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(03/10/10 10:25pm)
____simple_html_dom__voku__html_wrapper____>When “The Deer Hunter” won Best Picture in 1978, the Vietnam War had been over for three years. The Academy Awards honored “The Hurt Locker” on Sunday , but over in Iraq, we’re still in deep.Unlike most past war films, those examining the wars in Iraq and Afghanistan are hitting theaters while the wars are ongoing. This unique quality about the “War on Terror” genre implies a message about both government and public politics and an ever-changing image of the American Hero at home and abroad. During the United States’ last protracted involvement in a foreign land, the Vietnam War, Hollywood didn’t start to come to terms with the war until it was well over, said Barbara Klinger, a professor in the Department of Communication and Culture.Klinger says the reason for this is the new nature of the independent film industry, which can be very vocal and can release a movie outside of the studio system. The current war genre originally fanned out through documentaries, many of which exposed the lack of intelligence provided during the Bush administration.Political science professor Jeffrey Hart, who studies the politics of communication technology, said the proliferation of these kinds of films is one of the first steps in creating discussion about and dissent from the two wars. “I think they actually did make things better by giving people a different interpretation than what you were getting from the U.S. government,” he said. “The lack of information about both Iraq and Afghanistan in high U.S. government circles was so extensive, there’s no way you could’ve made things worse by portraying these stories in the media.”Hart cited the documentary “No End in Sight,” calling it a breakthrough film. It was a thorough examination of what was “right and wrong in U.S. strategy after the invasion of Iraq.”After documentaries gained a foothold, fictional films started taking a more complicated political stance.“I think it raises a question about blockbuster politics,” Klinger said. “The war subtext or the anti-invasion subtext gets balanced out by the more pleasurable aspects of viewing that film.”Hart mentioned “The Hurt Locker” specifically as a film that raises questions in the context of the war effort.“‘The Hurt Locker’ gets into the question of how the whole U.S. military is organized,” Hart said. “That notion of barbaric tactics is very important for films to have. The enemy is willing to use tactics that make everybody blanch. But on that same token, the soldiers in that situation also have to use tactics that make you question the nature of that kind of war.”Whether or not these messages influence a public reaction is harder to say. “The Iraq War film is supposedly radioactive in terms of attracting audiences,” Klinger said. “It’s really hard to know what impact those war films have had on peoples’ attitudes.Hart speculates that one of the impacts is the creation and furtherance of misconceptions about Islamic culture.“We get the biased portrayal of the Islamic world from the Western media,” Hart said. “And they get a biased portrayal of themselves and the rest of the world in their media.”Although the War on Terrorism film might further mainstream perceptions about Islamic culture, Klinger said the long-vaunted image of the hero in American culture has recently been challenged.“(‘The Hurt Locker’) takes the figure of the cowboy hero, the guy who breaks the rules and is always right, and it shows how wrong he is,” Klinger said, adding that this archetype is a running theme. Although the genre has not evolved tremendously, it has created a group of films that is bigger and broader than the genre itself.“There’s the Iraq War film, but there’s also the way in which the crisis of the war and the imagery of the war permeates other kinds of films,” Klinger said. “I think it’s really interesting to think of how it has fanned out. It’s consolidated in the home-front war film, but then it’s also peppered throughout all these other movies in the imagery and also in the politics.”
(03/08/10 10:13pm)
____simple_html_dom__voku__html_wrapper____>Writing about the Oscars now, I feel as though I’m writing about Barack Obama winning the 2008 election.The right movie won Best Picture on Sunday night.It may not even be the “best” movie of the year, but “The Hurt Locker” captures the message Hollywood needs to send. “The Hurt Locker” is a symbol of sheer quality and dignity in filmmaking today. Through classical yet inventive directing, cinematography and editing, a breathtaking collaboration has been made with no bells or whistles attached. All the conventions the legendary directors of old, established as the foundations of cinema, have all come together in an experience that is absolutely flooring. Dating as far back as Orson Welles and “Citizen Kane,” talented people were given the keys to a studio and made masterpieces. Now, the process to get a film made, let alone get it seen, is harder than ever, despite the many technological advances that are available at filmmakers’ fingertips. “The Hurt Locker” team has achieved the dream of a lifetime by winning Best Picture, making it the lowest-grossing winner to date. It is a victory for artists everywhere.Kathryn Bigelow is likewise the first woman to ever win Best Director. While this is a powerful encouragement for women everywhere now and in the future, her win most shows that art is blind. “The Hurt Locker” is a harsh, intense “man’s movie” with virtually no women in the entire cast . If a woman can make an awesome action movie, so be it. If a man wants to make a touching romantic comedy, do so. The final movie does not change. As an Iraq War movie, “The Hurt Locker” is the harbinger of change and progress in our culture and in our politics. “The Hurt Locker” has a subtle anti-war message, and its in-depth look at the nature of the U.S. Military and how war is a drug is one of the most complex narratives of the year.But it also turns the image of the American outlaw hero on its head. Jeremy Renner’s Will James is the hero we have known throughout the history of cinema, and his core is shaken. Watching this madman feel overwhelmed in the aisles of the supermarket was a heartbreaking eye-opener unlike any other in 2009. People will look back on this performance and on this character and see a redefinition of masculinity.Despite the numerous more-than-deserving films nominated this year, “The Hurt Locker’s” permanent place in the history books gives it the opportunity to accomplish all these breakthroughs I’ve described. Imagine if one thing changed in this film’s Cinderella story to Oscar gold. Can we say the film would sustain the test of time without this concrete validation of excellence?As for the rest of the awards given at the Oscars, I feel many of them represent the same mark of rightness. It was Jeff Bridges’ time, the eternally likeable Sandra Bullock has been more than humble in her recent awards sweep and no one could hold a candle to Christoph Waltz and Mo’Nique. The cinematography win for “Avatar” is the first step in evolving the technology of 3D, and the win for “The Cove” might actually help end the tragic dolphin slaughter occurring in Japan.This very glowing column might be a change of pace from my usually pessimistic attitude, but here’s something I hate: We can argue endlessly about the “best” movie of the year, and infinitely varied opinions will always get in the way.But it doesn’t change the fact that there was a reason behind these awards, and that reason is more right than any worthless opinion out there.
