REVIEW: American Sniper

16 01 2015

Towards the beginning of “American Sniper,” Bradley Cooper’s cowboy turned Navy SEAL Chris Kyle receives the instruction to make pulling a trigger an unconscious effort.  Director Clint Eastwood and writer Jason Hall, however, ensure that the audience watching Kyle’s exploits are very conscious of the rationale and logic behind the dispatch of every bullet.  No kill feels sensationalized to satisfy bloodlust, even when that sentiment disguises itself as patriotism.

The film simply portrays one man’s experience during four tours in the post-9/11 Middle East, opting not for any anti-military statement (like “Green Zone“) nor for a chest-thumping jingoism (like “The Kingdom”).  Since Kyle is the protagonist and the eyes through which the viewer watches the film, of course “American Sniper” tilts in his favor.  But he is not celebrated merely because of his record 160 kills; the film lionizes Kyle because of the value he placed on leadership and loyalty.

At this stage in the cinema’s grappling with what happened in Iraq and Afghanistan, just telling stories from over there seems important.  And that basically sums up the extent of what “American Sniper” is: a presentation of Chris Kyle’s narrative.  Eastwood and Hall never fully commit to either showing the full terror of combating terrorism (a la “Lone Survivor“) or the grueling mental experience of the soldiers (in the vein of “The Hurt Locker“).  They pull elements from each effectively, yet they never really advance a thesis or a broader takeaway.

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REVIEW: Guardians of the Galaxy

3 08 2014

When I sat down and thought about it, most of the praises I could lavish on James Gunn’s “Guardians of the Galaxy” are really backhanded compliments that slap the Marvel universe in the process.

For example, I don’t really think Kevin Feige and the Marvel brain trust really deserve a great deal of lauding for creating a film that can stand on its own with a self-contained narrative.  The majority of movies already just do that anyways.  Those movies also just have well-developed characters with internal lives given as an assumption, not as a point of commendation.

But if you want to grade James Gunn’s take on a lesser-known Marvel property against their hopelessly generic and shamelessly commercial films of better known characters like Captain America, it’s going to look like a masterstroke.  “Guardians of the Galaxy” has two attributes that probably make executives at Marvel cower in fear: a unique creative vision and a good sense of humor.  It’s a playful film that often feels like fan fiction uncovered from a child of the ’80s raised on a steady diet of Lucas and Spielberg.

To achieve this adolescent fantasy of a film, Gunn assembles a very game group that becomes akin to Marvel’s version of the “Not Ready for Prime Time Players.”  The film stars Chris Pratt as Peter Quill (or Star-Lord, as he’d have you call him), a profit-motivated intergalactic thief who might be the most morally ambiguous blockbuster hero since Jack Sparrow.  On an average commission to retrieve an orb, Quill gets pulled into a gigantic power struggle that endangers both he and his precious Walkman.

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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!





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!





REVIEW: The Place Beyond the Pines

25 07 2013

If ever you wanted to see the film as novel, “The Place Beyond the Pines” is there to satisfy your cinematic-cum-literary hunger.  Derek Cianfrance’s follow-up to the searing “Blue Valentine” moves from close-up to long shot, taking in multiple generations over the course of its two hour and 20 minute runtime.  It could even be argued that the film has not one, not two, but a whopping three protagonists.

Cianfrance’s story is peerless in terms of sheer ambition, and I give him great credit on those grounds.  I did feel, however, that he often sacrificed depth for breadth.  Rather than go fully into each of the three leading men of “The Place Beyond the Pines,” he cuts out a level too early in their development to squeeze each story into a film of bearable length.  While each have full and completely developed arcs, I could never totally get on board with the film because I didn’t feel that I knew the characters.

Even in spite of the sometimes slippery connection, something tells me I will forever be haunted by the eerie calm of the paralleled hovering shots of Ryan Gosling’s Luke Lanton, and then his son, Dane DeHaan’s Jason, riding their motorcycle down a twisting rural road.  Even from such a height, there’s a great deal of proximity and intimacy that Cianfrance manages to communicate in those brief interludes.

His film has the technical craftsmanship to match the epic scope of the story, particularly the eerie and somber photography of Sean Bobbitt (responsible for Steve McQueen’s immaculately shot “Hunger” and “Shame”).  Editors Jim Helton and Ron Patane take the chilling imagery and splice it poetically until it feels like cinematic Homeric verse.

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REVIEW: The Hangover Part III

17 06 2013

Two summers ago, I expressed my frustration with the inertia of the “Hangover” franchise in my review for the carbon-copy sequel.  I wrote, “‘The Hangover Part II‘ is like breathing in airplane air.  Recycled, stale, but better than not having air to breathe at all.  In essence, it gives you exactly what you expected – and nothing more.”  Had I known yet another follow-up was in the pipelines, I would have begged the question, “Is it too much to ask for something different?”

