Tag: Milk

What will win the PGA?

Tonight, we will receive our biggest precursor pointer to date, as the Producers Guild of America becomes the first of the guilds to make its final pronouncement.

In case you’ve forgotten, the five films vying for the PGA’s top honour are “The Curious Case of Benjamin Button,” “Frost/Nixon,” “Milk,” “Slumdog Millionaire” — and the one nominee to fall foul of Oscar voters, “The Dark Knight.”

“Slumdog Millionaire” appears to be the safest bet, even if its producer, relative newcomer Christian Colson, is less of an industry insider than his fellow nominees. (After all, the field includes such popular figures as Kathleen Kennedy and Frank Marshall, and previous winners Brian Grazer, Ron Howard, Bruce Cohen and Dan Jinks.)

But with “Slumdog” hurtling towards all-but-inevitable victory on Oscar night, not having missed a single stop on the awards trail so far, that shouldn’t matter. It’s by far the most well-liked film in contention, as well as being a profitable indie with a scrappy-fighter backstory. I doubt the PGA will resist.

Back when the nominees were announced at the start of the month — doesn’t that seem a long time ago? — Kris suggested that “The Dark Knight” was the “likely winner.” It made perfect sense at the time: these are producers, after all, so they value financial prowess as much as artistic achievement. (Previous PGA nominees include “Harry Potter and the Sorceror’s Stone” and “My Big Fat Greek Wedding.”)

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January 24, 2009
Guessing games

I only just got round to counting up my correct predictions across all categories, and wound up with a tally of 68 from 97 slots.

This is the first year I’ve ever gone remotely public with my Oscar predictions, so while I can tell you that this was a pretty poor year for me (3/5 for Best Director and a lowly 2/5 for Best Documentary — yikes), I have nothing to prove my usual form. Still, I see I’ve tied with Kris, so no shame in that.

In the major categories, none of my left-field predictions came through for me, though I always knew that my “Gomorrah” screenplay pick and the four projected nods for “Happy-Go-Lucky” were thin limbs to climb on.

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January 22, 2009
January winner predictions

Onward. I bet Fox Searchlight wants this phase two to go by as fast as possible.

Best Picture: “Slumdog Millionaire”
Best Director: Danny Boyle, “Slumdog Millionaire”
Best Actor: Sean Penn, “Milk”
Best Actress: Kate Winslet, “The Reader”
Best Supporting Actor: Heath Ledger, “The Dark Knight”
Best Supporting Actress: Penelope Cruz, “Vicky Cristina Barcelona”
Best Adapted Screenplay: “Slumdog Millionaire”
Best Original Screenplay: “WALL-E”
Best Art Direction: “The Curious Case of Benjamin Button”
Best Cinematography: “The Dark Knight”
Best Costume Design: “The Duchess”
Best Film Editing: “Slumdog Millionaire”
Best Makeup: “The Curious Case of Benjamin Button”
Best Music (Original Score): “Slumdog Millionaire”
Best Music (Original Song): “WALL-E”
Best Sound Editing: “WALL-E”
Best Sound Mixing: “WALL-E”
Best Visual Effects: “The Cuious Case of Benjamin Button”
Best Animated Feature Film: “WALL-E”
Best Foreign Language Film: “Waltz with Bashir”
Best Documentary (Feature): “Man on Wire”
Best Documentary (Short Subject): “The Witness — From the Balcony of Room 306”
Best Short FIlm (Animated): “Presto”
Best Short Film (Live Action): “New Boy”

Tally:
“Slumdog Millionaire” — 5
“WALL-E” — 5
“The Curious Case of Benjamin Button” — 3
“The Dark Knight” — 2
“Defiance” — 1
“The Duchess” — 1
“The Reader” — 1
“Vicky Cristina Barcelona” — 1

(Those are all probably dead wrong, but eh, we’ll see how the season develops from here.)

