In Contention

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  • New Ryan Bingham album on the way

    I’ve been meaning to address this nearly two-week old press release since I got back, but last year’s Best Original Song winner has a new album coming at the end of the summer.  “Junky Star” from Ryan Bingham & The Dead Horses hits stores September 7.  An added bonus: T Bone Burnett, music supervisor on “Crazy Heart” and co-writer of the Oscar-winning track “The Weary Kind,” produced the album.

    “Burnett created a recording environment that perfectly complemented the themes and textures of Bingham’s reflective songwriting,” the press release reads.  “The tracks…range from narratives with vivid imagery…to introspective confessionals…to bluesy roadhouse stomps…to Sticky Fingers-era Stones.”  Oh yeah, and according to Burnett, they finished it in three days.  Can’t wait to pick it up.

    You can hear a couple of songs from “Junky Star” at BinghamMusic.com.  Have a listen to a portion of one of them, “Depression,” below.

    [audio:http://www.incontention.com/audio/depression-brief.mp3]

  • ‘Somewhere’ trailer

    Last week the poster for Sofia Coppola’s “Somewhere” dropped.  Today, via Apple, the trailer.  Click the link or the image below.  I imagine “The Kids Are All Right” will be the big Focus play, but maybe there’s a strong performance from Stephen Dorff in there.  Or maybe Elle Fanning is charming enough.  Or not.  Releases December 22, so, pretty early for a trailer.  Embed after the jump.

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  • The kids are NOT all right (or alright, for that matter)

    This post is so unnecessary because it is an obvious lost cause. It really shouldn’t even be enough to get a rise, but in me, it just…does.

    You know, once upon a time the MTV Movie Awards (which are voted on publicly) actually seemed to reflect an edge in America’s youth. Think about it. “Terminator 2: Judgment Day” won the MTV award for Best Picture. “Menace II Society” won the MTV award for Best Picture. “Pulp Fiction,” “Seven,” “Scream,” “There’s Something About Mary,” “The Matrix,” “Napoleon Dynamite,” etc.  Room was even made here and there for prestige pics that tapped a pop culture vein.  “A Few Good Men,” for instance, or “Titanic,” “The Lord of the Rings” trilogy and “Gladiator,” one of only two times the award matched the Academy’s choice.

    And in the last five years?  Scary.  “Wedding Crashers,” “Pirates of the Caribbean: Dead Man’s Chest,” “Transformers” and far and away the two worst films to win a popcorn statue: “Twilight” and “The Twilight Saga: New Moon.” (Why, Bill, why?)  What the hell happened to the MTV audience?  What happened to the kids’ edge?  Who are these people?

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  • Christopher Nolan speaks out on 3D

    Even with “Inception” still unseen, media and fans alike are hopefully positioning Christopher Nolan as both the artistic and commercial savior of the Hollywood blockbuster in this dreariest of summers. So his views on the lingering point of contention that is 3D strike me as more pertinent than most. And while lofty names from Scorsese to Herzog are boarding the bandwagon, it seems that Nolan — for the time being, at least — remains a sceptic.

    Writing for the LA Times, Geoff Boucher details a Q&A with Nolan that he hosted this weekend, in which the director dwelt on the industry’s current favorite fad, and indirectly alluded to pressure from certain quarters to make the next “Batman” instalment in 3D. At this stage, however, he finds the technology lacking:

    It’s all based on all the visual-effects technology, you know, that we’re currently most engaged in with match moving, so forth, and rendering 2-D imagery into a 3-D space. … On a technical level, it’s fascinating, but on an experiential level, I find the dimness of the image extremely alienating.

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  • Jeremy Renner joins the club

    Every June, bloggers like to pick over the list of newly invited AMPAS members, seeing which recent nominees or long-serving industry stalwarts have been deemed good enough to vote for the Oscars. This year’s crop has yet to be announced, but at least one invitee has been named: Jeremy Renner. Thanks to Steve Pond for sharing this minor but happy tidbit.

    The “Hurt Locker” star — still, I think, the most deserving of 2009’s Best Actor nominees — had his membership made public at Saturday’s Student Academy Awards, by AMPAS president Tom Sherak:

    Introducing actor Jeremy Renner, Sherak … called him “the very talented – and now, brand new member of the Academy, Jeremy Renner.”

