Here They Are! Lisa’s Final 2014 Oscar Predictions!


Hey!  It's the picture from Boyhood that we've used a few dozen times over the past two months!

Hey! It’s that picture from Boyhood that we’ve used a few dozen times since November!

Well, it’s been a long and tortured road since I first started this monthly series of Oscar predictions way back in March.  Some contenders have faded.  Some have come out of nowhere.  And some — like Boyhood and J.K. Simmons in Whiplash — have remained consistently strong for the entire year.

Here are my final 2014 Oscar predictions.  The actual Oscar predictions will be announced on Thursday.

(You can check out my predictions of March, April, May, June, July, AugustOctober, November, and December by clicking on the links in this sentence!)

Best Picture

American Sniper

Birdman

Boyhood

The Grand Budapest Hotel

The Imitation Game

Nightcrawler

Selma

The Theory of Everything

Whiplash

Best Actor

Bradley Cooper in American Sniper

Benedict Cumberbatch in The Imitation Game

Jake Gyllenhaal in Nightcrawler

Michael Keaton in Birdman

Eddie Redmayne in The Theory of Everything

(Where’s David Oyelowo?  Originally, I did list him but I don’t know.  With the guild awards, it seems like Selma is losing momentum and American Sniper is gaining it.  I know that a lot of watchers are saying this is due to the Selma screeners being sent out late and that could well be true.  Hopefully, I’ll get to see both Selma and American Sniper this weekend but, until then, I can’t offer an opinion on whether either one deserves to be nominated.  But it’s hard not to feel as if Selma is not shaping up to be quite the Oscar powerhouse that a lot of us were expecting it to be.  We’ll see.)

Best Actress

Jennifer Aniston in Cake

Felicity Jones in The Theory of Everything

Julianne Moore in Still Alice

Rosamund Pike in Gone Girl

Reese Witherspoon in Wild

Best Supporting Actor

Robert Duvall in The Judge

Ethan Hawke in Boyhood

Edward Norton in Birdman

Mark Ruffalo in Foxcatcher

J.K. Simmons in Whiplash

(I still have a hard time believe that Robert Duvall is going to be nominated for The Judge because Duvall was good but not great and the movie kind of sucked.  But, honestly, who else are they going to nominate?  Josh Brolin deserves the spot for Inherent Vice but the film is probably a little bit too odd for a lot of voters.  Maybe if Unbroken‘s Miyavi or Gone Girl‘s Tyler Perry had a little more screen time, they could make a case.  But ultimately, that fifth spot does seem to be Duvall’s.)

Best Supporting Actress

Patrica Arquette in Boyhood

Jessica Chastain in A Most Violent Year

Keira Knightley in The Imitation Game

Emma Stone in Birdman

Naomi Watts in St. Vincent

(I’m going to go out on a limb and predict Watts over Meryl Streep.  Why not?  There always seems to be at least one surprise acting nominee.)

Best Director

Wes Anderson for The Grand Budapest Hotel

Clint Eastwood for American Sniper

Alejandro G. Inarritu for Birdman

Richard Linklater for Boyhood

Morten Tyldum for The Imitation Game

So there they are!  My final “for real” predictions.  Tomorrow, I’ll be posting my annual “If Lisa Had All The Power” post, which will be my personal nominations, the films and performances that I would nominate if I had all the power.  And then, on Thursday, the Oscar nominations will be announced!

Need to kill some time?  Look through all the posts since November and count up how many times this picture has appeared on the site!

Need to kill some time? Look through all the posts since November and count up how many times this picture has appeared on the site!

Here Are The SAG Nominations!


Earlier today, the Screen Actors Guild nominations were announced and I love them!  Not because I agree with all of them but because they’re a nice mix of the expected and the surprising.  Every category had at least one surprise and really, it’s the surprises that make Oscar Season so much fun.

For what they are worth, here are a few observations from yours truly:

When it comes to predicting the actual Oscar nominations, the SAG are usually an excellent precursor.  It makes sense — the Actors Branch is the biggest of the Academy’s voting branches and many of the same people who determined the SAG nominees will also be casting ballots for the Academy Awards.