(03/03/10 10:10pm)
____simple_html_dom__voku__html_wrapper____>This year’s Oscar ceremony is set up to be one of the most and least exciting of all time.In terms of history, we’ve got 10 Best Picture nominees for the first time since “Casablanca,” the second animated film ever nominated, the fourth female director ever nominated, the second black director ever nominated, two Oscar hosts and the front-runners for Best Picture include two of the lowest and highest grossing films in the award’s existence. But picking the winners? This sounds easy. Despite its high status, the odds are almost completely against “Avatar” in favor of “The Hurt Locker.” The acting categories have all been locked up for months, in one case since February. Animated feature, Documentary, Foreign Language and Adapted Screenplay are all obvious picks. And history is likely going to favor Kathryn Bigelow. Never before have I been as ripe for failure as I am right now.Best Picture “The Hurt Locker” represents so much in terms of academy values. It is a modern, American film that will make audiences comfortable with the Iraq War genre. It is an amazing action movie that stands in the face of the tent-pole blockbusters and is an example of how these films should be made. And it is an underdog independent film that represents quality and dignity in filmmaking. Dark Horse: There’s a little film called “Avatar” that still has a great chance. It represents Academy values like spectacle, cultural significance, mass appeal and is possibly the future of cinema. Best ActorAs his fifth nomination without a win, Jeff Bridges’ Oscar will be long overdue. His performance as Bad Blake in “Crazy Heart” is soulful, vulnerable and masterful.Dark Horse: Jeremy Renner of “The Hurt Locker” could help this film go for a massive sweep, and he would take it purely because of the swagger in his step.Best Supporting ActorChristoph Waltz won Best Actor at Cannes last summer and never stopped winning. Waltz’s performance as Col. Hans Landa is one of the most awesomely complex performances of the decade. He’s a sure thing.Best ActressIf in December you told me Sandra Bullock would get an Oscar nomination, I would’ve patted your head and slowly inched away. Today, she’s on a winning streak. Bullock’s Leigh Ann Tuohy could be this year’s Erin Brockovich.Dark Horse: With her 16th nomination, Meryl Streep is as much a tour-de-force as ever.Best Supporting ActressIn the supporting category, the academy loves a good villain, and there was no one better than Mo’Nique as the sadistic mother in “Precious.” It’s her Oscar to lose.Dark Horse: Anna Kendrick or Vera Farmiga from “Up in the Air” are the biggest threat, but I think they’ll split the vote.Best Animated FilmMight I remind you that “Up” is not only nominated for Best Picture but is also a Pixar movie?Dark Horse: It could go to one of the stop-motion animated films, “Coraline” or “Fantastic Mr. Fox.”Best DirectorKathryn Bigelow is the first woman with a shot at winning this prestigious award, and she already has the Directors Guild Award for Best Picture to boot. Dark Horse: James Cameron spent 12 years making “Avatar,” and now he’s put out a product that is revolutionary.Best Original ScreenplayThis is the closest race at the Oscars, with all five nominees being truly worthy. Maybe out of love for the film and the man, I have to hand it to Quentin Tarantino and “Inglourious Basterds.” In addition to a sort of lifetime achievement/consolation prize award, the academy will recognize “Basterds” as a very wordy, dialogue-heavy screenplay.Dark Horse: There’s a precise intensity that goes into Mark Boal’s “The Hurt Locker” screenplay, and if the film has any shot of winning the Best Picture prize, the gossip seems to be that a screenplay award will go with it. Best Adapted Screenplay“Up in the Air” was the front-runner in the Best Picture race until “Avatar” came out, so now this will have to serve as a consolation prize. Its wit and ability to pull its plot right from today’s headlines makes it a shoo-in.Dark Horse: “Precious” is the next best of the bunch, but the surprise nominee “In the Loop” is just as clever as “Up in the Air.”Art Direction: “Avatar”Cinematography: “Avatar” for its use of 3DDark Horse: “The Hurt Locker” for its action sequences, “Inglourious Basterds” for its classical style and “The White Ribbon” for its black & white.Costume Design: “The Young Victoria”Documentary (Feature): “The Cove”Dark Horse: “Food, Inc.”Documentary (Short Subject): “China’s Unnatural Disaster: The Tears of Sichuan Province”Film Editing: “The Hurt Locker”Foreign Language Film: “The White Ribbon”Makeup: “Star Trek”Best Score: “Up”Best Original Song: “The Weary Kind” for “Crazy Heart”Short Film (Animated): “A Matter of Loaf and Death.” It’s a Wallace and Gromit short.Short Film (Live Action): “The Door”Sound Editing: “Avatar”Sound Mixing: “Avatar”Visual Effects: “Avatar”
(03/03/10 7:10pm)
____simple_html_dom__voku__html_wrapper____>So many of today’s worst comedies are offensive, random or both. So to see one that is merely childish should be a relief. “Cop Out” is made for the grown adult with a 9-year-old mind who snickers at every poop joke and explicit use of profanity. And I wouldn’t mind as much if I didn’t think Kevin Smith made the film for himself.As his first effort at directing without having also written the screenplay, Smith might have an out, but I find it hard to believe he detaches himself from any of his pet projects. There’s a reason why Bruce Willis is hunting for a valuable baseball card that was stolen from him. There’s a reason why Tracy Morgan screams movie quotes without any context in endless succession. And there’s a reason why Seann William Scott does Parkour. Kevin Smith likes these things, and he wants to talk about them freely, make poop jokes surround them and be taken seriously. A campy synthesizer score is reminiscent of other ’80s buddy cop movies like “Beverly Hills Cop,” and putting it in that context, it makes sense why “Cop Out” is so heavy on completely unnecessary dramatic back story and poorly staged scenes of violence and action. It’s sad to watch, really, because there is nothing of substance here. There is literally no concept for how to properly write dialogue because the only thing that is made to be funny is the swearing. The only things funnier than that are kids swearing, swearing in Spanish and being able to string the same swear in a row in the same sentence. Willis is definitely phoning in his performance, as is Morgan, who spends a solid 10 minutes dressed as a cell phone. The side plots are more or less opportunities for cameos by Rashida Jones and Jason Lee, and these moments easily add an extra half hour to this already excruciating experience. By the time Stifler showed up and started playing copycat with Morgan, I had completely given up.
(03/03/10 3:40pm)
____simple_html_dom__voku__html_wrapper____>Entertainment Weekly just released a staff-wide list of the 50 Greatest Working Directors in Hollywood as part of its Oscar coverage. While these lists are never something to write home about and the order of said directors could be endlessly debated, the number one spot shocked me. Christopher Nolan took the top position, with Martin Scorsese at number two.Number two! Now there’s no doubt that Nolan is highly talented; he is one of the finest new directors of the decade and a truly rising talent who arguably deserves a place in the top 10. But isn’t it jumping the gun a little to say that the guy best known for making two Batman movies is, in any definition of the word, better than the filmmaker of the iconic “Taxi Driver” and “Goodfellas,” as well as “Raging Bull,” easily one of the greatest films of all time?I’m not sure how EW decided on this list, and it doesn’t look to have any collaboration from its two resident critics, but it almost looks like they asked people to shout out names of directors and left it in whatever order they came up with. That might explain the inclusion of all five of 2010’s Oscar nominated directors in the top 25, with James Cameron and Kathryn Bigelow taking spots three and four respectively. I also wouldn’t disagree with any of the directors on this list (no Michael Bay or McG, thank God), but I guess I would move around a few, futile as that might be. Paul Greengrass and Darren Aronofsky are fantastic in my book, and neither cracked the top 25. I think Andrew Stanton (47) has made slightly better films than his Pixar counterpart Brad Bird (21), although it is a delight to see Hayao Miyazaki slip in at number 10.I could go on, and the more I think about it, the more I realize how difficult this is, or even how much I’m beginning to agree with the list.I think the thing this list most accomplishes is proving that there are directors that in recent years have gone toe to toe with the living legends and even surpassed them. We can now point to artists like Spike Jonze, Jason Reitman, Danny Boyle, Guillermo Del Toro, Paul Thomas Anderson, David Fincher, Pedro Almodovar and especially Nolan and come away with a sense of faith and dignity still left in the industry. They might not have a name like the Revisionist, “New Hollywood” directors of the ’70s, but maybe it’s time to start.So long as it’s not number one.
(02/25/10 12:21am)
____simple_html_dom__voku__html_wrapper____>“Shutter Island” has backed me into a corner. Martin Scorsese’s new film is a brilliant combination of the film noir, psychological mystery and horror thriller genres, and yet it is most certainly not a masterpiece. To notice such flaws is proof that the film is primed to be one of the most talked about and polarizing movies of 2010.However, to discuss it in any context is to discuss the ending, and to do so would eliminate much of the film’s mystique. Here I am, having seen the first film in four years from the greatest living American director, and I can’t write a word about it without ruining that which makes it interesting or, for that matter, worth seeing in the month before anything of quality actually comes out of mainstream Hollywood. It begs several questions about the state of film writing and the nature of spoilers. Our generation is the most receptive to spoiler alerts, knowing just how to detect them (as if SPOILER ALERT wasn’t obvious enough), just how much they entail and just how important they are. A text of any sort doesn’t warrant a spoiler alert unless there’s something worth spoiling, so if you are one of the few people yet to see “Avatar,” it won’t be a surprise to know the bad guy dies.But as receptive as our generation is, we are also the most sensitive. Few other demographics are as eager for information without having it all. Withhold content and I’m losing readers; reveal the big twist and I’ll end up with a mess of disgruntled e-mails.Ever since the growth of the Internet’s public, individualized sphere, college students more than anyone are of the mind-set that the opinion that matters most is their own. In terms of any film, even an obviously bad one, no one can tell someone how you feel until you’ve seen, or suffered through it, yourself.So what am I to do? It was not just the conclusion but the entire third act of “Shutter Island” that forced me to drop half a star from its grade. The ending played to me as a disappointing anti-climax that simply reiterated past plot points and emotions, doing so in a linear, banal format. Should I just ignore it and wait until next Oscar season to debate its merits?In actuality, I might not have to wait that long. “Shutter Island” is performing immensely well at the box office, taking in $14 million on its opening night alone ($41 million for the weekend) and selling out showings in Bloomington. And before long, millions will have their rabid, extensive, elaborate and over-analyzed views about the film littered on IMDb. From there, “Shutter Island” will probably attain an instant cult status, rendering it impervious to any actual criticism. Sorry to spoil the outcome.
