Random Factoid #576

29 06 2015
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Freshman year

I recently graduated from college, and I will miss it for a number of reasons.  But one I did not realize until recently was how much I am going to miss the easy dorm room decor.  For me, it was all as simple as a movie poster and some sticky tack.  Now, I am actually going to have to buy frames … maybe even ones that match the color of the poster or the room.

(You might be asking how on earth I got these posters, and I’ll tell you that I was lucky to have a connection with a promoter and an exhibitor.  But if you don’t have those contacts, never fear!  Many iconic posters that you may well have seen in homes, bedrooms and offices now that they’re readily available through services like Fast Print posters.)

The posters in my room rotated from year to year, although I sadly only have pictures of freshman and senior year.

In my first year of college, I came armed with posters for two films that had yet to open, “Moneyball” and “The Ides of March.”  After the latter fell short of lofty expectations, I took it down.  For some odd reason, I turned down one of my hall-mates’ offer to buy the “Moneyball” poster for $10.  Why was I so stupid?  That would have paid for the ticket!

By sophomore year, I turned to a different mix: “The Social Network” and “Hitchcock,” with smaller posters for “Les Misérables,” “Black Swan,” “127 Hours,” and “Skyfall” adorning my radiator.  I mean, why have any white space?

I spent first semester of my junior year abroad in a dorm room where I was not allowed to hang anything on my walls.  That spirit, I suppose, came back home with me for second semester.  I hardly had any posters because most of them had torn and frayed from being well-loved.  When someone visited my room and saw the sparse decoration, they compared it to a prison cell.  I later added a “12 Years a Slave” poster, but that did little to alleviate things since it had a primarily white background.

Senior Year

Senior Year

Senior year, though, I went all out.  At one point, I had five 27×40 posters adorning the walls in my room, plus one in my closet and three smaller posters scattered throughout.  Oh, and a “22 Jump Street” poster in my suite common area.

The senior showcase included:

I only kept a few of these, knowing that the potential for them to actually hang in my apartment after graduation was slim.  Besides, I have much nicer framed Cannes Film Festival posters from my two years attending the event.

Movie posters served as a convenient expression of my taste in college, where no one cared if anything was ornate or fancy.  Now, I am going to have to step up my game to communicate the same thing about myself with pieces of paper that serve more as “art” than a piece of “marketing material.”


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Oscar Moment: Final 2013 Predictions! (Part 2)

15 01 2014

Last night, I had a very stressful dream that involved me missing the official announcement of the Academy Award nominations.  I then scrambled all day to try and watch a video of the presentation to no avail.  So needless to say, I am very ready to find out who’s really in the running for this year’s Oscars!  Now, it’s time to reveal my predictions for the top categories.

BEST ORIGINAL SCREENPLAY

  1. American Hustle
  2. Her
  3. Nebraska
  4. Blue Jasmine
  5. Inside Llewyn Davis

_DSC2097.tifThis may be the most stacked that the original category has been in a long, long time.  Usually, it’s adapted that is an embarrassment of riches and original that has a dearth of contenders. Not so much in 2013.

“American Hustle,” being at the forefront of the Oscar race, is probably the one to beat here.  “Her,” however, could steal it in the end.  Jonze’s incredibly original work took the Golden Globe, and it will likely find fans in the writers’ branch.  Then again, they didn’t embrace “The Master” last year … the moment you think you have the Academy pegged, they change.

“Nebraska” seems highly likely as well.  Even though the script was not written by Alexander Payne himself, the 2-time winner of Best Adapted Screenplay, the film still has his fingerprints all over it.  A nomination would still be likely even if the film wasn’t in Best Picture contention.

Blue JasmineAfter there, the race could go a number of ways.  I’m thinking writers’ branch stalwart Woody Allen will show up here for “Blue Jasmine.”  It’s one of his more acclaimed films in years, and Blanchett’s front-runner status in Best Actress has kept the film’s profile high.  Only twice has Allen’s script missed a nomination here when the movie features an Oscar-nominated performance.  He’s been nominated a whopping 15 times, so betting against him seems foolish.

“Dallas Buyers Club” is riding high off praise for its performances and may sail to a Best Picture nomination.  Even without a nod in the top category, I could see it popping up here, like last year when “Flight” displaced “The Master.”  (If you can’t tell, I’m still slightly bitter.)

There’s always a chance for a really left-field choice here, so who knows what could land a nomination?  Could it be Jeff Nichols’ “Mud?”  Nicole Holofcener’s “Enough Said?”  Oscar contenders likely to be on the outside looking in such as “Saving Mr. Banks,” “Fruitvale Station,” “The Butler,” or maybe even … Alfonso Cuaron’s “Gravity?”

I’m leaning towards the Coen Brothers’ “Inside Llewyn Davis,” another fantastic showcase of their talents and potentially one of the few chances the film has at recognition.  Though it’s been absent from the guilds, the Coens have always had fans in the Academy.  The writers branch has nominated their work five times, and residual respect ought to bring them through.

BEST ADAPTED SCREENPLAY

  1. 12 Years a Slave
  2. Captain Phillips
  3. Philomena
  4. Before Midnight
  5. The Wolf of Wall Street

Before MidnightBest Picture nominees generally tend to dominate the field in Adapted, so “12 Years a Slave,” “Captain Phillips,” and “Philomena” have pretty much already punched their ticket.

