by Lani
Each month, I scour the Turner Classic Movies Now Playing guide for upcoming films that I can't miss. The highlights are posted here for your reading and viewing pleasure! (All listed times are Eastern Standard, check your local listings or TCM.com for actual air times in your area. Each day's schedule begins at 6:00 a.m.; if a film airs between midnight and 6 a.m. it is listed on the previous day's programming schedule.)
5/4: John Carpenter Double Feature
2 AM - They Live (1988)
3:45 AM - Escape From New York (1981)
Multi-talented filmmaker John Carpenter isn't often mentioned alongside the greats of cinema; however, the more I see of his work, the more I'm convinced that Carpenter is some kind of genius. He excels at setting atmosphere, creating memorable characters, and devising inventive solutions within low-budgets. It's no surprise that many of Carpenter's films have been remade (Halloween, The Fog, Assault on Precinct 13, The Thing, and coming soon - Escape From New York); however, despite bigger budgets, the remakes can't match the craftsmanship of the originals. And you can't beat lines like "I came to chew bubblegum and kick ass, and I'm all out of bubblegum."
5/8, 10 PM - AFI's Master Class-The Art of Collaboration: Russell-Wahlberg
This is the 2nd installment in a series by TCM and the American Film Institute in which well-known collaborators discuss their films. Director/producer/writer David O. Russell seems to bring out the best in actor Mark Wahlberg, and vice versa. Their three films together (Three Kings, I Heart Huckabees, The Fighter) all have a dark sense of humor despite falling into very different genres - war/crime caper, satire/detective story, family drama/underdog sports tale. I'm interested to hear how they came to be such successful collaborators.
BONUS: AFI's Master Class-The Art of Collaboration: Spielberg-Williams
After an encore of the Russell-Wahlberg episode at 1:15 AM, watch the first in the series featuring director Steven Spielberg and composer John Williams at 2:15 AM.
5/9: A Day of Robin Hoods
6:45 AM - Red River Robin Hood (1943)
8 AM - The Robin Hood of El Dorado (1936)
9:30 AM - Robin and the Seven Hoods (1964)
11:45 AM - A Challenge for Robin Hood (1968)
1:30 PM - The Adventures of Robin Hood (1938)
3:30 PM - The Bandit of Sherwood Forest (1946)
5:00 PM - Rogues of Sherwood Forest (1950)
6:30 PM - Sword of Sherwood Forest (1960)
This seems like a fun day to stay home and watch movies. From dawn to dusk, you can watch tales of Robin Hood, Robin Hood-style heroes, and even a couple about Robin Hood's "son."
5/11, 3:30 AM - Zigzag (1970)
In January, I decided that I would try to watch a "new" classic film each month - one that I've never seen before. Late nights on TCM are a great resource for films that I've not only never seen, but ones that I've never heard of either. This film looks like an interesting little thriller and it comes with a great cast of character actors including George Kennedy, Anne Jackson, and Eli Wallach. Kennedy plays a dying man who frames himself for a murder so that his wife can collect the reward money; however, his plan goes awry when his illness is cured.
Star of the Month: Joel McCrea
TCM salutes the career of handsome leading man Joel McCrea each Wednesday this month. I'm drawn to the comedies on 5/2, including Sullivan's Travels (1941), The Palm Beach Story (1942), and The Richest Girl in the World (1934). However, he made some fun adventure films, too, like The Most Dangerous Game (1932) and Foreign Correspondent (1940), both airing on 5/9. Though for many people McCrea is indelibly associated with Westerns, I don't think I've ever seen him in one; so, I'll also be looking forward to the two nights of Westerns on 5/23 and 5/30. Ride the High Country (1962), co-starring Randolph Scott, is a classic of the genre that I definitely want to see.
Monday, April 30, 2012
Thursday, April 26, 2012
Action's Top Dogs
by Lani
Safe starring Jason Statham opens in theaters this weekend. Statham is one of my favorite action stars, despite the fact that his films tend to vary wildly in quality. I like that Statham doesn't seem to take himself too seriously. He has a great comedic instincts, as well as convincing physical capabilities. Do I want to see his Hamlet? Not really. Do I want to see him crash a car through a production of Hamlet and proceed to kick everyone's ass? Yes, yes I do.
Judging from early reviews, Safe seems to be a middling entry in the Statham filmography--not quite reaching the heights of Crank, but not as dire as In the Name of the King: A Dungeon Siege Tale. However, there is no question that Statham is currently one of cinema's top dogs when it comes to action films. But who are the other top dogs and underdogs, old and new? Here's a sampling based on the films currently in theaters.
Sam Worthington - Wrath of the Titans
Worthington should be a top dog, judging by his abundance of film roles over the past 2 years, including the highest grossing film of all time, Avatar. However, audiences don't seem to be very enthusiastic about him. (Anecdotal evidence has revealed that some people can't even remember what he looks like, even while staring at his photo.) He has the physicality for action roles, but his flat expression and delivery make him boring and forgettable. A native of Australia, Worthington has been cast as an American, Israeli, robot, and Greek demi-god; perhaps if he were allowed to play an Australian character for once he would not have the burden of keeping up a foreign accent and could then reallocate some megabytes toward facial expressions.
Guy Pearce - Lockout
Pearce is an old dog who has learned some new tricks, and been to the gym. His most recognizable roles so far (Memento, L.A. Confidential) are detectives who rely on intellect rather than physical prowess. However, as ex-CIA agent Snow in Lockout, Pearce plays a wry and resourceful action hero in the style of Escape From New York's Snake Plissken...and he pulls it off! Lockout is a lot of fun, so I would definitely be onboard for the further adventures of Snow. Snake got a sequel, so what's next for Snow? Breaking out of prison on Mars?
Liam Neeson - Wrath of the Titans
Though he's played men of action in the past (Darkman, Rob Roy), Liam Neeson has recently positioned himself as an elder statesman among action stars by taking the "wise mentor" role in numerous films (Batman Begins, The Phantom Menace, The A-Team) and successfully carrying several on his own (Taken, Unknown, The Grey). His character from Taken has become an iconic bad-ass of our time, perhaps even eclipsing Oskar Schindler as Neeson's most recognizable role. Neeson is a gifted actor who brings gravitas to whatever role he plays. Moreover, his characters are crafty and intelligent, approaching problems with strategy rather than relying on brute force. I think this is what sets his action films apart and what makes him an old dog, but still a top dog.
