A funny thing happened to the Batman v. Superman: Dawn of Justice trailer that was set for a release at a special IMAX screening event next week. No one bothered to tell someone with a cellphone not to secretly record the trailer. A lo-res cam version of the first teaser trailer for Batman v. Superman: Dawn of Justice was leaked just hours after Disney released the second teaser trailer for the upcoming Star Wars: The Force Awakens.
Warner Brothers scrambled to take down the lo-res trailer and made sure to use their power to threaten with legal stuff if people continued to disseminate the illegal recording. During the 24 hours since the leak someone with a much more cooler head over at WB decided to just go the Avengers: Age of Ultron route (that film’s first teaser was also leaked ahead of a planned event) and release the hi-res version of the teaser trailer instead of waiting days for the planned screening event.
So, here’s the very first teaser trailer as Warner Bros. and DC Entertainment finally make their case that whatever Disney and Marvel can do they can do as well.
Batman v. Superman: Dawn of Justice is set for a March 25, 2016 release date.
I have always been surprised by how much some people hate the 2013 best picture nominee, American Hustle. Even two years after the film was first released, you’ll still find people whining that the film felt like David O. Russell’s attempt to remake Goodfellas (yes, I have actually seen more than a few people online making this idiotic claim) or claiming that the movie was overrated or that there wasn’t anyone in the film that they could root for. While every film has its detractors, I’m always a little bit taken aback by just how passionately some people dislike this film.
Some of it, of course, is because the film that beat American Hustle for best picture was the universally acclaimed 12 Years A Slave. As hard as it may seem to believe now, there were a lot of people who thought that American Hustle might actually beat 12 Years A Slave. Strangely enough, a lot of online film bloggers tend to take a Manichaen approach to the Oscars, viewing each year’s race in terms of good and evil. The film that they want to win represents good and, therefore, every competing film must represent evil. It’s a pretty stupid and immature way of looking at things but, then again, the stupid and immature approach has worked pretty well for Sasha Stone and Ryan Adams over at AwardsDaily.com so who am I to criticize?
Of course, I don’t think it’s a coincidence that the majority of American Hustle‘s most strident online critics have been male. I imagine that they watched the film and, in Amy Adams and Jennifer Lawrence, they saw every unresolved crush of their adolescence. When Amy Adams successfully fooled Christian Bale and Bradley Cooper, these critics saw themselves being fooled. When Jennifer Lawrence called Bale a “sick son of a bitch,” these critics felt that they were being called a sick son of a bitch. American Hustle is a film about men who don’t know how to talk to women and that probably struck a little too close to home for a lot of those online critics.
(I imagine that the majority of online American Hustle haters probably preferred Rooney Mara’s version of the Girl with the Dragon Tattooto Noomi Rapace’s.)
Of course, the truth of the matter is that American Hustle was one of the best films of a very good year. Of all the films nominated for best picture of 2013, American Hustle was my personal favorite.
Based, very loosely, on true story, American Hustle is a period piece. It takes place in the late 70s, which of course means that we get a lot of great music, a scene in a disco, and clothes that are both somehow ludicrous and to die for at the same time. It’s a glamorous film about glamorous people doing glamorous and not-so-glamorous things and how can you not love that?
Irving (Christian Bale, giving a brave performance) is a generally nice guy who also happens to be a con artist. His unlikely partner is Sydney (Amy Adams), a former stripper turned Cosmo intern. When Sydney is working with Irving, she takes on a totally different identity and tells people that she’s Lady Edith Greensly, a British aristocrat who has international banking connections. When Sydney plays Edith, she speaks in a posh British accent and what’s interesting is that her accent is often (deliberately) inconsistent. However, as Irving points out, it doesn’t matter whether her accent is a 100% convincing or not. What’s important is that people want her to be Lady Edith Greensly and people will make excuses for almost anything as long as it confirms what they want to believe.