The category usually recognizes a few more unique adaptations, like a “Borat,” “Children of Men,” or “In the Loop.”  This year, I think that slot goes to “Before Midnight.”  The previous installment in the most unlikely trilogy also received a nomination in Best Adapted Screenplay, and there’s no reason why I don’t think its sequel will repeat.  It’s debatable how “adapted” the story really is as it takes its basis from pre-existing characters, but that won’t work against it.  The unique collaboration between director Richard Linklater and actors Julie Delpy and Ethan Hawke is worth rewarding in and of itself too for its uniqueness.

As for the last spot, I think “The Wolf of Wall Street” takes it even if the film misses out on a Best Picture nomination.  The only other competition is “August: Osage County,” which has proved divisive and controversial.  It’s also more of an actors’ movie, which works against the film when only writers determine its chances at a nomination here.

BEST DIRECTOR

  1. Alfonso Cuarón, “Gravity”
  2. Steve McQueen, “12 Years a Slave”
  3. David O. Russell, “American Hustle”
  4. Paul Greengrass, “Captain Phillips”
  5. Spike Jonze, “Her”

GravityLast year, the director’s branch threw everyone for a curve by excluding two former winners (Kathryn Bigelow, Tom Hooper) and omitting the director of the eventual Best Picture winner (Ben Affleck) to include a first-time filmmaker (Benh Zeitlin) and a director working in a foreign language (Michael Haneke).  I don’t think Best Director will have quite as many surprise this year, though.

Alfonso Cuarón seems likely for a nomination, if not the win at this point.  His “Gravity” is an undeniable testament to the skill and expertise of his direction.  Even if the Academy doesn’t want to give their top prize to a science-fiction movie, Cuarón could still take home this prize.  The man has been nominated as an editor and a writer previously, so respect runs deep through the organization.

Steve McQueen and David O. Russell, directors of the respective Best Picture shoo-ins “12 Years a Slave” and “American Hustle,” should also be safe.  Russell even managed a nomination in Best Director last year for “Silver Linings Playbook” despite being snubbed by the DGA.  He got the guild’s support this year, so he’s definitely a force to be reckoned with.

Paul Greengrass scored a lone Best Director nomination back in 2006 for “United 93” (perhaps the film would have been nominated in a field of more than 5) and seems likely to score another nod with “Captain Phillips.”  His steady direction is crucial to the film’s success, and though it’s out of the hunt for a win, I’d be shocked to see it passed over given the respect for Greengrass and the film.

ScorseseAs for the fifth and final spot in the category, the directors branch could nominate Alexander Payne for “Nebraska,” whose work was recognized by the Golden Globes.  Or they could give DGA nominee Martin Scorsese his first Best Director nomination since finally winning in 2006 for “The Departed.”  I really can’t tell which of these wildly different pieces will strike a chord with the eclectic directors.  My sense is that Payne, twice nominated here for “Sideways” and “The Descendants,” is more likely than Scorsese as “The Wolf of Wall Street” definitely has its detractors.

I’m inclined to think, though, that the directors will opt to give the final spot to Spike Jonze for “Her.”  It’s a film that represents a clear directorial vision and creation.  The movie is quirky and may not play well across the board to the Academy, but I think it should resonate with the directors.  They gave him a Best Director nomination back in 1999 for his directorial debut “Being John Malkovich,” so there’s no reason to think he shouldn’t be feted again.

BEST PICTURE

  1. American Hustle
  2. 12 Years a Slave
  3. Gravity
  4. Captain Phillips
  5. Nebraska
  6. Her
  7. Dallas Buyers Club
  8. The Wolf of Wall Street
  9. Philomena
  10. Inside Llewyn Davis

NebraskaWell, here, we are.  My final Best Picture predictions.  It’s down to “American Hustle” vs. “12 Years a Slave” vs. “Gravity” for the win; everybody else should just be happy to put “__ Oscar nominations including BEST PICTURE” on their DVD case.  I think “American Hustle” has the edge at the moment, but the upcoming guilds should provide a clearer picture of who is really on top.  After all, it’s those people whose opinions line up most with Academy voters.

“Captain Phillips” and “Nebraska” are also pretty much shoo-ins, collecting pretty much every major nomination necessary to secure a spot here.  (“Nebraska” missed with the DGA, but that’s not the end of the world in an expanded field.)  Again, neither looks like a threat to win here.

Aside from those five, however, it’s anyone’s guess as to how those other spots play out.  Several films have popped up with a blip on the radar, such as “The Butler” (SAG), “August: Osage County” (SAG), “Blue Jasmine” (PGA), “Fruitvale Station” (AFI), and “Rush” (HFPA).  Of these, I think only “Blue Jasmine” has the chance to surprise.  The Producers Guild is a significant voting body, and their nod of support should not be taken lightly.  But “Blue Jasmine” has been so quiet on the circuit otherwise compared to “Midnight in Paris.”  Woody Allen’s respect in the Academy is deep, too, so there’s always an outside chance for one of his movies.

For SAG ensemble nominees “The Butler” and “August: Osage County,” I don’t think their critical shortcomings can be overcome with this nomination.  While the actors may be the biggest component of the Academy, we’ve learned they are not large enough to power otherwise poorly-received films to Best Picture nominations in the era of the expanded field.  SAG ensemble nominees “Nine” and “The Best Exotic Margiold Hotel” both faltered in their quest to be recognized in the industry’s top category, and the two aforementioned 2013 nominees will likely fare the same.

“Fruitvale Station” and “Rush” just never really caught fire in awards season, and I doubt that either can gin up the passion to gain the requisite votes for a nomination.

