Tag Archives: Andrew Garfield

[Review] – The Amazing Spider-Man

18 Jul

Title: The Amazing Spider-Man
Year: 2012
Director: Marc Webb
Writers: James Vanderbilt, Alvin Sargent and Steve Kloves, based on a story by Mr. Vanderbilt, based on the comic book by Stan Lee and Steve Ditko
Starring: Andrew Garfield, Emma Stone, Rhys Ifans, Denis Leary, Campbell Scott, Irrfan Khan, Martin Sheen, Sally Field, Chris Zylka
MPAA Rating: PG-13, sequences of action and violence
Runtime: 136 min
IMDb Rating: 7.8
Rotten Tomatoes: 70%
Metacritic: 66

I love Spider-Man. That’s first and foremost. I’m a big comic book fan and, bar none, my favorite comic book character is Spider-Man. There is just something about Peter Parker as a character, his emotions, his backstory, his way of life, that you can so easily connect to. He’s not a guy from another planet, he’s not the wealthy playboy with good looks, he didn’t find and alien ring; he’s a skinny white boy like so many of us, the nerd with the big glasses, a total outcast.

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[Trailer] – The Amazing Spider-Man

3 May

The Avengers has already been released and so far it’s my only A+ of 2012, and The Dark Knight Rises has the biggest hype of any movie of the year and will likely be a truly epic conclusion to that trilogy. But there’s another superhero movie coming out this year: Marc Webb‘s The Amazing Spider-Man, and that one has a new trailer out which you can check out after the cut.

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The Tree of Life

10 Jun

Title: The Tree of Life
Year: 
2011
Director: 
Terrence Malick
Writer: Terrence Malick
Starring: 
Brad Pitt, Sean Penn, Jessica Chastain, Hunter McCracken
MPAA Rating: 
PG-13, some thematic material
Runtime: 
138 min
Major Awards: –

IMDb Rating: 
8.0
Rotten Tomatoes: 
86%

Before I launch on my review of The Tree of Life I feel like I must go to lengths for you readers to understand just how badly I wanted to see this film. First off, I’m nineteen right now, turning the big two-oh this September, so it’s not like I’ve been watching films for all that long, much less watching them with the level of appreciation of the art behind it I now think I at least somewhat posses. But as a young film aficionado I still remember clearly the most formative events in my movie-watching life. Obviously the first ones came very early on in my life and were marked by Disney movies, the songs of Beauty and the Beast, the tears over Mufasa’s death in The Lion King or me writing my own name in my Toy Story toys like Andy did in the film, those are all still memories I hold very dearly in my heart.

But the actual film that made me love movies was a timeless classic I saw when I was eleven: Breakfast at Tiffany’s. Look, I’m not talking about it being a sublimely perfect film (though it is), because at that age I didn’t really love films (I’ll talk about that moment later), I just watched movies to keep myself entertained, but when I saw this one I realized I actually loved watching them. It was a combination of many things, realizing what the word beauty meant when I saw Audrey Hepburn, the moment she sings ‘Moon River’, seeing her in the iconic black Givenchy dress walking to Tiffany’s in the early morning, just everything about that film got to me in a way that had never happened before with any other film. So after watching it I started watching as many movies as I could, not necessarily going back to the great classics because I was still eleven and that didn’t really cross my mind, but watching whatever I found on TV and in the theaters.

But that just made me really really like movies. The moment that made me truly fall in love with films, the one that got me into every single aspect of it, that made me able to really appreciate the stuff that went on behind them and that made me watch every single film from past decades I could and that would then make me start this blog so that I could talk about the films I had seen happened a few years after my first encounter with Ms. Hepburn. It came sometime during the last week of February, 2005, to be exact, when I was thirteen. And it came courtesy of Sofia Coppola and her then-one-year-old film, Lost in Translation.

To this date Lost in Translation remains, without the slightest doubt, my single favorite film. I could make tons of very OCD- infused Best Of lists and if Lost in Translation is eligible for inclusion in it it will most certainly top it. Yes, maybe it’s my favorite film for sentimental reasons, I’m pretty sure it is, but isn’t that what favorite films should be all about? A film that takes you back to a certain time, one that you can quote from beginning to end, that you can connect to on countless levels. That’s what Lost in Translation is to me. It’s the one that made me love films, and it may sound shallow but I’m absolutely certain that my life right now would be totally different had I not watched that film. I wouldn’t be writing this right now, that’s for sure, I wouldn’t have gone and watched every single Bill Murray film after watching that one, I wouldn’t have gone back and watched literally thousands of older films after watching it. A lot wouldn’t have happened for me.

And I would certainly like to think, at the risk of sounding like a snob, that since 2005 I’ve become quite knowledgeable about films. I’ve certainly tried to watch as many as I could, understand the history, the landmark moments, you name it. Last year alone I watched 210 films with a 2010 release date, which I think is a pretty commendable number. But anyways, this all hasn’t been for nothing, it’s just been to illustrate that I truly love films, and to show that it’s not like I have been watching them with this level of passion for all that long, just for six years.

And exactly for that reason, that it’s not like I’ve been loving films this much for all that long because I’m still young, there hasn’t been “that” movie for me yet, the one that I have been waiting for for ages. Sure, there have been lots of films I’ve been anticipating like crazy, last year’s Inception is just one example, but my anticipation for those films was founded by trailers and teasers released months before its release. But The Tree of Life is finally that first movie I’ve been truly longing for. That’s because it’s a Terrence Malick film, one our times definitive auteurs, a guy that’s the film world’s equivalent to what J.D. Salinger was to the literary world, a true recluse, a guy that in 38 years has given us only 5 films (counting this one) but one that has a cult following, and is known for his extremely picky and tediously long process of creation. Actors kill for the opportunity to work under his direction, filmgoers relish the chance to analyze and get immersed in a film of his, which is why The Tree of Life is a true cinematic event.

