Trailer: Anna Karenina


So, earlier today, I saw a movie called Seeking A Friend For The End Of The World and … well, it wasn’t very good. 

But, fortunately, it was preceded by a trailer for a film that’s got me very excited about the future of 2012.  That film is Joe Wright’s adaptation of Leo Tolstoy’s Anna Karenina.  Just judging from the trailer, it looks like this is going to be a visually sumptuous and intriguing adaptation of Tolstoy’s novel. 

It doesn’t hurt that Joe Wright’s last film was my personal favorite of 2011, Hanna.

Catching Fire Has A Director


After two weeks of speculation, Catching Fire (the sequel to The Hunger Games) has a director and the winner is…

Francis Lawrence!

Francis Lawrence is known for directing music videos, Constantine, I Am Legend, and Water For Elephants.

I’ve never seen Constantine, I thought I am Legend was boring, and I enjoyed Water For Elephants but it’s hard not to feel that, after considering names like David Cronenberg, Alfonso Cuaron, Bennett Miller, and Duncan Jones, Lionsgate selected the most generic candidate in the mix.  

I’m sure that there will be a lot of people complaining about the selection but, to be honest, it’s not like Gary Ross was all that inspiring a director before Hunger Games.  In the end Catching Fire’s success is going to be more about Jennifer (as opposed to Francis) Lawrence.

Two weeks ago, we did a poll to see who you thought should direct Catching Fire and Hanna’s Joe Wright won a fairly easy victory.

Poll: Who Should Direct Catching Fire?


With the recent announcement that Gary Ross will not be directing Catching Fire, the second film in The Hunger Games trilogy, there’s been a lot of online speculation has started as to who will take his place.  Since I was bored at work, I spent an hour or two reading some of that speculation.  Needless to say, a lot of names are being tossed around and some are a lot more plausible than others.  However, a few names seem to be mentioned more often than others.

Speaking for myself, I don’t think that the loss of Gary Ross is going to really hurt the sequel, financially or artistically. 

Financially, people are going to see the sequel regardless of who directs it and, quite frankly, I doubt many people went to the Hunger Games because they just couldn’t wait to see Gary Ross’s follow-up to Seabiscuit

From an artistic point of view, the main reason that I loved the Hunger Games was because, after years of seeing blockbuster movies where being female was essentially the same as being helpless and insipid, it was so refreshing to see a film about a strong, independent young woman who is concerned about something more than just keeping her boyfriend happy.  In short, I loved The Hunger Games because of Jennifer Lawrence’s performance as Katniss Everdeen.  In short, Gary Ross was about as important to The Hunger Games franchise  as Chris Columbus was to the Harry Potter films.

As for who the new director is going to be, here’s some of the more interesting names that I’ve seen mentioned:

Danny Boyle is one of my favorite directors of all time and he’s certainly showed that he can create entertaining films that both challenge conventional and force you to think.  As well, directing the opening ceremonies for the London Olympics and, if that’s not good training for the Hunger Games then what is?

J.J. Abrams is a far more conventional director than Danny Boyle but he’s also proven that he can make blockbuster films that don’t necessarily insult one’s intelligence.  Add to that, he created Alias and he deserves a lot of credit for that.

As the only woman to ever win best director, Kathryn Bigelow is an obvious choice for a franchise that is ultimately all about empowerment.  Plus, she’s proven she can handle action films and I think it would be a neat if, under her direction, Catching Fire made more money than Avatar.

Sofia Coppola, who should have won an Oscar for Lost in Translation,  would bring a definitely lyrical quality to Catching Fire and, if nothing else. her version would be amazing to look at.  Add to that, Sofia Coppola deserves to have at least one blockbuster on her resume.  (Yes, I know a lot of you people hated Somewhere but you know what?  You’re wrong and I’m right.)

Alfonso Cuaron has proven, with Harry Potter and the Prisoner of Azbakan, that he can step into a franchise without sacrificing his own individual vision.  Children of Men shows that he can create a realistic dystopian future.

Debra Granik is best-known for directing Jennifer Lawrence in Winter’s Bone.  If not for Granik, Katniss Everdeen could have very easily ended up being played by Kristen Stewart.

Catherine Hardwicke is, of course, best known for directing the first Twilight film and a lot of people will never forgive her for that.  And you know what?  That’s really not fair to Hardwicke. Say what you will about Twilight, the film was actually pretty well-directed and Red Riding Hood is one of the unacknowledged masterpieces of 2011.  (No, really…)   Finally, Hardwicke directed Thirteen, one of the best films ever made.  Hardwicke’s Catching Fire probably wouldn’t be critically acclaimed but it would be a lot of fun.

