In Contention

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  • REVIEW: “Burlesque” (***)

    (We don’t usually post reviews after the US release, but this one got snarled up in my hard drive earlier this week and I didn’t want to waste it. I’ve noticed a number of readers posting thoughts on the film in yesterday’s Cinejabber post, so look on this as your “Tell us what you thought of Burlesque’” post into the bargain.)

    “There’s no such thing as a guilty pleasure,” a music-critic friend once told me. “Just songs that work and songs that don’t. And any song that works is a pleasure.” He may have been talking about pop music (and justifying the expense spent on some rather dubious concert tickets), but the sentiment is just as true of cinema: there are enough wholly joyless bad films out there that one needn’t feel remorse for liking those that sparkle a little.

    Or a lot, as in the case of Steven Antin’s sweetly stupid and gleefully tatty backstage musical “Burlesque,” a kind of cinematic party horn that unfurls for nearly two full hours, pausing only occasionally for wheezily abridged plot extension. Heroically spry performances adjoin rancidly inept ones, peppery one-liners encircle bat-brained narrative turns, even the music veers from choice cabaret to hoary album offcuts – and this gurning, flailing whole is held together with the irrepressibly sincere let’s-put-on-a-show enthusiasm of a high-school drama teacher given a dream budget. It’s hard to shake the suspicion that Antin is just out of shot throughout, wielding a glue gun and a spare bag of sequins.

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  • CINEJABBER: DIY

    I’m spent.  Have at it.  Open thread.

  • WEEKLY WRAP: Holiday cheer and seasonal grousing

    • Calmed by the holiday spirit, this week’s Off the Carpet column took stock of the season, and gave thanks where appropriate.

    • The Long Shot looked at the number of one-time rebel auteurs in this year’s Oscar race, and wondered if awards glory comes at the expense of creative edge.

    • Life Without Oscar highlighted a pair of mid-90s majors, one from a filmmaker who wouldn’t go unacknowledged by the Academy for long.

    • We interviewed Jeremy Renner, still basking in the glow of his first Oscar nod, and shooting for a second with “The Town.”

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  • INTERVIEW: ‘Tangled’ composer Alan Menken

    Sitting at the Four Seasons’ Culina Restaurant with a tomato juice in hand, politely asking to turn the heaters up on a fair weather day, composer Alan Menken recalls the afternoon before, when he received a star on the Hollywood Walk of Fame.

    “That was a trip,” he says. “I didn’t know how much to make of it or not to make of it. It’s not a moment where someone says, ‘You’ve won this because you accomplished this.’ It’s a moment in time when someone says, ‘You know what? You should have a star.’”

    And it’s not the most out-of-line observation, given what Menken has meant to filmmaking, particularly animated filmmaking over the past two decades. It seems surprising that, however political an honor such as this may be, that he didn’t have one. But like he seems to take most praise, Menken was politely appreciative and didn’t quite know what else to make of it.

    “It was almost a little like going to a funeral. Because they have the thing covered up and you’re standing there and then they uncover it. And then I went back later in the day to visit my star and it’s a little strange, your star is still there and you’re walking away. On cold nights I can picture homeless guys peeing on it.”

    The star rests on the sidewalk outside of Disney’s El Capitan Theatre, a fitting place given Menken’s undeniable contribution to the studio’s legacy over the last 21 years.

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  • OSCAR TALK: Ep. 42 — ‘The Way Back’ woes, Sturgess and Renner make the rounds, Best Actress race (kind of) taking shape and ‘The King’s Speech’ opens

    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.

    Anne and I are in a bit of a food coma today, so the podcast was a bit all over the place. We free associate from topic to topic bringing in your questions where applicable, but there’s a lot to digest. Let’s see what’s on the docket today…

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  • TECH SUPPORT: Best Sound Mixing — Volume II

    Sound mixing has a lot in common with sound editing, but the distinctions are still critical. While both clearly relate to what we hear in the theater, sound editing specifically relates to the creation of artificial sounds (“sound effects”) while sound mixing brings everything together — from effects to music to dialogue (recorded on set or during post-production) to music – into the overall soundscape of a film.

    Many of the same kinds of films that are nominated for Best Sound Editing are also frequently cited here – blockbusters, action films and war films. But musicals often pop up here, too.  And as in most categories, being a Best Picture contender certainly helps titles that otherwise would not come close to this category. Though it is hardly determinative.

    I said before and will say it again – I believe that Christopher Nolan’s “Inception” is leading the way here, at least in terms of likelihood of a nomination. I honestly expect a good half-dozen crafts category nominations for this title and this will be among them. And I expect the crew, including past nominee Gary Rizzo, to be firmly in the hunt for the statuette.

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  • Taking questions for Oscar Talk

    Totally dropped the ball on this yesterday (of course), but maybe you guys are lurking and can squeeze a few queries in before Anne and I get to the podcast.  PLEASE KEEP IT TO ONE QUESTION, and as usual, stray from stuff we’ve already covered.

  • Tell us what you thought of ‘The King’s Speech’

    Opening in theaters today is “The King’s Speech,” largely considered the frontrunner for this year’s Best Picture Oscar and an audience charmer since it first bowed at Telluride (where I saw and greatly enjoyed it).  I also talked to the film’s director, Tom Hooper, and stars Colin Firth and Geoffrey Rush at the time, so I guess that deserves another link.  Guy, however, had a different take at London fest.  But now the jury’s out on public perception.  Tell us what you thought if you get around to giving it a look this weekend.

  • 11/26 OSCARWEB ROUND-UP: The hairy task of ‘Tangled,’ Britain’s Oscar potential, Julianne Moore a best bet?

