There was a brief time in the 1980s when the international production/distribution company Globus-Golan, managed by Israeli mogul Yoram Globus and his cousin Menachem Golan, garnered and generated more press coverage than box office receipts or critical acclaim for their movies. Their legendary deal-making and oversized egos were part of the film industry’s fascination with the Globus-Golan partnership and the duo had a good run from 1978 through 1988, which were the prime years for their company. Most of their major successes were star-driven action vehicles like Charles Bronson in Death Wish II (1982) and its sequels, The Delta Force (1984) starring Chuck Norris) and Sylvester Stallone as a Los Angeles cop in Cobra (1986). They also had some surprise hits in music/dance and teen sexploitation categories like Breakin’ (1984) and The Last American Virgin (1982). Globus-Golan even tried to crack the arthouse market with smaller indie productions like That Championship Season (1982), Fool for Love (1985), Barfly (1987), and the Jean-Luc Godard directed King Lear (1987) with Woody Allen, Norman Mailer and Molly Ringwald but only a few were successful like Runaway Train (1985), directed by Andrei Konchalovsky. Utilizing tropes from prison breakout flicks and man-made disaster films, Runaway Train was a weird hybrid that worked as a straight-ahead action adventure but also as a psychological character study unfolding in an extreme setting – the icy tundra of the Alaskan wilderness.
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Oscar Oddities, Part 1

Every year in the annual Oscar race there are always a few surprises, head scratchers or genuinely odd contenders that make you wonder how they were ever selected. Was it politics? Was it a fluke? Did good taste or bad taste actually triumph? Here is a list of my favorite oddities, some of which deserved their nomination though I never expected the Academy to acknowledge them because they were either low-budget indies, big budget genre pictures or under the radar movies that were barely noticed by moviegoers. I’m using the 1990s as my starting point and working backwards from there, cherry picking specific Oscar races, since most of the more interesting anomalies occurred prior to the 21st century.
Yes, there have been a few unexpected contenders since then such as 2000’s strange and mesmerizing Shadow of the Vampire (nominated for Best Supporting Actor – Willem Dafoe) and Hustle & Flow featuring the Oscar winning Best Original Song of 2005 – “It’s Hard Out Here For a Pimp.” In fact, the Best Original Song Oscar category is usually the place to look for oddball entries such as “Blame Canada” from South Park: Bigger, Longer & Uncut (1999) by the demented director-writer team of Trey Parker and Matt Stone or “How Do I Live,” written by Diane Warren and performed by Trisha Yearwood in Con Air (1997), an outrageous over-the-top action thriller from producer Jerry Bruckheimer. But, in general, the Academy Award nominations from 1999 on back to the beginning were quirkier and more fun.
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For better or worse, the 1960s was a time when commercial and experimental cinema occasionally collided, producing innovative, financially successful films such as Stanley Kubrick’s 2001: A Space Odyssey (1968) and Michelangelo Antonioni’s Blow-Up (1966), but more often high profile failures such as Tony Richardson’s The Sailor from Gibraltar (1967), Otto Preminger’s Skidoo (1968) and the unfortunate 1969 screen adaptation of Lawrence Durrell’s Justine. In Search of Gregory (1969), which was designed as a star vehicle for Julie Christie by producer Joseph Janni and followed her critically acclaimed performance in Petulia (1968), falls into the latter category.
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