TAKEN
Love the Neeson, forgot the movie. Like, distinct memories of him rocking it, but otherwise the film is hazy, like a dream. Glad to see an action movie where I can see what's going on.
THE PROPOSAL
Good chemistry between Sandra Bullock and Ryan Reynolds. Un(der)developed subplots include father-son tension and daffy Betty White, who should never be the worst part of a movie. Cute at times, other times face-slappingly awful. That Bullock and director Anne Fletcher allowed the line "Show her who's boss" at the end is cringe-inducing. Can we let filmmakers know that seeing old ladies shaking it to a "recent" hip-hop song is no longer funny?
ANTICHRIST
Intriguing look at the nature of evil (and by nature, I mean gender, which is female). Willem Dafoe and Charlotte Gainsbourg give fine performances in a beautifully shot horror film. But what I have seen can never be unseen, and that upsets me. I'm glad I saw it, but I can't exactly say I liked it.
STREET FIGHTER: THE LEGEND OF CHUN-LI
A different breed of awful. Hilarious, but not midnight-worthy. I'm glad they went with this to inspire everyone: "Sometimes you have to stand, even when it isn't easy to stand." Chris Klein wishes he was as cool as Christian Slater was in Alone in the Dark. More a series of scenes than a movie, but goddamn the scene where Chun-Li uses her mad dance skillz to seduce the villain's female assistant is rockin' the LOLZ.
Tuesday, December 29, 2009
Sunday, December 27, 2009
The Blind Side
The Blind Side is a bizarre experience. On the one hand, I came away from the movie thinking well of it, reflecting on Bullock's performance with favor. On the other hand, I never found myself completely enthralled during the film itself. Is it that I have grown tired of the sports genre? Is it that, because the subject of the film is playing football currently, there was little suspense to be had? What was in the film that left me wanting?
And then I realized. I mean, I realized it during the film, but I confessed it to myself after the fact: these actors are terribly limited. Not Sandra Bullock, mind. No, she was quite wonderful in the movie, and I can easily understand her Globe and SAG nominations. Here is a no-nonsense Southern gal actually following her Christian values. She reminds me of my aunt, my other aunt and my mother. Certainly, Bullock's performance is no problem.
The supporting cast is quite good, too. Indeed, even Tim McGraw does well, and he's not even an actor. Ray McKinnon and Kathy Bates do what they need to, and are downright charming as they do so. Adriane Lenox's cameo as Michael Oher's biological mother breaks the heart. It is the one scene in the film that I got completely involved in emotionally. She is concerned for the son she hasn't seen, but knows that his life is better without her. Damn fine acting.
Methinks it is the lead. It must certainly have been difficult for writer-director John Lee Hancock and casting director Ronna Kress to find an actor that not only fits the physical requirements, but can also do a passable job of playing the role. Quinton Aaron is not the worst actor I've ever seen, but he's not very good, either. He has all the spirited recitation of a child reading aloud. When one compares his performance to that of another who played a quiet ghetto teen working their way up: Gabourey Sidibe in Precious. And while many have complained that she does not have much to do in the role (which is bull, she is amazing), just one look at Aaron's performance makes her look like Meryl Streep. Not terrible, just terribly dull.
And it's a shame, because so much of the movie works. Hancock has an assured touch and his screenplay is a simple thing that works despite the many instances of Family Banter. You know: the dialogue that's supposed to convince us these actors are a real family. It works some of the time; other times it feels written. Overall, though, the writing is fine. Besides the performances of Aaron and Jae Head, there is little to complain of. Everything is executed just right.
Maybe that's it. It's all too damn pat, like a carefully put-together homemaker catalog. It's a perfectly harmless little film, and that's fine. Not every movie has to be a testament of everything that is art and cinema, like Public Enemies. Not every family film has to have an edge to it like Fantastic Mr. Fox or Where the Wild Things Are. But a movie does have to transport you, to take you into its world and make you live alongside its players. The Blind Side just misses this.
But why not see it? I can't imagine anyone regretting it. I mean, you could do better -- may I recommend Up in the Air? -- but you could do much, much worse.
And then I realized. I mean, I realized it during the film, but I confessed it to myself after the fact: these actors are terribly limited. Not Sandra Bullock, mind. No, she was quite wonderful in the movie, and I can easily understand her Globe and SAG nominations. Here is a no-nonsense Southern gal actually following her Christian values. She reminds me of my aunt, my other aunt and my mother. Certainly, Bullock's performance is no problem.
The supporting cast is quite good, too. Indeed, even Tim McGraw does well, and he's not even an actor. Ray McKinnon and Kathy Bates do what they need to, and are downright charming as they do so. Adriane Lenox's cameo as Michael Oher's biological mother breaks the heart. It is the one scene in the film that I got completely involved in emotionally. She is concerned for the son she hasn't seen, but knows that his life is better without her. Damn fine acting.
