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Monday, 31 January 2011
Sometimes I think people misunderstand the term ensemble acting – or perhaps, conversely, I place too much emphasis on it. Either way, there’s always a divide between me and the general populace. In the last decade or so, the biggest head-scratcher when it comes to singling out any cast for “ensemble” acting would be the win at the SAG for Sideways, my general apathy towards the film aside Sideways just seemed like the weirdest contender for an ensemble prize – even Inglourious Basterds, which I’m not especially fond of, makes sense because that film depends on that cast working in conjunction with each other. Ensemble acting is not just about getting great performances from a number of actors, it’s about seeing a group of actors acting together – in accordance with each other, something’s that’s not as simple or incidental as it would seem.
(click on the photos for reviews)
THE NOMINEES
Animal Kingdom: (Cast: James Frecheville, Ben Mendelsohn, Joel Edgerton, Guy Pearce, Luke Ford, Jacki Weaver, Sullivan Stapelton, Dan Wyllie, Anthony Hayes, Laura Wheelwright, Mirrah Foulkes)
I sort of wish that Animal Kingdom would turn into a mini-series, because though Michod doesn’t exploit it there’s something brilliant about watching the family in their natural habitat just coexisting with each other. Even the smaller characters like Nicky’s entire family exist in the same fabric – all of them on the same wavelength with each other (the dinner at their house) or those two scenes in the coffee shop; one with Baz and one without, where everyone has their own reaction to give, no matter how understated.
For Colored Girls (Cast: Loretta Devine, Whoopi Goldberg, Macy Gray, Janet Jackson, Thandie Newton, Phylica Rashad, Anika Noni Rose, Tessa Thompson, Kerry Washington)
Perry doesn’t thrust the entire female ensemble together until the closing moments, but even within these separate stories we have ensembles at work – divided as they are. Phylicia Rishaad and Kerry Washington, as the watchers in the group are given the task of interacting with almost everyone – and Rishaad especially thrives on this slightly voyeuristic way. It’s such a rare thing to see an accomplished female ensemble playing opposite each other so those moments where Goldberg and Newton go at it, or Devine stops in for a chat with Jackson, simmer because even when Perry doesn’t know precisely which decision to take in procuring the right amount of (cinematic) drama, the cast is doing a brilliant job.
The Kids Are All Right (Cast: Annette Bening, Julianne Moore, Mark Ruffalo, Mia Waskikowska, Josh Hutcherson, Yaya DaCosta, Zosia Mamet, Kunal Sharma, Eddie Hassell)
The very essence of The Kid Are All Right depends on that quintet of actors working together, the first and final dinner scenes in the film work not only because of the writing and the direction but because every tangent of that pentagon works perfectly. And then, there are those actors on the sidelines – like Yaya DaCosta working opposite Ruffalo, or Mamet and Sharma opposite Wasikowska. All these actors in totality are imperative in establishing that suburban cacophony that defines The Kids Are All Right
Scott Pilgrim vs the World (Cast: Michael Cera, Mary Elizabeth Winstead, Ellen Wong, Kieran Culkin, Alison Pill, Johnny Simmons, Jason Schwartzman, Mae Whitman, Aubrey Plaza, Anna Kendrick, Brie Larson, Mark Webber, Chris Evans, Brandon Routh)
In theory, the ensemble of Scott Pilgrim vs the World should not feel as integrated as it does. It’s essentially a situation where Scott goes through the film fending off evil exes, belligerent “frenemies”, officious siblings and best-friends, morose band members and cloying girlfriends – and that’s just the half of it. But even though it seems like Cera’s doing the heavy lifting, Wright doesn’t shirk at opportunities for everyone to meet up with each other; like Knives and Ramona or Wallace and Stacey. Even if direct conversation is lacking between some branches, they all inhabit the same environment establishing a palpable uniformity in the performances.
The Social Network (Cast: Jesse Eisenberg, Andrew Garfield, Justin Timberlake, Max Minghella, Rashida Jones, Armie Hammer, Rooney Mara, Brenda Song, Joseph Mazzello, Douglas Urbanski)
It would be wrong, not to mention a little seditious, to call The Social Network a courtroom drama, although – to some extent – it functions as one. The deposition scenes have the main players opposite a host of bit players all doing good work and as the story unfolds in flashbacks – noting the most “important” moments – everyone gets the opportunity to play the highs and though like with Scott Pilgrim vs the World they’re play opposite Eisenberg it doesn’t prevent them from playing opposite each other.
FINALISTS: Sometimes it seems like The Fighter doesn’t realise that it has an ensemble to play with, so they end up getting a bit marginalised at times – still, ultimately, when Russell realises the fun to be had in largeness of the cast things get exciting; The King’s Speech thrives on a cast that’s not getting as much love as it should – despite it’s one-man focus it really is an ensemble at heart, like seeing how many talented thespians can pop up and play opposite Firth; sort of the same way you’d think that Rabbit Hole is the Becca and Howie story, but there’s much good to be found on a larger scale – not just Wiest, Oh, Teller and Blanchard (all great) but those support group folks with their one scenes and that awesome realtor with the quirky facial expressions.
