Seven seems to be the magic number:
"I could introduce you to Dobby, if you're interested."
"Expelliarmus, baby. You can't resist Severus Snape."
"On the Marauder's Map, I have a really big... icon."
"Here, sample my stash of -- oh wait, that's gillyweed."
"Accio seduction music!"
"Ooh, the Head Girl of Hufflepuff. You must be good at [censored]."
"So tell me... is there a Mr. McGonagall?"
Variations and contributions are welcome. Try not to get too dirty.
Showing posts with label lists. Show all posts
Showing posts with label lists. Show all posts
Monday, January 26, 2009
Wednesday, December 31, 2008
Children of the popcorn
With general scheduling/interest/economy issues, any free time was a little harder to come by in 2008, as you can tell from my movie viewing habits. (Compare to last year, when I saw 56 films ahead of time. This year I could create an equally sizable section for advanced screenings that I skipped or lacked time to see.)
Free advanced screenings (18): Welcome Home Roscoe Jenkins, The Other Boleyn Girl, Forgetting Sarah Marshall, 88 Minutes, Baby Mama, Harold & Kumar Escape from Guantanamo Bay, Deal, Iron Man, Young@Heart, Son of Rambow, Wanted, Space Chimps, Pineapple Express, Tropic Thunder, Zack and Miri Make a Porno, Valkyrie, Slumdog Millionaire, Revolutionary Road
Saw in theater upon release (15): 21, Sex and the City, Indiana Jones and the Kingdom of the Crystal Skull, Wall-E, The X-Files: I Want to Believe, The Dark Knight, Vicky Cristina Barcelona, W., Get Smart, Australia, Quantum of Solace, The Curious Case of Benjamin Button, The Wrestler, Frost/Nixon, Milk
Waited until DVD/Cable (32): 27 Dresses, Untraceable, Rambo, Jumper, My Blueberry Nights, Cassandra's Dream, Vantage Point, Fool's Gold, In Bruges, The Spiderwick Chronicles, Charlie Bartlett, Be Kind Rewind, Miss Pettigrew Lives for a Day, Semi-Pro, The Bank Job, College Road Trip, Tyler Perry's Meet the Browns, Smart People, Leatherheads, Speed Racer, Mad Money, Hancock, Kung Fu Panda, First Sunday, Mamma Mia!, The Incredible Hulk, The Longshots, Dear Zachary: A Letter to a Son About His Father, Burn After Reading, Righteous Kill, The Visitor, Nick and Norah's Infinite Playlist
I haven't yet succumbed to paying for Movies on Demand from my cable provider, but by December I could not ignore the ubiquity of Redbox. The local library system is still my (free) DVD source of choice, but those $1 nightly rentals filled in a few blanks.
And now my annual list of irreverent superlatives.
Best Example of My Alienation from Younger Audiences
I don't think I saw a violent, allegedly edgy film this year that was geared toward physical and mental teenagers. Must have been one of the screenings I skipped.* So I'll say Jumper, which was neither bloody nor nihilistic, but was nonetheless incredibly stupid. Those who were suspicious of Hayden Christensen from the Star Wars series may confirm their doubts confirmed here; he's very wooden and shows neither range nor appeal. There's an elaborate mythology and franchise potential -- both are ultimately squandered, but I wonder if a good film could have been made at all. Another poor paycheck choice by Samuel L. Jackson.
*Edited to add: Oh wait. Totally forgot about Wanted. Both violent and allegedly edgy. Maybe the first poor paycheck choice for Morgan Freeman.
Style Over Substance Award
The easy answer is Speed Racer. Despite its likely massive FX budget, the most interesting visual element was putting the four eyes of Christina Ricci and Susan Sarandon in the same movie. Wasn't all bad, though: it didn't pretend to be about anything, and has a select group of understanding fans.
Substance Over Style Award
I don't think I saw a film this year that was otherwise strong but felt underproduced, like it could have have benefited from a bigger budget. In Bruges, Young@Heart, and Son of Rambow look as they should in their respective charming ways. I do think that Be Kind Rewind tried a little too hard to look authentically cheap, so there you go.
Best Eye Candy, Female
Vicky Cristina Barcelona is all about the eye candy, with its cast and sumptuous setting; who knew Woody Allen had such an affinity for the pretty? Fans of Scarlett Johansson and Penélope Cruz won't be disappointed, but my preferences and fond memories of the film gravitate toward Rebecca Hall (previously mentioned here). She was stunning to watch, in both senses of that word, as the sensible girl who can't help but be drawn in to that tangled web of multiparty relationship drama.
Best Eye Candy, Male
I never understood the cult of Colin Farrell, but I'll mention him here because his work in Cassandra's Dream and In Bruges finally makes the hype worthwhile. He can be an appealing leading man when he plays troubled, vulnerable, and moral characters -- like a next-gen Mel Gibson, back when we liked Mel Gibson. I don't know if he'll find that in mainstream movies, but as long as he picks projects that stretch his acting muscles, I'll remain interested.
Strangest Credit
"Directed by Fred Durst." From The Longshots, which was fine.
Unfortunate Trend of the Year
Studios are crazier than ever about developing, expanding, or reviving film franchises. On its face, nothing is wrong with that, but a lamentable by-product has emerged: the unnecessary film. Familiar (if not beloved) characters get dusted off and returned to the marketplace with stories that never needed to be told. What's worse is that the approach has succeeded: The Incredible Hulk, Indiana Jones 4, and Sex and the City all did well in the box office, inviting talk of even more unnecessary continuations. Not faring as well were second installments of The X-Files and Harold & Kumar, and a fourth Rambo.
Not all these films are bad -- I enjoyed some elements of Hulk, and I think history will treat The X-Files more kindly -- but they did not exist out of any need to satisfy audience demand. You can even see something similar among Oscar contenders, where Frost/Nixon re-enacts a recorded time in history, Doubt tries to expand a good stage idea beyond the stage, and Milk gives dramatic treatment to a subject covered definitively in a documentary.
Love Story of the Year
WALL-E by a mile. Either watch it or take my word for it. The film is flawed in some other respects -- it's probably the 4th best Pixar creation, by my estimation -- but the central relationship is pitch perfect, requiring neither analysis nor further commentary.
Buddy Comedy of the Year
This one's also easy: Miss Pettigrew Lives for a Day. (There's no rule stating a buddy comedy has to be about guys.) Strange that a period film has such a "you go, girl" attitude, but you buy into it quickly with such nimble comedic performances from Frances McDormand and Amy Adams. The latter seems to be channeling (mocking?) Nicole Kidman in her Moulin Rouge! days, and opposite Lee Pace's own variation of Ewan McGregor, the similarities are amusing. Strong supporting turns from Shirley Henderson and Ciarán Hinds and an effective prewar European backdrop make it quite an experience.
Honorary Brevity Award
A lot of press was devoted to comeback king Robert Downey, Jr. and his remarkable year of output: Iron Man, a cameo in The Incredible Hulk, Tropic Thunder, and delayed Oscar bait The Soloist. He's worthy, especially given his checkered past, but I find it odd that people leave out a movie that was released in February 2008: Charlie Bartlett. It's listed in the IMDb as a 2007 film -- another delay, I'd imagine -- but it deserves to be mentioned among the actor's recent accomplishments. Because it was among the more enjoyable films I saw this year, and it clocks in at a speedy 97 minutes, I'm giving it some much needed attention now.
Downey plays a supporting role here; he's the well-meaning but flawed principal of a high school that's been taken over by the title character (Anton Yelchin), a clique-defying intelligent rebel. I understand the Ferris Bueller comparisons in retrospect, but this movie is less of a broad comedy and more of an indie curiosity with some mild mainstream aspirations. It's offbeat, well written, and ultimately the kind of film you're glad wasn't all that popular.
I recommend it as a pleasant DVD discovery: if you have the means, watch it as a double feature with 1999's Mumford. Go in chronological order. Both tackle similar themes, and both feature the always welcome actress Hope Davis.
(For those curious, 88 Minutes was both an awful movie and a misnomer. It was 108 minutes.)
Free advanced screenings (18): Welcome Home Roscoe Jenkins, The Other Boleyn Girl, Forgetting Sarah Marshall, 88 Minutes, Baby Mama, Harold & Kumar Escape from Guantanamo Bay, Deal, Iron Man, Young@Heart, Son of Rambow, Wanted, Space Chimps, Pineapple Express, Tropic Thunder, Zack and Miri Make a Porno, Valkyrie, Slumdog Millionaire, Revolutionary Road
Saw in theater upon release (15): 21, Sex and the City, Indiana Jones and the Kingdom of the Crystal Skull, Wall-E, The X-Files: I Want to Believe, The Dark Knight, Vicky Cristina Barcelona, W., Get Smart, Australia, Quantum of Solace, The Curious Case of Benjamin Button, The Wrestler, Frost/Nixon, Milk
Waited until DVD/Cable (32): 27 Dresses, Untraceable, Rambo, Jumper, My Blueberry Nights, Cassandra's Dream, Vantage Point, Fool's Gold, In Bruges, The Spiderwick Chronicles, Charlie Bartlett, Be Kind Rewind, Miss Pettigrew Lives for a Day, Semi-Pro, The Bank Job, College Road Trip, Tyler Perry's Meet the Browns, Smart People, Leatherheads, Speed Racer, Mad Money, Hancock, Kung Fu Panda, First Sunday, Mamma Mia!, The Incredible Hulk, The Longshots, Dear Zachary: A Letter to a Son About His Father, Burn After Reading, Righteous Kill, The Visitor, Nick and Norah's Infinite Playlist
I haven't yet succumbed to paying for Movies on Demand from my cable provider, but by December I could not ignore the ubiquity of Redbox. The local library system is still my (free) DVD source of choice, but those $1 nightly rentals filled in a few blanks.
And now my annual list of irreverent superlatives.
Best Example of My Alienation from Younger Audiences
I don't think I saw a violent, allegedly edgy film this year that was geared toward physical and mental teenagers. Must have been one of the screenings I skipped.* So I'll say Jumper, which was neither bloody nor nihilistic, but was nonetheless incredibly stupid. Those who were suspicious of Hayden Christensen from the Star Wars series may confirm their doubts confirmed here; he's very wooden and shows neither range nor appeal. There's an elaborate mythology and franchise potential -- both are ultimately squandered, but I wonder if a good film could have been made at all. Another poor paycheck choice by Samuel L. Jackson.