Methinks it is the lead. It must certainly have been difficult for writer-director John Lee Hancock and casting director Ronna Kress to find an actor that not only fits the physical requirements, but can also do a passable job of playing the role. Quinton Aaron is not the worst actor I've ever seen, but he's not very good, either. He has all the spirited recitation of a child reading aloud. When one compares his performance to that of another who played a quiet ghetto teen working their way up: Gabourey Sidibe in Precious. And while many have complained that she does not have much to do in the role (which is bull, she is amazing), just one look at Aaron's performance makes her look like Meryl Streep. Not terrible, just terribly dull.
And it's a shame, because so much of the movie works. Hancock has an assured touch and his screenplay is a simple thing that works despite the many instances of Family Banter. You know: the dialogue that's supposed to convince us these actors are a real family. It works some of the time; other times it feels written. Overall, though, the writing is fine. Besides the performances of Aaron and Jae Head, there is little to complain of. Everything is executed just right.
Maybe that's it. It's all too damn pat, like a carefully put-together homemaker catalog. It's a perfectly harmless little film, and that's fine. Not every movie has to be a testament of everything that is art and cinema, like Public Enemies. Not every family film has to have an edge to it like Fantastic Mr. Fox or Where the Wild Things Are. But a movie does have to transport you, to take you into its world and make you live alongside its players. The Blind Side just misses this.
But why not see it? I can't imagine anyone regretting it. I mean, you could do better -- may I recommend Up in the Air? -- but you could do much, much worse.
Tuesday, December 22, 2009
Up in the Air
Jason Reitman really surprised me with this one. I've read the book, see, and I kind of figured it wouldn't be a straight adaptation, but God! He and co-writer Sheldon Turner certainly do a number on Walter Kirn's source novel, making up characters (Anna Kendrick's Natalie) while building up others (Vera Farmiga's Alex). It was a lot like Paul Thomas Anderson's There Will Be Blood, adapted from Upton Sinclair's Oil!. The main themes and protagonist were all on hand, but expounded on and developed...differently. But effectively.
I like a lot of things about the movie. George Clooney plays Ryan Bingham, a man whose life is the hotels and planes he spends time in on his way to firing people for "pussies". And it took me a while to see it, but it really is one of his more nuanced performances. It surpassed his Michael Clayton, and is at least on par with Bob Barnes and Fred Friendly (2005's Syriana and Good Night and Good Luck, respectively). Seeing him as vulnerable as he is here was a real change, and he did it so subtly. I love the look on his face when he sees his sister's husband-to-be (Danny McBride) ask her to be his co-pilot. Love it. Probably my favorite moment in the movie.
Vera Farmiga is smart, sexy and confident as Alex, who describes herself to Ryan Bingham as "you, but with a vagina." You love her. You must. I certainly fell for her, and so of course I'm rooting for the coupling all throughout. There are sweet moments between her and Clooney that are charmingly understated. Farmiga gives one of the most relatable, believable performances of the year.
The movie threw me for a loop. Its ending...that's a great ending. It left me speechless, sitting in the theater with my friend, until we finally walked back to the car -- silently. I love it when a movie can knock me flat on my ass without my expecting it. And truly, Up in the Air did just that. It got me emotionally involved without me realizing it. I would definitely see it again: for the acting, the writing, the directing, for Rolfe Kent's score, for the cinematography by Eric Steelberg, etc. It's stunning.
And now the negative. From Videohound's picks of best supporting performances, 2009:
"In the hands of 99 out of 100 actresses, Natalie Keener is a shrill, whiny, cliché of a character – a cocky young lady who learns a serious life lesson from the more experienced older man who mentors her. Yawn. We've seen that before. The tough assignment...was to take that character model and make it feel genuine."
This is what Videohound's Turk182 wrote about his pick for Best Supporting Actress, Anna Kendrick in Up in the Air. What's funny is that I completely disagree. Kendrick has certain moments where she shines, reminding me why I like her in Rocket Science and tolerate her in the Twilight movies. But her Natalie Keener is shrill, whiny, and cliched. Some of her dialogue, God help me, sounds like lines written for the middle daughter in Dan in Real Life. As for that breakdown scene midway through the film? Yikes. Talk about overplaying the comedy. She is the least consistent out of all the actors, and there seems to be no throughline for her character. It's all moments. While I didn't hate her, and while I definitely (DEFINITELY) still love the movie, Kendrick's Natalie gets a shake of the head from me.
I will throw my hat into the ring for Amy Morton as Cara, Ryan's sister. Like I always say: if I can find a real-life counterpart to your role, your doing your job perfectly. Morton, who was nominated for a Tony for her work in August: Osage County, plays my aunt beautifully. She's taken over the mother role, yet she is just as vulnerable as anyone else. Exasperated at her brother's aloofness, she nevertheless strives to keep the family together. A small but wonderful bit of actressing.
I like a lot of things about the movie. George Clooney plays Ryan Bingham, a man whose life is the hotels and planes he spends time in on his way to firing people for "pussies". And it took me a while to see it, but it really is one of his more nuanced performances. It surpassed his Michael Clayton, and is at least on par with Bob Barnes and Fred Friendly (2005's Syriana and Good Night and Good Luck, respectively). Seeing him as vulnerable as he is here was a real change, and he did it so subtly. I love the look on his face when he sees his sister's husband-to-be (Danny McBride) ask her to be his co-pilot. Love it. Probably my favorite moment in the movie.
