Back to School #47: School Ties (dir by Robert Mandel)


School Ties

For the past two and a half weeks, we’ve been reviewing 80 of the best, worst, most memorable, and most forgettable high school films ever made.    We’ve been going in chronological order, starting with two films from 1946 and then working our way through the years that followed.  After 46 reviews, we are now ready to enter the 1990s.

And what better way to kick off the 90s than by taking a look at a film from 1992 that very few people seem to have ever heard of?

School Ties takes place in the 1950s, which of course means that everyone dresses like either James Dean in Rebel Without A Cause or Troy Donaue in A Summer Place.  It also means that the soundtrack is full of the same songs that tend to turn up in every film about the 1950s.  David Greene (Brendan Fraser) is a working-class teen from Pennsylvania* who wins a football scholarship to attend an exclusive prep school in Massachusetts.  At first, David struggles to fit in.  Not only are all of his classmates rich but they’re also extremely anti-Semitic.  However, David wins them over by playing hard on the football field and hiding the fact that he’s Jewish.  However, when the jealous Charlie Dillon (Matt Damon) discovers that David is a Jew, he reveals his secret and David is forced to confront his prejudiced classmates.

School Ties is one of those extremely well-intentioned films that’s never quite as good as you might hope.  With the exception of David and Charlie, the characters are all pretty thinly drawn and there’s more than a few subplots that really don’t really work.  For instance, Zeljko Ivanek shows up playing a sadistic French teacher who harasses one of Fraser’s friends (played by Andrew Lowery) and, as I watched Ivanek drive Lowery to the point of a nervous breakdown over proper verb conjugation, it occurred to me that I knew Ivanek was evil as soon as he showed up wearing his little bow tie and his beret.  (It’s also interesting how French teachers are always evil in films like this.)

That said, the message of School Ties is still a timely one.  On the surface, the message of “Don’t be an intolerant, prejudiced prick,” might seem pretty simplistic and self-explanatory.  However, every day we’re confronted with evidence that there are still people out there who don’t understand this simple concept.  As such, it’s a message that can stand being repeated a few times.

(Seriously, don’t be an intolerant, prejudiced prick.)

When seen today, School Ties is mostly interesting for who appears in it.  For instance, Matt Damon, Ben Affleck, and Cole Hauser all show up here, 5 years before they would all co-star in Good Will Hunting.  One of the anti-Semitic students is played by Anthony Rapp who, a year later, would appear with Affleck and Hauser in Dazed and Confused.  Fraser’s sympathetic roommate is played by Chris O’Donnell.  As for Brendan Fraser himself, it’s a bit odd to see him playing such a dramatic role but he’s convincing and believable as a football player. It’s a good-looking cast and yes, you better believe that there’s a fight scene that takes place in a shower.  If you’ve ever wanted to see Brendan Fraser and Matt Damon wrestling each other while naked — well, this is the film to see.

school_ties—-

* Interestingly enough, David’s family lives in Scranton, Pennsylvania so I guess David could very well have gone to elementary school with Joe Biden and he may have family working at Dunder-Mifflin.

 

In Memory of Robin Williams #4: Good Will Hunting (dir by Gus Van Sant)


Good-Will-Hunting-still-three

After being nominated three times, Robin Williams finally won an Oscar for his performance as Dr. Sean McGuire in 1997’s Good Will Hunting.  The first time I ever watched Good Will Hunting, I was 16 years old and I loved it.  12 years later, I rewatched it for this review and, oddly enough, I did not love it.  In fact, I barely even liked it.  However, one thing that I did better appreciate the second time around was the performance of Robin Williams.

