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  • OSCAR TALK: Ep. 60 — A sprint Telluride recap, ‘Descendants,’ ‘Albert Nobbs,’ disagreeing on ‘Dangerous Method,’ thoughts on Eddie Murphy, Toronto preview (ish)

    Oscar TalkWelcome to Oscar Talk.

    In case you’re new to the site and/or the podcast, Oscar Talk is a weekly kudocast, your one-stop awards chat shop between yours truly and Anne Thompson of Thompson on Hollywood. The podcast is weekly, every Friday throughout the season, charting the ups and downs of contenders along the way. Plenty of things change en route to Oscar’s stage and we’re here to address it all as it unfolds.

    Today we’re back from the Telluride film fest, but Anne is up in Toronto and things are, well, kind of nuts. She’s up against the wall trying to get to a screening so we don’t get to dig in as much as we’d like. But we try. We really try. So, let’s see what’s on the docket today…

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  • Naïveté you can believe in

    Guy has already covered George Clooney’s  “The Ides of March” for us out of Venice. It’s too bad I couldn’t get into any pre-Toronto screenings (due to not attending the festival), since I was anticipating liking it more than Guy and it could have been nice counter-balance. But then again, maybe not.

    I’ve been reading a lot of reviews and Tweets out of Toronto screenings yesterday from the less-than-enthused. “There isn’t anything shockingly new in this political thriller,” Kyle Smith of the New York Post asserted. “[I]t was pretty much all in ‘Primary Colors’ 15 years ago.” His colleague, Lou Lumenick, Tweeted something similar (while nevertheless praising the cast).

    Similarly, eFilmCritic’s Erik Childress Tweeted that the film “is tremendously disappointing. No more than a watered down version of ‘Primary Colors.’” It’s beginning to sound like the film is going to be saddled by comparisons to that 1998 Mike Nichols effort (which was to Bill Clinton what “The Ides of March” is to Howard Dean). That film, by the way, only wound up with nominations for Best Supporting Actress (Kathy Bates) and Best Adapted Screenplay.

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  • Tell us what you thought of ‘Contagion’

    I dropped my thoughts on Steven Soderbergh’s “Contagion” while at the Telluride fest, following a brief discussion on the film with Anne in last weekend’s podcast. All of that came on the heels of my in-depth interview with screenwriter Scott Z. Burns, but now it’s your turn to sound off. The film opens nationwide today, so when/if you get around to the film this weekend, head on back here with your thoughts.

  • “Society needs to be stronger than the individual.”

  • 9/9 OSCARWEB ROUND-UP: Gosling King of Toronto, ‘Descendants’ drops earlier, spoilers in trailers

    • Susan Wloszczyna writes up Toronto as the Oscar season kickstarter, hears good buzz for Woody Harrelson in “Rampart.” [USA Today]

    • Jeff Labrecque chalks Ryan Gosling up as the King of Toronto with two films set for the fest. [Entertainment Weekly]

    • Fox Searchlight moves “The Descendants” up five days to November 18. [Variety]

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  • VENICE: ‘Texas Killing Fields,’ ‘Faust,’ competition stragglers

    After a ten-day, 23-film Venice Competition that started slowly but respectably, hit a healthy stride midway through and began wheezing with exhaustion in its closing stages, things have finally ground to a permanent halt with “Texas Killing Fields” (**), the sophomore feature from Ami Canaan Mann — daughter of Michael,  who predictably takes a producer credit here. Mann fille arrived on the Lido a mostly unknown quantity — her debut feature dropped 10 years ago, and appears to have been by precisely nobody in that time — and I’d love to say she proved to be something of a secret weapon up festival director Marco Mueller’s sleeve.

    Alas, the only weapons brandished by this color-by-numbers tumbleweed policier are those belonging to the dutifully scowling small-town cops played by Sam Worthington, Jeffrey Dean Morgan and one of Jessica Chastain’s recently minted clones — the ones to whom she now hands the second-string scripts that don’t quite merit her personal attention.

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  • ‘Pina’ among latest entries in foreign Oscar race

    I predicted on Twitter a couple of weeks ago that Wim Wenders’ 3D dance film “Pina” would be selected as Germany’s submission for the Best Foreign Language Film Oscar, and that it could well be a surprise shortlist entry if the executive committee gives it a leg up. The first half of that forecast panned out today, and I’m sticking by the second — though Kris, I should add, thinks I’m off my rocker.