*Edited to add: Oh wait. Totally forgot about Wanted. Both violent and allegedly edgy. Maybe the first poor paycheck choice for Morgan Freeman.
Style Over Substance Award
The easy answer is Speed Racer. Despite its likely massive FX budget, the most interesting visual element was putting the four eyes of Christina Ricci and Susan Sarandon in the same movie. Wasn't all bad, though: it didn't pretend to be about anything, and has a select group of understanding fans.
Substance Over Style Award
I don't think I saw a film this year that was otherwise strong but felt underproduced, like it could have have benefited from a bigger budget. In Bruges, Young@Heart, and Son of Rambow look as they should in their respective charming ways. I do think that Be Kind Rewind tried a little too hard to look authentically cheap, so there you go.
Best Eye Candy, Female
Vicky Cristina Barcelona is all about the eye candy, with its cast and sumptuous setting; who knew Woody Allen had such an affinity for the pretty? Fans of Scarlett Johansson and Penélope Cruz won't be disappointed, but my preferences and fond memories of the film gravitate toward Rebecca Hall (previously mentioned here). She was stunning to watch, in both senses of that word, as the sensible girl who can't help but be drawn in to that tangled web of multiparty relationship drama.
Best Eye Candy, Male
I never understood the cult of Colin Farrell, but I'll mention him here because his work in Cassandra's Dream and In Bruges finally makes the hype worthwhile. He can be an appealing leading man when he plays troubled, vulnerable, and moral characters -- like a next-gen Mel Gibson, back when we liked Mel Gibson. I don't know if he'll find that in mainstream movies, but as long as he picks projects that stretch his acting muscles, I'll remain interested.
Strangest Credit
"Directed by Fred Durst." From The Longshots, which was fine.
Unfortunate Trend of the Year
Studios are crazier than ever about developing, expanding, or reviving film franchises. On its face, nothing is wrong with that, but a lamentable by-product has emerged: the unnecessary film. Familiar (if not beloved) characters get dusted off and returned to the marketplace with stories that never needed to be told. What's worse is that the approach has succeeded: The Incredible Hulk, Indiana Jones 4, and Sex and the City all did well in the box office, inviting talk of even more unnecessary continuations. Not faring as well were second installments of The X-Files and Harold & Kumar, and a fourth Rambo.
Not all these films are bad -- I enjoyed some elements of Hulk, and I think history will treat The X-Files more kindly -- but they did not exist out of any need to satisfy audience demand. You can even see something similar among Oscar contenders, where Frost/Nixon re-enacts a recorded time in history, Doubt tries to expand a good stage idea beyond the stage, and Milk gives dramatic treatment to a subject covered definitively in a documentary.
Love Story of the Year
WALL-E by a mile. Either watch it or take my word for it. The film is flawed in some other respects -- it's probably the 4th best Pixar creation, by my estimation -- but the central relationship is pitch perfect, requiring neither analysis nor further commentary.
Buddy Comedy of the Year
This one's also easy: Miss Pettigrew Lives for a Day. (There's no rule stating a buddy comedy has to be about guys.) Strange that a period film has such a "you go, girl" attitude, but you buy into it quickly with such nimble comedic performances from Frances McDormand and Amy Adams. The latter seems to be channeling (mocking?) Nicole Kidman in her Moulin Rouge! days, and opposite Lee Pace's own variation of Ewan McGregor, the similarities are amusing. Strong supporting turns from Shirley Henderson and Ciarán Hinds and an effective prewar European backdrop make it quite an experience.
Honorary Brevity Award
A lot of press was devoted to comeback king Robert Downey, Jr. and his remarkable year of output: Iron Man, a cameo in The Incredible Hulk, Tropic Thunder, and delayed Oscar bait The Soloist. He's worthy, especially given his checkered past, but I find it odd that people leave out a movie that was released in February 2008: Charlie Bartlett. It's listed in the IMDb as a 2007 film -- another delay, I'd imagine -- but it deserves to be mentioned among the actor's recent accomplishments. Because it was among the more enjoyable films I saw this year, and it clocks in at a speedy 97 minutes, I'm giving it some much needed attention now.
Downey plays a supporting role here; he's the well-meaning but flawed principal of a high school that's been taken over by the title character (Anton Yelchin), a clique-defying intelligent rebel. I understand the Ferris Bueller comparisons in retrospect, but this movie is less of a broad comedy and more of an indie curiosity with some mild mainstream aspirations. It's offbeat, well written, and ultimately the kind of film you're glad wasn't all that popular.I recommend it as a pleasant DVD discovery: if you have the means, watch it as a double feature with 1999's Mumford. Go in chronological order. Both tackle similar themes, and both feature the always welcome actress Hope Davis.
(For those curious, 88 Minutes was both an awful movie and a misnomer. It was 108 minutes.)
Monday, December 29, 2008
The "Angel" alumni association
Over the years I've mostly ignored Joss Whedon TV shows: Buffy the Vampire Slayer, Angel, Firefly. Probably my fault more than his, and maybe I'll come around. As it happens, former cast members of Angel have infiltrated the current TV landscape, and I can't help but notice. Part of Whedon's grand design? My favorite shows of 2008 seem to support that conclusion. (Descriptions of Angel characters below are woefully inadequate, but hey, I never watched the show.)
1. Dexter (Showtime). We start with Julie Benz, who played some centuries-old vampiress named Darla. She graduated to something more conventional: the initially chaste, then emotionally available girlfriend of Michael C. Hall's differently-wired title character. While this choice seems like a bit of a cheat -- I saw all three seasons of the show this year -- the 3rd season alone puts this at the top of the list. Shocking and darkly hilarious.
2. Chuck (NBC). Adam Baldwin appeared at the very end of Angel. Then he did Firefly, a few episodes of which I've seen. He plays a similar form of hard-nosed soldier in Chuck, a show that's remained ever so nimble in its second season, even as the plots dig a little deeper beyond the quirky premise. It's the most consistently funny show on network TV.
3. Mad Men (AMC). Back then Vincent Kartheiser was Connor, son of Angel. Now he's Pete Campbell, slowly developing a soul as he eyes advancement in the advertising world. I've grown to accept him as a counterpoint to the almost-too-fascinating Don Draper (Jon Hamm). Critics say this second season has been all about the women, but I disagree. (The rapturous Christina Hendricks is a notable exception, anchoring tiny but heartbreaking subplots.)
4. Leverage (TNT). I don't know where Christian Kane's role of Lindsey McDonald fit in the Whedonverse, but I find him mildly amusing -- long hair and all -- in this new revenge caper show that's more like The A-Team than Ocean's Eleven. Socially responsible, yet light and breezy. Timothy Hutton may be the biggest name of the bunch, but Beth Riesgraf is the breakout. Interesting that Jason Lee's baby mama chose a show with a similar karmic angle.
5. Bones (FOX). Finally we have Angel himself, David Boreanaz. For years I mocked him for trying to pass himself off as young, when he's older than dirt. But he's settled into a nice vibe on this show, as part of a cast that went from good to great when Dr. Sweets (John Francis Daley) became a regular. Last season was crackerjack fun, and this season has delivered more of the same.
The best of the rest: Supernatural finally gave each lead a purpose and a grand mythology; we'll see where it takes us, but this is the one TV show most ready for a big screen treatment. Psych remains the medium's best buddy comedy, and (unlike many other good shows) has great taste in women. The Big Bang Theory is a mediocre offering with one fantastic performance by Jim Parsons, who's more critical to his show than Hugh Laurie is to House. Speaking of which, House has bounced back nicely from its annual serious event, and the semi-regular PI is the best non-doctor character yet. Finally, Pushing Daisies kicked off season 2 by expanding Kristen Chenoweth's role, a risky but wise creative decision. If only people were watching.
1. Dexter (Showtime). We start with Julie Benz, who played some centuries-old vampiress named Darla. She graduated to something more conventional: the initially chaste, then emotionally available girlfriend of Michael C. Hall's differently-wired title character. While this choice seems like a bit of a cheat -- I saw all three seasons of the show this year -- the 3rd season alone puts this at the top of the list. Shocking and darkly hilarious.
2. Chuck (NBC). Adam Baldwin appeared at the very end of Angel. Then he did Firefly, a few episodes of which I've seen. He plays a similar form of hard-nosed soldier in Chuck, a show that's remained ever so nimble in its second season, even as the plots dig a little deeper beyond the quirky premise. It's the most consistently funny show on network TV.
3. Mad Men (AMC). Back then Vincent Kartheiser was Connor, son of Angel. Now he's Pete Campbell, slowly developing a soul as he eyes advancement in the advertising world. I've grown to accept him as a counterpoint to the almost-too-fascinating Don Draper (Jon Hamm). Critics say this second season has been all about the women, but I disagree. (The rapturous Christina Hendricks is a notable exception, anchoring tiny but heartbreaking subplots.)
4. Leverage (TNT). I don't know where Christian Kane's role of Lindsey McDonald fit in the Whedonverse, but I find him mildly amusing -- long hair and all -- in this new revenge caper show that's more like The A-Team than Ocean's Eleven. Socially responsible, yet light and breezy. Timothy Hutton may be the biggest name of the bunch, but Beth Riesgraf is the breakout. Interesting that Jason Lee's baby mama chose a show with a similar karmic angle.
5. Bones (FOX). Finally we have Angel himself, David Boreanaz. For years I mocked him for trying to pass himself off as young, when he's older than dirt. But he's settled into a nice vibe on this show, as part of a cast that went from good to great when Dr. Sweets (John Francis Daley) became a regular. Last season was crackerjack fun, and this season has delivered more of the same.The best of the rest: Supernatural finally gave each lead a purpose and a grand mythology; we'll see where it takes us, but this is the one TV show most ready for a big screen treatment. Psych remains the medium's best buddy comedy, and (unlike many other good shows) has great taste in women. The Big Bang Theory is a mediocre offering with one fantastic performance by Jim Parsons, who's more critical to his show than Hugh Laurie is to House. Speaking of which, House has bounced back nicely from its annual serious event, and the semi-regular PI is the best non-doctor character yet. Finally, Pushing Daisies kicked off season 2 by expanding Kristen Chenoweth's role, a risky but wise creative decision. If only people were watching.
