#PoorLeo: Leonardo DiCaprio's Failure Playing The Oscar Game

On January 16, 2014, Leonardo DiCaprio was nominated for his 4th acting Academy Award for his performance as Jordan Belfort in Martin Scorsese's The Wolf of Wall Street. On March 2, 2014, Leonardo DiCaprio lost his 4th acting Academy Award as Matthew McConaughey beat DiCaprio for his work in Dallas Buyers Club. The Internet exploded after this loss. There was no shortage of memes, .gifs, and tweets surrounding the subject. My personal favorite comment of the night was this comment. After nearly spending his entire life in show business and having zero Academy Awards to show for it, it certainly appears as if The Academy hates Leo. While that's obviously not true as no man with five total Oscar nominations can ever truly say The Academy dislikes him, it does seem that after Leo has tried so hard to win and has come up short every single time that Leo will never win that Golden Statute.

Leonardo DiCaprio has a new movie coming out this Oscar season called The Revenant. It's made by Alejandro Gonzalez Inarritu- the man who just won two Academy Awards for directing and producing Birdman a few months ago- and the Oscar hype train for Leo has already started. Leo has already stated how grueling and agonizing the filming conditions were, how he ate raw bison meat, and how he actually slept in an animal carcass. He is certainly setting the stage early and creating a narrative for himself in hopes in endear himself to other Oscar voters. Yet the mood that I am sensing from people not in the industry is the same one my wife had after she saw a trailer to The Revenant, "Well, that's another film Leo isn't going to win an Oscar for."

I am not suggesting that Leo will not win an Academy Award for The Revenant just because he hasn't won one before, I am saying that he will not win one for his role in the film because Leo has a fundamental misunderstanding of how The Game is played. I have no idea if Leo will or won't get nominated for his work in Inarritu's latest, but I do know that he will not win.

You can claim talent and performance all you want until you're blue in the face, but talent and quality is not indicative of Oscar success. It's why Dances With Wolves can defeat Goodfellas for Best Picture, why The Social Network can get screwed by The King's Speech, and why Leo won't win for his work in The Revenant. The Academy Awards are not an objective opinion of who or what is best, it's an opinion by a very small, non-diverse, closed-minded group of what they collectively think is best. To The Academy's credit (detriment?), they are consistent on what they determine is best, and for some reason, Leo hasn't figured this out yet.

My Review of The Martian and How It Helped Resurrect Ridley Scott's Career

“I’m pretty much fucked.”

This is the first line in Andy Weir’s 2011 novel The Martian, but it might as well have been the words uttered by director Ridley Scott after his 2014 film Exodus: Gods and Kings was released. Exodus did end up making its money back (assuming the marketing budget wasn’t astronomical- which it might have been) but it’s 27% on Rotten Tomatoes (RT) was just another film in the laundry list of terrible Ridley Scott films that he’s made within the past 15 years. Ridley Scott will be remembered as an all-time great director thanks to Bladerunner, Alien, and Gladiator, but since the release of 2001’s Black Hawk Down, Scott has made a lot of terrible films including 2013’s The Counselor (35% on RT), 2010’s Robin Hood (43% on RT), 2008’s Body of Lies (54% on RT), 2005’s Kingdom of Heaven (39% on RT), 2006’s A Good Year (25% on RT), and 2012’s Prometheus (which I don’t care what RT says about this one, this was a huge disappointment among all Ridley Scott fans and fans of the Alien franchise). Certainly Scott has made some good films including 2003’s Matchstick Men and 2007’s American Gangster, but the perception on Ridley Scott as recently as the summer of 2015 was that this was a man who seemingly forgot how to direct.

Black Mass Hole: How Scott Cooper's Vision of the Whitey Bulger Story Ruined the Film

James J. “Whitey” Bulger is one of the most notorious gangsters in American history. He is responsible for at least 19 murders plus extortion, racketeering, and drug trafficking. With Steve Flemmi and Kevin Weeks by his side, Bulger and The Winter Hill Gang terrorized South Boston for decades. The actual events of Whitey Bulger's life are so damn interesting that a Hollywood version of his life should have given us a better movie than the final product of Black Mass.