January 22, 2009
Last minute thoughts

Like I said, I’m on the record. I’ve given some left-field choices (as have you). But here are some lingering thoughts bouncing around inside my tired old head this evening:

1) I think we’re going to see tomorrow, finally, that “Rachel Getting Married” is nothing more than a critical fave. Personally, I liked it enough, but all the “one of the year’s best” talk was dubious to say the least. A SAG ensemble nod would have kept me quiet. Talk about a place it could have made a stand. And that WGA snub was just one more smack by the industry, in my view. Maybe it’s just like one voter told me: “I couldn’t stand these people.” Anne Hathaway, step up for the film’s consolation nod.

2) “Gran Torino,” “Gran Torino,” “Gran Torino.” I can’t say it enough…this film is creeping up. It’s possible it came on too late and Clint missed the timing this time out, but, like I’ve said…watch it. Personally I think it’s a bigger threat than “The Reader.” A bad-ass white guy kicking kids off his lawn or a porno about a sympathetic Nazi. Which film is going to resonate more with the Academy? You tell me.

3) Everyone says, in varying degrees, that everything from “The Dark Knight” to “Frost/Nixon” to “Milk” are on the bubble. But here’s a radical idea: what if the weak link is the film many have called cold and removed? “The Curious Case of Benjamin Button” sure does have a lot of guild support…but so did “Dreamgirls.”

4) Could one of the biggest stories tomorrow be the snubbing of Brangelina? Some think he’s out, some think she’s out…but what if they’re both out? Eesh.

5) Better yet, might the biggest shock of the day be a “Man on Wire” snub in the documentary feature category? All I’m saying is films dominated by preexisting footage can struggle here sometimes.

Then again…maybe I’m off my rocker. But there you have it.

I’ve only made one prediction alteration, FYI, and that’s swapping “Slumdog Millionaire” for “Quantum of Solace” in the sound editing field. The latter was just an arbitrary choice to reflect the mixers’ feelings, but I’m thinking of a sweeper possibility there and I like the advenurous choice of “Slumdog” more than “The Curious Case of Benjamin Button.” But really, that category lately? Flip a coin.

Enjoy the morning.

January 21, 2009
TECH SUPPORT: Final preview special, part two

This is part two of my last glance at the year’s tech category contenders. For part one, click here.

Best Music (Original Score)
Now here is a category where there are no locks. Nonetheless, considering the success of their films and scores in awards season to date, A.R. Rahmen (for “Slumdog Millionaire”) and Alexandre Desplat (for “The Curious Case of Benjamin Button”) seem solid bets.

Thomas Newman, despite only having a BAFTA nomination to his credit so far in the awards season, often scores when the precursors don’t coming calling so I think he’s in for “WALL-E.” Alternatively, he could get in for “Revolutionary Road.”

The rest of the Golden Globe nominees strike me as facing challenges. Clint Eastwood has performed well this season with “Changeling” but I am doubtful he will ever be embraced by the music branch. James Newton Howard’s compositions for “Defiance” may be lost with his film while Hans Zimmer’s Globe citation for “Frost/Nixon” seems more like a tribute to the composer, a Globe favorite.

I would actually wager that Zimmer and Howard have a better opportunity with their fantastic “The Dark Knight” collaboration. Zimmer has been campaigning hard. Even so, I’m skeptical the duo will score. Co-composers receiving Oscar nominations is extremely rare. (Though, in all fairness, so is co-composing.)

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January 21, 2009
My dream ballot: part two

OK, I explained the deal with this yesterday, when I covered the technical categories. What follows are the names and films that I, in a perfect world, would like to hear announced by Sid Ganis and Forest Whitaker bright and early tomorrow morning. (Or tomorrow afternoon, in my case … living across the Atlantic does have occasional advantages.)

Once more, my personal ballot takes no notice of Academy rules, eligibility squabbles, or whether or not anyone believes they have a shot in hell. For me, they simply represent the finest achievements I saw in 2008, with all the subjectivity that entails. Feel free to argue, or share your own distant hopes for tomorrow — however faint — in the comments.

Best Picture
“The Class”
“Gomorrah”
“I’ve Loved You So Long”
“Synecdoche, New York”
“Wendy and Lucy”

OK, so this won’t comes a surprise to anyone who read my Best of 2008 list, but these remain for me the year’s five most clear-cut masterworks. I’ve already made the case for each of these nominees at greater length, but for now, let me say that they are all notably linked by their startling humanity and strength of characterisation. The Academy will inevitably focus on works more formally elaborate than most of those listed here, but from where I’m standing, none were more emotionally rewarding. (As it happens, my honourable mentions here get their due in the next category.)

