Tag Archives: David Fincher

…and now, The Oscars

Finally, the big daddy of the back-patting events is upon us.

Tonight’s Oscar hosts are James Franco and Anne Hathaway, as the industry makes an obvious ploy to skew younger. That sentiment probably won’t carry over into the actual voting, where veteran actors who might have been bypassed earlier in their careers get rewarded at the expense of a newcomer who has his whole career ahead of him. Really…Al Pacino won for Scent Of A Woman? Paul Newman won for The Color Of Money?

And sometimes this screws over a more deserving veteran actor. Yes, I’m talking to you, Henry Fonda! No way Burt Lancaster shouldn’t have won in 1981 for his amazing performance in Atlantic City!)

But I digress. The Oscar host thing has always been a conundrum. Bob Hope owned the role for years, as did Johnny CarsonBilly Crystal did it well and got to keep the job for a while, seemingly alternating every couple of years with Steve Martin and Whoopi Goldberg. But lately it’s been as volatile and unpredictable as a Charlie Sheen alibi; the only repeat host in the last ten years was Jon Stewart in 2006 and 2008 (Steve Martin hosted in 2003 but co-hosted in 2010). Stewart was excellent, but has the grind of his Daily Show schedule. But Wolverine Hugh Jackman was incredibly game and entertaining and got raves for his stint, yet wasn’t asked to repeat?

Perhaps tonight will be fine; Franco is a likeable guy, and Hathaway proved she is as fearless as she is talented when she joined Jackman onstage a few years ago. But for the self-proclaimed “Hollywood’s Biggest Night“, one would expect a real game-changer at the helm. And as afraid of him as they obviously are, I think any awards show not hiring Ricky Gervais is settling.

Here is the list of nominees.

I’m pretty much sticking with the picks I made right after the nominations came out, although The King’s Speech has picked up incredible momentum since then, along with Geoffrey Rush. But I have a feeling that the Darren Aronofsky magic touch will again become the Darren Aronofsky curse; Mickey Rourke lost to more established Hollywood veteran Sean Penn, and Annette Bening has never won for Best Actress despite four nominations. (No truth to the rumor that Natalie Portman got pregnant to sway the sympathy vote.) I also wouldn’t bet my life on Supporting Actress, as this is a category where teenagers can and do win, especially when they are playing more of a lead role.

My predictions for tonight’s winners:

Best Picture: The Social Network
Best Director: David Fincher, The Social Network
Best Actor: Colin Firth, The King’s Speech
Best Actress: Annette Bening, The Kids Are Alright
Best Supporting Actor: Christian Bale, The Fighter
Best Supporting Actress: Melissa Leo, The Fighter
Best Adapted Screenplay: Aaron Sorkin, The Social Network
Best Original Screenplay: Christopher Nolan, Inception
Best Cinematography: Wally Pfister, Inception
Best Score: Trent Reznor, The Social Network

While you await tonight’s ceremony here are some treats to pass the time:

Conan O’Brien and Andy Richter act out the Best Picture nominees

Ricky Gervais wrote an opening script for Franco and Hathaway

You can bet on anything – even the In Memorium montage.

Racetrack odds on tonight’s favorites to Win…Place and Show mean nothing!

***

Tomorrow: The winners, the losers, the analysis.

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Brit Film Awards and Dead Namesakes

The 64th Annual British Academy Film Awards were announced today, and I guess it’s no surprise that The King’s Speech would take Best Picture over there. But that is some serious momentum in a category that was all but conceded to The Social Network  not so long ago. Only two weeks until the Academy Awards, and it looks like we might have a couple of horse races after all. The major awards went this way:

Best Picture: The King’s Speech

Best Actor: Colin Firth

Best Actress: Natalie Portman

Best Director: David Fincher

Best Supporting Actor: Geoffrey Rush

Best Supporting Actress: Helena Bonham Carter

That’s four of the big six going to The King’s Speech; only Carter would be considered an underdog for the Oscar, although Christian Bale still looks like the favorite over Rush. The Brits do love their own (Rush is an Aussie, close enough) but momentum-leading Melissa Leo wasn’t even nominated for a BAFTA.

