So, who else is really, really excited about Paul Thomas Anderson’s upcoming film The Master? While the teaser that was released earlier today is a bit more straight forward than the enigmatic first teaser, it’s no less intriguing.
It also features our first chance to see Philip Seymour Hoffman as a character who may (or may not be) based on L. Ron Hubbard.
Here’s the trailer for the film that will probably end up dominated my twitter timeline when it’s eventually released. I follow a lot of big Kerouac fans (and I think Big Sur is one of the great American novels) and I’ll be interested to see what they think of the long-delayed film version of On The Road. For now, I’ll just say that it’s rarely a good sign when the film version of an iconic novel is full of star cameos and I have a hard time imagining the dependably dull Garrett Hedlund as Dean Moriarty.
(Already, I can hear people complaining about the prominence of Kristen Stewart in the film’s trailer….)
Earlier today, the Broadcast Film Critics Association announced their nominations for the 17th Annual Critics’ Choice Awards. The BFCA is the largest of the so-called “major” critics’ groups (and, interestingly enough, it’s also the newest and the least prestigious) and it has a fairly good track record of predicting the actual Oscar nominations. The awards themselves will be handed out on January 12th, 2012 in a self-important, kinda seedy ceremony that will be broadcast on VH-1.
BEST PICTURE
The Artist
The Descendants
Drive
Extremely Loud & Incredibly Close
The Help
Hugo
Midnight in Paris
Moneyball
The Tree of Life
War Horse
BEST ACTOR
George Clooney – The Descendants
Leonardo DiCaprio – J. Edgar
Jean Dujardin – The Artist
Michael Fassbender – Shame
Ryan Gosling – Drive
Brad Pitt – Moneyball
BEST ACTRESS
Viola Davis – The Help
Elizabeth Olsen – Martha Marcy May Marlene
Meryl Streep – The Iron Lady
Tilda Swinton – We Need to Talk About Kevin
Charlize Theron – Young Adult
Michelle Williams – My Week With Marilyn
BEST SUPPORTING ACTOR
Kenneth Branagh – My Week With Marilyn
Albert Brooks – Drive
Nick Nolte – Warrior
Patton Oswalt – Young Adult
Christopher Plummer – Beginners
Sir Andrew Serkis – Rise of the Planet of the Apes
BEST SUPPORTING ACTRESS
Berenice Bejo – The Artist
Jessica Chastain – The Help
Melissa McCarthy – Bridesmaids
Carey Mulligan – Shame
Octavia Spencer – The Help
Shailene Woodley – The Descendants
BEST YOUNG ACTOR/ACTRESS
Asa Butterfield – Hugo
Elle Fanning – Super 8
Thomas Horn – Extremely Loud & Incredibly Close
Ezra Miller – We Need to Talk About Kevin
Saoirse Ronan – Hanna
Shailene Woodley – The Descendants
BEST ACTING ENSEMBLE
The Artist
Bridesmaids
The Descendants
The Help
The Ides of March
BEST DIRECTOR
Stephen Daldry – Extreme Loud & Incredibly Close
Michel Hazanavicius – The Artist
Alexander Payne – The Descendants
Nicolas Winding Refn – Drive
Martin Scorsese – Hugo
Steven Spielberg – War Horse
BEST ORIGINAL SCREENPLAY
The Artist – Michel Hazanavicius
50/50 – Will Reiser
Midnight in Paris – Woody Allen
Win Win – Screenplay by Tom McCarthy, Story by Tom McCarthy & Joe Tiboni
Young Adult – Diablo Cody
BEST ADAPTED SCREENPLAY
The Descendants – Alexander Payne and Nat Faxon & Jim Rash
Extremely Loud & Incredibly Close – Eric Roth
The Help – Tate Taylor
Hugo – John Logan
Moneyball – Steven Zaillian and Aaron Sorkin, Story by Stan Chervin
BEST CINEMATOGRAPHY
The Artist – Guillaume Schiffman
Drive – Newton Thomas Sigel
Hugo – Robert Richardson
Tree of Life – Emmanuel Lubezki
War Horse – Janusz Kaminski
BEST ART DIRECTION
The Artist – Production Designer: Laurence Bennett, Art Director: Gregory S. Hooper
Harry Potter and the Deathly Hallows Part 2 – Production Designer: Stuart Craig, Set Decorator: Stephenie McMillan
