In Contention

Tag: Tyson

  • Define “extortion”

    A few hours ago, we mentioned James Toback’s allegations of “extortion” within the Academy’s doc branch being responsible for the failure of his film “Tyson” to make the Oscar shortlist. I wrote that the lack of detail provided made it difficult to know how seriously to take him.

    As it turns out, the answer is: not very. Steve Pond has done a little digging, and come up with the following:

    [The] Academy’s executive director, Bruce Davis, tells theWrap that Toback’s “concern was that one of the documentarians voting to pick the shortlist bore him a grudge and should have recused himself/herself from the balloting.”

    The accounting firm, he says,” quoting PwC’s report, “has assured us that ‘no single voter was responsible for [“Tyson”’s] failure to make the shortlist….’”

    Thus ends the very brief conspiracy theory. Sour grapes, anyone?

  • Toback charges Oscar doc committee with “extortion”

    James TobackAs I wrote yesterday about the Best Documentary Feature shortlist, I didn’t think the list’s much-ballyhooed omissions were indicative of much more than the rather particular tastes of one Academy branch. That, and perhaps an inclination to shine a light on worthy, but lower-profile, work.

    Not everyone feels the same way, however — not least James Toback, director of one the most surprisingly slighted titles, “Tyson.” Speaking to the New York Times, Toback (a one-time Oscar nominee for his “Bugsy” screenplay) has made some rather astonishing insinuations about “irregularities” in the voting process:

    At a time when the validity of even presidential elections is questioned, Mr. Toback said, “how is some tiny, dirty covert weirdly protective little group within the Academy going to be immune?”

    Pressed for details, Mr. Toback said only that he had experienced something connected with the selections process, “which I put fully in the category of extortion that I did not go along with.”

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  • Thoughts on the Oscar doc list

    Agnes Varda in The Beaches of AgnesPerhaps inevitably, the bulk of online chatter about the Best Documentary Feature shortlist unveiled yesterday focused less on the films that made it, and more on those that didn’t.

    It’s par for the course for the Academy’s documentary branch to ignore a major title or two, but even by their severe standards, the list of high-profile snubs was a long one: “Capitalism: A Love Story,” “Anvil! The Story of Anvil,” “Tyson,” “The September Issue,” “We Live in Public,” “It Might Get Loud,” “Rough Aunties” and so on.

    But for every blogger or commenter complaining about the dubiousness of the list, I can’t fight the urge to ask whether or not they’ve seen all 15 titles that have been included. In these cases, it’s always easier to say what should have got in than what should have been left out.

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  • AMPAS announces doc feature short list, ‘Anvil,’ ‘Capitalism’ snubbed

    The CoveYou can check out the full press release here.  The list of 15 competing titles as follows:

    • “The Beaches of Agnes,” Agnès Varda, director (Cine-Tamaris)
    • “Burma VJ,” Anders Østergaard, director (Magic Hour Films)
    • “The Cove,” Louie Psihoyos, director (Oceanic Preservation Society)
    • “Every Little Step,” James D. Stern and Adam Del Deo, directors (Endgame Entertainment)
    • “Facing Ali,” Pete McCormack, director (Network Films Inc.)
    • “Food, Inc.,” Robert Kenner, director (Robert Kenner Films)
    • “Garbage Dreams,” Mai Iskander, director (Iskander Films, Inc.)
    • “Living in Emergency: Stories of Doctors Without Borders,” Mark N. Hopkins, director (Red Floor Pictures LLC)
    • “The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers,” Judith Ehrlich and Rick Goldsmith, directors (Kovno Communications)
    • “Mugabe and the White African,” Andrew Thompson and Lucy Bailey, directors (Arturi Films Limited)
    • “Sergio,” Greg Barker, director (Passion Pictures and Silverbridge Productions)
    • “Soundtrack for a Revolution,” Bill Guttentag and Dan Sturman, directors (Freedom Song Productions)
    • “Under Our Skin,” Andy Abrahams Wilson, director (Open Eye Pictures)
    • “Valentino The Last Emperor,” Matt Tyrnauer, director (Acolyte Films)
    • “Which Way Home,” Rebecca Cammisa, director (Mr. Mudd)

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  • OSCAR TALK: Ep. 10 — The four to be seen, animated features, supporting categories and Tyson’s LAX punch-out

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

    On the docket today:

    • Anne and I discuss the four perceived Oscar heavies that have yet to unveil — “Avatar,” “Invictus,” “The Lovely Bones” and “Nine” — and what being last out of the gate means vis a vis echo chamber buzz.

    • Spinning off of that, we dig into the “Avatar” budget story of the week.

    • With the list of qualifying animated features official, we take a brief survey of the category once more with thoughts on potential nominees.