Black Mass is directed by Scott Cooper. The film uses the same techniques that Cooper has used on Crazy Heart and Out of the Furnace, his first two feature films, and Cooper's fingerprints are very much on all three of his movies. All three films are methodically paced, bleak-looking, character-driven, and frankly often times outright boring. I actually enjoyed Out of the Furance, but I understand its 53% Rotten Tomatoes score. Crazy Heart, despite being an excellent showcase for Jeff Bridges' talent, is a dull and meandering film. Black Mass pulls a little bit from both of Cooper's previous films as this is an excellent showcase for Johnny Depp as Whitey Bulger but moves with a sense of purpose from scene to scene. All three of Cooper's films are extremely character-driven, often times to the story's detriment. That was the case here with Black Mass as this story deserves an action-packed, fast pace script. There was no reason Black Mass couldn't be this generation's Goodfellas- interesting characters that were fun to be with that, while still being plot driven, never lost sight of its characters. Unfortunately, I'll have to "settle" for this generation's actual version of the Whitey Bulger story- The Departed.

The Influence of Goodfellas' Voice Over Narration on Mr. Robot and Narcos

"...and God help you if you use voice-over in your work, my friends. God help you! It's flaccid, sloppy writing. Any idiot can write voice-over narration to explain the thoughts of a character. You must present the internal conflicts of your character in action."

Robert McKee (Brian Cox), Adaptation

Anyone who has ever taken an introduction to film writing class (raises hand) knows that it is a Cardinal Sin to use voice-over work. You are supposed to, say it with me now, show, not tell. However, we know that this generic, broad rule is not true. It's not that you're never allowed to use voice-over work, it is that you're not allowed to use it as a crutch for your storytelling and character development. However, this archaic belief that you are never allowed to use voice-over means that it's rarely used in the visual medium. That means when it is used, it's seemingly always discussed. That's why it has become a discussion point for two of 2015's best (and new) show TV shows of the year- USA's Mr. Robot and Netflix's Narcos- both of which owe a debt of gratitude to The Godfather of voice-overs: Goodfellas.

Goodfellas is most certainly not the first film to use voice-over. Blade Runner used voice-over. A Clockwork Orange used voice-over. Most film noir films used voice-over. However, Goodfellas perfected and solidified the use of voice-over. The film follows Henry Hill (Ray Liotta) and uses his narration to describe his ascent and fall from his mafioso life. The film starts off with Hill saying, "As far back as I can remember, I always wanted to be a gangster" and uses Hill's perspective to tell this incredible story of his life in the mob. The use of voice-over is effective in multiple ways throughout the film. We get a clear vantage point for how this story is told, we're able to get a sense of how deep and connected this world is, and it's even used to heightened tension and advance plot. Director Martin Scorsese still gives you wonderful characters- Joe Pesci won his sole Academy Award for his work in the film- and gives you an interesting and engaging take on the mob genre, but also uses voice-over to coalesce the entire project and gel everything together.

There are a lot of things that make Goodfellas IMDB.com's 17th best movie of all time and rank it on AFI's top 100 list, but there should be no denying that Ray Liotta's voice over work is one of those reasons. Goodfellas' voice over just works, and because it was so effective, it helped inspire movies and TV shows for years and decades to come.

2015 Bad Quarterback League Rankings

As Daily Fantasy Sports (DFS) is gaining steam and quickly becoming one of the most popular fantasy games you can play, the more obvious it is that traditional fantasy formats will soon go the way of the dodo bird. Personally, I play in five different types of fantasy football leagues, one of which is a traditional fantasy league, one of which is DFS, and one of which is a Bad Quarterback League. A Bad Quarterback League (BQBL) was started by Grantland.com in 2011 and I immediately became hooked. Unfortunately, Grantland recently stopped posting about the league; however, that has never stopped my interest in it. It certainly makes it more difficult to score your league, but the fun makes it worth it.