PhilomenaThat leaves us with several repeat offenders.  “Her” was a Golden Globe, BFCA, PGA, WGA, and AFI nominee.  Thought its quirkiness and boldness might not find favor with all Academy voters, it definitely has enough passionate supporters to at least gain a nomination.

“Dallas Buyers Club” was nominated for SAG ensemble along with BFCA, PGA, and WGA nominations.  The film seems to have a broad enough base of support, but there’s always a chance that the supporters aren’t very fervent.  I think it ought to be fine, though.

“The Wolf of Wall Street” is very controversial, as I’ve said nearly any time I’ve written about it, but the film seems to have hit its stride just when it counts.  Though it missed entirely with SAG, it’s been nominated by the DGA, PGA, WGA, BFCA, and HFPA.  I think all that support means a nomination is extremely likely, but anything could happen.

I think the Academy might end up with just those eight, which would be a shame given how incredible this year has been for film.  But if they nominate nine, I think “Philomena” would take the next spot.  It’s a sentimental crowd-pleaser right up the Academy’s alley, and it’s British.  There’s a sizable contingency of industry professionals from across the pond that vote for the Oscars, and they’ve been a crucial voting bloc that can often make a contender.  “Philomena” has wide support from BAFTA, HFPA, PGA, and WGA, which I expect means it has the capability of scoring a Best Picture nomination at the Oscars.

Inside Llewyn DavisAnd if they were to nominate ten, the smart money would probably be on PGA, BFCA, and AFI nominee “Saving Mr. Banks.”  The fact that it was not nominated by the Golden Globes and SAG, though, strikes me as odd.  Tom Hanks’ lack of traction in Best Supporting Actor, too, seems a sign of the film’s weakness.  “Philomena” seems to have the market cornered on the heartwarming movie of the year.  Maybe the industry is done with the self-congratulatory streak that powered “The Artist” and “Argo” to Best Picture wins.

Even though it was shockingly snubbed by the PGA and WGA, “Inside Llewyn Davis” was directed by the Coen Brothers.  Their status as Academy darlings simply cannot be understated, particularly after their wins in 2007 for “No Country for Old Men.”  In 2009, their “A Serious Man” managed to sneak into the Best Picture category with relatively little heat.  The next year, their “True Grit” wound up with a whopping 10 nominations, and the Coens displaced Christopher Nolan in Best Director.

“Inside Llewyn Davis” hasn’t been completely dead on the circuit, picking up nominations from HFPA, BFCA, and AFI.  It’s definitely a long shot, but don’t write the film off.  I think if any movie stands poised to stealthily crack the field, it’s this one.

Check back tomorrow morning when the nominees are announced to see how I did in predicting them, along with further commentary on the announcement!


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Categories : 2013 - Oscar Moment, Oscar Moment

OSCAR MOMENT: Final 2013 Predictions! (Part 1)

14 01 2014

Well, folks, hard to believe that we’ll have a fresh batch of Oscar nominations in less than 2 days. Where has the time gone? Seems like just yesterday that I was posting my first (and, sadly, my only) predictions that included Naomi Watts in the thick of the Best Actress race for “Diana.” But now that all the ballots are in, the jury is still out on how a few of the races will go.

Who is about to have a great wake-up call on Thursday? I sort through the acting races races below.

BEST ACTOR

  1. Matthew McConaughey, “Dallas Buyers Club”
  2. Chiwetel Ejiofor, “12 Years a Slave”
  3. Tom Hanks, “Captain Phillips”
  4. Bruce Dern, “Nebraska”
  5. Leonardo DiCaprio, “The Wolf of Wall Street“

Bale HustleThe top 3 seem pretty secure to me.  There’s a slim chance of Hanks falling out simply because this isn’t his first rodeo and voters might want to give their vote to a fresher face.  But aside from frontrunners McConaughey and Ejiofor, very few of the top nominees are new to the game.

Oscar Isaac in “Inside Llewyn Davis” and Michael B. Jordan in “Fruitvale Station,” both gave great breakout performances.  Maybe in a less competitive year, they’d have broken through.  In 2013, I’d be shocked if they could crack this field.  It doesn’t help that neither movie seemed to gain much traction during precursor season.  Past winner Forest Whitaker for “The Butler” and past nominee Robert Redford for “All Is Lost” seem unlikely as well as both of their movies have not been heavily recognized on the circuit.

Christian Bale stands a chance of showing up here, especially after netting nominations from the Golden Globes, Critics’ Choice, and BAFTA awards for his electric work in “American Hustle.”  He’s won once off his only nomination, which feels like a huge injustice for his vast talents.  If there’s enough love for the movie, he could land a spot.  But losing at the Globes, which clearly loved “American Hustle,” indicates that love for his performance may be wide but not very deep.

Bruce Dern has campaigned his tail off for “Nebraska,” and it’s clear that he really wants to win.  The film has found plenty of fans, and it’s hard to see him missing out since he’s responsible for so much of its efficacy.  He’s been nominated by the triple crown of SAG, HFPA (Golden Globes), and BFCA (Critics’ Choice), yet that’s no assurance of an Oscar nomination these days.  It’s not shocking that he didn’t win the Golden Globe since the organization probably wanted the ultra-wattage of Leonardo DiCaprio up on stage.  The Academy goes back-and-forth on being sentimental for veterans of the craft; I don’t think they’ll be able to resist at least a nomination for Dern though.

Leo Wolf

Upon its release, I would have counted Leonardo DiCaprio out of the race for Best Actor.  But he’s been more active than ever speaking up for his movie, and it really pushed “The Wolf of Wall Street” into the conversation.  The late surge of momentum may not be enough to counter his omission from both SAG and BFCA – DiCaprio netted the precursor triple crown for “J. Edgar” but still found no love from the Academy in 2011.  The Globe win, however, gives me the sense that he’ll slide into a nomination.