Vera Farmiga is smart, sexy and confident as Alex, who describes herself to Ryan Bingham as "you, but with a vagina." You love her. You must. I certainly fell for her, and so of course I'm rooting for the coupling all throughout. There are sweet moments between her and Clooney that are charmingly understated. Farmiga gives one of the most relatable, believable performances of the year.
The movie threw me for a loop. Its ending...that's a great ending. It left me speechless, sitting in the theater with my friend, until we finally walked back to the car -- silently. I love it when a movie can knock me flat on my ass without my expecting it. And truly, Up in the Air did just that. It got me emotionally involved without me realizing it. I would definitely see it again: for the acting, the writing, the directing, for Rolfe Kent's score, for the cinematography by Eric Steelberg, etc. It's stunning.
And now the negative. From Videohound's picks of best supporting performances, 2009:
"In the hands of 99 out of 100 actresses, Natalie Keener is a shrill, whiny, cliché of a character – a cocky young lady who learns a serious life lesson from the more experienced older man who mentors her. Yawn. We've seen that before. The tough assignment...was to take that character model and make it feel genuine."
This is what Videohound's Turk182 wrote about his pick for Best Supporting Actress, Anna Kendrick in Up in the Air. What's funny is that I completely disagree. Kendrick has certain moments where she shines, reminding me why I like her in Rocket Science and tolerate her in the Twilight movies. But her Natalie Keener is shrill, whiny, and cliched. Some of her dialogue, God help me, sounds like lines written for the middle daughter in Dan in Real Life. As for that breakdown scene midway through the film? Yikes. Talk about overplaying the comedy. She is the least consistent out of all the actors, and there seems to be no throughline for her character. It's all moments. While I didn't hate her, and while I definitely (DEFINITELY) still love the movie, Kendrick's Natalie gets a shake of the head from me.
I will throw my hat into the ring for Amy Morton as Cara, Ryan's sister. Like I always say: if I can find a real-life counterpart to your role, your doing your job perfectly. Morton, who was nominated for a Tony for her work in August: Osage County, plays my aunt beautifully. She's taken over the mother role, yet she is just as vulnerable as anyone else. Exasperated at her brother's aloofness, she nevertheless strives to keep the family together. A small but wonderful bit of actressing.
Monday, December 21, 2009
Stave Twenty-One: In Which Someone a First Christmas is Celebrated
DAY TWENTY-ONE OF HOLLMANN HOLIDAY EXTRAVAGANZA
This Christmas Eve will be a very special one in my household. My sister had a baby in March, the first of us to do so. Now, my parents and I are visiting family on Christmas Day, but my sister and her daughter will be staying in town, so we're spending Christmas Eve with them. Which means I'll be there for my niece's First Christmas.
Obviously, I don't remember my First Christmas, so I can't really provide an anecdote about that. I do remember some early Christmases, though, so I am happy to be able to share this experience with my niece. We even brought out some of our stuffed animals of old to let her play with. I could not help but recognize the Rudolph my aunt gave me during our Atlanta Christmas: Plaid shirt, green pants, brown suspenders, and a torn red nose without cotton. There is also the train set I got a year later. It's a whole set with engine, coal, pine trees and caboose; as I got older, I would play Agatha Christie with my Micro Machines on that train. It doesn't really run, but it's neat to look at. And what better gift to give a child on Christmas than a worn hand-me-down?
In all seriousness, though, it really means a lot to me, my old traditions becoming her new traditions. She's not even a year old, so she doesn't know the significance of these items to my life. Besides, they have someone new to entertain. I hope she enjoys them as much as I did. Hell, I hope she dresses as snazzily as I did (green sweatsuit with a T. Rex on the shirt).
At least I get to say that I was there for my niece's First Christmas. That we sat together by the tree as the angel's wings changed color, that she stared at the Santa Claus figurine perplexedly, a little frightened by this strange giant with the odd suit -- because, let's face it, the first time we see Santa we freak the hell out -- that she fell asleep in her Mama's arms after we all exchanged gifts. Christmas is all about the family, and I am more than happy to spend it with its newest member.
It's baby's first Christmas,
It's somethin' to see,
Mommy and Daddy,
Trimmin' baby's Christmas tree.
Baby's big brother,
Is busy with his toys,
He's shinin' up the chimney,
For Santa Claus!
It's baby's first Christmas,
And oh, what a joy,
Shopping all around,
For every pretty toy.
It's a very special Christmas,
A blessing from above,
It's baby's first Christmas,
A Christmas full of love!
It's baby's first Christmas,
And oh, what a joy,
Shopping all around,
For every pretty toy.
It's a very special Christmas,
A blessing from above,
It's baby's first Christmas,
A Christmas full of love!
This Christmas Eve will be a very special one in my household. My sister had a baby in March, the first of us to do so. Now, my parents and I are visiting family on Christmas Day, but my sister and her daughter will be staying in town, so we're spending Christmas Eve with them. Which means I'll be there for my niece's First Christmas.
