It's the most up-in-the-air category this season, making for one of the most exciting Best Picture races in history. Best Picture is decided by a preferential ballot system that I am not going to explain but recommend you look up, which for many means that the leastdivisive nominee with the most fans wins - thus, The Shape of Water, which few dislike and which won the big prize at the PGA Awards and DGA Awards. But each Oscar year tends to follow a pattern, meaning your Best Picture winner is most likely whoever's won the most going in - thus, Three Billboards outside Ebbing, Missouri, which triumphed at the SAG Awards, Golden Globes, and BAFTA Awards. But also, the past four winners first triumphed in the Best Film category at the Independent Spirit Awards - thus, Get Out, which just became the latest to win that honor on the eve of the Academy Awards.
The film nominees for the Screen Actors Guild Awards, as announced this morning by the very giddy duo of Olivia Munn and Niecy Nash.
Female Actor in a Supporting Role
Mary J. Blige, Mudbound
Hong Chau, Downsizing
Holly Hunter, The Big Sick
Allison Janney, I, Tonya
Laurie Metcalf, Lady Bird
My predictions: 3/5 - Octavia Spencer missed out, which surprises me; so did Julia Roberts, but I knew that was a risky prediction. Four of these ladies also showed up on the Golden Globes' lineup; the real winner, in spirit, is Holly Hunter.
I love Iron Man 2.That feeling I got at the end of the first one - joy, excitement, anticipation of a next chapter, the realization that the Great Movie Season was upon us - was back again, this time from the word go. You know in those old movies when something surprising and mind-blowing happens and the heroine throws her hands up to her face? I did that. I didn't even realize it until I set them down, but my instinctive physical response to the film climactic fight sequence was the ol' hands-to-face routine. Exciting!
What's interesting is that they manager to progress the character by regressing the character. The Tony Stark who realized there was a world to save in the first movie, has let that power, fame and awesomeness go to his head. And so, once again, we get Robert Downey, Jr., doing his fast-talking smart-assery while Gwyneth Paltrow and Don Cheadle try to keep a handle on him. Ah-ha, but there's a darker edge to his behavior, due to plot developments that you'll just have to see for yourself. So, yeah, he's reckless and kind of an asshole, but he's Tony fucking Stark, so he's also lovable and we know he's going to come round in the end. Hurrah!
The villains are great fun. Mickey Rourke's Ivan Vanko is mesmerizing to behold, with Rourke disappearing into the role. I know, I know: it's an Iron Man movie, where everyone's constantly winking at the camera, but sue me, the man actually becomes a Russian baddie. He's amazing to watch, and so it's a shame that he's kind of given short shrift in the film's finale. For such a great climax, it really blueballs the audience Rourke-wise. Not so much Sam Rockwell's nefarious Justin Hammer, Stark's competitor, who is deliciously sleazy. To see these two Hollmann Award Winners sharing scenes of villainy together was almost too much. I wish we had more of them, really.
Except I don't, because there's one thing the Iron Man movies have that the other superhero movies don't: a hero more interesting than his villains. And I love the villains in the Iron Man movies, even Jeff Bridges' Obadiah Stane (don't know why people didn't, I thought he was incredible). It's not that the bad guys are boring. It's that this is a superhero franchise that's actually about the title character! Crazy, novel idea, that! No Kevin Spacey chewing scenery, no Heath Ledger or Jack Nicholson getting awards, no Thomas Haden Church getting the better underscore, no William Hurt; we paid for Iron Man, and that's what we're going to get!
(This is not true, of course, for the Fantastic Four movies, which have no one of interest, anywhere.)
You have to give credit to director Jon Favreau and scribe Justin Theroux for remaining fun while still developing a story and characters. They've managed to find a perfect balance for this film, assisted by the effective score by John Debney. I don't remember any music of note in the first one, but Debney's opening piece is still ringing in my ears, a haunting track that's going to get a lot of play on my iTunes. And by the way, Mary Zophres' costume designs are just as fun, from Whiplash's outfits to Stark's smoking jacket to Hammer's suits. Not to mention the catsuit worn by Tony Award Nominee Scarlett Johansson.
She's fun, by the way. Not distracting, and actually plays a real role in the film's proceedings. I was afraid it would be a glorified cameo, but she's quite effective here. Seems unfair to the male population that she shares so many scenes with Gwyneth Paltrow in which both wear skirts and heels. If we have heart attacks now, how will we buy tickets for the Thor? And furthermore, once scene has them conferring in a room, and Christiane Amanpour appears on one of the television screens. Where was I, Heaven?
