This three-quel holds the honor of being #1 at the box office yet has the lowest critics' average, 10%, on rottentomatoes. That's a little harsh. It's worth at least a 15. Amy asked us to save The King's Speech and True Grit for her, so we were reduced to this. Jack and I expected to hate it, so were pleasantly surprised that we chuckled a few times. To save your money and time, here's what we liked (I had plenty of time to take notes): beautiful stock shots of Chicago in gorgeous high definition, a magnificent estate called a "time share" with Cadillac golf carts, Barbra's manicure (okay, only I noticed that), and some mayhem in the third act.
Director Paul Weitz (Antz (1998) and About a Boy (2002) with his brother Chris Weitz and In Good Company (2004) alone) was brought in to replace Jay Roach, who directed the first two, causing Dustin Hoffman to consider pulling out (yep, that's a double entendre. Think there are any in the movie?). Everyone and every joke just seems tired, despite the return of writer John Hamburg (co-wrote--and directed--I Love You, Man) from the last two and lots more that's good (I just learned that Meet the Parents (2000) was a remake of a 1992 independent movie of the same name, which starred director/co-writer Greg Glienna and co-writer Mary Ruth Clarke as Greg and his future mother-in-law respectively--they are credited in each of the Focker movies as having created the characters). Since Robert De Niro has been quoted as saying he'd love to make another, and the last scene suggests part four, perhaps the stars are all working for points on the gross. For a good laugh, read the quotes on the rottentomatoes link above instead of spending your time and money on this flop (uh huh).
Thursday, December 30, 2010
I Love You Phillip Morris (2009)
After seeing Jim Carrey on Letterman, I knew I wanted to see Carrey's latest comedy, about real conman Steven Russell, who fell in love with the title character (Ewan McGregor) while they were in prison together. Jack and I laughed a lot. With no connection to the tobacco company, it's based on the novel I Love You Phillip Morris: A True Story of Life, Love, and Prison Breaks by Steve McVicker, with the adaptation written by co-directors Glenn Ficarra and John Requa (they are writing partners, not domestic partners, and this is their directing debut, after writing Bad Santa (2005) and two others--here's an article and a video interview). It played at Sundance in January 2009, then in Europe, Taiwan, and Japan early this year, where it made over $18 million, but wasn't released here until this month, in one cineplex now with "coming soon" posters at another, and I predict a long and healthy life for it later on DVD. Many have said this is Carrey's (I wrote about him in Yes Man) best role yet--driven, emotional, and addicted to deception. McGregor (I wrote about him a little in Angels & Demons, a little more in The Men Who Stare at Goats, and then he was in The Ghost Writer) is sweet as the object of Russell's affection, not to mention easy on the eyes. Leslie Mann (Mrs. Judd Apatow, parts in Funny People and all the rest) plays Russell's wife before he comes out (ex-wife/friend after).
Pleasant pop original music by Nick Urata (of the band DeVotchKa) is supplemented by lots of songs, some of which are on the soundtrack CD. Nominated for the Critics' Choice Best Comedy, this is well worth your time, either on the big screen now or later in your living room.
Pleasant pop original music by Nick Urata (of the band DeVotchKa) is supplemented by lots of songs, some of which are on the soundtrack CD. Nominated for the Critics' Choice Best Comedy, this is well worth your time, either on the big screen now or later in your living room.
Tuesday, December 28, 2010
The Fighter (2010)
Amy, Jack and I liked this movie, based on the true story of Micky Ward, an up and coming boxer from Lowell, Mass (30 miles from Boston, 5 from New Hampshire), and his half brother Dicky Eklund, whose crack addiction ruined his career in the ring. Good family fare for Christmas day! A strong cast, led by Mark Wahlberg and Christian Bale as Micky and Dicky, respectively, Melissa Leo as their prickly manager-mother, and Amy Adams as Micky's feisty girlfriend, kept us involved. I loved director David O. Russell's outrageous comedy Flirting with Disaster (1996), thought I Heart Huckabees (2004) was pretty funny, and everyone liked Three Kings (1999), myself included. Bale (I wrote about him in Public Enemies) has more nominations and wins for his supporting role as the mercurial addict than Wahlberg (after I wrote about him in The Lovely Bones, he was in Date Night and The Other Guys) as the little brother and they're both great. Melissa Leo (nominated for an Oscar for Frozen River, she was good in Homicide the TV series and its movie (2000), 21 Grams (2003), and The Three Burials of Melquiades Estrada (2005), to name my faves of her 92 titles) wears her 1990's bleached hair, spike heels (costume or hair nominations?), and pursed lips well as the matriarch of the family of two brothers and seven sisters, the latter who are pretty much a shrieking mass of hair and hormones (here's a scorecard to differentiate the players), even though one of them is played by Conan O'Brien's sister Kate. This seems to be Adams' grittiest role to date (after her Oscar nominated performances in Junebug (2005) and Doubt, she was fluffy in Enchanted and Miss Pettigrew Lives for a Day, and determined in Sunshine Cleaning and Julie and Julia) and I found her character of Charlene fully formed and self-aware. Jack McGee (I miss him on Rescue Me and he's got 162 titles on imdb!) plays Micky's dad George and Mickey O'Keefe, Micky Ward's real trainer, plays himself, as do Art Ramalho (the owner of the West End Gym in Lowell, where those sequences were actually shot), champion Sugar Ray Leonard, and Richard Farrell, who did in fact direct an HBO documentary about Dicky Eklund. After you've seen the movie, read this about the real Dicky Eklund and this about Richard Farrell (the Farrell link has a big spoiler in it, the Eklund link potentially a little one).
There are so many songs, from the movie's 1993 setting, that the Oscars have apparently disqualified it (I wouldn't be myself if I didn't mention that the above link punctuates and spells The Kids Are All Right wrong in its first line but right subsequently) for eligibility for best soundtrack. If the site is correct in predicting the nominees for best score, I will have seen only three of the five, and that's few for me.
Critics and audiences have loved this movie, giving it 89% and 90% respectively on rottentomatoes. If you're okay with the violence to be expected in a movie about boxing, then definitely see this one.
There are so many songs, from the movie's 1993 setting, that the Oscars have apparently disqualified it (I wouldn't be myself if I didn't mention that the above link punctuates and spells The Kids Are All Right wrong in its first line but right subsequently) for eligibility for best soundtrack. If the site is correct in predicting the nominees for best score, I will have seen only three of the five, and that's few for me.
Critics and audiences have loved this movie, giving it 89% and 90% respectively on rottentomatoes. If you're okay with the violence to be expected in a movie about boxing, then definitely see this one.
Friday, December 24, 2010
Black Swan (2010)
Yikes! Intense, nasty, and unforgettable, its description "psycho-sexual thriller" is only part of the story of an obsessed ballet dancer competing for the lead in a new version of Swan Lake. Jack warns it's not a recruiting movie for young ballerinas! Starting with a dream, and moving in and out of hallucinations, this is something you should not see alone, nor in a blue mood. Bring someone to hug and be prepared to cover your eyes, if you do that sort of thing, for a few gory moments here and there, when you may not be expecting it. As I wrote in my post on The Wrestler, I've been a fan of director Darren Aronfsky since 1998, with the movie Pi. Natalie Portman (I wrote about her in Brothers) should earn another Oscar nomination for her portrayal of a woman on the verge of a nervous breakdown (and she apparently was injured more than once on the set, according to the spoiler-free trivia page on imdb). She lost 20 pounds to look properly anorexic for the role, and her dancer Nina Sayers is so tightly wound that one is not surprised she is hitting bottom RIGHT NOW. Multi-nominated cinematographer Matthew Libatique's (Aronfosky's Pi, Requiem for a Dream, and The Fountain (2006); Spike Lee's She Hate Me (2004) and Inside Man (2006); Iron Man 2, its prequel, and more) camera follows her stiff walk from her dysfunctional home to her dysfunctional workplace, with her hair, wound up as tightly as her personality, in the middle of the frame. The mirror and bird imagery are spectacular. After you've seen this one, get Ricky from netflix for a fluffy respite, and think about why Aronofsky put that rash right there on her back.
The script, by Mark Heyman (his first), Andres Heinz (ditto), and John McLaughlin (his second, after the vapid-sounding but unseen-by-me Man of the House (2005)), with story by Heinz, is sublime. I guess the director brought out the best in some very promising guys. On the other hand, 62 year old Barbara Hershey has 92 titles on her resumé (although--sorry, fellow chicks--I hated the syrupy Beaches (1998) and her artificially plumped lips, my faves are The Stunt Man (1980), The Right Stuff (1983), The Natural (1984), Hannah and Her Sisters (1986), Tin Men (1987), Falling Down (1993), and now this) and her portrayal of Nina's thin-lipped dreadful mother is spot on (Jack also says don't watch this for Mothers' Day). French actor Vincent Cassel (scary in the excellent Read My Lips (Sur mes lèvres - 2001), Eastern Promises (2007), more) is great as the demanding prick who is the company's artistic director Thomas. Gorgeous despite also having to lose weight for the part, Mila Kunis (Forgetting Sarah Marshall (2008), Extract, and a funny cameo in Date Night) plays Lily, Nina's sexy rival for the part, and at one point I saw a flash of Jackie Burkhart, the bitch she played for 8 years on That '70s Show, which gave me a needed laugh. I also laughed when I read in the credits the name of the choreographer, Benjamin Millepied (here's some gossip and a photo), whose last name is French for 1000 feet. Winona Ryder (I wrote about her in The Private Lives of Pippa Lee) deserves mentioning for her moving turn as the company's bitter soon-to-be-ex-prima ballerina.
