Tag Archives: Michael Douglas

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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Golden Globes Tonight

Well, this should be interesting…

Predicting the Golden Globe winners is a hit-and-miss affair, mostly because some of the members are plain batshit crazy. How else do you explain Johnny Depp’s two nominations in films that were widely panned?

But what the hell, I’ll take a crack at it. Below are my picks for who I think will win, not who I would want to win. And if you would like to play along, here’s a printable Globes ballot for you.

Best Picture (Drama)
The Social Network” – in a field of five good nominees, I would not be mad if any of them won.

Best Picture (Comedy/Musical)
The Kids Are All Right” – probably the perfect intersection of theme and actress for this voting group.

Best Director
Christopher Nolan, “Inception” – amazing film needs to get some reward, right?

Best Actor (Drama)
Colin Firth, “The King’s Speech” – great performance + voter guilt for prior exclusions

Best Actor (Comedy/Musical)
Johnny Depp, “Alice in Wonderland” – I would have wiped all five nominees and started fresh.

Best Actress (Drama)
Nicole Kidman, “Rabbit Hole” – I hope I’m wrong but the HFPA loves Nicole Kidman.

Best Actress (Comedy/Musical)
Annette Bening, “The Kids Are All Right” – see Nicole Kidman, above.

Best Supporting Actor
Christian Bale, “The Fighter” – if Michael Douglas wins I will shoot my television.

Best Supporting Actress
Melissa Leo, “The Fighter” – many say Helena Bonham Carter is a lock, but…

Best Screenplay
The Social Network” – Aaron Sorkin should be the safe bet here.

I can’t even bear to think about their television nominations because of the long list of oversights and the nomination of Matthew Morrison for Best Actor for Glee. But I am very much looking forward to watching Ricky Gervais eviscerate the celebrities.

My review of the show will run tomorrow.

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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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