In Contention

Tag: Fish Tank

  • ‘The Hurt Locker’ sweeps BAFTA Awards

    Kathryn Bigelow at the 2009 BAFTA AwardsThe writing, in case you hadn’t already read it, is on the wall.

    In the biggest BAFTA haul for a non-British production since “American Beauty” a decade ago, Kathryn Bigelow’s Iraq drama took six awards at the Royal Opera House, including Best Film, Director and Original Screenplay. Next up: Oscars. And plenty of ’em, I’m guessing.

    I did respectably enough in my predictions, nailing 15 out of 21 categories, though I missed the big one, thinking homegrown favorite “An Education” would come out on top. The Brits did, however, vote local in the lead acting categories, with Colin Firth and Carey Mulligan taking well-deserved honors — probably their last of the season.

    “An Education” lost both the top awards it was up for, as the ever-selective Best British Film committee once more looked to the fringes to reward Andrea Arnold’s “Fish Tank” instead. I’m thrilled to see a major award for my #2 film of last year, after it was blanked entirely in the general categories. Continuing a good night for my pet films, meanwhile, “A Prophet” took foreign-language honors.

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  • BAFTA predictions

    Carey Mulligan in An EducationEnjoying a curious position this year as the only televised awards ceremony between the Academy Award nominations announcement and Oscar night itself, the BAFTAs will no doubt be relishing their precursor status even more than usual.

    Since they made the move to precede the Oscars nine years ago, BAFTA hasn’t slavishly anticipated the bigger awards (they’ve matched the Academy’s Best Picture pick only three times), but they have sometimes been at the crest of new waves in voting: late surges of momentum for the likes of Marion Cotillard, Tilda Swinton and Alan Arkin all made their first appearance on BAFTA night.

    This year, however, I’m suspecting that the Brits will voluntarily isolate themselves from the Oscar-influencing game. Never ones to shy away from patriotic voting, BAFTA has handed its top prize to a homegrown production for three years running – it’s highly likely that Oscar longshot “An Education,” which leads the nomination count with two U.S. productions, will make it four.

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  • ‘A Prophet,’ ‘Fish Tank’ lead London Critics’ awards

    Best British Actor winner Colin Firth at the London Film Critics' Circle awardsThe BAFTA Awards take place on Sunday, but last night the UK’s premier critics’ body had their say at the London Film Critics’ Circle Awards. And what we learned is what the London Film Festival, Sight & Sound and even the BAFTA longlists already taught us: the Brits really, really like “A Prophet.”

    Busting out of the foreign-language ghetto, Jacques Audiard’s Oscar-nominated prison gang saga took the night’s top award, Film of the Year. That was its lone award of the night, however — Kathryn Bigelow continued her steamroll through every directing honor in sight, while they democratically handed what would have been a rather superfluous foreign-language prize to “Let the Right One In.”

    The night’s biggest winner, meanwhile, was another of my pet films: “Fish Tank” took four awards in the British categories, including Best British Film and acting honors for Katie Jarvis and Michael Fassbender. Following Bigelow, Andrea Arnold made it an all-female affair in the directing categories.

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  • ‘Fish Tank’ tops at Evening Standard awards

    Katie Jarvis in Fish TankVoted on by a handful of London critics (including IC friend Tim Robey), the Evening Standard Film Awards aren’t the glitiziest of honors, but they always make admirably singular choices. Celebrating the best in British film and talent, they often highlight names and titles below the radar of even the British Independent Film Awards.

    As if that wasn’t commendable enough, they earned the distinction last year of being the sole awards body to give Tilda Swinton a Best Actress award for “Julia.”

    At tonight’s ceremony, meanwhile, they continued to earn my goodwill as their top prize went to Andrea Arnold’s “Fish Tank,” beating Jane Campion’s “Bright Star” in the process.

    In something of an upset, Carey Mulligan lost Best Actress to “Nowhere Boy” star Anne-Marie Duff, while BAFTA nominee Andy Serkis took Best Actor for the Ian Dury biopic “Sex & Drugs & Rock & Roll.” The night’s winners also included two Oscar contenders: the screenwriting team behind “In the Loop,” and Barry Ackroyd for “The Hurt Locker.” Full list of winners and nominees after the cut.

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  • FRIDAY FORECAST: Charts of ‘Darkness’

    Mel Gibson in Edge of Darkness*All historical figures cited are adjusted to today’s dollars.

