"Michael Clayton" is one of the most fascinating movies I've ever watched. The stripped-down thriller is filled with engrossing scenes not because of what is happening but instead why they are happening. It features many different layers that can be analyzed separately but ultimately belong together.
Michael Clayton (George Clooney) is a fixer who self-advertises as a janitor. He is a lawyer but is said to specialize in wills and trusts. Clayton previously wished to get out of the business and open a restaurant, but the financial investment fell through due to his gambling and other unforeseen circumstances. Someone wishes him dead. The explanation may seem simple, but it's really much scarier than you could imagine.
Arthur Edens (Tom Wilkinson) is a trial lawyer within the same firm. Edens defends U-North, a company that made a bad insecticide that caused many animals on a farm to die and become deformed. Edens goes off of his medication and falls in love with the young plaintiff. Clayton is alerted that Edens has become a problem after he strips down naked in a deposition and runs through the parking lot wearing only his socks.
Karen Crowder (Tilda Swinton) from U-North steps in to manage the situation with knowledge from a leadership standpoint but none from what she feels she needs to be. There's nothing sexy or seductive in the character. She spends much of one scene rehearsing the answers to an interview in her underwear, but this isn't used to show her bearing much of herself or even that she has something to hide; instead, we see that Karen Crowder is, by her nature, plain and normal.
On that line, we should come back to Anna, Edens' love interest. He gives a monologue about two Lithuanian prostitutes performing oral sex on him, but he intentionally ruins it to make it last. When he sees Anna, he believes a light goes off in his mind that suddenly makes everything crystal clear in his life. Anna is what completes him. We meet her in a few scenes, and by a standpoint, there isn't anything physically special about her. She isn't overweight, nor is she supermodel skinny. Her hair is blond, but it isn't a standout shade. I could go on, but the point is that by our eyes, Anna is a background texture, one that we couldn't notice if we tried. Karen doesn't look the same, but she exhibits the same quality of plainness. The difference is that someone sees Anna for more than she is and for more than she thinks she is. Karen Crowder wants so badly to be the villain that her tragic flaw is that she doesn't know how to be.
You can probably catch on and see what I'm talking about when I mention layers. This rich layer cake of a movie keeps you with it throughout as we explore these people and their decisions. This is a movie that could have been created years and years ago and been a classic today. I can only hope that it will have that fate years from now.
Rated R for Language Including Some Sexual Dialogue.
Buy it here.
Tuesday, January 11, 2011
Monday, December 27, 2010
Black Swan - **** out of ****
"Black Swan" is a devilishly energetic, angelically over-the-top, passionately driven, beautifully choreographed melodramatic masterpiece. The music, rearranged by Clint Mansell, fuels the sheer excitement and intensity of this nightmare tragedy while Natalie Portman is gorgeous and unforgettable in one of the greatest screen performances I have ever watched. The rest of the cast and crew secure this as the year's most daring film and quite possibly the best. The White Swan soars above traditional Hollywood simplicity while The Black Swan gives two middle fingers to cinematic cowardice all while refusing a safety net. "Black Swan" is in a class all by itself because of how perfectly it juxtaposes beauty with violence, sex with horror, good with evil, character with thrills, reality with fantasy, and humanity with perfection. It also creates a hybrid of genres while bending your mind. The only word I could mutter as I left the theater was 'wow.' This examination of dedication to the arts and overcoming your nature is a warning to those who fall too deeply into a performance. It's anything but dismissible.
Darren Aronofsky often does movies that serve as warnings. "Requiem for a Dream" showed the dangers of drug addiction using both legal and illegal drugs and how they destroyed four lives. "The Wrestler" analyzed what a comeback is as well as the cost involved to regain lost fame. "Pi," however, seems to be the most like "Black Swan" because they both analyze the price of perfection. "Pi" attached it to a logical medium, but "Black Swan" takes place in a New York City ballet company. Nina Sayers (Natalie Portman) is a very sweet, awkward girl living with her mother. She is fragile in her life as she seems to have no real friends but is perfect in technique for ballet. The only person who ever calls her cell phone is her mother, and the other ballerinas in the company mock her. After director Thomas Leroy (Vincent Cassell) casts off the former prima ballerina in the company, Beth (Winona Ryder), for reasons explained but unreliable, Thomas announces that a new, fresh face will be the lead in their upcoming production of Swan Lake. The catch is that the lead will have to play both the frail White Swan but also her evil twin, the sexy, manipulative Black Swan. As you are most likely aware, Nina is perfect for the White Swan but lacks the raw sexuality needed for the Black Swan.
The movie goes into an interesting direction at this point. It becomes a psychological thriller with an unreliable witness as Nina begins to discover her inner Black Swan. Nina lands the role before meeting Lily (Mila Kunis), but she discovers that Lily is the incarnate for the Black Swan. Nina doesn't strive to be like Lily in obvious ways such as dressing or talking like her but instead has a core change; she masturbates, experiments with a drug, has anonymous sex in a bathroom stall, and becomes disgusted at her room, dressed in pink and white with stuffed animals. In light of becoming the Black Swan, she casts off her baggage as the White and shifts into something evil.
