the beach. I absolutely love sharks, but Jaws doesn't exactly make me want to share the same space with them.

What more can I write about Jaws that hasn't already been said? It has been praised for decades, and will very likely continue to be doted over for countless years to come; as it should be.

1976 Best Sound Winner-Robert L. Hoyt, Roger Herman Jr., Early Madery, John R. Carter

1976 Best Film Editing Winner-Verna Fields

1976 Best Music, Original Dramatic Score Winner-John Williams

Rating: 5/5

An absolute visionary triumph, Finding Nemo is easily one of Pixar's best.

After a tragic event caused Marlin (Albert Brooks) to lose his wife and almost all his children, the clownfish now devotes every moment of his life to protecting his son Nemo (Alexander Gould). On the first day of school, Nemo is overjoyed at the idea of finally leaving the family anemone, but Marlin is worried Nemo's damaged fin will cause him to get hurt. Marlin's fears come to true when Nemo is suddenly abducted from the sea. Now it is up to Marlin and his new found companion Dory (Ellen DeGeneres) to find Nemo and bring him home.

When it comes to childhood movie theater experiences, Finding Nemo is one that firmly holds a strong place in my memories. Even though I was fairly young when I first saw this, I remember being absolutely transported into the world created by the film through the unbelievably vibrant colors and characters. It is also one of the first times where I can remember laughing out loud in the theater and the parts that I found comical then, still hold up today. This is the film that really seemed to kickstart Pixar racking up numerous Academy Award nominations and wins, and it's pretty clear to see why.

When it comes to visuals, Finding Nemo was without a doubt Pixar's greatest triumph upon it's initial release. I remember hearing buzz about how remarkable the animation was and how amazing the movie was overall. Even as an adult and many years later, I'm still blown away by the look of this film. The colors are so rich, and even though the majority of the movie takes place in the ocean, the setting never grows old. They show just how vast the world beneath the waves is, and how much there is to be explored. Personally, I have a pretty strong fear of deep ocean, so when Nemo goes beyond the reef out into open sea, though it's animated, I still get a sense of how frightening that is, and equally so later in the film when a far away dark shape is seen, but gets closer and closer to Marlin and Dory and is revealed to be a whale. Perhaps it's silly to be slightly unnerved by such scenes in a children's film, but that shows just how powerful the animation is in Finding Nemo.

As famous as many of Pixar's films prior to Nemo are, I feel like this movie has some of the most substantial staying power. It is still heavily quoted to this day, not just by those who were around when it was first released, but by new viewers who are discovering it for the first time in their living rooms. Some movies don't age as gracefully as others, but there isn't anything in Finding Nemo that, seventeen years later, doesn't still feel fresh or charming; not even the look of it. I will forever find Darla's entrance to the dentists office to be hilarious, and be mesmerized by the look of the jellyfish floating through the sea. Everything in Finding Nemo is spectacular to behold.

Of all the selections in the Pixar catalogue, I would venture a guess that Finding Nemo is one of the entries I've seen the most. It's a wonderful adventure that's worth multiple viewings, making it a highlight film that countless kids will see in their lifetime for years to come.

2003 Best Animated Feature Winner-Finding Nemo

Rating: 4.85/5

Highly original in its concept, Monsters, Inc. is one of Pixar's finest.

In a city populated by monsters of all different shapes and sizes, James P. "Sully" Sullivan (John Goodman) is one of the lead scarers at Monsters Inc. His job is to scare children at night so they can bottle the screams and use it to power the city. His assistant and best friend, Mike Wazowski (Billy Crystal) work tirelessly so they can not only meet their expected quota, but so that Sully can be named the top scarer. A major wrench gets thrown into their day to day plans when a scare goes wrong and a human child they name Boo, finds herself in the monster world.

After Toy Story 2, Pixar really hit their stride. Their style became what we now expect as fans of the studio's work; movies that are unique, creative, and can appeal to a wide range of viewers. As I mentioned in my review for Toy Story 2, that particular movie is one of my all time favorite animated films, but Monsters, Inc. is no slouch either. The city scape of Monstropolis brings an extensive amount of detail, so much so that no matter how many times you watch the film, you'll always be able to catch something new in the background you'd never noticed before. The animation is equally impressive, especially when there are close up shots of Sully's fur. Along with the detail making the film so great, the comedy duo of Mike and Sully is something that still makes me laugh to this day, and they could not have found better voices to bring the characters to life.

Billy Crystal's voice is one that is incredibly easy to recognize and he brings an immense amount of personality into his one eyed monster. Mike is a character that clearly wishes he could be the one doing the scares, but sadly just can't make the cut, so he must settle as being an assistant instead, and Crystal is easily able to imbue those qualities into the character just with the sheer energy of his voice. Even if you'd never seen John Goodman, you'd be able to hear in his voice that he's a big guy, so it is very fitting that he plays the large and ferocious monster that Mike works with. Sully, though large and intimidating, is also very gentle in nature, and Goodman is able to find a great balance between the two sides to his character.

With almost every movie, not just Pixar made, I usually find a scene or sequence that stands out to me as my particular favorite. For Monsters, Inc., that scene is when Mike and Sully are chasing Randal through the many doors and working their way in and out of different bedrooms from around the world. There are two main reasons I love this portion of the film the most. The first is that I loved the creativity that went into the design of each door, knowing how many hours and hours of work and effort that must have gone into the animation. The second reason I have chosen this scene is because it answers the viewers curiosities that they are likely having throughout the whole movie. I remember first seeing this and wondering what was behind the doors they were coming out of, and almost being a little annoyed that we had only seen into a handful of rooms, but then this scene happens and your inquiries are given a response.

As much as I love Monsters, Inc., it is for some reason one the Pixar movies I've rewatched the fewest amount of times. I couldn't exactly say why, but because of that, I was really excited to get to it during my run through of all the Pixar films. I remembered really liking it as a kid, and it still completely holds up as an adult.

2002 Best Music, Original Song Winner-Randy Newman "If I Didn't Have You"

Rating: 4.25/5

Sweeney Todd is a dark and gritty film, one definitely not for those weak of stomach.

Sweeney Todd (Johnny Depp), formerly known as Benjamin Barker, used to live a happy life with his wife Lucy (Laura Michelle Kelly) and their new baby daughter Joanna. All that was taken away from him when the Judge Turpin (Alan Rickman) took a fancy to Lucy and threw Barker in jail so he'd be able to have her.

Years later, Barker returns to the streets of London with a new name and his mind set on revenge. He aims to take up his old trade as a barber and lure the judge to him and give him more than just a shave. His plans are slightly deterred when he meets Mrs.Lovett (Helena Bonham Carter) and the two begin to hatch a diabolical plan that could improve their own luck, but will be a danger to the residents of Fleet Street.

When it comes to Tim Burton, his work can be a hit or miss with me. I love his earlier movies, when his bizarre and eccentric style was new, but some of his later films just didn't peak my interest in the same way. That being said, I distinctly remember when Sweeney Todd was going to be released and being very, very eager to see it. I wasn't old enough to be allowed in the theater to see it by myself, and I remember finding that deeply infuriating. So instead, I had to anxiously wait for it to come out on DVD so I could finally get a chance to watch it. With such a high level of anticipation, there was a definite chance of finding myself disappointed, but that most certainly was not the case. I fell in love with the music, the twisted nature of the story, and with the performances.

One of the reasons I started getting a little tired of Tim Burton, was I felt he was reusing a lot of the same antics he had done in previous films, and a lot of the same actors. For some directors, this can work really well, but I had started to get a little bored with his constant use of Johnny Depp and Helena Bonham Carter. This particular feeling does not correspond to this film. Depp was an excellent casting choice to play the murderous barber, and as great as his performance was, I personally preferred Helena Bonham Carter's even more. She plays a character who cooks people into pies, and yet it is incredibly easy to sympathize with her. You can see that she's been pining for a normal and happy life, and once she believes she's finally found her match, you can't help but be on her side. To be fair, this is probably a very biased opinion as over the years I have grown to be quite the fan of Carter's roles, and just coming off a recent Harry Potter rewatch, I was perhaps more inclined to love her role in Sweeney Todd even more this time around than when I originally first saw the movie.

As a life long fan of musicals, both filmed and staged, I have always found it really interesting to see the difference between the directorial styles and set ups between the two types of storytellings. A common trend in modern movie musicals is to cast big names for the lead roles, rather than search for potentially unknown performers who may be more experienced doing live theater. Occasionally, this can backfire, and there are some pretty famous instances of this, but for Sweeney Todd, it made a lot of sense. This is not your typical musical, so if it were cast with newcomers, it very likely may not have had as many people heading to the theaters to see it. Johnny Depp and Helena Bonham Carter aren't natural singers, meaning that it's not what they've spent most of their careers doing, but both of them perform very well in their roles. Depp adds a fantastic rawness to his singing voice that adds to his character's need for seeking revenge, and Carter's high pitch tone gives her character a cunning and deceptively sweet facade. Both add a unique quality that you may not be able to find in someone who is trying to make their performance big enough for the stage, and that's why they work so well in this film.

Though I may not be one of Tim Burton's greatest fans, I honestly can't say I could think of any other director that I would have liked to see tackle this film. Sweeney Todd is definitely one of Burton's more successful ventures of the past ten to fifteen years. It doesn't have as much staying power as some of his earlier movies, but it comes pretty close.

2008 Winner Best Achievement in Art Direction-Dante Ferretti, Francesca Lo Schiavo

Rating: 5/5

Toy Story is Pixar's feature film that started it all, and unlike Andy, it will never grow old.

Woody (Tom Hanks) has been Andy's favorite toy for ages, and he's pretty confident it will stay that way. When Andy isn't in the room, Woody takes charge of the toys and makes sure everyone is prepared for whatever new challenge or adventure may present itself in Andy's room.

On Andy's birthday, Woody is leading the gang in being prepared for moving day and also what to do if Andy receives any new toys at his party. At the end of the gift opening, it seems they are in the clear, and that Andy did not receive any new toys that could be a threat. Just when they've all sighed in relief, a surprise present is brought out and Andy opens a Buzz Lightyear (Tim Allen). Now, Woody doesn't know what his future in Andy's room will be like and whether or not he will lose his spot as favorite toy.

Whenever I go back and watch Toy Story, it never ceases to shock me just how much Pixar's animation has progressed since it's first full length film. Don't get me wrong, Toy Story still looks fantastic, but when you compare it to any of Pixar's more recent endeavors, you can really see the difference. As viewers, we sometimes forget how spoiled we are with modern animation and effects and how easy it is to judge what we don't understand, so it is nice to revisit classics like this to remind us how much work and skill must go into making these movies. Though the transitions and textures may not be as smooth as the look of Toy Story 4, it is still highly impressive.

My favorite aspects to Toy Story are the colors and background details, and every time I watch it, I always find something new that I hadn't noticed before. This is a very common trend in Pixar films, which is a huge reason why they are so easily rewatchable. There's no doubting how real and tangible everything in Andy's room feels. Toy Story is able to effortlessly capture the look and imagination one would find in their childhood bedroom. This is a movie where I can't clearly recall the critic feedback and buzz that came out for it upon its initial release, because I was too young, and I wish I had been older when this film came out, because I would have loved to been able to witness and really remember such a groundbreaking form of animation make its big screen debut.

I've said it before, and I'll likely say it many more times in the future, but other than the animation, the key to any film like this being a success is in the voice acting. Toy Story pretty much hit the jackpot when it came to their cast in this film. There's few voices as easily recognizable as Tom Hanks', and it is his highly expressive tone that brings Woody to life. He is able to make the character seem like an authority figure the other toys would respect, but also add the right inflections to really show the character's vulnerabilities when it comes to his worries of being replaced. Even though Hanks has a massive career covering just about every genre, when I hear his voice, no matter what the role, I always have a hard time not instantly picturing Sheriff Woody.

When you watch Toy Story it is near to impossible to find a fault within it. It's action packed, heartwarming, and very comical. It's really everything you could ever want in an animated film. There's definitely a reason it has been one of the most cherished children's films of all time, and I doubt it will ever lose that reputation.

1996 Winner Special Achievement Award-John Lasseter

Rating: 5/5

A seemingly underrated movie, Big Hero 6 is a fantastic film that has the ability reach audiences of all kinds.

Hiro Hamada (Ryan Potter) is a child genius, who graduated high school at the age of thirteen. Instead of going off to college, Hiro has used his remarkable smarts not for academics as his brother Tadashi (Daniel Henney) and Aunt Cass (Maya Rudolph) wish, but for underground, illegal robot fighting. Hiro loves the fights, and is very good at them, but Tadashi knows there is more that his little brother could be doing with his life. He tells Hiro he is driving him to a bot fight, but instead takes him to his university, where he introduces Hiro not only to his friends, but to the lab and the science within it, and the medical robot he's been working on called Baymax.

Hiro has no idea that this type of schooling existed, and once he does, he begins to design what he calls microbots that he can present in the student showcase that will hopefully allow him to be accepted into the school. Once accepted, things seem to be moving in a positive direction for Hiro, but through a shocking and traumatic chain of events, Hiro finds himself alone and in need of a purpose. Enter Baymax and sudden and unexpected destiny to become a hero.

