So, here it is 2015. That means that next week, I’ll be posting my picks for the best and the worst of 2014. However, before I do that, I need to get caught up on reviewing what I saw in 2014. So, let’s get started with 5 quick reviews of 5 documentaries that I saw in 2014.
Banksy Does New York (dir by Chris Moukarbel)
To be honest, any film about Banksy is going to start with the automatic handicap of not being Exit Through The Gift Shop. No matter how good or bad the other documentary may be, it’ll never be as good as Exit Through The Gift Shop. Banksy Does New York is no exception.
Banksy Does New York chronicles the artist’s wonderfully subversive “31 works of art in 31 days” tour through New York City. For 31 days, new Bansky graffiti and installations appeared throughout New York City. It was up to the city’s residents to track down and discover Bansky’s latest work. (Making things difficult is that New York City, at that time, was being ruled by a tyrannical philistine named Michael Bloomberg, a man who has all the personality of a James Bond villain.) With Banksy remaining predictably off-screen, Bansky Does New York instead focuses on the aficionados who spent 31 days trying to track down Bansky’s work before it was destroyed by the jack booted thugs of the Bloomberg administration.
And that’s where Banksy Does New York struggles because, ultimately, Banksy is always more interesting than the majority of the people who claim to love him. Ultimately, the documentary is valuable as evidence that Bansky’s New York tour actually happened but it provides little real insight.
Captivated: The Trials of Pamela Smart (dir by Jeremiah Zagar)
Captivated tells the true story of Pamela Smart, a teacher who was accused of convincing two of her students to murder her husband. As the film shows, the Smart trial became a big media event and movies were made that were based on the crime and … *yawn.*
Usually, I love true crime documentaries but Captivated just bored me to tears. As far as the film’s point about media and celebrity are concerned — oh my God, who cares!? It’s been made so many times! I’m sorry but I refuse to get excited over any more documentaries that serve to only make the same point that’s been made by hundreds of other documentaries and self-impressed think pieces. If you can’t offer me any more insight than I might find in an article on Salon, then why should I pretend to be impressed?
The best part of Captivated were the clips that they showed from other, better films that had been inspired by the case.
The Last Patrol (dir by Sebastian Junger)
In this sad but ultimately triumphant documentary, filmmaker Sebastian Junger walks across America with two veterans who have recently returned from Afghanistan and a combat photographer. Along the way, they talk about the war, the struggle to adjust to being back home, and what the future holds. They also talk to several people that they meet during the journey and ask them what they think about America. One thing that quickly becomes apparent is that everyone — regardless of whether they supported the war or not, regardless of whether they like Barack Obama or not — seems to share a similarly pessimistic outlook as far as the future of America is concerned. Ultimately, The Last Patrol becomes less a celebration of America and more a tribute to the ability of humans to survive bad times. It definitely makes for interesting viewing.
Private Violence (dir by Cynthia Hill)
Private Violence is probably one of the most important documentaries to have been released in 2014. I first saw it on HBO and I’d recommend that everyone else keep an eye out for it as well. In a stark and matter-of-fact way, it follows the story of Deanna Walters, an Oklahoma police officer who was abducted and, over a four-day period, savagely beaten by her estranged husband. The film shows Deanna’s attempts to both rebuild her life and her struggle to get legal justice. (Despite nearly killing her, Deana’s husband was not initially arrested for the crime.) Working with Deanna and other abused women is Kit Gruelle, a former victim of domestic abuse who is now an advocate and who leads the viewer through the frustrating and often infuriating world of the courts, law enforcement, and shelters. Anyone who thinks that domestic abuse is not a problem or that victims were “asking for it,” should be forced to watch Private Violence over and over again.
Stop At Nothing: The Lance Armstrong Story (dir by Alex Holmes)
I’ve always had mixed feelings about Lance Armstrong. On the one hand, I really didn’t care much about him when everyone thought he was a hero. But then, when it was revealed that he essentially cheated his way to the top, I suddenly found myself wondering what it was like to be literally one of the most hated people in the world. Personally, I found it interesting that, suddenly, not only was it socially acceptable to hate another human being but it was practically expected. You could look at anyone on the street and know that person probably hated Lance Armstrong. It was all a bit overboard, I thought.