It may seem like I'm giving away too many plot details, but like all great movies, "Black Swan" is all about the journey rather than the destination. We watch like observers in a zoo as Nina becomes something sexual but ugly. I felt pain for this shift because I genuinely liked and pitied the White Swan, but there is never regret in Nina's turnaround in her mind. She loves where she is going because she believes that it is the only way to achieve perfection.
There are so many levels to this film. First of all, Nina sees some bizarre images including her reflection acting differently than she, her face on other bodies, and the glare of her mother's paintings following her. Are these things real? We can assume not, but within the context other questions about what is real and imagined are raised. I've previously mentioned that Nina as our main character is an unreliable witness because what she sees and what takes place may not be the same, but writers Mark Heyman, Andres Heinz, and John McLaughlin were brilliant in keeping this focus steady and unflinching. We never see the world according to anyone else, so the question of real and imaginary remains.
The film is a melodrama with excellent reason. Being personally unfamiliar with Tchaikovsky's score for Swan Lake, my sister pointed out to me that the themes as well as the emotional climax of the film were mostly taken directly from Swan Lake and rearranged to fit this different context. Clint Mansell simply does a wonderful job with these themes, making the soundtrack to the movie my favorite of the year as well as an all-time best on my list.
"Black Swan" keeps its energy high throughout the movie and has masterful pacing. When you leave the theater, you don't feel drained but instead energized. It's a wonderful feeling that is rarely felt during movies today, but the flick nails it admirably. It's my favorite movie of the year, and after some debate, it replaced "Inception" as my best of the year. It's bold, unflinching, and has some of the best and most realistic characters I've witnessed in my life. Movies like "Black Swan" (and this year's "Inception" to be fair) just aren't made very often, but when they fully and completely nail every single second, I can't watch them enough times. It's a great film- see it as much as you can.
Rated R for strong sexual content, disturbing violent images, language, and some drug use.
Check your local theater for showtimes.
Darren Aronofsky often does movies that serve as warnings. "Requiem for a Dream" showed the dangers of drug addiction using both legal and illegal drugs and how they destroyed four lives. "The Wrestler" analyzed what a comeback is as well as the cost involved to regain lost fame. "Pi," however, seems to be the most like "Black Swan" because they both analyze the price of perfection. "Pi" attached it to a logical medium, but "Black Swan" takes place in a New York City ballet company. Nina Sayers (Natalie Portman) is a very sweet, awkward girl living with her mother. She is fragile in her life as she seems to have no real friends but is perfect in technique for ballet. The only person who ever calls her cell phone is her mother, and the other ballerinas in the company mock her. After director Thomas Leroy (Vincent Cassell) casts off the former prima ballerina in the company, Beth (Winona Ryder), for reasons explained but unreliable, Thomas announces that a new, fresh face will be the lead in their upcoming production of Swan Lake. The catch is that the lead will have to play both the frail White Swan but also her evil twin, the sexy, manipulative Black Swan. As you are most likely aware, Nina is perfect for the White Swan but lacks the raw sexuality needed for the Black Swan.
The movie goes into an interesting direction at this point. It becomes a psychological thriller with an unreliable witness as Nina begins to discover her inner Black Swan. Nina lands the role before meeting Lily (Mila Kunis), but she discovers that Lily is the incarnate for the Black Swan. Nina doesn't strive to be like Lily in obvious ways such as dressing or talking like her but instead has a core change; she masturbates, experiments with a drug, has anonymous sex in a bathroom stall, and becomes disgusted at her room, dressed in pink and white with stuffed animals. In light of becoming the Black Swan, she casts off her baggage as the White and shifts into something evil.
It may seem like I'm giving away too many plot details, but like all great movies, "Black Swan" is all about the journey rather than the destination. We watch like observers in a zoo as Nina becomes something sexual but ugly. I felt pain for this shift because I genuinely liked and pitied the White Swan, but there is never regret in Nina's turnaround in her mind. She loves where she is going because she believes that it is the only way to achieve perfection.
There are so many levels to this film. First of all, Nina sees some bizarre images including her reflection acting differently than she, her face on other bodies, and the glare of her mother's paintings following her. Are these things real? We can assume not, but within the context other questions about what is real and imagined are raised. I've previously mentioned that Nina as our main character is an unreliable witness because what she sees and what takes place may not be the same, but writers Mark Heyman, Andres Heinz, and John McLaughlin were brilliant in keeping this focus steady and unflinching. We never see the world according to anyone else, so the question of real and imaginary remains.
The film is a melodrama with excellent reason. Being personally unfamiliar with Tchaikovsky's score for Swan Lake, my sister pointed out to me that the themes as well as the emotional climax of the film were mostly taken directly from Swan Lake and rearranged to fit this different context. Clint Mansell simply does a wonderful job with these themes, making the soundtrack to the movie my favorite of the year as well as an all-time best on my list.