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January 21, 2009
TECH SUPPORT: Final preview special, part one

Five months of Tech Support reach their climax on Thursday morning.

This Canuck is, like the rest of the world, celebrating a new American President today. The fact remains, however, that a new set of Oscar nominees will greet us tomorrow and I can’t help but share my final thoughts on the categories.

This is the first part of my review, including the categories of best Art Direction, Best Cinematography, Best Costume Design, Best Film Editing and best Makeup. We’ll chart the final five fields later today, so be sure to check back.

Best Art Direction
Starting with the most difficult category, there is only one film I would give the title “lock,” and it’s “The Curious Case of Benjamin Button.” I’d be stunned if Donald Graham Burt’s exquisite sets failed to make the cut.

I suspect that Michael Corenblith is a solid bet for his detailed and realistic sets for “Frost/Nixon.” If “American Gangster” could get in last year, I would surprised if Corenblith did not score, especially considering his past success when working with Howard. James Murakami also seems a solid bet for “Changeling” for what were detailed and memorable designs of 1920s Los Angeles. His guild and BAFTA nominations suggest people remember the work.

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January 21, 2009
Mood swings

I’m having a hard time deciphering Peter Bart’s point in his cryptic new blog post, in which he reflects on the Academy’s malleable taste, and how quickly it can shift.

As his primary case study, he cites the bizarre contrast between two back-to-back Best Picture winners, wholesome musical “Oliver!” and X-rated, gay-tinged drama “Midnight Cowboy” in 1968-9, a turnabout which Bart feels reflected significant social change at the time. True enough. But he goes on to imply obliquely that we may be in the midst of a similar situation:

It’s hard to recall a more dramatic example of a professional organization displaying such a dramatic mood swing. But this was 1969, the year of Woodstock, Charlie Manson, Altamont, the Chicago Seven – a year of turmoil when just about everyone changed their attitudes toward just about everything.

Sounds a bit like 2009, doesn’t it? Well, not really. The country is opening up to new ideas and new leaders, but even today “Midnight Cowboy” would provide a measure of culture shock.

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January 20, 2009
Are you different?

Okay, by now, most Oscarwatchers and prognozticators are expecting the same five titles to pop up in the Best Picture category: “The Curious Case of Benjamin Button,” “The Dark Knight,” “Frost/Nixon,” “Milk” and “Slumdog Millionaire.”

But not everyone.

My questiont o you is, if you are predicting a DIFFERENT lineup, what is it? I figure there are only so many combinations that can come out of the sane awards-watching universe, but I’m prepared to be surprised. Tell us your different angle on the season. I’m curious…

January 19, 2009
After finishing off the Joker, Batman may have to fend off a Nazi and a biggot on the way to Oscar

A week ago with the announcement of the Directors Guild Awards (DGA), it seemed Christopher Nolan and “The Dark Knight” were headed for Oscar night, with nominations for Best Picture and Best Director highly likely. But like a full balloon with a slow leak, the air is slowly hissing out as “Gran Torino” and “The Reader” seem to be gaining momentum.

I loved “The Dark Knight.” It was, for me, the best film of the year and highly deserving of top tier nominations. Regardless of its comic roots, Nolan’s accomplishment in giving the film a heart and soul on a grand scale is even greater, and I hope the Academy sees it that way.

“Gran Torino” has gained enormous momentum since being released wide, racking up more than $30 million at the domestic box office. Audiences are coming in droves to see Clint back on screen. He surrounded himself with largely or complete unknowns, amplifying is screen presence. Very shrewd. Audiences are going to see him, possibly for the last time, as he portrays the sort of character they love to see.

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January 15, 2009
‘Slumdog,’ ‘Button’ lead BAFTA pack with 11 nods each

Each year, the BAFTAs never fail to find new and frustrating ways to surprise me.

