Oscars post-mortem: Happy and sad about last night's results

Alejandro Gonzalez Iñarritu 

Last night's Oscars were unusually emotional -- from Patricia Arquette's powerful call for women's equality to the moving performance of Selma's "Glory."

Neil Patrick Harris was an ok host -- a couple chuckles here or there -- but he essentially did nothing that Ellen DeGeneres or even Hugh Jackman haven't already done better.

The big winner of the night was undeniably Birdman even though The Grand Budapest Hotel did well in some of the lesser categories.

Still, for me it was a bittersweet Oscars for many reasons -- and pretty much a confirmation that Hollywood remains something of an insider's circle at the end of the day.

I was stunned by the lack of love for Boyhood, a masterpiece that took 12 years to make and was arguably the most acclaimed film of the year. Arquette's victory was expected and earned but I think this film deserved so much more.

That said, I am enormous fan of Birdman and I have no problems with it taking the top two prizes of the night (Best Picture and Director). I am just dumbfounded that the driving force behind that movie -- Michael Keaton -- came up short.

By all accounts Eddie Redmayne gave a touching, transformative performance in The Theory of Everything, but does anyone think his role or film will be relevant years from now?

Michael Keaton 

Keaton delivered a tour de force in a technically demanding film that was unlike anything else to be released this year or any year. This was one of those appalling Oscar upsets that's going to stick in my craw.

Also, the Oscars seemed to not know how to address this year's stunning lack of diversity.

Neil Patrick Harris made a few jokes about it and there was a consistent parade of black presenters and cutaways to black stars in the audience, but none of that changed the fact that these awards are very stodgy, white and elitist.

Although Birdman is a funny, smart and innovative character study about the limits of ego -- it will probably be viewed as victorious because it was about Hollywood, and the industry loves to revel in its own excesses. I hope that's not true, it would be nice to think voters chose the film on its own merits.

All in all, I left last night with mixed feelings. I thought Jack Black had the funniest moment of Neil Patrick Harris' entire hosting gig. I thought the speeches were better than average (as were the ads during the show). I was thrilled to see Julianne Moore finally get the recognition she deserves, and bummed to see Michael Keaton be overlooked again.

I wonder why I allow myself to care about these things -- like all film buffs I know the Oscars don't mean all that much (Citizen Kane didn't win and Do the Right Thing wasn't even nominated). And yet next year I'll be right there all over again.

Final Oscar predictions 2015: Best director and best picture

My annual Oscar predictions with my friend Brian Wezowicz from Too Fat 4 Skinny Jeans continues with our picks for the Academy Awards for Best Director  and Best Picture.

Brian: 4 for 4 so far!  Maybe we can disagree on these final two categories, where the outcome doesn't seem nearly as set in stone as the acting categories.

First up is Best Director.  It seems to be a two horse race between Richard Linklater for his time spanning opus, Boyhood, and Alejandro G. Inarritu for Birdman.  Both movies required a monumental directing effort, and I think the race could go either way.  I should also mention that I think we'll see a split between best picture and director this year.

Here are the nominees:

Alejandro G. Inarritu - Birdman
Richard Linklater - Boyhood
Bennett Miller - Foxcatcher
Wes Anderson - The Grand Budapest Hotel
Morten Tyldum - The Imitation Game

Will Win:  Richard Linklater

It's my favorite movie of the year, and Linklater gets the nod for his amazing ability to craft a story that took 12 years to film.  It's amazing that this movie even exists, let alone works so well.  He basically had to craft the story on the fly to account for the shifting tides of technology, politics, etc. over a twelve year span.  He gets the slight edge over Inarritu.

Should Win:  Linklater or Inarritu

I won't be upset if either director walks away with the statue.  Both did an amazing job.

Dark Horse:  Wes Anderson

While I wasn't a huge fan of Grand Budapest, is this the year that the Academy finally comes around to Wes Anderson?  If anyone could sneak in and upset the front runners, it's Anderson.  The movie made a ton of money and has already done well on the awards circuit.  My guess is that Anderson walks away with the script writing Oscar and gets left out of directing.

Who do you got?

Adam: I don't think it's quite as close as you do -- but more on that in a second. This was the most heartbreaking category to me because of the omission of Ava DuVernay. The Best Actor race is always hyper competitive, so while I still think Oyelowo deserved a spot more than Copper, it's not like the greatest snub of all time. But the diss of DuVernay might be.She could have made history as the first woman of color and just the fifth woman overall to be nominated for Best Director. Her achievement with Selma was astounding, and although it was nominated for Best Picture, it feels like an afterthought. The movie deserved better.

I also think Morten Tyldum unexceptional work on The Imitation Game is unworthy of a spot here. He did a solid, competent job, but I feel like this should be a category for auteurs. Hell, even if Clint Eastwood were here it would make more sense because he made a film that really reflected his vision. I think the other four are definitely worthy, great filmmakers. And although I would be surprised if he eeked out a win, I am personally thrilled to finally see Wes Anderson get recognized by the Academy. His slow but steady rise as a commercial force has been one of the most fascinating recent developments out of Hollywood. That said...

Will win: Richard Linklater

It would be a mistake to award Linklater just for his achievement of making a moving, coherent film over 12 years. He's not the first, or the last direct to try an experiment like this. It's simply the best film of the year, and impressive directorial vision that is epic in scope and feeling. He is picking up pretty much every precursor and his body of work makes him a shoo-in for the award.

Should win: Richard Linklater

For pretty much all the reasons stated above. He made a movie that was both uniquely personal and yet had universal appeal. It also just feels like the culmination of all this prior work. Directors sometimes don't win for their signature films, it would be a shame for that to happen here.

Dark Horse: Wes Anderson

The quirky filmmaker has a lot of devoted fans, and I count myself among them. I actually didn't think Grand Budapest was his strongest work, I liked it, but I think Moonrise Kingdom was superior for instance. But for whatever reason, this film was a real hit with audiences, and critics who usually are very polarized on Anderson. It's strong showing among the nominations suggests a lot of support for him and his film, so if there's going to be an upset, it could be here.\

Brian: Ah, yes.  I can't believe I forgot to mention the biggest Oscar snub.  DuVernay's omission from the directing category was the most glaring snub in this year's field.  Selma was a brilliantly directed film and the historical implications of her would be nomination make this snub hurt the most.  I agree that it deserved better.  I haven't seen The Imitation Game, but from all accounts it seems like a quality, but by the numbers, biopic.  I'll have to wait and see to pass final judgment.

 It's time for the big award: Best Picture. We have a crowded field, but to me, it feels like it could go one of two ways. Birdman or Boyhood. I feel like Boyhood is the premier film this year for all of the reasons you mentioned.

