Top Ten and Hollmann Awards: The Finale

Ah, once again, I've bitten off more than I can chew. It's already March, the Oscars are over, so there's no reason to stay in 2012 for much longer. My Top Three are reviewed below in the Best Picture column, but let's gaze first at Makeup, Supporting Actress and Art Direction:

Top Ten: Django Unchained

This year for the Hollmann Awards, we're counting down my Top Ten of the Year -- one entry per day, coupled with two categories -- leading up the naming of Best Picture of the Year.

#4. Django Unchained 

dir: Quentin Tarantino

wr: Quentin Tarantino

cin: Robert Richardson

Django Unchained caught a lot of controversy since before its release. It's Quentin Tarantino giving the spaghetti western treatment to slavery in pre-Civil War America, sooooo yeah. Things were going to get testy. There's the constant use of THAT WORD, the near-silence of Django's apparently exceptional wife, the appearance of the white guys getting more to say and do than the supposed hero*. And there have been some good arguments made against the movie, but...well, obviously, I disagree.

Top Ten: Moonrise Kingdom

This year for the Hollmann Awards, we're counting down my Top Ten of the Year -- one entry per day, coupled with two categories -- leading up the naming of Best Picture of the Year.

#8. Moonrise Kingdom

dir: Wes Anderson

wr: Wes Anderson/Roman Coppola

cin: Robert D. Yeoman

Moonrise Kingdom, like many of the films on this list, came with a lot on its shoulders. In this case, it wasn't festival hype or a franchise anniversary, but merely the fact that every new film by a respected auteur is met with baited breath, apologists and schadenfreude enthusiasts. Wes Anderson is especially prone to these, I feel, because his films come prepackaged with an upfront artifice that can come off as "twee", if not a way of holding real emotions and conflicts at arm's length. It's understandable to fear that the lost-in-time aesthetic utilized so beautifully in The Royal Tenenbaums would wear thin eventually.

And yet, Moonrise Kingdom may be the best film he's ever made. This time around, the retro designs and stylized miniatures add further depth to the story of a summer romance between an orphaned boy scout (Jared Gilman) and a lonely local girl (Kara Hayward). They're in that bizarre stage of pre-adolescence where they're having these feelings and puttering around with the physical aspect, yet still maintaining a degree of innocence and naivete that leads to fish-hook earrings and packing late library books as survival supplies. Anderson wisely guides the child actors into very serious performances, never overplaying the kid aspects, but treating them as mini-adults -- which, of course, all kids think they are. They are confident even when caught.

Crystal Ball, Golden Trophy

With Oscar nominations happening in just 4 and a half hours, it's time to join the chorus of bloggers and predict! The nominees!
I know 1:00AM PST may seem a little late to jump on this bandwagon, but it's fine. You'll be up early to watch the nominations live anyway, so I just became the most relevant Oscarologist.

Without any further ado....

BEST PICTURE

I've never seen a season like this before. Were there only five slots open, I know exactly who I'd pick, but there aren't. Anywhere from five to ten films could be nominated, based on voters' passion -- and if Extremely Loud & Incredibly Close could get in last year, what could stop The Best Exotic Marigold Hotel?

So, let me think of the films that I absolutely could not imagine being left off the role call:

ARGO

LIFE OF PI

LINCOLN

LES MISERABLES

SILVER LININGS PLAYBOOK

ZERO DARK THIRTY

As well as anything I imagine will get in based on passion, visibility, etc.:

BEASTS OF THE SOUTHERN WILD

DJANGO UNCHAINED

MOONRISE KINGDOM

Making nine nominees for Best Picture, at most. By the way, if there were only five nominees, I would expect Life of Pi to miss from those first six.

BEST DIRECTOR 

Now what? The DGA nominations have only repeated six times in Oscar History - 1977, 1981, 1998, 2002, 2005 and 2009. You'll notice that half of those instances is within the last ten years. I hope -- I need -- a Tarantino or an Anderson (either, really) to make it in, but I have this awful fear that yesterday's dull line-up is destined to repeat tomorrow morning.

These predictions, and more, after the jump:

Another Guilds Group, Another Show...