It wasn’t hard to guess that “The Curious Case of Benjamin Button” and “Slumdog Millionaire” would come out on top here — though even as a fan of the latter film, I do wonder whether nominations for Best Production Design and Best Supporting Actress are pushing it a little. (Sure, Freida Pinto is gorgeous, but… )

But look closer and the oddities come thick and fast. Who would have guessed, come nomination morning, that “Changeling” would land 8 nominations (including mentions for Best Director and Best Original Screenplay), while “Happy-Go-Lucky” gets zilch? I was aware that Mike Leigh’s delightful film has played better with critics Stateside than it did over here in the spring, but failing to even nominate Golden Globe winner Sally Hawkins is a blatant — and in my opinion, unforgivable — slap in the face.

As I predicted, despite the film’s mixed reception, BAFTA voters responded well to “The Reader,” which lands in the Best Film derby alongside four of the Oscar favourites in the category. While I thought “Milk” might miss with the Brits, it was actually “The Dark Knight” that came up short — and while I’m not entirely surprised that it proved too genre-oriented for their top category, their failure to nominate Brit helmer Christopher Nolan is pretty stunning.

Bar the Hawkins snub, the acting categories name most of the usual suspects, though there’s still room for typically BAFTA-esque eccentricities. Brendan Gleeson is an pleasant surprise in the Best Supporting Actor category, and while I anticipated Brad Pitt’s appearance in that field for “Burn After Reading,” Tilda Swinton’s Supporting Actress nod for the same film is the kind of out-of-nowhere hometown favoritism that only BAFTA can come up with. The real headscratcher in that category, however, is Amy Adams’ inclusion at the expense of Viola Davis — one has to wonder whether voters actually watched “Doubt,” or voted on name recognition alone.

(More thoughts, and the full list of nominees, below the cut.)

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January 15, 2009
The top 10 shots of 2008: part one

I’m hoping to make this an annual tradition here at In Contention. It’s no secret we have a lot of respect for below-the-line talent around these parts, but it’s nice to have a visual way of showing that appreciation. I sat down to write this piece for the first time last year, taken by the caliber of cinematography we had to bask in throughout the year and, indeed, the awards season. The unusually high number of lensing achievements in 2007 left a slew of images to choose from and it was difficult whittling it down to 10.

This year the challenge was of a different sort. The field was curiously thin. It wasn’t that the talent wasn’t on display. God knows, a number of the greats were lining up behind the camera this year. But the images weren’t as instantly iconic or as viscerally gripping as they were in 2007, which might have left me a bit disappointed on one hand. Then again, it just made searching for my favorites all the more involved and interesting, and I’m happy to offer my findings to you in this space, even if it meant doubling up.

Yes, in one instance (an undeniable one, really), a certain film found two shots popping up on the list, and nearly three. Another film also found itself close to a second mention, but I tried to keep a balance of honesty and fairness in place as much as possible. If a film has two of the year’s best shots, it has two of the year’s best shots, right?

This year, things are slightly different. Last time around, I got a few arbitrary quotes from lensers throughout the season and plugged them into the piece where they fit best. This year, I sought out the various directors of photography to get their opinions on the specific shots in question. Their insight, as always, makes for a better story and, indeed, more context for the reader. I hope you enjoy reading their thoughts as much as I did collecting them.

So, I look forward to doing this each and every year I’m cranking out copy for your reading pleasure (or displeasure). In my view, it is one of the best ways I can commemorate the technicians that so often find themselves overlooked this time of year.

So let’s get on with the list…

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January 14, 2009
CDG nominees

I’ve been out and about, so apologies for getting to the Costume Designers Guild nominees late:

Contemporary Film
“Iron Man” (Laura Jean Shannon and Rebecca Bentjen)
“Mamma Mia!” (Ann Roth)
“Sex and the City” (Patricia Field)
“Slumdog Millionaire” (Suttirat Larlarb)
“The Wrestler” (Amy Westcott)

Period Film
“Changeling” (Deborah Hopper)
“The Curious Case of Benjamin Button” (Jacqueline West)
“The Duchess” (Michael O’Connor)
“Milk” (Danny Glicker)
“Revolutionary Road” (Albert Wolsky)

Fantasy Film
“The Chronicles of Narnia: Prince Caspian” (Isis Mussenden)
“The Dark Knight” (Lindy Hemming)
“The Mummy: Tomb of the Dragon Emperor” (Sanja Milkovic Hays)

I have to say, while I could understand the classification for, say, the Tim Burton films, I’m increasingly agitated by the “fantasy” classification of Christopher Nolan’s Batman franchise. And “The Dark Knight” is 10 times more “contemporary” than “Iron Man,” but whatever. If the false classification means the films find some guild love in the fields of art direction and costume design, so be it, I guess.