"Black Swan" keeps its energy high throughout the movie and has masterful pacing. When you leave the theater, you don't feel drained but instead energized. It's a wonderful feeling that is rarely felt during movies today, but the flick nails it admirably. It's my favorite movie of the year, and after some debate, it replaced "Inception" as my best of the year. It's bold, unflinching, and has some of the best and most realistic characters I've witnessed in my life. Movies like "Black Swan" (and this year's "Inception" to be fair) just aren't made very often, but when they fully and completely nail every single second, I can't watch them enough times. It's a great film- see it as much as you can.
Rated R for strong sexual content, disturbing violent images, language, and some drug use.
Check your local theater for showtimes.
Sunday, December 26, 2010
Top Ten of 2010
Before I make the list, I should tell you that the following critically acclaimed movies will not appear on the list because I have not had the pleasure of watching these:
127 Hours
The American
Another Year
The King's Speech
The Town
The Secret in Their Eyes
The Kids Are All Right
True Grit
I Am Love
Somewhere
Hereafter
Rabbit Hole
Secretariat
With those being listed, here are my choices for the top ten as of now. When everything is released on DVD, I will most likely update the list.
1. Black Swan
"Black Swan" is a devilishly energetic, angelically over-the-top, passionately driven, beautifully choreographed melodramatic masterpiece. The music by Clint Mansell fuels the sheer excitement and intensity of this nightmare tragedy while Natalie Portman is gorgeous and unforgettable in one of the greatest screen performances I have ever witnessed. The rest of the cast secures this as the year's most daring film and quite possibly the best. The White Swan soars above traditional Hollywood simplicity while The Black Swan gives two middle fingers to cinematic cowardice all while refusing a safety net. "Black Swan" is in a class all by itself because of how perfectly it juxtaposes beauty with violence, sex with horror, good with evil, character with thrills, reality with fantasy, and humanity with perfection. The only word I could mutter as I left the theater was 'wow.' This examination of dedication to the arts and overcoming your nature is a warning to those who fall too deeply into a performance. It's anything but dismissible.
2. Inception
A thoroughly engrossing sci-fi epic with several unique and unforgettable passages. The characters are all equally fascinating with a finale that is as tense as anything I've ever watched.
3. The Ghost Writer
It's an excellent thriller based on an excellent novel. It works on several levels, and the performances (mostly Ewan McGregor as The Unnamed Ghost) are memorable. The movie looks great, the score makes it sound great, and the feeling in the end isn't one of being duped but instead something that adds a whole new meaning to the previous context without taking away from it.
4. Leaves of Grass
A wonderful dark comedy with an engrossing performance by Edward Norton. There are many fascinating philosophical questions raised, and the plot is never compromised. It's entirely original, and I can't name a single movie like it.
5. Thee Social Network
Its base concept of how we as people living in an age of technology where nothing can possibly be real if we can't see it works. The movie runs on several noteworthy performances, especially Andrew Garfield. David Fincher makes a fine film overall.
6. The Girl Who Played With Fire
Noomi Rapace continues The Millennium Trilogy with power and substance. It's more of a thriller than the modern masterpiece that is "The Girl With the Dragon Tattoo," but it works extraordinarily well.
7. Winter's Bone
A very nice, toned-down drama about a girl who must locate her father (or his body), the film remains filled with hope despite its dark nature. Jennifer Lawrence is a notable newcomer as she fuels the entire movie with an unflinching performance. It's not something you may want to watch over and over again, but it's definitely worth at least one viewing.
8. Shutter Island
It's an incredibly engrossing film that shows a new edge to Martin Scorsese. Leonardo DiCaprio gives another fine performance in this wonderful thriller set on an isolated asylum, but the supporting cast is what ultimately makes the movie as wonderful as it is.
9. Toy Story 3
In the front-runner for Best Animated Feature, this story manages to be quite thrilling with a wonderful sense of humor. It works on many levels, but on sheer enjoyment, it's a great one of its kind. It falls short of last year's amazing winner, "Up," but I enjoyed myself.
10. Kick-Ass
Alright, this will most likely be getting the boot after I watch the unseen notables previously mentioned, but as a dark comedy, there isn't much that I could call bad. It has energy, proves that Chloe Moretz is an up-and-coming child actor, and it has a nice, juicy role for Nicolas Cage (who was channeling James Woods' Batman in his comedic performance).
127 Hours
The American
Another Year
The King's Speech
The Town
The Secret in Their Eyes
The Kids Are All Right
True Grit
I Am Love
Somewhere
Hereafter
Rabbit Hole
Secretariat
With those being listed, here are my choices for the top ten as of now. When everything is released on DVD, I will most likely update the list.
1. Black Swan
"Black Swan" is a devilishly energetic, angelically over-the-top, passionately driven, beautifully choreographed melodramatic masterpiece. The music by Clint Mansell fuels the sheer excitement and intensity of this nightmare tragedy while Natalie Portman is gorgeous and unforgettable in one of the greatest screen performances I have ever witnessed. The rest of the cast secures this as the year's most daring film and quite possibly the best. The White Swan soars above traditional Hollywood simplicity while The Black Swan gives two middle fingers to cinematic cowardice all while refusing a safety net. "Black Swan" is in a class all by itself because of how perfectly it juxtaposes beauty with violence, sex with horror, good with evil, character with thrills, reality with fantasy, and humanity with perfection. The only word I could mutter as I left the theater was 'wow.' This examination of dedication to the arts and overcoming your nature is a warning to those who fall too deeply into a performance. It's anything but dismissible.