I should also mention that I am not a fan of the "up to 10 movies for Best Picture" rule anymore.  I liked it when it was first implemented because it allowed films that might not have gotten into the category in years prior a chance to shine.  However, the more I look at it, it feels almost forced.  Is a movie like American Sniper (and it's 74% Rotten Tomatoes score) really a best picture nominee?  Or was it thrown in because Clint Eastwood make it and he automatically gets in.  These past few years, it's felt like there have been movies that have squeezed their way in almost as a token nomination.  What do you think... should we go back to the 5 movie rule, or do you like expanding the category to 10?

The nominees for Best Picture are:

Boyhood

American Sniper
Birdman
Boyhood
The Grand Budapest Hotel
The Imitation Game
Selma
The Theory Of Everything
Whiplash

Will Win: Boyhood

This is my personal favorite film of the year.  I connected to this movie more than any movie I've seen in the past few years.  It's a monumental achievement in directing, acting, script writing, editing, etc.  It gets the nod this year.

Should Win: Boyhood

For all the reasons I mentioned above, this is the one that should walk away with the big prize.  Although I could make a case for Birdman as well.

Dark Horse: Selma

Does the perceived "snubbed" movie get the victory (like Argo two years ago)?  I could see this happening, but my guess is that it doesn't come anywhere close to knocking Boyhood off the pedestal.

That's it for me. Who wins your Best Picture Oscar?

I'd also like to thank you for participating again this year.  I really enjoy these back and forth exchanges. I'd also like to mention that I love reading your blog.  I don't get to go to the movies as much as I like these days and I live vicariously through your reviews.  You are really gifted with your commentary on all things Hollywood.  Keep up the good work.  Let's keep these exchanges going in the future.

Adam: Thank you! I too liked the expansion idea at first -- particularly after The Dark Knight was inexplicably snubbed in 2008 -- but it clearly deserved a spot in the final five, instead of the dreary The Reader. I think you're right, this experiment hasn't worked. Sure some quirkier gems have gotten best picture nominations but even year since 2009 there have been five clear favorites and a bunch of also-rans. Like I am still shaking my head over The Blind Side getting a best picture nomination.

I didn't like American Sniper for a host of reasons, it was entertainment and interesting in its ineptitude, but I don't think it belongs here. I feel the same way about The Imitation Game, I haven't seen The Theory of Everything but I've heard -- frequently -- that movie is just ok, not great. Of this group I would narrow it down to: Selma, Birdman, Boyhood, Whiplash and The Grand Budapest Hotel.

And I think Foxcatcher should have made the cut instead of Whiplash. Whiplash is a terrific little movie, but I just thought Foxcatcher has more to often in terms of an all-encompassing filmgoing experience.

That said, the nominees are what they are...

Will Win: Boyhood

This race is actually incredibly close for me, and I've been thinking more and more that Birdman might triumph, it's still buzzy and still in theaters, whereas Boyhood had its biggest impact last summer. I've also increasingly heard quibbles about the film from some people. That said, it was the most acclaimed American film of last year and it has enough momentum left to eek out a victory.

Should Win: Boyhood

It's tough, my heart is with Selma but my head is with Boyhood. If Birdman won I wouldn't be appalled but those two were the films that really stayed with me emotionally long after I saw them. I think Boyhood is a stunning achievement and just a profoundly smart take on a whole generation. Selma is more modest in scope, but no less compelling.

Dark Horse: Birdman

It has a slew of precursors and nominations, it clearly resonates with the Hollywood community and it's innovative to boot. I am becoming more and more convinced that it could be a great night for this magic realism mishmash of a movie and maybe only because Boyhood peaked too soon.

I think the Academy thinks it did its job for racial harmony last year by begrudgingly picking the phenomenal 12 Years a Slave to win best picture, I think American Sniper is too polarizing, The Theory of Everything and The Imitation Game are too slight and Whiplash is too small. Grand Budapest Hotel is kind of hanging around and could be a spoiler but I feel like its too whimsical a movie to be a best picture winner.

Needless to say, this is going to be a potentially surprising finale.

Final Oscar picks 2015: Best actor and actress

Eddie Redmayne in The Theory of Everything

My annual Oscar predictions with my friend Brian Wezowicz from Too Fat 4 Skinny Jeans continues with our picks for the Academy Awards for Best Actor and Best Actress.

Brian: Up next is Best Actor. We have a really strong group of performances and a major snub (*cough* *cough* Selma *cough*). I am really excited for this category.

One of our favorite actors could finally get the recognition he deserves after a career of amazing performances.

Yes, Michael Keaton is up for Best Actor for his brilliant, somewhat self-reflective, performance in Birdman.

Although, this IS the Oscars and we've seen actors get the shaft before (hello Bill Murray).

Here are the nominees:

Steve Carrell - Foxcatcher
Bradley Cooper - Not Selma (American Sniper)
Benedict Cumberbatch - The Imitation Game
Michael Keaton - Birdman
Eddie Redmayne - The Theory Of Everything 

Who Will Win:  Eddie Redmayne 

I'm calling the first big upset of the night.  Redmayne came away with the SAG Award for his performance as Stephen Hawking, and the SAG winner has gone on to win the Oscar in the past 10 years or so.  He wins it here. 

Who Should Win: Michael Keaton 

Come on Oscar!  Give one of the greatest actors of all time the award he rightfully deserves.

Dark Horse: David Owyelowo for Selma (Kidding! ) The Academy is a bunch of 70+ year old white guys.

Actual Dark Horse: I think this is a two person race between Redmayne and Keaton.  If I had to pick anyone else I would have to go with Bradley Cooper for the overrated American Sniper. Pretending that plastic baby is real deserves its own acting award.  I could also see Cumberbatch as a potential spoiler. Hell, Carrell was amazing, too. Really strong group of actors this year.Who takes your top actor Oscar?

Adam: This is a pretty strong group but yes, there is just no excuse for the David Oyelowo snub, it's not about race it's about the performance and he easily gave one of the best of the year. In fact I would say alongside Keaton and Carrell, those were my three favorite leading man roles this year. He "became" MLK, which is an incredible feat and he gave the character depth and nuance, not bad for a Brit playing such a quintessentially American role.

I haven't seen The Theory of Everything and to be honest I'm not sure I want to. It felt like one of those movies where when you've seen the trailer you've seen the entire movie, and it just felt like A Beautiful Mind redux for me. I did see The Imitation Game and was kind of underwhelmed by it. I really like Benedict Cumberbatch as an actor, but he didn't do anything different than he does on Sherlock and in several of his other roles. He's the charming jerk who eventually reveals his sensitive side. I'd love to see him stretch more, maybe do a comedy. 