Friday, February 22, 2008
Oscar's most likely (2008)
The Academy Awards have 21 categories for feature-length films. Last year I ranked the frontrunners of these categories by how likely they were to win. I've decided to do the same this year. (All frontrunners determined by Entertainment Weekly.)
For the record, I saw 4 of the 5 Best Picture nominees, missing out on There Will Be Blood. As always, I attempt to be objective.
Update: with the ceremony over, how did the frontrunners do?
1. Best Supporting Actor: Javier Bardem, No Country for Old Men
WINNER!
He's not quite the shoo-in that Helen Mirren was last year, but he's close. He's never won before, he embodied a very memorable villain, and his film is nominated for Best Picture. Of the others, I think Tom Wilkinson has the best (slim) chance to upset.
2. Best Makeup: La Vie En Rose
WINNER!
Against Norbit and Pirates 3, this win should be in the bag. (Purse?)
3. Best Original Score: Dario Marianelli, Atonement
WINNER!
Using a typewriter as percussion might be considered a gimmick, but it's a good gimmick. And there's no competition from No Country for Old Men and There Will Be Blood. But there's an outside shot for Michael Giacchino's characteristically upbeat Ratatouille score.
4. Best Actor: Daniel Day-Lewis, There Will Be Blood
WINNER!
First, can I say how fantastic this lineup is? Expected (and deserving) nominations for George Clooney and Johnny Depp, but then the Academy goes out on a limb for Tommy Lee Jones and Viggo Mortensen. Apologies to Josh Brolin and James McAvoy, but you could not pick a better shortlist. As for the win, Clooney is very popular, but even he concedes.
5. Best Visual Effects: Transformers
LOSER! The Oscar goes to... The Golden Compass.
A bit less than meets the eye, at least to me, but Pirates won last year, and The Golden Compass (whose less bombastic effects I preferred) isn't as well-received.
6. Best Director: Ethan Coen & Joel Coen, No Country for Old Men
WINNER!
Another year with no women, but at least the ampersand strikes back. I think the Academy recognizes that this is their year. They're up against 4 first-time nominees. Paul Thomas Anderson might upset, but only if his film did as well. Read on.
7. Best Picture: No Country for Old Men
WINNER!
People are saying this is a wide-open race like last year, but I'm not buying it. While it's certainly not a lock, it combines elements of tradition and edginess that could constitute a Best Picture. Atonement, in my opinion, is the superior technical achievement, but is a hard film to love. Juno has made twice as much bank, and people seem to like it, but its win was just being nominated. Michael Clayton markets itself as the spiritual heir of 1970s ethical dramas, but those films never won Best Picture either. There Will Be Blood stands the best chance to upset, I guess, but I think voters will opt for the more ensemble-oriented movie.
8. Best Film Editing: No Country for Old Men
LOSER! The Oscar goes to... The Bourne Ultimatum.
The Coen brothers contend in four categories, and are unlikely to win all four. I do think they have a good chance to win three, though. And I think they will probably win for editing instead of writing their film. The editors guild gave their top award to The Bourne Ultimatum, though.
9. Best Art Direction: Sweeney Todd
WINNER!
Oh, that bleakly awesome gray-ashy London. So very Tim Burton, and also perhaps the most Dickensian set ever. Bonus points for the hilarious beach and picnic scenes. Viewers differ on the aural experience, but visually it was great. Atonement can spoil, maybe.
10. Best Original Screenplay: Diablo Cody, Juno
WINNER!
Liked the movie, liked the script, like the cute ex-stripper. But my tastes are not always shared with others, so I have some reservation about the widely held assumption that it will win. Truth be told, I would rather see Ratatouille win here, and it might, though Michael Clayton (which, aside from the Tom Wilkinson character, is a bit underwritten) is better positioned.
11. Best Foreign Language Film: The Counterfeiters
WINNER!
With Persepolis surprisingly omitted, there's not a lot of hype about the films in this category. I'm told this is the favorite, and don't know enough to say otherwise.
12. Best Animated Feature: Ratatouille
WINNER!
With Persepolis surprisingly omitted in the Foreign Language category, it could upset here, but I think most people recognize that Ratatouille is a sumptuous piece of animation.
13. Best Original Song: "Falling Slowly," Once
WINNER!
Still haven't seen this movie, but people who have really, really like it. Normally I would say that an Enchanted song (specifically "That's How You Know") would win, but there are three such nominees. So score for the Euro-unknowns.
14. Best Actress: Julie Christie, Away from Her
LOSER! The Oscar goes to... Marion Cotillard.
I'd rank her higher, but there's so much buzz about Marion Cotillard and Ellen Page nipping at her heels that I can't ignore. As I said, I like Juno, but I really don't think Page is going to win this award. I've read a lot of criticism about Cotillard's louder-is-better approach, so I'm skeptical, and it is a performance in French. But the Academy is more international than ever...
15. Best Costume Design: Sweeney Todd
LOSER! The Oscar goes to... Elizabeth: The Golden Age.
Like Art Direction (above), I consider this a contest between Sweeney Todd and Atonement. This time, though, I think Atonement has the advantage. Everyone knows about the green dress, but all the outfits were quite impressive.
16. Best Cinematography: Robert Elswit, There Will Be Blood
WINNER!
The Assassination of Jesse James by the Coward Robert Ford was widely perceived as the most beautifully filmed release of 2007, and I think Roger Deakins will win, even though he's also nominated for No Country for Old Men.
17. Best Documentary Feature: No End in Sight
LOSER! The Oscar goes to... Taxi to the Dark Side.
It's hard to ignore the well-regarded doc on Bush's war on terror, but there's some political overlap among three of the other nominees, including Michael Moore's Sicko. Just a hunch, but look for Taxi to the Dark Side to get the win.
18. Best Adapted Screenplay: Ethan Coen & Joel Coen, No Country for Old Men
WINNER!
If they lose a category, it'll be this one. And yet the upset victor is unclear: will it be a past winner, like Christopher Hampton or Ronald Harwood? Or maybe a younger upstart, like Sarah Polley or Paul Thomas Anderson? Polley would be the surprise of the night, but I'll guess Anderson.
19. Best Sound Editing: Transformers
LOSER! The Oscar goes to... The Bourne Ultimatum.
20. Best Sound Mixing: Transformers
LOSER! The Oscar goes to... The Bourne Ultimatum.
Still don't know the difference. Still no opinion.
21. Best Supporting Actress: Tilda Swinton, Michael Clayton
WINNER!
I feel fairly confident that Saoirse Ronan (Atonement) will not win, but the rest is uncertain. Cate Blanchett and Amy Ryan dominated the precursors, but then Ruby Dee and Tilda Swinton came on strong. I... don't know. I saw American Gangster, and would be ready to hand this to Ruby Dee if she had more than one really good scene. Blanchett's won before. Swinton seems unlikely, unless the Academy is trying to create The Year of the Villain. If I had to guess, I'll say Amy Ryan.
For the record, I saw 4 of the 5 Best Picture nominees, missing out on There Will Be Blood. As always, I attempt to be objective.
Update: with the ceremony over, how did the frontrunners do?
1. Best Supporting Actor: Javier Bardem, No Country for Old Men
WINNER!
He's not quite the shoo-in that Helen Mirren was last year, but he's close. He's never won before, he embodied a very memorable villain, and his film is nominated for Best Picture. Of the others, I think Tom Wilkinson has the best (slim) chance to upset.
2. Best Makeup: La Vie En Rose
WINNER!
Against Norbit and Pirates 3, this win should be in the bag. (Purse?)
3. Best Original Score: Dario Marianelli, Atonement
WINNER!
Using a typewriter as percussion might be considered a gimmick, but it's a good gimmick. And there's no competition from No Country for Old Men and There Will Be Blood. But there's an outside shot for Michael Giacchino's characteristically upbeat Ratatouille score.
4. Best Actor: Daniel Day-Lewis, There Will Be Blood
WINNER!
First, can I say how fantastic this lineup is? Expected (and deserving) nominations for George Clooney and Johnny Depp, but then the Academy goes out on a limb for Tommy Lee Jones and Viggo Mortensen. Apologies to Josh Brolin and James McAvoy, but you could not pick a better shortlist. As for the win, Clooney is very popular, but even he concedes.
5. Best Visual Effects: Transformers
LOSER! The Oscar goes to... The Golden Compass.
A bit less than meets the eye, at least to me, but Pirates won last year, and The Golden Compass (whose less bombastic effects I preferred) isn't as well-received.
6. Best Director: Ethan Coen & Joel Coen, No Country for Old Men
WINNER!
Another year with no women, but at least the ampersand strikes back. I think the Academy recognizes that this is their year. They're up against 4 first-time nominees. Paul Thomas Anderson might upset, but only if his film did as well. Read on.
7. Best Picture: No Country for Old Men
WINNER!
People are saying this is a wide-open race like last year, but I'm not buying it. While it's certainly not a lock, it combines elements of tradition and edginess that could constitute a Best Picture. Atonement, in my opinion, is the superior technical achievement, but is a hard film to love. Juno has made twice as much bank, and people seem to like it, but its win was just being nominated. Michael Clayton markets itself as the spiritual heir of 1970s ethical dramas, but those films never won Best Picture either. There Will Be Blood stands the best chance to upset, I guess, but I think voters will opt for the more ensemble-oriented movie.
8. Best Film Editing: No Country for Old Men
LOSER! The Oscar goes to... The Bourne Ultimatum.
The Coen brothers contend in four categories, and are unlikely to win all four. I do think they have a good chance to win three, though. And I think they will probably win for editing instead of writing their film. The editors guild gave their top award to The Bourne Ultimatum, though.
9. Best Art Direction: Sweeney Todd
WINNER!
Oh, that bleakly awesome gray-ashy London. So very Tim Burton, and also perhaps the most Dickensian set ever. Bonus points for the hilarious beach and picnic scenes. Viewers differ on the aural experience, but visually it was great. Atonement can spoil, maybe.
10. Best Original Screenplay: Diablo Cody, Juno
WINNER!
Liked the movie, liked the script, like the cute ex-stripper. But my tastes are not always shared with others, so I have some reservation about the widely held assumption that it will win. Truth be told, I would rather see Ratatouille win here, and it might, though Michael Clayton (which, aside from the Tom Wilkinson character, is a bit underwritten) is better positioned.
