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Showing posts with label Inception. Show all posts
Showing posts with label Inception. Show all posts
Wednesday, 23 February 2011
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?
Saturday, 19 February 2011
It's a bit strange, but I much more excited to see what these three categories will be than the actual main categories. Every category's a main category in my eyes, well except for original song (because they snubbed Burlesque and Chris Martin, unforgivable). Oh well, on to predictions.
MAKEUP
This is the sole category where the nominees have not been singled out in any other category, which makes it the sole category where a Best Picture nominee is not included in the list of nominees. Really, I have no idea what they’ll go for here, I really could see it going to any of the nominees – the fact that I’ve yet to see any of the nominees here doesn’t help my situation.NOMINEES: Barney’s Version / The Way Back / The Wolfman Prediction: The Wolfman Alternate: Barney’s Version
It’s not meant as an insult to the AMPAS voters, but the work on The Wolfman is so intrusive I’d wager that it’d be difficult to ignore. Barney’s Version seems like a worthy alternate because helping characters age is always a valuable way of getting recognition here. I actually want The Way Back to win, just for the talent involved – but it seems to be the most unobtrusive of the nominees. Though, I don’t know if that could be to its credit.
COSTUME DESIGN
Once again, the queens of Costuming (Atwood and Powell) are nominated opposite each other. Last year I was all for an Atwood win (NOMINEES: Alice in Wonderland (Colleen Atwood) / I Am Love (Antonella Cannarozzi) / The King’s Speech (Jenny Beavan) / The Tempest (Sandy Powell) / True Grit (Mary Zophres) Prediction: Alice in Wonderland Alternate: The King’s Speech
I keep thinking, though, that Beavan’s work in The King’s Speech could end up becoming a spoiler. True, the most conspicuous designs often end up triumphing here until that time when they don’t (see: The English Patient over Portrait of a Lady or The Aviator over The Phantom of the Opera). Beavan’s work in The King’s Speech is more modest, but there’s always the possibility that love for The King’s Speech could spill over here – or backlash for Alice in Wonderland...
ART DIRECTION
I find the citation for Harry Potter & the Deathly Hallows a bit ridiculous, especially when you consider all the great examples of production design ignored (Agora, Shutter Island, Never Let Me Go, Nowhere Boy or even films they embraced like Black Swan) – other than that, though, it’s a generally good batch of nominees. Though, the inclusion of Alice in Wonderland is a bit predictable – and not in a good way. NOMINEES: Alice in Wonderland / Harry Potter & the Deathly Hallows I / Inception / The King’s Speech / True Grit Prediction: The King’s Speech Alternate: Inception
I’d expect The King’s Speech to be assured a win here – the work done is especially good here, and it’s probably facing the greatest competition from Inception. The thing with Inception, though, is that the overlapping between production design and visual effects could seem so stark that The King’s Speech could get the edge.
So, is Atwood going to get that third win from the Academy? Inception or The King’s Speech for production design? Which otherwise ignored film gets the makeup statue?
Friday, 18 February 2011
So, apparently on the cusp of the ASC win for Inception it’s turned into the frontrunner for Cinematography.
CINEMATOGRAPHY
I feel like such a fraud having next to no enthusiasm about the race, so despite the fact that Inception shows up nowhere in my top 12 directors of photography I’d be least interested if it actually wins. Logic dictates that True Grit’s Roger Deakins (who’s been trying for that Oscar for some time) will get his due, but I won’t be surprise if he loses. In fact, my gut tells me that The King’s Speech could very well take this, and I’d be fine since it actually makes my list of nominees – but that could result in a potential bloodbath since everyone isn’t convinced that it’s well shot – and the backlash against it is already deafening. The Social Network is not one to rule out here, either and logically, you have to at least consider the possibility of a Black Swan – a win I’d be on board with. Inception aside (or not, even) it’s a fine bunch of nominees. NOMINEES: Black Swan (Matthew Libatique) / Inception (Wally Pfister) / The King’s Speech (Danny Cohen) / The Social Network (Jeff Cronoweth) / True Grit (Roger Deakins) Prediction: The King’s Speech Alternate: True Grit
Maybe I’ll change my mind, but I’m going with The King’s Speech for cinematography – which is based, more than anything, on a maddening hunch of mine.
VISUAL EFFECTS
As far as locks go, I don’t think that Inception is as assured of its win here as – say – Avatar last year; but it’s most likely to assume that it’ll win here. Logically, I’d only see Harry Potter being any competition; but AMPAS voters have not always been known for logic and there’s no telling what sort of spoiler Alice in Wonderland could end up being here. Perhaps, a distant second...?
NOMINEES: Alice in Wonderland / Harry Potter & the Deathly Hallows I / Hereafter / Inception / Iron Man II Prediction: Inception Alternate: Alice in Wonderland
EDITING
You know that trend where the Best Picture winner wins editing, I’m often confused by it...but I digress. Owing to the fact that there is nary a stinker in the ten films nominated for Best Picture, the five editing nominees are quite stellar – with the exception of 127 Hours, which is too unsubtle for me to fête. The Social Network wins my own personal competition, and I predict that it’d be the logical winner here.NOMINEES: Black Swan (Andrew Weisblum) / The Fighter (Pamela Martin) / The King’s Speech (Tariq Anwar) / 127 Hours (Jon Harris) / The Social Network (Kirk Baxter and Angus Wall) Prediction: The Social Network Alternate: Black Swan
I think of The King’s Speech and Black Swan as potential spoilers, although I think the former’s editing is “better” they both have that palpable “edited” feel without being too overworked and Black Swan does accomplish much of its development through its editing, so who knows if a Black Swan surge could occur.