Years back, when Big Hero 6 was first released, I remember being interested in it based on what I saw from the trailers, but not so much that I rushed out to the theaters to go see it. I believe I originally saw it on a plane, which absolutely did not do it justice, so my most recent rewatch was really like seeing it for the first time. When I finally saw it on a screen bigger than a dinner plate, I was fully able to understand the beauty and individuality of this movie. Big Hero 6 is humorous, exhilarating, but also poignant and touching as well. It has numerous elements of science fiction and plot points found in most superhero movies, but it also brings to light emotions and struggles to its characters that one wouldn't usually find in a movie intended for young viewers. It handles its topics in a way that is easily understood by children, but not presented so transparently that it could seem demeaning or overly simplified. It treats its viewers, of all ages, with respect and presents them with a wonderfully well balanced story.

The main character, Hiro, has suffered more loss in his thirteen years than most people do by adulthood, and being so young, he doesn't exactly know how to handle his grief. He alienates himself from his relations, and it's only when Baymax recognizes his pain that Hiro begins to bring himself back to the world. This moment, is one of the many things I love about Big Hero 6. Baymax is designed to be a medical assistant, and early in the film when Tadashi demonstrates Baymax's abilities to Hiro, it's to show how Baymax can recognize physical injuries. At this time, it doesn't even occur to Hiro that Baymax might be capable of finding emotional distress, nor would it make sense for something like this to cross his mind at the time. Later on, when Baymax scans Hiro, he assumes it won't discover anything, because he isn't physically hurt in anyway, but Baymax recognizes that Hiro is suffering emotional pain and is in need of care. For me, the best way to normalize or naturalize a "touchy subject" that can seemingly be swept under the carpet, is to present it in a way that doesn't overly call attention to it. Big Hero 6 does this perfectly when it comes to talking about grief. It makes it clear that mental suffering is just as in need of care as any physical injury, but the subtlety in how the movie presents it is what makes it work so well. I absolutely love how Big Hero 6 tackled this concept, and I honestly feel more films, not just ones catered to children, should take note, because this is how it should always be done.

On a lighter note, Big Hero 6 is able to deliver some pretty superb action sequences throughout its runtime. Its villain, the Masked Man, isn't just a nemesis to be found in a children's film; he is a frightening and formidable opponent, worthy of any type of superhero story. There are scenes when Hiro and his friends are battling him, where even though he is animated, the Masked Man is genuinely intimidating. This can be easily discovered just by looking at the way the animators have him to appear from the shadows as he attempts to stop the group of young heroes. The fight sequences are fast paced and brilliantly choreographed and edited. Match those scenes with the excellent voice acting, and you have some pretty phenomenal movie moments.

Though it won the Academy Award for Best Animated Feature, it seems that Big Hero 6 isn't as fondly rewatched or remembered as some of Disney's other films. Perhaps it doesn't have the draw that princess movies tend to have, which don't get me wrong, I am a massive fan of as well, but it would be nice to see something as original as Big Hero 6 get the same amount of attention. Being a fan of superhero movies myself, I am probably a little biased when it comes to how much I enjoy this film, but I would find it hard to imagine that even those who don't gravitate towards stories where heroes use their special abilities to take down the bad guy, couldn't find something to love about Big Hero 6.

2015 Best Animated Feature Winner- Big Hero 6

Rating: 5/5

What was probably my biggest surprise for the 2019 film year, Ford v Ferrari is impeccably made and as engaging and intense as the sport it portrays.

In the early '60s, the sales for Ford are very low, and Henry Ford II (Tracy Letts) is absolutely furious. Desperate for a tactic to increase the company's profits, he asks his workers to come up with a big idea. Lee Iacocca (John Bernthal) suggests that Ford design a car that is not only attractive and flashy, but be built to race and win the Le Mans in France, and hopefully beat their rivals, Ferrari. Though hesitant at first, Ford agrees, but knows they need a killer team to make this goal come to fruition.

Carroll Shelby (Matt Damon), a former race car driver, is called in to help design the car that will be entered into the race, but he is not medically capable of being the test driver. Enter Ken Miles (Christian Bale), a racer who is notoriously difficult to work with, but knows cars backwards and forwards, and is a fantastic driver. Together, the two men and their team strive to create the perfect car that will win the race and defeat Ferrari, but it is certainly no easy task. They have an uphill battle ahead of them that is not only increasingly difficult, but also dangerous.

This past year, I had a goal, and that was to see every Academy Award Best Picture nominee before the night of the actual ceremony. I had never done that before, so I was incredibly determined to achieve what I had set out to do. To my great delight, I did see all nine nominated films, but there were some that I was more interested in watching than others. At first, Ford v Ferrari was at the bottom of my list of the nominees I was looking the most forward to seeing. I didn't have anything particularly against it, but it just didn't pique my interest like some of the other films in its category. Racing has never been a sport I've paid attention to, so that was truly the main reason for my initial reluctance. After viewing this film, three hours before the night of the awards, I was shocked to find that it ended up being one of my absolute favorites of the Best Picture nominees.

In a way, Ford v Ferrari could be classified as a sports movie, but it doesn't follow all the expected archetypes and patterns one would usually find in a movie belonging to that genre. Don't get me wrong, I like the typical sports movie, where the underdog player or team works through trials and adversity to achieve their goal, but it's nice when the formula is changed up a bit. Yes, the main characters of Ford v Ferrari do face numerous battles in their goal to create a race car fit for the Le Mans, but the movie doesn't make that it's primary focus. It doesn't try to draw on the viewers sympathies to gain its power, but instead takes a sport, that may be considered monotonous to some, and show the immense skill and engineering that's involved; potentially converting them into someone who can enjoy the sport far more than they ever thought they would. I for one, am one of those viewers. Before this movie, I had never seen the intrigue of watching a car drive around in a circle for hours on end, but I could understand why being the one behind the wheel would be exhilarating. By seeing the passion for racing in each of the characters, both drivers and the spectators, I was finally able to understand why this sport attracts so many people. Ford v Ferrari makes the danger involved in racing fully exposed, and you can't help but be on the edge of your seat, knowing that at any moment something could go horribly wrong and a disaster could occur on the track. It shows that this sport is one where the risk and the unpredictability pulls in its participants. Had I never seen a film like Ford v Ferrari, I can guarantee you that my opinion on racing would have remained in the mindset of one who does not understand the appeal.

With a cast lead by Matt Damon and Christian Bale, you know the performances are guaranteed to be fantastic, but it is not those two that were the standout roles for me. Noah Jupe, who plays Ken Miles' son, Peter, gave a performance that was skilled well beyond his years. His character spends the majority of the film with his father, watching him test out the different cars and learning from everything his dad does. You can tell his character loves the thrill of the race almost as much as his father, but the peril it can involve is certainly not lost on him. As he watches his dad control the vehicle, the expressions on his face are a mix of awe, excitement, and worry. He fears for the safety of his father, but he also wants his dad to be proud of him, so he doesn't dare fully show the worries that are going through his mind. Such a character is incredibly complex, yet Jupe is able to master every moment he is on screen. I have seen him in a handful of other films in recent years, and I am looking forward to seeing what else this incredibly talented young actor will have to offer in the coming years.

Ford v Ferrari is an example of what is so great and powerful about filmmaking. It has the ability to change people's minds and opinions, just by the way it portrays a story. I really went into this film not expecting to love it, I didn't think I'd hate it, but I had no idea I would find it as wonderful as I do now. It is so fantastic when you watch a movie that you almost have to force yourself to view, but once it's over, you can't wait to see it again. Ford v Ferrari is most certainly one of those films for me, and I will without a doubt be giving it another watch through in the very near future.

2020 Best Sound Editing- Donald Sylvester

2020 Best Film Editing- Paul Massey, David Giammarco and Steven A. Morrow

Rating: 4.85/5

Titanic was easily one of the most groundbreaking films of its time, and many years later, it still manages to hold up to its reputation.

A crew out in the Atlantic is plunging into the depths of the ocean to search amongst the ruins of the Titanic, in search of a priceless diamond that is rumored to have gone down with the ship. When they bring a safe up to the surface, they assume the treasure they seek will be inside, but what they find instead is a portrait, leading them to speak with an elderly woman named Rose (Gloria Stuart). She begins to tell her tale of a love story aboard the famed vessel that was previously unknown; about her time aboard the Titanic as a young first class passenger (Kate Winslet), being forced into a marriage, and her unexpected romance with a third class passenger named Jack Dawson (Leonardo DiCaprio).

When Titanic was first released, I was a bit too young to see it in the theater, but I can still vividly remember the impact it had on the world at the time. It was all anyone could discuss, and I can distinctly recall wanting to see it so badly, because I just had to see what all the buzz was about. When I finally got to view it, and was old enough to appreciate it, it was crystal clear as to why this movie made the massive impact that it did. Titanic packs a powerful emotional punch, and has performances and effects that have, for the most part, stood the test time.

For me, Titanic isn't a movie that I can watch time and time again, but it's certainly not because I don't think it's worth multiple viewings. There are two main reasons I feel this is a once a year type of movie. First of all, its runtime makes it tricky, because with it being over three hours, it can be difficult to carve the time out to watch it, though when you do sit down to view Titanic in its entirety, the time flies and you don't even feel as if you have watched an extensively long movie. The second reason Titanic isn't a film I gravitate towards over and over again, is because the images that are presented on the screen in the last hour or so are so strong, that it can take a bit of an emotional toll on the viewer. Though it didn't bother me near as much when I watched this movie when I was younger, now, when I see the frightened children on the board as the ship begins to sink, or when I see the people frantically treading water once the Titanic has disappeared beneath the surface of the ocean, it finds its way to my core, and makes me realize with incredibly clarity just how horrific the ordeal must have been for the real people involved. Yes, the love story that unfolds throughout the film is beautiful and will likely go down in history as one of the most famous on screen couples in cinema, but I believe it is the realism of the tragedy that makes Titanic such an impressive film.

What continues to astonish me every time I watch this movie, is the practical effects that were used to create the sinking of the Titanic. Some of the CGI moments haven't exactly aged well, but the flooding of the interior of the ship is still very impressive. It brilliantly shows the power of the sea and I still can't believe that the filmmakers purposefully destroyed their stunning set in the process. Such a risky move to do, where if something had gone wrong, the entire climax of the film could've been completely ruined, but their risk more than paid off. It makes the fear, panic, and disaster seem so palpable, that you can't help but be fully wrapped into every second of the ship's final moments.

Epic stories like this don't come around every year, but when they do, their level of success is very commonly measured against Titanic's. It is a movie that has made numerous contributions into the cinematic archives, and will always be remembered for its music, dialogue, award wins, or even its controversial door size. However, for me, I will always remember it as the first really big movie that started to pique my interest in the world of the Academy Awards and the filmmaking universe.

1998 Best Picture Winner- Titanic

1998 Best Director Winner- James Cameron

1998- Best Cinematography Winner- Russell Carpenter

1998 Best Art Direction-Set Decoration Winner-Titanic

1998 Best Costume Design Winner-Deborah Lynn Scott

1998 Best Sound Winner- Titanic

1998 Best Film Editing Winner- Titanic

1998 Best Effects, Sound Effects Editing Winner- Titanic

1998 Best Effects, Visual Effects Winner- Titanic

1998 Best Music, Original Song Winner- "My Heart Will Go On"

1998 Best Music, Original Dramatic Score Winner- James Horner

Rating: 4/5

Dreamgirls is solid film musical with fantastic performances in both its acting and vocals.

Amid the late 1960s in Detroit, three women are attempting to make it big as a girl group. They can't seem to catch a break, even though their lead Effie White (Jennifer Hudson) has vocals more powerful than anything on the radio. When music manager, Curtis Taylor Jr. (Jamie Foxx) hears their set at a local talent competition, he immediately signs them to sing backup for current R&B star James "Thunder" Early (Eddie Murphy)

At first, the tour with Thunder Early seems like a dream come true, but when Curtis decides to turn the three women into their own band and no longer backup singers, tensions begin to rise between the women. Suddenly, Effie is singing backup to Deena Jones' (Beyonce Knowles) lead, and everyone knows it shouldn't be. Desperate to get her moment to shine, Effie begins to do anything to fight her way to the top, no matter the cost.

I love musicals. I’ve been raised around them my whole life, and I am always eager to see what film directors will do to adapt big and complicated productions such as a broadway show and translate it to the screen. Usually, a tactic for this is to change the vocals ever so slightly so that the singers are more accessible to a main stream film audience and not just to the viewers whose ears are used to that big broadway sound. In this respect, I think Dreamgirls did very well. The music in Dreamgirls is primarily sung in a setting where the characters are on a stage and performing, so it was a little jarring when they began to sing to explain the plot and were not doing an actual performance. The music they were singing was wonderful, but didn't seem to flow between the stage and off stage songs with the ease that it might have had in a live performance.

Casting wise, Beyoncé was obviously known to the everyday audience member, and therefore was an easy way to draw people to the film. Her voice is famously impressive, and she clearly had no troubles belting out the notes given to her. Her character has to go from Motown to disco, and she hits every mark. Jennifer Hudson had what I would consider a slightly more challenging task. Her character has the show stopping song, the one that anyone familiar with the musical would be waiting for. Hudson knocks the song out of the park, but keeps it reigned in just ever so slightly to be able to keep it within the confines of a film and not go too far to the point of Broadway. Overall, an incredibly impressive feat well deserving of her Oscar win.