Good Will Hunting was, of course, written by its two stars, Matt Damon and Ben Affleck.  It tells the story of Will Hunting (Matt Damon), a self-taught math genius who, as a result of being abused as a child, is full of anger and refuses to allow anyone to get close to him.  His only true friend is Chuckie Sullivan (Ben Affleck), a construction worker.  Will works as a janitor at MIT and, when he’s caught secretly solving a complex math problem, he’s taken under the wing of Prof. Gerard Lambeau (Stellan Skarsgard).  While Will pursues a volatile romance with a med student named Skylar (Minnie Driver, who is good in an underwritten role), Lambeau arranges for Will to become a patient of psychologist Sean McGuire (Robin Williams).  The recently widowed Sean helps Will to come to terms with his abusive childhood and deal with his anger issues.  When Skylar tells Will that she’s moving to California, Will is forced to decide whether to follow her or to just push her away like he does with everyone else.

I can still remember that the first time I ever saw Good Will Hunting, I had such a crush on Will Hunting.  After all, he looked like Matt Damon.  He was smart but he could still stand up for himself.  He was a jerk but that was just because he needed the right girl in his life.  When he finally talked about being abused by his foster father, my heart broke for him and I just wanted to be there for him while he cried.  When he drove off to see Skylar in that beat-up car of his, I thought it was such a romantic moment.  Like, seriously — Oh.  My.  God.

That was the first time I saw the movie.

However, when I recently rewatched the film for this review, I had a totally different reaction to Will Hunting.  Maybe it’s because I’m older now and I’ve had to do deal with real-life versions of the character but this time, I actually found myself very much not charmed by Will Hunting and his condescending verbosity.  Whereas originally it seemed like he pushed the away the world as a defensive mechanism, it now seemed like Will was basically just a sociopath.  People in both the audience and the movie assumed that, because he was so smart, there had to be something more to Will than just bitter negativity but actually, there was less.  And even Will’s intelligence seemed to be more the result of the fact that director Gus Van Sant and screenwriters Damon and Affleck were kind enough to surround Will with less-than-articulate characters to humiliate.  It’s easy to be the smartest person in the room when you’re surrounded by strawmen.  I got the feeling that we were supposed to impressed because Will cites Howard Zinn at one point but, really, Howard Zinn is pretty much the historian of choice for phony intellectuals everywhere.

(In the interest of fairness, I guess I should admit that I may be biased because I once dated a phony intellectual who was always citing Howard Zinn, despite having not read anything that Zinn had ever written.  Don’t get me wrong.  He owned a copy of A People’s History of the United States and he always made sure it was sitting somewhere where visitors could see it but he had never actually opened it.  I imagine he has since moved on to Thomas Piketty.)

Instead, I found myself reacting far more positively to the character of Chuckie Sullivan.  Chuckie may not have been a genius but at least he was capable of holding down a job, actually cared about his friends, and was capable of communicating with people without trying to destroy their self-esteem.  If I had been Skylar, I would have dumped Will and spent my last few months in Boston enjoying the working class pleasures of Chuckie Sullivan.

But here’s the thing — the main reason that we believe, despite all evidence to the contrary, that there is good inside of Will Hunting is because Sean Maguire tells us that there is.  As I rewatched Good Will Hunting, I was surprised by just how good Robin Williams’s performance really was.  The compassionate psychologist has become such a stock character that there’s something truly enjoyable about watching an actor manage to find nuance and individuality in the familiar role.   Sean is such a kind and likable character (and Robin Williams gives such an empathetic performance) that we’re willing to give Will the benefit of the doubt as long as he is.  In Good Will Hunting, Robin Williams once again had the beard that gave him gravitas in Awakenings.  But he also had the saddest eyes.  It’s the eyes that you remember as you watch the film because it’s those eyes that tell us that Sean has had to overcome the type of pain that Will Hunting will never be capable of understanding.