OK, typical hetero male rant over. It's a great movie and a fun ride. Been too long since I wrote a completely positive review. Really, there hasn't been a movie this good since Kick-Ass, and that was almost a month ago. I can't recommend Iron Man 2 highly enough.
I'm afraid I've been having a number of technical difficulties with the Hollmann Awards this year. I usually have them out before the Oscars, but between Internet problems, saving issues, and a Microsoft Word plagued by an odd virus, I'm going to have to do this a la 2007 Golden Globes - that is, just a list of nominees and winners. We'll let Judi and Maggie host next year, and hopefully I can get more of a jump on things then. My apologies to everyone.
BEST ENSEMBLE, awarded to the casting director(s)
5. Ellen Chenoweth and Rachel Tenner, A Serious Man
4. Celestia Fox, Easy Virtue
3. Justine Baddeley and Kim Davis, Whip It!
2. Sarah Crowe and Meredith Tucker, In the Loop
1. Simone Bar, Olivier Carbone, Jenny Jue and Johanna Ray, Inglourious Basterds
Bar is a German casting director whose other credits include The Reader and The White Ribbon. Olivier Carbone is a French casting director who also worked on La Vie en Rose.
Jenny Jue and Johanna Ray have worked together on the Funny Games remake, Repo! The Genetic Opera and Brian De Palma's The Black Dahlia.
BEST SOUND, awarded to whatever senior sound mixers and editors I managed to find
5. Craig Berkey, Johnna Chism and Greg Orloff, A Serious Man
4. Joseph Geisinger, Marti D. Humphrey, Chris M. Jacobson, Ryan Juggler, Paul N.J. Ottosson, Carin Rogers and Jussi Tegelman, Drag Me to Hell
3. Anna Behlmer, Peter J. Devlin, Andy Nelson, Alan Rankin and Mark Stoeckinger, Star Trek
2. Tony Lamberti, Michael Minkler, Mark Ulano and Wylie Stateman, Inglourious Basterds
1. Kristian Eidnes Andersen, Antichrist
I think the sound work in the film is incredible, and though more mixing was involved than editing, the overall effect is the same. Less really is more.
BEST VISUAL EFFECTS
5. John DJ DesJardin, Jessica Norman, Peter G. Travers and Joel Whist, Watchmen
4. Matt Aitken, Robert Habros, Dan Kaufman and Peter Muyzers, District 9
3. Peter Brooke, Michael Eames, Sonny Gerasinowicz, Daniel Jeannette and Peter Stubbs, Where the Wild Things Are
2. Volker Engel, Mike Vezina and Marc Weigert, 2012
Richard Baneham, Joe Letteri, Andrew R. Jones and Stephen Rosenbaum, Avatar
But really, who else?
BEST...I DON'T KNOW, PRACTICAL VISUALS? This is awarded to the production designer, art director and, where credited, set decorator.
5. Dan Bishop (PD), Ian Phillips (AD) and Amy Wells (SD), A Single Man
4. Tony Noble (PD) and Hideki Arichi (AD), Moon
3. Nelson Lowry (PD) and Francesca Maxwell (AD), Fantastic Mr. Fox
2. Henry Selick (PD), Phil Brotherton (AD), Bo Henry (AD) and Tom Proost (AD), Coraline
1. Nathan Crowley (PD), Patrick Lumb (AD), William Ladd Skinner (AD) and Rosemary Brandenburg (SD), Public Enemies
Echoing the art deco style of the period, Crowley and crew got every detail, down to the little price tags on the shops. When they needed to trade in shine for dust, it was perfect.
BEST MAKEUP
5. Thomas Foldberg and Morten Jacobsen, Antichrist
4. Sarah Monzani, The Imaginarium of Doctor Parnassus
3. Nick Dudman and Amanda Knight, Harry Potter and the Half-Blood Prince
2. Barney Burman, Mindy Hall and Joel Harlow, Star Trek
1. Joe Dunckley, David Meng, Frances Richardson, Sarah Rubano, Richard Taylor and Leon Von Solms, District 9
Taking body horror to a new level, we got to see Weekus transform in the most grotesquely realistic manner. From nails falling out to a prawn claw replacing his hand, the effect was astounding.