Is Deakins or Pfister headed to the podium? Or is there wisdom in my folly? Does The Social Network and Inception have editing and visuals locked up? Do you care?
Thursday, 17 February 2011
I’ve been shirking my duties as Oscar prognosticator (insert dry laughter) as of late because I’ve been counting down my own awards. I didn’t even realise the BAFTA’s had come and gone, although that could be attributed more to my mystical presence on the internet as of late (computer problems + internet issues + school drama).
SOUND MIXING & SOUND EDITING
I’m still constantly amused by the reaction to The King’s Speech leading the Oscar pack, not because I find aversion to the film impossible – that would be silly – but because too many are willing to reject its sound mixing nomination as something valid. It’s surely not the frontrunner by any means, not conceivably at least, but I don’t find its inclusion to be a moot point.
NOMINEES: Inception / The King’s Speech / Salt / The Social Network / True Grit Prediction: True Grit Alternate: The King’s Speech
NOMINEES: Inception / Toy Story III / TRON: Legacy / True Grit / Unstoppable Prediction: Inception Alternate: Toy Story III
I suppose that Inception will take the sound editing category, if only because 127 Hours was egregiously snubbed here. In the light of its love from the Academy (a whopping 6 nominations) I’m still surprised that they didn’t nominate it here. Sound mixing is trickier, though, and who’s to say that me deeming The King’s Speech as little to no competition will prevent it from winning. I wouldn’t complain whatever wins, none of my nominees are nominated here (Black Swan, Shutter Island, Green Zone) but I’m wary of predicting Inception to take both trophies and considering that True Grit has also been singled out for both sound categories, I’ll wager that that will take the sound mixing category.
Who do you see taking the sound prize?
Thursday, 10 February 2011
Encore Awards: Visual Categories; Part Two (Visual Effects, Cinematography, Editing)
0 comments Posted by 2011 at 14:02
The final round of technical nominations (part one)....here's what impressed me in 2010.
(click on photos for reviews)
I’m still nonplussed as to why its Oscar citation here has caused such a ruckus since it’s still the first technical achievement that jumped out at me (score, costume and art direction included). It’s all part of the entire film’s manner of being paradoxically modern and traditional – simultaneously. The photography is an essential part of its entire philosophy and though sometimes it emerges as just a little too purposeful I’m wary of calling it a fault. 
Like many contemporary films, the camerawork is largely ignored but framing is of exceptional importance here. The revelation of the accident, Howie’s seduction bolstered by Barry White, that beautiful ending – all those pay heavy dues to the cinematography which is always subtle, always understated and lets the screenplay do its job. Proof that obvious garishness is not always the key to good photography. A bit like an obvious choice, no? Lord knows why it’s been virtually ignored. Even if DiCaprio has been playing in this register for a while, and even if the story is a bit pulpy that opening shot defines it all and it gets better from there. Sure, it’s not as subtle as the sets but – well – that’s the point. And extra points for every scene with Michelle Williams, just beautiful to watch
Because Rabbit Hole depends so much on the transference of emotion and because there are only ninety minutes to play with the editing is especially important. Its montages don’t unfold as obvious cinematic tricks, and like the film there’s an easiness to it all that is – unfortunately – easy to ignore. When you think of guiding the pace of the story, and of giving emphasis, though – Klotz’s work is palpably good.
It seems a bit ADD, just like its protagonist and that’s probably the point. The deposition scenes are such an obvious example of him getting a brilliant playing ground and he milks it for all it’s worth getting those precise shots, cuts that supplement Sorkin’s rapid screenplay. Sometimes his choices seem weird, but that’s because there’s SO much going on in this one, watch it multiple and you begin to realise just how seamless the scenes flow into each other.
(click on photos for reviews)
VISUAL EFFECTS
THE NOMINEES
Black Swan
In some ways Aronofksy’s latest reminds me of Avatar, although I was more fond of Cameron’s piece they both are analogous in the fact that they depend on the visual elements and not so much their stories (which aren’t necessarily subpar, just not as key as the optical). Visually, Black Swan is a perfect amalgamation of all things visual and the effects here coalesce beautifully with the cinematography and editing. Sometimes Aronofsky gets the urge to go a bit too pulpy (not always serving the story), but overall it’s a visual triumph.
Harry Potter & the Deathly Hallows
As dissatisfied as I was with some major elements of the latest instalment of Harry Potter, I was impressed with the visual work. Like Black Swan, the work here underscores the reality that best visual effects is not synonymous with most visual effects and though there are a number of holes to poke in the story, visually this instalment is as thrilling as any.
Inception
Visually, it avoids the most blatant of tricks you’d expect and oftentimes the visuals end up aiding the film where the story fails (the flashbacks scenes with Mal, for example – understated, but jarring). Obviously, the more obvious moments are fine – but the ability to tone down is what makes me most impressed with the work here.
Scott Pilgrim vs the World
I’d cry anarchy at the Academy’s ignoring of Scott Pilgrim vs the World in this category – but no members of the Academy are listening so I’ll refrain from indulging in yet another tirade, for the umpteenth time. Visuals are so essential to this story sometimes it seems as if the story is the visual or the visuals are the story – it’s all the same, really. It’s all impeccably interwoven, not subtle (it can’t afford to be) but fitting.
Shutter Island
It’s evidence again of the technical work here being brilliant. The story can be impossibly obviously at times so the visuals don’t overdo. The atmosphere created is palpable and thick, it really is the sort of “visual” film that defines cinema at its most visceral and the way it so seamlessly coalesces with the photography makes me even more impressed.