Anyway, Stop at Nothing: The Lance Armstrong Story is a collection of talking head interviews with people who knew Lance Armstrong before his career was destroyed and, essentially, they spend most of the film talking about how much they all hated Lance before the scandal and how much they hate him now. I’ve never heard so much ill will directed at a cancer survivor. Stop at Nothing will be interesting to people who want to have their negative feelings about Lance Armstrong justified but it really doesn’t add anything new to the story.
As of this month, I have been reviewing films here at the Shattered Lens for 3 years. In honor of that anniversary, I thought I’d post my picks for the 50 best films that have been released in the U.S. since 2010.
Without further ado, here’s the list!
- Black Swan (directed by Darren Aronofsky)
- Exit Through The Gift Shop (directed by Banksy)
- Hanna (directed by Joe Wright)
- Fish Tank (directed by Andrea Arnold)
- Higher Ground (directed by Vera Farmiga)
- Shame (directed by Steve McQueen)
- Anna Karenina (directed by Joe Wright)
- The Cabin In The Woods (directed by Drew Goddard)
- 127 Hours (directed by Danny Boyle)
- Somewhere (directed by Sofia Coppola)
- Life of Pi (directed by Ang Lee)
- Hugo (directed by Martin Scorsese)
- Inception (directed by Christopher Nolan)
- Animal Kingdom (directed by David Michod)
- Winter’s Bone (directed by Debra Granik)
- The Artist (directed by Michel Hazanavicius)
- The Guard (directed by John Michael McDonagh)
- Bernie (directed by Richard Linklater)
- The King’s Speech (directed by Tom Hooper)
- Bridesmaids (directed by Paul Feig)
- Tinker, Tailor, Soldier, Spy (directed by Thomas Alfredson)
- Django Unchained (directed by Quentin Tarantino)
- Never Let Me Go (directed by Mark Romanek)
- Toy Story 3 (directed by Lee Unkrich)
- The Girl With the Dragon Tattoo (directed by Niels Arden Oplev)
- Young Adult (directed by Jason Reitman)
- Sucker Punch (directed by Zack Snyder)
- The Master (directed by Paul Thomas Anderson)
- Incendies (directed by Denis Villeneuve)
- Melancholia (directed by Lars Von Trier)
- Super (directed by James Gunn)
- Silver Linings Playbook (directed by David O. Russell)
- Scott Pilgrim Vs. The World (directed by Edgar Wright)
- The Last Exorcism (directed by Daniel Stamm)
- Skyfall (directed by Sam Mendes)
- Easy A (directed by Will Gluck)
- Harry Potter and the Deathly Hallows Parts 1 and 2 (directed by David Yates)
- The Avengers (directed by Joss Whedon)
- How To Train Your Dragon (directed by Chris Sanders and Dean DeBois)
- Win Win (directed by Thomas McCarthy)
- Les Miserables (directed by Tom Hooper)
- Take This Waltz (directed by Sarah Polley)
- Cave of Forgotten Dreams (directed by Werner Herzog)
- Rust and Bone (directed by Jacques Audiard)
- Cosmopolis (directed by David Cronenberg)
- Ruby Sparks (directed by Jonathan Dayton and Valarie Faris)
- Brave (directed by Mark Andrews and Brenda Chapman)
- Martha Marcy May Marlene (directed by Sean Durkin)
- Jane Eyre (directed by Cary Fukunaga)
- Damsels in Distress (directed by Whit Stillman)
Last night, I watched the 83rd Annual Academy Awards.
Why Was I Watching It?
Why was I watching it? I was watching it because I love awards shows. I love them in all of their tacky, silly glory. I was watching for the clothes, the celebrity meltdowns, and the infamous acceptance speeches. I was watching because James Franco is hot and Anne Hathaway is adorable. I was watching because I loved Black Swan and I was only mildly impressed with the Social Network. I was watching because, as a film lover, my year starts and ends with the Oscar ceremony. You boys have got your super bowl. I’ve got my Academy Awards.
