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| bartist |
 Posted: Tue Jan 25, 2011 4:46 pm |
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Joined: 27 Apr 2010
Posts: 6949
Location: Black Hills
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Quote: Yes, Black Swan and The King's Speech don't really call my name, but assignments aren't necessarily a bad thing, as college proved.
Assignments are intellectual slavery!
Just kidding. Really, being dragged, on occasion, can introduce one to films that prove amazing and life-altering.
Just wish Rabbit Hole would get to the plains. Guys in Shanghai have already seen it and we're still waiting here. Ditto ILYPM. |
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| inlareviewer |
| Posted: Tue Jan 25, 2011 4:51 pm |
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Joined: 05 Jul 2004
Posts: 1949
Location: Lawrence, KS
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Having had a soupcon of sleep and a gallon of coffee, some thoughts on Dawn of the Dead (with random, rambling reax thrown in, just to keep in touch):
Ms. Mo'nique looked mighty purty, and it was a nice idea to pull in last year's Supphose Actress recipient over an Ingenue of the Moment or Revered Fixture to help the AMPAS prexy deliver the news to all of us yawners (and a couple of obvious tweakers/blow-users, but I'm not naming names) in the press room.
Overall, the Best Picture slate is about as expected, except the Social/King's match-up is now a King's/Social match-up.
Disney is slapping itself over not pushing Tangled more ruthlessly, as are the Despicable Me factions, and the sound/mixing/costume/make-up/special effects departments of Black Swan; Ryan Gosling and Paul Giamatti's agents/managers; the visual effects/prosthetic property people behind 127 Hours' arm-chopping climax; and everybody concerned with Rabbit Hole apart from La Belle Nicole (the film has done bupkis business, never stood a chance for the top slot it warrants, will get to those it might well have snagged presently).
The failure of New Grit to win an editing nom for the pseudonymous Roderick Jaynes, despite its large passel of noms and the Bros. Coen sneaking out a helmer's citation over Mr. Nolan (and Mr. Boyle, the anticipated Sneak-In-There director), hurts its carefully orchestrated Spoiler Supreme chances. Best Picture and Best Editing are almost invariably linked awards, historically and literally. Conversely, Mr. Hooper making the cut and helping King's to be Nomination Leader can only be music to Harvey Weinstein's ears.
The inclusion of Ms. Williams only affects Natalie Pirouetteman and Annette B. Toklas' neck-and-neck Prima Donna race if enough Aclademites throw a vote her way while overlooking her (essential) co-star, highly unlikely. Jennifer Lawrence's nomination is more than reward enough, and La Belle Nicole, the Designated Spoiler last fall, is now officially Third Place place-holder to either the Future Mrs. Millepied or Current Mrs. Beatty's First Runner-Up (as of today, it could go either way, Natalie having pregnancy sentiment, plus the Black Swan and No Strings grosses to shore up her Virtuoso Showpiece edge, Annette her Beyond Overdue Hollywood Royalty stature and more than a few Lebizians in the AMPAS ranks pulling for her.)
Elsewhere, Jacki Weaver (biggest gasp in the room today) got a nod because Animal Kingdom clung to its art-house booking out here for months upon months, and with it the accompanying tiny-but-persistent advert citing her turn. Never underestimate Subliminal Impact Where Least Looked For in Whollyweird.
The biggests snubs and/or unexpected inclusions, as usual, come from the actor's branch, which has four full slates to fill, and an embarrassment of riches to cite in 1-to-5 preferential order on the nomination ballot. The absence of Mila Kunis is certainly a direct logjam result of the Black Swan campaign push of her, and Barbara Hershey, AND Winona Ryder, for Supporting. It's likely why La Hershey made the BAFTA slate but Mila didn't, and I guarantee she would be number 6 or 7 in the tallies if they were revealed. Ditto Andrew Garfield, who surely fell prey to Justin Timberlake factions on the same ballot (won't repeat the language my aging parent used when I called her to soften the blow about the Garfield snub. She really loves that moovee, bless her, what a dame).
Among other jaw-drops: the omission of Mr. Gosling (to nominate Michelle Williams and not him in the context of their Primary Reason To Sit Through This Grueling Exercise duality is, simply, ludicrous); the inclusion of John Hawkes (who was actually darned good in Winter's Bone, just that nobody expected it); Javier Bardem (Biutiful hasn't been in circulation that long); the long-shot-falls-short Mr. Giamatti (haven't yet seen Barney's Version, but his GG win and general Buzz mirrors what those on board here have said); Mr. Renner (who was fine in The Town, but outstanding? Really? Well, all right then); and, though not quite jaw-dropping, the sadly overlooked Manville Factor (as predicted, a by-product of her role's Lead? Supporting? nature, coupled with being, ultimately, but the most vivid cog in A Mike Leigh Ensemble Engine).
