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Monday, 28 February 2011
So with the end of February comes the official end of the 2010 season. And, what a season it’s been. In my five years of taking the Oscars’ much too seriously, 2009 easily emerges as the worst (even though I loved the year in film, then). 2010 was okay, neither terrible nor excellent – rarely surprising, but always with something interesting (even if vaguely so). Last night’s Oscars were sort of a case in point. I didn’t feel disappointed or excited when the winners were announced; the single prize that actually made me gasp was Tom Hooper’s win. I feel bad for the guy – he, himself, seemed to shuffle embarrassedly to the stage, and I sincerely hope that that win doesn’t signal the death of his big-screen career before its beginning; and for the record, though he’s not my favourite in the category, an unobtrusive technique does not signify weakness in direction, yeesh. Other than that, it was quite tepid – even the “surprises” (Randy Newman, Pfister, Robert Stromberg) were expected in their way, so it was random bits like Cate Blanchett calling the makeup on The Wolfman “gross” and Kirk Douglas bantering with Colin and Hugh and Billy Crystal being awesome that made the night anything more than beige (or Annette Bening grinning through the entrire show, why is she always so happy?)
It’s the shortest month, and it felt even shorter – it just sort of flew by. I managed to wrap-up my own personal awards: with the usual dissonance between my own choices and AMPAS.
I was, as per normal, late with LAMB Casting – we’re on to a new film up for casting, the huge ensemble of P. T. Anderson’s Magnolia is up for reimagining (more details here).
Thanks to the usual readers for being their usual awesome selves (working on their own blogs and showing up here on occasion). Here are just a few of the comments I loved this past month.
On my discussion of Auspicious Cinema of 2010 (important films regardless of their quality, noted for their value, risk and originality) Tom of Reinvention: The Journal of a Dog-Lover, Book-Reader, Moviegoer, and Writer cites two The Kids Are All Right and Black Swan:
“I think Black Swan, of all of this year's films, will endure as an artistic moment that contemporary audiences have been scared to embrace. It is ahead of its time in terms of technical brilliance, telling a multi-layered story that affects the mind and heart on many levels. Those who are willing to enter its inferno of coming-of-age symbols will be forever changed.”
I’m not all with him there on Black Swan being before its time and whatnot, but this sort of discussion is one of the best parts of these year-end conversation – and I sort of love his “inferno of coming-of-age symbols” bit. It sounds highlight quotable.
I was musing over which of this year’s Oscar nominees I’d like to see hook-up in a film and Walter (of The Silver Screening Room) had some absolutely delightful ideas. I especially loved these two:
“Ooooh Bening/Rush makes me giddy, giddy, giddy. A remake of The Barkleys of Broadway? I never saw it, but it sounds like they'd be awesome in it -- husband/wife musical-comedy duo where she wants out). (a/n: how brilliant does this sound, though?)Bardem and Firth as antagonists in a conspiracy thriller: both can be intense or easy-going, depending on the situation or role. The roles are interchangeable, but we get awesomeness no matter what!” (complete comment and post HERE)
I took a quasi-break from regular Oscar guessing to flashback to a personal favourite scene from On the Waterfront. I kept thinking how Eva Marie Saint and Marlon Brando there were so similar to Natalie Wood and Richard Beymer so many years later in another Best Picture Winner. Yojimbo of Let's Not Talk About Movies concurred:
And I rather loved Luke’s comment wrapping up the prognosticating for the season (HERE):“How can you NOT think of ‘Somewhere’ when Leonard Bernstein's tribal kettle drums, mournful brass, and keening strings are shared by both OTW and WSS? This is a brilliant scene (and brilliant of you to include both parts of it—this cements the relationship between Edie and Terry, and transitions him from Hamlet-like conscience-fighting to not just deciding but taking action. And I've always loved the scene of them hand-in-hand running down the alleyway and their faces shining in the dark.” (full comment and post HERE)
“Well, it seems you've got your answer to how the Academy will take A$lice in Wonderland's ‘let's barf visual effects on every frame’ mentality - they ate that crap up. I'm a little bothered by the Art Direction trophy - and just how much of the costuming was real and not CGI? And your final thoughts - how are you feeling about the movie that you named the most anticipated FOREVER ago ended up winning Best Picture. I sort of credit you with calling that one well over a year ago. Well done sir!”
With all the inklings I had, I should have just gone for the gut and predicted Alice in Wonderland in Art Direction. I do feel something vaguely akin to pride in having The King’s Speech being the film I was anticipating most of the year – even if I didn’t love it completely, it still made my top 7. And, really, though I know more than a few disagree (one, two) they could have picked a much more terrible winner – and I know some agree with me (one, two). I worry for Tom Hooper’s future (what with him “stealing the Oscar and all, sigh) but I’m absolutely fine with The King’s Speech resting as the film of the year.
So, goodbye February…how was it for you? Did you find the Oscars’ essentially bland? Did February fly by? Looking forward to March?
Saturday, 26 February 2011
I didn't even realise that I went this crazy with talking Oscar this past season (all entries), it implicitly suggests that I was invested in the season - which I wasn't, but ah well. I do feel the slightest bit saddened that the season is over. Oscar's like one of those friends you can't stand to talk to often, but you'd implode if they died. So, ahoy - final final predictions.
Picture: The King’s Speech
Director: David Fincher for The Social NetworkTo tell you the truth, I wish I had the guts to predict The King’s Speech for both honours – but I’m hoping me not predict it will somehow make it not happen. Not because I’d mind Hooper winning that much (I won’t) – but I could only fathom the uproar that will occur if he does win the Oscar. And, I like the guy – don’t want him mauled. Either way, though, I’m fine. Both films and directors would appear somewhere in my top 10 – so I don’t mind what happens either way. (I’m still hoping for a delicious upset via The Kids Are All Right, but yeah, I’m fine either way.)
Actor: Colin Firth in The King’s Speech (alternate Javier Bardem in Biutiful)
Actress: Natalie Portman in Black Swan (Annette Bening in The Kids Are All Right
So, Colin and Natalie? Je ne sais pas. It’s a tossup (in my head at least) for the acting race – but I’m willing expect my favourite to lose. Now that I look at it, though, I want Annette to win even more (apparently it IS possible). Remember she and Colin were in Valmont way back when. Wouldn’t it be nice to see them win Oscars together?
