Winnowing the Oscars 2016 field via social media

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Some of my handiwork at work at USA TODAY

Oscar predictions have hit critical mass this week — from both critics’ standpoints and mass opinions online.

Sealed envelopes? Puh-leaze. Such an archaic messenging device. And no one wants to wait four days for the reveal. These days social media is a prism that doubles as crystal ball.

Who says the Academy of Motion Picture Arts and Sciences secret ballots are impregnable?

On the heels of a USA TODAY/Fandango.com poll among 1,000 well-versed moviegoers predicting who’ll win, Hewlett Packard Enterprise analyzed thousands of online conversations surrounding the “top six” categories. It monitored top social media sites and thousands of news sites, using its enterprise search and analytics platform HPE IDOL, to come up with these crowdsourced best bets:

Best Picture: Spotlight

Best Director: Lenny Abrahamson

Best Actor: Matt Damon

Best Supporting Actor: Mark Rylance

Best Actress: Brie Larson

Best Supporting Actress: Rooney Mara

Interesting subplot: Although what HPE dubs “social sentiment” leaned one way, the volume of interest in particular nominees largely leaned another. Of split minds, just as so many other movie fans and pundits, like my Predictions & Picks system. Coin toss time.

Buzziest Picture: The Revenant
38% of mentions in posts related to that category

Buzziest Actor: Leonardo DiCaprio – 61%

Buzziest Actress: Brie Larson – 35% (we have a match!)

Buzziest Director: Alejandro G. Iñárritu – 70%

Buzziest Supporting Actor: Sylvester Stallone – 95%

Buzziest Supporting Actress: Kate Winslet – 33%

oscar1wordIf such analytics prove inaccurate Sunday — as in not mirroring the opinions of the 89% male, 84% white and roughly 50% 60-or-older voting members of the academy — at least we can be sure they reflect the public’s tastes in movies and performers.

Using the same mobile tools as the revolutionaries at Maidan or the activists behind the #OscarsSoWhite campaign, perhaps We the small-screen People can help direct future big-screen endeavors.

Meanwhile, my Oscar marathoning score, with just four days and three nights to go: 30/37+12/15 or 81% of all nominees in 23 of the top 24 categories (does not include the Original Song nominees, because I’m not so masochistic as to force myself to watch Fifty Shades of Grey).

On Oscar diversity: The Big Shortcoming

With rampant talk of the Oscars being too pale and too male, people forget another overwhelming bias: too jingoistic.

Though its headquarters are smack-dab in Beverly Hills, when the Academy of Motion Picture Arts and Sciences was first pitched by MGM’s Louis Mayer in 1927, he intended for it to be the International Academy of Motion Picture Arts and Sciences. But within four months of its founding, “International” was dropped from the name.

Sure, foreign films are honored in their own category, and foreign actors/creatives regularly creep in across the board. (Among thioscardirectors year’s best director pool, in fact, only two contenders are American, and the smart money is on Mexican director Alejandro G. Iñárritu.) But a separate, mystery panel is required to adjudicate the foreign film categories, an upfront admission the AMPAS membership lacks a worldview.

Most films worldwide are produced in India — in 2014, it certified about three times the number of movies than were made in the USA, 1,966 vs. 707 — but only three Indian movies have ever been nominated for Academy Awards in the foreign-film category: Mother India (1957), Salaam Bombay! (1988) and Lagaan (2001). None was awarded the Oscar. Granted, awards are based on quality not quantity, but how many films aren’t considered because they are beyond the AMPAS panels’ comfort zones or ken?

America holds a movie monopoly.

For roughly a decade, I’ve tracked nominees and winners in the 24 top categories and noticed a serious U.S. bias in an area that should scream inclusiveness: the wonderful world of shorts.

AMPAS’ creed is to advance moviemaking, and this is where it happens. Shorts are the gateway for the have-nots to gain notice, funding and skill. So how’s that working out for foreigners hoping to network?

ANIMATED SHORTS

Sixty-four percent of all Oscar winners have been U.S. entries, including last year’s 3-D Feast, a Disney/Pixar production. Even the non-American animated shorts bow in some way to the States, such as France’s Logorama (2009), which pokes fun of U.S. culture — or lack thereof. The most recent ‘toon winner in a language other than English was 1999’s The Old Man and the Sea — a Russia-Canada-Japan collaboration based on an American classic novel — still in the America-centric judges’ wheelhouse. Another 17% of the winners hail from Canada or the United Kingdom or a collaboration between the two. It’s a filter that doesn’t make us look good.

(You can read about my prediction/pick for this year’s animated shorts here.)

But enough about politics. This is art, not politics. *skeptically cocked eyebrow

LIVE-ACTION SHORTS

My Prediction: “Day One” (USA)

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This follows the first day on the job for a female Muslim interpreter joining U.S. soldiers on a mission to interview a bombmaker in a remote Afghan village. Despite slick production and fine acting, it offends. Opening with the fetching Layla Alizada nude in the camp’s makeshift shower — realizing she has also gotten her period, what a bummer!— suddenly a buff soldier is undressing outside to use it next, unaware there’s a woman in there. Oooooh, titillation. Later, of course, on the 6-mile trek she has to pee, while men stand guard, and she can’t keep up with the boys and nearly passes out. What, is this Indiana Jones and the Temple of Doom? Oh, and of course the crisis involves a complicated pregnancy. While dramatic and gripping, it’s billed as challenging gender and cultural norms but plays right into them. U-S-A! U-S-A! zzzzzzzzzzzz.

ITS EDGE: Heavy industry backing in the way of George Lucas, AFI and marketing up the wazoo. Not to mention the whole military industrial complex. AND it’s slick, did I say? Then there’s the issue that its unoriginal title could easily be confused on the ballot with a popular iPad journaling app, a domestic abuse non-profit or any number of previous TV movies or low-budget films, something porn-ish. Capitalize on name recognition much? Plus they save it until last in the cinema bundle. Who decides the order? It’s like So You Think You Can Dance, the contestant with the most votes or best routine finishes the night.

My Pick: “Stutterer” (Ireland)

Stutterer+Oscars+2016+Benjamin+Cleary_1.1.7Enchanting, beautiful film that shows the comfort and value of online relationships. Matthew Needham plays an earnest loner who would be a hipster if not for his debilitating stutter. He is dependent on his dad to navigate the day, while narrating a lovely alternate universe in his head. When the woman he has been Facebook-chatting up for six months suddenly arrives in town and requests a meeting, he finds himself at a crossroads. With all the heavy topics this year in every category, this film is a breath of fresh air. And, of course, the litmus test: This is the one I would share with my adult daughters.