Yet another guild has announced, and it's a favorite of mine: THE WRITERS GUILD! The Writers Guild is fun because every year they have a list of potential Oscar frontrunners that are deemed ineligible for their own prize, mostly something to do with registration or lack of guild membership or yada-yada-yada. For instance, Quentin Tarantino, one of the most distinct voices in screenwriting ever, has never been up for a WGA award because he refuses to join the guilds. That's a heads up, by the way: you won't find Django Unchained here, but don't expect that to impact its Oscar chances.
Because of this rule, though, we get to see work that otherwise wouldn't be so honored up for a nomination! And while no one wants to get in due to a technicality (ex.: no one wants to be crowned Mt. Rose American Teen Princess because of an exploding swan), they get to put "award-nominated screenwriter" on their resume. You know that's gotta feel good.

Producers to the Left, Art Directors to the Right

The Producers' Guild surprised everyone by announcing their nominees a day (or two?) early. Here are their nominees:

So Long, 2012: The Best of the Year

Here is the beginning of my post.

Since 2008, I have posted the rankings of my favorite films of the year on the last day of the year. At first, it was just a Top Ten, but since 2009, I have compiled a Top 25. Why? Because I usually love more movies than I dislike; I have no real genre bias, nor do I differentiate between love for a wacky comedy, an Oscar contender, or Speed Racer. It's about what carries me off, lifts me off my seat and into the world of the film itself, forgetting for those two hours (or, increasingly, two and a half hours) that I am Walter Hollmann, blogger/movie theater employee. It's about what films remind me of why my best friend and I call ourselves Cinemaniacs.

Last year, I saw 82 films, and the result was a Top Ten that looked like this:

1. Tinker, Tailor, Soldier, Spy

2. Drive

3. Super 8

4. Midnight in Paris

5. Young Adult

6. Contagion

7. The Ides of March

8. We Need to Talk About Kevin

9. Beginners

10. Anonymous

This year, I have seen a whopping 103 films, my best ever!

(more after the jump)

Globes Giveth (Kidman), Globes Taketh (Knightley)

SONG

For You - Act of Valor

Safe and Sound - The Hunger Games

Suddenly - Les Miserables

Skyfall - Skyfall

Not Running Anymore - Stand Up Guys

Stand Up Guys? The Taylor Swift song from Hunger Games? Act of Valor? Guys, the only proper response to the HFPA is limitless adoration.

SCORE

Anna Karenina - Dario Marianelli

Argo - Alexandre Desplat

Cloud Atlas - Johnny Klimek/Reinhold Heil/Tom Tykwer

Life of Pi - Mychael Danna

Lincoln - John Williams

Finally, some love for Cloud Atlas! All very strong contenders; expect win for Karenina, Atlas or Pi. 

SCREENPLAY

Mark Boal, Zero Dark Thirty

Tony Kushner, Lincoln

David O. Russell, Silver Linings Playbook

Quentin Tarantino, Django Unchained

Chris Terrio, Argo

Your usual suspects, with two counting as original (Zero, Django), and three as adapted. Still think Silver Linings Playbook is weak in the script department, but I better get used to this.

BEST ACTOR IN A MUSICAL/COMEDY

Jack Black, Bernie

Bradley Cooper, Silver Linings Playbook

Hugh Jackman, Les Miserables

Ewan McGregor, Salmon Fishing in the Yemen

Bill Murray, Hyde Park on Hudson

Surprised that Hyde Park on Hudson can be considered a movie; especially depressing considering that Tommy Lee Jones' performance in Hope Springs goes unrecognized. Abandoned by SAG, the BFCA, and now the HFPA. Woe to the man who does not campaign for the pre-September release.

BEST SUPPORTING ACTOR

Alan Arkin, Argo

Leonardo DiCaprio, Django Unchained

Philip Seymour Hoffman, The Master

Tommy Lee Jones, Lincoln

Christoph Waltz, Django Unchained

Arkin, Hoffman and Jones are definite locks at this point, but Globes switch it up a bit by nominating both DiCaprio and Waltz for Django. I'm surprised they didn't go for De Niro in Silver Linings, but they do love their Tarantino actors.

BEST ACTRESS - DRAMA

Jessica Chastain, Zero Dark Thirty

Marion Cotillard, Rust and Bone

Helen Mirren, Hitchcock

Naomi Watts, The Impossible

Rachel Weisz, The Deep Blue Sea

Emmanuelle Riva looking more and more like the outsider looking in...unless she winds up as the surprise nominee come January 10. Keira Knightley's incredible performance in Anna Karenina is officially KIA. If she can't get support from the Globes, there's no hope left. Glad for Cotillard, though. And how about that Rachel Weisz!

