In Contention

Tag: Inglourious Basterds

  • David Poland’s Oscar underdogs … where are the ladies?

    Tilda Swinton in JuliaFor those of you bored of reading the same ever-narrowing list of names in the assorted Oscar-speculation pieces across the web, David Poland’s latest column is a slight breath of fresh air.

    Decrying the fact that many pundits are making ludicrous long-shot calls like “This Is It” for Best Picture, while ignoring more deserving contenders who could use the attention, Poland provides a list of less-hyped contenders in the top categories that he feels merit consideration.

    His definition of the term “underdog” ranges from genuinely fanciful contenders (Catherine O’Hara and James Gandolfini for “Where the Wild Things Are,” “In the Loop” for Best Picture) to names still very much in the race who  have lately lost a bit of steam (Matt Damon, Jeremy Renner and Viggo Mortensen, all in the Best Actor category).

    (more…)

  • TECH SUPPORT: Best Sound Mixing — Volume II

    Sharlto Copely in District 9As a recap from the last time we covered this field, the category of Best Sound Mixing (formerly known as merely Best Sound) rewards re-recording mixers — individuals who mix music, dialogue, effects and everything else into the soundtrack we ultimately hear — as well as production sound mixer — those responsible for capturing the sounds on set as they are recorded.

    As we’ve noted, LOUD films tend to be rewarded here. Blockbusters, either science-fiction or action-based, are also cited frequently. War films and musicals also tend to show up, especially when they are in contention in the Best Picture race.

    Two big contenders are still unseen: Rob Marshall’s “Nine” is very likely to score here, given the branch’s love of musicals. Barring the film being a disaster, I just can’t see it missing.  Last year’s winner in the category, Richard Pryke, is on board.

    The other big title that is still unseen is James Cameron’s “Avatar.” I’m still not sure how the film will ultimately perform. However, it cannot be denied that Cameron’s films have excelled here. I’m sure the film will have an interesting soundscape, and mixing legends Gary Summers and Andy Nelson are on board.

    (more…)

  • 11/11 Oscarweb Round-up

    Up• Steven Zeitchik plays things from the other side of the coin, says a high Best Picture profile for “Up” could cause the film in the animated feature category. [Hollywood Reporter]

    • Jeffrey Wells takes aim and fires heavily on “Precious.” [Hollywood Elsewhere]

    • The People’s Choice Award nominations are here.  I KNOW you care.  So go ahead and vote. [PeoplesChoice.com]

    (more…)

  • OFF THE CARPET: Looking at the supporting gentlemen

    Paul Schneider in Bright StarIn recent weeks we’ve been covering the performance categories in this space.  With little else of tangible interest, what else can we possibly discuss?  It’s as good a time as any to take note of what we have on our hands.  Be sure to check out our looks at Best Actor, Best Actress and Best Supporting Actress if you missed them.

    (Speaking of which, with the rise of “Crazy Heart” in this year’s race, it goes without saying Jeff Bridges and Maggie Gyllenhaal should be added to their respective fields as they are very much in this year’s race.)

    At first glance, the Best Supporting Actor category looks fairly established this season.  There have been, after all, a number of contenders already and plenty more to come.  But none have really stood out from the pack yet, making this race actually as up for grabs as any other.

    Possibly the most agreed-upon contender in the field has to be Christoph Waltz, who took acting honors in Cannes for his villainous portrayal in Quentin Tarantino’s “Inglourious Basterds.” Waltz has made for quite the story off-screen as well, given his latter-career lift-off.  And even detractors of the film (yours truly included) have to consider his performance a highlight of the year so far.

    If anyone gives considerable chase here it’s going to be Christopher Plummer, smartly shifted to a supporting focus for his performance as Leo Tolstoy in “The Last Station.” Plummer will have sentiment (never been nominated) and added visibility (also appearing in “The Imaginarium of Doctor Parnassus”) on his side.

