The Hollywood Reporter had their film critics announce their top 10 films of 2008 this morning. I always think it's a little arbitrary to do "top 10" lists in this métier, seeing as, in doing so, one attempts to compare extremely different films. Can you really compare MADAGASCAR 2 to REVOLUTIONARY ROAD? IRON MAN to DOUBT? I guess the real question is, "Who cares?" (And secondly, "Is MADAGASCAR 2 really in your top 10?" Answer: No.) But in the spirit of egotistically believing my opinion is useful to society, I'm here to do just what those critics did.
**As a note...I haven't seen FROST/NIXON. Or THE WRESTLER. Or MAN ON WIRE. Or a few others. So my list below is basically moot. But again, who cares? These are the top 10 movies of the year out of the films I've seen.
**As a final note, the list is a little "weighted," as it were, for Award-worthy-ness--which explains why, neither IRON MAN nor THE DARK KNIGHT, i.e. the only films that I rated cinq de cinq (that's five of five) earlier this year, appear as #1.
letop5'S TOP FIVE (PLUS FIVE MORE)
1. Slumdog Millionaire [letop5 review]
2. The Dark Knight [letop5 review]
3. Milk [letop5 review]
4. The Curious Case of Benjamin Button [letop5 review]
5. Iron Man [letop5 review: le first and le second]
6. Revolutionary Road [letop5 review]
7. Vicky Cristina Barcelona [letop5 review]
8. The Fall [letop5 review]
9. Kisses [letop5 review]
10. Doubt [letop5 review]
Do you have opinions?
* - * - * - * - *
AMENDMENT 03Jan09: I've never amended a post before. But having seen a few more films, I have to change my list a bit. Sorry to the movies that are about to fall off my prestigious roster, but it was inevitable with Clint Eastwood in the room.
letop5'S NEW TOP FIVE (PLUS FIVE MORE) - 03 Jan 2009
1. Slumdog Millionaire [letop5 review]
2. The Dark Knight [letop5 review]
3. Milk [letop5 review]
4. The Curious Case of Benjamin Button [letop5 review]
5. Iron Man [letop5 review: le first and le second]
6. Gran Torino [letop5 review]
7. Revolutionary Road [letop5 review]
8. Frost/Nixon [letop5 review]
9. Vicky Cristina Barcelona [letop5 review]
10. The Fall [letop5 review] (or Doubt, if we're talking awards-winner talk)
New year, new thoughts! Let's see what happens at the Globes.
lundi 29 décembre 2008
mercredi 24 décembre 2008
letop5 apologises to: Kathy Bates (and tip's the hat to Kathryn Hahn)
Revolutionary Recognition: Kathy Bates was also in TITANIC.
http://www.imdb.com/name/nm0000870/
My friend TiVo just expressed some displeasure (albeit not on my blog, because he probably doesn't read it) about everyone and their mom hailing TITANIC as the "reunion of Kate and Leo," when in fact it would be more technically accurate to call it "the reunion of Kate and Leo and Kathy Bates." Doesn't sound as sexy, but it's a smidge more accurate.
Kathy Bates is in a lot of movies, and she is a consistently strong actress. Yeah, Bates was in TITANIC. She was also in REVOLUTIONARY ROAD. But in my REV ROAD write-up, I didn't even mention her once.
I'm sorry, Kathy.
In fact, you know who else was great in REVOLUTIONARY ROAD? Kathryn Hahn. To me, Hahn was the most believable character--and actor--in the whole film. I really liked her portrayal as the Wheeler couple's neighbor and Kate Winslet's character's supposed best friend. She was fantastic, and I never said a word.
So tip of the hat to you, too, Kat. Loved you in ANCHORMAN.
Did you know that according to IMDB, Kathryn Hahn has never been nominated for anything? Sometimes show business ain't fair.
http://www.imdb.com/name/nm0000870/
My friend TiVo just expressed some displeasure (albeit not on my blog, because he probably doesn't read it) about everyone and their mom hailing TITANIC as the "reunion of Kate and Leo," when in fact it would be more technically accurate to call it "the reunion of Kate and Leo and Kathy Bates." Doesn't sound as sexy, but it's a smidge more accurate.
Kathy Bates is in a lot of movies, and she is a consistently strong actress. Yeah, Bates was in TITANIC. She was also in REVOLUTIONARY ROAD. But in my REV ROAD write-up, I didn't even mention her once.
I'm sorry, Kathy.
In fact, you know who else was great in REVOLUTIONARY ROAD? Kathryn Hahn. To me, Hahn was the most believable character--and actor--in the whole film. I really liked her portrayal as the Wheeler couple's neighbor and Kate Winslet's character's supposed best friend. She was fantastic, and I never said a word.
So tip of the hat to you, too, Kat. Loved you in ANCHORMAN.
Did you know that according to IMDB, Kathryn Hahn has never been nominated for anything? Sometimes show business ain't fair.
mardi 23 décembre 2008
I am my own Urban Dictionary IV
Word: pre-gamed
Definition 1: Adjective version of the colloquial noun or verb "pre-game" (drinking before a party), meaning "to pre-game so hard, you become useless to society and ridiculous as a human."
Definition 2: When your friends mix your drinks for you at a pre-game, and you inadvertently get horrendously hammered.
Examples of usage:
1. I didn't make it to your birthday party, because I got hella pre-gamed hella early. I'm embarrassed.
2. Coleman definitely pre-gamed my drink.
As with the verb "food," "pre-game" relies on tense and context for attendant parties to perceive its meaning.
Definition 1: Adjective version of the colloquial noun or verb "pre-game" (drinking before a party), meaning "to pre-game so hard, you become useless to society and ridiculous as a human."
Definition 2: When your friends mix your drinks for you at a pre-game, and you inadvertently get horrendously hammered.
Examples of usage:
1. I didn't make it to your birthday party, because I got hella pre-gamed hella early. I'm embarrassed.
2. Coleman definitely pre-gamed my drink.
As with the verb "food," "pre-game" relies on tense and context for attendant parties to perceive its meaning.
THE CURIOUS CASE OF BENJAMIN BUTTON
Excuse me while I gather my thoughts.
I haven't seen a film that played with time so consciously and effectively since MEMENTO. And the last wide-released film that addressed the differences and similarities between death and living this directly was probably...what, MEET JOE BLACK? The latter starred Brad Pitt. The former starred an Aussie. Brad Pitt and an Aussie (Cate Blanchett) co-star in THE CURIOUS CASE OF BENJAMIN BUTTON. Curious? It is indeed.
I'm convinced David Fincher's cinematic eloquence is unfettered--as long as he's working with Brad Pitt. Ordinarily, I might scoff at any director who would choose Brad Pitt as his muse--I mean, I like a pretty painting, too, but I wouldn't tell it to drive me to work every morning--but in this union, Fincher has found magic. His best films, SE7EN and FIGHT CLUB, both star Brad "Pretty as a Painting" Pitt, and they aren't the worse for it. So it is with THE CURIOUS CASE OF BENJAMIN BUTTON, an epic among epics that has taken decades to finally reach the screen. Well, I'm certain no better hands could have molded it. The writing is superb, the cinematography, make-up and special effects are really excellent, and though it runs a little long, it's a beautiful mystery to watch.
The central theme, obviously, is life. Life and its cohort, Death. As Benjamin Button ages backwards, from old man to child, he learns how to live in reverse, learning the hardest lessons first, and achieving a type of gravity and wisdom that most old people only pretend to have. His only real anchor in the present is his childhood (grandpa-hood?) love, Daisy, played by Blanchett. In the film's presentation of Life and Death--and History--the film is sad without being depressing; melodramatic without being weak; supernatural without being overly fantastic. BENJAMIN BUTTON is also extremely historical--set in Louisiana, it encompasses everything from World War II to Hurricane Katrina. It's balanced like a scale, with Art on one side and Story on the other, and neither is compromised for the other. It's like falling into a dream.
If you can't tell, I liked it.
But my emotional connection to seeing Brad Pitt age backwards to circa LEGENDS OF THE FALL (hubba hubba) won't stand in the way of critique. Like I said--at 2hr39, the film is TITANIC-ally long. I didn't get bored or feel the stress of it, but there were some scenes that could have been cut. Plus, a few characters probably didn't get the treatment they deserved, what with cameramen trying to keep all eyes on Brad Pitt a la TROY. All that did was make me see how little he did besides look good.
And there you have it: what's really curious about Benjamin Button is that the actor who played the title character, Brad Pitt, was nominated for a Golden Globe but his radiant costar, Cate Blanchett, got nothing. I hope the Oscars will see things differently. Brad is a pretty painting, but if it wasn't for David Fincher, he wouldn't have been a make-or-break casting decision for this film. Then again, I do honestly believe that David Fincher couldn't have done it without him. So maybe some kudos are in order.
plot: Man un-ages, falls in love.
thought: Boys II Men? Make that Man II Boy.
in five: 4/5
live the dream!: http://www.benjaminbutton.com/
I haven't seen a film that played with time so consciously and effectively since MEMENTO. And the last wide-released film that addressed the differences and similarities between death and living this directly was probably...what, MEET JOE BLACK? The latter starred Brad Pitt. The former starred an Aussie. Brad Pitt and an Aussie (Cate Blanchett) co-star in THE CURIOUS CASE OF BENJAMIN BUTTON. Curious? It is indeed.
I'm convinced David Fincher's cinematic eloquence is unfettered--as long as he's working with Brad Pitt. Ordinarily, I might scoff at any director who would choose Brad Pitt as his muse--I mean, I like a pretty painting, too, but I wouldn't tell it to drive me to work every morning--but in this union, Fincher has found magic. His best films, SE7EN and FIGHT CLUB, both star Brad "Pretty as a Painting" Pitt, and they aren't the worse for it. So it is with THE CURIOUS CASE OF BENJAMIN BUTTON, an epic among epics that has taken decades to finally reach the screen. Well, I'm certain no better hands could have molded it. The writing is superb, the cinematography, make-up and special effects are really excellent, and though it runs a little long, it's a beautiful mystery to watch.
The central theme, obviously, is life. Life and its cohort, Death. As Benjamin Button ages backwards, from old man to child, he learns how to live in reverse, learning the hardest lessons first, and achieving a type of gravity and wisdom that most old people only pretend to have. His only real anchor in the present is his childhood (grandpa-hood?) love, Daisy, played by Blanchett. In the film's presentation of Life and Death--and History--the film is sad without being depressing; melodramatic without being weak; supernatural without being overly fantastic. BENJAMIN BUTTON is also extremely historical--set in Louisiana, it encompasses everything from World War II to Hurricane Katrina. It's balanced like a scale, with Art on one side and Story on the other, and neither is compromised for the other. It's like falling into a dream.
If you can't tell, I liked it.
But my emotional connection to seeing Brad Pitt age backwards to circa LEGENDS OF THE FALL (hubba hubba) won't stand in the way of critique. Like I said--at 2hr39, the film is TITANIC-ally long. I didn't get bored or feel the stress of it, but there were some scenes that could have been cut. Plus, a few characters probably didn't get the treatment they deserved, what with cameramen trying to keep all eyes on Brad Pitt a la TROY. All that did was make me see how little he did besides look good.
And there you have it: what's really curious about Benjamin Button is that the actor who played the title character, Brad Pitt, was nominated for a Golden Globe but his radiant costar, Cate Blanchett, got nothing. I hope the Oscars will see things differently. Brad is a pretty painting, but if it wasn't for David Fincher, he wouldn't have been a make-or-break casting decision for this film. Then again, I do honestly believe that David Fincher couldn't have done it without him. So maybe some kudos are in order.
plot: Man un-ages, falls in love.
thought: Boys II Men? Make that Man II Boy.
in five: 4/5
live the dream!: http://www.benjaminbutton.com/
lundi 22 décembre 2008
REVOLUTIONARY ROAD
Kate Winslet. Kaaaaaate Winslet. You are who you are, and I have to say, I'm impressed. The fact that you can star in movie after movie feigning forceful intercourse with multiple men at the call of, "Action," and never hesitate...that's impressive. Clearly, you took a lesson from Halle Berry; you know where the money is. It's all in the "oh" face.
I hope you're not insulted, Kate--I don't mean to insult you. But your movies...I'm just starting to notice they're starting to be identical! They always feature you having sex and being wrapped in a plot of weird! LITTLE CHILDREN. THE READER. And now REVOLUTIONARY ROAD--with your husband watching. That's kinky. Yet oh so Hollywood.
Across the States grown up boys and girls have rejoiced to hear about REVOLUTIONARY ROAD, which stars both the beddable Ms. Winslet and her TITANIC co-star, Leonardo DiCaprio. Finally, Kate and Leo are together again; finally Jack and Rose can fly! Well, people, know this before you go see this: REVOLUTIONARY ROAD IS NOT TITANIC. Kate and Leo have grown up, and they act in Serious Movies now. No more melodramatic soap operas smothered in historical context. They're on the hunt for statues, not tween fan clubs. And for that, there's no better movie to showcase their determination than REVOLUTIONARY ROAD. Though I should say...it is, in fact, a melodramatic soap opera smothered in historical context.
REVOLUTIONARY ROAD is all about being smothered in historical context. It's about the pitfalls of mid-20th century, upper-middle class, middle American suburbia smothering the life out of every married couple it touched. It's a striking film that's a little hard to understand--do we pity the couple? do we hate Leo? do we hate Kate? do we hate Sam Mendes?--but its darkness is obscenely attractive. A few rare moments within this film unfold almost as from another movie, like a thriller or horror film. The music escalates, the camera does not waver...and I fear that someone wearing the Scream mask will pop out of a closet. It's deliciously dark. But it's also as melodramatic as a high school dance.
This movie is highlighted by manic-depressive highs and lows, here a laugh, there a sob. While I give kudos to the director for embedding the darkness, it took me about half the movie to fall in step with his actors. Leo--who looks lusciously virile all movie long, ladies--kept on using the same conversation-filling "hmm?" at the end of his phrases that personified him in BLOOD DIAMOND. I cringed, hearing him "hmm" after "hmm," slowly slip away from winning a Best Actor award. Beyond the relapse of parts past played, however, Leonardo Di-"do me"-oh was amazing when channeling his inner ferocity. I believed him. I believed every tear, scream and cautious smile--but those all came halfway into the movie and onward. So you'll have to hang in and wait for them.
Kate took just as long for me to believe, unfortunately. At the beginning, I felt she was playing her READER self without an accent--a little stark and disconnected from the present. It wasn't until caca hit the fan that she seemed to really come alive. But I usually don't want to watch an actor that only lights up the screen when the world goes dark--that's a one-sided performance. And for that...though I really like Kate Winslet, I don't know if I really felt she owned this part from start to finish.
But perhaps I'm only being harsh because it's Kate and Leo. Jack and Rose. "Put your hands on me," and "Never let go." Perhaps I need to give them a little bit of leeway, since REV ROAD is so different. It was not easy material; it is dark, twisty and complicated. It's hard to watch, and it must have been even harder to act out. "Take the road less traveled," a certain poet once said--even if that means having your husband film you fake an orgasm with your high school boyfriend. Come on, why not?
plot: Couple succumbs to midlife crisis.
thought: They grow up so fast!
in five: 3.5/5
take the road: http://www.revolutionaryroadmovie.com/
I hope you're not insulted, Kate--I don't mean to insult you. But your movies...I'm just starting to notice they're starting to be identical! They always feature you having sex and being wrapped in a plot of weird! LITTLE CHILDREN. THE READER. And now REVOLUTIONARY ROAD--with your husband watching. That's kinky. Yet oh so Hollywood.
Across the States grown up boys and girls have rejoiced to hear about REVOLUTIONARY ROAD, which stars both the beddable Ms. Winslet and her TITANIC co-star, Leonardo DiCaprio. Finally, Kate and Leo are together again; finally Jack and Rose can fly! Well, people, know this before you go see this: REVOLUTIONARY ROAD IS NOT TITANIC. Kate and Leo have grown up, and they act in Serious Movies now. No more melodramatic soap operas smothered in historical context. They're on the hunt for statues, not tween fan clubs. And for that, there's no better movie to showcase their determination than REVOLUTIONARY ROAD. Though I should say...it is, in fact, a melodramatic soap opera smothered in historical context.
REVOLUTIONARY ROAD is all about being smothered in historical context. It's about the pitfalls of mid-20th century, upper-middle class, middle American suburbia smothering the life out of every married couple it touched. It's a striking film that's a little hard to understand--do we pity the couple? do we hate Leo? do we hate Kate? do we hate Sam Mendes?--but its darkness is obscenely attractive. A few rare moments within this film unfold almost as from another movie, like a thriller or horror film. The music escalates, the camera does not waver...and I fear that someone wearing the Scream mask will pop out of a closet. It's deliciously dark. But it's also as melodramatic as a high school dance.
This movie is highlighted by manic-depressive highs and lows, here a laugh, there a sob. While I give kudos to the director for embedding the darkness, it took me about half the movie to fall in step with his actors. Leo--who looks lusciously virile all movie long, ladies--kept on using the same conversation-filling "hmm?" at the end of his phrases that personified him in BLOOD DIAMOND. I cringed, hearing him "hmm" after "hmm," slowly slip away from winning a Best Actor award. Beyond the relapse of parts past played, however, Leonardo Di-"do me"-oh was amazing when channeling his inner ferocity. I believed him. I believed every tear, scream and cautious smile--but those all came halfway into the movie and onward. So you'll have to hang in and wait for them.
Kate took just as long for me to believe, unfortunately. At the beginning, I felt she was playing her READER self without an accent--a little stark and disconnected from the present. It wasn't until caca hit the fan that she seemed to really come alive. But I usually don't want to watch an actor that only lights up the screen when the world goes dark--that's a one-sided performance. And for that...though I really like Kate Winslet, I don't know if I really felt she owned this part from start to finish.
But perhaps I'm only being harsh because it's Kate and Leo. Jack and Rose. "Put your hands on me," and "Never let go." Perhaps I need to give them a little bit of leeway, since REV ROAD is so different. It was not easy material; it is dark, twisty and complicated. It's hard to watch, and it must have been even harder to act out. "Take the road less traveled," a certain poet once said--even if that means having your husband film you fake an orgasm with your high school boyfriend. Come on, why not?
plot: Couple succumbs to midlife crisis.
thought: They grow up so fast!
in five: 3.5/5
take the road: http://www.revolutionaryroadmovie.com/
dimanche 21 décembre 2008
I LOVE YOU, MAN
You know what rocks about Fire City? All the advance screenings. I'll take the freeway traffic if it means at the end of the road, there's a movie theatre I don't have to pay to enter. Heck, even if I do have to pay--there's something about seeing a great movie before everyone else. A day before, who cares; a week before, I'm feeling good...but four months before, and I'm feeling downright cocky.