In which case, I would never have been so unhappy to have a movie give me exactly what I asked of it.  “The Hangover Part III” is definitely not the same as its predecessors.  But lest we forget, change is not always good.  In this case, it’s just kind of depressing to see how fast and hard a comedic sensation can fall.  The series’ legacy will now likely be one of a studio that took a truly original concept, hackneyed it to the point of annoyance, and then besmirched its name entirely.

In fact, it’s hard to call “The Hangover Part III” much a comedy at all.  Sure, there’s the occasional clever quip, but the writers’ new plot structure forays the series into a new genre entirely.  It’s essentially a chase film, an action-thriller that squeezes out a laugh every once in a while.

The so-called “comedy” of this installment is lazy and, quite frankly, offensive.  The nuance of the original “Hangover” is long gone, replaced here by cheap gags that are above the most immature of middle schoolers.  All “The Hangover Part III” has to offer is homophobic humor, offering up gays as objects to be ridiculed.

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Oscar Moment: Final 2012 Predictions, Part 3 (Leading)

7 01 2013

Only three days until Oscar nominations are announced!  It’s so weird to have them this early … I feel like I barely predicted at all this year.  Nonetheless, it’s time to lock in my final picks!  Today, it’s one last glimpse at the leading acting categories.

See my predictions for Best Original Screenplay and Best Adapted Screenplay.

See my predictions for Best Supporting Actor and Best Supporting Actress.

Best Actor

  1. Daniel Day-Lewis, “Lincoln
  2. Hugh Jackman, “Les Misérables
  3. Bradley Cooper, “Silver Linings Playbook
  4. John Hawkes, “The Sessions
  5. Denzel Washington, “Flight

I was wrong, this is Daniel Day-Lewis’ race to lose.  My gosh, he is winning everything!  Look at this chart of dominance.  It turns Anne Hathaway’s dream to shame.

DDL Dominance

He’s going to come charging into the Kodak Theatre to get that record-setting third Oscar for Best Actor.  This is like Phillip Seymour Hoffman for “Capote,” Forest Whitaker for “The Last King of Scotland,” and … well, Daniel Day-Lewis for “There Will Be Blood” levels of momentum.

Les Miz

If anyone takes him down, though, it’s going to be Hugh Jackman.  He had many doubters until the film was unveiled, and he’s taken the big three nods from BFCA, SAG, and HFPA.  He will almost certainly win the Golden Globe.  Maybe, just maybe, he can stage an Adrian Brody-esque upset.

The nomination will likely be the win for Bradley Cooper, who has triumphantly exceeded expectations in “Silver Linings Playbook” and likely redefined how the industry sees him.  Well done, sir.  I’m pleased that a clear path to a nomination emerged with Critics’ Choice, SAG, and Golden Globe recognition.  I thought it might be a more uphill climb, but I have been very pleasantly surprised.

Beyond DDL, Jackman, and Cooper, my certainty stops.  I am almost positive the final two nominees will be John Hawkes for “The Sessions” and Denzel Washington in “Flight.”  They were feted by BFCA, SAG, and HFPA.  Joaquin Phoenix, on the other hand, missed with SAG and will likely be left out in the cold (much to my chagrin).

Master

I’m on the record as being nonplussed by Hawkes and Washington, though I greatly admire many other performances by the two actors.  For my money, Phoenix was the best performance of the year.  Several others have seen what I have seen, and he’s picked up a few critics’ groups notices.  He was also nominated by the Golden Globes, albeit in the segregated drama category, and the Critics’ Choice Awards, which had six nominees.

Sadly, it looks like Phoenix will follow the trajectory of Michael Fassbender’s work in “Shame,” my favorite performance of 2011.  Fassbender and Phoenix were both winners of the Volpi Cup for Best Actor at the Venice Film Festival.  Their work was widely acclaimed, and their movies were polarizing.  They won Best Actor from the Los Angeles Film Critics Association among several other prizes.  They picked up key nominations from BFCA and HFPA, but their SAG snub raised some red flags.

FlightPhoenix’s journey will likely end the same way Fassbender’s did.  Repelling the Academy, Fassbender was left on the outside looking in at the Best Actor category.  Phoenix shouldn’t mind being put in the same position, however, because he hates awards season and thinks the Oscars are BS.

So it looks like I’ll be predicting the SAG nominees to repeat five-for-five.  Boring, disappointing, I know.  But there’s nothing screaming to go against conventional wisdom here.

