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Showing posts with label Finding Neverland. Show all posts
Showing posts with label Finding Neverland. Show all posts
Tuesday, 25 January 2011
This was the first real feature I ever had on this blog, and it’s sort of my favourite so I think it’s fitting that I include it as the first of my miscellaneous categories to kick things off in remembering 2010 in film. As it stands I’ve seen just below 70 films, and it looks like I’ll be unable to get a look at some elusive ones before I unveil my awards – which is unfortunate, but not disastrous. I’ll persevere nonetheless.
I don’t think I’ve ever really cared to explicitly define what qualifies as a forgotten character. In the actual series I’ve covered performances like Ethan Hawke in Training Day – who was forgotten, even though he’s the film’s protagonist and I was tempted to include actors like Lucas Black – who was a necessity in Get Low, in a strong supporting role, but who’s been forgotten almost everyone or Matt Damon in True Grit, who’s not quite exceptional but has gotten almost no recognition for his stoic LeBoeuf. But, ideally, a forgotten character is one of those characters coasting on the sidelines of the narrative, and in their thankless roles become forgotten when the film succeeds. They’re sometimes necessary as the impetus for certain plot-points but because they’ve been written in such a way they never get to be more than a flat character (on paper at least). Some actors can make that work for themselves, though. So, my official Encore Awards begin with a miscellaneous category.
THE NOMINEES
Sally Hawkins in Never Let Me Go (as Miss Lucy)
In a way Hawkins’ natural cadence seems all wrong for the very serious Miss Lucy, but it’s to her credit that the entire arc at Hailsham seems to depend on her performance. There’s something self-effacing about her without being coy, all the while managing to be that sort of perfect teacher that every child hopes for. She understands enough to play Lucy as a projection of Cathy’s memory, without making her too saccharine, though. (Highlight: Conversation with Cathy.)
Rashida Jones in The Social Network (as Marylin Delpy)
After the credits roll (well, the first time) I couldn’t stop thinking about Jones’ Marylin The thing is I’ve always liked Jones, but I’m not being biased when I think of all the little ticks she imbues in a character that’s barely there on the page. She’s able to show Marylin having that slight star struck response to Zuckerberg but still managing to maintain her professionalism, even if you get the sense that she’s sort of contented in being a little silly at times. (Highlight: Her blink-and-you’ll-miss-it laughter during Eduardo’s chicken scenario.)Anna Kendrick in Scott Pilgrim vs the World (as Stacy Pilgrim)
Like everything about Scott Pilgrim vs the World, I was unprepared to be as wholly charmed by Kendrick as I was. Even if she seems too aged to be playing Cera’s younger sister her vocal tics and annoying traits – that aren’t so annoying – are just a few parts of the small things that work so well in this movie. She has a firm grip on the character, even if it is sort of the perpetually gossip-y teen that still feels like something fresh. (Highlight: “I’m literally about to leave!”)
Max Minghella in The Social Network (as Divya Narendra)
I like Max Minghella a whole lot, even though I’ve only seen him in one other film. Everyone seems enamoured (rightfully so, I suppose) with Armie “porn star name” Hammer’s performance but I’m even more impressed with Minghella’s work if only because I find him funniest and most sincere. He’s sort of annoying without ever really being annoying, in fact he’s even likeable sometimes. And Hammer sort of loses me when he imbues the Winklevoss’ with those vaguely unlikeable traits unnecessarily, the script is already least infatuated with them. He’s actually trying to make Divya interesting, if not amiable. (Highlight: Tripping over his feet in horror when he sees that The Facebook has gone live.) Michelle Williams in Shutter Island (as Dolores Chanal)
I’m not certain how much this qualifies because this seems a slight bit more than a small character, but when you really think about it Williams really doesn’t have much of a role. She’s playing a memory, and unlike Mal in Inception even if she does provide the climax of the tale she’s not as constant. But she completely sells it given one of the strongest performances I’ve seen her. (Highlight: The revelation, of course.)
FINALISTS: Tammy Blanchard in Rabbit Hole; Yaya DaCosta in The Kids Are All Right; Viola Davis in Eat Pray Love; Crispin Glover in Alice in Wonderland; Cillian Murphy in Inception
SEMI-FINALISTS: Michael Gambon in The King’s Speech; Artie Hammer in The Social Network; Cherry Jones in Mother & Child; Johnny Simons in Scott Pilgrim vs the World; Mae Whitman in Scott Pilgrim vs the World
So, we begin 2010 in Review in Encore’s World, of the top 5 ultimate forgotten who made the biggest impression on you? Williams’ haunting wife? Kendrick’s droning sister? Or the lone male nominee, Minghella? Which forgotten character of 2010 do you wish would get some love?
