In Contention

Tag: The Fighter

  • CINEJABBER: The test of time

    Catch up with the idea behind these weekend posts here.

    I was talking with a friend this week about “the test of time,” as it were.  She posited, as have many, that “The King’s Speech” is not the film we’ll remember 10 years from now.  I don’t know that “The Social Network” is either, frankly, but I also don’t subscribe to the law of time’s judgment when it comes to these things, either.

    The film I’m likely to remember most this year?  The one that occupies my mind more than most?  If I’m being honest?  “Biutiful.” I have a lot of respect for what’s going on with that film, but I still believe it has inherent flaws that keep it from a certain pristine quality.  Flaws that won’t take on new characteristics with time.

    I think it’s become a bit facile to go there so quickly.  “Time will tell.”  Etc.  I actually think time can kill a film.  Just look at the revisionism of films that lost the Best Picture Oscar to admittedly greater works.  The haze of hindsight is not always a great lens to look through, and the inherent subjectivity of this stuff means, to me, you’re best bet is an educated take in the moment.

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  • OSCAR TALK: Ep. 51 — The new frontrunner, Santa Barbara tributes and panels, potential Oscar upsets

    Oscar TalkWelcome to Oscar Talk.

    In case you’re new to the site and/or the podcast, Oscar Talk is a weekly kudocast, your one-stop awards chat shop between yours truly and Anne Thompson of Thompson on Hollywood. The podcast is weekly, every Friday throughout the season, charting the ups and downs of contenders along the way. Plenty of things change en route to Oscar’s stage and we’re here to address it all as it unfolds.

    It’s been a little over a week since last we left you, and to say the least, plenty has happened in that stretch. We’re both back in Los Angeles after some festival bouncing and have a number of things to chew on so let’s see what’s on the docket today…

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  • Joyce Carol Oates on ‘The Fighter’

    On the occasions that they donate some space to the medium, the New York Review of Books can be a source of pretty world-beating film criticism — and from some unexpected voices, at that. A few months ago, I featured Zadie Smith’s matchless essay on “The Social Network,” but if that film’s media ubiquity made it an obvious topic for an intellectual outsider, it’s a delightful surprise to see the venerable American Joyce Carol Oates (herself the author of pugilism tome “On Boxing”) taking on “The Fighter.”

    Better yet, she addresses David O. Russell’s boxing biopic with more seriousness and sensitivity than many a well-versed film critic; the film opens today in the UK, and has been greeted by a disappointingly large number of polite but unenthused reviews, many of them carelessly citing a TV aesthetic.

    Oates argues for “The Fighter” as a “directorial homage” of sorts to “Raging Bull,” but sees an elegiac conflict in an underdog story that more have likened to the straight-up feelgood storytelling of “Rocky.”

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  • Phase two campaign messages give it their best shot

    I’ve been, unintentionally, taking note of the various tactics this year’s Best Picture hopefuls have been using as phase two barrels ahead and members have ballots in hand.

    The smartest stroke, I think, was The Weinstein Company following up the “Some Movies You See, Others You Feel” campaign with a “Find Your Voice” push for “The King’s Speech.” It’s obviously two-fold.  Yes, it indicates the narrative of the film, but it also works wonderfully in a “don’t let anyone tell you what to vote for” kind of way.

    Meanwhile, Sony is perhaps reaching a bit to find its own campaign voice for “The Social Network,” as “One Movie Connects Us All” is a bit faux-profound.  Show of hands of who’s mother isn’t on Facebook?  But that making-of documentary (which is available online, on demand and came in disc form in the trades this week) was certainly a smart play.

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  • 2/4 OSCARWEB ROUND-UP: Entering the final stretch, Hawkes on being the underdog, last ‘Network’ hurrah?