Supporting Actor: Christian Bale in The Fighter (Geoffrey Rush in The King’s Speech)
Supporting Actress: Helena Bonham Carter in The King’s Speech (Alternate: Melissa Leo in The Fighter)
So, will HBC finally reach the podium 18 – or is it 13 – years after she deserved to? It depends on who you’re talking to pinpoint the precise year she deserved it, but she has before. Not for her Queen Mother, but do I care? No. I could be wrong, perhaps me wanting it means it won’t happen, but I’m sticking to that prediction. And, I suppose a Bale win is inevitable – which is fine. That pipedream for Ruffalo died long ago (though, I’ll admit I’m still pretending he’s winning in my head).
Original Screenplay: David Seidler for The King’s Speech (Alternate: Christopher Nolan for Inception)
Adapted Screenplay: Aaron Sorkin for The Social Network (Alternate: Michael Arndt, Jon Lasseter et al for Toy Story III
People are still predicting an Inception upset – which I swear would make me so infuriated I’m actually worried it’ll happen now. Look, fine I’m not a big Inception fan – but there’s such a colossal difference between originality and writing. The award seems skewed because it says “original writing” and not “screenplay from material previously unpublished”. Ah well, we’ll see what happens... I say it’ll be the two frontrunners for the Picture category with Sorkin and Seidler triumphing. And, since Cholodenko has no luck – I’m fine with these two choices.
Art Direction: The King’s Speech (Alternate: Inception)Makeup: Barney’s Version (Alternate: The Wolfman)
Costume Design: Colleen Atwood for Alice in Wonderland (Alternate: Jenny Beavan for The King’s Speech
Now that I think of it, Art Direction could be a huge toss-up. Sure, The King’s Speech and Inception seem like the frontrunners – but there’s no telling how voters will respond to the obtrusiveness of Alice in Wonderland, and I sort of don’t see True Grit going home empty handed either. Aaargh, then there’s makeup which I’m really just guessing about – and them, Costume Design where I want Colleen to win because she’s the best and I want her to get her third statue, and then there’s Beavan who was snubbed for such great work in the 90s and did such good work on The King’s Speech which I’m not-so-secretly hoping will sweep the ceremony just for the fun of it. Decisions, decisions....
Sound Editing: Inception
Sound Mixing: Inception (The King's Speech)
I decided to go two for two with Inception here, because the sound branch seemed sort of insular in choosing The Hurt Locker last year. And, though, it’s possible they just thought it deserved both – and though Inception is nowhere near frontrunner status – it’s a possibility that seems logical. Now, The King’s Speech (or more realistically True Grit) could upset in the mixing category – but I’ll say no.
Cinematography: Danny Cohen for The King’s Speech (Alternate: Wally Pfister for Inception)Editing: Kirk Baxter and Angus Wall for The Social Network (Tariq Anwar for The King’s Speech)
Visual Effects: Inception (Alternate: Alice in Wonderland)
Okay, I think this is the point where I’m getting ridiculous. Honestly, I can really see Cohen upsetting for photography in the same way that something like The Golden Compass upset for visuals or The Bourne Supremacy upset for sound. And, then I could see the obvious happening and Deakins winning or Pfister winning. Ugh, this is only a conundrum because I’m over-thinking it all – and I know I’m over-thinking it, but I can’t help over-thinking. This reminds me why I opted to show no interest in Oscar last year. I think the editing prize is assured, though. No? And the visual prize seems assured, but I think I’ll laugh if Alice in Wonderland (undeservedly, I’d admit) wins.
Original Score: Alexandre Desplat for The King’s Speech
Original Song: Alan Menken for “I See the Light” from Tangled
We all know how surprising the music branch can go when it comes to choosing winners (case in point: 2005, an exercise in strangeness). Will Desplat and Menken – the deserving – win? Will Zimmer and Rahman – the loud and the obvious – triumph. Will we go even crazier and reward the laidback ones like Reznor and Newman? I’m sticking with the first options.
Foreign Language Feature: Incendies (Alternate: In A Better World)
Documentary Feature: Inside Job (Alternate: Waste Land)
Animated Feature: Toy Story III (Alternate: How to Train Your Dragon)
I have a feeling Incendies is going to win, if only because most people who’ve seen the films admit that it’s terribly mawkish. I have that sort of little faith in the voters, although you’d think them having to watch the films in succession mean the best will win. I can’t be certain, Incendies just seems like a typical choice even if I want to say In A Better World. I’d sort of love Dogtooth to win, just because this guy here loves it – and it’ll probably make him happy. I’m sticking with Inside Job for documentary – just because.
Short Film (Animated): Day & Night (Alternate: Let’s Pollute)
Short Film (Documentary): Killing in the Name (Alternate: The Warriors of Qiugang)
Short Film (Live Action): The Confession (Alternate: God of Love)
I’m honestly stabbing in the dark here, and I sort of love it. I always do zero research for these categories and just choose based on name of film and directors. It’s always fun, but don’t take me seriously here. I have absolutely no authority.
Well, Oscars are in about 18 hours or so. How was the season for you?
So, I went sort of wild with the reviewing this week. I don’t usually review all the shows I watch – laziness, and I still didn’t but twelve paragraphs is a lot for a lazy old me. There were some poor ones, but the good ones were excellent (I'm one week behind on Brothers & Sisters, I know)
Desperate Housewives: “Farewell Letter”
It’s so weird that one of the two pressing issues of the episode gets dovetailed into a sort of silly plot point – Keith is leaving. This is a shame actually, because I did love Brian Austin Green opposite Bree, maybe he’ll turn up again. Who knows? You’d think that they’d make this more important, but alas no. Keith’s child is in Florida, Bree refuses to moves and urges him to do so without her, because you can fall in and out of love with people but never with your children. It’s so weird that Bree, of all people, hasn’t fallen out of love with her children – they used to be absolute demons (and on that note, I miss Shawn Pyfrom). The only genuinely good storyline was Paul Young’s drama. I for one am happy to see Cody Kasch back (one of the reasons for the epic brilliance of season one) – and he looks so old and non-creepy now. The final blowout between Paul and Zack, and then Beth and Paul were both well played which makes me wonder how interesting a show a spinoff about Paul would have been since Cherry keeps reverting to the same old storylines with the actual main characters of the show (robbing them of much significance). You have to wonder where Beth is going to go now. It’ll be sad to see Emily Bergl leave the show (she’s turned into such an asset), but she probably won’t officially leave until the end of the season. I wonder if she’ll team up with her insane mother again...that could be interesting...