Thursday, 30 December 2010
Original Score
Though my interest in current music has waned, I’m still a general fan of music. So, I’m one of those people that these categories aren’t extraneous. A list has recently been published – the 77 original scores eligible for the category. The obvious problem with predicting this category is that many precursors don’t feature them, so you’re sort of going in blind. I often wonder how voters judge the category, because the increasing propensity of high profile films getting a sort of de facto nod here is disturbing. At the moment Hans Zimmer’s work on Inception is being touted as the frontrunner. I’m neither here nor there on his work in the film, but that’s pretty much a shoo-in for a nom, as is Alexandre Desplat. Truly, Desplat should have been Oscar-ed by now, he has three films up The King’s Speech, The Ghost Writer and Harry Potter & the Deathly Hallows. His work on The Ghost Writer is excellent, but I suppose the pedigree of The King’s Speech makes it a more likely contender. I’m still surprised the Globes snubbed Portman’s work in Never Let Me Go, but that film has become continually forgotten. Still, Portman’s probably the most noted female composer so I’ll assume she’ll get some love there. Then there, Rahman’s work on 127 Hours has been noted by a few precursor groups and he is a defending champion in the category, so he’s a safe bet too. I think The Social Network is a fine example of best picture support turning a film into a veritable contender in all categories but it does have a fine score, and whatever the reason for its appearance on a number of list it’s nice to see it there.
Though my interest in current music has waned, I’m still a general fan of music. So, I’m one of those people that these categories aren’t extraneous. A list has recently been published – the 77 original scores eligible for the category. The obvious problem with predicting this category is that many precursors don’t feature them, so you’re sort of going in blind. I often wonder how voters judge the category, because the increasing propensity of high profile films getting a sort of de facto nod here is disturbing. At the moment Hans Zimmer’s work on Inception is being touted as the frontrunner. I’m neither here nor there on his work in the film, but that’s pretty much a shoo-in for a nom, as is Alexandre Desplat. Truly, Desplat should have been Oscar-ed by now, he has three films up The King’s Speech, The Ghost Writer and Harry Potter & the Deathly Hallows. His work on The Ghost Writer is excellent, but I suppose the pedigree of The King’s Speech makes it a more likely contender. I’m still surprised the Globes snubbed Portman’s work in Never Let Me Go, but that film has become continually forgotten. Still, Portman’s probably the most noted female composer so I’ll assume she’ll get some love there. Then there, Rahman’s work on 127 Hours has been noted by a few precursor groups and he is a defending champion in the category, so he’s a safe bet too. I think The Social Network is a fine example of best picture support turning a film into a veritable contender in all categories but it does have a fine score, and whatever the reason for its appearance on a number of list it’s nice to see it there.127 Hours / Inception / The King’s Speech / Never Let Me Go / The Social Network
I’m not sure if he didn’t submit, or if it was deemed ineligible – whatever the case Dario Marianelli’s score Agora is not on the list of commentating scores. I’d love for the voters to get a little less insular since there are a number of competing scores that deserve a look. Anton Sanko’s work in Rabbit Hole and perhaps Jan A. P. Kaczmarek’s Get Low could emerge as a contender. Danny Elfman’s Alice in Wonderland is a potential contender, but I still don’t have faith in that particular projection.
Original SongI’m predicting three songs for the original song race, because it’s kind of obvious that the Academy has little interest in this category. And I suppose, in a race it’d be the one that’s most extraneous but I don’t think the category’s that incidental. In case you don’t know how it works, the 41 songs are seen on a continuing loop and ranked on a scale of 1-10. Then, the songs that have an accumulative average of 8.25 are nominated. If no songs get above that score, none are nominated – if 1 song gets above that the next two are nominated and if more than 5 get nominated, the highest five are nominated (obviously). It’s kind of obvious that this category isn’t really a priority.
“If I Rise” from 127 Hours / “You Haven’t Seen the Last of Me” from Burlesque / “I See the Light” from Tangled /
I like Christina’s work in “Bound to You” but I don’t see two songs from Burlesque taking off. “Coming Home” from Country Song and “We Belong Together” from Toy Story III would be two I’d add if the number went to five.
Do you have any significant affinity to cinematic music this past year? Or do you agree with the extraneousness of the music branch?
Saturday, 21 August 2010
I got the inspiration for this post months ago from here. I promised to followup since then, and then the meme made me remember how much I cry at movies. I can’t remember the last time I cried in real life (I’m an emotional cripple), but I’m happy to share pain vicariously with fictional characters. It would be too much to trudge through all the films I’ve seen, I’ll stick to the last decade. Today, bottom fifteen in alphabetical order. Next time, the top ten.
Each entry has the potential to be a spoiler-ish entry, if you haven’t seen it don’t read.
Atonement: Tete a tete, En Francais (Guilty Party: Romola Garai)
Avatar: Graces Dies (Guilty Party: James Cameron and Sigourney Weaver)
Call it what you will, but cold would be a dubious accusation to mete out to Avatar. The death of Grace is the most poignant. Maybe it’s because it’s Sigourney, the film’s strongest “actor”…maybe it’s just the realisation of the scope of the destruction that has occurred. Either way, her death is the film’s most moving moment (more than the burning of the tree) and a definite tearjerker.
Away From Her: “Forsaken” (Guilty Party: Julie Christie)
I’m still not certain on how I feel about Away From Her. It seems so manipulative at times, and then starkly honest at others. Either way, I like Julie Christie in it. The moment in the film that always causes me to tear up is the ending. What will happen with Fiona and Grant? Has she really regained lucidity? Alzheimer’s is just a thoroughly depressing disease throughout and Christie just makes it all the more sad.
