In Contention

Tag: Best Actress

  • “An Oscar-less Toronto” — but not for Searchlight

    Anybody who’s kept even half an eye on film news recently knows by now that, compared to previous years, the consecutive Venice and Toronto festivals have done little to illuminate the Oscar race. (Unless, I suppose, you were one of those predicting major glory for “Miracle at St. Anna.”)

    The Hollywood Reporter adds their verdict to the pile here, quoting an executive as declaring the fest “an Oscar-less Toronto.” There’s little new perspective in the article, but it’s a handy enough precis. They do think one race has benefited from the festival:

    But the festival might have helped clarify at least one category: the best actress race. The beneficiaries have been Anne Hathaway in Jonathan Demme’s dysfunctional-family drama “Rachel Getting Married”; Sally Hawkins in “Happy-Go-Lucky,” the Mike Leigh film about a chipper young schoolteacher; and, if Searchlight chooses to make an awards push for her, “The Secret Life of Bees” star Dakota Fanning.

    Hmmm. It’s not as if Hathaway and Hawkins weren’t deemed contenders before Toronto. (The Golden Globes may as well drop the other three slots for Best Actress in a Comedy/Musical, right?) And Dakota Fanning? With those reviews? Yeah, right.

    In any case, as they acknowledge, Searchlight has other priorities now, having nabbed the two hottest Toronto titles:

    The lone film that has emerged as a genuine standout is Darren Aronofsky’s “The Wrestler,” which went in as a question mark and will leave as a contender in pretty much every major awards category. To a lesser extent, Danny Boyle’s “Slumdog Millionaire” also is generating awards talk, though its cast is entirely unknown.

    (more…)

  • ‘Lovely, Still’ clips

    Variety’s Anne Thompson has scored a few clips from Nik Fackler’s “Lovely, Still,” already generating stellar notices at the Toronto Film Festival.  Could Martin Landau and/or Ellen Burstyn become formidable acting contenders int his year’s Oscar race?

  • TORONTO: ‘Rachel Getting Married,’ ‘Flash of Genius’

    Greg Kinnear in Flash of GeniusWoke up dog tired this morning, yesterday’s marathon of screenings wore me out. Getting old. Do the usual pre-screening intake of food and coffee (a festival staple) before getting ready to head off to the first screening, “Flash of Genius” which I am looking to seeing.

    Greg Kinnear convinced me he was the real deal opposite Jack Nicholson in “As Good As It Gets” and even more so as Bob Crane in the dark biopic “Auto Focus.” He has got an all American quality about him that I quite enjoy.

    (Reviews after the jump.)

    (more…)

  • Critics fall hard for ‘Rachel’

    Since I saw that smart, snappy trailer, I suspected that “Rachel Getting Married” would find a following. Even so, I wouldn’t have guessed that it would turn out to be the critical darling of the Venice Film Festival at the halfway mark.

    Yet that — aided by the general perception that, the Miyazaki aside, the competition films have been lacklustre — is exactly what has happened. Hours after its Lido screening this evening, raves for the film as a whole are pouring in, while that Oscar buzz for Anne Hathaway is getting louder.

    Screen International gushes:

    Hand-held, free-wheeling and at times joyously spontaneous, the dogme-like “Rachel Getting Married” sees Jonathan Demme paying tribute to Robert Altman (in particular “A Wedding”) but there’s such a large dose of music in here it almost forms a genre of its own … Packed with superb performances, in particular from Anne Hathaway in the lead role and Debra Winger in a small supporting turn she makes memorable, Rachel Getting Married will undoubtedly be up for awards consideration in the major categories.

    Variety’s breathless review, meanwhile, sums up Hathaway’s performance as “fragile, angry and superb,” while comparing the film to my own favourite Demme work:

    Brimming with energy, elan and the unpredictability of his “Something Wild,” Jonathan Demme’s triumphant “Rachel Getting Married” may just lay the wedding film to rest, being such a hard act to follow … Riding emotional rollercoasters to the ever-changing rhythms of the wonderfully eclectic in-house bands whose music never ceases, Demme’s self-styled stunner should appeal to arthouse auds.

