Cinemaniacs Review: STOKER

Cross one item off my Top 25 Most Anticipated:

Top Ten: Zero Dark Thirty

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.

#5. Zero Dark Thirty

dir: Kathryn Bigelow

wr: Mark Boal

cin: Greig Fraser

Let's get this out of the way. I am not someone who regularly judges a film's merits based on whether or not I can gel with it politically. I don't think Nixon was some sad-sack boogeyman, and I ain't sure about the second shooter question re: JFK, but you better believe I'm an Oliver Stone fan. Simply put, his movies are masterfully edited, audaciously shot, ambitiously written, and fucking entertaining. If a movie turns me off and I cite the stance it takes as a reason, it's probably more to do with a failure to comfortably integrate said point-of-view within the context of the narrative.

Which is all a long way of saying that I have no idea what Zero Dark Thirty's stance is on torture, and really, I find that it doesn't matter all that much. All I know is that I saw a thriller that had me engrossed from beginning to end, even through the slower, middle section.

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).

Actors Nomming Actors: SAG

The Screen Actors Guild nominees arrived this morning at (roughly) 5:55AM, PST. I had an alarm set and everything, almost falling back asleep with the thought, "Eh, it's just the Globes, I'll read everyone's take later." Which is wrong in many ways. What kind of monster would choose to sleep during the Globe nominees? Had I already forgotten last year, when announcer Woody Harrelson objected to Rampart's complete absence, and when Sofia Vergara Charo'd out with her pronunciation of Scorsese's name (Ma-reen Scor-sez)?

Not that that matters, because that's tomorrow. What matters is this: SCREEN ACTORS GUILD nominees!

BEST SUPPORTING ACTOR

Alan Arkin, Argo

Javier Bardem, Skyfall

Robert DeNiro, Silver Linings Playbook

Philip Seymour Hoffman, The Master

Tommy Lee Jones, Lincoln

SURPRISE!: Bardem gets in for his Bond villain, the first time the franchise has been honored by any of the major guilds (WGA, DGA, PGA, SAG).

HOORAY: Bardem obviously, but even though they're pretty much locks, I'm always rooting for Hoffman and Jones in their respective films. I didn't care much for The Master, but I think Hoffman does a magnificent job of presenting the subtle manipulations and irrepressible charm of Lancaster Dodd, as well as the little weaknesses that weaken his own fortitude.

As for Jones in Lincoln: bad-ass. (You saw the Cinemaniacs review of Lincoln, right?)

MIA: Leonardo DiCaprio (Django Unchained); I blame the late arrival of the film, since Tarantino's flicks usually pick up some steam at these things

BEST SUPPORTING ACTRESS

Sally Field, Lincoln

Anne Hathaway, Les Miserables

Helen Hunt, The Sessions

Nicole Kidman, The Paperboy

Maggie Smith, The Best Exotic Marigold Hotel

SURPRISE!: Kidman gets in for her white trash sexed-up Barbie doll in Lee Daniels' dark, camp thriller The Paperboy.

HOORAY: SAG gave out pleasant surprises higgledy-piggledy this year: Kidman gave one of the strongest performances of the year (even if it isn't, in my mind, a supporting one). Also appreciate the continued love for Hunt's work in The Sessions, though hers is not a supporting performance either.

MIA: Ann Dowd (Compliance), Amy Adams (The Master), Samantha Barks (Les Miserables), Judi Dench (Skyfall)

BEST ACTOR

Bradley Cooper, Silver Linings Playbook

Daniel Day-Lewis, Lincoln

John Hawkes, The Sessions

Hugh Jackman, Les Miserables

Denzel Washington, Flight

SURPRISE!: None. For me, anyway. I know others were expecting Joaquin Phoenix in The Master, but I sure as hell wasn't.

HOORAY: No Phoenix!

MIA: Joaquin Phoenix (The Master), Anthony Hopkins (Hitchcock), Jean-Louis Trintignant (Amour)

BEST ACTRESS

Jessica Chastain, Zero Dark Thirty

Marion Cotillard, Rust and Bone

Jennifer Lawrence, Silver Linings Playbook

Helen Mirren, Hitchcock

Naomi Watts, The Impossible

SURPRISE!: This goes into MIA as well, but the absence of both Emmanuelle Riva and Jean-Louis Trintignant for Amour surprised many today. I'm assuming that they weren't eligible, or at least unseen by the members of the nominating committee. Mirren and Watts making it in raised my eyebrows.