Eventually, Irving and Sydney are arrested by ambitious and highly strung FBI Agent Richie DiMaso (Bradley Cooper). Richie, who spends a good deal of the film with curlers in his hair, lives with his mother and has a boring fiancée who he doesn’t seem to like very much. (Richie is also briefly seen sniffing coke, which might explain a lot of his more extreme behavior.) Richie wants to make a name for himself and he views Irving and Sydney as his way to do so. He blackmails them into helping him set up and arrest crooked politicians and businessmen. Richie also finds himself growing obsessed with Sydney, who he believes to be English even after she tells him that she isn’t.
All of this eventually leads to Irving and Richie setting up the Mayor of Camden, New Jersey, Carmine Polito (Jeremy Renner). Polito, who may be corrupt but who also seems to sincerely care about helping the citizens of his town, wants to revitalize gambling in Atlantic City. Irving and Richie introduce him to FBI agent Paco Hernandez (Michael Pena), who is disguised as Sheik Abdullah and who they claim is interested in investing in Carmine’s plans. This, of course, leads to a meeting both with a local Mafia don (Robert De Niro) and with several politicians who agree to help out the Sheik out in exchange for money.
Complicating things is the fact that Irving himself comes to truly like the generous and big-hearted Carmine and how can you not? When the film was first released, Jeremy Renner was a bit overshadowed by Bale, Cooper, Adams, and Jennifer Lawrence. However, Renner gives the best performance in the film, playing Carmine with a disarming mix of innocence and shrewdness. He’s the type of guy who is smart enough to walk out on the first meeting with the fake sheik’s associates but who is still naive enough that he can be charmed by Irving. When the fake sheik gives Carmine an equally fake knife as a gift, the look of genuine honor on Carmine’s face is heart-breaking.
The other big complication is Irving’s wife, Rosalyn (Jennifer Lawrence). Rosalyn is jealous, unstable, unpredictable, and, in her own way, one of the smarter people in the film. She’s also a bit of pyromaniac and, when she accidentally blows up a new microwave, you’re really not surprised. (And, when Rosalyn starts to obsessively clean the house while singing Live and Let Die at the top of her lungs, I felt like I was watching a blonde version of myself.) When Rosalyn starts to have an affair of her own, it leads to American Hustle‘s satisfying and twisty conclusion.
(Again, a lot of the same online toadsuckers who irrationally hate American Hustle seem to hold a particular contempt to Jennifer Lawrence’s performance in this film, as if to acknowledge that Lawrence — as always — kicks ass would somehow be a betrayal of Lupita Nyong’o’s award-winning performance in 12 Years A Slave.)
Don’t listen to the haters. American Hustle is a great film, a stylish and frequently funny look at politics, corruption, and the ways that people con themselves into believing what they want and need to be true.
I hate to say it but Charlie Wilson’s War did not do much for me.
I hate to say that because this 2007 film is fairly well-acted, well-directed, and well-written (by Aaron Sorkin, whose scripts usually get on my last nerve). And it deals with an important subject. Taking place in the 80s, the film details how a Texas congressman (Tom Hanks), working with a profane CIA agent (Philip Seymour Hoffman) and an eccentric socialite (Julia Roberts), managed to create popular and political support for giving weapons to the Afghan rebels who were fighting the Soviet invasion of their country. By doing so, Wilson helps to weaken the Soviet Union but, when his efforts to provide humanitarian aide to Afghanistan are less successful, he also contributes to the subsequent rise of the Taliban.
It should have been a film that I would normally rave about but … I don’t know.
I watched Charlie Wilson’s War. I laughed at some of Tom Hanks’s facial reactions. (Hanks is playing a womanizer here who may, or may not, have been high on cocaine when he first learned about the Soviet invasion of Afghanistan and it’s obvious that Hanks really enjoyed getting to play someone who wasn’t a traditionally upright hero.) As I watched, I again considered what a loss we suffered when the brilliant Philip Seymour Hoffman died. And, as I watched Julia Roberts, I again wonder why, despite the fact that she’s from Georgia, it is apparently impossible for Julia to sound authentically Southern.
(Of course, I’m sure some would argue that Julia wasn’t playing Southern here. She was playing a Texan. Well, I’m a Texan and I’ve never heard anyone down here sound like that. Tom Hanks, meanwhile, actually managed to come up with a decent accent. Wisely, he underplayed the accent, whereas I don’t think that Julia has ever underplayed anything in her life.)
