Taking On 2012: Supporting Actresses

It is finally time to begin putting the finishing touches on 2012. After looking at the best video games, albums, and TV shows, it's time to turn an eye to the world of cinema. Though there are still a few major releases I haven't had a chance to see because of release schedule (namely Amour and Zero Dark Thirty) I don't really want to push this off too much longer and get bogged down in 2012 when 2013 is already happening. So with that how about we take a look at the best supporting actresses of the past year!

This Hell I'm Living

Les Misérables (Hooper, 2012)

The musical has kind of been on life support for a while. Yeah, I hear it is thriving in Bollywood to an extent, but even Disney has strayed from full on musicals in favor of more 'traditional' narratives in recent years. Sure every so often one may pop up (though it does kind of feel like forever since Nine hit the scene as the last major musical), but none seem to have come with the same type of fanfare or excitement attached to Tom Hooper's adaptation of Les Misérables. As one of the most beloved musicals of all time (or so I'm told), the Academy Award winning best director attempts to bring a bombastic sense of this sprawling tale of injustice and revolution to the big screen. Yet, following up the middling The Damned United and the irritating The King's Speech with such revered material leaves me wondering if Hooper has bitten off more than he can chew.

Living On A Lighted Stage Approaches The Unreal

Holy Motors (Carax, 2012)

Continuing my paltry coverage of the Philadelphia Film Festival, I want to take a bit of time to write about one of the craziest theatrical experiences I have had in quite some time. Specifically, it all happened when I sat down to watch Holy Motors, the audacious new (mostly French) film from Leos Carax. Much like Beyond The Hills this one generated heaps of positive buzz at Cannes earlier in the year despite not coming away with any of the major awards. But unlike the relatively straightforward, though still complex, Beyond The Hills, one cannot as easily describe all the intricacies and surprises on display in Holy Motors, and I wouldn't want it any other way.

Taking On 2012: Top Albums (Q3 Quarterly Review)

Albums, albums, albums! While the year is not yet over, it has truly been a fantastic year for full fledged musical works of artistry. So much so that when composing my list for this Quarterly Review, even compared to the first and second, selecting just ten albums was damned difficult. Unlike with songs, there are so many factors to consider when deciding what constitutes a great album. And while there are a number of entries that continue to linger, the new additions may very well move up as the year starts to close.

I Know Your Anger. I Know Your Dreams.

The Master (Anderson, 2012)

Growing up I remember that every so often in English class we would do a unit on speeches. Generally it was tied in with Martin Luther King Jr.'s famous "I Have A Dream Speech," though there were others that tended to be used as well. Actually when I was student teaching and even when I was co-teaching I used speeches as a focal point of lessons. These master orators have, even before the technology existed to record what was being said, had their words preserved for generations to heed. Somewhere, buried beneath these moments in time, is a theoretical common spring of humanity that allows them to remain relevant. But is this timelessness locatable? Is it even true?

If you read my most recent Top 97, you would notice that sitting atop that list is Paul Thomas Anderson's 2007 masterpiece There Will Be Blood. As such, it was with great anticipation that I approached The Master, a fictional re-imagining of the Scientology movement coupled with the journey of a returned WWII veteran who finds himself wrapped up in this movement's early days. But, as tends to be the case with Paul Thomas Anderson's films, it's rarely just about what's on the surface.

He Went To Get The Hanging Judge, But The Hanging Judge Was Drunk

Lawless (Hillcoat, 2012)

Criminal behavior has always been a source of inspiration for the cinematic well for many years. Some of the most beloved contemporary films focus on gangsters and lawbreakers. So when you tell me that John Hillcoat, director of The Proposition and The Road, is making a movie taking place in early 1900's Virginia with a star studded cast of critical darlings (and Shia LaBeouf) one would expect the results to be great. But sometimes when approaching the wrong side of the law, as we do in the aptly titled Lawless, there's the chance that all the thrills can come at the expense of engaging characters or relationships. So does Hillcoat construct a beautiful tapestry of criminal redemption or does he deliver little more than wasted potential?

Forward Thinking: Music (Fall 2012)

As the big fall releases start to pile up I think, as a means of prepping before the final series of Quarterly Reviews start being compiled and posted before the year end awards are given, it's useful to start looking ahead to what the fall has to offer. As such, welcome to what I hope will be a new series that pops up every few months around Processed Grass where I survey the landscape so to speak. Take a look at what is on the horizon. What releases I will be buzzing about by year's end, what looks interesting, what to monitor. And since 2012 has been such a fantastic year for music I figure that it's best to start there by looking at my five most anticipated releases for the rest of the year.

Remember When We Had Them All On The Run?