Carrell was magnificently creepy in Foxcatcher, Cooper was good in American Sniper but I don't think he deserves an Oscar for it, and although I'm biased because he's one of my favorite actors --  I think Keaton gave the performance of the year in Birdman.

Will win: Eddie Redmayne

I just have a bad feeling about this. Even though the Best Actor award normally skews older, the Academy always seems to be a sucker for physically transformative roles. Personally I am a bigger fan of "the role of their lifetime" type of performances and to me that's why Keaton's fits like a glove, but to your point SAG wins are almost always the best predictor and Redmayne's victory there seems to suggest he is the favorite. I've heard he is terrific in the film and I don't doubt that but it seems like the kind of performance that won't be remembered decades from now.

Should win: Michael Keaton

Sure he's already won tons of accolades and acclaim for this performance but I don't think he gets enough props for the technical mastery of what he did. I just revisited Birdman last night and the acting chops you have to have to pull off the sustained 8 to 10 minute takes the film's unique style required is astronomical.

Yes, the meta nature of the role is the hook but the emotional complexity and pathos of his performance make you forget all that stuff and view his character as a unique original creation instead of a riff on Keaton's career. His touching Globes speech was just a warm up act and I think more than any other race my heart is with him on this one.

Dark Horse: Bradley Cooper

I feel like this film is too huge not to get rewarded somewhere and stranger things have happened. This year reminds me a bit of 2002 where everyone saw it as a race between Daniel Day-Lewis (for Gangs of New York) and Jack Nicholson (for About Schmidt) and then Adrien Brody came out of nowhere and shocked the world (and Halle Berry, by giving her a long smooch at the podium). Even though American Sniper is divisive, Cooper is quickly become Hollywood's new golden boy and he has matured into a solid, likable leading man. I thought his work here was good but not exceptional, but he may have more momentum on his side than Keaton and Redmayne.

Brian: That's 3 for 3 so far!  We both smell an upset for Best Actor.  I thought you were gonna call it for Keaton.  It'll definitely be interesting in the one (and maybe only) category with a chance for drama to unfold. Next up is our last acting category of the evening:  Best Actress.

Again, there doesn't seem to be much confusion as to who will win this year.  It boils down to Julianne Moore and everybody else.  She's cleaning up on the circuit and I don't see anyone else stopping her. 

The nominees are: 

Marion Cotillard - Two Days One Night 
Felicity Jones - The Theory Of Everything 
Julianne Moore - Still Alice 
Rosamund Pike - Gone Girl 
Reese Witherspoon - Wild 

Who Will Win:  Julianne Moore 

In a down year for women, The Academy rewards one buzzed-about performance.  For a short while I thought this was the year of the Reese Witherspoon renaissance.  I haven't seen Wild yet, but I've heard good things about her character's story of self-discovery and redemption... And then the awards season kicked into high gear, and it's been all Moore all the time.  

She's won the SAG, the BAFTA, and the Golden Globe for her portrayal of a woman struggling with Alzheimers. There's no stopping this runaway train. Moore wins in a landslide.

Who Should Win:  Julianne Moore 

I'm basing this solely on the fact that since she's won everything else, she deserves the Oscar.  Sadly, I haven't seen Still Alice yet, but I plan to when it comes out on home video.

Dark Horse:  Rosamund Pike 

You liked the movie more than I did.  Pike does a formidable job of playing the titular gone girl.  I wasn't wild about the movie, but it did major box office and I could see her as a possible dark horse candidate.  Or do the voters give us a Theory Of Everything clean sweep with Felicity Jones?  Assuming Eddie Redmayne wins as we are both predicting he will. Who takes home your Oscar?

Adam: Yeah, I want Keaton to win desperately and won't be surprised if he does, but I am used to Oscar disappointing me, particularly in this category. I still can't believe Jean Dujardin won for The Artist when George Clooney gave perhaps his best performance of all time for The Descendants. I am sad to say I have not seen most of the films featuring nominees for Best Actress -- that said, I don't think I'm far off when I say that this doesn't seem to be the strongest crop and the race seems anything but competitive.

Perhaps if Reese Witherspoon hadn't already won (undeservedly in my opinion) she might have given frontrunner Julianne Moore a run for her money. But it seems like this is going to be the Julianne Moore lifetime achievement award. It doesn't seem like anyone else is even close to stealing her thunder.

Will Win: Julianne Moore

Moore has long been one of Hollywood's greatest actresses and she has been nominated several times and never won (even though she deserved the award when she made Far From Heaven and Boogie Nights). I have heard nothing but amazing things about her performance and she is certainly "due." And, gratefully, I've heard the performance is definitely worthy. 

Should win: Julianne Moore

She seems to stand head and shoulders above the competition. I loved Rosamund Pike in Gone Girl, she gave a fun mainstream movie star type performance. I don't really know what Felicity Jones did that was all that special and both Witherspoon and Marion Cotillard have won fairly recently. 

Dark Horse: Felicity Jones 

Unlike Best Actor this category often honors up-and-coming ingenues, think Gwenyth Paltrow in Shakespeare in Love or Jennifer Lawrence in Silver Linings Playbook. I haven't heard anything exceptional about her performance but Hollywood loves to crown a new darling, seems like that's the spot she's filling here. 

Plus, to your earlier point, if there's a groundswell for Redmayne, she could ride in on his coattails.

Final Oscar picks 2015: Best supporting actor and actress

JK Simmons in Whiplash

In what has become something of an Oscar tradition, my friend Brian Wezowicz of Too Fat 4 Skinny Jeans fame will be joining to make our final predictions for the major categories on Sunday.

Brian: I've been lazy this year (and I haven't seen nearly enough movies).  I'm going to keep it short and hit up the big categories. The time has finally come. 

The movie nerd Super Bowl is here, so let's waste no more time and get right to it. The rules are the same as last year.

We'll rifle through the (major) categories and give our picks for who we think will win, who should win, and any possible upsets.

Unlike the actual Oscar telecast, we'll keep this short and sweet.  We'll tackle the major categories (acting, directing, picture).  First up is Supporting Actor.

And the nominees are:

Robert Duvall - The Judge
Ethan Hawke - Boyhood
Edward Norton - Birdman
Mark Ruffalo - Foxcatcher
J.K. Simmons - Whiplash

Who Will Win:  J.K. Simmons  This is about as big of a slam dunk as there has been in recent years. Simmons brilliant portrayal of an intense music teacher has already earned him a boatload of awards including a SAG and Golden Globe.  He wins the big one this Sunday.

