In Contention

Tag: Gus Van Sant

  • SHORT TAKE: “Restless” (*1/2)

    Cannes Film Festival
    Un Certain Regard

    “What can you say about a 25 year-old girl who died?” Written by Erich Segal before being plaintively voiced by Ryan O’Neal, this presumably rhetorical question is the opening gambit of “Love Story,” the simple but phenomenally successful weeper in which a young couple’s relationship is prematurely halted when the girl contracts leukemia — a bummer at any stage of life, but particularly so when you’re young and in love and have Ali MacGraw’s very nice hair.

    As it turned out, the film didn’t have an awful lot to say about the 25 year-old in question, beyond the indirect observations that love is sweet, death is sad and that neither one of those truths alters the other. Gus Van Sant’s new film “Restless,” meanwhile, asks the same question — just with a slightly lower number replacing the 25 — and, as laws of both algebra and Hollywood would have it, asks it to somewhat lower returns.

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  • OFF THE CARPET: Setting the field

    It’s a strange feeling writing about this kind of thing after last night’s news announcement. But that chapter is finally behind us, so behind us it shall remain.

    This is not an Oscar column (even though it’s labeled as such). This is not a predictions column. This isn’t even really a column. We should all continue steering clear of the “O” word until, at the very soonest, the other side of Cannes, when we could have a couple of contenders to pencil in on the radar.

    Guy will once again be covering the festivities along the Croisette this year. We’ll find out which filmmakers unveiling — from Terrence Malick to Pedro Almodóvar, Lynne Ramsay to Gus Van Sant — have what it takes. And even then, the life of a Cannes title can see ebbs and flows all the way into the season. Look for Guy’s festival coverage, already easing in with daily previews, to take off in earnest next Wednesday.

    In the meantime, I thought I’d go ahead and amass the usual throw-it-all-at-the-wall list of potential contenders for the upcoming awards season. It’s nothing you haven’t already seen or considered, I imagine.

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  • Cannes competition includes Malick, Almodóvar, von Trier

    After weeks of speculation, this year’s Cannes lineup was unveiled in spectacularly long-winded fashion by fest director Thierry Frémaux this morning. (French TV networks clearly got so bored with his sidebar discussions on each title he announced that they helpfully cut to commercial halfway through the press conference.)

    Anyway, the speculation was largely borne out — most of the names you expected to see here are present and correct, including such Cannes regulars as Pedro Almodóvar, Lars von Trier, Nuri Bilge Ceylan and the Dardenne brothers.

    Meanwhile, the question on whether or not Terrence Malick’s “The Tree of Life” would play in competition has been answered in the affirmative. Malick’s inclusion makes this to second Cannes competition slate in a row to feature only one American filmmaker, though it’s something of an upgrade from from last year’s Doug Liman head-scratcher.

    [More thoughts, and the full lineup, after the cut.]

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  • LIFE WITHOUT OSCAR: 2001 and 2002

    Catch up with the idea behind this series here.

    After being overlooked in 1995, Ron Howard finally got a pat on the back from Oscar in 2001 for “A Beautiful Mind,” which was Russell Crowe’s second Best Picture winner in a row. If that wasn’t bad enough, the inaugural Best Animated Feature award went to the unwatchable “Shrek,” making this one of the more dubious overall years in Oscar history.

    In my opinion of course. “Chicago” isn’t much better but 2002 at least threw us a nice curveball when Adrien Brody became the youngest Best Actor winner in history and Roman Polanski became the oldest (and fugitiviest) Best Director for “The Pianist.”

    At four hours and 23 minutes, the 2001 ceremony is the longest ever, made worse by the fact that Whoopi Goldberg was in charge of it. At least they got Woody Allen to show up for the first time ever for a post-9/11 tribute to New York. I’d suggest the entire ceremony be relocated to New York if it meant Woody would host.

    Steve Martin came back in 2002 and trimmed things up by almost an hour. Way to go, Steve! He also delivered what might be my favorite Oscar joke ever- “In “About Schmidt,” Jack Nicholson plays a retired insurance executive who climbs into a hot tub with Kathy Bates. But hey, who hasn’t?”

    Also, Eminem!

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  • THE LONG SHOT: When you’re strange

    (Updated predictions available here.)

    I shan’t often find room for Gaspar Noé’s name in a space ostensibly dedicated to the Oscar race, so bear with me if this seems an unlikely opening gambit, but inspiration for this week’s column began with a conversation about his fluorescent, drug-addled ghost story “Enter the Void.”

