From one lesser celebrated award show to another, the 2011 Independent Spirit Award nominees were announced this morning. Leading the way was Debra Granik's terrific Winter's Bone landed seven nods; The Kids Are Alright with five; Black Swan, Greenberg and Rabbit Hole each had four; 127 Hours, Jack Goes Boating and Tiny Furniture finished with three.
At quick glance it's odd that Waiting for Superman was denied entry for the Documentary category. It recently won the Audience Award at the just completed Gotham Awards, and looked to be a mainstay leading up to the Oscars. Michelle Williams garnered a nomination for Blue Valentine, yet her costar Ryan Gosling was left off. It was a strong year for most leading acting groupings, so a few admirable performances were bound to be left off.
The 2011 Independent Spirit Awards will be broadcast on Saturday, February 26, 2011 in Santa Monica, California. Comedian Joel McHale (TV's Community) will host.
Last night in New York City, the 20th Annual Gotham Awards were held, highlighting the best films that you probably haven't seen, but should. The event, hosted by Patricia Clarkson (Pieces of April) and Stanley Tucci (Sidewalks of New York), has only seven categories, but recognition here in the past has significantly boosted the chances for more prestigious rewards later in the season.
Winter's Bone was the night's big winner (although its star Jennifer Lawrence unexpectedly wasn't the Breakthrough Actor recipient), walking away with both Best Film and Best Ensemble Performance. Tributes were given to Robert Duvall (Falling Down), Hilary Swank (Buffy the Vampire Slayer), director Darren Aronofsky (The Wrestler), and producer/screenwriter James Schamus (Brokeback Mountain).
Full list of winners and nominees after the break.
James Franco and Anne Hathaway will host the 83rd Annual Academy Awards during the February 27 telecast. This is the second straight year that two hosts will be utilized after Alec Baldwin and Steve Martin helmed the 2009 version.
This seems to be an odd choice given Franco's and Hathaway's unknown chemistry. Although, Baldwin and Martin have collaborated many times and even with their connection, it's not a given that it will even succeed given last year's lackluster effort.
On top of that, Franco is assured a nomination for his portrayal of hiker Aron Ralston in director Danny Boyle's 127 Hours, while Hathaway may secure one herself for her role in Love and Other Drugs. It'd be more than a little awkward receiving the most prestigious prize in the business while you are headlining the event.
At the same token, Hathaway aided in a musical number when Hugh Jackman was in charge, and she absolutely nailed it. Plus, there's a good chance Franco will show up high to the ceremonies, and if that's the case, it could be the greatest edition in the shows history.
Canadians are the funniest people on Earth. We lost a great one today. Leslie Nielsen, after spending twelve days in a Fort Lauderdale hospital, passed away in his sleep due to complications with pneumonia.
While his earlier career started with dramatic roles, Nielsen earned his most memorable merits from comedy. 1980's Airplane! offered him a supporting turn, one littered with quotable one-liners and his trademark deadpan humour. I (and I'd venture many others) was introduced to Nielsen as Lieutenant Frank Drebin in the outstanding Naked Gun series. The trilogy was just one absurd joke after another, yet still somehow gave credence to the unlikeliest of people, like Priscilla Presley, Anna Nicole Smith, and O.J. Simpson--his last role before that small-scale trial he was involved in.
Leslie Nielsen was a unique talent, one that never took himself too seriously. He also somewhat found the fountain of youth, having seemingly not aged for the final thirty plus years of his life. He will be missed, and don't call him Shirley.
On this American holiday I'd like to give thanks for thespian Nicolas Cage, seen here in a montage of his most psychotic fiery roles. The answer to your question is yes. Yes, this man has won the Academy Award for best actor.
The first twenty minutes tell the tale of what The Deathly Hallows Part I has in store for us. Voldemort and his minions the Death Eaters have laid siege to their fantastical realm, and now have begun to stake claim to the land of Muggles (boring people like you and I). In a few unspoken scenes, Harry Potter's surrogate family moves away, while Hermione Granger casts a spell over her parents, removing all memories of her. A touching moment if there ever was one. The patchwork group of heroes have banded together; as it has been in the past, there really is only one goal: protect Harry. An aerial battle transpires, chock-full of deft maneuvers and near misses. Regrettably, a popular character dies offscreen with only a mere mention of his/her passing. A curious decision by director David Yates.
What I've enjoyed most over the last decade of wizards and witches is the change of disposition. The first installment, The Philosopher's Stone (or Sorcerer's Stone in the United States) manifested the now famous magic domain, all the while introducing its three main characters: Harry, Hermione and Ron Weasley. Like them, we were immersed in a whimsical world. The characters were all whisked away to Hogwarts, where there lived giants, ogres, a cerberus, you name it. We met Professor's Dumbledore (the late Richard Harris. Michael Gambon later stepped in) and Snape (Alan Rickman) among others. It was quite evident was that this was a kid's work. There was no real danger involved; it was clear everyone was going to survive.
With every subsequent film getting progressively darker, my interest has only increased. The fun and joy the students experienced has been swapped with pain and suffering. That is to say that no character seems safe any longer. In the earlier stories, the most substantial threat that everyone faced was whether they could pass their 'Potions' final exam. Sure, Voldemort was around, but he was more mythical boogeyman than callous killer. Now, Dumbledore is dead, Snape is his murderer; the perils are as real as the wands they hold in their hands.
A change in the colour palette is evident. Whereas the six preceding films were filled with bright and warm hues, Hallows Part I remains subdued; the picture is hushed with dark blues and greys. The change in tone coincides with the complete removal of Hogwarts--the main reason it seems more adult. The desks and text books are replaced with menacing forests and bleak outlooks.
The Deathly Hallows are a triumvirate of objects, reputedly given to three brothers by the Grim Reaper himself: the Elder Wand, the Resurrection Stone, and the Cloak of Invisibility. Whomever bears these three gains immortality; they would essentially cheat Death. It becomes a race to see who can find them first, the most important Scavenger's Hunt in history.
I have not read the novels (I'm waiting for the completion of the film saga before starting), but Yates does an admirable job juggling the exhausting number of characters and wizardry terms. I admit to being confused a few times with various names and happenings; the way important objects (see: the sword of Gryffindor, a magic mirror) suddenly appear at the most opportune time flew over my head like those who ride on brooms. A refresher course by watching the previous six chapters would be recommended (if you have twelve plus hours to spare).