And, at the end of Charlie Wilson’s War, I knew I had watched a good film but it was also a film that left me feeling curious detached. To be honest, I almost think the film would have been better if Hoffman’s CIA agent had been the main character, as opposed to Hanks’s congressman. Hoffman’s character, after all, is the one who nearly lost his job over his belief that the Afghan rebels should be armed. All Hanks really has to worry about is whether or not he’s going to be indicted for using cocaine in Vegas.
However, I do think that Charlie Wilson’s War does deserve praise for one very specific reason. Excluding the films made by native filmmakers like Richard Linklater and Wes Anderson, Charlie Wilson’s War is one of the few films that I’ve ever seen that actually portrays anyone from Texas in a positive light. Even more shockingly, it’s a positive portrayal of a Texas politician!
(I know it must have been tempting to change history and pretend that Charlie Wilson was originally elected from somewhere up north…)
But, overall, Charlie Wilson’s War didn’t do much for me. But, if you’re into military history and all that, you might enjoy the film more than I did.
(Plus, all you boys will probably enjoy Emily Blunt’s scenes….)
At the very least, you can watch it for Philip Seymour Hoffman.
So, normally, this where I’d make a few disparaging remarks about the nature of celebrity in American society and also a few jokes about how my boobs are the real golden globes. But I’m not going to do that. (Or, at the very least, I’m not going to do that right now.) At this moment, as I think back on the Golden Globes, I am too excited to be snarky.
This was a historic night.
For perhaps the first time in Golden Globe history, both of the winnings films — The Grand Budapest Hotel for comedy and Boyhood for drama — were directed by native Texans. Richard Linklater grew up around Houston and lives in Austin. Meanwhile, Wes Anderson was raised in Dallas and, along with Owen and Luke Wilson, attended St. Mark’s!
That’s right, America.
Two great films won tonight and you have my homestate to thank for both of them.
(Because, God forbid, there should ever be a moment when anyone dares joke about a state north of West Virginia.)
(Love you, mean it.)
It was a good night. Not only were my fellow Texans honored but so were my fellow redheads. Amy Adams won Best Actress (Comedy) for Big Eyes. Julianne Moore won Best Actress (Drama) for Still Alice. I have yet to see either one of those films so I can’t really say much about either performance but, for me, it doesn’t matter. After spending years of having to deal with the rampant anti-redhead prejudice that runs through this society, it was good to finally to see some of my flame-haired sisters getting some recognition.
In other news, Michael Keaton won for Best Actor (Comedy) for Birdman and he gave a speech that nearly made me cry. Patricia Arquette won Best Supporting Actress for Boyhood and gave a speech that did make me cry. And then Amy Adams gave her acceptance speech and it was so heartfelt and eloquent that it should be the speech by which all future speeches are judged. Before any of those three won, J.K. Simmons picked up Best Supporting Actor for his performance in Whiplash and he gave an acceptance speech that left me amazed that such an intimidating actor could also be such a nice guy.
In many ways, it was a great night.
And then, in some other ways, it most definitely was not a great night.
For the most part, Tina Fey and Amy Poehler seemed to just be going through the motions, secure in the knowledge that people would laugh and applaud regardless of what they actually said because, at this point, people feel obligated to do so. However, good for them for calling out Bill Cosby on his bullshit and saying what everyone knows is true.
I was not a fan of Margaret Cho’s North Korean observer. Not only was it offensive but it was a bit hypocritical as well. This is an industry that, up until three weeks ago, was terrified of North Korea, to the extent that they were even willing to shut down movies to avoid offending a dictator who is a legitimate contender for the title of Worst Living Human Being. However, the Alamo Drafthouse — a Texas theater, I might add — had the guts to show The Interview, the world did not end, and now suddenly Hollywood wants credit for standing up to North Korea.
