• Steven Zeitchik plays things from the other side of the coin, says a high Best Picture profile for “Up” could cause the film in the animated feature category. [Hollywood Reporter]
• Jeffrey Wells takes aim and fires heavily on “Precious.” [Hollywood Elsewhere]
• The People’s Choice Award nominations are here. I KNOW you care. So go ahead and vote. [PeoplesChoice.com]
Well, they may have buggered up the poster, but they knew better than to mess with the gorgeous trailer we saw back in September. The Weinsteins’ first official trailer for Tom Ford’s startling debut replays the lush, wordless montage of the original, with a couple of Oscar-chasing quotes inserted for effect. (And not subtly, either: “There is already Oscar buzz for Julianne Moore” isn’t a critical endorsement, it’s a non-statement.)
Regardless, it’s still neck-and-neck with “A Serious Man” (don’t tell me you’re still hazy on those titles) for the ‘trailer of the year’ distinction.
When I first addressed the race for Best Art Direction in August, I spoke of how the branch tends to favor period pieces and fantasy films. Considering the research involved in the former and the often showy creativity on display in the latter, this is hardly surprising.
That said, I often feel badly for exceptional contemporary films that have been slighted here in the past. Examples from this decade immediately popping to mind include David Wasco’s tremendously clever sets for “The Royal Tenenbaums” and Alex McDowell’s ultra-realistic airport design on “The Terminal.”
While many of the titles in contention are the same over two months later, the race has nevertheless undergone some significant changes. Primarily this is because many of the films have opened, been unveiled at festivals and/or revealed glimpses via trailers and other materials.
At the top of the list, still, is Rob Marshall’s “Nine.” John Myhre won this category on both of his previous two collaborations with Marshall. Dabbling in the world of Fellini seems like the perfect opportunity to grab his fifth nomination.
While the “Sherlock Holmes” trailer has been around for a while, the verdict is still out on the latest film from Guy Ritchie – a director whose work to date has hardly been typical AMPAS fodder. Nevertheless, Sarah Greenwood has been nominated twice before for capturing period England, Joe Wright’s “Pride & Prejudice” and “Atonement” doing the trick. She’ll be doing the same here, albeit on a much larger scale. A nomination seems a distinct possibility in my opinion.
• Gregory Ellwood slams “Everybody’s Fine,” calls last night’s AFI festivities a Miramax wake. I’m having trouble disagreeing with him. [Awards Campaign]
• Rebecca Milzoff gets some face time with “An Education” director Lone Scherfig. [Vulture]
• Jim Carrey’s Scrooge rings in the holiday spirit. [Associated Press]
We’ve taken concentrated looks at the lead actress and supporting actress categories in recent weeks. Now let’s turn our attention over to the fellas.
Behind the Best Picture race, of course, the lead actor competition is perhaps the most hotly anticipated award of a given Oscar telecast. Movie stars are born, Hollywood staples are rewarded and careers leap to the next level. It makes for an intriguing annual state of the union as it pertains the the film industry’s talent roster.
This year, one of Hollywood’s brightest stars finds himself right at the front of the conversation. George Clooney is likely to end up with his third acting Oscar nomination, for Jason Reitman’s “Up in the Air,” and he’ll owe much of that to Reitman’s powerful work on the page.
Clooney doesn’t give his best performance to date in the film. But the material is so cleverly built around his persona that one can’t blame the actor for saddling up to a role that fits like a glove. And there is something to be said for the bravery of taking one’s image on like that.
Colin Firth, meanwhile, has caused a critical stir with his leading performance in Tom Ford’s “A Single Man.” He has already won the Venice Film Festival’s acting honor and has been tapped for another at February’s Santa Barbara Film Festival. He is pitch-perfect in the film, giving a refined performance of nuance and gesture.
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”:
Variety’s annual list of 10 Actors to Watch may occasionally raise questions of what constitutes a career “breakthrough” — particularly in the case of established actors who those in the know have been watching all along.