Which 2010 film stands out as a fine example of ensemble acting at its best, for you?
This category would probably take the prize for being the most indecisive, even more than choosing favourite performances and whatnot it takes a special sort of projection to distinguish what characters will emerge as memorable. The list is not quite arbitrary, though it’s difficult for me to say what makes this list a solid representation of the quirky characters presented in 2010. Originality of character plays a role, as does profundity – although great performance are not necessarily indicative of great characters (or vice versa). It’s as personal list as any, but let’s peruse...
(click on the photos for reviews)
THE NOMINEES
(from Animal Kingdom) Grandma Smurf; played by Jacki Weaver)
It’s difficult to distinguish Jacki Weaver from the woman she plays, her big eyes constantly watchful of everything around is a key part of her role in this quasi-family quasi-crime drama. As the most important female of the lot, Jeanine prevents the narrative from being bogged down by all the testosterone present and though I think it’s the slightest bit insincere to consider her as the mastermind behind the family – her role is key. I still cannot succumb to hatred of her, for in her devious ways she’s protecting her family the only way she knows how – at whatever cost.(from Black Swan) Nina Sayers; played by Natalie Portman
In a way the credit should just go to Tchaikovsky for the creation of the paradigm the character is based on, but I won’t nitpick. The psychological mess that is Nina Sayers is difficult to resist, inasmuch as being fascinated by characters go. She has an entire narrative at her whim and Aronofsky exploits the chance to have her react to everything around her. Her journey is a singular one, but it’s fascinating.
(from The Kids Are All Right) Paul; played by Mark Ruffalo
Paul traipses around with a look of perpetual surprise on his face that’s never really, actually, surprise – just sort of a vague look of confusion. Expressions are sort of Ruffalo’s key to defining the character and I hate that Blumberg and Choledenko have taken such a beating from audiences for their alleged anti-male stance. It’s hard not to think of Paul as the most sympathetic of the lot – especially when his directionless wandering is not something he does maliciously but the evidence of an underdeveloped mind.
(from The King’s Speech) Lionel Logue; played by Geoffrey Rush
From his first scene Rush defines Logue by only subtle quirks, a man intent on presenting a vaguely animated personality but with a palpable melancholy to him. It’s possible that Logue emerges as more interesting than Bertie because the narrative tells us less about him – although, that’s not definitive. Seidler always avoids turning him into too much of a maverick and Rush’s sincerity underscores that.
(from Rabbit Hole) Becca; played by Nicole Kidman
Becca is a special type of mother – a childless one, but that’s not what defines her. Nicole Kidman already has a general aloofness to her that’s attractive, but Becca is defined by an even more caustic countenance and a general composedness that belies a damning character of speaking before she thinks. It’s weird watching her, because you feel as if this is someone you know – or could know.
FINALISTS: You sort of get the sense that Amenbar is a bit too in love with Hypatia (Rachel Weisz) in Agora – but not only does Weisz sell the brilliance she makes it seem like this is the sort of woman who’s every word is significant (or is that just the British accent) ; in a way Dickie (Christian Bale) in The Fighter is a dime a dozen – a coked up former star trying to recapture his former glory, but more than those general moments of lowness it’s the relationship he has with this family that makes him memorable; The Ghost (Ewan McGregor) in The Ghost Writer is someone we know extremely little about – we never even know his name, but that doesn’t cause the film from failing around him. It has a lot to do with McGregor playing the role but it’s the sort of character – eternally mysterious that holds our interest long after the credits roll;
SEMI-FINALISTS: Abbie (Chloe Moretz) is the typical old soul trapped in a youth’s body in Let Me In; Mimi (Kristin Scott Thomas) in Nowhere Boy; Knives Chow (Ellen Wong) in Scott Pilgrim vs the World; Mark Zuckerberg (Jesse Eisenberg) in The Social Network
Which characters have defined 2010 for you? The ones you look at for quotable quotes, those that act as a good example of reacting to situations in life (regardless of how dubious their actual choices are)? Which characters, ten years from now, will be remembered from 2010?
Sunday, 30 January 2011
The first acting category...last year this category was overflowing with brilliance, and truth be told my five nominees from last year would probably knock every single nominee of this year out, Schneider's work in Bright Star is sooooooo good (not better than Whishaw, of course, but still great). Still, the supporting men were good this year and I like each of these performances. They didn't all get that Oscar love I wish they could have, but that doesn't negate the goodness of their work.
