Oscar Predictions - Zero Hour

Actor in a Leading Role

1. Colin Firth in “The King's Speech”
2. James Franco in “127 Hours”

3. Jeff Bridges in “True Grit”
4. Jesse Eisenberg in “The Social Network”
5. Javier Bardem in “Biutiful”

Actor in a Supporting Role

1. Christian Bale in “The Fighter”
2. Geoffrey Rush in “The King's Speech”

3. John Hawkes in “Winter's Bone”
4. Mark Ruffalo in “The Kids Are All Right”
5. Jeremy Renner in “The Town”

Actress in a Leading Role

1. Natalie Portman in “Black Swan”

2. Annette Bening in “The Kids Are All Right”
3. Jennifer Lawrence in “Winter's Bone”
4. Nicole Kidman in “Rabbit Hole”
5. Michelle Williams in “Blue Valentine”

Actress in a Supporting Role

1. Hailee Steinfeld in “True Grit”
2. Melissa Leo in “The Fighter”

3. Jacki Weaver in “Animal Kingdom”
4. Helena Bonham Carter in “The King's Speech”
5. Amy Adams in “The Fighter”

Animated Feature Film

1. “Toy Story 3” Lee Unkrich
2. “The Illusionist” Sylvain Chomet

3. “How to Train Your Dragon” Chris Sanders and Dean DeBlois

Art Direction

1. “Alice in Wonderland”
Production Design: Robert Stromberg; Set Decoration: Karen O'Hara
2. “The King's Speech”
Production Design: Eve Stewart; Set Decoration: Judy Farr

3. “Inception”
Production Design: Guy Hendrix Dyas; Set Decoration: Larry Dias and Doug Mowat

4. “Harry Potter and the Deathly Hallows Part 1”
Production Design: Stuart Craig; Set Decoration: Stephenie McMillan
5. “True Grit”
Production Design: Jess Gonchor; Set Decoration: Nancy Haigh

Cinematography
1. “True Grit” Roger Deakins
2. “Black Swan” Matthew Libatique
3. “The Social Network” Jeff Cronenweth
4. “The King's Speech” Danny Cohen
5. “Inception” Wally Pfister

Costume Design

1. “The King's Speech” Jenny Beavan

2. “Alice in Wonderland” Colleen Atwood

3. “The Tempest” Sandy Powell

4. “I Am Love” Antonella Cannarozzi
5. “True Grit” Mary Zophres

Directing

1. “The King's Speech” Tom Hooper

2. “The Social Network” David Fincher

3. “Black Swan” Darren Aronofsky
4. “True Grit” Joel Coen and Ethan Coen

5. “The Fighter” David O. Russell

Documentary (Feature)

1. “Inside Job” Charles Ferguson and Audrey Marrs

2. “Restrepo” Tim Hetherington and Sebastian Junger
3. “Gasland” Josh Fox and Trish Adlesic
4. “Exit through the Gift Shop” Banksy and Jaimie D'Cruz
5. “Waste Land” Lucy Walker and Angus Aynsley

Documentary (Short Subject)

1. “Killing in the Name” Jed Rothstein

2. “Strangers No More” Karen Goodman and Kirk Simon

3. “Poster Girl” Sara Nesson and Mitchell W. Block
4. “Sun Come Up” Jennifer Redfearn and Tim Metzger
5. “The Warriors of Qiugang” Ruby Yang and Thomas Lennon

Film Editing

1. “The Social Network” Angus Wall and Kirk Baxter

3. “The King's Speech” Tariq Anwar

2. “Black Swan” Andrew Weisblum
4. “127 Hours” Jon Harris

5. “The Fighter” Pamela Martin

Foreign Language Film

1. “Incendies” Canada
2. “In a Better World” Denmark
3. “Outside the Law (Hors-la-loi)” Algeria
4. “Biutiful” Mexico
5. “Dogtooth” Greece

Makeup

1. “Barney's Version” Adrien Morot
2. “The Wolfman” Rick Baker and Dave Elsey

3. “The Way Back” Edouard F. Henriques, Gregory Funk and Yolanda Toussieng

Music (Original Score)

1. “The King's Speech” Alexandre Desplat

2. “The Social Network” Trent Reznor and Atticus Ross
3. “Inception” Hans Zimmer

4. “127 Hours” A.R. Rahman
5. “How to Train Your Dragon” John Powell

Music (Original Song)

1. “We Belong Together” from “Toy Story 3" Music and Lyric by Randy Newman
2. “If I Rise” from “127 Hours” Music by A.R. Rahman Lyric by Dido and Rollo Armstrong
3. “Coming Home” from “Country Strong” Music and Lyric by Tom Douglas, Troy Verges and Hillary Lindsey
4. “I See the Light” from “Tangled” Music by Alan Menken Lyric by Glenn Slater

Best Picture

1. “The King's Speech” Iain Canning, Emile Sherman and Gareth Unwin, Producers
2. “The Social Network” Scott Rudin, Dana Brunetti, Michael De Luca and Ceán Chaffin,