(02/10/10 10:51pm)
____simple_html_dom__voku__html_wrapper____>I look at how the Academy’s doubled Best Picture experiment worked out and can say how delighted I am that excellent films like “Up,” “An Education” and “A Serious Man” that would otherwise not be nominated can now be recognized. Then I remembered that the title of my column is ‘Cine’cism and that I gag every time I try justifying nominating “The Blind Side.” “The Blind Side” is simply not worthy, and although there have been recent Best Picture nominees that have been worse in past years, none have been this generic. “The Blind Side” and “District 9” – another film I don’t think is entirely worthy – fully epitomize the Academy’s choice to be more populist. And we can add those two to other, equally mediocre films with a few minor nods. “Star Trek” received four nominations, and people still have the nerve to say it was snubbed. Another multiple nominee was “Sherlock Holmes,” which was honored for its score and its art direction. Art direction? Guy Ritchie made Holmesian London a drab, dreary place and incorporated so much spastic, queasy-cam flashes that to honor it would be like tossing a nod to “Transformers: Revenge of the Fallen.” Oh wait. That’s right, “Transformers 2” was nominated for an Oscar, following the trend of Razzie-nominated films like “Norbit” that get nominated because “technically” there’s some work that goes into making a disaster. The other 16 awards in the Oscars may not mean much to most people, but seeing the films I’ve mentioned get nominated because of a box office receipt and the omission of ones that couldn’t sneak into the major categories is criminal. For instance, “(500) Days of Summer” and “Where the Wild Things Are” remain two of the most charming yet deceptively dark films of the year. Their screenplays were the first things that should’ve been recognized; “(500) Days” because it has that lovely indie-vibe and “Wild Things” because it somehow managed to adapt a nine-sentence story. But each film has another leg to stand on. The “(500) Days” expected/actual montage is second only to the opening sequence from “Up,” and the following pencil-drawn effect is Oscar-worthy in its own right. As for “Wild Things,” are we choosing to completely ignore the artistic world that is Max’s kingdom, the childlike cinematography found within every nook and cranny or most of all, the massive, life-like costumes of the Wild Things themselves? Similarly, “A Single Man” is a film that finds its life force in its appearance. The ’60s vibe is art direction at its best, and what a tragedy it must be for Tom Ford, a fashion designer of all people, to be boxed out of Best Costumes and Makeup. Again though, the main quibble is about Best Picture. There’s maybe one movie each year that catches people off guard, and with two miscasts this year, we’re back in the same rut of 80 percent. Although “Wall-E” was rectified with “Up,” the 10 failed to do the job of nominating a straight comedy, a foreign language film or a documentary like the brilliant “The Cove,” all as hinted at in the press conference in June. And knowing what the five nominees would have been, there might not have been any complaining. So my recommendation to the Academy is to stick with tradition because tradition proves things will get all screwed up anyway.
(02/10/10 5:50pm)
____simple_html_dom__voku__html_wrapper____>“From Paris with Love” is one of those bland, modern action movies with a non-existent plot, some hot women and really fast editing.Even in a junk movie like this, something extraordinary typically does happen, but here the camera swivels and cuts just enough to make it look that way as Travolta stands in the center of the chaos.The difference is this movie doesn’t fully take itself seriously – but there’s nothing clever about the MF word, nor is there with Travolta eating a Royale with cheese. The entire supporting cast is shockingly wooden and artificial, possibly to emphasize the work of Travolta, who would steal the show if his dialogue weren’t so forced. Case in point: even when your character is named Charlie Wax, “Wax on, Wax off,” is not a good intimidating catch phrase.
(02/03/10 5:37pm)
____simple_html_dom__voku__html_wrapper____>Carey Mulligan’s inherently charming performance in “An Education” is not the only thing working in its favor. Lone Scherfig’s film transcends Oscar-bait, becoming a wholly original work of art. Despite living a busy schoolgirl lifestyle on her road to Oxford, we find Jenny (Mulligan) quite bored with her life in London. What develops is a film that seeks to define happiness and how a person approaches the future. It’s not a coming of age story so much as it considers the multiple ways in which coming of age is deemed appropriate. A real test of her adulthood comes when she’s asked out by David (Peter Sarsgaard), an older man. Contrary to expectations, the film does not become about lying, sex or abuse. Instead it’s about maturity, and Mulligan brilliantly pulls off a major lifestyle change without altering her personality to assumed cliches of pretension or neglect. Everything about “An Education” seems catered to an uncomfortable genre. But those coming out of the film surprised will have received an education they needed.
(02/03/10 3:37am)
____simple_html_dom__voku__html_wrapper____>Director, writer, actor and renowned film historian Peter Bogdanovich appeared at the Radio TV Building on Saturday to participate in a discussion in the continuing celebration of the Lilly Library’s 50th Anniversary.The Lilly Library holds a collection of Bogdanovich’s films and invited him on the basis that he has an extensive background with directors Orson Welles and John Ford, of whose work the Lilly Library also has collections.Communications & Culture Emeritus Professor James Naremore led the discussion entitled “A Conversation with Peter Bogdanovich.” Naremore said that Bogdanovich is, “one of the most underrated American directors in cinema,” and commented on the irony of interviewing one of history’s greatest film interviewers.Bogdanovich is the Academy Award nominated director of “The Last Picture Show” and “Paper Moon,” amongst other titles. He was also employed as a critic for Esquire magazine, wrote the book "This is Orson Welles" and acted in several episodes of “The Sopranos.”His interview took on a fairly informal tone as he reflected on his life’s work, told stories about his acquaintances with actors and directors and answered questions to a standing-room-only audience in RTV 251. He explained how black and white cinematography, although far out of use today, is an asset for actors and specifically period pieces. In his film “What’s Up, Doc?” he described how it is necessary to maintain a quick pace in comedy while also playing the scene real. And to his actors, he often denied them the opportunity to rehearse emotional moments in front of him, believing that the first take is always the most breathless. He claims this is the case with Cloris Leachman’s climactic moment in “The Last Picture Show.”Bogdanovich also responded to what he thinks is a dwindling state of the movie industry today. He says the studio system fell apart in the late 60’s, and since the time of “Jaws” and “Star Wars,” all studios only make blockbusters, franchises and sequels.“What were once B-Pictures are now the A-Pictures,” Bogdanovich said. “A-Pictures are now all made independently. You couldn’t make “The Last Picture Show” today.”But the highlights of his interview came from his amusing anecdotes about Welles, Renoir, Audrey Hepburn and Alfred Hitchcock, all of which were punctuated with his spot-on impersonations of the stars.Renoir, who Bogdanovich calls “a wonderful human being,” made a joke at Bogdanovich’s dinner party that President Nixon was dubbed. The audience also learned from Bogdanovich that Hitchcock has a famous drunken story about a bloodbath that he tells whenever he’s in an elevator with strangers.As for Orson Welles, Welles lived with Bogdanovich for several years late in his life, and in his time there, he started a fire with a lit cigar that he forgot he had left in his bathrobe. Bogdanovich closed the afternoon with yet another story, this one from James Stewart on what makes the movies so magical.In his best Stewart voice, Bogdanovich said, “If you’re good, God helps you, and you’re lucky enough to get a personality across on screen, you’re giving people a piece of time that they will remember forever.”
