Johnny Simmons

I have a soft spot for Babel. I know many people consider it to be Crash’s less distinguished foreign cousin, which generally irks me. But I’ve grown out of my initial loathing for Crash and descended into righteous dislike...but I digress. Babel, like so many ensemble dramas there are so many characters to take note of ...so many characters we could spend more time with. I’d single out Adrianna Bazzara as the film’s strongest performer, but my second choice is someone that’s often forgotten – Pitt. I’m still confused as to why Pitt was virtually ignored that year, but then he was also ignored for a brilliant turn in The Assassination of Jesse James (and once again, I’m digressing...)

Cate Blanchett and Brad Pitt play the married couple, Richard and Susan Jones. They're a couple with obvious relationship trouble, she gets shot in the neck at the beginning of the film and he spends the duration of the film ensuring that she doesn’t die. Cate and Brad showed us later that they have amazing chemistry (evidence) but I like the idea of them in Babel even if Cate’s role was slight. I’m not sure if the idea of a spin-off (prequel?) that has me interested, after all marriage dramas are nothing inventive at the moment...that being said, what is? It’d be interesting to see them travel that territory again, though.I'd be willing to sit down and watch two hours of Cate and Brad biting each other's head off.

                    

I’m still on a semi-break (until tomorrow when most of the horrid exams will be done) but I couldn’t help but take up the baton from Jose and list ten beautiful screen-couples. He gave ten excellent ones, and challenged me to do the same. It’s a task that’s endless because there are so many options to choose from. Should I go only classic? Should I go only modern? Should I take acting into account? Should I include platonic relationships…? What to do…what to do…? Now would probably be the right time to tell you that I’m really neurotic about list making (and everything really, but more on that subsequently). The list is not spontaneous, I put some amount of thought into this – even though it’s very possible I’ve still missed out on a few. I considered beauty of the actors, beauty of the characters and all around loveliness.

                       

I weighed whether or not to include any of Jose’s choices…but I decided not to: though Natalie and Warren in Splendor in the Grass would feature somewhere. So take a look at my un-impulsive list.

                   

From Here to Eternity is more remembered for that other fateful pairing and their gyrations on the beach, thus Monty’s greatest performance is forgotten and so is Reed’s richly deserved Oscar win. He’s playing a soldier in World War II, and she’s playing a hooker with a heart of gold. Reed has got to be one of the most forgotten actors of her generations (and it’s not as if she didn’t star in popular films), though I suppose she doesn’t have that “individual” look of someone like, for example, Elizabeth Taylor. She pairs up excellently, with Clift (though of course, who doesn’t?) and though her arc is not the strongest of the film’s they do pull out good performances whilst looking good.

The muted response to Benjamin Button only continues a year and a half after its release. I was, as I’ve intimated, a fan and though the film loves to lacerate both our stars in cakes of makeup when they finally do correspond in looks and age it is lovely to watch. It’s not just CGI as some of the more snarky dissenters have claimed, although if it is – it’s a flawless job. Cate is not conventionally pretty but she is beautiful to watch and though she’s not the most beautiful woman of her age bracket* (all things being subjective), she and Brad are just lovely to watch here.

Generic? You bet. What can I say, I’m like that. It’s very obvious, which I suppose makes it all the less inspired. Thank God Leo finally was able to cast off his “pretty boy status” (why is it bad for male actors to be good looking, but it’s a prerequisite with the women?). Kate Winslet is gorgeous here, red hair agrees with her and together the two are just beautiful to watch. It’s the sort of pairing that reeks of patency, but it’s still worth mentioning...I mean, how can I bet against them?

           

I hate how Doctor Zhivago is rarely remembered seeing as I consider it to be one of the greatest pieces of the sixties (and my favourite piece from Lean). For me, Julie Christie is a softer version of Glenda Jackson (analogy: Jackson is to Blanchett as Christie is to Kidman). She doesn’t shy away from her looks, though. Notice how her iconic performances make ample use of her beautiful face (even when she’s past the conventional age of beauty). Omar Sharif has always had that very debonair charm that makes him seem to be a very personable man, and he sure has a distinctive face. The two seem as if they’d be an odd couple but in reality meld together so beautifully…hence their inclusion here.