    • Pete Hammond on campaigns entering the final stretch, voters with ballots in hand. [Deadline]

    • Anne Thompson discusses Oscar voting procedures and more with AMPAS president Tom Sherak. [Thompson on Hollywood]

    • Jen Yamato talks being the underdog with “Winter’s Bone” star (and Oscar nominee) John Hawkes. [Movieline]

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  • OSCAR GUIDE: Best Writing (Original Screenplay)

    The race for Best Original Screenplay is full of worthy competitors this year.  Four Best Picture nominees and the year’s best screenplay period make up the field, and even if there are a few that should have been in the mix, I find it difficult to argue with what squeaked through in the end.

    The writing categories can sometimes be interesting to watch on Oscar night.  The Academy can mix things up, but only within the Best Picture landscape, as these awards have gone to a non-Best Picture competitor just six times in the last 20 years.  Nevertheless, all signs seem to be pointing to one film to dominate the show, and this category is no exception.

    The nominees are:

    “Another Year” (Written by Mike Leigh)
    “The Fighter” (Screenplay by Scott Silver and Paul Tamasy & Eric Johnson; Story by Keith Dorrington & Paul Tamasy & Eric Johnson)
    “Inception” (Written by Christopher Nolan)
    “The Kids Are All Right” (Written by Lisa Cholodenko & Stuart Blumberg)
    “The King’s Speech” (Screenplay by David Seidler)

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  • 1/31 OSCARWEB ROUND-UP: Aronofsky and Russell on sex scenes, Rudin v. Weinstein, Hammond on snubs

    • Darren Aronofsky and David O. Russell reveal a dislike for filming sex scenes. [Hollywood Reporter]

    • Krista Smith, meanwhile, sits down with Russell to talk “The Fighter.” [Little Gold Men]

    • Rebecca Keegan and Nicole Sperling write up Scott Rudin vs. Harvey Weinstein. [The Envelope]

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  • ‘The King’s Speech’ takes top honors at SAG Awards

    Well, if you didn’t get the message after last night’s DGA result, SAG’s Best Ensemble award just underlined it for you — the Best Picture race is over. In the 16 years that the three Guilds have co-existed, only one film has taken the big prize from the DGA, PGA and SAG and not won the Best Picture Oscar — and “Apollo 13” was handicapped by its lack of a Best Director Oscar bid. No such obstacle in this case: “The King’s Speech” has it in the bag.

    So, it seems, do a couple of other folks. It was a highly predictable night, as the de facto frontrunner prevailed in each of the four individual acting categories.

    Colin Firth, of course, continued his march to the Oscar podium with another impeccably wry, self-deprecating speech — “I’d like to thank security for letting me into the building,” he quipped, earning the night’s biggest laugh. With his victory, “The King’s Speech” becomes the first film to take Best Ensemble and a lead acting gong since “Chicago” eight years ago; this time, however, it won’t lose the latter on February 27.

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  • BOX OFFICE: ‘King’s Speech’ goes wide after guild wins

    It looks like “The King’s Speech,” which went much wider this weekend, could quietly become a $100-million grossing movie.  Meanwhile, that re-expansion for “The Social Network” didn’t make much of a dent and it seems increasingly unlikely it’ll cross that mark, leaving “Black Swan,” “Inception,” “Toy Story 3,” “True Grit” and potentially “The Fighter” as the only Best Picture nominees to ultimately get there.

    In more depressing news, “The Way Back” will barely make $3 million when all is said and done.

    (Courtesy: Exhibitor Relations)

  • Predict the DGA winner

    I nearly forgot tomorrow brings the DGA awards.  I thought they were next weekend.  Anyway, I guess this can be your place to offer up predictions.  I’ll say this, though.  I don’t think David Fincher has this in the bag.  At all.  Ballots were due in today, by the way, which means the Oscar nominations could have an impact.  Maybe last minute voters want to spring for Christopher Nolan after he was unceremoniously snubbed by the Academy?

    Fincher’s dominance in the critics awards circuit is unmistakable.  But now you’re talking about 10,000 people rather than a 30-person media organization (and, in most cases, much smaller than that).  “Inception” is a populist film, but so, too, is “The King’s Speech.” And I think I’m just brazen enough to predict Tom Hooper to win.