(02/02/10 6:09pm)
____simple_html_dom__voku__html_wrapper____>“The Hurt Locker” and “Avatar,” two wartime pictures that couldn’t be different in both setting and box office, are both tied leading the Oscar nomination pack that was announced Tuesday morning with nine nods each. It’s a fitting rivalry as the films are the two front-runners in the Best Picture race that now contains 10 films. “Up” became the second animated film to ever be nominated for Best Picture since “The Beauty and the Beast” in 1991. “District 9,” the South African Sci-fi that performed quite well with audiences this year, scored another slot. Two lesser-known dramedies, Lone Scherfig’s “An Education” and the Coen Brothers’ “A Serious Man,” were both nominated. And perhaps the biggest surprise of the morning was that although the Academy nominated an inspirational sports movie, it was not Clint Eastwood’s Nelson Mandela biopic but was instead the football film “The Blind Side.” Rounding out the 10 are “Up in the Air,” “Inglourious Basterds” and “Precious.” With “The Hurt Locker” and “Avatar,” these are likely the five films that would’ve been nominated had it not been for the rule change, and that theory is reflected in the matching Best Director nominations for Kathryn Bigelow, James Cameron, Lee Daniels, Quentin Tarantino and Jason Reitman. The acting categories all shaped up as predicted, with the only real exception being Maggie Gyllenhaal’s Best Supporting Actress nod for “Crazy Heart,” as she bumped out not Penelope Cruz for “Nine,” but Julianne Moore for “A Single Man.” The rest of the nominees for Best Supporting Actress were Mo’Nique (“Precious”), easily the front-runner, and the two women from “Up in the Air,” Anna Kendrick and Vera Farmiga. In Best Actress, the nominees are Sandra Bullock (“The Blind Side”), Helen Mirren (“The Last Station”), Carey Mulligan (“An Education”), Gabourey Sidibe (“Precious”) and with her 16th nomination, Meryl Streep for “Julie & Julia.” For Lead Actor, most people seem to think Jeff Bridges’s role in “Crazy Heart” will lock up his Oscar, but with a field as strong as this one, it’s anyone’s race: George Clooney (“Up in the Air”), Colin Firth (“A Single Man”), Morgan Freeman (“Invictus”) and Jeremy Renner (“The Hurt Locker”). And for Best Supporting Actor, the nominees are Matt Damon (“Invictus”), Woody Harrelson (“The Messenger”), Christopher Plummer (“The Last Station”), Stanley Tucci (“The Lovely Bones”) and front-runner Christoph Waltz (“Inglourious Basterds”). “The Blind Side” and “Avatar” were the only Best Picture nominees to not receive a screenplay nomination. Their spots were filled by “The Messenger” for Original Screenplay and the British comedy “In the Loop” for Adapted Screenplay. The Oscars are March 7th on ABC as hosted by both Steve Martin and Alec Baldwin.The full list of nominees follows:Actor in a Leading Role• Jeff Bridges in “Crazy Heart”• George Clooney in “Up in the Air”• Colin Firth in “A Single Man”• Morgan Freeman in “Invictus”• Jeremy Renner in “The Hurt Locker”Actor in a Supporting Role• Matt Damon in “Invictus”• Woody Harrelson in “The Messenger”• Christopher Plummer in “The Last Station”• Stanley Tucci in “The Lovely Bones”• Christoph Waltz in “Inglourious Basterds”Actress in a Leading Role• Sandra Bullock in “The Blind Side”• Helen Mirren in “The Last Station” • Carey Mulligan in “An Education”• Gabourey Sidibe in “Precious: Based on the Novel ‘Push’ by Sapphire”• Meryl Streep in “Julie & Julia”Actress in a Supporting Role• Penélope Cruz in “Nine”• Vera Farmiga in “Up in the Air”• Maggie Gyllenhaal in “Crazy Heart”• Anna Kendrick in “Up in the Air”• Mo’Nique in “Precious: Based on the Novel ‘Push’ by Sapphire”Animated Feature Film• “Coraline” Henry Selick• “Fantastic Mr. Fox” Wes Anderson• “The Princess and the Frog” John Musker and Ron Clements• “The Secret of Kells” Tomm Moore• “Up” Pete DocterArt Direction• “Avatar” Art Direction: Rick Carter and Robert Stromberg; Set Decoration: Kim Sinclair• “The Imaginarium of Doctor Parnassus” Art Direction: Dave Warren and Anastasia Masaro; Set Decoration: Caroline Smith• “Nine” Art Direction: John Myhre; Set Decoration: Gordon Sim• “Sherlock Holmes” Art Direction: Sarah Greenwood; Set Decoration: Katie Spencer• “The Young Victoria” Art Direction: Patrice Vermette; Set Decoration: Maggie GrayCinematography• “Avatar” Mauro Fiore• “Harry Potter and the Half-Blood Prince” Bruno Delbonnel• “The Hurt Locker” Barry Ackroyd• “Inglourious Basterds” Robert Richardson• “The White Ribbon” Christian Berger Costume Design• “Bright Star” Janet Patterson• “Coco before Chanel” Catherine Leterrier• “The Imaginarium of Doctor Parnassus” Monique Prudhomme• “Nine” Colleen Atwood• “The Young Victoria” Sandy PowellDirecting• “Avatar” James Cameron• “The Hurt Locker” Kathryn Bigelow• “Inglourious Basterds” Quentin Tarantino• “Precious: Based on the Novel ‘Push’ by Sapphire” Lee Daniels• “Up in the Air” Jason ReitmanDocumentary (Feature)• “Burma VJ” Anders Østergaard and Lise Lense-Møller• “The Cove” Nominees to be determined• “Food, Inc.” Robert Kenner and Elise Pearlstein• “The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers” Judith Ehrlich and Rick Goldsmith• “Which Way Home” Rebecca CammisaDocumentary (Short Subject)• “China’s Unnatural Disaster: The Tears of Sichuan Province” Jon Alpert and Matthew O’Neill• “The Last Campaign of Governor Booth Gardner” Daniel Junge and Henry Ansbacher• “The Last Truck: Closing of a GM Plant” Steven Bognar and Julia Reichert• “Music by Prudence” Roger Ross Williams and Elinor Burkett• “Rabbit à la Berlin” Bartek Konopka and Anna WydraFilm Editing• “Avatar” Stephen Rivkin, John Refoua and James Cameron• “District 9” Julian Clarke• “The Hurt Locker” Bob Murawski and Chris Innis• “Inglourious Basterds” Sally Menke• “Precious: Based on the Novel ‘Push’ by Sapphire” Joe KlotzForeign Language Film• “Ajami” Israel• “El Secreto de Sus Ojos” Argentina• “The Milk of Sorrow” Peru• “Un Prophète” France• “The White Ribbon” GermanyMakeup• “Il Divo” Aldo Signoretti and Vittorio Sodano• “Star Trek” Barney Burman, Mindy Hall and Joel Harlow• “The Young Victoria” Jon Henry Gordon and Jenny ShircoreMusic (Original Score)• “Avatar” James Horner• “Fantastic Mr. Fox” Alexandre Desplat• “The Hurt Locker” Marco Beltrami and Buck Sanders• “Sherlock Holmes” Hans Zimmer• “Up” Michael GiacchinoMusic (Original Song)• “Almost There” from “The Princess and the Frog” Music and Lyric by Randy Newman• “Down in New Orleans” from “The Princess and the Frog” Music and Lyric by Randy Newman• “Loin de Paname” from “Paris 36” Music by Reinhardt Wagner Lyric by Frank Thomas• “Take It All” from “Nine” Music and Lyric by Maury Yeston• “The Weary Kind (Theme from Crazy Heart)” from “Crazy Heart” Music and Lyric by Ryan Bingham and T Bone BurnettBest Picture• “Avatar” James Cameron and Jon Landau, Producers• “The Blind Side” Nominees to be determined• “District 9” Peter Jackson and Carolynne Cunningham, Producers• “An Education” Finola Dwyer and Amanda Posey, Producers• “The Hurt Locker” Nominees to be determined• “Inglourious Basterds” Lawrence Bender, Producer• “Precious: Based on the Novel ‘Push’ by Sapphire” Lee Daniels, Sarah Siegel-Magness and Gary Magness, Producers• “A Serious Man” Joel Coen and Ethan Coen, Producers• “Up” Jonas Rivera, Producer• “Up in the Air” Daniel Dubiecki, Ivan Reitman and Jason Reitman, ProducersShort Film (Animated)• “French Roast” Fabrice O. Joubert• “Granny O’Grimm’s Sleeping Beauty” Nicky Phelan and Darragh O’Connell• “The Lady and the Reaper (La Dama y la Muerte)” Javier Recio Gracia• “Logorama” Nicolas Schmerkin• “A Matter of Loaf and Death” Nick ParkShort Film (Live Action)• “The Door” Juanita Wilson and James Flynn• “Instead of Abracadabra” Patrik Eklund and Mathias Fjellström• “Kavi” Gregg Helvey• “Miracle Fish” Luke Doolan and Drew Bailey• “The New Tenants” Joachim Back and Tivi MagnussonSound Editing• “Avatar” Christopher Boyes and Gwendolyn Yates Whittle• “The Hurt Locker” Paul N.J. Ottosson• “Inglourious Basterds” Wylie Stateman• “Star Trek” Mark Stoeckinger and Alan Rankin• “Up” Michael Silvers and