    (more…)

  • Let’s hear it for the ladies!

    Meryl Streep in DoubtWow, what a damn fine year for lead actress performances.  When was the last time you heard anyone say that?

    I caught some flack recently when I took Meryl Streep off my predicted five nominees in the category.  “How can the Goddess miss?”  Well, she can, and she has, but regardless, the point is that there is some really stiff competition this year for the leading ladies, and man, that’s exciting (and unique)!

    Sally Hawkins (“Happy-Go-Lucky”), Charlize Theron (“The Burning Plain”), Kristin Scott-Thomas (“I’ve Loved You So Long”), Angelina Jolie (“Changeling”), Penélope Cruz (“Elegy”), Melissa Leo (“Frozen River”) and Michelle Williams (“Wendy and Lucy”) represent the seen and raved performances.  Anne Hathaway’s work has also been viewed, but we’ll get to that at the end of the week.  Rest assured, she’ll have her fans as well.

    On the horizon we’ll have Nicole Kidman (“Australia”) and the aforementioned Streep (“Doubt) in big Oscar hopefuls, not to mention Kate Winslet’s double dip in “The Reader” and “Revolutionary Road” (which ought to make home life interesting for the five-time nominee around campaign time).

    There are still fringe possibilities for Keira Knightley in “The Duchess” or Emily Blunt in “The Young Victoria,” while Laura Linney could add an Oscar nod to her Emmy success if “The Other Man” finds a distributor in Toronto.

    There’s always Julianne Moore lurking with her work in “Blindness” should the mixed reaction from Cannes prove to be a different story in Toronto, and Kate Beckinsale, by the way, is fantastic in Rod Lurie’s “Nothing But the Truth,” so who knows?

    So let’s not get our panties in a twist over shifting and sliding in this category over the next few months.  I don’t need consistent emails asking “Why did you take so and so out of your Best Actress chart,” because the fact of the matter is, there are a lot of horses in this particular race.

    Which is what we want, right?

  • Cinematical swoons over Scott Thomas

    Compared to the drought of previous years, where the five nominees have been all but pre-determined for months in advance, the Best Actress race is looking rather crowded at this point. (It’s certainly the major category that gave me the most pause when I updated my predictions this morning.)

    What’s gratifying to see is that the field features so many contenders from independent films, including the much-discussed Sally Hawkins, Charlize Theron (coming off a lot of Venice buzz), Anne Hathaway, Melissa Leo and Michelle Williams.

    But perhaps the darkest horse of all is Kristin Scott Thomas, an actress whose star has dimmed somewhat Stateside since receiving her only Oscar nomination twelve years ago. In that time, she’s been working more and more frequently in her adopted homeland of France, and she now returns to prominence with the French-language “I’ve Loved You So Long,” a dark domestic drama in which she plays a woman reconnecting with her family after fifteen years in prison.

    Scott Thomas has been garnering steady acclaim since the film bowed at Berlin in February. Now, in the wake of its Telluride screening, and in the midst of a rave review declaring the film a “rare masterpiece,” Cinematical joins the chorus with this bold assertion:

    Thomas’s performance here has been generating Oscar buzz for a while now, and deservedly so; she will almost certainly garner a Best Actress Oscar nod for this film.

    (more…)

  • ‘Plain’ brings buzz for Theron

    I’ve already said how high my hopes are for “The Burning Plain,” the directorial debut from one of the most interesting screenwriters in the business, Guillermo Arriaga. Now the reviews are trickling in, and they’re — predictably — mixed.

    Variety, as is often the case these days, provides the major buzzkill, dismissing it as “an elaborate writing exercise” (like that’s a bad thing) with “little to become engaged with.” Happily, Lee Marshall at Variety’s UK equivalent, Screen International, couldn’t disagree more:

    A powerful contemporary melodrama, more restrained but also much cleaner, in dramatic focus and emotional thrust, than the three films Arriaga penned for Inarritu … A sombre story about an unforgivable act and its cross-generational fallout is here leavened by a greater dose of hope and redemption than Arriaga has yet allowed himself, and the games The Burning Plain plays with its audience are amply justified by the emotional punch of the film’s denouement.

