Johnny Simmons

I don’t care for the Supporting Actor category. It’s odd; I can’t put my finger on something that makes it less interesting than the others. Sure, every now and then a Chris Cooper or Morgan Freeman does little for me but it’s more often than not made up for by the Benicio Del Toros or Tim Robbins of the world. Perhaps it’s the fact that the last three years in this category have been filled with undeserving nominees (paging Matt Damon) and less than eclectic winners (paging George Clooney and Morgan Freeman). The Independent Spirit Awards have announced their nominees, and their claim to fame may be found in the fact that they’re usually one of the bodies who announces their nominees just as the seasons begins to pick up steam. I don't think that their list of nominees in any category, this one in particular, is the end-game. 

The supporting category is often where aging thespians finally get their due (Robbins, Freeman, Broadbent). I’m not inherently against wins for a good career. In the case of Henry Fonda, Oscar-less or not he was still deserving and that’s the way I’m feeling about Ed Harris. The Way Back is set to make a qualifying run in December for the Oscars. I’ve had my eye on this one for some-time. Harris along with Saoirse Ronan and Collin Farrell seems like one I’d be interested in. Logically, Harris seems like a real contender. I’d have given him the Oscar in 1998 or 2003 and depending on what day of the week he’d give Javier Bardem (Before Night Falls) a run for his money in 2000. Even if Weir’s drama doesn’t take off in any other major categories I can see a nod for Harris sticking The Spirit Awards didn't nominate him, but I this early in the game I don't think that's going to hurt him.

Geoffrey Rush is another stalwart who seems assured a nod. He’s been nominated alongside Harris in 1998 and 2000 and he has an apparently solid role in Best Picture contender The King’s Speech. Rush seems like the sort of person who’s perennially nominated for the Oscar though he’s only one once (1996 for Shine). That sense of ubiquity could prevent him from actually winning, but he’s probably assured a nod. From Harris to Rush we’ve got two actors who had strong showings in 2000 and we’ve got more actors who gave strong performances that year to add to the lot. Depending on who you ask Mark Ruffalo and Christian Bale should have made the Oscar lineup for You Can Count On Me and American Psycho - I’d have nominated Ruffalo in a heartbeat. This year Ruffalo’s got The Kids Are All Right. It was a summer hit, and it’s not at the top of the tier – but he looks to be a solid contender and Bale’s been attracting praise for David O'Russell’s boxing drama The Fighter.

I gave Jeremy Renner best-in-show notices for The Town though that wasn’t an indicator of much since I wasn’t particularly blown away by it. It seems Legendary Pictures is trying to sneak him into the race. The fact that The Town has been so critically acclaimed does surprise me a bit, if precursors support it he could be the perennial “fifth-nominee” but I’m reticent. Andrew Garfield comes to mind as someone who could sidle their way into the race. The Social Network is looking like a stronger contender as the days go by and he does emerge with the most sympathetic category. Add that to the fact that his star is definitely on the rise could see him getting pulled into the category. It’s not uncommon for well received ensemble flicks to pick up a single acting nod in this category (think The Departed or Crash). As much as Eisenberg impressed me I’m not sure he’s on his way to a nod. Justin Timberlake keeps popping up, and though he impresses me it doesn’t seem like a logical choice unless AMPAS go batshit for Fincher...I don’t see that happening.Then there's Get Low which could Robert Duvall's ticket back to the Oscars. Bill Murray apparently has a plum role, and I'm thinking if he moves from the Spirit Nomination on to the SAG he could easily become a potential spoiler in the race.

                     

Andrew Garfield The Social Network

Ed Harris The Way Back

Billy Murray Get Low

Mark Ruffalo The Kids Are All Right

Geoffrey Rush The King's Speech

Alternate: Christian Bale The Fighter

If it were up to me I’d thrown in Rhys Ifans from Greenberg and Michael Shannon from The Runaways two supporting performances from earlier in the year who should be remembered but probably won’t. I'm a bit shocked that after all the love for Greenberg the Spirit Awards still ignored Rhys. Shame.