The music by Aronofsky's only film composer Clint Mansell (also wrote for Moon and some lighter fare) (listen to this link, which starts up very quietly, and move on down the right side for more tracks) is wonderful. I'm not a ballet aficionado and had nothing to criticize in the dancing. Also some bloggers over at The Playlist wrote about some cool posters that I had never seen before. There's some hot sex in this, and the downside of a crowded theatre is having to listen to the vocal reactions of a young man sitting nearby.
Nominated for a ton of awards, with Oscars expected, this is a must for serious film buffs. That said, it's hard to watch, every bit as hard as Requiem for a Dream. Neither is recommended for late at night. After you see it, read J. Hoberman's humorous review in the Village Voice (written in what my mother would have called purple prose), and then find some way to have a good belly laugh. You'll need it!
The script, by Mark Heyman (his first), Andres Heinz (ditto), and John McLaughlin (his second, after the vapid-sounding but unseen-by-me Man of the House (2005)), with story by Heinz, is sublime. I guess the director brought out the best in some very promising guys. On the other hand, 62 year old Barbara Hershey has 92 titles on her resumé (although--sorry, fellow chicks--I hated the syrupy Beaches (1998) and her artificially plumped lips, my faves are The Stunt Man (1980), The Right Stuff (1983), The Natural (1984), Hannah and Her Sisters (1986), Tin Men (1987), Falling Down (1993), and now this) and her portrayal of Nina's thin-lipped dreadful mother is spot on (Jack also says don't watch this for Mothers' Day). French actor Vincent Cassel (scary in the excellent Read My Lips (Sur mes lèvres - 2001), Eastern Promises (2007), more) is great as the demanding prick who is the company's artistic director Thomas. Gorgeous despite also having to lose weight for the part, Mila Kunis (Forgetting Sarah Marshall (2008), Extract, and a funny cameo in Date Night) plays Lily, Nina's sexy rival for the part, and at one point I saw a flash of Jackie Burkhart, the bitch she played for 8 years on That '70s Show, which gave me a needed laugh. I also laughed when I read in the credits the name of the choreographer, Benjamin Millepied (here's some gossip and a photo), whose last name is French for 1000 feet. Winona Ryder (I wrote about her in The Private Lives of Pippa Lee) deserves mentioning for her moving turn as the company's bitter soon-to-be-ex-prima ballerina.
The music by Aronofsky's only film composer Clint Mansell (also wrote for Moon and some lighter fare) (listen to this link, which starts up very quietly, and move on down the right side for more tracks) is wonderful. I'm not a ballet aficionado and had nothing to criticize in the dancing. Also some bloggers over at The Playlist wrote about some cool posters that I had never seen before. There's some hot sex in this, and the downside of a crowded theatre is having to listen to the vocal reactions of a young man sitting nearby.
Nominated for a ton of awards, with Oscars expected, this is a must for serious film buffs. That said, it's hard to watch, every bit as hard as Requiem for a Dream. Neither is recommended for late at night. After you see it, read J. Hoberman's humorous review in the Village Voice (written in what my mother would have called purple prose), and then find some way to have a good belly laugh. You'll need it!
Wednesday, December 22, 2010
Burlesque (2010)
Despite the critics' thrashing (37% on rottentomatoes vs. 76% for audiences, yet #11 at the box office), Amy, Jack, and I enjoyed the lush sets, the sexy production numbers, and the scanty costumes (oh, that beaded bikini!). And those girls can belt out a number. Christina Aguilera first came to my attention when she sang in Martin Scorsese's Rolling Stones documentary Shine a Light (2008), in which her throaty four octave range brought a tear to my eye. I later found out that Amy had many of Aguilera's pop hits on her computer upstairs, and I just realized tonight that Aguilera was one of the singers on Lil' Kim's remake of Patti Labelle's Lady Marmalade (one and two videos where Ms. A blows away her soul sisters as soon as she opens her mouth).
I don't mean to slight Ms. Sarkisian, because Cher (acting Oscar for Moonstruck (1987), nomination for Silkwood (1983), and a Best Actress award at Cannes for Mask (1985), all of which I loved, along with The Witches of Eastwick (1987)) still has the pipes to carry a few songs, one of which has been nominated for three awards so far. And she was quite funny on Letterman, when she walked right by Dave to hug a guy in the audience who had previously been shown running home to shower and change when he heard Cher was going to be on the show. Jack said it's a miracle she can still open her mouth after all her plastic surgery. It looks like Aguilera has also spent some time in the operating room. Co-star Stanley Tucci (I wrote about him in Julie & Julia and The Lovely Bones) is playing basically the same role he did in The Devil Wears Prada (2006), but I don't care; I liked him then and I like him now. TV-star alert: Eric Dane of Grey's Anatomy plays a McSteamy kind of guy (with an enviable crib), Dianna Agron (disgraced cheerleader Quinn in Glee) has a cameo as fiancée Natalie, and the multi-talented Alan Cumming (lately Eli Gold on The Good Wife, and you must see The Anniversary Party (2001)) playing a part too much like the Emcee he portrayed in the 1998 Broadway revivial of Cabaret.
Actor/writer Steven Antin (he does not act in this one) makes his feature directing debut, and after reading his writing credits (the 1999 Sidney Lumet remake of John Cassavetes' 1980 Gloria, which was good, and Chasing Papi (2003), which was very funny), I'm surprised that this story isn't better. That's the reason the critics have trashed it: the story is thin, just like the stars (both are seriously lacking in flesh below the rib cage). I doubt that it will win best Golden Globe musical or comedy over Alice in Wonderland, The Kids Are All Right, Red, or The Tourist. But we had a good time watching the spectacle (though all three of us checked our phones from time to time). For those of you in my metropolitan area, I believe it's going to be at only one theatre starting Wednesday, so allow extra time for mall parking in December. I would have seen this sooner because I liked the trailer, but we saved it for Amy, as we all love musicals. If you love musicals, too, don't miss this one, either at the mall or at home in a few months.
I don't mean to slight Ms. Sarkisian, because Cher (acting Oscar for Moonstruck (1987), nomination for Silkwood (1983), and a Best Actress award at Cannes for Mask (1985), all of which I loved, along with The Witches of Eastwick (1987)) still has the pipes to carry a few songs, one of which has been nominated for three awards so far. And she was quite funny on Letterman, when she walked right by Dave to hug a guy in the audience who had previously been shown running home to shower and change when he heard Cher was going to be on the show. Jack said it's a miracle she can still open her mouth after all her plastic surgery. It looks like Aguilera has also spent some time in the operating room. Co-star Stanley Tucci (I wrote about him in Julie & Julia and The Lovely Bones) is playing basically the same role he did in The Devil Wears Prada (2006), but I don't care; I liked him then and I like him now. TV-star alert: Eric Dane of Grey's Anatomy plays a McSteamy kind of guy (with an enviable crib), Dianna Agron (disgraced cheerleader Quinn in Glee) has a cameo as fiancée Natalie, and the multi-talented Alan Cumming (lately Eli Gold on The Good Wife, and you must see The Anniversary Party (2001)) playing a part too much like the Emcee he portrayed in the 1998 Broadway revivial of Cabaret.
Actor/writer Steven Antin (he does not act in this one) makes his feature directing debut, and after reading his writing credits (the 1999 Sidney Lumet remake of John Cassavetes' 1980 Gloria, which was good, and Chasing Papi (2003), which was very funny), I'm surprised that this story isn't better. That's the reason the critics have trashed it: the story is thin, just like the stars (both are seriously lacking in flesh below the rib cage). I doubt that it will win best Golden Globe musical or comedy over Alice in Wonderland, The Kids Are All Right, Red, or The Tourist. But we had a good time watching the spectacle (though all three of us checked our phones from time to time). For those of you in my metropolitan area, I believe it's going to be at only one theatre starting Wednesday, so allow extra time for mall parking in December. I would have seen this sooner because I liked the trailer, but we saved it for Amy, as we all love musicals. If you love musicals, too, don't miss this one, either at the mall or at home in a few months.
Sunday, December 19, 2010
How Do You Know (2010)
Meh. So little payoff, so much talent, with James Brooks writing and directing, and stars Reese Witherspoon overly perky, Owen Wilson trying too hard, Jack Nicholson mugging, and Paul Rudd giving it his best shot. Brooks (won Oscars for directing, writing, and producing Terms of Endearment (1983); nominated for directing and writing both Broadcast News (1987) and As Good As It Gets (1997); multiple Emmy winner for directing, writing, and producing various episodes of The Simpsons, The Tracy Ullman Show, Taxi, Lou Grant, The Mary Tyler Moore Show; and I loved the other two movies he directed: I'll Do Anything (1994) and Spanglish (2004)), especially, should be ashamed of himself for the script and the end result, which is neither cute nor particularly heartwarming. Maybe I was in a bad mood because I had walked into a 5:00 screening of The Fighter at 5:01 and it had already started and Jack wasn't there yet. He arrived as I was getting a refund and we had to drive to another theatre to see this at 5:25.
The puns are in abundance, and my favorite is "How do you know when not to spend $11.00 for a movie?" Domineck Lombardozzi, who played Vince's loose-cannon friend Dom on Entourage, must be happy that his one scene with his one line, where he plays a baseball player advising Owen Wilson on love, made it into the trailer. Also getting props for her impassioned performance as the pregnant secretary is Kathryn Hahn.