So are there any American action stars anymore? Not currently at multiplex, but there are surely more contenders to come this summer. Jennifer Lawrence racks up a modest body count in The Hunger Games. She's an underdog in the action world, though, as women are rarely cast as the leads in this genre. However, Lawrence has a convincing toughness and determination, so after the Hunger Games trilogy, who knows?
Last month, with the release of John Carter and Battleship on the horizon, Taylor "Riggins" Kitsch was looking like the new dog in Hollywood. Kitsch was one of the best things about Friday Night Lights, a TV show that had a lot of talent, but will his charisma transfer to the big screen? Unfortunately, John Carter kicked a puppy, implied that someone's mother was less than a saint, and otherwise committed crimes against humanity so reprehensible that that movie-going public staged a boycott. Oh, wait a minute, the movie didn't do any of those things! However, people still refused to see it and it is now being called the biggest flop of all time. But I'm not too worried about Kitsch just yet. Battleship looks completely ridiculous, but Liam Neeson is in it, so it can't be all bad.
Safe starring Jason Statham opens in theaters this weekend. Statham is one of my favorite action stars, despite the fact that his films tend to vary wildly in quality. I like that Statham doesn't seem to take himself too seriously. He has a great comedic instincts, as well as convincing physical capabilities. Do I want to see his Hamlet? Not really. Do I want to see him crash a car through a production of Hamlet and proceed to kick everyone's ass? Yes, yes I do.
Judging from early reviews, Safe seems to be a middling entry in the Statham filmography--not quite reaching the heights of Crank, but not as dire as In the Name of the King: A Dungeon Siege Tale. However, there is no question that Statham is currently one of cinema's top dogs when it comes to action films. But who are the other top dogs and underdogs, old and new? Here's a sampling based on the films currently in theaters.
Sam Worthington - Wrath of the Titans
Worthington should be a top dog, judging by his abundance of film roles over the past 2 years, including the highest grossing film of all time, Avatar. However, audiences don't seem to be very enthusiastic about him. (Anecdotal evidence has revealed that some people can't even remember what he looks like, even while staring at his photo.) He has the physicality for action roles, but his flat expression and delivery make him boring and forgettable. A native of Australia, Worthington has been cast as an American, Israeli, robot, and Greek demi-god; perhaps if he were allowed to play an Australian character for once he would not have the burden of keeping up a foreign accent and could then reallocate some megabytes toward facial expressions.
Guy Pearce - Lockout
Pearce is an old dog who has learned some new tricks, and been to the gym. His most recognizable roles so far (Memento, L.A. Confidential) are detectives who rely on intellect rather than physical prowess. However, as ex-CIA agent Snow in Lockout, Pearce plays a wry and resourceful action hero in the style of Escape From New York's Snake Plissken...and he pulls it off! Lockout is a lot of fun, so I would definitely be onboard for the further adventures of Snow. Snake got a sequel, so what's next for Snow? Breaking out of prison on Mars?
Liam Neeson - Wrath of the Titans
Though he's played men of action in the past (Darkman, Rob Roy), Liam Neeson has recently positioned himself as an elder statesman among action stars by taking the "wise mentor" role in numerous films (Batman Begins, The Phantom Menace, The A-Team) and successfully carrying several on his own (Taken, Unknown, The Grey). His character from Taken has become an iconic bad-ass of our time, perhaps even eclipsing Oskar Schindler as Neeson's most recognizable role. Neeson is a gifted actor who brings gravitas to whatever role he plays. Moreover, his characters are crafty and intelligent, approaching problems with strategy rather than relying on brute force. I think this is what sets his action films apart and what makes him an old dog, but still a top dog.
So are there any American action stars anymore? Not currently at multiplex, but there are surely more contenders to come this summer. Jennifer Lawrence racks up a modest body count in The Hunger Games. She's an underdog in the action world, though, as women are rarely cast as the leads in this genre. However, Lawrence has a convincing toughness and determination, so after the Hunger Games trilogy, who knows?
Last month, with the release of John Carter and Battleship on the horizon, Taylor "Riggins" Kitsch was looking like the new dog in Hollywood. Kitsch was one of the best things about Friday Night Lights, a TV show that had a lot of talent, but will his charisma transfer to the big screen? Unfortunately, John Carter kicked a puppy, implied that someone's mother was less than a saint, and otherwise committed crimes against humanity so reprehensible that that movie-going public staged a boycott. Oh, wait a minute, the movie didn't do any of those things! However, people still refused to see it and it is now being called the biggest flop of all time. But I'm not too worried about Kitsch just yet. Battleship looks completely ridiculous, but Liam Neeson is in it, so it can't be all bad.
Sunday, April 15, 2012
Remembering the Titanic on film
by Lani
This weekend marks the 100th anniversary of the Titanic tragedy. The story of the Titanic's fateful maiden voyage has been portrayed on film many times over the past century, most notably of course in 1997's Titanic, written and directed by James Cameron. The epic scope of this story seems to invite filmmaking on a massive scale and Cameron's production was famously troubled. But unlike the ship of the same name, Titanic the film was a resounding success, becoming one of the highest-grossing films of all-time and winning the Best Picture Academy Award. For those who were among the very small minority who did not see Titanic the first time, or perhaps were not yet alive in 1997, Titanic in 3D in now in theaters. This weekend ABC is also showing a new miniseries, coincidentally called Titanic, which was written by Julian Fellowes, lately of Downton Abbey fame. If you're interested in some "classic" film portrayals of the disaster, ."A Life at the Movies" blog has a nice round-up of the major Titanic films, and makes comparisons between older films and Cameron's film.