    A friend had recently caught up with it, and found herself disappointed: having been promised a psychotropic headfuck, she instead found something more sentimental and less questioning than his previous work. “At this rate,” she muttered aggrievedly, “he’s about 10 years away from a bloody Oscar nomination.”

    That’s a flip exaggeration, of course, but there’s a kernel of truth in it: the Academy likes its enfants terribles most when they’ve passed the teething stage and begin to play nice — or at least safe. There’s a long and illustrious list of adventurous, iconoclastic directors who scored with AMPAS either by putting a leash on their wilder creative instincts or making sly concessions to the mainstream.

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  • INTERVIEW: ‘The Town’ screenwriter, director and star Ben Affleck

    Actor — and as of late, filmmaker — Ben Affleck makes his way to a cozy corner of Santa Monica’s Casa Del Mar hotel restaurant. He’s coming from a “Dad’s event” at his daughter’s school, he says, propping his feet up on a nearby chair.

    Currently shooting Terrence Malick’s latest film in Oklahoma, the multi-hyphenate has a window for awards season publicity and Warner Bros. seized the opportunity. Affleck’s second directorial effort, “The Town,” has kicked up enough buzz to legitimize an all-out Oscar push, and judging by most reactions to the film, it could be an effort well-rewarded.

    I pass along one such reaction — from actor Robert Duvall, who greatly enjoyed the film — and Affleck’s eyes light up. “Wow, really? That’s great to hear.” He playfully riffs on Duvall’s characteristic voice, adding, “He’s a spectacular personality. A genius.”

    That mixture of humility and humor highlights the majority of our conversation. Affleck is as affable as they come. Perhaps it’s years of navigating the game and knowing how to put his best foot forward with a journalist, but it rings through with authenticity. He’s a guy’s guy with a thoughtful charisma that has served him well over the years, but now he finds himself putting it all to use in the director’s chair. And while he is very appreciative of the success his latest film has achieved, he notes that he came to it apprehensively.

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  • Neeson, Connelly headline Dustin Lance Black’s directing debut

    Liam NeesonThe Liam Neeson career revival continues apace. Variety reports that the 56 year-old thesp will star opposite Jennifer Connelly in “What’s Wrong With Virginia,” the first directorial effort from “Milk” scribe Dustin Lance Black. The film, which has Gus Van Sant involved as an executive producer, which begins shooting this summer. The pitch goes as follows:

    Connelly will play the charming but psychologically disturbed mother of a 16-year-old son. Her 20-year clandestine love with a sheriff (Neeson), who is running for the state senate, is tested when her son begins a relationship with his daughter.

    Sounds to me like a return for Black to the quirky domestic territory of “Big Love.” Is this a comedy of sorts? Certain details (that title, for starters) imply that to me, though it isn’t made clear in the report. Either way, Neeson and Connelly aren’t exactly the first pairing I’d think of for an onscreen romance — so, well, interesting.

    We’re also reminded that Black and Van Sant are collaborating once more on an adaptation of Tom Wolfe’s “The Electric Kool-Aid Acid Test,” which is an ambitious undertaking to say the least. You may remember that I wasn’t exactly sold on Black’s Oscar-winning efforts on “Milk,” but good on him for using his post-win momentum to get as many irons in the fire as possible.

  • 1/20 Oscarweb Round-up — INAUGURATION EDITION

    “Inauguration Edition,” of course, is code for “there’s precious little movie-related talk out there right now, so forgive the slim pickings.” Here goes:

    • Yet another take on “how to fix the Oscar telecast.” Hey, I like Jack Nicholson. [Hollywood Reporter]

    • Patrick Goldstein wonders how the Obama presidency may impact on Hollywood. [The Big Picture]

    • An in-depth interview with the fascinating Gus van Sant. [The Guardian]

    • EW launches a countdown of the Top 100 Worst Oscar Snubs. Good idea, but can we please ditch the fussy multi-page format? [Entertainment Weekly]

    • Nat Rogers and his posse offer up some hilarious pre-nomination thoughts. [The Film Experience]

    • Nick Davis, member of said posse, continues his intelligent (and exhaustive) rundown of the year’s best.  [Nick’s Flick Picks]

    • Meryl Streep thinks “Mamma Mia!” owes its success to Hollywood’s neglect of the female audience. Ladies, you have other choices. [Daily Telegraph]

    • Finally, Tom O’Neil wonders if Mariah Carey is Oscar-bound. Uh… right. (Like I said, slim pickings, people.) [Gold Derby]

  • DGA discrepancies with AMPAS are not uncommon

    Frank Darabont on the set of The MistThe announcement of this year’s DGA nominees has left the sense that the races for Best Picture and Best Director are over.  Not so.  While the guild and Academy line up most of the time, and have a decent track record with the directing branch, we must not forget the years that proved otherwise.  This could be such a year.