Yeah, that's right, I just saw the upcoming Paul Rudd movie. Yeah, that's right Jon Favreau was both on screen and in the audience. And yeah, that's right: I got free popcorn. It was cold though, if that makes you feel any better. The weather and the popcorn. The screening was a gift from Handy, who had connections, so another friend and I reaped the benefits (we'll call the other friend Fratlet--he sublets a room in a fraternity house).
Anyway, enough with pleasantries; let's cut to it. The movie was great! I LOVE YOU, MAN centers around Paul Rudd's hilariously awkward quest for bromance. After proposing to his girlfriend, Peter Klaven (Rudd) hunts for a best man so his presence at the wedding doesn't embarrass his fiancee or her bevy of girlfriends. With a cast that includes Jason Segel, JK Simmons, Andy Samberg, Rashida Jones ("The Office"), Thomas Lennon ("Reno 911"), Jaime Pressly and yes, Jon Favreau...you've got nothing but goodness to look forward to. I'd place it...between WEDDING CRASHERS and 40 YEAR OLD VIRGIN in funniness, nudging upwards towards WEDDING CRASHERS. It's good. Look forward to the goodness. March 2009.
plot: Man seeks man friend now.
thought: Bromance is the new pink.
in five: 4/5
start to love it: http://www.imdb.com/title/tt1155056/
Yeah, that's right, I just saw the upcoming Paul Rudd movie. Yeah, that's right Jon Favreau was both on screen and in the audience. And yeah, that's right: I got free popcorn. It was cold though, if that makes you feel any better. The weather and the popcorn. The screening was a gift from Handy, who had connections, so another friend and I reaped the benefits (we'll call the other friend Fratlet--he sublets a room in a fraternity house).
Anyway, enough with pleasantries; let's cut to it. The movie was great! I LOVE YOU, MAN centers around Paul Rudd's hilariously awkward quest for bromance. After proposing to his girlfriend, Peter Klaven (Rudd) hunts for a best man so his presence at the wedding doesn't embarrass his fiancee or her bevy of girlfriends. With a cast that includes Jason Segel, JK Simmons, Andy Samberg, Rashida Jones ("The Office"), Thomas Lennon ("Reno 911"), Jaime Pressly and yes, Jon Favreau...you've got nothing but goodness to look forward to. I'd place it...between WEDDING CRASHERS and 40 YEAR OLD VIRGIN in funniness, nudging upwards towards WEDDING CRASHERS. It's good. Look forward to the goodness. March 2009.
plot: Man seeks man friend now.
thought: Bromance is the new pink.
in five: 4/5
start to love it: http://www.imdb.com/title/tt1155056/
jeudi 18 décembre 2008
SAG Nominations!
Presented with letop5's predominantly random predictions in bold.
15th ANNUAL SCREEN ACTORS GUILD AWARDS® NOMINATIONS
THEATRICAL MOTION PICTURES
Outstanding Performance by a Male Actor in a Leading Role
RICHARD JENKINS / Walter Vale - "THE VISITOR" (Overture Films)
FRANK LANGELLA / Richard Nixon - "FROST/NIXON" (Universal Pictures)
SEAN PENN / Harvey Milk - "MILK" (Focus Features)
BRAD PITT / Benjamin Button - "THE CURIOUS CASE OF BENJAMIN BUTTON" (Paramount Pictures)
MICKEY ROURKE / Randy - "THE WRESTLER" (Fox Searchlight Pictures)
Outstanding Performance by a Female Actor in a Leading Role
ANNE HATHAWAY / Kym - "RACHEL GETTING MARRIED" (Sony Pictures Classics)
ANGELINA JOLIE / Christine Collins - "CHANGELING" (Universal Pictures)
MELISSA LEO / Ray Eddy - "FROZEN RIVER" (Sony Pictures Classics)
MERYL STREEP / Sister Aloysius Beauvier - "DOUBT" (Miramax Films)
KATE WINSLET / April Wheeler - "REVOLUTIONARY ROAD" (Paramount Vantage)
Outstanding Performance by a Male Actor in a Supporting Role
JOSH BROLIN / Dan White - "MILK" (Focus Features)
ROBERT DOWNEY, JR. / Kirk Lazarus - "TROPIC THUNDER" (Paramount Pictures)
PHILIP SEYMOUR HOFFMAN / Father Brendan Flynn - "DOUBT" (Miramax Films)
HEATH LEDGER / Joker - "THE DARK KNIGHT" (Warner Bros. Pictures)
DEV PATEL / Older Jamal - "SLUMDOG MILLIONAIRE" (Fox Searchlight Pictures)
Outstanding Performance by a Female Actor in a Supporting Role
AMY ADAMS / Sister James - "DOUBT" (Miramax Flms)
PENÉLOPE CRUZ / Maria Elena - "VICKY CRISTINA BARCELONA" (The Weinstein Company)
VIOLA DAVIS / Mrs. Miller - "DOUBT" (Miramax Films)
TARAJI P. HENSON / Queenie - "THE CURIOUS CASE OF BENJAMIN BUTTON" (Paramount Pictures)
KATE WINSLET / Hanna Schmitz - "THE READER" (The Weinstein Company)
Outstanding Performance by a Cast in a Motion Picture
DOUBT (Miramax)
FROST/NIXON (Universal Pictures)
MILK (Focus Features)
SLUMDOG MILLIONAIRE (Fox Searchlight Pictures)
THE CURIOUS CASE OF BENJAMIN BUTTON (Paramount Pictures)
PRIMETIME TELEVISION
Outstanding Performance by a Male Actor in a Television Movie or Miniseries
RALPH FIENNES / Bernard Lafferty - "BERNARD AND DORIS" (HBO)
PAUL GIAMATTI / John Adams - "JOHN ADAMS" (HBO)
KEVIN SPACEY / Ron Klain - "RECOUNT" (HBO)
KIEFER SUTHERLAND / Jack Bauer - "24: REDEMPTION" (FOX)
TOM WILKINSON / Benjamin Franklin - "JOHN ADAMS" (HBO)
Outstanding Performance by a Female Actor in a Television Movie or Miniseries
LAURA DERN / Katherine Harris - "RECOUNT" (HBO)
LAURA LINNEY / Abigail Adams - "JOHN ADAMS" (HBO)
SHIRLEY MacLAINE / Coco Chanel - "COCO CHANEL" (Lifetime)
PHYLICIA RASHAD / Lena Younger - "A RAISIN IN THE SUN" (ABC)
SUSAN SARANDON / Doris Duke - "BERNARD AND DORIS" (HBO)
Outstanding Performance by a Male Actor in a Drama Series
MICHAEL C. HALL / Dexter Morgan - "DEXTER" (Showtime)
JON HAMM / Don Draper - "MAD MEN" (AMC)
HUGH LAURIE / Gregory House - "HOUSE" (FOX)
WILLIAM SHATNER / Denny Crane - "BOSTON LEGAL" (ABC)
JAMES SPADER / Alan Shore - "BOSTON LEGAL" (ABC)
Outstanding Performance by a Female Actor in a Drama Series
SALLY FIELD / Nora Walker - "BROTHERS & SISTERS" (ABC)
MARISKA HARGITAY / Det. Olivia Benson - "LAW & ORDER: SPECIAL VICTIMS UNIT" (NBC)
HOLLY HUNTER / Grace Hanadarko - "SAVING GRACE" (TNT)
ELISABETH MOSS / Peggy Olson - "MAD MEN" (AMC)
KYRA SEDGWICK / Dep. Chief Brenda Johnson - "THE CLOSER" (TNT)
Outstanding Performance by a Male Actor in a Comedy Series
ALEC BALDWIN / Jack Donaghy - "30 ROCK" (NBC)
STEVE CARELL / Michael Scott - "THE OFFICE" (NBC)
DAVID DUCHOVNY / Hank Moody - "CALIFORNICATION" (Showtime)
JEREMY PIVEN / Ari Gold - "ENTOURAGE" (HBO)
TONY SHALHOUB / Adrian Monk - "MONK" (USA)
Outstanding Performance by a Female Actor in a Comedy Series
CHRISTINA APPLEGATE / Samantha Newly - "SAMANTHA WHO?" (ABC)
AMERICA FERRERA / Betty Suarez - "UGLY BETTY" (ABC)
TINA FEY / Liz Lemon - "30 ROCK" (NBC)
MARY-LOUISE PARKER / Nancy Botwin - "WEEDS" (Showtime)
TRACEY ULLMAN / Various Characters - "TRACEY ULLMAN’S STATE OF THE UNION" (Showtime)
Outstanding Performance by an Ensemble in a Drama Series
BOSTON LEGAL (ABC)
DEXTER (Showtime)
HOUSE (Fox)
MAD MEN (AMC)
THE CLOSER (TNT)
Outstanding Performance by an Ensemble in a Comedy Series
30 ROCK (NBC)
DESPERATE HOUSEWIVES (ABC)
ENTOURAGE (HBO)
THE OFFICE (NBC)
WEEDS (Showtime)
SAG HONORS FOR STUNT ENSEMBLES
Outstanding Performance by a Stunt Ensemble in a Motion Picture
THE DARK KNIGHT (Warner Bros. Pictures)
HELLBOY II: THE GOLDEN ARMY (Universal Pictures)
INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL (Paramount Pictures)
IRON MAN (Paramount Pictures)
WANTED (Universal Pictures)
Outstanding Performance by a Stunt Ensemble in a Television Series
FRIDAY NIGHT LIGHTS (NBC)
HEROES (NBC)
PRISON BREAK (FOX)
THE UNIT (CBS)
THE CLOSER (TNT)
LIFE ACHIEVEMENT AWARD
Screen Actors Guild Awards 45th Annual Life Achievement Award
James Earl Jones
15th ANNUAL SCREEN ACTORS GUILD AWARDS® NOMINATIONS
THEATRICAL MOTION PICTURES
Outstanding Performance by a Male Actor in a Leading Role
RICHARD JENKINS / Walter Vale - "THE VISITOR" (Overture Films)
FRANK LANGELLA / Richard Nixon - "FROST/NIXON" (Universal Pictures)
SEAN PENN / Harvey Milk - "MILK" (Focus Features)
BRAD PITT / Benjamin Button - "THE CURIOUS CASE OF BENJAMIN BUTTON" (Paramount Pictures)
MICKEY ROURKE / Randy - "THE WRESTLER" (Fox Searchlight Pictures)
Outstanding Performance by a Female Actor in a Leading Role
ANNE HATHAWAY / Kym - "RACHEL GETTING MARRIED" (Sony Pictures Classics)
ANGELINA JOLIE / Christine Collins - "CHANGELING" (Universal Pictures)
MELISSA LEO / Ray Eddy - "FROZEN RIVER" (Sony Pictures Classics)
MERYL STREEP / Sister Aloysius Beauvier - "DOUBT" (Miramax Films)
KATE WINSLET / April Wheeler - "REVOLUTIONARY ROAD" (Paramount Vantage)
Outstanding Performance by a Male Actor in a Supporting Role
JOSH BROLIN / Dan White - "MILK" (Focus Features)
ROBERT DOWNEY, JR. / Kirk Lazarus - "TROPIC THUNDER" (Paramount Pictures)
PHILIP SEYMOUR HOFFMAN / Father Brendan Flynn - "DOUBT" (Miramax Films)
HEATH LEDGER / Joker - "THE DARK KNIGHT" (Warner Bros. Pictures)
DEV PATEL / Older Jamal - "SLUMDOG MILLIONAIRE" (Fox Searchlight Pictures)
Outstanding Performance by a Female Actor in a Supporting Role
AMY ADAMS / Sister James - "DOUBT" (Miramax Flms)
PENÉLOPE CRUZ / Maria Elena - "VICKY CRISTINA BARCELONA" (The Weinstein Company)
VIOLA DAVIS / Mrs. Miller - "DOUBT" (Miramax Films)
TARAJI P. HENSON / Queenie - "THE CURIOUS CASE OF BENJAMIN BUTTON" (Paramount Pictures)
KATE WINSLET / Hanna Schmitz - "THE READER" (The Weinstein Company)
Outstanding Performance by a Cast in a Motion Picture
DOUBT (Miramax)
FROST/NIXON (Universal Pictures)
MILK (Focus Features)
SLUMDOG MILLIONAIRE (Fox Searchlight Pictures)
THE CURIOUS CASE OF BENJAMIN BUTTON (Paramount Pictures)
PRIMETIME TELEVISION
Outstanding Performance by a Male Actor in a Television Movie or Miniseries
RALPH FIENNES / Bernard Lafferty - "BERNARD AND DORIS" (HBO)
PAUL GIAMATTI / John Adams - "JOHN ADAMS" (HBO)
KEVIN SPACEY / Ron Klain - "RECOUNT" (HBO)
KIEFER SUTHERLAND / Jack Bauer - "24: REDEMPTION" (FOX)
TOM WILKINSON / Benjamin Franklin - "JOHN ADAMS" (HBO)
Outstanding Performance by a Female Actor in a Television Movie or Miniseries
LAURA DERN / Katherine Harris - "RECOUNT" (HBO)
LAURA LINNEY / Abigail Adams - "JOHN ADAMS" (HBO)
SHIRLEY MacLAINE / Coco Chanel - "COCO CHANEL" (Lifetime)
PHYLICIA RASHAD / Lena Younger - "A RAISIN IN THE SUN" (ABC)
SUSAN SARANDON / Doris Duke - "BERNARD AND DORIS" (HBO)
Outstanding Performance by a Male Actor in a Drama Series
MICHAEL C. HALL / Dexter Morgan - "DEXTER" (Showtime)
JON HAMM / Don Draper - "MAD MEN" (AMC)
HUGH LAURIE / Gregory House - "HOUSE" (FOX)
WILLIAM SHATNER / Denny Crane - "BOSTON LEGAL" (ABC)
JAMES SPADER / Alan Shore - "BOSTON LEGAL" (ABC)
Outstanding Performance by a Female Actor in a Drama Series
SALLY FIELD / Nora Walker - "BROTHERS & SISTERS" (ABC)
MARISKA HARGITAY / Det. Olivia Benson - "LAW & ORDER: SPECIAL VICTIMS UNIT" (NBC)
HOLLY HUNTER / Grace Hanadarko - "SAVING GRACE" (TNT)
ELISABETH MOSS / Peggy Olson - "MAD MEN" (AMC)
KYRA SEDGWICK / Dep. Chief Brenda Johnson - "THE CLOSER" (TNT)
Outstanding Performance by a Male Actor in a Comedy Series
ALEC BALDWIN / Jack Donaghy - "30 ROCK" (NBC)
STEVE CARELL / Michael Scott - "THE OFFICE" (NBC)
DAVID DUCHOVNY / Hank Moody - "CALIFORNICATION" (Showtime)
JEREMY PIVEN / Ari Gold - "ENTOURAGE" (HBO)
TONY SHALHOUB / Adrian Monk - "MONK" (USA)
Outstanding Performance by a Female Actor in a Comedy Series
CHRISTINA APPLEGATE / Samantha Newly - "SAMANTHA WHO?" (ABC)
AMERICA FERRERA / Betty Suarez - "UGLY BETTY" (ABC)
TINA FEY / Liz Lemon - "30 ROCK" (NBC)
MARY-LOUISE PARKER / Nancy Botwin - "WEEDS" (Showtime)
TRACEY ULLMAN / Various Characters - "TRACEY ULLMAN’S STATE OF THE UNION" (Showtime)
Outstanding Performance by an Ensemble in a Drama Series
BOSTON LEGAL (ABC)
DEXTER (Showtime)
HOUSE (Fox)
MAD MEN (AMC)
THE CLOSER (TNT)
Outstanding Performance by an Ensemble in a Comedy Series
30 ROCK (NBC)
DESPERATE HOUSEWIVES (ABC)
ENTOURAGE (HBO)
THE OFFICE (NBC)
WEEDS (Showtime)
SAG HONORS FOR STUNT ENSEMBLES
Outstanding Performance by a Stunt Ensemble in a Motion Picture
THE DARK KNIGHT (Warner Bros. Pictures)
HELLBOY II: THE GOLDEN ARMY (Universal Pictures)
INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL (Paramount Pictures)
IRON MAN (Paramount Pictures)
WANTED (Universal Pictures)
Outstanding Performance by a Stunt Ensemble in a Television Series
FRIDAY NIGHT LIGHTS (NBC)
HEROES (NBC)
PRISON BREAK (FOX)
THE UNIT (CBS)
THE CLOSER (TNT)
LIFE ACHIEVEMENT AWARD
Screen Actors Guild Awards 45th Annual Life Achievement Award
James Earl Jones
mercredi 17 décembre 2008
THE READER
Kaaaaaaate Winslet. The movies she does are weird. I think it started with THE LIFE OF DAVID GALE, which was "Kevin Spacey-weird" and ETERNAL SUNSHINE OF THE SPOTLESS MIND, which was "artsy weird," and then she just tumbled sideways from there. FINDING NEVERLAND was normal enough, I guess, with its child befriending a man who thinks he's Peter Pan...okay, no, that was weird, too! Now I don't confuse "weird" with "bad"--I think both ETERNAL SUNSHINE and NEVERLAND were great pictures--and I actually really liked DAVID GALE, too--but their plots are "unique" to say the least. But post-NEVERLAND came LITTLE CHILDREN, then a stop into bland, vapid normality with THE HOLIDAY, and now she's back in the weird zone with THE READER. So I think Kate Winslet has chosen her genre. Slice of weird life? She likes it.
I didn't know anything about this film, THE READER. I just went for it due to its Oscar-worthiness (weird Winslet = awards and accolades) and at the behest of a friend...we'll call him TiVo (he is mad organised about his TiVo). So as it was starting, my mind was trying to figure out the plot: she's a spy! No, she's...a prostitute! No, she's a murderer--she is GOING TO MURDER HIM! No, wait, she is definitely just a spy.
I was wrong on all guesses.
I think my lack of context for the action led to my belated realisation that this film, which takes place in post-WW2 Germany, could not be classified merely as a thriller or spy movie or prostitution movie (should that genre ever reach the mainstream--beyond the likes of PRETTY WOMAN, that is). For starters, it's none of those things. THE READER is an historical drama based on the coming-of-age love affair that a cute, German lad has with an older German lass who (oh wait for it) used to work at Auschwitz. Whoops! She didn't mention THAT on the first date! Guess we should have expected it with Kate Winslet starring.