FINALISTS: Agora is so intent on merging all its technical achievements (photography ties in with art direction which is established in the visuals) – the scope of the city created is almost peerless and though it doesn’t use CGI to much effect that doesn’t mean it’s any less visual; Let Me In; Nanny McPhee & the Big Bang come off as synthetic and very “magicky” – but in the realm of all that’s fantastical you sort of get that that’s necessary
SEMI-FINALIST: the visuals in Alice in Wonderland are loud and they’re obvious, but sometimes they’re not always serving the story. I don’t really grudge its Oscar nomination, though. Because, as officious as it is on occasion (oftentimes) there’s a meticulousness to its creation that’s laudable.
CINEMATOGRAPHY
THE NOMINEES
Agora (Xavi Giménez)
The scene that comes to mind immediately, is of course the storming of the temple. It’s absolute chaos and it’s photographed so intimately, just as Davus’ Christian epiphany is framed well. True, it’s a get a bit too obvious when the camera rises to view the world from a distance and there’s just that tinge of beautifully shots for the sake of beautiful shots – but I’ll forgive those occasional extraneous bits.
Black Swan (Matthew Libatique)
Regardless of the missteps Aronofsky may make I cannot deny the adeptness of the photography. Sometimes you get the feeling that he’s showing off on us, but the fact that he always manages to serve the story prevents me from holding any sort of grudge. In the same way that Agora and its orchestrated stampedes demand astute photography, the dance sequences require the same and we are not robbed of that tenet.
The King’s Speech (Danny Cohen)
I’m still nonplussed as to why its Oscar citation here has caused such a ruckus since it’s still the first technical achievement that jumped out at me (score, costume and art direction included). It’s all part of the entire film’s manner of being paradoxically modern and traditional – simultaneously. The photography is an essential part of its entire philosophy and though sometimes it emerges as just a little too purposeful I’m wary of calling it a fault. Rabbit Hole (Frank G. DeMarco)
Like many contemporary films, the camerawork is largely ignored but framing is of exceptional importance here. The revelation of the accident, Howie’s seduction bolstered by Barry White, that beautiful ending – all those pay heavy dues to the cinematography which is always subtle, always understated and lets the screenplay do its job. Proof that obvious garishness is not always the key to good photography. Shutter Island (Dante Feretti)
A bit like an obvious choice, no? Lord knows why it’s been virtually ignored. Even if DiCaprio has been playing in this register for a while, and even if the story is a bit pulpy that opening shot defines it all and it gets better from there. Sure, it’s not as subtle as the sets but – well – that’s the point. And extra points for every scene with Michelle Williams, just beautiful to watch FINALISTS: I don’t know how many times I have (or how many more times I will) call The Ghost Writer sleek, but goddamn the photography is brilliant; Never Let Me Go is photographed so lushly – it’s even more purposeful than The King’s Speech (sometimes annoyingly so) but it’s essential for Romanek’s attempts in condensing the storyline into such a short running time; in all my appreciation for it I won’t be disingenuous enough to call Somewhere a technical marvel but photography is essential in developing that beautiful listlessness of the rich and famous; The Social Network
SEMI-FINALISTS: Animal Kingdom; Harry Potter & the Deathly Hallows; True Grit; Ondine
FILM EDITING
THE NOMINEES
Animal Kingdom (Luke Doolan)
One of the things I noted in my review was just how seamless everything in Animal Kingdom. There’s a gentle irony about the camerawork here, it’s so flawless that you can’t help but applaud it but in its flawlessness there’s a fluidity that might be easy to ignore – which is a shame.
The Ghost Writer (Tariq Anwar)
The editing does seem a little lustrous – but everything about The Ghost Writer seems to evoke that feeling of a sophisticated sheen. Polanski loves depending on the technical aspects and it’s the editing that is his biggest calling card in keeping the tone in The Ghost Writer that makes it such a top-notch exercise in thrills.
The Kids Are All Right (Jeffrey Werner)
I can’t say I’m surprised this one has gone unnoticed, but even more than Cholodenko’s direction and screenplay the editing in this film is a fabulous example of camerawork enhancing a film. I don’t know if it’s alacrity in trade, or just pure luck but Werner knows just when to cut to what and how to do it. He manages to capture those precise expressions just before they sour – that scene where Nic at the final dinner at Paul’s? The sort of editing that’ll never be recognised by the awards, but screw them.
Rabbit Hole (Joe Klotz)
Because Rabbit Hole depends so much on the transference of emotion and because there are only ninety minutes to play with the editing is especially important. Its montages don’t unfold as obvious cinematic tricks, and like the film there’s an easiness to it all that is – unfortunately – easy to ignore. When you think of guiding the pace of the story, and of giving emphasis, though – Klotz’s work is palpably good. The Social Network (Angus Wall, Kirk Baxter)
It seems a bit ADD, just like its protagonist and that’s probably the point. The deposition scenes are such an obvious example of him getting a brilliant playing ground and he milks it for all it’s worth getting those precise shots, cuts that supplement Sorkin’s rapid screenplay. Sometimes his choices seem weird, but that’s because there’s SO much going on in this one, watch it multiple and you begin to realise just how seamless the scenes flow into each other.FINALISTS: Agora; The King’s Speech; Let Me In; Scott Pilgrim vs the World
SEMI-FINALISTS: The Fighter; Somewhere
Photography, visuals, editing....what were your champions in 2010?