Still, it always makes for interesting reading, not least because, in some cases, it highlights names that Variety’s editors expect to show up in the coming awards season. Last year’s list featured four actors (Melissa Leo, Viola Davis, Taraji P. Henson and Michael Shannon) who ultimately wound up in the Oscar circle. This year’s list looks unlikely to match that number (nor does it match the feminine bent of last year’s crop), but there’s some undeniably worthy talent in there:
Laz Alonso
Maggie Grace
Tom Hardy
Nicholas Hoult
Rachelle Lefevre
Jeremy Renner
Alia Shawkat
Emma Stone
Michael Stuhlbarg
Christoph Waltz
Those of you who enjoy it when Kris and I butt heads over one film or another — as on the two occasions this past week alone that I’ve been unceremoniously fired — will be disappointed to hear that an entente cordiale has arrived in the shape of “A Serious Man.” (Ironic, really — since when did the Coen Brothers make movies designed to bring people together?)
Anyway, while I don’t know yet whether my passion for the film will run quite as deep as Kris’s by the year’s end, I have no qualms whatsoever about echoing his sentiments that “A Serious Man” is an extraordinary feat.
Novelistic in its reach and rhythms, but intrinsically cinematic in the way Roger Deakins’s calmly predatory camera investigates physical and personal space, it seems a direct (if deliciously perverse) rebuttal to claims made by the duo’s detractors that their films are overly hermetic, unwilling to engage with the world around them.
A few weeks ago in this space I took a dedicated look at the lead actress category. With little in the way of actual development (this season is curiously divided on the timeline as we’ve got maybe another month before more major titles begin screening), I figured it would be a good idea to keep things going on that front and take a look at the supporting actress race.
It’s a little difficult to ignore the fact that Mo’Nique stands way out ahead of the pack in this race for her work in “Precious.” Unless her reported behind-the-scenes drama-queen tactics somehow poison the cause, she should be holding a statue in four months’ time. She is fierce and focused in a monstrous role and when viewers get over the initial “she had this in her?” shock, they’ll also see it for the expert piece of acting that it is.
Mo’Nique is joined in her film, however, by what I’d call an awards-worthy turn from Mariah Carey. The singer-turned-actress has been lurking in Mo’Nique’s shadow throughout the film’s publicity and festival tour this year, and she also lost something of a diva battle with Mary J. Blige to have a featured track in the film. The poor girl can’t catch a break here, but I think she deserves a look from voters and, perhaps, even prognosticators.
A few weeks ago I mentioned in an episode of Oscar Talk that “Up in the Air” star Vera Farmiga would be pushed as a lead actress. Some things have changed.
Four weeks after opening on 12 screens with only midnight shows, “Paranormal Activity” has topped the box office and made mincemeat out of the “Saw” series. Paramount’s no-budget thriller earned $22 million this weekend on 1,945 screens and saw its total stretch past $60 million.
This type of ascent to the summit hasn’t been seen since “My Big Fat Greek Wedding” in 2002 and with at least one more lucrative weekend over Halloween, the film has surely etched its name in the record books as one of the most profitable of all time. Congratulations to everyone involved and thanks for making it look so easy, you jerks!
Second place goes to “Saw VI,” which earned a rough $14.8 million. This is easily the lowest debut of the franchise and is less than half of what “Saw V” pulled in last year. The films are undoubtedly cheap to produce so it may not mean that “Saw VII” is off the table, but some significant changes will have to be made. And they will probably be made in 3D. Obviously, the innovation of “Paranormal Activity” just made a sixth helping of Jigsaw’s puzzle murders seem a little stupid.
“Where the Wild Things Are” fell a troubling 56%, which wasn’t entirely unexpected after it was revealed that only 29% of the opening weekend audience was parents with children. This was more of a fanboy title and the mixed reception dictated the decline. But with $54 million already in the bank, execs at Warner Bros. can’t be too worried about it and perhaps this success means that a few puppeteers can get out of the unemployment line for a while in Hollywood.
Well, it was maybe the most anticipated PG-rated film amongst the young adult set since “Star Wars Episode I: The Phantom Menace” and “Where the Wild Things Are” landed with a bang this weekend. The Spike Jonze adaptation grossed $32.5 million to top the box office and justify all the bickering and problems during production between director and studio.
Warner Bros. is having quite a year with unique directors tackling projects and possibly turning in a different movie than the studio was expecting (“Observe and Report” and “The Informant!” also come to mind), but it’s hard to imagine the film doing this well without a name like Jonze behind it. Kids made up only half of the audience and the broad appeal amongst all age groups should help with staying power over the next few weeks, even though reaction seems to be slightly mixed to positive.