    Lucky weekend number seven for “Avatar.” The top spot beckons once again and James Cameron will surely oblige. Another slim drop of 20% would give the wild blue wonder $26.2 million and put $600 million within it’s grubby little grasp.

    The only thing remotely standing in the way is the return of Mel Gibson, after an 8-year hiatus from leading roles. His last time in front of the camera and above the title was in “Signs,” which grossed $292.7 million and happens to be the biggest hit of his entire career. So technically, the man is on a roll.

    In fact, not counting his small part in “The Million Dollar Hotel,” Gibson’s last 12 pictures have all crossed the $100 million mark, dating back to “The Man Without a Face.” Say what you want about his Jew-hating, but he is one seriously bona fide movie star.

    “Edge of Darkness” bears more than a passing resemblance to both “Taken” and Gibson’s own “Payback.” Warner Bros. quickly pounced onto the release date of the former, which debuted with $24.7 million and then showed remarkable staying power through the Spring.  The latter opened in February 1999 to $31.2 million. Splitting the difference would give “Edge of Darkness” $28 million, but I think Gibson’s star has fallen enough to make that impossible. I’m thinking more like $23 million and second place.

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  • ‘Education,’ ‘Hurt,’ ‘Avatar’ lead BAFTA nominations

    Carey Mulligan and Peter Sarsgaard in An EducationFor once, my predictions weren’t too shoddy … though the field-beating haul I anticipated for “An Education” didn’t quite pan out. Instead, Lone Scherfig’s film ties for the lead with Oscar frontrunners “Avatar” and “The Hurt Locker,” all three films securing eight nominations.

    “An Education” still looks like the one to beat here, though it’s not quite as strong as I might have thought. (I’m especially disappointed that Rosamund Pike fails to show up, despite being one of the BAFTA acting branch’s top five picks.)

    However, the especially robust showing for “The Hurt Locker” (I didn’t see that FX nod coming) suggests it could give the British pic trouble. Both films, meanwhile, scored directing bids, marking the first time BAFTA has nominated two female helmers in the category.

    Of course, “Avatar” also poses a threat, though when it comes to the win, it doesn’t strike me as BAFTA’s cup of tea. It’s worth bearing in mind that Cameron’s last awards behemoth, “Titanic” went 0-for-10 at the 1997 ceremony. (Before you ask, it lost Best Visual Effects to “The Fifth Element.”)

    More discussion, and a full list of nominations, after the cut.

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  • THE LONG SHOT: A little bit of English

    Rosamund Pike in An EducationYesterday, while talking with one of my sane friends whose thoughts drift to film awards perhaps one day a year, the conversation turned to the BAFTAs, which announce the nominations for their 2009 film awards tomorrow.

    “The BAFTAs, they’re like the Oscars for British films, right?” she asked.

    “Not quite,” I replied. “They’re open to all films.”

    “But the British films always win, right?”

    “No, not always.” I stared into my pint. “Well, a lot of the time, yeah.”

    “Why not just make them for British films, then?”

    “Because they want to be like the Oscars.”

    “So why do they keep rewarding the Brits?”

    The conversation could have circled this way for some time, but fortunately, it was time for another round – and by the time I returned from the bar, the topic had shifted to Pat Robertson.

    My friend’s innocent but pertinent questions only grazed the surface of the peculiar identity crisis suffered by the BAFTA Awards, a longstanding institution, kindly regarded by many, that only joined the pack of Oscar precursors nine years ago. Since they did so, it’s become increasingly difficult to ascertain who they are, what they stand for in awards season.

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  • INTERVIEW: Michael Fassbender

    Michael FassbenderMichael Fassbender is unemployed.

    This, at least, is what he tells me at the outset of our conversation, and he sounds entirely relaxed about it. As well he sound be: after 18 months of back-to-back film projects, a catholic range spanning the gruelling physical demands of “Hunger,” the arch larking-about of “Inglourious Basterds,” the kitchen-sink grit of “Fish Tank” and the blockbuster polish of the upcoming “Jonah Hex,” the 32 year-old Irish-German thesp has more than earned himself some downtime.

    Not that Fassbender is entirely sure how to enjoy it. “I don’t really know what to do with myself, to be honest,” he tells me over the phone from Los Angeles, where his next vehicle – “A Single Shot,” a “very quirky” thriller in which he has the lead role – is currently in pre-production.

    “When you’re trying to make it as an actor, all you want to be is busy. After nearly two years of bouncing from one shoot to another, even a little time off is kind of disconcerting. I don’t even really have a home at the moment to spend it in.”