(click on the pictures for reviews)
THE NOMINEES
Christian Bale in The Fighter (as Dickie)
Bale avoids the most obvious of pitfalls and avoids turning Dickie into one of those usual walking powder-keg drug addicts. Sure, he gets the physicality of a user down excellently – with every bodily twitch, but the performance has much more to offer. As riveting as he is in those moments, it’s the emotional bits where he shines. As good as he is with Mark his best moments are opposite Melissa Leo (a dynamic I’d have loved to see more of) and despite his overt lack of restraint his devotion to his family rings throughout the drama. (Highlight: “I Started A Joke”)Andrew Garfield in The Social Network (as Eduardo Saverin)
I hate that his obvious “actor” scenes are the ones that people keep remembering because the reasons I like this performance so much comes to the smaller bits. He knows Mark is an asshole, but he also knows they’re both similar in that desire for kinship (even though Mark is adamantly against social contact). He responds to every action from Mark, but he doesn’t really respond to Mark – and I’m not sure if its Fincher’s direction or his sensibilities but with every wince (blink and you’ll miss them) or slight intake of breath he’s making Eduardo more than the just token wronged friend and into a real person, which sounds sort of clichéd but is true nonetheless. (Highlight: The Chicken incident, at the deposition and at Harvard)Mark Ruffalo in The Kids Are All Right (as Paul)
I think I tweeted sometime towards the end of last year that Paul is probably the most sympathetic character in the narrative. They’re all moving in their way, but this bathetic man child becomes the most stirring because Ruffalo is doing so much with it. It’s not that he gives my favourite performance of the film (he doesn’t) but it’s a classic example of script and actor finding a perfect match. He doesn’t even seem aware of Paul’s insecurities because Paul isn’t even aware of his insecurities, and those lingering glances and bits of stilted conversation only underscore the sort of wandering soul he is. And he does it all without EVER going over-the-top with it. (Highlight: First Meeting with Moms)Geoffrey Rush in The King’s Speech (as Lionel Logue)
Rush avoids his usual theatricality (which I’m actually fond of) for a surprisingly tender portrayal of Logue here. Even though a significant portion of the narrative examines his relationship with the King, Seidler doesn’t explain his arc fully which leaves Logue as something of an enigma at times and Rush has no problem doing that. Sometimes it seems as if he’s usual tricks but that soft empathy with which he approaches Bertie is significant allowing him to dig deeper. One of the lasting things about the film is that you get the feeling there’s more to the man – but neither he (nor the film) is interested in going there. He’s willing to step aside.(Highlight: First Meeting with “Mrs. Johnson”)
Sullivan Stapleton in Animal Kingdom (as Craig)
He has the sort of “open” face that makes it distressing to watch him, especially when you take into consideration how much he underplays the addiction arc – saving all that pent-up desperation only to completely destroy you when he unhinges in that final scene – well more than he was before. He’s already unhinged, not in the same manner as Mendehlson’s Pope, but just as much. His entire final scene played on a loop after coming out of the movie and it’s startling how with the absence of dialogue and even without the very overt facial tics that you’d expect, he manages to convey that nadir of despair that’s responsible for thrusting the narrative in a new destroy. (Highlight: his death)FINALISTS: Joel Edgerton leaves Animal Kingdom early on but that doesn’t prevent his Baz from having a lasting effect. ; Rhys Ifans gives a performance to rival the already good cast in Greenberg; Miles Teller functions as well as Eckhart, Wiest and Blanchard as a scene partner for Kidman in Rabbit Hole. He’s fortunate because Becca’s breakthrough moments come opposite him, and he plays excellently off her offering up a not clichéd example of how more than the grieving parties are victims of accidents.
SEMI-FINALISTS: Don Cheadle plays on the angry policemen in Brooklyn’s Finest to excellent results, showing again why he’s one of the best underrated actors at the moment; Kieran Culkin ends up stealing the show from everyone in Scott Pilgrim vs the World because even if his acerbic sidekick is a stereotype his line readings are hilarious; Andrew Garfield in Never Let Me Go; with just a few scenes to work with in The King’s Speech I finally get what people are talking about with Guy Pearce. He’s the right amount of EVERYTHING in the film and works so perfectly against Firth; Jonathan Tucker’s introverted psychiatric patient is one of the saving graces of Veronika Decides to Die. It’s more than his remarkable chemistry with Gellar – his attention to detail (which the script demands in those scenes where he has no dialogue) is impressive.
What do you think of my nominees? Who would you toss out? Who would you bring in?
Saturday, 29 January 2011
Due to my own negligence I missed 30 Rock this week. Apologies.
Things are getting even more complicated on and off the compound and Bill has even more stress to deal with. I didn’t love the issue of Barb getting drunk last week but Jeanne Tripplehorn is doing a brilliant job of establishing her issues and this week especially, the conflict with her mother was a well played arc. Ellen Burstyn does a great job of playing against Jeanne and the eventual blow-up between the two is excellent. Watching Marge descend is difficult to watch, but kudos to Ginnifer for making it work. One of the thing I always love about this show is how the women work so well together, and with the children and that closing scene with Nikki and Barb was beautiful. It’s tough watching Bill sweat even more and it looks like his political career could already be defunct. It’s a good solid episode, not as good as the premiere – but still good.