As great as the music in Dreamgirls was, what I found a bit odd was the pacing. The film itself is honestly probably a bit too long, yet the timeline of the plot feels rushed. I’ve never really seen a movie like this where I feel the story appears quite lengthy, but I’m still slightly confused by the order of events because they go by so fast. I think what could have attributed to this oddity would be how much information and time they were attempting to put into the movie. The characters go through a constant series of montages, taking you through the years of the girl group, stopping every year or two to elaborate on what’s happening in their lives at that present time. When they do put the brakes on to spread out the characters’ stories and conflicts, it’s still a bit muddy at times with what is fully going on. Not to say it’s completely confusing, just feels like there some information missing, which you wouldn’t expect from a movie that is over two hours long. Sometimes it’s hard to translate certain elements of the stage to the screen, and the length of an average broadway show is one of those things that seems to have been a slight struggle for Dreamgirls.

I feel like I have probably put off watching this movie for too long, especially given my love for musicals. I truly enjoyed the performances, music, and general storyline, and I would say the film as a whole is a success. It’s shiny, stylish, and powerful, and after watching it I immediately began listening to the soundtrack, which means it most definitely accomplished its goal.

2007 Winner Best Performance by an Actress in a Supporting Role- Jennifer Hudson

2007 Winner Best Achievement in Sound Mixing- Michael Minkler, Bob Beemer, and Willie D. Burton

Rating: 5/5

Whiplash is a film filled with intensity and precision, and is quite possibly one of, if not, the best movies about music presently in existence.

Andrew Neimann (Miles Teller) is a first year student at the Shaffer Conservatory of Music who dreams of becoming the next great drum legend. He knows of the school's highly skilled and prestigious conductor Terence Fletcher (J.K. Simmons), but is convinced his talent on the drums are not up to the caliber demanded by the legendary teacher.

Andrew gets the surprise of his life when he is asked by Fletcher to join in with the band he conducts that is made up of of the school's most advanced musicians. When he arrives in class the next day, he is anxious to try and impress Fletcher, but quickly realizes his new conductor's methods to improve his students are much more than he could have bargained for.

The plot trajectory for Whiplash is not completely dissimilar to that of many sports movies, but varies from becoming cliche in many ways. Miles Teller's character does goes through many of the expected milestones an athlete would experience in a typical sports film, such as appearing to be less talented than the others surrounding him, being lucky enough to be noticed by an important coaching figure, sustaining multiple injuries, and having moments of intense self doubt where he is tempted to quit in his attempts to achieve his ultimate goal. Though those film traits described may make it seem like Whiplash follows a common pattern, it completely outshines any other film with a semi-similar plot due to its creative and inventive take on an underdog story.

Whiplash should become the "how-to guide" film for anyone who is looking to make a movie where the struggle and painstaking measures of learning to master an instrument can be not only witnessed by the audience, but felt as well. The cinematography and editing allows for multiple angles to be experienced by the viewer; that of Terence Fletcher, Andrew Neimann, and the drums that are played. With every sweeping shot the camera takes over the various instruments that make up the band or whenever it zeros in on certain players, you can't help but feel the music vibrating through your core and easily imagine as if you were hearing the music live and having each note surround your senses. When you watch Whiplash, there is no question in your mind as to why it won the Academy Award for its impeccably skilled film editing.

When watching Whiplash, I found myself getting incredibly anxious and feeling my heart race increase as if I were watching a very well made horror movie. But it wasn't monsters or killers that was making my body react this way, it was the uncertainty that came with J.K. Simmons' character and performance. It is clear from his first appearance that he is not a person to be trifled with and is one that demands respect, but it was his drill sergeant like qualities and the unattainable level of perfection he expected from his band, that made him such a loose cannon. You truly never knew what to expect from the character or how Simmons' was going to deliver it, and it is those qualities that undoubtedly won him the Academy Award for Best Supporting Actor. Miles Teller, though not nominated for an Oscar, was no slouch when it came to his dedication to his role. In so many scenes, Teller's level of commitment to the character could be seen in the individual beads of blood and sweat that dripped onto the snare drum from his face and hands, adding a sense of realism to the film that honestly made me wonder how much of his performance was acting, and how much was reality.

Whiplash is a movie that I waited far too long to see. I had been meaning to take the time to watch it for years, but for some inexplicable reason had waited until now to get around to it. I honestly wish that I had not waited so long, because that would have meant that I would have been privileged enough to have this movie in my life for much longer. Now that I've finally seen it, I know it will be a film that I will be watching over and over again countless times.

2015 Best Performance by an Actor in a Supporting Role Winner: J.K. Simmons

2015 Best Achievement in Film Editing Winner- Tom Cross

2015 Best Achievement in Sound Mixing- Jason Blum, Helen Estabrook, and David Lancaster

Rating: 4.75/5

Three Billboards Outside Ebbing, Missouri is a film that is raw with emotion and jam packed with phenomenal performances.

It has been seven months since Mildred Hayes' (Frances McDormand) daughter Angela was brutally murdered. Since the crime, Mildred has been appalled by the progress made by the local police department, and is dead set on finding a way take a stand against the gross injustice.

On her way home, she notices three billboards that have been in a state of disarray since the highway was put in, and gets an idea. Mildred pays to rent the billboards, and uses them to bring the public eye back to her daughter's unsolved case. However, in doing so, she points a finger at the much beloved chief of police, Willoughby (Woody Harrelson). Though her actions have caused great anger in the town, especially in Officer Dixon (Sam Rockwell), Mildred knows the billboards are her best chance at unearthing her daughter's killer.

Three Billboards is without a doubt a powerful and intense film from beginning to end, but it is also one of those rare cases where I feel the performances actually outweigh the movie itself. I know a statement like that doesn't entirely make sense, because how could the actors give such brilliant performances without being presented with the content that made up the film? What I mean is, Three Billboards is anything but a cheery movie, one where at times it is difficult to watch due to the distressing nature of its content, but it is also a film l I will most certainly be watching again, just so I can again witness the remarkable skill of its cast.

Frances McDormand is hands down one of the finest actors to grace the screen within the past few decades. Her acting ability is rarely matched, and is such that she fully disappear into her roles, allowing the audience to feel and react to whatever intense emotion her character may be going through. In Three Billboards, there is a scene that instantly sticks out in my mind as the one that shows her true talent as a performer. The moment itself is incredibly brief, and is the only time where someone, other than Mildred herself, is able to actually understand the immense pain and grief she is suffering over the loss of her daughter. They then see how desperately important the survival of the billboards are to her. To me, if the rest of her performance in the film was lacking, which it most certainly was not, that split second in the movie alone could have been what won her the Academy Award.

Three Billboards is unlike many films, in that is has a combination of serenity and despair as its primary focus. With such a violent and horrific crime as the epicenter of the plot, it is an interesting and wise decision on behalf of the creators that they chose not to include many scenes that depicted the actual crime itself. As the viewer, there was no doubt as to what atrocities took place, but it was only mentioned in conversation between the characters, and honestly that can almost be worse than seeing it. By really only having the descriptions depict what happened, it allowed the viewer's imagination to be left to its own devices, creating a film experience that is unique to every person.

As pretentious as it may sound, I find that there are times where a film is highly revered by critics, but could turn out to be that I am not particularly fond of. This is not the case for Three Billboards Outside Ebbing, Missouri. After watching it, I totally agree with and understand the acclaim to which it received, and feel that it will be a film that once watched, will be hard for any viewer to forget.

2018 Best Performance by an Actress in a Leading Role Winner- Frances McDormand

2018 Best Performance by an Actor in a Supporting Role Winner-Sam Rockwell

Rating: 5/5

Between the colors and animation style, Pocahontas is without a doubt one of Disney's more visually stunning works.

Captain John Smith (Mel Gibson) is heading an expedition to an "undiscovered" world, under the orders of Governor Ratcliffe (David Ogden Stiers). Ratcliffe hopes that his men will be able to find gold when they finally hit land, and then deliver to him whatever endless riches they unearth.

Meanwhile, a young Native American woman named Pocahontas (Irene Bedard), who is also the daughter of Chief Powhatan (Russell Means), is struggling with the idea of being forced to marry a man she has no feelings for. Pocahontas is perfectly content with spending her days embracing the nature that surrounds her, but when she comes in contact with John Smith, her normal life gets a drastic change.

A common thread found in Disney films made before the heavy use of CGI, were storylines that were technically targeted towards children, but also carried some serious emotional heft as well. In the '90s alone, you had the Lion King, Hunchback of Notre Dame, and Tarzan, all movies famously known for evoking tears from both it's younger and older audiences. Pocahontas is no exception to this Disney trend. In fact, this film is very similar to Hunchback, in that it has very little content that would be considered amusing to a child at all. It does however, have the occasional comedic moment between Pocahontas' raccoon and hummingbird friends, but those scenes take up very little of the film's total screen time. For the most part, the plot involved with Pocahontas is focused on relaying its message of the importance of nature and culture, and exploiting the dangers of destroying something, simply because one doesn't take the time to understand it.

The comments I made on Pocahontas' more dramatic overtones is in no way a negative remark on the film, in fact it is quite the opposite. As a child, I always gravitated towards stories that possessed darker and more ominous storylines, because I always felt they had the better music, and they usually did. Pocahontas' score has been one that has had the ability to give me chills ever since I first heard it over two decades ago. The music, just by itself, is almost too beautiful to comprehend, with each note and lyric making a mark on your senses, but when you add in the artistry of the scenes with their color schemes that could only have been inspired by the most vibrant sunsets, the combination creates a genuinely remarkable film experience.

The '90s was a time where it seemed as if Disney put out a new film practically every year, so there were definitely some that didn't carry the same legacy as others. Obviously, the Lion King dominated this time period as the most successful, but Mulan and Pocahontas were the two that left the most lasting memories for me. Over twenty years after both my sister and I first watched Pocahontas, we were discussing what made this movie so great. I commented on how the music had always been what impacted me most, and my sister said that for her, it was the colors. I think Pocahontas is the epitome of what makes film so great. It had the ability to reach two viewers in entirely different ways, and make an impression that was strong enough to last well into adulthood.

As much as I love how far we've come in the world of animation, I think that the constant use of CGI deprives a film of its' ability to really stand out from the crowd. With the newer films, the breathtaking combination of art and music seems to be slightly lost. Pocahontas is a brilliant example of why the older style of animation was so impactful, and how it was really able to trust in a child's patience and imagination. You can see the unbelievable amount of work that went into each second of the film, and that tireless effort in turn became what I would consider to be one of Disney's best pieces of cinema.

1996 Best Music, Original Song Winner- "Colors of the Wind"

1996 Best Music, Original Music or Comedy Score Winner- Alan Menken and Stephen Schwartz

Rating: 5/5

The Jungle Book reboot is an absolutely stunning visual achievement and a movie that I am very eager to watch again soon.

When a drought has taken over the jungle, all the animals come to the Peace Rock where they promise not to harm one another in order to take in some desperately needed water. When feared tiger Shere Khan (Idris Alba) arrives at the rock, the creatures cower in fear as he makes his proclamation. Shere Khan is aware of a man-cub named Mowgli (Neel Sethi), and will stop at nothing until the young human is destroyed.

Knowing that Mowgli is no longer safe with the wolves, the alpha Akela (Giancarlo Esposito) knows he needs to find a way to get the man-cub back to the humans. With the help of Bagheera (Ben Kingsley), the panther who found Mowgli as a baby, Akela sends the two off to brave the jungle, hoping they don't find any danger along the way.

If anyone wanted to view and exhibition of how impressively advanced special effects have become, they needn’t look any further than the Jungle Book. While watching this stunning piece of cinema, I found myself in awe of the detail put into every animal, from the texture of their fur to the emotion in their eyes. The story itself is compelling enough on its own, but add in the impeccable visuals, and you have something truly special. The only drawback to how realistic the animals look in the Jungle Book, is that any harm or mistreatment of them appears all the more horrific and lifelike.

The young actor who plays Mowgli embodies the legendary man-cub with spirit and fierce determination. His emotional connection with the other “animals” comes off as incredibly genuine, which could not have been easy given that every single one of his costars was created through CGI. It is his performance that aids in selling the believability of the jungle characters and their subsequent relationships, as well as being the central driving force of the plot. That’s a lot of pressure and expectation to put on the shoulders of such a young actor, but Neel Sethi appeared to be more than up to the challenge.

Voice acting can either make or break a film of this nature, and each animals’ speaker was perfectly cast, no matter how big or small the role. Look at Idris Elba’s performance as Sheer Kahn for example. The visual design of the tiger is intended to be frightening and intimidating, but if the tone of voice didn’t equal or surpass the look of the villainous cat, then the fear intended to be brought by his presence wouldn’t have near the right amount of impact. Same with Scarlett Johansson as Kaa. Her time in the film is incredibly short, but using her vocals for a hypnotic serpent is absolutely perfect. Baloo needed to be carefree and whimsical, so casting Bill Murray was the most natural choice. It is because of the wonderful auditory contributions by these actors that I found myself laughing and then on the verge of tears throughout the film because of their wonderful work in the Jungle Book.

I feel that I took far too long to watch this movie, and I really wish that I hadn’t missed my chance to see it in theaters. Jon Favreau is quickly becoming one of my favorite directors of the current age of film, and if the Jungle Book is any indication of what his live action version of the Lion King is going to be like, I have to say that I can’t wait!

2017 Best Achievement in Visual Effects Winner-The Jungle Book

Rating: 5/5

An absolute classic from its' decade, Back to the Future is a film that never ceases to entertain.