Monday, 7 February 2011
I’ll get around to listing my official list of favourite films some time soon, but I was thinking recently – and for some months now – how treacherous the act of grading films can be at times. No, this is not that long-awaited article explaining my sometimes strange grades, but it’s something that occurred to me most notably when Nicholas (one of my writing idols) made this note on his website. Sometimes when I review a film that I don’t like, I’ll include an aside saying it’s a laudable effort. It’s not evidence of me being apologetic – sometimes films have importance beyond how good a film it is; and Nick’s words strike a chord when I look over the films that are my favourite– and the ones that aren’t. Value, originality and risk is what he looks at and this list of films below are those I consider to be propitious contributions to cinema. Not the films I remember most fondly (although, some turn up there) but the films that are important – those films that are worth your time, even if you don’t love them. (Come on; just check the dictionary to see what auspicious means.) If you will, this is the list of ten films that you shouldn’t have missed last year.
(click on the photos for reviews)
THE NOMINEES
Agora (A-) Director: Alejandro Amenábar; originally written by Alejandro Amenábar and Mateo Gil, inspired by true events
Amenbar was interested in the idea of Hypatia, a feminist before her time – before feminists even. It’s more than plot that makes this a notable one, though. Amenbar and company recreate the world of the era through few special effects, but mostly from built-from-scratch production design. Perhaps I’m alone on this, but the persistent presence of objectivity in it is something to take note of. It’s not a sword and sandal epic of yore that has a specific agenda – sure it contorts historical facts to its advantages, but Agora is a bit like its heroine in being interested in examining all aspects of everything. And perhaps, that makes the transition from the first to the second half a bit splotchy – but it’s still laudable.The Ghost Writer (B+) Director: Roman Polanski; adapted by Roman Polanski and Robert Harris from the novel The Ghost by Robert Harris
I feel a bit silly, because in my natural state of knowing nothing before I saw The Ghost Writer it wasn’t until the second attempt that I was able to glean the potential parallels between Tony Blair – and only after it was pointed out to me (I can be especially clueless about current affairs at times). Not that Polanski’s latest only has importance on that front only. What’s most noticeable about Polanski’s work here is how audacious his directing style still is. He’s still one of the most important cinematic entities alive, and he crafts a film about a man we have no idea about but keeps it finely tuned along with the excellent script. The Ghost Writer won’t top my list of favourite films, but the work put it into it marks it as the most prominent film of 2010 (including, but not relegated to its technical achievements).Inception (B-/C+) Director: Chris Nolan; originally written by Christopher Nolan
I was not the biggest fan of Inception when it came out, and if anything my feelings have lessened but that doesn’t prevent me from admiring Nolan’s vision. No, my disliking Inception was not an example of me being deliberately subversive. Nolan is responsible for a significant portion of the actually story and he deserves credit for the scope of the film. I don’t think he succeeds as well as he might in the creation of completely lucid film, but Inception is the sort of achievement that’s important as a valid example of cinema moving forward – and getting more audacious. For that, I applaud him. Scott Pilgrim vs the World (B+) Director: Edgar Wright; adapted by Edgar Wright and Mark Baccall from a graphic novel by Brian Lee O'Malley
There are a number of reasons that I’ve been miffed about the lukewarm reception Scott Pilgrim vs the World seems to have gotten this past year, and I’ll take solace in it becoming a potential cult classic. It’s not because I happen to like it, I might opine that this is probably the most significant comic to screen adaptation of the last decade. Strong words? Bear with me. Scott Pilgrim’s steadfast devotion to the things that define its generation (Nathan gives a thoughtful review on just that) AND its ability to satisfy the niche without making persons not in that niche audience balk is a significant asset that many films of the type don’t have. It seems as if it sets itself up for a box, but the overwhelming youthfulness of it all is not a crutch but one of its strong suits – one of many.The Social Network (A) Director: David Fincher; adapted by Aaron Sorkin from the novel The Accidental Billionaires by Ben Mezrich and inspired by true events
To an extent I feel as if The Social Network is being celebrated for the wrong things. It doesn’t end up on my list because it reinvents the wheel, it’s here because Sorkin’s script wilily presents us with the most basic of human entities (friendship and jealousy) and Fincher, so astutely, takes up the mantle to helm the piece ensuring that it’s more than about Zuckerberg or facebook. I feel a bit lofty claiming that it’s some sort of social parable for civilisation today and to an extent it’s just a bit too serious for its own good. It’s possible that misrepresentation on this front has attracted claims of its misogynistic ways. In assessing The Social Network, though, it’s better to understand its importance through smaller lenses like human emotion than larger entities like internet addiction (not that human emotion is a “small” entity, but on a curve its less voluble – and more in tune with The Social Network’s inherently smaller – but not necessarily lesser – standards).FINALISTS: Fish Tank (C+) doesn’t thrill me half as much as it does most, but Arnold’s debut is still admirable. Narrative issues aside, she has a striking sense of interest in her protagonist that’s sorely lacking in many coming-of-age films. For Colored Girls (B-) is flawed, but it’s disingenuous not to note the superb attempts that Perry takes in adapting this VERY theatrical piece and trying to maintain that beating theatrical heart and reconciling it with the cinema. Howl (C+) is even more faulty than the former, and I sort of wish that Epstein would have had the guts to be a little less prosaic with how he paced the story – but, that aside, he does some original things with Ginsberg’s life and it makes me interested in seeing him tackling another biographical piece – he seems to have an unbridled enthusiasm for it. Night Catches Us (B/B-) is not a history lesson, and Hamilton is not interested in forwarding a cause shrouded in a pedestrian story. Sometimes she's too reticent for her own good, but the drama she creates is taut and gutsy and most importantly adeptly handled. And, Shutter Island (B) – this one is notable, in particular, for its technical achievements and Scorsese’s ability to utilise past genres while still managing to make the film his, despite that ending – which he can’t be blamed for.