Isn’t this another obvious choice? Maybe it’s the costumes from Sandy Powell that makes them all the more gorgeous…but they still look gorgeous together. Maybe, just maybe, I’m projecting residual Shakespeare love on to his screen incarnation and muse, but I don’t think so. How many ways can you write that they look gorgeous together? Not many. So just look…

REVIEWED (sort of)

Ben Whishaw is almost too good-looking to be considered a man, and there are so many scenes where Cornish strikes me as a Nicole Kidman doppelganger, so it’s already on the list from that. I love Bright Star very much and it continues to grow on me as time goes by I cannot help but say that this is easily one of the most gorgeous young couples last decade. Young love is lovely to watch.

The reformed bad boy and the good Catholic girl is one of those romantic norms that continue to persist. Brando and Saint both won Oscars for their portrayals (deservedly so) and though they don't get romantic lighting or luminous costumes they bring out the essence of beauty. It's natural and it is always heartbreaking. That scene at the bar between the two is just a beauty.

And another Fiennes…Katherine and Almasay are the type of couple that wouldn’t be out of place in a sixties classic and I suppose with Minghella's tendency to seem like Lean they wouldn't. Neither is as traditionally good looking as the cinema would have, but they are lovely especially Kristin whom I adore, and their pairing hear is just great. To think that Kristin almost lost the role...Minghella knew he was doing when he cast her.

I always feel sad that this pair never went on to greater things. It is easily my favourite Shakespearean film and Zeffirelli’s choice of using actual youths (and newcomers) to portray the young couple is brilliant. It only strengthens their case when you notice the good performances that they give.

...is you don't talk about Fight Club.

Don't you just love that quote. It's been spoofed so often since then...but which movie started it all?
                           

There are some films that have been written about so much that there isn’t much left to say…and it really is tough doing a list of one hundred films and I sense a burnout coming on. Still, I have to celebrate this film featuring two of my favourite actors [Helena Bonham Carter and Brad Pitt], David Fincher’s 1999 Fight Club, which is #64 on my lists of 100 Favourites.
                      

If I ruled the world Fight Club would have been up for ten Academy Awards. Actor [Norton], Supporting Actor [Pitt], Supporting Actress [Bonham Carter], Picture, Director, Screenplay, Sound, Editing and Cinematography. It would have won for Sound, Supporting Actress and Editing. But that’s just me. Let me just say before I get into what may or may not be a real review that Helena Bonham Carter was scorching in this film. As the seductive and mysterious Marla Singer she has a burning chemistry with both Norton and Pitt. The fact that this talent was overlooked all season long… Oh, the horror. If I've said it once, I've said it a thousand times. Helena just does not get the love she deserves and I'm so mad at Tim Burton [just like I'm mad at Warren Beatty] for taking their women and shutting them away from me... and the world. But I digress.

Fight Club tells the story of an unnamed narrator who has serious psychological issues. One of the weird idiosyncrasies he has is going to different meetings nightly – for alcoholics, cancer survivors, smokers etc. It’s there that he meets the aforementioned Marla Singer. After his house burns down he moves in with his new friend Tyler Durden, who quickly guides him into a world of wantonness in the eponymous Fight Club. This Fight Club is ostensibly a place for men to blow off steam. But what you think Fight Club is really about is all up to you. I'm sure psychiatrists could have a field day asking their patients what was their response to this movie.
                              

Although it never occurred to me [I saw this when I was thirteen] Fight Club is probably not a movie for the faint hearted. The fight scenes, the sex scenes, the language – it’s all particularly adulterated. But if you’re of age [or just don’t care] you need to go get this movie, if you haven’t before. It’s jolly good fun. David Fincher does some ridiculously great directing in this fast paced adaptation of the novel by Chuck Palahniuk. But don’t be fooled into thinking that Fight Club is some vacuous action/violent picture. The underlying implications and themes of this movie are very unnerving. Ed Norton, Helena Bonham Carter and Brad Pitt are outstanding in their roles. I mean I like them all [the former two a lot more], and maybe…just maybe I’m a little biased. But they just act the hell out of their roles.

