FYI, I’ve updated the predictions in the sidebar in the wake of the news that Miramax’s “Chéri” will be released in 2009. I’ll update the charts some time over the weekend to reflect this in the various races there.
Category: Daily
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Best of the 90’s
Time is the enemy of all films as it erodes what was once exciting and original. Truly great movies are able to withstand the test of time, but I wonder if enough time has passed to take a look back at the 1990s cinema and make some decisions.There was a major breakthrough in the decade with filmmaker Quentin Tarantino, who did not so much open the door for indies as he did kick it in and stomp on it with his “Pulp Fiction,” a gloriously acted, directed and written masterpiece about criminals in Los Angeles. When Godard spoke of making films with a guy, a girl and a gun, was this what he had in mind?
Though Tarantino has strugled to follow up his legendary 1994 effort with an equally powerful offering, there is little doubt he will, or at least could if he wanted to. (Though he keeps stopping and starting on his latest ambitious project.) After all, he is still growing as a director. And just look at Steven Spielberg, who for my money has grown artistically through the last 15 years more so than any other major filmmaker. It was as though “Schindler’s List” and the release of winning the Oscar set him free.
Anyway, for the record and argument, here are my ten best films of the 1990s:
1. “Pulp Fiction”
2. “Schindler’s List”
3. “Goodfellas”
4. “Unforgiven”
5. “Saving Private Ryan”
6. “The Sweet Hereafter”
7. “Magnolia”
8. “L.A. Confidential”
9. “The Shawshank Redemption”
10. “The Silence of the Lambs”You?
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Defending Robin
Batman scribe Jeph Loeb (“The Long Halloween, “Dark Victory”) has jumped into the recent Robin debate, defending the character’s potential in Christopher Nolan’s current trilogy.Hunter Stephenson at /film points us to this MTV story, which offers the following from Loeb:
Take the time to tell the story properly…There is a story of Dick Grayson and how he becomes Robin that is extremely moving and very helpful. …[Grayson/Robin] doesn’t understand why it is that he needs to do this and Bruce doesn’t understand why he’s doing it either because he’s not a parent. He doesn’t know how to be a parent…together, they make each other better people…that for me would be the next step.
Stephenson also mentions that the recent Star Pulse item quoting Christian Bale’s dismissal of the character may have been misattributed, indicating that the actor once noted one of his favorite Bat-stories was the very Robin-heavy “Dark Victory.” I never commented on the dismissal, because it frankly didn’t sound like something he would have said.
Anyway, you’ve all heard my side of this debate. I think there is plenty of room to do this story maturely and powerfully, and unless the filmmakers prefer to lock in to what could be a very straight-line, three-film arch, a saga more epic than most could imagine is there for the taking. And Loeb seems to understand that it would need to be something for the long haul, not a quick fix:
I wouldn’t let him become Robin until the third act, if that. I think that’s the other problem when you tell that story is that there’s this rush to put him in a costume by the end of the first 20 minutes and in that case I think it’s a disaster…
Read more of the Loeb interview here.
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Variety ponders the season at the mid-way point
We’ve already been over what a thin year it’s been so far for Oscar candidates – or good films at all, for that matter. Now Variety has come to the same conclusion. In his mid-year awards-season study, Timothy M. Gray goes so far as to say that “the past six months have offered fewer potential contenders than any January-June period in memory,” and wonders if we’re seeing a return to the days when the Oscars were dominated by winter releases from the majors.Indeed, Gray only finds one title from the first-half of the year that he thinks has main category potential: Overture Films’ “The Visitor,” the prospects of which I discussed extensively yesterday. I’m not sure I’d boil down an entire half-year to a sole film (“In Bruges,” anyone?), but I agree that “The Visitor” has a real campaigning advantage:
Keep an eye on Overture’s “The Visitor”: Lead actor Richard Jenkins has rightly earned awards buzz, but the film has many other virtues (Thomas McCarthy’s script and direction, the other performances, etc.). McCarthy, a talented actor in his own right, has crafted an actors’ movie — a character study with current-event concerns — that will play well on DVD, so late-year mailings could pay off.
(Indeed, the more I think about the film’s position in the awards derby, the more it reminds me of a certain tiny spring release from last year: “Away From Her.”
Looking forward into the rest of 2008, Gray ends up pondering most of the same questionmarks that we all are, including the following questions:
Will the early buzz sustain for Disney-Pixar’s “Wall-E” and WB’s “The Dark Knight” and Heath Ledger?