BEST COSTUME DESIGN
5. Charlotte Walter, Easy Virtue
4. Hope Hanafin, (500) Days of Summer
3. Anna B. Sheppard, Inglourious Basterds
2. Janet Patterson, Bright Star
1. Colleen Atwood, Public Enemies
What a gorgeous fucking film. This is really the only movie where you actually notice the duds on the men...ok, the first for me, anyway. I would seriously wear anything there. And the women? Gorgeous. Don't you love the ropey look of Marion's poor red dress, compared to the fur finery of when she's dating Dillinger? Such exquisite detail.
BEST ORIGINAL SONG
5. Back to Tennessee, Hannah Montana: The Movie
4. Dig a Little Deeper, The Princess and the Frog
3. Never Knew I Needed, The Princess and the Frog
2. Possibility, The Twilight Saga: New Moon
1. Through the Trees, Jennifer's Body
Works as both a genuinely great "boo-hoo" song, and as a satire on such music. How does it do it?
BEST ORIGINAL SCORE
5. Alexandre Desplat, Fantastic Mr. Fox
4. Elliot Goldenthal, Public Enemies
3. Alexandre Desplat, The Twilight Saga: New Moon
2. Alexandre Desplat, Julie & Julia
1. Abel Korzeniowski, A Single Man
I admit, I like my music big. Abel, I hope you don't mind if I say the music here reminded me of Philip Glass's work in The Hours, which I find to be the greatest score ever. The beauty of it is just so...unbelievable. Korzeniowski effortlessly evokes the 1960s. Highlights include "Swimming", "Snow" and "Drowning".
BEST EDITING
5. Roderick Jaynes, A Serious Man
4. Sally Menke, Inglourious Basterds
3. Alan Edward Bell, (500) Days of Summer
2. James Cameron, John Refoua and Stephen Rifkin, Avatar
1. Alexander Hall, The Messenger
You know, too few of these awards are given to editors of films that rely on long takes. But really, the editor cuts for dramatic emphasis, unless he needs to cut around the bullshit. So, why cut all around the place if all you need to make your point is a single long take? That's what makes sense for this movie.
BEST CINEMATOGRAPHY
5. Robert Richardson, Inglourious Basterds
4. Greig Fraser, Bright Star
3. Eduard Grau, A Single Man
2. Anthony Dod Mantle, Antichrist
1. Dion Beebe, Nine
The only truly cinematic aspect of the film. The use of the projector in "I Can't Make This Movie", the spotlights in "My Husband Makes Movies", the dreamy effect of "Guarda la Luna", the black-and-white "Take It All". All brilliant.
BEST ADAPTED SCREENPLAY
5. Nora Ephron, Julie & Julia
4. Jason Reitman and Sheldon Turner, Up in the Air
3. Geoffrey Fletcher, Precious: Based on the Novel 'Push' by Sapphire
2. Dave Eggers and Spike Jonze, Where the Wild Things Are
1. Wes Anderson and Noah Baumbach, Fantastic Mr. Fox
It's clever and it's funny. Little nuances, like Mrs. Fox's "tarty" background, truly develop the characters, instead of merely serving as a throwaway joke.
BEST ORIGINAL SCREENPLAY
5. Jane Campion, Bright Star
4. Scott Neustatder and Michael H. Weber, (500) Days of Summer
3. Quentin Tarantino, Inglourious Basterds
2. James Cameron, Avatar
1. Ethan Coen and Joel Coen, A Serious Man
Probably my favorite Coen Brothers movie.
BEST SUPPORTING ACTOR
5. Stanley Tucci, Julie & Julia
4. Fred Melamed, A Serious Man
3. Colin Firth, Easy Virtue
2. Woody Harrelson, The Messenger
1. Peter Capaldi, In the Loop
I mean, this scene alone. That snap as he says, "Now fuck off." Has swearing ever seemed this natural?
BEST ACTOR
5. Ben Foster, The Messenger
4. Joseph Gordon-Levitt, (500) Days of Summer
3. Colin Firth, A Single Man
2. Johnny Depp, Public Enemies
SPOILER ALERT
1. Sam Rockwell, Moon
A one-man show that it is impressive in it understatedness.
BEST ACTRESS
5. Zoe Saldana, Avatar
4. Carey Mulligan, An Education
3. Abbie Cornish, Bright Star
2. Meryl Streep, Julie & Julia
1. Gabourey Sidibe, Precious: Based on the Novel 'Push' by Sapphire
Such a raw performance. That a first-timer can give this kind of performance is staggering.