Patty Jenkins is one of the more surprising names that I saw mentioned on several sites.  Jenkins is best known for directing the ultra-depressing Monster  as well as the atmospheric pilot for AMC’s The Killing. Apparently she was also, for a while, signed up to direct Thor 2, which would suggest that she can handle blockbuster action.  Of course, she was also fired from Thor 2.

Mike Newell directed the best of the Harry Potter films (Harry Potter and the Goblet of Fire) and has shown that he can handle action and spectacle.  He’s also directed Mona Lisa Smile, which is one of my favorite films of all time.

Sam Raimi would turn Catching Fire into a thrill ride.  While you would lose a lot of the story’s subtext, the film would certainly not be boring.  Add to that, Raimi directing would increase the chances of a Bruce Campbell cameo.

To be honest, I haven’t seen anyone mention the name of Mark Romanek so I’m going to mention him because I think he’s great and that Never Let Me Go was one of the best films of 2010.  Add to that, he actually played an important role in my life in that I can still remember being 12 years old, seeing his video for Fiona Apple’s Criminal, and going, “That’s what I’m going to do once I get to high school…”

Julie Taymor is best known as a theatrical director but her films have all been distinguished by a strong, individualistic vision.  More people need to see her film version of The Tempest.

Susanna White, though not well-known, was a contender to direct The Hunger Games before the job went to Gary Ross.  White got her start working with the BBC before coming over to America to direct episodes of Generation Kill and Boardwalk Empire for HBO.  She was also a contender to director another film based on YA literature, The Host.

With Hanna, Joe Wright gave us the best film of 2011 (regardless of what the Academy thinks) and he’s proven that he knows how to mix empowerment and action.

There are other names in contention, of course.  I’ve seen everyone from Stephen Soderbergh (bleh, to be honest) to Rob Zombie mentioned.  Arleigh suggested both James Cameron and David Fincher but I think he was mostly doing that to annoy me.  Someone on twitter (may have been me) mentioned Tyler Perry and then laughed and laughed.  However, the 14 names above are the ones that I find to be the most interesting and/or plausible.

So, who do you think would be a the best director for Catching Fire?

As for me and who I would like to so direct the film, I think that the director of Catching Fire should be a woman because Catching Fire is, ultimately, a story about empowerment.  I also think that characterization is far more important than action so I’m not as concerned about whether or not the director has a history of blowing things up onscreen.  Instead, what the franchise needs is a strong, female director with an eye for detail and a strong appreciation for what film is capable of accomplishing as an art form. 

For that reason, my vote goes to Sofia Coppola.

If Lisa Marie Determined The Oscar Nominees….


The Oscar nominations are due to be announced on Tuesday morning so I figured now would be a good time to play a little game that I like to call: “What if Lisa had all the power?”  Below, you will find my personal Oscar nominations.  These are the films and the performers that would be nominated if I was solely responsible for selecting the nominees and the winners. 

For those who are interested, you can check out my picks for last year by clicking on this sentence.

Please understand, as you look over this lengthy list of deserving films and performers, that these are not necessarily the films I expect to see nominated on Tuesday morning.  In fact, I would be hard pressed to think of a year in which I have disagreed more with the critical establishment than I have this year.  For whatever reason, the films that truly touched and moved me in 2011 appear to be the films that are totally and completely off the Academy’s radar.  These are not my predictions.  Instead, they are my personal choices and they should not be interpreted as representing the opinion on anyone else affiliated with this site.  So, if you’re angry that David Fincher’s Girl With The Dragon Tattoo didn’t receive a single imaginary nomination, direct your anger at me and me alone. 