At first, I was really shocked to see that Selma was totally snubbed.  However, I then read over at Gold Derby that apparently, because of production delays, a screener of Selma was not available for the SAG voters.  So, a lot of the voters made their nominations without having seen Selma.

Foxcatcher did not receive an ensemble nomination but it did receive nominations for Steve Carell and Mark Ruffalo.  That’s especially good news for Carell, who has yet to be much of a factor in the precursor voting.

Speaking of which, everyone keeps taking about how Foxcatcher hasn’t been a major player in the precursors. What about Unbroken?  For a so-called Oscar front runner, Unbroken certainly hasn’t received much from the critics groups.

(I should note that I have yet to see either Foxcatcher or Unbroken so I don’t have an opinion on whether either one of them deserves awards.)

Among the big snubs: Amy Adams for Big Eyes, Jessica Chastain for A Most Violent Year or Interstellar, Marion Cotillard for Two Days, One Night, and Oscar Isaac for A Most Violent Year.

My favorite nomination was Jake Gyllenhaal for Nightcrawler.  I haven’t seen Cake but I was happy to see Jennifer Aniston nominated because it was unexpected.  Robert Duvall’s great but wow, was the Judge ever a disappointing movie.

I was shocked to see Naomi Watts nominated for St. Vincent but it actually makes sense.  Her role in St. Vincent really was awards bait.  And who doesn’t love Naomi Watts?  (That said, I thought her performance was a bit cartoonish.)

Both the Grand Budapest Hotel and especially The Theory of Everything are looking more and more like probable best picture nominees.

And here are the nominees:

The-Grand-Budapest-Hotel-580

Best Ensemble:

Birdman

Boyhood

The Grand Budapest Hotel

The Imitation Game

The Theory of Everything

Jake Gyllenhaal in Nightcrawler

Best Actor

Steve Carell in Foxcatcher

Benedict Cumberbatch in The Imitation Game

Jake Gyllenhaal in Nightcrawler

Michael Keaton in Birdman

Eddie Redmayne in The Theory of Everything

Jennifer Aniston in Cake

Best Actress

Jennifer Aniston in Cake

Felicity Jones in The Theory of Everything

Julianne Moore in Still Alice

Rosamund Pike in Gone Girl

Reese Witherspoon in Wild

Robert Duvall

Best Supporting Actor

Robert Duvall in The Judge

Ethan Hawke in Boyhood

Edward Norton in Birdman

Mark Ruffalo in Foxcatcher

J.K. Simmons in Whiplash

Naomi Watts

Best Supporting Actress

Patricia Arquette in Boyhood

Keira Knightley in The Imitation Game

Emma Stone in Birdman

Meryl Streep in Into The Woods

Naomi Watts in St. Vincent

Xmen

Outstanding Stunt Ensemble

Fury

Get On Up

The Hobbit: The Battle of the Five Armies

Unbroken

X-Men: Days of Future Past

Quick Review: Birdman (dir. by Alejandro González Iñárritu)


birdman-clickTo help you understand how little I knew going into this film, there was a time where I seriously thought Birdman or (The Unexpected Virtue of Ignorance) was a film adaptation of the old Hanna Barbarra cartoon character. I later found out it wasn’t (to my disappointment), but that it was a Michael Keaton movie helped to keep my interest. If Harvey Birdman is what you’re expecting, stop right there. You’re looking for the wrong film.

Here’s the short of it:

If you enjoy the Theatre, Birdman may be right up your alley. With a focus on a play, it takes the view through the nuances of getting the play into action. There are terrific, funny performances throughout (particularly from Keaton and Edward Norton) and it just flows so incredibly well. Birdman explores what it means to be into your craft (in this case, acting), the nature of what Fame actually is these days, and how much a person is willing to get/keep it. You could basically watch this back to back with Black Swan.

From a script by Iñárritu, along with 3 others, Birdman is the tale of a once famous actor dancing a fine line between total irrelevance and greatness. Hoping to reclaim that fame, he attempts to produce, direct and star in a Broadway play, but not everything is going to plan.

Forget any promos and just see it. I skipped a lot of the advertising for this and after watching the movie last night, I saw a commercial for the film that already feels like it gives too much of the film away. If you’ve followed them all, you’ve seen most of Birdman. Had I not already watched Richard Linkater’s “Boyhood”, I might consider Birdman one of the best films I’ve seen this year, especially in terms of the way it was made.