    (more…)

  • Jeff Wells buys into the Hawkins hype

    As Kris pointed out earlier today, Jeff Wells is no fan of Mike Leigh’s “Happy-Go-Lucky.” I suspected from the get-go that the film and Poppy, its gobby, exaggeratedly high-energy protagonist, would polarise audiences – but I still find Wells’ argument does a disservice both to the film and to his own critical perspicacity.

    In his extended critique, Wells judges the film to a rather alarming extent simply on the basis of his loathing for Poppy herself – going so far as to call her, with typical Wells dramatics, an “emotional fascist.” More crucially, he makes the error of assuming that the perspectives of Poppy and Leigh himself are interchangeable – an interpretation that, in my view, ignores a considerable portion of the film’s irony and pathos. (If anything, the film’s fundamental message is that even the most oppressive optimists are incapable of changing the world around them.)

    But no matter. For all his personal dislike of the film, Wells can see the skill involved in the whole endeavour, and is quick to credit the achievement of Best Actress contender Sally Hawkins:

    It is probably inevitable that Sally Hawkins … will be talked up as a Best Actress nominee once the film starts showing around. An elementary-school teacher who happy-vibes just about everything and everyone, Polly is an unstoppable alpha dispenser — spirited, effervescent — and Hawkins certainly inhabits her whole-hog.

    She carries “Happy-Go-Lucky,” she carries its spirit, and she does handle herself well in the sad-shock scenes at the end of the film with Eddie Marsan, the driving instructor with the correct manner and ferociously uptight, anti-immigrant attitude. In fact, the last 15 to 20 minutes contain the best stuff in the film, and I throughly respect Hawkins for her performance in this section. She handles her scenes with quiet maturity and resigned grace.

    This kind of reluctant admiration suggests to me that Hawkins in conclusively in the race, even if the film could still go either way. As Kris said, this one is gonna divide people right down the middle. For every Jeff Wells, there will be a Patrick Goldstein. At the very least, after an incredibly dull spell for specialty film, it’s nice to have a title that provokes some argument.

  • Patrick Goldstein falls for ‘Happy-Go-Lucky’

    With “Happy-Go-Lucky” out on DVD today in my corner of the world, it’s odd to think that America has yet to discover its charms. Early Stateside rumblings, however, suggest that’s just what might happen, as Miramax’s marketing campaign goes out of its way to portray Mike Leigh’s unruly, bittersweet comedy as the cutest thing since newborn kittens.

    Meanwhile, advance press, like this preview from the LA Times’ Patrick Goldstein, plays right into their hands. Goldstein likes the film a great deal, going so far as to portray it as a lone ray of hope in a “calamitous year for specialty films.” Right off the bat, he dismisses the comic competition from the indie sector (“Synecdoche, New York” is “murky,” while “Hamlet 2” runs into into comic “dead ends,” apparently), before singing the praises of Leigh’s film:

    So now for the good news. After a four-year layoff since “Vera Drake,” which earned three Oscar nominations, Mike Leigh is back with “Happy-Go-Lucky,” a film about an irrepressible free spirit named Poppy (played by Sally Hawkins) who manages to giddily bounce around London, full of life-affirming good cheer, but without an ounce of cloying or mawkish sentimentality. (After all, it’s still a Mike Leigh movie.)

    So far, so familiar. Anyone who hasn’t seen the film (and indeed, many who have) must be sick to death by now of hearing umpteen variations of the term “life-affirming” in connection with it. Refreshingly, however, Goldstein sees in the film the emotional depth and complexity which is so far escaping the general blogosphere, not to mention the Miramax marketing department (though that’s deliberate on their part):

    It being a Leigh film, the story is chock-full of oddball characters, from a high-strung flamenco instructor to a troubled child in the kindergarten class Polly teaches. But the best part of the film is the way it so casually allows us to grasp how intertwined each relationship can be. No one is easily stereotyped. Mike Leigh’s world, even a world dominated by a character who appears full of way-too-much unquenchable optimism, is always a world full of surprises.

