Boston Demands To Be Heard

Posted on December 11, 2011 by Lisa Marie Bowman

The Los Angeles film critics weren’t the only ones to vote on their favorites of 2011 today. The Boston Society of Film Critics voted today as well. Now, as I’ve stated quite a few times on this site, I’m a Southern girl and I have a feeling that if I ever went up to Boston, everyone up there would ignore the fact that I’m an Irish Catholic and would probably just make fun of my accent. Eventually, the conversation would turn to politics and I would let slip the fact that not only am I not a Democrat but I didn’t even vote for Barack Obama in 2008. A big fight would follow and I imagine we wouldn’t even get around to talking about our favorite movies…

Sorry, I lost my train of thought there. Anyway, the BSFC voted and here’s what they came up with:

Best Picture: “The Artist”

Runners-up: “Hugo” and “Margaret”

Best Director: Martin Scorsese, “Hugo”

Runner-up: Michel Hazanavicius, “The Artist”

Best Actor: Brad Pitt, “Moneyball”

Runners-up: George Clooney, “The Descendants” and Michael Fassbender, “Shame”

Best Actress: Michelle Williams, “My Week With Marilyn”

Runner-up: Meryl Streep, “The Iron Lady”

Best Supporting Actor: Albert Brooks, “Drive”

Runner-up: Max Von Sydow, “Extremely Loud and Incredibly Close”

Best Supporting Actress: Melissa McCarthy, “Bridesmaids”

Runner-up: Jeannie Berlin, “Margaret”

Best Screenplay: Steven Zaillian, Aaron Sorkin and Stan Chervin, “Moneyball”

Runner-up: Kenneth Lonergan, “Margaret”

(If I was writing for AwardsDaily.com, I guess this is where I would say, NO MOVIE HAD A BETTER SCREENPLAY THAN THE SOCIAL NETWORK)

Best Cinematography: Emmanuel Lubezki, “The Tree of Life”

Runner-up: Robert Richardson, “Hugo”

Best Documentary: “Project Nim”

Runner-up: “Bill Cunningham New York”

Best Foreign-Language Film: “Incendies”

Runners-up: “A Separation” and “Poetry”

Best Animated Film: “Rango”

Best Film Editing: Christian Marclay, “The Clock”

Runner-up: Thelma Schoonmaker, “Hugo”

Best New Filmmaker: Sean Durkin, “Martha Marcy May Marlene”

Runner-up: J.C. Chandor, “Margin Call”

Best Ensemble Cast: “Carnage”

Runner-up: “Margaret”

Best Use of Music in a Film: (tie) “Drive” and “The Artist”

Runner-up: “The Descendants”

Special Commendations:

Ben Fowlie, Sara Archambault and Sean Flynn of DocYard

The Museum of Fine Arts for “The Clock”

The Brattle Film Foundation

Best Rediscoveries:

“The Shooting” at the Harvard Film Achive

“The Makota Sisters” at the Museum of Fine Arts

“Deep End” at the HFA

“Days and Nights in the Forest” at the HFA

“Children of Hiroshima” at the HFA

Obviously, the Boston Film Critics were big fans of Kenneth Lonergan’s film Margaret. Margaret was actually filmed in 2007 but, because of various lawsuits between Longergan and the film’s producers, it was not actually released until September of this year. Unfortunately, it only played down here for about a week and I didn’t get a chance to see it but hopefully, I will in the future. If nothing else, I want to see it so I can have something other than politics to talk about if I ever go up to Boston.

The WAFCA Has Spoken

Posted on December 5, 2011 by Lisa Marie Bowman

I don’t know much about the Washington Area Film Critics Association but, just judging from the films that they chose to nominate for being the best of 2011, they would appear to have better taste than most film critics.

(Seriously, film critics are the worst.)

They announced their picks for the best of 2011 earlier today and here’s a complete list of their nominees and winners. If nothing else, this year’s Oscar race is certainly shaping up to be a bit more interesting than last years.