    Yep, I am.  I think Darren Aronofsky deserves it above all comers, but that’s unlikely.  And Fincher would be my second pick.  He could well win, and “The Fighter” could take the SAG ensemble prize, blowing the race wide open (for some).  But no, I’m going to put my chips on a sweep for “The King’s Speech” that started with PGA, will continue tomorrow night and keep going through Sunday with an ensemble win.  What about you?

    [Photo: Fox Searchlight Pictures]

  • Predict the SAG winners

    This weekend completes the trio of Guild awards with the most bearing on the Best Picture race, as the Directors’ Guild of America and the Screen Actors’ Guild dish out their prizes on Saturday and Sunday, respectively.

    Following the Producers’ Guild’s surprise coronation of “The King’s Speech” last week, the next two days could help level the race — most are favoring “The Social Network” to fight back with a DGA gong, but the SAG Awards are more of a wild card.

    A couple of SAG categories, of course, barely require discussion. In the lead acting races, there’s no reason whatsoever to suspect that Colin Firth and Natalie Portman won’t continue their joint march to the Oscar podium on Sunday. (If Annette Bening were to pull off a shocker, she’d be the first two-time Best Actress winner in the 17-year history of the awards, which somehow makes it seem even less likely.)

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  • OSCAR GUIDE: Best Supporting Actress

    Like last year, this year’s Best Supporting Actress race was a free-for-all when it came to the last spot.  Potential category confusion almost had two spots up for grabs.  And there was absolutely no shortage of possible spoilers once the BAFTA had spoken up with a slate of formidable possibilities.

    And great work was still left off the ballot.  Mila Kunis was on track to score, but ultimately fell short.  Veterans Barbara Hershey and Miranda Richardson seemed to be making a play for recognition, too.  In the end, an early campaign made all the difference for one indie contender, while another young hopeful managed to keep her grip in the supporting ranks despite giving a lead performance.

    The nominees are:

    Amy Adams, “The Fighter”
    Helena Bonham Carter, “The King’s Speech”
    Melissa Leo, “The Fighter”
    Hailee Steinfeld, “True Grit”
    Jacki Weaver, “Animal Kingdom”

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  • Post-nod winner predictions (and a new poll)

    Did you hear?  The Oscar nominations were announced this morning.  And there was a lot to chew on.  (And boy can we be grateful for that.)

    With a full slate of contenders in front of us, it seemed only right to go ahead and offer up the latest set of winner predictions.  They are indicated by asterisk in the sidebar and are listed out in full after the jump.

    After roughly a week of falling into the logic (and blaring rhetoric) suggesting “The Social Network” would turn its critics run into Oscar gold, I’m back to my instincts (and, judging by its nomination haul, the will of the Academy) with a bet on “The King’s Speech.” Not only that, but I think we could see a mini-sweep for the film, as a couple of potentially formidable competitors were ousted from the nominations in a few craft fields.

    Of course, things could change.  But I’m sensing a momentum shift, and it’s frankly one we could have expected was around the corner.

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  • OFF THE CARPET: Remember the movies (but maybe not these final predictions)

    Two weeks ago, one of our readers, KevinK, asked the following question for Oscar Talk:

    What do you think of the atmosphere that comes out of this late stage of the awards season?  I think the atmosphere is really toxic and really flies in the face of what we all care about in the first place: a love of film.

    We didn’t get to it on the air.  So I saved it.  Then Thursday, Guy touched on some profound textures in his final pre-nod column.  It was one of his best, a sound consideration of the posterity of an awards season above its pageantry.

    The Yin and Yang of things is what struck me.  To Kevin’s point, the environment around these films is more and more enhanced or diminished by steadily increasing media attention — this outlet being no exception.  He went on to note a well-regarded critic’s perceived change of heart on one of last year’s front-running contenders due to its consistent registration during the season, as if a virginal opinion had been sullied by the air of competition and acclaim.

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  • My dream Oscar ballot, part two

    Yesterday, I began my very far-fetched (and in some cases, frankly impossible) wishlist for Tuesday’s Oscar nominations with my favorite achievements in the technical categories. Today, I offer up my picks in the top races, and I don’t mind telling you things got pretty agonizing in some categories.