Best Picture

The Artist

Bridesmaids

The Guard

Hanna

Higher Ground

Hugo

Shame

Sucker Punch

Tinker, Tailor, Soldier, Spy

Young Adult

Best Actor

Michael Fassbender for Shame

Brendan Gleeson for The Guard

Gary Oldman for Tinker, Tailor, Soldier, Spy

Michael Shannon for Take Shelter

Rainn Wilson for Super

Best Actress

Kirsten Dunst for Melancholia

Vera Farmiga for Higher Ground

Elizabeth Olsen for Martha Marcy May Marlene

Saoirse Ronan for Hanna

Charlize Theron for Young Adult

Best Supporting Actor

Albert Brooks for Drive

Bobby Cannivale for Win Win

Jonah Hill for Moneyball

Patton Oswalt for Young Adult

Andy Serkis for Rise of the Planet of the Apes

Best Supporting Actress

Anna Kendrick for 50/50

Melissa McCarthy for Bridesmaids

Carey Mulligan for Shame

Ellen Page for Super

Amy Ryan for Win Win

Best Director

Vera Farminga for Higher Ground

Michel Hazanavicius for The Artist

Steve McQueen for Shame

Martin Scorsese for Hugo

Joe Wright for Hanna

Best Original Sreenplay

Bridesmaids

The Guard

Hanna

Shame

Young Adult

Best Adapted Screenplay

Higher Ground

Hugo

Incendies

One Day

Tinker, Tailor, Soldier, Spy

Best Animated Feature

Kung Fu Panda 2

Puss in Boots

Rango

Rio

Winnie the Pooh

Best Foreign Language Film

(Please note that I do this category a bit differently than the Academy.  Whereas the Academy asks nations across the world to submit a nominee, I’m simply nominating the best foreign language films that I saw in a theater last year.  Those who follow the Oscars will note that I’ve both nominated and awarded the brilliant Canadian films Incendies, which actually was nominated for a real Oscar in this same category last year.)

The Double Hour

Incendies

Of Gods and Men

The Skin I Live In

13 Assassins

Best Documentary Feature

Bill Cunningham New York

Buck

The Cave of Forgotten Dreams

Jig

Resurrect Dead: The Mystery of the Toynbee Tiles

Best Original Score

The Artist

A Better Life

The Guard

Hanna

The Tree Of Life

Best Original Song

“The Star-Spangled Man” from Captain America: The First Avenger

“Mujhe Chod Ke” from DAM999

“The Keeper” from Machine Gun Preacher

“Man or Muppet” from The Muppets

“Pop” from White Irish Drinkers

Best Sound Editing

Drive

Harry Potter and the Deathly Hallows, Part 2

Hugo

Sucker Punch

The Tree of Life

Best Sound Mixing

Drive

Harry Potter and the Deathly Hallows, Part 2

Hugo

Sucker Punch

The Tree of Life

Best Art Direction

Bunraku

Harry Potter and the Deathly Hallows, Part 2

Hugo

Sucker Punch

Tinker, Tailor, Soldier, Spy

Best Cinematography

The Artist

Hugo

Melancholia

Shame

The Tree of Life

Best Makeup

Beastly

Harry Potter and the Deathly Hallows, Part 2

Insidious

Sucker Punch

X-Men: First Class

Best Costume Design

Bunraku

The Help

Hugo

Sucker Punch

Tinker, Tailor, Soldier, Spy

Best Editing

The Artist

The Guard

Hanna

Hugo

Shame

Best Visual Effects

Harry Potter and the Deathly Hallows, Part 2

Hugo

Rise of the Planet of the Apes

Sucker Punch

The Tree of Life

List of Films By Number of Nominations:

10 Nominations – Hugo

7 Nominations – Shame, Sucker Punch

6 Nominations – Hanna

5 Nominations – The Artist; The Guard; Harry Potter and the Deathly Hallows Part 2; Tinker, Tailor, Solider, Spy; The Tree of Life

4 Nominations – Higher Ground, Young Adult

3 Nominations – Bridesmaids, Drive

2 Nominations – Bunraku, Incendies, Melancholia, Rise of the Planet of the Apes, Super, Win Win

1 Nomination – Beastly, A Better Life, Bill Cunningham New York, Buck, Captain America: The First Avenger, The Cave of Forgotten Dreams, DAM999, The Double Hour, 50/50, The Help, Insidious, Jig, Kung Fu Panda 2, Machine Gun Preacher, Martha Marcy May Marlene, Moneyball, The Muppets, Of Gods and Men, One Day, Puss in Boots, Rango, Ressurect Dead, Rio, The Skin I Live In, Take Shelter, 13 Assassins, X-Men: First Class, White Irish Drinkers, Winnie the Pooh

List of Films By Number of Oscars Won:

3 Oscars – Hanna

2 Oscars – Bunraku, Shame, Sucker Punch

1 Oscar – Beastly, Bridesmaids, The Cave of Forgotten Deams, Dam999, Higher Ground, Hugo Incendies, Melancholia, Puss in Boots, Rise of the Planet of the Apes, Super, Young Adult

So, will the Academy agree with my picks?  Well, probably not.  Indeed, it’s probable that they won’t agree at all.  And to that, I say, “Oh well.” 

The Academy Award nominations will be announced Tuesday morning.