HOORAY: Cotillard, whose film I just saw last night, is superb.

MIA: Emmanuelle Riva (Amour), Judi Dench (The Best Exotic Marigold Hotel)

BEST ENSEMBLE

Argo

The Best Exotic Marigold Hotel

Lincoln

Les Miserables

Silver Linings Playbook

SURPRISE!: The Best Exotic Marigold Hotel!

HOORAY: Argo, Best Exotic, Lincoln and Silver Linings all boasted superlative casts with great chemistry; in some cases, they saved the movie (but you've seen the Cinemaniacs reviews of Silver Linings Playbook, right?). I haven't seen Les Mis, so only time will tell.

MIA: Strong ensemble work this year - Moonrise Kingdom, Magic Mike, Damsels in Distress, The Sessions, The Paperboy, and Cloud Atlas all deserved nods here, but I wouldn't know which of them to choose and which of these solid nominees to replace.

Pointless Predictions!

Once again, I've entered Nathaniel's Best Actress Psychic contest over at The Film Experience. Yes, yes, it's April. It's too soon. But it's always fun to see how our spit-balling looks in nine months. My picks for Best Actress:


THE PREVIOUS NOMINEE; THE "LIGHT" ONE
Annette Bening, The Kids Are All Right

THE PREVIOUS WINNER; THE PULITZER PLAY
Nicole Kidman, Rabbit Hole

THE NEW GIRL
Jennifer Lawrence, Winter's Bone

 THE OVERDUE ACTRESS
Robin Wright Penn, The Conspirator

THE PREVIOUS WINNER; THE NEMESIS OF ANNETTE
Hilary Swank, Betty Anne Waters










As of now, I give the edge to either Wright Penn or Bening. But, really, this is all just spitting around, pissing in the wind, cliche that doesn't fit the circumstances.

And just for fun, some other categories to consider:

BEST PICTURE
Fair Game, The Fighter, Inception, The Kids Are All Right, The King's Speech, London Boulevard, Never Let Me Go, Rabbit Hole, The Tree of Life, The Way Back

BEST DIRECTOR
Tom Hooper, The King's Speech
Terrence Malick, The Tree of Life (Oscar Nom for The Thin Red Line)
John Cameron Mitchell, Rabbit Hole
Christopher Nolan, Inception
Peter Weir, The Way Back (Oscar Noms for Witness, Dead Poets Society, The Truman Show and Master and Commander: The Far Side of the World)

BEST SUPPORTING ACTRESS
Amy Adams, The Fighter (Oscar Noms for Junebug and Doubt)
Helena Bonham-Carter, The King's Speech (Oscar Nom for The Wings of the Dove)
Elle Fanning, Somewhere
Melissa Leo, The Fighter (Oscar Nom for Frozen River)
Kerry Washington, Mother and Child

BEST ACTOR
Michael Douglas, Wall Street: Money Never Sleeps (Oscar Win for Wall Street)
Colin Farrell, London Boulevard
Colin Firth, The King's Speech (Oscar Nom for A Single Man)
Sean Penn, Fair Game (Oscar Wins for Mystic River and Milk)
Mark Wahlberg, The Fighter (Oscar Nom for The Departed)

BEST SUPPORTING ACTOR
Christian Bale, The Fighter
Ed Harris, The Way Back (Oscar Noms for The Truman Show, Pollock and The Hours)
Sam Rockwell, Betty Anne Waters
Geoffrey Rush, The King's Speech (Oscar Win for Shine)
Mark Strong, The Way Back

In a Very Unusual Way, I'm So in Love With Nine

It's very difficult to concentrate on writing about Nine when I have the music from it playing incessantly in my head...and on my iTunes. So, first thing out of the gate, at least be reassured that the music is a pleasure to listen to. Thank goodness, too. The first thing one would want in a musical, of course, are numbers that attract the audience, and Nine does deliver on this front. With one or two exceptions, each number is a pleasure to experience, from the Overture to the Finale -- both of which gave me goosebumps and had me a wee wet-eyed.