Tom MyersSound Mixing• “Avatar” Christopher Boyes, Gary Summers, Andy Nelson and Tony Johnson• “The Hurt Locker” Paul N.J. Ottosson and Ray Beckett• “Inglourious Basterds” Michael Minkler, Tony Lamberti and Mark Ulano• “Star Trek” Anna Behlmer, Andy Nelson and Peter J. Devlin• “Transformers: Revenge of the Fallen” Greg P. Russell, Gary Summers and Geoffrey PattersonVisual Effects• “Avatar” Joe Letteri, Stephen Rosenbaum, Richard Baneham and Andrew R. Jones• “District 9” Dan Kaufman, Peter Muyzers, Robert Habros and Matt Aitken• “Star Trek” Roger Guyett, Russell Earl, Paul Kavanagh and Burt DaltonWriting (Adapted Screenplay)• “District 9” Written by Neill Blomkamp and Terri Tatchell• “An Education” Screenplay by Nick Hornby• “In the Loop” Screenplay by Jesse Armstrong, Simon Blackwell, Armando Iannucci, Tony Roche• “Precious: Based on the Novel ‘Push’ by Sapphire” Screenplay by Geoffrey Fletcher• “Up in the Air” Screenplay by Jason Reitman and Sheldon TurnerWriting (Original Screenplay)• “The Hurt Locker” Written by Mark Boal• “Inglourious Basterds” Written by Quentin Tarantino• “The Messenger” Written by Alessandro Camon & Oren Moverman• “A Serious Man” Written by Joel Coen & Ethan Coen• “Up” Screenplay by Bob Peterson, Pete Docter, Story by Pete Docter, Bob Peterson, Tom McCarthyList courtesy of The Academy of Motion Pictures Arts and Sciences
(02/01/10 4:56pm)
____simple_html_dom__voku__html_wrapper____>The column I wrote for Thursday is an overview starting point. I figured it would be appropriate to list exactly who I think will be nominated in each category, especially since a few things have changed since I wrote the column.Best Picture (be sure to list 10, not 5)AvatarDistrict 9An EducationThe Hurt LockerInglourious BasterdsInvictusPrecious: Based on the Novel "Push" by SapphireA Serious ManUpUp in the AirBest ActorJeff Bridges, Crazy HeartGeorge Clooney, Up in the AirColin Firth, A Single ManMorgan Freeman, InvictusJeremy Renner, The Hurt LockerBest ActressSandra Bullock, The Blind SideHelen Mirren, The Last StationCarey Mulligan, An EducationGabourey Sidibe, PreciousMeryl Streep, Julie & JuliaBest Supporting ActorMatt Damon, InvictusWoody Harrelson, The MessengerChristopher Plummer, The Last StationStanley Tucci, The Lovely BonesChristoph Waltz, Inglourious BasterdsBest Supporting ActressPenelope Cruz, NineVera Farmiga, Up in the AirAnna Kendrick, Up in the AirMo'Nique, PreciousJulianne Moore, A Single ManBest DirectorKathryn Bigelow, The Hurt LockerJames Cameron, AvatarLee Daniels, PreciousJason Reitman, Up in the AirQuentin Tarantino, Inglourious BasterdsBest Original Screenplay(500) Days of SummerThe Hurt LockerInglourious BasterdsA Serious ManUpBest Adapted ScreenplayAn EducationPreciousA Single ManUp in the AirWhere the Wild Things Are
(01/27/10 5:46pm)
____simple_html_dom__voku__html_wrapper____>There are likely a dozen reasons why the Academy decided to create 10 Best Picture slots this year instead of five, and I will not explore them here. But this is the Academy’s experiment, and if performed correctly, it will result in a worthy line-up of 10 films. If there was ever a year to double up, this is it. Here’s a bit of what to expect when the Oscar nominations are announced Feb. 2. Best PictureIn: “Avatar” is the front-runner in this year’s race, firstly because it is amazing but also because it’s the Academy’s way of apologizing for snubbing “The Dark Knight.” “Up” is also in, set to become the second animated film to ever be nominated for the category, and again, the Academy’s way of apologizing for snubbing “Wall-E.” Critical favorites “The Hurt Locker” and “Up in the Air” are locks because of the values they represent. “Precious” is the heart-wrenching indie gem of the year that sentimental voters will eat up, and “Inglourious Basterds” is the gut-wrenching gem of the year that Jewish voters will love. Maybe: “An Education” was an early favorite, but some of its buzz has died down. “A Serious Man” is a Coen Brothers classic, but unlike “Basterds,” this dark comedy may turn off the Jewish voters. “Invictus,” “Nine” and “The Lovely Bones” were all big contenders until people saw them. They are still in the race however because “Invictus” is an inspirational sports movie by Clint Eastwood, “Nine” is a lavish musical rife with star power and “Bones” is a visually lush tragedy about a young girl that gets raped and murdered, directed by Peter Jackson. All sound like Oscar bait to me. If not, then there is a good chance for either “District 9,” “The Messenger” or “The Hangover,” which just won Best Musical or Comedy at the Golden Globes.Out: “Where the Wild Things Are” is out because it’s too polarizing, “(500) Days of Summer” is too indie, “A Single Man” is too artsy and “Star Trek” is too popcorny.Best ActorIn: The veterans are all here: Jeff Bridges (“Crazy Heart”), George Clooney (“Up in the Air”), Colin Firth (“A Single Man”) and Morgan Freeman (“Invictus”). With them is newcomer Jeremy Renner for “The Hurt Locker,” who gets a nomination just because of the swagger in his step.Maybe: You’ll notice there are five actors in at this point. So it will be a big upset if Michael Stuhlbarg (“A Serious Man”) or Viggo Mortensen (“The Road”) sneak into the pack.Out: Sadly, Brad Pitt (“Basterds”), Matt Damon (“The Informant!”) and, in my opinion, Max Records (“Wild Things”) simply won’t make the cut. Best ActressIn: Was Meryl Streep in a movie this year? Yes – “Julie & Julia.” She’s in. With her are two newcomers: Carey Mulligan (“An Education”), who is full of spunk, and Gabourey Sidibe (“Precious”), who is so brave.Maybe: The two women with the best shot and minimal competition are two veterans, Helen Mirren (“The Last Station”) and Sandra Bullock (“The Blind Side”). This would be Bullock’s first nod. But expect competition from Emily Blunt (“The Young Victoria”), Marion Cotillard (“Nine”) and Abbie Cornish (“Bright Star”). Out: Unfortunately, don’t expect love for Zooey Deschanel (“500 Days”), Melanie Laurent (“Basterds”) or Maya Rudolph (“Away We Go”).Best DirectorIn: Kathryn Bigelow (“Hurt Locker”), who would only be the fourth woman ever nominated, is the current front-runner. Her ex-husband James Cameron (“Avatar”), should make this race interesting. The two other sure things are Jason Reitman (“Up in the Air”) and Quentin Tarantino (“Basterds”). All four directors have made instant classics.Maybe: As is usually the case, the Best Director nominees usually match up closely with the Best Pictures. If there were five, the first four would already be represented here. The last would be “Precious,” and Lee Daniels is certainly a possibility. However, Clint Eastwood (“Invictus”), The Coen Brothers (“A Serious Man”) and Pete Doctor (“Up”) all have a good shot to steal the last spot. Out: Spike Jonze (“Wild Things”) and Tom Ford (“A Single Man”) both made brilliant films this year, but their work is a bit too odd and controversial for the Academy voters to fully appreciate. Best Supporting ActorIn: Guaranteed this Oscar season is the nomination and win for Christoph Waltz of “Basterds.” Other likely nominees are Woody Harrelson (“The Messenger”), who is having a fantastic year, and Matt Damon for his very blonde performance in “Invictus.” Maybe: Christopher Plummer (“The Last Station”) and Stanley Tucci (“The Lovely Bones”) have given much-praised performances in less praised films.And yet, they are likely the front-runners against some great work by Alfred Molina (“An Education”) and Anthony Mackie (“Hurt Locker”). Best Supporting ActressIn: What’s the other sure thing this year? Mo’Nique as the vicious mother of “Precious” is guaranteed an Oscar after her persona-changing performance. However, the girls from “Up in the Air,” Anna Kendrick and Vera Farmiga, are this category’s dark horses. Maybe: Julianne Moore (“A Single Man”) is another one of those great actresses that’s never won, and she has a another chance at a nod. And although most chart watchers aren’t giving much hope for Diane Kruger (“Basterds”) or Penelope Cruz (“Nine”), they’ve received other nominations throughout the awards season.