3. “Black Swan” Mike Medavoy, Brian Oliver and Scott Franklin, Producers
4. “True Grit” Scott Rudin, Ethan Coen and Joel Coen, Producers

5. “The Fighter” David Hoberman, Todd Lieberman and Mark Wahlberg, Producers
6. “Inception” Emma Thomas and Christopher Nolan, Producers
7. “Toy Story 3” Darla K. Anderson, Producer

8. “The Kids Are All Right” Gary Gilbert, Jeffrey Levy-Hinte and Celine Rattray, Producers
9. “127 Hours” Christian Colson, Danny Boyle and John Smithson, Producers
Producers
10 “Winter's Bone" Anne Rosellini and Alix Madigan-Yorkin, Producers

Short Film (Animated)

1. “Day & Night” Teddy Newton

2. “The Gruffalo” Jakob Schuh and Max Lang
3. “Let's Pollute” Geefwee Boedoe

4. “The Lost Thing” Shaun Tan and Andrew Ruhemann
5. “Madagascar, carnet de voyage (Madagascar, a Journey Diary)” Bastien Dubois

Short Film (Live Action)

1. “Na Wewe” Ivan Goldschmidt

2. “God of Love” Luke Matheny
3. “The Crush” Michael Creagh
4. “The Confession” Tanel Toom
5. “Wish 143” Ian Barnes and Samantha Waite

Sound Editing

1. “Inception” Richard King
2. “Tron: Legacy” Gwendolyn Yates Whittle and Addison Michael Silvers
3. “Unstoppable” Mark P. Stoeckinger Teague
4. “True Grit” Skip Lievsay and Craig Berkey
5. “Toy Story 3” Tom Myers and

Sound Mixing

1. “Inception” Lora Hirschberg, Gary A. Rizzo and Ed Novick
2. “The Social Network” Ren Klyce, David Parker, Michael Semanick and Mark Weingarten

3. “The King's Speech” Paul Hamblin, Martin Jensen and John Midgley

4. “True Grit” Skip Lievsay, Craig Berkey, Greg Orloff and Peter F. Kurland

5. “Salt” Jeffrey J. Haboush, Greg P. Russell, Scott Millan and William Sarokin

Visual Effects

1. “Inception” Paul Franklin, Chris Corbould, Andrew Lockley and Peter Bebb

2. “Alice in Wonderland” Ken Ralston, David Schaub, Carey Villegas and Sean Phillips

3. “Hereafter” Michael Owens, Bryan Grill, Stephan Trojansky and Joe Farrell
4. “Harry Potter and the Deathly Hallows Part 1” Tim Burke, John Richardson, Christian Manz and Nicolas Aithadi
5 “Iron Man 2” Janek Sirrs, Ben Snow, Ged Wright and Daniel Sudick

Writing (Adapted Screenplay)

1. “The Social Network” Screenplay by Aaron Sorkin

2. “True Grit” Written for the screen by Joel Coen & Ethan Coen

3. “Toy Story 3” Screenplay by Michael Arndt; Story by John Lasseter, Andrew Stanton and Lee Unkrich
4. “127 Hours” Screenplay by Danny Boyle & Simon Beaufoy
5. “Winter's Bone” Adapted for the screen by Debra Granik & Anne Rosellini

Writing (Original Screenplay)

1. “The King's Speech” Screenplay by David Seidler
2. “Inception” Written by Christopher Nolan
3. “The Kids Are All Right” Written by Lisa Cholodenko & Stuart Blumberg

4. “The Fighter” Screenplay by Scott Silver and Paul Tamasy & Eric Johnson;
Story by Keith Dorrington & Paul Tamasy & Eric Johnson
5. “Another Year” Written by Mike Leigh

And Don't Go Mistaking Paradise For That Home Across The Road

The Sunset Limited (Jones, 2011)

Cormac McCarthy is, in all likelihood, the English language's best writer. At the very least he competes for the title. Lately cinema has latched on to McCarthy's works: the Coen's adapted No Country for Old Men, John Hillcoat brought The Road to life, James Franco is lobbying to helm a screen version of Blood Meridian; however, Tommy Lee Jones may, with The Sunset Limited, be the first to dip in to McCarthy's rather lean dramatic output in an attempt to bring the revered writer's works 'alive.' If movies have proven one thing time and time again it is that simply drawing inspiration from a rich source does not always yield a fruitful harvest, so in adapting one of McCarthy's denser, and much less critically hailed texts, Jones arguably has a much greater challenge than any of the aforementioned directors. The 'action' of The Road does not exist, the comedy of the Coens is not here, and whatever Franco has in mind for a book deemed unfilmable may or may not be present. And even without those qualities, Tommy Lee Jones delivers an adaptation that deserves to be mentioned alongside the best adaptation of the great novelist's works.