My problem with THE READER is not this plot that it eventually embraces; it's the meandering way by which it finally gets there. For starters, it threads together present day and past with such unfortunate fluidity as to render context confusing. If time were so important to the play of events, full-screen date stamps would have been more useful than lower-thirds, my editor friends. I read the dates but passed them over and didn't realise how truly crucial they were within the story. I spent an unfortunate bit of time wondering who Ralph Fiennes was supposed to be. But sure, that could be dismissed as my fault. If I had read the dates with more attention, or at least watched the trailer before heading to the theatre, I would have been in better shape. So for actual starters, let's take a look at that trailer:
http://www.imdb.com/video/imdb/vi1750597657/
Hey, I've never posted a trailer before. But this one deserves the post, because man, the movie advertised in this trailer looks exciting! I want to see this movie! There are tears; there's some sex; there are violins....You can almost hear the Foreign Press salivating. It's too bad this isn't the movie I saw.
My problem--the "meandering" I mentioned--is that, unlike its trailer, THE READER is boring. It's slow, and sadly, feels a little...I'm sorry, but feels a little pointless. The Germans Behaving Badly plot--along with the Germans Feeling Guilty about Behaving Badly uber-plot (i.e., winner of German Meta-Plot of the Century)--is ubiquitous, and its portrayal begs the inclusion of a lesson learned or taught. In LA VIE DES AUTRES/THE LIVES OF OTHERS, we saw the lesson with the last freeze frame of Ulrich Muhe's face at the film's close: his character had learned to feel, had finally learned to separate The State from his state of mind.
Not every film needs a lesson, but I felt THE READER suffered from lack of one. I believe the intended one was "Even good people do bad things," but our director didn't seem to carry it home. We received Hanna's sorrow (Hanna is Winslet's character), about a third into the film, when she cries in a church, but years later when on trial, she doesn't seem to return to that remorse, instead succumbing to pride. And a film about Germans Feeling Guilty about Behaving Badly should definitely involve a healthy scoop of remorse.
I felt that Michael, Hanna's lover (played by Fiennes when older and the dashing David Kross when young), tried to bear the weight of her guilt for her--but even he failed to support her beneath the pressure of it all. I was disconnected, therefore, from both their emotions, and unfortunately ended up thinking, "Is that it?" when the credits rolled. Perhaps some more dialogue from either party would have helped. But I get it--they were both German in the typical sense, both reserved, private people. When words failed, there were tears. I think as an audience member, however, I would have appreciated more words. Or at least more violins. Something that gave me that cue: here is where you should feel bad. Because there are times when it pays to be a little "meta."
plot: Fraulein lives a guilty life.
thought: Not a thriller, just depressing.
in five: 2.5/5
watch THE READER: http://thereader-movie.com/
I didn't know anything about this film, THE READER. I just went for it due to its Oscar-worthiness (weird Winslet = awards and accolades) and at the behest of a friend...we'll call him TiVo (he is mad organised about his TiVo). So as it was starting, my mind was trying to figure out the plot: she's a spy! No, she's...a prostitute! No, she's a murderer--she is GOING TO MURDER HIM! No, wait, she is definitely just a spy.
I was wrong on all guesses.
I think my lack of context for the action led to my belated realisation that this film, which takes place in post-WW2 Germany, could not be classified merely as a thriller or spy movie or prostitution movie (should that genre ever reach the mainstream--beyond the likes of PRETTY WOMAN, that is). For starters, it's none of those things. THE READER is an historical drama based on the coming-of-age love affair that a cute, German lad has with an older German lass who (oh wait for it) used to work at Auschwitz. Whoops! She didn't mention THAT on the first date! Guess we should have expected it with Kate Winslet starring.
My problem with THE READER is not this plot that it eventually embraces; it's the meandering way by which it finally gets there. For starters, it threads together present day and past with such unfortunate fluidity as to render context confusing. If time were so important to the play of events, full-screen date stamps would have been more useful than lower-thirds, my editor friends. I read the dates but passed them over and didn't realise how truly crucial they were within the story. I spent an unfortunate bit of time wondering who Ralph Fiennes was supposed to be. But sure, that could be dismissed as my fault. If I had read the dates with more attention, or at least watched the trailer before heading to the theatre, I would have been in better shape. So for actual starters, let's take a look at that trailer:
http://www.imdb.com/video/imdb/vi1750597657/
Hey, I've never posted a trailer before. But this one deserves the post, because man, the movie advertised in this trailer looks exciting! I want to see this movie! There are tears; there's some sex; there are violins....You can almost hear the Foreign Press salivating. It's too bad this isn't the movie I saw.
My problem--the "meandering" I mentioned--is that, unlike its trailer, THE READER is boring. It's slow, and sadly, feels a little...I'm sorry, but feels a little pointless. The Germans Behaving Badly plot--along with the Germans Feeling Guilty about Behaving Badly uber-plot (i.e., winner of German Meta-Plot of the Century)--is ubiquitous, and its portrayal begs the inclusion of a lesson learned or taught. In LA VIE DES AUTRES/THE LIVES OF OTHERS, we saw the lesson with the last freeze frame of Ulrich Muhe's face at the film's close: his character had learned to feel, had finally learned to separate The State from his state of mind.
Not every film needs a lesson, but I felt THE READER suffered from lack of one. I believe the intended one was "Even good people do bad things," but our director didn't seem to carry it home. We received Hanna's sorrow (Hanna is Winslet's character), about a third into the film, when she cries in a church, but years later when on trial, she doesn't seem to return to that remorse, instead succumbing to pride. And a film about Germans Feeling Guilty about Behaving Badly should definitely involve a healthy scoop of remorse.
I felt that Michael, Hanna's lover (played by Fiennes when older and the dashing David Kross when young), tried to bear the weight of her guilt for her--but even he failed to support her beneath the pressure of it all. I was disconnected, therefore, from both their emotions, and unfortunately ended up thinking, "Is that it?" when the credits rolled. Perhaps some more dialogue from either party would have helped. But I get it--they were both German in the typical sense, both reserved, private people. When words failed, there were tears. I think as an audience member, however, I would have appreciated more words. Or at least more violins. Something that gave me that cue: here is where you should feel bad. Because there are times when it pays to be a little "meta."
plot: Fraulein lives a guilty life.
thought: Not a thriller, just depressing.
in five: 2.5/5
watch THE READER: http://thereader-movie.com/
mardi 16 décembre 2008
Ulysses Voyage | dejeuner
Who says malls don't have good food?? Well, those who say that usually have a point: Sbarro's, McDonald's, Tastee Freez and Wetzel's Pretzels aren't exactly what I would call "good food." Not if you like an original meal and/or your original waistline (not necessarily in that order). But for every ten malls in middle America that get it wrong, there's at least one mall in Fire City that gets it right.
We're a pretentious crowd, admit it. Wetzel's doesn't satisfy anything but our need to look sideways at our girlfriends and say, "Really? Extra cheese? Do you need extra cheese?" And that need, though often strong, is not noble. Therefore, in an attempt to maintain a shred of nobility, Fire City malls "class up" (did I just coin a new term?) and serve better food. Look at our favorite outdoor mall, The Grove. Sure, it's got its share of Cheesecake Factory and a bit of Wetzel...but The Grove also has Ulysses Voyage, a modern Greek bistro that wowed my business lunch socks off.
What am I talking--I don't wear business lunch socks. Until the weather dipped last weekend, I barely ever wore socks. This is California, after all.
But Ulysses Voyage, from the first taste of house-made hummous to the last nibble of grilled calamari shrimp pizza, was ridiculously awesome. I don't know how Greek that pizza really is, but who cares, I'll take it. And it's the perfect size for a waistline-watching gal to nibble at lunch and re-visit for dinner.
My work friends and I went there for a special send-off: I was leaving their lovely fold of fun, and as a last hurrah, we went to Greece. It's true: I may hate MAMMA MIA, but I do love Mediterranean food. From falafel to gyros and several variations on a theme of the chick pea, Ulysses served up great afternoon fare, fit for the office crowd or a romantic lunch date, and its location provided a great deal of people watching without the horrible mall atrocity of "people touching." The world looks best, Bette Midler and I agree, from a distance.
A note on that location: blink while walking and you might miss the place--I have until now. It's located near the clock tower and the Coffee Bean, between the mall's entrance proper and the tail end of the boisterously unkempt and expensive Farmer's Market. (The Farmer's Market, might I note, has a GREAT funnel cake section. Besides that, it's mostly skippable since the prices have escalated to spite the economy's malevolent frown.) Also, you'll do best to make reservations: though the place never seems to be full, reservations allow you the option of first pick for patio (great when it's sunny!) or indoors near the fire--where I wonder if they allow traditional Greek plate-breaking. L'Chaim!
the takeaway: Good food and good service.
in five: 4/5 for a mall; probably 3.5/5 for a restaurant (docked .5 for location--the Grove may be nice, but it's still a mall)
tastes better than ABBA: http://www.ulyssesvoyage.com/
We're a pretentious crowd, admit it. Wetzel's doesn't satisfy anything but our need to look sideways at our girlfriends and say, "Really? Extra cheese? Do you need extra cheese?" And that need, though often strong, is not noble. Therefore, in an attempt to maintain a shred of nobility, Fire City malls "class up" (did I just coin a new term?) and serve better food. Look at our favorite outdoor mall, The Grove. Sure, it's got its share of Cheesecake Factory and a bit of Wetzel...but The Grove also has Ulysses Voyage, a modern Greek bistro that wowed my business lunch socks off.
What am I talking--I don't wear business lunch socks. Until the weather dipped last weekend, I barely ever wore socks. This is California, after all.
But Ulysses Voyage, from the first taste of house-made hummous to the last nibble of grilled calamari shrimp pizza, was ridiculously awesome. I don't know how Greek that pizza really is, but who cares, I'll take it. And it's the perfect size for a waistline-watching gal to nibble at lunch and re-visit for dinner.
My work friends and I went there for a special send-off: I was leaving their lovely fold of fun, and as a last hurrah, we went to Greece. It's true: I may hate MAMMA MIA, but I do love Mediterranean food. From falafel to gyros and several variations on a theme of the chick pea, Ulysses served up great afternoon fare, fit for the office crowd or a romantic lunch date, and its location provided a great deal of people watching without the horrible mall atrocity of "people touching." The world looks best, Bette Midler and I agree, from a distance.
A note on that location: blink while walking and you might miss the place--I have until now. It's located near the clock tower and the Coffee Bean, between the mall's entrance proper and the tail end of the boisterously unkempt and expensive Farmer's Market. (The Farmer's Market, might I note, has a GREAT funnel cake section. Besides that, it's mostly skippable since the prices have escalated to spite the economy's malevolent frown.) Also, you'll do best to make reservations: though the place never seems to be full, reservations allow you the option of first pick for patio (great when it's sunny!) or indoors near the fire--where I wonder if they allow traditional Greek plate-breaking. L'Chaim!
the takeaway: Good food and good service.
in five: 4/5 for a mall; probably 3.5/5 for a restaurant (docked .5 for location--the Grove may be nice, but it's still a mall)
tastes better than ABBA: http://www.ulyssesvoyage.com/
dimanche 14 décembre 2008
MADAGASCAR 2
What happened to cartoons? In the last decade, they've changed SO much. We once wished upon a star and wondered who was the fairest of them all. Now, we're instructed to be impressed by futuristic oddities like WALL-E, and kids unknowingly relish watching the repercussions of the DreamWorks staff's apparent crack addiction in MADAGASCAR: ESCAPE 2 AFRICA.
That's right. They're on crack. Or at least the movie plays out as if the animators, voice-over artists (I'm looking at you, Ben Stiller!) and everyone connected to the film are most definitely on something. It's not that I can't follow what's happening, it's just that there's so...much of it. Sorry for all the italics. But it's true.
MAD 2 focuses on Alex, a dancing lion, and his accidental return to the continent whence he came. That's right: lions don't naturally come from New York. High points of the film include the bad lion that looks exactly like Alec Baldwin, the miniature lemur king who does most of the crack-smoking, the pretty accurate caricature of New Yorkers...and the palpably sexual dialogue between the lead hippo (voiced by Jada Pinkett Smith) and her short-term love interest, MotoMoto (voiced by Will.i.am). My favorite: "Who's your friend? Or is that your butt?"
I know with all these so-called "high points," it might be confusing that I initially sounded negative about the film. But let me clarify: I think it was a good popcorn flick. A passable, DreamWorks, animated movie. But it wasn't--or at least--I didn't feel it was a good cartoon. Oh, who am I kidding: it wasn't Disney. And for that, I'm sad.
plot: Zoo animals rediscover their roots.
thought: Um...that IS my butt.
in five: 2.5/5
move it, move it: http://www.madagascar-themovie.com/
That's right. They're on crack. Or at least the movie plays out as if the animators, voice-over artists (I'm looking at you, Ben Stiller!) and everyone connected to the film are most definitely on something. It's not that I can't follow what's happening, it's just that there's so...much of it. Sorry for all the italics. But it's true.
MAD 2 focuses on Alex, a dancing lion, and his accidental return to the continent whence he came. That's right: lions don't naturally come from New York. High points of the film include the bad lion that looks exactly like Alec Baldwin, the miniature lemur king who does most of the crack-smoking, the pretty accurate caricature of New Yorkers...and the palpably sexual dialogue between the lead hippo (voiced by Jada Pinkett Smith) and her short-term love interest, MotoMoto (voiced by Will.i.am). My favorite: "Who's your friend? Or is that your butt?"
I know with all these so-called "high points," it might be confusing that I initially sounded negative about the film. But let me clarify: I think it was a good popcorn flick. A passable, DreamWorks, animated movie. But it wasn't--or at least--I didn't feel it was a good cartoon. Oh, who am I kidding: it wasn't Disney. And for that, I'm sad.
plot: Zoo animals rediscover their roots.
thought: Um...that IS my butt.
in five: 2.5/5
move it, move it: http://www.madagascar-themovie.com/
LAST CHANCE HARVEY
It's not a great movie, but it does what it does. I liked LAST CHANCE HARVEY because Emma Thompson put on a great show, and Dustin Hoffman was wearing his years like he ought to. He's aging, and in this film, he kind of owns it, playing the part of a man who's past his prime and has fallen from grace with everyone he knows: his coworkers, his ex-wife, and even his pre-nuptial daughter. There's definitely something a little ironic about the lead character's name being "Harvey Shine," when his shine is dimming all movie long. But at least the actor who played him isn't: Dustin Hoffman was just nominated, thanks to LAST CHANCE HARVEY, for a Golden Globe award.
The screening definitely wasn't marred by his visit: that's right, Hoffman himself was in attendance--he sat right next to my friend and I, actually--and it was great to hear him chat about this role and others past after the movie ended. (For the record, he got up three times during the film; the third time, he came back with a cocktail, the lucky bastard.)
Emma Thompson also was recently honored with a Golden Globe nomination for LAST CHANCE HARVEY, and the nomination is highly deserved. She's the beacon of the film, and though it's a little weird to watch a rom-com where the two lovers are older (and dare I say it, the woman is taller than the man--a whole half head taller), the two of them make it work. No uncomfortable love scenes, kids; you can see this one with the parents and not feel an ounce of awkward. Okay, maybe an ounce, but not two.
plot: Older couple in young love.
thought: Is that like MUST LOVE DOGS?
in five: 3/5
keep shining: http://www.lastchanceharvey.com/
The screening definitely wasn't marred by his visit: that's right, Hoffman himself was in attendance--he sat right next to my friend and I, actually--and it was great to hear him chat about this role and others past after the movie ended. (For the record, he got up three times during the film; the third time, he came back with a cocktail, the lucky bastard.)
Emma Thompson also was recently honored with a Golden Globe nomination for LAST CHANCE HARVEY, and the nomination is highly deserved. She's the beacon of the film, and though it's a little weird to watch a rom-com where the two lovers are older (and dare I say it, the woman is taller than the man--a whole half head taller), the two of them make it work. No uncomfortable love scenes, kids; you can see this one with the parents and not feel an ounce of awkward. Okay, maybe an ounce, but not two.
plot: Older couple in young love.
thought: Is that like MUST LOVE DOGS?
in five: 3/5
keep shining: http://www.lastchanceharvey.com/
jeudi 11 décembre 2008
Golden Globes nominees announced (letop5 picks the picks)
Please see below for the list of Golden Globes nominations, as well as my *current* predictions (in bold). You know, I might change my mind or be wrong. But for now (and still not having seen all the movies, keep in mind), here's what I'm thinking....
HOLLYWOOD FOREIGN PRESS ASSOCIATION 2008 GOLDEN GLOBE AWARDS NOMINATIONS FOR THE YEAR ENDED DECEMBER 31, 2008
1. BEST MOTION PICTURE – DRAMA
1. THE CURIOUS CASE OF BENJAMIN BUTTON
Warner Bros. Pictures and Paramount Pictures; Warner Bros. Pictures and Paramount Pictures
2. FROST/NIXON
Imagine Entertainment, Working Title, Studio Canal; Universal Pictures
3. THE READER
Mirage Enterprises; The Weinstein Company
4. REVOLUTIONARY ROAD
An Evamere Entertainment BBC Films Neal Street Production; DreamWorks Pictures in Association with BBC Films and Paramount Vantage
5. SLUMDOG MILLIONAIRE
Fox Searchlight Pictures and Warner Bros.; Fox Searchlight Pictures and Warner Bros.
I haven't seen it yet, but it's not political, and it's not too foreign; that's why I'm predicting it. Who knows, though, it might suck.
2. BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – DRAMA
1. ANNE HATHAWAY – RACHEL GETTING MARRIED
2. ANGELINA JOLIE – CHANGELING
3. MERYL STREEP – DOUBT
4. KRISTIN SCOTT THOMAS – I'VE LOVED YOU SO LONG (IL Y A LONGTEMPS QUE JE T’AIME)
5. KATE WINSLET – REVOLUTIONARY ROAD
3. BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – DRAMA
1. LEONARDO DICAPRIO – REVOLUTIONARY ROAD
2. FRANK LANGELLA – FROST/NIXON
3. SEAN PENN – MILK
4. BRAD PITT – THE CURIOUS CASE OF BENJAMIN BUTTON
5. MICKEY ROURKE – THE WRESTLER
I'm torn on this one; it could really go to either of these three men. I completely want Sean Penn to win, but I know Hollywood is scared of the homos, so I'm on the fence.
4. BEST MOTION PICTURE – COMEDY OR MUSICAL
1. BURN AFTER READING
Working Title/Releasing Company; Focus Features in association with Studio Canal
2. HAPPY-GO-LUCKY
Summit Entertainment, Film4, Ingenious Film Partners, Miramax Films; Miramax Films
3. IN BRUGES
Blueprint Pictures; Focus Features
4. MAMMA MIA!
Relativity Media, Playtone, Littlestar; Universal Pictures
5. VICKY CRISTINA BARCELONA
Mediapro; The Weinstein Company
Ugh, I hated this movie (MAMMA MIA) but watched the world adore it.