Also-rans:

  • “Ave Maria” (France/Germany/Palestine) — A Jewish family has an implausible accident at a nunnery in Palestine. They beseech the coven of virgin Marys to help them get back to the settlement. A bit goofy, soap opera-ish and tinged with anti-Semitism, it’s my least favorite of the bunch, even though there were several good laughs (the pickle! the phone!). Refreshing treatment of the Middle East conflict, but felt as if it was shot in just one day.
  • “Shok” (Kosovo/United Kingdom) — Kite Runner in Kosovo. Told mostly in flashback, this is a horrific, powerful story of the death of a friendship amid war (“shok” means friend), and how two adolescent boys are forced to face evil head-on. A true shock awaits that will lurch you in your seat. The only downside is it relies on structural clichés.
  • “Everything Will Be Okay (Alles Wird Gut)” (Germany/Austria) — Love, love, love this one. Simon Schwarz is brilliant as a father who decides he wants custody of his daughter. He’s like a Louis C.K. without the humor. The way the plot unfolds is like a master class in acting. So tense and suspenseful. Such complicated emotions, and the little girl is fabulous, too. I would have chosen this one, if Stutterer hadn’t charmed the pants off me. Something about the order in which the shorts are bundled is extremely manipulative. I’d be thrilled, though, if this won.

DOCUMENTARY SHORTS

Prediction & Pick: Last Day of Freedom

Because my favorite D.C. venue to watch the documentary shorts has permanently closed, I could find only two of the nominees On Demand. Sorta like flipping a coin, but this one stood out. It’s topical, about our broken justice system, but is a blend of documentary and animated short. An interview with the brother of a death row inmate is illustrated in lovely pencil drawings. Its novelty alone should carry it to gold. I wanted to watch it again as soon as I was done.

Also-ran:

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  • Chau, beyond the Lines — [Ed: That lowercase “b” is cq.] A guilt trip to Vietnam. Chau is an institutionalized teen boy afflicted with deformities caused by American use of Agent Orange. He also happens to dream of being an artist and fashion designer, even though he must draw with his foot or mouth. Stirring, but it feels a little like a 60 Minutes segment and reminded me of Inocente, the winner a few years back about the homeless girl who also wanted to become an artist.

Oscars 2016: Best actor slam-dunk

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How fitting that Trumbo was the quill in my Actor in a Leading Role cap, the last nominee under my belt, and this year’s homage to Hollywood. (Although Hollywood played the antihero, as part and parcel to 1947’s congressional Commie witch hunt.)

Tragic that a movie about one of the most courageous and prodigious screenwriters in history did not itself earn a screenplay nomination. (Rewrite!)

A shame, too, that Dalton Trumbo’s stand-in won’t be taking home any Oscars next week. As much as Bryan Cranston embodied the wry stoicism of this blacklisted stand-up guy, he can’t touch my untouchable Leo. Cranston is the oldest nominee, nearly 60, but he’s the newbie in this form, with a style still suiting the small screen.

No need to belabor or overthink this category. It’s a two-horse race between Leonardo “always-the bridesmaid” DiCaprio and karma-chameleon Eddie Redmayne. It could be a photo finish, but my money’s on — and my heart’s with — Leo. 

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Eddie was fabulous; his long scene before the long mirror, spellbinding. Ultimately, though, despite The Danish Girl‘s gorgeous production design and superlative acting throughout by all, I found myself drifting, uninvolved at the end. Eddie sure can pose and emote — eventually it devolved into vogueing for me. He was technically masterful, enough that I accepted him as a woman, but Leo brought me along in a more visceral way — not just in the eviscerating scenes. I could see Eddie pulling off an upset and making history with a back-to-back Oscar win. Spencer Tracy won consecutive best actor Oscars in the late ’30s, Tom Hanks did it in the ’90s. Ought the aughts be a three-peat feat?

Speaking of three, that’s three … who else is nominated again? Will Smith? No …

Ah, yes, Matt Damon for The Martian. He was darling but not my favorite martian. One might argue he had fewer lines than Leo, but, no, astronaut Mark Watney definitely talked to himself more than frontiersman-fur trapper Hugh Glass in their parallel-universe isolation. Both left for dead and each having a special way with the blade — and grimacing. A survivalist’s showcase, but I love Leo best. He brought HEAT. No heat shield could protect me from that. I’m not down on Damon, and he hasn’t won an Oscar since his screenplay win for 1997’s Good Will Hunting. But he’s kinda the same guy film to film, if we’re to be honest. He’s got all that musculature and the wave of his arm and that clueless-stunned look. The Martian is not his vehicle to Oscar glory.

fassbender-jobsFinally, consider Michael Fassbender as Steve Jobs. Wow. Unbelievable this is the 12 Years a Slave villain. He might be flying under many radars, but stand by for Fassbender 3.0.

Now I didn’t cry in Trumbo; I didn’t cry in The Danish Girl, even though I was supposed to; I let a few tears fly in The Martian, but only when the mass of humanity was applauding the sky; I did cry in The Revenant for that minute my mouth wasn’t slack-jawed, when Glass “reunites” with his half-blood son at the church ruins; but, my goodness, Fassbender’s rooftop scene with daughter Lisa, and the tape recorder bit? Puddles. Both times I saw it, his telescoping genius got me. Score. Despite an Oscar nod, Fassbender is underrated, and it’s a shame there was so much backlash about the “accuracy” of this film. A) Movies, by nature, don’t have to be accurate and B) WHY wasn’t this screenplay nominated?! It “read” like a stage play to me, with brilliant patter so much more noteworthy than what critics fawned over in The Social Network. Kate Winslet — another one I wish could win this year. I barely recognized her until halfway through! But she’s been overshadowed by Alicia Vikander, whose double-duty in The Danish Girl and Ex Machina could put her over the top, so the pundits say. But I’ll save actress predictions for another post.

Funny: I’m pulling for both DiCaprio and Winslet. A Titanic slam-dunk!

At least one will survive.

My pick and prediction: Leonardo DiCaprio

Oscar-nominated foreign films: The chosen one

maxresdefaultSomething disconcerting about a Sunday matinee of Son of Saul in a packed house, mostly elderly Chosen People who then as one tribe shuffle out, jostled flesh to flesh, only to meet the “cleanup crew” in uniform holding implements like batons, blocking the way and herding them to the exits.

Powerful movie expertly done. And one that forced me to consider not just the drama onscreen but that around me. How it starts off deliberately and interminably out of focus and people start making plans to go talk with the projectionist in the booth. The guy next to me with his Ziploc bag of “snacks” (liverwurst? pickles?). The endless crinkling of wrappers, pungent peanut M&Ms. Food should be banned at Holocaust movies. Imagine eating nachos or Goobers at Schindler’s List, appalling. Then there was the woman behind complaining about the third-row seats her middle-aged son chose online (“Oh, dear, these are our seats? I thought we’d be in the back. I can’t sit here. You sure these are the right seats? I’ll get such a crick in my neck. Did you realize we’d be so close? [Finally surrendering] At least I won’t need my glasses.”) It’s like going to temple. Those intimate, rhythmic, interactive sounds: coughing, throat-clearing, tsk-tsks, moans, scolding grunts — even snores from the man on my other side, then his one-word review as the credits rolled: “Disappointing.”

Sir, you’re sure to be disappointed when Son of Saul sends the other foreign film nominees packing on Oscar night.

mustang-cannes-film-festival-2This is my prediction despite having seen only two foreign film contenders, Saul and Mustang, both of them today. In between, I squeezed in my final documentary feature, Amy. You might say it was an all-Jewish day, what with Mustang having vague Fiddler on the Roof overtones (five sisters in rural Turkey bucking the tradition of arranged marriage) — the French offering is my runaway favorite feminist movie of this Oscar season.

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First time sampling Bethesda Row’s plush cinemas with the most comfortable chairs anywhere, but no leeway to move through the aisle. Next time I’ll choose the front row, where no one tends to sit.

But I’ll hold off on committing to a pick for best foreign film until I’ve seen more nominees. Oscars aficionados understand how predictions and picks can be worlds apart. I enjoyed Mustang more than Son of Saul — who can enjoy a Holocaust movie? But Mustang had editing issues near the end, as if the filmmakers suddenly realized they had to trim its running time.

The operative phrase here is running outta time, with Oscar night just a week away, my marathoning score: 27/37+12/15 — or 75%.

A personal best? Only if I can pick up more of what I lack, alack! (Any local leads welcome.)

  • Trumbo On Demand
  • The Hateful Eight — hate to miss this one; screws up my Essential Eight categories. I might hafta do something crazy and drive to Norfolk, Va., to see it.
  • Anomalisa  Oh where oh where? This is the only animated feature that’s a thorn in Inside Out‘s side, so I must see it.
  • Boy and the World
  • Shaun the Sheep Movie On Demand
  • When Marnie Was There
  • Cinderella  — Only available for purchase. Stupid, greedy producers.
  • Theeb On Demand
  • Embrace of the Serpent
  • A War At E Street Cinema; plan to see the first showing Thursday
  • Documentary shorts — three of them, anyway; two are on Netflix!

Oscar marathoners: We are not alone

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Ellen, right, and I are comfy in the dark.

And this is what’s so thrilling about Oscar marathoning. I put out a call tonight on Facebook inviting anyone to join me in knocking off the supporting actor category at the late show of Creed. I heard not a peep, yet when I showed up at the theater, who’s waiting in the lobby but a fellow sojourner, Ellen Stucker! Imagine. We live in separate towns. It was like a mini-flash mob. We compared lists and notes, enjoyed the flick, then exited our dark sanctuary into the darker night to cram another day.

I recall with bittersweetness (nonpareils) the friends I made at West End Cinema in D.C. — the only place that showed the documentary shorts and truly the highlight of the season. Some people would come from Baltimore or farther just to lap those up, and we’d all pull out our crumpled lists. It was an annual pilgrimage for many of us. If any of you are still reading this blog, let’s meet up somewhere for Anomalisa.

Meanwhile, the documentary shorts are among the most inspiring and riveting categories. If anyone has any leads on where I can inhale them before Feb. 28, do tell.Screen Shot 2016-02-20 at 1.16.02 AM*Note: Funny thing — turns out the last time I blogged about this same phenom, I used the exact same headline!

‘The Revenant’ should be revered

Show of hands: Who knew what “revenant” meant before the movie? ——–

As suspected.

Folks, don’t judge a movie by its title. Tough to draw an audience to the cinema by way of the thesaurus, 20th Century Fox has learned. Upon formulating it was a “revenge flick,” the public was less likely to see it when it came out on Christmas Day — didn’t strike anyone as particularly festive.

And yet the movie’s theme of isolation resonated more powerfully for me (an Oscar marathoner can relate, sitting alone in a theater during 10:10 p.m. previews). It so happens isolation is a common theme among this year’s batch of nominees. The Martian. Room. Carol. 45 Years. The Danish Girl. Joy. Bridge of Spies. Theeb. They all track survivalists’ courage, sitting “inside the head” of protagonists as they struggle alone against the tide or against their demons or against the challenge of seeing 37 feature films and 15 shorts in a month’s time.

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Every year, my Oscar cheat sheet looks slightly different. This year, I started marathoning at my parents’ house when my dad’s printer was low on ink. Charming. One of these days, I shall invent the Oscar Marathoners’ app — the better to track showtimes and venues and fit them into a busy schedule.

It’s been nearly a week since I wrapped up the Best Picture nominees ahead of the 88th Academy Awards telecast, now nine days away. My Oscar marathoning score: 23/37+0/15 or 62% of the full-feature nominees. Still need to squeeze in those shorts. Who can blame me? I’ve been traveling all but seven days of 2016, a big handicap. (Recap: My denominator is 37 and not 42 because I’m not counting the five Original Song nominees as I refuse to waste a cent on such refuse/trash as Fifty Shades of Grey. Should factor in some points for seeing The Hunting Ground twice and catching Spectre On Demand later this week, if I manage it.) 

Today I’m just three pictures away from crossing off what people consider the “top 6” categories: four acting honors plus best director and best picture. I tend to include the two screenplay categories as my Essential Eight. The hateful titles standing in the way: The Hateful Eight (a bear to locate; it’s playing at one remote theater with only one midday showing), Creed (plan to see the late show tonight at a hole-in-the-wall, second-run college theater) and Trumbo, which finally, FINALLY popped up On Demand.