Hugo – Production Designer: Dante Ferretti, Set Decorator: Francesca Lo Schiavo
The Tree of Life – Production Designer: Jack Fisk, Art Director: David Crank
War Horse – Production Designer: Rick Carter, Set Decorator: Lee Sandales
BEST EDITING
The Artist – Michel Hazanavicius and Anne-Sophie Bion
Drive – Matthew Newman
The Girl With the Dragon Tattoo – Kirk Baxter and Angus Wall
Hugo – Thelma Schoonmaker
War Horse – Michael Kahn
BEST COSTUME DESIGN
The Artist – Mark Bridges
The Help – Sharen Davis
Hugo – Sandy Powell
Jane Eyre – Michael O’Connor
My Week With Marilyn – Jill Taylor
BEST MAKEUP
Albert Nobbs
Harry Potter and the Deathly Hallows Part 2
The Iron Lady
J. Edgar
My Week With Marilyn
BEST VISUAL EFFECTS
Harry Potter and the Deathly Hallows Part 2
Hugo
Rise of the Planet of the Apes
Super 8
The Tree of Life
BEST SOUND
Harry Potter and the Deathly Hallows Part 2
Hugo
Super 8
The Tree of Life
War Horse
BEST ANIMATED FEATURE
The Adventures of Tintin
Arthur Christmas
Kung Fu Panda 2
Puss in Boots
Rango
BEST ACTION MOVIE
Drive
Fast Five
Hanna
Rise of the Planet of the Apes
Super 8
BEST COMEDY
Bridesmaids
Crazy, Stupid, Love
Horrible Bosses
Midnight in Paris
The Muppets
BEST FOREIGN LANGUAGE FILM
In Darkness
Le Havre
A Separation
The Skin I Live In
Where Do We Go Now
BEST DOCUMENTARY FEATURE
Buck
Cave of Forgotten Dreams
George Harrison: Living in the Material World
Page One: Inside the New York Times
Project Nim
Undefeated
BEST SONG
“Hello Hello” – performed by Elton John and Lady Gaga/written by Elton John and Bernie Taupin – Gnomeo & Juliet
“Life’s a Happy Song” – performed by Jason Segel, Amy Adams and Walter/written by Bret McKenzie – The Muppets
“The Living Proof” – performed by Mary J. Blige/written by Mary J. Blige, Thomas Newman and Harvey Mason, Jr. – The Help
“Man or Muppet” – performed by Jason Segel and Walter/written by Bret McKenzie – The Muppets
“Pictures in My Head” – performed by Kermit and the Muppets/written by Jeannie Lurie, Aris Archontis and Chen Neeman – The Muppets
BEST SCORE
The Artist – Ludovic Bource
Drive – Cliff Martinez
The Girl With the Dragon Tattoo – Trent Reznor & Atticus Ross
Hugo – Howard Shore
War Horse – John Williams
The BFCA has obviously made a lot of nominations and some of them are interesting but I have to be honest: the BFCA as an organization annoys me with how they’re always bragging about how big they are and how they’re so good at celebrating the conventional establishment wisdom. So, I’ll just say that its nice to see Hanna getting at least some sort of recognition (even if that recognition is kinda minor.)
The Oscar nominations were announced today and, for the most part, it’s pretty much what you would expect. Below is the list of nominees. If a nominee listed in bold print, that means they also appeared on my own personal list of nominations.
Black Swan
The Fighter
Inception
The Kids Are All Right
The King’s Speech
127 Hours
The Social Network
Toy Story 3
True Grit
Winter’s Bone
(The Academy and I agree on five of the ten nominees. That’s actually more than I was expecting.)
Javier Bardem (Biutiful)
Jeff Bridges (True Grit)
Jesse Eisenberg (The Social Network)
Colin Firth (The King’s Speech)
James Franco (127 Hours)
(The only real surprise here is Bardem. I haven’t seen Biutiful but I’ve heard amazing things about it.)
Christian Bale (The Fighter)
John Hawkes (Winter’s Bone)
Jeremy Renner (The Town)
Mark Ruffalo (The Kids Are All Right)
Geoffrey Rush (The King’s Speech)
(Yay for John Hawkes! Some people are surprised that Andrew Garfield wasn’t nominated for The Social Network. I’m disappointed he wasn’t nominated for Never Let Me Go.)