One of the most interesting Titanic-themed entertainments I've come across this weekend is Nazi Titanic on The History Channel's H2. During WWII, Nazi propaganda minister Joseph Goebbels became obsessed with creating a blockbuster film to rival those of Hollywood. He thought he had the perfect subject in the Titanic, and set out to make a film which blamed British capitalists for the disaster and loss of life. A fictional German officer was added to the story as a heroic voice of reason amidst the greedy ship owners and a captain concerned with speed records rather than safety. Unrivaled resources were put behind the production (it was then the most expensive German film ever made), German ship the Cap Arcona was taken out of active service to stand in for the Titanic and hundreds of German soldiers were brought in as extras. However, the production became a disaster of its own when the circumstances of being at war made filming nearly impossible. The crew shot for weeks on the Cap Arcona without getting any usable footage. Furthermore, after making inflammatory statements against the German army, director Herbert Selpin was denounced and sent to prison where he died of an apparent suicide. Nazi Titanic also discusses the topic of propaganda movies of the 1940s from both sides of the war. Before now I had never thought of 1942's Casablanca as a propaganda film. It does fit the bill for effective pro-Allies propaganda; however, Casablanca also transcends that label due to smart writing, memorable performances, and a great sense of atmosphere--qualities which many propaganda pieces lack. When Goebbels' Titanic film was finally finished in 1943, he feared that the sinking ship would be seen as a metaphor for the Third Reich. Though the film was shown in Nazi-occupied Europe, it was never released in Germany.
Sunday, April 1, 2012
Classic Movie Picks: April
by Lani
Each month, I scour the Turner Classic Movies Now Playing guide for upcoming films that I can't miss. The highlights are posted here for your reading and viewing pleasure! (All listed times are Eastern Standard, check your local listings or TCM.com for actual air times in your area. Each day's schedule begins at 6:00 a.m.; if a film airs between midnight and 6 a.m. it is listed on the previous day's programming schedule.)
Each month, I scour the Turner Classic Movies Now Playing guide for upcoming films that I can't miss. The highlights are posted here for your reading and viewing pleasure! (All listed times are Eastern Standard, check your local listings or TCM.com for actual air times in your area. Each day's schedule begins at 6:00 a.m.; if a film airs between midnight and 6 a.m. it is listed on the previous day's programming schedule.)
Doris Day has had no shortage of love on TCM, so if you are regular viewer, you've probably seen most of the films featured this month. This time the Star of the Month films are being shown in a semi-marathon, every night in primetime April 2 through April 6; and each night is themed to a different genre of film or period in Day's career. While she's probably most closely associated with light comedy, Day also made several impressive dramatic films and, of course plenty of musicals to highlight her lovely voice. Did you know that Doris Day is still holds the box-office record for top female star of all-time? Her continued popularity is a bit surprising, but then I can't think of a female star today who could fit into Day's shoes. Maybe Reese Witherspoon? I happen to find Ms. Day delightful in all her films, but I'm especially fond of her musical comedies co-starring Gordon McRae. If you are a fan of Meet Me in St. Louis (and why wouldn't you be?), you may like On Moonlight Bay (1951) and it's sequel By the Light of the Silvery Moon (1953) which follows the ups and downs of a family in early 20th century small-town America.
4/2, 9:45 PM - By the Light of the Silvery Moon
4/2, 1:15 AM - On Moonlight Bay
4/13, 6 AM-5:45 PM - Directed by Stanley Donen
Friday the 13th is a lucky day this month, bringing a full day of films directed by former dancer/choreographer Stanley Donen. Donen has directed some of my favorite movies of all-time with Singin' in the Rain dancing to the top of the list. He's rightly known for his musicals which always have vibrant energy, exuberant dancing, and unexpected surprises. Stand-outs in today's line-up include On the Town (6 AM), Royal Wedding (7:45 AM), Seven Brides for Seven Brothers (2:15 PM), and It's Always Fair Weather (4 PM). In the non-musical camp, there's also a jarringly beautiful 19-year-old Elizabeth Taylor in Love is Better Than Ever (11 AM) and Fearless Fagan (9:30 AM) which offers a rare starring role for goofy supporting player Carleton Carpenter.
4/15: Silent Sunday with Harold Lloyd
12 AM, Ask Father (1919)
12:20 AM, Among These Present (1921)
1 AM, Haunted Spooks (1920)
1:30 AM, Get Out and Get Under (1920)
Like most movie fans, I recognized Harold Lloyd as the bespectacled silent comic hanging from the hand of a giant clock in Safety Last!, but until recently I wasn't too aware of his work beyond that. Well, sometimes you just need to be told that something is good for you, that it is essential, to give you that push to seek it out. For me, that push finally came from a TCM short about Lloyd presented by Bill Irwin. The clips of Lloyd made me laugh and gasp out loud, and I was truly impressed by his agile, inventive stunts. Those snippets gave me more genuine surprise and delight than most of the feature films I saw last year. I'm really looking forward to seeing more of Harold Lloyd!
4/20: Spring Break Ski Bums
8 PM - Ski Party (1965)
10 PM - Winter A-Go-Go (1965)
12 AM - Get Yourself a College Girl (1964)
TCM is celebrating Spring Break with several night of films hosted by Ben Mankiewicz and Tom Lisanti, author of Hollywood Surf and Beach Movies: The First Wave 1959-1969. I'm not feeling "swimsuit-ready" just yet, so I'll be clinging to winter with 3 films about snowy ski retreats.
4/22: Robert Bresson Double-Feature
2 AM - Diary of a Country Priest (1951)
4:15 AM - A Man Escaped (1956)
One of my favorite film podcasts is Filmspotting based out of Chicago. I often seek out films which they mention on the show, especially their "marathons" of movies by one director or of a singular genre. For the past few weeks, the fellas at Filmspotting have been discussing the work of French director Robert Bresson, including the two films showing tonight. On the surface, the subjects couldn't be more different -- a young priest in ailing health and a prisoner intent on escape -- however, both are stories of one man's internal struggles. Bresson's films are unique for their extreme minimalist style, nearly expressionless performances by non-actors, and use of natural sound rather than music. Usually that description wouldn't have me racing to the TV, but based on the high degree of respect Bresson has received from the film community, I am intrigued.
Friday, March 2, 2012
Classic Movie Picks: March
by Lani
Each month, I scour the Turner Classic Movies Now Playing guide for upcoming films that I can't miss. The highlights are posted here for your reading and viewing pleasure! (All listed times are Eastern Standard, check your local listings or TCM.com for actual air times in your area. Each day's schedule begins at 6:00 a.m.; if a film airs between midnight and 6 a.m. it is listed on the previous day's programming schedule.)