11. Best Foreign Language Film: The Counterfeiters
WINNER!
With Persepolis surprisingly omitted, there's not a lot of hype about the films in this category. I'm told this is the favorite, and don't know enough to say otherwise.
12. Best Animated Feature: Ratatouille
WINNER!
With Persepolis surprisingly omitted in the Foreign Language category, it could upset here, but I think most people recognize that Ratatouille is a sumptuous piece of animation.
13. Best Original Song: "Falling Slowly," Once
WINNER!
Still haven't seen this movie, but people who have really, really like it. Normally I would say that an Enchanted song (specifically "That's How You Know") would win, but there are three such nominees. So score for the Euro-unknowns.
14. Best Actress: Julie Christie, Away from Her
LOSER! The Oscar goes to... Marion Cotillard.
I'd rank her higher, but there's so much buzz about Marion Cotillard and Ellen Page nipping at her heels that I can't ignore. As I said, I like Juno, but I really don't think Page is going to win this award. I've read a lot of criticism about Cotillard's louder-is-better approach, so I'm skeptical, and it is a performance in French. But the Academy is more international than ever...
15. Best Costume Design: Sweeney Todd
LOSER! The Oscar goes to... Elizabeth: The Golden Age.
Like Art Direction (above), I consider this a contest between Sweeney Todd and Atonement. This time, though, I think Atonement has the advantage. Everyone knows about the green dress, but all the outfits were quite impressive.
16. Best Cinematography: Robert Elswit, There Will Be Blood
WINNER!
The Assassination of Jesse James by the Coward Robert Ford was widely perceived as the most beautifully filmed release of 2007, and I think Roger Deakins will win, even though he's also nominated for No Country for Old Men.
17. Best Documentary Feature: No End in Sight
LOSER! The Oscar goes to... Taxi to the Dark Side.
It's hard to ignore the well-regarded doc on Bush's war on terror, but there's some political overlap among three of the other nominees, including Michael Moore's Sicko. Just a hunch, but look for Taxi to the Dark Side to get the win.
18. Best Adapted Screenplay: Ethan Coen & Joel Coen, No Country for Old Men
WINNER!
If they lose a category, it'll be this one. And yet the upset victor is unclear: will it be a past winner, like Christopher Hampton or Ronald Harwood? Or maybe a younger upstart, like Sarah Polley or Paul Thomas Anderson? Polley would be the surprise of the night, but I'll guess Anderson.
19. Best Sound Editing: Transformers
LOSER! The Oscar goes to... The Bourne Ultimatum.
20. Best Sound Mixing: Transformers
LOSER! The Oscar goes to... The Bourne Ultimatum.
Still don't know the difference. Still no opinion.
21. Best Supporting Actress: Tilda Swinton, Michael Clayton
WINNER!
I feel fairly confident that Saoirse Ronan (Atonement) will not win, but the rest is uncertain. Cate Blanchett and Amy Ryan dominated the precursors, but then Ruby Dee and Tilda Swinton came on strong. I... don't know. I saw American Gangster, and would be ready to hand this to Ruby Dee if she had more than one really good scene. Blanchett's won before. Swinton seems unlikely, unless the Academy is trying to create The Year of the Villain. If I had to guess, I'll say Amy Ryan.
Monday, December 31, 2007
Winding down
We here at Brevity are in the process of killing the main reason people come to this site: the Advanced Screenings Guide. Its pages will remain (probably), but our efforts are sliding over to:
You can find it here. When the transfer is complete -- sometime in January, if all goes to plan -- all provider and screening info will be available on a single page tailored to your (major) city.
For the time being, though, you can still use our General Tips page to find local, regional, and national providers of free screenings in a long list of cities. Or check the 17 movies listed in our Specific Offers page, which covers the U.S. and Canada:
27 Dresses
The Bucket List
Cassandra's Dream
Cloverfield
The Diving Bell and the Butterfly
First Sunday
How She Move
Mad Money
The Orphanage
Persepolis
Rambo
The Savages
The Spiderwick Chronicles
Strange Wilderness
There Will Be Blood
Untraceable
Welcome Home Roscoe Jenkins
You can find it here. When the transfer is complete -- sometime in January, if all goes to plan -- all provider and screening info will be available on a single page tailored to your (major) city.For the time being, though, you can still use our General Tips page to find local, regional, and national providers of free screenings in a long list of cities. Or check the 17 movies listed in our Specific Offers page, which covers the U.S. and Canada:
27 Dresses
The Bucket List
Cassandra's Dream
Cloverfield
The Diving Bell and the Butterfly
First Sunday
How She Move
Mad Money
The Orphanage
Persepolis
Rambo
The Savages
The Spiderwick Chronicles
Strange Wilderness
There Will Be Blood
Untraceable
Welcome Home Roscoe Jenkins
Friday, December 28, 2007
Filmy residue
Clearly, the advanced screenings subculture has been more than just a passing phase, as you can tell from my 2007 viewing habits.
Free advanced screenings (56): Freedom Writers, Happily N'Ever After, Code Name: The Cleaner, Thr3e, Stomp the Yard, Smokin' Aces, Catch and Release, Because I Said So, The Astronaut Farmer, Music and Lyrics, Breach, Amazing Grace, Reno 911!: Miami, Black Snake Moan, Wild Hogs, The Ultimate Gift, Shooter, Hairspray, The Last Mimzy, Blades of Glory, Meet the Robinsons, Are We Done Yet?, The Hoax, Knocked Up, Fracture, Hot Fuzz, Next, Year of the Dog, Lucky You, Georgia Rule, Waitress, Evan Almighty, Transformers, Harry Potter and the Order of the Phoenix, I Now Pronounce You Chuck and Larry, Bratz, Hot Rod, Sydney White, The Kingdom, Balls of Fury, The 11th Hour, The Brave One, In the Valley of Elah, Eastern Promises, The Game Plan, Dan in Real Life, August Rush, Enchanted, Beowulf, Juno, The Golden Compass, The Bucket List, Alvin and the Chipmunks, Atonement, Sweeney Todd, Walk Hard: The Dewey Cox Story
Paid or had passes to see in first run theater (9): I Think I Love My Wife, The Namesake, Spider-Man 3, Pirates of the Caribbean: At World's End, Shrek the Third, The Simpsons Movie, The Bourne Ultimatum, American Gangster, No Country for Old Men
Saw on DVD (9): Starter for 10, Gracie, Fantastic Four: Rise of the Silver Surfer, Pride, Incident at Lokhandwala, In the Land of Women, Talk to Me, Ratatouille, The Nanny Diaries
For whatever reason, there were probably another 10-15 movies I had received from the library on DVD, but never watched. It's almost as if I lose interest in a movie if I can't see it before it gets released. Strange.
Rather than play favorites for the year, here are a few select irreverent categories.
Best Example of My Alienation from Younger Audiences
Smokin' Aces is the winner, though I have a feeling Alpha Dog would win if I hadn't walked out of the screening. Both are guilty of inundating us with soulless and violent characters, with nary a point in sight. Fortunately, I think audiences are so desensitized by this by now that they've stopped attending.
The "Watch Your Back, Dakota Fanning" Award
Hmm. What does this award mean now? Is it devoted to precocious children, or intensely dramatic adolescents who act like miniature adults? If the former, then the Apatow/Mann kids in Knocked Up. If the latter, then Saoirse Ronan in Atonement; even Dakota Fanning would ask her to lighten up.
Style Over Substance Award
Hot Fuzz, but I think that was the point.
Substance Over Style Award
Amazing Grace: I can't remember a single scene, but I could tell you quite a bit about what happened and why I felt it mattered.
Best Line Delivery
I'm not a Hilary Swank fan at all, but it's been over 11 months since I saw Freedom Writers, and her very white-bread reading of the somewhat urban line "Were you trippin'?" still cracks me up.
Best Eye Candy, Female (co-winners)
Jenna Fischer, Blades of Glory: Yeah, Pam from TV's The Office. Until I saw her here, I had no idea.
Kerry Washington, I Think I Love My Wife: With her, I already had an idea. Ms. Washington is all kinds of fine to begin with, and her femme fatale in this strange (and not altogether effective) comedy was, well, altogether effective. You know what I mean.
Best Eye Candy, Male
Ryan Gosling, Fracture: I'm guessing? I'm not good at speculating this. But he plays a charming and intelligent lawyer who comes to a court arraignment wearing a tux. That has to count for something.
Poster of the Year
Michael Clayton. That wasn't hard to determine; the image to your right is perhaps one of the 10 finest me movie posters I've ever seen. (I'm curious to hear what Glenn of Stale Popcorn, who's slowly releasing his own top 100 poster list, might say.) The orange, the font, the bold all-caps text, and the face that still looks good with just the right amount of blurring. It worked so well that some thought the title was The Truth Can Be Adjusted. (Maybe it should have been.)
Honorary Brevity Award
This is tricky, because the last two winners are back with new films this year. David Cronenberg (who won in 2005 for A History of Violence) returns to direct the 100-minute Eastern Promises. Meanwhile, Fox Searchlight (2006 winner for Little Miss Sunshine) can boast Juno, which clocks in at 91 minutes.
Both films address the subject of teen pregnancy, but in VERY different ways. At first I was tempted to give the award to Juno, because Eastern Promises is notorious for star Viggo Mortensen's full frontal turn, and I think he'd be upset if I characterized anything about this film as short. But Juno mostly works because it gives us a sample of scenes for each trimester. It does not flow as well as Eastern Promises, though it does have the better ending.
So I'm going to do something that I tend to do, which is be supremely fair and give the award to neither. This year's Brevity Award goes to The Last Mimzy, a vastly underrated family movie that, at 90 minutes, manages to address time travel and all of humankind, present and future. Also, it makes better use of Rainn Wilson than Juno, which gave him a one-scene cameo.