Who Should Win: Simmons  He's a great actor who is finally getting his due. This was the role of a lifetime and he nailed it.

Dark Horse:  I don't think there will be any upsets, but if I had to pick one, my guess would be Edward Norton in Birdman. Our boy Michael Keaton (deservedly) gets all the love for his brilliant performance, but Edward Norton also gives a hell of a performance.  Still, I think this is J.K. Simmons' category, and there's no stopping him. Another performance that I really loved is Ethan Hawke in my favorite movie of the year, Boyhood.  He was so real and relatable in that role.  I would like to see him get a little more love. How about you?  Who takes home your supporting Oscar?

Adam: Looking at Best Supporting Actor, this is always one of my favorite categories and it's one of the few that you can win for playing a villain or comedic role or just generally chewing the scenery. And let's face it, because the sexist Hollywood power structure always come up with meatier roles for men, these actors often have more screen time and better roles than their female peers in leading categories. This year's crop is pretty strong save for Robert Duvall, a great actor who seems to be getting a nod for just staying in the game this long.

Who will win: J.K. Simmons

I think you're spot on in your assessment -- he's won every precursor ever out there, the movie had a strong showing at the nominations despite being a small movie that few people have seen.

Who should win: J.K. Simmons

Simmons is the straw that stirs the drink in this film, he is just riveting and hilarious and scary ("Not my tempo!"). I loved the performances of Hawke, Norton and Ruffalo a lot, but their time will come.

Dark Horse: Edward Norton

Sometimes supporting races can take a shocking left turn and a surefire lock can get upset on Oscar night. I agree with you that if anyone can pull it off it's Norton, one our greatest actors who has never won, and his hilarious, self deprecating work in Birdman is a revelation.

Brian: The next category up is for Supporting Actress. Can you agree with me that it hasn't been the strongest year for women in terms of roles?  Not that there haven't been strong performances this year by women, but rather these performances almost feel like an afterthought.  There isn't really a breakout performance by a woman this year.

I haven't seen Into The Woods, but it feels like Meryl Streep is nominated because they needed a 5th person in this category.  Not to mention the giant elephant in the room that there wasn't a single person of color nominated for acting this year.  I know many words have been written on the subject, but I can't get over the Selma snub. 

My only hope is that we're living in a dream world and will wake up on Sunday to see Selma get its proper due. With that being said, here are the nominees:

Patricia Arquette in Boyhood

Patricia Arquette - Boyhood
Laura Dern - Wild
Keira Knightley - The Imitation Game
Emma Stone - Birdman
Meryl Streep - Obligatory Nomination (Kidding, It's for Into The Woods)

Who Will Win:  Patricia Arquette

I think this is another runaway victory. Arquette gave a brilliant performance as the mother of two children in Boyhood.  I'm amazed that these actors were able to seamlessly jump into their characters and deliver such wonderful performances, while filming for one or two weekends a year over twelve years.

She was incredible as a mother trying to hold her family together while dealing with her own personal struggles and growth.  I absolutely loved this performance and I think she takes home the statue.

Who Should Win:  Patricia Arquette

She is the back bone that holds this movie together, and should deservedly win the Oscar.

Dark Horse:  Emma Stone

This feels like a two person race.  I think there's a chance Emma Stone could make a late charge for her performance in Birdman. The other three nominees should just be happy to be along for the ride. Do you see Arquette taking home the gold, or do you smell an upset?

Adam: Saying this year was weak year for women's roles is an understatement, it was a terrible year -- although I would argue there was one truly phenomenal breakout woman's performance for me -- and that was Scarlett Johansson in Under the Skin. It's not the kind of movie that gets Oscar nominations -- it's just too weird, but the role was unlike anything I've ever seen, and this actress -- who is known more for tabloid fodder than talent, knocked it out of the park -- but again, I digress.

I too haven't seen Into the Woods, I heard Meryl Streep was incredible in it but when has anyone ever heard she was "ehh" in anything. I have enormous respect for her career and talent but it's getting to be absurd how often she's nominated.

To me, this is one of the biggest locks of the night, and it should be.

Will win: Patricia Arquette, Boyhood

Easily one of my favorite performances of the year, a moving, honest and incredibly sustained performance that spans over a decade. Arquette was the heart and soul of arguably the best film of the year. The movie may have been about a boy but in the end it was his mother that made me reassess my own life.

Should win: Patricia Arquette, Boyhood

Emma Stone did strong, funny work in Birdman but I just don't think it'll be enough for a win. Keira Knightley was good in Imitation Game, a film I was not bowled over by. I am a huge Laura Dern fan so I was excited to see her sneak in for Wild, a movie I missed but still intend to check out. But Arquette has won every award out there for her career best performance and I will be rooting for her on Sunday.

Dark Horse: Laura Dern has been an outstanding character actress for decades and I could see Oscar rewarding her here in what would be one of the biggest upsets in years. I haven't seen Wild but I know for a fact it has its passionate defenders and Dern is riding a wave of appreciation for her and her family's acting dynasty. Still, I am sure Arquette will emerge victorious.

Live from New York! It's my top 10 favorite SNL actors

Phil Hartman

Unless you've been living under a rock, you have heard by now that the iconic comedy series Saturday Night Live is celebrating its 40th anniversary tonight on NBC.

This show has been such a big part of my life since childhood and most of my favorite comedic stars have either written for the show, starred on it or made frequent appearances as hosts. Sure, this is a movie blog -- but SNL's impact on films has been enormous.

Ever since the 1970s, most of the biggest American comedy stars got their start on Saturday Night Live, and the show continues to be relevant to Hollywood.

SNL has essentially become something like training for potential superstardom. Sadly, many comics who are stars on the show don't exactly see their talents transfer effectively onto the big screen.

Others like Eddie Murphy, saw tremendous early success squandered. In fact, arguably only a handful of ex-SNL stars, like say Bill Murray or Tina Fey, have had a relatively seamless post-"Not Ready for Prime-Time" career. Still, this post isn't about who made the most money or the best movies later in their careers. In some cases it's impossible to compare performers, and in other cases (the premature deaths of John Belushi, Chris Farley and Phil Hartman, for instance) tragedy prevented us from seeing the full blossom of some stars' careers.

I am just looking back on a show that had tremendous influence on who I am -- so much of my sense of humor and overall comic attitude has SNL's fingerprints all over it. I am a child of the Dana Carvey-Mike Myers years, but then I later discovered the genius of Eddie Murphy's run and the truly groundbreaking work of the original 1975 to 1980 cast.