    (more…)

  • Nat Rogers calls dibs on Hathaway

    You’ve all surely seen the trailer for “Rachel Getting Married,” Jonathan Demme’s supposed return to form, by now. And while it’s true that it has generally raised expectations for the film, I wonder if Nathaniel Rogers over at The Film Experience isn’t getting a bit over-excited. Treating a Best Actress nomination for Anne Hathaway as a virtual fait accompli, he gloats as follows:

    Long before the other Oscar sites glommed on to it, I was touting the possibility of “Rachel Getting Married” being a return to form for Jonathan Demme. As a dedicated actressexual Demme is a director I’m inordinately fond of … I had the feeling that he had another Best Actress nominee in him. Not to blow my own horn –ok ok, I’m blowing! But remember, when Hathaway is walking those carpets: I called this one first.

    I don’t like to rain on anyone’s parade (not least since I did my own share of wafty Best Actress speculation last week), but isn’t it a little early in the game to call anyone a certain nominee, particularly for a film we haven’t seen yet? There are a lot of Academy heavy-hitters (Streep, Winslet, Linney, Theron, etc) waiting in the wings, and the less familiar likes of Melissa Leo and Sally Hawkins are angling for position too. The Best Actress race is actually looking rather crowded for a change – at least until we know more about some upcoming films.

    (more…)

  • Melissa Leo: could she be a frontrunner?

    So far, 2008 hasn’t presented a surfeit of cast-iron Best Actress contenders. (Consider that by this time last year, we all knew Marion Cotillard and Julie Christie were locks.)

    Angelina Jolie seems to have been installed as the de facto frontrunner since Cannes, but I’m not really buying it – her performance has some high-profile detractors, and I’m not sure many people feel she’s earned entry into the double-champ club. Sally Hawkins would be in if I had my way, but as Kris has pointed out, the performance can be divisive. For the rest, we only have unseen prospects to contemplate.

    Into this blurry picture comes 47 year-old character actress Melissa Leo, playing a broke single mother who gets involved in illegal immigrant trafficking in zero-budget Sundance champ “Frozen River.” She is currently riding a wave of unanimous critical adulation that is swiftly translating into Oscar buzz. Over at Awards Daily, Sasha Stone has been supporting her enthusiastically, bluntly stating:

    The great Melissa Leo … is going to be among those left standing by the year’s end if anyone with half a brain is paying attention. Her performance WILL stand out among the performances of this year, male or female.

    This is no blogosphere conjecture either: Leo is getting significant press coverage, most notably a major profile in the New York Times, which notes the “thrill” of watching Leo get “enough room to explore one of the complicated, surprising women she’s so good at sketching in smaller roles.”

    (more…)

  • Sigourney Weaver + who in ‘Alien 5?’

    Sigourney Weaver and Carrie Henn in AliensMeredith Woerner at io9 is wondering this week whether sci-fi/action writers will finally bone up and produce a sidekick to our modern cinema heroes and heroines worth the price of a ticket.

    She’s rightly spotlighting recent examples in “Live Free or Die Hard” and “Indiana Jones and the Kingdom of the Crystal Skull” as reason to change the tide in the wimpy second fiddle circuit.

    Woerner brings the scuttlebutt regarding Sigourney Weaver supposedly being game for a fifth “Alien” installment in to fuel the fire even more, adding that Newt (from “Aliens”) and Winona Ryder’s Annalee Call (“Alien: Resurrection”) didn’t exactly pan out as they should have for badass, woah-man E.T. brawler Ellen Ripley in the past.

    Personally — I liked Newt — but I dig this topic, so let’s discuss.