              

The Independent Spirit nominated Bill Murray in Get Low, Mark Ruffalo in The Kids Are All Right, John Hawkes in Winter's Bone, Samuel L. Jackson in Mother & Child and John Ortiz in Jack Goes Boating. See the full list HERE.

Hairspray is far from being among my favourite musicals on stage or on screen but it's difficult to deny the infectiousness of it all. It's one of those hundreds of films that make you think WTF when it comes to Oscars. Sure, it may not have been headed to any major categories but it didn't garner nods for costume design and art direction is beyond me.

And the film incarnation...

I think the stage version trumps the film cast, but they're both quite good.

I hate to be a killjoy (honest, I do) but the burgeoning Best Picture campaign for Toy Story III keeps on leaving a bad taste in my mouth. Of course that’s because the film itself left me feeling marginally unsatisfied. It’s a sort of déjà vu that I’m experiencing, I was feeling this way last year when Up was taking the awards’ races by storm and it looks as if Toy Story III has an easier path ahead of it. From Coraline to The Fantastic Mr. Fox to The Princess& the Frog it was an unusually strong year in the category but this year’s picking is more than slim. True, I’d give How to Train Your Dragon (which is admittedly, the sole other animated film I’ve seen so far) a slight edge over Toy Story III because it’s candour and freshness is much more appealing and (forgive the weak pun) animated; but neither of the two seems to be a great credit to its form.

I’ll probably see Tangled sooner or later – if only for the sake of being a completist (I’ve somehow managed to avoid Despicable Me so far). I already have a slight built-in aversion to Tangled - not so much the film, but the ridiculousness of the story behind its renaming. The thing is, even if it’s doing better than anticipated there’s virtually no possibility of it uprooting Toy Story III which is the favourite – sentimentally, and otherwise., though I'd be happy if it really is good. The question now isn’t if Toy Story III is going to win the race, it’s how much of a threat it could be in the Picture category. Obviously, I’ve no choice but to resign myself to the continued ten-nominees situation and if push comes to shove I’d prefer to see Toy Story III on the nomination more than something like Inception or The Town both of which are being touted as serious contenders, the former more-so than the latter.

I don’t know if it’s because I’m existing in the clouds, but I still don’t feel that the race is as wrapped up as some seem to believe. Of course we all know that it isn’t over until it really is, but I’m just having this feeling that a serious contender is being ignored – what, I don’t know. I don’t think Toy Story III is it, a Best Picture win for it would be exceedingly surprising. I suppose, as it stands Pixar needs to prepare space for the inevitable trophy that’s going to be handed to Toy Story III. It’s months before the fact, but I figure if there’s any race that’s “wrapped” it’s this one. And I’m probably the only person (along with Armond White) who won’t be ecstatic about this. Ha. I just wish we'd have gotten something a little...better, could Tangled be it.

Between the VMA’s obstructing my regular ABC schedule on Sunday and Thanksgiving obstructing my regular view of everything on Thursday it was a rather dry weak for TV. Ironically, all four of the five shows turned in top notch episodes making up for the more-or-less less than excellent showing last week.

            

Just when I think I can say I know Dexter like the back of my hand, it surprises me with an episode that’s so evenly tempered that beguiles you into this false sense of security and bam – they’re at it again. Pacing; it’s not my favourite episode of the season but it’s one of those that’s excellently paced. It’s framed by Gordon Chase at the beginning and the end, nice work there – but the character development that abounds? Lovely. There’s an emotional confrontation of sorts that occurs somewhere in the middle between Deb and Maria, and it works (like many things this episode) brilliantly. Maria comes off as unfeeling, but Lauren Veleez really tries hard to subvert that notion (I won’t stop championing her) and Carpenter delivers in more ways than one. The fact that that scene is followed, immediately, by her realisation that Quinn was after Dexter only increases the tension. I really want to hate Quinn but Harrington keeps on doing excellent work, and Liddy? God, that man scares me. I didn’t love Astor’s return, and the thing is – on paper – her friend’s trouble shouldn’t be more than generic. But it works. I always like seeing Dexter in the paternal light and the moments at the end with Astor were particularly well played. The fact that Astor’s friend was being abused acts as a nice (if unsubtle) parallel for Lumen’s own issues. And that ending? Hot damn, how brilliant was that? Seriously, again I say JULIA STILES FOR THE EMMY! She just handles that scene so brilliantly. Only three episodes left before the season ends, and I don’t want it to.