Babel: Confession (Guilty Party:Boubker Ait El Caid)
Babel had a number of poignant moments, but the most moving came from the arc’s that’s usually most forgotten. The plot point of the two brother’s inadvertent foray into crime fails to hit home at times, but the climax makes it worth it. Boubker Ait El Caid’s confession is brilliant (for a child actor and for an adult) and yes, the words are overly precise. But it doesn’t matter. It’s too distressing for me to care.
Big Fish: The Funeral (Guilty Party: Tim Burton)
Burton gets called out for being too irreverent. Pity those detractors didn’t see Big Fish, one of the decade’s strongest films. The moment where Billy Crudup lifts his father into the water surrounded by all the “characters” we’ve met is the film’s most brilliant scene and it’s oh, so moving. It’s a tribute to parents and it goes to show that Tim Burton really can do anything, perhaps not as prolific as some, but in his own way – still excellent.
Bright Star: Crying (Guilty Party: Abbie Cornish)
It’s Abbie’s strongest moment, which is odd considering that her Fanny is built on keeping her emotions in check. We know John will die, she knows John will die and yet… It’s one of those rare bouts of crying on screen that’s realistic. Even as she says lines like “I can’t breathe” there’s no doubt that she really can’t breathe. It’s the sort of blunt sadness Jane Campion isn’t averse to showing and Abbie rises to the occasion, brilliantly. More of this.
Cold Mountain: Death (Guilty Party: Nicole Kidman)
Although I’d hardly attribute Nicole’s talents to solely being a good reactor, her brilliance in Cold Mountain (yes, brilliance) comprises her stellar ability to the more overt acting of her cast members and make her Ada Munroe work. She has already reacted to a death earlier in the film (her father), but of course it’s Inman’s death that’s the emotional juggernaut. I do think Jude Law is rather good here, but this moment is all Nicole.
Finding Neverland: The Performance (Guilty Party: Kate Winslet)
I have a soft spot for Finding Neverland and though it gets too saccharine at times I’m willing to cut it some slack, particularly in the final moments of Kate’s performance. “Peter Pan” has always been a distressing tale in its own right, and juxtaposed with the eventual death of Sylvia it only becomes more so.
Gosford Park: “Don’t cry, they’ll hear.” (Guilty Parties: Helen Mirren and Eileen Atkins)
I think, at the end of the day Gosford Park is a comedy, but that doesn’t stop Helen from eliciting a few tears. We don’t expect to get so caught up in the revelations of paternity and such, and Helen “perfect servant” Mirren’s confession doesn’t seem that emotional. Of course, she’s putting on a mask. Her stilted entry into the room, and then Eileen’s quiet line reading is just so painful (yet brilliant) to watch.
I’ve Loved You So Long: Confession (Guilty Party: Kristin Scott Thomas)
I’ve Loved You So Long is, in its way, as emotionally manipulative as many. Kristin makes me forget about that. It’s all leading up to inevitable revelation and though it’s just a trifle odd it doesn’t make it any less sad. 2008 was not as poor a film year as many think, a number of gems were just unjustly ignored.
Little Miss Sunshine: A Hug (Guilty Party: Paul Dano)
A Mighty Heart: Crying (Guilty Party: Angelina Jolie)
Hopefully this will go down as one of the forgotten gems of the last decade. Like Abbie’s moment this is important for the crying, though it’s more a scream than a cry. From the moment Marianne learns of her husband’s death we anticipate waterworks, but the way the waterworks come is so unexpected, almost as if we’re watching something we shouldn’t be privy to. Angelina is so bloody brilliant here.
Mona Lisa Smile: Bicycles (Guilty Party: Kristin Dunst)
Mystic River: Parade (Guilty Parade: Marcia Gay Harden)
I will forever tout Mystic River as Clint Eastwood’s (lone) masterpiece. Evocative, provocative and poignant. The thing is, I’m never inclined to get teary eyed through out the machination of the main three (even Sean’s bloodcurdling scream or Tim’s moving “confession”). It's as if I’m seeing it, but not feeling it…until the end. When Marcia walks frantically through the street at that dismal parade it’s as if all the drama finally reaches it’s peak and we realise how morose the lives of these people are. And Marcia does it all without uttering a single word. brilliant? I think so too.
You Can Count On Me: Ending (Guilty Parties: Laura Linney and Mark Ruffalo)
I mentioned my allegiance to this sibling pairing a few days ago. It’s the only ending that would have worked for You Can Count On Me, but it doesn’t make Terry’s departure any less sad. What’s the lesson we learned? Sometimes it’s easier to love from afar? I don’t know. Who does? The departure is real though, it works and Laura and Mark delivering brilliant performances is a significant part of that.
Have you shed a tear for any of these scenes?
(Care to wager which ten films make my top ten? Hints: a quasi stranger in a kitchen, a sexless goodbye in a bedroom, running through the streets, end credits, return of a “ghost”, death of a warrior, voiceover, revelation of truths, montage of characters, a lover’s promise, death of a star. Those are the clues…)
Wednesday, 4 August 2010
I previously gave a list of memorable sister / sister pairings. That list was much more fun because cinematic sisters are plentiful. It’s tougher with the men; too many cinematic brothers are not too fond of each other. I don’t have a brother, so I can’t confess to the bond being that deep either. Still, I’d say that the five examples of brotherly love I did come up with were good enough.
