Love in media


I will share with you all what I consider the most profound statements and gestures of love I have seen so far on film or television (in no particular order).

Why does a man do what he mustn’t? For her. To be hers. To be the kind of man who would ne… To be a kind of man. And she shall look on him with forgiveness… and everybody will forgive and love. He will be loved.
– Spike

 

Uncomfortable silences. Why do we feel it’s necessary to yak about bullsh*t in order to be comfortable?
That’s when you know you’ve found somebody really special: you can just shut the f*ck up for a minute and comfortably share silence.
– Mia Wallace

 

So, yes, I know that love is unconditional. But I also know it can be unpredictable, unexpected, uncontrollable, unbearable and strangely easy to mistake for loathing, and… What I’m trying to say, Tristan, is… I think I love you. My heart… It feels like my chest can barely contain it. Like it doesn’t belong to me any more. It belongs to you. And if you wanted it, I’d wish for nothing in exchange — no gifts, no goods, no demonstrations of devotion. Nothing but knowing you loved me, too. Just your heart, in exchange for mine.
– Yvaine

 

My dream is of eternity with you… I offer you this rose… my heart… my soul… my love
– The Lord of Darkness

 

What If Lisa Marie Was In Charge of the Golden Raspberry Awards


If you’re following the Awards ceremony, you know that two major events are coming up next week.  On Tuesday, the Oscar nominations will be announced.  But before that, on Monday, the Golden Raspberry Award nominations will be announced.  For 32 years, the Golden Raspberries have been honoring the worst films of the year and they’ve always served as a nice counterpoint to the self-congratulatory nature of the Academy Awards.

Now, on Monday night, I’ll be posting what I would nominate if I was in charge of the Oscars but first, I’d like to show you what I’d nominate if I was solely responsible for making the Golden Raspberry nominations.

Now before anyone leaves me any pissy comments, these are not predictions.  I know that these are not the actual nominations.  I know that the actual Golden Raspberry nominations will probably look a lot different.  These are just my individual picks.

(My “winners” are listed in bold print.)

Worst Picture

Anonymous

The Conspirator

Dylan Dog: Dead of Night

The Rum Diary

Straw Dogs

Worst Actor

Daniel Craig in Dream House, Cowboys and Aliens, and The Girl With The Dragon Tattoo

Aaron Eckhardt in Battle: Los Angeles

James Marsden in Straw Dogs

James McAvoy in The Conspirator

Brandon Routh in Dylan Dog: Dead of Night

Worst Actress

Kate Bosworth in Straw Dogs

Anita Briem in Dylan Dog: Dead of Night

Claire Foy in Season of the Witch

Brit Marling in Another Earth

Sara Paxton in Shark Night: 3-D

Worst Supporting Actor

Paul Giamatti in The Ides of March

Mel Gibson (as the Beaver) in The Beaver

Sir Derek Jacobi in Anonymous

Giovanni Ribisi in The Rum Diary

James Woods in Straw Dogs

Worst Supporting Actress

Jennifer Ehle in Contagion

Amber Heard in The Rum Diary

Willa Holland in Straw Dogs

Vanessa Redgrave in Anonymous

Oliva Wilde in Cowboys and Aliens

Worst Director

Roland Emmerich for Anonymous

Rod Lurie for Straw Dogs

Kevin Munroe for Dylan Dog: Dead of Night

Robert Redford for The Conspirator

Bruce Robinson for The Rum Diary

Worst Screenplay

Anonymous, written by John Orloff.

Another Earth, written by Mike Cahill and Brit Marling

The Beaver, written by Kyle Killen

Dylan Dog: Dead of Night, written by Thomas Dean Donnelly and Joshua Oppenheimer.

Straw Dogs, written by Rod Lurie.

(That’s right, it’s a tie.)

Worst Screen Couple 

Rhys Ifans and Joeley Richardson in Anonymous

Rhys Ifans and Vanessa Redgrave in Anonymous

Brit Marling and any breathing creature in Another Earth

Mel Gibson and The Beaver in The Beaver

James Marsden and Kate Bosworth in Straw Dogs

Worst Prequel, Sequel, or Remake

Arthur

The Girl With The Dragon Tattoo

Scream 4

Straw Dogs

Transformers 3

6 Trailers For 6 Films That Were Snubbed By The Academy


Seeing as how the Oscar nominations are due to be announced on Tuesday, I thought I would devote this edition to Lisa Marie’s Favorite Grindhouse and Exploitation trailers to films that were snubbed by the Academy.  Remember them while you’re watching Rooney Mara accept best actress.