[C+]Brothers & Sisters: “The One That Got Away”
Balthazar Getty is not my favourite actor on the show, but I didn’t realise how much I missed him until now. True, he doesn’t get the A storyline here, but watching him interact with the cast (especially Griffiths) makes me remember why I used to love this show, way back when. It’s not perfect this episode, but it is interesting. I’m still vaguely annoyed at how redundant a character Justin has turned into, and the presence of Giles Marini continues to exasperate me. It seems like such a colossal waste having Anable’s sole contribution of the episode be ways to help Giles be romantic. Ugh. Still, the A-plot of Sarah’s paternity, though a little too deliberate, does work well – even if I miss Kitty. I wasn’t as sold on the issues of Saul and Jonathan, but it’s not as cringe worthy as you could expect. What’s more, the second half of the episode gets better and makes good on what could have been turgid storylines for the most part.
[B]Big Love: “D.I.V.O.R.C.E”
Let me just say, power to Chloe Sevigny for churning out a brilliant performance this episode. Sure, it was more of a sidelining supporting than a co-lead – but I can’t complain, and the episode was something good, too. With only four episodes to go, I really have no idea where the show is going to go – and I have this awful feeling that somebody’s going to end up dead. Ugh, me and my active imagination. Bill and Barb are drifting further and further apart, and it’s a bit unfortunate because you can understand where both parties are coming from. That final scene with the wives, Bill, Barb’s mom and the "lesbian" (too funny) was something special and a perfect close to the episode (and Jeanne, too, offers up a fine performance this episode). I’ll admit that I don’t like the idea of Cara Lynn falling for her teacher or Ben falling for Rhonda – both of those liaisons just seem weird, in addition to be being all wrong. Nicki was responsible for the best moments, though. Watching her trying to understand Cara Lynn’s math was a beautiful moment and that blow-up with Barb and Bill about the “finances” was well played. There again, you get where Barb is coming from, but it’s difficult not to feel a little badly for Nicki. I don’t want this season (and thus, the show) to end. I’m going to miss these characters.
[B+/A-]Glee” “Blame it on the Alcohol”
I don’t know what it is, definitively – was I so worried about Glee tackling alcoholism that my low expectations turned the episode into even more of a delight? I’d hate to think so, but either way this is easily the best episode of the back half of Season Two – and for the oddest of reasons. There was a surprising lack of pretentiousness in the way that they decided to let the students go full out drunk which made the inevitable moral at the end a whole lot less preachy than you’d have expected. Brennan doesn’t get enough praise for his writing credits, and it’s impressive how the arcs all coalesce. Sue goading Will into drunkenness isn’t exactly inspired – but Sue publicly humiliating him was priceless. Not because I don’t love Will (sorry, Ryan, I do) but because Jane is the queen of deadpan humour – and Becky Johnson is awesome. Then, there’s Rachel who was all around great in this episode: from the headband, to the bantering with Puck and then the Blaine issue. Each time I think I’ll let up on Kurt he pulls something ridiculous, case in point: this episode where his melodrama is evident twice. Even though the ending was a bit too pat, Blaine’s conversation with him was a smart move in highlighting hypocrisy, though I’m not sure if they get how hypocritical he was being towards his dad – who’s just trying to do what any sane parent would do (avoid their teenager having drunken sex). I’m neither here nor there on the ultimate payoff – it’s a bit too pat having the issue raised turn into a non-entity, which left a vaguely bitter taste in my mouth. Still, who knew “Blame it on the Alcohol” could make for a great group number?
[B+/A-]Parenthood: “Never Sleep With Your Autistic Nephew's Therapist”
Oh, Crosby just stepped in it – did he not? The thing is, I’m not his biggest fan but I feel he’s getting the short end of the stick, especially in relation to Adam who’s even more judgemental than Kristina with the issue. We get that he’s worried about Max, but it’s a bit unfortunate that Crosby will be getting 0 supporting from his older brother. I love everything about Sydney, Julia and Joel (even if I miss them having an actual A plot) so Sydney’s vegetarian stint was fun to watch. More important, though, watching Connie and Zeek bond was just great. Again, I say Bedelia is such a great actor who makes do with her minuscule amount of screen times. I love the Amber and Drew sibling pairing, so their issues were well received and I’m so glad that Sarah actually stepped up in the parenting department. I don’t feel as if Amber should feel badly for laying into Seth, but I guess you have to choose your battles. I don’t know how Max will react to having Asperser’s and I don’t know what will happen with Jasmine and Crosby (hopefully, they don’t breakup) – but it’s a more than solid episode.
[B+]Modern Family: “Regrets Only”
I’m not sure if I prefer this episode to last week’s but it easily wins points for being excellently written. We get three converging storylines which actually do justice to each of the main relationships in the show. It’s all fuelled by Claire and Phil’s marital issues which are just hilarious without being contrived. I really do love watching Ty and Julie opposite each other – easily one of TV’s best married couples. This interacts with Gloria and Jay and Cam and Mitchell, both of them having issues with communication. Stonestreet doesn’t exactly wow me (he’s #6 of the six principals) and he doesn’t exactly shine in this episode – but it’s so much fun watching him mug the camera especially in Cam’s interactions with Luke. Gloria shows up for a few moments to be absolutely ridiculous, and what’s more the children are shirked in this episode. Watching the Dunphy girls be silly is always appreciated and we still manage great random moments like Claire getting her massage at the mall or Luke’s stupidity. The second half of season two is looking much better than the first half.
[A/A-]Community: “Into to Political Science”
I wasn’t crazy enough to think that Community was going to offer up another near perfect episode like last week’s instalment – and they didn’t. But, I wouldn’t call it regression. It’s not a brilliant episode, but it’s infinitely better than the first half of the season – though some of the gags don’t soar as well. They’re back to their on-the-nose yarns and Jeff and Annie getting into a political battle is nice to watch, even if wrapping it up with Jeff’s audition for “The Real World” didn’t impress as much as I think it was supposed to. The other significant arc was a dual one: Troy trying to come to grips – somewhat – with Abed’s “faux” life and Abed and the secret agent. The Troy stuff delivers; the other portion? Not so much. Glover and Pudi are great together, but the secret service is just a little too pat – even if the closing gag was a beaut.