Obviously, I don't remember my First Christmas, so I can't really provide an anecdote about that. I do remember some early Christmases, though, so I am happy to be able to share this experience with my niece. We even brought out some of our stuffed animals of old to let her play with. I could not help but recognize the Rudolph my aunt gave me during our Atlanta Christmas: Plaid shirt, green pants, brown suspenders, and a torn red nose without cotton. There is also the train set I got a year later. It's a whole set with engine, coal, pine trees and caboose; as I got older, I would play Agatha Christie with my Micro Machines on that train. It doesn't really run, but it's neat to look at. And what better gift to give a child on Christmas than a worn hand-me-down?
In all seriousness, though, it really means a lot to me, my old traditions becoming her new traditions. She's not even a year old, so she doesn't know the significance of these items to my life. Besides, they have someone new to entertain. I hope she enjoys them as much as I did. Hell, I hope she dresses as snazzily as I did (green sweatsuit with a T. Rex on the shirt).
At least I get to say that I was there for my niece's First Christmas. That we sat together by the tree as the angel's wings changed color, that she stared at the Santa Claus figurine perplexedly, a little frightened by this strange giant with the odd suit -- because, let's face it, the first time we see Santa we freak the hell out -- that she fell asleep in her Mama's arms after we all exchanged gifts. Christmas is all about the family, and I am more than happy to spend it with its newest member.
It's baby's first Christmas,
It's somethin' to see,
Mommy and Daddy,
Trimmin' baby's Christmas tree.
Baby's big brother,
Is busy with his toys,
He's shinin' up the chimney,
For Santa Claus!
It's baby's first Christmas,
And oh, what a joy,
Shopping all around,
For every pretty toy.
It's a very special Christmas,
A blessing from above,
It's baby's first Christmas,
A Christmas full of love!
It's baby's first Christmas,
And oh, what a joy,
Shopping all around,
For every pretty toy.
It's a very special Christmas,
A blessing from above,
It's baby's first Christmas,
A Christmas full of love!
Thursday, December 17, 2009
Song Short List
Yesterday the Academy announced the 63 songs that will contend for one of the three or five spots that Best Original Song has open this year. The list:
"All Is Love" from “Where the Wild Things Are”
This is a pretty cute song. I think I preferred the reprise, but I believe this is the one they actually campaigned.
“Almost Over You” from “My One and Only”
“Almost There” from “The Princess and the Frog”
Fine by me. Tiana's only solo number in the film deserves the love. As I've said before, you could make all the Song noms The Princess and the Frog and I'd be fine. Well, no, but I wouldn't be pissed.
“AyAyAyAy” from “The Maid”
“Back to Tennessee” from “Hannah Montana The Movie”
Second best song this year. I can't stop listening to it.
“Being Bad” from “Duplicity”
“Blanco” from “Fast & Furious”
“Brothers in Arms” from “Brothers at War”
“Butterfly Fly Away” from “Hannah Montana The Movie”
Cute if forgettable.
“Cinema Italiano” from “Nine”
Heard the song, though I haven't seen the movie. I hope it's better in context, because egghhh....
“Colorblind” from “Invictus”
Crap. Utter crap.
“Depression Era” from “That Evening Sun”
“Don’t Walk Away” from “Hannah Montana The Movie”
I don't even remember this one. When I hear those three words, I think Xanadu. Anyone else?
“Dove of Peace” from “Bruno”
Ha.
“Down in New Orleans” from “The Princess and the Frog”
Of course! But now we're past the "D's" and my favorite song from the movie, "Dig a Little Deeper", is nowhere to be seen. The fuck?
“Fly Farm Blues” from “It Might Get Loud”
“Forget Me” from “I Love You, Beth Cooper”
“God Bless Us Everyone” from “Disney’s A Christmas Carol”
Transplendent, as Shelley Duvall would say. In Annie Hall only, though. Ooh, or maybe not?
“Here” from “Shrink”
“Hideaway” from “Where the Wild Things Are”
That's fine. I don't remember it exactly. Time to open up the iTunes.
“Hoedown Throwdown” from “Hannah Montana The Movie”
Catchy little ditty. I kind of hope it manages to find a way in.
“I Bring What I Love” from “Youssou N’Dour: I Bring What I Love”
“I See You” from “Avatar”
Haven't seen the movie (it opens tomorrow!), but I like this song. A lot. But then, I was a huge fan of "My Heart Will Go On" too.
“(I Want to) Come Home” from “Everybody’s Fine”
Anything connected to this movie should be shamed out of memory.
“If You’re Wondering” from “The Lightkeepers”
“Impossible Fantasy” from “Adventures of Power”
“Innocent Child” from “Skin”
“Invictus 9,000 Days” from “Invictus”
Derail the Invictus train at whatever cost.
“Legendary” from “Tyson”
“Let Freedom Reign” from “Skin”
“Loin de Paname” from “Paris 36”
“Ma Belle Evangeline” from “The Princess and the Frog”
Hm. Yeah.
“My One and Only” from “My One and Only”
“Na Na” from “Couples Retreat”
“Never Knew I Needed” from “The Princess and the Frog”
Oh, this is the Ne-Yo song! Yeah, I totally dig it! Give it a nom!
“New Divide” from “Transformers: Revenge of the Fallen”
“New Jersey Nights” from “Adventures of Power”
“New York Is Where I Live” from “Did You Hear about the Morgans?”