There are a few points when Harry and company seem to be running in circles. We are told tirelessly about the dire need to find and destroy the horcruxes--mundane objects that each contain a part of Voldemort's soul--yet for a big chunk of the film the kids go camping and dance around jovially. There is a wedding earlier on for one of the Weasley brothers. Hermione tells us that perhaps a celebration is the perfect time to cut the dire tension. Minutes later the nuptials are attacked, more lives are lost. Premonition appears not to be a learned power. As I am not yet attuned to the literature, it's difficult to determine what to attribute the lapses and peculiar plot devices to.
That being said, Hallows Part I is a sublime work. All the actors involved are running at the highest cylinder. When Harry (Daniel Radcliffe), Hermione (Emma Watson) and Ron (Rupert Grint) began their exploits all those years ago, they were relative nobodies. The selection of child stars is a tricky one; that the producers were able to find capable and believable stars is a credit to them. One of the greatest strengths of all the Potter films has been the supporting cast; a literal who's who of English stagecraft: Gary Oldman, David Thewlis, Robbie Coltrane, Brendan Gleeson, Kenneth Branagh, Maggie Smith, Jim Broadbent, Emma Thompson, Helena Bonham Carter, Jason Isaacs, Imelda Staunton, Timothy Spall. Bill Nighy and Rhys Ifans are present for this seventh chapter, adding to the already overflowing riches.
The one to watch is the exceptional Ralph Fiennes, who plays Voldemort. His character's role has increased as the number of remaining films diminishes. As stated before, he is finally a material evil. His ghastly pale skin and oddly misshapen face are what nightmares are forged from. He coldly executes a Hogwart's teacher then sends his pet serpent to feast on her corpse. The film only hints at what he is capable of unleashing. It's captivating to think of what awaits us in the culminating confrontation in Hallows Part II. We've all waited ten years for the inevitable Harry/Voldemort showdown. This is a genuine clash of the titans.
Like the enormous burden placed on our bespectacled champion to rid the world of the ultimate evil, so to was the hope for these films to succeed. Supposedly, author J.K. Rowling created this universe while napping on a train; the framework for the stories that made her a billionaire came to her in a dream. What she has fashioned and evolved is nothing short of marvelous. What began as a children's book is now richly laden with adult tones and repercussions. Steven Spielberg was originally offered the opportunity to adapt Rowling's works. Due to his apprehension concerning the source material and the public's reception to it, his thought was they be animated, while condensing multiple novels into one picture. What a silly decision that seemed in hindsight.
The rallying slogan of "It Gets Better" was spearheaded by Forth Worth, Texas councilman Joel Burns, and now Pixar has stepped away from the animation table to create a live action short addressing the recent outcry for ostracized gay youth. Pixar has shown over the years the ability to make us cry with beautiful stories and unheard of adventures. Now they're doing it with simple words and faces.
The Ivan Reitman directed, Natalie Portman/Ashton Kutcher starring comedy about sleeping with your best friend without a commitment had a shitty trailer, and now an equally shitty one-sheet. Don't get me wrong, Portman is very fun to look at, and if she spent the entire film walking around sans pants I would happily pay my $12 entry fee. Chances are good however that Strings will be littered with Kutcher's terrible acting, and not even Portman's legs will be able to save it.
Continuing the trend of famous people schlepping odd products, Alec Baldwin has jumped onboard with a peculiar career choice. Following Robert Downey Jr's Mr. Peanut and Volvo ad's, Baldwin has strangely decided to front the grocery store Wegman's.
Baldwin lets us know about his love of succulent desserts, as well as grievances over the prices of coffee in New York City. I find these hilarious; the looks he's given during these thirty second spots are priceless. Again, I have no idea what he or his agent were thinking in agreeing to these, but we're all the better for it.
Duncan Jones (aka Zowie Bowie, son of rocker David) hit it out of the park with his debut film Moon. Source Code looks a lot more action and less psychological but intriguing nonetheless. Coulter Stevens (Jake Gyllenhaal) becomes a part of a program that enables the mind of one person to be sent into the bodies of others. Stevens gets zapped onto a train to stop a bomber from destroying it and the lives of those onboard.
Somewhat in the same vein as Groundhog's Day, but way less funny I'd imagine. As you'll see from the trailer, Stevens travels back a number of times to catch the culprit, but like many things in life it ends up being about a girl.
Code co-stars Vera Farmiga, Michelle Monaghan, and Jeffrey Wright. You can see Jones' sophomore effort April 15th, 2011.
Always a force to be reckoned with during awards season, the Coen brothers have something cooking with the remake of True Grit. Fresh off of last year's Oscar win for Best Actor, Jeff Bridges is back in the saddle (literally) in the role that won John Wayne the golden man.
Bridges plays "Rooster" Cogburn, a man hired by a young girl to avenge her murdered father. The original Grit, first seen back in 1969, epitomized manliness--the newest version should be no different. Matt Damon is Le Boeuf, a Texas Ranger; Hailee Steinfeld plays Mattie, the daughter; and Josh Brolin plays Tom Chaney, the man who they're all after.
First this, now we have a teaser trailer for Jon Favreau's first flick post Ironman. We don't learn who Daniel Craig is yet, but we know he's a real ass-kicker. Harrison Ford still looks ornery, and Olivia Wilde never looks bad. Check it out from Yahoo.
I like this. I like this a lot. I'm just digging the vibe this is putting out. Outstanding scene when the spacecrafts first arrive in town. There's way too many alien movies out there, but putting them in this timeline offers up something fresh. I mean, just having James Bond and Indiana Jones in it would be enough for me. Plus, I want one of those energy blast bracelets.
One of the best movies of the year. Lisa Cholodenko directed and wrote (along with Stuart Blumberg) this wonderful, and most importantly honest tale of what married life actually seems to be like. Annette Bening and Julianne Moore are Nic and Jules, a lesbian couple living in California. Years earlier they each gave birth using the identical sperm donor, resulting in Joni (Mia Wasikowska) and Laser (Josh Hutcherson).
When Joni turns eighteen she is convinced by Laser to find out the identity of their biological father. That man is Paul (Mark Ruffalo), an bohemian entrepreneur who quickly earns the adulation of "his" two kids and Jules. This comes to the chagrin of Nic, who is the more successful and uptight of the two parents.