“Law Abiding Citizen” took the runner-up spot in a bit of a surprise. The action/thriller grossed a strong $21.3 million, which would have been enough to top the chart on this same weekend last year. That’s a new high mark for Overture Films and another feather in Gerard Butler’s 2009 cap after “The Ugly Truth.” He may not be headed to an Oscar anytime soon but he has to be commended for turning the freak box office performance of “300” into bona fide movie stardom.
“Paranormal Activity” continues to gross paranormal numbers with another $20.2 million this weekend from 760 theaters. It’s not quite at the pace that “The Blair Witch Project” was at when it expanded but with a 2,000+ theater roll-out planned for next weekend and Halloween fast approaching, this no budget exercise should be knocking on the door of $100 million when all is said and done. Flabbergasting.
…it’s because it is. Consider this an open thread. Thoughts on “Zombieland?” “A Serious Man?” “An Education?” My favorites in theaters right now.
(And yes, a post was removed. Sorry for breaking up the conversation it had kicked up.)
The number one movie at the box office this weekend was Universal’s “Couples Retreat” with $35.3 million. That’s the ninth-biggest October debut in history and the biggest total ever tallied on this particular weekend of the year, but it’s not the biggest success story of the weekend. Not by a mile.
No other films were released wide to compete against Vince Vaughn and company, so the (last) resort comedy was able to stretch its legs and monopolize the date crowd despite poor reviews. Mainly, people showed up to see if the filmmakers actually had the gall to cast Jon Favreau as the irresistible ladies man. Now that’s comedy.
“Zombieland” dropped a very good 39% due to the lack of new competition and has shot up close to $50 million total already. Second weekend holds were pretty good all around with the “Toy Story” double feature dipping 39% as well and “Whip It!” falling 40%. Only “The Invention of Lying” seems to have missed out on the good word of mouth and falls 52%.
But let’s talk about “Paranormal Activity.” The film opened two weeks ago with midnight showings only at 12 theaters in college towns. It averaged $6,489 at each of them, which was pretty impressive. Last week it expanded to 33 screens and a couple of Friday and Saturday evening shows, which turned into a $16,129 per theater average for the weekend. Again, impressive, and proof that Paramount’s unusual distribution approach (which at first appeared like just dumping unwanted product with a contractually obligated release) may actually be working.
• After a quiet week for awards news, this week’s Off the Carpet column contemplated the depth of the Best Actress race.
• A topic that Kris and Anne also debated in this week’s episode of Oscar Talk.
• Speaking of Best Actress, “An Education,” with its nomination-bound performance by Carey Mulligan, finally hit theaters this week.
• And speaking of Mulligan, she placed highly in our list of the Top 10 actors under 30.
• Jamie Foxx wants “Ray” director Taylor Hackford to tackle the actor’s planned Mike Tyson biopic. [MTV Movies Blog]
• Jeffrey M. Anderson talks to “A Serious Man” star Michael Stuhlbarg. [Green Cine Daily]
• Patrick Goldstein wants to know why Michael Moore got dolled up for Sean Hannity. [The Big Picture]
• As “Up” gears up for release in the UK, it is revealed the film was inspired by British photographer Adrian Warren. [Daily Telegraph]
• Tyler Perry gets personal regarding “Precious.” [TylerPerry.com]
• Enter for a chance to win Max’s wolf costume from “Where the Wild Things Are.” [Warner Bros.]
I mentioned recently that the London Film Festival is upping its profile by adding a couple of new awards to its roster, including a crowning Best Film prize. This, I felt, was a positive development for a festival that becomes a richer, more rewarding cinematic showcase by the year. However, I must admit to being disappointed by the conservative approach they’ve taken to their new premier prize.
Festival director Sandra Hebron yesterday unveiled a shortlist of nine contenders for the inaugural Best Film award, and a mostly familiar bunch of titles it is:
“Balibo” (Robert Connolly)
“Bright Star” (Jane Campion)
“Fantastic Mr. Fox” (Wes Anderson)
“Micmacs” (Jean-Pierre Jeunet)
“Nowhere Boy” (Sam Taylor-Wood)
“A Prophet” (Jacques Audiard)
“The Road” (John Hillcoat)
“A Serious Man” (Joel and Ethan Coen)
“The White Ribbon” (Michael Haneke)
Around the 17-second mark. Thanks to reader John Young for drawing my attention to this: