In Contention

Tag: Capitalism: A Love Story

  • 10 most anticipated films of the season

    No fanfare.  A legitimate installment of The Lists on another topic will drop from Chad later today, but here’s what has me stoked:

    1. “Up in the Air” (Paramount Pictures)
    2. “Avatar” (20th Century Fox)
    3. “The Tree of Life” (Apparition)
    4. “Where the Wild Things Are” (Warner Bros. Pictures)
    5. “A Christmas Carol” (Walt Disney Pictures)
    6. “Invictus” (Warner Bros. Pictures)
    7. “Capitalism: A Love Story” (Overture Films)
    8. “2012    ” (Sony Pictures) –> guilty
    9. “Precious” (Lionsgate)
    10. “The Imaginarium of Doctor Parnassus” (Sony Pictures Classics)

    You?

  • OFF THE CARPET: Take a deep breath…

    George Clooney in Up in the AirThe calm before the storm is beginning to subside.  Can you sense it?

    By the end of the week, the Venice and Telluride fests will be underway.  A week later, Toronto will weigh in.  When the smoke settles in roughly three weeks, the season will suddenly be a lot clearer…and yet so much of it will remain a mystery as latter year hopefuls limp (or stomp) into the fray in November and December.

    Yes, the season is upon us.  And while studios continue to think over the true value of Oscar notices, especially in a widened playing field, business marches on as usual.  Venice will tell the tale for efforts like “The Men Who Stare at Goats,” “The Informant!,” and “Capitalism: A Love Story,” while Telluride could make or break the hopes of films such as “The Road” and “Up in the Air.”

    Some overlap will go down in Toronto, but the most anticipated first-look there will likely be the Coen brothers’ “A Serious Man.”  Meanwhile, distributors might be looking to beef up their schedules with films like “Creation” and “Leaves of Grass” looking for buyers.  But for those with ponies primed and ready, these festivals are very much the starting gun for awards runs, as ever.

    So before the madness ensues, we get one more stab in the dark.  But given the perceived road ahead, it seems to me that films with a healthy pre-season awards profile going into the fall are in pretty good shape as it is.

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  • ‘Capitalism’ poster

    Capitalism: A Love Story

    (Courtesy: Fandango)

  • New ‘Capitalism’ trailer

  • 8/5 Web Round-up

    G.I. Joe: The Rise of Cobra• Tom O’Neil wonders whether “G.I. Joe: The Rise of Cobra” is Razzie-bound. [Gold Derby]

    • Devin Faraci, meanwhile (one of the “easy marks” Paramount screened the film to over the rest of the nation’s critics), comments on the “No ‘Joe’” brouhaha. [CHUD]

    • And Steve Weintraub talks to the film’s screenwriter, Stuart Beattie. [Collider]

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  • WEEKLY WRAP: Festivals, foxes and funny people

    Adam Sandler in Funny People• In the week’s most dramatic news, Universal rather cleared its awards slate by bumping both “The Wolf Man” and Paul Greengrass’s “Green Zone” to 2010.

    • Against expectations, we were won over by Meryl Streep’s latest bid for that elusive third Oscar, “Julie & Julia.”

    • The Venice Film Festival unveiled a typically well-planned lineup, with “The Road” and Michael Moore’s “Capitalism: A Love Story” leading the American charge.

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  • Venice lineup includes ‘The Road,’ ‘Capitalism: A Love Story’

    Venice Film Festival(UPDATE: For whatever reason, my initial source failed to mention that George A. Romero’s latest zombie opus, “Survival of the Dead,” is also in competition.)

    In years past, the Venice Film Festival has unveiled several titles that went on to figure significantly in the awards season ahead — “Brokeback Mountain,”The Queen,” “Far From Heaven” and “Vera Drake” all began their journeys with major wins on the Venetian Lido. Last year alone gifted us with “The Wrestler,” “Rachel Getting Married” and this summer’s hot property, “The Hurt Locker.”