What Was It About
This year, the big question was would best picture be taken by the Social Network or by the King’s Speech. I predicted that the Social Network would win and I was wrong. The Academy gave best picture to The King’s Speech which, unlike Black Swan (my personal choice for best picture), is a film that is very easy to love. Don’t get me wrong. I loved The King’s Speech and, seeing as how I wasn’t exactly a huge fan of The Social Network, I can’t complain about the Academy’s decision (though apparently almost everyone else can).
By the way, as far as my Oscar predictions went, I ended up going 15 for 22. I correctly predicted all of the categories except for Best Picture, Best Director, Best Original Screenplay, Best Foreign Language Film, Best Editing, Best Costume Design, and Best Cinematography. So, in other words, I correctly predicted all of the awards except for the ones that actually mattered. However, I am proud to say that, as the broadcast started, I predicted that it would last for 3 hours and 15 minutes and by God, I was right.
Roger Ebert called last night’s ceremony the worst he had ever seen so I guess it’s no surprise that I actually enjoyed it. I certainly felt it was an improvement over last year’s ceremony which was pretty boring except for when Kathryn Bigelow won best director. There weren’t any endless tributes, self-congratulatory speeches about how important the film industry is for the survival of the world, and we didn’t have to sit through any pre-scripted, awkward banter between poorly matched presenters.
As for the hosts, James Franco appeared to have mentally checked out before the show actually started but he was nice to look at. Anne Hathaway, meanwhile, was a bundle of nervous energy and you know what? I would have been too. For the first time in my history of watching the Oscars, I could actually relate on a personal level to what was happening on the stage. I’ll take the charming awkwardness of Franco and Hathaway over Hugh Jackman any day. Ebert disagrees. He apparently tweeted that Kevin Spacey should host. And, if I ever felt like spending three and a half hours watching some smug jackass singing Under the Sea, I’d agree with him.
I liked the opening film montage, which featured Hathaway and Franco going into Alec Baldwin’s dreams in order to learn how to host the show. If nothing else, it paid tribute to just how much of a cultural phenomenon Inception actually was last year. (At the same time, it also pointed out just how ludicrous it is that Christopher Nolan — who is hot along with being a genius, by the way — was not nominated for best director.)
Probably my favorite presenters were Mila Kunis and Justin Timberlake. Kunis looked great and Timberlake won my heart all over again by announcing that he was actually Banksy.
The In Memoriam Tribute was actually pretty touching this year and I think a lot of that has to do with the fact that the audience has finally figured out how inappropriate it is to break out into applause in the middle of it. A lot of viewers were apparently angered that Corey Haim wasn’t included. Personally, I was disappointed (but not surprised) to see that Jean Rollin was left out.
For me, the best acceptance speech came from David Seidler as he accepted his Oscar for writing The King’s Speech. His speech touched me as a former stutterer but on top of that, he delivered it with just the right amount of humility and humor. Aaron Sorkin could learn a thing or two from Mr. Seidler.
Finally, I said earlier that I was hoping for just one upset win to keep things interesting and, to my surprise, the show provided me one when Tom Hooper beat David Fincher for best director. Even among those who expected the King’s Speech to take best picture, the general assumption seemed to be that Fincher would win best director. Personally, I think Fincher would have won best director except for the fact that people tended to think of The Social Network as being an Aaron Sorkin film as opposed to a David Fincher film. In all of the preliminaries leading up the Oscars (the Golden Globes, the critics awards), the emphasis was always put on Sorkin’s screenplay as opposed to Fincher’s direction. David Fincher was almost treated as an after thought and, as a result, Tom Hooper won best director.
(Of course, personally, I was rooting for Darren Aronofsky.)