Of course, the main reason that the film industry is willing to make fun of North Korea is because there’s no money to be made there. The people who are patting themselves on the back for “standing up” to North Korea are probably the same people who rationalize doing business with equally oppressive but far more financially lucrative regimes across the world.
Finally, I guess my main problem with the Golden Globes this year is that it just wasn’t the type of train wreck that we’ve come to expect from the Hollywood Foreign Press Association. All of the presenters (except for Ricky Gervais) appeared to be sober. Only one winner had to have his speech censored. (A lot of people on twitter loved Kevin Spacey’s acceptance speech. I thought it came across as being calculating and manipulative — which, I guess, is one reason why Spacey makes for such a convincing Frank Underwood.) Everyone was on their best behavior.
And I can understand that. With the murders in Paris and the worldwide attacks on free speech, this was perhaps the time for everyone to be serious. But, still, I wanted to see just one thoroughly incoherent speech. That’s what we watch the Golden Globes for, isn’t it?
So, ultimately, a mixed review for the Golden Globes. Ultimately, though, it was a good night for Texas filmmakers so I’m happy.
Add to that, it gave me my annual excuse to arch my back and declare, “I’ll show you a pair of golden globes!”
The Golden Globe nominations were announced this morning and the big news is that Angelina Jolie’s Unbroken was totally and completely snubbed. Knowing the Hollywood Foreign Press Association, I figured that they’d nominate Jolie just to get her and Brad Pitt on the show.
(Does anyone remember when they nominated The Tourist for Best Comedy Film of 2010? For that matter, does anyone remember The Tourist?)
Also, it’s interesting to note that David Fincher was nominated for best director for Gone Girl but Gone Girl itself did not receive a nomination for best picture.
(As of this writing, Sasha Stone has yet to post her analysis on Awards Daily but I’m sure when she does, it will be depressing.)
BEST DRAMA FILM
“Boyhood”
“Foxcatcher”
“The Imitation Game”
“Selma”
“The Theory of Everything”
BEST DRAMA ACTOR
Steve Carell, “Foxcatcher”
Benedict Cumberbatch, “The Imitation Game”
Jake Gyllenhaal, “Nightcrawler”
David Oyelowo, “Selma”
Eddie Redmayne, “The Theory of Everything”
BEST DRAMA ACTRESS
Jennifer Aniston, “Cake”
Felicity Jones, “The Theory of Everything”
Julianne Moore, “Still Alice”
Rosamund Pike, “Gone Girl”
Reese Witherspoon, “Wild”
BEST MUSICAL/COMEDY FILM
“Birdman”
“The Grand Budapest Hotel”
“Into the Woods”
“Pride”
“St. Vincent”
BEST MUSICAL/COMEDY ACTOR
Ralph Fiennes, “The Grand Budapest Hotel”
Michael Keaton, “Birdman”
Bill Murray, “St. Vincent”
Joaquin Phoenix, “Inherent Vice”
Christoph Waltz, “Big Eyes”
BEST MUSICAL/COMEDY ACTRESS
Amy Adams, “Big Eyes”
Emily Blunt, “Into the Woods”
Helen Mirren, “The Hundred-Foot Journey”
Julianne Moore, “Maps to the Stars”
Quvenzhane Wallis, “Annie”
BEST FILM SUPPORTING ACTOR
Robert Duvall, “The Judge”
Ethan Hawke, “Boyhood”
Edward Norton, “Birdman”
Mark Ruffalo, “Foxcatcher”
J.K. Simmons, “Whiplash”
BEST FILM SUPPORTING ACTRESS
Patricia Arquette, “Boyhood”
Jessica Chastain, “A Most Violent Year”
Keira Knightley, “The Imitation Game”
Emma Stone, “Birdman”
Meryl Streep, “Into the Woods”
BEST DIRECTOR
Wes Anderson, “The Grand Budapest Hotel”
Ava Duvernay, “Selma”
David Fincher, “Gone Girl”
Alejandro Gonzalez Inarritu, “Birdman”
Richard Linklater, “Boyhood”
BEST SCREENPLAY
“Birdman”
“Boyhood”
“Gone Girl”
“The Grand Budapest Hotel”
“The Imitation Game”
BEST ANIMATED FEATURE
“Big Hero 6”
“The Book of Life”
“The Boxtrolls”
“How to Train Your Dragon 2”
“The Lego Movie”
BEST SCORE
“Birdman”
“Gone Girl”
“The Imitation Game”
“Interstellar”
“The Theory of Everything”
BEST SONG
“Big Eyes” from “Big Eyes” (Lana Del Ray)
“Glory” from “Selma” (John Legend, COmmon)
“Mercy Is” from “Noah” (Patty SMith, Lenny kaye)
“Opportunity” from “Annie”
“Yellow Flicker Beat” from “The Hunger Games, Mockingjay Part 1” (Lorde)
Earlier today, the Screen Actors Guild nominations were announced and I love them! Not because I agree with all of them but because they’re a nice mix of the expected and the surprising. Every category had at least one surprise and really, it’s the surprises that make Oscar Season so much fun.