[A-/A]

 

Ryan Murphy gets a lot of shtick for his writing on Glee, and I’d probably agree with anyone who says that of the three creators Falchuck’s characterisations are strongest. Still, the Murphy episodes can be good (“Laryngitis” comes to mind) and this episode’s strength lay in its writing. We get two main arcs each branching out forming other stories and what’s more the two main arcs are actually reconcilable. There’s the Carol and Burt wedding which I liked because yes, Mike O’Malley is great on the show but Romy Reosemont is so underrated and good as Mrs. Hudson. I hope we see more of her down the road. That arc was only part of the Kurt storyline as the bullying arc continues. It’s nice to see they’re actually holding true to the Rachel/Kurt friendship somewhat and her plan was...inspired. Though I just have to interject and say that that entire Sam/Quinn storyline made me want to vomit. Please, can’t they just expel Chord Overstreet from the show? Ugh, but I digress. On the other hand we have the return of Sue’s mother to Ohio to coincide with her wedding to herself. The arc was just beautifully done and that rendition of “Ohio” was a killer. Honestly, Kurt’s transfer doesn’t break my heart because I don’t really care for the character – but he’s obviously not leaving the show, so it doesn’t really matter. It’s interesting to see the storyline developing though, and I still want to know where the Azimo is. He always seemed to be the more fearsome of the two back when he and Karofsky were on their bullying spree in Season One. Two things though, where the f*** is Jayma Mays? And can they just make Puck and Santana an official couple, those two are just too awesome (even if Puck, along with Tina, does absolutely nothing this episode).

[A-]

After last week’s underwhelming turn Parenthood is back in business. What continues to impress is their continued ability to handle clichéd themes and make them refreshing. Camille is preparing for Thanksgiving and like the typical matriarch of old is doing it all on her own and feeling neglected. There’s the Gordon/Adam fiasco with him selling the company and whatnot; Crosby trying to impress his mother-in-law; Drew missing his absentee father and Julia unable to cope with the “conventional” bits of motherhood – i.e. baking a perfect pie. True, I’m a bit miffed that I haven’t had a good storyline for Erika Christensen to sink her teeth into in some weeks, but even with little to work with she makes Julia’s anal personality realistic with her inability to be perfect at everything (god forbid). As I predicted, Gordon is a giant douche and I’m not sad to see the back of him but it’s nice seeing Adam grow a backbone without seeming annoying like he sometimes comes off as. Crosby is still the least interesting sibiling, but I’ll cut him some slack because I think Joy Bryant's Jasmine is terrific. On a sidenote, can we just give Miles Heizer a bigger storyline. The guy is easily the strongest child actor on the show – and that’s saying something. Drew’s moments with Zeke had a certain poignancy that was mirrored in the scenes with Camille and Julia and then Camille and Amber. And how nice was it seeing the four siblings and their parents dancing in the kitchen? Very. It’s sad to see Sarah depressed again (good work Lauren Graham) and god knows what Christina will do about Haddie’s new boyfriend, or whatever he is.

[B+/A-]

It’s weird, I really love Jesse Tyler Ferguson on this show but whenever we get a brilliant episode he gets the horrible arc. This is a case-in-point. I don’t know, I’d probably accept the mother-in-law with boundary issues on a show like Everybody Loves Raymond (generic and dull, says I) but it just seems oddly placid for Modern Family. Sure, watching Mitchell and Cam banter will never NOT be hilarious but damn, they need a real arc! But the rest of the episode? AMAZING. Can anyone resist the elderly infectious ways of Manny (I don’t know what else to call it). I just love watching him and Jay bond and the fact that he actually was sick did make me roll my eyes, but only because Gloria is ridiculous which Sofia Verara knows and milks for all it’s worth. It’s weird, though, the Dunphy’s get the A-plot but the title has nothing to do with them...but I digress. Come on, an episode about Hayley’s boyfriend? I love Sarah Hyland, so yes please. And Ty Burrell? He may end up uprooting Ferguson as my overall MVP. I just find his speaking voice hilarious and that emotional bit at the end works without feeling jarring or disjointed.