What effect will the Clint Eastwood double whammy — November’s “Changeling” and the December bow of Warner Bros.-Village Roadshow’s “Gran Torino,” in which he stars as well as directs — have on kudos? Similarly, Scott Rudin, who was in the winner’s circle with “No Country,” has two December openers — but will he have a third with “The Reader,” whose opening date is not yet set?
Benicio Del Toro won Cannes’ actor award for Steven Soderbergh’s “Che,” but will it find a U.S. distrib this year and, if so, in what form will the two-part film be released?
And then there are … other questions. In the last few years, the song category has been dominated by tunes that were production numbers (as opposed to those end-credit or background songs). So does this bode well for Disney’s “High School Musical 3” and Focus’ “Hamlet 2”? (If the song “It’s Hard Out Here for a Pimp” can win, there may be hope for the latter pic’s “Rock Me Sexy Jesus.”)
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EW ‘Dark Knight’ cover story
Benjamin Svetkey has cranked out a thoughtful, compelling cover story study of Heath Ledger’s performance in “The Dark Knight” for next week’s Entertainment Weekly.The piece, titled “Tragedy and Triumph,” concerns itself with how Ledger’s death has affected expectation and perception in the lead-up to the film’s release in a little more than a week. It’s tightly written, one of the better features out there on the film.
There are money quotes all over the place and plenty of insight from Svetkey’s early set visit woven in here and there.
However, there is a stupid, pointless graph at the top of the fourth page that is ridden with a few spoilers. It’s totally unnecessary and evidence of a journalist strutting, if you ask me. But the rest: top notch.
On the casting of the Joker, here’s what Svetkey cranked out:
With Bale contractually locked in for two more Bat movies, and Nolan on board for at least one more, the only thing needed was an actor to play the bad guy. There certainly wasn’t a shortage of options. Robin Williams, Sean Penn, and even Mark Hamill were rumored to be on Nolan’s short list (at least Hamill had practice, having voiced the Joker in various superhero cartoons). What nobody knew at the time, though, was just how short the director’s list was. ”Heath was the only one on it,” Nolan insists. “I knew he was it from the start.”
And an interesting segment on the makeup of the character:
Ledger also gave plenty of thought to the makeup that would be splattered across his face throughout the film. ”He started applying the makeup himself — just to see what it would look like if he put it on with his own hands,” Nolan says. ”We talked about how streaking the paint could get across the idea of corruption, of decay.”
Check out the rest here. But be wary of that first graph on the last page. You can skip it totally and the article reads just fine.
And finally, here’s a glimpse of Ledger’s work in the film:
httpv://www.youtube.com/watch?v=b4FZdsIDsKE
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International ‘Blindness’ trailer
Can this overcome the critical thumping it took at Cannes this year? Personally, I think it looks rather good. I’m devoted to Fernando Meirelles, even if I found “The Constant Gardener” to be overbearing and overrated. But it’s hard to argue with talent when it’s clearly there, and this guy has it. Check out the new trailer:
httpv://www.youtube.com/watch?v=azLX4jjngpY
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Peter Bart chats it up with Guillermo Del Toro
Variety’s Peter Bart sat down recently with “Hellboy 2” director Guillermo Del Toro, presumably for the upcoming episode of AMC’s “Shootout.”He also has some nice pics up of the inventive filmmaker’s infamous sketchbooks, though they’re covered in watermarks. I assume it’s all in the way of plugging Sunday’s episode (which should be a good interview…Del Toro could make even Peter Guber seem to be asking pointed questions).
Here’s a look:
Del Toro is a man who loves to let his imagination roam, but he is very much a serious student of film who can discourse on the craft of Hitchcock and who helps guide and promote the work of fellow Mexican filmmakers like Inaritu and Cuaron (with whom he has a production company called Cha Cha Cha). For him, movies are both a playpen and a serious business — and a superbly remunerative place to have a happy childhood.
I’m REALLY looking forward to “Hellboy 2: The Golden Army,” I must say. I was not much of a fan of the initial installment, though I could not, at the time, deny the sheer scope of imagination on display. The trailers and promotional materials for the sequel have indicated the next level of visual splendor, so much so that Cinematical’s James Rocchi said he felt as if his “imagination had eaten too much.”
And despite my extreme distaste with much of Peter Jackson’s “Lord of the Rings” franchise, I’m oddly anticipating Del Toro’s “The Hobbit” with a twisted sort of glee.
Finally, it’s a few days old, but Jeffrey Wells recently sat down with the filmmaker (he’s always been an admirer). Have a listen.
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Will Oscar have an unexpected ‘Visitor?’