It would be his first since “Blood Diamond” in 2006 … since then, he’s starred in “Revolutionary Road,” “Shutter Island,” “Inception,” “Django Unchained,” and “The Great Gatsby.”  This might very well be a nomination rewarding that whole string of excellent performances.

BEST ACTRESS

  1. Cate Blanchett, “Blue Jasmine“
  2. Sandra Bullock, “Gravity”
  3. Judi Dench, “Philomena“
  4. Emma Thompson, “Saving Mr. Banks“
  5. Amy Adams, “American Hustle”

MerylBlanchett has this all but sealed up now.  It would take a major blunder on-stage for her to lose Best Actress at this point, but we all know that’s not going to happen.  It’s Cate Blanchett – she’s about the classiest actress around.

Bullock, Dench, and Thompson should all coast right in with no problem.  All 3 prior winners have been nominated by SAG, HFPA, and BFCA, and their films all have a sizable base of fans to pull them through.

The last bit of suspense in this category will come on nominations morning as we wait to see if it’s Meryl Streep for “August: Osage County” or Amy Adams for “American Hustle.”  Streep’s case is … well, she’s Meryl Streep.  The Oscars rarely pass up an opportunity to nominate her, but maybe the reflex will not be as strong now that she’s won the third Oscar for “The Iron Lady” two years ago.  She’s hit all the big precursors so far, scoring all the same major nominations as the previously mentioned actresses.  Her film, though, has not been particularly well-received.

Adams HustleAmy Adams is an Academy favorite herself though, racking up an impressive four Best Supporting Actress nominations in the past nine years.  She’s never been recognized as a leading lady, and a nomination here would send the message, “We’re working on getting you that Oscar win one day, Amy, we promise!”  Though she did not land a SAG nomination, she’s been recognized by the BFCA and BAFTA.  Moreover, she beat Meryl Streep for Best Actress at the Golden Globes.

It’s unclear if the Academy will love “American Hustle” as much as the HFPA did.  I feel pretty confident, though, that respect for Adams and the film she commands will overpower the impulse to give Streep her bazillionth nomination.

BEST SUPPORTING ACTOR

  1. Jared Leto, “Dallas Buyers Club”
  2. Michael Fassbender, “12 Years a Slave”
  3. Barkhad Abdi, “Captain Phillips”
  4. Bradley Cooper, “American Hustle”
  5. Daniel Brühl, “Rush“

AbdiWhile I remain hopeful that Fassbender can pull an upset, this category looks to be all Jared Leto.  He’s been taking everything in his path, and I don’t think that will stop until the Oscar.  For Fassbender, though, he should at least take solace in getting his first nomination without campaigning a bit.  (If he had to work so hard only to be denied recognition for his astounding work in “Shame,” then why bother lobbying anymore?)

Debut performances often fare well at the Oscars, especially in the supporting categories.  22 have been nominated for Best Supporting Actor, and I suspect that number will rise to 23 this week.  Barkhad Abdi’s first role ever as the lead Somali pirate in “Captain Phillips” has been highly praised and won him recogition from SAG, HFPA, BFCA, and BAFTA.  Especially given the praise that his film has received, I think a snub would be rather inconceivable at this point.

Though he wasn’t nominated by SAG, Bradley Cooper has collected every other key nomination for his work in “American Hustle.”  The film is beloved, and his performance is one of the best parts of the movie – hilarious but also heartily dramatic.  Two years ago, back-to-back Oscar nominations for the guy who was a staple of rom-coms like “Valentine’s Day” might have seemed an absurdity.  Now I see it as a practical inevitability.

Cooper HuslteCooper was passed over by SAG in favor of a posthumous recognition for James Gandolfini in “Enough Said.”  While he was certainly a beloved actor, Gandolfini was more revered for his television work than his film roles.  (“Killing Them Softly” was fantastic, just going to point out once again.)  The SAG nomination committee has plenty of television actors, and that may have accounted for his appearance.  Otherwise, he’s been spotty, picking up a nod from BFCA but not from the HFPA.  “Enough Said” really hasn’t been a big part of the Oscar conversation, and I think that will ultimately cost Gandolfini a slot in this line-up.

The final slot is likely to go to Daniel Bruhl, who I really shouldn’t be doubting as he’s racked up nominations from all significant precursors.  But aside from the Golden Globe Best Picture nomination for “Rush,” the film hasn’t really been lighting up awards season.  Bruhl’s work is solid but seems to draw no fervent support.  I could see him losing a spot to Gandolfini or even a left-field player like Tom Hanks in “Saving Mr. Banks” or Jonah Hill in “The Wolf of Wall Street.”  In my wildest dreams, James Franco’s brilliant work in “Spring Breakers” could trump Bruhl.  But I have to predict what seems predictable.

BEST SUPPORTING ACTRESS

  1. Lupita Nyong’o, “12 Years a Slave”
  2. Jennifer Lawrence, “American Hustle”
  3. June Squibb, “Nebraska”
  4. Oprah Winfrey, “The Butler“
  5. Julia Roberts, “August: Osage County”

Nyong'oIt’s down to Nyong’o vs. Lawrence for the win here.  Though Lawrence prevailed at the star-powered Golden Globes, I still have my doubts as to whether she can swing back-to-back Oscar wins.  I think this category could also be a way for us to gauge on Oscar night which film will win Best Picture.  Both films are likely to need one acting victory, and Best Supporting Actress is the most probable place to earn it.  (Ejiofor has a shot for Best Actor, and that might pan out for the film.)