I said my anticipation for films in the past has been based on cool trailers, or teasers or just press releases that said that a director I liked was tackling an awesome concept with a cool cast. And that sense of anticipation doesn’t last for long. Yes, you can say that you’ve been excited about Marc Webb’s upcoming Spider-Man reboot with Andrew Garfield and Emma Stone since the moment they announced it (as well as you should be) but we’ve just been thinking that it’ll be a cool movie, and we’ll (I hope) love the trailer whenever it’s released, and then I guess our anticipation will truly begin. The Tree of Life is a film that has had genuine anticipation boiling up for two full years now, since it was announced. If only because it meant a new Terrence Malick film was due, only six years (a short waiting time for him) after his fantastic The New World in 2005 (which I ranked as the 18th best film of that year). And because the cast was Brad Pitt and Sean Penn in a film people knew nothing about, because it was said that Mr. Malick was shooting some really ambitious prehistoric scenes, because Douglas Trumbull, the special effects master responsible for 2001: A Space Odyssey and Blade Runner, was reportedly coming out of a near three decade retirement to provide work for the film. The reasons why The Tree of Life was hugely anticipated for two years were endless, the fact that it was supposed to premiere at last year’s Cannes Film Festival but then didn’t and made us wait a whole year more only added to Mr. Malick’s aura of perfectionism and to the film’s mystique.

It did premiere at this year’s Cannes Film Festival, were it was met, as it was expected to, with hugely divided reactions, either extraordinary praise for its ambition or perplexed thoughts from people that really didn’t get it. I just saw the film and you can count me as part of the former and certainly not the latter. I doubt The Tree of Life will end up as my favorite film of 2011, but it certainly is the best I’ve seen so far this year, the first one I’ll award a perfect grade to, and one that made all that salivating for a new Terrence Malick film completely worth it.

But, at the same time, I can totally get why some people aren’t falling head over heels for this film. It’s a tough one to digest, more like a work of art than a film, one that has to be appreciated more than understood, and it will certainly require repeat seatings to fully grasp. Because the visual achievements of this film are undeniable, it’s just insanely great to look at, and you’ll lose yourself in its immensity easily enough, but some people won’t get much more than that out of it, because to really get the emotional aspect of it you have to be very patient with it, and let yourself go and let it all sink in. I would like to think I did that, because by its end The Tree of Life was a film that had moved me tremendously.

This really is a cinematic achievement, and I’m sure I will love it even more the next time I see it, and even more the time after that. Even if the stuff that Mr. Malick presents doesn’t resonate to you personally, even if the spiritual offerings don’t ring true with you, there’s no way you’ll leave this film having gained nothing, no way the film won’t stay with you and mean a lot to you, I just don’t know how that could be. Yes, there are bits and pieces of the film that I’m not sure I really understood, I didn’t really think it was a fully cohesive piece of work, and it got me frustrated at how overlong some scenes were at times, but that’s all stuff that you think while watching it, because once the whole movie is done and you’re left pondering about the experience of the film as whole, you’ll be blown away by even those bits that you thought weren’t working at all.

And the ambition level behind is just astonishing, it evokes everything, it talks about things as wide and complex as creation, and things as personal and just as complex as family without ever taking a moment to let you breathe. In the end it’s just a very honest film, and asks some questions that are very hard to answer, ones that won’t go down easy, and because of that I think The Tree of Life is a film that has finally shown us the real power of this art form, film hasn’t been put to this use before.

I don’t know if I should tell you exactly what this film is about, or the stuff it does along the way because I fear it may take away from your experience. It’s a vastly bold film that takes on the task of encompassing all of creation and viewing it all through the lives of members of one American family, and it achieves a marriage of impeccable vision and incredible humanity with a level of success I think is unparalleled in film history. And I would like to go on for longer about the merits of this film, but this review is already twice as long as my usual ones, and I’m sure when I check it for spelling mistakes once I’m done I will have the urge to edit it down a whole lot, but I won’t, because even if this may feel like blabbering at times I think it illustrates just how much I adored this film. I’ve just find out what it means to finally see a film I’ve been waiting two whole years to see come to fruition, and Mr. Malick delivered like crazy, not only giving me a film as great as I expected it to be, but also giving me something there’s no way I could have ever really expected.

Grade: A+

Water for Elephants

7 May

Title: Water for Elephants
Year: 
2011
Director: 
Francis Lawrence
Writer: Richard LaGravenese, based on the novel by Sara Gruen
Starring: 
Reese Witherspoon, Robert Pattinson, Christoph Waltz, Hal Holbrook, Paul Schneider
MPAA Rating: 
PG-13, moments of intense violence and sexual content
Runtime: 
120 min
Major Awards: –

IMDb Rating: 
6.9
Rotten Tomatoes: 
57%

I love Reese Witherspoon, it’s as simple as that. I think she’s an amazingly talented actress, who’s also beautiful and really charming so I always jump at the opportunity of seeing her on-screen. Last year she was in How Do You Know, James L. Brooks’ disappointing new romantic comedy which I graded a B-, and at least now she’s in a considerably better movie, one that’s based on a pretty good novel, that’s really nicely told by director Francis Lawrence, beautifully shot by Rodrigo Prieto (who’s also done Brokeback Mountain and Babel), and that has some nice performances in it. But even though I really did like Water for Elephants, there was still one thing that kept me from really loving it, and that was the chemistry, or lack thereof, between Ms. Witherspoon and her male co-star, Robert Pattinson.

Now, don’t think that that’s because I dislike Robert Pattinson, because I honestly don’t. Sure, his performances in the Twilight films are nothing note-worthy, but they’re not horrible either and those films have been getting better and better, and his performance in last year’s Remember Me I thought was pretty decent. So it’s really not because I think Mr. Pattinson isn’t a great actor that the chemistry didn’t flow between our two leads here, it’s just that I didn’t, maybe it’s the eleven year age difference between the two (he actually played her son in a deleted scene of 2004’s Vanity Fair), maybe it’s something far more intangible than that, I just wasn’t sold.