The Long Haul:

Let’s start with the Cinematography, but this will the element that stands out more than anything with this film. Emmanuel Lubezki (Gravity, Children of Men) is at the top of his game here with the use of a seemingly single tracking shot that lasts almost the entire movie. The camera moves from scene with such fluidity that I wonder if it’s entirely CGI. Most of those shots have to be.

Remember that part in Goodfellas where the camera stayed with Karen and Henry Hill on their first date, moving with them through the back of a restaurant all the way to when they took their seats? Or more recently, True Detective’s fantastic shot of an escape/arrest that had McConaghey moving behind houses and over fences? Or the opening “unpacking” tour of the haunted house in The Conjuring? Those are tracking shots. It’s one long take from Point A to Z, instead of cuts at B, C, and so on. If anyone makes a mistake during filming, the crew has to move back to the start of the take and try again if they want the entire shot to be seamless. I have no idea how it was pulled off in Birdman, but it’s beautiful to behold. If the movie gets nothing else come Awards season, Cinematography should be theirs, right now. One could argue it moves like a found footage film sans the shakiness, but you’d have a hard time selling me on that one.

My only nitpick about Birdman, the only problem I had with it was the representation of Critics. Not that what’s said about them is entirely incorrect, but I kind of hunkered down in my seat at some of the commentary. While I wouldn’t consider myself a Critic, I do share my opinions on films. That doesn’t necessarily mean we’re all out to gut the next release on Friday.

It seems almost too appropriate that Michael Keaton – once a Dark Knight himself – has this role. He’s had his ups (Batman, Beetlejuice, and my personal favorite, Johnny Dangerously), his downs (That horrid Robocop remake, blech) and his in-betweens with Need for Speed earlier this year. He carries the character with a depth that rivals Joaquin Phoenix’s performance in The Master. It’s strange, but it works.

At one time, Riggin Thompson (Keaton) was famous in Hollywood as the superhero Birdman, but after passing on a second sequel (much like Keaton leaving Batman behind and passing the baton to Kilmer and Schumacher), he hasn’t found much fame since then. The story starts with Riggin hoping to reclaim his former glories with a revival of “The Things We Talk About When We Talk About Love” on Broadway. When one of his theatre cast members are injured on set, they recruit a popular actor (played with a slightly over the top Edward Norton) that may prove too much to handle. Add to this Riggin’s shaky relationship with his daughter Sam (Emma Stone), an off again / on again love interest (Oblivion’s Andrea Riseborough) a lawyer trying to keep him afloat (Zack Galifinakis), and a voice in his head reminding him of the problems he faces…well, he’s just a mess. Then again, everyone here is a mess in their own way and maybe because of it, they all kind this good sense of chemistry.

The film is backed by a percussion score from Antonio Sanchez, which doesn’t get in the way at all. I’m not sure I’d call it a soundtrack, though. The music sounds great outside of the scope of the film, but you probably won’t recall the music afterward in the way you would for a soundtrack with a full on orchestra.

Birdman is the first film I’ve watched by Alejandro González Iñárritu. I remember that he was nominated for an Oscar with either Babel or 21 Grams. I feel like I’ve missed out on something grand because Birdman is good. Not that “good” you say when when someone puts a broken bone back into place (“Yeah, I’m good.”, he cried), but that “good” that comes from your first taste of creamy Tiramisu. (“Omigod, that is goood!”, he purred). It’s definitely one I can consider catching one more time before it ends it’s run in the cinema.

 

Film Review: St. Vincent (dir by Theodore Melfi)


St_Vincent_poster

It’s the craziest thing.

Every year, we get another Black List.  Despite the name, the Black List is not the annual list of actors and directors who need to be run out of America because of their political beliefs.  Instead, the Black List is a survey of the “most liked” unproduced scripts that are currently floating around Hollywood.

Now, of course, to a large extent, the Black List is basically just another marketing gimmick.  A lot of the scripts that have appeared on the Black List were already in development at the time that they appeared and, undoubtedly, there are clever studio execs who think to themselves, “Juno might be a difficult sell so let’s make sure it gets on the Black List!”