More frankly surprising guild support for “The Wrestler,” while “Slumdog” and “Button” remain the guild champs. I’m happy “Prince Caspian” finally popped up somewhere.

I see no real reason to change my Oscar predicitons here based on these results, but we’ll keep an eye on it as always.

January 13, 2009
ACE nominees

They sure cranked these out early this morning. Thanks to N8 for posting in the comments section. This year’s American Cinema Editors (ACE) nominees are:

Best Edited Feature Film (Dramatic)
“The Curious Case of Benjamin Button” (Angus Wall & Kirk Baxter)
“The Dark Knight” (Lee Smith, A.C.E.)
“Frost/Nixon” (Mike Hill, A.C.E. & Dan Hanley, A.C.E.)
“Milk” (Elliot Graham)
“Slumdog Millionaire” (Chris Dickens)

Best Edited Feature Film (Comedy or Musical)
“In Bruges” (Jon Gregory, A.C.E.)
“Mamma Mia!” (Leslie Walker)
“Tropic Thunder” (Greg Hayden)
“Vicky Cristina Barcelona” (Alisa Lepselter)
“WALL-E” (Stephen Schaffer)

Best Edited Documentary
“Bush’s War” (Steve Audette)
“Chicago 10” (Stuart Levy, A.C.E.)
“Man on Wire” (Jinx Godfrey)

No surprises whatsoever, really. Except maybe some love for “In Bruges” and “Tropic Thunder” in the comedy category. After a discussion earlier this morning about “the five” dominating the guild circuit so far, the dramatic nominees prove to solidify the mixture even more. I don’t think we’ve ever seen a consensus like this develop, with five clear-cut industry favorites popping up everywhere like clockwork.

January 12, 2009
Art Directors Guild Nominees

Period Films
“Changeling”
“The Curious Case of Benjamin Button”
“Doubt”
“Frost/Nixon”
“Milk”

Fantasy Films
“The Dark Knight”
“Indiana Jones and the Kingdom of the Crystal Skull”
“Iron Man”
“The Spiderwick Chronicles”
“WALL-E”

Contemporary Films
“Burn After Reading”
“Gran Torino”
“Quantum of Solace”
“Slumdog Millionaire”
“The Wrestler”

Alright, so more surprising guild love for “The Wrestler.” Very interesting. But I’m rather shocked at the “Hellboy II” Snub in fantasy. On the whole, though, does this clear anything up in this category? I’ve been confused all year long.

I’d say “Button,” “Skull” and “Slumdog” for the wins.

January 9, 2009
A night at the Critics’ Choice Awards

$Sean Penn at the 14th Annual Critics\' Choice Awards$ It’s an event that keeps on getting better and better, a little awards show that’s escalated into one of the hallmarks of the film awards season, whether the “we’re one of the best Oscar predictors” stuff is annoying or not (which it is).

The night had a number of surprises, but in a sense, one of those surprises became a foregone conclusion half-way through the show. The whole room could tell — “Slumdog Millionaire” was going to walk away with the first clean BFCA sweep since “A Beautiful Mind” in 2001. Nothing for “The Curious Case of Benjamin Button.” Nothing for “Frost/Nixon.” Nothing but the usual for the slowly-becoming-silver-medal-bound “The Dark Knight.”