Clocking in at a meager 90 minutes, The Sunset Limited plays out as one long scene involving a conversation between the two main characters, Black and White. White, a professor, is saved by Black when he attempts to jump in front of the Sunset Limited train. Black brings him back to his nearly barren apartment in the ghettos of New York City to make sure that White does not attempt to kill himself again, supposedly. The situation is seemingly mundane, so Tommy Lee Jones and Samuel L. Jackson need to bring life to White and Black, respectively, in order to sustain a lofty premise. Both of the actors are firing on all cylinders, but the two are aided even further by the wonderful script. I am not incredibly well versed in McCarthy's works, only having read two or three, but The Sunset Limited stands out as McCarthy at his most philosophic. What appears to be a simple conversation in an apartment becomes a cataclysmic encounter of ideologies, theological and philosophical perspectives being placed together in a room and simply existing. I was not surprised to hear that McCarthy was on set quite often during filming, helping the actors and making sure his script remained almost completely unchanged from the original play.


Jones's The Sunset Limited is, much like the source material, an examination of binaries in relation to the world in which we live. What I find compelling is the dramatic construction of the film, we start out dividing these characters down to their most basic traits. Then the film goes deeper, bypassing race and starting to examine the economic gaps between the two men. White attempts to thank Black by offering him $1000, but he says that sum is minor and ups it to $3000. And it only continues to build until the movie is no longer about two men in an apartment, it becomes two forces in the universe. The film makes it rather apparent that neither of the entities are going to be forced from their position, in fact the struggles they are locked in are so entrenched in the human condition that anything other than the one testing the other seems impossible. What becomes fascinating is not just the way the two men square off, surprisingly on equal ground all things considered, but how they interact, come close to mingling, to co-existing, the hope that they, or rather we, can find reach an understanding, if not a balance. The Sunset Limited is not an exercise in ideology, it is a decathlon in existence.

Essentially, The Sunset Limited is far more dense than a simple review can cover. If I offer interpretations of the themes I would be more or less be exposing my outlooks on life. If the film has a prevalent theme it can be found in the unsolvable of the world and the resolve of humans to continue, one way or another, along the life in which we are trapped. Or given. Perhaps we are too entrenched in society to ever completely let go, or perhaps we simply tethered to a past that guides our future. This film, oddly, is most similar to the work of Sasha Baron Cohen, existing in an odd space that is capable, perhaps more than many other films, what we really know about ourselves. Borat asks the viewer to watch others and judge, but it also asks us to acknowledge how we perceive the world, by presenting constantly opposing forces, but examining them, The Sunset Limited asks us to do the same. It may be scary, it may be frightening, uplifting, depressing, too intense to handle, but with The Sunset Limited we can learn, we can discovery, we can be.


If any complaints can be levied against the movie it would have to be in the technical manner the film is constructed. Tommy Lee Jones simply does not have a camera that can keep up with the rapid exchanges between Black and White, but it also never actively gets in the way either, so it is more pedestrian than anything. At the very least it does not get in the way of the wonderful script, which is more than can be said of the score. While the score itself is beautiful, blending traditional music with the sounds of trains in the distance, it's sparring use is meant to draw attention to the more important monologues in the film; instead, by coming in so heavily and not really existing in any other context the score is simply distracting. This aspect simply seems odd, especially when all of the natural sound does enhance the script by serving as background noise that adds a sense of dread to White's more fervent speeches. Two missteps, one incredibly minor, but large enough to hold the film back from elevating it from a great adaptation to a great film.


And when it comes down to it The Sunset Limited is an outstanding adaptation anchored by a stunning script and two top notch actors giving top notch performances. The best parts of the play are captured in the film without losing any of the aspects that still makes it feel theatrical. This movie is challenging because I love McCarthy's play so much, because the ideas at the heart of the script are so appealing, I almost feel as if saying I love the film is a cop-out. So I will not profess my love for the film, because technically the aspects of the movie that film allows are its weakest parts. What I will say is that Tommy Lee Jones captures the spirit of one of the language's greatest writers and arguably makes a damn fine film in the process.

Comments are encouraged and, for anyone with a literary mind, I encourage checking out my poetry blog filled with all original works for your reading pleasure.

Also I am on the old Twitter thing so I guess you can follow me at twitter.com/FLYmeatwad.

Though His Mind Is Not For Rent, Don't Put Him Down As Arrogant

MacGruber (Taccone, 2010)

Saturday Night Live has lately been in a state of flux, hovering between relevance and trite for the past few years, perhaps even longer. The current crop of comedians have found successes, albeit small ones, by filling bit roles in semi-successful comedies. And then there's Andy Samberg, a man who is probably better left undiscussed. The point is that, even in the subjective world of comedy, the current Saturday Night Live crowd barely carries the weight of a The Ladies Man, much less The Blues Brothers. However, this contextualizing, I would argue, is in all likelihood irrelevant when discussing the latest SNL skit turned film. When it comes down to it, MacGruber is just damn hysterical.