I’m biased towards actors and I always come out of films thinking more about the acting and less about the writing, directing &etc. Anyhow, what’s so great about the acting in this movie is that the actors are obviously enjoying themselves. The amount of glib line readings that had me rolling with laughter despite their macabre premise are just too much to mention. And there is much hilarity in this movie. It’s not some grim film. The humour is deliciously dark, which is just the way I like it. But even if you aren't able to establish the underlying implications of this movie, I still think it exists a wickedly fun romp in the park. That's the thing with movies like this. Even if there is a serious underlying message beneath all that satire; the film needs to function as a piece without the underlying message. That's what makes Fight Club good. It's both a fun film and a psychological thriller of sorts.

If there’ anything that I didn’t like about Fight Club it’s that Helena Bonham Carter couldn’t do a little fighting herself. That wouldn’t have been super hot…but I digress. This is just a short rant, and not a full review worthy of this wonderful film. But I must say this movie is great. If you haven’t seen it…and I really don’t know what to tell you if you haven’t except – go and see it…NOW!!!

           

I liked The Curious Case of Benjamin Button more than the average person, it’s been on my mind quite much recently too, as you probably guessed from my nostalgic waxing. Like so many good films, it remains as proof that a long film is never necessarily a boring one. I like essentially everything in it, but Cate always stands out as my favourite part, and a favourite moment of mine depends on her. It occurs just a few moments after her first date with Benjamin where she’s at her most loquacious. But it’s the moment just after that always thrills me. As she lifts herself up onto the gazebo she says, 

 Cate is so in touch with the immaturity of Daisy, I’m amazed that the film is so recent. The impetuous young dancer is really just showing off for Benjamin as she does her moves. 

I love Cate’s reading of that piece in particular; it’s so indolent, as if she’s actually languishing in Lawrence’s words.

The lean in for the kiss that doesn’t come is lovely, and as so much with Benjamin Button it’s always thrilling to notice the effective makeup and special effects, even when they’re not the focus. 

It’s to Cate’s credit that we don’t find Daisy completely juvenile at moments like these. We need to be caught up in the radiance of Daisy, complete with the iconic red dress from designer Jacqueline West – and we are. I love the quiet show of emotion from Brad when she asks him, 

It’s not his greatest performance, but he’s completely effective as Benjamin. 

He too works hard here, though not as officiously. Why doesn’t Benjamin take up Daisy’s invitation? They’re both adults. He manages to make the rebuff, less so, and more of an act of believable maturity from Benjamin. 

As Cate dejectedly picks up her shoes and stalks off I’m always moved to wonder how a scene with no actual physical contact between the leads always seems so sensual.

It’s a weird thing when something seems both subtle and obvious at the same time, but paradoxes are everywhere in the world – especially film. There’s a scene in The Curious Case of Benjamin Button that I’m particularly fond of that could very well act as an illustration of the entire film. As Benjamin narrates piece, through (seemingly trivial) piece of unrelated events we lead up to the fateful accident of Daisy. The message pounded home is not subtle – every action has its consequence. Yet, I never think of this scene as heavy-handed. It’s the same with Benjamin Button. At my most understanding, I’m well aware of what could turn persons off from it – but each time I return to it I’m impressed, enthralled even. It’s just that special for me. I like how Cate and Brad manage to convince us of their youth as much as their age. Makeup can only do so much, and Cate especially is particularly vivacious as the young dancer.

I’d be at a lost to categorise The Curious Case of Benjamin Button to anyone who asked me. It’s not a fantasy, though its logic is something fantastical. It’s dramatic but it’s too humorous to be a drama, focusing too much on an ensemble to be a romance and as expansive as it is, too personal to be considered an epic. I’m still often in wonder that this was what Eric Roth decided to write from Fitzgerald’s not so short story. I’m a tempered fan of Fitzgerald, but for all its irreverence I never become completely sold on his narrative in Benjamin Button until the very end of the piece. I recall the immediate accusation of Roth’s regurgitation of his Forrest Gump plot for this venture, and I’m always at a loss. Surely, there are more films than these two that feature men in love meeting interesting characters along the way. But if Benjamin Button represents reaching the top without actually going over the top, Forrest Gump represents its antithesis. Not that I’m a hater of the 1994 piece, but whereas Forrest Gump reaches its zenith in its moments of delicious schmaltz Benjamin Button is most honest when it gets most simplistic. A simple conversation in a dance studio seems so lovely as Cate and Brad “meet in the middle” or Tilda Swinton’s unremarkable Elizabeth Abbot, becomes more than just the archetypical “older woman”.