    It’s a riskily unconventional choice for Germany, which tends to play this game pretty safe — and has six nominations in the last nine years to show for it. “Waltz With Bashir” may have recently opened the door for documentary (or at least hybrid) filmmaking to get recognition in this category, but that was still a more narrative film than “Pina,” the bulk of which amounts to filmed performance art. It’s also the first 3D submission that I can recall.

    There’s no precedent for such a nomination, yet that novelty is exactly why I think the branch’s executive committee — which has made a concerted effort to bring a more adventurous streak to a frequently fusty category — might stand up for it.

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  • Tell us your ‘Contagion’ germaphobe stories

    Steven Soderbergh’s “Contagion” opens tomorrow nationwide. We’ll put up the usual “tell us what you thought” post then, but for now, I thought I’d point you all to this interesting behind-the-scenes look at the bacteria-infested billboard Warner Bros. commissioned for advertising the film in Toronto, courtesy of JoBlo. It’s kind of brilliant:

    Meanwhile, I thought it would be a good way to get the discussion going to probe (no pun intended) you all for your own OCD tendencies when it comes to germs and the like. Any Howie Mandels out there? Any Bob Wileys? (Props to you if you caught that reference.) Rattle off your stories in the comments section.

  • Mary Tyler Moore to be feted by SAG

    The press release, in part:

    Renowned actress, producer and humanitarian Mary Tyler Moore will receive Screen Actors Guild (SAG)’s most prestigious accolade – the Screen Actors Guild Life Achievement Award. Moore created a new paradigm for female leads in television, won top honors for her courageous performances in film, television and on stage, produced some of the most lauded television programs of all time, and for thirty years, has served as a tireless advocate giving hope to all those afflicted with Type 1 diabetes.

    In making today’s announcement, Screen Actors Guild National President Ken Howard said, “Mary Tyler Moore won our hearts as Laura Petrie and Mary Richards, our respect as her production company became synonymous with quality television, our awe as she tackled difficult subject matter in film and on Broadway, and our admiration she turned her public recognition into a catalyst to draw attention to critical and deeply personal health and social issues. She truly embodies the spirit behind SAG’s Life Achievement Award, and we are honored to proclaim her as its 48th recipient.”

    The Screen Actors Guild Awards will air on TNT and TBS Sunday, January 29.

    [Photo: Screen Actors Guild]

  • VENICE: ‘Killer Joe,’ ‘The Exchange,’ ‘4:44: Last Day on Earth’

    With two days to go until wrap-up, and a host of journalists having defected to Toronto, one can feel the air not-so-slowly hissing out of the Venice balloon. And while this certainly has its upsides — it no longer takes half an hour to get an espresso as the festival café, for example — it’s difficult to escape the sense that we’re drinking the dregs of the film programme. (If I had a euro for every time I’ve heard the term “front-loaded” uttered around the Lido…)

    Or perhaps not — the festival didn’t start to a tune of critical consensus, and it’s not ending that way, either. Last night, the last of the heavyweight Euro auteurs in competition, Aleksandr Sokurov, unveiled his take on Goethe’s “Faust” — and while I thought it a mostly agonizing misstep for the Russian formalist (with a bevy of walkouts suggesting others agreed), ecstatic applause all the way through the closing credits didn’t bode well for critical consensus. Sure enough, Sight & Sound’s Kieron Corless tweeted this morning that the film is “flawless,” and online bookies appear to be knocking down its Golden Lion odds. To each his own cinema, and all that — but I’ll happily let others have mine, in this case.

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  • (UPDATED) ‘Moneyball’ reviews fire the Toronto starting gun

    Okay, not reviews, plural. Not yet. The only reaction I’m finding for Bennett Miller’s “Moneyball” (which screened here in LA a few times despite the usual studio falsehood — “we don’t have any screenings set right now” — typical) is Jeff Wells’s take at Hollywood Elsewhere. And it’s a glowing assessment, to say the least. He calls the film a “triumph” and thinks it’s definitely a nominee for Best Picture, Best Director, Best Actor (Brad Pitt) and Best Adapted Screenplay. He doesn’t mention anything about Wally Pfister’s cinematography or Christopher Tellefsen’s editing, unfortunately.

    But regardless, we’ll save our sure-thing card until we see it — Jeff flies off the Oscar handle on dubious players too frequently to trust this just yet. And he kind of sends up a red flag when he alludes to the film not being a rousing sort of thing (which, obviously, isn’t in and of itself a drawback — I’m just playing Jeff’s own game of parsing words to death). I’m nevertheless hopeful and I’ve been looking forward to this one for a while.

