• Brian Lowry on how The Ten is an Oscarcast producer’s nightmare. [Variety]
• With Hugh Jackman out, Jeff Wells thinks the Oscars need to skew younger with their host. [Hollywood Elsewhere]
• The producers of “London River” launch a deserved Oscar campaign for Brenda Blethyn, despite still lacking US distribution. [Notes on a Season]
You’ve heard me natter on enough for months about how “Fish Tank” is one of the year’s best films — now you don’t have to just hear it from me anymore.
Andrea Arnold’s lyrical character study of an unhappy Essex teenager (now being dubbed ‘the British “Precious”‘ by some lazy wags) leads the nominations for the British Independent Film Awards, with mentions in a whopping eight categories, including two for 18 year-old sensation Katie Jarvis.
Once a very niche Transatlantic equivalent to the Indie Spirits, the BIFA Awards are gaining in profile every year, painting a far more revealing picture of the state of the UK film industry than the Oscar-toadying BAFTAs.
They’re also naming more contenders who go on to feature heavily in awards season: “Slumdog Millionaire” was the belle of last year’s BIFA ball, while this year’s major crossover nominee promises to be “An Education.”
(More discussion, and a full list of nominees, after the cut.)
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.
• The Academy finally named the producers for next year’s Oscar telecast, first-timers Adam Shankman and Bill Mechanic.
• All of which added weight to the speculation that Hugh Jackman might return as host.
• The Gotham Awards provided the season with its first set of nominees, though it inspired more talk for its omissions.
• Chief among those omissions: “Precious,” prompting talk of a backlash, despite generous media exposure positioning it as the one to beat.
“God, that thing’s just going to shit Academy Awards out of its ass next year, isn’t it?,” I overheard a journo behind me remark to his companion, as I made my way out of the “Up in the Air” press screening on Sunday. “It’s such an Oscar movie.”
Two things struck me as interesting about this throwaway remark, both relating to the lack of care with which both Oscar pundits and “serious” film lovers tend to regard the Academy Awards.
The first was that, isolated and in print, the guy’s words appear dismissive of “Up in the Air,” yet they actually capped a mostly enthusiastic response to the film. His tone dipped almost apologetically as he applied the “Oscar movie” label, as if it somehow sullied an otherwise fine effort.
More to the point, however, the remark seemed indicative of the transitive stage the Academy Awards seem to be in at the moment, as simultaneously resistant and vulnerable to industry change as the protagonist of Jason Reitman’s film – and facing a similar crisis of purpose. For 15 years ago – if not necessarily 15 years before that – “Up in the Air” wouldn’t have been decreed an “Oscar movie” at all.
This morning I highlighted a few areas where the “An Education” team might want to angle for nominations beyond the slam-dunk that is the Carey Mulligan Express. What I forgot to suggest is that the film could theoretically put itself in the hunt for Best Original Song.
You could be forgiven for thinking that the lovely, woozy torch ballad “You’ve Got Me Wrapped Around Your Little Finger” — which features prominently in the trailer, as well as twice in the film itself — is a dusty archive find from the early 1960s.
However, it’s actually a contemporary track co-written and performed especially for the film by 28 year-old British jazz-pop chanteuse Beth Rowley (who appears as a nightclub singer in the film).
At this morning’s press screening for “An Education,” which has its UK premiere at the London Film Festival tonight, I was impressed afresh by what a layered, deceptively gentle and generally terrific little picture it is.
Some have complained that it’s a little too soft, a little too easy — though only its overly pat denouement, for me, merits any such claims — but this is a film that knows its audience, as well as how to sneak more subversive material by them, and deserves credit for its intelligence in doing so.
I’ll admit that this morning, the thought of it actually winning Best Picture crossed my mind, albeit built on a shaky pile of ifs; either way, it strikes me as a genuine Academy film, and for a change, that isn’t meant as an insult.
This is weak sauce, and I know that going in, but it looks like back-to-back weeks without an Off the Carpet column. Two screenings today, suddenly being pulled out of town tomorrow, computer issues, etc. — it tends to get in the way.
In the meantime, some sporadic thoughts:
• “An Education,” “Fish Tank” (which I finally saw this morning as we gear up for AFI Fest) and “Up in the Air” would make for a bizarrely appropriate triple feature.
• With that in mind, I’ve found myself, for better or worse, turning over what the year in film might actually mean this year. It’s folly, of course, and overly reductive, but I always enjoy turning over the year’s themes. Maturity seems to be a big constant. What say you?