Feast your eyes on the categories I’ve decimated:

  1. Adapted Screenplay
  2. Original Screenplay
  3. Visual Effects
  4. Sound Mixing
  5. Sound Editing — what’s the difference again?!
  6. Production Design
  7. Makeup and Hairstyling
  8. Film Editing
  9. Directing
  10. Actress in a Leading Role
  11. Best Picture

It’s never too soon to predict the big awards, so here’s my big picture on Best Picture — and you know where I’m going with this if you’re paying attention. 

*(In case you’re wondering why there are only eight nominees and not 10, the Academy of Motion Picture Arts and Sciences changed the rule, ergo: “The pictures receiving the highest number of votes shall become the nominations for final voting for the Best Picture award. There may not be more than 10 nor fewer than five nominations; however, no picture shall be nominated that receives less than 5% of the total votes cast.”)

The Big Short (5 total nominations; released Dec. 11, 2015). I’m all for trying to electrify a dry subject like underwater mortgages. But when I tried to watch this movie with my parents, ages 91 and 84, who have their faculties intact except for some vision/hearing issues, it played like a horror movie on their giant home-theater screen. Too jumbled, gimmicky and LOUD. They couldn’t stand it for even five minutes, so we watched Steve Jobs instead (yay, my third time!!!). Not saying The Big Short wasn’t stylistic or entertaining or educational. It aroused strong emotion: blistering anger. But this movie was trying too hard to get me to like it and, like taking medicine or an advanced econ class, I resisted. It seems targeted to Millennials with squirrel-like attention spans. For what Best Picture tends to represent — a slice of Americana that’s not so bleak — it doesn’t meet my criteria. Ranks 6th on my list.

Bridge of Spies (6 total nominations; released Oct. 4, 2015). Who knew we were referring to a literal bridge?!? Despite fairy-tale-like production design and drippy nostalgia, most of the imagery was not only too literal — it was simplistic. Terrific story, but in Steven Spielberg’s hands it was dumbed-down, Disney-fied, you know, for kids. God, I hated the part on the bus or train where the woman is reading the paper and glowering at Tom Hanks over the negative headlines and then later, same woman, different headlines and she’s all sugar and gaga. GAG ME. “Maudlin” was the word my husband used, and that describes it to a T. Although Mark Rylance was brilliant, Hanks never sold me, no matter how stirring and patriotic the soundtrack got. Give me an actual spy movie with unpredictable twists and turns any day. Ranks 7th on my list.

 Brooklyn (3 total nominations; released Nov. 4, 2015). Oh, heaven. Now THIS is the kind of American story that wins Best Picture. An absorbing immigrant tale (topical!) that some might discount as a “chick flick” but should seduce anyone with a pulse. Gorgeously filmed, consummately acted, lovely screenplay … blew me away. Unfortunately, it carries East-Coast-bias baggage and nobody saw it, so it won’t win. Ranks 4th on my list.

Mad Max: Fury Road (10 total nominations; released May 15, 2015). I’m shocked this was even nominated. I know that hurts the feelings of people I love and respect; I’m sorry. It’s nothing but a CGI car chase purported to be feminist — I felt it was sexist-ugly. The best I could give it might be costume design. People who know me understand that CGI puts me to sleep; I fell asleep twice, unfortunately, and had to see it twice. It did not improve on a second look. A Best Picture, for me, needs to be compelling enough to want to watch again and again. I’m embarrassed USA TODAY reviewers put this one at the top of their list. It would not make my top 20. I think its long legs (its release date a distant memory) can be attributed to the power of the franchise behind it, and the fact movie technology has finally hit critical mass appeal for its audience. Ranks 8th (last) on my list.

The Martian (7 total nominations; released Oct. 2, 2015). This is one of three Best Picture nominees I saw at the theater when they were released (Spotlight and Star Wars: The Force Awakens are the others). I enjoyed it enough to see it twice. Shocking that many average Americans considered it a documentary. Hello?! If a Best Picture is supposed to put life in perspective with universal themes, this works. I still get choked up thinking of the scene where the whole world is watching on screens, pulling for our lone hero in space. However, it’s not a “great” film, and its competition is too great. Ranks 5th on my list.

The Revenant (12 total nominations; released Dec. 25, 2015). I have to admit, for once, the Academy got it right. I literally had to drag myself to see this one — not unlike Hugh Glass dragging himself in the mud and snow back from the brink of death. (Funny how Leo doing that reminded me of his amazing physical comedy in his Wolf of Wall Street now-classic Quaaludes scene.) Despite my reluctance — and I never would have gone to see this if it hadn’t been nominated, thank you, Academy — as soon as the movie started, from the first frame, I was hooked. It was the closest thing to a virtual-reality cinematic experience I’ve known. Never been a fan of 3-D and actually watched it in 2-D, but still, I felt totally immersed, as if I was part of the hunting party. And for anyone who rejoices in nature — holy moly! “Revenant” should stand for “reverence.” While it is indeed a story of revenge, it has themes up the wazoo — family, tolerance, hunter-becoming-hunted, man’s place in grand scheme, native rights — the American Indian stuff alone should make it America’s Best Picture and required study in schools. This is visual literature. Haven’t read the book, but don’t need to. Pure moviemaking magic. Make fun of it all you want, but that bear-mauling scene!! I want to see it over and over. The filming of that scene should be a movie all its own. And the underwater scenes! The stunts, the rapids, the falls. This is Hollywood at its best, people. A pure vision from a brilliant director and collaborative excellence from his whole team, from hair and makeup designers to breathtaking cinematography. I was on the edge of my seat from start to finish. Part of my reaction could be because my expectations were so low that it was an utter joy to discover. I famously posted on Facebook that if The Revenant doesn’t win Best Picture, I’ll eat a raw squirrel — which is why I’m ill advised to host an Oscar party this year. Would be happy for The Revenant to sweep the rest under the rug, and I almost always prefer awards to be spread around. Go, Leo!! Ranks 1st (tops) on my list, obs. 

Room (4 total nominations; released Sept. 4, 2015). Before I saw The Revenant, this was my hands-down favorite. As you’ve heard all the critics say, it’s the Little Movie That Could. Because I had read the book, I especially could appreciate the translation to film — the movie is definitely its own vehicle, even with the author doing the screenplay adaptation — great choices. The acting is flawless, and that whip-smart Jacob Tremblay, who was not nominated for an Oscar, grrrr, nevertheless is the reason I’m torn and could almost assign Best Director to Lenny Abrahamson. The performance he coaxed outta that 9-year-old kid. … But so hard to compete with my new master, Alejandro González Iñárritu. I’m afraid Room will have to settle for a Best Adapted Screenplay and maybe a leading actress Oscar, haven’t quite decided on that yet. And that’s largely because Emily Blunt wasn’t nominated for Sicario. Robbed! Ranks 2nd on my list.