MacGruber is a standard action comedy that follows the titular protagonist, portrayed by the insanely charismatic Will Forte (seriously, just the way he contorts his face is insane), as he attempts to prevent a stolen nuclear missile from being used to threaten the lives of innocent Americans. Lost to the world for ten years MacGruber retreated to Ecuador, but when the opportunity to take down the man who killed his wife, Cunth, presents itself he returns to the front lines for some throat ripping action. In his return to the States he is partnered, unwillingly, with a rookie prodigy, Lt. Piper, and former teammate, Vicki St. Elmo. The three attempt to work their way through Cunth's dream team of killers in order to stop the nuclear threat, and along the way we watch MacGruber deal with the loss of his fiance in an attempt to reconcile his past.


To be honest the plot is basically lifted out of any Sylvester Stallone film, and for the most part MacGruber does little to challenge the construction of these higher concept action movies. Where this film succeeds is found in the integration of the comedy in to the hyper-serious action genre. While most of the other actors play their roles perfectly straight, Forte puts in an over the top turn as MacGruber to create a tension that elevates the comedy beyond simple sight gags and one liners. MacGruber walks a fine line between action and comedy, rarely tipping the scales in any one direction for very long. The jokes are self aware, they are over-the-top, and for the most part they are insane and completely unrealistic, but in the world the film creates they are also believable. The action film is a genre that mostly exists in absurdity, MacGruber embraces this quality a presses the boundaries between absurdity and believability to create a comedy that is bold, if not a bit uneven.

Even in the comedic construction the film is structured like an action film, moving quickly and rapidly from one set piece to another with little time to breathe between any of them. But the set pieces are not the usual explosions and car chases; instead, we are given Kristen Wiig being talked through a coffee shop in a misguided attempt to pass herself off as MacGruber. Or we get Forte assembling his crack team of killer killers. Along with more surprising jokes that are better experienced in the film than through my review, if only for the shock value of the larger gags. Despite these situations all being presented as set pieces none of them feel disconnected from the larger narrative either, keeping the film from feeling like a series of mini-skits inside of an elongated sketch.

I can easily see MacGruber as an alienating experience, the comedy achieves a quality of mindlessness and wit practically at the same time which makes watching the film confusing and aimless at times. It is also a comedy, which means that if you are not on board with its comedic sensibilities there are few aspects beyond the jokes and the technical construction of the film to latch on to, for the most part the film is devoid of subtext. However, even if most of the laughs do not land I have a hard time calling MacGruber a bad film. Much like the character itself the content is presented with a boldness matched only by MacGruber himself, and it is hard to get down on such a display of self assuredness.

Comments are encouraged and, for anyone with a literary mind, I encourage checking out my poetry blog filled with all original works for your reading pleasure.

Also I am on the old Twitter thing so I guess you can follow me at twitter.com/FLYmeatwad.

11 for 11: Most Anticipated Films of 2011

Here is the challenge, friends, I am going to look from February until December and pick one film, just one, that I want to see more than any others that month. I'll tell you why. We'll get through the doldrums, we'll make the tough choices when there are so many films in the summer and during Awards season 2011, we'll chop these films together. The current year has a plethora of directors returning to the big screen after a couple of years off, some more, some less. Either way, 2011 is the year to be excited for cinema. Let's start the journey.

February

Justin Bieber: Never Say Never

It has been a couple of years since the Jonas Brothers 3D Concert extravaganza launched, and despite not really being a fan of Justin Bieber (not being a fan did not impede my seeing the Miley Cyrus or the JoBro's docs) this 3D exploration of the making of an icon seems like the best February has to offer. I am not going in expecting to be blown away by Bieber's musical prowess, but like the other teen star films before it there is an interesting layer of cultural awareness that can be gleaned from what non-concert footage the film offers. That is my hope anyway. We live in a world where youtube breeds celebrities, hopefully the film explores this idea, or a similar one. Also, I want to hear "Baby" and "Runaway Love" on the best speakers possible.

Honorable Mentions: Poetry, Drive Angry 3D, Cedar Rapids

March

Paul

Greg Mottola is responsible for two of my favorite films of all time, Superbad and Adventureland, so by this point in his career I am willing to check out whatever he directs. When he directs a film that stars Simon Pegg, Nick Frost, and Seth Rogen, and also boasts cameos from Jason Bateman, Kristen Wiig, Bill Hader, Jane Lynch, Jeffery Tambor, and others then you instantly vault to the top of my must see list. Comedy is a tough genre to nail and the trailers for this film have not been stellar, but Mottola's other films were not always notable because they were packed with one liners, they are remarkable films because of how well each joke is set up and pays off, how he gets the best performances from his actors, because of Tommy Frigo! We are not alone, we are in Mottola's hands now.

Honorable Mentions: Jane Eyre, Miral, The Beaver

April

Meek's Cutoff

Outside of this being Kelly Reichardt's follow up to Wendy and Lucy, and also starring Michelle Williams, I do not know much about this period piece. It played at the New York Film Festival a few months back, but I was not able to make that trip. This month is loaded with heavy hitting directors (David Gordon Green, Duncan Jones, Wes Craven), but Reichardt easily takes the most anticipated crown. The world needs more female directors, especially when they consistently turn out top notch products. Really I need nothing more than the promise of more Reichardt and Williams to make this the most exciting trip down the Oregon Trail since the PC days.