I think 84-year-old June Squibb is pretty much locked in for her fantastic performance in “Nebraska.”  She’s had all the requisite nominations leading up to the Oscars, and her film is well-liked too.

The last two slots, however, could go any number of ways.  Sally Hawkins got a Golden Globe nomination for “Blue Jasmine,” and the British contingency that got her a BAFTA nod could break her into the field here.  I have to wonder if “Blue Jasmine” is purely the Cate Blanchett show, however.  Scarlett Johansson’s vocal work in “Her” got her a nomination from the BFCA (it was ineligible at the Globes), but the Academy generally strays away from rewarding unconventional performances like that.  Maybe Sarah Paulson, silent on the trail so far, could shock and give “12 Years a Slave” its second nomination in the category.

RobertsMy guess is that the Academy will stick to some long renowned actresses to fill out the roster.  Oprah Winfrey surprisingly missed with the Golden Globes for “The Butler,” but she’s been touted by the BFCA, SAG, and BAFTA.  Even though the film has lost its buzz after it scored surprisingly well with the SAG, I think the Oscars will still want to give something to one of the few screen performances given by the cultural icon.

I think they’ll also be welcoming back Julia Roberts, who hasn’t been nominated since she won in 2000 for “Erin Brockovich.”  As previously mentioned, “August: Osage County” hasn’t been met with rapturous acclaim.  But it does have the support of the actors, who gave it a coveted Best Ensemble nomination at the SAG Awards.  If anything for the film is recognized, it will be the acting.  And Roberts, who many view as a co-lead, is the most likely to reap the goodwill.

Check back tomorrow to see my predictions for the writing/directing categories as well as the granddaddy of them all … BEST PICTURE!


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Categories : 2013 - Oscar Moment, Oscar Moment

LISTFUL THINKING: The Top 10 Films of 2013

1 01 2014

Normally, I can come up with a unifying theme for my top 10 list.  But this year, I really struggled to find a common thread or through-line.  Ironically, even in the absence of some sort of angle for this piece, I would still consider 2013 to be the best year for movies in a long time, at least since 2010.

I suppose one commonality amongst this list is unforgettable characters.  The best cinema of the year entertained, engaged, and enlightened by bringing people to life before our eyes.  As they negotiated everything from familial regret (Philomena Lee) to career frustrations (Llewyn Davis) and even false enslavement (Solomon Northrup), their conflicts became real to me, captured my imagination, and hijacked my thoughts.

Though 2013 is over, my dealing with these films and characters is far from finished.  I will continue to wonder if Llewyn Davis will ever achieve success, if Ritchie DiMasso deserved to be screwed over, if Jasmine is primarily responsible for her own breakdown, if Lucas can ever return to any semblance of normality in his life, and if Epps is just pure evil at his core.

Without further ado, here are the 10 best films of 2013…

10) Enough Said

#10
“Enough Said”
Starring Julia Louis-Dreyfus, James Gandolfini, and Catherine Keener
Written and directed by Nicole Holofcener

A well-known cliché regarding great comedic actors is that they could somehow make reading the phonebook hilarious.  Julia Louis-Dreyfus would not even have to utter a single word of the phonebook to have me in stitches; just a contortion of the brilliantly expressive musculature in her face makes me laugh.  In her first live-action role on the silver screen this millennium, she is the perfect vessel for writer/director Nicole Holofocener’s humor in an insightful look at the way people act against their own interests and desires in the name of self-preservation.  Intimately scaled and brilliantly observed, “Enough Said” makes for 90 minutes of the most perfectly realized cinema this year.

9) The Hunt

#9
“The Hunt”
Starring Mads Mikkelsen, Thomas Bo Larsen, and Annika Wedderkopp
Written by Tobias Lindholm and Thomas Vinterberg
Directed by Thomas Vinterberg

I first saw “The Hunt” almost 20 months ago at the Cannes Film Festival, and ever since, I have known it would make my top 10 list.  So needless to say, I’ve been waiting a long time (thanks for that release delay, Magnolia).  It speaks to the strength of the cinema in 2013 that had “The Hunt” been released in 2012, it probably would have topped my list of the year’s best.  Still, this drama of an innocent man put through the ringer stands high and mighty in 2013 thanks to the brilliant performance of Mads Mikkelsen, a screenplay that would make Arthur Miller proud, and the steady direction of Thomas Vinterberg.

8) 12 Years a Slave

#8
“12 Years a Slave”
Starring Chiwetel Ejiofor, Michael Fassbender, and Lupita Nyong’o
Written by John Ridley
Directed by Steve McQueen

After making “Shame,” which I firmly believe will be seen as a defining film of the decade for tackling the largely unrecognized pervasiveness of sexuality in society, there was really nothing else the unflinching camera of Steve McQueen could capture except the brutality of American slavery.  What he creates in “12 Years a Slave” is a brilliant hybrid of an art film with a traditional historical narrative movie, clearly communicating a story for all viewers with haunting complimentary imagery.  It’s a film so powerful that it does not just remind us that we need to talk about slavery – it somehow makes us want to talk about slavery.