[B]The Office: “Todd Packer”
The main arc of Packer’s return fell flat, the suplot of Pam and Andy and Jim and Dwight were both brilliant. We’re preparing for Michael’s departure and this episode felt way too much like a filler episode. Yes, Amy Ryan continues to be one of the shining stars in the show (oh lord, PLEASE let get that Emmy nod). It sucks, in a way, that Jenna Fischer hasn’t gotten much material this season but she’s working with what she has and I especially loved the closing with her and Darryl – she’s so much fun when given the chance. See how little I have to say about the episode? Not bad, but unsubstantial.
[B-]Parks & Recreation: “Indianapolis”
Dear Parks & Recreation Department: why are you so continually brilliant? In some ways this episode shouldn’t turn out so great because the set-up seems decidedly mundane even for the Parks&Rec crew, but it ends up being so delightfully sanguine and irresistible only reaffirming the notion that this is the best comedy on television at the moment. I love how subtle the entire arc about Ben finding friends in the department was delivered, all the while underscored by Tom and his ridiculous ambitions. I’m really not that invested in Andy and April, but their “first date” was excellent – going around trying to get free stuff. And the fact that it ended with them giving all the money away was just perfect. Then, there’s Ron and his beloved steak – a plotpoint that Nick Offerman sold time and time again, and of course Ann and her breakup with Chris (which I hope is temporary). And then it wraps up with a montage of Leslie giving us some of the worse ways to get dumped which mirrors Poehler’s brilliant comedic timing from “The Hunting Trip” last season. Why, oh why, is this show so great?
[A/A-]30 Rock: “TGS Hates Women”
This episode is a trick one, it’s coming off a couple of top-notch episodes and there’s a moment at the end with the big reveal with the new writer on TGS that’s ridiculous – and not in the usual good way, but then there are some great things too. The issues with TGS hating women are far from riveting, but to an extent it works, especially when you remember how brilliant Krakowski and Fey are opposite each other – when given the chance. Moretz and Baldwin seemed to be a tad too trite, until that showdown at the end which we sort of should have seen coming – and it sets itself up for something good. It’s sort of uneven in the way it delivers on the jokes – but it’s a fair episode, and I’ll take it.
[B/B+]Grey’s Anatomy: “Not Responsible”
There’s plot development, but the episode feels far from earnest. I surely don’t mind having Loretta Devine back, and Meredith dealing with her eyesight is interesting – if vaguely silly. The fact that I have to think so heavily for an episode I saw so recently probably means that it didn’t have that much to offer. It was an episode of moments, though. Watching Mark, Owen and Derek playing golf on the rooftop was brilliant. Seeing Bailey getting through to the Chief about his wife? Perfect. Everything involving Alex, Cristina and Meredith (together and separate) was so evocative of early seasons. I’m not sure I care for April and Dr. Stark, and though I hate that Arizona and Callie keep having these roadblocks that’s an arc worth looking into. Jackson and Lexie? I don’t care for them. But eh, it’s fine.
[B-]
Private Practice: “Two Steps Back”
It’s so weird having episodes of the show without Addison, but it’s a generally solid effort all round. Liza Weil (of Gilmore Girls’ fame) appears as a patient who may or may not have dissociative disorder. It’s an interesting arc in itself, even if the payoff seems a bit obvious from a mile away it actually manages to work. This arc develops against three others – Sam and Naomi working with a mother who’s teenager daughter with Downs’ may or may not be pregnant, Cooper and Charlotte in therapy and Violet’s (apparently slanderous) novel-to-be. I’m all for any arc with Audra, and though it’s not exactly a piece-de-resistance, it’s an interesting dilemma and one that’s handled with more realism than you’d expect. Cooper and Charlotte have problems that seem rote, but actually end up interestingly and even if Violet’s dilemma is silly it does lead to some nice moments with the entire group (sans Addison) playing off each other – which are always some of the best parts of the show.
[B/B+]
Interesting Things
- Honestly, why are Lynette’s children so retarded (excuse the political incorrectness)? It’s borderline ridiculous, and not even in a funny way. Absolutely weird.
- Why does Alby have to be so creepy? Is it the hair? And that kiss between he and Verlan – good lord, that was sort of disturbing – no?
- I swear, every time Gloria and Phil have scenes together I die inside. Vergara and Burrell are so fun together.
- Who didn’t the reveal with Chris and the pink razor coming a mile away? I loved Lowe’s line-reading of “I’m human. I have blemishes.”
- More than ever, this week I really felt like Audra and Taye were going to break into song on the balcony. Oy.
- Don’t Mae Whitman and Lauren Graham show their emotion (with reference to physicality) in the same way? They’re such a good mother/daughter pair.
Standout Writing
Modern Family: A/A-
Parks & Recreation: A-
Big Love: A-
Glee: B+
Standout Performances
Julie Bowen in Modern Family: A
Chloe Sevigny in Big Love: A-
Nick Offerman in Parks & Recreation: A-
Lea Michele in Glee: B+/A-
Adam Scott in Parks & Recreation B+/A-
Jane Krakowski in 30 Rock: B+
Amy Poehler in Parks & Recreation: B+
Jeanne Tripplehorn in Big Love: B+
What stood out this past week in TV for you?
I contemplated doing a top ten lists of 2010 films which would have sufficed as proof of my favourites, but I’m not if not set in my ways and that seems much to imitative of the Academy’s recent return to nominating ten films for the honour – so I opted not to (not that this is actually cause for concern, but allow me my pretentiousness) – I went for an even more atypical top 7 instead. By now you’re probably tired of me telling you that 2009 had better films to offer us than 2010 and if I were to line-up my two top ten lists of the two years three 2010 films would make it into the combined ten. That doesn’t lessen my appreciation for the films I like this year – they’re still good. I haven’t found anything to fawn over embarrassingly like Bright Star or pontificate on continuously (and superfluously) like An Education but I do have one film at the top and a trio immediately after that’s difficult to separate. And the also-rans are in no way substandard. (All Awards)
When I think of my first impressions of some of these films, the results are kind of interesting. But, movie loving is a strange thing. Some of these films improve significantly on multiple viewings (The King's Speech, Scott Pilgrim vs the World) and some of them lose a bit of their lustre (The Social Network). The film I've seen most this year is The Kids Are All Right - and each time I see it, something new appears for me to love. Ah, le cinema....