Free advanced screenings (56): Freedom Writers, Happily N'Ever After, Code Name: The Cleaner, Thr3e, Stomp the Yard, Smokin' Aces, Catch and Release, Because I Said So, The Astronaut Farmer, Music and Lyrics, Breach, Amazing Grace, Reno 911!: Miami, Black Snake Moan, Wild Hogs, The Ultimate Gift, Shooter, Hairspray, The Last Mimzy, Blades of Glory, Meet the Robinsons, Are We Done Yet?, The Hoax, Knocked Up, Fracture, Hot Fuzz, Next, Year of the Dog, Lucky You, Georgia Rule, Waitress, Evan Almighty, Transformers, Harry Potter and the Order of the Phoenix, I Now Pronounce You Chuck and Larry, Bratz, Hot Rod, Sydney White, The Kingdom, Balls of Fury, The 11th Hour, The Brave One, In the Valley of Elah, Eastern Promises, The Game Plan, Dan in Real Life, August Rush, Enchanted, Beowulf, Juno, The Golden Compass, The Bucket List, Alvin and the Chipmunks, Atonement, Sweeney Todd, Walk Hard: The Dewey Cox Story
Paid or had passes to see in first run theater (9): I Think I Love My Wife, The Namesake, Spider-Man 3, Pirates of the Caribbean: At World's End, Shrek the Third, The Simpsons Movie, The Bourne Ultimatum, American Gangster, No Country for Old Men
Saw on DVD (9): Starter for 10, Gracie, Fantastic Four: Rise of the Silver Surfer, Pride, Incident at Lokhandwala, In the Land of Women, Talk to Me, Ratatouille, The Nanny Diaries
For whatever reason, there were probably another 10-15 movies I had received from the library on DVD, but never watched. It's almost as if I lose interest in a movie if I can't see it before it gets released. Strange.
Rather than play favorites for the year, here are a few select irreverent categories.
Best Example of My Alienation from Younger Audiences
Smokin' Aces is the winner, though I have a feeling Alpha Dog would win if I hadn't walked out of the screening. Both are guilty of inundating us with soulless and violent characters, with nary a point in sight. Fortunately, I think audiences are so desensitized by this by now that they've stopped attending.
The "Watch Your Back, Dakota Fanning" Award
Hmm. What does this award mean now? Is it devoted to precocious children, or intensely dramatic adolescents who act like miniature adults? If the former, then the Apatow/Mann kids in Knocked Up. If the latter, then Saoirse Ronan in Atonement; even Dakota Fanning would ask her to lighten up.
Style Over Substance Award
Hot Fuzz, but I think that was the point.
Substance Over Style Award
Amazing Grace: I can't remember a single scene, but I could tell you quite a bit about what happened and why I felt it mattered.
Best Line Delivery
I'm not a Hilary Swank fan at all, but it's been over 11 months since I saw Freedom Writers, and her very white-bread reading of the somewhat urban line "Were you trippin'?" still cracks me up.
Best Eye Candy, Female (co-winners)
Jenna Fischer, Blades of Glory: Yeah, Pam from TV's The Office. Until I saw her here, I had no idea.
Kerry Washington, I Think I Love My Wife: With her, I already had an idea. Ms. Washington is all kinds of fine to begin with, and her femme fatale in this strange (and not altogether effective) comedy was, well, altogether effective. You know what I mean.
Best Eye Candy, Male
Ryan Gosling, Fracture: I'm guessing? I'm not good at speculating this. But he plays a charming and intelligent lawyer who comes to a court arraignment wearing a tux. That has to count for something.
Poster of the Year
Michael Clayton. That wasn't hard to determine; the image to your right is perhaps one of the 10 finest Honorary Brevity Award
This is tricky, because the last two winners are back with new films this year. David Cronenberg (who won in 2005 for A History of Violence) returns to direct the 100-minute Eastern Promises. Meanwhile, Fox Searchlight (2006 winner for Little Miss Sunshine) can boast Juno, which clocks in at 91 minutes.
Both films address the subject of teen pregnancy, but in VERY different ways. At first I was tempted to give the award to Juno, because Eastern Promises is notorious for star Viggo Mortensen's full frontal turn, and I think he'd be upset if I characterized anything about this film as short. But Juno mostly works because it gives us a sample of scenes for each trimester. It does not flow as well as Eastern Promises, though it does have the better ending.
So I'm going to do something that I tend to do, which is be supremely fair and give the award to neither. This year's Brevity Award goes to The Last Mimzy, a vastly underrated family movie that, at 90 minutes, manages to address time travel and all of humankind, present and future. Also, it makes better use of Rainn Wilson than Juno, which gave him a one-scene cameo.
Wednesday, December 26, 2007
Me against the music
Whatever happened to popular music?
Sure, I'm not the best judge of this, as I find music the least essential of all entertainment media; given the choice, I would rather be deaf than blind. Heck, I'd rather have my legs than my ears. But music historians -- assuming they exist, getting paychecks and everything -- would probably agree with me when I say that 2007 was a truly sucky year for singles.
If you ask me, though, I think the music in television commercials has improved, and YouTube has given everyone their own music search engine and video archive. So now I wonder if radio (at least the terrestrial version) is no longer a relevant way to find and listen to music. Or, in the alternative, that corporate radio has become so afraid to play new music that they wait until it becomes famous elsewhere (case in point: Feist). I'll love to hear some opinions on this subject.
Anyway, I had a moderately difficult time last year narrowing down a 10-best list. This year I can't even think of 10. A decent minority of the songs released were okay, but only a few are noteworthy here. So here are the 7 exceptions to the rule that the entire year in music was useless:
7. "Dashboard" by Modest Mouse. In 2004's great debate of Modest Mouse vs. Franz Ferdinand -- whose respective songs "Float On" and "Take Me Out" became popular at roughly the same time -- I sided firmly with the latter. But a few years and a Smiths guitarist later, there's no need to be modest.
6. "You Know I'm No Good" by Amy Winehouse. In 2007's great debate of Amy Winehouse vs. Lily Allen, I sided firmly with... you get the idea. Sorry, but I just prefer fun self-mocking crazy over scary trainwreck crazy. But I have to hand it to Winehouse for getting it just right on this track.
5. "Paralyzer" by Finger Eleven. Once upon a time, I wasn't so fond of this act either. Over at Mostly Modern Media, I commented that 2007's ubiquitous suckfest "Hey There Delilah" was the most boring song to play on the radio since this band's 2003 hit "One Thing." But "Paralyzer" seems downright fun -- I certainly hope they're not being serious -- and its video seems to re-envision The Matrix as a shampoo commercial (maybe for this hair care line).
4. "Girlfriend" by Avril Lavigne. Yeah, I know. But you have to give her credit for taking herself lightly this one time. Even though she took the Toni Basil route, I can't help but wonder why this song wasn't "Mickey" popular. I mean, this could be a great for marketing Bring It On 4: In It to Win It. If that's not happening already.
3. "The Pretender" by Foo Fighters. I've never really given the Foo their due. Sure, I've appreciated their videos over the years (especially this parody of Mentos commercials), and their consistent output of rock albums is a rarity in this day and age. So let me publish a statement I've said privately, and mostly to deaf ears: Foo Fighters is the best band Dave Grohl's ever been involved with. My apologies for the delay. (Here's the video.)
2. "Over It" by Katharine McPhee. She's too chameleonic with her voice. Worked to her advantage on American Idol, but on her album it's distracting. With this song, however, she's not trying to sound like someone else. Pity this wasn't a hit; it's easily one of the best 5 songs ever released by a former contestant. Also: pretty.
1. "Stronger" by Kanye West. The near-annual event album, this song, its video... doesn't it seem like he's the only one who's trying anymore? It's like Daft Punk is in his basement, and everyone else is skipping the party. Thanks, Kanye. With your massive ego comes massive effort. (That goes for you too, Rainn Wilson.)
Sure, I'm not the best judge of this, as I find music the least essential of all entertainment media; given the choice, I would rather be deaf than blind. Heck, I'd rather have my legs than my ears. But music historians -- assuming they exist, getting paychecks and everything -- would probably agree with me when I say that 2007 was a truly sucky year for singles.
If you ask me, though, I think the music in television commercials has improved, and YouTube has given everyone their own music search engine and video archive. So now I wonder if radio (at least the terrestrial version) is no longer a relevant way to find and listen to music. Or, in the alternative, that corporate radio has become so afraid to play new music that they wait until it becomes famous elsewhere (case in point: Feist). I'll love to hear some opinions on this subject.
Anyway, I had a moderately difficult time last year narrowing down a 10-best list. This year I can't even think of 10. A decent minority of the songs released were okay, but only a few are noteworthy here. So here are the 7 exceptions to the rule that the entire year in music was useless:
7. "Dashboard" by Modest Mouse. In 2004's great debate of Modest Mouse vs. Franz Ferdinand -- whose respective songs "Float On" and "Take Me Out" became popular at roughly the same time -- I sided firmly with the latter. But a few years and a Smiths guitarist later, there's no need to be modest.
6. "You Know I'm No Good" by Amy Winehouse. In 2007's great debate of Amy Winehouse vs. Lily Allen, I sided firmly with... you get the idea. Sorry, but I just prefer fun self-mocking crazy over scary trainwreck crazy. But I have to hand it to Winehouse for getting it just right on this track.
5. "Paralyzer" by Finger Eleven. Once upon a time, I wasn't so fond of this act either. Over at Mostly Modern Media, I commented that 2007's ubiquitous suckfest "Hey There Delilah" was the most boring song to play on the radio since this band's 2003 hit "One Thing." But "Paralyzer" seems downright fun -- I certainly hope they're not being serious -- and its video seems to re-envision The Matrix as a shampoo commercial (maybe for this hair care line).
4. "Girlfriend" by Avril Lavigne. Yeah, I know. But you have to give her credit for taking herself lightly this one time. Even though she took the Toni Basil route, I can't help but wonder why this song wasn't "Mickey" popular. I mean, this could be a great for marketing Bring It On 4: In It to Win It. If that's not happening already.
3. "The Pretender" by Foo Fighters. I've never really given the Foo their due. Sure, I've appreciated their videos over the years (especially this parody of Mentos commercials), and their consistent output of rock albums is a rarity in this day and age. So let me publish a statement I've said privately, and mostly to deaf ears: Foo Fighters is the best band Dave Grohl's ever been involved with. My apologies for the delay. (Here's the video.)
2. "Over It" by Katharine McPhee. She's too chameleonic with her voice. Worked to her advantage on American Idol, but on her album it's distracting. With this song, however, she's not trying to sound like someone else. Pity this wasn't a hit; it's easily one of the best 5 songs ever released by a former contestant. Also: pretty.