Spotlight (6 total nominations; released Nov. 6, 2015). As a journalist, I’m all for valentines to investigative reporting. I’ve seen this one twice and still cry when the presses roll. But despite a fantastic cast — including one of my favorite Broadway idols, Brian d’Arcy James, and my soulmate, Stanley Tucci — it did not ring all my bells. Yes, a compelling issue, gripping story, important to be seen and advocate for. But I’m rating movies here, not topics. And I feel neither Mark Ruffalo nor Rachel McAdams deserves their nomination. Ranks 3rd on my list, with Brooklyn a close 4th.

More predictions coming soon to a blog post near you.

Adapted screenplay: Make room for ‘Room’

This is new: Adapted screenplay is the first category of nominees checked off in my race to see 37 feature films and 15 shorts before Oscar Night. That hardly ever happens. My score so far: 12/37+0/15, which means I’ve seen 32% of the essential Oscar-nominated films in this year’s first two weeks of marathoning.

But I’ve read only one of the books on the list (Room). So, despite having seen all five nominees, I’m sorely unqualified to judge.

The combination of Jack's knit hat in "Room" and Joy's stolen innocence combines to feel lot like Susie Salmon in "The Lovely Bones."

The combination of Jack’s knit hat in “Room” and Joy’s stolen innocence meshes, for me, into a mirror of Susie Salmon of “The Lovely Bones.”

Let’s begin with Room, then. The book was hauntingly told in the voice of a 5-year-old. It evoked Alice Sebold’s The Lovely Bones, in which horrific events are filtered through a child’s eye. But Bones was a sad screen adaptation, with screenplay by Peter Jackson, lord of the epics. Relief, then, to see that author Emma Donoghue adapted her own book. She deftly sanitized parts, enhanced the dramatic tension where issues were glossed over in print — unsure how much guidance she had, but this was an emotionally wrenching, faithful, fresh adaptation.

Even the blue palette is the same.

Susie Salmon –who happened to be played by Brie Larson’s rival for best actress, Saoirse Ronan!!! I just realized — appears in her handmade knit cap. As if a parent’s love could protect a child from the cold, cruel world. Even the blue palette is the same.

A well-worn crutch in most adapted screenplay nominees (especially those derived from books) is the overuse of narration. Room managed to use this technique sparingly and effectively. The shift from Jack’s separation anxiety in the book to Ma’s on-screen trauma balanced the work, as a whole. Adore this movie, and I want it to succeed in as many categories as possible.

But then there’s The Big Short, a flashy sermon on the housing bubble, which no doubt in book form is about as far as you can get from an “action” movie. Yet, this is one of the buzziest and most kinetic films on the list. Impressively translated, but not a slam-dunk. It relied too much on narration, slide-show effects and the breakdown of the fourth wall. Too cheeky for me.

The Martian? This novel was on most folks’ holiday reading lists, yet maybe the film hewed too closely to the book. Not much adaptation to be had, aside from condensing — and most of the fascinating science got sacrificed, I hear, which made for a confusing movie upon first viewing. What amazes me is many American viewers thought this film was a documentary, that the events actually happened (while possibly the same subsample of folks subscribes to the conspiracy theory that the moon landing was a hoax). When belief is at odds with suspending disbelief, it diminishes  the sci-fi effect. Like the air on Mars, this screenplay proved thin.

Brooklyn and Carol. Both very powerful woman-empowerment flicks. I think Brooklyn outdid Carol as both film and screenplay.

Carol had one foot stuck in a novelesque mental landscape; Exhibit A was its overdone window/mirror imagery. Moving, but the movie tried too hard. I can’t imagine reading through that screenplay, ugh. While it made good use of the “flashback” technique, it was way too self-conscious to earn my vote.

Brooklyn was simply lovely. If the secret to a good adaptation is that the movie makes you want to read the book, it did its job. Brooklyn will be the next one I download.

In short, I fear The Big Short might win the Oscar, but I’m gonna short (bet against) The Big Short. Instead, I’m pulling for Room.

Oscars 2014: A film odyssey

It’s a wrap: my month of trying to cram in all 42 Oscar-nominated feature films and 15 shorts before the awards ceremony.

For the third straight year, I humbly concede defeat. My tally stands at a paltry 31 features and 15 shorts.

I ended quite appropriately at around 4 p.m. on Oscars day with “The Book Thief” (up for Music-soundtrack).

And isn’t that what movies are? Little book thieves? The fear, anyway, is that watching too many movies might turn our heads to mush and make us forget about reading. Although more often than not, the movies are based on books that, typically, if you’ve read them, are FAR superior to the movies.

Har-har-har. I laugh when people compare these two vastly different art forms. “It didn’t do justice to the book.” IT CAN NEVER BE THE BOOK. It’s the movie!!

1384359757000-BOOK-THIEF-MOV-JY-1658-59704130Still, ending with this Nazi-era tear-jerker, in which we watch Hitler youths’ faces redden reflected against a bonfire of crisping, curling books — “intellectual dirt,” they called it — was more than fitting. Far from a perfect adaptation of what I’m told is a magnificent read, it certainly didn’t suck.

photos-seats1Besides, it brought me back to the Arlington Cinema ‘N’ Drafthouse, a venue I had boycotted for more than 15 years because it lacked clearly designated parking and was prime hunting grounds for enterprising, likely unlicensed tow truck companies. The week we bought our 1998 VCR-loaded, Nintendo-ready flashy green-gold Dodge Caravan LX, we went to see a movie there and it was towed lickety-split and held hostage for $150. We blamed the theater at the time because we figured someone must be getting a kickback.

78c44eed-e13e-4139-bafc-6339dd853239Well, our car and the theater survived, and today I was reminded what a cool place it is. Movies are just $6.50 (cash only, be forewarned), and it’s not just beer and pizza on the menu —  I had a pretty decent spinach-walnut salad with raspberry vinaigrette, and their drink menu is entertaining in itself, featuring specialties like the Pulp Fiction (grape vodka, creme de cassis, Sprite and Blue Curacao), Pirates of the Caribbean (Malibu rum, pineapple and orange juices, Grenadine and cherry) and the Big Lebowski “The Dude Abides” (vodka, Kahlua and cream).

