In Contention

Tag: That Evening Sun

  • Ubiquitous

    Mia WasikowskaWhen I heard today that Mia Wasikowska had landed the lead in Cary Fukunaga’s upcoming adaptation of “Jane Eyre” for Focus Features, my first thought was, “Well, who else?”

    Not that there aren’t other suitable young actresses who could ace the part. But 20 year-old Australian Wasikowska seems to have hit a sweet spot in the Hollywood casting game. A year ago, few who didn’t watch HBO’s “In Treatment” had heard of her; today, she seems to be nabbing every plum role going in her age bracket.

    Two years ago, Ellen Page’s name was linked to this latest dusting-off of the Charlotte Brontë chestnut; the eventual casting of Wasikowska suggests that even young Hollywood has its minute generational shifts.

    Not that I’m complaining about Wasikowska’s sudden rise. I was as impressed as everyone else by her tangy work as a suicidal teen in “In Treatment,” and was pleased to see that promise completely followed through with a precise, perceptive turn as the daughter of Annette Bening and Julianne Moore in Lisa Cholodenko’s deserved festival hit “The Kids Are All Right.”

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  • An underground push for ‘Depression Era’

    Patterson HoodMaybe three months back we told you about Patterson Hood’s “Depression Era” from Scott Teems’s “That Evening Sun,” a soulful, gritty southern ditty that, for my money, is one of the best original songs in a movie this year.  We featured the track in our “listen to” series back in November.

    Thankfully the song made the cut for original song contenders last month, joining 62 other tracks.  But as I’ve been saying since I first saw the film, it’ll be a bit of an uphill battle considering the song plays over the film’s closing credits and not in the narrative of the film.  Voters screen clips of eligible contenders’ usage in the context of a film, so something like, say, “Cinema Italiano,” however awful, has a leg up over something like “Depression Era,” however brilliant.

    That’s not stopping an underground, no-budget Oscar campaign on behalf of the song by Freestyle Releasing.  The distributor has enlisted the help of Paste Magazine, which is exclusively hosting a video of Hood discussing the song and performing it from his Athens, Georgia home.  It’s a great little clip and well worth the effort for this underdog contender.

    One can only hope.  Check out the video after the jump.

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  • If I had a ballot

    Sam Worthington in AvatarEvery year I like to keep track of personal favorites throughout the Academy’s designated categories (plus one of my own addition, Best Ensemble). At the end of the year, my “if I had a ballot” post is the result.

    Of course, for the most part, I follow Academy designations here. If something is ruled ineligible, I play along. It’s not that often that something like that is egregious anyway, though the music branch consistently tests my resolve on the matter.  In years past I’ve tried to make it an AMPAS/critics’ awards hybrid kind of thing, but this makes it easier.

    I know, I know.  “Why don’t you just list what you think should be nominated, the rules be damned?”  Because then I couldn’t call it “If I had a ballot?”  But I guess I’m contradicting myself by adding a category.  I don’t know.  I’m just trying not to be too lamely definitive or authoritative with something like this, I suppose.

    Anyway, I’m also abstaining from offering up a list of foreign language nods. Firstly, I feel it’s been a rather weak year in general there, but I also haven’t made my way fully through the list of submissions either. So I’ll address that another time.  The same goes with he doc features, as I’d rather push through more of the eligible titles first.

    This year the top 10 is the Best Picture field, obviously, and from there, I toss my two cents into a variety of discussions. Here’s what I came up with…

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  • ‘Precious’ and ‘Last Station’ lead Spirit nominees

    Helen Mirren in The Last StationIt won’t come as a surprise to anyone to “Precious” landed atop the list of Independent Spirit Award nominations this morning. Lee Daniels’ indie smash earned 5 mentions including Best Feature, Director and Actress, and looks like the one to beat in every category where it features.

    Fewer people, however, might have expected Michael Hoffman’s “The Last Station” to tie that total, landing Best Feature and Director nods alongside more predictable citations for stars Helen Mirren and Christopher Plummer. Many pundits (myself included) have been suggesting that this placid, kindly regarded film could be a threat for a Best Picture Oscar nod — this lends further weight to the idea.

    Surprises include the comparatively low profile of “A Serious Man” on the list, which some thought a shoo-in for a Best Feature nod. It missed in the top category, as did Michael Stuhlbarg for Best Actor, though the film managed mentions in the Best Director and Best Cinematography races. Further compensation for the film arrives in the shape of the Robert Altman Award for ensemble work.

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  • OFF THE CARPET: Let it all bleed out

    Saoirse Ronan in The Lovely BonesEvery now and then this season, I’ve sat down and taken on the fool’s errand of deciphering what 2009, the year in film, has been “about.”  It’s silly because a given film year is the result of years and years of preparation and development, so to think a collective thematic consciousness settles in is a bit of a stretch.