(01/27/10 2:07am)
____simple_html_dom__voku__html_wrapper____>Following the ascendancy of "Avatar" to becoming the number one grossing film of all time, we thought it was important to discuss it in terms of the upcoming Academy Awards. So we organized a debate through exchange of emails between two of our movie critics. On one side, Brian Welk discusses James Cameron's epic from a "pro" perspective regarding the Best Picture award; John Barnett takes the other side. John leads off the debate, enjoy! --I have to start this conversation out by saying how ludicrous I think the whole "10 Best Picture nominees" concept is. The only reason I can possibly discern for this is just to beef up ratings. People who might feel alienated when just "arty" movies are nominated will have a few afterthoughts to root for. "Hey, I liked 'UP!'" "Hey, 'Up' was funny AND heartwarming!" etc.Anyway, I want to also preface this with my guess as to which movies will be the 10 nominees. Just for discussion/comparison purposes. They are:- "Avatar"- "Inglourious Basterds"- "The Hurt Locker"- "Up in the Air"- "Precious": based on blah blah blah- "An Education"- "District 9"- "Up"- "Julie & Julia"- "Nine" (because Oscar loves nothing more than to gag on Rob Marshall's peen)OK, on to "Avatar." I'm honestly baffled as to who will win the big one this year, since Hurt Locker took the Critics Choice, "Avatar' won the Globe, and "Basterds" nabbed the SAG. "Up in the Air" seems like just the kind of pap Oscar will lap up, just like they did with Jason Reitman's last mediocre but amusing and quotable movie "Juno." I don't think "Precious" has a shot, only because Mo'Nique is a lock and the telecast will be content to end its coverage of the movie with yet another shot of director Lee Daniels looking like he just got kicked in the balls and is about to shit his pants at the same time.So "Avatar." I would say Cameron's brainchild has at least a 40% shot at the top prize, primarily because of the lasting effects it will end up having on the film industry. I agree with some of the naysayers that Cameron's screenplay, as well as some of the acting, is not Oscar caliber. On the other hand, from a purely aesthetic standpoint the film is a complete masterwork. One could've leveled the came criticisms about "Titanic," and many surely did. Don't forget it won 11 Oscars. Cameron is nothing if not a populist director, which is sort of odd considering he's such an abrasive egghead. Oscar certainly doesn't reward populism in the same manner as the Golden Globes, but they certainly don't ignore box-office success and hype.At this moment, I would say the percentage odds stand here:"Avatar" - 40%"Up in the Air" - 25%"The Hurt Locker" - 20%"Inglourious Basterds" - 15%I'll await your reply.-John BarnettI totally agree that no matter what the Academy says, this 10 Best Picture nominees thing is completely a ploy to boost ratings. However, I would say the Academy's experiment has worked, because this is a very worthy lineup of 10 films. If there five, they would be "Avatar," "Basterds," "Hurt Locker," "Up in the Air" and "Precious," and those are more than worthy.As for the others, "An Education" and "Up" are both fantastic, and are likewise in. It's the last 3 that are toss-ups. "District 9" is getting a lot of buzz as of late, so I can see that. And I would say "Nine" and "Julie & Julia" are definitely out, firstly because "Nine was terrible" and "J&J" would've been a disaster were it not for Streep. Although both films are up the Academy's alley, I would say the two inspirational sports movies about South Africans and a strong woman ("Invictus" and "The Blind Side") are better bets. And suddenly, don't count out "The Hangover" after a surprising upset at the Globes.Moving on, the four films you selected are definitely the ones fighting for the top prize, but I don't where you get the percentages, because it really is anybody's race at this point. The reason "Avatar" is the current front runner stretches beyond that of its Golden Globe win and James Cameron's Best Director win. Like "Titanic" before it, the film's overwhelming success at the box office represents a cultural staple, one that everyone can rally behind. As the most successful film of this decade, the Academy may seek to honor "Avatar" not because of populist reasons but because they want to create a lasting statement of a film that defined this time period."Avatar" is also a spectacle. Unlike a simply amazing action film like "The Dark Knight" that the Academy snubbed, it is a wondrous experience that characterizes film's visual abilities like no other movie like it. A better comparison would be to the original "Star Wars" or "Lord of the Rings," because like those two movies, the industry's expectations on how Avatar can influence the way cinema is made is ambiguous, but they recognize its potential.What it has to overcome however is a variety of factors: Does a film like "The Hurt Locker," a definitive Iraq War picture, or "Up in the Air," a concept ripped right out of today's headlines, better represent the values the Academy is trying to represent? And will an equally spectacle driven film like "District 9" potentially split some of "Avatar"'s vote? If both "District 9" and "Star Trek" were nominated, it might not be able to beat both. I guess the next question to ask is, what do we want to happen on March 7, and would an "Avatar" win be a good thing?You start.- Brian WelkI totally forgot about "Invictus." That will be in the list of 10, I'm sure. I refuse to believe they'll nominate "The Blind Side," but I suppose anything is possible. Also, those percentages I applied to the top four movies were just my feelings on the likelihood of the Academy voters bestowing the prize on each movie based on what I know about the history of the Oscars. In reality, though, it may well be a complete toss-up between all four.There was recently a great article by Owen Gleiberman in Entertainment Weekly about the politics he forsees in this year's Best Picture race. You can find that here: http://movie-critics.ew.com/2010/01/02/avatar-vs-up-in-the-air/In terms of what I WANT to happen on March 7, my personal favorite film that I saw in 2009 was "Inglourious Basterds." I think it's Tarantino's second best film, only short of "Pulp Fiction," and I still get a little sore when I think about the 1995 Oscar telecast when "Forrest Gump" was sort of a hulking freight train taking everything else down. I mean I love "Gump," but "Pulp" was the best and most groundbreaking movie of that year by a longshot. Oscar often loves a feel-good hit, and they even more often love a movie with a showpiece performance at its heart.Anyway, as little of a real chance I think my personal favorite film of the 2009 has to win Best Picture (much like "There Will Be Blood" two years ago), I can dream. I will say that the only movie I hope does NOT win, and the one I'll be rooting against, is "Up in the Air." No, Cory, I've still not actually seen it. I did, however, read the screenplay after it won the Globe. In a year when a serious epic like "Avatar," a masterpiece like "Basterds," an acting tour-de-force like "Precious," and the best modern war film in ages in "The Hurt Locker" are all up for the top accolade, I'd just rather a minor-key meditation on recession-era romance by the guy who made "Juno" not best them all.So would "Avatar" winning be a good thing, or the further creation of a monster? In terms of the sheer amount of time and obsessive detail James Cameron put into his first film in 12 years, I believe he certainly deserves the Best Director prize. However, the utilitarian screenplay and occasionally leaden performances are not Best Picture caliber. Of course that's not stopped films like "Crash," "Gladiator," and Cameron's own "Titanic" from winning in the past. I could envision a future where an "Avatar" win would a bad thing if directors everywhere start trying their hand at world-build and make the false assumption that the more money they spend on their movies the more money their movies will make. There are just some things McG shouldn't attempt (actually, there's nothing McG should attempt)."The Hurt Locker" and "Basterds" are, in my opinon, the most deserving potential recipients of Best Picture this year, because not only are they personal films in the minds and eyes of their creators and writers (as is "Avatar"), but have a great cast that supplied memorable performances on top of it. "Avatar" winning Best Picture risks sending a message to Hollywood which they've been sent many times before... that epic = success. This will only lead to a slew of empty-headed epics that are churned out on a year-by-year basis. I don't forsee many directors dedicating a decade of their lives to a singular vision. I do forsee five more Stephen Sommers movies in the next decade.Don't get me wrong. I love "Avatar," but a Best Picture win could send the industry off in a direction that's probably not the best scenario for the industry. If only we could trust filmmakers and studios to use more of their energy incubating passion projects and original ideas instead of just treating films like traded commodities. But I'm a hippie idealist. Maybe THAT'S why I enjoyed "Avatar" so much.