    “Why can’t I have 15 nominees for Best Supporting Actress?” one half of my brain asked earlier this morning, as I once more marvelled that any pundits could once have deemed that particular race “weak.” Cooler instincts prevailed, but it bears repeating just what a staggering, and pleasingly varied, year it’s been for female performances on both sides of the category divide. I was also surprised to see how many performances stood tall from films that weren’t necessarily on their stars’ level — I like to think there aren’t too many coattail picks here.

    I’ve veered from Academy format in one respect: I’ve dispensed with a Best Foreign Language Film category. Not only do I dislike the award in principle — it’s a different language, not a different medium — but my general picks are heavy enough on foreign fare that a ghetto category seemed superfluous. Check out my picks after the cut, and share your thoughts in the comments.

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  • My dream Oscar ballot, part one

    For the past two years running, I’ve celebrated Oscar Nomination Eve by assembling my own ideal (and, usually, incredibly far-fetched) ballot, so here we go again. As well as a kind of last-ditch prayer to the Oscar gods, I also look on it as a salute to the worthy contenders who haven’t a hope in hell of hearing their names read out on Tuesday morning.

    At the request of some readers, I’ve bent the rules to accommodate several titles unfairly ineligible for Oscar consideration in any category: most of you are aware of the arcane ruling that has denied “A Prophet” the chance to ever compete in a non-ghetto category, while the TV airings of “Red Riding” and “Carlos” keep them out of the game too. I’m less clear on why the likes of “White Material” and “Fish Tank” aren’t on the Academy’s list of eligible titles, but they aren’t, and I must make my peace with that.

    Anyway, screw ’em: this ballot represents what I found most awards-worthy from all the theatrical features released in the US last year, and you can’t get fairer than that. I’ll begin, as usual, with the ten technical categories — in which I was pleased to end up with a healthy spread of 33 films across 48 slots. Jump in after the cut, and share your own thoughts in the comments. (Also, check out Kris’s very different ideal ballot here.)

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  • TECH SUPPORT: Final analysis, part two

    Yesterday I began a final look at the crafts categories. Today, a look at the four remaining fields: Best Art Direction, Best Cinematography, Best Costume Design and Best Film Editing.

    BEST ART DIRECTION

    The precursors of the BFCA, BAFTA and Art Directors Guild have been fairly consistent in citing four titles in this category. Last year’s winner, Robert Stromberg, seems poised to dip again for creation of a 3D world on Tim Burton’s “Alice in Wonderland.” Eve Stewart, on the other hand, will likely be returning to the fold after an 11 year absence for “The King’s Speech.”

    Guy Hendrix Dyas and Jess Gonchor also have got all necessary precursors, and have fashioned surefire Best Picture nominees, in “Inception” and “True Grit” respectively. It is true that they have had difficulty being nominated in the past but Gonchor has also never had such an Oscar-friendly opportunity, whereas the impressive, integral-to-the-story nature of Dyas’s work has been especially embraced by the precursors.

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  • Costume confusion

    Gerard will address this category in tomorrow’s Tech Support column, but I did want to say something about Best Costume Design — partly because the Guild dropped some rather interesting nominations today, and partly because it’s the technical category that’s still prompting the most head-scratching as I work towards my final predictions.

    We all know the Academy favors lavish period productions with corsets and hoop skirts a go-go in this category, but 2010 served up remarkably few possibilities in this vein. Even “The King’s Speech,” the year’s default well-dressed prestige title, is hardly a sartorial showcase in the vein of “Marie-Antoinette” or “The Duchess” — Jenny Beavan’s crisp 1930s wardrobe is functionally stylish rather than spectacular.

    As if to illustrate the lack of conventional historical options, the Costume Designers’ Guild found only three films to nominate in their period category, instead of the usual five — and one of them, I’m thrilled to say, is the 1990s-set “The Fighter,” whose threads I was plugging just the other day.

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