SEMI-FINALISTS: The American; Blue Valentine; Greenberg; The Kids Are All Right
Do you get where I’m going here, or am I confusing? (Again, I say, read Nick’s post) Have you been in the same boat, a film worthy of your respect that you may not love? What’s the most IMPORTANT film of 2010 for you?
Tuesday, 25 January 2011
So, the nominations are here and even though I'm spouting off on twitter I'm strangely zen about the whole affair. True, those song nominees are making me see red, but I'm sort of glib about stupity like Steinfeld for Supporting Actress and such. Let's take a look, shall we?
SOUND EDITING
I predicted 127 Hours / Toy Story III / Inception / Scott Pilgrim vs the World / True Grit. Here's how it went, Actual Nominees: Inception /Toy Story III / TRON: Legacy / True Grit / Unstoppable
So, I get three out of five, I'm kind of shocked that 127 Hours didn't make it here, and in theory I'm glad that the sound voters recognise some less than prestigious flicks (aka Unstoppable). I suppose I was a bit a lot fanciful in predicting Scott Pilgrim vs the World here.
SOUND MIXINGI predicted 127 Hours / Inception / Shutter Island / Toy Story III / True Grit Actual Nominees: Inception / The King's Speech / Salt / The Social Network / The King's Speech
I get two out of five here; I'm not in love with 127 Hours, but the snub sure is odd. Of course good work in Robin Hood and Green Zone would be ignored, but I thought this was a shoo-in. Just an aside, people need to quit dogging on The King's Speech, for one it's nomination makes more sense than The Social Network (although they both make worthy nominees) - I wonder if people actual get what sound mixing is. Sheesh, the hate is going overboard. The entire first ten minutes of The King's Speech depends on the blend of score with sound - which is, sound mixing.
ORIGINAL SONG
I predicted IF I RISE from127 Hours / YOU HAVEN'T SEEN THE LAST OF ME from Burlesque / CHANSON ILLUSIONIST from The Illusionist / I SEE THE LIGHT from Tangled / WE BELONG TOGETHER from Toy Story III and the Actual 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
I get three out of four here, but it hurts to see Burlesque snubbed here. Absolute bull-crap, but I'm going to let that go - what's the point in holding on to it?
ORIGINAL SCORE
I predicted 127 Hours / Alice in Wonderland / Inception / The King's Speech / The Social Network and the Actual Nominees: 127 Hours / How to Train Your Dragon / Inception / The King's Speech / The Social Network
Well, four of five is not bad and it's a bit nice to see How To Train Your Dragon here. I've surrendered to the fact that Oscar choices will not be mine (you'll see those soon enough), and this is a distinguised bunch.
VISUAL EFFECTSI predicted Alice in Wonderland / Harry Potter & the Deathly Hallows / Inception / Scott Pilgrim vs the World / TRON Legacy and the Actual Nominees: Alice in Wonderland / Harry Potter & the Deathly Hallows / Hereafter / Inception / Iron Man II
I get three out of five here, and I really can't fathom the love for Iron Man II here. I understand the Alice in Wonderland love - even if I don't agree with it, but that one is a headscratcher.
CINEMATOGRAPHY
I predicted, Black Swan / Inception / The King’s Speech / The Social Network / True Grit Actual Nominees: Black Swan / Inception / The King’s Speech / The Social Network / True Grit
A perfect score here, but well this was a bit easy - no? All wouldn't make a list of my own, and I would have preferred some surprises from the cinematographers who're sometimes much more inventive - but it's a good set.
EDITING
I predicted The Fighter / Inception / The King’s Speech / The Social Network / True Grit and the Actual Nominees: 127 Hours / Black Swan / The Fighter / The King’s Speech / The Social Network
Three out of five; I can't help but hate that Boyle's ADD style earns him a nod here even if I shouldn't fault people for their opinion.
COSTUMES
I get four out of five here, and I can't comment on I Am Love because I've yet to see it. Truth be told, though, I'm kind of happy it's nominated if only because it's something surprising (even if, vaguely so).
ART DIRECTION
I predicted Alice in Wonderland / Inception / The King’s Speech / Shutter Island / True Grit Actual Nominees: Alice in Wonderland / Harry Potter & the Deathly Hallows I / Inception / The King’s Speech / True Grit
Four out of five; I like Harry Potter but its nomination here annoys me terribly. It's still above average, but there wasn't much scope for interesting production design this year and even though I suppose my Shutter Island prediction was a pipedream it's still unfortunate.
MAKEUP
I predicted, Alice in Wonderland / True Grit / The Wolfman Actual Nominees: Barney's Version / The Way Back / The Wolfman
And I get one of three, ouch. But I'm GLAD - at least some recognition for these two films many have not seen (myself included).
ORIGINAL SCREENPLAY
I predicted Black Swan / The Fighter / Inception / The Kids Are All Right / The King’s Speech and the Actual Nominees: Black Swan / The Fighter / Inception / The Kids Are All Right / The King’s Speech
And, YES no Black Swan here which means I get four out of five. Sure, I'd throw out the exposition heavy Inception but I'm glad for small mercies. I suppose I have to see Another Year now, not that I'm complaining....
ADAPTED SCREENPLAY
I predicted 127 Hours / The Social Network / True Grit / Toy Story III / Winter’s Bone Actual Nominees: 127 Hours / The Social Network / True Grit / Toy Story III / Winter’s Bone
The voters are absolutely crazy for deeming Toy Story as an adapted screenplay (it's a sequel, not a remake) but I get five out of five here, so whatever.
