In Contention

Author: Guy Lodge

  • ‘Love Guru’ not so loved

    I must admit I feel pretty proud of myself: the Razzie nominations have been revealed, and I have not seen a single one of their Worst Picture nominees. Not one.

    Not Paris Hilton vehicle “The Hottie and the Nottie” — uh, did anyone? Not the latest nail in Shyamalan’s career coffin, “The Happening,” though I admit I came close. Not “In the Name of the King: A Dungeon Siege Tale,” which I must confess I haven’t heard of here in the UK. And certainly not Mike Myers’ “The Love Guru,” which leads the field with 7 nods. (The film’s “American Idol” promo spots were traumatic enough.)

    I find myself a little bored with the Razzies lately… it’s not much fun to pick on films that, for the most part, nobody saw. Also, singling out films like “The Hottie and the Nottie” seems like a futile exercise when they never had any intention of being good in the first place. Far more rewarding, I think, is when they celebrate (so to speak) high-profile, high-stakes projects that failed miserably. “Striptease,” for example. “Catwoman.” “The Postman.”

    But does anyone really care whether Jenny McCarthy is deemed marginally worse than Carmen Electra? If you do, feast your eyes on the nomination list below. (But hey, good call on Pierce Brosnan, guys.)

    Worst Picture
    “Disaster Movie” and “Meet the Spartans”
    “The Happening”
    “The Hottie & the Nottie”
    “In the Name of the King: A Dungeon Siege Tale”
    “The Love Guru”

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  • My dream ballot: part two

    OK, I explained the deal with this yesterday, when I covered the technical categories. What follows are the names and films that I, in a perfect world, would like to hear announced by Sid Ganis and Forest Whitaker bright and early tomorrow morning. (Or tomorrow afternoon, in my case … living across the Atlantic does have occasional advantages.)

    Once more, my personal ballot takes no notice of Academy rules, eligibility squabbles, or whether or not anyone believes they have a shot in hell. For me, they simply represent the finest achievements I saw in 2008, with all the subjectivity that entails. Feel free to argue, or share your own distant hopes for tomorrow — however faint — in the comments.

    Best Picture
    “The Class”
    “Gomorrah”
    “I’ve Loved You So Long”
    “Synecdoche, New York”
    “Wendy and Lucy”

    OK, so this won’t comes a surprise to anyone who read my Best of 2008 list, but these remain for me the year’s five most clear-cut masterworks. I’ve already made the case for each of these nominees at greater length, but for now, let me say that they are all notably linked by their startling humanity and strength of characterisation. The Academy will inevitably focus on works more formally elaborate than most of those listed here, but from where I’m standing, none were more emotionally rewarding. (As it happens, my honourable mentions here get their due in the next category.)

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  • 1/21 Oscarweb Round-up

    • Sasha Stone chimes in with her final predictions. [Awards Daily]

    • As do the guys at Vulture, who are remaining loyal to “WALL-E” to the end. [Vulture]

    • Meanwhile, T.L. Stanley finally gives up on “Doubt.” [Gold Rush]

    • The venerable David Thomson plays the “will be/should be” game, with some curiously disconnected predictions. (Lena Olin? Really?) [The Guardian]

    • Moving away from punditry, James Hansen just doesn’t think much of Canada’s foreign-language entry. [The Film Experience]

    • Still at Sundance, Jeff Wells kinda likes the new film from the insanely prolific Steven Soderbergh. [Hollywood Elsewhere]

    • Tarantino is apparently rushing to finish “Inglourious Basterds” (sic). Take your time, QT. [Thompson on Hollywood]

    • David Carr wonders whether Mickey Rourke’s imminent Oscar nomination will be enough to rescue the long-delayed “Killshot.” [The Carpetbagger]

    • Finally, EW continues their “Worst Snubs” countdown, and their picks are uniformly great. (Hell yes to Spacek, Murray and Leaud.) [Entertainment Weekly]

  • Hot property

    Yesterday I mentioned how Lone Scherfig’s British period romance “An Education,” starring much-buzzed ingenue Carey Mulligan, had become the talk of Sundance, with Fox Searchlight zeroing in on the film.