It’s those eyes, more than anything, that convince us that there might be some good in Will Hunting.

good-will-hunting

Gone Girl – The 2nd Trailer


The 2nd trailer for Gone Girl was released recently. David Fincher’s and Gillian Flynn’s film adaptation of Flynn’s popular novel focuses on a writer dealing with the disappearance of his wife. While the trailer expands things a bit compared to the teaser (as any trailer would), there’s the strangest set of casting choices for this film. What I’m most excited about is Flynn handling her own screenplay. Movies are always different from books, but I’m hoping it works out. One fills in the blanks as they go through the story, and I read this before finding out anything concrete about the film. Additionally, I’m also curious about what Trent Reznor  and Atticus Ross are doing for the soundtrack, which also comes out around the same time.

Gone Girl premieres in cinemas on October 3rd.

http://www.youtube.com/watch?v=iLPdwyJLWJE

Trailer: Gone Girl


Gone Girl is one of the most highly anticipated films of 2014.  It’s a film that a lot of critics have already predicted will be an Oscar contender.  However, I have to admit that I’m a bit worried about it.

You have to understand: I loved Gillian Flynn’s novel.  When I first heard that Rosamund Pike was playing the role of Amy, I was happy because, to me, it seemed like perfect casting.  Rosamund Pike has been one of my favorite actresses ever since I first saw An Education and, depending on whether the film’s Amy is anything like the book’s Amy, this seems like it could be the role of a lifetime for her.  However, I have to say that I was less enthusiastic about the news that Ben Affleck would be playing Nick Dunne.  But then I heard that Neil Patrick Harris had been cast in the film as well and, knowing what I did about the role he would be playing, I was again intrigued.  And then Tyler Perry was cast and I was worried again.

And then there was David Fincher.

David Fincher is an undeniably talented director but his last film, the rehash of The Girl With The Dragon Tattoo, felt like Fincher on auto pilot.  I found myself wondering if he would take a similar approach to Gone Girl, giving us a lot of recognizable style with little going on beneath the surface.

The first official trailer for Gone Girl was released earlier today and, having watched it, I still don’t know what to think.  Particularly when compared to the trailer for Girl With The Dragon Tattoo, the Gone Girl trailer has an almost mellow feel to it.  If nothing else, I hope this means that Gone Girl was made by the thoughtful artist behind Zodiac as opposed to the hyper stylist behind Dragon Tattoo.

We’ll find out for sure in October.

 

What Lisa Watched Last Night #72: The 85th Annual Academy Awards


Last night, I had a little party.  Me, my boyfriend, my sister, my best friend, and my 7,000 followers on twitter got together to watch the 85th Annual Academy Awards.

Seth

Why Were We Watching It?

If you love movies then the Oscars are like the Super Bowl.  Seriously, how could I not watch it?

What Was It About?

It was about the best of times and the worst of times.  It was about self-promotion, self-congratulation, and Michelle Obama.  It was about whether or not Seth McFarlane would self-destruct.  It was about rooting for the underdog and checking out who was wearing what.  It was the Oscars and, for 210 minutes, the nation sat entranced.

What Worked?

Brave won the Oscar for Best Animated Feature Film!  Seriously, that one award pretty much made the entire night for me.  Actually, there were a lot of good winners last night: Ang Lee for Best Director, Christoph Waltz for Best Supporting Actor, Paperman for Best Animated Short Film, and Jennifer Lawrence for Best Actress.  I was especially happy to see both Lawrence and Anne Hathaway win because, for whatever reason, these two actresses have recently had to deal with some of the most petty criticism that I’ve ever seen.

I also appreciated the fact that Quentin Tarantino, upon winning Best Original Screenplay, managed to spend his entire speech basically patting himself on the back while pretending to thank his cast.  It may not be remembered as the most classy speech in the history of the Oscars but it definitely served to remind us of why we love Quentin.

As host, Seth McFarlane was such a mixed bag that I’ve included him under both things that worked and things that didn’t work.  McFarlane started out surprisingly strong.  Unlike a lot of female critics, I wasn’t offended by The Boob Song and I thought it was actually a pretty clever parody of McFarlane’s public image.  (The joke was clearly meant to be on McFarlane and not the actresses mentioned in the song.)  Unfortunately, as the show went on, McFarlane occasionally seemed to be determined to live up to that parody.