2. Inception
A thoroughly engrossing sci-fi epic with several unique and unforgettable passages. The characters are all equally fascinating with a finale that is as tense as anything I've ever watched.
3. The Ghost Writer
It's an excellent thriller based on an excellent novel. It works on several levels, and the performances (mostly Ewan McGregor as The Unnamed Ghost) are memorable. The movie looks great, the score makes it sound great, and the feeling in the end isn't one of being duped but instead something that adds a whole new meaning to the previous context without taking away from it.
4. Leaves of Grass
A wonderful dark comedy with an engrossing performance by Edward Norton. There are many fascinating philosophical questions raised, and the plot is never compromised. It's entirely original, and I can't name a single movie like it.
5. Thee Social Network
Its base concept of how we as people living in an age of technology where nothing can possibly be real if we can't see it works. The movie runs on several noteworthy performances, especially Andrew Garfield. David Fincher makes a fine film overall.
6. The Girl Who Played With Fire
Noomi Rapace continues The Millennium Trilogy with power and substance. It's more of a thriller than the modern masterpiece that is "The Girl With the Dragon Tattoo," but it works extraordinarily well.
7. Winter's Bone
A very nice, toned-down drama about a girl who must locate her father (or his body), the film remains filled with hope despite its dark nature. Jennifer Lawrence is a notable newcomer as she fuels the entire movie with an unflinching performance. It's not something you may want to watch over and over again, but it's definitely worth at least one viewing.
8. Shutter Island
It's an incredibly engrossing film that shows a new edge to Martin Scorsese. Leonardo DiCaprio gives another fine performance in this wonderful thriller set on an isolated asylum, but the supporting cast is what ultimately makes the movie as wonderful as it is.
9. Toy Story 3
In the front-runner for Best Animated Feature, this story manages to be quite thrilling with a wonderful sense of humor. It works on many levels, but on sheer enjoyment, it's a great one of its kind. It falls short of last year's amazing winner, "Up," but I enjoyed myself.
10. Kick-Ass
Alright, this will most likely be getting the boot after I watch the unseen notables previously mentioned, but as a dark comedy, there isn't much that I could call bad. It has energy, proves that Chloe Moretz is an up-and-coming child actor, and it has a nice, juicy role for Nicolas Cage (who was channeling James Woods' Batman in his comedic performance).
Tuesday, December 14, 2010
Best Worst Movie - *** out of ****
"Troll 2" was such a spectacularly horrible film that it actually secured a cult following. The sheer frustration of everything involved in the production seemed to secure its status before it even started. The Italian director, Claudio Fragasso, spoke no English and could not communicate at all with the actors. The script, although its final title was "Troll 2," had absolutely no trolls in it but instead goblins. The original title was "Goblin," but the director, who wrote the script with Rossella Drudi (who I don't think I have to tell you didn't speak much English as well) did not understand the difference between trolls and goblins. The costumes, especially the awfully designed creatures, were something to be noticed. Everyone involved were honestly trying to make a good movie which makes it all the more tragic.
George Hardy is a genuinely nice, good man. Even ask his ex-wife; she has nothing bad to say about him. Just to see his enthusiasm when referring to "Troll 2" as 'The Worst Movie Ever Made' makes him seem all the more tragic when he realizes that he truly does want to be an actor, but because of "Troll 2," that dream will never happen. He's a hometown hero, and after going to the Upright Citizens Brigade in New York City, he has the feeling that he's something of a cult hero, which is partially true. He would later go to Comic Con and be completely ignored.
The director, Fragasso, would reveal his serious hubris because, to this day, he thinks he made an excellent film. When the other actors mention the comedic elements involved in filming (one actor had to stand in a pot for 14 hours in his own shoes), he calls them "dogs of actors, acting dogs" and talks about how they know nothing and are bad actors. He speaks English reportedly better in "Best Worst Movie" than he did during "Troll 2," but if it tells you anything, whenever he speaks, there are subtitles every time. He's insulted by the numerous questions about "Troll 2" about plot points that make no sense and walks out of a conference, snarling at the actors after they get applause.
Margo Prey, who played Diana Waits in "Troll 2," the mother, spends her time with her aging mother. Margo has many warnings outside of her home, and the place seems to be a fortress. She complains of a high-pitched noise often (although none is picked up on camera) and compares "Troll 2" to "Casablanca." She refuses to go to any conventions, screenings, or meetings with anyone outside of her home. She still wishes to pursue an acting career, but according to IMDb, she hasn't appeared in a single role other than "Troll 2" and "Best Worst Movie."