Heath Ledger and Matt Damon in The Brothers' Grimm
Omar Sharif and Alec Guinness in Doctor Zhivago
This is an interesting example of brotherly love, since the two actors have few moments together. Yet, the very film we see is propelled by Yevgrav’s quest to find his brother’s child. A brother he spent few moments, if that doesn’t signify a strong bond of filial love, I don’t know what does.
Freddie Highmore, Joe Prospero, Nick Roud and Luke Spill in Finding Neverland
They’re probably too young to give any significant evidence of brotherly love. In a way, they’re like the Bennett sisters – no obvious hints of love, save for their general camaraderie. The casting director should be lauded for finding a group of young boys to work together who were actually believable as a band of brothers.
Marlon Brando and Rod Steiger in On the Waterfront
Yes, yes – I know Terry “coulda been a contender” and it’s all because Charlie sold him out, but what’s better than a distempered relationship between siblings is seeing that argument resolved. Charlie realises his mistakes and sacrifices himself for the good of his brother. Yes, he was guilty – but that doesn’t make his decision any less noble, or his love for his brother any less admirable.
Brad Renfro and David Speck in The Client
Confession: I love this film. Susan Sarandon is all sorts of awesome in it, but I digress. Two brothers see a man get killed, the younger one goes into a catatonic state and the older gets into a bucket load of trouble when the wrong people realise he may know too much. Perhaps it’s because this was one of the earlier novels I read, or because I generally like John Grisham but this pairing always strikes me as the ultimate brotherhood connection (even though they're children).
That was ridiculously tough. I'm probably blanking on an obvious choice...what positive brotherly incarnations have we had on screen?
Wednesday, 31 March 2010
One of the best thing about those fickle things called Oscars is when you bitch about them with like-minded people. Many have devoted time to critiquing the women, the pictures &etc, but what about the men? Best Actor is often an interesting thing to talk about, so last weekend Luke (of Journalistic Skepticism), Jose (of Movies Kick Ass) and I sat down and discussed the 2004 Best Actor Race. Here’s part
Andrew: Okay, so let's get down to it. 2004. Cheadle, Depp, DiCaprio, Eastwood and Foxx. On a purely superficial level is this one of the most diverse Best Actor lineups of the decade?
Luke: For this category, yes, it appears it's stepped away from its typical "old white guy" tendencies.
Jose: Not really, we've got four real people and Clint Eastwood. Ins't that what they always go for?
Luke: Yeah, except for Eastwood. Being a part of the "Best Actor" lineup seems a little off for him...
Jose: But they always stick him somewhere, whether it be director, producer or actor, I'm honestly surprised he's never won best score or song yet.
Andrew: Well in reality it's not that diverse. As you said Jose, four real people. Tis real heavy; but actor wise – we have the legend (Eastwood), the black comedian (Foxx), the black serious actor (Cheadle), the former teen heart throb (DiCaprio) and the international star (Depp)...
Jose: and four out of five were in Best Pic nominees, so it's rather uninspiring, especially in the face of the ones who were snubbed.
Luke: Very true - and what an utterly confusing lineup for Best Picture... but I guess that's another story, hm?
Andrew: That being said. I guess we'd all agree that Eastwood would be the first one we'd boot off of the nominee list?
Jose : actually not me. He’s my second fave from the nominees
Luke: Oh definitely - I mean, I just saw Don Cheadle's performance for the first time today actually, but I'd already say he was superior to Eastwood - or at least what I remember of Million Dollar Baby.
Andrew: Now you've got me interested, Jose. Who would you say is the worst of the five?
Jose: Worst? Foxx by all means
Andrew: Well to be honest, Eastwood and Foxx are battling it out, but even though I don't agree with the pick I can understand why they fall for Foxx...Eastwood does nothing for me.
Jose: It is such an unnatural performance, not that I've a problem with over the top acting, but he struck me as disrespectful in some aspects
Andrew: What do you think of Foxx in Ray, Luke?
Luke: I'm not a big fan of rewarding impressive impersonations, so Foxx isn't high on my list. I think with Ray I had to keep from letting myself get wrapped up in loving the music and remember that he's not truly giving a great performance. I thought the movie itself was better than he was - especially Regina King. Loved her.
Andrew: I'll agree on that. The thing is sometimes actors can pull off the imitative thing, but the thing with Foxx his comedic talents lay in his impersonations and he was obviously pretending to be Charles and never being him.
Jose: I agree, I rest my case by saying I love the fact that Cate won for playing Kate Hepburn that year looking nothing like the woman, while the praise for the whole clone thing Foxx had going on with Ray is still a mystery to me
Andrew: Foxx just isn't that talented to pull it off and make it work, I think.
Jose: Definitely! He was riding on a goodwill thing, I think he won the Oscar the day Ray Charles passed away.