As you all know, we in the UK tend to be a bit behind the curve on most American releases, so I didn’t get to see Tom McCarthy’s wonderful “The Visitor” in time for our mid-year review. Had I done so, it certainly would have been in contention for my ‘best of the year so far’ title. (Happily, Blake recognised it in his contribution.)The film opens in the UK tomorrow (July 4 — an auspicious date for a film that challenges American ideals of liberty quite insistently) and, amid the summer movie crush, is getting a fair amount of publicity here, including this interesting piece in last weekend’s Guardian. Drawing comparison to such indie word-of-mouth successes as “In the Bedroom” and “Junebug,” critic Damon Wise believes that McCarthy’s gentle, wry but politically impassioned film could make a similar dent in awards season:
Normally, articles about the Oscar race appear in late November, once the studios have dusted off their A-list movies. But almost every year when the noms come in, there’s a film that leaves everyone scratching their heads because it seems to have appeared from the ether: it’s the film that came out ages ago, got some good reviews but didn’t do so well at the box office …
Today’s strangers arrive unannounced, and after the surprise appearance of In The Bedroom at the 2002 festivities, the industry now realises that there is no pattern any more: they can come from anywhere. Which, coincidentally, is, in some ways, the plot of The Visitor, a film that ticks several potential nomination boxes – it features a powerhouse central performance, it ponders on the flaws and foibles of being a so-called normal human being, it finds drama in the everyday – and it does it really rather well.
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‘Miracle’ headed to Toronto
This flew under my radar yesterday, but the Toronto International Film Festival has added a few more films to its Septmber line-up, including Spike Lee’s “Miracle at St. Anna.” The press release has more.
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Variety on the darkness of ‘Knight,’ Kevin Smith’s thoughts
David Cohen offered up a pretty standard story at Variety yesterday, touching on the darkness of “The Dark Knight” and the danger of alienating general audiences versus appeasing fans, etc. He quotes two online Batman fansite sources (truthfully, a knowledgable step if you want to convey any real education on the character — these guys are committed). He then tosses in some perspective from poducer Charles Roven. But I’m wondering if this was the best choice of words for Mr. Roven:
We walk that narrow line of making sure we were true to the character, but it’s not so gruesome. It’s not so utterly real that you turn away in disgust. You watch it and it’s one of the things that lets you know the film is not a real thing. We call it hyper-reality.
I get what he means, but it kind of made me take a step back and read it again. Sort of goes against the grain of the franchise’s mantra just a bit.
Meanwhile, comic geek extraordinaire Kevin Smith was impressed with the film to say the least. Here’s the brief blurb from his MySpace blog:
Without giving anything away, this is an epic film (and trust me: based on the sheer size and scope of the visuals and storytelling, that’s not an overstatement). It’s the “Godfather II” of comic book films and three times more earnest than “Batman Begins” (and fuck, was that an earnest film). Easily the most adult comic book film ever made. Heath Ledger didn’t so much give a performance as he disappeared completely into the role; I know I’m not the first to suggest this, but he’ll likely get at least an Oscar nod (if not the win) for Best Supporting Actor. Fucking flick’s nearly three hours long and only leaves you wanting more (in a great way). I can’t imagine anyone being disappointed by it. Nolan and crew have created something close to a masterpiece.
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‘Dark Knight’ interviews with cast and crew
Warner Bros. publicity has made the round table interviews from last weekend’s “Dark Knight” junket available. There’s a lot of good, in-depth stuff from Christopher Nolan, Christian Bale, Aaron Eckhart and the rest.
There is, however, a big hole in everything, because you can’t help but wish Heath Ledger was there to discuss his approach to a character that seems to be an award-worthy swan song.
Keep in mind that these are junketers…so sometimes you get a few doosey questions (usually the first person out of the gate). But everyone weathers the storm well enough. Pay attention to the end of the Bale file; he talks briefly about Michael Mann’s upcoming “Public Enemies” and McG’s “Terminator Salvation.”
There is also a slight spoiler around the 11:00 mark of the Aaron Eckhart interview, however, one that you might want to skip. It isn’t specific, but it’s enough information that could be irritating to know before seeing the film. Enjoy.
Christopher Nolan (writer/director):
[audio:Nolan-TDKjunket.mp3]
Download
Christian Bale (Bruce Wayne/Batman):
[audio:Bale-TDKjunket.mp3]
Download
Aaron Eckhart (Harvey Dent/Two-Face):
[audio:Eckhart-TDKjunket.mp3]
DownloadMore after the jump, including Gary Oldman, Maggie Gyllenhaal and Jonathan Nolan!
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Revamping Superman for 2011?