    This year alone we have a swift production that at this time last year saw the filmmaker still in the editing suite for his late-2008 entry, while on the other side of the spectrum, a forward-thinking director will finally see the end of a decades-long journey for an anticipated “game-changer.”  Movies come from a thousand different places and a thousand different perspectives.

    Nevertheless, I’ve always come back to one thought on this year’s slate of films: catharsis.  With expected exceptions here and there, in one way or another, the bulk of what we’ve seen on screens in 2009 has very much been about emotional purging, bleeding out the past and, not to be too on-the-nose with the zeitgeist connotations, change.

    Let me illustrate.  The most and the least compelling examples are the best place to start: Lars Von Trier’s “Antichrist” and Clint Eastwood’s “Invictus,” respectively.

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  • OSCAR TALK: Ep. 11 — Doc feature short list, ‘That Evening Sun,’ Governors Awards and ‘Basterds’ on the march

    Oscar TalkWelcome to Oscar Talk, your weekly kudocast featuring yours truly and Anne Thompson of Thompson on Hollywood.

    On the docket today:

    • Anne and I discuss the week’s big Oscar news, the revelation of 15 short list contenders for the Best Documentary Feature category, including discussion of snubs, talk on those we’ve seen and some fleeting expectations on how things could shake out.

    • With “That Evening Sun” making its way to limited release, we briefly touch on the film and Hal Holbrook’s wonderful leading performance.

    • The Governors Awards took place over the weekend, and Anne was in attendance.  She gives us some inside perspective on the festivities.

    • Quentin Tarantino is back on the awards circuit with “Inglourious Basterds” facing an imminent DVD release.  We talk again about the film’s Oscar chances and the potential for another populist film, “Star Trek,” duking it out with the war romp for a spot in the 10.

    Have a listen to this week’s podcast below, with Lauren Bacall’s Honorary Oscar acceptance speech leading the way.  As always, you can subscribe to Oscar Talk via iTunes here.

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  • 11/20 Oscarweb Round-up

    Michael Keaton• With his directorial debut “The Merry Gentleman” on the way, Michael Keaton gets a profile across the pond. [The Guardian]

    • Laura Almo sits down with “Up in the Air” editor Dana Glauberman. [Editors Guild Magazine]

    • “Avatar”‘s Sigourney Weaver remembers the days when James Cameron’s crews didn’t live in fear. [Vulture]

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  • Hal Holbrook’s awards season play, take two

    Hal Holbrook in That Evening SunOver the weekend, “That Evening Sun” star Hal Holbrook took the Excellence in Acting award at the Starz Denver Film Festival over the weekend.  When the press release landed in my inbox, it reminded me that, while I’ve been a pretty strong proponent of Patterson Hood’s original song from the film, I haven’t written about Holbrook’s performance all that much.

    It’s a beautiful piece of work.  Holbrook adds every ounce of texture, nuance, authenticity and depth that Clint Eastwood was woefully lacking in the similarly themed “Gran Torino” last year, but it’s unfair to start with a comparison, I guess.  Holbrook nails ornery to a T, and he seems to be able to work the natural rhythms of southern conversation better than anyone other than maybe Robert Duvall.

    Susan King recently talked to the actor, who said working on Sean Penn’s “Into the Wild” gave him confidence.  And not to be SO 2007, but he offers some high praise for the actor/director in the piece.

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  • Listen to Patterson Hood’s ‘Depression Era’ from ‘That Evening Sun’

    Patterson HoodA number of weeks ago I wrote about the original song “Depression Era” from Scott Teems’s “That Evening Sun.” It’s a breathy southern soul tune that, for my money, bests all other original song contenders this year.  But considering the fact that the film will struggle to be seen, and the music branch isn’t likely to appreciate the song’s placement in the film (closing credits), I doubt an original song nomination is on the horizon.

    Regardless, it’s a wonderful piece of work from Drive-By Truckers front man Patterson Hood.  It really captures the atmosphere and sense of catharsis (that word won’t go away this season) that the film establishes (rather modestly, I might add — refreshingly so).

    The Truckers are an Athens, Georgia-based southern rock band, though Hood hails from northern Alabama.  Teems has said the singer/songwriter’s involvement in “That Evening Sun” was a “stamp of approval” to the film’s cultural authenticity.

    Have a listen to “Depression Era” below and tell us what you think.

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  • SUNDAY CENTS: Slight ‘Christmas’

    A Christmas Carol*All historical figures cited are adjusted to today’s dollars.