Luke: Right - it really did just feel like an extended In Living Color sketch or something... it didn't seem like he was taking the "acting" part of the job entirely seriously.
Luke: So I take it we can all agree that Jamie Foxx left a little something to be desired?
Jose: I mean the man won the Album of the year Grammy as well
Andrew: Duly noted, Jose. Eastwood and Foxx would be easily knocked off the list...but what are your thoughts on Depp, gentlemen? He's in the middle for me
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Luke: I'm on the fence about it. I thought Finding Neverland was only okay, and this nomination was very clearly a part of the Academy's new love of him (which seems to have faded since Sweeney Todd). It definitely wasn't a good showcase of his talents.
Jose: He was OK, I think it's part of the sudden crush AMPAS and the world developed on him after Pirates. They’d have nominated him for anything to make up for the snubs throughout the 90's.
Andrew: I'm a little fool-hardy about Finding Neverland. I know it's faulty, but I'm still sucked in (like Chocolat, but that's another story).
Jose: Haha me too but it's more about Winslet and Christie than about Depp
Luke: Yeah, that one was totally Winslet's show (and a little bit Freddie Highmore too).
Jose: Right, too bad they screwed it all with that awful Charlie and the Chocolate Factory adaptation
Andrew: A reason I'm so willing to praise Depp is that he doesn't go over board with Barrie like he could. He seems almost willing to be a little on the sidelines.
Jose: You know what my problem with that was? That you could see Depp underacting. The man is all about extremes I think and weird and cooky works better for him than understated
Andrew: On that note of being understated, what do you think of Cheadle in Hotel Rwanda. I have a feeling that AMPAS was trying to throw off their reputation for being anti black with Foxx and I think Don would have been a more deserving (black) winner.
Jose: He's great! But he rides a bit too much on the Sydney Poitier wave of political correctness for him to make too much of an impact
Luke: Totally agree! I was definitely think about Sidney as I was watching it.
Andrew: That didn't occur to me, but now that you mention it...
Jose: I felt like they were consciously trying to make him into a black Oskar Schindler
Luke: It was quite different than what I expected - it had sort of an early '90s filming vibe to it that I rather enjoyed. I think he would've made a far better choice than Foxx.
Andrew: I was telling my sister recently that the thing with Cheadle is that unlike Foxx, Cheadle is not BLACK. He's African American (or whatever), and AMPAS has a way of liking to reward the extremes.
Jose: But yeah I agree, if they were trying to make it about race, Cheadle was worthier than Foxx
Luke: I think that Cheadle's advantage was that he seemed to have the best in show act all wrapped up. I mean, Nick Nolte and Joaquin Phoenix just bugged me
Andrew: But I was impressed with Okenodo. Why doesn’t the woman get more roles?
Jose: But there was Sophie too! I think the film suffered because it was so small
Luke: Can I just voice my confusion about Hotel Rwanda's nomination for Best Cast at the SAGs? Why is it that Phoenix and Nolte were listed out of only four people when there were dozens of other worthy speaking parts in the film? Is it a requirement to be a famous thesp to get a nomination in that category?
Jose: Not if you're in Slumdog Millionaire...
Andrew: Well look at the situation with Precious, all those girls from class were left off and in An Education for some random reason Cara Seymour wasn't mentioned even though she had more lines than Thompson and Williams.
Luke: AND Seymour happened to be one of the best performances in the film!
Jose: But doesn't that depend on the studio submissions? Or is it SAG who chooses who's worthy or not?
Andrew: Does it, Jose? I have no idea.
Jose: If it's the studios it makes much more sense they'd want Brad Pitt and Angelina Jolie to be SAG winners over people like extra # 1 or guy who's famous in the Middle East
Andrew: How did Brangelina get into this coversation?
Jose: Well I remembered he won this year and she just came into the equation haha
Andrew: Back to 04. You probably know this already, but DiCaprio tops my list easily. I'm a HUGE Aviator fan. Am I over praising him?
Jose: Not at all, he was robbed! And they did it again by snubbing him for Revolutionary Road!
Luke: No, he tops my list too. I think The Aviator has lost some of its steam for me on future viewings, but of this group, he's easily my top choice. Sidenote - I'm watching Catch Me If You Can currently, another performance I thought he was wrongly overlooked for.
Andrew: I think the thing about Oscar, it seems they're willing to reward someone who comes out of nowhere and gives a good (or baity) performance eg, Brodey, Foxx but they won't reward people who've grown up in the business and steadily improved eg. DiCaprio, or even Pitt and Depp
Jose: AMPAS is such a bully that way. They love one hit wonders because they are less threatening to the establishment
Luke: Maybe these steady steam-gatherers are the ones who'll have to wait until they're in their 50s…
Jose: …or get an honorary one in that awful non-televised gala
Andrew: I love how you make AMPAS some like some sinister big brother type, Jose.
Jose: isn't it though?
Luke: For some reason, I just don't see DiCaprio winning anytime soon. It seems like Aviator was that moment in time where it seemed possible. But now, people just don't get as excited about him anymore.
Jose: it's like they're setting him up to fail, like they did with Winslet til last year. when he makes The Departed they nominate him for the hideous Blood Diamond.