1. "Stronger" by Kanye West. The near-annual event album, this song, its video... doesn't it seem like he's the only one who's trying anymore? It's like Daft Punk is in his basement, and everyone else is skipping the party. Thanks, Kanye. With your massive ego comes massive effort. (That goes for you too, Rainn Wilson.)
Monday, December 24, 2007
The Finer Things on TV Club
Despite what I said about Heroes here, I'm enjoying television quite a bit. Even if you don't pay for HBO and Showtime, there's a lot to see. Below I list the best of 2007, but before I start, I'd like to cite a pair of honorable mentions.
First, to Saara Akaash (on AZN occasionally), a goofy Hindi soap opera about terrorists that threaten India/Pakistan relations. While it originally aired a few years ago, this year some obscure Asian channel in my digital cable lineup decided to carry part of the series. It's like Alias on crack.
Second, to Chuck (Mondays on NBC), if only for Zachary Levi's slacker reading of this culinary compliment: "That 7-layer dip, Ellie? Tasted like 8." It's like Alias on weed.
10. Reaper (Tuesdays on The CW). Sure, it's got a solid lead in Bret Harrison, a likeable galpal in Missy Peregrym, a demented devil in Ray Wise, a massive tool in Donavon Stinson, and apparently we needed Tyler Labine to be the next Jack Black. But this show makes my list because of the guy pictured above. Rick Gonzalez is the funniest third banana on TV.
9. Prison Break (Mondays on FOX). I've always said that this was the perfect two-season show, which means a 3rd season is completely unnecessary. But dang if it ain't still watchable. I dislike the idea of having a Season 1 character killed (rather unbelievably) by a new character, just to retain the show's signature shock value. But I'm so invested in the surviving characters by now that I'm locked in.
8. How It's Made (nightly on the Science Channel). I have never been one of those viewers hooked to the Discovery Channel and its spinoffs. But I have to make an exception for this show, an marvelous, step-by-step examination of machine craft and hand craft that also creates a kind of utopia: items are manufactured as efficiently as possible, and with a level of precision you would not expect from mass production. This is the world we choose to live in, at least until Skynet goes online and the robots take over.
7. Psych (summer Sundays on USA). Dulé Hill needed to leave The West Wing to hit his acting stride. Here he's the most comically enjoyable straight man on television, becoming the ideal (and stronger) partner to sorta-funny James Roday in this fake psychic comedy. Episode titles like "Meat is Murder but Murder is Also Murder" can't hurt.
6. 30 Rock (Thursdays on NBC). This show gets so lovably dumber every week, it's irresistible. Tina Fey's finally hit her stride in balancing the characters into a true ensemble, no longer needing Alec Baldwin to fill in all the awkward moments. And this show makes better use of guest stars than any other show.
5. Pushing Daisies (Wednesdays on ABC). Anna Friel is on American television! Sure, the narration is a bit precious, the quirk level is freakishly high, and it takes half an episode to set up a "Birdhouse in Your Soul" joke, but Anna Friel! Love that girl; always have. Anna Friel!
4. House (Tuesdays on FOX). Kal Penn is on American television! But it's all about odd couple Hugh Laurie and Robert Sean Leonard. You have to let go of the formulaic plots -- the fun is in the dialogue, and the constant ribbing. Sure, it's a present-day medical version of Sherlock Holmes, but that also means the writers are well aware of that modern invention, slash fiction.
3. Journeyman (Mondays on NBC). Recent industry news and rumors suggest that this show may not even last the whole season, which seems almost tragic. But the same lack of hype was one of the show's strengths. NBC doesn't promote it endlessly. People seem surprised they like it. It's just a hard working performer that delivers, and unlike Heroes, is unafraid of revealing its secrets before the end of the season... if there is one.
2. The Office (Thursdays on NBC). I was late to the party on this one; two high school friends sat me down and forced me to watch. (This was probably for the best; the show didn't hit its comedic stride for me until the third season.) Now I'm a total convert. Signs that I've become addicted: (1) I articulate every syllable of a spoken sentence, like Kevin; (2) I make quirky faces to the invisible cameras in front of me, like Jim; and (3) I find the character with whom I most closely identify: surprisingly, it's Angela.
1. Mad Men (summer Thursdays on AMC). I think Elisabeth Moss is miscast; she's too modern for a show set in the year 1960. And maybe to justify that promo line "from the writer-director of The Sopranos," creator Matthew Weiner tries too hard to balance the work and home life of the main characters. But other than that? Outstanding show, with an atmosphere, attitude, and appeal unlike anything else on television. Like the impossibly proportioned Joan (Christina Hendricks), they don't make 'em like this anymore, but they sure can simulate the experience. With solid anchor work by Jon Hamm and January Jones, and a starmaking, lean and hungry performance by Vincent Kartheiser (pictured).
First, to Saara Akaash (on AZN occasionally), a goofy Hindi soap opera about terrorists that threaten India/Pakistan relations. While it originally aired a few years ago, this year some obscure Asian channel in my digital cable lineup decided to carry part of the series. It's like Alias on crack.
Second, to Chuck (Mondays on NBC), if only for Zachary Levi's slacker reading of this culinary compliment: "That 7-layer dip, Ellie? Tasted like 8." It's like Alias on weed.
10. Reaper (Tuesdays on The CW). Sure, it's got a solid lead in Bret Harrison, a likeable galpal in Missy Peregrym, a demented devil in Ray Wise, a massive tool in Donavon Stinson, and apparently we needed Tyler Labine to be the next Jack Black. But this show makes my list because of the guy pictured above. Rick Gonzalez is the funniest third banana on TV.
9. Prison Break (Mondays on FOX). I've always said that this was the perfect two-season show, which means a 3rd season is completely unnecessary. But dang if it ain't still watchable. I dislike the idea of having a Season 1 character killed (rather unbelievably) by a new character, just to retain the show's signature shock value. But I'm so invested in the surviving characters by now that I'm locked in.
8. How It's Made (nightly on the Science Channel). I have never been one of those viewers hooked to the Discovery Channel and its spinoffs. But I have to make an exception for this show, an marvelous, step-by-step examination of machine craft and hand craft that also creates a kind of utopia: items are manufactured as efficiently as possible, and with a level of precision you would not expect from mass production. This is the world we choose to live in, at least until Skynet goes online and the robots take over.
7. Psych (summer Sundays on USA). Dulé Hill needed to leave The West Wing to hit his acting stride. Here he's the most comically enjoyable straight man on television, becoming the ideal (and stronger) partner to sorta-funny James Roday in this fake psychic comedy. Episode titles like "Meat is Murder but Murder is Also Murder" can't hurt.
6. 30 Rock (Thursdays on NBC). This show gets so lovably dumber every week, it's irresistible. Tina Fey's finally hit her stride in balancing the characters into a true ensemble, no longer needing Alec Baldwin to fill in all the awkward moments. And this show makes better use of guest stars than any other show.
5. Pushing Daisies (Wednesdays on ABC). Anna Friel is on American television! Sure, the narration is a bit precious, the quirk level is freakishly high, and it takes half an episode to set up a "Birdhouse in Your Soul" joke, but Anna Friel! Love that girl; always have. Anna Friel!
4. House (Tuesdays on FOX). Kal Penn is on American television! But it's all about odd couple Hugh Laurie and Robert Sean Leonard. You have to let go of the formulaic plots -- the fun is in the dialogue, and the constant ribbing. Sure, it's a present-day medical version of Sherlock Holmes, but that also means the writers are well aware of that modern invention, slash fiction.
3. Journeyman (Mondays on NBC). Recent industry news and rumors suggest that this show may not even last the whole season, which seems almost tragic. But the same lack of hype was one of the show's strengths. NBC doesn't promote it endlessly. People seem surprised they like it. It's just a hard working performer that delivers, and unlike Heroes, is unafraid of revealing its secrets before the end of the season... if there is one.
2. The Office (Thursdays on NBC). I was late to the party on this one; two high school friends sat me down and forced me to watch. (This was probably for the best; the show didn't hit its comedic stride for me until the third season.) Now I'm a total convert. Signs that I've become addicted: (1) I articulate every syllable of a spoken sentence, like Kevin; (2) I make quirky faces to the invisible cameras in front of me, like Jim; and (3) I find the character with whom I most closely identify: surprisingly, it's Angela.
1. Mad Men (summer Thursdays on AMC). I think Elisabeth Moss is miscast; she's too modern for a show set in the year 1960. And maybe to justify that promo line "from the writer-director of The Sopranos," creator Matthew Weiner tries too hard to balance the work and home life of the main characters. But other than that? Outstanding show, with an atmosphere, attitude, and appeal unlike anything else on television. Like the impossibly proportioned Joan (Christina Hendricks), they don't make 'em like this anymore, but they sure can simulate the experience. With solid anchor work by Jon Hamm and January Jones, and a starmaking, lean and hungry performance by Vincent Kartheiser (pictured).Thursday, December 13, 2007
A list I'd like to see
I know Rolling Stone has formulated several all-time lists, so many that you could rank them in order of worthlessness. But have they (or anyone else reputable) ever compiled a definitive list of the greatest rock bands of all time? Like, a real list, with no cheating: sneaking in solo artists, including genres outside of rock, etc.
Because I have a few questions:
1. Who's number 1?
2. Who's number 3?
3. Does U2 make the top 5?
4. How many American bands make the top 10?
5. Which woman will appear on the list first: a musician like Tina Weymouth, or a frontwoman like Grace Slick?
6. Will backup bands like the E Street Band and Crazy Horse get respect?
7. Aside from the Jimi Hendrix Experience, Bob Marley and the Wailers, and maybe Prince and the Revolution, does the list look entirely white?
8. If the bands are graded, does Guns 'n Roses get an incomplete?
9. What's a good length for this kind of list: 10? 100? 1,000?
10. How inflated would Nirvana's ranking be this time?
My more musically-inclined readers (and the rest of us) are free to speculate and share their own preferences here.
Because I have a few questions:
1. Who's number 1?2. Who's number 3?
3. Does U2 make the top 5?
4. How many American bands make the top 10?
5. Which woman will appear on the list first: a musician like Tina Weymouth, or a frontwoman like Grace Slick?
6. Will backup bands like the E Street Band and Crazy Horse get respect?
7. Aside from the Jimi Hendrix Experience, Bob Marley and the Wailers, and maybe Prince and the Revolution, does the list look entirely white?