But, it’s not that Benjamin Button is without its moment of ridiculous conviviality. Ben’s moment of healing in the church surrounded by the Pentecostal church (and it’s not a stereotype) is wrong on so many levels and yet absolutely hilarious. Taraji P. Henson’s Queenie is a breathing woman under her ostensible stereotypes. It seems easy, but Taraji decides to breathe life into Queenie when we least expect it, and continues to “act” even when it doesn’t seem as necessary. I love her first scene on the landing with her ever faithful Mr. Weathers. Her discovery of Benjamin is the strongest part of her performance and I’m always moved to believe in the honesty of her claiming of this grotesque child. The bit players move through the narrative, each giving their bit to the film, from Jason Flemyng's tortured father to Julia Ormond's sorrowful daughter.

These early moments, though, seem so far removed from the other sections of the film. In its own way, The Curious Case of Benjamin Button is a bit like many films in one. It’s seems discordant, but it’s still melodic in its own special way. It’s this same ostensible discordance that makes it what it is. As the final narration begins and we see the people in Benjamin’s love we come once again to the unsubtle subtlety, its intentions don't become twdry by its obviousness though. If had included films from 2008 and later in my list of favourites; The Curious Case of Benjamin Button would be somewhere. Its scope is formidable, it’s technical achievements are flawless, the acting is excellent and the story though unusual is still real. Yet, it’s all so personal…and exquisite.I never expected to love it as much, but "You never knows what's coming to you."

I feel a sense of excitement when an actor I’ve admired gives a piercingly atypical performance that causes me to reassess their talents. It doesn’t happen too often, and it’s especially difficult to do when you’re successful in a particular niche. Then, there’s always possibility that it won’t be well received. I don’t know if the problem with this entry was its lack of support, but for some reason it’s become forgotten. Pity – it’s a treasure.

    

Not to be broken record, but I really hate the way that Brad Pitt’s acting talent continue to be ignored. I remember in 2007 when he won at the Venice Film Festival (even though I hadn’t seen the film yet) I was praying that he’d finally get the recognition he deserved, but alas that didn’t turn out as it was supposed to.The Assassination of Jesse James did go on to moderate success with the award ceremonies, but like with so many other films critics and awards seemed only to have seen one performance of the film: Casey Affleck and failed to notice Brad's performance. Casey Affleck was excellent as Robert Ford, and I won't get into the alleged category fraud. However, it's Brad who impresses me most in it. It's a performance that towers above Pitt's others, even though he has done good work before and after. Time after time, whenever I watch this film it's a performance I cannot forget.

The Assassination of Jesse James is a film that finds its glory in the smallest of things. It's not being gratuitous, but it simply thrives in the details. As the film opens with the the narration and the montage of James and we watch a strangely sombre Brad walk through the fields we already notice the difference, the sort of genteelness but the hint of something more sinister below. In retrospect, I suppose James is not as flashy a character as critics would like, but in a way Brad here reminds me of Warren Beatty in Bugsy. We know that Bugsy is a gangster, but there's that shocking moment where we see him take part in violence after we've already been charmed by him. It's the same with Brad - not only the altercation on the train but later in the film when he turns on the young boy at the barn. It catches the audience off guard and the quickness with which he switches from "gregarious" to deadly is chilling. Pitt doesn't play Jesse quite as ostentatiously reckless as legend would have it, but there's a look in his eyes as we moves through his scenes...there's more than just emptiness beneath them
The latter half of The Assassination of Jesse James is not unlike the story of a man spiralling out of control. The scene where he "jokingly" attempts to slit Bob's throat is excellently played by Pitt. And as he prepares for his assassination there is that look on Brad's face that suggests so much more. As he listens to his daughter recite the poem and he takes off his guns something seems to change in him, as if he's preparing himself for what he knows to come. True, he leaves the film with twenty five minutes to spare - but I believe Pitt's performance to be an indelible part of The Assassination of Jesse James By the Coward Robert Ford.
           