The Most Underappreciated Film Of The Year: Joe Wright’s Hanna


Sometimes, it seems like it’s easier for me to write about the films I dislike as opposed to the films that I truly love.  Case in point: I had little trouble writing up my thoughts on Anonymous and Straw Dogs but it’s taken me 8 months to write a formal review of my favorite film of 2011: Joe Wright’s pulp fairy tale, Hanna.

Taking place in a world much like our own but definitely not the same, Hanna opens in the frozen wilderness of Finland where 16 year-old Hanna (Saoirse Ronan) lives in an isolated cabin with her father, Erik (Eric Bana).  In the film’s electrifying opening montage, we see that Hanna’s life revolves around training for combat, memorizing the encyclopedia, and memorizing several “false” back stories that have been prepared for her by her father.  It also quickly becomes apparent that Erik has never allowed his daughter to be exposed to the real world.  Finally, Erik tells Hanna that she is “now ready” to choose whether or not to open up a box containing an old transmitter that well alert the rest of the world of their existence.  When Hanna finally opens the box, Erik promptly disappears and Hanna is left to fend for herself.

It quickly becomes apparent why Erik has spent years training his daughter because, by opening the box, Hanna has given away her presence to a coolly corrupt and ruthless CIA agent named Marissa (Played by Cate Blanchett and one of the most compelling villains in recent film history).  Marissa has her own reasons for wanting both Erik and Hanna and she quickly sends a team to Erik’s cabin.  Hanna is captured and transported to a memorably sterile CIA safehouse.  In a shocking sudden burst of violence, Hanna escapes from the safehouse and finds herself having to survive in the “real world” while being pursued by Marissa. 

Hanna, Marissa, and Erik eventually meet their fates in a desolate theme park that (in a neat bit of symbolism) is dedicated to the Brothers Grimm.  Along the way, Hanna meets and travels with a likable family of English tourists, allowing her to have her first chance to actually experience a “normal” life and Marissa recruits Issacs, one of the creepiest film henchmen ever.  Seriously. Isaacs is played by Tom Hollander and he was just so exquisitely sleazy that my skin crawled just watching him on-screen. 

In many ways, Hanna may sound like a simple action film but, in the best tradition of the French new wave and the better grindhouse filmmakers, Joe Wright both embraces the conventions of the action film while unexpectedly subverting them and using them to tell a more universal story about the struggle to both establish and maintain identity in an increasingly soulless world.  Much as Godard did before he gave up his artistic soul to political ideology, Joe Wright uses his cinematic talents to create a unique world that, while heavily stylized, also comments on our own existence.  The Chemical Brothers, meanwhile, provide the perfect soundtrack to Wright’s pulp vision.

Hanna may be my favorite film of 2011 but it’s also the most underappreciated of the year, at least as far as Oscar season is concerned.  There’s been so mention of the film’s score and a few critics’ groups have tossed a “young artist” mention or two at Saoirse Ronan but otherwise, the film has pretty much been ignored.  I think part of the problem is that Hanna was released in April and not December.  If the films had been released in December, I think Ronan would, at the very least, be a dark horse for best actress. 

The main complaint that most critics seem to come up with when discussing Hanna is that the film is too much of a genre piece.  Yes, it’s well-made and it’s well-acted and yes, it’s a compelling film with an intelligent script but, in the end, it’s just a genre piece.  A fairly typical response comes from the Guardian’s Peter Bradshaw who, after praising all of the film’s virtues, concluded with, “…(I)t ultimately squanders all of them, undone by a lack of subtlety and restraint.” 

To this, I can only respond, “Oh?  Really?”  Seriously.  Amazingly enough, some of the critics who criticized Hanna for a perceived lack of subtlety are the same critics who are now falling over themselves to praise the rehash of The Girl With The Dragon Tattoo.  I suppose the difference here is that The Girl With The Dragon Tattoo was directed by David Fincher and is the product of the American film establishment whereas Hanna was directed by Joe Wright and was produced by outsiders.

Those who claim that Hanna is too genre are missing the simple fact that Hanna is an insightful film that uses the conventions of the action genre as a metaphor for the sometime painful search for identity that every teenager (and especially every teenage girl) has ever had to go through.  Myself, I never had to flee from government agents or battle assassins when I was 16 but I did have to start discovering how to survive in the real world, away from the security and comfort of home.  As opposed to the pretend feminism of Fincher’s film, Hanna is a film that truly celebrates “girl power” and promotes independence and empowerment.  It’s also, as far as I’m concerned, the best film of 2011.