8. If the bands are graded, does Guns 'n Roses get an incomplete?
9. What's a good length for this kind of list: 10? 100? 1,000?
10. How inflated would Nirvana's ranking be this time?
My more musically-inclined readers (and the rest of us) are free to speculate and share their own preferences here.
Monday, March 26, 2007
The cinematic horizon (2007)
This is a good time to list what's worth watching in cinema this calendar year, mostly because my second choice (see below) began its slow release earlier this month. As with past years, an inclusion here is no guarantee that I'll see it -- my movie tastes veer toward what I can screen in advance -- but these are the ones I'd most likely pay to see in their first run:
1. Harry Potter and the Order of the Phoenix. Expect an even more sullen and stubborn hero, who could solve his problems (and be part of much shorter books) if he just asked for help. Also new: Harry's romantic yearnings, which will test Daniel Radcliffe's ability to act. And will Snape (Alan Rickman, above) reveal his true alliegiances? Watch for clues. (July 13)
2. The Namesake. Like the book (reviewed here), the director, and the cast. And I especially like the subject matter, perhaps the first authentic example of the Indian-American experience captured on film. Having enjoyed his comedies, I look forward to Kal Penn getting serious for a change. (March 9 in limited release)
3. The Bourne Ultimatum. Say what you will about Matt Damon, but he signed on to one heck of a franchise. This film should end the trilogy, as he finishes the puzzle of his past. Returning are his frenemies Joan Allen and Julia Stiles. (August 3)
4. Knocked Up. Boy meets girl; boy impregnates girl. If you thought Matthew Perry and Salma Hayek were too realistic a match, here are Seth Rogen and Katherine Heigl -- brought to you by Judd Apatow, who gave us The 40-Year-Old Virgin. The future of R-rated comedy looks a lot younger than Will Ferrell. (June 1)
5. Spider-Man 3. The 4th movie is not yet a certainty, so I'm concerned whether director Sam Raimi will cram too much into this for the sake of closure. Other than that, I'm on board. (May 4)
6. Ocean's Thirteen. Unnecessary sequel? Absolutely. But while most actorly ventures with bloated casts are usually self-indulgent, the Ocean movies are harmlessly entertaining. The trailer suggests that Andy Garcia gets in on the action; watch it to see the above frame in context. (June 8)
7. Waitress. The trailer made me laugh, which is a good sign. It appears that small-town waitress Keri Russell upgrades in the romance department from deadbeat boyfriend Jeremy Sisto to doctor Nathan Fillion. It's sad that murdered indie actress Adrienne Shelly only has this one film to prove her worth as a writer and director, but I have hope. (May 2 in limited release)
8. Evan Almighty. Has Steve Carell made a single misstep since he left The Daily Show? In this, his riskiest and most expensive project yet, he plays a modern-day Noah. On deck are Morgan Freeman and Lauren Graham. (June 22)
9. Fanboys. There are actually two period pieces this year about the Star Wars fandom. (The other, probably out in May, is called 5-25-77.) It's Halloween 1998, and four young fans want to steal a print of Episode I so they can watch it 6 months in advance. Cameos abound. (August 17)
10. Lucky You. I'm not sure why this long-completed film wasn't released at the height of poker's popularity on TV. But I have some faith in director Curtis Hanson, who made 8 Mile and In Her Shoes much better movies than they had any right to be. (May 4)
Release dates can be tricky; even if a month and day have been set, it can change at any time. The following honorable mentions have indeterminate arrivals:
My Blueberry Nights. The description is flimsy: "A young woman takes a soul-searching journey across America to resolve her questions about love while encountering a series of offbeat characters along the way." Sounds like an excuse for a nonsensical disaster. So why do I care? The young woman is played by Norah Jones, one of the sexiest women in music. She'll try to work her cool charms on the big screen.
Sicko. Michael Moore tackles the health care industry. This should be his triumphant return to pre-Oscar form, when he was on a consumer crusade to expose the holes in big business. The issue is important to both red and blue states, so I hope it gets more attention than controversy.
The Assassination of Jesse James by the Coward Robert Ford. This made the cut last year, and the release date is still unknown. Here's what I said then: "Robert Ford (Casey Affleck) joins the gang of Frank and Jesse James (Sam Shepard and Brad Pitt). Then you have the title. Presumably, this film explains what happened in between. I hope it's better than I Shot Andy Warhol."
Sex and Death 101. A mini-Heathers reunion for Winona Ryder and writer Daniel Waters. Premise: "A guy's life is turned around by an email, which includes the names of everyone he's had sex with and ever will have sex with. His situation gets worse when he encounters a femme fatale who targets men guilty of sex crime."
My Name is Bruce. And he is funky. Cult movie hero Bruce Campbell, who plays himself, faces the kind of real-life situation that he only sees in his movies. Originally scheduled for a February release; info has all but disappeared. Pity.
1. Harry Potter and the Order of the Phoenix. Expect an even more sullen and stubborn hero, who could solve his problems (and be part of much shorter books) if he just asked for help. Also new: Harry's romantic yearnings, which will test Daniel Radcliffe's ability to act. And will Snape (Alan Rickman, above) reveal his true alliegiances? Watch for clues. (July 13)
2. The Namesake. Like the book (reviewed here), the director, and the cast. And I especially like the subject matter, perhaps the first authentic example of the Indian-American experience captured on film. Having enjoyed his comedies, I look forward to Kal Penn getting serious for a change. (March 9 in limited release)
3. The Bourne Ultimatum. Say what you will about Matt Damon, but he signed on to one heck of a franchise. This film should end the trilogy, as he finishes the puzzle of his past. Returning are his frenemies Joan Allen and Julia Stiles. (August 3)
4. Knocked Up. Boy meets girl; boy impregnates girl. If you thought Matthew Perry and Salma Hayek were too realistic a match, here are Seth Rogen and Katherine Heigl -- brought to you by Judd Apatow, who gave us The 40-Year-Old Virgin. The future of R-rated comedy looks a lot younger than Will Ferrell. (June 1)
5. Spider-Man 3. The 4th movie is not yet a certainty, so I'm concerned whether director Sam Raimi will cram too much into this for the sake of closure. Other than that, I'm on board. (May 4)
6. Ocean's Thirteen. Unnecessary sequel? Absolutely. But while most actorly ventures with bloated casts are usually self-indulgent, the Ocean movies are harmlessly entertaining. The trailer suggests that Andy Garcia gets in on the action; watch it to see the above frame in context. (June 8)
7. Waitress. The trailer made me laugh, which is a good sign. It appears that small-town waitress Keri Russell upgrades in the romance department from deadbeat boyfriend Jeremy Sisto to doctor Nathan Fillion. It's sad that murdered indie actress Adrienne Shelly only has this one film to prove her worth as a writer and director, but I have hope. (May 2 in limited release)
8. Evan Almighty. Has Steve Carell made a single misstep since he left The Daily Show? In this, his riskiest and most expensive project yet, he plays a modern-day Noah. On deck are Morgan Freeman and Lauren Graham. (June 22)
9. Fanboys. There are actually two period pieces this year about the Star Wars fandom. (The other, probably out in May, is called 5-25-77.) It's Halloween 1998, and four young fans want to steal a print of Episode I so they can watch it 6 months in advance. Cameos abound. (August 17)
10. Lucky You. I'm not sure why this long-completed film wasn't released at the height of poker's popularity on TV. But I have some faith in director Curtis Hanson, who made 8 Mile and In Her Shoes much better movies than they had any right to be. (May 4)Release dates can be tricky; even if a month and day have been set, it can change at any time. The following honorable mentions have indeterminate arrivals:
My Blueberry Nights. The description is flimsy: "A young woman takes a soul-searching journey across America to resolve her questions about love while encountering a series of offbeat characters along the way." Sounds like an excuse for a nonsensical disaster. So why do I care? The young woman is played by Norah Jones, one of the sexiest women in music. She'll try to work her cool charms on the big screen.Sicko. Michael Moore tackles the health care industry. This should be his triumphant return to pre-Oscar form, when he was on a consumer crusade to expose the holes in big business. The issue is important to both red and blue states, so I hope it gets more attention than controversy.
The Assassination of Jesse James by the Coward Robert Ford. This made the cut last year, and the release date is still unknown. Here's what I said then: "Robert Ford (Casey Affleck) joins the gang of Frank and Jesse James (Sam Shepard and Brad Pitt). Then you have the title. Presumably, this film explains what happened in between. I hope it's better than I Shot Andy Warhol."
Sex and Death 101. A mini-Heathers reunion for Winona Ryder and writer Daniel Waters. Premise: "A guy's life is turned around by an email, which includes the names of everyone he's had sex with and ever will have sex with. His situation gets worse when he encounters a femme fatale who targets men guilty of sex crime."
My Name is Bruce. And he is funky. Cult movie hero Bruce Campbell, who plays himself, faces the kind of real-life situation that he only sees in his movies. Originally scheduled for a February release; info has all but disappeared. Pity.
Saturday, February 24, 2007
Oscar's most likely
With the campaigning process over for the Academy Awards, and the results being counted by a few accountants who rented tuxedos for the occasion, it's time to talk about the nature of the sure thing.
I've decided to rank the 21 frontrunners of the feature-length categories in order of likelihood to win. (Unless I disagreed, these frontrunners came from In Contention or Entertainment Weekly.) Not having lived in Vegas long enough to be considered any kind of oddsmaker, this is mostly guesswork. And please bear in mind that none of this has much to do with my own personal preferences.
Update: with the ceremony over, how did the frontrunners do?
1. Best Actress: Helen Mirren, The Queen
WINNER!
She's due, she's playing a real person, her film is nominated for Best Picture... the reasons go on and on. The only possible spoiler is Penélope Cruz, and her film doesn't have that kind of traction.
2. Best Adapted Screenplay: William Monahan, The Departed
WINNER!
The only Best Picture nominee in this category. It's a rarity: a well-received, money-making, intelligent remake. And it's not like previous screenwriting winners have abstained from swearing.
3. Best Makeup: Pan's Labyrinth
WINNER!
Haven't seen it, but the competition (Click and Apocalypto) is less than formidable.
4. Best Visual FX: Pirates of the Caribbean: Dead Man's Chest
WINNER!