    Now Anne Thompson reports that Searchlight, and several others, have been beaten to the punch by Sony Pictures Classics, who have acquired the North American rights for $3 million:

    Fox Searchlight came back into the negotiation on a second round but was unable to close … Also bidding on An Education were The Weinstein Co., Focus Features, Lionsgate and Overture. SPC will launch the film in the fall with an eye on an awards campaign.

    Wow, that some hefty interest there. SPC sounds like an appropriate fit for the film, given that they’ve had some success lately with female-skewing arthouse titles like “Rachel Getting Married,” “I’ve Loved You So Long” and their canny acquisition from last year’s festival, “Frozen River” — even if those films’ campaigns have lost some steam over the course of the season.

    The news of an awards-oriented release is certainly interesting … could Mulligan be this year’s Ellen Page? Stu Van Airsdale thinks she’s rather better than that, saying that Page’s “Juno” turn comes off looking like “a Lifetime reject” by comparison.

  • Mood swings

    I’m having a hard time deciphering Peter Bart’s point in his cryptic new blog post, in which he reflects on the Academy’s malleable taste, and how quickly it can shift.

    As his primary case study, he cites the bizarre contrast between two back-to-back Best Picture winners, wholesome musical “Oliver!” and X-rated, gay-tinged drama “Midnight Cowboy” in 1968-9, a turnabout which Bart feels reflected significant social change at the time. True enough. But he goes on to imply obliquely that we may be in the midst of a similar situation:

    It’s hard to recall a more dramatic example of a professional organization displaying such a dramatic mood swing. But this was 1969, the year of Woodstock, Charlie Manson, Altamont, the Chicago Seven – a year of turmoil when just about everyone changed their attitudes toward just about everything.

    Sounds a bit like 2009, doesn’t it? Well, not really. The country is opening up to new ideas and new leaders, but even today “Midnight Cowboy” would provide a measure of culture shock.

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  • My dream ballot: part one

    Back in December, Kris offered his take on how he would fill out his nominee ballot if he were an Academy member (affording himself the luxury, obviously, of voting in all categories). Of course, playing voter is a popular sport in the blog world, with Nathaniel Rogers’ annual Film Bitch Awards as thorough and intelligent a rundown as you could ask for. Would that the Academy displayed such passion and imagination in their choices.

    For my part, finalising my predictions was a dispiriting procedure, as I realized the range and depth of work that will inevitably go unrecognized as the AMPAS gravitates towards the favoured and the familiar. And so it is that, as the nominations loom over us, I decided to chalk up my own ballot, acknowledging those who I feel most deserve to hear names called on Thursday morning, whether or they’re deemed possible — or even eligible.

    Today’s post focuses on the technical categories; tomorrow’s will run through the main ones. (Before I begin, let me add the caveat that, much to my chagrin, I haven’t yet seen “Let the Right One In.”)

    Best Cinematography
    Wally Pfister, “The Dark Knight”
    Sean Bobbitt, “Hunger”
    Luca Bigazzi, “Il Divo”
    Darius Khondji, “My Blueberry Nights”
    Maryse Alberti, “The Wrestler”

    After last year’s banner year for the art of cinematography, this was a year of subtler accomplishments in the field. I must admit that much of the year’s most celebrated work in the field didn’t particularly dazzle me, with several revered names only working at (or below) par. Pfister’s muscular, burnished lensing of “The Dark Knight,” however, did not disappoint, while Bigazzi’s hyper-stylised work on “Il Divo” was no less kinetic.

    In something of a breakthrough year for female DPs, Alberti effortlessly captured the rhythms of human movement, while Khondji conjured up the year’s dreamiest palette for Wong Kar-Wai’s otherwise muddled “My Blueberry Nights.” The year’s crowning achievement, however, came from Sean Bobbitt, whose breathtaking compositions for “Hunger” took equal inspiration from the art gallery and the newsroom. Just missing the cut were “The Fall,” “Gomorrah” and “The Good, The Bad, The Weird.”