But individually I thought they both did fine, Ms. Witherspoon especially, and even though the other people considered for their roles (Scarlett Johansson for hers and Channing Tatum, Emile Hirsch and Andrew Garfield for his) would have provided very interesting choices as well, except Mr. Tatum who I definitely wouldn’t thrust into a role like, and may have had some good chemistry between them, I wouldn’t change these two for a minute.

And credit really has to be given where it’s due, and much of it goes to Mr. Lawrence, who makes a drastic change in tone from having previously directed only Constantine and I Am Legend, and who crafts this one beautifully, he gets a very satisfying romance from a film that could have easily turned out to be a hugely cheesy affair. And even though his two main performers and Christoph Waltz, the main supporting one, were all turning in real solid performances, they were doing so without any seeming recognition of chemistry with each other, and Mr. Lawrence still pulled it all together nicely and the end product is one that’s much better than what I expected.

This is the romantic sort of film that I have no trouble embracing, one that feels so decidedly old-school and that finds in its story of a bareback rider for a circus, her husband who’s the extremely controlling circus owner, and a drop-out form Cornell’s veterinary school who enlists the circus a very satisfying romantic triangle. Mr. Waltz is the one who plays the circus owner, August, married to the lovely Marlena, who works on his circus on the main show that has her riding a beautiful horse and who’s controlled by August as though she was just as much his possession as the horse. Then we get to meet Mr. Pattinson’s character, Jacob (and yes I know Twilight fans will catch the irony of the name), who’s actually narrating the story to us as an older man, played by the great Hal Holbrook, and who was just a naïve young college drop-out when he stumbles upon the train, and August at first wanted to just throw him off it, until he realizes that his veterinary skills may be useful on his circus.

And it’s really nicely done here, Jack Fisk, a collaborator of Terrence Malick and an Oscar-nominee for his work in There Will Be Blood, is the production designer here, and his work gives this film a great feeling, one that without making use of any special effects still has this very magical look to it while still looking entirely plausible, and the sets he constructs here go a long ways to getting that effect. And even though the chemistry, like I’ve said, I found to be lacking, I still think these people give some pretty solid performances. Which is especially true of Mr. Waltz, who, much like he showed in his Oscar-winning turn in Inglourious Basterds, can play a controlling man who seems to be charming but is actually quite evil like few can. He does that again here as August, and its his jealousy towards the relationship that starts to bloom between Jacob and Marlena that gets this film going.

Water for Elephants feels like a classic film in many ways, because it deals just with people and their emotions, and it does so in an enchanting time. Marlena is always unabashedly loyal to her marriage with August, and we get the sense that a relationship with Jacob would obviously be the next logical step, but it’s unfortunate then that the chemistry between Ms. Witherspoon and Mr. Pattinson is nowhere to be found, which is more his fault than hers really, since that really would have made this one a big success. Still, this one, though always bordering it, never really delves into its melodramatic potential entirely, which I found to be a great thing, and it serves as a nice film to watch now in early May right before we get a whole season full of effects-ladden summer blockbusters.

Grade: B

Oscar Nominations: My Reactions

25 Jan

The Oscar nominations were announced bright and early this morning. And while most of the nominees were predictable, there were still quite a bit of storylines to take out of the morning’s announcements.

Firstly, of course, the outrageous snub of Christopher Nolan in the Best Director category, Inception might have made the Best Picture ballot and Mr. Nolan himself got his second career Screenplay nod, but the Academy yet again failed to mention him for Best Director to make room for the Coen brothers. Another snub was The Town, which ended up with a sole Oscar nomination and got snubbed in the Best Picture as well as Director and Screenplay races, the films nominated instead were still quite deserving, but still, too little love bestowed on such a great film.

Then, on a far more positive note, this was also the year in which films that came out of Sundance came out strong at the Oscars, which is terrific news for the independent film business, The Kids Are All Right and Winter’s Bone both got 4 nominations in major races, Animal Kingdom got a Best Supporting Actress bid, and four out of the five Best Documentary nominees were shown in Park City a year ago.

As for what the nominations will mean come the big night on February 27th, well, The King’s Speech certainly got a huge boost today, scoring an even dozen nominations, the most out of any film this year. That has some people jumping from The Social Network‘s bandwagon into the one driven by Harvey Weinstein, since for the last several decades the movie with the most nominations has won the Best Picture race 75% of the time. Now, let’s play statistics for a while here, I actually still think The Social Network will still win this for now, but the stock on The King’s Speech has certainly risen in the last few weeks. First, of course, was Saturday’s PGA win, and considering that association has bestowed its award to the eventual Best Picture winner 13 out of the last 20 years it means it has the odds going for it.

But then again, lets not forget just how much The Social Network has going for itself, it pretty much swooped the Critic’s groups awards, including big wins at the Globes and the National Board of Review. Not to mention that David Fincher is the clear front-runner to win not only the Best Director Oscar, but the DGA honors that will be announced on Saturday. And really, the Best Director winner is always considered the likely victor of the big race and, in fact, the winner of the DGA award has actually went on to have their film win the Best Picture Oscar 33 times in the last 40 years.

So, who really has the advantage? I honestly don’t know, this really is one seriously tough race to call, and I won’t call it until all the remained precursors are done with. Yes, the DGA will most likely go to The Social Network, but then the BAFTAs will presumably be all over The King’s Speech considering it’s a home-grown film. The PGA win by Tom Hooper’s film was big, yes, but so were the many Critic’s Associations and Globes wins by David Fincher’s movie. So, if I may interject, I think that the one awards show that may be a big indicator as to what will happen on Oscar night will be the SAGs, taking place this coming Sunday.