I don't think Poseidon or Superman Returns stood out in any way. But the slithery suction-cuppiness of Davy Jones and the Kraken still creeps me out.
5. Best Animated Feature: Cars
LOSER! The Oscar goes to... Happy Feet.
It's the Pixar juggernaut. I didn't really like this film, but I don't think that Monster House and Happy Feet have what it takes to upset. Put in Over the Hedge and we'd have a contest.
6. Best Supporting Actress: Jennifer Hudson, Dreamgirls
WINNER!
As I said before, white ingenues win this award all the time. Even the voters who don't choose Eddie Murphy will vote for her.
7. Best Original Screenplay: Michael Arndt, Little Miss Sunshine
WINNER!
Less of a sure thing because four of the nominees are also in the Best Picture race. But it's won the big precursors and is the film's best opportunity for a win.
8. Best Documentary Feature: An Inconvenient Truth
WINNER!
I suppose they could spread the wealth by letting this film win in the Song category, but liberal voters can't resist Al Gore up on stage with the filmmakers, saying just enough to suggest that a 2008 run isn't out of the question.
9. Best Original Song: "Listen," Dreamgirls
LOSER! The Oscar goes to... Melissa Etheridge.
Its competition: a Melissa Etheridge anthem, yet another Randy Newman song, and two more Dreamgirls tunes. Since that film was about the music, the most prominent of the three will win.
10. Best Director: Martin Scorsese, The Departed
WINNER!
After the nominations, I think I said that Alejandro González Iñárritu was the main competition, and Scorsese would probably still win if Babel won Best Picture. Maybe some voters will think he's due, but The Departed is probably the tightest work he's ever done. It's a worthy directorial feat. Of course, other voters hate him on principle, so he's not much of a sure thing.
11. Best Cinematography: Children of Men
LOSER! The Oscar goes to... Pan's Labyrinth.
I've heard the camera work is amazing here. And 4-time nominee Emmanuel Lubezki is due. But I'm not sure that any film was more dependent on its cinematography than The Illusionist.
12. Best Film Editing: United 93
LOSER! The Oscar goes to... The Departed.
I was one of many who chickened out of watching this film. But its high regard as a filmmaking achievement translated into the two most likely categories (Editing and Director), and this is where it will get honored. I see Babel as a possible spoiler, and a bad choice.
13. Best Actor: Forest Whitaker, The Last King of Scotland
WINNER!
Why so low? The precursors have him as much of a sure thing as Helen Mirren, but none of those precursors have Oscar's history with Peter O'Toole. I still think the Venus actor is going to win.
14. Best Art Direction: Dreamgirls
LOSER! The Oscar goes to... Pan's Labyrinth.
It's not just the costumes that make Dreamgirls look incredible. But Pan's Labyrinth creates another world, so it could spoil.
15. Best Original Score: The Queen
LOSER! The Oscar goes to... Babel.
I usually don't pay much attention to musical scores when I watch a movie, but I notice that only two of the nominated films are up for Best Picture, and the Babel composer won last year.
16. Best Supporting Actor: Eddie Murphy, Dreamgirls
LOSER! The Oscar goes to... Alan Arkin, Little Miss Sunshine.
Why wouldn't he win? Well, there's Norbit. And his reclusive, media-unfriendly nature. And Alan Arkin. I could see him or Mark Wahlberg sneaking in with their Best Picture hype.
17. Best Foreign Language Film: Pan's Labyrinth
LOSER! The Oscar goes to... The Lives of Others.
With 6 nominations, it's the fave. On the other hand, there are 5 other ways to award it. I understand that it's a two-film race, with Germany's The Lives of Others headed for an upset.
18. Best Costume Design: Marie Antoinette
WINNER!
Two nominees use definite period costume (this and Curse of the Golden Flower) and two are modern: The Devil Wears Prada and The Queen. Any of them could win. But the fifth nominee, Dreamgirls, is the best of both worlds. And the upset victor.
19. Best Sound Editing: Letters from Iwo Jima
WINNER!
20. Best Sound Mixing: Dreamgirls
WINNER!
Even if I knew the difference, how do I listen for greatness? It's not like the local cineplex has ideal sound conditions. And how is the clarity of a singer's voice better than the sound of soldiers walking on black sand? I plead ignorance.
21. Best Picture: Babel
LOSER! The Oscar goes to... The Departed.
This competition is all over the place, with every nominee but The Queen receiving strong support. I consider Babel the frontrunner because it has the most nominations of any film in this category, won the Golden Globe for Best Drama, and for whatever reason is perceived as modern and important. But the Producers Guild and Screen Actors Guild chose Little Miss Sunshine, while EW picked The Departed, and In Contention had Letters from Iwo Jima.
I've decided to rank the 21 frontrunners of the feature-length categories in order of likelihood to win. (Unless I disagreed, these frontrunners came from In Contention or Entertainment Weekly.) Not having lived in Vegas long enough to be considered any kind of oddsmaker, this is mostly guesswork. And please bear in mind that none of this has much to do with my own personal preferences.
Update: with the ceremony over, how did the frontrunners do?
1. Best Actress: Helen Mirren, The Queen
WINNER!
She's due, she's playing a real person, her film is nominated for Best Picture... the reasons go on and on. The only possible spoiler is Penélope Cruz, and her film doesn't have that kind of traction.
2. Best Adapted Screenplay: William Monahan, The Departed
WINNER!
The only Best Picture nominee in this category. It's a rarity: a well-received, money-making, intelligent remake. And it's not like previous screenwriting winners have abstained from swearing.
3. Best Makeup: Pan's Labyrinth
WINNER!
Haven't seen it, but the competition (Click and Apocalypto) is less than formidable.
4. Best Visual FX: Pirates of the Caribbean: Dead Man's Chest
WINNER!
I don't think Poseidon or Superman Returns stood out in any way. But the slithery suction-cuppiness of Davy Jones and the Kraken still creeps me out.
5. Best Animated Feature: Cars
LOSER! The Oscar goes to... Happy Feet.
It's the Pixar juggernaut. I didn't really like this film, but I don't think that Monster House and Happy Feet have what it takes to upset. Put in Over the Hedge and we'd have a contest.
6. Best Supporting Actress: Jennifer Hudson, Dreamgirls
WINNER!
As I said before, white ingenues win this award all the time. Even the voters who don't choose Eddie Murphy will vote for her.
7. Best Original Screenplay: Michael Arndt, Little Miss Sunshine
WINNER!
Less of a sure thing because four of the nominees are also in the Best Picture race. But it's won the big precursors and is the film's best opportunity for a win.
8. Best Documentary Feature: An Inconvenient Truth
WINNER!
I suppose they could spread the wealth by letting this film win in the Song category, but liberal voters can't resist Al Gore up on stage with the filmmakers, saying just enough to suggest that a 2008 run isn't out of the question.
9. Best Original Song: "Listen," Dreamgirls
LOSER! The Oscar goes to... Melissa Etheridge.
Its competition: a Melissa Etheridge anthem, yet another Randy Newman song, and two more Dreamgirls tunes. Since that film was about the music, the most prominent of the three will win.
10. Best Director: Martin Scorsese, The Departed
WINNER!
After the nominations, I think I said that Alejandro González Iñárritu was the main competition, and Scorsese would probably still win if Babel won Best Picture. Maybe some voters will think he's due, but The Departed is probably the tightest work he's ever done. It's a worthy directorial feat. Of course, other voters hate him on principle, so he's not much of a sure thing.
11. Best Cinematography: Children of Men
LOSER! The Oscar goes to... Pan's Labyrinth.
I've heard the camera work is amazing here. And 4-time nominee Emmanuel Lubezki is due. But I'm not sure that any film was more dependent on its cinematography than The Illusionist.
12. Best Film Editing: United 93
LOSER! The Oscar goes to... The Departed.
I was one of many who chickened out of watching this film. But its high regard as a filmmaking achievement translated into the two most likely categories (Editing and Director), and this is where it will get honored. I see Babel as a possible spoiler, and a bad choice.
13. Best Actor: Forest Whitaker, The Last King of Scotland
WINNER!
Why so low? The precursors have him as much of a sure thing as Helen Mirren, but none of those precursors have Oscar's history with Peter O'Toole. I still think the Venus actor is going to win.
14. Best Art Direction: Dreamgirls
LOSER! The Oscar goes to... Pan's Labyrinth.
It's not just the costumes that make Dreamgirls look incredible. But Pan's Labyrinth creates another world, so it could spoil.
15. Best Original Score: The Queen
LOSER! The Oscar goes to... Babel.
I usually don't pay much attention to musical scores when I watch a movie, but I notice that only two of the nominated films are up for Best Picture, and the Babel composer won last year.
16. Best Supporting Actor: Eddie Murphy, Dreamgirls
LOSER! The Oscar goes to... Alan Arkin, Little Miss Sunshine.
Why wouldn't he win? Well, there's Norbit. And his reclusive, media-unfriendly nature. And Alan Arkin. I could see him or Mark Wahlberg sneaking in with their Best Picture hype.
17. Best Foreign Language Film: Pan's Labyrinth
LOSER! The Oscar goes to... The Lives of Others.
With 6 nominations, it's the fave. On the other hand, there are 5 other ways to award it. I understand that it's a two-film race, with Germany's The Lives of Others headed for an upset.
18. Best Costume Design: Marie Antoinette
WINNER!
Two nominees use definite period costume (this and Curse of the Golden Flower) and two are modern: The Devil Wears Prada and The Queen. Any of them could win. But the fifth nominee, Dreamgirls, is the best of both worlds. And the upset victor.
19. Best Sound Editing: Letters from Iwo Jima
WINNER!
20. Best Sound Mixing: Dreamgirls
WINNER!
Even if I knew the difference, how do I listen for greatness? It's not like the local cineplex has ideal sound conditions. And how is the clarity of a singer's voice better than the sound of soldiers walking on black sand? I plead ignorance.
21. Best Picture: Babel
LOSER! The Oscar goes to... The Departed.
This competition is all over the place, with every nominee but The Queen receiving strong support. I consider Babel the frontrunner because it has the most nominations of any film in this category, won the Golden Globe for Best Drama, and for whatever reason is perceived as modern and important. But the Producers Guild and Screen Actors Guild chose Little Miss Sunshine, while EW picked The Departed, and In Contention had Letters from Iwo Jima.
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