It's really incredible what Lorne Michaels made possible 40 years ago, and although, like so many fans of the show, I get frustrated with occasional lulls in terms of quality (which I think with a few exceptions its currently experiencing), I still love it and hope it never goes away.

Chevy Chase and John Belushi

Let's look chronologically at my favorite performers on the show.

Chevy Chase (1975-1976) - The original "Weekend Update" anchor gets a bad rap these days for his off-screen persona and a lackluster last 20 years or so, but he was genuinely great on the show. He was the off-kilter comedy leading man of our dreams and it's easy to see why he was the breakout star of SNL's first season. His film work in the 1980s rivals Eddie Murphy and Bill Murray's in terms of its perfection, and even if he fell off big time, he showed with Community that he still has a little comic spark left. Favorite sketch: The edgy "Word Association" face-off with Richard Pryor.

John Belushi (1975-1979) - One of the greatest physical comedians of his or any era, Belushi was so much more than just the loud maniac he was sometimes typecast as. Recruited by Chase and initially outshined by him, Belushi became one of the most versatile performers in the show's history, equally adept at subtle impressions of William Shatner and Marlon Brando, and wilder routines, like his absurd samurai warrior. Drug abuse claimed his life before he got the chance to make many movies, but at least two of the ones he made: Animal House and The Blues Brothers, are bonafide classics. Favorite sketch: The beautiful Tom Schiller reel, "Don't Look Back in Anger."

Dan Aykroyd (1975-1979) - Eric Idle once said that Aykroyd was the one SNL cast-member who could have been a member of Monty Python, because unlike his alpha male counterparts Chase and Belushi, he could truly disappear into any role he was playing. Aykroyd has a photographic memory, so he was able to deliver elaborate dialogue with ease, which often lent his live performances a kind of madcap intensity. His genius sporadically popped up in the movies, where he almost always played second banana to Chase, Belushi, Eddie Murphy or Bill Murray. Still, he was an invaluable comic weapon opposite those big cheeses, and while he has long ago stopped making major comedies, he is fondly remembered as one of the best SNLers ever. Favorite sketch: Fred Garvin, Male Prostitute.

Bill Murray (1976-1980) - At first Murray struggled on SNL, to emerge from under Chase's shadow and to find his own comic voice, but once he did an unpredictable superstar emerged, and he has never looked back. Murray has enjoyed arguably the most enviable career of any Saturday Night Live star. He played a lovable gallery of goofy hipsters on SNL and quickly became a legit movie star in the years that followed his run on the show, mixing blockbusters with indie roles that showed his range as an actor. Murray was also one of the best cast-members who ever came back to host, showing an easier rapports with later casts than any of his peers. Favorite sketch: His "apology" for not being very good on SNL.

Eddie Murphy (1981-1984) - No actor has probably exploded more out of the gate on SNL than Murphy, who was literally a teenager when he first started appearing on the show. He created an amazing coterie of unforgettable characters that made him the comedian all of America tuned into see. From Buckwheat to Gumby to Velvet Jones (a pimp who sold prostitution as a self help exercise), Murphy's endlessly creative spirit and unique comic voice was a groundbreaking counterpoint to the more cuddly black comics white America was at that point accustomed to. Murphy made many uproarious comedies after he left SNL, but his best performances and most vibrant comedy may have been on this show. Favorite sketch (tie): "Celebrity Hot Tub" and "White Like Me."

Martin Short

Martin Short (1984-1985) - This pint-size comedic dynamo was only on SNL for one season, but what a season it was. Short had boundless energy and creativity, which he brought to all of his characterizations of livewire on stage characters like Ed Grimley and Jackie Rogers, Jr. and indelible taped bits like his incredibly evasive Nathan Thurm and the legendary "Male Synchronized Swimming" sketch opposite Harry Shearer. Besides Three Amigos, and this past year's Inherent Vice, Short has never had many home runs on the big screen, but I will always adore his for his wonderfully strange appearances on SNL. Favorite sketch: Nathan Thurm in a 60 Minutes parody.

Phil Hartman (1986-1994) - One of the most underrated sketch performers of all time, Hartman was the rock of SNL during one of its strongest (and most politically influential) periods. Hartman's impressions were legendary, as were his immersive "straight man" roles. He was also an incredible vocal talent (he was a standout on The Simpsons for years). It's hard to even single out a specific Hartman role or performance because he was such a consummate team player. His life was tragically cut short by a shocking murder, so all we have left are the memories and the laughs. Favorite sketch: Bill Clinton visits a McDonalds.

Will Ferrell (1995-2002) - After one of the weakest periods in the show's history, Will Ferrell arrived like a breath of fresh air. He combined elements of Aykroyd, Belushi and Chase to form the perfect cast member. He could be a brilliant straight man in the "Celebrity Jeopardy" sketches, a top notch imitator as George W. Bush and an off-the-wall physical presence in scenes like the legendary "I gotta have more cowbell" skit. It's easy to see why there was such a gaping hole in the cast when he left, Ferrell just owned the show when he was on it. His movie career so far has been just as great, the first SNL star since Murray to consistently do great work without losing his comedy chops. Favorite sketch: Robert Goulet's "Coconut Bangers' Ball".

Amy Poehler (2001-2008) - During the late '90s, something happened on SNL that hadn't really happened before, the biggest stars on the show (save for Will Ferrell) were its top-notch women performers. And as much I love Tina Fey, Maya Rudolph Cheri Oteri, et. al. -- my favorite female cast-member at that time, or any time, was Amy Poehler. I had already been a fan of hers from her Upright Citizens Brigade show before she joined SNL and when she was on the show she brought a smart and serious commitment to her brand of off-the-wall comedy. She continues to kill it, hosting the Globes, starring on Parks and Recreation. And I just love her to pieces. Favorite sketch: Her "Sarah Palin rap" delivered while very pregnant.

Fred Armisen (2002-2013) - This was a close one as there are many performers from the more recent casts like, Bill Hader, Kristen Wiig, Bobby Moynihan and Taran Killam, who I have a lot of affection for. But I think my favorite modern SNL star may be Fred Armisen. I didn't always appreciate his more low key, hipster style when he was on the show, but now that I've discovered his rhythm on Portlandia, I've come to understand just how great his body of work on SNL was. Armisen always brought a different kind of sensibility to his sketch work and I think he helped the show become more attuned to the ironic style of comedy which is all the rage today. Favorite sketch: Ian Rubbish and the Bizarros, a note perfect parody of the Sex Pistols and Margaret Thatcher.

I don't know about you, but I can't wait to tune into the show tonight at 8, to see my favorites unite!