True, "Folies Bergeres" is surprisingly lacking in life, a pity since it is my favorite from the show AND it's Judi Dench's big number. God knows she tries to deliver, but cutting out the dance break was a bizarre choice, and even the mid-song banter is noncommittal.

True also, the original song "Take It All", though sexy and ending with a punch to the gut, is a little too Chicago for me. The music, the costumes, the production design: I saw it all back in 2002.

But as for the rest, good job. Yes, even "Cinema Italiano" works, as I hoped it would, in context. A shallow song from a shallow character, so it's fine. Indeed, it reminds me of those cheesy pop tunes from the 60s, and I have a great number of those on my iTunes as well. If there is room for Herb Alpert's "Casino Royale Theme", there is room for "Cinema Italiano". And as for the rest of Kate Hudson's performance: Almost Famous was a fluke.

Nicole Kidman does fine with "Unusual Way", though it's always been one my least favorite songs from the show. It matters little, the lady's in and out within minutes. Marion Cotillard takes my second favorite number, "My Husband Makes Movies", and does not fail to impress. Her Luisa is just as wise, broken, and loving as Anouk Aimee's. That lead campaign is a joke, though -- as vital as Luisa is to the storyline, especially in this version, she is still a supporting part. Penelope Cruz is, naturally, sexy and funny, and also surprisingly vulnerable as the mistress. "Call from the Vatican" is a hot number as it is, but Cruz just sizzles. Bring the vapors. Daniel Day-Lewis does well with both his numbers, but his Guido is not as fun-loving as Marcello Mastroianni's. That's not bad, just a different, more emotional take on the character. His voice is just fine, his accent flawless.

I complained to some friends that recent movie musicals lack the huge dance numbers of old. The greatest musical, Funny Face, has one full dance number, plus several songs that stop to allow Audrey Hepburn and Fred Astaire to do their thing. Nine finally gives me what I want, in Fergie's tambourine dance for "Be Italian". A wonderful performance. Fergie rocks her scenes as Saraghina anyway, though. She does not speak, she just looks trashily sultry, sings, dances. It's not a challenging role at all, but just try looking away from her! The woman commands every scene she's in!

Sophia Loren's "Guarda la Luna" is magical, the song that I've been listening to all day, the song that I hummed to my niece to keep her from crying (it worked a little). It's probably the smoothest transition into a number, too, working as the lullaby it is, and as another layer to Guido's female problems. I didn't even miss the number it replaced, the titular tune "Nine", though audiences not already familiar with the story may.

This, then, is one of the main problems of the film. I know what's going on because I've seen 8 1/2 and I have the Broadway Revival CD of Nine. But will an uninitiated audience get what's going on? They introduce all these women in the Overture without telling you who they are. They just sort of stand there, Guido interacts with them a little, la-di-dah. Hell, after seeing a Nicole Kidman kiss, a Marion Cotillard tenderness, and a Penelope Cruz embrace, it's hard not to think "Oh, God, did he fuck her too?!" when Judi Dench shows up. The bedroom eyes don't help. It's not until much, much later that these women are introduced, and even then, much of who and why they are is unclear.

The film smacks of a strange restraint. It never fully embraces either of its source productions, though it tries to include elements of both. The screenwriters, Anthony Minghella and Michael Tolkin, have never written a musical before, and the awkward transitions between scene and song reveal this unfamiliarity. Director Rob Marshall tries to capture some Fellini-esque moments in flashbacks, but there is reluctance in his execution of it. Those quick cuts, courtesy Claire Simpson and Wyatt Smith, certainly don't help.

Neither does that odd choice of framing the musical numbers as fantasy sequences. Marshall's separation of fantasy and reality in this regard don't mesh with the non-musical mix of fantasy and reality, such as Guido's dead Mamma appearing in his car, or the absent Claudia in his room as he forges her autograph for a fan. If only he would just embrace the genre, the movie would work so much better than it already does -- for rest assured, kiddies, despite all of its problems, the movie works. The transitions are rocky and the direction misguided, but it somehow gets to me. The reality and fantasy sequences are flawed in their mingling, yet separately they are almost beautiful.