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  • 1/20 Oscarweb Round-up — INAUGURATION EDITION

    “Inauguration Edition,” of course, is code for “there’s precious little movie-related talk out there right now, so forgive the slim pickings.” Here goes:

    • Yet another take on “how to fix the Oscar telecast.” Hey, I like Jack Nicholson. [Hollywood Reporter]

    • Patrick Goldstein wonders how the Obama presidency may impact on Hollywood. [The Big Picture]

    • An in-depth interview with the fascinating Gus van Sant. [The Guardian]

    • EW launches a countdown of the Top 100 Worst Oscar Snubs. Good idea, but can we please ditch the fussy multi-page format? [Entertainment Weekly]

    • Nat Rogers and his posse offer up some hilarious pre-nomination thoughts. [The Film Experience]

    • Nick Davis, member of said posse, continues his intelligent (and exhaustive) rundown of the year’s best.  [Nick’s Flick Picks]

    • Meryl Streep thinks “Mamma Mia!” owes its success to Hollywood’s neglect of the female audience. Ladies, you have other choices. [Daily Telegraph]

    • Finally, Tom O’Neil wonders if Mariah Carey is Oscar-bound. Uh… right. (Like I said, slim pickings, people.) [Gold Derby]

  • Mulligan makes her move

    Don’t say I didn’t give you the heads-up on this one. Looking over the Sundance lineup last month, I singled out Lone Scherfig’s “An Education” as a title about which I was particularly excited — not least because it stars Carey Mulligan, a lovely young Brit for whom I’ve been predicting big things for some time.

    Well, once in a blue moon, I’m right.

    “An Education,” a 1960s-set coming-of-age drama penned by Nick Hornby, recently bowed at Sundance, and while the notices for the film itself are warm, the real buzz centers on 23 year-old Mulligan. A star, it appears, is born. Jeff Wells was first out the gate, and it’s fair to say that he’s besotted with both star and film — which he reckons we may still be talking about this time next year:

    The best film of the Sundance Film Festival, a finely tuned and deeply engaging film by regular popcorn-watching standards, an award-calibre drama that will definitely be in contention at the end of the year, and a movie that has launched a genuine movie star in an old-fashioned and yet very new-fashioned sense — 23 year-old Carey Mulligan. I know that special old-soul-mixed-with-youthful-effervescence quality that you see in very few actors and actresses over the years, and trust me, Mulligan has it.

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  • Here’s another question…

    Can anyone tell me why “Let the Right One In” and “A Christmas Tale” are not eligible for a nomination in any category at the Oscars?

    Sure, so the latter film was never going to score with them anyway. But I was considering “Let the Right One In” as a dark horse possibility for Best Adapted Screenplay — a category that frequently throws up surprise nominees — until I saw neither film is on the official AMPAS list. (You’ll be relieved to know, however, that “Disaster Movie” is securely in the running.)

    Both films had 2008 Stateside releases, as far as I know. Illuminate me, readers.

  • Life imitates art

    Well, not really — in this instance, life improves on art substantially. I’m referring to tomorrow’s opening film at the Rotterdam Film Festival, “The Hungry Ghosts,” the directorial debut of actor Michael Imperioli.

    Imperioli, as my fellow “Sopranos” junkies will immediately know, is best known for his role as Christopher (a.k.a. “Chris-to-fuh”) Moltisanti in the landmark HBO series. Fans will also remember that in addition to being a Mob lackey, dimit and all-purpose sleazebag, Christopher was also a spectacularly untalented screenwriter, so it warms my heart to see heart to see him make it on the festival circuit, even if it is in the guise of his more intelligent creator. “The Hungry Ghosts,” however, sounds like a proposition that may have gone a little over Chris-to-fuh’s head, to go by the festival programme blurb:

    In The Hungry Ghosts, Imperioli’s characters float like ghosts through life, looking for happiness, hoping to fulfil a desire. The film, set in New York and its surroundings in a period of 36 hours, contains several narrative lines. In one of these, late-night radio host Frank gambles and uses drugs at the expense of his teenage son. In another, philosophical seeker Gus, fresh out of a detox-program, searches for his ex-lover Nadia. It becomes clear and inevitable that initially independent narrative lines will come together in the end.

    The Rotterdam fest is an interesting one because it remains resolutely focused on up-and-coming auteurs. You won’t have heard of many of the films coming out of it (though they occasionally hit on something like “Persepolis” or “Old Joy”), but it’s worth keeping an eye on.

  • Another gong for ‘WALL-E’

    I must admit, I’m not really clear on what, or who, the Online Film Critics Society are — there are just so many critics’ awards these days, I can’t really keep up. I can say, however, that they have pretty commendable taste, as they became the latest group to give “WALL-E” their top honour, and handed four awards apiece to “The Dark Knight” and “Let the Right One In.”