DIRECTOR
My predictions Aronofsky for Black Swan / Fincher for The Social Network / Hooper for The King’s Speech / Nolan for Inception / Reilly for The Fighter Actual Nominees: Aronofsky for Black Swan / Coen's for True Grit / Fincher for The Social Network / Hooper for The King’s Speech / Reilly for The Fighter
Foour out of five; Honestly, the Nolan snub made me laugh because I wanted to call it but then figured, nah. I'm really not incensed because it's not like he's the only one snubbed here - but Oscar dissenters can be so insular at times. Sigh. Again I say, whatever.
SUPPORTING ACTRESS
Four out of five; I can't explain how annoyed I am at the stupidity of Steinfeld's nod here, it's borderline ridiculous and easily my LEAST favourite thing of the day. It's more than her taking a slot for a deserving supporting player, but the category fraud is heinous. I'm surprised voters went for it, but c'est la vie.
SUPPORTING ACTOR
I predicted Christian Bale in The Fighter / Andrew Garfield in The Social Network / Jeremy Renner in The Town / Mark Ruffalo in The Kids Are All Right / Geoffrey Rush in The King’s Speech Actual 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
Four out of five; I called a surprise here, but I wasn't sure what so I didn't predict it. I'm not shocked to see Garfield go, and really the group could have been much worse.
ACTRESS
It's a strong lineup, there's one or two I'd toss out immediately - not because they're bad, but because it was a great year for women - but it's a good group.
ACTOR
I predicted Jeff Bridges in True Grit / Robert Duvall in Get Low / Jesse Eisenberg in The Social Network / Colin Firth in The King’s Speech / James Franco in 127 Hours Actual Nominees: Jeff Bridges in True Grit / Javier Bardem in Biutiful / Jesse Eisenberg in The Social Network / Colin Firth in The King’s Speech / James Franco in 127 Hours
I'm get to see Bardem's performance, but I'm not complaining about my four out of five here. There's no absolute stinker in sight, so that's good to see.
ANIMATED FILM
I predicted How to Train Your Dragon / Toy Story III / Tangled and Actual Nominees: How to Train Your Dragon / The Illusionist / Toy Story III
And YES, Tangled is shut-out. The fact that I haven't seen The Illusionist makes me suspect, maybe I'll like it less than Tangled. But I never said I was a man of logic (just check the tagline on my banner).
PICTURE
Nine out of ten with Winter's Bone subbing for The Town which I'm fine with. It's an unsurprising group, but considering my least favourites of the set is 127 Hours (C+) I suppose it's not terrible.
What's more, my prediction of The King's Speech leading the nods with 12 nominations was correct. With 72 correct of 96 options, I think I did fairly well though I just predict for the hell of it and being right doesn't really have any appeal. I know more than a few are furious, but I don't think the nominees are that poor. A few hours have passed, what knee-jerk reactions to the nominees do you have?
Friday, 21 January 2011
Oscar Talk (FINAL PREDICTIONS): Editing/Cinematography/Visual Effects
0 comments Posted by 2011 at 22:36So, on with the final predictions. Need I do a preamble?
Visual Effects
Is it an upset that I keep expecting Scott Pilgrim vs the World to turn up here? I don’t think so. Yes, I still don’t get why AMPAS felt the need to narrow down the field twice, because now two films will be left with the memory of being so close and yet so far which is really unnecessary when you think of it. I suppose Inception will rule it here – it wouldn’t be my number one, but I’m fine with it. What else can I do?
Predictions: Alice in Wonderland / Harry Potter & the Deathly Hallows / Inception / Scott Pilgrim vs the World / TRON Legacy
Cinematography
I want to think of saying – no guts, no glory – and predict the very deserving Shutter Island as a nominee here. But, I’m torn. With the way the race keeps shaping up it’s just looking terribly dismal for it and it looks like we’re going to be getting an insular bunch of nominees. I suppose any chance of it getting nominated will be eviscerated by either Black Swan or The Social Network. Not that I have anything against the photography in either, but I just sort of wish that they’d remember Shutter Island even if not the popular child at the party. I suppose the three central nominees will be The King’s Speech, True Grit and Inception. Honestly, I’m not feeling the Inception love here – but I’m digressing, this is prediction time (not opinion time). Will Deakins’ win? I have no idea....dare I say I don’t even care?Predictions: Black Swan / Inception / The King’s Speech / The Social Network / True Grit Alternate: Shutter Island / Never Let Me Go / Harry Potter & the Deathly Hallows
Editing
Ah, the most boring category. Not because there wasn’t fine editing this year – but because it seems we’ll not be getting any surprising deserving nods (ala The Bourne Ultimatum) but the generic five best director nods. I don’t know, I just don’t know what they’ll do because the editing nods do match the directing nods, almost always (except when they’ll surprise us and don’t). I want to think that True Grit is a candidate, in their books at least, but I could only see it replacing - in theory - Inception or The King’s Speech. The former probably won’t miss here and the former should not, if it has hopes of glory. But then, maybe The King’s Speech will end up being snubbed big-time (like Atonement). The thing is, Atonement showed up at a total ZERO guilds and The King’s Speech seems to have a semblance of support, so even though a snub would not be terribly shocking, I don’t see it – not for this one at least. And, The Ghost Writer? It should be a logical inclusion – heck it should be a logical inclusion in many places. I’m not even going to touch on Rabbit Hole – blood under the bridge. I’ll go original and suggest Black Swan will be snubbed – ha.Predictions: The Fighter / Inception / The King’s Speech / The Social Network / True Grit Alternates: Black Swan / Winter’s Bone
What do you think of madness? Any predictions?
In a few days the Oscar nominations will be announced, and I’m generally bleh about it all. Which is no surprise, but a step up from last year when I wasn’t even interested enough to write a single word on the race. It’s shaping up to be a very tepid season, but who knows what surprises will come our way. I don’t know – and chances are I won’t predict them, but who cares – right? This is all just for fun.