Honorable Mentions: Source Code, Your Highness, Scream 4, 13 Assassins

May

The Tree of Life

Terrence Malick makes a film about once every ten years. This is that film. The trailer gives me chills. I have no idea what this film will be about. I don't need to know. Right now I am still not entirely convinced that this film is going to come out in May, as its release earlier in the month has already been pushed, and the director, the actors, and the trailer do not scream May film, they scream Oscar film, but lets say this does not get pushed back to Awards Season, lets say it comes out on time. Malick delivers fantastic visual experiences and beautifully honest portrayals of whatever experience he decides to take on. I have only seen Days of Heaven, a fantastic film, and The Thin Red Line, a perfectly crafted film that I dislike, but I imagine neither of these at home experiences will compare to seeing what he does on the big screen. All. That. Wheat.

Honorable Mentions: Pirates 4? (Penelope, what are you doing?), There Be Dragons, if Malick's film doesn't come out May looks pretty dismal.

June

Super 8

I don't care for J.J. Abrams' films. I don't like Spielberg's films. The trailers for this film look terrible. It will probably be a big, dumb, hollow, action film, which I tend to despise. X-Men: First Class is infinitely more exciting on almost every level. However, after giving the second, possibly first, best performance of 2010 I will literally see any film that Elle Fanning has a role in, and Super 8 fits that bill. Plenty of people are excited for this one, I'm sure, and I guess I should be, but whatever. Go Team Elle!

Honorable Mentions: X-Men: First Class, The Green Lantern, Cars 2

July

Winnie the Pooh

This film is Disney doing another hand drawn animated film. Now I didn't fall in love with The Princess and the Frog, but these are characters I know and its a story that I plan on reading prior to the film. From what I hear this collection of brand new vignettes into Pooh's Hundred Acre Wood more closely follows the actual stories that spawned the Disney character, and those stories are apparently packed with emotion. Beautiful emotion. The emotion that Pixar tries to capture, but tends to only artificially recreate. I did not really grow up with Winnie the Pooh, but the first film was a part of my childhood and I would be doing myself a disservice if this did not occupy this month's slot. Besides, imagination! Who doesn't love imagination!

Honorable Mentions: Transformers: the Dark of the Moon, Harry Potter and the Deathly Hallows: Part 2, Friends with Benefits

August

The Sitter

The next few months are going to mostly be guesses for me based on the pedigree of cast and directors. As such, David Gordon Green makes the list again with what is apparently a(nother) comedy anchored by a couple performers I love. Jonah Hill and Sam Rockwell are the names that stick out in this cast, and while that dynamic does not seem as promising as the Franco/McBride combination of Your Highness I have hopes that all the talent will not be squandered. Besides, it's David Gordon Green. And Same Rockwell. And Jonah Hill. What do they all have in common? They are all brilliant minds who have found success in both comedy and drama, so the hope that Gordon Green attempts to blend all that together has me ready for my month of birth to roll around even quicker.

Honorable Mentions: 30 Minutes or Less, Spy Kids 4, and two films with awesome titles: The Skank Robbers, 5nal Destination

September

Dream House

Jim Sheridan is not one of the most famous filmmakers working today, and that may very well work to his advantage. With a resume that boasts films like In America, Brothers, and Get Rich or Die Trying Sheridan has compiled a startlingly full filmography. Daniel Craig is not one of my favorite actors, but when you have a man like Sheridan behind the camera it likely does not matter. I just hope there are some child actors, no one gets performances out of child actors quite like Jim Sheridan.

Honorable Mentions: Moneyball, Piranha 3DD, Abduction

October

Contagion

Matt Damon, Jude Law, Kate Winslet, Marion Cotillard, Gwyneth Paltrow, Larry Fishburne. With a cast like that what more do you need? Oh yes, you need Steven Soderbergh. Such a combination is almost unfair. Add in the fact that this may very well be the last film that Soderbergh ever directs and I promise I will be in the theater the day this film opens.

Honorable Mentions: WanderLust, The Big Year

November

The Muppets

Jason Segal has been talking up with remake since he got involved. At this point in time I do not know exactly what the film will be about, but I can say that Segal will bring a passion to a franchise that has existed without passion for many years. It also helps that, for the most part, November is a rather lackluster month considering the time of the year. Still, take the slot anyway you can get it, Jason.