Kids tackles love, union, family values; all set up by remarkable performances across the board. Bening should see her name on the final five for best actress at the Academy Awards in February. Moore could sneak in there as well. Gay or straight, Kids showcases a very real portrayal of a home; one filled with laughs, tears, mistakes and indulgence, but a home regardless. This is a must-see.
We saw some posters a while back from the Comic Con, but here is the long awaited first trailer from Martin Campbell's (GoldenEye, Casino Royale) Green Lantern. Ryan Reynolds stars as Hal Jordan, a test pilot who is endowed with essentially the most powerful item in the universe--the Power Ring. The wearer is able to construct with green bands of energy whatever his or her mind can think up.
Reynolds is superbly cast, as is the perfectly proportioned Blake Lively. This film rightfully has an infinite feel to it, being that it spans multiple galaxies and alien races. Not so sure about the suit right now though, especially the last big reveal when Jordan 'powers up.' Still a while before Lantern hits theatres, but the effects need a little work. Marvel has long been orchestrating an all-encompassing superhero universe with Iron Man, Thor, Hulk, and Captain America pictures--culminating with The Avengers in 2012. It might be prudent of DC (Superman, Batman, Wonder Woman, The Flash etc.) to do the same.
Another reason why only red-band trailers should be allowed to be cut. At first glance, this looks like the dirtier, cooler old brother of the flaming turd known as Year One. The difference of course being that Your Highness is funny, something that the former lacked in spades.
Thadeous (Danny McBride) and Fabious (James Franco) are two brothers who must go on an epic quest to rescue Belladonna (Zooey Deschanel)--Fabious' bride who is kidnapped by Lazar (Justin Theroux). Hard to pick the single funniest moment, but I think it's hilarious and not at all ironic that Franco is getting high during it. Natalie Portman also stars as a warrior princess who kicks ass and wears metal g-strings. She's also the love interest of McBride's--the most unrealistic element of a film that includes hydras, trolls and smoking, pink creatures.
Carey Mulligan (An Education, Never Let Me Go) has been confirmed as Daisy Buchanan in director Baz Luhrman's new adaptation of the classic novel by F. Scott Fitzgerald. The Great Gatsby is set in the roaring 1920's and involves love triangles, bootlegging and a bunch of rich, shallow, crazy socialites.
Mulligan apparently cried after hearing the news of her good fortune, a telling sign of her love for the creative work. Not official, but soon to be, is the casting of Leonardo Dicaprio (Inception) and Tobey Maguire (Pleasantville) as Jay Gatsby and Nick Carroway--the narrator of the novel. Below is the first photo from the film courtesy of First Showing.
Megamind plays like a hodgepodge of various well-known films' best attributes. Our big headed (and bigheaded) blue alien avoids his home planet's destruction after his parents place him in an escape pod headed for Earth. On the way, he is knocked off course and ends up in the care of the prison system where he quickly learns the right (burglars) from wrong (police officers).
We also see that another child has survived certain doom; this one having the good fortune of landing in a home of opulence. His future of course takes a different path. Metro Man is his name. He of a chiseled jaw, perfect hair and physique; a stark contrast to the cobalt one with the upside down pear shaped noggin. On appearance alone they naturally are destined to be enemies.
Adding to the long list of alliterative supporting ladies is Roxanne Ritchi, the local reporter (duh). She is voiced by Tina Fey who somewhat plays the straight arrow to the two super-humans. The promos would have us believe that the film depicts an epic showdown between Megamind (Will Ferrell) and Metro Man (Brad Pitt). This is not the case. It's a wonder why Pitt was even cast in the role, as he is certainly not around long enough to justify his presumed tremendous salary.
The strongest section is when Megamind stands victorious, having unexpectedly vanquished his longtime foe. He patterns Metro City in his own image, although the fun doesn't last very long. A villain's life is a lonesome one without a hero to battle. Amazingly, Ferrell has never fronted an animated picture--seemingly the perfect vehicle for his familiar zaniness. For the most part he is stronger when not counted on to completely carry a picture. He has loads of help here, which allows Ferrell to shine accordingly in a role that suits his comedic flair. Jonah Hill voices Hal Stewart, Roxanne's camera man who finds himself in possession of newly discovered gifts. My favourite character was the sidekick Minion (David Cross): a talking, intelligent fish who sports a robotic, furry body.
I saw the film in 2-D, and it looked great. Animated films are the best type to be converted into the in-your-face format, but I'm still not convinced it's for the better. The rightful argument is that the colour is sacrificed for hollow visual improvements, many times tacky and unconvincing. At present time, it doesn't outweigh the additional cost.
I'm not sure if this adds anything new to the genre. The Incredibles did super-powered better, while Despicable Me properly tackled the misunderstood criminal. Ferrell offers something special here though. Megamind, for all his vast intellect, still can't properly pronounce the name of the city he occupies. But, at least he looks good in black spandex and his custom baby seal leather boots.
Here's the first one-sheet for Jon Favreau's latest. Cowboys stars Daniel Craig (Renaissance), Harrison Ford (Frantic), Olivia Wilde (Alpha Dog), Sam Rockwell (Moon) and Paul Dano (Little Miss Sunshine) among others.
The story follows Jake (Craig) a mysterious loner who stumbles upon the town of Absolution, Arizona. He wears a mysterious bracelet (see above) which proves helpful when lifeforms from another planet begin to attack the townsfolk. The trailer is coming out in about a day, as well as being attached to all the Harry Potter and the Deathly Hallows Part I screenings beginning on Friday.
During an interview with HitFix, Darren Aronofsky (The Fountain, Black Swan) proclaimed that the X-Men Origins: Wolverine sequel, is in fact not one, and will be a standalone entity called simply The Wolverine. Hugh Jackman will return for his fifth go-around as the hirsute hero Logan, and will find him in Japan fighting for his honour and attempting to win the heart of Mariko.
In the Wolverine comic, Logan spent a great deal of time in the Orient, and were some of the books most popular story lines. This, along with Matthew Vaughn's (Kick-Ass) upcoming mutant tale X-Men: First Class will keep Marvel Comics in the theatrical forefront for the foreseeable future.