Annette Bening (The Kids Are All Right)
Nicole Kidman (Rabbit Hole)
Jennifer Lawrence (Winter’s Bone)
Natalie Portman (Black Swan)
Michelle Williams (Blue Valentine)
(I’m happy to see Lawrence and Portman recognized but I still so wish that the Academy had recongized Noomi Rapace and Katie Jarvis as well. I knew it wouldn’t happen but still…)
Amy Adams (The Fighter)
Helena Bonham Carter (The King’s Speech)
Melissa Leo (The Fighter)
Hailee Steinfeld (True Grit)
Jacki Weaver (Animal Kingdom)
(Weaver — Yay!)
Darren Aronofsky (Black Swan)
David O Russell (The Fighter)
Tom Hooper (The King’s Speech)
David Fincher (The Social Network)
Joel Coen and Ethan Coen (True Grit)
(The snubbing of Christopher Nolan for Inception is probably the closest thing to an outrage that the Oscars will produce this year.)
127 Hours – Danny Boyle & Simon Beaufoy
The Social Network – Aaron Sorkin
Toy Story 3 – Michael Arndt (screenplay); John Lasseter, Andrew Stanton and Lee Unkrich (story)
True Grit – Joel Coen and Ethan Coen
Winter’s Bone – Debra Granik & Anne Rosellini
Another Year – Mike Leigh
The Fighter – Scott Silver, Paul Tamasy and Eric Johnson (screenplay); Keith Dorrington, Paul Tamasy and Eric Johnson (story)
Inception – Christopher Nolan
The Kids Are All Right – Lisa Cholodenko and Stuart Blumberg
The King’s Speech – David Seidler
How to Train Your Dragon
The Illusionist
Toy Story 3
(I haven’t seen The Illusionist yet but I’m looking forward to it because the previews look great, it’s based on a script by Jacques Tati, and I love all things French. Still, I kinda wish that Despicable Me had been nominated just so Arleigh could see the minions at the Academy Awards.)
Biutiful (Mexico)
Dogtooth (Greece)
In a Better World (Denmark)
Incendies (Canada)
Outside the Law (Hors-la-loi) (Algeria)
Alice in Wonderland – Robert Stromberg (production design), Karen O’Hara (set decoration)
Harry Potter and the Deathly Hallows Part 1 – Stuart Craig (production design), Stephenie McMillan (set decoration)
Inception – Guy Hendrix Dyas (production design), Larry Dias and Doug Mowat (set decoration)
The King’s Speech – Eve Stewart (production design), Judy Farr (set decoration)
True Grit – Jess Gonchor (production design), Nancy Haigh (set decoration)
Matthew Libatique (Black Swan)
Wally Pfister (Inception)
Danny Cohen (The King’s Speech)
Jeff Cronenweth (The Social Network)
Roger Deakins (True Grit)
Colleen Atwood (Alice in Wonderland)
Antonella Cannarozzi (I Am Love)
Jenny Beavan (The King’s Speech)
Sandy Powell (The Tempest)
Mary Zophres (True Grit)
(That’s right, I ended up going 0 for 5 as far as Costume Design is concerned. Which I guess goes to prove that I have better taste than the Academy.)
Exit Through the Gift Shop (Banksy and Jaimie D’Cruz)
Gasland (Josh Fox and Trish Adlesic)
Inside Job (Charles Ferguson and Audrey Marrs)
Restrepo (Tim Hetherington and Sebastian Junger)
Waste Land (Lucy Walker and Angus Aynsley)
(If Banksy wins, I’ll be happy. I have a feeling the award will go to Inside Job, however. As a documentary, Inside Job reminded me a lot of Capt. Hindsight from the South Park Coon Vs. Coon And Friends trilogy. Also, I’m a little bit surprised that Waiting for Superman wasn’t nominated. I’m even more surprised that I actually saw enough feature documentaries last year to even have an opinion. Also, interesting to note that Restrepo — a very nonpolitical look at military in the mid-east — was nominated while The Tillman Story, a much more heavy-handed and stridently political documentary was not.)