    Beaming, Renner walked onstage and said, “Yeah, that does sound good, doesn’t it?”

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  • Hollywood colonizes Broadway

    I wouldn’t normally make much mention of the Tony Awards, which took place in New York last night — this being a film site, after all, and me being an entire ocean away from the U.S. theater scene. (That said, I saw yesterday’s big winner “Red” on its initial run in London, and was suitably impressed. The play, incidentally, is by Oscar-nominated screenwriter John Logan, of “Gladiator” and “The Aviator” fame.)

    Still, when the list of winners contains more Hollywood star power than in an average edition of the Golden Globes, it’s hard not to pay attention. Denzel Washington, Scarlett Johansson, Catherine Zeta-Jones and Viola Davis all took home trophies last night, and while I have only second-hand critical word to go on, I am led to believe that this was merit-based starfucking.

    The victory must taste particularly sweet for Johansson, who took Best Supporting Actress in a Play for her well-regarded turn in a revival of Arthur Miller’s “A View From the Bridge.” With the actress’s screen work of late having made her something of a critics’ punch-bag, this serves as a welcome reminder of her neglected talent — here’s hoping this ushers in some suitable cinematic vehicles for it.

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  • SUNDAY CENTS: ‘Karate’ top

    *All historical figures cited are adjusted to today’s dollars.

    After weeks of disappointing returns and underperforming titles, the box office was saved once again by Will Smith. Only this time he did it not by putting out a new film, but by having unprotected sex with his wife twelve years ago. His fairy dust box office genes have passed on to son Jaden, who stars in our number one movie this weekend, “The Karate Kid.”

    The groans were loud and plentiful when this remake was announced and even more so when Smith was cast. At some point, the groans must have turned into quiet, shameful anticipation as Sony saw a debut just a little shy of what major titles like “The Incredible Hulk” and “Mr. & Mrs. Smith” have done on this same weekend. $56 million to be exact, proving that audiences aren’t exactly tired of Hollywood’s unoriginality after all.

    But let’s focus on the positive. Summer 2010 was saved by a mid-budget film with all three main roles filled by minorities. Now that’s original.

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  • ‘Somewhere’ poster

    The first one-sheet for Sofia Coppola’s latest — starring the Château Marmont, apparently, with support from Stephen Dorff and Elle Fanning — isn’t the most striking image around, but it’s of a piece with the woozy, offhand visual approach in the marketing of her previous films. I feel like I know exactly what to expect here: job done, then. The film, meanwhile, is likely to surface at Venice in September … World Cup and sunshine notwithstanding, can we just skip summer already?  Full version after the jump.

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  • Queen’s Honors for Harwood, Zeta-Jones, Okonedo

    Capping what was a pretty decent day for South Africa yesterday, one of the country’s most notable cinematic sons, Ronald Harwood, was accorded a knighthood in yesterday’s Queen Birthday Honors list. The Oscar-winning playwright and screenwriter (“The Pianist,” “The Diving Bell and the Butterfly,” “The Dresser”) is the only film figure granted that top honor in this year’s list. He offers this quote in response:

    “I was truly surprised and greatly delighted to learn that I was to receive this honour. I arrived in England in 1951, at the age of 17, from South Africa where I was born in the hope of making my way in the great world. So it has been a long, fruitful and immensely enjoyable journey, crowned by this splendid reward for which I am deeply grateful.”

    Lower down on the list is a trio of British actresses; most elevated among these is a second 2002 Oscar champ, Catherine Zeta-Jones, who was named a Commander of the British Empire for her film and charity work. (Okay, a CBE, but I like the mental image of the “Chicago” star commandeering an entire empire. You know she would.)

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  • OSCAR TALK: Ep. 27 — Special Edition! — Quick Cannes review, bleak summer season so far, counter-programming

    Oscar TalkWelcome to Oscar Talk, your one-stop kudocast between yours truly and Anne Thompson of Thompson on Hollywood.

    In the second of three off-season discussions, Anne and I address the following today:

    • Since we haven’t talked since Cannes, Anne talks about the stronger titles from the Croisette as well as various news and notes that came out of the fest.

    • We’re in the middle of the summer, and as far as we can tell, it’s bleak out there. We discuss the lackluster box office so far and the potential hope of what’s still to come.