    Ask yourself how many times the Best Picture category has lined up perfectly with the nominees for Best Director?  Please also be aware that the DGA has awarded their prize sometimes to directors not even nominated for an Oscar: Ron Howard for “Apollo 13” and Steven Spielberg for “The Color Purple” to name a couple.  So while the race is certainly clearer, it is by means over.

    I still believe Woody Allen stands a strong chance for being nominated for “Vicky Christina Barcelona,” just as I believe that Darren Aronofsky could sneak in for “The Wrestler.”  But who gets snubbed?

    Gus Van Sant, Christopher Nolan, Ron Howard, David Fincher and Danny Boyle are worthy nominees all, most deserving of their attention and potential award.  But who of those esteemed five could the Academy allow to slip away?  It’s a tough call.

    I hate to say it, but I think Fincher is the most likely snub.  A stunning film to be sure, and likely the major nominee recipient…just as “The Color Purple” was in 1985.  My gut tells me Fincher might get the shaft only because he’s been on that side of things before, and the others are just too hard to ignore.  That said, let’s not forget that Ron Howard has been a victim of this sort in the past, for his finest work in fact, “Apollo 13.”  And Nolan is in some dicey waters, though I doubt he could be the victim of the blockbuster mentality that haunted Spielberg for “Jaws” (and much of his career).

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  • DGA nominees

    DGAI think we’re locked and loaded, folks…

    David Fincher, “The Curious Case of Benjamin Button”
    Christopher Nolan, “The Dark Knight”
    Ron Howard, “Frost/Nixon”
    Gus Van Sant, “Milk”
    Danny Boyle, “Slumdog Millionaire”

    What more is there to add at this point?  This is where John Shanley needed to show up if there was any more hope for “Doubt.”  This is where Darren Aronofsky needed to stake a claim if there was any Best Picture juice in “The Wrestler.”  Ditto Stephen Daldry and “The Reader,” I guess.  But with this, I think the consensus has become overwhelming and a bit difficult to ignore.

  • Guessing the DGA

    Directors Guild of AmericaSo, with SAG, PGA and ASC out of the way, and with WGA still to come in a matter of hours, I guess it’s worth mentioning that the big daddy guild is announcing tomorrow: the Directors Guild of America (DGA).  Now’s as good a time as any to take a stab at guessing the nominees…

    The DGA has been one hell of an Oscar Best Picture barometer for the last decade or so.  Last year was the first real hiccup as the guild only nailed three of the eventual five nominees with their director choices.  2006 saw one misfire (but we all still figured “Dreamgirls” was in around this time two years ago).  Then it was four years in a row five-for-five until we have another hiccup, Ridley Scott making it in for “Black Hawk Down” and Christopher Nolan (in the mix again this year) for “Memento.”

    After that, the general trend was four-for-five with some 100 percents thrown in here and there, but you get the picture.  This is, more often than not, quite the prognosticative (that’s so not a word) guild.  With the PGA clearly establishing a consensus of sorts (not that those five films haven’t been the obvious contenders for weeks upon weeks), I see no real reason to get creative right now, so I’m going with the following:

    David Fincher, “The Curious Case of Benjamin Button”
    Christopher Nolan, “The Dark Knight”
    Ron Howard, “Frost/Nixon”
    Gus Van Sant, “Milk”
    Danny Boyle, “Slumdog Millionaire”

    There are only two filmmakers that I think have a shot of cracking this quintet: Woody Allen for “Vicky Cristina Barcelona” and, perhaps more so, Darren Aronofsky for “The Wrestler.”  John Patrick Shanley and “Doubt” showing up would truly shock me and Andrew Stanton is not eligible for “WALL-E,” so the field is rather thin.

    What are you thinking?

  • Catching up with ‘Milk’ in the Bible belt

    Sean Penn in MilkIn 1977 Harvey Milk was elected to position as city supervisor in San Francisco. Milk, an openly gay man, was the first of his kind. Rather than concealing his sexual orientation, he wore it proudly, and used his influence in a largely gay section of San Francisco to do good. He became an effective advocate for gay rights across the United States until his assassination, in 1978, by Dan White. Mr. Milk and Mr. White are the subjects of the terrific new film, “Milk,” directed by Gus Van Sant.