Andrew: If I had my way I'd immediately knock out Eastwood and Foxx for Jude, Jim or Javier.
Luke: I would definitely place Jim Carrey in my second spot for the year...
Jose: Jim Carrey won that Oscar in my mind
Luke: I'd throw in Jude and Gael as well
Jose: What about Paul, Andrew?
Andrew: I don't know what it is about Sideways, but I always feel as if it's a joke that I'm not in on. I just don't get it? Am I the only one?
Luke: Oh gosh no, I don't understand the appeal of Sideways, whatsoever.
Jose: Perhaps not but I still think Paul was sublime. The movie I don't love as much anymore.
Luke: I just remember being very meh over Virginia Madsen, who at the time I saw it was the frontrunner for the Oscar.
Andrew: People always talk about being moved by Paul and Virginia (of course Paul is more worthy than Eastwood and Foxx) but I find Haden Church and Sandra Oh to be much more convincing.
Jose: I think that had a lot to do with how all the old white guys wanted to screw her and thought "if Paul can..."
Luke: And Paul Giamatti is so uncomfortable to watch... maybe it's because of those trailers for Big Fat Liar where he's the big angry blue dude with equally angry blue goatee. And Sanrda Oh was my favorite in the movie, Andrew.
Andrew: Paul really has gone to the dogs, but I still love him. I'd have chosen him for my 05 Supporting list (over Gylenhaal too)...but that's a whole other post...
Luke: So where are we at guys? It seems we’re not so enthused about, well, anyone in this category. Where do they rank #1-#5 for you?
Andrew: DiCaprio , Cheadle (A-), Depp (B, B+ when I'm happy), Eastwood (C), Foxx (C)... I'm a lenient grader when it comes to acting though, it's more difficult to grade performances than films
Luke: (1) DiCaprio ... (2) Cheadle ... (3) Depp ... (4) Foxx ... (5) Eastwood [fairly similar, there]
Jose: DiCaprio A, Eastwood B, Cheadle B-, Depp B-, Foxx C
Luke: So does this make us bitter people that the nearly unanimous least favorite was the eventual winner?
Andrew: Damn, right. I'm bitter.
Jose: Nah, if you like the Oscars this is actually fairly common, I'm quite used to it by now
Luke: Especially in this past decade. Sheesh.
Andrew: I was so invested in 04 - it was the first Oscar ceremony I was actually predicting, and Cate's win was one of the FEW highlights.
Jose: They tend to reward mediocrity and feel good about it
Andrew: Bening's loss, MDB winning. Aaargh.
Jose: I almost shed a tear when Marty lost
Luke: Oh god - yeah it was a pretty bad waste of a ceremony in terms of winners.
Jose: ...And damn Julia Roberts should never present anything! She's always so happy when the so-so people win
Andrew: She's just a happy person who loves her life.
Jose: Then she should hand out the Globe for Musical or Comedy not Best director at the Oscars... but I forgive her because she was robbed of a nomination that year as well...
Luke: Yeah, is it time to be imaginary yet? To right the wrongs?
Jose: I'm sensing it'll be more interesting than tearing apart the nominees
Andrew: Oh, crap. I though we did that. Okay, throwing it out: my list: DiCaprio and Law, then Carey and Cheadle and the final spot goes to either Javier Bardem or Johnny Depp or Liam Neeson.
Luke: My picks: Leonardo DiCaprio (The Aviator), Jim Carrey (Eternal Sunshine), Jude Law (Closer), Gael Garcia Bernal (Bad Education), and Matt Damon (The Bourne Supremacy) ... I like a hodgepodge.
Andrew: I need to see Bad Education, but Luke's list looks way more respectable than Oscar...
Jose: I'm biased when it comes to Pedro but yes you should. What was Liam in, Andrew?
Andrew: Kinsey...are you serious?
Jose: oh true hahaha, I always forget him and Laura.
Luke: Ah, yes. Bad Education is top-notch.
Jose: Mine would be 1.Jim Carrey 2.Leonardo DiCaprio 3.Gael 4.Ethan Hawke 5.Clint Eastwood
Andrew: Jose...Clint over Jude. CLINT over JUDE (f***ing) LAW - I'm the definition of an obsessed Jude fan, by the way. Be warned.
Jose: I just don't feel like Jude was as good, I loved him in Cold Mountain but he wasn't a stand out in Closer... coming from someone who'd nominated Julia, Clive and Natalie
Andrew: Bastard...I forgive you though.
Jose: Thank you.
Andrew: I'd call this the second/third Actor lineup of the year - along with 02, 05, 06...and maybe even 09 when I think about it?
Jose: I agree, but I prefer 03 over 05
Andrew: Ooops, I mean I’d call this the second/third WORST actor lineup. 2005 was just a baaaaaaaad year, all around.
Jose: I know, 05 and 08 mostly made me want to tear my eyes out in terms of Oscars because they were stupendous movie years
Luke: Talking best lineups of the decade in this category? I'm definitely going to have to go with '03 and '08. Although '07 was also mostly good.
Andrew: My favourite best actor lineup last decade is easily 00. I'd choose anyone from there; but 03 and 07 are close behind.