    • One of those hopes is Pixar’s “Toy Story 3,” which Anne enjoyed. Unfortunately, I haven’t seen it yet.

    • Another hope would be counter-programming, like titles such as “Winter’s Bone” and “The Kids Are All Right.” Anne and I discuss our feelings on each.

    • Finally, we address the fact that all eyes seem to be on Christopher Nolan’s “Inception,” which will certainly dominate our next off-season podcast on July 16 (coincidentally the day of the film’s release).

    Have a listen to the latest podcast below. As always, remember to subscribe to Oscar Talk via iTunes here.

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  • FRIDAY FORECAST: Hey, remember the 80s?

    *All historical figures cited are adjusted to today’s dollars.

    A thousand apologies for being off the grid for a little over a week. I was in Germany for a screening of my film and was happily without internet or phone for most of the trip. Sadly, I returned to the news that “Shrek Forever After” was still the number one movie in the States. Honestly, I can’t leave you people alone for a minute.

    Last week’s slate was always going to be a crop of modest performers but this week is a little different. Hollywood double dips into the 80s nostalgia well and at least one of the films carries a very high price tag that will need some juice to be recouped.

    But first let’s talk about “The Karate Kid.” Some ultra nerds have been complaining that it’s false advertising because Jackie Chan actually teaches Kung Fu this time, but if that was really an issue then the original would have been called “The Karate Man,” since I’m pretty sure Ralph Macchio was 35 when it came out. Regardless, Sony is hoping to gain kids with the PG rating and pre-teen protagonist, teens with the martial arts and Jackie Chan, and finally adults with nostalgia. Test screenings went extremely well (so says Sony) and I think the film could surprise with a $30 million weekend.

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  • Let’s hear it for the boy

    Regular readers will know that there is no current film writer, great or small, whom I look up to more than Nick Davis — a Chicago-based English professor whose blogging balances rich academic perspective with truly heroic levels of Oscar geekdom.

    These two elements combined to form a lifelong project in which Nick resolved to see and rank every one of the 408 performances nominated for Best Actress by the Academy — reviewing 45 of them along the way.

    Insane? Of course. Difficult? Have you tried to locate a copy of, say, 1929’s “The Barker,” with its nominated performance by Betty Compson? (The guy had to go to the UCLA Film & TV Archive to track it down. That’s crazy dedication. Or just crazy.) But congratulations are in order, since Nick just completed this epic undertaking, saving Judy Garland’s iconic turn in “A Star is Born” for last.

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  • AMPAS does the 3D thang

    Don’t panic, they’re not instituting a new Oscar category for Best Achievement In Three Dimensions. (Yet.) But they are acknowledging the ubiquitous trend with a three-part showcase titled “Getting Perspective III: Exploring the Craft of 3D Movie Technology.” Taking place every Tuesday evening between June 22 and July 6, the showcase will comprise panel discussions, demonstrations and screenings devoted to the technology.

    The first part, “Virtual 3D,” will be dedicated to digitally-created 3D, covering key-frame animation and performance capture, amongst other things. The director and effects magician of “G-Force” — no less — will be on hand to further the discussion, so miss it at your peril.

    Part two, “Photographed 3D,” will cover the technology in a live-action context, touching on documentary, stop-motion animation and post-production, with guests including “Coraline” DP Pete Kozachik. The showcase will close simply with a screening of the landmark, self-explanatory 2008 concert doc “U2 3D” — well worth a look from a technical standpoint, whether you’re a fan of the band or not — with an accompanying discussion with the film’s director, DP and editor.

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  • Les Grossman is ready for his close-up

    We knew it was coming.  Here’s the (knee-slapping) press release, in part:

    Paramount Pictures and MTV Films announced today that they are set to develop a movie around mega-producer Les Grossman. The announcement comes on the heels of Grossman’s groundbreaking and visionary production of the soon-to-be Emmy® award-winning 2010 MTV Movie Awards Sunday night. Tom Cruise, along with Ben Stiller and Stuart Cornfeld of Red Hour Films will produce and have secured the life rights to Grossman.

    Grossman, best known as a mega producer, has most recently mentored talents such as Rob Pattinson and Taylor Lautner. In 2008, Grossman was introduced to the masses by Stiller in the comedy “Tropic Thunder” where the famed producer had a cameo playing himself.