DayBreak, the morning show from the fictional network IBS, is like the last kid picked in gym class: ugly, bumbling and unpopular. Their workstations are disheveled, the staff a ragtag bunch of misfits. DayBreak struggles to combat the massive forces of its bigger brothers. It continually loses out on the finest crop of guests. Morning Glory is an underdog story on more than one level.
Becky Fuller is a young professional. She is full of energy like the moon comes out at night--it goes without saying. When applying for the executive producer position at IBS, she wows Jerry Barnes (Jeff Goldblum) with her résumé and her pith. How could anyone say no to this woman?
Canadian Rachel McAdams has become America's sweetheart. It's impossible not to fall in love with her. Her circumstances hit home; after expecting a promotion early on at a small New Jersey faction, she is instead fired. Her confidence has taken a hit--even her mother says it's time to give up and move on. (This was an exchange that didn't sit well with me. The mom suggests Becky give up on her dream. Later in the film after she has seen a significant taste of success we see Mrs. Fuller taping a newspaper clipping of her daughter's acclaim, wearing a warm smile. This forced relationship feels unnecessary.)
Her first day on the job is appropriately a hectic one. A great exchange occurs at a table sitting as the team discusses future programming. Becky appears overwhelmed, only to counter with exact and spot on responses. Throughout the weeks she grows up at the workplace: a change in demeanor and hairstyle signify her maturity.
Harrison Ford is a refreshing presence onscreen, which is to say he doesn't give a damn. I'm kidding of course. Mostly. Ford's Mike Pomeroy is a legend in the journalism field. He's won the Pulitzer, multiple Peabody's. Any distinction for covering the news, Pomeroy has secured it, and he'll tell anyone who listens. He is crotchety and a little washed up. He's also the third worst person in the world. It's hard to picture anyone else for this character, and I imagine Ford had a great time with it. Whether through his refusal to banter along with Diane Keaton on air, his curious love of frittatas, or poking Becky with his African rain stick, Ford is at his naturally cantankerous best.
There are some genuine laugh out loud moments. Mostly from Matt Malloy who plays weatherman and later whipping boy Ernie Appleby. After ratings are down, Becky throws caution to the wind and Appleby into the fire by making him ride coasters, skydive, be a passenger in a fighter jet--anything for a boost.
Becky and Mike can relate because each is what the other needs. She requires a credible face that will bring viewers to her lagging show. In turn, she provides him with a creative outlet after being let go from
more prestigious works. Director Roger Mitchell, who was behind the camera for 1999's Notting Hill, once agains helms a story that is sweet, but never too much as to rot your teeth. Becky sacrifices her personal life and health for the good of IBS. There are times when Morning inches to full-blown melodramatic--right when it teeters near the edge, Harrison Ford returns it to its snappy and highly entertaining best.
This received some attention at the San Diego Comic Con, where it was first seen this summer; the rest of the population finally gets to see what the fuss was about. Decent cast involved: Aaron Eckhart (Thank You For Smoking), perennial tough-girl Michelle Rodriguez (Avatar), Bridget Moynahan (Lord of War).
I haven't seen Skyline which just hit theatres Friday--and I'm not sure if I will after some pretty terrible, predictable reviews are coming in--but this looks infinitely better and believable. As believable as an alien invasion can get I suppose. It's funny how many films from the same vein always appear to be released within the same few weeks. Battle is one in a long line of extraterrestrial takeover flicks. This time Los Angeles is under siege. If we're lucky the aliens will take out Hollywood so they stop producing shit.
All kidding aside, this doesn't look half bad. But I'll reserve judgement until seeing the finished product.
We have a name for the third Batman film in the Christopher Nolan trilogy, and now we're getting more news about casting. Word is that two female roles are being scouted for major screen time. One is a villain (Catwoman perhaps?), while the other is a romantic interest for Bruce Wayne--fittingly since Rachel Dawes exploded in the previous chapter.
Some murmurings are mentioning Talia al Ghul, the daughter of Ra's (Liam Neeson from Batman Begins). Thematically this would be a great bookend; if that were to happen it would raises the question to what capacity she'll be in. Talia is a villain but also is the mother to Batman's child in comic book lore.
Six actresses are up for the two parts. See them after the break.
Never one to shy away from absurd roles. Hell, he's an American that played an Australian who played an African American (Tropic Thunder). That being said, seeing Robert Downey Jr. as the voice of Planters Mr. Peanut is a little strange. Maybe the dude's got a thing for legumes?
Having personalized robots at your disposal always seem like a good idea, until they turn Hal 9000 on you. Whatever crackpot parents buy this model for their kids in the future should be quickly institutionalized. Blinky™ stars Max Records who was Max in last year's Where the Wild Things Are. That film was refreshing, but holy hell, was that kid whiny. Catherine Keener, who played the mother, should have been up for sainthood after caring for that monster.
Blinky™ hits the right amount of creepy. Anything that has a perpetual smile on their face (see: clowns, the Burger King) should be set ablaze. I am curious as to what level of chaos this film will hit, because you know it's not going to end well.
I sat through 127 Hours, every once in a while subconsciously grabbing at a bottle of water, taking a sip when I did so choose. Drinking is a luxury that we often forget about. If we are thirsty, we reach for sustenance. Simple as that. Danny Boyle didn't set out to make a film about taking things for granted, but a byproduct of his travails certainly crushes the point home.
The story follows one fateful day in the life of Aron Ralston, the now famous mountain climber/canyoneer/general outdoorsman. The day was April 26th 2003: Aron wakes up early, packs his bag, loads his SUV. A distressing sight happens early when he reaches for supplies, his fingers narrowly missing his Swiss army knife. The camera lingers for a few seconds, hinting at the consequences this omission will cause.
Aron's adventure starts out well enough. A short drive leads to a bike ride which leads to a hike. He meets Kristi (Kate Mara) and Megan (Amber Tamblyn): two lost hikers who become a reprieve to the foreboded outcome. Aron's personality is that of a little kid; he seems to be experiencing everything for the first time. The three share a few hours exploring rock faces and secret lagoons. They later say their goodbyes as Aron bounds away, inching closer to his date with the fated boulder.