(unless otherwise indicated, click on the photos for reviews)
When I think of my first impressions of some of these films, the results are kind of interesting. But, movie loving is a strange thing. Some of these films improve significantly on multiple viewings (The King's Speech, Scott Pilgrim vs the World) and some of them lose a bit of their lustre (The Social Network). The film I've seen most this year is The Kids Are All Right - and each time I see it, something new appears for me to love. Ah, le cinema....
(unless otherwise indicated, click on the photos for reviews)
THE NOMINEES
Agora
In its way Agora is just the sort of film that makes sense on my list of personal favourites. I’m as keenly aware of its issues as any of its detractors – well, except for Jose, even I can’t defend it from the tongue-lashing he gave it – but Amenabar’s pseudo-historical saga appeals to me not only on a social level but artistically. True, its technical achievements are impressive, and maybe there’s something in it being the first A (well, A-) that I gave this year. At its strongest moments, though, no other drama this year – not even The Social Network – is able to marry intelligence with entertainment so sumptuously. And, I’ll always credit it for making me appreciate the ellipse which I was never half as interested in when I was actually studying Technical Drawing. Animal Kingdom
I’m anxiously waiting what Michôd’s next cinematic encounter entails. Perhaps, Animal Kingdom shouldn’t work as well as it does – and a throwaway description of it I heard (an Australian, small-scale GoodFellas) made me wonder if it’s all really as rote as that. Still, when it comes to being seamless in blending acting, direction and writing Michôd’s work here is astounding. It approaches the bleak issues with a freshness – that’s not delusion – and manages to suggest interesting things about potential archetypes with smart profundity.The Kids Are All Right
Detractors seem taken with the notion that the work is not laudable because the story is a normal suburban one with lesbians – no kidding. The very point of The Kids Are All Right IS the rote ways of suburban life, Paul is a mere plot point (albeit a nice, juicy one) and Choledenko knows to create the tone that makes the film dependant on its familial issues and not its LGBT themes. It’s a bit insular to boil it down to holding merit for the way that that ends up being so progressive; its strongest asset is its non-judgemental attitude toward its entire cast. It’s the sort of film that’s a bit like an arbitrary voyeuristic glimpse into the lives of a group of flawed individuals.The King’s Speech
When you get past the fact that The King’s Speech isn’t what you expect it to be, the tale that Hooper crafts is comforting in its stylish sedateness. The amalgamation of everything that makes it thoroughly British (even if in an ostensibly formulaic way) is stimulating to watch as Hooper and Seiberg use the conventionality to create something subtly imaginative. I don’t care if it’s technical aspects have (unfortunately) turned into something of a joke recently, but it’s the sort of subtle camerawork and editing that’s always impressive and what’s more it emerges as one of the most well paced cinematic experiences of the year.Rabbit Hole
One of the strangest things about Rabbit Hole is how much we manage to learn in a mere hour and a half. Neither Lindsay-Abaire nor Mitchell is willing to waste time on the extraneous and they make each minute contribute to a consistent movement forward that’s deliberate (though, never forced) and organic always in its progress. I’d never call it overwrought because despite its emotive potential there’s a sort of sheen preventing it from being too interested in the hypersensitivity of dealing with death and more involved in the detachment Becca and Howie feel from the world. Mitchell echoes it in his directing, and Lindsay-Abaire ensures that it wraps up concisely – but not with an obtrusive ribbon to tie it off.Scott Pilgrim vs the World
No movie this year puts a perpetual smile on my face as much as Scott Pilgrim vs the World (yes, I’m in lesbians with it). It’s continually daring without any arrogance about it, and in its somewhat single-minded desire to entertain us it never robs its characters of their integrity. A videogame geek, I am not, but I feel affronted on its behalf for being relegated to mere “dabbling” in technological innovations. Wright’s dedication to story and characters triumphs over a number of the more non-comic films of the year, and he approaches his subjects with a dearth of pretentiousness that even more of them could benefit from.The Social Network
Amidst the barrage of Oscar prognosticating and choosing sides that’s happening online, it’s difficult to remember where your allegiances lay in the first place. The staunchest of supporters for The Social Network supporters have turned into a mean crowd, but that won’t make me waver in my appreciation for it. Rabbit Hole wins in the succinct department, but The Social Network emits a smoothness to it that’s never smarmy – no matter. Fincher’s directing style is not exactly personal, but his intent on coalescing technical aspects with the insularity of his protagonist is impressive. Add that to the fact that for every pithy bit of dialogue that makes you start, there’s an equally intelligent scene that makes you think.
FINALISTS: The Ghost Writer (review) tops my other list, and true there’s a delicate divide preventing me from surrendering completely to it. Despite the slightest of reservations, though, Polanski’s control over the story is excellent and a seamless screenplay merging with a talented cast makes for a rousing, intelligent but always entertaining thriller; Somewhere is a more dubious choice – ostensibly, I suppose – but I might even intimate that it’s my favourite piece from Coppola. It depends resolutely on her ability to retract the sometimes officious hand of the director and let the film just exist in its natural state culminating in an indolence that’s not overly stylised but still sophisticated and most important emotionally motivating.SEMI-FINALISTS: They’re all worth your time for various reasons like The Fighter (review) for its ultimate focus on familial relationships and issues of self all under the smokescreen of a boxing film; Greenberg (review) for being so continuously smart in examining the misanthropic tendencies of a man simultaneously hateful of the universe and desperate for appreciation; Nowhere Boy (review) for managing to have that many obvious clichés in its pockets but still – in the end – managing to be refreshing in its focus not on Lennon but a troubled teenager; Let Me In (review) for taking the horror genre and moving it from the obtrusive to the psychological all the while never exploiting its young leads.