Oddly enough, I really enjoyed Lincoln when I saw it but yet I still found myself happy to see it lose in so many categories.  I think it’s probably because Lincoln was so aggressively hyped and so many self-important Oscar pundits (like Sasha Stone) declared that Lincoln was the best film of the year before they had even seen it.  It was hard not to resent the condescending tone that was taken by many of Lincoln‘s online supporters.  Plus, it’s always fun to root for the underdog.  It’s hard not to suspect that if Ben Affleck had actually been nominated for Best Director then Steven Spielberg and his film might have actually won big last night.  But by snubbing Affleck, the Academy cast Steven Spielberg and Lincoln in the role of Goliath.

On one final petty note, I was happy to see Jennifer Lawrence win because I know her victory probably annoyed the editors of Awards Daily.

What Did Not Work?

I could have done without Michelle Obama showing up to present Best Picture. Yes, I know that Hollywood loves the Obamas but seriously, it felt rather Orwellian to have the First Lady suddenly pop up on TV and tell us why movies are so important.  The fact that she appeared with a few random soldiers behind her just added to the creepy vibe.

The much hyped Bond tribute turned out to be a bit of a bust, didn’t it?

The audience, which never seemed to be that excited about the prospect of Seth McFarlane in the first place, seemed to turn more and more against him as the show progressed.  As a result, once the Oscars hit the 120 minute mark, Seth started to come across as being a bit desperate to get a reaction — any reaction — from the audience.

Daniel Day-Lewis gave a good acceptance speech and all but surely I’m not the only viewer who was curious to hear what Joaquin Phoenix would have said if he had won.

In the end, the show just felt a little bit too bland for my tastes.  Unlike last year, there was nothing truly unexpected.  There were no hints of eccentricity.  No one showed up wearing anything awful.  Nobody made a fool of themselves while accepting their Oscar.  In short, the show was just forgettable.

“Oh my God!  Just like me!” Moments

When Jennifer Lawrence fell on the way to accept her award, that was definitely an “Oh my God!  Just like me!” moment.  Seriously, I loved her dress but, from the minute I saw it, I knew she was going to have a hard time getting up to the podium.

Lessons Learned

Award shows are a lot more fun when things go wrong.

What Lisa Marie Watched Last Night #64: The 70th Annual Golden Globes


Last night, I watched the 70th Annual Golden Globe awards.  Judging from twitter, so did a lot of other people.  All I can say is that I hope my golden globes are as popular as this show when they’re 70 years old.

Why Was I Watching It?

I have to admit that I nearly didn’t watch it because I was in kind of a crappy mood on Sunday night.  Seriously,that night,  my twitter timeline was a testament to just how annoyed this little redheaded Irish girl can get.  But, in the end, I decided that I had to watch the Golden Globes because, even though I don’t care much for rich celebrities, I do love movies, I love TV, and I love award shows.  Add to that, I knew that if I didn’t watch the Golden Globes that would mean missing out on a chance to make countless references to my boobs and I just couldn’t do that to my followers on twitter.

What Was It About?

It was about celebrities getting drunk and winning awards and getting bleeped while delivering their acceptance speeches.  It was about the fact that the members of the Hollywood Foreign Press Association will do anything to get George Clooney to come hang out with them.  It was about Tommy Lee Jones glaring, Jodie Foster rambling, and Quentin Tarantino using the n-word backstage.  It was about Ben Affleck winning Best Director and Argo beating Lincoln for best film.  It was about star fucking and star mocking.  It was the best of award shows and it was the worst of award shows.  In short, it was the Golden Globes.

What Worked?

To be honest, the 70th annual Golden Globes were a lot of fun.  The show moved quickly and most of the jokes were actually funny.  The assembled stars started drinking early and I think that helped out a lot.