7) Philomena

#7
“Philomena”
Starring Judi Dench, Steve Coogan, and Sophie Kennedy Clark
Written by Steve Coogan and Jeff Pope
Directed by Stephen Frears

Perhaps the unlikeliest (or at least the most unanticipated) entry on my list, “Philomena” screamed cringe-worthy Oscar bait from its premise.  Yet it pulls off the year’s strangest high-wire act thanks to Steve Coogan and Jeff Pope’s tonally masterful screenplay, managing to be at once funny and tragic while always touching the heart.  Though the movie makes a play for your emotions, it never feels cloying.  Rather, you just embrace Philomena the character played with infectious warmth and forgiveness by Judi Dench and “Philomena” the film all the more.

6) Blue Jasmine

#6
“Blue Jasmine”
Starring Cate Blanchett, Sally Hawkins, and Bobby Cannavale
Written and directed by Woody Allen

I’ve seen every Woody Allen film, for better or for worse, and I don’t think he’s written a character as complex as Jasmine since Annie Hall herself.  And that was so heavily based on Diane Keaton, so he along with a fearless Cate Blanchett are discovering and creating in “Blue Jasmine.”  No movie has stuck with me more throughout the year than this one; the question of social forces vs. personal agency in Jasmine’s demise haunting my thoughts so much that I paid an obscene amount to see it again four months later.  The debate over her fall from grace will rage on forever, but no discussion is necessary to settle the claim that Jasmine has the right to stand next to such complex female characters as Blanche of “A Streetcar Named Desire” and Nora of “A Doll’s House.”

5) Inside Llewyn Davis

#5
“Inside Llewyn Davis”
Starring Oscar Isaac, Carey Mulligan, and John Goodman
Written and directed by Joel and Ethan Coen

I’ve always been a fan of the Coen Brothers, but it took “Inside Llewyn Davis” to make me truly come to terms with just how incredible they are.  Masters of their form with an unrivaled attention to detail in this era, they have bottled up their essence and transported it to the nascent stage of the 1960s folk music scene.  Featuring what might be the best soundtrack since – well, maybe even the Coen Brothers’ 2000 “O Brother, Where Art Thou?” – and a stunning lead performance by Oscar Isaac, the latest entry to their remarkable canon may appear slight at first glance.  But look a little harder into their script, which is just as carefully constructed as every shot in the film.

4) The Past

#4
“The Past”
Starring Berenice Bejo, Tahar Rahim, and Ali Mosaffa
Written and directed by Asghar Farhadi

Asghar Farhadi set an unfairly high bar for himself with the consummate “A Separation,” and he scales those heights again with “The Past.”  He once again shows his incredible command and understanding of human behavior, crafting characters with complex emotions and intricate facades to conceal their transgressions.  Everyone acts on multiple levels of motivation, and it’s searingly gripping to observe their worlds unravel.  Farhadi uses the searing realness of these characters, especially Berenice Bejo’s Marie, to show how the past influences and clouds not only the present but also the future.  These are hardly groundbreaking themes, but Farhadi’s impeccable knack for realism makes them worth reconsidering not only in the context of the film but in our own lives as well.

3) Spring Breakers

#3
“Spring Breakers”
Starring James Franco, Selena Gomez, and Vanessa Hudgens
Written and directed by Harmony Korine

I’ve been hesitant to write anything about “Spring Breakers” all year, partially because I don’t think my words can do it justice but subconsciously because I don’t want to demystify it.  The film came over me like a haze or a stupor, took me on the trip of a lifetime, and then released me in slack-jawed awe.  It’s a genius look at the way sex, drugs, and violence intersect in contemporary culture, filmed in simultaneous beauty and grime.  Korine somehow manages to criticize the dark underpinnings of the spring break mentality while also capturing the almost spiritual allure it has.  Misunderstood and misread as pure glorification by many, I’m proud to be a “Spring Breakers” fanatic since the first time I saw it.  I look forward to watching this become a cult classic and a landmark film for my generation.  Spring break forevaaaaa…

2) Stories We Tell

#2
“Stories We Tell”
Directed by Sarah Polley

The year’s most audacious boundary-pushing achievement, “Stories We Tell” is a beautiful documentary that tests the limits of the fiction/non-fiction binary that is currently established.  As director Sarah Polley probes her own story, she finds chaos and confusion amidst the many competing narratives of the past.  Somehow, she manages to find rhyme and reason to it all, presenting all the recollections of her late mother Diane in one giant story that reveals the large gap in between reality as we experience it and the way we ultimately remember and retell it.  Yet somewhere in that hole, she gets at the core of what makes us human, a true treasure gleaned from what could have been a family album.

1) American Hustle

#1
“American Hustle”
Starring Christian Bale, Amy Adams, and Bradley Cooper
Written by David O. Russell and Eric Singer
Directed by David O. Russell

“The Fighter” and “Silver Linings Playbook” showed us that David O. Russell had a mastery of coaching performance, and “American Hustle” is elevated to the realm of the sublime because Russell uses that understanding to create the ultimate performances of performance.  Everyone in the film is playing multiple games and shuffling between multiple identities to get what they want, yet their success comes with an accompanying yearning for a truly real human connection.  Though the characters may groove to Donna Summer and sport comb-overs or perms, this 1970s drama connects to the realities and anxieties of 2013, where many of us interact through various social media profiles and avatars in order to replicate but also mediate and mitigate real relationships.  But this is hardly a somber meditation on the present era, rather an observation of basic human nature: we’re conning, hustling, and BS-ing everyone – including and especially ourselves.  And while you chew this over, Russell will have you grinning from ear to ear as his movie brims over with joy.


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Categories : Features, Listful Thinking

Oscar Moment: 2013 Pre-Fall Festival Predictions

27 08 2013

Well, folks, the time is here to talk about Oscar season.  The Venice Film Festival kicks off tomorrow, and suddenly it won’t be taboo to talk about what might be competing for the Academy Awards.