    Their acting awards strike me as particularly on the money, with Mickey Rourke, Heath Ledger and Marisa Tomei all adding to their well-deserved hauls. Meanwhile, I’m pleased to see they looked beyond the usual Best Actress favourites and recognised the wonderful work of Michelle Williams in “Wendy and Lucy” — surely one of the most under-rewarded performances of the season.

    What do these mean? Nothing, of course, but it’s a fun list of winners nonetheless. (Full list below the cut.) I keep wanting to crawl back onto that “WALL-E” limb for the Oscars, but can’t quite go there.

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  • Say it right

    Last week, I wondered whether Mickey Rourke’s eccentric, yet moving, acceptance speech at the Golden Globes could bolster his chances with the Academy. It may sound like a trivial concern, but the fact remains that Rourke’s speech was a talking point, a bona fide ‘moment’ that made for great TV — and if Roberto Benigni has taught us anything, it’s that onstage personality goes a long way with the Academy. In a tight race, the promise of a memorable acceptance can be just enough to push a contender past the finish line.

    Now, Dave Karger is addressing the flipside of the question, and asking whether the relatively sloppy acceptance speeches of Anne Hathaway and Kate Winslet, at the BFCA Awards and Golden Globes respectively, could actually damage their Oscar campaigns:

    Upon sharing the Critics Choice prize with her idol, Meryl Streep, Hathaway — who certainly meant to say this a bit more artfully — said it was “fitting” that she tied for the prize with Streep since she thought the Doubt star was the best actress around. But it came off condescending to all the other actresses in the room, particularly her category-mates like Angelina Jolie and Melissa Leo. The usually composed Winslet, meanwhile, nearly had a heart attack when she won her two Golden Globe prizes. To many people, the reactions seemed over-the-top. Or worse, fake.

    It must have been overwhelming for both of them to hear their names called. But on the other hand, let’s remember that both of these awards are handed out by groups of journalists, for God’s sake — people that big stars like Hathaway and Winslet usually don’t give a hoot about. Why should they then fall to pieces over what those journalists think about them?

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  • Separated at birth

    Thanks to Hollywood Elsewhere for pointing out this amusing video, which … well, it speaks for itself, really:

  • Hare takes on the critics

    You’d think an artist as established as Sir David Hare might, in the course of his long career, have learned to take a bit of criticism in his stride. However, amid a rather odd flare-up between the venerable British playwright/screenwriter and Guardian critic Peter Bradshaw, Hare comes off looking decidedly thin-skinned.

    The source of conflict is Bradshaw’s savage (though I think rather astute) review of the Hare-penned “The Reader.” Despite his admiration for the craftmanship on display and the performance of Kate Winslet, Bradshaw disliked the film intensely, objecting that it exploited the Holocaust to lend gravitas to “a middlebrow sentimental-erotic fantasy.” It’s a complex (and spoiler-ridden) piece that can’t easily be summarised, but Bradshaw’s closing paragraph offers the nub of his argument:

    I can’t forgive this film for being so shallow and so obtuse on such a subject, and I can’t accept it as a parable for war-guilt-by-association suffered by goodish Germans of the next generation. Under the gloss of high production value, under the sheen of hardback good taste, there is something naive and glib and meretricious. It left a very strange taste in my mouth.

    Bradshaw isn’t alone; you may remember that the New York Times’ Manohla Dargis had some similar qualms about the film’s take on Holocaust, accusing it of “embalm(ing) its horrors with artfully spilled tears.”

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  • Suspicion of optimism

    As you know, one of the many things that aggravated me about this year’s BAFTA nominations was the pointed shut-out of Mike Leigh’s “Happy-Go-Lucky.” The snub extended to lead actress Sally Hawkins, who has torn through the critics’ awards on the other side of the Atlantic and stands a sizeable chance of landing an Oscar nod on Monday morning — as does Leigh himself, for that matter.

    The Independent recently did some digging into the snub, and has found that a number of Leigh’s peers and contemporaries are similarly shocked by the omission. Venerable critic Barry Norman (something of a British institution) is particularly outraged, hailing “Happy-Go-Lucky” as the equal of BAFTA-garlanded “Slumdog Millionaire,” and going so far to label Leigh “a prophet without honour,” less appreciated in his homeland than he is elsewhere.