    However, looking down the list of list of titles in competition at this year’s fest, it’s hard to tell if there are any selections that could go a similar distance.

    As usual for the festival, it’s a Euro-loaded menu — and a tasty one at that, featuring new offerings from the likes of Claire Denis, Fatih Akin and Jacques Rivette — while, as with Cannes this year, the U.S. contingent is on the small side. (There is, incidentally, one “surprise film” film in competition, so the speculation is not yet over.)

    Now is as good a time as any to reveal that I have an invested interest in the lineup, as I’m attending the festival for the first time, so we’ll be bringing you all the Venice news and reviews first-hand for a change.

    (More details, and a full list of films in competition, after the cut.)

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  • Herzog, Moore, Coens plan a stop at TIFF

    Capitalism: A Love StorySome exciting announcements out of Toronto today (still no “Road”).  The festival is shaping up to be very, very cool this year.

    The film I am most excited about, announced today, is Werner Herzog’s remake “Bad Lieutenant: Port of Call New Orleans” with Nicolas Cage in the role that Harvey Keitel made legendary. No in between with this one; they either nailed it or blew it.

    Drew Barrymore will bring her directorial debut here, the roller derby flick “Whip It,” with Ellen Page.  That brings back memories of Saturday afternoons with my grandparents watching roller derby. Barrymore made a startling impact in “Grey Gardens” on HBO earlier this year and hopes are high for this one.

    The Coen brothers are back with “A Serious Man,” as is Michael Moore with “Capitalism: A Love Story,” his latest documentary that will take viewers into the financial brain centers of America.

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  • Finding trends in Oscar’s ten

    Ralph Fiennes in The English PatientOver at MCN, David Poland has offered his first formal Oscar column of the season (can we say “the season” in July?) and he has some strong points to make. Prediction junkies who just jump straight to his top 10 forecast for Best Picture will find some (delete according to taste) interesting/exciting/eccentric choices in the mix — he’s certainly the first pundit I’ve heard suggest that Michael Moore’s “Capitalism: A Love Story” is a frontrunner, while “Julie & Julia” hasn’t previously entered the discussion much either.

    But the column itself is of more interest, largely because he brings up a key (and I think under-discussed) point about the potential impact of a 10-nominee race: namely, that with such a broad field, it becomes much more difficult to pinpoint voter and industry trends from year to year:

    How will 10 nominees change the dynamic of desperate efforts to spin trend stories? How can it be The Year Of… anything with such inevitable diversity?

    It could, I guess, be The Year of Matt Damon, who has Invictus, The Informer!, the animated Miyazaki film, Ponyo, and maybe even Green Zone coming out. It could be The Year Of Not Bio-Pics, in spite of the Nelson Mandela film from Eastwood, Invictus, and Meryl Streep invoking Julia Child.

    Some will try to make it The Year of The Woman, with Nine leading the way for such hopefuls as Julie & Julia, Bright Star, Precious, An Education, Broken Embraces, the 2 SPC Coco Chanel movies, Amelia, Cheri, and even the female director of The Hurt Locker. And maybe they will have a point… there could be 5 nominations in that group.

    Or not.

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  • With love from Michael Moore

    Capitalism: A Love Story“Capitalism: A Love Story.”

    That, Variety informs us, is the title of Michael Moore’s latest, which you may remember remained nameless even through its own teaser trailer. So, simply by waiting this long, he even turns the choosing of a title into a publicity opportunity. You sort of have to admire the way he plays the game, right down to his cornball blurb:

    “It will be the perfect date movie … It’s got it all — lust, passion, romance and 14,000 jobs being eliminated every day. It’s a forbidden love, one that dare not speak its name. Heck, let’s just say it: It’s capitalism.”

    Spooky that I asked yesterday for a documentary to step forward and report for awards season duty, and a mere few hours later we get this. The film bows October 2nd, courtesy of smart indie outfit Overture Films.