Each month, I scour the Turner Classic Movies Now Playing guide for upcoming films that I can't miss. The highlights are posted here for your reading and viewing pleasure! (All listed times are Eastern Standard, check your local listings or TCM.com for actual air times in your area. Each day's schedule begins at 6:00 a.m.; if a film airs between midnight and 6 a.m. it is listed on the previous day's programming schedule.)
This is just my personal theory, but it seems that after a month of Oscar nominees - films of prestige and quality - the TCM elves are feeling a bit mischievous. How else to explain some of this month's more..um..."eclectic" choices? However, there are times when we all crave a bit of cinematic cheese or just want to see a film that's completely unique. So, I welcome whatever delirium caused the programmers to schedule films starring Liberace, an otter named Mij, the band Sorcery, and two Edward G. Robinsons (unfortunately they don't all appear in one movie).
3/7: Musicians as Actors
12:15 PM - Sincerely Yours (1955)
6 PM - Having a Wild Weekend (1965)
In his major motion picture debut, "Mr. Showmanship" Liberace portrays a concert pianist whose career is brought to a halt when he loses his hearing. That doesn't stop Libbie - he learns to read lips by watching people in the park through binoculars! And because he's such a nice, generous young man he just has to help the people he watches and solve their problems. (This isn't creepy at all, right? Right?) Liberace had an undeniable flair for performance, on display during the film's musical numbers, but it's no surprise that his film career basically ended when it started.
The Dave Clark 5 are probably remembered by most as a British Invasion band who wasn't the Beatles; and their film was certainly designed to capitalize on the success of A Hard Day's Night. However, I must defend the DC5. They had some pretty great songs and their movie isn't half bad either! How can you dislike zany Brits on a romp set to peppy music? Fun fact: This was the first film directed by John Boorman, who would go on to direct such classics as Point Blank (1967), Deliverance (1972), and Hope and Glory (1988).
BONUS: 3/3, 5 AM - Girl Happy (1965)
A pick in honor of Joni Collins, the person that introduced me to that wonderful genre of film - The Elvis Movie. She would look after me sometimes when I was little and we watched A LOT of Elvis, but this one was always her favorite.
3/8, 10:15 PM - Pretty Poison (1968)
Anthony Perkins plays a troubled young man, fresh from a psychiatric hospital, who falls for a small town honor student played by Tuesday Weld. He tries to impress her with a harmless bit of sabotage at the local mill, but soon finds himself in over his head when Weld's true murderous nature becomes apparent. Perky, gorgeous Weld is like The Bad Seed's Rhoda, if she grew up to be a drum majorette, and Perkins is perfectly cast as her hapless mark.
Leslie Caron: Single Mom
3/12, 10 PM - The L-Shaped Room (1962)
3/24, 4 AM - Promise Her Anything (1966)
In the 50s, spritely dancer Leslie Caron starred in a string of delightful musicals - An American in Paris, Daddy Long Legs, Gigi. But in the 60s, she began taking on more mature roles such as in these two films in which she plays a single mother-to-be and a widow, respectively. My image of Caron is as a young ballerina, so it is hard to imagine her playing a grown-up lady. However, she received an Oscar nomination for her role in The L-Shaped Room, a British "kitchen sink" drama. Promise Her Anything is less well-regarded, but it is notable for being the film on which Leslie met co-star Warren Beatty. Life was soon imitating art when the newly-divorced mother of two and Beatty became a couple.
3/15, 10 PM - The Whole Town's Talking (1935)
This film reminds me of an old Ray Romano joke about twins - if they're even slightly ugly, it's magnified. Thank goodness Edward G. Robinson is a great actor because he is not going to win any beauty contests. He stars here in a dual role, effortlessly changing between ruthless criminal Mannion and a meek advertising clerk, a.k.a. "The Man Who Looks Like Mannion." Yes, that is the actual nickname given to the clerk in this film, a nickname which frankly seems to downplay the resemblance (considering the two characters are identical). You could be forgiven for mistaking this film for The Talk of the Town (playing 3/6, 8 PM), which also co-stars Jean Arthur and involves someone hiding out from the law. For extra fun while watching, take a drink each time someone says the name Mannion, or reads a newspaper headline about Mannion. I imagine that director John Ford was playing this same drinking game on set.
3/18, 10 PM - Ring of Bright Water (1969)
I'm a sucker for films about animals, but I don't think I've ever seen one about an otter before. This movie stars Bill Travers and Virginia McKenna, the same actors from Born Free (scheduled tonight at 8 PM), as the owners of yet another exotic pet. By the end of the film we all learn that while otters may not make good housepets, they're certainly cute!
BONUS: 3/18, 8 AM - Good-bye, My Lady (1956)
If you prefer films about more traditional pets, try this one about a stray dog in the Georgia swamps. It also has a great human cast, including Walter Brennan, Brandon de Wilde, and Sidney Poitier.
3/30, 2 AM - Stunt Rock (1980)
Director Brian Trenchard-Smith has called this the worst film he ever made, which is saying something considering he also directed Leprechaun 3 and Leprechaun 4: In Space. Fair warning aside, sometimes a silly movie about stunts and rock music is what I'm in the mood for at 2 AM. The film stars Australian stuntman Grant Page as an Australian stunt man named Grant Page who comes to Hollywood to take the movie biz by storm. He soon hooks up with the band Sorcery and is able to apply his expertise to the band's elaborate rock shows. For a straight-faced example of what This is Spinal Tap (3/3, 2 AM) was spoofing, look no further than this footage of Sorcery.
TCM Imports
There were so many intriguing foreign films scheduled this month, I couldn't narrow it down to one. Some of these are part of the "TCM Imports" series, but there are also two silent films by director Abel Gance.
3/4, 2:15 AM - Sans Soleil (1983)
3/4, 4 AM - La Jetee (1962)
3/18, 12 AM - J'Accuse (1919)
3/25, 12 AM - La Roue (1922)
3/25, 4:30 AM - Closely Watched Trains (1967)
Saturday, February 11, 2012
2012 Oscar Crosstalk
by Lani and A.J.
With the Academy Awards just two weeks away, Cinema Then and Now co-bloggers Lani and A.J. sat down to discuss our impressions of the nominees: who deserves to win, who was overlooked, and who shouldn't even be on the short list. And to help out anyone with an Oscar pool, we've listed our picks for who will win next Sunday. (You can see a full list of the nominees at Oscars.go.com.)