Killing in the Name (Nominees to be determined)
Poster Girl (Nominees to be determined)
Strangers No More (Karen Goodman and Kirk Simon)
Sun Come Up (Jennifer Redfearn and Tim Metzger)
The Warriors of Qiugang (Ruby Yang and Thomas Lennon)
(It’s always interesting that nobody knows what these movies are about yet their producers always end up giving the longest speeches at the Oscars. I’m hoping that Poster Girl wins because the actual producers have yet to be determined. I imagine that means there might be some sort of legal action going on which means that, if it wins on Oscar night, there might be a big fight at the podium. Plus, I like the title. It makes me want to walk up to people I barely know, lean forward, and go, “Can I be your poster girl?”)
Andrew Weisblum (Black Swan)
Pamela Martin (The Fighter)
Tariq Anwar (The King’s Speech)
Jon Harris (127 Hours)
Angus Wall and Kirk Baxter (The Social Network)
Adrien Morot (Barney’s Version)
Edouard F Henriques, Gregory Funk and Yolanda Toussieng (The Way Back)
Rick Baker and Dave Elsey (The Wolfman)
John Powell (How to Train Your Dragon)
Hans Zimmer (Inception)
Alexandre Desplat (The King’s Speech)
AR Rahman (127 Hours)
Trent Reznor and Atticus Ross (The Social Network)
Coming Home (from Country Strong, music and lyrics by Tom Douglas, Troy Verges and Hillary Lindsey)
I See the Light (from Tangled, music by Alan Menken, lyrics by Glenn Slater)
If I Rise (from 127 Hours, music by AR Rahman, lyrics by Dido and Rollo Armstrong)
We Belong Together (from Toy Story 3, music and lyrics by Randy Newman)
(I’ll just say it now — 4 nominations and I didn’t agree with a single one of them. Seriously, they could have nominated up to 5 songs but instead of giving at least one nomination to Burlesque, they just nominated 4 songs. What a load of crap.)
Day & Night (Teddy Newton)
The Gruffalo (Jakob Schuh and Max Lang)
Let’s Pollute (Geefwee Boedoe)
The Lost Thing (Nick Batzias, Shaun Tan and Andrew Ruhemann)
Madagascar, carnet de voyage (Madagascar, a Journey Diary) (Bastien Dubois)
(I’ve actually seen Day & Night since it was shown before Toy Story 3. I thought it went on a little bit too long, to be honest.)
The Confession (Tanel Toom)
The Crush (Michael Creagh)
God of Love (Luke Matheny)
Na Wewe (Ivan Goldschmidt)
Wish 143 (Ian Barnes and Samantha Waite)
Inception (Richard King)
Toy Story 3 (Tom Myers and Michael Silvers)
Tron: Legacy (Gwendolyn Yates Whittle and Addison Teague)
True Grit (Skip Lievsay and Craig Berkey)
Unstoppable (Mark P Stoeckinger)
Inception (Lora Hirschberg, Gary A Rizzo and Ed Novick)
The King’s Speech (Paul Hamblin, Martin Jensen and John Midgley)
Salt (Jeffrey J Haboush, Greg P Russell, Scott Millan and William Sarokin)
The Social Network (Ren Klyce, David Parker, Michael Semanick and Mark Weingarten)
True Grit (Skip Lievsay, Craig Berkey, Greg Orloff and Peter F Kurland)
(I would have probably had more matches in the sound category if I actually knew the difference between sound editing and sound mixing.)
Alice in Wonderland (Ken Ralston, David Schaub, Carey Villegas and Sean Phillips)
Harry Potter and the Deathly Hallows Part 1 (Tim Burke, John Richardson, Christian Manz and Nicolas Aithadi)
Hereafter (Michael Owens, Bryan Grill, Stephan Trojanski and Joe Farrell)
Inception (Paul Franklin, Chris Corbould, Andrew Lockley and Peter Bebb)
Iron Man 2 (Janek Sirrs, Ben Snow, Ged Wright and Daniel Sudick)
So there you go. I went 50/50 on the Best Picture nominations and — well, it all pretty much went downhill from there, didn’t it? Oh well.
I’m usually pretty cynical when it comes to “inspiring” movies, especially when they’re 1) based on a true story and 2) centered around some sort of professional sport. Usually, these films turn out to be not so much inspiring as just insipid and predictable. However, there is always an exception to any rule and this year, that exception is David O. Russell’s touching and exciting boxing film, The Fighter.
