The nominations for the Razzie Awards for the past year’s worst achievement in movies have been announced, and it is a prime cheesefest, indeed. In addition to the usual gathering of the gang that couldn’t shoot straight, the 2010 Razzies feature a second set of nominations to decide the very worst movies of the decade.
(Note that Frank Miller’s The Spirit didn’t make the cut for worst-of-the-worst. However, considering that the Razzies are restricted to professional films, it’s a fair distinction.)
One can get the full list of nominations at the Razzies website, but be warned that you have to buy a membership to see the ballot. Or you can jump to news sites like this one at the Los Angeles Times, which provides full coverage.
For the second year in a row, Frank Miller’s The Spirit has been snubbed by the Academy, again falling victim to the Hollywood prejudice against movies that are even stupider and more ineptly made piles of crap than Transformers.
For a complete list of nominees, click here.
Some choice links to blogs and articles posted this month for lovers of classic Hollywood films:
Legendary talk show host Dick Cavett provides a straight-shooting reminiscence about a star-struck afternoon spent with John Wayne on the set of the Duke’s last movie, The Shootist.
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Since he shifted his career into virtually full-time directing, Clint Eastwood has never told the same story twice. Think back on the experience of viewing Unforgiven, Mystic River, Flags of Our Fathers and Changeling, among a startling number of others, and the only common thread you’ll find is a consistent level of quiet excellence.
(Part 1 examined the evolution of Randolph Scott from generic leading man into the iconic Western star he would become through a series of low-budget Paramount Zane Grey adaptations directed by Henry Hathaway. The story continues:)
Just a year after he’d begun the Grey series, Scott had settled so effortlessly into the role of native Westerner that roles like Heritage of the Desert’s tenderfoot Jack Hare were already well behind him. The 1933 Sunset Pass, again with Harry Carey and Noah Beery, consolidated the image even further with his role as a young gunslinger falsely accused of murder – and in Man of the Forest that same year, he and Hathaway added the final ingredient to the persona that would make him a major box office attraction for the next 30 years.
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