Lani: I think we both agree that compared to last year's Oscar contenders, this year's slate of nominees is a bit underwhelming. And some of our favorite films were ignored for Best Picture or overlooked completely.
AJ: There are some nominees this year which I think are very deserving, but most are "just okay."
Lani: Well, let's get down to specifics: Best Picture. There's not one nominee here which I feel particularly strongly about. My favorite film of the year and your number one, Drive, is not nominated. However, of the nominated films I have the most affection for The Artist.
AJ: I am rooting for The Artist or Midnight in Paris. I would be alright with Hugo winning. The film I don't want to win is The Descendents because it is just an okay Alexander Payne movie. It was okay, but there is better stuff out there and I would be disappointed if it won any awards, especially Best Picture.
Lani: It is not even Alexander Payne's best movie! For what is basically a character study about a family in crisis, I didn't think the main character was fleshed out enough. Overall the film is fine, but not outstanding. Any big surprises or "huh?" moments?
AJ: Extremely Loud and Incredibly Close for Best Picture. I thought it might get nominated since it was directed by Stephen Daldry, and all of his previous films have been nominated for Best Picture. However, it wasn't incredibly well-received by critics and I did not enjoy it either. It's frustrating because every time one of Daldry's films is nominated I feel like another, more deserving film is pushed out of the running. My other reaction was "Moneyball, really?"
Lani: I am surprised that anyone felt that strongly about Moneyball, even though we both enjoyed it.
Lani: So, from your previous comment I take it Payne is not your favorite for Best Director, either.
AJ: No, he's not. If I had my way, Tomas Alfredsson would win Best Director for his work on Tinker Tailor Soldier Spy. He used every nuance of cinema to tell a rather complicated story. In less capable hands it could have been clunky and confusing. But Alfredsson was not nominated.
Lani: With the exception of Michel Hazanavicius, who really tried something "new" with The Artist, the nominees are four good, solid directors who are just doing what they do and not really stretching. Some people felt that Hugo was a departure for Martin Scorcese, but he has always been a versatile director.
AJ: Yes, people forget that Scorcese made Alice Doesn't Live Here Anymore, Kundun, The Age of Innocence. He doesn't just make gangster films. I agree that the only one of the nominated directors who went beyond expectations is Hazanavicius.
Lani: Doing something new is not, of itself, a reason for an Academy Award. However, I think he rose to a challenge with The Artist and he has a good chance to win.
Lani: For me the big "huh?" was Jonah Hill's Best Supporting Actor nomination for Moneyball. I did not think it was a bad performance, but it was not remarkable in any way; he wasn't even the best supporting actor in Moneyball! Chris Pratt as Scott Hatteberg made a bigger impression than Hill. I was actually imagining other actors playing Hill's part while I was watching the movie!
AJ: When you look at the list of Supporting Actor nominees - Kenneth Branagh, Nick Nolte, Christopher Plummer, Max Von Sydow, and Jonah Hill - there is definitely a sense of "one of these is not like the others."
Lani: Christopher Plummer is certainly the favorite here and deservedly so. He was wonderful in Beginners.
AJ: This year I feel like Plummer could also have been nominated for his role in The Girl with the Dragon Tattoo. Even though it was a small role, his character is what really go me invested in the film's central mystery.
Lani: Someone who I would've liked to have seen nominated was Viggo Mortensen for A Dangerous Method.
AJ: Viggo the Shark! As you said in your "Favorite Performances" post, he is "stealth acting." Even when he's playing a famous figure like Sigmund Freud, you lose awareness that Mortensen is playing a role; everything he's doing is subtle.
Lani: In the Best Actor category, I'm glad to see Gary Oldman for Tinker Tailor and Jean Dujardin for The Artist.
AJ: Oldman is too good for his own good. He becomes unrecognizable from role to role, and I think people forget how great he is!
Lani: However, I don't think he's going to win.
AJ: It is another very subtle performance - it's not a performance you can "see." Jean Dujardin has a much flashier role since he is playing a bigger-than-life movie star.
Lani: That's true, but Dujardin also has many small moments which give his character depth. George Clooney may win, but, to echo your sentiments about The Descendents, this is just another good performance by Clooney. He is a dependably solid actor, but this performance did not distinguish itself above any other of his performances.
AJ: That is how I feel about Brad Pitt in Moneyball. He is good here, but he is always good. There is nothing surprising in this performance.
Lani: A big omission in this category, in my opinion, is Brendan Gleeson who gave a really strong performance in The Guard. I also thought that film had a great screenplay; it really did something different with the buddy-cop genre and it was very witty, even the villains had great lines complaining about the stupid low-lifes they have to work with as drug dealers.
AJ: I agree, Gleeson was definitely deserving of a nomination. He managed to remain incredibly likable playing a character who says, among other things, "racism is part of my culture."
Lani: On to the actresses...I wasn't surprised by any of the nominations except Jessica Chastain for The Help. I thought she was a bright spot, but Octavia Spencer and Viola Davis have been getting most of the attention for that film. Chastain was so ubiquitous in 2011, it seems like the Academy just wanted to throw her a bone for a year of consistently good work.
AJ: I think her performance in The Tree of Life was just as deserving, maybe more so.
Lani: However, the race in this category seems to be between Spencer and Melissa McCarthy from Bridesmaids. Both actresses are playing broad characters, but McCarthy is getting that label more than Spencer, probably because Bridesmaids is more of a straight comedy than The Help. Just take a moment to consider that either way the Oscar will likely go to a performance in which poop played a prominent role.
AJ: I feel like Michelle Williams should be in the Supporting Actress category rather than Lead. My Week with Marilyn is about Colin Clark, the young man who meets Marilyn Monroe. Marilyn doesn't have a storyline of her own, all of her scenes are with Clark.
Lani: It is sort of the opposite situation with Berenice Bejo, who is really the co-lead in The Artist. Her character, Peppy Miller, has her own substantial story arc; however, she's nominated in the supporting category.
Lani: In the Best Actress category, the frontrunners are definitely Meryl Streep for The Iron Lady and Viola Davis for The Help.