However, every year, there are a few films that are put into production directly as a result of the script appearing on the Black List.  What’s interesting is just how many of these films turn out to be, if not quite terrible, at least rather forgettable.  Transcendence, for instance, was on the Black List.  Cedar Rapids was on the Black List.  Broken City was on the freaking  Black List. Consider this: The Beaver would never have been made except for the fact that it was on The Black List!

What’s particularly interesting is that the script was often the worst thing about these films.  These were films with overly complicated scripts that often tried too hard to be both crowd pleasing and quirky.  If nothing else, the Black List proves that being the “most liked” doesn’t mean that a script is good, interesting, or intelligent.  It just means that it covered all the bases.

Case in point: the new film St. Vincent.  St. Vincent sat on top of the Black List and was apparently so “well-liked” that screenwriter Theodore Melfi not only saw his script produced but he also got to direct it.  And wouldn’t you know it — the two biggest failings of St. Vincent are the script and the direction.

It’s easy to point out why the direction is bad so I’ll start there.  St. Vincent essentially looks like the pilot for one of those sitcoms that would be described as being edgy just because it was about a cranky old man.  There is no visual flair to the film.  The images just sit there flat on the screen.

As for the script, it would be likable if it didn’t try so hard.  St. Vincent is about a guy named Vincent, a war hero who is now a cantankerous old alcoholic and a pathological gambler.  His best friend is a pregnant Russian stripper.  He owes money to a violent bookie.  Every weekend, he visits his wife in a nursing home and he pretends to be a doctor.  His wife no longer recognizes him.  When the recently divorced Maggie and her awkward son Oliver move in next door, Vincent agrees to babysit after school.  At first, Vincent just does it for the money but, as the movie progresses, he teaches Oliver how to stand up for himself and Oliver makes Vincent a little less grumpy.  Eventually, Oliver has to do a report for a school about someone in his life that he considers to be a real-life saint and guess who he picks?

St. Vincent tells the type of story that would usually bring me to tears and I’ll admit that there were a few times when I did get teary-eyed.  But, ultimately, the script was too heavy-handed for me to maintain those tears.  I love crying at movies but, at the same time, I resent it when a movie demands that I cry just because it happens to be mashing down on all of the right buttons.  This is one of those movies that doesn’t trust the audience.  Instead of letting us react to the characters, it just keeps piling on development after development.  It’s not enough that Maggie is a single mother who feels guilty about not being able to pick her son up from school.  Instead, Maggie’s ex-husband has to suddenly sue for custody.  It’s not enough that Vincent is struggling to pay the bills.  Instead, he has to have a bookie who shows up at random and threatens to kill him.  There’s more to an effective dramedy than just having half of your cast act as if they’re in a sitcom while the other half acts as if they’re appearing in an old episode of Law & Order.

And yet, despite the script and despite Melfi’s direction, St. Vincent does work and it really works only for one reason.  Melfi has managed to assemble a truly outstanding cast.  In the role Maggie, Melissa McCarthy proves that she deserves better than having to spend her career making movies like Identity Thief.  Jaeden Lieberhrer is likable and sympathetic as Oliver.  Playing the pregnant Russian stripper, Naomi Watts does the best that anyone probably could do with that poorly written character.

But, ultimately, the film is totally about Bill Murray.  Bill Murray plays Vincent and he saves the entire film.  Whether he’s being funny or being serious, Bill Murray gives the type of great performance that justifies his reputation for being a national treasure.  When those tears did come to my eyes, it was all due to Murray’s performance.

St. Vincent is a deeply flawed film but it’s worth seeing for Bill Murray.

The Official Teaser For Birdman Is Here!


Birdman

Birdman is one of those films that people like me have been predicting will be an Oscar contender, despite the fact that we know next to nothing about the film.  What we do know is that it’s been described as a dark comedy.  We know that it features Michael Keaton as an actor who is best known for playing a super hero.  We know that it has an excellent and quirky supporting cast that is made up of wonderful performers like Edward Norton, Amy Ryan, Naomi Watts, and Emma Stone.  Perhaps most importantly, we know that it was directed by Alejandro González Iñárritu, a brilliant director who one usually does not associate with comedy.