BEST SUPPORTING ACTRESS
5. Marion Cotillard, Public Enemies
4. Julianne Moore, A Single Man
3. Kristin Scott Thomas, Easy Virtue
2. Samantha Morton, The Messenger
1. Mo'Nique, Precious: Based on the Novel 'Push' by Sapphire
An unbelievable performance from the great comedienne. Just try to wrap your head around this.
BEST DIRECTOR
5. Jane Campion, Bright Star
4. Marc Webb, (500) Days of Summer
3. Michael Mann, Public Enemies
2. James Cameron, Avatar
1. Oren Moverman, The Messenger
BEST PICTURE
5. (500) Days of Summer - Mason Novick/Jessica Tuchinsky/Mark Waters/Steven J. Wolfe
4. Fantastic Mr. Fox - Allison Abbate/Wes Anderson/Jeremy Dawson/Scott Rudin
3. Public Enemies - Michael Mann/Kevin Misher
2. Avatar - James Cameron/Jon Landau
1. The Messenger - Mark Gordon/Lawrence Inglee/Zach Miller
A strong debut from a first-timer.
[UPDATED: Producers nominated for Best Picture, as of 1/13/2017]
First, I saw Cheri about a week ago. While it was great fun for the most part, it was a little annoying that it took about fifteen minutes to go anywhere. After a fascinating title sequence chronicling the history of famous courtesans, the film searched in vain for the proper tone before finally settling on Light Drama. Alexandre Desplat's score was overwhelming, though typically beautiful. Michelle Pfeiffer was OK, Kathy Bates quite good, too.
Rupert Friend, however, as the titular Cheri, is best in show, nailing the bored effete manners of Colette's most famous male protagonist. Christopher Hampton's adaptation of the short work was admirable, and the delivery of important details from the literary sequel was impeccably done. Director Stephen Frears also narrates in a Stephen Fry-esque manner, and it works. Of course, costumes and production design are to die for. I give it a thumbs-up. You could do much worse.
Just as frothy, but at least consistently so, was the likable Confessions of a Shopaholic. Isla Fisher plays the lead role broadly but adorably, and who can resist the charms of a zany redhead? It's a perfect formula. Hugh Dancy is the love interest, and the two have an undeniable chemistry together. Joan Cusack and John Goodman are distracting as the parents, a shame since I adore both. Kristin Scott Thomas continues to kick ass and take names, this time with a French accent, as a kinder, European version of Streep's Prada-wearing Devil.
But I don't understand certain conflicts. Why should I root against the debt collector? He's just doing his job, and though Fisher is beautiful, she should pay what she owes. Her superior manner at the film's climax is unwarranted and annoying. The villainess of the piece is odd, too. There is no reason why she should care to sabotage Fisher's career to the extent that she does. Like, no reason is ever given. I don't understand it at all.
The use of Amy Winehouse's "Rehab" is clever, and as this film is about a clotheshorse, the costumes are FAB FAB FABBITY FAB. Chalk this up as another film that makes me want to move to New York.
Moon. Wow. Moon. A one-man show of sorts starring Sam Rockwell as the lone operator of a harvesting plant located on the Moon, with just two weeks to go before the end of his three-year contract. The difficult thing is, it's impossible to talk abotu this movie without some serious spoilers. So, at the risk of sounding superficial: WOW production design, great score, please give Rockwell an award of some sort (Hollmann Awards, possibly?), Duncan Jones, you are a director not to be trifled with.
Another film that's hard to describe is The Hurt Locker. I know it works. It had me on the edge of my seat. There are some great performances, a great score (shades of Morricone), and as my only previous exposure to Kathryn Bigelow was Point Break, I was impressed with the directing. There's a lot going for it. Jeremy Renner is certainly engaging to watch, and I am so proud of myself for knowing Brian Geraghty (my favorite performance in the movie) was headed for great things. I wish I could do backflips and declare how EFFING AMAZING this movie is, but with The Hurt Locker, there's just a serene knowledge. Hyperbole can't emphasize how great this movie is. It just is. You can disagree if you want, but you'd be sorely mistaken.
As for Whatever Works...it does. I have been reading a lot of negative reviews for this movie, and I don't get them. This movie is funny. Laugh-out-loud funny. True, I am a rabid Woody Allen fan who counts The Curse of the Jade Scorpion among my favorites, but Whatever Works is a smart, sexy comedy that had the entire theater in stitches. I saw it with friends who find Woody's humor a little much, and even they were having a ball.