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  • Domestic ‘Tinker, Tailor, Soldier, Spy’ poster and featurette

    So it looks like the visual plan for “Tinker, Tailor, Soldier, Spy” is keeping it similar to the international look, judging by the domestic poster that hit the net yesterday. I think the first is a little more refined, but I still dig it. Check out the full image, plus a new featurette for the film, after the jump.

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  • 9/8 OSCARWEB ROUND-UP: Pond picks Payne, Von Trier steps in it further, Waxman knocks ‘Warrior’ strategy

    • Steve Pond lays it all out for “The Descendants” winning Best Picture, trying to make good on his two-year streak (though at least he had seen the other two before making those calls). [The Odds]

    • At Telluride, meanwhile, Sasha Stone laid down a cool 20-spot on Viola Davis taking Best Actress. (I’m a witness.) [Awards Daily]

    • That Cannes hole just wasn’t deep enough for Lars Von Trier. [Hollywood Reporter]

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  • ‘Shame’ igniting pre-Toronto bidding war?

    I first reported out of Telluride that Fox Searchlight was looking like a good possibility to pick up Steve McQueen’s brilliant, stirring — and naughty — “Shame,” and expanded my thoughts on that possibility in Tuesday’s Off the Carpet column. Well, it looks like Deadline’s Mike Fleming is hearing similar things, and not just that Searchlight is in the mix, but that the film is kicking up a bidding war ahead of its Toronto bow. He writes:

    This year’s festival hasn’t started and already there are fireworks. Deadline broke news yesterday that Harvey Weinstein would start a VOD business, making the acquisitions market for fringe films more competitive; and last night, I heard that a bidding battle had already broken out for the Steve McQueen-directed Shame, which should be sold by the time it screens Sunday. Fox Searchlight is the favorite, Sony Pictures Classics is in the mix and I’ve heard that The Weinstein Company is hovering.

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  • ‘The Rum Diary’ poster

    First off, apologies for the misinformation regarding “The Rum Diary” potentially being at Telluride. (Scott Burns was right!) It really did look that way for a minute, but anyway, a poster for the film has been released, and it’s delicious. *hiccup* I’m very much looking forward to this one. Check out the full image after the jump.

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  • Taking questions for Oscar Talk

    You know the drill. Rifle off any queries you might have and Anne and I will address a few on Friday’s podcast. PLEASE KEEP IT TO ONE QUESTION, and as always, steer clear of things we’ve already covered. Give us something good to chew on.

  • London Film Festival unveils Weisz-bookended lineup

    I’m not going to spend too much time on the London Film Festival lineup, which was announced in all its glory this morning — partly because I’m still at Venice and am experiencing disturbing festival double vision, and partly because I’ve already seen a number of its choicest selections.

    As usual, festival director Sandra Hebron (in her final year steering the fest) and her team have done a stellar job of cherry-picking the hottest titles from Cannes (“The Artist,” “We Need to Talk About Kevin,” “Miss Bala”), Sundance (“Like Crazy,” “Martha Marcy May Marlene”), Venice (“Alps,” “Shame,” “Wuthering Heights”), while bulking out the programme with exciting lesser-known British and international cinema titles — world premieres, a number of them.

    204 films films will play over the course of 16 days, which, with so many inclusions already checked off my list, should afford me plenty of time to dig into more buried treasures from the lineup. As usual, I’ll be keeping you abreast of my discoveries, as well as the handful of autumn prestige titles that I’ll get my first look at there.

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  • Beatty, Bonham Carter among 2011 BAFTA LA honorees

    I’ve never been precisely sure what BAFTA Los Angeles is, or what it is that they do — I do know that I’m wary of any group that is chaired by “So You Think You Can Dance” overlord Nigel Lythgoe, but that could be irrational on my part.

    I do know, however, that have their own annual awards, which have very little to do with the actual BAFTAs over in my part of the world — though that won’t stop many members of the “Harry Potter” cult from flipping out over the news that latter-day franchise helmer David Yates is to receive their John Schlesinger Britannia Award for Excellence in Directing. Pop the champagne corks, if you’re so inclined, while Lynne Ramsay weeps quietly in a corner. Or not, probably.

    In a semi-related win, Helena Bonham Carter will receive the British Artist of the Year award, which seems a tad random even if you include her Oscar-nominated work in last year’s “The King’s Speech.” (What have Tom Hardy and Michael Fassbender done this year, anyway?)

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