    • Steve Pond chats with “Casino Jack” star Kevin Spacey. [The Odds]

    • Rebecca Keegan writes up the hairy task of creating Rapunzel in “Tangled.” [24 Frames]

    • Marc Lee thinks it’s looking up for Britain at the Oscars this year. [Daily Telegraph]

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  • Danke

    Just a note to echo my thanks to everyone for making this place what it is.  I had hoped to get around to that Menken piece but tomorrow or the weekend is looking more likely.  The Lions on the tube, the bird in the oven, friends on the way, plenty to keep me busy.  So, thanks again, and consider this an open thread.

  • Tell us what you thought of ‘Love & Other Drugs’

    By request.  Also opening this holiday spread is Edward Zwick’s “Love & Other Drugs.” I wasn’t the biggest fan of the film when I saw it last month, and Anne had similar misgivings when we discussed it on Oscar Talk.  But give us your take in the comments section below.

  • 11/25 OSCARWEB ROUND-UP: Dubbing ‘Tangled,’ ‘King’s Speech’ discourse, Portman talks the trade

    • How did Rapunzel become “Tangled?”  Directors Nathan Greno and Byron Howard set the record straight. [Inside Movies]

    • Peter Sciretta posts alternate, unused poster artwork for “Inception.” [/Film]

    • Jenelle Riley talks “The Fighter” with the film’s prickly star, Christian Bale. [Backstage]

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  • THE LONG SHOT: When you’re strange

    (Updated predictions available here.)

    I shan’t often find room for Gaspar Noé’s name in a space ostensibly dedicated to the Oscar race, so bear with me if this seems an unlikely opening gambit, but inspiration for this week’s column began with a conversation about his fluorescent, drug-addled ghost story “Enter the Void.”

    A friend had recently caught up with it, and found herself disappointed: having been promised a psychotropic headfuck, she instead found something more sentimental and less questioning than his previous work. “At this rate,” she muttered aggrievedly, “he’s about 10 years away from a bloody Oscar nomination.”

    That’s a flip exaggeration, of course, but there’s a kernel of truth in it: the Academy likes its enfants terribles most when they’ve passed the teething stage and begin to play nice — or at least safe. There’s a long and illustrious list of adventurous, iconoclastic directors who scored with AMPAS either by putting a leash on their wilder creative instincts or making sly concessions to the mainstream.

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  • From ‘Snow White’ to ‘Tangled’: Disney’s 50 toon features

  • Listen to Owl City’s ‘To the Sky’ from ‘Legend of the Guardians: The Owls of Ga’Hoole’

    The Warner Bros. screener pack arrived yesterday afternoon and I immediately noticed an original song contender on the sleeve for Zack Snyder’s “Legend of the Guardians: The Owls of Ga’Hoole.” I hadn’t yet seen the film so I popped it into the player last night to see where and how the track was utilized.

    Owl City’s “To the Sky” is a poppy ditty used mid-way through the film as part of a montage and is then reprised as the first cue on the closing credits.  Even in a slim pickings race like the one we’re seeing unfold this year, I’d say it doesn’t have much of a shot at a nomination, but it’s an eligible contender nevertheless so it deserves a mention here.

    I quite liked the film, by the way.  Snyder’s vision and cinematic sense really stands out, even if his penchant for slow motion begins to grate after a while.  When he saves it for unique dramatic instances, it has a real impact.  But regardless, the animation is gorgeous and I’d have loved to catch it in the theater.

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  • Tell us what you thought of ‘Tangled’

    It seems forever ago that I offered my positive thoughts on Disney’s “Tangled,” which hits theaters today.  I’m happy to see the film being met with such critical approval, but I’d love to hear your thoughts, too.  So if you give it a look over the holiday, come on back here and give us your take.  And if I can get my butt into gear on it, I’ll try to have a lengthy interview with the film’s legendary composer, Alan Menken, some time soon, perhaps tomorrow for an added Thanksgiving treat.

  • INTERVIEW: ‘The Town’ actor Jeremy Renner

    Warner Bros. has been looking for any and every opportunity to get Jeremy Renner and his well-liked supporting performance in Ben Affleck’s “The Town” out there as Oscar season begins to take hold. Yesterday he was making the press rounds just as screener copies of the film were hitting voters’ doorsteps.

    The last time I saw Renner was on the C lot bus at the airport maybe a month after the Oscars put a bow on the long, rewarding haul of “The Hurt Locker.” He and that film’s co-star, Brian Geraghty, were coming back from some much-needed R&R and Renner told me at the time he was happily “unemployed.”

    Of course, plenty has changed since then. He finds himself starring opposite Tom Cruise in the latest installment of a “Mission: Impossible” franchise that he may well take over, joining the giant ensemble of Marvel’s hugely ambitious cross-over film “The Avengers” and, of course, kicking up awards buzz once again for his work in “The Town.”

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  • Stephen King’s top 10 films of 2010

    Entertainment Weekly columnist (and a dabbler in fiction) Stephen King is the first out of the gate this year with a top 10 list, beating the usual early likes of Peter Travers et al to the punch.

    King’s lists are always, shall we say, unique.  They generally lean toward the populist and make it rather obvious year in and year out that the author couldn’t possibly have seen everything there was to see in a film year.  And as you might imagine, genre fare is usually dominant.

    This year is no different.  Of COURSE this is his top 10 list.  Makes perfect sense.  And while his #1 couldn’t have been more predictable (given what he likes and what he’s written about the film), I wonder — was the original even on his radar?  (Answer: Nope.)  Anyway, check back Friday for Oscar Talk and an announcement regarding this year’s top 10 list (mine and Anne’s).  King’s full list (dug up courtesy of /Film) after the jump.

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