“No Time for Love” from “Simon & Malou”
“One Day” from “Post Grad”
“Only You” from “The Young Victoria”
“Other Father Song” from “Coraline”
Is this song even half-a-minute long? Glad to see it here, really, but wish "Dig a Little Deeper" was in.
“Petey’s Song” from “Fantastic Mr. Fox”
Oh thank Heaven. Integrated ingeniously within the story. Awesome, awesome, awesome.
“Ponyo on the Cliff by the Sea” from “Ponyo”
"Possibility” from “The Twilight Saga: New Moon”
New Moon had a bitching soundtrack. I like this song a lot, and I remember expressing this affection in the theater.
“Raining Sunshine” from “Cloudy with a Chance of Meatballs”
“Running Out of Empty (Make Ourselves at Home)” from “Lymelife”
“Smoke without Fire” from “An Education”
Hail Duffy.
“Somebody Else” from “Crazy Heart”
“Stu’s Song” from “The Hangover”
Yes, yes, yes! "What do tigers dream of/When they take a little tiger snooze?"
“Take It All” from “Nine”
Great song. Much better than "Cinema Italiano." Marion helps, of course.
“Through the Trees” from “Jennifer’s Body”
Best song of the year, in my opinion. Glad it got shortlisted. Probably won't make it in, but it should.
“Trust Me” from “The Informant!”
Old-schooly, which is fun. Kind of forgettable, though.
“Un Bouquet des Violettes” from “New York, I Love You”
“We Are the Children of the World” from “The Imaginarium of Doctor Parnassus”
“We Love Violence” from “The Imaginarium of Doctor Parnassus”
“When You Find Me” from “Adam”
There was a song in this movie? Was it the very literal one that came at the end? I fucking hate Adam.
“Winter” from “Brothers”
“The Word Is Love” from “Oy Vey! My Son Is Gay!”
“You Got Me Wrapped around Your Little Finger” from “An Education”
Beautiful song. Always surprised to be reminded that it's written for the movie. Deserves to be in.
“You’ll Always Find Your Way Back Home” from “Hannah Montana The Movie”
OK, this is fine.
“You’ve Been a Friend to Me” from “Old Dogs”
“The Weary Kind (Theme from Crazy Heart)” from “Crazy Heart”
"All Is Love" from “Where the Wild Things Are”
This is a pretty cute song. I think I preferred the reprise, but I believe this is the one they actually campaigned.
“Almost Over You” from “My One and Only”
“Almost There” from “The Princess and the Frog”
Fine by me. Tiana's only solo number in the film deserves the love. As I've said before, you could make all the Song noms The Princess and the Frog and I'd be fine. Well, no, but I wouldn't be pissed.
“AyAyAyAy” from “The Maid”
“Back to Tennessee” from “Hannah Montana The Movie”
Second best song this year. I can't stop listening to it.
“Being Bad” from “Duplicity”
“Blanco” from “Fast & Furious”
“Brothers in Arms” from “Brothers at War”
“Butterfly Fly Away” from “Hannah Montana The Movie”
Cute if forgettable.
“Cinema Italiano” from “Nine”
Heard the song, though I haven't seen the movie. I hope it's better in context, because egghhh....
“Colorblind” from “Invictus”
Crap. Utter crap.
“Depression Era” from “That Evening Sun”
“Don’t Walk Away” from “Hannah Montana The Movie”
I don't even remember this one. When I hear those three words, I think Xanadu. Anyone else?
“Dove of Peace” from “Bruno”
Ha.
“Down in New Orleans” from “The Princess and the Frog”
Of course! But now we're past the "D's" and my favorite song from the movie, "Dig a Little Deeper", is nowhere to be seen. The fuck?
“Fly Farm Blues” from “It Might Get Loud”
“Forget Me” from “I Love You, Beth Cooper”
“God Bless Us Everyone” from “Disney’s A Christmas Carol”
Transplendent, as Shelley Duvall would say. In Annie Hall only, though. Ooh, or maybe not?
“Here” from “Shrink”
“Hideaway” from “Where the Wild Things Are”
That's fine. I don't remember it exactly. Time to open up the iTunes.
“Hoedown Throwdown” from “Hannah Montana The Movie”
Catchy little ditty. I kind of hope it manages to find a way in.
“I Bring What I Love” from “Youssou N’Dour: I Bring What I Love”
“I See You” from “Avatar”
Haven't seen the movie (it opens tomorrow!), but I like this song. A lot. But then, I was a huge fan of "My Heart Will Go On" too.
“(I Want to) Come Home” from “Everybody’s Fine”
Anything connected to this movie should be shamed out of memory.
“If You’re Wondering” from “The Lightkeepers”
“Impossible Fantasy” from “Adventures of Power”
“Innocent Child” from “Skin”
“Invictus 9,000 Days” from “Invictus”
Derail the Invictus train at whatever cost.
“Legendary” from “Tyson”
“Let Freedom Reign” from “Skin”
“Loin de Paname” from “Paris 36”
“Ma Belle Evangeline” from “The Princess and the Frog”
Hm. Yeah.