Honorable Mentions: Immortals (though in retrospect this should have gotten the slot), The Twilight Saga: Breaking Dawn Part 1

December

Hugo Cabret

I have been an outspoken defender of the potential power of 3-D in the cinema, when used properly. While many studios have not heeded my words, evidently my sway on the other coast is not huge, it almost does not matter when you have one of cinema's most beloved storytellers bringing his own unique touch to the technology. All you have to do to make sure I'm in a theater is tell me that a film is directed by Martin Scorsese, but then you also add in Sasha Baron Cohen, Ben Kingsley, Michael Stuhlbarg, Ray Winstone, Christopher Lee, and Jude Law on top of the promise of Marty taking on 3-D and I am ready to order tickets to a midnight showing. After last year's amazing Shutter Island and 2006's beautiful The Departed I can easily say I am a massive fan of new-Scorsese, and I have high hopes that Hugo Cabret will be another feather in the prolific filmmaker's theoretical hat. It takes a lot to beat out Cameron Crowe and Elle Fanning teaming up, or David Fincher's follow up to The Social Network, but this film does just that.

Honorable Mentions: The Girl With the Dragon Tattoo, We Bought a Zoo, Mission Impossible: Ghost Protocol, The Adventures of Tin Tin, War Horse, New Year's Eve

And to top off the list some potential 2011 releases currently without release dates:

Skins: Apparently focused on Generation 2, the film version of the UK series also will connect to Generation 1 in some way as wikipedia says that Dev Patel and Nicholas Hoult will make appearances. I am still going through the series, but I hope this gets a US release by the end of the year.

Twixt Now and Sunrise: Hey, Elle Fanning was fantastic with Sophia Coppola, why should she be anything else with Francis Ford Coppola?

Uncle Boonme Who Can Recall His Past Lives: This should be released in 2011, right?

Restless: Gus Van Sant made a film, it should be fantastic.

Homework/What's Wrong With Virgina/Emma Roberts: You don't hold the title of Best Actress Under 35 and not make this list each year.

Monte Carlo: It's Selena Gomez, she was great in films last year, is should not stop in 2011

The Suite Life On Deck: The Movie: This show is ending, and I am sad.

LOL/So Undercover: Miley Cyrus is a talented enough actress, I wish her success, so I will support her films.

The Lucky One: imdb says Zac Efron is also in New Year's Eve, which may mean Marty does have a run for his money.

Cave of Forgotten Dreams: Werner Herzog making a documentary about caves...in 3-D! What more do you want?

There are other films I am forgetting. What are you looking forward to? What did I forget? Let me know in comments!

Rich

Comments are encouraged and, for anyone with a literary mind, I encourage checking out my poetry blog filled with all original works for your reading pleasure.

Also I am on the old Twitter thing so I guess you can follow me at twitter.com/FLYmeatwad.

Consolidation Post

So I switched over to wordpress for a few months, but I really prefer the blogger interface. This post simply consolidates all my work from the past few months into one post. Just click the links. All future posts will be made here.

Restrepo Review

Oscar Predictions

The Illusionist Review

Best Video Games of 2010

Changing of the Guard: The End of Disney's Latest Golden Age

The Green Hornet Review

Best Lead Performance 2010

Best Supporting Performances 2010

TRON: Legacy Review

Best Songs of 2010

Best Albums 2010

The Social Network Review

Animal Kingdom Review

The Last Song Review

Satoshi Kon Tribute

Red Review

Music in Movies

Twelve Review

Top 97 Films (Take 2)

I've Liked You For A Thousand Years. I Can't Wait Until I See You.

Scott Pilgrim vs. the World (Wright, 2010)

In the past few years the Hollywood interest in comic book films has continued to crescendo with huge critical and financial successes such as the Spiderman, Iron Man, and Batman franchises. Aside from being overly saturated by testosterone, such hits have lined summers with blockbuster after blockbuster by sticking to a generic story telling structure of origin stories and world threatening conflict to provide enough action to coerce the adrenaline to come out and frolic. But top tier names are only so plentiful, so the surge in comic book popularity led to various graphic novels getting translations to the silver screen in the form of Watchmen, Sin City, and most recently Kick-Ass. These films focus heavily on action, but the visual flourishes in these films are much more prominent and distinctly separate them form the larger hyped films. So when a director whose claim to fame is his astounding ability to deftly blend genres tackles a film that asks him to combine the entertainment of high action sequences with the charm of a niche graphic novel when I reach a killscreen am I going to want to press continue?

Edgar Wright's follow up to Hot Fuzz details the life of titular protagonist Scott Pilgrim as he literally fights for the love of Ramona Flowers whilst seeking success with his band Sex Bob-Omb. So, naturally, the film is an action film, correct? Well, not exactly. Edgar Wright makes comedies, and Scott Pilgrim vs. the World is stuffed to the brim with more big laughs and subtle touches than I have had the pleasure of seeing since Superbad. But the film, it's certainly not a comedy, as the central relationship is far too much of a driving force. So essentially Scott Pilgrim is a video game meets a graphic novel makes love to a comedy spawns a romance and genetically engineers an action film, donning a musical thong. So I can naturally expect this film to have tonal inconsistencies, but Wright avoids this incredibly common pitfall by keeping the film moving at such a rapid pace, and really packing each and every frame with such a completely realized vision that it never has time to stray from the mood set from the opening Universal logo.