#14: Cairo Time (review)
#17: How to Train Your Dragon (review)
#18: Blue Valentine (review)
#19: Black Swan (review)
#20: Get Low (review)
#21: Green Zone (review)
#22: Night Catches Us (review)
#23: Toy Story III (review)
#24: Nanny McPhee & the Big Bang (review)
#25: Winter’s Bone (review)
Nomination Tally (24 Categories, some miscellaneous some not)
127 Hours 1 nomination
Agora 10 nominations (1 Gold, 3 Silvers)
Alice in Wonderland 1 nomination (1 Gold)
Animal Kingdom 9 nominations (3 Silvers)
Black Swan 6 nomination (1 Gold)
Blue Valentine 1 nomination (1 Silver)
Brooklyn’s Finest 1 nomination
Burlesque 2 nomination (1 Silver)
Country Strong 1 nomination (1 Gold)
The Fighter 3 nominations (1 Silver)
For Colored Girls 3 (1 Silver)
The Ghost Writer 7 nominations (2 Golds, 3 Silvers)
Greenberg 1 nomination
Green Zone 1 nomination
Harry Potter & the Deathly Hallows 2 nominations
Inception 4 nominations (1 Silver)
The Kids Are All Right 10 nominations (4 Golds, 1 Silvers)
The King’s Speech 9 nominations (1 Silver)
Let Me In 2 nominations
Mother & Child 2 nominations
Nanny McPhee & the Big Bang 1 nomination
Never Let Me Go 2 nominations
Nowhere Boy 2 nominations (1 Silver)
Rabbit Hole 11 nominations (5 Golds, 1 Silvers)
Robin Hood 1 nomination
The Runaways 1 nomination (1 Gold)
Scott Pilgrim vs the World 9 nominations (1 Gold, 2 Silvers)
Shutter Island 7 nominations (3 Golds, 3 Silvers)
The Social Network 13 nominations (4 Gold, 1 Silver)
Somewhere 2 nominations
Tangled 1 nomination
True Grit 1 nomination
There, free at last – I am – my 25 favourite films of 2010. What do you think of my ragtag collection of picks? Snap decisions: how was 2010 in film for you?
Friday, 25 February 2011
I often wonder why the actor and actress categories are considered superior to the supporters, but judging by the nominees this year I’d actually support that theory. The nominees for the leading categories significantly outweigh the supporting players.
ACTOR
Who’d have thought that Colin Firth would be the thespian to reach here before his contemporaries like Neeson, Branagh and Fiennes – but, that’s Oscar for you. He gets an immediate second shot at gold over last year’s loss, and he’s not likely to lose. NOMINEES: Javier Bardem in Biutiful / Jeff Bridges in True Grit / Jesse Eisenberg in The Social Network / Colin Firth in The King’s Speech / James Franco in 127 Hours Prediction: Colin Firth Alternate Javier Bardem
I should probably qualify that alternate prediction by saying that of all the feature film categories this is the one where I believe an upset is likely. Still, at this rate, if any upset were to occur it would be one of catastrophic proportions – and who better than the man who turned into (somewhat) of an upset nominee. Analysing the field, on performances, I’d say that the prize is between Eisenberg and Firth so I don’t mind that Firth has sort of swept through the season, even if some deserving men got no love (my ballot). I never actually considered Sean Penn’s Milk to be an upset, the last real “surprise” this category saw was Adrien Brodey, but parallels between he and Eisenberg are tenuous at best. It’s Colin’s race.
ACTRESS
Logically, I shouldn’t be getting any sort of headache with the prediction for this category because Natalie has sort of swept through the season, well the majors anyway – but I’m still not absolutely certain that she’s the indisputable winner. Hell, it’s possible that I’ll see her on stage with the winning statuette and still doubt the veracity of her frontrunner status – I’m sort of ridiculous like that. I was depending on the BAFTA to give Annette the statue, and prove my theory whereby the Annette/Natalie race would turn into a converse version of the Marion/Julie race (both win Globes, one wins SAG and the other wins BAFTA) – but alas, I was wrong. Logically, if Annette had any hope you’d expect her to take at least one major from Natalie – but other than the surprise British Critics' win (which isn’t exactly a major) she's got nothing. And she still lost the BAFTA, so there’s no proof that she has the British voting bloc behind her.NOMINEES: Annette Bening in The Kids Are All Right Nicole Kidman in Rabbit Hole / Jennifer Lawrence in Winter’s Bone / Natalie Portman in Black Swan / Michelle Williams in Blue Valentine
Prediction: Natalie Portman Alternate: Annette Bening
So, I’m predicting Natalie – which makes me feel a little bit like a Judas because I still think that Annette can win this. I’ve never been one to have ridiculous Oscar hopes (I gave up on Cate winning for I’m Not There even before Tilda t urned into the frontrunner) but I’m just getting a feeling, heaven knows what it is. (Really, though, how ironic is it that a win for Annette would be an upset – mindboggling, some.) So, Natalie’s my prediction with Annette as my alternate. You all know what I’m hoping for, though....(my picks)
How ridiculous are my great expectations of an Annette win? Who wants an upset in the Actor category?
Thanks to Walter for tacitly encouraging me to revisit Airport with his Casting Coup dedicated to recasting the 1970 blockbuster (Tilda, Rosamund and Melissa Leo casted to perfection – that’s a remake I’d be on board with). I’ve heard more than a few people call out the ridiculousness of an Academy where something as trifling as Airport earned 12 nominations, but you have to admit that it’s not exactly devoid of technical innovation and it’s important to examine these multiple nominees in context of the offerings of films that year. It’s often so deprecatingly referred to as the “disaster” movie and the spoof Airplane! doesn’t exactly help it’s cause, but it’s a bit unfair to think of Airport against those publically conscious films of its era like Taxi Drive or All the President’s Men. You can’t conceivably expect every film to have a grand message to offer, and it’s even disingenuous to think lesser of a film that doesn’t.
It would probably go without saying that Airport doesn’t examine all the facets of the novel – but I do think that it’s one of the smartest adaptations of the genre. Hailey’s original novel is permeated with such an air of confusion – it’s one of those “big” novels where every character that appears on the page has something important to say. Cinematic entities don’t have that luxury and though George Seaton doesn’t thrive on the movement between characters like Altman or even Soderbergh, he deserves credit. Airport has a number of good – occasionally great – performances, but it’s a director’s movie. One of those films, like Avatar (if you will) that sort of encapsulate the fact that cinema’s a visual medium. I’m especially glad that got notices for its editing and sound, the latter of which is the more obvious nomination but the former being just as good. It doesn’t strike that veritable chord of “prestige” flick – it’s probably more of a Bourne Identity than a United 93 if we’re using Greengrass as a model.