By now, you're either wondering what "Best Worst Movie" is or have managed to figure it out on your own. For the record, "Best Worst Movie" is a documentary made to chronicle the future of those involved in making "Troll 2," what is often referred to as 'The Worst Movie of All Time.' I did see "Troll 2" before watching "Best Worst Movie," and I truly believe that to be an accurate description of the movie. Where the documentary falters is that the subject matter grows old, but there is a nice arc of fame, loss, and conclusion, even though "Troll 2" is no longer the worst-rated movie of all time on IMDb. Why should we take the infamy from it?
Not Rated.
Buy it here.
Buy "Troll 2" here.
George Hardy is a genuinely nice, good man. Even ask his ex-wife; she has nothing bad to say about him. Just to see his enthusiasm when referring to "Troll 2" as 'The Worst Movie Ever Made' makes him seem all the more tragic when he realizes that he truly does want to be an actor, but because of "Troll 2," that dream will never happen. He's a hometown hero, and after going to the Upright Citizens Brigade in New York City, he has the feeling that he's something of a cult hero, which is partially true. He would later go to Comic Con and be completely ignored.
The director, Fragasso, would reveal his serious hubris because, to this day, he thinks he made an excellent film. When the other actors mention the comedic elements involved in filming (one actor had to stand in a pot for 14 hours in his own shoes), he calls them "dogs of actors, acting dogs" and talks about how they know nothing and are bad actors. He speaks English reportedly better in "Best Worst Movie" than he did during "Troll 2," but if it tells you anything, whenever he speaks, there are subtitles every time. He's insulted by the numerous questions about "Troll 2" about plot points that make no sense and walks out of a conference, snarling at the actors after they get applause.
Margo Prey, who played Diana Waits in "Troll 2," the mother, spends her time with her aging mother. Margo has many warnings outside of her home, and the place seems to be a fortress. She complains of a high-pitched noise often (although none is picked up on camera) and compares "Troll 2" to "Casablanca." She refuses to go to any conventions, screenings, or meetings with anyone outside of her home. She still wishes to pursue an acting career, but according to IMDb, she hasn't appeared in a single role other than "Troll 2" and "Best Worst Movie."
By now, you're either wondering what "Best Worst Movie" is or have managed to figure it out on your own. For the record, "Best Worst Movie" is a documentary made to chronicle the future of those involved in making "Troll 2," what is often referred to as 'The Worst Movie of All Time.' I did see "Troll 2" before watching "Best Worst Movie," and I truly believe that to be an accurate description of the movie. Where the documentary falters is that the subject matter grows old, but there is a nice arc of fame, loss, and conclusion, even though "Troll 2" is no longer the worst-rated movie of all time on IMDb. Why should we take the infamy from it?
Not Rated.
Buy it here.
Buy "Troll 2" here.
Golden Globe Nominations and Predictions
For our purposes, I only predicted the movies of this year. The winner is marked with an asterisk (*) before the name, but please keep in mind that the winner isn't who I necessarily think SHOULD win but rather who I think will. I feel as though the Golden Globes almost nailed Drama with the exceptions of forgetting The Ghost Writer and Shutter Island but royally screwed up Comedy/Musical. What happened to well-reviewed films such as Scott Pilgrim vs. The World? Edward Norton's performance in Leaves of Grass? I would take a Steve Carell/Tina Fey Comedy/Musical nomination for Date Night over joint nominations for The Tourist when most critics stated that the movie's biggest problem was the lack of chemistry between the two leads.
At a later date, I will write what I feel the nominations should be and which movies should receive acclaim. For now, enjoy!
Picture- Drama
Black Swan
The Fighter
The King’s Speech
Inception
*The Social Network
Picture- Comedy/Musical
Alice in Wonderland
Burlesque
*The Kids Are All Right
RED
The Tourist
Actor in Drama
Jesse Eisenberg- The Social Network
*Colin Firth- The King’s Speech
James Franco- 127 Hours
Ryan Gosling- Blue Valentine
Mark Wahlberg- The Fighter
Actress in Drama
Halle Berry- Frankie and Alice
Nicole Kidman- Rabbit Hole
Jennifer Lawrence- Winter’s Bone
*Natalie Portman- Black Swan
Michelle Williams- Blue Valentine
Actor in Musical/Comedy
Johnny Depp- The Tourist
*Johnny Depp- Alice in Wonderland
Paul Giamatti- Barney’s Version
Jake Gyllenhaal- Love and Other Drugs
Kevin Spacey- Casino Jack
Actress in Musical/Comedy
*Annette Bening- The Kids Are All Right
Anne Hathaway- Love and Other Drugs
Angelina Jolie- The Tourist
Julianne Moore- The Kids Are All Right
Emma Stone- Easy A
Supporting Actor
Christian Bale- The Fighter
Michael Douglas- Wall Street: Money Never Sleeps
*Andrew Garfield- The Social Network
Jeremy Renner- The Town
Geoffrey Rush- The King’s Speech
Supporting Actress
Amy Adams- The Fighter
*Helena Bonham Carter- The King’s Speech
Mila Kunis- Black Swan
Melissa Leo- The Fighter
Jacki Weaver- Animal Kingdom
Director
Darren Aronofsky- Black Swan
*David Fincher- The Social Network
Tom Hooper- The King’s Speech
Christopher Nolan- Inception
David O. Russell- The Fighter
Screenplay
127 Hours- Danny Boyle, Simon Beaufoy
Inception- Christopher Nolan
The Kids Are All Right- Stuart Blumberg, Lisa Cholodenko
The King’s Speech- David Seidler
*The Social Network- Aaron Sorkin
Original Song
*Burlesque X2
Country Strong
The Chronicles of Narnia: The Voyage of the Dawn Treader
Tangled
Original Score
127 Hours- A.R. Rahman
Alice in Wonderland- Danny Elfman
Inception- Hans Zimmer
*The King’s Speech- Alexandre Desplat
The Social Network- Trent Reznor, Atticus Ross
Animated Film
Despicable Me
How to Train Your Dragon
The Illusionist
Tangled
*Toy Story 3
Foreign Language Film
Biutiful (Mexico/Spain)
The Concert (France)
The Edge (Russia)
*I Am Love (Italy)
In a Better World (Denmark)
At a later date, I will write what I feel the nominations should be and which movies should receive acclaim. For now, enjoy!