Among those who won Golden Globes, the best acceptance speeches were given by Lena Dunham, Christoph Waltz, Ben Affleck, and Daniel Day-Lewis.  A lot of people were critical of Anne Hathaway’s acceptance speech but I thought it was sweet and genuine.

My favorite winner was Jennifer Lawrence, mostly because she specifically started her speech by mentioning that she had beaten “Meryl.”  Some people on twitter felt that was a bit rude but, quite frankly, I’ve grown tired of Meryl Streep showing up at every awards ceremony looking like grandma in a prom dress.

(Meryl, incidentally, was not at the Golden Globes last night because she had the flu.)

I thought Will Ferrell and Kristen Wiig were funny when they did their little introduction for the Best Actress (Comedy/Musical) award but I thought Tommy Lee Jones’ annoyed glare was even funnier.

Tina Fey (who looked great) and Amy Poehler (who did not) were both great hosts and I loved Poelher’s joke about how torturous it must have been for Kathryn Bigelow to be married to James Cameron.  That’s one of the great things about the Golden Globes.  Unlike at the Oscars, people are willing to make jokes about James Cameron.

Unlike a lot of people, I found Jodie Foster’s “coming out” speech to be funny and wonderfully human.  That said, I wasn’t aware that Jodie Foster was ever in the closet.  Seriously, worst kept secret ever.

It was a genuinely exciting and nice moment when Argo was announced as the winner for Best Motion Picture (Drama), defeating the heavily favored Lincoln. While I liked both of those films, there is a definite backlash brewing against the seeming inevitability of Lincoln’s victory.

Finally, Sacha Baron Cohen was pretty annoying but, on the plus side, he did take the time to insult Russell Crowe’s singing.  As anyone who has ever watched South Park knows, this means that Crowe is going to jump in his tug boat and head off on a quest for vengeance.

And that’s the way things should be.

What Did Not Work?

A lot of people on twitter were really excited when Bill Clinton came out on stage to introduce the clip for Lincoln.  Myself, I hit mute as soon as I saw him.  I don’t watch awards shows to see redneck politicians.  Add to that, having Bill Clinton introduce Lincoln was yet another example of the nonstop hype that has led to people resenting both Steven Spielberg and his latest film.

The Golden Globes used to be a fun precursor to the actual Oscar nominations so it was hard not to be disappointed that, under this new schedule, the Golden Globes were awarded after the Oscar nominations had been announced.

“OMG!  Just like me!” Moment

"I'll show you some Golden Globes!"

“I’ll show you some Golden Globes!”

Lessons Learned

None.  I was too stubborn last night to learn any lessons.

Film Review: Argo (dir. by Ben Affleck)


When I made out my list of my 26 favorite films of 2012, Argo came in at number 19,  I think that Argo is a likable, funny, and frequently exciting film.  Not only does it feature some of Ben Affleck’s best work as a director (though I still think Affleck has yet to top Gone, Baby, Gone) but also some of his best work as an actor.  If The Town left my skeptical about Affleck’s film-making talents, Argo made me a believer again.  That said, while I think that Argo is a good film, I don’t think it’s a great film but that opinion definitely places me in both the minority of filmgoers and, since my sister Erin considers Argo to be the best film of 2012, Bowmans as well.

Based on a true story, Argo takes place in 1979.  The Shah of Iran has been overthrown and the American embassy in Tehran is overrun by Islamic militants.  Over 50 Americans are taken hostage but six embassy workers manage to escape and end up hiding in the home of the Canadian ambassador (Victor Garber).  The U.S. State Department has to find a way to get the six of them out of Iran before the militants discover their existence.

It’s up to CIA agent Tony Mendez (played, of course, by Ben Affleck) to come up with a better plan than attempting to smuggle bicycles into Iran.  Mendez’s scheme is to team up with a Hollywood makeup artist (John Goodman) and a B-movie producer (Alan Arkin) and to convince the Iranian government that he and the 6 embassy workers are actually a film crew and that they’re in Iran not on a rescue-and-escape mission but instead to scout locations for a science fiction film called Argo.