And, yet, in the space of that Airport has those performances on its side. More than just good performances, it’s the good female performances that always jump out at me. I’ll come out and say that I think Jean Seberg (offensive wig, aside) is great as Tanya. Truth is, I’d swap her for one of the actual supporting actress nominees from the film, but more on that soon. She and Lancaster have the perfect rapport to ground the film against all the madness going on. I always feel badly that she never managed to turn into a bigger actress – she gives me a Marlene Dietrich vibe, and that’s never a bad thing. I’d not have given Helen Hayes that Oscar, and I won’t have nominated her either. I won’t deny that she’s fine in her role and absolutely hilarious but in the face of the vastly superior Stapleton (who at the time had yet to win her Oscar) it’s a shame she took home the Oscar. Jacqueline Bisset is another rarely remembered performance who’s quite good. The role has more significance in the novel, and Bisset plays it with a profundity that’s unexpected.
Like any good disaster movie you know that whatever the catastrophe, the most significant characters need not fear much – and it’s not an indication of Airport’s faults. Fun would be the wrong word to call it, but it sure is an entertaining one. I’m neither here nor there on it gargantuan Oscar success (nomination wise, at least) but that doesn’t really matter. It would be a bit insular, even for me, to think of it only in relation to its worth in the Oscar catalogue. Airport’s a good one.
Have you seen Seaton’s flick? Stapleton or Hayes for the win? Any fans of Seberg?
Thursday, 24 February 2011
“You just don’t like him. You don’t like it that he uses a ballpoint pen; you don’t like it that he takes three lumps of sugar in his tea. You don’t like it that he likes Frosty the Snowman and you are letting that convince you of something terrible, just terrible.”
Okay, time for some random trivia (and by random, I mean superfluous) via yours truly. I was thinking today how often I’m completely off when it comes to the Oscars’ choices – which I think we all can lay claim to, but I’m especially off with their Best Actor decisions. Take this year for instance, none of my top three Actors are nominated (Eckhart, Dorff, Gosling) but I’m all behind Firth’s inevitable Oscar win. Which made me wonder, how often has my favourite of the year actually been nominated for an Oscar – let alone won? I always end up feeling a profound dissonance with the Academy’s male decisions. Sure, the odd Joan Allen in The Upside of Anger or Annette Bening in RunniNg With Scissors (truly brilliant Actress performances that got no love) might turn up, but I’m way off more often with the men. Case in point: the last eleven years.
My Picks (highest major awards’ honour in brackets)
2010: Aaron Eckhart in Rabbit Hole
2009: Ben Whishaw in Bright Star
2008: Leonardo DiCaprio in Revolutionary Road (Golden Globe Nomination)
2007: Brad Pitt in The Assassination of Jesse James
2006: Leonardo DiCaprio in The Departed (SAG Guild Nomination, Supporting Actor)
2005: Viggo Mortensen in A History of Violence (Golden Globe Nomination)
2004: Jude Law in Closer (Golden Globe Nomination)
2003: Sean Penn in Mystic River (Oscar Win)
2002: Daniel Day Lewis in Gangs of New York (Oscar Nomination)
2001: Ethan Hawke in Training Day (Oscar Nomination, Supporting Actor)
2000: Javier Bardem in Before Night Falls (Oscar Nomination)
And the Academy’s Picks (and where they placed in my awards)
2010: ? – Firth probably, for The King’s Speech (top 5, best of the nominees)
2009: Jeff Bridges in Crazy Heart
2008: Sean Penn in Milk (top 10)2007: Daniel Day Lewis in There Will Be Blood (top 5, best of the nominees)
2006: Forrest Whitaker in The Last King of Scotland (top 10)
2005: Philip Seymour Hoffman in Capote (top 5, best of the nominees)
2004: Jamie Foxx in Ray (loathed this performance)
2003: Sean Penn in Mystic River (favourite of the year)
2002: Adrien Brodey in The Pianist (top 10)
2001: Denzel Washington in Training Day (top 5)
2000: Russell Crow in Gladiator (top 5)
I’m currently on a seven year streak of having my favourite Actor performances not turn up at the Academy. I’m sort of proud of that, though, in my twisted brain it just goes to show how much wiser than Oscar voters I am. Or, it’s just proof of how deliberately unusual (read: peculiar) my choices are. I feel sort of insular, though; like the Academy I haven’t chosen a comedic leading male in this category in a long time (FYI: I’d have given Joseph Fiennes a nomination AND win for Shakespeare in Love if I had the powers).
Despite my disagreement between the Academy and I there’s only one winner in the last decade that I absolutely hated – that was Foxx. He and Bridges are actually the one two winners who didn’t even crack my top ten. I don’t loathe Bridges work in Crazy Heart, and I don’t grudge him his Oscar – I just find the film and him in iT, ultimately tedious.
As far as excitability goes, this year’s actor race seems set to be a repeat of last year’s with nary a surprise in sight. But, I don’t grudge Colin his win – I’m rooting for him, even he’s not my personal pick. When was the last time your favourite matched with Oscar? Are you as unlucky as picking the Best Actors (as far as AMPAS is concerned) as I?
Wednesday, 23 February 2011
You sort of want to expect an upset to occur in some acting category, but you also don’t to circulate ridiculous predictions.
SUPPORTING ACTOR
In all honesty, I’d love for some upset to happen in the supporting actor category (granted that upset comes in the form of Mark Ruffalo). Not because I don’t think Bale is fine, but I’m on Ruffalo’s side all the way. In fact, I wouldn’t mind an upset for Rush either, he and Bale go toe to toe for me.NOMINEES: Christian Bale in The Fighter / John Hawkes in Winter’s Bone / Jeremy Renner in The Town / Mark Ruffalo in The Kids Are All Right / Geoffrey Rush in The King’s Speech Prediction: Christian Bale Alternate: Geoffrey Rush
I don’t see Bale losing this, though. Were there an upset, you’d sort of expect it to be Rush if only because he has the most likeable character of the five, and there’s nothing like goodwill behind a film. Add that to the fact that he was instrumental in bringing The King’s Speech to fruition and you have to anticipate some love...but I don’t see the upset happening here.