    Weaver managed the impossible in 1986 when she actually landed an Oscar nomiantion for her role in James Cameron’s “Aliens.”  Sure, people are talking up Heath Ledger for a supporting actor mention in this year’s “The Dark Knight,” but Weaver was banging alien heads and walking away with a LEAD actress nod over two decades prior (giving ammunition to many who had hoped for a similar trick to be turned by Uma Thurman in 2003’s “Kill Bill: Vol. 1”).

    We must protect the Ripley legacy!  And I actually think giving her one fiesty, ferocious co-star would do just that.  And if Ridley Scott is indeed “enthusiastic” about going there again, it could be (could be) something special.

    Anyway, I say put Ripley up there with someone able to take the throne.  Like Vera Farmiga.  Anything but another “AVP” massacre.  ANYTHING.

  • ‘Mamma Mia!’ “sharp” and “hilarious” says The Times

    In the first review of the musical adaptation “Mamma Mia!” (a claim they make loud and clear in the headline), The Times of London has tossed out a glowing assessment of what frankly looked to be one of the eye-sores of 2008, from this end.

    There’s plenty of praise for Meryl Streep, who is likely on the way to a Golden Globe nomination for her work.  Hugo Rifkind has this to say:

    Streep is the real star here, and she does serious acting, too, investing a cliff-top rendition of The Winner Takes It All with far more teary gravitas than should be possible for a song that contains the line: “I figured it made sense/ building me a fence”.

    I also liked this blurb:

    Streep slams wonky, wooden shutters and leads her mob of bridesmaids, ageing sluts and lumpy Greek peasant women on a rampage through that sleepy village like a sun-kissed, middle-aged parody of Cyndi Lauper.

    Check out the rest.

    There is also this interview with “Mamma Mia!” creator Judy Craymer charting the journey of the musical from stage to screen.  Here’s a look:

    Hollywood came calling years ago, but Craymer, [Phyllida] Lloyd and the writer, Catherine Johnson, refused to sell the rights. If Mamma Mia! was going to become a film, they were going to do it when they wanted and on their terms. Hollywood invariably wants Hollywood directors and producers but, miraculously, they managed to keep hold of the film themselves. The feat becomes even more unlikely when you consider that none of them had ever done anything remotely on the scale of a Hollywood movie before. But faced with a take-it-or-leave-it attitude, Universal decided they wanted the film enough to take it.

    The rest.

  • Bart’s ‘non-Oscar’ list

    Variety’s Peter Bart is spinning his Oscar wheels at his new blog. The post is a efw days old at this point, but his “non-Oscar list” is a cute little aside worth a look. He chalks actors like Robert Downey Jr. and Sarah Jessica Parker up as being on the list by sheer fact that they’re in bona fide hits (to say nothing of bias against the former and quality of the latter, of course).  But the move toward the unpopular is the point he’s driving at, and a look at the Oscar telecast’s ratings the last few years tells that tale clear enough.

    Here’s a glimpse at his logic:

    A generation ago, Oscar voters were tolerant of success — witness such best picture winners as “The Godfather,” “The Sting,” and, god forbid, “The Sound of Music.” However, a curious bipolar behavior has set in lately. Members of the Academy serve dutifully as professionals in the industry throughout the year, going about their tasks of producing, acting, editing, composing, etc. Then Oscar time sets in and they all think they’re members of a festival jury. “Art” is in and “commerce” is out.

    Lately, several important studio executives have met with the Academy to review these trends and also propose possible changes in the Oscar show. They advocated a tighter show, fewer awards and a greater stress on entertainment value.

    They hit a stone wall. The bipolar Academy is sticking to its ways.

    Read the rest here.

  • Lead actress contenders also join interesting group

    As the piece on actors managed to spark some interest and debate, of course I have to explore the women. Though I am studying just the last 20 years, the Best Actress Oscar has often left some of the greatest performances as mere nominees, or in some cases not even that.