Sound
I think I went back and forth enough on the sound category before, and I’m not expecting there to be too much of a competition for that category – though I shall inevitably be wrong about whatever the nominees end up becoming. I’m even more meh about this category, because I don’t think I’ll be right about it any occasion. Yes, I know I should bottle my enthusiasm – I’m just really excited (yes, the sarcasm is deafening). Predictions (Sound Editing): 127 Hours / Toy Story III / Inception / Scott Pilgrim vs the World / True Grit Alternates: I have no idea umm Robin Hood? TRON? Black Swan?
Predictions (Sound Mixing): 127 Hours / Inception / Shutter Island / Toy Story III / True Grit Alternates: Even less ideas.... Can you see how on the ball I am here – sheesh,
Original Song
I swear, if Rahman wins the Oscar again I might implode. Actually, I retract that statement because I have feeling that he will win, and I’m not ready to leave yet. Yeah, 127 Hours is probably on its way to earning a nod, and probably a win here – though I can’t deny that I’d be enthused if Burlesque wins for “You Haven’t Seen the Last of Me” – not because, I love it but because ummm it’d be miles better. Okay, maybe not miles – but I’m interjecting my opinions again and predictions are not supposed to be personal. So, three nominees or five? Who knows....it might be five. And I want to say that the best song from Country Strong will be nominated “Me & Tennessee” because it’s Chris Martin and he’s brilliant – but then , I remember “Coming Home” is just the right amount of schmaltz that they’d go for. They probably won’t disregard “I See the Light” from Tangled, because it’s literally begging for a nomination with that (admittedly sweet lighted lantern scene). But, what if it gets snubbed in the animated category – which I would LOVE – would it still get in here? La de da. And then there’s “We Belong Together” which I can’t even remembering being IN Toy Story III - so umm, there you go. Then there’s Chronicles of Narnia which has that painfully trite “There’s A Place for Us”, but I’ll just reserve judgement on that one. And if the Oscars were too painfully highbrow to remember “Once In A Lifetime” from Cadillac Records I guess they won’t remember “Bound to You” (from Burlesque) which I wish they would, but they probably won’t. Then, there’s the song from The Illusionist which could make it, and I’d like to see it turn up because Je t’aime le francais. I cannot deny that I’m really excited to see what they nominate here, more than most of the “real” categories. Predictions: IF I RISE from127 Hours / YOU HAVEN'T SEEN THE LAST OF ME from Burlesque / CHANSON ILLUSIONIST from The Illusionist / I SEE THE LIGHT from Tangled / WE BELONG TOGETHER from Toy Story III Alertnates BOUND TO YOU from Burlesque / ME & TENNESSEE from Country Strong
Score
Will Desplat win the Oscar? Will he? Will he? Will he? Okay – suffice to say, I WANT him to win it and of course as fate would have it he’s back up against the always Hmm, these predictions sound less extrapolative and more mordant – but you know, I’m always one for difference. Any last minute hopes in all things aural?
Friday, 14 January 2011
Sound Editing, Sound Mixing – were there a poll I think I’d bet money that this is the category that non-cinephile Oscar watchers (are there any of those, though?) understand the least. I’ll just add a few notes to the already lengthy bits of pieces I’ve seen trying to explain. One’s about the individual sounds – the effects, if you will and the other’s about the overall sound scheme – everything blending together like the sound effects, the score, dialogue. I hate that there’s always talk about joining the two categories – just because the they’re glamorous doesn’t make them any less valuable. Truth is, I’m terrible at predicting this particular category – I know what I’d go for, but no idea what the voters would want (I stull don’t understand the snubs for Sweeney Todd and Coraline).
On the note of sound editing I suppose that something like Inception would be a lock and I’ll add in 127 Hours because Slumdog Millionaire made it here – and I didn’t understand that nod, either – 127 Hours would actually make sense here. Pixar might get a token animated nod which would mean Toy Story III turns up here. Beyond that, I scratch my head – so I’ll say Harry Potter & the Deathly Hallows and Alice in Wonderland.
Predictions: 127 Hours / Alice in Wonderland / Harry Potter & the Deathly Hallows / Inception / Toy Story III
The sound mixing is where you could get a high-profile film like Black Swan showing up, the sound was an important part of that – and since there’s often crossover I expect Inception and Toy Story III to get in here. I’d Shutter Island here because I still don’t think they’ll ignore it very good technical achievements and I’ll add 127 Hours, the sound IS overwhelming – but it’s good.Predictions: 127 Hours / Black Swan / Inception / Shutter Island / Toy Story III
Does it seem like I bring up Scott Pilgrim vs the World everywhere? True, it’s not my favourite film but I think the sound is easily the best technical thing about it – even more than the visuals. Who knows? Maybe they’ll get the chance to contend here, I’d also suggest The Ghost Writer and Robin Hood – the latter, especially. But who knows, I’ll probably be surprised whatever happens.
Thursday, 13 January 2011
Oscar Talk: Achievement in Directing (with random thoughts on the DGA)
0 comments Posted by 2011 at 14:53
The DGA nominees were announced earlier in the week and every Oscar prognosticators is wondering whether or not their shortlist of directors is going to match the list that AMPAS releases in the next few weeks. Speak to some critics and they’d tell you that the director award is more prestigious than the picture, and now with the ten-wide Picture field that sentiment seems more apt. It’s no surprise then that the DGA, like every other precursor this year, offered a list of the same group of frontrunners. I don’t have any legitimate complaint to lodge against them, because if these are the five they think have been most outstanding then there’s nothing to criticise there. The cited nominees were Arronofsky (Black Swan), Fincher (The Social Network), Hooper (The King’s Speech), Nolan (Inception), and Rusell (The Fighter) – if you’re paying attention you’ll notice that these are the five films up for the Golden Globe for Best Picture, Drama.