    The substantially gifted actor Sean Penn plays the lead role, and he is supported by Josh Brolin, Emile Hirsch, Diego Luna and James Franco. The film has generated a fair amount of awards buzz, and it should. It’s one of the best of the year.

    In November, interestingly, the citizens of the state of California went to the polls to vote on Proposition 8, a measure that would abolish the recognition of same-sex marriage in the Golden State. In my home state of Arkansas, voters were asked to determine whether same-sex couples could adopt children or serve as foster parents. In both instances, supporters of gay rights lost.

    If you have seen “Milk” or the exceptional documentary “The Times of Harvey Milk” by Rob Epstein, you know that Milk worked tirelessly to defeat Proposition 6 in 1978, just before his death. Prop. 6 was an effort to prohibit gay people from serving as public school teachers. As I watched “Milk,” after the November elections, I couldn’t help but see the parallels. Both struck at the very foundation of individual liberty.

    Writing for The Huffington Post last month, Mr. Epstein observed, “Although Proposition 8 wasn’t exactly a re-make of Proposition 6, it’s the same disaster movie storyline pitch: any recognition of constitutional rights for gay and lesbian citizens will somehow destroy the natural order and as a result America’s institutions — be they schools or marriage — will crumble.”

    “Milk” is on course for a Best Picture nomination at the Academy Awards early next year. It was selected as the best film by the New York Film Critics Circle and yesterday received a best ensemble nomination from the Screen Actors Guild. And no seems to be surprised by it. 2008 has been a bad one for people in same sex relationships, or who support gay rights. Still, it’s plausible that in the same state that recently approved Prop. 8 by generous margins, a film directed by an openly gay man, about a gay man, his gay friends and gay rights in California could win Best Picture. Wouldn’t that be something?

  • ‘Slumdog,’ ‘WALL-E’ tie for top honors with Beantown critics

    Two ties from the Boston crowd, actually.  In big categories.  Have some balls.  Take a stand.  Anyway, Sally Hawkins gets yet another boost, while “Man on Wire” remains the only (boringly) undefeated contender so far.

    Here’s the list:

    Best Picture: (tie) “Slumdog Millionaire” and “WALL-E”
    Best Director: Gus Van Sant, “Milk,” “Paranoid Park”
    Best Actor: (tie) Sean Penn, “Milk” and Mickey Rourke, “The Wrestler”
    Best Actress: Sally Hawkins, “Happy-Go-Lucky”
    Best Supporting Actor: Heath Ledger, “The Dark Knight”
    Best Supporting Actress: Penélope Cruz, “Vicky Cristina Barcelona”
    Best Screenplay: “Milk”
    Best Cinematography: “Paranoid Park”
    Best Documentary: “Man on Wire”
    Best Foreign-Language Film: “Let the Right One In”
    Best Animatd Film: “WALL-E”
    Best Film Editing: “Slumdog Millionaire”
    Best New Filmmaker: Martin McDonough, “In Bruges”
    Best Ensemble Cast: “Tropic Thunder”

  • 12/1 Oscarweb Round-up

    Christian Bale in Public Enemies(Back from vacation and ready to roll.  Thanks to Guy for keeping the ship sailing during the holiday.)

    • A first peak at what will likely be one of next year’s serious contenders: Michael Mann’s “Public Enemies.” [Empire]

    • TV spotting “Gran Torino” with a little outside-the-beat commentary. [/Film]

    • Carl DiOrio reports on the surprisingly successful box office numbers of “Milk.” [The Hollywood Reporter]

    • Peter Knegt, meanwhile, talks with “The Times of Harvey Milk” helmer Rob Epstein about his 24-year-old documentary and Gus Van Sant’s take on the politician this year. [indieWIRE]

    • And Cristy Lytal catches up with the real-life Cleve Jones (played by Emile Hirsch in Van Sant’s film). [Los Angeles Times]

    • I almost feel this isn’t worth linking, but there isn’t a lot to choose from this morning: Marc Lee rounds up a couple of Oscar blog quotes to assess Kate Winslet’s Oscar hopes.  Are they paying him for this? [Daily Telegraph]

    • Scott Bowles tracks down Bryan Singer and Tom Cruise at the Burbank airport to discuss the risky business of “Valkyrie.” [USA Today]

  • Early winner predictions, part 2: Yours and mine

    Well, Kris was brave enough to stick his neck out and venture some winner predictions, so I thought I’d follow up on that — with the strict caveat that, while nobody knows anything, I frequently know even less.