5.BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – COMEDY OR MUSICAL
1. REBECCA HALL – VICKY CRISTINA BARCELONA
2. SALLY HAWKINS – HAPPY-GO-LUCKY
3. FRANCES MCDORMAND – BURN AFTER READING
4. MERYL STREEP – MAMMA MIA!
5. EMMA THOMPSON – LAST CHANCE HARVEY
Please don't give this to Meryl.
6. BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – COMEDY OR MUSICAL
1. JAVIER BARDEM – VICKY CRISTINA BARCELONA
2. COLIN FARRELL – IN BRUGES
3. JAMES FRANCO – PINEAPPLE EXPRESS
4. BRENDAN GLEESON – IN BRUGES
5. DUSTIN HOFFMAN – LAST CHANCE HARVEY
7. BEST ANIMATED FEATURE FILM
1. BOLT
Walt Disney Pictures; Walt Disney Studios Motion Pictures
2. KUNG FU PANDA
DreamWorks Animation SKG; Paramount Pictures
3. WALL-E
Walt Disney Pictures and Pixar Animation Studios; Walt Disney Studios Motion Pictures
Didn't much care for WALL-E either, to be honest (I personally preferred KUNG FU PANDA, my friends), but the robot movie has gotten all the buzz!
8. BEST FOREIGN LANGUAGE FILM
1. THE BAADER MEINHOF COMPLEX (GERMANY)
(DER BAADER MEINHOF KOMPLEX)
Constantin Film Produktion GmbH; Summit Entertainment, LLC
2. EVERLASTING MOMENTS (SWEDEN/DENMARK)
(MARIA LARSSONS EVIGA ÖGONBLICK)
Final Cut Productions Aps; IFC Films
3. GOMORRAH (ITALY)
(GOMORRA)
Fandango; IFC Films
4. I'VE LOVED YOU SO LONG (FRANCE)
(IL Y A LONGTEMPS QUE JE T’AIME)
UGC YM/UGC Images/France 3 Cinema/Integral Film; Sony Pictures Classics
5. WALTZ WITH BASHIR (ISRAEL)
Bridgit Folman Film Gang/Les Films D'Ici/Razor Films/Arte France/ITVS International; Sony Pictures Classics
9. BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A MOTION PICTURE
1. AMY ADAMS – DOUBT
2. PENELOPE CRUZ – VICKY CRISTINA BARCELONA
3. VIOLA DAVIS –DOUBT
4. MARISA TOMEI – THE WRESTLER
5. KATE WINSLET – THE READER
10. BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A MOTION PICTURE
1. TOM CRUISE – TROPIC THUNDER
2. ROBERT DOWNEY JR. –TROPIC THUNDER
3. RALPH FIENNES – THE DUCHESS
4. PHILIP SEYMOUR HOFFMAN – DOUBT
5. HEATH LEDGER – THE DARK KNIGHT
I am not "pity voting" Heath Ledger here; I honestly think he was fantastic! The tie I've put in place is because RDJ is fantastic, too, and I love that he was nom'd.
11. BEST DIRECTOR – MOTION PICTURE
1. DANNY BOYLE – SLUMDOG MILLIONAIRE
2. STEPHEN DALDRY – THE READER
3. DAVID FINCHER – THE CURIOUS CASE OF BENJAMIN BUTTON
4. RON HOWARD – FROST/NIXON
5. SAM MENDES – REVOLUTIONARY ROAD
I haven't seen BUTTON yet, so it's just a stab based on the press/previews.
12. BEST SCREENPLAY – MOTION PICTURE
1. SIMON BEAUFOY – SLUMDOG MILLIONAIRE
2. DAVID HARE – THE READER
3. PETER MORGAN – FROST/NIXON
4. ERIC ROTH – THE CURIOUS CASE OF BENJAMIN
5. JOHN PATRICK SHANLEY – DOUBT
13. BEST ORIGINAL SCORE – MOTION PICTURE
1. ALEXANDRE DESPLAT –THE CURIOUS CASE OF BENJAMIN BUTTON
2. CLINT EASTWOOD – CHANGELING
3. JAMES NEWTON HOWARD – DEFIANCE
4. A. R. RAHMAN – SLUMDOG MILLIONAIRE
5. HANS ZIMMER – FROST/NIXON
Umm...no clue on this one. I've only seen CHANGELING, whose score I don't really remember, except that it was a little dramatic (like Angie), and SLUMDOG, whose score was amazing--especially the Bollywood number at the end--but I want to hear the others before I say anything.
14. BEST ORIGINAL SONG – MOTION PICTURE
1. “DOWN TO EARTH” — WALL-E
Music by: Peter Gabriel, Thomas Newman
Lyrics by: Peter Gabriel
2. “GRAN TORINO” — GRAN TORINO
Music by: Clint Eastwood, Jamie Cullum, Kyle Eastwood, Michael Stevens
Lyrics by: Kyle Eastwood, Michael Stevens
3. “I THOUGHT I LOST YOU” — BOLT
Music & Lyrics by: Miley Cyrus, Jeffrey Steele
4. “ONCE IN A LIFETIME” — CADILLAC RECORDS
Music & Lyrics by: Beyoncé Knowles, Amanda Ghost, Scott McFarnon, Ian Dench, James Dring, Jody Street
5. “THE WRESTLER” — THE WRESTLER
Music & Lyrics by: Bruce Springsteen
Mum for now, see above.
15. BEST TELEVISION SERIES – DRAMA
1. DEXTER (SHOWTIME)
Showtime/John Goldwyn Productions/The Colleton Company/Clyde Phillips Productions
2. HOUSE (FOX)
Universal Media Studios in association with Heel and Toe Films, Shore Z Productions and Bad Hat Harry Productions
3. IN TREATMENT (HBO)
Sheleg, Closest to the Hole Productions in association with HBO Entertainment
4. MAD MEN (AMC)
Lionsgate Television
5. TRUE BLOOD (HBO)
Your Face Goes Here Productions in association with HBO Entertainment
16. BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES – DRAMA
1. SALLY FIELD – BROTHERS AND SISTERS
2. MARISKA HARGITAY –LAW AND ORDER: SPECIAL VICTIMS UNIT
3. JANUARY JONES – MAD MEN
4. ANNA PAQUIN – TRUE BLOOD
5. KYRA SEDGWICK – THE CLOSER
17. BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES – DRAMA
1. GABRIEL BYRNE – IN TREATMENT
2. MICHAEL C. HALL – DEXTER
3. JON HAMM – MAD MEN
4. HUGH LAURIE – HOUSE
5. JONATHAN RHYS MEYERS – THE TUDORS
18. BEST TELEVISION SERIES – COMEDY OR MUSICAL
1. 30 ROCK (NBC)
Universal Media Studios in association with Broadway Video and Little Stranger Inc.
2. CALIFORNICATION (SHOWTIME)
Showtime Presents in association with Aggressive Mediocrity, And Then...
3. ENTOURAGE (HBO)
Leverage and Closest to the Hole Productions in association with HBO Entertainment
4. THE OFFICE (NBC)
Deedle Dee Productions, Reveille LLC, Universal Media Studios
5. WEEDS (SHOWTIME)
Lionsgate Television
19.BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES –COMEDY OR MUSICAL
1. CHRISTINA APPLEGATE – SAMANTHA WHO?
2. AMERICA FERRERA – UGLY BETTY
3. TINA FEY – 30 ROCK
4. DEBRA MESSING – THE STARTER WIFE
5. MARY-LOUISE PARKER – WEEDS
20. BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES – COMEDY OR MUSICAL
1. ALEC BALDWIN – 30 ROCK
2. STEVE CARELL – THE OFFICE
3. KEVIN CONNOLLY – ENTOURAGE
4. DAVID DUCHOVNY – CALIFORNICATION
5. TONY SHALHOUB – MONK
21. BEST MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
1. A RAISIN IN THE SUN (ABC)
Sony Pictures Television
2. BERNARD AND DORIS (HBO
Trigger Street Independent Productions in association with Little Bird and Chicago Films and HBO Films
3. CRANFORD (PBS)
A Co-Production of BBC and WGBH Boston.
4. JOHN ADAMS (HBO)
Playtone in association with HBO Films
5. RECOUNT (HBO)
Spring Creek/Mirage Productions in association with Trigger Street Productions, Everyman Pictures and HBO Films
22. BEST PERFORMANCE BY AN ACTRESS IN A MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
1. JUDI DENCH – CRANFORD
2. CATHERINE KEENER – AN AMERICAN CRIME
3. LAURA LINNEY – JOHN ADAMS
4. SHIRLEY MACLAINE – COCO CHANEL
5. SUSAN SARANDON – BERNARD AND DORIS
23. BEST PERFORMANCE BY AN ACTOR IN A MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
1. RALPH FIENNES – BERNARD AND DORIS
2. PAUL GIAMATTI – JOHN ADAMS
3. KEVIN SPACEY – RECOUNT
4. KIEFER SUTHERLAND – 24: REDEMPTION
5. TOM WILKINSON – RECOUNT
24. BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A SERIES, MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
1. EILEEN ATKINS – CRANFORD
2. LAURA DERN – RECOUNT
3. MELISSA GEORGE – IN TREATMENT
4. RACHEL GRIFFITHS – BROTHERS AND SISTERS
5. DIANNE WIEST – IN TREATMENT
25. BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A SERIES, MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
1. NEIL PATRICK HARRIS – HOW I MET YOUR MOTHER
2. DENIS LEARY – RECOUNT
3. JEREMY PIVEN – ENTOURAGE
4. BLAIR UNDERWOOD – IN TREATMENT
5. TOM WILKINSON – JOHN ADAMS
I love Piven as much as the next cat, but I think it's time he pass this award along.
NOMINATIONS BY MOTION PICTURE STUDIOS AND TELEVISION NETWORKS
MOTION PICTURE STUDIOS
Warner Bros. Pictures – 11
Universal Pictures – 9
The Weinstein Company – 8
Fox Searchlight Pictures – 7
Miramax Films – 7
DreamWorks Pictures – 6
Focus Features – 6
Paramount Pictures – 6
Paramount Vantage – 6
BBC Films – 5
Sony Pictures Classics – 4
Walt Disney Studios Motion Pictures – 4
IFC Films – 2
Overture Films – 2
Sony Pictures Releasing – 2
Studio Canal – 2
Pathe – 1
Summit Entertainment, LLC – 1
Village Roadshow – 1
TELEVISION NETWORKS
HBO – 22
SHOWTIME – 8
NBC – 6
ABC – 5
AMC – 5
FOX – 3
PBS – 3
USA NETWORK – 2
CBS – 1
LIFETIME TELEVISION – 1
TNT – 1
NOMINATIONS BY MOTION PICTURE
THE CURIOUS CASE OF BENJAMIN BUTTON – 5
DOUBT – 5
FROST/NIXON – 5
THE READER – 4
REVOLUTIONARY ROAD – 4
SLUMDOG MILLIONAIRE – 4
VICKY CRISTINA BARCELONA – 4
IN BRUGES – 3
THE WRESTLER – 3
BOLT – 2
BURN AFTER READING – 2
CHANGELING – 2
HAPPY-GO-LUCKY – 2
I'VE LOVED YOU SO LONG (IL Y A LONGTEMPS QUE JE T'AIME) – 2
LAST CHANCE HARVEY – 2
MAMMA MIA! – 2
TROPIC THUNDER – 2
WALL-E – 2
BAADER MEINHOF COMPLEX (DER BADDER MEINHOF KOMPLEX) – 1
CADILLAC RECORDS – 1
THE DARK KNIGHT – 1
DEFIANCE – 1
THE DUCHESS – 1
EVERLASTING MOMENTS (MARIA LARSSONS EVIGA ÖGONBLICK) – 1
GOMORRAH (GOMORRA) – 1
GRAN TORINO – 1
KUNG FU PANDA – 1
MILK – 1
PINEAPPLE EXPRESS – 1
RACHEL GETTING MARRIED – 1
WALTZ WITH BASHIR – 1
NOMINATIONS BY TELEVISION SERIES OR PROGRAM
IN TREATMENT – 5
RECOUNT – 5
JOHN ADAMS – 4
30 ROCK – 3
BERNARD AND DORIS – 3
CRANFORD – 3
ENTOURAGE – 3
MAD MEN – 3
BROTHERS AND SISTERS – 2
CALIFORNICATION – 2
DEXTER – 2
HOUSE – 2
THE OFFICE – 2
TRUE BLOOD – 2
WEEDS – 2
24: REDEMPTION – 1
A RAISIN IN THE SUN – 1
AN AMERICAN CRIME – 1
CLOSER, THE – 1
COCO CHANEL – 1
HOW I MET YOUR MOTHER – 1
LAW AND ORDER: SPECIAL VICTIMS UNIT – 1
MONK – 1
SAMANTHA WHO? – 1
THE STARTER WIFE – 1
UGLY BETTY – 1
Source: Hollywood Foreign Press
HOLLYWOOD FOREIGN PRESS ASSOCIATION 2008 GOLDEN GLOBE AWARDS NOMINATIONS FOR THE YEAR ENDED DECEMBER 31, 2008
1. BEST MOTION PICTURE – DRAMA
1. THE CURIOUS CASE OF BENJAMIN BUTTON
Warner Bros. Pictures and Paramount Pictures; Warner Bros. Pictures and Paramount Pictures
2. FROST/NIXON
Imagine Entertainment, Working Title, Studio Canal; Universal Pictures
3. THE READER
Mirage Enterprises; The Weinstein Company
4. REVOLUTIONARY ROAD
An Evamere Entertainment BBC Films Neal Street Production; DreamWorks Pictures in Association with BBC Films and Paramount Vantage
5. SLUMDOG MILLIONAIRE
Fox Searchlight Pictures and Warner Bros.; Fox Searchlight Pictures and Warner Bros.
I haven't seen it yet, but it's not political, and it's not too foreign; that's why I'm predicting it. Who knows, though, it might suck.
2. BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – DRAMA
1. ANNE HATHAWAY – RACHEL GETTING MARRIED
2. ANGELINA JOLIE – CHANGELING
3. MERYL STREEP – DOUBT
4. KRISTIN SCOTT THOMAS – I'VE LOVED YOU SO LONG (IL Y A LONGTEMPS QUE JE T’AIME)
5. KATE WINSLET – REVOLUTIONARY ROAD
3. BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – DRAMA
1. LEONARDO DICAPRIO – REVOLUTIONARY ROAD
2. FRANK LANGELLA – FROST/NIXON
3. SEAN PENN – MILK
4. BRAD PITT – THE CURIOUS CASE OF BENJAMIN BUTTON
5. MICKEY ROURKE – THE WRESTLER
I'm torn on this one; it could really go to either of these three men. I completely want Sean Penn to win, but I know Hollywood is scared of the homos, so I'm on the fence.
4. BEST MOTION PICTURE – COMEDY OR MUSICAL
1. BURN AFTER READING
Working Title/Releasing Company; Focus Features in association with Studio Canal
2. HAPPY-GO-LUCKY
Summit Entertainment, Film4, Ingenious Film Partners, Miramax Films; Miramax Films
3. IN BRUGES
Blueprint Pictures; Focus Features
4. MAMMA MIA!
Relativity Media, Playtone, Littlestar; Universal Pictures
5. VICKY CRISTINA BARCELONA
Mediapro; The Weinstein Company
Ugh, I hated this movie (MAMMA MIA) but watched the world adore it.
5.BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – COMEDY OR MUSICAL
1. REBECCA HALL – VICKY CRISTINA BARCELONA
2. SALLY HAWKINS – HAPPY-GO-LUCKY
3. FRANCES MCDORMAND – BURN AFTER READING
4. MERYL STREEP – MAMMA MIA!
5. EMMA THOMPSON – LAST CHANCE HARVEY
Please don't give this to Meryl.
6. BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – COMEDY OR MUSICAL
1. JAVIER BARDEM – VICKY CRISTINA BARCELONA
2. COLIN FARRELL – IN BRUGES
3. JAMES FRANCO – PINEAPPLE EXPRESS
4. BRENDAN GLEESON – IN BRUGES
5. DUSTIN HOFFMAN – LAST CHANCE HARVEY
7. BEST ANIMATED FEATURE FILM
1. BOLT
Walt Disney Pictures; Walt Disney Studios Motion Pictures
2. KUNG FU PANDA
DreamWorks Animation SKG; Paramount Pictures
3. WALL-E
Walt Disney Pictures and Pixar Animation Studios; Walt Disney Studios Motion Pictures
Didn't much care for WALL-E either, to be honest (I personally preferred KUNG FU PANDA, my friends), but the robot movie has gotten all the buzz!
8. BEST FOREIGN LANGUAGE FILM
1. THE BAADER MEINHOF COMPLEX (GERMANY)
(DER BAADER MEINHOF KOMPLEX)
Constantin Film Produktion GmbH; Summit Entertainment, LLC
2. EVERLASTING MOMENTS (SWEDEN/DENMARK)
(MARIA LARSSONS EVIGA ÖGONBLICK)
Final Cut Productions Aps; IFC Films
3. GOMORRAH (ITALY)
(GOMORRA)
Fandango; IFC Films
4. I'VE LOVED YOU SO LONG (FRANCE)
(IL Y A LONGTEMPS QUE JE T’AIME)
UGC YM/UGC Images/France 3 Cinema/Integral Film; Sony Pictures Classics
5. WALTZ WITH BASHIR (ISRAEL)
Bridgit Folman Film Gang/Les Films D'Ici/Razor Films/Arte France/ITVS International; Sony Pictures Classics
9. BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A MOTION PICTURE
1. AMY ADAMS – DOUBT
2. PENELOPE CRUZ – VICKY CRISTINA BARCELONA
3. VIOLA DAVIS –DOUBT
4. MARISA TOMEI – THE WRESTLER
5. KATE WINSLET – THE READER
10. BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A MOTION PICTURE
1. TOM CRUISE – TROPIC THUNDER
2. ROBERT DOWNEY JR. –TROPIC THUNDER
3. RALPH FIENNES – THE DUCHESS
4. PHILIP SEYMOUR HOFFMAN – DOUBT
5. HEATH LEDGER – THE DARK KNIGHT
I am not "pity voting" Heath Ledger here; I honestly think he was fantastic! The tie I've put in place is because RDJ is fantastic, too, and I love that he was nom'd.
11. BEST DIRECTOR – MOTION PICTURE
1. DANNY BOYLE – SLUMDOG MILLIONAIRE
2. STEPHEN DALDRY – THE READER
3. DAVID FINCHER – THE CURIOUS CASE OF BENJAMIN BUTTON
4. RON HOWARD – FROST/NIXON
5. SAM MENDES – REVOLUTIONARY ROAD
I haven't seen BUTTON yet, so it's just a stab based on the press/previews.