Marty McFly (Michael J. Fox), a so-called "slacker" by his principal, is the typical 80's teenager. He skateboards, plays guitar, and is more focused on his girlfriend than his schoolwork. What sets him apart from the rest, is his friendship with the eccentric Dr. Emmett Brown (Christopher Lloyd). When Doc Brown asks Marty to meet him in the mall parking lot, Marty knows something strange is going on.

At the mall, Marty learns that Doc Brown has invented a time machine out of a DeLorean. Originally only there to video tape Brown's monumental invention, Marty finds himself inside the time machine and heading back to the year 1955. It is there that Marty must not only discover how to get back to his own time, but how to get his parents together so his future isn't completely erased.

The 80's was one of the best decades for film, and Back to the Future plays a crucial part in that concept. The story itself is very unique, and probably wouldn't have had the same impact had it been made today. There were so many developments to be seen between the 1950's to the 1980's, that even if you look at just the clothing and technology, the changes a character would experience by traveling back in history during that time frame would be much more drastic than it would be if someone in present day 2019 went back thirty years. It's like Robert Zemekis discovered a cinematic sweet spot by making the film in the decade he did, and because of that it was a hit movie turned into an icon.

For me, I would love to go back to the 1950's, as it is a decade that has always fascinated me, but Marty's situation proves to be quite the harrowing experience. This movie shows its' cleverness as Marty tries to adapt to the decade he has been transported to. Such a small notion like mentioning a rerun seems like it's so insignificant it needn't be included, but by adding it in, Back to the Future inserts a believability and humor to the character and the story.

Given the time in which this film came out, it should be commended for the age makeup work that was done for all the characters that were supposed to be adults in the 80s and then teens in the 50's. Specifically Crispin Glover's portrayal of Marty's father. His transformation looked the most natural in comparison to the others who had to age backwards. In the beginning of the movie when he is home and laughing at the old reruns on the TV, you can see the age lines on his forehead, and for all intents and purposes, he looks like a middle aged man. Then in the 1950's when Marty meets his teenaged father at the diner, there is an obvious yet realistic change in Glover's appearance. Glover's character looks like he belongs in high school, unlike many mainstream movies where adults play teenagers. The fact that the film can have him go from playing 18 to 38 and make it appear fairly realistic says a lot about why Back to the Future has remained as popular as it has for all these years. Even though some of the age makeup may not be as great as Glover's, it still adds an authenticity to the overall film experience.

The subsequent Back to the Future films really can't hold a candle to the original, especially if you look at the second one, but in their defense, it is practically impossible to live up to the greatness of this movie. You'd be hard pressed to find anyone who can't find something to love about Back to the Future.

Winner- 1985 Best Effects, Best Sound Editing- Charles L. Campbell & Robert R. Rutledge

Rating: 5+/5

Free Solo is undeniably riveting and quite possibly one of the best documentaries I have ever seen.

Alex Honnold is one of the world's most famous rock climbers. He is known for his climbing skill with ropes, but specifically without; in one of the most horrifically dangerous sports known as "free soloing". For years, Alex had been content with living out of his van and doing the best free solo climbs he could find, but he always knew there was a climb that was so perilous to free solo, that no one had attempted it, and he wanted to be the first.

Free Solo chronicles Alex's life from the point he made the decision to train for an unthinkable challenge; free soloing the 3,000 ft. El Capitan in Yosemite National Park. Getting ready for such a feat is no easy task on its' own, but adding in the complications of how to film it while not putting Alex in any more danger than he already is, brings an incredible amount of strain onto the project. Though Alex may outwardly show no fear for this climb, through the documentary, it is clear that even if he views what is frightening to be drastically different than what most of us do, there is more than just physical preparation he'll need for the climb.

Free Solo is a film that is so intense, my palms were slick with sweat by the end. I honestly didn't know much of the outcome of Alex's attempt on El Capitan, so I was literally on the edge of my seat for the entirety of the film's final half hour. I have seen my fair share of documentaries, and I may be wrong on this account, but I feel there are few works of cinema that were as tricky and dangerous to film as this. Not only did the people operating the cameras have to be suspended in mid air, thousands of feet from the ground, but they ran the risk of having their subject matter potentially attempting his solo climb in secret, deciding not to do it at all, or falling to his death. There were countless factors that could have gone wrong, and because of the way Free Solo was designed, you can see the stress taking its' toll on the cameramen and interviewees involved.

Alex Honnold is a very unique person, in that he seems far less worried about his own mortality than the majority of humankind. He doesn't kid himself about the dangers of free soloing, but instead seems to truly believe that if he were to die, no one would care; at least that's his thought process in the beginning. Whether he would have changed his mindset on his own, or the process of making the documentary helped him get there, by watching Free Solo, you are able to witness a man who had distanced himself from the social world, go through a fairly major emotional transformation.

What Free Solo does in a brilliant way, is create an unbelievably nerve wracking build up to the film's major moment. There is so much that the viewer needs to learn abut the dangers of free solo climbing, as well as understand the actual process and skill involved, before being ready to witness Alex's climb up El Capitan. To see him fall so many times in practice, thankfully with ropes, creates an immense amount of unease as you get closer and closer to the actual climb. Free Solo has successfully been one of the most stressful film watching experiences I have ever had.

For me, documentaries are rarely something that I feel the need to watch more than once, but Free Solo is one that will most certainly break that pattern. I can't wait to watch it again, to learn more from it now that my blood pressure won't be rising every five minutes of run time. Free Solo is easily one of the most well deserving Academy Awards winners I have been privileged enough to see.

2019 Winner Best Documentary Feature- Free Solo

Rating: 5/5

A movie that I enjoyed much more than I had anticipated, BlacKkKlansman is a film full of the unexpected.

In the late 1970's, Ron Stallworth (John David Washington) has just joined the Colorado Springs Police Department. He has been warned by his chief that he may receive unfair treatment due to the fact that he is African American and they have never had a member of the force be a different ethnicity, but Ron refuses to let the small minded members of the force get to him. However, when his first assignment turns out to be in the filing department, his ability to ignore the racists comments of his fellow officers begins to run thin, and Ron goes to request an assignment out in the field. Though a struggle at first, Ron is officially moved from filing and given orders to go undercover at a Black Panther meeting and wear a wire to get evidence of a potential race war that may be brewing.

A few days after the meeting, Ron is at his desk and sees an add in the paper for the Klu Klux Klan, and gives a call to the number provided. When the other line answers, Ron begins impersonating a white supremacist, and getting deep intel about the Klan. His new plan to uncover the secrets of the Klan appears full-proof, that is until the chapter president Walter Breachway (Ryan Eggold) requests a face to face meeting with Ron. Knowing there is no way for him to actually go to this meeting, Ron's fellow detective Flip Zimmerman (Adam Driver), must go in his place and pretend to be Ron. Using Ron's phone persona, Flip finds himself as a secret imposter of the Klan, and able to get information previously undiscovered by law enforcement, allowing for an intense and dangerous undercover mission.

BlacKkKlansman is truly a movie unlike any other that I have seen. It has the ability to be quite funny at times, but yet completely horrifying given its' premise. Even though there certain aspects to the film that were fabricated, from what I understand, the content involving the Klan was very factual. We know the Klan existed, though it is still almost too terrible to believe to be real. It is hard to fathom how people could be so blind to what is right and wrong. The characters of this film face an almost impossible level of adversity, yet they do so with a wit and ease that is shocking at times, but unexpectedly humorous.

The editing and style in this film are some of my favorite things about it. It goes from 70's action cop sequences to heartbreaking moments of the characters' reality beginning to sink in. All pieces are excellent for the different feelings and reactions they evoke, making BlacKkKlansman to be a complicated film, where the audience goes from one heightened emotion to the next.

The acting in BlacKkKlansman is just as brilliant as the rest of the elements of the film. Even though you know the cast portraying the Klansmen are just acting, it is practically impossible not to think of them without feeling a deep hatred towards them and their actions. Adam Driver's portrayal of Flip as he's trying to convince the Klan of his identity is awe inspiring, yet unsettling. You worry with every moment that he's going to slip and reveal his secret, but his performance as an actor playing a role and a detective undercover, convince both the audience and the characters on the screen of his motives, whatever they may be in order to fit the circumstance. As far as John David Washington's performance, it is equally as memorable as Driver's. At the beginning of the undercover operation, Ron knows the stakes of the mission, but still he follows through with the assignment with a bit of excitement and cheek. However, as he gets deeper and deeper into the world of the Klan, you can see the events begin to take its' toll on him, and that is due to the impeccable performance given by Washington. His dedication to the character makes every moment of the movie believable, infuriating, and empowering.

I would not have considered myself a fan of Stan Lee before this film, but BlacKkKlansman definitely altered my overall opinion towards his work. I can honestly say I am disappointed Lee didn't win Best Director at the Academy Awards for this film, because it most definitely deserved it.

2019 Winner Best Adapted Screenplay- Spike Lee, Charlie Wachtel, David Rabinowitz, and Kevin Willmott,

Rating: 4/5

Bohemian Rhapsody; a movie I enjoyed more for its' performances rather than the cinematography, but a well made tribute film nonetheless.

Freddie Mercury (Rami Malek) knows that he is meant for something more than working at Heathrow Airport, but he hasn't been able to find a chance to escape his mundane life. One night, he goes to a club to see a band called Smile, only to discover that after the show, the group's lead singer has just quit the band. Freddie quickly tells the remaining members of his talent, but they aren't quick to believe him, that is until he sings.

Flash forward a year, and and Freddie and his band Queen have found moderate success around England, but when a new music manager gets ahold of their demo, the band's fame quickly increases. From that point on, Queen becomes a huge name around the world, and Freddie's personal life becomes flashier and wilder by the day. Fame impacts everyone differently, and it becomes clear to the other members of the band, especially Brian May (Gwilym Lee), that Freddie's lifestyle is not healthy for the group or for their lead singer's own personal health.

The acting in Bohemian Rhapsody far out weighs the skill of the rest of the film. The cast that make up Queen are excellent, making it incredibly easy to buy into the fact that they are the real group. Their passion for their music and the well being of their band mates are easily the best parts of the film and the moments that I found to be the most emotionally believable and genuine.

Of the performances that go along with an average biopic, the obvious stand out would be the role of Freddie played by Rami Malek. He disappears into the character, and the film would not have been anywhere near as impressive had he not been cast as the lead. His performance was well deserving of his Oscar win, even if the movie gave him a script that was a whirlwind rush through Freddie Mercury's life. My second favorite role was that of the guitar player, Brian May. He was clearly Freddie's moral compass, and seeing his connection with Malek's performance makes for some of the best scenes in the film.

The climax of Bohemian Rhapsody is hands down the movie's shining moment. It is not spoiling anything by saying Queen performed at Live Aid, and what the film excelled at, was giving this moment in Queen's history the longevity and respect it deserved. I am so pleased that they dedicated so much run time to that piece of the band's legacy. It is what really solidified my opinion on the excellence of the cast, but also gave me a better overall view of the film in general.

Even if I felt that Bohemian Rhapsody sped through the history and events leading up to Live Aid and tiptoed around any potentially gritty aspects of their lives, it was still a perfectly adequate biopic. I can't say that I am disappointed it didn't win Best Picture at the Academy Awards, as I don't feel it deserved the title, but the awards it did win were certainly well deserved.

2019 Winner Best Performance by an Actor in a Leading Role - Rami Malek

2019 Winner Best Achievement in Film Editing - John Ottman

2019 Winner Best Achievement in Sound Editing - John Warhurst & Nina Hartstone

2019 Winner Best Achievement in Sound Mixing- Paul Massey, Tim Cavagin, & John Casali

Rating: 5/5

In a dazzling collection of dance and song, Chicago is one of my personal favorite musical to film adaptations.

Amidst the 1920's, Velma Kelly (Catherine Zeta-Jones) is a star amongst the Chicago nightclub scene. Her act comes to an abrupt end when she is arrested for the murder of her stage partner/sister and her husband. The same night, Roxie Hart (Renee Zellweger) is out at Velma's club with the man she's having an affair with, Fred Casely (Dominic West). Roxie is dreaming of a life on the stage, and Fred promises her he can get her there.

A short time after the night of Velma's arrest, Roxie is at her home with Fred Casely, and he announces to her that he lied about his show business connections in order to get into bed with her. Enraged at this new information, Roxie grabs a gun from her dresser drawer then shoots and kills Casely. At first, her husband Amos (John C. Reilly) attempts to cover for Casely's death, but when he learns of her affair, he breaks the facade and Roxie is taken off to jail. It is not long before Roxie learns the ways of life in prison, and like Velma Kelly, is able to use her incarceration to her professional advantage.

Turning an acclaimed Broadway show into a film can sometimes be a miss, but Chicago is most certainly a hit. It can't be easy to take a story that was intended for stage and adapt it to the screen, and Chicago may be more challenging than some. There is a lot of juxtaposition between the real life jail sequences and the fantasy show business ones. The film makes these transitions seamless, having the flashy dream world and the drab reality become a perfect blend of pizzaz and drama.

A common trend in the modern musical, is casting actors who aren't necessarily known to be singers. Sometimes this works, other times not so much. Thankfully, Chicago is a case where the risks taken on the cast paid off; most notably being Catherine Zeta-Jones and John C. Reilly. Zeta-Jones is able to nail the jazz-baby look and voice, and really brings Velma to life. Reilly's character is perhaps the only decent person in the entire story, and is sadly the one who suffers the most grief. His song, "Mister Cellophane" is not only very emotional, but is probably one of the only times Amos gets any of the sympathy he deserves, and it's from the audience.