Just to show you how much things change over the course of the fall, last year I predicted “The Master” to win Best Picture at this time – and it wound up not being nominated.  I was close for Best Director and Best Actor, though, ranking Ang Lee and Daniel Day-Lewis my #2 pick in their respective categories.  Jennifer Lawrence was not remotely on my radar, but my projected winner Quvenzhané Wallis did manage to get a nomination!  I got the movie right for Best Supporting Actor, but picked Leonardo DiCaprio instead of Christoph Waltz as the “Django Unchained” cast member to hoist the Oscar.  And I, like everyone else, saw Anne Hathaway’s win coming from the moment the first “Les Misérables” trailer hit the web.

So what will surprise us this year?  And what will disappoint?  Here’s my first draft at a year in Oscar forecasting.

Best Picture

  1. American Hustle (trailer)
  2. 12 Years a Slave (trailer)
  3. Foxcatcher
  4. August: Osage County (trailer)
  5. Gravity (trailer)
  6. The Monuments Men (trailer)
  7. Her (trailer)
  8. Inside Llewyn Davis (trailer)
  9. Labor Day
  10. The Secret Life of Walter Mitty (trailer)

American HustleThere seems to be no clear frontrunner a la “The Curious Case of Benjamin Button” or “War Horse” for 2013.  So I’m just going to gander it’s a dues-paying year.  It seems like David O. Russell, after two straight Best Picture-Best Director nominations for “The Fighter” and “Silver Linings Playbook,” is now on the fast track to win someday.  So why not 2013 with “American Hustle?”  A glitzy period drama that looks to provide action, comedy, and drama looks pretty good on paper to me.

Another film I could see making a charge at the prize is Steve McQueen’s “12 Years A Slave.”  Despite all the talent involved in this film, I think it might still be an underdog given that McQueen’s previous two films have not received a single Oscar nomination.  Then again, Tom Hooper was a relative novice when he directed “The King’s Speech,” and we know how that story ends.

Previous Best Director nominees Bennett Miller (“Foxcatcher”), George Clooney (“The Monuments Men”), Spike Jonze (“Her”), the Coen Brothers (“Inside Llewyn Davis”), and Jason Reitman (“Labor Day”) all look to get in the Best Picture race.  Based on their pedigree alone, I’m predicting nominations for these five films.  All are sight unseen, save “Inside Llewyn Davis,” which I have seen and can attest is the kind of well-made film that will score with the Academy.

I guess I could include Alfonso Cuaron’s “Gravity” in this clump, since the film’s director is an Oscar-nominated screenwriter and editor.  But that film gets a Best Picture nomination, in my mind, because it belongs in a class with “Avatar,” “Hugo,” and “Life of Pi” – technical masterpieces directed by renowned talents.

As for “August: Osage County,” that play is so well-written that it would take a first-class hack job for it not to be a Best Picture nominee.  We’re talking a play that will go next to Arthur Miller and Tennessee Williams in the American dramatic literature canon, people.

And to round out the top 10, I picked Ben Stiller’s “The Secret Life of Walter Mitty.” I’m not entirely sold on it, but it could make a surprise run for Best Picture.  It could also fizzle with awards voters.  Who knows?  Clearly not I.

Best Director

  1. David O. Russell, “American Hustle”
  2. Bennett Miller, “Foxcatcher”
  3. Steve McQueen, “12 Years A Slave”
  4. Alfonso Cuarón, “Gravity”
  5. Spike Jonze, “Her”

FoxcatcherAs I said, I’m projecting Russell to go all the way in 2013.

Past nominee Bennett Miller could give him a run for his money, although he was overlooked for his work on 2011 Best Picture nominee “Moneyball.”  Steve McQueen and Alfonso Cuaron should score their first Best Director nominations (which is a shame).

And since Spike Jonze scored a lone Best Director nomination for “Being John Malkovich” back in 1999, I don’t think it’s out of the question to see him score a second nomination for his work on “Her.”  It certainly appears to be daring … and the director’s branch showed they were willing to go out on a limb last year with nominees Benh Zeitlin and Michael Haneke.

Best Actor

  1. Matthew McConaughey, “Dallas Buyers Club”
  2. Joaquin Phoenix, “Her”
  3. Chiwetel Ejiofor, “12 Years A Slave”
  4. Oscar Isaac, “Inside Llewyn Davis”
  5. Robert Redford, “All Is Lost”

McConaugheyBig, baity performances have won out here for the past decade, essentially.  So I’d say the frontrunner has to be Matthew McConaughey in “Dallas Buyers Club.”  His comeback narrative is appealing, and the fact that he lost a ton of weight helps.

That being said, I wouldn’t count out Joaquin Phoenix for “Her.”  If he could get nominated for a polarizing film like “The Master,” perhaps there’s more respect for Phoenix in the Academy than most people recognize.  He’s been nominated three times now, and I think it’s only a matter of time before he wins.

Chiwetel Ejiofor could easily supplant McConaughey as the bait performance to beat here.  A frontrunner will be cemented by the time both films debut at Toronto.

Breakout performer Oscar Isaac ought to score a nod here for “Inside Llewyn Davis.”  I don’t see how he can be overlooked if the movie is a hit with the Academy.

And keep an eye out for Robert Redford here.  He gives an incredible, virtually wordless performance in “All Is Lost” that will not be forgotten.  The Hollywood legend hasn’t been nominated for his acting in over 40 years, and the one Oscar sitting on his mantle is for directing.  Might it be his time in the sun?