If you feel like a romantic comedy this week, see Love and Other Drugs instead, which, I discovered after I wrote the above blog post, David Denby of The New Yorker quite liked (spoiler alert: Denby always gives away a lot in his reviews and this one is combined with Black Swan. Just wait until you've seen both to read the link).
The puns are in abundance, and my favorite is "How do you know when not to spend $11.00 for a movie?" Domineck Lombardozzi, who played Vince's loose-cannon friend Dom on Entourage, must be happy that his one scene with his one line, where he plays a baseball player advising Owen Wilson on love, made it into the trailer. Also getting props for her impassioned performance as the pregnant secretary is Kathryn Hahn.
If you feel like a romantic comedy this week, see Love and Other Drugs instead, which, I discovered after I wrote the above blog post, David Denby of The New Yorker quite liked (spoiler alert: Denby always gives away a lot in his reviews and this one is combined with Black Swan. Just wait until you've seen both to read the link).
Monday, December 13, 2010
Critics' Choice nominations and other winners
As I get time, I'll sort these by movie on my list blog.
NOMINATIONS FOR THE 16th ANNUAL CRITICS’ CHOICE MOVIE AWARDS
BEST PICTURE
127 Hours
Black Swan
The Fighter
Inception
The King’s Speech
The Social Network
The Town
Toy Story 3
True Grit
Winter’s Bone
BEST ACTOR
Jeff Bridges — True Grit
Robert Duvall — Get Low
Jesse Eisenberg — The Social Network
Colin Firth — The King’s Speech
James Franco — 127 Hours
Ryan Gosling — Blue Valentine
BEST ACTRESS
Annette Bening — The Kids Are All Right
Nicole Kidman — Rabbit Hole
Jennifer Lawrence — Winter’s Bone
Natalie Portman — Black Swan
Noomi Rapace — The Girl With the Dragon Tattoo
Michelle Williams — Blue Valentine
BEST SUPPORTING ACTOR
Christian Bale — The Fighter
Andrew Garfield — The Social Network
Jeremy Renner — The Town
Sam Rockwell — Conviction
Mark Ruffalo — The Kids Are All Right
Geoffrey Rush — The King’s Speech
BEST SUPPORTING ACTRESS
Amy Adams — The Fighter
Helena Bonham Carter — The King’s Speech
Mila Kunis — Black Swan
Melissa Leo — The Fighter
Hailee Steinfeld — True Grit
Jacki Weaver — Animal Kingdom
BEST YOUNG ACTOR/ACTRESS
Elle Fanning — Somewhere
Jennifer Lawrence — Winter’s Bone
Chloe Grace Moretz — Let Me In
Chloe Grace Moretz — Kick-Ass
Kodi Smit-McPhee — Let Me In
Hailee Steinfeld — True Grit
BEST ACTING ENSEMBLE
The Fighter
The Kids Are All Right
The King’s Speech
The Social Network
The Town
BEST DIRECTOR
Darren Aronofsky — Black Swan
Danny Boyle — 127 Hours
Joel Coen & Ethan Coen — True Grit
David Fincher — The Social Network
Tom Hooper — The King’s Speech
Christopher Nolan — Inception
BEST ORIGINAL SCREENPLAY
Another Year — Mike Leigh
Black Swan — Mark Heyman and Andres Heinz and John McLaughlin
The Fighter — Scott Silver and Paul Tamasy & Eric Johnson (Story by Keith Dorrington & Paul Tamasy & Eric Johnson)
Inception — Christopher Nolan
The Kids Are All Right — Lisa Cholodenko and Stuart Blumberg
The King’s Speech — David Seidler
BEST ADAPTED SCREENPLAY
127 Hours — Simon Beaufoy and Danny Boyle
The Social Network — Aaron Sorkin
The Town — Ben Affleck, Peter Craig and Sheldon Turner
Toy Story 3 — Michael Arndt (Story by John Lasseter, Andrew Stanton and Lee Unkrich)
True Grit — Joel Coen & Ethan Coen
Winter’s Bone — Debra Granik and Anne Rosellini
BEST CINEMATOGRAPHY
127 Hours — Anthony Dod Mantle
Black Swan — Matthew Libatique
Inception — Wally Pfister
The King’s Speech — Danny Cohen
True Grit — Roger Deakins
BEST ART DIRECTION
Alice in Wonderland — Stefan Dechant
Black Swan — Therese DePrez and Tora Peterson
Inception — Guy Hendrix Dyas
The King’s Speech — Netty Chapman
True Grit — Jess Gonchor and Nancy Haigh
BEST EDITING
127 Hours — Jon Harris
Black Swan — Andrew Weisblum
Inception — Lee Smith
The Social Network — Angus Wall and Kirk Baxter
BEST COSTUME DESIGN
Alice in Wonderland — Colleen Atwood
Black Swan — Amy Westcott
The King’s Speech — Jenny Beavan
True Grit — Mary Zophres
BEST MAKEUP
Alice in Wonderland
Black Swan
Harry Potter and the Deathly Hallows Part 1
True Grit
BEST VISUAL EFFECTS
Alice in Wonderland
Harry Potter and the Deathly Hallows Part 1
Inception
Tron: Legacy
BEST SOUND
127 Hours
Black Swan
Inception
The Social Network
Toy Story 3
BEST ANIMATED FEATURE
Despicable Me
How to Train Your Dragon
The Illusionist
Tangled
Toy Story 3
BEST ACTION MOVIE
Inception
Kick-Ass
Red
The Town
Unstoppable
BEST COMEDY
Cyrus
Date Night
Easy A
Get Him to the Greek
I Love You Phillip Morris
The Other Guys
BEST PICTURE MADE FOR TELEVISION
The Pacific
Temple Grandin
You Don’t Know Jack
BEST FOREIGN LANGUAGE FILM
Biutiful
I Am Love
The Girl with the Dragon Tattoo
BEST DOCUMENTARY FEATURE
Exit Through the Gift Shop
Inside Job
Restrepo
Joan Rivers: A Piece of Work
The Tillman Story
Waiting for Superman
BEST SONG
“I See the Light” — performed by Mandy Moore & Zachary Levi/written by Alan Menken & Glenn Slater — Tangled
“If I Rise” — performed by Dido and A.R. Rahman/music by A.R. Rahman/lyrics by Dido Armstrong and Rollo Armstrong — 127 Hours
“Shine” — performed and written by John Legend — Waiting for Superman
“We Belong Together” — performed and written by Randy Newman — Toy Story 3
“You Haven’t Seen the Last of Me Yet” — performed by Cher/written by Diane Warren — Burlesque
BEST SCORE
Black Swan — Clint Mansell
Inception — Hans Zimmer
The King’s Speech — Alexandre Desplat
The Social Network — Trent Reznor and Atticus Ross
True Grit — Carter Burwell
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LOS ANGELES FILM CRITICS AWARDS - WINNERS
PICTURE: The Social Network; Runner-up: Carlos
DIRECTOR: Olivier Assayas, Carlos, and David Fincher, The Social Network (tie)
ACTOR: Colin Firth, The King’s Speech; Runner-up: Edgar Ramirez, Carlos
ACTRESS: Kim Hye-ja, Mother; Runner-up: Jennifer Lawrence, Winter’s Bone
SUPPORTING ACTOR: Niels Arestrup, A Prophet; Runner-up: Geoffrey Rush, The King’s Speech
SUPPORTING ACTRESS: Jacki Weaver, Animal Kingdom; Runner-up: Olivia Williams, The Ghost Writer
SCREENPLAY: Aaron Sorkin, The Social Network; Runner-up: David Seidler, The King’s Speech
FOREIGN LANGUAGE FILM: Carlos; Runner-up: Mother
ANIMATION: Toy Story 3; Runner-up: The Illusionist
DOCUMENTARY / NON-FICTION FILM: Last Train Home; Runner-up: Exit Through the Gift Shop
CINEMATOGRAPHY: Matthew Libatique, Black Swan; Runner-up: Roger Deakins, True Grit
MUSIC/SCORE: Alexandre Desplat, Winter’s Bone, and Trent Reznor and Atticus Ross, The Social Network (tie)
PRODUCTION DESIGN: Guy Hendrix Dyas, Inception; Runner-up: Eve Stewart, The King’s Speech
NEW GENERATION: Lena Dunham, Tiny Furniture
DOUGLAS E. EDWARDS INDEPENDENT/EXPERIMENTAL FILM/VIDEO: Film Socialism
LEGACY OF CINEMA AWARDS: Serge Bromberg, Henri-Georges Clouzot’s Inferno, and the F.W. Murnau Foundation and Fernando Pena for the restoration of Metropolis
CAREER ACHIEVEMENT: Paul Mazursky
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AMERICAN FILM INSTITUTE - WINNERS
AFI MOVIES OF THE YEAR
Black Swan
The Fighter
Inception
The Kids Are All Right
127 Hours
The Social Network
The Town
Toy Story 3
True Grit
Winter’s Bone
AFI TV PROGRAMS OF THE YEAR
The Big C
Boardwalk Empire
Breaking Bad
Glee
Mad Men
Modern Family
The Pacific
Temple Grandin
30 Rock
The Walking Dead
AFI SPECIAL AWARDS
The King’s Speech
Waiting for Superman
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New York Film Critics Online Awards 2010 - WINNERS
Picture
The Social Network
Actor
James Franco, 127 Hours
Actress
Natalie Portman, Black Swan
Director
David Fincher, The Social Network
Supporting Actor
Christian Bale, The Fighter
Supporting Actress
Melissa Leo, The Fighter
Breakthrough Performer
Noomi Repace, The Girl With The Dragon Tattoo
Debut Director
John Wells, The Company Men
Ensemble Cast
The Kids Are All Right
Screenplay
Aaron Sorkin, The Social Network
Documentary
Exit Through The Gift Shop
Foreign Language
I Am Love
Animated
Toy Story 3
Cinematography
Black Swan
Film Music or Score
Black Swan
NOMINATIONS FOR THE 16th ANNUAL CRITICS’ CHOICE MOVIE AWARDS
BEST PICTURE
127 Hours
Black Swan