[B+]Cougar Town: “Lost Children”
Sometimes I forget how much fun Cougar Town and this week they offer up what’s arguably the best episode of the season – thus far. Jules, in her crazy controlling way decides to play a weird version of hide-and-seek when her TV breaks down preventing her from watching “Waiting For Superman” (and feeling smart and depressed instead of dumb and happy). And we end up getting a crazy episode filled with adults behaving silly. Ensemble shows like Cougar Town are always best when the group splits up and we get unlikely pairings – like Andy and Grayson or Tom and Ellie. Ellie forces Jules to admit that she’s unduly bossy, and we get a nice back-story as to Andy’s issues with Grayson but I have to give props to Bobbie and Laurie who were hilarious with their fake TV show “Beef and Bubbles”. I love that pairing. And it all culminates with the entire cast – minus Jules – in the back of Ellie’s new truck. Absolutely brilliant.
[A/A-]Community: “Celebrity Pharmacology”
Ah, this was a nice safe episode that didn’t really break any new ground but it was a nice filler episode of sorts that actually had some significant plot development. The major arc was Annie putting on a play for some elementary students fighting drugs which becomes monopolised when Pierce bribes her to get a starring role (blurring the message of abstinence from drugs). It’s hilarious watching Chevy Chase go crazy with Pierce this episode and it’s one of the thing about Community – the opportunity to see these duos that we don’t often see together. Brie and Chase work well together, and that entire scene in Annie’s house stood out as a great moment in the episode. And the subplots were just as satisfying from Jeff and Britta’s nephew to Shirley and Senor Chang (who I can’t believe I do not hate anymore). A nice solid episode, not riveting but worth it.
[B]The Office: “The Seminar”
It’s an episode on par with “Andy’s Play” where Ed Helms take the forefront, and he deals with being a terrible salesman. You can already sense them trying to phase out Michael, and it’s working even though his scenes with Amy Ryan stole the show (WHY ARE THEY SO AWESOME TOGETHER?) And all those little side bits were just delicious – Jim and his friend and their spat from third grade, Kelly being amazing and Gabe and Erin and their scrabble. Erin can be such a moron, but I like her – Gabe still annoys me terribly. I just want that relationship to end. Though I’ll always love Ryan and Kelly and have a special place in my heart for Pam and Jim, Andy stands out as the most multifaceted character on The Office with the exception of Michael and though the audience lacks the most obvious comedic hooks it functions as a nice bit of character development for him. And with Michael leaving, character development of the remaining stalwarts.
[B]Parks & Recreation: “Flu Season”
I love how the team on Parks & Recreation are so comfortable that even their lesser efforts are great. This week the flu hits and Chris, Leslie and April are all victims giving Ann the opportunity to play some importance. Since, I’m a big fan of Rashida Jones I love the chance that Ann gets to play in her natural habitat as a nurse and watching her move between these three crazy (but different) people is fun to watch. And we get so many arcs. There’s really no main arc, although one could surmise that Leslie’s speech to get advertisers for her harvest festival is most salient. Seeing Leslie sick is as fun as you’d expect and Poehler keeps on thriving with the great scripts doing great work. The fact that Chris is afraid of the flu makes perfect sense, and Ann relishing the urge to take care of him is expected. I still love Ann and Andy more than any couple on the show, but Lowe and Jones work well together. And seeing Andy bond with Ron was a hilarious side-note.
[B+]Standout Writing
Cougar Town A
Parks & Recreation B+
Standout Acting
Amy Poehler in Parks & Recreation B+/A-
Christa Miller in Cougar Town B+/A-
Jeanne Tripplehorn in Big Love B+/A-
Bill Paxton in Big Love B+/A-
Rashida Jones in Parks & Recreation B+
Rob Lowe in Parks & Recreation B+
Ginnifer Goodwin in Big Love B/B+
Friday, 28 January 2011
Though she didn’t end up with any love from the top awards’ bodies last year was all about Marion Cotillard for me. Her general brilliance turned Public Enemies into something much better than it could have been, and her brilliantly performed Luisa Contini was a beacon in the already good cast of Nine (she made my supporting actress shortlist for both performances). Anyone can star in a slew of performances in a given year, but it’s something better when an actor can deliver two (or more) performances in a year that have something good to see in them and assume different sensibilities*.
THE NOMINEES
Annette Bening (in The Kids Are All Right; Mother & Child)
It might be easy to mistake them for extensions of the same character, but whereas Nic quietness is indicative of the uncertainty she wishes to hide, Karen’s quietness is more of a conscious decision to observe those around her. Both performances stand somewhere at the top half of her career, making her one of those indelible proofs of actresses getting better as they age.
Helena Bonham Carter (in Alice in Wonderland; Harry Potter & the Deathly Hallows; The King’s Speech)
In a way, it annoys me that she’s turned into a sort of ultimate supporting actor implying that her natural personality is best taken in small doses and even though she supports in a period piece in The King’s Speech it’s neither reminiscent of her early Merchant Ivory work nor suggestive of her recent kooky characters. Each character she played this way, in their own way, is a woman before her time but she doesn’t make that define them. There is a palpable sense that she’s being served up too little on each occasion, but it’s the sort of acting from the sidelines that does not define the picture but still augments it significantly.