Moonrise Kingdom (Anderson, 2012)

I never went to summer camp. I don't know if that makes me an outlier to the quintessential American experience, but growing up I never spent a day of summer at a day camp. Looking back I'm not entirely sure what I missed, but the romantic notions that I have associated with what occurs at camp (thanks in no small part to Salute Your Shorts) have always left me wondering what would have changed if some of my summers were spent in this idealized wonderland of quasi-freedom. Now of course I'm sure no camp is anywhere close to how I imagine, but I think what draws me to it is the fictionalized allure of sorting out all the strange feelings of approaching maturity with boys and girls who were all on the precipice of adolescence. And it's this feeling, one that permeates throughout the whole of Wes Anderson's latest film Moonrise Kingdom, that makes my imaginary sanctuary a semi-tangible reality. This almost fairy tale that is underscored by so much painful reality, an escape that forces confrontation of truth.

Let This Whole Town Hear Your Knuckles Crack

Dark Shadows (Burton, 2012)

In many ways I grew up loving the films of Tim Burton and he holds the most spots of any director in my personal Top 97 Greatest Films, so much so that all the recent attacks on him regarding his recycling and rehashing of material, no matter how illogical, unfounded, or simply talking-point-surface-level-dismissals without much credibility tend to bother me. They bothered me so much so that after seeing Alice in Wonderland in IMAX, a film that I found enjoyable but severely underwhelming considering that it followed up what I consider to be Burton's best film in Sweeney Todd and in comparison to his entire filmography, I wondered if some of these attacks were not entirely off point.

And then the trailer for his latest (of two 2012 releases) film Dark Shadows hit the internet a few months ago and I became worried. It all started out excellently, recalling Sweeney Todd, but then it indulged in comedy while "Season of the Witch" played loudly and I was puzzled. The jokes were lazy, the premise seemed thin, and it just left a sour taste. I should probably mention that I have no experience with the original 1960's 1,000+ episode series. Either way, as I walked in to the theater, I was afraid. Perhaps this was the turning point, perhaps Burton really has lost his way. Or perhaps, just maybe, I was fooled by another misleading trailer.

Every Superhero Need His Theme Music

Marvel's The Avengers (Whedon, 2012)

Only once have I attempted writing an extended fiction piece. It was a silly story that I hardly remember, but it was kind of playing on the idea of all the small events in a town that built toward some larger story in a Winesburg, Ohio kind of way. I kept losing track of the connections and eventually gave up, so when thinking about how Joss Whedon's Marvel's The Avengers attempts to fit together so many individual parts I can't help but be impressed by how much of it feels seamless. Sure there have been minor film crossovers, most notably Tony Stark showing up for a brief appearance in The Incredible Hulk or Nick Fury basically having his hands in every franchise film at some point. But often when all the pieces are assembled the result can easily feel inauthentic. For the most part Whedon's blockbuster gives all the heroes enough of a reason to join forces aside from the obvious "we would like to make money" mantra of Hollywood popcorn movies. All of the character groundwork has been, theoretically, set up, and Marvel's The Avengers is able to act like a grand sequel, but the thing about sequels is that many of them feel redundant, so how exactly does Whedon navigate this problem?

Taking On 2012: Top Tracks (Q1 Quarterly Review)

Where has the time gone? Down the critical drain, no doubt. And now that the time is no more it is time to begin the listing. Start the counting down. Organizing strategies. As it was written last year, it shall be written again. And again after that, until the future shuts us down and the electricity flows no more through these wires.

There has certainly been music this year, and some of it has even been pretty good. Of course some of it has been pretty bad too, but that's kind of the trade off, I imagine. But what's so great about music is, like a killer sammy from the local sub shop, you can pick and choose all the meats that make it in to the final product. And, naturally, kick the bad ones to the curb. I'm talking to you, mayonnaise!

So don't expect to find any mayo here, just straight up heaters. And you can even click on the links where possible to jam out on your own. I'm in your head.

People Don't Live Or Die, People Just Float

Jeff, Who Lives At Home (Duplass and Duplass, 2012)

Mark and Jay Duplass, brothers behind Cyrus, Baghead, and The Puffy Chair, continue to expand the definition of mumblecore with their latest film Jeff, Who Lives At Home. While it would be easy to describe this movie as a tale of a slacker who attempts to find his place in the world, what the Duplass brothers do with this film is so much more expansive because of the way they build upon the concept of a genre they helped popularize. Existing between the realms of drama and comedy their latest creation is more concerned with the humanity than it is with laughs, but it also willingly paints with the broadest of strokes in order to further reach for the universal. But by doing this I couldn't help but wonder if the shift of focus from the nuanced examination of relationships that have defined previous Duplass brothers films would be needlessly sacrificed for a more sprawling affair.

Smash Cuts: The Secret World Of Arrietty

The Secret World Of Arrietty (Yonebayashi, 2012)

Cultures clash, worlds collide, while the trivial takes on the weight of the universe. Assuming it has a weight and we all aren't just floating along. But perhaps we do float along, movies carry us away into these worlds where the magic becomes real. Where we can forget the grim reality lurking in the backdrop. Our rats are only possible threats, we worry for naught when there are adventures to be shared. Or perhaps just borrowed. It's hard to gaze upon the foreign without interacting, for the imagination to build up a reality that just cannot be true, but these moments of hesitation are truly the ones that reveal who we really are, the fleeting glimpses stretched out until the reality is washed away by the dream.