In Contention

Tag: The Hurt Locker

  • Sight & Sound names ‘A Prophet’ best of 2009

    (left to right) Adel Bencherif and Tahar Rahim in A ProphetNo annual Top 10 list carries more weight with me than that compiled by Sight & Sound, the UK’s premier film magazine. One of the most thorough and prestigious collectives out there, it’s collated from the individual lists of over 60 international critics, including the likes of Kenneth Turan, Mark Kermode, Amy Taubin, Armond White and IC friend Tim Robey.

    The S&S list usually chimes in quite neatly with my own personal taste: last year’s edition (topped by Steve McQueen’s “Hunger”) featured six titles that ultimately landed on my own end-of-year rundown. This year’s is no different: regular readers will recognize a number of titles that I’ve been banging on about all year, including a most gratifying double-dip for the great Claire Denis. (Where was all this support for “White Material” when I needed it in Venice?)

    All in all, it’s a pretty impeccable selection of films, one that gives the lie to those saying 2009 is a weak year. I’d like to see the Academy even try to put together a Top Ten as strong as this…

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  • ‘Hurt Locker’ tops at Gothams

    Jeremy Renner in The Hurt LockerI had a Q&A to moderate this evening, so forgive the lateness here (though these and the Indie Spirits, for my money, stopped being about true independent cinema long ago, so there was really no haste to begin with).

    Anyway, predictably, “The Hurt Locker” came out on top at tonight’s Gotham Awards.  The film won Best Feature and Best Ensemble, though lead actor Jeremy Renner was upset in the breakthrough actor race by Catalina Saavedra in “The Maid.” I’ve got that screener around here somewhere.

    Tomorrow the Indie Spirits announce their nominees, which, by the way, will not include “The Hurt Locker” because the film wasn’t eligible this year.  It was last year, when it received nods for Best Actor (Renner) and Best Supporting Actor (Anthony Mackie).  Looking for a leg up tomorrow are “Precious” and “Crazy Heart,” I’d say, though we can expect some surprises too, I guess (I hope).

    Full list of Gotham Winners after the jump.

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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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  • 11/30 Oscarweb Round-up

    Jeremy Renner in The Hurt Locker• David Poland painstakingly seeks out assumed evidence to support his theory that “The Hurt Locker” will be this year’s Best Picture victor. [Movie City News]

    • John Horn sits down with “Precious” screenwriter Geoffrey Fletcher. [Los Angeles Times]

    • Dave Karger chats up Viggo Mortensen and his “Road” co-star Kodi Smit-McPhee. [Oscar Watch]

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  • ‘Nine’ leads Golden Satellites with 11 nods

    Shohreh Aghdashloo in The Stoning of Soraya M.(UPDATE: Full list of categories and special awards added, including a random Best Ensemble prize for “Nine.” Also, a pointless Ten Best Films of 2009 list that leaves out some of their very own Best Picture nominees. Don’t even try to make sense of it. Thanks to Ziyad for the info.)

    It isn’t really worth spending too much time talking about the Golden Satellites — after all, this is the group who last year thought “Elegy” was an original screenplay written by Philip Roth.

    Still, while their nominations are typically meaningless, they are, as usual, fun to consider. At the very least, unlike many other awards bodies on the precursor track, they don’t slavishly try to anticipate the Academy’s choices. When they throw in a Best Picture nod for “The Stoning of Soraya M.,” or a Best Actress mention for Catalina Saavedra, Oscar is the furthest thing from their minds. I salute them for that.

    Anyway, enjoy the list and its assorted quirks and surprises — from the exclusion of Gabourey Sidibe in Best Actress to the female triple-header in Best Director to their curious classification of “Harry Potter and the Half-Blood Prince” as “animated or mixed-media.” Just don’t take it too seriously.

    Best Motion Picture (Drama)
    “Bright Star”
    “An Education”
    “The Hurt Locker”
    “The Messenger”
    “Precious: Based on the Novel Push by Sapphire”
    “The Stoning of Soraya M.”

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  • 11/18 Oscarweb Round-up

    Philip Seymour Hoffman in Pirate Radio• The swashbuckling spirit behind “Pirate Radio.” [Los Angeles Times]

    • Anne Thompson wants to know where the screeners of “The Hurt Locker” are.  Probably waiting on “New Moon” box office receipts. [Thompson on Hollywood]

    • The gall: Why Roger Corman doesn’t deserve an Oscar.  Apparently there’s a “pro” side on the way. [Cinematical]

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  • OFF THE CARPET: Original players

    (from left) Jeremy Renner and Evangeline Lilly in The Hurt LockerWhen I had the unmitigated gall last week to project a set of winners for this year’s Oscar race, I was a bit startled at how easy Mark Boal’s script for “The Hurt Locker” slid into the Best Original Screenplay slot.  Looking over the landscape of contenders in the category, it’s a little obvious why such a somewhat non-traditional entry would be pegged as a frontrunner: this is a pretty thin year for original screenplays.