Best Film:
*The Artist
The Descendants
Drive
Hugo
Win Win

Best Director:
Woody Allen (Midnight in Paris)
Michel Hazanavicius (The Artist)
Alexander Payne (The Descendants)
Nicolas Winding Refn (Drive)
*Martin Scorsese (Hugo)

Best Actor:
*George Clooney (The Descendants)
Jean Dujardin (The Artist)
Michael Fassbender (Shame)
Brad Pitt (Moneyball)
Michael Shannon (Take Shelter)

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)
*Michelle Williams (My Week with Marilyn)

Best Supporting Actor:
Kenneth Branagh (My Week with Marilyn)
*Albert Brooks (Drive)
John Hawkes (Martha Marcy May Marlene)
Christopher Plummer (Beginners)
Andy Serkis (Rise of the Planet of the Apes)

Best Supporting Actress:
Bérénice Bejo (The Artist)
Melissa McCarthy (Bridesmaids)
Carey Mulligan (Shame)
*Octavia Spencer (The Help)
Shailene Woodley (The Descendants)

Best Acting Ensemble:
*Bridesmaids
Harry Potter and the Deathly Hallows Part 2
The Help
Hugo
Margin Call

Best Adapted Screenplay:
*Alexander Payne and Nate Faxon & Jim Rash (The Descendants)
Tate Taylor (The Help)
John Logan (Hugo)
Steven Zaillian and Aaron Sorkin (Moneyball)
Bridget O’Connor & Peter Straughan (Tinker, Tailor, Soldier, Spy)

Best Original Screenplay:
Woody Allen (Midnight in Paris)
Michel Hazanavicius (The Artist)
Tom McCarthy (Win Win)
Annie Mumolo & Kristen Wiig (Bridesmaids)
*Will Reiser (50/50)

Best Animated Feature:
The Adventures of Tintin
Arthur Christmas
Puss in Boots
*Rango
Winnie the Pooh

Best Documentary:
Being Elmo: A Puppeteer’s Journey
Buck
*Cave of Forgotten Dreams
Into the Abyss: A Tale of Death, A Tale of Life
Project Nim

Best Foreign Language Film:
13 Assassins
Certified Copy
I Saw the Devil
Pina
*The Skin I Live In

Best Art Direction:
Lawrence Bennett, Production Designer, and Gregory S. Hooper, Art Director (The Artist)
Stuart Craig, Production Designer, and Stephenie McMillan, Set Decorator (Harry Potter and the Deathly Hallows Part 2)
*Dante Ferretti, Production Designer, and Francesca Lo Schiavo, Set Decorator (Hugo)
Jack Fisk, Production Designer, and Jeanette Scott, Set Decorator (The Tree of Life)
Rick Carter, Production Designer, and Lee Sandales, Set Decorator (War Horse)

Best Cinematography:
Guillaume Schiffman (The Artist)
Robert Richardson (Hugo)
Manuel Alberto Claro (Melancholia)
*Emmanuel Lubezki (The Tree of Life)
Janusz Kaminski (War Horse)

Best Score:
*Ludovic Bource (The Artist)
Cliff Martinez (Drive)
Trent Reznor & Atticus Ross (The Girl with the Dragon Tattoo)
Howard Shore (Hugo)
John Williams (War Horse)

The National Board of Review Gives It Up For “Hugo”

Posted on December 1, 2011 by Lisa Marie Bowman

It took them a while but, earlier today, the folks who made up the National Board of Review (nobody’s quite sure who they are) finally announced their picks for the best of 2011. And the winner is — Martin Scorsese’s Hugo! As anyone who was on twitter earlier today knows, this was something of a surprising result and most of the self-appointed film experts out there seemed to be convinced that the NBR would honor either War Horse or The Artist. Seeing as it took the NBR longer than usual to announce the winners, I’m assuming that the voting was fairly close. The NBR is usually considered to be a precursor to the Academy Awards so, if nothing else, this result would seem to bode well for Hugo‘s chances to pick up a best picture nomination. Here are the winners with the occasional editorial comment from me:

Best Film:
Hugo

(I loved Hugo, though my favorite film of the year remains, at this point, Hanna)

Best Director:
Martin Scorsese, Hugo

Best Actor:
George Clooney, The Descendants

(I may be the only person in America who thinks that The Descendants is overrated. Certainly, the members of the NBR disagree with me on that point.)

Best Actress:
Tilda Swinton, We Need to Talk About Kevin

(This was kind of surprising since I think the conventional wisdom was that Meryl Streep would win everything for The Irony Lady.)

Best Supporting Actor:
Christopher Plummer, Beginners

(I have a feeling that Plummer’s going to be the sentimental favorite at the Oscars.)
Best Supporting Actress:
Shailene Woodley, The Descendants

Best Original Screenplay:
Will Reiser, 50/50

(Yay! This film has been strangely underrated as an awards contender but it deserves a lot more attention.)