AJ: This could be an interesting category because there is not a heavy favorite, it could go either way. Davis has already won several awards, but Streep did win the Golden Globe. Plus Streep is doing an accent and it's a biopic, two factors which the Academy likes to reward.
Lani: I felt like this wasn't a strong year for female roles. If I had to come up with a list of nominees, I don't think I could have named five. However, I do think Charlize Theron's performance in Young Adult was overlooked.
AJ: The Best Adapted Screenplay award should go hands-down to Tinker Tailor. The previous TV miniseries of this story was 7 hours, so the fact that the screenwriters condensed it down to less than 2 hours, while still keeping it interesting and thrilling, is quite an achievement - especially for a story which revolves around people looking at paperwork.
Lani: I have read the novel, and the story has been changed in many ways for the film. But it still works - and that is what an adapted screenplay should do. I wouldn't be scandalized if Moneyball won in this category either.
AJ: With writers like Steve Zaillian and Aaron Sorkin working on the script, you expect quality.
Lani: They took a potentially dry subject and made an engaging story out of it.
AJ: Unlike The Ides of March, which took a potentially relevant topic - a presidential race - and made it seem pointless.
Lani: I think it is a bit ridiculous that The Artist has been nominated for Best Original Screenplay. Even the actors admit that they didn't have real dialogue and sometimes were just saying gibberish! Bridesmaids may have a chance in this category since there is a lot of goodwill toward that movie. However, I have a feeling there is going to be an Artist sweep.
AJ: My pick for Original Screenplay would be Midnight in Paris. Woody Allen's take on the Jazz Age and nostalgia was very clever.
Lani: In the technical categories, I am shocked that Mission Impossible: Ghost Protocol was overlooked. These are the categories where quality action movies, like The Bourne Ultimatum, usually get some recognition. I think it was deserving of recognition for editing and even Best Director for Brad Bird. It is a very well-put together film, combining innovative action scenes with humor and traditional spy-craft. The action scenes are not only coherent, but interesting to watch. Compare that to Transformers: Dark of the Moon, which is nominated for sound editing, sound mixing, and special effects. The Transformers franchise is consistently criticized as noisy, incoherent messes, yet those films get Academy recognition.
AJ: In Ghost Protocol special effects are definitely being used, but it is done in a seamless way and that deserves to be recognized. Tree of Life didn't get an editing nomination, but I think the editing is what makes that movie.
Lani: I think that Tree's cinematography is what stands out. Even people who didn't like the movie have to admit that the imagery is beautiful and the camera is offering really interesting points of view.
AJ: My pick for that category is Girl with the Dragon Tattoo - for the bleakness, the grays and whites of the landscape. It creates the perfect mood for that story.
What will win:
Best Picture - The Artist
Best Director - Michel Hazanavicius
Best Actor - Jean Dujardin
Best Actress - Viola Davis
Best Supporting Actor - Christopher Plummer
Best Supporting Actress - Octavia Spencer
Possible upsets:
Best Picture - Hugo
Best Director - Martin Scorcese
Best Actor - George Clooney
Best Actress - Meryl Streep
Best Supporting Actor - No one, Christopher Plummer is a sure thing.
Best Supporting Actress - Melissa McCarthy
With the Academy Awards just two weeks away, Cinema Then and Now co-bloggers Lani and A.J. sat down to discuss our impressions of the nominees: who deserves to win, who was overlooked, and who shouldn't even be on the short list. And to help out anyone with an Oscar pool, we've listed our picks for who will win next Sunday. (You can see a full list of the nominees at Oscars.go.com.)
Lani: I think we both agree that compared to last year's Oscar contenders, this year's slate of nominees is a bit underwhelming. And some of our favorite films were ignored for Best Picture or overlooked completely.
AJ: There are some nominees this year which I think are very deserving, but most are "just okay."
Lani: Well, let's get down to specifics: Best Picture. There's not one nominee here which I feel particularly strongly about. My favorite film of the year and your number one, Drive, is not nominated. However, of the nominated films I have the most affection for The Artist.
AJ: I am rooting for The Artist or Midnight in Paris. I would be alright with Hugo winning. The film I don't want to win is The Descendents because it is just an okay Alexander Payne movie. It was okay, but there is better stuff out there and I would be disappointed if it won any awards, especially Best Picture.
Lani: It is not even Alexander Payne's best movie! For what is basically a character study about a family in crisis, I didn't think the main character was fleshed out enough. Overall the film is fine, but not outstanding. Any big surprises or "huh?" moments?
AJ: Extremely Loud and Incredibly Close for Best Picture. I thought it might get nominated since it was directed by Stephen Daldry, and all of his previous films have been nominated for Best Picture. However, it wasn't incredibly well-received by critics and I did not enjoy it either. It's frustrating because every time one of Daldry's films is nominated I feel like another, more deserving film is pushed out of the running. My other reaction was "Moneyball, really?"
Lani: I am surprised that anyone felt that strongly about Moneyball, even though we both enjoyed it.
Lani: So, from your previous comment I take it Payne is not your favorite for Best Director, either.
AJ: No, he's not. If I had my way, Tomas Alfredsson would win Best Director for his work on Tinker Tailor Soldier Spy. He used every nuance of cinema to tell a rather complicated story. In less capable hands it could have been clunky and confusing. But Alfredsson was not nominated.
Lani: With the exception of Michel Hazanavicius, who really tried something "new" with The Artist, the nominees are four good, solid directors who are just doing what they do and not really stretching. Some people felt that Hugo was a departure for Martin Scorcese, but he has always been a versatile director.
AJ: Yes, people forget that Scorcese made Alice Doesn't Live Here Anymore, Kundun, The Age of Innocence. He doesn't just make gangster films. I agree that the only one of the nominated directors who went beyond expectations is Hazanavicius.
Lani: Doing something new is not, of itself, a reason for an Academy Award. However, I think he rose to a challenge with The Artist and he has a good chance to win.
Lani: For me the big "huh?" was Jonah Hill's Best Supporting Actor nomination for Moneyball. I did not think it was a bad performance, but it was not remarkable in any way; he wasn't even the best supporting actor in Moneyball! Chris Pratt as Scott Hatteberg made a bigger impression than Hill. I was actually imagining other actors playing Hill's part while I was watching the movie!