What I notice in this film, and even in Wright's former films, is exactly how much care is placed in every shot. Each use of pixelation, each blur, every censor, all the logos and the outfits, they all establish the world so perfectly. The visual aesthetic works wonderfully with the editing and other visual flairs of the film which include segments that play out at graphic novels and other forms of visual media. But what stands out the most on a visual level is the jaw dropping fight sequences. Each one plays out so differently and allows Wright to showcase a range of film making techniques and styles that synthesize action with comedy and even with music when the script calls for more flashy fights. The more time I have to sit with these sequences and really consider how visually intensive the scenes are, while still maintaining a delightfully charming low budget look.

And of course there's the soundtrack. Anchored by Beck and Broken Social Scene serving a stand ins for Sex Bob-Omb and Crash and the Boys, respectively, the variety of sounds are an absolute delight while still feeling natural and unforced in the context of the film. But not only do the songs serve the overall tone of the film, they also enhance the action, and they enhance the comedy. Rarely have songs ever felt so integrally tied to a film that is not a musical. I suppose the easy comparison to make is to the score in I Am Love, despite the shift in intensity and purpose, the film is elevated incredibly by the use of a very specific type of music employed in a simply masterful manner. But even above the soundtrack is the film's score, a string of wonderful compositions littered with signature video game sounds that play lightly in the background of many scenes. These effect creates such a wonderfully engulfing mood that I found myself completely sucked in every moment of this ride.

However, despite my gushing so far the film is certainly not without its flaws. While the film runs at a neat, and incredibly quick, two hours, I did get the feeling that a complete story is not entirely present. Now I am aware that the film is based on pre-existing source material, so I was able to fill in a few of the holes, but even with this background knowledge I did not find myself incredibly invested in all of the plot lines. Wright juggles so many characters that I was not surprised to see some catch the short end of the stick, but the Kim character is treated as such a removed character that one of the emotional pay offs does not work much at all. Perhaps having her not be important is meant to show the distance between her and Scott though, which does add up but still does not make the plot nearly as satisfying as many of the other threads running throughout the film. The movie needs room to breathe, to completely bring life to all of these characters, and to better reinforce the intensity of the central romance. These aspects are not the strongest, but one of the strengths in O'Malley's series of graphic novels is in the ability to insert quietly beautiful meditations on love amidst the action, and the film does capture the occasionally sickeningly, yet always infectious, feelings of human connection near perfectly.

Another aspect of the comic that is captured in the film, and can stand alone without reading any of the graphic novels, is the character of Scott Pilgrim. Scott is meant to be sympathetic, but we are also asked to realize that Scott is both ignorant to the world around him and as a result kind of a self centered dick. Cera brings this sense to the character wonderfully, combined of course with Wright's inventive way of conveying to the audience how exactly Scott's mind if working. As a viewer I do not always condone Scott's actions, but I can understand them, and the commentary on the illogical human mind is wonderfully woven in to the film, as well as the idea of a society that promotes such behavior. Of course these qualities all rely on the right type of delivery and Michael Cera further cements his status as the best comedic actor of all time by perfectly delivering Scott's lines and conveying his disconnect with his environment. For much of the film Cera does stick with his comfort zone, and the film does really benefit from him doing so, but he does also have big scenes in the action sequences and he further proves his ability to be legitimate 'actor,' depending on one's definition of the art form. Scott is not the drastic change that the Dillinger character is in Youth in Revolt, but not only is he in top form in this film, his ability to work with the fight choreography, both on the ass kicking and ass kicked ends, is simply stunning and further sells what are likely the most enjoyable action sequences I have ever seen.

The film's diverse cast also boasts a ton of other talented actors, but the one that practically steals the show is Kieran Culkin. He impressed me in Lymelife, though I was certainly not prepared for simply how excellent he would be in the role of Wallace Wells, Scott's roommate. He floats through scenes with such poise and precision, delivering his dialogue with such sincerity and charm. His performance is truly a sight to behold. Jason Schwartzman is also excellent doing Jason Schwartzman, and actually all members of the League of Evil Exes play their character uniquely and wonderfully. A few of the secondary character in particular were a huge hit with my audience as well. The females in the film are enjoyable as well, but very few are given very much to do. I wish that more time could have been spent with Envy Adams, not only because Brie Larson is mighty pretty but also because her The Clash at Demonhead performance is one of the best tracks in the film, and the sequence between her and Scott has the potential to be even more emotionally resonant. The stand out of the females is found in the form of Ellen Wong as Knives Chau, a heartbreakingly impressionable Scott super fan girl who exists as a wonderfully satirical spin on Caucasian perspective. Many of the supporting characters play one note roles, but each and every one plays that note pitch perfect.