BEST SUPPORTING ACTRESS

Amy Adams, The Master

Sally Field, Lincoln

Anne Hathaway, Les Miserables

Helen Hunt, The Sessions

Nicole Kidman, The Paperboy

NICOLE KIDMAN. Oh my God, this is actually happening!

BEST ACTRESS - MUSICAL/COMEDY

Emily Blunt, Salmon Fishing in the Yemen

Judi Dench, The Best Exotic Marigold Hotel

Jennifer Lawrence, Silver Linings Playbook

Maggie Smith, Quartet

Meryl Streep, Hope Springs

Yeah, I had a feeling Salmon Fishing would be their cup of tea, showing up both here and in Actor. Dench, Lawrence and Streep were givens, but I see they made up to Smith for not nominating her in Supporting Actress. She actually is delightful in Quartet, but Hoffman (or his editor or someone) chose to cut away from a lot of her beats, undercutting some of her performance. 

BEST PICTURE - MUSICAL/COMEDY

The Best Exotic Marigold Hotel

Les Miserables

Moonrise Kingdom

Salmon Fishing in the Yemen

Silver Linings Playbook

BEST ACTOR - DRAMA

Daniel Day-Lewis, Lincoln

Richard Gere, Arbitrage

John Hawkes, The Sessions

Joaquin Phoenix, The Master

Denzel Washington, Flight

It's official -- the HFPA likes The Master more than SAG.

BEST DIRECTOR

Ben Affleck, Argo

Kathryn Bigelow, Zero Dark Thirty

Ang Lee, Life of Pi

Steven Spielberg, Lincoln

Quentin Tarantino, Django Unchained

BEST PICTURE - DRAMA

Argo

Django Unchained

Life of Pi

Lincoln

Zero Dark Thirty

Well, of course the best-directed films must be the dramas! Held out hope for a nod for Wes Anderson, but screenplay was already crowded and he was a longshot for director. No nod for Tom Hooper, either, which is a surprise considering Les Miserables was the supposed front-runner a week ago.

I'm grateful for Dench, Cotillard, Team Lincoln, Moonrise Kingdom and Nicole Kidman. I'm burning a candle for Anna Karenina and Cloud Atlas, two masterpieces that are more than their scores (not to look that gift horse in the mouth, though: deserved noms, both).

First Half of 2012: The Favorites

It's probably about time we get to finishing the Halfway Point Review...since it's almost August and all. When last we met, I went over twenty-four films that I hated, forgot, or just liked all right. The majority of films, of course, fall into the middle ground, a fact that seems lost in the insta-judgments you find on the Internet. But there are always films that stand up above the rest. They may not be better than the others, but they connected with me more, and I feel a desire to see them again (The Devil Inside almost made it here).

So, the sixteen 2012 films released between January and June that I will make a point to re-watch are:

Just Made It

Mirror, Mirror
Much as I liked Snow White and the Huntsman, Tarsem's earlier-released, family-friendly fantasy was more tonally consistent, more solid in its storytelling, with a more game ensemble. Armie Hammer's the stand-out, but this is not to give short shrift to adorable Lily Collins and the dwarf ensemble, each one distinct and charming.

Guilty Pleasures
This Means War
Chemistry between the actors, confident direction, tight editing. Fun time.

What to Expect When You're Expecting
I'm a little surprised that this one made it this far, but the heart wants what it wants. While not the most brilliantly-written or beautifully-acted ensemble film (actually, some parts are just plain terrible), there's no denying its effectiveness when it works. Elizabeth Banks, Rodrigo Santoro and Anna Kendrick are all delivering, performance-wise, but one should also credit the writers for the sudden quality in crafting these more complex characters.

Great Stuff

The Avengers
Marvel's multi-million dollar gamble paid off, with a great bit of that due to Joss Whedon's expert handling of an ensemble. You don't have to travel far on the Internet to find tracts praising Whedon and his actors; suffice it to say that, with one or two exceptions, I agree wholeheartedly. Alan Silvestri's invigorating score, too, is worthy of honors.