What Chicago does that is a bit unique in comparison to other like minded films, is uses the editing as part of its' choreography. This technique can be seen during the song "the Cell Block Tango". Instead of just having the camera follow the dancers, the cuts go to the beat of the music, and adds a brilliant element to the scenes entirety. In addition to its' editing, what makes Chicago such an excellent film is the visuals. In accordance with the its' stage source material, the movie uses color and shadow to paint the backdrop of its' song and dance sequences, creating silhouettes throughout the scenes. By doing so, the film achieves the rare accomplishment of presenting a movie musical that really feels like a stage performance.

Chicago is one of the first filmed musical adaptions that I can remember seeing, and I have grown more and more fond of it throughout the years. Though some may disagree, I personally feel that this film was incredibly well deserving of it's numerous Academy Award wins.

2003 Winner Best Picture- Chicago

2003 Winner Best Actress in a Supporting Role- Catherine Zeta-Jones

2003 Winner Best Art Direction-Set Direction- Johny Myre and Gordon Sim

2003 Winner Best Costume Design- Colleen Atwood

2003 Winner Best Film Editing- Martin Walsh

2003 Winner Best Sound- Michael Minkler, Dominick Tavella, and David Lee

Rating: 5+/5

Perhaps the finest modern movie musical to date, La La Land boasts a phenomenal cast and visuals you cannot turn your eyes from.

Mia (Emma Stone) is a struggling actress who is making ends meet by working at a coffee shop on the Warner Brother's lot. Sebastian (Ryan Gosling) is a jazz musician who can't hold down his job as a pianist at restaurant. Both are determined to make it in their choice of career, but can't seem to officially break into the business.

After leaving a party, Mia hear's piano music coming from a restaurant and walks inside. She sees Sebastian playing, and goes to tell him how beautiful it was, but he pushes passed her, as he has just been fired. Months later, Mia and Sebastian encounter each other again at a party, where Sebastian is now playing in an 80's tribute band. Later that same night, the two walk with each other to find their cars and though they try and ignore it, they quickly hit it off. What follows is a whirlwind romance that will either hinder or help them achieve their creative dreams.

To start of this review, I feel it must be mentioned that I love old musicals and movies about making movies, so I went into this film with an incredibly biased outlook and a practical guarantee to love it. That being said, I was certainly not disappointed by my high expectations of the movie. When seeing this in the theaters, the moment the words "Presented in Cinemascope" spread across the screen, I was completely hooked. The film's story alone is wonderful, but the many added moments of nostalgia are what really sell it be such an incredible piece of cinema.

La La Land's concept of making a modern film that is strongly reminiscent of the classic musicals is innovative and exciting, and there's no way it would have worked as well had it not been for its' two leads. I have always felt that both Emma Stone and Ryan Gosling are unique in the sense that their looks and acting don't restrict them to portraying a character specific to any one time period. Even though the film is set in present day, Stone and Gosling are easily believable as stars from the golden age of Hollywood, so their dance sequences are very fitting to their characters and their style. Their on-screen chemistry is also undeniable, and really aids in the believability of the relationship between Sebastian and Mia.

Visually, La La Land is an impeccably beautiful film. Even if some of the color packed and heavily choreographed dance sequences don't feel completely organic, it doesn't matter. Most notably would be one of the final montages towards the end of the film. That scene and many others are so vivid and stunning, you are so completely lost in the cinematography, that when the film is over, you are almost stunned back into the reality of a far less colorful world.

One of the many facets of La La Land that I appreciate most, is the film's dedication to staying true to the classic musicals in which it was based upon. La La Land uses many tracking shots for its' dance numbers, and though this was likely a very arduous process, it showed how important it was to the creators to stay genuine to its' inspiration. It is not easy to make a new musical that will be successful, especially when it's a film, but La La Land is proof positive that no matter how difficult it may be, it is certainly possible; because it is a film to truly marvel at.

2017 Winner Best Performance by an Actress in a Leading Role- Emma Stone

2017 Winner Best Achievement in Directing- Damien Chazelle

2017 Winner Best Achievement in Cinematography- Linus Sandgren

2017 Winner Best Achievement in Music Written for Motion Pictures (Original Score) - Justin Hurwitz

2017 Winner Best Achievement in Music Written for Motion Pictures (Original Song) - "City of Stars"

2017 Winner Best Achievement in Production Design- David Wasco and Sandy Reynolds-Wasco

Rating: 4.75/5

Midnight in Paris is a wonderfully inventive film that is truly unlike any other.

Gil (Owen Wilson) and his fiancee Inez (Rachel McAdams) are vacationing in Paris while visiting Inez's father who's there on business. While walking through the city, Gil expresses to Inez his thoughts that the best time period in history was the 1920's in Paris. Not only does Inez disagree, but appears disinterested as well and the two go off to look at some modern sights.

One night, when Inez goes dancing with Paul (Michael Sheen), a former friend she happened to bump into, Gil decides to take stroll around the city. Being a foreigner and slightly tipsy, he gets lost and is picked up by a car that appears to be from another time. When Gil gets in, he is taken to a party where everyone is dressed in period clothing from the 20's. At first Gil thinks it is just a theme party, that is until he is introduced to Zelda (Allison Pill) and F. Scott Fitzgerald (Tom Hiddleston). Though he has no idea how, Gil quickly realizes that he has found a portal to the past, and proceeds to visit his ideal time and meet many of his creative minded heroes.

Midnight in Paris boasts and exceptional concept that is brilliantly carried out. It is a movie directed by an American that doesn't necessarily shine the cliche modern American in the most flattering light, but it is done with a clear purpose. By portraying stereotypical Americans as culture deprived narcissists, it makes the fantasy time-jump of Gil's seem more romantic and enchanting than it possibly could have. You are completely on board with Gil wanting to escape the constraints of modern society, and almost take a sigh of relief when Gil gets to go back to the seemingly carefree life of the 20s.

Midnight in Paris is a who's who of phenomenal actors. It is a movie where I actually didn't want to look at any credits, photographs, or trailers beforehand, because I wanted to be surprised whenever Gil met a 20's icon. Due to the movie's strong historical and intellectual base, I'm sure there were a few cultural references or figures that went passed me, but I know I recognized the vast majority of them. The many different actors who comprised the cast did an incredible job at bringing these historical legends to life and pulled you into the past right alongside Gil.

Of all the people in the film, Owen Wilson's character may have been the hardest to portray. His performance could have easily been overshadowed by the audience's desire to meet the characters from the 20's, but Wilson is able to make Gil just about as compelling as the people he meets. You'd think it would get old to see someone being constantly dumbfounded by their unusual circumstance, and in many movies it would, but somehow in Midnight in Paris, it doesn't. By being utterly shocked and confused at being in another era, Wilson makes a movie about time travel seem unexpectedly real.

Midnight in Paris is a movie that I have been meaning to watch for years. I had initially put off watching it because I am not usually the biggest Woody Allen or Owen Wilson fan, but I am thankful I finally got around to seeing it. Though I felt that it seemed too short and could have definitely gone on a bit longer, Midnight in Paris falls into the collection of the handful of movies that have caught me by surprise with how much I enjoyed it.

2011 Winner Best Original Screenplay- Woody Allen

Rating: 5/5

A movie that swept the globe, Frozen is funny, magical, and heartwarming.

In the kingdom of Arendelle, young Princess Anna wakes her older sister Princess Elsa, in hopes to build a snowman...inside the palace. Elsa uses her ice powers to turn a room in their castle into a winter wonderland, but unfortunately her magic goes too far, and Anna is struck by her powers. The only way to heal her, is to have the memory of Elsa's magic wiped from her memory, and to have her ice powers concealed from the world.

Many years later, Elsa (Idina Menzel) is about to have her coronation to become Queen of Arendelle. Elsa and Anna (Kristen Bell) have had little to no contact since the day Anna was hit by the magic. Anna is overjoyed at the thought of finally meeting new people, but Elsa is terrified that she will not be able to control her powers and keep them a secret in front of the kingdom. Just as Elsa is feeling as if she is going to be able to make it through the evening, Anna announces to her that she is going to marry a man named Hans (Santino Fontana), whom she's just met. Not able to contain her emotions, Elsa loses control over her magic.

Though Frozen may be a film that many people are tired of, I for one still love this movie as much as the first time I saw it. The music is irresistibly catchy, the characters wonderfully charming, and it is visually stunning to look at. The scene for "Let It Go" alone shows how incredibly far movies have come in the world of animation. I'm sure it was the music and story that captivated the hearts of countless children all over the world, but the stunning colors and animated scenery had to have been a big part of the success as well.

Frozen was unique upon its' first release, because it focused on two princesses trying to save each other, rather than a princess being saved by a prince. Yes, as with almost any cartoon made by Disney, there is a love story involved in the plot, but it is not the central focus of the movie. Adding to the film's already unique concept, the movie also contains many moments that have a more serious tone than one would expect to find in a children's film. These scenes don't take away from the film's enjoyability; in fact, they aid in making the audience feel more connected to the characters, even though they are animated. Thankfully, the creators knew how to balance any seriousness with the addition of the classic Disney trademarks of quippy sidekicks and goofy animals. Sometimes, those characters can be a distraction, but in this case, they are just another set of lovable characters found in Arendelle

The song-writers behind Frozen, Kristen Anderson-Lopez and Robert Lopez, were thankfully, but not surprisingly, recognized for their work with an Academy Award win. It has been a long time since the music from a children's film has become as iconic as the songs from Frozen have. Even though I am an adult, and have seen this movie many times, I couldn't help but sing along during my most recent rewatch. It says a lot about a film, when even the people that are not in the target audience, can't help but be enchanted by it.

What Disney has almost always been able to do, is make movies that are beloved by viewers of all ages. I was an adult when Frozen came out, but that did not hinder my ability to love it in any way. Of course there are scenes in the movie that may be a bit too silly for a grown-up's sense of humor, but it is intended for children, so that's to be expected. Frozen has become such an iconic film, well deserving of its' legendary status. So much so, that I can't ever imagine a time where the magic of Frozen will ever fade.

2013 Winner Best Original Song "Let It Go"- Kristen Anderson-Lopez and Robert Lopez

2013 Winner Best Animated Feature- Frozen

Rating: 5/5

Get Out is a groundbreaking film that will make you both laugh and jump out of your seat in fright.

Chris (Daniel Kaluuya) is a photographer who is about to go away for the weekend to meet his girlfriend Rose's (Allison Williams) family. Though he is happy to be invited to her childhood home, he is a little uneasy with the fact that Rose's family does not know that he is black. With Rose's assurance that everything will be just fine, the two head out for the weekend.

Once arriving at her parent's house, things seem to be as normal as they can be. Her father, Dean Armitage (Bradley Whitford) appears to be trying a bit too hard, but nothing out of the ordinary. Though a little unsettled, Chris does his best to appear at ease with the events of the weekend. That all changes when the Armitages host a garden party consisting of their close friends. It is not long before Chris begins to notice that something is definitely not right.

When Get Out first hit theaters, it caused a major buzz amongst the film world. The hype it received was absolutely warranted. Going into the movie, you expect to be watching a straight horror film, but there is an effortless humor to it that makes watching Get Out a thoroughly enjoyable experience. The laughs are some of the better moments of comedy I have seen in awhile, with the scares being equally as original.

One of the most talked about pieces to Get Out is the way in which the film tackles the topic of race. This movie is clearly about the issues that can arise when someone is put in the presence of close-minded people, and it comes off in a topical and relevant way, without beating the viewer over the head with it. It is clear that director and writer, Jordan Peele, wanted the racial commentary to be clearly present throughout the film, but not be the sole focus of the plot. By doing so, the message is presented in a more accessible way to its' audience.

The performances in Get Out are not only genuinely frightening, but they are incredibly believable as well. When Chris arrives at the Armitage's home, you can see that there's something off with their hired help, but you just can't quite put your finger on it. By downplaying the idiosyncrasies, the horror is heightened. It leaves the viewer with an incredible sense of unease, and that subtlety is just part of the many brilliant aspects to Get Out.

Get Out is the type of movie that warrants multiple viewings, and that cannot be said for many films within the horror genre. Get Out is not just a great scary movie, but is an all around excellent film. It is one of the few times where a movie that you would not expect to receive the main stream accolades it deserves, actually gets recognized for its' greatness.

2018 Winner Best Original Screenplay - Jordan Peele

Rating: 4.5/5

The Man Who Knew Too Much is another strong outing for legendary director, Alfred Hitchcock.

After leaving a medical conference in France, Doctor Ben McKenna (James Stewart) his wife Jo (Doris Day), and their son Hank (Christopher Olsen) have made it to the French Morocco for a vacation. While on the bus to their hotel, Hank accidentally removes the veil of a woman, and angers her husband. Thankfully, a mysterious frenchman named Louis Bernard (Daniel Gelin), comes to his aid, and befriends the McKenna family, though Jo isn't so convinced this new friend is as amiable as he seems.

Upon arrival at their hotel, Jo notices an older couple staring at them. Feeling ill at ease, she is hesitant to go out to dinner, but is convinced by Ben that everything will be alright. While at dinner, Jo and Ben see the same couple from before, but are relieved to find out they are just fans of Jo's past work on the stage. The next day at the market, chaos ensues and in a matter of minutes, Hank is taken, and Ben and Jo are suddenly in a race against time to save their son from his kidnappers.