Picture- Drama
Black Swan
The Fighter
The King’s Speech
Inception
*The Social Network
Picture- Comedy/Musical
Alice in Wonderland
Burlesque
*The Kids Are All Right
RED
The Tourist
Actor in Drama
Jesse Eisenberg- The Social Network
*Colin Firth- The King’s Speech
James Franco- 127 Hours
Ryan Gosling- Blue Valentine
Mark Wahlberg- The Fighter
Actress in Drama
Halle Berry- Frankie and Alice
Nicole Kidman- Rabbit Hole
Jennifer Lawrence- Winter’s Bone
*Natalie Portman- Black Swan
Michelle Williams- Blue Valentine
Actor in Musical/Comedy
Johnny Depp- The Tourist
*Johnny Depp- Alice in Wonderland
Paul Giamatti- Barney’s Version
Jake Gyllenhaal- Love and Other Drugs
Kevin Spacey- Casino Jack
Actress in Musical/Comedy
*Annette Bening- The Kids Are All Right
Anne Hathaway- Love and Other Drugs
Angelina Jolie- The Tourist
Julianne Moore- The Kids Are All Right
Emma Stone- Easy A
Supporting Actor
Christian Bale- The Fighter
Michael Douglas- Wall Street: Money Never Sleeps
*Andrew Garfield- The Social Network
Jeremy Renner- The Town
Geoffrey Rush- The King’s Speech
Supporting Actress
Amy Adams- The Fighter
*Helena Bonham Carter- The King’s Speech
Mila Kunis- Black Swan
Melissa Leo- The Fighter
Jacki Weaver- Animal Kingdom
Director
Darren Aronofsky- Black Swan
*David Fincher- The Social Network
Tom Hooper- The King’s Speech
Christopher Nolan- Inception
David O. Russell- The Fighter
Screenplay
127 Hours- Danny Boyle, Simon Beaufoy
Inception- Christopher Nolan
The Kids Are All Right- Stuart Blumberg, Lisa Cholodenko
The King’s Speech- David Seidler
*The Social Network- Aaron Sorkin
Original Song
*Burlesque X2
Country Strong
The Chronicles of Narnia: The Voyage of the Dawn Treader
Tangled
Original Score
127 Hours- A.R. Rahman
Alice in Wonderland- Danny Elfman
Inception- Hans Zimmer
*The King’s Speech- Alexandre Desplat
The Social Network- Trent Reznor, Atticus Ross
Animated Film
Despicable Me
How to Train Your Dragon
The Illusionist
Tangled
*Toy Story 3
Foreign Language Film
Biutiful (Mexico/Spain)
The Concert (France)
The Edge (Russia)
*I Am Love (Italy)
In a Better World (Denmark)
Sunday, November 21, 2010
Morning Glory - ***+ out of ****
We all know the tired, old formula- Someone has to do a bad job with bad people, their romantic life begins to develop as their job does, they have a great opportunity, their job becomes their baby, and they decide to stay with the job and decide that they're in love. Although "Morning Glory" does use this formula, what makes it a step above most everything else is the fact that it is really, really funny and believable. The characters are well-drawn, the director wisely lets them interact, and the actors do a wonderful job of elevating the material. I highly recommend this movie because it is very enjoyable, not because it'll make you re-examine your life. No, it's not deep, but you'll have fun.
Let's start with the plot. Becky (Rachel McAdams) loses her job as a producer of a local early morning TV show and ends up only being hired by Morning Glory. Colleen (Diane Keaton) has been with the show for most of her life and has been through fourteen (I think) producers, so she pays no mind to Becky. Since she has to get the ratings up, Becky decides to hire Mike Pomeroy (Harrison Ford), a grumpy old man who thinks that people watch C-SPAN for fun. Becky begins to sensationalize the news, strapping the funny weatherman, Ernie (Matt Malloy), to a roller coaster, having him skydive, and various other things. Colleen and Mike hate each other, and Becky begins as their babysitter when neither will go to the other anchor's dressing room to talk. Oh, and Becky begins a romance with Adam (Patrick Wilson).