Jose: I disagree. Depp and Lee Jones over McAvoy can not be good in any way
Andrew: I pretend Tommy Lee Jones isn't there...I really do.
Luke: That's what I meant by "mostly good." I just couldn't get into Michael Clayton like everyone else. You might hate this, but I actually really liked Depp in Sweeney Todd. Sue me.
Andrew: Oh crap, Michael Clayton was 07...? Okay, 07 is out. Hated that year.
Okay dear reader. Do you like this new feature? Any tips? What are your thoughts on the discussion? What did you think of 2004's Actor's Race? Sound off below!
Okay dear reader. Do you like this new feature? Any tips? What are your thoughts on the discussion? What did you think of 2004's Actor's Race? Sound off below!
Thursday, 18 February 2010
Wednesday, 10 June 2009
So I decided that today is the year of 2004. I was just looking at The Aviator, a really good film so I dubbed this day this. This is not my retrospective view of that year, but I actually have data. I did not have a blog then, but I used to type these things up nevertheless. I know, I was a strange child. This was the first year that I started predicting Oscars – I still remember the ceremony (Chris Rock and his theatrics).
Here is my top ten of the year
- The Aviator (Martin Scorsese)
- Eternal Sunshine of the Spotless Mind (Michael Gondry)
- Finding Neverland (Marc Forster)
- Closer (Mike Nichols)
- Hotel Rwanda (Terry George)
- Mean Girls (Mark Waters)
- Birth (Jonathan Glazer)
- Vera Drake (Mike Leigh)
- Sideways (Alexander Payne)
- Being Julia (Istvan Szabo)
The top ten films are in three categories. Number one and two are in a category decidedly of their own, and then #3 and #4; then #5, #6 and #7 and then number #9 and #10. There were some films that in retrospect I would have considered entering into the ten, but I was (and still am) not enamoured with them like these ten here – Kill Bill II – I didn’t like it enough, I’ve never been a die hard fan of Tarantino; Million Dollar Baby – compared to how good Mystic River was this just paled in comparison Oscar win or not; Ray – in terms of a straight biopic Kinsey was head and shoulders above it but I didn't have space for either; Collateral – a good film, but I don’t love it.
Best Scenes
- Meeting Katharine Hepburn – The Aviator
- Young Joel with Clementine - Eternal Sunshine of the Spotless Mind
- The Play – Being Julia
- Opening – Closer
- Meeting Her ‘Husband’ – Birth
- Going Crazy - The Aviator
- Killing Bill – Kill Bill II
- The Trip to Montauk –Eternal Sunshine of the Spotless Mind
- Meeting the Plastics Mean Girls
- The Arrest – Vera Drake
The Directors
- Scorsese for The Aviator
- Gondry for Eternal Sunshine of the Spotless Mind
- Leigh for Vera Drake
- Glazer for Birth
- Alexander Payne for Sideways
Runners Up
- Nichols for Closer
- Eastwood for Million Dollar Baby
- George for Hotel Rwanda
Finalists
- Forster for Finding Neverland
- Mann for Collateral
All the things I liked about Finding Neverland and Closer (to a lesser extent) were not particularly about their direction. I still think Scorsese’s snub was a major Oscar crime
The Men
- Leonardo DiCaprio The Aviator
- Don Cheadle Hotel Rwanda
- Jude Law Closer
- Jim Carrey Eternal Sunshine of the Spotless Mind
- Johnny Depp Finding Neverland
- Paul Giamati Sideways
- Javier Toro The Sea Inside
Finalists
- Jamie Foxx Ray
- Liam Neeson Kinsey
Leo and Don were obviously the two best of the nominees that year, I remember this was the year where many of the contenders were playing the biopic card. I never did get into the hype for Jamie Foxx but what he had that DiCaprio, Depp and Cheadle didn’t was that his character was well known, well loved and recently died. The cards were in his favour. If they didn’t give Carey a nod for Man on the Moon or The Truman Show, I couldn’t really expect it to be forthcoming for this polarising film. It’s unfortunate that Giamati (who was getting a lot of buzz) got shafted for Eastwood – of all people. Neeson and Law were the two English men who went more or less unnoticed that season. Toro is actually a recent inclusion since I didn’t see the movie until 2006.
The Women
- Annette Bening Being Julia
- Kate Winslet Eternal Sunshine of the Spotless Mind
- Imelda
- Julia Roberts Closer
- Nicole Kidman Birth
Finalists
- Lindsay Lohan Mean Girls
- Hilary Swank Million Dollar Baby
- Scarlet Johansson A Love Song For Bobby Long
- Uma Thurman Kill Bill II
The fact that Bening, Winslet or Staunton
Supporting Men
- Clive Owen Closer
- Alan Alda The Aviator
- Freddy Highmore Finding Neverland
- Jamie Foxx Collateral
Runner Up
- Morgan Freeman Million Dollar Baby
Finalists
- James Garner The Notebook
- Peter Sarasgard Kinsey
- John C. Reilly The Aviator
In terms of quality of performance Owen and Haden Church
Supporting Women
- Cate Blanchett The Aviator
- Natalie Portman Closer
- Virginia Madsen Sideways
- Kate Winslet Finding Neverland
- Sophie Okenodo Hotel
Finalists
- Sandra Oh Sideways
- Laura Linney Kinsey
- Lynn Redgrave Kinsey
This was a no contest for me, Blanchett stole the show, but this was a good category. Madsen and Portman did their best as strong supporting players – both deserved their nominations and various precursors. Winslet was beautiful as the widow with the children, a double nod would have been nice – but we know AMPAS does not like her when she looks beautiful (see Quills & Revolutionary Road), okay only sometimes (Titanic, Sense & Sensibility). Okenodo thoroughly deserved the nod she got. Oh didn’t get any love, but oh well. And the Kinsey women were both capable in different ways.