The Fighter
Inception
The King’s Speech
The Social Network
The Town
Toy Story 3
True Grit
Winter’s Bone
BEST ACTOR
Jeff Bridges — True Grit
Robert Duvall — Get Low
Jesse Eisenberg — The Social Network
Colin Firth — The King’s Speech
James Franco — 127 Hours
Ryan Gosling — Blue Valentine
BEST ACTRESS
Annette Bening — The Kids Are All Right
Nicole Kidman — Rabbit Hole
Jennifer Lawrence — Winter’s Bone
Natalie Portman — Black Swan
Noomi Rapace — The Girl With the Dragon Tattoo
Michelle Williams — Blue Valentine
BEST SUPPORTING ACTOR
Christian Bale — The Fighter
Andrew Garfield — The Social Network
Jeremy Renner — The Town
Sam Rockwell — Conviction
Mark Ruffalo — The Kids Are All Right
Geoffrey Rush — The King’s Speech
BEST SUPPORTING ACTRESS
Amy Adams — The Fighter
Helena Bonham Carter — The King’s Speech
Mila Kunis — Black Swan
Melissa Leo — The Fighter
Hailee Steinfeld — True Grit
Jacki Weaver — Animal Kingdom
BEST YOUNG ACTOR/ACTRESS
Elle Fanning — Somewhere
Jennifer Lawrence — Winter’s Bone
Chloe Grace Moretz — Let Me In
Chloe Grace Moretz — Kick-Ass
Kodi Smit-McPhee — Let Me In
Hailee Steinfeld — True Grit
BEST ACTING ENSEMBLE
The Fighter
The Kids Are All Right
The King’s Speech
The Social Network
The Town
BEST DIRECTOR
Darren Aronofsky — Black Swan
Danny Boyle — 127 Hours
Joel Coen & Ethan Coen — True Grit
David Fincher — The Social Network
Tom Hooper — The King’s Speech
Christopher Nolan — Inception
BEST ORIGINAL SCREENPLAY
Another Year — Mike Leigh
Black Swan — Mark Heyman and Andres Heinz and John McLaughlin
The Fighter — Scott Silver and Paul Tamasy & Eric Johnson (Story by Keith Dorrington & Paul Tamasy & Eric Johnson)
Inception — Christopher Nolan
The Kids Are All Right — Lisa Cholodenko and Stuart Blumberg
The King’s Speech — David Seidler
BEST ADAPTED SCREENPLAY
127 Hours — Simon Beaufoy and Danny Boyle
The Social Network — Aaron Sorkin
The Town — Ben Affleck, Peter Craig and Sheldon Turner
Toy Story 3 — Michael Arndt (Story by John Lasseter, Andrew Stanton and Lee Unkrich)
True Grit — Joel Coen & Ethan Coen
Winter’s Bone — Debra Granik and Anne Rosellini
BEST CINEMATOGRAPHY
127 Hours — Anthony Dod Mantle
Black Swan — Matthew Libatique
Inception — Wally Pfister
The King’s Speech — Danny Cohen
True Grit — Roger Deakins
BEST ART DIRECTION
Alice in Wonderland — Stefan Dechant
Black Swan — Therese DePrez and Tora Peterson
Inception — Guy Hendrix Dyas
The King’s Speech — Netty Chapman
True Grit — Jess Gonchor and Nancy Haigh
BEST EDITING
127 Hours — Jon Harris
Black Swan — Andrew Weisblum
Inception — Lee Smith
The Social Network — Angus Wall and Kirk Baxter
BEST COSTUME DESIGN
Alice in Wonderland — Colleen Atwood
Black Swan — Amy Westcott
The King’s Speech — Jenny Beavan
True Grit — Mary Zophres
BEST MAKEUP
Alice in Wonderland
Black Swan
Harry Potter and the Deathly Hallows Part 1
True Grit
BEST VISUAL EFFECTS
Alice in Wonderland
Harry Potter and the Deathly Hallows Part 1
Inception
Tron: Legacy
BEST SOUND
127 Hours
Black Swan
Inception
The Social Network
Toy Story 3
BEST ANIMATED FEATURE
Despicable Me
How to Train Your Dragon
The Illusionist
Tangled
Toy Story 3
BEST ACTION MOVIE
Inception
Kick-Ass
Red
The Town
Unstoppable
BEST COMEDY
Cyrus
Date Night
Easy A
Get Him to the Greek
I Love You Phillip Morris
The Other Guys
BEST PICTURE MADE FOR TELEVISION
The Pacific
Temple Grandin
You Don’t Know Jack
BEST FOREIGN LANGUAGE FILM
Biutiful
I Am Love
The Girl with the Dragon Tattoo
BEST DOCUMENTARY FEATURE
Exit Through the Gift Shop
Inside Job
Restrepo
Joan Rivers: A Piece of Work
The Tillman Story
Waiting for Superman
BEST SONG
“I See the Light” — performed by Mandy Moore & Zachary Levi/written by Alan Menken & Glenn Slater — Tangled
“If I Rise” — performed by Dido and A.R. Rahman/music by A.R. Rahman/lyrics by Dido Armstrong and Rollo Armstrong — 127 Hours
“Shine” — performed and written by John Legend — Waiting for Superman
“We Belong Together” — performed and written by Randy Newman — Toy Story 3
“You Haven’t Seen the Last of Me Yet” — performed by Cher/written by Diane Warren — Burlesque
BEST SCORE
Black Swan — Clint Mansell
Inception — Hans Zimmer
The King’s Speech — Alexandre Desplat
The Social Network — Trent Reznor and Atticus Ross
True Grit — Carter Burwell
----------------------------------------
LOS ANGELES FILM CRITICS AWARDS - WINNERS
PICTURE: The Social Network; Runner-up: Carlos
DIRECTOR: Olivier Assayas, Carlos, and David Fincher, The Social Network (tie)
ACTOR: Colin Firth, The King’s Speech; Runner-up: Edgar Ramirez, Carlos
ACTRESS: Kim Hye-ja, Mother; Runner-up: Jennifer Lawrence, Winter’s Bone
SUPPORTING ACTOR: Niels Arestrup, A Prophet; Runner-up: Geoffrey Rush, The King’s Speech
SUPPORTING ACTRESS: Jacki Weaver, Animal Kingdom; Runner-up: Olivia Williams, The Ghost Writer
SCREENPLAY: Aaron Sorkin, The Social Network; Runner-up: David Seidler, The King’s Speech
FOREIGN LANGUAGE FILM: Carlos; Runner-up: Mother
ANIMATION: Toy Story 3; Runner-up: The Illusionist
DOCUMENTARY / NON-FICTION FILM: Last Train Home; Runner-up: Exit Through the Gift Shop
CINEMATOGRAPHY: Matthew Libatique, Black Swan; Runner-up: Roger Deakins, True Grit
MUSIC/SCORE: Alexandre Desplat, Winter’s Bone, and Trent Reznor and Atticus Ross, The Social Network (tie)
PRODUCTION DESIGN: Guy Hendrix Dyas, Inception; Runner-up: Eve Stewart, The King’s Speech
NEW GENERATION: Lena Dunham, Tiny Furniture
DOUGLAS E. EDWARDS INDEPENDENT/EXPERIMENTAL FILM/VIDEO: Film Socialism
LEGACY OF CINEMA AWARDS: Serge Bromberg, Henri-Georges Clouzot’s Inferno, and the F.W. Murnau Foundation and Fernando Pena for the restoration of Metropolis
CAREER ACHIEVEMENT: Paul Mazursky
----------------------------------------
AMERICAN FILM INSTITUTE - WINNERS
AFI MOVIES OF THE YEAR
Black Swan
The Fighter
Inception
The Kids Are All Right
127 Hours
The Social Network
The Town
Toy Story 3
True Grit
Winter’s Bone
AFI TV PROGRAMS OF THE YEAR
The Big C
Boardwalk Empire
Breaking Bad
Glee
Mad Men
Modern Family
The Pacific
Temple Grandin
30 Rock
The Walking Dead
AFI SPECIAL AWARDS
The King’s Speech
Waiting for Superman
----------------------------------------
New York Film Critics Online Awards 2010 - WINNERS
Picture
The Social Network
Actor
James Franco, 127 Hours
Actress
Natalie Portman, Black Swan
Director
David Fincher, The Social Network
Supporting Actor
Christian Bale, The Fighter
Supporting Actress
Melissa Leo, The Fighter
Breakthrough Performer
Noomi Repace, The Girl With The Dragon Tattoo
Debut Director
John Wells, The Company Men
Ensemble Cast
The Kids Are All Right
Screenplay
Aaron Sorkin, The Social Network
Documentary
Exit Through The Gift Shop
Foreign Language
I Am Love
Animated
Toy Story 3
Cinematography
Black Swan
Film Music or Score
Black Swan
Sunday, December 12, 2010
Love and Other Drugs (2010)
This romantic comedy about a charismatic salesman and his prickly girlfriend was poorly reviewed (though audiences liked it better, 61%, than critics, 44%) but we didn't hate it at all. The stars are likeable and production values high (there's a fabulous loft in Pittsburgh). But, though I have nothing against weeping in movies, I didn't, and I was probably supposed to. Despite rottentomatoes' low ratings, it is #5 at the box office now in its third week. Jake Gyllenhaal (I wrote about him in Brothers) as Jamie and Anne Hathaway (I wrote about her in Alice in Wonderland, which came after Rachel Getting Married and Valentine's Day) as Maggie have great chemistry, perhaps honed from their previous, stunted movie relationship in Brokeback Mountain (2005). Plus, boys and girls, you get to see them both naked. Many have compared this to director/co-writer Edward Zwick's (I wrote about his intense work in Defiance) thirtysomething, which also brings to mind his lighter About Last Night... (1986), which I liked a lot. Co-writer/producer Marshall Herskovitz (co-creator of thirtysomething, producer and/or writer on every Zwick title) worked with Zwick and Charles Randolph (The Life of David Gale (2003), The Interpreter (2005)) to adapt Jamie Reidy's memoir Hard Sell: The Evolution of a Viagra Salesman into the script that is undoubtedly the problem for so many reviewers.