You can see where the story is going, so I'll just stop. I am tempted to mention some of the many funny parts to the story, but for the sake of not being an alternative to www.themoviespoiler.com, I will refrain. The thing about all of this is that not a single character becomes old or annoying. I was most impressed with Rachel McAdams and how her Becky was written. The character is on the borderline of a psychotic obsession with her work, but the way it's done is actually endearing. She talks too much and occasionally reveals too much about herself when she gets nervous. She feels like the sweet girl you knew in college who was always running somewhere to put her fingers in a dam on one end of campus. She isn't incompetent with relationships but rather has problems juggling both the romance and her work. She truly, honestly loves her work. After reading this over, I didn't make a convincing argument that her character is not a cliche, so I will just say that she has some lovely freakout scenes as well as a great first roundtable meeting.
Then we have the supporting cast. Diane Keaton's Colleen is self-centered, egotistical, and above everyone else. Harrison Ford's Mike is also self-centered, egotistical, and above everyone else. Neither of these characters feel like the other, so when they meet, argue, and bitch about who gets to say 'goodbye' last, you can tell that these personalities are too big for the studio. They're both dead-on and irresistibly vulgar. You wouldn't want to meet either (or perhaps you have in the past), but you understand where either is coming from. Sure, Mike ends up making the biggest change by the end, but it's very believable. Colleen changes what she does but not how she does it. We wouldn't have followed if either character did a 180 at the end, and their abrasiveness is what we look forward to the most.
I will say that the sets were very impressive. Actually, all the technical elements were well in-place. I liked the costumes because they were never distracting, the cinematography because it showed some interesting scenes, and the sets because they made the space look like a real Manhattan backstage. They're dirty, cramped, and not even decent to live in. To make it down the hallway where the food table is, everyone has to dodge each other, and that's what those spaces are really like. Major points for realism.
Perhaps I wanted Mike and Colleen to try to destroy one another more, but that's because I saw a rare opportunity with both characters. You don't come across well-written characters in a situation like they're in that often, so I would have loved to see more of their hostility and passive-aggressiveness. Of course, this runs the risk of turning a good story into something of an "Anchorman" imitator when it isn't appropriate.
I actually bought the romance. Of course, in movies like these, there always comes a time when the lead manages to screw up the relationship with their obsession with their job or the other demands that they change, but this one never quite reaches that point. There's only one brief scene where it seems like it's reached that climactic argument, but it's actually understated. The central focus is Morning Glory, and it was right of the movie to stick with that.
Sure, "Morning Glory" is pure formula, but this has something special about it. I highly doubt that you'll be moved at all, but it is heartwarming. In the end, you may not quite jump for joy, but you'll probably be glad that you spent your last two hours with this Rachel McAdams.
Rated PG-13 for some sexual content including dialogue, language, and brief drug references.
Check your local theater for showtimes.
Let's start with the plot. Becky (Rachel McAdams) loses her job as a producer of a local early morning TV show and ends up only being hired by Morning Glory. Colleen (Diane Keaton) has been with the show for most of her life and has been through fourteen (I think) producers, so she pays no mind to Becky. Since she has to get the ratings up, Becky decides to hire Mike Pomeroy (Harrison Ford), a grumpy old man who thinks that people watch C-SPAN for fun. Becky begins to sensationalize the news, strapping the funny weatherman, Ernie (Matt Malloy), to a roller coaster, having him skydive, and various other things. Colleen and Mike hate each other, and Becky begins as their babysitter when neither will go to the other anchor's dressing room to talk. Oh, and Becky begins a romance with Adam (Patrick Wilson).
You can see where the story is going, so I'll just stop. I am tempted to mention some of the many funny parts to the story, but for the sake of not being an alternative to www.themoviespoiler.com, I will refrain. The thing about all of this is that not a single character becomes old or annoying. I was most impressed with Rachel McAdams and how her Becky was written. The character is on the borderline of a psychotic obsession with her work, but the way it's done is actually endearing. She talks too much and occasionally reveals too much about herself when she gets nervous. She feels like the sweet girl you knew in college who was always running somewhere to put her fingers in a dam on one end of campus. She isn't incompetent with relationships but rather has problems juggling both the romance and her work. She truly, honestly loves her work. After reading this over, I didn't make a convincing argument that her character is not a cliche, so I will just say that she has some lovely freakout scenes as well as a great first roundtable meeting.
Then we have the supporting cast. Diane Keaton's Colleen is self-centered, egotistical, and above everyone else. Harrison Ford's Mike is also self-centered, egotistical, and above everyone else. Neither of these characters feel like the other, so when they meet, argue, and bitch about who gets to say 'goodbye' last, you can tell that these personalities are too big for the studio. They're both dead-on and irresistibly vulgar. You wouldn't want to meet either (or perhaps you have in the past), but you understand where either is coming from. Sure, Mike ends up making the biggest change by the end, but it's very believable. Colleen changes what she does but not how she does it. We wouldn't have followed if either character did a 180 at the end, and their abrasiveness is what we look forward to the most.