We know the outcome by now. While traversing a path, Ralston makes an ill-advised decision. 127 Hours comes from the amount of time he spent with his right forearm pinned underneath a dislodged stone. For more than five days he survived solely on a few hundred millilitres of water and what looked to be a chicken burrito. The much discussed amputation is visceral, yet never excessive. The entire scene lasts no longer than sixty seconds, but due to the nature of the proceeding it affects us profoundly. It's funny how verifiable accounts can alter someone's degree of tolerance. Horror movies offer much more blood and gore, but there is almost an obligation to do so. We expect it going in; our minds are attuned to the repercussions. The honesty behind Ralston deliberately breaking his arm (twice), slicing muscle and severing tendons and ligaments with a critically dull blade directs our thoughts to unfeigned and paralyzing areas.
What's enlightening is the experience between his fall and sacrificial escape. Boyle has a style unique to his eye. He creates a surreal adventure through Ralston's deteriorating mind. We are invited to share flashbacks of his life: concise moments of his family and friends, of failed relationships and happier memories frozen in time. An ex-girlfriend (Clémence Poésy) tells him he is doomed to die alone. A sinister assertion indeed. The longer he is trapped, the deeper into his psyche we travel. Ralston is played by James Franco; clearly the role of his life thus far. He is triumphant in navigating the full spectrum of the human condition. Without a doubt, he is the Academy Award frontrunner.
Enthralling to me was how Ralston documented his entire exploit. What began as a chronicle of his trip, morphed into a way to stay sane, as well as a manner to verbalize his last rites to his loved ones. These documentary-like instances provide some of the funniest and insightful times. He is a guest on his own radio show one minute, while the next he apologizes to his mother for not answering the phone before the onset of his getaway. Whether or not Ralston would have been rescued had he left a note, to me is a moot point. Boyle goes out of his way many times to illustrate just how expansive the Utah landscape is. Aron is as small and insignificant as the ants who nibble at his tired flesh.
127 Hours simply is a film that must be seen. Boyle is a director unlike any other nowadays. He has a rare gift to showcase beauty in the unlikeliest of settings. Franco will floor you with his execution. You will smile and cringe. Your mouth will dry as you grasp for liquid amnesty. This is so much more than a man cutting off his arm.
Wes Anderson is preparing his next film, and the cast is a real winner: Bruce Willis, Edward Norton, Tilda Swinton, Frances McDormand and of course Bill Murray are close to inking a deal. Everything Anderson gets his hands is phenomenal; he's like the King Midas of directors. He's the man behind Rushmore, The Royal Tenenbaums, and The Life Aquatic among others. His latest was the stop-motion animated adaptation of Roald Dahl's children's book The Fantastic Mr. Fox (hotbox!), which was one of my favourite films from 2009.
Kingdom is apparently set in the 60's--something that will perfectly coincide with Anderson's aesthetic. No word as of yet on when we'll get a chance to see it, but count on it being colourful, bizarre and brilliant.
Stop and bask in the talents of one Kevin Bacon. It's up in the air to what is more popular: his films or the trivia game spawned from his name. Exhibit A has Footloose (1984), Flatliners (1990), A Few Good Men (1992), Sleepers (1996), Mystic River (2003) and The Woodsman (2004). Exhibit B counters with SixDegrees.org and oracleofbacon.org. Let's just call it a draw.
This week celebrates Bacon in all his manic glory. Tremors was not a financial hit during its theatrical run--far from it. On video though, like so many misunderstood films do, it really hit its stride. Bacon stars as Valentine McKee, a handyman working in Perfection, Nevada. Ironies run rampant here as there is not a lot to love and nothing really goes right for the cast during the film. After a man is found dead at the top of the electrical tower (dehydration is the cause), suspicions fly as to what could cause someone to choose death over walking on the ground. The answer is of course giant worm-like creatures that attack from underground. Think Jaws, but in dirt.
Thus begins a battle of wits between human and invertebrates. You would think one would have the advantage over the other due to higher brain function, but the worms keep killing people until the remaining survivors leave it in Valentine's capable hair...I mean hands to save the day. This is a must see if only for Bacon's resolve to stay straight-faced when discussing how to dispatch of swiftly digging creatures with razor-edged teeth.
Thankfully, I have never experienced loss like the Rileys; the death of a child would be like no other. Theirs, Emily, was abruptly taken in a car crash. Grief is uniquely individual; it is dealt with in different ways. Lois is an agoraphobic. Due to guilt and fear, since the accident ten years prior, she is unable to leave her house. She is a shell of her previous self. Neighbours deliver her mail, hairdressers come to her.
Doug copes by keeping on an affair with a waitress, Vivian. She is invited by Doug to accompany him to New Orleans, but tragedy strikes again and Vivian dies, befallen by a heart attack. This is the proverbial straw. Doug continues onto the conference and calls Lois: he is not coming back. It is here where he meets Mallory. She is a stripper, portrayed by Kristen Stewart (The Runaways).
Stewart of course is known mostly by her presence in the omnipresent Twilight series. Those films offer nothing but fodder for emotionally charged teens. Here, she periodically shows promise, but too often falls back on her natural awkward tendencies. In the end, she is not wholly credible. Mallory appears resolute; her broken spirit is protected only by her tough exterior. Doug and Mallory begin a symbiotic relationship; both offer what the other needs. Doug sees his departed daughter in another light (and in a strange another life). A chance for redemption is introduced. In turn, what starts purely as a monetary alliance, eventually turns into something more familial.
The best part of Rileys is Doug and Lois. Played by James Gandolfini and Melissa Leo, they both represent realistic paths. Gandolfini is an intimidating man, habitually cast as the modern day gangster. Playing against type, he is an affable teddy bear. He loves Lois, and she him. Their reconciliation delivered something unexpected to me.
These three form an unusual nuclear family. There are some lighthearted moments, but ultimately there is more wrong than right here. The plot is touching, and a great narrative is buried somewhere. Gandolfini and Leo and are always worth watching. However, the film flounders in the last act of where to head and how to get there. Director Jake Scott (son of Ridley) exhibits momentary glimpses of his father's talents; perhaps in the future, more concrete surroundings will complete a satisfying beginning.
The first poster was unveiled a few days ago, now Charlotte Brönte's novel has its first trailer as well. Again, I've never read the book, but the moving pictures look stirring. Mia Wasikowska looks beautiful, and with every role (Alice in Wonderland, The Kids Are Alright) she seems more and more confident. This look comes courtesy of Yahoo.