Much of this can be attributed to the actors and the technical experts. Dion Beebe's cinematography is gorgeous, the clear front-runner for the Oscar, getting with the material far better than the director, writers or editors or. Colleen Atwood's costumes are still dazzling, and she seems especially inspired by Ms. Cruz and Ms. Loren. The art team does a great job of dressing up a sound stage and a hotel. And the original score by Andrea Guerra deserves a release of its own, paying tribute to Ennio Morricone and Maury Yeston simultaneously, effortlessly.

Dammit, I liked the movie. I would buy it. And as I said, I love listening to the album. Just don't expect Rob Marshall to get any credit, because he is probably the weakest link in this.

25 + 3 - 10 = Nine

Well, it was inevitable that some songs had to go. This story from Everything I Know I Learned From Musicals led me to the Theatre Aficionado at Large, particularly to his discussion of the musical Nine. Now, my roommate and I knew something had to go, what with three songs being added to the already 25-strong score. And the choices are interesting.

First, I had been thinking only last week of the song "The Bells of St. Sebastien's", which I consider to be a very stage-bound number. I couldn't imagine how one would incorporate it within a film. Thankfully, it has been cut. Surely no one is mourning this. The music's pretty, but it is (for me) a very forgettable number).

The entire "Grand Canal" sequence, consisting of six songs, has also been cut. Again, I can understand this. It's a show-within-a-show deal, and since director Rob Marshall is already doing his A Song Is A Fantasy Sequence approach, this could be too literal. So...I guess they'll just do the dailies scene from 8 1/2. Which, again, makes more sense to me.

"Simple", sung by Claudia (Nicole Kidman), and "Be On Your Own", sung by Luisa (Marion Cotillard), have also been cut. Both immediately follow the "Grand Canal" sequence, so I guess with one gone the transition into the others would feel bizarre? Anyway, Luisa still gets a weepy ballad, this time with new song "Take It All". Hey, as long as Cotillard still gets all the screentime, I'm fine.

The fifth number cut is kind of surprising, kind of not. Look, I know Sophia Loren doesn't have the strongest voice in the world, and I know the song is for the greatest soprano in all the lands, but to cut the song "Nine" from a musical called Nine is odd. Anyway, a new song has been written for Ms. Loren, entitled "Guarda La Luna". I do feel she should get special treatment. Always.

(Which reminds me, I recently saw her in Altman's Ready to Wear, and while I do feel she was deserving of that Golden Globe nom, holy crap was Anouk Aimee amazing in this. And of course, Aimee played Luisa in the original 8 1/2. I'll have to talk about that later.)

In the meantime, Kate Hudson has gotten her own musical number called "Cinema Italiano", which I guess is that odd-looking bit in the trailer where Daniel Day-Lewis jizzes champagne everywhere.

Why God?!

Nicole Kidman.

Dropped out.

Of the Woody Allen flick.

AAAAAAGGGGGGGHHHHHHHHHHKKKKKKKK!!!!!!



No! You can't sexy yourself out of this one, Nicole! This is unacceptable! This is...this is...



Ah...Great...Great director...auteur....should work with him...good roles...Bad...bad girl...naughty....



I...Ennh...Ah...

Forgiven.

Next case.

Batman Forever (1995) By the Numbers

100 million: Estimated budget, in dollars

41: Weight, in pounds, of the Robin costume


6: Years between Harvey Dent's first appearance and this one

4: Roles recast (Michael Keaton as Batman, Marlon Wayans as Robin, Rene Russo as Chase Meridian, Lando Calrissian as Harvey Dent/Two-Face)


3: Years between Batman Returns and Batman Forever

2: Actors returning from previous film

2: Main Villains


2: Academy Award Winners (Nicole Kidman, Tommy Lee Jones)

1: Drew Barrymore

Holy Shit....

Holy shit, this trailer for Australia is my cup of tea.

Please Be True

SO-

Javier Bardem dropped out of the musical Nine, an announcement made just when Nicole Kidman and Judi Dench were added to the cast.

However, guess who's in talks (not signed, but in talks) to replace him?

I'll give you two hints:

1. He's never done a musical before

2. He's won two Oscars

Give up?