Best Adapted Screenplay:
Alexander Payne, Nat Faxon & Jim Rash, The Descendants

Best Animated Feature:
Rango

(Another yay!)
Breakthrough Performance:
Felicity Jones, Like Crazy

Breakthrough Performance:
Rooney Mara, The Girl with the Dragon Tattoo

(Bleh. On twitter, I already went into a rant about how too many of my fellow film bloggers have allowed themselves to be co-opted into a conspiracy to both force The Girl With The Dragon Tattoo remake down our throats and to try to make us forget about the original trilogy and the fact that Noomi Rapace gave a brilliant performance as Lisbeth. I’ll hold off on going into that again until it’s time to review the remake but seriously, people — the Hollywood establishment is not going to give you a promise ring, I don’t care how much you kiss their ass.)

Debut Director:
J.C. Chandor, Margin Call

Best Ensemble:
The Help

(Believe it or not, I still need to see this one.)

Spotlight Award:
Michael Fassbender (A Dangerous Method, Jane Eyre, Shame, X-Men: First Class)

(Oh. My. God. So. Hot.)

NBR Freedom of Expression:
Crime After Crime

NBR Freedom of Expression:
Pariah

Best Foreign Language Film:
A Separation

Best Documentary:
Paradise Lost 3: Purgatory

Special Achievement in Filmmaking:
The Harry Potter Franchise – A Distinguished Translation from Book
to Film

(This is probably my favorite award to be given out by NBR. Seriously, the Harry Potter franchise provided me — and so many others — such a blessed escape whenever life seemed overwhelming.)

Top Films (in alphabetical order)

The Artist (Can’t Wait To See It)
The Descendants (Overrated)
Drive (Yay!)
The Girl with the Dragon Tattoo (Bleh)
Harry Potter and the Deathly Hallows Part 2 (Yay!)
The Ides of March (One of the worst films of the year)
J. Edgar (Bland and forgettable but well-made)
Tree of Life (Yay!)
War Horse (Going to see it but I feel obligated to do so and I resent it, to be honest)

Top 5 Foreign Language Films (in alphabetical order)

13 Assassins
Elite Squad: The Enemy Within
Footnote
Le Havre
Point Blank

Top 5 Documentaries (in alphabetical order)

Born to be Wild
Buck
George Harrison: Living in the Material World
Project Nim
Senna

Top 10 Independent Films (in alphabetical order)

50/50 (Yay!)
Another Earth (Whatever, this was a terrible movie)
Beginners (A good film that deserves to be seen)
A Better Life (Overrated)
Cedar Rapids (Likable but nothing spectacular)
Margin Call (Need to see it)
Shame (Fassbender!)
Take Shelter (Yay!)
We Need To Talk About Kevin (Looking forward to it)
Win Win (Yay!)

6 Horror-Filled Trailers For Those That Were Left Behind

Posted on October 22, 2011 by Lisa Marie Bowman

Apparently, the Rapture was scheduled for yesterday and I missed it. Now, I suppose there are a lot of reasons as to why I might have been left behind but quite frankly, I blame my first boyfriend. Seriously, thanks for condemning me to three and a half years of tribulation, jerk! Anyway, as long as we’re all stuck together, why not enjoy six more of Lisa Marie’s Favorite Grindhouse and Exploitation trailers? Since it’s still October, I’m continuing my horror theme with this entry. Plus, considering what the future holds for us, we should probably start getting used to a little horror…

1) The Burning (1981)

Agck! I just recently saw this movie and that little raft scene totally freaked me out! I would never get on a raft to begin with because it worries me that I might end up with some raftmate who keeps going, “Row! Row! Row!” On another note, what’s up with those people who are always like, “Go! Go! Go!” in action scenes? I’m just like, “Okay, fascist much?” I mean, if you want to be all Mad Men-like, go watch AMC.

2) Return to Horror High (1987)

Three quick notes: 1) Watch carefully and you’ll see George Clooney pop up for about five seconds in this trailer, 2) if you don’t want people like getting killed at your school, don’t name it Horror, and 3) I made my sister watch this trailer and she assures me that a literal skeleton would never be allowed to become a cheerleader.

3) Splatter University (1984)

I assume this is where you go if you survive Horror High. Usually I try to be kinda coy and funny about these things but this time I’m just going to flat-out say it: Based on this, this film appears to truly suck. But I can’t resist a trailer that features melodramatic narration….