Unlike some of Hitchcock's more famous films such as Psycho and Rear Window, The Man Who Knew Too Much focuses more on adrenaline than fear. There isn't really a frightening element for the audience, but there definitely is one for its' main characters. In Ben and Jo's frantic search for their son, the viewer is immersed into the film for every moment, wondering what is going to become of Hank.

Of the two leads, Doris Day was not as experienced in dramatic roles as her costar was, but that certainly did not hold her back in any way. When she is informed by her husband that their son has been taken, her raw emotion is painfully genuine. Not only is her character strong and powerful in the search for her child, but she is also soft spoken, gentle, and incredibly believable as a mother desperately trying to save her son. Of course, James Stewart was excellent in this film, as he almost always is, but for me, Doris Day was the definite standout role.

As much as I love The Man Who Knew Too Much, I don't think it would crack the top five of my favorite Hitchcock films. This is mainly for two reasons. Personally, I felt that the beginning of the movie dragged on a bit in its' attempt to set up the necessary information needed for the central plot. Yes, I know there was a lot of important backstory, but it could potentially have been cut down just a tad. The second reason would be for the film's resolution. Without going into too much detail, all I can really say is that it felt a bit anticlimactic considering everything the two main characters went through during the film's duration.

With Hitchcock's directorial skill, even his potentially less impressive work, is almost always well above most movies of the thriller genre. With all that being said, The Man Who Knew Too Much, though not the best Hitchcock movie, is still an excellent film.

1957 Best Music, Original Song- Jay Livingston and Ray Evans

Rating: 4.75/5

Though a bit long winded by today's standards, Mary Poppins will forever be a magical classic.

In the early 1900's, Jane (Karen Dotrice) and Michael (Matthew Garber) Banks are the two children of uptight banker, George Banks (David Tomlinson). They have a history of tormenting their nannies, and their most recent one has just fled the home. Desperate for order to return to his household, George Banks decides to write a new advertisement for the paper. Jane and Michael have also written up their wishes for their nanny, but George banks considers it foolish, rips it up, and throws the pieces in the fireplace.

Answering the hopes of Jane and Michael, Mary Poppins (Julie Andrews) magically floats down from the sky and lands on the doorstep of the Banks family. With the help of the local Jack of all trades, Burt (Dick Van Dyke), Mary Poppins not only helps the Banks' become a stronger family, but brings a whole lot of enchantment along the way.

What makes Mary Poppins continue to be such a classic, is the wonderful music, and the legendary performance by its' title role. Watching this movie, it has the trademarks of a 60's movie musical, with its' longer than ten minute dance sequences and bright colors. For a new viewer, this may seem a bit excessive, but for anyone who finds those traits charming, they will love it.

If you really think about it, Mary Poppins is not exactly the most likable character, what with her shameless narcissism and no nonsense attitude, but Andrews not only makes her lovable, she makes her iconic. It is Andrews' impeccable voice, effortless beauty, and brilliant performance that makes Poppins to be such a wonderful role, and one that earned her an Academy Award for Best Actress.

When you consider the fact that Mary Poppins was made in the 60's, the special effects are really quite astonishing. To see real life people dancing side by side with cartoons, is still just as exciting to watch, even by today's standards. The combination of the musical numbers in and out of Mary Poppins' magical world help the movie to find a great balance. Just when the film hits its' peak of color and whimsy, it switches over to a scene that is more rooted in reality; making Mary Poppins well deserving of its' renowned status in the Disney world.

Mary Poppins has always held a special place in my heart. It is one of the movies that I can distinctly remember watching as a child and one that always brings me joy. When I watch it now as an adult, I am transported back to a simpler time where all I needed in the world was to see Dick Van Dyke dance with penguins, and a magical nanny clean using the power of song.

1965 Best Actress in a Leading Role- Julie Andrews

1965 Best Film Editing- Cotton Warburton

1965 Best Effects, Special Visual Effects- Peter Ellenshaw, Hamilton Luske, Eustace Lycett

1965 Best Music, Original Song- Richard M. Sherman, Robert B. Sherman

1965 Best Music, Substantially Original Score- Richard M. Sherman, Robert B. Sherman

Rating: 4.5/5

With a unique story and wonderful soundtrack, Brave is perhaps one of the more visually stunning films put out by Pixar.

Merida (Kelly Macdonald), is a princess in a kingdom in Scotland. Her mother, Queen Elinor (Emma Thompson) expects her daughter to be a perfect lady, but all Merida wants to do is be free, ride her horse, shoot her arrows, and be in command of her own fate.

Merida has been able to deal with her princess lessons, knowing that when they were over she would be able to spend time practicing her archery and enjoying her life. That all changes when Merida has discovered that her mother has invited the lords from the neighboring clans in order for their first born to fight for Merida's hand in marriage. Feeling incredibly unprepared to be married, Merida desperately searches for a way to change her mother's mind, and to her own fate.

Brave may not be the most popular of the films made by Pixar, but that doesn't impact my own opinion of it. Personally, I really love this film. The plot doesn't feel as compacted as other animated films, and is quieter and less flashy. I really appreciate Pixar's ability to tell a wonderful story, without putting too much color and action on the screen.

Another element to Brave that I love is the authenticity of the voices provided by the actors in the film. The majority of the main characters are from Scotland, so their genuine accents add a wonderful level of realism to the film. The only large speaking role that isn't provided by an actor from Scotland is Emma Thompson as Elinor. Even so, her accent is impeccable, and almost impossible to distinguish as being any different from the rest. To me, it seemed that Pixar felt it more important to trust in the legitimacy of their story, rather than the star power of big named actors, and it really helped sell the concept of the film.

Looking at the other movies put out by Pixar, they all involve some sort of otherworldly element that makes the story rooted outside reality. That being said, I feel that Brave is one of the few where I can really visualize it as a live action film. Yes, there is a strong plot point involving magic, but the legends within the story, the voice acting, and the seriousness of some of the scenes, makes Brave, in my opinion, one of the more compelling and emotional Pixar movies.

Brave is the odd man out when it comes to Disney/Pixar films. Merida doesn't sing, so that sets her apart from the other Disney princesses, and the general color scheme and story are quite dark, which brings it away from the typical Pixar movie. Perhaps I like Brave so much, because of its' rebellious qualities, or maybe it's just because it is such an enchanting film.

2013 Best Animated Feature Winner- Brave

Rating: 5+/5

In what is most likely considered an unexpected Oscar win, Spotlight is intense and brilliantly done.

In July of 2001, five reporters who work for an investigative team called "Spotlight" at the Boston Globe, are hunting for their next story. The new editor of the Globe, Marty Baron (Liev Shrieber) meets with the members of Spotlight and tells them he would like them to begin investigating the cases of alleged sexual abuse by certain priests of the Catholic church.

Though reluctant at first, the Spotlight team agrees to investigate the story, unearthing more information than they had bargained for. Though it started out with interviewing one man, Phil Saviano, the Spotlight team learn that it is not just one priest accused of the allegations, but as little as thirteen who may have committed these heinous acts. Determined now to not only find the truth behind these cover ups from the Church, but to also find justice for the victims, the Spotlight team fights a race against time and power in order to do what's right and uncover a scandal bigger than they could have ever imagined.

When making a film based on a true events, not only do you have the pressure of creating a movie that will be well received by its' audiences, but there is also the added struggle of keeping the plot accurate to the real events in which it is based upon. Before seeing Spotlight, I did not know much about the scandal that was uncovered by the Spotlight team. However, since watching the film, I have done some research of my own, and learned that the movie tried very hard to stay true to its' source material. Not only is that an important thing for any film based on real events to do, but it is perhaps even more important for Spotlight to have done this, given the seriousness of the film's topic. Had they added in an unnecessary amount fabrications to add "drama", as some films do, it would take significantly take away from the movie's overall impact.

Part of what makes Spotlight not only incredibly believable, but powerful as well, is the cast members that make up the film. While watching Mark Ruffalo, who plays Spotlight team member Mike Rezendes, it is clear that he is emanating the characteristics of a real life person and not someone who has been created for the purpose of a story. There are subtle mannerisms he portrays, from the way he moves his mouth while talking, to consistently putting his hands in his pockets, where Ruffalo disappears and Rezendes takes his place. Alongside Ruffalo's performance, is the incredible work done by the rest of the Spotlight team members. Each person is impacted in a different way by the horrendous information they find, and their reactions are what makes the film's content really take a hold of the viewer. It is as if you are investigating the case with them, and are just as anxious to get to the story out to the world as they are.

Similar to the film Zodiac, Spotlight focuses a lot on the journalism side of investigations, rather than just the legal side of it. Though the members of Spotlight contained no powers for arrest, they were able to bring justice through the power of determination and their written words. Given the intense amount of investigation that was done by the members of Spotlight, the film could easily have been much longer than two hours. By focusing on the main aspects of the story, and not going too deep into detail, it makes the movie to be more accessible to its' viewers, and allows the true importance of its' plot be heard.

Upon first watching Spotlight, I was really taken aback by how impressive the film was. I knew that it had won Best Picture at the Academy Awards, but other than that, I hadn't heard very much about it. The collection of the performances by its' cast, alongside the writing and fast-paced storyline, all comes together to create a stunning addition to the world of cinema.

2016 Best Picture Winner- Spotlight

2016 Best Original Screenplay Winner- John Singer and Tom McCarthy

Rating: 5+/5

Probably one of the greatest Christmas films in existence, Miracle on 34th Street is perhaps the most magical and heartwarming holiday classic of all time.

Doris Walker (Maureen O'Hara), is the coordinator for the Macy's Thanksgiving Day Parade. When the hired Santa turns up intoxicated, Doris must quickly find a replacement. To her surprise and delight, a mysterious older gentleman who goes by the name Kris Kringle (Edmund Gwenn) and bears a striking resemblance to Santa, arrives at the parade and volunteers to be on the Christmas float. Once the parade is in session, Doris returns to her apartment to be with her daughter Susan (Natalie Wood). It is there she sees that Susan is spending time with their new neighbor, Fred (John Payne). Fred is trying his best to get Susan to believe in the magic of Christmas, but her mother has taught her not to put her hopes into fairytales.

The next day, Fred takes Susan to Macy's so she can see Santa. Kris Kringle, who has been hired as the department store Santa, is there listening to children's wishes. In an effort to give each child the Christmas of their dreams, Kris tells a parent where they can get a toy for their child, and its' not at Macy's. Suddenly, Kris has put the Christmas spirit back into the season, and his enchantment begins to spread throughout New York City. Though Kris knows himself to be Santa Claus and has many people believing it as well, it is Doris and Susan who need the most convincing.

If the film wasn't in black and white, it would still be clear that Miracle on 34th Street is a movie from an older time. It portrays Christmas in a scaled down and simplistic way, and focuses more on the importance of giving and love during Christmas, rather than flashy toys or commercialism. Of course, given that the movie is set in a Macy's department store, there is corporate talk of money making during the busiest shopping season of the year, but it is the soft and and gentle enchantment of Edmund Gwenn's Kris Kringle, that wonderfully steals the show.

Though she was only eight years old, Natalie Wood's work in the film should go on record as one greatest performances by a child in film. Her character is skeptical and spunky, and makes you take the journey of learning to believe, right alongside her. Maureen O'Hara's character is that of a loving, but very protective mother. She only wants the best for her daughter, even if that means refusing to let her waste her time on fantasies. O'Hara is able to show the growth needed of her character, to not only allow her daughter to embrace the magic, but to open her own heart to Christmas as well.

Christmas movies are not the types of films that are ever up for Academy Awards, yet Miracle of 34th Street won three. It is impossible to watch this film, and not see the remarkable skill behind its' story and performances. Edmund Gwenn won for best supporting actor, and I truly feel there have been few as deserving as he. While watching the movie, it is impossible not to be captivated by his smile, and the twinkle in his eye. It is because of his performance that, by the end of the film, you can't help but believe him to be the real Kris Kringle and in his magic.

Thought it was made so many years ago, Miracle on 34th Street feels more important now than ever. When you watch the movie, there is an inexplicable warmth that fills your heart, as you see the true meaning of the holiday take form. It is a film that has the ability to make you want to give rather than receive, and to be loving rather than unkind. When the Christmas season approaches, I get excited, not just because of the holiday, but because it means I finally get the opportunity to watch Miracle on 34th Street again.

1948 Winner Best Actor in a Supporting Role- Edmund Gwenn

1948 Winner Best Writing, Original Story- Valentine Davies

1948 Winner Best Writing, Screenplay- Valentine Davies

Rating: 5+/5

Hilarious, entertaining, and progressive for its' time, Some Like It Hot is well deserving of its' legendary status.

Joe (Tony Curtis) and Jerry (Jack Lemmon) are two struggling musicians working in a speakeasy in the year 1929. When their place of work gets raided by the police, the two men are out of a job and in need of money. They go to see several talent agents, and are told of a band on its' way to Florida in need of a bassist and a saxophone player. The only catch; it's an all girls band. Jerry thinks they have an opportunity to make some good money, as long as they pretend to be women; Joe however, is not keen on the idea.