Really great supporting cast: Oliver Platt (since I wrote about him in Frost/Nixon he's been in 2012, Please Give, and the cable serieses Bored to Death and The Big C, and when he says the line about "stinky motels," it's as if it was written just for him) as Jamie's partner on the road, Hank Azaria (I love seeing him onscreen, and, though I hated Night at the Museum: Battle of the Smithsonian, I wrote about him there) as one of the doctors, Josh Gad (I watched the now-canceled series Back to You--he was funny in it, and was also in the gambling movie 21 (2008)) as Jamie's chubby, disheveled brother, and entirely not enough of George Segal (Flirting With Disaster (1996), 2012, more) and Jill Clayburgh (Oscar nominated for An Unmarried Woman (1978), which was racy at that time because she walked around in a T-shirt and underpants, and for Starting Over (1979); I also loved Running With Scissors (2006), and much in between) as Jamie's parents. Sadly, Clayburgh died in November and will no doubt be honored at the Oscars in February.
If you have to choose only one movie to see this month, pick something else. But if you go often, you may enjoy this one.
Really great supporting cast: Oliver Platt (since I wrote about him in Frost/Nixon he's been in 2012, Please Give, and the cable serieses Bored to Death and The Big C, and when he says the line about "stinky motels," it's as if it was written just for him) as Jamie's partner on the road, Hank Azaria (I love seeing him onscreen, and, though I hated Night at the Museum: Battle of the Smithsonian, I wrote about him there) as one of the doctors, Josh Gad (I watched the now-canceled series Back to You--he was funny in it, and was also in the gambling movie 21 (2008)) as Jamie's chubby, disheveled brother, and entirely not enough of George Segal (Flirting With Disaster (1996), 2012, more) and Jill Clayburgh (Oscar nominated for An Unmarried Woman (1978), which was racy at that time because she walked around in a T-shirt and underpants, and for Starting Over (1979); I also loved Running With Scissors (2006), and much in between) as Jamie's parents. Sadly, Clayburgh died in November and will no doubt be honored at the Oscars in February.
If you have to choose only one movie to see this month, pick something else. But if you go often, you may enjoy this one.
Life is Beautiful (La vita è bella - 1997)
Richard and I were the only people in America who hadn't seen the sweet story of a clown-like man who falls in love in the 1930s, starts a family, and then pretends to his son that their German death camp is all a game, so Beth and Jack were nice enough to sit through it again last weekend. It's delightful, other than the feeling of dread that pervades the second half. At the time I was afraid to watch a holocaust movie. I don't remember why--I handled Schindler's List (1993) just fine. Roberto Benigni's (hilarious in the first-rate Down By Law (1986), Night on Earth (1991), and Coffee and Cigarettes (2003), among others) father was in a concentration camp, which is what inspired him to write the movie that won him Oscars for Best Actor, Best Music (here's a taste), and Best Foreign Film, which wins caused him to climb over the seats and kiss Martin Scorsese's feet. Benigni is a Chaplin-style comedic actor, with pratfalls and silly costumes. His real-life wife Nicoletta Braschi plays his paramour here, as she often does, and the little boy, Giorgio Cantarini, who plays their son, is adorable. Three years later he played the son in Gladiator, and the actor who played his father, this time Russell Crowe, also won the acting Oscar.
Most of you have probably seen it. But if you haven't, get it. And watch it with the subtitles. The only gag you need to know Italian for is that the word for dwarves (as in Snow White) is minuti, which also means minutes.
Most of you have probably seen it. But if you haven't, get it. And watch it with the subtitles. The only gag you need to know Italian for is that the word for dwarves (as in Snow White) is minuti, which also means minutes.
Tiny Furniture (2010)
Once we got accustomed to the tinny video-like sound, we were captivated by this tiny movie about a narcissistic college grad coming home to live with her mother and sister in TriBeCa. Lena Dunham directs, wrote, and stars as Aura, and her real mother, photographer Laurie Simmons, and sister Grace Dunham play Aura's mom, photographer Siri, and sister Nadine, respectively. The gorgeous book-filled New York apartment is, in fact, the apartment in which Lena and Grace grew up and where Simmons lives now. Lena went to Oberlin in northern Ohio, and Aura repeatedly says she was in college in Ohio, but not in a good way. You'd think she'd give the state a bit more respect. Her character is awkward, overweight, and not afraid of nudity. This movie is not for kids; it has a sex scene that rivals the one in Greenberg for a cringe factor of 8 to Greenberg's 11 on a scale of 10.
One of the co-stars is Merritt Wever (she was in Greenberg, Into the Wild (2007), The Messenger, and more, but is probably best known for the awkward assistant on Studio 60 on the Sunset Strip and awkward nurse Zoey on Nurse Jackie on Showtime), as Aura's friend from college, and she could easily have played this part, except she's got a slim figure under her round face and Lena's unspoken confidence in her curves is important to the character. Simmons is severe and Grace Dunham is lovely, and I do wonder how the movie would have played with more experienced actresses in their parts. However, Jemima Kirke, in her feature debut as Charlotte, is remarkable in her self-described self-entitlement. David Call (he was in a feature called Beautiful Ohio (2006) that I didn't see, and a number of other things) is perfect as the Chef, one of the unsuitable men in Aura's life.
You can read more about the cast and crew and download the original soundtrack on the movie's website (it's good--I'm listening to it now), but I'm glad I went in without having seen the trailer. And the press kit, available on the website, gives away everything. Lena Dunham's first feature, Creative Nonfiction (2009) was 60 minutes long, so I guess it's officially not a feature. I'm looking forward to seeing what she comes up with next. This was, according to the website, shot on a Canon 7D, an HD SLR still/video camera, which may explain the sound. Nonetheless, it's a solid movie with a great script, nominated for three Independent Spirit Awards (Best First Feature, Best First Screenplay, and Best Cinematography by Jody Lee Lipes, who is in a scene as the busboy), and you should see it.
One of the co-stars is Merritt Wever (she was in Greenberg, Into the Wild (2007), The Messenger, and more, but is probably best known for the awkward assistant on Studio 60 on the Sunset Strip and awkward nurse Zoey on Nurse Jackie on Showtime), as Aura's friend from college, and she could easily have played this part, except she's got a slim figure under her round face and Lena's unspoken confidence in her curves is important to the character. Simmons is severe and Grace Dunham is lovely, and I do wonder how the movie would have played with more experienced actresses in their parts. However, Jemima Kirke, in her feature debut as Charlotte, is remarkable in her self-described self-entitlement. David Call (he was in a feature called Beautiful Ohio (2006) that I didn't see, and a number of other things) is perfect as the Chef, one of the unsuitable men in Aura's life.
You can read more about the cast and crew and download the original soundtrack on the movie's website (it's good--I'm listening to it now), but I'm glad I went in without having seen the trailer. And the press kit, available on the website, gives away everything. Lena Dunham's first feature, Creative Nonfiction (2009) was 60 minutes long, so I guess it's officially not a feature. I'm looking forward to seeing what she comes up with next. This was, according to the website, shot on a Canon 7D, an HD SLR still/video camera, which may explain the sound. Nonetheless, it's a solid movie with a great script, nominated for three Independent Spirit Awards (Best First Feature, Best First Screenplay, and Best Cinematography by Jody Lee Lipes, who is in a scene as the busboy), and you should see it.
Saturday, December 11, 2010
127 Hours (2010)
Jack said even the fun parts of this are intense. Adapted from the memoir of extreme sportsman Aron Ralston, it tells his story of getting trapped while hiking alone in Utah and how he escaped. You probably know how, but, if you don't, be warned that there is significant blood involved and I looked away (Jack watched it and was okay afterward) (apparently many people have been so affected by that scene late in the movie--I tried to remember when, but you'll know when it starts--that a few needed "medical attention"). That said, it's still a good movie, and has 9 Satellite Awards nominations as well as 4 from the Washington DC Film Critics, with many more to come, I predict. One can't help but compare it to Into the Wild (2007), another tale of a young man on a quest for adventure. That one was wonderful and sad, too, but won't cause you to cover your eyes in horror.