Patricia Clarkson (in Cairo Time; Easy A; Shutter Island)
Her supporting turn in Shutter Island is a bit of a blink and you’ll miss it one – and yet, along with Williams and DiCaprio, she leaves the biggest impact on you. You rarely ever seeing Patty being loud and obnoxious, always opting for a quiet sincerity which is her ace-in-hole when it comes to Cairo Time which she makes so much more important than you expect her to be. And then opposite Tucci she offers up one of the best screen-mothers of the year in Easy A. Truly, a great body of work.Aaron Johnson (in The Greatest; Kick-Ass; Nowhere Boy)
It’s been a while since I had this much interest in watching a young male star’s star rise. It’s been a stratospheric year for Johnson and more than turning out three performances this year, it’s impressive how the running thread between them is so thin. There’s little to find that’s palpably similar between his Lennon, his John and his Dave. True, acting doesn’t necessarily mean mastering accents, but I’ll give him credit for pulling off the American one so well, nonetheless.
Kerry Washington (in For Colored Girls; Night Catches Us; Mother & Child)
I don’t know – the fact that each film has landed with almost no sound makes me rethink the sentiment – but, perhaps, Kerry is on her way to stardom, opting for the slower path. She pulls out three performances that rests on internalising grief and pain and performs each brilliant. Sure, she thrives best in Mother & Child, but even in the huge cast of For Colored Girls with the storyline that seems least important she carves something special. (And story issues aside she and Mackie are beautiful to watch in Night Catches Us.) Which actor ruled 2010 with their ability to jump from performance to performance?
* Just in case you're wondering, Johnny Depp would win the alternative award here. He's easily the worst thing in The Tourist and Alice in Wonderland (yep, even worse than the Wasikowska's bland work in the latter.) He sinks Angelina's attempts to be at least interesting in the former, and other than a glimmer of goodness opposite HBC he's terribly vile in the latter. I hope it's not the beginning of a trend for him...
I can't help but think of Countess de Mertieul when I think of great endings because Frears decision in Dangerous Liaisons is impeccable. What makes this anecdote more interesting is that my favourite ending from last year was ALSO in a Frears flick, and had to do with a face in the mirror too. Yup, Pfeiffer's chilling look into the mirror in Chéri sticks with me until the end. This year the endings have nothing to do with Frears, period pieces or aging women - but they're still brilliant. And even though films don't demand a great ending, sometimes they can turn a middling film into an excellent one with just a few minutes. Let's take a look at 2010.Umm, spoilers ahead....obviously.
(Click on the pictures for reviews.)
THE NOMINEES
Agora directed by Alejandro Amenábar with Rachel Weisz, Max Minghella, Oscar Isaac, Rupert Evans, Michael Lonsdale
I’ll admit, Agora is on the nose and Amenbar exploits the (alleged) brilliance of Hypatia – but all that’s important so that her death has that effect on you it must. Max Minghella’s talent is still in development through Agora but he’s best opposite Wiesz and the two manage to sell that moment where he strangles her to save her from being stoned alive. True, in reality her death was more harsh and less romanticised, but it’s a nice moment of humanity and sure that final cut to the earth from a far is a little extraneous, Amenbar has made his point.Animal Kingdom directed by David Michôd with James Frecheville, Sullivan Stapelton, Ben Mendehlson, Jacki Weaver, Joel Edgerton
I’m hoping, against hope, that James Frecheville has a long career ahead of him. He plays J with just the right amount of detachment and that moment where he turns his gun on Pope is both surprising but logical. And that final shot of him hugging Weaver is beautiful. I still can’t agree that her Grandma Smurf is a relentless villain – she’s just especially devoted to her children, and it’s important that our final shot of her is one of her at her weakest. The Ghost Writer directed by Roman Polanski with Ewan McGregor, Pierce Brosnan, Kim Cattrall, Olivia Williams, Tom Wilkinson
That entire final sequence of The Ghost Writer as we finally realise that Williams’ suave wife was behind everything is brilliantly played out, but that final moment as our ghost gets knocked down (off-screen) still takes the cake as the most surprising, riveting, exasperating and brilliant closing of the year. You can just imagine Polanski grinning at the audience there, and as vexing as it is its excellence is indisputable. Rabbit Hole directed by James Cameron Mitchell with Nicole Kidman, Aaron Eckhart, Dianne Wiest, Miles Teller, Tammy Blanchard
You keep wondering, how Lindsay-Abaire is going to close this piece with turning it into something overwrought and the decision he makes is perfect. Having Becca and Howie look to the future – scarred, but hopeful, sounds a bit too trite but together with Mitchell’s direction (and the beautiful chemistry between Eckhart and Kidman) it works. The peaceable scene of them sitting down there, ready for the future is just one of the most profound moments of 2010.