4) Slaughter High (1986)

Okay, this movie also looks terrible but check out the so-bad-its-going-t0-make-you-kill-someone musical score. Again, I’d just like to point out that if this high school had simply been named after a dead president, a lot of needless death could have been avoided. But no, they had to go with Slaughter High.

5) Hell High (1989)

As if I needed further proof to make my case, check out this trailer for Hell High. I own this movie on DVD and I have to admit that I bought it solely because of the name.

6) Videodrome (1982)

After those last few trailers, you may be ready for a trailer of a film that’s actually kinda sorta good. So, here’s one for David Cronenberg’s Videodrome, which is one of the weirdest films I’ve ever seen, what with all that “new flesh” talk and James Woods’ body doing weird things…agck!

A Quickie With Lisa Marie: The Ides of March (dir. by George Clooney)

Posted on October 11, 2011 by Lisa Marie Bowman

George Clooney’s new political film The Ides of March opened last Friday and so far it appears to have mostly gotten positive reviews that are more respectful than enthusiastic. Well, I saw The Ides of March on Tuesday evening and all I can say is “Don’t believe everything you hear.” That should be a given but it’s always worth repeating. The Ides of March is a slow, ponderous, and at times completely annoying movie, a minor work dealing with major themes.

The film is based on the play Farragut North and it’s about Stephen (Ryan Gosling), a political consultant who is working on the presidential campaign of Gov. Mike Morris (George Clooney). Morris is a typical Hollywood Democratic politician in that he gives a lot of speeches attacking America’s dependence on foreign oil and he’s not ashamed to admit that he’s an atheist. Anyway, despite the fact that Morris comes across as being smug and something of a sexist, he’s the front runner for the Democratic Presidential nomination but only if he can win the Ohio primary. For all of his attempts to be as cynical as his mentor (Philip Seymour Hoffman, giving a typical Philip Seymour Hoffman performance), Stephen truly believes in Mike Morris. However, Stephen comes across some information that could potentially destroy Morris’ campaign and he soon finds himself a pawn in a game between Morris, the press (represented by Marisa Tomei, who looks terrible in this film), and the opposing campaign (managed by Paul Giamatti).

Yes, The Ides of March has a lot to say but it’s absolutely nothing you haven’t heard before and, quite frankly, it’s kind of annoying how the film seems to think that this is the first time that anyone’s ever suggested that maybe politics is a dirty business. The film’s not a total waste because there’s way too many talented people involved here for the film not to have the occasional good moment. Gosling and Clooney both give strong performances and play off each other well. They have a scene where they confront each other in a deserted kitchen and for a few brief seconds, the film actually gets interesting. Playing an emotionally unstable intern, Evan Rachel Wood shows once again that she’s one of the best actresses working today and it’s just a shame that the film treats her more like a plot device than an actual human being. At the same time, I have to say that this is the first time I’ve ever seen Paul Giamatti actually give a performance that can only be called bad. Seriously, how could the same actor who was so brilliant in Win Win be so terrible in this movie?

Ultimately though, the film fails because — once you get past all the glamour on-screen — what you have is a very predictable political film that, especially in these days of Tea Parties and Occupy Movements, feels rather quaint and forced. This is yet another one of those films where, apparently, the only way that the main character can learn a lesson is for a supporting character to commit suicide. There’s a lot of would-be cynical dialogue and Clooney manages to include references to Rush Limbaugh and the Drudge Report but ultimately, the whole film feels as false as the romantic short stories I used to write in the 8th grade.

The film’s name is obviously meant to carry hints of Shakespeare but perhaps a more honest title would have been Much Ado About Nothing.

15 Upcoming Films That Are Going To Suck

Posted on August 26, 2011 by Lisa Marie Bowman

In just another few days, the summer movie season will end and we’ll enter the fall. The fall movie season is when all of the prestigious, massively hyped “quality” films are released. These are the films that everyone is expecting to see remembered at Oscar time. We expect more out of films released in the Fall and therefore, when a film fails to live up to the expectation of perfection, we are far more quicker to simply damn the whole enterprise by exclaiming, “That sucked!”

Below are 15 upcoming fall films which I think are going to “suck.” Quite a few of them are “prestige” films though a few of them most definitely are not. However, they are all films that I fully expect to be disappointed with.