Hailee Steinfeld, though she didn't exactly send me, was always going to be nominated for Supporting; that's what happens with Young Actors in Carry-The-Film Roles, whether Timothy Hutton, Anna Paquin, Haley Joel Osment or Abigail Breslin (the days of Jackie Cooper are long past, and Keisha Castle-Hughes was an exception the year of Whale Rider). There was some chatter that she might make the Lead cut, but it was only chatter, and so it proved today. Expect Ms. Leo and Ms. Adams to go down to the wire there, Melissa having the edge in bravura, Amy the weight in against-perceived-type playing (yeah, I saw Fighter finally, see below)-- but HRH HBC is a Very Credible Spoiler, Ms. Braidsfeld A Not Inconceivable Upset, and Ms. Weaver is Just Lucky To Be There.
Now. With all due respect, Colin Firth, i.e., The Surest Bet In Vegas Odds Other Than David Fincher, Aaron Sorkin and Toy Story 3 For Animated Feature, is the narrative and emotional centrifuge of King's Speech. Besides his performance being a Star Acting Virtuoso Display on every level and in screen weight (from opening shot at mike to final wave on balcony), it's His Story, foiled/countered by Geoffrey Rush (who in earlier years might well have garnered a sidebar lead slot -- these are later years), buoyed/balanced by HBC (arguably the most legitimate supporting role in the roster). There's no way he would have been nominated for Supporting. In any case, Christian Bale is indeed going to take Supphose Actor (per above, finally saw The Fighter, and not wanting to be sniped at, will leave it at that).
Similarly, Annette Bening is the unsuspected heart of Kids, totally meriting Best Actress (her wordless dining table shot at the pivot point alone is the thespianic equivalent to Kevin Spacey's American Beauty close-ups seeing Mena Suvari at the game, the exact moment he won that award over Richard Farnsworth's life-on-screen meritoriousness, sadly bygone). Albeit, in truth she warrants it in tandem with Julianne Moore -- that omission was telegraphed months ago, as was the absence of either kid, Ms. Cholodenko's direction, and the score.
Come to think of it, there were several scores that might have deservedly made it, but that's to be expected any year. (Am personally rooting for the Social Network music -- but Mr. Desplat is quite overdue, even if the King's score verges on the treacly/whimsical). Was not expecting Aaron Eckhart to show up, dagnabbit, but still wish he had, and did think Dianne Weist would, and the writer's branch overlooking David Lindsay-Abaire's exemplary job of adapting his own play is the untenable snub that I find most untenable after Mssrs. Garfield and Gosling and Ms. Manville. Also, the omission of The Tillman Story for Documentary. The staggered-release-date-eligibility issues that shut out the Millennium trilogy and Phillip Morris were also not unexpected but it's still too bad. To bump Christopher Nolan for director, would likely have preferred Mike Leigh. Or, though heretofore resigned, East Clintwood, being unavoidably wistful that the various, beyond worthy aspects of Hereafter, not just Visual Effects, went by the wayside. And that's Show Biz.
So. Now the campaigns will roar into overdrive, am already sick of/tickled by them before they've done so. Still, it may well make for an interesting Racso ceremony, considering that one host (Mr. Franco) is nominated, the other (La Belle Anne) is not. At least there's gonna be Some Lookers driving the shew. Most importantly, though, the Blanches have a great chance of being truly anti-Oscar this year, which is never a bad thing, right? Happy cinematizin', allez. inla out.
Edited for errant "e" correction |
Last edited by inlareviewer on Thu Feb 03, 2011 5:24 am; edited 5 times in total
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| Befade |
| Posted: Tue Jan 25, 2011 7:01 pm |
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Joined: 20 May 2004
Posts: 3784
Location: AZ
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Quote: Just wish Rabbit Hole would get to the plains.