As has been typical on this month of crisscrossing the metro area, I made a couple of quick friends, other movie mavens who see the season as a sort of March Movie Madness (technically, February Madness). It’s not about the endgame, it’s about the odyssey.

My record stands at seeing 74% of all the movies nominated in every category, because you can’t predict winners with any authority if you haven’t see all the contenders. And the distributors, the weather, the theaters, plus life in general put plenty of obstacles in my way, which added to the drama. (Ask my husband about the morning I was rushing to see a 10:20 a.m. matinee before work, spilled coffee on my GPS, then discovered GPSes don’t like that and won’t work, so I went the wrong way and missed the showtime, including the 15 minutes of previews and had to abort the mission.)

That was “Frozen,” the animated feature I am sure will win tonight. I can’t fully say, because I didn’t see “Ernest & Celestine”— scratch that, couldn’t — because it isn’t yet available in the States. A dirty, dirty trick played by the Academy, handicapping all of us Oscar marathoners.

There were a few other titles like that, such as the foreign film nominee “The Missing Picture” (Cambodia), which doesn’t come out until March 19.

What other pictures am I missing? I’ll give you the Big Picture. Some of these 11 flicks I spent the month chasing, but somehow never managed to be in the right place at the right time. Others I simply didn’t care enough about to rearrange my world for. The latter category includes this first one (horrors!):

The Hobbit: The Desolation of Smaug. Unfortunately, by not seeing this behemoth, it rules out THREE categories for me to safely judge: Sound Editing, Sound Mixing and Visual Effects. I wanna say “All Is Lost” for Sound Editing, “Lone Survivor” for Sound Mixing and “Gravity” for Visual Effects, but I cannot, not in good conscience.

Star Trek: Into Darkness & Iron Man 3. These two titles I wouldn’t have minded at all seeing, but because they weren’t easily available and I wasn’t gonna see “The Hobbit,” anyway, I didn’t bother. That leaves me only having seen two of the Visual Effects contenders: “Gravity” and “The Lone Ranger.” But no matter, “Gravity” will win.

Before Midnight. This omission makes me saddest of all, because the writing categories are among my favorites. It is available on Blu-ray, but I refuse, refuse, refuse to hoard any more movies. Technology will make them all refuse (clever!). Something I learned this year: Any sequel up for a screenplay award is automatically entered into the Adapted category, even though it’s as original as sliced bread. The Academy considers it based on the movie(s) that came before it.

The Great Gatsby. No great loss, I’m told. Except by not seeing it, I can’t vouch for the two categories it is nominated for: Costume Design and Production Design.

The Invisible Woman. I’m not a fan of period pieces, and because “Gatsby” was handicapping me, I decided not to spring for the rare chances I had to see this. I hate the Costume Design category, anyway. I have no clue. But I’m rooting for “American Hustle.”

Ernest & Celestine. Already covered, but I kept calling it “Ernestine & Celeste” in my mind. That’s what you get, zero name recognition!

The Wind Rises. This came out only last week. Shame on you, Oscar! Not only was I handicapped, it was handicapped.

Mandela: Long Walk to Freedom. I wanted to see this, nominated for the U2 song. But WHERE was it? Couldn’t they have brought it back when Mandela died? Somebody missed their opportunity.

The Great Beauty. Up for foreign film, it looked like the Italian version of “The Wolf of Wall Street.” But I’m pulling for “Omar,” that haunting Palestinian film of betrayal and freedom-fighting youth set in the West Bank. If it wins, people can stop with the Jewish-Hollywood jokes, OK? Hollywood will have proved itself totally inclusive. (UPDATE: It didn’t win. On with the jokes.)

The Missing Picture. The missing commentary.

There you have it. My missing pictures. Everything else mentioned tonight I saw. I still have to pick/write about four more categories, but I’m starting to think I’ll blow my deadline. You’ll trust me if it’s not on record, right?

So enjoy the show tonight … and even though I’m not Catholic, I think I’m giving up films for Lent.

Oscars 2014 picks: Best Director

Before we talk director, let’s talk producer. When it comes to putting a stamp on a movie, the director traditionally holds the most sway. The industry trend, though, is for the producer to represent much more than moneybags — even to have a degree of artistic control.

maxresdefaultConsider Brad Pitt, who co-produced “12 Years a Slave” and likely cast himself. When his character speaks up near the end as the voice of reason, it’s as if he’s making a pitch for this movie. He pivots the plot, becoming Solomon’s hero. Not only is he an ambassador for New Orleans (getting the film shot there), but we understand his progressive ideals and attachment to the subject matter. And you wonder whether his influence extends further — maybe into the nominating and voting arenas.

Pitt played the same roles for “Moneyball” — producer and star. It seems if we pay actors enough, they will give back to their community by creating more meaningful art in a holistic way.

0604_megan-ellison_Michael-Buckner-Getty-Images-300x30021

Photo by Michael Buckner, Getty Images

Exhibit B is Megan Ellison, who produced both “Her” and “American Hustle,” two of this year’s BestPicNoms. A film-school dropout, she is a quiet creative force behind quality projects such as these and 2012’s “The Master” and “Zero Dark Thirty.”

Savvy, hip, embedded producers such as these are changing the way the game is played. Less division of labor … does it also mean a loss in jobs in Hollywood?

Anyone who stays through to the end of movie credits as I do, on the off-chance I can pick up some nifty behind-the-scenes factoid or catch those occasional, clever parting shots, knows it takes a village to make the director look good. In evaluating the merits of a film, the director and movie itself are entwined — which might explain why whoever picks up the Best Director Oscar is often a good clue who will win Best Picture.

According to Wikipedia: “Of the 85 films that have been awarded Best Picture, 62 have also been awarded Best Director. Only four films have won Best Picture without their directors being nominated: Wings (1927/28), Grand Hotel (1931/32),Driving Miss Daisy (1989), and Argo (2012).”

I predict this year will prove another exception. The Best Picture and Best Director awards will be untwinned because there are so many good candidates we must spread the love. I’m just not sure how it’s gonna go down. The suspense is killing me.

The nominees:

Alfonso Cuarón (Gravity). Being of the Hispanic persuasion myself, I can’t suppress the pride I feel admiring Cuarón’s achievements. He is a visionary pioneer and wrangled all of these complicated moving parts to go where no director has gone before. You gotta hand it to him.