Flashback 1995: My top 10 favorite movies from 20 years ago

Al Pacino in Heat

A few weeks ago, for my own amusement and hopefully yours, I counted down my top ten films from ten years ago. Now, I'll be looking back at my favorite movies from twenty years ago.

It's hard to believe that these movies are all twenty years old or at least soon will be.

Looking back at '95, here are some first impressions.

The year's most popular film in the U.S. financially was Toy Story, a movie that made Pixar a household name, began one of the great trilogies of all time and started a revolution in animated filmmaking.

The year's second most popular film -- Batman Forever, a movie I admit enjoying at the time, spelled the beginning of the end of one of the great superhero franchises of all time. One that would be redeemed later by Christopher Nolan.

It was a good year for movie stars. Tom Hanks, Brad Pitt, Robert De Niro, and Bruce Willis all did some of their best work. James Bond made a triumphant comeback. They all made my top 10 and here it is:

Toy Story

10) The Bridges of Madison County - As I've written before, this thoughtful and moving romance directed by Clint Eastwood is surprisingly moving and effective. I've always found that doomed love stories are the most powerful and this one is a doozy. Meryl Streep is excellent, employing yet another one of her trademark accents (this time, Italian) and Eastwood is her equal in front of the camera. They make an unlikely sexy pair.

9) 12 Monkeys - Terry Gilliam had a rare mainstream hit with this loopy and fascinating time travel epic. A smart film that features a nice, low key leading man performance from Bruce Willis and a totally against type role for Brad Pitt. A real mind bender of a plot that comes to a beautifully tragic ending, it's kind of amazing that it found acceptance and has endured after all these years.

8) Toy Story - I'll never forget the first time I saw this movie. The visual language and possibilities of movie animation were never the same. This incredible first feature from Pixar introduced us to the beloved characters of Woody (Tom Hanks) and Buzz Lightyear (Tim Allen). This sweet but smart story about friendship and loyalty started something special and it still warms my heart, as does its two ever better sequels. Honorable mention to Tom Hanks' terrific work in Apollo 13 this year too.

7) Die Hard with a Vengeance - If you ask me or any serious John McClane (Bruce Willis) fan, this is the last great film in the Die Hard series. In fact, it's the second best one after the flawless 1988 original. For the first time we see the McClane character on his home turf, New York City, where through random circumstance he is teamed up with a regular guy named Zeus (played at peak Samuel L. Jacksoness, by Samuel L. Jackson). All the best Die Hard elements are here: Lots of humor, awesome bad guy in Jeremy Irons and really fantastic action sequences.

Seven

6) Goldenye - After a nearly five year hiatus, one of my favorite movie characters of all time -- James Bond came roaring back with a bigger budget and an ambitious new star Pierce Brosnan. While Brosnan didn't really reinvent the character the way Daniel Craig eventually did, he made him relevant again to milennials, something I don't think he ever gets enough credit for. My favorite bit -- that balls to the wall tank chase.

5) The Usual Suspects - Who is Keyser Soze? That intriguing question is just one of the great pleasures of this dark, brooding classic. They sadly don't make these kinds of quirky-guys-go-on-a-heist movies much anymore, which is a shame. Long before twist endings got played out, this film had one of the best ever.

4) Nixon - An underrated classic, which I'm always recommending, features an expansive and yes, at times, sympathetic look at the tragic former president Richard Nixon. Director Oliver Stone uses an astonishing array of visual techniques and styles to establish a mood and he is matched by a brilliant performance from Sir Anthony Hopkins, in perhaps his greatest role besides that of Hannibal Lector in Silence of the Lambs. One of the best political biopics ever made.

3) Casino - As I've said many times before Martin Scorsese, is my favorite film director of all time, so I'd be remiss if I neglected to include this underrated masterpiece. Unfairly compared to Goodfellas, Casino has been largely dismissed as lesser Scorsese,. It's not. It's an epically funny and fascinating movie, both an in-depth character study and a history lesson on how modern Las Vegas came to be. This is to-date Robert De Niro's last collaboration with Scorsese, and if it remains that way, they certainly went out on a high note together.

2) Seven - David Fincher's unforgettable serial killer thriller remains just as potent today as it was when I saw it in theaters twenty years ago. I remember my dad didn't have to stomach for its graphic gore and walked out, leaving me to be scared and thrilled by one of the great creepy movies of the decade. Morgan Freeman and Brad Pitt are terrific together as the sleuths searching for a killer inspired by the Seven Deadly Sins. As dark and as good as it gets.

1) Heat - Al Pacino and Robert De Niro are two of my favorite actors of all time and in this Michael Mann cops and robbers masterpiece, their face-off and respective talents live up to the hype. Not only is this an acting powerhouse -- it's also one of the best action films of its decade, featuring what may be the best heist turned shootout in movie history. Pacino is delightfully over the top, De Niro is soulful and tortured, and together they make an incredible pair of dogged professionals. Neither actor has made a greater film since.

'Fifty Shades of Grey' is a triumph of marketing if nothing else

A surprisingly chaste ad campaign

Despite claims that film criticism is a dying art, there are still very few films released in mainstream movie theaters that are totally critic-proof.

Sure, most moviegoers don't read in-depth about films before they see them -- a recommendation from a friend or a solid Rotten Tomatoes score will often do.

And yet there are some franchises -- and some products (the Star Wars prequels and sequels, for instance) -- that will be a hit just because of the sheer force of their marketing campaigns.

Fifty Shades of Grey is that kind of movie.

This movie will open huge on Valentine's Day, and not because it's any good. In fact, almost everyone I know, including yours truly, suspect it will be laughably bad, if for no other reason than that novel apparently was and the trailer doesn't suggest that the movie is much of an improvement.

Still, almost everyone I know wants to see it, even if just to make fun of it -- which is kind of amazing.

Although some movie phenomenons grow tiresome to me -- I've never been a Hunger Games guy and I've already explained why American Sniper's runaway success doesn't sit well with me -- there is something extra special about "the zeitgeist movie."

One of the trailer's few revealing moments

Movies like Fifty Shades of Grey start a conversation (think Indecent Proposal), they create enormous buzz and they keep people entertained. I don't expect to like the movie, but at least it's about human beings and not Marvel superheroes, although if what I hear about the story is to be believed, these human beings are no less cartoonish.

And above all I am impressed with how genius this movie's roll out has been. The Valentine's Day release date is cynical in the extreme -- but it will work. The use of the slow jam Beyonce song on the soundtrack -- brilliant. Using relative unknowns instead of established stars was a slick move, as was showing very little of the titillating sex scenes. And the movie's tag line -- "Curious?" -- is a masterstroke.