I don’t think Richard Gere for “Arbitrage,” Jack Black for “Bernie,” Denis Lavant for “Holy Motors,” Jean-Louis Trintignant for “Amour,” or Anthony Hopkins for “Hitchcock” really have much of a chance.  Each has a few respective laurels, but the frontrunning five are just too strong for there to be a major surprise.

Then again, last year gave us not only Demian Bichir but an out-of-nowhere nod for Gary Oldman.  So we’ll just have to see.  Maybe the Academy has a few tricks up its sleeve in 2012 that we just have no way to forecast.

Best Actress

  1. Jessica Chastain, “Zero Dark Thirty
  2. Jennifer Lawrence, “Silver Linings Playbook
  3. Naomi Watts, “The Impossible”
  4. Marion Cotillard, “Rust and Bone
  5. Quvenzhané Wallis, “Beasts of the Southern Wild

Zero Dark Thirty FYCThe dynamics at the top of the race have changed little over the past month.  It’s still a Chastain vs. Lawrence cage match, and I think we won’t really know until the envelope is opened.  They will go head-to-head at the Critics’ Choice Awards and the SAG Awards, but Viola Davis won both of those last year and lost the Oscar.  The Golden Globe will do nothing to clear up the picture as they will compete in separate categories.  I give Chastain the edge now.

But below Chastain and Lawrence, so much is fluctuating.  This is the most fluid acting category of the four in 2012, capable of many unsurprising surprises.  And if any race is suggesting that conventional wisdom and historical precedent simply won’t do, this would be it.

It would seem that Naomi Watts and Marion Cotillard would be assured nominations for “The Impossible” and “Rust and Bone,” respectively.  They’ve scored the BFCA, SAG, and HFPA hat trick of nominations, just about the best safety net you can have.  Both also look to be the only nominations for their respective movies as “The Impossible” missed the cut for visual effects and France chose “The Intouchables” over “Rust and Bone” to compete in the Best Foreign Language Film category.

WattsI’m much more bullish on Watts, a prior nominee for “21 Grams” back in 2003, perhaps because I haven’t seen the movie yet and can visualize her more as a statistic (sorry for the bluntness, but that’s the name of the game).  I’ve read that “The Impossible” has really played the guild circuit, ginning up admiration for Watts and the cast along the way.  She got a high-profile shout-out from a mere acquaintance, Reese Witherspoon, in Entertainment Weekly that a lot of people saw.

For whatever reason, she just seems very strong to me.  The movie seems like the emotional tour de force they look for in leading performances for women.

Having said that, Marion Cotillard shows the same level of emotional devastation, just on a more subtle level.  If she hadn’t won for a French language performance, I’d be hesitant to think she could be nominated for one.  But she has, and I feel a hunch that the Oscars won’t snub her brilliant performance.  Apparently, the Academy voters really responded to “Rust and Bone,” and if that’s the case, why wouldn’t they nominate its star?

So I’ll go ahead and predict that Watts and Cotillard make it, although I could see a foreseeable outcome where one gets knocked out.  I doubt they slap these precursors in the face so hard that both get turned away.

HitchcockSAG’s fifth nominee was Helen Mirren for “Hitchcock,” who also landed a Golden Globe nod.  Mirren has become a recent darling of the Academy.  I got fooled once by not predicting her in 2009 for “The Last Station,” and a part of me thinks I might be making the same mistake again.  Check out how eerily similar these two cases of Helen Mirren in Best Actress contention are:

“Common sense would say it is going to Helen Mirren for ‘The Last Station.’  She has the respect; we know because she won this award three short years ago.  She has been nominated by the SAG and the Golden Globes, two very crucial precursors.  But she has no victories and, more importantly, no passionate supporters.”

Going back and reading this is actually kind of scary because this year, she has SAG and HFPA in her corner … and basically no one else, unless you put a lot of stock in the prognosticating abilities of the Washington DC Area Film Critics Association.  The movies even received the same lukewarm reception: “Hitchcock” got a 66% fresh rating on Rotten Tomatoes, while “The Last Station” scored a 70% fresh.

I fear that the British contingent, which was a major part in making a Best Actor nomination for Gary Oldman in “Tinker Tailor Soldier Spy” a reality, might be muddling our ability to make a prediction here.  Will this sizable portion of the Academy come through and give Mirren a fourth nomination in seven years?  I’m not picking Mirren because a 5-for-5 match with SAG just doesn’t feel right for this field rife with contenders.  (And especially with the men looking likely to perfectly align with SAG.)