Hear me out for a while, the SAG obviously doesn’t have a Best Picture award, but rather a Best Ensemble one, meaning it will honor the combined acting performances of the cast in a film. And while I still think that the front-runner for that one is The Fighter (which has four seriously spectacular performances), I can see an upset happening courtesy of The King’s Speech. The Social Network won’t win that one, it has some great performances but it can’t compete acting-wise with those two other films, so that race will be the one to prove just how much support The King’s Speech has. And if it wins that one, then I probably will update my predictions and consider it the front-runner for the Oscar, because, remember, the SAGs have many times served as indicators of Oscar upsets, I’m obviously referring to 1998, when the SAG went to Shakespeare in Love, the same film that went on to win the Best Picture Oscar over the clear favorite, Saving Private Ryan, and most recently in 2005, when Crash ended up with the SAG win and ended up upsetting Brokeback Mountain for the Academy’s top honor.

So yes, this will be a Best Picture race for the ages, one I’m really excited for and one that will come down to the very end. Will The King’s Speech end up with the win? Consolidating itself as the biggest Oscar bait there ever was in 2010, a biopic about British monarchy counting with excellent performances all around and a spectacular director working form a brilliant script. Or, will The Social Network prevail? The film with very young up-and-coming actors, directed by a director that started out working on music videos and then went on to create some of the most masterful and popular films of the last decade and a half, one about a modern phenomenon and full of quick-witted, very fast and talkative scenes. It will be a New School vs. Old School battle to the very end, the historical dramas have fared very well in the past, I’m thinking Gandhi or The English Patient, but as of late, with winners like The Hurt Locker and No Country for Old Men, it feels as though the Academy is skewing more towards films oriented to younger audiences with a more gritty sort of feel. We’re in for one very entertaining race to the finish line.

But enough about the big race, I’m sure we’ll talk much more about that in the near future, but for now let us revise all the nominations announced by the Academy today.

BEST PICTURE

  • 127 Hours
  • Black Swan
  • The Fighter
  • Inception
  • The Kids Are All Right
  • The King’s Speech
  • The Social Network
  • Toy Story 3
  • True Grit
  • Winter’s Bone

All the usual suspects here. I went 9 for 10 as far as my predictions go, considering Winter’s Bone felt the love from the Academy big time today and crept into the big party, throwing out my original prediction for the tenth slot: The Town. Again, as for who will actually win it, I have no idea, it’s a big split between The Social Network and The King’s Speech, and we’ll have a clearer idea of the state of the race once the remaining precursors are all said and done.

BEST DIRECTOR

  • Darren Aronofsky (for Black Swan)
  • Ethan Coen and Joel Coen (for True Grit)
  • David Fincher (for The Social Network)
  • Tom Hooper (for The King’s Speech)
  • David O. Russell (for The Fighter)

I went 4 for 5 in this one, considering I predicted the horribly snubbed Christopher Nolan to be invited to the party instead of the Coen brothers. However, True Grit got a massive ten nominations and the love went to the genius brothers instead. Which was well deserved, but it’s ridiculous that Nolan doesn’t have a Best Director nomination to his name yet. However, massive kudos to Darren Aronofsky for finally getting his first career nomination for helming what to me was the best film of 2010.

BEST LEAD ACTOR

  • Javier Bardem (for Biutiful)
  • Jeff Bridges (for True Grit)
  • Jesse Eisenberg (for The Social Network)
  • Colin Firth (for The King’s Speech)
  • James Franco (for 127 Hours)

Went a perfect 5-for-5 in this race, correctly predicting Javier Bardem’s nomination over Get Low‘s Robert Duvall. Still, Bardem’s nomination was much deserved, and it was awesome to see a foreign language performance getting a nod here. However, this has never been a race, the golden man probably has Colin Firth’s name engraved from this very moment.

BEST LEAD ACTRESS

  • Annette Bening (for The Kids Are All Right)
  • Nicole Kidman (for Rabbit Hole)
  • Jennifer Lawrence (for Winter’s Bone)
  • Natalie Portman (for Black Swan)
  • Michelle Williams (for Blue Valentine)

Another category in which I went 5-for-5 in my predictions. And it really is a lovely bunch of ladies getting nominated here, Michelle Williams got her extremely deserved nomination for her beautiful work in Blue Valentine and Jennifer Lawrence capped off her breakthrough year with an invite to Hollywood’s biggest party. This is, though, still a Portman vs. Bening battle, and even though I think Portman has the edge because hers was the better performance in the better film, I’ll wait until the SAGs are done on Sunday to call her a lock.

BEST SUPPORTING ACTOR

  • Christian Bale (for The Fighter)
  • John Hawkes (for Winter’s Bone)
  • Jeremy Renner (for The Town)
  • Mark Ruffalo (for The Kids Are All Right)
  • Geoffrey Rush (for The King’s Speech)

I predicted four out of the five here, the one I got wrong was Andrew Garfield who I thought would firmly land a nod but was bumped off by John Hawkes who was riding on the huge love given to Winter’s Bone here. Still, this is no contest, it’s Bale’s to lose, and he just won’t.

BEST SUPPORTING ACTRESS

  • Amy Adams (for The Fighter)
  • Helena Bonham Carter (for The King’s Speech)
  • Melissa Leo (for The Fighter)
  • Hailee Steinfeld (for True Grit)
  • Jacki Weaver (for Animal Kingdom)

I’ve always said this was my favorite race of the year, and even though my personal #2 pick, Mila Kunis, was left out, it really still is. I said that if Hailee Steinfeld remained here and wasn’t voted as Lead, then either Ms. Kunis or Jacki Weaver would get the boot, I picked Kunis in my predictions but apparently the Academy really loved the Australian crime saga and wanted to give it a nod, as they should have, really. Still, this is the best race there can be this year, considering I could see any of these ladies potentially winning. Amy Adams was my personal favorite of the year, and she gives her best performance yet, and considering it’s her third nomination they may (and hopefully will!) give it to her. Helena Bonham Carter may find herself winning if The King’s Speech sweeps. Melissa Leo is the current favorite, and if she wins the SAG on Sunday then this will be hers. Hailee Steinfeld carries True Grit and the voters may like to reward a young one. And Jacki Weaver created one seriously compelling character here, though considering she missed out at the SAG I think she’s the less likely to end up winning.