Because I must admit I am curious. I have only read excerpts of the source material, and like many people I was shocked by how astonishing awful the writing is. The fact that the material's inspiration was Twilight fan fiction isn't doing anyone any favors either.

And yet, I feel like if I don't see it I will be missing out on a major cultural moment -- which is probably how all the millions of people who bought the best-selling book that inspired the movie felt. According to an interview with the author I saw yesterday on msnbc, I learned that at least two copies of the book are being bought per second. That's insane. That's not a piece of literature, that's a commodity.

I've watched as the book became a lightning rod for both feminists, the BSDM community and just fans of quality writing everywhere. And I anticipate that the movie will be just as polarizing, if not more. We need movies like this every once and while. They're stupid and fun and they liven up a usually lame time of year for the movies.

I saw 'The Interview' and lived to blog about it

The poster is better than the movie

Last night I finally got around the watching the infamous comedy The Interview, which is currently streaming on Netflix.

Nearly 24 hours later, I think I can safely say it wasn't worth all the fuss.

I have a special attachment to this movie because when the scandal over its release was at its zenith, my reporting on the topic provided me with the opportunity to make my TV debut.

Now, after all the hysteria over the film has died down, the movie is getting seen for what it really was -- a dumb, innocuous comedy that will be remembered more for the uproar it inspired instead of its actual content.

It was neither as bad as I expected it to be, nor was it very good. Its thin premise is more of a vehicle for sight gags than political commentary and it represents more wheel-spinning for its stars Seth Rogen and James Franco.

Yes, this is yet another film where Rogen plays a put-upon, schlubby guy who inexplicably attracts a stronger, far more attractive woman (this time the stunning but under-utilized Diana Bang) and Franco plays a hyperactive buffoon who is willfully ignorant about almost everything and yet somehow lands on his feet, oh, and he gets a girl too.

Their chemistry, which has worked in Freaks and Geeks and This Is the End, feels stale here. We get it, your bromance has homoerotic undertones. There is nothing new that either of them are doing here, although Franco seems to be more aggressively obnoxious than ever before.

What do we make of Franco as an actor? He seemed to be embracing seriousness with 127 Hours, he was the weakest link in Rise of the Planet of the Apes, and then he pops up in noisy junk like this doing an exaggerated parody of himself. I don't get it.

James Franco and Seth Rogen in The Interview

At least Rogen knows his limits. And at first, it appears, so does the movie. It opens with an undeniably funny cameo from Eminem, and some amusing jokes about pop culture and the media.

But despite top-notch production values and a terrific soundtrack, the movie never really clicked with me.

There are too many jarring tonal shifts, particularly repulsively violent gag towards the end and when the movie tries to actually add some commentary about North Korean human rights abuses, it feels a little forced. The movie mostly avoids racial stereotypes, but that doesn't mean its portrayal of the Communist nation isn't problematic.

That said, the movie is watchable, I chuckled a few times -- I just don't know why it needed to be made. What were Rogen and company trying to say with this movie. Couldn't it have been a fictional character? Did they have to (SPOILER ALERT) kill him off in the end? I found myself asking these questions a lot as this overlong comedy played out before me.

It seems like they started with their outrageous premise but then developed little else. And Rogen and Franco aren't adept enough comedians to sustain my interest by dragging out shtick -- like repeating the phrase "they hate us cause they ain't us" ad nausea.

This film should never have been pulled from theaters. It probably would have flopped either way (even the trailers weren't very funny) and at least we wouldn't appear to be caving to what appears to have been North Korean hackers. Now that most Americans can watch the film in the comfort of their own home they'll see that it's essentially an Adam Sandler movie with a bigger budget and they'll wonder what Sony was so afraid of.

Personally, I'm glad I didn't waste my money on a ticket.

In defense of Clint Eastwood the director

Do you feel lucky?

I have been pretty vocal -- for better or worse -- about my dislike for Clint Eastwood's blockbuster new film American Sniper.

Clearly the movie has been polarizing and controversial for a lot of reasons -- its portrayal of its hero Chris Kyle, its portrayal of Iraqis, and its portrayal of human babies, among other things.

Even thought I didn't like the movie, I was entertained by it and I am impressed and inspired that at age 84, Eastwood is still a prolific and capable filmmaker. It's really unprecedented in Hollywood history.

Although I have a lot of problems with Eastwood the man, I am pretty big fan of Eastwood the actor and director. As a filmmaker I think he really hit his stride late in his career with a series of elegiac but intense films.

In my opinion, most of his early directorial efforts are close, but no cigar. I've always thought The Outlaw Josey Wales was overrated and High Plains Drifter has a morally repugnant rape scene that is impossible to defend. Still, his very first film, the early-Fatal Attraction style thriller Play Misty for Me is great fun.

My God, he smiles

Eastwood does a miraculous job of tweaking his tough guy persona by playing a lothario disc jockey who gets more than he bargained for after a one-night-stand with an increasingly erratic woman, played by Jessica Walter (of Arrested Development fame). In this film, Eastwood shows one of his hallmarks as a director, his generosity with other actors. Even though he is the star of the film, he is more than willing to cede the spotlight to Walters, whose performance haunts you after the credits roll.

His next triumph remains my favorite film of his as a director, the Oscar-winning 1992 film Unforgiven. It was Eastwood's last and possibly best western, a stirring meditation on violence and the toll it takes on men.

This old fashioned, economical story has scenes of grand acting and it looks great. Gene Hackman gives one of his greatest performances as the complex villain of the piece and Eastwood works wonders but not hiding behind his age. A truly classic film.

The next Eastwood film I've always admired was a real change of pace for him and audiences. Some may scoff at his adaptation of The Bridges of Madison County, but it really is one of the best romantic movies I've ever seen. Eastwood and Meryl Streep make a believable, and yes, sexy duo. And their doomed love story is genuinely moving. This film proves that Eastwood can do down-to-earth human emotions just as well as he can craft a thrilling action sequence.

After some more misses, Eastwood emerged triumphant again with 2003's Mystic River. This time, Eastwood was solely behind the camera, getting top-notch work from Sean Penn, Tim Robbins and an underrated Kevin Bacon. He elevates what could have been a routine crime story into an epic drama with real power. An unforgettable movie with some jaw dropping acting in it.

The next year Eastwood won his second Best Director trophy for the heartbreaking tearjerker Million Dollar Baby. Boasting not just Hillary Swank's flawless performance, but a truly great one of his own too. Eastwood tapped into previously unseen layers of vulnerability with this film, and although it was Jamie Foxx's year with Ray, I wouldn't have been upset if Eastwood had taken home the Best Actor prize.