[B+/A-]

         

Jane Lynch in Glee A

Michael C. Hall in Dexter A-/B+

Ty Burrell in Modern Family B+

Jennifer Carpenter in Dexter B+

Lauren Graham in Parenthood B/B+

Jesse Tyler Ferguson in Modern Family B/B+

Cory Monteith in Glee B

I knew I’d end up featuring this guy sooner or later here I suppose better sooner than later – Anthony Anderson. Anderson easily ranks in the top ten of actors I find most annoying. He’s one of those character actors who shows up in a slew of Ebonics’ movies playing the same tired old wingman and making feeble attempts at comedy that fail to impress. Am I being harsh? You bet. Let’s take a look at the evidence.

I cited this some time back as one of the worst films of the last decade, and that’s

a pronouncement that wasn’t done lightly. This film is awful, truly everything about it is, but Anderson is the most awful portion. From the over exaggerated expressions, the whiny voice the terrible acting – it was all just a very, very bad accident, but it can’t be that much of an accident. They did read the script after all.

I like Romeo Must Die. As far as Asian actors go I’d say Jet Li is one of the better ones and I’m a big fan of Aaliyah. It’s a typical action/romance/comedy but it’s enjoyable enough. Anthony Anderson doesn’t help. True, his involvement doesn’t turn the entire film into a hot mess or anything but his presence adds nothing. The only thing that makes him slightly passable is the fact that the characters in the film find him just as annoying, so there’s always the vicarious thrill of seeing him embarrassed. Call me cold-hearted, whatever.

King’s Ransom is one of those awfully generic unfunny comedies that infuriate me to no end. It involves a running gag on kidnapping, and truly the script is awful but having Anderson as the lead makes it even worse. Usually I think that Rotten Tomatoes is ridiculous, but I can’t argue with the 0% rating for it. (I forgot to list it in my worst of the decade list, but who’d want to remember this?)

I don’t think it’s coincidental that the film where I find him tolerable is the one where he has a minute amount of screentime that’s balanced out by having Matt Damon, Jack Nicholson, Vera Farmiga and Leonardo DiCaprio buttressing the talent in the film and preventing any potential annoyances he may incur. He works in The Departed. I don’t know why, and I don’t know how...but he does. The only time I can admit to that happening.

                    

This seems essentially cut and dry to me, but what do you think about Anderson? Guilty? Innocent? Has he Failed to Launch? 

             

Jac Black, Verdict: Guilty (4), Undecided (2), Innocent (1)
Matthew McConaughey, Verdict: Guilty (8) Innocent (0)   

I’ll be churning out my review of the latest instalment in the never ending (I wish) Harry Potter series. I have no shame in admitting that I’m absolutely smitten with the Potter World even if the films are only fractionally as an entertaining as their literary counterparts. I can’t remember the last time the blogosphere was flooded with so many reviews of a single film in a while: just in my neck of the woods I’ve gotten word from

              

I haven’t actually read most of these posts, I’m saving it for when my review’s done then I’ll sit down and read them all back to back (to back). I did that with An Education when I rewatched it, and it was fun. Here are thoughts from Yojimbo, Ruth, Marshall, Univarn, The Mad Hatter and Lady Hatter, Joana, Cris, Heather, Rachel and Simon (if I missed yours, it was probably an oversight)

           

Not that Harry Potter is the only film out at the opening. Any one plan on seeing Burlesque? I’ll probably catch that in the next month but Joe has 22 interesting thoughts on it. Look out for # 20; it’s a winner.

Walter reviews two “chick flicks” You, Again and Morning Glory. I’m not sure I’ll see any, but who knows?

Stephen Sondheim turned 80 this year. If you don’t who that is slap yourself. I’m sort of crazy for guy and he chats about the latest A Little Night Music revival, Glee, and upcoming projects. I love the little tidbit he has about Elaine Stritch. Hilarious.