The Social Network directed by David Fincher with Jesse Eisenberg, Andrew Garfield, Justin Timberlake, Armie Hammer, Rashida Jones
There is something obvious and glib even about having Mark spending his life hung up on a one girl, but I like this closing nonetheless. A) because it begins with Rashida Jones being all amazing as is her wont and because Eisenberg sells the confusion of Mark, and the irony – as obvious as it is – that he’s there waiting for a friend request to be accepted is just too good to ignore.FINALISTS: Black Swan doesn’t plays any games about where it’s heading – even if we’re not willing to actually believe it until we see it. That latter portion is Natalie’s strongest sequence and it should be because it’s essential that sells those final moments – and she does, but more importantly so does Nina; it’s at the end of The Runaways where Fanning impresses me most and it’s a beautiful moment for the entire film, we’ve already got the feeling of a career cut-short but not unfortunately so and the serenity with which Cherry accepts her fate is impressive but not as impressive as the poise with which Fanning delivers that final bit;
SEMI-FINALISTS: Blue Valentine is harrowing, especially in the latter half but Derek Cianfrance pulls back for a few moments to give us a closing scene that’s just as profound in its depressing nature but very serene – and of course Gosling NAILS it; Hooper’s direction comes out best in the bookends of the The King’s Speech and it’s nice that he ends it on a note that you wouldn’t think of. He doesn’t go where you’d expect with the story but ends it at a moment that’s perfect in its sedateness; you sort of get where Veronika Decides to Die is going but can you blame me for being manipulated by its decisions. Sarah Michelle Gellar and Jonathan Tucker are perfect together and that emotional closing ends up being the perfect release to all that tension.
Which ending left you thinking long after the credits rolled in 2010?
Thursday, 27 January 2011
Openings set the tone of the film; that much is obvious. Sometimes directors are able to use an effective opening and keep up the film in the same register – sometimes after a brilliant opening the rest of the film fails. A good film doesn’t need to have a good opening, gun to my head some the best openings of all time would be The Philadelphia Story – Cary and Kate’s silent spousal abuse. Last year my favourite opening was from Tony Gilroy’s very underrated comedy-thriller Duplicity which still thrills me whenever I think about the fun smartness of Duplicity (something that was lacking this year in film – no In the Loop, no Fantastic Mr. Fox). We had some great openings this year, and although none strike me as rich as Gilroy’s –they were quite brilliant in their own rite.
(Click on photos for reviews.)
(Click on photos for reviews.)
THE NOMINEES
Black Swan directed by Darren Aronofsky starring Natalie Portman, Vincent Cassell, Mila Kunis, Barbara Hershey, Winona Ryder
In actuality I can’t say that in terms of necessity the opening really establishes anything, but it’s still gorgeous to watch. Perhaps, if I think closely the same preposterous sort of extraneousness that pervades the film begins here with this arresting but strange number. It works well in the context that turns Nina into a bit of a soothsayer, because she knows she’s going to be destroyed even before she really does know. It’s that sort of bizarreness that defines the film, throughout.Brooklyn’s Finest directed by Antoine Fuqua starring Ethan Hawke, Richard Gere, Don Cheadle, Wesley Snipes, Jesse Williams
Vincent D’onforio’s cameo is a nice asset here, and this opening scene is one of Ethan’s finest. It’s the encapsulation of an antihero who’s side we can’t help but be on even when we know we shouldn’t. In a way, it sort of establishes one of the faults with Fuqua’s latest because he’s so very much intent on shocking us – but it works here, because in a few moments he establishes the desperation of (one of) our protagonists.
For Colored Girls directed by Tyler Perry with Kimberley Elise, Kerry Washington, Loretta Devine, Thandie Newton, Anika Noni Rose
Functionality aside, it’s the most beautiful opening of the year – it uses its dialogue as effectively as The Social Network, the cuts to the dancing are as beautiful as in Black Swan and the use of music is as striking as in The Deathly Hallows. But, it’s not just extraneous beauty – it’s making a point, too; it’s probably the sole portion where the stage conceits translate brilliantly to film. Yes, the film does dip in quality afterwards, but that doesn’t make it any less lovely. Harry Potter & the Deathly Hallows directed by David Yates with Daniel Radcliffe,Emma Watson, Rupert Grint, Alan Rickman, Helena Bonham Carter
The film never reaches the quiet profundity of the opening again, which is a shame because that opening really is lovely. It’s one of the few times where creative team actually decides to do something original instead of adapting the book meticulously (to a fault). The score, the cinematography, and just the tired looks of the characters – it all just works, and in just a few short takes establishes the current situation.The Social Network directed by David Fincher with Jesse Eisenberg, Andrew Garfield, Justin Timberlake, Armie Hammer, Rashida Jones
At its best social network sites are about communication, and it’s not incidental that communication is a significant facet of The Social Network. Sorkin’s dialogue emerges as the obvious reason for this opening working, but there’s also much that’s not being said that’s being conveyed through the actors. I don’t find Mara as flawless as her biggest fans but she creates Erica not only in the context of Mark, but as someone both impressed and exasperated by his tics, so that we see the breakup coming before it does. (And of course the editing is flawless.
FINALIST: From the first moments of screen time I sort of fall in love with Scott Pilgrim vs the World.We’re immediately thrust into the madness of that mysterious place – Ontario, Canada; and it’s just so damned eclectic and arresting you can’t help but be charmed.
SEMI-FINALISTS: The American opens so subtly and even when that key surprise moment happens it’s still going along placidly. It’s the sort of minimalist approach that makes it laudable – even if I don’t love it; that long sequence that opens The King’s Speech seems a bit extraneous, but it’s one of those little things that I appreciate about what Hooper does with the story – never going where you’d expect to him to; Scorsese does some things that seem unlike his usual fare in Shutter Island and that opening is so obvious – but considering what comes after you have to think that that might be his point.