    Said Ben Stiller: “Les Grossman’s life story is an inspiring tale of the classic human struggle to achieve greatness against all odds. He has assured me he plans to quote, ‘F**king kill the sh*t out of this movie and make Citizen f**king Kane look like a piece of crap home movie by the time we are done.’ I am honored to be working with him.”

    When asked what the screenplay was about Grossman responded: “To quote my great friend Kirk Lazarus, ‘I don’t read the script, the script reads me.’”

    Adam Goodman, Paramount Film Group President said, “Everything I learned in this business, I’ve learned from Les. I started out as his assistant, and from the first day he threw his desk at me when I got his lunch order wrong, I have loved him like a father. I am forever grateful to Ben and Stuart Cornfeld and their ability to secure his highly-coveted life rights,”

  • PAGE TO SCREEN: “Eat, Pray, Love” by Elizabeth Gilbert

    (Apologies for the delay in posting this column. Page to Screen will return to its regular Tuesday spot next week.)

    Chick-lit, the unflatteringly named brand of light confessional writing intended to universalize the problems of modern professional women, has been a beast of a publishing phenomenon since the near-simultaneous arrival on the scene of Helen Fielding’s “Bridget Jones’s Diary” and Candace Bushnell’s “Sex and the City” in the late 1990s.

    Marked by clear Transatlantic cultural differences, those volumes were nonetheless linked by their semi-autobiographical nature, their urban media milieu, a similar issue slate of sex, career, mild vice and the ongoing hunt for Mr. Right/Darcy/Big and a tone of chatty journalese – both, after all, were spinoffs of popular newspaper columns.

    They also have one other crucial thing in common: massively successful screen translations that continue to bear fruit. A third big-screen Bridget Jones outing is currently in the works, and you may have heard something about a film called “Sex and the City 2” this summer.

    In Fielding and Bushnell’s wake, then, have come a legion of female writers and journalists converting their personal experiences into bestseller status and swift deals with Hollywood: the success of such titles as “The Devil Wears Prada,” “Julie & Julia,” “Confessions of a Shopaholic,” and the male co-authored “He’s Just Not That Into You” hardly discourage the trend. (You could even argue for last year’s “An Education” as an arthouse twist on the formula.)

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  • “She’d definitely call me a sissy.”

    I have to say, I’m so willing to put my issues with Debra Granik’s “Winter’s Bone” aside it’s not even funny.  Why?  Because Jennifer Lawrence is the real deal, and it’s exciting.  She’s only 19, which means we’ll have years of surely stellar performances ahead.  And sue me, every time I see a pic, my heart skips a beat.

    I shot an email off to “The Burning Plain” writer/director Guillermo Arriaga yesterday to mention all the Lawrence buzz that’s accompanying the limited release of Granik’s film, and to note that he could take some measure of credit for giving her that first opportunity to shine.  “She has a light of her own, big and bright,” he replied.  “I was fortunate to be close to her.  I bet she will be nominated several times in her life.  You will see.”

    Hard to argue.  But this is that delicate time where you cross your fingers and hope she and her representation make all the right moves.  I really don’t want to see Jennifer Lawrence glossed over as eye-candy in a comic book love interest role, okay?  No matter what the payday might be.  So, fingers crossed.

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  • Brooks comedy gets a title change

    James L. Brooks says he “has a tough time” with titles and that they “make [him] nuts.”  So following the switcheroo of “Betty Anne Waters” to “Conviction,” today it looks like Brooks’s “How Do You Know” will now be known as “Everything You’ve Got.” The film stars Paul Rudd and Reese Witherspoon and may or may not be an awards caliber thing, depending on the “Spanglish”-ness of the finished product.

    Capiche?

  • John Legend’s ‘Shine’ from ‘Waiting for Superman’

    Paramount is having a nice to-do for Davis Guggenheim’s “Waiting for ‘Superman’” June 21st during the Los Angeles Film Festival.  To say the least, following great notices at Sundance, it’s a documentary feature hopeful come year’s end.  Legend will be on hand to perform “Shine,” his original song for the film, which apparently plays over the closing credits.  As we all know, that may or may not be a deal breaker for the song’s Oscar chances, but I clicked around and came up with this You Tube clip of Legend performing the track.  Thought I’d share: