In Contention

Category: Daily

  • Anna Kendrick: the year’s up-start

    Anna KendrickLast week’s Off the Carpet column charting this year’s Best Supporting Actress contenders would have been remiss to ignore Anna Kendrick, whose spark-plug turn in Jason Reitman’s “Up in the Air” is likely on its way to an Oscar nomination, perhaps even opposite co-star Vera Farmiga in the same category.

    Gregory Ellwood over at HitFix says it “wouldn’t be a careless exaggeration to say that if [Kendrick] weren’t nominated it will be one of the biggest upsets in Oscar history,” and while I’d say that is indeed a CONSIDERABLY careless exaggeration (this isn’t “the performance of the year” or anything), I do think that Kendrick is a player you should be taking seriously if you’ve been dragging your feet on her up until now.

    And the media is beginning to shine a light her way.  She didn’t pop up on Variety’s list of 10 actors to watch (she could have filled the shoes of, say, Jeremy Renner, who has been around longer than a list like that should allow).  But as Guy pointed out this morning, she was singled out in The New York Times as one of the year’s breakthrough performers, and I’d say she fits in nicely with the surrounding company.

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  • 11/3 Oscarweb Round-up

    Roger Corman• Documentary filmmaker whose work inspired the book “The Men Who Stare at Goats” seeks brutal vengeance for being “airbrushed” out of the film. [The Independent]

    • Jeff Wells sings the praises of “A Single Man” actor Nicholas Hoult. [Hollywood Elsewhere]

    • David Poland talks to honorary Oscar recipient Roger Corman. [Movie City News]

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  • NYT spotlights Jarvis, Hoult, Kendrick, Smit-McPhee

    Nicholas HoultThe New York Times makes an annual tradition of rounding up the season’s most notable breakthrough turns in upcoming films, and it’s typically an intelligent, even prescient, selection of faces. Last year’s crop ran the gamut from François Bégaudeau (“The Class”) to the ultimately Oscar-nominated Michael Shannon (“Revolutionary Road”).

    In keeping with the youthful slant of many of this year’s awards hopefuls, this year’s group of Gray Lady picks skews rather younger, ranging from 13 year-old Kodi Smit-Phee to 24 year-old Anna Kendrick. (Three of the four are teenagers.)

    Presumably, writer Karen Durbin feels enough attention has already been lavished (not least in her own paper) on Gabourey Sidibe (who I’m increasingly convinced will win the Oscar anyway), as the “Precious” star doesn’t rate a mention. Fair enough.

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  • French trailer for ‘A Prophet’

    I love it. Kris loves it. Anne Thompson loves it. And hey, Anjelica Huston loves it too.

    If you’re a little curious as to what the fuss is about, here is a subtitle-free glimpse of Jacques Audiard’s “A Prophet,” handily the finest foreign-language Oscar contender I’ve seen so far. (Not that I’ve seen many. But this’ll take some beating.)

  • Caleb Deschanel to be feted by ASC

    Caleb DeschanelThe American Society of Cinematographers has announced that veteran lenser Caleb Deschanel will receive the guild’s Lifetime Achievement Award this year. Recent recipients have included Jack N. Green, Stephen H. Burum and Allen Daviau.

    Deschanel won the ASC award for Best Cinematography in 2000 for his work on Roland Emmerich’s “The Patriot.” He has been nominated for the Oscar five times, stretching back to 1983’s “The Right Stuff.” His most recent nod came for Mel Gibson’s “The Passion of the Christ,” but he has yet to win a statuette from the Academy.

    Most recently Deschanel worked on Nick Cassavetes’s “My Sister’s Keeper.”

    “Caleb Deschanel is an extraordinarily talented cinematographer who has played an influential role in cinema history, and driven artistic excellence in contemporary filmmaking,” ASC President Michael Goi says in the press release. “For him to receive this honor while still at the top of his field shows the profound influence and respect he has among his peers. His innovative cinematography is inspiring. We look forward to seeing what is yet to come in his work.”

  • Which Peter Jackson will show up for ‘Lovely Bones?’

    The Lovely BonesAs we begin to count down the days to the official unveiling of “The Lovely Bones” in London later this month (yes, I’m as stunned as you are to realize it’s November already), the film still stands as the biggest wild-card of the season’s prestige offerings.

    The trailer for “Invictus” confirmed it’s (for better or worse) the model of film we had in mind, and we have some idea what to expect from “Nine” … but even a lavish trailer didn’t answer half the questionmarks lingering over Jackson’s adaptation of Alice Sebold’s decidedly tricky source novel (discussed here).

    What emerges dominant in the story’s strange genre fusion of fantasy, serial killer thriller and domestic drama? How has Saoirse Ronan’s lead role been beefed up from Susie Salmon’s passive presence in the novel? How will Jackson’s effects-heavy imagery mesh with the novel’s more delicate dramatics? And will the novel’s millions of fans be appeased or alienated by his wilder stylistic impulses? It seems to me the film stands little chance of a middling reception — it’ll hit or miss big.

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  • Sticking it to DirecTV

    As a satisfied subscriber, I still say they deserve this completely:

    (Courtesy Landline TV via /Film)

  • Sony Classics nabs ‘Mother and Child’

    (from left) Samuel L. Jackson and Naomi Watts in Mother and ChildOne of the big hits at this year’s Toronto Film Festival was Rodrigo Garcia’s “Mother and Child.” Annette Bening, Naomi Watts and Samuel L. Jackson each began to stir the awards buzz pot, but a distributor wasn’t stepping forward (as has been increasingly the case lately).

    Well, the always game Sony Pictures Classics seems to have manned up and taken on the production.  While no release date was indicated on the press release, I imagine the film will be held for next year’s stable (which already includes Aaron Schneider’s “Get Low”).

    The press release, in part:

    Sony Pictures Classics announces its acquisition of United States’ rights to Rodrigo García’s MOTHER AND CHILD from WME Global. The film debuted at the 2009 Toronto International Film Festival as a Gala Presentation, where it was actively pursued by several US distributors.

    MOTHER AND CHILD is the moving tale about the choices we make, the chances we miss, the opportunities we seize and the power of the unbreakable bond between a mother and her child…

    “We have known Rodrigo García for a long time, first as the cinematographer of MI VIDA LOCA in the early ‘90s, then as a writer and director, and have always been impressed with his incredible skill at creating roles for actors, especially for women. With MOTHER AND CHILD Rodrigo has managed to define characters which allow for career best performances for all of the actors he has cast in a film that we feel will connect with people all over the U.S. We are excited to be working with him, his remarkable cast and his producers Julie Lynn and Lisa Maria Falcone,” said Sony Pictures Classics.

  • Animated feature looking like five all over again

    The Missing Lynx: Paws on the RunTwo weeks ago we told you about the animated feature film category’s state of flux and how a little film no one has heard of called “The Missing Lynx: Paws on the Run” could be its saving grace.

    With “Evangelion 1.0: You Are (Not) Alone” and “A Town Called Panic” currently off the qualification list, and Disney trying hard to pad the field of eligible titles by submitting Robert Zemeckis’s “A Christmas Carol” (when Zemeckis has gone on the record as saying such a thing is a “disservice to the great animators”) and even squeezing in the formerly-straight-to-DVD “Tinker Bell and the Lost Treasure,” the magic number of 16 has been too close to call.

    Well, today at 5:00pm is the official deadline for submissions, and prints of qualifying titles are due by November 13.  It’s now or never, and things will start to take shape soon.  But getting back to “The Missing Lynx,” Steve Pond is reporting that the film was officially submitted and gets some great quotes form director Raul Garcia about the situation.

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  • Enter AFI

    AFI FestI haven’t had a chance to preview/write-up AFI Fest due to some a dizzying weekend and family obligations, but I should probably do that with the festivities entering a fourth day.

    “Fantastic Mr. Fox” kicked things off last week and with the festival moving from the Arclight on Sunset to the historic Chinese Theatre on Hollywood, there is, I’d wager, a glitzier vibe to things this time around.  The galas are coming fast and furious, the most recent being a big spread for “Precious” last night.