Ryan Gosling (Lars and the Real Girl) and Michelle Williams' (Wendy and Lucy) new film premiered at Sundance earlier this, but won't be seen by general American audiences until December 31st. An odd choice to say the least, given that it would be bypassing the majority of the holiday season. Valentine has been the subject of much discussion lately due it being dealt an 'NC-17' rating by the Motion Picture Association of America (MPAA), essentially a kiss of death.
Valentine bleakly recounts the marriage of Cindy and Dean--both the beginning and the end. I have not seen the film yet, but apparently all the fuss has been about an emotionally charged sex scene near the conclusion. How this remains vetoed, yet exploitative violence remains allowed is something I'll never understand.
Early reviews from Valentine have been strong, especially from its principal cast. If enough people get to see the film (perhaps aided by the MPAA pulling their collective heads out of their asses) Gosling and Williams' performances may be rewarded when award season comes along. In the meantime here is a new poster:
In a period where big budget and special effects laden pictures are dominating the landscape, it's extremely rare to see a project that adheres to such a minimalist movement. Especially one that's able to seek an audience. You'd be hard-pressed to find a film that better suits that criteria than Rodrigo Cortés' Buried. Going into it, I'd heard chatter of how it had only one actor (Ryan Reynolds) in one setting (a coffin), but it's still startling to behold because a) the rumours are true, and b) it succeeds so highly.
Buried is the tale of Paul Conroy (Reynolds), a US truck driver who delivers materials in Iraq. Conroy's convoy is attacked--most of the men are killed--the aftermath results in him being trapped inside a wooden box in an undisclosed location. The premise is simple, and eerily effective. There is a constant feeling of dread and of course claustrophobia that emanates from every shaken glance and laboured word. Cortés confines us along with Conroy; we feel just as hopeless as he.
Pockets are searched: a knife, a lighter, lighter fluid, a cell phone are found. A call from the terrorists who imprisoned him breaks the silence. They demand five million in ransom or Paul will die. The sum is later reduced to one million, but it remains fruitless. One million or one thousand, it matters not; Paul only has $700 in his bank account, and as we all know, the US doesn't negotiate with extremists. The impending threat of suffocation is only trumped by the dwindling cell battery life. (Even more amazing is the fact that he can receive calls while covered by multiple feet of earth, while I can periodically lose service walking around the streets of Manhattan.)
Ryan Reynold is very good here, and he has to be. He is painfully believable as a man facing his possible demise. Reynolds himself was hesitant to take the part, but after reading the script he trusted in what Cortés had envisioned; both men should be applauded for their efforts in keeping peoples attention for ninety minutes. Specific plot points are thrown in to sever the monotony (the emergence of a serpent, calls from the people attempting to locate him), but for the most part Paul is alone, and his static journey is a captivating one.
Reynolds initially burst onto the scene with good lucks and forgettable comedies. He has honed his craft with some bold selections in recent memory. In Buried, during a short seventeen day shoot in Barcelona, he and his director have managed to create a modern day Hitchcockian thriller. It has its flaws, but it miraculously manages to entrance on the strengths of one person in a single location. While underground, we are still able to visualize the world outside as it coincides with the frenzied search. You will empathize with this entombed man; after the credits roll, nothing will feel better than to step outside and take a breath of fresh air.
Who wants to watch a time traveling Robert Downey Jr.? Director Stephen Frears (High Fidelity, The Queen) does his best to sell automobiles for what's essentially a twelve minute long Volvo advertisement. There's way more Downey Jr. than car though; the actor plays his usual eccentric self, here speaking philosophically, all the while searching for Confidence (one thing he's not lacking in). This is a fun video, and I like when celebrities do off the beaten path projects such as this.
First I've heard of this one, but Focus Features has released the first poster for Cary Fukunaga's adaptation of Jane Eyre, based on the classic novel from Charlotte Brontë.
Published in 1847, Jane Eyre is the first persons account of the title character. It is split up into five distinct sections chronicling Eyre from an orphaned baby to adulthood. Mia Wasikowska (The Kids Are Alright) headlines an exquisite cast: Michael Fassbender (Hunger), Jamie Bell (Undertow) and Dame Judi Dench (Notes on a Scandal).
On a related note, Focus Features is one of my favourite production companies. Since their onset in 1998, they have continually put out thoughtful and thought provoking films that year in and year out find their way on my 'Best of' lists. Being John Malkovich (1999), Topsy-Turvy (1999), Pitch Black (2000), Far From Heaven (2002), Swimming Pool (2003), Lost in Translation (2003), Eternal Sunshine of the Spotless Mind (2004), Brick (2006), Atonement (2007), In Bruges (2008), Away We Go (2009), The Kids Are Alright (2010), The American (2010), Somewhere (2010).
There are of course many more; this list barely scratches the surface. It is a rare occurrence when this company fails to deliver the goods.
Kung-Fu Panda was a surprise hit for Dreamworks, and along with How To Train Your Dragon and the recently released Megamind (which I hope to see early this week), the studio appears to have marginally caught up with Pixar for animation domination.
With the amount of money it made, on top of how well it played to adults and children alike, Panda was a no-brainer for sequel material. Jack Black of course is back, but unsure whether all the supporting cast will be. Angelina Jolie, Seth Rogan, Lucy Liu were among those that had roles, but were largely in the backdrop. The Kaboom of Doom is the rumoured subtitle, but as of yet has not been seen in any official capacity.
Now this is what I'm talking about. It appears another film about casual sex is on the horizon; this time with Mila Kunis (wowza!) and triple-threat Justin Timberlake starring. Friends has a red-band trailer (an obvious upgrade, since swearing makes everything better) and I can say without hesitation that it looks a million times better than the previously posted No Strings Attached (ironically, an 'N Sync album). I have to say that Timberlake has some serious chops after seeing him The Social Network and to a lesser extent Alpha Dog. Who would have thought after getting his start on a bubbly and frosty-tipped quintet that his career would have ended up at this point?
This looks hilarious. Watching JT crooning the Semisonic tune 'Closing Time' while going down on Kunis is enough for me to buy a ticket (that sounds weird after reading the last sentence). Friends is directed by Will Gluck whose previous efforts were Fired Up and Easy A. Also starring are Woody Harrelson, Patricia Clarkson, Andy Samberg and Emma Stone.
Let's play tennis!