I’m just thrilled that the brilliant dark humorist Chris Morris won an award as first-time director for Four Lions. Maybe there is hope for award ceremonies.

The full list of nominees and winners can be found here.

As to the second part of today’s title, I was stunned ten days ago to read that Neil Young, Robert Young and Tony Levin all died on February 3rd.

I was briefly logging on to a news website and almost spat out my coffee wondering why the loss of a rock legend, a classic TV Dad and one of the best bass players ever to walk the Earth had not gotten even a crawl mention on CNN. Turns out that while celebrity deaths do happen in threes, the deceased were not the people I imagined but instead were an English footballer, a former Olympian and a jazz drummer.

Condolences to the families and friends of the actual deceased of course. And while I should have remembered that TV’s Robert Young left this mortal coil twelve years ago, I’m happy to report that Neil Young and Tony Levin are still alive and rocking. Like Meatloaf sang, two out of three ain’t bad.

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Ricky Gervais: Golden Balls

Thank God for Ricky Gervais, even if Ricky is an athiest.

Gervais, as he did last year, relentlessly skewered any pretense of dignity that some think the event has. Although it has been elevated to major award status, the fact remains that it’s just one more opportunity for Hollywood to pat itself on the back and ensure global domination of its main export, the American film. So widespread is its reputation for bribery, favoritism and hero-worship that even Robert DeNiro took several shots at the HFPA when receiving its highest honor.

I had to laugh when reading reports this morning chastising Gervais for being irreverent and mean-spirited, and I was astounded to see that some didn’t even find him funny. Are you kidding me? Aside from a couple of good podium moments (David Fincher, Jane Lynch) and two good introductory bits (Robert Downey Jr. and the always-gold Tina Fey/Alec Baldwin combination) the show was an insufferable snore-fest. When he was off-screen for close to an hour, the show dragged. There were no huge upsets in the film categories (Paul Giamatti and Melissa Leo being the closest thing to surprises) and as usual the attendees were more interested in socializing between announcements than paying attention to the proceedings. If they’re not focused, why should I be?

Ah, but when Gervais was at the podium, they had to focus, because he’s fearless; you never know what he’s going to say and when. Are people really upset that he inferred that Mel Gibson, Charlie Sheen and Robert Downey Jr. have had personal issues? Was poking fun at some of the turkeys in a film resume really that insulting to a famous actor? And the joke about the omission of Jim Carrey’s performance in I Love You Philip Morris was brilliant; a one-two punch that savaged the voting board for its inconsistent temerity regarding homosexuality and launched a dig at pushy Scientology salesmen Tom Cruise and John Travolta

Also not nominated: I Love You, Philip Morris. Jim Carrey and Ewan McGregor. Two heterosexual actors pretending to be gay. Sort of the complete opposite of some famous Scientologists then…My lawyers helped me with the wording of that joke.”

Most of the celebrities seemed to get it; Downey countered with a great quote (“Aside from the fact that it’s been hugely mean-spirited, with mildly sinister undertones, I’d say the vibe of the show is pretty good so far, wouldn’t you?“) and even long-suffering Office doppelgänger Steve Carell dutifully played the fall guy for what must be the hundredth time. Only the HFPA President seemed truly miffed – or maybe his comic delivery just sucks – but I think he has bigger problems than a temporary insult most people will forget faster than they forgot his name. Perhaps those who didn’t laugh prove the old adage that “the truth hurts“, because the Sex In The City actresses are long in the tooth, Cher is not a hot commodity in 2011, and Tim Allen, nice guy that he is, doesn’t have a resume like that of Tom Hanks.