- JBCuriously enough, "Basterds" is my pick for best movie of the year too, and its certainly a dark horse in this race against three films that all stand for something in terms of 21st Century values. To be honest though, I much rather would like to see "The Hurt Locker" win the big prize. Consider for a moment that the film made barely $13 million at the box office. It's a sin that such a great film has gone completely unnoticed by the general public. A win for it would mean a surge of appreciation for the Iraq War genre, and the pulse pounding perfection of "Hurt Locker" also deserves a win from Kathryn Bigelow for Best Director, creating a big stride for female directors.But back to the work of her ex-husband Cameron. An "Avatar" win would by no means be a bad thing. The increasing numbers of action extravaganza films is inevitable, and its been that way ever since "Transformers 2" made $400 million. What's more, there isn't another living director that can churn out revolutionary films the way Cameron can. I think the message that will be sent will be less "epic = success" and more of a lifetime achievement award for the King of the World. I think "Avatar" is a great film and that it does have the potential to change the way at least spectacles such as this one are made, and arguably, a loss at the Oscars or a low round up of awards could be stifling that opportunity.I think we can agree its a race between "Hurt Locker" and "Avatar." I'm actually going to put my money behind "Hurt Locker" because this film isn't just the critical favorite; it has been met with overwhelming support by everyone who's seen it. But maybe I should cheer for "Up in the Air" out of spite. That is a wonderful film, smarter than any movie this year, containing a timely and timeless message and with multiple excellent performances. Reitman is no doubt an emerging director soon to be one of the greats, and he deserves to be recognized.- BWI'm find it very interesting that the movie that was your favorite from 2009 is not the movie you hope wins Best Picture. Of course, I totally understand why "Hurt Locker" winning would be a good thing. It's a perfectly taut, thrilling movie, and it's criminal that it's only made $16 million when the Jamie Foxx vehicle "The Kingdom" made $163 million in 2007.Needless to say, we clash on our opinions of Jason Reitman. I'm sure I'll rent "Up in the Air" when it's released on DVD. For now, we'll just have to agree to disagree on that guy.Realistically, the Academy could go one of three ways. Unfortunately, I don't think a "Basterds" dark-horse victory is one of them. The Academy DOES tend to be pretty harsh on films it considers to be contrary to conventional ideals of morality (see "Brokeback Mountain"'s confusing loss to the anti-racist speachifying of "Crash"). Of course that doesn't go very far in explaining "No Country for Old Men"'s win in 2008. "Up in the Air" could get the "feel-good" vote, even though the script has a lot of sadness at its core. Still, it's a dramedy. They LOVE dramedies. "The Hurt Locker" will get the artistic and political vote, because even though "Avatar" is chock full of liberal political commentary, it's really all about floating mountains and flying dragon things. "Avatar" will get the industry stalwart vote, which is always a big factor at the Oscars, though nowhere NEAR as big a factor as it is at the Globes.I would disagree with you that Cameron "churns" out revolutionary films, primarily because it takes him so long to make a film in the first place. But his films (with the obvious exception of "True Lies") ARE revolutionary. This has been said many times, and I'm really just repeating it here, but if "Avatar" wins Best Picture I think it will be primarily because Cameron created a film people were actually willing and excited to pay to see in a theatre, as opposed to waiting for DVD or Netflix. Not just because of the astronomical gross, but because of the spectacle itself.-JB
(01/19/10 12:42am)
The Golden Globes have never been much for importance or competition, but as always, the winners last night, providing only a few surprises, have offered a renewed perspective on the upcoming Oscar race.
(01/13/10 11:38pm)
____simple_html_dom__voku__html_wrapper____>Last year was an important one for film, with advances in trends, technology, sequels and more. If 2010 is anything like it, it’ll be exhausting.Before 2009 is forgotten, “The Hurt Locker,” an Iraq war movie that made barely $13 million, will win Best Picture at the Oscars in March. That win will mean the Academy is comfortable with the Iraq War genre, and will be good news for the award chances of Paul Greengrass’ “Green Zone,” starring Matt Damon.Tim Burton’s “Alice in Wonderland” will have the challenge of seeing if lightning will strike twice for 3D. If it does, it won’t be long until James Cameron announces “Avatar 2,” which will likely explore the moons of Pandora.Those recovering from 2009’s “New Moon” and “Harry Potter” fandom will have little time to rest.“Eclipse” is being released this summer and “The Deathly Hallows Part 1” in the fall.Leonardo DiCaprio will be the most successful man in Hollywood when he appears in Martin Scorsese’s “Shutter Island” this February and Christopher Nolan’s “Inception” this July.Mickey Rourke will make a really cool villain in “Iron Man 2,” and Russell Crowe will make a really cool Robin Hood in Ridley Scott’s new film.Darren Aronofsky’s ballet thriller “Black Swan,” starring Mila Kunis and Natalie Portman, may just be the most provocative movie of the new year.Facebook will swarm with advertisements for David Fincher’s “The Social Network,” starring Jesse Eisenberg as Mark Zuckerberg.America will prove once again that remakes are a bad idea when they “Twilightize” the Swedish vampire drama “Let the Right One In.”And the latest “Toy Story” sequel due out in June will likely become the greatest movie ever made with a “3” on the end.
(01/13/10 5:25pm)
____simple_html_dom__voku__html_wrapper____>I never consider a year complete until the Oscars in March. More than ever, 2009 was a year to live in the moment. It brought us films that were controversial, historical, disastrous and timeless. For me, the most invigorating debates surrounded the polarizing qualities of “Where the Wild Things Are,” the entertaining, purposeless thrills of “Inglourious Basterds” and the comic bleakness of “A Serious Man.” I look at 2009 as a year that gave us instant classics like “The Hurt Locker,” the defining film of the Iraq War, and “Up in the Air,” a modern Frank Capra-esque masterpiece. It has been a year for women, with leading ladies paving the way. Carey Mulligan (“An Education”) and Gabourey Sidibe (“Precious”) both made names for themselves with their lovely performances that will no doubt lead to bright futures. Veterans like Meryl Streep and Sandra Bullock both struck box office gold this year with “Julie & Julia” and “The Blind Side.” Jane Campion, Nora Ephron, Nancy Meyers and Kathryn Bigelow were likewise directorial presences, and Bigelow even has a shot at being the first woman to win Best Director. As for new directors, Drew Barrymore’s “Whip It” was a lost cause, but she is certainly a woman with connections. After the intriguing “District 9,” I look forward to seeing where Neill Blomkamp can go without the help of Peter Jackson. And the work of Scott Cooper (“Crazy Heart”), Lee Daniels (“Precious”), Tom Ford (“A Single Man”) and Cary Fukunaga (“Sin Nombre”) could all be recognized this Oscar season. And what of the men? Jeff Bridges, George Clooney and Colin Firth all gave the best performances of their careers. Matt Damon was excellent twice with “Invictus”and the persona-changing “The Informant!” And be sure to remember Jeremy Renner (“Hurt Locker”), Michael Stuhlbarg (“A Serious Man”) and especially Christoph Waltz (“Inglourious Basterds”). I also saw spectacles in 2009. I wasn’t a fan of “2012,” “Watchmen,” “Nine,” and most of all “Transformers: Revenge of the Fallen,” but they were worth looking at. For me, “Harry Potter 6” and “District 9” were saved by their visuals, which certainly enhanced “Wild Things.” But no one could forget “Avatar,” which might redefine the way movies are made. It was also a year for kids. Pixar was not the only one to release a great film this year. In addition to “Up,” 2009 saw “Wild Things,” “Ponyo,” “Coraline” and “A Christmas Carol.” Each is a wonder in animation and magic. Most of all, this was the year of the 21st century. Technology meant bigger and smaller movies in the marketplace; blockbusters could be made and independents distributed. The Netflix catalogue of instant movies has grown exponentially. We’ve crossed a certain threshold in cinema this year. So many industry changes and controversies will alter the way people make and watch movies because of the events of the last few months. Thank goodness it doesn’t end until March.