Two posts at /film and Obssessed with Film have me spinning my wheels this morning, wondering just who in the heck has approached comic scribe Mark Millar to revamp Superman for the screen in three years.The whole story started with a Daily Record interview that quoted Millar as saying he “always wanted to reinvent Superman for the 21st century.” He then went on to reveal that he had his “director and producer set up” and that there was even a target year in mind: 2011.
This, of course, sent the Web geek community into a bit of a tizzy. In response, Millar (creator of “Wanted” and author of “Superman: Red Son”) had this to say:
PS: That Superman news is interesting, isn’t it? In the interests of clarity (because I’m sure this will be picked up somewhere) a very well known American action director heard about my love of Superman, approached my (sic) and asked me to team up with he and his producer to make a pitch for this. We’ve been talking for several weeks now and, if this is going to happen, we’ll know by Christmas. He has huge pull at WB so fingers crossed. But this is nothing more than a huge US name pulling me into his fold and making me part of a package.
The first name that leaps to my mind is Wolfgang Petersen, but he’s obviously German. However, you may recall Petersen was signed on to direct a Superman vs. Batman film for Warner Bros. way back in 2002. That was, of course, way before Christopher Nolan unleashed his reboot of the Batman franchise on the marketplace. Peterson might be construed as having “huge pull at WB” since he releases most of his films through the studio and has managed a few considerable hits there (“The Perfect Storm, “Troy”) despite the occasional clunker (“Poseidon”).
The filmmaker was also quoted as recently as two years ago — during the build-up to Bryan Singer’s “Superman Returns” — expressing an interest in pitting the two superheroes on the screen together. Sure seems like a possibility to me.
Who else could Millar be hinting at? The Wachowski Brothers have sure made a bundle of money for the studio in recent years. “Watchmen” helmer Zack Snyder has also been welcomed with open arms in Burbank after delivering big on “300,” and he seems just the sort of person who’d be interested in reimagining the Superman character for a new franchse.Francis Lawrence? “Constantine” didn’t really find its footing, but “I Am Legend” (thanks to Will Smith, of course) made a killing worldwide.
McG? The “Charlie’s Angels” films made bank at Sony, but he still convinced Warners to hand him the key to a massive franchise in the form of “Terminator Salvation.” He’s also been here before and, according to rumor at the time, had one hell of a mind to revamp the franchise with casting speculation such as Beyoncé Knowles and Johnny Depp floating about.
And surely Tim Burton — a WB staple through the years with “huge pull” indeed — isn’t treading these waters yet again. Or is he? He certainly had a unique vision of the character once upon a time.
Thoughts? As long as it isn’t Brett Ratner, I’m happy.
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The Guardian dashes Ledger’s Oscar hopes
Not particularly new or earth-shattering perspective, but worth a link nontheless. From a Xan Brooks item this morning in The Guardian:
History…is not on [Ledger’s] side. James Dean was twice nominated in the wake of his death and yet still finished up as a posthumous loser on the night. More recently, Oliver Reed (for Gladiator) and Ulrich Mühe (The Lives of Others) were both tipped in vain for at least a nomination. In fact, the only actor ever to be awarded a posthumous Oscar was Network’s Peter Finch. Felled by a heart attack during the voting period, he swept to glory on a tidal wave of grief.
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Quick house-cleaning note
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Question of the day
Do webmasters really think that a boycott is going to be a blip on Variety’s radar?
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The Robin debate
(I’m going to geek out quite a bit here, so bear with me.)
Erik Davis at Cinematical points us today to what I would consider a rather ill-advised rant from Sturdy of JoBlo against the idea of introducing the character of Dick Grayson (a.k.a. Robin) into the Christopher Nolan Batman franchise.
Now, I would like to be measured here, because this is an argument far too easily given to hyperbole regarding what Robin is and what he means to the Batman mythos, to say nothing of what his existence means in the scope of a relationship with Bruce Wayne.
I think an introduction is possible, if not valuable, to the franchise Nolan has crafted thus far.
If there is one argument from Sturdy on which I side, it is that Robin has never worked on film or television. Burt Ward’s incarnation in the 1960s television show worked for what the series was going for, but not for what the character was, while the Joel Schumacher films depicted a character far too old and leaning much too heavily on the “young, dumb and full of cum” credo that must have been difficult to resist.
I do, however, think the notion that Robin has never worked in comics can only come from a reader never truly engaged in what DC writers have done with the character over the years. Indeed, many story lines failed because it is a dynamic that is difficult to grasp and control (not to mention dense with a three character history), but the proof of Grayson’s worth came with his own evolution into an adult less convinced but more understanding of his role as a vigilante than Bruce Wayne could ever be.