12. BEST SCREENPLAY – MOTION PICTURE
1. SIMON BEAUFOY – SLUMDOG MILLIONAIRE
2. DAVID HARE – THE READER
3. PETER MORGAN – FROST/NIXON
4. ERIC ROTH – THE CURIOUS CASE OF BENJAMIN
5. JOHN PATRICK SHANLEY – DOUBT
13. BEST ORIGINAL SCORE – MOTION PICTURE
1. ALEXANDRE DESPLAT –THE CURIOUS CASE OF BENJAMIN BUTTON
2. CLINT EASTWOOD – CHANGELING
3. JAMES NEWTON HOWARD – DEFIANCE
4. A. R. RAHMAN – SLUMDOG MILLIONAIRE
5. HANS ZIMMER – FROST/NIXON
Umm...no clue on this one. I've only seen CHANGELING, whose score I don't really remember, except that it was a little dramatic (like Angie), and SLUMDOG, whose score was amazing--especially the Bollywood number at the end--but I want to hear the others before I say anything.
14. BEST ORIGINAL SONG – MOTION PICTURE
1. “DOWN TO EARTH” — WALL-E
Music by: Peter Gabriel, Thomas Newman
Lyrics by: Peter Gabriel
2. “GRAN TORINO” — GRAN TORINO
Music by: Clint Eastwood, Jamie Cullum, Kyle Eastwood, Michael Stevens
Lyrics by: Kyle Eastwood, Michael Stevens
3. “I THOUGHT I LOST YOU” — BOLT
Music & Lyrics by: Miley Cyrus, Jeffrey Steele
4. “ONCE IN A LIFETIME” — CADILLAC RECORDS
Music & Lyrics by: Beyoncé Knowles, Amanda Ghost, Scott McFarnon, Ian Dench, James Dring, Jody Street
5. “THE WRESTLER” — THE WRESTLER
Music & Lyrics by: Bruce Springsteen
Mum for now, see above.
15. BEST TELEVISION SERIES – DRAMA
1. DEXTER (SHOWTIME)
Showtime/John Goldwyn Productions/The Colleton Company/Clyde Phillips Productions
2. HOUSE (FOX)
Universal Media Studios in association with Heel and Toe Films, Shore Z Productions and Bad Hat Harry Productions
3. IN TREATMENT (HBO)
Sheleg, Closest to the Hole Productions in association with HBO Entertainment
4. MAD MEN (AMC)
Lionsgate Television
5. TRUE BLOOD (HBO)
Your Face Goes Here Productions in association with HBO Entertainment
16. BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES – DRAMA
1. SALLY FIELD – BROTHERS AND SISTERS
2. MARISKA HARGITAY –LAW AND ORDER: SPECIAL VICTIMS UNIT
3. JANUARY JONES – MAD MEN
4. ANNA PAQUIN – TRUE BLOOD
5. KYRA SEDGWICK – THE CLOSER
17. BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES – DRAMA
1. GABRIEL BYRNE – IN TREATMENT
2. MICHAEL C. HALL – DEXTER
3. JON HAMM – MAD MEN
4. HUGH LAURIE – HOUSE
5. JONATHAN RHYS MEYERS – THE TUDORS
18. BEST TELEVISION SERIES – COMEDY OR MUSICAL
1. 30 ROCK (NBC)
Universal Media Studios in association with Broadway Video and Little Stranger Inc.
2. CALIFORNICATION (SHOWTIME)
Showtime Presents in association with Aggressive Mediocrity, And Then...
3. ENTOURAGE (HBO)
Leverage and Closest to the Hole Productions in association with HBO Entertainment
4. THE OFFICE (NBC)
Deedle Dee Productions, Reveille LLC, Universal Media Studios
5. WEEDS (SHOWTIME)
Lionsgate Television
19.BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES –COMEDY OR MUSICAL
1. CHRISTINA APPLEGATE – SAMANTHA WHO?
2. AMERICA FERRERA – UGLY BETTY
3. TINA FEY – 30 ROCK
4. DEBRA MESSING – THE STARTER WIFE
5. MARY-LOUISE PARKER – WEEDS
20. BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES – COMEDY OR MUSICAL
1. ALEC BALDWIN – 30 ROCK
2. STEVE CARELL – THE OFFICE
3. KEVIN CONNOLLY – ENTOURAGE
4. DAVID DUCHOVNY – CALIFORNICATION
5. TONY SHALHOUB – MONK
21. BEST MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
1. A RAISIN IN THE SUN (ABC)
Sony Pictures Television
2. BERNARD AND DORIS (HBO
Trigger Street Independent Productions in association with Little Bird and Chicago Films and HBO Films
3. CRANFORD (PBS)
A Co-Production of BBC and WGBH Boston.
4. JOHN ADAMS (HBO)
Playtone in association with HBO Films
5. RECOUNT (HBO)
Spring Creek/Mirage Productions in association with Trigger Street Productions, Everyman Pictures and HBO Films
22. BEST PERFORMANCE BY AN ACTRESS IN A MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
1. JUDI DENCH – CRANFORD
2. CATHERINE KEENER – AN AMERICAN CRIME
3. LAURA LINNEY – JOHN ADAMS
4. SHIRLEY MACLAINE – COCO CHANEL
5. SUSAN SARANDON – BERNARD AND DORIS
23. BEST PERFORMANCE BY AN ACTOR IN A MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
1. RALPH FIENNES – BERNARD AND DORIS
2. PAUL GIAMATTI – JOHN ADAMS
3. KEVIN SPACEY – RECOUNT
4. KIEFER SUTHERLAND – 24: REDEMPTION
5. TOM WILKINSON – RECOUNT
24. BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A SERIES, MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
1. EILEEN ATKINS – CRANFORD
2. LAURA DERN – RECOUNT
3. MELISSA GEORGE – IN TREATMENT
4. RACHEL GRIFFITHS – BROTHERS AND SISTERS
5. DIANNE WIEST – IN TREATMENT
25. BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A SERIES, MINI-SERIES OR MOTION PICTURE MADE FOR TELEVISION
1. NEIL PATRICK HARRIS – HOW I MET YOUR MOTHER
2. DENIS LEARY – RECOUNT
3. JEREMY PIVEN – ENTOURAGE
4. BLAIR UNDERWOOD – IN TREATMENT
5. TOM WILKINSON – JOHN ADAMS
I love Piven as much as the next cat, but I think it's time he pass this award along.
NOMINATIONS BY MOTION PICTURE STUDIOS AND TELEVISION NETWORKS
MOTION PICTURE STUDIOS
Warner Bros. Pictures – 11
Universal Pictures – 9
The Weinstein Company – 8
Fox Searchlight Pictures – 7
Miramax Films – 7
DreamWorks Pictures – 6
Focus Features – 6
Paramount Pictures – 6
Paramount Vantage – 6
BBC Films – 5
Sony Pictures Classics – 4
Walt Disney Studios Motion Pictures – 4
IFC Films – 2
Overture Films – 2
Sony Pictures Releasing – 2
Studio Canal – 2
Pathe – 1
Summit Entertainment, LLC – 1
Village Roadshow – 1
TELEVISION NETWORKS
HBO – 22
SHOWTIME – 8
NBC – 6
ABC – 5
AMC – 5
FOX – 3
PBS – 3
USA NETWORK – 2
CBS – 1
LIFETIME TELEVISION – 1
TNT – 1
NOMINATIONS BY MOTION PICTURE
THE CURIOUS CASE OF BENJAMIN BUTTON – 5
DOUBT – 5
FROST/NIXON – 5
THE READER – 4
REVOLUTIONARY ROAD – 4
SLUMDOG MILLIONAIRE – 4
VICKY CRISTINA BARCELONA – 4
IN BRUGES – 3
THE WRESTLER – 3
BOLT – 2
BURN AFTER READING – 2
CHANGELING – 2
HAPPY-GO-LUCKY – 2
I'VE LOVED YOU SO LONG (IL Y A LONGTEMPS QUE JE T'AIME) – 2
LAST CHANCE HARVEY – 2
MAMMA MIA! – 2
TROPIC THUNDER – 2
WALL-E – 2
BAADER MEINHOF COMPLEX (DER BADDER MEINHOF KOMPLEX) – 1
CADILLAC RECORDS – 1
THE DARK KNIGHT – 1
DEFIANCE – 1
THE DUCHESS – 1
EVERLASTING MOMENTS (MARIA LARSSONS EVIGA ÖGONBLICK) – 1
GOMORRAH (GOMORRA) – 1
GRAN TORINO – 1
KUNG FU PANDA – 1
MILK – 1
PINEAPPLE EXPRESS – 1
RACHEL GETTING MARRIED – 1
WALTZ WITH BASHIR – 1
NOMINATIONS BY TELEVISION SERIES OR PROGRAM
IN TREATMENT – 5
RECOUNT – 5
JOHN ADAMS – 4
30 ROCK – 3
BERNARD AND DORIS – 3
CRANFORD – 3
ENTOURAGE – 3
MAD MEN – 3
BROTHERS AND SISTERS – 2
CALIFORNICATION – 2
DEXTER – 2
HOUSE – 2
THE OFFICE – 2
TRUE BLOOD – 2
WEEDS – 2
24: REDEMPTION – 1
A RAISIN IN THE SUN – 1
AN AMERICAN CRIME – 1
CLOSER, THE – 1
COCO CHANEL – 1
HOW I MET YOUR MOTHER – 1
LAW AND ORDER: SPECIAL VICTIMS UNIT – 1
MONK – 1
SAMANTHA WHO? – 1
THE STARTER WIFE – 1
UGLY BETTY – 1
Source: Hollywood Foreign Press
It's awards season!
And here are the only FIVE awards that really matter:
1. Golden Globes
2. SAGs (Screen Actors Guild)
3. BAFTAs (British Academy of Film and Television Arts)
4. Oscars
5. Emmys
Am I right, ladies? Am I right?
1. Golden Globes
2. SAGs (Screen Actors Guild)
3. BAFTAs (British Academy of Film and Television Arts)
4. Oscars
5. Emmys
Am I right, ladies? Am I right?
mardi 2 décembre 2008
DOUBT
You know who's sexy? Philip Seymour Hoffman. You know who's even sexier? Philip Seymour Hoffman as a priest. Judge me if you will! I am sticking to it. It started sometime around FIRST AND MAIN, a movie that slipped under the radar but is definitely worth a look, especially for PSH's lovable turn as a nebbish writer with a bit of the ol' writer's block (awww). I haven't had a smart crush like my hankering for some Hoffman since Pacey and his butt chin first used four-syllable SAT words in normal conversation on "Dawson's Creek." Talk dirty. Tell me what "perceptible epicenism" means. In fact, I don't even care.
Okay, okay, okay...I don't think PSH is sexy (in this movie). Sorry to start your gag reflex, but I'll be honest--I do usually find him oddly attractive. However, something about him as a man of the cloth eating meat cooked rare while being accused of fornicating with the youth...is not enticing. What DID get me with DOUBT were the leading women. Meryl Streep and Amy Adams were pretty on the money. Both of their characters were such caricatures of the time and the setting, so theatrically cartoonish, that I almost wanted to dismiss the two actresses for over-acting, but every time Meryl's Bronx accent would start to annoy me, or Amy's penchant for tears would get me down (letop5 cries a lot, too), I would realise that that was, in fact, the point. Are they acting hard, or hardly acting? The questions began to arise.
DOUBT centers around a small parochial parish and school in New York a year after JFK's assassination. The school's enjoying the awkward presence of their first black student (woooointegration!) under the chilly-cold stare of their principal, Sister Aloysius, played by the great Meryl. Meryl's young protogee, Sister James (Amy Adams) sees some suspect behavior transpire between PSH and the Black Student and sends word to her superior, who begins a targeted smoke out against the priest in question. She is certain he has done wrong. We don't know left from right. Hijinks do not ensue. But a little bit of heartache does.
The story with DOUBT, if you just saw MILK, is that the whole world is gay, and no one understands. The story with DOUBT, if you didn't see MILK and don't know what "epicenism" means, is probably still perceptible.
At the heart, DOUBT is definitely an example of a stage play eloquently being fit for the screen. At tonight's screening, the Pulitzer-winning playwright cum screenwriter/director of both the stage play and the movie, Mr. John Patrick Shanley (yes, he also wrote CONGO and JOE VERSUS THE VOLCANO), was on hand afterward for an LA Times-led Q&A, during which he impressed me (as I'm sure he was striving to do) with his attention to the historical context of, not only the time period during which his arresting, fictional story took place, but also the era during which he wrote it--in 2004 when the country was swinging between doubt and certainty, confusion and clarity, about the changing political climate. Even now in 2008 this movie's meta-theme is topical: we can, at best, only act with emotion. We are sure, yet unsure. We are wise, yet unwise. We are blue; we are red; we are pink; we are grey. In short, we know nothing! Of course it would take a movie to show us that.
plot: Everyone is scared of nuns.
thought: Way to make Angie run, Meryl.
in five: 4/5
assure yourself: http://doubt-themovie.com/
Okay, okay, okay...I don't think PSH is sexy (in this movie). Sorry to start your gag reflex, but I'll be honest--I do usually find him oddly attractive. However, something about him as a man of the cloth eating meat cooked rare while being accused of fornicating with the youth...is not enticing. What DID get me with DOUBT were the leading women. Meryl Streep and Amy Adams were pretty on the money. Both of their characters were such caricatures of the time and the setting, so theatrically cartoonish, that I almost wanted to dismiss the two actresses for over-acting, but every time Meryl's Bronx accent would start to annoy me, or Amy's penchant for tears would get me down (letop5 cries a lot, too), I would realise that that was, in fact, the point. Are they acting hard, or hardly acting? The questions began to arise.
DOUBT centers around a small parochial parish and school in New York a year after JFK's assassination. The school's enjoying the awkward presence of their first black student (woooointegration!) under the chilly-cold stare of their principal, Sister Aloysius, played by the great Meryl. Meryl's young protogee, Sister James (Amy Adams) sees some suspect behavior transpire between PSH and the Black Student and sends word to her superior, who begins a targeted smoke out against the priest in question. She is certain he has done wrong. We don't know left from right. Hijinks do not ensue. But a little bit of heartache does.
The story with DOUBT, if you just saw MILK, is that the whole world is gay, and no one understands. The story with DOUBT, if you didn't see MILK and don't know what "epicenism" means, is probably still perceptible.
At the heart, DOUBT is definitely an example of a stage play eloquently being fit for the screen. At tonight's screening, the Pulitzer-winning playwright cum screenwriter/director of both the stage play and the movie, Mr. John Patrick Shanley (yes, he also wrote CONGO and JOE VERSUS THE VOLCANO), was on hand afterward for an LA Times-led Q&A, during which he impressed me (as I'm sure he was striving to do) with his attention to the historical context of, not only the time period during which his arresting, fictional story took place, but also the era during which he wrote it--in 2004 when the country was swinging between doubt and certainty, confusion and clarity, about the changing political climate. Even now in 2008 this movie's meta-theme is topical: we can, at best, only act with emotion. We are sure, yet unsure. We are wise, yet unwise. We are blue; we are red; we are pink; we are grey. In short, we know nothing! Of course it would take a movie to show us that.
plot: Everyone is scared of nuns.
thought: Way to make Angie run, Meryl.
in five: 4/5
assure yourself: http://doubt-themovie.com/
mercredi 26 novembre 2008
MILK
I don't want to be wrapped up in the sentimentality of it. I don't, but I am. This movie brought me to tears, probably especially because Prop 8 just passed in California, and I'm still smarting from what I personally, benevolently view as the unfortunate, misguided idiocy of the general public. So on the heels of that historic change enters this film by Gus Van Sant...of course I lost it! But I cried at TARZAN, so are you really surprised here? Show me a gay man weeping in the Castro and, yes, I too shall weep.
But really, in all fairness, I'd like to believe I also shed a salty tear because MILK, the biographical film detailing the rise of California's first (and only?) openly gay political official, Harvey Milk, is actually good. It is historically relevant, and it is masterfully told, with the best use of archive footage since, well, FORREST GUMP. And seeing as Tom Hanks played Forrest and that gay guy in PHILADELPHIA, I'm seeing a trend. It's a loose one, but I think we could play at least one round of "Six Degrees of Kevin Bacon" with it. Tom Hanks played Forrest Gump...which used great archival footage, like MILK...which tells the story of a gay man...like PHILADELPHIA, which stars Tom Hanks! Oops, we're back at square one.
At any rate, there's more to be discussed there. Tom Hanks won an Oscar for his AIDS play in PHILADELPHIA, but his character is now only remembered as "that gay guy from PHILADELPHIA." In MILK, Sean Penn was not "that gay gay." Sean Penn was Harvey Milk. Wait, wait: Sean Penn was Harvey Milk. He hit that nail on the head with precision and perfection. The poster ain't gonna fall from the wall. He was as spot on as Jamie Foxx in RAY as Ray Charles, as Brad Pitt in FIGHT CLUB as Tyler Durden. Van Sant couldn't have chosen a better actor. I want him to win the Oscar--and I'm certain like whoa that he should--but I'm nervous about the Academy's stigma. Do gays get praise in this town? The jury's still out.
Apart from Sean Penn's superb performance (he silently cries alone in the dark, people), the historical perfectionism, employed, I assume, by our prolific director, is pretty awesome. The casting matches to a T, as you will see at the end credits. Every actor looks so similar to the real person they're playing, it's almost hilarious. The only one that doesn't entirely match is James Franco. Mr. Franco, the might-be-gay and definitely hot actor who wowed us in PINEAPPLE EXPRESS, is a little underwhelming in his role as Milk's paramour. His face makes up for it, though, as does Diego Luna's over-acting. It's almost a nice balance. So clearly, Penn was the stand-out performance, and the other actor worth watching in this film is not Franco--it's Emile Hirsch. And should you be surprised? Another faulty round of "Kevin Bacon" is upon us: Penn directed Hirsch in INTO THE WILD; Hirsch stars alongside Penn in MILK...and...that is not how you play this game.
Last note: the tagline of this film is "His life changed history. His courage changed lives." Another one I saw read, "Never blend in." Well, I watched the film early thanks to a press screening, and while waiting in line, my friends and I dreamed up some new taglines:
1. MILK: Does a (political) body good.
2. MILK: Drink it up.
3. MILK: White and creamy.
4. MILK: Don't cry over it.
5. MILK: Got it?
Maybe I'll suggest them to Gus for the DVD.
plot: Gay man fights for equality.
thought: We should also be fighting.
in five: 4/5
drink milk: http://www.filminfocus.com/focusfeatures/film/milk/
But really, in all fairness, I'd like to believe I also shed a salty tear because MILK, the biographical film detailing the rise of California's first (and only?) openly gay political official, Harvey Milk, is actually good. It is historically relevant, and it is masterfully told, with the best use of archive footage since, well, FORREST GUMP. And seeing as Tom Hanks played Forrest and that gay guy in PHILADELPHIA, I'm seeing a trend. It's a loose one, but I think we could play at least one round of "Six Degrees of Kevin Bacon" with it. Tom Hanks played Forrest Gump...which used great archival footage, like MILK...which tells the story of a gay man...like PHILADELPHIA, which stars Tom Hanks! Oops, we're back at square one.