BEST ORIGINAL SCREENPLAY

  • Another Year (written by Mike Leigh)
  • The Fighter (written by Scott Silver, Paul Tamasy and Eric Johnson)
  • Inception (written by Christopher Nolan)
  • The Kids Are All Right (written by Lisa Cholodenko and Stuart Blumberg)
  • The King’s Speech (written by David Seidler)

I went 4 for 5 in this one, and the one I missed was the one that pains me the most not to see here which was the beautiful Black Swan screenplay, which I had in favor of Another Year, but I guess you can never count Mike Leigh out of this race, he’s just that good. As for who will win it, I would very much like to see The Kids Are All Right pick this one up, or if not then Christopher Nolan as a sort of apology from the Academy for not even nominating him for Best Director. But, most likely, this one will end up firmly in the hands of David Seidler.

BEST ADAPTED SCREENPLAY

  • 127 Hours (written by Danny Boyle and Simon Beaufoy, based on the book by Aron Ralston)
  • The Social Network (written by Aaron Sorkin, based on the book by Ben Mezrich)
  • Toy Story 3 (written by Michael Arndt, based on the story by John Lasseter, Andrew Stanton and Lee Unkrich)
  • True Grit (written by Ethan Coen and Joel Coen, based on the novel by Charles Portis)
  • Winter’s Bone (written by Debra Granik and Anne Rosellini, based on the novel by Daniel Woodrell)

As I said in my predictions, Winter’s Bone was going to put up a fight to be honored in this category. In my predictions I had The Town listed instead of Debra Granik’s film, but, as I’ve already said, the Academy shout-out the Ben Affleck film outside of Jeremy Renner’s nod, so no love here either. I like Debra Granik’s script better though (had it 6th in my Best Screenplays of 2010 list, while The Town was 15th), so I’m happy about it. Still, there’s no way Aaron Sorkin is losing this one, but then again I said the same thing about Jason Reitman and Sheldon Turner’s script for Up in the Air last year.

BEST ART DIRECTION

  • Alice in Wonderland
  • Harry Potter and the Deathly Hallows: Part I
  • Inception
  • True Grit
  • The King’s Speech

Very very good bunch of nominees here, the only film I could have seen making the cut and still be happy about it would have been Shutter Island, but nevertheless, this will be a very cool race. I’m hoping Inception will prevail here, though Alice in Wonderland may have something to say about that and, if it turns out to be a sweep, so may The King’s Speech.

BEST CINEMATOGRAPHY

  • Black Swan
  • Inception
  • The King’s Speech
  • The Social Network
  • True Grit

If I would have to guess, I’d say True Grit will win this one. However, it was amazing to see Black Swan get listed here, though I would have liked to see The King’s Speech miss out on this race in favor of the wonderful job by the 127 Hours guys.

BEST COSTUME DESIGN

  • Alice in Wonderland
  • Io Sono l’Amore
  • The King’s Speech
  • The Tempest
  • True Grit

As I said in my review for The Tempest, you can never count any Julie Taymor film out of the Best Costume Design race (all four of her films have now been nominated), but still, this one will most likely go to Alice in Wonderland. Cool to see Io Sono l’Amore get a nod here, too.

BEST EDITING

  • 127 Hours
  • Black Swan
  • The Fighter
  • The King’s Speech
  • The Social Network

Out of the technical categories, Best Editing is the one that foretells the Best Picture winner the most, so this one is one we should pay close attention to. Since the award was introduced nearly eight decades ago, only nine films have won Best Picture without being nominated here. Which I guess also goes to explain why Crash trumped over Brokeback Mountain. But still, the two Best Picture front-runners are here, so seeing who wins may be decisive as to who takes Best Picture. My vote goes to The Social Network here, and I still can’t fathom why Inception wasn’t named.

BEST MAKEUP

  • Barney’s Version
  • The Way Back
  • The Wolfman

They failed to recognize Alice in Wonderland in this one somehow, so I’m guessing this one’s definitely The Wolfman‘s.

BEST ORIGINAL SCORE

  • 127 Hours (composed by A.R. Rahman)
  • Inception (composed by Hans Zimmer)
  • The Social Network (composed by Trent Reznor and Atticus Ross)
  • The King’s Speech (composed by Alexandre Desplat)
  • How to Train Your Dragon (composed by John Powell)

Usual suspects in this one. Awesome to see Reznor and Ross up for this one, and they’re definitely my favorites to end up picking the award. However, Alexandre Desplat gets his fourth nomination with this one and still hasn’t won, so if The King’s Speech ends up owning the show he could win. However, Hans Zimmer’s score for Inception, which is all sorts of mind-blowing, may end up getting the win if the Academy feels it didn’t bestow enough nominations love towards the film, he hasn’t won an Oscar since The Lion King in 1995, despite being nominated 6 additional times since.

BEST SONG

  • If I Rise (from 127 Hours)
  • Coming Home (from Country Strong)
  • I See the Light (from Tangled)
  • We Belong Together (from Toy Story 3)

I honestly don’t know who will end up with the win here. All I know is that I’m happy no songs from Burlesque were named here.

BEST SOUND

  • Inception
  • The King’s Speech
  • Salt
  • The Social Network
  • True Grit

This is the one category that had most prediction experts baffled. Everyone predicted a maximum of 11 nominations for The King’s Speech, and this is the one nobody imagined, and the one that showed us just how much the Academy loved the film. As strange as it may sound, a Sound nomination is what really let us know that it was the front-runner.

BEST SOUND EDITING

  • Inception
  • Toy Story 3
  • TRON: Legacy
  • True Grit
  • Unstoppable

I really liked seeing TRON: Legacy here, and I was sure that The Social Network would get a nod here, but out of nowhere came Unstoppable and made the cut. Still, a cool and eclectic bunch.