Quick disclaimer: This list is based on only two things, my gut instinct and the advice of my Parker Brothers Ouija Board. These are my opinions and solely my opinions and they should not be taken as a reflection of the opinions of anyone else involved with this web site. Got it? Good, let’s move on to the fun part:

Anonymous (10/28) — Roland Emmerich takes on the burning issue of whether or not Shakespeare actually wrote his plays. Who cares? I’m sure this will spark a lot of discussion among people who found The Da Vinci Code to be mind-blowing.
The Girl With The Dragon Tattoo (12/21) — Deal with it, fanboys.
The Ides of March (10/7) — It’s a political film directed by and starring George Clooney! Watch out for the smug storm that will surely follow.
Immortals (11/11) — Yes, it will suck but it will still probably be better than Clash of the Titans.
The Iron Lady (12/16) — Bleh. This is one of those movies that they make solely because Meryl Streep needs another Oscar nomination. Nobody will see the film but everyone will talk about how brilliant Meryl was in it.
J. Edgar (TBA) — So, when was the last time that Clint Eastwood actually directed a movie that you didn’t have to make excuses for?
Mission Impossible — Ghost Protocol (12/21) — Honestly, has there ever been a Mission Impossible film that didn’t suck in one way or another?
Real Steel (10/7) — How do I know this film is going to suck? Go look up the trailer on YouTube and you can see that little kid go, “You know everything about this fight game!” for yourself.
Red State (9/23) — A satirical horror film with a political subtext? Well, let’s just hope they’ve got a great director…
Sherlock Holmes: A Game of Shadows (12/16) — It’s the law of diminished returns. The better the original, the worse the sequel. That said, I really hope I’m wrong on this one. I loved Sherlock Holmes.
Straw Dogs (9/16) — It’s a remake of the old Peckinpah classic except now, it’s a Yankee Blue Stater getting attacked by a bunch of Redneck Red Staters. Yankee paranoia is so freaking tedious. Add to that, Straw Dogs has been remade a few million times and never as well as the original. At least those remakes had the decency to come up with their own name instead of just trying to coast on the credibility of a better film. This travesty was written, directed, and produced by Rod Lurie. Shame on you, Rod Lurie. (Of course, the toadsuckers over at AwardsDaily.com are madly enthused about this film.)
The Three Musketeers (10/21) — Is anybody expecting otherwise?
Tower Heist (11/4) — Brett Ratner continues to encourage us to lower our standards with this action-comedy. The film’s villain is played by Alan Alda and is supposed to be a Bernie Madoff-type so expect a lot of tedious pontificating from rich actors playing poor people.
War Horse (12/28) — This might actually be a good film but, as a result of all of the hype, it’s going to have to be perfect or else it’s going to suck.
W.E. (12/9) — Madonna makes her directorial debut with … well, do I really need to go on?

A Quickie with Lisa Marie: The American (Dir. by Anton Corbijn)

Posted on September 4, 2010 by Lisa Marie Bowman

Earlier today, I had the misfortune to sit through the just released movie The American.

The title character, as played by George Clooney (who also produced the film), is an aging assassin. He’s done some bad, bad things and, as a result, he has some bad, bad people after him. So, he hides out in an isolated, Italian village. He makes friends with the local priest, engages in some shady business of some sort with a mysterious woman (Thekla Reuten), and of course falls in love with the proverbial hooker with a heart of gold (Violante Placido). The whole time, the American is aware that his days are numbered and that he can trust no one.

And who really cares?

Director Anton Corbijn appears to be trying to do an homage to the noir-influenced French New Wave of the late 50s and 1960s but he seems to have forgotten that Jean-Luc Godard’s and Francois Truffaut’s films were usually as entertaining as they were intellectually stimulating. (This, of course, is something that Godard forgot as well.) As a result, The American often feels like a parody of an art film. Every scene drips with great importance and all the actors play their roles like they’re in a passion play but, in the end, it’s just a lot of pretension that ultimately adds up to nothing.

As a movie, the American is pretty to look at but I lost interest in it fairly early. Corbijn tries to create an atmosphere of ennui but the end result is simply dull. Clooney attempts to give a restrained performance full of self-loathing and paranoia but he’s miscast in the part. George Clooney the producer doesn’t seems to realize that Clooney’s essential shallowness is the key to his appeal. George Clooney comes across as the perfect one-night stand, the epitome of fun-while-it-lasted but nothing to regret once he’s gone. Whenever Clooney attempts to suggest anything suggesting any greater depth — like in this film — he simply seems lost.

Speaking of lost, so was I as I watched this dull, boring movie. I’m sure some will embrace this film but for me, I’ll pass.