    Speaking of which, at an after party for the film at the Chateau Marmont, Oprah Winfrey was on hand to introduce singer Mary J. Blige, who performed original song contender “I Can See in Color” to a standing-room-only crowd.  It was the first time the tune had been performed publicly.

    Tonight I’ll finally cross paths with “The Imaginarium of Doctor Parnassus,” one of a slew of films I hope to catch up on at the fest. The only big reveal for me will be “Everybody’s Fine,” which screens tomorrow night and could instantly put Robert De Niro in the thick of the Oscar hunt (more on that in today’s Off the Carpet column).

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  • Matt Damon: A-list character actor

    Matt DamonOver the weekend you heard Anne and I discuss Matt Damon’s Oscar prospects this year for his two films, Clint Eastwood’s “Invictus” (where he’ll be looking to land a supporting actor nomination) and Steven Soderbergh’s “The Informant!” (lead).  Anne isn’t in the minority when she says the latter has faded somewhat from the canvas and that Damon is looking less likely for a notice there, but I remain fairly certain that he’ll be remembered for what is, many will agree, his finest work to date.

    Of the year’s potential double-dippers, Damon has perhaps remained the most likely to see two nominations, and he’ll be right back on the scene a week after the Oscarcast when Paul Greengrass’s “Green Zone” hits theaters nationwide.  The guy is busy, as always, and what makes him special is he is incredibly consistent.

    So it’s not that surprising that the Grey Lady would dedicate a lengthy piece to the actor and his place in modern Hollywood, having forged a career as what the editors and/or writer Dennis Lim are cleverly dubbing an “A-list character actor.”

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  • Helen Mirren talks ‘The Last Station’

    Helen MirrenAfter I saw Michael Hoffman’s “The Last Station” at Telluride, it became quickly apparent that, should the film get a domestic release, actress Helen Mirren would find herself in the thick of the Oscar hunt for Best Actress.  She gives, to my mind, the performance of the film.  And now that Sony Classics has picked it up and begun to build a campaign, well…nothing is “truth” until everyone agrees, I guess.

    Mirren will be representing the established guard in the face of formidable competition from younger, upstart performers such as Gabourey Sidibe and Carey Mulligan.  It should make the race quite interesting, because as much as the media probably wants to frame it as Meryl vs. Carey all the way, there are lots of variables.  And plenty of potential line-ups (especially with contenders like Marion Cotillard on the way and others like Brenda Blethyn and Sandra Bullock jumping into the race as we speak).

    Anyway, in the pages of London’s Daily Telegraph newspaper, Mirren has gone on the record with writer John Hiscock about the role of Sofya Tolstoy, Countess wife to world-renowned author Leo Tolstoy.

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  • 11/2 Oscarweb Round-up

    Gabourey Sidibe• Brian Brooks sits down with “Precious” star Gabourey Sidibe. [indieWIRE]

    • Mark Harris on Penelope Cruz and Pedro Almodovar: cinematic soul mates. [New York Times]

    • Mark Salisbury writes up “The Young Victoria” from across the pond with quotes from actress Emily Blunt and screenwriter Julian Fellowes. [Los Angeles Times]

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  • Damn right

    Sasha Stone at Awards Daily has posted one of the first FYC ads of the year: A Best Picture stab for the Coens’ “A Serious Man”:

    A Serious Man

  • Gabourey Sidibe on Ellen

    Thanks to reader KBJr. for alerting me to this interview, which does a great job of drawing a line between the character and the person:

  • Obligatory horror TV/movie embed post

  • Did I miss this?

    A Baz Luhrmann travel commercial for Australia called “Come Walkabout” starring Brandon Walters.  The spots aired last year but I never saw one until I did on a plane this afternoon.  My first reaction (when I realized it was  a commercial), was that it was a shame to see the single best part of Luhrmann’s indigestible film “Australia” relegated to this.  But I guess with Luhrmann behind things, that makes it kind of okay.

    Anyway, this is SO 2008, but here:

  • New ‘The Road’ trailer

    A vast improvement on the tonally misjudged first effort, though it gives in to bombast halfway through. I wonder if it’ll be enough to sell this prickly package — it’s always hard to judge trailers when you’ve already seen the film at hand, particularly if said film didn’t really work for you anyway. Is this getting you in line?