    That should take nothing away from Boal’s work, which is certainly commendable.  But beyond Pixar’s “Up” (penned by Pete Docter and Bob Peterson) and the Coen brothers’ “A Serious Man” (my pick for best-in-show in the category), there isn’t much competition for Boal’s play at the statuette.  I even find myself struggling with two more solid bets for nods after that trio.

    Fox Searchlight, however, is making some pretty strong moves on behalf of “(500) Days of Summer,” written by Scott Neustadter and Michael H. Weber.  The pair has already been cited by the Hollywood Film Festival as well as the Hamilton Behind the Camera awards.  Given the studio’s campaign prowess (and the undying spirit of the film’s champions), it makes sense to expect a spot to be reserved for the film here.

    To fill out the set, you’ve got a slot that is undeniably up for grabs.  So let’s dig into the field and see what we come up with.

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  • 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).

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  • 11/13 Oscarweb Round-up

    Ralph Fiennes in The Hurt Locker• Jeffrey Wells grills New York waitresses on their knowledge of the mere existence of “The Hurt Locker.” [Hollywood Elsewhere]

    • Oscar hopefuls “Anivl! The Story of Anvil” and “Food, Inc.” among IDA Award nominees. [Hollywood Reporter]

    • Tim Gray gets quotes making a case against The 10. [Variety]

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  • 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.

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  • Behind the scenes of ‘The Hurt Locker’

    (Couretsy: MakingOf)

  • First stab at winner predictions, part 2: Yours and mine

    Christoph Waltz in Inglourious BasterdsSeeing as Kris was (delete as appropriate) brave/stupid/psychic/smart enough to predict who will win the Oscars four months ahead of the ceremony (and three weeks earlier than he did last year), I figured I’d follow up, as I did last year, with my own foolhardy guesses too.

    Last year, Kris kicked my ass at this particular game, correctly guessing 13 out 21 categories, and forecasting “Slumdog” fever while I was still on the “Milk” train. (Ironically, the lone “Slumdog Millionaire” win I predicted — Best Song — was one Kris missed.) For my part, I called wins for Sean Penn and Kate Winslet (for the wrong film, of course) … though that hardly qualifies as visionary, does it?

    This year, however, we are of a like mind in most of the top categories, though we part ways considerably further down the list. If you’re looking to take any of our predictions to the bank, stick with Kris. But, you know, a different perspective never hurt anyone.

    My best (or worst) guesses after the cut, followed by your collective prediction culled from yesterday’s comment thread.

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  • First stab at winner predictions

    Chris Pine in Star TrekI don’t offer up predictions on a given year’s Oscar winners until November, generally speaking.  And, well, it’s November.  Which is still, of course, too early to be making calls like these, since we don’t even have a nominations slate to go by, but I like to take an early stab, revisit in early December and then one more time in early January before we get the nominees.

    I asked over the weekend what readers thought would take the Best Picture crown this year, and the majority seemed to lean toward Lee Daniels’s “Precious.” It might be too easy to figure on that at this stage, but it’s difficult to argue with the early box office success and overall critical approval.

    But there are certainly other spoilers lurking and the danger of peaking early (yielding more time for competitors to take you down) is always apparent with a film like this.

    Keep reading to have a look at what I’m thinking.  Rattle off your thoughts and predictions in the comments section if you like.

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  • 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.

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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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  • Calling the Best Picture wild cards

    Emily Blunt in The Young VictoriaTom O’Neil has pooled the thoughts of 16 awards-watchers on which 10 films will make the Best Picture cut, and the results make for ominously predictable reading.

    All 16 agree that “The Hurt Locker” and “Invictus” are in (I guess it’s just me holding out on the latter then), while there’s near-consensus on the likes of “Precious,” “Up in the Air,” “Up” … you get the idea. Yawn. At this rate, the switch to 10 nominees looks to sap any excitement from this stage of the race whatsoever.

    More interesting, then, is to venture further down the list to see what the pundits’ more out-on-a-limb picks are. One would like to think at least one of the slots has to be filled with something slightly less expected — otherwise what’s the point? So I turned my attention to the films receiving a solitary vote from one of O’Neil’s posse.

    Those hoping for a foreign-language contender in the mix (no, “Inglourious Basterds” does not count) might want to look away, as not a single punter has one on their list, while things look similarly grim for documentaries.

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  • 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

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  • 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.

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