    The first weekend in November is considered the official kick-off of the Holiday season at the box office and so it’s appropriate that Robert Zemeckis’s yuletide digital experiment, “A Christmas Carol,” is the film leading the way. The film grossed $31 million for the weekend to easily claim the top spot and set itself up very nicely for a strong, two-month run.

    Sure, it’s nowhere near the $63.1 million that “Madagascar: Escape 2 Africa” claimed on this weekend last year, but “The Polar Express” started with $27 million in November 2004 before chugging along through the new year and maxing out at $187.7 million, and I expect “A Christmas Carol” to come very close to, if not match, that figure.

    Zemeckis has directed 15 features in his phenomenally successful career and only three of them have failed to reach the $100 million mark (his first two and “Beowulf”). An amazing seven of them have grossed the equivalent of over $200 million in today’s dollars. To use that success and single-handedly try and pioneer a new medium of filmmaking is admirable, even if it means millions of children will have nightmares involving Tom Hanks, Jim Carrey and their dead, soulless eyes.

    “Michael Jackson’s This is It” fell a respectable 40% to $14 million and a running total of $57.9 million. Anything under 50% was going to be a huge win for Sony and will undoubtedly cause the studio to back off the “two weeks only” promise and let this one coast to around $75 million domestic and $200 million+ worldwide.

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  • OFF THE CARPET: Looking at the leading gentlemen

    Colin Firth in A Single ManWe’ve taken concentrated looks at the lead actress and supporting actress categories in recent weeks.  Now let’s turn our attention over to the fellas.

    Behind the Best Picture race, of course, the lead actor competition is perhaps the most hotly anticipated award of a given Oscar telecast.  Movie stars are born, Hollywood staples are rewarded and careers leap to the next level.  It makes for an intriguing annual state of the union as it pertains the the film industry’s talent roster.

    This year, one of Hollywood’s brightest stars finds himself right at the front of the conversation.  George Clooney is likely to end up with his third acting Oscar nomination, for Jason Reitman’s “Up in the Air,” and he’ll owe much of that to Reitman’s powerful work on the page.

    Clooney doesn’t give his best performance to date in the film.  But the material is so cleverly built around his persona that one can’t blame the actor for saddling up to a role that fits like a glove.  And there is something to be said for the bravery of taking one’s image on like that.

    Colin Firth, meanwhile, has caused a critical stir with his leading performance in Tom Ford’s “A Single Man.” He has already won the Venice Film Festival’s acting honor and has been tapped for another at February’s Santa Barbara Film Festival.  He is pitch-perfect in the film, giving a refined performance of nuance and gesture.

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  • OSCAR TALK: Ep. 7 — ‘Amelia,’ Hollywood film fest, Gothams, supposed ‘Precious’ backlash and more

    Oscar TalkWelcome to the seventh installment of Oscar Talk, a weekly kudocast between yours truly and Anne Thompson of indieWIRE’s Thompson on Hollywood.  Anne is calling from London today, where she’s gearing up for a weekend of London film fest screenings and events.

    Topics on today’s agenda:

    • Today’s big release, “Amelia,” finally crossed the bow of most critics this week and, with it quickly becoming obvious WHY it only crossed their bows this week, Anne and I discuss what went wrong with the movie.

    • In the wake of Anne’s recent hit piece on the Hollywood Film Festival and its leadership, we talk about the fluff of this event amid the award season chatter.

    • Speaking of awards, we get into the Gotham Award nominations, which caused a stir in some quarters due to the absence of “Precious.” Neither Anne nor I think there’s a backlash afoot.

    • Last week we talked about screeners that quickly end up at the bottom of voters’ piles this time of year.  We discuss a few titles that could unfortunately hit that low rung of priority, “That Evening Sun,” “The Messenger,” “Trucker,” etc.  Sony Pictures Classics seems to have a number of these titles.

    • Anne briefly previews some titles she hopes to catch at the London fest.

    We went a little long today, roughly 30 minutes.  Have a listen below, subscribe to Oscar Talk at iTunes here, and we’ll see you next week.

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  • Patterson Hood’s ‘Depression Era’ from ‘That Evening Sun’

    Patterson HoodI just finished Scott Teems’s “That Evening Sun,” which, much like Tom Ford’s “A Single Man,” is an impressive feature debut that nevertheless has some developmental issues that prevent a powerful narrative of catharsis from being as affecting as it could have been.

    There is, however, a fantastic original song in the film from Patterson Hood of the Georgia-based band Drive-By Truckers called “Depression Era” that bears consideration because, at least in my view, it might be the best original song I’ve heard in a film this year.  The only problem, of course, is that the tune plays over the final credits of the film, which all but guarantees that it won’t cut it for the music branch (which has increasingly show a preference for songs used within the context of a film in recent years).