At any rate, there's more to be discussed there. Tom Hanks won an Oscar for his AIDS play in PHILADELPHIA, but his character is now only remembered as "that gay guy from PHILADELPHIA." In MILK, Sean Penn was not "that gay gay." Sean Penn was Harvey Milk. Wait, wait: Sean Penn was Harvey Milk. He hit that nail on the head with precision and perfection. The poster ain't gonna fall from the wall. He was as spot on as Jamie Foxx in RAY as Ray Charles, as Brad Pitt in FIGHT CLUB as Tyler Durden. Van Sant couldn't have chosen a better actor. I want him to win the Oscar--and I'm certain like whoa that he should--but I'm nervous about the Academy's stigma. Do gays get praise in this town? The jury's still out.
Apart from Sean Penn's superb performance (he silently cries alone in the dark, people), the historical perfectionism, employed, I assume, by our prolific director, is pretty awesome. The casting matches to a T, as you will see at the end credits. Every actor looks so similar to the real person they're playing, it's almost hilarious. The only one that doesn't entirely match is James Franco. Mr. Franco, the might-be-gay and definitely hot actor who wowed us in PINEAPPLE EXPRESS, is a little underwhelming in his role as Milk's paramour. His face makes up for it, though, as does Diego Luna's over-acting. It's almost a nice balance. So clearly, Penn was the stand-out performance, and the other actor worth watching in this film is not Franco--it's Emile Hirsch. And should you be surprised? Another faulty round of "Kevin Bacon" is upon us: Penn directed Hirsch in INTO THE WILD; Hirsch stars alongside Penn in MILK...and...that is not how you play this game.
Last note: the tagline of this film is "His life changed history. His courage changed lives." Another one I saw read, "Never blend in." Well, I watched the film early thanks to a press screening, and while waiting in line, my friends and I dreamed up some new taglines:
1. MILK: Does a (political) body good.
2. MILK: Drink it up.
3. MILK: White and creamy.
4. MILK: Don't cry over it.
5. MILK: Got it?
Maybe I'll suggest them to Gus for the DVD.
plot: Gay man fights for equality.
thought: We should also be fighting.
in five: 4/5
drink milk: http://www.filminfocus.com/focusfeatures/film/milk/
AUSTRALIA
I was skeptical from day one. Baz had this whole...class on iTunes, whose title was basically, "How to Make a Movie Like Me." That somehow smacked of desperation. Look, Mr. Luhrmann. In case the multiple award noms didn't teach you, your movies are great, because no one can make them like you. If you're now making a movie that you can teach...you're making the wrong movie.
Welcome to AUSTRALIA. I'm not saying it's a bad place. I'm just saying that if, like me, you watched the previews, trailers and commercials, felt nothing special, and actually got a little grossed out by watching Hugh Jackman and Nicole Kidman make out...you wouldn't be wrong. Yes, it features People Magazine's Sexiest Man of the Year being so hunky it's unreal. Yes, it features letop5's Second Most Frigid Ice Queen (first is Tilda Swinton in THE LION, THE WITCH AND THE WARDROBE...and in real life) actually being less than arcticly arctic. And yes, it features cute children speaking bad English, which is adorable, if education isn't your thing. But sexy, warm and cute subjects do not necessarily add together to make the best cast or the best movie.
Coming in at about two hours too long, AUSTRALIA is an historic ode to the country of misfit ex-Brits circa World War II. Sexism, racial and class tension run rampant in the outback, and combating them all are Hugh and Nicole, droving 2000 heads of cattle, raising an aboriginal child and falling in love along the way. I appreciated the history, that I will say. But AUSTRALIA's story clumps along slowly as Baz tries to weave together three tales: that of Australia's aboriginal heritage, that of Australia's war-torn heritage and that of Baz Luhrmann's quest to make another movie with Nicole Kidman heritage. Every one of these stories might be worth telling but not in the same movie--and especially not in the iTunes-Hollywood bubble where Baz chose to build it. It made for a film heavy with sentimentality, predictability and bad dialogue (Nicole: "Let's go home." / Hugh: "There's no place like it."). And might I add, it made the film take far too long to end? This movie had more false endings than the third installment of LORD OF THE RINGS. Just leave Middle Earth, already! Ride to Faraway Downs before the Japanese or Gollum get here! Or at least before I fall asleep. Again.
plot: Australia's rebirth amidst social upheaval.
thought: Stay for Hugh. Only Hugh.
in five: 2.5/5
Australian epic: http://www.australiamovie.com/
Welcome to AUSTRALIA. I'm not saying it's a bad place. I'm just saying that if, like me, you watched the previews, trailers and commercials, felt nothing special, and actually got a little grossed out by watching Hugh Jackman and Nicole Kidman make out...you wouldn't be wrong. Yes, it features People Magazine's Sexiest Man of the Year being so hunky it's unreal. Yes, it features letop5's Second Most Frigid Ice Queen (first is Tilda Swinton in THE LION, THE WITCH AND THE WARDROBE...and in real life) actually being less than arcticly arctic. And yes, it features cute children speaking bad English, which is adorable, if education isn't your thing. But sexy, warm and cute subjects do not necessarily add together to make the best cast or the best movie.
Coming in at about two hours too long, AUSTRALIA is an historic ode to the country of misfit ex-Brits circa World War II. Sexism, racial and class tension run rampant in the outback, and combating them all are Hugh and Nicole, droving 2000 heads of cattle, raising an aboriginal child and falling in love along the way. I appreciated the history, that I will say. But AUSTRALIA's story clumps along slowly as Baz tries to weave together three tales: that of Australia's aboriginal heritage, that of Australia's war-torn heritage and that of Baz Luhrmann's quest to make another movie with Nicole Kidman heritage. Every one of these stories might be worth telling but not in the same movie--and especially not in the iTunes-Hollywood bubble where Baz chose to build it. It made for a film heavy with sentimentality, predictability and bad dialogue (Nicole: "Let's go home." / Hugh: "There's no place like it."). And might I add, it made the film take far too long to end? This movie had more false endings than the third installment of LORD OF THE RINGS. Just leave Middle Earth, already! Ride to Faraway Downs before the Japanese or Gollum get here! Or at least before I fall asleep. Again.
plot: Australia's rebirth amidst social upheaval.
thought: Stay for Hugh. Only Hugh.
in five: 2.5/5
Australian epic: http://www.australiamovie.com/
ROCKNROLLA
I think things are looking up for Guy Ritchie, now that he's left Madonna. The evidence is in this film, the latest installment in his "the only good movies I can make must involve gangsters" oeuvre. And hey, I'm proud of him. Why wander around in creative darkness trying something new when you can just stick to what you know? Look at Danny Boyle: low-budget is his calling. And apparently anything involving the word "wanker," some guns, animals eating people and a male-centric cast bursting with homosexual undertones belongs to Guy.
Clearly, ROCKNROLLA is great. I'm a super-fan of Guy Ritchie--I admit I even saw SWEPT AWAY, ridiculous--so I know I'm biased, but I freakin loved this movie. It lacks the sharp, albeit slightly Hollywood, wit of SNATCH (which I actually preferred to LOCK, STOCK AND TWO SMOKING BARRELS), but it ain't half bad for a comeback, kid. And might I add: I'm so happy to finally be hitting a good movie streak (does two movies count as a streak?).
ROCKNROLLA centers around an "old school" gangster, Lenny Cole (played brilliantly by Tom Wilkinson), who tries to get rich off new school money--from a Russian, natch. Unfortunately, his estranged stepson, a fearless, coked-out rocknrolla--that is, rock musician of the Pete Doherty or Sid Vicious persuasion--gets in the way and makes business difficult. Star performances go to Gerard Butler, who may soon replace Clive Owen as my favorite beat-up British bad boy (if ol' Clive keeps doing flicks like THE INTERNATIONAL, that is); Tom Hardy, who plays Handsome Bob, the not so closet gay gangster (who might be Guy--I have my inklings); Karel Roden, who plays our cold-as-ice Russian, Uri; Thandie Newton, the lone lass in this heist; and Toby Kebbell, who lost a lick of weight to carry off the part of our nefarious rocknrolla, Johnny Quid. It's a great cast, a confusingly twisted but exciting ride, and--as he has proven he can--Guy carries it off admirably. I'm looking forward to the sequel. That's right, lords and ladies; it's in the works.
plot: Stolen painting creates thug trouble.
thought: Was that Jeremy Piven? And Ludacris?
in five: 3.5/5
rock out: http://rocknrolla.warnerbros.com/
see it in LA: click here
Clearly, ROCKNROLLA is great. I'm a super-fan of Guy Ritchie--I admit I even saw SWEPT AWAY, ridiculous--so I know I'm biased, but I freakin loved this movie. It lacks the sharp, albeit slightly Hollywood, wit of SNATCH (which I actually preferred to LOCK, STOCK AND TWO SMOKING BARRELS), but it ain't half bad for a comeback, kid. And might I add: I'm so happy to finally be hitting a good movie streak (does two movies count as a streak?).
ROCKNROLLA centers around an "old school" gangster, Lenny Cole (played brilliantly by Tom Wilkinson), who tries to get rich off new school money--from a Russian, natch. Unfortunately, his estranged stepson, a fearless, coked-out rocknrolla--that is, rock musician of the Pete Doherty or Sid Vicious persuasion--gets in the way and makes business difficult. Star performances go to Gerard Butler, who may soon replace Clive Owen as my favorite beat-up British bad boy (if ol' Clive keeps doing flicks like THE INTERNATIONAL, that is); Tom Hardy, who plays Handsome Bob, the not so closet gay gangster (who might be Guy--I have my inklings); Karel Roden, who plays our cold-as-ice Russian, Uri; Thandie Newton, the lone lass in this heist; and Toby Kebbell, who lost a lick of weight to carry off the part of our nefarious rocknrolla, Johnny Quid. It's a great cast, a confusingly twisted but exciting ride, and--as he has proven he can--Guy carries it off admirably. I'm looking forward to the sequel. That's right, lords and ladies; it's in the works.
plot: Stolen painting creates thug trouble.
thought: Was that Jeremy Piven? And Ludacris?
in five: 3.5/5
rock out: http://rocknrolla.warnerbros.com/
see it in LA: click here
mardi 25 novembre 2008
Zankou Chicken | dinner
I know! There's 'chicken' in the title, and I'm vegetarian. But just like the maker of a little booze monkey I know as Captain Pepper, a title doesn't always tell the whole story. There's more than "pepper" in that drink, and there's more than just chicken at Zankou Chicken.
Zankous is a chain of Armenian fast food joints in LA that feeds anyone looking for a taste of the motherland (i.e., the Mediterranean region). I'm usually hankering for something from the region. And really, any place that sells hot, fresh falafel for only sixty cents a ball gets my vote. I spent just over five dollars and still had enough mutabbal (that's eggplant hummous) to take home! But eating there, dwelling on the greatness of fresh pita bread and enjoying good conversation...that was good, too. It was quick and delicious. And that hummous? Mmm, Zankou. You have pleased me.
in five: 3/5 (docked 1/2 point due to ambiance?)
yummy in the tummy: http://www.zankouchicken.com/
Zankous is a chain of Armenian fast food joints in LA that feeds anyone looking for a taste of the motherland (i.e., the Mediterranean region). I'm usually hankering for something from the region. And really, any place that sells hot, fresh falafel for only sixty cents a ball gets my vote. I spent just over five dollars and still had enough mutabbal (that's eggplant hummous) to take home! But eating there, dwelling on the greatness of fresh pita bread and enjoying good conversation...that was good, too. It was quick and delicious. And that hummous? Mmm, Zankou. You have pleased me.
in five: 3/5 (docked 1/2 point due to ambiance?)
yummy in the tummy: http://www.zankouchicken.com/
dimanche 16 novembre 2008
slumdog millionaire
THIS is a GREAT film. Go see it. Go, go, go. It is beautiful and revolting and wonderfully fresh like your favorite flavor of saltwater taffy found in the pocket of an old but comfy jacket, halfway out of its wrapper about four weeks after you went to the state fair. Whoa. Disgusting. Gotta eat it. Delicious.
Despite what reports are saying, SLUMDOG is *not* a film about a young man from Mumbai who goes on the hit show "Who Wants to Be a Millionaire?" to impress his girlfriend. No. It's about a kid named Jamal who's been given shit to eat--at times literally--most of his life who goes on a game show to attempt to save the one girl he has ever loved. The part of his love interest, Latika, is clearly played by an Indian model (with some decent acting chops). Our main man has big ears and looks like a virgin. He definitely loves this girl.
SLUMDOG will pick you up, not right at the beginning, but about fifteen minutes in, when young Jamal jumps into the cesspool below a public potty hole (eww) as a sign of affection for his favorite celebrity. From there on, SLUMDOG is a ride you'll believe in. As one of the guards who questions Jamal later in the film intimates, this film makes it "bizarrely plausible" to believe love can conquer all. Oh, don't worry--I'm still a romantic cynic--but as far as cinematic cynicism is concerned, SLUMDOG has temporarily cured me of mine. FINALLY, a good movie. In an out. Not a hitch. Like my festy favorite, KISSES, it is artistically brilliant in its portrayal of "slum" life (or life in the "kiff" as the Irish kids would say), often relying on color to weave the tale on words' behalf. I loved it. And I'm officially expecting a Best Adapted Screenplay nomination for Simon Beaufoy (it's adapted from the Swarup novel "Q and A"), and perhaps a director nod for Danny Boyle, who has officially redeemed himself in my book after the likes of SUNSHINE. Egads.
plot: Anyone can win or lose.
thought: Who doesn't love the underdog?
in five: 4.5/5
for twenty million rupees: http://www.foxsearchlight.com/slumdogmillionaire/
Despite what reports are saying, SLUMDOG is *not* a film about a young man from Mumbai who goes on the hit show "Who Wants to Be a Millionaire?" to impress his girlfriend. No. It's about a kid named Jamal who's been given shit to eat--at times literally--most of his life who goes on a game show to attempt to save the one girl he has ever loved. The part of his love interest, Latika, is clearly played by an Indian model (with some decent acting chops). Our main man has big ears and looks like a virgin. He definitely loves this girl.
SLUMDOG will pick you up, not right at the beginning, but about fifteen minutes in, when young Jamal jumps into the cesspool below a public potty hole (eww) as a sign of affection for his favorite celebrity. From there on, SLUMDOG is a ride you'll believe in. As one of the guards who questions Jamal later in the film intimates, this film makes it "bizarrely plausible" to believe love can conquer all. Oh, don't worry--I'm still a romantic cynic--but as far as cinematic cynicism is concerned, SLUMDOG has temporarily cured me of mine. FINALLY, a good movie. In an out. Not a hitch. Like my festy favorite, KISSES, it is artistically brilliant in its portrayal of "slum" life (or life in the "kiff" as the Irish kids would say), often relying on color to weave the tale on words' behalf. I loved it. And I'm officially expecting a Best Adapted Screenplay nomination for Simon Beaufoy (it's adapted from the Swarup novel "Q and A"), and perhaps a director nod for Danny Boyle, who has officially redeemed himself in my book after the likes of SUNSHINE. Egads.
plot: Anyone can win or lose.
thought: Who doesn't love the underdog?
in five: 4.5/5
for twenty million rupees: http://www.foxsearchlight.com/slumdogmillionaire/
AFI Wrap-Up
Despite my rabid posting, I saw a surprisingly small number of movies during AFI Fest 2008. That's right, I saw a total of...three. Blame Halloween, the elections, and everything else that happened the first week of this month. But here are the two that I liked most, and five facts about them.
UN CONTE DE NOEL (website)
1. translation: "A Christmas Tale"
2. director: Arnaud Desplechin
3. stars: Catherine Deneuve, Mathieu Almaric (also in 007), Emmanuelle Devos
4. premiered: Last May in France; this weekend in the US
5. awards to date: One nomination - Palme d'Or at Cannes 2008
KISSES (article)
1. filmed in: Ireland, Sweden
2. director: Lance Daly
3. why we liked it: Five reasons - 1)The two kids are cute; 2)The bad world in which they live begs our compassion; 3)The use of color or lack thereof to intensify the mood; 4)The unshakable sense of hope; 5)It's kind of funny
4. awards to date: Two - Won "Best Irish Feature" and "Best Irish Feature Film" (what's the difference, exactly?) at the 2008 Galway Film Fleadh
5. when you get to see it: Oh, if only I knew....
So there you have it; the AFI Film Festival. You're welcome. No, but seriously; next year I'll (try to) do better.
--letop5
UN CONTE DE NOEL (website)
1. translation: "A Christmas Tale"
2. director: Arnaud Desplechin
3. stars: Catherine Deneuve, Mathieu Almaric (also in 007), Emmanuelle Devos
4. premiered: Last May in France; this weekend in the US
5. awards to date: One nomination - Palme d'Or at Cannes 2008
KISSES (article)
1. filmed in: Ireland, Sweden
2. director: Lance Daly
3. why we liked it: Five reasons - 1)The two kids are cute; 2)The bad world in which they live begs our compassion; 3)The use of color or lack thereof to intensify the mood; 4)The unshakable sense of hope; 5)It's kind of funny
4. awards to date: Two - Won "Best Irish Feature" and "Best Irish Feature Film" (what's the difference, exactly?) at the 2008 Galway Film Fleadh
5. when you get to see it: Oh, if only I knew....
So there you have it; the AFI Film Festival. You're welcome. No, but seriously; next year I'll (try to) do better.
--letop5
oo7: QUANTUM OF SOLACE
I FELL ASLEEP IN THE MIDDLE. I'm ashamed, but it's the truth. It was a very long day for me, and I really had no business sitting in a dark room in a comfy chair with room to put my feet up. Really no business there at all. But how could I say no to this man? His name is Bond. James Bond. And he is supafly.
I know exactly what made me space, though, and it wasn't Daniel Craig driving an Aston Martin while rocking a custom-fit Tom Ford suit (that, my friends, brought me back). It was the lack of dialogue. Now, Q OF SOLACE, despite the huh?-able title, is actually an easy to understand flick, at the core: Good fights Evil; Good wins. But in watching this film, I found I almost--just a bit--got bored during the fighting. I almost found myself longing for the gotta-keep-up-with-the-jokes Pierce Brosnan days, invisible car and all. Where Craig is brooding, Brosnan was charming. Where Craig raises his eyebrows, Brosnan pursed his lips, raised his eyebrows and cracked a joke. Brosnan had a certain, gentlemanly sexual je-ne-sais-quoi that forgave him his lack of fighting skills. And though Craig has je-ne-sais-do-me in spades, it's the rugged side of him that gets him in the door, not the talking. And to be honest, I miss the talking. Call me a romantic.