Best Actress

  1. Amy Adams, “American Hustle”
  2. Cate Blanchett, “Blue Jasmine”
  3. Naomi Watts, “Diana”
  4. Kate Winslet, “Labor Day”
  5. Emma Thompson, “Saving Mr. Banks”

Amy AdamsPlease, Academy, make this Amy Adams’ year!  She’s been nominated four times already in Best Supporting Actress.  Now that she’s playing with the big girls in Best Actress, maybe it’s just time to give her the darned trophy already.

Woody Allen hasn’t directed a woman to a leading actress win since Diane Keaton in “Annie Hall” – perhaps Cate Blanchett’s turn in “Blue Jasmine” can break the dry spell?  I think she’s a sure bet for a nomination, but another win is unlikely since Blanchett has won in the past decade.

Or maybe it’s Naomi Watts’ turn after coming up short for last year’s “The Impossible.”  If the Academy loves this two-time nominee, an uncanny performance as Princess Diana would be a good time to give it to her.

Kate Winslet has been nominated for six Oscars and has won one.  So why would the love stop now?  In her first notable screen performance since winning for 2008’s “The Reader,” she could rack up nomination number 7 and be well on her way to becoming the Meryl Streep of her generation.

Speaking of Meryl Streep, I could be making a mistake by not including her here.  She would definitely crack my top 5, but I’m hearing that she’ll be campaigned in supporting.  So for now, that fifth slot goes to Emma Thompson for the breezy “Saving Mr. Banks.”

Best Supporting Actor

  1. Michael Fassbender, “12 Years A Slave”
  2. Bradley Cooper, “American Hustle”
  3. Daniel Bruhl, “Rush”
  4. Steve Carell, “Foxcatcher”
  5. Tom Hanks, “Saving Mr. Banks”

FassbenderGo big or go home.  After being snubbed for his incredible work in “Shame,” I predict the Academy will right its wrongs and reward Michael Fassbender with an Oscar for “12 Years A Slave.”  I really hope I’m right.

Bradley Cooper, given the villain role in “American Hustle,” could capitalize on a year of goodwill after a nomination from “Silver Linings Playbook.”  He’s probably a safer pick, but I’m not interested in safe at this point.

After last year’s category was dominated by previous winners, I’m going to predict two more first-time nominees in this category: Daniel Bruhl for “Rush,” whose performance has been touted since Cannes, and Steve Carell for “Foxcatcher,” a darker role for the comedic actor.

And then I’ll predict Tom Hanks as Walt Disney in “Saving Mr. Banks” because that proposition just sounds too good to pass up for Academy voters.

Best Supporting Actress

  1. Oprah Winfrey, “The Butler”
  2. Meryl Streep, “August: Osage County”
  3. Octavia Spencer, “Fruitvale Station”
  4. Cameron Diaz, “The Counselor”
  5. Jennifer Lawrence, “American Hustle”

OprahHonestly, this category is such a toss-up at this point, so I’m forced to pick the only person with buzz at the moment: Oprah Winfrey for “The Butler.”  Beyond her, my confidence ends.  If the Weinstein Company had announced what Meryl Streep will be campaigned in, I’d feel confident picking her in whatever category they chose.  Right now, I’m going with supporting.

I thought Octavia Spencer was the best part of “Fruitvale Station,” but her part may be too small or too soon after her win for “The Help.”

Cameron Diaz looks like an intriguing femme fatale in “The Counselor,” but that movie could flop so hardcore that she’s rendered a non-factor this season.  With no festival appearances slated, the film does not appear to be a serious threat for anything.  Diaz has been pretty quiet lately, but let’s not forget she had a string of acclaimed roles from 1998 to 2002 that gave her 4 Golden Globe nominations and 3 SAG Award nominations.

And as for that last slot, I figured I might as well throw in Jennifer Lawrence for “American Hustle.”  Everyone loves J.Law, and I think enough people will like “American Hustle” to give her a victory lap after last year’s win.

Best Original Screenplay

  1. American Hustle
  2. Inside Llewyn Davis
  3. Blue Jasmine
  4. Her
  5. Gravity

Inside Llewyn DavisDavid O. Russell is a two-time writing nominee?  Check for “American Hustle.”

The Coen Brothers are five-time writing nominees with two wins?  Check for “Inside Llewyn Davis.”

Woody Allen has been nominated for Best Original Screenplay a whopping 15 times, and “Blue Jasmine” does not suck.  Check.

Spike Jonze is an acclaimed original figure in Hollywood?  Check for “Her,” but with some reluctance as “The Master” was snubbed last year for the clichéd “Flight.”

Alfonso Cuaron is a two-time writing nominee, but his latest film “Gravity” might be a lot more impressive on the screen than it is on the page.  Perhaps he will wow us once again and make us regret ever doubting him … so I’ll predict “Gravity” to take the final slot here.  But “Black Swan” missed here, so originality isn’t everything in the Best Original Screenplay category.

Best Adapted Screenplay

  1. 12 Years A Slave
  2. Foxcatcher
  3. The Monuments Men
  4. August: Osage County
  5. Before Midnight

It would be foolish of me not to predict a lot of Best Picture nominees here, which traditionally dominate the Best Adapted Screenplay category.  But don’t count out “Before Midnight,” whose predecessor scored a nomination back in 2004 in this category.  The series, and this installment in particular, has gotten a lot of positive press.  I don’t think the writers will forget about this one.

What do you think?  Who is the one to beat in 2013?  Sound off!


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Categories : 2013 - Oscar Moment, Oscar Moment