    Of course, Leigh has won three BAFTAs in his career, so perhaps that’s getting a little dramatic. Nonetheless, the article wonders whether this year’s snub could be put down to a BAFTA grudge against the famously candid filmmaker, who has criticised the organisation’s voting methods in the past.

    Hmmm. Ultimately, interestingly enough, it is “Slumdog Millionaire” scribe Simon Beaufoy who might have hit the nail closest to the head when he says the film was a victim of “traditional British suspicion of optimism” — something which I think accounts for the film’s polite but less-than-ecstatic critical reception here. It’s also a precise echo of a sentiment Eddie Marsan voiced in my October interview with the actor:

    “I thought the film might go down well in America — better, even, than at home — because they’re not quite as cynical as the British. I think they’re more willing to buy into an optimistic character.”

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  • Calm before the storm

    It’s awfully quiet in Oscar blog country, isn’t it?

    Admittedly, it’s not unusual for this point in the season. All the possible precursor cards have been dealt ahead of Thursday’s nominations, and in a year that offers fewer possibilities than most, all we can do is wait, shuffling and reshuffling the same predictions in vain hope of a ‘eureka’ moment. Meanwhile, with Tuesday’s rather more significant ceremony looming, it’s hardly surprising people’s minds are elsewhere.

    We could usually rely on Sundance to keep us distracted during this lull, but as Kris and others (including the travelling Bagger) have noted, there’s even less noise emerging from Park City. I’ve been dutifully reading the reviews coming out of the festival, and have yet to get even politely excited about any of them. So, “Brooklyn’s Finest” was the first big buy of the festival, but how much anticipation can one really muster over an Antoine Fuqua cop drama starring Richard Gere?

    Beyond that, going by Anne Thompson has to say, mumblecore comedy “Humpday” sounds like an amusing diversion, with the Bagger suggesting it’s the first film at Sundance to “break through and connect.” An improv-based effort about two straight college buddies who make a self-starring gay porno, I’m guessing (and hoping) its charm exceeds that of the pitch.

  • WEEKLY WRAP: Globe surprises, best shots, BAFTA nods

    Sorry the Weekly Wrap feature has been M.I.A. these past few weeks — between the holidays and various disasters, they got a bit forgotten. Anyway, it’s back this week, and what a busy week it was:

    • In a new annual institution at IC, Kris reviewed the top 10 shots of the year here … and here.

    • The Golden Globes threw up several surprises, but the biggest one was what a deeply satisfying evening it was.

    • Following that ceremony, this week’s Off the Carpet column wondered whether the Oscars can measure up.

    • While the Globes gained credibility, BAFTA threw theirs to the wind with a curious slate of nominations … though “Slumdog Millionaire” once more sits pretty.

    • But for omitting “Gomorrah” from their 9-film shortlist, AMPAS’ foreign-language committee earns this week’s biggest dunce cap.

    • The American Cinema Editors revealed their nominees. Everyone yawned in unison.

    • Meanwhile, the costume designers completed this year’s guild citations.

    • Taking a breather from the precursor beat, we got chatting to the delightful Amy Adams.

    • The Sundance Festival started this week … but is anyone watching?

    • In other film festival news, Berlin has announced some intriguing premieres.

    • Finally, with whispers circulating that “Gran Torino” could spoil in the Best Picture race, how much of a Best Actor threat is Clint Eastwood?

  • “Did you like the work? Buy the ticket!”

    This isn’t exactly new, but I just stumbled across this video, one of a series from the Hollywood Reporter’s actress Oscar roundtable last month. THR has had several such sessions this season, but I really liked the chemistry and empathy between these five wonderful women — Michelle Williams, Taraji P. Henson, Emma Thompson, Amy Adams and Sally Hawkins.

    Henson is especially garrulous and charming; I particularly love her matter-of-fact approach to the frequent silliness of awards season, which is what they discuss in the video below.

    Meanwhile, after the cut, check out Henson and fellow ingenue Hawkins chatting about their respective experiences on “The Curious Case of Benjamin Button” and “Happy-Go-Lucky.” Could there be two sweeter people on the awards circuit this year?

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