BEST VISUAL EFFECTS

  • Alice in Wonderland
  • Harry Potter and the Deathly Hallows: Part I
  • Hereafter
  • Inception
  • Iron Man 2

I expected TRON: Legacy to make the cut here, but at least it got a Sound Editing nod so it didn’t go unmentioned. Still, if Inception loses this race the Oscars will have lost all credibility to me.

BEST FOREIGN LANGUAGE FILM

  • Biutiful (from Mexico)
  • Dogtooth (from Greece)
  • In a Better World (from Denmark)
  • Incendies (from Canada)
  • Outside the Law (from Algeria)

This one’s always very tough to predict. But hopefully Biutiful will end up with the trophy.

BEST ANIMATED FEATURE FILM

  • How to Train Your Dragon
  • L’Illusionniste
  • Toy Story 3

This one isn’t a race at all, Toy Story 3 will win this one hands down.

BEST DOCUMENTARY

  • Exit Through the Gift Shop
  • Inside Job
  • Gasland
  • Waste Land
  • Restrepo

No Waiting for Superman? Yeah, very very weird. Same with the lack of Client 9: The Rise and Fall of Eliot Spitzer. Still Inside Job would be a very cool winner, as would be Exit Through the Gift Shop, especially if we somehow get a Banksy appearance.

OscarWatch: Best Picture

24 Jan

Since the Academy Award nominations will be announced bright and early Tuesday morning (!) I thought I’d do seven OscarWatch posts for the main races: Screenplay (encompassing both Original and Adapted), Supporting Actor, Supporting Actress, Lead Actor, Lead Actress, Director and Picture.

In them I’ll detail my thoughts on the given race and how I think things are starting to shape up considering we have now seen most of the precursor awards and count with BAFTA and SAG nominations. I’ll give my personal Top 20, with a brief paragraph on each, for any given race and detail which I think will be the nominees for the Oscars come Tuesday. And in the very final pre-nominations OscarWatch post we’ll of course tackle…

Best Picture

I’ll give my Top 20 picks for the best films in all of 2010, my brief thoughts on each and then I’ll say how I think the Oscar nominations for the category will look once they’re announced on Tuesday.

As for the state of the race, well, it’s a two-way race here. The precursors gave huge momentum to The Social Network, as did its win and mini-sweep at the Globes last week. However, yesterday The King’s Speech won the Producers Guild Award, and considering it will most certainly win the BAFTA, and will have a very decent shot at the Best Ensemble SAG award this really is a two-horse race, and a very very entertaining one at that.