To put it mildly, professional athletics are not my thing. I get bored with football and the squeaky shoes of basketball annoy me. I did briefly get caught up in the world series this year but then the Rangers lost to the Giants and I pretty much swore never to allow my heart to be broken again. Tennis would be tolerable if not for all the grunting. I will occasionally watch a minute or two of golf but that’s just because I think golf courses are pretty. However, boxing does hold a certain primal fascination for me. Maybe it’s because I’ve seen far too many guys do the whole “Who you calling a bitch, bitch?” routine without ever throwing a punch (I swear, guys remind me of cats when they try to verbally spar, with all the hissing and staring) that it’s just undeniably exciting (in so many ways) to actually see two men actually punching each other until one is undeniably the winner. However, boxing — as a sport — is still largely a mystery to me. I don’t know who the current champion is nor do I know how or why he got to be the champion. I can name a few boxers — Muhammad Ali (because everyone knows him), Mike Tyson (ditto), George Foreman (because we own one of his grills), Oscar De La Hoya (because he’s cute), and Lennox Lewis (because he was on the first season of The Celebrity Apprentice).
And now, thanks to The Fighter, I know of “Irish” Mickey Ward and his half-brother Dicky Eklund.
In the film, Mickey Ward (played by Mark Wahlberg) is portrayed as being a well-meaning, blue-collar guy who lives in Lowell, Massachusetts (home of Jack Kerouac) and who makes a living as a “stepping stone,” a below-average boxer who is used by better boxers as just a “stepping stone” on their way to a bigger fight. He is managed by his overbearing mother (Melissa Leo) and is trained by his half-brother, Dicky (Christian Bale). Dicky used to be a pro-boxer himself but, as the film begins, he is more interested in smoking crack than throwing punches. Still, Dicky remains a local hero and his mother’s favorite and Mickey lives in his shadow.
After one final humiliating defeat in the ring, Ward decides to stop boxing and instead devotes his time to his new girlfriend, a bartender named Charlene (Amy Adams). Dicky, meanwhile, ends up getting sent to prison. With Dicky locked away, Mickey starts to come into his own as a person and a boxer and he eventually reenters the ring. Eventually, he gets his chance at a championship fight. However, at the same time, Dicky is released from prison and trying desperately to reenter Mickey’s life despite Charlene’s insistence that Mickey stay away from his loving but self-destructive family.
By the film’s conclusion, the story has become less about Mickey Ward’s fights in the boxing ring and more about his own battle to find the confidence necessary to stop being dominated by the people around him and to live and take responsibility for his own life and his own future. As undeniably exciting as all of the boxing is, it’s the film’s portrait of Mickey Ward as an essentially nice guy struggling to be independent that makes The Fighter such a moving film.
If you’ve read Sharon Waxman’s Rebels in the Backlot, then you might feel that know a bit about director David O. Russell. Of the six directors profiled in that book, Russell came across the most negatively, a temperamental prima donna who was portrayed as being the type to accidentally make a great film. Well, I don’t know if that portrait is an accurate one but The Fighter is no accident. Russell directs this film with an energy and an attention to detail that puts so-called “nice guy” directors like Ed Zwick to shame. For me, Russell is at his best in the film’s opening scenes where Mickey and Dicky strut through the streets of Lowell while Heavy’s How You Like Me Now plays in the background. Not much happens in these scenes. For the most part, Dicky just BSes with the locals while Mickey shyly watches. But, in just a matter of minutes, Russell manages to tell us everything that we need to know about Mickey Ward, Dicky Eklund, and Lowell, Massachusetts.
Russell also gets four excellent performances from his lead actors. Everyone already knows that Christian Bale is amazing in the role of Dicky. Let’s be honest — we all know he would be even before this film opened. He’s Christian Bale and Dicky Eklund is a great role. So instead of repeating what you already know, I’m going to take some time to praise Bale’s co-stars, all three of whom give excellent performances.
As Mickey Ward, Mark Wahlberg once again proves that he’s one of the few leading men working today who can actually bring an air of authenticity to a blue-collar role. At first, it seems like Wahlberg is going to be overshadowed by both Bale and Melissa Leo (much as Mickey was initially overshadowed by Dicky and his mother). However, once Dicky has been sent to jail and the movie focuses on Mickey’s relationship with Charlene, you suddenly realize that Wahlberg really is the movie’s heart and soul. It helps that he has a very real chemistry with Amy Adams. There’s very few actors who can convince you that they’re falling in love on-screen but Wahlberg proves, in this film, that he’s one of them.
