It used to be that no filmmakers would advertise that their movie had feminist ambitions; even now, some directors sidestep the issue. Despite this unfortunate trend, the movies below are wildly entertaining proof of what happens when empowering agendas shine through (even in subtle and complex ways).
Up In The Air
Now that the self-love fest known as The Academy Awards is over many are rushing to Amazon, Netflix, and the local cinema to see the movies honored. I tried to see as many nominees as possible prior to the show, but I still have a few on my list to check out. But I might not have to go through all that work. These posters, and the rest of the collection seen here, definitely show truth in advertising. They made me laugh a little. Why can’t more movie poster get to the point?
For years, Tom O’Neil’s Gold Derby has been the cyber watercooler to gather around and catch the buzz about who’s a shoo-in to get nominated–unless their film tanks, they come out with a sex tape, or someone better comes along.
I happen to be one of the professional prognosticators who give their educated guesses to the site’s Buzzmeter section, and though I don’t actually know much of anything about the inner workings of Hollywood, neither do a lot of the Oscar voters, so that works out just perfectly!
This year, I’m betting my grandmother’s life on the fact that the supporting trophies will step to the dark side and go to Christoph Waltz for INGLOURIOUS BASTERDS and Mo’Nique for PRECIOUS, even if the latter seems to have actively campaigned to lose the award.
Other categories have been harder to predict because when Gold Derby first asked for our lists in November—ranked in order of likelihood, mind you–some of the films hadn’t even screened yet. But again, that totally works out. Some movies like NINE happen to have an Oscar glow around them (not to mention a huge push) from the second they’re announced, and that usually stays with them even after people see the finished product and deem it a three.
Amid the loneliness and isolation of an increasingly digital world, Ryan Bingham (George Clooney) seems to be the only one equipped with an suitable personal philosophy. Instead of lamenting the loss of real human connection, he embraces it, maintaining only limited ties with his family and his co-workers. In fact, he doesn’t even seem to have any friends; he is satisfied just being around people. Yet as much as he rejects the emotional baggage any real relationship requires, he is still a victim of his own humanity and his own inherent need for others – to not be alone. In his job, for example, he flies all over the country for most of the year firing employees at downsizing companies. Ironically, the only thing he seems to relish more than the hubbub of constant travel is his ability to connect to people, to let them down easy. Yes, he may be firing them, but he prides himself by doing it with a certain degree of humanity.