    (more…)

  • 11/9 Oscarweb Round-up

    Max Records in Where the Wild Things Are• Colin Firth and Robert Zemeckis on making a surreal, stylized “A Christmas Carol.” [The Guardian]

    • A.O. Scott on darker thematic rhythms in recent children’s films. [New York Times]

    • Roger Ebert revisits “Hoop Dreams,” considers it “the great American documentary.” [Chicago Sun-Times]

    (more…)

  • Gurus on the march

    Gurus o' GoldIt’s been so long since I actually ranked the Best Picture contenders (given that we did away with the charts some weeks back), that when I sat down to do so for this week’s Gurus o’ Gold update at Movie City News, I really didn’t know which way was up.  It’s liberating to stop thinking about things in reductive terms, but I gave it a go, as did 14 other pundits, and this is what we came up with.  Sasha Stone also has charts from past years up for comparison.

    It seems like USA Today’s Anthony Brenican is the only guy who got his votes in after the big “Crazy Heart”/Jeff Bridges news, but suffice it to say the film would likely be a bit higher on the Best Picture chart and certainly Bridges and Gyllenhaal would be formidable in the lead actor and supporting actress fields.

    “Up in the Air” is leading the pack, though “Precious” isn’t that far behind.  My top 10 matches the Gurus’ exactly, except rather than Quentin Tarrantino’s “Inglourious Basterds,” I’ve placed a bet on James Cameron’s “Avatar” (which sits at #11 on the chart).  Intriguingly, Spike Jonze’s “Where the Wild Things Are” is close to the bubble, at #12.  I’d say that’s too high, frankly, but critics adore the movie.

    Head on over to Movie City News for the full spread.

  • TECH SUPPORT: Best Art Direction — Volume II

    Michael Stuhlbarg in A Serious ManWhen I first addressed the race for Best Art Direction in August, I spoke of how the branch tends to favor period pieces and fantasy films. Considering the research involved in the former and the often showy creativity on display in the latter, this is hardly surprising.

    That said, I often feel badly for exceptional contemporary films that have been slighted here in the past. Examples from this decade immediately popping to mind include David Wasco’s tremendously clever sets for “The Royal Tenenbaums” and Alex McDowell’s ultra-realistic airport design on “The Terminal.”

    While many of the titles in contention are the same over two months later, the race has nevertheless undergone some significant changes. Primarily this is because many of the films have opened, been unveiled at festivals and/or revealed glimpses via trailers and other materials.

    At the top of the list, still, is Rob Marshall’s “Nine.” John Myhre won this category on both of his previous two collaborations with Marshall. Dabbling in the world of Fellini seems like the perfect opportunity to grab his fifth nomination.

    While the “Sherlock Holmes” trailer has been around for a while, the verdict is still out on the latest film from Guy Ritchie – a director whose work to date has hardly been typical AMPAS fodder. Nevertheless, Sarah Greenwood has been nominated twice before for capturing period England, Joe Wright’s “Pride & Prejudice” and “Atonement” doing the trick. She’ll be doing the same here, albeit on a much larger scale. A nomination seems a distinct possibility in my opinion.

    (more…)

  • Renner, Stuhlbarg, Waltz among Variety’s 10 Actors to Watch

    Jeremy RennerVariety’s annual list of 10 Actors to Watch may occasionally raise questions of what constitutes a career “breakthrough” — particularly in the case of established actors who those in the know have been watching all along.

    Still, it always makes for interesting reading, not least because, in some cases, it highlights names that Variety’s editors expect to show up in the coming awards season. Last year’s list featured four actors (Melissa Leo, Viola Davis, Taraji P. Henson and Michael Shannon) who ultimately wound up in the Oscar circle. This year’s list looks unlikely to match that number (nor does it match the feminine bent of last year’s crop), but there’s some undeniably worthy talent in there:

    Laz Alonso
    Maggie Grace
    Tom Hardy
    Nicholas Hoult
    Rachelle Lefevre
    Jeremy Renner
    Alia Shawkat
    Emma Stone
    Michael Stuhlbarg
    Christoph Waltz

    (more…)

  • TECH SUPPORT: Best Film Editing — Volume II

    (from left) Daniel Day-Lewis and Marion Cotillard in NineAs I wrote in August, “Best Achievement in Film Editing” can be a difficult thing to define. Traditionally, we most notice film editing that is showy, usually in action films, musicals or movies that are not told chronologically. But does that make the editing better? If done well, it undoubtedly can add to the quality and innovation in a film.