Playing Mickey’s mother and manager, Melissa Leo is alternatively touching and horrifying. Whether she’s scolding Dicky for continually choosing drugs over family or accusing Charlene of being an “MTV girl,” Leo dominates every scene she’s in. With this film, Welcome to the Riley’s, and Frozen River, Melissa Leo has quickly become one of my favorite actresses.
Finally, in the role of Charlene, Amy Adams is finally given a chance to show what she’s actually capable of when given an actual character to play. I’ve always liked Amy Adams because she’s always come across as so genuinely sweet in almost every role she’s played. Plus, we’re both redheads, we both wanted to be ballerinas, and we both briefly worked at the Gap when we were 18 (though not at the same time, obviously. And not at the same Gap either). Furthermore, before breaking into acting, Amy Adams was a Hooters girl and I once applied for a job at Hooters though my mom made me go back and withdraw my application an hour later. Plus, Amy was born in Italy which is where I would have been born in an ideal world. And, in an ideal world, I would have her nose as opposed to the one I got stuck with. (Sorry, I love being a fourth Italian but I still have issues with my big, Italian nose…)
So, yes, Amy Adams is one of my favorite actresses which is why it pained me to see her give such an annoying performance in Julie and Julia last year. I was worried that maybe all the sweetness had finally given way to self-parody. However, much as the Fighter is about characters searching for redemption, the movie is also a redemption of sorts for Amy Adams. Yes, Charlene is another sweet-and-nurturing-girlfriend role for Adams but she brings an unexpected edginess and a very genuine anger to her role. Charlene may be a nurturer but she’s no doormat and, for me, there’s something very refreshing about seeing a strong, independent woman in a movie who is also still very feminine, nurturing, and unapologetically sexual. As I previously stated, Wahlberg and Adams have a very real, very definite chemistry in this film and, as a result, this film about a very violent sport is one of the most genuinely romantic that I’ve seen in a long time.
One final note: On a personal level, this movie almost made me want to go out and find a boxer to date. Why? So I’ll have an excuse to get dressed up all sexy-like whenever he has a fight. Seriously, I want that black dress that Charlene wears to all of Mickey’s fights. It’s to die for.
Is there any organization out there right now that isn’t handing out either awards or nominations? Earlier today, The members of the Screen Actors Guild became the latest organization to join in the fun when they announced their nominations for the best film performances of 2010.
Here’s the nominees. I apologize, in advance, for the lack of sarcastic commentary but I have a headache and, as a result, my wit is sleeping on the couch for now.
Ensemble:
Black Swan
The Fighter
The Kids Are All Right
The King’s Speech
The Social Network
Actress, Lead:
Annette Bening, The Kids Are All Right
Nicole Kidman, Rabbit Hole
Jennifer Lawrence, Winter’s Bone
Natalie Portman, Black Swan
Hilary Swank, Conviction
Actor, Motion Picture
Jeff Bridges, True Grit
Robert Duvall, Get Low
Jesse Eisenberg, The Social Network
Colin Firth, The King’s Speech
James Franco, 127 Hours
Supporting Actor
Christian Bale, The Fighter
John Hawkes, Winter’s Bone
Jeremy Renner, The Town
Mark Ruffalo, The Kids Are All Right
Geoffrey Rush, The King’s Speech
Actress, Supporting
Amy Adams, The Fighter
Helena Bonham Carter, The King’s Speech
Mila Kunis, Black Swan
Melissa Leo, The Fighter
Hailee Steinfeld, True Grit
Well, okay, maybe I’ll make a few comments along the lines of “Yay for the love shown to Natalie Portman, John Hawkes, James Franco, Jennifer Lawrence, and Mila Kunis!”
But seriously, SAG, where’s Animal Kingdom’s Jacki Weaver? I mean, I can understand why Noomi Rapace was snubbed. The Mainstream doesn’t want to remind people that there was a perfect Lisbeth Salander before Rooney Mara. That’s how the game is played. That’s why the people over at awardsdaily.com are already trying to claim David Fincher’s remake of The Girl With The Dragon Tattoo as the film to beat for best picture next year.
But nobody’s remaking Animal Kingdom. There’s nothing wrong with admitting that, in a year of excellent female performances, few were as a note perfect and unexpected as Jacki Weaver’s.
Through the Shattered Lens 