Coming out of the film I was unsure of exactly how much value I found in Scott Pilgrim vs. the World, but as I started writing about the film I not only learned that I enjoyed the film far more than I had initially imagined (and I am certainly looking forward to seeing it again upon its theatrical release) but the film is also considerably more admirable than I had considered. The startlingly inventive construction and editing are enough to make Wright's latest film a truly uniquely enjoyable experience, but the film's ability to capture such raw moments of beauty in a minefield of laughs cements Wright's status as one of my favorite filmmakers, despite the abysmal Shaun of the Dead, and - finally - left me completely satisfied after seeing a comedy...as much as the label is applicable. At its worst Scott Pilgrim is a masterclass of filmmaking, but this film exists, on practically every level, as a film constructed for me to love. Scott Pilgrim vs. the World is imaginative, inventive, and a film that truly exists as a representation of the time in which it spawned while still holding enough timeless qualities to make it one of the year's finest.

Comments are encouraged and, for anyone with a literary mind, I encourage checking out my poetry blog filled with all original works for your reading pleasure.

Also I am on the old Twitter thing so I guess you can follow me at twitter.com/FLYmeatwad.

But It Grieves My Heart, Love, To See You Tryin' To Be A Part Of A World That Just Don't Exist

Ramona and Beezus (Allen, 2010)

In our world technology moves at a break neck pace, you practically buy the latest gadget and the device has already been outclassed by the next technology on the horizon. I turn on the news and hear the horrors of the world, I see the Datelines, the rehabs, the violence, the predators, and the beaters. So amidst all these horrors is it possible to find solace in a film that acts as a pure artifice, in a world that technology and horror has seemingly left in the past, the America of yesteryear, an America that perhaps has always been idealized but has never purely existed? Standing on the outskirts of these horrors is Ramona and Beezus, a little light of hope, a town where trouble exists, but is veiled by the wonder. I have little knowledge of the source material which has spawned the latest G Rated family film, yet even without this affinity I found it near impossible not to be captivated by this film's charm.

Detailing the journey of titular protagonist Ramona Quimby as she struggles to come to terms with her existence on Klickitat Street. While she confronts standard conflicts such as fitting in at school and dealing with a home life where she also stands out from her seemingly perfect sister, the film adds a compelling layer by having Ramona cope with the loss of loved ones, feelings of isolation, and the conflict of a completely changing home environment. And in this layer is a beautiful sincerity and respect for the audience, regardless of age, that is not afraid to explore the darker side of childhood and stray from the beautiful hand made day-dream sequences for incredibly effective dramatic segments.

These aspects create such a wonderful tone throughout much of the film, and the central performance from Joey King goes a long way in selling these scenes, but it helps that she is surrounding by a surprisingly talented cast. The actors who play the adults in the film all do believable jobs of handling their lines, and as the film continued on I found myself taken by the turn that John Corbett makes as the father; however, the stand out of the adults has to be the repentant egotist Hobart, played by Josh Duhamell. And then, of course, there is the most recognizable face in the film, Selena Gomez portraying the eldest girl in the core family, Beatrice "Beezus" Quimby. Selena possesses such a glowing and infection charm that it seems near impossible not to be taken by her acting, but despite her character being mostly irrelevant considering she is a titular character Selena's big scenes show an impressive range that she has demonstrated before, but not in such a concentrated capacity. One scene has Beezus walking home with her childhood friend Henry, and Selena turns in such an impressive performance in this specific scene that she appears to be set for much future success. King gives the better performance overall, though a good amount of that has to do with the character's role in the film and Selena's wise choice to play Beezus as human rather than an over the top vehicle to showcase her range.

But underlining all of the performances, the conflict, and even the wonder is the portrayal of an idealized America. What struck me while watching the film was the relative absence of technology, especially in relation to one incredibly contemporary problem that plays a large part in the story. This absence creates such a tension in the film by juxtaposing timeless aspects of the narrative and world with the contemporary concerns. And the more I consider the film I also notice an incredible absence of ethnicity, so much so that the only trace of African Americans came in the background in the final scene, and Sandra Oh, but even her role is minimal. Selena is even asked to pass as white. These aspects, perhaps even more than the ideas the film concerns itself with, offer a fascinating look at the Hollywood presentation of the ideal America, one that proves as uncomfortable as appealing. The simplicity of life, the wholesome concerns, and the importance of human bonding is all appealing and beautiful, but much like the wonder and charm in the films plot, a disturbing and dark side lurks underneath the surface.

Still, Ramona and Beezus does offer a celebration of nostalgia that, at the very least, constantly entertains and, at its best, proves to be enlightening. An America that has passed displayed in a genre of film that has apparently been all but forgotten in the wake of CGI extravaganzas and 3-D opuses. The film can likely be faulted for less than stellar comedy, but the film never seems incredibly concerned with generating laughs, just chuckles, the chief concern is the characters and the plot, letting these aspect develop naturally, and in that regard it succeeds. Ramona and Beezus is not a great film, perhaps it may even be mediocre, but is does offer a cinematic gust of fresh air that has only sat better and better with me since leaving the theater.

Comments are encouraged and, for anyone with a literary mind, I encourage checking out my poetry blog filled with all original works for your reading pleasure.

Also I am on the old Twitter thing so I guess you can follow me at twitter.com/FLYmeatwad.