    Katherine Hepburn, though nominated for “The African Queen,” “Summertime,” and “Long Day’s Journey into the Night,” sat at home while others won; sometimes they were deserving, sometimes they weren’t. Gloria Swanson gave possibly the greatest performance by an actress never to win the award with her seething work in “Sunset Boulevard,” easily among the most iconic portrayals in film history. Shall I even mention poor Judy Garland? Robbed of her Oscar for “A Star is Born?” Into the 60s we have Anne Bancroft’s Mrs. Robinson in “The Graduate” and Jane Fonda’s brilliant turn in “They Shoot Horses Don’t They?” — each of them Oscar losers.

    Since 1988, there has been an equal amount of questionable winners in the lead actress category, beginning with Jodie Foster’s win for “The Accused” in a year that saw Mery Streep astound audiences in “A Cry in the Dark,” which won the New York Film Critics Circle award. One year later Jessica Tandy won the Oscar for “Driving Miss Daisy,” besting critics fave Michelle Pfeiffer, who won honors from the LA and NYC critics, as well as the National Society of Film Critics. Insiders had stated that Tandy was destined to win the Oscar the moment she was cast, and indeed she responded with the finest work of her career.

    (more…)

  • REVIEW: “Happy-Go-Lucky” (***)

    The common line in the British press so far on “Happy-Go-Lucky,” Mike Leigh’s alternately fascinating and frustrating new film, is that it’s a departure for him — an exuberant comic revelation following the spare, precise despair of “All or Nothing” and “Vera Drake.” How quickly we forget.

    Only nine years ago, Leigh gave us the similarly punctuated “Topsy-Turvy,” a period romp that in some moments rivalled “Shakespeare in Love” for broad music-hall humour. Even his biggest crossover hit, the 1996 Best Picture Oscar nominee “Secrets & Lies,” had a much more explicit comic tone than many seem to recall.

    However, the most accurate precedents for “Happy-Go-Lucky” date farther back still: the film is not so much a new direction for Leigh as a throwback to the gentle character-oriented comedy and wispy, free-form narrative of his breakthrough features “High Hopes” and “Life is Sweet.” It’s a welcome move. As immaculately crafted and performed as “Vera Drake” was, it didn’t, for me, play to Leigh’s strengths as a writer: his witty ear for vernacular language and his preoccupation with the tensions and absurdities inherent in everyday conversation.

    These qualities re-emerge with a vengeance in “Happy-Go-Lucky,” a film bursting with rapid-fire banter, cathartic outbursts and occasionally didactic speechifying. The inimitably fluid language of London’s multicultural, multi-class population is woven through the film’s every exchange; if Leigh could snag a Best Original Screenplay nomination for a film as comparatively underwritten as “Vera Drake,” it’s difficult to see him getting passed over for this.

    (more…)

  • Streep seems a lock for ‘Doubt’

    Meryl Streep is without equal as the greatest screen actress in the history of the cinema, able to slip effortlessly into character and create magic before our eyes. Meeting her makes clear her genius because the woman you will speak with bears no connection to the many characters she has portrayed over her now 30-plus years in movies; her eyes dance with mischief, but crackle with intelligence.

    Revered by many as the greatest actress, some state greatest actor (period), is it not odd that Streep has just one Academy Award for Best Actress for her astounding and searing performance as the death camp survivor in “Sophie’s Choice,” (easily the single greatest performance ever given by a woman on film)? Yes she won in the supporting category before that, for “Kramer vs. Kramer,” but consider this…Hilary Swank, a fine actress, has won the Oscar for Best Actress twice, as has Jodie Foster, yet Streep has just one, and more than 25 years ago at that. In that time she has given an array of performances that have collected prizes from the Los Angeles Film Critics Association and the New York Film Critics Circle, and despite racking up more Oscar nominations than anyone else in history, she has remained a bridesmaid for some time now.

    There are complaints each year when she is nominated, the nasty ones stating that all she has to do is appear in a film to get nominated, but you know, even at half-speed, she is so much stronger than everyone else, is she not? So yes, she should have won other Oscars as a leading lady.

    (more…)