Of the nominated films, Black Swan was my favorite, followed by 127 Hours, Inception, Winter’s Bone, and the King’s Speech. I thought The Social Network was a good film but certainly not a great film and, to be honest, I’ve come to resent being told again and again by various online, self-appointed film gurus that my refusal to unconditionally love The Social Network is somehow an indication of a character defect on my part. Seriously, some of these Social Network partisans make the Avatar people look tolerant by comparison. I’m sure these people have spent last night and today ranting their little hearts out about how the Academy sucks and how The Social Network is clearly the greatest film ever made. And to them, all I can say is get over it. If you were watching the Academy Awards because you seriously felt that the awards actually mean anything, then you’ve obviously still got a lot of growing up to do.
That said, I make no apologies for being ticked off over the award for Best Feature Documentary but more about that below.
What Didn’t Work
Well, I’ll get the big one out of the way first. This was the only time I actually got angry while watching last night’s show. I’m talking, of course, about Inside Job winning best documentary. This upset me even though I had actually predicted that Inside Job would defeat Exit Through The Gift Shop. My objection comes down to this — Inside Job was the Capt. Hindsight of documentaries this year. Inside Job was basically a documentary that told us what we already know and then encouraged us to pat ourselves on the back for agreeing. In a year that was actually a pretty good one for documentaries, Inside Job was the least challenging of all of the nominees and therefore, I guess it’s not a shock that it won. Meanwhile, Exit Through The Gift Shop — a film which should have been nominated for best picture — was ignored.
Add to that, I was really hoping for a chance to see how Banksy would accept the award or if he would even show up at all (or if he would turn out to be Justin Timberlake). Instead, I got the director of Inside Job going, “You know, nobody’s been arrested for the bad economy yet.” Well, if that’s what you think should happen then go to talk to the people who make and enforce laws. But you’re on an awards show, buddy. And if you think anyone watching an awards show is going to take action just because of some comment you weakly muttered during your acceptance speech, then you really are out of touch with reality.
We were reminded one too many times that we were watching “the young and hip Oscars.” The young and hip Oscars would not have featured Celine Dion singing.
I really wish the Oscars would stop trying to force some artificial “theme” on each year’s ceremony. This year, they took time to celebrate “the greatest films” of Oscar Past. The problem, of course, is that most of the greatest films of Oscar past didn’t win best picture. Usually, they ended up losing to movies like How Green Was My Valley, The Greatest Show on Earth, and Crash.
Aaron Sorkin won best adapted screenplay as we all knew he would and, as usual, he came across as smug and condescending during his acceptance speech. The whole, “Daddy’s an Oscar winner now…” thing would have been touching if not for the fact that it’s been used at least once at every single Oscar ceremony in history.
Trent Reznor did not say, “I want to fuck you like an animal” while accepting his award for scoring The Social Network. However, I must say, Trent cleans up well.
Technically, yes, James Franco was not real impressive as co-host. The general consensus on twitter was that he was stoned but I can’t say too much against him because he’s James Franco. Even when he showed up in drag, he was still James Franco. I know some people looked at Franco last night and thought, He’s not even trying. I looked at Franco and thought, yum…..
“Oh my God! Just Like Me!” Moments
There were a few and most of them had to do with Anne Hathaway. Most of the comments on twitter concerning Hathaway’s performance as host were not kind but I don’t care. I love her and I think her lack of polish was actually rather adorable. If I was hosting the Oscars, I would probably take a few moments to brag about my dress as well. I know I’d certainly probably start giggling at random moments. I also know that I’d probably get a little bit annoyed with James Franco’s lack of commitment to the show as well but you know what? I’d still get all sorts of naked with him after the show because he’s James Franco and he just does things to me.
(If anything, last night’s show proved that the difference between a hot guy and all other guys is that a hot guy can get away with it.)
My other big “Oh my God! Just like me!” moment came when Melissa Leo won for best supporting actress for the Fighter and dropped the F-bomb on national TV. I would so do that too. I mean, it’s an Oscar! God knows what I’d end up saying if I ever got one.
I’ve seriously got a thing for James Franco.