AJ: When you look at the list of Supporting Actor nominees - Kenneth Branagh, Nick Nolte, Christopher Plummer, Max Von Sydow, and Jonah Hill - there is definitely a sense of "one of these is not like the others."
Lani: Christopher Plummer is certainly the favorite here and deservedly so. He was wonderful in Beginners.
AJ: This year I feel like Plummer could also have been nominated for his role in The Girl with the Dragon Tattoo. Even though it was a small role, his character is what really go me invested in the film's central mystery.
Lani: Someone who I would've liked to have seen nominated was Viggo Mortensen for A Dangerous Method.
AJ: Viggo the Shark! As you said in your "Favorite Performances" post, he is "stealth acting." Even when he's playing a famous figure like Sigmund Freud, you lose awareness that Mortensen is playing a role; everything he's doing is subtle.
Lani: In the Best Actor category, I'm glad to see Gary Oldman for Tinker Tailor and Jean Dujardin for The Artist.
AJ: Oldman is too good for his own good. He becomes unrecognizable from role to role, and I think people forget how great he is!
Lani: However, I don't think he's going to win.
AJ: It is another very subtle performance - it's not a performance you can "see." Jean Dujardin has a much flashier role since he is playing a bigger-than-life movie star.
Lani: That's true, but Dujardin also has many small moments which give his character depth. George Clooney may win, but, to echo your sentiments about The Descendents, this is just another good performance by Clooney. He is a dependably solid actor, but this performance did not distinguish itself above any other of his performances.
AJ: That is how I feel about Brad Pitt in Moneyball. He is good here, but he is always good. There is nothing surprising in this performance.
Lani: A big omission in this category, in my opinion, is Brendan Gleeson who gave a really strong performance in The Guard. I also thought that film had a great screenplay; it really did something different with the buddy-cop genre and it was very witty, even the villains had great lines complaining about the stupid low-lifes they have to work with as drug dealers.
AJ: I agree, Gleeson was definitely deserving of a nomination. He managed to remain incredibly likable playing a character who says, among other things, "racism is part of my culture."
Lani: On to the actresses...I wasn't surprised by any of the nominations except Jessica Chastain for The Help. I thought she was a bright spot, but Octavia Spencer and Viola Davis have been getting most of the attention for that film. Chastain was so ubiquitous in 2011, it seems like the Academy just wanted to throw her a bone for a year of consistently good work.
AJ: I think her performance in The Tree of Life was just as deserving, maybe more so.
Lani: However, the race in this category seems to be between Spencer and Melissa McCarthy from Bridesmaids. Both actresses are playing broad characters, but McCarthy is getting that label more than Spencer, probably because Bridesmaids is more of a straight comedy than The Help. Just take a moment to consider that either way the Oscar will likely go to a performance in which poop played a prominent role.
AJ: I feel like Michelle Williams should be in the Supporting Actress category rather than Lead. My Week with Marilyn is about Colin Clark, the young man who meets Marilyn Monroe. Marilyn doesn't have a storyline of her own, all of her scenes are with Clark.
Lani: It is sort of the opposite situation with Berenice Bejo, who is really the co-lead in The Artist. Her character, Peppy Miller, has her own substantial story arc; however, she's nominated in the supporting category.
Lani: In the Best Actress category, the frontrunners are definitely Meryl Streep for The Iron Lady and Viola Davis for The Help.
AJ: This could be an interesting category because there is not a heavy favorite, it could go either way. Davis has already won several awards, but Streep did win the Golden Globe. Plus Streep is doing an accent and it's a biopic, two factors which the Academy likes to reward.
Lani: I felt like this wasn't a strong year for female roles. If I had to come up with a list of nominees, I don't think I could have named five. However, I do think Charlize Theron's performance in Young Adult was overlooked.
AJ: The Best Adapted Screenplay award should go hands-down to Tinker Tailor. The previous TV miniseries of this story was 7 hours, so the fact that the screenwriters condensed it down to less than 2 hours, while still keeping it interesting and thrilling, is quite an achievement - especially for a story which revolves around people looking at paperwork.
Lani: I have read the novel, and the story has been changed in many ways for the film. But it still works - and that is what an adapted screenplay should do. I wouldn't be scandalized if Moneyball won in this category either.
AJ: With writers like Steve Zaillian and Aaron Sorkin working on the script, you expect quality.
Lani: They took a potentially dry subject and made an engaging story out of it.
AJ: Unlike The Ides of March, which took a potentially relevant topic - a presidential race - and made it seem pointless.
Lani: I think it is a bit ridiculous that The Artist has been nominated for Best Original Screenplay. Even the actors admit that they didn't have real dialogue and sometimes were just saying gibberish! Bridesmaids may have a chance in this category since there is a lot of goodwill toward that movie. However, I have a feeling there is going to be an Artist sweep.
AJ: My pick for Original Screenplay would be Midnight in Paris. Woody Allen's take on the Jazz Age and nostalgia was very clever.
Lani: In the technical categories, I am shocked that Mission Impossible: Ghost Protocol was overlooked. These are the categories where quality action movies, like The Bourne Ultimatum, usually get some recognition. I think it was deserving of recognition for editing and even Best Director for Brad Bird. It is a very well-put together film, combining innovative action scenes with humor and traditional spy-craft. The action scenes are not only coherent, but interesting to watch. Compare that to Transformers: Dark of the Moon, which is nominated for sound editing, sound mixing, and special effects. The Transformers franchise is consistently criticized as noisy, incoherent messes, yet those films get Academy recognition.
AJ: In Ghost Protocol special effects are definitely being used, but it is done in a seamless way and that deserves to be recognized. Tree of Life didn't get an editing nomination, but I think the editing is what makes that movie.
Lani: I think that Tree's cinematography is what stands out. Even people who didn't like the movie have to admit that the imagery is beautiful and the camera is offering really interesting points of view.
AJ: My pick for that category is Girl with the Dragon Tattoo - for the bleakness, the grays and whites of the landscape. It creates the perfect mood for that story.