• I think what has shaped up to be a handsome year in indie film was let down today by a dubious slate of Gotham nominees.
• Ennio Morricone at the Hollywood Bowl is SO going to rock this weekend. But probably not quite as much as U2 tomorrow night (my first time).
That’s all I’ve got. Predictions have been tweaked. The contenders are here. The floor is yours.
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.
Since I last analyzed the costume design category in July, a number of the contenders are still waiting to be seen, though several have opened and we’ve seen glimpses from others. While the number of movers and shakers hasn’t been enormous, there has still been enough movement – and more insight gained – to warrant another look.
One thing I do not think has changed since the summer is the category’s most likely nominee. While I’m doubtful that she will win, I’m quite confident that Janet Patterson will earn her third nomination for Jane Campion’s “Bright Star.” While the film did not catch fire to quite the extent I was expecting, I’m nevertheless confident the threads will remain in this branch’s mind until the end of the year.
In July, I was torn about whether Colleen Atwood could emerge as a double nominee this year. But “Public Enemies,” despite featuring fine period work, seems to have become a distant memory. Even so, I’d be very surprised if she failed to get nominated for Rob Marshall’s “Nine.”
The great Sandy Powell, on the other hand, has had her three potential nominees reduced to one. With “The Tempest” and “Shutter Island” moved to 2010, it’s only “The Young Victoria” that is keeping her in the race. Powell is a giant in the field. But is the film at all memorable?
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.
Welcome to the fifth installment of Oscar Talk between yours truly and Anne Thompson of indieWIRE’s Thompson on Hollywood.
A somewhat streamlined show today. Here’s what’s on the docket:
• Spit-balling host ideas for this year’s Oscarcast, which seems to be a popular topic these days.
• Doing the same on a potential producer for the show.
• Our first fight! Anne and I debate the merits of the leading actresses of this year’s films. Anne says it’s a weak season, I say there are plenty of fine performances to choose from (and more on the way).
• With “An Education” opening in limited release today, we discuss Peter Sarsgaard’s potential category fraud/confusion and debate the philosophies of what makes a performance a lead.
• A brief tease of a topic on next week’s episode, Oren Moverman’s “The Messenger,” which I saw this week and Anne will catch up on before we chat again.
Have a listen to this week’s podcast below (with a lead-in from the trailer for “An Education”). And as always, you can subscribe to Oscar Talk via iTunes here.
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• Digital marketing consultant Chris Dorr points out missed online opportunities with “Bright Star.” [Thompson on Hollywood]
• Steve Pond jumps on the “Up in the Air” train, says it renders the expectations irrelevant. [The Odds]
• Lying about seeing “The Godfather.” [The Guardian]
I love that Paul and the band played “Hot For Teacher” as she walked out. She handled herself well, I thought. But, let’s face it — it’s difficult not to think of Letterman’s scandal given the plot of the film. Speaking of which, I think Letterman totally spoils the film toward the end (and a little in the beginning). Tom O’Neil has just posted an assessment of the appearance and Mulligan’s place in the race.
Anyway, here it is — Carey Mulligan’s first talk show appearance ever:
London is in the midst of a postal strike. No mail, be it far-flung postcard or electricity bill, has popped through my front door for over a month. I recently had to stroll into Soho to pick up my London Film Festival accreditation pack by hand. And rather discouragingly, my local post office today put a hastily scrawled sign in the window: “Post NOW for delivery by Christmas.”
If you’re wondering why I’ve started this week’s column with this fascinating tidbit from my domestic life – apart from the fact that, as Kris noted, the crickets are chirping in awardsville this week – it’s because, as I stared disbelievingly at the sign, it occurred to me that a similar memo should be sent to several specialty studios hoping for a stake in this awards season. (Yes, my mind works in curious ways.)
In short: you have a little package that needs to deliver in time for Oscar consideration? Don’t wait until December. Send it out now.
This may seem like crazy advice given Oscar voters’ ever-growing love affair with winter releases. Just last year, no pre-November release made the Best Picture cut. And Harvey Weinstein has proved time and again that substantial rewards can be reaped if you spring a film upon the Academy without giving them too much time to think about it – from “The Cider House Rules” to “Chocolat” to “The Reader,” he knows which films won’t survive a few months of critical and industry scrutiny.
• 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.]