(01/04/10 9:22pm)
____simple_html_dom__voku__html_wrapper____>Tom Ford decorates “A Single Man” into the ideal '60s period piece with pages from Vogue to Godard. Ford is a fashion director turned filmmaker, and he’s a natural at both. The film follows one day in the life of George (Colin Firth), a professor coping with the death of his homosexual lover. On this day, George has decided to kill himself. In terms of fashion, George finds such acute detail in clothing, eyes and body parts, and in this obsession lays heartbreak. They are the only things worth seeing in a world full of depression. Ford’s art direction is spectacular in the way he toys with the lighting and texture of the frame, looking like a magazine spread at best and an episode of “Mad Men” at worst. Firth’s performance is the best of his career, simultaneously being charming and brooding. His air of cynicism allows “A Single Man” to hit just the right note. There is a bleak, haunting beauty to Ford’s tragic film. Ford’s message is less pessimistic as it is visionary.
(12/31/09 2:25am)
____simple_html_dom__voku__html_wrapper____>Now that we have reached the end of the decade, many film scholars are beginning to ask questions beyond the typical, “What was the best movie of the year?” We want to know if the movies we are calling great will really always be great. For instance, will “The Hurt Locker” still be considered one of the greatest Iraq War films long after the campaign has ended? More importantly, was 2009 a good year for movies? Anyone who saw “Transformers: Revenge of the Fallen” might disagree, but look at it this way: I once considered “Up” to be the best movie of the year, and it has nearly fallen off my list.While it was tough to rank “No Country for Old Men” and “Juno” or “The Dark Knight” and “WALL-E,” 2009 posed the challenge of taking equally great but very different films like “Avatar,” “Precious” and “Up in the Air” and finding a place for them near the middle of my list no less. Films I adored like “Away We Go,” “Coraline” and “An Education” simply could not make the cut, and 2009 has proven to be a great year for animation and documentaries that were also excluded. But here are my 10, to the best of my ability, with the number one spot untouched since the midnight show on which I put it there. 1. "Inglourious Basterds": Quentin Tarantino’s WWII saga is the most self-aware film he has ever made. Borrowing so many pages, techniques and details from his own films, 50’s B-movies and more, he seemingly winks at the camera with all that he loves, and yet his film is wholly original. “Inglourious Basterds” is the most invigorating, and most notably, entertaining feature of the year. 2. "(500) Days of Summer": The debut romantic comedy by Marc Webb is as charming, smart and knowledgeable about pop-culture and love as “High Fidelity” before it. Zooey Deschanel is perfectly lovable, and the Expected/Actual montage of the film is second to the now-iconic opening sequence from “Up" in terms of being the year's most memorable.3. "The Hurt Locker": Kathryn Bigelow has made a film that is not just a powerful statement and observation of the Iraq War, but is also a study of human nature and a nail biting action movie that is better than any this year. While only making $13 million at the box office, “The Hurt Locker” is the lead critic favorite and a front-runner for Best Picture. 4. "A Serious Man": Only the Coen Brothers could imagine a situation in which the Book of Job would be funny. “A Serious Man” is one of their bleakest, funniest and most Jewish films to date, and it’s the sort of great follow-up film a director can make after making a masterpiece like “No Country.” 5. "A Single Man": Fashion designer Tom Ford gives “A Single Man” such a distinctive look in its chic '60s perfection. Mix in with that the best performance of Colin Firth’s career and a heartbreaking story by Chris Isherwood and you’ve got a classic. 6. "Avatar": “Avatar” is easily the most fun you’ll have at the movies all year. James Cameron reclaimed his throne as King of the World when he released his visual wonder of innovative 3D and facial capture technology that will likely revolutionize the way films are made. 7. "Up in the Air": Jason Reitman’s third feature has quickly made him one of my favorite directors. “Up in the Air,” like “Juno” and “Thank You For Smoking,” is a film made for intelligent people who want to think and engage with cinema. The blissfully hilarious and tragic story of George Clooney’s Ryan Bingham has given me more to think about than any film this year. 8. "Precious":The massive heartbreak and pain within “Precious” is difficult, but its touching emotions and its breathtaking performances by Gabourey Sidibe and Mo’Nique are reaching out to all sorts of audiences. This is a film that cries out to be seen. 9. "Where the Wild Things Are": Spike Jonze’s wonderfully dark and faithful adaptations to one of the most beloved children's books of all time, “Where the Wild Things Are,” is a shocking, yet enchanting film with a glorious understanding for kids and the wild emotions within us all. 10. "Up": Yet another Pixar masterpiece, the silent montage covering Carl Frederickson’s life is filmmaking at its best. As for the rest, “Up” is fun, funny, colorful, original and adorable. 11th Place (alphabetical):"Away We Go": “Away We Go” is a mature charmer by Sam Mendes and one of the most underrated films of the year. "Coraline": Before “Avatar,” “Coraline” was the best 3D film ever made, and its stop motion animation is remarkable. "Crazy Heart": Jeff Bridges is perfect as Bad Blake, a washed up country singer that is to “Crazy Heart” what Randy the Ram is to “The Wrestler.” "An Education": Carey Mulligan is a rising star after giving such a commanding and charming performance in this lovely British film. "Food, Inc.": Quite possibly the scariest film of the year, “Food, Inc.” will change the way you eat and won’t stop there. "Goodbye Solo": The third film by independent filmmaker and rising presence Ramin Bahrani, “Goodbye Solo” is a touching character study with a charming connection between two unlikely actors. "Moon": There was no better sci-fi this year than “Moon,” featuring an excellent duel performance by Sam Rockwell as he interacts with himself. This is a true psychological thrill ride. "Public Enemies": Another underrated gem was Michael Mann’s biopic on John Dillinger. Johnny Depp gives a fierce performance as the gangster and Mann’s Depression-era set pieces are fantastic. "Sin Nombre": One of the better foreign films of the year was this thrilling Mexican film about illegal immigrants riding on top of trains to get to America. "Tyson": Here is another of 2009’s great documentaries. James Toback allows us to sit on Mike Tyson’s couch as he tells his fascinating life story.
(12/14/09 2:09am)
____simple_html_dom__voku__html_wrapper____> “Precious” is the most heart-wrenching drama of the year, and it is such a shame that there is an audience of people too afraid and uncomfortable to face drama, even in the event of a happy ending, if it is too pure and close to reality. Claireece “Precious” Jones (Gabourey Sidibe) is a 16-year-old girl living in Harlem with her abusive mother Mary (Mo’Nique), is pregnant with her second child after being raped by her father and is being suspended from school. A social worker (Mariah Carey) and a teacher at an alternative school (Paula Patton) each attempt to reach out to Precious, trying to be as tough as Mary so that Precious can stand up to her mother. People may watch Sidibe’s performance and say she is playing herself, but Precious cannot read or write, can barely speak and Sidibe simply has not known the horrors her character has. And yet she embodies a woman that is impossible understand externally, and she has shown much bravery in her performance in being able to do so. Then there is Mo’Nique, whose transformation into this monster of a mother is unlike any female performance this year. There are many actresses that would be equally capable of conveying such tragedy, but none would be as real. Mo’Nique puts a demanding conviction behind her words. She is fierce and authoritative, but human all the same. Precious does not ask that we sympathize or cry with her character, and yet we are drawn to her presence. Her story is lovely in the sense that it is solved by her own strength and conviction This is not a Cinderella story where she is lucky enough to find a man, teacher or rich white lady to care for her. The result of “Precious” is about the happiest outcome one could hope for in such a bleak situation. It would have been worse of the film to achieve a comfortable ending, because within this sad situation is a glimmer of hope. I hope Precious does achieve her dreams or at least finds happiness in the remainder of her life. I hope the people who live like Precious find the courage to stop being silent. And I hope that the masses will have the courage to face such a film so that they too can be touched by it.