From all suppositions one could assume that this is the set of nominees that we can expect from the Academy, although most forecasters are predicting an upset for True Grit. Maybe I’m still a bit naive in this sense, but I still don’t see the correlation between boxoffice and awards’ accolades. Most are citing the surprise success of True Grit at the boxoffice as indication of a recent surge for the film awards’ wise. I’m neither here nor there on that. What strikes me as even stranger, though, is the sentiment that the DGA voted for the race as it was two months ago, and the AMPAS voters (many of them in the DGA) will have to take True Grit’s financial success into consideration to consider the race right now. Poppycock, I say. Who knows...maybe the voters are that fickle, but that just sounds absurd. Does the film being a success make it any better or worse directed? I have no idea (and by that, I mean a thousand times *no* it doesn’t). I’m thinking there will be an upset in the directing race, but I’m not sure I think it’ll be the Coens, but if not the Coen’s then who? The film that you’d most have expected to make a year-end surge (The Way Back) seems to have bowed out of the race with barely a whimper and I want to think that they’ll remember Choldenko but her work is really low-key and they’ll prefer to honour her in the screenplay category. I’ll stick to this quintet for nowPredictions: Arronofsky/Fincher/Hooper/Nolan/Rusell
Not an awful group by any means and better in spades than last year’s line-up I did not care for. So I suppose I should be glad for small mercies.
Enough with predictions, though. If you had the choice to trade out one of the purported five who’d you take out? Who’d you replace them with?
Thursday, 11 November 2010
I want to wash the memory of Inception from my brain. Not because I hated it (I just didn’t like it) but because it’s made me doubtful about Leonardo DiCaprio. Chances are, if you’re reading this blog you’d know that I have no inhibitions about espousing unpopular opinions. For every five times I’ve said Leo is one of my favourite actors there have been two people telling me that I’m crazy for thinking – which doesn’t bother me. It’s not that I think he’s flawless – I have Daniel Day Lewis for those sentiments – but I’m always seeing something special in almost every performance he does, Cobb and others among the exceptions. But I don’t want to lament on the less than perfect today. It’s November 8th and it’s Leo’s birthday. And because he is one of my favourite actors it’s only right that I give a quick look and some of the brilliant (says me) performances that he’s contributed to cinema. My paranoia in worrying that he’s hit a stump is only natural, I’m still going crazy wondering if Jude Law is ever going to grace us with his brilliant screen presence again, but I digress. That’s information for another post...
Frank Abagnale Jr. in Catch Me If You Can
"Ah, people only know what you tell them, Carl."
By my summation Frank is not DiCaprio's best performance. It is, though, the sole performance of his that I can see no one else playing. He has that weird sort of charisma that makes it possible for him to exude that boyish charm that's necessary for young Frank while being brash enough to be wily as adult Frank. It's a strange thing to watch, and no doubt those scenes with Christopher Walken are highlights. I'm not overly fond of the chemistry with Hanks, but then I'm not overly fond of Hanks period - so that;s not saying much. It's weird, two big films in 2002 and no Oscar love for DiCaprio - but I suppose they were just biding their time.
Howard Hughes in The Aviator
"Show me the blueprints."
Interestingly this has turned into an even more polarising performance than his Amsterdam in Gangs of New York. It’s admittedly a role that doesn’t seem to exist in his natural register but it’s proof that he may not be able to play anything but he can play many things. DiCaprio isn't the sort of actor that works well in confinement - like Ralph Fiennes for example. That man can rock a monologue, DiCaprio does excellently when paired up with a scene partner and there's really no doubt that he's at his strongest opposite Blanchett. Perhaps, just a little of my general infatuation obsession appreciation of Katharine Hepburn trickles over and makes me love their arc that much more. But that final confrontation with Blanchett? Just brilliant.
Arnie in What’s Eating Gilbert Grape? (1993)
"She's a whale! Tucker, she's a whale!"
DiCaprio is one-third of the reason I can’t stand Tommy Lee Jones or The Fugitive. The other two thirds are Ralph Fiennes in Schindler’s List and Pete Postlewasite in In the Name of the Father. In short, one of these men should have had an Oscar that year. Enough said. Well, not quite. Child actors are irregular, few develop into serviceable performers - fewer can play a layered incarnation of a character as children. His Arnie is not the strongest child-performance I've seen, but the mere fact that he really does convince me that he's disable is something to praise.
Billy Costigan in The Departed (2006)
"Well I tell you Mr. Costello, I'd like to squeeze some fucking money out of it."
If there's one thing DiCaprio proved with The Departed it's that he has the ability to ground a film, even one that has a large ensemble of actors all doing brilliant things. In theory, DiCaprio shouldn't emerge so easily as the lead in the film because it's really not about Billy Costigan - at least not about him only. I'm a big fan of The Departed (proof) and I'd say that the film never hits a false note, but the biggest thrills all seem to surround DiCaprio.
Frank Wheeler in Revolutionary Road
"I mean: what the hell are you doing in my house if you hate me so much?"
I've established, more than once, that I'm a fan of DiCaprio in Revolutionary Road. I'm still generally confused as to his absence from any significant Awards Race (other than the Golden Globes). Remember, I did cite this as my favourite male performance of the decade and in retrospect I'm surprised more persons didn't cry out about it. I know Revoultionary Road has its adamant dissenters - who I've incidentally not come across here.
Happy birthday, Leo. Which performance of his would you watch today?
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