Personal Top 20

  1. Black Swan – My favorite film of the year by heaps and bounds, a true masterpiece, directed by one of Hollywood’s most ambitious and perfectionists minds, featuring a handful of exceptional performances and just nailing every single frame.This is intense and passionate filmamaking at its very best, and were it up to me it would win absolutely everything.
  2. The Social Network – This is being heralded as the film of a generation. And as huge a statement as that may seem, it’s really kinda sorta on the money. A film about the phenomenon that’s consuming huge amounts of time of our lives, directed to perfection by a guy who can’t seem to do a bad thing and who started directing music videos, bolstering sensational performances by a cast full of up and coming actors, and with a script full of words and witty remarks. This really is the film of a generation.
  3. Inception This was the popcorn film that was actually stimulating, the smartest film of the year directed by the visionary we have all embraced like crazy into our lives. This was the one everyone talked about even months after its release, the one that when released on home video showed us just how awesome a blu-ray can really be, the one that had some seriously amazing performances and a very emotional story in the midst of all its visual spectacle. True innovative filmmaking.
  4. Blue Valentine The rawest, most emotional film experience I had in all last year. Bolstered by two pitch-perfect performances by Ryan Gosling and Michelle Williams, this film showed how quick love can start, and how quick it can all end. It’s portrayal of a crumbling marriage is a very powerful thing to watch, the actors putting everything on the line, masterful stuff all around.
  5. The Kids Are All Right – This one has superb performances around the board, and tells a very contemporary story about family which we can all relate to in one way or another. Beautifully written, directed and acted, The Kids Are All Right was one of the best films of year just because of that, but it became even better when you realized just how much the writers knew their wine.
  6. Somewhere – Sofia Coppola’s back at it again, coming back to the stuff she’s comfortable with, and directing a quiet and gorgeous film. One which takes quite a bit from her own experiences as the daughter of a big star, and has her exploring celebrity like few directors can.
  7. Never Let Me Go – And I’ll say it one final time in these OscarWatch posts, this was, to me, the most underappreciated film of 2010 by a fair amount. Capturing the style and essence of the Kazuo Ishiguro novel it was based on was going to be a tough task for anyone to accomplish, and yet Mark Romanek did so splendidly, directing Carey Mulligan, Andrew Garfield and Keira Knightley to beautiful performances.
  8. Scott Pilgrim vs. the World – A truly original film, one that captures to perfection the style and flair of the graphic novels I love so much and that found in Edgar Wright the perfect director to convey the precious little life of Scott Pilgrim, and in Michael Cera the perfect guy to bring the character to life. This one goes by really fast, with its stunning visuals and cool one-liners, and every last second of it is pure bliss.
  9. Toy Story 3 There hasn’t been an official confirmation that this will be the last Toy Story film. But if it is, it’s probably the most graceful conclusion to any trilogy ever, coming full circle, full of memorable moments, of huge laughs, of meaningful tears. A beautiful film that ranks amongst Pixar’s best.
  10. 127 Hours A really powerful film, this one is. James Franco delivering the best performance of his career for director Danny Boyle, who entrusted him with portraying Aron Ralston, the real life man who was trapped when a boulder crashed his arm in a Utah canyon. The result is really breathtaking, with a stunning performance by Mr. Franco, sharp directing and writing by Mr. Boyle and some really gorgeous cinematography.
  11. True Grit – The Coen brothers are at it again with True Grit, continuing the ridiculous string of stunning films. They also have a wonderful cast full of amazing veterans in Jeff Bridges, Matt Damon and Josh Brolin and found in Hailee Steinfeld one of 2010’s coolest new stars, who clearly has a very bright future in front of her. If you liked Intolerable Cruelty, and manage to ignore that underwhelming The Ladykillers then you just might say the have a perfect body of work.
  12. Winter’s Bone – Debra Granik creates a very bleak and somber atmosphere for her film about the Ozarks, and found in Jennifer Lawrence the perfect actress to bring Ree to life, and carry and bring a speck of hope to the film. This is a real starmaking turn from her, and what lies in her future is just amazing to think about.
  13. The Town – The film that proved to us that Ben Affleck really is a fantastic director. A film that was extremely entertaining and full of spot-on performances by a cast that included Mr. Affleck himself, as well as Jeremy Renner, Rebecca Hall, Jon Hamm, Pete Postlethwaite, Blake Lively and Chris Cooper.
  14. The King’s Speech – If you exclude Black Swan this is the best-acted film of all 2010, the sort of thing you can write “Oscar bait” on, everyone delivering some truly masterful performances, directed by Tom Hooper from a fantastic script. If Black Swan was a very polarizing film, this is one I cannot see anyone not really falling in love with, if anything just because of how amazing Colin Firth is in it.
  15. The Fighter – Yes, this is another rather predictable boxing film, but the real-life story and people in it make it a very very compelling family tale. This is not a boxing film with a human story in it, but a human story with boxing in it. The performances here are just amazing, with Amy Adams, Melissa Leo, Christian Bale and Mark Wahlberg all doing wonders with their characters.
  16. Let Me In – The fact that this film ended up being nearly as perfect as the original Swedish one is the biggest compliment one could give it. This is the perfect definition of a good remake, one that never once tries to lose the essence of the original, but that adds enough spice of its own to separate itself from it in order to be judged on its own.
  17. Greenberg – Noah Baumbach yet again delivers a darkly comic script and amazing directing chops to a small little film that deals with the intricacies of an offbeat character. That character is played by Ben Stiller in what might be the performance of his career, a nuanced portrayal that was perfect in all the best ways. Not to mention that it was also the film that introduced us to Greta Gerwig, and she’s all sorts of lovely.
  18. Kick-Ass – A very fun film to watch, one that honors its graphic novel roots, isn’t afraid to show a cursing thirteen-year-old or hugely graphic and gnarly violence. This really is a treat for the eyes, one that has Nicolas Cage in full-on spectacle mode being awesome, and in Chloë Moretz one of the best finds of the year.
  19. Animal Kingdom – The stunning portrayal of the Australian criminal underground world. The performances here are just stunning to watch develop, the script is really clever and the film is just intensely plotted and structured to deliver a really thrilling ride.
  20. Biutiful – This is a very powerful film, one that’s many times hard to watch, but one that’s extremely rewarding to watch as well. Bursting to life by a beautifully raw performance by Javier Bardem and confident filmmaking by Alejandro González Iñárritu, it’s strong stuff, but compelling, too, and one that will have you leaving the theater and really thinking deep about what you just saw.

How I Think the Oscar Nominations Will Look Like (in alphabetical order)

  • 127 Hours
  • Black Swan
  • Inception
  • The Fighter
  • The Kids Are All Right
  • The King’s Speech
  • The Social Network
  • The Town
  • Toy Story 3
  • True Grit

The Town and 127 Hours are the wildcards for me here. The other 8 I think are guaranteed to score an invite to the big race. I named both The Town and 127 Hours as hypothetical candidates, but I could actually see either one of them being bumped off the shortlist in favor of Winter’s Bone, we shall wait and see what happens Tuesday morning.

OscarWatch: Best Lead Actor

21 Jan

Since the Academy Award nominations will be announced bright and early Tuesday morning (!) I thought I’d do seven OscarWatch posts for the main races: Screenplay (encompassing both Original and Adapted), Supporting Actor, Supporting Actress, Lead Actor, Lead Actress, Director and Picture.

In them I’ll detail my thoughts on the given race and how I think things are starting to shape up considering we have now seen most of the precursor awards and count with BAFTA and SAG nominations. I’ll give my personal Top 20, with a brief paragraph on each, for any given race and detail which I think will be the nominees for the Oscars come Tuesday. In this post I’ll tackle…

Best Lead Actor

I’ll give my Top 20 performances given by actors in a leading role in 2010, my brief thoughts on each and then I’ll say how I think the Oscar nominations for the category will look once they’re announced on Tuesday.

As for the state of the race, it’s all said and done already. There’s really no way in hell Colin Firth isn’t leaving the Kodak Theater without that trophy firmly in his hand, his performance in The King’s Speech is unbeatable, and every other actor who did good stuff in a 2010 film will have to settle for a nomination on Tuesday.