The first teaser for Birdman was released today and having seen it, I’m even more excited to see the actual movie.  I say this despite the fact that the trailer doesn’t reveal anything new about the film.  However, the trailer makes good use of Crazy and I now really want to know what that marching band is doing on the stage.

Watch it below!

Is It Too Late To Hate On Movie 43?


Originally,  I wasn’t planning on ever seeing Movie 43.

Remember Movie 43?  That’s the comedy with the huge ensemble cast that came out in January and stayed in theaters for about a week.  The trailers looked terrible, the commercials looked terrible, and finally, the reviews were terrible.  In fact, the reviews were so terrible (Richard Roeper called it the Citizen Kane of bad movies) that, at first, I was perfectly content never to see it.

However, as time passed, I continually heard Movie 43 referred to as being one of the worst films ever made.  Every 12 months, I post my picks for the 26 worst films of the year and I knew that Movie 43 was one of those films that would either appear on that list or, if it didn’t, I would have to be willing to defend the title’s absence.

I realized that before I could either defend or condemn, I would have to sit through the movie.  After all, I figured, it’s only 90 minutes of my life.

90 minutes that I’ll never get back, I might add.

Movie 43 is an anthology film in which 13 separate comedic sketches are loosely linked together by one overarching story.  For the most part, this is a film that was presumably made both for adolescent boys and for men who still think like adolescent boys.  Most of the humor is derived from bodily functions and there’s a real strain of misogyny running through the entire film.  However, the film’s problem is not that it’s crude and misogynistic but that it manages to be so dull about being crude and misogynistic.  If you think its hilarious when Meg is insulted on Family Guy or when Seth McFarlane smirks after making an anti-Semitic comment, you might enjoy Movie 43 but the rest of us are going to find far less to enjoy.

Oddly enough, there are actually two different versions of Movie 43 in circulation.  In the version that was released in U.S. theaters, the various vignettes are tied together by a story in which an insane director (Dennis Quaid) pitches scene after scene to a callous movie executive (Greg Kinnear).  In the version that was released in the UK, they’re linked together by a story about 3 teenagers searching for the most offensive film ever made.  To be honest, both versions are pretty stupid but I prefer the one about the 3 teenagers, if just because that way I can pretend that neither Dennis Quaid nor Greg Kinnear had anything to do with this movie.

As for the sketches themselves, there’s 13 of them and they are a mixed bag as far as both humor and quality are concerned:

1)      The Catch (dir by Peter Farrelly)

Kate Winslet and Hugh Jackman go on a blind date.  Jackman has testicles hanging from his neck and only Winslet thinks this is an odd thing.  This skit goes on forever.

2)      Homeschooled (dir by Will Graham)

Liev Schreiber and Naomi Watts explain how they’re making sure that their teenage son is getting the full high school experience despite the fact that he’s being homeschooled.  They do this through a combination of hazing and incest.  This skit worked pretty well, mostly because of the dedication that Schreiber and Watts brought to their absurd roles.

3)      The Proposition (dir by Steve Carr)

Uhmm…yeah.  So, this is the skit that opens with Anna Faris asking Chris Pratt to defecate on her.  I skipped over it because, quite frankly, life is too short.

4)      Veronica (dir by Griffin Dunne)

Neil (Kieran Culkin) is working the night shift at a depressing grocery store when his ex-girlfriend Veronica (Emma Stone) comes in.  They argue about who infected who with an STD.  Little do they realize that Neil has accidentally turned on the intercom and everyone in the store can hear them.  I actually kind of liked this short skit.  Culkin and Stone had a lot of chemistry and it was well-directed by Griffin Dunne.  Plus, it only lasted 2 minutes and, therefore, ended before the joke got old.

5)      iBabe (dir by Stephen Brill)

The iBabe is an MP3 player that happens to look like a life-size nude woman.  Unfortunately, a fan was built into the iBabe’s vagina and now, teenage boys are being dismembered while fingering and fucking iBabe.  Richard Gere plays the President of the company that makes iBabe.  I’ve never thought of Richard Gere as being a comedic actor and his performance here does nothing to change that.