And while I admired his pair of World War II pictures, Flags of Our Fathers and Letters from Iwo Jima, I think Gran Torino was his last great film. The surprise blockbuster was something of a throwback, but the role and project fit Eastwood like a glove. He plays a lovable curmudgeon who forms an unlikely bond with his Hmong neighbors in a rough part of Detroit -- and both he and the movie are a blast. This is audience-pleasing Hollywood entertainment of the highest order.

At the time, I remember many people thought Gran Torino would be Eastwood's swan song, but he has directed several films in its wake and shows no signs of slowing down. Although I'm not thrilled with his latest work, I'm happy he's working and I'll be looking forward to what he does next.

Go ahead Clint, make my day.

The best biopics of all time (how 'American Sniper' falls short)

Anthony Quinn and Peter O'Toole in Lawrence of Arabia

After seeing American Sniper -- which I didn't like -- I've been thinking a lot about what makes a biopic enjoyable and successful, at least for me.

One of my big problems with Sniper was that it was too preoccupied with being reverent towards its real life subject, the late Navy SEAL Chris Kyle. The movie would have been more interesting if it was willing to look at his darker aspects.

The best biopics are willing to give us a more fully realized portrait of person. Accuracy isn't the most important aspect to me, after all we're mostly talking about Hollywood movies. I also don't mind if a portrayal is mostly flattering or heroic -- it's hard, for instance, to make Gandhi look bad. I just love when a true life story is told in unconventional or illuminating way.

Here are just a few examples of biographical films that in my estimation are masterpieces:

Lawrence of Arabia (1962) - T.E. Lawrence is an enormously complex and largely unknown figure (particularly to American audiences) which makes him ripe for realization on the big screen. This is one of the greatest film epics of all time, featuring a never-better Peter O'Toole in the lead role. The Lawrence character is moody, romantic, eccentric and ultimately tragic -- this David Lean movie and performance take you on a real journey and the movie remains timeless.

Malcolm X (1992) - Spike Lee sought inspiration from Lean's 1962 film for this moving tribute to the slain civil rights icon, and it's easy to see why. The film -- one of my all time favorites -- takes the Malcolm character from street hood to street preacher in convincing fashion and benefits from the best, most charismatic Denzel Washington performance of all time. The movie also owes a great debt to Alex Haley's celebrated Autobiography of Malcolm X.

The Elephant Man

Gandhi (1982) - Sir Ben Kingsley does an uncanny job of making the Indian activist who dedicated his life to non-violence seem like a living, breathing human being, instead of just a concept. This Best Picture winner is a powerful history lesson but also an immersive character study. The movie is unflinching in its portrayal of British colonial oppression and the Kingsley performance stays with you long after the credits have rolled.

Nixon (1995) - Oliver Stone's portrait of the infamous former President Richard Nixon is surprisingly sympathetic considering the fact that he is an unabashedly liberal filmmaker. This sprawling, unjustly overlooked film captures the essence of Nixon's deeply wounded psyche and elevates it to Shakesperean levels of operatic drama. And Anthony Hopkins shines in one of his greatest roles.

Capote (2005) - My favorite Philip Seymour Hoffman performance of all time anchors this beautifully understated look at Truman Capote and his creation of the In Cold Blood myth. A pretty unflattering portrayal of the author, but not an entirely off-putting one. You see Capote both as a restless creative genius but also as a manipulative egomaniac. Meanwhile, Hoffman physically transforms himself to "become" Capote, and he nails that unique, unmistakable voice.

The Social Network (2010) - Not a traditional biopic by any means, but easily one of the most exciting based-on-true-story films of the last decade for sure. Few know how accurate Jesse Eisenberg's stellar performance as Mark Zuckerberg is in this "how Facebook happened" movie, but that tension helps add to this brilliant movie's mystique. A fast-talking cast, whip-smart editing and dialogue and a brooding soundtrack help complete the package -- I am still shocked this film didn't win Best Picture.

The Elephant Man (1980) - This startlingly conventional tearjerker from David Lynch is one of the most heartbreaking movies you'll ever see. John Hurt is a powerhouse as the horribly deformed John Merrick, a man who was rescued from freak shows to become one of the most admired men in London. A spectacularly photographed and acted film, which has a lot of heart but also some genuinely eerie moments as well.

Raging Bull (1980) - Often hailed as Martin Scorsese's greatest film (I'm partial to Taxi Driver myself), this biopic about Jake LaMotta, an abusive, half-crazy boxer, immerses you in a world and forces you to identify with a pretty reprehensible guy. Somehow you realize something profound about American culture and the human spirit after spending two hours with this mess of a man. You'd think the real LaMotta would want nothing to do with this film, but he was a technical consultant on it.

Milk (2008) - Sure the 1984 documentary The Times of Harvey Milk is superior, but Gus Van Sant's timely and earnest tribute to a truly groundbreaking political figure is wonderful in its own right. Sean Penn gives perhaps the most likable performance of his career in the title role, and the film does an extraordinary job of capturing a very specific time and place. The film really establishes the stakes and speaks to today as much as the era in which the film is set.

Lady Sings the Blues (1972) - This apparently wildly inaccurate Billie Holiday biopic is as romantic as it is terribly tragic. Diana Ross is stellar in the leading role, Billy Dee Williams oozes sex appeal and Richard Pryor gives a heartbreaking supporting performance as Holiday's dedicated "Piano Man". This landmark in black cinema still holds up, and it boasts one of the loveliest soundtracks of its time.

Johnny Depp in Ed Wood

12 Years a Slave (2013) - The reigning Best Picture winner tells the inspirational true story of Solomon Northup, a free black man kidnapped and sold into slavery. Yes, this film is harrowing at times, but it is also ultimately about the triumph of the human spirit. Chiwetel Ejiofor gives a performance for the ages as Northop and the excellent supporting cast is his equal. Simply put, this is the best film about American slavery to date, a real game-changer.

Lincoln (2012) - Steven Spielberg wisely doesn't make his film about our nation's most celebrated president one long exercise in hero worship, instead he looks at the messy, sometimes corrupt process of politics. Daniel Day-Lewis does much of the heavy lifting with his flawless lead performance, talk about becoming a character; he's like a photo come to life. An old fashioned film in many ways, but if it ain't broke...

Ed Wood (1994) - Tim Burton's loving ode to one of the worst directors of all time marks the end of his most iconic run of movies. And even though Batman, Beetlejuice and Edward Scissorhands were bigger hits, this one feels like Burton's most personal. Remember when Johnny Depp was good? If you don't, look no further then this quirky, black-and-white biopic about a totally sincere hack who likes to wear his wife's clothes.