What were your thoughts on Pitt's Jesse James?Worthy of recognition? Does it rank among the best work he's done?

Here is the second entry in my running feature on the fifteen male performances of the last decade. I’m on to a supporting performance that amused me much in 2008 that unfortunately saw little love from the Awards bodies, but that doesn’t stop me from remembering it here.I suppose it would seem like an off kilter choice, but isn't that why you love me?

       

I’ve never been too fond of the Coen Brothers. They have their ardent supporters, of which I am not one. It’s sort a knee jerk effect actually. A favourite film of mine The English Patient trumped a critical smash of theirs Fargo and the backlash against the former was unabated...and it’s been pretty much downhill since then, especially considering that I didn’t even like Fargo. But I digress. Burn After Reading is one of the most atypical comedies I have seen. It made the top ten of 2008 (#6) and featured one of the best ensemble performances bringing together everything the Coens were notorious for – irreverence, dark humour, witty dialogue and surprises. And in a task of great characters stood Brad Pitt’s Chad.

Chad plays the friend to our female protagonist Linda played by Frances McDormand. The two work in a gym; and Chad is the prototypical exercise obsessed man child. I saw man child because I’m not sure how old Pitt’s Chad is supposed to be. He looks younger than he did a decade ago in Fight Club and he sounds even younger than he did in Thelma & Louise. It’s the ultimate vacuous male and Brad pulls out all the stops for the performance playing Chad for all the comedic effect necessary.

             

The scene that stands in my memory as Brad’s big scene occurs in the middle. After he and  Linda have found that very "important" disk he places a call to the irate John Malkovich. His inane telephone abilities are hilarious and it leads to the strongest scene of the film. Actors’ act – we know that, but it’s chilling to see Brad Pitt (as we know him) completely immersed in Chad. There are no traces of the suave, svelte celebrity: all that is there is an empty (albeit good looking) idiot. And it doesn’t go downhill from that scene. He and McDormand continue their crazy antics leading to a ridiculous attempted exchange which culminates in Brad suffering a broken nose. I love his delivery of his line “He took my bicycle.” It’s so ridiculously childish, and yet so goddamn hilarious.

The thing with the Coens’ though is that they are as impertinent as it comes and even though Chad is the light of Burn After Reading he’s extinguished before long, though I will admit in hilarious fashion. It’s probably a good time to note that despite all his insipidity Chad is actually a good person, sort of. I always marvel at his devotion to McDormand’s Linda. She really is quite nasty at times, but for inexplicable reasons Chad latches onto her, nonetheless. I’m not quite sure if he is gay (his sexuality is actually never examined), or has some twisted school girl crush on her or is just really loyal. Whatever the reason he breaks into ( ) to help her and after some funny antics George Clooney (the bastard) shoots him. Dead. And that’s the end of Chad.

Burn After Reading probably won’t work for all, I know a few who hate it much actually. But I can’t resist its brilliance – especially the tour-de-force performance of Mr. Pitt. I’ve said it before, and I’ll say it again. Despite his obvious celebrity his acting talent is vastly underrated and when little gems like this come along to remind us I’m always ready to appreciate it.

        

    

Ridley Scott is a director that doesn’t get enough credit. Sure, he did Gladiator which was the more or less a return to form the epic but he’s no one trick pony. I, for one, am anticipating his interpretation of Robin Hood next summer. In 1992 Scott earned an Oscar nomination for a film that people often forgot he helmed. Thelma & Louise looks like a chick flick, perhaps it is a chick flick. But it is also a thoroughly enjoyable film that features two exceptional lead performances. It’s the story of two friends – Thelma & Louise – one a meek housewife, the other a brash waitress who head out for a bit of fun on a road trip, which goes horribly awry.