The Oscars are tomorrow and I know I’ll be watching it and tweeting about it over on my twitter page. That’s assuming, of course, that twitter doesn’t go all screwy and spend the entire night putting up that cute little picture of the fail whale.
Anyway, I guess I’m a bit overdue in posting my predictions of what and who will actually win tomorrow. I guess that’s because this year’s Oscar race looks to be one of the most predictable ever. Don’t get me wrong. I like quite a few of the nominees and Black Swan is a contender for my favorite film of all time. It’s just that this year, the winner’s are so predictable.
Let’s be honest, we don’t watch the Oscars because we really think that the best film or performer is going to win. We watch the Oscars for all of the WTF moments and acceptance speech breakdowns. We watch the Oscars because we want to see something weird happen, like a shocking upset win that leaves us all outraged and shaking our heads.
This year, though, the only suspense seemed to center around the Best Documentary category. Will Exit Through The Gift Shop win and if it does, will Banksy be there to accept it? And if he is there, will he wear a monkey mask while accepting it?
Anyway, here’s my list of predictions. These are the movies and performers that I think will win. They’re not necessarily who and what I personally would want to win. (That list can be found here.)
Best Picture: The Social Network
Best Actor: Colin Firth, The King’s Speech
Best Actress: Natalie Portman, Black Swan
Best Supporting Actor: Christian Bale, The Fighter
Best Supporting Actress: Melissa Leo, The Fighter
Best Director: David Fincher, The Social Network
Best Adapted Screenplay: The Social Network
Best Original Screenplay: The Kids Are All Right
Best Animated Film: Toy Story 3
Best Foreign Language Film: Buitiful
Best Art Direction: Alice in Wonderland
Best Cinematography: True Grit
Best Costume Design: The King’s Speech
Best Documentary Feature: The Inside Job (bleh)
Best Editing: Black Swan
Best Makeup: The Wolf Man
Best Original Score: The Social Network
Best Original Song: “We Belong Together” from Toy Story 3
Best Sound Editing: Inception
Best Sound Mixing: Inception
Best Visual Effects: Inception
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.
Best motion picture of the year
The Kids Are All Right
The King’s Speech
The Social Network
Toy Story 3
(The Academy and I agree on five of the ten nominees. That’s actually more than I was expecting.)
Performance by an actor in a leading role
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.)
Performance by an actor in a supporting role
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.)
Performance by an actress in a leading role
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…)
Performance by an actress in a supporting role
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!)
Achievement in directing
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
Best animated feature film of the year
How to Train Your Dragon
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.)
Best foreign language film of the year
In a Better World (Denmark)
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)
Achievement in cinematography
Matthew Libatique (Black Swan)
Wally Pfister (Inception)
Danny Cohen (The King’s Speech)
Jeff Cronenweth (The Social Network)
Roger Deakins (True Grit)
Achievement in costume design
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.)
Best documentary feature
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.)
Best documentary short subject
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?”)
Achievement in film editing
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)
Achievement in makeup
Adrien Morot (Barney’s Version)
Edouard F Henriques, Gregory Funk and Yolanda Toussieng (The Way Back)
Rick Baker and Dave Elsey (The Wolfman)
Achievement in music written for motion pictures (original score)
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)
Achievement in music written for motion pictures (original song)
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.)
Best animated short film
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.)
Best live action short film
The Confession (Tanel Toom)
The Crush (Michael Creagh)
God of Love (Luke Matheny)
Na Wewe (Ivan Goldschmidt)
Wish 143 (Ian Barnes and Samantha Waite)
Achievement in sound editing
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)
Achievement in sound mixing
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.)
Achievement in visual effects
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.
Here’s some more news from the toadsuckers and dumbfugs who make up the Academy of Motion Pictures Arts and Sciences. These are the people who give out the Academy Awards and who continue to insist that Crash, Titanic, Gladiator, Braveheart, Gandhi, The Sound of Music, Rocky, American Beauty, The Greatest Show on Earth, and How Green Was My Valley were all great films. Yes, those people.