    At the same time, however, a well-paced and effective film is often one where the transitions are seamless and I maintain that the best editing is often that which you don’t notice.  We will never know what “could have made it into the film,” which makes judging editing difficult at times. What is certain, however, is that in the absence of editors, our films would all be significantly too long, likely incoherent and/or tremendously boring.

    Personally speaking, I’m intrigued by this category this year. he editing field has historically displayed a strong correlation to the Best Picture line-up. Last year marked a return to a typical situation which we had seen from the mid-90s until early this decade: four of the five films nominated for Best Film Editing were also nominated for Best Picture, with the fifth being an action film. However, from 2005 through 2007, only two of the five nominees crossed over to the Best Picture category. This raises the question…what to expect this year?

    Some of the films I thought were contenders back in the summer have clearly fallen out of the running. Oscar winners Stephen Mirrione and Thelma Schoonmaker are now out the race as “Biutiful” and “Shutter Island” have been delayed until 2010. Allyson C. Johnson, on the other hand, is certainly not going to find herself nominated for “Amelia,” which is not getting near awards are far as anyone is concerned.

    (more…)

  • OFF THE CARPET: Looking at the supporting ladies

    Vera Farmiga in Up in the AirA few weeks ago in this space I took a dedicated look at the lead actress category.  With little in the way of actual development (this season is curiously divided on the timeline as we’ve got maybe another month before more major titles begin screening), I figured it would be a good idea to keep things going on that front and take a look at the supporting actress race.

    It’s a little difficult to ignore the fact that Mo’Nique stands way out ahead of the pack in this race for her work in “Precious.” Unless her reported behind-the-scenes drama-queen tactics somehow poison the cause, she should be holding a statue in four months’ time.  She is fierce and focused in a monstrous role and when viewers get over the initial “she had this in her?” shock, they’ll also see it for the expert piece of acting that it is.

    Mo’Nique is joined in her film, however, by what I’d call an awards-worthy turn from Mariah Carey.  The singer-turned-actress has been lurking in Mo’Nique’s shadow throughout the film’s publicity and festival tour this year, and she also lost something of a diva battle with Mary J. Blige to have a featured track in the film.  The poor girl can’t catch a break here, but I think she deserves a look from voters and, perhaps, even prognosticators.

    A few weeks ago I mentioned in an episode of Oscar Talk that “Up in the Air” star Vera Farmiga would be pushed as a lead actress.  Some things have changed.

    (more…)

  • ‘Basterds’ gets dolled up for Oscar as Tarantino receives Santa Barbara’s Kirk Douglas Award

    (from left) Kirk Douglas and Quentin TarantinoThere was a moment last season where I gave up going against the grain on the notion that “The Dark Knight” would be nominated for Best Picture.  I was called a fool, I was told I wasn’t with the program, I was told certain milestones related to the film would not be overlooked, etc.  I just didn’t think it was going to happen.

    But I relented.  I used the healthy precursor trail the film blazed as reason enough to join the (perhaps fanboy-driven) chorus and say sure, the film will be nominated.  Why not?  Still didn’t feel right.  And we all know how that turned out.

    I’m getting a similar vibe from “Inglourious Basterds,” which is even being considered a sure-fire lock in some quarters.  An extra five nominees change the dynamic, of course, and most would argue that “The Dark Knight” would have made it in with 10 nominees.  But even with a wider target, I still don’t think Quentin Tarantino’s latest will make the cut.  And if I go down in flames sticking to that inclination, so be it.  But I don’t think I will.  Fool me once, as the saying goes.

    But all of this doesn’t mean there isn’t an old-school concentrated effort on the part of The Weinstein Company to appeal to the Academy membership, and things really kicked off in earnest on that front Thursday night in Montecito.

    (more…)

  • Waltz, Frechette tapped by Hollywood fest, plus world awards

    Christoph WaltzThe list of Hollywood Film Festival award winners is winding down.  Today’s announcement brings the Hollywood Supporting Actor prize for Christoph Waltz in “Inglourious Basterds,” making this officially the widest possible net festival brass could have cast.  But Waltz will be going into the season with two wins under his belt already, here and in Cannes, so it’s safe to say we have a frontrunner in the supporting actor category (until Stanley Tucci comes along in a few months, that is).