But I guess, in casting Craig, the Bond demographic has changed a bit. We obviously want men who watch video games to like this movie most. Dialogue kills the "This Could Be Me" fantasy, so perhaps that's the reason for the silence. But silence aside, Bond and his leading lady, the mysterious Olga Kurylenko, do have some chemistry. Sometimes, between her Russian-cum-Latin accent, I had trouble understanding her, but it was all in the eyes anyway. Interestingly, though the entire audience definitely was waiting for Olga and Bond to hook it up, je-ne-sais-do-me style, the double-oh-sexy romp never happened. You'd think the video gamers would at least want that. Guess they'll have to wait for the sequel.
plot: 007 gets his sweet revenge
thought: letop5 gets a little sleepy
in five: 3.5/5
he's gone rogue: http://www.007.com/
and there's already a video game: http://007thevideogame.com/
I know exactly what made me space, though, and it wasn't Daniel Craig driving an Aston Martin while rocking a custom-fit Tom Ford suit (that, my friends, brought me back). It was the lack of dialogue. Now, Q OF SOLACE, despite the huh?-able title, is actually an easy to understand flick, at the core: Good fights Evil; Good wins. But in watching this film, I found I almost--just a bit--got bored during the fighting. I almost found myself longing for the gotta-keep-up-with-the-jokes Pierce Brosnan days, invisible car and all. Where Craig is brooding, Brosnan was charming. Where Craig raises his eyebrows, Brosnan pursed his lips, raised his eyebrows and cracked a joke. Brosnan had a certain, gentlemanly sexual je-ne-sais-quoi that forgave him his lack of fighting skills. And though Craig has je-ne-sais-do-me in spades, it's the rugged side of him that gets him in the door, not the talking. And to be honest, I miss the talking. Call me a romantic.
But I guess, in casting Craig, the Bond demographic has changed a bit. We obviously want men who watch video games to like this movie most. Dialogue kills the "This Could Be Me" fantasy, so perhaps that's the reason for the silence. But silence aside, Bond and his leading lady, the mysterious Olga Kurylenko, do have some chemistry. Sometimes, between her Russian-cum-Latin accent, I had trouble understanding her, but it was all in the eyes anyway. Interestingly, though the entire audience definitely was waiting for Olga and Bond to hook it up, je-ne-sais-do-me style, the double-oh-sexy romp never happened. You'd think the video gamers would at least want that. Guess they'll have to wait for the sequel.
plot: 007 gets his sweet revenge
thought: letop5 gets a little sleepy
in five: 3.5/5
he's gone rogue: http://www.007.com/
and there's already a video game: http://007thevideogame.com/
dimanche 2 novembre 2008
CHANGELING
I guess it's time to realise that Oscar Season, like Santa Ana season, is upon us. Once you get a woman screaming and crying and Clint Eastwood directing, you know what's up. And we haven't seen Angelina Jolie screaming and crying since...last year's A MIGHTY HEART, and she didn't take the (best) statue home for that, so obviously, she felt the need to squeeze out a few more tears.
Congratulations, Angelina. You can cry on cue. Now, you will lose every fight you have with Brad ("Oh for Pete's sake, turn off the Changeling tears, Ange!"), but you might just get one of the greatest honors to ever be bestowed on an actress in Hollywood: an Oscar...nomination. That's what they say right? "It's an honor to just be nominated?" Start practicing the phrase. Because unless Meryl Streep is awful in DOUBT, Cate Blanchett sucks in THE CURIOUS CASE OF BENJAMIN BUTTON, and Kate Winslet disappoints us twice in REVOLUTIONARY ROAD and THE READER (not freakin likely), a nomination is probably all you're bound to get. But it IS an honor.
In CHANGELING, Clint Eastwood takes us through the familiar trajectory of, "you think THIS is bad? Just you wait!" that we've come to hate/love from his more recent films (see MYSTIC RIVER or MILLION DOLLAR BABY). He slowly introduces us to the true story of a woman whose kidnapped son gets mistakenly returned to her as--get this--another boy. It's an awkward, scary mistake that shouldn't ever happen, and it's completely appalling that it did. That's what draws you in first, the frustration of seeing Angelina's character, Christine Collins, helplessly try to fight against the LAPD. You don't win when you fight the po-po--you lose. But thanks to a Reverend Gustav Briegleb, played by John Malkovich (in a role that has allowed me to forget/forgive his persona in BURN AFTER READING), Christine Collins has a chance. The film is pure Eastwood: raw and emotional and going just a little too far into sadness to make you ever want to see it again.
And despite the jokes, Angelina does put in a solid performance--sure, a bit one-sided with the crying and touching-of-the-lips and the furrowed brow and bouts of screaming and yelling, but she's doing much more, for me as a viewer, in this role than she did in THE GOOD SHEPHERD. In general, it's always a bit hard to get past The Angelina Jolie, the persona, the tattoos, the "I was sexy before I adopted a country of children" part of her, but luckily in this film, Angelina as Serious Actress is starting to emerge. Now if we could just tone down that red lipstick...and/or her lips. There's still work to do.
plot: Give her her son back!
thought: Give me my happiness back!
in five: 3.5/5
Oscar Contender: http://www.changelingmovie.net/
Congratulations, Angelina. You can cry on cue. Now, you will lose every fight you have with Brad ("Oh for Pete's sake, turn off the Changeling tears, Ange!"), but you might just get one of the greatest honors to ever be bestowed on an actress in Hollywood: an Oscar...nomination. That's what they say right? "It's an honor to just be nominated?" Start practicing the phrase. Because unless Meryl Streep is awful in DOUBT, Cate Blanchett sucks in THE CURIOUS CASE OF BENJAMIN BUTTON, and Kate Winslet disappoints us twice in REVOLUTIONARY ROAD and THE READER (not freakin likely), a nomination is probably all you're bound to get. But it IS an honor.
In CHANGELING, Clint Eastwood takes us through the familiar trajectory of, "you think THIS is bad? Just you wait!" that we've come to hate/love from his more recent films (see MYSTIC RIVER or MILLION DOLLAR BABY). He slowly introduces us to the true story of a woman whose kidnapped son gets mistakenly returned to her as--get this--another boy. It's an awkward, scary mistake that shouldn't ever happen, and it's completely appalling that it did. That's what draws you in first, the frustration of seeing Angelina's character, Christine Collins, helplessly try to fight against the LAPD. You don't win when you fight the po-po--you lose. But thanks to a Reverend Gustav Briegleb, played by John Malkovich (in a role that has allowed me to forget/forgive his persona in BURN AFTER READING), Christine Collins has a chance. The film is pure Eastwood: raw and emotional and going just a little too far into sadness to make you ever want to see it again.
And despite the jokes, Angelina does put in a solid performance--sure, a bit one-sided with the crying and touching-of-the-lips and the furrowed brow and bouts of screaming and yelling, but she's doing much more, for me as a viewer, in this role than she did in THE GOOD SHEPHERD. In general, it's always a bit hard to get past The Angelina Jolie, the persona, the tattoos, the "I was sexy before I adopted a country of children" part of her, but luckily in this film, Angelina as Serious Actress is starting to emerge. Now if we could just tone down that red lipstick...and/or her lips. There's still work to do.
plot: Give her her son back!
thought: Give me my happiness back!
in five: 3.5/5
Oscar Contender: http://www.changelingmovie.net/
samedi 25 octobre 2008
tres cool: ENTRE LES MURS [AFI Preview]
Enter the star of the festival. ENTRE LES MURS, or THE CLASS (or literally "Between the Walls"), is the film adaptation of an award-winning novel written by and based on the real-life teaching experiences of François Bégaudeau, a French journalist who played literature teacher for a short time in an inner city middle school in Paris. Interestingly, Bégaudeau is also a movie critic for the French version of Playboy. So what exactly was he teaching these children?
The director, Laurent Cantet, won the Golden Palm (Palm d'Or, the highest prize) at the 2008 Cannes Film festival in May, hence the acclaim of AFI getting a hold of this great film so quickly. Definitely the one I'm most interested in viewing, and definitely going to be a packed showing.
Buy your tickets after reading a few words from AFI:
Laurent Cantet, already a hero to cineastes for his class-strife studies TIME OUT and HEADING SOUTH, breaks into the international spotlight with this Palme d'Or-winning story of Francois who, along with his fellow teachers, is preparing for a new year at a high school in a tough Parisian neighborhood. Armed with the best intentions, these teachers brace themselves against the inevitable discouragement. Can they give their students the best education possible in an unfriendly environment? THE CLASS powerfully presents one high school as a microcosm of contemporary France, with its sometimes explosive cultural and class differences. But this is also a film about everyday heroism. By creating an atmosphere that's neither stuffy nor severe, expecting the highest performance from his students and providing them with the kind of honesty they need and deserve but only rarely encounter, Francois demands success from his students. Of course, faced with the rising standards, some students rebel … Based on the autobiographical novel by Francois Begaudeau, THE CLASS's immediacy and intimacy arises from its use of real students and teachers and from carefully deployed video cameras, which give the story its gritty, street-level feel. And this startling, inspiring story shows Paris like we've never seen it before.
The trailer (in French): http://www.youtube.com/watch?v=Wz5svwJqoVU
Press conference with the director (in French):
The film's website (oh, and you guessed it; it's also in French): http://www.entrelesmurs-lefilm.fr/site/
tres cool: L'HEURE D'ETE [AFI Preview]
Did I say Catherine Deneuve was the female Depardieu? I might correct myself and say Juliette Binoche is fast becoming him. But seeing her earlier this year in DANS PARIS, reminded me how much I like her, even if she is a bit...over-worked, we'll say, and that's why I'm looking forward to SUMMER HOURS. Even better news: this one's a comedy. Well, it's a French comedy.
IMDB says, "Two brothers and a sister witness the disappearance of their childhood memories when they must relinquish the family belongings to ensure their deceased mother's succession." But for a more flourishing synopsis, here are a few words from AFI:
Hélène (Edith Scob) gathers her children and grandchildren at her French country estate to celebrate her 75th birthday. Their gift of a tricky-to-use mobile phone, however, seems to symbolize the 21st-century pressures that are closing in on her precious way of life. The growing sense the exquisite Hélène—the niece of a famous artist—has of her own mortality leads her to bequeath her most valuable artwork and furniture to her closest family: her eldest son Frédéric (Charles Berling), daughter Adrienne (Juliette Binoche) and brother Jérémie (Jérémie Renier). Director Olivier Assayas’s gently beautiful meditation on connection and loss traces the journey of one family’s treasures from their home to their final resting place in glass cases, where they receive only the passing consideration of museumgoers (like Hou Hsiao-hsien’s FLIGHT OF THE RED BALLOON [AFI FEST ’07], SUMMER HOURS was commissioned by the Musée d’Orsay to celebrate its 20th anniversary). As he did in his LATE AUGUST, EARLY SEPTEMBER, Assayas uses elliptical jumps in time and unexpected shifts in perspective to tell an ensemble story in oblique, multilayered fashion. Gradually, carefully, Assayas shows how family ties, even in decent and affectionate families, inevitably erode over time. The haunting late-afternoon melancholy is well served by Eric Gautier’s fluid camera and, combined with Assayas’s confident, inventive storytelling, makes SUMMER HOURS a bittersweet elegy about love and memory and the ways in which we hold them.
Trailer (in French): http://www.youtube.com/watch?v=qzLvHaE64cQ
tres cool: UN CONTE DE NOEL [AFI Preview]
This is the movie I'm second most excited about seeing at this year's festival, among the French entries. Not only does it feature the female counterpart to Gerard Depardieu (that would be Catherine Deneuve, appearing in almost every French film in the past two years, even the animated ones), but it co-stars Mathieu Amalric (of last year's depressing but beautiful LE SCAPHANDRE ET LE PAPILLON, which I saw but about which I apparently failed to write), it's directed by Desplechin AND it opened at the New York Film Festival earlier this month to favorable reviews.
Frankly, given the above, I don't care what it's about. But for those who might, here are a few words from AFI:
AFI FEST honoree Arnaud Desplechin (LA SENTINELLE, MY SEX LIFE … OR HOW I GOT INTO AN ARGUMENT, KINGS AND QUEEN) has demonstrated a knack for working with ensemble narratives. His latest is set during a bittersweet holiday season, when three generations of the Vuillard family gather at their home for what may be the last time. The matriarch, Junon (played with witty cool by Catherine Deneuve), has been stricken by a rare genetic condition. And her adult children, Henri (Mathieu Amalric from MUNICH), Elizabeth (Anne Consigny) and Ivan (Melvil Poupaud of DIARY OF A SEDUCER, BROKEN ENGLISH), and their wives and girlfriends, played by Desplechin regular Emmanuelle Devos and Chiara Mastroianni, are all at each other’s throats, replaying long-simmering resentments about financial misdeeds and thwarted romance. Desplechin mixes and matches dark comedy, psychological anguish and philosophical speculation, creating a world both entertaining and unpredictable. He renders the interaction between characters—their frivolous games, seething resentments and frustrations—so vividly that they seem as familiar as people in our own lives.
And here's the trailer (English version): http://www.imdb.com/video/screenplay/vi979632153/
jeudi 23 octobre 2008
tres cool: L'AIMEE + LA VIE DES MORTS [AFI Preview]
The only thing better than getting to see a movie for free in Fire City is...well, nothing. Maybe getting free popcorn, too? But another treat that ain't half mauvais is getting to see two movies for the price of one. During AFI, I'll get that chance--and so will you, if you buy a ticket to see these two films from Arnaud Desplechin, the great director behind the Emmanuelle Devos starrer ROIS ET REINE as well as LEO, EN JOUANT DANS LA COMPAGNIE DES HOMMES, and another 2008 AFI premiere, UN CONTE DE NOEL.
A few words from AFI:
Two lesser-known works by the master of contemporary French cinema showcase his versatility and explore themes of family and transition: his award-winning debut LA VIE DES MORTS tells the story of a reunion built on a tragedy, and the documentary L'AIMEE reconstructs his own family's past.
Can't find any trailers for these, but regarding L'AIMEE, here's an interview with the director (in French) about the picture: http://www.youtube.com/watch?v=Fn9-v2qY6fM
tres cool: TOKYO! [AFI Preview]
I watched the trailer, and to be honest, I can't tell what this film is about. But it's a compendium of creativity from three great directors: Michel Gondry (SUNSHINE OF THE SPOTLESS MIND), Bong Joon Ho (THE HOST) and Leos Carax (MAUVAIS SANG). IMDB describes the film as "A cinematic triptych of three Tokyo-set stories." I guess that says it all. With these directors at the helm, though, it shouldn't be anything interesting.
A few words from AFI:
This triptych of shorts hover in a state of surrealism that might feel natural only in Tokyo, as auteurs Michel Gondry, Leos Carax and Bong Joon-ho transform elements of the mundane to tantalizing visual aphorisms. Gondry's INTERIOR DESIGN begins when a young man and woman move to Tokyo to pursue (his) dreams of filmmaking. Soon, they are lost in endless grids of towed cars and buildings that “refuse all contact with each other.” Feeling smothered by her boyfriend’s self-proclaimed genius, the heroine’s anxiety escalates until she undergoes an uncanny metamorphosis. In Carax’s MERDE, the delicately woven surface of consumer utopia is ruptured abruptly with the appearance of an otherworldly being from the sewers. His name is Merde. He does not speak our language. The jostling crowds and pervasive media are frenzied as the enfant terrible assaults everything in his path: eating cigarettes, flowers, tipping baby strollers and licking schoolgirls. His acts invoke furor, repulsion and hilarious religious ardor in the masses. Finally, he is incarcerated, but is this the end, or just the beginning? Bong Joon-ho's SHAKING TOKYO treats us to a look into the nest of a hokikomori- a man socially crippled by a spatial ailment that keeps him from leaving the stale security of his home. Then, when an earthquake strikes, Bong asks sadistically, what might happen if a hokikomori fell in love? These stories of individuals whose isolation is exacerbated by their fantastic debilitating urban spaces offer hallucinatory portraits of a city that are fleeting, terrifying and sublime.
-- Aliza Ma
link to teaser/trailer: http://link.brightcove.com/services/link/bcpid1214128517/bctid1541073040
AFI Film Fest French Film Schedule
...in chronological order (see below...way below).
There are five French film screenings. Perhaps they heard I was coming. And hence we have--
LETOP5 SUGGESTS FIVE FRENCH FILMS FOR NOVEMBER (alphabetically):
1. A CHRISMAS TALE (UN CONTE DE NOEL) - stars Catherine Deneuve!
2. THE CLASS (ENTRE LES MURS) - won Palme d'Or at Cannes Film Festival!
3. L'AIMEE + LA VIE DES MORTS - two Desplechin films for the price of one!
4. SUMMER HOURS (L'HEURE D'ETE) - stars a blonde-haired Juliette Binoche!
5. TOKYO! - part one was directed by Michel Gondry!
The AFI show dates and screening times, alas, do overlap here and there, but that's nothing that can't be remedied with some scheduling. You will see them all if you want to, trust.
- A CHRISTMAS TALE shows: Sunday, Nov 2 at 6.45pm & Friday, Nov 7 at 7.30pm
- THE CLASS shows: Sunday, Nov 2 at noon & Saturday, Nov 8 at 10pm
- L'AIMEE and LA VIE DES MORTS shows: Sunday, Nov 2 at 12.45pm
- SUMMER HOURS shows: Saturday, Nov 1 at 3pm & Wednesday, Nov 5 at 7pm
- TOKYO! shows: Saturday, Nov 1 at 3pm & Saturday, Nov 8 at 9.30pm
That is confusing. Well, to satiate your inner croissant-loving francophile, letop5 suggests the following schedule:
1. See TOKYO on Saturday, Nov 1st at 3pm.
2. See L'AIMEE + LA VIE DES MORTS on Sunday, Nov 2nd at noon forty-five.
3. See NOEL on Sunday, Nov 2nd at 7pm.
4. See SUMMER on Wednesday, Nov 5th at 7pm.
5. See CLASS on Saturday, Nov 8th at 10pm.
Voila. Now let me figure out what each of these movies is about. If they're showing at the festival, I assume they're "tres cool." But I guess we'll see.
There are five French film screenings. Perhaps they heard I was coming. And hence we have--
LETOP5 SUGGESTS FIVE FRENCH FILMS FOR NOVEMBER (alphabetically):
1. A CHRISMAS TALE (UN CONTE DE NOEL) - stars Catherine Deneuve!
2. THE CLASS (ENTRE LES MURS) - won Palme d'Or at Cannes Film Festival!
3. L'AIMEE + LA VIE DES MORTS - two Desplechin films for the price of one!
4. SUMMER HOURS (L'HEURE D'ETE) - stars a blonde-haired Juliette Binoche!
5. TOKYO! - part one was directed by Michel Gondry!
The AFI show dates and screening times, alas, do overlap here and there, but that's nothing that can't be remedied with some scheduling. You will see them all if you want to, trust.