“My One and Only” from “My One and Only”
“Na Na” from “Couples Retreat”
“Never Knew I Needed” from “The Princess and the Frog”
Oh, this is the Ne-Yo song! Yeah, I totally dig it! Give it a nom!
“New Divide” from “Transformers: Revenge of the Fallen”
“New Jersey Nights” from “Adventures of Power”
“New York Is Where I Live” from “Did You Hear about the Morgans?”
“No Time for Love” from “Simon & Malou”
“One Day” from “Post Grad”
“Only You” from “The Young Victoria”
“Other Father Song” from “Coraline”
Is this song even half-a-minute long? Glad to see it here, really, but wish "Dig a Little Deeper" was in.
“Petey’s Song” from “Fantastic Mr. Fox”
Oh thank Heaven. Integrated ingeniously within the story. Awesome, awesome, awesome.
“Ponyo on the Cliff by the Sea” from “Ponyo”
"Possibility” from “The Twilight Saga: New Moon”
New Moon had a bitching soundtrack. I like this song a lot, and I remember expressing this affection in the theater.
“Raining Sunshine” from “Cloudy with a Chance of Meatballs”
“Running Out of Empty (Make Ourselves at Home)” from “Lymelife”
“Smoke without Fire” from “An Education”
Hail Duffy.
“Somebody Else” from “Crazy Heart”
“Stu’s Song” from “The Hangover”
Yes, yes, yes! "What do tigers dream of/When they take a little tiger snooze?"
“Take It All” from “Nine”
Great song. Much better than "Cinema Italiano." Marion helps, of course.
“Through the Trees” from “Jennifer’s Body”
Best song of the year, in my opinion. Glad it got shortlisted. Probably won't make it in, but it should.
“Trust Me” from “The Informant!”
Old-schooly, which is fun. Kind of forgettable, though.
“Un Bouquet des Violettes” from “New York, I Love You”
“We Are the Children of the World” from “The Imaginarium of Doctor Parnassus”
“We Love Violence” from “The Imaginarium of Doctor Parnassus”
“When You Find Me” from “Adam”
There was a song in this movie? Was it the very literal one that came at the end? I fucking hate Adam.
“Winter” from “Brothers”
“The Word Is Love” from “Oy Vey! My Son Is Gay!”
“You Got Me Wrapped around Your Little Finger” from “An Education”
Beautiful song. Always surprised to be reminded that it's written for the movie. Deserves to be in.
“You’ll Always Find Your Way Back Home” from “Hannah Montana The Movie”
OK, this is fine.
“You’ve Been a Friend to Me” from “Old Dogs”
“The Weary Kind (Theme from Crazy Heart)” from “Crazy Heart”
Screen Actors Guild Nominees
The Screen Actors Guild has given us their noms from on high. Let us peruse. Amen.
BEST SUPPORTING ACTOR
Matt Damon, Invictus
Woody Harrelson, The Messenger
Christopher Plummer, The Last Station
Stanley Tucci, The Lovely Bones
Christoph Waltz, Inglourious Basterds
This list looks familiar, doesn't it? Alfred Molina (An Education) should be on here, I want to say. But I haven't seen those center three, either. A win for Waltz.
BEST SUPPORTING ACTRESS
Penelope Cruz, Nine
Vera Farmiga, Up in the Air
Anna Kendrick, Up in the Air
Diane Kruger, Inglourious Basterds
Mo'Nique, Precious
Oh Em Gee, Diane Kruger is there! That makes me so happy! Easily my favorite of the Basterds ensemble! Penelope Cruz is here for Nine, so that's interesting; maybe she will make it to the top. No Samantha Morton for The Messenger, which I thought they'd go for in a big way. A win for Mo'Nique.
BEST ACTOR
Jeff Bridges, Crazy Heart
George Clooney, Up in the Air
Colin Firth, A Single Man
Morgan Freeman, Invictus
Jeremy Renner, The Hurt Locker
Respectable list. Glad to see Renner is here. Tough call here. Bridges, I think.
BEST ACTRESS
Sandra Bullock, The Blind Side
Carey Mulligan, An Education
Helen Mirren, The Last Station
Gabourey Sidibe, Precious
Meryl Streep, Julie & Julia
That's it: Abbie Cornish's performance in Bright Star is dead, kaput, no more. The Bullock nom is actually going to happen. Mulligan, Sidibe and Streep all deserve to be here, Mulligan especially. Streep wins here.
BEST ENSEMBLE
An Education: Dominic Cooper, Alfred Molina, Carey Mulligan, Rosamund Pike, Peter Sarsgaard, Emma Thompson, Olivia Williams
The Hurt Locker: Christian Camargo, Brian Geraghty, Evangeline Lilly, Anthony Mackie, Jeremy Renner
Inglourious Basterds: Daniel Bruhl, August Diehl, Julie Dreyfuss, Michael Fassbender, Sylvester Groth, Jacky Ido, Diane Kruger, Melanie Laurent, Denis Menochet, Mike Myers, Brad Pitt, Eli Roth, Til Schweiger, Rod Taylor, Christoph Waltz, Martin Wuttke
Nine: Marion Cotillard, Penelope Cruz, Daniel Day-Lewis, Judi Dench, Fergie, Kate Hudson, Nicole Kidman, Sophia Loren
Precious: Mariah Carey, Lenny Kravitz, Mo'Nique, Paula Patton, Sherri Shepherd, Gabourey Sidibe
Holy crap, is this a strong list or what? Only Basterds and Precious have multiple acting nominations, though An Education is deserving of more. Oh, and hey, did Cara Seymour disappear from An Education since I've seen it? Because she's the only cast member not in the ensemble list. I love the inclusion of veteran actor Rod Taylor in the official Basterds ensemble. And the Each One Teach One girls should've gotten a mention in the Precious ensemble, but I'm also happy Sherri's there. Precious wins here.
