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.