SUPPORTING ACTRESS
I can’t be too certain that this is where the upset is happening either. That being said, though, I think any of four persons could take this prize and I wouldn’t be surprised. There’s a bit of irony that the best performance of the lot (i.e. Ms. Weaver) has 0 chance of winning, and more and more persons seem to have an inkling that the least of the five (i.e. Steinfeld) could take the prize. It’s not that I think she’s awful, she’s more than serviceable – but I still find her nomination – in any category – somewhat vexing. I digress, though.NOMINEES: Amy Adams in The Fighter / Helena Bonham Carter in The King’s Speech / Melissa Leo in The Fighter / Hailee Steinfeld in True Grit / Jacki Weaver in Animal Kingdom Prediction: Helena Bonham Carter Alternate: Melissa Leo
Am I crazy for predicting HBC? I don’t know, I just can’t see Melissa Leo winning the Oscar – I’d even be more willing to predict Amy – not only because I think she’s better, but I’m just not seeing it. I’m thinking back to instances of dual supporting nominees, and they rarely win. Didn’t Helen Mirren pick up more than a few nods (including the SAG) before losing to supporting wife Jennifer Connelly (who was horribly trite in A Beautiful Mind). I’d wager that not only is Helena much better than Jennifer, she’s also more in need of a nod – and Melissa is no Helen either, but I’m alone on that because almost everyone seems smitten with her Alice. It’s a tough game to decide what the voters would go for, and it would probably be more prudent to predict Melissa. I could see this prediction panning out, and then I could see it not. I’m going on a gut, here. Maybe, I’ll change my mind before Sunday....
What do you think will become of the supporting players?
I felt quite a disconnect with the Academy’s decisions for the screenplays – I’d have nominated only three of their ten choices (my own nominees here), sometimes you get the feeling that voters aren’t willing to believe that a fine film could have writing that’s less than top-notch, although I’ll applaud them for not nominating Black Swan – a good film, but not a screenplay worthy of “best-of” citations. Ironically, that nomination would have been better than one, perhaps two, of the actual nominees. But, digressions... let’s take a look at the field.
ADAPTED SCREENPLAY
The logic that because deems Toy Story III an adaptation is ridiculous – being a sequel does not make it an adaptation. All five of the nominees are in consideration for Best Picture, but this is essentially looking like a one-horse race.NOMINEES: 127 Hours (Simon Beaufoy and Danny Boyle) / The Social Network (Aaron Sorkin) / Toy Story III (Michael Arndt, John Lasseter, Andrew Stanton and Lee Unkrich) / True Grit (Joel Coen and Ethan Coen) / Winter’s Bone (Debra Granik and Anne Rossellini) Prediction: The Social Network Alternate: Toy Story III
I have it as an alternate, because it’s the most likely upset – but it’s unlikely either way. Sure, it’s the final branch of the trilogy, so there would be goodwill, but it’s not happening. And, really, I don’t mind. With neither Rabbit Hole nor The Ghost Writer in consideration I’m fine with The Social Network taking the prize.
ORIGINAL SCREENPLAY
This one is more interesting. I’m not the biggest fan of Inception, although I can appreciate that it has its fan, but I find it difficult to understand how it won the WGA (over Cholodenko and Blumberg).NOMINEES: Another Year (Mike Leigh) / The Fighter (Paul Attanasio, Lewis Colich, Eric Johnson, Scott Silver and Paul Tamasy) / Inception (Chris Nolan) / The Kids Are All Right (Stuart Blumberg and Lisa Cholodenko) / The King’s Speech (David Seidler) Prediction: The King’s Speech Alternate: Inception
Seidler wasn’t eligible for the WGA, and in a perfect world it’d be between he and Cholodenko/Blumberg. Well, actually, in reality The Kids Are All Right would win this prize easily, but The King’s Speech is not a terrible alternative. It’s the likely winner here – I don’t anticipate a Nolan upset, but if one were to occur it’d be this.
It makes for rather tepid predictions, but I suppose there’s some comfort in predictability....right? Are you praying for any upsets in the screenplay field?
Tuesday, 22 February 2011
The music branch of the Academy continues to be fun, if only because attempts to predict what they’ll do become more and more exasperating as the years go by. But, here goes.
ORIGINAL SONG
I’d say that the race is between “I See the Light” and “Coming Home” when it comes to actual merit, with the slight edge going to the former. The music branch has a thing for well produced duets, it’s difficult to deny that with all its issues Tangled does know when to place its songs.
NOMINEES: “Coming Home” from Country Strong / “I See the Light” from Tangled / “If I Rise” from 127 Hours / “We Belong Together” from Toy Story III Prediction “I See the Light” Alternate “We Belong Together”But, then, multiple nominee 127 Hours has such obvious spoiler potential, I wonder if Rahman is headed to a third Oscar, and if they like duets they like pain and heartbreak and inspirational tosh just as much – so, I wouldn’t be shocked if Rahman takes it here, still I'm putting Newman as my alternate because he lost last year and because I have a feeling they're going to want to reward Toy Story III as much as they could (barring the screenplay and picture category), so why not choose it over Tangled, since it's more loved animated film. (Not that I think it even deserves to be nominated, but I digress...)
ORIGINAL SCORE
Is it insularity on the part of AMPAS, or is it just coincidence that three of the 2008 nominees are back to battle it out (the winner included). Naturally, I assume that this is the chance for voters to write that egregious wrong and reward Alexandre Desplat. True, it’s an all-round good set of nominees – but they can’t continue to snub Desplat after robbing him in 2008 and 2009, right? But, then, there’s Zimmer’s VERY intrusive work in Inception and we know that voters like their music loud. NOMINEES: How to Train Your Dragon (John Powell) / Inception (Hans Zimmer) / The King’s Speech (Alexandre Desplat) / 127 Hours (A. R. Rahman) / The Social Network (Trent Reznor and Atticus Ross Prediction: The King’s Speech Alternate: Inception
Then, there’s the more subtle work on The Social Network which I don’t think has much upset potential – but is still not one that I should rule out completely. I’m sticking with Desplat, for now, though. It’s about time they reward the music branch’s most ubiquitous composer of the moment.
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