No huge surprises, ugly or otherwise. Very safe, tow-the-line list. Glad Kruger showed up.
BEST SUPPORTING ACTOR
Matt Damon, Invictus
Woody Harrelson, The Messenger
Christopher Plummer, The Last Station
Stanley Tucci, The Lovely Bones
Christoph Waltz, Inglourious Basterds
This list looks familiar, doesn't it? Alfred Molina (An Education) should be on here, I want to say. But I haven't seen those center three, either. A win for Waltz.
BEST SUPPORTING ACTRESS
Penelope Cruz, Nine
Vera Farmiga, Up in the Air
Anna Kendrick, Up in the Air
Diane Kruger, Inglourious Basterds
Mo'Nique, Precious
Oh Em Gee, Diane Kruger is there! That makes me so happy! Easily my favorite of the Basterds ensemble! Penelope Cruz is here for Nine, so that's interesting; maybe she will make it to the top. No Samantha Morton for The Messenger, which I thought they'd go for in a big way. A win for Mo'Nique.
BEST ACTOR
Jeff Bridges, Crazy Heart
George Clooney, Up in the Air
Colin Firth, A Single Man
Morgan Freeman, Invictus
Jeremy Renner, The Hurt Locker
Respectable list. Glad to see Renner is here. Tough call here. Bridges, I think.
BEST ACTRESS
Sandra Bullock, The Blind Side
Carey Mulligan, An Education
Helen Mirren, The Last Station
Gabourey Sidibe, Precious
Meryl Streep, Julie & Julia
That's it: Abbie Cornish's performance in Bright Star is dead, kaput, no more. The Bullock nom is actually going to happen. Mulligan, Sidibe and Streep all deserve to be here, Mulligan especially. Streep wins here.
BEST ENSEMBLE
An Education: Dominic Cooper, Alfred Molina, Carey Mulligan, Rosamund Pike, Peter Sarsgaard, Emma Thompson, Olivia Williams
The Hurt Locker: Christian Camargo, Brian Geraghty, Evangeline Lilly, Anthony Mackie, Jeremy Renner
Inglourious Basterds: Daniel Bruhl, August Diehl, Julie Dreyfuss, Michael Fassbender, Sylvester Groth, Jacky Ido, Diane Kruger, Melanie Laurent, Denis Menochet, Mike Myers, Brad Pitt, Eli Roth, Til Schweiger, Rod Taylor, Christoph Waltz, Martin Wuttke
Nine: Marion Cotillard, Penelope Cruz, Daniel Day-Lewis, Judi Dench, Fergie, Kate Hudson, Nicole Kidman, Sophia Loren
Precious: Mariah Carey, Lenny Kravitz, Mo'Nique, Paula Patton, Sherri Shepherd, Gabourey Sidibe
Holy crap, is this a strong list or what? Only Basterds and Precious have multiple acting nominations, though An Education is deserving of more. Oh, and hey, did Cara Seymour disappear from An Education since I've seen it? Because she's the only cast member not in the ensemble list. I love the inclusion of veteran actor Rod Taylor in the official Basterds ensemble. And the Each One Teach One girls should've gotten a mention in the Precious ensemble, but I'm also happy Sherri's there. Precious wins here.
No huge surprises, ugly or otherwise. Very safe, tow-the-line list. Glad Kruger showed up.
Hannah Montana Gets In the Loop
IN THE LOOP
Why so hilarious? At first, I felt like I was too dumb to understand the proceedings, but I settled into the groove of things and holy shit was I rewarded. I'm glad I finally caught up with it. Peter Capaldi, Tom Hollander and Mimi Kennedy are hilariousest, but the rest of the cast is equally incredible. It is only fitting that I see this before the SAG announces its nominations in the morning, because it is so richly deserving of Best Ensemble. The writing is quick, witty and sharp as a tack. "Fuckety-bye-bye" is probably one of the best sign-offs I've heard.
The film is all about language, and how one slip of the tongue can change the course of, say, foreign policy. Or a war. Hollander is the Minister of International Development who slips up, and it's nice to see him playing a good guy for once. Capaldi is the foul-mouthed communications director, in one of the best roles to grace the screen this year. Across the Atlantic, Kennedy is an Assistant Secretary for Diplomacy trying to use Hollander's words for the anti-war side, while David Rasche plays a politico who uses a live grenade as a paperweight. The whole thing is smart, ludicrous...and absurdly realistic.
Final verdict: Smart, hilarious, awesome.