I cannot think of Thelma & Louise without affection and even though it’s not exactly a comedy there is that subtle feeling of joie de vivre one unearths from it. Much of that comes from the two lead performances – Susan Sarandon and Geena Davis. I have nothing against Jodie Foster, but I’d not have voted for her on either of her Oscar wins. I often wonder if Susan Sarandon failed to gain an Oscar because of vote-splitting with Geena Davis. The two women are outstanding in their roles and they do some fine bits of acting off each other. The womanly affection they have between themselves is beautiful to see and its an enduring example of cinematic friendship. A young Brad Pitt makes a showing as an intrepid and possibly dangerous drifter and his unlikely chemistry with Geena Davis is lovely to watch.

                              

When we remember Thelma & Louise we often remember than iconic final jump, and that only goes to show how Ridley Scott put his indelible stamp on this film. But above all else Thelma & Louise’s success lies in its story. Callie Khouri is skilled and manages to make all the outlandish occurrences believable and never insincere. It’s a good piece of writing, and I can turn a blind eye to the horrific Mad Money.

                    

Thelma & Louise is a tour de force for Scott. It’s edited wonderfully, features good performances and boasts a top notch script. It’s fun and sometimes even funny and above all else it’s a good piece of film. Not bad for something that people are prone to refer to as a chick flick. It’s #78 on my list of favourites.

This is residual, I should have gotten this list up a week ago. But I said I'd post them so here they are. The forty performances that I am looking forward to this year, divided by category. Track back to Parts One, Two, Three and Four for more Information

 So, continuing from the previous entry, I'm taking a look at the films that I'm anticipating for the year 2010. Of course anticipating is often different from appreciation, but it can't hurt to expect good things in some of these. Some may fail, some may surprise...but at least a few will be as good as I hope. At least, I hope so.

             

This was rumoured to be a 2009 release, but nothing has come to fruition as yet. Joe Pesci and Helen Mirren star in this as a husband and wife team who open a brothel. The only thing stranger than Pesci and Mirren in a romance is Pesci and Mirren in charge of a brothel. They are both Oscar winners and the film is based on the true story of the Nevada couple to open the first brothel. I wonder what sort of skeletons are in their closets. 

                

Is this too high? It’s Angelina love, obviously. How could I not want to see the movie where she replaced Tom Cruise? And as underrated as her traditional acting skills are, most can agree that she’s a killer action star. So here’s to this. The plot is pretty much stock fare. It involves a CIA officer wrongly accused of being a Russian sleeper agent planning to assassinate the US President. Naturally she ensues on a journey to clear her name and find the perpetrator.

      

I was a fan of Inaritu's 21 Grams and Babel. The film centres on a criminal who is reunited with a childhood friend, now a police officer. I am a big of Javier Bardem and am expecting big things from this. I'm only wondering if it will reach here before the end of the year.
                 
 #27 Letters to Juliet

In retrospect I can’t justify how this is so high. I like Amanda Seyfried but not enough to go see Jennifer’s Body, and though I liked Gael in what I saw him I haven’t seen him at his best. Still pair them with Vanessa Redgrave [who I had a feeling is playing a cameo here] and then a European romance and I’m pretty much on board. I recently saw the poster which had Seyfreid and Redgrave with top billing which makes me really hopeful. I'm a big fan of Vanessa.

This could be great or it could be horrible. Christina Aguilera and Cher star in this one. A young up and comer [Aguilera] begins working at a Burlesque club in hopes of becoming a star; Cher plays her mentor. I don’t know what the look for this is going to be, or if it’s going to be a good film; but I’d be lying if I didn’t say I wasn’t interested. Christina Aguilera was one of those archetypes of teenaged boy lust. Cher? Not so much. But still, she's a good actor - sometimes. Add that to Kirsten Bell and the great Stanley Tucci and this is looking promising. Maybe.

      

It’s a true story starring Johnny Depp, which at least makes it worthy of contemplation.The story follows a wandering journalist who travels to Puerto and becomes obsessed with a woman. It sounds rather vague, but I'm expecting this to be a good one.