For what they are worth, here are a few observations from yours truly:
When it comes to predicting the actual Oscar nominations, the SAG are usually an excellent precursor. It makes sense — the Actors Branch is the biggest of the Academy’s voting branches and many of the same people who determined the SAG nominees will also be casting ballots for the Academy Awards.
Foxcatcher did not receive an ensemble nomination but it did receive nominations for Steve Carell and Mark Ruffalo. That’s especially good news for Carell, who has yet to be much of a factor in the precursor voting.
Speaking of which, everyone keeps taking about how Foxcatcher hasn’t been a major player in the precursors. What about Unbroken? For a so-called Oscar front runner, Unbroken certainly hasn’t received much from the critics groups.
(I should note that I have yet to see either Foxcatcher or Unbroken so I don’t have an opinion on whether either one of them deserves awards.)
Among the big snubs: Amy Adams for Big Eyes, Jessica Chastain for A Most Violent Year or Interstellar, Marion Cotillard for Two Days, One Night, and Oscar Isaac for A Most Violent Year.
My favorite nomination was Jake Gyllenhaal for Nightcrawler. I haven’t seen Cake but I was happy to see Jennifer Aniston nominated because it was unexpected. Robert Duvall’s great but wow, was the Judge ever a disappointing movie.
I was shocked to see Naomi Watts nominated for St. Vincent but it actually makes sense. Her role in St. Vincent really was awards bait. And who doesn’t love Naomi Watts? (That said, I thought her performance was a bit cartoonish.)
Both the Grand Budapest Hotel and especially The Theory of Everything are looking more and more like probable best picture nominees.
I have to admit that, when I first looked at the just-released Phoenix Film Critics Nominations for 2014, I got really excited. I saw The LEGO Movie listed among the nominees for best picture and I thought to myself, “Oh my God! Could The LEGO Movie be set to be the fourth animated film to score a best picture nomination from the Academy!?”
Seriously, my inner movie trivia lover was so excited!
Then, of course, I remembered that critical recognition doesn’t necessarily translate into Oscar nominations. And I was forced to admit that The LEGO Movie probably will not be nominated for best picture, though it definitely remains a front runner for best animated feature.
But, for a few moments there, I was truly an excited Oscar watcher.
Anyway, here are the Phoenix Film Critics Nominations!
Ever since March, I have been posting my monthly Oscar predictions. Because I was so busy with my Back To School series, I missed my chance to post an update in September. (And, before you say that missing one month is no big deal, you should take into my consideration my OCD…) However, it is now October and, as the Oscar picture starts to become a little bit more clear, here are my current predictions!
(Before anyone asks why I haven’t included Gone Girl or Inherent Vice on the list, I ask them to consider the Oscar fate of both The Master and Fincher’s Girl With The Dragon Tattoo.)
Every month, around this time, I post my early Oscar predictions. These predictions are based on random guesses, early buzz, and gut instinct. Originally, I referred to these as being my way too early Oscar predictions but, now that we’re in August, they are merely early.
Below you can find my latest set of predictions. The main change for this month is that I’ve factored in the fact that, based on the trailer, it looks like The Theory of Everything will be a definite contender.