Taking a different job that is a fair distance away, Joe and Jerry go to a garage to borrow a car belong to a friend of Joe's. While in the garage, Joe and Jerry accidentally witness seven gang members get gunned down by big time crime boss, Spats Colombo. In an effort to flee the scene and Spats' goons, Joe and Jerry put on disguises and hop on the train to join the all female band as Josephine and Daphne. On the train they meet band member, Sugar (Marilyn Monroe), and the two guys realize that pretending to be women is going to be a lot harder than they anticipated.

Some Like It Hot was the first film that I had ever seen Marylin Monroe in, and it was definitely an excellent first choice. Though her acting definitely wasn't as skilled or well polished as the work done by Tony Curtis or Jack Lemmon, she definitely held her own against the two male leads. Her character states in the very beginning that she isn't very intelligent, but Monroe makes her appear more naive and childish rather than dumb. Sugar could easily have been an annoying character, what with her simple minded ideals and breathy voice, but Monroe's allure and star quality make her not only likable, but a character you are rooting for.

Given the time period in which this film was made, it is really quite surprising what got passed the Hollywood censors. There are moments where Sugar's costumes are more than a little revealing and Joe and Jerry's intimate thoughts about the women in the band aren't exactly represented in a subtle way. However, without those additions to the movie, the film would not be nearly as good as it is. The fact that Some Like It Hot seemed to push the envelope, makes it all the more enjoyable. You feel as if you are watching something almost too scandalous for its' time, which aids in creating the film's compelling and comedic atmosphere.

Of the two male stars of the film, it is really hard to decide which one I consider to be more amusing. As tough of a choice as it is, if I had to choose, I would say Jack Lemmon narrowly surpasses Tony Curtis. It is Lemmon's comedic timing and ability to change his facial expressions to fit the scene that made me continuously laugh throughout the film. That being said, Lemmon has more of the intentionally funny scenes and lines throughout the film, whereas Curtis possesses a slightly more straight-laced character arc. Together, the two create an immensely humorous duo, and their on screen chemistry is one of the many reasons Some Like It Hot is such an excellent film.

Some Like It Hot is a rare film of its' genre, where it is both intelligent and intriguing, which are two concepts that are commonly missing from the comedic genre. It is the type of movie that you can watch over and over again, without ever getting tired of the story. One viewing of Some Like It Hot will prove to any viewer, why it is considered such a classic.

1960 Academy Award Winner-Best Costume Design, Black and White- Orry-Kelly

Rating: 5/5

In usual Pixar fashion, Ratatouille presents a charming, creative, and lovable film for viewers of all ages.

Remy (Patton Oswalt), lives within his family's rat colony, but doesn't feels as if he fits in. Where they are all see food as fuel and are contented eating off the street, Remy is able to smell and taste every ingredient. In order to make his culinary creations come to fruition, Remy sneaks into the kitchen of the human's house his family lives over. While in her home, he is able to watch the cooking show hosted by the visionary Chef Gusteau (Brad Garrett). It is here that Remy realizes his true dream in life is to become a chef just like Gusteau.

When Remy's culinary escapades expose his family's nest, they are forced to evacuate. In the mass panic, Remy gets separated from his family, and finds himself floating through the sewers, all the way into the heart of Paris. After noticing the large neon sign, Remy makes his way towards Guseau's restaruant. It is here that he meets Linguini (Lou Ramano); a newly hired garbage man who dreams of being a chef, but has no talent for cooking. Though hectic at first, Remy and Linguini begin to form an unlikely partnership.

One of the many things that Pixar is famous for, is their impeccable attention to detail. Though I may not be a trained chef, it is clear to see the amount of effort that went into making every cooking scene in Ratatouille appear accurate and realistic. It is that remarkable amount of effort that not only makes the food in the film look real, but be incredibly appetizing as well.

Pixar films are never fully based in reality, but that doesn't hinder the enjoyability of the movie. Even if you know the concept of a rat being able to cook is ludicrous, you are still rooting for Remy from beginning to end. Ratatouille has an immediate magic to it, and that is not only due to its' brilliant production company, but to its' voice actors as well. Patton Oswalt gives Remy's voice the passion for cooking that is needed to sell the entire plot of the film. Had Remy not appeared as infatuated with the culinary world as he did, the viewers would not have been as easily enthralled with the innovative story line. Voice casting is just another way that Pixar is able to prove their superiority over other animation production companies.

When I first watched Ratatouille, I was a little taken aback at the maturity of some of its' material. This is by no means a negative remark on the film; in fact its' just the opposite. By not dumbing down their material for the sake of being a children's film, Ratatouille becomes a well thought out and intelligent animated feature. The creators didn't shy away from presenting complex characters or plot lines, and by doing so, they make Linguini seem like a real person, and not just an image created on a computer.

Though it may not be the most talked about, Ratatouille is one of my personal favorite Pixar films. It may not have the heightened action of the Incredibles, or the touching story behind Up, but it is still a wonderful movie. It is truly one of a kind, and thanks to all the little details put in by the creators, is very easy to watch over and over.

2008 Winner Best Animated Feature Film-Ratatouille

Rating: 5/5

In a collection of incredible performances, The Help is heartwarming, emotional, and impressively done.

In the town of Jackson, Mississippi in the early 1960s, a young college graduate named Skeeter (Emma Stone) has just returned home. Within the first few days of her return, Skeeter meets up with her high school friends, and discovers that she has nothing in common with their new lifestyles. She realizes her friends now spend most of their time ignoring their children and ordering their maids around, to which Skeeter is happy to not fit in with.

Pushing herself further away from her "friends", Skeeter takes a job at her local paper answering an advice column called Miss Myrna, which specializes in housekeeping questions. In order to give accurate advice, Skeeter asks to interview some of her friend's maids. As she begins her discussions, Skeeter realizes that there is a greater story to be told, and that is the unspoken tales of the lives of African American maids and how they are treated by their employers. Knowing this is a risky endeavor, Skeeter first approaches a maid named Aibileen (Viola Davis), and hopes that with her help, she can get other women to tell their stories, and change the way of life in Jackson, Mississippi.

There are many scenes in The Help where you laugh along with the spunk of the characters, but there are also moments in the movie where the emotions being brought to the screen are almost too real to bear. It's one thing for a movie to make you tear up, but it's a whole other situation when a film can make you have tears consistently streaming down your face for the entirety of a scene, and even after the movie is over. The Help is a film that did this to me. It is a testament to not only the performances in the film, but also to the writers, that the movie is able to evoke that level of emotion from its' viewers.

The Help was nominated for four Academy Awards and won one, given to Octavia Spencer for her supporting role as Minny Jackson. Spencer's performance was wonderful, and incredibly deserving of its' Oscar win. That being said, it was the work done by Viola Davis and a very short scene with Cicely Tyson that stuck out to me as the most memorable. Davis did win an Oscar a few years after this movie's release, but I personally feel she should have won for this film alongside Octavia Spencer. Her character exudes power and strength, but secretly struggles with her own internal battles. Davis finds the perfect equilibrium with her character's many hardships, doing so in a remarkably touching way.

One of the many things I love about filmmaking, is the color schemes in which the creators decide to use to help their movie emulate a specific time period or atmosphere. Many times, the tinting of the movie is not a natural tone that we would experience in real life, but is necessary in order for the film to have the right feel. In The Help, there is a general overtone of muted yellows, greens, and lavenders throughout the movie. By sticking to this color palate, every scene instantly puts the viewer into the correct time period, and pulls them right in with the characters of the film.

The Help is a movie that I had wanted to see for a long time, but I had never gotten around to it, due its' longer than average run time. I can honestly say that the film could have been two hours longer and I wouldn't have minded. Every aspect of the film makes the movie practically impossible to take your eyes from the screen, and even though I watched it only a few days ago, I am already wanting to watch it again.

2012 Academy Award Winner Best Actress in a Supporting Role-Octavia Spencer

Rating: 4.5/5

Where the mob meets 60's Batman, you will find Warren Beatty's Dick Tracy.

Set in an undisclosed time period and in a world where gang villains are named only by their bizarre features, detective Dick Tracy (Warren Beatty) is on a mission to clean up the streets. In order to do so, he must take down big time mobster, Big Boy Caprice (Al Pacino).

Caprice is trying to take over the town through illegal gambling and drinking, but he knows that Tracy is going to be the major hitch in his plan. With the help of his boys, Caprice does his best to get Tracy out of the way, but success appears to be an impossible feat. It is only when a mysterious faceless villain , a lounge singer named Breathless Mahoney (Madonna), and a young homeless boy who goes by the name "Kid" (Charlie Korsmo), all come into the picture, that Tracy's wits are truly tested.

The first time I watched Dick Tracy, I was very unfamiliar with the comic strip in which it was based upon, so I was taken aback by the outlandish look of the mobsters in the film. Once I learned more about the film's source material, I was able to fully take the film in for how great it was. The color scheme throughout the movie is jarring in all the best ways, making for an incredibly bold and eccentric story.

Warren Beatty performance as the straight laced detective sets the tone for the film, and though his character is very one dimensional, Beatty makes Tracy to be intriguing. Though they may not be the main characters in the movie, it is the scenes between Tracy's girlfriend Tess Trueheart (Glenne Headly), and the Kid that are my favorites. The two have an effortless chemistry with one another, and they also aid in humanizing Tracy's character.

When a film is as heavily stylized as Dick Tracy is, it is practically impossible to compare it to other movies. It is one of a kind in both its' characters and its' creative choices. The backgrounds in Dick Tracy were clearly painted sets, and by doing so, it helps in the film's attempts to stay true to its' comic strip material. Personally, I appreciate it when movies don't use computerized effects, and had Dick Tracy relied on technology rather than artistry and costumes, I don't think it would have had the same impressive result.

I have always been oddly fascinated by stories based around organized crime, but sometimes they are too emotionally heavy and violent to sit down and relax with. That's what so nice about Dick Tracy; it has all the action and plot twists of a mob movie, but presents in a fairly light hearted and colorful way.

1991 Academy Award Winner Best Art Direction/Set Decoration-Richard Sylbert and Rick Simpson

1991 Academy Award Winner Best Makeup- John Caglione Jr. and Doug Drexler

1991 Academy Award Winner Best Music Original Song- Stephen Sondheim "Sooner or Later"

Rating: 4/5

Though it may be predictable, The Blind Side is still heartwarming and charming.

Seventeen year old Michael Oher (Quinton Aaron) comes from an incredibly rough part of Austin. Due to his drug addicted mother, he has now become a ward of the state and finds himself being homeless. One night, while walking to the school gym for shelter, the Tuohy family notices him wandering in the cold night. The mother, Leigh Anne (Sandra Bullock) invites him to stay at their home.

Quickly, the Tuohy family take a liking to Michael, and begin to treat him like a member of the family. The Tuohy's are huge football fans, and given Michael's size, try and get him to go out for the school football team. Though his grades are not great, Michael works hard in order to play for his high school. With people in the community taking notice of Michael's football skill and the unusual circumstances of his new life, the Tuohy family and Michael must learn to stick together in order to triumph over adversity.

Almost every single sports film in the world is going to follow a similar patten. They are almost always based on true events, and they are most commonly some form of an underdog story. The Blind Side definitely fits into that pattern, but that is one of the reasons it is an uplifting movie. You have a pretty good idea of what the final outcome of the story will be, but you are looking forward to see how the characters will get there.

When this film was originally released in 2009, the main thing that was talked about was the performance given by Sandra Bullock. This film earned her an Oscar, and it does feel well deserved. Leigh Anne Tuohy doesn't go through any major hardships or transformations throughout the story, but she is consistently protective and strong for her family, and Bullock never lets that sentiment falter.

Part of the appeal to sports films, is the excitement and energy that usually is brought to the screen by its' story. The Blind Side does have more quiet moments than some other sports movies that I have seen, but it certainly has its' fair share of scenes that get your heart going. Oddly enough, those don't always come from the scenes showing Michael playing football, but from scenes where Leigh Anne is fighting for Michael's rights. It is the combination of the action filled football scenes, and the heartfelt moments between Michael and the Tuohy's that make the Blind Side not disappear into the collection of the numerous other football movies out there.

I doubt that there are any fans of football or sports movies that have not at least heard of the Blind Side, but if they haven't, then they certainly should see this film. It has all the checkpoints for a great sports movie, and is entertaining from beginning to end.

2010 Best Performance by an Actress in a Leading Role- Sandra Bullock

Rating: 5+/5

With a phenomenal script written by Emma Thompson, Sense and Sensibility will forever be one of my favorite films.

The four Dashwood sisters have just suffered the loss of their father, and their wealth. According to law, all of their father's money is to be inherited by their half-brother, and thanks to their sister in law Fannie, they are now expected to survive on only 500 pounds a year, as well as be forced to leave their estate. Before officially moving to their new cottage, the eldest sister Elinor (Emma Thompson) begins to fall in love with a man named Edward Ferrars (Hugh Grant), but he is called away before their romance can officially bloom.

Once in their new home, Marianne (Kate Winslet) finds herself being courted by John Willoughby (Greg Wise), who is strongly disliked by their new family friend, Colonel Brandon (Alan Rickman). With so many new faces in the lives of the Dashwood women, the ladies will need to rely on one another more than ever in order to navigate their unexpected challenges.

Sense and Sensibility was the first period piece and Jane Austen story that I had ever experienced. The moment I was introduced to the language, style, and concept of this film, I was hooked. Every time that I watch Sense and Sensibility, I am immediately mesmerized by it, and can't help but be pulled into the beautiful world created by the original novel and the creators of the film.