          

I still have hopes that Collin Farrell will one day get the praise he deserves. Ondine is based on a story of a fisherman who caught what he believes to be a mermaid in his net. I believe it’s based on a play I read years ago, but wasn’t too fond of it. It was well written, but I hated the ending. But I digress. tTe stills so far look good and with this premise I think Collin could impress me.

It’s probably wrong but in terms of the acting, my biggest draw here is Vanessa Redgrave. She seems like the perfect Shakespearean type actor, and this being a Shakespeare play only makes me want to se this more. Coriolanus is actually one his plays that I have not read. It's a tragedy and a history Ralph  f***ing Fiennes is playing the title character with Redgrave as his mother. Fiennes also directs. I've been waiting for Fiennes to get a good role and this is looking exceptionally good. I hope I'm not disappointed, I can't really see why Gerard Butler is there...but I'll let that pass.

             

Brad Pitt and Sean Penn star in Terrence Malick’s new film. Hardly any information has been released as to plot of this one, and I’ve never been a big fan of Malick. But Penn and Pitt are two actors I happen to like, and I’m just getting a good vibe from this. For what reason, I don’t know.

                 
Stay tuned for the next part. Which Redgrave film are you anticipating more? Are you anticipating Fincher? Malick?

              

Steven Soderbergh is a man I like. It’s strange, as a director I can probably only pick out a handful of his films that I believe to be particularly good. However, all things being equal I think the man is talented, and for the most part is films if not great are always original. When Soderbergh released Ocean’s Eleven in 2001 it was a financial success, and although it was not as critically successful as it should have been, it was still significantly well received. The 2004 sequel didn’t fare as well. The critics were lukewarm, and even though it made money – it wasn’t as much as was anticipated. The movie is faulty. That much is obvious, but for all its incongruity, its indulgency and its downright silliness Ocean’s Twelve is still a nice good romp. And if I’m going to watch a director wallow in his indulgency, Soderbergh is not a bad one to pick.

As with its predecessor Ocean’s Twelve centres on a heist, gone wrong [and perhaps delightfully right] and with heightened use of running gags and some ridiculous [and might I add effective] allusions, Soderbergh manages to get his story across. Critics of the film have claimed that the movie seems to be a giant reason for some A-list celebrities to get together and have a good time. I agree, and the people who criticise that are completely missing the point. 2004 was a generally good year in film, but no other film [not even the delightfully idiosyncratic Eternal Sunshine of the Spotless Mind; or the spotty, but well meant Sideways] boasts a cast of actors enjoying themselves as much as they do in Ocean’s Twelve. It’s pointless to ridicule Tess [Julia Roberts] meeting with Bruce Willis as pandering. Sure, if you haven’t seen The Sixth Sense, or don’t know of the two’s history you may be a little lost, but if you don’t you’re probably not the film’s target audience.

                  

Only a director completely assured of his talents would have that Julia Roberts/Tess scene and in the realm of the Ocean's world it works. Boy does it work. Sure, we wonder how exactly is it that Yen is able to understand the others in the group and vice versa, but we don't care. And Matt Damon who is usually woefully underrated as a comedian is even better in this than in the original. That scene where he gets extradited is a favourite of mine. It's completely inconsequential, but that tongue-in-cheek way is Soderbergh's relaity in Ocean's Twelve.

              

In a way Ocean’s Twelve reminds me of old cinema. Not in it’s story, or its direction per se. But it gets a group of actors together and makes a film centring on their natural personalities. Julia Roberts is always comfortable playing the zany girl, Zeta-Jones is always effective playing moody and angry, Clooney’s biggest successes are always as the well intentioned bad boy and the list goes on. To say that Ocean’s Twelve doesn’t take itself seriously is an understatement of the ages. There’s nothing in the movie to be taken seriously. Perhaps you didn’t go see it because you have better things to do that give money to a host of already rich celebrities, but I like to think that Ocean’s Twelve is better than that. I’d even like to think that even if they thought no one would show up, these actors would still make the movie. Ocean’s Twelve isn’t The Hours, or In the Bedroom or even Soderbergh’s Traffic; but it is an actors’ flick in the more irreverent use of the phrase. It’s indulgent and silly, but it’s also a whole lot of fun. And any film that gives Cherry Jones a few lines gets my approval.