But there were some painful moments, too. I love Robert DeNiro, and few actors have had the kind of career he has assembled (even discounting most of the past decade). But anyone who has seen him on Saturday Night Live knows that he is abysmal when reading cue cards, especially when it is comic lines obviously written by someone else. It started awkwardly enough, dove into some racist territory and ended with a fairly creepy reference to Megan Fox. Within the speech there were some pretty great barbs deflating the HFPA, but it was as painful to watch as…well…Little Fockers, for one.

The biggest surprises of the evening were on the TV side of the fence; 30 Rock going home empty-handed, Modern Family losing to Glee (when their sophomore seasons have been such polar opposites, quality wise) and the lovely but absent Laura Linney grabbing the honor for The Big C. I was thrilled that Chris Colfer won for Glee; they handed him the ball this year and he really ran with it. Ditto Katey Sagal – not only finally getting noticed for her amazing work on Sons of Anarchy, but getting to take home the award.

The Observer from Fringe alongside Edgar Winter

So how did I do? Seven out of ten, but missing on three biggies. I guess the best movie can’t direct itself, but I think Nolan’s film was a superior effort. Loved seeing humble Colin Firth win, although if he stuttered during his speech that would have been much funnier. And I’m thankful that Natalie Portman won but was surprised by Paul Giamatti’s win, although he’s always good for a great speech, even when they censor the first ten seconds of it. The censors were uneven with their cut-offs and their music cues, but what the hell, I’ll be back next year to watch.

If the HFPA has even one-tenth the balls that Gervais does, so will Ricky.

The list of nominees and winners is here.

Here’s a link to a great page that lists the major category winners for the Critic Associations and provides a schedule for (and links to) all of the award ceremonies. Next up are the BAFTA nominations on Tuesday, with the Academy Award nominations the week after.

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Film Awards Keep Rolling In

Yesterday it was the Online Film Critics Society who handed out the hardware, and as these awards pile up, the Oscar favorites are starting to float to the top. In most of the major categories there are two strong contenders and a close field, although anything can happen, as we know.

So far I’ve not seen The Social Network. But despite my distaste for Facebook, it’s merely a coincidence; David Fincher and Aaron Sorkin are heavyweight names in my book. Much like my fever to see both The Town and The Fighter has far more to do with my love of crime thrillers and boxing films than my love of Boston. Although you’ve got to admit it – any Beantown film usually has a lot going for it. And I do love Boston.

The last two films I have seen – both within a week – are Inception and The Black Swan. Let’s just say that my mind feels like it was kicked around by a group of soccer hooligans, then trapped in a small room with Alfred Hitchcock, David Lynch and Brian DePalma vying for control.

The winners of the 2010 Online Film Critics Society Awards:

Best Picture: The Social Network
Best Director: David Fincher, The Social Network
Best Lead Actor: Colin Firth, The King’s Speech
Best Lead Actress: Natalie Portman, Black Swan
Best Supporting Actor: Christian Bale, The Fighter
Best Supporting Actress: Hailee Steinfeld, True Grit
Best Original Screenplay: Christopher Nolan, Inception
Best Adapted Screenplay: Aaron Sorkin, The Social Network
Best Cinematography: Roger Deakins, True Grit
Best Editing: Lee Smith, Inception
Best Animated Feature: Toy Story 3
Best Foreign Language Film: Mother
Best Documentary: Exit Through The Gift Shop

And speaking of The Town and Inception, R.I.P. Pete Postlethwaite, who passed away yesterday. He had many great roles over the years, but I’ll always think of him as the mysterious Kobayashi in The Usual Suspects.

"One cannot be betrayed if one has no people."

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T.G.I.F. – Ten Twisted Tales

And we would have gotten away with it too, if you had never seen a Scooby Doo episode before.

"And we would have gotten away with it too, if only you had never seen a Scooby Doo episode before."

One of the biggest problems with film and television is predictability; after watching thousands of hours of sitcoms, dramas and movies I can often see the next plot point coming along like it has beepers and a blinking light. It’s not so much that the plot is redundant – although it often is – but that the brevity of the material (especially commercial television) doesn’t allow for proper story arc and character development.