6)      Superhero Speed Dating (directed by James Duffy)

Robin (Justin Long) goes speed dating and Batman (Jason Sudekis) tries to mess things up for him.  This skit – which also features (and wastes) Uma Thurman, Kristen Bell, and Bobby Cannavale – is so incredibly bad that I don’t even know where to begin.  Between this film and his appearance in last year’s The Conspirator, I’m having to rethink my slight crush on Justin Long.

7)      Machine Kids (directed by Jonathan Von Tulleken)

This commercial parody asks us to consider the children who work inside copiers and vending machines and how they are effected when we criticize those machines for not accepting our dollar.  This was actually so weird that I couldn’t help but love it.

8)      Middleschool Date (dir by Elizabeth Banks)

7th grader Amanda (Chloe Moretz) is having her first “middle school” date with Nathan (Jimmy Bennett) when she starts her first period.  In response, Nathan and his older brother (Christopher Mintz-Plasse) panic.  Believe it or not, this was actually one of the better parts of Movie 43, if just because the scene’s humor comes not from Amanda getting her period but instead from how every male around her descends into histrionics as a result.   It helps that this was the only part of Movie 43 that was both written and directed by women.  It also helps that director Elizabeth Banks is so clearly on Amanda’s side.  The end result is one of the few moments in Movie 43 that doesn’t feel misogynistic. 

9)      Tampax (dir by Patrik Forsberg)

This is another fake commercial.  Two girls are at the beach.  One uses tampax tampons and the other doesn’t.  Guess which one gets eaten by a shark?  As opposed to the previous skit, this bit of menstrual humor was obviously written and directed by a man (and the message, not surprisingly, is “Ewww!  Girls are scary and dangerous!”) but I’m going to have to admit that this one made me laugh if just because, like Middleschool Date, it reminded me of some of the period horror stories that I used to hear (and believe) back when I was younger.  (Though I was raised to be more concerned about bears than sharks…)

10)  Happy Birthday (dir by that noted comedian, Brett Ratner)

Pete (Johnny Knoxville) kidnaps an angry leprechaun (Gerard Butler) and gives it to Brian (Seann William Scott).  The leprechaun’s equally angry brother (also played by Gerard Butler) shows up and violence ensues.  Watching this skit was like being told a joke by someone who has no sense of humor.

11)  Truth or Dare (dir by Peter Farelly and Patrik Forsberg)

Halle Berry and Stephen Merchant are on a first date and Merchant has testicles on his neck…oh wait.  Sorry, that was Hugh Jackman and Kate Winslet’s skit.  In this skit, Berry challenges Merchant to game of truth or dare.  It escalates as the dares get continually more and more outrageous.  Whoops?  Did I say outrageous?  I meant to say stupid and oddly dull.  Watching this skit was like listening to a someone who has no sense of humor continue to tell a joke even though everyone else has already guessed the punchline.

12)  Victory’s Glory (dir by Rusty Cundieff)

In this parody of “inspirational” sports movies, Coach Jackson (Terrence Howard) speaks to his basketball team before they play their first game against an all-white team.  The gist of the speech is that Jackson’s team is going to win because they’re black and the other team is white.  This skit started out strong but, like a lot of Movie 43, it ran on for a bit too long.

13)  Beezel (dir by James Gunn)

This was actually my favorite part of Movie 43.  Unfortunately, since Beezel shows up in the middle of the end credits, I get the feeling that a lot of disappointed audience members had probably already walked out of the theater before it even began.  Beezel is a cartoon cat who has an unhealthy obsession with his owner (Josh Duhamel).  When Duhamel’s girlfriend (played by Elizabeth Banks) catches Beezel masturbating to pictures of Duhamel in a swimsuit, Beezel responds by plotting her demise.  Beezel was actually the only part of Movie 43 that truly felt edgy and unpredictable.  This is largely because this segment was directed by James Gunn, one of the few truly transgressive artists currently working in mainstream film.

So, here’s the question: is Movie 43 the worst film of 2013 as so many critics have claimed?  A few isolated moments aside, Movie 43 is pretty bad.  Even the parts of the film that do work can’t hope to compete with the pure horrifying incompetence of that parts that don’t.  However, thanks largely to James Gunn and Elizabeth Banks, it’s still a smidgen or so better than Tyler Perry’s Temptation.  (For all of its failings, Movie 43 never suggests that AIDS is God’s way of punishing wives who stray.  Nope, for that message, you have to go to Tyler Perry.)