In true Allen fashion, it follows the love lives of friends and acquaintances over a period of two years, all centering around the May-December relationship between genius nihilist Boris Yelnikoff (Larry David) and Southern runaway Melodie St. Ann Celestine (Evan Rachel Wood). Having not seen Thirteen, I count this as Wood's best performance. She is so on fire, so alive, so sexy! The jailbait outfits they put her in certainly help, of course, but I've never seen her so unmannered, so ironically real! Larry David gives a surprisingly human performance, despite having to deliver a number of verbose monologues expounding on the hopeless evils of the human race. But the interaction between the two of them is just delightful!
Patricia Clarkson is sexy and funny as Wood's mother, a religious matriarch turned Village artiste. Of course, we are used to greatness from Patty C, but she's always a delight to watch. And again, the costumes she's in. Awesome.
*A Livejournal post, courtesy of the Wayback Machine. Even though I use the word "again" in the first sentence, I believe this is the first time I ever used the phrase Casting Coup Tuesday, a feature that would become my favorite aspect of this blog. Of course, I had to add some new pictures (I was a hot-linking fiend), but otherwise these are untouched, unaltered, uncensored. This was the first Patty C post, P.S.*
It's Casting Coup Tuesday again!
Today, I present my third favorite novel of all time, and my favorite assigned reading from school. By this, I refer to the sexiest book since, I don't know, Atonement maybe:
ETHAN FROME.
THE NARRATOR Who is He: He bookends the tale for us. Unidentified, so it's like he's us! How exciting!
My Choice: Paul Schneider (Lars and the Real Girl, The Assassination of Jesse James by the Coward Robert Ford), an everyman's everyman. Totally rocks the following expressions: listening with interest, inner curiosity.
NED HALE Who is He: One of the guys who lives in Starkfield. Enjoys a healthy, open relationship with Ruth Varnum, and even ends up marrying her. Aww...
My Choice: Sam Rockwell (The Assassination of Jesse James by the Coward Robert Ford, Confessions of a Dangerous Mind), who seems like one of those dependable, dorky guys. Like Edward Norton, without the Oscar nom.
RUTH VARNUM Who is She: Ned Hale's main squeeze, a "refined and educated" woman who freaking loves Ned. Aww...
My Choice: Claudie Blakley (Pride & Prejudice, Gosford Park), who is about as popular on Google Images as she is in America.
ANDREW HALE Who is He: Ned's Daddy, a builder with barely enough money of his own. Ethan approaches him for a loan, but Andrew is too busy being awesome.
My Choice: Christian Clemenson (Hannah and Her Sisters, an episode of The Golden Girls), who I cast before in The Great Gatsby, because he is a reliable character actor.
DENIS EADY Who is He: A guy who totally wants to bang Mattie. Totally.
My Choice: Garrett "Is He Gay Or Not" Hedlund (Four Brothers, Death Sentence), whose looks are better than his talent. As this role calls for much staring and little speaking, he's perfect.
MRS. ANDREW HALE Who is She: Maybe I'm crazy, but I believe she's Andrew Hale's wife. Accidentally guilts Ethan.
My Choice: Academy Award Nominee Patricia Clarkson (Pieces of April, Lars and the Real Girl), the female Christian Clemenson, in that she's dependable, and can do whatever she wants. Does anyone else find her strangely attractive? No? Moving on.
ZENOBIA FROME Who is She: Named by retarded parents, Zenobia is Ethan's wife, a hypochondriac (maybe) and a bitch (perhaps). Or is this just as Ethan views her? Either way, for a sickly gal, she wears the pants better than anyone else.
My Choice: Academy Award Nominee Emily Watson (Breaking the Waves, Hilary and Jackie). Who better, right?
MATTIE SILVER Who is She: Zeena's cousin, the complete opposite of Zenobia. She bonds with Ethan, and of course, the two fall scandalously in love.
My Choice: Academy Award Nominee Natalie Portman (Closer, The Darjeeling Limited), and I think everyone can agree that Ethan can be forgiven.
ETHAN FROME Who is He: One of them tall, dark, handsome guys, sensitive, a nature lover. Deeply spiritual, very quiet.
My Choice: Christian Bale (3:10 to Yuma, Newsies), who apparently is unable to look less than sexified in every picture he takes. I wonder if he and Brad Pitt have a club where they meet in a room full of mirrors and laugh at the normies.