Steve McQueen (12 Years a Slave). But don’t hand it off quite so soon. “12 Years a Slave” only whetted my appetite for more McQueen movies, and I am thinking he could eclipse the fame of his namesake in the movie industry.

Alexander Payne (Nebraska). Big, big fan of Payne. This choice is painstaking. His commitment to stories that are emblematic of our culture is deep. Considering his plumbing of Hawaiian life in “The Descendants” (my pick two years ago), his work is like a collection of Americana knickknacks. I hope he does every state.

David O. Russell (American Hustle). Again, his body of work is persuading me. Last year’s “Silver Linings Playbook” was a revelation. His movies are like a too-short ride at a theme park.

Martin Scorsese (The Wolf of Wall Street). Only in the master Scorsese’s hands could this story have come off  as so lascivious and rich — and keep us rooting for the bad guys. The fact Scorsese consistently puts us in the head of criminals and shows us heart … he’s a genius.

I am hard-pressed to choose — I want them all to win —but, you know, just being nominated, yadda-yadda. Time is running out. So let me do this without overthinking.

My prediction: Alfonso Cuarón

My pick: Steve McQueen

Oscar marathoners: We are not alone

IMG_1986One bonus of bingeing on Oscar-nominated titles each February is the discovery of arthouses and plush venues while crisscrossing the metro area like a madwoman. The other perk? Stumbling upon fellow crazies.

I don’t mean the guy who followed me out of the theater after the “Philomena” late show insisting on discussing religion and waiting to hold the door that exited to the deserted parking lot (I darted out a different way, Mom). I mean those kindred spirits also trying to knock down as many movies as they can in a single month.

At West End Cinema in D.C. yesterday, I met Jonathan; the mother-daughter team of Cathy/Cathi/Cathie/Kathy/Kathie/Kathi/Kathey (didn’t get the spelling) and Lauren (safe guess); and a woman who left before I could get her name (no, it wasn’t like that). We composed the entire audience for the showing of Documentary Shorts B.

I was unkempt, unwashed and unprepared for any socializing as it was the fifth movie of my week atop my day job. As we sat there in semi-darkness, I first heard the sniggering when I unfolded my old-school mobile app — a stapled, crumpled checklist of every movie nominated for any Oscar, with all manner of scrawling and check marks in the margins. It was a laugh of recognition and understanding, like those at the comedy club when the joke is on you.

The mother shared the secret of her same list, and then the five of us opened up to compare notes before and after the screening, swapping insights, histories, families, dreams. That’s what movies do — they are a coagulation of inspiration and reflection.

Impressively, the mother-daughter team hailed from Olney, Md., and Baltimore, respectively. Why come so far for one rare screening? “You can’t legitimately say which one is gonna win if you haven’t seen them all,” Lauren declared. She spoke for us all.

Jonathan was missing only a handful of titles — he didn’t have the list in front of him, so he wasn’t sure. We complained to sympathetic ears about the dirty trick Oscar pulls by nominating movies not released in the States yet, such as animated feature “Ernest & Celestine,” a British import, which none of us could see before the envelopes are opened; it comes out later this month. If it doesn’t win, we probably won’t bother.

And what’s with foreign films, indies and shorts being 2010-2012 productions but still qualifying for the 2014 awards ceremony? The distribution date is like a sell-by stamp on a canned good. Very iffy.

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The lobby at West End Cinema, two blocks north of the Foggy Bottom Metro stop.

It was a rollicking good time with newfound friends, whom I hope to run into again next year at West End Cinema — a gem of a salon, which, incidentally, is hosting a special screening tomorrow, March 2, of a certain live event that shall not be named in a party atmosphere — if anyone is looking to commune with other cinema buffs.

Our little band of brethren chatted afterward — but it was only a little past 6 p.m., so on my way back to the suburbs to catch a 9:15 feature at Cinema Arts in Fairfax, Va., I wondered what else I could squeeze in. My phone had died and I could no longer check movie times. On the Metro, I spied a guy hidden behind the WaPo “Weekend” section with the movie grid nearly visible and plopped down beside him. As I leaned in for a better look, he scooched over. Oh.

So what the heck. I had time. At both Courthouse and Ballston, I hopped off the train and walked to the respective box offices to check whether there was anything I could see I hadn’t seen.

It wasn’t likely.

Oscars picks: Makeup and Hairstyling

Quick and dirty on this category that most of you don’t care about.

The nominees:

♦ Dallas Buyers Club: Adruitha Lee and Robin Mathews. Lee also worked on 12 Years a Slave and The Artist (2011’s Best Picture). Dallas Buyers Club was actually shot in New Orleans, not Dallas, and Robin Mathews is a local Nola makeup artist. She did an excellent job making all of the AIDS extras look credible, and Lee’s work on “12 Years” was terrificly horrific, but that one isn’t nominated, sorry. Still, this team has some powerful political influence among industry types, I’m guessing.

♦ Jackass Presents: Bad Grandpa: Stephen Prouty convincingly makes Johnny Knoxville look like an 86-year-old prick, extending all the way to his genitalia — not that I would know about that. This was a highly entertaining low-brow romp that I would never have considered watching if not for Oscar marathoning. And precocious 9-year-old Jackson T. Nicoll makes a convincing Honey Boo-Boo in blonde wig and makeup.

♦ The Lone Ranger: Joel Harlow and Gloria Pasqua-Casny

But an 86-year-old jackass can’t hold a candle to Johnny Depp’s museum-quality Tonto. Holy cow. The makeup artistry in this Disney film goes beyond Tonto’s dreads and warpaint. All of those grizzled outlaws and frontierspeople not only look authentic (was that Smell-o-vision?), they made highly recognizable actors unrecognizable. I had to do a double take with the credits on William Fichtner. Even Tom Wilkinson took me a minute.

My prediction: Dallas Buyers Club

My pick: The Lone Ranger

With a little more than two weeks to go, I’ve seen 26 movies … but still have 17 full-length features on the list left to see. I think only 9 more are possible, because I can’t find the other 10 — not in local theaters, or on Netflix, Amazon and On Demand streaming services. (And I’m not buying any DVDs just to complete my marathon. That’d be crazy.)

Still, not too shabby, given I didn’t start until Feb. 2-ish. My Valentine’s Day movie this year was Her (last year’s was Amour). And if all goes well and I find my proper date (nudge-nudge, Patty Kime), I plan to knock off all of the shorts next weekend.