Movie 43 is not the worst film of 2013.

It just seems like it.

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”

Lisa Marie Does J. Edgar (dir. by Clint Eastwood)


On Friday, as I was watching the new Oscar contender from Clint Eastwood, J. Edgar, something rather odd happened.

Without giving out in spoilers, here’s what was happening on screen: Leonardo DiCaprio (playing J. Edgar Hoover, the first director of the F.B.I.) had just offered a job to Clyde (played by Armie Hammer).  Clyde — who we’ve been told has “no interest in women” — accepts on the condition that he and Edgar have lunch and dinner together everyday.  As soon as Clyde gave his condition, I heard it.

“UGGGGGGH!”

“EWWWWWW!”

“DAMN, UGGGGGGGGGGGGGGGGH!”

It was coming from several rows behind us so I glanced over my shoulder and, brushing a strand of my naturally red hair out of my eyes, I saw the source of all this commentary.  Two men, sitting on the top row.  Judging from their bull necks and the globby roundness of their bodies, they were former athletes-turned-movie-critics.  They both wore baseball caps and there was an empty seat between them which, as I know from years of observing the odd social rituals of the male species, probably meant that they had come to the film together but they were too scared of accidentally touching arms to actually sit next to each other.  (Seriously, what’s up with that?)  Anyway, I held my perfectly manicured middle finger to my lips, gave them a nice, long “shhhhhhhhhh!,” and then turned back to the movie.

A bit later into the film, Leonardo DiCaprio and Armie Hammer had a violent wrestling match which ended up with DiCaprio kissing Hammer.

And oh my God, you would have thought that the world was ending.

“EWWWWWWWWWW!” it started.

“GAWD, MAN!  GAWD!” it continued.

“UGGGGGGGGGGGHHHHHHHHHHHHHHHHH!”

“THAT’S SICK, MAN, SICK!  UGGGGHHHHHHHHHH!”

And it just kept going.  “EWWWWWWWWW!  GAWD, DISGUSTING!  EWWWWW!”

All of this from the same two idiots.  I again looked over my shoulder at them, gave them my little “shhhhh!” command but I doubt they noticed because one of them was staring at the ceiling while punching the chair in front of him while the other was staring at the floor, shaking his head and going, “DAMN, MAN!  DAMN!” 

And, I do not kid, this went on for like the next 15 minutes.

(Incidentally, this is only point in the film in which DiCaprio is seen to actually kiss anyone.)

Here’s a few random thoughts inspired by these two “gentlemen:”

1) Did the two gentleman not know which film they had bought tickets for?

2) Did they not know that J. Edgar is a biopic about J. Edgar Hoover, a man who most historians seem to agree was probably gay?

3) Were the two men illiterate or had they just not bothered to read any of the literally hundreds of reviews of J. Edgar, the majority of which mentioned that J. Edgar Hoover is assumed by many to have been gay?

4) Were these two guys — both of whom appeared to be a lot older than me — unaware that J. Edgar Hoover was gay?  Because, seriously, I knew he was gay before seeing the film and I’m a part of the notoriously ignorant Wikipedia generation that knows nothing and is proud of it.

5) Did not the fact that J. Edgar has been advertised as being “the latest film from the writer of Milk,” not clue them into the possibility that this film might feature at least one gay character?

6) Finally — is this not 2011?  I mean, did these two guys just wake up one day in pre-Project Runway America, found themselves a time machine, and then decided to transport themselves to 2011 just so they could see a movie? 

Seriously, guys, some people are gay.  Deal with it.

As for the movie itself, it’s definitely an improvement over Eastwood’s last film, the absolutely awful Hereafter.  It’s a long movie but it doesn’t drag and, even though it’s a bit too self-conscious in its attempts to be a “great film,” it still has its entertaining moments.  DiCaprio, Hammer, Judi Dench, Jeffrey Donovan and Naomi Watts all give excellent performances and DiCaprio’s “old age” makeup is actually a bit more effective than you’d guess from the trailer. 