Two big wins for “Milk” were nice. Sean Penn’s victory as Best Actor might have been inevitable, even though Mickey Rourke’s portrayal was probably the year’s most critically acclaimed of the year. I couldn’t help keeping an eye trained on Mickey two tables over, one of the wandering cameras crammed in his face as Penn delivered his acceptance. Clearly the “Wrestler” gang was a bit disheartened, nabbing only one win — for Bruce Springsteen’s title track. But Fox Searchlight was beaming nonetheless with it’s five “Slumdog” trophies.

I did as much mingling as the two minute commercial intervals would allow, but I did manage to finally meet the lovely Kate Beckinsale, nominated tonight for her criminally underseen performance in “Nothing But the Truth.” She’s a real sweetheart, happy for the few pockets of support she’s been able to find for the film, which was essentially avalanched by the Yari bankruptcy last month. There’s still Santa Barbara in a couple of weeks.

I have to say, being in the middle of Heath Ledger’s standing ovation was somewhat emotional. The win wasn’t surprising in hindsight, but as Laura Dern was opening the envelope, I couldn’t help but think the idea of major awards was suddenly a pipe dream for this performance. But it all went away quickly and Christopher Nolan gave a touching, spot-on acceptance speech on behalf of the actor.

(More, plus the full list of winners, after the jump.)

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January 8, 2009
DGA nominees

I 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.

January 8, 2009
WGA nominees

Original Screenplay
“Burn After Reading” (Ethan Coen, Joel Coen)
“Milk” (Dustin Lance Black)
“Vicky Cristina Barcelona” (Woody Allen)
“The Visitor” (Thomas McCarthy)
“The Wrestler” (Robert Siegel)

Adapted Screenplay
“The Curious Case of Benjamin Button” (Eric Roth; screen story by Eric Roth and Robin Swicord; based on the short story by F. Scott Fitzgerald)
“The Dark Knight” (Christopher Nolan, Jonathan Nolan; screen story by Christopher Nolan, David S. Goyer; based on characters appearing in comic books published by DC Comics; Batman created by Bob Kane)
“Doubt” (John Patrick Shanley; based on his stage play)
“Frost/Nixon” (Peter Morgan; based on his stage play)
“Slumdog Millionaire” (Simon Beaufoy; based on the novel “Q and A” by Vikas Swarup)

Documentary
“Boogie Man: The Lee Atwater Story” (Stefan Forbes, Noland Walker)
“Chicago 10” (Brett Morgan)
“Fuel” (Johnny O’Hara)
“Gonzo: The Life and Work of Hunter S. Thompson” (Alex Gibney; from the words of Hunter S. Thompson)
“Waltz With Bashir” (Ari Folman)

So, the lesson? “The Dark Knight” is in this thing for real now. As I said last night, this was going to be the real test. “I wanted to see what you’d do. And you didn’t disappoint.” The rest of the adapted screenplay nominees will likely translate to Oscar 5/5, but I somehow doubt the Coen brothers will turn their guild mention into an Oscar berth. Remember, the WGA likes comedies, so “Burn After Reading” was always going to have a leg up here.

More love for “The Wrestler,” and though it’s not entirely unexpected, I must say it was a pleasant surprise. And we all figured Thomas McCarthy would find love with the same group that nomianted him for 2003’s “The Station Agent.” He may or may not translate that into an Oscar nomination, but it’s certainly a good possibility.

And remember, animated films are not eligible, so “WALL-E” still has a shot at sliding in. Maybe. It is, indeed, the most critically acclaimed film of the year, but it’s a slightly different case than “Toy Story,” “Finding Nemo” and “Ratatouille,” I think.

Biggest snub: “Rachel Getting Married” (very odd, but frankly, a welcome exclusion)
Needed this one bad: “In Bruges” (the studio is trying hard); “The Reader” (that Scripter nod might have provided elevated hopes)

Anyway, I think Christopher Nolan’s DGA nomination is pretty much in the bag tomorrow. I’d be tempted to call the Best Picture five a done deal after that, but we must always remember “Almost Famous and “Being John Malkovich,” two films that landed nominations from the PGA, DGA, WGA and a grabbed a SAG ensemble mention, yet failed to make into Oscar’s Best Picture five. And “The Dark Knight” didn’t even get the SAG Ensemble nod, so “Doubt” is still lurking. It ain’t over yet.

January 7, 2009