    So my own predictions are after the cut. I don’t think them informed enough to place on a main page, but in the interests of diversity (and maximum egg-on-face potential), there they are. I was interested to see that, judging from the impressive response to Kris’ initial post, you readers and I are of a like mind in several areas. I specifically waited until after I’d drawn up my own foolhardy picks before looking at yours, and was surprised by some of the parallels that emerged.

    So let’s take a look at how you voted, shall we? I see some enterprising commenter on Kris’ post has already collated the data and drawn up percentages, and short of drawings up bar graphs and pie charts, I wouldn’t want to compete with that kind of specificity. (Seriously, I wouldn’t.) But even without getting mathematical, some trends are clear.

    In the top category, I expected to be in a significant minority picking “Milk,” but you have it breathing hotly down “Benjamin Button’s” neck as the frontrunner, with 11 and 13 votes respectively. A mere two of you side with Kris in picking “Slumdog Millionaire,” which, obtuse creature that I am, makes it the smarter choice in my mind. And yet, thrilled as I would be to see Team Boyle onstage come Oscar night, I can’t quite go there. Right now, “Milk” ticks too many boxes: dazzling reviews, emotionally charged, politically relevant, a more accessible effort from a long-revered filmmaker. It makes almost too much sense to me.

    Things are less tight in Best Director, where David Fincher enjoys over half your votes, with Danny Boyle and Gus van Sant (my choice) neck-and-neck for second place.

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  • Embargo? Todd McCarthy don’t need no stinkin’ embargo.

    …while “Milk” is unquestionably marked by many mandatory scenes — the electioneering, outrage at conservative opposition, tension between domestic and public life, insider politicking, public demonstrations, et al. — the quality of the writing, acting and directing generally invests them with the feel of real life and credible personal interchange, rather than of scripted stops along the way from aspiration to triumph to tragedy. And on a project whose greatest danger lay in its potential to come across as agenda-driven agitprop, the filmmakers have crucially infused the story with qualities in very short supply today — gentleness and a humane embrace of all its characters, even of the entirely vilifiable gunman, Dan White.

    From McCarthy’s recent review of Gus Van Sant’s “Milk.”  I’ll hold off commenting in depth on the film for another few weeks.  You know, integrity, that kind of thing.  A foreign idea, I know.

  • My back, my aching back…thoughts on ‘Milk’ and ‘Frost’

    Sean Penn in MilkThis is why I don’t do the festival thing.  Multiple screenings back-to-back always plagues the faculties.

    Anyway, David Poland was eager to iPhone in his “First!” response on “Milk,” and while I agree with his assessment of Sean Penn’s phenomenal portrayal, I can’t share his overall enthusiasm for the film itself.

    On the whole, it’s a shame Gus Van Sant was working from such a by-the-book, greatest hits screenplay, but his creativity as a director allows the film to steer clear of some anticipated pitfalls.  I was more impressed by Josh Brolin’s work than I expected, stepping into what could have been a flat villain role and really bringing some subtlety and layers.  However brief the performance, I think it might be his best work to date.

    Additionally Emile Hirsch, who generally irritates me to know end, added a spark to the film that was pleasantly surprising.  And Harris Savides’s work on the camera, combined with the expected artistry of the editing, elevates Dustin Lance Black’s work to greater heights than it might have deserved.

    More in the way of a review later on.

    Following “Milk” up with “Frost/Nixon” was interesting to say the least.  It’s liberal rah-rahing of a different sort, and I confess I liked the film more than our own Guy Lodge did.  It lags in the first two and a half acts, struggling to find an element that could bring something more to Peter Morgan’s stage play.  When it finds the respect for Nixon that it needs, the film finally understands its own potential.

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  • 10/28 Oscarweb Round-up

    Philip Seymour Hoffman in Doubt• Michael Cieply says “Welcome to the pop Oscars” regarding the big budget Oscar pushes this year. [New York Times]

    • Tom O’Neil reports that the two biggest stars in “Doubt” won’t be at the AFI world premiere on Thursday. [Gold Derby]

    • Patrick Goldstein wonders why Oscar consistently shies away from the funny bone. [The Big Picture]

    • A chat with “Dear Zachary” director Kurt Kuenne. [indieWIRE]

    • Nicholas Lezard comments on Gus Van Sant’s potential adaptation of Tom Wolfe’s “The Electric Kool-Aid Acid Test.” [The Guardian]

    • Anthony Breznican profiles Elizabeth Banks and her star-making year. [USA Today]