Director Danny Boyle (I loved the twisted Shallow Grave (1994) and Trainspotting (1996), as well as the scary 28 Days Later... (2002), the sunny Millions, and the unclassifiable Slumdog Millionaire, which won him a directing Oscar) adapted the screenplay with his Slumdog Millionaire Oscar-winning writer Simon Beaufoy (whose first feature screenplay was The Full Monty (1997), a fun must-see which got him an Oscar nomination, and later he wrote Miss Pettigrew Lives for a Day, which I also loved, and others).
Though plenty of good actors are in the credits--including Kate Mara (I wrote about her in happythankyoumoreplease), Amber Tamblyn (The Sisterhood of the Traveling Pants (2005 and 08), plenty of TV, including Dr. House's latest team member), Treat Williams (my faves from his long resumé are Hair (1979), The Pursuit of D.B. Cooper (1981), Things to Do in Denver When You're Dead (1995), and Mulholland Falls (1996)), Kate Burton (Richard's daughter by Sybil Williams, played Meredith Grey's mom in Grey's Anatomy and much more), Lizzy Caplan (4 episodes of Freaks and Geeks, "Janis Ian" in Mean Girls (2004), and the love interest in Hot Tub Time Machine) who doesn't even have a line as the future version of Aron's little sister, and Clémence Poésy (In Bruges (2008), among others; I have never watched Gossip Girl) who does, as Aron's blonde girlfriend with the accent--most of the screen time goes to the multi-talented James Franco who can play good, evil, achiever, slacker, fun guy, worst friend, bad boyfriend, gay, straight, hunk, loser, you name it (I've written about him in Milk, Date Night, Eat Pray Love, and Howl).
The cinematography by Anthony Dod Mantle (Oscar winner for Slumdog, also shot 28 Days Later..., The Last King of Scotland (2006), more) and Enrique Chediak (some that I liked: A Home at the End of the World (2004), Down in the Valley (2005), and 28 Weeks Later (2007), which was the sequel to 28 days Later... with no recurring cast or crew) is bright and compelling, as is the music by A.R. Rahman (Elizabeth: The Golden Age (2007), Oscar winner for Slumdog, and over 100 titles in India) plus a few extra tracks. The movie opens with crowd scenes of marathons beginning and people doing the wave and reminded us a little of Slumdog. It ends with shots of the real Aron after the ordeal. Twelfth at the box office last week, this movie has a very high 93% on rottentomatoes. So, go ahead. Just cover your eyes after the really loud CRACK noise.
Director Danny Boyle (I loved the twisted Shallow Grave (1994) and Trainspotting (1996), as well as the scary 28 Days Later... (2002), the sunny Millions, and the unclassifiable Slumdog Millionaire, which won him a directing Oscar) adapted the screenplay with his Slumdog Millionaire Oscar-winning writer Simon Beaufoy (whose first feature screenplay was The Full Monty (1997), a fun must-see which got him an Oscar nomination, and later he wrote Miss Pettigrew Lives for a Day, which I also loved, and others).
Though plenty of good actors are in the credits--including Kate Mara (I wrote about her in happythankyoumoreplease), Amber Tamblyn (The Sisterhood of the Traveling Pants (2005 and 08), plenty of TV, including Dr. House's latest team member), Treat Williams (my faves from his long resumé are Hair (1979), The Pursuit of D.B. Cooper (1981), Things to Do in Denver When You're Dead (1995), and Mulholland Falls (1996)), Kate Burton (Richard's daughter by Sybil Williams, played Meredith Grey's mom in Grey's Anatomy and much more), Lizzy Caplan (4 episodes of Freaks and Geeks, "Janis Ian" in Mean Girls (2004), and the love interest in Hot Tub Time Machine) who doesn't even have a line as the future version of Aron's little sister, and Clémence Poésy (In Bruges (2008), among others; I have never watched Gossip Girl) who does, as Aron's blonde girlfriend with the accent--most of the screen time goes to the multi-talented James Franco who can play good, evil, achiever, slacker, fun guy, worst friend, bad boyfriend, gay, straight, hunk, loser, you name it (I've written about him in Milk, Date Night, Eat Pray Love, and Howl).
The cinematography by Anthony Dod Mantle (Oscar winner for Slumdog, also shot 28 Days Later..., The Last King of Scotland (2006), more) and Enrique Chediak (some that I liked: A Home at the End of the World (2004), Down in the Valley (2005), and 28 Weeks Later (2007), which was the sequel to 28 days Later... with no recurring cast or crew) is bright and compelling, as is the music by A.R. Rahman (Elizabeth: The Golden Age (2007), Oscar winner for Slumdog, and over 100 titles in India) plus a few extra tracks. The movie opens with crowd scenes of marathons beginning and people doing the wave and reminded us a little of Slumdog. It ends with shots of the real Aron after the ordeal. Twelfth at the box office last week, this movie has a very high 93% on rottentomatoes. So, go ahead. Just cover your eyes after the really loud CRACK noise.
Tuesday, December 7, 2010
Unstoppable (2010)
We knew what it was about and what was going to happen, but still enjoyed the whole thrilling tale of a runaway train pulling toxic chemicals speeding toward a populated city. Directed by Ridley's brother Tony Scott and edited tightly down to the bare essentials, it kept hearts pounding with each new danger as it was presented. I really did appreciate the editing, and not just because I was acquainted with prolific co-editor Chris Lebenzon in my early years in Los Angeles.
Scott (Top Gun (1986), True Romance (1993), Enemy of the State (1998), and others not seen by me) works with a script by Mark Bomback, who adapted it from a real incident that actually happened in northern Ohio (here's the true story). In the movie it all takes place in Pennsylvania, though there are goofs in terminology (the imdb list has spoilers), for example, the newspeople refer to Northern or Southern Pennsylvania, when locals would say Southeastern, Northwestern, etc. The "target" is the fictional town of Stanton, and the exterior shooting locations were in Pennsylvania, Ohio, upstate New York, and West Virginia.
Denzel Washington (Oscars for Glory (1989) and Training Day (2001), nominations for Cry Freedom (1987), Malcolm X (1992), and The Hurricane (1999), I also liked him in St. Elsewhere, Mo' Better Blues (1990), He Got Game (1998), and Inside Man (2006), the latter three directed by Spike Lee, American Gangster (2007) by Ridley Scott, and the two he directed himself: Antwone Fisher (2002) and The Great Debaters (2007)) plays Everyman with a big heart and big other parts (i.e. courage). You may like this long clip from his recent appearance on David Letterman (Jack and I did--he talks about some of the stunts, among many things, starting at about 10 minutes--you might want to wait til you've seen the movie to watch the end of the clip). His wingman in this movie is Chris Pine (Bottle Shock, Star Trek), who also is more than just a pretty face. The pretty face here is the hard-working Rosario Dawson (co-starred with Denzel in He Got Game, plus good performances in, among others, Ed Burns' Sidewalks of New York (2001), Men in Black II (2002), 25th Hour (2002), Shattered Glass (2003), and, of course, Rent (2005)) who plays the hard-working yardmaster Connie.
One of the so-called goofs is Connie's scrunchy moving from wrist to wrist, but she put that thing in her hair and took it out every couple of minutes under stress, so who could keep track? The ever-amusing Ethan Supplee (My Name is Earl's dumb brother Randy) plays the doofus who lets the train go in the first place, and Kevin Corrigan (after I wrote about him in Big Fan, he was in Please Give) finally gets some respect, after playing lots of losers, as an intellectual safety inspector with lots of facts stored in his curly-topped head.
We also enjoyed the action-packed music by Harry Gregson-Williams (The Town), who has earned one of this movie's Satellite Award nominations (along with editors Lebenzon and Robert Duffy, cinematographer Ben Seresin, and the sound and visual effects teams) given by the International Press Academy. Here is my running list of nominations sorted by movie.
This is a popcorn movie through and through, so don't expect great art. That said, it's loads of fun, fourth at the box office now, with an 86% rating by critics and 79% by audiences on rottentomatoes. And anyone who loves trains and wishes to have more passenger rail opportunities will love it.
Scott (Top Gun (1986), True Romance (1993), Enemy of the State (1998), and others not seen by me) works with a script by Mark Bomback, who adapted it from a real incident that actually happened in northern Ohio (here's the true story). In the movie it all takes place in Pennsylvania, though there are goofs in terminology (the imdb list has spoilers), for example, the newspeople refer to Northern or Southern Pennsylvania, when locals would say Southeastern, Northwestern, etc. The "target" is the fictional town of Stanton, and the exterior shooting locations were in Pennsylvania, Ohio, upstate New York, and West Virginia.
Denzel Washington (Oscars for Glory (1989) and Training Day (2001), nominations for Cry Freedom (1987), Malcolm X (1992), and The Hurricane (1999), I also liked him in St. Elsewhere, Mo' Better Blues (1990), He Got Game (1998), and Inside Man (2006), the latter three directed by Spike Lee, American Gangster (2007) by Ridley Scott, and the two he directed himself: Antwone Fisher (2002) and The Great Debaters (2007)) plays Everyman with a big heart and big other parts (i.e. courage). You may like this long clip from his recent appearance on David Letterman (Jack and I did--he talks about some of the stunts, among many things, starting at about 10 minutes--you might want to wait til you've seen the movie to watch the end of the clip). His wingman in this movie is Chris Pine (Bottle Shock, Star Trek), who also is more than just a pretty face. The pretty face here is the hard-working Rosario Dawson (co-starred with Denzel in He Got Game, plus good performances in, among others, Ed Burns' Sidewalks of New York (2001), Men in Black II (2002), 25th Hour (2002), Shattered Glass (2003), and, of course, Rent (2005)) who plays the hard-working yardmaster Connie.