        

Which five actors were snubbed their Oscars? I could go on for days, Anna mentions five.

I should have linked this over a week ago, I love this article by Tom on my favourite Woody Allen flick.

Okay, as you were.

PS. Still waiting on your entries for this month of LAMB Casting.

I don’t like Jack Nicholson very much. At the same time I’d be immediately read to assert that he’s probably one of the 30 best actors alive at the moment – perhaps of all time if you only include American and British. As far as the males go he’s the closest thing to Oscar royalty, what with his record breaking twelve Oscar nominations and whatnot. Despite my feelings, though, he’s always fascinated. One undeniable fact about Nicholson is that he’s charismatic. I remember when I was watching The Departed with a friend of mine and she was positively repulsed by Nicholson’s Costello. “The man’s hideous,” she said. And yet he’s built a career as a sort of atypical ladies man, more than a ladies’ man though something that never fails to intrigue me about Nicholson and his Oscar wins is the fact that each time he won the Oscar he was accompanied to the podium by the leading actress in his film – namely Louise Fletcher, Shirley MacLaine and Helen Hunt. The only thing close I can think of in Oscar history is Katharine Hepburn winning her final three Best Actress slots for films that went on to win best screenplay (Guess Who's Coming to Dinner, The Lion in Winter, On Golden Pond). In celebration of CS' LAMB Feature, I'm doing a shoddy attempt at profiling....grading five performances of his.

There’s a slight irony that this is the film Nicholson is most remembered for since I feel the same way about the film as I do about him. It’s brilliant, no doubt, but I feel little for it. Looking back at the category that was a relatively good year for men, but it was Jack's "time" as they call it and going crazy is a good way to win Oscar. What's more he's obviously the best in show, I'm very sceptical about Fletcher's Actress win but that's a conversation for a whole other day....

The eighties weren’t a horrible decade for film, but it was a poor one for Oscar. Save for Amadeus and depending on my mood maybe Out of Africa I’m more often than not confused by their choices for Best Picture. Terms of Endearment is one of those films which I’m constantly trying to find the appeal of. Sure, Shirley MacLaine is brilliant and Debra Winger, Jeff Bridges and Nicholson offer up good performances but it’s resounding acclaim always leaves me feeling a little out of the loop. Jack is fine here, definitely playing Jack but of the three wins it’s the one I’m most surprised by. Considering that none of the gents from The Big Chill made the lineup (WTF?) I suppose Oscar weren’t thinking too clearly in the category.

I don’t hate Helen Hunt as much as many do, though I’ll say she was easily the least deserving of the nominees that year. But the movie belongs to jack irrevocably. The crazy antics are Jack’s but it’s more than just him being an automatons. Even when he's playing drama Nicholson still has the tendency - exasperating at times - to be a comic, so something like Brooks' antihero works wel on him. I will say that Greg Kinnear gives him a good run for his money, but really it's the Jack Show. Shameless hamming at times, but it works...

Incidentally one of the two Jack performance I’d single out as his crowning achievement is one that’s generally quite forgotten. His Eugene O’Neill in Reds is the performance I’m always somewhat miffed he lost the Oscar for. It’d get an A in a heartbeat from me. the thing is Reds has got to be one of the most underrated films of the eighties, sure it’s 3 hours long and an epic about communism; but it’s freakin’ brilliant. It features Warren Beatty’s best work (writing, acting and directing) Diane Keaton’s strongest dramatic work, Nicholson’s strong work (says me) and an excellent supporting turn from Maureen Stapleton. 

The thing is, Jack is fine when he’s hogging the camera but I always like him when he’s supporting and you have to wait for him to turn up – that’s when the appreciate grows a little more like in The Departed. His performance in Chinatown is another one I'm quick to laud. Like his performance in Reds he doesn't put too much Jack in it, even though he still has all that charisma. Maybe it's  because Chinatown is so tightly focused on plot with little interest in becoming a character study so he's forced to act as succinctly as possible, or maybe it's one of the treasures of having a scene partner as brilliant as Faye Dunaway. Either way, this would get another A from me. And once again this is a performance that's defined by its leading lady.