I didn't think it was a Great movie........if it had been it would have showed better ways of dealing with grief than just the passing of time. It's worth seeing for Nicole......she has more range and depth than any other actress this year. To me she represents what is meant by "A Serious Actress". [/quote] |
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| jeremy |
| Posted: Tue Jan 25, 2011 8:00 pm |
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Joined: 21 May 2004
Posts: 6794
Location: Derby, England and Hamilton, New Zealand (yes they are about 12,000 miles apart)
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Quote: ...Disney is slapping itself over not pushing Tangled more ruthlessly, as are the Despicable Me factions...
Would agree that both these films warranted a place on a five horse card. |
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| billyweeds |
| Posted: Wed Jan 26, 2011 12:39 am |
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Joined: 20 May 2004
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Location: New York City
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Loved reading inla's rant/description, though I'd love to hear his negatives on The Fighter. Come on, inla, I promise not to snipe.
Blue Valentine was indeed a pas de deux and to nomination Williams and not Gosling is insanity. The movie was indeed grueling, depressing, grim, and unpleasant, but in its own way quite brilliant.
Saw The Dilemma tonight, and was glad I did even though it's not really a successful movie. It tries to blend at least three genres--the buddy comedy, the psychological dramedy, and the Hangover type of slambang farce. The most impressive thing about it is Winona Ryder's performance as the unfaithful wife of Kevin James. She has her reasons, but James's bff Vince Vaughn has no sympathy for them. The results are spotty but never boring. In fact, it's the first Ron Howard movie not starring Michael Keaton I've ever liked. And, yes, that means Night Shift, Gung Ho, and The Paper, and also means I didn't care for Apollo 13 or A Beautiful Mind. We do exist. |
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| jeremy |
| Posted: Wed Jan 26, 2011 12:51 am |
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Joined: 21 May 2004
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Location: Derby, England and Hamilton, New Zealand (yes they are about 12,000 miles apart)
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I thought Apollo 13 was wirthily dull, rather than bad. I think Ron Howard was too respectful of his subject to make the film interesting, in that respect it was a bit like a Ghandi in space. A Beautiful Mind on the other hand was just palin bad. I don't wish to set Billy off, but in my never humble opinion, I would rank it the worst Oscar winner of my adult life, and I'm not young.
I think Ron Howard made a good fist of Angels And Demons, which was bad from the moment of its conception and just needed a good hack job to keep it on the rails. |
_________________
I am angry, I am ill, and I'm as ugly as sin.
My irritability keeps me alive and kicking.
I know the meaning of life, it doesn't help me a bit.
I know beauty and I know a good thing when I see it. |
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| Syd |
| Posted: Wed Jan 26, 2011 1:59 am |
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Joined: 21 May 2004
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| I really liked Apollo 13, but then I was its intended audience. The Right Stuff and, in a different way, October Sky are also great non-sf movies about space. |
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| inlareviewer |
| Posted: Wed Jan 26, 2011 2:05 am |
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Joined: 05 Jul 2004
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billyweeds wrote: Loved reading inla's rant/description, though I'd love to hear his negatives on The Fighter. Come on, inla, I promise not to snipe.
And, on the whole, I liked The Fighter. Have to agree that Mr. Wahlberg and Ms. Adams give the more quietly invested performances, yet cannot see, ultimately, how Mr. Bale's inside-out and Ms. Leo's outside-in transformations could be bettered, or done any differently -- the characters demand Great Big Go-For-It Thespianics. Very much appreciated the variants of cinema stock/photography, the representative and evocative art direction, locations, etc., and absolutely the subsidiary/atmosphere people (I mean, Dicky and Micky's sisters, that HAIR, Oh. Mah. Gah.) My chief downbeat observations are that, for all its careful attention to milieu and regional energies/attitudes, it didn't exactly say or show that much I'd not heard or seen before in an Overcoming Obstacles/Family Dysfunction/True-Life Sports Figures film, nor did it really seem quite as important a story as to merit the sense of Sociological Significance it tended to carry. Nonetheless, it certainly held my attention, and occasionally got me downright riled up (wanted to leap in there and start swinging myself a couple of times), right through the denouement, and the real-life counterparts over the final credit crawl made me inescapably sniffly. A considerable, gritty yet crowd-pleasing fillum.
Quote: Blue Valentine was indeed a pas de deux and to nomination Williams and not Gosling is insanity. The movie was indeed grueling, depressing, grim, and unpleasant, but in its own way quite brilliant. |
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| billyweeds |
| Posted: Wed Jan 26, 2011 6:31 am |
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Joined: 20 May 2004
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Location: New York City
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jeremy wrote: I don't wish to set Billy off, but in my never humble opinion, I would rank it the worst Oscar winner of my adult life, and I'm not young.