One of the so-called goofs is Connie's scrunchy moving from wrist to wrist, but she put that thing in her hair and took it out every couple of minutes under stress, so who could keep track? The ever-amusing Ethan Supplee (My Name is Earl's dumb brother Randy) plays the doofus who lets the train go in the first place, and Kevin Corrigan (after I wrote about him in Big Fan, he was in Please Give) finally gets some respect, after playing lots of losers, as an intellectual safety inspector with lots of facts stored in his curly-topped head.
We also enjoyed the action-packed music by Harry Gregson-Williams (The Town), who has earned one of this movie's Satellite Award nominations (along with editors Lebenzon and Robert Duffy, cinematographer Ben Seresin, and the sound and visual effects teams) given by the International Press Academy. Here is my running list of nominations sorted by movie.
This is a popcorn movie through and through, so don't expect great art. That said, it's loads of fun, fourth at the box office now, with an 86% rating by critics and 79% by audiences on rottentomatoes. And anyone who loves trains and wishes to have more passenger rail opportunities will love it.
Fair Game (2010)
Based on memoirs by outed CIA agent Valerie Plame and her husband Ambassador Joe Wilson, this is engaging and suspenseful, even if we know how it's going to end. Naomi Watts and Sean Penn show how smart, passionate people can blend their love of family with challenging international careers...until everything gets fubar. Watts (after I wrote about her in Mother and Child, which may get her another nomination, she was in You Will Meet a Tall Dark Stranger) is less glamorous than usual here, as would be expected of a hard working mother of elementary school age twins, but is still lovely and in great shape (I liked her wardrobe, too). She is also a good choice to play the attractive Plame (here's a photo of them together). I last wrote about Penn in Milk, which won him a second Oscar and a fifth nomination. He's terrific in this, as is the huge and varied supporting cast. Director Doug Liman (Swingers (1996), Go (1999), The Bourne Identity (2002 - and producer of the other two Bournes), Mr. and Mrs. Smith (2005), and Jumper (2008)) keeps the pace moving fast in the script adapted by brothers Jez and John-Henry Butterworth.
Though the Washington Post published an editorial stating that the movie plays fast and loose with the facts, Plame, who was photographed on the set, stands by it. Roger Ebert agrees with it (no spoilers) and 80% of critics and 72% of viewers liked it (on rottentomatoes). Jack and I did, too.
There are various letters highlighted in yellow in the credits. I tried to figure out if they spelled anything, but couldn't do it. I suspect if it really is a code, as imdb says it is, the letters are jumbled and/or it's something we'll have to wait for the DVD to crack it. The music, by the prolific John Powell (I wrote about him in How to Train Your Dragon), is exciting and perfect for the pictures on the screen.
Sorry I'm so behind in my blogging, and that I didn't go into the rest of the cast in detail. I've either got a mild cold or am going to get the awful one I was exposed to 10 days ago. Speaking of sick, here's a warning to my fellow motion-picture-motion-sickness (MPMS) sufferers: there's a lot of jerky hand-held camera work by Liman (who hasn't photographed a movie since Go). About halfway through I started wondering what I had had for lunch that was making me feel so awful. By the time I was semi-horizontal across two seats, I realized it was the MPMS and had to shut my eyes repeatedly. The good news is that the hand-held shots are interspersed with stationary ones so I could peek and see when it was safe to watch. I'm going to start a list of these hazardous MPMS titles and I invite you to submit suggestions for the list, as well as suggestions for a cure!
Though the Washington Post published an editorial stating that the movie plays fast and loose with the facts, Plame, who was photographed on the set, stands by it. Roger Ebert agrees with it (no spoilers) and 80% of critics and 72% of viewers liked it (on rottentomatoes). Jack and I did, too.
There are various letters highlighted in yellow in the credits. I tried to figure out if they spelled anything, but couldn't do it. I suspect if it really is a code, as imdb says it is, the letters are jumbled and/or it's something we'll have to wait for the DVD to crack it. The music, by the prolific John Powell (I wrote about him in How to Train Your Dragon), is exciting and perfect for the pictures on the screen.
Sorry I'm so behind in my blogging, and that I didn't go into the rest of the cast in detail. I've either got a mild cold or am going to get the awful one I was exposed to 10 days ago. Speaking of sick, here's a warning to my fellow motion-picture-motion-sickness (MPMS) sufferers: there's a lot of jerky hand-held camera work by Liman (who hasn't photographed a movie since Go). About halfway through I started wondering what I had had for lunch that was making me feel so awful. By the time I was semi-horizontal across two seats, I realized it was the MPMS and had to shut my eyes repeatedly. The good news is that the hand-held shots are interspersed with stationary ones so I could peek and see when it was safe to watch. I'm going to start a list of these hazardous MPMS titles and I invite you to submit suggestions for the list, as well as suggestions for a cure!
Monday, December 6, 2010
Motion-Picture-Motion-Sickness (MPMS) movies
If certain movies make you nauseated when there's a lot of handheld camera work, you are part of this group that includes me. Please post a comment if you think of any I've omitted from the list and especially if you have found a cure or preventative measure (other than walking out). I move to the back of the theatre when I start to feel bad. Lately I've found it also helps to just look away from the screen, at the wall or the floor, from time to time. At least I have learned not to blame my last meal.
Also known as Visually Induced Motion Sickness and now officially recognized by the New York Times in this article.
Watching these on a small screen should be less of a problem for us. Any movie title with a live link refers to my summary elsewhere in the blog.
10 Cloverfield Lane (2016) Sit in the back for the occasional jumpy camera moves.
1917 (2019) Sit in the back and/or medicate.
'71 (2014) Look away from time to time when the camera operator is obviously running.
All Is Lost (2013) Sit far back, look away occasionally.
American Factory (2019) The hand-held camera operators do a lot of walking. Sit far back, even at home.
American Honey (2016) Sit way back, look away occasionally, or wait for the DVD.
American Made (2017) Medicate or wait for home video.
At Eternity's Gate (2018) Sit as far back as you can, medicate, and look away from time to time.
Beasts of the Southern Wild (2012) Sit as far back as possible, bring meds if you have them, and look away from time to time. It's extremely jumpy.
The Biggest Little Farm (2018) Occasional use of hand held devices may make you uncomfortable. Take your medication in advance.
The Blair Witch Project (1999) I haven't seen it but Wikipedia cites it as a strong MPMS inducer.
Birdman or (The Unexpected Virtue of Ignorance) (2014) Sit back. The camera calms down when the characters aren't on the move.
Biutiful (2010) Sitting halfway back made it okay.
Blue Is the Warmest Color (La vie d'Adéle - 2013) Sit in the last row and look away occasionally.
Blue Valentine (2010) Because I was warned, I sat in the back and was okay.
The Brothers Grimsby (2016) If you can stand the raunchy, explicit sex jokes, pick a seat in the back row.
Bully (2011) Sit as far back as possible and look away when you can.
Captain America: The Winter Soldier (2014) Sit far back.
Captain Phillips (2013) One of the worst yet. If MPMS is your problem, wait for the DVD.
Celeste and Jesse Forever (2012) You'll be fine watching the DVD.
Chappie (2015) Sit in the back row, look away occasionally, take meds, watch it at home if you must.
Creative Control (2015) Not too bad. Sit in the back.
Destroyer (2018) May occasionally trigger MPMS so don't sit too close.
Detroit (2017) The camera operators frequently run after the cast. Sit as far back as you can and medicate if possible.
The Disappearance of Eleanor Rigby: Them (2014) The occurrences end quickly.
The Disaster Artist (2017) Sit far back.
District 9 (2009) I'm adding this five years after its release and you'll be fine watching it on a DVD if you don't sit too close.
The Do-Deca-Pentathalon (2012) Sit near the back.
Don't Change the Subject (2012) Sit at least halfway back or watch it on a small screen.
Don't Think Twice (2016) We sat in the last row and I was fine but some scenes use a not-so-steadicam.
Elysium (2013) Sit as far back as possible and look at the wall or exit sign occasionally.
End of Watch (2012) Sit back, look over at the wall from time to time, or pause your disc to get a beverage.
Fair Game (2010) Sit far back!
Final Portrait (2017) Sit far back for occasional bursts.
First Man (2018) Sit as far back as you can, take meds if you have any, and look away from time to time.
Fish Tank (2009) Sit at least halfway back.
The Florida Project (2017) Pre-medicate, sit far back and look away from time to time.
Fruitvale Station (2013) Sit as far back as you can, or watch it on DVD.
Future Weather (2012) Not too bad but there are some instances of jumpy handheld camera moves.
Gifted (2017) Sitting in the back will be fine. The hand-held camera sequences are short.
Gravity (2013) Sit near the back and beware of super-loud music at the beginning and end.
Guy and Madeline on a Park Bench (2009) Move back from your screen or skip it altogether.
Also known as Visually Induced Motion Sickness and now officially recognized by the New York Times in this article.
Watching these on a small screen should be less of a problem for us. Any movie title with a live link refers to my summary elsewhere in the blog.
10 Cloverfield Lane (2016) Sit in the back for the occasional jumpy camera moves.
1917 (2019) Sit in the back and/or medicate.
'71 (2014) Look away from time to time when the camera operator is obviously running.
All Is Lost (2013) Sit far back, look away occasionally.