Damn. It's been loooooooong week. My computer keeps dropping the bloody internet connection, my flash drive has destroyed all my valuable information: don't trust technology. And I have a test on Wednesday for a class where I'm taught nothing. So yeah, it's all great. But hey, the world goes 'round, and 'round. So here's to wrapping up 2007. I thought it was a good year in film. what of you? Here are my winners in the major categories with the runners up in parentheses. Click on the title links for my assessment of the categories.

                  

Atonement [Sweeney Todd: The Demon Barber of Fleet Street; Elizabeth: The Golden Age]

The green dress was hot, hot, hot. But it was the simpler clothes like Briony's white dresses [irony?] and this dress below in particular that seemed very original.

Sweeney Todd: The Demon Barber of Fleet Street [Atonement; Hairspray]

Each of these three films had good set design. But Sweeney came out on top. Just a genius production. Well deserved Oscar win.      

La Vie En Rose [Sweeney Todd: The Demon Barber of Fleet Street; Harry Potter & the Order of the Phoenix]

                  

The Bourne Supremacy [Sweeney Todd: The Demon Barber of Fleet Street; The Assassination of Jesse James]

                  

The Golden Compass [The Bourne Supremacy; Transformers]

       

 I was so psyched when this upset.

           

The Diving Bell & the Butterfly [Atonement, The Assassination of Jesse James]

Sure the shot above is not 'cinematic' much, but even in simple moments...the camera works so well.

                       

The Diving Bell & the Butterfly [Atonement; There Will Be Blood]

                 

Atonement [The Assassination of Jesse James; The Diving Bell & the Butterfly]

I used to study to Briony's theme. Is that sad?

           

Once “Falling Slowly” [Enchanted “So Close”; Enchanted “That’s How You Know”

              

Atonement [The Diving Bell & the Butterfly; No Country for Old Men]

I am so biased to Hampton and whatever he does…but still it’s a good script.

                 

Before the Devil Knows You’re Dead [Lars & the Real Girl; Enchanted]

Romola Garai in Atonement [Marisa Tomei in Before the Devil Knows You’re Dead; Cate Blanchett in I’m Not There]

Easy decision for me actually. She carries most of her sequence alone on her shoulders. The conversation with the French solider always tears me up [yes, I am WEAK]. She’s good.

Ethan Hawke in Before the Devil Knows You’re Dead [Casey Afleck in The Assassination of Jesse James; Tom Wilkinson in Michael Clayton]

I like Ethan Hawke, that much is known. Maybe it was the character that drew me in, but played by someone else I don’t think I’d have liked Hank much. Why doesn’t Hawke get more roles? The man is so emotive!

             

Angelina Jolie in A Mighty Heart [Keira Knightley in Atonement; Helena Bonham Carter in Sweeney Todd: The Demon Barber of Fleet Street]

It was actually a really close call between Keira and Angelina. I kept going back and forth, back and forth and eventually I came out with Angie on top. It’s my favourite performance of hers, as with Keira and I think both ladies deserve to be appreciated for their talent and not only for the aestheticism. And HBC at least deserved the Globe win for Musical/Comedy.

                      

Brad Pitt in The Assassination of Jesse James [Philip Seymour Hoffman in Before the Devil Knows You’re Dead; Daniel Day Lewis in There Will Be Blood]

James McAvoy was just behind Day Lewis as the fourth. It was a good group and it wasn’t nepotism that had Pitt at the top of the list. I think there’s a reason he won that Venice Cup and it was well deserved. He was perfectly cast and he delivered well. At least a nod would have been good.

                                       

Julian Schnabel for The Diving Bell & the Butterfly; Joe Wright for Atonement; Sidney Lumet for Before the Devil Knows You’re Dead]

See me, thinking that the Golden Globe nod meant something; I thought he had an actual chance despite being a lone director. See where that got me? I can’t pick a winner though. Close my eyes and I’ll pick randomly, it’s Schnabel. Thought today I feel all Wright. But they’re equal.

 Atonement [The Diving Bell & the Butterfly; Before the Devil Knows You’re Dead]