    He laughs, but there is a trace of weariness in his voice, its lolloping West Irish rhythm occasionally colored with harder enunciation that only faintly betrays his half-German parentage. His professional restlessness, however, has made him one of the past year’s most visible young actors.

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  • ‘Fish Tank’ poster

    A few days ago, we posted the new U.S. trailer for Andrea Arnold’s “Fish Tank,” which opens in New York next week before rolling out later. I didn’t mind it as much as some, though it didn’t capture the film’s unusual rhythmic and sensual qualities. But I do like prefer this simple, declarative poster that was released at the same time.

    You know by now that I adore the film, which I thought not merely one of the best of 2009, but of the entire decade. I’ll be posting my interview with the remarkable Michael Fassbender in the coming week. (Thanks to Stale Popcorn for the image.)

    Fish Tank

  • ‘Education,’ ‘Basterds’ lead BAFTA longlists

    Carey Mulligan an An EducationTwo weeks before revealing its nominations, BAFTA reveals longlists of 15 contenders in each category from which the eventual five nominees will be chosen. (Switch those numbers to five and three in the Animated Feature race.)

    Vague as the lists are, a couple of telling trends stand out. It’s been clear for some time that “An Education” is the film to beat at this years BAFTAs. Like the group’s last three Best Film winners — “The Queen,” “Atonement” and “Slumdog Millionaire” — Lone Scherfig’s film is a mainstream British effort that has U.S. awards traction, allowing them to remain patriotic while fulfilling their recent Oscar-aping remit.

    So it’s no surprise that “An Education” leads the longlists with 17 mentions — seven of them in the acting races. Close behind is “Inglourious Basterds,” with 15 bids, while “The Hurt Locker” manages 12.

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  • ‘Fish Tank’ trailer

    I caught Andrea Arnold’s “Fish Tank” during last year’s AFI Fest and frankly, wasn’t overly impressed by it.  Katie Jarvis is a real find and, of course, Michael Fassbender is and has been going places.  I liked the world it evokes feels very authentic and on the whole, it’s nice to have diversity in the marketplace.  But I just hated the narrative trajectory of the piece and whatever confused ideas it thought it was putting forth.

    But, hey, you know what they say about opinions.  Guy (who didn’t base his list on U.S. release dates) thinks it is one of the year’s very best films.

    Anyway, the domestic trailer has landed via Apple.  Have a look below:

  • Guy’s top 50 of the decade: #31-40

    Matt Damon in The Bourne UltimatumYesterday, I began my countdown of my 50 favorite — do note that last word, I hesitate to say “best” — films of the 2000s. Today, we creep up another ten rungs on the ladder.

    I wrote this in my introduction to the list yesterday, but it bears repeating: don’t read too much into the rankings at this level. I’m not the kind of person who can scientifically determine whether my 37th favorite film of the decade is marginally — but conclusively — superior to my 38th favorite. Just today, I did some mild shuffling with the following titles, only to change my mind a few minutes later.

    Bottom line: I think they’re all pretty darn special. The list continues after the cut.

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  • Things of beauty: Guy’s best of 2009

    Julianne Moore and Colin Firth in A Single ManThe year of the woman. The year of animation. The year of science-fiction. Depending on who you read (and believe), the final year of the decade has been an awful lot of things.

    If you’re with Kris, it’s also the best cinematic year of the last ten. If you’re with an awful lot of others, it’s quite the opposite. I’ll stop short of rewriting the first page of “A Tale of Two Cities,” but suffice to say it’s been different things to different people.

    What kind of year has it been for me? I think I’ll need another year to figure that out in detail. But as I compiled the list you’re about to read, I happily concluded that it’s been, at the very least, a good one: the 25 titles gathered here were jotted down with minimal brain-racking, with still more fighting from the sidelines.

    None of them are grudging inclusions, either: I sincerely liked most of these titles too much to allow room for popular or critical phenomena that are worthy of respect, but nonetheless didn’t connect with me personally. There was a sufficient range of quality work in 2009 (following a lean 2008) that any film lover could afford to construct his own playlist of future treasures without resorting to consensus.

    Before we begin, a note on the construction of the list. In addition to my Top 10, there are 15 honorable mentions here, five of them singled out for extra consideration. Some of you will quibble that I opt to include international or festival releases that have yet to surface in the U.S.

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  • ‘An Education’ leads London Critics’ award noms

    The London Film Critics’ Circle awards have their cake and eat it by having separate British film categories, in addition to some general fields where the Brits also compete. So UK productions invariably lead the field.