Argo, for the most part, works.  As a director, Affleck manages to deftly juggle both comedy and suspense.  The scenes where Arkin and Goodman teach Affleck how to be a Hollywood phony are frequently hilarious, while the scenes in Iran are effectively tense and claustrophobic.  The film is full of little period details that ring true and I’m still shocked that Argo didn’t receive an Oscar nomination for either Best Costume Design or Best Production Design.  The wide lapels on Ben Affleck’s suits may not have been as flamboyant as the costumes in Les Miserables but, like the costumes in Les Mis, the very sight of them not only transported us to a different time but made that time plausible as well.

As you might expect from an actor-turned-director, Affleck gets good performances from his entire cast.  Goodman and Arkin are both sympathetic as recognizable Hollywood types and Bryan Cranston has a few good scenes as a fellow CIA agent.  While the 6 hostages are all pretty much interchangeable, they are still all well-cast and sympathetic.

That said, when I saw the film, it was hard to escape the feeling that the first half of the film (in which the embassy workers hid out at the Ambassador’s house while Affleck, Arkin, and Goodman worked on promoting their fake film) was dramatically more interesting and compelling than the far more conventional second half.  Once Affleck actually reaches Tehran, Argo becomes a rather predictable, if still well-made and exciting, movie.  Perhaps that’s why, as much as I enjoyed Argo, the film didn’t make as much of an impression of me as a film with a more challenging narrative would have.  Ultimately, Argo tells the true story of people in tremendous danger but the film itself feels very safe.

Argo is one of the most acclaimed films of 2012 and it’s been nominated for 7 Oscars, including Best Picture.  To just about everyone’s surprise, Ben Affleck was not nominated for best director.  While I personally would not have nominated either Argo or Affleck, the fact of the matter is that the reason Argo has received so much acclaim is because of Affleck’s work behind the camera.  Argo is such a director’s film that it’s next to impossible to argue that Argo‘s one of the best films of the year without also arguing that Affleck is one of the best directors of the year.  Hence, Affleck’s lack of a nomination does feel like a definite snub.  Even speaking as someone who was not as enthralled with Argo as much as everyone else, I would still have nominated Affleck long before I wasted a nomination on Benh Zeitlin for relying too much on a hand-held camera while filming Beasts of the Southern Wild.

While the Academy may have snubbed Affleck, the Hollywood Foreign Press Association did not.  Earlier this night, Affleck won the Golden Globe for best director and Argo won best picture.  (Though, I have to say, I find myself wondering if my friend Jason Tarwater was right when he suggested that the notorious starfuckers of the HFPA honored Argo mostly because they wanted to hang out with the film’s co-producer, George Clooney.)  Given the fact that it’s been over 20 years since a film won Best Picture without receiving a nomination for Best Director, Affleck and Clooney might just have to be happy with the universal acclaim.

Song of the Day: When the Levee Breaks (by Led Zeppelin)


c16f548f4fbcd77437f8aaa3fb70dfc2Who would’ve thought that Ben Affleck, the same guy who was in one of the most ridiculous romantic scenes ever put on film (hint: animal crackers), would be turning out to be one of the brightest directors these last few years. He hasn’t missed yet with two directing gigs with Gone, Baby Gone and The Town. With Argo he makes it three solid hits in a row.

One thing that really struck me about the film Argo was Affleck’s use of licensed music to cue up particularly important scenes throughout the film. One such musical cue used one of my favorite rock and blues song ever. It’s Led Zeppelin’s cover of the Memphis Minnie and Kansas Joe McCoy song of the same name. Most young people seem to know this song from it’s constant use to score scenes and sequences about the Katrina disaster, especially scenes of a flooded New Orleans when the levees broke during the hurricane. It was nice to hear the song used in a scene not dealing with the aftermath of Katrina but to highlight the mental situation of the characters in Argo. I won’t say which scene exactly, but for those who have seen the film will know what I mean and the lyrics to the song should become even more weighty once they put two and two together.