    Meanwhile, Father Rick Frechette will receive the festival’s Hollywood Humanitarium Award.  From the press release:

    Father Rick Frechette is currently the Director of Medical Services of Nuestros Pequeños Hermanos International and a priest who has devoted his life to the medical needs of children in the Caribbean and around the world. He is NPH’s Regional Director of the Caribbean, the Haiti home’s National Director and a member of the NPH International Health Services Team, which oversees the medical needs of the children in nine countries.

    To make a difference, Frechette went to medical school to learn how to minister to the children’s physical needs, which resulted in his medical degree in 1998 from the New York College of Osteopathic Medicine and his becoming a general practitioner licensed in New York and Florida. “The poor people have scant access to medical care. Even if they are lucky enough to get evaluated at a clinic, both scarcity of medicines and their relatively high prices prevent their getting treatment. Our own working conditions, especially in the poorest areas of Port-au-Prince, are tragic and are deplorable. We have little water, no electricity, few medicines and supplies,” says the doctor-priest.

    (more…)

  • TECH SUPPORT: Best Costume Design — Volume II

    Diane Kruger in Inglourious BasterdsSince I last analyzed the costume design category in July, a number of the contenders are still waiting to be seen, though several have opened and we’ve seen glimpses from others. While the number of movers and shakers hasn’t been enormous, there has still been enough movement – and more insight gained – to warrant another look.

    One thing I do not think has changed since the summer is the category’s most likely nominee.  While I’m doubtful that she will win, I’m quite confident that Janet Patterson will earn her third nomination for Jane Campion’s “Bright Star.” While the film did not catch fire to quite the extent I was expecting, I’m nevertheless confident the threads will remain in this branch’s mind until the end of the year.

    In July, I was torn about whether Colleen Atwood could emerge as a double nominee this year. But “Public Enemies,” despite featuring fine period work, seems to have become a distant memory. Even so, I’d be very surprised if she failed to get nominated for Rob Marshall’s “Nine.”

    The great Sandy Powell, on the other hand, has had her three potential nominees reduced to one. With “The Tempest” and “Shutter Island” moved to 2010, it’s only “The Young Victoria” that is keeping her in the race. Powell is a giant in the field. But is the film at all memorable?

    (more…)

  • Category shuffling gets complicated

    Meryl Streep in It's ComplicatedIt’s been interesting to note that many of the conversations concerning the Oscar race that I’ve had with people lately revolves around category placement for a number of the year’s contenders.  It was a topic Anne and I addressed directly in Friday’s Oscar Talk, in fact.

    There tends to be dueling ideologies on this, as well as what makes a performance a lead and what makes it supporting.  But purely from a marketing standpoint, it’s understandable that sometimes studios might play the landscape of the picture for an array of acting shots on goal rather than perhaps be true to the realities (that are, again, subjective) of the role within the narrative.

    We mentioned the anticipated classification of Marion Cotillard and Vera Farmiga in the lead actress category for “Nine” and “Up in the Air” respectively in the podcast, but as Pete Hammond points out in a recent Notes on a Season item, the category musical chairs are taking place elsewhere, too.

    (more…)

  • TECH SUPPORT: Best Sound Editing — Volume II

    9Back in July, I took an initial stab at the “zaps,” “booms,” “clinks” and “bams” of the sound editing category.  Since then, several titles have been seen, moved on to 2010 or popped up as new comers.  Let’s take a look…

    With “Green Zone” and “The Wolf Man” delayed until next year, the category’s potential seems a touch depleted.  And also from that early crop, I think “G.I. Joe: The Rise of Cobra” and “Public Enemies” hardly made enough of an impression to be remembered come the end of the year.

    Then again, I thought the same about “Wanted” last year.

    I do believe a genuine new contender has joined the race in Neill Blomkamp’s “District 9.” While the film’s sound editors have not been recognized by the Academy to date, the film was a surprising hit and its soundscape seems the sort this branch would like to cite.