Charting my progress. How are YOU doing?

  1. American Hustle
  2. Captain Phillips
  3. Dallas Buyers Club
  4. Gravity
  5. Her 
  6. Nebraska
  7. Philomena
  8. 12 Years a Slave √
  9. The Wolf of Wall Street
  10. Blue Jasmine
  11. August: Osage County
  12. The Croods
  13. Despicable Me 2
  14. Ernest & Celestine
  15. Frozen
  16. The Wind Rises
  17. The Grandmaster
  18. Inside Llewyn Davis
  19. Prisoners
  20. The Great Gatsby
  21. The Invisible Woman
  22. The Act of Killing
  23. Cutie and the Boxer
  24. Dirty Wars
  25. The Square
  26. 20 Feet from Stardom
  27. The Broken Circle Breakdown
  28. The Great Beauty
  29. The Hunt
  30. The Missing Picture
  31. Omar
  32. Jackass Presents: Bad Grandpa
  33. The Lone Ranger
  34. The Book Thief
  35. Saving Mr. Banks
  36. Mandela: Long Walk to Freedom
  37. All Is Lost
  38. The Hobbit: The Desolation of Smaug
  39. Lone Survivor
  40. Iron Man 3
  41. Star Trek Into Darkness
  42. Before Midnight

When an actor’s true character is revealed

1391380866_philip-seymour-hoffman-greatest-roles_1Character actor Philip Seymour Hoffman’s currency was storytelling. And yesterday, his untimely death at age 46, in an apparent heroin overdose, was the big story.

My phone on a faraway table glissandoed with the news alert one nanosecond after I hit the button on my latest post about the upcoming Oscars. My mind, bloated with movie scenes, was taking stock of the days I have left to soak up every stellar performance, each gripping tale … each grip and best boy … before the envelopes get unsealed In a month, the judgments served. So my husband helpfully grabbed my phone to bring it to me … and, without further explanation, moaned, “Nooooooooo!” He wouldn’t (couldn’t?) tell me, I had to read it for myself, and then he proceeded to his basement lair to binge on Hoffman movie clips. My daughter’s reaction an hour later, posted on Facebook, was similar: “No no no no no!” which she apparently deleted and edited down (Take 2?) to one, economic “NO!”

Hoffman as Rusty in 1999's "Flawless." A flawless performance, and the first Philip Seymour Hoffman movie I felt I had to own.

Hoffman as Rusty in 1999’s “Flawless.” A flawless performance, and the first Philip Seymour Hoffman movie I felt I had to own.

I’m pretty confident that NO was the whole world’s first reaction; like Whos trapped on this spinny blue-green ball, our collective resistance hurtled us off balance, thrusting through space, aching for something to bang into. Hoffman was one of those actors whose name would prompt the same response from everyone and anyone: “Oh, he’s my favorite!” “I love him!” I never met anyone who did not admire his work, whose body didn’t go limp with respect, recalling him as De Niro’s drag-queen voice teacher, Rusty, in Flawless (my absolute favorite role of his); or as a self-righteous bully in Doubt in which he defended his long-fought reputation; or as scrappy music journalist Lester Bangs in Almost Famous. On and on.

esq-09-exclusive-sundance-portraits-philip-seymour-hoffmanWhat do you suppose went through Hoffman’s mind as he was lying on that bathroom floor fading to black? I am not judging; just morbidly curious. Did he know he was leaving behind legions of mourners? Was he rehearsing some lines in his head? His latest movie role, or how he might explain this away at the hospital or on 60 Minutes? Or was his mind nowhere as he tried to elevate himself above the pain of being human, of knowing and feeling too much? Was that his secret — the key to being a character chameleon?

We all have to die, and the beauty of Hoffman’s life is that he left behind oodles of clips and insights into human character. We all related to him, and now some of this flawless actor’s flaws are exposed. I mourn with the rest of the world.

I couldn’t easily get to sleep last night, though, and it had nothing to do with Hoffman. It was all about that other character, Woody Allen.

bee2d12c-1378-4515-8cbd-ef0d22df2589_AP080518047180_65Also in the news yesterday was the story that Allen’s adopted daughter had finally come forward to relate, in her own words, what life was like growing up around the highly revered film star. I read her letter to The New York Times. It sickened me. As the parent of a sexual abuse victim who spent years bottled up, I found her words somehow rang true.

We’ve learned, again and again, that a celebrity’s stature does not insulate them from horrible character flaws. Flaws?! Sometimes sadistic aberrations.

So while everyone else was combing YouTube for Hoffman clips, I began reviewing Allen’s “genius.” In her open public letter, Dylan Farrow challenged us to name our favorite Woody Allen movie. Suddenly I found I couldn’t even smile watching the ejaculation scene from 1972’s Everything You Always Wanted to Know About Sex (But Were Afraid to Ask):

During Allen’s period of alleged perversion, this is the list of works that came out, leading up to the 1992 “trains in the attic” horror story:

1988: Another Woman
1989: New York Stories (segment “Oedipus Wrecks”)
1989: Crimes and Misdemeanors
1989: Somebody or The Rise and Fall of Philosophy (Short) (story “Mr Big”)
1990: Alice
1991: Shadows and Fog
1992: Husbands and Wives

woodyWhile others dissect the scourge of addiction, that seductress that snatched one of the planet’s greatest acting talents before we were ready, I can’t help but plumb the psyche of a mouse of a man, Mr. Big Shot, who perhaps after 22 years thinks he can get away with a heinous crime of nature. I hope there’s some serious detective out there somewhere doing the same.

I know, innocent until proven guilty. But let’s all just take a deep collective breath and try to accept that celebrities — actors — are masters at hiding their true issues. With them, we can be guilty of suspending our disbelief far too long.

And please, stop gaslighting children. She was a child of 7!!! when she first told her story to those around her. And these things always take years to come to light. Innocent until proven sex toys. The emperor is wearing no clothes, and is potentially pummeling the soul of a child in the attic.

I want to scream: NOOOOOOOOOOO! for her.

I don’t mean to defame a comic genius here. But “de-faming” him — stripping him of his position as idol, superstar, mentor, even feminist, Diane Keaton — may shortly prove in order. Then who will be in mourning? What would become of his art?

I’ve always known we must separate the art from the artist. A friend reminds me: “Think of all the terrors and narcissi who’ve created great works.”

But, ugh, what a gruesome Hollywood story in the making. Everything we always wanted to know, but were afraid to ask.