Personal Top 20

  1. Colin Firth (for The King’s Speech) – There really is no other #1 pick in any capacity that isn’t Colin Firth. The stuff on display from him here is just astounding, and considering he’s coming off another Oscar-nominated brilliant performance from A Single Man last year his chances only get bigger, he’s just the best.
  2. James Franco (for 127 Hours) – The buzz surrounding this film seems to have been dying down as of late, but James Franco will still no doubt get a much-deserved nomination for his work as Aron Ralston. His 2010 was amongst the best any actor had, and how he carries the film by himself, delivering a tour de force performance is amazing.
  3. Ryan Gosling (for Blue Valentine) – The film was full of raw emotion and power and honesty, and it’s all because of its two leads. Ryan Gosling is superb here, doing the finest work of his career to date, and if the world was fair then he’d get a nomination.
  4. Jesse Eisenberg (for The Social Network) – Jesse Eisenberg is still the Jesse Eisenberg we all know and love in The Social Network, but reigned in by David Fincher he delivers a fantastic performance, transforming himself into the version of Mark Zuckerberg the movie needed, and helping the film earn its “the movie of a generation” title.
  5. Javier Bardem (for Biutiful) – Much like Ryan Gosling, Javier Bardem sheds every inch of actor vanity for his role in Biutiful, and gives a very open and honest performance in it that has people speaking raves of him. The sheer amount of power and emotional punch he gives here is just unbelievable.
  6. Jeff Bridges (for True Grit) – Last year’s winner will likely be a repeat nominee this year. He tackles a role that won John Wayne his Oscar, and complete does a 180 with it, pitching his own singularities into the character, and making him instantly memorable.
  7. Aaron Eckhart (for Rabbit Hole) – Put him alongside Mr. Gosling and Mr. Bardem, this is the third performance that’s just emotionally sincere, in a film that’s raw and powerful. This is a guy who has been doing stellar work for a number of years now, and he doesn’t seem to be stopping any time soon.
  8. Leonardo DiCaprio (for Inception) – Casting Leonardo DiCaprio was the smartest thing Christopher Nolan did for his film. He grounds the film with his emotional storyline, not letting us get lost in the mind-bending plot structure, while not taking anything away from it either.
  9. Andrew Garfield (for Never Let Me Go) – Andrew Garfield had an amazing 2010, I had him as my third favorite supporting actor performance for The Social Network, which will likely get him an Oscar nomination, and he’s in my Top 10 here, for his work on what I’ll forever call the most under-appreciated film of all last year, he’s just amazing in it.
  10. Mark Wahlberg (for The Fighter) – Christian Bale, when accepting his Golden Globe for this film, said that in order for a loud performance like his to be effective, one needed an incredibly solid and quiet anchor. And Mark Wahlberg is that anchor, taking the leading role in his passion project, and delivering like crazy.
  11. Ben Stiller (for Greenberg) – Probably the best thing Ben Stiller has done in his career, his turn here is unbelievable, as he makes us feel about Roger Greenberg, feel bad for him, feel angry at him, it’s all just incredibly solid stuff from him.
  12. Robert Duvall (for Get Low) – Robert Duvall can do no wrong. He’s always amazing in anything he’s in, and he’s delivered some of the best acting work probably ever in some of his films. In Get Low he’s at it again, giving one seriously fine work, that only an actor of his caliber and experience would have been able to provide.
  13. Stephen Dorff (for Somewhere) – If this film had gotten more attention and love then we would all be calling Stephen Dorff’s career completely revived and be throwing nominations at him. The movie, however, wasn’t universally embraced. I still loved it though, and thought Mr. Dorff was amazing in it, creating in Johnny Marco a subdued and patient performance which I loved.
  14. Ben Affleck (for The Town) – I gave The Town three shout-outs in my Top 20 for Best Supporting Actor, then gave Rebecca Hall a nod in the Best Supporting Actress rankings, so this here makes it five mentions for that film. Ben Affleck not only directed and co-wrote this amazing heist movie, but also delivered a triumphant performance as the lead character who battles morals and emotions.
  15. Michael Douglas (for Solitary Man) – When people talk Michael Douglas and this awards season they talk about his supporting turn in Wall Street: Money Never Sleeps, and while he’s seriously good in that one, I’d rather have more people notice him in this one, a lesser-seen film in which he gives one of the strongest performances of his career, and definitely the best one since Wonder Boys.
  16. James Franco (for Howl) – Yes, a second mention for my #2 pick. And, even though 127 Hours is of course a much much different film, in this one he also carries the film by himself with a terrific performance. He plays Allen Ginsberg, and his line-readings of the titular poem are a thing of wonder.
  17. Paul Giamatti (for Barney’s Version) – I saw this one this year and will count towards my 2011 rankings, but it classifies for this awards season, so here it goes. Paul Giamatti has already won a Golden Globe for his performance here, and rightfully so, he’s amazing, and even though an Oscar nomination is pretty unlikely it would be awesome to see.
  18. Matt Damon (for Hereafter) – I also named him for Best Supporting Actor in True Grit, and here he is again. I’ve met a lot of people saying they were underwhelmed by Hereafter, but I thought it was a pretty masterful effort by Clint Eastwood, and Mr. Damon was just sensation in it.
  19. Leonardo DiCaprio (for Shutter Island) – Another double-honoree in this category. Leonardo DiCaprio always does wonders when working under the direction of Martin Scorsese, and in Shutter Island he really is amazing. A very different sort of role in a very different sort of movie for him, but he rocks it nevertheless, providing the perfect emotions to his character.
  20. Jake Gyllenhaal (for Love and Other Drugs) – I know there were other picks I could have made for the last spot, but I always give this one to a sentimental favorite. And I thought Love and Other Drugs was underrated, and I thought Jake Gyllenhaal was amazing in it, kudos kudos kudos to him.

How I Think the Oscar Nominations Will Look Like (in alphabetical order)

  • Javier Bardem (for Biutiful)
  • Jeff Bridges (for True Grit)
  • Jesse Eisenberg (for The Social Network)
  • Colin Firth (for The King’s Speech)
  • James Franco (for 127 Hours)

I think Bridges, Eisenberg, Firth and Franco are all locks by now, and I really can’t see any of them not being there picking up nominations. The fifth slot is more of a wildcard, and I think it’s a four-man race between Robert Duvall, Mark Wahlberg, Javier Bardem and Ryan Gosling. Odds-on favorite I would guess is Duvall, Wahlberg may get in because I think The Fighter will get some nice amount of love and Ryan Gosling gives a raw performance the Academy may want to reward. However, I think Javier Bardem has what he needs to pull this one off and be a foreign film competitor in a major race, he has peaked with the BAFTA nod and all the actors love his performance. So yes, I’m going with him for that final slot on Tuesday.