What will win:
Best Picture - The Artist
Best Director - Michel Hazanavicius
Best Actor - Jean Dujardin
Best Actress - Viola Davis
Best Supporting Actor - Christopher Plummer
Best Supporting Actress - Octavia Spencer
Possible upsets:
Best Picture - Hugo
Best Director - Martin Scorcese
Best Actor - George Clooney
Best Actress - Meryl Streep
Best Supporting Actor - No one, Christopher Plummer is a sure thing.
Best Supporting Actress - Melissa McCarthy
Tuesday, January 31, 2012
Classic Movie Picks: February
by Lani
Each month, I scour the Turner Classic Movies Now Playing guide for upcoming films that I can't miss. The highlights are posted here for your reading and viewing pleasure! (All listed times are Eastern Standard, check your local listings or TCM.com for actual air times in your area. Each day's schedule begins at 6:00 a.m.; if a film airs between midnight and 6 a.m. it is listed on the previous day's programming schedule.)
This month's "31 Days of Oscar" programming takes us on a trip around the world, and even out of this world, with 348 films which are Academy Award winners or nominees, grouped according to the location where their stories occur - from the Great Plains to the South Seas. The current crop of Best Picture nominees are not quite so far-flung; their stories are confined to Western Europe and the U.S. So instead of a trip around the world, I will endeavor to go on a trip through time, connecting 2011 Oscar nominees to winners and nominees past. (For more information about this year's Academy Awards ceremony and nominees, visit Oscar.com)
2/11, 4:45 AM - Kramer vs. Kramer (1979)
Meryl Streep has made a career playing uncommon women - from haunted Holocaust-survivor Sophie Zawistowski of Sophie's Choice to ebullient celebrity chef Julia Child in Julie and Julia. Along the way, Streep has received 2 Academy Awards and a record 17 nominations. This year she is nominated for her performance as Britain's first female prime minister, Margaret Thatcher, in The Iron Lady. However, Magnificent Meryl's first Oscar (Best Supporting Actress)was for her portrayal of the comparably ordinary Joanna Kramer in tonight's film. The story of the Kramer's divorce and custody trial may seem mundane alongside the story of PM Thatcher, who coincidentally came to power the same year Kramer was made; but in the hands of great actors like Streep and co-star Dustin Hoffman (Best Actor winner), this small-scale story is vastly compelling.
2/14, 7:30 AM - The Bicycle Thief (1948)
In 2011's A Better Life, Demian Bichir plays a hardworking immigrant father in East L.A. whose life is thrown off-course when his truck & landscaping tools are stolen. Bichir's heartbreaking performance has earned him a Best Actor nomination. The story of A Better Life immediately brings to mind The Bicycle Thief. In this seminal Italian neorealist film, the thief of the title upends the life of a humble laborer struggling to provide for his family. The film was awarded an honorary Oscar for best foreign film (this was before that category had formal nominations) and was also nominated for Best Screenplay, an honor rarely bestowed upon foreign-language films.
2/14, 6:30 PM - A Farewell to Arms (1932)
One of the most memorable parts of Best Picture nominee Midnight in Paris is Corey Stoll's hilariously straight-faced portrayal of author Ernest Hemingway. As presented by writer/director Woody Allen, himself a double nominee this year, Hemingway speaks as he wrote - of men who are brave and true. The real Hemingway was unhappy with the 1932 film adaptation of his novel A Farewell to Arms because the screenplay softened his story of love and jealousy during WWI. Paramount actually made two versions of the film - one with a happy ending, the other more ambiguous - and allowed theater owners to choose which version to screen depending upon the audience! However, Hemingway did approve of leading man Gary Cooper: "Cooper is a fine man, as honest and straight and friendly and unspoiled as he looks." A Farewell to Arms was nominated for Best Picture, Art Direction, Cinematography, and Sound Editing, but did not win a single Oscar.
2/17, 12:30 PM - Sounder (1972)
This year Viola Davis and Octavia Spencer are front runners in the Best Actress and Supporting Actress categories for their roles as maids in 1960s Mississippi in The Help, itself a Best Picture nominee. Their co-star Cicely Tyson received a Best Actress nomination almost 40 years ago for her performance as the resilient matriarch of a poor Louisiana family in Sounder. That film also received nominations for Best Actor (Paul Winfield), Best Adapted Screenplay, and Best Picture; however, the big winners that year were The Godfather and Cabaret. Sounder is considered groundbreaking for its dignified portrayal of a Depression-era African-American family and Tyson herself is a pioneer whose success helped pave the way for contemporary black actresses like Davis and Spencer.
2/25, 1 AM - Harry and Tonto (1974)
Alexander Payne excels at making films about ordinary men in crisis. He may be nominated this year as Best Director for The Descendents, which stars Best Actor nominee George Clooney as a father of two whose wife is in a coma, but my favorite of Payne's films is About Schmidt. Jack Nicholson plays Warren Schmidt, a retiree searching for his place in the world following the death of his wife. Throughout the film Schmidt confides his inner thoughts through letters to an African child named Ndugu, whom he is sponsoring through a children's aid charity. In Harry and Tonto, Art Carney goes on a journey similar to Schmidt's after he is forced to leave his long-time apartment. His companion on his cross-country trip is his beloved cat, Tonto. Writer/director Paul Mazursky received a nomination for Best Screenplay and Carney won the Best Actor Oscar that year in what was considered an upset. Carney's competition? Jack Nicholson as Jake Gittes in Chinatown.
2/26, 1 PM - Singin' in the Rain (1952)
In my report from 2011's Austin Film Festival, I mentioned the many classic film influences to be found in The Artist. It was my favorite film of the festival and now it looks to be a heavy favorite in the Best Picture race. The story of The Artist perhaps owes its greatest debt to Singin' in the Rain, as both films deal with an silent film actor's struggle to adapt to the talkies. However, the two films couldn't be more different in their presentation - The Artist is black and white, and virtually a "silent film;" Singin' is of course a vibrant Technicolor musical. Singin's only Oscar nominations were for its Musical Score and for Jean Hagen, a.k.a Lina Lamont, as Best Supporting Actress. Hagen lost to Gloria Grahame in The Bad and the Beautiful, another inside-Hollywood story. However, the circus trumped the movies that year, with The Greatest Show on Earth winning Best Picture.
Enjoy this month's schedule of cinema's best and see how the 2011 nominees fare in the Oscar telecast, Sunday, February 26th!
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