    Allowing for that and other oddities, this is a very pleasing list for the most part. “An Education” seals its status as this year’s British title of choice, with a leading seven nods; “Fish Tank” is close behind, with six. (I think we can count on the former triumphing at the BAFTAs next year.)

    The abundant love for “A Prophet” is probably the most unusual (and exciting) aspect here, while I’m also thrilled to see mentions for Michael Fassbender, Rosamund Pike and Michael Stuhlbarg, among others. (Also interesting: Mo’Nique and Vera Farmiga both cropping up in the lead actress category, with their female co-stars nowhere to be seen.)

    FILM OF THE YEAR
    “Avatar”
    “The Hurt Locker”
    “A Prophet”
    “Up in the Air”
    “The White Ribbon”

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  • ‘Moon,’ Carey Mulligan, Tom Hardy take BIFA Awards

    Tom Hardy in BronsonThe British Independent Film Awards really spread the wealth this year, with only two films — “Moon” and “Fish Tank” — taking more than one award. In a slightly surprising result, Duncan Jones’s sci-fi debut claimed the night’s top prize, Best British Independent Film, as well as Best Debut Director honors.

    Meanwhile, “Fish Tank,” which entered the ceremony with the most nominations, took a well-deserved pair of awards: Best Director for Andrea Arnold (the first woman ever to receive the honor) and Most Promising Newcomer for 18 year-old sensation Katie Jarvis.

    Jarvis lost the Best Actress award, however, to Carey Mulligan for “An Education” — one of the night’s few winners likely to figure prominently in the awards race across the pond. (This in stark contrast to last year’s BIFA awards, which were all about “Slumdog Millionaire.”)

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  • ‘A Prophet’ dominates European Film Award nominations

    Tahar Rahim in A ProphetIs “A Prophet” gradually stealing awards-season momentum from “The White Ribbon?” (It’s the superior film, if you ask me.) Too soon to say, of course, but it certainly came out on top in this morning’s European Film Award nominations.

    Jacques Audiard’s searing chronicle of French prison gangs leads the field with six nominations, to four for Michael Haneke’s German Palme d’Or winner. The two films, seen by many pundits as the chief contenders for the foreign-language Oscar, also appear to be the frontrunners here, continuing a rivalry that started way back in May at Cannes.

    Also beating “Ribbon”‘s total, with five nods (six, if you include the People’s Choice Award), is “Slumdog Millionaire,” which didn’t make last year’s cut-off date. The film’s popularity clearly still lingers (to the point that it even eked out a Best Actor nod for Dev Patel, ahead of, say, Michael Fassbender), though I sense its moment has passed.

    (More discussion, and a full list of nominees, after the cut.)

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  • WEEKLY WRAP: Oscar hosts, Bridges arrives, animated five

    Jeff Bridges in Crazy Heart• Oscar season ramped up this week, with the popular selection of Steve Martin and Alec Baldwin as this year’s Oscar emcees.

    • This week’s Off the Carpet column surveyed the runners and riders for Best Actor …

    • … only to be immediately outdated as Jeff Bridges and “Crazy Heart” arrived to turn that race on its head.

    • Big news in the Best Animated Feature race, as last-minute entry “A Town Called Panic” ensured we’ll have five nominees.

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  • ‘Fish Tank,’ ‘Woman Without Piano,’ ‘Ajami’ honored at AFI

    AjamiLife came calling earlier this week, so unfortunately I wasn’t able to make it to as many AFI Fest screenings and events as I had hoped.  I did catch Terry Gilliam’s “The Imaginarium of Doctor Parnassus,” however (a bizarre, confusing misstep with a wonderful performance from Heath Ledger) and “Everybody’s Fine” (D.O.A.).

    I also caught the tribute to Christopher Plummer, who makes it known that he doesn’t want to discuss “The Sound of Music” in interviews, but given the tribute setting, poor Scott Foundas had to bring it up, right?  After some mumbling, Plummer finally shouted, with an uncomfortable smile, “Why did you ask me that?!”  I thought said tribute could have run a little longer than 20 minutes, but it was a modest event plugged in just before the festival screening of “The Last Station.”

    Anyway, the festival has announced this year’s New Lights Competition award winners, a designation that “was created to acknowledge and honor vital, groundbreaking films by first and second time feature filmmakers from around the world,” according to AFI. Andrea Arnold’s “Fish Tank” and Javier Rebello’s “Woman Without Piano” shared the honor.

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