    Elsewhere, my early “Inglourious Basterds” hunch in this category seems to have worked out. The film did quite well for itself and artificial sounds were integral.  Wylie Stateman failed to get nominated for his work on the “Kill Bill” films, but he is a four-time nominee nevertheless.  And this is a (slightly) more Oscar-friendly film than that two-parter.

    I don’t think anything has changed the course of Michael Bay’s “Transformers: Revenge of the Fallen” in this field.  Regardless of quality, Bay’s films do well with the sound branch and Ethan Van der Ryn is a two-time winner. Only if the branch really can’t make it through the film would I expect him and his crew to miss.

    (more…)

  • TECH SUPPORT: Best Cinematography — Volume II

    Melanie Laurent in Inglourious BasterdsAlmost three months ago, I described how our cinematographers bring movies to life, by lensing the director’s vision, the actors’ performances, the production designer’s and the writer’s mood, just to begin. In the absence of these talented individuals, there would truly be no cinema.

    Like most people, this is my favorite of the Oscar crafts categories. I was very happy when Anthony Dod Mantle triumphed last year, even though he was barely on my radar post-TIFF, where “Slumdog Millionaire” premiered.  So what has emerged since our last assessment?

    From the Toronto and Venice Film Festivals, not a whole lot seems to have changed in the category. While “Precious” and “Up in the Air” seem to have been the biggest gainers, they still don’t seem to be obvious candidates here.  Then again, you have to keep an eye on Best Picture contenders, so I’d still consider DPs Andrew Dunn and Eric Steelberg for their work.

    Tom Ford’s “A Single Man” also performed quite well at Venice. Many have praised the look of the film, so it would be foolish to rule out Eduard Rau. On the other hand, Javier Aguiressarobe’s lensing of “The Road” did not receive the praise I suspected it might, with most acclaim going to Viggo Mortensen’s performance. Even so, I’ll keep my eye on this title until it is released in theaters.

    A contender whose vehicle has shifted since I last covered this category in July is Robert Richardson. While Martin Scorsese’s “Shutter Island” has been delayed until next year, Quentin Tarantino’s “Inglourious Basterds,” on the other hand, has made a considerable splash. Richardson had many chances to show the scope of his talent on this project. I wouldn’t rule him out.

    (more…)

  • Supporting actors, step forward

    Christoph Waltz in Inglourious BasterdsA while back, certain folks were (rather unfairly) dredging up the routine annual complaint about the supposed scarcity of viable Best Actress contenders. Dave Karger, however, has located the real weak spot of this year’s awards race, and it concerns the opposite sex for a change: where, he asks, are the Best Supporting Actor standouts?

    Pound for pound, I tend to find Best Supporting Actor the least compelling of the acting races, a haven for affectionately regarded stalwarts in bit parts that are frequently less than challenging. The last two years have raised the bar considerably, but recent wins for Morgan Freeman, Alan Arkin and Michael Caine are typical of the laziness with which the Academy often treats the category.

    Even by the category’s usual standards, however, this year’s pickings look unusually lean, as Karger narrows the serious contenders so far to a scant three.

    (more…)

  • TECH SUPPORT: Calm before the storm

    Richard Gere in AmeliaWith Venice and Toronto behind us, the time has come to re-evaluate where the race stands in the crafts categories.

    Over the past two months at In Contention, we have tried to take a glance at where the potential nominees stood from a distance. Best Original Song was delayed, though Kris has, might I add, been doing a very good job at accumulating a list of potential candidates.

    Now, while many titles still need to be unveiled, the big festivals have had their say. Alas, the two films which probably emerged from Toronto in the best position – “Up in the Air” and “Precious” – hardly seem to be the sort of films which will be racking up tech nominations (though the latter is a sure-fire film editing contender).

    More interestingly, a question arises: Will Tom Ford’s “A Single Man” will be able to bring its Venice success to the USA in the crafts categories? It not only sports Ford’s artistic vision but also the “Mad Men” team behind its production design.

    “Bright Star” has landed, likely to still make a splash in the crafts categories, but I’m still not sure if it will be the overall player many were hoping for. This could reduce the scope of its potential here.

    (more…)