Overlooked for Best Picture: Goodfellas

The first time I really remember being outraged at The Academy was 1991.  That was the year that Dances with Wolves beat Goodfellas for Best Picture.  I was talking to a friend about The Departed the other day.  That movie seemed too convoluted, too soupy, for my taste.  They gave Scorcese his Best Picture award, but it wasn’t the right Scorcese movie.  Goodfellas was right Scorcese movie.

Of course everybody knows this.  I watched the movie again this week, and it is clear and focused in a way that The Departed utterly fails to achieve.  The only question I had during the movie was the post-Lufthansa robbery killing spree.  How did that make sense?  Wouldn’t somebody notice that everyone else was getting knocked off?  Why have a criminal organization if it’s going to eat itself like that?  I thought that the mafia served to bring stability to crime.  To give a sense of rules and responsibilities to the lawless.  That way you can plan much more complicated capers, and place some element of trust in your partners.  Though the movie seemed very true the character, I wondered if they had perhaps over-dramatized this portion.  So I looked it up on Wikipedia.   Turns out the truth was even crazier.  This is the list from Wikipedia:

The following were all murdered after the heist: [2] [3]

I also learned a lot about Italian cooking from this movie.

Lifeforce

To participate in Final Girl’s film club, I had Netflix send me Lifeforce, a 1985 Tobe Hooper move about Naked Space Vampires.

Lifeforce

Reach into my brain and pull out the perfect woman, and she might look like Mathilda May, the naked chick who walks around sucking blue light out of people in Lifeforce. But why would she have two perfect naked guys with her? Those guys didn’t come out of my head, I’m certain of that. Also, if she came out of Steven Railsback’s brain, why isn’t she over-emoting massively? Instead, the perfect woman is ice-cold and creepy. But she does have perfect breasts.

It’s been said before, but I’ll say it here, again. Naked Space Vampire Movie is an automatic win. But Lifeforce is encumbered by dry British-ness, set against a weirdly screaming Steve Railsback, who is oddly distant when he’s not madly emoting. The plot, even with the restored footage that US distributors edited out, is muddy. You’d think space vampires would be straight-forward, but these things seem to have varying rules. Also, the initial contact story gets re-told three times, in different ways. The result is confusing, and action is disconnected. After a long, dry, procedural hunt, culminating in the strangest Patrick Stewart quivering ever, we suddenly shift to Zombie Apocalypse mode. Also, there’s a lot of flashing blue light streaks. The ending is vague. I’d say ambiguous, but that word means two clear options that oppose each other. In this case, the ending doesn’t really mean anything clearly.