I really love this song. From the use of harmonicas by John Paul Jones (and probably another sessions player) to Robert Plant’s emotional wailing right up to one of the best drum work by the great John Bonham. You can almost literally feel those drum sticks drop heavy on those drums. One would almost think Bonham was using tree trunks to play this song.

When the Levee Breaks

If it keeps on rainin’ levee’s goin’ to break
If it keeps on rainin’ levee’s goin’ to break
When The Levee Breaks I’ll have no place to stay.

Mean old levee taught me to weep and moan
Lord, mean old levee taught me to weep and moan
Got what it takes to make a mountain man leave his home
Oh well oh well oh well.

Don’t it make you feel bad
When you’re tryin’ to find your way home
You don’t know which way to go?
If you’re goin’ down South
They go no work to do
If you don’t know about Chicago.

Cryin’ won’t help you prayin’ won’t do you no good
Now cryin’ won’t help you prayin won’t do you no good
When the levee breaks mama you got to move.

All last night sat on the levee and moaned
All last night sat on the levee and moaned
Thinkin bout me baby and my happy home.
Going go n to Chicago
Go n to Chicago
Sorry but I can’t take you.
Going down going down now going down.

Here are the DGA Nominations!


The Director’s Guild of America announced their five nominees for director of the year today.  The DGA is traditionally the last of the precursors to make their opinion known before the actual Oscar nominations are announced.

Traditionally, it seems that four of the DGA nominees are honored with an Oscar nomination while one is usually snubbed.  For instance, last year, all of the self-proclaimed “experts” were all excited when David Fincher was nominated for his shot-for-shot remake of The Girl With The Dragon Tattoo but then had their little hearts broken when the Academy declined to nominate either Fincher or his remake.

Who, if anyone, will be snubbed this year?  I’m not even going to venture a guess because, honestly, this year has the potential to be one of the more unpredictable Oscar years.  (Of course, I say that every year and every year, I’m disappointed by how predictable everything eventually turns out to be.)

For now, here are the five directors nominated by the DGA:

Ben Affleck for Argo

Kathryn Bigelow for Zero Dark Thirty

Tom Hooper for Les Miserables

Ang Lee for Life of Pi

Steven Spielberg for Lincoln

Unlike some people, I’m not surprised to see that Quentin Tarantino was snubbed.  Django Unchained might be a difficult sell to the Academy, especially considering that gun control is currently Hollywood’s favorite political cause.  I’m a bit more shocked to see that David O. Russell’s work on Silver Linings Playbook was not nominated.

The Oscar nominations will be announced on Thursday morning.

 

I Got Your Golden Globes Right Here…


We’re halfway through Oscar season and that means that it’s time for the Golden Globes to weigh in.  To be honest, I think the Golden Globes are somewhat overrated as an Oscar precursor.  For the most part, the Golden Globes usually honors the films that are on everyone’s radar and then they come up with one or two nominations that nobody was expecting.  However, those surprise nominations rarely seem to translate into anything once it comes to time to announce the Oscar nominations.

So, while Salmon Fishing In The Yemen did receive a few surprise nominations (and those nominations were deserved, by the way), I doubt that we’ll see the movie mentioned on January 10th when the Oscar nominations are announced.

From the reaction that I’ve seen on the usual awards sites,  a lot of the usual suspects are upset that Beasts of the Southern Wild was completely snubbed.  Actually, they’re not just upset.  They’re about as outraged about this as they were when The Social Network lost best picture to King’s Speech.  The way they’re carrying on, you would think that someone had just informed them that David Fincher’s version of The Girl With The Dragon Tattoo was a thoroughly unneccessary rehash of an already brilliant film.  Seriously, the facade of Stone has fallen and tears are being shed.