RivaPerhaps that same European bloc of voters will be split among several other contenders from across the sea.  The French Cotillard could steal some European love, as could the British-Australian Watts.  Emmanuelle Riva could also make a play for that contingent for her work in “Amour.”

The Critics’ Choice nominee has quite a case to make for her nomination.  At 85, she’s a respected figure from the French New Wave that many recognize and respect.  Sony Pictures Classics has even gotten her to do some press for the film, including an in-depth session with The New York Times that’s well worth a read.  Many critics’ groups have aligned behind her, including such notable groups from Boston, Los Angeles, New York Online, and the National Society of Film Critics.  Perhaps worth noting, she won the European Film Award for Best Actress.

But why did SAG and the Golden Globes overlook Riva?  Neither are particularly xenophobic; the Globes’ dramatic actress category has seen a number of foreign-language nominees, including a rather strange nod for Kristin Scott Thomas in 2008 for “I’ve Loved You So Long.”  And at her age, it would seem that the SAG would want to bow down at her feet, and at the very least nominate her!

Rust and Bone

I can’t predict Riva with these two high-profile misses.  Perhaps she will be the exception, but I think her nomination is a pipe dream of critics.  She’s the Sally Hawkins for “Happy-Go-Lucky” of the year, a nominee that they try to make happen but just doesn’t click with the Academy.

Even less likely is British actress Rachel Weisz, in play for “The Deep Blue Sea” thanks to the New York Film Critics Circle reminding voters that her movie exists.  A March release automatically faces an uphill climb for a nomination since it has to fight to be remembered, and the Golden Globes did reward her performance.  Perhaps she’s the big surprise, but a SAG nomination would have been the more helpful precursor notice to pick up.

Also feted by the Golden Globes was Judi Dench for “The Best Exotic Marigold Hotel.”  This wouldn’t really be worth mentioning if it wasn’t … well, Judi Dench.  However, the movie is more likely to see recognition in the Best Supporting Actress category for Maggie Smith.  For that matter, Dench is more likely to see recognition in that category as well for her work in “Skyfall.”

And now, we arrive at our final contender, Quvenzhané Wallis for her extraordinary performance in “Beasts of the Southern Wild.”  Now 9, the pint-sized but spunky Wallis would be the youngest Best Actress nominee ever.  Even more impressive is that she was 6 when the movie was shot.

However, at the moment, she’s going virtually unnoticed.  Could Scott MacDonald have been right in his article on The Atlantic?

“Though she’s nine now, she was a mere six when the film was shot. To put it another way, she was not quite seven, which is the year developmental psychologists like to refer to as the age of reason: when kids start making decisions based on logic and causality. I’m no psych expert, but it seems to me this might be the sensible cut-off point for acting plaudits.

Acting requires some intentionality on the part of the actor, some conscious effort to adopt a persona other than his or her own. Even adult actors who get criticized for “playing themselves” are engaged in a series of more or less conscious decisions about how best to be themselves onscreen. A young child, meanwhile, likely isn’t thinking at all about how to be herself, let alone a character. She’s a kid, and she just ‘is.'”

Beasts

So is that it?  Have most considered her too young and written off her candidacy?  MacDonald did note that 8-year-old Justin Henry was nominated for “Kramer vs. Kramer,” so a nomination wouldn’t be entirely unprecedented.  But all she’s netted is a Critics Choice nod for Best Actress and a handful of breakout performer awards.

We will never know if she had a shot with SAG because the non-union production “Beasts of the Southern Wild” was ruled ineligible to compete.  However, the novelty of her contention should have been enough to attract the Golden Globes, but they totally snubbed the entire film.  I already floated the “too American” rationale for its exclusion, citing “True Grit” as an example, but the snub is really troubling.

The Oscars do love young nominees, though.  There have been plenty of pre-pubescent nominees in Academy history, most recently Abigail Breslin for “Little Miss Sunshine.”  Saiorse Ronan and Hailee Steinfeld, though quite a bit older than Willis, nonetheless were nominees.  And in 2003, lest we forget, 13-year-old Keisha Castle-Hughes’ performance in “Whale Rider” knocked out Nicole Kidman for “Cold Mountain” and Scarlett Johansson for “Lost in Translation.”  The young are often a force to be reckoned with at the Oscars.

I’ll lay out that Wallis would be a shocking Best Actress nominee.  If I was thinking by rules and precedents, the obvious pick would be Mirren.  If I was attempting to focus on just this season, I might have to go with Riva.  Yet I’m going with Wallis on little more than a gut feeling that maybe the Academy’s hearts were taken by a precocious tyke.

Check back tomorrow, January 8, to see my final predictions for Best Director!