Anyway, along with giving out Oscars for best picture, best director, and all the other awards that the general public actually cares about, the Academy also gives out an Oscar for Best Documentary Feature. Occasionally, this category does get some notice. For instance, there’s always the chance that Michael Moore will win another Oscar and start foaming at the mouth like a rabid dog again and Al Gore might give another award-winning power point presentation in the near future. But for the most part, most people just see Best Documentary as just another roadblock on the journey between Best Supporting Actress and Best Picture.
Which is a shame because Best Documentary is usually a pretty fun category to try to predict. Since hardly anyone has seen (or heard) of the majority of the nominees, you can simply pick one at random, say something vaguely serious-sounding about it, and people will assume that you’re far smarter than you ever possibly could be. For me, the best thing about the documentary category is that, since you’ll probably never actually see most of the films nominated, your final opinion on the winner is often based on the acceptance speech. If the documentarian gives a funny or sentimental speech then suddenly you realize that Gabby: The Girl Who Could Have Been is the greatest freaking documentary ever made. And if his speech is strident or angry or boring then you’ll spend the next week wondering how the Academy could ever honor a piece of trash like Pelosi: Amazon From The Bay.
Anyway, the Documentary Branch of the Academy announced the 15 finalists for the Oscar for Best Feature-Length Documentary of 2010. From these 15, the final five nominees will be determined.
Here’s the list:
“Client 9: The Rise and Fall of Eliot Spitzer,” Alex Gibney, director (ES Productions LLC)
“Enemies of the People,” Rob Lemkin and Thet Sambath, directors (Old Street Films)
“Exit through the Gift Shop,” Banksy, director (Paranoid Pictures)
“Gasland,” Josh Fox, director (Gasland Productions, LLC)
“Genius Within: The Inner Life of Glenn Gould,” Michele Hozer and Peter Raymont, directors (White Pine Pictures)
“Inside Job,” Charles Ferguson, director (Representational Pictures)
“The Lottery,” Madeleine Sackler, director (Great Curve Films)
“Precious Life,” Shlomi Eldar, director (Origami Productions)
“Quest for Honor,” Mary Ann Smothers Bruni, director (Smothers Bruni Productions)
“Restrepo,” Tim Hetherington and Sebastian Junger, directors (Outpost Films)
“This Way of Life,” Thomas Burstyn, director (Cloud South Films)
“The Tillman Story,” Amir Bar-Lev, director (Passion Pictures/Axis Films)
“Waiting for ‘Superman’”, Davis Guggenheim, director (Electric Kinney Films)
“Waste Land,” Lucy Walker, director (Almega Projects)
“William Kunstler: Disturbing the Universe,” Emily Kunstler and Sarah Kunstler, directors (Disturbing the Universe LLC)
If Exit Through the Gift Shop (which is currently my choice for the best film of 2010) had failed to appear on this list, I would have thrown a fit. Luckily, there it is. Will it make the final five? It better.
As for the other finalists, I’ve only seen Restrepo and Waiting for Superman and they’re both deserving of at least a nomination. However, I’m hoping that the film about William Kunstler gets a nomination just because I’m hoping that whoever presents the award this year will mispronounce Kunstler and get the Academy broadcast fined by the FCA.
It’s also interesting to note that I’ve probably gone to more documentaries this year than any other. And yet, I’ve only seen 3 of the 15 finalists. Certainly, I guess I could go see Inside Job this weekend but do I really need a documentary to tell me that the economy is fucked up? Seriously. The trailer — featuring Matt Damon interrogating a bunch of Wall Street types — just comes across as being incredibly smug. Client 9 should be opening up down here in Dallas pretty soon as well and I’ll probably see it but I’m not going to cry if I miss the opportunity to spend two hours with Eliot Spitzer.
To me, the best documentaries of 2010 include — along with Restrepo, Waiting for Superman, and Exit Through The Gift Shop (the best film of 2010, did I mention that?) — Winnebago Man, Joan Rivers: A Piece of Work, The Best Worst Movie, and (arguably) Catfish.
The toadsuckers disagree.