- A CHRISTMAS TALE shows: Sunday, Nov 2 at 6.45pm & Friday, Nov 7 at 7.30pm
- THE CLASS shows: Sunday, Nov 2 at noon & Saturday, Nov 8 at 10pm
- L'AIMEE and LA VIE DES MORTS shows: Sunday, Nov 2 at 12.45pm
- SUMMER HOURS shows: Saturday, Nov 1 at 3pm & Wednesday, Nov 5 at 7pm
- TOKYO! shows: Saturday, Nov 1 at 3pm & Saturday, Nov 8 at 9.30pm
That is confusing. Well, to satiate your inner croissant-loving francophile, letop5 suggests the following schedule:
1. See TOKYO on Saturday, Nov 1st at 3pm.
2. See L'AIMEE + LA VIE DES MORTS on Sunday, Nov 2nd at noon forty-five.
3. See NOEL on Sunday, Nov 2nd at 7pm.
4. See SUMMER on Wednesday, Nov 5th at 7pm.
5. See CLASS on Saturday, Nov 8th at 10pm.
Voila. Now let me figure out what each of these movies is about. If they're showing at the festival, I assume they're "tres cool." But I guess we'll see.
mardi 21 octobre 2008
MAX PAYNE
I'm on a streak here, and it's getting irritating. I feel like I haven't seen a good movie--a really good movie, not a Ricky Gervais movie--in months. But I guess I really should blame myself. Not everything free is good for you, letop5. Do prositutes pay for syphilis? And what was I expecting from this flicka anyway? Well, I wasn't expecting good. But there are bad movies...and then there's MAX PAYNE.
I read somewhere--and the source currently escapes me--that Matt Whalberg reputedly called MAX PAYNE the favorite of all the movies he has ever filmed. And I love me some Marky Mark and definitely a heap of Entourage, but if that's really what he thinks, frankly, I think he's insane.
The story was simple, to the point--which is good in an action flick: man tries to avenge wife's death by becoming a night-prowling, crime-fighting, bad-guy-killing vigilante. But the simple story was delivered so vapidly, with awful dialogue, little to no emotional depth from our lead (sorry Marky!), and--wait, what was I expecting? I'm done talking about story. But to boot, the CG effects were weak sauce Matrix re-dubs, unimpressive and oft cartoonish. So it was neither fun to listen to nor fun to watch.
I try to keep in mind that most video game-to-movie adaptations suck. Apart from TOMB RAIDER--which I'm guessing was only good because a digital femme fatale with cartoonisly perky boobs who mercilessly slays mummies WOULD effectively win the hearts of sexless male critics the world over all just itching for an interview with the leading lady)--yeah, apart from TOMB RAIDER, which I missed, I've seen the likes of MORTAL KOMBAT and DOUBLE DRAGON (yet thankfully skipped the likes of DOOM, FINAL FANTASY and STREET FIGHTER), and they were pretty awful. I know we've got RESIDENT EVIL in there, which has sustained a pretty hefty cult following, but as a whole...in general...video games should stay video games. Maaaaaaybe become graphic novels. In truth, I would say think twice before hitting the big screen, but since MAX PAYNE actually flew in at #1 this weekend, really I don't know what I'm talking about. Do I smell a sequel?
Well. I don't know how long the Payne story continues as a video game series, but personally, it's one I hope never to have to check out again.
plot: Man questions why wife died.
thought: I question why I stayed.
in five: 1.5/5
see Payne, feel payne: http://www.maxpaynethemovie.com/
I read somewhere--and the source currently escapes me--that Matt Whalberg reputedly called MAX PAYNE the favorite of all the movies he has ever filmed. And I love me some Marky Mark and definitely a heap of Entourage, but if that's really what he thinks, frankly, I think he's insane.
The story was simple, to the point--which is good in an action flick: man tries to avenge wife's death by becoming a night-prowling, crime-fighting, bad-guy-killing vigilante. But the simple story was delivered so vapidly, with awful dialogue, little to no emotional depth from our lead (sorry Marky!), and--wait, what was I expecting? I'm done talking about story. But to boot, the CG effects were weak sauce Matrix re-dubs, unimpressive and oft cartoonish. So it was neither fun to listen to nor fun to watch.
I try to keep in mind that most video game-to-movie adaptations suck. Apart from TOMB RAIDER--which I'm guessing was only good because a digital femme fatale with cartoonisly perky boobs who mercilessly slays mummies WOULD effectively win the hearts of sexless male critics the world over all just itching for an interview with the leading lady)--yeah, apart from TOMB RAIDER, which I missed, I've seen the likes of MORTAL KOMBAT and DOUBLE DRAGON (yet thankfully skipped the likes of DOOM, FINAL FANTASY and STREET FIGHTER), and they were pretty awful. I know we've got RESIDENT EVIL in there, which has sustained a pretty hefty cult following, but as a whole...in general...video games should stay video games. Maaaaaaybe become graphic novels. In truth, I would say think twice before hitting the big screen, but since MAX PAYNE actually flew in at #1 this weekend, really I don't know what I'm talking about. Do I smell a sequel?
Well. I don't know how long the Payne story continues as a video game series, but personally, it's one I hope never to have to check out again.
plot: Man questions why wife died.
thought: I question why I stayed.
in five: 1.5/5
see Payne, feel payne: http://www.maxpaynethemovie.com/
jeudi 16 octobre 2008
letop5 presents...2008 AFI Film Festival
Clearly, clearly, clearly--and at least from everything that is evident about me from any number of my online haunts--clearly, I am a Francophile. Francophile, cinephile, not a pedophile, maybe a bit of a food-o-phile (otherwise known as a "foodie")...yeah, my vices are evident. Film, food and France, mostly. No porn, just movie trailers.
And hence, AFI Fest is going to be my addiction at the end of the month. Not only does it feature two of my vices (France and film) in tandem, on repeat, for about a week, but it also is mostly showing at the Gritwood ArcLight, and I think we know of a couple not-too-shabby food spots in the area. Baja Fresh, for one! <---That's a joke.
But I'm going to start profiling the French films showing at this year's AFI Fest, should any of you potential readers and perusers be so artistically curious. If you read about one you like, holla at a girl, 'cause you better believe I'll be ready to see it. For starters, here's a tip for you:
- See THE CLASS (en fait, il s'appelle ENTRE LES MURS) with UCLA Extension: http://www.uclaextension.edu/emailblasts/9461A.html
We'll be in touch.
mercredi 15 octobre 2008
Bootie SF | party
Want to get out of Fire City at the start of Santa Ana season (yes) and visit a place where you can dance past 2am, not get lurped on by the sexually deviant but still have a great, great time (because who doesn't like a wee bit o' lurping)? Drive or fly to the cities that host Bootie.
Please note: "Bootie," is not a reference to badonkadonk butt.
"Bootie" is basically a nickname for "kick-ass-bootleg-mash-up-party." And it's a celebreezy of epic musical proportions. Not quite legal but 100% fantastic fun. Get in before 10pm, and it's cheap fun at $6 entry in TownCity. The people may not be as pretty as a Hollywood hang, but the bouncers are considerably nicer, and the mood considerably more chill. Or is it "chiller"?
I was in NorCal over the weekend attending a great, great university's great, great homecoming, and in between the Alumni Club's open bar and me completely losing my voice, the friends and I made a petite trek to Town City to attend Bootie SF. Yes, it's another event worth extolling whose moniker bares the name of a previously nick-named city on my roster. And it happens bi-monthly at DNA Lounge on the club side of Town.
It was "French Revolution" at this Bootie party, meaning we had a cute DJ from the Bootie Paris clique. He spun cool tracks, featuring the following so artistically well:
1. Jay-Z (99 Problems) vs. Nena (99 Red Balloons)
2. "Phantom on the Bottom" - The Lady Tigra (Bass on the Bottom) vs. Justice (Phantom)
3. "Dance Dreams" - Lady Gaga (Just Dance) vs. Eurythmics (Sweet Dreams)
4. "Paper Rump" - Wreckx-N-Effect (Rumpshaker) vs M.I.A. (Paper Planes)
5. "Detox" - Amy Winehouse (Rehab) vs. Britney Spears (Toxic)
And through one part of the show, DJ Comar was joined by the accented rapping of a French gentleman known as Grandpamini, one of Paris' biggest bootie artists, who kept asking "Is it you want to make the noise?!" Who doesn't love that?
I found out with a little research that Bootie travels. Boston, Munich, Paris, NYC, LA. Never been to Munich...or NYC or Boston for that matter. Looks like now I've got a reason to wander! Why doesn't Southwest fly internationally?
Shake that: http://www.bootiesf.com/
Please note: "Bootie," is not a reference to badonkadonk butt.
"Bootie" is basically a nickname for "kick-ass-bootleg-mash-up-party." And it's a celebreezy of epic musical proportions. Not quite legal but 100% fantastic fun. Get in before 10pm, and it's cheap fun at $6 entry in TownCity. The people may not be as pretty as a Hollywood hang, but the bouncers are considerably nicer, and the mood considerably more chill. Or is it "chiller"?
I was in NorCal over the weekend attending a great, great university's great, great homecoming, and in between the Alumni Club's open bar and me completely losing my voice, the friends and I made a petite trek to Town City to attend Bootie SF. Yes, it's another event worth extolling whose moniker bares the name of a previously nick-named city on my roster. And it happens bi-monthly at DNA Lounge on the club side of Town.
It was "French Revolution" at this Bootie party, meaning we had a cute DJ from the Bootie Paris clique. He spun cool tracks, featuring the following so artistically well:
1. Jay-Z (99 Problems) vs. Nena (99 Red Balloons)
2. "Phantom on the Bottom" - The Lady Tigra (Bass on the Bottom) vs. Justice (Phantom)
3. "Dance Dreams" - Lady Gaga (Just Dance) vs. Eurythmics (Sweet Dreams)
4. "Paper Rump" - Wreckx-N-Effect (Rumpshaker) vs M.I.A. (Paper Planes)
5. "Detox" - Amy Winehouse (Rehab) vs. Britney Spears (Toxic)
And through one part of the show, DJ Comar was joined by the accented rapping of a French gentleman known as Grandpamini, one of Paris' biggest bootie artists, who kept asking "Is it you want to make the noise?!" Who doesn't love that?
I found out with a little research that Bootie travels. Boston, Munich, Paris, NYC, LA. Never been to Munich...or NYC or Boston for that matter. Looks like now I've got a reason to wander! Why doesn't Southwest fly internationally?
Shake that: http://www.bootiesf.com/
mercredi 8 octobre 2008
I am my own Urban Dictionary III
Term: Thumbelina complex
**This one I had some help on from a friend we'll call Summer Home (she's from California...she lives with her parents).**
Definition: A colloquial term describing an alleged type of inferiority complex which is said specifically to affect physically short, usually single women, making them strangely hostile to members of both sexes. In short (ho hum, what a pun), a very short girl with a persistent bad attitude probably suffers from Thumbelina complex. Named in honor of the small, adorable yet unfortunately beleaguered heroine of the Hans Christian Anderson children's story, Thumbelina.
Usage 1: Her flatmate has the worst Thumbelina Complex. [implies the girl is hostile and short]
Usage 2: Don't get on her bad side; she's a bit of a Thumbelina. [implies the girl might shank you, albeit in the leg]
**This one I had some help on from a friend we'll call Summer Home (she's from California...she lives with her parents).**
Definition: A colloquial term describing an alleged type of inferiority complex which is said specifically to affect physically short, usually single women, making them strangely hostile to members of both sexes. In short (ho hum, what a pun), a very short girl with a persistent bad attitude probably suffers from Thumbelina complex. Named in honor of the small, adorable yet unfortunately beleaguered heroine of the Hans Christian Anderson children's story, Thumbelina.
Usage 1: Her flatmate has the worst Thumbelina Complex. [implies the girl is hostile and short]
Usage 2: Don't get on her bad side; she's a bit of a Thumbelina. [implies the girl might shank you, albeit in the leg]
mardi 7 octobre 2008
RACHEL AT THE WEDDING
Ooooooh man. I paid $14.50 to see this movie.
The venue was an old, fabulous fave, the same Arclight in Gritwood where I saw THE DARK KNIGHT a few months back and ATONEMENT with James "hot" McAvoy in the flesh a few months even before that. But the Light is far from me, and gotta admit I wouldn't have made the journey--or paid the money--if it wasn't for the face that the slightly cheaper, nearer upscale half-indy cinema option on the Westside was sold out. Sold out. Sold out at a sowing of the Most Random Movie of the Year. Congrats, RACHEL, you just got that award. And with my shoddy luck this upcoming awards season, I fear we haven't seen the last of you.
RACHEL (and her wedding) was bizarre, colorful, weird. It was the shakiest hand-held camera work since that drippy nose scene in BLAIR WITCH--which I didn't see for a reason--except it had more musicians. Weird musicians. Not only did RACHEL have the most antagonisingly monotonous scoring since THERE WILL BE BLOOD, but its plot was off, too. It felt...real and yet fake at the same time. Like...I felt like I was in this movie, at this wedding. But in the '60s. This progressive white woman was marrying a big, jazz-playin' black man who wore glasses with tinted frames Lennon-style, ALL THE TIME, while a gigantic dog roamed the premises, everyone wore Indian saris and shouted "L'Chaim!", musicians kept house by playing around the clock, an old white woman spun hip-hop on her turn tables (yes, this all happened), and I kept begging the minister and the violinist to cut to the chase already and make the whole ceremony end so I could get back to watching new episodes of "Happy Days." Problem was, this movie, I'm pretty sure, takes place in present day. That is, in 2008. And that made it the most eclectic upper middle class slice of life since THE ROYAL TENENBAUMS, but with a stark lack of everything that makes that film so humorous. Put in a little more drug abuse, a few more suicide attempts, some bad--really bad--violin...and take out Angelica Huston, Bill Murray, Luke Wilson and well, everyone from that cast...and sit in one of those teacups at Disneyland right after eating runny scrambled eggs...and then take a depressant...and you've got RACHEL AT THE WEDDING.
Now, I should tip my hat to Ms. Hathaway, our leading lady (whose character's name, might I add, is K-Y-M, Kym. Pronounced Kim. Spelt Kym. Detail that went over everyone's heads until the end credits...but after seeing this movie, of COURSE it was spelt that way). Her acting was pretty solid, as was the rest of the cast. When she first stumbled on the scene with un-pretty short hair but with a cigarette hanging from her almost Jolie-pretty pout, I immediately thought, "Miscast." Sorry, Anne. I thought the same thing in BROKEBACK, too. But by the time she'd blinked back a few tears while a violin whined in the background, I thought, "Wow, you're pretty good at this whole acting thing." She impressed me--about halfway through the movie and then onward until the end--as did the rest of the cast, all who brilliantly seemed to step into the tragic lives of the parts they played so seamlessly, I often forgot I was watching a movie at all, as I said, and instead felt, at times, that I had somehow...unfortunately...fallen right into their lives. Luckily that wasn't the case.
plot: Dysfunctional family seeks no therapy.
thought: Please don't release a soundtrack.
in five: 2.5/5 (the acting was raw and real, and that's what raised it...from a 2 to a 3, but the randomness of everything else brought it back down)
tune in or out: http://www.sonyclassics.com/rachelgettingmarried/
The venue was an old, fabulous fave, the same Arclight in Gritwood where I saw THE DARK KNIGHT a few months back and ATONEMENT with James "hot" McAvoy in the flesh a few months even before that. But the Light is far from me, and gotta admit I wouldn't have made the journey--or paid the money--if it wasn't for the face that the slightly cheaper, nearer upscale half-indy cinema option on the Westside was sold out. Sold out. Sold out at a sowing of the Most Random Movie of the Year. Congrats, RACHEL, you just got that award. And with my shoddy luck this upcoming awards season, I fear we haven't seen the last of you.
RACHEL (and her wedding) was bizarre, colorful, weird. It was the shakiest hand-held camera work since that drippy nose scene in BLAIR WITCH--which I didn't see for a reason--except it had more musicians. Weird musicians. Not only did RACHEL have the most antagonisingly monotonous scoring since THERE WILL BE BLOOD, but its plot was off, too. It felt...real and yet fake at the same time. Like...I felt like I was in this movie, at this wedding. But in the '60s. This progressive white woman was marrying a big, jazz-playin' black man who wore glasses with tinted frames Lennon-style, ALL THE TIME, while a gigantic dog roamed the premises, everyone wore Indian saris and shouted "L'Chaim!", musicians kept house by playing around the clock, an old white woman spun hip-hop on her turn tables (yes, this all happened), and I kept begging the minister and the violinist to cut to the chase already and make the whole ceremony end so I could get back to watching new episodes of "Happy Days." Problem was, this movie, I'm pretty sure, takes place in present day. That is, in 2008. And that made it the most eclectic upper middle class slice of life since THE ROYAL TENENBAUMS, but with a stark lack of everything that makes that film so humorous. Put in a little more drug abuse, a few more suicide attempts, some bad--really bad--violin...and take out Angelica Huston, Bill Murray, Luke Wilson and well, everyone from that cast...and sit in one of those teacups at Disneyland right after eating runny scrambled eggs...and then take a depressant...and you've got RACHEL AT THE WEDDING.
Now, I should tip my hat to Ms. Hathaway, our leading lady (whose character's name, might I add, is K-Y-M, Kym. Pronounced Kim. Spelt Kym. Detail that went over everyone's heads until the end credits...but after seeing this movie, of COURSE it was spelt that way). Her acting was pretty solid, as was the rest of the cast. When she first stumbled on the scene with un-pretty short hair but with a cigarette hanging from her almost Jolie-pretty pout, I immediately thought, "Miscast." Sorry, Anne. I thought the same thing in BROKEBACK, too. But by the time she'd blinked back a few tears while a violin whined in the background, I thought, "Wow, you're pretty good at this whole acting thing." She impressed me--about halfway through the movie and then onward until the end--as did the rest of the cast, all who brilliantly seemed to step into the tragic lives of the parts they played so seamlessly, I often forgot I was watching a movie at all, as I said, and instead felt, at times, that I had somehow...unfortunately...fallen right into their lives. Luckily that wasn't the case.
plot: Dysfunctional family seeks no therapy.
thought: Please don't release a soundtrack.
in five: 2.5/5 (the acting was raw and real, and that's what raised it...from a 2 to a 3, but the randomness of everything else brought it back down)
tune in or out: http://www.sonyclassics.com/rachelgettingmarried/
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