So often what happens is either the director/writer cheats, or the information is presented in such an obvious manner that you’re almost being told “hey, this is a clue!”. Of course people have the attention span of a gnat these days, so maybe I’m overworking the issue. But here are two key rules you can usually count on:

  1. If an odd fact is introduced – like a character being left-handed or a man just quit smoking – pay attention. It’s probably a critical piece of information and not just padded dialogue.
  2. If within the first five or ten minutes a character looks to have opportunity and motive, that character probably didn’t do it.

Few writers/directors would be crass enough to have the killer or key plot fact come sailing in out of left field at the eleventh hour, that’s just not fair. But a well-played twist requires what I’d call  sleight-of-mind…laying everything out there but being clever enough to not point at it with a floodlight.

An example of a well-presented twist is The Sixth Sense. (SPOILER ALERT…) At the end of the movie, when it was revealed that a key character was dead, I immediately recalled a scene where he was at dinner with his wife, had a conversation and even touched hands. But when I replayed the scene, I noticed that they in fact did not touch – their hands passed within a second of each other – and there was no eye contact. And then there was the revelation about the use of the color red. Then finally, the most obvious clue of all – “I see dead people“. Well played, M. Night Shyamalanit was all right there in front of me and I missed it. Too bad you have been unable to hit the mark since then.

So for this Friday’s exercise, ten recommended movies that I think did the job well. Some will be very familiar, a couple are stone cold classics, but I’ve avoided the real obvious ones like Psycho, Vertigo, Fight Club and The Shawshank Redemption. These aren’t my ten favorite movies, but I’d watch any one of them again in a heartbeat, and if you haven’t seen them I suggest you immediately add the omissions to your shopping list or Netflix queue.

In alphabetical order:

no idiots

Angel Heart:  Probably a little more obvious than most (Robert DeNiro’s character’s name) and a little overwhelming with visual pizazz, but the end(ing) justifies the means. One of Mickey Rourke‘s better performances.

A Beautiful Mind:  Having two dynamic actors like Russell Crowe and the great Ed Harris was huge; they could not have sold this premise with pedestrian performances.

Donnie Darko:  So was it a horror flick, a religious allegory, a knock on conservatism, a time travel epic, a fable or a study of hallucinatory madness? Yes.

The GameDavid Fincher is more famous for the brilliant Fight Club but this tense and clever story keeps you wondering what and who you can believe. Michael Douglas, Sean Penn and a large supporting cast do the script justice.

House of GamesDavid Mamet, a master of words and misdirection, at his peak. Joe Mantegna and Lindsay Crouse deep in the world of con men and grifters where not everything is what it seems to be.

MementoChristopher Nolan directed and wrote the screenplay based on his brother’s short story, and Guy Pearce provides a brazen and brilliant performance alongside Joe Pantoliano. Told backwards, like Nolan’s prior film Following.

Once Upon A Time In America:  Maybe my favorite gangster movie of all time, and considering how perfect a movie Goodfellas is, that’s saying something. Sergio Leone directs a star-studded cast but you have to pay close attention.

Primal Fear:  I’m normally not a Richard Gere fan but he’s great in this one as his arrogance is his downfall. This film launched Edward Norton’s career (an Oscar nod in his first real role) and made me fall in love with Laura Linney.

Session 9:  One of the truly atmospheric horror movies of recent times, far from the gorefests that are passed along as horror movies today. This is creepy and unnerving, and even David Caruso is good in it. Director Brad Anderson now works on Fringe.

The Spanish PrisonerMamet again. Everytime you think you know what’s going on, you really don’t. It’s like watching a magician show you the trick but then repeatedly doing it again. The final scene makes me wonder if Mamet didn’t intend the entire movie as a con, but I change my opinion every viewing.

fingers crossed

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