Friends With Benefits opens everywhere July 22nd, 2011
Really, Natalie Portman? Always one to take interesting, daring roles (Closer, V for Vendetta), Portman has seemingly gone to the dark side, starring alongside Ashton Kutcher for what I believe is a romantic comedy, but I was groaning so much, I missed most of the dialogue. I get it, everyone needs to pay the bills. But, Kutcher? The man could not act himself out of a wet paper bag.
Part of the blame must be placed on director Ivan Reitman's shoulders. With this upcoming picture and the previous My Super Ex-Girlfriend, Reitman seems to be losing his hold on what constitutes good film nowadays.
Strings is about a pair of best friends (Portman, Kutcher) who decide to have sex because Portman's character Emma is a doctor who works 80 hours per week but still needs to have some satisfaction. So they start doing it and lo and behold, they develop feelings for one and another. Will their newfound feelings override their platonic history? Will Kutcher attempt a serious scene that comes off as goofy and unrealistic? All answers point to yes.
Look, I could be completely wrong about this, but after watching the first trailer my expectations could not be lower. Just listen to the dialogue without the picture, it's cringe inducing.
'The town' in this sense is Charlestown. Its claim to fame is its high ratio of bank robberies that live in the one square mile neighbourhood. Doug MacRay (Ben Affleck) is a lifelong 'townie;' he feels confident and welcome, and is so. He grew up with talent on the hockey rink before unequivocal circumstances forced him out. His aptitude now is in stealing vast amounts of money, which he does in his spare time when he's not barbecuing with his friends, and visiting his father in prison. His best friend is James Coughlin (Jeremy Renner), 'Jem' to his friends. As in 'he is such a...' Desmond Elden and Albert Magloan round out the crew.
The film opens brazenly. Doug and his team are raiding a local financial institution. They are efficient--knowing exactly when the vault opens and shuts. But, Jem gets sloppy. He assaults a manager, turning his face into pulp; another becomes their hostage, a no-no in the looting handbook. The captured woman is Claire (Rebecca Hall) who later becomes involved with Doug as a way for him to keep tabs on the one person who can finger them to their misdeed.
Affleck, it should be noted, is the director as well. He does so expertly. There was a point in time when he seemed to be resting on his laurels from his Oscar winning performance for co-penning Good Will Hunting with Matt Damon. He became in vogue, starring in Armageddon, and later Daredevil and the unforgivable Gigli (during which of course his relationship with Jennifer Lopez was in full, over saturated bloom. This was the unfortunate 'Bennifer' phase where he started slicking back his hair). He first directed the well-received and affecting Gone Baby Gone in 2007, an act which also seemed to mature him as a performer. The Town is paced masterfully. We are delicately invited into these peoples lives, yet also savagely thrust into the action. Through the narrow streets of Boston, and in the bowels of the famous Fenway Park; many points during the film go along at a frenetic, but never out of control rate.
Like every heist film, the plot inescapably leads to whether the gang will get away with it. On their tails are the FBI led by Agents Adam Frawley (Jon Hamm) and Dino Ciampa (Titus Welliver). My one grumble is that each ensuing step of the narrative was a little too choreographed. The first scene with Jem, he encapsulates his character with a fit of rage; we know the consequences to his undertakings. In the end, it's easy to pick out which characters will die, who will turn on allies, or turn the other cheek. Oddly though, I'm not sure it could have been made any better.
The Town is littered with small but extremely satisfying performances. Chris Cooper (The Kingdom), Pete Postlethwaite (Romeo + Juliet) and Blake Lively's (New York, I Love You) screen time are all short lived, but they more than make due with what they are given. Doug is searching for a way out. What started as part of the job, quickly turns to something more. His relationship with Claire allows a brief look into unfamiliar territory. Whether this compressed moment morphs into lasting memories relies on Doug and the path he chooses. His decisions will lead to a life in the shadows or his day in the sun.
Shock Till You Drop has the first poster for...let's just say a re-imagining of Saint Nick. Exports is a Finnish film that portrays the beloved Santa as not the bringer of joy and presents, but rather as the kidnapper of little children. A young boy and his father (fittingly a reindeer hunter) capture Claus and plan to sell him to a multinational company; his elves will have something to say about that I'm sure.
Here's the second trailer for Zack Snyder's Sucker Punch. It's his first feature from an original story after he adapted 300 and Watchmen. We learn that Baby Doll (Emily Browning) witnesses her stepfather murdering her sister, so he has her locked up in a mental institution. While there, she meets the rest of the inmates who collectively form a means to escape. The Wiseman (Scott Glenn) gives them instructions on how to orchestrate such a feat. It appears to involve the extraction of various, random objects.
Now, this is when it starts to get weird. Baby Doll and the rest of the team: Blondie (Vanessa Hudgens), Sweet Pea (Abbie Cornish), Amber (Jamie Chung), Rocket (Jena Malone) seem to converge in an alternate reality where they can do outlandish things such as jump from tall buildings and become insanely good at wielding swords and other weapons.
Some things I noticed stuffed into the 2 1/2 minute trailer:
• dragons
• zeppelins
• robots with guns
• foxholes
• catapults
• biplanes
• an ogre
• the coup de grâce: a 20-ft stone samurai with a colossal gatling gun
You certainly can't fault Snyder for a lack of creativity. My only fear is that this will turn out to be like a children's painting: where they just take a bunch of colours and splash it on the canvas.
It's a pretty feeble list this week, so why not fall back on Dick Van Dyke to soothe the pain? Van Dyke was the King back in the 1960's. Along with Bye Bye Birdie and Mary Poppins, Chitty Chitty Bang Bang somewhat completed Van Dyke's happy-go-lucky trifecta of the swinging decade.
Speaking of psychedelics, Ian Fleming (yes, the Ian Fleming. Creator of the iconic James Bond. Between a love of spy novels and ornithologists, Fleming had a soft spot for inventors and sentient automobiles) must have been taking some mind-altering substances to come up with this idea. CCBB also boasts some of the best names in cinematic history. The aforementioned Van Dyke is Caractacus Potts and Sally Ann Howes is Truly Scrumptious (a role initially given to Julie Andrews, and subsequently turned down due to the similarity to her Poppins character)
The plot is as follows: Potts finds an old car and rebuilds it, coining it Chitty Chitty Bang Bang from the noises it makes. He takes his kids, meets a lady (the lovely Miss Scrumptious) and spins a tale of Barons and Baronesses in the fictional Vulgaria. The long and the short of it is Chitty deploys flotation devices when they're in water, sprouts wings when they drive off cliffs (?!); basically the car's a conscious being that saves its owner and family's lives.