I will say that the sets were very impressive. Actually, all the technical elements were well in-place. I liked the costumes because they were never distracting, the cinematography because it showed some interesting scenes, and the sets because they made the space look like a real Manhattan backstage. They're dirty, cramped, and not even decent to live in. To make it down the hallway where the food table is, everyone has to dodge each other, and that's what those spaces are really like. Major points for realism.
Perhaps I wanted Mike and Colleen to try to destroy one another more, but that's because I saw a rare opportunity with both characters. You don't come across well-written characters in a situation like they're in that often, so I would have loved to see more of their hostility and passive-aggressiveness. Of course, this runs the risk of turning a good story into something of an "Anchorman" imitator when it isn't appropriate.
I actually bought the romance. Of course, in movies like these, there always comes a time when the lead manages to screw up the relationship with their obsession with their job or the other demands that they change, but this one never quite reaches that point. There's only one brief scene where it seems like it's reached that climactic argument, but it's actually understated. The central focus is Morning Glory, and it was right of the movie to stick with that.
Sure, "Morning Glory" is pure formula, but this has something special about it. I highly doubt that you'll be moved at all, but it is heartwarming. In the end, you may not quite jump for joy, but you'll probably be glad that you spent your last two hours with this Rachel McAdams.
Rated PG-13 for some sexual content including dialogue, language, and brief drug references.
Check your local theater for showtimes.
Tuesday, November 2, 2010
Paranormal Activity 2 - ** out of ****
I guess you can't blame the first "Paranormal Activity" for it, but the bar was set too high for this mediocre pre-sequel. The long moments of unbearable suspense in the first movie are instead replaced by boredom when the audience seems to be more occupied with trying to guess the second when the next jolt will happen than getting to know the characters or understand exactly why this poor family is being traumatized by a demon. It's explained fairly well, and this becomes a nice tie-in to the first movie, but it's just not that scary.
The family this time is named Rey. Ali is the smart teenage daughter, Kristi is the mother, Dan is the skeptical father, and Hunter is the newborn boy being brought home right at the beginning. With the addition of the German Shepherd, Abby, everything is complete except to explain that Katie from the first movie is the sister of Kristi. After Hunter's arrival, the next footage is of a trashed house where the Reys take the video camera around to document where exactly everything was placed. Nothing was stolen, and Hunter's room is completely undisturbed. Unfortunately, this is where the eeriness capitalizes for the majority of the movie.
There is no speculation in our minds as to what is causing the doors to open and shut on their own, what's rattling the pots and pans, or what's been calling names and screaming. The first movie dealt with all that speculation. Instead of a possible secondary explanation, we get the women, Hispanic maid, dog, and baby who believe that something is happening, and the father who does not. As you may recognize, the events escalate until there is no possible explanation but for there to be a super-evil demon after the family.
I tend to grow weary of movies that just kind of prod along until it becomes time for them to present an original idea. Perhaps it's the motif of houses in general that grows thin. Think about the possibilities of a sequel being set in a dorm building/a hospital/an apartment complex/the workplace. You wouldn't have the problem of hearing the annoying questions from people in the theater about whether or not the characters have watched all of the footage of all of the rooms (there are six cameras total) prior to the next thing happening.
It may not be great or even that good, but it's still a better idea than "Saw 3D." If one more person asks me if I want to see it, and I have to respond that I wouldn't see a "Saw" movie in 2D...
Rated R for language and brief violent material.
Check your local theater for showtimes.
The family this time is named Rey. Ali is the smart teenage daughter, Kristi is the mother, Dan is the skeptical father, and Hunter is the newborn boy being brought home right at the beginning. With the addition of the German Shepherd, Abby, everything is complete except to explain that Katie from the first movie is the sister of Kristi. After Hunter's arrival, the next footage is of a trashed house where the Reys take the video camera around to document where exactly everything was placed. Nothing was stolen, and Hunter's room is completely undisturbed. Unfortunately, this is where the eeriness capitalizes for the majority of the movie.
There is no speculation in our minds as to what is causing the doors to open and shut on their own, what's rattling the pots and pans, or what's been calling names and screaming. The first movie dealt with all that speculation. Instead of a possible secondary explanation, we get the women, Hispanic maid, dog, and baby who believe that something is happening, and the father who does not. As you may recognize, the events escalate until there is no possible explanation but for there to be a super-evil demon after the family.
I tend to grow weary of movies that just kind of prod along until it becomes time for them to present an original idea. Perhaps it's the motif of houses in general that grows thin. Think about the possibilities of a sequel being set in a dorm building/a hospital/an apartment complex/the workplace. You wouldn't have the problem of hearing the annoying questions from people in the theater about whether or not the characters have watched all of the footage of all of the rooms (there are six cameras total) prior to the next thing happening.
It may not be great or even that good, but it's still a better idea than "Saw 3D." If one more person asks me if I want to see it, and I have to respond that I wouldn't see a "Saw" movie in 2D...
Rated R for language and brief violent material.
Check your local theater for showtimes.
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