That said, J. Edgar shares one major flaw with Hereafter and it’s a big one.  Both films attempt to use several different stories to paint one big picture and, in both cases, all of the different stories simply fail to come together.  The sequences in which J. Edgar is a young man searching for the Lindbergh Baby and railing against gangsters are exciting and consistently interesting.  However, the scenes in which Hoover — now an old, paranoid man — struggles to write his memoirs and attempts to blackmail Martin Luther King, are heavy-handed, predictable, and ultimately rather cartoonish. 

The end result is a film that is always watchable and frequently fascinating but also one that is also fatally uneven and ultimately frustrating.  It’s nowhere close to being the best film of the year but it is one of the more interesting.

A Quickie With Lisa Marie: Dream House (dir. by Jim Sheridan)


As I try to put into words my reaction to the new film Dream House, one phrase comes to mind:

Bleh.

Dream House is about this guy played by Daniel Craig who we’re told, at the start of the film, is a writer.  He’s moved out to his “Dream House” out in the middle of one of those cinematic suburban communities.  He shares his dream house with his wife Libby (Rachel Weisz) and his two little girls.  However, things aren’t quite what they seem.  The girls keep seeing a shadowy figure watching them.  Teenagers keep performing Satanic rituals in the basement.  Craig’s neighbor looks just like Naomi Watts.  Oh no!  Has he been sucked into Mulholland Drive!?

No, not quite.  Instead, he’s just found himself trapped in a painfully slow movie that takes itself and it’s half-baked plot way too seriously.  This film is being advertised as if it’s a horror movie but there’s nothing scary about it and it’s almost as if the film itself is refusing to lower itself to providing us with any “cheap” thrills.  The film instead is a mystery but it’s one of those mysteries where we discover the solution not through any artfully placed clues but instead by random characters showing up and having flashbacks.

There’s a big twist about 80 minutes into this 99 minute film and, as a reviewer, I know that it would not be right for me to spoil that twist.  Fortunately, however, Morgan Creek Productions decided to include that twist in the film’s trailer so, if you want to know, here you go:

Again, it takes this film 80 minutes to reach the twist that the trailer reveals after 1 minutes and 17 seconds.  So, as a result, you spend the first 80 minutes going, “Okay, we know…”  Once the twist is revealed, there’s only 18 minutes to wrap up the film’s plot and this is done in the clumsiest way imaginable.

Now, one reason for this might be that the film’s producers reportedly clashed with director Jim Sheridan and eventually took the film away from him.  Sheridan, Craig, and Watts have all refused to do any promotion for the film and have publicly stated that they hate the version that has been released.  I don’t know.  My natural impulse has always been to side with the artists as opposed to the corporate people.  After all, we’ve all heard about what happened to Erich Von Stroheim’s original cut of Greed and about what Terry Gilliam went through with Brazil.  Still, it’s hard to look at the assembled footage and see any hint that this film could have been anything more than the film that’s currently playing at your local theater.

When I told Arleigh about my feelings towards Dream House, he asked me if I felt it was the “worst one of the year.”  I wouldn’t go quite that far.  Dream House is forgettable but it’s not as pompous as The Conspirator or as insulting as Straw Dogs.

No, Dream House is not the worst.

It’s just bleh.

Trailer: J. Edgar (dir. Clint Eastwood)


Every year since he retired from acting we seem to get one film from Clint Eastwood and this year it’s going to be one major prestige picture due this November. The film is J. Edgar and it’s a biopic detailing the life of the FBI’s founder and first director, J. Edgar Hoover.

This film will be the first time Leonardo DiCaprio and Eastwood will be working together. From the look of the cast assembled Eastwood has surrounded DiCaprio with some talented performers from Dame Judi Dench, Naomi Watts right up to Jeffrey Donovan, Geoff Pierson and Stephen Root.

The trailer shows just how much the film just screens “Awards Picture” from beginning to end. It’s not a suprise that J. Edgar has become one of the films this coming fall/winter to be a major frontrunner for the many film circles awards and, most likely, for the next Academy Awards. Here’s to hoping that this film will be a major bounce back for Eastwood after 2010’s very uneven and dull Hereafter.

J. Edgar is set for a limited release this November 9, 2011 before going worldwide a couple days later on November 11.