Myself, I’m more annoyed that neither The Cabin In The Woods nor Anna Karenina are getting the love that they deserve.

Anyway, with all that in mind, here are the Golden Globe nominations!

BEST DRAMA
“Argo”
“Django Unchained”
“Life of Pi”
“Lincoln”
“Zero Dark Thirty”

BEST DRAMA ACTOR
Daniel Day-Lewis, “Lincoln”
Richard Gere, “Arbitrage”
John Hawkes, “The Sessions”
Joaquin Phoenix, “The Master”
Denzel Washington, “Flight”

BEST DRAMA ACTRESS
Marion Cotillard, “Rust and Bone”
Jessica Chastain, “Zero Dark Thirty”
Helen Mirren, “Hitchcock”
Naomi Watts, “The Impossible”
Rachel Weisz, “The Deep Blue Sea”

BEST COMEDY/MUSICAL PICTURE
“The Best Exotic Marigold Hotel”
“Les Miserables”
“Moonrise Kingdom”
“Silver Linings Playbook”
“Salmon Fishing in the Yemen”

BEST COMEDY/MUSICAL ACTOR
Jack Black, “Bernie”
Bradley Cooper, “Silver Linings Playbook,”
Hugh Jackman, “Les Miserables”
Ewan McGregor, “Salmon Fishing in the Yemen”
Bill Murray, “Hyde Park on Hudson”

BEST COMEDY/MUSICAL ACTRESS
Emily Blunt, “Salmon Fishing in the Yemen”
Jennifer Lawrence, “Silver Linings Playbook”
Judi Dench, “Best Exotic Marigold Hotel”
Maggie Smith, “Quartet”
Meryl Streep, “Hope Springs”

 

BEST SUPPORTING ACTOR 
Alan Arkin, “Argo”
Philip Seymour Hoffman, “The Master”
Christoph Waltz, “Django Unchained”
Leonardo DiCaprio, “Django Unchained”
Tommy Lee Jones, “Lincoln”

BEST SUPPORTING ACTRESS
Anne Hathaway, “Les Miserables”
Helen Hunt, “The Sessions”
Amy Adams, “The Master”
Sally Field, “Lincoln”
Nicole Kidman, “The Paperboy”

BEST DIRECTOR
Ben Affleck, “Argo”
Ang Lee, “Life of Pi”
Steven Spielberg, “Lincoln”
Quentin Tarantino, “Django Unchained”
Kathryn Bigelow, “Zero Dark Thirty”

BEST SCREENPLAY
“Silver Linings Playbook”
“Argo”
“Django Unchained”
“Zero Dark Thirty”
“Lincoln”

BEST ORIGINAL SCORE
“Anna Karenina”
“Life of Pi”
“Argo”
“Lincoln”
“Cloud Atlas”

BEST ORIGINAL SONG
“For You” from “Act of Valor”
Music by: Monty Powell, Keith Urban Lyrics by: Monty Powell, Keith Urban

“Not Running Anymore” from “Stand Up Guys”
Music by: Jon Bon Jovi Lyrics by: Jon Bon Jovi

“Safe and Sound” from “The Hunger Games”
Music by: Taylor Swift, John Paul White, Joy Williams, T Bone Burnett Lyrics by: Taylor Swift, John Paul White, Joy Williams, T Bone Burnett

“Skyfall” form “Skyfall”
Music by: Adele, Paul Epworth Lyrics by: Adele, Paul Epworth

“Suddenly” from “Les Miserables”
Music by: Claude-Michel Schonberg Lyrics by: Alain Boublil, Claude-Michel Schonberg

BEST ANIMATED FILM 
“Brave”
“Frankenweenie”
“Wreck-it Ralph”
“Rise of the Guardians”
“Hotel Transylvania”

BEST FOREIGN LANGUAGE FILM 
“The Intouchables”
“Amour”
“A Royal Affair”
“Rust and Bone”
“Kon-Tiki”