HONOURABLE MENTIONS: Get Low; Rabbit Hole; Somewhere; The Town
Which film this last year hooked you from its opening?
Wednesday, 26 January 2011
And my recap of the official “Oscar” categories begins. I really can’t overstress the dissonance I feel about the crop of films we’ve been offered up this year. I don’t know if I’m getting too jaded for my own good, but it’s becoming increasingly difficult to surrender to the worlds of film generally and though this year’s supply is not terrible it’s a situation of too many “goods” and too few greats.
But, I’ll save all that rambling for later categories.
I was musing on a format, and instead of sticking with the more aesthetically pleasing (and altogether easier to digest) table format I’m sticking with general paragraphs, because even if I’m not in love with many films this year I find that I’ve managed to get even more voluble Be warned, excess verbosity ahead. (Click on the photos for reviews, where available.)
SOUND EDITING
In short, this recognises the artificial creation of sounds that are inserted into the film.
THE NOMINEES
127 Hours (Hugh Adams, Ben Barker, Nicholas Becker, Glenn Freemantle) 
If I was petty (no, your comments aren’t necessary for that particular anecdote) I’d ignore it here because the film is making leaps and bounds just to ensure that the sound design is as obvious as ever. But that would be silly, a) because it’s dumb to ignore good work even if it’s in an obvious manner and b) I don’t think the sound team would especially snubbed by an exclusion from me. So, I won’t cut off my hand to spite my arm – and snub it here. (That was a bit distasteful no?)
Inception (Paul Berolzheimer, Richard King, Michael Mitchell)
It’s a bit like 127 Hours in the sense that it’s difficult to ignore, but there that obviousness of the sound design is an absolute necessity which they use for their benefit. Any dream world depends on the smallest of things and the sounds become amplified to the point that they’re just as important as the things we see.
Robin Hood (Wylie Stateman, Mark P. Stoekinger)
The sound-work in Robin Hood, in its way, is a sort of representation of the good and bad in the film. Like Scott’s entire vision of subverting the usual swashbuckling Robin of Loxley, the sound is defined by the simplest of things. Yes, there are the obvious horse hoofs and whatnots, but even the silence is a sound effect in itself – as faulty as the film is at times, it’s one of the most unfortunate snubs in the technical department.
Scott Pilgrim vs the World (Gerard Loret, Julian Slater)
It works as well as it should in the more obvious video-esque scenes because that is – on the surface – the film’s key aspect, but smaller things like the reverberating sounds in Scott’s alter universe or that first party make good use of sound. You’d expect them to be a whole lot less subtle with it, but it’s all quite smoothly handled.
Shutter Island (Eugene Gearty, Philip Stockton)
From the heavy breathing, to the raging storm it all contributes to the very unsettling tone pervading the island the film. Visually we get the sense that something’s off, the effect of the sound, though, make it positively distressing.
FINALISTS: Agora doesn’t thrive as much on its sound editing as its mixing because unlike most sword and sandal epics it’s not that external – but it’s still a worthy contender; Green Zone, too, doesn’t use as many effects as you’d expect, but this is one of those entries that you’ve have expected to translate to Oscar love; and kudos to How to Train Your Dragon for neither exploiting the animation and giving us a talking dragon, and for realising that are interesting effects much more striking than dialogue.
SEMI-FINALISTS: Black Swan; Harry Potter & the Deathly Hallows
SOUND MIXING
The coalescing of all the sounds - music, dialogue, effects.
THE NOMINEES
Agora (Jorge Adrados, Andrew Caller, Peter Glossop)
Because that centrepiece of the library being destroyed functions as a climax for the entire film I can’t help but zero in on that specifically – but with all those wild mob scenes (enhanced in the second half) the sound mixing becomes a key aspect in showing just how much Alexandria has changed.
Black Swan (Ken Ishii)
Even if the screenplay is lacking on occasion Aronofsky is well aware of what to do to amplify the terror that’s necessary not through words, or dialogues (or even those usual thriller-film tricks). When the visuals become saturated, the sound emerges as even more pivotal in representing Nina’s delirium.
The Ghost Writer (Jean-Marie Blondel, Katia Boutin)
True, I’m sort of in love with Desplat’s score so there’s that possibility of nepotism when I take note of the way that Desplat’s score blends beautifully into things like the rustling of the waves. But, those very blends are pivotal in evoking that ultimate sense of faux-dread mirroring Polanski’s tone that’s never sincerity in trepidation but always spilling over into something jokingly sinister.
Green Zone (Jorge Adrados, John Hayes, Simon Hayes, Markus Moll)
It’s an ideal candidate for its sound work – after all, this is the same admirable sound team of the Bourne Trilogy. The blending of the sounds is excellently done, and it’s a shame that it’s being ignored because everyone forgot that there was another Iraq film coming after The Hurt Locker. Madness.