Ensemble Cast
- The Aviator
- Eternal Sunshine of the Spotless Mind
- Sideways
- Finding Neverland
- Closer
- Hotel Rwanda
- Birth
- Kinsey
- Collateral
- Vera Drake
The top three films were all about their casts – the casting directors should give themselves a tap on the shoulder. Finding Neverland, Closer and Birth benefited from their cast, but some ideas were better than others.
Original Screenplay
- Eternal Sunshine of the Spotless Mind
- The Aviator
- The Incredibles
- Hotel Rwanda
- Birth
Adapted Screenplay
- Finding Neverland
- Closer
- Sideways
- Mean Girls
- Million Dollar Baby
Editing
- The Aviator
- Hotel Rwanda
- Eternal Sunshine of the Spotless Mind
Cinematography
- The Aviator
- Finding Neverland
- The Passion of the Christ
Costume Design
- The Aviator
- A Very Long Engagement
- Finding Neverland
- The Merchant of Venice
- Being Julia
Art Direction
- The Aviator
- The Merchant of Venice
- Finding Neverland
- A Very Long Engagement
- The Phantom of the Opera
Score
- Finding Neverland
Sound Mixing
- The Aviator
- The Passion of the Christ
- Eternal Sunshine of the Spotless Mind
Sound Editing
- The Aviator
- Finding Neverland
- Eternal Sunshine of the Spotless Mind
- A Very Long Engagement
- The Passion of the Christ
- The Aviator
- The Merchant of Venice
Original Song
- Look To Your Path Le Choristes
- Accidentally in Love Shrek 2
- Learn to Be Lonely The Phantom of the Opera
- Al Otro Lado Del Río The Motorcycle Diaries
Best Casted Character – Male
- Paul Giamati Sideways
- Jim Carrey Eternal Sunshine of the Spotless Mind
- Johnny Depp Finding Neverland
- Jude Law Closer
- Leonardo DiCaprio The Aviator
Paul Giamati was the perfect man for the job, he completely nailed the almost bathos life of his character. It was genius having Carrey play such an introvert. Depp, Law and DiCaprio were each doubly important to the success of their films, although Law was ignored because he played the rather trite role to perfection.
Best Casted Character – Female
- Annette Bening Being Julia
- Imelda Staunton Vera Drake
- Cate Blanchett The Aviator
- Sandra Oh Sideways
- Natalie Portman Closer
Could anyone else do what Bening did? Of course fifty years earlier it would have been a plum role for the likes of Hepburn, Davis or Dunne but in this day and age no one else could have come close – although Sigourney Weaver would have put up a valiant effort. It’s hard to believe the Oscar was not forthcoming. Finally, a leading role for Staunton
Here's what I saw this year Shrek 2, Harry Potter and the Prisoner of Azkaban, Spiderman 2, The Incerdibles, The Passion of the Christ, Meet the Fockers, Troy, Shark Tale, Ocean's Twelve, I Robot, Van Helsing, Bourne Supremacy, The Polar Express, Bridget Jones' Diary: The Edge of Reason, The Village, Farenheit 9/11, The Terminal, Collateral, Million Dollar Baby, The Aviator, Lemony Snicket's A Series of Unfortunate Events, 50 First Dates, Along Came Polly, Shall We Dance, Alexander, The Phantom of the Opera, Kill Bill Vol II, Mean Girls, Ray, The Forgotten, Finding Neverland, The Notebook, Closer, White Chicks, Sideways, The Stepford Wives, Christmans with the Kranks, 13 Going On 30, The Butterfly Effect, Secret Window, House of Flying Daggers, Catwoman, Eternal Sunshine of the Spotless Mind, Around the World in Eighty Days, A Very Long Engagement, A Cinderella Story, Taxi, Taking Lives, After the Sunset, In Good Company, Sky Captatin & the World of Tomorrow, The Motorcycle Diaries, Cellular, Spanglish, You Got Served, Wimbledon, The Sea Inside, The Prince & Me, Jersey Girl, Alfie, Hotel Rwanda, Confessions of A Teenage Drama Queen, The Girl Next Door, Laws of Attraction, Dirty Dancing: Havana Nights, Ella Enchanted, The Whole Ten Yards, Birth, Little Black Book, Mr. 3000, Wicker Park, The Merchant of Venice, Euro Trip, Kinsey, Dogville, Before Sunset, Surviving Christmas, Being Julia, Vera Drake, Maria Full of Grace, A Very Long Engagement
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