American Factory (2019) The hand-held camera operators do a lot of walking. Sit far back, even at home.
American Honey (2016) Sit way back, look away occasionally, or wait for the DVD.
American Made (2017) Medicate or wait for home video.
At Eternity's Gate (2018) Sit as far back as you can, medicate, and look away from time to time.
Beasts of the Southern Wild (2012) Sit as far back as possible, bring meds if you have them, and look away from time to time. It's extremely jumpy.
The Biggest Little Farm (2018) Occasional use of hand held devices may make you uncomfortable. Take your medication in advance.
The Blair Witch Project (1999) I haven't seen it but Wikipedia cites it as a strong MPMS inducer.
Birdman or (The Unexpected Virtue of Ignorance) (2014) Sit back. The camera calms down when the characters aren't on the move.
Biutiful (2010) Sitting halfway back made it okay.
Blue Is the Warmest Color (La vie d'Adéle - 2013) Sit in the last row and look away occasionally.
Blue Valentine (2010) Because I was warned, I sat in the back and was okay.
The Brothers Grimsby (2016) If you can stand the raunchy, explicit sex jokes, pick a seat in the back row.
Bully (2011) Sit as far back as possible and look away when you can.
Captain America: The Winter Soldier (2014) Sit far back.
Captain Phillips (2013) One of the worst yet. If MPMS is your problem, wait for the DVD.
Celeste and Jesse Forever (2012) You'll be fine watching the DVD.
Chappie (2015) Sit in the back row, look away occasionally, take meds, watch it at home if you must.
Creative Control (2015) Not too bad. Sit in the back.
Destroyer (2018) May occasionally trigger MPMS so don't sit too close.
Detroit (2017) The camera operators frequently run after the cast. Sit as far back as you can and medicate if possible.
The Disappearance of Eleanor Rigby: Them (2014) The occurrences end quickly.
The Disaster Artist (2017) Sit far back.
District 9 (2009) I'm adding this five years after its release and you'll be fine watching it on a DVD if you don't sit too close.
The Do-Deca-Pentathalon (2012) Sit near the back.
Don't Change the Subject (2012) Sit at least halfway back or watch it on a small screen.
Don't Think Twice (2016) We sat in the last row and I was fine but some scenes use a not-so-steadicam.
Elysium (2013) Sit as far back as possible and look at the wall or exit sign occasionally.
End of Watch (2012) Sit back, look over at the wall from time to time, or pause your disc to get a beverage.
Fair Game (2010) Sit far back!
Final Portrait (2017) Sit far back for occasional bursts.
First Man (2018) Sit as far back as you can, take meds if you have any, and look away from time to time.
Fish Tank (2009) Sit at least halfway back.
The Florida Project (2017) Pre-medicate, sit far back and look away from time to time.
Fruitvale Station (2013) Sit as far back as you can, or watch it on DVD.
Future Weather (2012) Not too bad but there are some instances of jumpy handheld camera moves.
Gifted (2017) Sitting in the back will be fine. The hand-held camera sequences are short.
Gravity (2013) Sit near the back and beware of super-loud music at the beginning and end.
Guy and Madeline on a Park Bench (2009) Move back from your screen or skip it altogether.
Holler (2020) Move back from your screen.
How to Talk to Girls at Parties (2017) Don't sit close.
Husbands and Wives (1992) I wasn't warned and it was difficult to watch.
I, Tonya (2017) Sit in the back and/or medicate.
Icarus (2017) Don't sit too close to your screen.
The Impossible (Lo impossible - 2012) Sit far back and you should be okay.
In Darkness (2011) Sit near the back, but don't worry, the jerky camera movements don't go on the whole time.
Interstellar (2014) Spaceships hurtling through black holes, trucks hurtling through dust storms. 'Nuff said. Sit in the back and look away when you need to.
Jeff, Who Lives at Home (2011) Sit far back.
La La Land (2016) Sit in the last row.
Life of Pi (2012) Sit far back.
Limitless (2011) Sit at least halfway back.
Lion (2016) Sit as far back as you can.
Look at Us Now, Mother! (2015) Full of home movies, it would make you sick if you watched it in a theatre. But it's available only on DVD now, so you'll be okay.
Melancholia (2011) Sit as far back as you can, perhaps in another room (we didn't like it one bit).
Mid90s (2018) The camera doesn't swing too often but it will go wild from time to time.
Moonlight (2016) Sit far back and look away when the cameraman starts running without his steadicam.
Nightcrawler (2014) Sit in the last row, take meds, and look away occasionally.
Pariah (2011) Sit as far back as possible.
Patti Cake$ (2017) Medicate, sit far back, look away from time to time.
The Perfect Storm (2000) (I didn't see it).
How to Talk to Girls at Parties (2017) Don't sit close.
Husbands and Wives (1992) I wasn't warned and it was difficult to watch.
I, Tonya (2017) Sit in the back and/or medicate.
Icarus (2017) Don't sit too close to your screen.
The Impossible (Lo impossible - 2012) Sit far back and you should be okay.
In Darkness (2011) Sit near the back, but don't worry, the jerky camera movements don't go on the whole time.
Interstellar (2014) Spaceships hurtling through black holes, trucks hurtling through dust storms. 'Nuff said. Sit in the back and look away when you need to.
Jeff, Who Lives at Home (2011) Sit far back.
La La Land (2016) Sit in the last row.
Life of Pi (2012) Sit far back.
Limitless (2011) Sit at least halfway back.
Lion (2016) Sit as far back as you can.
Look at Us Now, Mother! (2015) Full of home movies, it would make you sick if you watched it in a theatre. But it's available only on DVD now, so you'll be okay.
Melancholia (2011) Sit as far back as you can, perhaps in another room (we didn't like it one bit).
Mid90s (2018) The camera doesn't swing too often but it will go wild from time to time.
Moonlight (2016) Sit far back and look away when the cameraman starts running without his steadicam.
Nightcrawler (2014) Sit in the last row, take meds, and look away occasionally.
Pariah (2011) Sit as far back as possible.
Patti Cake$ (2017) Medicate, sit far back, look away from time to time.
The Perfect Storm (2000) (I didn't see it).
Pig (2021) I watched it at home and wasn't bothered but more sensitive folks might need to put a chair behind the couch.
The Place Beyond the Pines (2012) Sit at least halfway back and look away during the motorcycle chases.
POM Wonderful Presents: The Greatest Movie Ever Sold (2011) Sit at least halfway back.
Prince Avalanche (2013) Look at the wall when the camera starts bouncing.
Queen of Katwe (2016) Sit in the back. I wasn't bothered but it may have been because I frequently looked at the closed caption device.
Rachel Getting Married (2008) Sit all the way back and bring medication. This movie is the inspiration for this MPMS list--the first on the blog to make me sick.
Snowden (2016) Sit in the back row and be prepared for the occasional bursts of shaky camera movements.
Song to Song (2017) Sit in the very last row and medicate as well as you can.
Starlet (2012) If you can find it on DVD, it won't be a problem to watch.
Suffragette (2015) Sitting in the last row, I still had to look away from time to time, especially near the end.
Tangerine (2015) Sit as far back as you can. I actually felt sick watching it in my home theatre but was able to move farther away from the screen.
Toni Erdmann (2016) Sit in the back and keep your eyes on the subtitles when the camera starts swinging.
The Tree of Life (2011) Sit far back. Leave the room during the parts I didn't like.
Vice (2018) I may have unfairly put this on the list so sit in the back to be safe.
We the Animals (2018) Even at home, don't sit too close to the screen.
Whiplash (2014) Sit in the back for the occasional bursts of wildness.
Wonderstruck (2017) Sit far back and, if you must watch it at home, make sure the room is very dark or you won't be able to make out what's on the screen.
You Were Never Really Here (2017) Don't sit too close to the TV.
Zero Dark Thirty (2012) Sit far back.
The Place Beyond the Pines (2012) Sit at least halfway back and look away during the motorcycle chases.
POM Wonderful Presents: The Greatest Movie Ever Sold (2011) Sit at least halfway back.
Prince Avalanche (2013) Look at the wall when the camera starts bouncing.
Queen of Katwe (2016) Sit in the back. I wasn't bothered but it may have been because I frequently looked at the closed caption device.
Rachel Getting Married (2008) Sit all the way back and bring medication. This movie is the inspiration for this MPMS list--the first on the blog to make me sick.
Snowden (2016) Sit in the back row and be prepared for the occasional bursts of shaky camera movements.
Song to Song (2017) Sit in the very last row and medicate as well as you can.
Starlet (2012) If you can find it on DVD, it won't be a problem to watch.
Suffragette (2015) Sitting in the last row, I still had to look away from time to time, especially near the end.
Tangerine (2015) Sit as far back as you can. I actually felt sick watching it in my home theatre but was able to move farther away from the screen.
Toni Erdmann (2016) Sit in the back and keep your eyes on the subtitles when the camera starts swinging.
The Tree of Life (2011) Sit far back. Leave the room during the parts I didn't like.
Vice (2018) I may have unfairly put this on the list so sit in the back to be safe.
We the Animals (2018) Even at home, don't sit too close to the screen.
Whiplash (2014) Sit in the back for the occasional bursts of wildness.
Wonderstruck (2017) Sit far back and, if you must watch it at home, make sure the room is very dark or you won't be able to make out what's on the screen.
You Were Never Really Here (2017) Don't sit too close to the TV.
Zero Dark Thirty (2012) Sit far back.
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