1) A Life of Ninja (1983)

Despite the colorful trailer, this film was not nominated for best Costume Design, Art Design,  or Cinematography.  Instead, all three of those awards went to Ingmar Bergman’s Fanny and Alexander.

2) The Shark Hunter (1979)

Franco Nero was not nominated for best actor for his performance here.  Instead Dustin Hoffman won for Kramer vs. Kramer.

3) The Terrornauts (1967)

The true terror is that the 1967 Oscar for Special Visual Effects went to Doctor Dolittle and not The Terrornauts.

4) Americathon (1979)

The Academy has never really appreciated hard-hitting political satire which perhaps explains why the previously mentioned Kramer Vs. Kramer won best picture while Americathon was not even nominated.

5) Don’t Torture A Duckling (1972)

The Oscar for Best Foreign language film of 1972 was given to Luis Bunuel’s The Discreet Charm of the Bourgeoisie and not to Lucio Fulci’s classic giallo Don’t Torture A Duckling.

6) The Hills Have Eyes (1977)

And yet somehow, Annie Hall was named best picture.

Quick Review: Haywire


Note that this probably won’t be the only review for Haywire. I think everyone at the Shattered Lens is going to see it, so it’ll be cool to see what we all thought of it. For any other reviews that come up, I’ll update this one to link to it.

I didn’t expect a great deal with Steven Soderbergh’s Haywire. Walking into it, I thought of Steven Seagal’s “Above the Law”, Pamela Anderson’s “Barb Wire”, Bruce Lee’s “Fist of Fury”, Antoine Fuqua’s “The Replacement Killers” and Jean-Claude Van Damme’s “Bloodsport”. All of those films worked to showcase either a martial arts star doing what they do best or a filming technique (in the case of The Replacement Killers’ John Woo love) to audiences. Ultimately, this is what Haywire is. It’s MMA fighter Gina Carano’s spotlight moment, giving her the chance to show what she’s got. In essence, you’re watching an expensive demo reel.

I’ve followed Carano through her MMA fighting career, thanks to a friend who introduced me to the Showtime fighting specials years ago. After her fall to Cristiane Cyborg (who is just as deadly in the ring), Gina kind of stepped away from a bit. I, for one, am happy to see her back in some form or fashion.

And she’s great as an action star, when there’s action happening. There’s just not enough of it, though. Watching Haywire for me was like seeing Jet Li in “Unleashed”. You’re begging for Soderbergh to just let Carano go wild just kick everyone’s ass, but alas, it only happens in short, controlled bursts. Perhaps that’s a good thing, considering that there is something of a story unfolding. When there isn’t any action, Gina’s Mallory Kane makes a brooding face and always looks poised for the next fight.

The movie does two smart things – It lets Carano do her thing, and gives her a cast that tries to help her out.

Soderbergh surrounds Carano with enough talent that you almost forget to concentrate on her and where she’s going. She does okay on her own with her focused stares and cool demeanor, but the supporting cast seems to help out when they can, some becoming human punching bags in the process. No one member of the supporting cast shines, but collectively, they do well.

Like the Bourne films, there’s very little music used during the actual fight sequences. That does help to let you focus on what’s going on in front of you. Musically, I’ll admit I liked it.  Instead of composer Cliff Martinez, who I felt did really well on Contagion, we have David Holmes again who worked with Soderbergh on all three Oceans films. He gives the movie a 70’s spy vibe that hinges on almost sounding like it could be used for the TV show Archer. Make of that what you will. I enjoyed it.

Haywire is the classic tale of a Government Agent on the run from the people who made them what they were. You’ve seen it before. Bourne, every other film like Bourne, and most of the Transporter series. What Haywire tries to bring to the table is someone who happens to be fully capable of taking and dishing the blows that come with the close quarter fight scenes that occur. Carano is easily Haywire’s strongest point.

Here are Haywire’s problems:

– Mallory is cool and all, but don’t expect much in the way of character development. This is an action movie. You’re not going to learn much about Mallory Kane other than she’s lethal and loves her father. That’s about it. If you want character growth spurts, you’re better off watching one of the Awards contenders.

– Don’t expect action all the way through. Haywire has some lull points as with any movie, and at the late night showing I went to, someone was snoring on the left side of the theatre. Be prepared for that.

– The movie has the potential of running a “See Gina Run”, “See Gina Fight”, “See Gina Run & Fight” loop. I personally didn’t mind this at all, but it may see to be a little repetitive to some. The fights are brutal and fantastic and I’d personally like to know if any stunt people were hurt.

Overall, for a January release, Haywire isn’t bad at all. I could easily see Gina Carano doing a few more of these and rising as an action star. Until then, I’ll be heading back to this one pretty soon.