In Contention

Tag: Ellen Kuras

  • ‘Amelie’ tops list of decade’s best cinematography

    The folks at Movieline got their hands on a list of the top 50 films of the decade, from a cinematography standpoint, as laid out by voters at American Cinematographer magazine. Topping the list: Bruno Delbonnel’s work on “Amelie.” Delbonnel is a favorite among DPs. After all, “A Very Long Engagement” won him the ASC honor in 2004 and he received his third Oscar nomination of the decade for last year’s “Harry Potter and the Half-Blood Prince.” But it’s still a surprising call.

    Another delightfully unexpected pick is Jeff Cronenweth’s lensing of “Fight Club,” but I was personally irritated to find John Toll’s serene, thematically potent work on “The Thin Red Line” go completely unrecognized in the top 10 (he finally shows up at #17).  I’d also say Roger Deakins, though at his usual top notch on “No Country for Old Men,” probably should have seen top 10 representation for “The Assassination of Jesse James by the Coward Robert Ford” instead.  His work on the western just misses at #11.

    I’ve been asked many times to offer up a list of the top 10 shots of the decade as a bonus to my annual top 10 shots of the year columns, but I don’t think I can do it.  For one thing, it’s obviously a ton of work, but with so many shots in so many movies, I just think it would be tough to whittle it down.  Too tough.

    Check out the full list from American Cinematographer after the jump.  (Note they’re picking from 1998 to 2008).

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  • 12/23 Oscarweb Round-up

    Jim Carrey• Julian Sancton samples and gives some commentary on his top 11 film scores of the year. [Vanity Fair]

    • David Poland spends 30 minutes with “Nerakhoon” director Ellen Kuras. [The Hot Blog]

    • Tom O’Neil and Dave Karger fight over the Best Actress frontrunners. [Gold Derby]

    • Karger, meanwhile, spends some more time with the cast of “Doubt.” [Entertainment Weekly]

    • David Carr’s “Marley and Me” mea culpa. [The Carpetbagger]

    • Kim Voynar goes deep this holiday season with a look at sex with teenagers on the big screen, and she has a hell of a point. [Movie City News]

    • Patrick Goldstein spotlight’s the year’s worst. [The Big Picture]

    • A trio of films go into production depicting the epic Battle of Hastings. [Daily Telegraph]

    • Paralleling the careers of big screen heartthrobs Tom Cruise and Leonardo DiCaprio. [MSNBC]

    • Michael Cieply digs into the clash of movie moneymakers Jom Carrey and Will Smith this weekend. [New York Times]

    • Brad Brevet lists the top 10 assassination movies with an inspired #1 and a #6 that has no business on any top 10 list. [Rope of Silicon]

    • Speaking of lists, how about the top 10 balliest singing performances? [Premiere]

    • Andrew O’Hehir on how indie film thrived in 2008. [Beyond the Multiplex]

  • The docs you aren’t considering

    Whenever an awards shortlist is announced, people will inevitably spend as much time, if not more, pondering its omissions as they will its inclusions. And so it has been this week, in the wake of the Academy’s announcement of the 15 titles shortlisted for Best Feature Documentary.

    Some are curiously kvetching that Bill Maher’s sporadically amusing but ultimately pedestrian “Religulous” got slighted, instead of commending the Academy for looking beyond the obvious. Others (including yours truly, admittedly) are puzzled that the excellent “Roman Polanski: Wanted and Desired” didn’t make the cut, while some are surprised that last year’s winner in the category, Alex Gibney, was frozen out this time. (Well, had “Gonzo” been half the film “Taxi to the Dark Side” was, he might not have been.) And then there’s “American Teen” and “Bigger, Faster, Stronger” and … well, you get the idea.

    The conclusion to draw from this is twofold. First of all, in this category, name recognition isn’t always a deciding factor. Second of all, and more simply, the shortlist is, even with these high-profile exclusions, a markedly strong one. Boiling it down to fifteen titles was clearly a harder task than one might have guessed.

    I’m not sure enough people are recognising the breadth and the depth of the competition in this category. Amid the various reactions I’ve read to the shortlist, I’ve noticed the same small handful of contenders coming to the fore: “Standard Operating Procedure” from previous champ Errol Morris, “Encounters at the End of the World” from the long-slighted Werner Herzog, Sundance victor “Trouble the Water,” and the film widely deemed the one to beat, “Man on Wire.”

    I’m less convinced. Yes, they’re all highly acclaimed conversation pieces. (Well, almost — Morris’ film appears more polarising than the rest.) Yes, they all have enjoyed comparatively prominent releases. But, like the notoriously wilful Best Foreign Language Film category, this category doesn’t always reward a high profile. For every time they’ve embraced a populist frontrunner like Michael Moore, they’ve ignored a supposed shoo-in. Just ask, well, Errol Morris and Werner Herzog — both previously snubbed for some of their most lauded work.

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