Songs of the Day: The Devil Is In The Details/Beats from Hanna (by The Chemical Brothers)


To cap off the day I decided to take a lead from my favorite spring and summer past-time (baseball) and give everyone a double-header. The latest song of the day is actually two of them. While they’re really a single melody they’re done in two diverging ways that fit in with Joe Wright’s modern fairy tale action film, Hanna.

Once again these songs are from The Chemical Brothers who everyone by now have heard composed the score for Hanna. They did such a magnificent job scoring this film that I wouldn’t be surprised if they’re asked to do more of it in the future. I will admit that I actually like they’re work on Hanna than what Daft Punk did for Tron: Legacy. The songs I picked are called “The Devil Is In The Details” and “The Devil Is In The Beats” respectively.

The first song is a charming little melody that sounds like it’s being played on a calliope. It really underscores the fairy tale aspect of the film and Hanna’s own Grimm’s fairy tale like journey from the frozen wilderness of Finland to the rundown carnival (looking like something out of Bizarro World Grimm’s fairy tale) to end the film. This melody also becomes a sort of leitmotif for whenever Hanna became endangered from the assassins hired by her nemesis, Marissa Veigler, to chase her down. The leader of this group will begin to whistle this tune when they’ve caught onto Hanna’s trail.

The second song is a more aggressive version of this fairy tale melody done in the only way The Chemical Brothers know how. “The Devil Is In The Beats” is twists, distorts, remixes and adds a funky bassline to the original “The Devil Is In The Details” but without losing the original calliope tone. This version I liken to a fairy tale story seen through the eyes of someone tripping out on acid or LSD.

Both songs fit in well in the scenes they complement and just shows how well both filmmaker Joe Wright and The Chemical Brothers were on the same wavelength when it came to telling the story of Hanna.

Song of the Day: Container Park from Hanna (The Chemical Brothers)


Tonight I saw what would probably end up as one of the top films of 2011. I am talking about Joe Wright’s modern fairy tale, Hanna, and starring one of the industry’s finest young actress in Saoirse Ronan in the title role. The latest “song of the day” comes directly from this film which was fully scored by British electronica duo, The Chemical Brothers.

“Container Park” arrives close to the end of the second act of the film and perfectly accompanies one of the film’s best action sequences. The Chemical Brother’s give this song a very heavy and deep bassline which set’s the rhythm for the whole sequence. They begin the song very subtly with just a hint of dissonance creeping into the dark fairy tale-like melody. I just loved how they were able to combine not just the fairy tale aspect of the film, but also add in that sense of danger with subtle use of distortion and dissonance to unbalance the original melody.

This song went perfectly well with the action sequence it complemented and it was halfway through the song that I realized (like all of the music in this film) that the bassline was setting up the rhythm of the action itself. I saw this clip at WonderCon 2011 and the song was the same and as I look back to that clip to seeing the clip as part of the whole film I was impressed how The Chemical Brothers’ score for this film was very instrumental in setting up each scene and not just becoming background music.

“Container Park” is just one of several great songs from the Hanna soundtrack by The Chemical Brothers. First there’s the wonderful, cover-filled soundtrack for Sucker Punch and now this full-on electronica score for Hanna. It’s been a very good year, so far, for soundtracks and I do believe we’ve got more excellent examples coming down the pipeline.

Above is the original song used in the film while below is a remix done by the duo and found on the film’s website. The latter has been extended, but I really don’t see too much of a difference between the two other than their running times.

Hanna (Trailer)


Every year there’s always a film which seems to get little to no buzz leading up to it’s release date. One such film which seems to be sneaking up on the filmgoing public is a little action thriller called Hanna from British filmmaker Joe Wright (Pride and Prejudice, Atonement) about a young girl (Saoirse Ronan) being trained by her father (Eric Bana) into some sort of assassin in the frozen wilderness of Finland. The film also stars Cate Blanchett in a role that some of her fans may not be used to. A morally ambiguous role which may or may not make her into the villain of the film.

Outside of the people who cover the film industry year in and year out this film has bypassed the radar of most film fans and are only starting to hear about it. From some of the advance reports being mentioned about Hanna, filmgoers may have something to look forward to when it finally comes out in a little over a week. Hanna has been getting some positive talk of being one of the best, if not the best, film of the year to date. Those are some pretty bold statements, but even if the film only manages to live up to half of the talk about it the last week or so then it’s going to be a film that will entertain and one that may just get strong word of mouth to get more people to watch it.

One thing which may interest some people about this film is who will be in charge of scoring it. The film’s score will be handled by the electronica duo The Chemical Brothers.

Hanna is set for an April 8, 2011 release date.