Even before I had seen this movie, I had loved the acting style of Alan Rickman. Most notably, I had seen him in the Harry Potter series, but I had never seen him in something where his character is supposed to be so gallant and chivalrous. The combination of his voice and his effortless skill as an actor, Rickman makes his performance as Colonel Brandon to be the most memorable in the film. Alongside Rickman's brilliant portrayal, Emma Thompson's work as Elinor is equally as stunning. Though Elinor's mother is a prominent character in the story, Thompson's portrayal makes Elinor appear to be the matriarchal figure in the family. She gives her character the strength as the protector, but is sure to bring Elinor's own troubles to the surface, but in a subtle way.

When a film is a period piece, there is always the added difficulty of not only making a movie that will be well received, but also have it appear to be set in the right time frame. Right from the start, Sense and Sensibility transports the viewer into its' world. There is not a single piece to the film that allows to viewer to remember that the movie was made in the 90's and that the actors were not actually living in the 1800's. The set and costume designers of the film most certainly deserve just as much credit as the director and actors.

Whenever I am in need of something to lift my spirits, I almost always turn to Sense and Sensibility. There is an indescribable magic that I associate with this film. No matter what, I will always love this movie just as much as the first time I watched it, and I know that will never change.

1996 Best Writing, Screenplay on Material Previously Produced or Published- Emma Thompson

Rating: 5/5

Filled with Tim Burton's strange, colorful, and bizarre trademarks, Beetlejuice is definitely one of the famed director's best.

Simple and happily married couple, Barbara (Geena Davis) and Adam (Alec Baldwin) Maitland, are excited for their at home vacation. On their way home from a routine trip to the hardware store, the Maitland's swerve their car to avoid hitting a dog, and their car plunges off a bridge and into a river.

When the Maitland's return to their home, they begin to notice peculiar changes in the house, including a book titled "Handbook for the Recently Deceased". Along with the realization that they are ghosts, comes a new family that has bought their home and plans to invade and completely renovate it. In order to rid their beloved house of its' new inhabitants, the Maitlands take to drastic measures and look into hiring a bio-exorcist named Betelgeuse (Michael Keaton). What seemed like a good idea quickly turns into more than they bargained for, and the Maitlands find themselves way in over their heads.

Tim Burton's career has proven that he is a master of the unusual, and Beetlejuice is a prime example of that. From the very beginning, this film is unlike any other, but Burton's style exudes such a sense of confidence, that you don't question any of the offbeat choices that he makes. He has the ability to take a scene of a claymation sand snake chasing Alec Baldwin, not only appear sensical and important to the plot, but somehow, almost normal.

With a cast full of colorful roles, it is expected that the title character would be the most memorable. Michael Keaton's role could have been seen as an impossible task. He had the challenge of creating a character who lacks any real life reference, and also had to make it so Betelgeuse wouldn't be so far fetched that the audience would lose any connection with him. Not only did Keaton generate a character that perfectly matched the tone and atmosphere of the film, but he also created an icon. Of the numerous Tim Burton characters and films, Keaton's Betelgeuse is most certainly one of the most legendary.

Part of what makes almost any Tim Burton film so compelling, is his use of visual effects and color. Having the family that moves into the Maitland's home be into surreal design aesthetics, allows for Burton to stretch his creativity to its' farthest reach, and in turn have an extremely unique setting for an equally odd story. That's one of the great things about Beetlejuice; there's so much going on in the house, that every time you watch it, you notice something new.

Beetlejuice is a movie that I took too long to finally watch. For the longest time I had an aversion towards Tim Burton films, and I think that is because for a short period of time, I had only seen the work of his that had received less than stellar reviews. Once I saw Beetlejuice, I was immediately hooked on the story and style, and now it is always one of my go to movies to watch during the Halloween season.

1989 Academy Award Winner for Best Make Up- Ve Neil, Steve LaPorte, and Robert Short

Rating: 5/5

A movie that holds nothing back, Little Miss Sunshine is daring, humorous, and touching.

The Hoover family is not like many others. The father, Richard (Greg Kinnear) is in the process of trying to make it big as a motivational speaker, and uses his patented "Nine Steps" to influence his parenting. Richard's father Edwin (Alan Arkin) lives with the Hoovers due to the fact that he was kicked out of his retirement home for selling heroine. The mother, Sheryl (Toni Collette), is just trying to keep her family glued together, but learns that her brother Frank (Steve Carrell) has tried to commit suicide and cannot be left alone, so he has to move in as well. Frank must sleep in the same room as Richard and Sheryl's son Dwayne, (Paul Dano) who has taken a vow of silence until he can get into flight school. The only seemingly "normal" person in the family, is seven year old Olive (Abigail Breslin). Olive is kind to everyone, and though she may not fit the typical "look", she wants nothing more than to compete in beauty pageants.

When Olive learns that she has become runner up in a local pageant and is now qualified to go to the Little Miss Sunshine pageant in California, the whole family goes along for the trip. Given the collection of unusual characters that make up the Hoover family, the trip is destined to be a doozy.

Little Miss Sunshine was the first time I had every seen an indie comedy-drama, and it was a wonderful introduction into the genre. I had never experienced a film that could make me laugh, but could also pack an incredibly strong emotional punch. It is thanks namely to the cast and writers that this movie made such a large impact on me.

Though the Hoover family is incredibly dysfunctional, they all agree on one thing, and that is they want the best for Olive. Part of what makes Little Miss Sunshine so wonderful, is the scenes in which the family is protecting Olive or just trying to make her happy. Those scenes break the palpable family tension that is present throughout the movie, and also adds an instantly heartwarming element to the film.

Whenever I watch movies where one of the main characters is a child, and their performance is truly remarkable, I always wonder how someone so young is able to bring such a sense of realism to their character, and Abigail Breslin's portrayal of Olive is definitely one of those times. Though she did not win the Academy Award that she was nominated for, it still makes me incredibly happy that she was recognized for her work, because her acting in this film is simple, yet powerful. The rest of the cast give equally impressive performances, and together they create the unique and troubled Hoover family that shows their love in the most peculiar ways.

Of course I know that Little Miss Sunshine wasn't the first film of its' kind, but to me it appeared to be the catalyst for similarly styled movies to follow suit. The other films that I have seen that seem to bear a resemblance are not bad movies whatsoever, but they still can't match the ingenuity and boldness that make Little Miss Sunshine such a memorable film.

Academy Award Winner:

2007 Best Performance by an Actor in a Supporting Role - Alan Arkin

2007 Best Writing, Original Screenplay- Michael Arndt

Rating: 5/5

In perhaps the most tear inducing Pixar film ever, Up is heartwarming and full of adventure.

As a child, Carl Fredrickson wanted nothing more than to be like the famous explorer, Charles Muntz (Christopher Plummer), and dreamed of some day going on his own adventures. One fateful day, he meets a girl named Ellie, who shares his spirit and dreams, and they quickly form a life long relationship and romance.

Years later, Carl (Edward Asner) is now widowed, and the house he and Ellie called home is being surrounded by city developments. When the construction workers knock down Carl's mailbox, he hits one of the men, and is forced to move to a retirement home. In order to escape his predicament, Carl attaches countless balloons to his home and takes to the skies for an adventure. Unbeknownst to Carl, a young boy named Russell (Jordan Nagai) who earlier had appeared at his door looking to earn his final scout badge, has accidentally made it into the air with Carl, and is now along for the trip to Paradise Falls.

Pixar is no stranger to making its' viewers cry, but I think Up may the most famous for it. I doubt if anyone can get through the first ten minutes of the film without reaching for tissues. It is a major testament to the creators behind Up that they can make a film that was not only nominated for Best Animated Feature, but Best Motion Picture as well, and it is most certainly due to its' incredibly beautiful, but heartbreaking, opening sequence.

As it is with all animated films, the voice acting is key to making the movie successful. Not only does the voice of the elderly Carl perfectly match the character, but he adds a level of emotion to the role that almost makes you forget you are watching an animated feature and not something with live actors. Not to be forgotten is Jordan Nagai who is the voice for Russell. He is able to bring the whimsy and adventurous spirit that comes along with childhood, and is also gives his character's personality some tenacity and humor along the way.

Though the beginning of Up may not appear to be something that you would find in a film targeted for children, the rest of the movie makes sure to add in enough color, comedy, and action to please any viewer. The concept of adding in the characters of dogs with the translating collars was a stroke of genius, and was hands down one of the funniest pieces in the movie.

If you have never had the privilege of seeing Up, it should move to the top of your to do list. Never have I experienced and animated film with such heart and emotion as Up has, and it is truly one of the greatest movies that Pixar has put out.

2010 Best Animated Feature Film of the Year Winner- Up

2010 Best Achievement in Music Written For Motion Pictures - Michael Giachinno

Rating: 5/5

In this legendary and deeply unsettling film, Silence of the Lambs continues to be a memorable and brilliantly put together movie in the horror genre.

A student at the FBI academy, Clarice Starling (Jodie Foster) has caught the attention of Jack Crawford (Scott Glenn), who leads the Behavioral Science Unit. Crawford believes that Clarice will be able to aid in the investigation of capturing the notorious serial killer who goes by the name of Buffalo Bill.

Crawford believes that by studying the minds of other serial killers, they may be able to gain some insight into the thought process of Buffalo Bill, which will hopefully lead to the discovery of Bill's true identity and whereabouts. Clarice is asked to question Dr.Hannibal Lector (Anthony Hopkins), a brilliant psychologist who has been incarcerated for murder and cannibalism. Lector is quick to notice that Clarice is new to the game, but finds her fascinating nonetheless. With the help of Hannibal, Clarice begins a dangerous investigation in the search for Buffalo Bill.

The subject matter of Silence of the Lambs is incredibly dark, and you wouldn't necessarily think that it would appeal to the masses, but the filmmakers knew when and where it was appropriate to show any grotesque details, and when it would be best to leave the horrific imagery to the imagination of the audience. It is that level of intelligence and control that makes Silence of the Lambs such a masterful horror film and not a gruesome slasher movie.

What is strange about the story of Silence of the Lambs, is that Hannibal Lector is not an unlikable character. You go into the movie expecting to hate him, given the crimes he has committed, but his protectiveness of Clarice puts the viewer practically on his side for most of the film. As immoral as that may seem, it is a testament to the source material, filmmakers, and actors, that this movie can turn a murderous cannibal into a charismatic and charming character.

This movie was nominated for seven Academy Awards, and won five, which is a pretty impressive percentage. Two of the Oscars that it won were for Best Actor and Best Actress in a Leading Role, and deservedly so. Anthony Hopkins not only gave a chilling and brilliant performance, but he also turned Hannibal Lector into an iconic character. Many people have tried to match the style Hopkins gave to the role, but few have been able to come close. Jodie Foster's portrayal of Clarice Starling equally matches Hopkins work as Lector. Foster is able to make sure that Clarice appears strong, determined, and fierce, but also gives her character an underlying vulnerability that can only be brought to the surface by Lector himself.

There are times when a movie is so well done, that it is near to impossible to find a fault with it, and Silence of the Lambs is one of those films. Every piece of the movie comes together beautifully, and the end result is a film that has become a remarkable addition into the archives of motion picture history.

1992 Best Picture Winner-Silence of the Lambs

1992 Best Actor in a Leading Role- Anthony Hopkins

1992 Best Actress in a Leading Role- Jodie Foster

1992 Best Director- Jonathan Demme

1992 Best Writing, Screenplay Based on Material Previously Produced or Published- Ted Tally

Rating: 5+/5

If you are looking to watch a movie full of color, comedy, emotion, and ingenuity, then look no further, because Zootopia meets all of those requirements.

Judy Hopps (Ginnifer Goodwin) dreams of proving to the world that if you stick to your aspirations, even a bunny can become a police officer in the bustling metropolis of Zootopia. Among the other large mammals who are training to become policemen, Judy shocks the people who doubt her determination, and rises to the top of her class.

Once an official member of the Zootpia Police Department, Judy is overjoyed at the idea of making the city a better and safer place. Much to her dismay, she is assigned the position of "parking duty", but she won't let that stop her from achieving her goal. When she meets a fox named Nick Wilde (Jason Bateman), her big city fantasies begin to come true, but not in the way she expected.

Zootopia is definitely in my top five favorite children's films. Not so much for the message behind the film, which is great, but for the incredible amount of creativity that went into it. Every time I watch this movie, I notice something that I had never seen before. They add in so many little details, that its' impossible to catch them all, but it adds to the impressively innovative effect that the movie has.

Zootopia is full of references that are almost guaranteed to not be understood by its' target audience, but that's one of the many thing that make it so great. Some of the most memorable animated films are ones that can be enjoyed by both young and old, and since the first moment I saw this film, I knew that it would be remembered as one of the greatest in its' genre.

The best children's movies know when and where do add their underlying moral. Zootopia clearly has a message that its' sending out, but it is not forced or overdone. It is scattered in and out throughout brilliantly timed humor and originality. I feel that the theme Zootopia tells, is more important now than ever. Its' odd that it takes a movie targeted towards children to really make the concept of acceptance seem more tangible and easily understood for adults.

I don't consider Zootopia just one of my favorite animated films, but one of my favorite films in general. It is most certainly well deserving of its' Best Animated Feature Academy Award win, and a must see for all ages.

2017 Best Animated Feature Winner- Zootopia