It's certainly right up (down) there with Gladiator and, yes, my worst, The English Patient. Hard for me to believe that such sub-mediocre crap gets nominated, much less wins.
The movie that's often cited as the recent worst is Crash, but that's more, I think, because it beat out Brokeback Mountain in a perceived homophobic slur. Next to the three above, Crash is Gone With the Wind. |
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| billyweeds |
| Posted: Wed Jan 26, 2011 6:35 am |
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Thanks, inla. I can even agree with you that The Fighter lacks true sociological depth, but it was so validly dramatic that I don't really care. In the realm of boxing movies, I liked it better than Raging Bull and Rocky put together.
And, yes, that hair! OMG indeed. |
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| marantzo |
| Posted: Wed Jan 26, 2011 8:09 am |
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I liked A Beautiful Mind and Gladiator. Just to counter Billy's (and others) opinion, I found Boogie Nights ridiculous and Signs real crap.  Without seeing it I'd still agree that The English Patient was one of the worst Oscar picks ever and with seeing it Ben Hur right in the top company of awful Oscar winners. How anyone can think that Gladiator is in the same dreadful company as Ben Hur is mind-boggling.
American Beauty was another dud that won the Oscar. One good scene though when Annette Bening was being schtuped by Peter Gallagher. Hilarious. Other than that it was blech! |
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| billyweeds |
| Posted: Wed Jan 26, 2011 8:30 am |
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I prefer Ben-Hur to Gladiator only because of the non-CGI-afflicted chariot race. Otherwise they are equally lame IMO. The idiocy of those two winning the Best Picture Oscar while the amazing Spartacus wasn't even nominated shows the Oscars at their worst--or worse, at least.
American Beauty wasn't a dud IMO, but it was only "good," which means not good enough for "Best Picture." |
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| whiskeypriest |
| Posted: Wed Jan 26, 2011 8:44 am |
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Location: "It's a Dry Heat."
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billyweeds wrote: Loved reading inla's rant/description, though I'd love to hear his negatives on The Fighter. Come on, inla, I promise not to snipe.
Blue Valentine was indeed a pas de deux and to nomination Williams and not Gosling is insanity. The movie was indeed grueling, depressing, grim, and unpleasant, but in its own way quite brilliant.
Saw The Dilemma tonight, and was glad I did even though it's not really a successful movie. It tries to blend at least three genres--the buddy comedy, the psychological dramedy, and the Hangover type of slambang farce. The most impressive thing about it is Winona Ryder's performance as the unfaithful wife of Kevin James. She has her reasons, but James's bff Vince Vaughn has no sympathy for them. The results are spotty but never boring. In fact, it's the first Ron Howard movie not starring Michael Keaton I've ever liked. And, yes, that means Night Shift, Gung Ho, and The Paper, and also means I didn't care for Apollo 13 or A Beautiful Mind. We do exist. |
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| whiskeypriest |
| Posted: Wed Jan 26, 2011 8:49 am |
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billyweeds wrote: jeremy wrote: I don't wish to set Billy off, but in my never humble opinion, I would rank it the worst Oscar winner of my adult life, and I'm not young.
It's certainly right up (down) there with Gladiator and, yes, my worst, The English Patient. Hard for me to believe that such sub-mediocre crap gets nominated, much less wins.
The movie that's often cited as the recent worst is Crash, but that's more, I think, because it beat out Brokeback Mountain in a perceived homophobic slur. Next to the three above, Crash is Gone With the Wind. |
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I ask you, Velvel, as a rational man, which of us is possessed? |
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| whiskeypriest |
| Posted: Wed Jan 26, 2011 8:54 am |
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marantzo wrote: I liked A Beautiful Mind and Gladiator. Just to counter Billy's (and others) opinion, I found Boogie Nights ridiculous and Signs real crap. Without seeing it I'd still agree that The English Patient was one of the worst Oscar picks ever and with seeing it Ben Hur right in the top company of awful Oscar winners. How anyone can think that Gladiator is in the same dreadful company as Ben Hur is mind-boggling.
American Beauty was another dud that won the Oscar. One good scene though when Annette Bening was being schtuped by Peter Gallagher. Hilarious. Other than that it was blech!
Of course, Ben Hur was slightly before my lifetime. And the last I checked. we had Lemmon and Curtis in drag that year, without a nomination. |
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