    Of course, the film is quite small and will probably end up at the bottom of that screener stack Anne and I were discussing yesterday, but, alas, I feel compelled to mention it.

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  • THE LONG SHOT: Post early for Christmas

    Jeremy Renner in The Hurt LockerLondon is in the midst of a postal strike. No mail, be it far-flung postcard or electricity bill, has popped through my front door for over a month. I recently had to stroll into Soho to pick up my London Film Festival accreditation pack by hand. And rather discouragingly, my local post office today put a hastily scrawled sign in the window: “Post NOW for delivery by Christmas.”

    If you’re wondering why I’ve started this week’s column with this fascinating tidbit from my domestic life – apart from the fact that, as Kris noted, the crickets are chirping in awardsville this week – it’s because, as I stared disbelievingly at the sign, it occurred to me that a similar memo should be sent to several specialty studios hoping for a stake in this awards season. (Yes, my mind works in curious ways.)

    In short: you have a little package that needs to deliver in time for Oscar consideration? Don’t wait until December. Send it out now.

    This may seem like crazy advice given Oscar voters’ ever-growing love affair with winter releases. Just last year, no pre-November release made the Best Picture cut. And Harvey Weinstein has proved time and again that substantial rewards can be reaped if you spring a film upon the Academy without giving them too much time to think about it – from “The Cider House Rules” to “Chocolat” to “The Reader,” he knows which films won’t survive a few months of critical and industry scrutiny.

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  • OFF THE CARPET: Underdog season

    Hal Holbrook in That Evening SunIt suddenly occurred to me when I got a screening invite last week to “That Evening Sun,” a potential awards prospect for lead actor Hal Holbrook, that the film actually had a distributor: Freestyle Releasing.

    Freestyle is a boutique company that doesn’t have a lot on deck, but it reminded me of how spread out this year’s product seems to be across the spectrum of Hollywood distribution, and one more indication of 2009 as perhaps the year of the underdog.

    It’s a generalization, sure, but when heading into the season the frontrunners of the race are a modest character-driven dramedy and an impassioned work of indie art, I think it’s safe to say the trains that could are drawing a line in the sand.

    I recognize the former is a studio-funded piece with one of the industry’s biggest stars in a leading role, but it fits because, like the director’s last film, it was a discovery even to the studio, one that can suddenly be groomed for awards.

    This idea of eschewing the titans of an awards season could be stretching into the business of things as companies like Overture Films, Summit Entertainment, Apparition, Paladin, Monterey Media, Freestyle, etc. are beginning to claim significant portions of the consideration pie…at least in this calm before the storm.

    Others have been here for years, of course.  IFC Films always makes its play.  Magnolia Pictures tends to be in the conversation.  Oscilloscope came pretty close with a great coming out last year (and will no doubt be in the thick of it again).

    The dependents that haven’t been swallowed by their parent companies have made their hay in the awards season, from Focus to Sony Classics to Searchlight, but I remain very enthusiastic, and perhaps overly optimistic, that in an economy such as this, the competitive market has opened up a number of options.

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  • Best Actor watch: Hal Holbrook

    Hal Holbrook in That Evening SunIn his roundup of highlights from the Nashville Film Festival, Nathaniel Rogers chalks up a highly plausible contender for Best Actor honours this awards season: Hal Holbrook in “That Evening Sun,” an indie debut feature from Scott Teems.

    Playing an 80 year-old farmer desperately trying to hang on to his land, Holbrook’s performance has already drawn praise at last month’s SXSW  fest, where the film won an ensemble award. Amid a rave for the film itself (“an exceptionally fine example of regional filmmaking”), Variety declared Holbrook’s turn the best of his career, calling it “a vividly detailed yet subtly rendered performance.” Rogers clearly agrees:

    It’s based on the short story by William Gay about a farmer who escapes the old folks home and returns to his beloved farm only to find it occupied by new tenants. The film is well directed by Scott Teems, graduating from short films to his first feature, and an Oscar campaign could materialize for Holbrook if this movie gets a solid enough release. Holbrook plays a stubborn old ornery codger… one could say it’s an Eastwoodish role with less of Clint’s squinty menace and more of Hal’s weary sensitivity.

    There’s a theory I can absolutely buy into. From Richard Farnsworth to Richard Jenkins, the Academy has shown a soft spot for veteran character actors in gentle independent dramas, while their affection for Holbrook was made clear last year when they nominated him for a film they otherwise couldn’t have cared less about. Hell, in a weaker year, he could easily have won. (On a trivial note, the 84 year-old thesp could beat his own record as the oldest male acting nominee.)

    No indication yet of what kind of release the film might enjoy, but it sounds like one to keep an eye on. Powerful trailer after the cut.

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