    • With Movie City News’s Gurus o’ Gold chart collecting supporting category predictions, Anne and I take the opportunity to profile those two categories.

    • And Anne breaks down the impromptu Mike Tyson bout that went down at LAX Wednesday and whether it could hurt James Toback’s documentary feature on the fighter.

    Have a listen to this week’s podcast below.  And as always, you can subscribe to Oscar Talk via iTunes here.

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    Subscribe to Oscar Talk

  • Tyson on Oprah’s couch

    I finally got around to James Toback’s documentary “Tyson” last night, which is an extremely thoughtful look at, well, one side of the heavyweight’s story.  Tyson makes for a captivating subject but I’m not sure the effort made for a captivating film.

    Tyson will be on Oprah this afternoon.  Here are a couple of highlights that have popped up up via CNN:

  • ‘Dogtooth,’ ‘Adjective’ top Un Certain Regard winners

    DogtoothIt’s been a while since a Greek production made any impact on the world cinema scene — arguably not since Theodouros Angelopoulos claimed the Palme d’Or in 1998 — so it’s interesting to see that Yorgos Lanthimos’ “Dogtooth,” a dark family drama about three siblings disconnected from the outside world by their parents, pushed past more fancied contenders to take the top prize in Cannes’ Un Certain Regard strand last night.

    In doing so, it beat out the likes of “Precious” and “Samson and Delilah,” both of which enjoyed substantial attention and acclaim on the Croisette but went home empty-handed. (NOTE: “Samson and Delilah” later won the Camera d’Or award at the final awards ceremony.) Not that the former needed any more of a boost after its Sundance sweep, really.

    The runner-up Jury Prize went to “Police, Adjective,” a comic Romanian policier about on a policeman wrestling with his conscience, which also took a FIPRESCI critics’ award yesterday. Raves have been coming thick and fast for this film, with the Guardian’s Mark Cousins one of several critics I’ve heard declaring it the best of the festival, in any section of competition. (Coming on the heels of “The Death of Mr Lazarescu” and “4 Months, 3 Weeks and 2 Days,” one must wonder: what are they teaching in Romanian film schools?)

    Another common critical line doing the rounds is that the Un Certain Regard selection was, pound for pound, stronger than the Palme d’Or lineup. It’s hardly surprising, given that the strand has become more imposing with each year since it was introduced in 1998: UCR winners that have gone on to estimable arthouse success include “The Band’s Visit,” “Tyson” and the aforementioned “Lazarescu.” It’s a sign that, as I’ve said before, the selectors  need to start taking more chances in the main competition.

    More details on the rest of this year’s Un Certain Regard winners here.

  • LONDON: Gongs for ‘Mice,’ ‘Tulpan’ … and my own awards

    My last post on the London Film Festival brings some happy news, as one of my favourite festival titles was justly rewarded last night. The festival is not a competion-based one, but three prestigious awards are still handed out before the final screening.

    One of these is the global festival staple, the FIPRESCI International Critics’ Award. I’m thrilled to see it went to Australian multi-hyphenate Matthew Newton for his superb debut feature “Three Blind Mice,” which I already gushed over here. At only 31 years of age, I predict big things for Newton, both before and behind the camera.

    Meanwhile, the Sutherland Trophy for best debut feature went to “Tulpan,” the Kazakhstani entry for Best Foreign Language Film, beating such heavyweight contenders as “Ballast” and “Hunger.” It’s an auspicious award with a 50-year history: previous winners include “L’Avventura,” “In the Realm of the Senses,” “The Fabulous Baker Boys,” “You Can Count on Me” and “Persepolis.” I was rather taken with “Tulpan,” so I’m pleased to see this underdog come through — it’s a dark horse to crack the Oscar shortlist.

    Other winners included the Italian character drama “Mid-August Lunch,” which took the Satyajit Ray Award for “artistry, compassion and humanity” in a debut film, and “Victoire Terminus,” a study of female boxing in the Congo that took the Grierson Award for best documentary. I’m afraid to say I missed both films, though I particularly wanted to catch the latter.

    And with that, bearing in mind that I couldn’t see everything, I thought I’d hand out my own inaugural (and no doubt much-prized) awards for the best that I saw at the fest, starting with my own personal Top Ten:

    TEN BEST FILMS OF THE FESTIVAL: 1. “The Class”; 2. “Synecdoche, New York”; 3. “Il Divo”; 4. “Slumdog Millionaire”; 5. “Three Blind Mice”; 6. “Wendy and Lucy”; 7. “The Good, The Bad, The Weird”; 8. “The Wrestler”; 9. “Sugar”; 10. “La Belle Personne”

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