The Best Exotic Marigold Hotel
I've written about this film before, so let me just briefly reiterate that it's a slight but delightful charmer anchored by solid turns from Judi Dench, Maggie Smith and Tom Wilkinson. And those costumes!

The Cabin in the Woods
Clever, funny, and more than a bit gory: just the way I like it! A fun deconstruction of the horror genre, it thrills without ever being really scary. And that's not a bad thing. Richard Jenkins and Bradley Whitford seem to be having a ball.

John Carter
Remember my review? Great visuals, moving score, Lynn Collins.

Men in Black III
I'm actually a fan of the second one, yet I was still surprised that this turned out as well as it did. Josh Brolin's dead-on embodiment of the younger Tommy Lee Jones was uncanny, almost scarily so. But perhaps the greatest shocker was the emotional resonance of the script, as it dealt with the father-son relationship between J and K while also exploring regret, responsibility, maturity, and free will. I teared up more than once.

The Pirates! Band of Misfits
Trust Aardman: they always deliver on the briskly-executed, cleverly-written stop-motion comedies. I would also rank it as the best Hugh Grant performance I've ever been seen. Or heard, rather. And I trust there won't be many times where I can say Charles Darwin made me laugh out loud.

Prometheus
Certainly, much of the script is complete nonsense. But give credit where it's due: I never thought about it while watching the movie. The direction, the acting, the cinematography, the visual effects, the score, THE SCORE, the editing....all distracted from inconsistent characters and slipshod plotting. There's a reverent feel throughout the film, and it's hard not be awestruck by the visuals. And again, the real standout is the score, composed by Marc Streitenfeld, evoking the sense of wonder we see in Noomi Rapace's face as she explores the origins of man.

Wanderlust
It finally happened! I enjoyed Jennifer Aniston in a movie! But no, that's not the only reason it shows up here. First of all, it's an apt satire of both materialism and the romanticizing of the commune lifestyle. Secondly, director/co-writer David Wain and his fellow The State alums consistently -- miraculously, really -- balance their absurd, over-the-top sense of humor with characters that feel genuine. This is especially impressive in the cases of nudist vintner Joe Lo Truglio and lush housewife Michaela Watkins, both of whom could have been one-joke caricatures, and instead wind up being sympathetic and relatable, in some weird way.

The Sublime
21 Jump Street
Hilarious and surprisingly moving, one of the few films I saw twice in the theater (in as many days, I think). Proved Channing Tatum's mettle as a comic leading man, and guaranteed my falling in love with Brie Larson.

Brave
Although it is, perhaps, the least ambitious of Pixar's output so far, for me this ranks alongside Finding Nemo and the Toy Story films. The film effortlessly flits between comedy and drama, with the impeccable voicework by Kelly Macdonald and Emma Thompson anchoring the film's emotional arcs. Rousing score, lovely songs, breathtaking visuals....need I go on?

Damsels in Distress
Dry yet over the top, Whit Stillman's deadpan take on college, self-discovery, and reinvention had me chuckling more than laughing, but I definitely wanted to revisit when it was all over. Great as Greta Gerwig usually is, this was the first time I felt her peculiar acting quirks were properly utilized. Analeigh Tipton continues to impress, but it was Megalyn Echinkunwoke who stole the film out from under everyone else. And there are dance numbers!

Moonrise Kingdom
Lit with the bright haze of a summer memory, this surely must be the most gorgeous film Wes Anderson's offered us. It's woozily nostalgic with a bittersweet flavor, as we recognize the naive passions and awkward realities of young love. As young runaway Sam, Jared Gilman fits comfortably into Anderson's world, dances with an a-rhythmic fearlessness, and has the best line of the film ("I love you, but you have no idea what you're talking about"). As the sad, somewhat dim, lonely Chief of Police, Bruce Willis gets the meatiest role he's had in years, and of course gives a touching performance as a melancholy yet hopeful man. When I recommend this to people, I use the word BEAUTIFUL. And it is.

The Raid: Redemption
There's about one scene of exposition before everything goes nuts in Welsh director Gareth Evans' Indonesia-set actioner about a SWAT team trapped in a high rise ruled by a ruthless drug kingpin. Some of the best technical work of the first half, with the score, editing, cinematography and sound working together to amp up the tension for a breathless 100 minutes. It's a relief when you can finally exhale.