Shutter Island (Peter Hliddal)
Like the work in The Ghost Writer the blend between score and effects is excellent – it fits the thriller-ish nature of the film too knowing just when to step back and wait for the right moment to jump the audience
FINALISTS: Sometimes in 127 Hours you get the feeling that the mixing’s just a little disingenuous and what should be smooth flowing ends up as a little jarring – just for the hell of it, it’s still outstanding work but still...; I’m a bit sorry that I couldn’t get a spot for How to Train Your Dragon if only because those last fifteen are kind of awesome; and then there’s Let Me In which has a climatic that depends more on the sound than the visual (oddly) and to brilliant results
SEMI-FINALISTS: Inception; The King’s Speech; Robin Hood; Salt
ORIGINAL SCORE
NOMINEES
Dario Marienelli Agora
It’s not as in keeping with its period as much as his work in Pride & Prejudice, but it’s another aspect of the film making this old story futuristic. And it’s never too much – he knows the wisdom in less being more.
Alexandre Desplat for The Ghost Writer
More than any other technical aspect Desplat realises just what Polanski is going for and his score becomes a key to understanding what we’re supposed to take away from the film (case in point: the beach scene).
Alexandre Desplat for The King’s Speech
I’m actually surprised that despite its effusiveness Desplat manages to never turn this into something overbearing. You wouldn’t think that Bertie’s story demands music but Desplat’s work is flawless.
Anton Sanko for Rabbit Hole
It seems as if the score is almost the part of Becca that she’s unable to convey to us with words. That entire scene where she washes Danny’s clothes is buttressed by the music which is ostensibly soothing but still very much on edge.
Trent Reznor and Atticus Ross for The Social Network
Over appreciation for The Social Network aside resulting in this getting recognition, in the grander scheme of things I don’t mind because the score IS that worthy of appreciation. Sure, the opening scene is Sorkin’s dialogue but the film truly begins as Mark travels back to his dorm room and from then – to the end – the music just merges beautifully with the narrative. Always striking, and yet always subtle.
FINALIST: Michael Giacchino for Let Me In
SEMI-FINALISTS: Rachel Portman for Never Let Me Go; Kjartan Sveinsson Ondine; Carter Burwell for True Grit; Murray Gold for Veronika Decides to Die
ORIGINAL SONG
THE NOMINEES
“Bound to You” from Burlesque (Christina Aguilera, Samuel Dixon, Kate Sia)
It’s easy to ignore it as a run-of-the-mill love song, but the union of music and lyrics is beautiful and though it loses points for being wasted because Ankin seems unsure of the precise moment to get romantic – it’s still the most laudable effort of the show.
“Welcome to Burlesque” from Burlesque (Matthew Gerard, Steve Lindsey, Charlie Midnight, John Shanley)
I’m surprised that this one in particular never took off – it sort of the essence of what they’re demanding in the song category. Okay, so maybe Burlesque isn’t as mysterious as Cher tells us but it functions excellently as the first real number of the film.
“Me & Tennessee” from Country Strong (Chris Martin)
Leave it to Chris Martin to create a country song that evokes the nostalgia necessary for country music and yet is nowhere near as standard as you’d expect. The music invites you in and then the lyrics send you on another spin. It’s all very sedate, but that makes it all the more moving.
“Mother Knows Best” from Tangled (Alan Irwin, Alan Menken, Glenn Evan Slater)
More than any song from the film (heck, any song this year) Menken shows here why the music is just as important as the lyrics. He matches the very ambiguous lyrics with an even more discordant melody that has you tapping your feet AND feeling unsettled.
“Garbage Truck” from Scott Pilgrim vs the World (Beck Hensen)
All the music here is completely in touch with the quirkiness of the film and this one works better than all, not only because its’ the nicest one to listen to (though, perhaps, that’s debatable) but there’s something hilarious about it and it wins points for fitting the best in the action around it.
FINALISTS: “I See the Light” from Tangled sure does sound pretty for the most part, but it’s exasperating how Menken dilutes his usual cleverness. Sometimes the lyrics are just too tepid and then there’s the whole fact that the entire chorus seems to defy logic; it reminds me a bit of “But I Am A Good Girl” from Burlesque which is as nice to listen to, but loses a whole lot of its oomph when you really think it over. We get it Christina, you’re being coy because you’re not really a good girl.
SEMI-FINALISTS: “Coming Home” from Country Strong is sooooo on the nose, and it’s weird that this is the one that’s remembered being “Me & Tennessee” already does everything’s it’s trying to do – but better. It’s still charming in its way, though and I was hoping for a win for “You Haven’t Seen the Last of Me” from Burlesque even if it was altogether too precise in its machinations. Cher raises its profundity, but faults and all there’s something appealing about it nonetheless – and come on, who can’t relate?
I’m actually really interested in what you thought of sound this last year in cinema, because most persons rarely cite their favourites even though sound – above all else – could be considered as the single thing that differentiates movies today from those 100 years ago. What achievements in sound do you remember fondly? And what of the music? Even though they exasperate me to no end I’m still hopelessly (hopefully?) in love with the music category at the AMPAS.
What would your choices be?
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