HANNAH MONTANA: THE MOVIE
I like Miley Cyrus, so I guess I'm already biased by stating here, in print, that she's a good actress. Taking her television alter ego to the big screen, Cyrus (and the creative team) dial it down. No longer do we get the vaudevillian mannerisms of Miley and Jackson, nor are we forced to sit through the grating presence of Moises Arias. Instead, Robbie Ray Stewart (Billy Ray Cyrus) forces his daughter to stop being Hannah Montana for a time and return to her hometown of Crowley Corners, Tennessee. There, she runs afoul of a British tabloid reporter, falls in love, and saves the meadows from becoming a Strip Mall.
The movie is pretty well-done. Peter Chelsom helms; the man previously directed one of my favorite rom-coms, Serendipity. Suffice to say, despite the limited abilities of Lucas Till (he looks great, but...meh), the love story really works. Cyrus certainly works it, and when the inevitable Big Fight happens, it seems to awaken this untapped talent within. Her voice cracks ever so slightly, her eyes lose their sparkle: this girl can act. And it's all preceded by a well-executed yet cliched bit of "zaniness".
It's interesting, actually, that the weakest aspect of the film is the comedy. I mean, it's based on a sitcom. Yet it's the quiet moments that triumph, especially in scenes with Grandma Ruby, ably played by Margo Martindale, and Lorelai (Melora Hardin, finally playing a warm person instead of Ms. Business Suit). It gets weaker by the end, when they replace my charming yet familiar film with cheese. Utter cheese. "Life's a climb, but the view is great." Eh, I guess.
And, of course, the songs. "The Climb" is fine, a nice power ballad. "Butterfly Fly Away" is a diabetes-ridden father-daughter tune, but it's hard to not get a little choked up at it. For better or worse, the "Hoedown Throwdown" is a catchy little fucker. But the real stand-out is "Back to Tennessee", written and performed by Billy Ray Cyrus. It's a beautiful, heartfelt song about getting back to your roots, and the music is perfect.
Final verdict: Cliched yet charming. Check your cynicism at the door.
Why so hilarious? At first, I felt like I was too dumb to understand the proceedings, but I settled into the groove of things and holy shit was I rewarded. I'm glad I finally caught up with it. Peter Capaldi, Tom Hollander and Mimi Kennedy are hilariousest, but the rest of the cast is equally incredible. It is only fitting that I see this before the SAG announces its nominations in the morning, because it is so richly deserving of Best Ensemble. The writing is quick, witty and sharp as a tack. "Fuckety-bye-bye" is probably one of the best sign-offs I've heard.
The film is all about language, and how one slip of the tongue can change the course of, say, foreign policy. Or a war. Hollander is the Minister of International Development who slips up, and it's nice to see him playing a good guy for once. Capaldi is the foul-mouthed communications director, in one of the best roles to grace the screen this year. Across the Atlantic, Kennedy is an Assistant Secretary for Diplomacy trying to use Hollander's words for the anti-war side, while David Rasche plays a politico who uses a live grenade as a paperweight. The whole thing is smart, ludicrous...and absurdly realistic.
Final verdict: Smart, hilarious, awesome.
HANNAH MONTANA: THE MOVIE
I like Miley Cyrus, so I guess I'm already biased by stating here, in print, that she's a good actress. Taking her television alter ego to the big screen, Cyrus (and the creative team) dial it down. No longer do we get the vaudevillian mannerisms of Miley and Jackson, nor are we forced to sit through the grating presence of Moises Arias. Instead, Robbie Ray Stewart (Billy Ray Cyrus) forces his daughter to stop being Hannah Montana for a time and return to her hometown of Crowley Corners, Tennessee. There, she runs afoul of a British tabloid reporter, falls in love, and saves the meadows from becoming a Strip Mall.
The movie is pretty well-done. Peter Chelsom helms; the man previously directed one of my favorite rom-coms, Serendipity. Suffice to say, despite the limited abilities of Lucas Till (he looks great, but...meh), the love story really works. Cyrus certainly works it, and when the inevitable Big Fight happens, it seems to awaken this untapped talent within. Her voice cracks ever so slightly, her eyes lose their sparkle: this girl can act. And it's all preceded by a well-executed yet cliched bit of "zaniness".
It's interesting, actually, that the weakest aspect of the film is the comedy. I mean, it's based on a sitcom. Yet it's the quiet moments that triumph, especially in scenes with Grandma Ruby, ably played by Margo Martindale, and Lorelai (Melora Hardin, finally playing a warm person instead of Ms. Business Suit). It gets weaker by the end, when they replace my charming yet familiar film with cheese. Utter cheese. "Life's a climb, but the view is great." Eh, I guess.
And, of course, the songs. "The Climb" is fine, a nice power ballad. "Butterfly Fly Away" is a diabetes-ridden father-daughter tune, but it's hard to not get a little choked up at it. For better or worse, the "Hoedown Throwdown" is a catchy little fucker. But the real stand-out is "Back to Tennessee", written and performed by Billy Ray Cyrus. It's a beautiful, heartfelt song about getting back to your roots, and the music is perfect.
Final verdict: Cliched yet charming. Check your cynicism at the door.
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