And if you're not hooked already, here's a clip to a musical number that will stay in your head the rest of your life. You're welcome.
Like so many alien films before it, Monsters begins with an intro stating mankind has sent out a probe looking for a reply. It doesn't make its return trip, burning up in the atmosphere over Mexico. Shortly after, squid-like creatures start appearing in that country and Mexico becomes quarantined from the U.S., having been dubbed an 'infected zone.'
Monsters is the brainchild of Gareth Edwards, a British special effects specialist. The rumour is that Edwards himself paid for the project--$15,000, an unfathomably low amount. At first glance, it resembles District 9, the exceptional film from 2009 about the segregation of a stranded species in Johannesburg, South Africa. This is not the case. Both are gritty with political tones; District morphs into an action film while Monsters maintains its subdued nature.
While there are some impressive effects--namely the opening and closing confrontations, the aliens are largely talked about or shown in brief glimpses. Surely due to the lack of funding, the absence of exposure also assists in creating the mood. Similar to Jaws when the shark malfunctioned so frequently, forcing Steven Spielberg to switch his tactics; the big fish wasn't actually seen on screen for the first third of the picture. The lack of a tangible entity makes for a much more unnerving experience.
Whitney Able and Scoot McNairy star as Samantha and Kaulder. Kaulder is a photographer sent into into the fray. He needs to be at the heart of the action declaring that a dead child ravaged by the creatures will fetch him an exorbitant amount of money. Sam is the daughter of Kaulder's boss; she finds herself caught behind enemy lines so to speak. The ferries--the most secure route to safety--become unavailable, forcing Sam and Kaulder to go by car and foot. The film becomes a trek to escape to America, beyond the towering stone walls. Throughout, evidence is shown of the monsters devastation: felled buildings, decimated property, torn about bodies and broken lives.
Sam is engaged, Kaulder has a son, but an attraction is palpable between the two. Without question Able is a beautiful woman which raises (to me anyway) an interesting argument. Do we care about these personalities because of their physical characteristics? I found myself worrying about Sam, hoping for her survival. Would I have felt the same way if Able is less easy on the eyes? It's a compelling question as to whether the story would carry as much weight as it does without the allure of its leading lady. (Or perhaps more likely, it reveals something of myself.)
This is not a film about the multi-storey tall beasts, but the humans who occupy the lands. Director Edwards has woven an account of sustainability, for both us and them. Edwards supposedly entered Mexico and filmed his footage illegally. Other than Able and McNairy the entire cast are native to the country, creating a superlative sense of vérité. This is a triumph among independent pictures, a moving piece of art. The question of what the monsters want is never really answered. It's possible they've come to ruin. Or maybe they're a bit like us, looking for a lasting connection
It would appear Hell hath no fury like the scorn of a Swedish woman. Well, perhaps not all of them, but at least ones of the diminutive, tattoo adorned variety. The pint-sized computer hacker--star of three novels (Girl with the Dragon Tattoo, Girl Who Played with Fire, Girl Who Kicked the Hornet's Nest) and the subsequent films is everywhere nowadays; Lisbeth Salander has become part of the common vernacular. Salander is an odd (or fresh?) woman to idolize: A bisexual renegade; a literary neophyte who's happier in front of a computer screen than in a group of people.
This is a slower paced film than its predecessors. Tattoo delved into a decades old mystery, littered with murder and sex; Hornet's Nest is largely a courtroom drama. The story begins immediately where Fire left off: Salander (Noomi Rapace) has been shot in the head, buried, and left for dead. Her life is saved but another battle arises as she's tried for the deaths of two reporters. Salander is largely absent from the action; it's left up to Mikael Blomkvist--the journalist for Millennium magazine--to fill in the blanks and uncover the the political conspiracies. This is the movie's biggest flaw. With every scene she's in, Salander is the proverbial spark plug: she injects energy with every word and action. Blomkvist (Michael Nyqvist) is capable; with Salander sidelined to a hospital bed for half the film, ultimately it's impossible to recreate the vibrancy.
The successive narrative is driven by the title of the first Swedish novel: Men Who Hate Women. Salander suffers some horrendous acts throughout the saga, both physical and psychological. Revenge becomes a personal plot device and is something we hope to witness. Perhaps the popularity is due to Salander acting as some sort of rallying cry.
Stieg Larsson--whose books have sold over 27 million copies--never lived to witness the fruits of his labours, having died from an apparent heart attack before the first was published. There is speculation that foul play was involved being that he was heavily associated with exposing extremist groups through his work at Expo magazine. Whether his death was a byproduct of the threats from political enemies or simply a faulty organ, it's a shame the man didn't get to see the the materialization of his words. A fourth story was nearly completed, as well the as manuscripts of the fifth and sixth in what was envisioned to be a ten-part series.
Hornet's Nest offers flashbacks to clear up any cloudiness for first-time viewers, but it's recommended to see all three films to properly digest the often confusing names and places. Not surprisingly, Hollywood has already cast its iteration of the Scandinavian chronicle. Daniel Craig (Layer Cake) and Rooney Mara (The Social Network) will star as Blomkvist and Salander respectively. The Millennium trilogy won't break any records; it's not genre defining by any means. Regardless, it's worth seeing, for Rapace's Lisbeth Salander alone. She is a notable, brave character; one that I suspect will be in our consciousness for the foreseeable future.
A healthy mix of wide and limited films highlight the penultimate month of 2010; there's really something for everyone. As well, some award season contenders in the acting categories will flex their muscles.
November 5th Megamind
Will Ferrell hasn't had a hit in a while (no, The Other Guys was terrible), but everything I've seen from Paramount's animated superhero tale makes me smile. Ferrell is the titular Megamind, an orphaned, blue-skinned alien (think Superman, but with a head the size of a small planetoid). He becomes rivals with Metro-Man (Brad Pitt), while matching witticisms with Roxanne Ritchi (Tina Fey). Pixar hit the superhero film out of the park with 2004's The Incredibles, but Megamind seems to be a little sillier which should put people in seats. Jonah Hill also stars. I saw Hill at a bar a few weeks ago and he looks like the Penguin from Batman lore. And yes, he was scoring with chicks.
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