The first thing you need to do it set up your players and rules. The way my league is set up is that there are five players in the league, and each player must draft, and start, four teams each. That way each team must choose some "sleeper" teams without having to choose from some truly elite teams like the Green Bay Packers or Indianapolis Colts. After 20 teams have been drafted and each player has their four teams, it is time to set up the scoring. We play in a rotisserie style league where we use Grantland's original scoring. We only play through 16 weeks (because playing in Week 17 is terrible for all formats) and the team that has accrued the most points based on the previous individual 16 weeks is the winner.

The Best Movie of the Summer is Dope

Grantland's Mark Harris is an avid spokesperson for "prestige" films (my words, not his)- films focusing on story-telling and characters and art versus big budget epic blockbusters that would rather replace CGI with its script in order to rake in massive amounts of dough. While I do share Harris' love of a good prestige film, I also can't say I share Harris' dislike of big budget actions films as well. I love a good summer movie when it's done well. Most recently we received The Dark Knight, Edge of Tomorrow, and Mad Max: Fury Road thanks to Hollywood's love of capitalizing on the summer season and I don't want to live in a world without those films. The summer of 2015 hasn't given us a shortage of money-making epics leading off with Furious 7, bouncing to Avengers: Age of Ultron, and now leading the pack (and the world) is Jurassic World. But in a season where Hollywood (mainly Universal Studios) is looking at its pile of money like its Scrooge McDuck about to nose dive into a pile of gold coins, the winner of the summer season is a little Indie that could. Well, winner is a relative term. Jurassic World and Chris Pratt are obviously the true winner, but in terms of quality film making, Dope is the best film you'll see this summer.

Dope is a film written and directed by Rick Famuyiwa- a man who's credits before this looks like a grocery list. It premiered at Sundance, and thanks to Open Road films, Dope was released domestically as counter-programming to the big budget action flicks. Considering Open Road bought the film for a little over 3 million and it's already grossed over 14, it was money well spent. And I personally thank Open Road (and Sony) to give me ability to watch a film this good.

Dope follows around high school seniors Malcolm (Shameik Moore) and his two best friends Jib (Tony Revolori aka the young Indian boy from The Grand Budapest Hotel) and Diggy (Kiersey Clemons)- self-proclaimed Black nerds who love 90's hip-hop and live in the poorest of poor neighbors in Southern California. All three are smart and Malcom has realistic ambitions of attending Harvard and getting out of the ghetto. These three do everything together: they play in a rock band called Awreeo (pronounced "Oreo"), they hit on girls together, they study together, and they get beat up together.

How Orange Is The New Black Became The Best Show On Television

Last year I posted an article about the four contenders to replace Breaking Bad as the unequivocal best show on television. There were four main contenders: Parks and Recreation, Game of Thrones, Mad Men, and Orange Is The New Black. Since Vince Gilligan’s epic went off the air in the fall of 2013, three of those shows have made strong cases to be the champ. Mad Men ended up being the weakest out of the four, but it has helped define the standard for prestige television and is part of the reason any great non-super hero story isn't shown in movie theaters but rather on the small screen. Game of Thrones is the most watched show out of these four (most likely, since Netflix doesn’t release its viewing numbers) and has transcended the fantasy genre into something incredible, but it’s uneven-ness in storytelling and reliance on its source material ultimately forces the show to play second fiddle. Parks and Recreation is brilliant in every way, but the fact that it’s a sitcom first and foremost lowered its ceiling.

On the other hand, Orange Is The New Black managed to take the best parts of these shows and rise above them to become the best show out there. Orange has the storytelling skills of Mad Men, the grandeur of scope a la Game of Thrones, and the heart of Parks and Recreation while still telling its own stories. There are most certainly faults with the Netflix dramedy, and truthfully it probably has more faults than any of its competitors, but the fact that it’s still so damn good proves why it deserves to be the champion.